Sentence examples for degree of bow from inspiring English sources

The offset of the anatomic axis of the tibia and femur from the center of the talus and femoral head, respectively, is a new method for quantifying the degree of bow of these two bones.

Much has been written about how the degree of bow affects the starting point for insertion of the intramedullary rod and the accuracy of alignment of the varus/valgus osteotomy of the distal femur [ 17, 23, 24, 26, 28].

We found no correlation between the bow of the tibia and femur in a given limb (r = 0.0185, p = 0.8286), which means the degree and direction of the bow in the tibia is not related to the degree of bow of the femur in a given limb.

The bowing is generally accompanied by a reduction of strength which increases with increasing degree of bowing.

Some examples are presented which show the strong influence of material microstructure on the degree of bowing.

The etch profile of the contact hole obtained in the C4F6/Ar/O2/CH2F2 plasma was shown to have 23% lower degree of bowing than that in the c-C4F8/Ar/O2/CH2F2 plasma.

For example, it is possible to have two differently curved anterior laminar surfaces with the same mean ALCSD; for instance, one surface could be uniformly depressed in all locations (i.e., a large radius of curvature) whereas the second surface could have a large degree of bowing or "cupping" (i.e., a small radius of curvature) about the same mean depth.

We also investigated whether the accuracy of anatomic limb alignment was affected by anatomic variation, such as the degree of femoral bowing, tibial bowing, and varus orientation of the femoral neck.

Just like the differing degrees of bowing, different types of speech are used depending on the person, social hierarchy and situation.

In addition, 12 female participants demonstrate five distinct degrees of bowing by bending their trunk 30°, 45°, 60°, and 90° from an upright position; their spinal curvature and trunk muscle activations were measured.

In the quartets, the players use every trick in the book to transform those long tones, varying the degree of vibrato, bowing over the fingerboard or close to the bridge, adding exotic mutes, scraping with maximum pressure.