• Journal of the Korean Society of Food Culture
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• v.3 no.2
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• pp.125-133
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• 1988

In recent years, Korean traditional culture has been reviewed in many ways. And Great efforts have been made to form a culture suitable for the Koreans. With these tendencies, the interest in Korean traditional foods has been greater. So this paper is intended to identify and analyze the kinds, materials and cooking processes of the rice cakes needed for ancestral worship rites in the court of Choson Dynasty. The work is centered around the Tae-sang-ji written by Lee kun-myong in 1873-the 10th year since king kojong's coming to the throne. And we study such literatures on foods and cooking processes as Kyugon-si-ui-bang, Yo-rok, Jungbo-Sallim-Kyungjae, Kyuhap-Chongso, Si-ui-jon-so and so on. The results are compared and analyzed. Cooking processes and materials of Korean rice cakes in Choson Dynasty were various and had traditional characteristics. Rice cakes necessarily needed for various rites were called pyun especially when they were used for ancestral worship. And many different kinds of Pyun were used according to seasons. There were nineteen kinds of rice cakes used for ancestral worship in the court: Gu-i-Byung, Bun-ja-Byung, Baek-Byung and so on. The six; Gu-i-Byung, Bun-ja-Byung, Sam-sik-Byung, Yi-sik-Byung, Baek-Byung and Huk Byung were essential for the great rites at Jong-myo and Young-nyung-Jeon and so they were highly thought of. Main materials of these six were rice, glutinousrice, sorghum and wheat flour. Cooking processes of the rice cakes above mentioned can be classified into frying, beating, boiling, steaming, etc. Powder for covering rice cakes was made of bean, pine nut, sesame and red bean, of which bean was made the greatest use of. If was very wise of them to use these kinds of powder, for they supply protein and lipid of which rice cakes are destitute and they also add colors and good tastes to rice cakes. But Korean traditional rice cakes are less used as the thought of rites has changed and various kinds of desserts have been developed. And yet there is no denying the fact that even now rice cakes play a great role in traditional formalities.

• Korean journal of food and cookery science
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• v.20 no.1
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• pp.26-33
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• 2004

The purpose of this study was to investigate the consumption patterns of traditional Korean rice cake among college students. Self administered questionnaires were collected from 512 college students in the Seoul, Kyunggi, Chungchung, Kyungsang, Junla and Gangwondo areas. The data were statistically analysed using frequency analysis, chi-squared and t-tests and a one-way ANOVA. By examining the results of the student's perceptions of traditional Korean rice cake, it was found that most know little, or only a moderate amount, about this type of food. Meanwhile, more than half the students liked traditional Korean rice cake, as this type of food satisfied their need for a traditional Korean taste, while the reason for disliking was that they were more familiar with western-style confectionary. Most students answered that they only ate traditional Korean rice cake on special occasions, such as big holidays or ceremonies for the dead ancestors. Most answered that they bought those foods at conventional markets, the mile in the neighborhood, (Eds note: I dont't understand, do you mean, “within a mile of their neighborhood”\ulcorner) or atbig malls. The factor they considered the most important at the time of purchase was the quality (taste), which demonstrates the need for the development of traditional Korean rice cakes, with new tastes and shapes, which still satisfy the Korean's taste, whilemaintaining the traditional taste. For the questions that asked about the problems faced by the traditional Korean rice cake manufacturing industry, and the reasons for low consumption, the students responded that buying this type of food was difficult as the outlets selling themwere not easy to find. Our results seem to suggest that there are almost no specialty stores for the sale of traditional Korean rice cake compared to the other types of cakes that are scattered all over the country. (Eds note: this is only my opinion, and I maybe wrong, but I would have thought that trying to market traditional Korean rice cakes at local convenience stores, rather than speciality stores, would make them more available to the general public. Their marketing at speciality stores will maintain the status quo, i.e. people will go to the speciality stores to purchase product for holidays and special occasions, whereas they will go to the local convenience stores to buy general everyday snacks etc.)

• Korean journal of food and cookery science
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• v.19 no.5
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• pp.609-615
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• 2003

In the Kimchi manufacturing industry, the process of brining baechu produces a vast amount of high salinity waste water. To study if this brine can be recycled, the quality characteristics of Kimchi salted by waste brine(F), which was used five times successively, was compared with those salted using water after recycling filtration through sand (F1) and activated carbon (F2) columns. No significant difference in the salinity and soluble solid contents, during fermentation at 10 was observed among the samples, but the salinity and soluble solid contents of the F-sample were slightly higher than in the control. The F1 and control Kimchi showed similar pHs and titratable acidities, while the F-Kimchi had a lower pH and a higher acidity during fermentation. The numbers of total viable cells were highest in the F, and lowest in the F2-Kimchi, while the counts of lactic acid bacteria were lowest in the F-Kimchi. The sensory tests for appearance, odor, taste and overall acceptance showed that the F-Kimchi was the least desirable, the F2-Kimchi had lower sour odor and taste, and a higher toughness, than the others. The F1- and control Kimchi had similar sensory grades for appearance, odor, and tastes, and there were no significant difference in the overall acceptance, showing the possibility of recycling wastewaters as brine for the production of baechu Kimchi.

