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Course Name
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Communication, Literature and Philosophy
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|
Code
|
Semester
|
Theory
(hour/week)
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Application/Lab
(hour/week)
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Local Credits
|
ECTS
|
|
GEAR 211
|
Fall/Spring
|
3
|
0
|
3
|
5
|
|
Prerequisites
|
None
|
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Course Language
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English
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Course Type
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Service Course
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|
Course Level
|
First Cycle
|
|
Mode of Delivery
|
- |
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Teaching Methods and Techniques of the Course
|
- |
|
National Occupation Classification
|
-
|
|
Course Coordinator
|
- |
|
Course Lecturer(s)
|
|
|
Assistant(s)
|
- |
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Course Objectives
|
This module aims to introduce students to analytic thinking and philosophizing via short readings and analysis of literary texts, art works, photography and cinema. |
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Learning Outcomes
|
The students who succeeded in this course;
- explain the parallels between the history of philosophy and the history of communication/art/literature
- compare the changes and developments in philosophical thinking with the changes and developments of the means and methods of communication
- evaluate the role of literary texts in providing answers to the major philosophical questionscompare
- compare the changes and developments in philosophical thinking with the changes and developments of the means and methods of communication provide
- provide answers to the question of the extent to which the fundamental questions of Western philosophy, including being, subject and consciousness, have determined the practices of communication, art and literature
- explain the links between different philosophical currents and the main analytic methods of the discipline of communications, including rhetoric, semiotics, discourse analysis and content analysis
- explain the effects of binary oppositions that lie at the foundations of Western philosophy on the development of literature and arts in particular, and of communications and culture in generalrelate the creation of literary and artistic works to the knowledge derived from the ethical, aesthetical and political spheres of philosophy.
|
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Course Description
|
This course focuses on the historical trajectory of western philosophy in parallel to its relations particularly with literature and art, and generally with culture and communications. |
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Related Sustainable Development Goals
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Core Courses |
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| Major Area Courses |
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| Supportive Courses |
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| Media and Management Skills Courses |
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| Transferable Skill Courses |
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WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES
|
Week |
Subjects |
Related Preparation |
| 1 |
What is Reality? How do philosophy and film represent the conflict between appearance and reality? |
Reading: The Allegory of the Cave - Media: The Matrix |
| 2 |
What Does It Mean to Be Human? Existentialism and the concept of self. What makes us human? How does technology affect this question? |
Reading: Simone de Beauvoir, The Ethics of Ambiguity - Media: Blade Runner |
| 3 |
What is Freedom? The tension between freedom and responsibility. What is the cost of freedom in both philosophical and digital realms? |
Reading: Fyodor Dostoevsky, The Brothers Karamazov - Media: The Social Dilemma |
| 4 |
What is the Absurd? The absurd and the search for meaning. How do different mediums represent the absurdity of existence? |
Reading: Albert Camus, The Plague - Media: Cindy Sherman’s photography |
| 5 |
How Should We Live? Ethics and moral philosophy. How do we balance personal freedom with societal norms? |
Reading: Dostoevsky, The Brothers Karamazov (continued) - Media: The Truman Show |
| 6 |
Utopian Visions and Ideal Societies. Utopia and social structures. How are utopian and dystopian ideals explored in literature? |
Reading: Thomas More, Utopia - Media: The Matrix (selected scenes) |
| 7 |
What is Alienation? Alienation and isolation in modern life. How do literature and film depict alienation? and loss of identity? |
Reading: Franz Kafka, The Metamorphosis - Media: Blade Runner |
| 8 |
Midterm Week |
|
| 9 |
Death, Desire, and Decadence. Mortality and desire. How do desire and societal expectations shape human existence? |
Reading: Thomas Mann, Death in Venice |
| 10 |
The Power of Social Norms. Social norms and moral behavior. How do societal expectations influence moral decisions? |
Gabriel García Márquez, Chronicle of a Death Foretold |
| 11 |
What is Truth? The search for truth in a post-truth world. How does media influence our understanding of truth? |
Reading: Selected essays on truth - Media: The Truman Show |
| 12 |
Ethical Dilemmas in Modern Communication. Ethics in the digital age. How does modern communication technology challenge ethical responsibilities? |
Reading: Selected essays on ethics and communication - Media: The Social Dilemma |
| 13 |
Philosophy and Technology: The Role of Digital Media. How digital media influences philosophical inquiry. How has technology reshaped the way we engage with philosophical questions? |
Excerpts on philosophy and technology |
| 14 |
Student Presentations |
|
| 15 |
Student Presentations |
|
| 16 |
Review of the Semester |
|
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Course Notes/Textbooks
|
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Suggested Readings/Materials
|
- Plato, The Allegory of the Cave (from The Republic)
- Simone de Beauvoir, The Ethics of Ambiguity
- Fyodor Dostoevsky, The Brothers Karamazov
- Franz Kafka, The Metamorphosis
- Albert Camus, The Plague
- Orhan Pamuk, Snow
- Thomas More, Utopia
- Thomas Mann, Death in Venice
- Gabriel García Márquez, Chronicle of a Death Foretold
- Film: The Matrix
- Film: Blade Runner
- Documentary: The Social Dilemma
- Visual Art: Selected works of Cindy Sherman
Additional readings and materials will be provided on the course platform.
