Edebiyat Bilgi ve Kuramları Dersi İçin Çalışma Soruları

1.       Sanatın bir duygu aktarımı olduğunu öne süren estetikçi ve eleştirmenlerin temel dayanak noktaları nelerdir?

2.       Leo Tolstoy’un sanatta aktarım anlayışını anlatınız.

3.       Sanatçıya dönük eleştiride içtenlik sorununu nasıl tanımlayabilirsiniz? Çözümü konusunda nasıl öneriler ortaya atabilirsiniz?

4.       Freud’un sanat kuramını anlatınız.

5.       Yeni eleştiri kuramını benimseyenlerin “metnin kendisi” üzerinde odaklanmalarının nedenleri nelerdir?

6.       Biçim değerleri nelerdir? Bu değerleri açıklayınız.

7.       “Sanat yapıtında biçim ve içerik birlikte şekillenmektedir” Bu yargının doğruluğunu ya da yanlışlığını tartışınız.

8.       M.C. Beardsley’in görüşleri nelerdir? İşlev hakkında neler ortaya koymaktadır?

Edebiyat Bilgi ve Kuramları Dersi için Çalışma Soruları

·         Platon’a göre formlar (idealar) dünyasının özellikleri nelerdir? Bu konudaki görüşleri Platon’un sanata yaklaşımını ne şekilde belirlemiştir?

·         Platon’un edebiyata itirazları nelerdir ve nedenleri nedir?

·         Aristoteles’in sanatın işlevi ve etkileri konusundaki görüşleri nelerdir? Platon’un görüşlerinden ne açılardan farklılık göstermektedir?

·         Gerçekçiliğin özelliklerini açıklayınız.

·         Marksist estetik kuramına göre altyapı, üstyapı, sanat arasındaki ilişkiyi açıklayınız.

·         Marksist kurama göre sanatı anlayabilmek için neden altyapıyı bilmek gerekmektedir?

·         Toplumcu gerçekçiliğe göre sanat yansıtmadır. Sanatın nasıl bir yansıtma olduğunu açıklayınız.

·         Lukacs’a göre yansıtma yöntemleri nelerdir?

·         Althusser ideolojik aygıtları nasıl tanımlar ve bu aygıtlar, sanat ve ideoloji arasındaki ilişkinin saptanmasında ne açılardan belirleyicidir?

·         Terry Eagleton’a göre eleştirinin işlevi nedir?

·         Toplumcu gerçekçiliğin eğitici olurken başvurduğu yollar nelerdir?

·         Tarihsel eleştirinin temel ilkesi nedir?

·         Sosyolojik eleştiriyi başlatan isim olarak kabul edilen Hippolyte Taine’nin temel argümanı nedir? Taine’nin argümanında eksik olarak nitelendirebileceğiniz noktalar nelerdir?

·         Bir yöntem olarak Marksist eleştirinin sorunları nelerdir?

·         Anlatımcılığın etkin olmaya başlamasıyla “sanatçı” tanımı nasıl bir değişiklik göstermiştir?

·         Romantik sanat anlayışını sistematik bir kuram haline getiren Eugéne Véron’un görüşlerini kısaca anlatınız.

·         Anlatımcı kuramda “Anlatımdan önce duygu yoktur” ilkesi ile ne ifade edilmektedir?

·         Anlatımcılıkta sanat ve bilgi ilişkisini açıklayınız. 

Mitoloji Final Sınavı Örnek Sorular

Which of these methods relates the miraculous nature of Athene's birth?

                A)           Sprung from the God Zeus' forehead.

                B)           Spewed forth from Gaea's Mount Olympus.

                C)           Born of mist on the sea.

                D)           Descended from the Moon.

                E)            Daughter of Goddess Hera and mortal Perseus.

The term "mythology" does NOT include... the study of how myths are made.

                A)           theories of internal, psychological origins to myths.

                B)           theories of world creation.

                C)           collections of classical Greek tales.

