The paper provides a synthesis of the main journalistic genres discussed in specialized literature, attempting to highlight a new type of text that emerged in the Romanian press after 1990: food chronicle. In the Romanian mass media, this genre of journalism, gastronomic chronicle/review, emerged only after the revolution of 1989. At that time, freed from the communist regime, the Romanian press, both national and local, experimented with new journalistic genres, copying texts and formats from the Western press. The gastronomic chronicle, like the horoscope (the language of which I analyzed in a previous study), is just one of these new genres that were innovative for the taste of the Romanian public.
In our paper, we used both a qualitative and a quantitative analysis of discourse, focusing on understanding the language and style of this bizarre but widely read genre. We examined the nuances, tone, and overall quality of food review content. Through discourse analysis, we aimed to uncover patterns, inconsistencies, and potential formats for improving the text. For the quantitative analysis, we conducted content analysis, tracking the frequency of specific words and expressions in the food chronicle section.
An important clarification regarding the Romanian gastronomic chronicle: It is very different from its Western counterparts. Firstly, there is a financial issue and an ethical one. Romanian journalists do not have a code of ethics that clearly specifies what they are allowed and not allowed to receive from those they write about. Eating in a restaurant and then writing about it implies that the journalist pays for their meal out of their own pocket. Most of the time, this does not happen. The state of the Romanian press is very fragile. Journalists do not have per diem funds and cannot afford such meals at restaurants from their own money. As a result, restaurants cover their expenses. In this case, the ethical question arises: is it right to write about a dish, even to critique it, after having eaten for free at that establishment? In most cases, restaurant reviews appear following the payment of an advertisement to the media. Thus, news about the opening of a new restaurant is accompanied by a photo of the establishment and possibly its owners, who are positioned in front of the entrance. Additionally, the journalist may specify the restaurants specialty and perhaps list some prices. Then, the restaurant owner provides a statement about themselves, which will be included with quotes in the news text. This is generally the most common process used in the Romanian press. The lack of specialized journalists in the newsrooms, along with the increasingly precarious financial situation of the editorial offices - which entails a reduced number of journalists covering events - has led to the absence of this genre of journalism in local publications. However, I will present a few exceptions that I consider notable for this genre of journalism, attempting to provide some editorial benchmarks.
The analysis of the language used in gastronomic chronicles was conducted by following one of the national newspapers that featured restaurant reviews in Bucharest, signed by Dan Chișu. This was a rarity in the landscape of Romanian print media. Moreover, after the newspaper Cotidianul ceased its printed version, gastronomic chronicles disappeared from the Romanian press landscape. As they developed in the online space, the gastronomic chronicle here raises serious questions regarding the balance between advertising and unbiased, accurate, and honest description. Readers will never have this clarified - how much of what they read is an objective presentation of information and how much is disguised advertising from the restaurant.
Cotidianul is a Romanian newspaper that was first published on May 10, 1991, making it the first privately owned newspaper established after the Romanian Revolution of 1989. Founded by Ion Rațiu it was based in Bucharest, initially published six days a week. The newspaper struggled finan-cially over the years, and on December 23, 2009, it ceased print publication due to insolvency, although it continued to operate online. This closure was initially described as temporary, but ultimately it did not resume print after the failure to find a buyer. In November 2016, Cotidianul returned to print under the ownership of Cornel Nistorescu, who aimed to revitalize its presence in the media landscape. However, by May 15, 2018, it stopped printing again and has since remained active only in its online format on https://www.cotidianul.ro
The printed edition of the newspaper Cotidianul from 2005, the year when Dan Chișu published gastronomic chronicles here, can no longer be found in libraries across Romania. The online archive of the newspaper is not functional, and the library in Arad, for example, does not hold the newspaper in its collection of periodicals. The study is based on articles clipped by the author at that time for a future study. I chose these gastronomic articles written by Dan Chișu because they are the only ones that have appeared in the daily Romanian written press addressing this genre, the gastronomic chronicle. Therefore, their analysis seems important to us, as they can be considered the beginning of a series of culinary-themed texts that will appear later, especially in online journalism. Dan Chișus writings stand out for their lively style, unusual at the time of their publication, a style that would later be copied by other authors in online platforms, culinary blogs, or TV shows, with varying degrees of talent.
