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Copyright of Quintessenz der Zahntechnik is the property of Quintessenz Verlags GmbH and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of AugenBlick is the property of Schueren Verlag GmbH and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of AugenBlick is the property of Schueren Verlag GmbH and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of AugenBlick is the property of Schueren Verlag GmbH and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Zeitschrift für Pädagogik is the property of Julius Beltz GmbH & Co. KG Beltz Juventa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Forschungsjournal Soziale Bewegungen is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nietzsche - Studien is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Kieferorthopädie: die Zeitschrift für die Praxis is the property of Quintessenz Verlags GmbH and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Kant-Studien is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The research explores the ways of Kantianism reception in Russian symbolism philosophy. The emphasis is made on the philosophical systems of V.S. Solovyov, A. Bely, V.I. Ivanov and P.A. Florensky as the most holistically reflecting the development of epistemological, aesthetic, and general theoretical tendencies of the symbolist school, whose representatives are united by the similarity of critical positions regarding the teachings of I. Kant, which indicates the homogeneity of symbolist philosophy itself in its relation to transcendental idealism. The Kantian influence is analyzed, firstly, through the symbolist philosophy of culture disclosure and the influence of Marburg school neo-Kantianism on it, secondly, by identifying the foundations of the Silver Age mythocentric metaphysics with its unique ethical paradigm, thirdly, through solving the problem of antinomianism in the theory of cult as a space of religious creativity. Evolution peculiarity of Kantian influence on symbolism is explicated from the absolute acceptance of the criticism concepts of pure reason and the ability of judgment to their complete denial and search for the possibility of resolving antinomianism through the specific mission of social aesthetics. It is argued that with Kant's strong influence on the development of symbolist aesthetics, the symbolists themselves are looking for ways to bridge the gap between the world of noumenons and phenomena in it, noting the special role of theurgic creativity and the concept of catholicity consciousness. This makes it possible to understand the philosophy of symbolism as a counterargument system when posing the problem of the noumenal reality incomprehensibility. It is concluded that the symbolist criticism of Kantianism is generally religious and mystical-intuitionistic in general, justifying the possibility of comprehending the noumenal world as a principle of spiritual doing.

The aesthetics of Roman Ingarden and Nicolai Hartmann are phenomenological in the Husserlian sense of the term. Although both Ingarden as well as Hartmann owe their ideas to Husserl, each of them worked independently of the other and provided different accounts with regard to the anatomy and the mode of existence of the literary work of art, which have proven to be invaluable for its study. While Ingarden’s account utilizes the properties of conscious acts to explain the appearance of an aesthetic object, Hartmann employs the founding properties of the conscious acts in the human temporality, within which these acts are performed. However, there are also some specific similarities to be found in their theories of ontology, concerning the “stratified structures” of the different kinds of aesthetic objects. The present paper is an attempt to develop a comparison with respect to certain questions related to Ingarden’s and Hartmann’s ontologies of the literary work of art. The aim is to answer these questions from the point of view of both Ingarden as well as Hartmann.

Nadia Urbinati, in her writings, has recurrently warned about the dangers of theorizing democracy in aesthetic terms. She sees most aesthetic elements of a mediatized politics as harmful for the very project of democracy itself. In Democracy Disfigured (2014) and other writings, she urges that in a democracy the people ought to be conceptualized as organized around the principles of voice and of written law and not as an audience enthralled by the aesthetic or visual and theatrical representation of the sovereign. She levels her critique of an aesthetic take on democracy primarily at Jeffrey Green’s model of ocular democracy and its plebiscitarian undercurrent. While echoing Urbinati’s concerns about Green’s model of democracy, this article argues for an aesthetics of democracy that is detached from plebiscitary undercurrents and that points to the democratic value of aesthetic judgment and aesthetic experience in terms of citizens’ freedom and participatory-critical engagement, by insisting on the fundamental political meaning of the sensual (pertaining to aesthetics writ large): that who, why, and how something can become publicly recognizable rests on aesthetic sensibilities that belong to a democratic conception of citizenship. The article suggests that these considerations could be compatible with Urbinati’s conceptualization of political opinion, provided that this conception acknowledges that the aesthetic can take over some of the critical and participatory functions, which the epistemic and political functions of public opinion are supposed to fulfil.

