PERFORMING ARTS | |||||
Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 |
Course Code: | SOC4007 | ||||||||
Ders İsmi: | Contemporary Sociological Theories | ||||||||
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: | Hybrid | ||||||||
Course Coordinator : | Assoc. Prof. ULAŞ SUNATA ÖZDEMİR | ||||||||
Course Lecturer(s): | |||||||||
Course Assistants: |
Course Objectives: | The course is designed to make students familiar with recent theories, issues, and debates in the field of contemporary social and critical theory. It presents a critical review of contemporary sociological theoretical positions by way of examining major themes. |
Course Content: | Special attention will be paid to some fundamental readings in the so-called “postmodern theories” concerning modernity, semiotics, unconsciousness, feminism, re-reading Nietzsche and Marx, deconstruction, orientalism, and postcolonialism. |
The students who have succeeded in this course;
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Week | Subject | Related Preparation |
1) | Introduction to the Course: Going over the Syllabus | |
2) | Classical Sociological Theory | D. P. Johnson (2008) “Classical Stage European Sources of Sociological Theory”, ch 1, in D. P. Johnson Contemporary Sociological Theory: An Integrated Multi-level Approach New York: Springer. (23-51) |
3) | An Introduction to Postmodern Social Theory | G. Ritzer (1997) “Postmodern Social Theory, Sociology and Sociological Theory”, ch 1, in G. Ritzer Postmodern Social Theory Toronto: McGraw-Hill. (1-17) G. Ritzer (1997) “The Development of Postmodern Sociology”, ch 2, in G. Ritzer Postmodern Social Theory Toronto: McGraw-Hill. (18-36) |
4) | Ferdinand Saussure: Semiotics and Structuralism | Ferdinand Saussure, Selection from Course in General Linguistics (8-17, 65-9, 110-9) John E. Joseph “The Linguistic Sign”, Cambridge Companions Online, Cambridge University Press. (59-75) |
5) | Frankfurt School | Erich Fromm “The Method and Function of an Analytic Social Psychology”, in A. Arato and E. Gebhardt, eds., The Essential Frankfurt School Reader. (477-96) Wilhelm Reich “The Authoritarian Ideology and the Family in the Mass Psychology of Fascism”, The Mass Psychology of Fascism. (34-74) Max Horkheimer “Authoritarianism and the Family”, in R. N. Anshen, ed., The Family: Its Function and Destiny (359-74) |
6) | Psychoanalysis and Jaques Lacan | Kaja Silverman “The Subject”, The Subject of Semiotics. (127-193) |
7) | The Postmodern Condition | Thedor W. Adorno (1968) “Late Capitalism or Industrial Society?” (1-11) Fredric Jameson (1991) “Postmodernism or, The Cultural Logic of Late Capitalism” in F. Jameson Postmodernism or, The Cultural Logic of Late Capitalism Verso. (1-14) Jean-Francois Lyotard (1979) “The Postmodern Condition: A Report on Knowledge” in J.F. Lyotard The Postmodern Condition: A report on Knowledge, Manchester: Manchester University Press. (1-14) Bary Smart “The Postmodern Paradox”, Modern Conditions and Postmodern Controversies. (141-82) |
8) | Jacques Derrida and Deconstruction | Elizabeth Gross “Derrida and the Limits of Philosophy” (26-42) Jonathan Culler “Deconstruction”, On Deconstruction: Theory and Criticism After Structuralism. (85-110, 165-91) |
9) | Michel Foucault: Panopticism, Discipline, Surveillance, Discourse, Body, Population (1) | G. Ritzer (1997) “Michel Foucault Part1: Archaeology of Knowledge, Genealogy of Power” in G. Ritzer Postmodern Social Theory Toronto: McGraw-Hill. (37-62) |
10) | Michel Foucault: Panopticism, Discipline, Surveillance, Discourse, Body, Population (2) | G. Ritzer (1997) “Michel Foucault Part2: Sexuality, Power, and Self” in G. Ritzer Postmodern Social Theory Toronto: McGraw-Hill. (63-75) |
11) | Feminist Theory | Elizabeth Gross (1986) “What is Feminist Theory?”, in C. Pateman and E. Gross, eds., Feminist Challenges: Social and Political Theory Boston: Northeastern University Press. (190-204) “Feminist Theory”, in James Farganis, ed., Readings in Social Theory: The Classic Tradition to Post-Modernism (Dorothy Smith: Women’s Experience as a Radical Critique of Sociology). (376-87) Gayatri Chakravorty Spivak “Feminism and Critical Theory” In Other Worlds: Essays in Cultural Politics. (77-92) |
12) | Orientalism and Post-Colonial Theory (1) | Leela Gandhi “Edward Said and his Critics” Postcolonial Theory: A Critical Introduction. (64-80) |
13) | Orientalism and Post-Colonial Theory (2) | Leela Gandhi “Postcolonalism and Feminism” Postcolonial Theory: A Critical Introduction. (81-101) |
