• Journal of the Korean Society of Food Culture
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• v.26 no.5
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• pp.437-444
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• 2011

This study was performed to approach the 2004 case of inferior quality mandu stuffing from the stance of food ethics. The court convicted the producers of inferior quality mandu stuffing and also decided against the plaintiffs who filed a damage suit. The core of the mandu stuffing case was not safety, but the wholesomeness. The principles of food ethics include a respect for life, justice, environmental preservation, and the priority of safety. The virtues of food professionals include wisdom, honesty, faithfulness, courage, moderation, and integrity. A food producer should possess not only the ability but also the morality to make food. The consumer should urge the producers to strengthen their morality and be conscious of responsibility and fairness. The government should organize a system to establish food ethics, and make efforts to reduce wasteful law enforcement. The media should lead public opinion toward justice by doing an unbiased and in-depth report and help establish the idea of food ethics. The necessity of food ethics and the spread of the ethical mind are the most important points of all.

• Journal of the Korean Society of Food Culture
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• v.31 no.1
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• pp.73-80
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• 2016

The purpose of this study was to identify the change attributes of food courts inside department stores or shopping centers, which are becoming more sophisticated and gentrified. A survey was conducted regarding customer satisfaction level of food services, which influences customers' revisit behavioral intentions, to provide future development direction. Using an exploratory factor analysis, 55 questions on food and beverage service, atmosphere, comfort, sanitation, and food quality were produced. This study tested how these choice factors affect customers' positive or negative impressions of their dining experiences through multiple regression analysis. Results indicate that 'food service' was the most important factor contributing to customers' positive impressions along with higher revisit behavioral intentions. On the contrary, respondents who received poor 'food service' had higher negative impressions with low revisit intentions. The results and findings of this study will positively influence marketing and customer relationship management and thus help design of successful strategies for food court development.

• Journal of the Korean Society of Food Culture
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• v.31 no.5
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• pp.442-456
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• 2016

The purpose of this study was to investigate eating habits and dormitory foodservices' satisfaction in university students using dormitory foodservice in the Jeollabuk-do Iksan area. Self-administered questionnaires were completed by 195 students (86 male, 109 female). Many students (58.5%) ate less than two meals per day and spent around 30 min eating meals. The results show that snack and midnight meals were the main reasons (37.9%) for unhealthy eating habits. Main source of nutritional knowledge and information were TV and the Internet (58.5%), followed by friends and people (25.1%), nutrition books (10.3%), elective courses (4.6%), and newspapers and magazines (1.5%). Men had significantly higher satisfaction scores for nutrition, taste, diversity of menu, as well as hygiene of dormitory food court compared to women (p<0.05). Salty taste was the most important factor in evaluation of taste satisfaction, whereas sour taste was opposite. The reason for taste dissatisfaction in the dormitory food court was not salty enough, and it may be related with their eating habits. The results show that students need education for adequate knowledge and information about the relationship between health and nutrition.

• The Research Journal of the Costume Culture
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• v.23 no.3
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• pp.439-453
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• 2015

This research is regarding Park Ki-Jong's Western-style court costume and emphasizes the shape and style peculiarities of Western-style court costumes in the Korean Empire from the 1876 Port Opening to the 1910 annexation of Korean to Japan. Park Ki-Jong's frock coat was made during the period of the established law from 1900 to 1910. 1) The brand was ASADA TAILOR from Kyung-Sung. 2) The shape was long at the front and back, and it featured a picked lapel and double breast with six buttons to fasten and two buttons for decoration on the upper part. 3) The frock coat's materials were black wool fabric and black ridged silk. The lining's material was black plain silk and the sleeve's lining was white with blue striped silk. 4) The front separated the upper and bottom parts. The bottom was composed of a one-piece A-line skirt that continued from the front to back. The top of the back was separated by the princess line and the center-back seam was also separated with a vent. However, the center-back of the waistline was not separated, and it continued to one piece. The sleeve shape was a two-piece sleeve style with a phony vent and two wrapping buttons.

• The Research Journal of the Costume Culture
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• v.12 no.1
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• pp.73-89
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• 2004

The following is a summary of comparative study on costumes between 『Cheng-Hoe-Jeon-Do』 and 『Chen-De-dang-an』 in Gun-Ryung 41st, 42nd and 43rd yew to find out costume situation actually worn by Emperor Gun-Ryung in Qing dynasty. In Gun-Ryung 41st year, Emperor's costumes showed a sign of royal tour robes. In 42nd year, a phase of mourning robe system came out and a plain side of costumes was shown owing to the mourning. In 43rd year, it showed costume situation worn by Emperor in peaceful year without any particular event. Velvet, material for traveling crown was used in a short time before and after the change of the season besides royal tour and this can be understood as a well-timed and reasonable selection of material. Eventhough robe material, Jik-kyung-Ji-chack-sa(a kind of silk) had been used for summer robes since Gun-Ryung 42nd you. Memorial costumes followed Emperor's court costume system I in 『Cheng-Hoe-Jeon-Do』 and court belt I or II as memorial suit belt was used for the memorial costume of Emperor Gun-Ryung and they properly applied of the costume system in 『Cheng-Hoe-Jeon-Do』 for coats.

