FILM AND TELEVISION | |||||
Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 |
Course Code: | ELT5011 | ||||||||
Ders İsmi: | Second Language Acquisition | ||||||||
Ders Yarıyılı: |
Spring Fall |
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Ders Kredileri: |
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Language of instruction: | English | ||||||||
Ders Koşulu: | |||||||||
Ders İş Deneyimini Gerektiriyor mu?: | No | ||||||||
Type of course: | Non-Departmental Elective | ||||||||
Course Level: |
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Mode of Delivery: | Face to face | ||||||||
Course Coordinator : | Dr. Öğr. Üyesi AYLİN TEKİNER TOLU | ||||||||
Course Lecturer(s): | |||||||||
Course Assistants: |
Course Objectives: | The course focuses on evaluating first and second language acquisition theories, the differing processes involved in second vs. first language acquisition, and conducting research on language acquisition. |
Course Content: | The primary purpose of this course is to gain familiarity with important theories and research associated with classroom-based second language acquisition. |
The students who have succeeded in this course;
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Week | Subject | Related Preparation |
1) | Introduction | |
2) | Language Learning in Early Childhood (Chapter 1 of Lightbrown & Spada) | Language Learning Autobiography |
3) | Reading # 2: Explaining Second Language Learning (Chapter 2 of Lightbrown & Spada) | |
4) | Is there a “natural sequence” in adult second language acquisition? Acquisition in The Natural Approach: The Binding/Access Framework Natural sequences in child second language acquisition | |
5) | Questions for interviewees Language Learner Interviews | |
6) | Non-Language Influences in Gass, M. S. & Selinker, L. (2001). | |
7) | Critical period effects in second language learning | |
8) | The Critical Period Hypothesis: Where are we now? | |
9) | Interlanguage Simplified input and second language acquisition | |
10) | Skill Acquisition Theory | |
11) | Learner Language (Chapter 4 Lightbrown & Spada) The significance of learners’ errors | |
12) | Sociocultural Theory and Second Language Learning (Chapter 11 Van Patten & Williams) | |
13) | Schumann's acculturation model for second language acquisition | |
14) | Individual Differences in Second Language Learning (Lightbrown & Spada Chapter 3) |
Course Notes / Textbooks: | Course Packet containing 16 articles/ Book Chapters VanPatten, Bill. (2004). Processing Instruction. Lawrence Erlbaum and Associates Gass, S.M. & Selinker, L. (1992). Language transfer in language learning. Philadelphia, PA: John Benjamins Publishing Company. Lantolf, J. P., & Thorne, S. L. (2006). Sociocultural theory and the genesis of L2 development. Oxford: Oxford University Press. |
References: | Bongaerts, T.; van Summeren, C.; Planken, B.; Schils, E. (1997). Age and ultimate attainment in the pronunciation of a foreign language. Studies in Second Language Acquisition, 19(4), 447-65. Oliver, R. (March 2000). Age differences in negotiation and feedback in classroom and pairwork. Language Learning, 50(1), 119-51. Salaberry, M.R. (2000). The acquisition of English past tense in an instructional setting. System, 28(1), 135-52. Bialystok, E., & Hakuta, K. (1999). Confounded age: Linguistics and cognitive factors in age differences for second language acquisition. In D. Birdsong, (Ed.), Second Language Acquisition and the Critical Period Hypothesis (pp. 161-181). Mahwah, NJ: Lawrence Erlbaum Associates, Publishers. Bialystok, E., &&38; Hakuta, K. (1994). In other words: The language and psychology of second language acquisition. New York: Basic Books. |
Ders Öğrenme Kazanımları | |||||||||||
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Program Outcomes | |||||||||||
1) Being familiar to the main concepts and methods of the social sciences and the fine arts devoted to understanding the world and the society | |||||||||||
2) Having comprehensive knowledge regarding different media and branches of art | |||||||||||
3) Knowing the historical background of audio-visual moving images in the world and in Turkey and keeping pace with the new developments in the area | |||||||||||
4) Having a good command of the language and the aesthetics of audio-visual moving images in the world and in Turkey | |||||||||||
5) Being able to create a narrative that could be used in a fiction or a non-fiction audio-visual moving image product | |||||||||||
6) Being able to write a script ready to be shot | |||||||||||
7) Having the skills to produce the photoboard of a script in hand and to shoot the film using the camera, the lights and other necessary equipment | |||||||||||
8) Being able to transfer the footage of a film to the digital medium, to edit and do other post-production operations | |||||||||||
9) Being able to create a documentary audio visual moving image from the preliminary sketch stage to shooting, editing and post-production stages | |||||||||||
10) Being able to produce an audio visual moving image for television and audio products for radio from preliminary stages through shooting and editing to the post-production stage | |||||||||||
11) Being culturally and theoretically equipped to make sense of an audio-visual moving image, to approach it critically with regard to its language and narration and being able to express his/her approach in black and white | |||||||||||
12) Having ethical values and a sense of social responsibility |
No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
Program Outcomes | Level of Contribution | |
1) | Being familiar to the main concepts and methods of the social sciences and the fine arts devoted to understanding the world and the society | 4 |
2) | Having comprehensive knowledge regarding different media and branches of art | 3 |
3) | Knowing the historical background of audio-visual moving images in the world and in Turkey and keeping pace with the new developments in the area | 1 |
4) | Having a good command of the language and the aesthetics of audio-visual moving images in the world and in Turkey | 1 |
5) | Being able to create a narrative that could be used in a fiction or a non-fiction audio-visual moving image product | 2 |
6) | Being able to write a script ready to be shot | 2 |
7) | Having the skills to produce the photoboard of a script in hand and to shoot the film using the camera, the lights and other necessary equipment | |
8) | Being able to transfer the footage of a film to the digital medium, to edit and do other post-production operations | |
9) | Being able to create a documentary audio visual moving image from the preliminary sketch stage to shooting, editing and post-production stages | |
10) | Being able to produce an audio visual moving image for television and audio products for radio from preliminary stages through shooting and editing to the post-production stage | |
11) | Being culturally and theoretically equipped to make sense of an audio-visual moving image, to approach it critically with regard to its language and narration and being able to express his/her approach in black and white | 3 |
12) | Having ethical values and a sense of social responsibility | 5 |
Semester Requirements | Number of Activities | Level of Contribution |
Attendance | 14 | % 10 |
Presentation | 1 | % 10 |
Project | 2 | % 40 |
Final | 1 | % 40 |
Total | % 100 | |
PERCENTAGE OF SEMESTER WORK | % 60 | |
PERCENTAGE OF FINAL WORK | % 40 | |
Total | % 100 |
Activities | Number of Activities | Duration (Hours) | Workload |
Course Hours | 14 | 3 | 42 |
Application | 2 | 6 | 12 |
Study Hours Out of Class | 4 | 10 | 40 |
Presentations / Seminar | 2 | 6 | 12 |
Project | 1 | 20 | 20 |
Homework Assignments | 5 | 15 | 75 |
Paper Submission | 1 | 6 | 6 |
Final | 1 | 3 | 3 |
Total Workload | 210 |