DOCSLIB.ORG

University of London Thesis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
University of London Thesis REFERENCE ONLY UNIVERSITY OF LONDON THESIS Degree Year Name of Author C£VJ*r’Nr^'f ^ COPYRIGHT This is a thesis accepted for a Higher Degree of the University of London. It is an unpublished typescript and the copyright is held by the author. All persons consulting the thesis must read and abide by the Copyright Declaration below. COPYRIGHT DECLARATION I recognise that the copyright of the above-described thesis rests with the author and that no quotation from it or information derived from it may be published without the prior written consent of the author. LOAN Theses may not be lent to individuals, but the University Library may lend a copy to approved libraries within the United Kingdom, for consultation solely on the premises of those libraries. Application should be made to: The Theses Section, University of London Library, Senate House, Malet Street, London WC1E 7HU. REPRODUCTION University of London theses may not be reproduced without explicit written permission from the University of London Library. Enquiries should be addressed to the Theses Section of the Library. Regulations concerning reproduction vary according to the date of acceptance of the thesis and are listed below as guidelines. A. Before 1962. Permission granted only upon the prior written consent of the author. (The University Library will provide addresses where possible). B. 1962- 1974. In many cases the author has agreed to permit copying upon completion of a Copyright Declaration. C. 1975 - 1988. Most theses may be copied upon completion of a Copyright Declaration. D. 1989 onwards. Most theses may be copied. This thesis comes within category D. This copy has been deposited in the Library of ilLL This copy has been deposited in the University of London Library, Senate □ House, Malet Street, London WC1E 7HU. C:\Documents and SettingsMproctor.ULLALocal Settings\Temporary Internet Files\OLK36\Copyright - thesis.doc 1 GENRE AND IDENTITY IN THE WORKS OF DAVID GROSSMAN Tamara Lynn Levine Hebrew and Jewish Studies Department University College, London Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy 2004 UMI Number: U592244 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U592244 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 2 ABSTRACT Genre and Identity in the Works of David Grossman David Grossman is a central figure in Israeli literature. Widely translated, his work has achieved international acclaim for its bold and innovative engagement in the events and mood of the day. In this study, the first monograph on his work in English, I focus on his process of constructing identity through storytelling. Key themes of identity - adolescence and parent-child relationships, sexuality and the body-soul dichotomy - are interwoven into diverse literary genres. My method is to examine the paradigms and significance of Grossman’s literary genres, placing them in the context of Israeli and Western literature. I analyse his technique of manipulating traditional structural features of these genres to reveal the ambiguities and changing nature of identity. I show how he acknowledges his literary forefathers by his use of intertext to develop identity. I contend that Grossman’s focus on the adolescent protagonist pinpoints a young person’s confrontation with his inherited identity. I discuss The Book of Intimate Grammar as anti-Bildungsroman, illustrating the instability experienced en route to a cogent sense of self and an accommodation with the adult world. Grossman breaks new ground in his seminal work of Holocaust fiction, See under: Love. Moving beyond the sphere of witness accounts and their consequent fiction, he uses a fragmented plot and complex narratives, revealing the impossibility of viewing the Holocaust as a single synchronic story, exposing the damaged identities that remain. In Be Mv Knife, his more recent epistolary novel, I find a shift in his construction of identity. Rhythms of internal and external languages combine in this exploration of sexuality and parenthood. I suggest that his narrative techniques of multiple voices and indeterminate endings enhance reader involvement. They are a call to share Grossman’s enduring commitment to a “wide-hearted humanism”. This credo involves creating an ethical identity of self-examination, facilitating the recognition of difference in self and others, as evidenced in his socio-political novel and essays. I highlight Grossman's artistry: his sensitivity to registers of language, expressing sociological aspects of Israeli life in the past decades. Ultimately, for Grossman, both the world and the “I” are but a narrative. 3 TABLE OF CONTENTS Abstract ....................................................................................................... 2 Introduction: ‘‘Who am I?” In Search of Self................................................................ 4 Chapter One: Stories as Seeds........................................................................................ 