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a movement by American and English poets early in the 20th century in reaction to Victorian sentimentality

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* Tours of Elmhurst College's Chicago Imagist collection with Suellen Rocca at 1:30 p.m.
Writers such as Roberto Deidier, Giulio di Fonzo, Peter Robb, William Riviere, Giorgio Luti and Pierfranco Bruni pointed out that an in-depth study and investigation of the European and international influences in Penna's work are lacking, but still most critics surprisingly do not seem to acknowledge how close Penna's poems are to the ideas of "modern" and "new" as fostered by Modernists and Imagists.
The roots of a dead universe are torn up by hands, feverish and consuming with an exuberant vitality--and amid dynamic threatenings we watch the hastening of the corroding doom." That Fred Crawford, who concerns himself with much of the same material as this study does, should conclude that in "This remarkable utterance, eight years before the appearance of "The Waste Land," Rosenberg seems to anticipate both Eliot's 'message' and his imagery" (203), only serves to lend credence to my assertion that this anticipation goes beyond the given passage to Rosenberg's poetry, insofar as he departed from Georgianism in ways which bring him closer to Eliot's avant-garde predecessors, Ezra Pound and the Imagists.
Silliman's approach to baseball in BART is, in fact, related to the approaches of the Imagists and Objectivists, though its postmodern context suggests a superficial difference; his relish for baseball scores and the personalities of the mid-1970s Giants suggests a technical interest in the game.
The Imagists challenged their readers and critics to visually image their poems; they laced their philosophies with pro-visual cues and extolled the value of seeing within their poetic process.
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." Coined by critic Franz Schulz, the title acknowledged an emerging vibrant movement firmly rooted in the visual vernacular of Chicago in the 1960s and 1970s, where the exploding forms and colors of psychedelia merged with the wit and fluidity of underground comix.
It also reached an agreement with the Shanghai Art Museum (SAM) to exhibit American illustration for the first time in China ("Norman Rockwell and the American Imagists"); SAM also asked NMAI to consider a sister museum status.
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.
In rebellion against the poetic transparency advocated and promoted by the Imagists and other American poetic pioneers of the early twentieth century, the Language poets emphasized, in their various manifestos and works, a commitment to process and practice, resonance and recollection, narrative dislocation, disrupted signifiers and metaphors, found language, materiality, hybridity, and nonsense: a reciprocal relationship between text and reader, both alienating and cooperative.
McGuckian avoids symmetry and creates a tripartite arrangement in loyalty to ikebana's aesthetics (these Japanese arrangements consist of three main lines), but she also returns to meters the imagists eschewed (Coe 43).
Predictably, the collection represents contributions from English, American, French, and Italian artists, from Dadaists, Imagists, Futurists, and the like, with a heavy selection from the teens and twenties.
Somehow suggesting the mannerisms of the early Imagists, Daousanis's images and descriptions imply much more than what they say at a first reading.
And when he analyzed the blues, Brown discerned a poetic approach that paralleled the Imagists and other Modernists "in substituting the thing seen for the bookish dressing up and sentimentalizing" that characterized nineteenth-century literary verse ("The Blues as Folk Poetry" 378).
Coming up in January: REAL (ist) Women, featuring works by Diane Arbus, Sue Coe, Susan Rothenberg and others and in March, "The Chicago Imagists, Then to Now" focusing on the bizarre Chicago artists which included in the '60s the Hairy Who.
If you've read the novels, you know Winterson's writing resonates with the cadences and language of the Bible, the fruits of that evangelical childhood that left her body "tattooed with Bible stories"; but her ideas about art and language are straight out of the twentieth century, courtesy of the Imagists, of Pound and Eliot, Stein and Woolf.