GERMAN I |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
5 |
0 |
1 |
2 |
8 |
0,54 |
GERMAN II |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
1 |
1 |
0 |
0 |
1 |
3 |
0,2 |
GERMAN III |
0 |
0 |
5 |
1 |
1 |
1 |
3 |
3 |
5 |
0 |
2 |
3 |
24 |
1,61 |
GERMAN IV |
0 |
0 |
5 |
1 |
1 |
1 |
3 |
3 |
5 |
0 |
2 |
3 |
24 |
1,61 |
ARABIC I |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
ARABIC II |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
ARABIC III |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
ARABIC IV |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
PREVENTION OF ADDICTIONS |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
GENERAL LAW |
1 |
0 |
2 |
0 |
0 |
1 |
0 |
0 |
0 |
0 |
0 |
1 |
5 |
0,34 |
CHINESE I |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
CHINESE II |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
KÜLTÜREL PSİKOLOJİ: KÜLTÜRÜN DAVRANIŞLARIMA ETKİSİ / ÇOKKÜLTÜRLÜLÜK UZMANLIK |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
KÜLTÜREL FARKLILIKLARI ANLAMA: FARKLI KÜLTÜRLERLE İLETİŞİM KURMANIN YOLLARI / ÇOKKÜLTÜRLÜLÜK UZMANLIK |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
KADIN VE İNSAN HAKLARI: KADIN ANLAMAK / ÇOKKÜLTÜRLÜLÜK UZMANLIK |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
WAYS TO MANAGE STRESS AND CONFLICT / MULTICULTURALITY EXPERTISE |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
INTRODUCTION TO EDUCATION |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
TEACHING PRINCIPLES AND METHODS |
0 |
0 |
2 |
0 |
1 |
1 |
3 |
3 |
4 |
1 |
2 |
2 |
19 |
1,28 |
CLASSROOM MANAGEMENT |
4 |
4 |
3 |
5 |
3 |
4 |
5 |
5 |
1 |
5 |
5 |
5 |
49 |
3,29 |
SPECIAL TEACHING METHODS |
0 |
0 |
2 |
0 |
3 |
3 |
3 |
2 |
0 |
1 |
0 |
2 |
16 |
1,07 |
GUIDANCE AND SPECIAL EDUCATION |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
MEASUREMENT AND EVALUATION IN EDUCATION |
0 |
1 |
3 |
1 |
1 |
2 |
2 |
4 |
1 |
1 |
0 |
1 |
17 |
1,14 |
EDUCATION PSYCHOLOGY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
INSTRUCTIONAL TECHNOLOGIES |
0 |
1 |
3 |
1 |
0 |
0 |
2 |
1 |
3 |
0 |
1 |
0 |
12 |
0,81 |
TEACHING PRACTICE |
1 |
0 |
0 |
1 |
0 |
2 |
2 |
1 |
4 |
1 |
0 |
1 |
13 |
0,87 |
PHIYLOSOPHY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
FRENCH I |
0 |
0 |
5 |
1 |
1 |
1 |
3 |
3 |
5 |
0 |
2 |
3 |
24 |
1,61 |
FRENCH II |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
FRENCH III |
0 |
0 |
5 |
1 |
1 |
1 |
3 |
3 |
5 |
0 |
2 |
3 |
24 |
1,61 |
FRENCH IV |
0 |
0 |
5 |
1 |
1 |
1 |
3 |
3 |
5 |
0 |
2 |
3 |
24 |
1,61 |
ENTREPRENEURSHIP |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
4 |
3 |
0 |
0 |
0 |
7 |
0,47 |
SAUCES AND SOUPS |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
PROFESSIONAL ETHICS |
1 |
0 |
3 |
0 |
0 |
1 |
0 |
1 |
0 |
3 |
0 |
4 |
13 |
0,87 |
FOOD AND BEVERAGE BUSINESSES AND MANAGEMENT |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
MENU PLANNING |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
CULINARY TRENDS |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
NUTRITION AND PRESCRIPTIONS IN SPECIAL CASES |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
SERVICE TECHNIQUES AND ETIQUETTE |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
