Course Information
SemesterCourse Unit CodeCourse Unit TitleT+P+LCreditNumber of ECTS Credits
8HUM 406The Twentieth Century in European Art and Literature3+0+035

Course Details
Language of Instruction English
Level of Course Unit Bachelor's Degree
Department / Program BA Program in Comparative Literature
Type of Program Formal Education
Type of Course Unit Elective
Course Delivery Method Face To Face
Objectives of the Course
Learning objectives

* acquiring an initial familiarity with 50-100 major works of art, dealing (from various angles) with some major events or aspects of 20th century history (so as to be able to remember, recall and list these works of art and literature)
* through these same works of art, acquiring an emotional as well as factographical familiarity with 15-20 major facts, events and processes of the 20th century (so as to be able to remember, recall and list them)
* identifying (and distinguishing between) the various ideologies, world views, political choices and standpoints embodied in these works of art
* relating these events, and the works of art reflecting them, to the underlying ideo-political choices
* comparing and contrasting the ideo-political choices at play through their human consequences (as reflected in art)
* being able to describe and discuss the human impact of extreme phenomena (such as: war and civil war, revolution, depression, poverty, dictatorship, Fascism, Nazism, Communism, racism, genocide, the secret police, torture, show trials, concentration camps, militarism, invasion, occupation, hunger and starvation) in concrete, tangible, personalized terms
* constructing a vision of multiple human lives unfolding through the 20th century

Course Content This course seeks not to familiarize students with a basic factography of the 20th century, but to guide them into explorations of the infinite variety of its human conditions               -- perceived through great European art, literature and films pertaining to its immense tragedies, bunched around the horror of trench warfare; the promise and failure of revolutions; Fascism, Nazism and Stalinism; totalitarianisms and their camp systems; occupations and resistance; atrocities and genocides; life in the shadow of nuclear weapons; readings and meanings of the collapse of Communism; the rise, degeneration and fall of the Third World. But the narrative is not reducible to eulogy, idealization, or remorse. We will deal critically not only with how art intensifies reality, but also with how it distorts and manipulates reality.
Course Methods and Techniques
Prerequisites and co-requisities None
Course Coordinator None
Name of Lecturers Prof. Halil Berktay
Assistants None
Work Placement(s) No

Recommended or Required Reading
Resources Academic ethics Ibn Haldun University is very strict on academic ethics. Cheating on quizzes or exams will cause you to flunk at least that exam. If it appears that such cheating was premeditated and prepared in advance, you are likely to flunk the whole course, and also to be taken before the Disciplinary Board. Plagiarism, which basically means intellectual stealing, will also be dealt with in stringent fashion. Every assignment, response paper or essay that you submit should be an original piece of writing, presenting your own ideas in your own words unless otherwise noted. Everything you borrow from books, articles, visual materials or the internet(including those in the syllabus or the course web site) should be properly cited. Copying-and-pasting is absolutely taboo. On the other side of the coin, you are free to use sources outside of the course materials as long as you reference them. You are also free (in fact, encouraged) to discuss your papers and research ideas with othe
The University has seen it fit to introduce the following revised, updated version of the IHU Code of Honor, to be duly certified by students on their exam papers: As part of the pride I take in being an IHU undergraduate, I fully recognize and accept that academic ethics has always been much more a matter of individual responsibility than of institutional control. I also understand that we are living under very exceptional circumstances, which necessitate a further shift from the usual proctoring mechanisms to a personal, internalized code of conduct. In particular, I know that online or take-home exams admit of using any and all published or internet sources  -- but not in copy-paste fashion, and certainly not of receiving any personal help. I hereby declare that I have not so much as consulted anybody else  -- whether from my class, or from elsewhere at IHU, or from outside the university  -- while doing this exam, and that the following represents only and only my own words and my
Other class norms and expectations * Attendance is mandatory. Over 14 weeks, each 2 absences will result in a one-notch decrease in your letter grade (from A to A-, or from B+ to B, etc). * In the course of online teaching, your laptop camera must be open and your face visible at all times. * Again in the course of online teaching, you must make sure beforehand that there will be no background noise or interference of any kind. * You may use your laptops or cell phones in class purely for academic purposes (such as taking notes, writing short essays, or looking up information on the internet). * Deadlines are deadlines. Late submission will result in a 5 percent cut per day for the first five days. After five days, it will no longer be acceptable. * Medical excuses: These are notoriously misused. Try to control yourself against the impulse to obtain a one-day report for “headache” or “tension” or “diarrhea” simply in order to put off a response paper or presentation. Such transparent
Study tips As mature young men and women, you should not have to be told all this, but I will say it anyway. * You are full-time students. This is your principal business, occupation, and vocation. So get organized, steer clear of unproductive distractions, and concentrate. * In terms of subject matter, HUM 406 is likely to cover ground that you are probably least familiar with. You will have to pay extra attention to visuality above all, and then also to factography and chronology. * Prepare on time. Come to class having studied gthe visuals, the films, and the readings for that week. This is where Turkish student culture is at its weakest: students expect the instructor to just lecture and explain everything, so that they don’t really have to read. Forget it. Make a clean and absolute surgical break with this backward notion. You yourselves will have to explain and discuss the main materials that have been assigned. * Learning begins in class, and not afterwards. Devel
Contact information

