Suchergebnisse

This paper analyzes the features of formation of the deputy corps of the representative bodies in Tatarstan with an emphasis on gender. In the focus of the study were the election campaign of the President of Tatarstan and the federal, regional and local elections. The conclusion is made about a not enough developed gender-sensitive policy in the republic.
Оксана Красильникова; Красильникова, Оксана

The article analyzed the formation of social space in gaming practices in terms of gender asymmetry, we study the influence of these particular types of toys to the social space. As a basic model of the game, we consider Irwin Hoffman's frame model.

The paper identifies the reasons for the lack of the gender equality officer in the Russian Federation against the background of the Nordic countries and Germany experience and conditions for the establishment of the gender equality in Europe. Using gender approach the political and cultural situation of the Russian society is analyzed and the ways to solve the problem are suggested.

Author reveals the features of the political culture of the electorate in Russia and Germany. Through the comparative survey he finds gender differences in political consciousness and the voting behavior. Author analyzes the reasons for the limited participation of women in Russian political life and provides some recommendations
for improving the democratization process of the political sphere.

This paper presents the results of a study of the links between the gender gap in life expectancy, on the one hand, and differences in value attitudes towards a healthy lifestyle between men and women, on the other.

The article analyzes various studies in the field of population behavior in the financial market. Since psychological factors related to mentality, temperament, and risk-taking play an important role in implementing financial strategies, along with rational motives, women and men may behave differently. An attempt is made to answer the question: whether there are significant gender differences in financial behavior models, and whether this aspect requires a close attention of scientists who study trends and features of forming strategies of Russians when making economic decisions. A review of Russian and foreign studies aimed at investigation of gender characteristics of investment behavior and financial literacy is performed. Traditionally, in most families, men are responsible for the financial situation, they are more concerned with providing for their family, earning and multiplying money. Women, as a rule, are more concerned with the «inner» side of family life — so that everyone is fed, dressed, shod, and provided with everything necessary. Therefore, if both of them have decided to invest, the emphasis in the well-known formula «save and multiply» is made by men on the second word, and by women — on the first. As a result, women are significantly less likely to take risks and more likely to make profitable transactions. Men are more prone to take risks, for them it is not so much the result of investment that is important, as the excitement, and work in the financial markets is somewhat akin to hunting. Probably there are some primitive triggers at the level of the subconscious that are blocked by the norms of morality and etiquette in society. For women, stability is much more important, and the desire to maintain a sense of security prevails rather than a thirst for risk. The study revealed poor elaboration of this topic, lack of Russian research on gender-specific financial behavior due to the underdevelopment of the Russian financial market, as well as the lack of sufficient supply of financial instruments for further accumulation of experience in implementing their strategies by representatives of both genders.

Раздел 6. Дизайн в контексте междисциплинарных исследований = Section 6. Interdisciplinary research design ; В статье рассматривается соотношение визуальных средств дизайнера с политической историей на примере плакатов и обложек журнала, выпускавшихся в поздний советский период и первые годы независимого государства Беларуси сквозь призму гендерных исследований. ; The article views the correlation of visual means of a designer with political history on the example of posters and magazine covers issued in the late Soviet period and the first years of the independent state of Belarus through the prism of gender studies.

