davidanugraha/M4-RAG huggingface dataset:
Alberto Caracciolo

Alberto Pascual Caracciolo (March 23, 1918 – January 31, 1994) was an Argentine tango musician, a musical arranger, orchestra director, composer and bandoneón player.
Born in Palermo, Buenos Aires, he began his musical studies at the age of 8, and at 16 he started playing bandoneón in Antonio Arcieri´s orchestra.
Caracciolo was respected and well known by his colleagues rather than by the public in general because he chose to hold a low profile. He was heard extensively on radio and appeared occasionally on television, but his music was not known well known outside Argentina and Uruguay.
He played the bandoneón for several famous orchestras, including those of Joaquín Do Reyes, Angel Dágostino, Manuel Buzón, Victor Braña, and Jorge Caldara.
Although he was a tango innovator following a style of his own, Caracciolo played traditional tango in the LP record, De Ayer... y de Siempre. This album was produced by Discomundo, for which he created Quinteto Añoranzas, with a part for flute, which was an instrument greatly valued in the old traditional groups (according to Roberto Selles, tango journalist and historian).
He also played jazz, although on a minor scale. He made musical arrangements for international publishers, and he was a music consultant for Odeon Records (Argentina), in the late-1960s and early-1970s.
Caracciolo was the author of "Tema de Tango en Re Menor", "Preludio", "Etéreo", "Chiqui" (dedicated to his wife), "Con Rumbo al Cielo" (dedicated to his father), "Réquiem para un Gomía", (dedicated to Carlos Gardel), and many others which have lyrics by famous tango poets.
Libertango

Libertango is a composition by tango composer and bandoneon player Astor Piazzolla, recorded and published in 1974 in Milan. The title is a portmanteau merging "Libertad" (Spanish for "liberty") and "tango", symbolizing Piazzolla's break from classical tango to tango nuevo.
Astor Piazzolla recorded and published Libertango in 1974 in Milan, symbolizing his break from classical tango to tango nuevo (see below for recording details). While touring, he and his band performed an extended version in 1977 for Radio Télévision Suisse Mosaique.
Cellist YoYo Ma played Libertango on his 1997 album Soul of the Tango: The Music of Astor Piazzolla.
It was featured by guitarist Al Di Meola in his 2000 album The Grande Passion.
In 2002 Libertango appeared on Australian/British classical crossover string quartet Bond's second album, Shine.
It featured on the 2004 live album Live: Manchester and Dublin of the guitar duo Rodrigo Y Gabriela.
In 2013 Libertango appeared on award-winning album Surreal by guitar-virtuoso Roman Miroshnichenko.
In 2017, it appeared on the collaborative live album by the Japanese jazz pianist Hiromi and the Colombian harpist Edmar Castaneda, recorded in Montreal.
Although Libertango was born as an instrumental piece, in 1990 Uruguayan poet Horacio Ferrer added lyrics in Spanish language based on the theme of freedom.
According to the performance database at All Music Guide, the composition has appeared on over 500 separate releases. Grace Jones's song I've Seen That Face Before (Libertango) uses the same music, as does Jazz Mandolin Project's song "Jungle Tango", Guy Marchand's song "Moi je suis tango" and Kati Kovács's song Hívlak.
In 1997 Irish folk musician Sharon Shannon recorded a cover of Grace Jones' I've Seen That Face Before (Libertango) for her third album, Each Little Thing. Featuring session vocals by Kirsty MacColl it also appeared in 2001 on The One and Only, a compilation album released after her death. Shannon re-released the recording as the title track of her 2005 compilation.
Cuban-American singer/composer Luisa Maria Güell added lyrics in the theme of the "Libertango" title and recorded it for her 2007 album Una. A more recent version in Spanish of Libertango lyrics belongs to the Argentinian singer, lyricist and composer Lilí Gardés, who describes the loneliness of city life. This version was approved by Edizione Cursi/Pagani SRL, and it was part of the show Zombitango.
In the Prince of Tennis anime series, Atobe Keigo and Sanada Genichirou attended a performance of this song. They used it later to set the beat for their Doubles match.
Libertango was the backing music in the Tarot advert for Volvo's S60 compact executive saloon.
The music was used in the Roman Polanski movie Frantic (1988), and was one of two pieces from Piazzolla that made up the entire soundtrack of Jacques Rivette's film Le Pont du Nord (1981).
Recorded in May 1974 at Mondial Sound Studio, Milan (Italy). Sound engineer: Tonino Paolillo.
Hommage à Piazzolla

Hommage à Piazzolla is a set of recordings by the violinist Gidon Kremer dedicated to the music of Astor Piazzolla. Most of the recordings are of a small group with violin, bandoneon (Per Arne Glorvigen), guitar, bass and piano. These recordings were released on the Nonesuch Records label, initially as a single CD in 1997 (79407 Gidon Kremer: Hommage à Piazzolla) then in 2012 as part of an 8-cd collection of all Gidon Kremer's previous Piazzolla recordings for the label (515783 Gidon Kremer & Astor Piazzolla: Hommage à Piazzolla: The Complete Astor Piazzolla Recordings (8-CD Set)).
Conjunto 9

Conjunto 9 (a.k.a. Noneto) was a tango ensemble set up by Ástor Piazzolla which was active between 1971 and 1972.
The short-lived ensemble was based on Piazzolla’s first Quinteto, comprising Astor Piazzolla (bandoneon), Osvaldo Manzi (later Osvaldo Tarantino (piano), Antonio Agri (violin), Oscar López Ruiz (electric guitar) and Kicho Díaz (double bass). To this he added a quartet comprising Hugo Baralis (2nd violin), Néstor Panik (viola), José Bragato (cello) and José Corriale (percussion).
For many musicologists this was the ensemble in which Piazzolla reached the zenith of his musical career. Thanks to the presence of a string quartet within the formation, Piazzolla was able to evolve a more complex contrapuntal language, to which was added the rhythmical improvisations of the piano, guitar and percussion, providing a language close to that of cool jazz and rock, a tendency which would become more accentuated in the later European stage of Piazzolla’s career.
The Noneto recorded the albums Música popular contemporánea de la Ciudad de Buenos Aires, Vol. 1 y 2, published in 1971 and 1972, respectively. There are also recordings of them accompanying the singers Amelita Baltar and Mina, and of the music from Bernardo Bertolucci’s film Last Tango in Paris. Some of this music was not used in the film due to its late completion by Piazzolla, who was busy preparing for his first concert at the Teatro Colón in Buenos Aires in 1972. Bertolucci employed Gato Barbieri to complete the music and that part of Piazzolla’s music that was completed late was used for Francesco Rosi’s film Cadáveri eccelenti in 1976.
In 1972 Piazzolla composed the three movement Concierto de Nácar, for the Conjunto 9 and orchestra, one of his most complex compositions which incorporated various techniques of contemporary music composition, such as polyrhythm and polytonality.
Within a year of its formation the Conjunto 9 had run into financial problems and was dissolved in 1972.
Piazzolla re-formed the Conjunto 9 in 1983, with some changes in its formation, for his second concert at the Teatro Colón on 11 June where they played together with the Buenos Aires Philharmonic, conducted by Pedro Ignacio Calderón. The programme included his Concerto for bandoneon and orquestra and Concierto de Nácar. This time the Noneto was made up of: Astor Piazzolla (bandoneon), Pablo Ziegler (piano), Fernando Suárez Paz, (violin), Oscar López Ruiz (electric guitar) and Héctor Console (double bass) plus Hugo Baralis (2nd violin), Delmar Quarleri (viola), José Bragato (cello) and Enrique Roizner (percussion).
Astor Piazzolla International Airport

Ástor Piazzolla International Airport (Spanish: Aeropuerto Internacional de Mar del Plata "Ástor Piazzolla", IATA: MDQ, ICAO: SAZM), also known as Mar del Plata Airport, is an airport serving Mar del Plata, an Atlantic coastal city in the Buenos Aires Province of Argentina.
The airport was named after Brigadier General Bartolomé de la Colina, one of the founders of the Argentine Air Force. In August 2008 it was renamed in honour of composer and musician Ástor Piazzolla, who was born in Mar del Plata.
The airport covers an area of 436 hectares (1,080 acres) and is operated by Aeropuertos Argentina 2000. The present terminal building was constructed in 1978 for the FIFA World Cup. In 1994 the terminal was expanded for the Pan American Games. Aeropuertos Argentina 2000 took over airport operation in October 1998.
Estaciones Porteñas

