Journal articles on the topic 'Kenneth Archer'

Shamanic designs used by painter and archaeologist Nicholas Roerich on the costumes for the original Rite of Spring (1913) apparently shaped the ground patterns of the choreography by Vaslav Nijinsky. Dance detectives Kenneth Archer and Millicent Hodson demonstrate how they discovered these dance and design correspondences in the course of reconstructing the lost Rite for the Joffrey Ballet in 1987 and for other companies worldwide since that time.

Abstract Critic Marcia Siegel and choreographer Millicent Hodson discuss problems of putting lost or nearly forgotten 20th century ballets back on stage, focusing on questions of authenticity, interpretation, choreographic process and documentation through direct contact with Diaghilev's dancers. The discussion refers specifically to reconstruction of ballets by Nijinsky and Balanchine which Hodson has done with scenic consultant Kenneth Archer during the last years when Ballets Russes artists still survived to pass on their knowledge. Siegel extends the discussion to Diaghilev's other choreographers, Fokine, Massine and Nijinska.

In this article Craig S. Keener participates in the roundtable dialogue on his book: Spirit Hermeneutics: Reading Scripture in the Light of Pentecost. After responding individually to the reviews of L. William Oliverio, Jr., Kevin L. Spawn, Hannah R.K. Mather, Ben Aker, Jacqueline N. Grey, and Kenneth J. Archer, Keener responds more fully to some key issues in the reviews and articulates elements of his hermeneutical theory that complement the arguments in his book, including discussions on conventional hermeneutics, the role of subjectivity/objectivity in interpretation, and the relationship between pentecostal hermeneutics and evangelical hermeneutics.

AbstractThis is a response by Terence Fretheim to review essays of his book, God and World in the Old Testament: A Relational Theology of Creation, by Robert Stallman, Scott Ellington, and Kenneth Archer. Many of their concerns overlap and so my responses to them are largely woven together. After a few general notes, I ask and respond to ten questions that the respondents implicitly or explicitly raise regarding my work. Those questions concern: Relationship of the Old Testament and New; the Spirit; Praise and Prayer; God's action in and through Agents; Spirit World; Royal Images for God; God's Judgment/'Punishment'; Covenant and Relationship; Creation and Fall; and the Book of Job.

In his early career, Kenneth Millar, better known as Ross Macdonald, emulated the style of Dashiell Hammett and Raymond Chandler. By the 1960s he had established himself as a distinct voice in the hardboiled genre. In his Lew Archer series, he conveys the complexity of his characters and settings primarily by the use of metaphors. In his 1966 novel Black Money the device performs three functions. In the case of minor characters, the author uses metaphors to comment on Californian society. Concurrently, metaphors describing major characters allow him to develop their dramatic arcs, whereas the recurring elements of the leitmotif serve to demonstrate the narrating detective’s growing concerns with the ongoing investigation. Arguably, it was Macdonald’s use of metaphors that helped define his unique voice.

AbstractThe paper traces the early Pentecostal appropriation of common sense realism. In the first part of this paper, a general overview of the ascent of common sense philosophy will be provided. In the second part, the early Pentecostal's Bible Reading Method shall be examined, as it is characterized by Kenneth J. Archer, highlighting how early Pentecostals employed a Baconian-influenced common sense method, one that produced confidence that the facts of Scripture could be discovered as clearly as the facts of science. Although this paper is primarily a reconstruction of the historical influence that common sense philosophy had upon early Pentecostalism, in the third part I offer a suggestion for (a) contemporary reappropriation of common sense realism within the Renewal movement.

AbstractPart one of the following essay will present a brief explication of the Baconian common sense method. The second part will examine the early Pentecostal's Bible Reading Method as characterized by Kenneth J. Archer. It will be noted that early Pentecostals wedded common sense realism to the Baconian scientific method in the Baconian common sense method. Part three will examine various weaknesses and implications of Archer's representation regarding early Pentecostals and their use of the Bible Reading Method. In part four I will propose my own hermeneutic of Scripture in dialogue with Francis Bacon, Thomas Kuhn, Bernard Lonergan, and Vern Poythress in order to construct a modern, Spirit-inspired, scientifically informed hermeneutic for appropriation by the Renewal movement. I will contend that the Renewal movement should adopt such a hermeneutic in order to be taken seriously in today's (somewhat) scientifically literate culture.

Abstract This paper provides a close reading of a representative selection of suburban poems by the American writer John Updike (1932–2009). It also draws upon the existing scholarship by suburban studies historians (including Kenneth Jackson, Dolores Hayden, John Archer, and James Howard Kunstler), who have argued for the cultural importance of American suburbia in fostering identity, and develops the argument by literary critics including Jo Gill, Peter Monacell, and Robert von Hallberg, who have championed the existence of a viable suburban tradition in postwar American poetry. By scrutinizing poems from Updike’s early poetry, represented by “Shillington”, up to his closing lyric opus, “Endpoint”, the paper argues that Updike’s unrecognized importance is that of a major postwar poet whose lyric work chronicles, in memorable, diverse, and important ways, the construction of individual identity within suburbia, in a dominant setting for most Americans from the 1950s up to the present.

This current volume of Experiment, Volume 20, entitled “Kinetic Los Angeles: Russian Émigrés in the City of Self-Transformation” (Guest Editor, Lorin Johnson) is dedicated to the contributions of Russian artists who lived and worked in Los Angeles in the fields of dance performance, visual arts, and film, exploring how the city was influenced by their presence as well as the reasons that drew them to Southern California. While many of the essays focus on the émigré community that gathered in Los Angeles during the 1930s-1940s, the investigation of “Russianness” in the city is not confined to those decades. Each essay in this volume is accompanied by photographs and illustrations which help to tell this story, many of which are previously unpublished and recently discovered in private collections and archives in the U.S. and abroad. Contributors include: Kenneth Archer, John Bowlt, Donald Bradburn, Elizabeth Durst, Lynn Garafola, Karen Goodman, Millicent Hodson, Lorin Johnson (Guest Editor), Mark Konecny, Debra Levine and Oleg Minin.

Relational sociology rejects substantialism and focuses its attention on the complexity and dynamics of all forms of social life and the subjective nature of action. Relational thinking is an alternative attitude to both functional structuralism and strongly individualistic-oriented theories. Relationality emphasizes the processual and emergent nature of reality. Actions— individual and collective—appear as successive stages of a specific process of events, and result from the configuration of relations and social interactions constituting a particular situation. Different conceptions of identity have been developed within relationally oriented sociology. The aim of the article is to summarize the narrative and realistic approaches, and to present how much they differ in their ontological assumptions. The constructionist concept of narrative identity presented by Margaret R. Somers, and Kenneth J. Gergen’s project of a “relational self,” illustrate the narrative approach. Pierpaolo Donati’s concept of the relational subject and the theory of agency developed by Margaret S. Archer exemplify the position of critical realism.

Abstract This is a conceptual work about the form-finding of a hybrid tensegrity structure. The structure was obtained from the combination of arch-supported membrane systems and diamond-type tensegrity systems. By combining these two types of structures, the resulting system features the “tensile-integrity” property of cables and membrane together with what we call “floating-bending” of the arches, a term which is intended to recall the words “floating-compression” introduced by Kenneth Snelson, the father of tensegrities. Two approaches in the form-finding calculations were followed, the Matlab implementation of a simple model comprising standard constant-stress membrane/cable elements together with the so-called stick-and-spring elements for the arches, and the analysis with the commercial software WinTess, used in conjunction with Rhino and Grasshopper. The case study of a T3 floating-bending tensile-integrity structure was explored, a structure that features a much larger enclosed volume in comparison to conventional tensegrity prisms. The structural design of an outdoor pavilion of 6 m in height was carried out considering ultimate and service limit states. This study shows that floating-bending structures are feasible, opening the way to the introduction of suitable analysis and optimization procedures for this type of structures.

