PER 뉴스

How Hyundai beat Volkswagen by cracking the formula for surviving China's price war

With the Korean automotive group's operating profit trouncing the German giant's, competition in sales may narrow as the owner of Audi and Porsche goes for a heavy restructuring. Volkswagen's Atlas, left, and Hyundai Motor's Palisade JOONGANG ILBO [NEWS ANALYSIS] Hyundai Motor Group has overtaken Volkswagen Group in operating profit since the beginning of last year, and is closing in on the German marque’s once-unassailable edge in vehicle sales. Volkswagen’s recent announcement that it will cut 15 percent of its global work force across all of its brands, which include the likes of Audi, Porsche, Lamborghini and Bentley, along with the prospect of plant closures, has only sharpened the sense that Hyundai’s ascent may not stop at profitability alone — and could extend to sales volume as well. "There's a real chance Volkswagen falls short of its revised 9 million-unit target at this pace, and Hyundai keeps closing the gap in sales volume," said Kwon Yong-ju, a professor in Kookmin University's automotive and transportation design department. Volkswagen's sales totaled 4.41 million units in the first half of 2025 compared to Hyundai's 3.65 million units, a gap of roughly 760,000 units. But in the first half of this year, the German brand's sales had fallen to 4.13 million and the Korean automaker's to 3.6 million, narrowing that gap by about 30 percent to roughly 530,000 units. By operating profit, the Korean auto group has outpaced Volkswagen since the first half of 2025, a lead it has held again this year. The diverging fortunes of the two automotive powerhouses, analysts say, trace back to their strategies against the inflow of price-competitive Chinese cars, as Volkswagen remains tethered to the Chinese market and a volume-driven model, while Hyundai has pivoted toward higher-margin electric and hybrid vehicles, prioritizing profitability over sheer sales volume. Margins over volume As EV demand cooled amid market saturation and the expiration of U.S. tax credits, Hyundai Motor Group, which includes the Hyundai, Kia and Genesis brands, swiftly moved to ramp up hybrid production, and its global hybrid sales jumped 23 percent on year to 1.12 million units last year, around 15 percent of its total sales. Sales of Volkswagen's hybrids, which consist mostly of plug-ins, stayed at roughly 430,000 units over the same period, or just about 5 percent of its sales. Hybrids typically carry margins around 10 percent higher than conventional gasoline vehicles thanks to low costs of development and manufacturing, while the fuel efficiency lets automakers command premium pricing. Sales of Hyundai’s hybrid cars jumped 74 percent in the U.S. market in June thanks to variants of the Santa Fe, Sonata, and Tucson, while sales of the full EV Ioniq 5 and Ioniq 6 fell 26 percent and 95 percent during the same period. Kia's turnaround has been even sharper: The launch of a hybrid Telluride helped propel Kia's June hybrid sales up 187 percent on year. "Hyundai understands that the era of chasing volume growth is over, and that has put it on a fundamentally different strategic path than Volkswagen," said Prof. Kwon. The newly launched Avante — called the Elantra in most markets and long billed as an affordable option for everyday buyers — now starts at 23.98 million won ($17,000), a price increase of more than 3 million won over the previous generation. That puts it above BYD's Dolphin hatchback, which starts at 24.5 million won but drops to roughly 23.41 million won after manufacturer incentives. "The price hike on an entry-level car like the Avante shows Hyundai is no longer chasing sales volume but margin," said an executive from the Korean automotive company. "It appears that they've recognized they simply can't compete with Chinese brands on price and decided to concentrate on defending profitability." In fact, Volkswagen, which used to lead in the Chinese auto market since its entry in 1984, saw profits slide sharply in recent years due to the births of new local EV brands. Its Chinese sales fell from 3.24 million units in 2023 to 2.69 million last year, with BYD overtaking Volkswagen as China's top-selling automaker in 2024. In 2025, Geely pushed Volkswagen to third place. For Hyundai, however, China accounts for only about 4 percent of global sales, or roughly 200,000 units. The 2026 Santa Fe Hybrid HYUNDAI MOTOR Selling less, earning more Hyundai Motor Group posted 20.55 trillion won, or around $14.5 billion, in operating profit last year, far surpassing Volkswagen Group’s 8.9 billion euros, or $10.3 billion. Yet Volkswagen was, by volume, the bigger seller. Its revenue, at 321.9 billion euros, is nearly double Hyundai's, and its sales volume of 8.98 million vehicles also outstripped Hyundai's 7.27 million. Exchange rates account for some of that gap, but the divergence shows up clearly in operating margin, the key gauge of profitability. Hyundai posted 6.8 percent last year, behind Toyota's 8.6 percent, while Volkswagen managed just 2.8 percent. The pattern held in the first half of this year. Hyundai and Kia's combined operating profit reached 10.2 trillion won, ahead of Volkswagen's 5.9 billion euros. "Even as we've fallen short of our sales targets recently, we've held firm on our operating-margin guidance," said Lee Seung-jo, the chief financial officer at Hyundai Motor, during a earnings call on July 23, adding that the automaker is expected to hit the full-year operating margin target of 6.3 percent to 7.3 percent through “expanded hybrid sales and a focus on higher-value models.” Volkswagen's Atlas, left, and Hyundai Motor's Palisade JOONGANG ILBO Investment cuts, a bitter pill Market analysts warn that Volkswagen's layoffs and pullback in investment could backfire, widening its gap with Hyundai over the long run rather than closing it. Volkswagen Group CEO Oliver Blume recently confirmed that the company needs to cut roughly 100,000 jobs — about 15 percent of its 657,000-strong global work force — citing deteriorating finances and market conditions. The automaker also plans to roughly halve its model lineup, from 150 vehicles to about 75, and scale back annual production capacity, along with a limited restructuring of its four German plants in Emden, Hanover, Zwickau and Neckarsulm, which together employ some 40,000 workers. The company's investment plan reportedly has been cut to 135 billion euros from 180 billion euros by 2031, with a goal of lifting its operating margin to 9 percent by 2030 from the current 3.3 percent as of the first quarter this year. "Volkswagen remains narrowly focused on being a car manufacturer, chasing more sales of what already sells well," Kwon said. "But Hyundai realized that the kind of volume-driven growth is no longer sustainable, and has diversified into other businesses like robotics that give it room to maneuver if the auto industry hits a downturn.” Hyundai is developing a humanoid robot, Atlas, through its U.S. subsidiary Boston Dynamics, with plans to deploy the robots on manufacturing floors starting in 2028. Analysts estimate that replacing the roughly 7 to 8 percent of fixed costs currently spent on labor with robotics — and rolling that out across the entire supply chain — could cut Hyundai's production costs by as much as 50 percent. “Hyundai has built competitiveness in both automotive and humanoid robotics, and its market capitalization remains undervalued relative to global peers,” Kang Seong-jin, an analyst at KB Securities, said. “Hyundai could approach a valuation on par with Toyota's over the medium to long term."