• The Research Journal of the Costume Culture
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• v.2 no.1
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• pp.1-27
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• 1994

This result of the study on the costume of Osman Turkey are as following. 1. Empire of Osman Turkey(129∼1922) exerted an almost limites impact and influence on Europe and Asia during their regime 600 years. The distant ancestors of the Osman Turks were nomadic peoples, who wandered I tribal groups through the Central Asia. Therefore their costumes were based on nomadic culture. They had trade with West and East were influenced by Hellenism and Byzantium and grew, to a strong Islamic political power polygamy with which influence their clothing along with other culture. 2. Topkapi Saray was one of he principal residences of the Osman sultans and his court. Late 17 century, Topkapi Saray found many of kaftans of Osman Turks Empires of 14∼17 centuries. Otherwise we studied by the minatures of 16∼17 centuries, Since the Topkapi Saray became a museum in 1924, a program of careful restoration has made it possible to some pars of it to the public, after centuries neglection. 3. Osman Turkey Empire had important role in between West and East(silk-road). Economic, commercial, social and political factor of Turkey led to a development in the art of weaving (kema, kadife, catman, seraser, zerbeft, hatayi, kntnu, atlas)parallel to the rise and development of the Osman Turkey Empire itself, one which raised the art to a level attained nowwhere else in the world. Fabrics woven from gold and silver thread occupied a very important place in the court life of the time. This was due as much to their symbolic as to their material value, reflecting as they did the power, glory and magnificence of the Empire. 4. In order to study Eastern or Western history of costume one must study Turkey history of costume in advance. Also there is a great need of comparison to study of western, central and north eastern area history of costume.

• 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.

• The Journal of the Korea Contents Association
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• v.11 no.4
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• pp.186-195
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• 2011

Historically, Korea has made and weaved beautiful jewelry based on delicate metal craft technique. Especially jewelries in Chosun dynasty among these jewelry shows practicality, fanciness and social symbolism at the same time, which is one of representative cultural origins to express characteristics of Korean culture. Since jewelry of imperial princess YEONG, an object of a study herein, was made for a court ceremony although it is an artifact of the end of Chosun dynasty after the time of enlightenment, it is expected be made based on traditional shape and standard in accordance with strictly respected court dress code in Chosun dynasty. It is also an important data of research for a court style and system as well as its artistry in its diversity of type, preservation condition similar to original form and its producers who are master craftsman parted in Sang-Uiwon (an institute in charge of dress and accessaries of court) at the end of dynasty. Thus, a study herein aims to research formatively valuable 11 selected jewelries among jewelries of imperial princess YEONG used at the end of Chosun dynasty, and search for industrial application method with digitalization of the shape and design and preservation of original form of traditional culture. Moreover, in accordance with proposing design data through review of traditional women jewelry, it aims to suggest possibility of application into modern jewelry design and cultural industry.

• (The) Research of the performance art and culture
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• no.25
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• pp.135-181
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• 2012

The celebration day of national foundation(開國紀元節) is to celebrate the foundation of Joseon by Taejo Lee Seong Gye. It is also shortly called as the celebration day. The events celebrating this were performed either on a large or small scale by the court or the people from 1895 right before 1910, the Korea-Japan Annexation. As you can see from the period of its performance, the celebration day of national foundation was not one of the Joseon's traditional court events, but it was one of the national holidays(慶節) institutionalized newly after the port opening (1876). In Korea, too, they strived to concentrate on modernization as exchanging with all different countries in the world after the port opening. Also, they considered how to concretize all different celebration events for national holidays characterized by the modern days of celebration. As a result, additionally or partly from the traditional court events, the events to celebrate national holidays appeared one after another from 1895. And this article examined the celebration day of national foundation, one of the national holidays referred to as modern-style days of celebration. The event to celebrate this can be seen from Geongbok-gung(景福宮) on the day of July 16th, 1895. And the Independence Association(獨立協會) also held the event for the celebration day of national foundation. The event performed for the celebration day of national foundation shows very distinct aspects on the ground to maintain the congratulatory ways partly. In particular, the ritual for the celebration day of national foundation held by the Independence Association induced modernized ways of celebration such as the congratulatory address and speech, and it also included new elements like the harmony of various music including court music(宮中音樂) or Chang-ga(唱 歌).

• (The) Research of the performance art and culture
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• no.39
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• pp.223-277
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• 2019

Based on the text reference from the Variety Theatre compiled and performed by the Jiaofang of the Ming Dynasty Palace, the characteristics of Zhongkui performance in the New Year Ceremony was analyzed focusing on the differentiation and diachronic change in aspect between court dance and civilian. In China's folk beliefs, 'Zhongkui' is regarded as a representative spirit of fighting against evil spirits. Relevant rituals and performing arts have been held mainly on New Year's Eve or the Dragon Boat Festival. Although extensive research has been conducted in various fields, the situation of Zhongkui performance was largely unnoticed, only generally addressed in China, even with the given fact that the Ming Dynasty's text reference of miscellaneous court dance was exclusively retained, Therefore, the analysis intends to propose Zhongkui performances of Calendaric Rituals in the aspect of its elements and differentiate the play handed down among people as a specific example. Through the text analysis of miscellaneous court dance, 'Imperial examination' and religious belief was regulated usuriously by a so-called edification expressed as imperial reign ideology extracted to an implementation situation, revealing that this court dance was characterized by a variety of performances including the 'Zhongkui'. The results of the following study intends to provide a positive foundation for not only the field of Chinese studies but also the field of Korean literature, theatre, dance, folklore, religion, anthropology and art.