Background Oral health contributes significantly towards quality of life (QOL). Edentulousness falls in a special category among the various conditions of dental origin. Dietary intake and nutritional status is affected by poor oral health and loss of teeth. This will ultimately compromise general health.Objective To identify the frequency of Kennedy’s classification among partial edentulous patients and to compare occurrence among gender and between upper and lower arches and also to compare edentulousness among employed and unemployed population.Methods This study was carried out at Dhulikhel Hospital Dental Department. The study was conducted randomly among 194 patients in dental OPD who were partially edentulous. A structured pro forma was used to find out the edentulousness based on Kennedy,s classification.Results Among the Kennedy’s classification Class III was found to be most common. Among them females and unemployed group were found to have more edentulousness and upper arch was more common. It was also found that females were more conscious and get the replacement of missing teeth among which those having Class IV missing were replaced most often.Conclusion The Kennedy Class III partial edentulousness type is most commonly found in this study.Kathmandu Univ Med J 2013; 11(4): 325-327

Background: Partial edentulism is the state of loss of one or more but not all natural teeth. Edentulism can affect the esthetics of an individual and can have a negative psychological impact. Recording the frequency of partial edentulism and its nature along with its association with different socio-demographic parameters helps to plan the treatment need and goals of the population in that locality. This cross-sectional study was conducted to find out the frequency of partial edentulism among the patients visiting the dental college of BPKIHS and its teaching district hospitals.
 Methods: Two hundred partially edentulous patients were selected from four hospitals by purposive sampling and their socio-demographic parameters recorded. Intra-oral examination was done to classify partial edentulous spaces according to the Kennedy-Applegate system. Data was analyzed in SPSS version 11.5 and chi-square test was used to determine the association between independent (age-group, gender, socioeconomic status) and dependent variables (number of missing teeth).
 Results: In both the arches, Kennedy’s class III was the most prevalent type of edentulism. In the maxillary arch, 44.5% had Kennedy’s class III edentulism whereas in the mandibular arch 34.5% had Class III. Kennedy’s class IV was least common (4% in maxillary arch and 6.5% in mandibular arch). Forty-five partially edentulous patients above 50 years of age had ≥ 4 teeth missing and 140 were from medium socio-economic status.
 Conclusion: Kennedy’s class III partially edentulous arches were the most prevalent type of edentulousness with periodontal disease as major etiology. It was also seen that people with medium socio-economic status were more affected by tooth loss.

Edentulism is the state of being edentulous without natural teeth in the oral cavity. Edentulism leads to impairment of normal function, aesthetics, Comfort and speech which is followed by sequelae of undesirable events which includes occlusal discrepancies, migration and spacing of surrounding teeth, loss of space, supra eruption of teeth and temporomandibular disorders. The Variation in the number and location of the edentulous spaces and its complex relation to the remaining tooth structure or the natural teeth constrains the need to classify the partial edentulous arches. The aim of the current study was to assess the frequency of partial edentulism according to Kennedy's classification system. The retrospective study was conducted among the outpatient department of Saveetha Dental College and Hospital from June 2019- august 2019. The patient data was assessed. The data were tabulated using MS-Excel. The data was then analysed using IBM SPSS software (version 20). Pearson's chi-square test was done. Male predilection (62%) was identified in relation to partial edentulism. The most frequently observed edentulism in maxillary and mandibular arch was Kennedy's class III (23% and 21% respectively). While Kennedy class I and II were observed in patients aged between 50-80 years (11% and 14% respectively), whereas Kennedy's class IV was majorly observed among patients aged between 20-30 years (5%) (p<0.05). There was an increased frequency of Kennedy’s class I and II pattern and a decline in Kennedy’s class III and IV with increase in age.

e4142119This exploratory research focuses on the work of two beginning mentors - experienced teachers - and highlights their mentoring practices, the projected images of the performed processes and their relationships. We understand those practices as intentional actions directed to their demands - derived from continuous interpretation and decision-making processes - that aims to promote the mentees’ teacher professional learning. We analyzed the mentors' practices over 19 months as the interactions they established with the beginning teachers they mentored. It was observed that each mentor is constructing a mentoring personal style. In this process, they interpret themselves inserted in a certain context and to face the situations they develop a proper response. Their mentoring behaviors and practices reveal how much they rely on their teaching practices as they also demonstrate their decisions, acts, and the recognition of themselves as mentors, making it clear that they are building a framework for mentoring. The construction of a proper way of seeing oneself as a mentor and acting as such reveals patterns of mentoring, the characteristics of social, teaching and cognitive presences and the specificities of each interaction and, in a way, the learning of teachers experienced in this process.ResumoTrata-se de uma pesquisa exploratória que se volta para a atuação de duas mentoras iniciantes – professoras experientes – enfocando as práticas de mentoria, as imagens projetadas dos processos realizados e as relações que podem ser estabelecidas entre esses dois aspectos. Compreende-se que essas práticas são processos de ações intencionais – derivadas de processos contínuos de interpretação e de tomada de decisão – voltadas para a aprendizagem profissional da docência e dirigidas às demandas dos professores iniciantes acompanhados. Foram analisadas as produções das mentoras ao longo de 19 meses e as interações estabelecidas com as professoras iniciantes que acompanharam. Observa-se que cada mentora está construindo um estilo próprio de ser mentora e nesse processo elas vão interpretando a si mesmas inseridas em determinado contexto e desenvolvendo uma resposta própria às situações enfrentadas. Seus comportamentos e práticas de mentoria revelam o quanto se apoiam na própria prática docente e ao mesmo tempo demonstram que tomam decisões, agem e se reconhecem como mentoras. Evidencia-se que elas estão construindo quadros de referência para a mentoria. A construção de um modo próprio de se ver como mentora e de atuar como tal revela padrões de mentoria, as características das presenças social, docente e cognitiva e as especificidades de cada interação e, de certo modo, as aprendizagens das professoras experientes nesse processo.Palavras-chave: Formação de professores, Programa de indução, Professores experientes, Práticas de Mentoria.Keywords: Teacher education, Induction program, Experienced teachers, Mentoring practices.ReferencesBOLÍVAR, Antonio; DOMINGO, Jesus; FERNANDEZ, Manuel. La investigación biográfico-narrativa en educación: enfoque y metodología. Madri, Espanha: Editorial La Muralla S.A., 2001.BRAGA, Fabiana Marini et al. Diálogo intergeracional virtual, conversas interativas em um Programa Híbrido de Mentoria: temas e características da abordagem de professoras experientes-mentoras, artigo não publicado, 2019.GARRISON, Randy; ANDERSON, Terry; ARCHER, Walter. Critical thinking, cognitive presence and computer conferencing in distance education. American Journal of Distance education, Pennsylvania, v.15, n.1, p.7-23, 2001. Disponível em https://www.researchgate.net/publication/245816834_Critical_Thinking_Cognitive_Presence_and_Computer_Conferencing_in_Distance_Education. Acesso em: 10 de fev. de 2010.GLICKMAN, Carl D. The Developmental Approach to Supervision. Educational Leadership. Virginia. v.38, n.2, p178-80, nov. 1980.HONG, Yihua; MATSKO, Kavita Kapadia. Looking Inside and Outside of Mentoring: Effects on New Teachers’ Organizational Commitment. American Educational Research Journal, December 2019, Vol. 56, No. 6, pp. 2368–2407.HUBERMAN, Michaël. O ciclo de vida profissional dos professores. In: NÓVOA, Antonio. (Org.). Vidas de professores. 2. ed. Porto: Porto Editora, p. 31-61, 1995.KENNEDY, Mary. Parsing the Practice of Teaching. Journal of Teacher Education, v. 67, n. 1, p. 6-17, 2016.MARCELO, Carlos; VAILLANT, Denise. Desarrollo profesional docente: Cómo se aprende a enseñar? Narcea, S.A. de Ediciones, 176p, 2009.MIZUKAMI, M. da G. N; REALI, A. R. Aprender a Ser Mentora: um estudo sobre reflexões de professoras experientes e seu desenvolvimento profissional. Currículo sem Fronteiras, v. 19, n. 1, p. 113-133, jan./abr. 2019. Disponível em: http://www.curriculosemfronteiras.org/artigos.htm Acesso em 13 de dezembro de 2019.NÓVOA, Antonio. Entre a formação e a profissão: ensaio sobre o modo como nos tornamos professores. Currículo sem Fronteiras, v. 19, n. 1, p. 198-208, jan./abr. 2019. Disponível em: http://www.curriculosemfronteiras.org/artigos.htm Acesso em 13 de dez. de 2019.REALI, Aline Maria de Medeiros Rodrigues; TANCREDI, Regina Maria Simões Pucinelli; MIZUKAMI, Maria da Graça Nicoletti. Programa de mentoria on-line: espaço para o desenvolvimento profissional de professoras iniciantes e experientes. Educação e Pesquisa. São Paulo. 34 (1), pp. 77-95. jan./abr., 2008. Disponível em: http://www.scielo.br/scielo.php?pid=S1517-97022008000100006&script=sci_abstract&tlng=pt Acesso em 5 de mai. de 2015.SNOECKX, Mireille. Formadores de Professores, uma identidade ainda balbuciante. In ALTET, Marguerite et. al. A profissionalização dos formadores de professores. Porto Alegre: Artmed. 2003.

