﻿Url	 Resource class 	Title	Creator	Subject	Date	Type	Identifier	Rights	 Alternative Title 	Abstract	Volume	 Supported by 	Note	 History note 
https://wou.omeka.net/s/repository/item/230		 PURE Insights Volume 9 Issue 1 - Full 			12/20/2020	Text	pure/vol9/iss1/1	 Western Oregon University Library has determined, as of 06/01/2023, this item is in copyright, which is held by the author. Users may use the item in accordance with copyright limitations and exceptions, including fair use. For other uses, please ask permission from the author. | <a class="uri-value-link" target="_blank" href="http&#x3A;&#x2F;&#x2F;rightsstatements.org&#x2F;vocab&#x2F;InC&#x2F;1.0&#x2F;">http://rightsstatements.org/vocab/InC/1.0/</a> 			9			
https://wou.omeka.net/s/repository/item/229		 From the Editor 	 Maren Bradley Anderson 		12/20/2020	Text	pure/vol9/iss1/2	 Western Oregon University Library has determined, as of 06/01/2023, this item is in copyright, which is held by the author. Users may use the item in accordance with copyright limitations and exceptions, including fair use. For other uses, please ask permission from the author. | <a class="uri-value-link" target="_blank" href="http&#x3A;&#x2F;&#x2F;rightsstatements.org&#x2F;vocab&#x2F;InC&#x2F;1.0&#x2F;">http://rightsstatements.org/vocab/InC/1.0/</a> 			9			
https://wou.omeka.net/s/repository/item/228		 2020 Outstanding Graduate Student Commencement Speech 	 Joshua Hodney 		12/20/2020	Text	pure/vol9/iss1/14	 Western Oregon University Library has determined, as of 06/01/2023, this item is in copyright, which is held by the author. Users may use the item in accordance with copyright limitations and exceptions, including fair use. For other uses, please ask permission from the author. | <a class="uri-value-link" target="_blank" href="http&#x3A;&#x2F;&#x2F;rightsstatements.org&#x2F;vocab&#x2F;InC&#x2F;1.0&#x2F;">http://rightsstatements.org/vocab/InC/1.0/</a> 			9	 Maren Anderson 	 Maren Anderson 	
https://wou.omeka.net/s/repository/item/227		 2020 Delmer Dewey/Julia McColloch Smith Award Commencement Speech 	 Monica Cerda Ortiz 		12/20/2020	Text	pure/vol9/iss1/13	 Western Oregon University Library has determined, as of 06/01/2023, this item is in copyright, which is held by the author. Users may use the item in accordance with copyright limitations and exceptions, including fair use. For other uses, please ask permission from the author. | <a class="uri-value-link" target="_blank" href="http&#x3A;&#x2F;&#x2F;rightsstatements.org&#x2F;vocab&#x2F;InC&#x2F;1.0&#x2F;">http://rightsstatements.org/vocab/InC/1.0/</a> 	 2020 Dewey/McColloch Smith Commencement Speech 		9	 Maren Anderson 	 Maren Anderson 	
https://wou.omeka.net/s/repository/item/226		 2020 Delmer Dewey/Julia McColloch Smith Award Commencement Speech 	 D-Dré Wright 	 2020 Commencement Speech 	12/20/2020	Text	pure/vol9/iss1/12	 Western Oregon University Library has determined, as of 06/01/2023, this item is in copyright, which is held by the author. Users may use the item in accordance with copyright limitations and exceptions, including fair use. For other uses, please ask permission from the author. | <a class="uri-value-link" target="_blank" href="http&#x3A;&#x2F;&#x2F;rightsstatements.org&#x2F;vocab&#x2F;InC&#x2F;1.0&#x2F;">http://rightsstatements.org/vocab/InC/1.0/</a> 	 2020 Dewey/McColloch Smith Commencement Speech 		9	 Maren Andesron 	 Maren Andesron 	
https://wou.omeka.net/s/repository/item/225		 A Spell for Revenge (Second Prize, Peter Sears Prize in Poetry) 	 Cheyan Swan 	 Poetry | poem 	12/20/2020	Text	pure/vol9/iss1/10	 Western Oregon University Library has determined, as of 06/01/2023, this item is in copyright, which is held by the author. Users may use the item in accordance with copyright limitations and exceptions, including fair use. For other uses, please ask permission from the author. | <a class="uri-value-link" target="_blank" href="http&#x3A;&#x2F;&#x2F;rightsstatements.org&#x2F;vocab&#x2F;InC&#x2F;1.0&#x2F;">http://rightsstatements.org/vocab/InC/1.0/</a> 	 A Spell for Revenge 		9	 Henry Hughes 	 Henry Hughes 	
https://wou.omeka.net/s/repository/item/224		 Flower Crowns (Third Prize, Peter Sears Prize in Poetry) 	 Katherine Sutton 	 Poetry | Poem 	12/20/2020	Text	pure/vol9/iss1/11	 Western Oregon University Library has determined, as of 06/01/2023, this item is in copyright, which is held by the author. Users may use the item in accordance with copyright limitations and exceptions, including fair use. For other uses, please ask permission from the author. | <a class="uri-value-link" target="_blank" href="http&#x3A;&#x2F;&#x2F;rightsstatements.org&#x2F;vocab&#x2F;InC&#x2F;1.0&#x2F;">http://rightsstatements.org/vocab/InC/1.0/</a> 	 Flower Crowns 		9	 Henry Hughes 	 Henry Hughes 	
