Course Detail
Course Detail
Course Description
| Course | Code | Semester | T+P (Hour) | Credit | ECTS |
|---|---|---|---|---|---|
| ART HISTORY | MGS2173880 | Fall Semester | 3+0 | 3 | 5 |
| Course Program | Çarşamba 12:00-12:45 Çarşamba 12:45-13:30 Çarşamba 13:30-14:15 |
| Prerequisites Courses | |
| Recommended Elective Courses |
| Language of Course | Turkish |
| Course Level | First Cycle (Bachelor's Degree) |
| Course Type | Required |
| Course Coordinator | Assist.Prof. Doğa ÇÖL |
| Name of Lecturer(s) | Assist.Prof. Doğa ÇÖL |
| Assistant(s) | |
| Aim | This course examines visual artworks within historical periods through their cultural and existential significance. It focuses on painting as one of the most extensive historical forms of visual art. Students will investigate the cultural contexts of works and discuss the changing performative and functional aspects of art throughout history. |
| Course Content | This course contains; How does art history look? Giotto and the fourteenth century. Work, form, period. Gombrich’s thesis about art and artists. From Byzantine tradition to Giotto’s space. Siena and Florence.,Early Renaissance I: the conquest of reality. Brunelleschi and linear perspective, Masaccio, Donatello, Van Eyck and oil painting.,Early Renaissance II: tradition and innovation. Botticelli, Piero della Francesca, Mantegna, Medici patronage, Van der Weyden and Bosch in the north.,High Renaissance I: Leonardo and Michelangelo. Harmony, sfumato and observation, Michelangelo’s human figure, the emergence of the idea of genius.,High Renaissance II: Raphael and Venice. Raphael’s ideal of composition and harmony, Venetian light and colour, Giorgione and Titian.,Northern Renaissance and introduction to Mannerism. Dürer and printmaking, Grünewald, Holbein, Bruegel, the Reformation and images. Introduction to Mannerism through Parmigianino and Tintoretto.,Mannerist comparisons and midterm review (28 October, a make-up class may be held). Parmigianino, Bronzino, Tintoretto, El Greco. The dissolution of High Renaissance harmony.,Midterm examination,Baroque art I: Catholic Europe. Caravaggio, Bernini, Rubens, Velázquez. The visual language of the Counter-Reformation and tenebrism.,Baroque art II: the Dutch Golden Age. Hals, Rembrandt, Vermeer. Painting for the market, still life, and landscape.,The eighteenth century: Rococo and the Age of Reason. Watteau, Fragonard, Hogarth, Gainsborough, Chardin. The academy and the Enlightenment.,Neoclassicism and Romanticism. David, Goya, Turner, Constable, Delacroix, Friedrich. The artist’s break with the academy.,Realism, Impressionism, and Post-Impressionism. Courbet, Manet, Monet, Degas, Cézanne, Van Gogh, Gauguin, Seurat.,Modernism: Fauvism, Cubism, abstraction, Dada, Surrealism. Matisse, Picasso, Kandinsky, Duchamp, Dalí. Representation, abstraction, readymades, the unconscious.,Postwar art, Pop Art, and review. Pollock, Warhol, Abstract Expressionism, serial production, mass culture. Compare works from the Renaissance to modernism.,Final examination. |
| Course Learning Outcomes | Teaching Methods | Assessment Methods |
| To put forward and discuss the basic concepts of art history. | 10, 16, 9 | A, D, E |
| Knows the historical development of visual arts, the interaction between the arts and applies them in projects. | 10, 16, 9 | A, D, E, G |
| Defines and evaluates works of art according to theoretical criteria. | 10, 16, 9 | A, D, E |
| Knows the effect of the changing social, cultural and social structure on the work of art in the historical process and evaluates and analyzes the works of art in their own period. | 10, 16, 9 | A, D, E |
