Born in Israel (1955), currently residing in Miami, Florida.
2017 curated “Sun Stand Still” by Gal Weinstein for the Israeli Pavilion in the 57th International Art Exhibition, La Biennale di Venezia.
2005-2010 Chief Curator at the Haifa Museum of Art
studies
1990 MA in Art History, Tel Aviv University
1981 School of Archives, The Hebrew University, Jerusalem
1975-1979 BA in Art History, Tel Aviv University
professional experience
Since 2010 Katz-Freiman is an independent curator based in Miami. Between 2005-2010 she was the Chief Curator of the Haifa Museum of Art in Israel. She started her curatorial practice in 1992 and over the years she has curated numerous group and solo exhibitions in prominent museums in Israel and the US. From 2008-2010 she was teaching Feminism and Contemporary Art at the Department of Art History at the Tel Aviv University and curatorial studies at the International Curatorial Program of the Kalisher School of Art and Technology in Tel Aviv. In addition to essays for catalogues and books published in conjunction with the exhibitions she has curated, Katz-Freiman has written numerous articles, essays, and reviews addressing various issues in contemporary art. In 2012 she curated two major exhibitions: Critical Mass: Contemporary Art from India for the new wing of the Tel Aviv Museum of Art and UNNATURAL for the Bass Museum of Art, Miami Beach. In 2017 she curated “Sun Stand Still” by Gal Weinstein for the Israeli Pavilion in the 57th International Art Exhibition, La Biennale di Venezia. She is a board member of AIRIE and a member of IKT and AICA/USA, the International Association of Art Critics. She is also serving as a lector for EPOS, the International Art Film Festival, Tel Aviv Museum of Art.
exhibitions
|
2017
2015 |
Gal Weinstein, Sun Stand Still, The Israeli pavilion, la Biennale di Venezia Dina Shenhav, D.O.A, The Art Center (Little River Edition), Miami |
|
2014 |
Nevet Yitzhak: WarCraft, The Screening Room (TSR), Wynwood Art District, Miami |
|
Antonia Wright: You Make Me Sick: I Love You, Spinello Projects, Miami (curatorial advisor) |
|
|
AutoBody: a traveling platform for international women artists working in video, performance, and new media (advisory curatorial committee) |
|
| 2013 | Aziz + Cucher: Time of the Empress (Septet), The Screening Room (TSR), Wynwood Art District, Miami |
| 2012 |
UNNATURAL, Bass Museum of Art, Miami Beach |
|
Critical Mass: Contemporary Art from India (co-curated with Rotem Ruff), Tel Aviv Museum of Art |
|
| 2011 | Nivi Alroy: Food Web, Fresh Paint 3, Tel Aviv |
| 2010 | Shelf Life (co-curated with Rotem Ruff), Haifa Museum of Art |
| 2009 |
Aesthetics of Violence – AES+F, Haifa Museum of Art |
| Aesthetics of Violence – Biljana Ðurdevic: Paintings,
Haifa Museum of Art |
|
|
Aesthetics of Violence – Norbert Bisky: Paintings, Haifa Museum of Art |
|
|
Power Games: Contemporary Art from Poland, Haifa Museum of Art |
|
|
Wild Exaggeration: The Grotesque Body in Contemporary Art, Haifa Museum of Art |
|
| 2008 | Prizes in Art and Design from the Ministry of Science, |
| Culture and Sport, 2007 (co-curated with Tal Yahas), Haifa Museum of Art | |
| 2007 |
Kader Attia: Who Cares?, Haifa Museum of Art |
|
BoysCraft, Haifa Museum of Art (trilogy, part III) |
|
| 2006 |
Mixed Emotions, Haifa Museum of Art (trilogy, part I) |
|
Fatamorgana: Illusion and Deception in Contemporary Art, Haifa Museum of Art (trilogy, part II) |
|
| 2005 | Nir Hod: Forever, Tel Aviv Museum of Art |
| 2004 | Tal Amitai: (temporary) Happiness, Janco-Dada Museum, Ein Hod, Herzliya Museum of Contemporary Art |
|
