Academic literature on the topic 'Wine tasting note'
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Journal articles on the topic "Wine tasting note"
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Ramirez, Carlos D. "Do Tasting Notes Add Value? Evidence from Napa Wines." Journal of Wine Economics 5, no. 1 (2010): 143–63. http://dx.doi.org/10.1017/s1931436100001425.
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AbstractThis paper evaluates whether tasting notes—the brief testimony that describes the sensory properties of wines—add value. The analysis is based on a sample of over 2700 recent-vintage cabernet sauvignon wines evaluated by Wine Spectator. I estimate a dynamic wine price model to evaluate the marketing effect of the note, controlling for quality measures as well as other wine characteristics. The results indicate that the length of the tasting note exerts a strong positive influence on the wine's price, even after controlling for quality. A 10 percent increase in the number of characters in the tasting note (about 23 additional characters) contributes about two to four dollars to the price of the wine. Further analysis reveals that the value of the tasting note does not come from the “analytical” words contained in the note but rather, from the more subjective component of it. (JEL Classification: L66, L11, C23)
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Williams, Kim M. "Wine Tourism: From Winescape to Cellardoorscape." Tourism Analysis 26, no. 2 (April 14, 2021): 245–48. http://dx.doi.org/10.3727/108354221x16079839951529.
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The intention of this research note is to explore two essential elements of a winery's cellar door tasting room environment: first, the skills, knowledge, and personal attributes required by tasting room representatives, and second, how to develop meaningful social experiences for the wine tourist within the service environment of the cellar door tasting room. This note offers a discourse concerning the blend of these two elements, which proposes a new "-scape," the cellardoorscape, a microfocus on a particular service environment within a specific winery's winescape. To acknowledge an additional distinguishable "-scape" within the winescape provides some advantages. An analysis of what composes a beneficial and operational cellardoorscape could assist in developing a framework to provide management direction to winery owners and companies on the vital infrastructure and human resource practices to improve circumstances for success.
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Quandt, Richard E. "A Note on a Test for the Sum of Ranksums." Journal of Wine Economics 2, no. 1 (2007): 98–102. http://dx.doi.org/10.1017/s1931436100000328.
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In wine tastings, in which several tasters (judges) taste several wines, it is important to insure objectivity to the extent possible. This is usually accomplished by holding the tasting “blind,” i.e., covering the bottles so that the tasters do not know which wine is in which bottle. At some agreed upon point in the proceedings, the tasters reveal what they think about the various bottles. Ideally, this revelation would take place by secret ballot, lest a taster's choices be influenced by what he or she hears another taster say. But in any event, there are two standard ways of rating the wines. The older method is to assign them “grades” on a scale of, say, up to 100 points (Parker) or up to 20 points as in the famous face-off between California wines and French Bordeaux wines in 1976 (see Ashenfelter et al., 2007). As Ashenfelter at al. point out, this has the distinct disadvantage that a judge with greater dispersion in his or her grades will have a greater influence on the average score that each wine achieves.
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Demaecker, Christine. "Wine-tasting metaphors and their translation." Food and terminology 23, no. 1 (November 10, 2017): 113–31. http://dx.doi.org/10.1075/term.23.1.05dem.
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In winespeak, metaphors are a real challenge for the translator. Indeed, many metaphoric expressions cannot be found in dictionaries and their true meaning is not defined. The only basis for their translation seems to be the conceptual basis they are built upon. Indeed, wine tasting metaphors are linguistic realisations of conceptual metaphors, with mappings from well-known domains used to understand and communicate the intangible experience of taste. Various conceptual metaphors appear in the same tasting note, creating a complex blend, or conceptual integration pattern. So the translation procedures generally put forward in translation studies, based on the linguistic conception of metaphor, appear inappropriate. The cognitive translation hypothesis offers a good basis to compare source and target text wine-tasting metaphors.
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López Arroyo, Belén, and Roda P. Roberts. "Differences in wine tasting notes in English and Spanish." Babel. Revue internationale de la traduction / International Journal of Translation 62, no. 3 (November 21, 2016): 370–401. http://dx.doi.org/10.1075/babel.62.3.02lop.
