PERFORMING ARTS
Bachelor	TR-NQF-HE: Level 6	QF-EHEA: First Cycle	EQF-LLL: Level 6

Course Introduction and Application Information

Course Code	Course Name	Semester	Theoretical	Practical	Credit	ECTS
GEP0703	Contemporary Turkish Literature	Fall	3	0	3	5

This catalog is for information purposes. Course status is determined by the relevant department at the beginning of semester.

Basic information

Language of instruction:	English
Type of course:	GE-Elective
Course Level:	Bachelor’s Degree (First Cycle)
Mode of Delivery:	Face to face
Course Coordinator :	Dr. BURCU ALARSLAN ULUDAŞ
Recommended Optional Program Components:	None
Course Objectives:	This course aims at improving the students’ sensitivity and taste in the general sense of Turkish literature, especially fantasy in Turkish literature. It is designed to discuss theory of fantasy through texts in literature which requires dealing with other social disciplines such as psychoanalyses, cinema, history, philosophy etc. The main part of the course emphasizes Ottoman/Turkish modernization which determines the tendency of writing style in Turkish literature. This emphasis through literary works gives the opportunity to argue the modernization process and sociopolitical events of the late 19th century up to 2000's.

Learning Outcomes

The students who have succeeded in this course;
The students who succeeded in this course will learn the tools, methods and insights necessary for them to approach and read texts critically. The student will develop the ability of interpretive and critical reading. As a result of focusing on “fantastic novel genre” throughout the course he/she will have the ability for distinguishing literary genres and discussing the determination of genre process. Focusing on the history of Turkish fantastic novels requires to interrogate Ottoman/Turkish modernization, that’s why she/he will get general information sociopolitical circumstances of Turkey from late 19th century up to 2000's and find the opportunity to questionize literary and social dynamics. Reading fantastic novels also is an interesting experience which gives a chance to the student go beyond the ordinary, material, rationally predictable world and make he/she more creative.

Course Content

The Theory of Fantastic Literature: Distinguishing fantastic genre from other close genres, the distinctive features of fantastic, its function.
Fantastic Novel in Turkish Literature: The general overview of Turkish literature. Searching the social and literary atmosphere which generates the novel, locating fantastic novel in this atmosphere. The role of fantastic novel as a tool and its function in
Analyzing/Criticizing/Interpretation: Reading, discussing and interpreting of selected fantastic novels from Turkish literature.