Instructor: Prof. Halil Berktay
E-mail: halil.berktay@ihu.edu.tr, halil.berktay@emeritus.sabanciuniv.edu
(please use both)
Office: İTBF, Z-51
Class hours: Wednesday 17-20, with possible extensions for film showings
Classroom:
Office hours (under online conditions): Subject to appointment by email

Course prerequisites

SPS 101-102, HUM 101-102

Learning resources

(a) All works listed under each week (as well as many others in an additional and supplementary role) are available in electronically scanned pdf format, organized into the following separate folders, on the course web site.

Folder 00.The Twentieth Century – An Overview
Folder 01.WWI in European art and Literature
Folder 01a.WWI and its aftermath in Turkish art and literature
Folder 02.Revolution and Civil War in Russia
Folder 03.The Interwar Years and the Great Depression
Folder 04.Fascism and Nazism
Folder 05.Stalin and the Soviet Union
Folder 05a.David King, The Commissar Vanishes
Folder 06.Axis aggression and the Spanish Civil War
Folder 07.WWII in world and Turkish art and literature


Folder 08.Occupation, Collaboration, Resistance
Folder 09.Genocide
Folder 09a.The Warsaw Ghetto
Folder 10.The Cold War
Folder 11.Postwar Communism
Folder 11a.Chinese propaganda posters from the Mao era
Folder 12.Decolonization, anti-imperialism, and the Cold War in the Third World
Folder 13.China, Korea, Vietnam
Folder 14a.The Middle East
Folder 14b.Latin America

(b) All films listed below are also accessible on the course web site, as well as generally available on the internet.

8-16 May 2021
Spring Vacation and Bayram combined

MIDTERM EXAM
11-12-13 May
takehome
48 or 72 hours
covering weeks 1-9

FINAL EXAM
18-19-20 June
takehome
48 or 72 hours
covering weeks 8-14

https://canvas.ihu.edu.tr/
https://canvas.ihu.edu.tr/
https://canvas.ihu.edu.tr/

Course Category
Social Sciences %100

Planned Learning Activities and Teaching Methods
Activities are given in detail in the section of "Assessment Methods and Criteria" and "Workload Calculation"

Assessment Methods and Criteria
In-Term Studies Quantity Percentage
Mid-terms 1 % 30
Quizzes 6 % 30
Attendance 1 % 10
Final examination 1 % 30
Total
9
% 100

 
ECTS Allocated Based on Student Workload
Activities Quantity Duration Total Work Load
Course Duration 3 0 0
Mid-terms 7 0 0
Final examination 1 0 0
Total Work Load   Number of ECTS Credits 0 0

