text:
In these lessons, students will learn how to respond to the play not just as a piece of writing, but as a piece of drama. Tasks include: an exploration of original practice, including costumes and staging; researching previous productions and adaptations to broaden students' understanding of the text; and a list of practice exam questions with an emphasis on the text in performance.
In order to benefit fully from these lesson plans, we recommend you use them in the following order:
- Text in Performance
- Language
- Characters
- Themes
- Contexts
If you would like to teach the play in greater detail, use these advanced KS4/5 Lesson Plans. If students are new to the play, we suggest you start with the introductory KS3 Lesson Plans.
These lesson plans are available in the Downloads section at the bottom of this page. To download resources, you must be logged in. Sign up for free to access this and other exclusive features. Activities mentioned in these resources are available in a separate downloadable 'Student Booklet', also at the bottom of this page. The 'Teachers' Guide' download explains how best to use Teach Shakespeare and also contains a bibliography and appendices referencing the resources used throughout.
Key Questions for Students:
Can I ask questions to help me find out about the new Globe Theatre?
Can I research in detail one way in which the Globe Theatre incorporates original theatre practices in its work?
Key words: archive, authentic, costume, original practices, pronunciation, questions, research, sources, vision
Prologue: Opening Discussion
Students should look at the following four images which are included in the Student Booklet: Stephen Fry dressed as Malvolio, and Mark Rylance dressed as Olivia in the 2012 production of Twelfth Night; costumes being fitted backstage before a production of Twelfth Night in 2002; Mark Rylance applying make up backstage; musicians from the 2008 production of The Merry Wives of Windsor.
Also show the following video, which is a speech from Richard II performed in Original Pronunciation by Ben Crystal.
Students should:
- describe what is contained in each image and video
- explain the connection between the images and video
The connection is 'original theatre practices'. Students could also be asked for their view on whether they feel the things that are pictured are relevant to modern theatre. This question should provoke and set up a debate that will be important to return to in the course of the activities that follow.
Enter the Players: Group Tasks
1) In the hotseat
Who was Sam Wanamaker? Why did he want to rebuild a Shakespearean theatre on Bankside? How long did the process take and what hurdles were encountered and overcome along the way? How similar is the new Globe to the original one (building methods, building materials, use of any modern technologies) and how much do we know for certain about the first Globe? Students are going to research Wanamaker and the building of the new Globe Theatre by interviewing 'Sam Wanamaker', who you are going to play. Support students in advance of the interview in their drafting of a variety of questions. The fact sheets on this website and books such as Barry Day's This Wooden 'O': Shakespeare's Globe Reborn are useful resources for the purposes of your research in preparation for this 'teacher in role' activity. Students can also access these fact sheets at home, via the Globe website.
2) Original practices
Show students the definition from the Globe glossary of 'Original Practices':
This is a term used to describe a production that explores methods used in Elizabethan or Jacobean theatre. Strictly speaking, the term Original Practices defines a particular approach used by the Globe when Mark Rylance was Artistic Director. Under Dominic's direction the Globe is continuing to explore some of these techniques.
Some Globe productions have actively sought to follow original Elizabethan and Jacobean theatre practices. These practices include:
- costume
- pronunciation
- use of authentic musical instruments and sound effects
- all-male companies
Students could choose one of these areas and research it. This research could be used in a class discussion about the value of such practices 400 years later, when language, technology and cultural attitudes are very different.
3) Adopt an Actor
Romeo and Juliet has been staged several times at the new Globe since it opened in 1997, with the title roles being played by Kananu Kirimi and Tom Burke (2004), Lorraine Burroughs and James Alexandrou (spring 2009), Ellie Kendrick and Adetomiwa Edun (summer 2009), Jane Anouka and Will Featherstone (2013), and Cassie Layton and Sam Valentine in a touring production (2015). The Ellie Kendrick and Adetomiwa Edun version is available on a Shakespeare's Globe DVD. Images and extracts from some of the productions are featured throughout these materials. What can students find out about these different productions using production images, theatre reviews, the Adopt An Actor archive, etc.? Give students time to investigate this rich archive of actor interviews from past productions. Students could be given the name and headshot of a particular actor from one of the productions; they should then research that particular production, and how the actor prepared to play the character in question.
Exeunt: Closing Questions for Students
What was Sam Wanamaker's vision in rebuilding the Globe?
To what extent do I think this has been achieved?
How can researching how Shakespeare was performed in the past be of use to actors today?
Suggested plenary activity…
Where would students prefer to see a production of Shakespeare? At the Globe or in a modern theatre? Outdoors? On screen? Why?
Asides: Further Resources
- What happened to the original Globe theatre? What steps have been taken in modern times to prevent history repeating itself? Students can read a factsheet about the new Globe here: shakespearesglobe.com/uploads/files/2015/04/reconstructed_globe.pdf.
- Ben Crystal writes in Shakespeare on Toast (pp.52-54) about the connection that can be achieved between the actors and the audience in the reconstructed Globe.
Epilogue: Teacher's Note
The factsheets mentioned in this resource are available for teachers on Teaching Shakespeare (teach.shakespearesglobe.com/fact-sheet-third-globe), as well as for students to access at home on the Globe website (shakespearesglobe.com/discovery-space/fact-sheets).
Key Questions for Students:
Can I evaluate the importance of movement work and choreography in productions of Shakespeare?
Can I analyse how different actors who have played the role of Tybalt have communicated with the audience using body language, facial expression and other movements?
Can I apply these insights to my own ideas for staging a very physical scene?
Key words: body language, character, choreography, facial expression, fight scenes, movement, swordfighting
Prologue: Opening Discussion
Ask students to watch the first part of Act 1 Scene 1 of Romeo and Juliet at Globe in 2013. Students should jot down any examples of carefully choreographed moves from this clip, and share findings.
Enter the Players: Group Tasks
1) What does a choreographer do?
Ask students to think about:
- how the shape and layout of the Globe's stage might make particular demands of actors
- what other parts of Romeo and Juliet might need to be choreographed, e.g. the party in Act 1, the fight in Act 3, Romeo and Juliet's deaths in Act 5
Students will find some interview questions and answers from a Globe choreographer at 2011.playingshakespeare.org/text-performance/choreography, and from a Globe text and space coach at 2011.playingshakespeare.org/text-performance/text-work.
2) Playing Tybalt
Ask students to read the quotations about Tybalt:
"Tybalt is a wonderful spoiler, and he is a great energy – just as a sort of malevolevent energy."
"Mercutio uses fencing terms and also complains that Tybalt 'fights by the book'. The fights themselves were governed by a strict set of rules that they were honour bound to obey. Tybalt breaks these rules by thrusting under Romeo's arm."
"For Lady Capulet, losing Tybalt is like losing the son she never had...He is part of her household, she is looking after him, which is what they used to do with young men and young women, so she's looking after her brother's son, and he dies in her care."
What different aspects of Tybalt's character are emphasised in each quotation. Ask students to think of five adjectives to describe Tybalt and to support them with textual evidence. How would students advise the actor playing Tybalt or prepare for the part themselves? How should he stand? How should he move? Students should make notes in the Student Booklet.
3) Over to you: combat scene
Ask students to consider how they would stage the fight scene involving Tybalt, Romeo and Mercutio (Act 3 Scene 1 particularly lines 55-143). How naturalistic would the fighting be or would it be more stylised? Ask students to work in pairs, recording their ideas on a storyboard sheet. You could ask students to bring some of these images to life in their own tableaux and even take photographs to which captions/quotations could be added.
Students could then compare their vision against the staging of it in the 2013 production:
Exeunt: Closing Questions for Students
How important are a character's movements in a play?
Should all movement on stage be planned and rehearsed?
How can a character's movements affect our reactions to them?
Suggested plenary activity…
Ask students to pick one character and write down how they think that character should move, using a quotation from the play to support that idea. (The quotation could be said by the character in question or it could be something said by another character.)
Asides: Further Resources
- Most Elizabethan gentlemen carried swords in public and many had a dagger too. These weapons were worn more as a sign of status than for defence. However, younger gentlemen (or 'gallants') did fight in the streets. The fact that even the servants in Romeo and Juliet carry swords and shields too (not normally carried at all) is a sign of just how extreme the old feud has become.
- The open air playhouses in Shakespeare's time did more than just show plays. They staged exhibitions of sword fighting, tournaments and prize fights between duellers. Some theatres, including the Curtain where Romeo and Juliet was probably first played, became well known for these fights.
- Each of the following words is used by Shakespeare to mean a weapon or piece of armour, but the words also have other meanings with which may be more familiar. What do these words mean when Shakespeare uses them in a military context? 1) crest; 2) carriages; 3) foil; 4) hanger; 5) partisan; 6) pike; 7) target; 8) tuck
- All performances of plays in Shakespeare's time would have ended with a dance or 'jig' involving the whole company of actors. This is a tradition that continues to this day at Shakespeare's Globe, as you can see in this clip from the end of a production of Macbeth:
Epilogue: Teacher's Note
Further Key Stage 4 activities about Tybalt can be found under Character.
Key Questions for Students:
Can I find out about how different actors have approached the role of Romeo?
Can I understand the role played by other theatre professionals who support actors in approaching major roles or key scenes in different ways?
Key words: actor, character, costume, entrance, exit, motivation, movement, prompt book, props, stage manager, voice
Prologue: Opening Discussion
The Globe actress Yolanda Vasquez shares a list of questions she asks when she is rehearsing a play. Students could answer these questions about Romeo at the beginning of Act 1, and repeat this for the character at a later point in the play that they can choose. They should write in modern English in the first person.
1) Who am I?
What kind of person is this character? What is the character's background, influences, education, experiences, likes and dislikes, relationships? What are their inner and outer characteristics?
2) Where am I?
What kind of place is the character in? Is it familiar or unfamiliar? What does it mean to the character, if anything? How does the character feel about their surroundings?
3) When is it?
What is the time of year, day, or season? Why is the scene set at that moment? What's happened before? Where is the character going to afterwards?
4) What do I want?
This is the character's primary need, their desire. Actors often refer to this as a character's 'objective'.
5) Why do I want it?
The character must have a good reason for wanting it. It justifies their objective.
6) How will I get it?
What does the character need to do to accomplish his/her objective? (E.g. beg, plead, tease, threaten, etc.) What tactics does s/he use? These can be both verbal and physical?
7) What must I overcome?
This is the resistance. It's what's stopping the character from obtaining his/her objective. This might be an inner obstacle (coming from the character's own characteristics or physical or mental state of being) or an outer obstacle (coming from the character's situation or relationship). This might also be affected by the objectives of other characters.
Enter the Players: Group Tasks
1) Playing Romeo
Students read three accounts in the Student Booklet about approaching the role of Romeo. In groups of three, students take one account each and feedback to the others about how the three actors approached the role. They should focus on:
- the creative ideas they brought to the role
- any anxieties or misgivings about the role
- any insights they brought to the role from background reading/research/lectures
- how all of this translated into the performance they gave as Romeo
Students could also write a creative piece about approaching the role of Romeo using one or more of these perspectives as models for their own writing.
2) The role of the stage manager
What does a stage manager do? Follow this link - 2013.playingshakespeare.org/week-by-week/116 - to watch an interview with Jo Strictland, a Deputy Stage Manager at the Globe. Students could then read the questions and answers about stage management via this link: 2011.playingshakespeare.org/text-performance/stage-management. Emphasise the idea that the role of the stage manager involves a great deal of coordination of different artistic and technical inputs.
3) Over to you: staging Act 5 Scene 3 lines 1-120
If students have completed the previous task, they will have found out more about what a 'prompt book' is. For this activity, students are going to be creating a prompt book version of Act 5, Scene 3, line 1-120. They should begin with a plain text version of the extract in question with plenty of space for notes.
The prompt book should include:
- any cuts that are being made to this scene
- notes about entrances and exits, and about positions (blocking)
- notes that have been agreed with the actors – particularly the actor playing Romeo – about important aspects of their performances (use of voice, body language)
- notes about costumes and props in this scene
Exeunt: Closing Questions for Students
What different factors influence and inspire an actor's performance in a role?
How has the role of Romeo been interpreted by actors?
How would I approach this role as an actor, a director or a stage manager?
Suggested plenary activity…
Create a spider diagram to show the different kinds of creative input that contribute to a performance. This could include: the actor, fellow actors, Shakespeare, audience members, musicians, costume designer, prop maker, choreographer, composer, etc.
Aside: Further Resource
- The Chamberlain's Men would not have used as many props as a modern theatre company. Many of the props which they did have are used in Romeo and Juliet: the swords (for the fight scenes), the torches (to help the audience imagine the dark) and the bed (the company's biggest prop).
