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Home London Business School Market Driving Strategies
Market Driving Strategies
SchoolLondon Business School
All dates November 9-13, 2020
LocationLondon Business School, London, UK
CategorySales, Marketing, Strategy
Adapt to shifting market realities. Ignite your innovation culture to drive business in this volatile environment of globalisation, trade and fast-moving technologies.
Gain the skills to foster a culture of creativity and innovation within your organisation.
Identify opportunities and unleash market-driving innovations within your industry.
Generate new ideas and propel growth by entering untapped markets, and break new ground in products, services and industries.
Identify, explore and articulate latent customer needs,
socio-economic trends and technological developments.
Good for your organisation
You gain a high-value marketing strategist who can:
Make innovation the engine for your organisation's long-term growth.
Deliver shareholder value through industry transformation.
Leverage customer insights to deliver a sustained increase in customer value and business success.
This programme suits senior professionals who seek to develop and implement innovative marketing strategies to propel their organisation and industry forward.
Attendees include:
Product, portfolio and general managers.
Senior marketing practitioners.
CEOs and managing directors.
Sales and business development managers.
Pricing specialists.
Entrepreneurs and company leaders.
Lead breakthrough innovations. Identify your current commercial boundaries and how to overcome them.
Energise creativity in your business, foster ideas generation and discover new strategies that really make a difference.
Understand how to differentiate your products, services and brand to existing and new customers.
Successfully enter markets, leveraging internal and external resources, rolling out new products and pioneering new territories.
Course information from London Business School
Visiting Professor, CEIBS; Adjunct Professor of Marketing, London Business School
Professor Arnold studied for a BA at University College London and gained his MPhil at Royal Holloway College, with both degrees focusing on English Literature. He graduated with distinction with an MBA in Marketing at City University London and was awarded his DBA from Harvard Business School, where he was the Stanley Roth Foundation Fellow. During a highly successful career he has received many awards and distinctions, including the Academy of International Business Case Competition, the Du Pont Foundation Fellowship for International Research, a Fellow at the American Marketing Association Doctoral Consortium at Wharton School, and more recently numerous teaching awards at schools including LBS. His areas of expertise are international marketing, branding, market analysis, strategy formulation and global account management.
Professor Arnold was previously Professor of Marketing at Harvard Business School, where he ran the International Marketing course and was head of the core marketing course. In addition to his work at the London Business School he is currently teaching at IESE in Barcelona and Madrid, at The University of Rochester/Bern, and at Ashridge Management College. He teaches on the Sloan and Executive MBA Programmes and several popular Executive Education Courses at the London Business School.
Professor Arnold' has written extensively on issues in marketing, branding, market analysis and strategy. His research and insights appear in leading journals including Harvard Business Review, Journal of International Business Studies, Sloan Management Review, California Management Review and the Marketing Science Institute Paper Series. In addition, he has produced many Harvard Business School Case Studies on a range of organisations around the world including Zara, Hewlett-Packard, MasterCard International and Procter & Gamble. He wrote the popular books The Mirage of Global Markets and The Handbook of Brand Management, which has been published in ten languages.
As well as enjoying a successful academic and consultancy career, Professor Arnold previously worked in the UK central government, international publishing, and advertising. As a consultant, he works closely with several corporate clients including Henkel, Standard Life, SEB, IBM, McDonald's and Volvo.
Rajesh Chandy
Professor of Marketing
Professor of Marketing; Tony and Maureen Wheeler Chair in Entrepreneurship; Academic Director, Wheeler Institute for Business and Development; Former Academic Director, Deloitte Institute for Innovation and Entrepreneurship
PhD (Southern California)
Rajesh Chandy is the Academic Director of the Wheeler Institute for Business and Development. He holds the Tony and Maureen Wheeler Chair in Entrepreneurship and is a Professor and Area Chair in the Marketing Subject Area at London Business School. He also serves as Academic Director of the Market Driving Strategies executive education course at London Business School.
Much of Chandy's current research is at the intersection of business, innovation, entrepreneurship, and development. His recent projects have covered the impact of business skills among micro-entrepreneurs in South Africa, novel financing approaches in Ghana, property rights in slums in Egypt, innovation among farmers in India, highways and private education expenditures in India, and using big data for development outcomes.
Chandy is an Area Editor for the Entrepreneurship and Innovation area at Management Science, and is a member of the advisory board of the Journal of Marketing. Chandy's research and publications have received several awards, including the Mahajan Award for Lifetime Contributions to Marketing Strategy Research, the ISMS Practice Prize for research that contributes most to the practice of marketing, the Journal of Marketing Harold Maynard Award for contributions to marketing theory and thought, the AMA TechSIG Award for the best article on Technology and Innovation (twice), and the Gerald E. Hills Award for the Best Paper on Entrepreneurial Marketing. He has also received the AMA Early Career Award for contributions to marketing strategy research, and has been named an MSI Young Scholar, among other awards. Fortune magazine described Chandy's findings on innovation as "an unorthodox and bracing set of management principles."
During 2006-2008, Chandy served as a member of the US Secretary of Commerce Advisory Committee on Measuring Innovation in the 21st Century Economy. He has provided advisory and executive education services to Carrefour, Novo Nordisk, Nordea, Rabobank, Toshiba, St. Jude Medical, 3M, Philips, Commonwealth Microfinance Limited, American Medical Systems, Deutsche Telekom, Bertelsmann, Hutchinson Technology, Microsoft, Mundipharma, Rexam, Wrigley, GfK, Futuredontics, Telenor, Vodafone, World Economic Forum, and the US and UK governments, among others. He serves as an Independent Director on the board of Laurus Labs Limited, a publicly listed pharmaceutical company.
Chandy received his PhD in Business Administration in 1996 from the University of Southern California. In 2018, Chandy was elected a Fellow of the British Academy.
Richard Hytner
Adjunct Professor of Marketing
What Richard brings to the programme: Richard teaches on gaining and leveraging deep customer insight and brand execution: delivering the brand through communication.
Real-world experience: Richard is Deputy Chairman of Saatchi & Saatchi Worldwide. He has 30 years' experience working with a diverse range of brands including Unilever, Virgin, Nestlé, the British Army, Renault, Toyota, T Mobile and Diageo. Richard speaks to clients, conferences and business schools around the world on the concept of 'Lovemarks', creativity, leading strategic transformation, and corporate strategy. Richard teaches leaders how to unearth fresh actionable customer and managerial insights; reignite individual, team and organisational creativity; and build winning brands and businesses.
Associate Professor of Management Practice in Marketing and Entrepreneurship
An award-winning teacher and scholar, Professor John W. Mullins brings 20 years of experience in high-growth retailing firms to his teaching and research, including two ventures and one public offering, which he personally founded.
His research has won national and international awards from the Marketing Science Institute, the American Marketing Association, and the Richard D. Irwin Foundation. He is a frequent speaker to audiences in entrepreneurship and venture capital.
Professor Mullins earned his MBA at the Stanford Graduate School of Business and his Ph.D. at the University of Minnesota. Since becoming a professor in 1992, he has published four books, numerous cases and more than 40 articles in a variety of outlets, including Harvard Business Review, the MIT Sloan Management Review, and The Wall Street Journal.
His trade book, The New Business Road Test: What Entrepreneurs and Executives Should Do Before Launching a Lean Start-Up (4e, London: Prentice-Hall/FT 2013), is the definitive work on the assessment and shaping of entrepreneurial opportunities and is used in university courses worldwide.
Professor Mullins' book on business models – the critically acclaimed Getting to Plan B: Breaking Through to a Better Business Model (Boston: Harvard Business Press 2009) – was named on "Best Books of 2009" lists by BusinessWeek and INC Magazine. The book was co-authored with Randy Komisar, a partner at the esteemed venture capital firm Kleiner Perkins Caufield & Byers in California.
He has consulted with, and provided executive education, for a variety of organisations – both large and small – on five continents, including: the Young Presidents Organisation, Endeavor, Kenya Airways, Merck-Serono, Grupo Guayacan, the European and African Venture Capital Associations, Pumpkin Ltd, and the International Finance Corporation, among numerous others. He has served on the boards of fast-growing entrepreneurial companies in the United States, United Kingdom, Europe, and Asia.
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Strategic Market Management
February 17 - March 19, 2020 8 days
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Developing and Managing a Successful Technology Strategy
Managing Product Platforms: Delivering Variety and Realizing Synergies
November 12-13, 2020 2 days


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Q: Format list of urls in mysql I have a list of a million or urls in an mysql table.
I need to cleanse the data (extract domains) so I can be confident about DISTINCT type queries.
Data is in several different types: -
www.domain.tld
domain.tld
http://domain.tld
https://vhost.domain.tld
domain.tld/

There are invalid domains and empty data.
Ideally I'd like to do something along the lines of : -
UPDATE table1 SET domain = website REGEXP '^(https?://)?[a-zA-Z0-9\\\\.\\\\-]+(/|$|\\\\?)'

domain being a new empty field, website being the original url.

A: You can't use regex like that in MySQL as is, but apparently you can some some UDFs that implement it. See:

*

*How to do a regular expression replace in MySQL?

