https://joys.net/1419/laughter-out-of-place-race-class-violence-and-sexuality-in-a-rio-shantytown-california-series-in-public-anthropology/ Bringing Joys and Happiness Fri, 13 Mar 2020 09:48:42 +0000 hourly 1 http://wordpress.org/?v=3.5.2 https://joys.net/1419/laughter-out-of-place-race-class-violence-and-sexuality-in-a-rio-shantytown-california-series-in-public-anthropology/#comment-1327 ann eastman Mon, 21 Jan 2013 14:53:44 +0000 http://joys.net/1419/laughter-out-of-place-race-class-violence-and-sexuality-in-a-rio-shantytown-california-series-in-public-anthropology/#comment-1327 must-read for Brazilian on-lookers Laughter out of Place is crucial reading for those interested in exploring the hardships of Brazil and the spunk that keeps a population of oppressed and impoverished people dancing, singing, and always eager to laugh. Goldstein takes the reader through the gutters and alleys of a Rio shantytown, sharing years of experience as both a fieldworker, and a personal friend to many of the book’s feisty characters. Laughter portrays the unbearableness of shantytown life and how it is expressed through laughter, ridicule, and trickery that seem inappropriate to outsiders.

]]> https://joys.net/1419/laughter-out-of-place-race-class-violence-and-sexuality-in-a-rio-shantytown-california-series-in-public-anthropology/#comment-1326 Carlos D. Tores Mon, 21 Jan 2013 14:28:00 +0000 http://joys.net/1419/laughter-out-of-place-race-class-violence-and-sexuality-in-a-rio-shantytown-california-series-in-public-anthropology/#comment-1326 Laughter and Life in a Favela Within the first few pages of Laughter Out of Place, I realized that Dr. Goldstein was going to embark on ethnographic analysis in a more personal vein. The introduction reads like a personal reflection of her time spent in “Felicidade Eterna,” folding in memories of the people she met into a journal-styled ethnography, of the kind introduced to us by Ruth Behar. I found Donna’s approach refreshing: a reader knew where she stood on issues, and there were no concealed objectivities in her observations. Donna’s personality comes through in her writing in her style -which does not back away from harsh realities, nor delve into idealized or romanticized metaphors for Brazilian music, sex, or style. I found large scale conclusions were lacking, but her small conclusions peppered within her dialogue were cogent: clearly understood and explained by her observations.

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