Summary The complex physics of multiphase flow in porous media are usually modeled at the field scale using Darcy-type formulations. The key descriptors of such models are the relative permeabilities to each of the flowing phases. It is well known that, whenever the fluid saturations undergo a cyclic process, relative permeabilities display hysteresis effects. In this paper, we investigate hysteresis in the relative permeability of the hydrocarbon phase in a two-phase system. We propose a new model of trapping and waterflood relative permeability, which is applicable for the entire range of rock wettability conditions. The proposed formulation overcomes some of the limitations of existing trapping and relative permeability models. The new model is validated by means of pore-network simulation of primary drainage and waterflooding. We study the dependence of trapped (residual) hydrocarbon saturation and waterflood relative permeability on several fluid/rock properties, most notably the wettability and the initial water saturation. The new model is able to capture two key features of the observed behavior:non-monotonicity of the initial-residual curves, which implies that waterflood relative permeabilities cross; andconvexity of the waterflood relative permeability curves for oil-wet media caused by layer flow of oil. Introduction Hysteresis refers to irreversibility or path dependence. In multiphase flow, it manifests itself through the dependence of relative permeabilities and capillary pressures on the saturation path and saturation history. From the point of view of pore-scale processes, hysteresis has at least two sources: contact angle hysteresis, and trapping of the nonwetting phase. The first step in characterizing relative permeability hysteresis is the ability to capture the amount of oil that is trapped during any displacement sequence. Indeed, a trapping model is the crux of any hysteresis model: it determines the endpoint saturation of the hydrocarbon relative permeability curve during waterflooding. Extensive experimental and theoretical work has focused on the mechanisms that control trapping during multiphase flow in porous media (Geffen et al. 1951; Lenormand et al. 1983; Chatzis et al. 1983). Of particular interest to us is the influence of wettability on the residual hydrocarbon saturation. Early experiments in uniformly wetted systems suggested that waterflood efficiency decreases with increasing oil-wet characteristics (Donaldson et al. 1969; Owens and Archer 1971). These experiments were performed on cores whose wettability was altered artificially, and the results need to be interpreted carefully for two reasons:reservoirs do not have uniform wettability, and the fraction of oil-wet pores is a function of the topology of the porous medium and initial water saturation (Kovscek et al. 1993); andthe coreflood experiments were not performed for a long enough time, and not enough pore volumes were injected to drain the remaining oil layers to achieve ultimate residual oil saturation. In other coreflood experiments, in which many pore volumes were injected, the observed trapped/residual saturation did not follow a monotonic trend as a function of wettability, and was actually lowest for intermediate-wet to oil-wet rocks (Kennedy et al. 1955; Moore and Slobod 1956; Amott 1959). Jadhunandan and Morrow (1995) performed a comprehensive experimental study of the effects of wettability on waterflood recovery, showing that maximum oil recovery was achieved at intermediate-wet conditions. An empirical trapping model typically relates the trapped (residual) hydrocarbon saturation to the maximum hydrocarbon saturation; that is, the hydrocarbon saturation at flow reversal. In the context of waterflooding, a trapping model defines the ultimate residual oil saturation as a function of the initial water saturation. The most widely used trapping model is that of Land (1968). It is a single-parameter model, and constitutes the basis for a number of relative permeability hysteresis models. Other trapping models are those of Jerauld (1997a) and Carlson (1981). These models are suitable for their specific applications but, as we show in this paper, they have limited applicability to intermediate-wet and oil-wet media. Land (1968) pioneered the definition of a "flowing saturation," and proposed to estimate the imbibition relative permeability at a given actual saturation as the drainage relative permeability evaluated at a modeled flowing saturation. Land's imbibition model (1968) gives accurate predictions for water-wet media (Land 1971), but fails to capture essential trends when the porous medium is weakly or strongly wetting to oil. The two-phase hysteresis models that are typically used in reservoir simulators are those by Carlson (1981) and Killough (1976). A three-phase hysteresis model that accounts for essential physics during cyclic flooding was proposed by Larsen and Skauge (1998). These models have been evaluated in terms of their ability to reproduce experimental data (Element et al. 2003; Spiteri and Juanes 2006), and their impact in reservoir simulation of water-alternating-gas injection (Spiteri and Juanes 2006; Kossack 2000). Other models are those by Lenhard and Parker (1987), Jerauld (1997a), and Blunt (2000). More recently, hysteresis models have been proposed specifically for porous media of mixed wettability (Lenhard and Oostrom 1998; Moulu et al. 1999; Egermann et al. 2000). All of the hysteresis models described require a bounding drainage curve and either a waterflood curve as input, or a calculated waterflood curve using Land's model. The task of experimentally determining the bounding waterflood curves from core samples is arduous, and the development of an empirical model that is applicable to non-water-wet media is desirable. In this paper, we introduce a relative permeability hysteresis model that does not require a bounding waterflood curve, and whose parameters may be correlated to rock properties such as wettability and pore structure. Because it is difficult to probe the full range of relative permeability hysteresis for different wettabilities experimentally, we use a numerical tool--pore-scale modeling--to predict the trends in residual saturation and relative permeability. As we discuss later, pore-scale modeling is currently able to predict recoveries and relative permeabilities for media of different wettability reliably (Dixit et al. 1999; Øren and Bakke 2003; Jackson et al. 2003; Valvatne and Blunt 2004; Al-Futaisi and Patzek 2003, 2004). We will use these predictions as a starting point to explore the behavior beyond the range probed experimentally. In summary, this paper presents a new model of trapping and waterflood relative permeability, which is able to capture the behavior predicted by pore-network simulations for the entire range of wettability conditions.

Introdução: A reabilitação oral dos pacientes parcialmente dentados pode ser realizada através de próteses parciais removíveis (PPRs) e constitui fator essencial para a manutenção da qualidade de vida. Objetivo: Identificar quais retentores são mais utilizados nas próteses parciais removíveis da cidade de Patos-PB. Metodologia: Foram selecionados 5 laboratórios de prótese dentária e nestes avaliados 10 modelos em gesso da arcada superior e 10 da arcada inferior, bem como as próteses parciais removíveis confeccionadas para cada modelo. As PPRs foram examinadas uma por uma quanto a sua Classificação seguindo Kennedy e quais os retentores encontrados. Resultados: A Classe III, Mod 1 de Kennedy foi a classe encontrada com maior prevalência na maxila (24%), seguida da Classe III, Mod 2 (22%). Enquanto que na mandíbula, a Classe mais prevalente foi a Classe I (36%). Em relação aos retentores, foram analisados 201 grampos na maxila sendo o mais prevalente o grampo de abraçamento Circunferencial Simples (32%). Na mandíbula foram encontrados 191 retentores e o grampo de ação de ponta tipo “T” (40%) foi o mais prevalente. Conclusão: A Classificação de Kennedy mais encontrada em PPRs, da cidade de Patos, foram a Classe III, Mod 1 na maxila e a Classe I, na mandíbula e os retentores mais utilizados, foram os circunferenciais simples na maxila e o grampo de ação de ponta do tipo “T” na mandíbula.Descritores: Odontologia; Prótese Parcial Removível; Grampos Dentários.ReferênciasCarreiro AFP, Bezerra CFR, Amaral BA, Piuvezam G, Seabra EG. Aspectos biomecânicos das próteses parciais removíveis e o periodonto de dentes suporte. R Periodontia. 2008;18(1):105-13.Meyer GA, Schindler JM, Urbanetto CR, Leon BLT. Avaliação dos planejamentos realizados por técnicos em prótese dentária em modelos Classe I de Kennedy. Rev Bahiana Odonto. 2012;3(1):26-36.Ribeiro SDO, Albuquerque ACLD, Rodrigues RA, Santos PPDA. Relação entre desordens temporomandibulares (dtm) e pacientes portadores de próteses parciais removíveis. Odontol Clín Cient. 2015;14(1):565-70.Carvalho W, Silva SRB, Barboza ESP, Gouveia CVD. Prótese parcial removível retida por implantes e dente em maxila parcialmente edêntula. RGO. 2006;54(3):244-48.Flora CD, Sensever FA, Skupien JA, Zanatta FB, Antoniazzi RP. Condições periodontais de usuários de prótese parcial removível. Disciplinarum Scientia. 2017;18(3):489-500.Kliemann C, Oliveira W. Manual de Prótese Dentária. São Paulo: Santos; 1996.Pun DK, Waliszewski MP, Waliszewski KJ, Berzins D. Survey of partial removable dental prosthesis (partial RDP) types in a distinct patient population. J Prosth Dent. 2011;106(1):48-56.Azevedo JS. SB BRASIL 2010: Uso e necessidade de prótese dentária em idosos. [dissertação]. Pelotas (RS): Universidade Federal de Pelotas; 2014.Zavanelli RA, Guilherme AS, Tavares LR. Prevalência de arcadas parcialmente desdentadas de pacientes atendidos na Faculdade de Odontologia–UFG de 1994 a 2004. Robrac. 2007;16(42):23-27.Souza FN, Gomes CS, Rodrigues ARC, Tiossi R, Gouvêa CVD, Almeida CC. Partially edentulous arches: a 5-year survey of patients treated at the Fluminense Federal University Removable Prosthodontics Clinics in Brazil. J Prosthod. 2015;24(6):447-51.Duarte ARC, Paiva HJ. Avaliação do nível de conhecimento e conscientização do cirurgião-dentista e do técnico de prótese dental, em relação ao planejamento e execução de próteses parciais removíveis. Rev ABO Nac. 2000;8(4):232-37.Alencar GXD, Pedrosa MDS, Lopes LDS. Avaliação do planejamento em modelos para próteses parciais removíveis recebidos por laboratórios de Teresina, Piauí. Salusvita. 2016;35(3):423-35.Araujo TP, Gonçalves CJS, Bezerra ALT, Cruz DF, Fernandez ML, Mukai MK et al. Prevalência dos tipos de arcos desdentados, preparo de boca e qualidade dos modelos para próteses removíveis na Paraíba. Rev bras ciênc saúde. 2012;16(2):213-18.Zlataric DK, Celebric A, Valentic-Peruzovic M. The effect of removable partial dentures on periodontal health of abutment teeth. J Periodontol. 2002;73(2):137-44.Todescan R, Silva EEB, Silva OJ. Atlas de prótese parcial removível. São Paulo: Santos; 1996.Pezzoli M, Appendino P, Calcagno L, Celasco M, Modica R. Load transmission evaluation by removable distal-extension partial dentures using holographic interferometry. J Dent. 1993;21(5):312-16.

