Suchergebnisse

Following the example of Dante's apocalyptic images in the "Divine Comedy" and Vladimir Solovyov's "A Short Story of Antichrist", this article takes into consideration the ideological and artistic elements of the counterpoint – the latter being meant as a simultaneous confrontation and combination of styles from different historical epochs. For this purpose, a given stylistic version of the cross-cultural method is adopted. As a result of it, the author demonstrates that the "Divine Comedy" belongs to the Italian proto-Renaissance style, in which, along with the traditions of medieval culture, the stylistic features of Renaissance and Modern times are forming. The conclusion is that the authorial style of Dante's eschatology is the style of the prophet and judge of humanity who proclaims the continuation of its eternal life. In the same way, the authorial strategy of Solovyov's last work may be also attributed to a stylization of the prophetic genre that was typical of the Russian culture of the late 19th and early 20th century. Despite all this, Solovyov's apocalyptic images do not have a clearly formulated idea concerning the coming salvation – which should be mandatory for the Christian eschatology, – but they only formulate in a new way a prediction regarding the inevitable continuation of great wars, coups and civil strives on the path leading to the end of history. In this transitional stage full of malice, lies and deceit, only the traditional Christian ideal of unselfish love and spiritual unity, which Solovyov employs within the framework of a new artistic style, is endowed with the ability to preserve its timeless value. The overall result of the comparison of the historical style of John's Revelation with the two subsequent stylizations of apocalyptic images is a confirmation of the existence of a cultural self-development that manifests itself in the iconic works of the era of change.

Актуальность. Экспансия научно-технических изобретений в официальные и повседневные среды создает новое предметное поле для социогуманитарной рефлексии. Доступность и сравнительная простота в эксплуатации электронных инструментов создают опасную иллюзию неактуальности классических антропологических и социокультурных проблем, с которыми сталкивались практически все поколения людей. Это обуславливает постепенную деградацию общепринятых форм социальной коммуникации с одновременной эскалацией архаических форм социальной жизни. Цель: проанализировать диалектику человека и машины в голливудских антиутопических проектах. Методы: семиотические и психоаналитические подходы, позволяющие проанализировать художественный опыт визуализации острейших антропологических и социальных противоречий, связанных с современными ожиданиями будущего, представленными в американских фильмах ужасов. Результаты: противоречия между человеком и машиной являются краеугольным камнем преломления ведущих трендов современного общества. Степень драматизма этой проблемы как раз и визуализируется растущей катастрофичностью и безысходностью сюжетов американских фильмов ужасов, в которых конфликт природы, человека и машины оборачивается индивидуальными и вселенскими катастрофами. Ситуация оказывается еще более опасной, поскольку создается повсеместная иллюзия, что посредством внедрения искусственного интеллекта можно добиться качественного прогресса не только в производстве, но и в сфере социального управления, и в повседневности людей. Выводы: идеология антиутопических голливудских проектов выступает полноценным, серьезным предостережением ученым и политикам относительно опасных последствий необдуманного внедрения систем искусственного интеллекта в систему социальной коммуникации без полноценной социогуманитарной экспертизы, позволяющей оценить возможные антропологические риски. ; Relevance. The expansion of scientific and technical inventions into official and everyday environments creates a new subject field for socio-humanitarian reflection. The availability and relative ease of use of electronic tools create a dangerous illusion of the irrelevance of classical anthropological and socio-cultural problems that almost all generations of people have faced. This leads to the gradual degradation of generally accepted forms of social communication with the simultaneous escalation of archaic forms of social life. The aim of the research is to analyze the dialectic of man and machine in Hollywood dystopian projects. Methods. The article uses semiotic and psychoanalytic approaches to analyze the artistic experience of visualizing the most acute anthropological and social contradictions associated with modern expectations of the future, presented in American horror films. Results. The contradictions between a man and a machine are the cornerstone of the refraction of the leading trends in modern society. The degree of drama of this problem is precisely visualized by the growing catastrophism and hopelessness of the plots of American horror films, in which the conflict of nature, man and machine turns into individual and universal catastrophes. The situation is even more dangerous, because it creates a widespread illusion that through the introduction of artificial intelligence, it is possible to achieve qualitative progress not only in production, but also in the field of social management, and in people's everyday life. Findings. The ideology of dystopian Hollywood projects serves as a full-fledged, serious warning to scientists and politicians about the dangerous consequences of the rash introduction of artificial intelligence systems into the social communication system without a fullfledged socio-humanitarian expertise that allows assessing possible anthropological risks.

