| Digital Game Design (English) | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
| Course Code: | DIL604 | ||||
| Course Name: | French 4 | ||||
| Semester: | Spring | ||||
| Course Credits: |
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| Language of instruction: | English | ||||
| Course Condition: |
DIL603 - French 3 |
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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): |
Expert ASLİN KALOSTYAN Öğr. Gör. CORALIE FORGET |
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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 an intermediate level. |
| Course Content: | Grammar and Vocabulary Basic language structures of French language; syntax, morphology, meaning, and expression skills. Reading To gain intermediate reading skills by reading texts in the book, using cross-channel links and semantic changes; gaining reading habits by both curricular and extracurricular assignments. Writing Paragraph formats and structure; technical specifications of the paragraph; extraction of paragraph plan; description, comparison, discussion, summary writing, interpretation; short story writing. Speaking Developing oral communication skills by using appropriate expressions and strategies for various verbal communication situations; development of speaking, speaking and listening comprehension by using speaking, current, original, auditory and audiovisual materials. |
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The students who have succeeded in this course;
1) Students will be able to understand the texts on the subjects that require specialization and technical terms without any effort, with the help of the dictionary. 2) Students will be able to read the complex texts in both abstract and concrete subjects and understand the main idea. 3) Although there may be difficulty in frequently used words and idioms, students will be able to benefit from comprehensive vocabulary context. 4) Students will be able to understand essays and reports on current topics that reflect the argument and perspective of the authors. 5) Students will be able to communicate to a certain degree fluently and naturally without having major difficulty with a native French speaker. 6) Students will be able to articulate verbally or in writing in a variety of subjects both in detail and comprehensibility. |
| Week | Subject | Related Preparation |
| 1) | Work Environments and Contracting | The Course Book |
| 1) | Final Exam | |
| 2) | Privacy and Personal Relationships | The Course Book |
| 3) | Habitats and Urbanism | The Course Book |
| 4) | Growing Up | The Course Book |
| 5) | Identity and Roots | The Course Book |
| 6) | Types of Hobbies and Activities | The Course Book |
| 7) | Revision for Midterm Exam | The Course Book |
| 8) | Midterm Exam | |
| 9) | Focus on Literature | The Course Book |
| 10) | Beliefs and Convictions | The Course Book |
| 11) | Local Specialities and Particularisms I | The Course Book |
| 12) | Local Specialities and Particularisms II | The Course Book |
| 13) | Globalization I | The Course Book |
| 14) | Globalization II | The Course Book |
| 15) | Revision for the Final Exam | The Course Book |
| Course Notes / Textbooks: | Alter Ego 4 - B2 |
| 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 |
6 |
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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 | 13 | % 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 | ||||||