| Digital Game Design (English) | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
| Course Code: | DIL612 | ||||
| Course Name: | Russian 2 | ||||
| Semester: | Fall | ||||
| Course Credits: |
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| Language of instruction: | English | ||||
| Course Condition: |
DIL611 - Russian 1 |
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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. ASSEM AMIRZHANOVA |
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| Course Assistants: |
| Course Objectives: | It is aimed to; -Teach the basic structure and usage of Russian language and improve reading, listening, speaking and writing skills necessary for elementary level -Make students comprehend basic grammatical rules and use simple expressions that they can use in daily life -Teach the use of nominative and locative case of nouns in a sentence -Teach regular and irregular forms of verbs in present tense and how to talk about daily routines -Introduce Russian food culture |
| Course Content: | Mainly reading and listening activities are done by focusing on basic vocavulary items and grammar structures in Russian. Daily conversational routines are taught and practiced as group or pair activities in the classroom. |
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The students who have succeeded in this course;
1) Students will be able to understand texts with the most commonly used words in short, simple, daily language. 2) Students will be able to read and listen texts about shopping, commuting, travelling and hobbies. 3) Students will be ale to describe people and objects in a simple way. 4) Students will be able to communicate and write at a basic level in which they have knowledge or related to daily life. 5) Students will be able to talk about past experiences. |
| Week | Subject | Related Preparation |
| 1) | Revision of Last Semester | |
| 2) | Verbs: Past Tense First Form | |
| 3) | "Possible" and "Forbidden" terms | |
| 4) | Countries. Languages. Nationalities | |
| 5) | Verbs. Second Form | |
| 6) | The verb "Live" and " Read" | |
| 7) | Locative case | |
| 8) | Nominative Case | |
| 9) | Midterm | |
| 10) | The verb "Love" and Days of the Week | |
| 11) | Food Culture in Russia. The verb "Eat" | |
| 12) | "Because" and '' Therefore '' | |
| 13) | Numbers up to 1000 | |
| 14) | Revision | |
| 15) | Final Exam | |
| 16) | final Exam |
| Course Notes / Textbooks: | Doroga v Rossiyu 1 Way to Russia 1 |
| 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 | 1 | % 10 |
| Homework Assignments | 1 | % 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 | ||||||