Epilogue: Teacher's Note
The prompt book task could be used to assess reading, speaking and listening, particularly if students run through a rehearsal of the scene. Students could take on the following roles: the actors (Romeo, Paris, Balthasar and Page); the director; and members of the stage management team. This discussion should be as broad as possible to emphasise the cooperation and collaboration a play requires.
Key Questions for Students:
Can I find out about how different actors have approached the role of Juliet?
Can I develop my understanding of the role of other theatre professionals, who support actors in approaching major roles or key scenes in different ways?
Key words: actor, archive, character, context, motivation, research, review
Prologue: Opening Discussion
The Globe actress Yolanda Vasquez shares a list of questions she asks when she is rehearsing a play. Students could answer these questions about Juliet at the beginning of Act 1, and repeat this for the character at a later point in the play that they can choose. They should write in modern English in the first person.
1) Who am I?
What kind of person is this character? What is the character's background, influences, education, experiences, likes and dislikes, relationships? What are their inner and outer characteristics?
2) Where am I?
What kind of place is the character in? Is it familiar or unfamiliar? What does it mean to the character, if anything? How does the character feel about their surroundings?
3) When is it?
What is the time of year, day, or season? Why is the scene set at that moment? What's happened before? Where is the character going to afterwards?
4) What do I want?
This is the character's primary need, their desire. Actors often refer to this as a character's 'objective'.
5) Why do I want it?
The character must have a good reason for wanting it. It justifies their objective.
6) How will I get it?
What does the character need to do to accomplish his/her objective? (E.g. beg, plead, tease, threaten, etc.) What tactics does s/he use? These can be both verbal and physical?
7) What must I overcome?
This is the resistance. It's what's stopping the character from obtaining his/her objective. This might be an inner obstacle (coming from the character's own characteristics or physical or mental state of being) or an outer obstacle (coming from the character's situation or relationship). This might also be affected by the objectives of other characters.
Enter the Players: Group Tasks
1) Playing Juliet
Students read a series of blog posts by Kananu Kirimi about approaching the role of Juliet. Students should discuss:
- the creative ideas she brought to the role
- any anxieties or misgivings about the role
- any insights she brought to the role from background reading/research/lectures
- how all of this translated into the performance she gave as Juliet
Students could also write a creative piece about approaching the role of Juliet using Kananu's blog posts as a model for their own writing.
2) Spotlight on research
Show students this interview with Dr Derek Dunne: 2013.playingshakespeare.org/week-by-week/279. Students should make notes on what Dunne's role is at the Globe and why this work is considered to be an essential part of staging a play there. Students could search the Adopt An Actor archive to find examples of the research team's input into an actor's understanding of a character they are playing. How did the research support the actor's performance in general and/or in particular scenes or speeches?
3) Over to you: staging Act 5, Scene 3, lines 121-167
For this activity, students are going to be creating a prompt book version of Act 5, Scene 3, lines 121-167. They should begin with a plain text version of the extract in question with plenty of space for notes. This activity continues the analysis of Act 5 Scene 3 from the activity in the previous learning sequence.
The prompt book should include:
- any cuts that are being made to this scene
- notes about entrances and exits, and about positions (blocking)
- notes that have been agreed with the actors - particularly the actor playing Juliet - about important aspects of their performances (use of voice, body language)
- notes about costumes and props in this scene
Exeunt: Closing Questions for Students
What different factors influence and inspire an actor's performance in a role?
How has the role of Juliet been interpreted by actors?
How can the work of researchers at the Globe support an actor's interpretation and performance?
Suggested plenary task…
Ask students to imagine that they are about to play Romeo or Juliet at the Globe. What kinds of questions would they have about playing the character? How would they go about answering those questions? Share ideas.
Asides: Further Resources
- It's useful to reflect on what we are told and not told about Juliet. In the introduction to the Arden edition of the play, Rene Weis says 'We learn more biographical details about Juliet's history than we do with any other character in Shakespeare, mostly through Nurse's affectionate, if embarrassing, banter.' He also says that 'While the play gives Juliet's age and birthday…it says nothing about her appearance.'
- Rene Weis argues that 'the play's double focus notwithstanding, its focus rests squarely on Juliet'. Discuss - and perhaps debate - this statement in class.
Epilogue: Teacher's Note
Students could find out more about how Shakespeare's life and times or theatre practices have inspired directors and actors via the Adopt An Actor archive.
Key Questions for Students:
Can I demonstrate awareness and understanding of Romeo and Juliet as a text written for the theatre in my essays?
Can I write about the dramatic effects of Shakespeare's text on stage in an insightful way?
Key words: actor, director, drama, glossary, jargon, performance, script, stage directions, text, theatre, vocabulary
Show students this quotation by the Victorian poet Gerard Manley Hopkins (from a letter to his brother Edward in 1885):
'Shakespeare and all great dramatists have their maximum effect on stage but bear to be or must be studied at home before or after or both.'
Ask students to work out what they think Hopkins is saying here and to sum it up in their own words. How far do they agree with this statement?
1) Glossary
As a class, students compile their own detailed glossary of drama and theatre terms, and include it in their Student Booklet as a loose-leaf page.
2) Question bank: text in performance
The following tasks can be used in the modelling of planning and drafting written tasks, as well as for students' more independently produced work for assessment:
- Write a review of a production of Romeo and Juliet you have seen.
- Explain to a group of actors, designers, etc. your vision as director for a new production of Romeo and Juliet, aimed at attracting more teenagers to watch Shakespeare plays.
- What advice would you give to the actors playing Romeo and Juliet in Act 2 Scene 6? Make reference to at least two other parts of the play within your answer.
- Re-read Act 3 Scene 1 lines 1-138. Describe in detail how you would stage this part of the scene and explain the reasons behind your decisions.
- Compare how the character of either Tybalt or Mercutio is portrayed in three different stage or screen versions of the play. Ensure you refer extensively to the text in your answer.
- The critic William Hazlitt describes how the play takes Romeo and Juliet "from the highest bliss to the lowest despair". Write about three scenes that show how this happens and about how you would stage these scenes. (William Hazlitt, Characters of Shakespeare's Plays, 1845, p. 93)
Exeunt: Closing Questions for Students
How can I demonstrate my understanding of Romeo and Juliet as a work of drama to be performed?
To what extent should I write about performing the text when I'm writing about characters, language or themes for an essay?
Suggested plenary task…
Focus marking of work in progress against individual curricular targets.
Aside: Further Resource
- The tasks in the question banks can be used as the basis for devising further tasks to suit the needs of your own class, curriculum and syllabus.
Epilogue: Teacher's Note
For more detailed guidance for students on revising and writing about Romeo and Juliet in exam conditions, see the materials in the Student Booklet.
Key Questions for Students:
Can I investigate some of the similarities and differences between different versions of Romeo and Juliet on stage and on screen?
Can I explain my personal view of some of the different portrayals and interpretations?
Key words: adaptation, close up, colour, connotation, director, mise en scene, lighting, long shot, shot, still
Prologue: Opening Discussion
Find stills from productions of Romeo and Juliet, featuring the actors playing the eponymous characters. Here are some examples:
- Baz Luhrmann's Romeo + Juliet starring Claire Danes and Leonardo DiCaprio (1996)
- Franco Zeffirelli's Romeo and Juliet starring Leonard Whiting and Olivia Hussey (1968)
- Norma Shearer and Leslie Howard in Romeo and Juliet, directed by George Cukor (1936)
- Laurence Harvey and Susan Shentall (1954)
- Hailee Steinfield and Douglas Booth (2013)
Distribute sets of cards, some with captions naming famous screen versions of Romeo and Juliet and some with stills from those productions. Students should match the still to the film it is taken from. Take feedback, ensuring students explain the process by which they matched film still to its caption. For homework, students could find out more about one of these versions, e.g. Where was it filmed? Did it win any awards? How faithful to the original play is it?
Enter the Players: Group Tasks
1) Romeo and Juliet on screen
Distribute larger versions of the images used in the starter activity, one per group of three or four. Students should analyse the still in detail, looking at:
- what kind of shot it is (e.g, long shot, close up)
- lighting (e.g. light source, what's in shadow)
- use of colour (colour palette, contrasts, connotations and symbolism of colours)
- mise en scene (what's in the frame, how the frame is composed)
Through class discussion, build two brainstorms showing some of the different possibilities of stage and of screen when performing a Shakespeare play.
2) Research
Together students build up a gallery of images and an archive of research about different productions of Romeo and Juliet on stage and screen, including reviews of those different productions. Different pairs or small groups could research particular productions and become 'experts' on that particular production. Allocate productions to ensure that across the class, a mixture of stage and screen versions are researched. Students could collaborate to produce a timeline of productions as a class display.
3) Assessment task
As individuals, students choose one element of the play, either a character or a particular scene. They should prepare a slideshow presentation, comparing and evaluating different interpretations, and drawing some personal conclusions. In order to acquire their evidence, they should consult their classmates who are by now experts on various productions. Students should make as many connections as they can to the text itself and to how Shakespeare's language has been interpreted in the various versions of the play they are examining. As listeners, students could make notes about words and phrases that their fellow students have used to compare and contrast different versions; these words and phrases could be collated in a word and phrase bank.
Exeunt: Closing Questions for Students
How has Shakespeare's Romeo and Juliet been interpreted in different ways on stage and on screen?
What is my personal response to some of these different portrayals and interpretations?
Can there be such a thing as a definitive version?
Suggested plenary activity…
Students construct a sentence comparing one particular aspect of two different productions using some of the language from the word and phrase bank.
Aside: Further Resource
- The BFI has produced materials about Film Language in general and about a number of examples of Shakespeare on film, including Olivier's 1944 Henry V and the 2010 version of Othello starring Christopher Eccleston as Iago.
Epilogue: Teacher's Note
As extension work, students could bring in research about other productions they have studied independently. The individual presentations can be assessed for speaking, listening and reading.
Key Questions for Students:
Can I comment on the significance of the party scene in the play as a whole?
Can I analyse in detail the language of this scene and make thoughtful links to the rest of the play?
Key words: anticipation, audience, characters, concealment, foreshadowing, imagery, masque, romantic love, sonnet
Prologue: Opening Discussion
Ask students to make notes on any references from Act 1 Scenes 1 - 4, in which the party of Act 1 Scene 5 is mentioned. Ask students to write a brief answer in their Student Booklet to the question about the audience's anticipation of this scene.
Prologue: Opening Discussion
1) Getting to grips with the scene
Students should use the relevant pages in the Student Booklet to write brief summaries of the different sections or 'chunks' of this long scene (Act 1 Scene 5). Students can then be assigned a particular section to read and should prepare a performance of their section for the class. They should make spoken 'annotations', highlighting key points about plot, character, themes, language and context.
2) Group presentations
All students should now go to where the scene is written in full in the Student Booklet. As they listen to their classmates' feedback, they should begin to write annotations about this scene, again ensuring they have considered plot, characters, themes, language and context as they do so. Students should continue with this detailed study of the scene, perhaps as a revision homework.
3) Over to you: essay
Finally, in this particular section of the Student Booklet, students can plan and draft the following essay:
Write a detailed commentary about Act 1 Scene 5 that also assesses the scene's significance in the play as a whole.
Using the guidance in the Student Booklet to help them, students should ensure:
- that they write about each 'chunk' of the scene
- that they make points about characters, themes, language and context
- that they support points with textual evidence
- that they make links between this scene and other parts of the play
Exeunt: Closing Questions for Students
In what ways is the party scene significant in the play as a whole?
Can I pick out a particular line that I think is very significant and explain why?
Suggested plenary activity…
Using the success criteria, students could self- or peer- assess their essays and make notes on strengths and target areas in the Revision section of the Student Booklet.
Asides: Further Resources
- In the Tudor and Stuart periods, the upper classes hired musicians and actors and held grand celebrations in their own houses. Masques could be anything from a simple fancy-dress party (where everyone wore a mask) to a full-scale theatrical show. The simple masque in Romeo and Juliet is a chance for the youth of Verona to flirt with each other, whilst under the cover of disguise. Crucially it gives Romeo and his friends the chance to enter the Capulet household without being detected.
- Students could also look at the second Chorus, another sonnet which comes directly after Act 1 Scene 5. How effectively does it summarise the key events of the play so far and anticipate what will happen next?
Epilogue: Teacher's Note
Other materials that relate to this scene can be found within both the Key Stage 3 Language and Key Stage 4 Language materials.


