Stone Master Research Articles

The Stone Master by Lesya Ukrainka: The Imagology of Don Juan’s Image in the Context of Ukrainian Gender Issues of the Early 20th Century

The aim of the article is to analyse the genesis of Don Juan’s image and substantiate the imagology of the legendary character in the context of Ukrainian gender issues at the time Lesya Ukrainka wrote The Stone Master. Results. The article presents the basic principles of imagology as a comprehensive direction of cultural research and defines the meaning of using its tools in contemporary theatre studies. Attention is also paid to the gender studies of Ukrainian scholars, which are at the intersection with imagological issues. The study focuses on the image of Don Juan from the dramatic poem The Stone Master. The genesis of the character is traced from the 17th to the 19th century in order to demonstrate that his imagology is studied at the intersection of the stereotype concept and cultural iconography provisions. The Ukrainian poetess deliberately did not violate the canonical image of the seducer of Seville that was formed over three centuries. However, the obvious Byronic inspirations of the artistic ideology of the dramatic poem and the polemic with Hoffmannism and Nietzscheism, as well as gender issues, caused the transformation of the image, influenced the formation of the literary model, in a certain sense alien to the entire world context of the legend of Don Juan. Scientific novelty. For the first time in Ukrainian theatre studies, an attempt has been made to analyse the imagology of the legendary image created by Lesya Ukrainka in the context of Ukrainian gender issues at the beginning of the last century. Conclusions. The Stone Master, as well as a number of other dramatic poems by Lesya Ukrainka, provides rich factual material for research in the categories of imagology. They are facilitated by the transitive nature of the Ukrainian poetess’s dramatic works. Therefore, we consider the study of the images of foreign countries and peoples in a broad historical and cultural context based on Lesya Ukrainka’s dramatic poems to be one of the most promising directions of contemporary interdisciplinary research at the intersection of historical literature and theatre studies.

Comparative evaluation of the marginal fitness of vonlay nanoceramic hybrid restorations using different computer-aided imaging techniques

Purpose The purpose of this in-vitro study was to evaluate the marginal fitness of vonlay nanoceramic hybrid restorations using different computer-aided imaging technique (an in-vitro study). Materials and methods Thirty 3D printed models of prepared premolar (no. 14) for vonlay restoration were fabricated using epoxy resin material and used for fabrication of thirty nanohybrid ceramic vonlays (Grandio Disc, VOCO). three groups (n = 10) of vonlays were fabricated using three different imaging technique: group 1: imaging of conventional impression of master die, group 2: imaging of stone master die and group 3: imaging of master die using chairside TRIOS Intraoral Scanners (3Shape). Vonlays were designed by using a CAD design software program (Exocad Dental CAD, Exocad. The vonlays were cemented over their corresponding dies with an automix dual cure adhesive cement system (Duo-Link universal resin cement, Bisco Inc.) under a static load by using custom made seating device. Digital microscope was used to measure the vertical marginal gap for each where a total of 120 measurements for the three groups (12 sites per vonlay and 10 vonlays per group) were evaluated. One-way analysis of variance test was used to analyze the results, Student sample t test was used to examine the marginal gap differences of each group and in the same group. Results A significant difference (P < 0.001) was found between the marginal gap values of the vonlay restoration fabricated by using different imaging technique. The smallest marginal gaps were obtained with vonlay fabricated using chairside intraoral scanners as compared with imaging of master die impression and stone master die. But there was no significant difference between the marginal gap measurements of different sides in the same group. Conclusion The smallest marginal gaps were obtained with vonlay fabricated using chairside intraoral scanners.

