| GERMAN I |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
5 |
0 |
1 |
2 |
8 |
0,53 |
| GERMAN II |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
1 |
1 |
0 |
1 |
0 |
3 |
0,2 |
| GERMAN III |
3 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
3 |
5 |
4 |
5 |
4 |
5 |
2 |
5 |
46 |
3,02 |
| GERMAN IV |
3 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
3 |
5 |
4 |
5 |
4 |
5 |
2 |
5 |
46 |
3,02 |
| PREVENTION OF ADDICTIONS |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| GENERAL LAW |
1 |
0 |
0 |
1 |
1 |
0 |
0 |
0 |
0 |
5 |
4 |
3 |
2 |
0 |
1 |
1 |
19 |
1,25 |
| CULTURAL PSYCHOLOGY: THE IMPACT OF CULTURE ON MY BEHAVIOR / MULTICULTURALISM EXPERTISE |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| UNDERSTANDING CULTURAL DIFFERENCES: WAYS OF COMMUNICATION WITH DIFFERENT CULTURES / MULTICULTURALISM EXPERTISE |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| WOMEN AND HUMAN RIGHTS: UNDERSTANDING WOMEN / MULTICULTURALISM EXPERTISE |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| PHIYLOSOPHY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| FRENCH I |
0 |
1 |
0 |
0 |
1 |
0 |
0 |
0 |
0 |
0 |
1 |
0 |
5 |
5 |
0 |
0 |
13 |
0,85 |
| FRENCH II |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| FRENCH III |
3 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
3 |
5 |
4 |
5 |
4 |
5 |
2 |
5 |
46 |
3,02 |
| FRENCH IV |
3 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
3 |
5 |
4 |
5 |
4 |
5 |
2 |
5 |
46 |
3,02 |
| ENTREPRENEURSHIP |
0 |
1 |
1 |
1 |
1 |
0 |
0 |
0 |
0 |
5 |
4 |
3 |
3 |
1 |
2 |
1 |
23 |
1,51 |
| TÜKETİCİ DAVRANIŞLARI |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| KODLAMA |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| İLETİŞİM PSİKOLOJİSİ |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| MARKA KÜLTÜRÜ VE KURUMSAL KİMLİK |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| GÖRSEL DÜŞÜNME VE DİJİTAL İMGELEME TEKNİKLERİ |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| KURUMSAL KİMLİK TASARIMI |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| İNTERAKTİF MEDYA KURAM VE TEORİLERİ |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| MEDYA PLANLAMA |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| GÖRME BİÇİMLERİ |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| GÖRSEL İLETİŞİM TASARIM TARİHİ |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| DİJİTAL DÜNYADA FİKRİ MÜLKİYET |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| PORTFOLYO TASARIMI VE SUNUM TEKNİKLERİ |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| MÜZAKERE TEKNİKLERİ |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| SAUCES AND SOUPS |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| PROFESSIONAL ETHICS |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| FOOD AND BEVERAGE BUSINESSES AND MANAGEMENT |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| CULINARY TRENDS |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| SERVICE TECHNIQUES AND ETIQUETTE |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| GIDA ÇALIŞMALARI |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| FOOD PHOTOGRAPHY AND STYLING |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| GASTRONOMY LITERACY |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| FUSION CUISINE |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| WINE SCIENCE AND TECHNOLOGY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| SENSORY ANALYSIS OF FOODS |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| FOOD GEOGRAPHY AND ROUTES |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| BANQUET AND CATERING SERVICES MANAGEMENT |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| MARKETING