text:
iSelect SNP Summary Information
Summary information for the SNP BS00185414 is listed below:Map location in various crosses
Avalon X Cadenza | 1A |
Savannah X Rialto | |
Cross 1 | |
Cross 2 | 1A |
Cross 3 | |
Cross 4 | 1A |
Cross 5 | 1A |
Cross 6 | 1A |
Deletion lines | |
9K iSelect array | 1A |
Consensus Chromosome: 1A
BLAST sequence
To BLAST the above sequence against our SNP database click on the 'Queryi SNP databse' button below. You may select an e-value cut-off for this search.
Alternatively, you may perform a BLASTN against Brachypodium, Rice or Rye sequences. Use the drop-down fields below to select the parameters (database and e-value cutoff value) you wish to use and then click the grey 'BLAST' button.   At present your search can only be performed against Brachypodium distachyon, rice ( Oryza sativa ) or rye ( Secale cereale ) libraries.   However, this site is actively being worked on and we hope to be able to add additional libraries.
Based at the University of Bristol with support from BBSRC.

subset: commoncrawl


text:
Sylvie Classic Engagement Ring S1093-021A4R10E
All products are subject to price change and availability.Ream reserves the right to limit quantities. Any typographical, photographic or other errors are subject to correction. For all prices and products, Ream reserves the right to make adjustments due to errors, changing market conditions, product discontinuation or typographical errors.
Sylvie Classic Engagement Ring S1093-021A4R10E
Available Options
Center Stone Information
Center Stone Setting Type: | Prong |
Center Stone Shape: | Emerald |
Center Stone Type: | Not Included (Sold Separately) |
Center Stone Weight Range - ct: | 0.75 to 1.25 |
Item Specification
Collection | Classic |
Engagement Ring Style | Vintage |
Engagement Ring Type | Sidestone |
Metal Type | 14K Rose Gold |
Product Type | Engagement Rings |
Set | Engagement Ring |
Side Diamonds Shape - Cut | Round |
Side Diamonds Total Weight - ct | 0.21 |
Side Stones Continuity | 3/4 Way |
Side Stones Setting Type | Prong |
Stones Type | Diamond |
We know you will be absolutely thrilled with your diamond from Ream Jewelers. In fact, we guarantee it. If for any reason, you are unsatisfied with your Ream Jewelers item, simply return the it within 14 days of purchase for your choice of exchange or refund. There are two exceptions to this: Diamond engagement rings have 30 days from the date of purchase to exchange or refund them. Custom made items are not able to be exchanged or returned, sorry! All items must be in like-new, unworn condition, with their original receipt and in their original packaging in order to be eligible for return or exchange. Refunds occur within 30 days of the date of return but if the items were purchased on a credit card, the credit to the card occurs upon return.


