Suchergebnisse

The relevance of the study of the living conditions of rural women is related to the actual demographic situation in the Russian hinterland. In rural areas of the Russian Federation there is a stable decline in the population due, first of all, to natural population decrease, as well as migration outflow connected with low standards and quality of life, unattractiveness of labor in rural areas, and social infrastructure. Rural women as a socio-demographic group with typical socio-psychological, ideological, moral and ethno-cultural characteristics, similar spiritual values, social experience and lifestyles, being a more numerous part of the population of rural territories, act as a kind of bulwark for preservation of the village, its culture, traditions and rural economy as a whole. A quarter of all Russian women live in rural areas. Distribution of the country's population by gender and age groups as of January 1, 2019 shows that women predominate in the rural population (52%). And the group of women over working age is twice as large as that of men (6775 thousand against 3230 thousand). In other words, Russian village has actually a female face. In this regard, the study of rural women's issues is very important and timely. The article shows the role of women in the social development of the village, provides excerpts from interviews of rural female activists, their reasoning about how they live despite the difficulties that surround them. It highlights demographic trends in rural areas, assesses the quality of the labor potential of rural residents in comparison with urban residents, and shows a higher level of self-realization in labor activity among women than among men.

This article is devoted to the issues of electoral rights of women and their participation in public administration. The history of the development of women's voting right and their involvement in political processes is considered based on international norms and experience of foreign countries. Particular attention is paid to regulatory documents on the protection of the rights and freedom, the legitimate interests of women in the Republic of Uzbekistan. Moreover, the author analyzed the features and results of new reforms in Uzbekistan carried out in the economic, social, political spheres to increase the role of girls and women, as well as changing gender dynamics in the Parliament. In addition, the scientific work presents some proposals for enhancing the socio-political activity of females, strengthening their role in managing the state and society.

Tunisia has witnessed a disturbing rise in online misogyny and disinformation since President Kais Saied's July 2021 coup.

Over the past year, protesters have sustained the revolutionary "Woman, Life, Freedom" uprising in Iran and throughout the diaspora.

This article discusses the potential of Uzbek women during the period of independence, their freedom to work in any field and their place in society.

Bringing more women into national and state politics could be a significant step for women's representation, but several factors may threaten progress.

Modern agriculture in the Russian Federation is characterized by the growth of entrepreneurial initiative on the part of women. In recent years, more and more Russian women have been focusing on using their entrepreneurial skills in the agro-industrial complex, agriculture, and agribusiness. Obviously, this state of affairs is due, first of all, to measures of state support for the industry by the government: grant support and the allocation of a number of subsidies in all areas of modern agribusiness. The study of regional characteristics of women's entrepreneurship in agriculture is of scientific interest. In this connection, the object of this study was the Kursk Region.

The article presents the results of a study aimed at determining the behavioral trajectories of women as a significant demographic segment, differentiated by gender, and identifying its significance for the process of formation and transformation of the market mechanism of the labor market in the Republic of Tatarstan. Forecasts of the impact of modern strategies of women's labor behavior are substantiated from the standpoint of their determinant as a factor of demographic self-determination. In this regard, the strategies of women's labor behavior identified by the authors allow to form a conceptually and methodologically justified model for managing the labor market mechanism in Tatarstan, including in relation to predictive decisions of a preventive policy for managing the market mechanism in order to optimize the use of the female labor force, creating demographically favorable conditions for increasing the number of qualified labor force, reduction of social tension and growth of socio-economic activity of the population in relation to the formation, distribution and use of labor force. The analysis of the obtained data allowed to identify four types of the correlation of the reproductive behavior of women and the strategy of labor activity chosen by them. The main types of labor behavior of women in the Republic of Tatarstan were identified as materially oriented, "health-caring", "family-centered" and professionally oriented. The women interviewed in the study determine their reproductive strategies in accordance with the peculiarities of their self-realization in life, as well as with predetermined behavioral attitudes. Most women lack independence in issues of reproductive self-regulation. Consequently, in the choice of the nature and amount of work, most likely, women will not be completely self-sufficient. The authors also found that most women are focused on creating a family and having children. Thus, the main strategy of work behavior for them will be to combine work with childcare. However, it is worth noting that there are also a large number of young girls who belong to the "professional orientation" group and participate in primary and secondary professional integration. The results of the study led to the conclusion that the younger generation of women in the Republic of Tatarstan is focused to a greater extent on labor activity than on reproductive on