| Explains and examines the branches of science that the discipline of Art History is related to. | 10, 16, 9 | A, D, E, G |
| Explains and discusses the phases of change in the historical process of art phenomenon and material. | 10, 16, 9 | A, D, E, G |
| Analyzes comparatively the understanding of art of various civilizations since prehistoric times. | 10, 16, 9 | A, D, E, G |
| Define the basic characteristics of the periods and analyze and relate the works of art of the period. | 10, 16, 9 | A, D, E |
| Defines the art of different civilizations with their characteristics and distinguishes their similarities and differences. | 10, 16, 9 | A |
| Knows the relationship between art and arts and establishes interdisciplinary relationships and makes inferences. | 10, 16, 9 | A, D |
| Analyzes, interprets and evaluates the works of art of the periods correctly. | 10, 16, 9 | A, D, E, G |
| Teaching Methods: | 10: Discussion Method, 16: Question - Answer Technique, 9: Lecture Method |
| Assessment Methods: | A: Traditional Written Exam, D: Oral Exam, E: Homework, G: Quiz |
Course Outline
| Order | Subjects | Preliminary Work |
|---|---|---|
| 1 | How does art history look? Giotto and the fourteenth century. Work, form, period. Gombrich’s thesis about art and artists. From Byzantine tradition to Giotto’s space. Siena and Florence. | Gombrich: Introduction, pp. 15–37. Chapter 10, Giotto, pp. 201–205. Chapter 11, pp. 207–221. | Gardner (supplementary reading): Introduction, pp. 1–14. Chapter 14, pp. 419–436. |
| 2 | Early Renaissance I: the conquest of reality. Brunelleschi and linear perspective, Masaccio, Donatello, Van Eyck and oil painting. | Gombrich: Chapter 12, pp. 223–245. | Gardner (supplementary reading): Chapter 20, pp. 574–579. Chapter 21, pp. 593–608, 615–618. |
| 3 | Early Renaissance II: tradition and innovation. Botticelli, Piero della Francesca, Mantegna, Medici patronage, Van der Weyden and Bosch in the north. | Gombrich: Chapter 13, pp. 247–267. Chapter 14, pp. 269–285. For Bosch, chapter 17, pp. 356–359. | Gardner (supplementary reading): Chapter 20, pp. 579. Chapter 21, pp. 611–614, 627–633. Chapter 23, pp. 696–697. |
| 4 | High Renaissance I: Leonardo and Michelangelo. Harmony, sfumato and observation, Michelangelo’s human figure, the emergence of the idea of genius. | Gombrich: Chapter 15, pp. 287–315. | Gardner (supplementary reading): Chapter 22, pp. 635–640, 644–653. |
| 5 | High Renaissance II: Raphael and Venice. Raphael’s ideal of composition and harmony, Venetian light and colour, Giorgione and Titian. | Gombrich: Chapter 15, Raffaello, pp. 315–324. Chapter 16, pp. 325–339. | Gardner (supplementary reading): Chapter 22, pp. 641–643, 660–665. |
| 6 | Northern Renaissance and introduction to Mannerism. Dürer and printmaking, Grünewald, Holbein, Bruegel, the Reformation and images. Introduction to Mannerism through Parmigianino and Tintoretto. | Gombrich: Chapter 17, pp. 341–359. Chapter 18, Holbein and Bruegel, pp. 374–385. | Gardner (supplementary reading): Chapter 23, pp. 685–696, 702–703. |
| 7 | Mannerist comparisons and midterm review (28 October, a make-up class may be held). Parmigianino, Bronzino, Tintoretto, El Greco. The dissolution of High Renaissance harmony. | Gombrich: Chapter 18, pp. 361–373. These pages complete the Mannerism discussion begun at the end of week 6. pp. 374–385 reviews the previous week. | Gardner (supplementary reading): Chapter 22, pp. 669–677. Chapter 23, pp. 707–709. |
| 8 | Midterm examination | 1–7. week topics and submission of study notes. |
