Bøger af Jonathan Grossman

This book is one of a number in the present series that describe what happened to the U.S. Army in World War II as the result of two prevailing circumstances. One was that the War Department had a vital interest and a leading role in maintaining the production of supplies needed to win the war. The other was that, once organized for war, the War Department and the Army comprised an administrative machine incomparably more efficient for getting things done than any other at the disposal of the President. In both connections Army officers found themselves drawn into the realm of industrial management-one surely remote from the field of battle. A companion volume, The Army and Economic Mobilization, shows how extensively and deeply the War Department became involved in business relationships. The authors of the present volume examine and illustrate the ways in which the Army and its officers dealt with the problems into which they were drawn in dealing with organized labor. Since World War II the Army has become even more deeply involved in relations, present and potential, with industry and industrial management. No officer can therefore afford to overlook the instructive experience that this book recounts.

Ruth: Bridges and Boundaries is a literary close reading of the text as a bridge between the anarchic period of the Judges and the monarchic age that begins with the birth of David, as reflected through Ruth's absorption process within Bethlehemite society. This bridge is constructed from three main axes: the theological perception that human actions have the power to shape and advance reality; the moral-legal perception that the spirit of the law must be privileged over the letter of the law and social conventions; and the principle that the institute of monarchy must be based upon human compassion. The commentary traces the narrative sequence through the paradigm of this three-fold cord, showing how these threads are woven throughout the book. This innovative reading is illustrated with an unprecedented psychological analysis of Ruth as a narrative of transition, using modern psychological theories. This contemporary yet textually faithful literary commentary offers new insight into the inner workings of the text of Ruth as literary masterpiece. Academic yet accessible, this work provides tools for readers of Ruth and the field of biblical narrative in general.

Abram to Abraham explores the Abraham saga (11:27-22:24) through a literary lens, following the legendary figure of Abraham as he navigates the arduous odyssey to nationhood. Rather than overlook the textual discrepancies, repetitions and contradictions long noted by diachronic scholars, this study tackles them directly, demonstrating how many problems of the ancient text in fact hold the key to deeper understanding of the narrative and its objectives. Therefore, the book frequently notes the classic division of the text according to primary sources, but offers an alternative, more harmonious reading based on the assumption that the narrative forms a single, intentionally designed unit. The narrative's artistic design is especially evident in its arrangement of the two halves of the story around the protagonists' change of name. The stories of Abram and Sarai in the first half of the cycle (11:27-16:16) are parallel to the stories of Abraham and Sarah in the second half (18:1-22:24). A close reading of this transformation in the biblical narrative illuminates the moral and theological values championed by the figure of Abraham as luminary, soldier, family man, and loyal subject of God.

Using narrative devices such as allusions and free associations, multivalent expressions, and irony, the author of Esther wrote a story that is about a Jewish woman, Esther, during the time of the Persian exile of Yehudites, and the Persian king, Ahasuerus, who was in power at the time. At various junctures, the author also used secret writing, or we could say that he conveys mixed messages: one is a surface message, but another, often conflicting message lies beneath the surface. For instance, the outer portrayal of the king as one of the main protagonists is an ironic strategy used by the author to highlight the king's impotent, indecisive, ?antihero? status. He may wield authority?as symbolized by his twice-delegated signet ring?but he remains powerless. Among all the concealments in the story, the concealment of God stands out as the most prominent and influential example.A growing number of scholars regard the book of Esther as a ?comic diversion,? the function and intention of which are to entertain the reader. However, Grossman is more convinced by Mikhail Bakhtin's approach, and he labels his application of this approach to the reading of Esther as ?theological carnivalesque.? Bakhtin viewed the carnival (or the carnivalesque genre) as a challenge by the masses to the governing establishment and to accepted social conventions. He described the carnival as an eruption of ever-present but suppressed popular sentiments. The connection between the story of Esther and Bakhtin's characterization of the carnivalesque in narrative is evident especially in the book of Esther's use of the motifs of ?reversal? and ?transformation.? For example, the young girl Esther is transformed from an exiled Jewess into a queen in one of the turnabouts that characterize the narrative. Many more examples are provided in this analysis of one of the Bible's most fascinating books.