Bernard Madoff's financial fraud was global, an enormous amount of money was involved, and thousands of people and hundreds of institutions were swindled. Madoff's con game was a Ponzi scheme—an investment that pays returns to early investors from money acquired from subsequent investors.This case study of the Madoff scheme looks at the effects of his crimes on the victims. Elements from a theoretical framework put forward by Erving Goffman provide a perspective for understanding the development and the aftermath of Madoff's con. For example, as Goffman would have put it, Madoff's marks were not cooled out. Many did not accept the fact that they were victims of a con game and publicly clamored for sympathy, restitution, and for public officials to share their perspective.Inside men, ropers, outside men, and victims are at the core of con games. Lionel S. Lewis emphasizes that it is important to understand a con game's characteristics so as to grasp how it operates. The Madoff fraud includes elements of a variety of con games. For a comprehensive study of this economic crime, the case study must be seen as part of the broader social system. Considerably more is known about the dynamics of con games than about Ponzi schemes, and this fact frames this book's approach. To better understand what Madoff did, who was central in keeping his scheme alive, whom he defrauded, and how they reacted, this work is as invaluable as it is illuminating.

Be alert, be vigilant! False pastors and church leaders are on the loose, prowling like hungry lions, seeking their next victim; to devour, con, manipulate and deceive in the name of the Lord. You must be careful not to become their next target or victim. Some pastors and church leaders are wolves, dressed in sheep clothing. Jesus Christ was not joking when He warned us to beware of fake church leaders. Beware of false prophets, [pastors and church leaders], who come to you dressed as sheep, but inside they are devouring wolves. Matthew 7:15. AMP Author Joseph Blessing Omosigho is himself a pastor, and was inspired to write Pastors' and Church Leaders' Con Games because he was sick of the con games, manipulation, and deception infesting the body of Christ today. About the Author: Joseph Blessing Omosigho is an experienced preacher, teacher of the word of God and author of many Spirit-filled life changing books and songs. He is married to Gloria, and blessed with three children: David, Samuel and Hannah.Joseph is a graduate of Christ for the Nations, All Nations for Christ Bible Institute, Freedom Ministries Deliverance School, Lagos State University, and received a bachelor's degree from Calvary Institute. He is a minister in The Redeemed Christian Church of God. Joseph is a pastor to pastors, an anointed full gospel preacher and teacher for our day and time. Originally from Nigeria, Africa, he now resides in the U.S.A. Publisher's website: http: //sbpra.com/JosephBlessingOmosigh

"Textual ethos studies" talks about critical theory and ethics.

At the heart of America’s slave system was the legal definition of people as property. While property ownership is a cornerstone of the American dream, the status of enslaved people supplies a contrasting American nightmare. Sarah Gilbreath Ford considers how writers in works from nineteenth-century slave narratives to twenty-first-century poetry employ gothic tools, such as ghosts and haunted houses, to portray the horrors of this nightmare. Haunted Property: Slavery and the Gothic thus reimagines the southern gothic, which has too often been simply equated with the macabre or grotesque and then dismissed as regional. Although literary critics have argued that the American gothic is driven by the nation’s history of racial injustice, what is missing in this critical conversation is the key role of property. Ford argues that out of all of slavery’s perils, the definition of people as property is the central impetus for haunting because it allows the perpetration of all other terrors. Property becomes the engine for the white accumulation of wealth and power fueled by the destruction of black personhood. Specters often linger, however, to claim title, and Ford argues that haunting can be a bid for property ownership. Through examining works by Harriet Jacobs, Hannah Crafts, Mark Twain, Herman Melville, Sherley Anne Williams, William Faulkner, Eudora Welty, Toni Morrison, Octavia Butler, and Natasha Trethewey, Ford reveals how writers can use the gothic to combat legal possession with spectral possession.

Hochstapler geben vor, jemand zu sein, der sie nicht sind. Sie konstruieren eine Lebensgeschichte, die sich bestimmter kultureller Vorannahmen und Stereotype bedient, um für andere glaubhaft zu sein. Doch ist Identität nicht stets auch Produkt eines erzählerischen Selbstentwurfs? Am Beispiel von wahren und imaginierten Fällen von Betrügern in Nordamerika fragen die Beiträge des Bandes nach den Motiven von Hochstapelei, den Mechanismen der Täuschung – und warum diese funktionieren.

Despite more than a passing nod to such crowdpleasing classics as Hitchcock's North by Northwest, playwright-turned-independent filmmaker David Mamet's The Spanish Prisoner is a particularly idiosyncratic film that betrays its origin outside the Hollywood mainstream. Featuring a convoluted narrative, an excessive, often anti-classical, visual style, and belonging to the generic category of the'con game film' which often challenges the spectator's cognitive skills, The Spanish Prisoner is a film that bridges genre filmmaking withpersonal visual style, independent film production with niche distribution,and mainstream subject matter with unconventional filmic techniques.This book discusses The Spanish Prisoner as an example of contemporary American independent cinema while also using the film as a vehicle to explore several key ideas in film studies, especially in terms of aesthetics, narrative, style, spectatorship, genre and industry.

Introduction to Criminology, Seventh Edition is a comprehensive introduction to the study of criminology designed for an introductory undergraduate courses. The book focuses on the vital core of criminological theory--theory, method, and criminal behavior. Hagan investigates all forms of criminal activity, such as organized crime, white collar crime, political crime, and environmental crime. He explains the methods of operation, the effects on society, and how various theories account for criminal behavior. New to this edition: Expansion of material on psycho-social and bio-social theories Additional coverage of terrorism in Ch. 11, along with ethics in the research methods chapter, Ch. 2 New chapter on Cybercrime New Epilogue on the future of crime and the newest criminological theories New Career Feature Boxes New Crime Files Feature Boxes End-of-Chapter Web Research Exercises New full-color design and photo program In-text links to study site Expanded study site resources including video of the author and original podcasts recorded by the author for each chapter Blackboard and Web CT compatibility

The Disinformation Age, beginning in the present and going back to the American colonial period, constructs an original historical explanation for the current political crisis and the reasons the two major political parties cannot address it effectively. Commentators inside and outside academia have described this crisis with various terms — income inequality, the disappearance of the middle-class, the collapse of the two-party system, and the emergence of a corporate oligarchy. While this book uses such terminology, it uniquely provides a unifying explanation for the current state of the union by analyzing the seismic rupture of political rhetoric from political reality used within discussion of these issues. In advancing this analysis, the book provides a term for this rupture, Disinformation, which it defines not as planned propaganda but as the inevitable failure of the language of American Exceptionalism to correspond to actual history, even as the two major political parties continue to deploy this language. Further, in its final chapter this book provides a way out of this political cul-de-sac, what it terms "the limits of capitalism’s imagination," by "thinking from a different place" that is located in the theory and practice of the Indigenous peoples of the Americas.

Over the past fifteen years, writer, producer and director Christopher Nolan has emerged from the margins of independent British cinema to become one of the most commercially successful directors in Hollywood. From Following (1998) to Interstellar (2014), Christopher Nolan's films explore philosophical concerns by experimenting with nonlinear storytelling while also working within classical Hollywood narrative and genre frameworks. Contextualizing and closely reading each of his films, this collection examines the director's play with memory, time, trauma, masculinity, and identity, and considers the function of music and video games and the effect of IMAX on his work.