Thesis (Ph.D.)--Massachusetts Institute of Technology, Dept. of Political Science, 1982. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND DEWEY. / Includes bibliographical references. / by Maria Helena Moreira Alves. / Ph.D.

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Thesis (Ph. D.)--University of Chicago, Dept. of Linguistics, June 2001. / Includes bibliographical references. Also available on the Internet.

Thesis (M.A.)--University of Missouri-Columbia, 2003. / Typescript. Includes bibliographical references (leaves 392-400). Also available on the Internet.

Thesis (M.A.)--University of Missouri-Columbia, 2003. / Typescript. Includes bibliographical references (leaves 392-400). Also available on the Internet.

This thesis examines the perception of gender equality in a Norwegian company in Brazil. It explores the possibility of double-standards regarding gender equality values in global organizations. Norway and Brazil have very distant positions in the gender inequality indexes, with Brazil demonstrating much higher inequality. This study compares rights and legislation for workers in both countries, and seeks to understand the perception of the workers of the headquarters in Brazil on the issue in their environment. It  uses a combination of quantitative and qualitative analysis, through the use of a questionnaire and an analysis of the company’s public material, to determine both employees’ perceptions on gender equality in the company and the choices of the company in its communication (images and language). The findings are then analysed using the theory of Inequality Regimes, developed by Joan Acker, as well as studies of masculinities, harassment and tokenism. The thesis concludes with a reflection upon the impact of the lack of gender competence on the part of leaders, and of a lack of awareness of discrimination on the part of employees as a whole, demonstrating a clear difference in perceptions between male and female employees.

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Antonio Carlos Gomes (1836-1896) is considered one of the most important Brazilian composers and was the first New World composer whose work was accepted in Europe. His opera Fosca, though, was never discussed in depth and should be recognized as an important work in the history of the nineteenth century Italian opera for its skillful use of themes and motives. The Brazilian composer and musicologist Mario de Andrade presented a study of the principal themes in 1936, in commemoration of the centennial of Carlos Gomes' birth, but there is no record of a thorough study that shows the magnitude of Carlos Gomes' application of his motivic and thematic technique in this work.In this document, the author identifies the principal themes and motives, and demonstrates how the composer systematically used them to enhance the drama and lend coherence to the work as a whole. Gomes, in Fosca, used the technique to such extent that every major character in the opera has a minimum of one theme related to him or her. The leading role Fosca has many themes to represent her different feelings throughout the opera. There are also themes representing specific feelings between two people, and themes related to the chorus as well. Gomes uses his themes to contribute to the drama as active psychological elements and not simply as ornamentation.The recurring themes in Fosca are easily heard and recognized, but this does not mean that Gomes used them in a rudimentary or merely mechanical manner. Gomes' simplicity proves to be a useful tool in ensuring musical and dramatic continuity, offering us an idea of his broader goal as a musical dramatist.