The image of the world tree is universal in the mythology of the peoples of the world, it symbolizes the axis Mundi - the centre of the universe, the place of creation of space and time. This universal mythological symbol also carries the meaning of life and death. The concept of the world tree in various aspects of the traditions of the human life cycle has many meanings. From the cradle to the grave the «tree» accompanied the rites of the Kazakh people. In the cultural space of the Kazakh people, the world tree is a key element of the codification of traditional culture and is present in all layers of the traditional worldview. In the rites of the Kazakh people, the symbol of the world tree received an additional interpretation over time, losing its original meaning. Still, despite this, semantic analysis allows to reproduce of its original meaning and is considered a key element of the structure of the world. This article analyses the symbols of the world tree in the ritual-everyday practice of the Kazakh people with the help of structural-semiotic and comparative methods. The authors believe that the bakan, the hitching post and the ritual staff used in everyday life reflect the perception of the Kazakh people about the world tree not only as a sacral centre of the world but also as an ordering element of chaos.

The current article applies theoretical framework of degenderisation and aims to explore to what degree women are degenderised by state policies in the labour market and unpaid work in Kazakhstan. The study applied the qualitative research method of semi-structured focus group discussion among 30 women from Almaty and Turkestan. The findings in the current research demonstrate that women’s paid work in the labour market and unpaid work at home do not prove the degenderisation, but rather confirm genderisation process. Women bear costs of emotional, social and time resources as a result of motherhood, which results in them fulfilling less of their potential in professional sphere. There is also a strong influence of cultural factor that causes women to prevent the degenderisation and reinforces genderisation in unpaid work due to their beliefs in traditional gender roles and division of labour in family. The research contributes to theoretical significance by applying theory developed by Western authors, degenderisation, to the case of Kazakhstan.

The article provides a scientific analysis of the poems of the modern poet Baydilda Aidarbek, which have not yet received full recognition in Kazakhstan, but are well known on his land, in his area and recognized by local readers. The poet's creativity is being studied for the first time in Kazakhstan. The poet was born in the Suzak district of South Kazakhstan region. He was fond of writing poetry since childhood. The author showed interest in writing poems, songs, and dramatic works from school. He is the father of six children, a faithful husband, a wise teacher, a sincere poet. Along with poetry, he devoted his life to pedagogical work. Before retiring, he taught technical drawing and painting in various schools in his native district. Giving a description of the features of the poet's work, who loved his native land from childhood and dedicated his poems to it, the author of the article reverently quotes his poetic lines about his native nature, the landscapes of his native land, the depths of the history and human destinies. The author believes that the poet's deep and soulful lyrics should find their new researchers and grateful readers.

This article addresses the validity of the maternal discourse in films, as it builds a certain model for young viewers. Cinema is a powerful medium for addressing important topics and encouraging debates about pressing social issues. Movies covering a wide range of sensitive themes help raise the audience’s awareness, foster civic consciousness, and ensure public morality and its spread. In societies where a woman’s primary duty has historically been defined by her capacity to produce and raise children, cinema is effective for reinforcing and shaping opinions about women’s social roles and their “natural destiny.” Frequently, women are brought into the narrative exclusively through the motherly function or the supposed motherhood—girlfriend or bride. This can also be seen in Uzbek cinema’s approach to expressing femininity, which is tied not only to the cultural custom of honoring mothers but also to the peculiarities of the maternal discourse. However, motherhood, mothers, and their portrayal onscreen reveal much more about society, culture, and the messages they transmit have real-life impacts.

The modern updated education system requires new innovations, according to this phenomenon, objective, fair assessment based on predetermined standards (criteria) is gaining momentum. Criteria-based assessment in this perspective is a wonderful solution, since criteria-based assessment makes it possible to understand what is assessed in the student's work and how exactly it is assessed. Thus, the criterion assessment has become one of the components of an updated educational process, which is aimed at the development of students' educational and cognitive competence and at assessment, which is designated by certain criteria, without comparing students with each other. However, despite the variety of methods and tools that can demonstrate students' achievements in various areas of development, traditional assessment, in which there are no clear and understandable criteria for evaluating the achievement of planned learning outcomes, has not gone into oblivion and is still actively used by many teachers in educational institutions. This article demonstrates a number of tools that can be used in criteria-based assessment, their main goals, as well as their contents. These tools are aimed at developing critical, creative, and communicative skills of students that are necessary in the modern world.