*https://launchpad.net/mysql-udf-regexp

*http://www.mysqludf.org/lib_mysqludf_preg/

redpajama_set_name: RedPajamaStackExchange


text:
The Tick Returns from Its Hiatus, Hijinks Intact (and Then Some)
(Episodes 1.07 and 1.08)
By Jacob Oller | February 23, 2018 | 11:00am
Photo: Amazon Prime Video TV Reviews The Tick
Hail and well met, adventurers! When last we left our superfriends on The Tick, Arthur (Griffin Newman) had been captured by the certainly-still-alive and certainly-deserving-of-his-own-definite-article The Terror (Jackie Earle Haley) while The Tick (Peter Serafinowicz), well, did his best to cope. The helplessness of the two protagonists is both entertaining and completely engrossing as a symbiotic partnership—this is what superheroes and sidekicks should be like. In the first two episodes following its mid-season hiatus, the many duos operating in The Tick develop within their silly, plot-dense confines.
While The Tick fiddles around with badass G.I. Joe goofball Overkill (Scott Speiser) and Arthur's sister, Dot (Valorie Curry) to find his small, mothy boy, Arthur must make some discoveries of his own. The first of which is that he's not alone in The Terror's subterranean graveyard lair (hence the "Tale from the Crypt" title). He's trapped right next door to his supersuit's creator, Dr. Karamazov (John Pirkis), who is the very model of a modern mad scientist: Romanian, whispery, and syncopated in his delivery, Pirkis goes big and it pays off.
But this episode is a tale of two headquarters. The first is The Terror's crypt, complete with tortuorous confrontations among the villain, Miss Lint (Yara Martinez), and Arthur that result in The Terror acknowledging that yes, he used to know this kid. The other, more lighthearted base of operations is the sentient Dangerboat (voiced by Alan Tudyk), which identifies as a male—specifically a gay male—boat (not a mailboat, as The Tick suggests). This coming out accompanies a small crush on Arthur, which, in the midst of a plan-hatching session to find and save the neurotic conspiracy theorist, is delightfully derailing.
What's also completely derailing—yet fits perfectly into the series' satire—are The Terror's Whiplash-like drum lessons that occur alongside Arthur's escape after Miss Lint turns traitor (or not, because it's so easy to see her fake betrayal from a mile away), giving him a key and directions out of his cell.
The best part of the escape is that it's the least interesting thing happening at the time, because the lessons take place in the lair, from a kidnapped drum set instructor channeling J. K. Simmons, and are a great little twist on the "action music" trope when the drum solo jamming out on the soundtrack scoring Arthur's tunnel run turns out to have a diegetic source. Haley is a hell of a drummer (he has a band called Earle's Cleric in real life), which this episode smartly uses as a point of humor and, when his crescendos drown out his henchmen, a point of character development. The Terror is a bad guy who treats villainy as an imperfect, emotional art form, which leaves him exposed to the more practical pratfalls of evil's details.
As Arthur escapes with the pint-sized professor (shrinking accidents happen, OK?), The Tick and Overkill storm the lair—right when it's set to self-destruct. The ensuing destruction highlights the satisfying way The Tick uses its budget.
The sets are nothing impressive and the shots aren't intercut with helicopter footage, but when wackines like a nut-punching tiny professor (who hilariously just runs off after being carried to safety) or a graveyard explosion (oh, the desecration!) needs doing, it gets done right. This kind of comic behavior (as in comic book and comedy) is exactly where The Tick shines—which makes its brake-hitting all the more frustrating when it decides to go too deep into its clandestine plot.
In the aftermath of the crypt's explosion, The Tick and Overkill walk out relatively unscathed, aside from the latter's malfunctioning robot hand. Arthur realizes that Overkill is former Flag Five member Straight Shooter because of robot hands and eyes, but it brings up memories bad enough that it helps explain the macho soldier's overcompensatory behavior—even past the "my whole team was killed and my eyes/hands destroyed" thing. This reveal isn't surprising or particularly affecting, but the burgeoning will-they-won't-they between Overkill and Dot certainly is. Mostly because it gives Dot something to do.
Dot, who spends much of the two episodes bonding with Overkill over trying to be a bigger badass than they are, is searching for her place in the team (and the character's place on the show). She tries going to a shooting range, but she's terrible. Really terrible. Her growing frustration at being left out of this story is being well-built, though what it's building to—along with poor Walter (François Chau), who just wants to be a good stepdad—may be in direct conflict with Arthur's growing confidence.
Arthur, having all his wildest theories proved right, now wants to take these crackpot ideas about The Terror trying to kill the world's greatest hero with bismuth (which are actually true) to the top. That means the perfect Superian (Brendan Hines), who must be gotten to via Flag Five survivor Midnight (voiced by Townsend Coleman). Midnight, of course, is a well-spoken, secular, pyrokinetic dog whose book signing The Tick and Arthur crash.
The end result of this is that Overkill is convinced to talk to his old teammate, whom Overkill quickly punches in the face, and the ensuing fight is broken up by The Tick. Tick, who's been reading Midnight's memoir, finds lots to relate to in the orphaned pup's search for self—and finds himself stopping the dog from ripping out his super-friend's throat. As the group reconvenes, figuring out how best to stop The Terror, The Tick restricts Overkill's murderous tendencies, effectively making him NoMoreKill when the hero swears a life debt to the blue behemoth.
If the past few paragraphs have left you spinning like a cartoon coyote, you're not alone. The amount of plot and number of character introductions jammed into the two episodes are so breathless that everything feels wafer-thin. It's like a huge lake frozen over with a tiny layer of ice. It may be sprawling, but if you push too deep, it's no fun. The set-up is all here, soaked through the episode's bread and butter, but without a strong central thematic core or the hijinks of "Crypt," The Tick's ambitions overreach.
Jacob Oller is a writer and film critic whose writing has appeared in The Guardian, Playboy, Roger Ebert, Film School Rejects, Chicagoist, Vague Visages, and other publications. He lives in Chicago, plays Dungeons and Dragons, and struggles not to kill his two cats daily. You can follow him on Twitter here: @jacoboller.
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redpajama_set_name: RedPajamaCommonCrawl


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UCL PhD Student Valérian Turbé has won first prize for his poster "Towards a Smartphone Connected HIV Test" at the Biosensors 2014 conference in Melbourne, Australia.
The poster presented his doctoral research into a new generation of mobile diagnostics for HIV based on innovative surface acoustic wave (SAW) biosensors developed by OJ-Bio and novel capture coatings to detect HIV developed by the UCL team.
Val is in the third year of his PhD in Rachel McKendry's research team at the London Centre for Nanotechnology, UCL and is jointly funded by industry partners OJ-Bio, a UCL Impact Award and an NIHR Invention for Innovation Award. The photograph shows Val accepting the Award with Dr Hiromi Yatsuda, Technical Director of OJ-Bio, an internationally renowned expert in SAW technology.
Val graduated in Materials Science at the University of Strasbourg, France and then worked as an intern at Bio Nano Consulting and Project Manager at The Welding Institute Cambridge, before beginning a PhD at UCL.
Organised by Elsevier's Biosensors & Bioelectronics journal, the biannual Biosensors 24th World Congress is the leading event in the international biosensors calendar and attracts more than 1000 international delegates and leading experts in the field of biosensing.
OJ-Bio Ltd is a joint venture between Orla Protein Technologies Ltd and Japan Radio Company Ltd. For more information visit: www.oj-bio.com.


