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: | DIL501 | ||||
| Course Name: | English for Academic Purposes 1 | ||||
| Semester: | Spring | ||||
| 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: | Face to face | ||||
| Course Coordinator: | Eğitim Danışmanı GÜLŞAH ERDAŞ | ||||
| Course Lecturer(s): |
Öğr. Gör. BEHROOZ RASAEI Öğr. Gör. NOORHAN QASIM MOHAMMED AL-ANI Öğr. Gör. SHAMIM BAZOOBANDI Öğr. Gör. ASSEM AMIRZHANOVA Öğr. Gör. STAFF Öğr. Gör. İLKAY ÖZDEN Eğitim Danışmanı GÖKCAN AYDIN Eğitim Danışmanı ERDEM AYDEMİR Expert EMİNE TANRISEVEN Expert CAN GENCER UÇAR Eğitim Danışmanı GÜLŞAH ERDAŞ Eğitim Danışmanı AHMET KAPLAN Öğr. Gör. İLYAS DENİZ ÇINAR Eğitim Danışmanı ATİLLA ONURALP KOCABALCIOĞLU Öğr. Gör. CEM ŞENCAN Öğr. Gör. DİLAY NUR CANDAN Öğr. Gör. MELİKE İŞCAN Öğr. Gör. MOHAMMAD REZA KHODADADI Öğr. Gör. FURKAN ATMACA Öğr. Gör. GİZEM İNCİ |
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| Course Assistants: |
Course Objective and Content
| Course Objectives: | Taking the academic program of the students into consideration, academic reading and writing exercises are carried out in order to improve students' reading and writing skills. It is aimed for students to be able to reach a level where they can do researches related to their own departments. |
| Course Content: | Course content consists of activities aimed at improving the reading, writing, listening and speaking skills of the students. |
Learning Outcomes
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The students who have succeeded in this course;
1) Students are able to read simple texts that are overlapping with interest or professional subjects, and understand the basic idea in a text. 2) Students can understand written and oral expressions based on common subjects in daily life. 3) Students can handle most situations, such as shopping or address recipes, which require a foreign language to communicate when it is spoken or when traveling. 4) Students can write texts that are simple, but inter-ideas, in the subjects of personal interest. 5) Students can transfer experiences, talk about their dreams and wishes, briefly explain their thoughts and plans. |
Course Flow Plan
| Week | Subject | Related Preparation |
| 1) | Past tense, used to for habitual actions | Interchange 2 Unit 1 |
| 2) | Expressions of quality with count and noncount nouns | Interchange 2 unit 2 |
| 3) | Evaluations and comparisons with adjectives | Interchange 2 unit 3 |
| 4) | Simple Past vs. Present Perfect | Interchange 2 unit 4 |
| 5) | Future with be going to and will | Interchange 2 unit 5 |
| 6) | Two part verbs | Interchange 2 unit 6 |
| 7) | Gerunds and Infinitives | Interchange 2 unit 7 |
| 8) | Midterm Week | |
| 9) | Adverbial clauses of time | Interchange 2 unit 8 |
| 10) | Conditional sentences | Interchange 2 unit 9 |
| 11) | Short sentences. | Interchange 2 unit 10. |
| 12) | Passive Voice. Past Simple vs. Past Continuous. | Interchange 2 unit 11 and 12. |
| 13) | Relative pronouns for people. Modal fiiller. | Interchange 2 unit 13 and 14. |
| 15) | Unreal conditional sentences. Reported speech. | Interchange 2 unit 15 and 16. |
| 15) | Final Week | |
| 16) | Final Week |
Sources
| Course Notes / Textbooks: | Interchange (Cambridge Yayınları) |
| References: | Öğrencilerin alanlarına yönelik gelişmeleri yakından takip edebilecekleri websiteleri, güncel makale ve araştırmalar. |
Course - Program Learning Outcome Relationship
| Course Learning Outcomes | 1 |
2 |
3 |
4 |
5 |
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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 |
| Homework Assignments | 10 | % 10 |
| Presentation | 1 | % 10 |
| Midterms | 1 | % 35 |
| Final | 1 | % 45 |
| total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 55 | |
| PERCENTAGE OF FINAL WORK | % 45 | |
| 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 | 0 | 4 | 56 | |||
| Homework Assignments | 10 | 0 | 7 | 70 | |||
| Midterms | 1 | 0 | 1 | 1 | |||
| Final | 1 | 0 | 1 | 1 | |||
| Total Workload | 128 | ||||||