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Ten Cate's Oral Histology : Development, Structure, and Function
Gain a solid foundation in the structure and function of oral tissues with the definitive text in oral histology!Ten Cate's Oral Histology, 10th Edition covers the latest research and thinking on general embryology, the development of the head (especially the structures in and around the mouth), oral anatomy, the structure of the tooth, salivary glands, the temporomandibular joint, and more.Clear explanations and full-color photos, micrographs, drawings, and charts help you better understand even the most complex topics.Edited by noted educator Dr. Antonio Nanci and written with the collaboration of some notable experts, this renowned text also provides excellent preparation for the histology content in the INDBE exam. NEW! An eBook version is included with print purchase. The eBook allows you to access all of the text, figures and references, with the ability to search, customize your content, make notes and highlights, and have content read aloud. NEW! Updated review questions for the INDBE exam are added to the eBook included with print purchase, along with interactive drag-and-drop labelling exercises, providing extra practice for the exam. A robust art program includes full-color photomicrographs and 3D art, as well as detailed histological and structural images to help differentiate the microanatomy of tissues. Molecular concepts are integrated to help you understand genes and mechanisms implicated in embryogenesis, development, cell function, and matrix events. Application of histology content to the clinical setting is emphasized throughout the book. User-friendly approach emphasizes learning and understanding concepts rather than memorization of detail, and also allows you to use individual chapters or sections independently. Feature boxes provide a broader context, present new concepts, and discuss topics of clinical relevance.
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Beyond the Meme : Development and Structure in Cultural Evolution
Interdisciplinary perspectives on cultural evolution that reject meme theory in favor of a complex understanding of dynamic change over time How do cultures change?In recent decades, the concept of the meme, posited as a basic unit of culture analogous to the gene, has been central to debates about cultural transformation.Despite the appeal of meme theory, its simplification of complex interactions and other inadequacies as an explanatory framework raise more questions about cultural evolution than it answers.In Beyond the Meme, William C. Wimsatt and Alan C. Love assemble interdisciplinary perspectives on cultural evolution, providing a nuanced understanding of it as a process in which dynamic structures interact on different scales of size and time.By focusing on the full range of evolutionary processes across distinct contexts, from rice farming to scientific reasoning, this volume demonstrates how a thick understanding of change in culture emerges from multiple disciplinary vantage points, each of which is required to understand cultural evolution in all its complexity.The editors provide an extensive introductory essay to contextualize the volume, and Wimsatt contributes a separate chapter that systematically organizes the conceptual geography of cultural processes and phenomena. Any adequate account of the transmission, elaboration, and evolution of culture must, this volume argues, recognize the central roles that cognitive and social development play in cultural change and the complex interplay of technological, organizational, and institutional structures needed to enable and coordinate these processes. Contributors: Marshall Abrams, U of Alabama at Birmingham; Claes Andersson, Chalmers U of Technology; Mark A.Bedau, Reed College; James A. Evans, U of Chicago; Jacob G. Foster, U of California, Los Angeles; Michel Janssen, U of Minnesota; Sabina Leonelli, U of Exeter; Massimo Maiocchi, U of Chicago; Joseph D.Martin, U of Cambridge; Salikoko S. Mufwene, U of Chicago; Nancy J. Nersessian, Georgia Institute of Technology and Harvard U; Paul E.Smaldino, U of California, Merced; Anton Törnberg, U of Gothenburg; Petter Törnberg, U of Amsterdam; Gilbert B.Tostevin, U of Minnesota.
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Structure
From 1839 when it was invented, photography has served to create portraits of individuals, and soon thereafter portraits of families, later placed in photo albums.Photography, collected and archived, entered the intimate sphere, enabling people to arrange the fragmented images of their lives as they saw fit.Following its forerunners (miniature portraits, silhouettes, physionotraces), the photographic portrait also served the new expectations of the emerging urban bourgeoisie and its need for social representation.Studios opened up in cities everywhere to meet the fast growing demand.In addition, the new medium distinguishted itself with its esthetic superiority. "Even as it emerged, although the technique was still very primitive, photography enjoyed an exceptional quality of artistic finish (Gisele Freund)".What can photography show us to day of the visible and invisible aspects of family sociology? "How do the roles we expect them to play betray the emotional realities and complexities of lived life?" wonders Daniel Mendelsohn, in his introduction entitled "Unknown Faces/ Redeeming Structures".By creating this corpus of fixed black and white images, each composed in a large 5'x7' frame, the photographer has produced a work of anthropological scope, reaching beyond representation by placing the subject at palpable distance, thereby objectifying it.What should we think of these seemingly impassive faces and their hypnotic gazes, what should we think of these postures, seated or standing?What goes on within these families and outside the frame?The use of a rigid protocol similar in all sessions makes every family portraits intriguing, and encourages our reflection.Inspired by the work of Bernd and Hilla Becher, whose esthetics of objectivity tended towards minimalism, Isabelle Boccon-Gibod, a self-made artist, with an interest for technique, has played with a frontality quite similar to that of the Bechers, resting on the idea that our bodies, when joined together, form a sort of architecture.The idea, also, that a face, deprived of its smile, offers a neutrality of expression worth considering: masks fall and reveal a nakedness (naked truth?) to be admired and deciphered beyond the appearances of social games.She was guided, yet not limited, by this principle: the image of a family seen as a facade-like structure, in which faces are the windows.
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