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Shakespeare—perhaps the greatest literary artist in history—presents a fundamental paradox to his audience. No other Western writer is so celebrated and revered. His plays are seen, read, and studied throughout the world as models of high culture and timeless art. His best-known characters have become mythic symbols in our culture. His poetry and turns of phrase permeate our spoken language. Shakespeare enjoys near-universal agreement among scholars as well as the general public that his works are among the greatest of humanity's cultural expressions, and that we all should know and understand them.
But appreciating this greatest of writers does not come easily. Simply put, Shakespeare is difficult. His language and culture—those of Elizabethan England, 400 years ago—are greatly different from our own, and his poetry, thick with metaphorical imagery and double meanings, can be hard to penetrate. His theater and the tools of stagecraft available to him can seem quite distant to us. The motives of his characters and the meanings of his philosophical reflections on politics, religion, society, and human relationships are often complex and challenging to reckon with.
Yet, perhaps surprisingly, the keys to understanding Shakespeare are written into the plays themselves. If you can learn to recognize Shakespeare's own directions to you as a reader and theatergoer—the clues that allow you to engage meaningfully with the playwright's language, to follow the plot structures and themes that drive his plays, and to track the development of his characters—the plays reveal themselves and become yours for a lifetime of pleasure and meaning.
How, then, do you find these keys to Shakespeare? What are the clues that allow you to truly "get" his great plays—to intimately appreciate their sublime poetry, deeper meanings, and human greatness?
How to Read and Understand Shakespeare, taught by award-winning Professor Marc C. Conner of Washington and Lee University, offers compelling answers to these questions and more, guiding you in an innovative and penetrating exploration of Shakespeare's plays. He shows you in clear, practical terms how to enter Shakespeare's dramatic world, to grasp what's happening in any of his plays, and to enjoy them fully both on the page and the stage.
Interpreting Dramatic Genius
Under Professor Conner's expert guidance, shaped by decades of studying and performing Shakespeare, you learn a set of interpretive tools, drawn from the texts themselves, that give you direct, immediate insight into Shakespeare's plays. These guiding principles allow you to follow the narratives of the plays as they unfold, with a clear understanding of how the plays function and fit together. Among them, you learn that Shakespeare's comedies follow a three-part structure, beginning with a block to love, followed by an escape and a testing of the characters, and ending with a return and reconciliation.
You learn corresponding principles and tools for appreciating his tragedies, histories, and late romances, in an inquiry covering two-thirds of Shakespeare's dramatic work, including a detailed study of 12 of his greatest plays.
The rewards of the course are both immediate and lifelong—empowering you to grasp the richness and subtlety of Shakespeare's glorious language, the astounding power of his storytelling, the unforgettable characters that populate the plays, and his visionary insight into the human heart and spirit. These 24 revealing lectures provide the tools that allow you to understand and mine the riches of any Shakespeare play.
Discover the Keys to Shakespeare's World
Across the span of the lectures, you learn more than 40 interpretive tools that illuminate different aspects of the plays, including these:
The Words, Words, Words tool: The most fundamental tool for appreciating Shakespeare. Study the text of Romeo and Juliet, as well as major speeches from many other plays, to uncover and appreciate Shakespeare's "registers" of language, his use of poetic forms, and his richly metaphorical and symbolic use of English.
The Double-Plot tool: In examples ranging from A Midsummer Night's Dream and Henry IV, Part 1 to The Tempest, see how Shakespeare—in virtually every play—uses the theatrical device of a high (upper-class) plot, contrasted with a low (lower-class) storyline that mirrors or comments on the high plot.
The Appearance versus Reality tool: A vital principle for all of Shakespeare's plays. Highlighting figures including Viola in Twelfth Night, Angelo in Measure for Measure,and Macbeth, Professor Conner shows how Shakespeare's character-driven narratives hinge on the need to distinguish external appearance from internal reality.
The Drama of Ideas tool: Throughout the course, witness how Shakespeare's plays are filled with serious contemplation of the great questions of philosophy, religion, and politics, as seen in the core theological issues at work in Hamlet, or the ways in which Richard II questions the nature of kingship.
The Decisive Third Act tool: As a highly useful structural key, learn to pay close attention to the decisive third act of a Shakespeare play, and see, in The Merchant of Venice, Romeo and Juliet, and others, how the third act functions as a pivot point on which the action shifts decisively and the play's direction is determined.
The Arc of Character tool: Observe how Shakespeare's main characters, from Portia and Hamlet to Falstaff and Lady Macbeth, follow a line of development over the course of a play, such as a movement from ignorance to knowledge, a psychological rise or fall, or an altering of the character's external role within the story.
Engage with Shakespeare's Deepest Meanings
As a core strength of Professor Conner's approach, the interpretive tools bring you into direct contact with the ultimate ends that the plays serve. Critically, you find that one of Shakespeare's most seminal, underlying themes is that of self-transformation—that while his great comic characters reveal the capacity to reformulate their identities and to balance extreme desires, his tragic plays concern the failure to achieve balance and wisdom.
Through an in-depth study of Measure for Measure, you contemplate Shakespeare's "problem plays"—those that seem to be neither comedies nor true tragedies—and the significance of these unusual works in his dramatic cycle. Finally, with The Tempest you discover the world of the playwright's "late romances," which poignantly reveal his thematic concern with forgiveness, reconciliation, and regeneration.
Drawing on nearly 20 years of teaching Shakespeare, including both literature and drama courses, as well as extensive experience in directing and acting Shakespeare, Professor Conner also reveals fascinating details of the playwright's era, which shed further light on the plays and on the way his audiences perceived them—aided by archival illustrations, paintings, and maps of Elizabethan London. You learn about the colorful, raucous world of the theater in Shakespeare's time, how his contemporaries conceived of history, and about the surprising Elizabethan customs of courtship and marriage that help explain Shakespeare's comic plots.
Enjoy These Great Plays for a Lifetime
For over 400 years, Shakespeare's plays have enthralled, moved, and enriched each new generation of readers and theatergoers. How to Read and Understand Shakespeare builds the skills that allow you to reach your own understanding of the plays—to deeply comprehend Shakespeare's transcendent poetic language, the spellbinding world of his great characters and stories, and his revelatory reflections on human experience. The tools you learn are yours for years of enjoyment of these monumental treasures of our culture.
Approaching Shakespeare—The Scene Begins
Consider four points of entry for understanding what's happening in a Shakespeare play. Learn how to approach a single dramatic scene, focusing on Shakespeare's richly metaphorical use of language. Begin to grasp the playwright's use of stagecraft, and how his plays require your own active participation and powers of imagination. x
Shakespeare's Theater and Stagecraft
Here, envision theatrical London as it existed in Shakespeare's time. First, consider Shakespeare's fundamental intent to "hold the mirror up to nature"—to imitate the living world. Then learn about the colorful milieu of Elizabethan theater; its conventions of physical space, scenery, and costumes; and how the playwright created theatrical "reality" through language. x
A Midsummer Night's Dream—Comic Tools
In his comedic plays, Shakespeare drew on the classical Roman model of comedy. In A Midsummer Night's Dream, see how he expands the form, using the archetypal plot devices of "blocked love," its resolution at either the altar or the grave, and the escape from urban life to the magical world of the forest. x
A Midsummer Night's Dream—Comic Structure
This lecture explores key principles for understanding and appreciating Shakespeare's comedies. Grasp the thematic elements of a shift from friendship to romantic love and of severe testing of the characters. See how the three-part structure of the comedies leads inevitably to reconciliation and regeneration. x
Romeo and Juliet—Words, Words, Words
Shakespeare's primary tool as a playwright is words themselves as dramatic expressions of character and meaning. In Romeo and Juliet, see how Shakespeare ingeniously uses language to distinguish class and personality, and how he uses the poetic form of the sonnet in creating a sublime language of love. x
Romeo and Juliet—The Tools of Tragedy
Continuing with Romeo and Juliet, observe how the famous balcony scene shifts the action and sense of the play toward a new kind of character-driven tragedy. In the play's unfolding, note the role of the tension between fate and free will, and the arc of development whereby Juliet becomes a great tragic figure. x
Appearance versus Reality in Twelfth Night
As one of his outstanding "mature" comedies, Twelfth Night reveals themes and elements that are keys to all of Shakespeare's plays. Discover how the comedy revolves around crises of identity, the need to distinguish external appearance from internal reality, and a reversal of power roles x
Twelfth Night—More Comic Tools
In Shakespeare's encompassing vision of Twelfth Night, observe how the young characters' movement toward self-knowledge and mutual love contrasts with plot elements of isolation and rejection. See how the remarkable heroine Viola, a figure of grace, acts as an agent of redemption for the entire world of the play. x
Richard II—History and Kingship
In his history plays, Shakespeare addresses profound issues of politics, philosophy, and religion. In Richard II, engage with core thematic elements that drive the history plays: the question of the "divine right" of kingship, the larger meanings of historical events, and the conflict between brothers—an emblem for civil war x
Politics as Theater in Henry IV, Part I
Here, the dynamic of appearance versus reality illuminates the making of a king. In the dual world of the Court and the Tavern, witness Shakespeare's use of theatrical role-playing to reveal Prince Hal and Falstaff to themselves, and grasp how Hal's journey to kingship takes on the nature of a calculated "performance." x
Henry IV, Part 2—Contrast and Complexity
As an interpretive tool, define Part 2's stark differences with the preceding play, noting its shifting depictions of courage and honor, and its characters' reversals of fortune. Follow Prince Hal's dramatic metamorphosis as he assumes the throne, disavowing the dissolute life he lived and embracing the course of justice and order. x
The Drama of Ideas in Henry V
In plumbing the riches of one of Shakespeare's greatest history plays, assess Henry's ambiguous relation to God as he manipulates faith and religion to his political ends. Grasp also how Henry employs the dynamics of theater, brilliantly "staging" each of his critical actions, and how he defeats the expectations of his French foes. x
Macbeth—"Foul and Fair"
In Macbeth, Shakespeare reveals a world in which everything becomes its opposite. Study how reversals of reality and meaning dominate the play, seen vividly in the recurring dynamic of betrayal and the politically charged tension between appearance and reality. See how the playwright uses "comic relief" to ultimately heighten the horror you've witnessed x
The Tragic Woman in Macbeth
Shakespeare's great tragic women are central to the functioning of his tragedies. Here, encounter the powerful figure of Lady Macbeth and observe how her arc of development as a character inversely mirrors her husband's. Grasp how Macbeth poignantly sounds the depths of meaninglessness as he confronts the abyss of his own making. x
Staging Hamlet
Discover how Hamlet's opening scene reveals many of the crucial themes of the play. Then delve into the use of acting as a major dynamic of the story, as Hamlet ultimately takes action through the devices of theater, staging a play to determine the course of his own fate. x
The Religious Drama of Hamlet
A deep look at the religious and theological issues at work in Hamlet unlocks the meanings in Shakespeare's most celebrated play. Study three important moments of religious contemplation within the play, and see how Hamlet's hesitance to avenge his father's murder is enmeshed with his foreboding sense of the afterlife. x
The Women of Hamlet
Two crucial women illuminate the core themes and dynamics of Hamlet. Grasp how Gertrude, who speaks only in moderation, compellingly underlines the issues of loyalty and betrayal that drive the story, and how Ophelia, torn between irreconcilable male figures, becomes a sacrifice to the tragic forces of the play. x
The Merchant of Venice—Comedy or Tragedy?
In this extraordinary play, Shakespeare explores the dark undercurrents of comedy to the fullest. Delve into the crisis of identity that each character faces, the theme of perilous risk, and the plot elements of loss and sacrifice that work against the play's comic structure. x
The Arc of Character in The Merchant of Venice
Begin this lecture by tracing the historical background of Judaism in Elizabethan London, and how the portrayal of Shylock conforms to contemporary conventions of comic villains. Then see how Shakespeare breaks free of the stereotypes of his time, developing the character and the play as a penetrating meditation on justice and mercy. x
Measure for Measure—Is This Comedy?
With Measure for Measure, you enter the world of Shakespeare's "problem plays"—dramas that seem neither truly comic nor tragic. Here, observe how Shakespeare creates Vienna, the play's setting, as a place of hypocrisy, deception, and trickery, where nothing is what it seems and all the tenets of comedy are subverted. x
Measure for Measure—Overcoming Tragedy
This lecture uses the interpretive tools of both comedy and tragedy to mine the deeper meanings of Measure for Measure. Study how the playwright treats plot elements and character relationships that show the hallmarks of tragedy, finally overturning them in a surprising and transformative resolution of the story x
Tools of Romance in The Tempest
At the end of his career, Shakespeare developed the form of drama known as his Late Romances. Here, learn how The Tempest exemplifies the three-part structure of the Romances, as the magical figure Prospero "stages" a series of trials for the shipwrecked characters, leading them through suffering to ultimate reconciliation. x