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Since the early 2000s, a number of researchers have devoted themselves to the study of wine language and discourse, and especially the genre of wine tasting notes. They have analyzed various aspects of tasting notes: their rhetorical structure, their terminology, their use of metaphors, among others. What the vast majority of these studies have attempted to show is what features most tasting notes share; in other words, they have tried to identify what a typical tasting note is like. However, analysis of tasting notes corpora reveals a number of subtle differences not only from one language to another, but also within a given language. Therefore, in this paper we have attempted to identify and categorize these differences, using an English and Spanish comparable corpus, with each language corpus subdivided into three subcorpora, on the basis of the origin of the tasting notes. Differences in content categories, format and style, both in the subcorpora of each language and between the two languages, are analyzed and discussed. Overall, the English subcorpora reveal greater variation than the Spanish ones, with some features figuring prominently in a given subcorpus and being almost invisible in another.
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Bell, David Michael, and Theresa Moran. "Comparing the wine tasting notes of Jancis Robinson and Terry Theise: A stylistic analysis." Text & Talk 40, no. 2 (February 25, 2020): 125–46. http://dx.doi.org/10.1515/text-2019-2053.
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AbstractThis paper offers a stylistic analysis of the tasting notes (TNs) of wine writers Jancis Robinson and Terry Theise. We define linguistic style as those distinctive, consistent, and creative linguistic choices writers make beyond what is conventionally expected in a TN, which are only discernible by comparison to other wine reviewers. Using a corpus of Robinson’s and Theise’s TNs on German and Austrian wines 2012, we compare their TNs in terms of rhetorical and grammatical structure, use of descriptors, and other evaluative language. Robinson’s elliptical note-form style is characterized by adherence to canonical rhetorical structure, verbless clauses, extensive use of conventional metaphoric descriptors and limited use of object descriptors. Theise has an effusive, people-centered additive style characterized by non-conventional rhetorical structure, multiple phrase and clause and coordination, and extensive and exotic use of diverse object descriptors, personification, and intensifier + evaluative adjective phrases. We then connect their varying linguistic styles to their differing approaches to wine tasting.
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Spielmann, Nathalie, Sylvie Jolly, and Fabrice Parisot. "Terroir in the media: the poetry of people, place and palate." International Journal of Wine Business Research 26, no. 3 (August 12, 2014): 224–40. http://dx.doi.org/10.1108/ijwbr-10-2013-0039.
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Purpose – The purpose of this article is to review the use of the word terroir by print media in France using a multi-method approach. The objective is to uncover whether and how the media frames terroir-marketed products as being qualitatively superior to non-terroir products. Design/methodology/approach – Every issue of five print magazines in France was analyzed over the period of one year. All references to terroir were coded as well as all tasting notes with and without terroir references. > 6,500 tasting notes and 800 uses of terroir in wine and food-related text from > 3,800 pages in 30 issues were identified and analyzed. Findings – The results show that although it is not a frequently used word, terroir in tasting notes leads to significantly higher scores and prices for wines than when terroir is not included in the note. A further analysis reveals that terroir is most often related to subjective experiences of taste. Practical implications – Wine managers should often use the word terroir in their press releases and communication pieces. However, the dimension of terroir that brand managers put forward in their communication pieces will influence the way in which the media frame their product. Originality/value – Prior to this research there were no empirical results regarding how the media uses terroir. This research contributes to the growing body of research that seeks to understand the value of terroir as a marketing attribute.
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Gram-Hanssen, Anders, Cecilie Bøge Paulsen, and Jacob Rosenberg. "Flavor perception of wine is unchanged during commercial flight: a comparative field study." F1000Research 9 (June 12, 2020): 597. http://dx.doi.org/10.12688/f1000research.24319.1.
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Background: It is generally accepted that the human perception of flavor and odor is altered in low-pressure environments such as airplane cabins. This has been demonstrated in several simulation studies, but never in a field study conducted in an authentic environment, and never using wine as the object of study. Methods: We performed a comparative field study composed of two wine tastings. The first tasting was conducted on board an aircraft flying at standard cruising altitude and the second tasting was conducted at ground level. Subjective taste experience and current mood were evaluated through a validated questionnaire. The study was reported according to the Strengthening the Reporting of Observational Studies in Epidemiology (STROBE) guideline. Results: The study included 22 participants, none of whom had any special training in wine tasting. No statistically significant difference in experienced flavor intensity was found between the high and low altitude tests, with median aromatic intensities of 5 (interquartile range 3.5-6.0) and 5 (interquartile range 4.0-6.5) respectively, measured on a 9-point hedonic scale. Additionally, there was no detectable difference in several other taste parameters. Conclusions: These findings suggest that even though experimental studies have demonstrated that senses of taste and smell may be suppressed on commercial flights, the subjective wine tasting experience of non-professionals in real life testing may not be affected.