27 Chapter Two: The Janus Face of Israeli Self-Image - Literature and Politics in The Smile o f the Lamb, and The Yellow Wind................................ 54 Chapter Three: The Phoenix Test of Holocaust Writing in See Under: Love.................................................................................................... 88 Chapter Four: The Kid in the Cupboard - The Adolescent Struggle for Identity in Grossman’s Bildungsromane: The Book o f Intimate Grammar and Someone to Run W................................................................................ ith 136 Chapter Five: “I Wrote a Letter to My Love... ” Epistolary Fiction in Be My K nife.......................................................................................... 204 Conclusion............................................................................................................ 229 Appendix ............................................... 235 Bibliography ............................................................................................................ 239 Acknowledgements................................................................................................. 250 4 INTRODUCTION “Who am I?” - In Search of Self “I feel a certain hunger for blood; for, that is, writing about literature that talks of human lives and choices as if they matter to us all... One of the things that makes literature something deeper and more central for us than a complex game, deeper even than those games... that move us to wonder by their complex beauty, is that... it speaks about us, about our lives and choices and emotions, about our social existence and the totality of our connections. As Aristotle observed, it is deep, and conducive to our inquiry about how to live, because it does not simply (as history does) record that this or that event happened; it searches for patterns of possibility - of choice, and circumstance, and the interaction between choice and circumstance - that turn up in human lives with such a persistence that they must be regarded as our possibilities.”1 In the above quotation Martha Nussbaum illuminates a belief in the power of literature and the vigorous role of the author in qualifying choices for the reader as to how one should live, a role which I believe David Grossman richly fulfils. Israeli writers, in particular, are “addressing the existential question of where one identity ends and another begins”, confirms Amy Wilentz.2 For Grossman as writer, there is a symbiotic energy which underlines the power of literature, and enhances its influence on personal insight. The process of writing a story is a profoundly invigorating one, “an act of self-definition”. This is an intensity which Grossman relishes: “I want it to destabilize and dissolve all the comfortable defences of my life. ... My soul is on guard.”3 Introduction 5 In this introduction I discuss problematics I have encountered in my analysis of Grossman’s work and the “patterns of possibility”4 he creates in the course of his writing, the “interaction between choice and circumstance”5 that gives his literature such power. Maureen Whitebrook, too, has argued that novels “present choices, the implications and consequences of choices.”6 The challenge of writing a critical work about a living author is linked precisely to the absence of a point of summation or a final vision of his opus. Nevertheless David Grossman’s work merits a close analytical study because of his dominance in Israeli literature. Widely translated, his work has achieved international acclaim for its bold and innovative engagement with the events and mood of the day. Bom in 1954, six years after the founding of the State of Israel, Grossman has grown up with the country. His work, beginning with his first collection of stories published in 1983, continues to reflect the cross-currents and multiple voices which have shaped Israeli society. I am aware that the search for narrative identity will continue and perhaps
Load more

Recommended publications
  • David Grossman
    DAVID GROSSMAN Hans Christian Andersen Author Award 2020 Nominated by IBBY Israel A statement on the Grossman contribution to literature for children and young people. David Grossman (born in Jerusalem, 1954) is a major figure in contemporary Hebrew literature. He writes for older and younger readers, in alternating order: Following every adult book, Grossman publishes a book for younger readers, followed by an adult book, etc. In his literary and journalistic writing Grossman does not shy away from complicated and controversial issues. He fights for the human rights of people of all ages, genders, and ethnicities. He is active in social justice causes and in peace initiatives between Arabs and Jews. In 1982 he published his first children’s book, Duel, about a twelve- year-old boy who makes friends with an elderly man in a nursing home. His writing for children and young adults encompasses a wide range of topics. In his picture books, he focuses on aspects of children’s daily life (Uri’s Special Language; A Brand-New Baby Brother) or their rich and wonderful imaginations, which can generate all sorts of fears (Itamar Walks on Walls; Itamar Meets a Rabbit, Itamar the Dream Hunter), worries (Don’t Worry Ruti, Itamar the Dream Hunter), or fantasies, sometimes involving imaginary friends (Hadas’ Friend). In Grossman’s picture books, the child’s world contains an empathic adult, the father, who respects the child, listens to him lovingly, and is able to suggest an unusual solution to the difficulty confronting the child, which the child is in turn quick to accept (the Itamar books; Who Wants a Piggy-Back?, Don’t Worry Ruti, etc.) In his writing for young adults Grossman deals with complicated issues, including ones that were considered taboo in the young adult Hebrew literature of their day.
