1. Introduction
1.1. "Hard Laughter"
1.2. Humor as consolidating theme
1.3. Residents are "divorced" from outside forces
1.4. Dark humor is often a sustaining factor
1.5. Core: "Power relations and how they are experienced by the poor."
1.6. There is a sense of absurdity to the world around them.
1.7. In Goldstein's opinion humor is not a weapon of rebellion but a more digressive resistance.
2. Chapter 1
2.1. "Laughter out of place"
2.2. Goldstein arrives in Felicidade Eterna in 1995 after a three year absence
2.3. Zeca has passed away and Soneca is unfazed
2.4. Background:
2.4.1. First Arrived in 1990
2.4.2. Came in time for New Years
2.4.3. Working on Dissertation
2.4.4. Dress in white and wear new underwear
2.4.5. First interested in Latin America in the '80's at Cornell University
2.4.6. Worked in Mexico
2.4.7. Became enamored with Rio
2.4.8. Worked in Sociological AIDS research
2.5. Carnival's meaning is multiple and shifting
2.6. Men have more freedoms in Carnival
2.7. The Power struggle
2.8. Zeca suffered from nine a.m. to two p.m. as doctors smoked and joked
2.9. "Real people in Real context"
2.10. Brazil's history is one of repeated abuses of power at the expense of the poor.
3. Chapter 2
3.1. "The Aesthetics of Domination"
3.2. Gloria works for Dona Beth
3.3. Gloria, while a great traditional cook has difficulty with international dishes, with the directions she requires Soneca's help
3.4. Gloria has Soneca read a letter from Dona Beth's daughter aloud in an effort to better understand Dona Beth, her daughter would like more independence.
3.4.1. This is in direct contrast to Gloria's family situation in which her children are more career oriented. The children also are for the most part still dependent on Gloria
3.4.2. By moving out to Mauro's house she forced her children to be more independent.
3.5. Dona Beth offered Gloria five times the normal working wage for her exclusivity, though in turn she must work fourteen hours a day several days a week
3.6. In 1992 Gloria was earning just six US dollars a day for her grueling routine
3.7. Dona Beth, despite her husband affluence, worked for FUNABEM, a children's welfare group
3.8. Both Gloria and Dona Beth understood and held to their societal roles in Rio
3.8.1. Despite their strident roles, Dona Beth and Gloria remained close and in fact Dona Beth allowed Soneca to stay in their house after her pregnancy.
3.9. Middle class in Rio requires servant work by definition
3.10. Rio has a varied and long history of servitude which goes back to early colonial days and the abolishment of slavery.
3.10.1. This is further formed during the pre and post world war era.
3.11. Transcending the class system in Rio is not without consequence as evidenced by the psychoanalysts wife.
3.12. "The imposition of euphemisms on the public transcript plays a similar role in masking the nasty facts of domination and giving them a harmless and sanitized aspect" - Scott
3.13. The telenovela, "watch Cida", her reactions seen as a portrayal of her ignorance.
4. Chapter 3
4.1. "Color Blind Erotic Democrocies"
4.2. Gloria's friend is a Dark skinned black woman who became pregnant with a white prosperous boys child.
4.3. Goldstein proposes, while North America readily speaks of race equality it is more reluctant to speak of class equality, further most North Americans believe they are firmly in the middle class.
4.4. The Black Cinderella
4.4.1. Woman is mistaken for a lower class citizen and attacked for delaying an elevator
4.4.2. Turns out she is the daughter of a governor
4.5. It is perceived that lighter skinned people in the favela have a better chance at success than the darker skinned inhabitants
4.6. The Coroa
4.7. Brazilian images of black women are still unexamined in the public spaces of pop culture
4.8. Mulata's
4.9. Brazilian Sexuality
4.9.1. "Erotic Paradise"
4.9.2. This perception is concreted by the Carnival tourist culture
4.9.3. The whitening ideal
4.9.4. Many women's conversations on the culture of sexuality is censored because of the "sexo e bom"
4.10. Glorias white daughter
4.10.1. No kiss vs. two kisses
4.11. Gloria's racist joke and freud
4.12. Conclusion: People are well aware of racism in brazil but are inhibited from expressing their discontent openly. There is a culture of masking racism in a "color blind erotic democracy"
5. Chapter 4
5.1. "No time for childhood"
5.2. "Tired of shedding tears over him"
5.3. A prison visit with Pedro, Gloria's and her ex lovers son before his death
5.3.1. There is a large population of recent religious converts who believe they can save criminals through prayer
5.3.2. Pedro's woman was pregnant and he forbade abortion by death.
5.3.3. Gloria does not understand, through the years of thought, why her son turned to crime and the Red Command
5.4. Children are increasingly a main focus of the violence in Brazilian society because they are the most recruited.
5.5. Mirelli's lost childhood
5.6. Luca's "Child Circulation/Shifting"
5.6.1. Luca's siblings, upon seeing him after years of shifting, could not recognize their brother in his malnourished state.
