• Journal of Popular Narrative
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• v.26 no.3
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• pp.87-120
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• 2020

The study noted the characteristics of the web novel's 'Book Travel' motif, which reflects the characteristics of popular culture content, which is free to use familiar genre grammar or code. The imagination of the main character entering the work he read in the real world is a reinterpretation of the existing genre grammar of the web novel, and studying the motif is meaningful in reviewing the intertext of the genre. This motif, summarized as 'Book Travel' differs from other genres in the romance fantasy genre, which can also be used to reveal the gender characteristics of the genre. The study noted that the 'Book Travel' motif was born from an interactive interpretation of existing narratives, thus having a affinity with dimensional shift, regression, and alternative historical objects, and referring to the writing norms of Fanfiction. Through this, it was predicted that the re-combination of existing narratives and interference between genres would continue in the future. Next, the original move in the romance fantasy genre was seen as quite conservative and revealing the logic of self-improvement even though people around him became the main characters and overthrew the narrative. The characters should use their knowledge of the future of the real world to fight in a world of survival where destruction has been predicted. The appearance of an ethical and self-help subject is interesting, but on the other hand, I could look at conservatism in that romance is a way of survival and achievement of characters. The research is meaningful in that it reviewed the characteristics of the original transfer motif, which started fairly quickly in the romance fantasy genre, and reviewed its appearance background and characteristics. There was a limit to the collection of physical works and limited platform. The above limits are intended to be supplemented by further reviewing and supplementing later works.

• Journal of Nutrition and Health
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• v.45 no.1
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• pp.94-102
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• 2012

There is a limitation to estimate vitamin $B_{12}$ intake due to a lack of data on vitamin $B_{12}$ content in many Korean foods. In this study, vitamin $B_{12}$ content was determined in some seaweeds, fish, and shellfish and their product that are consumed in Korea using a modified microbioassay with Lactobacillus delbruecki ATCC 7830. Dried laver and dried seasoned and toasted laver contained very high levels of vitamin $B_{12}$ (66.8 and $55.2-71.3\;{\mu}g$/100 g, respectively. Sea lettuce and seaweed fulvescene also contained high vitamin $B_{12}$ content of 5.47-9.41 and $6.46-7.20\;{\mu}g$/100 g, respectively, whereas sea mustard and sea tangle contained low levels of vitamin $B_{12}$; vitamin $B_{12}$ was not detected in seaweed fusifome. Pacific saury, trout, sea-bass, or squid contained 12.01, 2.00, 0.49 and $2.33\;{\mu}g$ vitamin $B_{12}$/100 g, respectively. Ochellatus octopus, and naked sand lance contained 0.72-1.43 and $3.68\;{\mu}g$ vitamin $B_{12}$/100 g, respectively. Dried Alaska pollack con-tained $0.19-2.64\;{\mu}g$ vitamin $B_{12}$/100 g. Shellfish such as little neck clam and small ark shellfish contained high levels of vitamin $B_{12}$ of $30.5-40.5\;{\mu}g$/100 g, and mussel and abalone contained 17.71 and $7.82\;{\mu}g$/100 g, respectively. Of unique Korean traditional fermented seafood products, salt-fermented products of squid ($2.91\;{\mu}g$/100 g), clams ($34.31\;{\mu}g$/100 g), Ala-ska pollack roe ($9.98-12.02\;{\mu}g$/100 g), hairtail guts ($4.58\;{\mu}g$/100 g) or small shrimp ($0.58-1.55\;{\mu}g$/100 g), and fish sauce from anchovies ($1.52-1.78\;{\mu}g$/100 mL), sand eel ($0.22-0.24\;{\mu}g$/100 mL) or small shrimp ($0.19-0.78\;{\mu}g$/100 mL) were analyzed. A few commercial brands of flying fish roe ($0.73-1.73\;{\mu}g$/100 g), canned tuna ($0.40\;{\mu}g$/100 g), and fried fish paste ($0.25-0.69\;{\mu}g$/100 g) were also analyzed. In conclusion, vitamin $B_{12}$ content in these foods, chosen considering the Korean food culture, should contribute to improve the present vitamin $B_{12}$ food database. It may be helpful to estimate vitamin $B_{12}$ intake more correctly than before, and provide additional information for dietary education related to vitamin $B_{12}$ and meal management.

