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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 ?
s works, Hollenberg asserts, "display a range of meanings and emotions associated with childbirth" (19), her imagist poetry documents how she found it "difficult to reconcile female sexual identity with creative power" (74).
In the West, from the time of the Imagists, in the early years of the century to the present, it has been the stunning economy, the particularity of haiku which has had greatest appeal.
Perloff tends to mass together large amounts of information under labels like symbolist, Imagist, or postmodern without interrogating the assumptions or consequences of her method.
Reznikoff followed Roland Barthes, who argues that "all those outside power are obliged to steal language," by turning the Hellenistic "purity" of imagist style into a hybrid text of ethical criticism and moral insight.
Although his poems combine imagist and surreal elements, there is an affinity with Keats, based on synesthesia and color ("Then glut thy sorrow on a morning rose, / Or on the rainbow of the salt sand-wave .
s poetry exceeds Pound's poetry of the same period in its achievement of the imagist ideal, her retaining of the poetic 'I' made her objectivity suspect for Pound.
It was included in Amy Lowell's collection Some Imagist Poets and organized into the section entitled "The God" by H.
But neither does it look like typical imagist poetry, from which Logue clearly derives his aesthetic.
John Gould Fletcher is best known as an expatriate residing in London who first achieved fame as one of the Imagist poets and later as one of the Nashville Fugitives.
Immediately following World War I Pound became the leader of the new postwar Imagist Movement, a "revolutionary" movement of writers (including Wyndham Lewis, Hilda Doolittle, Amy Lowell, and T.
What she writes-which can be as elliptical, spare and associative as Imagist poetry-becomes even more complex because of the spaces that open up between the words and her slyly supple but clearly limited vocals.
Her early poems, published in Poetry (1913), were taken by Pound and the English writer Richard Aldington as exemplary of Imagist tenets of clarity, precision, free rhythm, and passionate restraint.