In the following essay, de Chasca examines Fletcher's works of the mid-1910s, noting his philosophical alignment with Imagism but citing technical departures from Imagist precepts.
In the following essay, Skaff focuses on the importance of metaphor and the unconscious in the poetic theories advanced by Ezra Pound and the Surrealists.
In the following essay, Hakutani focuses on the poetry, essays, and correspondence of Yone . Noguchi as sources of Japanese poetics in the Imagist techniques of Ezra Pound.
In the following essay, Cohen draws parallels between Pound's "A Few Don'ts by an Imagiste" (1913) and the principles outlined by the Austrian-born American composer Arnold Schoenberg in Theory of Harmony (1911), placing both in the destructive phase of the development of new art forms.
In the following essay, Naremore discusses the influence of contemporary French poetry on the poetics of Imagism, emphasizing particularly the role of the English critic F. S. Flint in informing English writers of recent developments in French literature.
In the following essay, Martin locates sources of lmagist aesthetics in theories of philosophy and psychology that were current in the early twentieth century.
In the following essay, Pratt focuses on the Imagist and ironic qualities of Ezra Pound's works as seminal to defining the Modern Age in English poetry.
In the following essay, Ramsey discusses such qualities as immediacy and precise imagery in an examination of common traits shared by Imagist poetry and the works of nineteenth-century literary Symbolists.
In the following essay, Perkins discusses the development of the Imagist movement, offers examples of poetry embodying Imagist principles, and discusses the works of Richard Aldington, H.D., John Gould Fletcher, Amy Lowell, and Herbert Read in relation to Imagism.
In the following essay, Wagner discusses the influence of Ezra Pound's Imagist aesthetics on the early works of Ernest Hemingway, in particular his novel The Sun Also Rises (1926).
In the following essay, Jackson focuses on "Hermes of the Ways" in an examination of the extent to which H.D.'s poetry adheres to the principles of Imagism.
In the following essay, Roberts focuses on D. H. Lawrence's long poem sequences in a discussion of his poetry in relation to Imagism and the development of modern English poetry.
In the following essay, which was based on a paper presented at the National Conference of the American Association for the Advancement of Slavic Studies, Rusinko identifies similarities between Imagism and Russian Acmeism.
In the following essay, Stempel asserts that translations by Lafcadio Hearn served as an important source of Japanese style and technique for writers of the Imagist movement.
In the following essay, de Sola Pinto summarizes the contributions of T. E. Hulme, Ezra Pound, and D. H. Lawrence to the development of modern English poetry.
In the following essay, Finch theorizes that H.D. 's poetic style antedates and extends beyond the formulation of the Imagist principles most closely associated with her works.
