| Digital Game Design (English) | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
| Course Code: | UNI082 | ||||
| Course Name: | Linguistic Approach to Translation | ||||
| Semester: | Fall | ||||
| 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: | Dr. Öğr. Üy. ÜLKÜ KÖLEMEN | ||||
| Course Lecturer(s): |
Dr. Öğr. Üy. RAHİM SARI |
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| Course Assistants: |
| Course Objectives: | This course aims to introduce theoretical basis and practical work on translation from English to Turkish with respect to linguistic considerations. It creates opportunities for the discussion of textual and dynamic equivalence. It also aims to create and improve skills of textual analysis based on theme/rheme theory. |
| Course Content: | Introduction of theoretical basis and practical work on translation from English to Turkish |
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The students who have succeeded in this course;
1) The student combines the theoretical knowledge with translation practice by applying the approaches adopted while translating on the texts. 2) The student discusses, comments and makes suggestions in terms of approaches and theory in translation studies. |
| Week | Subject | Related Preparation |
| 1) | Introduction to the course. The concept of translation and linguistics | |
| 2) | The purpose and scope of translation studies in general | |
| 3) | Translation Equivalence | |
| 4) | Meaning and Total Translation | |
| 5) | Transference and Transliteration | |
| 6) | Phonological Translation, Graphological Translation | |
| 7) | Grammatical and Lexical Translation | |
| 8) | Midterm | |
| 9) | The Thematic Theory | |
| 10) | Theme/Rheme Structures | |
| 11) | Theme/Rheme Application at Clause Level | |
| 12) | Theme/Rheme Application at Text Level | |
| 12) | Theme/Rheme Application at Text Level | |
| 13) | Theme/Rheme and Rhetorical Feature of a Text | |
| 14) | Presentations |
| Course Notes / Textbooks: | 1. Catford, J.C. (John Cunnison (Ian) Catford). (1978) A Linguistic Theory of Translation. Oxford University Press. Oxford. 2. Fawcett, Peter (2003) Translation and Language: Linguistic Theories Explained. St. Jerome Publishing. Manchester, UK & Northampton, MA. |
| References: | 1. Catford, J.C. (John Cunnison (Ian) Catford). (1978) A Linguistic Theory of Translation. Oxford University Press. Oxford. 2. Fawcett, Peter (2003) Translation and Language: Linguistic Theories Explained. St. Jerome Publishing. Manchester, UK & Northampton, MA. |
| Course Learning Outcomes | 1 |
2 |
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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 | % 20 |
| Midterms | 1 | % 40 |
| Final | 1 | % 40 |
| total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 60 | |
| PERCENTAGE OF FINAL WORK | % 40 | |
| total | % 100 | |