FOOD AND SUSTAINABILITY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
GIDA ÇALIŞMALARI |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
HISTORY OF GASTRONOMY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
FOOD PHOTOGRAPHY AND STYLING |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
URBAN KITCHENS |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
GASTRONOMY LITERACY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
GARDEMANGER TECHNIQUES |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
FUSION CUISINE |
0 |
0 |
0 |
0 |
0 |
0 |
1 |
0 |
0 |
0 |
0 |
1 |
2 |
0,13 |
WINE SCIENCE AND TECHNOLOGY |
0 |
0 |
0 |
0 |
0 |
0 |
1 |
1 |
0 |
0 |
0 |
0 |
2 |
0,13 |
SENSORY ANALYSIS OF FOODS |
0 |
0 |
0 |
0 |
0 |
1 |
1 |
0 |
0 |
0 |
0 |
0 |
2 |
0,13 |
FOOD GEOGRAPHY AND ROUTES |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
RESTAURANT DESIGN AND MANAGEMENT |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
BANQUET AND CATERING SERVICES MANAGEMENT |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
CREATIVE GASTRONOMY PROJECTS |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
MARKETING IN FOOD BUSINESSES |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
YAPAY ZEKA İLE YENİ NESİL GASTRONOMİ |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
STREET FOOD |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
DESKTOP PUBLISHING I |
0 |
0 |
0 |
0 |
0 |
1 |
0 |
0 |
2 |
0 |
0 |
1 |
4 |
0,27 |
DESKTOP PUBLISHING II |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
SEMIOTICS |
2 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
1 |
0 |
0 |
0 |
3 |
0,2 |
GRAPHIC DESIGN HISTORY AND APPLICATIONS |
0 |
2 |
0 |
0 |
0 |
2 |
0 |
1 |
0 |
0 |
0 |
2 |
7 |
0,47 |
PHOTOGRAPHY |
2 |
0 |
0 |
0 |
1 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
3 |
0,2 |
TASARIMDA YAPAY ZEKA VE DİJİTAL TEKNOLOJİLER |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
CONTEMPORARY VISUAL DESIGN AND COMPOSITION |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
ARTİSTİK PERSPEKTİF |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
PRACTICE VISUAL DESIGN PRINCIPLES |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
SUSTAINABLE DESIGN |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
VISUAL ANALYSIS AND MINIATURE ANALYSIS |
0 |
2 |
2 |
5 |
1 |
1 |
1 |
2 |
0 |
2 |
1 |
2 |
19 |
1,28 |
ANIMATED GRAPHICAL DESIGN I |
2 |
1 |
0 |
5 |
5 |
1 |
0 |
0 |
0 |
0 |
0 |
1 |
15 |
1,01 |
ANIMATED GRAPHICAL DESIGN II |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
MYTHOLOGY |
2 |
0 |
0 |
0 |
0 |
1 |
0 |
1 |
0 |
0 |
0 |
0 |
4 |
0,27 |
WEB INTERFACE DESIGN |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
EXPERIMENTAL GRAPHIC DESIGN |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
ENVIRONMENTAL GRAPHIC DESIGN |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
KULLANICI ARAYÜZÜ VE DENEYİMİ TASARIMI |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
İNFOGRAFİK TASARIMI |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
PORTFOLIO DESIGN |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
GÖRSEL DİL VE İLETİŞİM |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