text:
Penhurst – St Michael
The small, little restored church consists of a nave and chancel of c1400 and a slightly later uncompleted tower. The north chapel and many fittings are C17.
Penhurst was a centre of the Wealden iron industry and the last forge in Sussex closed here in the early C19. Only the C17 manor house, a few cottages and a barn are near the church. A chapel is recorded in 1237 (VCH 9 p238), but the present church dates from c1400. Unusually for this time, it has only a nave and chancel, which could suggest that the foundations and even some walling were earlier. The nave, almost as broad as it is long, has square-headed windows with pierced spandrels and ogee heads; the south window of the chancel is similar. The heads of the lights have slight ogees, a sign that they date from around 1400. In the chancel, the south window is well to the west, next to a moulded doorway. The moulded south doorway in the nave has a square hoodmould. The timber porch is much restored but basically of the same date as the rest of the church, with cusped bargeboards and open traceried sides, as one remaining section shows. It is now on a C19 brick base.
The original roofs remain. That in the nave has kingposts and was well repaired in 1881 after partial collapse (1 p11). Like the wagon roof in the chancel, it is plastered. The relatively low chancel arch has a continuous outer order and an inner one on semi-octagonal responds with deeply cut abaci. The groove on the soffit was for a tympanum behind the rood. The east window has panelled tracery and though its detail might suggest a slightly later date, this is unlikely on the assumption that as usual, building started at the east end.
The sandstone ashlar tower would have been built last. It is of special interest because it was never completed, though the extant work dates from before 1450. It has diagonal buttresses and above a heavily moulded doorway with shields in the spandrels, the tracery of the west window combines vertical mullions and curved lobes. Though known to be restored (the Sharpe Collection drawing of 1797 shows it blocked), it is little changed and the best means of dating the tower. In the absence of a bell-chamber and top, the last few feet are tile-hung, as are the tiled pyramid and the top of the square stair-turret. Towers were often built in stages, but usually the temporary roof, which kept the frost out, was thatched so the tiles here may be later, possibly C17. Nevertheless, the whole shows how towers must have looked during construction. The tower arch is considerably taller than the chancel arch. Its head has two orders, both resting on the responds; the outer one is hollow-chamfered.
An argument in favour of the top of the tower having been altered in the C17 is that alterations elsewhere in the church were carried out then. Apart from new fittings (see below), a north chapel was added to the chancel. Its east window, square-headed with three cusped lights, differs little from C15 work though the round head of the plain arch from the chancel reveals its date. The chapel is bare, with no monuments.
Thanks to the remoteness of the area and its poverty in the C19 the church survived with little change. The pews (see below) are dated 1858, but nothing else seems to have been done until the chancel was restored in 1879 (1 p10), followed in 1881 by the nave. The parish records in 1881 speak of a 'renovation' (not 'restoration') by G Harmer, a builder of Herstmonceux (ESRO Par 441/4/1). For £173 15s 0d, he can have done little more than repair the roof and unbrick the west window. Further repairs in 1959 by D Clarke and F E Ford of J D Clarke and Son (ICBS) were equally tactful and Penhurst church remains one of the most enjoyable small churches in the county, whilst being visibly well cared for.
Fittings and monuments
Altar rails: Late C17 with turned balusters.
Commandment board: (In tower) C18 with an arched central panel.
Font: C15. Small, octagonal bowl, plain except for the chamfered underside.
Font cover: This looks C17 with an arched top, but apparently dates from 1883 and is a near copy of that at Ashburnham (BE(E) p577).
1. (East window) C15, with the tops of canopies in the main lights and in the tracery angels holding shields, one of them bearing the arms of the Pelhams with pelicans. It was restored in 1977 (vidi). There is more ornamental bordering of similar type in the nave windows.
2. (North chapel) Good c1987 engraved glass, consisting of panels bearing texts.
Monument: (By sanctuary step) Iron tombslab to Peter Gower, dated 1703.
Pews: (Nave) The plain, low box pews are old fashioned for 1858, the date they bear.
Piscina: (South chancel) Plain and c1400, but damaged.
Pulpit and reading desk: These have been assembled from C17 panels which, according to local tradition, were given in the C19 and are said to come from Long Melford, Suffolk (1 p8). Possibly they belonged to a larger pulpit.
Screen: Simple early C15, like those in West Sussex at Bignor and West Thorney, though slightly later. Of the four bays, two are the doors. Each has two trefoiled lights with quatrefoils, some halved, above.
Squint: (North of chancel arch) It has a shouldered head and is contemporary with the chancel arch.
1. R F Whistler: Penhurst, SAC 36 (1888) pp1-18.
Measured plan by J E Ray and W H Godfrey in VCH 9 p238


text:
Customers who purchased this item also purchased:
What our customers are saying:
"Just received new caps and want to thank you for taking care of the problem. Your company's response is much appreciated. I will certainly consider you guys as my first choice for future racing supplies."
H.R. from New York


text:
Common Dental Procedures Their Costs
Dental Exams and Teeth Cleaning
Dental exams and teeth cleaning often go hand-in-hand during a dental visit. A dentist or hygienist will check on the general health of your oral cavity. This includes your teeth, gums, and tongue.
In Georgia, this treatment costs between $60 and $107.
Pediatric Dentistry
Pediatric dentistry focuses on children's oral health from infancy through the teen years. Treatments aim to maintain and improve dental health through a combination of services.
These include treating any existing dental issues in children. But pediatric dentistry also emphasizes education and preventative care. Proper brushing, flossing, nutrition, and dental sealants can help prevent issues like cavities.
Establishing these good habits early on is key. The goal is to set up a comprehensive routine focused on prevention. This helps ensure a healthy smile for years to come.
Pediatric dental treatments in Georgia typically cost $78, varying based on the specific service and age of the child.
Cavity Fillings
Cavity fillings are used to treat minor tooth decay. Fillings prevent bacteria, food, and other debris from entering the tooth and progressing this decay. They can also repair teeth that are broken or worn down.
Cavity filling costs in Georgia range from $154 to $273, depending on the number of surfaces affected and the type of filling material used.
Root Canals
Root canals are necessary when the innermost layer of you tooth, the dental pulp, is severely damaged. This procedure involves cleaning out the infected pulp and sealing the tooth.
Costs in Georgia range from $928 to $1,285.
Gingivitis Treatment
Gingivitis treatments can involve scaling and root planing. This involves scraping tartar buildup along the gums and smoothing the teeth's surfaces.
Treatment can also involve regular dental checkups and readjusting poorly fitted dental devices like braces or dentures.
In Georgia, the cost is between $290 and $214.
Periodontal Therapy
Periodontal therapy treats gum disease, from mild gingivitis to severe periodontitis. The goal is to thoroughly clean around teeth and stop disease progression. This helps maintain natural teeth and gum health.
In early stages, careful plaque and tartar removal may be enough. Advanced disease may need surgical interventions to restore bone and tissue support. Ongoing care is important to halt further gum damage.
In Georgia, periodontal therapy costs range from $699 to $872, depending on the extent of treatment required.
Teeth Whitening
Teeth whitening is a kind of cosmetic treatment for discolored teeth. It involves hydrogen peroxide or carbamide peroxide.
Teeth whitening in Georgia can cost approximately $312, with the price depending on factors such as the whitening method used.
Wisdom Tooth Removal
Wisdom teeth removal is necessary when the wisdom tooth doesn't have space to erupt properly. An improper eruption can lead to infection or an impacted tooth. This means the tooth grows in partially.
Wisdom teeth removal in Georgia ranges from $218 to $546, with costs varying based on the complexity of the extraction and whether it's impacted.
Fluoride Treatment
Fluoride treatments help prevent tooth decay. These treatments can be done professionally or at home. They're also available in toothpaste, foams, gels, and mouthwashes.
A professional fluoride treatment in Georgia costs between $41 and $42, depending on whether varnish is used or not.
Dental X-rays give dentists and hygienists a comprehensive look at your oral cavity's health. They can check your teeth, roots, jaw placement, and facial bone structure. These are necessary to give you a comprehensive treatment plan.
Dental X-ray costs in Georgia range from $153 to $132, based on the type and number of X-rays needed.
Sleep Apnea Treatment
Sleep apnea treatments come in different forms. Dentists can recommend weight loss, using a wedge pillow, breathing strips, or mouthguards.
PAP therapy is another common sleep apnea treatment. Some people may need surgery to treat their condition.
In Georgia, the cost for sleep apnea treatments like mouthguards typically ranges between $491 and $636. This range depends on the complexity and customization of the device.
Tooth Sealants
Tooth sealants prevent food particles, bacteria, acid, and other substances from damaging the tooth and causing cavities. They're commonly applied to permanent teeth that haven't had cavities yet.
In Georgia, the cost for tooth sealant treatments is roughly $59 per tooth, depending on the tooth's condition and the extent of preparation needed.
Fluoride's Role in Georgia's Dental Health
Fluoride Statistics in Georgia
Fluoride, essential for dental health, is widely used in Georgia. Here's a snapshot of its impact:
- Access to Fluoridated Water: In Georgia, 95.2% of the population had access to fluoridated water in 2018. This plays a crucial role in improving dental health across the state.
- The percentage of Georgians with access to fluoridated water increased by 0.6% between 2008 and 2018.
- National Standing: Georgia is ranked #6 out of 50 in the U.S. for fluoridated water access.
- Georgia's rank for access to fluoridated water has generally been going up from 2012 to 2018.
- Community Impact: About 8,959,918 people in Georgia were served by community water systems (CWS) with fluoridated water in 2018.
The Benefit of Fluoride in Dental Care
Fluoride in drinking water helps prevent tooth decay. This can reduce the need for extensive dental work. Regular dental check-ups and fluoride treatments are important for good oral health.