supply chainSWIFTOLEDPERESS

2026.08.10

사회

'거꾸로 태극기' 아니었다…김희철 "성급함이 부른 명백한 제 잘못" 사과

슈퍼주니어 김희철이 이른바 '거꾸로 태극기'로 오인한 것을 사과했다. SM엔터테인먼트 제공/김희철 인스타그램 스토리 태극기가 거꾸로 달렸다며 분통을 터뜨렸던 그룹 슈퍼주니어(SUPER JUNIOR) 멤버 김희철이 본인 착오를 인정하고 사과했다. 김희철은 9일 자신의 인스타그램 스토리에 "하루 만에 사과문을 보시는 여러분들께서 황당하시겠지만 제 잘못이 있습니다. 사람들이 들고 있는 형태는 제대로 인지 못 하고 순간 태극 그림만 보고서는 화를 냈습니다. 공간 감각 능력 부족과 성급함이 부른 명백한 제 잘못입니다. 죄송합니다"라고 올렸다. 이어 "자라 보고 놀란 가슴 솥뚜껑 보고 놀란다고‥ 요즘 자꾸 태극기를 거꾸로 달거나 그리는 사람, 영상, 사진들이 자주 보이게 되면서 제 속에 화가 많이 쌓여있었나 봅니다. 하지만 그림을 깊게 보지 못한 제 잘못이고 잘못을 하면 사과하는 게 당연한 이치이기에 신중하지 못했던 저를 꾸짖어 주십시오"라고 썼다. 다시 한번 "죄송합니다!!"라고 사과한 김희철은 "저를 포함해 앞으로는 태극기가 다른 의미나 오해로 변질되지 않길 바랍니다"라고 밝혔다. 그러면서 "그리고 저 한국 사람 맞습니다. 강원도 횡성에서 태어났어요"라고 덧붙였다. 지난 6일, 인천시는 제81주년 광복절을 앞두고 공식 현수막을 걸었다. 이때 태극기의 위아래가 뒤집힌 형태여서, 이를 바탕으로 인스타그램에 '인천시 태극기 반대로 그린 광복절 현수막'이라는 게시물이 게재됐다. 김희철은 해당 게시물에 '처돌았네'라는 댓글을 달아 분노를 표출했다. 김희철은 여기에 그치지 않고 "유치원생도 그릴 줄 아는 태극기를 저래 놓은 게 어이가 없다"라며 "K팝 팬들도 다 알 만한 태극기를"이라고 재차 댓글을 달았다. 이는 김희철이 오인한 것이었다. 인천시는 "태극기를 잘못 그린 것이 아니라, 독립운동가가 태극기를 흔드는 모습을 아래에서 위를 올려다본 구도로 표현한 것"이라며 '건곤감리' 위치 등 태극기 기본 형태는 정상이라고 해명했다. 다만 태극기를 거꾸로 그렸다는 오해를 살 수 있다고 판단해 현수막은 현재 철거된 상태다. ※CBS노컷뉴스는 여러분의 제보로 함께 세상을 바꿉니다. 각종 비리와 부당대우, 사건사고와 미담 등 모든 얘깃거리를 알려주세요. 이메일 : jebo@cbs.co.kr 카카오톡 : @노컷뉴스 사이트 : https://url.kr/b71afn