The Tempest—Shakespeare's Farewell to Art
Begin this lecture by investigating the spiritual significance of The Tempest's island setting as a testing ground for humanity's nobler nature. Then grasp how Shakespeare seems to speak directly to us through the figure of Prospero, whose final renunciation of his magical art mirrors Shakespeare's own farewell to playwriting. x
The Tools for a Lifetime of Shakespeare
The many interpretive tools you've studied leave you with the ability to engage meaningfully with any Shakespeare play. In concluding, look at three plays you have not yet studied in detail—Much Ado About Nothing, Julius Caesar, and As You Like It—and see how the tools allow you to directly appreciate their structures, devices, and deeper meanings. x
Marc C. Conner, Ph.D.
Dr. Marc C. Conner is the Jo M. and James M. Ballengee Professor of English at Washington and Lee University in Lexington, Virginia. Professor Conner earned his bachelor's degrees in English and philosophy at the University of Washington and his master's and doctoral degrees in English literature at Princeton University. At Washington and Lee, Professor Conner received the Anece F. McCloud Excellence in Diversity Award in...
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How to Read and Understand Shakespeare is rated 4.7 out of 5 by 55.
Rated 5 out of 5 by Aldo from Excellent I was looking for something on line that could help me to know and understand more about Shakespeare and his work. This series of lectures is exactly what I was looking for. If you are completely ignorant as me about the subject, I strongly advise to follow each lesson related to a play while watching the play itself (I downlad them from the global theatre site but I assume there may be other good on line resources available). And it is also useful to have the text at hand.
Rated 5 out of 5 by noname999 from Very interesting and informative. Outstanding presentation. This course covers a lot of ground and it helped make some additional sense of recollections of previous performances I've attended and helped me appreciate the plays I've seen after viewing the lectures. I will refer to these lectures for a long time to come.
Rated 5 out of 5 by Jeff A from Marc Conner brings out your complete curiosity. I have been buying these courses for almost 20 years! Most of them are great. However, Marc Conner goes far beyond that high bar. I just finished his Irish History course and am now almost through his Shakespeare course...just fantastic. I would like to meet and talk with him someday.
Rated 5 out of 5 by Sbrick888 from Gets to the heart of the plays I really enjoyed the series. The lectures really summarized the important themes well And gave me tools to apply to all the plays, even those not covered in detail.
Rated 5 out of 5 by ams1 from I bought this course about a month ago. I like the lectures so well that I've listened to each one of the 24 twice. Dr. Connor has a very engaging style of presentation and I learned something in every lecture that I had not known before. I am not an expert on Shakespeare by any means, but I had previously read and studied in class 3 or 4 of the plays he focused on and found something fascinating in each lecture that was new to me. I initially thought his approach of using "tools" to understanding Shakespeare was a bit of a cliche, but actually found them useful. I also very much appreciated his talking about the different editions of Shakespeare's works and his pointing out the particular advantages and disadvantages of the editions he recommends. Taking this course led me to going back to Romeo and Juliet, Hamlet, The Merchant of Venice, and The Tempest and reading them again in their entirety. The course truly enriched my appreciation of Shakespeare
Rated 4 out of 5 by Tommyd555 from Great Analysis Excellent analysis and insights on 12 of Shakespeare's plays; While the "tools" discussed for understanding Shakespeare didn't help understand the language/text as much as they'd hope, they could help explain some of the plots or what Shakespeare was trying to achieve. Pluses: • Excellent literary analysis and insights on the following plays: 1. A Midsummer Night's Dream 2. Romeo and Juliet 3. Twelfth Night 4. Richard II 5. Henry IV, Part I 6. Henry IV, Part 2 7. Henry V 8. Macbeth 9. Hamlet 10. The Merchant of Venice 11. Measure for Measure 12. The Tempest Minuses: • My one gripe is that the "tools" presented by the professor don't seem to truly be tools to me. At least not what I was expecting going in. I thought they would've been focused on helping one understand the sometimes difficult text Shakespeare uses and would've involved translations of common words. Instead their helpfulness was more in explaining why Shakespeare did something specifically with one of his plots or what he was trying to achieve to help one appreciate the overall cohesiveness of his plays. If you often find yourself confused following Shakespeare plots then this course and the tools presented will truly help you appreciate the beauty and genius of Shakespeare by allowing you to see and understand the complexity of the plots. If you are looking for assistance on reading the plays such as meanings of words, text, and lines then this may not be the best course for you. But I could see anyone at any level taking alot from this course. I have read every one of his plays, have seen over 50 live performances, and read alot of critical analysis but I learned quite alot from this course and enjoyed the professor's style.
Rated 5 out of 5 by RMF45 from Love it! I've always loved Shakespeare, but quite often got lost in trying to follow the dialogue and plot. This professor clarifies things beautifully and in a very entertaining way.
Rated 5 out of 5 by Bear from Through the Instrument My Pate Made Way Whether you are a Shakespeare novice or a devoted fan, this fabulous course offers insights and approaches to increase your understanding and appreciation of Shakespeare's craft and the stories and characters in the plays themselves. I have this course on audio. Professor Conner's presentations are outstanding: clear and straightforward, with easily understandable explanations and analysis, delivered with enthusiasm. His stated goal for this course is to make Shakespeare's plays more accessible (and less intimidating) to readers and viewers, and he succeeds. He does so through a detailed examination of a dozen plays, showing how Shakespeare repeatedly uses several "stock" plots, characters, settings, stagecraft, dramatic techniques, and themes, mixing and matching to build the basic frameworks and engines for his comedies, tragedies, histories, and romances. Professor Conner explains how each of these components works and how they fit together -- leading to a greater understanding of why things happen the way they do in Shakespeare's plays. Armed with this understanding of the components, we are then better able to appreciate how Shakespeare takes these basic pieces and customizes them, enhances them, gives them greater depth, beauty, subtlety, and power, transforming them from basic theater to, well, Shakespeare. Professor Conner refers ad nauseam to using "tools" as a roundabout way of identifying the standard components that Shakespeare employs in his plays -- like saying "our screwdriver helps us to take this apart" instead of saying "it is held together with a screw." I think that is a deliberate (if annoying) device to reinforce his message of active empowerment: _anyone_ can use this knowledge (Professor Conner's "tools") to look inside any of Shakespeare's plays and understand them without confusion or intimidation.
Rated 4 out of 5 by huzza1599 from reading Shakespear the course is very interesting ,and very helpful in understanding the plays. I was not very pleased after I bought the course to see that the next week it was 50 dollars cheaper. I my thing twice before buying another course!
Rated 5 out of 5 by Diverdick from Excellent An excellent presentation. This is not the usual pedantic presentation I see too often. Very understandable and interesting.
Rated 5 out of 5 by BeedeBoy from Finally I appreciate Shakespeare Professor Marc Connors's tools are illuminating; his enthusiasm, infectious; his method, captivating. He has guided me from trying to read Shakespeare with opaque frustration to deep, personal enjoyment. I've gone from floundering without the least penetration, to underlined and margin noted appreciations of A Midsummer Night's Dream, Romeo and Juliet, Twelfth Night, Richard II, Henry IV Part 1, Henry IV Part 2, Henry V, Macbeth, Hamlet, Merchant of Venice, Measure for Measure, and The Tempest. He has given me the enthusiasm and tools to go on my own to appreciate King Lear and add Julius Caesar, Othello, and Anthony and Cleopatra to my literary bucket list. This guy doesn't have any idea who I am, and yet he is one of the most respected teachers I have had in a life now spanning 60 years. Please, if you want to be able to read and obtain a personal appreciation of Shakespeare but have been discouraged in prior attempts, take this course.
Rated 5 out of 5 by Mike3M from Superb Course! Hallmark of a great professor is his ability to deepen and expand my enjoyment and appreciation of an interesting subject--in this case the great literature of Shakespeare. Prof. Conner's insightful commentary on each of the plays he touches in this course should enrich your Shakespeare reading and playgoing. He focuses on a number of keys ("tools" he calls them) for gaining a richer understanding of the plays' structure, plots, staging and storylines. One example is the "block to love" (usually from a parent) that sets the stage for Midsummer Night's Dream or Romeo and Juliet. The comedy sees the loving pair together in the end and a happy order restored to the world. The tragedy sees this block unmoved and the lovers doomed (perhaps by fate?) to a sad and unhappy end. Prof. Conner illustrates these keys throughout the course; they will surely enhance my future enjoyment of the plays. I hope they do the same for you.
Rated 5 out of 5 by Ark1836 from To Listen or Not to Listen… This is a fantastic, but short, course providing techniques for understanding Shakespeare. As a precursor, I have always enjoyed the wit of Shakespeare and his command of language. Shakespeare mastered wordcraft like no one before or since, and I am awed by his ability to layer multiple meanings into a simple phrase. So, a reader of this review should understand that I am more than a little biased toward the Bard. The professor is more than a little biased too and clearly admires Shakespeare as the greatest writer in the history of the English language. This course does not attempt to analyze all of Shakespeare's plays. Instead, this course presents interpretative techniques such as the "foul is fair and fair is foul" technique and the "block to love" technique. He explains various techniques, then selects a play where a technique works particularly well and applies the technique to that play. In that manner, the professor provides detailed analysis for about a half-dozen of Shakespeare's plays. The professor does a good job explaining the techniques and demonstrating the application. Though I was a fan of Shakespeare before this course, I feel better armed now to interpret plays. The professor shared new insights and thoughtful observations. The professor has made me even more interested in Shakespeare, and I look forward to my next opportunity to catch a play.
Rated 5 out of 5 by Thankful2study from All's Well That Ends Well! I liked the Bard of Avon before this course, but I love him even more now having watched "How to Read and Understand Shakespeare". All the time I was watching the course, I kept thinking, "Why was this course not around when I was in high school?" While I did enjoy reading Shakespeare in high school, my teachers didn't really help explain how to properly read the text. They would point out the references that he was making to mythological and historical characters and events and explain the meaning of certain words. But overall, I wasn't taught how Like many high schoolers I relied on Spark Notes to read the text for me. Professor Connor creates a toolkit for readers to use when reading through Shakespeare. It is like a cheat sheet, if you will, I help For Example, all of his pays have a "double plot", one plot concerning upper class characters and another concerning lower class characters. Both storylines mirror and contrast each other. Another is the "Block to Love", some character or situation that arises that prevents a young couple from marrying. This crops up in A Midsummer Night's Dream in the form of the Athenian Law and in The Merchant of Venice with the three caskets. Yet another is "Altar or Tomb". This tool is used to identify a play as either a comedy or tragedy. After taking his course, I picked up my copy of Shakespeare's plays and read "As You Like It". Using the tools that Professor Connor showed me, I was finally able to enjoy reading a Shakespeare play. I plan of reading all of the Bard's plays throughout my life and I have someone to thank for it. I personally feel that "How to Read and Understand Shakespeare" should be adapted to high school classrooms. I strongly believe that students would have a love to the Bard's work and would respond readily to Professor Connor's teaching.
Rated 5 out of 5 by BGZRedix from Outstanding and Wonderful! I am amazed that there are any negative reviews here, truly. This is an outstanding and wonderful *introduction* to "how to read and understand Shakespeare." Now, some have complained that they would have to read the plays, too, to fully appreciate this course. That is correct and, um, should not be too much of a surprise. This is an overview of the greatest writer in the English language. (For my money, the only thing that comes close is "Moby-Dick.") Would you take a course about Michelangelo without looking at his work? However - I disagree moderately with my TGC friend and Number One reviewer, Jacqueline, in that I believe this course can be greatly enjoyed, and is very worthwhile, even if you have never read any Shakespeare. In this case it will provide an excellent basis on which to proceed, in addition to being fascinating in itself. And it will hopefully serve as a powerful motivator to actually read these magnificent plays. If you are already familiar with many or most of the plays, all the better. The course will, unless you are already a Shakespeare scholar, add greatly to your insight and appreciation. (Note that I say "read," rather than "see." It is Shakespeare's words which are magnificent; a performance can range from wonderful to abysmal. And I certainly and strongly suggest that you read any play before you see it, if at all possible.) Professor Connor is as fine a professor of literature as I have ever heard. His unfailing enthusiasm is matched by the depth of his insights, his straightforward yet elegant style, and his superb organization. Plus, for a survey course, there is a remarkable depth to his discussions. Some reviewers found his use of "tools" of analysis to be a bit too cute and obvious; they are, but overall I found that they facilitated my thinking in an organized manner and added to my ability to understand and appreciate the works. So - This course has my highest recommendation for any, no matter how experienced with the material, with an interest in literature and Shakespeare.
