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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
|
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) |
They acquire theoretical, historical and aesthetic knowledge specific to their field by using methods and techniques related to performing arts (acting, dance, music, etc.). |
5 |
2) |
They have knowledge about art culture and aesthetics and they provide the unity of theory and practice in their field. |
5 |
3) |
They are aware of national and international values in performing arts. |
3 |
4) |
Abstract and concrete concepts of performing arts; can transform it into creative thinking, innovative and original works. |
3 |
5) |
They have the sensitivity to run a business successfully in their field. |
1 |
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. |
5 |
8) |
They develop the ability to perceive, design, and apply multidimensionality by having knowledge about artistic criticism methods. |
2 |
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. |
3 |
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. |
5 |
14) |
Within the Performing Arts Program, according to the field of study; have competent technical knowledge in the field of acting and musical theater. |
3 |
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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