Drinks and Drinking

In Wine & Philosophy, philosophers, wine critics, and winemakers share their passion for wine through well-crafted essays that explore wine’s deeper meaning, nature, and significance.

Un ghid complet pentru cultivarea şi prepararea celor mai variate tipuri de cafea, cu accent pe aspectele culturale şi de sănătate, şi modalităţi de includere a cafelei în diverse deserturi şi cocktailuri. Cafeaua este o băutură universal recunoscută ca o necesitate umană. Departe de a fi văzută ca un lux sau privită cu indulgenţă, ea este considerată un corolar pentru energia şi eficienţa umană, producând în acelaşi timp o puternică senzaţie de plăcere. Cafeaua este o băutură democratică. Este în acelaşi (...) timp băutura înaltei societăţi, dar şi a bărbaţilor şi femeilor care muncesc în diverse domenii de activitate, mental, sau fizic. Tocmai de aceea cafeaua a mai fost numită şi "lubrifiantul om-maşină cel mai cunoscut", ca şi "gustul cel mai plăcut din toată natura." Dar cafeaua este ceva mai mult decât o băutură. Este unul dintre cei mai importanţi adjuvanţi alimentari din lume. Există şi alte alimente auxiliare, dar niciunul care să exceleze în gust şi efecte reconfortante precum cafeaua, efecte datorate în primul rând aromei sale unice. Cafeaua bună, prăjită cu atenţie şi preparată în mod corespunzător, este o băutură naturală cu un efect tonic neegalat de nicio altă băutură naturală. Un stimulent pur, în condiţii de siguranţă, produs în laboratoarele mamei Natura, şi una din bucuriile de seamă al vieţii! CUPRINS: 1 Cafeaua - Etimologie - Istorie - - Legende - - Dovezile istorice - Planta de cafea - Cultivarea cafelei - - Efecte ecologice - Procesarea cafelei - - Torefierea (prăjirea) cafelei - - Clasificarea seminţelor torefiate - - Caracteristicile torefierii - - Decafeinizarea - - Depozitarea - - Prepararea cafelei - - Servirea cafelei - - Cafeaua instant (“nes”) - Vânzare și distribuție - - Piața cafelei - Efectele asupra sănătății - - Mortalitatea - - Boala cardiovasculară - - Sănătatea mentală - - Boala Parkinson - - Diabetul de tip II - - Cancer - Mecanismul de acțiune - - Beneficii - - Conţinutul de cafeină din cafea - Cafenele - Aspecte sociale - - Interzicerea cafelei de-a lungul timpului - - Comerţul echitabil - - Cafeaua în cultura populară - - Ziua cafelei - 1.1 Istoria cafelei - - Etimologie - - Prima utilizare - - Istorie - - - Europa - - - - Austria - - - - Anglia - - - - Franţa - - - - Germania - - - - Olanda - - America Latină - - Asia - - - India - - - - Chikmagalur - - - Japonia - - - Coreea de Sud - - - Indonezia - - - Filipine - 1.2 Boabele de cafea - - Istorie - - - Procesare - - - Distribuția - - Compoziția - - - Alcaloizi ne-volatili - - - Proteine ​​și aminoacizi - - - Carbohidrați - - - Lipide - - - Acizi clorogeni nonvolatili - - - Compuși volatili - 1.3 Efectele cafeinei asupra sănătăţii - - Efectele pozitive - - Efectele negative - - Proprietăţi chimice - - Toxicitatea şi intoxicaţia - - Efecte asupra diferitelor funcţii - - - Relaţia dintre cafeină şi adenozină - - - Cum elimină cafeina starea de somnolenţă - - Efecte pe termen scurt - - - Cardiovascular - - - Riscuri gastro-intestinale - - - Creşterea urinării - - - Exerciţii - - - Efecte psihologice - - Recomandări - - - La adulţi - - - La femeile gravide - - - La copii - - Efectul combinării alcoolului cu cofeina - 1.3.1 Este cafeaua sănătoasă? - 1.3.2 Detoxifierea cu cafea - - Efecte şi riscuri 2 Varietăți de cafea - Terminologie - Istorie - Criterii de selecție - Varietăți și soiuri de cafea arabica - Soiurile robusta - Alte soiuri - 2.1 Cafea arabica - - Biologie - - Distribuția și habitat - - Cultivarea și utilizarea - - Istorie - - Taxonomie - - Tulpinile - 2.2 Cafea robusta 3. Producţia cafelei - Culesul - - Cules mecanic - - Cules selectiv - Prelucrarea cafelei - - Procedeul umed - - Procedeul uscat - - Procedeul semi-uscat - Sortarea - - Decorticare - - Şlefuirea - - Curăţare şi sortare - - Clasificarea - Alte etape - - Îmbătrânirea - - Decofeinizarea - Depozitare - Prăjirea - 3.1 Industria cafelei - - Producţia mondială - - Consumul - - Preţul - 3.2 Stocarea boabelor de cafea - - Cafeaua verde - - Cafeaua prăjită - - Stocarea acasă 4. Prepararea cafelei - Prăjirea - Măcinarea - - Măcinare prin zdrobire - - Măcinare prin tocare - - Măcinare prin pisare - - Măcinarea cu role - Prepararea băuturii de cafea - - Fierbere - - Înmuiere în apă - - Metode de filtrare - - Sub presiune - Extracţia - Prezentare - - Băuturi calde - - - Pe bază de espresso, fără lapte - 4.1 Prăjirea cafelei - - Istorie - - Procesul - - Echipament - - Prăjiri - - - Savoare - - Prăjirea la domiciliu - - Ambalare - - Emisii și control - 4.2 Cafea instant - - Istorie - - Utilizare - - Fabricarea - - - Uscarea prin îngheţare (liofilizare) - - - Uscarea prin pulverizare - - Decofeinizarea - - Compoziţie - - Efectele asupra sănătăţii - - Context de reglementare - - Utilizare non-alimentară - 4.3 Espresso - - Preparare - - Prăjirea cafelei pentru espresso - - Popularitate - 4.4 Café au lait - - Europa - - Statele Unite ale Americii - 4.5 Caffè macchiato - - Istorie - - Tendinţe - 4.6 Cafea cu conţinut mic de cofeină - - Decofeinizarea - - Riscurile cofeinei - - Cafea cu conţinut mic de cofeină în mod natural - 4.7 Sfaturi practice - - Sfaturi practice pentru o cafea perfectă - - 9 sfaturi pentru o cafea perfectă - - 8 sfaturi pentru o cafea mai bună - 4.8 Utilizări ale zațului de cafea 5. Reţete - 5.1 Cafea - - Cappuccino Cooler - - - Ingrediente - - - Preparare - - Café frappé - - Cafea cu mentă - - Cafea condimentată - - - Ingrediente - - - Preparare - - Cafea cu nutella - - - Ingrediente - - - Preparare - - Cafea Mocha rece cu nucă de cocos - - - Ingrediente: - - - Preparare: - - Cafea cu unt - - - Preparare: - 5.2 Deserturi - - Café liégeois - - - Istorie - - - Preparare - - Boabe de cafea acoperite cu ciocolată - - Jeleu de cafea - - - Descriere - - Sos de cafea - - - Utilizări - - Prăjitura Tiramisu cu cafea - - - Caracteristicile originale - - - Reţeta - 5.3 Cocktailuri - - B-52 - - - Istorie - - - Preparare - - - B-52 flambat - - - Variante ale băuturii - - Baby Guinness - - - Preparare - - - Variaţii - - Black Russian - - - Variaţii - - Espresso Martini - - - Origine - - - Asociația Internațională a Barmanilor - - - Ghidul lui Difford - - - Rețeta - - - - Preparare - - Blow Job - - Orange Tundra - - - Reţeta tipică - - Quick Fuck - - White Russian - - - Etimologie - - - Preparare - - - Variaţii 6. Aspecte culturale - Cafeaua în media - Cafenele - Aspecte sociale ale cafelei - Pauza de cafea - 6.1 Ceaşca de cafea - - În cafenele - - - Gibraltar sau Cortado - - - Demitasse - - - Cappuccino - - - Cafe Drinkware - - Căni - 6.2 Degustarea cafelei - - Aromele cafelei - - Gust - - Textura (senzaţia în gură) - - Echipamentul tradiţional - 6.3 Latte art - - Chimia - - Tehnica - - Stiluri - - - Turnare liberă - - - Gravura - - Variante - 6.4 Cafenele - - Cafeaua în Europa - - - Folosirea curentă - - Cafenelele în SUA - 6.5 Cafeaua în artă - - Pictură - - - Charles André van Loo, Sultăniţă cu ceaşca de cafea oferită de o sclavă - - - François Boucher, Cafeaua de dimineață - 6.6 Citate despre cafea Referințe Despre autor - Nicolae Sfetcu - - De același autor - - Contact Editura - MultiMedia Publishing . (shrink)

