1. Chapter 6
1.1. Local Sexuality
1.1.1. Reader must avoid ethnocentrism
1.1.2. A number of disterubing elements that structure sexuality
1.1.2.1. A. "sexual paradise - for men" B. Transgressions permitted - for men C. Very flirty, whether young or old, public or private
1.1.3. Brazilians have an open, permissive approach to sexuality (p. 229).
1.1.4. Sacanagem is an important organizing concept in Brazlian sexuality (p. 246).
1.1.4.1. A. borderline sexually transgressive behavior B. pleasurable or painful, depends on indiviual perceptions
1.2. Discourses of sex-positives
1.2.1. Sexual joking teasing in Felicidade
1.2.1.1. Sexual teasing and banter are common in Felicidade Eterna.
1.2.1.1.1. Darlene, Glorias friend a sex worker
1.2.2. Popular humor is an expresson of discontent that is rarely given much importanceas a counterdiscourse among the more standard sex-positive discourses that are heard everyday (p. 235).
1.3. Eating Metaphor
1.3.1. Eating someone = consuming them sexually - active, usually male role
1.3.2. "who is eating whom"
1.3.3. Metaphors about food and eating were often used to express ideas of sexuality (p. 236).
1.3.3.1. Being eaten = receiving end of the deal - passive, usually female role
1.3.4. Don't even joke about "eating" mother and daughter - deep-seeded fears about step-father as abuser
1.4. Theorist
1.4.1. The Carnivalization of desire
1.4.1.1. Peter Fray, Richard Parker, and James Green, Feminists are all examples of people who produced significant work in this feild
1.4.1.1.1. Peter Fry-Male homosexuality in Brazil consisted of two distinct types, an upper class model and a lower class model. Upper class model was an import from Western Europe and North American that adheres to a concept of homeosexuality connects one's sexual and social identity with one's sexual object choice. The lower class version recognized the categories of men and "faggots" (p. 233).
1.4.1.1.2. Parker- While sexual life in North America or Europe has been treated as an essentially individual phenomenon, in Brazil it has also emerged as a central issue at a social or cultural level and has been taken, for better or for worse, as a kind of ley to the peculiar nature of Brazilian reality (p. 228).
1.4.1.1.3. James Green- Suggests that subcultures of effeminare and noneffeminiare men with homoerotic desires existed prior to the introduction of Western Europe ideas (p. 233).
1.4.1.2. Public flirtation
1.4.1.3. Male homoeroticism
1.5. Sacanagem, Transgression, and female boundardy-setting
1.5.1. Can be described as an act that gives pleasure or one that hurts or humiliates another
1.5.2. Can be good or bad
1.5.3. Sacanagem is an important organizing concept in Brazlian sexuality (p. 246)
1.5.4. Brazilians have an open, permissive approach to sexuality (p. 229).
1.5.5. Transgression seems to be patterned by traditional gender relations, with men being expected to act as trangressors and women playing the role of "boundary setters" (p. 233).
1.5.6. Women, in order to remian "good women" are expected to attain their earlu sexual experiences directly from their male partners and experience them as vigins (p. 245).
2. Chapter 7
2.1. The Rape story, "Whats so funny about rape?"
2.1.1. Tale of rape and robbery - definitely not funny on its own
2.1.1.1. Dark humor comes from varying interpretations of event by participants A. Ignacio only concerned with loss of his watch B. Anita used it as chance justly escape virginity (totally oversimplified that)
2.1.1.1.1. Black humor as the only response
2.1.2. Two men came into Gloria's house and raped Anita and Claudia (Gloria's daughter and niece) in Gloria's house. They were only 14 and 15 years old. Gloria and the rest of the kids were in the room next door.
2.1.2.1. - Claudia was a virgin. -Anita was not a virgin, but she screamed to be perceived as one.
2.1.2.1.1. Anita discovered she was pregnant shortly after rap
2.1.3. Duque de Caxias
2.2. Humor
2.2.1. Humor is used as a "response to a moral and legal system that is currently incapable of addressing the grievances of women in the dominated classes."
2.2.2. Stories are only "funny" when full context of the story described.
2.2.3. They think its funny that Anita was fake screaming while being raped so her mom wouldn't think she was already sexually active
2.2.4. Hideous crimes like rape expressed through humor
2.3. Marilia tries to kill her husband
2.3.1. Marilia putting rat poison in Celso's drink in attempt to kill him (p. 263).
2.3.2. Marilia wanted to kill Cleos, because he cheated on her and abused her.
2.3.3. Marilia - was abused by step father (p. 253
2.4. Class
2.4.1. Low class
2.4.1.1. Low class viewed as sexually loose - can't wait to "give it up"
2.4.1.1.1. Esteves found that lower-class women making accusations of rape in court were forced to adopt a more elite view of sexuality in order to approximate judiciary views of sexuality that were dominant in elite culture at the time.