The study also includes a subjective perspective from the author, who tries to offer young journalists and students, who aim to write food reviews, some shortcuts, ideas, and methods for drafting this genre of journalism. It is worth noting that this genre is completely absent from the editing manuals in the Romanian language that are studied in Romanian universities. Our study also mentions several important names of journalists and food critics, both Romanian and foreign, who write about food and try to shed light on this complex field. In the case of Romanians, most of them have remained active in the online space, through personal blogs or on social media platforms. Our combined qualitative and quantitative approach provides a comprehensive understanding of food review language dynamics. Although the analysis focuses on the discursive features of food review in the Romanian press, the studys results may also be applicable to other countries, as this type of text proliferates in international media, attracting readers from all around the world. Although the paper analyzes food chronicles published in a Romanian-language newspaper, the characteristics of the genre and the seductive techniques of the chronicles language can be applied to other cultures, as food becomes a universal sign of communication and understanding of the world.
Tasteful reflections: The intersection of culinary art and cultural insight. With a Romanian poin of view
"One cannot think well, love well, sleep well, if one has not dined well" (Virginia Woolf, in her essay A Room of Ones Own, Harcourt Brace & Co, 1929, p.18, is linking food and well-being with creativity and fulfillment).
Many quotes from everyday life show how philo-sophers link food with broader life philosophies, emphasizing moderation, identity, and shared experiences. These quotes are often used or can even be found in gastronomic reviews. They serve to highlight the culture of the journalist, knowing that a witty saying or an anecdote will always appeal to readers. The style of the review thus becomes more accessible, closer to the readers. Here are the most wellknown:
"Tell me what you eat, and I will tell you what you are" (Savarin, 2009, p.15).
"A moderate diet is the best medicine" (Palto, Timaeus, p.88)
"We should look for someone to eat and drink with before looking for something to eat and drink" (Epicurus, 1993, p.64)
"You have to be a philosopher to eat snails" (Nietzsche, 1967, p.42)
"Thou shouldst eat to live; not live to eat" (Plutarch, 1859, p.192)
"Ordinary people live to eat and drink; people of worth eat and drink to live"
A Romanian very used quote "Felul în care tai friptura reflectă felul în care trăiești" can be paraphrased as The way you cut your steak reflects the way you live. The phrase is attributed to Confucius, but its not found in classical Confucian texts. Instead, it captures a philosophical idea that ones actions in seemingly mundane tasks and can reveal deeper aspects of their personality or approach to our life. Thus it emphasizes the importance of ritual and respect in our everyday actions. The notion that ones habits or behaviors in small actions can reflect larger life values aligns with the Confucian focus on self-cultivation, order, and intentionality in even the simplest tasks.
In conclusion, starting from food and simple daily gestures, we talk about a culture of food and our daily actions, which can reflect how we understand the world and the unique way we relate to it, through the food we read/eat. Food is not just a necessity, but an integral part of how we express and understand culture, identity, and our place in the world. The daily rituals around food can serve as a lens through which we interpret broader societal norms, values, and traditions. Just as language conveys meaning, so too does the act of eating and preparing food, both of which carry deep cultural significance.
To trace a possible history of food criticism, we can focus on some key moments and influential figures who helped shape it into what it is today. The development of food writing has evolved through various stages, with some major milestones. The earliest instances of writing about food often came from philosophers and writers who explored the role of food in human culture and also in human morality. In ancient cultures, food was often linked to status and ritual, which later influenced the development of food writing as an art form, belonging to a cultural demension of presenting the review.
Brillat-Savarin is considered the father of modern gastronomy. In the early 19th century, Jean Anthelme Brillat-Savarins The Physiology of Taste (first published in 1825) laid the groundwork for modern food criticism. His work explored the pleasures of food and its connection to identity and culture. He presents food as an important/vital part of the human experience. Combining pleasure with a scientific lens, Savarin saw food as a serious subject for intellectual discussion. We may say that he elevated food writing to a higher cultural level.
We may speak about the rise of gourmet and journalistic food criticism in the late 19th and early 20th centuries, when restaurants became more common and accessible to the middle class. In these conditions, the demand for professional food critics grew. We have figures like Craig Claiborne, James Beard, and M.F.K. Fisher that were important in creating a formalized structure for food writing. What we have is not only a critique about meals but also a discussion about cultural implications of dining.
