Acknowledgements |
|
ix | |
Preface |
|
xi | |
|
|
1 | (8) |
|
1.1 The challenges of talking about wine |
|
|
4 | (3) |
|
1.2 Aims and overview of this book |
|
|
7 | (2) |
|
Chapter 2 Exploring sensory meanings |
|
|
9 | (20) |
|
|
10 | (3) |
|
|
13 | (5) |
|
2.3 Communicating sensory experiences: Social cognition and genre |
|
|
18 | (2) |
|
2.4 The data used in this book |
|
|
20 | (9) |
|
2.4.1 Criteria for the General Corpus: Sources and TNs |
|
|
22 | (3) |
|
2.4.2 Treatment of the General Corpus |
|
|
25 | (1) |
|
2.4.3 Building the multimodal, promotional corpora |
|
|
26 | (1) |
|
2.4.3.1 Corpora of marketing strategies |
|
|
26 | (1) |
|
2.4.3.2 Corpus of documentaries about wine |
|
|
27 | (2) |
|
Chapter 3 From tasting to reviewing |
|
|
29 | (22) |
|
|
30 | (2) |
|
3.2 Transforming sensory experiences into sensory language |
|
|
32 | (3) |
|
3.3 Describing wine through analytical schemas |
|
|
35 | (5) |
|
|
35 | (3) |
|
3.3.2 The Wine and Spirit Education Trust (WSET) system |
|
|
38 | (2) |
|
|
40 | (11) |
|
3.4.1 The form and function of tasting notes |
|
|
41 | (6) |
|
3.4.2 Types of tasting notes |
|
|
47 | (4) |
|
Chapter 4 Descriptors of wine across the senses |
|
|
51 | (20) |
|
4.1 The many words for wine |
|
|
51 | (7) |
|
|
54 | (4) |
|
4.2 Sensations construed as properties and objects through language |
|
|
58 | (6) |
|
4.3 Cross-sensory descriptors: Synaesthesia and syncretism |
|
|
64 | (6) |
|
|
70 | (1) |
|
|
71 | (28) |
|
5.1 The metaphorical nature of winespeak |
|
|
72 | (3) |
|
5.2 Process-focused metaphors: Winemaking and related practices |
|
|
75 | (5) |
|
5.2.1 Combining parts into a whole: The craft of winemaking |
|
|
76 | (2) |
|
5.2.2 Raising wines: Organic metaphors for winemaking |
|
|
78 | (2) |
|
5.3 Product-focused metaphors: The structure and behaviour of wine |
|
|
80 | (11) |
|
5.3.1 Wine's state and performance: Organic metaphors |
|
|
82 | (5) |
|
5.3.2 Wine's make up: Inorganic metaphors |
|
|
87 | (4) |
|
5.4 The dynamics of wine: Motion language in TNs |
|
|
91 | (6) |
|
5.4.1 Motion metaphors in TNs |
|
|
95 | (2) |
|
|
97 | (2) |
|
Chapter 6 The grading and evaluation of presence |
|
|
99 | (24) |
|
6.1 Noticing and assessing presence in wine |
|
|
100 | (13) |
|
6.1.1 The vocabulary of presence (and absence) |
|
|
104 | (4) |
|
6.1.2 The vocabulary of quantity |
|
|
108 | (3) |
|
6.1.3 The vocabulary of range |
|
|
111 | (2) |
|
6.2 Expressing intensity and persistence in wine |
|
|
113 | (2) |
|
6.3 Assessing the quality of presence through motion |
|
|
115 | (7) |
|
6.3.1 Presence dimensions and motion |
|
|
116 | (2) |
|
6.3.2 Intensity and persistence through motion |
|
|
118 | (4) |
|
|
122 | (1) |
|
Chapter 7 Rhetorical strategies to achieve credibility in wine assessment |
|
|
123 | (20) |
|
7.1 The representation of the events described in wine reviews |
|
|
124 | (1) |
|
7.2 The horizontal axis: The different events |
|
|
125 | (12) |
|
7.2.1 The production event |
|
|
126 | (2) |
|
|
128 | (6) |
|
7.2.3 The consumption event |
|
|
134 | (3) |
|
7.3 The vertical axis: Space, time and source of knowledge |
|
|
137 | (4) |
|
7.3.1 Activities and participants |
|
|
137 | (2) |
|
|
139 | (1) |
|
7.3.3 Source of evidence and modes of knowing |
|
|
140 | (1) |
|
|
141 | (2) |
|
Chapter 8 The market individuation of wine |
|
|
143 | (16) |
|
8.1 The marketing of wine |
|
|
143 | (2) |
|
8.2 Choosing names for wines |
|
|
145 | (5) |
|
8.2.1 Literal naming strategies |
|
|
146 | (1) |
|
8.2.2 Metaphorical naming strategies |
|
|
147 | (3) |
|
|
150 | (8) |
|
|
151 | (2) |
|
|
153 | (5) |
|
|
158 | (1) |
|
Chapter 9 Advertising wine |
|
|
159 | (24) |
|
9.1 Literal strategies in wine advertising |
|
|
161 | (3) |
|
|
161 | (1) |
|
9.1.2 The process of making wine |
|
|
162 | (1) |
|
9.1.3 The consumption of wine |
|
|
163 | (1) |
|
9.2 Metaphorical strategies in wine advertising |
|
|
164 | (5) |
|
9.2.1 Personification: Depicting wines as human beings |
|
|
165 | (2) |
|
9.2.2 Wines as three-dimensional artefacts |
|
|
167 | (2) |
|
9.3 Problematics of wine adverts in the theoretical framework |
|
|
169 | (6) |
|
|
170 | (2) |
|
9.3.2 Contextual metaphor |
|
|
172 | (1) |
|
|
173 | (1) |
|
9.3.4 Integrated metaphor? |
|
|
174 | (1) |
|
|
175 | (4) |
|
|
179 | (4) |
|
Chapter 10 Documenting wine in film |
|
|
183 | (24) |
|
|
184 | (1) |
|
10.2 Singularizing strategies in wine documentaries |
|
|
185 | (5) |
|
10.2.1 The intrinsic value of wine |
|
|
185 | (2) |
|
10.2.2 Adding value to wine |
|
|
187 | (3) |
|
10.3 The form and function of figurative language in documentaries |
|
|
190 | (8) |
|
|
191 | (1) |
|
10.3.1.1 Wine as child of winemaker |
|
|
191 | (2) |
|
|
193 | (1) |
|
|
193 | (1) |
|
10.3.2 Ingredient for a recipe |
|
|
194 | (2) |
|
10.3.3 Assorted wine metaphors |
|
|
196 | (1) |
|
10.3.4 Other verbal metaphors |
|
|
196 | (1) |
|
10.3.5 Other language resources |
|
|
197 | (1) |
|
10.4 Monomodal and multimodal metaphors in documentaries |
|
|
198 | (6) |
|
10.4.1 Monomodal metaphors in documentaries |
|
|
199 | (3) |
|
10.4.2 Multimodal metaphors in documentaries |
|
|
202 | (1) |
|
10.4.3 Montage: Structure as metaphor |
|
|
203 | (1) |
|
|
204 | (3) |
|
|
207 | (12) |
|
11.1 Afterword: De gustibus non est disputandum |
|
|
209 | (10) |
References |
|
219 | (12) |
Index |
|
231 | |