Description: A fascinating deep dive into the colonial roots of the global wine industry. Imperial Wine is a bold, rigorous history of Britain’s surprising role in creating the wine industries of Australia, South Africa, and New Zealand. Here, historian Jennifer Regan-Lefebvre bridges the genres of global commodity history and imperial history, presenting provocative new research in an accessible narrative. This is the first book to argue that today’s global wine industry exists as a result of settler colonialism and that imperialism was central, not incidental, to viticulture in the British colonies. Wineries were established almost immediately after the colonization of South Africa, Australia, and New Zealand as part of a civilizing mission: tidy vines, heavy with fruit, were symbolic of Britain’s subordination of foreign lands. Economically and culturally, nineteenth-century settler winemakers saw the British market as paramount. However, British drinkers were apathetic towards what they pejoratively called “colonial wine.” The tables only began to turn after the First World War, when colonial wines were marketed as cheap and patriotic and started to find their niche among middle- and working-class British drinkers. This trend, combined with social and cultural shifts after the Second World War, laid the foundation for the New World revolution in the 1980s, making Britain into a confirmed country of wine-drinkers and a massive market for New World wines. These New World producers may have only received critical acclaim in the late twentieth century, but Imperial Wine shows that they had spent centuries wooing, and indeed manufacturing, a British market for inexpensive colonial wines. This book is sure to satisfy any curious reader who savors the complex stories behind this commodity chain.





Abstract: What can the analytical framework of settler colonialism contribute to sociological theorizing, research, and overall understanding of the social world? This essay argues that settler colonialism, a distinct social formation with common statuses and predictable dynamics, has much to offer towards new sociological insight regarding the United States. In expanding the scholarly models of colonialism applied to the United States, settler colonial analysis suggests that an underlying logic of Indigenous elimination and settler replacement informs a diverse set of contemporary outcomes and structures. It provides a coherent and overarching framework for explaining such political phenomena as the vigorous presence of “extraconstitutional” tribal governments within the United States, recurrent Native-white conflicts, and the distinctive nature of contemporary Indigenous social and political agency. The essay also analyzes how settler supersession and the desire for Indigenous lands shapes the intensive state management of Indigenous identity, the differing racialization of African Americans and American Indians, and the contrasts between Indigenous and black sociopolitical agendas. Insights from a reconceptualization of the US as a settler colonial society are not limited to a focus on politics, American Indians, race, or the past. The article suggests additional directions for new research that have the potential to reveal contemporary social forces operating at multiple levels and in numerous fields of social action. Finally, the essay offers simple suggestions to sociologists who wish to incorporate settler colonialism in their research and teaching within the discipline or to contribute to interdisciplinary scholarship about American settler colonialism.


Abstract: Theatre and Performance Studies have studied the ways in which theatre and performance act as auxiliaries of hegemonic state power at least since Boal’s Theatre of the Oppressed explored the ways in which classical Greek dramaturgy coerced its audiences into pro-state behavior. Meanwhile, the theatre industry often makes interventions into the White racial hegemony that dominates the United States while in some ways reinstating the very dramaturgies that serve to oppress Indigenous Peoples, Black People, and other People of Color (Holledge & Tompkins, McDonnell). Professional theatre would be well served by looking to the critiques of scholars like Boal as well as Diana Taylor, Jisha Menon, and Rustom Bharucha. These scholars critique theatre outside the United States and since, as Laura Pulido observes, race is experienced locally, a regional analysis of theatre as an auxiliary of White hegemonic state power in the United States is needed. My dissertation focuses on the region directly affected by the California Gold Rush, which includes all of California as well as southwestern Oregon, to demonstrate how theatre participated and continues to participate in the establishment of power that oppresses Blacks, Indigenous Peoples and People of Color. I do so by using eventful historical-sociology (Sewell) to describe the Gold Rush as an event that restructured race in the Gold Rush region, and Qualitative Comparative Analysis (QCA) to compare indicators of white hegemony in Gold Rush plays with plays produced in the same region in 2019. I conclude by offering policy recommendations which range from the industry-specific like emphasizing dramaturgies that highlight non-white histories and increasing access for non-white labor in professional theatre to broader reaching interventions concerning minority language rights for local tribal languages and Spanish.








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