First published in 1852, The Natural History of the Flirt is a satirical work that examines the behavior and motives of individuals who seek romantic attention from others without sincere intent. The book employs scientific language and illustrations to evoke the study of zoology or botany and is still considered a valuable contribution to Victorian humor. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

An exploration of human behavior examines the innate aspects of love, sex, and marriage, discussing flirting behavior, courting postures, the brain chemistry of attraction, divorce and adultery in societies around the world, and more. Reprint.

This is a book about the possibilities of flirtation, its risks and instructive amusements - about the spaces flirtation opens in the stories we tell ourselves, particularly within the framework of psychoanalysis.

Shows those looking for love how to identify their natural flirting style and use it to flirt smarter and attract the best person for them.

From Carlos Fonseca comes a dazzling, kaleidoscopic epic of art, politics, and hidden realities Just before the dawn of the new millennium, a curator at a New Jersey museum of natural history receives an unusual invitation from a celebrated fashion designer. She shares the curator’s fascination with the secrets of the animal kingdom—with camouflage and subterfuge—and she proposes that they collaborate on an exhibition, the nature of which remains largely obscure, even as they enter into a strange relationship marked by evasion and elision. Seven years later, after the designer’s death, the curator recovers the archive of their never-completed project. During a long night of insomnia, he finds within the archive a series of clues about the true history of the designer’s family, a mind-bending puzzle that winds from Haifa, Israel, to bohemian 1970s New York to the Latin American jungles. As he follows this trail, the curator discovers a cast of characters whose own fixations interrogate the unstable frontiers between art, science, politics, and religion. An aging photographer, living nearly alone in an abandoned mining town where subterranean fires rage without end, creates miniature replicas of ruined cities. A former model turned conceptual artist becomes the star defendant in a trial over the very soul and purpose of art. A young indigenous boy receives a vision of the end of the world. Reality is a curtain, the curator realizes, and to draw it back is to reveal the theater of the obsessed. Natural History is a portrait of a world trapped between faith and irony, tragedy and farce. An urgent and impressively ambitious novel in the tradition of Italo Calvino and Ricardo Piglia, it confirms Carlos Fonseca as one of the most daring writers of his generation.

What is flirtation, and how does it differ from seduction? In historical terms, the particular question of flirtation has tended to be obscured by that of seduction, which has understandably been a major preoccupation for twentieth-century thought and critical theory. Both the discourse and the critique of seduction are unified by their shared obsession with a very determinate end: power. In contrast, flirtation is the game in which no one seems to gain the upper hand and no one seems to surrender. The counter-concept of flirtation has thus stood quietly to the side, never quite achieving the same prominence as that of seduction. It is this elusive (and largely ignored) territory of playing for play’s sake that is the subject of this anthology. The essays in this volume address the under-theorized terrain of flirtation not as a subgenre of seduction but rather as a phenomenon in its own right. Drawing on the interdisciplinary history of scholarship on flirtation even as it re-approaches the question from a distinctly aesthetic and literary-theoretical point of view, the contributors to Flirtations thus give an account of the practice of flirtation and of the figure of the flirt, taking up the act’s relationship to issues of mimesis, poetic ambiguity, and aesthetic pleasure. The art of this poetic playfulness—often read or misread as flirtation’s “empty gesture”—becomes suddenly legible as the wielding of a particular and subtle form of nonteleological power.