Rated 5 out of 5 by MarketingDoc from Finally, I can approach Shakespeare on my own Shakespeare has always been a challenge. In high school and in college, the teacher or professor leads you through the play pointing out references to historic events, explaining the meaning of words, and so on. I have always found it difficult to do on my own. I would read the footnotes. They were helpful, but it was awkward to refer to all of them, and if I didn't read them, I always worried I was missing something. Of course, watching the plays was helpful. I did figure out for myself that reading out loud could be helpful. This course, however, solved this problem. It gave me a way to approach Shakespeare. He explains how to approach the different types of plays and some approaches that apply to all the plays. For example, there are certain tools that Shakespeare uses in all/most comedies. These include a green world where people go toe escape their troubles, the 3 part comic structure (block, escape, return), and double plots to name a few. Dramas/tragedies have identity crises, power reversals, a sacrifice figure, and a moment of mirth to name a few. He also shows the commonalities across the plays and how a change in one aspect can determine whether the play is a comedy or tragedy. For example, many plays feature the block to young love. The resolution of the block leads to tragedy or comedy. Romeo and Juliet has a block to young love that ends with the suicides of the lovers. In the comedies, the lovers get together at the end. I have read other plays since listening to this course, and it was much easier to fully appreciate the plays and how Shakespeare structured them. I have even made up a spreadsheet with the various tools, so I can easily refer to it when reading ones of the plays. My two criteria for a course are: was it thought-provoking and did it make me want to learn more. I give this course A's on both criteria. I learned a lot of useful things about Shakespeare that helped me think more effectively about Shakespeare. And, now that I better understand what's going on, I have, in fact, read more plays. I have also been reading other Shakespeare experts, notably Margery Garber.
Rated 5 out of 5 by Skip2nd from This is an astounding Shakespeare course Over the years, I have ordered more than 120 courses from The Learning Company which became The Great Courses. As a literature major in college long ago, I took several courses on Shakespeare. I have watched Great Courses Shakespearean titles. NOTHING AND NO ONE (except maybe Harold Bloom) could do it better than Professor Conner. I thought I knew Shakespeare, knew the plays...yet he brought out so many insights into the plays he covered that my friends and i were mesmerized. We know each lecture is about 30 minutes, but with Professor Conner's lectures, it feels that only 5 minutes have passed because we are so engaged in what he says. Does Great Courses have any other courses by Professor Conner? Believe me when i say that this course is very high on the list of the best courses I have ever taken from Great Courses. I recommend it with great enthusiasm. I am so glad i found him!
Rated 5 out of 5 by Pendragon from Makes Shakespeare come alive We found this course excellent in every regard. Professor Conner's presentation is friendly, intelligent, and engaging - very compelling. His material is clearly presented and well organized. Shakespeare is an elusive subject for many of us, but we feel empowered to pursue his works.
Rated 2 out of 5 by JaneB from For Children? Yes If you are a child then you will enjoy that. If you are an adult who graduated at least high school, this will be boring, too simplified, and not useful. It sounds really entertaining, but it does not provide any REAL insights into Shakespeare's plays. I am disappointed. I expected much more.
Rated 5 out of 5 by LeelersJDude from To read, or not to read. That "was" the question! Quick flashback to high school: To read, or not to read, that is the question— Whether 'tis Nobler in the mind to suffer through The reading of this Shakespearean drivel, Or to take Arms against my teacher and principal, And by opposing, get into deep dodo? To die, to sleep— To spend the rest of my days in detention class! And so it was….. Fast forward to the present: I now read and "understand" Shakespeare. Thanks to Professor Conner. If you are the least bit curious about or interested in Shakespeare (or life, for that matter) buy this course now. I suffered through Shakespeare in high school, attempted to read it in college, and couldn't be brought to within a thousand yards of a performance of it in adulthood. I bought this course just to surprise my wife. I figured I could feign consciousness while pretending to enjoy it with her. But to my amazement and surprise Professor Conner cast Shakespeare in an entirely new light that I could easily grasp, enjoy and appreciate. Professor Conner is a master educator, superior presenter, and no doubt an outstanding performer. You will be informed as well as entertained as he hands you the keys, or as he puts it the tools, to unlock the meaning of the plays and the literary genius of Shakespeare. Professor Conner has done us all a great service and the price of the course is minuscule compared to the value received.
Rated 5 out of 5 by Preceptor from What a Great Way to Really Enjoy Shakespeare Ten years ago my wife and I started visiting London every January on a two week theater tour conducted by the Fine Arts Department at Ocean County Community College in Toms River, New Jersey. I had little or no interest in theater before that first trip, but since then have become totally hooked. Our first visit in 2005 included Romeo and Juliet performed at The Old Vic by the Royal Shakespeare Company, and since then we have seen many more Shakespeare plays both in London and in Stratford-upon-Avon. This year, after enjoying every moment of this course, we saw a challenging new performance of Othello at the Lyric in Hammersmith and a very special creation called "Love's Labor Won" by the Royal Shakespeare Company in Stratford. My enjoyment of each was hugely enriched by what I learned from Professor Conner's lectures. I especially enjoyed hearing him read - and sometimes perform - critical lines from many of these immortal plays. This is exactly the kind of spirited, quality teaching that keeps me signing up for Great Courses.
Rated 5 out of 5 by RenaissanceGirl from Awesome Shakespeare Course! This was absolutely one of my very favorite Great Courses!! I loved it. The professor, Marc Conner, is extremely knowledgeable about all facets of Shakesperian study, He is also interesting, upbeat and passionate. There is never a dull moment with this course. I looked forward to every lecture! I had previously read a few plays and really loved them, but it always seemed like they took so much time and they were difficult. I was intimidated by Shakespeare, but I lamented over what I was missing. Not so any more! This course explains tools and patterns of Shakespeare's Comedy and Tradgedy, really helping the student to be able to get a rich understanding. After taking this course, I read Othello in one night! Plus I greatly enjoyed and understood it! I am looking forward to reading many more plays, possibly even buying a complete anthology. And the best part is I am not intimidated, nor will it take me years to do this! I highly rec this course for anyone who loves The Bard and would like a good understanding of his work. Thank you Professor Conner, you have really opened my eyes to a whole new world of Shakespeare!!
Rated 5 out of 5 by EMM822 from How to Read and Understand Shakespeare This class is an awesome tool to review Shakespeare. I teach high school English and the resource material has provided an extra stimulus to enhance my instruction. The professor is well-learned and an outstanding speaker.
Rated 5 out of 5 by Watkins from More Than Live Up to Expectations! Dr. Conner delivers a lively and informative guide to Shakespeare which for me not only added much needed insight but rekindled old passions. Although a lifelong lover of literature, I admit to having often felt intimidated trying to understand the language of Shakespeare's time and place. But no more! Professor Conner is not only a brilliant and serious scholar but, as is so often with the Great Courses, a gifted teacher as well. Likewise, his in depth background in theater shines through in both style and content. A real joy!
Rated 5 out of 5 by Jacaranda from Excellent course Remember how Shakespeare was taught at school? Well, this course is NOTHING like that. This lively and entertaining set of lectures makes you want to go out and read all of the plays under discussion. The presenter is passionate and enthusiastic. There is nothing dry about this course. I used this as part of a homeschool literature program and it was a huge success. We watched the first lecture on each play and then watched a film version, before proceeding to subsequent lectures. This proved to be an excellent way to have an introduction to the plays and then to go into detail. The course is focused on empowering the viewer to have the confidence and enthusiasm for tackling any of Shakespeare's plays and the overarching themes and tools make this possible. I would highly recommend this course.
Rated 5 out of 5 by Treethom from A New Favorite Professor Professor Marc Conner has made Shakespeare so accessible I have dusted off "The Complete Oxford Shakespeare" a gift from my mother 25 years ago. He joins William Cook, J. Rufus Fears, Robert Greenberg, Stephen Ressler and Robert Garland on my list of Great Courses excellent professors.
Rated 1 out of 5 by GlobalNomad from Idolatry over substance I bought this course as a homeschooling mother to teenagers. After doing the heavy lifting with Sophocles' three tragedies, I wanted some help with Shakespeare. This course isn't that help. There is no doubt at all that Professor Conner adores Shakespeare but, sadly, that isn't enough. People, "Words, Words, Words" isn't a tool, it's an observation. Shakespeare used words? Really? Who knew? You want a "tool"? How about his use of similarly-spelt words within a single sentence? The moment you come across such a line, you know that there's a barb there, just waiting to be found. Take Hamlet, when his uncle calls to him in Scene 1. King: But now, my cousin Hamlet, and my son-- Hamlet: A little more than kin, and less than kind. Ouch! "Kin" and "kind" show the kind of wordplay that characterises Shakespeare and which is used to deliver verbal stings. *That* is a tool. You want another tool? The use of contradictions to mock or emphasise. The moment a character uses two opposite characteristics in quick succession, or reacts to a statement with a contradiction, that should draw attention to some deeper observation. Yet another "tool" Shakespeare used to heighten interaction with the audience was the use of puns. It's a hint as to what is playing out on stage, most notably a coy look to the crowd, or the barest of pauses, when a particularly witty one is used. In the handful of lectures we managed to endure, I also picked up mispronunciations. "more, and mores" isn't pronounced "more, and mores". It's pronounced "more, and [morays]", meaning "more, and customs". Good grief, I only studied Shakespeare to British secondary school level several decades ago and *I* can pick these up? (And if you say, "well, you must have had a good teacher", then you're making my point for me.) Where's the initial placement of Shakespeare within his contemporary society? Where's the discussion of Shakespearean stagecraft, without which you cannot begin to understand the dynamics between audience and players that drove much of his wordplay? Drama is interactive. The pauses matter as much as the words themselves. You don't breeze through an excerpt as if you're attempting a land speed record. You pause, you ponder, you accentuate some phrases, deliver others casually. Sadly, what little we saw was bereft of any such subtlety, any such nuance. We returned the course with alacrity.
Rated 5 out of 5 by mere from Best Shakespeare Ever I have purchased MANY courses from you and slogged through two others on Shakespeare. Dr Connor's course on How to read and Understand Shakespeare is just Wonderful. If there were others by him I would buy them today and I have already recommended this one to friends. Please ask him do more someday.
Rated 5 out of 5 by Portia from MORE CONNER COURSES PLEASE!!! We're big consumers of the Great Course lectures - and Conner is the BEST on Shakespeare - the BEST! So much depth and intelligence in his analysis. MORE lectures Professor Conner - please!
Rated 4 out of 5 by GeorgiaLlopLloyd from Shakespeare can be accessible Professor Conner gives a series of "tools" to help see what is happening in Shakespeare's comedies and tragedies, tools, which seem obvious when presented. One can find oneself thinking, "Oh yes, of course." Light bulbs go on, and one's mind can run with the "tools." This approach should make traditionally produced Shakespearean stage productions more accessible, as the lectures definitely are. My husband and I listened to the two introductory lectures and then moved to the two on Measure for Measure, as just last weekend we saw a student performance at Case Western Reserve University, which was quite well done. The lectures brought the play back to mind with interesting observations about the dual nature of all of the characters in the play. Professor Conner mentions a program in Stanton,Virginia to produce Shakespearean drama as Shakespeare's audience would have seen it, that should be fun to visit. Many attempts to make Shakespeare productions appeal to modern audience end up as patronizing to the sensibilities of the audience. Shakespeare can be lost in gags meant to appeal to an audience in a particular venue, or with unnecessary references to contemporary pop culture and lose sight of the intriguing character development within the plays themselves. Having heard only 4 of the lectures so far, there are many details that I won't miss when next seeing a Shakespearean drama produced on the stage or in a movie.
How to Read and Understand Shakespeare Reviews - page 3
Shakespeare: Comedies, Histories, and Tragedies
Peter Saccio
Odyssey of Homer
Elizabeth Vandiver
Iliad of Homer
Heroes and Legends: The Most Influential Characters of Literature
Thomas A. Shippey
Marc C. Conner
Classical Mythology
King Arthur: History and Legend
Dorsey Armstrong
America's Founding Fathers
Allen C. Guelzo
How to Look at and Understand Great Art
Sharon Latchaw Hirsh
The Black Death: The World's Most Devastating Plague
World's Greatest Paintings
William Kloss
Music as a Mirror of History
Robert Greenberg
The History of Spain: Land on a Crossroad
Joyce E. Salisbury
Leonardo da Vinci and the Italian High Renaissance
George R. Bent
The Rise of Rome
Gregory S. Aldrete
Great American Bestsellers: The Books That Shaped America
Peter Conn
Late Middle Ages
Philip Daileader
Famous Greeks
J. Rufus Fears
Greek 101: Learning an Ancient Language
Hans-Friedrich Mueller
The Great Works of Sacred Music
Charles Edward McGuire
Archaeology: An Introduction to the World's Greatest Sites
Learning French: A Rendezvous with French-Speaking Cultures
How to Read and Understand Shakespeare


