Kirjahaku

Subscription Theater asks why turn-of-the-century British and Irish citizens spent so much time, money, and effort adding their names to subscription lists. Shining a spotlight on private play-producing clubs, public repertory theaters, amateur drama groups, and theatrical magazines, Matthew Franks locates subscription theaters in a vast constellation of civic subscription initiatives, ranging from voluntary schools and workers' hospitals to soldiers' memorials and Diamond Jubilee funds. Across these enterprises, Franks argues, subscribers created their own spaces for performing social roles from which they had long been excluded. Whether by undermining the authority of the Lord Chamberlain's Examiner of Plays and London's commercial theater producers, or by extending rights to disenfranchised women and property-less men, a diverse cast of subscribers including typists, plumbers, and maids acted as political representatives for their fellow citizens, both inside the theater and far beyond it. Citizens prized a "democratic" or "representative" subscription list as an end in itself, and such lists set the stage for the eventual public subsidy of subscription endeavors. Subscription Theater points to the importance of printed ephemera such as programs, tickets, and prospectuses in questioning any assumption that theatrical collectivity is confined to the live performance event. Drawing on new media as well as old, Franks uses a database of over 23,000 stage productions to reveal that subscribers introduced nearly a third of the plays that were most frequently revived between 1890 and the mid-twentieth century, as well as nearly half of all new translations, and they were instrumental in staging the work of such writers as Shaw and Ibsen, whose plays featured subscription lists as a plot point or prop. Although subscribers often are blamed for being a conservative force in theater, Franks demonstrates that they have been responsible for how we value audience and repertoire today, and their history offers a new account of the relationship between ephemera, drama, and democracy.

Reality can be the difference between a dream and a nightmare...Max Crawford isn't a typical prison therapist. He uses his unusual psychic ability to walk with convicts through their dreams, reliving their unspeakable crimes alongside them to show them the error of their ways.Max always has to be on his toes to keep himself grounded, but the FBI agent waiting for him in his private office immediately puts him on edge. The bureau wants Max to go way outside his comfort zone to enter the dreams of suspected serial killer William Knox.To get a confession and secure the future of his prison program, Max must gain Knox's trust by any means necessary-and survive the minefield of secrets waiting inside a murderer's mind. Secrets that could turn Max's reality into a living nightmare.

For fourteen years, Psychic Max Crawford rehabilitated prisoners by reliving their crimes with them through their dreams. But, when the FBI debriefs him on an attempted homicide victim named Beth Martin, he decides to take on the case of a lifetime. As the result of a vicious attack, Beth is in a coma, and Max is the only one with the ability to help her.By entering Beth's unconscious mind, Max embarks on a journey to find out who tried to kill her. There's only one problem. In her dreamworld, Beth thinks she's someone else. Before Max can assist Beth to mentally retrace her steps to discover the identity of her attacker, he must first remind her of her own identity.Through a series of surreal encounters, Max uncovers Beth's past and the possible suspects, including her fianc Bobby Fugate. As the complex web of players unravels, Max realizes that the path to answers can lead to the most unexpected places. To solve the mystery, he must act quickly and only hope that Beth stays alive long enough to see it to the end.