BAHÇEŞEHİR UNIVERSITY BİLGİ PAKETİ / DERS KATALOĞU
| FILM AND TELEVISION | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
Ders Genel Tanıtım Bilgileri
| Course Code: | GEP0702 | ||||||||
| Ders İsmi: | Critical Thinking and Literary Criticism | ||||||||
| 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: | GE-Elective | ||||||||
| Course Level: |
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| Mode of Delivery: | Face to face | ||||||||
| Course Coordinator : | Dr. BURCU ALARSLAN ULUDAŞ | ||||||||
| Course Lecturer(s): | |||||||||
| Course Assistants: |
Dersin Amaç ve İçeriği
| Course Objectives: | This course is a survey of major critical approaches, from Aristotle's Poetics to Romanticism. It aims to familiarize students with some of the main themes and currents of literary theory by dealing with the questions as what is literature, how is it produced, how can it be understood, and what is its purpose? |
| Course Content: | Literary Criticim and Classical Antiquity Medieval Literary Criticism Literary Criticism in the Renaissance Period Literary Criticism in the 17th and 18th centuries End of the Classical Tradition Romanticism(s) |
Learning Outcomes
The students who have succeeded in this course;
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Ders Akış Planı
| Week | Subject | Related Preparation |
| 1) | Giriş | |
| 2) | On critical thinking and literary criticism | |
| 3) | Literary Criticism and Classical Antiquity | Plato (excerpts from Republic Book II, III & X; Ion) Aristotle (Poetics) |
| 4) | Literary Criticim and Classical Antiquity | Horace (excerpts from Ars Poetica) Longinus (excerpts from “On The Sublime”) |
| 5) | Medieval Literary Criticism | St. Augustine (excerpts from On Christian Doctrine) Aquinas, (excerpts from The Nature and Domain of Sacred Doctrine) |
| 6) | Medieval Literary Criticism | Dante (excerpts from “Letter to Can Grande Della Scala”) Boccaccio (excerpts from Life of Dante, Genealogy of the Gentile Gods) |
| 7) | Literary Criticism in the Renaissance Period | Sir Philip Sidney (excerpts from “An Apology for Poetry”) Francis Bacon (excerpts from The Advancement of Learning) |
| 8) | Literary Criticism in the 17th and 18th centuries | John Dryden (excerpts from Essay on Dramatic Poesy) Jonathan Swift (excerpts from The Battle of the Books) |
| 9) | Literary Criticism in the 17th and 18th centuries | Alexander Pope (excerpts from An Essay on Criticism) |
| 10) | End of the Classical Tradition | Samuel Johnson (excerpts from “Preface to Shakespeare”) |
| 11) | Romanticism(s) | Criticism:The Major Texts, “Introduction” (Romanticism and After) |
| 12) | Romanticism(s) | Kant (excerpts from Critique of Judgement) Schelling (excerpts On the Relation of the Plastic Arts to Nature) |
| 13) | Romanticism(s) | William Wordsworth (excerpts from “Preface to Lyrical Ballads”) Samuel Taylor Coleridge (excerpts from Biographia Literaria) |
| 14) | Concluding Remarks & General Review |
Sources
| Course Notes / Textbooks: | T. S. Dorsch, Classical Literary Criticism, London: Penguin Books, 1969. M. H. Abrams, The Mirror and the Lamp, New York: Oxford Univ. Press, 1953. Berna Moran, Edebiyat Kuramları ve Eleştiri, İstanbul: İletişim Yayınları, 1999. The Norton Anthology of Theory and Criticism, ed.Vincent B. Leitch, New York: Norton, 2001 |
| References: |
Ders - Program Öğrenme Kazanım İlişkisi
| Ders Öğrenme Kazanımları | |||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|
| 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 | |||||||||||
Ders - Öğrenme Kazanımı İlişkisi
| 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 |
Öğrenme Etkinliği ve Öğretme Yöntemleri
Ölçme ve Değerlendirme Yöntemleri ve Kriterleri
Assessment & Grading
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | 14 | % 10 |
| Midterms | 1 | % 40 |
| Final | 1 | % 50 |
| Total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 50 | |
| PERCENTAGE OF FINAL WORK | % 50 | |
| Total | % 100 | |
İş Yükü ve AKTS Kredisi Hesaplaması
| Activities | Number of Activities | Duration (Hours) | Workload |
| Course Hours | 14 | 3 | 42 |
| Study Hours Out of Class | 14 | 2 | 28 |
| Midterms | 1 | 10 | 10 |
| Final | 1 | 20 | 20 |
| Total Workload | 100 | ||