From Laughter Out of Place Chapter 2 "The Aesthetics of Domination" [pp. 58-101] Goldstein writes : "In the domestic worker- employer relationship, the extremities of the class divide are exhibited and performed--and a racial dimension is always present." (73) Describe how this divide is "exhibited and performed" through concrete sensibilities, behaviors, and physical structures. How have these aesthetics become 'natural' in the lives of rich and poor, reinforcing the "aesthetics of domination"? Thinking about these aesthetics, how should we understand Gloria's dislike of Nilda (80-82)? How does Gloria's experience with Nilda allow the "aesthetics of domination" to suddenly become visible and seem unnatural?

Part One
The extremes of the class gap are expressed and performed in the domestic worker-employer relationship, according to Goldstein. Concrete sensitivities, actions, and physical structures are used to accomplish this. The power dynamics at work can be seen in the interactions between employers and domestic workers. Domestic workers are frequently expected to be silent and obedient, while employers can be demanding and arrogant. These power dynamics are also reinforced by the physical space of the home. Domestic employees are frequently limited to the kitchen or basement, while employers have access to the living spaces. This division supports the notion that domestic employees are not treated equally in the home.
Part Two
These aesthetics, according to Goldstein, have become "normal" in the lives of both affluent and poor people, strengthening the "aesthetics of dominance." She observes that the way domestic workers are required to behave and perform their jobs typically gets normalized with time. She also claims that the physical structures of households, as well as how time is divided, are frequently standardized. This means that both the rich and the destitute have normalized and accepted the aesthetics of dominance as natural.
Part Three
Gloria's disdain of Nilda, according to Goldstein, stems from the fact that Nilda poses a threat to dominance aesthetically. Nilda isn't scared to speak up for herself, and she doesn't always act submissively. Furthermore, she is not hesitant to question how time is allocated in the home. This calls into question the concept that domestic employees should be available 24 hours a day, 7 days a week. Nilda is likely viewed by Gloria as a danger to her dominance and way of life.
Part Four
Gloria's encounter with Nilda, according to Goldstein, causes the "aesthetics of control" to become evident and unnatural. Nilda makes the interactions between domestic employees and employers visible by speaking out for herself and contesting the way time is split. This enables Gloria to recognize the "aesthetics of dominance" for what they are: unnatural and oppressive.
 

Step-by-step explanation

Part 1: 

• Goldstein examines how the class division between domestic employees and their employers manifests itself in tangible perceptions, actions, and physical institutions. She points out, for example, that employers frequently have a different concept of time than domestic employees, expecting them to be available at all hours of the day and night. She also notes that domestic staff are frequently expected to work in silence, whereas their employers are free to make noise. She also talks about how the physical architecture of a house can perpetuate power dynamics between domestic workers and their bosses. 
• She points out, for example, that many homes have separate entrances and exits for domestic employees, reinforcing the idea that they are not equal members of the family. The way employers and domestic employees interact is one way that the extremes of the class divide are displayed and performed. Domestic workers are frequently expected to be silent and obedient, while employers can be demanding and arrogant. These power dynamics are also reinforced by the physical space of the home. Domestic employees are frequently limited to the kitchen or basement, while employers have access to the living spaces. This division supports the notion that domestic employees are not treated equally in the home.

Part 2: 

Goldstein analyzes how the aesthetics of dominance have been acceptable in both rich and poor people's lives. She claims that the way domestic workers are supposed to behave and the way they execute their profession is typically normalized over time. She also claims that the physical structures of households, as well as how time is divided, are frequently standardized. This means that both the rich and the destitute have normalized and accepted the aesthetics of dominance as natural. The way domestic employees are often required to act is one example of how the aesthetics of dominance have become acceptable. Domestic employees, for example, are frequently required to remain quiet and not produce excessive noise. They are also frequently expected to be on call at all times in case the homeowner requires assistance. They are also frequently asked to clean the house in a specified manner and in a timely manner. The division of time in houses is another example of how the aesthetics of dominance have become acceptable. In many households, for example, the woman of the house is often in charge of caring for the home and preparing meals, while the male of the house is in charge of going to work and earning money. Over time, this division of labor becomes normalized, and it is seen as the natural state of affairs.

Part 3: 

• Goldstein mentions Nilda's habit of arriving late for work. Gloria's authority is questioned, as is the idea that domestic employees should be available at all times of the day. Nilda, on the other hand, refuses to be regarded as a servant, preferring to be treated as an equal. Gloria's power dynamics at home are also jeopardized. Gloria's disdain of Nilda, according to Goldstein, stems from the fact that she represents a threat to traditional gender norms in the home. Nilda isn't scared to flout gender preconceptions and is frequently seen performing chores that are typically considered male-dominated. 
• Gloria's idea of how the world should be is challenged by this. Goldstein, for example, mentions Nilda's habit of assisting her husband with household chores. This contradicts established gender roles in which the man is the earner and the woman is in charge of the home. Nilda also looks after her own children, defying the stereotype that women should stay at home and raise their children. Goldstein's argument is well-supported and compelling. She illustrates her thesis with a variety of examples. She also offers an interesting interpretation of Gloria's disdain for Nilda as a result of her need to keep control over the house and the people who reside there.

Part 4: 

• Goldstein emphasizes Nilda's defiance of the stereotype that domestic staff should arrive early and leave late. Nilda makes it obvious that the expectations that employers have of their employees are neither natural nor necessary by speaking up for herself and demanding to be treated with respect. Gloria and others are forced to see how the "aesthetics of control" govern how time is structured as a result of Nilda's actions. Nilda's activities, according to Goldstein, empower domestic workers to consider themselves as change agents. 
• Nilda demonstrates to domestic workers that they have the power to influence how they are treated by standing up for themselves and demanding to be treated with respect. This enables domestic workers to perceive themselves as individuals with the ability to change their lives. Nilda's acts, according to Goldstein, allow people to recognize the "aesthetics of domination" for what they are: unnatural and oppressive. Nilda makes the interactions between domestic employees and employers visible by speaking out for herself and contesting the way time is split. This enables Gloria to recognize the "aesthetics of dominance" for what they are: unnatural and oppressive.