Bourgois

1. Begin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in by notin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing down your gut reaction to this piece. What words sprin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing to min" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ind? What feelin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ings? What questions? And what connections can be make between this piece and you as a person and an artist? 2. Read the first page carefully. Why would Bourgois begin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in his piece with someone else's work? Note that he is not only mentionin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing Eric R. Wolf, but also that this essay in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">initially appeared in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in a book of essays celebratin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing Wolf's life work. So far in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in class, we have discussed how much the begin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">innin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ings of essays matter: they are purposeful, meant to in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">influence the reader in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in certain" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in way. Why begin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in this way? 3. Keep readin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing over the page (Page 330). What is Bourgois tryin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing to say here? Why describe this history of transfer from (1) small land-ownin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing modes of production... to (6) underground economy entrepreneurs homeless in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in the streets. Bourgois is makin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing a bigger theoretical poin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">int here. What is a "mode of production" and what do you thin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ink he means by an "underground economy." The underground economy is sometimes also called the "in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">informal economy." What is it? 4. Read the rest of page 330 through to page 332. Here Bourgois is describin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing his fieldwork. He chose to focus on crack dealers. Was this a good idea? Would Bourgois have been better to focus on the many workin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing, law-abidin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing Puerto-Rican people who live in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in this neighborhood? Why do you thin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ink he made the drug dealers his focus? Also, look closely at the quotation on page 331. Bourgois writes, describin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing Spanish Harlem, "Its vacant lots and crumblin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing abandoned tenements are literally a stone's throw from multimillion dollar condomin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">iniums..." Why does he tell us this? How is it meant to make us feel? 5. Read the section, "Shattered Workin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing-Class Dream." Note particularly the quotation from Julio on page 333, where he describes his pleasure at makin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing money workin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing to close down a factory. Why doesn't Julio view himself as the victim here? 6. Read the section begin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">innin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing on page 336, "Self-Destructive Resistance." Why does Julio behave in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in such a way? And what about Gloria? Read the account on page 339 carefully. Julio appears, on the one-hand, as a "knife-wieldin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing mugger on the street" and then as a "panic stricken employee beggin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing." This is quite a contrast. What is Bourgois tryin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing to suggest here? 7. Read the conclusion, page 341 — 342, unpackin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing it lin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ine by lin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ine. Thin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ink carefully .-.