СULTURAL EPOCHS AS TEXT IN LESIA UKRAINKA’S DRAMAS

Based on Lesia Ukrainka’s dramas “Iphigenia in Tavrida”, “Cassandra”, “The Orgy”, “Ruphin and Priscilla”, and “The Stone Master”, the paper highlights peculiarities of cultural and historical codes of the Antiquity and the Middle Ages in the writer's works as well as literary manifestation of the world-view features of European and Ukrainian Modernism in the antique and medieval images and motifs.
 Lesia Ukrainka reconsidered the heritage of archaic and late Antiquity, Hellenistic period, Galilee at the time of Jesus, Early Christianity, and Medieval Spain. Each of these epochs has its own dichotomy of social and biological phenomena, parameters of the world model, and dominant fundamental points.
 Lesia Ukrainka’s dramas transform the material of various cultural epochs, providing polysemantic images that transfer the cosmos of a certain period into the neo-romantic and neo-classical system of images and symbols. In the dramas, the writer raised the issues recurrent in her works, such as love and sacrifice; beauty and ugliness; prophet, artist and ‘revolt of the masses’; reality and dream; good and evil; truth and benefit; nostalgia for chivalry; nostalgia for the Absolute; psychological and moral freedom and violence; spirit, soul, and body; spiritual nobility and the rule of brutes; nature and culture, etc. 
 Numerous issues and characters, multifunctional ontological, cultural, and historical phenomena, cultural codes, symbols, and mythologems acquire an existential meaning in the author’s dramas fitting not only into various cultural contexts but also into the modern reconsideration of mythopoetics.

Accuracy of Implant Level Intraoral Scanning and Photogrammetry Impression Techniques in a Complete Arch with Angled and Parallel Implants: An In Vitro Study

(1) Background: Stereophotogrammetry has recently been investigated showing high accuracy in complete implant supported cases but has scarcely been investigated in cases of tilted implants. The aim of this in vitro study was to compare the accuracy of digital impression techniques (intraoral scanning and photogrammetry) at the level of intraoral scan bodies in terms of angular deviations and 3D discrepancies. (2) Methods: A stone master cast representing an edentulous maxilla using four implant analogs was fabricated. The two anterior implants were parallel to each other, and the two posterior implants were at an angulation of 17 degrees. Digital intraoral scanning (DIOS) impressions were taken after connecting implant level scan bodies to the master cast and STL files were exported (n = 15). Digital photogrammetry (DPG) impressions were captured using a PiC Camera after tightening implant level PiC optical markers and STL files were exported (n = 15). Superimposition was carried out by a software for determining the accuracy of both. (3) Results: Significant angular discrepancies (ΔA) and 3D deviations of scan bodies were found among the groups in trueness with lower deviations for the DPG (p value < 0.001). However, trueness within ISBs varied between angular and 3D deviations and outcomes were not specific to determine the effect of implant angulation. In precision, no significant differences were detected within ISBs and among both groups in terms of angular deviation. However, DPG had less deviations than DIOS group in terms of 3D deviations (p value < 0.001). (4) Conclusion: Digital photogrammetry technique conveyed the utmost accuracy in both trueness and precision for the intraoral scan bodies among both impression methods assessed. In addition, implant angulation did not influence the precision of the impression techniques but affected their trueness without explicit conclusions.

BAŞKALE'YE BAĞLI KESENDERE KÖYÜ'NDEKİ TANDIR EVLERİ

In this study, Kesendere, a village in Başkale District of Van province, was selected as the field of the study. In this village and its surroundings, beside a travertine and two dragon-shaped rocks, four Tandoori houses, which are still in good condition and which were built by the same stone master, were examined. These structures were built approximately 140 years ago. The biggest of these was converted to a sheep pen a few years ago. The others, besides being used as cellars, are also used as houses where tandoori bread is baked and dairy products such as cheese and yogurt are processed. When compared with the Tandoori houses in the Eastern Anatolia Region, those in Kesendere village are generally more similarities to those in Muş and Van in terms of both function and their domes. In addition to the cultural assets such as Tandoori houses in Kesendere village and its surroundings and the natural assets such as dragon-shaped rocks which are correlated with petrifaction legends, the travertine near this village also has a great potential in terms of tourism and cultural heritage. The aim of this study was to direct readers’ attention to the overall cultural and natural heritage of Kesendere village and neighbouring areas, as well as to contribute to their preservation and to present the associated culture to future generations.