In contemporary media food writing and food criticism diversified, with blogs, online platforms, and social media influencers offering their own perspectives. While traditional food criticism still holds weight in prestigious publications like The New York Times or The Guardian, digital food reviews have become a democratized form of food writing. These new voices reflect the evolving role of food in popular culture, where access to dining experiences and opinions has become more inclusive and varied.
Brillat-Savarin is credited with elevating the discussion of food to an art form. His writing is characterized by a blend of philosophy, humor, and keen observation, which has significantly influenced culinary literature and food criticism. He embraces a descriptive style (using a sort of poetic, literary approach on his storytelling aspects of dining) and presents some important gastronomic principles (about flavor, aroma, observations about service, ambiance, social context of eating, etc.). Food reviews from today reflect as Savarin saw ages ago: that a plate is not just a plate of food, but a dining exeperince that arouse all your senses and involves a culinary culture.
"The pleasure of the table belongs to all ages, to all conditions, to all countries, and to all areas; it mingles with all other pleasures, and remains at last to console us for their departure"(Brillat-Savarin, 2009, p. 69).
"A meal without cheese is like a beautiful woman who lacks an eye"( Brillat-Savarin, 2009, p.28).
"Gastronomy is the knowledge of all that relates to man as he eats"( Brillat-Savarin, 2009, p.3).
"He who receives his friends and gives no personal attention to the meal which is being prepared for them, is not worthy of having friends"(p. 31).
"Smell and taste are in fact but a single composite sense, whose laboratory is the mouth and its chimney the nose"(p. 25).
"Cooking is one of the oldest arts and one which has rendered us the most important service in civic life"(p. 23).
"Those who have been too long at their labor [...] should all eat chocolate and they will be comforted"(p. 61).
"Let the progress of the meal be slow, for dinner is the last business of the day; and let the guests conduct themselves like travelers due to reach their destination together"(p. 44).
If we have to make a list of prominent figures in food writing from today, here it is what we considered relevant. The author of this study acknowledges that this selection is subjective, made based on her personal readings within the field we are writing about. The top 5 selection was also influenced by how easily the author could access various texts written by the individuals now mentioned here: Molly ONeill , Michael Pollan , Ruth Reichl , Xanthe Clay , Rachel Roddy . These writers each contribute to the food writing landscape in unique ways, often blending personal narratives with broader themes about culture, sustainability, and the emotional aspects of cooking and eating.
In contemporary Romania, food reviews have largely taken a backseat to entertainment-focused content about celebrity chefs, particularly those featured on popular TV cooking shows such as MasterChef and Chefi la cuțite. These formats, adapted from international television markets, spotlight chefs more than the actual culinary products. Meanwhile, large wholesale retailers like Metro have a significant influence on the restaurant industry, providing monthly promotional catalogs that feature dishes created by various chefs who endorse their products. These catalogs include a photo of the dish, a list of ingredients available for purchase at Metro, and their respective prices. However, the text accompanying these photos is often minimal, full of superlatives like "surprising," "delightful," "gripping," or "breathtaking." The content doesnt extend beyond promotional material, failing to offer genuine food criticism or thoughtful analysis.
For the average customer, who can pick up these free catalogs while shopping at Metro, there is often no clear distinction between promotional content and an informational article. This blurring of lines makes it difficult for consumers to identify the text as advertising, reinforcing the shift from objective food reviews to commercial endorsements. This trend highlights how food journalism in Romania is being overshadowed by marketing and celebrity culture.
We saw gastronomic chronicles in newspapers as a bridge between journalism, culture, and culinary arts. That reflect on how this genre contributes to broader discussions about food as a cultural and social phenomenon. Next, we will present some key milestones in Romanian gastronomic reviews, noting that this selection is also subjective, based on the style and methods of writing that we have outlined as relevant for crafting a food review. Here are some well-known Romanian food writers and culinary figures who have contributed to Romanian gastronomic culture and food writing: Radu Anton Roman , Adi Hădean , Marius Tudosiei , Cosmin Dragomir and Dan Chișu.