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Paknahad, Mohammad, Ali Ahmadi, Jacques Rousseau, Hojatollah Rezaei Nejad, and Mina Hoorfar. "On-Chip Electronic Nose For Wine Tasting: A Digital Microfluidic Approach." IEEE Sensors Journal 17, no. 14 (July 15, 2017): 4322–29. http://dx.doi.org/10.1109/jsen.2017.2707525.
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Caballero, Rosario. "From the glass through the nose and the mouth." Food and terminology 23, no. 1 (November 10, 2017): 66–88. http://dx.doi.org/10.1075/term.23.1.03cab.
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Motion verbs are often used to predicate entities such as roads, paths and the like as in “The road snakes to the port of Shakespeare Bay before climbing over the last hill to Picton” or “La carretera serpentea unos 30 kilómetros entre las montañas de la cordillera Nipe”. The verbs foreground the path configuration and dynamic rendering of things that cannot move – a phenomenon known as fictive motion (Langacker 1987; Talmy 1996). However, motion verbs are also frequent components in specialized contexts such as wine discourse, where they communicate different sensory experience of wines as in “Exotic, exuding red berry aromas and flavors that sneak up on you rather than hit you over the head”, “Bright and focused, offering delicious flavors that glide smoothly through the silky finish”, or “En boca tiene una magnifica entrada, aunque en el paso sobresalen rasgos vegetales y se precipita hacia un final en el que predominan notas tostadas y amargas”. Using two corpora of tasting notes written in English and in Spanish, I examine the motion expressions used to communicate the sensory experiences of the wines and explore the motivations for their use in descriptions of wines’ aromas, flavours and mouthfeel. Three questions are at the heart of this study. They are (i) what types of scenarios are described through motion expressions, (ii) what sensory perceptions do they describe, and (iii) what may the differences between English and Spanish be?
Dissertations / Theses on the topic "Wine tasting note"
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Prangova, Mimi. "Visualization of Sensory Perception Descriptions." Thesis, Linnéuniversitetet, Institutionen för datavetenskap, fysik och matematik, DFM, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-9130.
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Visualization of Sensory Perception Descriptors is a topic in the field of Information Visualization. It is concentrated on the research and development of methods for analyses of data related with human modalities description. One possibility for investigating sensory perception descriptors is analyzing a great number of wine tasting notes. This thesis is concerned with the visualization of wine tasting notes in order to aid linguistic analyses. It strives to find proper visualizations that will give a better insight into the language used in wine tasting notes. Two main processes are described in the following report. First it sets out the process of researching of different methods of information visualization that led to the final approach for representing the data. A number of concepts for text analyses are discussed and the most useful of them are developed further. Several approaches for text visualization and statistical information are combined to build a system for tasting notes analyses. The second part of the report describes the process of developing a prototype that implements the represented approaches and gives an opportunity for real testing and conclusions.
Books on the topic "Wine tasting note"
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Jian yin lu: Vinum selectum = Notes on picky wines. Taibei Shi: Ji mu wen hua, 2010.
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Thomas, Pinney, ed. Notes on a cellar-book. Berkeley: University of California Press, 2008.
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Media, L. B. Creative. My Wine Tasting Notes: A Wine Lover's Record Keeper. Independently Published, 2020.
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Media, L. B. Creative. My Wine Tasting Notes: A Wine Lover's Record Keeper. Independently Published, 2020.
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Teague, Lettie, and Wacso. Wine in Words: Notes for Better Drinking. Rizzoli International Publications, Incorporated, 2020.
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Wine with Food: Pairing Notes and Recipes from the New York Times. Rizzoli International Publications, Incorporated, 2014.
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Smile, V. Man. Wine Tasting Journal: Diary and Notebook for Wine Lovers, Provides an Easy Way to Quickly Record Wine Tasting Notes. Independently Published, 2020.
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LaBoone, Thomas. Wine Notes Pocket Guide and Personal Tasting Journal. Notable Concepts, 1999.
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W, Clive Coates M. The Wines of Bordeaux: Vintages and Tasting Notes 1952-2003. University of California Press, 2004.
Find full textBook chapters on the topic "Wine tasting note"
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Flanagan, Brendan, Nao Wariishi, Takahiko Suzuki, and Sachio Hirokawa. "Predicting and Visualizing Wine Characteristics Through Analysis of Tasting Notes from Viewpoints." In Communications in Computer and Information Science, 613–19. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-21380-4_104.
