The Perception of Smile Attractiveness Variations from Esthetic Norms, Photographic Framing and Order of Presentation

Objectives: To evaluate the attractiveness of a smile according to variations from esthetic norms, photographic framing, and the order of the presentation of photographs.Materials and Methods: A photograph of an individual was selected and digitally manipulated to create the following smiles: an ideal control smile (I), a smile with diastema (D1), a smile with midline deviation (LM3), a smile with deviation from the long axes of the lateral incisors (10D), and a smile with an inverted smile arc (LSRV). The manipulated photographs were developed in framings of the face and of the mouth and evaluated by 20 laypeople. For half the evaluators, the presentation started with facial photographs and, for the other half, the presentation began with the mouth shots. Evaluators were asked to rank the photographs from the least to the most attractive; then, each photograph was awarded a mark (scale of 0.0 to 10.0).Results: In both presentations, the smiles I, LM3, 10D, and LSRV received favorable ratings, whereas the D1 smile got poor ratings. The photographic framings used (face vs mouth) and the order of presentation of the photographs did not influence the rankings.Conclusion: The absence of variations from beauty norms of a smile has a positive impact on its esthetic perception, but variations from the norms do not necessarily result in reduced attractiveness. (Angle Orthod. 2009;79:634-639.)

Estudo da estabilidade e da capacidade resistente de painéis estruturais do sistema construtivo Light Steel Framing

Pós-graduação em Engenharia Civil - FEIS

The symbology of the sea in Lygia Bojunga Nunes's work: a reflection on utopian and dystopian framing

The ambivalent image of the sea is recurrent in Bojunga Nunes’s work. It receives a lot of symbolic meanings in her production, being sometimes a positive and sometimes a negative element. Thus, the sea is used in a utopic way, as a place for pleasure and leisure, and in a dystopic way, as scenery of a rite of passage, which includes the pain and suffering, part of the rite of passage that characterizes the bildungsromans. So, if in some texts the sea assumes a utopic character, being a place of snuggle, security, the ideal to reach, in others it is represented as dystopic, a place of distress, asphyxia and death. In this text we will study the hypothesis that, even in its dark symbolic meaning, in the author’s work the sea is an element of reflection and revelation. Thereby, it assumes metaphorically a sense of magnification of the reader’s expectative, being an element of emancipation. The objective of this text is to present a reflection on the sea’s symbolism on the mentioned texts and its importance for the reader’s formation.