인스타그램슈퍼주니어PER강원도카카오

2026.08.10

생활

In Seoul’s backstreets, Mr. Tongue turns a fleeting mark into a citywide language of faith and free art

The elusive street artist behind Seoul’s recurring tongue motif reflects on anonymity, spirituality and how street art quietly reshapes Korea’s urban landscape. A mural by street artist Mr. Tongue featuring the artist's signature tongue image MR. TONGUE For the observant resident or traveler, the thing that most frequently catches the eye in Seoul may not be a famous landmark or a cluster of teenagers dancing to K-pop in a plaza, but the image of a tongue — the signature motif of the graffiti artist known as… Mr. Tongue. The artist, who has largely remained in the shadows, has put up several hundred street pieces across Seoul and other cities in Korea. Hailing from the United States and based here for more than a decade, he prefers to let the work introduce him beyond that, remaining anonymous throughout his career. A passerby looks at a mural by street artist Mr. Tongue MR. TONGUE The image of the tongue was born in New York in 2010, in a city that Mr. Tongue found gray, dull and hard in the way New York famously is. He had drawn since childhood and written graffiti for years — all of it letter-based, which had begun to feel like a dead end. “For me, I always felt a certain limitation when it came to letters, because it’s hard to deliver a certain message if you are just writing your name, just writing letters,” Mr. Tongue said during an interview with the Korea JoongAng Daily. “There’s so much intricacy and detail in that, but for me personally, that’s not what caught my attention. What caught my attention was using an iconic symbol or character to portray a certain message to the public.” What was around him at the time made the case. JR, the French artist, was pasting portraits blown up to the size of buildings, overnight and without permission. Banksy was deep in his rat period. The placements, the colors, the repetition of a single mark across a city — that was the lesson. Arriving at the tongue was a process of elimination. Mr. Tongue wanted expression, and expression meant the face, so he went down the list: eyes, nose, eyebrows, ears. Each felt as limited as a letter. The mouth brought him to the Rolling Stones logo, which had the right instinct but read to him as too feminine in its lips; the teeth said almost nothing. “And then I came to the tongue, and I started researching the tongue, because I saw the simplicity of it but also the complexity of it,” he said. He drew a first version on a Post-it note — nothing like what it has since become — and started placing it on mugs, televisions and refrigerators, to see how it behaved. Even without a face, the tongue was doing something an eye could not: witty, playful, or in-depth, depending on where it landed. Research followed, first into the biology, then the spiritual, which is where it locked. The tongue is capable of speech, appetite, mockery, aggression and prayer, and over 15 years it has moved between them. At the start it was speech, loudly. A friend once told Mr. Tongue that during his most active period of "bombing" — painting illegally, in volume and at scale — it looked less like painting than shouting. “[My friend] said it looks like you’re screaming, but it seems like now, now that I've made a slow transition, it seems like now ‘you're okay with a gentle whisper,’” Mr. Tongue recalled. “And so when my friend said that, that really sparked something in me.” The whisper takes more patience than the scream. Mr. Tongue scouts locations days and sometimes months in advance, and once there he waits — until a car or a pedestrian passes by, for hours if that is what the wall requires. This wasn't a change of temperament, not a natural virtue. He used to go, do it and leave, spectators be damned. The waiting is what lets the work continue. Street artist Mr. Tongue paints a mural on a street, in this photo provided by the artist MR. TONGUE Where the tongue goes, which locations he chooses to paint, is a decision he makes alone and privately. Mr. Tongue is a Christian believer, and it is his faith that tells him which wall is the one. Which walls that process produces is unusual. Artists usually want the most visible surface with the heaviest traffic. Mr. Tongue often ends up in front of a moldy wall in the corner of a backstreet, and takes it. “I really believe in the power of free art,” he said. “But in order for art to be truly free, it has to be in your everyday walk. Even if an entry fee is free, you have to pay for a taxi ride or gas to get there — or even if somebody dropped you off, it's still your time, and time is money.” A piece encountered on the way to the convenience store is, by Mr. Tongue’s account, the only kind that is actually free. A main street wall piece may last 10 years and an alley one just a week; he is not prepared to say what that week did for the people who passed it. Although Mr. Tongue painted in any spot that his faith chose in the early days of his career, now — as an established street artist — he paints in legally allowed spaces and private properties upon commission. Mr. Tongue’s reading of the city of Seoul has changed more than anything else. For years he was too focused on announcing his existence to look around; it could have been Seoul, it could have been Busan. Now he can tell the neighborhoods apart by their stations and their color sense. A piece in Jung District in central Seoul, on the road running toward Myeongdong, was pitched for tourists — it was intricate, subtle and flowing rather than aggressive. A piece in Nowon