The article considers the specific poetry of one of the largest poets of Chile of the 20th century — Pablo de Rokha in relation to the poetry of his compatriot and contemporary Pablo Neruda. Both poets belonged to Latin American avant-garde aesthetics, both of whom enjoyed great fame and shared common ideological views, but were diametrically opposed in both human and artistic dimensions. Pablo Neruda was a great collector of things of the world; Pablo de Rokha (his pseudonym and the word “stone” sounds the same), unlike Neruda, who collected neither stones, nor any other elements of earthly existence. At the same time his poetry is filled with the smell of steppe herbs, smoke of night fires, it is very material. The difference between the two “materialistic” Pablos is that de Rokha is not only calling their names – he is busy with creating, naming, making of the new world. That is why his poetic material it is so heavy, rude, and rough – earthly, stony words that he unwinds without any concern for beauty and clarity. If Pablo Neruda poeticizes every spiritual movement, every random thought, however insignificant it may be, making them objects of artistic expression, de Rokha does not let his emotions pass through the aesthetic filter – they come from the gut and he turns them in his poetic material, rude and primitive. The main thing that distinguishes de Rokha from Neruda is de Rokha’s tragic worldview expressed in his poetic writing. A coеmparison of the two poets leads to the conclusion that Pablo Neruda and Pablo de Rokha are two opposite versions of the same type of creative personality, extremely similar in their dissimilarity.

This article reconstructs populist popularizing strategies through a study of how everyday aesthetic reception can become politically charged. By considering the public controversy that surrounded Uwe Tellkamp's novel Der Schlaf in den Uhren in 2022, the article analyses the narrative mechanisms that give rise to and are at work in a popularized situation where an emotive narrative elicits strong feelings of agreement or dissent. The focus is on fields of cultural controversy in which forms of aesthetic appraisal are politicized in order to gain attention. This is illustrated with an analysis of Amazon reviews of Tellkamp's novel, where competing claims over the right to determine aesthetic worth acquire a political dimension and thereby come to be played out in the context of populism. [ABSTRACT FROM AUTHOR]

Copyright of Leviathan: Zeitschrift für Sozialwissenschaft (Nomos Verlagsgesellschaft mbH & Co. KG) is the property of Nomos Verlagsgesellschaft mbH & Co. KG and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Zeitschrift für Medienwissenschaft: ZFM is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Projekt-Management Aktuell is the property of Narr Francke Attempto Verlag GmbH & Co.KG and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Code “garbage” - crooked handwriting - typo: Imperfection as a literary device in the digital age In this digitized age, we witness a transnational interest in the ‘aesthetics of imperfection’ – aesthetic gestures that foreground shortcomings, mistakes, and flaws. Blockbusters shot with cheap cameras, trash fashion, consciously blurry photos, glitch music: for the cultural producers and consumers of these and other aesthetic practices, the unpolished object is not a taboo but rather an asset or a hallmark of sincerity, authenticity, and other positive values. With the help of existing scholarship, in this article, I will study and compare the writings of three Russian poets/artists: Vera Khlebnikova, Vera Pavlova, and Linor Goralik. Each uses conceptual as well as formal, grammatical, and/or stylistic imperfections as an aesthetic device. The aim of my analysis is to juxtapose and historically contextualize the social anxieties that inform these and other present-day creative practices that foreground the imperfect.

