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[CA] La present investigació es desenvolupa amb la intenció de realitzar una anàlisi audiovisual dels elements presents en les produccions de videoclips de reggaeton, i com desenvolupen la seua estètica i llenguatge visual dins d'un gènere musical marcat per la cultura de la marginalitat, pròpia dels barris del Carib. Dit estudi comprén una descripció de la cultura del reggaeton i el seu context social, amb la finalitat de desenvolupar una descripció profunda de les claus estilístiques que s'han repetit al llarg de la història dels videoclips de reggaeton, la seua importància per la identitat de gènere, el seu significat i com la seua presentació en videoclips influeixen en el seu propi resultat. En aquest marc, es realitzarà una anàlisi videogràfica dels videoclips més importants de la història del gènere dels darrers vint anys, les seues perspectives i formes de producció, així com l'estètica urbana que presenten els seus màxims referents en l'audiovisual. L'anàlisi contemplarà una descripció dels elements formals, com composició, color i moviment, així com una anàlisi narrativa i representativa. Ací s'examinarà el discurs ideològic darrere dels seus símbols i el seu llenguatge, des de la perspectiva urbana, contextualitzant-los on van sorgir, als barris de Puerto Rico., [EN] The following research is developed with the intention of making an audio-visual analysis of the elements present in the productions of reggaeton video clips, and how these elements develop the aesthetic and the visual language of said musical genre marked by the marginal culture of some Caribbean neighbourhoods. This study describes the features of reggaeton¿s culture and its social context, with the aim of establishing a detailed picture of most significant audio-visual elements that have been repeated throughout the history of reggaeton video clips, showcasing their relevance for the identity of the genre, their meanings and how their presence in these video clips influences the final outcome. Given this context, the most popular video clips in the history of the genre in the last 20 years will be analysed, as well as their perspectives and forms of production and the urban aesthetics that display their maximum referent in the clips. Within this frame, the ideological discourse behind its symbols and language will also be contemplated from an urban perspective, dwelling on the environment of Puerto Rico¿s neighbourhoods, where this music genre was born.

Kur'an'ın sahih bir yorumu için yapılan çalışmalar, gösterilen çabalar tefsirle ilgili çalışmalarda din dilindeki sembolik unsurların nasıl yorumlanması gerektiği konusunu daima güncel tutmaktadır. Bu bağlamda, ifadeleri literal anlamlarıyla değil, ifade etmek istedikleri maksatlarla yorumlamayı önceleyen alegorik anlamın ortaya çıkarılması, teolojik bir metnin aktüellik kazanmasının vazgeçilmez şartı olarak kabul edilmektedir. Tam da bu noktada, mecaz konusunda ifrat ve tefrite düşmeden, yani herhangi bir surette aşırılığa kaçmadan sembolik anlatım unsurlarını yerli yerince değerlendirebilmek çok büyük bir hizmetin ifası anlamına gelecektir. Öyleyse bize düşen ölçülü hareket etmektir. Yani, hem dili zenginleştiren mecaz ve edebî tasvirleri tümüyle yok saymamak, hem de herhangi bir kritere tabi olmadan tüm ifadeleri mecaz bahanesi ile öznelleştirip anlamı buharlaştırmamak gerekmektedir.The Symbolic Elements in Style of Expression of the Qur'anThe studies and efforts for a correct interpretation of the Qur'an always keep up to date the subject that about works of commentary how the symbolic and metaphorical elements of the religious language should be interpreted. In this context releasing the figurative meaning wish foresees to interpret the expressions not only in their literal meanings, but also in the intensions they wish to express, is considered as unavoidable obligation in gaining actuality of a text. Precisely at this point, on the subject of metaphor, be able to assess the elements of symbolic expression in accordance without extremism means to perform a great service. So what we have to do is acting deliberately. We mean that it is both necessary not to ignore wholly metaphors and literary depictions making richer the language and, with metaphor excuse, not to evaporate and make subjective the meaning, without subjecting to any criterion.https://www.marife.org/marife/article/view/523, Atıf / Cite as: Turan, Maşallah. "Kur'an'ın Anlatım Üslubunda Sembolik Unsurlar". 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La saga de Harry Potter ha contado con la fortuna de convocar a una inmensa legión de lectores en todo el mundo. Por esta razón, dicha obra ha recibido el calificativo de fenómeno sociológico de los últimos tiempos. En virtud de tal impacto se plantea la siguiente investigación, cuyo propósito es analizar algunos símbolos de la religión católica que están presentes en la serie, acusada por sectores religiosos de dar a conocer y propagar elementos ocultistas. También se abordan parte de la historia de Harry Potter y las reliquias de la muerte, el último libro, así como aspectos del mismo que establecen distinciones con respecto a los anteriores. Como resultado se puede mencionar que la familia cristiana representada por José, María y Jesús, tiene sus referentes en la serie: allí están James Potter y Lily Evans, quienes son los padres del salvador del mundo mágico: Harry. Además, están la serpiente como símbolo de lo maligno y pecaminoso, presente tanto en la religión