    [Show full text]
  • Writers Chimamanda Ngozi Adichie Monica Ali Isabel Allende Martin Amis Kurt Andersen K
    Writers Chimamanda Ngozi Adichie Monica Ali Isabel Allende Martin Amis Kurt Andersen K. A. Applegate Jeffrey Archer Diana Athill Paul Auster Wasi Ahmed Victoria Aveyard Kevin Baker Mark Allen Baker Nicholson Baker Iain Banks Russell Banks Julian Barnes Andrea Barrett Max Barry Sebastian Barry Louis Bayard Peter Behrens Elizabeth Berg Wendell Berry Maeve Binchy Dustin Lance Black Holly Black Amy Bloom Chris Bohjalian Roberto Bolano S. J. Bolton William Boyd T. C. Boyle John Boyne Paula Brackston Adam Braver Libba Bray Alan Brennert Andre Brink Max Brooks Dan Brown Don Brown www.downloadexcelfiles.com Christopher Buckley John Burdett James Lee Burke Augusten Burroughs A. S. Byatt Bhalchandra Nemade Peter Cameron W. Bruce Cameron Jacqueline Carey Peter Carey Ron Carlson Stephen L. Carter Eleanor Catton Michael Chabon Diane Chamberlain Jung Chang Kate Christensen Dan Chaon Kelly Cherry Tracy Chevalier Noam Chomsky Tom Clancy Cassandra Clare Susanna Clarke Chris Cleave Ernest Cline Harlan Coben Paulo Coelho J. M. Coetzee Eoin Colfer Suzanne Collins Michael Connelly Pat Conroy Claire Cook Bernard Cornwell Douglas Coupland Michael Cox Jim Crace Michael Crichton Justin Cronin John Crowley Clive Cussler Fred D'Aguiar www.downloadexcelfiles.com Sandra Dallas Edwidge Danticat Kathryn Davis Richard Dawkins Jonathan Dee Frank Delaney Charles de Lint Tatiana de Rosnay Kiran Desai Pete Dexter Anita Diamant Junot Diaz Chitra Banerjee Divakaruni E. L. Doctorow Ivan Doig Stephen R. Donaldson Sara Donati Jennifer Donnelly Emma Donoghue Keith Donohue Roddy Doyle Margaret Drabble Dinesh D'Souza John Dufresne Sarah Dunant Helen Dunmore Mark Dunn James Dashner Elisabetta Dami Jennifer Egan Dave Eggers Tan Twan Eng Louise Erdrich Eugene Dubois Diana Evans Percival Everett J.
    [Show full text]
  • Experience of Evangelisation with the Bible
    96/162 SEDOS RESIDENTIAL SEMINAR 1996 — FROM A GROUP I praise you, Father of Heaven and Thank you for our Catholic Church, Earth, because you have hidden these holy and sinner, old and rigid at times, things to the wise and intelligent, but but always young and fecund through revealed it to the humble (cf. Mt 11:25). the action of the HOLY SPIRIT. Today, we love her still more! At the end of this time of sharing in community the word of God, we have a Thank you for our peoples, poor and profound feeling of gratitude! Towards suffering in the whole world. Their God our FATHER who counted us gen- capacity of dedication and hope are erously among the humble-ones and maintained by their faith and the Word. who in his Son, has revealed us his wis- They remind us that in the different dom. Thank you to Fr Walter and the situations of “captivity” God remains SEDOS team for the generous and com- faithful. “Israel my son, my elected, do petent preparation of this meeting. They not fear, I’ll stay with you”. created this space for us to reflect together on our mission in the light of The Experience of these days now the Bible. enables us to reaffirm: — The need to be disciples, women and men, servants of the Word, and from there, to proclaim. — The value of life: the first book God wrote for humanity and for which the Bible is the grammar, or key of interpre- tation. A mysterious hand has lifted the curtain and permits us to feel in the World the merciful face of God, the living heart of the Father.