text:
China Accused Of Putting Recording Devices In All Dual-Plate Hong Kong/China Cars
George Clinton Explains How Bridgeport Allegedly Faked Documents To Get His Music Rights
Summit Entertainment May Learn That You Can't File A Copyright Takedown Over A Trademark Issue
from the your-lawyers-should-have-told-you-that dept
Fri, Jun 17th 2011 04:10am - Mike Masnick
Earlier this year, we wrote about a somewhat convoluted lawsuit in which a songwriter had sued Summit Entertainment, the movie studio behind the Twilight films, and a notorious overprotector of copyrights and trademarks that it holds. Summit had issued a DMCA takedown on a song that the guy had written and posted to YouTube and iTunes. The song had been written long before Twilight existed, but the songwriter had tried to associate the two, claiming (apparently incorrectly given the timing on all this) that the song had been inspired by the movie. As we noted at the time, the whole thing seemed like a mixup of trademark and copyright issues. However, it struck us that there was one key question: while the way the song was marketed could open up the songwriter to trademark or false advertising claims, if Summit actually issued a copyright takedown, it could be abusing the DMCA.
Apparently a judge agrees with my thought process as well.
As THREsq notes, the judge has dumped much of the lawsuit, but is allowing the key question of abusing the DMCA takedown process to move forward:
"The whole purpose of a take down notice is to cause removal of infringing material from a website," writes Judge Carr. "If the plaintiff can show that defendant knowingly falsely asserted such interest, he in all likelihood can also show that it knew that such false assertion, once made, would lead to removal of plaintiff?s song from the website. Given the contemporary importance to a creator of an artistic work of unimpeded website display, plaintiff?s claim of resulting damages is not implausible."
All along, Summit has argued that it had no choice, and that YouTube treats copyright and trademark requests as one and the same. Even so, filing a bogus DMCA takedown over an issue that has nothing to do with copyright can certainly get the filer into some legal hot water, which should make this case an interesting one to follow.
Filed Under: copyright, dmca, trademark, twilight
Companies: summit entertainment
Top Disney Lawyer To Become Top Copyright Office Lawyer, Because Who Cares About The Public Interest?
It's Great That Winnie The Pooh Is In The Public Domain; But He Should Have Been Free In 1982 (Or Earlier)
Eric Clapton Pretends To Regret The Decision To Sue Random German Woman Who Listed A Bootleg Of One Of His CDs On Ebay
Comments on "Summit Entertainment May Learn That You Can't File A Copyright Takedown Over A Trademark Issue"
Prisoner 201says:
The judge does not understand that to stop piracy and protect the children, you can't let little things like laws get in the way.
Atkraysays:
I expect several groups will approach Summit behind closed doors and help them bankroll a quick and quiet settlement. The companies that depend on DMCA abuse cannot allow a ruling against them.
DH's Love Childsays:
I wanted to mark this as funny, except it's probably right on the mark..
Leave a Reply to DH's Love Child Cancel reply
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Be the first to share your favorite memory, photo or story of Evangeline. This memorial page is dedicated for family, friends and future generations to celebrate the life of their loved one.
Evangeline Barrow Naylor, 81, passed away on Wednesday, October 31, 2018 at Kitty Askins Hospice Center surrounded by her family.
Evangeline was born in Greene County on September 30, 1937 to the late Samuel and Nolar Head Barrow. She was a valued employee of Cooper Bussman in Goldsboro. Evangeline was a member of Free Gospel Pentecostal Free Will Baptist Church. The life Evangeline lived, one of grace and Christian love, could not be diminished by the sickness that she endured. Her sweet smile and gentle ways will be remembered by everyone that knew her.
The family will receive friends on Friday, November 2, 2018 from 1:00 – 2:00 p.m. at Seymour Funeral Home followed by a service to celebrate Evangeline's life at 2:00 p.m. in the chapel. Interment will be in the Snow Hill Cemetery. At other times the family will be at the home of her daughter and son-in-law, Donna and Johnny Lawhorne.
Evangeline is survived by her daughter, Donna Lawhorne and husband Johnny of Goldsboro; sons, Robert Keith Naylor and wife Barbara of Goldsboro and Timothy Scott Naylor and wife Tracy of Myrtle Beach; six grandchildren and seven great-grandchildren. She is also survived by her sisters, Myrtle McKeel of Snow Hill and Jean Newsome of Wilmington; and brother, Ronald (GooGoo) Barrow of Snow Hill.
In addition to her parents, she was preceded in death by her brothers, Hodges Barrow, Wiley Barrow, Raeford (Buck) Barrow and Desmond (Hambone) Barrow; and sisters, Bertha Mae Head and Joyce Taylor.
We would like to give a very special thank you to the wonderful staff at Kitty Askins Hospice Center for the love and care they provided for Evangeline during her final days. Simple words cannot express our gratitude. Also a thank you to the caregivers at Eagles Pointe who cared for Evangeline over the past year.
Flowers are welcome or memorials may be made to Free Gospel P.F.W.B. Church, 145 Free Gospel Road, Snow Hill, NC 28580 or to the Alzheimer's NC Inc., 9131 Anson Way, Raleigh, NC 27615.
To send flowers or a remembrance gift to the family of Evangeline Barrow Naylor, please visit our Tribute Store.
"Email Address" would like to share the life celebration of Evangeline Barrow Naylor. Click on the "link" to go to share a favorite memory or leave a condolence message for the family.


text:
PREP ROUNDUP: Saenz, Zavala push Eagles into second round
Rabun Gap:
Rabun County's playoff run ends against Harlem
The Rabun County softball team's playoff run came to an end after a doubleheader loss against the Harlem Bulldogs in Harlem on Tuesday night.
Rabun tops Union for area title, top seed
The Rabun County volleyball team earned a top seed in the GHSA Class A/AA state playoffs after defeating Union County 3-1 in a best-of-five match for the area championship at Ken Byrd Court last Thursday night. No. 1-seeded Rabun hosts No. 4 Armuchee in the opening round of the GHSA Class A/AA state playoffs at 2 p.m. Saturday. The winner advances to play the Callaway-Johnson winner in the second round at 5 p.m. All matches will be at Rabun County High School. The Wildcats fell behind early in the opening set, but rallied to cut the deficit to 12-10. Destiny Deetz made a kill to bring Rabun within 17-13 and an attack error from Union narrowed the scoring gap to 17-14. Three straight kills from Union extended the advantage to 21-15 and an attack error from Rabun made it 24-16. The Panthers won the set 25-16.
Rabun Gap's defense harasses Cabarrus in win
RABUN GAP — The Rabun Gap-Nacoochee football team's pass rush harassed Cabarrus (N.C.) throughout the night, keeping the home team out of the end zone in a 43-3 win in Concord, N.C., last Friday. The Eagles' defense finished with 18 tackles for loss, including 20 hurries and three sacks, while allowing just 208 yards of total offense in a fourth straight win. "It was good to see our defensive front being disruptive and getting to the ball carrier," Eagles coach Shawn Bryson said. "We were able to stop the run earlier. We were able to start fast on offense as well. Getting some of our injured players healthy on our defensive line was key also." Niklas Kahrau led the Eagles' defense with nine tackles (six solo), including three for losses. He caused the Warriors to fumble once and hurried quarterback Michael Dickens seven times. Lior Volkov made seven tackles, Victor Omorodion had six tackles, Paul Steidl finished with five stops and Alperen Aras added five tackles for losses.
PREP ROUNDUP: Cats advance to 2nd round of state playoffs
SOFTBALL Rabun County: The Rabun County softball team swept South Atlanta (7-0, 7-0) in the first round of the GHSA Class AA state playoffs Monday. Details on the Wildcats' opening-round victory will be in next week's edition of The Clayton Tribune. Rabun awaits the winner of the Toombs County-Harlem series. The Wildcats begin their second-round series Tuesday. Courtney Stewart pitched a complete game, allowing two runs on eight hits as Rabun captured the region's No. 3 seed in a 9-2 victory against Monticello last Wednesday.
Stockton accounts for 7 TDs, Rabun trounces Banks
TIGER — The Rabun County-faithful made a strong appearance for homecoming night, and their football team continued its domination of region rivals. Gunner Stockton threw for a season-high 368 yards and accounted for seven touchdowns in the Wildcats' 52-10 victory against the Banks County Leopards at Frank Snyder Memorial Stadium last Friday night. "Anytime Gunner gets in a groove throwing the ball, he's going to be hard to stop," Rabun coach Jaybo Shaw said. "We have a great group of receivers, a very unselfish group of receivers who catch the ball really well, and I think it shows. He can throw to all four or five of them at any given point, so we're really proud of our offensive production."
Eagles visit Warriors after earning win by forfeit
RABUN GAP — The Rabun Gap-Nacoochee football team earned a win in an uncommon way last week: by forfeit. Victory Christian Center was forced to forfeit last Friday's scheduled game at Rabun Gap due to not having enough players for competition. The result was a win for the Eagles, improving them to 5-2 overall and 2-0 in region play. Now it's on to the Cabarrus Warriors.
Rabun's Wright finishes high at Autumn Breeze 5K
Rabun County cross country runner Molly Jo Wright was the top female finisher at the 17th annual Autumn Breeze 5K in Tallulah Falls last Sunday afternoon. Wright placed 15th overall, clocking in at 23:09.2. Aiden Thaxton of Mount Airy finished first overall, earning the top male finish in 19:20.6. David Beeland of Winder placed seventh overall (21:50.0) and earned the top male masters winner. Marybeth Forwood of Bishop finished 40th overall (27:20.1) and was named top female masters winner.
Eagles throttle Lions behind fast start, defense
The Rabun Gap-Nacoochee football team scored three first-quarter touchdowns and used a stout defensive effort to dominate Hickory Grove Christian (N.C.) 55-0 in Charlotte, N.C., last Friday night. The Eagles (4-2, 1-0 NCISAA Carolinas) shut down the Lions' offense, allowing only 21 yards. "Anytime you can get a shutout, it's a big deal for the team. It means that our guys were prepared and played hard," Eagles coach Shawn Bryson said.
Rabun faces Banks' wing-T offense for homecoming night
TIGER — While the majority of high school offenses use the popular spread scheme, Banks County is one program using the wing-T offense, relying on multiple formations and a four-back rushing attack that depends heavily on play-action passing and misdirection. Rabun County's defense will take on the Leopards' misdirection offense for homecoming at Frank Snyder Memorial Stadium at 7:30 p.m. Friday. "I would like to invite all our past Rabun County football players and students to come cheer on the Wildcats. It should be a great environment Friday night," Rabun coach Jaybo Shaw said.


This simple one-skein cowl is a quick and cosy weekend project. Worked up in bulky-weight Álafoss Lopi with a big hook, it has a soft feel and perfect drape.
The cowl is worked in the round in griddle stitch, accented with post-stitch ribbing at the top and bottom.


text:
Гангстерска петорка () је амерички филм направљен 2004. у режији браће Коен. Главне улоге тумаче Том Хенкс, Ирма Хол и Марлон Вејанс.

Кратак садржај

Римејк истоименог класика из 1955. Прича говори о професору (Том Хенкс) који окупља екипу како би опљачкао казино. Унајмљују собу у кући старије жене како би извршили препад. Након што старица открије њихов план, банда ју одлучује убити како би осигурали тајност. Али, то је лакше рећи него учинити.

О филму
Коенови су за овај филм добили далеко најслабије критике у каријери; већина критичара је замјерила то што су искључиво преправили стари класик, а да му нису додали властити печат.

