한국 원림(園林)의 은사문화(隱士文化)와 공간적 상징

이주희 ( Rhee¸ Joohee ) 한국공간디자인학회 2020 한국공간디자인학회논문집 Vol.15 No.4

(Background and Purpose) In Korea, the culture of being among scholars gave rise to an architectural form known as wonlim. Wonlim, which existed independently in nature and was constructed with minimal artificiality, actively embraced surrounding natural objects. Natural objects that occupied an important position in space were given special meaning by the scholars. Natural objects were named and used as the subjects of poetry, and became a symbolic medium to express the ideas and thoughts of scholars. Therefore, if you understand the names given to natural objects and their corresponding poems, we will be able to set new standards for understanding the spatial symbolic system of wonlim. (Method) To understand wonlim, I grasp the occurrence and historical background of the culture of seclusive scholars in Korea. Moreover, I conducted research to interpret and understand poetry with the theme of space and natural objects in wonlim. In addition, through the exploration of the space in wonlims, I went through the process of taking pictures and drawing floor plans. In the process of directly checking the spaces mentioned in the poem, it is confirmed that the ideas and thoughts of the scholars are projected onto natural objects and expressed symbolically. Natural objects are organized into categories such as trees, stones, water, and flowers, and each spatial symbol system is analyzed. (Results) Korean scholars have symbolically expressed their ideas and thoughts through trees, stones, water, and flowers that make up wonlim. The meaning, transmitted through poetic expression, is as follows: First, seclusive scholars of wonlim in Korea symbolized the intention of seclusion in comparison to natural objects existing in the space of wonlim. Second, to symbolize the intention of life as a novel man, seclusive scholars actively used natural objects of wonlim. Third, natural objects existing in the space of the Korean wonlim served as a medium symbolizing the Taoist or ideal world. (Conclusions) The wonlim, which exists as the physical background of the culture of seclusive scholars in Korea, is full of symbols that reveal the ideas and philosophy of seclusive scholars. The names and poems given by scholars to natural objects that make up wonlim are symbolic expressions of the scholars’ ideas and will remain in future generations. I am convinced that the efforts to interpret and understand this will have significance as an important process for understanding the ideas and architectural intentions of scholars who have enjoyed the seclusive scholars’ culture in wonlim and will serve as the basis for confirming our identity.