                D)           an accepted unified theory of what myths are about.

Dionysus the God of...

                A)           War

                B)           Intoxication

                C)           Universal Law

                D)           Underworld

                E)            Fire

The word "Myth" derives from the term "mythos" which means...

                A)           Mycenae.

                B)           monstrous.

                C)           imaginary.

                D)           utterance.

                E)            magical.

2013-2014 American Drama Study Questions

1. How does Jean Paul Sartre define the bourgeois theatre and in what ways does he criticize it?

2. What is the Theatre of the Absurd and how does it differ from the Existentialist Theatre according to Esslin?

3. Compare and contrast dramatic theatre and epic theatre; explain why Brecht priviliges epic theatre.

4. How did modernism start in the 1900s and what kind of directions occurred in the same period?

5. What are the views of Vsevolod Meyerhold? What was his aim at creating a “new drama”? 

6. How do his ideas change in time?

7. What are the premises of Italian futurist drama?

8. What is alienation effect and what is its significance?

9. "The past is present ,it's future too"(Long Day's Journey...) How can you interpret Nina's obsession with Gordon in "strange interlude "?

10. How does the definition of present as a "strange interlude" affect and,at the same time, result from the characters' perception of past and future ?

American Drama Course Syllabus (2013-2014)

Course Code				AKE 2027
Name of the Course				American Drama
Instructor				Dr. Arsev Ayşen Arslanoğlu
Office				Block: A  Room: 114
Office Hours				Monday 14:00-15:00
E-mail				arsev@yahoo.com
Course Description				This course aims at introducing the students various theoretical views on theatre and the works of major American dramatists.
Course Requirements				The students are expected to come to class having read the assigned text.
The book/books to be used				Mentioned below
Attendance				Minimum 70% attendance is graded.
Grading				Midterm examination 40%, Final examination 60%
Important points to be remembered				·         You are expected to come to class having read the assigned text. ·         It is very important you come to class on time. If you are late more than five minutes, please wait for the next course hour. ·         You should attend minimum 70% of the courses.
	Dates will be specified later.		Schedule
1	23.09	27.09	Introduction
2	30.09	04.10	David Krasner, ed. Theatre in Theory (Oscar Wilde, Maurice Maeterlinck, Vsevolod Meyerhold, F.T.Marinetti, Bertolt Brecht, Walter Benjamin, Eugène O’Neill, Jean Paul Sartre, Martin Esslin) (You should read the introductory part of each era)
3	07.10	11.10	Eugene O'Neill, Long Days Journey into Night
4	14.10	18.10	HOLIDAY
5	21.10	25.10	Eugene O'Neill, Strange Interlude
6	28.10	01.11	HOLIDAY
7	04.11	08.11	Tennessee Williams, Sweet Bird of Youth
8	11.11	15.11	“Tennessee Williams: The Theatricalising Self”, Modern American Drama 259-297 Tennessee Williams, Cat on a Hot Tin Roof
9	18.11	22.11	Midterm Examination
10	25.11	29.11	Edward Albee, Who is Afraid of Virginia Woolf?
11	02.12	06.12	Gertrude Stein, Doctor Faustus Lights the Lights
12	09.12	13.12	Bonnie Marranca, ed. Plays for the End of the Century
13	16.12	20.12	Bonnie Marranca, ed. Plays for the End of the Century
14	23.12	27.12	Bonnie Marranca, ed. Plays for the End of the Century
15	30.12	03.01	Concluding Remarks

Poetry Study Questions

The exam will be open-text.

1.      Please discuss how T.S.Eliot deals with the themes of time, consciousness and history in Four Quartets?

2.      Discuss how Emily Dickinson incorporates the theme of death into her poems? How does her understanding of death differ from that of the transcendentalists?

3.      Focusing on the article “Modernism, Fascism, and the Composition of Ezra Pound's Pisan Cantos” by Ronald Bush, discuss how the social and political events of the period are reflected in “Pisan Cantos”?