In an unanticipated move, US pay-television broadcaster HBO has passed up the opportunity to show Manny Pacquiao's November 5 clash with Jessie Vargas, despite having a multi-fight contract with the Filipino boxer.
Promoter Bob Arum confirmed HBO's exit and shared the news with Ring TV. Arum said HBO's decision means that the pay-television broadcaster could miss out on showing a possible super-fight rematch between Pacquiao and Floyd Mayweather Junior.
Arum explained that HBO had voided the contract, with the bout's promoter now on the look-out for a replacement pay-per-view service for the November 5 contest.
It is thought that HBO did not want to saturate the pay-per-view market after having already committed to another major PPV event, the Andre Ward v Sergey Kovalev fight on November 19.
"In my opinion, they have an obligation to distribute this fight," Arum told the Los Angeles Times in a telephone conversation from a vacation in Aspen, Colo.
Arum's company, Top Rank, has contacted Turner Sports about distributing the pay-per-view broadcast, and plans to pursue talks with ESPN and Showtime.


text:
Der Ausdruck Green Scare wird von Umwelt- und Tierrechtsaktivisten in Anlehnung an den Begriff der Red Scare, der Phasen der Angst vor einer kommunistischen Infiltrierung in der US-Geschichte bezeichnet, verwendet. Dabei wird in erster Linie Bezug auf das Vorgehen der US-Regierung gegen die radikale Umweltbewegung und Tierbefreiungsbewegung genommen.