The Cuatro Estaciones Porteñas, also known as the Estaciones Porteñas or The Four Seasons of Buenos Aires, are a set of four tango compositions written by Ástor Piazzolla, which were originally conceived and treated as different compositions rather than one suite, although Piazzolla performed them together from time to time. The pieces were scored for his quintet of violin (viola), piano, electric guitar, double bass and bandoneón. By giving the adjective porteño, referring to those born in Buenos Aires, the Argentine capital city, Piazzolla gives an impression of the four seasons in Buenos Aires. The order of performance Piazzolla gave to his "Estaciones Porteñas" is: Otoño (Autumn), Invierno (Winter), Primavera (Spring), Verano (Summer). It was different from Vivaldi's order.
In 1996-1998, the Russian composer Leonid Desyatnikov made a new arrangement of the above four pieces with a more obvious link between Vivaldi's 'Four Seasons' and Piazzolla's, by converting each of Piazzolla's movements into three-sections, and arranges the piece for solo violin and string orchestra. In each movement, Desyatnikov includes several quotations from original Vivaldi's work. Desyatnikov reflects the inversion of the seasons between the hemisphere in his placement of the Vivaldi quotations; for example, Verano Porteño has added elements of L'inverno (Winter) of Vivaldi.
Histoire du Tango

Histoire du Tango is a composition by tango composer Ástor Piazzolla, originally scored for flute and guitar in 1985 and published in 1986. It is one of the most famous compositions by Piazzolla and is often played with different combinations, including violin or double bass substituted for the flute, and piano, harp or marimba substituted for the guitar.
It was Piazzolla's life work to bring the tango from the bordellos and dance halls of Argentina into the concert halls of Europe and America. He is among the astonishingly varied group of composers who were enabled by the teaching of Nadia Boulanger to become more authentically themselves. Boulanger – doyenne of high European art – encouraged Piazzolla not to become another European-style composer, but to apply to the tango the lessons of his study with her. Piazzolla's Histoire du Tango is his only work for flute and guitar – the instruments associated with the first flowering of the form, in Buenos Aires in 1882.
Histoire du Tango attempts to convey the history and evolution of the tango in four movements: Bordel 1900, Café 1930, Nightclub 1960, and Concert d'aujourd'hui. Piazzolla provided program notes that expand on the individual movements:
Per Arne Glorvigen

Per Arne Glorvigen (born 2 June 1963, in Drammen) is a Norwegian musician and composer, particularly known as a bandoneon and tango player. He is mentioned as one of the world's leading contemporary bandoneon players and "wizard of the buttons" (The Times).
He studied with Juan José Mosalini in France. In France he appeared with France Gall and Amelita Baltar. From 1994 he worked with Gidon Kremer and they formed the Astor-Quartet with Vadim Sakharov (piano) and Alois Pusch (double bass). With Kremer he recorded 4 CDs the first named "Hommage à Piazzolla." Glorvigen has performed with BBC Symphony Orchestra, Staatskapelle Dresden and the Alban Berg Quartett. He has adapted organ music by J. S. Bach to the bandoneon.
Glorvigen was named Artist in Residence at the Bergen International Festival 2006. Henrik Hellstenius' concerto for Glorvigen's bandoneon Glorvigen first performed with Oslo Oslo Philharmonic Orchestra in 2008. Willem Jeths also dedicated a bandoneon concerto to Glorvigen.
Tango: Zero Hour

Tango: Zero Hour (Nuevo Tango: Hora Zero in Spanish) is an album by Ástor Piazzolla and his Quinteto Nuevo Tango (in English: New Tango Quintet, often loosely referred to as his second quintet). It was released in September 1986 on American Clavé, and re-released on Pangaea Records in 1988.
Piazzolla considered this his greatest album. Rolling Stone commented on the Pangaea reissue of the album, comparing Piazzolla's fusion of form, improvisation, and dynamics to contemporary classical music, jazz, and rock & roll, respectively. Robert Christgau of The Village Voice also commented on Piazzolla's fusion of classical and jazz music.
All tracks written by Astor Piazzolla.
Adiós Nonino

Adiós Nonino (Farewell, Granddaddy in Rioplatense Spanish) is a composition by tango Argentine composer Ástor Piazzolla, written in October 1959 while in New York, in memory of his father, Vicente "Nonino" Piazzolla, a few days after his father's death.
In 1959, Piazzolla was on a tour of Spanish speaking America when, during a presentation in Puerto Rico with Juan Carlos Copes and Maria Nieves Rego, he received news of the death of his father, Vicente Piazzolla, nicknamed Nonino, due to a bicycle accident in his hometown of Mar del Plata. This news, coupled with the tour's failure, economic problems and homesickness, led Piazzolla to depression. There after receiving such devastating news he composed this work in about 30 minutes as a tribute to his father, based on "Nonino", another tango Astor had composed five years earlier in Paris, also dedicated to Vicente Piazzolla.
Because of its melancholic melody and the fact that Piazzolla wrote it so far from his native country while suffering from severe depression, Adiós Nonino evokes a strong sense of nostalgia and has become a symbol of the Argentine diaspora.
The piece was based on Piazzolla's earlier tango Nonino, composed in Paris in 1954, of which he kept the rhythmic part and re-arranged the rest with some additions. It would prove to be one of Piazzolla's most well-known and popular compositions, and has been recorded many times with many different arrangements and with various instruments.
Nonino is the Argentine variation of the Italian nonnino, a diminutive of the affectionate word for "grandfather" in that language (nonno). The piece was written in honor of Piazzolla's recently deceased father who was a grandfather and therefore called familiarly Nonino.
The piece was played at the royal wedding of Willem-Alexander of the Netherlands and his consort Máxima Zorreguieta in homage to her Argentinian roots. The music has been used by several prominent figure skaters for their programs. Chen Lu used it as her short program music in the 1997–98 figure skating season, which included her 1998 Winter Olympics bronze medal performance. The 2010 and 2018 Olympic Champions, Canadian ice dancers Tessa Virtue and Scott Moir used the piece for their free dance for the 2004–05 season, making them winning the silver medal at the 2005 World Junior Figure Skating Championships. Jeffrey Buttle used it as his short program music for the 2006–07 and 2007–08 figure skating seasons, which included his 2008 World Championship win. The 2010 Olympic champion Yuna Kim also used this piece as her free skate music for the 2013–14 figure skating season, which included her 2014 Winter Olympics silver medal performance. Alena Kostornaia used this piece as her short program music for the 2017-18 figure skating season, which included her silver medal finishes at the 2017–18 Grand Prix of Figure Skating Final and the 2018 World Junior Figure Skating Championships.
The Rough Dancer and the Cyclical Night (Tango Apasionado)

The Rough Dancer and the Cyclical Night (Tango Apasionado) is an album by the Argentinian musician Astor Piazzolla. It was released in 1988. The album was reissued by Nonesuch Records in the late 1990s.
Recorded in New York City in 1987, the album was produced by Kip Hanrahan and Piazzolla. Its music was originally developed as a theater performance about the history of the tango. Piazzolla, who played the bandoneon, recorded the album with his Quinteto Tango Nuevo. Paquito D'Rivera played saxophone on Rough Dancer. Pablo Ziegler and Pablo Zinger played piano; Zinger had acted as the musical director for the stage production. Horacio Malvicino played guitar. Piazzolla wrote in the liner notes of his desire to have the music sound as if it were played by "'half-drunk musicians in a bordello.'"
Robert Christgau noted that Piazzolla is "closer to Bartok the composer than to Ellington the orchestrator, and tends to limit improvisatory space." The Philadelphia Inquirer wrote that the music "retains—and embellishes—the not-quite-smoldering sensuality characteristic of traditional tango."
AllMusic wrote that, "unlike Zero Hour ... Rough Dancer has more of whimsical feel, with the often perilous shifts in tempo and mood of the earlier record being handled in smoother fashion here." Reviewing a reissue package, the Austin American-Statesman's Don McLeese opined that, "in a manner beyond form or category, this is some of the most sublimely mesmerizing music I've ever experienced." The Los Angeles Daily News deemed it "a quiet gem" and "romantic, melodic and lush." The Plain Dealer concluded that it "vividly documents the composer's deep roots in the traditional dance form and the edgy innovations of his nuevo tango."
수육국밥

