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The article explores the philosophy and humour in the popular animated science-fiction sitcom Rick and Morty, which premiered in 2013. The series offers productive material through which important philosophical and cultural questions and challenges can be explored. The subject of the study is the explication of the problem of reality and opposition of determinism and freedom in the context of modern society, which is largely characterized by technological advances. The research aims to show how the creators of the series interpret these problems and what place they leave for a human in the world and Universe. The series has already become a target of academic research, and this article shows how researchers use the material of the series to study social theories, ontological and ethical issues, the boundaries of the human, etc. The author attempts to consider the series as an object of complex humanitarian research. The relevance of the study is due to the fact that the growing interaction between humans and technology makes one turn to philosophy and culture in order to preserve the humane and prevent the formation of a non-human-sized world. The author concludes that the main message of Rick and Morty is the rejection of anthropocentrism and human exceptionalism. However, the seemingly pessimistic viewpoint advocated by the creators of the series is justified by the growing complexity of the world. The series motivates productive reflection on the current state of our world and its future.

Purpose: to determine changes in indicators of speed-strength abilities of volleyball players under the influence of a set of exercises according to the Tabata protocol. Material & Method: 10 volleyball players of the male student team "KhSAPC", aged 17-21, took part in the pedagogical experiment, they have the first category in volleyball. The experiment lasted 2 months and consisted in using the Tabata protocol in the educational and training process of volleyball players. In the dynamics of the experiment, the speed-strength abilities of a selected group of volleyball players were tested. The assessment of the statistical reliability of the results of a comparative analysis of the indicators studied in this work was carried out using a nonparametric sign test. Results: at the beginning of the pedagogical experiment, volleyball players had the following test results: push-ups for 20 s 17,30±0,45 times; standing long jump with push of two legs 229,20±2,98 cm; lifting the torso from the prone position in 30 s 30,40±1,37 times; throwing a stuffed ball weighing 1 kg from behind the head with two hands in a jump of 11,20 ± 0,93 m; jump up from a place (according to V. M. Abalakov) 49,60±2,51 cm. After the pedagogical experiment, the values of indicators of the speed-strength abilities of volleyball players for each of the five tests turned out to be significantly higher compared to the results of the corresponding tests obtained before the start of the experiment. Conclusions: the proposed sets of exercises according to the Tabata protocol turned out to be effective, as they made it possible to significantly improve (p˃0.01) the speed-strength abilities of volleyball players in all tests. The results obtained allow us to recommend the use of exercise complexes according to the Tabata protocol for the training activity of volleyball players.

It often happens that a social network of a general orientation is not convenient for a specifc group of people due to the specifcs of their interests. The community of TV series fans is one of these groups. Therefore, the development of a narrowly focused social network, which will implement functionality for a certain category of users, is very relevant. The purpose of this work is to develop an information system, which is a narrowly focused social network for fans of TV shows with functionality that meets the needs of this group of people, taking into account the specifcs of their interests. Main tasks: determination of user needs; analysis of the functionality of existing solutions and identifcation of components that need to be implemented; study of approaches to the design of recommender systems; choice of means and methods of development; system design and development. As a result, an information system that can satisfy the needs of series lovers was designed. The developed system provides a functionality that allows user to keep track of watched episodes, get fresh and up-to-date information about TV shows, discuss news and TV shows with other people, receive personal recommendations, etc. At the same time, users can access the system using various types of devices: smartphones or tablets running iOS and Android operating systems, desktop computers and laptops.

