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 SAVCI | ||||
| Course Lecturer(s): | Gülsüm Savcı | ||||
| Course Assistants: |
Course Objective and Content
| Course Objectives: | To develop the entrepreneurship potential of students and to give them the necessary process, research and knowledge to start their own business; to explain the factors that can make attempts successful and unsuccessful; to ensure that they master the business plan concept and its sub-elements and write a business plan with a real business idea at the end of the term. |
| Course Content: | This course encompasses the definition and drives of entrepreneurship; entrepreneurship process; functions of entrepreneurs, creativity, creativity concept; definition of innovation, sources of innovation, principles and process of innovation; intellectual property, brand, patent, license; business plan and presentation techniques. At the end of the topics, the students are supposed to write a business plan and present it. |
Learning Outcomes
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The students who have succeeded in this course;
1) Explain the entrepreneur and related concepts and their relations. 2) Knows the difference between innovation and creativity 3) Knows different business models 4) Defines various types of entrepreneurship 5) Prepares a business plan |
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) | Creativity & Opportunity | weekly lecture notes on blackborad |
| 3) | Feasability and its types | weekly lecture notes on blackborad |
| 4) | Industry and Competitive Analysis | weekly lecture notes on blackborad |
| 5) | Marka ve fikri mülkiyet | weekly lecture notes on blackborad |
| 6) | Business Models | weekly lecture notes on blackborad |
| 6) | Introduction to KOSGEB’s Business Plan: Part 1 & Part2: General Information & The Features of Entrepreneurs and the Business | weekly lecture notes on blackboard |
| 7) | Business Plan Part 3: Marketing Plan | weekly lecture notes on blackboard |
| 8) | midterm week | |
| 9) | Business Plan Part 4 & Part5: Production Plan & Management Plan | weekly lecture notes on blackboard |
| 10) | Business Plan Part 6: Finance Plan | weekly lecture notes on blackboard |
| 11) | Reading Week: Evaluating groups' business plans | |
| 11) | Student Groups' Business Plan Presentations | |
| 12) | Student Groups' Business Plan Presentations | |
| 13) | Student Groups' Business Plan Presentations | |
| 14) | Student Groups' Business Plan Presentations | |
| 15) | final week | |
| 16) | final week |
Sources
| Course Notes / Textbooks: | Entrepreneurship" by Robert D. Hisrich, Michael P. Peters, and Dean A. Shepherd, 11th Edition (2020), McGraw-Hill Education "Entrepreneurship: Successfully Launching New Ventures" by Bruce R. Barringer and R. Duane Ireland, 6th Edition (2023), Pearson |
| References: | Entrepreneurship" by Robert D. Hisrich, Michael P. Peters, and Dean A. Shepherd, 11th Edition (2020), McGraw-Hill Education "Entrepreneurship: Successfully Launching New Ventures" by Bruce R. Barringer and R. Duane Ireland, 6th Edition (2023), Pearson |
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 | 4 | % 20 |
| Midterms | 1 | % 30 |
| Final | 1 | % 50 |
| total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 50 | |
| PERCENTAGE OF FINAL WORK | % 50 | |
| total | % 100 | |
Workload and ECTS Credit Calculation
| Activities | Number of Activities | Workload |
| Course Hours | 14 | 56 |
| Study Hours Out of Class | 14 | 28 |
| Presentations / Seminar | 4 | 16 |
| Midterms | 2 | 15 |
| Final | 4 | 4 |
| Total Workload | 119 | |