14) | Globalization and Post-Nationalism | Leela Gandhi “Imagining Community: The Question of Nationalism” Postcolonial Theory: A Critical Introduction. (102-21) Leela Gandhi “One World: The Vision of Postnationalism” Postcolonial Theory: A Critical Introduction. (122-40) |
Course Notes / Textbooks: | Course reader will be given weekly |
References: | D. P. Johnson (2008) “Classical Stage European Sources of Sociological Theory”, ch 1, in D. P. Johnson Contemporary Sociological Theory: An Integrated Multi-level Approach New York: Springer. (23-51) G. Ritzer (1997) “Postmodern Social Theory, Sociology and Sociological Theory”, ch 1, in G. Ritzer Postmodern Social Theory Toronto: McGraw-Hill. (1-17) G. Ritzer (1997) “The Development of Postmodern Sociology”, ch 2, in G. Ritzer Postmodern Social Theory Toronto: McGraw-Hill. (18-36) Ferdinand Saussure, Selection from Course in General Linguistics (8-17, 65-9, 110-9) John E. Joseph “The Linguistic Sign”, Cambridge Companions Online, Cambridge University Press. (59-75) Erich Fromm “The Method and Function of an Analytic Social Psychology”, in A. Arato and E. Gebhardt, eds., The Essential Frankfurt School Reader. (477-96) Wilhelm Reich “The Authoritarian Ideology and the Family in the Mass Psychology of Fascism”, The Mass Psychology of Fascism. (34-74) Max Horkheimer “Authoritarianism and the Family”, in R. N. Anshen, ed., The Family: Its Function and Destiny (359-74) Kaja Silverman “The Subject”, The Subject of Semiotics. (127-193) Thedor W. Adorno (1968) “Late Capitalism or Industrial Society?” (1-11) Fredric Jameson (1991) “Postmodernism or, The Cultural Logic of Late Capitalism” in F. Jameson Postmodernism or, The Cultural Logic of Late Capitalism Verso. (1-14) Jean-Francois Lyotard (1979) “The Postmodern Condition: A Report on Knowledge” in J.F. Lyotard The Postmodern Condition: A report on Knowledge, Manchester: Manchester University Press. (1-14) Bary Smart “The Postmodern Paradox”, Modern Conditions and Postmodern Controversies. (141-82) Elizabeth Gross “Derrida and the Limits of Philosophy” (26-42) Jonathan Culler “Deconstruction”, On Deconstruction: Theory and Criticism After Structuralism. (85-110, 165-91) Ronald Bogue “Anti-Oedipus: Nietzschean Desiring Production and the History of Representation”, Deleuze and Guattari. (83-106) Ronald Bogue “The Grand Proliferation: Regimes of Signs and Abstract Machines in Thousand Plateaus”, Deleuze and Guattari. (124-49) G. Ritzer (1997) “Michel Foucault Part1: Archaeology of Knowledge, Genealogy of Power” in G. Ritzer Postmodern Social Theory Toronto: McGraw-Hill. (37-62) G. Ritzer (1997) “Michel Foucault Part2: Sexuality, Power, and Self” in G. Ritzer Postmodern Social Theory Toronto: McGraw-Hill. (63-75) Elizabeth Gross (1986) “What is Feminist Theory?”, in C. Pateman and E. Gross, eds., Feminist Challenges: Social and Political Theory Boston: Northeastern University Press. (190-204) “Feminist Theory”, in James Farganis, ed., Readings in Social Theory: The Classic Tradition to Post-Modernism (Dorothy Smith: Women’s Experience as a Radical Critique of Sociology). (376-87) Gayatri Chakravorty Spivak “Feminism and Critical Theory” In Other Worlds: Essays in Cultural Politics. (77-92) Leela Gandhi “Edward Said and his Critics” Postcolonial Theory: A Critical Introduction. (64-80) Leela Gandhi “Postcolonalism and Feminism” Postcolonial Theory: A Critical Introduction. (81-101) Leela Gandhi “Imagining Community: The Question of Nationalism” Postcolonial Theory: A Critical Introduction. (102-21) Leela Gandhi “One World: The Vision of Postnationalism” Postcolonial Theory: A Critical Introduction. (122-40) Badiou. Ethics. Ronald Bogue “Deleuze’s Nietzsche: Thought, will to power, and the eternal return”, Deleuze and Guattari. (15-34) Friedrich Nietzsche: The Will to Power. (104-7) |
Ders Öğrenme Kazanımları | ||||||||||||||
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Program Outcomes | ||||||||||||||
1) They acquire theoretical, historical and aesthetic knowledge specific to their field by using methods and techniques related to performing arts (acting, dance, music, etc.). | ||||||||||||||
2) They have knowledge about art culture and aesthetics and they provide the unity of theory and practice in their field. | ||||||||||||||
3) They are aware of national and international values in performing arts. | ||||||||||||||
4) Abstract and concrete concepts of performing arts; can transform it into creative thinking, innovative and original works. | ||||||||||||||
