Preface |
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xv | |
Acknowledgments |
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xvii | |
Introduction |
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3 | (12) |
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15 | (42) |
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A Three Stories of Ponzi Schemers |
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15 | (7) |
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15 | (3) |
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18 | (2) |
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20 | (2) |
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22 | (7) |
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1 Drawing Attention to the Offer |
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22 | (1) |
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a High Returns at No Risk |
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22 | (3) |
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b Stories to Satisfy Investors' Curiosity |
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25 | (3) |
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c Con Artists' Stories Are Exceptional and Creative |
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28 | (1) |
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C Gaining Trust and Concealing the Truth |
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29 | (12) |
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1 Words Can Be Used to Signal Trust |
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29 | (1) |
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a Words Can Denote Trustworthiness |
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29 | (3) |
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b Signals to Raise Trustworthiness |
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32 | (2) |
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c It Depends on How You Say False Things: Specific Promises with Vague Roles |
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34 | (1) |
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d How a Story Is Told Can Signal Truthfulness |
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35 | (1) |
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e Refusing to Provide the Details of a Scheme Need Not Undermine Trust |
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36 | (2) |
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2 Familiar Transaction Businesses and Forms Seem to Make Verification Superfluous |
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38 | (1) |
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3 Hiding Fraud by Actions: Prompt Payments That Spell Trustworthiness, Low Risk, and Much More |
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39 | (2) |
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D Hiding the Vulnerable Part of the Story: Secrecy and Costly Verification |
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41 | (11) |
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1 Concealing the True Nature of the Ponzi Business |
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41 | (1) |
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2 Use of Justified Secrecy |
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42 | (2) |
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3 Stories That Are Costly to Verify |
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44 | (4) |
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4 Details That Hide the Truth by Drowning It |
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48 | (1) |
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a Details Can Hide the Truth |
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48 | (1) |
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b Complexity Helps Hide the Truth as Well |
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49 | (3) |
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E Con Artists' Deceptive Friendship and Seeming Vulnerability by Age and Naivety |
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52 | (5) |
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1 Deceptive Friendship and Love |
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52 | (3) |
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2 Deceptive Weakness of Age and Seeming Naivety |
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55 | (1) |
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55 | (1) |
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56 | (1) |
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57 | (28) |
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57 | (6) |
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1 The Importance of Advertising |
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57 | (1) |
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2 Where to Operate and How to Build a Reputation |
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58 | (1) |
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59 | (2) |
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61 | (1) |
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5 Attracting Attention by Engaging in Attention-Drawing Conflicts |
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62 | (1) |
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63 | (4) |
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1 Cooperation, Competition, and Congregation Among Con Artists |
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63 | (2) |
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2 Birds of a Feather Flock Together |
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65 | (2) |
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C How Do Con Artists Approach Their Victims? |
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67 | (12) |
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1 From Family and Friends to Institutions and Affinity Groups |
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67 | (1) |
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67 | (3) |
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b Ethnic and Religious Affinity Groups |
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70 | (4) |
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74 | (1) |
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d Hybrid Institutions and Overtones |
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75 | (2) |
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2 Technology Has a Growing Impact on the Growth of Ponzi Schemes |
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77 | (2) |
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79 | (6) |
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1 Collecting and Distributing Information |
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79 | (1) |
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80 | (2) |
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3 A Pure Sales Structure: Pyramid Schemes |
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82 | (3) |
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3 Con Artists' Behavior Seems a "Normal Usual Behavior" |
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85 | (25) |
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A Humans Have a Natural Ability to Pretend, Lie, and Influence Others |
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85 | (25) |
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1 Humans---and Even Primates---Have the Innate Ability to Lie Convincingly |
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86 | (1) |
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2 Signs of Misleading Signals |
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87 | (2) |
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89 | (2) |
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4 Exploiting the Weakness of the Social System |
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91 | (1) |
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5 The Slippery Slope: From Honesty to Fraud |
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92 | (5) |
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6 Ponzi Scheme "Businesses" Mirror Respectability |
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97 | (1) |
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a Legitimate Businesses: Banking and Financial Institutions |
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97 | (1) |
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b Stock Market Trading: Following the Trends |
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98 | (1) |
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c Salespersons and Traders |
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99 | (2) |
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101 | (2) |
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e Con Artists Are Believable: They Believe in Their Activities and View Them as Businesses |
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103 | (3) |
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f Longevity of the Businesses Breeds Respectability |
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106 | (4) |
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4 A Profile of The Con Artists and Their Victims |
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110 | (50) |
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A The Dark Side of Con Artists (and Some of Their Investors) |
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111 | (22) |
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1 Con Artists Are Different from Most People |