Love is in the Air – Time for Love: Images of Romantic |
|
|
Love in Contemporary Israeli Art, Time for Art: Israeli Art Center, Tel Aviv |
|
| 2003 |
OverCraft: Obsession, Decoration and Biting Beauty, The Art Gallery, Haifa University, Haifa, Artists House, Tel Aviv |
|
Time Capsule: Contemporary Art and Archaeology, Art in General, New York City |
|
|
Robert Melee: Bath Time Mommy, Herzliya Museum of Art, Israel |
|
| 2002 | Gal Weinstein: The Valley of Jezreel, Herzliya Museum of Art, Israel |
|
Aziz + Cucher: Passage, Herzliya Museum of Art, Israel |
|
|
Nicola Costantino: Boutique, Herzliya Museum of Art, Israel |
|
|
Gil Shachar: Hand Made, Herzliya Museum of Art, Israel |
|
|
LandEscapes: A Multi-sites Project of Contemporary Israeli Art (co-curated with Cheryl Harper), Drexel University; Moore College of Art; The Gershman Y, Philadelphia |
|
| 2000 | Havana Nagila: Cuba-Israel Dialogue, Chelouche Gallery, Noga Gallery of Contemporary Art, Julie M. Gallery, and the Tel Aviv Artists’ Studios |
| Mount Miami: American Artists in Tel Aviv, The Tel Aviv Artists’ Studios | |
| 1999 | Phantoms: Tsibi Geva and Jose Bedia, ArtFocus, International Biennial in Jerusalem, Teddy Stadium, Jerusalem |
| Currently: Artfocus, Summer 1999 (co-curated with Goran Tomcic), South Florida Art Center, 800 Gallery, South Beach | |
| Tsibi Geva: A Site-Specific Project, Espacio Aglutinador, Havana, Cuba | |
| Eugenia Vargas: The Abject Body, Miami-Dade Community College, Wolfson Campus, Miami | |
| 1998 | Nir Hod: Forever Young, Miami-Dade Community College, Wolfson Campus, Miami |
| 1996-1998 | Desert Cliché: Israel Now – Local Images (co-curated with Amy Cappellazzo), Arad Museum, Israel (September 1996) Museum of Art, Ein Harod, Israel (November 1996); Bass Museum of Art, Miami Beach, Florida (April 1997); Grey Art Gallery & Study Center of New York University (November 1997); Nexus Contemporary Art Center, Atlanta (May 1998); Yerba Buena Center for the Art, San Francisco (September 1998) |
| 1995 | Still(A)LIVE: Regina Frank, Silvia Gruner, Laura Tan, Consuelo Castaneda – Four Interactions with the Past, Black Box, Ground Level Exhibition Space, South Beach, Miami, Florida |
| 1995 | Hila Lulu Lin: A Cow, A Turtle and a Goldfish, Ambrosino Gallery, Miami, Florida |
| 1994 | Meta-Sex94: Identity, Body and Sexuality, Museum of Art, Ein Harod, Israel |
| 1993 | Antipathos: Black Humor, Irony and Cynicism in Contemporary Israeli Art, The Israel Museum, Jerusalem |
| 1992 | Postscipts: “End” Representations in Contemporary Israeli Art, The Genia Schreiber University Art Gallery, Tel Aviv University |
PUBLICATIONS
essays for catalogues
| 2017 | “Serial Robbery in the Playground of Art History”, a catalogue essay on the series Stranger in Paradise by Allison Zuckerman, the Rubell Family Collection (RFC), Miami |
| Stopping Time, Molding Mold, A catalogue essay for Gal Weinstein: Sun Stand Still, Israeli Pavilion, la Biennale di Venezia |
| 2016 | Frances Goodman: Nails her Colors to the Mast, A catalogue essay for “Frances Goodman: Rapaciously Yours”, Richard Taittinger Gallery, NYC |
| Neither Tree nor Ashes: Conversation with Shanthamani, a conversation with Shantamani M. for Neither Tree nor Ashes, Suzanne Tarasieve Gallery, Paris |
| 2015 |
On the Miracle of Representation: Conversation with Oren Eliav, a conversation for “Advent”, Suzanne Tarasieve Gallery, Paris No Man’s Land – A Comfort Zone: Notes about a Title, an essay for No Man’s Land: Women Artists from the Rubell Family Collection Contextualizing Hunting: on Dina Shenhav: D.O.A., an essay for Dina Shenhav: D.O.A., Small Format, Art Center, Miami |
