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1.
  • Friberg, Bertil, 1950, et al. (creator_code:aut_t)
  • One-year prospective three-center study comparing the outcome of a "soft bone implant" (prototype Mk IV) and the standard Brånemark implant.
  • 2003
  • record:In_t: Clinical implant dentistry and related research. - 1523-0899. ; 5:2, s. 71-7
  • swepub:Mat_article_t (swepub:level_refereed_t)abstract
    • BACKGROUND: Oral implant treatment ad modum Brånemark has been used for decades in the rehabilitation of edentate and partially dentate patients. Posterior jaw regions frequently exhibit bone of poor texture, and it is often difficult to obtain primary stability. Thus, it may prove beneficial to deviate from the original protocol and to use implants with a modified design, for example, with a slightly tapered geometry. PURPOSE: The purpose of the investigation was to compare the early behavior of a modified (prototype Mk IV, Brånemark System, Nobel Biocare AB, Gothenburg, Sweden; test) implant with that of the standard Brånemark implant (control) in regions of mainly type 4 bone. MATERIALS AND METHODS: Three Swedish centers participated, and a total of 44 patients were treated with oral implants for 39 maxillas and 5 mandibles. The study focused on the most distal right and left implant sites (88 implants), which were randomized to receive either a test or a control implant. Various parameters were recorded, such as registered insertion torque (OsseoCare), Nobel Biocare AB), wobbling during insertion, primary and secondary stability (as measured with resonance frequency), and marginal bone loss. The implants were followed up for 1 year. RESULTS: The test implant more frequently required a higher insertion torque and showed a significantly higher primary stability than the control implant. This difference in stability leveled out over time, and test and control implants exhibited similar secondary stability at abutment operation and at the 1-year visit. Wobbling during insertion was rarely recorded for either of the implant designs. The 1-year cumulative success rate was 93.1% for test implants and 88.4% for control implants. CONCLUSIONS: The modified implant design resulted in an increased primary stability, which may be important when placing implants in jaw regions of type 4 bone. However, independent of the achieved primary stability, successful implants tended to approach similar secondary stability in the two designs tested.
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2.
  • Friberg, Ulf, 1962- (creator_code:aut_t)
  • Den kapitalistiska skådespelaren : Aktör eller leverantör?
  • 2014
  • swepub:Mat_artistic_t (swepub:level_scientificother_t)abstract
    • The dissertation revolves around an actor’s craft as a changing craft. Theatre workers– like many other professions in Sweden – have experienced major changes in thelabour market during a relatively short period of time. In what way has capitalisticideology changed society over the last 25 years, and in what way has this affected theactor’s craft, and what impact has been experienced? What strategies can the field ofthe theatre, in general, and the actors, in particular, use to create space for the developmentof the craft of acting in a new era?The different parts of the dissertation attack the questions mentioned above from anumber of different angles. References from other disciplines such as philosophy, thehistory of ideas and sociology, which are placed in dialogue with the theatre in thisdissertation project, are all-important.In the first part of the dissertation, the author positions the research and himselfand also presents the methods used and the theories from other disciplines throughwhich he discusses the issues to be addressed.The next section discusses leadership and organisation through the 1990’s until today.The economic crises that affected Sweden during this time not only producedfairly extensive changes for publicly funded theatres but also brought about a changingbalance of power in theatres.Theatrical craft is discussed in the next section, where the main questions addressedare: In what way do changes in power relations affect the actor’s craft? What is theactor’s craft and who is really portraying the role? Actors in fact need what the authorwould like to call “informal power” in relation to their craft; however, this informalspace, the author argues, has been cut back.The fourth act in this dissertation consists of the text of a play, which adopts a freerand more associative approach to the issues discussed, and, as part of the discussion,is staged in a publicly funded theatre in connection with the actual public defence ofthe dissertation.The Epilogue carries and drives issues towards a changing future – if this futureexists.
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