Digital Game Design (English) | |||||
Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 |
Course Code: | UNI081 | ||||
Course Name: | Approaches to English Language Teaching | ||||
Semester: |
Fall Spring |
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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): | |||||
Course Assistants: |
Course Objectives: | Introduction to theoretical approaches to second/foreign language learning from GTM to Audio-lingual and communicative method and the overview of conceptual issues in second language learning in naturalistic settings and in the classroom with special focus on the ability to develop an teaching method applicable in real educational environments. |
Course Content: | Definition of language learning, general learning theories, theories of language learning, neurolinguistic, sociolinguistic, psycholinguistic. |
The students who have succeeded in this course;
1) To be able to define language learning, 2) To be able to describe general learning approaches 3) To describe general language learning approaches, 4) To be able to express the connection between language and brain, 5) To be able to evaluate language learning from a psycholinguistic perspective. |
Week | Subject | Related Preparation |
1) | Introduction, Brown, CH 1, Crain &Lillo-Martin, CH 1 | |
2) | Language Learning in Early Childhood, Lightbown & Spada CH 1 Stages of Language Acquisition, Crain &Lillo-Martin, CH 3 | |
3) | Second Language Learning, Lightbown & Spada CH 2 Explaining Second Language Learning, Lightbown & Spada CH 4 | |
4) | Instructed Second Language Acquisition, Gass, CH 11 Comparing and Contrasting L1&L2, Brown CH3 | |
5) | Universal Grammar, Crain &Lillo-Martin, CH 6 Modularity Hypothesis, Crain &Lillo-Martin, CH 7 | |
6) | Language Acquisition, Ellidokuzoğlu, 2017 | |
7) | Language Acquisition, Krashen, 2013 | |
8) | MID-TERM | |
9) | Language Acquisition, Krashen Video | |
10) | Looking at Interlanguage Processing, Gass, CH 8 Nonlanguage Influences, Beyond the Domain of Language, Gass CH 12 | |
11) | Communicatice Competence, Brown Ch 8 | |
12) | Introduction to Applied Linguistics, Schmitt & Celce-Mercia, CH 1 | |
13) | Introduction to Psycholinguistics, O'grady & Archibald CH 12 | |
14) | Introduction to Neurolinguistics, O'grady & Archibald CH 13 Introduction to Sociolinguistics and Language Education, Bayyurt, 2013 |
Course Notes / Textbooks: | Brown, D.H. (2017). Principles of Language Teaching & Learning 6th edition. Pearson. Crain, S., & Lillo-Martin, D. C. (1999). An introduction to linguistic theory and language acquisition (No. Sirsi) i9780631195351). Lightbown, P. M., & Spada, N. (2013). How languages are Learned 4th edition. Oxford Handbooks for Language Teachers. Oxford University Press. O'grady, W., & Archibald, J. (2015). Contemporary linguistic analysis: An introduction. Pearson Canada. Selinker, L., & Gass, S. M. (2008). Second Language Acquisition. Lawrence Erlhaum Ass. |
References: | Brown, D.H. (2017). Principles of Language Teaching & Learning 6th edition. Pearson. Crain, S., & Lillo-Martin, D. C. (1999). An introduction to linguistic theory and language acquisition (No. Sirsi) i9780631195351). Lightbown, P. M., & Spada, N. (2013). How languages are Learned 4th edition. Oxford Handbooks for Language Teachers. Oxford University Press. O'grady, W., & Archibald, J. (2015). Contemporary linguistic analysis: An introduction. Pearson Canada. Selinker, L., & Gass, S. M. (2008). Second Language Acquisition. Lawrence Erlhaum Ass. |
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 |