This research aims to find processes for developing the design language for the visual notes and design meaning of street furnitures. The result of this study are as follows. 1) The design language implies to get how to represent condensed symbols of the street furnitures. 2) The configuration of the street furnitures has their visual note and design meaning of community identity, represented their own detail design languages. 3) The detail design languages are useful to solve the matters of what design elements of the street furnitures can be composed of the visual notes and design meaning. 4) The detail design languages can be applied to the pattern of tools of Microsoft Office Word.

색에 대한 연상이 발전하여 어떤 통념을 형성하게 되면 그 객에는 상징적인 의미가 부여된다. 색이 구체적 사물 이외의 추상적인 개념이나 표상, 감정 등을 형성하고 있는 것을 '색의 상징성'이라고 한다. 게임의 색채는 게임에 몰입하게 하는 시각적인 요소이자 중요한 의미작용을 하는 이미지이며 빛의 속성이자 가장 먼저 눈에 들어오는 시각적 요소이다 형태와 움직임, 명암 등의 다른 조형요소와 함께 색채는 인간과 인간 주변의 상황이나 감정을 표현하는 매체로서의 중요한 기능을 한다 게임에서는 캐릭터의 심리적 변화 상태뿐만 아니라 상황이나 분위기, 힘의 속성과 강도 등을 암시하기 위하여 색채를 상징적으로 사용한다 이러한 의미전달은 색채의 상징성을 도상적으로 표현하게 된다. 따라서 게임의 이미지 표현을 위한 색채는 의미전달을 위한 보편성을 띠게 된다. 본 연구는 색채의 상징적 의미가 게임에 어떻게 반영되었는가에 초점을 맞추어 살펴보고자 한다.

The symbolic language called the outside expression of human being sentiment is derived by the literature investigation and the expert interviews, and the result which it analyzes by selecting Belgium florist 5 works and of the Geert Pattyn. When it tries to observe whole score distribution classified by work, the below works are appeared at the high score. work 1 Season - the fruit of autumn, work 2 Season - the sprout of spring, work 3 Natural object - vital force of earth, work 4 Natural phenomena - rising of sky, work 5 Natural phenomena - dream of light. From the score distribution chart of 5 high rank item by large classification of the whole 5 work, the season appeared with the score distribution where the creation of spring is high from 4 works, the natural phenomena appeared with the score distribution where the life of the light is high from 4 works. The natural object showed with the score distribution where the vital force of earth, life spring of water from 4 works.

The goals of this study is to offer the campus identity program. This campus design covers the following: a survey of the present status, a site analysis, a schematic design, and design development. To create the interior or exterior landscape, the site analysis was carried out. Based on that, we proposed campus identity program by the concept of bible symbol. Analyzing the symbols design of bible it is found out that the theme image in exterior and interior design is presented in many bible' meanings. For example, creation, trouble, resurrection, relief and so on. Through the theme garden created by this plan, we will have more opportunity of contact with campus identity program. It aims to prove the fact that campus users needs the campus identity design which connects theme garden with university image. It will improved the image of campus and opened to the public.

Even if people living well-being need more green space and green experience in urban area, there is not enough open space like trees and forests. It may be caused by which the image elements of city are focalized only on physical elements like buildings, structures, etc. since Lynch's 'the image of the city'. This study tries to create new green image elements instead of the physical city image elements of Lynch style. For making new green elements it is used symbol, image, and meaning of trees abtained from results of reviewing in arts, music, religion, literature, myth, etc. The 5 new green image elements are water, isolated trees, green corridors, forests, and forest cultural event. Water is origin of all green lives, isolated trees are natural monuments(trees) and big trees, green corridors are street trees and green way, forests are woodland in city, parks, and village forests, and forest cultural event is events related to forest culture.

