The purpose of this thesis is to explore what corporations in Brazil, whether with Brazilian headquarters or not, are doing in regards to communicating their diversity practices and initiatives to the public. Understanding these companies' positions on diversity can paint a better picture of how much Brazil has advanced on diversity in the workplace matters, since the topic started coming about in discussions in the 1990s (Fleury, 2000). A sample of 15 companies was selected from Exame magazine "Melhores e Maiores Ranking 2014" (2015), and a content analysis of each company's website was performed during the summer of 2016, based on three diversity assessment models that were suggested by Mazzei and Ravazzani (2008): assimilating minorities, managing diversity, and leveraging differences. One of the corporations that was part of the sample, JBS, could not have its content analyzed because, even though there was a website listed, there was no content displayed about the company. A rubric was developed to code the data and assign a certain score to each corporation. Those companies were then placed under each of the three diversity assessment models based on how many points each of them scored on the rubric. The study found out that all companies headquartered in Brazil with an international presence fell under the third diversity assessment model, leveraging differences, which is the most proactive and diversity-oriented of the three. In addition, some international corporations that are present in Brazil mostly fell under the diversity management approach, but did not show the amount of diversity information initially expected before the study was conducted. Brazilian corporations with a domestic presence were scattered around the three models, with one company under assimilating minorities, three under diversity management, and one under leveraging differences. Despite the researcher's initial expectations, the results show that Brazilian companies with an international presence seem to be in tune with international diversity standards, and international companies with a presence in Brazil seem to be lacking some diversity related information, at least on their Brazilian websites. There are also suggestions for further research on the topic, this time based on diversity strategy guidelines suggested by Conklin (2006) and by the Instituto Ethos (2000).

Francisco Mignone was born in São Paulo on September 3, 1897 and died on February 19, 1986. A representative of Brazilian Nationalism and one of the most influential national composers, Mignone was active and prolific through his entire life. Few works of Francisco Mignone's late period are known and performed; nevertheless the interest in Mignone's work has been growing. Since many of his works are not published, efforts to discuss and prepare performance editions of his scores are of great importance. The Concertino para clarineta e fagote is representative of Francisco Mignone's last compositional period that, although written using a universal way of treating dissonances, intervals, or different pitch hierarchies, it is very Brazilian in its essence. The present performance edition highlights the human aspect of Mignone's character through an overview of the composer's last compositional period and compositional techniques. This essay contextualizes the Concertino within the composer's career and presents a performance analysis of the piece. It also contains a list of Mignone's works for the bassoon and a list of prizes awarded to the Brazilian composer.

Orientador(a): José Leonardo do Nascimento / Banca: Agnus Valente / Banca: Mirian Celeste Ferreira Dias Martins / Resumo: A presente dissertação tem como objetivo específico fazer um estudo da obra do escultor pernambucano Nhô Caboclo, falecido em 1976, que trabalhou principalmente com talha em madeira. Seu objetivo mais amplo, no entanto, é contribuir para que a história da arte brasileira contemple as mais diversas narrativas que caracterizam a produção artística na contemporaneidade, à luz, principalmente, de conceitos como o de hibridação proposto por Nestor García Canclini (2015). A partir desse marco teórico, o trabalho pretende flexibilizar categorias artísticas estanques que prejudicam a compreensão da obra de arte contemporânea, como, por exemplo, as classificações näif, brüt, primitiva, folclórica e mesmo "popular", revisitando estudos anteriores sobre a sua inserção no circuito institucional. A partir disso, serão ainda estabelecidos diálogos com outros escultores pernambucanos que trabalharam ao longo do século XX, a fim de mapear a diversidade da produção e as relações que se estabeleceram no mundo da arte popular brasileira, termo emprestado tanto de Angela Mascelani (2009) quanto do conceito de Howard Becker (1982). Por fim, a partir dessa revisão bibliográfica, se dará o estudo das obras de Nhô Caboclo, aqui divididas em três grandes frentes criativas - a dos equilibristas, a dos torés e a dos barcos e a dos rachos - baseado tanto numa leitura crítica das esculturas encontradas quanto em uma entrevista com seu discípulo José Alves. A pesquisa pretende, em seu curso, debater os... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This master's dissertation aims, at first, at the artwork of the Brazilian sculptor Nhô Caboclo, who used to work with woodcarving until he passed away in 1976. Nevertheless, its broader aim is to contribute to the Brazilian art history and the diversity of narratives that constitutes it contemporaneously, having in mind, mainly, the concept of Hybrid Cultures by Nestor García Canclini (2015). From this theoretical framework, this study intends to flexibilize strict artistic categories that can harm one's comprehension of the contemporary artwork, such as näif, brüt, primitive, folk and even popular, reviewing previous studies about its insertion in the institutional circuit. Furthermore, dialogues with other Pernambuco sculputors that produced during the 20th century will be set in order to map the diversity of the production and the relationships that were built at the Brazilian Popular Art World, expression that can be both related to the concept of Howard Becker (1982) or Angela Mascelani (2009). Lastly, from this bibliografical review, Nhô Caboclo's artwork will be studied, divided here in three big work fronts - the "equilibristas", the "torés" and the "barcos" and "rachos" - based on a critical reading and on an interview with his disciple José Alves. This research aims, finally, to debate the canon established along the art history and, in that sense, value the diversity of our artistic manifestations / Mestre