5) They have the sensitivity to run a business successfully in their field. | ||||||||||||||
6) Develops the ability to perceive, think, design and implement multidimensional from local to universal. | ||||||||||||||
7) They have knowledge about the disciplines that the performing arts field is related to and can evaluate the interaction of the sub-disciplines within their field. | ||||||||||||||
8) They develop the ability to perceive, design, and apply multidimensionality by having knowledge about artistic criticism methods. | ||||||||||||||
9) They can share original works related to their field with the society and evaluate their results and question their own work by using critical methods. | ||||||||||||||
10) They follow English language resources related to their field and can communicate with foreign colleagues in their field. | ||||||||||||||
11) By becoming aware of national and international values in the field of performing arts, they can transform abstract and concrete concepts into creative thinking, innovative and original works. | ||||||||||||||
12) They can produce original works within the framework of an interdisciplinary understanding of art. | ||||||||||||||
13) Within the framework of the Performing Arts Program and the units within it, they become individuals who are equipped to take part in the universal platform in their field. | ||||||||||||||
14) Within the Performing Arts Program, according to the field of study; have competent technical knowledge in the field of acting and musical theater. | ||||||||||||||
15) They use information and communication technologies together with computer software that is at least at the Advanced Level of the European Computer Use License as required by the field. |
No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
Program Outcomes | Level of Contribution | |
1) | They acquire theoretical, historical and aesthetic knowledge specific to their field by using methods and techniques related to performing arts (acting, dance, music, etc.). | 2 |
2) | They have knowledge about art culture and aesthetics and they provide the unity of theory and practice in their field. | 2 |
3) | They are aware of national and international values in performing arts. | 2 |
4) | Abstract and concrete concepts of performing arts; can transform it into creative thinking, innovative and original works. | 1 |
5) | They have the sensitivity to run a business successfully in their field. | 3 |
6) | Develops the ability to perceive, think, design and implement multidimensional from local to universal. | 3 |
7) | They have knowledge about the disciplines that the performing arts field is related to and can evaluate the interaction of the sub-disciplines within their field. | 2 |
8) | They develop the ability to perceive, design, and apply multidimensionality by having knowledge about artistic criticism methods. | 3 |
9) | They can share original works related to their field with the society and evaluate their results and question their own work by using critical methods. | 1 |
10) | They follow English language resources related to their field and can communicate with foreign colleagues in their field. | 1 |
11) | By becoming aware of national and international values in the field of performing arts, they can transform abstract and concrete concepts into creative thinking, innovative and original works. | 3 |
12) | They can produce original works within the framework of an interdisciplinary understanding of art. | 2 |
13) | Within the framework of the Performing Arts Program and the units within it, they become individuals who are equipped to take part in the universal platform in their field. | 3 |
14) | Within the Performing Arts Program, according to the field of study; have competent technical knowledge in the field of acting and musical theater. | 2 |
15) | They use information and communication technologies together with computer software that is at least at the Advanced Level of the European Computer Use License as required by the field. | 3 |
Semester Requirements | Number of Activities | Level of Contribution |
Attendance | 14 | % 15 |
Homework Assignments | 10 | % 30 |
Presentation | 1 | % 15 |
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 |
Study Hours Out of Class | 14 | 2 | 28 |
Presentations / Seminar | 1 | 12 | 12 |
Homework Assignments | 10 | 3 | 30 |
Paper Submission | 1 | 40 | 40 |
Total Workload | 152 |