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Week |
Subject |
Related Preparation |
1) |
Unfolding the thresholds in the history of Berlin |
Compiled Material |
2) |
Tracing political, social and economical transformations throughout German history |
Compiled Material |
3) |
Tracing political, social and economical transformations throughout German history |
Compiled Material |
4) |
German Philosophy: Kant, Hegel, Nietsche, Heidegger and Habermas in relation to ontology, epistemology, aesthetics and power relations. |
Compiled Material |
5) |
German Philosophy: Kant, Hegel, Nietsche, Heidegger and Habermas in relation to ontology, epistemology, aesthetics and power relations. |
Compiled Material |
6) |
German Literature: from Weimar Classicism up to modern German Literature (Goethe, Schiller, Keeler Storm, Brecht, Bachman etc.) |
Compiled Material |
7) |
German music, from classical composers (Bach, Beethoven, Lizst, Brahms and Wagner) up to 21st century exploring the potentials of extended techniques. |
Compiled Material |
8) |
Tracing the sound of Berlin |
Compiled Material |
9) |
Unfolding the thresholds in German art and architecture |
Compiled Material |
10) |
Unfolding the thresholds in German art and architecture |
Compiled Material |
11) |
Berlin, the open air museum of contemporary architecture |
Compiled Material |
12) |
Review of the semester |
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13) |
Presentations |
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14) |
Presentations |
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15) |
Final Exam |
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16) |
Final Exam |
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Course Notes: |
Dersler, öğrenci sunumları ve site gezilere ek olarak verilen okuma materyalleri üzerine tartışmalar içermektedir.
Tartışmalara iyi katılım dersi geçmek için zorunludur.
rian Ladd, The Ghosts of Berlin: Confronting German History in Urban Landscape, University of Chicago Press, 1998.
Alexandra Richie, Faust’s Metropolis: A History of Berlin, Caroll and Graff Publishers, 1999
Thomas Flemming, Berlin in the Cold War: The Battle for the Divided City; the Rise and the Fall of the Wall, Berlinica, 2010.
Andrew Bowie, Introduction to German Philsophy: From Kant to Habermas, Polity, 2003
Magdalena Droste, The Bauhus: 1919-1933: Reform and Avat-garde, Taschen 2006.
Michael Imhof and Leon Krempel, Berlin New Architecture: A Guide to New Buildings from 1989 to Today, Verlag, 2009. |
References: |
The course comprises lectures, student presentations and discussions on the given reading materials in addition to site excursions.
Good attendance and participation to the discussions is obligatory to pass the course.
Brian Ladd, The Ghosts of Berlin: Confronting German History in Urban Landscape, University of Chicago Press, 1998.
Alexandra Richie, Faust’s Metropolis: A History of Berlin, Caroll and Graff Publishers, 1999
Thomas Flemming, Berlin in the Cold War: The Battle for the Divided City; the Rise and the Fall of the Wall, Berlinica, 2010.
Andrew Bowie, Introduction to German Philsophy: From Kant to Habermas, Polity, 2003
Magdalena Droste, The Bauhus: 1919-1933: Reform and Avat-garde, Taschen 2006.
Michael Imhof and Leon Krempel, Berlin New Architecture: A Guide to New Buildings from 1989 to Today, Verlag, 2009. |
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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.). |
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2) |
They have knowledge about art culture and aesthetics and they provide the unity of theory and practice in their field. |
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3) |
They are aware of national and international values in performing arts. |
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4) |
Abstract and concrete concepts of performing arts; can transform it into creative thinking, innovative and original works. |
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5) |
They have the sensitivity to run a business successfully in their field. |
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6) |
Develops the ability to perceive, think, design and implement multidimensional from local to universal. |
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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. |
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8) |
They develop the ability to perceive, design, and apply multidimensionality by having knowledge about artistic criticism methods. |
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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. |
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10) |
They follow English language resources related to their field and can communicate with foreign colleagues in their field. |
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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. |
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12) |
They can produce original works within the framework of an interdisciplinary understanding of art. |
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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. |
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14) |
Within the Performing Arts Program, according to the field of study; have competent technical knowledge in the field of acting and musical theater. |
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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. |
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