We will focus our practical analysis on the latter, as it was the first to introduce this new type of text in Romanian press after communism. Chișu is widely known as a filmmaker, actor, and producer. He has also made significant contributions to the Romanian food world, particularly through his work as a food writer and culinary show host where he shared his culinary experiences and expertise in print and media. Chișus style of writing often mixes storytelling with gastronomic commentary, drawing from his personal experiences in Romania and abroad. While his work does not fit into traditional food criticism or restaurant reviews, he has contributed to culinary discussions in Romania by writing about the joy of cooking and how food connects people. "Aventurile gastronomice ale lui Dan Chișu" was the name of a very popular culinay show in the early 2000s hosted by Chișu on Roamnian television. The show featured Chișu traveling around Romania and other countries, discovering local foods, ingredients, and cooking techniques. We may say that his influence is rooted in his ability to blend storytelling, travel, and culinary exploration, making his contributions to the field unique.
The role of gastronomic chronicles in the press. How to write a food chronicle: tips and tricks
In this chapter we will try to define what a gastronomic chronicle is and its purpose in newspapers. It is important to say that there is a growing interest in food culture in our society that reflects broader social, cultural, and economic trends. People are more aware of healthy eating and are more eager to try new thinks that surprise them and give them confort too. Food writing has evolved from simple recipe sharing to a form of critique, lifestyle expression, and cultural commentary.
Analists (Rojas-Rivas, Rendón-Domínguez, Felipe-Salinas, Cuffia, 2020) explained the distinction between culinary and gastronomy. Culinary refers to the practical aspects of cooking, like techniques, ingredients, and recipes. Gastronomy, on the other hand, is more about the broader study of food in relation to culture, history, and science. It explores how food is intertwined with cultural practices, examining taste, aroma, texture, and even the societal significance of dishes. In essence, while culinary practices focus on making food, gastronomy delves into the deeper, cultural, and scientific understanding of food, blending art with study. We considered that is important to understand the main difference between two terms. Culinary refers to the how of food preparation, while gastronomy addresses the why and what of food in culture and society. Gastronomy looks at food as an art form and science, considering its history, cultural meaning, and sensory experiences, making it a more holistic approach to food beyond just cooking.
"The term culinary refers to the art of cooking and preparing food, while gastronomy is the study of the relationship between food and culture. Culinary and cuisine are described as the practical aspects of cooking, such as techniques, ingredients, and recipes, while gastronomy delves into the history, sociology, and science of food who elaborate gastronomy within the context of culinary discourse, about the study and appreciation of food and cuisine, encompassing various aspects, such as taste, aroma, texture, presentation, cultural significance, and historical evolution. It delves into the intricate interplay between ingredients, cooking techniques, and cultural practices, aiming to understand the nuances and complexities of gastronomy as both an art and a science" (Rojas-Rivas, Rendón-Domínguez, Felipe-Salinas, Cuffia, 2020).
Most journalism textbooks consulted do not have special chapters dedicated to this type of journalism. The only Romanian textbook, authored by Sorin Preda, (2006) refers to minor opinion genres (p.187), small or occasional texts that we easily overlook. The author includes here the press review, the open letter, the readers column (or the section dedicated to dialogue with readers), and the horoscope. Romanian analysts discuss literary reviews, theater reviews, art exhibition reviews, completely ignoring this genre – the food review. In previous studies (Neamțu, 2021; Neamțu, 2024 pp.573-588), I extensively covered the particularities of theater reviews. I could say that all the rules identified then could be applied to the food review as well, except that instead of a book, we are now talking about a dish whose taste needs to be conveyed to the reader.
For didactic reasons, here is a short outline that can be followed in order to write a food review. In a study about theatre review, we mentioned that is important: contextualizing the play and its author; presenting subject in brief; showing the construction of the show; presenting strong directing elements that support (or not) the written text; innovations in scenography, directing, lighting, music; the message of the play for todays audience (Neamțu, 2021, p.233). To apply the principles of theatre review to food writing, heres a table that mirrors the structure used in analyzing a play but adapted to a food review in Table 1 (Supplementary material section):
Thus, writing a food chronicle can be a delightful way to explore and reflect on our culinary experiences, documenting not just the food itself but also the memories and emotions perceived. One of Americas great food writers, emphasizes the universality of food, in his book when he notes that "Food is our common ground, a universal experience" (Beard, 1964, p.2).
The palate as a pen: gastronomic writing. The art of storytelling through taste and language
Gastronomic writing is much more than a simple review of flavors and dining experiences. Its a platform for critical reflection on cultural and societal dynamics. Through the lens of food, writers can address everything from identity and heritage to politics, class, and environmental concerns (Lee, Bucher, 2023).
