327 research outputs found
Two curve Chebyshev approximation and its application to signal clustering
In this paper we extend a number of important results of the classical
Chebyshev approximation theory to the case of simultaneous approximation of two
or more functions. The need for this extension is application driven, since
such kind of problems appears in the area of curve (signal) clustering. In this
paper we propose a new efficient algorithm for signal clustering and develop a
procedure that allows one to reuse the results obtained at the previous
iteration without recomputing the cluster centres from scratch. This approach
is based on the extension of the classical de la Vallee-Poussin's procedure
originally developed for polynomial approximation. In this paper, we also
develop necessary and sufficient optimality conditions for two curve Chebyshev
approximation, that is our core tool for curve clustering. These results are
based on application of nonsmooth convex analysis
Factorization of generalized Ξ³-generating matrices
The class of Ξ³βgenerating matrices and its subclasses of regular and singular Ξ³βgenerating matrices were introduced by D. Z. Arov in [8], where it was shown that every Ξ³-generating matrix admits an essentially unique regularβsingular factorization. The class of generalized Ξ³-generating matrices was introduced in [14,20]. In the present paper subclasses of singular and regular generalized Ξ³-a theorem of existence of regularβsingular factorization for rational generalized Ξ³-generating matrix is found
Insurance of the Termination Risk of Projects with Joint Companion Activity
