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Books on the topic 'Masculine thinking'

Author: Grafiati

Published: 1 July 2021

Last updated: 29 July 2025

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1

Bologh, Roslyn Wallach. Love or greatness: Max Weber and masculine thinking, a feminist enquiry. Unwin Hyman, 1990.

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Bologh, Roslyn Wallach. Love or greatness: Max Weber and masculine thinking-a feminist enquiry. Unwin Hayman, 1990.

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Bologh, Roslyn Wallach. Love or Greatness: Max Weber and Masculine Thinking. Taylor & Francis Group, 2009.

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Bologh, Roslyn. Love or Greatness: Max Weber and Masculine Thinking. Routledge, 2009.

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5

Bologh, Roslyn Wallach. Love or Greatness: Max Weber and Masculine Thinking. Taylor & Francis Group, 2009.

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6

Bologh, Roslyn. Love or Greatness: Max Weber and Masculine Thinking. Taylor & Francis Group, 2009.

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7

Bologh, Roslyn. Love or Greatness: Max Weber and Masculine Thinking. Taylor & Francis Group, 2009.

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8

Love or greatness: Max Weber and masculine thinking--a feminist inquiry. Unwin Hyman, 1990.

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9

Kerner, Ian. He Comes Next: The Thinking Woman's Guide to Pleasuring a Man. HarperCollins Publishers, 2006.

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Kerner, Ian. He Comes Next: The Thinking Woman's Guide to Pleasuring a Man. Collins, 2006.

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11

Kerner, Ian. He Comes Next: The Thinking Woman's Guide to Pleasuring a Man. Collins, 2006.

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12

Kerner, Ian. He Comes Next CD: The Thinking Woman's Guide to Pleasuring a Man. HarperAudio, 2006.

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13

Kerner, Ian. He Comes Next CD: The Thinking Woman's Guide to Pleasuring a Man. HarperAudio, 2006.

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14

Shih, Chih-yu. Eros of International Relations. Hong Kong University Press, 2022. http://dx.doi.org/10.5790/hongkong/9789888754045.001.0001.

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The power of feminist critiques and the quest for non-Western international relations share one epistemological caveat in practice. Namely, there is a tendency toward resistance that usually invokes binary thinking, informed by strategic essentialism. Consequently, femininity fails to deconstruct masculinity despite the widespread attention it has attracted. Rather, it is involved in a battle that ironically privileges masculinity. Using the concept of “self-feminizing”—the adoption of a feminine identity to oblige and achieve mutual caring as a relational strategy—Eros of International Relati

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15

Rosenberg, Michael. Signs of Virginity. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190845896.001.0001.

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The notion that bleeding “should” accompany the “loss” of female virginity—a mode of thinking about virginity that encourages male sexual aggression—is so widespread that it is often taken for granted. Yet, Michael Rosenberg argues in Signs of Virginity that this idea is a specific product of Deut. 22:13–21. Deuteronomy’s violent virginity has held sway in Jewish and Christian circles more or less ever since, but Rosenberg points to two writers—Augustine of Hippo and the rabbinic collective that produced the Babylonian Talmud—who, even as they perpetuate patriarchal assumptions about female vi

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16

Re-thinking men: Heroes, villains and victims. Ashgate, 2009.

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17

Wilcox, Lauren. Gender, Just War, and the Ethics of War and Peace. Oxford University Press, 2017. http://dx.doi.org/10.1093/acrefore/9780190846626.013.192.

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The just war tradition is the most dominant framework for analyzing the morality of war. Just war theory is being challenged by proponents of two philosophical views: realism, which considers moral questions about war to be irrelevant, and pacifism, which rejects the idea that war can ever be moral. Realism and pacifism offer a useful starting point for thinking about the ethics of war and peace. Feminists have been engaged with the just war tradition, mainly by exposing the gendered biases of just war attempts to restrain and regulate war and studying the role that war and its regulation play

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18

McManus, Laurie. Brahms in the Priesthood of Art. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190083274.001.0001.

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Brahms in the Priesthood of Art: Gender and Art Religion in the Nineteenth-Century German Musical Imagination explores the intersection of gender, art religion (Kunstreligion), and other aesthetic currents in Brahms reception of the nineteenth and early twentieth centuries. In particular, it focuses on the theme of the self-sacrificing musician devoted to his art, or “priest of music,” with its quasi-mystical and German Romantic implications of purity seemingly at odds with the lived reality of Brahms’s bourgeois existence. While such German Romantic notions of art religion informed the thinki

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