Correction of Temporal Hollowing Deformity Using Serratus Anterior Muscle Flap

Temporal hollowing deformity (THD) is a contour irregularity in the frontotemporal region, which results in facial asymmetry in the frontal view. Here, we present our clinical experience of correction of THD using serratus anterior (SA) muscle and fascia free flaps. Between March 2016 and December 2018, 13 patients presenting with THD were treated with SA free flap. The mean age of the patients was 47.8 years. The patients received craniectomy due to subarachnoid hemorrhage, epidural hematoma, or brain tumor. On average, correction of THD was performed 17 months after cranioplasty. The SA flap size ranged from 5 × 5 cm to 10 × 8 cm . The mean operation time was 107.3 minutes. All of the flaps survived without complications. The mean follow-up duration was 20.3 months. For correction of THD, the SA muscle and fascia flap is among the best candidates to permanently restore aesthetic form and symmetry.

DIBUJAR EN IDIOMAS. VISUALIZAR LA COLONIZACIÓN LINGÜÍSTICA EN EL SUDESTE ASIÁTICO.

No faltan en las artes visuales creaciones que han integrado en su plástica el lenguaje oral, la escritura o la traducción, si bien no es tan frecuente que el lenguaje sea el sujeto de la obra. Ese es el caso de diversas obras realizadas en dos antiguas colonias del Sudeste Asiático durante la década de 1990, que ponen en cuestión la herencia cultural constituida por las palabras y los sistemas de escritura. Desde sus respectivos contextos, Vietnam y Singapur, dos artistas aportan un incisivo comentario sobre los usos politizados de la escritura, las lenguas vernáculas y la alfabetización. Piezas performativas del artista Truong Tan y de la artista Amanda Heng aportan nuevos modos de comprender el funcionamiento del lenguaje y de la violencia ejercida a través de la colonización lingüística. Abstract: There is no shortage of artworks that have integrated the spoken word, writing or translation into their aesthetic form, although it is rare for language to be the subject of the works. This is the case of several works made during the 1990s in former colonies of Southeast Asia. The works call into question the cultural heritage that words and writing systems constitute. From their respective contexts, Vietnam and Singapore, two artists offer an incisive commentary on the politicized uses of vernacular languages and literacy. Performance pieces by artists Truong Tan and Amanda Heng contribute new ways of understanding the functioning of language, and the violence that can be exerted through linguistic colonization.

SEMIÓTICA DE LA PARODIA

Este artículo indaga en la trascendencia de la semiótica y la filosofía del lenguaje para la manipulación de la dimensión connotativa esencial en el discurso de la imaginación. Para ello, la parodia servirá como punto de reflexión sobre el que la idea de semiotización podría definirse como un enclave textual de la memoria cultural. Siendo la parodia un fenómeno al que se adhieren (y que se adhiere a) valores historiográficos sin que a su definición pueda imponerse a una mirada histórica parcial (nacional, ideológica), hay en ella una asociación semiótica vertebrada por la historia de la filosofía del lenguaje, acompasada por la encarnación mítica y post-mítica de las relaciones materia-forma, individuo-colectividad. De esta manera, la aporía todo acto de figuración se ejecuta en la parodia como una dialéctica que permite a los estudios literarios atender a la complejidad de la idea de Tradición en la especificidad de la forma estética. Abstract: This article explores the significance of semiotics and the philosophy of language for the manipulation of the connotative dimension in the discourse of the imagination. To this end, parody will serve as a point of reflection on which the idea of semiotization could be defined as a textual enclave of cultural memory. Since parody is a phenomenon to which historiographical values adhere (and which is adhered to) without its definition being subject to a partial (national, ideological) historical gaze, there can be observed in it a semiotic association vertebrate by the history of the philosophy of language, accompanied by the mythical and post-mythical incarnation of the relations matter-form, individual-collectivity. In this way, the aporia of every act of figuration is executed in parody as a dialectic that allows literary studies to attend to the complexity of the idea of Tradition in the specificity of aesthetic form.

Research on the Production Technology and Inheritance Status of Southern Zhejiang Clamp-Resist Dyeing

As a national intangible cultural heritage of China, the southern Zhejiang Clamp-resist dyeing is a kind of blue quilt manufacturing technology used by ancient folk people. This kind of folk homescloths has its own unique folk aesthetic form, and its patterns are mostly monochrome square symmetrical baizi figures, opera figures and auspicious patterns. In the local customs of Zhejiang province, this kind of quilt is often used as a dowry for women when they get married (Zhang, 2010). In this paper, the author made an in-depth investigation and research on the technical details and inheritance of the southern Zhejiang Clamp-resist dyeing.

