Southwestern Oklahoma State University
SWOSU Digital Commons (Southwestern Oklahoma State University)Not a member yet
28964 research outputs found
Sort by
10/14/2024 William Lang, trombone - Guest Recital
No full text10/14/2024 William Lang, trombone - Guest Recita
11/21/2024 Winter Invitational Choral Concert
No full textWinter Invitational Choral Concert
featuring
Weatherford High School Select Choir
Sandra Warren, Director
and
Chamber Choir and Southwestern Singers
Dr. Daniel Farris, conductor
Dr. Sophie Hung, pianist
Thursday, November 21, 2024
7:00 p.m. - Fine Arts Auditoriu
4/11/2024 - Voice Studio Recital
No full text4/11/2024 - Voice Studio Recital
April 11, 2024 7:00 p.m. at Berrong Recital Hal
Physics Alumni Newsletter Spring 2024
Get PDFPhysics Alumni Newsletter
The Physics Alumni Newsletter is produced by the SWOSU Physics Department.
Our Engineering Physics students are recruited in fields such as electronics, aerospace, mechanical engineering, petroleum engineering and software engineering. Graduates also have careers in meteorology, architecture, education and more
Ancient Queer Bodies: the Gender Swapping Prophet
Get PDFThrough an intersectional approach which positions sexuality and gender in direct
relation to cultural imperialism (O’Sullivan, 2021; Lugones, 2020), I aim to discuss the origins of Tiresias. (S)he is ubiquitous in ancient mythology: showing up in classicized texts such as Sophocles’ Oedipus Rex and Homer’s Odyssey. Interestingly too, Tiresias has been received since antiquity in texts such as Poulenc’s Les Mamelles de Tirésias, Woolf’s Orlando, and MacLaughlin’s Wake, Siren. Each receptive work transforms Tiresias through fantastical contexts and different temporalities. I aim to queer Western notions of temporality, in reading the contemporary along with the ancient. The bulk of my presentation will concern one aspect of Tiresian being: the gender-bending origin of Tiresias’ propheticism.
When told by certain ancient writers, one day, Tiresias, a man, was walking on a mountain when he saw two snakes in the process of copulating. Inexplicably, having separated these two snakes, Tiresias turns into a woman. Seven years later, separating snakes similarly in flagrante, Tiresias turns back into a man. More so than reading Tiresias as transgender, I hope to speak to how his/her gender transformation queers the very nature of what it means to have a body in ancient Greece and Rome.
Having had experiences across a gendered spectrum, Tiresias is summoned up to Mount Olympus, by Zeus and Hera, to determine who experiences more pleasure during sex: men or women. (S)he sides with Zeus, agreeing that women experience more pleasure. For this, Hera blinds Tiresias and Zeus bestows the gift of prophecy.
Due to transgressing gendered norms, Tiresias holds more knowledge than gods. My presentation will utilize an interdisciplinary approach including classical research techniques alongside those of anti-colonial and queer studies to discuss this queer figure
“Foul in Wisdom, Cruel in Strength”: Gendered Evil in Tolkien’s Legendarium
Get PDFIn “The Feminine Principle in Tolkien,” Melanie Rawls creates a framework for reading masculine and feminine drives in the characters of Tolkien’s legendarium. Feminine characteristics are inward-facing, focused on the self and inner life, whereas masculine characteristics are outward-facing, focused on affecting the wider society. Shelob and Sauron are used as two examples of the negative expression of these gendered drives: Shelob being so inwardly focused she only devours, and Sauron being so outwardly focused he cares only for world domination. However, other than his outward focus, Sauron doesn’t neatly align with the other negative masculine traits — he is not rash, but cunning, he does not default to aggression, but uses temptation and manipulation to achieve his ends. This pattern is visible in nearly all of Tolkien’s evil-coded characters, from Melkor to Wormtongue — they embody what Rawls considers feminine characteristics and contemporary media tropes of feminine villainy — these characters beguile, consume, and seduce to achieve their goals. This raises the question: could the primary nature of evil in Middle-earth be feminine
Introduction to Eleanor Arnason, works & reception
Get PDFEleanor is a guest of honor at next summer’ s Mythcon 53, and I’ve been reading her work for many years. I think her novel, and the associated short stories of Hwarhath Stories, provide a fine set of texts for your purpose. There are also queer aspects to many of Eleanor’s other books and stories, for instance in To the Resurrection Station, and some of her shorter fiction. I would certainly review the existing critical literature, and also present some critical comments and reflections on reception of Arnason’s work, and suggestions for further study
Our Flag (and Spaceship) Means Queer: Monstering the Majority Culture
Get PDFAlthough the television series Our Flag Means Death presents on the surface as a romantic comedy, it is enhanced by mythic elements that infuse the narrative with a clear sense of the fantastic. Here, the pirates exist in a Secondary World that openly draws upon the Primary (both in terms of historiography and legend); hence 18th-century piracy and British colonialism can interact seamlessly with human-to-animal-transformations (paying homage to the Greek myth of Ceyx and Alcyone) without seeming either disconcerting or anomalous – all co-exist comfortably in Faerie. OFMD both inverts and deconstructs mythopoeia; the Primary World myths of the Gentleman Pirate, and of the ‘dread pirate’ Blackbeard are simultaneously further mythologized in the series; in particular, the historical friendship between the two undergoes its own Ovidian metamorphosis, portrayed as a queer romantic relationship, one of many highlighted over the two seasons. Indeed, in a crew that is both diverse and queer, (including queered/Othered bodies, sexualities, and identities), queerness is not only a norm, but embraced and celebrated; the ‘chosen family’ of the Revenge’s crew is also depicted as the ‘norm.’ In terms of storytelling, this raises a pertinent question: When queerness is a normalized and predominant culture, who is being Othered for dramatic tension? This paper will explore the ways in which OFMD identifies the antagonists in a queer world, examining how the show challenges and inverts the definition of the Other
