ISTINYE UNIVERSITY BİLGİ PAKETİ / DERS KATALOĞU
| Digital Game Design (English) | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
Course Introduction and Application Information
| Course Code: | UNI207 | ||||
| Course Name: | Entrepreneurship | ||||
| 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: | E-Learning | ||||
| Course Coordinator: | Dr. Öğr. Üy. GÜLSÜM GÖKGÖZ | ||||
| Course Lecturer(s): | Pınar Özuyar | ||||
| Course Assistants: |
Course Objective and Content
| Course Objectives: | It is aimed that students will be endorsed with the understanding of entreperneurship aiming to keep in mind this understanding thorughout their programs. |
| Course Content: | The entrepreneurial thinking is becoming more and more important not only for start-ups but also for in-company breakthroughs. On the other hand, the priorities of Turkey and the globe effects and offers opportunities and threats to these entrepreneurial ideas. With this approach, entrepreneurship, change, and the priority issues in the world will be explained to students on an advanced level. Although mainly all entrepreneurship discussion focuses on the business world, it aims to convey a general understanding with different case reports |
Learning Outcomes
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The students who have succeeded in this course;
1) Explain the principles of entrepreneurship. 2) Understand the basic terms regarding entrepreneurship. 3) Define social entrepreneurship. 4) Recognize and define the relevance of selected global issues and entrepreneurship 5) Define the scope and contents of business plans and other necessary plans for entrepreneurship. |
Course Flow Plan
| Week | Subject | Related Preparation |
| 1) | Basic Concepts: idea, inventor, invention, entrepreneur, entrepreneurship, manager, innovation and others | To be given in class. |
| 2) | Basic Concepts: idea, inventor, invention, entrepreneur, entrepreneurship, manager, innovation and others | To be given in class. |
| 3) | Awareness: global crosscutting issues on sustainable development | To be given in class. |
| 4) | Awareness: global crosscutting issues on sustainable development | To be given in class. |
| 5) | Awareness: global crosscutting issues on sustainable development | To be given in class. |
| 6) | Basic Concepts 1: sectors, classifications, coding | To be given in class. |
| 7) | Basic Concepts 2: company types and ownerships | To be given in class. |
| 8) | Basic Concepts 3: global assessments, competition, related administrative structures | To be given in class. |
| 9) | Basic Concepts 4: global assessments, competition, related administrative structures | To be given in class. |
| 10) | Tools 1: business establishment | To be given in class |
| 11) | Tools 2: business establishment | To be given in class. |
| 12) | Tools 3: business plans and sub-plans | To be given in class. |
| 13) | Tools 4: business plans and sub-plans | To be given in class |
| 14) | Tools 5: Financial resources | To be given in class |
Sources
| Course Notes / Textbooks: | Dersde verilecektir. / To be given in class. |
| References: | Dersde verilecektir. / To be given in class. |
Course - Program Learning Outcome Relationship
| 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. | ||||||||
Course - Learning Outcome Relationship
| 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. |
Assessment & Grading
| Semester Requirements | Number of Activities | Level of Contribution |
| Homework Assignments | 1 | % 20 |
| Midterms | 1 | % 40 |
| Final | 1 | % 40 |
| total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 60 | |
| PERCENTAGE OF FINAL WORK | % 40 | |
| total | % 100 | |
Workload and ECTS Credit Calculation
| Activities | Number of Activities | Workload |
| Course Hours | 14 | 56 |
| Study Hours Out of Class | 14 | 28 |
| Midterms | 2 | 15 |
| Final | 1 | 21 |
| Total Workload | 120 | |