| MATHEMATICS (TURKISH, PHD) | |||||
| PhD | TR-NQF-HE: Level 8 | QF-EHEA: Third Cycle | EQF-LLL: Level 8 | ||
| Course Code | Course Name | Semester | Theoretical | Practical | Credit | ECTS |
| CMR6024 | Memory and Identity in Visual Culture | Fall | 3 | 0 | 3 | 12 |
| The course opens with the approval of the Department at the beginning of each semester |
| Language of instruction: | En |
| Type of course: | Departmental Elective |
| Course Level: | |
| Mode of Delivery: | Hybrid |
| Course Coordinator : | Dr. Öğr. Üyesi TOLGA HEPDİNÇLER |
| Course Lecturer(s): |
Dr. Öğr. Üyesi TOLGA HEPDİNÇLER |
| Course Objectives: | This course will focus on the way that visual culture carries, affects and transforms national, individual and collective memory. In this respect, the meanings that camera images like photography and cinema produce in interaction with memory will be introduced. The readings will cover the questions of how the artist produces the concept in the representation practice and what the relation that the viewer forms with respect to this practice is. |
|
The students who have succeeded in this course; -Define memory in Visual Culture. -Discriminate between different accounts of memory in visual culture. -Assess the relationship between different accounts of memory in visual culture. -Understand the role of camera images as conveyor of memory. -Explore different accounts of memory in photographic and filmic representation. -Recognize the role of historical and artistic agents in the construction of memory. -Understand the relation between memory, remembrance and fogetting. |
| This course through its thematic weekly lessons, will be centred on discussions and readings. Readings will be announce weekly. Students will be required to construct a selected bibliography for the presentation and conduct a literature review. The research paper will be due at the end of term based on one of the thematic areas explored during the course. |
| Week | Subject | Related Preparation | |
| 1) | Inroduction | Reading: WG Sebald, Rings of Saturn | |
| 2) | KEY CONCEPTS OF MEMORY | Michael Rothberg, Multidirectional Memory Marianne Hirsch, “The Generation of Post-Memory” Susannah Radstone, “Working With Memory | |
| 3) | MEMORY AND VISUAL CUTURE | David Harvey, “The Condition of Postmodernity” Linda Hutcheon, “The Politics of Postmodernity” | |
| 4) | MODERNISM AND VISUAL MEMORY | Walter Benjamin, “Paris, Capital of the Nineteenth Century" | |
| 5) | SITES OF MEMORY | Marita Sturken, Tangled Memories James Young, “Memory, Countermemory and the End of the Monument” | |
| 6) | IMAGE AND MEMORY | Victor Burgin, In/Different Spaces: Place and Memory in Visual Culture. | |
| 7) | PHOTOGRAPHY AND MEMORY : Key Discussions | Roland Barthes, Camera Lucida Geoffrey Batchen, Forget Me Not: Photography & Remembrance | |
| 8) | PHOTOGRAPHY AND MEMORY: Documentary | Susan Sontag, Regarding the Pain of Others | |
| 9) | FILM AND MEMORY: Key Debates | Victor Burgin, Remembered Film Annette Kuhn, Dreaming of Fred and Ginger: Cinema and Cultural Memory | |
| 10) | FILM AND MEMORY | Screening: Derek Jarlman “Blue” and Discussion | |
| 11) | TRAUMA AND FORGETTING IN VISUAL CULTURE | Marianne Hirsch, Family Frames Susan Sontag, Regarding the Pain of Others | |
| 12) | NOSTALGIA AND IMAGE | Svetlana Boym, The Future of Nostalgia | |
| 13) | RECONSTRUCTION OF MEMORY THROUGH CAMERA | Barbie Zelizer, “The Voice of the Visual in Public Memory” Marianne Hirsch, “Surviving Images” | |
| 14) | Final Paper Presentation | ||
| Course Notes: | Victor Burgin, In/different Places: Place and Memory in Visual Culture Frances Guerin and Roger Hallas, The Image and the Witness: Trauma, Memory and Visual Culture |
| References: | Walter Benjamin, “A Berlin Chronicle”, in Reflections, trans. By Edmund Jephcott Homi Bhabha, The Location of Culture, routledge, 1994 Maurice Halbwachs, On Collective Memory, 1941, 1992. Benedict Anderson, Imagined Communities Svetlana Boym, The Future of Nostalgia, 2001 Marianne Hirsch, Family Frames, Harvard University Press Roland Barthes, Camera Lucida, Gilles Deleuze, Cinema 1: The Movement-Image Gilles Deleuze, Cinema 2: The Time-Image Sontag, Susan, Regarding the Pain of Others Trouillot, Michel-Rolph. Silencing the Past |
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | % 0 | |
| Laboratory | % 0 | |
| Application | % 0 | |
| Field Work | % 0 | |
| Special Course Internship (Work Placement) | % 0 | |
| Quizzes | % 0 | |
| Homework Assignments | 4 | % 40 |
| Presentation | 1 | % 20 |
| Project | % 0 | |
| Seminar | % 0 | |
| Midterms | % 0 | |
| Preliminary Jury | % 0 | |
| Final | 1 | % 40 |
| Paper Submission | % 0 | |
| Jury | % 0 | |
| Bütünleme | % 0 | |
| 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 |
| Laboratory | 0 | 0 | 0 |
| Application | 0 | 0 | 0 |
| Special Course Internship (Work Placement) | 0 | 0 | 0 |
| Field Work | 0 | 0 | 0 |
| Study Hours Out of Class | 4 | 8 | 32 |
| Presentations / Seminar | 0 | 0 | 0 |
| Project | 0 | 0 | 0 |
| Homework Assignments | 5 | 10 | 50 |
| Quizzes | 0 | 0 | 0 |
| Preliminary Jury | 0 | 0 | 0 |
| Midterms | 2 | 15 | 30 |
| Paper Submission | 1 | 20 | 20 |
| Jury | 0 | 0 | 0 |
| Final | 1 | 20 | 20 |
| Total Workload | 194 | ||
| No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
| Program Outcomes | Level of Contribution |