수육국밥은 푹 고은 사골국물에 돼지고기 혹은 쇠고기 삶은 것을 먹기 좋게 썰어 맛을 낸 국밥의 종류이다.
일반적으로 수육국밥에는 내장 같은 부속물이 들어가지 않고 목살, 목전지를 삶아 사용한다.
수육국밥은 부산의 대표 음식인 돼지국밥을 서울식으로 담백하게 조리해 만든 음식이다.
보통 새우젓과 양념장으로 간을 맞춰 기호에 따라 먹는다.
돼지고기를 이용한 수육국밥은 사용하는 부위에 차이는 있겠지만 대부분 목살, 목전지 부분을 사용하여 국밥을 만든다.
돼지국밥

돼지국밥은 돼지뼈를 고아 그 육수에 밥을 푸고 간을 해서 먹는 국밥이다. 대한민국 부산광역시, 대구광역시, 울산광역시, 경상남도 밀양시 등 영남 지방을 중심으로 한 향토 음식이다. 뼈국으로 볼 수 있으며, 설렁탕의 한 종류로 보는 견해도 있다.
돼지국밥은 6.25 전쟁 이후에 부산에 정착한 피란민에게서 유래되었다. 1970년대 이전 남한에서는 돼지라는 이름을 붙인 음식을 파는 것을 금기시 했다. 냉장고가 보급되던 1970년대 후반 이전에 돼지고기는 여름철 식중독의 주요원인이였다. 그래서 생겨난 말이 "여름철 돼지고기는 잘 먹어야 본전", "여름철 돼지고기는 공짜여도 먹지 마라" 라는 말이 있을 정도였다. 그러나 북한지역은 돼지를 즐겨먹었고 이러한 풍습이 피란민들에게 의해 자리 잡으면서 돼지국밥이 부산에서 생겨나게 된 것이다.
부산지역이 돼지국밥의 주 발생지라고 하지만 여러 가지 다양한 형태의 돼지국밥이 존재한다. 제일 먼저 주목할 것은 신창시장식 돼지국밥이다. 돼지살코기를 우려낸 맑은 국물에 흡사 곰탕처럼 나오는 국밥이다.
이 국밥은 함경도 피란민이 흥남철수 이후 직접 부산에 정착하면서 만들어진 국밥이다. 지금도 2대 사장님이 하는 가게에 가보면 김치조차도 함경도식이다. 돼지국밥의 유래와 원형을 말해주는 집이다
그리도 또 하나의 줄기가 밀양식 돼지국밥이다. 이것은 북한에서 직접 배를 타고 온 것이 아니라 육로로 피난 오신 분들이 만들었으리라 생각하게 된다. 무엇보다도 백탕의 뽀얀 국물은 서울과 개성의 영향을 생각케한다.
물론 우리나라 사람들이 돼지고기를 먹지 않았던 것은 아니고 즐겨먹었지만 상업화에는 더뎠다는 말이고 돼지라는 명칭 자체가 금기시 되었다. 돼지뼈다귀탕이 어울릴 음식의 이름이 감자탕일 정도다.
1990년대가 되면서 돼지라는 이름 붙이는 것에 대한 금기가 사라지고 전라도에도 돼지 국밥이 등장한다. 애호박을 숭숭 썰어넣고 벌겋게 끓여낸 국밥이다. 실제로 예전부터 가정에서 즐겨 먹던 방식이다.
한국 전쟁 당시 경상도 지방으로 피난 간 피난민들이 먹을 것이 부족하자 주한 미군 부대에서 나오는 돼지 뼈를 이용해 설렁탕을 만들어 먹었다는 것에서 유래되었다는 설이다.
전통적으로 소뼈로 우려내 육수를 만드는 한국 음식문화에서 부산 지역에서 돼지뼈로 육수를 내는 일본식 문화가 접목돼 탄생한 사실상 최초의 '퓨전 음식'이라는 설이다.
고려시대 때 지배계층이 백성들에게 돼지고기와 개고기를 선사한 것을 백성들이 설렁탕 형식으로 뼈를 이용해 만들었다는 것이 돼지국밥의 유래라는 설이다.
그러나 전통적으로 설렁탕 식의 백탕은 서울설렁탕 이전에는 없었다. 그전에는 청탕이라고 맑게 끓여낸 장국이 주였다.
국립축산과학원

국립축산과학원(國立畜産科學院, National Institute of Animal Science)은 동물유전자원의 다양성확보, 고부가가치 축산물 개발, 축산물 안전생산기술 개발, 축산기술보급으로 지속가능한 축산 실현에 앞장서는 대한민국 농촌진흥청의 소속기관이다. 2008년 10월 8일 발족하였으며, 전북특별자치도 완주군 이서면 콩쥐팥쥐로 1500에 위치하고 있다. 원장은 고위공무원단 나등급에 속하는 임기제공무원으로 보한다.
다이쿄쿠쇼기