GENERAL ECONOMY |
0 |
0 |
3 |
0 |
0 |
0 |
2 |
0 |
0 |
1 |
1 |
0 |
7 |
0,47 |
MANAGEMENT STRUCTURE OF TURKEY |
0 |
0 |
0 |
0 |
0 |
1 |
0 |
0 |
0 |
0 |
0 |
1 |
2 |
0,13 |
DIGITAL MARKETING |
2 |
3 |
2 |
2 |
3 |
1 |
0 |
1 |
0 |
3 |
1 |
0 |
18 |
1,21 |
MANAGEMENT AND ORGANIZATION |
2 |
2 |
2 |
2 |
3 |
2 |
2 |
3 |
2 |
3 |
2 |
2 |
27 |
1,81 |
MEDIA AND BRAND ON THE AXIS OF ARTIFICIAL INTELLIGENCE |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
SMART BUILDINGS |
3 |
1 |
4 |
3 |
3 |
5 |
5 |
2 |
3 |
5 |
4 |
3 |
41 |
2,75 |
MOBILE LIFE UNITS |
5 |
3 |
2 |
5 |
5 |
3 |
5 |
5 |
2 |
4 |
3 |
3 |
45 |
3,02 |
HISTORY OF ARCHITECTURE AND INTERIOR ARCHITECTURE |
2 |
5 |
0 |
0 |
1 |
1 |
3 |
2 |
2 |
2 |
1 |
3 |
22 |
1,48 |
HISTORY OF URBANIZATION AND URBAN PLANNING |
4 |
4 |
2 |
1 |
2 |
3 |
5 |
4 |
4 |
4 |
1 |
3 |
37 |
2,48 |
ADVANCED GRAPHIC EXPRESSION TECHNIQUES |
2 |
0 |
2 |
5 |
4 |
3 |
4 |
3 |
1 |
4 |
4 |
4 |
36 |
2,42 |
THE ENVIRONMENT OF THE FUTURE |
4 |
5 |
1 |
0 |
4 |
3 |
4 |
4 |
3 |
4 |
1 |
4 |
37 |
2,48 |
PROFESSIONAL PRACTICE I |
0 |
2 |
2 |
5 |
5 |
4 |
3 |
3 |
1 |
5 |
4 |
3 |
37 |
2,48 |
URBAN IDENTITY AND CULTURAL SUSTAINABİLITY |
5 |
3 |
2 |
3 |
1 |
5 |
3 |
3 |
3 |
4 |
5 |
4 |
41 |
2,75 |
GLOBAL ENVIRONMENTAL ISSUES |
4 |
3 |
2 |
4 |
1 |
1 |
0 |
4 |
1 |
4 |
0 |
1 |
25 |
1,68 |
RELATIONSHIP BETWEEN CINEMA AND SPACE |
5 |
5 |
5 |
3 |
3 |
3 |
2 |
3 |
3 |
1 |
1 |
4 |
38 |
2,55 |
3D DIGITAL VISUALIZATION IN INTERIOR ARCHITECTURE |
2 |
0 |
3 |
4 |
3 |
4 |
2 |
3 |
2 |
4 |
5 |
3 |
35 |
2,35 |
SÜRDÜRÜLEBİLİR VE ÇAĞDAŞ YAPI MALZEMELERİ |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
DUYUSAL MEKANLAR |
5 |
5 |
1 |
2 |
5 |
4 |
3 |
3 |
2 |
4 |
4 |
2 |
40 |
2,69 |
ALGORİTMİK TASARIM ÇALIŞMALARI |
4 |
3 |
2 |
2 |
5 |
4 |
5 |
2 |
1 |
5 |
3 |
2 |
38 |
2,55 |
ARTIFICIAL INTELLIGENCE-SUPPORTED SPACE DESIGN |
3 |
1 |
0 |
5 |
2 |
0 |
4 |
1 |
0 |
4 |
0 |
1 |
21 |
1,41 |
ESNEK MOBİLYA TASARIMI VE ERGONOMİ İLİŞKİSİ |
5 |
3 |
5 |
5 |
5 |
3 |
3 |
5 |
3 |
5 |
4 |
5 |
51 |
3,43 |
ÇAĞDAŞ MİMARİ VE İÇ MİMARLIK TARİHİ VE AKIMLAR |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
SERGİLEME VE PERFORMANS MEKANLARI TASARIMI |
5 |
5 |
3 |
2 |
4 |
4 |
3 |
3 |
2 |
4 |
4 |
4 |
43 |
2,89 |
ARCHITECTURE OF THE FUTURE |
5 |
3 |
4 |
2 |
2 |
3 |
5 |
4 |
3 |
4 |
4 |
5 |
44 |
2,96 |
UNIVERSAL DESIGN |
4 |
4 |
2 |
4 |
5 |
4 |
5 |
5 |
1 |
5 |
5 |
5 |
49 |
3,29 |
PROJECT MANAGEMENT AND COST |
1 |
0 |
5 |
0 |
1 |
4 |
0 |
1 |
3 |
1 |
5 |
3 |
24 |
1,61 |
BUILDING SURVEY |
1 |
1 |
2 |
5 |
1 |
1 |
1 |
1 |
1 |
1 |
5 |
5 |
25 |
1,68 |
CITY ANALYSIS OF ISTANBUL |
5 |
4 |
2 |
0 |
3 |
2 |
4 |
4 |
3 |
5 |
1 |
3 |
36 |
2,42 |
LIGHTING TECHNOLOGIES |
3 |
2 |
1 |
0 |
3 |
5 |
3 |
3 |
3 |
3 |
4 |
3 |
33 |
2,22 |
PROFESSIONAL PRACTICES II |
0 |
2 |
2 |
5 |
5 |
4 |
3 |
3 |
2 |
5 |
4 |
3 |
38 |
2,55 |
AFETE DİRENÇLİ MEKAN TASARIMI |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
KÜLTÜREL MİRAS ESERLERİNDE RESTORASYON TEKNİKLERİ VE UYGULAMALARI |
5 |
5 |
4 |
5 |
5 |
4 |
5 |
5 |
2 |
4 |
5 |
4 |
53 |
3,56 |
THE SOUL OF THE CITY: SPACE, MEMORY AND IDENTITY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
MEDIA HISTORY |
2 |
0 |
0 |
0 |
