| SOCIETY MUSEUMS AND POLICIES TOWARDS INCREASING VISITOR DIVERSITY: THE CASE OF THE MUSEUM OF EUROPEAN AND MEDITERRANEAN CIVILIZATIONS (MUCEM) | Bahar AYKAN | 1–15 |
| WARP KNITTING AS TEXTILE DESIGN AREA | Başak ÖZKENDİRCİ | 17–30 |
| BRAGAGLİA, SUGİMOTO, ALMOND AND WESELY’S PHOTOGRAPHSIN CONNECTION WITH BERGSON’S TIME CONCEPT | Bülent ERUTKU | 31–43 |
| DECOSTRUCTION APPLY OF THE KNOWS OF LIFE IN POSTMODERN ART AND RECONSTRUCTION AS AUTOBIOGRAPHY | Cemile Arzu AYTEKİN, Aşkın BAHADIR | 45–61 |
| “LYING ON THE FLOOR WAS A DEAD MAN”: AESTHETIC EXPERIENCE AND AESTHETIC DISTANCE IN OSCAR WILDE’S THE PICTURE OF DORIAN GRAY | Erkin KIRYAMAN | 63–80 |
| EXAMINATION OF ZERO WASTE FASHION DESIGN METHODS AND PRACTICES | Gözde BURSALIGİL | 81–100 |
| THE MOVEMENTS OF THE FIBER ART IN HISTORICAL PROCESS AND FIBER ART PRACTICES PERFORMED BY USING SEWING TECHNIQUES | Kevser GÜRCAN, Meryem İMRE | 101–119 |
| AWARENESS IN COLOR EDUCATION (ERCIYES UNIVERSITY EXAMPLE) | Nevin ENGİN | 121–137 |
| TRIANGLE DESIRE IN YAKUP KADRİ’S KİRALIK KONAK NOVEL | Orhan GÜDEK | 139–149 |
| MODERN INDIVIDUAL’S EFFORT TO OVERCOME HIS/HER SOLITUDE IN THE ROOMS FRANZ KAFKA’S NOVEL METAMORPHOSIS AND ALT KAT ART STUDIO’S PLAY “METAMORPHOSIS” | Özlem ERBEN | 151–161 |
| DRAW A PICTURE OF PAIN, A VIEW FROM KÄTHE KOLLWITZ PAINTING | Özlem TEKDEMİR | 163–178 |
| THE PICTURES OF JAN VAN EYCK IN FASHION HISTORY ANALYSIS WITH SEMİOTİCS | Şerife YILDIZ, Vildan BAŞAK | 179–200 |
| TWO “ODD” POETS: MUZAFFER TAYYİP USLU AND RÜŞTÜ ONUR | Sibel YILMAZ | 201–214 |
| HERWARTH WALDEN FROM THE EYES OF DER STURM ARTISTS | Zeynep ÇUHADAR, Seza SİNANLAR USLU | 215–235 |