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Postmodernism has left a significant number of strategies to imitate art. They all rely on the game, offering to "play art". The way of existing in Postmodernism in the form of the game is possible due to the broad interpretation of the concept of the "game" in modern aesthetics. The game principle in the works of Baudrillard, Lyotard, Debord and Gadamer is absolutised as the basis of the social interactions within which art is created. The methodology of the postmodern games is worked out and at the same time turns into arbitrariness in science, everyday life and social life, depriving them of certainty and consistency, making the principle of process the most important quality of any activity, including artistic one. In the postmodern game, hyperreal, carnival and marginal features are outlined. It is the basis of imitation, combinatorics, pastiche and intertextuality as the text production strategy. As a result, a playing text appears, erasing any differences and hierarchies. The game appropriates the place of the sacred and parodying, declining and desecration become the leading forms of creativity. The game turns into a masquerade, acquiring performative-spectacular forms, performing the function of returning the past to the present, preserving the lost tradition. The game within the cultural framework defined the field of the unserious. The game that has swallowed up culture, deprives it of its seriousness, puts it beyond morality, making evil and death a thing of the past. The game allows Postmodernism to overcome the finality of art. Within the framework of the total playful nature of Postmodernism, the new avant-garde technologies of irony, nihilism, labyrinth, chaos, creativity, authorship, and representation are filled with new content

Latin America literature is perceived in the minds of readers up to present days mostly as very exotic Creole writing of former European colonies. As the best possible variant, the reader might be able to name Marcos, Borges or Cortazar recalling the definition of "magical realism". At this point the consumer-household introspection (the introspection of an ordinary reader, who is used to be called "mass") of Latin America literature is actually exhausted while the home literary-critical scientific discourse is limited with mostly sporadic studies of creativity of the most famous representatives of Latin America literature. This is mainly Nobel laureates Gabriel Garcia Marquez, Miguel Angel Asturias, Mario Vargas Llosa, Pablo Neruda, Octavio Paz, whose most important achievements are translated if not into Ukrainian but at least into Russian. It is not surprising, therefore, that the publication of the novel of the well-known Paraguayan scientist, teacher, social activist and writer Juan Manuel Marcos "Gunter's Winter" (the first time published in Spanish in 1987, the Ukrainian translation was published only in 2014) remained without attention both on the part of the reader, and critic. The existence of some sporadic publications concerning the Ukrainian translation of this work in the Internet does not claim on the completeness of critical review of the text. So, the proposed article is the first attempt of scientific and critical reading of the novel "Gunter's Winter" in the context of postmodern culture of the twentieth century, as well as in the context of Spanish-language literature of Latin America. By clearly seen with the unaided eye the juxtaposition of cultures (elements of the indigenous culture of the ancient Paraguay strangely integrate into modern Spanish and American cultural world), by the syncretism of the poetry of Latin America literature with the traditions of European intellectual prose of the twentieth century, by clear intertextuality, by style and narrative experimentation in the novel it may be guessed both personal life destiny of the author (the political dissident, exile, emigrant) and the history of the literature of whole South America. The latest one has passed the stages of dynamic development during the last century, from, in fact, its birth to the mastering of the aesthetics of modernism and postmodernism and creating its own artistic, stylistic and aesthetic profile. This evolution of Latin America literature is customary expressed with the terms "boom" and "post-boom". The life and career of Juan Manuel Marcos just illustrates the fundamental principles of the prose of period the Post-Boom. Having suffered from political persecution and imprisonment (1973 – 1987), the author was forced to leave the motherland that influenced the formation of his attitudes and beliefs, and was embodied in the novel "Gunter's Winter". It can hardly be called autobiographical (actually, the author was not aimed to write the autobiography), but with the plot it is easy to guess personal existential experience of the writer, worried for the fate of his country and the destiny of man, which was left all by himself with the system. ; Статья – это попытка литературоведческого анализа романа современного парагвайского писателя Хуана Мануеля Маркоса «Зима Гюнтера» через призму постмодерного представления о культуре. Художественное произведение осмысливается авторами в контексте эстетики литератур стран Латинской Америки (явления «бума» и «пост-бума»), а также с точки зрения мировоззрения постмодерного искусства в целом, представления о культуре как игре. В процессе анализа текста романа выделены характерные черты стиля писателя: лаконизм письма, «разорванность» сюжета и композиции, многочисленные аллюзии на литературные произведения ХХ века (интертекстуальные связи с многими произведениями мировой литературы), внимание до экзистенциальных проблем и категорий, духовных и мировоззренческих поисков человека в условиях тоталитаризма, глубокую связь с местной литературной традицией. Роман «Зима Гюнтера» Хуана Мануеля Маркоса – яркий образец постмодерной прозы, которая возникла на пересечении эстетических координат испаноязычной прозы и мировой литературной традиции. Кроме того, роман отображает явления поликультурности, характерной для литератур многих латиноамериканских стран. ; Стаття являє собою спробу літературознавчого аналізу роману сучасного парагвайського письменника Хуана Мануеля Маркоса «Зима Ґюнтера» крізь призму постмодерного уявлення про культуру. Художній твір осмислюється авторами в контексті естетики літератур країн Латинської Америки (явища «буму» та «пост-буму»), а також з огляду на світогляд постмодерного мистецтва в цілому, уявлення про культуру як гру. В процесі аналізу тексту виокремлені характерні риси стилю письменника: уривчастість і лаконізм письма, «розірваність»сюжету й довільність композиції, численні алюзії на літературні твори ХХ ст. (інтертекстуальні зв'язки з багатьма творами світового письменства), увага до екзистенційних проблем і категорій, духовних і світоглядних пошуків людини в умовах тоталітаризму, закоріненість в місцеву літературну традицію тощо. Роман «Зима Ґюнтера» Хуана Мануеля Маркоса є яскравим зразком постмодерної прози, що постала на перетині естетичних координат іспаномовного письменства та світової мистецької спадщини, осмислюваних крізь призму особистого екзистенційного досвіду письменника. Окрім того, досліджуваний роман відбиває явище полікультурності, властивій літературам багатьох латиноамериканських країн. Це явище засвідчене насамперед на рівні естетики роману, в якому тісно переплетені міфологічний світогляд корінного населення країни, іспаномовна європейська культура, а також американська популярна культура другої половини ХХ ст. Вагоме місце в тексті посідає «автобіографічний елемент» – особистісні переживання письменника-громадянина, його світоглядні пошуки в умовах вимушеної еміграції

