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Copyright of Die MKG-Chirurgie is the property of Springer Nature 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 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 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 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.)

Literary texts deal with ethically highly relevant topics such as violence, the climate crisis or animal welfare, they deal with historical and political events and discuss developments in medicine, etc. If one follows the current social debate about autonomy, which is being conducted particularly in the art discourse, then such texts would be considered post-autonomous insofar as they supposedly overcome the historical principle of aesthetic autonomy and link their autonomy directly to the aesthetic treatment of social issues. But where is the line between social responsibility and aesthetic autonomy? In the following, instead of autonomy and post-autonomy as binarism, an attempt is made to start from perspective structures in literary texts that make the relative degree of autonomy determinable by describing them as aesthetic and/or ethical. With recourse to the classical concept of autonomy (Moritz, Schiller) and Kant's deontological ethics, autonomy is developed as a relative category and transferred into a concept of perspectival autonomy. In the 18th century, aesthetic autonomy, also insofar as it is based on sensualist premises and thus places emphasis on sensory perception, cannot be separated from the constitution of the human being as an individual. If equal weight is given to the aesthetic and the ethical side when analyzing literary texts, perspective structures can be observed in literary texts that are to be made fruitful in the following as perspectives of autonomy for the discourse on the limits and possibilities of literature. The focus here is neither on the relationship between content (socially heteronomous) on the one hand and (aesthetically autonomous) form on the other, nor on the levels of production, object and reception, but rather on a conceptualization of autonomy from the end of the 18th century to the current debates on the (post-)autonomy of art between ethics and aesthetics. If an ethical perspective of aesthetic autonomy is sought, this does not call into question the fact that, firstly, literature is always connected to the ›world‹ and, secondly, this connection is also possible without concrete content specifications, because, thirdly, literature has a ›poetic function‹ (Jakobson) to which moral or political intentions are subordinate. However, since external and self-references, i. e. text-external influences and text-internal poetics, cannot always be easily and clearly distinguished and distilled in isolation from each other in a text, a scaling approach is proposed here in relation to the autonomy postulate in order to locate texts between autonomy and heteronomy. The analysis of gradations, degrees or weightings of autonomy replaces their close connection to aesthetics in favor of an ethical and/or aesthetic perspective of a literary text. This is intended to counter both a narrow understanding of aesthetic autonomy (which is neither consistent with the meaning of the word autonomy as self-legislation nor with the founding theses of the 18th century) and a broad understanding. Aesthetic autonomy is neither to be equated with purity, isolation and freedom from purpose (narrow understanding = normative criteria that strongly restrict aesthetic autonomy in terms of definition) nor does it consist in the aesthetic ›translation‹ of social discourses on the level of form that is fundamentally given in literary texts (broad understanding = the only criterion is literariness, so that aesthetic autonomy would be attributed to all literary-poetic texts regardless of content). The fundamental reference of a text to the world is distinguished in the approach pursued here from an ethical perspective, which includes an effect of literature beyond a reference to the world. This effect is not intended to be normative, but is part of the aesthetic self-legislation of a text. It is aimed at knowledge, change and development or, in the words of the aesthetics of Moritz and Schiller: at ›inner education‹. Following a localization of autonomy between the suspicion of ideology and the postulate of post-autonomy, which refers to some selected positions of research, the various definitions of aesthetic autonomy are first weighed against each other in order to then establish a connection to life science and ethics. The reflections on the constitution of aesthetic autonomy under ethical auspices finally lead to an attempt to develop a scale of the outlined perspectival autonomy on which literary texts can be approximately located. The analytical examination of (historical) concepts of aesthetic autonomy is relevant insofar as, on the one hand, existing classifications and weightings can be questioned and, on the other hand, it can be examined which understanding of aesthetic autonomy should be introduced into the current discourse on the tasks and social significance of literature. If it becomes clear that aesthetic autonomy is a construction that has been constituted from very different discourse-dependent attempts at definition, then it is possible to choose the appropriate concept for analyzing and describing texts from the variety of terms. To do this, however, it is necessary 1) to de-ideologize or demystify aesthetic autonomy, i. e. neither to elevate it to a pedestal nor to discredit it with ivory tower metaphors, and 2) to break open its supposedly narrow framework with absolute claims and either/or definitions. Contemporary aesthetics does not need autonomy as a fighting concept, a confession or to form fronts, but as a (meta-)category between and/or above the discourses. [ABSTRACT FROM AUTHOR]