Lesia Ukrainka, Don Juan and Europe: ideology and eropolitics in the Stone Master

The article is focused on Lesia Ukrainka’s famous drama The Stone Master (Kaminnyi Hospodar), her remake of the Don Juan legend. The author of the article, Ukrainian philosopher Volodymyr Yermolenko, localizes Lesia’s masterpiece in a broader European tradition of the legend. He compares The Stone Master with the previous version of the Don Juan legend, by Tirso de Molina (The Trickster of Seville), Moli re (Dom Juan), Mozart (Don Giovanni), Hoffmann (Don Juan), Grabbe (Faust and Don Juan) and others. He analyzes Lesia’s originality within this tradition. He also reads The Stone Master in the context of the dialogue between different epochs: the Baroque, Classicism, Rococo / Enlightenment, Romanticism, Post-Romanticism. Each of the epochs develops its specific version of Don Juan legend, according to Yermolenko, which reflects a specific concept of human being and human relations developed at each particular period. While the “Baroque” Don Juan of Tirso de Molina marks the crisis of the culture of honor, the “Classicist” Don Juan of Moli re shows the development of a culture of knowledge and general concepts, and the “Romantic” Don Juan of Byron and Hoffmann is a symptorm of a new 19th century culture of will and transformation. In this respect, it is important to look at Lesia Ukrainka’s text as a battleground of “Romantic” will to freedom and “Post-Romantic” (or fin de siècle) will to power. In this context, Yermolenko reads The Stone Master (written in 1912) as a criticism of the fashionable topic of “will to power”, and as a political warning, with Lesia Ukrainka showing the upcoming horrors of the 20th century’s authoritarianism and totalitarianism. With the help of the concept of eropolitics, the author shows how, through the erotic topic, Lesia Ukrainka passed a major political message to her epoch — and ours as well.

Problems of theatrical productions of dramatic works by Lesya Ukrainka on the modern Ukrainian stage

The purpose of the article is diagnostics of Lesya Ukrainka’s dramatic works realization prospects in conditions of performing arts visualization as a consistent trend of the national stage development. The study involves analyzing the adequacy of modern means of expressiveness to the peculiarities of the poetess’ dramaturgy. The research methodology is determined by observational, analytical as well as historical, and logical analysis of the realization prospects of Lesya Ukrainka’s dramatic poems on the Ukrainian stage in the context of the exceptional specific weight of a word for understanding the poetic and philosophical content of the poetess’ works. The indicated methodological approach allows analyzing the reasons why some performances already realized are of enormous artistic value (notably, by “Stone Master” (“Kaminny Hospodar”) as well as outlining the prospects of some contemporary theatrical models in this sense. The novelty of the research lies in expanding the conceptions about the relevance of correlation of cardinally “re-equipped” arsenal of the XX1century scenic space multimedia technologies and the system of means of expressiveness of Lesya Ukrainka’s dramas in the context of conveying the content of these works to the audience, as well as in raising the issue of a more careful approach of modern direction to the ways of conveying and revealing the word of the creator relative to the dramatic works of Lesya Ukrainka as an exceptional phenomenon in the world dramaturgy. Conclusion. Lesya Ukrainka’s dramaturgy is in tune with the present time and corresponds to the aesthetic and civil tasks facing our art today. The Ukrainian theater is in urgent need of this dramaturgy. The poetess’s dramaturgy requires a modern but specific philosophic and poetic theater. To make it sound appropriate, it is necessary to be inspired by the Ukrainian art showing piety towards Lesya’s word and having a desire not just to act but to act namely Lesya Ukrainka, and to find the truth about life in her writing. For her plays it is very important to avoid pomposity which is typical of stage directors fascinated by visualization: there should not be any divertissements, any ball scenes except for those which are required by the unraveling of the plot.

Measurements of surface scale changes in different denture base materials by stereophotogrammetric technique.