• Korean journal of food and cookery science
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• v.10 no.1
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• pp.45-50
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• 1994

Conventional Doenjang, three kinds of Improved Doenjang(A; koji: soybean: salt=53: 100: 33, B; koji: soybean: salt=100: 100: 40, C; koji: soybean: salt= 200: 100: 40) prepared with different ratio of koji and salt were made to study the changes in the general contents, characteristics bitter peptides, correlations between bitterness and overall eating quality. 1. Total nitrogen contents increased a little, and amino nitrogen contents in all samples increase markedly. Especially, Amino nitrogen contents of conventrional Doenjang increased more than others. Reducing sugars of doenjang prepared with Asp. oryzae were higher than conventional Doenjang and increased throughout the aging period and Doenjang prepared with Asp. oryzae were more acidic. 2. To characterize bitter peptides in fermented Doenjang, peptides were extracted with 2: 1(v/v) chloroform-methanol and separated by Gel chromato-graphy with Sephadex and TLC. After Gel chromatography and TLC, each fraction examined presence of bitterness and evaluated intensity of bitterness. Amino acid composition of the fractions showing bitter tastes were as follows. Conv. peak 1-1 Trp-(Asp, Arg, Thr, Ser, Glu, Pro)-Phe Imp. A peak 1 Trp-(Glu, Val, Arg, lie)-Phe Imp. B peak 1 Trp-(lie, Pro, Asp, Lys, Val, Glu)-Trp. Imp. C peak 1-2 Trp-(Try, Thr, Glu, Pro, Gly)-Phe 3. Sensory evaluation revealed that correlation coefficient between bitterness and overall eating guality was not high.

• Food Engineering Progress
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• v.13 no.2
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• pp.110-116
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• 2009

Gochujang, a fermented traditional Korean hot pepper-soybean paste, has long been used to provide hot, sweet, and savory tastes. Changes in the pH, titratable acidity, moisture content, water activity, amino-nitrogen content, NaCl content, color, and yeast population during aging were investigated using a model system of Gochujang incorporated with strawberry puree up to 14% as a value-added food ingredient. pH decreased slowly till 60 days of aging then increased afterwards. Titratable acidity, on the other hand, increased during aging, reaching at the highest level at the 60 days of aging and then decreased rapidly. The moisture content continually increased during aging up to 90 days whereas water activity decreased rapidly till 60 days of aging and then slightly increased. The amino-nitrogen content increased while NaCl content decreased continually during aging. All the color parameters including L$^{*}$, a$^{*}$, and b$^{*}$-values increased during aging in general with exception for b$^{*}$-values in some conditions. Initial yeast population was ranged 1.2-4.9${\times}10^{6}$CFU/g and increased to 1.1-5.9${\times}10^{7}$CFU/g after 90 days of aging.

• Korean Journal of Food Science and Technology
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• v.53 no.5
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• pp.585-592
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• 2021

This study compared the quality characteristics of commercial Cheddar cheese of dairy types (DT) and vegan types (VT) using electronic sensory evaluation (nose and tongue) and texture profile analysis (TPA). The electronic nose detected acetaldehyde, 2-methylbutanal, and n-butanol in all samples, whereas 2,3-pentanedione and pentan-2-one were detected in DT1, VT1, and VT3. The electronic tongue detected various intensities of six tastes in the two types, regardless of the raw material. Principal component analysis by electronic sensory evaluation revealed the differences between the pattern for VT. The TPA results showed that the textures of DT and VT were not classified according to the raw material. However, the protein content affecting texture was <0.6% for VT compared with that for DT. These results are expected to be useful for establishing quality indicators in developing vegan cheese products with characteristics similar to those of dairy cheese.