Vermutlich fiel der Begriff zuerst im Frühjahr 2002 im Kontext eines Newsletters mit Informationen zu Gefangenen, die der Earth Liberation Front (ELF) zugerechnet werden.
In Bezug auf die USA ist in Zusammenhang mit der Green Scare häufig die Rede vom Animal Enterprise Terrorism Act, einem Bundesgesetz, das Terrorismus gegen Tiernutzungsbetriebe verhindern soll.
Nicht die Aktivisten, die sich bereits durch ihre illegalen Aktionen strafbar machten, sondern diejenigen, die sich bisher im Rahmen legaler Protestmöglichkeiten bewegt hätten, seien Ziele derartiger Gesetzesnovellen, wird von Seiten der Protestbewegung kritisiert.

Konkret werden die Inhaftierungen von Aktivisten der Stop-Huntingdon-Animal-Cruelty-Kampagne als Auswüchse einer Green Scare bezeichnet. Ebenso wird im Kontext des Begriffs auch Bezug auf die sogenannte Tierschutzcausa genommen, in deren Rahmen einige österreichische Tierrechtsaktivisten angeklagt sind, Mitglieder einer kriminellen Organisation zu sein.

Siehe auch
 Ökoterrorismus
 Öko-Anarchismus
 Eric McDavid

Literatur
 Will Potter: Green is the new red: an insiders account of a social movement under siege, City Lights Books, San Francisco, ISBN 978-0-87286-538-9 (PDF).
 Dara Lovitz: Muzzling a Movement: The Effects of Anti-Terrorism Law, Money, and Politics on Animal Activism. Lantern Books (US). ISBN 978-1590561768.

Weblinks
 Text des Animal Enterprise Terrorism Act9 (englisch)
 Webseite zum Thema Green Scare (englisch)
 Artikel zum Thema Green Scare im Counterpunch Newsletter (englisch)

Einzelnachweise

Soziale Bewegung
Tierrechte
Politikgeschichte der Vereinigten Staaten
Neologismus der 2000er-Jahre

redpajama_set_name: RedPajamaWikipedia


A chromosome is made up of genes. Human cells contain 46 of these thread-like structures. Human cells are diploid because they contain two sets of matching chromosomes. Gametes, however, are haploid because they only contain one set (23 chromosomes).
Pairs of chromosomes are homologous pairs because they're the same. Each chromosome in a pair contains genes which code for the same characteristic but each chromosome may differ in how they code for it. Different versions of the same gene are known as alleles.
Genes are sections of DNA and take a specific position or locus on a particular strand. Each gene is a specific sequence of bases that contain coded information to create particular polypeptides which create an organism and determine its development.
A specific amino acid is coded for by a sequence of three bases known as a base triplet. The base sequence of a gene then determines the sequence of amino acids in a polypeptide.
Within eukaryotes most nuclear DNA doesn't actually code for the production of polypeptides. However, if there's a difference in the base sequences of alleles of a gene this can lead to non-functional proteins, like enzymes.
DNA is a polymer composed of nucleotides.
Nucleotides are made of a phosphate group, pentose sugar (deoxyribose) and an organic base.
There are four bases: adenine and guanine are purines and cytosine and thymine are pyrimidines.
Adenine pairs with thymine and guanine pairs with cytosine.
The sugar-phosphate backbone is composed of strong phosphodiester bonds.
The bases are connected by weak hydrogen bonds.
DNA is made from two polynucleotides which run antiparallel to each other.
Genes are sections of DNA at a specific locus.
An amino acid it coded for by a base triplet.
A mutation is a change in genetic material which can occur due to a mutagen.
A gene mutation can be due to a base addition, deletion or substitution.
Base additions and deletions can cause a frame shift in the sequence.
Base substitutions can have no effect: silent mutations.
Eukaryotes contain linear DNA while prokaryotes contain circular DNA and plasmids.
Meiosis produces genetically different cells called haploids.
Crossing over between chromatids aids genetic variation.


text:
About Chase Insurance Agency Group, Inc
Home > Health > Long Term Care Insurance Quote
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text:
Tag Archives: guilt of another
Guilt of a Codefendant
Posted on October 13, 2010 by Jeff Welty
I've had a couple of questions about the same topic recently, so I thought I'd do a quick blog post about it.
Our appellate courts have made clear that normally, "it is improper to make reference to the disposition of charges against a codefendant." State v. Campbell, 296 N.C. 394 (1979). See also State v. Brown, 319 N.C. 361 (1987); State v. Jackson, 270 N.C. 773 (1967). This is true whether the codefendant was convicted, which the state sometimes wants to introduce to add momentum to the prosecution of the defendant, State v. Wilson, __ N.C. App. __, 691 S.E.2d 734 (2010), or whether the codefendant was acquitted, which the defendant sometimes wants to introduce to cast doubts on the investigation as a whole, State v. McCullough, 50 N.C. App. 184 (1980). The reason that such evidence is improper is that it is not relevant; each defendant must be tried based only on the admissible evidence in his individual case. State v. Baskin, 190 N.C. App. 102 (2008).
When the codefendant testifies, the analysis is different. "[E]vidence of a testifying codefendant's guilty plea is admissible if introduced for a legitimate purpose." State v. Rothwell, 308 N.C. 782 (1983). For example, if the defendant suggests that the codefendant received lenient treatment in exchange for his testimony, the details of the codefendant's plea may be admitted to rebut the suggestion. State v. Potter, 295 N.C. 126 (1978). And when the codefendant's testimony "amount[s] to a detailed and unequivocal admission of his guilt," our supreme court has indicated that it is "unable to perceive how a statement of his intention to confirm this sworn, public confession by a subsequent plea of guilty could be prejudicial error." State v. Cameron, 284 N.C. 165 (1973).
Category: Evidence, Uncategorized | Tags: guilt of a codefendant, guilt of an accomplice, guilt of another, relevancy
Relevancy: Guilt of Another
Posted on March 8, 2010 by Jessica Smith
Editor's note: Jessie has prepared a series of posts about the law of relevancy. They'll run as an intermittent series over the next several weeks.
In this and upcoming posts, I will explore several relevancy issues that arise with some frequency. Perhaps the most litigated relevancy issue in North Carolina criminal cases is the admissibility of evidence regarding guilt of another. The law is clear that to be relevant, evidence of the guilt of another must: (1) point directly to the guilt of another party and (2) be inconsistent with the defendant's guilt. By contrast, evidence that creates only an inference or conjecture as to another's guilt is irrelevant.
There are a fair number of cases on this issue, and they come out both ways. Cases holding that guilt of another evidence is inadmissible under the standard set out above include: State v. Williams, 355 N.C. 501 (2002) (evidence attempting to implicate others in murders); State v. May, 354 N.C. 172 (2001) (evidence showing that another person had an argument with the victim days before the murder, was committed because he was hearing voices telling him to kill, told his doctor that he had hallucinations telling him to kill, and had a history of violent conduct; even if the evidence showed that the other person committed the crime, it was not inconsistent with the defendant's guilt where the evidence put both the defendant and that person at the scene); State v. Hamilton, 351 N.C. 14 (1999) (evidence of a prior knife threat by another; no unusual facts surrounding the threat were present in the murder at issue; evidence did not point directly to the other person's guilt); State v. Hester, 343 N.C. 266 (1996) (evidence that merely aroused suspicion that another might have had a motive to murder the victim); State v. McNeill, 326 N.C. 712 (1990) (even if another person had possession of an item similar to one owned by the murder victim, such possession did not put him at the scene and was not inconsistent with the defendant's guilt); State v. Loftis, 185 N.C. App. 190 (2007) (evidence of methamphetamine use someone who resided near the shed in which methamphetamine was found and of the resident's prior probation violation was not relevant in the defendant's trial for trafficking in methamphetamine; the evidence was not inconsistent with the defendant's guilt; because the probation violation had not been adjudicated, it was not conclusive); State v. Wiley, 182 N.C. App. 437 (2007) (evidence of another's guilt was irrelevant where that person was an accomplice and the defendant would be guilty regardless of whether he or the other person inflicted the injury at issue); State v. Ryals, 179 N.C. App. 733 (2006) (a witness's answer to question about submitting to a DNA test in relation to a hat was irrelevant where there was conflicting testimony as to whether the perpetrator wore a hat); State v. Couser, 163 N.C. App. 727 (2004) (evidence that the victim's father was convicted of sexually assaulting the victim's sister 17 years before the sexual assault at issue was irrelevant; the fact that the victim's father previously was convicted of sexual assault in a completely different case was not inconsistent with the defendant's guilt); and State v. Floyd, 143 N.C. App. 128 (2001) (testimony that the defendant's girlfriend's sons were hostile to the victim, and that they were not in school on the day of the murder did no more than arouse suspicion and was not inconsistent with the defendant's guilt).
Cases holding that the trial court erred by refusing to admit guilt of another evidence include: State v. Snead, 327 N.C. 266 (1990) (excluded evidence tended to show that another identified person committed a robbery and killed the victim; the evidence showed that only one person was involved in the crime); State v. Israel, 353 N.C. 211 (2000) (new trial; evidence that another had the opportunity to kill the victim and a history of violent, recent dealings with the victim cast doubt upon the defendant's guilt and implicated that person beyond conjecture or mere implication); State v. McElrath, 322 N.C. 1 (1988) (evidence of a larceny scheme in which the murder victim and his companions appeared to be involved was relevant where the defense alleged that the victim was killed by one of the companions after a falling out); and State v. Cotton, 318 N.C. 663 (1987) (evidence that within a short time of the burglary and sexual assault at issue, three homes in close proximity were broken into, the female occupants were sexually assaulted, and that someone other than the defendant committed one of the other break-ins).
Finally, it is important to note that the United States Supreme Court has held that there are constitutional limitations on rules that exclude evidence of guilt of another. In Holmes v. South Carolina, 547 U.S. 319 (2006), the Court held that a defendant's federal constitutional right to present a defense was violated by a state evidence rule providing that a defendant may not introduce evidence of guilt of another if the prosecution has introduced strong forensic evidence of guilt. The Court held that the state rule was arbitrary, reasoning that by evaluating the strength of only one party's evidence, no logical conclusion can be reached regarding the strength of contrary evidence offered by the other side to rebut or cast doubt. Two North Carolina cases have distinguished Holmes and held that North Carolina's rule regarding guilt of another is not arbitrary. State v. Loftis, 185 N.C. App. 190 (2007); State v. Wright, 182 N.C. App. 767 (2007) (unpublished).
Category: Evidence, Uncategorized | Tags: Evidence, guilt of another, relevancy, relvance