Actuarial calculations are based on the study of mathematical models of financial schemes in insurance taking into account the stochastic nature of insurable events. They lie at the intersection of mathematical and economic disciplines. This paper is devoted to the formulation and investigation of the mathematical model of insurance of a joint project of partners from the risk of its early termination due to the retirement of one of the companions due to external circumstances. In case of an insured event, the partner remaining in the project receives insurance to continue the project. In order to assess the obligations of the insurance company, an economic-mathematical model of personal joint insurance of participants has been constructed to calculate the necessary characteristics of such an agreement. To describe the dynamically changing threats to terminate the insurance contract, the concepts of the intensity of retirement functions of insured persons are introduced, which are convenient in the study of insurance contracts with several participants. Possibilities of payment of insurance compensation to each partner are received and probability of that the insurance company should pay insurance compensation are received. Calculations are made using the example of specific functions of the intensity of retirement of partners. Practical recommendations are given related to the use of numerical methods or simulation methods in calculations based on the obtained universal formulas
THE SEVENTH SEAL: THE HISTORY OF VISIBLE AND INVISIBLE CONFESSION OF FAITH
The article is devoted to the meaning and role of cinematography in modern culture. The screen image of one or another concept or meaning can influence the formation of historical and religious-philosophical ideas of society. Ingmar Bergmanβs film The Seventh Seal tells the story of the historical events of medieval Europe. The phenomena and facts that are shown in the film do not always correspond to the historical past. The directorβs task was different: to answer the questions that the representatives of the post-war generation were contemplating on, using the basis of historical materials. The visual imagery of The Seventh Seal became the basis for the cultural analysis in this article. The purpose of the analysis was to identify the main idea of the film, as well as to reveal its symbolism. The author turns to the theoretical legacy of Sergei Eisenstein, to his theory of intellectual cinema, built on the basis of a simulative way of perception. This method makes it possible to perceive the whole picture in one time space, where the problems of the past and the present have something in common. Thus we get one of the main methods for revealing the meanings of the film images presented in The Seventh Seal and we can understand what the author wanted to say in his film. Bermanβs film is a complex multi-level work in which there is a visible layer related to the filmβs storyline, and invisible layers related to the religious and philosophical views of the director himself. The first level is to show the history of Europe as the director sees it, namely, through negative stereotypes of the so-called βdark and sinister Middle Agesβ (superstitions, negative image of the Roman Catholic Church, witchesβ trials). Against the background of these historical