In this way, gastronomic writing becomes a form of cultural commentary that resonates far beyond the plate, offering readers a richer understanding of the world around them. Through the lens of food, we can explore much more than taste and recipes. We may delve into politics, economics, class, migration, even sustainability. That is why we believe that this form of commentary is significant and we will try to analize it futher more.
From personal experience, as the author of this study worked in local print media for more than 26 years, we noticed that editors often associated this type of text with cultural articles. Being in charge of the culture page for the local-regional daily Observator, I had the opportunity to write such gastronomic reviews. The only problem was that the editor-in-chief always associated them with advertising. Every time, he would criticize me for not bringing a signed advertising contract between the restaurant and our newspaper along with the article. During the period 1997-2007, when I held the position of section head for the culture page of the Observator daily in Arad, no gastronomic review was accepted for publication, citing the newspapers financial situation. I was told that I couldnt write anything like that unless private companies - restaurants, canteens, pizzerias, shawarma shops - paid monthly for advertising in the newspaper or paid at the time of publication of the article. However, two articles did get published, both related to the opening of new locations for two pizzerias in Arad. These articles appeared with a photo of the owner and the entrance to the restaurant. Without mentioning anything about the quality of the products offered, the articles simply listed the types of pizzas available and the promotional offers (e.g., buy two get one free, free delivery above a certain amount, etc.).
Gastronomic writing frequently touches ethical issues such as food security, sustainability, and the ethical treatment of animals. For example, a restaurant review might expand beyond the culinary experience to comment on whether the establishment sources its ingredients locally or supports sustainable farming practices. For example, the rise of veganism or plant-based diets is not just a dietary trend but a reflection of growing environmental concerns and animal rights activism.
We may also see gastronomic writing as a form of storytelling, where food becomes a narrative tool to discuss migrations, even history, personal journeys of the author. Through the exploration of food writings journalists can provide deep insights into how cultures evolve and how food acts as a bridge between the past and present.
The author of this study recalls how surprised he was in 2012, when, while present at the University of Lincoln, UK, he saw, prominently displayed on the front window of the towns Chinese restaurant, a culinary review of the establishment. The text, accompanied by a picture of the restaurant, was a source of pride for the owner, who had posted it right at the entrance so future customers could see it. This approach was entirely new to a Romanian. Years have passed, and Romanian print media has lost its audience to online platforms, while the opinion of critics of any kind (whether literary, theatrical, or art criticism) has devalued. It is a sad but true phenomenon that worries Romanian media analysts. Solutions are not in sight, as the online space - where anyone can exercise their critical spirit, in any form and manner - gains ground at the expense of a serious, well-documented, and responsible press. The idea that this online information, just a click away, is free has won over the majority, who are no longer willing to pay for the information they receive. Without being filtered through the eyes of a professional, the result is often an inconsistent text, distorted by the subjectivities and moods of the author, who now claims the status of expert. In essence, we are witnessing pseudo-reviews on any subject, written in a colloquial style that can influence consumers. The more well-known the person writing the review (a celebrity, singer, model, actor, or even politician), the more likely it is that the public will give them many likes. As a result, WHAT you say about something becomes less important. What matters is WHO says it and HOW. And the HOW is no longer centered on arguments. These are replaced by interjections, such as: its awesome there!; the place is great!; eating there is amazing!; the ambiance is cool!; the venue is insane, my brother!; their menu is epic and the atmosphere is fun!
Following the principle "whats in hand is not a lie" and "what is written remains" (scripta manent) in the newspaper as a reliable source, documented by the journalist for their audience, our applied analysis focuses on the articles written by Dan Chișu, one of the few contributors to gastronomic reviews in a printed press publication, the Romanian newspaper Cotidianul. Dan Chișu chose to publish his lively notes about various gastronomic establishments in the capital, Bucharest, on the last, full-color page of the newspaper. The articles are accompanied by a photo of the restaurants interior.
From the analysis of Dan Chișus articles, it is unclear whether they were written following an advertising contract between the newspaper and the restaurant. This is not explicitly stated for readers. What is certain is that these articles are charming, enjoyable to read, and arouse the readers curiosity in a way that stimulates their taste buds. Upon reading them, one becomes curious to visit the establishment the journalist writes about and verify the truth of his words firsthand. Ultimately, this is the purpose of the gastronomic review: to provide information about food and drink in an engaging text that doesnt leave the reader indifferent to the topic presented by the journalist.