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Dash, M. K. "Potentials of Wineries as Tourism Destinations in India." In Emerging Innovative Marketing Strategies in the Tourism Industry, 133–56. IGI Global, 2015. http://dx.doi.org/10.4018/978-1-4666-8699-1.ch008.
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There are many famous vineyards and wine tasting destinations in India. It might be a splashy red or a soothing white, or a bubbly twist. Wines are here to stay and there are many wine related service providers in many wine tasting destinations and vineyards vying to grab this upcoming dining market. Although the concept of wine tasting is in its nascent stage in India, there are many vineyards which have come up, primarily in the Nashik and Pune region of Maharastra state. One of the attractions for those following the wine trails in India are not only the domestic tourists but also by the foreign tourists who love having Indian foods pairing with the Indian wines. These wine tasting tours satisfy the customers and visitors of affluent class only who are of three levels: aromatic, visual and on the palate. Unlike most Western nations where wine is an essential part of everyday dining, Indian wines are still a part of exclusive fine dining experience affordable mostly to the selective elite or more recently to the upper middle class city folks. But the recent influx of these winemakers in the mainstream Indian Fine dining market has helped enlarge this market.
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Shepherd, Gordon M. "The Language of Wine Tasting." In Neuroenology, 157–61. Columbia University Press, 2016. http://dx.doi.org/10.7312/columbia/9780231177009.003.0019.
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In this chapter we summarize an in depth analysis by two Bordeaux professors of enology of the methods that wine experts use to describe so many fragrances in wine. They studied the wine descriptions of thousands of wines by four wine experts to test the hypothesis that each used terms that might have some similar principles. The result was that they actually used a diversity of terms reflecting reflecting the distinct cognitive associations of each expert. The authors conclude that the main criterion for judging a wine for the experts was simple: was it “good” or not!
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Shepherd, Gordon M. "A New Approach to Wine Tasting." In Neuroenology, 1–6. Columbia University Press, 2016. http://dx.doi.org/10.7312/columbia/9780231177009.003.0001.
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The principle of the book is set out at the start: taste is not in the wine; the taste is created by the brain of the wine-taster. At present there is no book focused on how wine taste is created by the brain. We show how, just as with creating the flavors of food, creating the flavors of wine engages more of the brain than any other human experience. The book aims to explain how this happens to enhance your wine tasting enjoyment, whether yours is the brain of the casual wine drinker at home or the brain of an expert professional wine taster.
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Shepherd, Gordon M. "The Pathway for Retronasal Airflow." In Neuroenology, 38–47. Columbia University Press, 2016. http://dx.doi.org/10.7312/columbia/9780231177009.003.0005.
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Breathing out produces its own complex retronasal airflow patterns in the nose. We show how humans are adapted for retronasal smell compared with the dog and other animals. The nose pinch test proves that much of flavor comes from retronasal smell. Research suggests that the flow path for retronasal smell is enhanced in humans. We discuss tips for wine tasting.
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Kelly, Alan. "The Experience of Eating." In Molecules, Microbes, and Meals. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190687694.003.0019.
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We think perhaps instinctively of our tongues as supersensitive tasting machines, laden with taste buds that detect and analyze core flavors such as sweet, sour, and salty, from which we build up a picture of what the food tastes like. However, before the food gets there, it has to pass two arguably even more sensitive sensors, the impact of which on what we think the food tastes like is immense. The first is the eyes, and the second is the nose. Controlling the whole system, but perhaps more infallibly than it might think it does, is the brain. Let’s think about the eyes first. We all make automatic judgments about food based on observation, and these first impressions can be incredibly difficult to bypass. Appearance can make complete fools of us, if we let it. I have seen experienced food specialists taste bright orange sweets that comprised apple-flavored jellies with a strong orange dye added and, when asked to describe the flavor, voted verbally for orange, except a few lone and somewhat confused voices claiming for apple. Famously, even one of the best-known color/character differences in the food world can be hacked by playing with appearances and expectations. Red and white wine can be confused for each other when the taster cannot see the color, and obvious cues such as the temperature at which the wine is tasted are manipulated. This has been demonstrated repeatedly in experiments involving so-called experts in France and the United States, where completely different flavor profiles have been reported on tasting one glass of white wine and one of the exact same wine to which a flavorless red dye had been added. In addition, the flavor profile of wine has been shown to differ depending on factors such as the label placed on the bottle (and apparent perceived “fanciness” as a result), and there has frequently been shown to be no correlation whatsoever between price on the bottle and the results of sensory evaluation of flavor or desirability.