5.7. Gloria's v. Zezinho's house, a contrast: Childcare v. alcohol
5.8. "Gloria was just as likely to throw a child out onto the street as take one in"
5.9. Gloria's perception of Fernanda v. Soneca and Anita's
5.10. Filomena brings violence into Gloria's house
5.11. The ironic tragedy of Marta's "children"
5.12. "Scientific Psychology and Therapeutic Discourse as they are currently practiced by the middle and upper classes presently have little impact on the lives of people in Felicidade Eterna"
5.13. Gloria believes that strict discipline will keep her children alive and out of jail
5.14. Pedro Paulo's assessment of honest work as humiliating.
5.15. "Despite everything Gloria manages to maintain a strong sense of family togetherness"
6. Chapter 5
6.1. "State Terror Gangs and Everyday Violence"
6.2. Gloria's ex-son-in-law was shot in the back of the head eight times
6.3. The "Law of Science"
6.4. Middle and upper class have a preoccupation withe "crime talk"
6.4.1. The cycle of fear
6.5. Felicidade Eterna goes through cycles of calm and violence
6.6. The Gini Coefficient
6.7. "His name was only spoken in a whisper as if to mention him at all was trouble"
6.8. Middle and upper class drug consumption fuels the drug trade
6.9. Dilmar and the "Good Bandits"
6.10. Katy Mahoney smells the kids for pot or cocaine and then beats them if they smell
6.11. Total peace after the Ive-Lulu era
6.12. The cycles of violence felt in the favela are relative to those outside the e favela, our world is this in a microcosm.
6.13. Individuals are considered good and bad bandits and good and bad police
6.14. There is a breakdown of "private matters"
6.14.1. Sexual Abuse
6.14.1.1. Gang members become a vigilante mob
6.14.2. Adultery
6.14.2.1. Gang members become a vigilante at the call of Ciro, Ciro then goes to rape the mans abandoned wife and is beat by the gang.
6.14.3. Gun Control
6.14.3.1. There is no control
6.14.4. Petty theft
6.14.4.1. there are separate rules Gang v. Police
6.14.5. Abusive and adulterous husbands
6.14.5.1. Send your tough brother after your husband
6.14.6. Child rape
6.14.6.1. Send a hit squad, make sure they get the right man
6.15. Brown Zones have different rules
6.16. The death to age demographic
6.16.1. If you can make it from adolescence to twenty five you have a much better chance of survival.
6.17. The Police
6.17.1. There is a set hatred for the police
6.17.2. The police were set up to address problems of the elite at the end of slavery NOT the people.
6.18. "Um Belo Dia"
6.19. Filomena, Seneca and the renewed faith in God
7. Chapter 6
7.1. "Partial Truths and the Carnivalization of Desire"
7.2. Marieta's Trade mark is a pacifier.
7.3. Marieta's doctor visit
7.4. Sexuality in the context of local culture
7.4.1. We have to avoid our own preconceived ethnocentrism
7.4.2. It is difficult to critique sexuality because of the carnivalized nature of the area
7.5. Discourses of Sex-Positivness
7.5.1. The sexuality of Carioca society
7.5.2. Sexual teasing is part of every social aspect
7.5.3. Brazilian society is more concerned with buttocks than breasts
7.6. The Carnivalization of Desire
7.6.1. Sexual permisivness and sex-positivness are social facts which describe social aspects of Rio
7.6.2. The Homem-Bichen binary construct
7.6.3. Subcultures of effemenent and machismo men existed before europeans came to the new world
7.6.4. Two feminisms emerged during the military dictatorship: academic and professional
7.6.5. There is a neglected narrative to the sex-positive culture
7.7. Local Sexual culture in Felicidade Eterna
7.7.1. Women seek men with means to sustain them
7.7.2. Gloria's work for soap
7.7.3. Gloria and Zezinho's
7.7.4. Fatal liaisons
7.7.5. Luca's first sexual experience
7.8. Transgression and female boundery setting
7.8.1. Woman are often set as the boundry makers
7.9. A joke that even Gloria found funny
7.9.1. Late night work
7.9.2. Spirits
7.9.3. You don't eat who raises you
7.9.4. Filomena's interview
7.9.5. The aggressive sexual nature of relatives
7.10. Partial Truths
7.10.1. This is how men are
7.10.2. Defend yourself against men.
8. Chapter 7
8.1. "What's so funny about rape"
8.2. Marila attempts to poison Celso
8.2.1. no one is disturbed by this
8.3. Everything that can go wrong will go wrong
8.4. They were rooting for her to finally succeed at something, even if it meant killing a man
8.5. Merila's not allowed to go out dancing alone
8.6. Marila's problems are hard to kill
8.7. An evening of Terror in Duque De Caxias
8.7.1. Gloria and her families assault
8.7.2. Cesar
8.7.3. Ignacio comes home
8.7.4. The night is a pivotal moment for Gloria
8.7.5. Claudia's viginity
8.8. Battling mothers and daughter
8.8.1. Anita's baby
8.8.2. When the girls lose their virginity they can get out.
8.8.3. Gloria spends all her christmas money on anita
8.8.4. Men resist contributing
8.9. A note on the legal universe and rape
8.9.1. The case work of rape is hindered by gender and sexual aspects which make it hard to prosecute
8.9.2. impossible standards
8.10. Black humor as the only response
8.10.1. a response to a legal and moral system which is corrupt
8.11. Conclusion
8.11.1. In the subtract of humor the Goldstien had attempted to show the daily structures of violence, sexuality and poverty in the favela
8.11.2. One of the two rapists dies and Gloria gets the last laugh