Актуальность. Антропологический кризис, в который ввергнута современная цивилизация, задает новые стандарты интерпретации противоречий между поколениями и диктует сценарии их визуализации. Данный конфликт приобретает политико-идеологическое звучание, что требует гуманитарной экспертизы этой ситуации и формирования корпуса рекомендаций по минимизации негативных последствий. Цель: на примере голливудской франшизы о «Дивергенте» проанализировать стратегии формирования постапокалиптического социального пространства и принципы деформации межпоколенческой коммуникации. Методы: авторы опираются на междисциплинарный комплекс семиотического, феноменологического и психоаналитического методов, позволяющий всесторонне проанализировать биополитические и идеологические стратегии постапокалиптической власти. Результаты: укрепление институтов власти будущего осуществляется посредством насаждения тоталитарной, иерархической системы, каждый уровень которой выполняет предписанную моральную миссию, что позволяет придавать ее официальным и повседневным функциям высшие сакральные и антропологические смыслы. Эффективность существования фракционной системы постапокалиптического будущего обеспечивается за счет создания жесткого механизма социализации, призванного формировать и канонизировать стандартизированные моральные добродетели. Функционированию подобного отлаженного механизма препятствуют дивергенты - индивиды, обладающие всеми фракционными способностями одновременно. Их универсальность подрывает стабильность антиутопического социума, что обуславливает стремление власти к физическому устранению дивергентов из социального пространства. Государственному порядку противопоставлена внесистемная оппозиция инсургентов - девиантов, стремящихся уничтожить фракционную детерминацию. Демонстративная борьба фракционного социума с инсургентами является его системной функцией, укрепляющей позиции власти, которая выступает закономерным результатом теневых экспериментов над обществом. Выводы: использование технологий профессиональной сегрегации становится ведущей биополитической, коммунитарной стратегией постапокалиптической тоталитарной власти. ; Relevance. The anthropological crisis in which modern civilization is plunged sets new standards for the interpretation of contradictions between generations and dictates scenarios for their visualization. This conflict acquires a political and ideological sound, which urgently requires its humanitarian expertise, the formation of a body of recommendations to minimize the negative consequences. The aim of the research is to analyze the strategies for formation of a post-apocalyptic social space and the principles of deformation of intergenerational communication using the example of the Hollywood franchise about «Divergent». Methods. The authors rely on an interdisciplinary complex of semiotic, phenomenological and psychoanalytic methods, which allows a comprehensive analysis of the biopolitical and ideological strategies of postapocalyptic power. Results. The strengthening of the institutions of power of the future is carried out through the imposition of a totalitarian, hierarchical system, each level of which fulfills a prescribed moral mission, which makes it possible to rigidly give official and everyday functions to the highest sacred and anthropological meanings. The effectiveness of the existence of a factional system of a post-apocalyptic future is ensured by the creation of a rigid socialization mechanism designed to form and canonize standardized moral virtues. Functioning of such well-established mechanism is hindered by divergents, individuals who have all the factional abilities at the same time. Their universality undermines the stability of the dystopian society, which leads to the desire of the authorities to physically eliminate divergents from the social space. The state order is opposed by the non-systemic opposition of insurgents, deviants who seek to destroy factional determination. The demonstrative struggle of the factional society with the insurgents is its systemic function, which strengthens the positions of power, which is the natural result of shadow experiments on society. Findings. The use of occupational segregation technologies is becoming the leading biopolitical, communitarian strategy of post-apocalyptic, totalitarian power.