Course Learning Outcomes: Upon the successful completion of this course, students will be able to:
NoLearning Outcomes
1 * understanding how to study art and literature in its proper historical context * applying this basic understanding to “getting inside” a particular society through its art and literature * constructing bibliographies to undertake “journeys in time,” through the art and literature to be studied, to the historical situations behind them
2 * appreciating that history is not just a list of events, nor a bunch of words on paper, but is an intricate and fragile fabric of human lives, often written in blood * appreciating (and being able to argue) how there can be no real historical understanding without art and literature
3 * developing a high degree of emotional intelligence so as to “feel” the fear, the horror, the anxiety, the pain, the suffering… and to imagine what it may have been like to live through all that * analyzing (comparing and contrasting) the different outlooks and values involved in the various agencies involved in these complex historical and artistic situations
4 * critiqueing the standpoints of these various explicit or implicit actors * selecting your own moral and existential standpoint, and justifying it * developing a sense of 20th century citizenship * developing a sense of human empathy with the 20th century


Weekly Detailed Course Contents
WeekTopicsStudy MaterialsMaterials
1 World War I 24 Feb 2021 Primary works 01.21.Christopher Nevinson, three paintings 01.32.Wilfred Owen.Dulce et decorum est 01.33.A. E. Housman, Epitaph on an Army of Mercenaries 01.34.Hugh MacDiarmid. Another epitaph on an army of mercenaries 01.36.Ezra Pound.Sestina, Altaforte 01.41.Erich Maria Remarque, All Quiet on the Western Front 01.51.WWI propaganda posters Secondary sources 01.52.Toby Clark, 4 Propaganda at War (from Art and Propaganda in the Twentieth Century, 102-123) 01.53.Sergiusz Michalski, 3 Memorials to the Great War (77-92), in Public Monuments.Art in Political Bondage 1870-1997) Films Paths of Glory, Stanley Kubrick. All Quiet on the Western Front, Lewis Milestone. Gallipoli, Peter Weir. 1917, Sam Mendes.
2 Revolution and Civil War in Russia 3 March 2021 Primary works 02.21.Sergei Ivanov, Exchange of fire (1905) 02.22.Ilya Repin.Demonstration on 17 October 1905 (1907-1911) 02.31.Boris Kustodiev, The Bolshevik (1920) 02.32.Aleksandr Deyneka.Interrogation of Communists at White Army Headquarters (1933) 02.33.Kazimir Malevich, Red Cavalry (1928-32) 02.41.Nâzım Hikmet, Salkımsöğüt 02.61.Mayakovsky. Selected Poems 02.62.Mayakovsky.Past One O'clock Secondary sources 02.22a.(compare) Eugene Délacroix, Liberty Leading the People 02.63.Two different endings for Mustafa Kemal's Tenth Anniversary speech (1933) 02.71.Edward Penny, The Death of General Wolfe (1763, detail) 02.72.Benjamin West, The Death of General Wolfe (1770) Films Battleship Potemkin, Sergei Eisenstein. October [Ten Days That shook the World], Sergei Eisenstein. Reds, Warren Beatty. Doctor Zhivago, David Lean.
