| Extraordinary “Seven Weapons” in the Epics of Turkic World | Abdulselam ARVAS | 5–16 |
| The Comparison of a Folk Narrative: Shahmaran and the Mistress of the Copper Mountain | Shalala RAMAZANOVA, Erdoğan ALTINKAYNAK, Ayşe MERCAN | 17–26 |
| Causes Salur Kazan Kills | Evrim ULUSAN ÖZTÜRKMEN, Çiğdem KARA | 27–38 |
| The Mourning Tradition in The Timurids | Mehibe ŞAHBAZ, Hasan TAŞKIRAN | 39–49 |
| Gazel-Gazelhane Tradition in and around Erzurum | Ahmet FEYZİ, Hasan Tahsin SÜMBÜLLÜ | 50–67 |
| Kul Shadi and his Turkish Folk Song with Greek Letters | Perihan KAYA TOKBUDAK | 68–78 |
| Tuvan Throat Singing: Höömey | Uğur ALTUNDAŞ | 79–91 |
| From Myth to Cinema and Olympos to Hollywood: The Migration of the Gods in the Context of Semiotics | Kağan GARİPER | 92–105 |
| The Analysis of Anecdotes of Nasreddin Hodja in The Context of the Concepts Crime and Punishment | Ebru ŞENOCAK, Ferhat ÖZMEN | 106–118 |
| Folk Theater “Tuluat” Under the Influence of Westernization | Hilal KARAVAR | 119–130 |
| An Examination on the Interpretation of Tradition in Fashion Design and Constituting National Fashion Identity | Ülker TATLIDİL, Yüksel ŞAHİN | 131–144 |
| Bride’s Sash: Is it a Virginity Sash or an Abundance Sash? | Emine ÇAKIR | 145–158 |
| An Epistemological Analysis of Folklore that Affects The Development of Success Culture | Handan AYDIN KASIMOĞLU, Ayaz Yusuf ALTIN, Murat KASIMOĞLU | 159–171 |
| An Ornamented Village Chamber: Hacıların Chamber in Selçikler | Elif GÜRSOY | 172–181 |
| Cultural Practices and Semi-Nomadic Life Style in Hasanpasa (Tefenni) Village | Evren EKİZ, Hakkı YAZICI | 182–199 |