동화를 통한 상징화의 발달과 치료적 변형에 대한 사례 연구: 클라인, 시걸, 위니컷의 이론을 중심으로

한미향 한국현대정신분석학회 2024 현대정신분석 Vol.26 No.2

본 연구는 한 급성정신증 치료사례에서 상징화의 발달과정과 그 과정에서 동화의 기여를 구명하고자 한 연구이다. 상징화는 무의식적 환상 및 내부 대상관계와 연관되어 있는 과정으로 불안을 변형하여 다룰 수 있게 해주며 경험을 통합하게 한다. 잠재적 공간은 내적세계이면서 동시에 외부세계인 과도기적 경험이 발생하는 중간영역이며, 그 속에서 중간대상이 출현되며 진정한 상징은 아니지만 모성대상과의 분리의 갈등과 불안을 처리하는 상징적 수단으로 활용된다. 이러한 고찰과 임상사례 분석을 통해서 상징화의 발달을 밝힌다. 첫째, 상징은 치료장면에서 형성된 잠재적 공간에서 발달하며, 구체적이고 사물로 등가되는 상징적 동등시에서 추상화되고 정교화된 상징화로 발달한다. 최종적으로 상징화는 그 의미를 의식화하고 언어화하는 것으로 발달한다. 둘째, 잠재적 공간에서 치료자와 내담자의 협력하에 공동-변형되는 동화라는 확장된 중간대상의 출현은 상징화의 발달에 기여한다. 이후 상징화는 점차 다른 상징물, 꿈, 전이 등을 통해서 더욱 활발히 나타나게 된다. 셋째, 상징화의 발달은 내담자의 치료적 변형에 기여한다. 즉, 편집-분열적 경험에서 우울적 경험으로 이동하거나 우울적 자리를 훈습을 하도록 도움으로써 주체가 확립되고 개인내적 및 대인관계에서의 변화로 이어진다. 본 고찰을 통해 클라인과 시걸, 위니컷의 정신분석 이론에서 상징화의 발달과정을 검토하고 확장된 중간대상인 동화와 그 이야기적 변형이 상징화에 기여하는 점을 논증하고, 이러한 상징화의 발달이 치료적 변형을 가져오는 것을 임상사례를 통해 입증한 점에서 연구의 의의를 찾는다. This study aims to investigate the development process of symbolization and contribution of fairy tale, in the treatment of an acute psychosis case. Symbolization is a process deeply connected to unconscious phantasies and internal object- relations. This process helps individuals transform and manage anxiety, integrate the experience, and form subject. The potential space is an intermediate area where intermediate experiences, which are both the internal world and the external world, occur. Within this space, an intermediate object emerges. Although it is not a true symbol, it is used as a symbolic means to process the conflict and anxiety of separation from the maternal object. Through these considerations and the analysis of a clinical case, the development of symbolization and contribution of fairy tale, an extended intermediate object is elucidated. First, the symbol develops in the potential space that is formed in the treatment scene and evolves from symbolic equation, which is concrete and equated to things, into abstracted and elaborated symbolization. Eventually, symbolization develops into consciousness and verbalization of its meaning. Second, in the potential space, the emergence of an expanded transitional object, such as a fairy tale, which co-transformed under the collaboration of the therapist and the client, contributes to the development of symbolization. Afterwards, symbolization gradually appears more actively through other symbols, dreams, and transference, etc. Third, the development of symbolization contributes to the client’s therapeutic transformation. In other words, by helping to move from paranoid-schizoid experiences to depressive experiences or to work through depressive position, the subject is established and leads to changes in the internal world and interpersonal relationships. This study finds its significance in reviewing the development process of symbolization in the psychoanalytic theories of Klein, Segal, and Winnicott; in demonstrating how the expanded transitional object of a fairy tale and its narrative transformation contribute to symbolization; and in establishing through a clinical case that the development of symbolization leads to therapeutic transformation.

C. S. 퍼스 이론에 기초한 사진 인덱스 이론의 비판과 재고찰

배니나(Nina Bae) 철학연구회 2015 哲學硏究 Vol.0 No.109

This essay is critical assessment on the theory of indexicality of photography originated from Peirce``s sign theory, or Semiotics. Peirce``s sign theory is an account of signification, representation, reference and meaning. Peirce thought that representations generate further interpretants in one of three possible ways - icon, index, symbol. First, if we come to interpret a sign as standing for its object in virtue of some shared quality, then the sign is an icon. Second, if our interpretation comes in virtue of some brute, existential fact, causal connections, then the sign is an index. And finally, if we generate an interpretant in virtue of some observed general or conventional connection between sign and object, then the sign is a symbol. Peirce and followers of his indexicality theory claimed that the photograph should be considered an indexical sign, rather than an iconical one, that is, a sign based on the contiguity subsisting between the expression and the content, not on their similarity. The photograph must be taken as a direct and certain imprint of the photons. This feature lead us to regard the photograph foremostly as indexical sign. However, the indexical nature of photographs will not be sufficient to explain essential characteristics of photography. The principal characteristic of the photograph is representation. Likeness between an object and the picture of the object raises some questions if a photograph represents an object as it really is, or it only seems to be. Followers of the theory of indexicality neglected photographic nature of icon and symbol, it was due to their ontologically biased studies. Epistemological approach is needed to understand properly characteristics of photography as sign. It may be suggested that photography can also be classified as both icon and symbol. First, likeness is the foremost characteristic of it when we see a photograph. A photograph must have iconicity. To represent truth, it must resemble the object it represents, which is not an inevitable characteristic of an index. Second, as Peirce himself suggested, the three signs are not mutually exclusive, that is, a sign can has nature of index and icon at one time. The theory of indexicality will only be useful in a limited sense to understand the photography as one of signs. As a sign, a photograph should also be considered as index, icon and symbol at the same time. This view will lead our understandings about photography to more extensive senses covering its ontological and epistemological features together.