• Journal of the Korean Society of Food Culture
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• v.17 no.5
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• pp.653-662
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• 2002

Korean native Perilla Jangachi (salted and fermented vegetable) is popular and well-known but little study on its composition and most palatable condition has been reported. This study was performed to observe the change in the contents of chemical components and sensory evaluation of Perilla Jangachi which was prepared through two processing. First, as a pretreatment, Perilla leaves were soaked in salt water. The optimal level of salt concentration and soaking time (salt 4%, soaking time 42hours) was determined. Second, soaked Perilla Jangachi was steamed and then fermented in various ingredients like soy sauce, sugar, onion and so on. In this study, Perilla Jangachi was made by 3 levels of steaming time(30 seconds, 60 seconds, 90 seconds) and onion contents (10%, 30%, 50%). The optimal level of onion contents and steaming time was determined with the results of sensory evaluation by response surface methodology and analysis of composition. Sodium contents were decreased as the levels of onion contents were increased. Flavonoids contents weren't increased although contents of onion were increased. But they were influenced on steaming time that as the levels of steaming time were shortened, flavonoids contents were increased. To lengthen the shelf-life of Perilla Jangachi, the activities of enzyme peroxidase - which changes Jangachi's quality bad - by various levels of steaming time were measured. After steaming 50 seconds, peroxidase became inactive. Reducing sugar contents were decreased relying on either increased steaming time and onion contents. While steaming 30 seconds and 10% onion contents, the content of reducing sugar was 0.858% but steaming 90 seconds and 50% onion contents, it became 0.372%. Among the sensory attributes, brownness was increased as onion contents increased and steaming more than 60 seconds. Saltiness, sweetness, perilla flavor were greater relying on decreased onion contents. Toughness was decreased as both the amounts of onion and steaming time were increased. With this results, the most optimal adding level of onion content and steaming time was determined. Steaming 72 seconds and adding onion 27% was established as a optimal condition of Perilla Jangachi.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.303-345
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• 2019

This article analyzes the multi-layered communication in the Webtoon Princess Pari, released on the Daum portal site, created (written and illustrated) by Kim Naim, through analyzing the narrative structure and comments with the qualitative / quantitative methodology. The webtoon Princess Pari is structured in an omnibus style in which unit narratives are intermittently articulated, multi-lined, and interconnected. As integrated narratives which link with unitary narratives, Pari's growth story as a shaman and a romance narrative are structured. The classical original story of the shaman was used as a prehistory corresponding to the prequel of the webtoon through a preview, and the writer restructured the narrative to overcome the contradictions of the gender asymmetry and the patriarchal ideology of the original text. The viewer then creates a conversational space by giving critical and reflective comments. According to a statistical analysis conducted through sampling, the types of comments can be classified as follows: Appreciation and criticism of the contents ≫ Emotional response ≫ Intuitive overall review ≫ Knowledge and reflection ≫ Comments on comments. In the process of creation and acceptance of the Webtoon, a multi-layered dialogue between classical and modern, content and audience, acceptance and creation has been at play. In the creation dimension, the writer used a device to fill the gap of mythical symbols of the contents. At the level of the audience, they formed a culture of sharing information, knowledge, and reflection about tradition/folk/culture through comments. This corresponds to classical and modern dialogue through the webtoon. The viewers form a sympathetic bond, attempt hermeneutical coordination, supplement the information, and search for a balanced angle through controversial conversation. In addition, by commenting on attitudes, views, and perspective, the commentators showed a behavioral pattern corresponding to meta-criticism in literature. The viewers' comments acted as feedback on the creation of the webtoons, so that the creation and acceptance itself influenced the production of the content of the webtoon. The webtoon Princess Pari, which was based on Korean classical narrative, has been reorganized onto 'moving and dynamic' content, which leads to sense, thinking, criticism and reflection through the formation of various dialogues.