   4.How does Anne Carson make sleep both an entrance and an exit?  Answer the question by examining her view on sleep?

Experimental Writing Study Questions

1.      How can you define the characteristics of Stein’s language in Alphabets and Birthdays?

2.      What is language poetry? Make an analysis of the text you chose in terms of language.

3.      How can you relate the shift of perpective (the change of narrator) in Fences in Breathing to the author’s experimental approach?

4.      How does Susan Howe explain the legacy of Emily Dickinson as a poet by placing her within the social, historical and literary atmosphere of her period?

5.      Considering the points discussed in “The Gender of Sound”, make a close analysis of “The Glass Essay” by Anne Carson.

(The exam will be open-text. The last question is only for those who want to write a paper)

Graphic narratives study questions

You are responsible for ONLY these question.

1.      

1.      What is the difference between animetism and cinematism? Choose one of the animes shown in the class and discuss animetic/cinematic characteristics in it.

2.      What are the problems that arise when the emphasis is put primarily on the art side of animation at the expense of an analysis of the moving image?

3.      What is an animation stand?

4.      Why is the multiplanar image also an animetic machine?

5.      What is full animation?

6.      What is limited animation?

7.      Where do the problems regarding movement, perspective, and sense of depth arise from? What might the solution be?

8.      What is the basic idea behind producing multiplane camera effects?

9.      What is compositing? Why is it essential in animation?

10.  What is volumetric or close compositing?

11.  What is open compositing?

12.  How is animetic effect achieved?

13.  How is rotoscoping used for achieving full animation?

14.  How is the sense of movement achieved in full animation?

15.  What are the problems posed by full animation with respect to conveying the dynamics of the body? (in-between animation and clean-up)

16.  Why does Thomas Lamarre insist on the priority of compositing over character animation (or an object animation)?

17.  What is the idea behind using rotoscoping in the service of full animation?

18.  What is superflat movement? How does it develop an opposition between Western modernity and Japanese postmodernity?

19.  What is Otaku? What are the characteristics of Otaku culture? What are the changes that VCR has brought to Otaku culture?

EXPERIMENTAL WRITING SYLLABUS

Course Code			AKE 4006
Name of the Course			Experimental Writing
Instructor			Dr. Arsev A. Arslanoğlu
Office			Block:A Room: 114
Office Hours			Friday 10:30-12:00
E-mail			arsev@yahoo.com
Course Description			The objective of this course is to enable students to perceive literature and art not only in terms of narrative context but as “techne” (a cognitive activity with form or technique) as well.
Course Requirements			Students are expected to come to class having read the assigned text and participate in the discussion.
The book/books to be used			Given below.
Attendance			Minimum %70
Grading			There will be one midterm examination (50%) and a final examination (50%)
Week	Date		Schedule
1	04.03	08.03	Introduction to the course: Content and Objective
2	11.03	15.03	What is language-oriented writing?
3	18.03	22.03	Language-oriented poetics of Emily Dickinson and Gertrude Stein
4	25.03	29.03	Language-oriented poetics of Emily Dickinson and Gertrude Stein
5	01.04	05.04	Russian Futurist Poetry
6	08.04	12.04	Ezra Pound, Louis Zukofsky and James Joyce: A Comparative Reading
7	15.04	19.04	Kurt Schwitters
8	22.04	26.04	Jackson MacLow
9	29.04	03.05	Midterm Examination
10	06.05	10.05	L=A=N=G=U=A=G=E: Bruce Andrews and Charles Bernstein
11	13.05	17.05	Canadian Language-Oriented Writing: BpNichol, Bill Bisset and Christian Bok
12	20.05	24.05	Canadian Language-Oriented Women’s Writing: Nicole Brossard
13	27.05	31.05	American Post-Feminist Language-Oriented Women’s Writing: Susan Howe ve Anne Carson
14	03.06	07.06	Ethnical Experimental Writing: Selections from Nathaniel Mackey
15	10.06	14.06	Concluding Remarks