A Masked Deception is the digital reissue of a previously published and long out-of-print novel by New York Times Bestselling author Mary Balogh. Margaret Wells has been deeply, hopelessly in love with the handsome, dashing Richard Adair, Earl of Brampton, since she met him at a masquerade ball six years ago. Passion had flared between them then, but she had fled before the time for unmasking. Now Richard merely needs a wife to give him an heir, and the quiet, demure Miss Wells seems as suitable as anyone else. Margaret, longing to ignite some sort of passion in her dull marriage, wonders what would happen if she were to become that masked enchantress once more and met her husband by chance in some secluded, romantic setting. Little does Margaret suspect that Richard has never forgotten the nameless charmer for whom he had searched in vain for weeks and months after the masquerade ball. And little does she suspect that he is falling in love with his wife.
Shy, demure Margaret Wells claimed the hand of dashing Richard Adair while a masked Jezebel claimed his heart. How could either of the two admit they were the same person in love with one man? A Regency romance.
The Encyclopedia of Deception examines lying from multiple perspectives drawn from the disciplines of social psychology, sociology, history, business, political science, cultural anthropology, moral philosophy, theology, law, family studies, evolutionary biology, philosophy, and more. From the “little white lie,” to lying on a resume, to the grandiose lies of presidents, this two-volume reference explores the phenomenon of lying in a multidisciplinary context to elucidate this common aspect of our daily lives. Not only a cultural phenomenon historically, lying is a frequent occurrence in our everyday lives. Research shows that we are likely to lie or intentionally deceive others several times a day or in one out of every four conversations that lasts more than 10 minutes. Key Features: More than 360 authored by key figures in the field are organized A-to-Z in two volumes, which are available in both print and electronic formats. Entries are written in a clear and accessible style that invites readers to explore and reflect on the use of lying and self-deception. Each article concludes with cross references to related entries and further readings. This academic, multi-author reference work will serve as a general, non-technical resource for students and researchers within social and behavioral science programs who seek to better understand the historical role of lying and how it is employed in modern society.
Real Deceptions develops a new theory of realism through close consideration of myriad contemporary art, media, and cultural practices. Rather than focusing on transgressing deceptions which distort reality, the book argues that reality lies within the deceptions themselves. That is to say, realism's political potential emerges not by revealing deception but precisely by staging deceptions--particularly deceptions that imperil the very categories of true and false. In lieu of perceiving deception as an obstacle to truth, it shows how deception functions as the truth's necessary conduit. Categories invoked in realist works, such as trompe l'oeil, illusion, hypervirtuality, and simulation help to establish how realism can be seen as moving from the creation of mere epistemological uncertainty to radical ontologically-based indeterminacy. The book cultivates this schema by considering productive connections between insights from Jacques Lacan and Jacques Rancière. Real Deceptions not only applies these theoretical frameworks to art and media examples, but also engages in the reverse move of using the "cases" to further the theories. This dual approach points to the ways in which efforts to produce realist representations often give rise to the destabilizing Real.
Marking the centenary of the birth of Laszlo Moholy-Nagy (1895–1946), this book offers a new approach to the Bauhaus artist and theorist’s multifaceted life and work—an approach that redefines the very idea of biographical writing. In Laszlo Moholy-Nagy, Louis Kaplan applies the Derridean deconstructivist model of the "signature effect" to an intellectual biography of a Constructivist artist. Inhabiting the borderline between life and work, the book demonstrates how the signature inscribed by "Moholy" operates in a double space, interweaving signified object and signifying matter, autobiography and auto-graphy. Through interpretative readings of over twenty key artistic and photographic works, Kaplan graphically illustrates Moholy’s signature effect in action. He shows how this effect plays itself out in the complex of relations between artistic originality and plagiarism, between authorial identity and anonymity, as well as in the problematic status of the work of art in the age of technical reproduction. In this way, the book reveals how Moholy’s artistic practice anticipates many of the issues of postmodernist debate and thus has particular relevance today. Consequently, Kaplan clarifies the relationship between avant-garde Constructivism and contemporary deconstruction. This new and innovative configuration of biography catalyzed by the life writing of Moholy-Nagy will be of critical interest to artists and writers, literary theorists, and art historians.
