In the conditions of transformation of sociocultural reality, its processes, levels, spheres, and new integrative social phenomena emerge, the meaning and role of which in the modern world have yet to be clarified. One of such phenomena is serious play. Traditionally, the playful and the serious, at the intersection of which serious play arises, are positioned as independent and mutually exclusive elements of the social world. We examine what changes in the social reality, in the relations of the playful and the serious, in the position of man in modern social processes make serious play possible and how serious play redetermines the conditions of its occurrence. For this, we used methods of philosophical analysis and hermeneutics: interpretation, conceptualization, comparative analysis. As a theoretical and methodological basis, we used the categorical apparatus of social philosophy, theory of practice, pragmatism, and social epistemology. As a result, we found that serious play is thought of as a social process in the range from an individual to global scale. In serious play, the subject, through the generation of meanings, performs both the production and reproduction of culture in predetermined ontoaxiological bases, and constructs these bases, while realizing the degree of his freedom, responsibility and immersion in the world he creates through his practices. The significance of the results of our research lies in the fact that the concept of serious play at the intersection of serious and game relations reveals the potential of serious play as an element of sociocultural reality. Serious play reflects the level of complexity of modern reality and ensures that a person adapts to the ever-increasing dynamics of this complexity. The trend of gamification registers this in the space of higher education, which causes a change in the role of the university in the modern social world. Serious play redefines the position of a person in the modern, dynamic and individualized social world. For the first time, serious play is conceptualized at the intersection of the playful and the serious as independent and mutually exclusive elements of sociocultural reality and is analyzed in the trend of the gamification of higher education.

Жанровая семантика эклоги в цикле Т. Кибирова «Стихи о любви»Аннотация: Статья посвящена анализу двух эклог из цикла «Стихи о любви» Т. Кибирова. Регулярное возвращение эклоги и идиллии в русскую поэзию, обращение к эклоге в русской поэзии 1980-х годов (эклоги И. Бродского, В. Тучкова, Т. Кибирова) ставят вопрос о причинах актуализации жанровой семантики в новое время. Цель статьиисследовать характер и значение трансформации жанровой семантики эклоги в стихотворениях Т. Кибирова.Так, центральный герой эклог Кибироване дистанциированный от сознания автора персонаж, а лирический герой, который не является условным, поэтому этот элемент жанровой семантики проявляется иными способами. Амебейная структура и драматический элемент редуцированы, хотя и не сняты окончательно. Описание бытовых деталей и описание природы как часть идиллического сюжета в эклогах Кибирова наиболее развернуто и наиболее близко античному жанру. Существенным структурообразующим элементом жанра эклоги в стихотворении Т. Кибирова является особая настроенность, которая характеризуется отсутствием озабоченности. Событием, обеспечивающим возникновение такой настроенности, особым образом просветляющей, высвечивающей видимый мир, является любовь.The paper is devoted to the analysis of two eclogues from the cycle «Verses on Love» by T. Kibirov. The regular return of the eclogue and idyll to the Russian poetry, the use of the eclogue in the Russian poetry of the 1980s (eclogues by I. Brodsky, V. Tuchkov, T. Kibirov) raise the question of the reasons for updating the genre semantics in the new time. The aim of the paper is to examine the nature and significance of the transformation of the genre semantics of the eclogue in T. Kibirov's poems.The central hero of Kibirov's eclogues is not a character distanced from the consciousness of the author; it is a lyrical hero who is not conventional so this element of the genre semantics is shown in other ways. The amoebaean structure and the element of drama are reduced, though not removed for good. The description of household details and that of the nature as part of an idyllic lyrical plot in Kibirov's eclogues are most developed and the closest to the antique genre. An essential structure-forming element of the eclogue genre in T. Kibirov's poem is the special mood, which is characterized by the lack of concern. The event providing the emergence of this mood, which in a special way clarifies and highlights the visible world, is love.Ключевые слова: Т. Кибиров, эклога, идиллия, античная поэзия, современная русская поэзия.T. Kibirov, eclogue, idyll, antique poetry, modern Russian poetry.

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