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 Mill Bridge in Besigheim In the small town of Besigheim, north of Stuttgart, a footbridge was built over the river Enz in front of the historic, heritage‐listed cityscape. With a curved span of approximately 70 m and inclined hanger cables only connected to the outer edge of the superstructure, the one‐sided, self‐anchored suspension bridge offers pedestrians a direct connection from the Enz Park to the medieval city‐centre, and cyclists a smoothly transfer from one river bank to the other. Although the new footbridge is a highly technical lightweight structure, it takes account of the local context and carefully embraces the adjacent historic watermill. As a result, the bridge enhances the park and associated riverside playground in both form and function, allowing visitors to experience the river and the historic cityscape in a new way. [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.)

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 Journal of Orofacial Orthopedics/Fortschritte der Kieferorthopadie is the property of Springer Nature 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 International Journal of Computerized Dentistry is the property of Quintessence Publishing Company Inc. 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.)

Psychotherapy is an art: for many practitioners this claim has considerable appeal. My intention here is not to merely defend the claim, but to see how far it can go. To vaguely endorse it feels apologetic; it also implies a facile polarization between art and science – between a (preferred) subjective, qualitative dimension, and a seemingly objective and quantitative domain. It would be wrong to bring art into the equation without some appreciation of the aesthetic experience. In relation to therapy, this requires developing a better grasp of the craft of therapy – of its imaginative response to the sheer elusiveness of mental distress. aesthetics. Psychotherapy is also a form of political praxis. Some practitioners – myself included – would support that claim. Can psychotherapy become a praxis? Can it be, in other words, linked to action, and as such become a political force in the wider, transformational sense of the term? These are among the questions explored in the second part of the current paper. [ABSTRACT FROM AUTHOR]

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]

The article describes the product range of the company Zirkonzahn, which offers components for more than 140 implant systems. The company produces all products itself and uses a medical titanium alloy. New components are introduced, including the Zirkonzahn LOC-Connectors anchoring system for implants and bridges for the fixation of removable dental prostheses. In addition, angled Zirkonzahn Multi Unit Abutments and titanium bases for stability and aesthetics are mentioned. The titanium bases can be gold-plated or anodized to improve biocompatibility and promote osseointegration. Zirkonzahn also offers a warranty of up to 30 years on their implant structures. [Extracted from the article]

Die Vereinbarkeit mit und Anschlussfähigkeit von lern- und bildungsorientierten FabLab-Aktivitäten an schulisches Lernen, z. B. auf curricularer und fachdidaktischer Ebene, stellen derzeit sowohl eine konzeptionelle Herausforderung als auch Forschungslücke dar. Um den Möglichkeitsraum zwischen Grundschule und FabLabs zu erkunden, wurde 2021/22 eine mehrteilige Bildungsmodul-Reihe für Grundschulen im FabLab konzipiert und umgesetzt, aus der der Workshop «Wenn die Gabel nicht mehr gabeln will» (2022) vorgestellt wird. Der Praxisbericht geht sowohl auf die Entwicklung, Fundierung und Verortung als auch auf die praktischen Erfahrungen, Effekte und Anschlüsse des Workshops ein. Die gestalterische Auseinandersetzung mit Funktionslogiken von Grundschüler:innen in FabLabs, die hier inhaltlich verfolgt und umgesetzt wurde, steht dabei exemplarisch für eine explorative Auseinandersetzung mit möglichen Bildungsformaten in FabLabs als vermittelnder Ansatz ästhetischer und technischer Literalität. Als Brücke zwischen ästhetischem und sachunterrichtlichem, aber auch schulischem und making-orientiertem Lernen zeigt sich die Dekonstruktion und Weitergestaltung von Gebrauchsgegenständen, in denen sowohl Eigenlogiken (digitaler) Produktion als auch Gebrauch als Form der Gestaltung in ihrer Verwicklung thematisiert werden können.