| Digital Game Design (English) | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
| Course Code: | UNI071 | ||||
| Course Name: | Introduction to Modern Philosophy | ||||
| Semester: | Spring | ||||
| 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: | Araş. Gör. BURAK ASLAN | ||||
| Course Lecturer(s): |
Dr. Öğr. Üy. MEHRAN SOYKAN |
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| Course Assistants: |
| Course Objectives: | The evolution of philosophy from Enlightenment to Present day reviewing major works, concepts and philosophical movements in relation to the effect they have had on literary productions and critical methods. |
| Course Content: | Philosophical movements in historical process, important socio-philosophical works and concepts in the 19th and 20th centuries, metaphysics, modern philosophical views, modern philosophers, ethics, politics, time and identity, justice. |
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The students who have succeeded in this course;
1) To be able to define philosophical and social ideas that cause various philosophical and social movements such as realism, idealism, Marxism, liberalism, modernism and postmodernism 2) To be able to define important socio-philosophical works and conceptualizations in 19th and 20th centuries 3) To be able to evaluate and use psychoanalysis in all aspects 4) To be able to describe the interaction of socio-philosophical thought and literature and their effects on each other. 5) To be able to define the effects of movements such as modernism and post-modernism and its relationship with literary and artistic production and consumption. |
| Week | Subject | Related Preparation |
| 1) | • General Introduction to the course • What is modern philosophy? • Epistemology on stage | |
| 2) | • Enlightenment | |
| 3) | • Philosophical Realism | |
| 4) | • Philosophical Realism | |
| 5) | • Political philosophy | |
| 6) | • Continental Philosophy | |
| 7) | • Cynicism revisited | |
| 8) | • Mid Term Exam | |
| 9) | • Marxism | |
| 10) | • Marxism cont. | |
| 11) | • Anti-rationalism | |
| 12) | • Pragmatism | |
| 13) | • Philosophy of Language and Hermeneutics | |
| 14) | • Post-structuralism |
| Course Notes / Textbooks: | Durant, Will. The Story of Philosophy: The Lives and Opinions of the Greater Philosophers. Simon and Schuster, 1961. Palmer, Donald. Looking at Philosophy: The Unbearable Heaviness of Philosophy Made Lighter. 4th ed. McGraw-Hill, 2005. |
| References: | Durant, Will. The Story of Philosophy: The Lives and Opinions of the Greater Philosophers. Simon and Schuster, 1961. Palmer, Donald. Looking at Philosophy: The Unbearable Heaviness of Philosophy Made Lighter. 4th ed. McGraw-Hill, 2005. |
| 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 |
| Midterms | 1 | % 50 |
| Final | 1 | % 50 |
| total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 50 | |
| PERCENTAGE OF FINAL WORK | % 50 | |
| total | % 100 | |
| Activities | Number of Activities | Preparation for the Activity | Spent for the Activity Itself | Completing the Activity Requirements | Workload | ||
| Course Hours | 14 | 0 | 3 | 42 | |||
| Study Hours Out of Class | 16 | 0 | 5 | 80 | |||
| Midterms | 1 | 0 | 2 | 2 | |||
| Final | 1 | 0 | 2 | 2 | |||
| Total Workload | 126 | ||||||