    [Show full text]
  • The Jewish Journey in the Late Fiction of Aharon Appelfeld: Return, Repair Or Repitition?
    The Jewish Journey in the Late fiction of Aharon Appelfeld: Return, Repair or Repitition? Sidra DeKoven·Ezrahi In Booking Passage: Exile and Homecoming in the Modern Jewish lmagination 1 I charted the Jewish journey as the pursuit of utopian 1. Sidra DeKoven Ezrahi, space in its epic and its anti-epic dimensions. From Yehuda Halevi Booking Passage: Exile through S.Y. Agnon, the journey to reunite self and soul (/ibi ba­ and Homecoming in the mizrah va-anokhi be-sof ma'arav), the journey to repair the anomaly Modern Jewish Imagination (Berkeley2000). Some of of Galut, was hampered, but also shaped and enriched, by what the ideas developed here are Yehuda Halevi called the 'bounty of Spain' (kol tuv sepharad). explored in the chapter on Appelfeld. Needless to say, the bounty of the homelands that expelled and exterminated the Jews during the Second World War was far more difficult to reclaim or reconstruct than that of twelfth-century Andalusia. Yet even if for the survivors of the Shoah the Jewish journey became that much more urgent and tragic as an exercise in the recovery of a lost continent, the same tension exists in the twentieth - as it did perhaps in the post-traumatic sixteenth century - between kol tuv sepharad and 'Zion', between the personal story and the collective telos, the private narrative and the public topos, the idiosyncratic and the paradigmatic. There is usually not only a tension but a trade-off between the two, a dynamic exchange between the first person singular and plural. After a lifetime of effacing the personal voice in the interstices of a taut and 'public' poetic line, Dan Pagis began in his last years to recover his autobiographical voice in prose.
    [Show full text]
  • Israel: Growing Pains at 60
    Viewpoints Special Edition Israel: Growing Pains at 60 The Middle East Institute Washington, DC Middle East Institute The mission of the Middle East Institute is to promote knowledge of the Middle East in Amer- ica and strengthen understanding of the United States by the people and governments of the region. For more than 60 years, MEI has dealt with the momentous events in the Middle East — from the birth of the state of Israel to the invasion of Iraq. Today, MEI is a foremost authority on contemporary Middle East issues. It pro- vides a vital forum for honest and open debate that attracts politicians, scholars, government officials, and policy experts from the US, Asia, Europe, and the Middle East. MEI enjoys wide access to political and business leaders in countries throughout the region. Along with information exchanges, facilities for research, objective analysis, and thoughtful commentary, MEI’s programs and publications help counter simplistic notions about the Middle East and America. We are at the forefront of private sector public diplomacy. Viewpoints are another MEI service to audiences interested in learning more about the complexities of issues affecting the Middle East and US rela- tions with the region. To learn more about the Middle East Institute, visit our website at http://www.mideasti.org The maps on pages 96-103 are copyright The Foundation for Middle East Peace. Our thanks to the Foundation for graciously allowing the inclusion of the maps in this publication. Cover photo in the top row, middle is © Tom Spender/IRIN, as is the photo in the bottom row, extreme left.
