일반인들의 생물다양성 인식정도를 지방자치단체 및 기초자치단체의 자연상징물 (새, 꽃, 나무)의 종수로 파악 한 결과 전체 종다양성은 40목 59과 90속 114종이 자연 상징물로 지정되어 있었다. 상징새 38종, 꽃 40종, 나무 36종이 지정되어 있었으며, 새는 까치, 꽃은 철쭉, 나무는 은행나무가 높은 빈도로 지정되었다. 연안에 위치한 지역 에서는 갈매기과에 속한 새와 동백꽃, 소나무과에 속한 종을, 내륙에서는 까치나 비둘기와 같은 텃새류와 진달래 과에 속한 식물종 등 주변에서 흔히 관찰되는 종들이 자 연상징물로 지정되어 있었다. 자연상징물로 지정된 종들 은 크기가 크거나 화려하며 대중적으로 인식정도 높은 종을 선정하였기 때문에 지역간 중복지정된 종들이 많았 다. 대중들이 관심을 갖는 생물종들에 대한 정보가 축적 되면 깃대종 또는 상징종을 지정기준을 설정하고 서식처 보전에 상징종을 이용하는 방안을 수립하는 데도 도움이 될 것으로 보인다.

본 연구는 요한복음을 내러티브 관점으로 이해하여 저자가 의도하는 주제와 내러티브의 다양한 요소들(플롯․인물구성․관점․아이러니․상징 등등) 중 상징체계에 관한 문학적 성서 해석을 말하는 것이다. 요한복음의 문학적 상징 읽기가 가능한 것은 요한복음 자체가 다른 성서들보다 더 풍부한 상징적 내러티브의 결합구조를 가지고 있기 때문이다. 이러한 연구를 위해서 문학적 상징 이해와 특징에 대한 선행 연구가 필요하게 되며 문학적 상징 이론을 성서의 신학적 상징에도 동일하게 적용시킨다. 그 결과로 요한복음의 독특한 문학적, 신학적 해석을 할 수 있게 된다. 요한의 저자는 전체 내러티브에서 예수의 정체성과 사역을 상징의 도구로 표현하고 있다. 1세기의 요한공동체와 현대의 독자들에게 요한복음서의 상징은 하나님의 구원과 계시를 전달해주는 초월적인 의미가 되어 하나님의 신비를 경험하게 된다. 이러한 요한 신학의 상징 경험은 독자들에게 자기반성과 신학적, 윤리적 의미를 제시하게 된다.

경복궁 자경전 서쪽 꽃담 도상에 나타난 주소재의 화훼종류와 상징성을 알아보기 위해 2010년 7월～2011년 3월까지 도상에 그려져 있는 식물을 원예학적인 식물 분류를 통하여 식물종류와 상징성을 조사한 결과는 다음과 같다. 도상의 좌측에서부터 우측으로 번호를 붙여서 1부터 8까지 그림을 분석한 결과 도상 1은 매화, 2는 복숭아, 3은 모란, 4는 석류, 5와 6은 국화. 7은 진달래, 8은 대나무인 것으로 나타났다. 이들 8종의 상징성은 장수 4회, 다산 3회, 지조와 절개 2개, 부귀, 화목 1회인 것으로 나타났다. 따라서 이조 왕실의 단명을 장수의 꽃으로 표현하면서 손이 귀한 왕실의 현상에 비추어 다산의 의미를 주어 조선왕조의 영원함을 상징적으로 취한 표현으로 본다. 그러나 세속의 변화에도 지조가 있는 왕가를 원했던 상징성도 있다. 동반소재로는 새와 보름달 각 1회, 나비 가 5회로 나타났는데 여기서 새와 나비는 자유분방함과 화목을 의미하여 궁궐에 여인들이 자유롭게 사랑하면서도 화목한 나비 같은 왕실의 가족관계를 갖기를 원한 것으로 상징성을 볼 수가 있었다. 도상에 나타난 나무들은 양화소록에 근거해보면 모두 1-2등급의 식물이 그려져 있는 것을 알 수가 있었다.