Apokaliptična aluzija kot strukturnopojasnjevalna komponenta v povesti M. A. Bulgakova Usodno jajce Članek obravnava apokaliptično videnje Mihaila Bulgakova v znanstveno-fantastični povesti Usodna jajca. Avtorica v članku ugotavlja, da pisateljevo ustvarjalno misel opredeljuje apokaliptično dojemanje stvarnosti. Siže povesti Bulgakov zastavi kot ambivalentno projekcijo biblijske zgodbe o koncu sveta, Janezovega razodetja, in se s pomočjo številnih citatnih figur, med katerimi prevladuje aluzija, v tekstu večkrat sklicuje na apokaliptično prerokbo. V svoji futuristični viziji prikazuje, kam lahko vodijo nova politika socializma ter nove metode gradnje socialistične družbe. Razgrne grozovito sliko prihodnosti, v kateri človek postane snov za eksperiment. Dodobra izkoristi tipične distopične lastnosti: državno nadziranje literature in umetnosti, apokaliptično vzdušje, brezizhodni položaj tistih, ki nočejo postati enakomisleči stroji. Razprava se osredotoči na analizo rabe in pomena ambivalentnih aluzij na novi Jeruzalem ter prekleti Babilon, apokaliptične zveri, pečate božjega srda, vstajenja ter božanske podobe ustvarjalca. ; This research study builds on the analysis of the apocalyptic vision in Mikhail Bulgakov's science fiction short story Fatal Eggs. The apocalyptic vision of reality defines the writer's artistic world, as the plot of the story is built as an ambivalent projection of the biblical story of the end of the world in the Book of Revelation. Bulgakov uses various inter-textual figures to refer to this biblical text, with allusions serving as the most important. In his futuristic perspective, the author shows the consequences of the new politics of socialism, as well as new methods of constructing a contemporary society. Bulgakov offers his readers a horrible perspective of the future in which human beings become mere test subjects for an experiment. Bulgakov uses typical features of dystopia: state control of literature and art, apocalyptic atmosphere, and the position of those who do not want to become "the same-thinking machines" and thus have no perspective in a new society. The analysis focuses on the use and meaning of key ambivalent allusions to the New Jerusalem and Babylon, the apocalyptic Beast, God's seals, resurrection and God, the Creator.

V.S. Solovyov's cultural position is conceptualized in the context of an organically cosmic worldview, which is reflected in the collective creativity of 19th – early 20th century Russian thinkers. That position is a response to the historical need for a mature self-awareness of a social subject in the face of an apocalyptic alternative between self-destruction or self-regeneration of humanity at the level of moral freedom. It is noted that this need was initiated by the industrial revolution of the turn of the 18th – 19th centuries, which radically changed a person's place in the world due to the development of artificial energy sources. In this regard, a comparative analysis of the reflection of this need in West European positivism and Russian organicism in the 19th century is carried out in the context of the task of overcoming the mechanistic paradigm that reigns supreme in European culture of the 17th –18th centuries and the transition to the positions of an organically active worldview. The essence and significance of this transformation in this worldview is revealed as a return to the «organically nurtured» (N.A. Berdyaev) worldview, but at a qualitatively new and active, not intuitive, level, implying the responsibility of the thinking subject for all life forms in accordance with the level of their organization. The essence of an organically active worldview, which is based on the theoretical dialectics of German classical philosophy, is emphasized. As a result of a comparative analysis, it was found that Russian thinkers who deeply and interestedly mastered German classical philosophy, as well as new trends in Western philosophy of the 19th century, were able to dialectically comprehend the relevance of an organically-active world outlook on the basis of their native culture, making it a concrete and organic worldview within the philosophy of Russian cosmism. The significance of Soloviev's teachings is revealed in the collective work of developing a philosophical and anthropological project of Russian cosmism aimed at constructively resolving the apocalyptic alternative through a «common cause», the content of which on the scale of each national culture is determined by its «organic function».

