The thesis is dedicated to studying reflection of human existence in the postmodern culture focused on sensitive dimension and structure of such category resource which segments peculiarities of crossing philosophic, culturological, aesthetic, art and literature history fields of humanitaristics. It has been proved that postmodern is not only a pluralistic cultural concept projected into the dimension of postnonclassical philosophy but also a new period in its development and the new art and aesthetic system perceiving the world as chaos and absurd abandoned and given away to the wilful game of circumstances and coincidences which is an expression of aesthetic rebellion. Forms of reflection of the current condition of culture include scepticism, irony, textuality which not only are able to describe the situation of the postmodern culture but also provide for expansion of the general conceptual bases of culturological discourse build on principles of pluralism, decentralisation and eclecticism. The thesis reveals the space of total interpenetration of aesthetics and various existence practices, including all alternatives transferred to the orbit of postmodern discourse by the consumers' society. Through the prism of ideas of B. Waldenfels commonness is contemplated as the dynamic sphere being in the process of creation and innovation which makes its own way by means of deviation, departing from rules and new definitions. As a result, aestheticisation of commonness is represented as the general cultural tendency of postmodern. Unconscious language structures which postmodernism appeals to produce impersonal understanding of existence reality as single endless text. It provides for decentralisation of culturological search, bringing to the foreground the problems which used to be treated as subsidiary and peripheral ones. Hypertextuality of the cultural space creates the literature discourse of author's language games with the text and establishes ironic gaming pluralism in the problematic field of displacing the traditional framework. The thesis finds presence of transgressive nihilism, which a symptom of crisis of the postmodern epoch resulting in deontology of the cultural world existing in images of the desert of the Reality, era of emptiness, traumatic reality, transgressive reality, effect of reality etc. The thesis presents the sceptic codification of the world in the form of the "ironic code" of R. Barthes, "double coding" of Ch. Jencks, "metanarratives", "wearing a mask" and "pastiche" of F. Jameson, "metalanguage game" of U. Eco, "liberal ironism" of R. Rorty, self-parodying of I. Hassan, playing with sociality signs beyond sociality of M. Blanchot. They help to detect radical breaks in the sphere of sense and describe current social and cultural changes from the new positions. Appearing in different images and faces, scepticism has become the framework within which new forms and ways of human self-reflection are searched for during the epoch of postmodern. The thesis asserts the game in the status of the strategy of existence of the cultural world built on the platform of the cultural language pluralism and value and sense relativism. It proves that the gaming universum absorbs all other forms of being, its main characteristics becoming allusion, parodying, understatement, reminiscence, delicate paraphrases, rhythmic idioms which not only change the sematic platform of the text, but also turn it into the area of the intertextual game. Intertextuality is a sophisticated game of interpretations equivalent to the game of heterogenic cultural codes (R. Barthes) which is genetically related to the Nietzsche's "gay science" and S. Freud's "endless hermeutics". In connection with that we see erotisation of the text and appearance of "pleasure of the text" (R. Barthes). The research also asserts the motive of the "ideal game" of G. Deleuze which is "unconscious of pure thought" and the "general game" of the world of J. Derrida resulting from its deconstructivism within the framework of which the game is the source of the world, and writing is a stage of the endless game. The thesis gives reasons for the fact that when the game replaces existence, it loses its features and transforms into its own imitation or simulacrum of existence. It is proved that implosion of culture is a special type of mental outlook confirming neomythologisation of the world by means of screen culture resulting in reality being replaced with the virtual simulacrum. Postreality which suggests survival among the wrecks of culture displaces the agonising reality by means of simulation. Excessive compression of the social, regulation of the system and pressure over informational and authorities networks as well as hypertrophied control entail implosive violence which transforms ordinary social connections beyond recognition and provides for triumph of sign culture. It is proved that explication of any subjectivity in the postmodern space is associated with wilfulness of the unconscious cultural, loss of the centre, game of imagination which turns into the law of pulsing will, the process of distinguishing between signs and sigh structures. Therefore, any identity gets impossible making final identification impossible as well.