Weekly Detailed Course Contents

Week	Subject	Related Preparation
1)	General information about the course	Course syllabus
2)	Introduction to Fantastic Literary Theory	Pierre Jourde,ve Paolo Tortorese. "Fantastik: Mantık İçin Bir Skandal”. Çev. Esra Özdoğan, Kitap-lık. S. 66 (Kasım 2003): 79-81. Nihayet Arslan, “Fantastik Nedir? “Yeni Bir Tür: 19.yüzyılda Fantastik:”, Nazlı Eray: Bir Okuma Denemesi, Ankara: Phonex, 2008: 5-20.
3)	Fantastic Literary Theory	Tzvetan Todorov, Fantastik: Edebi Türe Yapısal Bir Yaklaşım. Çev. Nedret Tanyolaç Öztokat, İstanbul: Metis, 2004: 30-46, 47-63. Jean-Luc. Steinmetz, “İzlekler,”Fantastik Edebiyat. Çev. Hasan Fehmi Nemli, İstanbul: Dost, 2006: 30-45.
4)	Novel in Turkish Literature	Güzin Dino, Türk Romanının Doğuşu. İstanbul: Cem Yayınları, 1978: 13-15. Robert P. Finn, Türk Romanı (İlk Dönem 1872-1900), Çev. Tomris Uyar, İstanbul: Bilgi Yayınevi, 1984: 9-16. Zeynep Uysal-Elkatip, “‘Modernleşen’ Türk Edebiyatına Bir Bakış.” Toplum ve Bilim. S. 81 (Yaz 1999): 127-137.
5)	Discussing of Novel	Hüseyin Rahmi Gürpınar, Ölüler Yaşıyor mu?
6)	Discussing of Novel and Film (From Literature to Cinema: Drakula İstanbul’da)	Ali Rıza Seyfi, Drakula İstanbul’da
7)	Discussing of Novel	Kerime Nadir, Dehşet Gecesi Kaya Özkaracalar, “Türkiye’de Gotik”, Gotik. İstanbul: L&M Yayınları, 2005: 62-78.
8)	Discussing of Novel	Süleyman Seyfi Öğün,“Türk Muhafazakârlığının Kültür Kökleri ve Peyami Safa’nın Yanılgısı”. Toplum ve Bilim. S. 74 (Güz 1997): 102-152 David Adams Leeming, Flights: Readings in Magic, Mysticism, Fantasy and Myth. New York: Harcourt Brace Jovanovich, Inc., 1974: 3-10. Peyami Safa, Matmazel Noraliya’nın Koltuğu
9)	Fantasy in Today (From Literature to Cinema: Alice in Wonderland)	Eric R. Rabkin, Fantastic Worlds: Myths, Tales and Stories. Toronto ve Melbourne: Oxford University Press, 1979: 3-26.
10)	Textual Analyzing	Rosemary Jackson, Fantasy: The Literature of Subversion. London: Routledge, 2003: 1-10, 61-91, 171-180. Ahmet Hamdi Tanpınar, “Abdullah Efendi’nin Rüyaları”
11)	Textual Analyzing and Discussing of Film (From Literature to Cinema: Şahmaran)	Sigmund Freud, Sanat ve Edebiyat. Çev. Emre Kapkın, Ayşe Tekşen Kapkın, İstanbul: Payel Yayınevi, 1999: 325-359. Murathan Mungan, “Şahmeran’ın Bacakları”
12)	Discussing of Novel	W. R. Irwin, The Game of Impossible: A Rhetoric of Fantasy. Urbana: University of Illinois Press, 1976: 3-10, 89-100, 183-197. Nazlı Eray, Aşkı Giyinen Adam
13)	Discussing of Novel and Film (From Literature to Cinema: The Lord of the Rings )	Bülent Somay, “Freudo Baggins’in Motor Yolculuğu: Bir Psikanaliz Olarak Fantazi Edebiyatı”, Tarihin Bilinçdışı, İstanbul, Metis, 2003: 98-119.
14)	Discussing of Novel	Brian Atterbery, The Fantasy Tradition in American Literature. Bloomington: Indiana University Press, 1980: 1-15. David Adams Leeming, Flights: Readings in Magic, Mysticism, Fantasy and Myth. New York: Harcourt Brace Jovanovich, Inc., 1974: 178-196, 258-261. Barış Müstecaplıoğlu, Korkak ve Canavar

Sources

Course Notes / Textbooks:

Pelin Aslan tarafından derlenen GEP 1210 kitabı
Hüseyin Rahmi Gürpınar, Ölüler Yaşıyor mu? İstanbul: Atlas Kitabevi, 1975.
Ali Rıza Seyfi, Drakula İstanbul’da, İstanbul: Kamer, 1997.
Kerime Nadir, Dehşet Gecesi, İstanbul: Sulhi Garan Matbaası, 1958.
Peyami Safa, Matmazel Noraliya’nın Koltuğu.
İstanbul: Ötüken Yayınevi, 1974.
Nazlı Eray, Aşkı Giyinen Adam, İstanbul: Doğan Kitap, 2001.
Barış Müstecaplıoğlu, Korkak ve Canavar, İstanbul: Metis, 2001.

References:

David Sander, Fantastic Literature: A Critical Reader. London: Westport ve Connecticut, 2004.
Rosemary Jackson, Fantasy: The Literature of Subversion. London: Routledge, 2003.
Eric R. Rabkin, The Fantastic in Literature. New Jersey: Princeton University Press, 1977.
Tzvetan Todorov, Fantastik: Edebi Türe Yapısal Bir Yaklaşım. Çev. Nedret Tanyolaç Öztokat, İstanbul: Metis, 2004.

Evaluation System

Semester Requirements	Number of Activities	Level of Contribution
Attendance	14	% 10
Homework Assignments	2	% 10
Midterms	1	% 30
Final	1	% 50
Total		% 100
PERCENTAGE OF SEMESTER WORK		% 50
PERCENTAGE OF FINAL WORK		% 50
Total		% 100

ECTS / Workload Table

Activities	Number of Activities	Duration (Hours)	Workload
Course Hours	14	3	42
Study Hours Out of Class	13	2	26
Homework Assignments	2	3	6
Midterms	1	10	10
Final	1	15	15
Total Workload			99

Contribution of Learning Outcomes to Programme Outcomes

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)	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.