District, northern Seoul, where Seoul stops and the mountains start, used greens and blues for water and trees, pink and yellow for the light hitting them — the colors the neighborhood already knows. A mural by street artist Mr. Tongue is seen on a street in Seoul, in this photo provided by the artist MR. TONGUE The artist treats Seoul’s visual density — the signage, the cables, the vents — as material rather than as an obstacle. Early on, Mr. Tongue squeezed into the nooks left between air conditioning units and bus stop signs, sometimes matching his colors so the piece half-disappeared: a lighter blue beside a blue trash bin, green on a wall behind trees. The current approach reverses that. In a visually quiet neighborhood, he uses a complex design to draw the eye. In a chaotic one, he strips it down until the simplicity is what stands out. Mr. Tongue is equally deliberate about the separation between himself and the persona, which he has protected since before the first tongue went up. He has watched other artists get absorbed by the identities they built, and he thinks about athletes — how an injury or age takes away not just a career but a self. “I have to just kind of keep telling myself that this is not who I am, this is what I do,” he said. “Other people automatically assumed it was my identity, because people assume this is who you want to be. But actually this was just my channel.” The motif itself has never felt like a cage. When a subject resists the tongue, he treats that as evidence of his own limitations rather than the tongue’s — the piece in northern Seoul after the invasion of Ukraine, a peace sign in Ukrainian colors, came of refusing to slap the motif onto a flag. It is, to his surprise, still running. A mural by street artist Mr. Tongue is seen on a street in Seoul, in this photo provided by the artist MR. TONGUE On the state of the graffiti scene in Korea, Mr. Tongue is blunter than one might expect. The activity level has gone down, not up, and more artists have taken the commercial, safer route than a decade ago. The exhibitions that now exist are largely organized by the artists themselves, which he does not see as a sign of health. “That’s how much lack of support we actually have,” Mr. Tongue said. “The artists themselves have to put on events, rather than organizations putting it on and inviting the guests. There’s a lot of logistics that go on that are a lot more complicated, and it takes away the artists from being true artists.” Enforcement has hardened over the same period, which he connects to the country’s rising profile: the more Korea is looked at, the more graffiti is read as an attack on the image. He thinks the real objection is simpler than reputation — it's that this is the one thing on the street that cannot be controlled, which is more or less the definition of the form. The piece Mr. Tongue thinks about most is one that no longer exists — a large work on a water tower visible from the Gangbyeon Expressway, up about a year before someone painted it out. He had placed it above another artist’s work without touching it, a gesture of respect he picked up from Shepard Fairey, who goes around another artist’s work or skips the wall. When Mr. Tongue’s work on the water tower was covered, the work below it was left untouched. Street artist Mr. Tongue paints a mural on a street with a colleague, in this photo provided by the artist MR. TONGUE The title he had given the work was “Babel,” after the tower in Genesis of the Bible that people built out of arrogance to reach God. “I knew that piece was going to run for 10, 20, 30 years,” he said. “So I was like, okay, I’ve secured a spot in Seoul that you can see from the highway for as long as this tower exists. And basically the mentality was, I’m going to be the most superior guy in all of Seoul.” He could not have answered that honestly a few years ago. A reckoning of sorts came after a fall through the roof of a second-story building while painting in Indonesia, which left him with scratches and no broken bones, and then three months of holding a can and finding that nothing came out. In the ordinary course of things, a buffed piece is answered by covering someone else’s, and that cover by another, until it stops being about the wall at all. Mr. Tongue, however, is at peace with the people who painted over his. He knows them. Cans of paint and brushes used by street artist Mr. Tongue are seen in this photo provided by the artist MR. TONGUE Erasure is the game in any case: landlords change, neighborhoods are demolished, and an artist who took each one personally would not last. What has lasted is the readership. Visitors here for a few months or a few years have told him that running into the tongue on a commute, or on a trip to Jeju, became a kind of companionship in a lonely stretch. Others hunt for pieces across districts in small groups, comparing finds like real-life Pokémon Go. Mr. Tongue recently finished a five-year project, not yet public, painting in every city in Korea — most of which have never had street art of any kind, where people stop to watch and occasionally pick up a can just to hold it. He is not planning to repeat the project. He would rather it made someone else restless. “Let me be the example, so that the youth in these different cities can see it, and maybe it sparks an idea — ‘Hey, I want to paint,’” he said. “There are so many talented, skillful creatives out here. They just don’t know exactly how, or what they even want to do.” If his images, now a representative part of Seoul’s — and Korea’s — streets, can inspire that way, Mr. Tongue would be content.

