A cadence should be some formal ending, a phrase ending, key defining moment in a section, etc.
Cadential harmony and deceptive progression are two terms you can use to describe progression using the chords of cadences without the actual endings of proper cadences.
The basic definition of a deceptive cadence is flexible. An authentic cadence is
V I the dominant to tonic. If the cadence goes from a dominant to any other chord but the tonic, it's called deceptive. The "deception" being playing any chord but the "expected" tonic.
So it this example it seems like
B: V I would be the authentic cadence for the key signature, but there is a bit of a shift to the subdominant where the
B: V7/IV if it resolved in the "expected" way it would be
B: V7/IV IV or
B7 E. Instead it does
B: V7/IV iii/IV or
B7 G#m. You could call this a deceptive progression rather than a cadence.
A natural is what makes the
B7, a secondary dominant. Right after the deceptive progression the
A# is restored. This isn't a key change. Just call it a tonicization, temporarily considering a progression as in a different key. In this case
E major was tonicized. That may seem odd, an
E tonic when no
E chord was used. But to the extent the progression was heard as a deception, the deception is based on an expected
As far as types of deceptive cadences are concerned, the textbook definition doesn't specify the chord after the dominant other than it not being a tonic. Categorically that gives you only one type.