The growing anthropogenic impact on the environment, the consequences of which are often written and spoken of as frightening, even apocalyptic, has actualized the discourse on responsibility – of humanity as a whole, states, their governments, parliaments and other institutions, individual corporations, each person. The environmental agenda, responsible nature management, ecosystem thinking are at the center of their conflicting interests.It seems that engineering education should also focus on this issue. However, when analyzing the Federal State Educational Standards, it is found that the development of social and professional responsibility of students is not recorded as a necessary result of their training. Recently, professional standards have become a benchmark for higher education in terms of regulating the professional competencies of university graduates. The professional standards should define the level of employee's responsibility, which serves as a defining characteristic of the qualification.Thus, there is a discrepancy between FSES and professional standards iregarding one of the key engineering competencies. This article focuses on this topic. ; Нарастающие масштабы антропогенного воздействия на окружающую среду, о последствиях которого нередко пишут и говорят как об устрашающих, даже апокалиптических, актуализировали дискурс относительно ответственности – человечества в целом, государств, их правительств, парламентов и прочих институтов, отдельных корпораций, каждого человека. Экологическая повестка, ответственное природопользование, экосистемное мышление – в центре их противоречивых интересов.Представляется, что инженерное образование также должно быть сфокусировано на этой проблематике. Однако при анализе ФГОС обнаруживается, что развитие социальной и профессиональной ответственности студентов не зафиксировано как необходимый результат их подготовки. С недавних пор ориентиром для высшей школы в части регламентации профессиональных компетенций выпускников университетов являются ...

The article is devoted to the functioning of the Odessa football myth in the literature of the last century. Numerous texts by such Odessa authors as Olesha, Kataev, Utesov, Ilf and Petrov, Kozachinsky, Zhvanetsky, Kartsev and others serve as the material. Part of the Odessa football myth is the birth myth. In this case, this is the birth of the game - initially alien and incomprehensible to contemporaries. In the myth of the birth of football, it is repeatedly stated about the primacy of Odessa. Football arose here earlier than in the whole empire (including St. Petersburg and Moscow). And the reason for this is the exclusivity of Odessa as a port city with its internationalcontacts. Yuri Olesha calls it "the dawn of football". The creators of the Odessa myth of the birth of football are not only chroniclers, but also direct participants in the events. Military time is not only not conducive to football, but also completely disastrous for it. The war in Odessa football mythology destroys football utopia, a kind of idyllic chronotope that exists in the Odessa text as a whole, and serves as an apocalyptic myth. The football myth is infused with the motive of freedom, which stands not only above sporting rivalry and social and political views, but even beyond time and space. ; Статтю присвячено важливій для одеського тексту футбольній міфології, її специфіці та функціонуванню в літературі ХХ століття. Особливу увагу приділено двом міфам – космогонічному, пов'язаному з народженням, «зорею футбола» (Юрій Олеша) в Одесі та його відображенню в літературі (В. Катаєв, Ю. Олеша, І. Ільф і Є. Петров, Л. Утьосов), і есхатологічному, що артикулюється в мотиві руйнування одеської футбольної утопії та загибелі одеського футболу під час трагічних подій початку ХХ сторіччя («Зелений фургон» О. Козачинського).

The article is devoted to the functioning of the Odessa football myth in the literature of the last century. Numerous texts by such Odessa authors as Olesha, Kataev, Utesov, Ilf and Petrov, Kozachinsky, Zhvanetsky, Kartsev and others serve as the material. Part of the Odessa football myth is the birth myth. In this case, this is the birth of the game - initially alien and incomprehensible to contemporaries. In the myth of the birth of football, it is repeatedly stated about the primacy of Odessa. Football arose here earlier than in the whole empire (including St. Petersburg and Moscow). And the reason for this is the exclusivity of Odessa as a port city with its internationalcontacts. Yuri Olesha calls it "the dawn of football". The creators of the Odessa myth of the birth of football are not only chroniclers, but also direct participants in the events. Military time is not only not conducive to football, but also completely disastrous for it. The war in Odessa football mythology destroys football utopia, a kind of idyllic chronotope that exists in the Odessa text as a whole, and serves as an apocalyptic myth. The football myth is infused with the motive of freedom, which stands not only above sporting rivalry and social and political views, but even beyond time and space. ; Статтю присвячено важливій для одеського тексту футбольній міфології, її специфіці та функціонуванню в літературі ХХ століття. Особливу увагу приділено двом міфам – космогонічному, пов'язаному з народженням, «зорею футбола» (Юрій Олеша) в Одесі та його відображенню в літературі (В. Катаєв, Ю. Олеша, І. Ільф і Є. Петров, Л. Утьосов), і есхатологічному, що артикулюється в мотиві руйнування одеської футбольної утопії та загибелі одеського футболу під час трагічних подій початку ХХ сторіччя («Зелений фургон» О. Козачинського).

