Laughter out of place

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Laughter out of place by Mind Map: Laughter out of place

1. Chapter 1

1.1. Humor was used as a theme

1.1.1. Shantytown's resident felt separated from the outside force

1.2. Discovering the culture was the meaning of finding the humor.

2. Chapter 2

2.1. Domestic workers have morphological limitation

2.1.1. affectionate relationships do buildup between the employed and employers

2.1.1.1. A major indicator of change in the division of classes was the fact that Gloria was able to eat the same food that she prepared, which was not always the case.

2.1.1.1.1. Labor practice mirror slavery.

2.2. Domestic work

2.2.1. Workers wages were not sufficient to live on

2.2.1.1. Public schools were mediocre and restricted the opportunities to develop themselves

2.2.1.1.1. Middle class is defined by the ability to pay someone else.

2.2.2. Employing a domestic worker is a class marker

2.2.2.1. Dramatic change in the increasing feminization of its workforce.

2.2.2.1.1. The participation of children in the workforce were increasing

3. Chapter 3

3.1. Living in favela is an automatic class marker in Brazil.

3.1.1. European men and "Indian" women began mixing races (1800's, Freyre)

3.1.1.1. Representation of black bodies

3.1.1.1.1. Race and sexuality were difficult to address, and maybe surrounded with silence and jokes or humor.

3.2. Race vs class

3.2.1. Coroas

3.2.1.1. Low income, mixed race and black women are at the bottom of several class hierarchies.

3.2.1.1.1. Low income women would consider using their sexuality to receive help from the coroa

4. Chapter 4

4.1. Pedro Paulo

4.1.1. Children

4.1.1.1. City Walls

4.1.1.1.1. Street Children

5. Chapter 5

5.1. Violent Crime

5.1.1. Drug trafficking

5.1.1.1. Dilmer

5.1.1.1.1. Ivo

5.1.1.2. Police Bandits

5.1.1.2.1. Revenge

5.1.2. Local Gangs led by "reasonable" persons

5.1.2.1. Seduction

5.1.2.1.1. For middle and upper classes, some semblance of law exists

6. Chapter 6

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 centrality 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 or 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 sexuality

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 or eating metaphors

6.3.1.1. comer- to eat or to consume sexually

6.3.1.2. women generally seen as passive; the "dar" or give

6.3.1.3. defined by whether you are a person who eats, or one who is eaten

6.3.1.4. women break off relationships with men who literally eat too much and produce too little

6.4. From Boys to Men: Normative Masculinization 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. Partial Truths

6.5.1. poor women are left as the guardians against a socially constructed transgressive male sexuality

6.5.1.1. epidemic of child sexual abuse

6.5.1.1.1. training of young boys for manhood

6.5.2. women constrained by the sex-positive language and attitudes that make it hard for women to protest male infidelity or govern male transgressive sexuality

7. Chapter 7

7.1. Marila's failed attempt to murder her husband

7.1.1. Celso neglected his young family

7.1.2. abusive, unfaithful

7.2. Evening of Terror

7.2.1. laughter and rape

7.2.2. Gloria's family assaulted

7.2.2.1. rape of a child is cause for murder in shantytowns

7.2.3. downplay trauma with humor

7.3. Battling Mothers and Daughters

7.3.1. Anita pregnant after rape

7.3.1.1. actually from her boyfriend Gabriel

7.3.1.1.1. Gloria insisted she abort

7.3.2. when daughters lose virginity, they must move from the house

7.3.3. Gloria's storytelling of the rape allowed her to criticize teenage pregnancy

7.3.3.1. daughters should demand economic support from their men

7.3.4. highlight suffering through narrations

7.4. Legal Universe and Rape

7.4.1. distrust and fear of the police

7.4.1.1. rapes aren't reported

7.4.2. anachronistic legal codes regarding class, race, gender, and sexuality

7.4.3. differences between upper and lower classes in court

7.4.3.1. adjudication difficult

7.5. Black Humor

7.5.1. humor understood in its place

7.5.2. dominated class have few options but absurd laughter

7.6. Conclusions

7.6.1. progress is slow

7.6.2. women are not always passive to the discourses of domination that constrict their lives

7.6.3. understanding humor can provide a unique window into how impoverished working women in the shantytowns of Rio understand and experience their lives

7.6.4. gang retaliation still permeates

8. Chapter 7