figure 3.1 the raw and the cooked in alcoholic drinks
TRANSCRIPT
linguistics.manning.continuumbooks.com© Paul Manning (2012) The Semiotics of Drink and Drinking
London: Continuum Books
Figure 4.1 Boreholes and Borjomi(s)
Figure 3.1 The raw and the cooked in alcoholic drinks
Raw
Nature Production process
Culinary Luddism
Sensuous Qualisigns
Traditional Craft Technologies
Cooked
Culture
Culinary Modernism
Privative Qualisigns
Modern Industrial Technologies
Raw Material
Fruit
Grain
Sugar, etc.
Fermentation
Wine
Beer (Mash)
Distillation
Brandy, Cognac
Scotch, Bourbon
Rectification
Vodka, Gin
Rum, etc.
Socialist Borjomi
(Natural Kind)
‘Borjomi’
1990s Borjomis Borjomis (Early 2000s) Borjomis (2001) Borjomis and Likani (2007)
No. 25, 38 . . .
No. 54
Other Producers
Other Producers
GGMW
(Natural Kind/Multiple Brands) (Natural Kind = Brand) (Brand Extension) (Proliferation of Natural Kinds = Brands)
GGMW/ ‘Borjomi’
Boreholes
‘Borjomi Classic’ GGMW/ ‘Borjomi’
GGMW/ ‘Likani’‘Borjomi Light’
‘Borjomi Springs’
linguistics.manning.continuumbooks.com© Paul Manning (2012) The Semiotics of Drink and Drinking
London: Continuum Books
Figure 4.2 The ‘hybrid’ Borjomi Springs label (detail): Note the generic images of pristine nature (background) characteristic of spring water labels and the specifi c images of picturesque nature (foreground) from the traditional Borjomi mineral water label
Figure 4.3 Borjomi Springs label (detail): Cross-section image of the Natural Hydrogeological Source
linguistics.manning.continuumbooks.com© Paul Manning (2012) The Semiotics of Drink and Drinking
London: Continuum Books
Figure 5.1 Traditional Georgians encounter socialist modernity: Khevsur mountain-dwellers drinking Laghidze’s waters in They Came Down from the Mountains (Director N. Sanishvili, Kartuli Pilmi 1954)
Figure 5.2 Emblems of Kul’turnost’: The décor of Laghidze’s Café in the Stalin period (note the prominent houseplants)
linguistics.manning.continuumbooks.com© Paul Manning (2012) The Semiotics of Drink and Drinking
London: Continuum Books
Figure 5.3 Assembling the socialist soft drink: Street vendor in Tbilisi
Figure 5.4 The aesthetics of post-Stalinist modernism: Laghidze’s Café at the end of socialism
linguistics.manning.continuumbooks.com© Paul Manning (2012) The Semiotics of Drink and Drinking
London: Continuum Books
Figure 5.5 Typical late socialist labels for Laghidze’s ‘Tarragon’ (Tarkhuna) (left) and TbilKhilTsqali’s ‘Lemon’ (Limoni). Note in sharp contrast to the Coca-Cola bottle, that the commodity aesthetics of the socialist label strongly foregrounds the raw materials (nature) and backgrounds the producer (the mall round emblems differentiating the socialist fi rms Laghidze’s and TbilKhilTsqali appear at the top centre of the respective labels, as they do in Figure 5.6)
Figure 5.6 Cartoon from humour magazine Niangi [Crocodile] (1998, Artist V. Kucia)
linguistics.manning.continuumbooks.com© Paul Manning (2012) The Semiotics of Drink and Drinking
London: Continuum Books
Figure 5.7 ‘I’m getting married!’ ‘What brand is she?’ (Niangi 1978, 13, Artist Ch. Deisadze)
Figure 5.8 Synopsis of a typical 1940s Laghidze newsreel: Nature, sorcerer, technology
Figure 5.9 Detailed view of Mitrophane Laghidze moving through the different stages of degustation: Visual, olfactory, gustatory (cf. Silverstein 2003: 223 for wine)
linguistics.manning.continuumbooks.com© Paul Manning (2012) The Semiotics of Drink and Drinking
London: Continuum Books
Figure 6.1 Untitled (Niangi 1982, 5, Artist M. Abashidze)
linguistics.manning.continuumbooks.com© Paul Manning (2012) The Semiotics of Drink and Drinking
London: Continuum Books
Figure 6.2 ‘Move aside these plates and suckling pigs so the guests can see me!’ (Niangi 1979, 9, Artist G. Pirtskhalava)
Figure 6.3 Bootlicker’s New Year’s supra
‘The Director is coming, the Director! Add two more roast turkeys to the end of the table!’(Niangi 1959, 24, Artist E. Berdzenishvili)
linguistics.manning.continuumbooks.com© Paul Manning (2012) The Semiotics of Drink and Drinking
London: Continuum Books
Figure 6.4 ‘Mrs. Ripshdze, what you want with all these refrigerators that you have borrowed?’