3 The Interwar Years and the Great Depression 10 March 2021 Primary works 03.15.Five images for the Interwar Years 03.16.The construction of the Empire State building in 1930 03.20.Paintings about Weimar, and the Rise of Fascism and Nazism 03.22.George Grosz, The Pillars of Society (1926) 03.23.Dorothea Lange, selected Great Depression photographs 03.24.Isaac Soyer, Employment Agency (1937) 03.25.The Failed Artist 03.31.Brecht, Concerning Poor B.B. 03.32.Brecht, Concerning the infanticide, Marie Farrar 03.41.W.H.Auden.The Unknown Citizen 03.43.Orhan Veli.Kitabe-i Seng-i Mezar 03.71a.Nazım Hikmet.835 Satır'dan, O Duvar (166-171) 03.71b.Nazım Hikmet.That wall (trans.Halil Berktay) 03.81.Ernest Hemingway, The Revolutionist (157-158) 03.82.Ernest Hemingway, Banal Story (360-362) Secondary sources 03.91.Toby Clark, front pages + Introduction (7-15) to Art and Propaganda in the Twentieth Century 03.92.Toby Clark, Ch 1 Revolution, Reform, and Modernity 1900-1939 (16-45) 03.93.Sergiusz Michalski, front pages + Preface (7-11) for Public Monuments.Art in Political Bondage 1870-1997) Films 1900 (Novecento), Bernardo Bertolucci. Grapes of Wrath, John Ford (1940). The Remains of the Day, James Ivory.
4 Fascism and Nazism 17 March 2021 Primary works 04.11.George Grosz, The Pillars of Society (1926) 04.12.Otto Dix, The Seven Deadly Sins (1933) 04.13.Marc Chagall, White Crucifixion (1938) 04.21.Ernest Hemingway, Che ti dice la patria (290-299) 04.22.Ezra Pound.Sestina, Altaforte 04.23.Carmina Burana lyrics (Carl Orff, 1935) 04.31.Brecht, Germany, pale mother 04.33.Brecht, The Burning of Books 04.38.Brecht, What did the soldier's wife receive 04.61.Images of the Metropolis, c.1900 04.62.The Futurist Manifesto, 1909 (full text) 04.65.Gino Severini, Visual Synthesis of the Idea 'War' (HB, MoMA, 2013-03-23 13.46.14) 04.66.Boccioni on war (HB, MoMA, 2013-03-23 13.50.30) 04.67.Boccioni and Dix on WWI Secondary sources 04.01.Hitler's 1938 Rome visit (general Fascism & Nazism image for 1930-39; Pictorial History, 146-7 04.03.Selected photographs on the rise of German Nazism 04.04.Photographs for Hitler and Nazi Germany (from Richard Overy, The Dictators) 04.05.Franz Krieger's 1940s photograph album (how it was identified) 04.51.Toby Clark, 2 Art, Propaganda, and Fascism (pp 46-71 in Art and Propaganda in the Twentieth Century) 04.52.Sergiusz Michalski, 4 The Nazi Monuments (pp 93-106 in Public Monuments.Art in Political Bondage 1870-1997) 04.101.Friedrich Engels.The gens among the Celts and Germans. The formation of the state among the Germans 04.102.Heinrich von Treitschke.Politics 04.201.Victor Klemperer, I will bear witness (vol I, 1933-1941).Preface by Martin Chalmers (vii-xxii) Films Julia, Fred Zinnemann. To Kill A Mockingbird, Robert Mulligan. The Triumph of the Will, Leni Riefenstahl. The Shop on Main Street, Elmar Klos.
5 Stalin and the Soviet Union 24 March 2021 Primary works 05.12.Nikolai Getman.(new prisoners just off the train; compare w Auschwitz) 05.13.Nikolai Getman.Selected paintings from the Gulag 05.21.Mayakovsky. Selected Poems 05.22.Anna Akhmatova, Requiem (1935-40) 05.24.Arthur Koestler, Darkness at Noon (1940) 05.26.Alexander Solzhenitsyn, One Day in the Life of Ivan Denisovich (1962; full text) Folder 05a.David King, The Commissar Vanishes (selected photographs) Secondary sources 05.04.Photographs for Stalin and the Soviet Union (From Richard Overy, The Dictators) 05.31.NKVD's prison mugshots for Vsevolod Meyerhold, 1940 (p 