Улоге

|-
|Том Хенкс || Професор Дор
|-
|Ирма Хол || Марва Мансон
|-
|Марлон Вејанс || Гавејн Максем
|-
|Џ. К. Симонс || Герт Панкејк
|-
|Ци Ма || генерал
|-
|Рајан Херст || Ламп Хадсон
|-
|Дајана Делано || планинарка
|-
|Џорџ Валанс || шериф Вајнер
|}

Спољашње везе

Амерички филмови
Филмови 2004.
Филмови браће Коен
Филмови на енглеском језику
Филмови за које је музику компоновао Картер Бервел
Филмови студија Touchstone Pictures

redpajama_set_name: RedPajamaWikipedia


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text:
Hodgkin LymphomaCurrently selected
1. Diagnosis
2. Staging
3. Treatment
Revised 12 April 2013
The diagnosis of Hodgkin lymphoma is based on the recognition of Reed-Sternberg cells and/or Hodgkin cells in an appropriate cellular background in tissue sections from a lymph node or extra-lymphatic organ, such as the bone marrow, lung or bone. Fine needle aspiration biopsy is not adequate for the diagnosis of Hodgkin lymphoma. Open biopsy is required because of the need to establish progress to Hodgkin lymphoma and should be distinguished from it (see lymphoma-like conditions).
Definition of Stages
The staging system for Hodgkin lymphoma used at BCCA is based on clinical staging according to the Ann Arbor system with the additions of a definition of bulky disease. Staging laparotomy is not required.
Stage Involvement
1 Single lymph node region (1) or one extralymphatic site (1E).
2 Two or more lymph node regions, same side of the diaphragm (2) or local extralymphatic extension plus one or more lymph node regions same side of the diaphragm (2E).
3 Lymph node regions on both sides of the diaphragm (3) which may be accompanied by local extralymphatic extension (3E).
4 Diffuse involvement of one or more extralymphatic organs or sites.
A = no B symptoms
B = presence of at least one of these
1) unexplained weight loss > 10% baseline during 6 months prior to staging
2) recurrent unexplained fever > 38oC
3) recurrent night sweats
Bulky tumour is defined as a single mass of tumour tissue 10 cm or larger in largest diameter.
Mandatory Staging Procedures
Pathology review
All patients should receive the immunizations recommended in Appendix III
Complete history and physical examination including rectal and gynecological examinations
Complete blood count.
Serum creatinine, alkaline phosphatase, lactate dehydrogenase, bilirubin, calcium, AST, albumin (usually most easily obtained by ordering a serum protein electrophoresis)
Chest radiograph, PA and lateral views
CT scan of neck, thorax, abdomen and pelvis
PET/CT scan
Hepatitis B surface antigen (HBsAg), hepatitis Bcore antibody, hepatitis C antibody
Certain tests are required only in special circumstances.
Test Presentation/Condition
Bone marrow biopsy and aspiration B symptoms or
WBC < 4.0 x 109/L or
Hgb < 120 g/L (women), 130 g/L (men) or
Platelets < 125 x 109/L
ENT examination Stage 1A or 2A disease with upper cervical lymph node involvement (supra-hyoid)
Assessment of the Liver
Only well defined non-cystic space-occupying lesions documented by CT scan or sonogram can be accepted as unequivocal evidence of liver involvement. Abnormal liver function tests with or without hepatomegaly are not firm evidence of liver involvement.
Assessment of the Spleen
Patients with sonographic or CT scan evidence of discrete non-cystic lesions in the spleen are considered to have extensive splenic involvement for treatment planning. Patients with minimal enlargement of the spleen (enlarged by scan but not palpable or only the tip palpable) are not considered to have splenic involvement.
Optimal treatment of Hodgkin lymphoma depends on the histologic stage of the disease. The following table summarizes the recommended treatment according to these factors using an algorithm depending on information determined from the recommended staging procedures above. Patients who do not have a complete response to the primary treatment noted in this table should be discussed with a medical or radiation oncologist.
Involved Node Radiotherapy (INRT)
Adopted mainly from Campbell's papers on "INRT<5cm" = pre- and post-chemo involved lymph nodes (within post-chemo anatomical limits) + 1.5-5cm to field edge[1] or to PTV[2], [3]
CTV = pre- and post-chemo involved lymph node(s), restricted by post-chemo anatomic limits, + 1cm axially and 1-4cm cranio-caudally along lymphatic pathways
o cranio-caudal margin adjusted based on level of uncertainty in localization of PET-avid abnormality (allows for positional and anatomical changes from pre-chemo PET to RT)[2], [3]
PTV = CTV + ~1cm, depending on set-up variation and physiological intra-fraction and inter-fraction movement[4]
Mediastinal Area[4], [5]
Length of CTV = length of mediastinal mass or LN(s) before chemo
Width of CTV = width of mediastinal mass or LN(s) after chemo
The normal mediastinum is contoured and the CTV should not exceed the lateral mediastinal boundaries, except where LN remnants persist
Residual Disease Radiotherapy (RDRT)
cranio-caudal margin adjusted based on level of uncertainty in localization of PET-avid abnormality (allows for positional and anatomical changes from pre-chemo PET to RT)[2], [3]
Do not include any pre-chemo involved LN region that is far away from the residual disease
PTV = CTV + ~1cm, depending on set-up variation and physiological intra-fraction and inter-fraction movement[4]
[1] B. A. Campbell et al., "Involved-Nodal Radiation Therapy As a Component of Combination Therapy for Limited-Stage Hodgkin's Lymphoma: A Question of Field Size," Journal of Clinical Oncology, vol. 26, no. 32, pp. 5170–5174, Oct. 2008.
[2] B. A. Campbell et al., "Long-term outcomes for patients with limited stage follicular lymphoma," Cancer, vol. 116, no. 16, pp. 3797–3806, May. 2010.
[3] B. A. Campbell, J. M. Connors, R. D. Gascoyne, W. J. Morris, T. Pickles, and L. H. Sehn, "Limited-stage diffuse large B-cell lymphoma treated with abbreviated systemic therapy and consolidation radiotherapy," Cancer, vol. 118, no. 17, pp. 4156–4165, Jan. 2012.
[4] T. Girinsky, "Radiotherapy Recommendations for Patients with Early Stage Hodgkin's Lymphoma: Involved Node Radiation Therapy (INRT)," pp. 1–9, Mar. 2008.
[5] T. Girinsky et al., "The conundrum of hodgkin lymphoma nodes: To be or not to be included in the involved node radiation fields. The EORTC-GELA lymphoma group guidelines," Radiotherapy and Oncology, vol. 88, no. 2, pp. 202–210, Aug. 2008.
[6] P. J. Hoskin, P. Díez, M. Williams, H. Lucraft, and M. Bayne, "Recommendations for the Use of Radiotherapy in Nodal Lymphoma," Clinical Oncology, vol. 25, no. 1, pp. 49–58, Jan. 2013.
Standard and Experimental Treatment - Overview
The standard treatment of early stage Hodgkin lymphoma at BCCA is two cycles of chemotherapy followed by assessment with PET scan. If the PET scan is negative treatment should be concluded with two more cycles of chemotherapy. If the PET scan is positive treatment should be concluded with residual disease radiation therapy.
Standard chemotherapy of advanced Hodgkin lymphoma at BCCA is ABVD. This type of chemotherapy has been shown to be the best available in large prospective randomized trials. (Canellos, NEJM, 1992;327:1478; Duggan, J Clin Oncol 2003;21:607.)
High risk disease. Criteria which can identify patients with high risk advanced Hodgkin lymphoma are available (Hansenclever, New Engl J Med, 1998;339: 1506-14). Each of the following factors has an equivalent negative impact on survival.
<105 g/L
Albumin, serum
<40 g/L
>15.0 x 109/L
count <0.6 x 109/L or percent <8% of WBC
When three or more of these factors are present at diagnosis (high risk), risk of treatment failure is high and the likelihood of cure with ABVD alone is only about 70%. Therefore, patients less than 66 years of age with advanced Hodgkin lymphoma and four or more of these factors should be offered treatment with experimental treatment on a clinical trial if available. Please check with one of the chemotherapists associated with the Lymphoma Tumor Group for information about which such clinical trials are available.
Standard Treatment - Specific Details
Bulk*
Risk Factors**
Age (y)
1A, 1B or 2A
CT***x 2 then PET scan
if PET neg -> CT x 2 more cycles
if PET pos -> INRT
0-7*****
CTx6 then CT scan and marrow biopsy if originally positive
If CR, no further treatment
If otherwise in CR but residual mass > 2 cm do PET scan
If PET neg, no further treatment
If PET pos and encompassable in a reasonable radiation volume-> RDRT
If PET pos and not encompassable in a reasonable radiation volume-> close observation or biopsy to direct further treatment on proof of persistent lymphoma
3A or 3B
* Bulk: low = no tumor mass >10 cm; high = any single tumour mass > = 10 cm (note: round to nearest whole cm, e.g. 9.5 cm = 10 cm but 9.4 cm = 9 cm)
** Risk defined using the prognostic index described above in section 2.3.2.3
*** CT=chemotherapy, ABVD
**** RDRT=residual disease radiation therapy
***** If 4 or more risk factors present consider enrollment on clinical trial, if available
Most patients with Hodgkin lymphoma, especially those below the age of 65 years at diagnosis, can be cured with the treatments described in this section. Most cured patients experience minimal long-term toxicity from the treatments, however, certain predictable and occasional rare and unpredictable late effects may occur and require preventive measures and/or recognition and treatment.
The following late effects of Hodgkin lymphoma or its treatment should be considered when patients are reviewed in follow-up.
Risk/Problem
Incidence/Response
10% to 30% of patients relapse depending on stage and bulk of presentation. Careful attention should be directed to lymph node sites, especially if previously involved with disease.
Neck or oropharyngeal irradiation may cause decreased salivation. Patients should have careful dental care follow-up and should make their dentist aware of the previous irradiation.
After external beam thyroid irradiation to doses sufficient to cure Hodgkin lymphoma at least 50% of patients will eventually become hypothyroid. Also, there is an increased risk of secondary thyroid carcinoma after irradiation. All patients whose TSH level becomes elevated should be treated with life-long thyroxine replacement in doses sufficient to suppress TSH levels to low normal for two purposes: to maintain euthyroidism and to minimize the risk of thyroid carcinoma by reducing overstimulation with endogenous TSH.
ABVD is not known to cause any permanent gonadal toxicity based on longterm follow-up of thousands of patients. Direct or scatter radiation to gonadal tissue may cause infertility, amenorrhea or premature menopause but this seldom occurs with the fields used for the treatment of Hodgkin lymphoma. Thus, with the current chemotherapy regimens and radiation fields used, most patients will not develop these problems. In general, after treatment, women who continue menstruating are fertile, but men require semen analysis to provide a specific answer.
Secondary neoplasms
Although uncommon, certain secondary neoplasms occur with increased frequency in patients who have been treated for Hodgkin lymphoma. These include acute myelogenous leukemia, thyroid, breast, lung and upper gastrointestinal carcinoma and melanoma and cervical carcinoma-in-situ. It is appropriate to screen for these neoplasms for the rest of the patient's life because they may have a lengthy induction period.
The following minimum follow-up tests and examinations should be performed on all patients after treatment of Hodgkin lymphoma. Visits should be every 3 months for 2 years, then every 6 months for 3 years, then annual. Patients should be strongly encouraged to perform careful breast and skin examination on a regular basis. Immunizations should be updated as recommended in Appendix III.
Every visit
Lymph node, abdominal, thyroid, and skin examination
CBC, alkaline phosphatase
Every visit for 2 years then every other visit
Chest radiograph
TSH level (only if the thyroid was irradiated)
Mammography for womenbeginning 10 years after diagnosis of Hodgkin lymphoma or at age 40 years, whichever comes first
Influenza immunization (Appendix III)
SOURCE: Hodgkin Lymphoma ( )