다이쿄쿠쇼기(大局将棋、たいきょくしょうぎ)는 옛 쇼기의 하나이다. 알려진 쇼기에서는 말의 수와 판의 크기가 최대인 것이다.
아군·적군 각각 402개(합계 804개)의 말을 사용하는 최대 규모의 보드 게임이다.
타이쇼기(혼쇼기·주쇼기·다이쇼기·다이다이쇼기·마카다이다이쇼기를 포함)·덴지쿠다이쇼기·와쇼기로부터 거의 대부분의 말을 도입했기에 이들보다는 시대가 늦다고 추정된다. 이들의 쇼기에 포함돼있는 말 이외에도 다수의 말이 추가돼있고, 이 안의 몇 개는 외의 현재 전해지지 않은 변종으로부터 도입된 것이라고 추정된다. 또, 타이쇼기까지의 대형 변형 쇼기는 말 이름에 불교·신토·민간 신앙의 영향이 보였으나, 다이쿄쿠쇼기에서는 그러한 종교적 요소는 옅어졌다.
1990년대에 간사이 쇼기 회관(関西将棋会館) 내의 쇼기 박물관에서 미정리 자료 중에서 발견된 오하시가(大橋家)의 고문헌 『다이쿄쿠쇼기 말』(大局将棋駒)에 기재돼있고, 에도 시대에 고안됐다고 추정된다. 『다이쿄쿠쇼기 말(大局将棋駒)』을 포함한 '오하시가 문서'는 간사이 쇼기 회관 내의 쇼기 박물관의 폐관 후 한때는 오사카 상업대학 어뮤즈먼트 산업 연구소(大阪商業大学アミューズメント産業研究所)로의 이관도 검토됐으나 최종적으로는 오하시가의 혈연자에게 반환됐다. 『다이쿄쿠쇼기 말』(大局将棋駒)에 적힌 규칙의 내용은 유희사 연구자인 우메바야시 이사오(梅林勲)에 의해 해석됐다. 다이쿄쿠쇼기에 대해 상술된 첫 문헌은 『세계의 쇼기』(世界の将棋)(쇼기텐고쿠샤(将棋天国社), 1997년)이고, 해당 문헌에는 우메바야시의 해석에 따른 말의 움직임이 기록돼있다.(후술 '#규칙' 절의 기술은 해당 문헌의 개정판을 기반으로 하고 있다)
『다이쿄쿠쇼기 말』의 내용은 말의 명칭과 배치 그림에 말의 움직임이 점으로 기록돼있을 뿐이고, 상세한 규칙이나 제작 경위 등은 남아있지 않다. 또, 기보도 현존하고 있지 않고, 당시 판과 말이 작성됐다는 증거도 없기에 실제로 두어졌는가는 불명이다.
쇼기 연구자인 고사쿠 노보루(古作登)는 에도 시대 당시의 쇼기 본가 오하시가와 바둑 본가 혼인보가의 사이에서 세력 다툼이 있었다는 것을 지적하며 오하시가가 '그때까지 최대였던 타이쇼기를 능가한 스케일의 쇼기를 만드는 것으로 인정돼 가문의 격을 높이려고 했다'라고 분석해 제작 시기를 18세기 후반으로 추정하고 있다. 또, 고사쿠는 '대국에는 장시간을 필요로 하기에 게임으로의 재미가 부족한 것', '다이쿄쿠쇼기에 대해 해설한 문서가 외에 발견되지 않은 것'으로부터 어디까지나 장관한 말의 배치의 쇼기를 창작해 권위를 보이기 위해 만들어진 것이고, 실제로 두어진 것은 아닐 것이라고 한다.
후술할 TV 방송 『트리비아의 샘』(トリビアの泉) 등의 미디어에서 소개되기까지 다이쿄쿠쇼기는 거의 알려져있지 않았다. 예를 들면 1991년의 일본 영화 『장군』(王手)(아카이 히데카즈(赤井英和) 주연, 사카모토 준지 감독)의 종반에서는 와카야마 도미사부로가 연기하는 전 진검사(真剣師, 내기 장기나 내기 바둑으로 생계를 유지하는 사람)가 마련한 대국에서 사용된 타이쇼기(작중에서의 명칭은 헤이안다이쇼기)가 세계 최대의 쇼기 및 보드 게임으로 소개됐다.
전술한 대로 고안된 당시에 판과 말이 작성됐다는 증거는 없다. 2012년의 시점에는 복원된 말이 적어도 두 묶음 뿐이었다. 2024년 현재는 적어도 한 묶음이 오사카 상업대학에, 한 묶음이 아오모리현 오이라세정의 오야마 쇼기 기념관(大山将棋記念館)에 소장돼있다.
2004년 5월 19일 방송의 후지 TV계 『트리비아의 샘』에서 '쇼기에는 804개의 말을 사용하는 것이 있다'라는 여담으로 소개돼, 방송에서는 이토 히로후미(伊藤博文) 6단과 안요지 다카노리(安用寺孝功) 4단(단위는 당시의 단위)에 의한 대국이 행해졌다. 말의 움직이는 방법을 표시한 규칙서를 보면서 두었고, 몇 차례의 휴식 휴면을 하면서 대국 시간 32시간 41분(총 3일간)의 끝에 3805수에 선수 안요지가 승리했다. 대국 후, 안요지는 '더이상은 하고 싶지 않다', 이토는 '져서 분하지는 않다'라고 이야기했다. 이것이 사상 첫 다이쿄쿠쇼기의 공식 대국으로 여겨지고, 이 방송 이후, 다이쿄쿠쇼기의 존재가 알려지게 되었다.
이 절의 내용은 특별한 기록이 없는 한 우메바야시(梅林)·오카노(岡野)(2000)를 출전으로 한다.
초기 배치는 이하와 같다. 더욱이 위쪽부터 12단에 있는 말은 후수 말, 아래쪽부터 12단에 있는 말은 선수 말이다.
오분자기

오분자기(학명: Haliotis supertexta)는 전복속에 속한 연체동물의 일종이다. 제주도와 한국 남해안 일부, 일본에 분포한다. 식용으로 쓰인다.
오분자기의 생김새는 전복과 비슷하지만 몇 가지 차이가 있다. 오분자기의 몸 길이는 8 cm 이하이지만 전복은 그보다 큰 10 cm까지도 자란다. 전복의 공열은 위로 튀어나와 있지만, 오분자기는 평평하게 구멍만 뚫려 있다. 구멍의 수도 전복은 4 ~ 5개, 오분자기는 7 ~ 8개 정도이다. 또 오분자기의 껍데기는 전복보다 평평한 편이다.
한국에서 오분자기는 원래 제주도에 주로 서식했으나, 난류의 영향으로 최근 남해안 등으로 분포가 급격히 확대되었다. 이에 따라 오분자기는 2010년 국립생물자원관이 선정한 기후변화 생물지표종 100종 중 하나로 지정되었다.
1990년대 후반부터 제주도의 오분자기는 갯녹음으로 인한 서식지 파괴와 남획으로 인해 생산량이 급감하였다. 제주의 오분자기 생산량은 1994년 200만 마리에서 2005년 15만 마리로 줄었고, 어민들의 소득은 1994년 55억원에서 2005년 4억원으로 줄었다. 무게로 따진 생산량은 1994년 200톤을 넘긴 뒤로 계속 감소하여 2019년에는 3톤으로 줄었다. 제주도 해양수산연구원은 자원 회복을 위해 오분자기 종자를 생산하여 마을 어장에 방류하고 있다.
제주도에서 오분자기는 살을 구워 먹거나 해물뚝배기, 된장찌개, 죽, 돌솥밥 따위에 넣어 먹으며, 내장을 젓갈로 담가 먹기도 한다.
숭늉

숭늉(영어: scorched rice tea, sungnyung)은 밥솥 바닥에 눌어붙은 누룽지에 물을 붓고 한소금 끓여 만든 음료이다. 반탕(飯湯)·취탕(炊湯)이라고도 한다. 김광언의 민속지(김광언, 조선일보사, 1994.)에 따르면 한국인들은 과거 전통적인 조리도구로 가마솥을 이용하여 밥을 지었으며, 조리과정에 솥 바닦에 눌어 붙은 밥에 물을 부어 숭늉을 만들어 식사를 마치는 음식으로 즐겨 마셨다. 쌀문화를 공유하는 한중일 중 숭늉은 한국만이 즐기는 음식문화이다. 일설에 의하면 일본에서는 한반도 도래인의 후손인 황실에서만 숭늉을 먹는다고 한다. 최근까지는 일부 절에서 식사 후에 밥풀을 없애려고 밥그릇에 따라 먹는다. 숭늉은 고유어처럼 보이나 실은 ‘숙냉(熟冷)’이라는 한자어가 변한 말이다.
이 숭늉이 언제부터 있었는지 알 수 없으나 《임원경제지》에서 숭늉을 숙수(熟水)라 하였고, 《계림유사(鷄林類事)》에 “숙수를 이근몰(泥根沒 : 익은 물)이라 한다.”는 표현이 나오므로 고려 초나 중엽에 존재하였던 것으로 추측된다.
숭늉은 한국 고유의 음료로 밥 짓는 법과 관계가 깊다. 중국의 밥 짓기는 처음에 물을 풍부하게 넣어서 충분히 끓어오르면 물을 퍼내고 약한 불로 뜸을 들이거나 다시 찌므로 숭늉이 발달하지 못하였다. 일본에서는 한국과 같은 방법으로 밥을 짓지만 숭늉을 먹지 않는다. 이것은 부엌구조의 차이에서 오는 것으로 해석된다. 그리고 밥을 먹고 숭늉을 마시거나 숭늉에 밥을 말아 먹으면 식사의 순서가 끝나는 식문화를 형성하게 되었다. 전기밥솥의 보급으로 누룽지가 생기지 않게 되면서 숭늉을 마시는 풍속이 점차 사라지게 되었다.
한국 음식은 맛이 짠 편이다. 그런데 옛 사람들은 밥을 짓고 나서 솥에 남은 누룽지에 물을 붓고 숭늉을 끓여 그것을 식후에 마셨다. 숭늉에는 누룽지에서 나온 포도당의 단맛과 탄수화물이 타면서 생긴 구수한 맛이 강하다. 그래서 짜고 매운 음식을 먹고 나서 숭늉을 마시면 산성으로 변한 입맛을 중화시켜 준다. 느끼한 중국 음식 후에 먹는 중국의 차와 같은 구실을 한국에서는 숭늉이 했다고 할 수 있다.
숭늉의 원료가 되는 누룽지는 밥이 솥바닥에 눌러 붙어서 만들어진 것이다. 그래서 대부분의 영양소는 밥과 비슷하다. 숭늉에 들어있는 가장 많은 성분이 탄수화물로, 탄수화물은 단당류, 이당류, 다당류로 분류된다. 다당류로 된 음식을 섭취하면 분해되어 단당류로 변하는데 이 단당류는 소화를 촉진하는 요소다. 누룽지와 숭늉에는 단당류 중 특히 덱스트린 성분이 많은데 이 때문에 누룽지를 먹으면 소화가 매우 빨리되는 것을 느낄 수 있다. 소화불량에 자주 걸리는 사람에게 안성맞춤이다.
숭늉의 에탄올 추출물은 강한 항산화 작용을 하여 산성체질을 알칼리성으로 중화시켜준다. 쌀눈에 많이 함유된 성분인 가바는 신경을 안정시키고 지방분해를 촉진시켜 다이어트에도 효과가 있는 것으로 알려졌다.
실제로 밥이 익는 과정에서 영양분이 아래로 몰려 누룽지에 영양가가 많다는 말은 과학적으로도 근거가 있는 이야기다. 그러나 시중에서 나오는 식품 누룽지는 그냥 밥을 돌판에 펼쳐서 누린 것으로 밥을 하는 과정에서 밑에 영양분이 몰리며 생기는 누룽지와는 좀 다르다.
일부에서는 누룽지나 숭늉 역시 음식이 탄 것으로 몸에 유해하지 않을까 하는 의구심을 가지고 있다. 이와 관련 식품영양학과 교수들은 “밥이 타면 일부 발암물질이 발생하기도 하지만 고기가 탈 때 발생하는 다이옥신 등에 비한다면 거의 없는 것과 마찬가지”라며 “집에서 만들어 먹는다면 태운 부분은 숭늉 끓이기 전에 들어내는 게 좋다”고 전한다.
가마솥 대신 전기밥솥을 사용하면서 누룽지와 숭늉도 없어지는가 싶더니 최근엔 누룽지 기능이 추가된 밥솥, 누룽지 제과기, 누룽지 프라이팬까지 나왔다. 뿐만 아니라 누룽지 정식이며 누룽지 백숙 전문점이 유행하고 있으며, 누룽지로 만든 과자와 숭늉 음료도 등장하고 있다. 얼마전엔 컵라면 형태의 누룽지탕도 출시됐다.
일부 주부들 사이에선 ‘숭늉가루 만들기’도 유행이다. 돌솥에 쌀과 보리를 섞어 누룽지를 만든 후 모아서 햇볕에 바짝 말리고 방앗간에서 빻아 보관하다가 그때그때 끓여먹는 것. 대형마트마다 상품이 나와 있지만 영양과 위생을 고려해 직접 만들고 있는 것이다.
중국의 누룽지탕도 있고, 17세기 일본 문헌에 ‘식탕’이라는 숭늉 비슷한 음식이 나오는 것으로 미루어 쌀로 밥을 지어먹는 문화권에 누룽지와 숭늉이 없었던 것은 아니지만 일상적으로 누룽지를 숭늉으로 만들어 먹는 나라는 한국뿐이라고 한다.
가마솥

