GERMAN I |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
5 |
0 |
1 |
2 |
8 |
0,62 |
GERMAN II |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
1 |
1 |
0 |
1 |
0 |
3 |
0,23 |
GERMAN III |
3 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
3 |
5 |
4 |
5 |
4 |
5 |
2 |
5 |
46 |
3,58 |
GERMAN IV |
3 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
3 |
5 |
4 |
5 |
4 |
5 |
2 |
5 |
46 |
3,58 |
ARABIC I |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
ARABIC III |
3 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
3 |
5 |
4 |
5 |
4 |
5 |
2 |
5 |
46 |
3,58 |
ARABIC IV |
3 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
3 |
5 |
4 |
5 |
4 |
5 |
2 |
5 |
46 |
3,58 |
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 |
1,48 |
CHINESE I |
0 |
0 |
0 |
0 |
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 |
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 |
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 |
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 |
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 |
INTRODUCTION TO EDUCATION |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
TEACHING PRINCIPLES AND METHODS |
2 |
2 |
1 |
2 |
5 |
4 |
4 |
5 |
4 |
5 |
4 |
5 |
4 |
3 |
4 |
3 |
57 |
4,44 |
CLASSROOM MANAGEMENT |
1 |
2 |
3 |
3 |
4 |
4 |
4 |
4 |
4 |
4 |
5 |
5 |
5 |
3 |
3 |
4 |
58 |
4,52 |
SPECIAL TEACHING METHODS |
1 |
1 |
1 |
1 |
4 |
2 |
2 |
2 |
5 |
5 |
3 |
4 |
5 |
2 |
2 |
3 |
43 |
3,35 |
GUIDANCE AND SPECIAL EDUCATION |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
MEASUREMENT AND EVALUATION IN EDUCATION |
1 |
3 |
1 |
4 |
5 |
3 |
4 |
2 |
4 |
4 |
3 |
5 |
5 |
3 |
3 |
3 |
53 |
4,13 |
EDUCATION PSYCHOLOGY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
INSTRUCTIONAL TECHNOLOGIES |
2 |
3 |
2 |
5 |
5 |
4 |
4 |
4 |
5 |
5 |
4 |
5 |
5 |
3 |
3 |
3 |
62 |
4,83 |
TEACHING PRACTICE |
1 |
3 |
1 |
4 |
5 |
5 |
5 |
5 |
5 |
5 |
3 |
5 |
5 |
2 |
4 |
3 |
61 |
4,75 |
PHIYLOSOPHY |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
FRENCH I |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
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 |
3,58 |
FRENCH IV |
3 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
3 |
5 |
4 |
5 |
4 |
5 |
2 |
5 |
46 |
3,58 |
ENTREPRENEURSHIP |
0 |
1 |
1 |
1 |
1 |
0 |
0 |
0 |
0 |
5 |
4 |
3 |
3 |
1 |
2 |
1 |
23 |
1,79 |
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 |
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 |
MARKETING IN FOOD BUSINESSES |
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 |
CONTEMPORARY VISUAL DESIGN AND COMPOSITION |
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 |
4,67 |
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 |
PORTFOLIO DESIGN |
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 |
1,56 |
MANAGEMENT STRUCTURE OF TURKEY |
0 |
0 |
0 |
1 |
1 |
1 |
0 |
1 |
0 |
5 |
4 |
3 |
2 |
1 |
2 |
1 |
22 |
1,71 |
DIGITAL MARKETING |
3 |
3 |
2 |
3 |
3 |
3 |
2 |
2 |
2 |
3 |
3 |
3 |
3 |
3 |
0 |
2 |
40 |
3,12 |
MANAGEMENT AND ORGANIZATION |
3 |
2 |
2 |
2 |
3 |
2 |
2 |
2 |
2 |
3 |
2 |
2 |
2 |
3 |
3 |
2 |
37 |
2,88 |
SMART BUILDINGS |
1 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
1 |
0,08 |
MOBILE LIFE UNITS |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
HISTORY OF ARCHITECTURE AND INTERIOR ARCHITECTURE |
