figure 3.1 the raw and the cooked in alcoholic drinks

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’



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



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)



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



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)



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)



Figure 6.1 Untitled (Niangi 1982, 5, Artist M. Abashidze)



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)



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)



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)



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)



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)



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)



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



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



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)



Figure 8.4 Kazbegi beer and European technology (Kazbegi 1881 JSC)



Figure 8.5 ‘Aluda: A Khevsur beer’ (Castel-Sakartvelo)

Figure 8.6 ‘Pshavi: A wheat beer’ (Kazbegi 1881 JSC)



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

figure 3.1 the raw and the cooked in alcoholic drinks

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