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Week |
Subject |
Related Preparation |
1) |
General information about the course |
Course syllabus |
2) |
Introduction to Fantastic Literary Theory
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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.
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3) |
Fantastic Literary Theory
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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.
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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.
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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.
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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
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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”
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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
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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
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Course Notes: |
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.
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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.
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Program Outcomes |
Level of Contribution |
1) |
To have theoretical and practical knowledge and skills in cartoon and animation. |
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2) |
To be able to develop research, observation-experience, evaluation skills in the field of cartoon and animation and effectively communicate ideas, convincing actions and emotions using cartoon and animation and performance principles in every direction. |
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3) |
Making animated films with various artistic styles and techniques. |
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4) |
Designing the cartoon and animation production process using initiative, applying it with creativity and presenting it with personal style. |
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5) |
To be a team member in the production process of cartoon and animations, to be able to take responsibility and manage the team members under their responsibility and to lead them. |
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6) |
To be able to evaluate cartoon and animations in the framework of their knowledge and skills. |
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7) |
To be able to define and manage learning requirements in the field of cartoon and animation. |
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8) |
To be able to communicate with related organizations by sharing scientific and artistic works in cartoon and animation and to share information and skills in the field. |
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9) |
To monitor developments in the field of cartoon and animation using foreign languages and to communicate with foreign colleagues. |
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10) |
To be able to use general information and communication technologies at advanced level with all kinds of technical tools and computer software used in cartoon and animations. |
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11) |
Using critical thinking skills and problem solving strategies in all aspects of development and production, effectively communicating ideas, emotions and intentions visually, verbally and in writing, and effectively incorporating technology in the development of cartoon and animation projects. |
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12) |
To have sufficient knowledge about ethical values and universal values in the field of cartoon and animation. |
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