Background. This study aimed to evaluate the surface scale changes in the denture base material using different polymerization techniques, such as heat-cure/pressure polymerization system and injection molding technique with the stereophotogrammetric technique. The function of a complete denture is related to the adaptation of its base to the supporting areas. Proper adaptation of the base depends on the stability and retention of dentures. The surface scale changes of dentures during processing and in service are of great importance since they affect the denture base material’s fit.Methods. This study focused on the use of a computer-assisted stereophotogrammetric method for measuring changes in the volume of three different denture base resins of an edentulous maxillary ridge. A stone master model simulating the shape of an edentulous maxillary arch was used to prepare three groups of denture base resins. The stereophotographs were evaluated to determine the surface scale differences of maxillary jaws. Results. The results showed no significant differences between the denture borders for three denture base materials (P > 0.05). Conclusion. In the evaluation made using this technique, no significant difference was found in the different polymerization techniques in terms of surface scale changes for three denture base materials. Stereophotogrammetry, especially the digital stereophotogrammetric technique, has several useful research applications in prosthodontics.

Цифрові 3D меппінг технології у творах сценічного мистецтва в Україні

The purpose of the article is to analyze the current state of affairs and trace the trends in the implementation of 3D technologies in stage practice in Ukraine. Methodology. The complexity and multidimensionality of the research led to the appeal to general scientific, interdisciplinary and cultural approaches: art history, analytical, source study, phenomenological. The hermeneutic method helped to identify the local and general contents of the artistic imagery of a particular stage performance. Semiotic-culturological and structuralist approaches made it possible to reveal the semantic structures of individual stage actions, to trace the processes of meaning formation in stage spaces. Scientific novelty. For the first time in domestic art history, the experience of using digital 3D technologies in Ukraine has been analyzed. Conclusions. Having analyzed the application of three-dimensional video technologies (3D technologies) in the performing arts, it can be argued that due to the rapid development of digital technologies in general and multimedia in particular, the stage art workers – directors and stage designers – are increasingly mastering 3D mapping. Experiments are carried out in different genres of performing arts. Ukrainian artists do not stand aside global trends, offering spectacular shows to the domestic audience. At the same time, it should be noted that 3D mapping as a new technology in visual art in Ukraine has become widespread, but in the stage art, there are very few examples of its application, as well as examples of interactive 3D mapping. Kostiantyn Tomilchenko’s show projects are a breakthrough in the use of 3D technologies in modern stage art in Ukraine. The domestic experience of transferring the theatrical performance “The Stone Master” of “Theater 360 Degrees” to the format of online performances with 3D technologies has become a useful experience in adapting the work of stage teams to the new quarantine conditions of organizing performances.

Accuracy of Guided Implant Surgery in 25 Edentulous Arches: A Laboratory Observational Study.

To assess the accuracy of template-guided implant surgery for edentulous arches. The stone master casts of 25 edentulous arches treated with either 4 or 6 implants with CBCT generated template-guided surgery were included in this observational cohort study. The stone casts generated from the surgical templates (group one) prior to implant placement were digitized into Standard Tesselation (STL) files with a reference scanner. For comparison, the stone master casts derived from intraoral complete-arch impressions after implant placement (group two) were also digitized. The resultant STL files were superimposed and best-fit-alignment algorithm was used to quantify the 3D deviations present between the two groups. Descriptive statistics were computed for all categorical variables. Due to the presence of nonindependent samples between maxillary and mandibular casts, a mixed-effects model was used. Deviations between the implant analogs of the stone casts representing digitally planned versus actually placed implants were found. The mean root-mean-square error (RMSE) between all 25 arches was found to be 0.2 mm (SD ± 0.15). The mean RMSE between presurgical and postsurgical maxillary stone casts were 0.19 ± 0.15 mm, while between mandibular stone casts were 0.21 ± 0.16 mm and were not significant (p = 0.67). The mean RMSE between presurgical and postsurgical stone casts arches with 4 versus 6 implants were found to be significant (p = 0.01). According to the results of the study and based on the amount of 3D deviations between the digitally planned implant positions and the actually placed implants, template-guided surgery is a safe treatment modality for implant placement in edentulous arches.