As a way of investigating the interrelationship between T. S. Eliot and French Symbolism, this paper intensively delves into his criticism on the French Symbolist poets chiefly including Charles Baudelaire, Jules Laforgue, and Paul Valéry, and, briefly covered in his critical essays, Tristan Corbière and Stéphane Mallarmé, rather than the influence of French Symbolism on him, which is barely studied in Korea but widely explored overseas. Eliot's criticism on French Symbolism is summarized as follows. Firstly, Eliot on Baudelaire leads Arthur Symons to change his view, but does not fundamentally allow him to accept Baudelaire as the representative poet of Symbolism just like Eliot. Whereas Peter Quennell on Baudelaire is negative and limited by the viewpoint of Eliot. Eliot on Baudelaire in “Baudelaire in Our Time” (1927) gives us the impression of his observation of mistranslated parts derived from Symons's metrical translation. In addition, Baudelaire's technique of “synesthesia” renders him connected with Dante, Shakespeare, Donne, and Eliot in terms of the “unification of sensibility“ in the mainstream of poetry. Meanwhile, it is acceptable that Eliot evaluates Baudelaire in his “Baudelaire“ (1930) as “a fragmentary Dante,“ but it is controversial to position him below Goethe and Gautier. And Eliot considers Satanism one characteristic of Baudelaire and ironically defines him as a classicist, directly related with T. E. Hulme in terms of the Original Sin. Secondly, Eliot on Corbière suggests that a few poems of Corbière bring about the effect of irony by a unified sensibility similar to Crashaw's concentrated conceit, rather than wit as found in the metaphysical conceit of the metaphysical poets. Meanwhile, Eliot on Laforgue argues that Laforgue reveals the dissociation of sensibility, the fissure of thought and feeling, but he still is a metaphysical poet with an expanded metaphysicality, i.e., “the intellectualising of sensibility and the emotionalising of the idea.“ From this practical criticism Eliot discovers a unified sensibility similar to the metaphysical conceit in his quoted Laforgue's Derniers Vers, but G. M. Turnell and Warren Ramsey interestingly contradict this view. And Eliot indicates the Laforguian irony more ubiquitously employed in Laforgue than in Baudelaire, but he uses it more skillfully in his poetry than Laforgue himself. Additionally, Eliot argues that Laforgue rather than Whitman is the most important innovator of vers libre, but Turnell and Ramsey also deny this argument. In short, Eliot evaluates Laforgue as lower than Donne, Donne as lower than Dante, whom he praises most, over all the other poets of the world. Thirdly, Eliot on Mallarmé emphasizes Mallarmé's musicality by indicating that his technique rather than significance is crucial in the understanding of his poetry at the opposite extreme of Dante's Divine Comedy. Eliot on Valéry insists that Valéry, the last poet of French Symbolism, as the successor of experiments and exploration pursued by Mallarmé, has developed the music and fluidity, as well as a variety of technical expressions, of Symbolism. And Eliot includes Valéry's impersonality in his impersonal theory of poetry, and argues that from the viewpoint of impersonality Valery's “Le Cimetière Marin” (1920) with its philosophical structure is greater than Gray's ”Elegy Written in a Country Churchyard” (1751). Furthermore, Eliot speaks highly of Valéry as the representative poet in the first half of the 20th century, who will remain longer in posterity than Yeats, Rilke, or any other poet. Eliot points out Valéry's two characteristics, first he is the most self-conscious poet and second, he is an utmost skeptic who disbelieves even art. Meanwhile, Eliot maintains that though Valéry's anti-romantic theory of poetry regarding sonnets as the true quintessence of poetry is influenced by Poe's, it surpasses Poe's “The Philosophy of Composition” and is more original. Finally, Eliot critically subverts Valéry's comparison of poetry with “dancing” and prose with “walking” or “running.” In conclusion, it is Eliot the critic's great merit that he provides a deep, insightful, and comprehensive view, though sometimes not well-balanced one, on the relationship between French Symbolism and modernism, including himself. He does this by surveying in his essays, prefaces, forewords, and book reviews the French Symbolist poets focusing on Baudelaire, Corbière, Laforgue, Mallarmé, and Valéry, rather unfamiliar to the British and American critics in his days.

T. S. 엘리엇의 후기 작품들은 그의 기독교적 세계관， 구원적 시간(역사) 관， 상정시학의 깊은 연관성을 보여주고 있다. 초기의 허무주의적 세계관을 극복한 엘리엇윤 파편화된 현대적 삶은 절대자에 대한 믿음을 복원함으로 써만 치유될 수 있다고 생각한다. 구원적 세계관에 부합하는 시적 언어로 서 엘리엇은 조화， 유기성， 통일성을 담지하고 있는 상정을 중요시 한다. 엘리엇의 상정시학은 감정과 지성， 주관과 객관， 표현과 내용의 통일을 강 조하는 그의 통합된 감수성， 객관적 상관물 이론 둥에 부분적으로 나타나 고 있으며， 또한 단테에서 보들레르에 이르는 형이상학적시 전통을 재해석 하는 1926년 클라크 강연에서 구체화되고 있다. 시간의 측면에서 엘리엇의 상징시학은 순간과 영원의 교차를 중시하며 이 주제는 그의 후기 장시인 「네 사중주』 에서 기존의 직선적 혹은 순환적 시간관에 대한 대안으로서 제시되고 있다. 이 시에서 엘리엇은 현대성의 지배적 역사관인 진보의 서 사와 그 자신의 초기 허무주의 역사관을 지양하고， 동 시대의 영국을 순간 과 영원이 교차하는 시/공간으로 다시 읽음으로써 그의 후기 상징시학과 구원적 역사관의 통합을 보여주고 있다.