text:
Welcome to Our Online Office!
This new and exciting Online Office brings financial services directly into your home or business enabling you to more actively participate in your financial management.
Spend Some Time
Explore our Online Office. There are many different ways to use the services here. You can:
- Learn about the services we offer.
- Use the Financial Calculators to assist you in budgeting, financial planning, or determining loan payments.
- Stay Alert to tax and accounting news by reviewing the client newsletter.
- Register Your e-mail Address to receive important announcements through Service PLUS!
- Link to a variety of other helpful sites listed under Links.
- Review Tax and Financial Topics of Interest in the Additional Pages section of our site
Please browse the pages of this site and feel free to e-mail any questions, suggestions or other feedback. This web site is meant to be an extension of services provided to you.
Visit often as additional news and helpful information will be continually added in an effort to serve you better.


text:
Medication Search - ratio-Cyclobenzaprine
Common Name:
How does ratio-Cyclobenzaprine work? What will it do for me?
Cyclobenzaprine belongs to the family of medications known as muscle relaxants. It is used along with rest and physical therapy for the relief of muscle spasm associated with acute (sudden and short-term) painful conditions. Muscle relaxants work in the central nervous system (CNS) to modify signals from the brain that cause the muscles to tighten. When used in combination with rest and physical therapy, muscle relaxants help to relieve the pain and stiffness caused by muscle spasm.
This medication may be available under multiple brand names and/or in several different forms. Any specific brand name of this medication may not be available in all of the forms or approved for all of the conditions discussed here. As well, some forms of this medication may not be used for all of the conditions discussed here.
Your doctor may have suggested this medication for conditions other than those listed in these drug information articles. If you have not discussed this with your doctor or are not sure why you are taking this medication, speak to your doctor. Do not stop taking this medication without consulting your doctor.
Do not give this medication to anyone else, even if they have the same symptoms as you do. It can be harmful for people to take this medication if their doctor has not prescribed it.
What form(s) does ratio-Cyclobenzaprine come in?
ratio-Cyclobenzaprine is no longer being manufactured for sale in Canada. For brands that may still be available, search under cyclobenzaprine. This article is being kept available for reference purposes only. If you are using this medication, speak with your doctor or pharmacist for information about your treatment options.
How should I use ratio-Cyclobenzaprine?
The usual adult dose of cyclobenzaprine is 10 mg 3 times a day, with a range of 20 mg to 40 mg a day (given in divided doses). The total dose should not exceed 60 mg daily. Use of this medication is not recommended for periods longer than 2 or 3 weeks.
Many things can affect the dose of medication that a person needs, such as body weight, other medical conditions, and other medications. If your doctor has recommended a dose different from the ones listed here, do not change the way that you are taking the medication without consulting your doctor.
It is important to take this medication exactly as prescribed by your doctor. If you miss a dose, take it as soon as possible and continue with your regular schedule. If it is almost time for your next dose, skip the missed dose and continue with your regular dosing schedule. Do not take a double dose to make up for a missed one. If you are not sure what to do after missing a dose, contact your doctor or pharmacist for advice.
Store this medication at room temperature, protect it from light and moisture, and keep it out of the reach of children.
Do not dispose of medications in wastewater (e.g. down the sink or in the toilet) or in household garbage. Ask your pharmacist how to dispose of medications that are no longer needed or have expired.
Who should NOT take ratio-Cyclobenzaprine?
Do not take this medication if you:
- are allergic to cyclobenzaprine or any ingredients of this medication
- are in the acute recovery phase of heart attack
- are taking MAO inhibitors (such as phenelzine or tranylcypromine) or have taken them in the past 14 days
- have abnormal heart rhythms
- have an overactive thyroid gland (hyperthyroidism)
- have congestive heart failure
- have heart block or conduction disturbances
What side effects are possible with ratio-Cyclobenzaprine?
Many medications can cause side effects. A side effect is an unwanted response to a medication when it is taken in normal doses. Side effects can be mild or severe, temporary or permanent.
The side effects listed below are not experienced by everyone who takes this medication. If you are concerned about side effects, discuss the risks and benefits of this medication with your doctor.
The following side effects have been reported by at least 1% of people taking this medication. Many of these side effects can be managed, and some may go away on their own over time.
Contact your doctor if you experience these side effects and they are severe or bothersome. Your pharmacist may be able to advise you on managing side effects.
- blurred vision
- difficulty sleeping
- dizziness
- drowsiness
- dry mouth
- fatigue
- headache
- indigestion
- nausea
- sweating
- unpleasant taste
- weakness
Although most of the side effects listed below don't happen very often, they could lead to serious problems if you do not seek medical attention.
Check with your doctor as soon as possible if any of the following side effects occur:
- abdominal pain
- agitation
- confusion
- constipation
- difficulty urinating
- hallucinations (seeing or hearing things that aren't there)
- increased heart rate or fast heartbeat
- lack of muscle coordination or clumsiness
- sensations of tingling, burning, or numbness
- shortness of breath
- signs of depression (e.g., poor concentration, changes in weight, changes in sleep, decreased interest in activities, thoughts of suicide)
- symptoms of glaucoma (e.g., blurred vision, seeing halos of bright colours around lights, red eyes, increased pressure in your eyes, eye pain or discomfort)
- trembling
Stop taking the medication and seek immediate medical attention if any of the following occur:
- fainting
- symptoms of overdose
- dry, hot, flushed skin
- fast or irregular heartbeat
- hallucinations
- increase or decrease in body temperature
- seizures
- severe drowsiness
- troubled breathing
- unexplained muscle stiffness
- vomiting occurring together with other symptoms of overdose
- symptoms of serious allergic reaction
- changes in the skin colour of the face
- fast or irregular breathing
- large swellings that look like hives on the face, eyelids, mouth, lips, and/or tongue
- puffiness or swelling of the eyelids or the area around the eyes
- shortness of breath
- skin rash, hives, or itching
- tightness in chest
- trouble breathing
- wheezing
- symptoms of serotonin syndrome
- confusion
- fast heartbeat
- hallucinations
- restlessness
- shaking
- shivering
- sudden jerking of muscles
- sweating
Some people may experience side effects other than those listed. Check with your doctor if you notice any symptom that worries you while you are taking this medication.
Are there any other precautions or warnings for ratio-Cyclobenzaprine?
Before you begin using a medication, be sure to inform your doctor of any medical conditions or allergies you may have, any medications you are taking, whether you are pregnant or breast-feeding, and any other significant facts about your health. These factors may affect how you should use this medication.
Drowsiness/reduced alertness: Cyclobenzaprine may impair the ability to perform hazardous tasks such as operating machinery or driving a vehicle. Do not drive or engage in other activities requiring alertness until you determine how the medication affects you.
Glaucoma: This medication may cause increased pressure in the eye, triggering symptoms of glaucoma. If you have glaucoma or elevated pressure in your eye(s), discuss with your doctor how this medication may affect your medical condition, how your medical condition may affect the dosing and effectiveness of this medication, and whether any special monitoring is needed.
Length of treatment: The use of cyclobenzaprine for periods longer than 2 or 3 weeks is not recommended.
Liver function: Liver disease or reduced liver function may cause this medication to build up in the body, causing side effects. If you have liver problems, discuss with your doctor how this medication may affect your medical condition, how your medical condition may affect the dosing and effectiveness of this medication, and whether any special monitoring is needed.
Serotonin syndrome: Severe reactions are possible when cyclobenzaprine is combined with other medications that act on serotonin, such as certain antidepressants and certain medications for migraine headache. Symptoms of a reaction may include muscle rigidity and spasms, difficulty moving, changes in mental state including delirium and agitation. Coma and death are possible.
If you are taking other medications, discuss with your doctor how these medications may affect your medical condition, how your medical condition may affect the dosing and effectiveness of these medications, and whether any special monitoring is needed.
Urinary problems: Cyclobenzaprine can make urination difficult. People who have difficulty starting urine flow may find that this becomes worse while taking this medication. If you have a history of urinary retention, discuss with your doctor how this medication may affect your medical condition, how your medical condition may affect the dosing and effectiveness of this medication, and whether any special monitoring is needed.
Pregnancy: This medication should not be used during pregnancy unless the benefits outweigh the risks. If you become pregnant while taking this medication, contact your doctor immediately.
Breast-feeding: This medication may pass into breast milk. If you are a breast-feeding mother and are taking cyclobenzaprine, it may affect your baby. Talk to your doctor about whether you should continue breast-feeding.
Children: The safety and effectiveness of cyclobenzaprine for children below the age of 15 have not been established.
What other drugs could interact with ratio-Cyclobenzaprine?
There may be an interaction between cyclobenzaprine and any of the following:
- abiraterone acetate
- aclidinium
- amlodipine
- amphetamines (e.g., dextroamphetamine, lisdexamphetamine)
- antihistamines (e.g,. cetirizine, doxylamine, diphenhydramine, hydroxyzine, loratadine)
- antipsychotics (e.g., chlorpromazine, clozapine, haloperidol, olanzapine, quetiapine, risperidone)
- atropine
- azelastine
- belladonna
- benzodiazepines (e.g., alprazolam, diazepam, lorazepam)
- benztropine
- botulinum toxin
- brimonidine
- bromocriptine
- buspirone
- cannabis
- certain quinolone antibiotics (e.g., ciprofloxacin, norfloxacin, ofloxacin)
- cimetidine
- darifenacin
- deferasirox
- dextromethorphan
- disopyramide
- domperidone
- entacapone
- ergot alkaloids (e.g., ergotamine, dihydroergotamine)
- ethinyl estradiol
- fesoterodine
- flavoxate
- gemfibrozil
- glucagon
- glycopyrrolate
- ipratropium
- kava kava
- ketoconazole
- lithium
- magnesium sulphate
- methylene blue
- methoxsalen
- metoclopramide
- metyrosine
- mexiletine
- mianserin
- minocycline
- mirabegron
- mirtazapine
- monoamine oxidase inhibitors (MAOIs; e.g., moclobemide, rasagiline, selegiline, tranylcypromine)
- narcotic pain relievers (e.g., codeine, fentanyl, morphine, oxycodone)
- nabilone
- nifedipine
- orphenadrine
- oxybutynin
- peginterferon alfa-2b
- potassium chloride
- pramipexole
- pramlintide
- primaquine
- rivastigmine
- ropinirole
- rotigotine
- St. John's wort
- scopolamine
- seizure medications (e.g., carbamazepine, clobazam, levetiracetam, phenobarbital, phenytoin, primidone, topiramate, valproic acid)
- serotonin antagonists (anti-emetic medications; e.g., granisetron, ondansetron)
- serotonin/norepinephrine reuptake inhibitors (SNRIs; e.g., desvenlafaxine, duloxetine, venlafaxine)
- selective serotonin reuptake inhibitors (SSRIs; e.g., citalopram, fluoxetine, paroxetine, sertraline)
- solifenacin
- thalidomide
- thiazide diuretics (water pills; e.g., hydrochlorothiazide, indapamide, metolazone)
- tiotropium
- tizanidine
- tolcapone
- tolterodine
- tramadol
- trazodone
- tricyclic antidepressants (e.g., amitriptyline, doxepin, imipramine, nortriptyline)
- triptan medications (e.g., eletriptan, frovatriptan, rizatriptan, sumatriptan)
- tryptophan
- umeclidinium
- vemurafenib
- verapamil
- zolpidem
- zopiclone
If you are taking any of these medications, speak with your doctor or pharmacist. Depending on your specific circumstances, your doctor may want you to:
- stop taking one of the medications,
- change one of the medications to another,
- change how you are taking one or both of the medications, or
- leave everything as is.
An interaction between two medications does not always mean that you must stop taking one of them. Speak to your doctor about how any drug interactions are being managed or should be managed.
Medications other than those listed above may interact with this medication. Tell your doctor or prescriber about all prescription, over-the-counter (non-prescription), and herbal medications you are taking. Also tell them about any supplements you take. Since caffeine, alcohol, the nicotine from cigarettes, or street drugs can affect the action of many medications, you should let your prescriber know if you use them.
All material copyright MediResource Inc. 1996 – 2021. Terms and conditions of use. The contents herein are for informational purposes only. Always seek the advice of your physician or other qualified health provider with any questions you may have regarding a medical condition. Source: www.medbroadcast.com/drug/getdrug/ratio-Cyclobenzaprine