Background: Ocular biometrics is an easy to perform, safe, non-invasive and low-cost exam that provides immediate results with excellent definition. Brachycephalic dogs have a high risk of developing eye problems, and the early appearance is frequent due to factors linked to anatomical conformation. The aim of the present study was to perform eye biometrics in French Bulldog dogs through ultrasound, correlating with body and head size.Materials, Methods & Results: Clinical examination, ophthalmic examination and ocular biometrics were performed using B-mode ultrasonography, using a 10 megahertz frequency transducer in 30 French Bulldog dogs, aged 1-6 years old, male and females from the Br Lord's Staff kennel and the Radiovet - Rio de Janeiro veterinary clinic. A drop of anesthetic eye drops containing 1% tetracaine hydrochloride and 0.1% phenylephrine hydrochloride was instilled and the direct contact technique was performed with the cornea with the help of sterile water-soluble lubricating acoustic gel between the transducer and the examined eye. These measurements were correlated with cephalic measurements (frontal-occipital distance, skull circumference, distance between the zygomatic arches and frontal-nasal distance) and with body measurements (length of the dog from the cranial end of the sternum to the ischial tuberosity and height of the withers from the cranial angle of the scapula to the ground). No chemical restraint was necessary. Dogs were positioned seated or in sternal decubitus, with slight physical restraint. All measurements were performed by the same examiner. There was no significant difference between the parameters of male and female eye biometrics and there was no difference between the measurements of the right and left eyes. The mean value of axial bulb length was 19.51 ± 0.58 mm, for the thickness of the lens, 6.71 ± 0.66 mm, for depth of the anterior chamber, 2.36 ± 0.89 mm and for the depth of the vitreous chamber, 10.44 ± 1.32 mm, showing the same pattern as other studies with brachycephalic dogs. The size of the dog or skull did not interfere with the measurements of eye biometrics.Discussion: The French Bulldog breed was selected for this study due to the scarcity of publications on ocular biometrics in brachycephalic breeds.The knowledge of ocular biometrics is extremely important for the understanding and early diagnosis of some anomalies related to the growth of ocular structures. It is an essential method of exploration and diagnosis of diseases of the eye bulb and orbit, being indicated to evaluate variations in size, shape and position of the eye bulb. The casuistry of these dogs with eye diseases in the ophthalmological clinical routine is large, since they have a high risk of developing eye problems. Ultrasonography is an easy to access and safe, non-invasive exam and the direct corneal contact technique allows clearer images. As there was no significant difference in measurements of intraocular structures between the right and left eyes, the normal eye can be a reliable parameter to establish the prosthetic eye bulb for the injured or enucleated eye. In the present study, there were 21 females and 9 males, which may have generated interference in these values since there was no sex ratio. The measurements of axial length, lenticular thickness, depth of the anterior chamber and the vitreous chamber had values similar to other studies with brachycephalic dogs.


 
 