The article covers the gender issues of modern Russian television content on the example of a serial segment of Russian broadcast over the past 20 years. This aspect predetermines the relevance of the proposed research. The work focuses on the series that tend toward the most mass and popular forms of solving aesthetic problems—melodrama, comedy, and detective. The examples of the series, involved in the analysis, suggest that the gender dominance, characteristic of the previous stage of TV broadcasting development in Russia, has transformed significantly. This trend is indicated by the increasing importance of female characters in Russian detective series of the 2000s and 2010s. Notably, the process is instantiated by both quantitative and qualitative markers, including in terms of appeal to different historical periods which are reflected in the plots. At the same time, producers, including production teams of broadcasters, make active use of foreign experience, creating domestic versions of popular detective series filmed in other countries. Such circumstances of on-air content production can be explained by a combination of both objective (social, psychological) factors and subjective reasons (potential audience composition). Such aspects, taken together, generate complexes of plot and personified viewers’ expectations from watching the series. This situation forces the filmmakers and originators of new TV series to budge from traditional formats and creative techniques and take the factor of gender dominance into consideration. The latter, according to the author of the article, contributes to the transformation of the structure and content of the narrative of serial screen products that were standard for the previous stage of Russian TV broadcasting development. It can be stated that in modern television, the shares and roles of male and female characters in the plot constructions are “equalizing”. This, in turn, predetermines the thematic and genre variability of series, reflecting the orientation of Russian serial filmmakers on expanding the potential TV audience. В статье рассматривается гендерная проблематика современного российского телеконтента на примере сериального сегмента отечественного телевещания последних 20 лет. Данное обстоятельство и предопределяет актуальность предлагаемой научной работы. В фокусе исследования находятся сериалы, тяготеющие к наиболее массовым и популярным формам решения эстетических задач — мелодрама, комедия, детектив. На примере привлеченных к анализу российских сериалов формулируется вывод о существенной трансформации прежней гендерной доминанты, характерной для предыдущего этапа развития отечественного телевещания. Подобная тенденция обозначается усилением значения женских персонажей в отечественных детективных сериалах 2000-х–2010-х гг. Причем процесс характеризуется как количественными, так и качественными маркерами, в том числе и с точки зрения обращения к различным историческим периодам, которые находят отражение в сериальных сюжетах. При этом производители, включая продюсерские группы каналов-вещателей, активно используют зарубежный опыт, создавая отечественные версии успешных и популярных детективных сериалов, снятых в различных странах. Подобные обстоятельства производства эфирного контента объяснимы сочетанием как объективных (социальных, психологических) факторов, так и субъективными причинами (составом потенциальной зрительской аудитории), а это в совокупности и порождает комплексы сюжетных и персонифицированных ожиданий зрителей от просмотра сериалов. Такая ситуация вынуждает создателей и инициаторов новых сериалов отходить от привычных форматов и креативных приемов, используя фактор гендерной доминанты. Последняя, по мнению автора статьи, способствует трансформации привычных для предыдущего этапа развития отечественного телевещания структуры и наполнения нарратива создаваемого экранного продукта в формате сериала. Можно констатировать, что для современного телевидения характерно «выравнивание» доли и роли мужских и женских персонажей в сюжетных конструкциях выпускаемых в эфир сериалов. А это, в свою очередь, предопределяет их тематическую и жанровую вариативность, отражая нацеленность создателей отечественной сериальной продукции на расширение потенциальной зрительской телеаудитории.

The studies of a film text as a polycoded textual phenomena involve the studies of its integral components, such as film story and screenplay, reflecting storyline or plot of a literary text that serves as a precedential text to filming and as an immediate constituent of a film itself. Film title combines the features of a book or story title and functions as a precedential phenomenon as well, but is an integral part of the process of film promotion and release, and in cinematographic sphere it’s of crucial importance. In fact, the original book or story titles used to change especially with time and audience involved, when filming remaking changes to TV series and miniseries, or films are followed by sequels and prequels so that not to make something like Jaws 3 or Indiana Jones 5 . Anyhow, most of film titles fully repeat or at least conserve the title of a literary text, still it’s often amplified to make difference or to emphasize the idea that the screenplay is a new one just the story to be continued, e.g., Jaws-3D: The Revenge. Not very often the changes are marked graphically as of Romeo + Juliet or Romeo & Julie t, so that to hint a new turnoff the plot to the audience. It’s obvious that film titles often use names of main characters either for series or episode titles or to form a film franchise like that of Jurassic Park or Indiana Jones ones. As people started to use different IT gadgets they used to read books less and less, and film stories tend to make a new book form when a book is no longer a precedent to a film. Thus the cycle of “book title → film title” was completed by a part of “film title → book title (or book itself” to reflect the reverse trend, which is known worldwide.