가마솥은 한국에서 음식을 끓이거나 밥을 짓는 데 쓰는 무쇠로 만든 우리나라의 전통 솥이다.
한국의 대가족에 적합하게 매우 큼직하고 우묵하게 생겼다. 일반적으로 가마는 불을 때는 기구, 솥은 밥을 짓는 냄비 · 그릇을 의미하나 가마가 솥의 의미까지 담고 있기도 하다. 때문에 가마솥을 줄여서 그냥 가마라고도 한다. 가마솥은 다리가 없고 솥 바닥이 둥글며 대개 입구의 가장자리가 약간 오므라들어 있다. 몸체에 네 개의 귀가 달려 있어 부뚜막에 걸쳐 놓기에 편리하다. 뚜껑도 무쇠로 만들며 여닫을 때 편리하게 가운데에 꼭지가 달려 있다.
가마솥은 무쇠로 만들어졌기 때문에 겉부분이 벗겨질 수 있다.
한옥의 부엌에서 부뚜막은 난방과 취사를 겸해서 사용할 수 있는 화덕이고 가마솥은 부뚜막을 취사 용도로 사용하기 위해 고안된 대형 냄비라고 할 수 있다. 가마솥은 매우 커서 부뚜막에 거의 고정하여 놓고 사용하는 것이 일반적이다.
고대 사회부터 솥은 단순히 음식물을 조리하는 기구가 아니라 왕권, 힘, 국가, 제업의 상징이었다. 그리고 공신들의 공적을 기록하거나 부패한 관리를 처벌하는 형구, 종교적 의기나 죽은 자의 식량을 담아 놓는 그릇으로 사용되었다. 고대 중국에서는 술잔, 술그릇, 청동솥이 왕권의 상징이었고, 기원전 606년에 초의 장왕은 주나라 국경 지역에서 무력시위를 하면서 천자가 보낸 대부 왕손만에게 천자가 가지고 있는 솥의 크기를 물어보았고, 이에 왕손만은 임금의 덕이 아름답고 밝으면 솥이 비록 작을지라도 무거워 옮기기 어렵고, 그 덕이 비뚤어지고 어리석으면 크다해도 가벼워서 옮기기 쉽다고 했다. 왕의 덕을 솥의 크기와 비교하고 왕권을 솥의 무게로 표현함으로써 솥을 왕권의 상징으로 인식했다.
한국에서는 이미 삼국 시대 이전부터 솥이 사용된 것으로 보인다. 당시의 고분에서 토기로 만든 솥이 출토되었고 고분 벽화에서도 솥의 그림을 발견할 수 있기 때문이다. 솥이 사용되기 전에는 시루에 곡물을 넣고 떡을 쪄서 먹었다. 그 이후의 고분에서는 흙이 아닌 놋쇠나 구리로 만든 솥이 나왔다는 기록이 있는데 아마도 이 시대부터 쇠를 이용한 솥을 사용한 듯하다.
무쇠로 만든 가마솥은 열전도율이 낮아 강한 열을 받아도 쉽게 전달되지 않고, 따라서 뜨거워지는 데는 조금 시간이 걸리지만 일단 달구어지면 쉽게 식지 않는다. 그렇기 때문에 가마솥은 부뚜막 밑에서 장작불을 세게 때면 그 열을 머금고 있다가 솥 안의 재료에 조금씩 전달하여 음식물을 속속들이 익혀 준다. 또 한번 끓인 물을 오랫동안 식지 않게 만들어 주기 때문에 밥과 국을 주식으로 하는 한국 사람들에게는 매우 유익한 조리 기구이다.
한국인이 좋아하는 쌀밥을 만들어내는 가마솥의 핵심 원리는 솥안의 압력을 높은 상태로 유지하고 물의 끓는 점을 120도까지 높여 짧은 시간내 밥알을 익히는데 있다. 통째로 서서히 가열돼 장시간 높은 온도를 유지하는 무쇠의 특성과 가마솥을 위에서 눌러 높은 압력을 내도록 하는 무거운 솥뚜껑이 중요한 역할을 한다.
21세기의 일반 한국 가정에서는 가마솥을 보기 힘들다. 대가족이 사라지면서 가족의 수가 작아져서 큰솥이 불필요한 데다가 주방 구조가 달라져서 더 이상 장작을 연료로 쓰지 않기 때문이다. 더욱이 값싼 양은솥이 각 가정에 보급되면서 가마솥은 더욱 빨리 자취를 감추게 되었다. 그렇지만 양은솥은 가마솥과는 달리 열전도율이 매우 높아 빨리 끓는 대신 빨리 식어 버리기 때문에 근본적으로 가마솥과 같은 맛을 낼 수가 없다. 그래서 최근에는 이러한 가마솥의 장점을 살린 밥솥들이 다양한 형태로 다시 나타나고 있는 추세다. 가마솥은 한 가정을 대표하는 주방 용구로 생각하여 집을 짓거나 이사를 할 때에는 가장 먼저 이것부터 부뚜막에 걸었다. 이와 같은 행위는 곧 살림을 차린다는 것을 상징하는데 이런 관행에서 한가족이나 한집에서 오랫동안 함께 산 사람을 가리켜 한국에서는 '한솥밥을 먹고 지내는 사이'라고 말하기도 한다.
Gukbap

