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The article offers and justifies a new version of the origin of the theory of natural law. The authors suggest con-sidering the ideological origins of the concept of human rights in the context of the theory of anti-systems. After all, the ideological basis of this concept both in antiquity and in the Middle Ages was precisely heretical anti-systemic movements. Analyzing the concept of natural law, the authors show that this concept is revolutionary not only in social, but also in structural terms, since its position calls into question the structural matrix of civiliza-tion, all cultural and historical institutions. Thus, this concept represents a structural revolution against a formal-ized cultural-historical existence. Besides, the article reveals the relationship between the ideology of natural law and modern "eco-ideology", attempts to introduce digital slavery and esoterism. It justifies the idea that the concept of "natural man", as the basis of natural law, is an esoteric mechanism when, without publicly renounc-ing the content of a cultural tradition, the main worldview issues are interpreted directly opposite to this tradition.

The article attempts to consider the "digital revolution" in the context of O. Cochin's research and using his method. O. Cochin identifies two approaches to the study of the phenomenon of revolutions – an object-free one based on the thesis of "circumstances" and a subject one introducing the thesis of "small people". Each of the approaches is a source-based filter, creates its own paradigm-theoretical field, thereby predetermining the results of the study. The choice of one or another field is determined by the will of the researcher. An attempt is made to identify two similar approaches, and, as a result, the emergence of two opposite paradigms for the study of the digital revolution with its strategy of "zeroing out" civilization. It is shown that being in the paradig-matic field of the "thesis of circumstances" makes us ignore the subjective factor of history and hides the true subject of the revolution. The paradigmatic space of the thesis of "small people", "inversely oriented" in relation to the big people, is based on the identification of the subjective factor of history and leads researchers to the inevitability of entering the theory of anti-systems of L.N. Gumilev.

The article explores the image of a liar in the comedies of the late 18th –early 19th centu-ries. The following texts are analyzed: The Talkerby N.I.Khmelnitsky (1817), Don't Like –Don't Listen, But Don't Interfere with Lyingby A.A. Shakhovskoy (1818), A Lesson to Liars, or a Bridegroom for an Hourby Ya.Lyustikh (1823), The Punished Hypocrite, or a Lesson to Everyone in Turnby B.M.Fedorov (1817), Deception, or It's All About Screens by V.Sveshnikov (1834). The connection of the Russian light comedy with the French-style salon comedy is noted, special attention is paid to the specifics of translation, adaptation of the work to Russian mores. The main characteristics of the light comedy of the period are high-lighted: aphoristic speech, love theme, matchmaking as the key motif. The signs of the salon comedy in-clude: the text size, a comedic intrigue, the recognition of the characters by readers/viewers (the characters' resemblance to real prototypes), which distinguish this genre from the high comedy of the 18th century. Theanalysis showed the motif of deception to be the core, plot-forming motif. The representatives of the noble society act as deceiving characters, the age of the character does not matter. Despite the lack of strict didacticism, the hero-deceiver gets what he deserves, he loses either a lucrative position or a bride. Thus, we can talk about the national specifics of the comedies under consideration: the cheater protagonist gets noth-ing and often loses his influence, status, and even honest name. Despite the negative attitude to deception, showing the liar in his true colors is a virtuous mission, often it is a conflict of close people or relatives. Sveshnikov's comedy Deception...is considered separately since it is written in prose, not in verse. In addi-tion, theliar is a female character; in this play, 'verbal' deception is replaced by deception in action.