Abstract Few long-term studies assess the discoloration induced by hydraulic calcium silicate-based cement on dental structures. In addition, as far as we know, no long-term study has assessed the discoloration induced by these cement on composite resin. Objective This in vitro study aimed to assess, during a period of two years, the discoloration potential of different hydraulic calcium silicate-based cements (hCSCs) on the enamel/dentin structure and composite resin restoration. Methodology A total of 40 enamel/dentin discs were obtained from bovine incisors, and 40 composite resin discs (10 mm in diameter × 2 mm thick) were fabricated. A 0.8 mm-deep cavity was made in the center of each disc and filled with the following hCSCs (n=10): Original MTA (Angelus); MTA Repair HP (Angelus); NeoMTA Plus (Avalon); and Biodentine (Septodont). An initial color measurement was performed (T0 - baseline). After 7, 15, 30, 45, 90, 300 days, and two years, new color measurements were performed to determine the color (ΔE00), lightness (ΔL’), chroma (ΔC’), hue differences (ΔH’), and whiteness index (WID). Results For enamel/dentin, the ΔE00 was significant among groups and periods (p<0.05). NeoMTA Plus had the greatest ΔE00. The NeoMTA Plus group had the greatest ΔE00 after two years for composite resin. Significant reduction in lightness was observed for all groups after two years (p<0.05). The most significant WID values were observed after 30 days for Biodentine (enamel/dentin) and MTA Repair HP groups (composite resin) (p<0.05). Conclusions The hCSCs changed the colorimetric behavior of both substrates, leading to greater darkening over time. The Bi2O3 in the Original MTA seems relevant in the short periods of color change assessment.

Resumo Diante da profusão de respostas intelectuais à pandemia do Sars-Cov-2, este artigo propõe sistematizar algumas das publicações realizadas pelas ciências humanas nos meses de março a junho de 2020. Inicialmente pensado como conteúdo para estudantes dos cursos de graduação, foram lidos textos presentes no volume Sopa de Wuhan, no site n-1 edições, no “Observatório do CEMI - COVID-19” (CEMI/Unicamp), no Boletim Cientistas Sociais e o Coronavírus (Anpocs), e no site antropoLÓGICAS EPIDÊMICAS (UFRGS). A leitura dessa produção, marcada por textos relativamente curtos, em formatos variados, de rápida escrita e circulação, com caráter ora ensaístico, ora analítico, sugere dois principais eixos temáticos referentes 1) à problemática da escala; 2) à problemática do biopoder e dos governos. Ao fazer um recorte instantâneo das reações mais imediatas à crise, observamos perspectivas e conceitos-chave lançados pelas ciências humanas para compreensão do mundo contemporâneo.

Abstract Due to the profusion of intellectual responses to the Sars-Cov-2 pandemic, this article systematizes some publications carried out by humanities from March to June 2020. The proposal was initially thought of as content for undergraduate students and dealt with texts present in the volume Wuhan soup, on the n-1 website, the “CEMI Observatory - COVID-19” (Unicamp), the Anpocs Bulletin, and the anthropoLÓGICAS Epidêmicas website (UFRGS). Such production is marked by relatively short texts, in varied compositions, of fast writing and circulation. Some of them have an essayistic format, and others have an analytical approach. In this article, we discuss both the content and methodological perspectives of the material. We present a transversal reading of this production, suggesting two main thematic axes regarding 1) the problem of scale; 2) the problem of biopower and governments. With this effort, we emphasize the perspectives and concepts of social science to apprehend the contemporary world.

Resumo Na virada para o século XXI, espetáculos da Broadway passaram a ser largamente produzidos em diversos países. No Brasil, particularmente na cidade de São Paulo, as condições legislativas, os interesses empresariais e o fascínio de parcela da classe artística se combinaram e permitiram a criação de um sistema de montagens na cidade. Este texto esquadrinha os fatores sociais que considero essenciais para a abundante produção de musicais nos últimos anos. Estou particularmente interessado em descrever como determinados agentes orquestraram múltiplos procedimentos e interesses na ordernação de um cenário ímpar e profícuo que alterou a produção cênica da cidade. Minha aposta reside na compreensão do teatro como uma forma expressiva, um termômetro de desejos e práticas sociais.

Abstract At the turn of the twenty-first century, Broadway musicals began to be produced in many countries outside the United States. In Brazil, particularly the city of São Paulo, new laws, business interests, and the fascination of some artists with US productions converged to enable the creation of a new system of musicals. In this article I examine the social elements I consider fundamental to understanding the proliferation of musicals in recent years. My description focuses especially on how some actors orchestrated multiple procedures and interests to organize a unique and fertile setting that changed the city’s theatrical production. In the process, I explore theatre as an expressive form that acts as a thermometer of social desires and practices.

Resumo Centrado no exame das trajetórias de atrizes e atores brasileiras/os que migraram para os Estados Unidos com o propósito de estudar e trabalhar naquele país, este artigo tem como objetivo discutir as complexas retóricas da diferença mobilizadas por sujeitos para descrever Estados, mercados e suas experiências. A proposta está alinhada a pesquisas antropológicas interessadas em investigar as políticas da diferença em contextos transnacionais. Realizei entrevistas com onze artistas brasileiros/as que moravam nos EUA, entre 2015 e 2016. Essas pessoas defendiam existir uma comunicação “universal” conferida pela “arte” e apostavam na transcendência de suas técnicas - consideram poder interpretar qualquer personagem no novo país. À medida que tentavam obter papéis, perceberam restrições justamente por serem estrangeiros/as: o sotaque, a aparência física e o tipo de visto impediam o pleno exercício profissional. A pergunta central é: como esses sujeitos formulavam a respeito da diferença?

Abstract Centered on examining the trajectories of Brazilian actors who migrated to the United States with the purpose of studying and working in that country, this article aims to discuss the rhetoric of difference mobilized by subjects to describe states, markets and their own experiences. The proposal is aligned with anthropological research focused on investigating the politics of difference in transnational contexts. During 2015 and 2016, I conducted interviews with eleven Brazilian artists who lived in the USA. These individuals argued that there was a “universal” communication conferred by “art” and relied on the transcendence of their acting techniques - they believed they were capable of playing any character in the new country. However, as they tried to obtain roles, they encountered restrictions precisely because they were foreigners: their accent, physical appearance and the visa-related limitations prevented them a regular professional practice. The main question is: how these subjects formulated about difference?