In the Jacob Cycle (Gen 25:19–36:43), there is a peculiar passage about the appearance of Rachel’s sister Leah. Jacob clearly prefers Rachel and the narrator includes a comparative note about the sisters in Gen 29:17 which indicates that Rachel was more physically desirable than Leah, describing Leah’s eyes with the ambiguous modifier rakkot רכות)). Some interpreters have concluded that this does not describe a defect in Leah’s physical eyes but is an observation about her appearance. In this article, I examine the characterisation of Leah in Gen 29 through the lenses of disability studies and aesthetic philosophy, concluding that while there is probably no physical or anatomical problem with Leah’s eyes, the narrator describes her as if there was, suggesting that Leah’s undesirability is treated as though it were a physical disability. Leah’s characterisation as such is illuminated through an analysis of how disabling conditions are understood in the Hebrew Bible and the overlap between ability and aesthetic appeal is explored to illustrate how the narrator of Gen 29 conflates concepts of disability and desirability in the portrayal of Leah’s character. Ultimately, since Leah does conceive despite being undesired by Jacob, she is portrayed ironically as desired by YHWH and the narrator utilises the subversion of the reader’s expectation to show how YHWH in his sovereignty subverts the expected outcome of the narrative, granting agency to the powerless and favouring the unfavoured.

An aesthetic full-face treatment with three classes of injectables (neuromodulators, hyaluronic acid, and biostimulators) in one session is a desired therapy for some patients. While therapies using one or two classes of injectables in a single treatment session are relatively well established, safety data on a threefold combination therapy in a single session has yet to be described. Here, we present a case report with 45-week safety data for five patients who received threefold combination therapy. Although the results indicate no additional risk, clinical studies with a larger group of patients are required to make a solid statement. [ABSTRACT FROM AUTHOR]

Hair transplants are very popular among people affected by hair loss. They often lead to good aesthetic results that were often never believed. The prerequisites are professional treatment with the best equipment and a specialized team. The individual removal of follicular units (FUE) has also established itself in Germany with over 70 percent of the population. The reason for this is minimally invasive, microsurgical techniques and the rapid recovery period after treatment. The key to success and a high degree of satisfaction among patients is the natural and timeless reconstruction of the hairline, which requires experience and the „artistic touch". [ABSTRACT FROM AUTHOR]

Copyright of Soziologische Revue is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on the constitutional implications of a German Federal Constitutional Court ruling that prohibits law clerks from wearing headscarves while representing the judiciary or the state. Topics include the state's obligation to maintain religious neutrality, the aesthetic and social processes that shape perception of the state through its representatives, and the balance between individual rights and state interests, particularly in the context of multi-religious society.

Copyright of Arbitrium is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The anniversary "20 years Network Globalhealth" is being celebrated. The network was founded to establish standards in aesthetic medicine and promote the exchange of experiences among its members. Partnerships with universities have been established to conduct studies on injection lipolysis. The network has also developed its own products and participates in international congresses to search for new therapies and products. New members are welcome, and the network relies on recommendations. [Extracted from the article]

The study presented here stems from the interpretation of pop-art found in the work of Petr Rezek and Walter Biemel. According to these authors, we find in pop art procedures and forms linked with new types of art, such as film, the photograph, or comics, but without these works themselves being film, the photograph, or comics in the usual meaning of the word. The given form is instead reflected in these works. These authors similarly highlight that this is the case with the use of technology, which is used in pop art both on the level of content and in the form of production, and gives rise to the phenomenon of repetition. This repetition is not however the mere multiplication of things, but a reflection of technical reproduction itself. On the basis of both authors’ interpretations of pop art works, the study determines the moments that the phenomenology of mass art must explore. Specific emphasis is placed by the author on the transformation of our conception of the being of things. The solidity and impenetrability of things disappear and the medial, liquid moment of objects is accentuated. Both the thing and the work become a passage and a place of distribution. Our intentionality does not stop at the object itself, but is diverted further, to our own person in kitsch, to the human of flesh, to rational supercivilization, but alternatively to profit and commerce as well. Even though this character of mass culture is usually understood negatively in the phenomenological tradition, the author reaches the conclusion that what is presented in pop art is, instead of being a bad world, a different world.