0 |
2 |
0 |
0 |
0 |
0 |
0 |
2 |
6 |
0,4 |
SCENARIO WRITING TECHNIQUES |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
CAMERA AND LIGHT TECHNIQUES |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
MEDIA LITERACY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
EXPERIMENTAL TYPOGRAPHY |
4 |
0 |
0 |
0 |
4 |
0 |
3 |
1 |
0 |
1 |
0 |
1 |
14 |
0,94 |
VISUAL PERCEPTION AND ADVERTISING |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
CONTENT PRODUCTION ON DIGITAL PLATFORMS I |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
CONTENT PRODUCTION ON DIGITAL PLATFORMS II |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
ENTREPRENEURSHIP PRACTICES |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
DOCUMENTARY PRODUCTION PROCESSES |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
FILM FESTIVALS AND DISTRIBUTION PRACTICES |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
FILM MAKING AND MARKETING |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
INTERPERSONAL COMMUNICATION |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
FEEDFORWARD |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
DIGITAL TECHNOLOGIES |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
DRONE SHOOTING TECHNIQUES |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
ECOLOGICAL LITERACY AND SUSTAINABILITY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
SOCIAL RESPONSIBILITY AND SUSTAINABILITY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
SHORT FILM MAKING |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
CITY AND CULTURE |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
3D GRAPHIC ANIMATION I |
1 |
1 |
1 |
5 |
4 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
12 |
0,81 |
3D GRAPHIC ANIMATION II |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
SOCIAL MEDIA MANAGEMENT I |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
SOCIAL MEDIA MANAGEMENT II |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
CINEMATOGPRAHY AND DIGITAL TECHNOLOGIES I |
2 |
2 |
1 |
5 |
2 |
4 |
2 |
2 |
1 |
1 |
1 |
4 |
27 |
1,81 |
CINEMATOGPRAHY AND DIGITAL TECHNOLOGIES II |
1 |
2 |
4 |
5 |
2 |
4 |
3 |
2 |
1 |
1 |
1 |
4 |
30 |
2,01 |
DIGITAL GAME DESIGN I |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
DIGITAL GAME DESIGN II |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
IMPRESSION MANAGEMENT |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
CORPORATE COMMUNICATIONS |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
EMPATHY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
PROFESSIONAL COACHING AND MENTORING |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
MASS COMMUNICATION THEORIES |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
PERSUASION THEORIES |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
MEDIA AND CONSUMPTION CULTURE |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
IMAGE MANAGEMENT |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
YAPAY ZEKA DESTEKLİ TASARIM |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
MARKALI DERSLER |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
BİLGİSAYARLA 2B ANİMASYON ÜRETİM TEKNİKLERİ |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
