Show Less
Restricted access

Image in Modern(ist) Verse


Janusz Semrau and Marek Wilczyński

This collection of essays is a tribute to Andrzej Kopcewicz, the first professor ordinarius of American literature in the history of English studies in Poland. It coincides with the centenary of Imagism and what would have been Professor Kopcewicz’s 80th birthday. The title alludes to his first book which was devoted to the image and the objective correlative in early 20th-century Anglo-American poetry. Image in Modern(ist) Verse opens with a revised and abridged version of that publication. Kopcewicz’s study can be still read as a useful historical, theoretical, and practical introduction to modern poetry. The bulk of the volume is made up of contributions by contemporary academics – Paulina Ambroży, Joseph Kuhn, Paweł Stachura, Jørgen Veisland, and Miłosz Wojtyna – who discuss various facets, strands and sub-strands of Imagism, as well as its ongoing legacy.
Show Summary Details
Restricted access

The vicinity of things – Ezra Pound’s imagism in the poetry of Basil Bunting and Simon Armitage


The position of Imagism in 20th-century literature is, to some, so strong that any association of a poet with Ezra Pound, H.D., Richard Aldington, or Amy Lowell will easily create a bundle of comments touching the historical, theoretical and comparative surface of the subject, rather than tracing the actual details of this often quite formal affinity. The protean character of different forms of imagist (as well as objectivist and vorticist) verse together with its resonant influence justifies the claim made by the English critic and poet Graham Hough in his Image and Experience: Studies in Literary Revolution that the ideas of Imagism are central to contemporary poetics (Graham Hough quoted in Engelking 1991: 190). Similarly, we may agree with William Pratt who, in three prefaces to the subsequent editions of his 1963 anthology The Imagist Poem, argues that almost all the masters of 20th-century poetry were in a sense all imagists (Engelking 1991: 190). Hugh Kenner seems to confirm this verdict in his landmark study The Pound Era, where he observes that Imagism “created and continues to create its disturbing turbulence” (Kenner 1971: 173). These generalizing statements are noteworthy insofar as they draw attention to one important thing – it is possible to appreciate Imagism not only as a fascinating experiment, but also as a rich source of borrowings and a reference point for a discussion of twentieth century poetry at large (cf. Wącior 2004: 13). Imagism represents a number of poetic strategies that are in evidence not...

You are not authenticated to view the full text of this chapter or article.

This site requires a subscription or purchase to access the full text of books or journals.

Do you have any questions? Contact us.

Or login to access all content.