events, the main character of the film is looking for an answer to his questions about the existence of God, and therefore the meaning of life. His duel β a game of chess with another character of the film, Death, must solve these questions: the life of a knight will depend on the outcome of the game. The second level is Bergmanβs presentation of the Lutheran denomination with critical attitude to Church Tradition, which is quite characteristic of him. Embodying the teachings of Luther about the βvisibleβ and βinvisibleβ side of the church, the family of itinerant actors in the film personifies the image of the living invisible church; unlike the visible Roman Catholic church, it presents a pure and bright image of true Christianity. The third level of the film should be correlated with the post-war modernity, in which Ingmar Bergman lived. Here one can see the influence of Martin Heideggerβs ideas on the work of the director of The Seventh Seal. βDaseinβ is one of the key concepts of Heideggerβs philosophy that is relevant to this film. This concept means the existence of a person, which is determined through the experience of their mortality, not in some future tense, but here and now. That is why the theme of death becomes a key one, it determines the meaning of a personβs life, and it also relates to the title of the film. The Seventh Seal is an image of the Apocalypse, and this image is related not only to the end of the world, but also to the end of the life of a single person, when the outcome of his life becomes clear.Π ΡΡΠ°ΡΡΠ΅ Π³ΠΎΠ²ΠΎΡΠΈΡΡΡ ΠΎ Π·Π½Π°ΡΠ΅Π½ΠΈΠΈ ΠΈ ΡΠΎΠ»ΠΈ ΠΊΠΈΠ½ΠΎΠΈΡΠΊΡΡΡΡΠ²Π° Π² ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠΉ ΠΊΡΠ»ΡΡΡΡΠ΅. ΠΠΊΡΠ°Π½Π½ΡΠΉ ΠΎΠ±ΡΠ°Π· ΡΠΎΠ³ΠΎ ΠΈΠ»ΠΈ ΠΈΠ½ΠΎΠ³ΠΎ ΠΏΠΎΠ½ΡΡΠΈΡ ΠΈΠ»ΠΈ ΡΠΌΡΡΠ»Π° ΠΌΠΎΠΆΠ΅Ρ ΠΎΠΊΠ°Π·Π°ΡΡ Π²Π»ΠΈΡΠ½ΠΈΠ΅ Π½Π° ΡΠΎΡΠΌΠΈΡΠΎΠ²Π°Π½ΠΈΠ΅ ΠΈΡΡΠΎΡΠΈΡΠ΅ΡΠΊΠΈΡ