“The Stone Master”: On the Invisibility of Women’s Writing from the Soviet Ukrainian Periphery

Until the last decade of the Soviet state’s existence, only very few Ukrainian women writers achieved literary fame. This study sheds new light on Soviet Ukrainian political, historical, and social contexts that contributed to the invisibility of Ukrainian women’s writing by examining the case of Lviv-based author Nina Bichuia (b. 1937). Bichuia’s career and the publication history of her works illustrate several characteristics and paradoxes of Soviet literary politics concerning the Soviet periphery—i.e., the non-Russian republics, such as Ukraine. In particular, this article analyzes the differences in permissible literary expression between Moscow the metropole, Kyiv, the centre of the Ukrainian periphery, and Lviv, the Western Ukrainian periphery. It considers gender politics and biases in the Soviet Ukrainian literary establishment and the strictures of the Soviet “Friendship of Peoples” discourse, which had a provincializing effect on Ukrainian literary production and the tastes of the reading public. The article offers a close reading of Bichuia’s last short story, “Kaminnyi hospodar” (“The Stone Master,” 1990), which reflects this author’s “final word” on the Soviet environment for writing literature in the Western Ukrainian periphery. By analyzing Bichuia’s use of important literary intertexts and employing recent theorizations about Soviet state discourse, I demonstrate how “The Stone Master” imaginatively represents and criticizes the regime of discursive monopoly established by the Soviet system. This regime is shown to force a Ukrainian female writer into silence, which can be strategic, but cannot result in greater literary visibility.

First clinical experiences with CAD/CAM-fabricated PMMA-based fixed dental prostheses as long-term temporaries.

The clinical performance of polymethylmethacrylate (PMMA)-based fixed dental prostheses (FDP) was evaluated in the indication of long-term temporaries. In the current indication of the applied machinable PMMA-based material (Vita CAD-Temp), i.e. temporary crowns and FDPs, 27 patients with compromised dentitions (uncertain dental prognosis or postponement of a removable treatment option) were recruited and 45 FDPs (3 or 4 units, 37 terminal-retained, 8 cantilevered) were inserted. Frameworks were computer-aided design (CAD)/computer-aided manufacturing (CAM)-manufactured after conventional impression taking and labside scanning of stone master casts. A resin-modified hybrid cement material (RelyX Unicem) was used for luting in a conventional protocol. Clinical follow-up was performed biannually. Over an observation time from 2 to 26 months (median 13 months), 11 complications were found in 9 out of 45 PMMA restorations: 4 losses of retention, 5 complete fractures; two of these subsequent to a trepanation for endodontic treatment. Thereby, 3 out of 8 cantilevered FDPs had to be removed within 8 months. Thus, the statistical evaluation included FDPs with abutment at end, only. These standard design FDPs (n = 37) showed a 90.4 % survival rate with a complication-free rate of 88.3 % estimated for an observation time of 16 months. Cantilevered FDPs and reconstructions on abutment teeth with markedly reduced biological prognosis or endodontic intervention yielded a high-failure rate. Terminal-retained FDPs performed clinically well in cases without compromised abutment teeth. PMMA-based material might be used successfully for long-term temporization with 3- to 4-unit FDPs in a standard design over at least one year.

Comparison of the Accuracy of Biomet 3i Encode Robocast Technology and Conventional Implant Impression Techniques

To compare the accuracy of implant master casts fabricated using Robocast Technology (Biomet 3i) with that of master casts fabricated using traditional transfer (closed-tray) and pick-up (open-tray) techniques. A stereolithographic replica of a Kennedy Class I human mandible was fabricated for use as the master model. Implants were placed into both posterior quadrants (both second premolars and second molars) and set parallel (P) on one side and divergent (nonparallel, NP) on the opposite side. Impressions were made of the master model (patient replica model) with Encode Healing Abutments, open-tray, and closed-tray impression copings. Identical metallic spheres were placed onto each implant analog in the stone master casts, and the casts/spheres were scanned using a digital scanner. Measurements were made between the center points of the spheres and compared to the master model. Data were divided into P, NP, and individual sites, and the differences were analyzed statistically (α = .05). Encode master casts were less accurate than the open-tray casts in NP sites. Encode master casts were less accurate than the open-tray and closed-tray casts in P sites. NP sites demonstrated less accuracy than P sites within the Encode group. Encode master casts were less accurate than the open- and closed-tray casts at the mandibular right second premolar site. The mandibular left second premolar was less accurate than the mandibular right second molar in the Encode group. Within the limitations of this lab-based study and analysis, the Encode technique resulted in master casts that were less accurate than master casts made from traditional open- and closed-tray impression techniques. Further research is necessary before specific clinical judgments can be made.