There is something that it is like to be you, and I argue that there is something that it is like to experience the terminology that baristas employ in describing coffee. I argue that there is a world of experiential difference between those in the know and those who are not. Borrowing from David Hume's "Of the Standard of Taste" I argue that while everyone likes what they like, one can still be mistaken in liking something of lower quality.

What could be more dull than the idea of a symposium? The word conjures up associations with dusty dons, tedious academic papers on deservedly obscure facts and theories. In universities these days, what used to be called ‘symposia’ are often called ‘workshops’ – perhaps in a feeble attempt to make the symposium sound more exciting. If this is your view of the symposium, you may be surprised to learn that the original ancient Greek symposium was a drinking party: the word (...) derives from the Greek for ‘drinking together’. A Greek symposium was a ritualised and often debauched affair. The master of the symposium would begin by drinking a small ‘libation’ of undiluted wine – the Greeks normally mixed their wine with water – and he would then decide in what proportion the wine was to be diluted to determine what kind of evening it was going to be. Plato’s Symposium, a dialogue on the nature of love, describes the most famous symposium of all. The great philosopher Socrates dominates the discussion (as he normally did), drinks more than anyone else, and leaves the symposium sober in the early morning, with the inferior thinkers and drinkers comatose. (shrink)

The history of wine-drinking is a history of excess. From Noah’s disastrous first experiments and the bacchanalia of the ancient Greeks to the spectacular overindulgence described in the diaries of Evelyn Waugh, the consumption of wine to excess has been a recurrent theme among those drink and those who write about it. Sometimes the quantities consumed by the drinkers of the past are staggering. According to Roy Porter’s English Society in the Eighteenth Century, ‘to gain a reputation as a blade (...) one had to be at least a three-bottle man. Sheridan, Pitt the Younger, and the Greek scholar Porson were all said to be six-bottle men’. One cannot help wondering whether they meant the same by ‘bottle’ as we do... (shrink)

This project begins with the selective sensory experience suggested by lngarden followed by an insensitivity he insinuates to digestive processes. This is juxtaposed with an oenological explanation of phenomenal sedimentation offered by Jean-Luc Marion. It compares the dynamics of time in the former with the those of wine in the latter. Emphasis is given to lngarden's insinuation of time as fluid, liquid, or aquatic. It revisits Ingarden's physiological explanations of partially-open systems by way of the bilateral excretion and absorption of (...) semi-permeable cellular membranes. The importance he eventually grants to inner secretion is considered alongside perspiration and salivation collateral to skin and membranes. It suggests that Ingarden's interest in thermoregulation, partial permeation, and secretion invites alternative conceptions of temporal consciousness in physiological experiences, beyond sequential and linear clock-time and/or Kantian intuition. Temporality experienced as temperance becomes discernible at a permeable point in which the sedimentation of Husserl, the maturation of Marion, and the fluidity and secretion of Ingarden mix and mingle into the taste of time. (shrink)