‘A Construction in the Void’, Formal Architecture in the Novels of Edith Wharton

<p>Edith Wharton has been persistently framed as an author detached from the ‘modern’ twentieth century literary world she inhabited. Intellectually compromised by critical conceptions of her as the “last Victorian”, and Henry James’s “heiress”, Wharton’s attentiveness to modernism’s fractured worldview and her original employment of literary form to redress this perspective have been largely overlooked. This thesis seeks to re-evaluate Wharton’s ‘old-fashioned’ authorial persona. Instead of reading her commitment to a past perspective as evidence of her literary obsolescence, this thesis argues that her adherence to a bygone worldview serves as a means of managing the disorientation and disorder of the modern, incomprehensible present. Following Wharton’s evolving conception of stylised aesthetic form across pre-war and post-war worlds, I suggest that Wharton’s literature evidences a tension between two opposing literary aspirations. On the one hand, her texts reveal a desire to abandon aesthetic enclosures and realise an unbounded, authentic interior reality. Yet on the other hand, Wharton’s works underscore the poignant sense of fulfillment acquired within a life bound by such aesthetic architecture. Chapter One outlines Wharton’s critical stance in relation to both realism and modernism. It discusses the way in which the outbreak of the Great War motivated Wharton’s implementation of a critical ‘interior architecture’, in which a modernist interiority is held in play alongside an encompassing realist reality. Chapter Two assesses the stunted nature of stylised aesthetic forms in the pre-war world as evinced in The House of Mirth (1905). There, Wharton demonstrates how a lack of grounding in reality renders such aesthetics devoid of an internal anchorage that clarifies their purposeful relation to the world around them. Vacant of real-world relation, such forms abstract, disintegrating into formlessness. In Chapter Three, I reveal how Wharton moves from scorning to celebrating the artificial nature of aesthetic form in the wake of the Great War. In The Age of Innocence (1920), aesthetic forms deemed arbitrary and artificial in The House of Mirth are reevaluated and revealed as possessing an invisible, intrinsic real-world purpose. From denying realism, stylised aesthetics are redeemed in their attempt to frame individuals in relation to a formless world. Though such forms are inherently fictitious, Wharton asserts that their provision of an illusion of structure aids in the preservation of interpersonal and intergenerational connection. These forms thus cultivate an interior architecture within which society can shelter against an intrinsically unstable reality.</p>

‘A Construction in the Void’, Formal Architecture in the Novels of Edith Wharton

<p>Edith Wharton has been persistently framed as an author detached from the ‘modern’ twentieth century literary world she inhabited. Intellectually compromised by critical conceptions of her as the “last Victorian”, and Henry James’s “heiress”, Wharton’s attentiveness to modernism’s fractured worldview and her original employment of literary form to redress this perspective have been largely overlooked. This thesis seeks to re-evaluate Wharton’s ‘old-fashioned’ authorial persona. Instead of reading her commitment to a past perspective as evidence of her literary obsolescence, this thesis argues that her adherence to a bygone worldview serves as a means of managing the disorientation and disorder of the modern, incomprehensible present. Following Wharton’s evolving conception of stylised aesthetic form across pre-war and post-war worlds, I suggest that Wharton’s literature evidences a tension between two opposing literary aspirations. On the one hand, her texts reveal a desire to abandon aesthetic enclosures and realise an unbounded, authentic interior reality. Yet on the other hand, Wharton’s works underscore the poignant sense of fulfillment acquired within a life bound by such aesthetic architecture. Chapter One outlines Wharton’s critical stance in relation to both realism and modernism. It discusses the way in which the outbreak of the Great War motivated Wharton’s implementation of a critical ‘interior architecture’, in which a modernist interiority is held in play alongside an encompassing realist reality. Chapter Two assesses the stunted nature of stylised aesthetic forms in the pre-war world as evinced in The House of Mirth (1905). There, Wharton demonstrates how a lack of grounding in reality renders such aesthetics devoid of an internal anchorage that clarifies their purposeful relation to the world around them. Vacant of real-world relation, such forms abstract, disintegrating into formlessness. In Chapter Three, I reveal how Wharton moves from scorning to celebrating the artificial nature of aesthetic form in the wake of the Great War. In The Age of Innocence (1920), aesthetic forms deemed arbitrary and artificial in The House of Mirth are reevaluated and revealed as possessing an invisible, intrinsic real-world purpose. From denying realism, stylised aesthetics are redeemed in their attempt to frame individuals in relation to a formless world. Though such forms are inherently fictitious, Wharton asserts that their provision of an illusion of structure aids in the preservation of interpersonal and intergenerational connection. These forms thus cultivate an interior architecture within which society can shelter against an intrinsically unstable reality.</p>

World-Literature, Commodity Frontiers, and Aesthetic Form

This article speaks of a literary comparativism provided by the environment-making dynamics of commodity frontiers. How is world-literature imbricated in these movements? How do texts mediate the logic of commodity frontiers and how might this mediation be differently inflected by the specific political ecologies of sugar, coffee, oil, or rubber? To approach literature from this angle clearly resonates with Patricia Yaeger’s call to attend to the energy resources that make texts possible (2011). By responding to this call through the optic of the commodity frontier, I seek to underscore the necessity of understanding those resources in terms of the systemic logic and structural relations of capitalism as a world-ecology.

The peculiarities of modern religious painting in the Crimean temple architecture of (on the example of Alexander Nevsky Cathedral in Simferopol and Saint Vladimir Cathedral in Chersonesos)

The traditions followed by people throughout history underlie the development of the culture of monumental art, forming the continuity of generations, memory and traditions of temple architecture of the Crimea. The topic of religious monumental painting draws interest of the researchers. The object of this article is the Crimean religious monumental and decorative art; while the subject is the peculiarities of modern religious painting in Alexander Nevsky Cathedral in Simferopol and Saint Vladimir Cathedral in Chersonesos. The goal is determine the modern artistic-aesthetic form of temple painting carried out by the experts of monumental and decorative art, as well as the command of the unique languages of creative reinterpretation of wholeness. Temple religious painting is explored on the works of the modern artists of monumental religious painting, using the analysis of the academic style of painting, use of classical canons in images of the figures, artistic-stylistic, thematic, unique systems in the ornamental painting. The author determines the characteristics of the image such as material texture and plastic modeling of artistic form, which allows combining the modern wall paintings of the Crimean Orthodox churches of into a holistic system of material and spiritual values. The crucial theoretical-methodological vector of research is interweavement of the methods of culturology and art history, which reveals the techniques and peculiarities of academic painting in temple architecture.