The article analyzes such a phenomenon of screen culture as interactivity; it considers the historical prerequisites for the emergence of interactive works of art, their evolvement in literature, contemporary art (performance, action, happening), cinema, TV series and computer games. The author pays special attention to the formation of a serial narrative conditioned by the continuous interaction between the showrunners and the audience, thanks to which the viewer, sometimes without knowing it, turns into a coauthor. Among the difficulties of developing the logics of a serial narrative is parallel work of scriptwriters with the small and the large narrative (double formal structure). Indeed, as the viewers unravel the plot of yet another episode (the investigation of a specific crime in a detective series or the treatment of a certain patient in a medical one), they never stop complementing the cumulative narrative (which happens to the characters over several seasons). In this regard, interactive narrative forms suggest not only to significantly enhance cooperation and co-creation between product creators and recipients, but also to change the relationship between the large and small narratives within a serial. Interactive screen forms cancel (or at least veil) the dictates of the author, who offers the public one single version of the scenario. As the recipients select actions, plot twists or supporting content, they get a cinematic experience that cannot match another’s cinematic experience. Basically, everyone is watching their own movie, which cannot be copied. The author considers the formation of an interactive culture on the basis of both the latest experiments based on Internet services and streaming platforms (Imagine, Mosaic, Black Mirror), and earlier experiments with interactive cinema (Kinoautomat: One man and his house, Videodrome, D–dag). However, in addition to the aesthetic and artistic features that interactivity carries, it is associated with an important ethical problem: the viewers are able to take responsibility for making decisions only within the interactive field, but not outside of it. Their involvement in the creation is a priori limited by the form of the game, in which any action is annullable, and possible negative consequences (financial, legal, etc.) are borne exclusively by the content creators. This fundamental rule of the interactivity format eliminates the possibility of genuine co-authorship, making this dialogue an imitation. В статье проводится анализ такого феномена экранной культуры, как интерактивность; рассматриваются исторические предпосылки возникновения интерактивных произведений искусства, их становление в пространстве литературы, современного искусства (перформанс, акция, хеппенинг), кинематографа, сериала и компьютерной игры. Отдельное внимание автор уделяет формированию сериального нарратива, обусловленного непрерывным взаимодействием шоураннеров и публики, благодаря которому зритель, подчас сам того не ведая, превращается в соавтора. Одной из сложностей логичного развития сериального нарратива является работа сценаристов с малым и большим нарративами одновременно (double formal structure). Ведь по мере того, как зритель считывает сюжет каждого отдельного эпизода (расследование конкретного преступления в детективном сериале или лечение определенного пациента — в медицинском), он не перестает складывать в своем сознании некий своеобразный совокупный нарратив (что происходит с героями на протяжении нескольких сезонов). В этой связи интерактивные повествовательные формы предлагают не только значительно усилить эффект кооперации, сотворчества между создателями продукта и реципиентами, но и изменить отношения большого и малого нарративов внутри сериального произведения. Интерактивные экранные формы отменяют (или, по крайней мере, вуалируют) диктат автора, предлагающего публике одну единственную версию развития событий. По мере того, как реципиент выбирает действия, сюжетные повороты или вспомогательный контент, он получает киновпечатление, которое не может совпасть с киновпечатлением другого. По сути, каждый смотрит собственное кино, не подлежащее копированию. Формирование интерактивной культуры рассматривается автором на материале как последних экспериментов на базе интернет-сервисов и стриминговых платформах (Imagine, «Мозаика», «Черное зеркало»), так и более ранних опытов с интерактивным кино («Киноавтомат: человек и его дом», «Видеодром», «День-Д»). Впрочем, помимо эстетических и художественных особенностей, которые несет на себе интерактивность, она связана с важной этической проблемой: зритель способен брать на себя ответственность за принятие решений лишь в интерактивном поле, но не за его пределами. Его соучастие в создании произведения априори ограничено формой игры, в которой любое действие отменимо, а возможные негативные последствия (финансовые, юридические и др.) несут исключительно создатели контента. Это основополагающее правило интерактивного формата отменяет возможность подлинного соавторства, превращая диалог в имитацию.

