Digital Game Design (English) Preview
Bachelor	TR-NQF-HE: Level 6	QF-EHEA: First Cycle	EQF-LLL: Level 6

Course Introduction and Application Information

Course Code:

UNI270

Course Name:

Introduction to English Literature

Semester:

Fall

Course Credits:

ECTS

Language of instruction:

English

Course Condition:

Does the Course Require Work Experience?:

Type of course:

University Elective

Course Level:

Bachelor

TR-NQF-HE:6. Master`s Degree

QF-EHEA:First Cycle

EQF-LLL:6. Master`s Degree

Mode of Delivery:

E-Learning

Course Coordinator:

Dr. Öğr. Üy. HATİCE YURTTAŞ

Course Lecturer(s):

Dr. Öğr. Üy. HATİCE YURTTAŞ
Dr. Öğr. Üy. MEHRAN SOYKAN

Course Assistants:

Course Objective and Content

Course Objectives:

This course focuses on prose fiction as a main literary genre in the contemporary world. The course addresses the elements of prose fiction such as plot, character, setting, and point of view through a selection of short stories of various sub-genres.

Course Content:

This course examines the concept of genre in order to introduce some of the thematic structures and critical perspectives that underpin English literary studies. The course mainly focuses on the structure and components of prose fiction- mainly on short story and dicusses the elements of prose fiction such as plot, character, setting, symbol, allegory, point of view, and theme. The lecturers will explore a range of texts to illustrate particular formal and stylistic qualities, and to question the relationship between literary genre and social, historical, or cultural context. The course will also revise writing research paper and documentation (APA). It introduces some key critics and theorists of genre and reflect on the role of criticism in the formation of literary canons and traditions.

Learning Outcomes

The students who have succeeded in this course;
1) To develop awareness of the critical frameworks and categories relevant to the study of short story.
2) To locate specific literary genres in historical and cultural context
3) To acquire a critical vocabulary relevant to the discussion of prose fiction
4) To gain interpretative skills in reading a selection of illustrative texts- short stories from different periods in literary history
5) To write essays using a documentation style (APA)

Course Flow Plan

Week	Subject	Related Preparation
1)	Meet & Greet Introduction of the syllabus What is literature? What is fiction? Genres and Subgenres	The Norton introduction to literature, pp. 1-9. “The elephant in the village of the blind” pp. 13-14.
2)	Writing about literature: Writing an essay and documentation	Norton, pp. 12-19; 29-51 Linda Brewer’s “20/20” pp. 16-17
3)	Writing about literature: Writing a response paper and documentation (APA and MLA)	Raymond Carver’s “Cathedral” pp. 32-42
4)	Writing a response paper and documentation	Perrine’s literature, ss. 38-43 The Norton introduction pp. 1885- 1970
5)	Writing a response paper and documentation	Nadine Gordimer,“Once upon a time”, ss 234- 239 Perrine’s Literature, pp. 234- 239
6)	Forms and elements of short story: Plot: A Family Supper	Perrine’s literature, pp. 97- 104; 133- 141 Norton, pp. 85-145
7)	Characterization	Perrine’s literature: Katherine Mansfield, “Miss Brill” pp. 155- 159
8)	Point of view	Norton: Edgar Allan Poe “The Cask Amontillado” pp. 178- 184 Perrine’s Literature Chapter 5 Midterm assignment deadline
9)	Theme	Gabriel Garcia Marquez, “A Very Old Man with Enormous Wings: A Tale for Children,” Norton Chapter 5 Perrine’s Literature Chapter 4
10)	Setting	Anton Chekhov, “The Lady with the Dog” Norton Chapter 4
11)	Symbol	Perrine’s literature: Charlotte Perkins Gilman, “The Yellow Wallpaper” pp. 310-323 Norton Chapter 5
12)	Symbol and fantasy	Nathaniel Howthorne, The Birthmark, Perrine’s Literature p. 415.
13)	Tone	D. H. Lawrence’s The Rocking-Horse Winner Perrine’s Literature p. 297
14)	Revision Deadline for the final assignment

Sources

Course Notes / Textbooks:	Mays. K.J. (2017). The Norton introduction to literature. New York: W.W. Norton & Company (ss. 1-466) Johnson, G and Thomas R. Arp (2018). Perrine’s literature: structure, sound and sense. Boston: Cengage Learning (ss. 1-387)
References:	Robert, Edgars V &Robert Zweig. Literature: An Introduction to Reading and Writing. Longman. Klarer M. (1999). An introduction to literary studies. London: Routledge.

