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Books on the topic 'Breaking taboo'

Author: Grafiati

Published: 5 June 2025

Last updated: 25 June 2025

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1

Paramananda. Sex: Breaking the taboo. S. Paramananda, 2001.

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2

Howard, Anna. Death: Breaking the taboo : interviews. Arthur James, 1996.

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3

O, Schweitzer Stuart, ed. Industrial policy in America: Breaking the taboo. Edward Elgar, 2013.

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4

L, Walker W., ed. Not the change of life: Breaking the menopause taboo. Penguin, 1987.

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5

1942-, Foster John W., Touré Chiekh Tidiane, and Commonwealth Foundation, eds. Breaking the Taboo: Perspectives of African Civil Society on Innovative Sources of Financing Development. Commonwealth Foundation, 2008.

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6

Neuwirth, Allan. They'll never put that on the air: An oral history of taboo-breaking TV comedy. Allworth Press, 2006.

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7

(Organization), Ombetja Yehinga, ed. Hirallōs =: The hyena's disease : breaking taboos about HIV/AIDS. Gamsberg Macmillan, 2002.

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8

Pope, Kenneth S., Nayeli Y. Chavez-Dueñas, Hector Y. Adames, Janet L. Sonne, and Beverly A. Greene. Speaking the unspoken: Breaking the silence, myths, and taboos that hurt therapists and patients. American Psychological Association, 2023. http://dx.doi.org/10.1037/0000350-000.

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9

Smith, Vikki. Breaking the Taboo. Lulu Press, Inc., 2009.

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10

Death: Breaking the Taboo. Arthur James Ltd, 1997.

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11

Walker, Rebecca. Women Talk Money: Breaking the Taboo. Simon & Schuster, 2023.

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12

Jolley, Rachael. What's the Taboo?: Why Breaking down Social Barriers Matters. SAGE Publications, Limited, 2015.

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13

Walker, Rebecca. Women Talk Money: Breaking the Last Taboo. Simon & Schuster, 2022.

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14

Walker, Rebecca. Women Talk Money: Breaking the Last Taboo. Simon & Schuster, 2022.

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15

Dillon, Grant. Taboo: Breaking the Rules in Christian Fiction. Whiskey Creek Press, LLC, 2012.

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16

Male Rape: Breaking the Silence on the Last Taboo. Heretic Books, 1990.

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17

Mims, Cedric. Love & Old Age: Breaking the Taboo of Sex and the Elderly. Book Guild Ltd, 2003.

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18

They'll never put that on the air: An oral history of taboo-breaking TV comedy. Allworth Press, 2006.

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19

Napier, K. B. Breaking God's Taboos : (Degeneration by Habit). Lulu Press, Inc., 2021.

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20

Strong, Natalie. Stories about My Sexy Job: The Erotic Story of a Hot Girl Getting Paid for Explicit BDSM Sex at Work, Becoming Addicted and Breaking All of Her Erotica Taboo with Threesomes and Swingers. Independently Published, 2020.

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21

Motherhood and Identity: Tattooed Mamas Breaking the Taboos. Blurb, 2019.

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22

Rimell, Rachel. Motherhood and Identity: Tattooed Mamas Breaking the Taboos. Independently Published, 2019.

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23

Motherhood and Identity: Tattooed Mamas Breaking the Taboos. Blurb, 2019.

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24

Shaw, Deborah, and Rob Stone, eds. Sex Education. Bloomsbury Publishing Inc, 2025. https://doi.org/10.5040/9798765107348.

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This collection maps the origins of the Netflix seriesSex Educationin relation to the genre of teenage high school dramas and comedies, exploring the four-season narrative arc and analysing the principal themes and characters. The Netflix seriesSex Educationhas been a standout critical and popular success and has featured among Netflix’s most watched content in 190 countries throughout its 4 seasons. Its fresh and exciting portrayals of teenagers and their friendships, relationships, identities and sexualities demand new frameworks for understanding gender and genre, as well as the dynamics of streaming and interaction with the audience. This collection considers the aesthetics of the series and its main philosophical, ethical and political aspects. It investigates the creative process behind the ground-and-taboo-breaking series, examining it as a cultural product that is both old and new in that it relies on tried and tested generic formulae while also being responsive to new identity formations.