Gukbap (Korean: 국밥; lit. soup rice) is a Korean dish made by putting cooked rice into hot soup or boiling rice in soup. It is commonly served in a ttukbaegi. Whereas soup and rice is generally eaten separately in Korea, in gukbap, rice is expected to be mixed into the soup.
With Jumaks, gukbap became popular especially at the late Joseon Dynasty.
The first record of gukbap in literature is in the "Journal of Royal Secretariat" (Seungjeongwon Ilgi). The journal stated that female physicians recommended the dish to King Sukjong due to its heartiness. During the Joseon Dynasty, gukbaps were served in jumaks, a tavern for merchants that served alcohol. As jumaks began to develop on roadside areas, gukbap was given the name "janggukbap": gukbap sold in jangsi (markets). Illustrations of gukbap being served in jumaks can be seen in Gim Hong-Do's paintings from the Joseon Dynasty. In the art piece, a barmaid is serving the dish while a customer opens a pouch to pay for his meal.
Rituals through ancestral rites were common in the Joseon Dynasty. At these rites, meat dishes from pigs and cattle were regularly present. Due to the frequency of these rituals, a meat-eating culture developed and meat based soups, like gukbap, became popular. The first gukbap recipe in Korean literature is the Gyugon Yoram from the 18th century. This recipe states that it is made by "placing oily meat stewed in a sauce over the rice". The broth is made by boiling down pork bones to create a cloudy, translucent, or clear appearance. Those of the western part of the South Gyeongsang Province developed a leaner clear broth.
During the 19th century, the dish became commercialized and was sold in large-scale markets. In the Japanese colonial period, gukbap began to gain popularity as a common delivery food. According to a magazine published in 1929, the owners of gukbap diners were often people of low social status, so it was not easy for those who were once aristocrats to eat it with confidence. Digging into this niche market, gukbap has been recognized as the first fast food as well as the first delivery food. After Korea's liberation from Japan and the Korean War, variations of the dish began to emerge by region. Then, ever more places sold simple meals for workers, resulting in a variety of gukbap by region. As a result, Gukbap is known as the first fast food in Korea because of its affordability.
Until the 1970s, when there were no refrigerators and heating cabinets, once the rice was cooked, it was spread flat on a wicker tray and stored in a cool place. When an order was placed, the rice was put in a bowl, and the broth was poured in and out several times to make it warm. Until then, pouring hot broth over the rice was common, and since the broth was absorbed into the grain of the rice, its taste improved. With the introduction of the heating cabinet, ttarogukbap(rice and soup served separately) emerged. Technological advances caused the preparation of gukbap to vary over time.
Gukbap is a compound of guk (soup) and bap (cooked rice).
Dwaeji gukbap

Dwaeji gukbap (Korean: 돼지국밥) is a South Korean soup especially popular in Busan made with pork, soy sauce, miso, rice wine, sesame oil, and bone broth. The name literally translates to "pork, soup, rice". It is served with various side dishes like rice, salted shrimp, onion, noodle, kimchi, garlic, and green peppers, which all can be added to the soup. It originated during the Korean War in the 1950s as poverty food. It eventually grew in popularity. The dish spread from Busan to the rest of the Gyeongsang province and eventually the rest of the country. However, the dish is not well-recognized outside of Korea. Busan has a street named after the dish, where there are dozens of restaurants that serve dwaeji gukbap. These days it is often eaten while drinking liquor. It is also thought to be beneficial for women recovering from childbirth. The soup is enjoyed all year round (but particularly in winter) and at any time of the day. Many establishments that serve the dish are open from morning to night, with some even open 24 hours.
Historically, the people of Busan made clear soup from meat, and they would commonly add rice to the broth. However, dwaeji gukbap itself, originated during the 1950s when North Korean refugees fled south during the Korean War. The refugees were unable to afford meat, so they used pork bones discarded by the U.S. military. They may have also used beef. Initially, the dish was simply broth, rice, and meat slices in a single bowl. Over time, the dish was influenced by other regions, as people who arrived from other parts of the country settled in Busan. The salted shrimp that often accompanies the dish originated from the north, whereas the chive salad and spicy seasoning originated in Busan.
The preparation of the soup is labor intensive, requiring lots of time to make. First, pork bones are boiled in water for hours, resulting in a milky white broth. However, three versions of broth exist overall: cloudy, translucent, and clear. Cloudy broth is made from boiling pork bones, translucent broth is made from boiling the pig’s head and intestines, and clear broth is made from boiling only the meat. Different cuts of meat are then added to the pot before serving. It is served various with sauces, garnishes, and side dishes. Variations exist in the exact preparation. It can be served with rice either already in the soup or on the side, and it can also be served with noodles. Other accompaniments like green onions, fermented shrimp, red pepper paste, white onions, garlic, and different types of kimchi, can also be added.
It is thought that the soup is beneficial for women in the postpartum period. Also, it is consumed during times of illness and hangovers. The dish may help health conditions due to its high amount of nutrients like calcium and protein.
Gul-gukbap

Gul-gukbap (굴국밥) or oyster and rice soup is a type of gukbap (rice soup) made with oysters.
Shucked oysters along with garlic and tofu are added to anchovy stock that has been boiling with radish and salted shrimps. Scallions and enoki mushrooms are then added, followed by bap (cooked rice) and garlic chives.
Pot boiler

In archaeology or anthropology, a pot boiler or cooking stone is a heated stone used to heat water - typically by people who did not have access to pottery or metal vessels.
The term refers to a stone used to move heat from a fire to a vessel to raise the temperature of water in the vessel, including for cooking. The stone is heated in a fire or in embers. When hot enough, the stone is transferred into a vessel of water to heat the contents. The vessel may be metal (though this is uncommon, metal normally being tough enough to take direct heat from a fire) or pottery which is not of good enough quality to be directly exposed to the heat of the fire - or a wooden trough. In a pre-pottery context, the heating can be done by lining a pit with leather, leaves or clay, and then putting in the water followed by pot boilers directly into the vessel.
Such stones can be recognized because the repeated exposure to the heat of the fire followed typically by rapid chilling in water leads to great thermal stress on the stone's fabric due to the thermal expansion and contraction. This typically leads to partial glazing of the stone's surface and a fine network of cracks on the stone's surface (often described as "crazing"). Eventually the stone shatters. Individual fragments may be re-used until it becomes infeasible to manipulate the stone into and out of the fire, at which point the fragments are discarded and a new pot boiler (or many new ones) are acquired. Often the broken pot boilers are discarded into middens or domestic waste deposits, which on long-established sites can amount to many tonnes of material.
Reuse as building material is not impossible, but the typical small size of the fragments hinders this use.
Surface "crazing" is not restricted to pot boilers - hearth stones and the surrounds of fireplaces may also show the same structure. However, since a pot boiler needs to be manipulated into and out of the fire (typically in anthropological observations, using sticks of green wood) at arm's length, they start off weighing up to several kilogrammes, and shrink by fragmentation ; hearth stones and chimney liners are typically larger.
Doenjang-guk