Staying hydrated is the key to losing water weight. It is essential to drink plenty of water to lose weight. In fact, you can add electrolytes in your diet in order to maintain the water balance in the body, which will help in improving the levels of magnesium and potassium in the body. Adequate electrolyte intake helps in avoiding imbalance in the fluids in the body that causes water retention. If your water consumption is higher, electrolyte intake should also be proportionately higher.
The sodium present in salt is one of the most common causes of water retention in the body. A poor lifestyle and an unhealthy diet worsen the situation. There are low sodium salts available in the market which helps in avoiding water retention as well as getting high blood pressure. Including lesser quantity of salt in daily diet can help in lowering water weight drastically.
Sugar contains high level of calories. It is also responsible for high insulin levels, which does not allow the body to lose the sodium present in the body. You can shed some of those extra pounds just by switching to sugar-free food and beverages. Cutting down on refined and processed food is also a healthy way of losing weight faster.
Exercise is an effective way for reducing water retention. You can add cardiac exercises like running on the treadmill or climbing stairs which warms up the body and causes sweating. This helps in reducing water weight. You can also add sit-ups to speed up the process.
Ideally, an average adult should get 8 hours of sleep. However, 5 to 6 hours of sleep is sufficient for some people. If you want to lose water weight without any extra effort, the easiest way for this is to sleep some more. If you add 30 minutes to your average duration of sleep, it will leave you rejuvenated with more energy levels to work-out more, which would help in losing extra pounds. Moreover, sleeping for 9 hours allows you to stay active throughout the day and shed more weight.
Stress leads to high cortisol levels. It is responsible for high ADH or anti-diuretic hormone, which reduces urination. Therefore, stress finally leads to increased water retention in the body. By bringing down the stress level, you can not only manage your weight, but also enjoy a healthy and relaxed life.
To lose weight, it is necessary to eat healthy and follow a diet plan. Adequate intake of all vital nutrients, especially minerals and vitamins helps in reducing water retention in the body. Cutting down on calories intake is also important.


Cafe Ocean on the Golden Mile, serves light bites including sandwiches, baguettes and cakes along with hot and cold drinks.
On arrival in Great Yarmouth follow signs for the seafront, taking a right turn at the mini roundabout onto Marine Parade. Proceed along Marine Parade past the Britannia Pier and Cafe Ocean is a short distance along on the right hand side.


Catwg Primary School in Wales have been involved in the Peace Mala Project for many years and are soon to celebrate Gold Award Accreditation.
Recently Pam Evans, (Founder of Peace Mala) had the pleasure of leading a workshop with some of the pupils at the school and they were an absolute delight!
Many interesting questions and comments were made by the pupils about the value of Peace Mala for young people – especially the message of the Golden Rule and how it helps to stop bullying and also brings together everyone regardless of differences.
Photographs were kindly taken by Lesley Walters and there is film footage yet to be edited; when completed this will be shared with you all on YouTube.


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Q: Simple way of creating an animated JScrollPane in Java? I currently have a JScrollPane that holds what is basically a list of items. This JScrollPane is to be displayed on an information screen.
What I'm looking for is some way of making it automatically scroll to the bottom of the list at a given interval, then back to the top. I recognise this is probably not achievable using a JScrollPane, so any suggestions for alternatives would also be great!

A: Normally I would use the TimingFramework or you could use something like Trident or the Unviversal Tween Engine as a bases for any animation.  The main reason is, apart from doing most of the work for you, they also provide variable speed, which will make the animation look more natural.
But you can achieve the basic concept using a javax.swing.Timer.
This example will allow you to scroll to the bottom of an image and back again.
The animation will take 5 seconds (as supplied by the runningTiming variable), allowing it to be variable (the larger the image, the faster the movement, the smaller the image, the slower).
import java.awt.BorderLayout;
import java.awt.Dimension;
import java.awt.EventQueue;
import java.awt.Graphics;
import java.awt.Graphics2D;
import java.awt.Point;
import java.awt.event.ActionEvent;
import java.awt.event.ActionListener;
import java.awt.image.BufferedImage;
import java.io.File;
import java.io.IOException;
import javax.imageio.ImageIO;
import javax.swing.JFrame;
import javax.swing.JPanel;
import javax.swing.JScrollPane;
import javax.swing.Timer;
import javax.swing.UIManager;
import javax.swing.UnsupportedLookAndFeelException;

public class AutoScroller {

    public static void main(String[] args) {
        new AutoScroller();
    }
    private long startTime = -1;
    private int range = 0;
    private int runningTime = 5000;
    private int direction = 1;

    public AutoScroller() {
        EventQueue.invokeLater(new Runnable() {
            @Override
            public void run() {
                try {
                    UIManager.setLookAndFeel(UIManager.getSystemLookAndFeelClassName());
                } catch (ClassNotFoundException | InstantiationException | IllegalAccessException | UnsupportedLookAndFeelException ex) {
                }

                final JScrollPane scrollPane = new JScrollPane(new TestPane());

                JFrame frame = new JFrame("Testing");
                frame.setDefaultCloseOperation(JFrame.EXIT_ON_CLOSE);
                frame.setLayout(new BorderLayout());
                frame.add(scrollPane);
//                frame.pack();
                frame.setSize(scrollPane.getPreferredSize().width, 200);
                frame.setLocationRelativeTo(null);
                frame.setVisible(true);

                Timer timer = new Timer(40, new ActionListener() {
                    @Override
                    public void actionPerformed(ActionEvent e) {
                        if (startTime < 0) {
                            startTime = System.currentTimeMillis();
                            range = scrollPane.getViewport().getView().getPreferredSize().height - scrollPane.getHeight();
                        }
                        long duration = System.currentTimeMillis() - startTime;
                        float progress = 1f;
                        if (duration >= runningTime) {
                            startTime = -1;
                            direction *= -1;
                            // Make the progress equal the maximum range for the new direction
                            // This will prevent it from "bouncing"
                            if (direction < 0) {
                                progress = 1f;
                            } else {
                                progress = 0f;
                            }
                        } else {
                            progress = (float) duration / (float) runningTime;
                            if (direction < 0) {
                                progress = 1f - progress;
                            }
                        }

                        int yPos = (int) (range * progress);

                        scrollPane.getViewport().setViewPosition(new Point(0, yPos));

                    }
                });
                timer.setRepeats(true);
                timer.setCoalesce(true);
                timer.start();

            }
        });
    }

    public class TestPane extends JPanel {

        private BufferedImage image;

        public TestPane() {
            try {
                image = ImageIO.read(new File("Path/to/your/image"));
            } catch (IOException ex) {
                ex.printStackTrace();
            }
        }

        @Override
        public Dimension getPreferredSize() {
            return image == null ? new Dimension(200, 200) : new Dimension(image.getWidth(), image.getHeight());
        }

        @Override
        protected void paintComponent(Graphics g) {
            super.paintComponent(g);
            if (image != null) {
                Graphics2D g2d = (Graphics2D) g.create();
                int x = (getWidth() - image.getWidth()) / 2;
                int y = (getHeight() - image.getHeight()) / 2;
                g2d.drawImage(image, x, y, this);
                g2d.dispose();
            }
        }
    }
}

A: Have you looked into using a timer to send scroll instructions to the JScrollPane at intervals?  Just the first thing that comes to mind...

redpajama_set_name: RedPajamaStackExchange


text:
Tongkatali.org - the website for endless sexual desire
Further improvement for your quest for sexual desire at any age
By Serge Kreutz
Advanced-age sexual desire and sexual function, 2019
You know what is missing in your life as you get older. You are missing a sense of purpose felt in younger years.
In younger years you knew why you wanted to progress in your career and you knew why you wanted to earn more money.
Yeah, it was all about landing better sex. You reckoned that in a better social position and with more money, you'd hsve a better sexual market value.
Now you actually have progressed in your career, and now you have achieved a certain level of wealth.
But for what? You are stuck on a sexual status quo. And you don't have that drive anymore for better sex in the future.
That's what is making you old, regardless of your physical condition.
So, how to solve this problem of a lack of sexual motivation?
Look at science. Sexual motivation is mediated by two substances that circulate in your body: testosterone throughout, and dopamine in the brain.
And yes, you con work on body and brain chemistry with chemical substances, that's the basis of pharmacology.
Unfortunately, an all-out pharmaceutical solution for a lack of sexual desire hasn't been developed yet.
But in the meantime, you can turn to a number of phytochemicals.
Your best bet, I believe, is a combination of tongkat ali with butea superba, which has become the main product of Sumatra Pasak Bumi. Their website is https://tongkatali.org.
They have been the world's foremost sexual enhancement company for three decades. Their tongkat ali / butea superba blend, however, has been developed only in 2017.
Nevertheless, if you run a Google search for "tongkat ali butea superba" you will see an increasing number of references to the superiority of the combination.
You are lacking sexual motivation. That is miserable because actually, sexual motivation should crown your existence.
It's not acceptable, so you have to do something about it.
Chan, E. Y., Zlatevska, N. (2019) Is meat sexy? Meat preference as a function of the sexual motivation system Food Quality and Preference Volume 74, Pages 78-87
Enema, O.J. Umoh, U.F., Umoh, R.A. Ekpo, E.G. Adesina, S.K., Eseyin, O.A. (2018) Chemistry and Pharmacology of Aphrodisiac Plants: A Review. Journal of Chemical and Pharmaceutical Research Volume 10 Issue 7, Pages 70-98
Evolution of Desire, The David M Buss Encyclopedia of Evolutionary Psychological Science, 1-5, 2016
Hendrickx, L., Gijs, L., Enzlin, P. (2018) Age-related prevalence rates of sexual difficulties, sexual dysfunctions and sexual distress in heterosexual men: results from an online survey in Flanders. Sexual and Relationship Therapy Pages 1-22
Holder, M.K., Veichweg, S.S. Mong , J.A. (2015) Methamphetamine-enhanced female sexual motivation is dependent on dopamine and progesterone signaling in the medial amygdala Hormones and behavior Volume 67, Pages 1-11
IsHak, W.W., Clevenger, S., Pechnick, R.N., Parisi, T. (2017) Sex and Natural Sexual Enhancement: Sexual Techniques, Aphrodisiac Foods, and Nutraceuticals. The Textbook of Clinical Sexual Medicine, Pages: 413-432
Kotirum, S., Ismail, S.B., Chaiyakunapruk, N. (2015) Efficacy of Tongkat Ali (Eurycoma longifolia) on erectile function improvement: Systematic review and meta-analysis of randomized controlled trials. Complementary therapies in medicine Volume 23 Issue 5, Pages 693-698
Singh, H., Dhole, P. Saravanan, R., Baske, PK (2017) Ethnomedicinal plants used in sexual disorder in Balangir and Deogarh districts, Odisha, India. International Journal of Current Science Volume 20 Issue 3, Pages 57-62
Contact us - tongkatali.org - Privacy policy