Each Stetson English major grows as a reader, writer, thinker, and communicator. Our core curriculum requires you to read in different literary genres and historical periods and to develop your aesthetic appreciation of literature and language. You also will explore how and why we do literary criticism and theory, and rhetorical theory and practice. In our upper-division classes you will go deeper into literary and writing studies, but you also may choose to write creatively, study the construction of texts in three-dimensional and digital space, develop your understanding of pedagogy and language, or investigate the intersections of ideas, texts, and worlds. Your independent senior project, which you will propose, research, write, and present, is your focus on what you find most challenging and appealing in English studies.
Stetson English majors have followed a variety of career paths: in no particular order, consider law, higher education, writing, teaching, public relations, marketing, business, journalism, editing, social media account management, and more. The English major pairs well with complementary minors, whether that's one with business, nonprofit, or governmental applicability like marketing or environmental studies, or one with congruent intellectual concerns like history, philosophy, or political science. You also may focus more on writing, creatively or professionally, for your minor.
More information can be found online at http://www.stetson.edu/academics/programs/english.php.
The Sullivan Creative Writing Program supports the minor in Creative Writing. As a creative writing minor with a major in English, you can simply add additional credit hours from a variety of 100-400 level creative writing workshops. If you are majoring in other programs, you may also earn a creative writing minor by choosing credit hours from a menu of creative writing workshops and English courses. Students who have chosen to major in natural science, philosophy, physics, theatre arts, art, computer science and digital arts have all become wonderful creative writing minors.
Student learning outcomes describe what students know, understand and are able to do as a result of completing a degree program.
*A student can read and interpret literary texts through a variety of critical and theoretical lenses.
**A student can demonstrate in writing their understanding of language as an aesthetic and rhetorical tool.
*A student can develop a substantial, unified written project.
*A student can incorporate relevant primary and secondary materials into that substantial written project.
May substitute with 1 unit at the 100-, 200-, or 300-level in ARTS, DIGA, THEA, or JOUR.
If the first unit is in ENCW, may substitute one 300-level course in ARTS, DIGA, THEA, or JOUR.
ENCW 111A. Intro Writing Literary Nonfict. 1 Unit.
An introductory workshop in the art of writing literary non-fiction. Writing enhanced course.
ENCW 112A. Introduction to Writing Fiction. 1 Unit.
An introductory workshop in the art of writing fiction. Writing enhanced course.
ENCW 113A. Introduction to Writing Poetry. 1 Unit.
An introductory workshop in the art of writing poetry. Writing enhanced course.
ENCW 114A. Introduction to Dramatic Writing. 1 Unit.
An introductory workshop in the art of writing for stage or screen. Writing enhanced course.
ENCW 120A. Writers Write. 1 Unit.
An introductory theme-based workshop in which students build creative work around an idea or particular skill. Writing enhanced course.
ENCW 190. Special Topics in Creative Writing. 1 Unit.
ENCW 215A. Multi-Genre Creative Writing. 1 Unit.
A workshop allowing students to develop their skills in such genre as poetry, fiction, and playwriting. Writing enhanced course. Writing enhanced course.
ENCW 285. Independent Study. 0.5 or 1 Units.
ENCW 290. Special Topics in Creative Writing. 1 Unit.
ENCW 311A. Non-Fiction Workshop. 1 Unit.
A workshop helping students develop their skills in such fiction techniques as characterization, plot, setting, point of view, and style. Permission of the instructor required. Writing-Intensive course. Writing enhanced course.
ENCW 312A. Fiction Workshop. 1 Unit.
A workshop helping students develop their skills in such fiction techniques as characterization, plot, setting, point of view, and style. Permission of the instructor required. Writing enhanced course.
ENCW 313A. Poetry Workshop. 1 Unit.
A workshop in which students develop their skills in poetry. Permission of instructor required. Writing enhanced course.
ENCW 314A. Dramatic Writing. 1 Unit.
A writing workshop for introductory writers of plays and film scripts. Writing enhanced course.
ENCW 318. Major Project Workshop I. 0.5 Units.
Part one of a genre-specific year-long course in which students will begin and complete a major work. Permission of the instructor required.
ENCW 319A. Major Project Workshop II. 0.5 Units.
Part two of a genre-specific year-long course in which students will begin and complete a major work. Students must have already completed ENCW 318.
ENCW 320A. Writers Read. 1 Unit.
In this reading intensive course, students examine analytically and use as models for their own creative work the craft of contemporary writers. Rotating genres. Writing enhanced course.
ENCW 340V. The Art of Walking. 1 Unit.
This course focuses on Stetson's Health and Wellness Value. Writers, mystics, pilgrims, and political activists have long championed the power of walking and its link to personal, societal, and cultural transformation. From Wordsworth's nature walks to Benjamin's city ambles, walking has inspired a great literary tradition. Buddhist monks, Christian labyrinth meditators, and ancient and modern pilgrims have valued walking for its spiritual benefits. Political activists like King and Ghandi knew the power of marching to instigate political change. In this junior seminar, we will use the texts of great walkers/writers to inspire us in our own walking, writing, and wrangling as we explore how walking can transform our ethical, spiritual, and creative lives. The course will include extensive field work (real walking), intensive creative-nonfiction writing, individual presentations, and class discussions. Junior Seminar.
ENCW 385. Independent Study. 0.5 or 1 Units.
ENCW 390. Special Topics in Creative Writing. 1 Unit.
ENCW 395. Teaching Apprenticeship. 0.5 Units.
ENCW 411. Advanced Non-Fiction Workshop. 1 Unit.
A workshop in which students develop their skills in various modes of literary non-fiction. Requires credit for ENCW 311 and permission of instructor. This course may be repeated.
ENCW 412. Advanced Fiction Workshop. 1 Unit.
A workshop building on techniques introduced in ENCW 312A and helps students develop their skills in such fiction techniques as characterization, plot, setting, point of view, and style. Prerequisite: ENCW 312A or ENCW 319A and permission of instructor. This course may be repeated.
ENCW 413. Advanced Poetry Workshop. 1 Unit.
A workshop course helping students who have already completed ENCW 313A to develop their poetry further. Permission of instructor required. This course may be repeated.
ENCW 414. Advanced Drama Workshop. 1 Unit.
A workshop for students who have already completed ENCW 314A. Permission of instructor required. This course may be repeated.
ENCW 415. Advanced Open-Studio Workshop. 1 Unit.
For students who have already completed one studio course in a genre and want to further their skills among writers and artists who challenge each other with cross-disciplinary prompts and techniques. We'll work alone and collaboratively, work outside, work ephemerally, and challenge each other into creating sustained bodies of new work. For people already working across different media and for those single-genre specialists who'd like to make work using new strategies.
ENCW 417. Creative Outreach: Poetry. 1 Unit.
ENCW 418. Major Project Workshop I. 0.5 Units.
Part one of a genre-specific year-long course in which students will begin and complete a major work. Permission of the instructor and the appropriate course from ENCW 311A, ENCW 312A, ENCW 313A or ENCW 314A required.
ENCW 419. Major Project Workshop II. 0.5 Units.
Part two of a genre-specific year-long course in which students will begin and complete a major work. Prerequisite: ENCW 418 and permission of instructor.
ENCW 485. IndependentStudy. 0.5 or 1 Units.
ENCW 490. Special Topics in Creative Writing. 1 Unit.
ENGL 100. College Writing. 1 Unit.
Emphasizes facility with shorter units of composition, such as paragraphing, and includes significant attention to matters of mechanics, clarity, sentence order, and audience. Some students will be required to successfully complete ENGL 100 in their first semester. If completed with a C or better, ENGL 100 will count as part of the Writing requirement.
ENGL 109. Stetson Writing Workshop. 1 Unit.
This course is by portfolio placement only for those students who bring external credit equivalent to ENGL 101 to Stetson. A writing practicum with limited enrollment, ENGL 109 helps students understand and meet the academic expectations of Stetson's faculty. Through several writing projects, working closely with peers and the professor, students build on their skills at clarity, cohesion, style, and research; learn to analyze and respond effectively to the expectations of readers in different rhetorical situations; and submit a substantial portfolio of revised, edited, and polished writing at the conclusion of the course. Upon successful completion (i.e., "C" or above), this course fulfills the Writing requirement.
ENGL 132B. Shakespeare's Great Characters and Their Worlds. 1 Unit.
Explores questions fundamental to the human condition in the West from the perspectives of Shakespeare's greatest characters, e.g. what is love and how far may we go in pursuit of it, to what extent should we obey unjust authority, or to what extent are evil means justified in the pursuit of the good? Topics and works studied vary by semester, but the focus is always on how we experience, act on, and transform beliefs and cultural values. Writing enhanced course.
ENGL 141. 1. 1 Unit.
Students will immerse themselves in a topic (such as "Writing About Food and Drink," "Writing About Science," "Writing About Music," "Writing About Film") chosen by the instructor. They will develop expertise in research and analysis for various kinds of writing on that topic. Writing enhanced course.
ENGL 142A. Literature in the World. 1 Unit.
Students will read, discuss, analyze and write about a variety of texts situated in a particular cultural moment such as "African American Poetry," "The Irish Renaissance," "The Sixties," or "The Rise of the Individual," identified by the instructor. Writing enhanced course.
ENGL 185. Independent Study. 0.5 or 1 Units.
ENGL 190. Special Topics in Literary Study. 1 Unit.
ENGL 201. Intermediate Writing. 1 Unit.
Providing practice at the skills of drafting, revising, and editing effective academic, argumentative, and expository prose. It emphasizes academic standards for grammar, mechanics, and usage, the analysis of prose models according to outlook, style, purpose, audience, and organization, and the application of various rhetorical strategies to achieve specific written results.
ENGL 205. Writing for Media. 1 Unit.
Focuses on the skills and principles necessary for effective journalistic writing across different media and platforms.
ENGL 206. Technical Writing. 1 Unit.
Technical writing is often characterized as a dull subject (e.g. artlessly explaining a tedious process). Yet, we all acknowledge that the world would be better with a better user manual. In this course, you will be introduced to the practical tradition of technical writing (for example, user manual validation) and to the aesthetically informed approach supported by companies like Apple. Your final project is to craft a blueprint for you life that explains how you will survive in the world, with what tools and which methods. Six shorts papers required and a significant semester project. Writing Enhanced course.
ENGL 207. Nature Writing. 1 Unit.
Combines field experience in local outdoor natural areas with classroom instruction and writing workshops. Students develop skills in writing non-fiction genres, including natural history, creative non-fiction, science writing, travel writing, and reportage. Writing enhanced course.
ENGL 208. The Personal Essay. 1 Unit.
Introduces the craft and tradition of introspective, first-person, conversational writing that searches for understanding and meaning via prose. Writing enhanced course.
ENGL 209. Write for Your Life. 1 Unit.
Write for Your Life introduces students to the advanced rhetorical, reading, and revision skills required for life long success by studying and understanding the features of an array of writing and literacy situations typically encountered in academic and professional life. Course includes a unit on professional communication and writing tasks typically expected in a given workplace. Writing enhanced class.
ENGL 220. Understanding Composition and Rhetoric. 1 Unit.
Reinforces concepts of rhetorical analysis and presents Composition Studies as the primary practical application of rhetoric. Its goal is to make students aware of the history of rhetoric and the teaching of composition, especially in light of recent changes in communication technology. Students should exit the course with an understanding of the range and breadth of rhetoric and composition, from history and theory to studies in pedagogy to studies of language and meaning. Writing enhanced course.
