| GÜNÜMÜZ OKULLARINDA AKSİYOLOJİK MODELİ KULLANARAK EDEBİYAT DERSLERİNİN KURULUŞU MESELESİ: GENELEKSELDEN YENİLİKLERE | Golikova Guzel AZGAROVNA,Motigullina Alfia RUHULLOVNA,Zamalieva Luiza FIRDUSOVNA | 387–394 |
| GLOBAL CULTURE FOR THE GLOBAL WORLD: POSTMODERNISM | Tijen ZEYBEK | 395–408 |
| Marketing Communication, Freight Transportation, Website | ADNAN DUYGUN,Serdar ALNIPAK | 409–417 |
| GELENEKSEL TÜRK EVLERİNDE İÇ MEKÂN TASARIMI: KIBRIS XIX. YÜZYIL EVLERİ ÖRNEKLEMESİ | Zihni TURKAN | 418–426 |
| AN OVERVIEW TO KARDELEN FINCANCI, NEZAKET EKICI AND TUNC ALI CAM'S PERFORMATIVE ARTWORKS WITH THE CONCEPTS OF GILLES DELEUZE AND BARUCH SPINOZA | V. Itır DEMİR | 427–437 |
| AN OVERVIEW TO KARDELEN FINCANCI, NEZAKET EKICI AND TUNC ALI CAM'S PERFORMATIVE ARTWORKS WITH THE CONCEPTS OF GILLES DELEUZE AND BARUCH SPINOZA | V. Itır DEMİR | 427–437 |
| AN APPLICATION FROM THINK TO 3 DIMENSIONAL DESIGN: TO WEAR THE SCULPTURE | ÖNDER YAĞMUR | 438–445 |
| REAL TIME RENDERING VISUAL EFFECTS IN FILM:VISUAL EFFECTS PRODUCTION WITH UNITY GAME ENGINE | YÜCE SAYILGAN | 446–453 |
| DISCIPLINARY DESIGN COOPERATION AND GRAPHIC DESIGN IN DISPLAY DESIGN LOCATION IN THIS COOPERATION | CİHAN AYBAY | 454–461 |
| SPACE IN MAX ERNST PAINTINGS | Mehmet SARİLER,Huriye GÜRDALLI | 463–474 |
| CULTURAL ENCOUNTERS: HYBRID MUSICS | Güliz ULUÇ,Bilal SÜSLÜ | 475–487 |
| OBJECT IN INSTALLATION ART: CANCELLATION OF THE FUNCTION AND DIRECT TRANSFER OF THE STORY | BURHAN YILMAZ | 488–494 |
| KUZEY KIBRIS'TA MATBAACILIĞIN GELİŞİMİ VE MODERNLEŞME | Eser KEÇECI | 495–505 |
| ISSUES FOR WORKING WOMAN FROM WEAVING WOMEN TO NEW CINEMA IN THE TURKISH CINEMA: EXAMPLE OF ZERRE FILM | Tuğba ELMACI | 506–520 |
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