In:Representing Wine – Sensory Perceptions, Communication and Cultures
Rosario Caballero, Ernesto Suárez-Toste and Carita Paradis
[Converging Evidence in Language and Communication Research 21] 2019
► pp. v–viii
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Published online: 21 October 2019
https://doi.org/10.1075/celcr.21.toc
https://doi.org/10.1075/celcr.21.toc
Table of contents
Acknowledgementsix
Prefacexi
Chapter 1.Winespeak1
1.1The challenges of talking about wine4
1.2Aims and overview of this book7
Chapter 2.Exploring sensory meanings9
2.1Sensuous cognition10
2.2Sensuous language and sensuous cognition13
2.3Communicating sensory experiences: Social cognition and genre18
2.4The data used in this book20
2.4.1Criteria for the General Corpus: Sources and TNs22
2.4.2Treatment of the General Corpus25
2.4.3Building the multimodal, promotional corpora26
2.4.3.1Corpora of marketing strategies26
2.4.3.2Corpus of documentaries about wine27
Chapter 3.From tasting to reviewing29
3.1The tasting event30
3.2Transforming sensory experiences into sensory language32
3.3Describing wine through analytical schemas35
3.3.1The Aroma Wheel35
3.3.2The Wine and Spirit Education Trust (WSET) system38
3.4The tasting note40
3.4.1The form and function of tasting notes41
3.4.2Types of tasting notes47
Chapter 4.Descriptors of wine across the senses51
4.1The many words for wine51
4.1.1Metonymy54
4.2Sensations construed as properties and objects through language58
4.3Cross-sensory descriptors: Synaesthesia and syncretism64
4.4Summary70
Chapter 5.Metaphor71
5.1The metaphorical nature of winespeak72
5.2Process-focused metaphors: Winemaking and related practices75
5.2.1Combining parts into a whole: The craft of winemaking76
5.2.2Raising wines: Organic metaphors for winemaking78
5.3Product-focused metaphors: The structure and behaviour of wine80
5.3.1Wine’s state and performance: Organic metaphors82
5.3.2Wine’s make up. Inorganic metaphors87
5.4The dynamics of wine: Motion language in TNs91
5.4.1Motion metaphors in TNs95
5.4Summary97
Chapter 6.The grading and evaluation of presence99
6.1Noticing and assessing presence in wine100
6.1.1The vocabulary of presence (and absence)104
6.1.2The vocabulary of quantity108
6.1.3The vocabulary of range111
6.2Expressing intensity and persistence in wine113
6.3Assessing the quality of presence through motion115
6.3.1presence dimensions and motion116
6.3.2intensity and persistence through motion118
6.4Summary122
Chapter 7.Rhetorical strategies to achieve credibility in wine assessment123
7.1The representation of the events described in wine reviews124
7.2The horizontal axis: The different events125
7.2.1The production event126
7.2.2The tasting event128
7.2.3The consumption event134
7.3The vertical axis: Space, time and source of knowledge137
7.3.1Activities and participants137
7.3.2Space and time139
7.3.3Source of evidence and modes of knowing140
7.4Summary141
Chapter 8.The market individuation of wine143
8.1The marketing of wine143
8.2Choosing names for wines145
8.2.1Literal naming strategies146
8.2.2Metaphorical naming strategies147
8.3Packaging wine150
8.3.1Wine bottles151
8.3.2Wine labels153
8.4Summary158
Chapter 9.Advertising wine159
9.1Literal strategies in wine advertising161
9.1.1The origin of wine161
9.1.2The process of making wine162
9.1.3The consumption of wine163
9.2Metaphorical strategies in wine advertising164
9.2.1Personification: Depicting wines as human beings165
9.2.2Wines as three-dimensional artefacts167
9.3Problematics of wine adverts in the theoretical framework169
9.3.1Pictorial Simile170
9.3.2Contextual metaphor172
9.3.3Hybrid metaphor173
9.3.4Integrated Metaphor?174
9.4Synaesthesia175
9.5Summary179
Chapter 10.Documenting wine in film183
10.1Wine documentaries184
10.2Singularizing strategies in wine documentaries185
10.2.1The intrinsic value of wine185
10.2.2Adding value to wine187
10.3The form and function of figurative language in documentaries190
10.3.1Personification191
10.3.1.1Wine as child of winemaker191
10.3.1.2Expressiveness193
10.3.1.3Gender193
10.3.2Ingredient for a recipe194
10.3.3Assorted wine metaphors196
10.3.4Other verbal metaphors196
10.3.5Other language resources197
10.4Monomodal and multimodal metaphors in documentaries198
10.4.1Monomodal metaphors in documentaries199
10.4.2Multimodal metaphors in documentaries202
10.4.3Montage: Structure as metaphor203
10.5Summary204
Chapter 11.Final remarks207
11.1Afterword. De gustibus non est disputandum209
References219
Index231