The article deals with current changes and tendencies in the field of film viewing modes, and especially with the importance of film and film series viewing in everyday life. The current situation is characterised by the fact that more and more films are viewed on computers, laptops, tablets, smartphones and all kinds of digital devices. In particular, it is film series that are of mass interest. With the spread of streaming services and the possibility of watching films and series online, i.e. almost always and everywhere, the consumption of film series is growing in broad circles. New terms were quickly created for these phenomena, such as binge-watching or binge-viewing (Komaglotzen or Serienmarathon in German) or series addiction, i.e. watching several episodes of a television or film series at a time. In this context, the question of the effects of series shows on the concrete lives of viewers today is posed. The article is based on an empirical survey. In the analysis of the empirical findings, three theses are formulated and put up for discussion: • Nowadays, watching film series on the Internet or on digital media is an integral part of the everyday life of young adults. • Watching film series on the Internet is a strategy for coping with life. • Watching film series goes hand in hand with giving meaning to one’s own life. On the one hand, this means an expansion of personal freedom and independence, but at the same time also a new limitation of the ability to act. The text concludes with a vision for intersubjective cultural research. Статья посвящена изменениям и актуальным тенденциям в просмотре фильмов, в частности, в просмотре фильмов и сериалов о повседневной жизни. Современная ситуация характеризуется тем, что все больше фильмов просматривается на компьютерах, ноутбуках, планшетах, смартфонах и всевозможных цифровых устройствах. Особый интерес у массового зрителя вызывают киносериалы. С распространением стриминговых сервисов и возможностью просмотра фильмов в режиме онлайн, т.е. в любом месте и в любое время, потребление киносериалов постоянно растет. В связи с этим феноменом уже возникли новые термины, такие как Binge-Watching (буквально «запойный просмотр»), Binge-Viewing (буквально «запойное видео») (по-немецки — Komaglotzen или Serienmarathon), обозначающие сериальную зависимость, т.е. просмотр нескольких эпизодов или даже целого сезона телесериала подряд. В этом контексте ставится вопрос о влиянии сериалов на повседневную жизнь сегодняшнего зрителя. Статья основана на исследовании, проведенном в форме социологического опроса. При анализе эмпирических данных сформулированы и вынесены на обсуждение три тезиса: • просмотр сериалов в Интернете или на цифровых носителях является сегодня неотъемлемой частью повседневной жизни молодых людей; • просмотр сериалов онлайн — это стратегия переживания жизни; • просмотр сериалов тесно связан с повышением значимости частной жизни. С одной стороны, он способствует расширению личной свободы и независимости, с другой — ведет к новым ограничениям, ослабляет способность действовать. Текст завершается изложением авторской точки зрения на интерсубъективные исследования культуры в отношении цифровой революции. Автор выражает убеждение в насущной необходимости переосмысления узких границ нынешней модели современного общества и разработке реалистичной картины будущего, в основе которой лежат не технологии, а человек.

Game of Thrones series that has become one of the most widely discussed TV shows of our time, is analyzed from the perspective of art history and cultural studies. Its popularity is connected with the fact that it represents not just fantasy, but an archetypal situation, “deciding the fates”—in the style of a “baroque”, picturesque, dynamic screen show. This is an artistic statement on a number of highly relevant topics. The series is devoted to problems of management strategies, interstate policy, updated gender relations. The last season shows the emergence of an era of quick intelligence and unemotional, non-repressive governance. The image of Bran Stark—the new king, unable to walk but able to move in the space of the past and the future—embodies the features of an out-of-body, suprapersonal mind, super-intelligence akin to an electronic one. Game of Thrones is analyzed as a phenomenon of synthetic art in which cinematic, theatrical and dramatic aesthetic elements coexist. In different episodes of the eighth, final season these aesthetic elements are combined in various proportions. The third episode is the most cinematic one—the culmination of the battle between humans and White Walkers. The last episode, on the contrary, contains almost “on-stage” scenes and dialogues. Until the last season, the adventurous cinematic narration dominated, continuing the tradition of the adventure novel. And the last season includes more vivid features of a dramatic plot internally correlated with Shakespeare’s chronicles and tragedies and Penthesilea, a romantic tragedy by Kleist. However, in spite of the similarities with Shakespeare’s “state-ofthe-world tragedies”, there are no characters in Game of Thrones who are completely similar to Renaissance playwright’s personae in their structure. One of the reasons is the rejection of a multi-faceted, “synthetic” character in the popular visual art of the Modern era, when the personality’s complexity and unique originality are replaced with the system of distinct “stage types” with a simpler inner world. The series contains a veiled appeal to adapt to the imperfection of the world, but also expresses serious concern about the continuously high value of brute force and power in the human society. В статье с позиций искусствоведения и культурологии рассматривается сериал «Игра престолов», ставший одним из самых обсуждаемых экранных произведений наших дней. Его популярность связана с тем, что он представляет не просто фэнтези, а архетипическую ситуацию «решения судеб» — в стилистике по-барочному живописного, полного динамики зрелища. Данный сериал являет художественное высказывание на ряд высоко актуальных тем. Сериал посвящен проблемам управленческих стратегий, межгосударственной политике, обновлению межгендерных отношений. В последнем сезоне показано наступление эпохи быстрого интеллекта, неэмоционального и нерепрессивного управления. В образе Брана Старка — нового короля, не способного ходить, но умеющего передвигаться в пространстве прошлого и будущего, — просматриваются черты внетелесного, надличностного разума, сверхинтеллекта, родственного электронному. «Игра престолов» анализируется как явление синтетического искусства, в котором кинематографическое и театрально-драматическое начала сосуществуют. В разных сериях восьмого, заключительного сезона эти начала находятся в различных пропорциях. Наиболее кинематографична третья серия — кульминация битвы людей с белыми ходоками. Последняя серия, напротив, содержит почти сценические мизансцены и диалоги. До последнего сезона в сериале доминировало авантюрное киноповествование, продолжающее традиции авантюрного романа. В последнем сезоне ярче проявляются черты драматургического сюжета, внутренне соотносимого с хрониками и трагедиями Шекспира, с трагедией «Пентесилея» Клейста. Однако, при всем сходстве с шекспировскими трагедиями «состояния мира», в «Игре престолов» отсутствуют герои, полностью аналогичные в своей структуре героям ренессансного драматурга. Это связано с отказом от многогранного, «синтетического» героя в игровом искусстве Нового времени, когда на смену сложности и неповторимому своеобразию личности приходит деление персонажей на амплуа. Сериал содержит завуалированный призыв адаптироваться к несовершенству мира, но также выражает серьезное беспокойство по поводу сохранения высокой ценности силы и власти в человеческом обществе.

