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Given law-school postmodernism's epistemo/ontology of juvenile antirealist agnosticism, its commitment to Gadamerian and/or Derridean notions of linguistic indeterminacy, its mono- maniacal dedication to centrifugal end-justifies-the-means Lefty politics, its abhorrence of commonly recognized conceptions of neutral principle, its concomitant disrespect for the very notion of truth, and its inextricably intertwined obsession with names and propensity for linguistic doublespeak, Professor Arrow confesses to initially wondering what it might "mean" to take anything uttered by a postmodernist "literally," or at "face value." But undaunted by that 'paradox," Professor Arrow not only takes up Feldman's challenge to "critique postmodernism on its own terms" (by playing a pantomime Spaceball game with Feldman), but also critiques it logically--and (gasp!) pragmatically (not 'pragmatically'". Maintaining the tonal and stylistic "playfulness" to which law-school pomoers profess to aspire (but in no known instance have achieved), Professor Arrow assures the reader that there will be numerous interesting (not "interesting') plot twists along the way. In the process, Professor Arrow also offers speculation about the way in which the postmodernists' ultimate contribution to American law schools is likely to be assessed-but cautions (as is appropriate under the circumstances) that you'll have to find it in a footnote.

The study deals with the communicative interaction between the author, the hero, the text, the reader in a postmodern novel. A similar and ambiguous reality, on the one hand, sometimes led to the subjectivist hypertrophy, absolutizing the author's world view, and at times minimized and devaluated the author's identity, on the other. Therefore, from the end of the 1990s the ways of expressing author's "Self" changed dramatically, which directly affected the means of creating a hero in the contemporary Ukrainian literature. An important place in the communicative literary model was occupied by the text as an independent semantic unit and the reader as an interpreter of the text. The specifics of deploying the dialog between the author and the hero point to the transformation of their functions in the Ukrainian postmodern novel. Considering the statement of the death of the author proclaimed by R. Barthes, the former stops being the main holistic text creator, thus rather becoming its product and the way of expression. The author, the hero and the text have a certain integrity aimed at the interpretative game with the recipient, who diffuses the newly created semantic integrity into a diversity of meanings.

The aim of the article is considered the conceptual reconstruction of the relationship between postmodern feminism and the notional field of contemporary neoliberalism. The analytical methods used were based on the assertion that the complexity of textual interventions requires interdisciplinary approaches. The findings and results of the research carried out accentuate that COVID-19 has contributed greatly to the contradictions of the current global landscape in the contexts of neoliberalism and feminism. Feminism asserts as a discourse that the conceptual apparatus of neoliberalism has not served its goals; in fact, postfeminism has not yet chosen its route in the neoliberal context. The assumption that women cannot win their "vindication battle" in the world where "the game is fixed" continues to be taken as an axiom, even though the coronavirus pandemic causes some observers to proclaim the return of influential governments and social contracts. The latter accentuates the role of female representation in neoliberal social, cultural, and political discourses at the global level.

'A timely collection of essays by some of the most authoritative researchers and scholars in the field of political communication. The essays combine rigorous research on everything from advertising to reality TV, game shows and social networking with lively and accessible writing, and will be essential reading for students of political communication all over the world.' - Brian McNair, Professor of Journalism & Communication, University of Strathclyde, UK

Cary Wolfe investigates three of the most significant strains of postmodern theory-pragmatism, systems theory, and poststructuralism-and shows how each confronts the specter of an "outside" not wholly constituted by discourses, language games, and interpretive communities. He then assesses these confrontations in light of an essentially pragmatic view of theory, one that constantly asks what practical and material difference it makes, and to whom, how these issues are negotiated

Cary Wolfe investigates three of the most significant strains of postmodern theory--pragmatism, systems theory, and poststructuralism--and shows how each confronts the specter of an "outside" not wholly constituted by discourses, language games, and interpretive communities. He then assesses these confrontations in light of an essentially pragmatic view of theory, one that constantly asks what practical and material difference it makes, and to whom, how these issues are negotiated

The paper breaks down certain methodological aspects of the philosophy of Paul Feyerabend as well as focusing upon the problem of how the status of scientific knowledge has changed within the concept of epistemological anarchism in relation to changes in the scientific paradigm. Is has been postulated that in the framework of the postmodern paradigm the problem of scientific knowledge is inevitably linked to the problem of language as a means of the objectification of knowledge. The missing metanarrative as a legal foundation for scientific knowledge and the transition from the concept of 'broad narratives' to a paralogical scope of complex semantic games are an immediate cause of changes in scientific methodology. Therefore, numerous theories, which are conceived by the principle of proliferation, stimulate the development of brand new concepts. Besides, the constellation of many a rivaling theory enables to scrutinize the feasibility and justifiability of particular theoretical constructs. As a consequence, the principle of proliferation espoused by the philosophy of Feyerabend is both a way to bypass binary oppositions associated with classical philosophy and an unavoidable challenge as far as the criteria of the scientific value of postmodern epistemology are concerned.

This article examines the vision of the state as a purposive association, which undergirds much of the public administration literature, and explores its suitability in light of the postmodern condition. It is argued that a vision of purposive association is inappropriate and dangerous, given the diversity of political subcultures and language games characteristic of postmodernity, and that a more useful vision of the state here is that of a state as a civil association. The linkages between this latter vision and our constitutional tradition are explored and implications are drawn for the study of public administration.