 Contemporary approaches to agency and film authorship, such as performativity and “techniques of the self,” (Staiger, 2003) provide an explanation for the expression of agency within the always-already-existing structure of the text, yet fail to account for, firstly, how the individual determines which agential choices to make and, then, interacts with society with causality and efficacy (Staiger, 2003). Critical Realism, in particular Archer’s 2003 theory of the internal conversation (Structure), provides an alternative theoretical framework to postmodernism by acknowledging both the existence of orders of reality that impact upon the individual’s choices, and the effects of cultural and societal structures. I would suggest that postmodernism has restricted our understanding of human agency and how individual choice is determined within the highly structured creative industries. Although interplay between agency and structure applies to all creative collaborators, in this essay I will focus on the agency of the screenwriter as author (an overlooked aspect of film authorship), as Adaptation (Spike Jonze, 2002) provides an excellent illustration of the function of the internal conversation in the development of a screenplay. Adaptation, written by highly regarded contemporary screenwriter Charlie Kaufman, also presents an interesting comment on the role of the screenwriter within the Hollywood film industry, and foregrounds the notion of creative film authorship. The film can be considered a postmodern film, in its intertextuality, deconstruction of both the subject and the filmic structure, the parodic theme and the oppositional characterisation. Charlie Kaufman even becomes his own textual creation represented in the film, and many of the other characters in the film are based on actual people. However, the film also contains representations of reality, conflicting accounts of authorial intent, and a positioning of the subject and object that realises reflexive deliberation and human agency. Thematically, the film expresses a philosophical concern with individual human identity, and societal interaction and development. I would suggest that, although the film is usually considered a fine example of the postmodern film, from a Critical Realist perspective, it can be read as providing a critique of the “postmodern condition”, in particular the repetitive, formulaic mainstream Hollywood film. Archer argues that there must of necessity be both a separation of the individual from society or culture and an acknowledged mingling of self and society. Agency is dependent upon engagement with social and cultural structures, but this could not happen unless there were other (non-social) identifiable aspects to the individual (Structure, 7). According to Archer, natural reality consists of three orders: nature, which concerns physical well-being; practice, where performative achievement is necessary for work; and the social, where the individual’s main concern is in the achievement of self-worth (Structure, 138). The sense of self, or continuity of consciousness, constitutes the natural human and is universal. Therefore the individual, although a part of society, does not exist because of society, but because of reality. Without this continuing sense of self, an individual would not be able to “appropriate social expectations and … recognise what is expected of them” (“Realism”, 13). For society to function effectively, people must have a continuity of consciousness that transcends society. Human agency “originates in people themselves, from their own concerns, forged in the space between the self and reality as a whole” (“Realism”, 12). This is a liminal space—that is, an unstructured area of imagination—in which a screenwriter who wishes to create original acts of authoring operates. The internal conversation takes the form of a dialogue conducted with oneself, not with society, but about society. The individual conducts a conversation between their subjective self, which asks a question, and their objective self, which provides the answer. The person is speaking to themselves, but occupying transitory positions in order to process information, thoughts, and possible courses of action. It is a method for arriving at self-knowledge and decisions through the process of “discernment, deliberation and dedication” (Archer, Structure, 138). Through this internal process, individuals prioritise their concerns, and how they will accommodate those other necessary aspects of reality that may impinge on what they care about most. This process develops and changes as individuals mature, and as they are affected by all aspects of reality. The internal conversation provides a conciliatory approach to the interplay between the filmic culture industry and the individual screenwriter. The screenwriter as author can be seen to negotiate personal projects within the structural constraints and enablements of the film production process, and to enact agency through personal reflexive deliberation, choice and thematic style. How socially efficacious the resulting screenplay is depends upon the screenwriter’s authorship skills, the story’s cultural resonance, societal relevance, and the freedoms and impositions encountered within the filmic industry structure. Adaptation can be read as illustrative of this process. The film opens with an inner dialogue. “Kaufman” (the character, as opposed to Charlie Kaufman, the writer) is questioning, and answering, himself regarding his concerns. He considers his current situation, and his ability as a screenwriter, then deliberates on possible strategies for improving himself. This inner conversation continues throughout the film, both as voiceover, and as a dual characterisation, that of “Kaufman” in relation to his identical twin brother, Donald. Immediately we are given an insight into “Kaufman’s” mind. He is concerned with his health, his work practices and his self-worth. The three orders of reality are then presented as themes in the film. Nature is addressed through the subject of the book: orchids and their adaptability, and how this relates to human beings and their mutability. Practice is seen in “Kaufman’s” and Donald’s opposite approaches to writing a screenplay, the effects of the accepted industry format and expectations, and the eventual resolution of the film. Finally, society itself is questioned through the contrasting self-worth of the characters. “Kaufman” compares himself to: Orlean, as a competent writer; Laroche, as possessor of self-esteem and passion; and Donald, as carefree and socially adept. That the film encompasses all orders of reality reinforces Archer’s point that individuals must conceive of projects that “establish … satisfactory practices in the three orders … [as this process is] the inescapable condition for human beings to survive or thrive” (Structure, 138). “Kaufman” entertains the project of adapting a book into a screenplay when he meets with Valerie, an attractive executive producer. However, once he has entered into the project, he must negotiate the limitations and possibilities of the cultural structures of both the film industry and the book. “Kaufman” is considered for the adaptation because of his reputation as an unusual screenwriter. However, when he states that he wants to let the movie exist, and not turn it into a typical Hollywood product with car chases, turning the orchids into poppies, cramming in sex and guns, and characters learning profound life lessons, Valerie suggests that Orlean and Laroche could fall in love. Immediately “Kaufman’s” ideas are constrained. He is subjected to the hierarchical structure of the Hollywood film industry where the producer holds power. The screenwriter is an employee, contracted to do a job: that is, write a screenplay that can be made into a high-grossing film. As well, “Kaufman” has read the book and wishes to stay true to Orlean’s story. This poses another limitation, especially given that The Orchid Thief is a non-fiction book, a factual account of a rather unique individual (John Laroche) who came to Orlean’s attention when Laroche was charged with orchid poaching from a Florida state preserve. The book has no narrative structure, but digresses among Laroche’s story, Orlean’s personal reflections, the passion orchids inspire in enthusiasts, and the history of orchids and orchid hunters. However, once “Kaufman” has accepted the project, he must begin his process of deliberation and creation, and negotiate his strategy for completing the screenplay. If we take the fictional identical twin brother Donald to be “Kaufman’s” alter-ego, the two characters can be seen as separate facets of “Kaufman’s” negotiation of The Orchid Thief project, and their conversation reflects an internal dialogue of deliberation. By juxtaposing Donald and “Kaufman” as both the subjective (or speaking) self, and the objective (or answering) self, we can follow the internal dialogue that “Kaufman” conducts during the film. This highlights “Kaufman’s” concerns and possible choices regarding the project he has undertaken. He questions the task ahead of him and weighs the options available. The easy way forward would simply be to write a repetitive generic Hollywood film, and still get paid a lot of money. But “Kaufman” has ideals, and values his writing as a craft: as creating a literary work. In contrast, Donald finds it easy to write a screenplay by following the accepted cultural order, whereas “Kaufman” has personal (authorial) concerns that he wishes to express. “Kaufman’s” specific interests take precedence in his work and can be seen as other orders of reality impinging upon the social order. In order to understand the book he is adapting (and also to fulfill his own personal concerns as agential author) “Kaufman” must attempt to encompass the natural-order theme of the book, and the social-order expectations of the film industry. He has to decide which is more important. Initially, “Kaufman’s” preference is for the reality of the book, the actuality of how the world is, and this is where his interests as both a writer and an individual lie. This focus can be seen through the themes of Charlie Kaufman’s other screenplays. In his films, his main thematic concern—as he himself states—is “issues of self and why I’m me and not that other person” (cited in Kennedy). Charlie Kaufman delves deep into the notion of subjectivity, agency and