Architectural or dimensional roof shingles in recent years have become by far the most popular or common in the United States. There are many advantages to choosing a dimensional roof, from their cost efficiency to you, the homeowner Ease of maintenance, their high performance in all weather conditions, and variety of visual styles, colors, as well as their incredible thermal efficiency.
When it comes to choosing the right architectural shingle for your home in the pacific north-west there are many things to consider hiring the right contractor with the knowledge of our specific climate is paramount to getting the most from your new roof. Here is some information to help simplify options for you.
An architectural shingle, also called dimensional, gets its name from its multi-layered laminated or 3-dimensional appearance, the shingle itself lays flat on the roof overlapping the previous shingle like feathers on a bird. but due to the multi-layered manufacturing process, once the shingle is installed it gives the impression of multiple dimensions, showing highs and lows instead of just a flat uniform surface.
Creating a very sharp style to compliment your home. Many manufacturers of composite shingles now offer superior protection from our climate such as a "Scotch guard" coating to inhibit growth of algae and moss on your new roof as well as solar reflective shingles with specially treated granules to reflect solar energy out and away from your home to help combat energy costs, both a benefit to you, the homeowner.
Often in the Portland area, historic homes or buildings were constructed using a natural slate or tile roof shingle to compliment the architectural style of the structure. Although natural slate and tile shingles can be the longest lasting materials one can choose for a roof, they are also incredibly heavy compared to an architectural or wood style roof, they are also prone to chipping or cracking, and are more difficult to install and repair.
Natural slate and tile types of roofs are still available if you want period correct materials in your home, there are also alternatives, like manufactured tile or slate. They give the same period correct appearance but cut down on install and material costs. But in the long run, whichever you choose, both these options are by far the most labor-intensive, the expensive route to go.
With the correct, properly informed contractor a home with an existing aging or failing slate or tile roof can be replaced with era correct material or converted to a more modern composite roof while maintaining a period correct appearance. The choice is yours.
Cedar shingles are a beautiful and unique option for homes in Portland and surrounding areas. They give a unique and ever-changing look throughout their lifespan. from a deep golden brown when new to a rustic silver/ grey hue when aged.
Cedarwood shingles are a great option for homes in the n.w. wanting to add a specific look or style to exude country or cottage style to your home. A proper wood shake shingle is much thicker than alternative options, giving greater resistance to the wind in some cases.


I have a BA in Accountancy from Edinburgh Napier University and am a Chartered Accountant with the Chartered Institute of Management Accountants (CIMA).
Before joining GALVmed, I worked in the construction industry as an assistant accountant and then in children's services as a management accountant.
I enjoy keeping fit – especially running when I get the chance. When I'm not running after my little boy I enjoy running around Penicuik and the surrounding areas.


text:
TV Ratings Saturday: UFC comes in 2nd
spliff August 5, 2012, 8:13pm #1
http://tvbythenumbers.zap2it.com/2012/08/05/tv-ratings-saturday-xxx-olympics-champion-night-ufc-comes-in-second/143940/
Chhem August 5, 2012, 8:17pm #2
and Dana said the olympics wouldn't do well, look at those numbers!!
did he really say that? lol
FinestScotch -
Chhem - and Dana said the olympics wouldn't do well, look at those numbers!!
Calling you out as a complete bullshitting hater.
Provide source.
He said it last week in one of post fight interviews from last week. I don't care if you don't believe me.
Humphrey August 5, 2012, 8:36pm #5
yeah I have to call BS on that too. as dumb as the things are that dana says about mainstream sports, even he isn't that stupid.
MoomBah August 5, 2012, 8:38pm #6
He said who the hell watches the Olympics after the Calgary show. He corrected his mistake at the preflight press conference of the fox show.
myblood04 August 5, 2012, 10:27pm #7
Considering everything does that mean the UFC did well? Average.. Above/below expected? I kept telling myself DAYUM I hope everyone I told about this card watched! (friends, family, coworkers).. Personally this was one of my favorite UFC's in a good while.. Fox car was especially badass
Haulport August 5, 2012, 10:56pm #8
myblood04 - Considering everything does that mean the UFC did well? Average.. Above/below expected? I kept telling myself DAYUM I hope everyone I told about this card watched! (friends, family, coworkers).. Personally this was one of my favorite UFC's in a good while.. Fox car was especially badass
Those ratings suck.
TUF used to do similar numbers on SPIKE back in the first 5 years.
I believe the first show on FOX did over a 4 and they have wasted that down to a 2 with the first two terrible shows. Now they put on two good ones and all the "launch" fans left already.
Lorenzo is not as smart as he likes to think.....................
BrattMamley August 5, 2012, 11:12pm #9
Lol can't catch a break...people just don't like mma as much as we like to think
funk_samurai August 6, 2012, 2:04pm #10
Even if they have a good card here and there, the UFC product is still stale.
kinson August 6, 2012, 2:14pm #11
MMALOGIC August 6, 2012, 2:22pm #12
Florian vs Gomi pulled 2.5 million viewers on spike. you tell me if it's good.


text:
Ana Christensen
American-Australian pop rock and country/folk rock singer was born in California in 1960, she moved to Australia in the late 1970s.
Ana first started singing in Townsville in 1980, first as a soloist then with Michael Heytman as a Duo. She worked in various bands and groups. In 1986, Ana won Female Vocal, Gospel Solo, Bush Ballad Duo with Michael and the overall Grand Prize at the Charters Towers Country Music Festival. This resulted in a tour with Freddy Fender and Ayr's Saddle Tramps in June 1986. In 1987, Michael and Ana once again won the Duo at Charters Towers, and Ana also took out first place in Female Vocal. Also in 1987 she sang in the Rogues Piano Bar at The Townsville International and also enjoyed taking part in various plays and musicals.
Her career really took off with the release of her debut album, "Deep in the Night", in 1988. In early 1990, she signed to CBS. Through CBS, she released the album "Brave New World" in 1990. She did not issue another album until "Not All Monkeys are Right Handed" in 1994.
Ana moved to be with her family in the United States and left the music industry.
Ana Christensen (1987)
Full discography:
Deep in the Night (1988, Nicholls 'n' Dimes)
Brave New World (1990, CBS)
Like a Rolling Stone single (1991, Columbia)
Brave New World (1992, Columbia, reissue with track 9, "TV Song", substituted with "Like a Rolling Stone")
Not All Monkeys are Right-Handed (1994)


State Resources include links to agencies, services and programs for seniors.
Free web-based inventory of affordable rental housing in Pennsylvania including information about apartment locations, rental prices, accessibility features, development amenities, current vacancies, and the status of the waiting list.
Pennsylvania Attorney General's SCPU educates older Pennsylvanians and their families throughout the Commonwealth on crime prevention.
Pennsylvania Health Law Project – free legal advice to low-income people with insurance problems. We also help people who don't have health insurance.
For assistance, call the helpline: 1-800-274-3258.


Avanza Premier Payment Services (APPS) has signed an agreement with Summit Bank to enable Payfast, APPS' Internet payment gateway, providing a secure and reliable environment for online and digital payments.
With Payfast, Summit Bank's customers will be able to transact online using their account numbers & debit cards on APPS' digital ecosystem consisting of online merchants, schools, billers, mutual funds, marketplaces and other entities. These merchants will also accept UnionPay cards through UnionPay Online Payment (UPOP).
Summit Bank has a network of 193 branches across Pakistan. They believe in fulfilling their commitment to their customers and are guided by an eminent board of Shariah scholars and practitioners with extensive experience in the field. Their reach in 23 cities offers Islamic banking opportunities with an extensive range of products & services.
APPS is a start-up fintech governed under the PSO/PSP regulation of the State Bank of Pakistan (SBP), with the objective to deploy an Online Payment Gateway and to act as a catalyst for the digitalization of brick-and-mortar SMEs within Pakistan.
APPS, which is also the TPSP of UnionPay International (UPI) in Mobile Payments, will enable Quick Response (QR) and Host Card Emulation (HCE) in Summit Bank's Mobile App. Together, the three entities are working towards an initiative to mainstream digitalization across Pakistan.
Our main emphasis is to provide services that will create a catalyst to stimulate a digital society and enrich the lives of everyday customers. APPS' streamlined approach to promote a cashless economy merged with Summit Bank's constant desire to innovate makes for a great partnership. We are proud to have achieved what we did on this platform with Summit Bank.
We are excited to work with APPS as we believe that this collaboration will make the lives of our customers easier and more convenient. We have proven to be a healthy fit as our values are aligned with theirs and we hope to take the industry to the next level of digitalization very soon.


text:
Q: Juniper Networks Docker container complains about Free Hugepages not being available In my CentOS 7.2, I run openjnpr-container-vmx, but get error:
[root@centos ~]# docker run  juniper/openjnpr-container-vmx
Juniper Networks vMX Docker Light Container

Linux b32d308d36eb 4.18.0-193.el8.x86_64 #1 SMP Fri May 8 10:59:10 UTC 2020 x86_64

CPU Model ................................ Intel(R) Xeon(R) CPU E3-1230 v5 @ 3.40GHz
CPU affinity of this container ........... 0-7
KVM hardware virtualization extension .... yes
Total System Memory ...................... 15 GB
Free Hugepages ........................... none! Please provision at least 1G (512x2MB or 1x1GB) hugepage
Check for container privileged mode ...... yes
Check for sudo/root privileges ........... yes
Loop mount filesystem capability ......... no
docker access ............................ no (optional)

lcpu affinity ............................  0-7

NUMA node(s):        1
NUMA node0 CPU(s):   0-7

1 optional features missing. Ignored
2 failed system dependencies. Terminating

===
my dedicated server hardware information:
[root@centos ~]# free -mh
              total        used        free      shared  buff/cache   available
Mem:           15Gi       1.4Gi       395Mi       832Mi        13Gi        13Gi
Swap:         7.8Gi       2.0Mi       7.8Gi