YAPAY ZEKA VE GÖRSEL TASARIMIN GELECEĞİ |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
SPSS İLE VERİ ANALİZİ |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
INTRODUCTION TO WILL |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
SKILLS FOR THE FUTURE |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
AESTHETICS AND CREATIVITY |
5 |
3 |
0 |
1 |
2 |
1 |
0 |
3 |
1 |
1 |
1 |
2 |
20 |
1,34 |
CONCEPT AND DESIGN |
3 |
3 |
1 |
4 |
4 |
3 |
2 |
2 |
0 |
2 |
2 |
3 |
29 |
1,95 |
COLOR AND USAGE IN INTERIOR ARCHITECTURE |
2 |
4 |
0 |
2 |
3 |
1 |
1 |
1 |
0 |
0 |
0 |
1 |
15 |
1,01 |
SHOWCASE AND EXHIBITION STAND DESIGN |
2 |
2 |
0 |
3 |
3 |
2 |
2 |
2 |
0 |
3 |
3 |
2 |
24 |
1,61 |
ADVANCED VISUAL EXPRESSION TECHNIQUES |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
INTERIOR TEXTILES |
2 |
4 |
1 |
2 |
4 |
1 |
2 |
1 |
0 |
1 |
1 |
1 |
20 |
1,34 |
PROFESSIONAL PRACTICES OF INTERIOR ARCHITECTURE I |
0 |
2 |
2 |
5 |
5 |
4 |
3 |
3 |
0 |
5 |
4 |
3 |
36 |
2,42 |
GREEN BUILDING DESIGN |
5 |
3 |
2 |
3 |
1 |
5 |
3 |
3 |
3 |
4 |
5 |
4 |
41 |
2,75 |
BUILDING INFORMATION MODELING IN INTERIOR ARCHITECTURE |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
MATERIAL KNOWLEDGE IN INTERIOR ARCHITECTURE |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
RESEARCH TECHNIQUES IN INTERIOR ARCHITECTURE |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
CONSERVATION AND RESTORATION |
1 |
2 |
1 |
3 |
3 |
1 |
3 |
1 |
1 |
1 |
1 |
1 |
19 |
1,28 |
SITE MANAGEMENT |
2 |
0 |
5 |
0 |
2 |
3 |
4 |
3 |
0 |
2 |
5 |
5 |
31 |
2,08 |
ACOUSTIC |
3 |
2 |
1 |
1 |
3 |
3 |
2 |
2 |
0 |
2 |
2 |
2 |
23 |
1,54 |
DESIGN AND BRANDING |
1 |
3 |
1 |
1 |
3 |
2 |
1 |
1 |
0 |
3 |
1 |
2 |
19 |
1,28 |
MATERIALS OF THE FUTURE |
4 |
5 |
1 |
0 |
4 |
3 |
4 |
4 |
3 |
4 |
1 |
4 |
37 |
2,48 |
PROFESSIONAL PRACTICES OF INTERIOR ARCHITECTURE II |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
İKLİM KRİZİ VE SÜRDÜRÜLEBİLİR MİMARLIK |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
METAVERSE IN INTERIOR DESIGN |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
LEARNING ENGLISH THROUGH MOVIES / İNGİLİZCE UZMANLIK |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
ACADEMIC WRITING WORKSHOP / İNGİLİZCE UZMANLIK |
0 |
0 |
5 |
1 |
1 |
1 |
3 |
3 |
5 |
1 |
1 |
2 |
23 |
1,54 |
LEARNING ENGLISH THROUGH DRAMA / İNGİLİZCE UZMANLIK |
0 |
0 |
5 |
1 |
1 |
1 |
3 |
3 |
5 |
1 |
1 |
4 |
25 |
1,68 |
ENGLISH FOR CAREER DEVELOPMENT/İNGİLİZCE UZMANLIK |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
OCCUPATIONAL HEALTH AND SAFETY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
NEW MANAGEMENT APPROACHES AND TOTAL QUALITY |
0 |
0 |
3 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
1 |
1 |
5 |
0,34 |
ITALIAN I |
0 |
0 |
4 |
1 |
1 |
1 |
3 |
3 |
5 |
1 |
1 |
3 |
23 |
1,54 |
ITALIAN II |
0 |
0 |
4 |
1 |
1 |
1 |
3 |
3 |
5 |
1 |
1 |
3 |
23 |
1,54 |
ITALIAN III |
1 |
0 |
5 |
1 |
1 |
1 |
3 |
3 |
5 |
1 |
1 |
3 |
25 |
1,68 |
ITALIAN IV |
1 |
0 |
4 |
0 |
0 |
0 |
3 |
3 |
5 |
1 |
1 |
4 |
22 |
1,48 |
JAPAN I |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
JAPAN II |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