| 9 | Baroque art I: Catholic Europe. Caravaggio, Bernini, Rubens, Velázquez. The visual language of the Counter-Reformation and tenebrism. | Gombrich: Chapter 19, pp. 387–411. For Bernini, chapter 21, pp. 438–440. | Gardner (supplementary reading): Chapter 24, pp. 711–717, 722–724, 733–735. Chapter 25, pp. 741–743. |
| 10 | Baroque art II: the Dutch Golden Age. Hals, Rembrandt, Vermeer. Painting for the market, still life, and landscape. | Gombrich: Chapter 20, pp. 413–433. | Gardner (supplementary reading): Chapter 25, pp. 739–740, 747–755. |
| 11 | The eighteenth century: Rococo and the Age of Reason. Watteau, Fragonard, Hogarth, Gainsborough, Chardin. The academy and the Enlightenment. | Gombrich: Chapter 21–22, pp. 435–455, overview. Chapter 23, pp. 457–473. | Gardner (supplementary reading): Chapter 25, Versailles, pp. 759–761. Chapter 26, pp. 771–787. |
| 12 | Neoclassicism and Romanticism. David, Goya, Turner, Constable, Delacroix, Friedrich. The artist’s break with the academy. | Gombrich: Chapter 24, pp. 475–497. Chapter 25, pp. 499–507. | Gardner (supplementary reading): Chapter 26, pp. 790–793. Chapter 27, pp. 801–819. |
| 13 | Realism, Impressionism, and Post-Impressionism. Courbet, Manet, Monet, Degas, Cézanne, Van Gogh, Gauguin, Seurat. | Gombrich: Chapter 25, pp. 508–534. Chapter 26, pp. 535–555. | Gardner (supplementary reading): Chapter 27, pp. 823–825. Chapter 28, pp. 849–869. |
| 14 | Modernism: Fauvism, Cubism, abstraction, Dada, Surrealism. Matisse, Picasso, Kandinsky, Duchamp, Dalí. Representation, abstraction, readymades, the unconscious. | Gombrich: Chapter 27, pp. 557–597. | Gardner (supplementary reading): Chapter 29, pp. 887–898, 906–909, 917–919. |
| 15 | Postwar art, Pop Art, and review. Pollock, Warhol, Abstract Expressionism, serial production, mass culture. Compare works from the Renaissance to modernism. | Gombrich: Chapter 28, pp. 599–618. | Gardner (supplementary reading): Chapter 31, pp. 974–978, Pop Art and Warhol. pp. 957–963, Abstract Expressionism. |
| 16 | Final examination | 9–15. week topics and submission of study notes. |
| Resources |
| Gombrich, E. H. (2020). Sanatın öyküsü (E. Erduran & Ö. Erduran, trans., 12th printing). Remzi Kitabevi. The copy in the course folder. Kleiner, F. S. (2020). Gardner’s Art through the Ages: A Global History (16th ed.). Cengage. Page ranges refer to printed pagination in the course PDF. Gardner is supplementary. Non-Turkish sources are excluded from examination responsibility. |
| Belting, H. (2011). Florence and Baghdad: Renaissance Art and Arab Science (D. L. Schneider, trans.). Belknap Press of Harvard University Press. The English PDF on MEBIS is optional further reading. Belting, H. Floransa ve Bağdat: Doğu'da ve Batı'da bakışın tarihi. Koç Üniversitesi Yayınları. Further reading. Arnheim, R. (2024). Sanat ve görsel algı. alBaraka Yayınları. Further reading. |
Course Contribution to Program Qualifications
| Course Contribution to Program Qualifications | |||||||
| No | Program Qualification | Contribution Level | |||||
| 1 | 2 | 3 | 4 | 5 | |||
| 1 | Knows the basic concepts of Media and Visual Arts disciplines. | X | |||||
| 2 | Knows the basic theories of media and visual arts disciplines. | X | |||||
| 3 | Knows the necessary computer programs and multi-media techniques in Media and Visual Arts. | ||||||
| 4 | Knows the aesthetic rules necessary in Media and Visual Arts. | ||||||
| 5 | Acts in a way that adheres to national and international ethical codes in professional and scientific studies. | ||||||
| 6 | Understands the symbol systems of cultures. | ||||||
| 7 | Analyzes the facts related to Media and Visual Arts in their dimensions. | ||||||
| 8 | Plans the visual design process in line with the needs of institutions/individuals. | ||||||
