This study aimed to reperuse Kim Ki-rim"s Kisang-do from a rhetorical perspective. In the mid-1930s, Kim supported satire while criticizing theories of imagism and metaphor-centered poetics, which meant that he, based on the logo-centralism which was the center of English-American literature, started to criticize modern culture. Here, he set up satire based on "ridicule" that was different from "anger" he stressed on in his satire theory since after 1945. His theory of satire during the 1930"s was affected by Neo-Classism.<BR> Kisang-do had a close connection to Kim Gi-Lim"s satire theory, T. S. Eliot"s Waste Land, S. Spender" long- poem theory, and Lee Sang"s writings. It did not pursue its perfection and totality, and seek to unite materials to transcendental spirit. Therefore, Satire in Kisang-do was combined with allegory or irony, and its unity was deconstructed.<BR> Constructs in Kisang-do, especially characters and scenes, were allegorical signs. They signified modern culture, in other words, fragments of contemporary matters. His allegory showed the priority of material over individuality, of fragments over totality in Kisang-do.<BR> Satire in Kisang-do also had a close relation with irony. Dual or multiple subjects in irony disclosed various voices which attempted to criticise modern civilization through the internal distance. This distance from critical intelligence, however, did not continue because the poetic subject was oriented toward Utopia; therefore, only unitary voice appeared. Finally, symbol, not allegory or irony, showed up in the last chapter in Kisang-do.
1. 서론<BR>2. 〈기상도〉의 제작 배경<BR>3. 〈기상도〉의 풍자 원리<BR>4. 결론<BR>참고문헌<BR>Abstract<BR>
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