IN FOOD BUSINESSES |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| STREET FOOD |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| DESKTOP PUBLISHING I |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| DESKTOP PUBLISHING II |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| SEMIOTICS |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| GRAPHIC DESIGN HISTORY AND APPLICATIONS |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| PHOTOGRAPHY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| TASARIMDA YAPAY ZEKA VE DİJİTAL TEKNOLOJİLER |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| ARTİSTİK PERSPEKTİF |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| SUSTAINABLE DESIGN |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| VISUAL ANALYSIS AND MINIATURE ANALYSIS |
2 |
2 |
3 |
5 |
4 |
5 |
4 |
5 |
5 |
4 |
5 |
5 |
3 |
2 |
2 |
4 |
60 |
3,94 |
| ANIMATED GRAPHICAL DESIGN I |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| ANIMATED GRAPHICAL DESIGN II |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| MYTHOLOGY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| WEB INTERFACE DESIGN |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| ENVIRONMENTAL GRAPHIC DESIGN |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| İNFOGRAFİK TASARIMI |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| GÖRSEL DİL VE İLETİŞİM |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| GENERAL ECONOMY |
0 |
1 |
0 |
1 |
1 |
0 |
0 |
1 |
0 |
5 |
4 |
2 |
2 |
1 |
1 |
1 |
20 |
1,31 |
| MANAGEMENT STRUCTURE OF TURKEY |
0 |
0 |
0 |
1 |
1 |
1 |
0 |
1 |
0 |
5 |
4 |
3 |
2 |
1 |
2 |
1 |
22 |
1,45 |
| DIGITAL MARKETING |
3 |
3 |
2 |
3 |
3 |
3 |
2 |
2 |
2 |
3 |
3 |
3 |
3 |
3 |
0 |
2 |
40 |
2,63 |
| MANAGEMENT AND ORGANIZATION |
3 |
2 |
2 |
2 |
3 |
2 |
2 |
2 |
2 |
3 |
2 |
2 |
2 |
3 |
3 |
2 |
37 |
2,43 |
| MEDIA AND BRAND ON THE AXIS OF ARTIFICIAL INTELLIGENCE |
5 |
5 |
4 |
4 |
4 |
5 |
5 |
5 |
5 |
4 |
4 |
5 |
5 |
4 |
4 |
5 |
73 |
4,8 |
| SMART BUILDINGS |
1 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
1 |
0,07 |
| MOBILE LIFE UNITS |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| HISTORY OF URBANIZATION AND URBAN PLANNING |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| ADVANCED GRAPHIC EXPRESSION TECHNIQUES |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| THE ENVIRONMENT OF THE FUTURE |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| İÇ MEKANDA ÇEVRESEL KONTROL SİSTEMLERİ |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| PROFESSIONAL PRACTICE I |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| URBAN IDENTITY AND CULTURAL SUSTAINABİLITY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| GLOBAL ENVIRONMENTAL ISSUES |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| RELATIONSHIP BETWEEN CINEMA AND SPACE |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| 3D DIGITAL VISUALIZATION IN INTERIOR ARCHITECTURE |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| SUSTAINABLE AND CONTEMPORARY BUILDING MATERIALS |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| DUYUSAL MEKANLAR |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| ALGORİTMİK TASARIM ÇALIŞMALARI |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| ARTIFICIAL INTELLIGENCE-SUPPORTED SPACE DESIGN |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| ESNEK MOBİLYA TASARIMI VE ERGONOMİ İLİŞKİSİ |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| SERGİLEME VE PERFORMANS MEKANLARI TASARIMI |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| ARCHITECTURE OF THE FUTURE |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| BİYOFİLİK TASARIM VE DOĞAYLA UYUMLU MEKANLAR |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| KENTSEL İÇ MEKAN |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| KONUT SORUNU VE POLİTİKALARI |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| ÇEVRESEL PSİKOLOJİ |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| İNCE YAPI TEKNOLOJİLERİ VE MALZEMELERİ |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| İÇ MEKANDA MİKRO PEYZAJ KURGULARI |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| MOBİLYA TARİHİ |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| UNIVERSAL DESIGN |
