BAHÇEŞEHİR UNIVERSITY BİLGİ PAKETİ / DERS KATALOĞU
| 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 |
| ADV4635 | Semiology and Advertising | Spring 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: | Non-Departmental Elective |
| Course Level: | Bachelor’s Degree (First Cycle) |
| Mode of Delivery: | Face to face |
| Course Coordinator : | Dr. Öğr. Üyesi GÜL ŞENER |
| Course Lecturer(s): |
Dr. Öğr. Üyesi GÜL ŞENER Instructor NEŞE MESUTOĞLU KIRIM |
| Recommended Optional Program Components: | None |
| Course Objectives: | The main objective of the course is to provide basic semiotic concepts and methods that can be used to analyze advertising as a way of communication and meaning generation from a critical perspective. |
Learning Outcomes
|
The students who have succeeded in this course; Upon completing this course the students will; 1-Define the meaning of “semiotics” in general. 2-Recognize the historical development of “semiotics” as a discipline. 3-Recognize the main theories of sign, signification and representation. 4-Name specific types of signs. 5-Recognize the functioning of a sign as a conveyor of meaning. 6-Recognize the interaction between sign and consumer. 7-Define different types of advertisement as sign systems. 8-Analyze the building blocks of an advertisement in terms of semiotics. |
Course Content
| This course involves the examination of various advertisement executions as semiotic texts and analysis of their meaning mechanisms. |
Weekly Detailed Course Contents
| Week | Subject | Related Preparation |
| 1) | Introduction to the course | |
| 2) | Mytholgies and symbols The Dyadic Model of the Sign Notion of Ferdinand de Saussure | Assignment 1 Submission |
| 3) | Peirce's triadic model of the sign | Assignment 2 Presentation |
| 4) | The Semiotic Perspectives of Peirce and Saussure: A Brief Comparative Study | Assignment 2 Presentation |
| 5) | Roland Barthes: Denotation - Connotation and Myths Meditation on Andy Warhol | Assignment 2 Presentation |
| 6) | Claude Lévi Strauss' theory of binary opposites Meditation on Aristo | Assignment 2 Presentation |
| 7) | Jean Baudrillard, The System of Objects | Selected reading from the course book. |
| 8) | Gobeklitepe Temples from the Symbolic Perspective | Selected reading from the course book. |
| 9) | Noam Chomsky: Deep Structure and Surface Meditation on Freud | Selected reading from the course book. |
| 10) | Umberto Eco: The Semiotic Process and the Classification of Signs Meditation on Borges | Final Presentation |
| 11) | Edmund Husserl:Theory of Signs "Expression and Meaning" | Final Presentation |
| 12) | Final Exam (Take-Home) presentation Meditation on Freud | Final Presentation |
| 13) | Reading Ads & Advertising Case Studies | Final Presentation |
| 14) | Reading Ads & Advertising Case Studies | Final Presentation |
Sources
| Course Notes / Textbooks: | Semiotics: The Basics, Daniel Chandler Judith Williamson - Reklamların Dili; Reklamlarda Anlam ve İdeoloji Göktuğ Halis -Simgebilim Perspektifinden Göbeklitepe Tapınakları Eco, Umberto. 1976. A Theory of Semiotics. Bloomington: Indiana University Press Roland Barthes -Elements of Semiology Pierre -Guiraud Semiolog |
| References: | Konulara dair ek okumala ve vaka analizleri haftalık olarak verilecektir. / Supplementary readings will be provided upon weekly basis. |
Evaluation System
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | 14 | % 10 |
| Homework Assignments | 3 | % 20 |
| Project | 1 | % 20 |
| Midterms | 1 | % 10 |
| Final | 1 | % 40 |
| Total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 40 | |
| PERCENTAGE OF FINAL WORK | % 60 | |
| Total | % 100 | |
ECTS / Workload Table
| Activities | Number of Activities | Duration (Hours) | Workload |
| Course Hours | 14 | 3 | 42 |
| Study Hours Out of Class | 14 | 5 | 70 |
| Project | 1 | 4 | 4 |
| Homework Assignments | 3 | 4 | 12 |
| Midterms | 1 | 4 | 4 |
| Final | 1 | 4 | 4 |
| Total Workload | 136 | ||
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 |
| 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 |