| A DRAMATIC READING OF BAUDELAIRE (XIV) Symphonic Poetry (VII) For a “genre” of poetry-theatre The Empathy Method | Tuğrul İNAL | 1–13 |
| USAGE OF THE IMPERATIVE IN BAUDELAIRE: TO DESCRIBE THE LANGUAGE OF POETRY IN CONTEXT RELATIONAL PROCESSING | Yavuz KIZILÇİM | 29–45 |
| THE APPARITION OF SPLEEN IN BAUDELAIRE’S AND MEHMED RAUF’S POEMS | Nedim KULA | 47–57 |
| NEDİM GÜRSEL’S LITERARY JOURNEY | S. Seza YILANCIOĞLU | 59–66 |
| FROM NEDİM GÜRSEL’S THE VISUALS THROUGH PICTORIAL WORLD TO TIMOUR MUHİDİNE’S THE TURBANS OF VENICE : A DESCRIPTIVE ANALYSIS OF THE TRANSLATION OF CULTURAL FEATURES | Tanju İNAL, Mümtaz KAYA | 79–96 |
| A JOURNEY THROUGH NEDİM GÜRSEL’S STORIES IN THE TEHLİKELİ SEVİŞMELER | Hâle SEVAL | 111–115 |
| A DRAMATIC READING OF NEDİM GÜRSEL For a “genre” of poetry-theatre The Empathy Method | Tuğrul İNAL | 117–127 |
| VICTOR HUGO’S LES MISERABLES AS A SENTIMENTAL NOVEL | Aleksandra BOGUSŁAWSKA | 143–148 |
| PROGRESS AND BECOMING IN THE ROAN HORSE OR HUMAN INTENTIONS BY ELSA TRIOLET | Graziella-Foteini CASTELLANOU | 149–158 |
| A COMPARATIVE READING FROM SPHOCLES TO ANOUILH: ANTIGONE | Beki HALEVA | 159–172 |
| THEATRE, TRANSLATION AND AESTHETICS | Emine BOGENÇ DEMİREL, Kerem DEMIRTAŞ | 173–187 |
| DIFFERENT INTERPRETATIONS AND PRESENTATIONS | A. Şirin OKYAYUZ | 189–206 |
| WRITERS OF THE FRENCH LANGUAGE, WRITERS OF THE WORLD | Georges FRÉRIS | 207–213 |
| ON TIPTOES MARIE KRYSINSKA’S MASTERY OF FORM | Ewa M. WİERZBOWSKA | 215–224 |
| GAËTAN BRULOTTE, THE NOVELIST OF THE «PSYCHOPATHOLOGY OF DAILY LIFE» | Ljiljana MATIĆ | 225–228 |