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Abstract
Culinary arts education has remained largely unchanged for more than a century. Since the time of Auguste Escoffier, students have been taught French classical cookery using a master-apprentice model of education that began in the Middle Ages. While the vocational apprenticeship has been replaced in some instances by education delivered by public and private institutes, rote learning from a master continues. Contrast this with the fast pace of modern cookery and an outpouring of culinary innovation not seen in at least 150 years and you have an education system that simply cannot keep up. This article discusses the current culinary arts education system in New Zealand and identifies several forces that are highlighting the need for change. Food media's popularizing of culinary design provides both inspiration and aspiration for those wanting to learn culinary arts. Meanwhile, the New Zealand Government promotes design through its technology curriculum and lauds design-led business and creative industries as the way of the future. Surrounding this is a growing global awareness of the challenges that we face in providing safe, sustainable and ethical food to an increasing population. The article concludes by briefly outlining how Otago Polytechnic's Bachelor of Culinary Arts is attempting a paradigm shift that has N. Cross' 'designerly thinking' at its core.

"This book will demonstrate how the disciplines of culinary arts and food science work hand in hand in the research and development of new manufactured food products for the commercial, retail, and foodservice industries. It will be the authoritative source that will add value and relevance to this growing discipline and its practitioners. Integrating culinary arts with food science and technology, this book provides the best strategy for developing successful food products on a large scale. Real-world applications and business models ground the book and clearly illustrate how the concepts and theories work in business and industry"--

As far as Silesia is concerned the language and cuisine constitute fundamental and distinguishing factors of the Silesian ethnic group, they are the determinants of cultural identity and the symbol of cultural identification. The concept of perceiving the culinary art from two perspectives, cultural and linguistic one, was born taking the above into account. Culinary art, as a component of culture understood in a broad manner, serves as a significant element of the language system as well. It plays a crucial culture-forming role in human life and it has certain position in the semantic structure of language which is adequate to its rank. The lexicon of Silesian cuisine, which is being currently prepared, aims at collecting names of dishes in one publication, not only those which are still in use today and dishes recorded in the general consciousness of Silesians, but it also aims at archiving culinary vocabulary which is basically forgotten by presenting it in close connection with the culture of the aforementioned region

Kitchen, cooking, nutrition, and eating have become omnipresent cultural topics. They stand at the center of design, gastronomy, nutrition science, and agriculture. Artists have appropriated cooking as an aesthetic practice – in turn, cooks are adapting the staging practices that go with an artistic self-image. This development is accompanied by a philosophy of cooking as a speculative cultural technique. This volume investigates the dimensions of a new culinary turn, combining for the very first time contributions from the theory and practice of cooking.

Kitchen, cooking, nutrition, and eating have become omnipresent cultural topics. They stand at the center of design, gastronomy, nutrition science, and agriculture. Artists have appropriated cooking as an aesthetic practice - in turn, cooks are adapting the staging practices that go with an artistic self-image. This development is accompanied by crisis of eating behaviour and a philosophy of cooking as a speculative cultural technique. This volume investigates the dimensions of a new culinary turn, combining for the very first time contributions from the theory and practice of cooking.

Kitchen, cooking, nutrition, and eating have become omnipresent cultural topics. They stand at the center of design, gastronomy, nutrition science, and agriculture. Artists have appropriated cooking as an aesthetic practice - in turn, cooks are adapting the staging practices that go with an artistic self-image. This development is accompanied by a philosophy of cooking as a speculative cultural technique. This volume investigates the dimensions of a new culinary turn, combining for the very first time contributions from the theory and practice of cooking.

Türkiye'de yiyecek ve içecek sektörü; "emek yoğun" olduğu kadar son yıllarda "kadın yoğun" bir sektör haline gelmiştir (Tükeltürk ve Perçin, 2008). Türkiye'de turizm sektörü içerisinde, istihdam edilen kadın çalışan sayısı, diğer sektörlere göre daha yüksektir. Bunun nedeni olarak da; kadınların turizm sektörü içerisinde bilgi ve becerisine dayanan iş alanlarının daha fazla olması söylenebilmektedir (Şit, 2016). TÜİK (Türkiye İstatistik Kurumu) verilerine göre Türkiye'de; 15 yaş ve üzeri birey sayısı toplamda 59 milyon 894 bin olup; bu sayının 29 milyon 649 bini erkek, 30 milyon 244 bini ise kadındır. Söz konusu nüfus içerisinde iş gücüne katılan erkek sayısı 21 milyon 484 bin iken, bu sayı kadınlarda 10 milyon 159 bine düşmektedir. Bu durum, Türkiye'de kadınların iş gücüne katılımın düşüklüğünü göstermektedir. 2017 yılında kadınların iş gücüne katılım oranı ise % 33,6'dır. 2019 Ağustos ayı verilerine göre; Türkiye'de konaklama ve yiyecek içecek işletmelerinde çalışan toplam kayıtlı çalışan sayısı 110150 kişidir. Bu sayısının içerisinde kadın çalışan sayısı 25813'dür. Bu sayılar mevsimlik işçilerden arındırılmış sayılardır.