신라ㆍ가야지역 象形土器의 변화와 의미

홍보식(Hong Bo sik) 한국상고사학회 2015 한국상고사학보 Vol.90 No.-

본 논문은 삼국시대 영남지역의 유구에서 출토한 상형토기의 시기별 종류 및 매납 유구의 성격과 규모의 변화 양상에 나타난 사회적 의미를 유추하였다. 기왕의 이해와 달리 상형토기는 단위 유적에서 1기 내지 많아야 3~4기에 매납되어 상형토기 매납이 일반적이지 않았고, 또 머리가 잘린 압형토기의 존재 등으로 볼 때, 상형 토기가 死者의 영혼을 승천하는 매개체가 아닌 피장자의 사회적 직능 또는 생활의 편리함을 가져다 준 이기와 지배층의 신분을 나타낸 표현이고, 공동체에서 행한 의식의 공헌물일 가능성이 높아 상형토기의 의미에 대한 새로운 이해가 필요하였다. 3세기 후반 兄山江과 太華江水系의 목곽묘에 鴨形土器의 매납이 나타나는데, 이때는 압형토기 한 종류만으로 농경ㆍ장송의례 등 다양한 관념을 표현하였다. 4세기 후반 이후에 복합적 상징물로서 압형토기를 매개로 한 관념체계의 틀이 와해되었다. 5세기 전반에는 舟形ㆍ騎馬人物形ㆍ馬形ㆍ家形ㆍ곳간형ㆍ신발형ㆍ車形ㆍ車輪裝飾形土器 등 다양한 상형토기가 나타나는데. 이는 제사체계와 관념이 세분되었음을 의미하고, 피장자의 직능 또는 지배층의 사회적 욕구를 상징한 상형토기의 매납이 이루어졌음을 보여주었다. 특히 주거ㆍ풍요ㆍ이동(또는 교통) 수단과 도구 등을 나타낸 상형토기로의 분화에는 변화 발전하는 사회 현상을 반영하는 상징물로서의 의미를 지녔다. This study examines the social meanings of object-shaped earthenwares excavated from the remains in Youngnam area between the 3rd Century and the 6th Century during Three Kingdoms era by types, changes of characteristics and sizes of remains by age. In the late 3rd Century, one type of duck-shaped earthenwares were buried in the large-scaled outer wooden coffin tombs in Gyeongju and nearby areas, which expressed various ideas such as farming, ancestrial worship, funerals and celebrations and myths. In the late 4th Century, there was expansion of distribution and change of style of duck-shaped earthenwares as those were not buried in central old tombs in Shilla but were buried Bokcheon-dong old tomb groups in the east part of Nakdong River and other peripheral areas. It shows disappearing of the frame of the idea system mediated by duck-shaped earthenwares as a complex symbol in important rituals. In the early 5th Century, while object-shaped earthenwares such as ship-shape, horse-riding-shape, horse-shape, house-shape, storeroom-shape, and shoes-shape were buried, the duck-shaped earthenwares expressing complex ideas were declined. Accordingly, in line with the segmentation of ritual system and idea, various object-shaped earthenwares symbolizing each feature began to be buried. From the late 5th Century onwards, various object-shaped earthenwares such as horse-shape, house-shape, storeroom-shape, vehicle-shape, shoes-shape, lineal-shape and others became popular. Diversification of object-shaped earthenwares to symbolize house, abundance, transportation means and instruments has a meaning of symbols that reflect the changing and developing social phenomenon. In the late 6th Century, the object-shaped earthenwares were no more buried as remains, which shows the decline of the ideas expressed in the object-shaped earthenwares.