| 9 | Carries out the visual communication process in line with the needs of institutions/individuals. | ||||||
| 10 | Uses the tools, methods and techniques required for Media and Visual Arts practices. | ||||||
| 11 | Has the ability to produce, process and evaluate real, 2D and 3D images. | ||||||
| 12 | Applies visual design techniques in new media environments. | ||||||
| 13 | Has aesthetic awareness and understanding of design. | ||||||
| 14 | Performs their profession by taking into consideration the "Occupational Health and Safety" rules. | ||||||
| 15 | Solve problems that arise by taking responsibility in projects related to Media and Visual Arts. | ||||||
| 16 | Can transform theoretical and factual problems of Media and Visual Arts disciplines and sub-disciplines into publications using scientific methods. | ||||||
| 17 | Regularly follows the developments in the field of Media and Visual Arts and uses them effectively in her work. | ||||||
| 18 | Uses Turkish fluently and accurately in scientific and professional studies. | ||||||
| 19 | Can read and understand at least one foreign language at B1 level. | ||||||
| 20 | Plans and takes part in social responsibility projects. | ||||||
| 21 | Incorporates artificial intelligence (artificial learning/machine learning) into the creation process. | ||||||
Assessment Methods
| Contribution Level | Absolute Evaluation | |
| Rate of Midterm Exam to Success | 40 | |
| Rate of Final Exam to Success | 60 | |
| Total | 100 | |
| ECTS / Workload Table | ||||||
| Activities | Number of | Duration(Hour) | Total Workload(Hour) | |||
| Course Hours | 14 | 3 | 42 | |||
| Guided Problem Solving | 5 | 15 | 75 | |||
| Resolution of Homework Problems and Submission as a Report | 4 | 2 | 8 | |||
| Term Project | 0 | 0 | 0 | |||
| Presentation of Project / Seminar | 2 | 4 | 8 | |||
| Quiz | 0 | 0 | 0 | |||
| Midterm Exam | 1 | 2 | 2 | |||
| General Exam | 1 | 3 | 3 | |||
| Performance Task, Maintenance Plan | 0 | 0 | 0 | |||
| Total Workload(Hour) | 138 | |||||
| Dersin AKTS Kredisi = Toplam İş Yükü (Saat)/30*=(138/30) | 5 | |||||
| ECTS of the course: 30 hours of work is counted as 1 ECTS credit. | ||||||
Detail Informations of the Course
Course Description
| Course | Code | Semester | T+P (Hour) | Credit | ECTS |
|---|---|---|---|---|---|
| ART HISTORY | MGS2173880 | Fall Semester | 3+0 | 3 | 5 |
| Course Program | Çarşamba 12:00-12:45 Çarşamba 12:45-13:30 Çarşamba 13:30-14:15 |
| Prerequisites Courses | |
| Recommended Elective Courses |
| Language of Course | Turkish |
| Course Level | First Cycle (Bachelor's Degree) |
| Course Type | Required |
| Course Coordinator | Assist.Prof. Doğa ÇÖL |
| Name of Lecturer(s) | Assist.Prof. Doğa ÇÖL |
| Assistant(s) | |
| Aim | This course examines visual artworks within historical periods through their cultural and existential significance. It focuses on painting as one of the most extensive historical forms of visual art. Students will investigate the cultural contexts of works and discuss the changing performative and functional aspects of art throughout history. |
| Course Content | This course contains; How does art history look? Giotto and the fourteenth century. Work, form, period. Gombrich’s thesis about art and artists. From Byzantine tradition to Giotto’s space. Siena and Florence.,Early Renaissance I: the conquest of reality. Brunelleschi and linear perspective, Masaccio, Donatello, Van Eyck and oil painting.,Early Renaissance II: tradition and innovation. Botticelli, Piero della Francesca, Mantegna, Medici patronage, Van der Weyden and Bosch in the north.,High Renaissance I: Leonardo and Michelangelo. Harmony, sfumato and