| 2014 |
From Skins to Landscape: on Agustina Woodgate’s Rug Collection, an essay for Agustina Woodgate: Rugs, Art and Culture Center of Hollywood Like a Thread in a Storm, an essay for Tal Amitai-Lavi: Light Construction, Chelouche Gallery for Contemporary Art |
| 2012 | From Body Politics to Conflict Politics: Aziz + Cucher Come Out of the (Biography) Closet, an essay for Aziz + Cucher: Some People, The Indianapolis Museum of Art |
| Critical Mass: Beyond Aesthetics (written with co-curator Rotem Ruff), an essay for Critical Mass: Contemporary Art from India, Tel Aviv Museum of Art | |
| Nature Has No Copyright, an essay for UNNATURAL, Bass Museum of Art | |
| 2011 | Nivi Alroy: System Collapse, text for Nivi Alroy: Food Web, Recipient of the Most Promising Artist Award at Fresh Paint 3 |
| 2010 | Collecting is a Form of Uprooting – An Encounter Between Self and Object, an essay for Shelf Life (co-curated with Rotem Ruff), Haifa Museum of Art, Israel |
| 2009 |
Aesthetics of Violence: AES+F Group, Biljana Ðurdevic and Norbert Bisky, an essay for the brochure of three solo shows, Haifa Museum of Art |
| Power Games: Contemporary Art from Poland, an essay for Power Games, Haifa Museum of Art | |
|
Exaggeration is Twice as Real, an essay for Wild Exaggeration: The Grotesque Body in Contemporary Art, Haifa Museum of Art |
|
| 2007 |
Kader Attia: Who Cares?, an essay for a solo project by Kader Attia, Haifa Museum of Art |
| Craftsmen in the Factory of Images, an essay for BoysCraft, Haifa Museum of Art | |
|
On the Noise in the Heart: A Chronicle of an Acquaintance with Hila Lulu Lin, an artist book essay for Hila Lulu Lin: She, Ein Harod Museum of Art |
|
| 2006 |
The Road to Happiness: On Cultural Conflict, Desire, and Illusion in the Work of Kader Attia, an essay for Kader Attia’s monography, Musee d’art contemporain, Lyon |
| The Industry of Emotions / Or: I Feel, Therefore I Am, an essay for Mixed Emotions, Haifa Museum of Art | |
| Fatamorgana: The Magic Lantern of Consciousness, an essay for Fatamorgana: Illusion and Deception in Contemporary Art, Haifa Museum of Art | |
|
Dancing with Barbed Wire, an essay on Sigalit Landau for Memorials of Identity: New Media from the Rubell Family Collection, Rubell Family Collection, Miami |
|
| 2005 |
Nir Hod: An Acrobat of Emotion in The Circus of Illusions, an essay for Nir Hod: Forever, Tel Aviv Museum of Art |
|
Kader Attia: Ports of Paradise for Sale: On Fantasies and Brand Names in the Era of Globalization (French), an essay for Kader Attia, Herzliya Museum of Contemporary Art |
|
| 2004 |
Tal Amitai: Requiem for a Fantasy of Happiness, an essay for Tal Amitai: (temporary) Happiness, Janco Dada Museum and Herzliya Museum of Contemporary Art |
|
Love is in the Air: Quick Introduction to Romantic Love, an essay for Love is in the Air, Time for Art: Israeli Art Center, Tel Aviv |
|
| 2003 |
OverCraft: The God of Small Details, an essay for OverCraft, The Art Gallery, Haifa University and Artists House, Tel Aviv |
| Time Capsule: Archaeology in Contemporary Art, an essay for Time Capsule, Art in General, New York | |
| Robert Melee: Mommy Dearest, an essay on Robert Melee’s work, Herzliya Museum of Contemporary Art | |
|
Meirav Heiman: Family Dyes, an essay on Meirav Heiman’s video installation, Herzliya Museum of Contemporary Art |
|
| 2002 | Gal Weinstein: The Valley of Jezreel, in: Chilufim: A Transfer Exchange Project of Artists and Art, 2002/2003, Israel – North Reine-Westphalia, pp. 142, 149 |
| Aziz + Cucher: Passage, a brochure essay for Aziz + Cucher, Herzliya Museum of Contemporary Art | |