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111 | (3) |
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2 On Very Rare Occasions a Con Artist Might Resort to Murder |
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114 | (2) |
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3 On Very Rare Occasions a Group of Con Artists Can Be Deadly as Well |
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116 | (1) |
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4 Con Artists Lack Empathy |
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117 | (1) |
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a What Does Empathy Mean? |
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117 | (1) |
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b Lacking Empathy Can Bring Repeat Frauds |
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118 | (2) |
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c Lacking Empathy Can Render Con Artists Effective |
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120 | (1) |
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5 How Do Con Artists Present Themselves? |
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121 | (1) |
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a Protecting the Weak Ego: We Are Special! |
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121 | (4) |
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6 Con Artists' Mechanisms of Ego Protection and Justification |
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125 | (1) |
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125 | (2) |
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127 | (1) |
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128 | (1) |
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129 | (2) |
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e Blaming Others, but Avoiding a Show of Weakness |
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131 | (1) |
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f Our Actions Are Justified as Protection Against Others Who Are Fraudsters |
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131 | (1) |
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g Our Good Works Testify to the Legitimacy of Our Actions |
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132 | (1) |
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B The Profile of the Victims: What Kind of People Are the Sophisticated Victims? What Makes Some More Vulnerable to Ponzi Schemes Than Others? |
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133 | (18) |
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1 The Dark Side of Some Investors: Lacking Empathy Toward Other Investors and Shared Greed |
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133 | (1) |
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2 Investors in Ponzi Schemes Who Suspect or Know the Nature of the "Investment" Yet Invest |
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134 | (1) |
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135 | (1) |
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4 What Drives the Victims? |
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136 | (2) |
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138 | (2) |
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b Tolerance to the Risk of Being Caught for Illegal Activities |
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140 | (1) |
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c An Optimistic Nature and Outlook on Life Affects Risk Tolerance |
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141 | (1) |
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142 | (1) |
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e The Role of Education in Risk Tolerance Is Unclear |
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143 | (2) |
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f A Reminder of the Stories in Chapter 1: The Ways Con Artists Make Their Offers |
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145 | (1) |
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g How Do Sophisticated Victims of Ponzi Schemes View Themselves? |
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146 | (2) |
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5 How Do Some Victims React to the Discovery of Con Artists by the Government? |
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148 | (1) |
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a The Victims' Attitude Toward the Government |
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148 | (2) |
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b The Nature of a Ponzi Scheme Justifies This View of Some Investors |
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150 | (1) |
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151 | (9) |
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151 | (2) |
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2 What Causes an Insatiable Craving for More and Loss of Self-Control? |
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153 | (2) |
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3 What Are Con Artists (and Perhaps Their Victims) Usually Addicted To? |
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155 | (1) |
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4 Con Artists Are Repeat Offenders |
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156 | (4) |
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5 How Does the Public View the Con Artists and the Victims? |
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160 | (16) |
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A America Is Ambivalent About Its Con Artists |
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160 | (7) |
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1 Con Artists Who Defrauded Small Investors Are Viewed Somewhat Differently |
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162 | (1) |
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2 When Con Artists Mimic the Wealthy Power Elite, They Live Like the Wealthy Power Elite |
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163 | (1) |
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3 The "Barren and Destructive Creators": The Benefits of Creative Harm |
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164 | (1) |
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4 Con Artists Can Be Corrupting Teachers |
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165 | (2) |
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B How Does the Public View the Victims? |
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167 | (3) |
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1 With Few Exceptions, People View the Victims of Con Artists Differently Than They View the Victims of Violent Crimes |
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167 | (1) |
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2 A Related Reason for Condemning the Victims Is That They Did Not Do Their Homework |
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168 | (2) |
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C Is There Protection Available for Sophisticated Potential Victims? |
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170 | (6) |
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1 Red Flag: A Very High Return at Low Risk |
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171 | (1) |
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2 Red Flag: The Mystery Source of the Higher Returns |
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172 | (1) |
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3 Red Flag: Continuous Offerings of Obligations |
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172 | (1) |
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4 Red Flag: Con Artists' Activities Outside the Legal Protections |
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173 | (1) |
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173 | (1) |
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6 Separating Business, Emotion, and Faith |
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174 | (1) |
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7 Advice to Investors as Protection Against Affinity Scams Is Similar |
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174 | (2) |
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176 | (12) |
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A Collecting the Assets and Mediating Among the Victims |
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176 | (1) |
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177 | (1) |
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C Who Collects the Remaining Assets? |
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177 | (1) |
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D Who, Among the "Helpers" of Con Artists, Must Pay? |
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178 | (3) |
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1 Who Helps the Con Artists? |
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178 | (1) |
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2 What About Suspecting Helpers? |
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179 | (2) |
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E How to Divide the Remaining Assets? |
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181 | (7) |
Epilogue |
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188 | (5) |
Notes |
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193 | (34) |
Index |
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227 | |