Dan Chișus writing offers numerous hooks to capture the readers interest. He uses colloquial expressions such as: "nu săriți (lo)Calul Alb" (Do not ignore White Horse, where the White horse is the name of the restaurant; The Romanian word LOCAL - formed from LO+CAL, with CAL also being the name of the restaurant; CAL in Romanian translates to HORSE in English).
The expression a sări calul means in this context - dont ignore what Im writing here, dont pass by without paying attention to... In other words, take the time to eat here. Of course, the review of restaurant Calul Alb might be exaggerated, but it is the journalists subjective opinion, inviting us to cross the threshold of the place and challenge him if we have a different opinion. But for that, we must first taste the dishes offered by the restaurant.
Chișus articles are generally positive reviews; somehow, the journalist seems to want to support Romanian entrepreneurs involved in the culinary business by giving them a chance: to become better known by readers through the newspaper article.
Table 2: Type of text along with some important details for writing a gastronomic review.
Listing the prices aims to give the reader an idea of the approximate cost of the meal, countering the prejudice, present not only in Romania, that everything served in a restaurant comes at an astronomical price, discouraging the average public with moderate incomes.
The Romanian journalists discursive strategy is to also present the ambiance of the venue. He views dining out as more of a social experience than merely filling your stomach with large portions. However, this idea of generous portions appeals to the Romanian public, who still view the restaurant as a provider of large quantities of food, which should come at reasonable prices. This reflects the general mass of Romanian consumers, although there are exceptions, namely fine connoisseurs who choose expensive restaurants with award-winning chefs. In such cases, the gastronomic experience is seen as a way of affirming their high social status. Romanian expressions like "s-a ajuns" (traslated by: theyve made it), "își permite acum" (they can afford it now), or "felul de mâncare nu îl arde la buzunare" (the meal doesnt burn a hole in your pocket) reflect the solid financial status of the individual.
It is important to note, however, that in a country like Romania, which emerged from the communist regime in December 1989, dining out is still considered a luxury that not everyone can afford on a daily basis. Perhaps this is also why the gastronomic review is not a widely practiced genre in Romanian generalist press. This could be due to the limited audience that regularly frequents restaurants, but also the precarious economic conditions in newsrooms, circumstances I have written about before (Neamțu, 2023, pp.17-33).
Film director and producer Dan Chișu left Romania during the COVID-19 pandemic and relocated to France, near the Italian border. He has since stepped away from the media spotlight, giving up his television work, restaurant, and yacht. In an interview, Chișu reflects:
"The primary reason Homo Erectus left Africa was for food. Our main drives are food and reproduction. Three essential life events: birth, wedding, and funeral - each followed by a meal. Every day, we have three meals! [...] Ive organized 20 film festivals, and no one talks about them anymore! But after three years of culinary shows, if you search me on Google, 80% of the references are about food!" (Spiridon, 2010).
This quote emphasizes Chișus reflection on the importance of food in human life and its overwhelming presence in his public image. In our contemporary contexts, a food chronicle is perceived as a form of writing intended to both entertain and provide valuable information that encourages readers to choose specific dishes at various location (Samme et al., 2024).
"If theres a place where you can eat a lot, well, and for little money, that place is definitely La Mama. Probably designed with the owners appetites in mind, the concept is to fill up the customer at all costs, and to make sure that cost isnt too high for them. [...] Chicken livers at La Mama [...] with plenty of fries, and if you add a soft egg on top, you turn the whole thing into a calorie bomb. In that case, skip dessert".
When well-crafted-clear, comprehensible, and enjoyable to read - a food review can captivate the audience, enticing or persuading them, and even influencing their choices regarding where to have their meals, whether breakfast, lunch, or dinner.
"The interior shocks you right from the start. Youre not sure if youre in a car showroom or a luxury restaurant. The only giveaways that its a restaurant are the beautifully arranged tables and the multi-level bar over the mini-pool underneath. The giant windows make you feel like youre outside, and the lack of curtains gives the impression of a gigantic aquarium. But lets talk about the food. For starters, the salads are architecturally arranged, with parmesan crisps over arugula leaves, perfectly accompanied by olive bread. The risotto with four types of cheese would be the second option, and its definitely worth bringing a business partner to Casa M for".
Consequently, the gastronomic chronicle serves not only as a decision-making aid and a source of information but also acts as an alluring narrative that engages and delights the reader.