human consciousness. However “Kaufman” (and, the implication is, in real life Charlie) is constrained by the cultural order of Hollywood which, although he tries to evade it, continually imposes limitations upon the completion of this screenplay. Donald is that side of “Kaufman” which keeps reminding him that, although he has freedom as a respected screenwriter, there are some aspects of writing for film that cannot be discounted. “Kaufman” and Donald are two sides of the same coin. They represent “Kaufman’s” inner dialogue and his internal conflict. The twin screenwriting characters personify his struggle to produce a screenplay that satisfies his ultimate personal convictions as a unique and creative writer (to remain true to the thematic concerns of the book) and the need to conform to the accepted Hollywood ideal of a high-budget feature film. The film can also be read as the actual writing of the screenplay unfolding on the screen. As “Kaufman” writes it, this is what we see visually. For the first two acts of the film, “Kaufman” succeeds in portraying his thematic concerns with the progress of life, and the necessity of change, and his involvement in the process of screenwriting. In this he stays true to Orlean’s book, even including digressive “chapters” where he not only introduces the real characters (that is, the story of the book), but also investigates the history of orchids and the concept of adaptability. “Kaufman” balances these thematic interests against each other through his own process of writing the screenplay. He also addresses issues that are of concern to him personally. He deliberates on these through the juxtaposition of his character “Kaufman” with those of Orlean and Laroche. He regards Orlean as the consummate writer, shown comfortably working in her office, in contrast to “Kaufman” hunched over an old typewriter perched on a chair. Laroche is a passionate individual who becomes engrossed in projects, but can then abandon them completely. “Kaufman” finds this difficult, as he is a screenwriter who, although passionate about his craft, cannot distance himself from his project. These oppositions are further reinforced through the character of Donald, who adopts a formulaic approach to writing his own film, to finishing his thriller-screenplay, while “Kaufman” is still struggling with his own adaptation. Once Donald has completed his film, he divests himself of all interest in it except for how much money he will receive. Donald also shows passion, not for his craft, but for women, whereas “Kaufman” finds it difficult to maintain a continuing relationship and resorts to fantasy and masturbation. “Kaufman” becomes so involved in the writing of the screenplay that Orlean becomes a part of his sexual fantasies, yet he cannot bring himself to meet her face to face. The opposition and comparison of these three characters, “Kaufman”-and-Donald (as one composite character), Orlean, and Laroche, is also reflected in Donald’s screenplay, The Three. Donald’s screenplay is about a cop, trying to find a serial killer’s latest victim; she becomes his Holy Grail. However, Donald’s three characters are, in fact, all the one character, who is suffering from multiple personality disorder. In Adaptation, “Kaufman” is questioning himself about aspects of his personality and providing the answers to those queries through other characters. As the search for perfection is Laroche’s Holy Grail, and passion is Orlean’s, for “Kaufman” it is the completion of the screenplay with integrity and aplomb. What “Kaufman” questions about the filmic reality of, and complications with, Donald’s screenplay are in fact included in “Kaufman’s” own screenplay that we see unfolding on the screen. The two screenplays are questioning and answering each other, and represent an internal conversation. Through these characterisations (and in particular the dialogic interactions with Donald), “Kaufman” is diagnosing his circumstances. By the end of the second act, “Kaufman” is coming to a realisation that it would have been much easier to write something else, anything else (including The Three), than attempting to complete the project he has started, and maintain his stance regarding the truth of the book, and the reality of life. In the third act, “Kaufman” accepts that he cannot complete his project and admits he needs help. However, he cannot simply cease working, as this would reflect on his other concerns: those of his own well-being and his work ethic, as well as his social standing as a Hollywood screenwriter. He is dedicated to completing the screenplay, but has to reassess his methods, and his options. His deliberations become more conventional, in keeping with the need to accommodate the constraints of the Hollywood cultural structure, and it is here that “Kaufman” must abandon his idealistic approach and allow Donald to take over. “Kaufman” cannot sustain his original concern of staying true to Orlean’s book and also maintaining the screenplay structure. He has to negotiate the limitations and consider new possibilities. According to Archer, “Once an agential project has activated a constraint or enablement, there is no single answer about what is to be done, and therefore no one predictable outcome” (Structure, 131). This is illustrated in the film, through the variant scenic possibilities “Kaufman” imagines and attempts to coalesce into his screenplay. However, he cannot bring the screenplay to an acceptable (and therefore, satisfactory) climax and resolution. “Kaufman” becomes like the serial killer in Donald’s script, who, because he is forcing his victim to eat herself, is also eating himself to death. In the same way, the film begins to consume and kill the characters one by one. “Kaufman” has a problem that he must overcome. He achieves this by making the third act a fiction of reality, and the characters into caricatures. The third act, “Kaufman’s” Japanese paper ball which, when dropped into water turns into a flower, is a metaphor, where the film turns back on itself. Instead of showing the reality of the book, the book becomes a fiction of the film. Donald takes over, and the climax of the film provides all the conventions of a typical Hollywood film: much more like Donald’s generic thriller than “Kaufman’s” initial premise. All “Kaufman’s” detested conventions are included: Orlean and Laroche fall in love, the Ghost Orchid is a potent psychedelic, there are guns, car chases, and death. “Kaufman” as protagonist learns a profound life lesson, and the deus ex machina is included, not once, but twice. An unsuspecting Ranger causes an horrific car accident and Laroche gets attacked by an alligator. Orobouros has been let loose. The characters have turned on themselves and are being deconstructed to death. Charlie Kaufman’s screenplay both encompasses the postmodern and rejects it. Through his writing skill, his unique plot conventions and his character development, he lays bare the contemporary conceptions of reality, filmic reality, and the influence of Hollywood production on both the audience and the screenwriter. He addresses the oppositional: the creative voice and the clichéd utterance; reality and fiction; disappointment and fulfillment; entrapment and freedom; and creates a new totality, a unique film that provides an alternative to the tired screenwriting paradigm. That he has managed to adapt a non-fiction book, insert real people as characters within the film, and write a critically acclaimed screenplay, shows both his skill and craft as a screenwriter and his efficacious agency. He has posited that there is an alternative to the conventional Hollywood film and that film can pose the “big” questions, about life, about what it means to be human and why things don’t change. Charlie Kaufman has taken the postmodern film, turned it inside out, and managed to not only expose the fiction, but embrace the reality. Adaptation provides a visual example of both the interplay between individual agency and socio-cultural structure and the screenwriter as author. For most of the film, “Kaufman” occupies a liminal space that—although existing in reality—is separate from society and the natural world. This, it could be said, is the “in-between space” of the practice of the screenwriter. It is a creative area of communitas (in the case of the screenwriter, as singular, rather than as a group); an unstructured equality that exists between boundaries, and where meaning is found in the imagination of a writer. In this liminal space, the author lives in a world of images and words, of personal concerns and the desire to share stories, but is always mindful of the restricted, accepted, mainstream film structure. The screenwriter’s liminal space is both expressively free and creatively constricted. Yet, because of this, the screenwriter provides an excellent example of the role of the internal conversation in the mediation of agency within cultural and societal structures. A discussion of agency and authorship is not simply a matter of repetitive cultural discourses, or existing social structures, but an incorporation of all orders of reality. It is through the formulation of specific projects that agents interact with social and structural power. Adaptation presents the Critical Realist concept that human beings and society are continually changing and developing, and neither agents, nor structure, can restrict the other completely. The creative agent absorbs current shifts in culture and society, reflects topical concerns, and envisages and expresses alternative ideas, even those opposed to postmodernism. Authorial agency, and indeed all individual human agency, is an ongoing process of adapting, however, as Mahatma Ghandi stated, “Adaptability is not imitation. It means power of resistance and assimilation”. References Archer, Margaret S. “Realism and the Problem of Agency.” Journal of Critical Realism 5.1 (2002). 28 Aug. 2005 http://journalofcriticalrealism.org/archive/JCRv5n1_archer11.pdf>. ———. Structure, Agency and the Internal Conversation. Cambridge: Cambridge UP, 2003. Kaufman, Charlie and Kaufman, Donald. Adaptation 2000. 14 May 2005 http://www.beingcharliekaufman.com/adaptationnov2000.pdf>. Kennedy, L. “Charlie Kaufman: Confessions of an Original ‘Mind’”. Denver Post 26 Mar. 2004. Staiger, Janet. “Authorship Approaches.” In Authorship and Film. Eds David Gerstner and Janet Staiger. New York: Routledge, 2003. 27-59. 
 
