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  1. Empedocles’ Account of Wine (fr.81) and Premodern Oenology.Leon Wash - 2024 - Greek, Roman, and Byzantine Studies 64 (2):162–194.
    In Empedocles’ “wine is water from bark, rotten in wood,” the reference is not to a wooden cask but to the grapevine itself, in which wine was thought to form naturally.
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  2. Innards of Ingarden: Physiology of Time.Virgil W. Brower - 2020 - In Dominika Czakon, Natalia Anna Michna & Leszek Sosnowski (eds.), Roman Ingarden and His Times. Kraków, Poland: pp. 25-42.
    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 (...)
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  3. The Spiritual & Sensuous: Aesthetics of Adorno & Scruton.Virgil W. Brower - 2018 - Wassard Elea Rivista 6 (3):127-139.
  4. Categories and Appreciation – A Reply to Sackris.Ole Martin Skilleås & Douglas Burnham - 2014 - Journal of Value Inquiry 48 (3):551-557.
    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, (...)
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  5. The Aesthetics of Wine.Douglas Burnham & Ole Martin Skilleas - 2012 - Wiley-Blackwell. Edited by Ole Martin Skilleås.
    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 (...)
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  6. Wineworld: Tasting, Making, Drinking, Being.Nicola Perullo - 2012 - Rivista di Estetica 51:3-48.
    Ogni vino bevuto ha il suo racconto. Mio proposito: renderne facile l’ascolto e la comprensione a te, lettore, che ami il vino – mi leggi –, o sei disposto a riconoscerlo amico.L. Veronelli 1. Introduction: A little something about the wineworld 1.1. The first time In 1971, Mario Soldati, Italian writer, journalist and expert of wine, published the second series of Vino al Vino, a book about wine production in Italy. In the Introduction titled “Wine as a Work of Art” (...)
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  7. Wineworld: Tasting, Making, Drinking, Being.Nicola Perullo - 2012 - Rivista di Estetica 51:3-48.
    Ogni vino bevuto ha il suo racconto. Mio proposito: renderne facile l’ascolto e la comprensione a te, lettore, che ami il vino – mi leggi –, o sei disposto a riconoscerlo amico.L. Veronelli 1. Introduction: A little something about the wineworld 1.1. The first time In 1971, Mario Soldati, Italian writer, journalist and expert of wine, published the second series of Vino al Vino, a book about wine production in Italy. In the Introduction titled “Wine as a Work of Art” (...)
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  8. Expression and Objectivity in the Case of Wine: Defending the Aesthetic Terroir of Tastes and Smells.Cain Todd - 2012 - Rivista di Estetica 51:95-115.
    This paper provides an account of the nature of our appreciation of wine, and a defence of the aesthetic value of tastes and smells. Focusing primarily on Roger Scruton’s recent claims, I argue against him that our appreciation of wine meets his own constraints on aesthetic interest and, moreover, that the cultural significance he grants to wine is in large part grounded in its aesthetic value. I show that Scruton’s claims are thus in tension with each other, not because he (...)
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  9. Percevoir l’expression émotionnelle dans les objets inanimés : l’exemple du vin.Cain Todd - 2012 - Dialogue 51 (1):129-139.
    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 (...)
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  10. "I Drink Therefore I am: A Philosopher's Guide to Wine" by Roger Scruton. [REVIEW]Tim Crane - 2011 - Philosophy 86 (1):138-42.
    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...
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  11. Fermented thoughts. [REVIEW]Ophelia Deroy - 2010 - The Philosophers' Magazine 48 (48):104-105.
  12. The Philosophy of Wine: A Case of Truth, Beauty and Intoxication.Cain Todd - 2010 - Routledge.
    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 (...)
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  13. I Drink Therefore I Am: A Philosopher's Guide to Wine.Roger Scruton - 2009 - Continuum.
    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..
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  14. You'll never drink alone: Wine tasting and aesthetic practice.Douglas Burnham & Ole Martin Skilleås - 2008 - In Fritz Allhoff (ed.), Wine and Philosophy. Blackwell.
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  15. Questions of Taste: The Philosophy of Wine: Book Reviews. [REVIEW]Carolyn Korsmeyer - 2008 - British Journal of Aesthetics 48 (2):233-235.
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  16. Wine as an Aesthetic Object.Tim Crane - 2007 - In Barry C. Smith (ed.), Questions of Taste: the philosophy of wine. Oxford University Press. pp. 141--156.
    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 (...)
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  17. Wine as an Aesthetic Object.Tim Crane - 2007 - In Barry C. Smith (ed.), Questions of Taste: the philosophy of wine. Oxford University Press. pp. 141-56.
    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 (...)
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  18. Questions of Taste: the philosophy of wine.Barry C. Smith (ed.) - 2007 - Oxford University Press.
    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 (...)
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  19. In Vino Veritas.Barry C. Smith & Tim Crane - 2007 - The Philosophers' Magazine 39 (39):75-78.
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  20. Wine and Philosophy.Tim Crane - 2003 - Harper's Magazine 1 (May).
    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 (...)
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  21. Excess.Tim Crane - unknown
    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 (...)
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