The paper examines the interdisciplinary issues of reconstruction of Cubist symbolical structures. The author considers Picasso's art as the field of convergence of different ideological and philosophical discourses (anarchism, racism, vitalism, sexism a. o.). Rhetoric and mythopoetical potential of these «secular religions» are explored in the article in the context of general theory of avant-garde. Special attention is paid to metahistorical interpretation of Cubism, its Renaissance connotations: the author focuses on the history of conceptualization of uncertainty in European art in connection with Picasso's critique of «metaphysics of presence». The author draws the conclusion that the «political» level of Picasso's art is inseparable from the so-called philosophical or artistic planes. «Les Demoiselles d'Avignon» drifts, changing its contexts, from the discriminative masculine and racist conceptions to anti-colonialism and feminism. Paradoxically in Cubist art intellectualism meets «life philosophy», social constructivism is combined with conservatism, the optimism of pre-war Europe — with negativism of Counterculture. The main issue of the paper are the complex relations of anarchist and Cubist mythologies. Anarchism with its totalitarian and conservative connotations is given an original intellectualist interpretation in Analytic Cubism. Maintaining its critical attitude towards highly influential at the edge of 19–20 centuries ideas of vitalism and primitivism, Picasso's art of that period is a unique example of deconstruction in the fields of political and philosophical thought. Melancholia of Cubism, its Buddhist, solipsist tendency together with its Utopian image of new, transparent, fluid world create the skeptical futurology of Picasso. ; Статья представляет собой междисциплинарное исследование, основной целью которого является реконструкция символических структур искусства кубизма. Автор изучает искусство Пикассо как поле конвергенции различных идеологических и философских дискурсов (анархизма, расизма, витализма, сексизма и др.). Риторическая природа и мифопоэтический потенциал этих «светских религий» современности рассматриваются в контексте общей теории авангарда. Особое внимание уделяется метаисторическому значению кубизма, его «ренессансным» коннотациям: автор прослеживает историю концептуализации категории неясного (неопределенного) в европейском искусстве в связи с критикой «метафизики присутствия» у Пикассо. Автор приходит к выводу, что «политический» уровень значений в искусстве Пикассо неотделим от так называемых «философских» или «художественных» смыслов. «Авиньонские девицы» дрейфуют, меняя контексты, от дискриминационных маскулинных и расистских концепций к антиколониализму и феминизму. В искусстве кубизма парадоксальным образом соединяются интеллектуализм и «философия жизни», социальный конструктивизм и консерватизм, оптимизм довоенной Европы и негативизм контркультуры. Центральной проблемой для автора статьи остается сложное взаимодействие анархических и кубистических мифологий. Анархизм с его тоталитарными и консервативными коннотациями получает оригинальную интеллектуалистскую интерпретацию в аналитическом кубизме. Сохраняя свою независимость от модных на рубеже веков идей витализма и примитивизма, концепции Пикассо этого периода являются уникальным примером деконструкции в области политического и философского мышления. Меланхолия кубизма, его «буддийская», солипсистская составляющая в сочетании с утопическим образом нового, прозрачного, пришедшего в движение мира, создают искусство скептической футурологии Пикассо.

Based on anthropometric and functional studies of sexual dimorphism, physical
development, the vegetative nervous system tone and its reactivity in 304 boys in
Krasnoyarsk, found that young men of Krasnoyarsk have for the most part moderate
and mild symptoms of the body structure of the opposite sex and the indices sexual
dimorphism are ginekomorfnomu and mesomorphic body types (92,3%). Among these
types, about 63% of boys ginekomorfnogo type and 47,4% of boys have mesomorphic
type somatic criteria evnuhoidizme. Boys ginekomorfnogo body type have obvious
signs of gracilization and include a 84,6% to asthenic somatotype.
A total mass of the young men observed the predominance of sympathetic tone
and an acceptable adaptation (63,42%), stress adaptation mechanisms (36,58%).

The paper present the description of gender stereotypes in the Russian linguistic picture of the world attributed to people with intelligence. At the modern stage, gender studies in linguistics demand investigation of the stability of the stereotypes of the past in the modern society. ; В данной статье предполагается описание гендерных стереотипов русской языковой картины мира, наблюдаемых в отношении поведения человека с развитым интеллектом. Для современного этапа гендерных исследований в лингвистике важно обнаружить степень устойчивости в современном обществе стереотипов прошлого.

In this article is shown the possibility of using of the cinematic material in the study of various cultural phenomena. The authors substantiate the idea that the movie, belonging to the culture of its epoch and connecting with multiple contexts of everyday life, not only reflects, but through their specific techniques represents and fixes the stereotypical images that are conserved in people's minds and function in the culture. The authors show on the material of the Italian cinema a mosaic of the stereotypes of male characters that remain «working» (resistant) in the culture to the present day. In the article are represented men's archetypal and mythical charac¬ters, cliches in the Italian cinema. The most typical and repeating images of men: «little man», the intellectual, the mythical image of Casanova. They all reflect the cultural needs of the society on the most recognizable «heroes». Analysis of Italian cinematic material allowed the authors to conclude that gender stereotypes in optics of artistic experience are very sensitive to the social, political, cultural processes and transformations. ; В статье показаны возможности использования кинематографического материала в исследовании различных явлений культуры. Обосновывается идея о том, что ки- нофильм, принадлежащий культуре своей эпохи, связанный с многочисленными контекстами повседневности, не только отражает, но через свои специфические приемы репрезентирует и закрепляет стереотипные образы, сохраняющиеся в сознании людей и функционирующие в культуре. Авторы на материале итальянского кинематографа показывают мозаику мужских образов, стереотипы которых остаются «рабочими» (устойчивыми) в культуре и сегодня. В статье репрезентируются мужские, архетипические и мифические образы, клише в итальянском кинематографа. Наиболее характерные и повторяющиеся мужские образы: «маленького человека», интеллектуала, мифического образа Казановы. Все они отражают культурный запрос общества на наиболее узнаваемых «героев». Анализ кинематографического материала итальянского кино позволил авторам сделать вывод о том, что гендерные стереотипы в оптике художественного опыта оказываются весьма чуткими к социальным, политическим, культурным процессам и трансформациям.