ABSTRACT: Amongst inanimate objects, it is generally accepted that at least some art forms, such as music and painting, are capable of being genuinely expressive of emotion, even though it is difficult to understand exactly how. In contrast, although expressive properties can be attributed to non-artworks, such as natural objects or wine, it has often been claimed that such objects cannot be genuinely expressive. Focussing on wine, I argue that once we understand properly the nature of expressiveness, if we allow (...) that music can be expressive there is no good reason to withold the ability to be genuinely expressive from wine. (shrink)

Of all the things we eat or drink, wine is without question the most complex. So it should not be surprising that philosophers have turned their attention to wine: complex phenomena can lend themselves to philosophical speculation. Wine is complex not just in the variety of tastes it presents – ‘wine tastes of everything apart from grapes’, I once heard an expert say – but in its meaning...

What could be more dull than the idea of a symposium? The word conjures up associations with dusty dons, tedious academic papers on deservedly obscure facts and theories. In universities these days, what used to be called ‘symposia’ are often called ‘workshops’ – perhaps in a feeble attempt to make the symposium sound more exciting. If this is your view of the symposium, you may be surprised to learn that the original ancient Greek symposium was a drinking party: the word (...) derives from the Greek for ‘drinking together’. A Greek symposium was a ritualised and often debauched affair. The master of the symposium would begin by drinking a small ‘libation’ of undiluted wine – the Greeks normally mixed their wine with water – and he would then decide in what proportion the wine was to be diluted to determine what kind of evening it was going to be. Plato’s Symposium, a dialogue on the nature of love, describes the most famous symposium of all. The great philosopher Socrates dominates the discussion (as he normally did), drinks more than anyone else, and leaves the symposium sober in the early morning, with the inferior thinkers and drinkers comatose. (shrink)

The history of wine-drinking is a history of excess. From Noah’s disastrous first experiments and the bacchanalia of the ancient Greeks to the spectacular overindulgence described in the diaries of Evelyn Waugh, the consumption of wine to excess has been a recurrent theme among those drink and those who write about it. Sometimes the quantities consumed by the drinkers of the past are staggering. According to Roy Porter’s English Society in the Eighteenth Century, ‘to gain a reputation as a blade (...) one had to be at least a three-bottle man. Sheridan, Pitt the Younger, and the Greek scholar Porson were all said to be six-bottle men’. One cannot help wondering whether they meant the same by ‘bottle’ as we do... (shrink)

This book represents the first full-length study of the aesthetics of the appreciation of wine. It introduces and argues for the validity and significance of several new concepts: competency, project, and aesthetic practices. Using these concepts -- together with analyses borrowed from cognitive science, sensory science, Husserlian phenomenology and hermeneutics -- the case is made that wine can be a proper and indeed significant object of aesthetic attention. The implications of this are pursued in three ways: First, within the culture (...) of wine, with a sustained treatment of important concepts such as terroir; second, within philosophical aesthetics. The latter results in a position termed 'contextual aesthetics' that sees aesthetic acts as always situated within cultural practices, and given meaning thereby. The third implication is for the cultural and aesthetic value accorded to the various senses, and the kinds of underlying issues that might have led to, and might now lead away from, these values. (shrink)

Does this Bonnes-Mares really have notes of chocolate, truffle, violets, and merde de cheval? Can wines really be feminine, profound, pretentious, or cheeky? Can they express emotion or terroir? Do the judgements of 'experts' have any objective validity? Is a great wine a work of art? Questions like these will have been entertained by anyone who has ever puzzled over the tasting notes of a wine writer, or been baffled by the response of a sommelier to an innocent question. Only (...) recently, however, have they received the serious philosophical attention they deserve. Touching on issues in metaphysics, epistemology, the philosophy of mind, and aesthetics, this book provides a clear and engaging discussion of the philosophical significance of wine that will be accessible to all wine lovers, specialists and non-specialists alike. The author offers throughout a sustained defence of the objectivity of wine judgements, a demystification of the nature of expertise, and a theory of the aesthetic value of wine and its appreciation. (shrink)