The paper is devoted to a comparative analysis of the popular culture of the Cold War in the United States and in the USSR, namely, to the genres, which were stimulated by the public moods of the Cold War (noir, spy detective, etc.). It is argued that despite the refusal of Soviet critics to use Western terminology, the genres of noir and spy detective existed in the Soviet literature and cinema, but had their own national and cultural content. In particular, the images of "fatal women" and "female adventurers", who were central in the noir poetics, were not typical in the Soviet popular culture, excluding works devoted to the life abroad (in particular, novels by A. Tolstoy "Emigrants", "Hyperboloid of engineer Garin", etc.), however, noir motifs have appeared in the Soviet literature and cinema since the mid-1950s, when the official optimism of the Soviet public culture has been replaced by emotions of disappointment and tragic past (after J. Stalin's death and denunciation of his personality cult). The novels of the little-studied writers L. Ovalov ("The Copper Button") and H.-M. Muguev ("Doll of Mrs. Bark", "The Quiet City", "Fire Paw") were analyzed in the context of the biographies of their authors, gender politics of the novels and the Soviet concepts of "freedom" and the opposition of "friend" and "enemy". It is proved that the images of "adventurers" and style in the spy novels by Ovalov and Muguev reproduce the poetics of "noir" in the Soviet literature, which looked as authentic view in depicting war, emigration, espionage, captivity, conspiracies, and other existential situations. It was argued that the noir motifs in the late Soviet cinema were used in depicting the bipolar and hostile world in the spy genre ("The Secret Agent's Blunder", "17 Moments of Spring"), and also in depicting the postwar period of Soviet culture, losses of ideals and destroying a large number of people' destinies. It was argued that the "Soviet project" was not separated from the cultural mainstream of the 20th century, it experienced the influences of Western popular culture and its values. ; Статья посвящена сравнительному анализу популярной культуры в США и в СССР периода Холодной войны, а именно жанрам, расцвет которых был стимулирован общественными настроениями Холодной войны (нуар, шпионский детектив, др.). Утверждается, что несмотря на отказ советской критики использовать западную терминологию жанров, нуар и шпионский детектив существовали в советской литературе и кино, однако обладали собственным национально-культурным содержанием. В частности, образы «роковых женщин» и «авантюристок», центральные для стиля нуар, были не характерны для советской популярной культуры, исключая произведения, посвященные заграничной жизни (в частности, А. Толстой «Эмигранты», «Гиперболоид инженера Гарина», др), однако мотивы нуар появляются в советской литературе и кино с середины 1950х, когда на смену официальному оптимизму советской публичной культуры приходят эмоции разочарования, трагизма (после смерти И. Сталина и разоблачения его культа личности). В статье проанализированы романы малоисследованных писателей Л. Овалова («Медная пуговица») и Х.-М. Мугуева («Кукла госпожи Барк», «В тихом городе», «Огненная лапа») в контексте биографий их авторов, гендерных политик романов и советских концептуализаций «свободы» и оппозиции «свой-чужой». Доказывается, что образы «авантюристок» и стиль шпионских романов Овалова и Мугуева воспроизводит поэтику «нуар» в советской литературе, которая оказывается востребованной при изображении экзистенциальных состояний войны, эмиграции, шпионажа, плена, заговоров, и т.д. Показано, что в позднесоветской культуре мотивы нуар используются в кино при изображении биполярного и враждебного мира в произведениях шпионского жанра («Ошибка резидента», «17 мгновений весны»), а также при изображении поствоенного периода советской культуры с точки зрения потери идеалов и разрушенных судеб большого количества людей. Утверждается, что «советский проект» не был отделен от культурного мейнстрима ХХ века, он испытывал культурно-стилевые и ценностные влияния западной популярной культуры, и сам оказывал определенные влияния на нее. ; Стаття присвячена порівняльному аналізу популярної культури в США і в СРСР періоду Холодної війни, а саме жанрам, розквіт яких був стимульований соціальними настроями Холодної війни (нуар, шпигунський детектив, ін.). Стверджується, що незважаючи на відмову радянської критики використовувати західну термінологію жанрів, нуар і шпигунський детектив існували в радянській літературі і кіно, проте мали власний національно-культурний зміст. Зокрема, образи «фатальних жінок» і «авантюристок», центральні для стилю нуар, були не характерні для радянської популярної культури, виключаючи твори, присвячені закордонному життю (наприклад, романи А. Толстого «Емігранти», «Гіперболоїд інженера Гаріна», ін ), проте мотиви нуару з'являються в радянській літературі і кіно з середини 1950х, коли на зміну офіційному оптимізму радянської публічної культури приходять емоції розчарування, трагізму життя (після смерті Й. Сталіна і викриття його культу особистості). У статті проаналізовано романи малодосліджених письменників Л. Овалова («Мідний гудзик») і Х.-М. Мугуева («Лялька пані Барк», «В тихому місті», «Вогняна лапа») в контексті біографій їх авторів, гендерних політик романів і радянських концептуалізацій «свободи» і опозиції «свій-чужий». Доводиться, що образи «авантюристок» і поетика шпигунських романів Овалова і Мугуева відтворює поетику «нуар» в радянській літературі, яка виявляється затребуваною при зображенні екзистенційних станів війни, еміграції, шпигунства, полону, і подібне. Доводиться, що в позднярадянській культурі мотиви нуару використовуються в кіно при зображенні біполярного і ворожого світу в фільмах шпигунському жанрі («Помилка резидента», «17 миттєвостей весни»), а також при зображенні поствоєнного періоду радянської культури з точки зору втрати ідеалів і зруйнованих доль великої кількості людей. Стверджується, що «радянський проект» не був відділений від культурного мейнстріму ХХ століття, він відчував культурно-стильові і ціннісні впливу західної популярної культури, і сам надавав певні впливи на неї.