DESIGN COMPETITIONS |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
COLOR KNOWLEDGE |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
MEN S CLOTHING IN FASHION DESIGN |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
JEWELRY AND ACCESSORIES DESIGN |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
CHILDREN S CLOTHING IN FASHION DESIGN |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
MAKE UP IN FASHION DESIGN |
3 |
0 |
1 |
0 |
3 |
4 |
4 |
4 |
2 |
4 |
0 |
4 |
29 |
1,95 |
GARMENT ACCESSORIES |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
FASHION PHOTOGRAPHY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
EXPERIMENTAL GARMENT STUDIO |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
WINDOW DISPLAY DESIGN |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
EXPERIMENTAL TEXTILE STUDIO |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
SMART TEXTILES |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
EXPERIMENTAL PRINTING STUDIO |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
FASHION EDITING AND WRITING |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
FASHION MANAGEMENT AND MARKETING |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
FASHION AND BRANDING |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
FASHION SHOW ORGANIZATION AND CHOREOGRAPHY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
FİNANSAL OKURYAZARLIK: PARANIN ÖNEMİ / OKURYAZARLIK UZMANLIK |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
SİYASİ OKURYAZARLIK: DİJİTAL ÇAĞDA SİYASET / OKURYAZARLIK UZMANLIK |
1 |
1 |
2 |
0 |
1 |
1 |
2 |
2 |
3 |
3 |
1 |
1 |
18 |
1,21 |
MEDIA LITERACY: MESSAGES OF THE MEDIA / LITERACY EXPERTISE |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
TECHNOLOGY LITERACY: LIVING WITH TECHNOLOGY / LITERACY EXPERTISE |
1 |
0 |
3 |
0 |
0 |
0 |
2 |
3 |
4 |
2 |
1 |
3 |
19 |
1,28 |
INTRODUCTION TO PSYCHOLOGY |
0 |
0 |
0 |
0 |
0 |
1 |
0 |
2 |
0 |
0 |
0 |
1 |
4 |
0,27 |
PSYCHOLOGY OF LEADERSHIP |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
TRAFFIC PSYCHOLOGY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
ÖNYARGI VE ŞİDDET |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
FAMILY PSYCHOLOGY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
COMMUNICATION THEORIES |
0 |
0 |
1 |
0 |
0 |
2 |
1 |
2 |
5 |
2 |
0 |
2 |
15 |
1,01 |
RUSSIAN I |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
2 |
0 |
0 |
0 |
2 |
0,13 |
RUSSIAN II |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
RUSSIAN III |
0 |
0 |
5 |
1 |
1 |
1 |
3 |
3 |
5 |
1 |
1 |
4 |
25 |
1,68 |
RUSSIAN IV |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
2 |
0 |
0 |
0 |
2 |
0,13 |
INTRODUCTION TO SOCIOLOGY |
0 |
1 |
0 |
0 |
0 |
3 |
2 |
2 |
1 |
2 |
0 |
2 |
13 |
0,87 |
SOCIOLOGY OF YOUTH |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
PHILOSOPHY OF SCIENCE |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
CAREER PLANNING |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
SOCIAL RESPONSIBILITY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
SPANISH I |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
SPANISH II |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
