• Food Science and Preservation
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• v.11 no.1
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• pp.38-41
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• 2004

To obtain basic data for utilizing Yuzu(Citrus junos) as row materials to industrial products, enzyme treatments conditions for removing bitter substances was investigated. The amount of nuringin and hesperidin weve 61.94 and 9.98 mg％ in Yuzu juice. When 3％ Amorepacific enzyme and Japanese naringinase were treated with the juice for 120 minutes, naringin and hesperidin were decreased to 6.85 and 1.11 mg％ ; 8.43 and 0.06 mg％, respectively. The changes in Hunter color value of the juice were negligible by enzyme treatments. However, the redness was increased and lightness was decreased by the enzymes. When Yuzu-juice was treated with the enzymes, sensory scores were increased. The optimum amount of Amorepacific for reducing bitter taste was determined to 3％.

• Journal of the Korean Society of Food Culture
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• v.24 no.6
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• pp.649-654
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• 2009

This study has a purpose of suggesting the basic data to achieve customer satisfaction by understanding the preference of each type of restaurant industry for the taste of customers in 20's referring to 8 images. In the preference for style of image in dining space, the participants responded that they prefer natural, modern and romantic image, and both male and female participants preferred natural image. Participants responded that they prefer natural, romantic and modern in sequence as their general preference for style of image in dining space, and male participants preferred modern and natural but female participants preferred romantic and natural. The survey that was conducted for different menus has suggested that the reasonable image for fast food is casual, hard casual and classic for hotel restaurant, casual for school restaurant, romantic for cafe, casual for western restaurant, simple for Japanese restaurant, classic and elegance for Chinese restaurant and natural for Korean restaurant. According to the result of the analysis of dining space image, factor 1 are called 'cold image (CI)' as they have simple and modern image, factor 2 are called 'soft image (SI)' as they have natural and romantic image, factor 3 are called 'warm image (WI)' as they have casual and elegance image and factor 4 are called 'hard image (HI)' as they have classic image.

• Korean journal of food and cookery science
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• v.14 no.2
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• pp.188-194
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• 1998

The purpose of this study was to provide those abroad with information about Korean foods and food culture by investigating the Japanese perception and preference for Korean foods. The results were as follows: 53.2% of the Japanese students had much interest in Korean foods and most of students (93.2%) were experience In eating Korean foods. On their first impression of Korean foods, 67.8% of the students answered that it was 'good', and 74.1% of answered their impression after eating Korean foods was 'good'. 83.1% of the students also answered that Korean foods suited their taste because they were 'delicious'. But 16.9% of the students answered that the Korean foods did not suit them because they were too spicey. The most well-known (99.3%) and eaten (96.3%) Korean food by Japanese stutents turned out to be Kimchi. In the preference test for Korean foods, Samgyetang was estimated the most delicious food. In the comparision between Korean Kimchi and Japanese Kimchi, the former was estimated more delicious and spicier than the latter.

• Journal of the Korean Society of Food Science and Nutrition
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• v.42 no.4
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• pp.644-649
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• 2013

This study was conducted to determine the intake and satisfaction levels of Busan local foods in Japanese tourists visiting Busan. The degree of satisfaction with Busan foods and services in restaurants was evaluated. What these tourists wanted to eat after touring Busan was also determined. The subjects consisted of 100 Japanese tourists visiting Busan. Women (including housewives), highly educated people, and people who visited more than four times were predominant in number among the Japanese tourists. Busan local foods eaten during touring were: Dongrae Pajeon (29%), Sengsunhoe (21%), Daejikukbap (10%) and Haemultang (10%). Tourists wanted to taste local foods and answered that eating local foods during the tour was important. A variety of menu items earned a high score of 3.8 (from a highest possible score of 5.0) and various dessert items received a low score of 2.7 for satisfaction with Busan foods. In general, the satisfaction level for Busan foods was low. Tourists responded that they wanted to eat Bulgogi, Pajeon, Bibimbap, Sengsunhoe, and Kimchi jjigae in that order if they revisit Busan, indicating their preference for general Korean foods rather than Busan local foods. From all of the activities included in touring Busan, foods received the highest points (51%) in terms of attraction. As fifty four percent of subjects answered that they wanted to revisit Busan. Busan city needs to prepare tourist restaurants for Bulgogi, Bibimbap, Pajeon, and seafoods (including Sengsunhoe). They must also improve Busan local foods and restaurant services in order to attract and satisfy the Japanese tourists industry.

