| Digital Game Design (English) | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
| Course Code: | DIL601 | ||||
| Course Name: | French 1 | ||||
| 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: | Öğr. Gör. MERVE KESKİN | ||||
| Course Lecturer(s): |
Expert ASLİN KALOSTYAN |
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| Course Assistants: |
| Course Objectives: | To have the students acquired the skills of grammar, vocabulary, listening, writing, speaking, and vocational language in a beginner level. |
| Course Content: | Grammar and Vocabulary Basic language structures of French language; syntax, morphology, meaning, and expression skills. Reading To be able to understand the basic texts of simple level, to gain reading habit inside and outside the classroom. Writing To be able to recognize familiar words and simple sentences for concrete purposes. Speaking To introduce himself or someone else. Home, family, environment, etc. ask and answer basic questions. To be able to communicate in a basic way when the other person speaks slowly and clearly and is ready to repeat or reorganize to help communicate. |
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The students who have succeeded in this course;
1) To understand the main idea of short texts written in very simple language with the help of visuals. 2) To be able to understand frequently used basic statements and frequently used daily expressions and to use the majority of them to meet their concrete needs. 3) To introduce himself / herself or others in a simple level and to write very simple and introductory sentences. 4) To be able to communicate at a simple level, provided that the contact person speaks and helps in a very clear and slow manner. |
| Week | Subject | Related Preparation |
| 1) | Present yourself | Edito A1 |
| 2) | Present a city, describing directions | Edito A1 |
| 3) | Ordering something, going to the supermarket | Edito A1 |
| 4) | Buying things, contacting services | Edito A1 |
| 5) | Explain how your day was, going out | Edito A1 |
| 6) | Describing family and family members | Edito A1 |
| 7) | Everyday objects, describing a house and house objects | Edito A1 |
| 8) | Midterm | |
| 9) | Organizing a trip, talking about your holidays | Edito A1 |
| 10) | Talking about health, Simple Past Tense | Edito A1 |
| 11) | The Professional World; talking about different occupations and their responsibilities | Edito A1 |
| 12) | Life changes | Edito A1 |
| 13) | Revision | Edito A1 |
| 14) | Revision | Edito A1 |
| 15) | Final exam | |
| 16) | Final exam |
| Course Notes / Textbooks: | Edito |
| References: | Ek alıştırmalar ve dersin öğretim görevlisi tarafından geliştirilmiş çeşitli oyunlar ve etkinlikler. Teacher created upplementary worksheets, classroom activities and games |
| 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 | 10 | % 10 |
| 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 | ||||||