Digital Game Design (English) | |||||
Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 |
Course Code: | TRK102 | ||||
Course Name: | Turkish Language 2 | ||||
Semester: | Spring | ||||
Course Credits: |
|
||||
Language of instruction: | Turkish | ||||
Course Condition: | |||||
Does the Course Require Work Experience?: | No | ||||
Type of course: | Compulsory Courses | ||||
Course Level: |
|
||||
Mode of Delivery: | E-Learning | ||||
Course Coordinator: | Doç. Dr. FEYZİ ÇİMEN | ||||
Course Lecturer(s): |
Öğr. Gör. TUĞÇE YILDIRIM Doç. Dr. FEYZİ ÇİMEN |
||||
Course Assistants: |
Course Objectives: | To create awareness of language, to encourage students to read, to introduce the richness, rules and features of Turkish language; to broaden the interests of the students and to develop their comprehension (listening comprehension, reading comprehension), speaking (speaking) skills, and directing them to critical thinking and research. |
Course Content: | Types of written expression, types of oral expression, scientific research methods, oral presentation types. |
The students who have succeeded in this course;
1) Can explain the types of written expression. 2) Can define the development methods of intellectual 3) Can knows the characteristics of a good expression 4) Can explain the basic features of literary and literary genres 5) Can explain the types of verbal expression |
Week | Subject | Related Preparation |
1) | Introduction to Written and Oral Expression Types | 1. Week Lecture Notes |
2) | Rules of Official Correspondence | 2. Week Lecture Notes |
3) | Scientific Research Process and Reference | 3. Week Lecture Notes |
4) | Types of Objective Critical Written Expressions | 4. Week Lecture Notes |
5) | Types of Written Expression I: Article, Clause, Criticism, Trial, Chat, Interview, News, Travel Writing | 5. Week Lecture Notes |
6) | Types of written expression II: Memoir, Daily, Review, Biography, Autobiography, Bibliography | 6. Week Lecture Notes |
7) | Story and Novel | 7. Week Lecture Notes |
8) | Midterm exam | Preparation for the exam |
9) | Narrative and Narrative Structure | 8. Week Lecture Notes |
10) | Theater | 9. Week Lecture Notes |
11) | Poetry | 10. Week Lecture Notes |
12) | Types of Oral Expression I: Conference, Speech, Panel, Forum, Symposium, Debate, Open Session | 11. Week Lecture Notes |
13) | Considerations in Oral Presentations I: Communication, Presentation Success, Communication Message | 12. Week Lecture Notes |
14) | Considerations in Oral Presentations II: Diction, Dictation Style, Sound in Diction | 13. Week Lecture Notes |
15) | General Review and Pre-Exam Applications | Past Week Lecture Notes and Questions |
16) | Final exam | Preparation for the exam |
Course Notes / Textbooks: | Barzun, Jacques ve Henry F. Graff. Modern Araştırmacı. Çev. Fatoş Dilber. Ankara: TÜBİTAK Popüler Bilim Kitapları, 2001. |
References: | Barzun, Jacques ve Henry F. Graff. Modern Araştırmacı. Çev. Fatoş Dilber. Ankara: TÜBİTAK Popüler Bilim Kitapları, 2001. |
Course Learning Outcomes | 1 |
2 |
3 |
4 |
5 |
|||
---|---|---|---|---|---|---|---|---|
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 |
Midterms | 1 | % 40 |
Final | 1 | % 60 |
total | % 100 | |
PERCENTAGE OF SEMESTER WORK | % 40 | |
PERCENTAGE OF FINAL WORK | % 60 | |
total | % 100 |
Activities | Number of Activities | Preparation for the Activity | Spent for the Activity Itself | Completing the Activity Requirements | Workload | ||
Course Hours | 14 | 16 | 224 | ||||
Homework Assignments | 7 | 0 | 0 | ||||
Midterms | 1 | 0 | 0 | ||||
Final | 1 | 0 | 0 | ||||
Total Workload | 224 |