observation, Michelangelo’s human figure, the emergence of the idea of genius.,High Renaissance II: Raphael and Venice. Raphael’s ideal of composition and harmony, Venetian light and colour, Giorgione and Titian.,Northern Renaissance and introduction to Mannerism. Dürer and printmaking, Grünewald, Holbein, Bruegel, the Reformation and images. Introduction to Mannerism through Parmigianino and Tintoretto.,Mannerist comparisons and midterm review (28 October, a make-up class may be held). Parmigianino, Bronzino, Tintoretto, El Greco. The dissolution of High Renaissance harmony.,Midterm examination,Baroque art I: Catholic Europe. Caravaggio, Bernini, Rubens, Velázquez. The visual language of the Counter-Reformation and tenebrism.,Baroque art II: the Dutch Golden Age. Hals, Rembrandt, Vermeer. Painting for the market, still life, and landscape.,The eighteenth century: Rococo and the Age of Reason. Watteau, Fragonard, Hogarth, Gainsborough, Chardin. The academy and the Enlightenment.,Neoclassicism and Romanticism. David, Goya, Turner, Constable, Delacroix, Friedrich. The artist’s break with the academy.,Realism, Impressionism, and Post-Impressionism. Courbet, Manet, Monet, Degas, Cézanne, Van Gogh, Gauguin, Seurat.,Modernism: Fauvism, Cubism, abstraction, Dada, Surrealism. Matisse, Picasso, Kandinsky, Duchamp, Dalí. Representation, abstraction, readymades, the unconscious.,Postwar art, Pop Art, and review. Pollock, Warhol, Abstract Expressionism, serial production, mass culture. Compare works from the Renaissance to modernism.,Final examination. |
| Course Learning Outcomes | Teaching Methods | Assessment Methods |
| To put forward and discuss the basic concepts of art history. | 10, 16, 9 | A, D, E |
| Knows the historical development of visual arts, the interaction between the arts and applies them in projects. | 10, 16, 9 | A, D, E, G |
| Defines and evaluates works of art according to theoretical criteria. | 10, 16, 9 | A, D, E |
| Knows the effect of the changing social, cultural and social structure on the work of art in the historical process and evaluates and analyzes the works of art in their own period. | 10, 16, 9 | A, D, E |
| Explains and examines the branches of science that the discipline of Art History is related to. | 10, 16, 9 | A, D, E, G |
| Explains and discusses the phases of change in the historical process of art phenomenon and material. | 10, 16, 9 | A, D, E, G |
| Analyzes comparatively the understanding of art of various civilizations since prehistoric times. | 10, 16, 9 | A, D, E, G |
| Define the basic characteristics of the periods and analyze and relate the works of art of the period. | 10, 16, 9 | A, D, E |
| Defines the art of different civilizations with their characteristics and distinguishes their similarities and differences. | 10, 16, 9 | A |
| Knows the relationship between art and arts and establishes interdisciplinary relationships and makes inferences. | 10, 16, 9 | A, D |
| Analyzes, interprets and evaluates the works of art of the periods correctly. | 10, 16, 9 | A, D, E, G |
| Teaching Methods: | 10: Discussion Method, 16: Question - Answer Technique, 9: Lecture Method |
| Assessment Methods: | A: Traditional Written Exam, D: Oral Exam, E: Homework, G: Quiz |
Course Outline
| Order | Subjects | Preliminary Work |
|---|---|---|
| 1 | How does art history look? Giotto and the fourteenth century. Work, form, period. Gombrich’s thesis about art and artists. From Byzantine tradition to Giotto’s space. Siena and Florence. | Gombrich: Introduction, pp. 15–37. Chapter 10, Giotto, pp. 201–205. Chapter 11, pp. 207–221. | Gardner (supplementary reading): Introduction, pp. 1–14. Chapter 14, pp. 419–436. |