Doenjang-guk (Korean: 된장국) or soybean paste soup is a guk (soup) made with doenjang (soybean paste) and other ingredients, such as vegetables, meat, and seafood. It is thinner, lighter, and milder than doenjang-jjigae (soybean paste stew). It is similar to the Japanese miso soup. It is sometimes mild, sometimes strong, and accompanied with rice most of the time.
Doenjang-guk is an example of a banchan, one of several small dishes served with meals at restaurants and in home cooking. Other banchan include kimchi, marinated vegetables, and pickled/salted seafood. This soup is perhaps the cheapest meal in Korea.
In the Joseon period, the royals had five meals (called sura), and in three of those they had doenjang-guk as a side dish (banchan 반찬), specifically in a small table on the right side of the main table, together with other various Korean traditional foods such as vegetables (chaeso 채소), meat (kogi 고기), egg, and sesame-seed oil (chamgireum 참기름).
The most simple form of this soup is clear soybean paste soup (malgeun-doenjangguk 맑은 된장국). It is mainly composed of a good fermented soybean paste and stock. It accompanies more complex one-bowl rice dishes that have a lot of ingredients, like bibimbap with sliced raw fish and avocado, mushroom, and vegetable bibimbap. The ingredients for this soup are anchovy-kelp stock, vegetable stock, or unsalted chicken broth, Korean fermented soybean paste and optionally some scallion.
The most commonly eaten form of this dish is soybean paste soup with cabbage (baechu-doenjangguk 배추된장국) and it is eaten at any time of the day. The broth has a deep, comforting flavor, the cabbage adds texture and sweetness and it is light since there is no grease. The ingredients are dried anchovies; napa cabbage leaves, white-stemmed chard, or bok choy; doenjang; garlic; chili peppers; all-purpose flour or rice water; and fish sauce.
To make the broth for a doenjang-based soup or stew, it is common to begin with the water used to wash rice, ssalddeumul (쌀뜨물). This rice water adds starch to the soup and works as a binding agent between the soybean paste and the broth, while improving the flavor of the doenjang. A substitute can be made by mixing in a teaspoon of flour or rice flour.
Jjigae

Jjigae (Korean: 찌개, Korean pronunciation: [tɕ͈iɡɛ]) are Korean stews. There are many varieties; they are typically made with meat, seafood or vegetables in a broth seasoned with gochujang (red chilli paste), doenjang (soy bean paste), ganjang (soy sauce) or saeu-jeot (salted and fermented shrimp). Jjigae is often served as a communal dish.
Korean meals often include either a jjigae or a guk. During the Joseon dynasty, it was known as jochi, and two varieties would always be present on the King's surasang (royal cuisine).
The types of jjigae are often named according to their principal ingredients, such as saengseon jjigae (생선찌개; lit. fish jjigae) made from fish or dubu jjigae (두부찌개; lit. tofu jjigae). They are also sometimes named according to their broth and seasonings, for example gochujang jjigae (고추장찌개) or doenjang-jjigae (된장찌개).
Compared to jeongol, which primarily consists of broth or stock, jjigae have less liquid (roughly half solid ingredients) and have stronger seasoning. Common types include soy sauce jjigae and salted fish jjigae, also known as jeotguk jjigae (also called clear stew).
Doenjang girl

Doenjang girl or doenjang woman (Korean: 된장녀; RR: doenjang nyeo) is a pejorative neologism used in South Korea to criticize women who "[scrimp] on essentials so they can over-spend on conspicuous luxuries". Doenjang is Korean fermented soybean paste. The term mocks a woman for eating a cheap meal (doenjang-jjigae is one of the cheapest meals in Korea) so she can buy something expensive. A large part of the song "Gangnam Style" is a parody of this stereotype.
The term first entered the language after Korea's early-2000s economic upswing. According to Jee Eun Regina Song, the concept of this woman is "best exemplified by the Starbucks cup in her hand". In South Korea, Starbucks symbolizes aspirational wealth and drinking Starbucks coffee is a status symbol; Seoul as of 2015 had more franchises than any other city in the world. Coffee after 1999 became a symbol of class.
According to the BBC, the term is inherently sexist; according to Song, the issues are both of gender and class. The BBC said that the term refers to the idea that "no matter how many Chanel bags she buys, she'll never be able to disguise her 'Korean-ness', and that this kind of spending was something to be mocked." There is a male equivalent in the form of doenjang nam (된장남), though it is less used than its female counterpart.
Adeniran Ogunsanya College of Education

Adeniran Ogunsanya College of Education, nke a makwara dị ka AOCOED, bụ ụlọ akwụkwọ agụmakwụkwọ dị elu nke dị na obodo Oto-Awori na mpaghara Oto-Awuri nke Ojo, Steeti Lagos Adeniran Ogunsanya College of Education na-enye onyinye nke Nigeria Certificate in Education (NCE) na undergraduate mbụ degree ọmụmụ na Education, ebe ọ nwere njikọ na Ekiti State University.
E guzobere kọleji ahụ, nke a na-akpọbu Lagos State College of Education, na afọ 1958 dị ka kọleji ọzụzụ ndị nkuzi nke Grade III, na-edebanye aha ihe dị ka ụmụ akwụkwọ iri itoolu n'afọ mbụ ya. N'afọ 1982, n'ihi enweghị akụrụngwa, ihe owuwu ọgbara ọhụrụ na mmụba nke ọnụ ọgụgụ mmadụ, a kwagara kọleji ahụ site na Surulere gaa n'ebe ọ dị ugbu a na Oto-Awori.
E nwere ụlọ akwụkwọ 6 ugbu a na kọleji agụmakwụkwọ nke Adeniran Ogunsanya, nke bụ
Abubakar Gimba

Abubakar Gimba OFR (10 Maachị 1952 – 25 Febrụwarị 2015) bụ onye ode akwụkwọ, onye nchịkwa na ọkammụta akụ na ụba bụbu onye bụbu osote onye isi oche nke Association of Nigerian Authors (ANA) wee bụrụ onye a họpụtara ịbụ onye isi otu site na 1997 ruo 2001,[1] bụ onye mbụ si North Nigeria were ọkwa abụọ ahụ.
Amụrụ na ￼￼Lapai￼￼ Obodo, ￼￼Niger State￼. Ọ malitere ụlọ akwụkwọ mbụ ya na Gulu Primary School site na 1959 ruo 1962, wee gaa Senior Primary School Lapai gụchara na 1964 wee nweta asambodo ụlọ akwụkwọ sekọndrị site na 1965 ruo 1969 na Government College Keffi wee gaa ￼￼￼￼ Bello University￼ ￼ Zaria site na 1970 ruo 1974 maka akara ugo mmụta nke mbụ na nke abụọ, ọ na-agakwa ￼￼University of Cincinmati￼ na 1977 na ￼￼University of Iowa￼ maka ọrụ mmemme.[4]￼[5].
Gimba rụrụ ọrụ na Union Bank of Nigeria wee rụọ ọrụ na United Bank of Africa dị ka onye isi nchịkwa. Tupu ịbanye na ngalaba ụlọ ọrụ, ọ bụ onye ọrụ obodo nke bilitere n'ime ndị nchịkwa nchịkwa ka ọ bụrụ odeakwụkwọ na-adịgide adịgide, Ministry of Finance n'oge David Mark n'etiti 1984 na 1987. Mgbe ọ lara ezumike nká na ụlọ akụ, a họpụtara ya ka ọ rụọ ọrụ ma ọ bụ ndụmọdụ. n'ụfọdụ ụlọ ọrụ ọha. A họpụtara Gimba onye isi oche kọmitii ịdọ aka ná ntị mahadum dị na Mahadum Ahmadu Bello, onye nkuzi ya n'oge ọchịchị nwa oge nke Mamman Kontagora. Mgbe nke ahụ gasịrị, Abdulsalami Abubakar mere ya onye otu Kọmitii Implementation Monitoring Committee ruo na njedebe nke oge nke mbụ na 1999. Gimba bụ onye bụbu onyeisi oche, Ahmadu Bello University alumni Association ma bụrụ onye òtù Ahmadu Bello University Governing Council site na 2002 ruo 2006. Ọ bụ onye mbụ. pro-chancellor nke Ibrahim Badamasi Babangida University Lapai. Ọ ghọrọ onye ndụmọdụ David Mark, onye isi oche sinetị nke Nigeria n'ihe gbasara akụ na ụba na mmefu ego na n'afọ 2010, ọ bụ onye ndụmọdụ onye isi ala n'ihe dị iche iche, ọ bụkwa onye otu onye na-ahụ maka nyocha nke onyeisi oche na ọrụ ọha.[1][2]..
Ahụmahụ ya na ụlọ ọrụ ndọrọ ndọrọ ọchịchị, ndị agha na ndị ọrụ gọọmentị nwere mmetụta ụfọdụ n'ọrụ mbụ ya na n'ihe ngosi nke okpukpe, ọha mmadụ na omume nke ọrụ ndị ahụ.
E bipụtara akwụkwọ akụkọ mbụ ya, Trail of Sacrifice, n'afọ 1985, ndị Ndịàmà na-eso ya, nke e wepụtara n'afọ 1986. N'afọ 1991, o bipụtara Sunset of a Mandarin, ebe a na-eme ka ndị na-agụ ya mata akụkụ nke ndụ ya n'ime ọrụ gọọmentị. Ọrụ ya nke afọ 1994, Sacred Apples, na-enyocha ụmụ nwanyị Afrịka n'ime ndị Alakụba site n'anya nwanyị na-eme ihe nkiri ya, Zahra.
Echiche Gimba banyere nsogbu Naijiria na-emegide nkwupụta Achebe na idu ndú bụ ihe na-adịghị mma na ọha mmadụ; ọ na-ewere ọnọdụ na ndị na-eso ndị ndú ndọrọ ndọrọ ọchịchị na ndị ọzọ so na ọha mmadụ mere ka nsogbu ọha na eze dị na Naijiria.
Dillibe Onyeama bipụtara ọtụtụ n'ime akwụkwọ ya na Delta Book Club, gụnyere:
Kayode Soremekun

