Check out world's top royal and princely houses, aristocracy, crown jewels and royal cars, jets, trains and yachts. Coat of arms - heraldic design on a shield. Cara instal wndows 98 di hardisk external. This text, devoted to women combatants in the Red Army between 1941-1945, discusses how the State managed the recruitment, integration, and demobilization of women. Based on Soviet archives, this research develops a comparative dimension, on the assumption that States everywhere are confronted with the same issues when they recruit women for war. This commonly follows a rationale of replacing men by women, which forces the military institution to adapt. Thus, an approach in gender terms sheds new light on the functioning of armies, on what takes place on the battlefield, and on post-war difficulties specific to women combatants. Nina Onilova was one of the 800,000 women who served in the Red Army between 1941 and 1945. Although all the Allies recruited women during the Second World War, the USSR was exceptional in that it was the only country to specifically train women in combat functions (aviation, infantry, snipers). A few women had already enlisted during the First World War, and the Tsarist army had accepted the creation of a women’s battalion under the direction of Maria Bochkareva. During the Civil War, there were many women in the ranks of what would later become the Red Army. In the 1930s, the USSR prepared for a war considered unavoidable and young women, like young men, were recruited to learn how to fly planes, to parachute and shoot guns. This figure of the female Red soldier was then portrayed in literature and film. In a 1934 novel, Vassili Grossman portrays Commissar Klavdia Vavilova, who leaves behind a newborn son to return to the battlefield. The same year, in Chapayev, the Vassiliev brothers created the fictional character Anka the Machine-Gunner, inspired by the many female volunteers in the armed groups of the time. The film, and especially the combat scene against the White Army shown in the above document, also highlights the ambiguities of women’s access to arms and combat. The growing mechanization of armies, the disappearance of physical strength as a determining criterion for battle, made it possible to imagine a place for women. In the film, Anna shows perfect mastery of her weapon, an excellent sense of tactics and a good dose of cold-bloodedness. Despite that, Anna is not a combatant like the others: she only gets to shoot by default – because the soldier in charge of the machine gun is wounded. Her male comrades make fun of her and express doubts as to her competence, and in the end, it is the men, Chapayev and his cavalry – welcomed by an ecstatic Anna – who force the Whites to flee. It is not our intention to draw a complete picture of the different ways in which women are affected by war and mobilized by the State, but rather to study only one of these aspects: women in the army and on the battlefield. More than these women’s experiences, for which sources are fragmentary and marked by the way they were collected, what interests us here is the State’s mobilization policy and how it recruits, integrates, then demobilizes women. Not only because numerous sources exist, but also because it is here that the comparative aspect is most evident: the issues faced by Soviet institutions are not very different from those of European states or of the United States when recruiting women in the XX th and XXI st centuries. Examples and analyses from other contexts help gain insight into the Soviet case, in the hope that the Soviet experience will in turn give rise to more general conclusions. The fact that despite geographic and historical diversity certain parallels can be drawn concerning policies towards women in wartime suggests that the gender aspect constitutes a very relevant entry point.
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