Publications

Peer-Reviewed

“Bacchus among the Blackshirts: Winemaking, Consumerism, and Identity in Fascist Italy,” Contemporary European History (forthcoming).

“In November 1933, an extraordinary paperback appeared on the shelves of Italy’s bookstores and newspaper kiosks. Titled L’arte di bere (The Art of Drinking), Umberto Notari’s ‘fictional essay on economics’ addressed the origins, as well as the various solutions to, what many contemporary observers considered to be Italy’s ‘wine crisis.'”

 

Editorships

Co-edited with Kashia Amber Arnold and Timothy Paulson
Food Fights: The Politics of Provisions in Global Perspective,” Zapruder World: An International Journal for the History of Social Conflict No. 5 (2019).

“On the morning of December 17, 2010, Mohammed Bouazizi—a self-employed, unlicensed fruit vendor from the impoverished suburbs of Sidi Bouzid, Tunisia—approached the headquarters of his city’s provincial governor, doused himself with paint thinner, and set himself on fire.”

 

Public Engagement

“‘Chi ne beve giusto è un leone’: anti-alcoolismo, vitivinicoltura, e la realizzazione di una bevanda nazionale nell’Italia fascista,” La Vigna News: pubblicazione trimestrale della Biblioteca Internazionale La Vigna 9:35 (dicembre 2016): 26-50.

“Nel 1932, Tomaso Giacalone Monaco, economista veneziano e attivo sostenitore dell’industria enologica italiana tra le due guerre mondiali, articolava una strategia particolarmente ambiziosa per stabilire una collaborazione costruttiva tra la dittatura fascista di Benito Mussolini e la vitivinicoltura italiana. Le organizzazioni anti-alcoolismo italiane, sosteneva Giacalone Monaco, ‘sono dei socialisti e dei comunisti mascherati,’ i ‘superstiti fortunati’ dei ‘seguaci dei metodi ciarlataneschi e subdoli che fino al 1919 si applicavano nelle famigerate camere del lavoro.'”

“Cultivating Fascism: Winemaking and Making Italians in Fascist Italy,” Perspectives on Europe 46:1 (Spring 2016): 88-92.

“During its two decades in power, Mussolini’s regime established protected winemaking appellations (Chianti Classico, 1932-present), inaugurated grape- and wine-themed popular festivals (National Festival of the Grape, 1930-present), significantly expanded grape vine cultivation in Italy and in its Mediterranean colonies, and marketed the peninsula’s typical wines (vini tipici) to domestic and foreign consumers.”

 

Pedagogy

Co-authored with Sarah A. Curtis and Jason Lahman
Blogging in the Classroom: Using a Blog as a Supplemental Resource,” Perspectives on History: The Newsmagazine of the American Historical Association 50:4 (April 2012): 20-22.

“History is brought to life in the classroom through more than just the discussion of classic texts. Although historians still rely on the written word as their main type of primary source, they are increasingly using other types of sources to shed light on the past. The blog allows the instructor to introduce his or her students to this same process of discovery across the disciplines.”

 

Reviews

Review of The History Harvest (Department of History, University of Nebraska, Lincoln), The Public Historian 41:3 (August 2019), pp. 160-163.

“While many Omeka-supported Open Access digital archives, exhibits, and collections are well worth exploring, one of the most noteworthy examples of the conjoining of technology with historical preservation and public engagement is the University of Nebraska- Lincoln’s (UN-L) public history and ‘digital learning initiative,’ The History Harvest.”

Review of Representing Italy through Food (London: Bloomsbury Academic Press, 2017), Food, Culture & Society: An International Journal of Multidisciplinary Research 21:3 (April 2018): 419-420.

“For scholars of Italian history and culture, Representing Italy through Food, edited by Peter Naccarato, Zachary Nowak and Elgin K. Eckert, will be a welcome contribution. Originating in a 2012 conference at The Umbra Institute in Perugia, Italy, this anthology explores ‘how representations of Italian food and foodways construct, promote, and/or challenge historically and ideologically specific images of Italy and Italian culture’ (6).”