    [Show full text]
  • Download This Article
    Search for Tomorrow. An Epimodernist Future for Literature Emmanuel Bouju Université de la Sorbonne Nouvelle abstract: “The Future is in the way things are,” says “the Minister of the Future,” Timothy Morton, in a recent exhibition at the Centre de cultura contemporània de Barcelona, After the End of the World. Search for tomorrow: it’s already here and now. So how does contemporary literature address and envision the very possibility of a future as such? This essay argues that there is a reneweddiagonal force of the contem- porary called epimodernism. The epimodernist values are superficiality, secrecy, energy, acceleration, credit, and consistency. These six values are necessary for envisioning any future that doesn’t involve hyperfinance, rating agencies, systematic calculation of behaviors—and their consequences for politics. hen i first heard of the topic for the preparatory workshop of this issue of Dibur Literary Journal, it was said to be “contemporary visions of the future in liter- ature and art.” I don’t know why (maybe because I wanted it to be so) I thought it meantW not “visions of the future in literature and art” (the future within literature, “le futur dans la littérature” in French) but “visions of the future of literature and art” (le futur de la littérature), as in “this literature has no future” (cette littérature n’a pas d’avenir). I’m French. So I was quite optimistic. I do have a vision of the “future of literature and art.” But then I received another e-mail, with the final title: “Contemporary Visionsof the Future.” And I realized it was all about the future in works of literature and art.
    [Show full text]
  • Mothers of Soldiers in Israeli Literature David Grossman’S to the End of the Land
    Mothers of Soldiers in Israeli Literature David Grossman’s To the End of the Land DANA OLMERT ABSTRACT This article addresses the national-political functions of mainstream Hebrew lit- erature, focusing on three questions: What are soldiers’ mothers in the canonical literature “allowed” to think, feel, and do, and what is considered transgressive? How has the presence of soldiers’ mothers in Israeli public life changed since the 1982 Lebanon War? At the center of the discussion is David Grossman’s novel To the End of the Land (2008). I argue that the author posits “the flight from bad tidings” as both a maternal strategy and the author’s psychopoetic strategy. This article examines the cultural and gendered significance of the analogy between the act of flight and the act of writing that Grossman advances in his epilogue. KEYWORDS mothers, soldiers, Hebrew literature, David Grossman srael’s 1982 war in Lebanon was the first to be perceived as a “war of choice” in I Israel, triggering a wave of protest as soon as units of the Israel Defense Forces (IDF) crossed the border into Lebanon.1 Soldiers’ parents began to question the judgment of military leaders and to take a critical stance toward their sons’ military service. Although criticism of the militarization of Israeli society developed earlier during the 1970s and increased after the 1973 war, the 1982 war in Lebanon marked the first time that public criticism was expressed while fighting was going on. Pre- viously such criticism had emerged only after the end of hostilities.2 Only some years after the combatants’ mothers began speaking out about crucial national decisions did they become part of the literary fabric.
    [Show full text]
  • Table of Contents
    Table of Contents From the Editors 3 From the President 3 From the Executive Director 5 The Sound Issue “Overtures” Music, the “Jew” of Jewish Studies: Updated Readers’ Digest 6 Edwin Seroussi To Hear the World through Jewish Ears 9 Judah M. Cohen “The Sound of Music” The Birth and Demise of Vocal Communities 12 Ruth HaCohen Brass Bands, Jewish Youth, and the Sonorities of a Global Perspective 14 Maureen Jackson How to Get out of Here: Sounding Silence in the Jewish Cabaretesque 20 Philip V. Bohlman Listening Contrapuntally; or What Happened When I Went Bach to the Archives 22 Amy Lynn Wlodarski The Trouble with Jewish Musical Genres: The Orquesta Kef in the Americas 26 Lillian M. Wohl Singing a New Song 28 Joshua Jacobson “Sounds of a Nation” When Josef (Tal) Laughed; Notes on Musical (Mis)representations 34 Assaf Shelleg From “Ha-tikvah” to KISS; or, The Sounds of a Jewish Nation 36 Miryam Segal An Issue in Hebrew Poetic Rhythm: A Cognitive-Structuralist Approach 38 Reuven Tsur Words, Melodies, Hands, and Feet: Musical Sounds of a Kerala Jewish Women’s Dance 42 Barbara C. Johnson Sound and Imagined Border Transgressions in Israel-Palestine 44 Michael Figueroa The Siren’s Song: Sound, Conflict, and the Politics of Public Space in Tel Aviv 46 Abigail Wood “Surround Sound” Sensory History, Deep Listening, and Field Recording 50 Kim Haines-Eitzen Remembering Sound 52 Alanna E. Cooper Some Things I Heard at the Yeshiva 54 Jonathan Boyarin The Questionnaire What are ways that you find most useful to incorporate sound, images, or other nontextual media into your Jewish Studies classrooms? 56 Read AJS Perspectives Online at perspectives.ajsnet.org AJS Perspectives: The Magazine of President Please direct correspondence to: the Association for Jewish Studies Pamela Nadell Association for Jewish Studies From the Editors perspectives.ajsnet.org American University Center for Jewish History 15 West 16th Street Dear Colleagues, Vice President / Program New York, NY 10011 Editors Sounds surround us.