New age dates of detrital zircons of terrigenous rocks augmented the possibilities of interpretation of their provenance. Unfortunately this interpretation is restricted by a formal comparison of age-and-composition characteristics of detrital crystals with any very distant model objects. The paper deals with a situation when the role of a source of a detritus is claimed by local objects. When comparing the age parameters of primary and detrital crystals of zircons, the data on Riphean volcanics and ancient metamorphics of the Taratash complex of the Southern Urals were used. Specifying the ideas on the nature of the zircon clastics (detritus) and its relationships with primary zircons of sources, a role of processes of mechanical abrasion is pointed out, leading to a clearing of heterogenous primary grains of defect crystals, which results in an accumulation of crystals of more homogenous appearance. The analysis of SHRIMP and TIMS-dates of zircons and U and Th concentrations in them, and also a comparison of histograms of primary zircons from Riphean volcanics and rocks of the Taratash complex on one hand and the detrital zircons from the Vendian and Riphean sandstones of the Southern Urals on the other, have shown that the age variations of both are rather comparable. It means that the age characteristics of primary zircons from the Riphean volcanics and rocks of the Taratash complex as sources of zircon clastics for the Riphean and Vendian sandstones are regulated by processes of resedimentation, and a detrital fraction of zircons is formed at the expense of local objects. The participation of very distant sources is not excluded, but in our case it is not detected.