1 |
1 |
0 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
15 |
0,99 |
| PROJECT MANAGEMENT AND COST |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| BUILDING SURVEY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| CITY ANALYSIS OF ISTANBUL |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| LIGHTING TECHNOLOGIES |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| PROFESSIONAL PRACTICES II |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| DISASTER-RESISTANT SPACE DESIGN |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| KÜLTÜREL MİRAS ESERLERİNDE RESTORASYON TEKNİKLERİ VE UYGULAMALARI |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| THE SOUL OF THE CITY: SPACE, MEMORY AND IDENTITY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| MEDIA HISTORY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| SCENARIO WRITING TECHNIQUES |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| MEDIA LITERACY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| EXPERIMENTAL TYPOGRAPHY |
0 |
1 |
0 |
4 |
1 |
0 |
0 |
3 |
4 |
5 |
0 |
2 |
1 |
0 |
0 |
1 |
22 |
1,45 |
| VISUAL PERCEPTION AND ADVERTISING |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| CONTENT PRODUCTION ON DIGITAL PLATFORMS II |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| DOCUMENTARY PRODUCTION PROCESSES |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| FILM MAKING AND MARKETING |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| FEEDFORWARD |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| DRONE SHOOTING TECHNIQUES |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| SOCIAL RESPONSIBILITY AND SUSTAINABILITY |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| CITY AND CULTURE |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| 3D GRAPHIC ANIMATION I |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| 3D GRAPHIC ANIMATION II |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| SOCIAL MEDIA MANAGEMENT II |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| CINEMATOGPRAHY AND DIGITAL TECHNOLOGIES I |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| CINEMATOGPRAHY AND DIGITAL TECHNOLOGIES II |
4 |
4 |
3 |
5 |
4 |
5 |
4 |
4 |
5 |
4 |
5 |
5 |
5 |
5 |
4 |
5 |
71 |
4,66 |
| DIGITAL GAME DESIGN I |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| IMPRESSION MANAGEMENT |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| EMPATHY |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| MASS COMMUNICATION THEORIES |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| MEDIA AND CONSUMPTION CULTURE |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| YAPAY ZEKA DESTEKLİ TASARIM |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| BİLGİSAYARLA 2B ANİMASYON ÜRETİM TEKNİKLERİ |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| SPSS İLE VERİ ANALİZİ |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| FUTURE SKILLS |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| AESTHETICS AND CREATIVITY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| CONCEPT AND DESIGN |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| COLOR AND USAGE IN INTERIOR ARCHITECTURE |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| SHOWCASE AND EXHIBITION STAND DESIGN |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| ADVANCED VISUAL EXPRESSION TECHNIQUES |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| INTERIOR TEXTILES |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| PROFESSIONAL PRACTICES OF INTERIOR ARCHITECTURE I |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| GREEN BUILDING DESIGN |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| BUILDING INFORMATION MODELING IN INTERIOR ARCHITECTURE |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| RESEARCH TECHNIQUES IN INTERIOR ARCHITECTURE |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| CONSERVATION AND RESTORATION |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| SITE MANAGEMENT |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| ACOUSTIC |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| DESIGN AND BRANDING |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| MATERIALS OF THE FUTURE |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| PROFESSIONAL PRACTICES OF INTERIOR ARCHITECTURE II |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| CLIMATE CRISIS AND SUSTAINABLE ARCHITECTURE |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| İÇ MİMARLIKTA DİSİPLİNLERARASI PROJE YÖNETİMİ |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| AYDINLATMA TEKNİKLERİ |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| GAYRİMENKUL PİYASALARI |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| ACADEMIC WRITING WORKSHOP / İNGİLİZCE UZMANLIK |
3 |
2 |
1 |
2 |
2 |
0 |
0 |
0 |
3 |
5 |
4 |
5 |
4 |
2 |
2 |
2 |
37 |
2,43 |
| LEARNING ENGLISH THROUGH DRAMA / İNGİLİZCE UZMANLIK |
1 |
1 |
1 |
3 |
5 |
4 |
3 |
5 |
5 |
5 |
2 |
5 |
3 |
1 |
1 |
1 |
46 |
3,02 |
| ENGLISH FOR CAREER DEVELOPMENT/İNGİLİZCE UZMANLIK |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| NEW MANAGEMENT APPROACHES AND TOTAL QUALITY |
0 |
0 |
0 |
4 |
4 |
1 |
2 |
3 |
1 |
3 |
2 |
2 |
3 |
0 |
1 |
1 |
27 |
1,77 |
| ITALIAN I |
3 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
3 |
5 |
4 |
5 |
4 |
5 |
2 |
5 |
46 |
3,02 |
| ITALIAN II |
3 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
3 |
5 |
4 |
5 |
4 |
5 |
2 |
5 |
46 |
3,02 |
| ITALIAN III |
3 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
3 |
5 |
4 |
5 |
4 |
5 |
2 |
5 |
46 |
3,02 |
| ITALIAN IV |
3 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
3 |
5 |
4 |
5 |
4 |
5 |
2 |
5 |
46 |
3,02 |
| TEMEL KORECE (KONUŞMA) |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| COLOR KNOWLEDGE |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| JEWELRY AND ACCESSORIES DESIGN |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| MAKE UP IN FASHION DESIGN |
1 |
4 |
2 |
3 |
3 |
4 |
3 |
3 |
4 |
3 |
4 |
3 |
4 |
4 |
3 |
3 |
51 |
3,35 |
| GARMENT ACCESSORIES |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| EXPERIMENTAL GARMENT STUDIO |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| EXPERIMENTAL TEXTILE STUDIO |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| EXPERIMENTAL PRINTING STUDIO |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| FASHION MANAGEMENT AND MARKETING |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| FASHION SHOW ORGANIZATION AND CHOREOGRAPHY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| FINANCIAL LITERACY: THE IMPORTANCE OF MONEY / LITERACY EXPERTISE |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| SİYASİ OKURYAZARLIK: DİJİTAL ÇAĞDA SİYASET / OKURYAZARLIK UZMANLIK |
1 |
1 |
1 |
1 |
5 |
3 |
5 |
5 |
4 |
5 |
5 |
5 |
5 |
2 |
5 |
3 |
56 |
3,68 |
| MEDIA LITERACY: MESSAGES OF THE MEDIA / LITERACY EXPERTISE |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| TECHNOLOGY LITERACY: LIVING WITH TECHNOLOGY / LITERACY EXPERTISE |