Objective: to reveal the specific features of the artistic model of the world in K. McCarthy's "The Road" as a philosophical and allegorical novel. Methods: dialectic, genetic, hermeneutic, structural-semiotic, intertextual, systemic. Results of the study can be used in the further study of the philosophical and allegorical novel from the standpoint of modern aesthetics, cultural studies, literary criticism, comparative studies, which, in turn, will deepen understanding of the modern literary process. Conclusion. In his prose writer raises the questions of the relationship of people in the family and the relationship of a person with God, the meaning of human existence and a person's place in the world. Problems of communication between generations, humanity, sacrifice are the main ones for the author. Humanity, according to the author, experienced the first catastrophe even during the Fall, and from that moment it found itself in the confinement of a post-apocalyptic state. The biblical layer of the novel deepens the connection between the problem of post-apocalypse and Christianity, and McCarthy becomes the author of a new religiosity based not so much on faith in God as on interaction between people based on trust, love, renunciation and redemption. T. McCarthy's work opens up new horizons for creating numerous allegories, raising the question of "literature (how artificial is realism?), Existence (are we capable of genuine existence?), Politics (what is left of identity politics?) and law (Where do we define boundaries, what and whom are we excluding and why?) ". The allegory of the Apocalypse in T. McCarthy's novel has the meaning of loneliness, isolationism, renewal, memory, movement, road, death, survival. The author uses a sophisticated storytelling technique (extraspection technique) and experiments with the use of a new language that would be characteristic of the world after the Apocalypse. ; Цель работы: выявить специфические черты художественной модели мира в произведении К. Маккарти «Дорога» как ...

Annotation: In the submitted article the features of the concept of the Kingdom of God are considered, as it is expressed in the works of one of the leading theologians of the 20th century, Jurgen Moltmann. The categories of "new" and "coming" are indicated and analyzed as key components (attributes) of the concept, clarifying the process of integrating the Kingdom into the world. The idea of two aeons (centuries), coming and passing, is revealed, the interaction of which creates the apocalypticeschatological antagonism of the Kingdom in the present. The idea of "freedom" as the quintessence of the Kingdom is disclosed, which helps to understand the principles and nature of God's government better. In the context of the polemic with Gnosticism, the ecumenical scales of the Kingdom are described, including the entire totality of the transfigured being. Studying the concept, the author comes to the conclusion that it is relevant for a (post)secular society, open to new influences and transformations, which exactly bears the coming Kingdom. At the end of the article, we examine the relevance of Moltman's theological ideas in relation to the coronavirus. ; В представленной статье рассматриваются особенности концепта Царства Бога, как он выражен в работах одного из ведущих теологов XX века Юргена Мольтмана. Указываются и анализируютсякатегории "нового" и "грядущего", как ключевые составляющие (атрибуты) концепта, проясняющие процесс интеграции Царства в мир. Выявлена идея двух эонов (веков), грядущего и преходящего,взаимодействие которых создает апокалиптически-эсхатологический антагонизм Царства в настоящем. Раскрыта идея "свободы" как квинтэссенции Царства, что помогает лучше понимать принципы и характер Божьего правления. В контексте полемики с гностицизмом описаны вселенские масштабы Царства, включающего всю совокупность преображенного бытия. Исследуя концепт, автор приходит к выводу о егорелевантности для (пост)секулярного общества, открытого новым влияниям и преобразованиям, что как раз и несет в себе грядущее Царство. В конце статьи рассматривается релевантность теологических идей Мольтмана в связи с коронавирусом

