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다국어 초록 (Multilingual Abstract)

In this paper, the arguments about image that appeared in Kim Soo-young's poetics were observed in detail and their characteristics were identified. In actuality, his criticisms, his discussions on poetry had been centered around image. Then, entering the later part of the 1960s, he emphasized the 'image' of poetry even more as he explored the new trends in poetry.
However, he did not drag in theories about image from the Anglo -American poetics, which was considered an axis in his own poetics. By escaping from the conventional perception of image as a place in the mind or the thought of an object, he discussed by mainly associating image with the problems of reality. Through the phrase "a self comedic transformation," he associated image with embodied discussions, i.e., the problems related to reality.
Image -- in the views of Kim Soo-young -- is amid a poet, reality and language and, without becoming any of these, it is something that makes everything possible. This perception of image was related to a new understanding of reality. To him, reality was something that encompasses facts and non-facts and something that comes out of continual metamorphoses of a language. In the process of explaining his work <The Snow>, as well, which embodies his poetics, he mentioned the relationship between a poet, reality and language.
Kim Soo-young's theory on image is a theory that came out of the poet's real life experiences and, while it is an theory that belongs in the genealogy of image existentialism, it is a theory that encompassed political implications. Such his image theory has a significance that warrants a special attention in terms of the modern events of Korea. In addition, it is though that, even now, it's a subject that needs to be continuously explored. This is because his theory on image was a result of all the efforts to overcome dichotomous oppositions.

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