SPANISH III |
0 |
0 |
5 |
1 |
0 |
2 |
1 |
2 |
5 |
1 |
1 |
1 |
19 |
1,28 |
SPANISH IV |
0 |
0 |
5 |
0 |
1 |
3 |
2 |
1 |
5 |
1 |
1 |
3 |
22 |
1,48 |
FIRST AID |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
NEW MEDIA AND COMMUNICATION |
3 |
5 |
2 |
4 |
5 |
4 |
5 |
5 |
4 |
2 |
4 |
4 |
47 |
3,16 |
ADVANCED EDITING TECHNIQUES |
4 |
2 |
4 |
3 |
2 |
3 |
3 |
4 |
4 |
4 |
3 |
4 |
40 |
2,69 |
FILM AND SOCIOLOGY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
CINEMA AND PHILOSOPHY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
EUROPEAN CINEMA |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
STORYBOARD CREATING TECHNIQUES |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
NEWS AND INTERVIEWS TECHNIQUES |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
FILM AND MYTHOLOGY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
MUSIC IN TELEVISION AND CINEMA |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
ÇİZGİ FİLM, ANİMASYON VE SİNEMA |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
MEDYA VE TOPLUMSAL CİNSİYET |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
SCRIPT WRITING PRACTICES |
2 |
3 |
3 |
4 |
3 |
2 |
3 |
1 |
4 |
4 |
3 |
2 |
34 |
2,28 |
TURKİSH CİNEMA |
0 |
0 |
2 |
0 |
2 |
2 |
2 |
2 |
2 |
2 |
2 |
2 |
18 |
1,21 |
FILM AND PSYCHOLOGY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
EAST ASIAN CINEMA |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
EXPERIMENTAL FILM |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
DOCUMENTARY FILM |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
POLITICAL CINEMA |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
ADVERTISING |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
FILM AND ECOCRITICISM |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
POPULAR CULTURE AND MEDIA |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
FILM CRITICISM |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
THREE DIMENSIONAL DESIGN |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
ELEMENTS OF MISE-EN-SCENE |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
TRANSNATIONAL TURKISH CINEMA |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
POST PRODUCTION |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
TELEVISION BROADCASTING |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
SCIENCE FICTION CULTURE AND PHILOSOPHY OF SCIENCE |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
AUTEUR CINEMA |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
STUDIO AND ADVERTISEMENT PHOTOGRAPHY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
FILM PRODUCTION DEVELOPMENT |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
VİDEOART |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
YENİLİKÇİ PRODÜKSİYON YÖNELİMLERİ |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
YAPAY ZEKA VE SİNEMA UYGULAMALARI |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
REKLAM VE MARKA YÖNETİMİ |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
DİJİTAL ÇAĞDA SİNEMACILIK KARİYERİ |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
KALİTE YÖNETİMİNİN TEMEL İLKELERİ |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