ΠΈ ΡΠ΅Π»ΠΈΠ³ΠΈΠΎΠ·Π½ΠΎ-ΡΠΈΠ»ΠΎΡΠΎΡΡΠΊΠΈΡ
ΠΏΡΠ΅Π΄ΡΡΠ°Π²Π»Π΅Π½ΠΈΠΉ ΠΎΠ±ΡΠ΅ΡΡΠ²Π°. Π€ΠΈΠ»ΡΠΌ ΠΠ½Π³ΠΌΠ°ΡΠ° ΠΠ΅ΡΠ³ΠΌΠ°Π½Π° Β«Π‘Π΅Π΄ΡΠΌΠ°Ρ ΠΏΠ΅ΡΠ°ΡΡΒ» Π²Π΅Π΄ΡΡ ΠΏΠΎΠ²Π΅ΡΡΠ²ΠΎΠ²Π°Π½ΠΈΠ΅ ΠΎΠ± ΠΈΡΡΠΎΡΠΈΡΠ΅ΡΠΊΠΈΡ
ΡΠΎΠ±ΡΡΠΈΡΡ
ΡΡΠ΅Π΄Π½Π΅Π²Π΅ΠΊΠΎΠ²ΠΎΠΉ ΠΠ²ΡΠΎΠΏΡ. Π―Π²Π»Π΅Π½ΠΈΡ ΠΈ ΡΠ°ΠΊΡΡ, ΠΊΠΎΡΠΎΡΡΠ΅ Π΄Π΅ΠΌΠΎΠ½ΡΡΡΠΈΡΡΡΡΡΡ Π² ΡΠΈΠ»ΡΠΌΠ΅, Π½Π΅ Π²ΡΠ΅Π³Π΄Π° ΡΠΎΠΎΡΠ²Π΅ΡΡΡΠ²ΡΡΡ ΠΈΡΡΠΎΡΠΈΡΠ΅ΡΠΊΠΎΠΌΡ ΠΏΡΠΎΡΠ»ΠΎΠΌΡ. ΠΠ°Π΄Π°ΡΠ° ΡΠ΅ΠΆΠΈΡΡΡΡΠ° Π±ΡΠ»Π° Π΄ΡΡΠ³ΠΎΠΉ: Π½Π° ΠΎΡΠ½ΠΎΠ²Π΅ ΠΈΡΡΠΎΡΠΈΡΠ΅ΡΠΊΠΎΠ³ΠΎ ΠΌΠ°ΡΠ΅ΡΠΈΠ°Π»Π° ΠΎΡΠ²Π΅ΡΠΈΡΡ Π½Π° ΡΠ΅ Π²ΠΎΠΏΡΠΎΡΡ, ΠΊΠΎΡΠΎΡΡΠ΅ Π²ΠΎΠ»Π½ΠΎΠ²Π°Π»ΠΈ ΠΏΡΠ΅Π΄ΡΡΠ°Π²ΠΈΡΠ΅Π»Π΅ΠΉ ΠΏΠΎΡΠ»Π΅Π²ΠΎΠ΅Π½Π½ΠΎΠ³ΠΎ ΠΏΠΎΠΊΠΎΠ»Π΅Π½ΠΈΡ. ΠΠΈΠ·ΡΠ°Π»ΡΠ½ΡΠΉ ΡΡΠ΄ Β«Π‘Π΅Π΄ΡΠΌΠΎΠΉ ΠΏΠ΅ΡΠ°ΡΠΈΒ» ΡΡΠ°Π» ΠΎΡΠ½ΠΎΠ²ΠΎΠΉ Π΄Π»Ρ ΠΊΡΠ»ΡΡΡΡΠΎΠ»ΠΎΠ³ΠΈΡΠ΅ΡΠΊΠΎΠ³ΠΎ Π°Π½Π°Π»ΠΈΠ·Π° Π² Π΄Π°Π½Π½ΠΎΠΉ ΡΡΠ°ΡΡΠ΅. Π¦Π΅Π»ΡΡ Π°Π½Π°Π»ΠΈΠ·Π° Π±ΡΠ»ΠΎ Π²ΡΡΠ²Π»Π΅Π½ΠΈΠ΅ ΠΎΡΠ½ΠΎΠ²Π½ΠΎΠΉ ΠΈΠ΄Π΅ΠΈ ΡΠΈΠ»ΡΠΌΠ°, Π° ΡΠ°ΠΊΠΆΠ΅ ΡΠ°ΡΠΊΡΡΡΠΈΠ΅ Π΅Π³ΠΎ ΡΠΈΠΌΠ²ΠΎΠ»ΠΈΠΊΠΈ. ΠΠ²ΡΠΎΡ ΠΎΠ±ΡΠ°ΡΠ°Π΅ΡΡΡ ΠΊ ΡΠ΅ΠΎΡΠ΅ΡΠΈΡΠ΅ΡΠΊΠΎΠΌΡ Π½Π°ΡΠ»Π΅Π΄ΠΈΡ Π‘Π΅ΡΠ³Π΅Ρ ΠΠΉΠ·Π΅Π½ΡΡΠ΅ΠΉΠ½Π°, ΠΊ Π΅Π³ΠΎ ΡΠ΅ΠΎΡΠΈΠΈ ΠΈΠ½ΡΠ΅Π»Π»Π΅ΠΊΡΡΠ°Π»ΡΠ½ΠΎΠ³ΠΎ ΠΊΠΈΠ½ΠΎ, ΠΏΠΎΡΡΡΠΎΠ΅Π½Π½ΠΎΠΉ Π½Π° ΠΎΡΠ½ΠΎΠ²Π΅ ΡΠΈΠΌΡΠ»ΡΡΠ°ΡΠΈΠ²Π½ΠΎΠ³ΠΎ ΡΠΏΠΎΡΠΎΠ±Π° Π²ΠΎΡΠΏΡΠΈΡΡΠΈΡ. ΠΡΠΎΡ ΡΠΏΠΎΡΠΎΠ± Π΄Π°ΡΡ Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΡ Π²ΠΎΡΠΏΡΠΈΠ½ΠΈΠΌΠ°ΡΡ ΠΊΠ°ΡΡΠΈΠ½Ρ ΡΠ΅Π»ΠΈΠΊΠΎΠΌ Π² ΠΎΠ΄Π½ΠΎΠΌ Π²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠΌ ΠΏΡΠΎΡΡΡΠ°Π½ΡΡΠ²Π΅, Π³Π΄Π΅ ΠΏΠ΅ΡΠ΅ΠΊΠ»ΠΈΠΊΠ°ΡΡΡΡ ΠΏΡΠΎΠ±Π»Π΅ΠΌΡ ΠΏΡΠΎΡΠ»ΠΎΠ³ΠΎ ΠΈ Π½Π°ΡΡΠΎΡΡΠ΅Π³ΠΎ. Π’Π°ΠΊ ΠΌΡ ΠΏΠΎΠ»ΡΡΠ°Π΅ΠΌ ΠΎΠ΄ΠΈΠ½ ΠΈΠ· ΠΎΡΠ½ΠΎΠ²Π½ΡΡ
