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E-raamat: Representing Wine - Sensory Perceptions, Communication and Cultures

(Universidad de Castilla-La Mancha), (Universidad de Castilla-La Mancha), (Lund University)
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"Wine culture is a complex phenomenon of increasing importance in modern society, and it combines the joys of wine appreciation with the frustrations of trying to verbally communicate sensory impressions. While wine appreciation is traditionally characterized as joyously convivial in its social dimension, sensory impressions remain eminently private. This contrast explains why the language used to represent wine, or winespeak, is the object of increasing crossdisciplinary interest. This book analyzes themany different forms / many of the different forms of representing wine in present-day society, with a special emphasis on winespeak, starting from the premise that such study demands a genre approach to the many different communities involved in the wine world: producers/ critics/ merchants/ consumers. By combining the methodologies of Cognitive Linguistics and discourse analysis, the authors analyze extensive real-life corpora of wine reviews and multimodal artifacts (labels, advertisements, documentaries) to reflect on the many inherent difficulties but also to highlight the rich and creative figurative strategies employed to compensate for the absence of a proper wine jargon of a more unambiguous nature"--

Wine culture is a complex phenomenon of increasing importance in modern society, and it combines the joys of wine appreciation with the frustrations of trying to verbally communicate sensory impressions. While wine appreciation is traditionally characterized as joyously convivial in its social dimension, sensory impressions remain eminently private. This contrast explains why the language used to represent wine, or winespeak, is the object of increasing crossdisciplinary interest.
This book analyzes the many different forms / many of the different forms of representing wine in present-day society, with a special emphasis on winespeak, starting from the premise that such study demands a genre approach to the many different communities involved in the wine world: producers/ critics/ merchants/ consumers. By combining the methodologies of Cognitive Linguistics and discourse analysis, the authors analyze extensive real-life corpora of wine reviews and multimodal artifacts (labels, advertisements, documentaries) to reflect on the many inherent difficulties but also to highlight the rich and creative figurative strategies employed to compensate for the absence of a proper wine jargon of a more unambiguous nature.

Arvustused

Representing Wine is an interesting piece of research that certainly holds a great number of insights into wine language, metaphor theory, and how the process of drinking is put into words. -- Peter Backhaus, Waseda University, on Linguist List 31.1813 (1 June 2020)

Acknowledgements ix
Preface xi
Chapter 1 Winespeak
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)
2.1 Sensuous cognition
10(3)
2.2 Sensuous language
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)
3.1 The tasting event
30(2)
3.2 Transforming sensory experiences into sensory language
32(3)
3.3 Describing wine through analytical schemas
35(5)
3.3.1 The Aroma Wheel
35(3)
3.3.2 The Wine and Spirit Education Trust (WSET) system
38(2)
3.4 The tasting note
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)
4.1.1 Metonymy
54(4)
4.2 Sensations construed as properties and objects through language
58(6)
4.3 Cross-sensory descriptors: Synaesthesia and syncretism
64(6)
4.4 Summary
70(1)
Chapter 5 Metaphor
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)
5.5 Summary
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)
6.4 Summary
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)
7.2.2 The tasting event
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)
7.3.2 Space and time
139(1)
7.3.3 Source of evidence and modes of knowing
140(1)
7.4 Summary
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)
8.3 Packaging wine
150(8)
8.3.1 Wine bottles
151(2)
8.3.2 Wine labels
153(5)
8.4 Summary
158(1)
Chapter 9 Advertising wine
159(24)
9.1 Literal strategies in wine advertising
161(3)
9.1.1 The origin of wine
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)
9.3.1 Pictorial simile
170(2)
9.3.2 Contextual metaphor
172(1)
9.3.3 Hybrid metaphor
173(1)
9.3.4 Integrated metaphor?
174(1)
9.4 Synaesthesia
175(4)
9.5 Summary
179(4)
Chapter 10 Documenting wine in film
183(24)
10.1 Wine documentaries
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)
10.3.1 Personification
191(1)
10.3.1.1 Wine as child of winemaker
191(2)
10.3.1.2 Expressiveness
193(1)
10.3.1.3 Gender
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)
10.5 Summary
204(3)
Chapter 11 Final remarks
207(12)
11.1 Afterword: De gustibus non est disputandum
209(10)
References 219(12)
Index 231