Music on social media is a relatively new area of research. After examining the concept of engagement (Mayol, 2023), the concept of virality seems to be directly related. This research article aims to explore and analyze the role of music in social networks, with a focus on connections in virality and engagement. By thoroughly reviewing the existing literature, we hope to understand the characteristics of viral music tracks and how they are shared and spread.

The central issue of this research is to question the notion of hybridity through the activity and internal communication methods of the Director of Internal Communication in the company, in front of those of the organizational communication teacher. We observe in this sense the results of an experiment, over three consecutive years, of a transposition, in the context of university education, of the uses of an internal communication model initially applied and studied in company. This experiment leads us to the conclusion of a transferability, from one world to another, of the model studied, which, although partial, allows us to propose the observation and the definition, as future research paths, a form of hybridity of internal communication that we call Hybrid Internal Communication.

The ritual analysis grid, as uncovered by anthropologists, offers a detailed reading of the journey of the dancers, the Crazy Girls, these modern-day Amazons. An analysis of the device, in what it mobilizes as myths and imaginaries, but also in what it induces as a perception of the moment lived and shared. The resources of the anthropology of enchantment are called upon to help understand the success of the Crazy Horse, a legendary institution on the international nude cabaret scene, making this Parisian establishment one of the most famous female nude shows on the planet.

The present article concerns the neutrality of a researcher in human and social sciences through objectivity and axiological neutrality. PhD student with disabilities, working on a study about handicap, I will deal with the interaction between the various forms of knowledge ; the proximity with the purpose of the study and the objectivity ; and finally my manner of investigation. Varied thoughts will be suggested for an objective research, keeping in mind that the neutrality of the research cannot be complete.

En Extrême-Orient l'ancien système disparaît dans l'histoire des relations internationales pendant la période 1895-1899 après la guere sino-japonaise, où la tradition asiatique se transforme considérablement par la suite de la modernisation européenne. En principe, c'est par la guerre sino-japonaise que le système traditionnel interétatique de l'Asie orientale se met à céder complètement la place au système moderne international de l'Occident. Les puissances européennes trouvent dès lors un concurrent inattendu, le Japon qui vient de sonner l'heure du partage de l'Asie orientale. Le Japon victorieux est considéré comme une grande puissance en Asie. Il est destiné à jouer un rôle important dans la politique internationale en Extrême-Orient. L'effet immédiat de sa victoire est que la Chine doit conclure un traité inégal avec lui et que les puissances continuent à consentir l'abolition des traités inégaux qu'elles lui ont auparavant imposés. L'indemnité de guerre que doit payer la Chine permettra au Japon de rééquiper et développer son armement et son industrie, et finalement d'établir le système d'étalon-or. Cependant, devenu le concurrent des puissances, le japon se voit privé d'une partie des résultats acquis par ses victoires, c'est-à-dire la possession de la presqu'île de Liaodong, à la suite de l'intervention des trois puissances. La Chine entre dans une période de graves épreves, parce que les puissances entendent bien profiter de ses embarras. Au lendemain de la guerre sino-japonaise, le monde sino-centrique est fini, ainsi que le règime propre coréen. Les grandes puissances occidentales exploitent la faiblesse des pays de l'Asie et réalisent plus particuliérement de vastes programmes d'expansion en Extrême-Orient.

This study explores how advanced learners of Korean shape the language landscape by investigating the use of ‘-(u)lkka' in chat conversations. The study found that advanced learners of Korean use ‘-(u)lkka' for three different types of confirmation or suggestion on mobile platforms: 1) yes/no confirmation of previously shared information; 2) wh-confirmation, confirming new information and the interlocutor's intentions; and 3) performative suggestions, proposing ideas for buying or selling items, confirming the interlocutor's intentions on the surface level, while implying the speakers' performativity on a deeper level. Interestingly, when multiple instances of ‘-(u)lkka' occur in a single chat conversation, different confirmation strategies are employed, indicating contextual adaptation rather than a fixed approach. These findings reveal the dynamic transformation of the Korean language landscape, focusing on its adaptation to digital platforms and the evolving roles of language agents. Notably, conventional linguistic expressions are shifting towards mobile platforms, expanding the spectrum of language agents to include both language learners and native speakers. This shift empowers learners, enabling them to assume an active role as language agents, no longer dependent solely on native speakers. The study also recognizes the growing significance of artificial intelligence (AI) in contemporary language communication. The findings can contribute to enhancing AI systems and fostering more sophisticated human–AI interactions.

The Turkish family structure is the most basic and smallest social sign of Turkish society. Within the network of relationships that starts in the nuclear family and constitutes the larger structure of society, family, and kinship networks allow inferences to be made about the society as a whole. The development of family and kinship networks in Turkish society is also reflected in the linguistic vocabulary. There are many words that define these relationships. The vocabulary constitutes concrete signs of family relations in social life on the basis of the language-society relationship. Words, which are the most concrete signs of language, have taken on an important function in the creation and transmission of the perception that is the source of the Turkish family structure. In determining and analyzing this perception, it is also possible to make a reverse reading through these words. The subject of this study is how the vocabulary and definitions related to the family structure and kinship networks of Turkish society can be interpreted from a sociolinguistic perspective. The sample of the study consists of the vocabulary and definitions of kinship networks in the Güncel Türkçe Sözlük [The Current Turkish Dictionary], which is the standard dictionary of Türkiye Turkish. On the basis of this vocabulary, indicating kinship networks, the Turkish family structure has been first be revealed at a scriptural level. Then, the semantic values of the vocabulary indicating kinship networks according to family structure, gender, generation and age, blood and marriage, types of language, and language contacts have been determined. The social roles attributed to the individual according to this signification have been evaluated by taking into account the theories and methods of sociolinguistics. The aim of this study is to define the Turkish family structure and to analyze the perception of family in Turkish society by considering language-society relations.

