Victoria Johnson – författare

A Crash Course in Writing Powerful, Persuasive Grants!

"Grant Writing 101 provides straightforward and effective strategies for improving results. It is a wonderful reference guide for experienced fundraisers and an invaluable 'how-to' manual for those starting their careers."—Emmett D. Carson, Ph.D., CEO and President, Silicon Valley Community Foundation

"This new book is an essential tool in helping nonprofits manage grant writing by keeping it simple, easy, and enjoyable!"—Barb Larson, CEO, American Red Cross, Silicon Valley

Grant Writing 101 offers quick and easy tactics for getting the funding you need—right now!

Written to enable beginners with little or no experience to hit the ground running, it covers:

Ten tactics for writing a compelling proposalTips for finding the best grantor for your needsImportant components of various types of grantsNext steps for when you're approved

Includes samples of grant proposals and budget presentations!

How Many Machine Guns Does It Take to Cook One Meal? explores the cultural forces that shaped two pivotal events affecting the entire West Coast: the 1919 Seattle General Strike and the 1934 San Francisco General Strike. In contrast to traditional approaches that downplay culture or focus on the role of socialists or communists, Victoria Johnson shows how strike participants were inspired by distinctly American notions of workplace democracy that can be traced back to the political philosophies of Thomas Jefferson and Thomas Paine.Johnson examines the powerful stories and practices from our own egalitarian traditions that resonated with these workers and that have too often been dismissed by observers of the American labor movement. Ultimately, she argues that organized labor's failure to draw on these traditions in later decades contributed to its decreasing capacity to mobilize workers as well as to the increasing conservatism of American political culture.This book will appeal to scholars of western and labor history, sociology, and political science, as well as to anyone interested in the intersection of labor and culture.

How Many Machine Guns Does It Take to Cook One Meal? explores the cultural forces that shaped two pivotal events affecting the entire West Coast: the 1919 Seattle General Strike and the 1934 San Francisco General Strike. In contrast to traditional approaches that downplay culture or focus on the role of socialists or communists, Victoria Johnson shows how strike participants were inspired by distinctly American notions of workplace democracy that can be traced back to the political philosophies of Thomas Jefferson and Thomas Paine.Johnson examines the powerful stories and practices from our own egalitarian traditions that resonated with these workers and that have too often been dismissed by observers of the American labor movement. Ultimately, she argues that organized labor's failure to draw on these traditions in later decades contributed to its decreasing capacity to mobilize workers as well as to the increasing conservatism of American political culture.This book will appeal to scholars of western and labor history, sociology, and political science, as well as to anyone interested in the intersection of labor and culture.

This edited volume brings together academic specialists writing on the multi-media operatic form from a range of disciplines: comparative literature, history, sociology, and philosophy. The presence in the volume's title of Pierre Bourdieu, the leading cultural sociologist of the late twentieth century, signals the editors' intention to synthesise advances in social science with advances in musicological and other scholarship on opera. Through a focus on opera in Italy and France, the contributors to the volume draw on their respective disciplines both to expand our knowledge of opera's history and to demonstrate the kinds of contributions that stand to be made by different disciplines to the study of opera. The volume is divided into three sections, each of which is preceded by a concise and informative introduction explaining how the chapters in that section contribute to our understanding of opera.

This edited volume brings together academic specialists writing on the multi-media operatic form from a range of disciplines: comparative literature, history, sociology, and philosophy. The presence in the volume's title of Pierre Bourdieu, the leading cultural sociologist of the late twentieth century, signals the editors' intention to synthesise advances in social science with advances in musicological and other scholarship on opera. Through a focus on opera in Italy and France, the contributors to the volume draw on their respective disciplines both to expand our knowledge of opera's history and to demonstrate the kinds of contributions that stand to be made by different disciplines to the study of opera. The volume is divided into three sections, each of which is preceded by a concise and informative introduction explaining how the chapters in that section contribute to our understanding of opera.

This book updates and adds to the classic Social Movements of the Sixties and Seventies, showing how social movement theory has grown and changed—from an earlier emphasis on collective behavior, to the resource mobilization approach, and currently to analyses that emphasize culture, ideology, and collective identity. Top social scientists combine insiders' insights with critical analyses to examine a wide variety of social movements active in the most recent U.S. cycle of protest. Waves of Protest is a must-read for students of social movements, social change, political sociology, and American studies.