PERESSCIAWHOIMA

2026.08.10

새 소식

LobeHub - AI 팀 전체를 고용/스케줄링/보고하는 Chief Agent Operator

여러 AI 에이전트를 한 곳에서 고용/스케줄링/보고 하며 7×24 운영 체제로 조직화, 사용자가 상시 접속하지 않아도 AI 팀 관리 가능 작업 단위로서의 에이전트 개념 채택, 인간과 에이전트가 공진화(co-evolve)하는 인프라 제공 기존 에이전트가 일회성/작업 중심 도구로 컨텍스트 부재 와 고립 상태에서 창 간 수동 인계를 요구하던 문제 해결 에이전트 빌더를 통해 필요한 것을 설명하면 개인화된 AI팀을 자동 구성. 1만개의 이상의 스킬과 연동하고, 어떤 모델이든 이용 가능 Agent Groups 로 에이전트를 실제 협업하는 팀원처럼 다루며 병렬 협업 및 반복 개선 지원 Pages (공유 맥락 콘텐츠 작성), Schedule (부재 중 예약 실행), Project (프로젝트 단위 조직화), Workspace (팀 공유 공간) Evolve : Personal Memory 로 사용자 요구를 이해, 작업 방식에서 학습하는 Continual Learning 과 편집 가능한 White-Box Memory 제공 Vercel, Alibaba Cloud, Docker 기반 Self-Hosted 버전 지원 LobeHub Community License