3 |
4 |
5 |
5 |
5 |
5 |
5 |
5 |
5 |
5 |
5 |
5 |
4 |
4 |
3 |
4 |
72 |
4,73 |
| INTRODUCTION TO PSYCHOLOGY |
0 |
0 |
0 |
1 |
1 |
1 |
3 |
3 |
0 |
4 |
4 |
3 |
1 |
1 |
1 |
1 |
24 |
1,58 |
| PSYCHOLOGY OF LEADERSHIP |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| ÖNYARGI VE ŞİDDET |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| COMMUNICATION THEORIES |
0 |
1 |
1 |
1 |
2 |
1 |
1 |
3 |
1 |
5 |
4 |
3 |
3 |
1 |
3 |
2 |
32 |
2,1 |
| RUSSIAN I |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
1 |
1 |
0 |
0 |
2 |
0,13 |
| RUSSIAN II |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| RUSSIAN III |
3 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
3 |
5 |
4 |
5 |
4 |
5 |
2 |
5 |
46 |
3,02 |
| RUSSIAN IV |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
1 |
1 |
0 |
0 |
0 |
2 |
0,13 |
| INTRODUCTION TO SOCIOLOGY |
0 |
0 |
0 |
1 |
1 |
0 |
1 |
3 |
1 |
5 |
4 |
3 |
3 |
1 |
1 |
1 |
25 |
1,64 |
| SOCIOLOGY OF YOUTH |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| CAREER PLANNING |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| SPANISH I |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
2 |
1 |
1 |
18 |
1,18 |
| SPANISH II |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| SPANISH III |
3 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
3 |
5 |
4 |
5 |
4 |
5 |
2 |
5 |
46 |
3,02 |
| SPANISH IV |
3 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
3 |
5 |
4 |
5 |
4 |
5 |
2 |
5 |
46 |
3,02 |
| FIRST AID |
0 |
0 |
0 |
0 |
1 |
0 |
0 |
0 |
1 |
1 |
0 |
1 |
1 |
0 |
0 |
0 |
5 |
0,33 |
| NEW MEDIA AND COMMUNICATION |
2 |
4 |
5 |
3 |
5 |
2 |
4 |
4 |
4 |
5 |
4 |
5 |
4 |
1 |
3 |
3 |
58 |
3,81 |
| ADVANCED EDITING TECHNIQUES |
4 |
3 |
2 |
5 |
3 |
2 |
4 |
2 |
4 |
2 |
4 |
4 |
4 |
4 |
4 |
4 |
55 |
3,61 |
| FILM AND SOCIOLOGY |
5 |
5 |
5 |
1 |
4 |
4 |
3 |
5 |
2 |
3 |
3 |
3 |
2 |
2 |
4 |
2 |
53 |
3,48 |
| CINEMA AND PHILOSOPHY |
5 |
5 |
4 |
1 |
5 |
5 |
4 |
5 |
2 |
4 |
3 |
2 |
4 |
2 |
2 |
3 |
56 |
3,68 |
| EUROPEAN CINEMA |
4 |
5 |
5 |
1 |
4 |
2 |
3 |
2 |
2 |
4 |
1 |
2 |
3 |
1 |
1 |
1 |
41 |
2,69 |
| STORYBOARD CREATING TECHNIQUES |
3 |
4 |
2 |
4 |
3 |
5 |
4 |
5 |
5 |
4 |
4 |
5 |
4 |
2 |
2 |
3 |
59 |
3,88 |
| NEWS AND INTERVIEWS TECHNIQUES |
4 |
4 |
1 |
5 |
5 |
5 |
5 |
4 |
3 |
4 |
5 |
4 |
2 |
1 |
3 |
2 |
57 |
3,75 |
| FILM AND MYTHOLOGY |
2 |
3 |
3 |
3 |
5 |
3 |
1 |
5 |
1 |
4 |
4 |
3 |
1 |
2 |
1 |
1 |
42 |
2,76 |
| MUSIC IN TELEVISION AND CINEMA |
4 |
5 |
3 |
5 |
4 |
5 |
3 |
4 |
2 |
3 |
5 |
3 |
3 |
3 |
3 |
4 |
59 |
3,88 |
| ÇİZGİ FİLM, ANİMASYON VE SİNEMA |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| SCRIPT WRITING PRACTICES |
5 |
5 |
3 |
2 |
3 |
5 |
4 |
3 |
2 |
3 |
4 |
3 |
3 |
4 |
4 |
3 |
56 |
3,68 |
| TURKİSH CİNEMA |
2 |
4 |
4 |
3 |
3 |
3 |
3 |
3 |
3 |
3 |
3 |
3 |
3 |
3 |
4 |
3 |
50 |
3,29 |
| FILM AND PSYCHOLOGY |
4 |
5 |
4 |
4 |
4 |
5 |
5 |
5 |
2 |
5 |
5 |
4 |
4 |
5 |
5 |
3 |
69 |
4,53 |
| EAST ASIAN CINEMA |
1 |
5 |
5 |
3 |
5 |
2 |
2 |
2 |
1 |
4 |
5 |
3 |
2 |
2 |
3 |
1 |
46 |
3,02 |
| EXPERIMENTAL FILM |
3 |
5 |
3 |
1 |
3 |
3 |
3 |
5 |
4 |
4 |
5 |
4 |
3 |
5 |
3 |
4 |
58 |
3,81 |
| DOCUMENTARY FILM |
5 |
4 |
4 |
4 |
3 |
3 |
2 |
3 |
4 |
5 |
5 |
5 |
2 |
5 |
2 |
1 |
57 |
3,75 |
| POLITICAL CINEMA |
4 |
4 |
4 |
1 |
3 |
3 |
3 |
5 |
1 |
4 |
1 |
2 |
3 |
1 |
5 |
2 |
46 |
3,02 |
| ADVERTISING |
4 |
0 |
4 |
4 |
5 |
3 |
5 |
4 |
3 |
3 |
4 |
3 |
1 |
1 |
1 |
1 |
46 |
3,02 |
| FILM AND ECOCRITICISM |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| POPULAR CULTURE AND MEDIA |
4 |
5 |
4 |
4 |
4 |
2 |
2 |
3 |
2 |
5 |
4 |
3 |
3 |
2 |
3 |
2 |
52 |
3,42 |
| FILM CRITICISM |
5 |
5 |
2 |
5 |
5 |
4 |
3 |
5 |
1 |
4 |
5 |
5 |
3 |
3 |
2 |
2 |
59 |
3,88 |