text: The 2000 International Conference on Mathematics and Engineering Techniques in Medicine and Biological Sciences (METMBS'2000) <http://www.cns.bu.edu/metmbs/> June 26 - 29, 2000 Monte Carlo Resort, Las Vegas, Nevada, USA Call for Papers Recent advances in computer technology have provided the tools and the environment to study, analyze, and better understand complex systems. This technological development has enabled researchers to collect and analyze massive amounts of data to a scale previously not possible. The impact of this technology is now being felt in the medical field and in the biological sciences. In recent years, research in interdisciplinary areas such as Bioinformatics and computer assisted medical decision-making has dramatically intensified. METMBS'2000 aims to provide a platform for researchers to present and discuss recent breakthroughs in this area. The METMBS'2000 Conference will be held concurrently (i.e., same location and dates) with the International Conference on Parallel and Distributed Processing Techniques and Applications (PDPTA'2000), the International Conference on Imaging Science, Systems, and Technology (CISST) and the International Conference on Artificial Intelligence (IC-AI). You are invited to submit a draft paper of about 4 pages and/or a proposal to organize a technical session (see below for submission information). All accepted papers will be published in the conference proceedings. THE NAMES OF TECHNICAL SESSION CHAIRS WILL APPEAR AS ASSOCIATE EDITORS ON THE COVER OF THE CONFERENCE PROCEEDINGS. SCOPE Topics of interest include, but are not limited to, the following: o Bioinformatics: This includes informatics techniques in genomics gene sequencing, gene pattern discovery, gene pattern-function studies, and other genomics related studies). o Data mining in medicine and biological sciences. o Pattern recognition in medicine and biological sciences. o Signal processing in medicine and biological sciences (e.g. biomedical signal processing, etc.) o Image processing in medicine and biological sciences (e.g. biomedical image processing, biomedical imaging, etc.) o Medical decision-making. o Medical Physics. o Biomedical Engineering. o Biomedical Electronics. o Biosignal interpretation. o Any application of computers in Medicine and biological sciences (protein structure-function analysis, drug and protein design, molecular modeling and simulation, etc.) o Application of information technology in biomedicine (e.g. medical database management, information retrieval and use of computers in hospitals) o Application of Computational Intelligence (artificial neural networks, fuzzy logic, and evolutionary computing) in medicine and biological sciences o Medical and bio-computing. o Computer-based medical systems (automation in medicine, etc.) o Recent history (1990-1999) of Mathematics and engineering techniques in medicine and biological sciences, and what to expect during the next decade (2000-2009); New horizons. Review articles) o Other aspects and applications relating to technological advancements in medicine and biological sciences. SUBMISSION OF PAPERS Prospective authors are invited to submit three copies of their draft paper (about 4 pages) to F. Valafar (address is given below) by February 28, 2000. E-mail and Fax submissions are also acceptable. The length of the Camera-Ready papers (if accepted) will be limited to 7 pages. Papers must not have been previously published or currently submitted for publication elsewhere. The first page of the draft paper should include: title of the paper, name, affiliation, postal address, E-mail address, telephone number, and Fax number for each author. The first page should also include the name of the author who will be presenting the paper (if accepted) and a maximum of 5 keywords. PROPOSAL FOR ORGANIZING TECHNICAL SESSIONS Each technical session will have at least 6 paper presentations. The session chairs will be responsible for all aspects of their sessions, including soliciting papers, reviewing, selecting, ... The names of session chairs will appear as Associate Editors in the conference proceedings. After the conference, some sessions will be considered for publication in appropriate journals as Special Issues with the session proposer as the Guest Editor of the journal. Proposals to organize technical sessions should include the following information: name and address (+ E-mail) of the proposer, title of session, a 100-word description of the topic of the session, and a short description on how the session will be advertised (in most cases, session proposers solicit papers from colleagues and researchers whose work is known to the session proposer). Mail your proposal to F. Valafar (address is given below); E-mail submissions are preferred. EVALUATION PROCESS Papers will be evaluated for originality, significance, clarity, and soundness. Two researchers in the topical area will referee each paper. The Camera-Ready papers will be reviewed by one person. PUBLICATION The conference proceedings will be published by CSREA Press (ISBN). The proceedings will be available at the conference. Some accepted papers will also be considered for journal publication (soon after the conference). ORGANIZERS/SPONSORS A number of university faculty members and their staff, in cooperation with the Monte Carlo Resort (Conference Division, Las Vegas), will be organizing the conference. The conference will be sponsored by Computer Science Research, Education, & Applications Press (CSREA: USA Federal EIN # 58-2171953) in cooperation with research centers, international associations, international research groups, and developers of high-performance machines and systems. The complete list of sponsors and co-sponsors will be available at a later time. The last conference's sponsors included: CSREA, the National Supercomputing Center for Energy and the Environment - DOE, The International Association for Mathematics and Computers in Simulation, The International Technology Institute (ITI), The Java High Performance Computing research group, Korea Information Processing Society, World Scientific and Engineering Society, Sundance Digital Signal Processing Inc., the Computer Vision Research and Applications Tech., and more. LOCATION OF CONFERENCE The conference will be held in the Monte Carlo Resort Hotel, Las Vegas, Nevada, USA. This is a mega hotel with excellent conference facilities and over 3000 rooms. The hotel is minutes from the Las Vegas airport with free shuttles to and from the airport. This hotel has many vacation and recreational attractions, including: waterfalls, casino, spa, pools & kiddie pools, sunning decks, Easy River water ride, wave pool with cascades, lighted tennis courts, health spa (with workout equipment, whirlpool, sauna, ...), arcade virtual reality game rooms, nightly shows, snack bars, a number of restaurants, shopping area, bars, ... Many of these attractions are open 24 hours a day and most are suitable for families and children. The negotiated hotel's room rate for conference attendees is very reasonable ($79 + tax) per night (no extra charge for double occupancy) for the duration of the conference. The hotel is within walking distance from most other Las Vegas attractions (major shopping areas, recreational destinations, fine dining and night clubs, free street shows, and more). For the benefit of our international colleagues: the state of Nevada neighbors with the states of California, Oregon, Idaho, Utah, and Arizona. Las Vegas is only a few driving hours away from other major cities and attractions, including: Los Angeles, San Diego, Phoenix, the Grand Canyon, and more. EXHIBITION An exhibit is planned for the duration of the conference. We have reserved 20+ exhibit spaces. Interested parties should contact F. Valafar (address is given below). All exhibitors will be considered to be the co-sponsors of the conference. IMPORTANT DATES February 28, 2000 (Monday): Draft papers (about 4 pages) due April 3, 2000 (Monday): Notification of acceptance May 1, 2000 (Monday): Camera-Ready papers & Prereg. due June 26 - 29, 2000: PDPTA'2000 Conference Proposals to organize technical sessions should be submitted as soon as possible. All accepted papers are expected to be presented at the conference. MEMBERS OF PROGRAM & ORGANIZING COMMITTEES The Program Committee is currently being formed. Those interested in joining the Program Committee should e-mail F. Valafar (faramarz at cns.bu.edu <mailto:faramarz at cns.bu.edu>) the following information: Name, affiliation and position, complete mailing address, e-mail address, tel/fax numbers, a short biography together with research interests. OTHER INFORMATION Last year PDPTA, CISST, and IC-AI had research contributions from over 44 countries (over 900 participants from all over the world.) To make this a more complete suite of conferences, we have added METMBS. METMBS will also have a strong international flavor and offers its participants an introduction to a wide range of related interdisciplinary subjects through the other three conferences. CONFERENCE CONTACT: Faramarz Valafar Cognitive and Neural Systems Boston University 677 Beacon Street Boston, MA 02215 Tel: (617) 353-5134 Fax: (617) 353-7755 E-mail: Faramarz at cns.bu.edu <mailto:Faramarz at cns.bu.edu> ---


