| Â |
 Â
|
 |
 |
 ÍÎÂÎÑÒÈ ÑÂÐÒ
 |
|
 |
11.03.2026
 Ãîñóäàðñòâåííîé ïóáëè÷íîé èñòîðè÷åñêîé áèáëèîòåêå Ðîññèè (ã. Ìîñêâà, Ñòàðîñàäñêèé ïåð., 9, ñòð. 1) â 17-00 ñîñòîèòñÿ êðóãëûé ñòîë ïî òåìå «Ãåíåàëîãèÿ â ñîâðåìåííîé Ðîññèè».
 ìåðîïðèÿòèè ïðèìóò ó÷àñòèå: ÷ëåí Ïîïå÷èòåëüñêîãî ñîâåòà ÑÂÐÒ, äèðåêòîð ÃÏÈÁ Ðîññèè êàíäèäàò ïåäàãîãè÷åñêèõ íàóê Ìèõàèë Äìèòðèåâè÷ Àôàíàñüåâ, ÷ëåí Ïîïå÷èòåëüñêîãî ñîâåòà ÑÂÐÒ, ïðåäñåäàòåëü Èñòîðèêî-ðîäîñëîâíîãî îáùåñòâà â Ìîñêâå, ïðåçèäåíò Ðîññèéñêîé ãåíåàëîãè÷åñêîé ôåäåðàöèè, êàíäèäàò èñòîðè÷åñêèõ íàóê Ñòàíèñëàâ Âëàäèìèðîâè÷ Äóìèí.
|
 |
|
 |
|
 |
10.03.2026
Ñîñòîèòñÿ î÷åðåäíàÿ âñòðå÷à â ðàìêàõ ïðîñâåòèòåëüñêîãî ïðîåêòà ÑÂÐÒ «Èç æèçíè íàøèõ ïðåäêîâ». Âñòðå÷à ïðîéä¸ò â î÷íîì ôîðìàòå â ïîìåùåíèè áèáëèîòåêè ¹146 ïî àäðåñó: Ìîñêâà, óë. Ãåíåðàëà Áåëîâà, ä.29, ê.3 (ì. Äîìîäåäîâñêàÿ), â 19:00.
Òåìà âñòðå÷è: «Ìîÿ ìàìà Ìîðîõîâåö è å¸ ïðåäêè Øåìåòîâû è Ïîòàïüåâû».
ÌÎÐÎÕÎÂÅÖ ÌÈÕÀÈË ÀÍÄÐÅÅÂÈ× – ó÷àñòíèê ÑÂÐÒ, êàíäèäàò òåõíè÷åñêèõ íàóê, äâàäöàòü ëåò ïîñâÿòèë èçó÷åíèþ ñåìåéíîé ðîäîñëîâíîé. Äîêëàä÷èê ðàññêàæåò, êàê åãî ìàìà ïðîáóäèëà â íåì èíòåðåñ ê ãåíåàëîãèè è êàê îí äîïîëíèë å¸ ðàññêàçû ñîáñòâåííûìè àðõèâíûìè èññëåäîâàíèÿìè è èíôîðìàöèåé, ïîëó÷åííîé îò ïîòîìêîâ å¸ çíàìåíèòûõ äâîþðîäíûõ áðàòüåâ Íåêðàñîâûõ è Íàãàòêèíûõ.
Âûñòóïëåíèå áóäåò ñîïðîâîæäàòüñÿ ïðåçåíòàöèåé.
Ïðèãëàøàþòñÿ âñå æåëàþùèå, ïðîñüáà íå îïàçäûâàòü.
|
 |
|
 |
|
 |
08.03.2026
Óâàæàåìûå êîëëåãè, ìèëûå æåíùèíû! Ïîçäðàâëÿåì âàñ ñ Ìåæäóíàðîäíûì æåíñêèì äíåì 8 Ìàðòà!
Æåëàåì âàì âåñåííåãî òåïëà, îòëè÷íîãî íàñòðîåíèÿ, áîäðîñòè äóõà, íåçàáûâàåìûõ ìîìåíòîâ.
Ïóñêàé âàøè ìå÷òû ñáûâàþòñÿ, â ñåðäöå âñåãäà áóäåò ðàäîñòü è ëþáîâü, à èñêðÿùàÿñÿ óëûáêà âàñ íå ïîêèäàåò!
