• Gleb Lipin
Keywords: haiku, poetics, imagism, modernism, translation, exoticism, transmutation, Amy Lowell


The paper proceeds to focus on the research of almost unknown historical and literary material – the «discovery» of Japanese culture in the West in the early twentieth century and the role of Japanese classical tradition in the process of modernization of Anglo-American poetry. The artistic interiorization of Oriental cultural context involves transformations in the inner structure of Anglo-American poetry at the beginning of the 20-th Century. The analysis centers on the impact of the Japanese culture and Japanese poetry on Amy Lowell’s poetry, who after Ezra Pound became the spokesperson of imagism. The paper introduces into the discussion a much understudied literary material, and devises new methodology for the study of aesthetic and linguistic contacts of these phenomena. The emphasis is laid on congeniality of imagery in the poetic collection of Amy Lowell’s «Pictures of the Floating World» with the genre of Japanese haiku and on investigation of the origins of its artistic proximity, which is viewed as an aesthetic phenomenon of translation into «internal language of culture» (Lotman). The name of the collection is a direct intercultural reference to ukiyo-e (浮世 絵, “pictures of the floating world”) – a prominent trend in the Japanese visual art during the Edo period with miniature landscapes and scenes of urban life as its main subject. It consists of 174 poems where the first part “The Lacquer Prints” incorporates the main principle of haiku – minimalist form, tension of remote associations of unrelated concrete and precise images, inspiration of the moment.


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How to Cite
Lipin, G. (2018). AMY LOWELL: IMAGIST INTERPRETATION OF JAPANISM. English and American Studies, (14), 151-158. Retrieved from