Culture, which can be defined as the lifestyle of a nation, is the sum and whole of social experiences and learning. Considering the connotations of the concept of memory such as storage and preservation, it is possible to say that cultural memory provides the continuity of cultural elements in an impersonal area. Cultural memory, with its dynamic structure, includes actions such as “recollection, ‘repetition' and ‘reviving/keeping alive' in ensuring the continuity of cultural elements. Literary texts from oral culture to written culture often include these actions by fulfilling a formant function. Therefore, considering literary texts as reflection areas of cultural memory and making analyzes on cultural elements and symbols is one of the text analysis methods. In Turkish culture, ‘horse' is an important cultural element. As a result of the living conditions brought by the steppe culture in the Turks, the ‘horse' has become an important part of life and has become one of the main figures of cultural memory in relation to many emotions, thoughts and dreams. Even the existence of many idioms and proverbs about horse in Turkish alone explains the place of horse in cultural memory. Also, horse is one of the cultural symbols that is repeated in many oral, written and visual texts and in various branches of art, and remains alive as it is repeated. Faruk Nafiz Çamlıbel (1898-1973) used horse allegorical in relation to the Turkish nation in his poem called At (The Horse) (1919), which he wrote during the War of Independence, one of the milestones in Turkish history. In the poem, the horse appears with a symbolism that represents the Turkish nation and the ‘independent' character of the Turkish nation with references to the historical conditions of the First World War (1914-1918) and War of Independence (1919-1923). In this context, in this study, poem called The Horse of Faruk Nafiz Çamlıbel is considered as a cultural memory area and horse is examined as a ‘cultural symbol'. The image of horse drawn in the poem is examined in historical and socio-cultural dimensions and evaluated in the context of the place of horse in Turkish culture.

Korean society is one of the rare nations that brings tradition and the future together. They used the power of development to interpret tradition. While examining the past and presenting it to today's society with various tools, they also reflected the observations and perceptions of other societies with which the Korean people interacted. Recently, the interest and success of Korean cinema in historical subjects has attracted attention. It is observed that in these films, depending on the periods, various Turkish origin tribes and lineages are mentioned, they are processed in many ways, evaluated in terms of society, origin and life, and presented to today's audience. The event takes place in and around a village where the Turkish-origin Jurcen live in the border region. The border divided the Cürcan villages into two. The protagonist of the movie is a little girl living in a Curcan village ruled by the Korean Joseson dynasty. He often crosses the forbidden border region in search of ginseng, the "miracle herb said to resurrect the dead," so that his sick mother can be healed. The Jurceans mentioned in this film are a community whose origins are disputed, but whose Altaic language is undoubted. It is based on the revenge of a girl whose village was raided and all her relatives were killed. However, this historical event is supported by another side event that can be seen as fantastic today and the subject is enriched. In this article, a few basic films of Korean cinema were taken under scrutiny and the way of life of Turkish tribes in these films, how they were handled and how they were shown, especially through the example of "Ashin of North". Historical reality, fictional presentation, the harmony or incompatibility of these two, the perception of historical Turkish societies formed through Korean cinema constitute our analysis.

The values that people reveal in the process of change and transformation can be defined as culture in particular and cultural heritage in general. In terms of preserving cultural assets and passing them on to future generations, the concept of "cultural heritage" is essential. Having ancient values dating back thousands of years, Anatolian geography has hosted many social groups in the socialization process. The Ahi organization, a socioeconomic order where fraternity, honesty, and benevolence are all integrated, has long guided the transmission of cultural legacy and allowed Anatolians to develop their talents in the arts and professions. The Ahi craftsmen ensured the continuation of their profession and passed on the traditional knowledge created by society to following generations with the help of the professional organization that was established under the direction of Ahi Evran. The Ahi organization has common approaches with UNESCO's Living Human Treasures Program in terms of its professional principles and methods. The main purpose of both practices is to transfer the values, philosophy, and nuances of the profession to future generations. In this sense, it is possible to assess traditional craftsmen as actors and actresses who serve society and keep the tradition alive. The identification and promotion of the local actors and actresses, who are the living carriers and developers of traditional knowledge and experience memory, will perpetuate the transfer of cultural heritage. Ahmet Ay, a woodworker and kündekâri craftsman living in Kırşehir, is a traditional connoisseur who has been practicing his art for 40 years. The aim of the study is to record the information provided by the wood and lectern craftsman Ahmet Ay, who was given the title of State Artist of Traditional Handicrafts by the Ministry of Cultureand Tourism in the province of Kırşehir, which is accepted as the organizational hub for the Ahi, and to come up with recommendations for the preservation and transfer of this profession, which has sunk into oblivion. Ahmet Ay's nomination for inclusion in the inventory of "Living Human Treasure" in 2023 is still pending.