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Diagnosis and treatment planning are critical in preparation for implant placement. Adequate evaluation, preoperative imaging, and surgical planning minimize early and late-stage soft tissue injuries. Correct placement of dental implants can be challenging with several contributing factors such as lack of proper preoperative soft tissue evaluation and surgical experience in dealing with soft tissue incisions and flap reflection, resulting in injury and complications involving the soft tissues.

Dental anxiety is a leading cause of postponing treatment and/or complete avoidance of professional oral care. Therefore, effective sedation and pain control are integral components of dental care for the fearful and anxious patient. The application of oral sedation aids the trained practitioner to provide care to the anxious dental patient and remains the safest, most established, and most commonly used route of drug administration. Proper training and understanding of pharmacologic properties allows for safe and effective application of analgesics and sedatives for oral sedation.

This chapter analyses colonialism and patriarchy in the field of Egyptian archaeology and how they interact with the interpretation of the past as well as the management of Egyptian heritage today. Imperialism and colonialism also went hand in hand with androcentrism in the interpretation of archaeological data and the construction of the ancient Egyptian past, which was in turn used in Western identity formation. The Western stereotypes of Egyptian women proliferated through the scholarship of mainly Western male academics as well as some Egyptians until very recently. The archaeological discoveries at Deir el-Medina by Ernesto Schiaparelli at the beginning of the twentieth century, shedding light on the lives of common women, prompted gender studies to relate to women in ancient Egypt. The Western misconception that women’s equal rights can only be attained in non-Islamic nations undermines the feminist movement in Egypt and shows a typical orientalist and colonialist stereotype that only asserts a Western model of democracy.

Since its emergence in Wuhan as a novel coronavirus disease, it has taken only a few months since January 2020 for it to be recognized as a wide spread COVID‐19 pandemic which has contributed to global health devastation. As pointed out by health experts, it is a once in a century pandemic of our times. Clinical observations so far indicate that the older population and immune compromised individuals, particularly in African American and Hispanic/Latino communities, are at much higher risk for infection with this novel coronavirus. In this regard, pregnancy offers an altered immunity scenario which may allow severe COVID‐19 disease. The literature is so far highly conflicting on this issue. This review will offer a conceptual basis for severe or controlled disease and address trepidations for pregnant women associated with COVID‐19 pandemic, particularly in the comparative context of clinical consequences of other coronaviruses such as SARS and MERS. We will highlight the possible consequences of COVID ‐19 on the general health of pregnant women as well as its possible effects at the maternal‐fetal interface. For the placenta‐related pathology, we will focus our discussion on the temporal expression of ACE2 throughout gestation for possible propagation of SARS‐CoV‐2 in the placenta in infected women and ensuing consequences.

This chapter is a call to archaeologists and museum curators to reflect upon their roles in the production of knowledge surrounding antiquities and to take more responsibility for historical awareness and appreciation in Egypt. Historical objects transform in significance over time and are in constant re-creation of identity, so we must keep pace with their contemporary relevance, and we should use that relevance to start a discourse on the construction of new identities in relation to cultural memories of the past through the contemporary interpretations of these objects in the daily life of different communities. People cannot appreciate what they do not know; if Egyptians do not have access to the knowledge of their ancient past, they will not understand the value of the significance of its material remains, and will continue to allow, through neglect, the total loss of archaeological sites to looting and commercial urbanization. In the end, this loss will result in a complete attrition of cultural heritage and historical memory that will further lead to a more diluted identity.

Some of the most compelling and widely consumed US Latin@ literature being produced at the turn of the twenty-first century is literary journalism in the form of the chronicle, a transnational and transhistorical genre that draws on US and Latin American literary traditions. This essay elucidates the genre’s contemporary contours in the work of US Latin@ writers, including Héctor Tobar, Sonia Nazario, Daniel Alarcón, and Daniel Hernandez, whose lives and writings traverse multiple American borders as they cover issues like undocumented migration, narcopolitics, and cultural assimilation. The essay argues that an examination of how this genre portrays the present and imagines the future allows for an investigation into the current shape, possibilities, and limits of Latinidad as imagined by US Latin@ writers. Studying the chronicle’s genealogies, areas of thematic focus, modes of community imagination, and reception and distribution, the essay explores the ways in which US Latin@ writers are engaging the transnational literary imagination to intervene in historical portrayals, political debates, and the shaping of a Latin@ identity that is still under construction in the United States. It pays particular attention to the intersections of nationality, citizenship, and class that complicate concepts of Latin@ hemispheric unity.

The archaeology of the Theban Necropolis is well documented. Under represented in the literature are the studies which deal with the meaning of the site to the multitude of contemporary users who interact with the heritage landscape and with each other in the designated archaeological zone. This article will investigate how different stakeholders engage with the heritage ‘space’ and invest it with multiple meanings. By exploring the areas of agreement, difference and contradiction, we hope to show how contemporary experiences and future visions for the management of global heritage at the Theban Necropolis can be analogous and simultaneously worlds apart.

