Background: This article is focused on the use of polymerized, prefabricated nano-hybrid-composite veneers to close diastema and to regain a vitality appearance of non vital discolored teeth. Case Reports: A 24-year old patient presented herself with a major complaint about the discoloration of her maxillary central incisors. The prefabricated composite veneers were recommended as the perfect solution in this case. Tooth shape and size was evaluated with the contour guide. Two pre-fabricated composite veneers size “M” were trimmed and cemented with the same hybrid composite resin that they were made from. A 28 year-old patient presented herself with a major complaint about her diastema. Her maxillary frontal teeth were intact. It was decided to use two veneers; size “L” and shade A2/B2 and Enamel Universal were chosen. Identical steps were followed as in clinical case 2. Conclusion: This new technique of treatment resulted to be an affordable way to regain esthetics. It is a one session treatment and requires no lab sessions, which makes it very comfortable for both dentist and patients. As with all new techniques, there is still a lot to be done, to confirm its effectiveness as a long term solution in esthetic dentistry.
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The birth of aesthetics in the 18th century marks the passage from beauty to fine taste and the emergence of art as a separate sphere of culture. Indeed, before the Renaissance, art is not viewed separately from handcraft and the craftsman does not receive the distinctive status of a specialist of beautiful, an artist. This is due to two sets of reasons: first, the transformation of beauty, which becomes little by little a matter of taste and is subjective, and second, the emergence in the European culture of a special status for the artist, distinguishing him from the artisan. This slow evolution announced at the beginning of the Renaissance, will be completed only at the beginning of the 19th century
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Web sites are rapidly becoming the preferred media choice for information search, company presentation, shopping, entertainment, education, and social contacts. At the same time we live in a period where visual symbols play an increasingly important role in our daily lives. The aim of this article is to present and discuss the four main areas in which aesthetics play an important role in the design of successful Web sites: aesthetics play an important role in supporting the content and the functionality, in appealing to the taste of the target audience, in creating the desired image for the sender, and in addressing the requirements of the Web site genre.
In the second part of The Art of Theatre (the first presentation of the evolution of theatre aesthetics written by a Romanian author), George Banu highlights the dynamic essence of the performance, without excluding the existence of referential terms that structure its manifestations on the whole. The author calls them “means of communication that were imposed at the time”, means that start from a unitary significance given to the theatrical act. This significance is, according to George Banu, affiliated to a certain aesthetics, formulated with the help of historical determinations specific to theatre or emerged from each personality’s particularity.
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Self-translation and bilingual writing are drawing increasing critical attention in literary and translation studies. Bilingual writing can cover a wide range of phenomena involving varying degrees of bilingualism. Scholarly focus has been on emigrant, expatriate or exiled writers and more recently, on bilingual writers writing in a post-colonial context, using the acquired language of the colonizer. The emphasis has been on the cultural and political power inequalities between languages. Self-translation has also been seen from the broader, ontological point of view as a form of double representation of the writing self. My own experience in the particular cultural geography of a bi-national, multicultural country such as Canada offers a different context for reflecting on self-translation and bilingual writing, or what I prefer to call “cross-writing,” based on the fundamental cross-cultural communicative aesthetics underlying my specific writing and self-translation process.
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