|
EVALUATION SYSTEM
|
Semester Activities
|
Number |
Weigthing |
| Participation |
-
|
-
|
| Laboratory / Application |
-
|
-
|
| Field Work |
-
|
-
|
| Quizzes / Studio Critiques |
-
|
-
|
| Portfolio |
-
|
-
|
| Homework / Assignments |
1
|
20
|
| Presentation / Jury |
1
|
30
|
| Project |
-
|
-
|
| Seminar / Workshop |
-
|
-
|
| Oral Exams |
-
|
-
|
| Midterm |
1
|
50
|
| Final Exam |
-
|
-
|
| Total |
3
|
100
|
| Weighting of Semester Activities on the Final Grade |
3
|
100
|
| Weighting of End-of-Semester Activities on the Final Grade |
-
|
-
|
| Total |
3 |
100 |
ECTS / WORKLOAD TABLE
|
Semester Activities
|
Number |
Duration (Hours) |
Workload |
Theoretical Course Hours
(Including exam week: 16 x total hours) |
16
|
3
|
48
|
Laboratory / Application Hours
(Including exam week: '.16.' x total hours) |
-
|
-
|
-
|
| Study Hours Out of Class |
16
|
3
|
48
|
| Field Work |
-
|
-
|
-
|
| Quizzes / Studio Critiques |
-
|
-
|
-
|
| Portfolio |
-
|
-
|
-
|
| Homework / Assignments |
1
|
14
|
14
|
| Presentation / Jury |
1
|
15
|
15
|
| Project |
-
|
-
|
-
|
| Seminar / Workshop |
-
|
-
|
-
|
| Oral Exam |
-
|
-
|
-
|
| Midterms |
1
|
25
|
25
|
| Final Exam |
-
|
-
|
-
|
| |
|
Total |
150
|
COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP
|
#
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Program Competencies/Outcomes
|
* Contribution Level
|
|
1
|
2
|
3
|
4
|
5
|
|
1 |
To be able to have fundamental knowledge about narrative forms in cinema, digital and interactive media, and the foundational concepts relevant to these forms.
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-
|
-
|
-
|
-
|
-
|
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2 |
To be able to create narratives based on creative and critical thinking skills, by using the forms and tools of expression specific to cinema and digital media arts.
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-
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-
|
-
|
-
|
-
|
|
3 |
To be able to use the technical equipment and software required for becoming a specialist/expert in cinema and digital media.
|
-
|
-
|
-
|
-
|
-
|
|
4 |
To be able to perform skills such as scriptwriting, production planning, use of the camera, sound recording, lighting and editing, at the basic level necessary for pre-production, production and post-production phases of an audio-visual work; and to perform at least one of them at an advanced level.
|
-
|
-
|
-
|
-
|
-
|
|
5 |
To be able to discuss how meaning is made in cinema and digital media; how economy, politics and culture affect regimes of representation; and how processes of production, consumption, distribution and meaning-making shape narratives.
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-
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-
|
-
|
-
|
-
|
|
6 |
To be able to perform the special technical and aesthetic skills at the basic level necessary to create digital media narratives in the fields of interactive film, video installation, experimental cinema and virtual reality.
|
-
|
-
|
-
|
-
|
-
|
|
7 |
To be able to critically analyze a film or digital media artwork from technical, intellectual and artistic perspectives.
|
-
|
-
|
-
|
-
|
-
|
|
8 |
To be able to participate in the production of a film or digital media artwork as a member or leader of a team, following the principles of work safety and norms of ethical behavior.
|
-
|
-
|
-
|
-
|
-
|
|
9 |
To be able to stay informed about global scientific, social, economic, cultural, political, institutional and industrial developments.
|
-
|
-
|
-
|
-
|
-
|
|
10 |
To be able to develop solutions to legal, scientific and professional problems surrounding the field of cinema and digital media.
|
-
|
-
|
-
|
-
|
-
|
|
11 |
To be able to use a foreign language to communicate with colleagues and collect data in the field of cinema and digital media. ("European Language Portfolio Global Scale", Level B1).
|
-
|
-
|
-
|
-
|
-
|
|
12 |
To be able to use a second foreign language at the medium level.
|
-
|
-
|
-
|
-
|
-
|
|
13 |
To be able to connect the knowledge accumulated throughout human history to the field of expertise.
|
-
|
-
|
-
|
-
|
-
|
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