The first sustained critical examination of the work of Dominican-American writer Junot Diaz, this interdisciplinary collection considers how Diaz's writing illuminates the world of Latino cultural expression and trans-American and diasporic literary history. Interested in conceptualizing Diaz's decolonial imagination and his radically re-envisioned world, the contributors show how his aesthetic and activist practice reflect a significant shift in American letters toward a hemispheric and planetary culture. They examine the intersections of race, Afro-Latinidad, gender, sexuality, disability, poverty, and power in Diaz's work. Essays in the volume explore issues of narration, language, and humor in The Brief Wondrous Life of Oscar Wao , the racialized constructions of gender and sexuality in Drown and This Is How You Lose Her , and the role of the zombie in the short story "Monstro." Collectively, they situate Diaz’s writing in relation to American and Latin American literary practices and reveal the author’s activist investments. The volume concludes with Paula Moya's interview with Diaz. Contributors: Glenda R. Carpio, Arlene Davila, Lyn Di Iorio, Junot Diaz, Monica Hanna, Jennifer Harford Vargas, Ylce Irizarry, Claudia Milian, Julie Avril Minich, Paula M. L. Moya, Sarah Quesada, Jose David Saldivar, Ramon Saldivar, Silvio Torres-Saillant, Deborah R. Vargas

Break a vase, and the love that reassembles the fragments is stronger than that love which took its symmetry for granted when it was whole. . . . Antillean art is this restoration of our shattered histories, our shards of vocabulary, our archipelago becoming a synonym for pieces broken off from the original continent. —Derek Walcott, “The Antilles: Fragments of Epic Memory” In “The Antilles: Fragments of Epic Memory,” Derek Walcott suggests that Caribbean art “reassembles the fragments” and “restor[es the] shattered histories” of the islands. These images of fragmentation, reassembly, and restoration are particularly useful in describing the literary and historical reconstructions of Dominican history offered by Junot Diaz’s 2007 novel The Brief Wondrous Life of Oscar Wao. The novel’s title suggests the narrative goal of chronicling the life of Oscar “Wao” (the narrator’s nickname for the novel’s hero, Oscar de Leon), an overweight Dominican “ghetto nerd” from New Jersey. Yet the task of telling his story soon grows to implicate recounting the experiences of Oscar’s family (including his sister, Lola, his mother, Belicia, and his grandfather, Abelard) as well as the history of the Dominican Republic as it relates to their lives, from the United States-backed occupation to Trujillo’s dictatorship to the massive diaspora following Trujillo’s ascension. The wide historical scope of the novel is evident from the outset. The preface begins with references to the first encounters between Europeans, Tainos, and Africans in the “New World.” The chapters that follow explore the lives of three generations of the Cabral-de Leon family, non-linearly covering the 1940s through the 1990s. This story is filtered by Yunior, Oscar’s sometime friend and our mysterious narrator, whose identity and involvement in the story are only slowly revealed and whose name is not even mentioned until almost two hundred pages into the book. Throughout the narration, Yunior self-consciously struggles and experiments with how best to accomplish his task because in the process of his research, as he attempts to uncover both the story of the family and the history of the nation, he is continually confronted with silences, gaps, and “paginas en blanco” left by the Trujillo regime. Yunior often explicitly rejects the possibility of recovering an original, whole story because so much of the history he wishes to recover has been violently suppressed and shrouded in silence. The sources to which he has recourse are fragmentary at best, and he asserts the need of his art and creativity to cohere those shards and give a new shape to the vase of Dominican diasporic art and history. The novel adopts a hybrid

“Cien anos de participacion:” Magical Realism and Italian History in Antonio Tabucchi’s Piazza d’Italia Monica Hanna CUNY Graduate Center Cosa vuoi che me ne importi dell’Italia, con questo ghi- accio. Ho chiesto ai compagni se a loro gliene importa e tutti la pensano come me. Il capitano mi ha diffidato di sovversione. 1 In Antonio Tabucchi’s 1975 novel Piazza d’Italia. Favola popolare in tre tempi, un epilogo e un’appendice, 2 the main character fights for Italy during World War I. In a letter to his beloved, he describes the harsh physical conditions he suffers in the trenches. “Cosa vuoi che me ne importi dell’Italia, con questo ghiaccio,” he asks, explaining that his fellow sol- diers feel the same way. This questioning of the power of nationalism is typical in the novel. Piazza d’Italia surveys important moments of Italian national history as experienced by a family of rebels who often oppose the forces of the nation in their fictional Tuscan town of Borgo. Tabucchi’s novel begins with an epilogue and travels backward and forward in time in order to relate one hundred years of Italian history, from the Risorgimento through the two world wars to the establishment of the Italian republic, compressed into a narrative of one hundred fifty pages. The family and their friends are skeptical of the representation of national history as one of progress, instead noting the many negative reverberations of that national history in the lives of the protagonists of the novel. The narrative structure of the text mirrors this skepticism, veering away from a traditional representation of historical progress to one of fragmentation, repetition, and shifts in time. Tabucchi employs a variety of methods to re-structure historical representation. One prominent structural method employed by the novel is that of magical realism, which allows for the representation of a cyclical, rather than linear or progressive, history. The text also draws on Carte italiane, Vol. 5 (2009) 199