Copyright of Quintessenz der Zahntechnik is the property of Quintessenz Verlags GmbH and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The interview in the journal for Aesthetics and General Art Science with Josef Früchtl discusses the transformation of everyday consciousness through art. Früchtl, a philosopher from Bavaria, discusses the importance of culture and art in society. He emphasizes the transformative power of aesthetics, which subtly changes everyday consciousness through aesthetic experiences. Art and culture have an integrative power that brings people together and promotes a democratic community. Früchtl highlights that aesthetic practices increase the social relevance of art and subtly change everyday consciousness. [Extracted from the article]

The aesthetics of masochism can be found in the 20th century across different media: pictorial and literary models influenced the history of comics, photographic art, and ultimately film. In his book ›Aus Leiden Freuden‹ (1940), Theodor Reik mentions three essential elements: 1. imagination, 2. suspense and 3. the demonstrative character of the masochistic scenario. This gives rise to the idea of masochistic performance: masochistic aesthetics need a stage on which they can unfold their imagination and the staging of suspense. Masochistic performance plays with the desire for fear in the face of the threatening and sublime. Masochistic aesthetics therefore do not require the clear drasticness of pornography, but rather play with suspense, the tension of expectation in the face of the strange and dangerous - and with the pleasure of this fear. The article illustrates this approach by analyzing the film ›Titane‹ (2021) by Julia Ducournau. [ABSTRACT FROM AUTHOR]

Annette von Droste-Hülshoff’s fragment ›Ledwina‹, like its homonymous protagonist, has a primarily medial, and therefore transmissive, profile. This profiling is based on Ledwina's suffering which at the same time provides the material for overcoming it. Assuming a - tentatively formulated - poetics of decrescence, this specific constellation can be traced insofar as the dwindling but not completely disappearing (text) body is concerned with its epistemic-poetological potential. A potential which allows for the aesthetic and human pathological approaches to (literary) figures of suffering to be reconfigured. The concept of trans-corporeality (S. Alaimo) clarifies this reconfiguration. From this perspective, the text opens up to an ethics of vulnerability and puts the impositions of a standardizing health episteme up for discussion. [ABSTRACT FROM AUTHOR]

Copyright of Zeitschrift für Qualitative Forschung (ZQF) is the property of Verlag Barbara Budrich GmbH and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Stichproben (19928610) is the property of Stichproben. Verein fur Forderung und Publikation wiss. Arbeiten aus den Afrikawissenschaften and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Quintessenz der Zahntechnik is the property of Quintessenz Verlags GmbH and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Quintessenz der Zahntechnik is the property of Quintessenz Verlags GmbH and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Implantologie is the property of Quintessenz Verlags GmbH and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article delves into the intricate process of creating individual front tooth shapes through a four-step grinding method. It discusses the historical progression from standard to fully anatomical dental replacements, examining the pivotal role of craftsmanship in achieving natural-looking, personalized results. It highlights the dental process of shaping teeth to meet individual patient needs, emphasizing the blend of artistry and technical skill in dental technology.

Copyright of Quintessenz der Zahntechnik is the property of Quintessenz Verlags GmbH and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article "Adhesive fixation in everyday practice" introduces the three PANAVIA™ materials from the company Kuraray Noritake, which are used for the fixation of restorations. It discusses the necessary fixation systems in dental practices and whether conventional cementation is still relevant. The authors emphasize the advantages of adhesive technology, especially for aesthetic restorations. The difference between self-adhesive and fully adhesive fixation is also explained. The use of fixation composites is described as aesthetically superior and easier to handle compared to conventional cementation. The article deals with various methods of fixation in the field of dentistry. It is pointed out that the adhesive forces during fixation are so strong that a secure and durable fixation is ensured. Various materials and techniques for the fixation of restorations such as zirconia restorations, inlays, veneers, and partial crowns are discussed. It is emphasized that the preparation design and mechanical properties of the restoration material are important factors in choosing the fixation method. The importance of aesthetics in the fixation of veneers is also addressed, and the use of special fixation materials for veneers is recommended. The PANAVIA™ family is presented as a range of materials suitable for various fixation purposes. It is emphasized that adhering to a correct protocol during fixation is important. [Extracted from the article]