예이츠의 후기 작품은 󰡔비전󰡕에 제시된 가이어의 원리측면에서 볼 때 보다 더 정확하게 이해될 수 있다. 가이어는 4가지 능력들인 ‘의지’, ‘마스크’, ‘창조적 정신’, ‘운명체’로 구성되어 대립과 갈등을 일으키면서 1상에서부터 28상까지 순환을 한다. 이러한 순환에서 의식은 2번의 통합을 성취하는데, ‘대립적’ 상에서는 ‘존재의 통합’을, ‘기본적’상에서는 ‘신과의 통합’과 ‘자연과 통합’을 성취한다. 예이츠의 ‘존재의 통합’은 ‘대립적’ 상에서 비극적 삶을 있는 그대로 수용할 때에 비극적 환희에 도달하는 지혜를 얻어 그 결과로 성취된다.

이 논문은 마법사로서 예이츠의 시에 나타난 마법의 상징성에 대해 중점적으로 고찰한다. 연금술의 정수 “철학자의 돌”의 획득을 위해 사라진 여성 원리인 기독교 영지주의의 소피아를 추구하였다. 이를 위해, 달, 무희, 미이라, 비웃음, 죽음, 화살 등의 서로 상반된 두 요소의 평형을 추구하여, “철학자의 돌”을 찾는다. 이렇게 “존재의 합일”을 이루어 불멸성을 달성하는 것임을 역설한다. 특히 비웃음을 통해서, 예이츠는 인간의 죽음을 부정한다. 그리고 사후 영혼은 진정한 창조주로서 달로 상징되는 성모 소피아의 심판을 받아 “다이몬”이 되기까지 죽음과 탄생을 지속한다.

The purpose of this study was to investigate the underwear design shown in historical dramas set in Europe between the 16th and the 18th century, woman's bodies were highly restricted, in order to analyze the symbolism of the movie costume and provide basic data for the future education of the department of movie costume design. For a study method, literature relating to movie costumes and underwear as well as captured images from 29 historical dramas set in Europe between the 16th and the 18th century was reviewed. Among them, data from 17 movies where underwear and crinoline were observed was analyzed. Historical movies, set in the 18th century Europe exposed underwear more frequently and decisively than movies set in the 16th and 17th centuries. For the figure wearing underwear, its expression effect was maximized by the implication function of costumes. Underwear can easily express the time and space background and symbolize the character's social and economic position, attitudes, and values. In addition, the exposure of underwear can reveal characters' internal expressions, such as mental status, taste, temper, intention, mood, time and space display. The result of observing the underwear shown in movies reveals that underwear plays a subjective role in expressing ideal femininity as a woman of a particular age, modesty, social position symbolism and eroticism that depended on the situation. It is expected that the study will provide an opportunity to reconsider the function of underwear, which is different from the meaning of costume history, and its role as a means of communication by considering the change of underwear by age.

인간은 극한상황의 극복을 위해 상상력을 동원하게 되고 이는 곧 절대자에 대한 제의적 행위의 발생을 가져오게 된다. 인간은 이를 종교로 발전시키고 종교는 상징적 언어나 이미지를 사용하여 공간속에 내재된다. 이러한 과정은 오랜 세월특정다수의 집단에 의해 그 가치와 문화 그리고 제의적 관습이 축적된 종교적 경관을 형성하게 되는데 이것을 종교적 경관이라정의한다. 연구의 목적은 특정종교가 그 종교의 본질을 전파하기 위해 경관에 사용한 종교적 상징은 무엇이며 어떤 방법으로표현하고 있는지를 파악하는 것이다.연구의 결과는 종교적 경관의 구조는 내/외부적 공간으로 구분할 수 있으며 종교적 경관이 내포하는 상징은 중심, 통로,경계로 대별된다. 종교적 경관에 나타난 상징의 표현방법은 물리적 외관에 의한 방법, 환경과 결부된 행위에 의한 방법,그리고 환경에 부여된 의미에 의한 방법으로 나누어진다.물리적 외관에 의한 방법은 수평/수직적 형태에 의한 방법과 영역성, 그리고 중심성을 통한 방법이 있으며, 환경과 결부된방법으로는 제의적 행위를 통한 방법, 그리고 환경에 부여된 의미에 의한 방법으로는 명명, 유출, 입지와 방위에 의한 방법이있다. 이러한 상징표현을 위해서 수사학적 기법이 사용되기도 하였다.

