Although this article provides a critical feminist reconceptualization of electroshock, unfortunately little feminist activism has been done, there is a need to further research from a feminist and social justice lens (Burstow, 2006). In “Knowing Through Discomfort: A Mindfulness-based Critical Social Work Pedagogy”, Yuk-Lin Renita Wong developed a mindfulness-based pedagogy for critical social work education. With emphasis on being mindful, of our own social locations, she suggests important learnings
of feminist theories on domestic violence. The Dobashes saw male domination as the main cause of wife abuse. Integrating a feminist framework, Dobash et al used this idea of male dominance and derived a theory on victim blaming. Two main concepts they named was again female machoism and female provocation. This area of research was important to criminology because Dobash et el stated that these two concepts could be women resisting domestic violence and abuse, but take away the feminist lens and
by Robert Samuels in his essay ‘Rear Window Ethics: Laura Mulvey and the Inverted Gaze’, and explain in what ways it differs from both Mulvey’s and Modleski’s feminist readings of Hitchcock’s film. In this essay I will examine the queer reading of Rear Window (1954), directed by Albert Hitchcock, given by Robert Samuels in his essay ‘Rear Window Ethics: Laura Mulvey and the Inverted Gaze’. I will compare Robert Samuels assessment of Rear Window to Laura Mulvey’s essay, ‘Visual Pleasure and Narrative