Annotation: In the submitted article the features of the concept of the Kingdom of God are considered, as it is expressed in the works of one of the leading theologians of the 20th century, Jurgen Moltmann. The categories of "new" and "coming" are indicated and analyzed as key components (attributes) of the concept, clarifying the process of integrating the Kingdom into the world. The idea of two aeons (centuries), coming and passing, is revealed, the interaction of which creates the apocalypticeschatological antagonism of the Kingdom in the present. The idea of "freedom" as the quintessence of the Kingdom is disclosed, which helps to understand the principles and nature of God's government better. In the context of the polemic with Gnosticism, the ecumenical scales of the Kingdom are described, including the entire totality of the transfigured being. Studying the concept, the author comes to the conclusion that it is relevant for a (post)secular society, open to new influences and transformations, which exactly bears the coming Kingdom. At the end of the article, we examine the relevance of Moltman's theological ideas in relation to the coronavirus. ; В представленной статье рассматриваются особенности концепта Царства Бога, как он выражен в работах одного из ведущих теологов XX века Юргена Мольтмана. Указываются и анализируютсякатегории "нового" и "грядущего", как ключевые составляющие (атрибуты) концепта, проясняющие процесс интеграции Царства в мир. Выявлена идея двух эонов (веков), грядущего и преходящего,взаимодействие которых создает апокалиптически-эсхатологический антагонизм Царства в настоящем. Раскрыта идея "свободы" как квинтэссенции Царства, что помогает лучше понимать принципы и характер Божьего правления. В контексте полемики с гностицизмом описаны вселенские масштабы Царства, включающего всю совокупность преображенного бытия. Исследуя концепт, автор приходит к выводу о егорелевантности для (пост)секулярного общества, открытого новым влияниям и преобразованиям, что как раз и несет в себе грядущее Царство. В конце статьи рассматривается релевантность теологических идей Мольтмана в связи с коронавирусом

This article is about the evolution of the poetic work of Maximilian Voloshin in the context of Russian history of the early twentieth century. It reflects the formation of the religious and philosophical worldview of this poet-philosopher. The hypothesis is discussed that under the influence of tragic events, wars and revolutions, the biblical motives increasingly replace the antique ones, and the contemporary historical events are interpreted in terms of biblical history. In this connection a general view of the subject is given, as well as an analysis of the language, metrics, imagery and style of Woloshin's poetry at different moments of his creative work. It appears that if earlier the poet often tended to adapt antique verse and strophe to the Russian syllabo-tonic poetry, in the works of the epoch of wars and revolution he imitates the biblical poetry several times, and then he goes on to an unrhymed tonic verse, with the line divided into two hemistichs. Thereby the antique images, topoi and metaphors give way to biblical allusions, combined with realistic details of the period of terror and mass executions. It is proved that Crimea-Cimmeria, which had previously been an area of the ancient oecumene for the poet, an abode of the ancient gods, appears as an arena of the fulfilled prophetic and apocalyptic visions of the Bible in the post-revolutionary period of his work. It is alleged that history itself, which had previously been depicted as a cycle, according to ancient tradition, turns into a vector of destruction. Concerning the Old Testament history, the poet's attention is mostly attracted to prophetic books, and he chooses the most mystical images from the New Testament, chiefly from St John's Book of Revelation. Moreover, some Gnostic motifs are combined with the Biblical ones. The cosmic allegory of Christ as the spirit "crucified" in the matter is considered as an example which goes back to the Gnostic teachings of Late Antiquity. It is also concluded that Voloshin's hope for a future revival of Russia after passing through the crucible of trials also fits into the framework of the biblical tradition.