패션 플래그쉽 스토어에 나타난 오브제 표현특성 분석 연구

김정아 ( Kim Jeongah ) 한국공간디자인학회 2020 한국공간디자인학회논문집 Vol.15 No.8

(Background and Purpose) With growing diversity of consumers’ preferences in modern society, the spatial environments of stores and service experiences have become increasingly important for the selection of products in the consumption environment. Fashion flagship stores induce users’ communication and deliver brand identities, installing objects to create differentiated spatial images. This can prolong the shopping time because users can participate actively, and they can appreciate objects and do the shopping simultaneously, in a satisfactory manner. Since a fashion flagship store is a space sensitive to fashion and exhibiting an atmosphere of deviation, artists’ experimental attempts are relatively freer there. Thus, this study aimed to analyze examples concerning the characteristics of the expression of objects in fashion flagship stores and to present design directions for the establishment of competitive fashion flagship stores, focusing on the results. (Method) Through a theoretical study of objects and fashion flagship stores based on the existing literature and preceding studies, object expression characteristics were drawn. The object expression characteristics were divided into symbolic and functional characteristics, and the symbolic characteristics were divided into associativeness and attractiveness, while themes could be both natural and artificial. The functional characteristics were divided into space division and affordance, while elements were divided into space composition and equipment for analysis. The cases of the selected fashion flagship stores were analyzed to examine the expression characteristics and importance of objects. (Results) As a result of the case analysis, in the object expression characteristics, symbolic ones were more than functional ones. In the symbolic characteristics, attractiveness was more than associativeness, while in themes, natural ones were more than artificial ones. In the functional characteristics, affordance was more than space division, while in elements, the device was more than space composition. All numbers were similar. The sum of all items of the spaces in the case was above the average, which evenly reflected each analyzed item. (Conclusions) As for the object expression characteristics of fashion flagship stores, the theme implicitly appeared from the fa□ade show-window, and by the implementation of stories beyond expectations from the interior space, it attempted to induce users’ active participation. Objects were arranged at the center of the space, and the intimacy was enhanced so that the shopping experiences could be remembered for a long time. Hopefully, more intensive studies will continuously be conducted on the communications of commerce, arts, and culture in which the appreciation of objects and shopping will be achieved in fashion flagship stores.

