In these 15 taster essays you will discover the key concepts and critical approaches of the theorists who have had the most significant impact on the humanities since 1990. On completing each chapter, you will find suggestions for further reading so that you can find out more and start applying the ideas in question. In addition to chapters on individuals such as Badiou, Ranciere and Spivak, there are chapters on Laclau and Mouffe, and a chapter on Green critical theorists. Key Features *Written by experienced lecturers including John Armitage (Northumbria University), Paul Hegarty (University College Cork), David Huddart (Chinese University of Hong Kong), Simon Tormey (The University of Sydney), Samuel A. Chambers (Johns Hopkins University) *Sets each theorist in their biographical and intellectual context *The only book to offer chapter-length introductions to such a range of contemporary theorists making it the first place to look for an informed overview and evaluation *Jon Simons has edited two other popular guides to critical theory: From Kant to Levi-Strauss: The Background to Contemporary Critical Theory and Contemporary Critical Theorists: From Lacan to Said.

William Fairchild directs this 1950s British comedy starring Richard Basehart, Simone Simon, George Baker, Sid James and Joan Hickson. Disaster strikes during the filming of a movie when the final reel of film is misplaced, leaving the production without an ending. Assistant Producer Joe Blake (Basehart) is sent out to relocate the movie's extras, who are now required for an additional day of filming. This proves tougher than expected since the private lives of the extras, who include disillusioned society girl Toni Howard (Josephine Griffin) and struggling boxer Barney West (James), are arguably as colourful as any onscreen role. Will Joe succeed?

"Nature Morte" is the title of a poem written in 1971 by Joseph Brodsky. He and pianist Simon Nabatov were both born in Russia and later resettled in America. Nabatov took the ten-part poem, a rich conjuration of life and death, and wrote what can only be described as an ambitious song cycle, even though the fact that Phil Minton sings it means one must stretch his usual definition of the word "song." Trombonist Nils Wogram and saxophonist Frank Gratkowski (also heard on clarinet, bass clarinet, and flute) complete this impressive quartet. Nature Morte is a work of symbiosis, first between Brodsky's words and Nabatov's music, then between the music and the very talented musicians, the words and Minton's interpretation of them (both intellectual and physical), Minton's interpretation and Nabatov's. One immediately thinks of the singer's Mouthful of Ecstasy, another quartet which rooted in literature (this piece used excerpts from James Joyce's works). But the two pieces stand very much apart: Nature Morte is less improvised, abstract, and arid, a lot more soulful, gentle, and organized. Minton's voice goes from warm ("Part 8") to guttural (his solo at the beginning of "Part 9"). Nabatov's piano provides the backbone of the music, with his complex chords and rhythm patterns framing the songs, while Gratkowski and Wogram dialogue with each other and develop the harmonic contents. A peak is reached in "Part 4," where an insisting motif clashes against Minton's idiosyncratic vocal improvisations. This Nature Morte is a thing of beauty, revealing itself a little more at every listen. Very strongly recommended. ~ Fran‡ois Couture

To say that Simon Nabatov's music is adventurous would be an understatement. His music, which mixes together written-out sections with free improvising, is eccentric and sometimes demented, particularly when Phil Minton is singing. Nabatov sought to pay tribute to Russian poets and writers, but one wonders what they would think of these very abstract interpretations. While most of the instruments utilized are conventional, Cor Fuhler's electronics frequently give the instrumental sections an otherworldly atmosphere. The overall results are intriguing and often absolutely crazy. ~ Scott Yanow