| A Woman Wearing These Clothes Remains Practically Naked, in Nicola Costantino: Boutique, Herzliya Museum of Contemporary Art | |
| What’s Soft, Translucent, Moist and Slimy? On Mediations of Erotic Nature in Hugit Rubinstein’s Work, in Hagit Rubinstein: Soft World, Tal Esther Gallery, Tel Aviv | |
| On Paradoxes of Representation, Illusion and Vanity, in: Gil Schachar: Hand Made, Herzliya Museum of Contemporary Art | |
| LandEscapes: Mysteries of the Holy Land, in LandEscapes, Drexel University; Moore College of Art; The Gershman Y, Philadelphia | |
| 2001 | Close to Home, a catalogue essay for Lesli Rubin Kunda: Daily Interactions, Tel Aviv |
| Burning Concerns: Delving into the Heart of the Conflict in Tsibi Geva – Rage, Achshav.now contemporary art Gallery, Berlin (April) | |
| 2000 | Mount Miami: American Artists in Tel Aviv, a catalogue essay for Mount Miami, Tel Aviv Artists’ Studios |
| 1998-1999 | Between Nature and Culture: Poetics of Materials and Objects – New Work of Florencio Gelabert, a catalogue essay for a traveling solo exhibition at Ambrosino Gallery, April 1998, Museo de Arte Contemporaneo, Panama, August-September 1998, Museo Jacobo Borges, Venezuela, November 1998- January 1999, Museo de Arte y Diseno Contemporaneo, Costa Rica, February-March 1999 |
| 1999 |
Eugenia Vargas – The Abject Body: Notes on Abjection and Prejudice, a catalogue essay for Eugenia Vargas, Miami-Dade Community College, Wolfson Campus, Miami |
|
Phantoms: Tsibi Geva and Jose bedia – Notes on an Inter-Cultural Encounter, a catalogue essay for Phantoms, ArtFocus 3, Jerusalem |
|
| 1998 | Nir Hod: The Legend of the Ultimate Narcissist, a catalogue essay for Nir Hod, Miami-Dade Community College, Wolfson Campus, Miami |
| Aziz + Cucher: Beyond the Epidermic Layer, a catalogue essay for Aziz + Cucher, Miami-Dade Community College, Wolfson Campus, Miami | |
| 1996 | A Matter of Distance, a catalogue essay for Desert Cliché: Israel Now – Local Images |
| I and Thou: Processes of Abandonment and Anorexic Purification in Cesar Trasobares’ New Sculptures, in MAP (Miami Art Paper) | |
| An American in the Inferno: Robert Rauschenberg and the Series of Illustrations to Dante, in Rauschenberg, Dante, Botticelli, The Genia Schreiber University Art Gallery, Tel Aviv University | |
| 1995 | Still(A)LIVE: Regina Frank, Silvia Gruner, Laura Tan, Consuelo Castaneda – Four Interactions with the Past, text for Still(A)Live, Ground Level, South Beach, Miami, Florida |
| Dorit Ya’acoby: To Live with Knives in the Gut at the Gates of Mercy, a catalogue essay for Dorit Ya’acoby, Gallery of the Canadian Embassy, Tokyo, Japan (November 1995); Osaka Contemporary Art Center, Osaka, Japan (January – February 1996) | |
| Hila Lulu Lin: A Cow, A Turtle and a Goldfish, text for Hila Lulu Lin, Ambrosino Gallery, Miami, Florida | |
| 1994 | Meta-Sex 94: Identity, Body and Sexuality, a catalogue essay for Meta-Sex 94, Museum of Art, Ein Harod |
| 1993 | Antipathos: Black Humor, Irony and Cynicism in Contemporary Israeli Art, a catalogue essay for Antipathos, The Israel Museum, Jerusalem |
| A Call to Order: Maya Cohen Levy’s Painting – a Proposal for Putting the World Aright, in Maya Cohen Levy, The Israel Museum, Jerusalem | |
| 1992 | “Hastily the World Hastens to Pass Away…”, a catalogue essay for Postscripts: “End”- Representations in Contemporary Israeli Art, The Genia Schreiber University Art Gallery, Tel Aviv University |
| Michal Shamir: The More Transparent, the Greater the Depth, a catalogue essay for Michal Shamir, Museum of Israeli Art, Ramat Gan; published also in: Studio Art Magazine: 30 | |
essays for anthologies