학문성의 새로운 정초시도로서의 카시러의 상징철학 :카시러의 언어이해 및 상징 개념을 중심으로

최성환,노영환 한국하이데거학회 2018 현대유럽철학연구 Vol.0 No.48

The debates on philosophy as a scientific character have always been an important issue, which has largely been developed around the conflict between subjectivism and objectivism In the early 20th century this was manifested in the dispute between Lebensphilosophie and logical Positivism. Cassirer, in this period, attempted to overcome the confrontation through his symbol philosophy. He thought that human spirit interprets life indirectly through the mediating function of ‘symbolization’ and that this can resolve the conflict. Subjectivity is objectified through symbolization, and objectivity is understood as a result of the composition of subjectivity. So objectivity is understood at a new level, and Cassirer finds its specific principle in the concept of ‘symbolic forms’ and ‘symbolic pregnancy’. A similar conflict and resolution can also be found in Cassirer’s philosophy of language. He begins by critically examining the methodology of empirical science in the 19th century. At that time, the task of linguistics was mostly concerned with the origin of language. Hence language was limitedly understood as either an subjective expression of excitement or onomatopoeic imitation of an objective things. But he maintained the relationship between subjectivity and objectivity is mediated by symbolism in human language. His view on this interrelationship owes much to Wilhelm von Humboldt who developed the idea of the objectification of human mind. However, Cassirer took this idea further and suggested the idea of linguistic expression of ‘metaphorical thinking’ as a specific method of human activity of objectification. Therefore, language, through metaphorical thinking, is what secures the possibility of understanding the objective world. Through these discussions, Cassirer not only presents us a resolution to the conflict between subjectivism and objectivism but also a possible way of understanding life. 철학의 학문성 논의는 항상 중요한 문제로 제기되어 왔으며, 크게 보면 주관주의와 객관주의 간의 대립의 양상으로 전개되어 왔다. 20세기 초반에는 생철학과 논리실증주의가 각각 주관주의와 객관주의라는 양 극단을 대표하는 사조로서 서로 마주하고 있었다. 이러한 시대적 상황 속에서 카시러는 자신의 상징철학을 통해 주관성과 객관성의 대립을 극복하고자 시도하였다. 그는 인간 정신이 ‘상징화’라는 매개적 활동을 통해서 삶을 간접적으로 이해하며, 이러한 이해방식 하에서 주관성과 객관성의 대립이 해소된다고 보았다. 상징화를 통해서 주관성은 객관화되고, 객관성은 주관성의 구성활동에 의한 결과물로서 파악됨으로써, 객관성은 새로운 차원에서 이해된다. 그리고 카시러의 철학에서 이러한 이해의 구체적인 방식은 ‘상징 형식들’과 ‘상징적 함축’이라는 개념과의 관련 속에서 해명된다. 이러한 주관성과 객관성의 대립과 결합은 카시러의 언어 철학에서도 동일하게 발견된다. 이와 관련된 그의 논의는 19세기 경험과학적 방법론에 대한 비판적 검토에서 출발한다. 이 당시 언어에 대한 탐구는 그것의 발생적 기원을 묻는 문제였으며, 이때 언어는 그 기원적 측면에서 주관적인 정동을 표출하는 ‘흥분음운’ 혹은 객관적인 대상을 모방하는 ‘모방음운’으로 이해될 수밖에 없다. 그러나 카시러는 기원적 차원에서부터 이미 인간 언어에서는 상징화를 매개로 한 주관성과 객관성의 상호연관이 이루어지고 있다고 보았다. 이러한 상호연관에 대한 그의 언어 철학적 논의는 W. v. 훔볼트(Wilhelm v. Humboldt)의 언어관이 보여주는 인간 정신의 객관화 활동에 근거하고 있다. 그는 이러한 단초에서 출발하여, 자신의 언어 철학에서 인간 정신의 객관화의 구체적인 방식으로서 ‘은유적 사유’에 근거한 언어적 표현을 이야기한다. 따라서 인간의 언어는 은유적 사유를 매개로 객관적 세계 이해의 가능성을 확보한다. 카시러는 이러한 일련의 논의를 통해서 주관성과 객관성의 대립에 대한 해소와, 더 나아가 삶을 어떻게 이해할 수 있는지에 대한 하나의 가능성을 우리들에게 제시해준다.

랠프 엘리슨의 『보이지 않는 인간』에 사용된 상징물 -"그 본래의 의미를 훨씬 넘어서는" 사물들-

나희경 21세기영어영문학회 2009 영어영문학21 Vol.22 No.1

The multifaceted symbolism adopted by Ralph Ellison in Invisible Man is considered as an attempt to understand the painful reality of the African-Americans by giving order and form to the chaos of their experience. Working as an effective means to express the tragically ironic implications of their chaotic experience, his symbolism includes diverse ways of expression such as symbolic objects, symbolic acts, and symbolic incidents and episodes. Among those various descriptive techniques, Ellison's use of symbolic objects is of primary importance in Invisible Man, in that they are heavily charged with the protagonist's recognition of the social reality that American blacks face. This paper explores the unique way in which the symbolic objects function as substantial signifiers in the novel. Some of the symbolic objects absorb the historical accumulation of the African-Americans' painful experience, whose will was severely pulled this way and that because of their “double consciousness.” The other symbolic objects become signifiers to which the protagonist projects his personal desire for social climb. Yet in both cases, they cause him “discomfort far beyond their intrinsic meaning as objects.” The protagonist undergoes inner conflict caused by two disparate psychological impetuses: his will to successfully assimilate into American society and his innermost impulse for racial awareness. The meaning that he projects to the symbolic objects becomes also sharply contradictory because it is based upon his double consciousness. Ironically, however, Ellison incarnates the physical experience of the ‘invisible man' by using visible and tangible symbolic objects. Thanks to such an ironic feature of his symbolism, the meaning of the African-Americans' experience can accommodate its universality and uniqueness at once without being thinned out into abstractness and ambiguity.

