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



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.


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


References in periodicals archive ?
Interestingly enough, however, Zach's and Likerat's poetic approach also echoed the poetic proclivities of Russian Acmeism (Akhmatova, Gorodetsky, Gumilev, Kuzmin, Mandelstam), which evolved contemporaneously with Imagism at the beginning of the second decade of the twentieth century and advocated very similar esthetic tendencies.
Ultimately, if Moore borrows the techniques of imagism, in his best poems desire colors what his senses present, creating a subjective yearning for what lies out of sight and beyond speech.
Ginsberg's quest to "present" "subjective emotion" and "the facts of experience" (which he theorizes in literary terms--though Imagism plays a conspicuous role in his analysis) finds a parallel in the photographers of this period.
The Dollmaker's Ghost was a transitional book in which Levis began to leave behind the imagism, the disembodied persona, and Rilkean dreaminess of his early work.
Imagism and Dada provided two models for such: "Hemingway had learned from both Dada and imagism of the necessity of audio-visual, even tactile, responses.
As Schneidau argues: "Far more important to Pound's Imagism than any ut pictura poesis theory was the great discovery of the principle of 'living language '.
It is striking how much this kind of poetry comes to be a major concern in the theory and would-be practice of modern work: Pound via Imagism taught it and tried to write it (though, with his gists and piths, and with his juxtaposing of fragments, rough, fractured surfaces were hard to avoid), as did his followers and William Carlos Williams.
In its concern for attention and for form, objectivist poetics is distinct from imagism, an extension of imagist poetics, "harder" and desirous of the possibility of formal development beyond the typical haikuish moment of imagism.
Imagism was new in 1913 when Pound started it, but a year later, when his anthology Des Imagistes was published, he was ready to declare that "'Imagism' is a catch word" and to turn the movement over to Amy Lowell, though with some lingering regret: "I had one brilliant inspiration.
The first of her two main goals in Radical Artifice is to argue that information technologies, because they have transformed the channels through which we receive and create written texts, carry important implications for the study of rhetoric, namely, that "telediscourse" works suspiciously like Imagism because it manufactures speech into a luminous spectacle of transparency.
abyss self-absorption can easily become, opposed imagism to the cultivated indirection of symbolism.
When the resulting categories -- minority poetry, women's poetry, imagism, political poetry -- become mutually exclusive, the effects are both political and discriminatory.