2.4.1.2. The women had 2 major complaints about male privilege - men are inadequate economic providers and are likely to foll around no matter their stable partner is (p. 238).
2.4.2. High class
2.4.2.1. High class are more reserved
3. Mixed Race
3.1. Rape was the contributor to why mixed race exist
3.2. Two kisses to a white person and not a mixed race can show directly the racism of an indic
4. Lower Class Discrimination
4.1. Boa Aparencia
4.1.1. A good appearance clause that employers use to discourage dark skinned people from applying.
5. Gender Commodities
5.1. Men
5.1.1. Age doesn't matter to attractiveness
5.1.2. Finances well-being tends to be a contributing factor
5.1.3. Coroa
5.1.3.1. An older, richer, whiter man
5.2. Women
5.2.1. Beauty and sex appeal
5.2.2. Darkness can oversee their poverty or race
5.2.3. Sexualized Mulata is internalized
5.2.3.1. Idea of carnival
5.2.3.2. Mixture of black and white
5.2.3.3. Positive image
6. Private and Public Spaces
6.1. Splits up classes
6.2. Housing is divided into social spaces, intimate space and service spaces
7. Brazilian Class, Race, and Culture
7.1. Upper/Middle Class
7.1.1. Donna Beth; Rio de Janeiro (social worker), Gloria's boss.
7.1.2. Donna Beth
7.1.2.1. Daughter whom wants independence
7.2. Lower/Working Class
7.2.1. Favelas
7.2.1.1. Gloria's parents from favela, Gloria's mother was a domestic worker (p. 72)
7.2.2. Families are very dependent on each other
7.3. Three kinds of race
7.4. Black, white, brown or mixed, dark, light, closed and freckled (p. 106)
7.4.1. Dark skin seen as ugly and associated with slavery
8. Celebration within Brazil
8.1. Carnival
8.1.1. Reinforces gender, sexual and class hierarchies
8.1.2. Gives Brazil the opportunity to present itself to the world
8.1.3. Pokes fun at the rich and the circumstances of the poor
9. Humor and Locals
9.1. "Human is one of the fugitive forms of insubordination" (p. 5)
9.2. To Women- "Giving voice to this group of wo,me who have little access to the public sphere" (p. 4)
10. Empregada- domestic worker
10.1. Domestic work was one of the lowest paying jobs with the Brazillian economy. These workers where typically Afro-Brazillian women.
10.2. Gloria worked as a domestic worker for a middle class women.
10.2.1. 6 day work week,
10.2.2. Days starts at 5:30am
10.2.3. 14-15 hour work days
10.2.4. Responsibilities of haven-duty cleaning
10.2.4.1. Clean entire living area
10.2.4.2. Doing everyone's laundry
10.2.4.3. Some cooking and bed changing
10.2.5. Wages are very low: $6 a day
10.2.6. Payments is on a daily basis
10.2.7. Paternalist view working relationship
11. Humor
11.1. "Felicidade Eterna
11.1.1. 2 or 3 families owned cars (p, 21)
11.1.2. Rio's Shantytown (p. 1)
11.1.3. Laughter (p. 2)
11.1.3.1. Black humor
11.1.3.1.1. Used by Gloria and her friends to oppose official Brazillian class, gender and racial ideology (p. 35)
11.1.3.1.2. Making fun of death and rape
11.1.3.2. Used about contradictions within own poverty and political and economical structures.
11.2. Kind of homeostatic mechanism
11.2.1. escape-valve
11.3. Bakhtin
11.3.1. Poor would reintroduce the body as a form of comedy by items that would be considered "bad taste"
11.3.2. Camivalesque aesthetic
11.4. Douglas- humor as anti-rite
11.4.1. Laughter can be a way for the poor class to slyly show their dignity
11.5. About the ways class is experienced by women living in shantytowns during the last decade of the 20th century (p. 50)
12. Theorist
12.1. Peter Burke (p. 4)
12.2. Freud (p. 6)
12.3. Peter Gay (p. 6)
12.4. Mary Douglas (p. 6) c
12.5. Gramsci (p. 9)
12.6. James Scott (p. 7)
12.7. Oring (p.6)
12.8. Micheal Mulkay (p. 6)
12.9. Thompson (p. 7)
12.10. Bourdieu (p. 7)
12.11. Henri Bergson (p. 10)
12.12. De Matta (p. 11)
12.13. Bakhtin (p. 11)
12.14. Morris (p. 11)
12.15. Stam (p. 34)
12.16. E.P. Thompson (p. 49)
12.17. Scheper-Hughes (p. 33)
13. Definitions
13.1. Favela
13.1.1. Shantytown
13.2. Laughter Out of Place
13.2.1. Humor developed under pressure of cruel and unusual circumstance
13.3. Hegemony
13.3.1. Pre-dominance of ruling-class interests and the acceptance of those interests as commonsense by those subordinated to those interests
13.3.2. Cultural hegemony- system of attributes, beliefs and values that supports ruling class domination
13.3.3. Habit forming
13.4. "Taste"
13.4.1. "Taste is one of the mechanisms through which inequality, difference and privilege are strutted and embedded in ones habitus" (Bourdieu p.36)
13.4.2. Serves as a cloak for power
13.5. Primary Informant
13.5.1. People who inform the social science
14. Approachs
14.1. Participant Observer
14.1.1. A way to interact with the local people
14.1.2. Laughter helped the locals communicate and release on their particular situation
14.1.3. Being somewhat distinct while observing
14.2. Towards Gut Marxism
14.2.1. "Anthropologist and scholars who generally feel deeply about the world situation and hold that it conforms broadly to Marx's theories of political economy and class conflict" (p. 46)
14.3. "Combining thickness and sense of both political economy and historical underpinnings of contemporary, ethnographically observed practice" (p. 44)