유아들의 복사물체의 상징적 기능에 대한 이해

박영신 한국심리학회 산하 한국발달심리학회 2007 한국심리학회지 발달 Vol.20 No.2

Understanding of symbolic function of replica objects was examined with 24- and 30-month-old children. In Experiment 1, understanding of objects was compared with understanding of words, photographs, and gestures. 24- and 30-month-old children understand objects as well as words, photographs, and gestures. However, they understand objects worse than words and photographs. Understandings of photographs, gestures, and objects were related to each other significantly, especially at 30 month. In Experiment 1a, understanding of objects was compared again with understanding of words, pictures, and gestures in a sample of children from similar socio-economic and educational backgrounds. Unlike in Experiment 1, 30-month-old children understand all symbols whereas 24-month-old children understand only words and gestures. 24-month-old children understand objects worse than words and gestures whereas 30-month-old children understand objects worse than other symbols. Understanding of gestures and objects showed significant positive correlations at both 24- and 30-months. In addition, understanding of words and pictures showed a significant positive correlation at 30-month. These results from experiment 1 and 1a showed that DeLoache's dual representation hypothesis can explain early understanding of symbolic function of replica objects. In Experiment 3, the effect of iconicity of replica objects was examined. 24- and 30-month-old children understand objects better when an object and a referent are physically similar to each other than when they are not. 24개월과 30개월 집단 유아들을 대상으로 복사물체의 상징적 기능에 대한 이해가 어떻게 발달하는지 검토하였다. 연구 1에서는 복사물체에 대한 이해를 단어, 사진, 제스처에 대한 이해와 비교하였다. 24개월과 30개월 집단 모두 복사물체뿐 아니라 단어, 사진과 제스처를 이해하였다. 복사물체에 대한 이해는 제스처에 대한 이해와 차이가 없었으나 단어나 사진에 대한 이해보다 떨어졌다. 뿐만 아니라 복사물체, 사진과 제스처에 대한 이해는 특히 30개월 집단에서 높은 정적 상관을 보였다. 연구 1a에서는 연구 1과 달리 사회경제적 배경과 교육적 경험이 비슷한 유아들을 대상으로 연구 1의 결과를 다시 확인하였을 뿐 아니라 그림을 사용하여 복사물체에 대한 이해를 단어, 그림과 제스처에 대한 이해와 비교하였다. 30개월 집단은 복사물체뿐 아니라 단어, 그림과 제스처를 이해하였으나 24개월 집단은 단어와 제스처는 이해하였지만 복사물체와 그림은 이해하지 못했다. 24개월 집단은 단어와 제스처보다, 그리고 30개월 집단은 단어, 그림과 제스처보다 복사물체를 더 이해하지 못했다. 또한 24개월 집단에서는 제스처와 복사물체에 대한 이해가, 30개월 집단에서는 제스처와 복사물체 뿐 아니라 단어와 그림에 대한 이해가 높은 정적 상관을 보였다. 연구 1과 1a의 결과는 DeLoache의 이중표상가설이 복사물체에 대한 이해도 잘 설명할 수 있음을 보여준다. 연구 2에서는 복사물체와 참조물 사이의 유사성이 복사물체의 상징적 기능에 대한 이해에 영향을 미치는지 검토하였다. 24개월과 30개월 집단 모두 복사물체가 참조물과 유사할 때 복사물체를 더 잘 이해하였다.

