1. Chapter 7: What's so funny about rape
1.1. Marila's failed attempt to murder her husband
1.1.1. Celso neglected his young family
1.1.2. abusive, unfaithful
1.2. Evening of Terror
1.2.1. laughter and rape
1.2.2. Glorias family assaulted
1.2.3. rape of a child is cause for murder in shantytowns
1.2.4. downplay trauma with humor
1.3. Battling mothers and daughter
1.4. highlight suffering through narrations
1.5. Glorias storytelling of the rape allowed her to criticize teenage pregnancy
1.5.1. daughters should demand economic support from their men
1.6. when daughters lose virginity, they must move from the house
1.7. Anita pregnant after rape
1.7.1. actually from her boyfriend Gabriel
1.7.1.1. Gloria insisted she abort
2. Legal Universe and Rape
2.1. distrust and fear of the police
2.1.1. rapes arent reported
2.2. anachronistic legal codes regarding class, race, gender and sexuality
2.3. differences between upper and lower classes in court
2.3.1. adjudication difficult
3. Black Humor as the Only Response
3.1. humor understood in its place
3.1.1. dominated class have few options but absurd laughter
4. Conclusions
4.1. understanding humor can provide a unique window into how impoverished working women in the shantytowns of Rio understand and experience their lives
4.2. deepening layers of context to stories
5. progress is slow
6. Chapter 6: Partial Truths, or the Carnivalization of Desire
6.1. Sexuality and Poverty
6.1.1. masculinist version of desire and transgression
6.1.2. sexuality is key metaphor to Cariocas; sexual joking and teasing is a verbal confirmation of the certrality of sexuality to social life
6.1.2.1. ageless interest in sex talk
6.1.3. New node
6.2. The Carnivalization of Desire
6.2.1. self-promoted image of an eroticized "tropical paradise"
6.2.1.1. body liberation/revealing clothing style
6.2.2. public flirtation
6.2.2.1. pleasurable and complimentary of women's bodies
6.2.3. male homosexuality
6.2.3.1. upper and lower class models
6.2.3.1.1. active and passive
6.2.4. Brazilian feminists
6.2.4.1. avoidance of body issues and sexaulity
6.2.4.1.1. leaves poorer, darker skinned Afro-Brazilians in position of second-class citizens
6.2.4.2. discourse finds voice through humor
6.3. sexual culture in Felicidade Eterna
6.3.1. sexual/eating metaphors
6.3.2. comer- to eat/to consume sexually
6.3.3. women generally seen as passive; the "dar" or give
6.3.4. you are defined by whether you are a person who eats, or one who is eaten
6.3.5. women break off relationships with men who literally eat (consume) too much and produce too little
6.4. From Boys to Men: Normative Masculinzation and Heterosexuality
6.4.1. class-specific regimes of sexuality
6.4.1.1. if not blessed with money, at least blessed with good sex
6.4.2. believed that it is unhealthy for men to go too long without sex
6.4.3. gloria desired to plan luca's first sexual experience
6.4.3.1. double standard for male and female children
6.5. Sacanagem
6.5.1. linking "notions of aggression and hostility, play and amusement, sexual excitement, and erotic practice in a single symbolic complex"
6.5.1.1. can be good or bad
6.6. Patrtial Truths
6.6.1. poor women are left as the guardians against a socially constructed transgressive male sexuality
6.6.1.1. epidemic of child sexual abuse
6.6.1.1.1. training of young boys for manhood
6.6.1.2. poor women are left as the guardians against a socially constructed transgressive male sexuality
6.6.1.3. women constrained by the sex-postivie language and attitudes that make it hard for women to protest male infidelity or govern male transgressive sexuality
6.7. padastros-dangerous men, or stepfathers
6.7.1. the one who raises you does not "eat" you