ENGL 231A. Literature and the Arts. 1 Unit.
Fosters an understanding of the relationships between literature and other art forms. It introduces students to ways in which different forms of creative expression interpret human experience and represent ways of understanding the world. The course might, in any given semester, approach these issues from cultural, historical, ideological, and/or aesthetic perspectives.
ENGL 235A. Introduction to Film. 1 Unit.
Focuses on learning to read film, especially to understand how it constructs stories, communicates ideas, and creates aesthetic experiences. Topics may include techniques specific to film (production design, costuming, lighting, cinematography, editing, and sound); considerations of the spatial and psychological relationships between the camera and the spectator; and cinematic, cultural, and historical contexts. Students will be expected to master a fundamental vocabulary for film criticism, and to attend screenings as required. Writing enhanced course.
ENGL 240A. Reading Non-Fiction. 1 Unit.
Introduces students to questions, concepts, and perspectives that inform the study of non-fiction. The course emphasizes close, attentive, critical reading as well as various perspectives underpinning the interpretation and rhetorical analysis of non-fiction texts, especially but not limited to literary non-fiction. It introduces students to non-fiction texts of many different eras, cultures, and subgenres; it also introduces critical terms, conventions, and discourses appropriate to the study of non-fiction. Writing enhanced course.
ENGL 241A. Reading Narrative. 1 Unit.
Introduces students to questions, concepts, and perspectives that inform the study of narrative. It emphasizes close, attentive, critical reading as well as different interpretive approaches to narrative texts. It examines texts of many different eras, cultures, and genres; it introduces critical terms, conventions, and discourses appropriate to the study of narrative. Writing enhanced course.
ENGL 242A. Reading Lyric. 1 Unit.
Introduces students to questions, concepts, and perspectives that inform the study of the lyric, including but not limited to poetry. It also introduces students to a variety of lyric genres, and to lyrics produced within many different eras and cultures. The course emphasizes attentive critical reading, as well as thought about individual readers' interpretive choices. Writing enhanced course.
ENGL 243A. Understanding Drama. 1 Unit.
Introduces students to questions, concepts, and perspectives that inform the study of drama. The course emphasizes close, attentive, critical reading as well as a grasp of performance contexts and choices. It introduces students to plays of many different eras, cultures, and subgenres; it also introduces critical terms, conventions, and discourses appropriate to the study of drama. Writing enhanced course.
ENGL 246A. Popular Literature. 1 Unit.
Focuses on one or more forms of popular literature, including science fiction, crime fiction, vampire lit, and fantasy. It engages students with the cultural origins of such literature, the specific forms it has taken, and the work those forms do in the world.
ENGL 247A. Global Literature. 1 Unit.
Introduces students to the study of representative works of world literature, both Western and non-Western, in English and in translation. The course emphasizes close, attentive, critical reading as well as different interpretive approaches to global literature within a framework of cultural diversity. It examines texts of many different eras, cultures, and genres within their cultural, social, historical, and literary contexts, and introduces critical terms, conventions, and discourses appropriate to the study of global literature.
ENGL 256. Survey of British Literature I. 1 Unit.
Surveys major authors and representative works in British Literature from the seventh to the eighteenth century.
ENGL 257. Survey of British Literature II. 1 Unit.
Surveys major authors and representative works in British Literature from the eighteenth century to the present.
ENGL 258. Survey of U.S. Literatures. 1 Unit.
Surveys United States literatures from pre-Colonial times to the present.
ENGL 285. Independent Study. 0.5 or 1 Units.
ENGL 290. Special Topics in Literary Study. 1 Unit.
ENGL 300. Text-Criticism-Theory. 1 Unit.
Delineates differences among the disciplinary practices of reading, interpretation, and theorizing by attending to a limited number of texts, critical interpretations of those texts, and theoretical arguments arising from or repositioning those texts. Required for the English major.
ENGL 305. Topics in Literary Journalism. 1 Unit.
Develops skills in various sub-genres of journalistic writing, such as literary journalism, magazine writing, or gonzo journalism.
ENGL 320. History & Theory of Rhetoric. 1 Unit.
Focuses on Western rhetorical history and theory, moving from classical through Romantic to modern eras. Course examines contributions made by major figures (such as Plato, Coleridge, Nietzsche, and Cixous) and issues of authority in discourse.
ENGL 322. Composition Pedagogy. 1 Unit.
Balancing an overview of the research and theories of Composition Studies with teaching experiences, this course provides a firm foundation in writing instruction and the epistemologies that govern varied pedagogical approaches.
ENGL 323. Ethnography in Composition Studies. 1 Unit.
After a review of ethnographic research methodology and macro-ethnographies in Composition Studies, students pursue their own qualitative projects, including phases of research design, data collection, analysis, and a final descriptive presentation of results.
ENGL 324. Peer Tutoring in Writing. 1 Unit.
This course serves as a prerequisite to employment as a Writing Fellow. Students will study composition pedagogy, with a particular focus on reflective practice and response techniques, and will also engage in a practicum sequence involving both observation of tutoring and guided practice. Prerequisite: permission of instructor. Writing enhanced course.
ENGL 325. Grammar and Rhetoric. 1 Unit.
Course focuses on the rhetorical function of English grammar, analyzing and deploying strategies of syntax, punctuation, diction, and semantics as they enhance, shift, and redirect meaning and authorial intent. Designed for students wanting a college-level, contextualized experience with practical and rhetorical grammar. Starting with sentence structures and patterns and moving through paragraph structures and extensive editing, the course practices the fine art of writing and revision through the grammatical lens. Writing intensive course.
ENGL 326H. History of the English Language. 1 Unit.
Studies the ways in which Modern English arose, the linguistic and social forces that shaped it, and the nature of its current use throughout the world. Consistent attention is given to phonology, lexis, structure, variation, and language attitudes in the various historical periods.
ENGL 331. Literature, Culture, and Society. 1 Unit.
Considers relationships among literary texts, culture, and society. Emphasis varies. A course might examine literature through the lens of socio-cultural or political perspectives; investigate how texts represent the social, cultural, or political ideas of an era; or explore the relation of aesthetic form to socio-cultural movements or phenomena.
ENGL 332. Studies in Literature and the Arts. 1 Unit.
Provides an examination of a theme, period, movement, or topic of particular relevance to the interdisciplinary study of literature and such arts as painting, photography, architecture, or music.
ENGL 335. Film Studies. 1 Unit.
Focuses on one or more topics in the study of film (often but not exclusively defined by periods, genres, directors/schools, or theoretical approaches) as indicated by the subtitle.
ENGL 340V1. Art and Animals. 1 Unit.
This course focuses on Stetson's Environmental Responsibility Value. An interdisciplinary course about animals as the creators of patterns which can be perceived as art and a study of human art - visual, musical, and literary - representing other species with whom we share the planet. Students engage in fieldwork, a variety of writing assignments, and academic study of art, music, and literature, with an emphasis on literature. Junior Seminar.
ENGL 341V1. Dante's Commedia. 1 Unit.
This course focuses on Stetson's Social Justice Value. A seminar progressing through the three cantiche of Dante's Commedia with particular attention to the various ethical systems invoked and the nature of the spiritual insight claimed. Students in Religious Studies, Philosophy, Political Science, History, and any branch of Literary Studies will be well prepared for this class. Junior Seminar.
ENGL 341V2. Poetry-The Ethical Object. 1 Unit.
This course focuses on Stetson's Social Justice Value. Examines poetry of many different forms which all take contemporary social positions. Materials will include satires by Juvenal and Pope, WW I poetry, post-nuclear poetry, women's poetry beginning with Elizabeth I, Latin-American neo-concrete poetry, the mid-twentieth century poetry gardens of Ian Hamilton Finlay, the eco-based poems of the 21st century, poetry installation art (Roni Horn/Emily Dickinson) and the ephemeral texts of poetry street interventions. Junior Seminar.
ENGL 341V4. Not Your Hollywood Blockbuster. 1 Unit.
This course focuses on Stetson's Human Diversity Value. What, in fact, is national about national cinemas? Is a film's nationality determined by its director, its actors, its language, its filming location, its funding sources, its audience, or the location of its debut? Is there a genuine "world" cinema that circulates internationally? This course will examine the relationship between national/regional film cultures and film's international presence. This course focuses on the study of cinematic language – the techniques and visual building blocks of film that reach beyond familiar narrative - alongside various political, cultural, and commercial circumstances of film production. Students will be introduced to concepts of film language - the formal and stylistic techniques in editing, mise-en-scene, cinematography, and sound. We will move to how that language interacts with and/or goes beyond national concerns, linking those formal features to historical, cultural, and commercial distinctions and changes in order to examine how film circulates (or fails to circulate) beyond Hollywood and Hollywood's dominance in particular cultural settings. Junior Seminar.
ENGL 342V2. Literature and Medicine. 1 Unit.
This course focuses on Stetson's Health and Wellness Value. A Junior Seminar examining the intersections between literature and medicine. Through novels, short stories, poems, television, and films as well as case studies, patient narratives, and essays by medical practitioners, we will consider uses of language by those experiencing or treating illness. The aesthetic dimensions of these works will be emphasized, but our larger goal will be to strengthen understandings of wellness and of the art and science of medicine in maintaining it. Junior Seminar.
ENGL 342V3. Star Trek and American Ethics. 1 Unit.
This course focuses on Stetson's Ethical or Spiritual Inquiry Value. The television series Star Trek and its multiple sequels and films are predicated on a single, simple premise: humans are not the only species in the universe. As a result, our treatment of others is played out in myriad ways. The course focuses on the ethical questions faced, in one form or another, by humans. Students will write a series of short analytical papers focused on specific texts and issues relevant to the course. In addition, students will write longer essays that develop some of the ideas first presented in the shorter papers. Because this is a discussion-based class, students are expected to participate actively and thoughtfully. Junior Seminar.
ENGL 343V1. Soul Food Across the Color Lines. 1 Unit.
This course focuses on Stetson's Human Diversity Value. Focuses on examining the foodways of various cultures, that is, how food expresses one's racial, economic, religious, and political positions. A variety of texts will be analyzed to better understand how food communicates one's individuality and one's place in society. Particular attention is given to how the "Big Mamma" figure or the griot of tradition in each culture communicates through food literally by feeding the body and symbolically by feeding the soul. Junior Seminar.
ENGL 343V2. Feeling Global. 1 Unit.
This course focuses on Stetson's Human Diversity Value. Examines the ways in which globalization impacts the formation of identities in the world today as reflected in fiction, travel literature, political commentary, performance art, music, and film. The increasing movement of people, capital, political ideologies, technologies, and media from one place to another within the world economy today has affected how writers define their identities and negotiate their sense of belonging to local traditions, national discourses, and new international communities. Junior Seminar.
ENGL 343V4. Re-Inventing Humanity in the Age of Discovery. 1 Unit.
