• Preventive Nutrition and Food Science
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• v.10 no.2
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• pp.191-197
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• 2005

There exist two interesting phenomena in making seafood products from surimi. When salted surimi is kept at a constant low temperature $(4\~40^{\circ}C)$, its rheological properties change from sol to gel, which is called 'setting'. Seafood processors can exploit changes that occur during setting in preparation of surimibased products, because heating at high temperatures, after the pre-heating during the setting process, enhances the gel-strength of salted surimi. Contrarily, when salted surimi or low-temperature set gel is heated at moderate temperatures $(50\~70^{\circ}C)$, a deterioration of gel is observed. The phenomenon is termed 'modori'. In the modori temperature range, heat-stable cysteine proteinases such as cathepsin B, H, Land L-Iike hydrolyze the myosins responsible for gel-formation, resulting in gel weakening modori. This article reviews molecular events occurring during gel setting that improve the quality of surimi-based products, and inhibition of modori by applying proteinase inhibitors. Application of recombinant protein technology to surimi-based products is introduced and its prospects for practical use are discussed.

• Asian-Australasian Journal of Animal Sciences
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• v.17 no.12
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• pp.1758-1763
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• 2004

This study was carried out to investigate gel forming and degradation properties (suwari and modori phenomena) of chicken surimi from mechanically deboned chicken meat (MDCM) at various setting temperatures and time. Chicken surimi was manufactured by a continuous process including chopping of MDCM, washing with 5% NaCl solution or pure water, standing, straining and centrifuging etc. Total process of washing for the MDCM from chopping to centrifuging was repeated over 3 cycles. Gel from prepared surimi were formed at $90^{\circ}C$ for 30 min after various setting treatments. The textural properties of gels were measured at the temperature ranges of low (10$^{\circ}C$), medium (25$^{\circ}C$ and $30^{\circ}C$) and high (45 to 70$^{\circ}C$). The compressive force (CF), hardness and fracturability of surimi gel at 10$^{\circ}C$ increased as setting time increased, and showed the highest value at 30 h of setting time. The CF and hardness of chicken surimi gel at 25$^{\circ}C$ and 30$^{\circ}C$ showed the highest values at 10 h of setting time. Most of gel strengths including CF, and texture profile analysis (TPA) values showed the highest levels in the range 47.5 to 52.5$^{\circ}C$ (p<0.05). The gel strength at 60$^{\circ}C$ increased slightly at 30 min, but then continued to decrease with longer setting times. There was no increase of gel strength at $70^{\circ}C$, but only a continuous decrease over setting time. In conclusion, suwari (gel setting) and modori (gel degradation) phenomena occur during the gel formation of surimi from MDCM. The temperature range in chicken surimi was 47.5 to 52.5$^{\circ}C$ for suwari and 60 to 70$^{\circ}C$ for modori.

• (The) Research of the performance art and culture
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• no.32
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• pp.489-524
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• 2016

This study examines the birth of a genre, the $Sekky{\bar{o}}bushi$ Misemono Opera, focusing on how it accepted and modernized Katarimono $Sekky{\bar{o}}bushi$. Unlike earlier studies, it argues that Terayama was clearly different from other first-generation Angura artists, in that he rebirthed the medieval story $Sekky{\bar{o}}bushi$ as a modern Misemono Opera. Shintokumaru (1978) was directed by Terayama $Sh{\bar{u}}ji$, a member of the first generation of Japan's 1960s Angura Theatre Movement. It takes as its subject the Katarimono $Sekky{\bar{o}}bushi$ Shintokumaru, a story set to music that can be considered an example of the modern heritage of East Asian storytelling. $Sekky{\bar{o}}$ Shintokumaru is set in Tennoji, Japan. The title character Shintoku develops leprosy as a result of his stepmother's curse and is saved through his fiancee Otohime's devoted love and the spiritual power of the Bodhisattva Avalokitesvara. In this work, Terayama combined the narrative style of $Sekky{\bar{o}}bushi$ with J.A. Caesar's shamanistic rock music and gave it the subtitle 'Misemono Opera by $Sekky{\bar{o}}bushi$'. He transforms its underlying theme, the principle of goddesses and their offspring in a medieval religious world and the modori (return) instinct, into a world of mother-son-incest. Also, the pedestrian revenge scene from $Sekky{\bar{o}}bushi$ is altered to represent Shintokumaru as a drag queen, wearing his stepmother's clothes and mask, and he unites sexually with Sensaku, his stepbrother, and ends up killing him. The play follows the cause and effect structure of $Sekky{\bar{o}}bushi$. The appearance of katarite, a storyteller, propelling the narrative throughout and Dr. Yanagida Kunio is significant as an example of the modern use of self-introduction as a narrative device and chorus. Terayama $Sh{\bar{u}}ji^{\prime}s$ memories of desperate childhood, especially the absence of his father and the Aomori air raids, are depicted and deepened in structure. However, seventeen years after Terayama's death, the version of the play directed by Ninagawa Yukio-based on a revised edition by Kishida Rio, who had been Terayama's writing partner since the play's premier-is the today the better-known version. All the theatrical elements implied by Terayama's subtitle were removed, and as a result, the Rio production misses the essence of the diverse experimental theatre of Terayama's theatre company, $Tenj{\bar{o}}$ Sajiki. Shintokumaru has the narrative structure characteristic of aphorism. That is, each part of the story can stand alone, but it is possible to combine all the parts organically.