YAPAY ZEKA VE DAVRANIŞ / DAVRANIŞ UZMANLIK |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
DİJİTAL ÇAĞDA SİYASAL DAVRANIŞ VE SOSYAL KİMLİK / DAVRANIŞ UZMANLIK |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
ANORMAL DAVRANIŞ: PROBLEMLİ DAVRANIŞI FARKETME YOLLARI / DAVRANIŞ UZMANLIK |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
DECISION-MAKING BEHAVIOR OF THE BRAIN / BEHAVIOR EXPERTISE |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
FİKİRDEN ÜRÜNE YENİLİKÇİ TASARIM / TASARIM UZMANLIK |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
AHENK,DENGE VE GÖRSEL TASARIM / TASARIM UZMANLIK |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
MEKAN, ZAMAN VE TASARIM / TASARIM UZMANLIK |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
DÜŞÜN VE YAP: YARATICI DÜŞÜNME VE TASARIM / TASARIM UZMANLIK |
4 |
4 |
1 |
3 |
3 |
4 |
5 |
3 |
2 |
3 |
3 |
4 |
39 |
2,62 |
BULUŞÇU DÜŞÜNME BECERİSİ / ÜST DÜZEY UZMANLIK |
2 |
2 |
0 |
0 |
2 |
3 |
2 |
2 |
2 |
1 |
2 |
3 |
21 |
1,41 |
DECISION MAKING AS A LIFE SKILL / TOP EXPERTISE |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
KARMAŞIK PROBLEM ÇÖZME YÖNTEMLERİ / ÜST DÜZEY UZMANLIK |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
ADAPTATION SKILL: WAYS TO ENHANCE COGNITIVE FLEXIBILITY / HIGH-LEVEL EXPERTISE |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
HISTORY OF CIVILIZATIONS I |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
HISTORY OF CIVILIZATIONS II |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
PROFESSIONAL ENGLISH I |
2 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
5 |
0 |
0 |
0 |
7 |
0,47 |
PROFESSIONAL ENGLISH II |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
YÖNETİMDE İLETİŞİM AĞI SANATI / YENİLİK UZMANLIK |
2 |
1 |
4 |
1 |
2 |
4 |
1 |
3 |
2 |
2 |
1 |
2 |
25 |
1,68 |
EKONOMİK BAŞARIYA ULAŞMANIN YOLLARI:SÜRDÜRÜLEBİLİR İNOVASYON / YENİLİK UZMANLIK |
0 |
1 |
5 |
0 |
1 |
1 |
2 |
1 |
3 |
3 |
1 |
1 |
19 |
1,28 |
INOVASYON VE TEKNOLOJİ İLE YENİLİKÇİ OLMA YOLLARI / YENİLİK UZMANLIK |
1 |
1 |
4 |
0 |
1 |
1 |
3 |
2 |
4 |
1 |
1 |
4 |
23 |
1,54 |
YARATICILIKTAN GİRİŞİMCİLİĞE: INOVATİF DÜŞÜNMENİN ÖNEMİ / YENİLİK UZMANLIK |
1 |
0 |
3 |
0 |
1 |
3 |
3 |
2 |
4 |
3 |
0 |
2 |
22 |
1,48 |
FUTURE TECHNOLOGIES |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
MULTIDISCIPLINARY PROJECT |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
FOOD WORKSHOP APPLICATIONS |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
COMMUNICATION ART: COMMUNICATION AS A LIFE SKILL |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
VERİ ANALİZİ VE RAPORLAMAYA GİRİŞ |
1 |
1 |
4 |
0 |
0 |
2 |
2 |
1 |
3 |
1 |
1 |
1 |
17 |
1,14 |
İNSAN İHTİYAÇLARINI ANLAMAK: DİJİTAL ÇAĞDA ÜRETİM, DAĞITIM VE TÜKETİM |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
BÜYÜK VERİ YÖNETİMİ |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
CREATIVE WRITING: EFFECTIVE WRITING TECHNIQUES |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
BİR DÜŞÜNME SANATI OLARAK MATEMATİK |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
TOTAL |
170 |
145 |
215 |
159 |
186 |
197 |
221 |
218 |
216 |
191 |
162 |
235 |
2315 |
155,47 |