Victoria M Grieve
Biographic Data
| ID | 3978768 |
|---|---|
| NAME | Victoria M Grieve |
| GIVEN NAMES | Victoria M |
| FAMILY NAME | Grieve |
| SIGNATURE | GRIEVE V M |
| AFFILIATIONS | Utah State University |
| VERIFIED | No |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 10 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2006 |
| LATEST PUBLICATION YEAR | 2018 |
| H-INDEX | 0 |
Little Cold Warriors
American children’s experiences during the Cold War were complex. Both conservative and liberal Baby Boomers have romanticized the 1950s as an age of innocence, but these nostalgic narratives obscure many other histories of postwar childhood, one of which has more in common with the war years and the Sixties, when children were mobilized and politicized by the US government, private corporations, and individual adults to fight the Cold War both a…
The Accidental Political Advantages of a Nonpolitical Book Program
In the early years of the Cold War, the US government devoted substantial energy and funds to using books as weapons against the Soviet Union. Books and the principles they represented were to counter Soviet accusations of American materialism and spread American ideals around the globe. Founded in 1952, Franklin Books Program, Inc. was a gray propaganda program that operated at the nexus of US public–private cultural diplomacy efforts. USIA bure…
Conclusion
Throughout the twentieth century, children had become important symbolic representations to justify war, peace, humanitarian aid, and government intervention. But the Cold War, the global struggle between the United States and the Soviet Union following World War II, politicized children in new ways. Children themselves became political actors, cultural ambassadors, and semi-official diplomats of both nations. Government propaganda, private adver…
A Small Paintbrush in the Hands of a Small Child
Children’s art became a powerful weapon in America’s Cold War arsenal. Through art exchange programs like Art for World Friendship, American children functioned as cultural ambassadors as their assumed innocence came to symbolize national innocence. Children’s art functioned as propaganda and public relations, a tool of statecraft, and a means of citizen education. But peace activists and educators also encouraged children’s cultural diplomacy th…
The Cold War in the Schools
The Cold War experiences of America’s schoolchildren are often summed up by quick references to “duck and cover,” a problematic simplification that reduces children to victims in need of government protection. By looking at a variety of school experiences—classroom instruction, federal and voluntary programs, civil defense and opposition to it, as well as world friendship outreach—it is clear that children experienced the Cold War in their school…
Isadora Anderson Helfgott. Framing the Audience
The Metropolitan Museum of Art reported that more than eight million Americans lined up to see The Treasures of Tutankhamun exhibition between 1976 and 1979 (http://libmma.org/digital_files/archives/MacManus_Tu tankhamun_records_b18131165.pdf). To 1930s advocates of cultural democracy, such an enormous audience would have been a dream come true. But as Isadora Anderson Helfgott argues in Framing the Audience: Art and the Politics of Culture in th…
Visualizing New Deal Debates
This article examines the use of the image of the “big stick” in the context of the New Deal. I argue that the conservative press in the 1930s used the image to mobilize historical memories of over-reaching executive power and a growing federal government under Teddy Roosevelt to “explain” Franklin Roosevelt in 1932. Further, the “big stick” was used to accuse FDR of a drive for dictatorial power during his attempt to reorganize the Supreme Court…
Things American
Journal Article Things American: Art Museums and Civic Culture in the Progressive Era Get access Things American: Art Museums and Civic Culture in the Progressive Era. By Jeffrey Trask. (Philadelphia: University of Pennsylvania Press, 2012. xii, 296 pp. $39.95.) Victoria M. Grieve Victoria M. Grieve Utah State UniversityLogan Utah [email protected] Search for other works by this author on: Oxford Academic Google Scholar Journal of American …
“Work That Satisfies the Creative Instinct”
Traditional historical interpretations of Eleanor Roosevelt typically emphasize her idealistic yet practical approach to social and political problems. This analysis risks oversimplifying Roosevelt’s understanding of political solutions and commitment to reform. A proponent of the arts and crafts, Roosevelt recognized the economic contributions of domestic handicrafts, but she insisted that their benefits surpassed social and economic improvement…
Art as History
Modern art can offer a unique perspective on twentieth-century western history, challenging viewers' expectations and encouraging them to imagine a different West, or different Wests. The collection of the Nora Eccles Harrison Museum of Art at Utah State University highlights some little-known but important twentieth-century artists
No prominent works on this page.