ΠΌΠ΅ΡΠΎΠ΄ΠΎΠ² Π΄Π»Ρ ΡΠ°ΡΠΊΡΡΡΠΈΡ ΡΠΌΡΡΠ»ΠΎΠ² ΠΏΡΠ΅Π΄ΡΡΠ°Π²Π»Π΅Π½Π½ΡΡ
Π² Β«Π‘Π΅Π΄ΡΠΌΠΎΠΉ ΠΏΠ΅ΡΠ°ΡΠΈΒ» ΠΊΠΈΠ½ΠΎΠΎΠ±ΡΠ°Π·ΠΎΠ² ΠΈ ΠΌΠΎΠΆΠ΅ΠΌ ΠΏΠΎΠ½ΡΡΡ, ΡΡΠΎ Ρ
ΠΎΡΠ΅Π» ΡΠΊΠ°Π·Π°ΡΡ Π°Π²ΡΠΎΡ Π² ΡΠ²ΠΎΡΠΌ ΡΠΈΠ»ΡΠΌΠ΅. Π€ΠΈΠ»ΡΠΌ ΠΠ΅ΡΠΌΠ°Π½Π° β ΡΡΠΎ ΡΠ»ΠΎΠΆΠ½ΠΎΠ΅ ΠΌΠ½ΠΎΠ³ΠΎΡΡΠΎΠ²Π½Π΅Π²ΠΎΠ΅ ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΠ΅, Π² ΠΊΠΎΡΠΎΡΠΎΠΌ ΡΡΡΠ΅ΡΡΠ²ΡΠ΅Ρ Π²ΠΈΠ΄ΠΈΠΌΡΠΉ ΡΠ»ΠΎΠΉ, ΠΎΡΠ½ΠΎΡΡΡΠΈΠΉΡΡ ΠΊ ΡΡΠΆΠ΅ΡΠ½ΠΎΠΉ Π»ΠΈΠ½ΠΈΠΈ ΡΠΈΠ»ΡΠΌΠ°, ΠΈ Π½Π΅Π²ΠΈΠ΄ΠΈΠΌΡΠ΅ ΡΠ»ΠΎΠΈ, ΠΈΠΌΠ΅ΡΡΠΈΠ΅ ΠΎΡΠ½ΠΎΡΠ΅Π½ΠΈΠ΅ ΠΊ ΡΠ΅Π»ΠΈΠ³ΠΈΠΎΠ·Π½ΡΠΌ ΠΈ ΡΠΈΠ»ΠΎΡΠΎΡΡΠΊΠΈΠΌ Π²Π·Π³Π»ΡΠ΄Π°ΠΌ ΡΠ°ΠΌΠΎΠ³ΠΎ ΡΠ΅ΠΆΠΈΡΡΡΡΠ°. ΠΠ΅ΡΠ²ΡΠΉ ΡΡΠΎΠ²Π΅Π½Ρ β ΡΡΠΎ ΠΏΠΎΠΊΠ°Π· ΠΈΡΡΠΎΡΠΈΠΈ ΠΠ²ΡΠΎΠΏΡ, ΠΊΠ°ΠΊΠΎΠΉ ΠΎΠ½Π° Π²ΠΈΠ΄ΠΈΡΡΡ ΡΠ΅ΠΆΠΈΡΡΡΡΡ, Π° ΠΈΠΌΠ΅Π½Π½ΠΎ β ΡΠ΅ΡΠ΅Π· Π½Π΅Π³Π°ΡΠΈΠ²Π½ΡΠ΅ ΡΡΠ΅ΡΠ΅ΠΎΡΠΈΠΏΡ ΡΠ°ΠΊ Π½Π°Π·ΡΠ²Π°Π΅ΠΌΠΎΠ³ΠΎ Β«ΠΌΡΠ°ΡΠ½ΠΎΠ³ΠΎ ΠΈ ΡΡΠΌΠ½ΠΎΠ³ΠΎ Π‘ΡΠ΅Π΄Π½Π΅Π²Π΅ΠΊΠΎΠ²ΡΡΒ» (ΡΡΠ΅Π²Π΅ΡΠΈΡ, Π½Π΅Π³Π°ΡΠΈΠ²Π½ΡΠΉ ΠΎΠ±ΡΠ°Π· Π ΠΈΠΌΡΠΊΠΎ-ΠΠ°ΡΠΎΠ»ΠΈΡΠ΅ΡΠΊΠΎΠΉ ΡΠ΅ΡΠΊΠ²ΠΈ, ΠΏΡΠΎΡΠ΅ΡΡΡ Π²Π΅Π΄ΡΠΌ). ΠΠ° ΡΠΎΠ½Π΅ ΡΡΠΈΡ
ΠΈΡΡΠΎΡΠΈΡΠ΅ΡΠΊΠΈΡ
ΡΠΎΠ±ΡΡΠΈΠΉ Π³Π»Π°Π²Π½ΡΠΉ Π³Π΅ΡΠΎΠΉ ΡΠΈΠ»ΡΠΌΠ° ΠΈΡΠ΅Ρ ΠΎΡΠ²Π΅Ρ Π½Π° Π²ΠΎΠ»Π½ΡΡΡΠΈΠ΅ Π΅Π³ΠΎ Π²ΠΎΠΏΡΠΎΡΡ ΠΎ ΡΡΡΠ΅ΡΡΠ²ΠΎΠ²Π°Π½ΠΈΠΈ ΠΠΎΠ³Π°, Π° Π·Π½Π°ΡΠΈΡ, ΠΈ ΡΠΌΡΡΠ»Π° ΠΆΠΈΠ·Π½ΠΈ. ΠΠ³ΠΎ ΠΏΠΎΠ΅Π΄ΠΈΠ½ΠΎΠΊ β ΠΈΠ³ΡΠ° Π² ΡΠ°Ρ
ΠΌΠ°ΡΡ Ρ Π΄ΡΡΠ³ΠΈΠΌ Π³Π΅ΡΠΎΠ΅ΠΌ ΡΠΈΠ»ΡΠΌΠ°, Π‘ΠΌΠ΅ΡΡΡΡ, Π΄ΠΎΠ»ΠΆΠ΅Π½ ΡΠ΅ΡΠΈΡΡ ΡΡΠΈ Π²ΠΎΠΏΡΠΎΡΡ: ΠΎΡ ΠΈΡΡ
ΠΎΠ΄Π° ΠΈΠ³ΡΡ Π±ΡΠ΄Π΅Ρ Π·Π°Π²ΠΈΡΠ΅ΡΡ ΠΆΠΈΠ·Π½Ρ ΡΡΡΠ°ΡΡ. ΠΡΠΎΡΠΎΠΉ ΡΡΠΎΠ²Π΅Π½Ρ β ΡΡΠΎ ΠΏΡΠ΅Π·Π΅Π½ΡΠ°ΡΠΈΡ ΠΠ΅ΡΠ³ΠΌΠ°Π½ΠΎΠΌ Π»ΡΡΠ΅ΡΠ°Π½ΡΠΊΠΎΠ³ΠΎ Π²Π΅ΡΠΎΠΈΡΠΏΠΎΠ²Π΅Π΄Π°Π½ΠΈΡ Ρ Ρ
