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.

From popular Christian voices Lisa Jacobson and Phylicia Masonheimer, The Flirtation Experiment inspires you to strengthen your marriage with a fun, unexpected approach that leads to the depth, richness, and closeness you desire. Romance novels, Hallmark movies . . . the immense demand for romantic stories reveals a deep, unsatisfied longing that can be found in many marriages, but does it have to be that way? Is it possible that the best marriage has to offer can grow, rather than fade after you say “I do”? Lisa and Phylicia say, “Absolutely yes!” So what is the secret to a happy, thriving, loving marriage, where the fire of romance and close friendship do not fade? While The Flirtation Experiment includes the frisky side of marriage, it’s far more than a good romp. By degrees, each chapter takes you to a deeper place, covering themes every beautiful marriage has in common, such as covenant, healing, and hope. After reading The Flirtation Experiment, wives will be filled with hope and encouragement for how they can make a powerful, positive change in their marriages, become empowered to pursue their husbands romantically, understand the Bible invites women to be proactive in their marriages, be motivated to consistently love in creative ways, and forge closeness and intimacy in their marriages. “Intentional flirting keeps a positive lightness in the atmosphere and improves our overall communication,” says Jacobson. “My light flirtations bring us closer in meaningful ways and lead to connection on a deeper level. It helps us discover true romance waiting for us in everyday situations.” Perfect for the wife who wants romance, passion, and the closeness that only comes from a deep heart connection but isn’t sure where to start, The Flirtation Experiment is a candid, real-life record of two Christian women from different seasons of life who discovered they could make a significant impact on their marriage relationships, one small flirtatious experiment at a time. Readers can go deeper by using The Flirtation Experiment Workbook.

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.

In the flirtation plots of novels by Jane Austen, Charlotte Brontë, and W. M. Thackeray, heroines learn sociability through competition with naughty coquette-doubles. In the writing of George Eliot and Thomas Hardy, flirting harbors potentially tragic consequences, a perilous game then adapted by male flirts in the novels of Oscar Wilde and Henry James. In revising Gustave Flaubert’s Sentimental Education in The Age of Innocence, Edith Wharton critiques the nineteenth-century European novel as morbidly obsessed with deferred desires. Finally, in works by D. H. Lawrence and E. M. Forster, flirtation comes to reshape the modernist representation of homoerotic relations. In The Flirt’s Tragedy: Desire without End in Victorian and Edwardian Fiction, Richard Kaye makes a case for flirtation as a unique, neglected species of eros that finds its deepest, most elaborately sustained fulfillment in the nineteenth-century and early twentieth-century novel. The author examines flirtation in major British, French, and American texts to demonstrate how the changing aesthetic of such fiction fastened on flirtatious desire as a paramount subject for distinctly novelistic inquiry. The novel, he argues, accentuated questions of ambiguity and ambivalence on which an erotics of deliberate imprecision thrived. But the impact of flirtation was not only formal. Kaye views coquetry as an arena of freedom built on a dialectic of simultaneous consent and refusal, as well as an expression of "managed desire," a risky display of female power, and a cagey avenue for the expression of dissident sexualities. Through coquetry, novelists offered their response to important scientific and social changes and to the rise of the metropolis as a realm of increasingly transient amorous relations. Challenging current trends in gender, post-gender, and queer-theory criticism, and considering texts as diverse as Darwin’s The Descent of Man and Gilbert and Sullivan’s The Mikado, Kaye insists that critical appraisals of Victorian and Edwardian fiction must move beyond existing paradigms defining considerations of flirtation in the novel. The Flirt’s Tragedy offers a lively, revisionary, often startling assessment of nineteenth-century fiction that will alter our understanding of the history of the novel.

One kiss can change your life... Allison Hall is fed up with being a social outcast. Even at the tech company where she works for her brother and his best friend, Jared, she's the invisible nerdy girl. What she needs is confidence—and that requires a makeover and dating tips. And she knows just the man to help... Jared Esterly is shocked when Allison asks for his assistance and turns her down, knowing that her brother—his business partner and best friend, Nick—would kill him if he dated her, even if it is just for practice. But when Al’s attempt to make changes on her own fails spectacularly, Jared reluctantly steps in. Things heat up quickly, and soon lessons move from the salon to the bedroom. When overprotective big-brother Nick discovers Jared is dating Allison, their friendship and business partnership sour. Allison, consumed by guilt, must make a choice: stay with Jared, even though that means ruining his friendship with Nick and possibly his career, or leave the one man who sets her on fire. Each title in the Friends First series can be enjoyed out of order. Book #1 A Friendly Engagement Book #2 A Friendly Arrangement Book #3 A Friendly Flirtation

Explores "how to let your unique self shine so you can become a blissfully enlightened man-magnet. After all, you're already a smart, joyful, intelligent woman. Why not honor those attributes to attract the men you desire?"--P. [4] of cover.

Sandi works at an advertising company in New York and has a painful past involving her ex-husband. What sustains her is her dedication to looking after her pregnant sister, Ann, who just lost her husband. One day, a sophisticated man named Jacques visits them. He turns out to be the brother of Ann’s late husband. He insists that Ann deliver the baby at his family castle. But Ann’s husband’s family disowned him! This must be some kind of diabolical plan! Sandi takes off to France with her sister, where she’s bewildered by the sweet words uttered by Jacques, who has eyes filled with temptations. She mustn’t trust him!

This book is a chronicle of the all-too-human terror that drives us into the arms of experts, and of how expertise, in the form of psychoanalysis, addresses our fears - in essence, turns our terror into meaning.

In a style that is writerly and audacious, Adam Phillips takes up a variety of seemingly ordinary subjects underinvestigated by psychoanalysis--kissing, worrying, risk, solitude, composure, even farting as it relates to worrying. He argues that psychoanalysis began as a virtuoso improvisation within the science of medicine, but that virtuosity has given way to the dream of science that only the examined life is worth living. Phillips goes on to show how the drive to omniscience has been unfortunate both for psychoanalysis and for life. He reveals how much one's psychic health depends on establishing a realm of life that successfully resists examination.

Written in his beloved epigrammatic and aphoristic style, Equals extends Adam Phillips's probings into the psychological and the political, bringing his trenchant wit to such subjects as the usefulness of inhibitions and the paradox of permissive authority. He explores why citizens in a democracy are so eager to establish levels of hierarchy when the system is based on the assumption that every man is created equal. And he ponders the importance of mockery in group behavior, and the psyche's struggle as a metaphor for political conflict.