115) 05.41.The Comintern's 21 conditions 05.42.The Molotov-Ribbentrop Pact and its Secret Protocol 05.51.Toby Clark, 3 Propaganda in the Communist State (pp 72-101 in Art and Propaganda in the Twentieth Century) 05.52.Sergiusz Michalski, 5 The Communist Pantheon (pp 107-153 in Public Monuments.Art in Political Bondage 1870-1997) 05.62.Tony Judt, The Last Romantic (critique of Hobsbawm; NYRB 20 November 2003) 05.63.Anne Applebaum, The Worst of the Madness ( NYRB 11 November 2010) Films Kisvilma, Marta Mezsaros. One Day in the Life of Ivan Denisovich, Caspar Wrede.
6 Axis aggression and the Spanish Civil War 31 March 2021 Primary works 06.21a.Los cuatro generales 06.21b.Les Quatre Généraux 06.22.Pablo Picasso, Guernica (1937) 06.42b.Pablo Neruda, 'A Few Things Explained' (Ben Belitt ed., Selected Poems of Pablo Neruda, 108-113 06.81.Ernest Hemingway, For Whom the Bell Tolls 06.82.Ernest Hemingway, Old Man at the Bridge (78-80) Secondary sources 06.83.George Orwell, Homage to Catalonia (1938) Films 06.91.La Guerre est finie (1966) Alain Resnais Land and Freedom, Ken Loach. For Whom the Bell Tolls, Sam Wood (1943). Black Sun: The Nanking Massacre, Mou Tun Fei. Don’t Cry, Nanking (Nanking 1937), Wu Ziniu (1955). The Flowers of War, Zhang Yimou. City of Life and Death, Lu Chuan. John Rabe, Florian Gallenberger.
7 World War II 7 April 2021 Primary works 07.011.W.H.Auden.September 1, 1939 07.012.Louis Aragon, Les lilas et les roses 07.031.Three paintings on WWII (Salvador Dali, Roy Lichtenstein, Renaldo Guttuso) 07.032.Iri and Toshi Maruki, Fire (on Hiroshima and Nagasaki) 07.034.Three images for the end of WWII 07.103.Orhan Veli.Harbe Giden 07.104.Orhan Veli.Bizim Gibi 07.105.Orhan Veli.Tereyağı 07.106.Orhan Veli.Gangster 07.107.Orhan Veli.Bayrak 07.213.Nâzım Hikmet, MİM 446-468 (Moskova muharebesi, partizan kız, Gabriel Peri) 07.213a.Nâzım, HLMC 362-403 (U-boats, Ivan, the Battle of Moscow, Zoe-Tanya, Gabriel Peri) Secondary sources 07.301.Toby Clark, 4 Propaganda at War (from Art and Propaganda in the Twentieth Century, 102-123) 07.313a.Statues of the Panfilov Heroes (from Braithwaite, Moscow 1941) 07.313b.The Panfilov Heroes, truth and legend (Braithwaite, 266-269) 07.313c.Volokolamsk Highway (wiki) 07.313d.Zoya led to execution (from Braithwaite, Moscow 1941) 07.313e.Zoya Kosmodemyanskaya, a true story (Braithwaite 280-284) Films Closely Watched Trains, Jiri Menzel. Ivan’s Childhood, Andrei Tarkovsky. Kanal, Andrzej Wajda. Enemy at the Gates, Jean-Jacques Annaud. Rome: Open City, Roberto Rossellini. Dunkirk, Christopher Nolan.
8 Occupation, Collaboration, Resistance 14 April 2021 Primary works 08.022.Louis Aragon, Richard II Quarante 08.023.Paul Eluard, Couvre-feu 08.023a.Paul Eluard, Karartma (Sabahattin Eyüboğlu çevirisi) 08.025.Paul Eluard, Liberté 08.025a.Paul Eluard, Liberty 08.025b.Paul Eluard, Hürriyet (Melih Cevdet ve Orhan Veli çevirisi) Secondary sources 08.042.Stevan Filipovic and other images of the Yugoslav resistance 08.302.Mark Mazower.Ch 3 The Famine (Inside Hitler's Greece, pp 23-52) Films Army of Shadows, Jean-Pierre Melville. Battle of Sutjeska, Stipe Delic. The Battle of Neretva Bridge, Veljko Bulajic.