Surrealistic art photography reveals eroticism and nudity as something that both fascinates and agitates, compelling the audience to pay attention, willingly or reluctantly. Undoubtedly, for surrealistic artists the sphere of fantasy and sexual sensation emerge as a source of pleasure and aesthetic sensation. Surrealistic fantasies, dreams and human sexuality have merged with elements of art and porn culture to create hybrid visual forms and postmodern fashion photography is certainly among them. Unlike surrealistic art photography that serves as an emancipatory tactic or as a transgressive act of provoking the public, postmodern fashion photography utilizes eroticism as an expression or vestige of perverse enjoyment. Perversion in the eroticized postmodern context holds somewhat particular meaning. Desire is operationalized without restrictions, appears everywhere while losing its imaginary. Hence, visual seduction is a never-ending game between seducers and the seduced. In light of a growing interest in understanding photography, and visual culture, this article examines how eroticism is constructed through surrealistic photographed content, and it explores the implication of this for further study of postmodern fashion photography. Conceptually, and methodologically, this article draws on semiotics (Roland Barthes), and discursive analysis, including psychoanalytic (Sigmund Freud), and representational theory and practice (Laura Mulvey, Stuart Hall and Jean Baudrillard).

Research on nostalgia has shown how media texts can promote ideological visions of the past. The 2017 3D platformer video game A Hat in Time (AHIT) is a case study in this nostalgic construction of values in a contemporary, postmodern, convergence-culture context. The game's marketing and text discursively and materially construct AHIT as a continuation of video games from the 1990s and early 2000s in a way that creates a communal nostalgia. Fans have also used the game itself as a platform by creating a library of more than five thousand modifications, or mods, many of which are based on 1990s and 2000s texts; these mods allow the game to serve as a platform for postmodern remixes of nostalgic texts. AHIT shows how contemporary convergence culture and media platforms allow for communal, customizable nostalgia.

Beginning with the observation that young adult literature has been the subject of ethical criticism from multiple sides of the ideological spectrum and drawing on Roberta Seelinger Trites's argument that this body of work is a postmodern phenomenon, this article interrogates whether young adult literature is a morally compromised genre from the start or whether there is not a morally constructive framework through which young adult novels might be viewed productively. Using the first novel of Suzanne Collins's Hunger Games trilogy as a case study, this paper proposes a heuristic that borrows from the postmodern (or "liquid modern") ethics of sociologist Zygmunt Bauman. Bauman, who interprets Emmanuel Levinas's "ethics of ethics" as a descriptive, phenomenological, existential exercise, rejects absolutes in favour of process and an emphasis on the urge to "be-for" the Other. Through the lens of Bauman's ethics, this paper analyzes Katniss Everdeen's journey as a processual one, toward the end of an active moral urge.

The article is devoted to the analysis of the socio-political transformation of the Arab world in the 2010s. The author analyses its changes through the concept of neo-modernity, which was already developed in a number of his earlier publications. The key thesis is the idea of a new turn of society to metanarratives, or "big stories" after postmodern relativism led to attempts to abandon them. In the first part of the article, the problem of metanarratives is considered at the theoretical level. The author proposes a methodology for studying socio-political processes and determines the influence of the condition of neo-modernity on political reality. The second part of the article highlights the main modern (liberal, left, nationalist, conservative) and premodern (tribal, Islamist) "big stories". These "stories" determine the content and nature of public and political life in the Arab world in the 2010s and problematize new aspects of social relations. It shows how the actualization of metanarratives affected the course of the political process in Arab countries, as well as the organization of political systems, building new relations between societies and states. The third part of the article is devoted to the analysis of international political processes in the region. The influence of "big stories" on the configuration of the regional subsystem, armed conflicts, the composition of key actors, the specifics of their strategies, their identity and the identity of the region as a whole is revealed. In conclusion, the author shows a possibility of gradual harmonization of the system of regional relations in the case of the formation of hypertext, which makes it possible for the coexistence of actors guided by different narrative strategies.

The article includes intertextual analysis of creations by A. Irvanets on subject of the "anxiety of influence" (term by H. Bloom). The article deals with the specific nature of paratexts such as dedication, epigraph, title, paratext and citation for communication with reader. Ukrainian postmodernism in its "bubabizm"-form (named after the group of post-modern poets, "Bu-Ba-Bu") occurs as theatricality of life and is polymorphic phenomenon: literary and at the same time – national, linguistic, social, gender, political. In addition to transforming language bubabizm has depersonalization of "I", breaking it to masks or characters and constructing over-"I" – multifaceted and multidimensional. The feature of this early postmodernism is the fact that it is not only presented as art practice and pretend to start a new artistic style (bubabizm), but also a form of cultural criticism, which carries a reformulation of the national cultural paradigm, especially in the aspect of popular culture. With the introduction of quotes different in their functional load and origin, combination of the most iconic works of art poetry O. Irvanets interest the wide range of recipients. The author builds a dialogue with predecessing writers, bringing readers to this process. Intertextuality is a measure of the weight of an artwork, as it finds expression mechanism of preservation and accumulation of cultural information that through a combination of intertext helps to prevent narrow reading, caused by the specific features of artistic era. That is demonstrating creativity by O. Irvanets that appeals to the cultural memory of different historical periods and present. ; В статье выявлено отношение А. Ирванца к предшественникам, акцентирована связь с современниками: Ю. Андруховичем, В. Небораком. Предложено интертекстуальное прочтение творчества А. Ирванца с целью выявления влияний на него предшественников. Прослеживается значение паратекстов (посвящений, эпиграфов, названий), парафраз и цитат для коммуникации автора с читателем. ; У статті виявлено ставлення О. Ірванця до попередників, акцентовано зв'язок із сучасниками: Ю. Андруховичем, В. Небораком. Запропоновано інтертекстуальне прочитання творчого доробку О. Ірванця з метою виявлення впливів на нього попередників (за Г. Блумом). Простежено значення паратекстів (присвят, епіграфів, назв), парафраз і цитат для комунікації автора з читачем.