Ìóæñêîé êîëëåêòèâ ÑÂÐÒ
|
 |
|
 |
|
 |
05.03.2026
Cîñòîÿëàñü òîðæåñòâåííàÿ öåðåìîíèÿ âðó÷åíèÿ íàãðóäíûõ çíàêîâ â ÷åñòü þáèëåÿ îñíîâàíèÿ ãîðîäà Ïåòðîïàâëîâñêà-Êàì÷àòñêîãî.
Çà âêëàä â ðàçâèòèå ãîðîäñêîãî îêðóãà ïðåäñòàâèòåëü ÑÂÐÒ íà Äàëüíåì Âîñòîêå, ÷ëåí Ñîþçà ïèñàòåëåé è Ñîþçà êèíåìàòîãðàôèñòîâ Ðîññèè, ÷ëåí Ðóññêîãî ãåîãðàôè÷åñêîãî îáùåñòâà, êðàåâåä Ñåðãåé Èâàíîâè÷ Âàõðèí (ã. Ïåòðîïàâëîâñê-Êàì÷àòñêèé) íàãðàæäåí íàãðóäíûì çíàêîì «285 ëåò Ïåòðîïàâëîâñêó-Êàì÷àòñêîìó».
|
 |
|
 |
|
 |
04.03.2026
Ïîëíîñòüþ îáíîâëåíû ôóíêöèîíàëüíûå âîçìîæíîñòè áàçû äàííûõ ïðîåêòà ÑÂÐÒ «Ïåðâàÿ ìèðîâàÿ âîéíà, 1914-1918 ãã.».
Ðåîðãàíèçàöèþ ñèñòåìû ïîèñêà îñóùåñòâèë ÷ëåí ÑÂÐÒ Îëåã Âàëåðüåâè÷ Áèáèêîâ.
|
 |
|
 |
|
 |
03.03.2026
 Ìîñêâå ó ÷àñîâíè â ÷åñòü èêîíû Áîæèåé Ìàòåðè «Çíàìåíèå» è ñâÿòîãî áëàãîâåðíîãî êíÿçÿ Àëåêñàíäðà Íåâñêîãî – ïàìÿòíèêå ãðåíàäåðàì, ïàâøèì ïîä Ïëåâíîé, ñîñòîÿëîñü òîðæåñòâåííîå ïîìèíîâåíèå âîèíîâ, îòäàâøèõ ñâîþ æèçíü â Ðóññêî-òóðåöêîé âîéíå 1877-1878 ãîäîâ.
Íà ìåðîïðèÿòèè, ïîñâÿùåííîì 148-é ãîäîâùèíå ïîáåäû íàä Îñìàíñêîé èìïåðèåé, ïîáûâàëà ïðåäñòàâèòåëü ÑÂÐÒ ïî âíåøíèì ñâÿçÿì Èðèíà Âÿ÷åñëàâîâíà Êåïàíîâà (ã. Ìîñêâà). Îíà ðàññêàçàëà î ðîäñòâåííèêå – ó÷àñòíèêå Ðóññêî-òóðåöêîé âîéíû.
|
 |
|
 |
|
 |
01.03.2026
 Ãîñóäàðñòâåííîé îáëàñòíîé äåòñêîé áèáëèîòåêå èìåíè Ò. À. Ìàâðèíîé (ã. Íèæíèé Íîâãîðîä, óë. Çâåçäèíêà, ä. 5) ïðè ïîääåðæêå Íèæåãîðîäñêîãî îòäåëåíèÿ Ñîþçà Âîçðîæäåíèÿ Ðîäîñëîâíûõ Òðàäèöèé ñîñòîÿëèñü î÷åðåäíûå ãåíåàëîãè÷åñêèå ïîñèäåëêè â ðàìêàõ ïðîñâåòèòåëüñêîãî ïðîåêòà «Â ïîèñêàõ êîðíåé».