• Journal of Korea Society of Industrial Information Systems
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• v.17 no.7
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• pp.127-138
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• 2012

Unlike the first generation of Korean Wave (Hallyu 1.0), which mainly refers to the exports of Korean TV dramas via broadcasting systems, the New Korean Wave (Hallyu 2.0) era has been brought by K-pop (Korean popular music) via the rapid growth of social media. The purpose of this study is to understand the impact of this significant shift in media on global fans and their way of adopting Korean cultural goods from a social capital perspective, in order to draw some implications for the current Korean content industries. Most global fans of K-pop are young and use social media to access digital content and share their opinions spontaneously. SNS providers such as YouTube and Facebook not only act as information providers to usher the fans to online music retailers; but also function as links between these fans and cultural producers by turning bonding social capital into bridging social capital. Telecommunication and advertising companies participate in this market as a third party by providing funds for supporting digital circulation and distribution. In this multi-sided market with the interdependent agents, it is extremely important to secure a platform that leads the evolution of its business ecology. Without owning the platform, there is also a very little chance to produce linking social capital as a means to maximize the impact of New Korean Wave.

• Korean Journal of Food Science and Technology
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• v.33 no.6
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• pp.714-719
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• 2001

An interest in traditional foods is growing in an effort to preserve dietary culture in Korea. Blue crab preserved in soy sauce, one of the Korean traditional foods is especially popular in summer and is produced in the Jeollanam-do province, Korea. However, there has been no report on processing of the blue crab. The objective of this research is to investigate changes of nutritional composition in blue crab preserved in soy sauce. Moisture content was a little higher in FBC (Fresh Blue Crab) than in PBC (Preserved Blue Crab) and ash content was greatly higher in PBC than in FBC. Salt content was 1.50% in FBC and 7.89% in PBC. The amount of free sugars in FBC was very low but was increased after preserved using soy sauce, especially of fructose significantly. After preserved, the pH of blue crab was also increased. The contents of most total amino acids in blue crab were decreased after preserved, but free amino acids were increased. Major total amino acids were glutamic acid, arginine and aspartic acid in two samples and major free amino acids were arginine, proline and alanine. Fatty acid content was decreased after preserved and major fatty acids were palmitic acid (16 : 0), oleic acid (18 : l), eicosapentaenoic acid (20 : 5) and docosahexaenoic acid (22 : 6).

• Journal of Popular Narrative
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• v.25 no.4
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• pp.45-71
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• 2019

Through the expansion of platforms in the media era, this paper notes the phenomenon in which 'high-teen romance drama,' a genre which had been marginalized in the past, began to re-emerge. It analyzes the 'high-teen romance drama,' which is moving from TV to the Web and being produced in various ways, while successfully returning to the TV drama format. This study sums up the latest trends in TV and web-based high-teen romance dramas, and as a case study, this paper examines the characteristics of the 'high-teen romance drama' in relation to the platform's environment through the web drama A-Teen, TV drama 18 Moment. Due to the restriction of ratings, high-teen romance dramas have been one of the largely marginalized genres on television. But in the web space, high-teen romance dramas are no longer non-mainstream. The high-teen romance drama has been solidifying its position through the Web, with absolute support from young viewers. Web dramas are gradually expanding their influence on the genre and subject of TV dramas. The high-teen romance drama is one of the most prominent examples of this trend. The popular interest and success of the high-teen romance web drama has brought the forgotten high-teen romance drama back to TV. The web drama A-Teen is a high-teen romance drama about everyday life and love of high school students, and became one of the most popular and popular web dramas, leading to a Season 2. A-Teen actively utilizes teenage culture and expression, and a strategy that leads to empathy among teenage viewers. In A-Teen, love is recreated in a way that relieves the depth of overconsumption emotions. Instead of dealing in depth with the inner conflict over love, it takes an approach ofpresenting the emotional change of love in real time and forming a consensus with the acceptor. The TV drama 18 Moment is one of the programs that has helped refocus attention to TV-hitting romance dramas. 18 Moment underlines the growth of the characters, with the main characters reaching maturity through love as fresh and innocent teenagers. The TV drama 18 Moment is a high-teen romance drama that has been transformed into a way to apply the web-fadding high-times grammar while retaining the typicality of existing TV hagwons to suit the TV broadcasting environment. As the Internet becomes more ubiquitous, video content is changing based on the newly emerging platforms. Dramas no longer mean just traditional television media. While considering the limitations of TV, this paper analyzed the background of the rebirth of the high-teen romance drama, which had been marginalized, through the web platform. This is meaningful in that it identifies and considers the increasing popularity of this genre of drama.