Effect of subgingival depth of implant placement on the dimensional accuracy of the implant impression: An in vitro study

In some instances, an implant needs to be placed deep subgingivally, which may result in a less accurate impression of the implant. PURPOSE.: The purpose of this study was to evaluate the effect of subgingival depth of implant placement on the accuracy of implant impressions. A stone master model was fabricated with 5 implant analogs (RN synOcta analog), embedded parallel to each other, at the center (E) and the 4 corners (A, B, C, and D). The vertical position of the shoulders of the implants was intentionally different among the implants: A and E were flush with the top surface of the model; B was 2 mm below, and C and D were 4 mm below the surface. The horizontal distances of implants A, B, C, and D from E were measured with a measuring microscope. A cross-shaped metal measuring bar was then fabricated and connected to E, with the arms of the casting designed to be 2 mm above the top surface of the model and incorporating a reference mark. With the measuring bar connected to E, the vertical distances from the apical surface of A, B, C, and D to the measuring reference marks were measured with a digital micrometer. The body of the impression coping for implant D was modified by adding 4 mm of additional impression coping, while standard impression copings were used for all other implants. Open tray impressions were made using medium-body polyether material (Impregum Penta) or a combination of putty and light-body vinyl polysiloxane (VPS) material (Elite HD+) (n=15). Then casts were poured with type IV dental stone. The vertical and horizontal distances of the casts were measured with the methods outlined above for the master model. The distortion values that were determined as differences between the measurements of the master model and those of the casts were collected for statistical analysis. Two-way and 1-way repeated measures ANOVA followed by Tukey's HSD test were performed to compare the distortion values (alpha=.05). For vertical measurements, 2-way repeated measures ANOVA showed no significant depth (P=.36), material (P=.24), or interaction effects (P=.06). However, it showed significant depth effect for horizontal measurements (P=.01). Within the polyether group, 1-way repeated measures ANOVA showed significant differences in horizontal measurements among the implants with different depths (P=.03). The post hoc Tukey's test showed that the impression of 4-mm-deep implants with normal impression copings (C) was significantly less accurate than impressions of 0-mm-deep implants (A) (P=.02). Within the VPS group, there was no significant difference among the implants with different depths (P=.09). There was no effect of implant depth on the accuracy of the VPS group. However, for the polyether group, the impression of an implant placed 4 mm subgingivally showed a greater horizontal distortion compared to an implant placed more coronally. Adding a 4-mm extension to the retentive part of the impression coping eliminated this difference.

Fit of implant-supported fixed prostheses fabricated on master casts made from a dental stone and a dental plaster

Statement of Problem. The impression and cast on which an implant-supported fixed prosthesis is fabricated must accurately reproduce the intraoral relations. Purpose. The fit of fixed prostheses fabricated on master casts poured in a conventional die stone and in an ultra-low-expansion plaster was investigated in vitro. Material and Methods. An impression was made of patient replicas with inter-implant abutment distances of 50 and 35 mm. Ten master casts were poured in a conventional die stone (Velmix, Kerr) and 10 in an ultra-low-expansion plaster (Gnathostone, Zeus). A simulated plaster fixed prosthesis was fabricated on each master cast and then returned in a random order to the appropriate patient replica. The fixed prostheses were screwed into place on one abutment with a torque of 10 Ncm. Vertical discrepancies were measured at the other abutment by an operator blinded to the cast on which the fixed prosthesis was fabricated. A 2-way analysis of variance was performed for distance and materials, and significant differences were identified with regression analysis. Results. For the 50-mm inter-abutment distance, die stone master casts produced a mean vertical discrepancy of 80 μm (SD 32.50 μm). Plaster master casts produced a mean vertical discrepancy of 42.8 μm (SD 12.17 μm). The means were significantly different (P=.01). For the 35-mm inter-abutment distance, the mean vertical discrepancy produced from the die stone and plaster master casts was 84.33 μm (SD 49.9 μm) and 0 μm (SD 0), respectively. The means were significantly different (P<.001). A significant difference was found between the mean vertical seating discrepancies of fixed prostheses produced from plaster casts with inter-abutment differences of 50 mm and plaster casts with inter-abutment distances of 35 mm (P=.003). No significant differences were found between mean vertical seating discrepancies for fixed prostheses fabricated on die stone casts. Conclusion. In this in vitro study, master casts poured in an ultra-low-expansion plaster limited to a maximum inter-abutment dimension of 35 mm were more accurate than casts with 50-mm inter-abutment spans or those poured in a conventional die stone. (J Prosthet Dent 2001;86:532-8.)

