Best Trig teacher. Doesn't try to confuse you. Instead makes sure everyone understands the basics/fundamentals in order to move on to more challenging problems.

Study guides are 10 points and you should do them so it can be 10 extra points on your sınav. I would take this class again since she gives out lots of extra credit.

All homework are done online, and her class might be too. You'll literally learn more from the site than from her. But notes are allowed for midterms and final.

I was derece a fan of her lectures, they didn't always make sense and she made mistakes regularly. Class was completely on computer which was great, the homework through the online textbook provided step by step instructions on problems. I really liked that the "lab" section was on excel and had very clear instructions

she is an amazing professor. Her lectures are precise. she also puts the lectures on blackboard making it accessible for students to refer the lectures when needed.

This project will treat the directors' playful appropriations of masculinities and heterosexualities in their narrative agendas, birli significant objects that resists – via allegory, exposure, estrangement and ambivalence – the contemporary politics of identification with gender and nation in Turkey. In this regard, depictions of family relations and home play a central role in our case studies. The urban/rural landscape and interior spaces act as microcosms of nation and home in the directors' cinematic agenda. This study will contain in-depth readings of Ceylan's Three Monkeys (2008), YiÄŸitlik's YaÅŸam Var (2008) and Unal's Golgesizler (2009). We claim that these three films offer a comparative framework that presents effectively the recent change in the critical pattern of alternative filmmaking in Turkey and trigger possibilities for understanding the gender-specific peculiarities of the contemporary film practice. Yazgı Var proposes a leap from the ‘ambivalence in’ to ‘disruption to’ the gender order of the new cinema through its female protagonist, anything but a victim, living amongst the male impotency pervading her home. On the other hand, the male characters and the portrayal of the dysfunctional family in Three Monkeys promise more than the ‘revelation’ of a masculinity crisis birli the film associates it with the crisis in family and at home(land) in which crime, lies and violence become a distinctive part of the daily life of the family members who chose derece to see, hear or speak. Golgesizler, which discusses the issues of existence and absence in the scene of a timeless village, proposes a style that distorts narrative structure and unites it with homeland allegory and self-reflexivity.

This project will treat the directors' playful appropriations of masculinities and heterosexualities in their narrative agendas, birli significant objects that resists – via allegory, exposure, estrangement and ambivalence – the contemporary politics of identification with gender and nation in Turkey. In this regard, depictions of family relations and home play a central role in our case studies. The urban/rural landscape and interior spaces act as microcosms of nation and home in the directors' cinematic agenda. This study will contain in-depth readings of Ceylan's Three Monkeys (2008), Erdem's Dirim Var (2008) and Unal's Golgesizler (2009). We claim that these three films offer a comparative framework that presents effectively the recent change in the critical pattern of alternative filmmaking in Turkey and trigger possibilities for understanding the gender-specific peculiarities of the contemporary film practice. Dirim Var proposes a leap from the ‘ambivalence in’ to ‘disruption to’ the gender order of the new cinema through its female protagonist, anything but a victim, living amongst the male impotency pervading her home. On the other hand, the male characters and the portrayal of the dysfunctional family in Three Monkeys promise more than the ‘revelation’ of a masculinity crisis bey the film associates it with the crisis in family and at home(land) in which crime, lies and violence become a distinctive part of the daily life of the family members who chose not to see, hear or speak. Golgesizler, which discusses the issues of existence and absence in the scene of a timeless village, proposes a style that distorts narrative structure and unites it with homeland allegory and self-reflexivity.

Bearing a cinematic function of instrumentality and exposing, one way or another, a close association between point of view and discursive authority in the films studied, the silent female representational form in the new cinema of Turkey is a cinematic symptom of the on-going struggle over the disrupted orders of gender, nation and national memory due to an increase in thus-far silenced or marginalized voices in Turkey. The silent form not only functions bey a cinematic instrument to reveal crises in hegemonic power positions, but also becomes a battleground within a struggle for (re)obtaining a position of discursive authority in the realms of gender, nation and past. The silent form in itself becomes an instrument on the discursive level, which enables a response to Turkey’s crises in these three interconnected realms in the post-1980s.

Drawing upon representative examples, different types of silence -silencing silence, resisting silence, complete silence and speaking silencein the new cinema are discussed on the verbal and visual levels. A close reading of the film Gemide (On Board) is drawn upon in order to reveal in detail the thematic and formal conventions of the most prevalent type, silencing silence.

Best teacher I've ever had. Her class is so easy and it made me learn. If you have difficult classes or just hamiÅŸ much time in your hands, take her. She's so funny. Homework kiÅŸi be a bit annoying considered how lax this class is.

Turkish cinema went through a significant process of change during the 1990s when a number of ris... more Turkish cinema went through a significant process of change during the 1990s when a number of rising directors began depicting the suffocations of marginalized people in low budget minimalistic films. The films of the period, canonized bey “New Turkish Cinema”, continually revolve around the issues of home (land) and belonging, and ‘reveal tensions, anxieties, and dilemmas around the questions of belonging, identity, and memory in contemporary Turkish society’ (Suner, 2010). In these films, home is hamiÅŸ the haven that it was in the earlier Turkish cinema, but is associated with trauma, violence and horror. The works of the directors of the New Turkish Cinema is thus often associated with the major accented themes of homelessness, home-seeking and/or homecomings, and the aesthetic emphases on claustrophobic interiors, urban landscapes and liminal spaces. Even though these directors cannot be considered bey diasporic or exilic, considering the political, economic and social climate of Turkey, their works might be taken kakım a critical response to the post-junta transition in the homeland. Home is often portrayed birli an uncanny figure, a locus of threat and horror (Suner, 2004; 2010) where ‘homelessness’ is a constant threat and/or the home is immersed in (mostly gender based) violence, crime and horror. This chapter aims to explore the shifting critical agendas özlem güçlü of contemporary Turkish cinema in the last decade. By focusing on the recent works of three auteur directors, Nuri Bilgili Ceylan, Reha Erdem and Umit Unal, we will discuss the representational dynamics of gender, home (land) and family which, we contend, are central conceptual tools to investigate their cinematic discourse of resistance against the dominant representational regimes within Turkish visual culture.

The tests are easy and lets you use 3 x 5 notecards, on final exam, she lets you use classnotes from your notebook. It is an easy A class if you show up, and definitely put in your 100% effort in practice problems!

The class was not too difficult, but Professor Guclu güç be very condescending when you do hamiÅŸ understand concepts. However, her lectures do prepare you for tests. Birli long as you do the homework and show up to class, you will get a good grade.

She's really an easy teacher. You don't really need to show up to class. To study for the tests the best way to do it is to use the handouts she gives in class (they might be on blackboard)