This course focuses on Stetson's Human Diversity Value. In the age of Discovery, when maps had blank spaces labeled "terra incognita" the world knew races of people with no heads and faces in their chests, humanity hung suspended in the Great Chain of Being between the angels and the animals, yet every year news arrived of interaction with new peoples both more like Europeans and less like them then was imaginable. Did they have souls? Did they have magical powers? Did they know other Gods, did they have culture and beauty, fountains of youth, palaces of gold, slaves, morals? As Europeans explored these questions, they re-imagined humanity in the New World, Africa, and Asia in ways both noble and brutal, which we will recover in this course. Junior Seminar.
ENGL 343V6. Let Your Motto Be Your Resistance: Dispelling Black Stereotypes. 1 Unit.
This course focuses on Stetson's Human Diversity Value. The course examines the stereotyping of Africa and those of African descent. Entertainment culture, newspapers, magazines, entrepreneurship and economics, documentaries, amusement parks, and numerous other sources where ideas about Africa and those of African descent appear will be explored to determine how black stereotypes in America were acquired, where they appear in culture, and why they persist. Junior Seminar.
ENGL 344V1. Politics and Poetics. 1 Unit.
This course focuses on Stetson's Social Justice Value. Examines the relationship of imaginative creativity to modernity - understood here as the emergence of political ideals of freedom, equality, pluralism, and justice; to industrialism and global capitalism; to the growth of cosmopolitan urban centers. We will consider the impact of modernity on various forms of aesthetic practice, the representation of modernity, and various critiques of modernity (and its cultural practices). Of particular interest will be the art and politics of dissent, and work that reveals gaps between modernity's stated ideals and the lived experience of people marginalized by gender, race/ethnicity, class, and/or sexuality. Junior Seminar.
ENGL 344V2. Gender, Tradition, and Human Rights. 1 Unit.
This course focuses on Stetson's Social Justice Value. An interdisciplinary examination of how women's traditional role in various cultures - roles often argued to have theological grounding or justification - makes women's human rights (as understood within the West) especially difficult to achieve. The course considers claims for human rights, and the basis on which such claims are made; it considers, as well, the degree to which these claims and the understandings on which they are based grow out of the Western liberal political tradition. Drawing upon the work of Martha Nussbaum and others, we will examine specific instances of contemporary conflict that defy easy or simplistic solution. The course will include literary representations of women's identity and experience in particular cultural contexts. Junior Seminar.
ENGL 344V3. Vengeance and Paranoia. 1 Unit.
This course focuses on Stetson's Social Justice Value. How does the impulse toward revenge mediate between madness and reason? Why is vengeance such a prominent theme in both high and popular western culture? Vengeance and Paranoia investigates western civilization's struggle with questions like these through the lens of cultural studies. From the beginnings of Western drama, Æschylus's Oresteia, to Thomas Pynchon's postmodern tale of paranoia, The Crying of Lot 49, and from cultural monuments like Hamlet to popular entertainments like Gladiator and Eric Cartman's revenge in South Park, even into one of Sigmund Freud's oddest and most influential case studies, we will explore our cultural constructions of vengeance and justice. Junior Seminar.
ENGL 344V4. Performing Justice. 1 Unit.
This course focuses on Stetson's Social Justice Value. The stage as a courtroom, the courtroom as a stage: this course explores the links between these dramatic spaces and investigates the personal and social repercussions of justice being enacted. Junior Seminar.
ENGL 350. Medieval Literature. 1 Unit.
Considers the literature of England between 700 and 1500, with attention to textual, social, cultural, and formal issues.
ENGL 351. Renaissance Literature. 1 Unit.
Surveys significant literary trends in their cultural context during the English Renaissance, c. 1509-1674. It may attend to questions of gender, race, class, and the division between popular and high cultures; may also include some works of Continental literature influential in Renaissance England.
ENGL 352. Restoration and 18th Century Literature. 1 Unit.
Presents selections from English drama, poetry, fiction, and non-fiction of the Restoration and 18th Century, with attention to form, language, publication/performance, and social-cultural contexts.
ENGL 353. 19th Century British Literature. 1 Unit.
Focuses on major themes and cultural movements of the period, giving attention to canonical works and authors, and to lesser known authors whose work was influential during the nineteenth century.
ENGL 354. 19th Century Literature in the U.S.. 1 Unit.
Addresses major themes and movements in U.S. literature of the 1800s, covering both canonical works and authors and influential lesser-known authors.
ENGL 355. British Literature since 1900. 1 to 2 Unit.
Considers a theme, period, movement, or topic of particular relevance to British literature of the 20-21st centuries.
ENGL 356. U.S. Literature since 1900. 1 Unit.
Focuses on writers in the United States since 1900.
ENGL 357. Contemporary Literature. 1 Unit.
Examines emerging developments, forms, themes, and ideas in literatures of our time.
ENGL 360. Studies in Non-Fiction. 1 Unit.
Offers advanced study of one or more forms non-fiction, such as autobiography, the personal essay, creative non-fiction, or spiritual texts.
ENGL 361. Studies in Narrative. 1 Unit.
Offers advanced study of one or more narrative forms such as the novel, the long poem, epic, saga, or romance.
ENGL 362. Studies in Lyric. 1 Unit.
Focuses on a genre, period, movement, or critical issue in lyric.
ENGL 363. Studies in Drama. 1 Unit.
Focuses on a genre, period, movement, or critical issue in drama.
ENGL 365. Author Studies. 1 Unit.
This course will focus on the work of a single author or a small group of associated authors.
ENGL 366. Shakespeare. 1 Unit.
Introduces students to a broad selection of Shakespeare's plays and may also include attention to non-dramatic works.
ENGL 370. Ethnic American Literature. 1 Unit.
Focuses on the issues, history, and aesthetics of one or more Ethnic American literature of the US. Examples might include African American, Asian American, or Native American literature.
ENGL 371. Africana Literature. 1 Unit.
Focuses on the literature of one or more African populations throughout the African diaspora (the forced or voluntary dispersal of Africans throughout the world).
ENGL 372. Gender in Literature. 1 Unit.
Surveys major works and authors of special interest in terms of gender or sexuality. Examples may include "Survey of British and American Women Writers," "Survey of LGBT Literature," or "Women Writers of Africa and the African Diaspora.".
ENGL 373. Studies in Global Literature. 1 Unit.
Provides a broad survey of world literature, both Western and non-Western, in English and in translation, within its cultural, social, historical, and literary contexts.
ENGL 374. Popular Culture. 1 Unit.
Focuses on reading a substantial theme or themes in popular culture, drawing on popular literature, popular television and film, and other narrative or fictional representations. Topics will vary according to instructor.
ENGL 376. Literature and Ideas. 1 Unit.
Explores a central idea, such as beauty, sexuality, and madness. Students will consider the ways in which the central idea shapes and is shaped by a variety of texts.
ENGL 385. Independent Study. 0.5 or 1 Units.
ENGL 390. Special Topics in Literary Study. 1 Unit.
ENGL 395. Teaching Apprenticeship. 0.5 Units.
Pass/Fail only. Students who are asked to be co-teachers for First-year Seminars or other courses will help to plan syllabi, present course material, and respond to written work. By permission of the instructor. May be repeated once.
ENGL 397. Internship in English. 0.5 or 1 Units.
An internship in a professional field related to English studies or a setting that calls upon the skills developed as a student of English language and literature, including but not limited to publishing, editing, media, government, non-profit management, writing center studies, and language and literacy education. Basic expectations include a journal, research paper (or alternative assignment approved by the instructor), and a letter of evaluation from the site supervisor. Pre-requisites: permission of department head, a major or minor in English or creative writing, and sophomore status or higher. May be repeated for credit, but a maximum of one unit may be applied to the English major, English minor, or creative writing minor. Enrollment in an internship course requires students to attend an orientation prior to beginning work at their internship site. For more information regarding internship orientations, please contact Career & Professional Development at career@stetson.edu or 386-822-7315.
ENGL 421. Old English. 1 Unit.
Introduces students to the language written in England between 500 and 1100. Emphasis is placed on developing a basic reading knowledge of the language.
ENGL 426. Classic Rhetoric. 1 Unit.
Applying the conflict between the sophists and platonists regarding the relationship between rhetoric, knowledge, and ethics as an informing debate, this course will survey the theories and historical context of important Greek and Roman rhetoricians.
ENGL 427. Modern Rhetoric. 1 Unit.
Focuses on significant developments in Western rhetoric's treatment of ethics, truth, and power since approximately 1900. Beginning with Friedrich Nietzsche, whose work in the rhetoric of power marks the beginning of modern rhetoric, the course also includes study of Kenneth Burke, I. A. Richards, Stephen Toulmin, and other important figures in rhetorical theory.
ENGL 450. Seminar in a Literary Period. 1 Unit.
Offers an advanced historical approach to the study of literature in a single period.
ENGL 460. Genre Study Seminar. 1 Unit.
Offers an advanced study of one or more genres in historically significant or typical examples.
ENGL 465. Author Study Seminar. 1 Unit.
Offers advanced study of the works of a single author or a small group of associated authors, with consideration of biographical, historical, theoretical, and other relevant issues.
ENGL 470. Ethnic Literature Seminar. 1 Unit.
Offers advanced study of the literature of ethnically diverse populations in the U.S or the world.
ENGL 472. Gender Seminar. 1 Unit.
Offers advanced analysis of gender or sexuality as a theme in literary or extra-literary texts.
ENGL 473. Global Literature Seminar. 1 Unit.
Examines representative works of world literature, both Western and non-Western, in English and in translation, with consideration of their aesthetic, cultural, historical, and literary contexts.
ENGL 474. Postcolonial Literature Seminar. 1 Unit.
Examines literatures in English other than British or American that respond to a history of Western imperialism and the challenges of decolonization, nation-building, and globalization, with consideration of their aesthetic, cultural, historical, and theoretical contexts.
ENGL 475. Popular Culture Seminar. 1 Unit.
Offers advanced study of popular cultural forms, including popular literary genres (detective fiction, romance novels, fantasy and science fiction), film and television, and material culture.
ENGL 476. Interdisciplinary Seminar. 1 Unit.
Offers advanced topical, focused study of literature in the context of other disciplines or forms of expression in the arts, humanities, or sciences.
ENGL 481. Theory Seminar. 1 Unit.
Offers advanced study of one or more theorists, theoretical movements, or theoretical questions.
ENGL 482. Composition and Rhetoric Seminar. 1 Unit.
Offers advanced consideration of specific topics of interest to the interdisciplinary study of rhetoric and composition.
ENGL 483. Exploring Writing Studies. 1 Unit.
This course examines the field of writing studies--that is, the ways in which we study and analyze the conceptions and practices of writing as a discipline. Ultimately, the course offers a challenge to traditional understandings of what "an English major" looks like as we lay out the case for understanding "writing studies" as a path of inclusion. Prerequisite: Students must have completed at least two of the following: ENGL 220, ENGL 240A, ENGL 241A, ENGL 242A, ENGL 243A.
ENGL 485. Independent Study. 0.5 or 1 Units.
ENGL 490. Special Topics in Literary Study. 1 Unit.
Advanced study of literary works based on a common theme or issue. May be repeated for credit.
ENGL 499. Senior Project. 1 Unit.
Provides a review of and further grounding in the methods, materials, and critical approaches appropriate for advanced literary research, culminating in a substantial written project. Students will pursue in-depth study of a literary topic, discuss typical problems in their writing and research, and participate in groups to read and discuss work in progress. It includes both written and oral presentation of projects. Seniors with advanced standing are encouraged to take the course in the fall. (Prerequisite: three units from ENGL 220, ENGL 240A, ENGL 241A, ENGL 242A, and ENGL 243A, plus ENGL 300, and one course numbered 400 or above).