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25

Heins, Laura. Breaking Out of the Bourgeois Home: Domestic Melodrama. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037740.003.0004.

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This chapter examines the domestic melodrama and argues that it was used by the Nazis in a genre-contradictory manner to effect a departure from the nuclear family, in accordance with the antibourgeois antipathies of the regime's leadership. It contends that Nazi films, far from universally reinforcing traditional family structures, actually profit from an undermining of sexual taboos—the ultimate goal being an increased level of efficiency of production and reproduction. Seemingly prohibited desires actually formed the core of Nazi film melodramas; just as fascist Germany's “leading man” found the family largely unattractive, so did the imaginary of its cinema. Filmmakers in the Third Reich preferred to offer images of the dissolution of the family rather than images of harmonious familial units, and the domestic melodrama in particular reveals the highly conflicted attitude of Nazi ideology and policy regarding bourgeois morality, marriage, and motherhood.

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26

Speaking the Unspoken: Breaking the Silence, Myths, and Taboos That Hurt Therapists and Patients. American Psychological Association, 2023.

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27

Albert, Georg, Lothar Bluhm, and Markus Schiefer Ferrari, eds. Political Correctness. Tectum – ein Verlag in der Nomos Verlagsgesellschaft, 2020. http://dx.doi.org/10.5771/9783828876224.

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The controversy about political correctness is being carried on in politics and the society, in science and culture; it affects the use of language and the presentation of images in general and the public opinion in concrete terms. From a linguistic point of view, the efforts regarding language corrections and in particular the discussions regarding a gender-correct use of language are of special interest. Yet, the discussion also arises in educational and religion-specific contexts as well as in the political dispute with and about right-wing populism. The public debate regarding taboos and the breaking of taboos in journalism as well as in literature and visual arts also belong to the issue. With contributions by Georg Albert, Frank Polzenhagen, Jan Georg Schneider, Svenja Hermes und Katharina Turgay, Franziska Carls, Elzbieta Adamiak, Thomas Müller-Schneider, Martin Lange, Timo S. Werner, Lothar Bluhm, Marie Schröer und Gregor Schuhen, Jürgen Raab, Markus Schiefer Ferrari, Alexander Linke

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28

Shepherd-Barr, Kirsten E. 6. Bearing witness: drama since 1980. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780199658770.003.0007.

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Theatre since 1980 is marked by a number of striking new forms, movements, and innovations, ushered in by a plethora of fresh new playwrights bursting on to the scene as well as the ongoing work of long-established playwrights. Through developments like verbatim theatre—a renewal of documentary drama—‘in-yer-face’ theatre, and postmodern theatre, drama in recent decades has been breaking taboos and fundamentally challenging what is acceptable for theatrical representation. ‘Bearing witness: drama since 1980’ describes some of the plays that define these innovations and goes on to discuss the introduction of science to the stage and the increasing adaptation and reimagining of older works.

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29

Kingsbury, Kathleen Burns. Breaking Money Silence: How to Shatter Money Taboos, Talk More Openly about Finances, and Live a Richer Life. ABC-CLIO, LLC, 2017.

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30

Kingsbury, Kathleen Burns. Breaking Money Silence®: How to Shatter Money Taboos, Talk More Openly about Finances, and Live a Richer Life. ABC-CLIO, LLC, 2017.

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31

Roberts, Michèle. Colette. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780192858214.001.0001.

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Abstract This book embodies a rereading of certain texts by Colette that have felt, and feel, important to me both as a reader and as a writer. The My Reading series encourages a personal, subjective account of the books chosen for rereading. Colette was a pioneering, groundbreaking modernist writer, but has not always had her originality and worth recognized in Britain. I write about her invention of new forms to express her unsettling content (to do with desire, perversion, ageing, and different forms of love)—for example, her mixing of fiction, memoir, and letters in Break of Day, her use of the horror genre mixed with apparent autobiography in The Rainy Moon, her mixing of fairy tale and autobiography in La Maison de Claudine. I write about her breaking of taboos around older woman and desire, as in Cheri, and her drawing on Christian imagery of paradise to create a subtext about incestuous desire. I write admiringly about Colette’s freedom in exploring apparently perverse forms of love. I emphasize throughout the importance of the mother figure as inspiration, sometimes behind the text and sometimes at its centre.

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