| Ben Charles'in annesiyim | Hamit SUNEL | 15–28 |
| L' autobiographie dans les oeuvres romanesques de marguerite duras | Roxaneh NAGHSHİ | 51–58 |
| Un barrage contre le pacifique by duras: A fundamental work or the original overlapping of reality and fiction | Hamida DRISSI | 59–67 |
| Marguerite Duras: The masked Queen | Tuğrul İNAL | 69–75 |
| Nurullah Ataç Üzerine | Mustafa CANPOLAT | 79–86 |
| An essay on Ataç | Özkan GÖKSU | 87–94 |
| The language reform in Turkey | Tahsin YÜCEL | 97–107 |
| Galata ve Pera kendini anlatır İlhan Berk'e | Kemal ÖZMEN | 109–123 |
| Benim Adım Kırmızı - Writer-translator-reader | Mümtaz KAYA, Tanju İNAL | 125–137 |
| Müzik örneğinde dil, üstdil, yaratıcı üstdil | Burhan GÜNEL | 139–145 |
| "Efendi ile Köle İlişkisi" ya da bir yazınsal malzemenin felsefi bir kurama dönüşümü | Onur Bilge KULA | 147–158 |
| Yazında "Dekonstrüksiyon" kavramı | Oktay SAYDAM | 159–171 |
| Benzerini yapma | Kubilay AKTULUM | 173–184 |
| Felsefe ile deneme | Ahmet İNAM | 185–189 |
| Yaratılış söylencelerinde yumurta öğesine karşılaştırmalı bir yaklaşım | Arzu YETİM, Medine SİVRİ | 191–202 |
| From the slave good savage to the runaway slave: A few thoghts on the image of slaves in French and carribbean litérature | Arzu İLDEM ETENSEL | 203–211 |
| Diderot Freud's precursor? | Claude-Alain CHEVALLIER | 213–227 |
| French and Turkish women writers in the XIXth Century | Jale ERLAT | 229–257 |
| Medievals fascinations: Berent and Hugo | Ewa M. WIERZBOWSKA | 259–267 |
| The unknown Masterpiece and Balzac's realizm | H. Necmi ÖZTÜRK | 269–277 |
| Semiotic analysis of a dialogue from Hérodias by Gustave Flaubert | Buket ALTINBÜKEN | 279–288 |
| Düzyazı şiirin doğuşunu muştulayan bir başyapıt: Gaspard de la Nuit | Abidin EMRE | 289–296 |
| An esthetic of the open-close and the circular in J. Giraudoux's Electre and E. Ionesco's Tueur Sans Gages | Angélique CONFİDOU | 297–305 |
| Paul Claudel: Traveller-diplomat and the Middle Kingdom | Efstratia OKTAPODA | 307–318 |
| Alain-Fournier's le Grand Meaulnes Multifaceted Novel | Ljiljana MATİC | 319–333 |
| Camus: Yabancı'nın dört çevirisi ve mizahi öğelerin çevirilebilirliği | Nazik GÖKTAŞ | 335–351 |
| Ionesco tiyatrosunda uzamın fantastik yönü | Aydın ERTEKİN | 353–364 |
| To write very close to human | Béatrice LIBERT | 365–375 |
| Syntaxe as a principal place manifaste changes in the political discourse | Joanna-Jereczek LİPİNNSKA | 377–386 |
| The Romanian spirituality and the universal values treasure | Lelia TROCAN | 387–392 |
| The Chronotope in the science-fiction: A few remarks about relations of time and space in the science-fiction | Katarzyna GADOMSKA | 393–402 |
| Michel Houellebecq: An Antimodern Modernist | Marek Mosakowski | 403–412 |
| Surrealist writing and account of oneself | Jean-Michel DEVESA | 413–423 |
| The gaze as an identity forming element in Marie Darrieussecq's pig tales | Katarzyna KOTOWSKA | 425–434 |
| Huckleberry Finn'in Maceraları'nda gerçekçi öğeler ve romantizmin eleştirisi | Abdulhalim AYDIN | 435–445 |
| The demise of the ottoman empire according to the Turcs of bertrand bareilles | Gülser ÇETİN | 447–456 |