‘My husband failed his dissertation defense and we will also lose the feast prepared for 300 people.’(Niangi 1960, 5, Artist Z. Lezhava)
Figure 6.5 ‘Arranging things’ (Niangi 1982, 11, Artist J. Lolua)
linguistics.manning.continuumbooks.com© Paul Manning (2012) The Semiotics of Drink and Drinking
London: Continuum Books
Figure 6.6 ‘Logic’
‘Drink from this q’ants’i [Drinking horn] it will do you good.’
‘I can’t, even dumb animals have a sense of proportion!’
‘For precisely this reason we must drink more, so that we can be distinguished from animals.’
(Niangi 1940, 9, Artist M. Lebeshev)
Figure 6.7 ‘Friends! With these different drinking vessels . . .’ (Niangi 1983 no. 1, Artist V. Bedoshvili)
linguistics.manning.continuumbooks.com© Paul Manning (2012) The Semiotics of Drink and Drinking
London: Continuum Books
Figure 6.8 Toast
‘Comrades! Don’t think that I arranged this feast for you because I want the party candidacy! They ejected me from the Komkavshiri [Young Communist League, Konsomol], but I would not be Assistant to the Director of Surami Collective School Mikadze, if I did not fuck their mothers! This toast is to the good ole boy network (dzma-bichobas), wily management (mokherkherbas), and the power of feasting.’(Niangi 1933, no. 10, No Artist Attribution)
linguistics.manning.continuumbooks.com© Paul Manning (2012) The Semiotics of Drink and Drinking
London: Continuum Books
Figure 6.9 ‘As my deputy in the branch of forcing people to drink wine I appoint my Jimsher’
(Niangi 1974, 17, Artist J. Lolua)
linguistics.manning.continuumbooks.com© Paul Manning (2012) The Semiotics of Drink and Drinking
London: Continuum Books
Figure 6.10 Technology decides
‘Host, what in the world are you making us wait for? The supra [lit. tablecloth] is spread, isn’t it?’
‘I am waiting for one more guest, he left Svaneti ten minutes ago.’
‘From Svaneti? Then how many days must we wait for him?’
‘What do days have to do with it? In our village we already have an airport!’
(Niangi 1941, 2, Artist G. Isaev)
linguistics.manning.continuumbooks.com© Paul Manning (2012) The Semiotics of Drink and Drinking
London: Continuum Books
GIRL VODKA
VISITING VODKAVillage
Shrine
Road
Other Villages
Menstrual Huts
ROAD VODKA
GOING WITH VODKA
HUMANS
DEMONSIMPURE
Shrine
Village
Menstrual Huts
A
B
GODSPURE
Figure 7.1 Beer circulation and the ritual work of purifi cation: Trajectories of sacred beer (A) and household beer (B) in relation to relative purity of village spaces
Figures 7.2 Vodka circulation and the sociable work of translation: Rhizomatic trajectories of vodka circulation hybridizing the ontological oppositions set up by the ritual work of purifi cation
linguistics.manning.continuumbooks.com© Paul Manning (2012) The Semiotics of Drink and Drinking
London: Continuum Books
First DichotomyNon-humansNature
HumansCulture
WORK OFPURIFICATION
WORK OFTRANSLATION
HybridsNetworks
2
3
1
Second Dichotomy
Figure 7.3 Purifi cation and translation: Adaptation of Figure 1.1 from Latour (1993: 11)
Figure 8.1 Informal architectures of masculine sociability: (left) Rooftop beer garden, (right) table installed in an empty lot in the working-class neighbourhood of Varketili, Tbilisi
linguistics.manning.continuumbooks.com© Paul Manning (2012) The Semiotics of Drink and Drinking
London: Continuum Books
Figure 8.2 Traditional pairings of beer with food: Excerpted images from Tbilludi commercial for their Khevsuruli and Shatili brands, with images of the product montaged onto images of foods (fi sh) traditionally associated with beer (Tbilludi)
Figure 8.3 Kazbegi beer and Georgian tradition: Ethnographic representations of traditional Khevsur forms of beer production ( salude ) in Kazbegi promotional literature (Kazbegi 1881 JSC)
linguistics.manning.continuumbooks.com© Paul Manning (2012) The Semiotics of Drink and Drinking
London: Continuum Books
Figure 8.4 Kazbegi beer and European technology (Kazbegi 1881 JSC)
linguistics.manning.continuumbooks.com© Paul Manning (2012) The Semiotics of Drink and Drinking
London: Continuum Books
Figure 8.5 ‘Aluda: A Khevsur beer’ (Castel-Sakartvelo)
Figure 8.6 ‘Pshavi: A wheat beer’ (Kazbegi 1881 JSC)
linguistics.manning.continuumbooks.com© Paul Manning (2012) The Semiotics of Drink and Drinking
London: Continuum Books
A man appears above on a balcony:
First Man: besos gaumarjos!
Hey Beso!
Second Man: bich’o, ro gamogipenia, eg tevzi, erti-ori chamokseni da chamodi!
Hey man, the fi sh that you have hanging there, cut down one or two and come on down!
Another man appears in his window:
Second Man: Garcho! Garcho, ager tevzi gvak . . ..
Garcho! Garcho, we have fi sh . . ..
Garcho: Gasagebia.
Understood.
Aluda, Chveni LudiAluda, Our Beer.
Figure 8.7 Aluda ad: Traditional Tbilisi courtyard