This research examines symbolic meanings of architectural style of Japanese ruling era of Korea through analysis of Expo buildings. Expo buidings of Joseon Product Evaluation Expo(1915), Joseon Expo(1929), and Joseon Grand Expo(1940) are chosen as subjects of this research. Expos held in Korea since 1945 were creatures of colonial reign and their objectives are advertising the advancement of Japan. New and latest architectural styles of Western countries were used as a symbol of advancement in non-western countries. Renaissance style and Secession style in Joseon Product Evaluation Expo and Modernism style in Joseon Expo were introduced as architectural styles that symbolize advancement. On the contrary, the traditional architectural style of Joseon Dynasty was distorted as symbol of backwardness. Latest Western Architectural Styles were used elaborately and Intentionally to symbolize advancement and industrialization by Japanese ruling power and companies. Specially, Modernism style operating as 'symbol of advancement' is characteristic of non-western society in attempt to proceed Modernization through Westernization. Also, it can be suggested that architectures in Modernism style are used in ways to symbolize the advancement of the colonial reign authorities within the colonial society.

This paper studied 《Lady white is putted down forever under the Leifeng pagoda》 written by FengMonglong in the Ming dynasty, especially focusing on the symbol of the characters. The important characters of this piece are a lady white, who is originally a monster white serpent, a young man XuXuan and a Zen master Fahai. If perusing this work, we can know that these characters symbolize the mind: the Lady white is a symbol of the id, the young man XuXuan is of the ego, and the Zen master Fahai is of the superego. According to Freud"s theory, Human personality is made up the id, the ego and the superego. The id is a instinctive energy and a storing place of libido. This follows "Pleasure Principle" pursuing only the pleasure but evading the unpleasantness. The ego is something of a result appearing above the surface when the id only chases after Pleasure principle. The superego is related with the sociality and the ideal in the individual spirit, and is a realm of personality"s social value, the conscience and the ideal in the Human personality of Psychoanalysis. Because the ego always exists between the id and the superego. And only the ego can manage the practical adaptation that normal life makes a demand about the outside, so it is situated in a weak and an uneasy position. The young man XuXuan in the novel is described as a weak man. He is always under the control of the Lady white, also to free himself from the Lady white, he asks the Zen master Fahai for help after all. XuXuan"s character shows that the ego is affected by the id and the superego. The lady white is a symbol of the id. She has a hold XuXuan and makes him pursued the pleasure, on the other hand she is into collision with the Zen master Fahai who is a symbol of the superego. As a result, the important characters of the piece of 《Lady white》 are a symbol of Human personality: the id, the ego and the superego. Just as the mythology represents the human life"s meaning and the human mind, also the main characters of this novel represent the relation between the id and the ego, the relation between the ego and the superego, the relation between the id and the superego through the symbolism.

Hugo Haring(1882-1952) belonged to that special generation of architects born in the 1880s which became responsible for the establishment of Modern Movement in the 1920s as W. Gropius, Mies Van der Rohe and Le Corbusier, etc. Although he have been overlooked by many historian. He was a key figure of the Modern architecture and as the main theorist for Organic stream in German architecture. He is well-known for his theory of 'Neues Bauen(New Building)', the organic functionalism that is epitomized as the design process from the inside outwards, starting with the life-processes of dwelling. So he argued that the builder must become aware of the life process his building is to serve, and he should not impose a form but try to find the form. These concepts are expressed well in his key-words, the 'Organwerk(organ-work)' and 'Leistungsform(form as achievement)'s. Haring's theory can be found in the short early essay, ""Wege zur Form(approaches to form)"" of 1925. But His concept of 'function' is based on the speciality and individual identity that concerned him from the start, not purely pragmatic aspects. After 1940s his theory moved increasingly in this direction. He defined this as the transition from 'Organwerk' to 'Gesetaltwerk', from mere anatomy to essence, being, personality, life. it suggest that Hugo Haring's idea of Gestalt is a dimension of mystical of symbolic meaning. This paper is about the way in which this theoretical transition can be parallel with contemporary philosophers as E. Cassirer's philosophy of symbolic forms and M. Heidegger's phenomenology. And the key example of this viewpoint is <Gut Garkau>(1921-1926) near Lubeck in Germany, with its 'cowshed' of pear shaped plan devised around the requirements and rituals of farm. This study presents the symbolic conception of Hugo Haring's theory can propose the ability of a symbolic intuition as a view that re-integrate technical thinking with knowledge of other kinds beyond the immediate material.