 
 
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 1991 An afternoon in late 1991 found me on a Sydney bus reading Brett Easton Ellis’ American Psycho (1991). A disembarking passenger paused at my side and, as I glanced up, hissed, ‘I don’t know how you can read that filth’. As she continued to make her way to the front of the vehicle, I was as stunned as if she had struck me physically. There was real vehemence in both her words and how they were delivered, and I can still see her eyes squeezing into slits as she hesitated while curling her mouth around that final angry word: ‘filth’. Now, almost fifteen years later, the memory is remarkably vivid. As the event is also still remarkable; this comment remaining the only remark ever made to me by a stranger about anything I have been reading during three decades of travelling on public transport. That inflamed commuter summed up much of the furore that greeted the publication of American Psycho. More than this, and unusually, condemnation of the work both actually preceded, and affected, its publication. Although Ellis had been paid a substantial U.S. $300,000 advance by Simon & Schuster, pre-publication stories based on circulating galley proofs were so negative—offering assessments of the book as: ‘moronic … pointless … themeless … worthless (Rosenblatt 3), ‘superficial’, ‘a tapeworm narrative’ (Sheppard 100) and ‘vile … pornography, not literature … immoral, but also artless’ (Miner 43)—that the publisher cancelled the contract (forfeiting the advance) only months before the scheduled release date. CEO of Simon & Schuster, Richard E. Snyder, explained: ‘it was an error of judgement to put our name on a book of such questionable taste’ (quoted in McDowell, “Vintage” 13). American Psycho was, instead, published by Random House/Knopf in March 1991 under its prestige paperback imprint, Vintage Contemporary (Zaller; Freccero 48) – Sonny Mehta having signed the book to Random House some two days after Simon & Schuster withdrew from its agreement with Ellis. While many commented on the fact that Ellis was paid two substantial advances, it was rarely noted that Random House was a more prestigious publisher than Simon & Schuster (Iannone 52). After its release, American Psycho was almost universally vilified and denigrated by the American critical establishment. The work was criticised on both moral and aesthetic/literary/artistic grounds; that is, in terms of both what Ellis wrote and how he wrote it. Critics found it ‘meaningless’ (Lehmann-Haupt C18), ‘abysmally written … schlock’ (Kennedy 427), ‘repulsive, a bloodbath serving no purpose save that of morbidity, titillation and sensation … pure trash, as scummy and mean as anything it depicts, a dirty book by a dirty writer’ (Yardley B1) and ‘garbage’ (Gurley Brown 21). Mark Archer found that ‘the attempt to confuse style with content is callow’ (31), while Naomi Wolf wrote that: ‘overall, reading American Psycho holds the same fascination as watching a maladjusted 11-year-old draw on his desk’ (34). John Leo’s assessment sums up the passionate intensity of those critical of the work: ‘totally hateful … violent junk … no discernible plot, no believable characterization, no sensibility at work that comes anywhere close to making art out of all the blood and torture … Ellis displays little feel for narration, words, grammar or the rhythm of language’ (23). These reviews, as those printed pre-publication, were titled in similarly unequivocal language: ‘A Revolting Development’ (Sheppard 100), ‘Marketing Cynicism and Vulgarity’ (Leo 23), ‘Designer Porn’ (Manguel 46) and ‘Essence of Trash’ (Yardley B1). Perhaps the most unambiguous in its message was Roger Rosenblatt’s ‘Snuff this Book!’ (3). Of all works published in the U.S.A. at that time, including those clearly carrying X ratings, the Los Angeles chapter of the National Organization for Women (NOW) selected American Psycho for special notice, stating that the book ‘legitimizes inhuman and savage violence masquerading as sexuality’ (NOW 114). Judging the book ‘the most misogynistic communication’ the organisation had ever encountered (NOW L.A. chapter president, Tammy Bruce, quoted in Kennedy 427) and, on the grounds that ‘violence against women in any form is no longer socially acceptable’ (McDowell, “NOW” C17), NOW called for a boycott of the entire Random House catalogue for the remainder of 1991. Naomi Wolf agreed, calling the novel ‘a violation not of obscenity standards, but of women’s civil rights, insofar as it results in conditioning male sexual response to female suffering or degradation’ (34). Later, the boycott was narrowed to Knopf and Vintage titles (Love 46), but also extended to all of the many products, companies, corporations, firms and brand names that are a feature of Ellis’s novel (Kauffman, “American” 41). There were other unexpected responses such as the Walt Disney Corporation barring Ellis from the opening of Euro Disney (Tyrnauer 101), although Ellis had already been driven from public view after receiving a number of death threats and did not undertake a book tour (Kennedy 427). Despite this, the book received significant publicity courtesy of the controversy and, although several national bookstore chains and numerous booksellers around the world refused to sell the book, more than 100,000 copies were sold in the U.S.A. in the fortnight after publication (Dwyer 55). Even this success had an unprecedented effect: when American Psycho became a bestseller, The New York Times announced that it would be removing the title from its bestseller lists because of the book’s content. In the days following publication in the U.S.A., Canadian customs announced that it was considering whether to allow the local arm of Random House to, first, import American Psycho for sale in Canada and, then, publish it in Canada (Kirchhoff, “Psycho” C1). Two weeks later, when the book was passed for sale (Kirchhoff, “Customs” C1), demonstrators protested the entrance of a shipment of the book. In May, the Canadian Defence Force made headlines when it withdrew copies of the book from the library shelves of a navy base in Halifax (Canadian Press C1). Also in May 1991, the Australian Office of Film and Literature Classification (OFLC), the federal agency that administers the classification scheme for all films, computer games and ‘submittable’ publications (including books) that are sold, hired or exhibited in Australia, announced that it had classified American Psycho as ‘Category 1 Restricted’ (W. Fraser, “Book” 5), to be sold sealed, to only those over 18 years of age. This was the first such classification of a mainstream literary work since the rating scheme was introduced (Graham), and the first time a work of literature had been restricted for sale since Philip Roth’s Portnoy’s Complaint in 1969. The chief censor, John Dickie, said the OFLC could not justify refusing the book classification (and essentially banning the work), and while ‘as a satire on yuppies it has a lot going for it’, personally he found the book ‘distasteful’ (quoted in W. Fraser, “Sensitive” 5). Moreover, while this ‘R’ classification was, and remains, a national classification, Australian States and Territories have their own sale and distribution regulation systems. Under this regime, American Psycho remains banned from sale in Queensland, as are all other books in this classification category (Vnuk). These various reactions led to a flood of articles published in the U.S.A., Canada, Australia and the U.K., voicing passionate opinions on a range of issues including free speech and censorship, the corporate control of artistic thought and practice, and cynicism on the part of authors and their publishers about what works might attract publicity and (therefore) sell in large numbers (see, for instance, Hitchens 7; Irving 1). The relationship between violence in society and its representation in the media was a common theme, with only a few commentators (including Norman Mailer in a high profile Vanity Fair article) suggesting that, instead of inciting violence, the media largely reflected, and commented upon, societal violence. Elayne Rapping, an academic in the field of Communications, proposed that the media did actively glorify violence, but only because there was a market for such representations: ‘We, as a society love violence, thrive on violence as the very basis of our social stability, our ideological belief system … The problem, after all, is not media violence but real violence’ (36, 38). Many more commentators, however, agreed with NOW, Wolf and others and charged Ellis’s work with encouraging, and even instigating, violent acts, and especially those against women, calling American Psycho ‘a kind of advertising for violence against women’ (anthropologist Elliot Leyton quoted in Dwyer 55) and, even, a ‘how-to manual on the torture and dismemberment of women’ (Leo 23). Support for the book was difficult to find in the flood of vitriol directed against it, but a small number wrote in Ellis’s defence. Sonny Mehta, himself the target of death threats for acquiring the book for Random House, stood by this assessment, and was widely quoted in his belief that American Psycho was ‘a serious book by a serious writer’ and that Ellis was ‘remarkably talented’ (Knight-Ridder L10). Publishing director of Pan Macmillan Australia, James Fraser, defended his decision to release American Psycho on the grounds that the book told important truths about society, arguing: ‘A publisher’s office is a clearing house for ideas … the real issue for community debate [is] – to what extent does it want to hear the truth about itself, about individuals within the community and about the governments the community elects. If we care about the preservation of standards, there is none higher than this. Gore Vidal was among the very few who stated outright that he liked the book, finding it ‘really rather inspired … a wonderfully comic novel’ (quoted in Tyrnauer 73). Fay Weldon agreed, judging the book as ‘brilliant’, and focusing on the importance of Ellis’s message: ‘Bret Easton Ellis is a very good writer. He gets us to a ‘T’. And we can’t stand it. It’s our problem, not his. American Psycho is a beautifully controlled, careful, important novel that revolves around its own nasty bits’ (C1). Since 1991 As unlikely as this now seems, I first read American Psycho without any awareness of the controversy raging around its publication. I had read Ellis’s earlier works, Less than Zero (1985) and The Rules of Attraction (1987) and, with my energies fully engaged elsewhere, cannot now even remember how I acquired the book. Since that angry remark on the bus, however, I have followed American Psycho’s infamy and how it has remained in the public eye over the last decade and a half. Australian OFLC decisions can be reviewed and reversed – as when Pasolini’s final film Salo (1975), which was banned in Australia from the time of its release in 1975 until it was un-banned in 1993, was then banned again in 1998 – however, American Psycho’s initial classification has remained unchanged. In July 2006, I purchased a new paperback copy in rural New South Wales. It was shrink-wrapped in plastic and labelled: ‘R. Category One. Not available to persons under 18 years. Restricted’. While exact sales figures are difficult to ascertain, by working with U.S.A., U.K. and Australian figures, this copy was, I estimate, one of some 1.5 to 1.6 million sold since publication. In the U.S.A., backlist sales remain very strong, with some 22,000 copies sold annually (Holt and Abbott), while lifetime sales in the U.K. are just under 720,000 over five paperback editions. Sales in Australia are currently estimated by Pan MacMillan to total some 100,000, with a new printing of 5,000 copies recently ordered in Australia on the strength of the book being featured on the inaugural Australian Broadcasting Commission’s First Tuesday Book Club national television program (2006). Predictably, the controversy around the publication of American Psycho is regularly revisited by those reviewing Ellis’s subsequent works. A major article in Vanity Fair on Ellis’s next book, The Informers (1994), opened with a graphic description of the death threats Ellis received upon the publication of American Psycho (Tyrnauer 70) and then outlined the controversy in detail (70-71). Those writing about Ellis’s two most recent novels, Glamorama (1999) and Lunar Park (2005), have shared this narrative strategy, which also forms at least part of the frame of every interview article. American Psycho also, again predictably, became a major topic of discussion in relation to the contracting, making and then release of the eponymous film in 2000 as, for example, in Linda S. Kauffman’s extensive and considered review of the film, which spent the first third discussing the history of the book’s publication (“American” 41-45). Playing with this interest, Ellis continues his practice of reusing characters in subsequent works. Thus, American Psycho’s Patrick Bateman, who first appeared in The Rules of Attraction as the elder brother of the main character, Sean – who, in turn, makes a brief appearance in American Psycho – also turns up in Glamorama with ‘strange stains’ on his Armani suit lapels, and again in Lunar Park. The book also continues to be regularly cited in discussions of censorship (see, for example, Dubin; Freccero) and has been included in a number of university-level courses about banned books. In these varied contexts, literary, cultural and other critics have also continued to disagree about the book’s impact upon readers, with some persisting in reading the novel as a pornographic incitement to violence. When Wade Frankum killed seven people in Sydney, many suggested a link between these murders and his consumption of X-rated videos, pornographic magazines and American Psycho (see, for example, Manne 11), although others argued against this (Wark 11). Prosecutors in the trial of Canadian murderer Paul Bernardo argued that American Psycho provided a ‘blueprint’ for Bernardo’s crimes (Canadian Press A5). Others have read Ellis’s work more positively, as for instance when Sonia Baelo Allué compares American Psycho favourably with Thomas Harris’s The Silence of the Lambs (1988) – arguing that Harris not only depicts more degrading treatment of women, but also makes Hannibal Lecter, his antihero monster, sexily attractive (7-24). Linda S. Kauffman posits that American Psycho is part of an ‘anti-aesthetic’ movement in art, whereby works that are revoltingly ugly and/or grotesque function to confront the repressed fears and desires of the audience and explore issues of identity and subjectivity (Bad Girls), while Patrick W. Shaw includes American Psycho in his work, The Modern American Novel of Violence because, in his opinion, the violence Ellis depicts is not gratuitous. Lost, however, in much of this often-impassioned debate and dialogue is the book itself – and what Ellis actually wrote. 