Week |
Subject |
Related Preparation |
1) |
Introduction to the Course |
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2) |
Civil society, New Social Movements and New Civic Activism
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— Snow, D.A, Soule, S. A., and H. Kriesi (2004). Mapping the Terrain. In D. Snow, S. A. Soule and H. Kriesi (eds.), The Blackwell Companion to Social Movements. UK: Blackwell
— Youngs, R. (2017). Introduction. In R. Youngs (Ed.), Global civic activism in flux. Washington, DC: Carnegie Endowment for International Peace. Available at https://carnegieeurope.eu/2017/03/17/global-civic-activism-in-flux-pub-68301#intro
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3) |
Civic Cooperation: NGOs and New Activists
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— Glasius, M., and Ishkanian, A. (2015). Surreptitious symbiosis: Engagement between activists and NGOs. Voluntas, 26, 2620–2644.
— Zihnioğlu, Ö. (2018).” The Prospects of Civic Alliance: New Civic Activists Acting Together with Civil Society Organizations”, Voluntas. DOI: https://doi.org/10.1007/s11266-018-0032-9 |
4) |
Digital Activism
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— Diamond, L. (2010). ‘Liberation technology’, Journal of Democracy, 21 (3): 69-83.
— A. Breuer, T. Landman and D. Farquhar, (2015). ‘Social media and protest mobilization: evidence from the Tunisian revolution’, Democratization, 22(4): 764–792. |
5) |
New Civic Activism: Case Studies
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6) |
Activism and Protests
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— Leetaru, K. (30 May 2014). ‘Did the Arab spring really spark a wave of global protests?’, Foreign Policy.
— The Economist Intelligence Unit (2013). Rebels Without a Cause: What the Upsurge in Protest Movements Means for Global Politics, EIU Report.
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7) |
REVIEW BEFORE MIDTERM |
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8) |
Midterm Exam |
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9) |
Activism and Democracy
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— Maleki A.,and Hendriks, F. (2015). ‘The Relation Between Cultural Values and Models of Democracy: A Cross-National Study’, Democratization, 22(6): 981–1010.
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10) |
International Support for Civic Activism
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— Agg, C. (2006). Trends in Government Support for Non-Governmental Organizations: Is the “Golden Age” of the NGO Behind Us?, Civil Society and Social Movements Programme Paper Number 23, Geneva, United Nations Research Institute for Social Development.
— L. Whitehead, (2015). ‘International democracy promotion as political ideology: upsurge and retreat’, Journal of Political Ideologies, 20(1): 10–26.
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11) |
Right-wing Activism
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— Shapovalova , N. (2018). The Two Faces of Conservative Civil Society in Ukraine. In R. Youngs (Ed.), The Mobilization of Conservative Civil Society. Washington, DC: Carnegie Endowment for International Peace.
Youngs, R. (2017). Introduction. In R. Youngs (Ed.), The Mobilization of Conservative Civil Society. Washington, DC: Carnegie Endowment for International Peace. |
12) |
Presentations
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13) |
Presentations
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14) |
Overview |
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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 |