https://wou.omeka.net/s/repository/item/204		 To Bear Arms (First prize, Peter Sears Prize in Poetry) 	 Cylinda Neidenbach 	 Poetry | Poetry 	12/20/2020	Text	pure/vol9/iss1/9	 Western Oregon University Library has determined, as of 06/01/2023, this item is in copyright, which is held by the author. Users may use the item in accordance with copyright limitations and exceptions, including fair use. For other uses, please ask permission from the author. | <a class="uri-value-link" target="_blank" href="http&#x3A;&#x2F;&#x2F;rightsstatements.org&#x2F;vocab&#x2F;InC&#x2F;1.0&#x2F;">http://rightsstatements.org/vocab/InC/1.0/</a> 	 To Bear Arms 	 Winner of Peter Sears Poetry Prize 	9	 Henry Hughes 	 Henry Hughes 	
https://wou.omeka.net/s/repository/item/203		 PURE Insights Volume 9 Cover Image 	 Olivia Martin 	 Graphic Design | Photography | design | connectivity 	12/20/2020	 Image; StillImage 	pure/vol9/iss1/3	 Western Oregon University Library has determined, as of 06/01/2023, this item is in copyright, which is held by the creator. Users may use the item in accordance with copyright limitations and exceptions, including fair use. For other uses, please ask permission from the creator. | <a class="uri-value-link" target="_blank" href="http&#x3A;&#x2F;&#x2F;rightsstatements.org&#x2F;vocab&#x2F;InC&#x2F;1.0&#x2F;">http://rightsstatements.org/vocab/InC/1.0/</a> 	 PURE Insights Cover Image 	 This cover was designed to reflect the idea of how many college students begin to feel like their campus is an extension of themselves. The cover features a photo manipulation between two images, one of an individual student and one of a type of flora that can be found in a multitude of places across campus. When both of these images are combined the subjects lose their individuality and now form into one singular entity, flowing together seamlessly so that a viewer can no longer find the beginning of one or the end of the other. The use of a warm color palette reminds the viewer of the hopeful feeling in the fall when connectivity between students and campus is at its most intense. 	9	 Jennifer Bracy 	 Jennifer Bracy 	
https://wou.omeka.net/s/repository/item/202		 Swimming Towards Change: Analyzing the heroic framing of Che Guevara in the film “Diarios de Motocicleta 	 Nina M Skeele 	 Critical and Cultural Studies | Other Communication | Che Guevara | Marxist | Framing | Alienation | Latin America 	12/20/2020	Text	pure/vol9/iss1/7	 Western Oregon University Library has determined, as of 06/01/2023, this item is in copyright, which is held by the author. Users may use the item in accordance with copyright limitations and exceptions, including fair use. For other uses, please ask permission from the author. | <a class="uri-value-link" target="_blank" href="http&#x3A;&#x2F;&#x2F;rightsstatements.org&#x2F;vocab&#x2F;InC&#x2F;1.0&#x2F;">http://rightsstatements.org/vocab/InC/1.0/</a> 	 Swimming Towards Change 	 Through semiotics, framing and marxist methods of analysis, this essay examines the heroic framing of Ernesto “Che” Guevara presented in the film Diarios de Motocicleta. The plot of the film follows the road trip Guevara takes with his friend Alberto Granado on an old motorcycle through South America. As they witness poverty and inequality across the continent, there are many instances where it would seem that Ernesto is beginning to form the communist ideologies which eventually guide him to be the face of revolution. The film downplays these ideologies by only commenting on classism through the use of material signs, which Ernesto overcomes physically rather than philosophically. This depiction of material problems with physical solutions creates a simpler situation for the audience to comprehend; one in which the morality of Ernesto is unquestionable, and his selflessness is emphasized through physical sacrifice. 	9	 Emily Plec 	 Emily Plec 	
https://wou.omeka.net/s/repository/item/201		 Running Scared in the Valley Below: El Salvador's Role in the Creation of Central American Neoliberalism 	 Quentin Kanta 	 International Relations | Latin American History | Latin American Studies | Political Economy | Political History | United States History | Latin America | Central America | Neoliberalism | El Salvador | Reaganism | El Mozote | Capitalism | Salvadoran Civil War | Eliott Abrams 	12/20/2020	Text	pure/vol9/iss1/6	 Western Oregon University Library has determined, as of 06/01/2023, this item is in copyright, which is held by the author. Users may use the item in accordance with copyright limitations and exceptions, including fair use. For other uses, please ask permission from the author. | <a class="uri-value-link" target="_blank" href="http&#x3A;&#x2F;&#x2F;rightsstatements.org&#x2F;vocab&#x2F;InC&#x2F;1.0&#x2F;">http://rightsstatements.org/vocab/InC/1.0/</a> 	 Running Scared in the Valley Below 	 When U.S. Representative Ilhan Omar (D-Minnesota) questioned Elliott Abrams about his involvement in the 1981 El Mozote Massacre — in which the Salvadoran Army brutally killed more than 800 civilians