    [Show full text]
  • CCAR Journal the Reform Jewish Quarterly
    CCAR Journal The Reform Jewish Quarterly Halachah and Reform Judaism Contents FROM THE EDITOR At the Gates — ohrgJc: The Redemption of Halachah . 1 A. Brian Stoller, Guest Editor ARTICLES HALACHIC THEORY What Do We Mean When We Say, “We Are Not Halachic”? . 9 Leon A. Morris Halachah in Reform Theology from Leo Baeck to Eugene B . Borowitz: Authority, Autonomy, and Covenantal Commandments . 17 Rachel Sabath Beit-Halachmi The CCAR Responsa Committee: A History . 40 Joan S. Friedman Reform Halachah and the Claim of Authority: From Theory to Practice and Back Again . 54 Mark Washofsky Is a Reform Shulchan Aruch Possible? . 74 Alona Lisitsa An Evolving Israeli Reform Judaism: The Roles of Halachah and Civil Religion as Seen in the Writings of the Israel Movement for Progressive Judaism . 92 David Ellenson and Michael Rosen Aggadic Judaism . 113 Edwin Goldberg Spring 2020 i CONTENTS Talmudic Aggadah: Illustrations, Warnings, and Counterarguments to Halachah . 120 Amy Scheinerman Halachah for Hedgehogs: Legal Interpretivism and Reform Philosophy of Halachah . 140 Benjamin C. M. Gurin The Halachic Canon as Literature: Reading for Jewish Ideas and Values . 155 Alyssa M. Gray APPLIED HALACHAH Communal Halachic Decision-Making . 174 Erica Asch Growing More Than Vegetables: A Case Study in the Use of CCAR Responsa in Planting the Tri-Faith Community Garden . 186 Deana Sussman Berezin Yoga as a Jewish Worship Practice: Chukat Hagoyim or Spiritual Innovation? . 200 Liz P. G. Hirsch and Yael Rapport Nursing in Shul: A Halachically Informed Perspective . 208 Michal Loving Can We Say Mourner’s Kaddish in Cases of Miscarriage, Stillbirth, and Nefel? . 215 Jeremy R.
    [Show full text]
  • Yehuda Poliker Is One of Israel’S Premier and Most Important Artist of All Times
    Yehuda Poliker is one of Israel’s premier and most important artist of all times. With a career that spans over 40 years, Poliker’s songs became a cornerstone of Israeli music and redefined Israeli contemporary pop/rock with his unique combination of electric guitars and bouzouki with Greek-Mediterranean rhythms and a rock flavor. All of Poliker’s albums achieved gold and platinum status and in 2012 Yehuda Poliker received the Life Time Achievement Award for his contribution to Israeli Culture. In his new show Yehuda Poliker, accompanied by 9 of Israel’s most talented musicians, is performing all the greatest hits from the early days of “Benzin” to the Greek classics from “Enayim Sheli” and to the latest 2014 album “Dreams Museum”. This show is a must see for anyone that loves Israeli music, Rock music and Mediterranean music and especially for those who admire the musical magic of the melting pot of Israel. “For three hours he turned the Caesarea Amphitheatre into a tremendous celebrations, with his world class production. The most Israeli artist is presenting the best most valuable performance in Israel.” Amit Salonim— Mako “From a Greek “Hafla” to a Rock Party, Poliker is one of the few that is blessed with an audience that will run to see him in any version. In this new tour he is sharp, warm and more exciting than ever before”. Amir Schwartz - Yediot Acharont DISCOGRAPHY Biography Yehuda Poliker was born in Kiryat Haim to Holocaust survivors from Salonika, Greece. As a teenager, Poliker played in several bands, such as FBI, HaNamerim (the Leopards), and Bareket.