| 2010 | Master of Concealments: On the Traps of Appropriations in Jasper Johns’ Work in: The Beauty of Japheth in the Tents of Shem: Studies in Honour of Mordechai Omer, Assaph 2010, Studies in Art History, Vols. 13-14, Tel Aviv University, pp. 335-351 |
| Craftsmen in the Factory of Images, from BoysCraft in: The Craft Reader (edited by Glenn Adamson), Berg, Oxford, New York, 2010 pp. 596-605 | |
| 2003 | “Don’t Touch My Holocaust”: Israeli Artists Challenging the Holocaust Taboo, a paper for the International conference: Representing the Holocaust: Practices, Products, Projections, Berman Center of Jewish Studies, Lehigh University, Pennsylvania in: Transforming Memory: Representation, Art, and the Holocaust, New Perspectives on Jewish Studies, New York University Press |
| Bad Girls: The Israeli Version – Contemporary Women Artists in Israel, in:Jewish Feminism in Israel: Some Contemporary Perspectives (edited by Kaplana Misra and Malanie Rich), University Press of New Engalnd |
articles for art magazines
| 2002 | Miri Segal: Wheels of Fortune, a profile for “Ten Artists to Watch”, ARTnews, March 2002, p.101 |
| 2001 | An essay on the anti-porno debate as reflected in the work of Sue Williams, Gada Amer, Zoe Leonard, Lisa Yuskavage and Sara Lucas, Musa Art Quarterly: 6, The Israel Museum, Jerusalem, October 2001 [Hebrew] |
| IN Havana: Report on the Complexities of Art in Cuba, Art Papers, May 2001 | |
| Sweet Saccharin and the Shadow of Death: On the Work of Pierre & Gilles, Musa Art Quarterly: 4, The Israel Museum, Jerusalem, April 2001 [Hebrew] | |
| On Doron Sabag Collection at the Tel Aviv Museum, Studio Art Magazine: 122, March-April 2001 [Hebrew] | |
| 1998 | Cuban Rashomon: A Journey into the Art and Politics of Havana, Studio Art Magazine: 95, August 1998 [Hebrew] |
| New Trends in Contemporary Art, a survey for Art Papers, May-June 1998, p. 14 | |
| Genevieve Cadieux: Vague/Wave: The Magic of Body Language, in Converge I, Miami Art Museum Annual New Works Book, 1998, pp. 47-53 | |
| 1997 | Going to the Dogs: Man (Dressed as Dog) Bites an Art Critic! Notes from the Front-line of the Struggle for Attention, Art Papers, November 1997 |
| 1993 | The Ridiculous and the Horrible: The Antipathos exhibition at the Israel Museum, Studio Art Magazine: 45, July-August 1993 (Hebrew) |
| Minimal Concept: The ‘Poor’ Seventies of Benni Efrat, Studio Art Magazine: 40, January 1993 [Hebrew] | |
| 1992 | White Curls: On the Child Images in the works of Nir Hod, Mishkafaim, The Israel Museum, November 1992 [Hebrew] |
| Andy Warhol: The Death of the Glamor/ The Glamour of Death, Studio Art Magazine: 36, September 1992 [Hebrew] | |
| 1991 | Johns and the Mystery of the Four Seasons, Studio Art Magazine: 25, September 1991 [Hebrew] |
| 1982 | 1930-1936: The Founding of the Tel Aviv Museum, Tel Aviv Museum Annual Review: 1, April 1982 |
reviews
| 2013 | Review of “NYC 1993: Experimental Jet Set, Trash and No Star” at the New Museum, for Erev Rav online art magazine [Hebrew] |
|
2002
|
Tal Amitai: A is Ohel, B is Beit, Studio Art Magazine: 131, February – March 2002, p. 67 [Hebrew] |
|
2000 |
Ole: Impressions from the Havana Biennale, Ha’aretz Supplement, 15.12.2000 |
| 1998 | Scents and Sensibility, notes on Ann Hamilton’s site-specific installation mantle, MAM, in: “How to Look at Art”, ARTnews, December 1998, pp. 132-133 |
| Ann Hamilton at the Miami Art Museum, a review on Ann Hamilton: mantle, MAM, Art Papers, September 1998 | |
| Zadok Ben-David and Juan Carlos Garcia-Lavin, an essay for two site specific installations, Ambrosino Gallery, Miami, Art Papers, May-June 1998, p. 36 | |
