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    Des images qui dénoncent ? by Damien Darcis

    Published 2018-07-01
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    Aesthetic Surgical Approach for Bone Dehiscence Treatment by Means of Single Implant and Interdental Tissue Regeneration: A Case Report with Five Years of Follow-Up by Giorgio Lombardo, Jacopo Pighi, Giovanni Corrocher, Anna Mascellaro, Jeffrey Lehrberg, Mauro Marincola, Pier Francesco Nocini

    Published 2016-01-01
    “…The replacement of single anterior teeth by means of endosseous implants implies the achievement of success in restoring both aesthetic and function. However, the presence of wide endoperiodontal lesions can lead to horizontal hard and soft tissues defects after tooth extraction, making it impossible to correctly place an implant in the compromised alveolar socket. …”
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    PROTECTING THE HARMONY – THOUGHTS ON THE MARGIN OF ANGI ISTVÁN’S BOOK ABOUT AESTHETIC PIETY (ANGI ISTVÁN: A HARMÓNIA MARAD, PARTIUM KIADÓ, NAGYVÁRAD, 2013) by Attila FODOR

    Published 2014-06-01
    “…The sacred field of the sound art situated beyond the proper aesthetic, which became for Angi István a lifelong revelation in the catching beauty of the transcendence music experience from the childhood lauds to the practice of Gregorian chant in the recent past, gives birth to this book solely devoted to the aesthetic piety. …”
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    A Politics of Working-Class Culture and the Culture of Working-Class Politics: The Aesthetics and Activism of Amber Film and Photography Collective and the Berwick Street Film Collective by Jessica Williams Boyall

    Published 2024-06-01
    “…By engaging in a comparative reading, I highlight the breadth of Amber’s oeuvre, tracing the development of their filmmaking strategies—which included agitprop, the fusion of factual and fictional formal elements and transnational collaboration with the German Democratic Republic’s film production company, Deutsche Film-Aktiengesellschaft (DEFA)—to demonstrate that, contrary to criticisms levelled by contemporary theorists clustered around Screen magazine and the British Film Institute, Amber transcended the constraints of Documentary Realism by incorporating radical avant-garde aesthetics into their oppositional practice. Concomitantly, Amber’s radical filmmaking is positioned as relative to its members’ working-class solidarities, with their concern for championing working-class cultures contrasted with Berwick Street’s broader political agendas. …”
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