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 |
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 |
UNIVERSAL DESIGN |
1 |
1 |
0 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
15 |
1,17 |
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 |
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 |
1,71 |
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 |
5,53 |
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 |
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 |
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 |
2,88 |
LEARNING ENGLISH THROUGH DRAMA / İNGİLİZCE UZMANLIK |
1 |
1 |
1 |
3 |
5 |
4 |
3 |
5 |
5 |
5 |
2 |
5 |
3 |
1 |
1 |
1 |
46 |
3,58 |
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 |
2,1 |
ITALIAN I |
3 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
3 |
5 |
4 |
5 |
4 |
5 |
2 |
5 |
46 |
3,58 |
ITALIAN II |
3 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
3 |
5 |
4 |
5 |
4 |
5 |
2 |
5 |
46 |
3,58 |
ITALIAN III |
3 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
3 |
5 |
4 |
5 |
4 |
5 |
2 |
5 |
46 |
3,58 |
ITALIAN IV |
3 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
3 |
5 |
4 |
5 |
4 |
5 |
2 |
5 |
46 |
3,58 |
JAPAN I |
0 |
0 |
0 |
0 |
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 |
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 |
3,97 |
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 |
FİNANSAL OKURYAZARLIK: PARANIN ÖNEMİ / OKURYAZARLIK UZMANLIK |
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 |
4,36 |
MEDYA OKURYAZARLIĞI: MEDYANIN VERDİĞİ MESAJLAR / OKURYAZARLIK UZMANLIK |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
TEKNOLOJİ OKURYAZARLIĞI: TEKNOLOJİ İLE YAŞAMAK / OKURYAZARLIK UZMANLIK |
3 |
4 |
5 |
5 |
5 |
5 |
5 |
5 |
5 |
5 |
5 |
5 |
4 |
4 |
3 |
4 |
72 |
5,61 |
INTRODUCTION TO PSYCHOLOGY |
0 |
0 |
0 |
1 |
1 |
1 |
3 |
3 |
0 |
4 |
4 |
3 |
1 |
1 |
1 |
1 |
24 |
1,87 |
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 |
2,49 |
RUSSIAN I |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
1 |
1 |
0 |
0 |
2 |
0,16 |
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 |
3,58 |
RUSSIAN IV |
3 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
3 |
5 |
4 |
5 |
4 |
5 |
2 |
5 |
46 |
3,58 |
INTRODUCTION TO SOCIOLOGY |
0 |
0 |
0 |
1 |
1 |
0 |
1 |
3 |
1 |
5 |
4 |
3 |
3 |
1 |
1 |
1 |
25 |
1,95 |
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 |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
SPANISH III |
3 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
3 |
5 |
4 |
5 |
4 |
5 |
2 |
5 |
46 |
3,58 |
SPANISH IV |
3 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
3 |
5 |
4 |
5 |
4 |
5 |
2 |
5 |
46 |
3,58 |
FIRST AID |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
NEW MEDIA AND COMMUNICATION |
2 |
4 |
5 |
3 |
5 |
2 |
4 |
4 |
4 |
5 |
4 |
5 |
4 |
1 |
3 |
3 |
58 |
4,52 |
ADVANCED EDITING TECHNIQUES |
4 |
3 |
2 |
5 |
3 |
2 |
4 |
2 |
4 |
2 |
4 |
4 |
4 |
4 |
4 |
4 |
55 |
4,28 |
FILM AND SOCIOLOGY |
5 |
5 |
5 |
1 |
4 |
4 |
3 |
5 |
2 |
3 |
3 |
3 |
2 |
2 |
4 |
2 |
53 |
4,13 |
CINEMA AND PHILOSOPHY |
5 |
5 |
4 |
1 |
5 |
5 |
4 |
5 |
2 |
4 |
3 |
2 |
4 |
2 |
2 |
3 |
56 |
4,36 |
EUROPEAN CINEMA |
4 |
5 |
5 |
1 |
4 |
2 |
3 |
2 |
2 |
4 |
1 |
2 |
3 |
1 |
1 |
1 |
41 |
3,19 |
STORYBOARD CREATING TECHNIQUES |
3 |
4 |
2 |
4 |
3 |
5 |
4 |
5 |
5 |
4 |
4 |
5 |
4 |
2 |
2 |
3 |
59 |