This paper examines Fernand Khnopff’s Symbolism, focusing on the I Lock My Door upon Myself as a manifesto of his artistic credo in style and theme. Its title was originally in English, originating from the poem “Who Shall Deliver Me?” by Dante Gabriel Rossetti’s sister Christina Rossetti. I use the term “Social Symbolism” which combines a nationalist perspective with traditional French Symbolism, in order to explain how the image of Bruges is represented in his oeuvre. Symbolism calls for psychological introspection evoking death, love, silence, and solitude and recluse from realty in pursuit of the Unknown and the Ideal. Although Khnopff shared this idea, he departed from symbolist tradition by incorporating a political milieu in his paintings. First, I discuss Khnopff’s early stage in the formation of his artistic concept, including his family background as well as his early opportunity to visit the Exposition Universelle in Paris where he formed his early interests in aesthetics, philosophy, literature, mythology and Egyptian art. His early works, La Painture, la Musique, la Poesie(1880-1881), Le Crise(1881), and En ecoutant Schuman(1883) reveal his favorite subjects which were quite prevalent in the symbolist traditions of both Belgium and France. By looking at Khnopff’s paintings, I endeavor to situate his Symbolism in the context of the development of Belgian modernity and cultural nationalism. Second, my analysis of Khnopff creates a new overview of Symbolism in Europe, especially in Belgium. In the absence of socio-political integration, the Symbolist painter adds nostalgic meaning to the landscape of Bruges. The scene of Bruges illuminates the social atmosphere in Belgium at that time. Since Belgium became an independent country, it tried to differentiate its own cultural and national identity from France. There was a powerful social movement for Belgium to claim its own identity, language, and culture. Bruges was, for Symbolists, the epitome of Belgium’s past glory. This encouraged the formation of Belgian nationalism centering on Brussels, as I demonstrate in Khnopff’s Bruges-la-Morte(1892). The relationship between Symbolist artist and writers is crucial for understanding this development. Khnopff, for instance, illustrated or provided frontispieces for many Symbolist writers such as Rodenbach, Peladan, Spencer and Le Roy. Khnopff did not objectify the exact meaning, but rather provided his own subjective interpretation. In this respect, I Lock My Door, inspired by Rossetti, started from the same motif, but Khnopff seeked escape into silence and death while Rossetti searched for Christian salvation. Finally my paper deals with the social context in which Khnopff worked. He was a founding member of Les XX in 1883 and later La Libre Esthethetique he also participated in the exhibition of le Salon de la Rose + Croix. Les XX was not a particular school of art and did not have a uniform manifesto, but its exhibitions focused on decorative arts by encompassing art for all people via common, everyday objects. The Periodical, L’art moderne was founded to support this ideal by Edmond Picard and Maux. Les XX declared art as independent art, detached from all official connections. Khnopff designed the 1890 catalogue cover of Les XX and the 1891 cover. These designs show decorative element of Art Nouveau in an early example of “modern poster.” Les XX pursued all art including graphic arts, prints, placard, posters and book illustrations and design. These forms of art were l’art social and this movement was formed by the social atmosphere in Belgium in terms of social reforms and strikes by working class. Khnopff designed the book cover for la Maison du Peuple. The artist, however, did not share the ideal egalitarianism of the working class to a certain degree, while he was working in his villa he designed under the ideal motto, “on n’a pas que,” he expressed the nihilistic emotions toward society by the theme of interiority such as solitude, silence, narcissism, introspection, and introversion. In the middle of his Symbolism, we find the “cultural nostalgia” or longing that the artist develops in the I Lock My Door upon Myself. Khnopff’s longing toward the lost city of “Bruges” form the crux of his “Social Symbolism.”