Discusses postmodernism in respect to the nature & legimation of social & scientific knowledge. Based on a definition of postmodern as skepticism toward metanarratives, it is suggested that the postmodern condition is characterized by unstable, continually changing, & evolving language games composed of overlapping & often contradictory forms of meaning & action. Although decisionmakers & authorities may attempt to subject these language games to universal rules & power structures, knowledge in the postmodern world avoids fixed meanings & highlights the contradictions inherent in supposedly stable knowledge. Under these circumstances, the traditional borders between & within the sciences & the real world blur & disappear, creating new forms of knowledge & meaning. In regard to science, legitimation can still be sought through some form of consensus; however, consensus is neither possible or desirable in terms of communication. Therefore, the success of the postmodern world relies on a form of social justice not dependent on consensus & language games based on free & open access to all forms of knowledge, information, & opinion. T. Sevier

Through the use of an epigraph from The Unnamable and repeated echoes in Dead Voices, Vizenor established a relation to Beckett's work. This paper traces the influence of Beckett in Vizenor and questions how Vizenor reads Beckett, particularly in political and postcolonial terms. Rather than the prevailing view that Beckett is an apolitical and ahistorical writer, the relation with Vizenor hinges on a postmodern and postcolonial awareness of the dangers of imposed and restrictive identities. This awareness finds expression in both authors as both an aesthetic and political concern. It is argued that both authors seek to undo all forms of rigid identity within the works in an attempt to maintain a fluidity which might inform attempts at continuance and resistance. However, as can be seen in the wanaki game of Dead Voices, Vizenor's sense of fluid identity is implicated in a communal "we", whereas Beckett's solitary voice in The Unnamable eschews any form of community, thus leading one to question the efficacy of Vizenor's position. Nevertheless, the paper argues that Vizenor's deployment of Beckett reveals that both authors adopt a committed political stance at the most fundamental aesthetic levels of the novel form.