This book updates and adds to the classic Social Movements of the Sixties and Seventies, showing how social movement theory has grown and changed—from an earlier emphasis on collective behavior, to the resource mobilization approach, and currently to analyses that emphasize culture, ideology, and collective identity. Top social scientists combine insiders' insights with critical analyses to examine a wide variety of social movements active in the most recent U.S. cycle of protest. Waves of Protest is a must-read for students of social movements, social change, political sociology, and American studies.

When Dr David Hosack tilled the America’s first botanical garden in the Manhattan soil more than two hundred years ago, he didn’t just dramatically alter the New York landscape; he left a monumental legacy of advocacy for public health and wide-ranging support for the sciences. A charismatic dreamer admired by the likes of Jefferson, Madison and Humboldt, and intimate friends with both Hamilton and Burr, the Columbia professor devoted his life to inspiring Americans to pursue medicine and botany with a rigour to rival Europe’s. Though he was shoulder-to-shoulder with the founding fathers Hosack and his story remain unknown. Now, in melodic prose, Victoria Johnson eloquently chronicles Hosack’s tireless career to reveal the breadth of his impact.

When Dr David Hosack tilled the America’s first botanical garden in the Manhattan soil more than two hundred years ago, he didn’t just dramatically alter the New York landscape; he left a monumental legacy of advocacy for public health and wide-ranging support for the sciences. A charismatic dreamer admired by the likes of Jefferson, Madison and Humboldt, and intimate friends with both Hamilton and Burr, the Columbia professor devoted his life to inspiring Americans to pursue medicine and botany with a rigour to rival Europe’s. Though he was shoulder-to-shoulder with the founding fathers Hosack and his story remain unknown. Now, in melodic prose, Victoria Johnson eloquently chronicles Hosack’s tireless career to reveal the breadth of his impact.

From the author of American Eden—finalist for the Pulitzer Prize, the National Book Award, and more—comes a sweeping, richly researched biography of Frederic Church, the great 19th-century American artist whose stunning paintings of remote lands and seas thrilled American audiences and put the young republic on the map of world culture—published on Church’s bicentennial. “They came to see the world.” New York, spring 1859. Outside Frederic Church’s Tenth Street studio, men and women amassed by the thousands hoping for a glimpse of his magnificent Heart of the Andes: a painting whose sublime, ‘near supernatural’ rendering of the vast Andean landscape encountered on the artist’s recent travels introduced thousands of Americans to the fierce, majestic beauty of the far-flung wildernesses of the globe. Frederic Church brought the world to America, and America into the world. Cementing the United States as a cultural and artistic force a full century before America’s Abstract Impressionists rose to prominence, Church’s bold paintings composed odes in color, shadow, and light to natural places near and far: the lush jungles of South America and immense icebergs of Newfoundland where he journeyed as a young man; the Syrian deserts and ancient, ruined cities where he and his wife traveled following the devastating loss of their two young children; the verdant, luminous valley around the Hudson where Church first studied painting and where he returned and established his estate, Olana, whose landscape itself became a work of art. Deeply influenced by the work of Alexander von Humboldt, Church conjured a vision of the natural world as a place of communion with creation. Church charted, across the latter half of the 19th century, a career that both inhabited and gave shape to the artistic, cultural, and political crosscurrents of his day. Through a close examination of Church's letters, sketches, paintings, and diaries, and traveling in Church's footsteps to Egypt, the Andes, Petra, Jamaica, and Jerusalem, Johnson traces the path not only of one man’s life, but of a country swept up in an era of vast and vertiginous change. Church worked and lived in New York in the city’s formative years. He was a founder of its first great museum, the Met, and in paintings, not in words, he conveyed his passion for the exquisite natural beauty of the United States, but also for a Union free of slavery. He gave Americans visions of the majesty of their own new country and of the wonders of worlds only to be seen in paintings by this astonishing adventurer and artist. Church was a master artist and innovator, turning landscape painting into a portrait of a nation, and in the process, putting American art on the map of the world. Glorious Country is a book, Johnson writes, “about how we see and what we save.”