本論文研究隱喻和象徵描繪如何鑲崁於想像邏輯之靈魂、以及靈在蠟、氣、雲、影的隱喻。根據信念與幻想，這些隱喻的功用在於可看到無形事物。「蠟」之隱喻強化生命與死亡之間的模糊界線，傳遞怪異之逼真體驗並且強調封存聖體之不可侵犯。在「氣」的隱喻中，透過藝術，「氣」這個字變的肉體化，這些隱喻甚至深深的崁入於想像形式、並且與時間及經驗息息相關。「雲」在目前具有新的隱喻：恐怖之雲、狀麗之雲和污染之雲。「影」之隱喻為屬渾沌形式產生從無到有使得黑暗可被瞧見。一些圖像附和Benjamin (1968) 和Barthes (1980) 的論點：相片的確具備神秘氣氛，亦支持Derrida (1994) 魂在論 (hauntology) 的觀念：照片給予主題一種幽靈存在的感覺。研究結果顯示隱喻與象徵可多義化-可產生不同的意義 (Turner，1967)。因此透過夢想、幻想、以及人類的想像力，我們似乎可持續產生象徵並且巧妙運用之。

This study investigated how metaphors and symbols depicted the spirit or soul embedded in the logic of the imaginary clothing spirit in the metaphors of wax, air, clouds, and shadow. Such metaphors function in making visible the invisible according to belief and fantasy. The wax metaphor underpins the ambiguous boundary between animation and lifelessness and conveys a vivid experience of the uncanny and also underscores the inviolability of the preserved sacred body. In the air metaphor, the word becomes flesh through art. Even though these metaphors are deeply embedded in the imagination’s forms, they are dependent and shaped in relation to time and experience. Today, we have new metaphors for clouds: clouds of terror, clouds of the nuclear sublime, and clouds of pollution. The shadow metaphor is the original chaos from which form originates ex nihilo (out of nothingness) to make darkness visible. Some images support Benjamin’s (1968) and Barthes’ (1980) argument that photographs do have a mystical aura and also Derrida’s (1994) notion of hauntology which suggests a photograph gives the subject a haunting presence. The findings also reveal that metaphors and symbols can be multivocal; they resonate with different meanings (Turner, 1967). Thus, it seems that through our dreams, illusions, and in our imagination, we continually generate symbols and manipulate them.