Prahalad has started a debate in the last decade regarding the opportunities of doing business towards the low-income consumers of emerging markets, which he called Bottom of the Pyramid (BOP) markets. The purpose of this study is to investigate how companies adapt their marketing mix strategies in order to target this type of market. The research is developed as case studies within the Brazilian telecom market in order to offer a new BOP setting as previous research has been focusing on Asia and Africa. Semi-structured face-to-face interviews are conducted with managers of the prepaid segment of three telecom companies. The study shows that price strategies are most important to adapt towards affordability in order to target BOP markets because of consumers’ limited budget. While adaptation in product and place are also seen, they are not as substantial as in price. The strategy that was not adapted was promotion as traditional channels are most common within the Brazilian BOP market. Moreover, companies with a strategy that traditionally have been upper-segment-centric do have to make larger and more innovative adaptations in order to market this segment.

As a director Sandra Werneck consistently demonstrates her commitment to social issues impacting Brazilian society, from gay rights and AIDS awareness to child prostitution in her films. This thesis will discuss three feature-length films which address social conditions affecting non-hetero-normatively identifying people, women, youth and people with HIV. Werneck’s films offer a form of optimism by crafting an alternative space in which her characters may evolve and thrive by avoiding the victimization and stereotyping of her characters. Cinematic elements like the narrative structure, lighting, color and texture aid in articulating her support for human rights. This thesis is set against the backdrop of recent legislative developments protecting gay rights, impoverished children and families and increased AIDS research and education. The discussion is foregrounded by Brazil’s post-dictatorship re-democratization and contemporary Brazilian feminism, symbiotic with human rights movements based on the essential equality and equal treatment of all human beings.

The following thesis is an investigation of the actors, the forces and the conditions contributing to the phenomenon of forced labor in the Brazilian countryside. The paper begins by providing a relevant historical background to the problem of coercive labor, starting with the colonial legacy of slavery, dating back to the 16th century and leading up to the present. The aim is to explore the role of local actors, in particular landowners, gatos and the ‘enslaved’ (or workers coerced into forced labor) in constituting and re-constituting this phenomenon. At the same time the influence of local actors is contextualized in light of broader transnational processes, such as the spread of capitalism and neo-liberal globalization.

The music for cello duets was first composed in the Baroque period, later it was named the cello choir. Thus, these beginnings of cello choir compositions were primarily relegated to Baroque, with only a few pieces composed until the Romantic period. It was at this point in history that we find that musicians and composers began to develop interest in the unique sound of the cello choir. Since then, a great amount of operas and other musicals have been composed with the featuring of cello choir as a part their soundtrack. As a result, the music of the cello choir has moved forward to a new colorful era, with the nuances of the music branching into various types of associations with various professional playing techniques. Heitor Villa-Lobos is one of the most famous 20th century composers of the Brazil. During his maturation period, his works integrated the Brazilian style as a central theme of his music. The Bachianas Brasileiras, composed in the 1930¡¦s, had great profitable combination of the new-age national music with more traditional forms. In addition, this new trend of music successfully represented both educational and patriotic movements, as it required the uniqueness associated with the profound techniques that established the importance of cello choir in the piece. This study is proposed to discover the valuable information in playing the cello choir music based on analyzing the Bachianas Brasileiras No. 1. The study begins by describing the composer¡¦s life experiences and the background of the period in the 1930¡¦s. The research will emphasize how the Brazilian music has been amalgamated and how to interpret it in order to enhance performance.

Applied ethnomusicology emerged as a sub-discipline within the larger field of ethnomusicology in the late 1980s. The approach has gained considerable attention in recent years, evidenced by the publication of the first book-length treatment of the subject in 2010 and numerous scholarly papers and roundtables devoted to the topic at the 2011 SEM conference. I review of the literature in order to trace general trends and shifts in frame and approach in order to establish a context for critically reflecting on the role of activist scholarship in ethnomusicology today. Drawing from the literature on applied ethnomusicology, cultural rights projects in Brazil, and personal experiences working with black women hip-hop activists in Recife, I suggest that activist approaches allow greater possibilities for progressive social change, facilitating dialogue and critical reflection in ways that applied approaches do not. I propose that we must re-think activist scholarship in ethnomusicology, and in Brazil more specifically, seriously considering the possibilities and limitations of music making for establishing sustained community activism that incorporates dialogic pedagogy. / text

This report investigates the use of authentic readings and videos to teach Portuguese language and culture in the foreign language classroom. It starts with a discussion of the current state of the field about definitions of culture, their pedagogical implications and some approaches to teaching culture in the foreign language classroom. This discussion is followed by a review of recent research supporting the use of authentic videos and films to teach the target language and culture concomitantly, and a thorough description of the Brazilian literary genre of crônica, based upon the works of preeminent Brazilian literary critics and historians. The report ends with a unit design proposal based on the literature reviewed and grounded in second language acquisition theories and research. The proposed innovative approach that incorporates authentic non-scripted videos and literary readings, such as crônicas, provides a strong support to teachers that seek to teach cultural perspectives as well as products and practices in the foreign language classroom. / text

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