Π°ΡΠ°ΠΊΡΠ΅ΡΠ½ΡΠΌ Π΄Π»Ρ Π½Π΅Π³ΠΎ ΠΊΡΠΈΡΠΈΡΠ΅ΡΠΊΠΈΠΌ ΠΎΡΠ½ΠΎΡΠ΅Π½ΠΈΠ΅ΠΌ ΠΊ ΡΠ΅ΡΠΊΠΎΠ²Π½ΠΎΠΌΡ ΠΡΠ΅Π΄Π°Π½ΠΈΡ. ΠΠΎΠΏΠ»ΠΎΡΠ°Ρ ΡΡΠ΅Π½ΠΈΠ΅ ΠΡΡΠ΅ΡΠ° ΠΎ Β«Π²ΠΈΠ΄ΠΈΠΌΠΎΠΉΒ» ΠΈ Β«Π½Π΅Π²ΠΈΠ΄ΠΈΠΌΠΎΠΉΒ» ΡΡΠΎΡΠΎΠ½Π΅ ΡΠ΅ΡΠΊΠ²ΠΈ, ΡΠ΅ΠΌΡΡ ΡΡΡΠ°Π½ΡΡΠ²ΡΡΡΠΈΡ
Π°ΠΊΡΡΡΠΎΠ² Π² ΡΠΈΠ»ΡΠΌΠ΅ ΠΎΠ»ΠΈΡΠ΅ΡΠ²ΠΎΡΡΠ΅Ρ ΠΎΠ±ΡΠ°Π· ΠΆΠΈΠ²ΠΎΠΉ ΡΠ΅ΡΠΊΠ²ΠΈ Π½Π΅Π²ΠΈΠ΄ΠΈΠΌΠΎΠΉ, ΠΎΠ½Π°, Π² ΠΎΡΠ»ΠΈΡΠΈΠ΅ ΠΎΡ Π²ΠΈΠ΄ΠΈΠΌΠΎΠΉ Π ΠΈΠΌΡΠΊΠΎ-ΠΠ°ΡΠΎΠ»ΠΈΡΠ΅ΡΠΊΠΎΠΉ, ΡΠ²Π»ΡΠ΅Ρ ΡΠΈΡΡΡΠΉ ΠΈ ΡΠ²Π΅ΡΠ»ΡΠΉ ΠΎΠ±ΡΠ°Π· Π½Π°ΡΡΠΎΡΡΠ΅Π³ΠΎ Ρ
ΡΠΈΡΡΠΈΠ°Π½ΡΡΠ²Π°. Π’ΡΠ΅ΡΠΈΠΉ ΡΡΠΎΠ²Π΅Π½Ρ ΡΠΈΠ»ΡΠΌΠ° ΡΠ»Π΅Π΄ΡΠ΅Ρ ΡΠΎΠΎΡΠ½Π΅ΡΡΠΈ Ρ ΠΏΠΎΡΠ»Π΅Π²ΠΎΠ΅Π½Π½ΠΎΠΉ ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΡΡΡΡ, Π² ΠΊΠΎΡΠΎΡΠΎΠΉ ΠΆΠΈΠ» Π. ΠΠ΅ΡΠ³ΠΌΠ°Π½. ΠΠ΄Π΅ΡΡ ΠΏΡΠΎΡΠ»Π΅ΠΆΠΈΠ²Π°Π΅ΡΡΡ Π²Π»ΠΈΡΠ½ΠΈΠ΅ ΠΈΠ΄Π΅ΠΉ ΠΠ°ΡΡΠΈΠ½Π° Π₯Π°ΠΉΠ΄Π΅Π³Π³Π΅ΡΠ° Π½Π° ΡΠ²ΠΎΡΡΠ΅ΡΡΠ²ΠΎ ΡΠ΅ΠΆΠΈΡΡΡΡΠ° Β«Π‘Π΅Π΄ΡΠΌΠΎΠΉ ΠΏΠ΅ΡΠ°ΡΠΈΒ». Β«DaseinΒ» β ΠΎΠ΄Π½ΠΎ ΠΈΠ· ΠΊΠ»ΡΡΠ΅Π²ΡΡ
ΠΏΠΎΠ½ΡΡΠΈΠΉ ΡΠΈΠ»ΠΎΡΠΎΡΠΈΠΈ Π₯Π°ΠΉΠ΄Π΅Π³Π³Π΅ΡΠ°, ΠΈΠΌΠ΅ΡΡΠ΅Π΅ ΠΎΡΠ½ΠΎΡΠ΅Π½ΠΈΠ΅ ΠΊ Π΄Π°Π½Π½ΠΎΠΌΡ ΡΠΈΠ»ΡΠΌΡ. ΠΡΠΎ ΠΏΠΎΠ½ΡΡΠΈΠ΅ ΠΎΠ·Π½Π°ΡΠ°Π΅Ρ ΡΡΡΠ΅ΡΡΠ²ΠΎΠ²Π°Π½ΠΈΠ΅ ΡΠ΅Π»ΠΎΠ²Π΅ΠΊΠ°, ΠΊΠΎΡΠΎΡΠΎΠ΅ ΠΎΠΏΡΠ΅Π΄Π΅Π»ΡΠ΅ΡΡΡ ΡΠ΅ΡΠ΅Π· ΠΏΠ΅ΡΠ΅ΠΆΠΈΠ²Π°Π½ΠΈΠ΅ ΡΠ²ΠΎΠ΅ΠΉ ΡΠΌΠ΅ΡΡΠ½ΠΎΡΡΠΈ Π½Π΅ Π² ΠΊΠ°ΠΊΠΎΠΌ-ΡΠΎ Π±ΡΠ΄ΡΡΠ΅ΠΌ Π²ΡΠ΅ΠΌΠ΅Π½ΠΈ, Π° Π·Π΄Π΅ΡΡ ΠΈ ΡΠ΅ΠΉΡΠ°Ρ. ΠΠΌΠ΅Π½Π½ΠΎ ΠΏΠΎΡΡΠΎΠΌΡ ΡΠ΅ΠΌΠ° ΡΠΌΠ΅ΡΡΠΈ ΡΡΠ°Π½ΠΎΠ²ΠΈΡΡΡ ΠΊΠ»ΡΡΠ΅Π²ΠΎΠΉ, ΠΎΠ½Π° ΠΎΠΏΡΠ΅Π΄Π΅Π»ΡΠ΅Ρ ΡΠΌΡΡΠ» ΠΆΠΈΠ·Π½ΠΈ ΡΠ΅Π»ΠΎΠ²Π΅ΠΊΠ°, ΠΎΠ½Π° ΠΆΠ΅ ΠΈΠΌΠ΅Π΅Ρ ΠΎΡΠ½ΠΎΡΠ΅Π½ΠΈΠ΅ ΠΈ Π½Π°Π·Π²Π°Π½ΠΈΡ ΡΠΈΠ»ΡΠΌΠ°. Β«Π‘Π΅Π΄ΡΠΌΠ°Ρ ΠΏΠ΅ΡΠ°ΡΡΒ» β ΡΡΠΎ ΠΎΠ±ΡΠ°Π· ΠΠΏΠΎΠΊΠ°Π»ΠΈΠΏΡΠΈΡΠ°, ΠΈ ΡΡΠΎΡ ΠΎΠ±ΡΠ°Π· ΠΈΠΌΠ΅Π΅Ρ ΠΎΡΠ½ΠΎΡΠ΅Π½ΠΈΠ΅ Π½Π΅ ΡΠΎΠ»ΡΠΊΠΎ ΠΊ ΠΊΠΎΠ½ΡΡ ΡΠ²Π΅ΡΠ°, Π½ΠΎ ΠΈ ΠΊ ΠΊΠΎΠ½ΡΡ ΠΆΠΈΠ·Π½ΠΈ ΠΎΡΠ΄Π΅Π»ΡΠ½ΠΎ Π²Π·ΡΡΠΎΠ³ΠΎ ΡΠ΅Π»ΠΎΠ²Π΅ΠΊΠ°, ΠΊΠΎΠ³Π΄Π° ΠΏΠΎΠ΄Π²ΠΎΠ΄ΠΈΡΡΡ ΠΈΡΠΎΠ³ Π΅Π³ΠΎ Π»ΠΈΡΠ½ΠΎΠΉ ΠΆΠΈΠ·Π½ΠΈ
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