• Journal of Digital Contents Society
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• v.16 no.4
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• pp.565-573
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• 2015

The development of social media in the 2000s led the unspecified individuals to band together for common interests. Social networking services served as a far-reaching tool for sharing different thoughts and interpretation of the pop culture and helped people build up close relations driven by their common interests for certain works of the pop culture. This Study introduces the TV Series as a case that displays specific patterns of communication between its producer and viewers. Producer Bryan Fuller of the Series as well as key production staffs were quite active on social networking sites with the understanding of what the audience desired and the willingness to sympathize with them, which were eagerly welcomed by the dedicated audience whose number, though, was not big. For the Hannibal production team, SNS was a means for them to just be consumers who appreciate the work instead of solely being the content provider. Their approach is quite different from unilateral marketing approaches employed in the past. Through this case, the Study aims to suggest that social networking sites serve as a powerful medium connecting producers and viewers or as an information hub, and that how interactive contents shall be delivered in the new media environment to be effective.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.67-99
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• 2019

This paper analyzed romance novels imported into Korea in the 1980s and examined the traits of Korean girls' culture at that time. To this end, This paper chose as subjects the series of 'high-teen romance' published by Samjungdang, 'princess bestseller' by Seoul Publishing and the 'silhouette romance' by Joongang Ilbo in the 1980s. Through the aspects of the paperback romances, the traits of the artist, the content of the work, and the response of the reader, this paper analyzed the position and affection of romance as a genre in Korean culture in the 1980s. In the 1980s, most of the paperback romances available in Korea were translations of the modern and progressive present lines of Harlequin Enterprise's category romance. There were also many writers who were mostly introduced with progressive characters like Charlotte Lamb. The Harlequin romance depicts a story of sensual love. These translated 1980s paperback romance novels allowed girls in Korea to freely imagine the problems of sex and love. In particular, it showed a new perspective on women's sexuality. In Korean love novels, the sexuality of women was treated as an object for the gaze of men. The novels of female writers as college student who criticized this dealt with women's sexuality, but focused on criticism and resistance to the ideology of chastity. The paperback romance made it possible for women to freely enjoy their sexuality by escaping the ethical standards of reality. In addition, the paperback romance was an escape from the frustration of love. Romantic love in Korean love novels did not lead to the unification of mind and body, and always ended in tragedy. On the contrary, the paperback romance started with the fear of the girl who felt love for the first time, showed the process of winning over anxiety, confirming love and reaching a happy marriage. Through this, girls understood general love that was not subordinated to the ideology of chastity, and accepted love positively. The process of establishing romance as a genre in Korean culture and the traits of its readers have not yet been sufficiently clarified yet. This paper compared the romance genre with the other love novels of the day, explaining the position and meaning of the romance genre in Korean culture in the 1980s. Through this, we were able to chart the historical development of the Korean romance genre.

• The Journal of the Korea Contents Association
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• v.19 no.12
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• pp.28-37
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• 2019

It is apparently clear that K-pop has been expanding its influence overseas, with its high growth rate. As a result, attempts have been made to analyze the characteristics of K-Pop in various academic fields. This research quantitatively used the participatory use process of K-Pop contents in voluntary participation and dissemination of the audience in the Trans-Media environment. The author examined the use of participatory K-Pop contents from the view point of reparability through big data content analysis. It has been revealed that K-Pop is spreading globally through social media, fans of various countries like to play K-Pop, and they make up their own content and form a participatory culture. In addition, we looked at when the moments of momentum in which participatory use is soaring were popular content and who was the publisher.