| 2 | Early Renaissance I: the conquest of reality. Brunelleschi and linear perspective, Masaccio, Donatello, Van Eyck and oil painting. | Gombrich: Chapter 12, pp. 223–245. | Gardner (supplementary reading): Chapter 20, pp. 574–579. Chapter 21, pp. 593–608, 615–618. |
| 3 | Early Renaissance II: tradition and innovation. Botticelli, Piero della Francesca, Mantegna, Medici patronage, Van der Weyden and Bosch in the north. | Gombrich: Chapter 13, pp. 247–267. Chapter 14, pp. 269–285. For Bosch, chapter 17, pp. 356–359. | Gardner (supplementary reading): Chapter 20, pp. 579. Chapter 21, pp. 611–614, 627–633. Chapter 23, pp. 696–697. |
| 4 | High Renaissance I: Leonardo and Michelangelo. Harmony, sfumato and observation, Michelangelo’s human figure, the emergence of the idea of genius. | Gombrich: Chapter 15, pp. 287–315. | Gardner (supplementary reading): Chapter 22, pp. 635–640, 644–653. |
| 5 | High Renaissance II: Raphael and Venice. Raphael’s ideal of composition and harmony, Venetian light and colour, Giorgione and Titian. | Gombrich: Chapter 15, Raffaello, pp. 315–324. Chapter 16, pp. 325–339. | Gardner (supplementary reading): Chapter 22, pp. 641–643, 660–665. |
| 6 | Northern Renaissance and introduction to Mannerism. Dürer and printmaking, Grünewald, Holbein, Bruegel, the Reformation and images. Introduction to Mannerism through Parmigianino and Tintoretto. | Gombrich: Chapter 17, pp. 341–359. Chapter 18, Holbein and Bruegel, pp. 374–385. | Gardner (supplementary reading): Chapter 23, pp. 685–696, 702–703. |
| 7 | Mannerist comparisons and midterm review (28 October, a make-up class may be held). Parmigianino, Bronzino, Tintoretto, El Greco. The dissolution of High Renaissance harmony. | Gombrich: Chapter 18, pp. 361–373. These pages complete the Mannerism discussion begun at the end of week 6. pp. 374–385 reviews the previous week. | Gardner (supplementary reading): Chapter 22, pp. 669–677. Chapter 23, pp. 707–709. |
| 8 | Midterm examination | 1–7. week topics and submission of study notes. |
| 9 | Baroque art I: Catholic Europe. Caravaggio, Bernini, Rubens, Velázquez. The visual language of the Counter-Reformation and tenebrism. | Gombrich: Chapter 19, pp. 387–411. For Bernini, chapter 21, pp. 438–440. | Gardner (supplementary reading): Chapter 24, pp. 711–717, 722–724, 733–735. Chapter 25, pp. 741–743. |
| 10 | Baroque art II: the Dutch Golden Age. Hals, Rembrandt, Vermeer. Painting for the market, still life, and landscape. | Gombrich: Chapter 20, pp. 413–433. | Gardner (supplementary reading): Chapter 25, pp. 739–740, 747–755. |
| 11 | The eighteenth century: Rococo and the Age of Reason. Watteau, Fragonard, Hogarth, Gainsborough, Chardin. The academy and the Enlightenment. | Gombrich: Chapter 21–22, pp. 435–455, overview. Chapter 23, pp. 457–473. | Gardner (supplementary reading): Chapter 25, Versailles, pp. 759–761. Chapter 26, pp. 771–787. |
| 12 | Neoclassicism and Romanticism. David, Goya, Turner, Constable, Delacroix, Friedrich. The artist’s break with the academy. | Gombrich: Chapter 24, pp. 475–497. Chapter 25, pp. 499–507. | Gardner (supplementary reading): Chapter 26, pp. 790–793. Chapter 27, pp. 801–819. |
| 13 | Realism, Impressionism, and Post-Impressionism. Courbet, Manet, Monet, Degas, Cézanne, Van Gogh, Gauguin, Seurat. | Gombrich: Chapter 25, pp. 508–534. Chapter 26, pp. 535–555. | Gardner (supplementary reading): Chapter 27, pp. 823–825. Chapter 28, pp. 849–869. |
| 14 | Modernism: Fauvism, Cubism, abstraction, Dada, Surrealism. Matisse, Picasso, Kandinsky, Duchamp, Dalí. Representation, abstraction, readymades, the unconscious. | Gombrich: Chapter 27, pp. 557–597. | Gardner (supplementary reading): Chapter 29, pp. 887–898, 906–909, 917–919. |