The peripheries of the spectacle, the text, and the peritext (covers, posters of films, teasers, trailers, announcements and other signs of finishing work) is fully involved in the preparation of the recipient, in the development of the mood which precedes the act of reception. The redundancy of modern information endows the periphery of a work of art with a very important functional load. The valorization of intrigue and the tension of narrative associated with it are the most important elements of narration which generate interest and control the attention of the audience. At the same time, narrative tension acts as a kind of pledge for narrative productivity and, therefore, possesses economic value, always very significant in the culture of mass entertainment. In this aspect, for example, the fear of spoilers (spoiler-phobia) to a large extent becomes a basis. The spoiler and the teasers act as communicative practices which implement new forms of interaction with the audience. The teaser is involved in the creation of intrigue, while the spoiler destroys it, but both of them are related communicatively and semantically with the charm by the novelty of the product and the interest of the recipients. In addition, the spoiler, presenting a variety of communicative coercion, presents a problem for new media and the relatively new forms of narration, suggesting a long involvement in the process of reception of artistic productions. Although the narrative of the series itself creates a field mapping, the teaser is intended here to implement two communicative strategies: to introduce a new element (what would be aired in the upcoming episode) and to demonstrate the serial affiliation of the episode to the overall integral art of storytelling. The relative autonomous status of this part of the statement from the main narrative also provides additional opportunities for the implementation of some communicative strategies of artistic discourse. The position on the periphery of the text transforms the teaser into an experimental platform, in which it is possible to establish an ambivalent motion between discontinuity and the connectivity of the narrative. Consequently, the teaser is able to deviate considerably from the linear progress of the narrative. Along with the perspective/retrospective elements, it becomes possible to notice even more significant deviations, contrasting with the main product: teasers-parodies and a teaser which presents an additional separate story (a story within a story). The tendency to abandon the linearity of the narrative also makes it possible for us to presume the aspiration to complexify the artistic product. Периферия зрелища, текста, перитекст (обложки, афиши фильмов, тизеры, трейлеры, анонсы и прочие знаки отделочный работы) в полной мере участвует в подготовке реципиента, в выработке настроя, предваряющего акт рецепции. Современная информационная избыточность наделяет периферию художественного произведения весьма важной функциональной нагрузкой. Валоризация интриги и связанного с нею нарративного напряжения оказываются важнейшими элементами повествовательности, порождающими интерес и управляющими вниманием аудитории. При этом нарративное напряжение выступает в роли своеобразного залога продуктивности повествования и, следовательно, обладает экономическим значением, всегда весьма существенным в массовой развлекательной культуре. В этом аспекте, например, в немалой степени обретает основания боязнь спойлеров (спойлерофобия). Спойлер и тизер выступают в роли коммуникативных практик, осуществляющих новые формы взаимодействия с аудиторией. Тизер участвует в создании интриги, а спойлер ее разрушает, но при этом оба они коммуникативно и семантически связаны с очарованием от новизны произведения и интересом реципиентов. Кроме того, спойлер, являясь разновидностью коммуникативного насилия, пред-ставляет собой проблему новых медиа и относительно новых форм повествовательности, предполагающих длительное вовлечение в процесс рецепции художественной продукции. Хотя нарратив сериала сам себе создает поле соотнесения, но тизер здесь призван реализовывать две коммуникативные стратегии: представлять новое (что будет показано в данном эпизоде сериала) и демонстрировать серийную принадлежность данного эпизода сериала к общему целому художественного повествования. Относительная автономность этой части высказывания от основного нарратива дает также дополнительные возможности для реализации некоторых коммуникативных стратегий художественного дискурса. Положение на периферии текста превращает тизер в экспериментальную площадку, в рамках которой оказывается возможным амбивалентное перемещение между прерывистостью и связностью нарратива. Следовательно, тизер может достаточно свободно отступать от линейного хода повествования. Наряду с проспективными/ретроспективными можно замечать и еще более значительные отступления, контрастирующие с основным произведением: тизеры-пародии и тизеры, представляющие собой отдельную дополнительную историю (рассказ в рассказе). Тенденция отказа от линейности нарратива также позволяет предполагать стремление усложнить художественный продукт.

In the rectangular domain, the initial-boundary value problem for the Helmholtz equation and its non-local modifications are studied and the inverse problems for finding its right-hand side are studied. The solutions of direct problems with nonlocal boundary conditions and inverse problems are constructed in explicit form as the sums of orthogonal series in the system of eigenfunctions of the one-dimensional Sturm-Liouville spectral problem. The corresponding uniqueness theorems for the solution of all set problems are proved. Sufficient conditions for boundary functions are established, which are guaranteed by the existence and stability theorems for the solution of the proposed new problem statements.

The up-to-date topic of the humanities is the mass culture phenomenon that influences the worldview of modern Ukrainians. The author of the article investigates the genesis of the Ukrainian segment of mass culture, considers its condition at the present stage using world and local examples.

The up-to-date topic of the humanities is the mass culture phenomenon that influences the worldview of modern Ukrainians. The author of the article investigates the genesis of the Ukrainian segment of mass culture, considers its condition at the present stage using world and local examples.

In this paper it is shown that the problem of quasistatic three-dimensional stress-strain state of elastic pipes of a variable cross-section under the influence of internal pressure can be solved economically and quickly by a numerical-analytical rapid analysis method based on perturbation theory and the expansion of the solution with respect to a small parameter.

