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Imagism was a movement in early 20th-century Anglo-American poetry that favored precision of and clear, sharp language.It has been described as the mostAs to be the first organized Modernist literary movement in the English language.Imagism is sometimes viewed as 'a succeion of creative moments' rather than any continuous or sustained period of development.Rene Taupin remarked that 'It is more accurate to consider Imagism not as a doctrine, nor even as a poetic school, but as the aociation of a few poets who were for a certain time in agreement on a small number of important principles'.in contrast to their contemporaries, the who were generally content to work within that tradition.At the time Imagism emerged, and were considered the paragons of poetry, and the public valued the sometimes tone of their writings.[ In contrast, Imagism called for a return to what were seen as more values, such as directne of presentation and economy of language, as well as a willingne to experiment with non-traditional verse forms.Imagists use free verse.Imagist publications appearing between 1914 and 1917 featured works by many of the most prominent figures, both and in other fields.The Imagist group was centered in London, with members from Great Britain, Ireland and the United States.Somewhat unusually for the time, a number of women writers were major Imagist figures.A characteristic feature of Imagism is its attempt to isolate a single image to reveal its eence.This feature mirrors contemporary developments inart, especially Although Imagism isolates objects through the use of what called “luminous details”, Pound's of juxtaposing concrete instances to expre an abstraction is similar to Cubism's manner of synthesizing multiple perspectives into a single image.The following year, Pound and Flint fell out over their different interpretations of the history and goals of the group arising from an article on the history of Imagism written by Flint and published in The Egoist in May 1915.Flint was at pains to emphasise the contribution of the Eiffel Tower poets, especially Storer.Pound, who believed that the “Hellenic hardne” that he saw as the distinguishing quality of the poems of H.D.and Aldington was likely to be diluted by the “custard” of Storer, was to play no further direct role in the history of the Imagists.He went on to co-found the promote her own work and that of the other Imagist poets.Lowell was a wealthy heire from Boston who loved and cigars.She was also an enthusiastic

champion of literary experiment who was willing to use her money to publish the group.Lowell was determined to change the method of selection from Pound's autocratic editorial attitude to a more democratic manner.This new editorial policy was stated in the Preface to the first anthology to appear under her leadership: “In this new book we have followed a slightly different arrangement to that of our former Anthology.Instead of an arbitrary selection by an editor, each poet has been permitted to represent himself by the work he considers his best, the only stipulation being that it should not yet have appeared in book form.”anthologies under the title Some Imagist Poets.The first of these appeared in 1915, planned and aembled mainly by H.D.and Aldington.Two further iues, both edited by Lowell, were published in 1916 and 1917.These three volumes featured mostwith the exception of Pound, who had tried to persuade her to drop the Imagist name from her publications and who sardonically dubbed this phase of Imagism “Amy-gism.”making him the only writer to publish as both a Georgian poet and an Imagist.with World War I as a backdrop, the times were not easy for literary movements(Aldington, for example, spent much of the war at the front), and the 1917 anthology effectively marked the end of the Imagists as a movement.Despite the movement's short life, Imagism would deeply influence the course of the poems of Ezra Pound, D.H., Lawrence, and Ford Madox Ford will continue to be read.And to a considerable extent T.S.Eliot and his followers have carried on their found shortcomings in the Imagist approach: “Not all objects are equal.The vice of imagism was that it did not recognize this.”With its demand for hardne, clarity and precision and its insistence on fidelity to appearances coupled with its rejection of flower pieces.The rejection of conventional verse forms in the nineteen-twentieswho came to prominence in the 1930s under the auspices of Pound and Williams.The Objectivists worked mainly in free verse.Clearly linking Objectivism's principles with Imagism's, insisted, in his introduction to the 1931 Objectivist iue of Poetry, on writing “which is the detail, not mirage, of seeing, of thinking with the things as they exist, and of directing them along a line of melody.” Zukofsky was a major influence on thewho carried the Imagist focus on formal

became a discipline and acquired status as a legitimate poetic form.In the 1950s, especially,with the the and others aociated with the In his seminal 1950 eay Projective Verse, the theorist of the Black Mountain group, wrote “ONE PERCEPTION MUST IMMEDIATELY AND DIRECTLY LEAD TO A FURTHER PERCEPTION”;his credo derived from and supplemented the Imagists.and writing an introduction for the book publication of Ginsberg's 意象主义 意象主义是20世纪初期英美诗歌届掀起的一场运动，这场运动提倡诗歌应遵循意象的准确性，使用清晰精准的语言。意象主义者反对过多的涉及情感和技巧，而这些是在浪漫主义诗歌和维多利亚诗歌中经常出现的。这和他们同时代的乔治亚风格的诗人截然不同，乔治亚诗人提倡继承传统。1914年到1917年许多后来并非在诗歌领域出名的现代主义作家以意象主义的名义出版了大量诗集，主要收录在四册诗集中。意象主义强调回归到比较古典的风格，如表达的直观性，语言的间接性，主张尝试非传统的诗歌格式。他们认为物体就是物体，这种观点透露出当代前卫艺术的发展，尤其是后来的立体派。这场文学运动由庞德发起，他和一起朋友认为十九世纪的诗歌都有一下的缺点：词汇堆砌、语言过时、重复累赘、格式复杂，尤其是传统的章节和音步。意象主义者倡导直接反映事物，诗韵应该由乐感。庞德以及他的跟随者认为应由意象产生情感，而不是作者告诉读者应该有何种感情。概述：意象主义(Imagism)，英美现代诗歌中的一支流派。

起源：1913年休姆、庞德和弗林特等在伦敦发表意象主义三点宣言，要求直接表现主客观事物,删除一切无助于“表现”的词语,以口语节奏代替传统格律。庞德曾把“意象”称为“一刹那间思想和感情的复合体”。1914至1918年间在艾〃洛威尔主持下出版了5卷《意象派诗选》，30年代又出过1卷。

属于这支流派的诗人还有英国的理查〃奥尔丁顿、戴维〃劳伦斯，美国的希尔达〃杜利特尔、埃兹拉〃庞德（Ezra Pound）和威廉〃卡洛斯〃威廉斯等。他们着重用视觉意象引起联想，表达一瞬间的直觉和思想。一般用自由体写作短小篇章。据庞德等自称，他们曾受中国旧诗和日本俳句中运用意象方法的影响。这一流派对英美现代诗歌在采用口语、自由体和铸造意象方面颇有影响。