• (The) Research of the performance art and culture
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• no.37
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• pp.249-293
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• 2018

The Musical Theatre was a popular art genre that originated from the western musical tradition represented by the European opera. In the twentieth century, it bloomed around Broadway in the United States. It is also one of the commercial arts which is popularly loved by the public in the field of performing arts all over the world at present. Due to the nature of this genre, the development of dramas and the expression of characters use music, not words or gestures, as the main medium. And the style of music reacts sensitively to the taste of the public, not to a particular class. When Japan colonized Korea, the empire strongly believed modernization equaled westernization and Japan was the one who could awaken Korean. The Japanese colonial music education was intended to bring cooperation and obedience to Japan by forcibly injecting Japanese ideology and culture into Joseon people. The music education of colonialism with the textbook of the "Songs for public education(보통교육 창가집)" compiled by the Japanese government was a sparkstone for the conversion of the Korean musical identity to Japanese and Western music. In addition to the capitalistic economical mechanism for establishing a South Korean government friendly with the United States during the Cold War after liberation, and the rush of American Pop culture represented by 'the show stage in 8th US Arm' and 'movies' which are to be the influence of invisible 'new cultural imperialism', our traditional music was confined to the meaning of 'Korean music', meaning 'past music'. In Korea, after the liberation, the musical was introduced by the influx of American popular culture. In accordance with the cultural policy of Park Jeong-hee regime, which aimed to spread the 'healthy culture' through the modernization of traditional arts, 'The Yegreen(예그린악단)' was founded. However, the plan to create a contemporary performing art based on Korean national arts showed the possibility of success in 1966 with the success of , but soon after, they have been destined to fall into an institution that has lost their ability to operate on their own due to the suspension of the sponsorship of the regime. Due to the cultural imperialist strategy of the influence of Japanese imperialism's colonial music education and influx of American popular culture after liberation, in the early days of Korean musicals, our traditional aesthetic style brought about the situation of the 1960 's, which did not become an independent ethnic art through the exchange and expansion with Western music. This is the background of the western licensed musicals led by the Korean musical market in the 21st century as well as the main cause of musical creation based on western music.

• Cross-Cultural Studies
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• v.48
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• pp.31-66
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• 2017

This study examines ways of recognizing and aspects of describing Korean modern literature revealed by each literary history from the viewpoint of 'transculturation', focusing on Lim Jeon-Hye's "History of Korean Literature in Japan until 1945", Shirakawa Yutaka's "Footsteps of Korean Modern Literature", and Saegusa Toshikatsu's "Taste of Korean Literature" from the history of Korean literature written in Japan. First, Lim Jeon-Hye periodically examines Korean literature written in Japan, focusing on literary activities of Korean students in Japan and the proletarian literature movement, and addresses points of active cultural negotiation, mutual understanding and political solidarity between Korea and Japan. Shirakawa Yutaka focuses on the concurrency and connection of Korea, China, and Japan in the process of modern literary formation, covering Japanese language literature and pro-Japanese literature with great care, and describes the middle-layer position as a mediating researcher in the conflicting boundaries between Korea and Japan. Saegusa Toshikatsu provides interesting transcultural momentum in exploring internal logic and denotation of Korean literature via comparative literature review encompassing East Asia, implementation of literary forms and themes connecting tradition and modernity, and an out-of-boundary point of view to overlook 'pro-Japanese literature', etc. Transcultural aspects in this literary history to examine are as follow. First, the history of Korean modern literature based on 'national literature history' is catabolized in the magnetic field of the 'colonial experience' and 'national nationalism' and considered in multifaceted context. Second, they provide the possibility of three-dimensional and micro-narrative description of literature that complement the narrative aspect of existing Korean literature history. Third, they provide an opportunity to expand and open the description of literature history through acceptance of comparative literary perspectives encompassing East Asia. Fourth, through discovery of Korean-Japanese literature and Japanese language literature, they contribute to broadening the history of Korean modern literature and enriching foundations.