"What delighted me the most was the pork knuckle, oven-baked with, depending on your preference, vegetables or beans. And I insist on it, and not on the goulash - which is extraordinary anyway - simply because that smoked knuckle is unlike anything Ive ever eaten before. The way it melts in your mouth, not to mention the fat under the crackling that every doctor on the planet forbids, makes it addictive. The Romanian addiction to pork. So, the goulash is hearty, creamy, and 10,000 calories, the knuckle is exceptional, and I cant resist mentioning, even though its not necessarily a Hungarian specialty: the steak tartare. Regal. For dessert: pancakes filled with all sorts of things or dumplings with fruit sauce, if I recall correctly, can complete your fast-track to weight gain. Go for it!"
Chișu uses several techniques to engage the reader and vividly describe the culinary experience. We noticed: rich, descriptive language and sensory details (to create a vivid image of the food and dining experience ), hyperbole , humor and irony , repetition for emphasis , contrast and cultural references . Chișu call to action in his articles - go for it! - in order to engage and encouraging the reader to indulge without hesitation. This technique actively involves the public, making them feel invited to share in the experience.
"The service is decent, with the waiters knowing exactly what to recommend to make you feel good. The menu is rich, both for starters and main courses. My recommendation is the pasta. Specifically, the pappardelle with speck and cream, which I havent eaten anywhere else in Bucharest. And after the pasta, try the filetto al aceto balsamico. Four pieces of beef tenderloin (overcooked in my opinion) of good quality, tender and flavorful, drowned in a brown sauce whose combination I couldnt quite figure out. But its very good. [...] For dessert, the classic tiramisu caught my eye from a nearby table because the portions were gigantic".
These techniques work together to create a vivid, indulgent, and slightly humorous description of the food, pulling the reader into the experience and encouraging them to imagine the flavors and sensations themselves.
"If you think about it for a moment - because you dont need a degree to figure this out - youll realize why the place is always packed. Moreover, if you happen to come unannounced, without calling or making a reservation, you risk not finding a spot. Whats worse is that youll only torment yourself by looking at other peoples plates, who dont even bother to notice you, too busy being proud they have a seat while you dont. So, make sure you get a reservation if you want to be the lucky holder of a table, whether for lunch or dinner. So, youve figured out that its simply because the food is plentiful and good that the place is always crowded. The first thing that struck me was the portion sizes. The eggplant salad or caprese is enough for four people. The main course is gigantic. I dont even feel the need to comment on whether the food tastes good or not because, with so many people waiting in line for a table, it has to be, I told myself as I sat down. I order chicken with gorgonzola sauce, indulge, and then move on to pancakes with cottage cheese and raisins. The chicken fills me up just by looking at it, as I had already seen it on other plates, and the pancakes are impossible to eat after the eggplant salad and chicken. Theyre that big, but I cant resist and dig in. Sweet cheese, raisins, and a little sour cream on request".
As we may see from our examples, the language of food highlights the powerful impact language has on our perceptions, emotions, and even behavior regarding food. Certain phrases used by journalist, such as guilty pleasure or cheat meal may evoke moral associations that can negatively influence our relationship with food. Journalists often used literary and rhetorical techniques to create a vivid, humorous, and engaging description of the dining experience. To summarize, in food writings we encounter: colloquial tone and informality, humor and irony (with relatable humor and self-deprecation ), hyperbole (or exaggeration), sensory imagery, direct address to the reader and juxtaposition of experiences. Linguist Dan Jurafsky, (2014) wrote about the the role of food language that goes beyond individual perception and enters the cultural commentary space. He emphasizes that food writing often serves as a narrative device, weaving together personal stories, cultural history, and societal observations, making food a rich topic for linguistic study . Language varied by the type of restaurant. Thus, longer words and more specific terms are associated with higher menu prices:
"Interesting finding: there seems to be a spicy or exotic tax. Menu items that include these words typically carry a higher average price than similar products without this designation. So chicken you order at Wendys is about choice (do you prefer grilled or fried?) and at a fine dining restaurant it is about specific qualities and longer words (spicy Palliard of vegetarian-fed Draper Valley Farm chicken with exotic accompaniments), what about casual dining restaurants that occupy a vast middle ground?"
