Immaculata University - Gleaner Yearbook (Immaculata, PA)

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I . . 'Que' Q 7 ,fi at Q-sf?-W 5,0 F 1 ,X .t im t fr 'Q-, Yi. :Lp 7 v . 'S Wxbg, , i'h: 4 AQ 9 LQ n. 58, K' . - ' f, E X ,af ' a,l'Wfx, ,- was -A N. 14. W1 'fi Q ' , bs, fo x' t- sf. K., .. my ww - Q '- Q 4 S s.q.:.Fk' na em Ire i fi' for 'vw f- 'U ll, ' 4 nfs.. QW, . ,Al wp Q cf 1 'fs f, ,-v 9 W' I., kkr'k K W 'x 0 NP, :QIU i ,,, v ,t Eff 5 Z ' 'B' imap ., ,-If! 5 I at 'fl T -. ' ,N cb,- Q J it p 'si-5, . vi' '0rS. . tion of Eligllsh L dl 'Wk ost-bell atteo 6 . dismayed bY the p . fs ' 1- W- q'f'f. U hiessy are quite its me QV '55 A i ' Fres qrf-45551, N as 'K swim I V gk' 5. U . ie' ff.: 'sis ,iv i - 'wivfft,0f if f ' a Hi '10, LOIZ p e' f'7'f 'Woman for the most part vanishes in the creative Work of man or be- ' pa at comes visible only in the homage , 1 thereby offered to herf, The role of woman in literature seems to he one nni, , of heautiful silence. However, what wig 1 . ,, she has created, for the most part, IS , v :b yy immortalized in the pages of literary ' historyg for example, The Sonnets T' from the Portuguese or Kristin Lau- 3 '11-'Vit Q, . ran.s't111!ff'1'. Both works 1'C1D1Ild one of s v ' the stature of Woman in the eternal QQ' plang like Dante We do not see the A , i -i., are . . . r' divine in woman, but rather we see ggw pm V, f f-wap,--i,5tg I LV' 1 ij God m her eyes. H s' ,Aff 9 i . . . Eg , Likewise, the English Department v in fiei 7fHi7 T' ' a'ns to define for its oun f women i emiuml H . . y E' Q r .7 often atnvf the spiritual and temporal goals of pd gy M igvy , , Reserve b0okS are the creative past, holding up a mirror at which reflects the image of God in k, ,T ,,,. 1 v M . . 'iss 1 S as v, the literary efforts of men. . ' wg M.:-if 'j ' lr! 5' Q A 0 f 'Z 4? we fi 3 Z nh fr 1 42 v is Q .Q I G ie 4 Ed 1 , get W ft f ,Ia Ami -2 Uk' ka W Y r Hifi .,

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Q , Hu.. , Barbara Sauerwald, Carol Hosey, and Polly Fitzpatrick view art work which was shown at a recent exhibition. Aware that in artistic endeavor, . . . it is not the outward loveli- ness, but the inner character that is its secretf artists have striven for significance and depth of beauty. The ripening artist develops a firm groundwork drawn from the prolific wells of ancient, medieval, and modern art. Equipped with this rich background, she discovers the intricacies of specific 'art media: charcoal, pastels, watercolors, ceramics, sculpturing, oils. The graduate, ever-matiuing in aesthetic appreciation and practical knowledge, then pursues a commercial or teaching career, ever aware that surface beauty is one phase of the expanding and evolving art world. Liz Iettinghoff and Anne Cregus display the accomplishments of their ceramics class. Sue Gibbons and Kay Hist, in their aerial perch, have found yet another use for the Field House. Here it is a subject for one of their sketches of I.C.'s campus. .Ai we, , is Y

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