católica como en la saga y una dimensión mesiánica que emparenta a Jesucristo y a Harry como ungidos y salvadores. Pero tales elementos no son las únicas conexiones entre la simbología cristiana y ese universo paralelo creado por Rowling: la lucha del bien contra el mal y la resurrección se podrían abordar en futuras investigaciones sobre el tema. The Harry Potter saga has been fortunate to gather a huge legion of readers around the world. For this reason, such work has been termed a sociological phenomenon of recent times. On the basis of such impact, the present research is proposed. Its aim is to analyze some symbols from the catholic religion conveyed in this series, which has been accused by some groups of showing and spreading occultist elements. Also, part of the story of Harry Potter and the Deathly Hallows, the last book, is approached as well as some aspects that establish distinctions between this book and the previous stories. As a result, it can be mentioned that the Christian family, represented by Joseph, Mary and Jesus, has its referents in the series. There one finds James Potter and Lily Evans, parents of the savior of the magical world: Harry. Besides that, there is the serpent, symbol of the evil and the sinful, present in catholic religion as well as in the saga. There is also a messianic dimension that connects Jesus Christ and Harry as anointed and saviors. But such elements are not the only connections between Christian symbology and the parallel universe created by Rowling: the fight of good against evil and resurrection could be approached in future research works. La saga de Harry Potter a eu la chance de convoquer une immense légion de lecteurs dans le monde entier. Pour cette raison, cet ouvrage a reçu le qualificatif de phénomène sociologique des dernières années. En vertu de cet impact, on présente cette recherche dont le but est d’analyser quelques symboles de la religion catholique présents dans la série, accusée par des secteurs religieux de faire connaître et de diffuser des éléments occultistes. On a aussi abordé une partie de l’histoire de Harry Potter et les vestiges de la mort, le dernier livre, ainsi que des aspects qu’on y trouve, établissant des distinctions par rapport aux précédents. Comme résultat, on peut mentionner que la famille chrétienne représentée par Joseph, Marie et Jésus a ses référents dans la série : on y voit James Potter et Lily Evans qui sont les parents du sauveur du monde magique : Harry. De plus, il y a le serpent comme symbole de ce qui est malin et pécamineux, présent tant dans la religion catholique que dans la saga ainsi qu’une dimension messianique où Jésus-christ et Harry Potter s’apparentent comme des consacrés et des sauveurs. Mais ces éléments ne sont pas les seules connexions entre la symbolique et cet univers parallèle créé par Rowling: la lutte du bien contre le mal et la résurrection pourraient être analysées dans de futurs recherches sur le sujet. La saga di Harry Potter ha avuto la fortuna di convocare un’immensa legione di lettori dappertutto. Perciò, tale opera ha ricevuto la qualificazione di fenomeno sociologico degli ultimi tempi. Dovuto a questo successo abbiamo pensato di fare una ricerca del genere letterario. Lo scopo è di analizzare alcuni simboli della religione cattolica che sono presenti nella saga, che è stata incolpata dai settori religiosi di aver diffuso la conoscenza di elementi magici. Si trattano parti di Harry Potter e le reliquie della morte, l’ultimo romanzo, e aspetti dello stesso che stabiliscono delle distinzioni in confronto ai romanzi precedenti della saga. Tra i risultati si può dire che la famiglia cristiana rappresentata da Giuseppe, Maria e Gesù, ha i suoi riferimenti in questa serie: Loro sono James Potter e Lily Evans, i genitori del salvatore del mondo magico, che è Harry. Inoltre, c’è il serpente come simbolo del male e del peccato, presente sia nella religione cattolica che nella saga. Ugualmente, c’è una dimensione messianica che mette in relazione Gesù e Harry, come gli unti e i salvatori. Questi elementi tuttavia, non sono gli unici collegamenti tra la simbologia cristiana e questo universo parallelo creato dalla Rowling: la lotta del bene contro il male e la resurrezione potrebbero essere una tematica interessante in future ricerche. A saga de Harry Potter tem tido a sorte de convocar uma imensa legião de leitores em todo o mundo. Por esta razão, esta obra tem recebido o qualificativo de fenómeno sociológico dos últimos tempos. Dado tal impacto, propomos a seguinte investigação, cujo propósito é o de analisar alguns símbolos da religião católica presentes na série, acusada por sectores religiosos de divulgar e propagar elementos ocultistas. Também se aborda parte da história de Harry Potter e as Relíquias da Morte, o livro mais recente, bem como aspectos do mesmo que estabelecem distinções relativamente aos anteriores. Como resultado, podemos mencionar que a família cristã representada por José, Maria e Jesus tem os seus referentes na série: James Potter e Lily Evans, os pais do salvador do mundo mágico: Harry. Além disso, estão presentes a serpente como símbolo do maligno e pecaminoso, existente tanto na religião católica como na saga, e uma dimensão messiânica que aproxima as figuras de Jesus Cristo e de Harry como ungidos e salvadores. Mas tais elementos não são as únicas ligações entre a simbologia cristã e esse universo paralelo criado por Rowling: a luta do bem contra o mal e a ressurreição poderiam ser abordadas em futuras investigações sobre o tema.