Course - Program Learning Outcome Relationship

Course Learning Outcomes	1	2	3	4	5
Program Outcomes
1) Being able to write creatively, imagine, and produce original and inspired fictional scenarios, places, and universes. Being able to produce 2D and 3D visual designs and impressive auditory compositions. Being able to plan all these artistic practices around certain goals and with a focus on design. Being able to design the videogame design process itself.
2) Being able to think and produce creative content based on mathematical data. Being able to parametrically design. Being able to quantify art and design practices, such as creative writing, graphical, illustrative, spatial, and character design. Being able to ideate qualitatively and subjectively through quantitative and objective approaches.
3) Being able to work on projects by incorporating various fields of expertise and the content that originates from these fields. Being able to work as part of a team while embracing different ideas and skills. Being able to produce comprehensive and total videogame concepts. Being able to edit, exhibit, present, and defend works in portfolio and presentation formats.
4) Achieving critical thinking literacy on videogame history and theory. Being able to think through and produce academic texts about the philosophical, anthropological, political, and social manifestations of games. Being vigilant about the contemporary problematics of videogame epistemology. Displaying professionalism in accepting criticism.
5) Being informed about the historical accumulation and contemporary productions of the videogame culture and other cultural playgrounds from which videogame culture draws. Being able to tackle, process, and position both aesthetic and technical production and thinking methods as cultural activities.
6) Being knowledgeable about the past, aware of the present, and foresighted about the future potentials of the social and economic realities of videogames. Being able to handle professional relations, create correspondence, and manage production plans. Being a generalist, while also specializing in one or more areas of expertise.
7) Being able to research, filter data, and synthesize both within and outside videogame epistemology at every stage of production. Being able to conduct interdisciplinary research. Being able to create original ideas by remixing content from various sources. Learning to learn.
8) Understanding, learning, and using professional content authoring tools and technologies. Being able to design workflows in service of various production requirements. Being able to use technologies within the workflow besides the usual and intended purposes, and researching, discovering, and putting to use technologies for new purposes.

Course - Learning Outcome Relationship

No Effect	1 Lowest	2 Average	3 Highest

	Program Outcomes	Level of Contribution
1)	Being able to write creatively, imagine, and produce original and inspired fictional scenarios, places, and universes. Being able to produce 2D and 3D visual designs and impressive auditory compositions. Being able to plan all these artistic practices around certain goals and with a focus on design. Being able to design the videogame design process itself.
2)	Being able to think and produce creative content based on mathematical data. Being able to parametrically design. Being able to quantify art and design practices, such as creative writing, graphical, illustrative, spatial, and character design. Being able to ideate qualitatively and subjectively through quantitative and objective approaches.
3)	Being able to work on projects by incorporating various fields of expertise and the content that originates from these fields. Being able to work as part of a team while embracing different ideas and skills. Being able to produce comprehensive and total videogame concepts. Being able to edit, exhibit, present, and defend works in portfolio and presentation formats.
4)	Achieving critical thinking literacy on videogame history and theory. Being able to think through and produce academic texts about the philosophical, anthropological, political, and social manifestations of games. Being vigilant about the contemporary problematics of videogame epistemology. Displaying professionalism in accepting criticism.
5)	Being informed about the historical accumulation and contemporary productions of the videogame culture and other cultural playgrounds from which videogame culture draws. Being able to tackle, process, and position both aesthetic and technical production and thinking methods as cultural activities.
6)	Being knowledgeable about the past, aware of the present, and foresighted about the future potentials of the social and economic realities of videogames. Being able to handle professional relations, create correspondence, and manage production plans. Being a generalist, while also specializing in one or more areas of expertise.
7)	Being able to research, filter data, and synthesize both within and outside videogame epistemology at every stage of production. Being able to conduct interdisciplinary research. Being able to create original ideas by remixing content from various sources. Learning to learn.
8)	Understanding, learning, and using professional content authoring tools and technologies. Being able to design workflows in service of various production requirements. Being able to use technologies within the workflow besides the usual and intended purposes, and researching, discovering, and putting to use technologies for new purposes.

Assessment & Grading

Semester Requirements	Number of Activities	Level of Contribution
Attendance	1	% 20
Midterms	1	% 30
Final	1	% 50
total		% 100
PERCENTAGE OF SEMESTER WORK		% 50
PERCENTAGE OF FINAL WORK		% 50
total		% 100