Imagism

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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 ?
JDD: And that a poet like her, because of her imagist dictates, can't .
Oppen: "But I learned from Louis, as against the romanticism or even the quaintness of the imagist position, the necessity for forming the poem properly, for achieving form.
Ransom, Robert Penn Warren, Donald Davidson, and Allen Tate form the Fugitive group, which, with the Imagists, constitutes one of the two schools which "have mattered most" in modern American poetry.
The original Imagists often wrote short poems that resembled those in the Greek Anthology (Archilochus and others) or Japanese haiku; there was usually a certain formality about them.
Fenollosa's "thought picture" is an apt metaphor for Chinese poetry as well as Pound's Imagist poetry; and the nature-mind relationship it implies is similar to that underlying the notion of "emotion-scene fusion" and the aforementioned dictum of li xiang jin yi in the Yi jing.
Carpenter's contention that Fletcher was no mere Imagist who subsequently happened to become a Fugitive-Agrarian, because, in his view, such a narrow perspective "obscures much of the fundamental complexity and overall continuity that characterize his poetry" (p.
This conforms to the declared poetics of the Imagist poem, in which the visual aspects of the image contrast with the romantic, blurred metaphor, in this instance serving to ironically redefine the conventional motif of "mother nature.
One of the major influences to be found in this collection is the work of Steinn Steinarr, an imagist poet from the early decades of the twentieth century, often considered a symbolist.
Reads DIA in light of Hulme's 1924 collection of imagist essays entitled Speculations: Essays on Humanism and the Philosophy of Art, contending that the writing of DIA signaled EH's completion of the first learning phase of his writing career.
Whereas "Benjy parodies the Imagist voice," Kartiganer argues, "Quentin parodies his own mode by his neurotic desire not to gain a true vision of life through art, to discover the Truth of truth, but willfully to sunder these pairs, as if they were categories of entirely different worlds" (p.
Rasula suggests that if the deep image is "not simply the 1912 Imagist image with depth as added value," then perhaps it is more cinematic than poetic, a formal device akin to the "montage of attractions" or the "emotional shocks" in the films and film theory of Eisenstein.
One thing would surely have pleased him greatly: around a decade after his death, the Imagist school of poetry was established in London by Ezra Pound and others, and a major element of its credo, a key factor of its aesthetic, was the need of bringing into English and American poetry the qualities of haiku, especially its terseness and its sensitivity to nature.