Representing Wine – Sensory Perceptions, Communication and Cultures

Description

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. Representing Wine - Sensory Perceptions, Communication and Cultures Editorial page Title page Copyright page Table of contents Acknowledgements Preface Chapter 1. Winespeak 1.1 The challenges of talking about wine 1.2 Aims and overview of this book Chapter 2. Exploring sensory meanings 2.1 Sensuous cognition 2.2 Sensuous language 2.3 Communicating sensory experiences: Social cognition and genre 2.4 The data used in this book 2.4.1 Criteria for the General Corpus: Sources and TNs 2.4.2 Treatment of the General Corpus 2.4.3 Building the multimodal, promotional corpora 2.4.3.1 Corpora of marketing strategies 2.4.3.2 Corpus of documentaries about wine Chapter 3. From tasting to reviewing 3.1 The tasting event 3.2 Transforming sensory experiences into sensory language 3.3 Describing wine through analytical schemas 3.3.1 The Aroma Wheel 3.3.2 The Wine and Spirit Education Trust (WSET) system 3.4 The tasting note 3.4.1 The form and function of tasting notes 3.4.2 Types of tasting notes Chapter 4. Descriptors of wine across the senses 4.1 The many words for wine 4.1.1 Metonymy 4.2 Sensations construed as properties and objects through language 4.3 Cross-sensory descriptors: Synaesthesia and syncretism 4.4 Summary Chapter 5. Metaphor 5.1 The metaphorical nature of winespeak 5.2 Process-focused metaphors: Winemaking and related practices 5.2.1 Combining parts into a whole: The craft of winemaking 5.2.2 Raising wines: Organic metaphors for winemaking 5.3 Product-focused metaphors: The structure and behaviour of wine 5.3.1 Wine’s state and performance: Organic metaphors 5.3.2 Wine’s make up: Inorganic metaphors 5.4 The dynamics of wine: Motion language in TNs 5.4.1 Motion metaphors in TNs 5.5 Summary Chapter 6. The grading and evaluation of presence 6.1 Noticing and assessing presence in wine 6.1.1 The vocabulary of presence (and absence) 6.1.2 The vocabulary of quantity 6.1.3 The vocabulary of range 6.2 Expressing intensity and persistence in wine 6.3 Assessing the quality of presence through motion 6.3.1 presence dimensions and motion 6.3.2 intensity and persistence through motion 6.4 Summary Chapter 7. Rhetorical strategies to achieve credibility in wine assessment 7.1 The representation of the events described in wine reviews 7.2 The horizontal axis: The different events 7.2.1 The production event 7.2.2 The tasting event 7.2.3 The consumption event 7.3 The vertical axis: Space, time and source of knowledge 7.3.1 Activities and participants 7.3.2 Space and time 7.3.3 Source of evidence and modes of knowing 7.4 Summary Chapter 8. The market individuation of wine 8.1 The marketing of wine 8.2 Choosing names for wines 8.2.1 Literal naming strategies 8.2.2 Metaphorical naming strategies 8.3 Packaging wine 8.3.1 Wine bottles 8.3.2 Wine labels 8.4 Summary Chapter 9. Advertising wine 9.1 Literal strategies in wine advertising 9.1.1 The origin of wine 9.1.2 The process of making wine 9.1.3 The consumption of wine 9.2 Metaphorical strategies in wine advertising 9.2.1 Personification: Depicting wines as human beings 9.2.2 Wines as three-dimensional artefacts 9.3 Problematics of wine adverts in the theoretical framework 9.3.1 Pictorial simile 9.3.2 Contextual metaphor 9.3.3 Hybrid metaphor 9.3.4 Integrated metaphor? 9.4 Synaesthesia 9.5 Summary Chapter 10. Documenting wine in film 10.1 Wine documentaries 10.2 Singularizing strategies in wine documentaries 10.2.1 The intrinsic value of wine 10.2.2 Adding value to wine 10.3 The form and function of figurative language in documentaries 10.3.1 Personification 10.3.1.1 Wine as child of winemaker 10.3.1.2 Expressiveness 10.3.1.3 Gender 10.3.2 Ingredient for a recipe 10.3.3 Assorted wine metaphors 10.3.4 Other verbal metaphors 10.3.5 Other language resources 10.4 Monomodal and multimodal metaphors in documentaries 10.4.1 Monomodal metaphors in documentaries 10.4.2 Multimodal metaphors in documentaries 10.4.3 Montage: Structure as metaphor 10.5 Summary Chapter 11. Final remarks 11.1 Afterword: De gustibus non est disputandum References Index