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Week |
Subject |
Related Preparation |
1) |
The problem of evil. |
The nature of evil. Evil in western philosopy and its representations. The connection between evil and tragedy. |
2) |
Evil in Judeo-Christian tradition. |
Evil as the black side of creation. The Satan versus Jesus. |
3) |
How to approach evil in literature? |
Reading strategies, analyzing methods and approaching evil in literary texts. |
4) |
Evil in modern philosophy. |
Beyond Good and Evil by Nietzsche. |
5) |
Keeping track of the evil characters in literary texts |
Eroticism and evil: Nero and Caligula in Sade
Satan in literature: (Faust by Goethe).
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6) |
Keeping track of the evil characters in literary texts |
Anti-hero in gothic literature: (Dr. Frankenstein by M. Shelley). The stories of Edgar Allen Poe. |
7) |
Keeping track of the evil characters in literary texts |
The Picture of Dorian Gray by Oscar Wilde. |
8) |
Evil in the East and Islam |
Good and Evil (Hayır ve Şer) in Koran. The difference between western and eastern traditions. The representations of evil in traditional literary texts and narratives. |
9) |
Keeping track of the evil characters in literary texts |
The rise of anti-hero in Turkish novel. The case of Suat in Huzur by A. H. Tanpınar. |
10) |
Keeping track of the evil characters in literary texts |
Kıskanmak by N. S. Örik. |
11) |
Keeping track of the evil characters in literary texts |
Kıskanmak by N. S. Örik. |
12) |
Keeping track of the evil characters in literary texts |
Evil in Turkish short story. Kötülük by S. İleri and Kağnı by Sabahattin Ali. |
13) |
Evil and Poetry. |
The represantations of evil in modernist and avangard poetry. İkinci Yeni and “kötücüllük”. Ece Ayhan and his poetry. |
14) |
Evil and Poetry. |
Eroticism and semi-evil. The poetry of Edip Cansever, Turgut Uyar and Cemal Süreya. |
15) |
Final Exam |
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16) |
Final Exam |
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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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