This study is an attempt to analyze Yeats’s early poetry in the light of his theory of the mask. For this purpose the writer of the present study has first proposed to define the ‘mask’ to investigate the theory and has reached the conclusion that the ‘mask’ is a Yeatsian term for an ideal image of life which is always opposite to the natural self or the natural world, and the theory of the mask has three aspects−aesthetic, moral, and philosophical−according to the role of the mask. The aesthetic meaning of the theory demonstrates Yeats’s argument on the nature, the source, and the touchstone of a work of art: art is the embodiment of the writer’s mask of life and his inner struggle between mask and life sets him to his creative work; the quality of a work depends upon the expression of this tragic war. And all the more important, Yeats’s strong belief in polarity of the two terms of conflict is clarified. The study of Yeats’s early poetry in terms of his theory of the mask has concluded that Yeats’s early mask is the very transcendent realm which Yeats’s early symbolism proposes to evoke and the main symbols used to express this ideal world are the images of Arcadian island across the sea, rose, the Irish mythic world and Maud Gonne; and the synthesis of Yeats's theory of the mask and symbolism in his early poetry causes some distortions in both his theory of the mask and symbolism. The nature of his transcendent world is conveyed not by the symbols but by the imperfect realities in spite of his strong belief that “divine essence” can only be evoked by the symbols; the nature of this ideal world has also been distorted: it is not the super reality lying beyond reality like Mallarme’s but only an ideal place where all the impurities and imperfections of the real world are removed or corrected. As for the theory of the mask, polarity, the most important basis of the theory, has been impaired: only the value and the love of the ideal world is emphasized, whereas those of the earthly life are restrained or its weaknesses and painfulness are stated to describe the ideal world.

Oral folk tale, which are organized stories that have been handed down to each district, includes a lot of mention about local specialties related to food. In folk tales consisting of linguistic signs, food plays a role in expressing not only instinct and desire but also order, exclusion and communication of human beings. Understanding the matters of concern or consciousness that community members of the time have put an emphasis on through food included in folk tales can be useful for better understanding the culture of the time and the food in folk tales can be a symbolic code. In this study, food mentioned in folk tales were classified into six groups, medicine, love, god, livelihood, provision and power focused on both inland and coastal regions that are referred to in most of the sixteen volumes of Korean Oral Folk Tales. In addition, the symbolic meanings of these groups were examined. This study can contribute to establishing the foundation of the globalization of the Korean food by determining the way Korea food can become a world class food. This study aims to reinterpret and combine culture and art with the food of Korea based on six symbolic meanings of food expressed in Korean Oral Folk Tales.

This paper is an attempt to discuss Yeats's Four Faculties and symbolic approach in A Vision. He tried to search for how to make many symbols and images drawn in his poetry into one principle and theory and put it together in A Vision. He used Four Principles to explain the cycle of reincarnation while he made use of Four Faculties to show the stream of consciousness. He insists that we have many spiritual conflicts and pains. However we can solve this conflict and confrontation through the course of Four Faculties. He elaborately explains that this kind of stream of consciousness divides in Four Faculties and this travels on the phases of the moon in A Vision. These Four Faculties are Will, Mask, Creative Mind, and Body of Fate. Will is understood that what's the feeling has not become desire because there is no object to desire. Mask is understood the image of what we wish to become. Creative Mind meant intellect. And Body of fate is understood the physical and mental environment, the changing human body, and the stream of phenomena as this affects a particular individual, all that is forced upon us from without. Four Faculties movement means that the change of relative force in each pair of psychical function unites with the principle symbol of the 28 phases of moon. In a sense though this symbol is actually his own volition, this also has a beauty and mighty force. Transformation of the 28 phases of moon relates to cross over from the Primary to the Antithetical. Phase 15 and phase 1 emblematized the unity of Will and Creative Mind not moving and fixing. In phase 15, the feeling of introversion easily changes into the thought of introversion through material that is subjective image, or archetypical image. However in phase 1, the intuition of extroversion changes into the sensation of extroversion through the focus from without. These two phases make reconciliation rather than conflict. In conclusion, through the unity of subjective image, Unity with God, Unity with Nature, we experience the moment of tranquility in which reincarnation presents itself outside of cycle of phases. The synthesis from without opposed to the unity of image in the center of the Antithetical. Therefore Yeats shows the method of Unity with Nature, Unity with God, and Unity of Being in A Vision. However he insists the ideas of Unity of Being in his poems.