Kayode Soremekun bụ onye agụmakwụkwọ Naijiria, onye edemede, na osote onye isi nke atọ nke Mahadum Federal Oye Ekiti, Ekiti State. Ọ malitere ọrụ mgbe onye isi ala Mohammadu Buhari chụpụrụ prọfesọ Isaac Asuzu onye nọchiri anya Prọfesọ Chinedu Nebo, onye ọsụ ụzọ Vice Chancellor
Soremekun gara ụlọ akwụkwọ sekọndrị nke Naịjirịa, King's College Lagos, site na 1967 ruo 1971. Ọ gara Mahadum Ife ugbu a Mahadum Obafemi Awolowo ebe ọ nwetara B.A. English / History na M.Sc. na Ph.D. na mmekọrịta mba ụwa. Ph.D. nọ na iwu mmanụ ala nke Naijiria na mmekọrịta mba ụwa. Soremekun mere ọmụmụ postdoctoral na Institute of Social Studies na The Hague, Netherlands na Mahadum Maryland College Park, US ebe ọ gụrụ iwu mba ụwa na usoro iwu mba ọzọ nke US, n'otu n'otu.
Soremekun rụrụ ọrụ na ọtụtụ mahadum na Naijiria, gụnyere Mahadum Obafemi Awolowo, Mahadum Lagos, Mahadim Covenant na Mahadum National Open nke Naijiria.
N'oge ọ bụ osote onye isi na Mahadum Federal Oye, ọ gbakwunyere ngalaba iri na otu. Ọ na-enye ihe fọrọ nke nta ka ọ bụrụ ọmụmụ niile a na-enye na Mahadum Ọgbọ Mbụ nke Naịjirịa. Kansụl Mahadum kelere ya, otu otuto ahụ dịkwa n'akwụkwọ ozi ọpụpụ ya na mahadum ahụ.
Ọ lara ezumike nká na Mahadum Obafemi Awolowo dị ka Dean. N'ime akụkọ ihe mere eme ya, o kwuru na e mere nrụzigharị nke Faculty of Administration site na ego o nwere ike inweta site na Nigerian Brewries Limited. Faculty gụnyere Law, Social Sciences, na Education sochiri ya.
Soremekun edepụtara ọtụtụ akwụkwọ, gụnyere Governance and Democratization in Nigeria (1995), na Nigeria's Second Republic (1988).
Ọ rụkwara ọrụ dị ka onye edemede na ndọrọ ndọrọ ọchịchị, maka Federal Radio Corporation nke Nigeria, na Times International na Daily Times nke Nigeria. Ọ rụrụ ọrụ na kọmitii nchịkọta akụkọ nke Daily Times Lagos. Ọ bụ onye nkuzi ọzụzụ nchịkọta akụkọ maka Times Newspaper Training Centre, Daily Times Lagos. Ọ bụ onye na-eleta ndị nchịkọta akụkọ nke The AM News, akwụkwọ akụkọ na-akwado ọchịchị onye kwuo uche ya, nke fọrọ nke nta ka ọ bụrụ ndị agha n'oge ọchịchị ndị agha na Naịjirịa. Ọ rụrụ ọrụ dị ka onye na-eleta ndị nchịkọta akụkọ nke akwụkwọ akụkọ The Guardian na The Compass. Tupu ọ banye n'ọkwa dị ka osote onye isi ala, ọ rụrụ ọrụ dị ka onyeisi oche nke ụlọ ọrụ nchịkọta akụkọ nke Business Day, akwụkwọ akụkọ azụmahịa kwa ụbọchị na Naịjirịa.
Soremekun ebipụtala akụkọ akwụkwọ akụkọ banyere mpaghara esemokwu, ndọrọ ndọrọ ọchịchị mmanụ, na ihe onwunwe ike.
O nwere ihe dị ka akwụkwọ iri ise ndị ọgbọ ya nyochara. Soremekun jere ozi dị ka External Examiner na Mahadum Ghana, Legon. Ọ rụkwara ọrụ dị ka onye nkuzi nleta na Peace Studies Program na Universitat Jaime 1 na Castellon, Spain.
Apollos Okwuchi Nwauwa

Apollos Okwuchi Nwauwa bụ onye Naijiria na-akọ akụkọ ihe mere eme na prọfesọ nke Africana Studies. Ọ bụ onye nduzi nke Africana Studies, College of Arts and Sciences, Bowling Green State University, Bowling green, Ohio. Nwauwa nwetara akara ugo mmụta Bachelor of Arts (B.A.) na Mahadum Bendel State (nke e mechara kpọwa Mahadum Ambrose Alli) Ekpoma, Edo State, Nigeria. Ọ natara M.A. na Ph.D. ya na akụkọ ihe mere eme na Mahadum Dalhousie, "Halifax, Nova Scotia Canada, na 1989 na 1993 n'otu n'otu. Nwauwa bụ onye no na ọtụtụ òtù ndị gụrụ akwụkwọ ma jee ozi dị ka onye isi oche nke Igbo Studies Association site na 2010-2014. Ọ bụ onye nchịkọta akụkọ ugbu a nke OFO: Journal of Transatlantic Studies.[6][7] Nwauwa bụ onye edemede na onye nchịkọta akụkọ nke ọtụtụ akwụkwọ na akwụkwọ akụkọ ndị ọkà mmụta..
Nne na Nna ya bu Nze David Nwauwa Irechukwu na Veronica Nwandawa Irechukwa (ha abụọ anwụ goo) nke Uburuekwe na Isu Local Government Area nke Imo State, Prọfesọ Nwauwa gara Community School, Ekwe na Umuaka High School. Mgbe nke ahụ gasịrị, ọ gara Federal School of Arts and Sciences, Aba ebe ọ nọrọ ihe na-erughị ọnwa abụọ tupu ọ banye na Mahadum Bendel State ọhụrụ, Ekpoma na 1982. Nwauwa gara Mahadum Dalhousie dị na Halifax, Nova Scotia, Canada ebe ọ nwetara M.A na PhD nzere na 1989 na 1993 n'otu n'otu. Ngụ akwụkwọ doctoral ya bụ aha "Britain na ndọrọ ndọrọ ọchịchị nke mmụta mahadum maka ndị Africa, 1860-1960 ".
Nwauwa kụziri na Mahadum Bendel State ruo otu afọ tupu ọ gaa Canada maka ọmụmụ Ndi gụsịrị akwụkwọ. Mgbe ọ nwetasịrị nzere doctorate ya, ọ nabatara onyinye okwa dị ka osote prọfesọ nke akụkọ ihe mere eme na Rhode Island College site na 1993-2000, ọ bụkwa prọfesụ nleta na Mahadum Brown. N'afọ 2000, Nwauwa hapụrụ Rhode Island College iji sonye na ngalaba nke akụkọ ihe mere eme na Mahadum Bowling Green State, Bowling Green, Ohio.
Nwauwa bụ a onye nduzi nke Africana Studies na Mahadum Bowling Green State, Bowling Green, Ohio.
Akwụkwọ ndị a gụnyere: