Information Package / Course Catalogue
| Business Administration | |||||
| Bachelor | Length of the Programme: 4 | Number of Credits: 240 | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF: Level 6 |
Ders Genel Tanıtım Bilgileri
| School/Faculty/Institute | Faculty of Econ., Admin. and Social Sciences | ||||||
| Course Code | HUM 314 | ||||||
| Course Title in English | Psychoanalysis and Literature II | ||||||
| Course Title in Turkish | Psikanaliz ve Edebiyat II | ||||||
| Language of Instruction | EN | ||||||
| Type of Course | Guided Personal Study,Seminar | ||||||
| Level of Course | Introductory | ||||||
| Semester | Spring | ||||||
| Contact Hours per Week |
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| Estimated Student Workload | 136 hours per semester | ||||||
| Number of Credits | 5 ECTS | ||||||
| Grading Mode | Standard Letter Grade | ||||||
| Pre-requisites | None | ||||||
| Expected Prior Knowledge | None | ||||||
| Co-requisites | None | ||||||
| Registration Restrictions | Only Undergraduate Students | ||||||
| Overall Educational Objective | To become familiar with basic psychoanalytic concepts and how these concepts may be applied to literature and other forms of art; to gain a better understanding of the link between psychology and literature; to ask better questions about dynamics of creativity, about aesthetic theory, about what art is, about hindrances against our own creativity. | ||||||
| Course Description | This course aims to study texts from literature such as short-stories, plays, novels, and also, films based on works of literature, from a psychoanalytic perspective interactively. The instructor is open to make shifts along with the direction the majority of the class seems eager to take. Theory of creativity is an important element of this course; and students’ own journey towards making better contact with their inner creativity will be strongly encouraged throughout the course. | ||||||
| Course Description in Turkish | Bu ders, öykü, oyun gibi edebiyat metinlerini ve edebiyatla ilişkili kimi filmleri psikanalitik bir perspektifle incelemeyi amaçlamaktadır. Eğitmen, dersin okuma listesinde öğrencilerin istekleri doğrultusunda değişiklik yapmaya açık olacaktır. Yaratıcılık teorisi bu dersin önemli bir unsuru olup öğrencilerin kendi yaratıcı benlikleriyle daha sıkı irtibat kuracakları kendilerine özel yolculuk, ders süresince teşvik edilecektir. |
Course Learning Outcomes and CompetencesUpon successful completion of the course, the learner is expected to be able to:1) make distinction between having an idea and creating an idea; treat each work of art as an embodiment of an idea; 2) creatively play with various psychoanalytic ideas and show skills to see through works of art and texts of literature with their help; 3) regard a literary text or any object of art as an independent subject with an independent psychology and develop various methods to relate to them; 4) question basic motives behind actions, attitudes and behind works of art; see the physical body of a work of literature (meaning: the horizontal text) as a medium for a latent vertical text; 5) ask better questions regarding the use of literature and art and about how psychology may help us to become creative readers of literature and how literature can be helpful to understand psychoanalytic ideas and add to our own understanding of the self, about why each artist is supposed to be an existentialist philosopher; 6) create ideas about what it may mean to psycho-analyze a literary text; 7) think symbolically and psychoanalytically. |
| Program Learning Outcomes/Course Learning Outcomes | 1 | 2 | 3 | 4 | 5 | 6 | 7 |
|---|---|---|---|---|---|---|---|
| 1) Has a broad foundation and intellectual awareness with exposure to mathematics, history, economics, and social sciences | |||||||
| 2) Demonstrates knowledge and skills in different functional areas of business (accounting, finance, operations, marketing, strategy, and organization) and an understanding of their interactions within various industry sectors | |||||||
| 3) Applies theoretical knowledge as well as creative, analytical, and critical thinking to manage complex technical or professional activities or projects | |||||||
| 4) Exhibits an understanding of global, environmental, economic, legal, and regulatory contexts for business sustainability | |||||||
| 5) Demonstrates individual and professional ethical behavior and social responsibility | |||||||
| 6) Demonstrates responsiveness to ethnic, cultural, and gender diversity values and issues | |||||||
| 7) Uses written and spoken English effectively (at least CEFR B2 level) to communicate information, ideas, problems, and solutions | |||||||
| 8) Demonstrates skills in data and information acquisition, analysis, interpretation, and reporting | |||||||
| 9) Displays computer proficiency to support problem solving and decision-making | |||||||
| 10) Demonstrates teamwork, leadership, and entrepreneurial skills | |||||||
| 11) Displays learning skills necessary for further study with a high degree of autonomy |
Relation to Program Outcomes and Competences
| N None | S Supportive | H Highly Related |
| Program Outcomes and Competences | Level | Assessed by | |
| 1) | Has a broad foundation and intellectual awareness with exposure to mathematics, history, economics, and social sciences | N | |
