The 1980s neo-liberal political agenda, which deemed media market liberalization necessary to stimulate programming innovation and expand audience choice, reshaped Canadian television programming, prompting a new round of debate over the quality, distinctiveness, and value of domestic TV shows. As the top 100 cited articles include mainly original articles (both theoretical and empirical), the study focused on the article structure, calling JLE authors’ attention to the journal editors’ stance on article formats. The research finds out that educational discourses and news media coverage discourses are the most popular themes with 23 publications each other prevailing topics cover media, policy-related, ecology discourses, metaphors, racism and religion in discourses. The top 100 quoted articles were singled out from Scopus database, filtered through subject areas (social sciences arts and humanities), language (English), years (2015-2019), document type (article) and keywords (discourse discourse analysis critical discourse analysis semantics). The editorial review of the top 100 most cited articles on discourse in the subject area of ‘linguistics and language’ aims to define the dominating trends and find out the prevailing article structures for JLE authors to follow as the best practice-based patterns and guidelines. The expanding genre of cooking shows necessitates a broadened scope in theory to examine the shifting relations between participants. Five different frameworks can be applied to analyzing cooking shows as a story: narrative, folklore, myth, media studies, and culinary tourism, each of which offers insight to the construction of celebrity chef expertise and authenticity. The domestic scenario often revolves around a narrative of cooking demonstrations, for example, while travel cooking shows accompany celebrity chefs on tour as they progress from location to location, presenting viewers with ethnographic experiences of food cultures. Stories give context to the cooking, giving the act more meaning than just making food. Cooking shows offer a kind of ‘super-story’ in that the show itself is a story with a consistent teller from week to week, each episode consists of a plot and a beginning and end, and within each episode are individual stories embedded within the recipe telling. Entertaining and educating simultaneously, cooking show hosts tell recipes and weave in stories, a form of narrative marked by distinctive linguistic and structural components. Television cooking shows provide a space for discourse about food, with storytelling emerging as a way to share and interpret experiences. They contribute to the perpetuation of cultural seasonality, offer vital and powerful reminders of our natural-world seasonality, and encourage the audience to celebrate both. They stand as legitimate works of TV art which contribute to an aesthetic appreciation of changing seasons. These programmes do more than offer cookery instruction or educate the viewer with regard to when particular foods are in and out of season. Specifically, considering examples fronted by Hugh Fearnley-Whittingstall and Nigel Slater, this article contends that such shows evoke ‘seasonality’ in myriad ways and by varied means, many of which fall under the realm of the aesthetic. From the perspective of television aesthetics, moving beyond dominant evaluative conceptions of ‘aesthetics’ often found in studies of TV cookery shows, it argues that selected recent cookery programmes warrant and reward aesthetic attention. This article considers seasonality in relation to television and its more familiar context, food.
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