Organizacijska kultura određena je formom, jačinom i obimom različitih elemenata, prvenstveno kognitivnih i simboličkih te kao takva utječe na uspješnost poslovanja i jedna je od poluga uspješnosti menadžmenta. U hotelijerstvu su ti elementi od iznimne važnosti, jer se na njima u većoj mjeri gradi prepoznatljivost. Slijedom toga predstavljaju konkurentsku prednost na temelju koje će gost hotela donijeti odluku o izboru hotela. U radu se istražuje razina važnosti pojedinih elementa organizacijske kulture prema percepciji anketiranih hotela. U obradi podataka dobivenih iz provedcnih anketa među europskim i brendiranim gradskim hotelskim organizacijama korištene su statističke i matematičke metode kako bi se dokazala osnovna teza da su kognitivni i simbolički elementi važan element u postizanju boljih i na turističkm tržištu prepoznatijivih hotelskih sadržaja, u pravilu u hotelima s pet i četiri zvjezdice, a to je i potvrđeno kroz kIjučne nalaze empirijskog dljela rada., Organizational culture is determined by form, strength and the volume of certain elements, primarily cognitive and symbolic ones, and as such, it has an effect on company performance. It is one of the corner stones of management's success. In the hotel industry, these elements are of key importance, since recognition is largely based on them. As a result, they represent competitive advantage on the basis of which a guest makes a decision on the choice of hotel. This paper is going to look into how important certain elements of the organizational culture are, according to the polled hotels. In the analysis of the collected data from European and branded city hotel companies, statistical and mathematical methods were used in order to prove the basic thesis that cognitive and symbolic elements are key in developing better hotel facilities and services for mostly five and four-star hotels, recognized by the tourism market. This has been proven by the key fmdings in the empirical part of this paper.

In 1543, Prince Felipe made his second official trip on the occasion of his marriage to Princess María of Portugal. The event was held in Salamanca, converted to a temporary “Real Sitio” from the 13th to the 20th of November of that year. After very complex arrangements, they carried out their respective trips (the Prince coming from Valladolid and the Princess from Lisbon), their solemn entrance into the city and their wedding ceremony. The documentary source used here is the anonymous “relación” in the Biblioteca Nacional, Madrid (Mss. 4.013), in order to focus this time on the study of the symbolic elements used in the ephemeral architectural structures constructed for these events (arches, small temples) promoted by the principal civic institutions: Church, University and Town Council. Their character and significance help create the public image of the Prince. En 1543 el príncipe Felipe realiza su segundo viaje oficial con motivo de su boda con la princesa María de Portugal. El acontecimiento tendrá lugar en Salamanca que se convierte en esporádico Real Sitio entre el 13 y el 20 de noviembre de dicho año. Tras complejísima organización se realizan los viajes (desde Valladolid el del príncipe y desde Lisboa el de la princesa), la entrada solemne en la ciudad y la ceremonia del casamiento. Utilizamos como fuente documental la relación anónima de la Biblioteca Nacional (Mss. 4.013), para centrarnos en esta ocasión en el estudio de los elementos simbólicos que se utilizan en las arquitecturas efímeras (arcos, templetes, etc.) promocionadas por las principales instituciones ciudadanas: Iglesia, Universidad y Consistorio, y que con su carácter y significación van construyendo la imagen pública del Príncipe.

U ovom radu razmotriće se uloga i značenje nekih simboličkih i tradicijskih elementa koji su bili prisutni u govoru i ponašanju g. Vojislava Koštunice tokom predizborne kampanje, na jesen 2000. godine. Politički simboli proisticali su iz najmanje dve ravni: iz odabranog korpusa istorijske, narodne i demokratske tradicije srpskog društva zapostavljene tokom druge polovine 20. veka i na čiju je obnovu pozivao Vojislav Koštunica; i s druge strane, na dimenziju transcendentnog kao oslonca u uspostavljanju legitimiteta vlasti. In this paper six aspects of Mr. Koštunica’s election campaign were considered: first of all, the psychological profile of Koštunica as perceived in public; second, the symbolic key in which Koštunica was presented; third, the ceremonial character of the election campaign next, the emotional reactions of people in direct contact with Koštunica then, the important element which is the political discourse used by Koštunica in his public speeches, which contained symbols of historical and national tradition, as well as sacral dimension; and finally the intriguing occult dimension of the campaign. Analysis relied on texts published in independent daily and weekly papers; on public opinion polls; on television commercials and video footage of Mr. Koštunica’s campaign whose motto was "Face to Face with Voters". The campaign was treated as a kind of political ritual. In this campaign symbols were drawn from at least two spheres: the chosen corpus of Serbian society’s historical, national and democratic tradition, which refers to the period 1804-1918; and, on the other hand the transcendental (sacral and occult) dimension as a support in establishing the legitimacy of a government.