| 2) | Demonstrates knowledge and skills in different functional areas of business (accounting, finance, operations, marketing, strategy, and organization) and an understanding of their interactions within various industry sectors | N | |
| 3) | Applies theoretical knowledge as well as creative, analytical, and critical thinking to manage complex technical or professional activities or projects | N | |
| 4) | Exhibits an understanding of global, environmental, economic, legal, and regulatory contexts for business sustainability | N | |
| 5) | Demonstrates individual and professional ethical behavior and social responsibility | N | |
| 6) | Demonstrates responsiveness to ethnic, cultural, and gender diversity values and issues | N | |
| 7) | Uses written and spoken English effectively (at least CEFR B2 level) to communicate information, ideas, problems, and solutions | S | Participation,Project |
| 8) | Demonstrates skills in data and information acquisition, analysis, interpretation, and reporting | S | Participation,Project |
| 9) | Displays computer proficiency to support problem solving and decision-making | N | |
| 10) | Demonstrates teamwork, leadership, and entrepreneurial skills | N | |
| 11) | Displays learning skills necessary for further study with a high degree of autonomy | S | Participation,Project |
| Prepared by and Date | NİHAN KAYA , April 2022 |
| Course Coordinator | SENA CÜRE ACER |
| Semester | Spring |
| Name of Instructor |
Course Contents
| Week | Subject |
| 1) | What is art, what is literature, what is creativity? |
| 2) | Beckett’s and other writers’ and artists’ approach to life and suffering |
| 3) | Please come to the class having looked into Marcel Duchamp’s, Andy Warhol’s, Baudrillard’s work, and try to decide whether they are art or not. If they are art, why? If they are not art, why not? Do they call themselves “artist”? If they do, why? If they don’t, why not? |
| 4) | Nature of Creativity and its Origins; Creativity as a Search for the Self |
| 5) | How Creative Process Works |
| 6) | Hindrances to Creativity |
| 7) | The Feeling of “Being”; Existentialism and Creativity |
| 8) | The Dynamics of Creation; Characteristics of Creativity |
| 9) | Why do People Create? |
| 10) | Function of Literature and the Arts |
| 11) | Aesthetic Theory and the Arts Including Literature |
| 12) | Why is “The Other Room” the Best One and Why do People Phantasize? |
| 13) | Depression, Melancholia and Art |
| 14) | Questioning the Popular and the Mass Culture |
| 15) | Final Examination Period |
| 16) | Final Examination Period |
| Required/Recommended Readings | Chassequet-Smirgel, Janine. (1995) “’Creative Writers and Day-Dreaming’: A Commentary” in On Freud’s “Creative Writers and Day-Dreaming”, ed. Person et al, New Haven and London: Yale University Press, p. 107-121 Endgame by Samuel Beckett Baudrillard, Jean (1996) “The Conspiracy of Art” in The Conspiracy of Art, with “The Piracy of Art” by Sylvère Lotringer, New York: Semiotext(e) Foreign Agent Series, 2005, p. 9-29 Jude (film) by Winterbottom, based on the novel by Henry James “Creativity and its Origins” by Winnicott, http://icpla.edu/wp-content/uploads/2017/11/Winnicott-D.-Playing-Reality-C345-.pdf Winnicott, D. W. (1964) “The Concept of the False Self” in Home is Where we Start from: Essays by a Psychoanalyst, Harmondsworth: Penguin, 1986, p. 65-70 A Doll’s House (play) by Henrik Ibsen May, Rollo (1975) The Courage to Create, New York: Bantam Books, 1978 Collings, David (2000) “A Psychoanalytic Perspective: The Monster and the Maternal Thing: Mary Shelley’s Critique of Ideology” in Mary Shelley, Frankenstein, ed. Johanna M. Smith, Boston: Bedford/St Martin’s, p. 280-295 Frankenstein by Mary Shelley Tillich, Paul “Courage and Individualization: The Courage to Be as Oneself”, Chapter 5 in The Courage to Be, p. 113-154 “That Evening Sun” (short-story) by William Faulkner Storr, Anthony (1972) The Dynamics of Creation, New York: Atheneum, especially “The Conscious Motives of the Artist” (p. 29-39), “New Models of the Universe” (p. 61-74), “The Creative Ego and its Opposites” (p. 188-202), “Genius and Madness” (p. 203-216), “The Quest for Identity” (p. 217-228) Creative Essay: Orwell, George (1946) “Why I Write”, http://orwell.ru/library/essays/wiw/english/e_wiw Tillich, Paul “Courage and Participation: The Courage to Be as a Part”, Chapter 4 in The Courage to Be, p. 86-112 Sartre, Jean Paul (1950) “Why Write?” in What is Literature, also published as Literature and Existentialism in English The Hunt (film) by Vinterberg Read, Herbert (1960) “The Limitations of a Scientific Philosophy” and “Art as a Symbolic Language” in The Forms of Things Unknown: Essays towards an Aesthetic Philosophy, London: Faber and Faber, p. 11-46 Pan’s Labyrinth (film) by del Toro Britton, Ronald (1998) “The Other Room and Poetic Space”, Part 10 in Belief and Imagination: Explorations in Psyhchoanalysis, London and New York: Routledge, p. 120-127 Britton, Ronald (1998) “Daydream, Phantasy and Fiction” in Belief and Imagination: Explorations in Psychoanalysis, London: Routledge, p. 109-119. (For Britton’s summary of ideas on “psychic reality” vs “external reality”, please see Part 1 of the same book) Kristeva, Julia (1989) “Psychoanalysis—A Counterdepressant”, Chapter 1 in Black Sun: Depression and Melancholia, New York: Columbia University Press, p. 1-30 Kristeva, Julia (1989) “Dostoyevsky, Suffering, Forgiveness” Chapter 7 in Black Sun: Depression and Melancholia, New York: Columbia University Press, p. 173-188 Sleeping Beauty (film) by Julia Leigh Baudrillard, Jean (1982) In the Shadow of the Silent Majorities [pages TBA] The Banishment (film) by Zvyagintsev | ||||||||||||