| 15 | Postwar art, Pop Art, and review. Pollock, Warhol, Abstract Expressionism, serial production, mass culture. Compare works from the Renaissance to modernism. | Gombrich: Chapter 28, pp. 599–618. | Gardner (supplementary reading): Chapter 31, pp. 974–978, Pop Art and Warhol. pp. 957–963, Abstract Expressionism. |
| 16 | Final examination | 9–15. week topics and submission of study notes. |
| Resources |
| Gombrich, E. H. (2020). Sanatın öyküsü (E. Erduran & Ö. Erduran, trans., 12th printing). Remzi Kitabevi. The copy in the course folder. Kleiner, F. S. (2020). Gardner’s Art through the Ages: A Global History (16th ed.). Cengage. Page ranges refer to printed pagination in the course PDF. Gardner is supplementary. Non-Turkish sources are excluded from examination responsibility. |
| Belting, H. (2011). Florence and Baghdad: Renaissance Art and Arab Science (D. L. Schneider, trans.). Belknap Press of Harvard University Press. The English PDF on MEBIS is optional further reading. Belting, H. Floransa ve Bağdat: Doğu'da ve Batı'da bakışın tarihi. Koç Üniversitesi Yayınları. Further reading. Arnheim, R. (2024). Sanat ve görsel algı. alBaraka Yayınları. Further reading. |
Course Contribution to Program Qualifications
| Course Contribution to Program Qualifications | |||||||
| No | Program Qualification | Contribution Level | |||||
| 1 | 2 | 3 | 4 | 5 | |||
| 1 | Knows the basic concepts of Media and Visual Arts disciplines. | X | |||||
| 2 | Knows the basic theories of media and visual arts disciplines. | X | |||||
| 3 | Knows the necessary computer programs and multi-media techniques in Media and Visual Arts. | ||||||
| 4 | Knows the aesthetic rules necessary in Media and Visual Arts. | ||||||
| 5 | Acts in a way that adheres to national and international ethical codes in professional and scientific studies. | ||||||
| 6 | Understands the symbol systems of cultures. | ||||||
| 7 | Analyzes the facts related to Media and Visual Arts in their dimensions. | ||||||
| 8 | Plans the visual design process in line with the needs of institutions/individuals. | ||||||
| 9 | Carries out the visual communication process in line with the needs of institutions/individuals. | ||||||
| 10 | Uses the tools, methods and techniques required for Media and Visual Arts practices. | ||||||
| 11 | Has the ability to produce, process and evaluate real, 2D and 3D images. | ||||||
| 12 | Applies visual design techniques in new media environments. | ||||||
| 13 | Has aesthetic awareness and understanding of design. | ||||||
| 14 | Performs their profession by taking into consideration the "Occupational Health and Safety" rules. | ||||||
| 15 | Solve problems that arise by taking responsibility in projects related to Media and Visual Arts. | ||||||
| 16 | Can transform theoretical and factual problems of Media and Visual Arts disciplines and sub-disciplines into publications using scientific methods. | ||||||
| 17 | Regularly follows the developments in the field of Media and Visual Arts and uses them effectively in her work. | ||||||
| 18 | Uses Turkish fluently and accurately in scientific and professional studies. | ||||||
| 19 | Can read and understand at least one foreign language at B1 level. | ||||||
| 20 | Plans and takes part in social responsibility projects. | ||||||
| 21 | Incorporates artificial intelligence (artificial learning/machine learning) into the creation process. | ||||||
Assessment Methods
| Contribution Level | Absolute Evaluation | |
| Rate of Midterm Exam to Success | 40 | |
| Rate of Final Exam to Success | 60 | |
| Total | 100 | |