The purpose of this study is to investigate the symbolic meaning of pattern designs attached on the main building of Chungcheongnam-do Provincial Government (CPG). While most of researches mainly focused on the value and evaulation of the CPG building in terms of architectural history, relatively little insight has been gained on the symbolic meaning and nature of the pattern designs. What kind of connections are related between the emblem of Governor-General of Chosun(Korea) and those of CPG? What symbolic meanings are engraved on the pattern designs? The researcher then took up the task of elucidating symbolic meanings of patterns and their relation to the building. The existing pattern on the outer wall of the CPG building consists of the symbol of sun(太陽輪), mums(菊花輪), and angle of stairs(雁木角). According to the Japanese studies of emblems, these visual elements symbolize ‘the sun of Japan’((日の丸) or ‘the emperor’, ‘the royal family’, and ‘rays of the sun’. Based on these preliminary findings, the researcher considered the following in-depth connections: (1) relations with the emblem of Governor-General of Chosun, (2) relations with the emblems of local autonomous entity, Kyoungsung in Chosun. (3) relations with the emblem designs of the local provinces in Japan etc. In conclusion, patterns of the main building were not just an architectural decoration, but they had significant meanings utilizing design elements and methods adopted by local autonomous entities in Japan. The patterns found at the ceilling and floor of hall in the CPG building were associated with the emblem of Governor-General of Chosun. Therefore, all the patterns of the CPG building are powerful symbols that have meanings for the colonial rule by using the shape and method of city identities that Japanese local provinces had enacted. That is, it came out into the open that they were designed for special meanings that Korean and Japanese are united as a single body(內鮮一體) for a subject of the Emperor of Japan(皇國臣民).

李金髮의 詩는 兩價性 - 神聖과 慾望, 慾望과 슬픔, 그리고 삶과 죽음 - 이 매개하는 교감이 욕망과 죽음을 향해 나아가는 과정들이다. 그것이 욕망과 죽음을 뛰어넘는 듯한 모습을 보이는 것은 그의 자아가 수용하고 있는 虛無 때문이다. 이상과 현실, 현실과 자아, 그리고 미래와 지금 이 순간을 이어주고 있는 機制가 허무의 수용이라는 사실은 그의 상징체계의 모든 이끌림을 서양의 그것과 다르게 하는 원인이다. 李金髮의 서정형식은 기독교적인 관념에 의존해 있으면서도 구원을 받아들이지 않음으로써 허무를 수용하는 특수성, 다시 말해서 보들레르 말라르메 랭보와의 차이를 빚고 있는 것이다. 문화심리의 민족형식이라 할 수 있는 그의 이런 성격 때문에 보들레르의 교감이나, 말라르메의 절대언어, 그리고 랭보의 끝없는 반항과 다른 상징미학이 그 모습을 드러내게 된다. 삶에 깃든 죽음의 수용과 이것을 통한 초월 지향은 구원이라기보다는 禪趣에 근접해 가고자 하는 상징의 특수성이다. 따라서 독자의 자의적인 감수체계를 파고드는 그의 은유 암시 비약 생략 등은 상징주의가 아니라 허무/상징으로 나아가기 위한 방편들일 것이다.