 ïðîãðàììå:
- ÷ëåí Ñîþçà æóðíàëèñòîâ Ðîññèè, äåéñòâèòåëüíûé ÷ëåí îáùåñòâà «Íèæåãîðîäñêèé êðàåâåä» Ñòàíèñëàâ Àëåêñàíäðîâè÷ Ñìèðíîâ âûñòóïèë ñ äîêëàäîì "Íîâûå ïðîåêòû Íèæåãîðîäñêîãî îáùåñòâà êðàåâåäîâ «Îò÷èíà»" è ïðåäñòàâèë êíèãó «Âîçâðàù¸ííûå èìåíà. Áîëüøîé íèæåãîðîäñêèé íåêðîïîëü».
|
 |
|
 |
|
 |
28.02.2026
 áèáëèîòåêå ¹ 131 ðàéîíà Ìàðüèíî (ã. Ìîñêâà, óë. Áðàòèñëàâñêàÿ, ä. 26) íà çàñåäàíèè Ëèòåðàòóðíî-òâîð÷åñêîãî îáúåäèíåíèÿ «Ìàðüèíñêàÿ ìóçà» ïðîøåë òâîð÷åñêèé âå÷åð ïðåäñòàâèòåëÿ ÑÂÐÒ ïî âíåøíèì ñâÿçÿì Èðèíû Âÿ÷åñëàâîâíû Êåïàíîâîé (ã. Ìîñêâà).
Èðèíà Âÿ÷åñëàâîâíà ïåðåäàëà â áèáëèîòåêó êíèãó «Ìû èì îáÿçàíû æèçíüþ», âûïóùåííóþ ÑÂÐÒ, â êîòîðîé îïóáëèêîâàíî øåñòü ñòàòåé î å¸ ðîäñòâåííèêàõ – ó÷àñòíèêàõ Âåëèêîé Îòå÷åñòâåííîé âîéíû.
|
 |
|
 |
|
|
| Â |
 ÏÎÑËÅÄÍÈÅ ÏÎÑÒÓÏËÅÍÈß Â ÁÈÁËÈÎÒÅÊÓ ÑÂÐÒ
 |

|
 ÃÅÍÅÀËÎÃÈ×ÅÑÊÈÅ ÍÎÂÎÑÒÈ
 |

Pinoy Indie Film Hardinero Full New Moviel Apr 2026
Narrative Strategy: Quiet Depth vs. Overt Drama Pinoy indies often favor restraint over melodrama, allowing audiences to inhabit interiority rather than being told what to feel. Hardinero follows this tradition by privileging slow, observational scenes intercut with moments of sudden emotional clarity. The film’s pacing echoes the rhythms of gardening itself: patient, cyclical, punctuated by small victories and setbacks. This choice invites viewers to invest in character arcs that unfold through repetition, ritual, and incremental transformation.
The Bigger Picture: What Hardinero Signals Hardinero is emblematic of a renaissance in Philippine independent cinema that is simultaneously locally rooted and globally conversant. Its focus on everyday labor, community resilience, and the politics of space ties it to a lineage that includes films that made painful structural realities visible without sacrificing human warmth. At the same time, the film’s willingness to experiment with form — whether through sound design, magical realist flourishes, or ensemble storytelling — signals an industry ready to evolve. pinoy indie film hardinero full new moviel
What makes such grounding politically potent is how ordinary acts — planting, mending, bargaining, sharing a meal — become sites of larger social inquiry. For example, if Hardinero portrays informal urban agriculture as both subsistence and quiet defiance against precarious housing and limited municipal support, the film reframes daily survival as civic labor. Scenes of a protagonist exchanging seedlings with neighbors or bartering produce at a wet market can function as micro-economies that reveal the porous boundaries between care, community, and economic necessity. Narrative Strategy: Quiet Depth vs
Performances: Naturalism and Ensemble Strength Pinoy indie films thrive on performances that feel lived-in rather than performative. Hardinero should lean on a cast that embodies the social milieu: a mix of seasoned character actors and non-professionals who bring local rhythms of speech and gesture. The protagonist may be a gardener, an undocumented worker, or a vendor whose daily encounters with neighbors map a network of reciprocal relationships. Supporting characters — an elder who remembers older land arrangements, a youth activist, a local official torn between bureaucracy and conscience — add depth and moral nuance. The film’s pacing echoes the rhythms of gardening
Distribution and Audience: Festivals, Streaming, and Community Screenings Hardinero’s life beyond production matters. The Philippine indie circuit includes film festivals (Cinemalaya, QCinema, Cinema One Originals, regional festivals) and a growing festival circuit in Southeast Asia. Festival premieres can help secure critical attention and distribution deals. Simultaneously, the rise of streaming platforms — local and international — creates opportunities for wider reach, though this raises questions about curation, revenue splits, and cultural translation.
|
|
|
 |