Optimizing maxillary aesthetics of a severe compromised tooth through orthodontic movement and dental implants

Treatment of severe compromised tooth in the maxillary anterior area still poses great challenge to the clinicians. Several treatment modalities have been proposed to restore the function and aesthetics in teeth with advanced periodontal disease. The present study aims to report a case of traumatic injury of a left-maxillary central incisor with ridge preservation, orthodontic movement, and implant therapy. A 45-year-old woman underwent the proposed treatment for her left central incisor: basic periodontal therapy, xenogenous bone graft, and guided bone regeneration (GBR). Six months after the graft procedure, orthodontic movement by means of alignment and leveling was made and a coronal displacement of the gingival margin and vertical bone apposition could be observed after 13 months of active movement. Afterwards, a dental implant was placed followed by a connective tissue graft and immediate provisionalization of the crown. In conclusion, orthodontic movement was effective to improve the gingival tissue and alveolar bone prior to implant placement favoring the aesthetic results. Six years postoperatively, the results revealed height and width alveolar bone gain indicating that the treatment proposed was able to restore all the functional and aesthetic parameters.

EVOLUTIONARY AESTHETICS AND SEXUAL SELECTION IN THE EVOLUTION OF ROCK ART AESTHETICS

This theoretical proposal applies evolutionary aesthetic, animal signalling and sexual selection to understand our artistic cognition, especially rock art aesthetics. Iconographic motifs, universally found in rock art, indicate which set of pre-artistic aesthetic psychological bias has been co-opted to catch the viewer`s attention. The co-evolutionary process of sexual selection could have shaped the design features of both rock art images and their aesthetic cognition by conferring mutual benefits on both producers, via manipulation, and receivers, via information extraction. We show some strategic techniques identified in rock art and art that indicate the occurrence of this co-evolution between producers and receivers.

The Art of Aidagara: Ethics, Aesthetics, and the Quest for an Ontology of Social Existence in Watsuji Tetsurō’s Rinrigaku

This paper provides an analysis of the key term aidagara (“betweenness”) in the philosophical ethics of Watsuji Tetsurō (1889-1960), in response to and in light of the recent movement in Japanese Buddhist studies known as “Critical Buddhism.” The Critical Buddhist call for a turn away from “topical” or intuitionist thinking and towards (properly Buddhist) “critical” thinking, while problematic in its bipolarity, raises the important issue of the place of “reason” versus “intuition” in Japanese Buddhist ethics. In this paper, a comparison of Watsuji’s “ontological quest” with that of Martin Heidegger (1889-1976), Watsuji’s primary Western source and foil, is followed by an evaluation of a corresponding search for an “ontology of social existence” undertaken by Tanabe Hajime (1885-1962). Ultimately, the philosophico-religious writings of Watsuji Tetsurō allow for the “return” of aesthesis as a modality of social being that is truly dimensionalized, and thus falls prey neither to the verticality of topicalism nor the limiting objectivity of criticalism.

Revisioning a Japanese Spiritual Recovery Through Manga: Kobayashi Yoshinori’s ‘Gōmanism’ as Aesthetics and Ideology

This essay provides a critical analysis of the aesthetic ideology of “Gomanism” in the manga of Kobayashi Yoshinori (b. 1953), particularly Yasukuniron (On Yasukuni, 2005) and Tennōron (On the Emperor, 2009), in order to flesh out the implications of the author’s “revisionist” approach to Japanese religion, politics and history.

Nasolabial aesthetics correlates poorly with skeletal symmetry in unilateral cleft lip and palate

To evaluate the correlation between symmetry of the craniofacial skeleton and aesthetics of the nose and upper lip in children with complete unilateral cleft lip and palate (CUCLP).

Nasolabial symmetry and aesthetics in children with complete unilateral cleft lip and palate

The objective of this study was to evaluate the association between nasolabial symmetry and aesthetics in children with complete unilateral cleft lip and palate (CUCLP). Frontal and basal photographs of 60 consecutively treated children with CUCLP (cleft group: 41 boys and 19 girls, mean (SD) age 11 (2) years) and 44 children without clefts (control group: 16 boys and 28 girls, mean (SD) age 11(2) years), were used for evaluation of nasolabial symmetry and aesthetics. Nasal and labial measurements were made to calculate the coefficient of asymmetry (CA). The 5-grade aesthetic index described by Asher-McDade et al. was used to evaluate nasolabial appearance. Correlation and regression analysis were used to identify an association between aesthetics and CA, sex, and the presence of CUCLP. Ten measurements in the cleft, and 2 in the control, group differed significantly between the cleft and non-cleft (or right and left) sides, respectively. The significantly higher values of 9 of 11 CA in the children with CUCLP indicated that they had more asymmetrical nasolabial areas than children without clefts. However, the regression analyses showed that only a few CA were associated with nasolabial aesthetics. In conclusion, nasolabial aesthetics and nasolabial symmetry seem to be only weakly associated in patients with CUCLP.

Marginality and Integrity: Constructing of Gender Identities in the Post-Communist Bulgaria

Ms. Kotzeva's team aimed to reveal the formation of the new gender identities in the transitional society of Bulgaria since 1989. Their main conclusions (presented in a series of manuscripts written in Bulgarian and German, and also on disc) were reached on the basis of data obtained from a field survey involving a group of 190 women, and interviews conducted with a group of Bulgarian women politicians. Although approving of gender equality and the ideology of emancipation on an abstract level, women predominantly identify themselves with mothering and caring for the family. At the same time they do not fully surrender to their family obligations and support a strategy of balancing between family and extra-family activities. Bulgarian women are highly frustrated by the new requirements of the labour market, insecurity, and lack of safety in their personal life. Ms. Kotzeva and her team observed a high degree of convergence of self-identification strategies amongst Bulgarian women from different generations and educational backgrounds. On the other hand, women from the ethnic minorities, especially Gypsy women, demonstrate radically divergent styles of orientation and behaviour. Women's marginalisation due to the altering economic and political circumstances in Bulgaria, and the decline of female participation in Parliament, have clearly shown that the end of socialist women's politics must lead to critical reflection and the development of new strategies in order to enable women to take part in the process of a new elite in Bulgaria.

The Institutional Framework around Successful Art Forms in Communist Czechoslovakia

Mr. Michl posed the question of how the institutional framework that the former communist regime set up around art production contributed to the success of Czech applied arts. In his theoretical review of the question he discussed the reasons for the lack of success of socialist industrial design as opposed to what he terms pre-industrial arts (such as art glass), and also for the current lack of interest into art institutions of the past regime. His findings in the second, historical section of his work were based largely on interviews with artists and other insiders, as an initial attempt to use questionnaires was unsuccessful. His original assumption that the institutional framework was imposed on artists against their will in fact proved mistaken, as it turned out to have been proposed by the artists themselves. The basic blueprint for communist art institutions was the Memorandum document published on behalf of Czechoslovak visual artists in March 1947, i.e. before the communist coup of February 1948. Thus, while the communist state provided a beneficial institutional framework for artists' work, it was the artists themselves who designed this framework. Mr. Michl concludes that the text of the memorandum appealed to the general left-wing and anti-market sentiments of the immediate post-war period and by this and by later working through the administrative channels of the new state, the artists succeeded in gaining all of their demands over the next 15 years. The one exception was artistic freedom, although this they came to enjoy, if only by default and for a short time, during the ideological thaw of the 1960s. Mr. Michl also examined the art-related legislative framework in detail and looked at the main features of key art institutions in the field, such as the Czech Fund for Visual Arts and the 1960s art export enterprise Art Centrum, which opened the doors into foreign markets for artists.