text: By Maxine Ashford on 2010-09-04 - Maxine has been a journalist since the late 1980s and for the past 13 years has specialised in motoring. Former motoring editor at Media Wales responsible for the Western Mail, South Wales Echo, Wales on Sunday. Freelance since 2009, Maxine loves cars but not quite as much as rugby!


text:
Spells to Break a Curse – Death Spells That Work Overnight – Death Spell Chant – Death Revenge Spell – Spell To die In Your Sleep – Voodoo Death ☎ +27738332893 Instant Revenge Voodoo Death Spell Cast That Work Urgently Overnight In United States | Chicago NYC Richmond Washington Los Angeles Miami Tampa Fl Baltimore Kentucky Frankfort Hawaii Alaska Michigan Boston Phoenix Texas Houston North Carolina North Dakota Atlanta,GA
Dr mama Micaelah an African Famous Voodoo instant revenge death spell caster well known identity Dr. Mama Micaelah Voodoo spell caster, @CALL/WHATSAPP★+27738332893 ★ Results is 100% sure and guaranteed, spell casting specialist, Dr mama Micaelah , black magic death spells that work overnight or by accident i? Cast these strongest black magic revenge death spells that work fast overnight to kill ex lover, husband, wife girlfriend Enemies overnight without delay. It doesn't matter whether he or she is in a far location, I guarantee you to have your results you are looking for immediately. Just make sure before you contact me you are committed and you want what you are looking for (Victim Death) because my death spell work fast overnight after casting the spells. Immediately working black magic death spells that work fast will be cast on the and result is 48hours.
How To Cast A Death Spell On Someone,★+27738332893 ★
Death Spells That Work Overnight to kill wicked Step-dad/ Step mom
Death Revenge Spell on wicked friends,
Voodoo Death Spells to kill Enemies
Black Magic Spells To Harm Someone,
Black magic death spells on ex lover ,
Revenge instant death spells on uncle, ★+27738332893 ★
Dr Mama Micaelah powerful instant death spells online instant spell that work fast in USA, UK, Kuwait, Germany, Asian, Europe, Philippines, Canada, South Africa, Italy, Peru, India, Iran, Gambia. Sweden, Australia, Nigeria, Spain, Ghana, California, Greece, Dr Mama Micaelah Voodoo death spell casters spell to make someone sick and die without delay.
Call / Watsapp :★ +27738332893 ★ Dr Mama Micaelah ,
Email: .firstname.lastname@example.com@gmail.com
Website: https://mamaleadingspiritualspells.blogspot.com


text:
Mommy & Me Beanie, MOMMY Size
- In stock, ready to ship
- Sign up for restock notifications below!
- Free shipping on orders over $150
- Hassle Free Returns
- Packaged with love and shipped from our HQ in Wilmington, Ohio
High quality fabric and delicate workmanship make these hats very soft and comfy.
**The Mommy and Mini Hat is sold separately, please purchase each size individually. **
SHIPPING : Orders over $150 ship FREE! Once your order is successfully submitted, our fabulous warehouse team works hard to get your order packed and ready to ship to you within 1-3 business days. Then, our favorite mail carriers do their thing and it should be in your hands in 1 to 3 additional business days!
Need it sooner? No problem! We offer one and two day guaranteed shipping options at checkout!
RETURNS: We understand things don't always work out & we are here to help! Our return policy is 30 Days cash back or exchange.
ALL CLEARANCE ITEMS ARE A **FINAL SALE** and are NOT ELIGIBLE for our regular return policy.
Click here to START A RETURN
We are proud to offer a variety of amazing styles from different designers & now offer our very own Everyday Chic line, but it also means that sizing varies some from piece to piece. We put together this general sizing chart of what we consider each size to be in the hopes that it will assist you on your ECB shopping journey. You should also read the descriptions of each product, because we try on each style and let you know if we think it runs big/small and any other info that will inform your buying decisions.
If you still need more information, don't fret! We can help you with that! Just shoot us an email at email@example.com or drop us a line on social media... we will be happy to help in any way that we can!


text:
Esta tarjeta de tiempo imprimible rastrea las horas de trabajo durante una semana.
People who printed this time card also printed...
Copyright © 2009-2024 by Savetz Publishing, Inc. Contact us. Privacy Policy.
Subscribe to the Free Printable newsletter. (No spam, ever!)
This time card is available in two versions: a free, ready-to-use version and a $7.00 editable version.
The free version is available in .PDF format: just download one, open it in a program that can display PDF files, and print.
The $7.00 version can be edited. It is compatible with Microsoft Word, Google Docs, and any other word processing app that's compatible with the Microsoft Word .DOC format. The editable version can be customized with your information: company name, employee name and number, etc. You can pay using your PayPal account or credit card. You'll be able to download the customizable time card within moments.
See the differences between the free and paid versions.
Daily Time Cards
Weekly Time Cards
Monthly Time Cards
Semi-monthly Time Cards
Flexible Time Cards
Project Time Cards
One-per-page Time Cards
Two-per-page Time Cards
Four-per-page Time Cards
Six-per-page Time Cards
Spanish Timecards
Biweekly Time Cards
Time Card Reminders
Search All Business Templates
Thank you for your suggestion.
We're always adding new printables, and would love to hear your suggestions. What are we missing?
Submit Suggestion Close