| THREE DIMENSIONAL DESIGN |
4 |
3 |
4 |
5 |
4 |
4 |
4 |
2 |
4 |
1 |
4 |
2 |
2 |
3 |
1 |
2 |
49 |
3,22 |
| ELEMENTS OF MISE-EN-SCENE |
4 |
3 |
2 |
4 |
5 |
4 |
4 |
2 |
3 |
4 |
4 |
3 |
3 |
2 |
1 |
1 |
49 |
3,22 |
| TRANSNATIONAL TURKISH CINEMA |
5 |
5 |
4 |
5 |
4 |
4 |
5 |
4 |
5 |
5 |
4 |
5 |
5 |
3 |
5 |
4 |
72 |
4,73 |
| POST PRODUCTION |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| TELEVISION BROADCASTING |
5 |
5 |
5 |
4 |
5 |
3 |
4 |
5 |
3 |
4 |
5 |
3 |
4 |
3 |
5 |
3 |
66 |
4,34 |
| SCIENCE FICTION CULTURE AND PHILOSOPHY OF SCIENCE |
3 |
4 |
4 |
4 |
3 |
3 |
3 |
5 |
3 |
4 |
4 |
3 |
4 |
3 |
5 |
4 |
59 |
3,88 |
| AUTEUR CINEMA |
5 |
5 |
5 |
3 |
5 |
5 |
3 |
5 |
4 |
5 |
5 |
5 |
3 |
5 |
3 |
5 |
71 |
4,66 |
| STUDIO AND ADVERTISEMENT PHOTOGRAPHY |
5 |
4 |
5 |
5 |
4 |
4 |
4 |
4 |
4 |
5 |
2 |
4 |
4 |
2 |
0 |
3 |
59 |
3,88 |
| FILM PRODUCTION DEVELOPMENT |
5 |
4 |
2 |
5 |
4 |
5 |
5 |
3 |
5 |
5 |
5 |
5 |
5 |
5 |
5 |
5 |
73 |
4,8 |
| VİDEOART |
5 |
5 |
4 |
5 |
5 |
4 |
5 |
5 |
5 |
4 |
5 |
5 |
4 |
5 |
5 |
5 |
76 |
4,99 |
| YENİLİKÇİ PRODÜKSİYON YÖNELİMLERİ |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| REKLAM VE MARKA YÖNETİMİ |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| İLERİ SENARYO TEKNİKLERİ |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| YAPAY ZEKA VE DAVRANIŞ / DAVRANIŞ UZMANLIK |
0 |
0 |
0 |
0 |
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 |
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 |
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 |
0 |
0 |
0 |
0 |
| FİKİRDEN ÜRÜNE YENİLİKÇİ TASARIM / TASARIM UZMANLIK |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| HARMONY, BALANCE AND VISUAL DESIGN / DESIGN EXPERTISE |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| DÜŞÜN VE YAP: YARATICI DÜŞÜNME VE TASARIM / TASARIM UZMANLIK |
1 |
4 |
1 |
5 |
4 |
5 |
5 |
5 |
5 |
5 |
5 |
5 |
4 |
3 |
2 |
4 |
63 |
4,14 |
| BULUŞÇU DÜŞÜNME BECERİSİ / ÜST DÜZEY UZMANLIK |
3 |
4 |
2 |
2 |
5 |
4 |
5 |
5 |
3 |
5 |
5 |
5 |
5 |
4 |
5 |
5 |
67 |
4,4 |
| DECISION MAKING AS A LIFE SKILL / TOP EXPERTISE |
0 |
0 |
0 |
0 |
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 |
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 |
0 |
0 |
0 |
0 |
| HISTORY OF CIVILIZATIONS I |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| PROFESSIONAL ENGLISH I |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| PROFESSIONAL ENGLISH II |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| YÖNETİMDE İLETİŞİM AĞI SANATI / YENİLİK UZMANLIK |
2 |
2 |
1 |
4 |
5 |
5 |
4 |
5 |
5 |
5 |
4 |
4 |
5 |
5 |
5 |
5 |
66 |
4,34 |
| EKONOMİK BAŞARIYA ULAŞMANIN YOLLARI:SÜRDÜRÜLEBİLİR İNOVASYON / YENİLİK UZMANLIK |
1 |
1 |
3 |
4 |
4 |
3 |
5 |
5 |
3 |
5 |
5 |
5 |
5 |
4 |
3 |
4 |
60 |
3,94 |
| INOVASYON VE TEKNOLOJİ İLE YENİLİKÇİ OLMA YOLLARI / YENİLİK UZMANLIK |
2 |
3 |
2 |
5 |
4 |
5 |
5 |
5 |
5 |
5 |
5 |
5 |
4 |
2 |
3 |
2 |
62 |
4,07 |
| YARATICILIKTAN GİRİŞİMCİLİĞE: INOVATİF DÜŞÜNMENİN ÖNEMİ / YENİLİK UZMANLIK |
2 |
3 |
3 |
4 |
5 |
4 |
3 |
5 |
5 |
5 |
4 |
4 |
3 |
2 |
3 |
2 |
57 |
3,75 |
| FUTURE TECHNOLOGIES |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| FOOD WORKSHOP APPLICATIONS |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| VERİ ANALİZİ VE RAPORLAMAYA GİRİŞ |
2 |
2 |
2 |
4 |
5 |
4 |
5 |
5 |
4 |
5 |
3 |
5 |
5 |
2 |
3 |
2 |
58 |
3,81 |
| İNSAN İHTİYAÇLARINI ANLAMAK: DİJİTAL ÇAĞDA ÜRETİM, DAĞITIM VE TÜKETİM |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| BIG DATA MANAGEMENT |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
| THINKING MATHEMATICALLY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
| TOTAL |
187 |
194 |
154 |
199 |
224 |
185 |
185 |
210 |
197 |
286 |
259 |
261 |
238 |
202 |
174 |
201 |
3356 |
220,5 |