25 percent increase over previous estimate possible
Future for summer school 'brighter' By Traci Baucom Associate Editor The good news is—it's not getting any worse, maybe it's even getting a little better. The bad news is—compared to 82-83 or 83-84, CSU probably will not have more money, it will probably have less money, according to Dr. Bill Lillard, president of the university, speaking in reference to summer school. Last year, CSU spent $1,078,000 on summer school, Lillard said. In light of state budget cuts, CSU's administration originally thought they were looking at a reduction of 50 percent, or a $500,000 budget, for this year's summer school. Recent developments have led
Lillard and Larry Williams, vice president for administration, to believe that figure to be higher—perhaps a decrease of only 25 percent from last summer's budget. The financial picture might remain the same for three or four days, then it will change, sometimes on a day to day basis, Lillard said. "It appears, at the present time, we'll be able to spend approximately $750,000 on summer school of 1984," Lillard said. "That means a reduction of roughly 25 percent in dollar value. It does not necessarily mean a 25 percent reduction in courses." Lillard said the amount of course offerings for summer school will depend upon which
courses are offered and how much the faculty is paid to teach those courses. He also said the university will attempt to not eliminate any course offerings completely, but will once again consolidate classes. This will mean slightly larger classes with slightly fewer faculty. "We were originally gambling on the worst—a 10 percent budget reduction," Lillard said. "The fact that we only had to cut 7.2 percent helped the summer school picture. "Also, one-half of the summer school budget comes from this year's budget, the other half from next year's budget. "Another point we considered came from the Governor's of-
fice," he said. "In January, state collections were above the amount we had anticipated. We (the state) collected more than enough to operate state agencies, so we didn't have to make any further cuts." Lillard said all the facts combined meant additional money for CSU, definitely making the picture for summer school brighter. Money is still tight, though, according to Lillard. The governor lifted the state hiring freeze in December. Central State has still not been able to fill open positions because of lack of funds. The overall financial outlook is a bit brighter, Lillard said, but CSU is still not "completely out of the woods." The university had to cut $1.6
million from its budget this semester. The proposed 10 percent increase in tuition and fees will bring in approximately $500,000 for the 1984 fall semester. If state appropriations for that semester equal the amount appropriated this semester, CSU would still have to operate with $1,100,000 less for 1984-85 than it has had in the past. "I'm cautiously optimistic," Lillard said. "The rate of decline may have slowed down, or maybe the decline has even stopped. Enrollment keeps increasing. It's conceivable we could go into 84-85 with 1,000 or so more students and about $1,000,000 less to operate with."
THE March 1, 1984 Central State University, Edmond, Oklahoma Vol. 82, No. 41
Premier showing held •
Vista photo by Daniel Smith
Charles Murdock, CSU athletic director welcomes coaches and officials to the NAIA National Wrestling tournament at a banquet held in the University Center Wednesday. Action begins to day and will run through the weekend. in Broncho Fieldhouse.
The premier showing of a collection of lithographs by Honore Daumier is currently being exhibited in the Central State University art gallery through March 9. The collection of 30 lithographs is on loan from the Oklahoma Museum of Art (OMA). The newly acquired collection was from an anonymous donation to the OMA. "CSU and the OMA are correlating an alliance to better both organizations," said Professor Bill Wallo. KCSC radio station broadcast the OMA's summer concerts last summer.
Daumier was a French political cartoonist who lived during the impressionist era during the mid 19th century. "Most of the lithographs on display are a commentary on the French culture," Wallo said. Dr. Marina Eaton of the CSU foreign language department has translated the French captions on the lithographs to English so the viewers may better interpret the meanings of the lithographs' meanings. The art gallery is located in the art building and is open from 9 a.m. to 5 p.m..
Cloth subject of campus lecture
Shroud of Turin holds many mysteries By Melissa Mercer The Shroud of Turin, a cloth suspected to be the actual burial shroud of Christ, was the subject of a lecture and slide presentation given Tuesday night by Dr. Elsa Farman, local attorney and shroud researcher. Held in the University Center Grand Ballroom, the show was given as a part of Religious Emphasis Week. Farman lectured on the scientific and scriptural implication as
well as the authenticity and mystery surrounding the shroud. Slides showed that the man was 5 feet 11 inches tall and approximately 170 pounds. His hair was longer than shoulder length and bound in the back. According to ethnic analysts, the image of the face in the shroud is semitic and of a noble type. "Specialists in forensic medicine have called it an unusual image because it's both majestic and serene, yet tortured. Most people
In this issue... Photograper grateful to CSU...page 4 University plans historical conference...page 5 Netters gear up for season...page 7 `Boys of summer' start spring season...page 8
who die violent deaths do not maintain such peace." Farman said. Wounds indicate a large bruise on the right cheek, a broken nose and a thorned crown covering the whole head. Distinct blood stains depict a pierce through the heart, stakes through the wrists and feet and gashes across the shoulders and the backs of the legs. Although many have researched the shroud, little has been found to unravel its mysteries. On May 25, 1898, Secondo Pia took the first photographs of the shroud and discovered a startling feature. The shroud, as seen naturally, is a precise negative of the body which it covered. When developed in a laboratory, the negative image appears in positive 3-D form. In addition, the creation of the image is a mystery as well. With the exception of the blood stains, which were placed on the cloth from contact with the body, the form itself was burned, as if by a small explosion, into the fabric.
"What they have been forced to conclude is that the light for the photo image is from the body itself," Farman commented. Resulting from the fact that "there is absolutely no trace of decay," the body is considered to have been in the linen wrap for 12 hours, according to Farman. Furthermore, pressure from the weight of the body is indicated neither on the front nor the back cloth. "That was led to the fic conclusion that at the moment the image was formed, the body in the shroud was weightless," Farman stated. Further evidence shows that "because there is absolutely no destruction or marring of anything the shroud was not ever unwrapped." History of the Shroud of Turin is as much a mystery as the shroud itself. Around 30 A.D., a Turkish king named Abgar V was suffering from a terrible disease. He heard of the miracles of Jesus and sent a messenger to retreive him.
By the time the messenger arrived, Jesus had been crucified. The messenger returned with a cloth which, according to reports, bore a miraculous image of the face of Jesus. History records that when he saw the cloth, Abgar claimed that he was miraculously healed. The shroud remained in Edessa, Turkey for hundreds of years. However, in 943 A.D., a Roman army beseiged Edessa and asked for a strange ransom. Apparently, the Mohammedan ruler of Edessa maintained the peace by surrendering the "napkin of Jesus of Nazareth," according to historians. The cloth was taken to Constantinople and kept until 1204 A.D. when Constantinople was sacked by crusaders. The mandylion again vanished and reappeared in 1353 in a church exhibition in France. It was subsequently given to the royal family of Italy and placed where it remains today, in Turin, Italy.