The article is devoted to the arrangement of the modern realities of the fabulous material by the example of the popular American TV series «Grimm» and «Once Upon a Time in a Fairytale», where through the ambivalent relationship of time and space, through the physical world, the world of fantastic paraphernalia specific worlds are shown. These tales is a product of European folklore and post-folklore in the breaking of American TV culture. The conclusion of the author of the article: the ability to keep the viewer’s attention for five seasons proves the special formula for success. Статья посвящена переложению современных реалий на сказочный материал на примере популярных американских сериалов «Гримм» и «Однажды в сказке», где через амбивалентную связь времен и пространств, через мир вещественный, мир сказочной атрибутики показано специфическое двоемирие. Эти сказки – продукт европейского фольклора и постфольклора в преломлении американской теле-культуры. Вывод автора статьи: умение пять сезонов держать внимание зрителя говорит об особой формуле успеха.

Copyright of News of Kazakhstan Science / Novosti nauki Kazahstana is the property of NCSTE (JSC National Center for State Scientific and Technical Evaluations) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper for the equation of mixed elliptic-hyperbolic type in rectangular area the task with the conditions of periodicity and the nonlocal problem of A. A. Desin was studied, the uniqueness criterion was set. The solution of the problem was constructed as a sum of orthogonal series in eigenfunctions of the corresponding one-dimensional spectral problem. The problem of small denominators arises in justifying the convergence of the series. Therefore the evaluation on the separation from zero of small denominators with the corresponding asymptotics was established. This assessment allowed under certain conditions relative to the set objectives and functions to prove convergence of the constructed series in the class of regular solutions and the stability of the solution.

A new typology of mesic and xeromesic meadow vegetation in the Southern Boreal zone of Karelia is introduced based on the contemporary meadow vegetation conditions and modern multivariate methodological approaches. The main differentiating environmental factors are identified. Currently they include soil nitrogen pool, soil moisture and particle size. Generally, the importance of soil nitrogen is two to three times higher than soil moisture region-wide due to intensive anthropogenic pressure in the second half of the 20th century. Four consolidated associations of meadow vegetation are defined, each characterized by a set of diagnostic species. The shift towards a high soil nitrogen content has been recorded.

Copyright of Stratum Plus Journal is the property of P.P. Stratum plus and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Purpose: to identify the main indicators of the art of competitive activity karate different qualifications style «kyokushin» and identify their differences. Material and Methods: analysis of video recordings of highly competitive activity karate; teacher observations; methods of mathematical statistics. Results: based on the analysis of video recordings of competitive activity created a model of technical preparedness karate qualifications. The differences in the technique of competitive activity karate different qualifications. Conclusions: it was found a series of karate techniques with different skills, their frequency of use and effectiveness. Confirmed that in the competitive fight karate qualifications dominated series techniques. It is found that the technique of competitive activity highly skilled athletes is very varied combinations strikes in series of two or three strikes and more.

Directions of perfection of technical tactical preparation of young sportsmen are presented. The complexes of tasks are developed for perfection technique-tactic trades of sportsmen. The deviseds simulator is developed. Directions of application of training equipment are rotined. The models of competition activity are presented. Intercommunication of reaction of choice of sportsman is considered with the technical indexes of actions. 5 types of combinations are selected for style «kyokushinkai». The percent distributing of application of combinations of technical receptions is offered in accordance with the manner of conduct of duel. It is set that the most effective technical receptions on exactness of shots it is been: lateral blow by a leg, blow from top to bottom by a leg, blow in a jump by a leg.

The process of perfection of technical tactical trade of sportsmen is included by the use of the special hardwares and methods of their application. In an experiment two groups of sportsmen took part in age 15-17 years. The complexes of tasks are developed and directions of perfection of technical tactical preparation are set. A trainer is developed and a training equipment is adapted for development of speed possibilities of caratists. Tasks are directed on perfection of serial and petticoat technique.

The article is devoted to the research of delay operator modeling features using Taylor and Pade series. The purpose of the research is to determine the stability boundaries for approximation of the delay operator by Taylor series when the number of terms in the series is increasing. The scientific significance of the research states the Taylor series applicability conditions for the delay operator modelling. The conditions are important for modern software that allows precise modeling of complex systems. The Routh criterion is used to determine the stability boundaries. The calculations of the delay operator approximation poles for different number of series terms and the delay value were made. The scientific value of the research is the conclusion that the proof of corresponding functional series convergence is insufficient to use this series in modelling systems. The convergence of series does not guarantee the approximation stability and, respectively, applicability of the series. The practical value of the work results is grounded on the requirement to investigate not only convergence of the series, but also the approximation stability taking into account the approximation order and the operator parameters. [ABSTRACT FROM AUTHOR]