| Digital Game Design (English) | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
| Course Code: | DIL603 | ||||
| Course Name: | French 3 | ||||
| Semester: | Fall | ||||
| Course Credits: |
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| Language of instruction: | English | ||||
| Course Condition: |
DIL602 - Fransızca 2 |
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| 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): |
Öğr. Gör. CORALIE FORGET 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 pre-intermediate level. |
| Course Content: | Grammar and Vocabulary Basic language structures of the French language; syntax, morphology, meaning and expression skills. Read Work, school, leisure activities, etc. Ability to understand the main points of standard speech on familiar topics such as. Don't write Ability to produce simple and coherent text on familiar topics or areas of personal interest. Speech Being able to describe an event, an experience or a dream; Ability to describe a desire or goal and outline the reasons or explanations behind a project or idea. |
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The students who have succeeded in this course;
1) To be able to read simple texts that are overlapping or professional subjects, to understand the basic idea in a text. 2) To be able to understand the written and oral expressions based on common subjects in daily life. 3) To be able to deal with most situations, such as shopping or address descriptions, which require the foreign language to communicate when it is spoken or when traveling. 4) To be able to write texts in which simple, but interdependent links are formed in subjects of personal interest. 5) To be able to convey experiences and experiences; talk about their dreams and wishes, to express their thoughts and plans in brief. |
| Week | Subject | Related Preparation |
| 1) | Friendship and Professional relationships | Alter Ego 3 |
| 2) | Commercial world and goods | Alter Ego 3 |
| 3) | Education and university | Alter Ego 3 |
| 4) | Information Technologies | Alter Ego 3 |
| 5) | Solidarity in society and actions | Alter Ego 3 |
| 6) | Culture and art | Alter Ego 3 |
| 7) | Ecology and environment | Alter Ego 3 |
| 8) | Midterm | |
| 9) | Ecology and environment | |
| 10) | Crime and punishment | Alter Ego 3 |
| 11) | Crime and punishment | Alter Ego 3 |
| 12) | Narration in French | Alter Ego 3 |
| 13) | Narration in French | Alter Ego 3 |
| 14) | Revision | Alter Ego 3 |
| 15) | Final sınavı | |
| 16) | Final exam |
| Course Notes / Textbooks: | Alter Ego |
| 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 |
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. | ||||||||
| 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 | ||||||