9 Genocide 21 April 2021 Primary works 09.01.Felix Nussbaum, Self-portrait with Jewish passport 09.02.David Olére, The food of the dead for the living 09.03.R. B. Kitaj, If not, not Secondary sources 09.11.Scenes from Auschwitz 09.21.Part of Sector B II in the Birkenau camp (from Auschwitz, the Residence of Death,2003, p 30) 09.22.Triple photos of prisoners (Auschwitz, 2003, p 35) 09.23.The railroad spur and ramp for new arrivals (Auschwitz, 2003, p 47) 09.24.Arrival and selection on the ramp (Auschwitz, 2003, p 49) 09.25.The road to the gas chambers (Auschwitz, 2003, p 53) 09.26.Women and children being led to the gas chambers and crematoria IV-V (Auschwitz, 2003, p 52) 09.27.Women with children on their way to death (Auschwitz, 2003, p 65) 09.28.SS photo, 1944 - waiting for death in the Crematoria IV and V gas chambers (Auschwitz, 2003, p 68) 09.29.From the camp commandant's memoirs (Auschwitz, 2003, p 60) 09.30.From the illegal notebook of the Jewish prisoner Leib Langfus 1 (Auschwitz, 2003, p 56) 09.31.From the illegal notebook of the Jewish prisoner Leib Langfus 2 (Auschwitz, 2003, p 57) 09.32.From a report written by the Polish escapee Jerzy Tabeau (Auschwitz, 2003, p 58) 09.34.Zalmen Lewental`s manuscript as discovered in 1962 (Auschwitz, 2003, p 67 09.35.Plundered remains (Auschwitz, 2003, p 81) 09.071.Michalski, Public Monuments Ch 6 In quest of a new heroic form (154-71) 09.072.Michalski, Public Monuments Ch 7 Invisibility and inversion (172-189) Folder 09a.The Warsaw Ghetto Films Schindler’s List, Steven Spielberg. The Pianist, Roman Polanski. Sophie’s Choice, Alan J. Pakula. The Boy in the Striped Pyjamas, Mark Herman.
10 The Cold War 28 April 2021 Primary works John le Carré, The Spy Who Came in from the Cold (1963) John le Carré, Tinker, Tailor, Soldier, Spy (1974) John le Carré, The Honourable Schoolboy (1977) John le Carré, Smiley’s People (1979) Secondary sources Folder 10.[context folder] The Cold War Films Dr Strangelove, Stanley Kubrick. The Complete Smiley – The Karla Trilogy (BBC TV series with Alec Guinness)
11 Postwar Communism 5 May 2021 Primary works 11.031.Brecht, Thoughts concerning the duration of exile 11.032.Brecht, The Return 11.033.Brecht, To Posterity 11.034.Brecht, Die Lösung (Çözüm, The Solution) 11.102.Nâzım Hikmet, Lehistan Mektubu (1954 - Yeni Şiirler, 29-34) 11.103.Nâzım Hikmet, Macaristan Notları (1954 - Yeni Şiirler, 38-41) 11.104.Nâzım Hikmet, Macar Toprağı (1954 - Yeni Şiirler, 42-43) 11.114.Nâzım Hikmet, Saman Sarısı (1961 - Son Şiirleri, 69-82) 11.115.Nâzım Hikmet, Havana Röportajı (1961 - Son Şiirleri, 83-94 11.117.Nâzım Hikmet, taştandı tunçtandı alçıdandı kâattandı [Stalin üzerine] (1961 - Son Şiirleri, 105) 11.120.Nâzım Hikmet, Romanya'ya Dair Lirik Röportaj (1962 - Son Şiirleri, 141-143) 11.122.Nâzım Hikmet, Özlem [Macaristan] (1963 - Son Şiirleri, 179) Secondary sources 11.011.Introduction.Gerö & Petö, Unfinished Socialism.Pictures from the Kadar Era (CEU 1999), 3-12 11.012.After the Revolution [of 1956].Gerö & Petö (CEU 1999), 15-24 11.013.31st July 1973 Simferopol summit meeting.Gerö & Petö (CEU 1999), 34-5 11.014.Kadar with other Communist leaders.Gerö & Petö (CEU 1999), 33) 11.015.After the hunt (Kadar among slain pheasants).Gerö & Petö (CEU 1999), 37 11.016.May 1, 1957 slogans and party rallies.Gerö & Petö (CEU 1999), 58 11.017.A Stakhanovite (Labor Hero).Gerö & Petö (CEU 1999) 11.018.A Soviet WWII veteran.Gerö & Petö (CEU 1999) 11.019.The régime's last days.Gerö & Petö (CEU 1999) Folder 11a.Chinese propaganda posters from the Mao era Films Man of Marble, Andrzej Wajda (1976). Man of Iron, Andrzej Wajda (1981). Danton, Andrzej Wajda (1983). Angi Vera (Vera’s Training), Pal Gabor (1978). The Confession, Costa Gavras.
