Digital Game Design (English) | |||||
Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 |
Course Code: | DIL502 | ||||
Course Name: | English for Academic Purposes 2 | ||||
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: | Face to face | ||||
Course Coordinator: | Eğitim Danışmanı GÜLŞAH ERDAŞ | ||||
Course Lecturer(s): |
Expert GÖKÇE DURU Öğr. Gör. İLKAY ÖZDEN Öğr. Gör. STAFF 1 Eğitim Danışmanı GÖKCAN AYDIN Eğitim Danışmanı ERDEM AYDEMİR Expert EMİNE TANRISEVEN Expert CAN GENCER UÇAR Eğitim Danışmanı GÜLŞAH ERDAŞ Expert HATİCE BETÜL COŞKUN Eğitim Danışmanı KAHRAMAN AKIN Expert NİHAN ÖCAL Öğr. Gör. ELİF MOLLAMEHMETOĞLU Eğitim Danışmanı ATİLLA ONURALP KOCABALCIOĞLU Öğr. Gör. CEM ŞENCAN Öğr. Gör. AYSU ASLI YENİKAN GÜNER Öğr. Gör. MELİKE İŞCAN Öğr. Gör. MOHAMMAD REZA KHODADADI Öğr. Gör. FURKAN ATMACA Öğr. Gör. GİZEM İNCİ |
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Course Assistants: |
Course Objectives: | This academic course is for undergraduate students. Materials prepared by our lecturers are used during the classes and intermadiate level of English is aimed to be obtained. The courses are about the latest developments and studies in Natural and Social Sicences Fields and basic concepts are cvered according to their needs during the classes. |
Course Content: | Students follow the latest academic developments regarding their own fields, they read and analyze texts and articles and write essays . They prepare projects and do homeworks. |
The students who have succeeded in this course;
1) Students learn the basic principles of their departments 2) Students follow the latest news about thier departments 3) Students do researches about their degree classes and prepare their homeworks 4) srudents prepare various presentations and homeworks related with their departments |
Week | Subject | Related Preparation |
1) | describing personalities, expressing likes and dislikes, agreeing and disagreeing, complaining | Interchange 3 Unit 1 |
2) | Talking about possible careers, describing jobs. Gerund phrases as subjects and objects, comparisons with adjectives, nouns, verbs. | Interchange 3 Unit 2 |
3) | Making direct and indirect rewuests. Requests with modals, if cluases and gerunds. | Interchange 3 unit 3 |
4) | Narrating a story, descrbinig events and experiences in the past. Past continious vs. simple past tense | Interchange 3 unit 4 |
5) | Noun phrases containnig relative clause, expectations, the custom -to, not supposed to , expected to, acceptable to | Interchange 3 unit 5 |
6) | Active and Passive sentences | Interchange 3 unit 6 |
7) | Drawing conclusions, offering explanations, describing hypothetical events, giving advice for complicated situations | Interchange 3 unit 7 |
8) | mid-term exam week | |
9) | yapmış bulunduğunuz şeylerden bahsetmek.tavsiye ve önerilerde bulunmak. birisine birşeyi yaptırtmak- gramer olarak kullanımı | Interchange 3 unit 8 |
10) | interviewing for a job, talking about ads and slogans | Interchange 3 unit 9 |
11) | Giving recommendatios and opinions with passive modals: shpould be, ought to be, must be, has to be, has got to be, tag questions for opinions | Interchange 3 unit 10 |
12) | giving opinions about situations, talking about the facts in the past. Accomplishments with the simple past and present perfect-would like to-have +past participle | Interchange 3 unit 11 |
13) | describing how something is done or made,; describing careers in film, TV, publishing, gaming and music. | Interchange 3 unit 12 |
14) | Revision | Progress Check |
15) | final exam week | |
16) | final exam week |
Course Notes / Textbooks: | Bölüm öğretim görevlilieri tarafından hazırlanmış, tamamen öğrencilerin alanlarına yönelik kitapçıklar kullanılır. |
References: | Çeşitli websiteleri ve güncel makaleler kullanılır |
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. |
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. |
Semester Requirements | Number of Activities | Level of Contribution |
Attendance | 1 | % 10 |
Application | 13 | % 0 |
Homework Assignments | 10 | % 10 |
Midterms | 1 | % 35 |
Final | 1 | % 45 |
total | % 100 | |
PERCENTAGE OF SEMESTER WORK | % 55 | |
PERCENTAGE OF FINAL WORK | % 45 | |
total | % 100 |
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 |