execution-style, many of them women and children — in front of the House Subcommittee on Foreign Affairs in February 2019, she awakened a monster that had been sleeping away from the public’s eye for nearly 40 years. The El Mozote Massacre, in which nearly one thousand Salvadorans were callously murdered —women and children included — helped to inaugurate the unprecedented and sadistic counterrevolutionary violence supported materially and ideologically by the Reagan administration. Through eyewitness accounts, political analysis and criticism of the state violence against rural leftists and villagers, the violent record of El Salvador and its biggest supporter — the Reagan administration in Washington — is brought under full question, the survivors of its many brutalities lifted up in a liberatory and long overdue history of the counterrevolutionary violence in Central America during the 1980s which shocked the largely rural and agrarian population into accepting economic violence under austerity and neoliberalism during the 1990s. 	9	 Ricardo Pelegrin-Taboada 	 Ricardo Pelegrin-Taboada 	
https://wou.omeka.net/s/repository/item/200		 An Awakening of the Hawaiian Way of Life: Framing Kapu Aloha and the Mauna Kea Controversy 	 Kyleigh Manuel-Sagon 	 Gender | Race | Sexuality | and Ethnicity in Communication | Hawaiian Studies | Other Film and Media Studies | Social Influence and Political Communication | Social Media 	12/20/2020	Text	pure/vol9/iss1/5	 Western Oregon University Library has determined, as of 06/01/2023, this item is in copyright, which is held by the author. Users may use the item in accordance with copyright limitations and exceptions, including fair use. For other uses, please ask permission from the author. | <a class="uri-value-link" target="_blank" href="http&#x3A;&#x2F;&#x2F;rightsstatements.org&#x2F;vocab&#x2F;InC&#x2F;1.0&#x2F;">http://rightsstatements.org/vocab/InC/1.0/</a> 		 This essay undertakes a framing and melodramatic analysis of the media coverage of Mauna Kea and the Thirty Meter Telescope (TMT). The kiaʻi, known as protestors in the media, have prevailed through the attempts to resume the construction of this large telescope. More specifically, framing of the news media contextualizes the TMT controversy. The framing features selectivity and partiality in the news articles, mainly excluding the Native Hawaiian voice. Then, the melodramatic rhetoric elucidates a frame unique to the Hawaiian people also known as their philosophy of kapu aloha demonstrated in their social media accounts. Melodrama functions as the oppositional stance, and clarifies the cultural significance of Mauna Kea. The essay argues framing and melodrama work together to produce the Native Hawaiian narrative by using the mainstream media for their benefit. 	9	 Emily Plec 	 Emily Plec 	
https://wou.omeka.net/s/repository/item/199		 Embracing Identity and Culture: Hawaiian Rhetoric in Kumu Hina’s “He Inoa Mana (A powerful name)” 	 Kyleigh Manuel-Sagon 	 Critical and Cultural Studies | Gender | Race | Sexuality | and Ethnicity in Communication | Hawaiian Studies | Lesbian | Gay | Bisexual | and Transgender Studies | Other Rhetoric and Composition | Speech and Rhetorical Studies | Women's Studies 	12/20/2020	Text	pure/vol9/iss1/4	 Western Oregon University Library has determined, as of 06/01/2023, this item is in copyright, which is held by the author. Users may use the item in accordance with copyright limitations and exceptions, including fair use. For other uses, please ask permission from the author. | <a class="uri-value-link" target="_blank" href="http&#x3A;&#x2F;&#x2F;rightsstatements.org&#x2F;vocab&#x2F;InC&#x2F;1.0&#x2F;">http://rightsstatements.org/vocab/InC/1.0/</a> 		 The 1960’s marked the Hawaiian Renaissance as kanaka maoli (native Hawaiian people) experienced a growing interest in Hawaiian language, music, traditional navigation, and hula. Today, kanaka continue to resist colonial oppression and work together to establish their identity as a people through staying connected to their traditions. There are many community leaders that kanaka maoli look up to, one of them being Hinaleimoana Wong-Kalu. She is affectionately known as Kumu Hina who is an educator and community activist. The first section recalls her life story including her life growing up and achievements. Then, the essay delves into a TEDtalk by Wong-Kalu entitled “He Inoa Mana (A powerful name).” The first portion describes the rhetorical situation of the speech. Following the rhetorical situation, the essay explores Hawaiian rhetoric unique to kanaka maoli communication in Kumu Hina’s talk; concepts such as genealogical rhetoric and indigeneity, vivacity, resignification, and identification. Hawaiian influencers like Kumu Hina encourage young kanaka to embrace who they are and their culture to foster a strong lāhui (community, nation). 	9	 Emily Plec 	 Emily Plec 	