| David Rohn, a review on David Rohn, the Museum of Contemporary Art, North Miami (MOCA), Art Papers, May-June 1998, p. 37 | |
| Annette Messager, a review on Annette Messager, the Museum of Contemporary Art, North Miami (MOCA), Art Papers, March-April 1998, p. 38 | |
| Aziz + Cucher at Jack Shainman Gallery, Studio Art Magazine: 90, February 1998, pp. 92-93 | |
| 1997 |
Going to the Dogs: Man (Dressed as Dog) Bites an Art Critic! Notes from the Front-line of the Struggle for Attention, Spring 1997, Art Papers, November-December 1997, pp. 78-80 |
|
Janine Antoni: Swoon at Capp Street Project, San Francisco, Studio Art Magazine: 88, December 1997, pp. 82-83 |
|
| Carol Sun: Archetypes and Rituals at Anti-American Art Gallery Miami-Dade Community College, Wolfson Campus, Art Papers, July-August 1997, p. 39 | |
| 1996 | The Israeli Artfocus in North Carolina, Studio Art Magazine: 77, November- December 1996, p. 7 [Hebrew] |
| The New is Wonderful! on: Designing Modernity: The Art of Reform and Persuasion, 1885-1945, The Wolfsonian, Miami Beach, Haaretz, Weekend Supplement, 15 March 1996 | |
| Duchamp’s Leg: 60 Minutes on Marcel Duchamp and His Influence on 20th Century Art, Studio Art Magazine: 69, February 1996 [Hebrew] | |
| PerForms: Janine Antoni, Charles Ray, Jana Sterbak at ICA, Philadelphia,Studio Art Magazine: 68, January 1996 [Hebrew] | |
| 1995 | Gary Hill at the Guggenheim Soho, Studio Art Magazine: 64, August-September 1995, pp. 81-82 [Hebrew] |
| Sean Landers at Andrea Rosen Gallery, Studio Art Magazine: 64 , August-September 1995, pp. 81-82 [Hebrew] | |
| Forces of Change: Women-Artists in the Arab World, Studio Art Magazine: 62, May 1995, pp. 72-73 [Hebrew] | |
| Ann Hamilton’s Seam: a video installation (MOMA), Studio Art Magazine: 60, February 1995, pp. 69-71 [Hebrew] | |
| Visiting Hours: An Installation by Bob Flanagan, Studio Art Magazine: 59, December 1994 – January 1995 [Hebrew] | |
| Let the Artists Live at Exit Art Gallery, Studio Art Magazine: 59, December 1994 – January 1995, pp. 61-62 [Hebrew] | |
| 1993 | Notes on the Empty Gaze at Limbus Art Gallery, Studio Art Magazine: 42, March-April 1993 [Hebrew] |
panels, lectures, courses
| 2015 | 60 MINUTES on Selected (feminist-craft-oriented) Projects, Visiting Curator Lecture Series, FIU Department of Art and Art History |
| 2014 | 60 MINUTES on Selected (feminist-craft-oriented) Projects, guest lecture for MAWA, Winnipeg, Canada |
| 2008-2010 |
Bad Girls, a course on Feminism and Contemporary Art, The Tel Aviv University Curatorial Studies, the International Curatorial Studies Program of Kalisher Art School, Tel Aviv |
| 2000 | Don’t Touch My Holocaust: Israeli Artists Challenging the Holocaust Taboo, paper and lecture for the International conference: Representing the Holocaust: Practices, Products, Projections, Center of Jewish Studies, Lehigh University, Pennsylvania |
| 1999 | Desert Cliché: Israel Now – Local Images, Hallwalls, Buffalo, NY |
| Contemporary Israeli Art, Golda Meir Center for Political Leadership, Denver, Colorado | |
| Bad Girls: The Israeli Version, Contemporary Women Artists in Israel, in conjunction with the symposium “A Global View of Women’s Art”, University of Tulsa, Tulsa, Oklahoma | |
| 1998 | Desert Cliché: Presentation of Contemporary Israeli Art, in Third World Countries’ Conference, Wifredo Lam Museum, Havana, Cuba |
MA thesis
| September 1990 | Quotation in American Pop Art Painting as a Post-Modernist Element Reflecting Historicist Relation to Western Cultural Tradition, Thesis submitted for MA degree (supervised by Prof. Mordechai Omer) |