Savoring Stories: the impact of gastronomic chronicles in modern media. Ethics and clichés in food writing
When writing about food, journalists used plenty of commonly used phrases and clichés that can help convey sensory experiences, evoke emotions, or add style. These phrases can add flair to writing about food, making descriptions vivid and appealing to readers. Here are some examples from Roamnia:
Table 3: Phrases can add flair to writing about food, making descriptions vivid and appealing to readers.
In todays media landscape, food has transcended its primary function of sustenance to become a powerful symbol of culture, identity, and social commentary. Gastronomic chronicles - restaurant reviews, food critiques, and culinary essays - have played a pivotal role in shaping public perceptions about cuisine and dining experiences. This form of journalism, while traditionally overlooked, has evolved into a significant genre within the press, blending storytelling, critique, and cultural reflection. Food journalists, like many other professionals in the media, often adhere to ethical standards, but the specifics can vary depending on the publication, the writers personal values, and the cultural context in which they operate. Here are some key points regarding ethical considerations in food journalism, with the mention that in Romania we do not have any ethical code regarding Food Journalism.
According to New York Times rules , we may take into account: transparency (food writers are generally expected to be transparent about their experiences and any potential conflicts of interest. This means disclosing if they received free meals, were invited to events, or have any relationship with the restaurants or chefs they review), independence (food writers have to maintain credibility that is paying for their meals unless otherwise noted; writers for reputable publications may avoid accepting free meals to prevent bias in their reviews), accuracy and honesty (not exaggerating or misrepresenting the quality of a meal or dining experience), respect for cultural context (journalists are increasingly mindful of cultural appropriation and sensitivity, especially when writing about cuisines that are not their own, that is understanding and respecting the cultural significance of certain foods and practices. Do journalists pay for their meals? Many of them do pay for their meals to ensure that their reviews are credible and unbiased. According to NYT rules, some journalists may receive complimentary meals from restaurants, especially when invited to media events or openings. However, they should disclose this information in their writing to maintain transparency.
Eater outlines key principles and philosophies for crafting meaningful reviews. Here are some of the essential takeaways: honesty and fairness, respect for the restaurant, factual reporting, emotional connection with food and readers and seting a personal standard (reviewers may establish their scoring systems to provide readers with a quick reference point about their dining experiences, helping to contextualize their reviews within a broader scale, using a system of points or stars).
Article "Ethics in Food Writing" published by Food & Wine delves into the ethical considerations that food writers must navigate: transparency with readers, authenticity, social responsibility, the role of influence consumer behavior and industrial practice and a balancing act between being critical and being constructive. According tot hem, writers should critique food and establishments in a way that informs and educates rather than just to tear down.
In the Romanian press, restaurant reviews often raise suspicion among readers. There is a tendency to interpret culinary-themed articles as advertorials. Gastronomic information is frequently perceived as hidden advertising. The journalist is suspected of having gained some advantage when the review is positive, with questions such as: What is hidden behind the review? Is the journalist friends with the restaurant owner, or perhaps even a shareholder without publicly acknowledging it? Is the restaurant owner friends with the editor-in-chief or the publications director?
Here is a recent example taken from the local-regional online press in Arad, an article announcing the opening of a new venue, titled Mr Paco Officially Opens Its Second Location Inside Dedeman in Micălaca. The article, not attributed to any journalist, triumphantly declares how the Paco brand is "making a strong entry into Romanias fast-food segment!"
"At Mr. Paco, every bite is a promise fulfilled of freshness and quality. Our crispy chicken, the star of the menu, is prepared using our own recipes that guarantee a perfectly crunchy crust and juicy meat with every order. For those who want to share this delicious experience with friends or family, our crispy buckets are the ideal option, offering variety and satisfaction for all tastes. Last but not least, our burgers are a story of flavor in themselves. Combining crispy chicken with fresh ingredients and matching sauces, each burger is designed to be not just a quick lunch but a memorable culinary experience. And because were located inside Dedeman, access to this gastronomic experience is easier than ever: perfect for turning an ordinary shopping day into a moment of indulgence".
Thus, in Romanian press, the gastronomic review is seen as a text serving various commercial interests rather than an objective piece, written honestly by a journalist following the standards of journalistic style, relying on arguments and not personal friendships or affinities. The economic conditions in Romania make this type of text difficult to classify under opinion journalism, where the journalist exercises their ability to objectively describe both the food and the conditions in which the dining experience takes place, as well as the process of consuming dishes specially prepared by a chef.
