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This study aimed to propose an evaluation method for testing the mechanical strength of film-formed self-adhesive resin cements (SARCs) while reflecting cement layer thickness. Three commercially available dual-cure type SARCs were used for tensile and shear tests using specimens with varying thicknesses (0.05, 0.2, and 0.4 mm). There were no significant differences in tensile strengths among the various specimen thicknesses. In the shear test, there was a significant decrease in the strength with a reduction in specimen thickness. Stress distribution and fracture patterns were analyzed using in silico nonlinear dynamic finite element analysis. Finite element analysis demonstrated that stress distribution on the specimen surface was homogeneous even with different thicknesses in the tensile test, whereas it was inhomogeneous and induced different fracture patterns on the 0.05-mm-thick specimen in the shear test. These results suggest that the tensile test is useful for testing the mechanical strength of film-formed SARCs. [ABSTRACT FROM AUTHOR]

In his essay on Carl Theodor Dreyer's Ordet, P. Adams Sitney draws a parallel between the protagonist, Johannes, and John the Evangelist, author of the fourth gospel. He suggests that the delusional Johannes's sanity returns upon the recovery of his own name, turning on the invocation of his biblical namesake, John the Evangelist. Compelling as Sitney's is, however, I argue that we arrive at a more helpful interpretation by attending to an aspect that has been largely overlooked in critical discussion of the film: lighting. Careful analysis of the lighting yields a perspective in which Johannes is understood to be modeled not on John the Evangelist, but rather on John the Baptist. It does so, in part, by alluding to John 1:6-8, in which John the Baptist is described not as the light itself, but rather as a witness to the light of Christ. This alternative account of Johannine identity uncovers new meanings in the film, all revolving around the prophetic. Perhaps most intriguing is the possibility that Johannes may be understood to be a kind of stand-in for Kaj Munk, the prophet-like playwright of the original play of which the film is an adaptation. [ABSTRACT FROM AUTHOR]