As a symbolist, Yeats used many symbols in his collected poetry. Therefore, if you do not know what the symbols in Yeats's poetry are, you cannot understand the hidden meanings in Yeats’s mystic and prophetic poetry. One of the significant symbols of Yeats’s early Rose poetry is the Immortal Rose as the Divine Feminine, Daughter Sophia in Christian Gnosticism. Yeats not only emphasized the feminine principle as a symbol of the Immortal Rose but emphasized the role of the masculine principle with various symbols. Especially, in Stories of the Red Hanrahan, Red Hanrahan symbolized as the role of the masculine principle, searching for the Immortal Rose, Echtge through his lifetime. Therefore, Red Hanrahan is identified with Yeats's self-portrait as well as a symbol of the Arthurian Knight, searching for the Holy Grail as the Divine Feminine. After the symbol of the Immortal Rose in his early poetry, Yeats continued to display the symbol of the feminine principle with various animal symbols such as a hare, cat, colt, and lion.Yeats alluded that the Immortal Rose was suffering on the rood of time during the last 2000 years period of the androcentric age. The meeting of the hare and the hunters represents the balance of the masculine and the feminine principles as the New Age comes. The hare is identified with a dying lady in “Upon a Dying Lady” as a hidden savior, suffering in the world. However, the death does not represent a real death but symbolized as the recovery of Sophia's glory and power. As Red Harahan’s anti-self, the fool dreamed the meeting with the hare and the hunters and hounds. The meeting is a paradoxical symbol for Yeats to hide his mystic poetry from the world until the right time comes. Yeats believed that at last his beloved, the Immortal Rose would awaken from a deep sleep and open his prophetic poetry in the last generation of the masculine Trinity age. A cat also represents the wisdom and dignity of the Daughter Sophia in the world. It is contrast with the symbol of the hare, symbolized as a sacrifice and sufferings of Daughter Sophia. Therefore, the symbols of the cat and the hare are related to two aspects of the feminine principle: proud and sad Rose. Yeats asked all sages in the last generation as a symbol of hunters and hounds to search for the hare, the Immortal Rose in the world. Yeats also prophesied that the last reincarnation of the Immortal Rose, would come from the East as the cat crawls into the Buddha represented Asian religion. Therefore, Yeats emphasized all sages to turn to the East, representing “Meru” and “Buddha” to find the last reincarnation of the Immortal Rose. The cat image also developed the symbol of the lion. The Daughter Sophia symbolized as a cat would awaken and recover her glory and power as showed the Sphinx in “The Second Coming.” As the 2000 years period of the androcentric gyre is gone, the Immortal Rose will have her characters such as Jane and the fierce young woman, who severely criticizes the bishop and she was angry at the persecutors during the androcentric age. Yeats showed the symbols of the Divine Feminine such as Sphinx, Buddha and a girl but they are One. It is related to the three aspects of the Immortal Rose such as red, proud, and sad Rose. She is in the world as showed "a plummet-measured face." Mathematics is a symbol of material not supernatural. Yeats prophesied the hunters, the chosen men to search for the Immortal Rose, the hare when the right time comes. The Sphinx’s “Empty eye ball” may be related to the “cold eye” symbolized as disdain and breaking the imperfect world as the great Judge in the Last Great Judgment Day. The colt symbolizes as the sufferings of the Immortal Rose like a hare. However, Yeats prophesied that the colt also would be released by the suppress from the masculine Trinity age. At the end of the androcentric age, the masculine principle would be united with the feminine principle as the symbol of the dead hare meets hunters and hounds in “Hound Voice.” The meeting of the hare and the hounds represents the Immortal Rose meet with the sages to prepare for the New Age. Therefore, the various animals and hunting in Yeats's poetry are paradoxical symbols to show the achievement of “Unity of Being” and the New Age.