AI 에이전트에이전트PERICEAI

2026.08.04

새 소식

late.sh - 개발자를 위한 아늑한 터미널 클럽하우스

SSH 클라이언트 만으로 접속하는 터미널 우선 소셜 앱으로, ssh late.sh 한 줄이면 실시간 채팅/음악/게임/뉴스 등을 보는 공간에 들어가기 가능 단축키 0은 TUI형태의 클럽하우스(키로 이동가능), 1은 irc 같은 채팅방, 2는 퍼즐 게임, 3은 MUD게임, 4는 공유 아트보드, 5는 프로필, 6은 리더보드 첫 접속 시 무작위 수식어+명사 사용자명 이 부여되며, 이후 Settings에서 변경 가능 계정/비밀번호/OAuth 없이 SSH 키 자체가 신원 이 되며, 채팅/점수/스트릭이 공개키 지문(fingerprint)에 연결 - 같은 키면 같은 데이터 프라이버시: 전체 공개키가 아닌 키 지문만 저장 , IP 로깅/추적/애널리틱스 없음 - 꺼려지면 일회용 키로 위험 없이 전체 기능 이용 가능 2048, Sudoku, Nonograms, Minesweeper, Solitaire 등 터미널 게임, MUD에선 로그 라이크/마켓 트레이딩 게임등 지원 artboard 는 공유 ASCII 캔버스로 각 셀이 그린 사람을 기억, 일/월 스냅샷 저장, /gallery 에서 팬/줌/셀별 작성자 확인 work(프로필) 룸은 무엇을 만드는지/구인 여부를 공유하는 1인 1프로필 공간 (headline/status/skills/links + late.fetch), /profiles 에서 열람 오디오는 Icecast/Liquidsoap 스트리밍으로, 페어링된 CLI 또는 토큰 없는 웹의 /listen 페이지에서 재생 CLI 도 제공되어 라디오 재생/오디오 시각화, 보이스룸 마이크, 뮤직 부스용 YouTube 창, 클립보드 이미지 채팅 붙여넣기 지원 (화면/영상 공유는 예정). macOS/Linux/Termux/Windows/Nix 지원 공개 호스팅 서비스가 표준 배포본으로 유지되며, FSL 보호 기간 동안 OSI 오픈소스가 아닌 소스 공개(source-available) 형태

youtubemacOSPERICECLI

2026.08.06

연예 | 가요(음악)

“뼈말라가 전부 아냐”…카리나, 등 드러낸 화이트 원피스로 증명한 완벽 몸매

[스포츠서울 | 윤동언 기자] 그룹 에스파(aespa) 멤버 카리나가 페스티벌 현장에서 완벽한 몸매와 독보적인 비주얼을 뽐냈다. 마른 체형만을 강조하는 ‘뼈말라’ 이미지가 아닌, 탄탄한 라인과 균형 잡힌 비율로 건강미 넘치는 매력을 선보이며 시선을 사로잡았다. 카리나는 지난 3일 자신의 SNS를 통해 비를 나타내는 이모티콘과 함께 여러 장의 사진을 공개했다. 공개된 사진 속 카리나는 페스티벌 현장을 찾은 방문객들 사이에서 여유롭게 축제를 즐기고 있는 모습이다. 특히 등이 시원하게 드러나는 흰색 원피스를 입은 카리나는 가녀린 어깨 라인과 잘록한 허리, 균형 잡힌 실루엣을 자랑하며 남다른 비율을 뽐냈다. 단순히 마른 몸매가 아닌 슬림함과 탄탄함이 조화를 이룬 완벽한 바디라인이 눈길을 끌었다. 무대 위 강렬한 카리스마와 달리 자연스럽게 축제를 즐기는 모습에서는 청순하면서도 세련된 분위기가 느껴졌다. 사진을 본 팬들은 “역시 카리나 비율은 넘사벽”, “마른 게 아니라 라인이 완벽하다”, “화이트 원피스가 너무 잘 어울린다” 등 뜨거운 반응을 보였다. 이날 에스파는 야외 무대인 ‘알리안츠 스테이지’에서 페스티벌 무대를 펼쳤다. 에스파는 ‘Black Mamba’, ‘Supernova’, ‘Next Level’, ‘LEMONADE’ 등 대표곡들을 페스티벌 버전으로 편곡해 선보이며 현장 분위기를 뜨겁게 달궜다. 한편 카리나가 속한 에스파는 독보적인 음악과 퍼포먼스로 국내외 팬들에게 꾸준한 사랑을 받고 있다. hellboy321@sportsseoul.com 기사추천 0

퍼포먼스SNSPER원피스서울

2026.08.04

생활

“반찬으로 자주 먹는데”… 의사가 경고한 ‘혈압 올리는 음식’

사진은 옥수수콘이며, 통조림 식품은 자주 섭취하지 않는 게 좋다./사진=클립아트코리아 간단하게 반찬으로 통조림을 꺼내 먹는 사람이 적지 않다. 통조림을 자주 먹는 사람이라면 한 번쯤 주의할 필요가 필요하다. 통조림 내부 코팅에 사용되는 화학물질 비스페놀A(BPA)가 혈압을 높이고 심혈관질환 위험을 키울 수 있기 때문이다. BPA는 금속이 부식되는 것을 막고...

연구 결과심혈관질환스트레스의과대학PER

2026.07.29