• Korean Journal of Heritage: History & Science
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• v.43 no.3
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• pp.334-365
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• 2010

Mother-of-Pearl craftwork sketch involves the whole process of making a piece of work. Therefore, it includes types, forms, sizes, and patterns of the work. Some information about when and by whom those works were manufactured and who ordered them are still found in some sketches. This paper seeks to find out popular types and patterns of the works in each period and its demand and the way of supply by examining the collection of approximately 1700 Mother-of-Pearl craftwork sketches from the period of Japanese colonization up to the present time, which are owned by Mr. Song Bang-wung, Important Intangible Cultural Heritage no.10. Typical patterns of sketches are the hua-jo(花鳥 : Flowers and Birds), the Sakunja(四君子 : Four Gracious Plants), cultural treasures, figures in folk tales, 'Su-bok(壽福)' characters, and landscape. The pattern sketches have changed according to the circumstances of Korean society. During the period of Japanese colonization from the 1920s to the 1940s the manufacture and the supply and demand of Mother-of-Pearl craftworks were controled by the Japanese government. As a result, many of the patterns were adjusted to the Japanese taste. Most of its customers were also Japanese. During the 1950s after Independence the American Military Forces appeared as new customers due to the Korean War. Thus, the traditional Korean patterns to decorate accessories adored by American soldiers gained popularity. Foreign Mother-of-Perls were imported from the late 1960s to the 1970s. They were bigger and more colorful than those of Korean and it enabled the sketches bigger and the patterns more various. The most popular pattern in this period was the pattern of cultural treasures, such as an image of Buddha, metalcraft works, porcelains and pagodas. In terms of a technique, new techniques, such as engraving and rusting were introduced. There was a great demand for Mother-of-Pearl craftworks in the 1970s as people were highly interested in them. They were entirely made to order and there was a large demand from diverse organizations, furniture dealers and individuals. And the Mother-of-Pearl craftwork was in full flourish in the 1970s due to the country's economic development and the growth of national income. Mass production of the works was possible and the professional designers who drew patterns actively worked in this period. The favor of Mother-of-Pearl craftworks declined in the 1980s since the built-in furniture and the Western style of furniture became prevalent due to the change of housing into apartments. But it seemed that the manufacture of Mother-of-Pearl craftworks revived for once the technique of Kunum-jil(끊음질 : cutting and attaching) became popular in Tong-young(統營). After the 1990s, however, the making of Mother-of-Pearl craftworks gradually declined as the need of them decreased. Now it barely maintains its existence by a few artisans.

• Culinary science and hospitality research
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• v.20 no.1
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• pp.89-104
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• 2014

The purpose of this study was to investigate the effects of demographic characteristics such as gender, marital status, age, educational level, job and monthly income on the preferred menu classified by type of food, food material, cooking method, taste and food temperature. A survey was performed from the 5th to 10th of January, 2013 among consumers in such places as coffee shops and subway stations located in Daegu and Gyeongbuk region, and finally 307 data sets were used for analysis. The results of analysis showed that the strongest effects of demographic characteristics were observed in preferred menu classified by type of food(i.e. Korean, Western, Chinese, Japanese, buffet, herbal and instant foods), and the differences by marital status, age, educational level, job were statistically significant. In particular, the married consumers tended to prefer Korean and herbal foods, while the unmarried ones preferred western, Chinese, buffet and instant food. Moreover, the younger ones tended to prefer western, Chinese, buffet and instant foods, while the older ones preferred to eat Korean food. The younger unmarried ones liked beef and pork dishes, while the married ones over their forties tended to prefer vegetable dishes. The consumers less than or equal to their thirties tended to prefer roasted and fried foods compared to ones over their thirties.