The focus of study in this paper is put on the comparison of symbolism manifested in the world of W. B. Yeats’ poetry and the thoughts of Master Won-hyo.. The comparing works include the identification of their understanding ways of life. The symbols in common to bridge W. B. Yeats and Master Won-hyo are, for instance, circle, cone, cycle, sphere, spiral, wheel, vehicle, etc. Such a sign symbolizes a round thing, in another expression, the world or the cosmos where man belongs to. The phenomenological world or the cosmos by oriental thoughts is represented as the 28 phases of the moon, ranging from the dark moon(objectivity) to the full moon(subjectivity), which according to W. B. Yeats’ theory are identified the same kinds of character of man. Won-hyo(元曉, 617～686), a life-long friend of another Buddhist Master Ui-sang., insisted on the necessity for every living being to return to the foundation of the One Mind(一心), which is the original state of being, in another words, or “Ultimate Reality” to which every living being has to return. The Hwa-yen Sutra(華嚴經), a rare scripture of Mahayana Buddhism(大乘佛敎), emphasizes that the Ultimate Reality is the Source of One Mind of Won-hyo. We can say that Mahayana Buddhism teaches every living being the way to return to the world of the Ultimate Reality by great vehicle of "Mahayana"(大乘) in sanskrit. Another principle of Hwa-yen philosophy may be expressed as "All in one, one in all. One is all, all is one"(一中一切一切中一, 一卽一切一切卽一). "The Six Aspects"(六相) is interpretated by the principle. The mutual relationships are harmonized between the whole and a part, between the unity of the whole and the diversity of the part, and between the completion of the whole and the self-denial of the part. The One Mind is synonymous with the Great Vehicle with great wheels, which return to the Source of One Mind, the original state of being, or the Ultimate Reality( or Nirvana). The meaning of the One Mind may be expanded to the synonym of the existential world or the cosmos, at the center of which the One Mind lies. Accordingly, The One Mind, the Great Vehicle or Great Wheel and the World has a similar analogy, which make a system of symbolism, so called “Yeatsian gyre theory.” Yeats imagined a spiral, which he preferred to call a gyre) or whirling cone. Then two such cones were drawn and considered to pass like the human soul through a cycle from subjectivity to objectivity. These cones were imagined as interpenetrating, whirling around inside one another, one subjective, the other objective. The cones were not restricted to symbolizing objectivity and subjectivity. They were beauty and truth, value and fact, particular and universal, quality and quantity, abstract and concrete, and the living and the dead. Yeats thought that he had discovered in the figure of interpenetrating gyres the archetypal pattern which is mirrored and remirrored by all life, by all movements of civilization or mind or nature. Man or movement is conceived of as moving from left to right and then from right to left. No sooner is the fullest expansion of the objective cone reached than the counter-movement towards the fullest expansion of the subjective cone begins. These movements slide to the 28 phases of the moon. The dark moon, in the course of wane and wax sways to the full moon. The different 28 patterns of the moon is mirrored by all life or mind, ranging from the highest state of subjective mind(the 15th phase: the full moon) to the highest cast of objective mind(the 1st phase; the dark moon). In the long run, the world which Won-hyo and Yeats seek for as an ideal space of mind is a unified one, into which melted are the binominal opposites such as objectivity and subjectivity, the sacred and the profane, the bishop and Jane, fair and foul, the dancer and the dance, beauty and truth, value and fact, particular and universal, quality and quantity, abstract and concrete, and the living and the dead.

Die vorliegende Arbeit handelt sich uber die Risikogesellschaft und das symbolische Strafrecht. Die Risikogesellschaft bedeutet die Ggesellschaft mit kunstlich erzeugten atomaren, chemischen, okologischen und gentechnischen Selbstvernichtungsmoglichkeit. Die Risikogesellschaft hat offenbar dort, wo sie die Gefahren nicht leugnen kann, Bedurfnis nach Minimierung von Unsicherheit, Dieses Be-durfnis wirkt sich einmal aus in der Neigung, das Entstehen bestimmter nicht konsentierter Gefahren schon in einem sehr fruhen Stadium der Entwicklung mit Hilfe des Strafrechts zu stoppen. Vorverlagerung der Gefahrabwehr bedeutet im Fall des Strafrechts die Vorfeldkriminalisierung. Hierfur scheint es zwei wichtige Methoden zu geben: die Formulierung weit vorgelagerter Rechsguter und die Konstruktion vorfelderfassender Deliktstypen. Aber in die modeme Risikogesellschaft handelt sich das Strafrecht mit dem Versuch der Vorfeldkriminalisierung unubersehbare Vollzugsdefizite ein. Neben Ermittlungsschwierigkeiten sind hierfur strukturelle Zurechnungsprobleme und evidente Kontra-produktivitat verantwortlich. Es scheint dennoch einen naheliegenden Ausweg zu geben. Wo das Strafrecht in seiner instrumentellen Wirkung versage, wo ein unvermeidbares Vollzugsdefizite vorliege, komme dem Strafrecht doch eine gewichtige symbolische Bedeutung zu. Aber ein Strafrecht, das sich als Mittel zur Losung von System-problemen versteht, wirkt instrumentell zu wenig, um seine Kontraproduktivitat auszugleichen. Eben darunter leidet dann aber auch seine symbolische Wirkung, die man sich zunachst noch eine Zeitlang von ihm erhoffen mag.

Through his long poetic career from 1885 to 1939 Yeats was preoccupied with the dualistic nature in this world―the ideal against the real, body against soul, and Self against Anti-self. He was aware that these conflicts and contradictions were necessary for the mental growth in man and through the struggles between these opposites he might achieve the state of the whole. In his attitude toward life Yeats embraced with open mind both what he was and what he wanted bo be. The two opposites are co-existent and inseparable so as to be united into the Whole Being. Yeats had applied the symbols of ‘sexual union’ and ‘dance’ to his poetry in order to express ecstatic experience of ‘Unity of Being.’ This paper traces up Yeats’s attitudes toward life, and studies the aspects of conflicts and contradictions, through which he may attain the ‘Unity of Being,’ the ideal that Yeats had searched throughout his poetry and other activities.