A great turn out for Ballater 10 this year – with 190 runners at the start. Warm conditions for running, all got around the course safely (except for one who pulled out shortly after the start with a pulled muscle). The first 5 runners came in under the hour, for full results click here.
This entry was posted in Uncategorized on July 31, 2016 by Warren Burgess.


text:
Helendale man arrested after 7-hour standoff
Martin Estacio Staff Writer @DP_mestacio
HELENDALE — A man was arrested here when he barricaded himself inside his house for hours after temporarily holding a woman and child hostage on Thursday, officials said.
The standoff, which lasted more than seven hours, began when San Bernardino County Sheriff's deputies arrived at the residence in the 27400 block of Outrigger Lane at 2:16 p.m., after receiving a report of a domestic dispute.
According to a Sheriff's statement, the caller said the man, 45-year-old Ryan Bomgaars, "was not allowing the victims to leave the residence." Gunshots could be heard coming from inside.
When deputies arrived, they confirmed that Bomgaars was holding an unidentified 32-year-old woman and 3-year-old girl hostage.
Residents in the immediate area were evacuated and roads leading up to the house were blocked, officials said.
Bomgaars eventually allowed the woman and girl to leave unharmed but remained inside.
The Sheriff's Aviation Division and Specialized Enforcement Division responded. More gunshots could be heard from inside the residence.
After negotiations with Bomgaars to leave the house failed, the "SED took appropriate measures to enter the house" at about 9:30 p.m. and took him into custody, according to the statement.
He was arrested and booked on suspicion of assault with a firearm and false imprisonment. County booking records show he is being held at the High Desert Detention Center in lieu of $200,000 bail.
Court records show Bomgaars has prior convictions of buying or receiving stolen property, drug possession and DUI.
His court appearance is scheduled for Monday at the Victorville Superior Courthouse.
Anyone with information regarding this crime is urged to contact Detective J. Gernon at the Victor Valley Sheriff's Station at 760-552-6800. Persons wishing to remain anonymous can call the WeTip Hotline at 1-800-782-7463 or visit www.WeTip.com.
Martin Estacio may be reached at MEstacio@VVDailyPress.com or at 760-955-5358. Follow him on Twitter @DP_mestacio.


Highest ranking in werewolf and in what's hot But one thing after another things happens after another does the nerd have a secret? She was sold for a good reason tho. Asher Daniels the schools bad boy with every girl wanting to be with him but one girl that he wanted the most was not interested at lest not. What happens when they find out its there rivals little sister?