• (The) Research of the performance art and culture
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• no.18
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• pp.379-412
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• 2009

According to "Jinjak-yigwe(進爵儀軌)", a special banquet was held at Yungyungdang(演慶堂, a kind of royal theatre) to celebrate the 40th birthday of Queen Soonwon(純元王后) in 1828. This banquet is famous for the presentation of nineteen new Jungjae(呈才) repertoires that the Crown Prince Hyomyung(孝明) created. In order to explore the theoretical basis for the reproduction and presentation of Yungyungdang(演慶堂) Jinjak(進爵, a type of royal banquets), in this article, the imagination and experience of the presentation of Yungyungdang Jinjak are pursued, while focussing on audience's reception. In Yungyungdang Jinjak, King Soonjo(純祖), Queen Soonwon and the prince were the special audience; they participated in the procedure of Ye(禮, etiquette of ceremony) and also were considered as the characters of certain repertoire of Jungjae. Hyomyung arranged the spectacles from the myths of Taoist gods and immortal hermits, as well as historic episodes of the past emperors' elegant tastes of music. These mythic and historic images lead the audience toward the imagination and experience on the transcendental world. Hyomyung, managing the administration as the representative of King Soonjo, tried to show absolute royal authority through the splendid performances of Yungyungdang Jinjak, so as to overcome the politicaly difficult situation. He set up the sacred world for his father King Soonjo, distinct from the secular ordinary world, and emphasized his position as the bridge between the two sides. He expressed his filial duty through the devotion of performing arts to display absolute royal authority.

• Cross-Cultural Studies
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• v.42
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• pp.393-418
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• 2016

Raquel, the representative work of Vicente García de la Huerta, an 18th century Spanish playwright achieved theater box-office success and popularity during staging. It has been evaluated by many scholars and critics as the ideal drama that faithfully followed the norms of neoclassicism, which pervaded the aesthetic mainstream at the time. However, the factor that enabled the popular success of this theater production was its ability to harmonize the themes or contents with a traditional play to meet the unique trends and tastes of Spanish viewers who were still appreciated earlier Baroque theater, rather than complying with external norms of neoclassicism such as principle of three unities or exclusion of comic figures etc. That is, Spanish viewers of the time thoroughly rejected theater of neoclassicists who attempted to unilaterally enlighten them while regarding the Baroque theater of earlier times as full of superstition and irrationality, illogic and disorder, regardless of their own dramatic taste. In this situation, Huerta's tragedy Raquel, achieved the harmony of neoclassical tragedy and Spanish theatrical tradition. It thus emphasizes the importance of public support and sponsorship in dramatic success. Traditional dramatic elements shown in Raquel can be summarized as honor, poetic justice and love and these elements are major dramatic codes penetrating the entire Baroque theater of Spain.

• 기호학연구
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• no.56
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• pp.7-44
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• 2018

The objective of this paper is to propose a classification of Korean taste terms, especially Korean taste adjectives, from the perspective of cognitive science. The classification of Korean taste terms is here grounded in the definition of 'taste sense', 'flavor' and 'taste' which is usually employed in disciplines of cognitive science. There have been a large number of domestic researches in field of taste terms. Accordingly, a lot of research findings on the classification of taste terms have steadily been released showing the differences among researchers. These different classifications are largely based on the fact that researchers have applied their subjective criteria rather than their objective in order to categorize taste terms. According to previous studies, it is well-known that, in everyday usage, the term 'taste' covers a much wider range of qualities than those perceived through the taste receptor cells alone. In addition, we take it for granted that as much as 80~90% of taste comes from olfactory modality. It is also important to note that the texture and temperature of food, the color of food, the sounds of food, and atmospheric cues have an essential effect on taste perception. Many scientists have already pointed out that taste evaluations are influenced by a number of individual and sociocultural factors. Eating and tasting are important parts of our everyday life, so that linguistic approaches to taste perception seem to be of great significance. We can assume that a classification of taste terms from the perspective of cognitive sciences may shed light on the perceptive mechanism through which we perceive taste. It should be noted that this paper is an advanced work prepared for the follow-up study which will try to make a geometric model of word field 'taste terms' existing or probably existing in the mental lexicon of human beings.

• The Journal of the Korea Contents Association
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• v.21 no.10
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• pp.286-308
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• 2021

For a long time, dramas that everyone has enjoyed at home have become the most popular cultural contents due to the development of digital technology and the influence of Hallyu.(Korean Wave) This study was conducted in-depth interviews and participatory observations on the background, role, identity, and labor experience of TV planning producers who appeared in the drama production process with the implementation of outsourcing production policy in 1991. The number of dramas produced increased sharply in the mid-2000s due to the Korean Wave. Against this backdrop, the planning producer has expanded their scope in the drama production process and emerged as a new drama producer. The planning producer plays a role in creating an environment in which writers and directors can be selected with the identity of "not a creator but a producer of dramas" and lead drama planning. OTT and watching TV on the Internet have made it possible to watch dramas without TV. As this phenomenon accelerates and becomes commonplace, fewer consumers adhere to the traditional way of watching dramas using TV, and consumers' emotional tastes become more demanding. In this environment, TV planning producers are leading the production of dramas, exerting as much influence as writers and directors. They are also building new power relationships among drama producers by securing planning and financial power.