Impression procedure for creating a partial auricular prosthesis

Severe anatomic undercuts associated with tissue remnants or a defect site can often be an obstacle in achieving an accurate impression for a facial prosthesis. This article describes a procedure that overcomes the problems encountered in achieving an accurate impression. The distinct properties of 2 impression materials are applied to create a 3-piece impression that can be reassembled to develop an accurate stone master cast. (J Prosthet Dent 2000;83:648-51.)

Comparison of the accuracy of working casts made by the direct and transfer coping procedures

A working cast with dies that accurately record the prepared abutments, surrounding soft tissues, and adjacent and opposing teeth is necessary. This study compared the accuracy of the direct and transfer coping methods in recording the vertical and horizontal dimensional relationship of a pair of removable dies in a working cast before and after separation from the stone base. Among the procedures used for making impressions of abutments for fixed partial dentures, the transfer coping procedure has specific advantages. In particular, where there are multiple abutments, this procedure, in which individual impressions are made of the abutments, transfer copings are made, and a transfer impression of the copings is used for seating the dies and fabrication of a dental stone base, is useful. Two groups of working casts were fabricated from a stone master cast containing 2 ivorine teeth to simulate abutments. The first group of working casts was fabricated directly from the elastomeric impression of the abutments using a 2-pour procedure. The second group of working casts was made using the transfer coping procedure. When the interdie dimensions in each group were compared with that of the master cast, after separation and replacement of the dies in the stone base, the differences were less than 100 microm and similar for both the direct and transfer coping techniques. These findings show that either procedure is equally effective in positioning the dies in the working casts.

A comparison of the dimensional accuracy of the splinted and unsplinted impression techniques for the Bone-Lock implant system

Statement of problem. The precise transfer of intraoral relationships of implants to laboratory working models is central to the success of implant prostheses. Purpose. In this study a stone master model incorporating five implants (Bone-Lock) was used to compare the dimensional accuracy of a splinted impression technique with an unsplinted impression technique. Methods. A three-factor analysis of variance was used to examine the effect of technique, relative position of the implant on the cast, and plane of measurement. Results. All three factors had a significant effect on dimensional accuracy. Conclusions. The splinted technique exhibited more deviation from the master model than the unsplinted technique did. This was primarily associated with rotational discrepancies around the long axes of the implants for the splinted technique. (J Prosthet Dent 1997;77:68-75.)

A multidie technique for the fabrication of porcelain laminate veneers

Porcelain veneers are a challenge for the dentist and dental technician when they are an integral part of complex restorative treatment plans. A multidie technique is described that allows construction of laminate veneers on removable refractory dies in a stone master cast. This system provides flexibility and accuracy with less chair time when used in combination with epoxy resin dies. Multiple restorative techniques can be used simultaneously with one master cast, and emphasis is directed to harmonious working relationships between the dentist, dental technician, and patient.

Fabrication of an alloplastic implant for the cranial defect

This article describes the presurgical fabrication of an inlay/onlay alloplastic cranial implant prosthesis. The technique eliminates the need to modify an artificial stone master cast, thus simplifying the technique and decreasing the laboratory time involved. The final prosthesis replaces lost cranial contours and has a positive seat on the unaltered cranium adjacent to the defect.