In his article “Category Independent Aesthetic Experience: The Case of Wine” in this journal, David Sackris presents arguments against Kendall Walton’s view in the famous article “Categories of Art.”David Sackris, “Category Independent Aesthetic Experience: The Case of Wine,” The Journal of Value Inquiry, 47 (2013), pp. 111–120; Kendall Walton, “Categories of Art,” in Steven M. Cahn and Aaron Meskin (Eds) Aesthetics: A Comprehensive Anthology. (Oxford: Blackwell, 2007), pp. 521–537. [First published in The Philosophical Review, 79 (1970), pp. 334–367.] He claims, (...) with support in an argument about the immediate qualities of great wines, that for some kinds of aesthetic appreciation specific category knowledge is not necessary. We welcome the idea that wine appreciation is an aesthetic practice, and more importantly the view that the features of wine appreciation might shed light on, or even transform our understanding of aesthetic experience more generally. The article also draws welcom .. (shrink)

Art is one thing, the aesthetic another. Things can be appreciated aesthetically – for instance, in terms of the traditional category of the beautiful – without being works of art. A landscape can be appreciated as beautiful; so can a man or a woman. Appreciation of such natural objects in terms of their beauty certainly counts as aesthetic appreciation, if anything does. This is not simply because landscapes and people are not artefacts; for there are also artefacts which are assessable (...) aesthetically without being works of art (e.g. an elegant car or a mathematical proof)... (shrink)

Is the taste of a wine in our minds or in the glass? Can knowledge make a difference to the pleasure a wine gives us? Do the elaborate descriptions of wines in terms of fruits or spices, their "suppleness" or "brawniness," really mean anything? Questions of Taste is the first book to examine the philosophical issues surrounding our experience and enjoyment of wine. Featuring lucid essays from philosophers, a linguist, a biochemist, a wine producer and a wine critic, these leading (...) thinkers use their critical and analytical skills to address these controversial issues. (shrink)

This good-humoured book offers an antidote to the pretentious clap-trap that is written about wine today and a profound apology for the drink on which..

What could be more dull than the idea of a symposium? The word conjures up associations with dusty dons, tedious academic papers on deservedly obscure facts and theories. In universities these days, what used to be called ‘symposia’ are often called ‘workshops’ – perhaps in a feeble attempt to make the symposium sound more exciting. If this is your view of the symposium, you may be surprised to learn that the original ancient Greek symposium was a drinking party: the word (...) derives from the Greek for ‘drinking together’. A Greek symposium was a ritualised and often debauched affair. The master of the symposium would begin by drinking a small ‘libation’ of undiluted wine – the Greeks normally mixed their wine with water – and he would then decide in what proportion the wine was to be diluted to determine what kind of evening it was going to be. Plato’s Symposium, a dialogue on the nature of love, describes the most famous symposium of all. The great philosopher Socrates dominates the discussion (as he normally did), drinks more than anyone else, and leaves the symposium sober in the early morning, with the inferior thinkers and drinkers comatose. (shrink)

The sense of taste falls low on the hierarchy of the senses because it seems a poor conduit for knowledge of the external world; it directs attention inward rather than outward; its pleasures are sensuous and bodily, prone to overindulgence that distracts from higher human endeavours; and its objects are at best merely pleasant, not of the highest aesthetic value. Such is the traditional assessment; now let us analyse its justice.

The importance of food in our individual lives raises moral questions from the debate over eating animals to the prominence of gourmet cookery in the popular media. Through philosophy, Elizabeth Telfer discusses issues including our obligations to those who are starving; the value of the pleasure of food; food as art; our duties to animals; and the moral virtues of hospitableness and temperance. Elizabeth Telfer shows how much traditional philosophy, from Plato to John Stuart Mill, has to say to illuminate (...) this everyday yet complex subject. (shrink)