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Kelly, Alan. "Introduction." In Molecules, Microbes, and Meals. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190687694.003.0004.
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First, I have a confession to make. I am a food scientist. I have spent a large part of my life in a white coat, or working with students in white coats, studying, analyzing, and creating food products, subjecting them to a variety of processes and tests to see what happens, and occasionally, very occasionally, even tasting them. This is my passion, and to me is one of the most exciting types of scientific research in which I could be engaged, where the challenges are complex and really interesting, but in every case relate in some way to something central to everyday life. Food science is probably the only field in which a scientific experiment can lead to a change that can have a measurable impact you can point to on a shelf or plate within a matter of days. Also, it is great to work in a field of science where sometimes, if your experiment doesn’t work, you can at least eat it! However, I accept that, for many people, this is not food. Food comes on a plate. Food is an art. Food is an experience. Food is pleasure. Food is life. Food is not something to handle with a white coat on, not something to deconstruct in test tubes, and certainly not anything to do with chemicals. Definitely not anything to do with chemicals. Food is not science; food is art. People today know what they want from the food they buy. They want a wide variety of safe, natural, convenient, nutritious, great-tasting food. They likewise know what they do not want. They don’t want processed food, they don’t want chemicals in their food, they don’t want preservatives. This presents those who provide that food with great challenges as, to deliver the things consumers want, they often have to avoid the very tools they have traditionally used to achieve these goals. In this book, I want to explore the contradictions at the heart of our understanding of food, which arise in part from the fact that food is both science and art.
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Öhrström, Lars. "Graphite Valley: IT in the Eighteenth-Century Lake District." In The Last Alchemist in Paris. Oxford University Press, 2013. http://dx.doi.org/10.1093/oso/9780199661091.003.0012.
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Lake Windermere in the north-west of England perhaps makes you think of poets, or of adolescent adventures less concerned with wizards and vampires and more with Swallows and Amazons if you have grown up with English children’s books. Anyhow, people who lived by their pencil. Or should that perhaps be the pen? We don’t see the serious author in her study hard at work with a pencil. Pencils are generally considered to be mostly for children doing their homework, or others who frequently need to erase their mistakes. There has never been a lack of ink, traditionally a mixture of iron salts, water, and tannins—the bitter tasting compounds in tea and red wine. Always plenty of the black stuff to write poems and sign death sentences with. But the pencil, that is a different story. Far from being just for children, it was, and is, an essential tool for artists, engineers, carpenters, and architects. At engineering school in the late 1980s we still made (some of us did anyway) beautifully crafted pencil drawings of double-mantled stainless steel reactors. And in the army, close to the polar circle four years earlier, did we write out orders and decipher incoming radio messages with ballpoint pens? We certainly did not—in fact, this was forbidden because the ink in a pen may easily freeze. The ‘lead’ in the pencil (which is obviously not lead as in the element 82, but something else) brings us to these green valleys of the Lake District and Cumbria, England—as unlikely a place for an information technology hub as the orange orchards around Palo Alto. The different is that in California in the 1970s it was the dedicated people that mattered, not any local silicon mines. In Borrowdale in the late sixteenth century, it was the inside of the mountain itself that made the difference, for there you find the stuff from which to make pencil lead. Not that the people were unimportant. Entrepreneurship thrived in different forms. ‘Black Sal’, for example, working out of the small town of Keswick close to Borrowdale, was allegedly running a pencil-lead smuggling network in the early eighteenth century.
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Keats, Jonathon. "In Vitro Meat." In Virtual Words. Oxford University Press, 2010. http://dx.doi.org/10.1093/oso/9780195398540.003.0011.
