ISTINYE UNIVERSITY BİLGİ PAKETİ / DERS KATALOĞU
| Digital Game Design (English) | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
Course Introduction and Application Information
| Course Code: | UNI370 | ||||
| Course Name: | Gender Studies | ||||
| Semester: | Fall | ||||
| Course Credits: |
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| Language of instruction: | English | ||||
| Course Condition: | |||||
| Does the Course Require Work Experience?: | No | ||||
| Type of course: | University Elective | ||||
| Course Level: |
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| Mode of Delivery: | E-Learning | ||||
| Course Coordinator: | Dr. Öğr. Üy. SELEN YANMAZ | ||||
| Course Lecturer(s): | Selen Yanmaz, Ezgi Ildırım | ||||
| Course Assistants: |
Course Objective and Content
| Course Objectives: | Course Objectives The aim of this course is to have students approach gender from a sociological and psychological perspective. It aims to familiarize students with the basic issues regarding gender today while teaching them about the historical context. It also aims to have students understand how gender studies have changed over time. |
| Course Content: | This course consists of studying basic themes and theories regarding gender studies. Students learn to approach gender from a sociological and psychological perspective, focusing on major issues regarding the social construction of gender, gender socialization and gender inequality. |
Learning Outcomes
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The students who have succeeded in this course;
1) Students learn about the social construction of gender 2) They become aware of gender discrimination 3) They gain knowledge about approaches to gender 4) They gain historical knowledge about feminism and the struggle for women's rights |
Course Flow Plan
| Week | Subject | Related Preparation |
| 1) | Introduction | |
| 2) | That is Gender? | |
| 3) | Gender Socializing and Stereotyping I | |
| 4) | Gender Socializing and Stereotyping II: Role Models | |
| 5) | Gender Discrimination I | |
| 6) | Gender Discrimination II | |
| 7) | Gender Discrimination III | |
| 8) | Midterm | |
| 9) | What is Gender and Sexual Orientation, Social Construction of Sex and Gender | |
| 10) | Gender and Mental Health | |
| 11) | Doing Gender, Gender Socialization, Perspectives on Gender | |
| 12) | Gender and Violence | |
| 13) | Gender Inequality and Feminism | |
| 14) | Women’s Rights |
Sources
| Course Notes / Textbooks: | - Giddens, Anthony, Mitchell Duneier, Richard P. Appelbaum, Deborah Carr. 2021. Introduction to Sociology (12th Edition). Pg 735-750, 755-763(available online on course page) - “Dimensions of Gender” (available online at https://www.diverseandresilient.org/resources/youth-resource-list/dimensions-of-gender/) - “Sexual Orientation and Gender Identity” (available online at https://operations.du.edu/inclusive-teaching/sexual-orientation-and-gender-identity#what) |
| References: | - Gilbert, Miqqi Alicia.2009. “Defeating Bigenderism: Changing Gender Assumptions in the Twenty-first Century”. Hypatia. 24(3): pg.93-112. - Bond Stockton, Kathryn. 2022. “Gender Has a History and It’s More Recent Than You May Realize” (available online at https://thereader.mitpress.mit.edu/gender-has-a-history-and-its-more-recent-than-you-may-realize/) - Steinem, Gloria. “If Men Could Menstruate” in Ms. Magazine. 1978. (available online at https://www.tandfonline.com/doi/pdf/10.1080/23293691.2019.1619050) - The Third Gender and Hijras (available online at https://rpl.hds.harvard.edu/religion-context/case-studies/gender/third-gender-and-hijras) |
Course - Program Learning Outcome Relationship
| Course Learning Outcomes | 1 |
2 |
3 |
4 |
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|---|---|---|---|---|---|---|---|---|
| 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 | 14 | % 10 |
| Midterms | 1 | % 20 |
| Final | 1 | % 70 |
| total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 30 | |
| PERCENTAGE OF FINAL WORK | % 70 | |
| total | % 100 | |
Workload and ECTS Credit Calculation
| Activities | Number of Activities | Preparation for the Activity | Spent for the Activity Itself | Completing the Activity Requirements | Workload | ||
| Course Hours | 14 | 1 | 2 | 42 | |||
| Study Hours Out of Class | 2 | 2 | 4 | ||||
| Midterms | 1 | 30 | 2 | 32 | |||
| Final | 1 | 45 | 2 | 47 | |||
| Total Workload | 125 | ||||||