CPU model:
Intel(R) Xeon(R) CPU E3-1230 v5 @ 3.40GHz

A: From the OpenJNPR-Container-vMX Enable Hugepages section:

Enable hugepages
Define at least 1024 x 2MB hugepages or 2 x 1GB hugepages via kernel options by adding
GRUB_CMDLINE_LINUX="default_hugepagesz=1G hugepagesz=1G hugepages=2"

or
GRUB_CMDLINE_LINUX="hugepages=1024"

to the file /etc/default/grub, followed by running update-grub and reboot:
$ sudo update-grub
$ reboot

Once the system is back, check the availability of hugepages (the example shown has 16x1GB pages reserved):
$ cat /proc/meminfo |grep Huge
AnonHugePages:         0 kB
ShmemHugePages:        0 kB
HugePages_Total:      16
HugePages_Free:       16
HugePages_Rsvd:        0
HugePages_Surp:        0
Hugepagesize:    1048576 kB


Spring Thing games: The Epic Origins of CamelGirl!
I have been wishing for some new IF to play, and conveniently, Spring Thing games are out. Judges are permitted to comment on games during the competition as long as such comments are clearly marked — so consider yourself warned. Some comments follow, on the Epic Origins of CamelGirl!.
"The Epic Origins of CamelGirl!" sounded somewhat dubious to start with. The premise didn't seem to have much to do with the title, and besides, it was hazily presented and in such a way that it was hard to feel much sympathy for my character's goals. I wasn't crazy about the writing, either; it's full of self-conscious, effortful humor that never quite made me laugh. Then I got to the moment in the story where the main character is bitten by a radioactive camel. No: the main character is bitten by a camel, under such circumstances that you realize it's going to turn out to have been radioactive. At that moment the title and the wacky circumstances clicked neatly together into a Spiderman reference, and I started to enjoy myself.
And then you see nothing more.
You can't go that way. There are no obvious exits.
This entry was posted in interactive fiction, parser, Reviews and tagged Spring Thing, The Epic Origins of CamelGirl! by Emily Short. Bookmark the permalink.
Hi, I've had the same problem on Windows with Gargoyle, when I tried playing it with the html TADS player it worked. I encountered only one mildly serious bug in the game besides this one, and I rather enjoyed the rest of it though so far my favourite of the competition is "The Reluctant Resurrectee".


Use: It's a murloc costume.
This item was a reward for attending Blizzcon in 2007. That year's convention did not offer an online streaming service, so owners of this item either physically attended Blizzcon or purchased the code from someone who did.
The suit was a single non-consumable item but was BoA, so you just needed to mail it around to whatever character you wanted to use it on. As of patch 6.0.2, "using" this item will learn the spell and add it to your Toy Box, making the suit battle.net accountwide and useable by all your characters, no mailing involved.
Putting on the suit grants a transformation buff ( Murloc Costume) that alters your appearance similar to how the Hallow's End wands function. It is not an actual costume that you "wear" like armor. It has no cooldown to reapply, but there is a cast time to use.
Using it for the first time grants the Feat of Strength Murloc Costume.
Murloc suit has a unique dance animation. You can fish, mount, loot and perform most activities in the suit. It does not break on entering combat, but will break on dealing or receiving damage. I like to wear it on my healer during raids since heals don't break it, only when I take damage. If it is not broken, it will last for an hour on its own.


Working toward a better life – and a cure – for any disease is a practice in patience. We all start out hoping for some "Lorenzo's Oil" type of situation: we push, we prod, we search and then bam we find our miraculous solution. But in reality, it's usually quite different. I've discovered that in my going-on-20-years of advocating for better treatments and a cure for diabetes for my daughter and for all.
Back in 1997, when I first came involved with JDRF and dipped my toes into this "take action" thing, I imagined that by now we'd be done. I pictured storming Capitol Hill, doing a few walks and then finding out it was a wrap. It has not been that way. Instead, I've learned that progress is slow and not always steady. It reminds me of skiing runs in the San Juan Mountains, where everything is not always simply a ride up and run down, and instead you hit steeps that give you amazing speed and then rolls that slow you down and challenge you a bit. You're still on your way to your destination, but it takes some extra effort and management at times to get there. Sometimes, in diabetes cure advocacy, it can feel like all you do is push along.
And then there are years like 2016.
I want to say that in all my years of fighting for this dream of making life better for people with diabetes, 2016 has been the most exciting, invigorating and encouraging of all.
It was back in 2014 that Dr. Doug Melton and his lab at Harvard University announced they had developed a method to replicate insulin-producing beta cells. Melton, in a conversation with reporters, talked, too, about the other piece of the puzzle that might enable these cells to survive Type 1 diabetes' autoimmune attack: encapsulation. Melton's lab teamed up with a group of scientists at MIT's Koch Institute for Integrative Cancer Research, who for years have been working to create alginate materials that will protect beta cells while flying under the radar screen of the body's immune system. [editor's note: Dr. Melton has retracted his paper].
In January 2016, the encapsulation project's lead scientist, Arturo Vegas, published a paper in Nature Medicine that showed in a mouse implanted with Melton Lab beta cells and protected by the lab's lead alginate material, blood sugar was controlled for six months, the length of the experiment.
Of course, anyone who follows Type 1 research knows that diabetes has been cured in mice before—many times. The next step is to test the Melton Lab beta cells in primates, a process that Vegas expects will take a couple of years. Only then, and only if the encapsulation material is still a success, could the long process of human clinical trials begin. So we may be a long way off from a real cure, but progress is progress and we'll take it.
And speaking of encapsulation, the good news just kept coming. In February 2016, the San Diego based company Viacyte announced that was merging with its competitor, Johnson & Johnson's BetaLogics, and the two were pooling assets and intellectual property in order to push forward a stem-cell based cure for Type 1 diabetes.
Last year I got to hold an actual Viacyte encapsulation device in my hand. (It was the day before I did a 100 mile JDRF Ride to Cure through Death Valley, and the valley experienced a thousand-year rainstorm. A sign, I thought as the sandy mountains took on a color few had ever see, and the following spring wildflowers said to have been waiting decades for enough water to bloom blanketed the land. A sign, for sure). Well, patients are implanted with the devices now, and 2017 should bring us even more promising news, and hopefully a next step in clinical trials.
In the fall of 2016 came huge news: The FDA's approval of our nation's first hybrid closed loop system, which folks will be able to order in March. As I said when it all came down, it wasn't that exact product that thrilled me. Rather, it was the fact that the FDA ruling would – and will—clear the path for the market to be flooded with better tools. And anyone who does not understand the beauty of better tools and more choices needs just hop in a time machine by limiting themselves to Regular, NPH and a crude meter to find out just why this matters.
Again, I take great pride in being a part of JDRF when it comes to this advancement. After all, we JDRF advocates fought for this when we were told that advocates really should not influence the FDA (but now we've paved the way for an FDA that listens to patient voices ). We raised funds to support clinical trials for proof and to entice companies to invest in creating products. Not everyone agreed with that push, but in 2017, everyone will benefit from it.
As 2016 wound down, the FDA announced its approval of dosing insulin off of CGMS data. This is huge. It's huge because it will make lives easier. It's huge because it lessens the burden for those who live with diabetes. It's huge because it motivates industry to invest in more smart diabetes products. And it's huge because it could pave the way to coverage of CGMS for all, something I feel passionately about. What good are great tools if all cannot access them?
Here's to a new year of new breakthroughs.
There was a major retraction of Dr. Melton's paper this week.
Actually, the retracted paper is a different one. The method for producing the paper, that the writer is referencing here, is good. I myself have replicated its cell-production method.
We are so darn close. I have never felt so optimistic and so anxious. Our day is coming and it might be here in 2017. God willing.


text:
Sergio Cammariere (né le  à Crotone) est un auteur-compositeur-interprète italien de jazz. Il a sorti dix albums.

Carrière
En 1997, il participe au Premio Tenco, attirant l'attention de la critique et du public, et le jury de l'événement lui décerne à l'unanimité le prix IMAIE du meilleur musicien et interprète de la manifestation .
Après une longue carrière de musicien  il est apparu au Festival de Sanremo en 2003 pour interpréter la chanson Tutto quello che un uomo, arrivant à la troisième place de ce concours et remportant le prix de la critique.

Sa vidéo musicale Sorella Mia a remporté un prix au festival Fandango « Videoclipped The Radio Stars ». Cammariere joue du piano et chante, sa musique peut être classée comme jazz.

Cammariere est un cousin éloigné du chanteur et compositeur italien Rino Gaetano.

Discographie

Simple
 1998 : Tempo perduto
 2003 : Tutto quello che un uomo

Albums
 1993 : Kunstler-Cammariere & Stress Band I ricordi e le persone
 2002 : Dalla pace del mare lontano
 2003 : Dalla pace del mare lontano (Second version, including the track Tutto quello che un uomo - Sanremo 2003)
 2004 : Sul sentiero
 2006 : Il pane, il vino e la visione
 2009 : Carovane
 2012 : Sergio Cammariere
 2014 : Mano nella mano
 2016 : Io
 2017 : Piano
 2019 : La fine di tutti i guai

Soundtracks
 1992 : Quando eravamo repressi
 1994 : Teste Rasate
 1996 : USD - Uomini senza donne
 2007 : L'Abbuffata
 2010 : Comiche vagabonde (Tre comiche di Charlie Chaplin)
 2010 : Ritratto di mio padre
 2011 : Tiberio Mitri - il campione e la miss
 2013 : Maldamore
 2018 : Prima che il gallo canti
 2018 : Apri le labbra
 2019 : Twelve minutes of rain

Compilations
 2008 : Cantautore piccolino
 2017 : L'artista, la vita, la storia

Références

Liens externes

 Site personnel
 Facebook
 Sergio Cammariere sur Myspace

Naissance à Crotone
Naissance en novembre 1960
Auteur-compositeur-interprète italien
Chanteur italien de jazz