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According to the eminent seventeenth-century botanist John Parkinson, one of the plants that grew in the Garden of Eden was the vegetable lamb. Also known as the borametz, this creature resembled a young sheep in every important respect, except that it grew from a seed planted in the ground. Reports of it date back at least as far as Herodotus, and the fourteenth-century explorer John Mandeville claimed, in his notoriously unreliable Voyages and Travel , to have tasted one “although it were wonderful.” Only in the 1800s was the legend debunked, largely on the initiative of the British naturalist Henry Lee. (He convincingly speculated that borametz rumors began with the spread of the cotton plant, which to an untutored eye looked as woolly as a sheep.) Yet the dream of cultivating meat off the hoof, of growing muscle without the animal, was not so easily dismissed. In his 1931 book, Fifty Years Hence , no less a figure than Winston Churchill anticipated a time when “we shall escape the absurdity of growing a whole chicken in order to eat the breast or wing, by growing these parts separately under a suitable medium.” He didn’t live to see it happen. Half a century passed and vegetable meat remained as elusive as the Garden of Eden. But the technologies necessary for cultivation were evolving, quietly developing as researchers studied subjects as far afield as organ transplants and stem cells. Gradually a few laboratories, some of them funded to develop tastier astronaut cuisine for NASA, began growing potentially edible animal tissues in a bioreactor. Then everything changed again in 2008, when People for the Ethical Treatment of Animals (PETA) announced a prize of $1 million to the first person to produce “an in vitro chicken-meat product that has a taste and texture indistinguishable from real chicken flesh to non-meat-eaters and meat-eaters alike.” Almost overnight in vitro meat, or at least the idea of it, was headline news: The ancient dream, newly named, went prime time.
Conference papers on the topic "Wine tasting note"
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Studennikova, N. L., Z. V. Kotolovets, and R. G. Timofeev. "STUDY OF AGROBIOLOGICAL AND TECHNOLOGICAL FEATURES OF PERSPECTIVE CLONES OF GRAPES VARIETY MUSCAT ROSE." In STATE AND DEVELOPMENT PROSPECTS OF AGRIBUSINESS Volume 2. DSTU-Print, 2020. http://dx.doi.org/10.23947/interagro.2020.2.482-485.
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One of the promising varieties for the production of high-quality sparkling, dessert and liquor wines is the technical variety of pink muscat grapes. The aim of this work is to study the agrobiological and technological features of promising clones of the Pink Muscat variety. The object of study was two clones of the Pink Muscat variety - № 21-2-3 and № 53-10-2, growing on the clone test site (№ 509), the Gurzuf branch of the State Unitary Enterprise of the Republic of Kazakhstan PJSC Massandra on an area of 0.5 hectares. The article provides a statistical analysis of the quantitative characteristics of clones of the Muscat pink variety for 2018-2019, as well as the physicochemical and organoleptic characteristics of grapes and wine materials from clones of this variety of the 2019 crop. It was established that the fruiting coefficients (0.6- 0.65) in the studied clones are at the control level and are characterized as average. The mass of a bunch of clones exceeds the control by 1.4-2.15 times, reaching 322-494 g. The actual yield from the bush is 4.9-6.8 kg, exceeding the control by 2.13-2.96 times. According to the indicator, the shoot productivity in the wet mass of a bunch of 209.3-296.4 g /clone shoot is 1.68-2.38 times higher than the control. Wine materials made from clones of the Muscat pink grape varieties possess the amount of phenolic substances (within 506 mg /dm3 ) and the concentration of the reduced extract (23-25 g/dm3 ) at the control level, which gives grounds for further study of the selected clones in the technology of various types of wines . Tasting evaluation of wine materials also showed their high quality, not inferior to the wine material of the control sample.
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Pokazannik, Е. V. "“DON VALLEY” WINE-MAKING CLUSTER AS AN ENOGASTROTOURISM DEVELOPMENT SITE: SOCIO-CULTURAL COMPONENT." In STATE AND DEVELOPMENT PROSPECTS OF AGRIBUSINESS. DSTU-PRINT, 2020. http://dx.doi.org/10.23947/interagro.2020.1.229-233.
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“Don Valley” is more than a historic or geographic location, - it is an official name of a wine-making area, proposed by Rostov Region administration for consolidation of local wine-makers under the single mega-brand. Specialized regional cluster “Don Valley” is “an association of leading scientific, educational, industrial, engineering and innovative organizations and enterprises of the Rostov region, operating in the following areas: wine-making, manufacturing of components for wineries, scientific-research and educational programmes, development of retail infrastructure, promotion of wine-tasting and gastronomic tourism, and viniculture”3. The creators of the cluster official web-site declare “Made on the Don” brand communication as their primary goal, along with promotion of wine in the region. The article reviews the specifics of Don region from a standpoint of its attractiveness as a tourist destination. The mandatory components are named that together with the enogastronomic sphere can contribute to the growth of demand for tourist routes of various content and duration. The key role of cultural and historic component in successful promotion of the Don winemaking in the tourism market is emphasized. It is noted that enogastrotourism can be developed successfully in Don region through socio-cultural project management based on the thorough analysis of specifics of the region as a whole and its individual components affecting the marketing and advertising solutions.