4,6 |
NEWS AND INTERVIEWS TECHNIQUES |
4 |
4 |
1 |
5 |
5 |
5 |
5 |
4 |
3 |
4 |
5 |
4 |
2 |
1 |
3 |
2 |
57 |
4,44 |
FILM AND MYTHOLOGY |
2 |
3 |
3 |
3 |
5 |
3 |
1 |
5 |
1 |
4 |
4 |
3 |
1 |
2 |
1 |
1 |
42 |
3,27 |
MUSIC IN TELEVISION AND CINEMA |
4 |
5 |
3 |
5 |
4 |
5 |
3 |
4 |
2 |
3 |
5 |
3 |
3 |
3 |
3 |
4 |
59 |
4,6 |
SCRIPT WRITING PRACTICES |
5 |
5 |
3 |
2 |
3 |
5 |
4 |
3 |
2 |
3 |
4 |
3 |
3 |
4 |
4 |
3 |
56 |
4,36 |
TURKİSH CİNEMA |
2 |
4 |
4 |
3 |
3 |
3 |
3 |
3 |
3 |
3 |
3 |
3 |
3 |
3 |
4 |
3 |
50 |
3,89 |
FILM AND PSYCHOLOGY |
4 |
5 |
4 |
4 |
4 |
5 |
5 |
5 |
2 |
5 |
5 |
4 |
4 |
5 |
5 |
3 |
69 |
5,37 |
EAST ASIAN CINEMA |
1 |
5 |
5 |
3 |
5 |
2 |
2 |
2 |
1 |
4 |
5 |
3 |
2 |
2 |
3 |
1 |
46 |
3,58 |
EXPERIMENTAL FILM |
3 |
5 |
3 |
1 |
3 |
3 |
3 |
5 |
4 |
4 |
5 |
4 |
3 |
5 |
3 |
4 |
58 |
4,52 |
DOCUMENTARY FILM |
5 |
4 |
4 |
4 |
3 |
3 |
2 |
3 |
4 |
5 |
5 |
5 |
2 |
5 |
2 |
1 |
57 |
4,44 |
POLITICAL CINEMA |
4 |
4 |
4 |
1 |
3 |
3 |
3 |
5 |
1 |
4 |
1 |
2 |
3 |
1 |
5 |
2 |
46 |
3,58 |
ADVERTISING |
4 |
0 |
4 |
4 |
5 |
3 |
5 |
4 |
3 |
3 |
4 |
3 |
1 |
1 |
1 |
1 |
46 |
3,58 |
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 |
4,05 |
FILM CRITICISM |
5 |
5 |
2 |
5 |
5 |
4 |
3 |
5 |
1 |
4 |
5 |
5 |
3 |
3 |
2 |
2 |
59 |
4,6 |
THREE DIMENSIONAL DESIGN |
4 |
3 |
4 |
5 |
4 |
4 |
4 |
2 |
4 |
1 |
4 |
2 |
2 |
3 |
1 |
2 |
49 |
3,82 |
ELEMENTS OF MISE-EN-SCENE |
4 |
3 |
2 |
4 |
5 |
4 |
4 |
2 |
3 |
4 |
4 |
3 |
3 |
2 |
1 |
1 |
49 |
3,82 |
TRANSNATIONAL TURKISH CINEMA |
5 |
5 |
4 |
5 |
4 |
4 |
5 |
4 |
5 |
5 |
4 |
5 |
5 |
3 |
5 |
4 |
72 |
5,61 |
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 |
5,14 |
SCIENCE FICTION CULTURE AND PHILOSOPHY OF SCIENCE |
3 |
4 |
4 |
4 |
3 |
3 |
3 |
5 |
3 |
4 |
4 |
3 |
4 |
3 |
5 |
4 |
59 |
4,6 |
AUTEUR CINEMA |
5 |
5 |
5 |
3 |
5 |
5 |
3 |
5 |
4 |
5 |
5 |
5 |
3 |
5 |
3 |
5 |
71 |
5,53 |
STUDIO AND ADVERTISEMENT PHOTOGRAPHY |
5 |
4 |
5 |
5 |
4 |
4 |
4 |
4 |
4 |
5 |
2 |
4 |
4 |
2 |
0 |
3 |
59 |
4,6 |
FILM PRODUCTION DEVELOPMENT |
5 |
4 |
2 |
5 |
4 |
5 |
5 |
3 |
5 |
5 |
5 |
5 |
5 |
5 |
5 |
5 |
73 |
5,69 |
VİDEOART |
5 |
5 |
4 |
5 |
5 |
4 |
5 |
5 |
5 |
4 |
5 |
5 |
4 |
5 |
5 |
5 |
76 |
5,92 |
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 |
AHENK,DENGE VE GÖRSEL TASARIM / TASARIM UZMANLIK |
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 |
4,91 |
BULUŞÇU DÜŞÜNME BECERİSİ / ÜST DÜZEY UZMANLIK |
3 |
4 |
2 |
2 |
5 |
4 |
5 |
5 |
3 |
5 |
5 |
5 |
5 |
4 |
5 |
5 |
67 |
5,22 |
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 |
5,14 |
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 |
4,67 |
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 |
4,83 |
YARATICILIKTAN GİRİŞİMCİLİĞE: INOVATİF DÜŞÜNMENİN ÖNEMİ / YENİLİK UZMANLIK |
2 |
3 |
3 |
4 |
5 |
4 |
3 |
5 |
5 |
5 |
4 |
4 |
3 |
2 |
3 |
2 |
57 |
4,44 |
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 |
İLETİŞİM SANATI: YAŞAM BECERİSİ OLARAK İLETİŞİM |
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 |
4,52 |
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 |
BÜYÜK VERİ YÖNETİMİ |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
YARATICI YAZARLIK: ETKİLİ YAZI YAZMA TEKNİKLERİ |
0 |
0 |
0 |
0 |
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 |
0 |
0 |
0 |
0 |
TOTAL |
198 |
207 |
161 |
219 |
251 |
204 |
205 |
229 |
226 |
323 |
287 |
297 |
265 |
222 |
194 |
229 |
3717 |
289,49 |