text:
This page describes the origins and design of I2P's unidirectional tunnels. For further information see:
- Tunnel-Übersichtsseite
- Tunnelspezifikation
- Tunnelerzeugungsspezifikation
- Tunnel design discussion
- Teilnehmerauswahl
- Besprechung 125 (~13:12-13:30)
While we aren't aware of any published research on the advantages of unidirecdtional tunnels, they appear to make it harder to detect a request/response pattern, which is quite possible to detect over a bidirectional tunnel. Several apps and protocols, notably HTTP, do transfer data in such manner. Having the traffic follow the same route to its destination and back could make it easier for an attacker who has only timing and traffic volume data to infer the path a tunnel is taking. Having the response come back along a different path arguably makes it harder.
When dealing with an internal adversary or most external adversaries, I2P's undirectional tunnels expose half as much traffic data than would be exposed with bidirectional circuits by simply looking at the flows themselves - an HTTP request and response would follow the same path in Tor, while in I2P the packets making up the request would go out through one or more outbound tunnels and the packets making up the response would come back through one or more different inbound tunnels.
The strategy of using two separate tunnels for inbound and outbound communication is not the only technique available, and it does have anonymity implications. On the positive side, by using separate tunnels it lessens the traffic data exposed for analysis to participants in a tunnel - for instance, peers in an outbound tunnel from a web browser would only see the traffic of an HTTP GET, while the peers in an inbound tunnel would see the payload delivered along the tunnel. With bidirectional tunnels, all participants would have access to the fact that e.g. 1KB was sent in one direction, then 100KB in the other. On the negative side, using unidirectional tunnels means that there are two sets of peers which need to be profiled and accounted for, and additional care must be taken to address the increased speed of predecessor attacks. The tunnel pooling and building process (peer selection and ordering strategies) should minimize the worries of the predecessor attack.
A recent paper by Hermann and Grothoff declared that I2P's unidirectional tunnels "seems to be a bad design decision".
The paper's main point is that deanonymizations on unidirectional tunnels take a longer time, which is an advantage, but that an attacker can be more certain in the unidirectional case. Therefore, the paper claims it isn't an advantage at all, but a disadvantage, at least with long-living I2P Sites.
This conclusion is not fully supported by the paper. Unidirectional tunnels clearly mitigate other attacks and it's not clear how to trade off the risk of the attack in the paper with attacks on a bidirectional tunnel architecture.
This conclusion is based on an arbitrary certainty vs. time weighting (tradeoff) that may not be applicable in all cases. For example, somebody could make a list of possible IPs then issue subpoenas to each. Or the attacker could DDoS each in turn and via a simple intersection attack see if the I2P Site goes down or is slowed down. So close may be good enough, or time may be more important.
The conclusion is based on a specific weighting of the importance of certainty vs. time, and that weighting may be wrong, and it's definitely debatable, especially in a real world with subpoenas, search warrants, and other methods available for final confirmation.
A full analysis of the tradeoffs of unidirectional vs. bidirectional tunnels is clearly outside the scope of the paper, and has not been done elsewhere. For example, how does this attack compare to the numerous possible timing attacks published about onion-routed networks? Clearly the authors have not done that analysis, if it's even possible to do it effectively.
Tor uses bidirectional tunnels and has had a lot of academic review. I2P uses unidirectional tunnels and has had very little review. Does the lack of a research paper defending unidirectional tunnels mean that it is a poor design choice, or just that it needs more study? Timing attacks and distributed attacks are difficult to defend against in both I2P and Tor. The design intent (see references above) was that unidirectional tunnels are more resistant to timing attacks. However, the paper presents a somewhat different type of timing attack. Is this attack, innovative as it is, sufficient to label I2P's tunnel architecture (and thus I2P as a whole) a "bad design", and by implication clearly inferior to Tor, or is it just a design alternative that clearly needs further investigation and analysis? There are several other reasons to consider I2P currently inferior to Tor and other projects (small network size, lack of funding, lack of review) but is unidirectional tunnels really a reason?
In summary, "bad design decision" is apparently (since the paper does not label bidirectional tunnels "bad") shorthand for "unidirectional tunnels are unequivocally inferior to bidirectional tunnels", yet this conclusion is not supported by the paper.


text:
Wood Flooring in Eaton
If you're looking for a new flooring material for your home or office, you can't go wrong with hardwood. Timeless and elegant, hardwood flooring is an excellent way to give your property a boost while also adding significant value.
C & C Contractors is an established wood flooring company serving Eaton and the surrounding area. We specialize in the installation and maintenance of wood floors across town, and are available to work on flooring projects of all sizes.
Why Choose Wood?
There are plenty of other flooring options out there, but none of them have the same visual appeal that wood floors do. Good quality wood floors can last for decades without needing repairs, making them the perfect choice for anyone searching for something that contrasts the high maintenance of carpet.
Wood floors have the diversity of something like tile, but feel better underfoot. We stock a wide variety of wood types, so you can achieve the same unique look as tile while benefiting from wood's timeless appeal.
Hardwood Floors Are Attractive & Affordable
Wood was once considered to be something only available to the richest homeowners, but nowadays it's attainable for someone with even the most conservative of budgets.
At C & C Contractors, we carry different types of wood, so you're guaranteed to find something that fits within your budget and tastes. If you already know the type of wood you'd like, we can get to work installing it, but if you need a bit of help deciding which type is best for you, we can go over the various types on offer. Wood floors are an investment, so being confident in your choice is essential.
Licensed, Bonded Floor Installers
You can't leave the installation of your wood floor up to just anyone. Hiring an experienced contractor is an important step in getting the floors of your dreams, and C & C Contractors is the best choice in town. We have extensive experience, so if you're considering wood floors for the first time, or are searching for a qualified company to perform maintenance on your existing floors, we'd be happy to help.
Our team is made up of Eaton's most talented flooring specialists, all of whom are fully licensed and bonded. The last thing you should have to worry about when hiring a contractor is whether or not they're able to deliver results. When you work with us, you can be confident that the work will be completed on time, within your budget, and with your satisfaction in mind.
Contact C & C Contractors Today
If you live in or around Eaton and are in the market for wood flooring, give us a call today. A member of our experienced team would be happy to answer any questions you may have, as well as schedule a consultation.
Discover the impact beautiful wood floors can have on your business or home by getting in touch with the flooring experts at C & C Contractors. Instantly elevate both the look of your property as well as its value, all with high quality wood floors.


text:
Torque Solution Transmission Mount: Nissan 370z/ Infiniti G37 (Non AWD ONLY)
- Description
- Shipping and Refund
- Reviews
This Part Fits:
Year | Make | Model | Submodel |
2008-2013 | Infiniti | G37 | Base |
2011-2013 | Infiniti | G37 | IPL |
2008-2013 | Infiniti | G37 | Journey |
2008-2013 | Infiniti | G37 | Sport |
2009-2013 | Infiniti | G37 | X |
2010 | Nissan | 370Z | 40th Anniversary Edition |
2009-2020 | Nissan | 370Z | Base |
2009-2017,2019-2020 | Nissan | 370Z | Nismo |
2015-2018 | Nissan | 370Z | Nismo Tech |
2015-2020 | Nissan | 370Z | Sport |
2015-2018 | Nissan | 370Z | Sport Tech |
2019-2020 | Nissan | 370Z | Sport Touring |
2009-2019 | Nissan | 370Z | Touring |
2015-2018 | Nissan | 370Z | Touring Sport |
Our Return Policy:
We want you to be completely satisfied with your purchase from Chief Motorsports. If for any reason you are not satisfied, you may return most new, unopened items within 30 days of delivery for a full refund or exchange.
To be eligible for a return, items must be in their original packaging and in the same condition that you received them. Some items are exempt from being returned, including custom orders, special orders, and used items. These items are sold "as is" and are not eligible for return or exchange.
To initiate a return, please contact our customer service team by email or phone to request a Return Merchandise Authorization (RMA) number. We will provide you with instructions on how to return the item(s) and a prepaid shipping label (if applicable).
Please note that original shipping charges are non-refundable and the customer is responsible for return shipping costs. We recommend using a trackable shipping service or purchasing shipping insurance as we cannot be responsible for items that are lost or damaged during transit.
Once we receive the returned item(s) and confirm that they meet the return requirements, we will process the refund or exchange within 7 business days.
We reserve the right to refuse returns or issue partial refunds for items that do not meet the above return requirements.
If you have any questions about our return policy, please don't hesitate to contact us.
Our Warranty Policy:
Chief Motorsports does not cover manufacturer's warranties. All warranties and guarantees are provided directly by the manufacturer. If you have any issues with a product that you believe is covered under warranty, please contact the manufacturer directly for assistance.


text:
1983 Chevrolet S-10 Blazer Ultraguard Bug Shield
1983 Chevrolet S-10 Blazer Ultraguard Bug Shield
This Wade Bug Deflector was designed specifically for a 1983 Chevrolet S-10 Blazer using only the latest product development tools. Our dedication to detail and precision ensures a perfect fit and an aerodynamic design.
Each bug shield is designed to protect the vehicle's hood and windshield from rocks and other road debris. All bug shields are manufactured out of a high-impact acrylic with an added rubber compound providing a strong one-piece construction, eliminating any flex, flutter, or vibrating at highway speeds. Most applications require no drilling and attach to pre-existing holes using either screws or push pins.
All our products are proudly designed and handcrafted in the United States and feature a Limited Lifetime Warranty.
Available in a high gloss smoke or custom automotive grade paint job.
Collapsible content
Many of Wade Automotive Products install using 3M automotive grade adhesive. Please follow these instructions to ensure a proper installation.
1: Vehicle surface must be perfectly clean and free from all dirt, grease, wax, and other protective coatings.
2. The adhesive is pressure sensitive and requires firm pressure to install correctly.
3. Install on a warm vehicle. The adhesive will not adhere correctly to a cold surface.
Wade Automotive Products ship out via FedEx Home Delivery or USPS Priority Mail. We are unable to ship to P.O. boxes.