Table of contents
Acknowledgements
ix
Preface
xi
Chapter 1.Winespeak
1
1.1The challenges of talking about wine
4
1.2Aims and overview of this book
7
Chapter 2.Exploring sensory meanings
9
2.1Sensuous cognition
10
2.2Sensuous language and sensuous cognition
13
2.3Communicating sensory experiences: Social cognition and genre
18
2.4The data used in this book
20
2.4.1Criteria for the General Corpus: Sources and TNs
22
2.4.2Treatment of the General Corpus
25
2.4.3Building the multimodal, promotional corpora
26
2.4.3.1Corpora of marketing strategies
26
2.4.3.2Corpus of documentaries about wine
27
Chapter 3.From tasting to reviewing
29
3.1The tasting event
30
3.2Transforming sensory experiences into sensory language
32
3.3Describing wine through analytical schemas
35
3.3.1The Aroma Wheel
35
3.3.2The Wine and Spirit Education Trust (WSET) system
38
3.4The tasting note
40
3.4.1The form and function of tasting notes
41
3.4.2Types of tasting notes
47
Chapter 4.Descriptors of wine across the senses
51
4.1The many words for wine
51
4.1.1Metonymy
54
4.2Sensations construed as properties and objects through language
58
4.3Cross-sensory descriptors: Synaesthesia and syncretism
64
4.4Summary
70
Chapter 5.Metaphor
71
5.1The metaphorical nature of winespeak
72
5.2Process-focused metaphors: Winemaking and related practices
75
5.2.1Combining parts into a whole: The craft of winemaking
76
5.2.2Raising wines: Organic metaphors for winemaking
78
5.3Product-focused metaphors: The structure and behaviour of wine
80
5.3.1Wine’s state and performance: Organic metaphors
82
5.3.2Wine’s make up. Inorganic metaphors
87
5.4The dynamics of wine: Motion language in TNs
91
5.4.1Motion metaphors in TNs
95
5.4Summary
97
Chapter 6.The grading and evaluation of presence
99
6.1Noticing and assessing presence in wine
100
6.1.1The vocabulary of presence (and absence)
104
6.1.2The vocabulary of quantity
108
6.1.3The vocabulary of range
111
6.2Expressing intensity and persistence in wine
113
6.3Assessing the quality of presence through motion
115
6.3.1
presence dimensions and motion
116
6.3.2
intensity and persistence through motion
118
6.4Summary
122
Chapter 7.Rhetorical strategies to achieve credibility in wine assessment
123
7.1The representation of the events described in wine reviews
124
7.2The horizontal axis: The different events
125
7.2.1The production event
126
7.2.2The tasting event
128
7.2.3The consumption event
134
7.3The vertical axis: Space, time and source of knowledge
137
7.3.1Activities and participants
137
7.3.2Space and time
139
7.3.3Source of evidence and modes of knowing
140
7.4Summary
141
Chapter 8.The market individuation of wine
143
8.1The marketing of wine
143
8.2Choosing names for wines
145
8.2.1Literal naming strategies
146
8.2.2Metaphorical naming strategies
147
8.3Packaging wine
150
8.3.1Wine bottles
151
8.3.2Wine labels
153
8.4Summary
158
Chapter 9.Advertising wine
159
9.1Literal strategies in wine advertising
161
9.1.1The origin of wine
161
9.1.2The process of making wine
162
9.1.3The consumption of wine
163
9.2Metaphorical strategies in wine advertising
164
9.2.1Personification: Depicting wines as human beings
165
9.2.2Wines as three-dimensional artefacts
167
9.3Problematics of wine adverts in the theoretical framework
169
9.3.1Pictorial Simile
170
9.3.2Contextual metaphor
172
9.3.3Hybrid metaphor
173
9.3.4Integrated Metaphor?
174
9.4Synaesthesia
175
9.5Summary
179
Chapter 10.Documenting wine in film
183
10.1Wine documentaries
184
10.2Singularizing strategies in wine documentaries
185
10.2.1The intrinsic value of wine
185
10.2.2Adding value to wine
187
10.3The form and function of figurative language in documentaries
190
10.3.1Personification
191
10.3.1.1Wine as child of winemaker
191
10.3.1.2Expressiveness
193
10.3.1.3Gender
193
10.3.2Ingredient for a recipe
194
10.3.3Assorted wine metaphors
196
10.3.4Other verbal metaphors
196
10.3.5Other language resources
197
10.4Monomodal and multimodal metaphors in documentaries
198
10.4.1Monomodal metaphors in documentaries
199
10.4.2Multimodal metaphors in documentaries
202
10.4.3Montage: Structure as metaphor
203
10.5Summary
204
Chapter 11.Final remarks
207
11.1Afterword. De gustibus non est disputandum
209
References
219
Index
231
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