21-years-old when Less than Zero was published, Ellis was still only 26 when American Psycho was released and his youth presented an obvious target. In 1991, Terry Teachout found ‘no moment in American Psycho where Bret Easton Ellis, who claims to be a serious artist, exhibits the workings of an adult moral imagination’ (45, 46), Brad Miner that it was ‘puerile – the very antithesis of good writing’ (43) and Carol Iannone that ‘the inclusion of the now famous offensive scenes reveals a staggering aesthetic and moral immaturity’ (54). Pagan Kennedy also ‘blamed’ the entire work on this immaturity, suggesting that instead of possessing a developed artistic sensibility, Ellis was reacting to (and, ironically, writing for the approval of) critics who had lauded the documentary realism of his violent and nihilistic teenage characters in Less than Zero, but then panned his less sensational story of campus life in The Rules of Attraction (427-428). Yet, in my opinion, there is not only a clear and coherent aesthetic vision driving Ellis’s oeuvre but, moreover, a profoundly moral imagination at work as well. This was my view upon first reading American Psycho, and part of the reason I was so shocked by that charge of filth on the bus. Once familiar with the controversy, I found this view shared by only a minority of commentators. Writing in the New Statesman & Society, Elizabeth J. Young asked: ‘Where have these people been? … Books of pornographic violence are nothing new … American Psycho outrages no contemporary taboos. Psychotic killers are everywhere’ (24). I was similarly aware that such murderers not only existed in reality, but also in many widely accessed works of literature and film – to the point where a few years later Joyce Carol Oates could suggest that the serial killer was an icon of popular culture (233). While a popular topic for writers of crime fiction and true crime narratives in both print and on film, a number of ‘serious’ literary writers – including Truman Capote, Norman Mailer, Kate Millet, Margaret Atwood and Oates herself – have also written about serial killers, and even crossed over into the widely acknowledged as ‘low-brow’ true crime genre. Many of these works (both popular or more literary) are vivid and powerful and have, as American Psycho, taken a strong moral position towards their subject matter. Moreover, many books and films have far more disturbing content than American Psycho, yet have caused no such uproar (Young and Caveney 120). By now, the plot of American Psycho is well known, although the structure of the book, noted by Weldon above (C1), is rarely analysed or even commented upon. First person narrator, Patrick Bateman, a young, handsome stockbroker and stereotypical 1980s yuppie, is also a serial killer. The book is largely, and innovatively, structured around this seeming incompatibility – challenging readers’ expectations that such a depraved criminal can be a wealthy white professional – while vividly contrasting the banal, and meticulously detailed, emptiness of Bateman’s life as a New York über-consumer with the scenes where he humiliates, rapes, tortures, murders, mutilates, dismembers and cannibalises his victims. Although only comprising some 16 out of 399 pages in my Picador edition, these violent scenes are extreme and certainly make the work as a whole disgustingly confronting. But that is the entire point of Ellis’s work. Bateman’s violence is rendered so explicitly because its principal role in the novel is to be inescapably horrific. As noted by Baelo Allué, there is no shift in tone between the most banally described detail and the description of violence (17): ‘I’ve situated the body in front of the new Toshiba television set and in the VCR is an old tape and appearing on the screen is the last girl I filmed. I’m wearing a Joseph Abboud suit, a tie by Paul Stuart, shoes by J. Crew, a vest by someone Italian and I’m kneeling on the floor beside a corpse, eating the girl’s brain, gobbling it down, spreading Grey Poupon over hunks of the pink, fleshy meat’ (Ellis 328). In complete opposition to how pornography functions, Ellis leaves no room for the possible enjoyment of such a scene. Instead of revelling in the ‘spine chilling’ pleasures of classic horror narratives, there is only the real horror of imagining such an act. The effect, as Kauffman has observed is, rather than arousing, often so disgusting as to be emetic (Bad Girls 249). Ellis was surprised that his detractors did not understand that he was trying to be shocking, not offensive (Love 49), or that his overall aim was to symbolise ‘how desensitised our culture has become towards violence’ (quoted in Dwyer 55). Ellis was also understandably frustrated with readings that conflated not only the contents of the book and their meaning, but also the narrator and author: ‘The acts described in the book are truly, indisputably vile. The book itself is not. Patrick Bateman is a monster. I am not’ (quoted in Love 49). Like Fay Weldon, Norman Mailer understood that American Psycho posited ‘that the eighties were spiritually disgusting and the author’s presentation is the crystallization of such horror’ (129). Unlike Weldon, however, Mailer shied away from defending the novel by judging Ellis not accomplished enough a writer to achieve his ‘monstrous’ aims (182), failing because he did not situate Bateman within a moral universe, that is, ‘by having a murderer with enough inner life for us to comprehend him’ (182). Yet, the morality of Ellis’s project is evident. By viewing the world through the lens of a psychotic killer who, in many ways, personifies the American Dream – wealthy, powerful, intelligent, handsome, energetic and successful – and, yet, who gains no pleasure, satisfaction, coherent identity or sense of life’s meaning from his endless, selfish consumption, Ellis exposes the emptiness of both that world and that dream. As Bateman himself explains: ‘Surface, surface, surface was all that anyone found meaning in. This was civilisation as I saw it, colossal and jagged’ (Ellis 375). Ellis thus situates the responsibility for Bateman’s violence not in his individual moral vacuity, but in the barren values of the society that has shaped him – a selfish society that, in Ellis’s opinion, refused to address the most important issues of the day: corporate greed, mindless consumerism, poverty, homelessness and the prevalence of violent crime. Instead of pornographic, therefore, American Psycho is a profoundly political text: Ellis was never attempting to glorify or incite violence against anyone, but rather to expose the effects of apathy to these broad social problems, including the very kinds of violence the most vocal critics feared the book would engender. Fifteen years after the publication of American Psycho, although our societies are apparently growing in overall prosperity, the gap between rich and poor also continues to grow, more are permanently homeless, violence – whether domestic, random or institutionally-sanctioned – escalates, and yet general apathy has intensified to the point where even the ‘ethics’ of torture as government policy can be posited as a subject for rational debate. The real filth of the saga of American Psycho is, thus, how Ellis’s message was wilfully ignored. While critics and public intellectuals discussed the work at length in almost every prominent publication available, few attempted to think in any depth about what Ellis actually wrote about, or to use their powerful positions to raise any serious debate about the concerns he voiced. Some recent critical reappraisals have begun to appreciate how American Psycho is an ‘ethical denunciation, where the reader cannot but face the real horror behind the serial killer phenomenon’ (Baelo Allué 8), but Ellis, I believe, goes further, exposing the truly filthy causes that underlie the existence of such seemingly ‘senseless’ murder. But, Wait, There’s More It is ironic that American Psycho has, itself, generated a mini-industry of products. A decade after publication, a Canadian team – filmmaker Mary Harron, director of I Shot Andy Warhol (1996), working with scriptwriter, Guinevere Turner, and Vancouver-based Lions Gate Entertainment – adapted the book for a major film (Johnson). Starring Christian Bale, Chloë Sevigny, Willem Dafoe and Reese Witherspoon and, with an estimated budget of U.S.$8 million, the film made U.S.$15 million at the American box office. The soundtrack was released for the film’s opening, with video and DVDs to follow and the ‘Killer Collector’s Edition’ DVD – closed-captioned, in widescreen with surround sound – released in June 2005. Amazon.com lists four movie posters (including a Japanese language version) and, most unexpected of all, a series of film tie-in action dolls. The two most popular of these, judging by E-Bay, are the ‘Cult Classics Series 1: Patrick Bateman’ figure which, attired in a smart suit, comes with essential accoutrements of walkman with headphones, briefcase, Wall Street Journal, video tape and recorder, knife, cleaver, axe, nail gun, severed hand and a display base; and the 18” tall ‘motion activated sound’ edition – a larger version of the same doll with fewer accessories, but which plays sound bites from the movie. Thanks to Stephen Harris and Suzie Gibson (UNE) for stimulating conversations about this book, Stephen Harris for information about the recent Australian reprint of American Psycho and Mark Seebeck (Pan Macmillan) for sales information. References Archer, Mark. “The Funeral Baked Meats.” The Spectator 27 April 1991: 31. Australian Broadcasting Corporation. First Tuesday Book Club. First broadcast 1 August 2006. Baelo Allué, Sonia. “The Aesthetics of Serial Killing: Working against Ethics in The Silence of the Lambs (1988) and American Psycho (1991).” Atlantis 24.2 (Dec. 2002): 7-24. Canadian Press. “Navy Yanks American Psycho.” The Globe and Mail 17 May 1991: C1. Canadian Press. “Gruesome Novel Was Bedside Reading.” Kitchener-Waterloo Record 1 Sep. 1995: A5. Dubin, Steven C. “Art’s Enemies: Censors to the Right of Me, Censors to the Left of Me.” Journal of Aesthetic Education 28.4 (Winter 1994): 44-54. 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As maloclusões são classificadas como o terceiro maior problema de saúde bucal no mundo, perdendo apenas para cárie e doença periodontal. A mordida cruzada posterior é definida como a relação anormal vestíbulo-lingual de um ou mais dentes da maxila, com um ou mais dentes da mandíbula, quando os arcos dentários estão em relação cêntrica, podendo ser uni ou bilateral. Objetiva-se Realizar uma revisão de literatura sobre a mordida cruzada posterior. Foi feita uma seleção de artigos científicos a partir das bases de dados Lilacs e Scielo utilizando os descritores “Mordida Cruzada” e “Diagnóstico de Mordida Cruzada”. Foram incluídos trabalhos publicados entre 2000 a 2018. Dos 694 artigos encontrados e delimitados pelos critérios inclusivos, foram selecionados 49 artigos como amostra, que apresentaram a temática elencada para a pesquisa e que foram discutidos nos seguintes tópicos: a) Epidemiologia; b) Etiologia; c) Diagnóstico; d) Tratamento. As causas da mordida cruzada posterior são multifatoriais e seu diagnóstico precoce é fundamental uma vez que, a literatura mostra resultados satisfatórios, através de medidas interceptativas com um prognostico favorável quando o tratamento ocorre precocemente. O tratamento da mordida cruzada posterior de origem funcional, por contato prematuro em dentes decíduos, dentoalveolar e esquelético consiste, respectivamente, em desgaste seletivo, expansão dentoalveolar e disjunção maxilar.Descritores: Ortodontia; Aparelhos Ortodônticos; Má Oclusão; Odontopediatria.ReferênciasAlmeida MR, Pereira ALP, Almeida RR, Almeida-Pedrin RR, Silva Filho OG. Prevalência de má oclusão em crianças de 7 a 12 anos de idade. Dental Press J Orthod. 2011;16(4):123-31.Janson G, Barros SEC, Simão TM, Freitas MR. Variáveis relevantes no tratamento da má oclusão de Classe II. Rev Dental Press Ortodon Ortop Facial. 2009;14(1):149-57.Sousa RV, Pinto-Monteiro AKA, Martins CC, Granville-Garcia AF, Paiva SM. Maloclusion and socioeconomic indicators in primay dentition. Braz Oral Res. 2014;28(1):54-60.Carvalho CM, Carvalho LFPC, Forte FDS, Aragão MS, Costa LJ. Prevalência de mordida aberta anterior em crianças de 3 a 5 anos em Cabedelo/PB e relação com hábitos bucais deletérios. Pesq Bras Odontoped Clin Integr. 2009;9(2):205-10.Sousa RV, Clementino MA, Gomes MC, Martins CC, Graville-Garcia AF, Paiva SM. Maloclusion and quality of life in Brazilian preschoolers. Eur J Oral Sci. 2014;122(3):223-29.Bittencourt MA, Machado AW. Prevalência de má oclusão em crianças entre 6 e 10 anos: um panorama brasileiro. Dental Press J Orthod. 2010;15(6):113-22.Stahl F, Grabowski R, Gaebel M, Kundt G. Relationship between occlusal findings and orofacial myofunctional status in primary and mixed dentition. Part II: Prevalence or orofacial dysfunctions. J Orofac Orthop. 2007;68(2):74-90. Grabowski R, Stahl F, GaebeL M, Kundt G. 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