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also Im·a·gism  (ĭm′ə-jĭz′əm)
A literary movement launched by British and American poets in the early 1900s that advocated the use of free verse, common speech patterns, and clear concrete images as a reaction to Victorian sentimentalism.

im′a·gist n.
im′a·gis′tic adj.
im′a·gis′ti·cal·ly adv.


(Literary & Literary Critical Terms) a poetic movement in England and America between 1912 and 1917, initiated chiefly by Ezra Pound, advocating the use of ordinary speech and the precise presentation of images
ˈimagist n, adj
ˌimagˈistic adj
ˌimagˈistically adv


(ˈɪm əˌdʒɪz əm)

a style of poetry that employs free verse, precise imagery, and the patterns and rhythms of common speech.
im′ag•ist, n., adj.
im`ag•is′tic, adj.
im`ag•is′ti•cal•ly, adv.


a theory or practice of a group of English and American poets between 1909 and 1917, especially emphasis upon the use of common speech, new rhythms, unrestricted subject matter, and clear and precise images. — Imagist, n. — Imagistic, adj.
See also: Literature
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.imagism - a movement by American and English poets early in the 20th century in reaction to Victorian sentimentality; used common speech in free verse with clear concrete imagery
art movement, artistic movement - a group of artists who agree on general principles
References in periodicals archive ?
Most criticism though do not seem to acknowledge how close Penna's poetry is to the ideas of "modern" and "new" as fostered by Modernists and Imagists.
Insofar as they reacted to "the Romantic-Victorian tradition" and attempted to reassert the importance of poetry among the public, "the young Georgian rebels of whatever coterie--realists or Vorticists, Futurists or Imagists .
The forms, hues, and compositions bore a kinship to those of the CoBrA movement, Peter Saul, the Chicago Imagists, and the French artists Robert Combas and Herve Di Rosa.
Beginning with the influence of Pound's influential anthology Des Imagists, and the controversy around The Lyric Year, and moving through important museum collections such as the Phillips Memorial Gallery and the Barnes Foundation finishing with a chapter on The New Negro Anthology and on modernism's archives, Braddock provides critical readings of both individual poems and anthologies, while showing how the act, and art, of collecting became an essential part of modernist art movement.
The Objectivists, expanding on tenets of the Imagists before them, aimed to write direct, economic verse in the natural music of spoken language.
4) With the arrival of the Imagists in the years immediately preceding the Great War, this connection between baseball, mass entertainment, and big business would have been even clearer, and this movement's refusal of such subjects, along with its transatlantic ambivalence towards Americana in general, make it unsurprising that they did not deal directly with the sport.
Further, while the Imagists prized vision for its promise of clarity, instantaneity, and precision, they also invoked other sensory modes (most notably touch) in their theories.
Their objecthood was the key, much as it was for the Imagists.
so has Koons glorified the MCA with his art-star status, each in turn hailing the Chicago Imagists as a major historical influence.
The imagists, Pound claims, were against the stylistic cause of the war even before war had been declared, and long before those causes had come to light.
Along with other Chicago-based artists such as Ed Paschke and Jim Nutt, Wirsum gained attention for his electric and wacky figural work, eventually identifying him as one of the "Chicago Imagists.
Although Pound and the imagists ruled the day, Reed notes that Crane was more closely aligned, stylistically, with earlier British poets such as Gerard Manley Hopkins and Algernon Charles Swinburne.