В статье рассматривается жанровая типология современных комиксов, приводится классификация существующих на сегодняшний день форматов их издания. Анализируются структурные и содержательные характеристики комиксов как креолизованных текстов, предложена классификация комиксов, включающая такие их типы, как стрипы, журнальные комиксы, графические романы, web-комиксы. Авторы современных комиксов не используют "текстовые облака" и выходят за рамки кадра, что придает интерактивный характер комиксу. Игра с читателем и отрицание нормы, характерные для по- стмодернизма, изменяют не только структурный и визуальный образ комикса, но и его содержание. На материале финского политического комикса "Кекконен" (автор Матти Хагельберг, в переводе А. Беликовой), посвященного политической карьере У. К. Кекконена от его членства в парламенте до поста президента Финляндии, рассматриваются приемы языковой игры, свойственные постмодернистскому дискурсу нонсенса. Реальный исторический персонаж помещен автором в невероятные ситуации. Основной акцент в статье делается на характеристике аллюзивного принципа языковой игры, основанного на использовании широкого репертуара прецедентных знаков. Специфика языковой игры в постмодернистских комиксах в жанре нонсенса заключается в провоцировании адресата на поиск новых смыслов. ; The paper discusses the typology of modern genre comics and outlines a classification of existing publication formats. The focus of the article is on structural and substantial characteristics of comics as creolized texts; the article also explains the classification of comic books, including such types as strips, magazine comic, graphic novels, web-comics. The paper deals with the stilistic tools of modern comic scene: for example, some of contemporary authors don't use "text clouds" and work outside the frame, and that alone states the interactive nature of the comic. This paper is dedicated to the postmodernism-in-action: the author's games with the reader, negation of normative rules, which change not only the structural and visual image of a comic book, but its content. The case which is thoroughly analyzed is the Finnish political comics "Kekkonen" (author Matti Hagelberg, translated byA. Belikova) devoted to the political career of Kekkonen. The story follows his route from membership in Parliament to the post of the President of Finland. The methods of the language game, practice by Matti Hagelberg, derive from the postmodern discourse of nonsense. What we look at is the real historical character placed by the author in an impossible situation. The main focus of the paper is on defining the principle of allusive language game. The arguments are borrowed from a wide range of precedent phenomenons; and all these do illustrate that the goal of non-sensical language games in postmodern comics is to provoke the recipient to find new meanings.

chapter Introduction -- chapter 1 The cosmic register -- chapter 2 Mind - the final mystery? -- chapter 3 No Archimedean point -- chapter 4 Nothing is certain, nothing is known? -- chapter 5 A web of our own conceit? -- chapter 6 Whose game is it anyway? -- chapter 7 The fragility of knowledge -- chapter 8 Who are we? -- chapter 9 Citizens of the here and now -- chapter 10 The making of our selves.

This article examines the relationship between the film work of American Avant-garde filmmaker Maya Deren and Cold-war science, particularly the sciences of Gestalt psychology, cybernetics, game theory, and anthropology. The central concern is to link Deren's investment in time and in transforming the cinematic image with contemporaneous developments in science, technology, and politics. Using her engagement with the cybernetician and anthropologist Gregory Bateson as a frame, the essay demonstrates that Deren's attitude to temporality and representation is both similar to and radically different from that emerging in psychology, anthropology, communication science and game theory after the war. This cinema excavates the probabilistic and reflexive nature of time, as understood in both art and science during this period, to create new associations between subjects, screens, and life. However, Deren's work produces associations and potentials that the game theories and technologies with which she is concerned do not. Her work utilizes the discourse of temporality and representation taken from these sciences, while refusing to repeat without difference, and so blocking a return to older discourses of objectivity, authority, and knowledge.

Nothing in sport exemplifies the intrusion into everyday life of the maddeningly obscure condition known as postmodernism (pomo) as have the changes wrought in Australia's own football game. Postmodernism is a form of skepticism -- a subversive questioning & undermining of the notion that there is no overriding narrative that links the disparate parts of society together as an organic whole. It's impact on modern life is to suggest a fluidity where there once was solidity. The Aussie Rules, we tell ourselves, bring into question the tribalism we mythologized about the teams, which highlights the reality that the very idea of the tradition has a decidedly flimsy base. The governance by corporate entities, & the disappearance of the tribal base of local supporters have occurred in an environment of greater interchangeability on the game field where formal position is of little importance. The pace at which the modern game is played & the enormous physical demands on the players has meant the disappearance of certain archetypes that once adorned the game such as the gritty back pocket & the speedy wingmen. Teams are interchangeable, as are grounds, coaches & players. The once sacrosanct guernsey is now controlled by corporate interests that want their name on television screens & have no allegiance to the neighborhood patch. It is a very different ball game these days. Very postmodern. References. Adapted from the source document.