• Journal of the Korean Society of Food Science and Nutrition
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• v.38 no.8
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• pp.1069-1075
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• 2009

Conger eel (Conger myriaster) is used as a well-being food in the foodservice industry in Korea. We analyzed not only the proximate composition but also the taste components affecting conger eel, which are fatty acids, nucleotides, amino acids, etc. Concerning the composition, the crude lipid was the lowest in summer at 3.2%, which is considered due to spawning period. The major fatty acids were $C_{16:0},\;C_{16:1},\;C_{18:0},\;C_{18:1},\;C_{20:5},\;and\;C_{22:6}$. The $C_{18:1}$ content was the highest among the fatty acids and the content varied between 36.76 and 45.11% by season. Seasonal change in the content of poly-unsaturated fatty acids was increased from spring to winter in conger eel. Among the nucleotides, the contents of IMP (3.617$\sim$5.524 $\mu$mol/g) and Hx (0.913$\sim$2.238 $\mu$mol/g), which is closely related to taste, and the concentrations of IMP and Hx were the highest (7.219 $\mu$mol/g) in winter, and HxR (0.625$\sim$1.652 $\mu$mol/g) was higher than ATP (0.058$\sim$0.083 $\mu$mol/g), ADP (0.145$\sim$0.161 $\mu$mol/g), and AMP (0.166$\sim$0.179 $\mu$mol/g). In conger eels, the major total and free amino acids were glutamic acid (14,178.7$\sim$7,802.6 mg%), aspartic acid (4,669.2$\sim$8,259.0 mg%), lysine (4,198.3$\sim$7,540.8 mg%), leucine (3,843.6$\sim$6,782.1 mg%), and histidine (199.6$\sim$644.4 mg%), glycine (94.8$\sim$152.2 mg%), alanine (35.3$\sim$71.2 mg%), glutamic acid (44.1$\sim$70.6 mg%), respectively, but the concentration of amino acids was different by season. The content of free amino acids, which is related to the taste component, was detected as high in summer and winter at 1179.2 and 1,605.2 mg%, respectively.

• Korean Journal of Food Science and Technology
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• v.31 no.5
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• pp.1330-1336
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• 1999

Effects of clarification and aging of honey wine(mead) and fruit honey wine(melomel) were investigated. Among the clarifiers tested, 'kaki shibu' and 'sake light' were effective in clearing honey wine. Clear honey wine with more than 90% light transmittance was obtained by treatment with $0.05{\sim}0.1%$ of 'kaki shibu' and 'sake light' for 2 days. Higher concentration of these clarifying agents was needed for the clarification of fruit honey wines. Treatment with 0.5% of 'sake light' and $0.05{\sim}0.1%$ of 'kaki shibu' for 4 days was effective for clearing Tangerine honey wine and Japanese apricot honey wine. Though Hunter L-values of honey wines decreased a little bit by using clarifiers, their light transmittance became more than 98% after ultrafiltration. As the content of soluble solid in mash at the beginning of fermentation increased, the content of acetaldehyde, n-propyl alcohol, n-butyl alcohol and iso-amyl alcohol of honey wine increased during aging, while the content of iso-propyl alcohol decreased. During the aging of honey wines, the sensory quality of them became milder as the amount of acetaldehyde and fusel oil decreased. Among more than twenty different volatile flavor components detected from honey wines, 1-phenyl ethyl alcohol, benzyl alcohol, 2-phenyl ethyl alcohol, octacosane and triacotane were identified as the major components for the flavor of honey wines. Sensory evaluation of the honey wines indicated that the melomel made with Japanese apricot was better than the Tangerine melomel in the aspects of taste, flavor, color and the overall acceptability. Tangerine melomel was even inferior to honey wine(mead).