| Teaching Methods | There are no “wrong” comments in this classroom; and all sorts of contributions from students with all sorts of backgrounds are welcome. This is a course about self-enhancement in your own unique way; the students will be expected to develop according to their standards, not the instructor’s or other students’. I will take attendance; your attendance and the way you attend and contribute (although, again, in your own way) will be my primary concern. I appreciate that you may be time-strained due to work-load from other courses, you may have ups and downs related to various issues in life; but anything that is related to life is also related to the content of this course, so I ask you to show up with whatever it is that is burdening you, and let’s try to figure out together how this matter you are bringing to the class with you may be transformed. In my intention, the classroom the course sessions will take place in is a living, interactively creative -and also a creating- area, so I need your presence above all. If you are miserable, bring your misery to the classroom to see how your misery will affect our discussion and what we may make of it together. I will put quotations, maybe paragraphs, a work of fiction or essay to Blackboard each week, and will expect you to think it through over the week before our class hour. Besides the short-stories/plays/poems, and sometimes essays/chapters I will put on the Board, I will also give terms related to psychoanalysis and will expect you to search the definition of the term yourself using any means available to you (videos, internet search, written materials; anything you like) and come up with a definition of your own, as well as with some concrete examples to the term/concept, and to think through the term/s in relation to the work of literature that will be studied and try to draw some ideas about how they may go together. Sometimes, I will put a poem with a short-story and will ask you to think them in their relation with each other, along with some psychoanalytic concepts. This is not a creative writing course; but it is organized to be of benefit to those who may be interested in becoming creative writers, or those who may not be interested in becoming creative writers, but those who are interested in becoming better readers of literature; those who would like to probe more into the dynamics of artistic creation or those who are inspired by ideas regarding the creative process, individuality, authenticity, or, what I call vertical life. | ||||||||||||
| Homework and Projects | There will be a written project for this course. I will discuss the details with students on a one-to-one basis. | ||||||||||||
| Laboratory Work | |||||||||||||
| Computer Use | |||||||||||||
| Other Activities | |||||||||||||
| Assessment Methods |
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| Course Administration |
nihanka@gmail.com or kayan@mef.edu.tr Literature, like psychology, is about learning to question, rather than to find answers. In line with the nature of this course’s objectives, each student will be expected to come to the class with at least one burning question related to the required reading. We will hope to discuss, multiply and deepen these questions during the class meetings. The students will hopefully complete the course with brighter questions than the ones they started with. Nietzsche has once said that “One should try to create a work of art before s/he speaks about it”. The students will not be expected to create a work of art for this course, but, even if they are not going to be assessed for their creativity, they will be encouraged to think as creatively as possible about the texts we will read. According to Jung, the creative instinct is in everyone; and exploring our own creative instinct will be a part of our discussions whilst various approaches to the creative process is studied. On the other hand, although it might be suggested that “Every human being is potentially an artist” (Herbert Read, To Hell with Culture, 1963, p. 122), it is also true that “No good artist exists who is not, at every point at his career, firstly a good critic. The world of art emerges within a field of critical perceptions” (Herbert Read, Collected Essays in Literary Criticism, 1938, p. 127) and that every work of art is an embodiment of an idea; so students will be responsible for having read the reading list and finding something interesting to say about them. The commitment of acts of cheating, lying, and deceit in any of their diverse forms such as plagiarism, and copying during examinations is dishonest and will not be tolerated. Academic dishonesty and plagiarism: YÖK Disciplinary Regulation |
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ECTS Student Workload Estimation
| Activity | No/Weeks | Hours | Calculation | ||||
| No/Weeks per Semester | Preparing for the Activity | Spent in the Activity Itself | Completing the Activity Requirements | ||||
| Course Hours | 14 | 2 | 3 | 3 | 112 | ||
| Project | 1 | 24 | 24 | ||||
| Total Workload | 136 | ||||||
| Total Workload/25 | 5.4 | ||||||
| ECTS | 5 | ||||||