12 Decolonization and the Cold War in the Third World 19 May 2021 Primary works 12.011.Diego Rivera, The History of Mexico (1929-35 fresco) 12.012.Luc Tuymans, Lumumba (2000 painting) 12.013.Harry Holland, Steve Biko (1986 painting of the 1977 murder) 12.101.Neruda, Canto General (2000), Contents & Introduction (i-xvii, 1-12) 12.102.Neruda, CG (2000), Notes to Introduction (401-402) 12.103.Neruda, CG (2000).Vegetation, beasts, birds, rivers, minerals (13-23) 12.103a.Pablo Neruda, 'Some Beasts' (Ben Belitt, Selected Poems of PN, 118-21) 12.104.Neruda, CG (2000), The Conquistadors, beginning (43-7) 12.107.Neruda, CG (2000), Lima procession; US companies (175-84) 12.107a.Pablo Neruda, 'The United Fruit Co' (Ben Belitt, Selected Poems of PN, 148-51) 12.121.Neruda, The Heights of Macchu Picchu (1966), Parts I-V (1-19) 12.122.Neruda, THMP, Parts VII-XII (31-71) Secondary sources 12.01.The Fall and Rise of Empires, Asia 1945 to the present (THW ch 18, 232-3) 12.02.The Fall of Empires, Africa 1945 to the present (THW ch 19, 234-235) 12.301.Michalski, Public Monuments Ch 8 Public monuments in the Third World (190-200) Films The Battle of Algiers, Gillo Pontecorvo. Indochine, Regis Wagnier. Gandhi, Richard Attenborough.
13 China, Korea, Vietnam 26 May 2021 Primary works 13.01.Opening images for Vietnam 13.02.Peter Saul, Saigon (1967 painting) Folder 11a.Chinese propaganda posters from the Mao era Secondary sources 13.31.(see) Maps 12-13, 15 (from II.The Outbreak of the Cold War; John Swift, Historical Atlas of the Cold War) 13.41.The Chinese Civil War and Korea 1949-53 (Times History of War ch 17, 230-231) 13.52.Vietnam.Indochina at War, 1945-75 (Times History of War ch 23, 242-243) Films Apocalypse Now, Francis Ford Coppola. The Platoon, Oliver stone. Full Metal Jacket, Stanley Kubrick.
14 The Balkans, the Middle East, and Latin America 2 June 2021 Primary works 14a.01.Opening images for the Middle East 011.01.Opening images for Latin America Secondary sources 14a.31.Arab-Israeli Wars 1945 to the present (Times History of War ch 20, 236-237) 14a.32.Gulf Wars 1980-2003 (Times History of War ch 26, 248-249) 14a.51.(1948) 1st Arab-Israeli War (20th Century Pictorial History, 267-72) 14a.52.(1956) 2nd Arab-Israeli War & the Suez Crisis (20th Century Pictorial History, 317-22) 14a.53.(1967) 3rd Arab-Israeli [Six Days'] War (20th Century Pictorial History, 389-94) 14a.54.(1973) 4th Arab-Israeli [Yom Kippur] War (20th Century Pictorial History, 427-32) Films The Official Story, Luis Puenzo. Before the Rain, Milcho Mancheski. Omar, Hany Abu-Assad. The Hurt Locker, Kathryn Bigelow.


Contribution of Learning Outcomes to Programme Outcomes
P1 P2 P3 P4 P5 P6 P7 P8 P9 P10 P11 P12 P13
C1
C2
C3
C4

Contribution: 1: Very Slight 2:Slight 3:Moderate 4:Significant 5:Very Significant


https://obs.ihu.edu.tr/oibs/bologna/progCourseDetails.aspx?curCourse=210091&lang=en