Media accessibility has been an important issue on the international agenda since the early 21st century. Many countries have achieved major developments in media accessibility, while others like Turkey are currently embarking on the journey. The following article discusses developments in media accessibility in Turkey with emphasis on disability and the implication of coaccessibility which may be defined broadly as appealing to audiences with differing accessibility needs, through the translation(s) inputted on a single product. The research so far seems to indicate that coaccessibility has potential political, social, educational and other implications. Turkish end-users embrace the current coaccessibility model, but the ultimate goal in accessibility for Turkey is to have optional sign language interpreting, audio description and subtitling for the D/deaf and hard of hearing and the actors need to strive to achieve this. Currently, it also falls to academics to research this phenomenon of coaccessibility, learn from it, both in terms of the practice itself and its possible implications for universal design, and design for all, and to ensure that end-users and others benefit from it until the day it can be replaced with a better option.

In translation studies, investigating translations beyond the implications, realities and difficulties of single texts and single language combinations, viewing the larger picture surrounding translations and following the translations through to the impacts they produce wherever they are received, is an integral part of the discipline. The study discussed in this article is an effort to present food for thought for audio-visual translators of soap operas. Turkish soap operas have been aired in 90 countries around the world, reaching over 400 million viewers, according to 2014 statistics from the sector. The aim of the study is to indicate the type of translated soap operas preferred in different regions of the world; to explain, on the basis of feedback from experts, the public and local and international media, why these are watched; and to investigate the translation modes and strategies used to market the translations successfully in the receiver markets.

In Turkey, as in the case of other countries, due to developments in technology and the rise of the 'social translation' sector, audiences have the opportunity to watch TV shows, including sitcoms, with Turkish subtitles on a multitude of platforms. Although some of these platforms are TV channels, there are also alternatives presented by Internet sites. By virtue of the fact that there are different subtitlers of the same show, it becomes beneficial to study the work of professional translators vs. social translators, to understand their constraints and realities, as well as the differences between them. This study provides a comparative analysis of the two, within the context of the American sitcom Two and a Half Men.

Even today, many examples of contemporary books for children in Turkey are translations. On the other hand, Turkish authors have been writing books for children for some time now and recently different genres of books have also appeared on the Turkish market. One of these genres is biographies about famous people for primary school students. The scope of this study entails translated biographies about famous people for child readers and current Turkish originals in this genre available today. The central questions are: Are the Turkish versions written in this genre imitations of the translations into Turkish, or are there differences between the translations and originals? What was, in a sense, created through the translation of a genre into a local repertoire? The findings of the study reveal how translations affected the formulation and creation of the genre in Turkish, but also reveal that local literary norms were effective in the appropriation of the genre.

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