Have you ever asked yourself why human beings are compelled to agree? Is it in our organic human nature to gather in like-minded groups and segregate ourselves from others with dissimilar opinions? Why do we feel the need to call ourselves good or right, believing only we have a firm grasp of the truth, while we label those not like us as bad or wrong? Is it possible that our compulsion to agree is an elaborate man-made control mechanism, rooted in fear? James Beyor points out in The Abyss, the second book in his Guarded Hearts trilogy, that we live in a dangerous time, where our agreements are causing us great mental and biological harm. Humankind is suffering from a bio-mental decrepitude. We have been duped into living out a symbolic replica of our human life potential. Beyor points to an urgent need we must all address, which, if we do not, will bring about anther period of inquisition far more insane and destructive than has been suffered by men in the past. This inquisition will require secular obedience as defined by a government out of control. He points to many fundamental elements that foreshadow unparalleled atrocities inflicted on the mentally and biologically impaired human species. This is not just another doomsday tale; it is a message of hope that we can, if we act now, reestablish our innate inner directed sense of all knowing built and begin again to live an authentic life. The people of the world watch helplessly as our institutions falter in their insatiable struggle for dominance over the human race. We must reclaim individual clarity and wean ourselves from our dependency on agreements of symbols and words. In the Beyor Journals you will come face to face with yourself and become aware of your own innate clarity; a genesis gift available to all those who have the courage to join then the great awakening; who claim their right to a living truth. You will never again wonder what is behind your successes and failures.
"Madness, Masks, and Laughter: An Essay on Comedy is an exploration of narrative and dramatic comedy as a laughter-inducing phenomenon. The theatrical metaphors of mask, appearance, and illusion are used as structural linchpins in an attempt to categorize the many and extremely varied manifestations of comedy and to find out what they may have in common with one another. As this reliance on metaphor suggests, the purpose is less to produce The Truth about comedy than to look at how it is related to our understanding of the world and to ways of understanding our understanding. Previous theories of comedy or laughter (such as those advanced by Hobbes, Kant, Hegel, Schopenhauer, Bergson, Freud, and Bakhtin) as well as more general philosophical considerations are discussed insofar as they shed light on this approach. The limitations of the metaphors themselves mean that sight is never lost of the deep-seated ambiguity that has made laughter so notoriously difficult to pin down in the past." "The first half of the volume focuses in particular on traditional comic masks and the pleasures of repetition and recognition, on the comedy of imposture, disguise, and deception, on dramatic and verbal irony, on social and theatrical role-playing and the comic possibilities of plays-within-plays and "metatheatre," as well as on the cliches, puns, witticisms, and torrents of gibberish which betray that language itself may be understood as a sort of mask. The second half of the book moves to the other side of the footlights to show how the spectators themselves, identifying with the comic spectacle, may be induced to "drop" their own roles and postures, laughter here operating as something akin to a ventilatory release from the pressures of social or cognitive performance. Here the essay examines the subversive madness inherent in comedy, its displaced anti-authoritarianism, as well as the violence, sexuality, and bodily grotesqueness it may bring to light. The structural tensions in this broadly Hobbesian or Freudian model of a social mask concealing an anti-social self are reflected in comedy's own ambivalences, and emerge especially in the ambiguous concepts of madness and folly, which may be either celebrated as festive fun or derided as sinfulness. The study concludes by considering the ways in which nonsense and the grotesque may infringe our cognitive limitations, here extending the distinction between appearance and reality to a metaphysical level which is nonetheless prey to unresolvable ambiguities." "The scope of the comic material ranges over time from Aristophanes to Martin Amis, from Boccaccio, Chaucer, Rabelais, and Shakespeare to Oscar Wilde, Joe Orton, John Barth, and Philip Roth. Alongside mainly Old Greek, Italian, French, Irish, English, and American examples, a number of relatively little-known German plays (by Grabbe, Tieck, Buchner, and others) are also taken into consideration."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
The marriage of Georgiana Burton to Ralph, Earl of Chartleigh, begins with every promise of happiness for both, though they scarcely know each other. She is attracted by his youthful good looks and gentle, courtly demeanor, while he is dazzled by her beauty and vivacity. It soon becomes clear, however, that the very qualities that attracted them before they married are driving them apart. Ralph is intimidated by the bright star who is his new bride while Georgiana is dismayed by her bridegroom's shyness, which seems to worsen with every passing day. Finally each of them sets out to devise a bold scheme to bring about the happily ever after for which they both yearn. It is only to be hoped that they do not bring disaster crashing down upon their dreams instead.