The paper deals with the world epidemic reflection in mass media discourse. The information about coronavirus may be grouped under the following titles: 1) disease definition, its history and characteristics, 2) activities of the authorities to fight the epidemic, 3) prognoses of specialists concerning its development, 4) commentaries of internet users about it. Typical reactions to apocalyptic threat of today make up the following groups: 1) dissemination of information about the situation, 2) emotional response to the news, 3) tentative efforts to find rational or irrational explanation of the facts, 4) advice and recommendations, 5) reduction of information to comical absurdity, 6) insolent trolling the internet commu-nity for questionable self-affirmation. The reaction of the active network audience to the coronavirus news is often very emotional, explanations are both rational and mystical, authorities are blamed for their incompetence and corruption and they are politically charged; public anonymous discourse has a high degree of sarcasm and grim humor. The study shows that the social networking discourse and blogs have become an important component of media communication, and the attitude to the credibility of the news disseminated by mass media has changed: if the news published in a paper or transmitted over the radio or television were accepted by many people as true a few decades ago, now, in the post-modern era, fakes and facts occupy almost equal positions in news streams. ; Рассматривается отражение мировой эпидемии в медийном дискурсе. Информацию в интернете о коронавирусе можно разбить на следующие группы сведений: 1) определение заболевания, его история и характеристики; 2) деятельность властей по борьбе с эпидемией; 3) прогнозы специалистов по развитию заболевания; 4) комментарии пользователей интернета об этом вирусе. Установлено несколько основных видов реакций на апокалиптическую угрозу нынешнего дня: 1) распространение информации о положении дел, 2) эмоциональный отклик на новости, 3) попытки найти рациональные или иррациональные объяснения случившемуся, 4) советы и рекомендации, 5) сведение информации к комическому абсурду и 6) откровенный троллинг интернет-сообщества ради сомнительного самоутверждения. Реакция активной части публики на информацию о коронавирусе в значительной степени эмоциональна, объяснения происходящего носят как рациональный, так и мистический характер, обвинения в адрес власти сводятся к обличению ее некомпетентности и политически маркированы, в публичном анонимном дискурсе высока доля сарказма и черного юмора. Исследование демонстрирует, что сетевой дискурс и блоги стали существенным компонентом медийной коммуникации, изменилось понимание достоверности распространяемых сведений в сфере массовой информации: если раньше напечатанные в газете или озвученные по радио или телевидению сведения многими воспринимались как достоверные, то в эпоху постмодерна фейки и факты заняли почти равные позиции в потоке новостей.

The subject of the article is legal regulation of work in retail on Sundays and holidays in Poland and in the European Union.The main aim of the article is to confirm or disprove the hypothesis that restrictions on work in retail on Sundays are not due to the needs of the economy and law, but due to the political situation in Poland, and therefore, although these restrictions are not rejected by the Polish society, they can be revised easily after the elections.The methodology of the study includes analysis, synthesis, description, interpretation as well as particular academic legal methods (historical overview, comparative analysis of legislation, formal‐legal method, interpretation of legal acts).The main results and scope of their application. The article discusses legal restrictions in Poland concerning work on Sundays and public holidays, especially in retail. General rules concerning work on these days are set in the Polish Labor Code in accordance with the EU legislation. Recently, a law was passed in Poland introducing the restriction of employment in retail outlets on Sundays and other public holidays. This law was entered into force on March 1, 2018 with two years transition period. After transition period a total ban on working on Sundays and holidays in shops and other retail (except some special sales places, such as post offices, ticket offices etc.) will be established. Thus, discussions and disputes over the years, which have been going on almost from the very beginning of the systemic transformation, have been closed for many years. The author of the article presented a systematic analysis of legislation and various problems on the example of Poland and the European Union. The limitations on employment on Sundays are the protective measures established by labour law provisions. They combine the function of securing rest to employees with their role of a method allowing the society to celebrate certain days due to lay or religious reasons. Macroeconomic effects of the restrictions of work in retail on Sundays are not known yet. Nevertheless, it seems that the apocalyptic visions of the condition of Poland's economy, free of commerce made on Sundays (such as a dramatic drop in GDP or a rapid growth of unemployment) are rather far from reality.Conclusions. The Polish law restricting work on Sundays and public holidays in retail is not totally rejected by Polish society, but it may be subject to further changes. It depends on what political forces will exercise power in Poland. ; Рассматриваются предусмотренные Трудовым кодексом Польши общие нормы трудового права, касающиеся работы по воскресеньям и праздничным дням, в их взаимодействии с законодательством ЕС. Представлен системный анализ причин принятия вступившего в силу 1 марта 2018 г. закона, вводящего ограничение занятости в торговых точках по воскресеньям и другим праздничным дням, его содержания и проблем применения.