Art as History
Modern art can offer a unique perspective on twentieth-century western history, challenging viewers' expectations and encouraging them to imagine a different West, or different Wests. The collection of the Nora Eccles Harrison Museum of Art at Utah State University highlights some little-known but important twentieth-century artists
“Work That Satisfies the Creative Instinct”
Traditional historical interpretations of Eleanor Roosevelt typically emphasize her idealistic yet practical approach to social and political problems. This analysis risks oversimplifying Roosevelt’s understanding of political solutions and commitment to reform. A proponent of the arts and crafts, Roosevelt recognized the economic contributions of domestic handicrafts, but she insisted that their benefits surpassed social and economic improvement…
Things American
Journal Article Things American: Art Museums and Civic Culture in the Progressive Era Get access Things American: Art Museums and Civic Culture in the Progressive Era. By Jeffrey Trask. (Philadelphia: University of Pennsylvania Press, 2012. xii, 296 pp. $39.95.) Victoria M. Grieve Victoria M. Grieve Utah State UniversityLogan Utah [email protected] Search for other works by this author on: Oxford Academic Google Scholar Journal of American …
Visualizing New Deal Debates
This article examines the use of the image of the “big stick” in the context of the New Deal. I argue that the conservative press in the 1930s used the image to mobilize historical memories of over-reaching executive power and a growing federal government under Teddy Roosevelt to “explain” Franklin Roosevelt in 1932. Further, the “big stick” was used to accuse FDR of a drive for dictatorial power during his attempt to reorganize the Supreme Court…
Isadora Anderson Helfgott. Framing the Audience
The Metropolitan Museum of Art reported that more than eight million Americans lined up to see The Treasures of Tutankhamun exhibition between 1976 and 1979 (http://libmma.org/digital_files/archives/MacManus_Tu tankhamun_records_b18131165.pdf). To 1930s advocates of cultural democracy, such an enormous audience would have been a dream come true. But as Isadora Anderson Helfgott argues in Framing the Audience: Art and the Politics of Culture in th…
Little Cold Warriors
American children’s experiences during the Cold War were complex. Both conservative and liberal Baby Boomers have romanticized the 1950s as an age of innocence, but these nostalgic narratives obscure many other histories of postwar childhood, one of which has more in common with the war years and the Sixties, when children were mobilized and politicized by the US government, private corporations, and individual adults to fight the Cold War both a…
The Accidental Political Advantages of a Nonpolitical Book Program
In the early years of the Cold War, the US government devoted substantial energy and funds to using books as weapons against the Soviet Union. Books and the principles they represented were to counter Soviet accusations of American materialism and spread American ideals around the globe. Founded in 1952, Franklin Books Program, Inc. was a gray propaganda program that operated at the nexus of US public–private cultural diplomacy efforts. USIA bure…
Conclusion
Throughout the twentieth century, children had become important symbolic representations to justify war, peace, humanitarian aid, and government intervention. But the Cold War, the global struggle between the United States and the Soviet Union following World War II, politicized children in new ways. Children themselves became political actors, cultural ambassadors, and semi-official diplomats of both nations. Government propaganda, private adver…
A Small Paintbrush in the Hands of a Small Child
Children’s art became a powerful weapon in America’s Cold War arsenal. Through art exchange programs like Art for World Friendship, American children functioned as cultural ambassadors as their assumed innocence came to symbolize national innocence. Children’s art functioned as propaganda and public relations, a tool of statecraft, and a means of citizen education. But peace activists and educators also encouraged children’s cultural diplomacy th…
The Cold War in the Schools
The Cold War experiences of America’s schoolchildren are often summed up by quick references to “duck and cover,” a problematic simplification that reduces children to victims in need of government protection. By looking at a variety of school experiences—classroom instruction, federal and voluntary programs, civil defense and opposition to it, as well as world friendship outreach—it is clear that children experienced the Cold War in their school…
Law (8 works) · Political science (8 works) · Politics (8 works) · History (7 works) · Sociology (7 works) · Communism, Protests, Social Movements (4 works) · Media studies (4 works) · Art history (3 works) · Democracy (3 works) · Educator Training and Historical Pedagogy (3 works)