Imagism


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Related to Imagism: vorticism, surrealism, Ezra Pound, modernism

Imagism

 

a modernist trend in English and American literature from 1910 to the early 1920’s. Its initiators and theorists were the English philosopher T. Hulme and the American poet E. Pound. They were joined by American poetesses A. Lowell and H. Doolittle, the American poets W. C. Williams and J. G. Fletcher, and the Englishmen F. M. Ford, D. H. Lawrence, and R. Aldington; their paths subsequently diverged.

The imagists, combining the philosophy of institutionalism and the formal theories of French symbolism, glorified nature and captured fleeting impressions in their poetry; they were fascinated with the play of rhythms and colors, accentuated the self-contained, laconic, “pure” image, and cultivated free verse. A reaction to the ornamentality and false beauty of the imitators of romanticism, imagism marked the transition to the forms of contemporary English and American poetry.

In Russia, the imaginist poets shared certain imagist ideas.

REFERENCE

Kashkin, I. “Tvorchestvo amerikanskikh poetov imazhistov.” Interna-tsional’naia literatura, 1937, no. 2

B. A. GILENSON

References in periodicals archive ?
The poetic movement of Imagism, which occupied a key moment in Ezra Pound's career and the Modernism of T.
It is thus not impossible to advance Rosenberg as a transitional figure for Modernism during the years 1914-1918, between Ezra Pound's pre-war Imagism and T.
36) This is a feature of Imagism, but there could also be, in the connection and contrast between the organic trees and the mechanical Hills Hoist, a playful allusion to the nature/culture dichotomy deriving from Campion's studies in anthropology.
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Other styles of writing poetry were dominant this past century--from Amy Lowell's Imagism to Robert Lowell's confessional poetry.
But there are also valuable essays on eighteenth century women poets, lyric poetry between 1740-1790, women poets of the Romantic period, Victorian poetry (an especially well written overview), modernist poetry, and imagism.
For example, as Robert von Hallberg has shown in "Libertarian Imagism," Donald Davie's oft-quoted pronouncement that "the development from imagism in poetry to fascism in politics is clear and unbroken" is undermined by imagism's "libertarian or antisocialist rather than protofascist" political engagements in the pre-WWI milieu.
Among the most fascinating chapters are those that trace the influence that Yeats's commitment to the bardic arts had on imagism and later developments in modernism.
Pound successfully learnt the skills of how to apply "hard images" in poetry and showed it to the readers by publishing Cathay and thus had his theory of Imagism well based.
Editing Fenollosa's manuscripts under the title The Chinese Written Character as a Medium for Poetry fascinates Pound so much that by the summer of 1914 he begins to explain Imagism "in terms that involved the ideogram" (Coffman 15).
Christ (160), comparing the imagism of Tennyson's Mariana and Eliot's Prufrock, writes that the detailed elements of the description of landscape form a very vivid formula creating an objective correlative for Mariana and similarly, "Images function in much the same way in "The Love Song of J.
With the aid of Verlaine and Archibald MacLeisch, Pratt locates what he calls a 'mutation' from Symbolism into Imagism prior to examples from the French, Greek, and Chinese as illustrative of the transformations Pound wrought upon his influences--no other poet 'ever borrowed from as many poets and languages as Pound did' (p.