위니컷 ‘중간 대상’, 라깡 ‘오브제 아’, 융 ‘상징’으로서의 시(詩)

고성숙 ( Ko Seong Sook ) 한국정신분석심리상담학회 2024 정신분석심리상담 Vol.12 No.0

This study attempts to connect the bridge between the three scholars’ theories by examining the similarities between Dornald Wood Winnicott’s concept of transitional object, Jacques-Marie-Emile Lacan’s concept of object a, and Carl Gustav Jung’s concept of symbol. Citing the perspective of a new third group initiated by Andre Green, who builds a bridge between Winnicott and Lacan, I try to find similarities to the concept of symbol in Jung’s theory. The attempt to connect these three scholars’theories will be a new understanding and interpretation of Winnicott and Lacan, and a rediscovery of Jung’s theory. As a clinical example of the similarity and intersection of the three concepts, I will try to deal with the creation of poetry. Poetry creation is a process of self-healing and self-healing of the creator beyond the creative work, and at the same time, as Winnicott mentioned, it is a lively and living movement of the self with the creativity and potential to play. In addition, it is a process in which the subject mentioned by Lacan finds and desires her own desire, and it can be seen as a creative soul dance that knows how to use the symbol mentioned by Jung.

호주(Australia) 국가 상징물 상징체계 분석 - 국기, 국장, 국가, 국수, 국화를 중심으로 -

남윤태 한국일러스트레이션학회 2020 일러스트레이션 포럼 Vol.21 No.64

국가 상징의 궁극적 역할은 국가를 브랜딩하고 브 랜드파워를 구축하여 다른 국가와 구별되는 체계를 만드는 것이다. 본 연구는 호주의 국가 상징물인 국 기(國旗), 국장(國章), 국가(國歌), 국수(國獸), 국화 (國花)에 담긴 내용을 분석하여 국가의 형태, 정치적 의지, 역사적 전통과 민족의 특성, 자연과 지리적 특 징이 상징체계에 어떻게 반영이 되어있는지에 대한 분석 연구이다. 분석결과 호주 국기는 영국의 상징성 이미지 차용 이 강하며 영국의 연방국임을 분명하게 나타내고 있 었다. 국장에는 국기와 연계하여 영국의 이미지 차용 또한 강하게 나타나고 있었으며 호주의 상징동물과 국화를 포함하고 있었다. 국가는 호주의 정체성을 담 아 국가 발전을 위한 염원이 담겨져 있었다. 호주 상 징 동물은 호주 전역에 오래전부터 서식한 고유의 동 물인 캥거루와 에뮤로, 국화는 자연과 지리적 특성이 있는 아카시아과 골든 와트로 지정되어 있었다. 국가 상징동물 및 국화는 국가 브랜드 및 이미지 활용에 사용되어지고 있음을 확인하였다. 이러한 결과는 모두 호주 국가 상징체계의 중요성 을 시사하고 국가 브랜드와 국가 이미지 정책에 활용 되고 있음을 발견하였다. 호주 상징체계 구성요소들은 영국의 상징과의 연계성을 갖고 있음을 확인하는 계기가 되었다. National symbols play a significant role of branding a country and building a brand power to form a system that makes the country different from other countries. This study is to analyses the contents of Australian national symbols such are national flag, coat of arms, national anthem, national animal and national flower in order to figure out how forms of the country, political will, traditions, national characteristics, natural geographic features these are reflected in the symbol system of Australia. As a result, the Australian flag evidently represents that the British symbolic image was adopted and indicates the commonwealth of the United Kingdom. The coat of arms illustrated in the flag was adopted from the British image and the flag included Australian national animals and flower. The national anthem reflects Australian identity and implies the wish for advancement of Australia. The symbolic animals of Australia are kangaroo and emu, which have been living in Australia a long time ago, and the golden watte has been designated as a symbol of reflecting on the natural geographic features. It was confirmed that national animals and flower are used to represent the national brand and image of Australia. These results all suggest the importance of the Australian national symbol system, and it was utilized that for creating national brand and national image strategy. The elements of the Australian symbol system served as an opportunity to confirm that were related to British symbols.