Choseon Dynasty, from many aspects, saw the institutional establishment of its royal palaces in the 17th and 18th century, with 'donggwol (east palace)' as the most representative form in the era. In that period, palaces were managed in the best way that fits the royal etiquette and order to maintain the Confucian framework of the times. While the royal palace was the place for the king to conduct state affairs, it was also a compound for the royal family to lead a life in. Since the royal family was also based on the Confucian system, women in the royal palace seldom revealed their existence to outside world. Yet daebi,(a Queen Mother) who was often called 'dongjo,' enjoyed the highest level of honor not only as a member of the royal family but in the hierarchical order of the dynasty. As they often engaged themselves in political affairs, daebi raised their reputation through rites and rituals. So, in the 16th century, they largely used Changgyeong-gung palace in the eastern part of the royal compound since they sometimes had to go out of the royal residence. While it was called 'dongjo' because it was seated in the eastern part, it was also used as a word symbolizing daebi. And, therefore, it has become a general principle of royal palaces to build the palace for daebi in the eastern wing of the compound. However, the residence for daebi was not always built in the eastern part in the 17th and 18th century and, instead, edifices for daebi were sometimes erected in several points within the royal compound. Beside, daebi’s residence in this period had additional spaces for ceremonies since they had a number of official events there. Construction of daebi’s residences in this era was not confined to the symbolic institutions and they became the peculiar palaces with specific characteristics for official ceremonies of the queen mothers. Consequently, it could be said that the architectural style of dongjo, which was the place of the supreme female in the hierarchical order, stemmed from donggwol where daebi spent the longest time of the royal life.

환경디자인은 다원적이며 복합적이므로 인접학문의 상호관계성을 연구하는 다학제적인 사고와 분석의 틀을 갖추어야만 한다. 본 연구는 환경디자인에 있어서 상징미학의 가치를 인식하기 위한 수단으로써 기호학적 접근 가능성을 제시함이 목적이다. 따라서 기호학을 분 석의 틀로써 설정하고, 커뮤니케이션의 기능을 하는 기호로써 환경디자인이, 인간과 환경 상호관계 속에서 발현되는 상징 의미작용을 표현하고 해석하는 과정을 문헌연구를 통해 도 출하였다. 환경을 지각한다는 것은 기호작용에 의한 의미전달과정이다. 따라서 환경디자인 이 인간 중심의 영역으로서 형식과 내용의 체계를 지닌 상징화의 메카니즘이라고 볼 때, 공 간의 상징성은 기호학의 개념과 코드의 조직원리에 의해 합리적으로 표현할 수 있으므로 기 호학적 접근방법은 타당하다.

Poets use symbols because they have realized that our common language is inaccurate in describing the inner reality. In A Vision, Yeats presents an elaborate symbolic pattern which he applies not only to history, but also to individual lives. One of his basic symbols is a pair of interpenetrating whirling cones or "gyres" signifying the world of change that move within a sphere emblematic eternity. The gyres, with their points at the bases of each other, represent the oppositions and reciprocity of human existence; one expands as the other diminishes. The two gyres stand for two contrasting forces―the primary or objective and the antithetical or subjective. There is a state of perpetual conflict between the gyres The “sphere” is the symbol of perfection, "Unity of Being". These symbols of sphere and gyres are equivalent to another set of symbols, in which a circle or "The Great Wheel" is marked off into "phase" that correspond to the waxing and waning of the moon. There are twenty eight such phases, with varying degrees of moonlight and darkness. They can be applied to human personality and to the incarnations of the soul. Each quarter of "The Great Wheel" represents a completely different character. The first quarter is identified with the body, the second with the heart, the third with the mind, and the fourth with the soul. The result of the mixture of these principles at any one phase must be measured in terms of "Four Faculties," which usually are at odds with one another. As "Four Faculties" with living here, "Four Principles" apply to the life after death. The Principles find their Unity in the Celestial Body, man's archetype in Heaven.