15. Humor and Change
15.1. Absurdity and laughter
15.1.1. This show an understanding of the people seeing the world as being at bit mad
15.2. Humor plays a role in boundary formation within class structure
15.3. Means of escaping pain and human suffering
16. Gang Life
16.1. OLDEST SON PEDRO FALLS INTO GANG/STREET. GANG LIFE OFFERS HIM STATUS, MONEY, POWER, AND A GUN.
16.1.1. PEDRO'S RECOGNITION OF THE "IMPOSSIBILITY OF THE GOOD LIFE" FOR PEOPLE OF HIS RACE AND BACKGROUND SHOWS HIS INTELLECT AND THE POLITICAL AWARENESS OF POVERTY.
16.1.1.1. " It seemed to offer an alternative to backbreaking manual labor, at the same time promising a decent wage and offering instant economic improvement."
16.1.2. Pedro Paulo was shot and killed a few months after he got out of prison.
16.2. YOUNGER CHILDREN IN FAVELAS ARE OFTEN RECRUITED BY GANG MEMBERS TO DO THEIR "DIRTY WORK". THIS EARLY INTRODUCTION TO GANG LIFE SEDUCES MANY IMPRESSIONABLE CHILDREN.
16.3. IN THE FAVELAS ARE THE "CODE OF SILENCE", WHERE AFTER A CRIME HAS BEEN COMMITTED, NO ONE TALKS. This "JUSTIFIES" POLICE BRUTALITY.
16.4. POVERTY AND IT'S EFFECTS ON CHILDREN SUCH AS MALNUTRITION, VERBAL, SEXUAL AND PHYSICAL ABUSE MAKE THE "STREETS" SEEM ALLURING.
16.5. A "LOCAL" HOMETOWN DRUG CHIEF IS VIEWED AS A GOOD THING IN THE FAVELA. HE WILL HELP MAINTAIN PEACE BY LOOKING OUT FOR NEIGBORHOOD CHILDREN AND WARN PARENTS TO TAKE KIDS OFF THE STREET BEFORE A SHOOT OUT.
16.6. "RELIGIOUS CONVERSION" AS A MEANS OF CREATING A NEW IDENTITY, GET OUT OF GANG LIFE AND OFF THE STREETS. THIS CAN HAVE POSITIVE EFFECTS ON POOR BLACK WOMEN, IMPROVING SELF-ESTEEM.
16.7. "Alba Zaluar (1994:32) notes that while Rio’s gang culture is a form of organized crime, it lacks the centralization and organization—and therefore the connection with the state—that other historical forms, such as the Sicilian Mafia, maintained. The difference stems from a number of factors, including the fact that each local gang (quadrilha) has to maintain its own local base of protection and is not guaranteed protection by the larger, richer traffickers."
17. Childhood
17.1. GIRLS IN THE FAVELA ARE AT A HIGHER RISK FOR ALL TYPES OF DANGERS EVEN MORE SO THAN BOYS. BEING A FEMALE ON THE "STREET" IMPLIES THE ASSUMTION OF PROSTITUTION.
17.2. GLORIA REFLECTS ON HAVING TO LEAVE HER OWN CHILDREN UNATTENDED FOR 16 HOURS A DAY, WHILE SHE RAISES SOMEONE ELSES CHILDREN.
17.3. GOLDSTEIN EXAMINES CHILDHOOD IN THE FAVELA: "NURTURED "CHILDREN ARE OF MIDDLE/UPPER CLASS, SPOILED BY THEIR PARENTS. --- "NURTURING"CHILDREN ARE POOR WHO ARE FORCED INTO GREAT RESPONSIBILITIES FROM AN EARLY AGE. THEY TYPICALLY CARE FOR SIBLINGS AND EARN WAGES TO HELP HOUSEHOLD.
17.3.1. MIDDLE/UPPER CLASS FAMILIES BUILD UP "WALLS" (LITERALLY) TO SEPERATE AND AVOID THESE AREAS PRONE TO VIOLENCE AND POVERTY ("OUT OF SIGHT, OUT OF MIND")