    [Show full text]
  • Black Circle Song Catalogue
    Black Circle Song Catalogue Ten Vitalogy Yield Riot Act Pearl Jam L. Bolt Singles / G. Hits Other Bands Hunger Strike Once Last Exit Brain of J. Can't Keep Gone Mind Your Manners Breath Rockin’In The Free World Even Spin the Black Faithful Save You Come Back Sirens I Got ID Love Reign Oér Me Flow Circle Given to Fly Love Boat Captain Inside Job Sleeping By Myself Can't Deny Me Baba O'Riley Alive Not For You Wishlist Ghost Future Days State of Love and Breed Why Go Tremor Christ Do THe Evolution I Am Mine Infallible Trust Heart-Shaped Box Black Nothingman Low Light Thumbing My Way Them Bones Jeremy Whipping In Hiding ½ Full Would? Oceans Corduroy All Those Yesterdays All or None Black Hole SUn Porch Satan's Bed Comfortably Numb Deep Better Man Little Wing Garden Immortality I Believe in Miracles Release You've got to Hide Your Love away Go Sometimes Light Years Sad The Fixer Comes Then Goes Sleepless Nights Low Light Ceiling Animal Hail, Hail Thin Air Leaving Here Just Breathe Superblood Setting Forth Of The Light Daughter Smile Insignificance Yellow Ledbetter Amongst the Wolfmoon Rise Pages Glorified G Off He Goes Hard to Imagine Waves Dance of The Hard Sun DIsarray Dissident Red Mosquito Wash Unthought Clairvoyants Society Penguins and Butterflies W.M.A Present Tense Known Quick Escape Guaranteed Autumn Theory Blood The End Divide Rearviewmirror Never Thought I Would Rats Drive Home in the Rain Small Town Leash Indifference Crazy Mary Vs. No Code Binaural Lost Dogs Backspacer Gigaton Vedder Black Circle.
    [Show full text]
  • June 8, 2014 Biographies of Honorary Doctorate Recipients GAIL ASPER
    Hebrew University of Jerusalem Convocation Ceremony: June 8, 2014 Biographies of Honorary Doctorate Recipients GAIL ASPER OC OM A community leader and role model, Gail Asper continues to work tirelessly to enhance the world in which she lives. As President and a Trustee of the Asper Foundation, she is a driving force behind projects in Canada and Israel and spearheaded the creation of the Canadian Museum of Human Rights in Winnipeg, Manitoba. Her commitment to the Hebrew University ranges from serving on the Board of Governors to being a member of the Canadian Friends National Board. The Asper Centre for Entrepreneurship at the School of Business Administration continues to flourish thanks to the support of the Asper Foundation; in addition Gail is passionate about student support, the Rothberg International School and the Institute for Medical Research Israel-Canada. Gail received her law degree from the University of Manitoba in 1984, and joined Canwest Global Communications Corporation as General Counsel and Corporate Secretary in 1989, a position she held until 2008. She is currently President of the Canwest Foundation. Today Gail’s community involvement includes numerous positions to which she brings her passion and dedication. Daughter of the late Izzy Asper, she realized his dream to build the Canadian Museum of Human Rights, serving as a member of its inaugural Board and as Chair of its National Campaign. She is Director Emerita of the Centre for Cultural Management at the University of Waterloo and is a past Chair of the Board of Directors of the United Way of Winnipeg. Gail has also served on many boards within the Winnipeg Jewish Community.
    [Show full text]