text:
Neuroscience/faust_mashal_2007_the role of the right cerebral
                  hemisphere in processing novel
                  metaphoric.pdf;/home/jon/Dokumentujo/Papers/Dissertation/Contemporary
                  Neuroscience/faust_mashal_2007_the role of the right cerebral
                  hemisphere in processing novel metaphoric.pdf}
}

@article{ratajUnderstandingCreativeLanguage2018,
  title =        {On {{Understanding Creative Language}}: {{The Late Positive
                  Complex}} and {{Novel Metaphor Comprehension}}},
  volume =       1678,
  issn =         {0006-8993},
  url =
                  {http://www.sciencedirect.com/science/article/pii/S0006899317304857},
  doi =          {10.1016/j.brainres.2017.10.030},
  shorttitle =   {On {{Understanding Creative Language}}},
  abstract =     {Novel metaphoric sentences have repeatedly evoked larger N400
                  amplitudes than literal sentences, while investigations of the
                  late positive complex (LPC) have brought inconsistent results,
                  with reports of both increased and reduced amplitudes. In two
                  experiments, we examined novel metaphor comprehension in
                  Polish, using the same set of literal, novel metaphoric, and
                  anomalous sentences. The first aim of the study was to test
                  whether novel metaphors would evoke larger or smaller late
                  positivity complex (LPC) amplitudes compared to literal and
                  anomalous sentences. Some earlier studies have shown that
                  whether increased LPC amplitudes are observed or not may be
                  related to the task participants are asked to perform, with
                  explicit acceptability judgments being more likely to evoke
                  the LPC effect. The second aim of the study was, thus, to test
                  whether the observed LPC pattern would be the same across two
                  tasks, the semantic decision task (Experiment 1) and the
                  reading task (Experiment 2). Our results replicated the N400
                  effect observed in earlier studies on metaphor in both
                  experiments. Most importantly, a reduction in late positivity
                  to novel metaphors relative to anomalous sentences was found
                  in both experiments. Additionally, this difference was broadly
                  distributed over parietal sites in Experiment 1, and clearly
                  left-lateralized in Experiment 2, which might imply
                  differences in the involvement of recollection and semantic
                  processes. Overall, these results seem to indicate that both
                  conventionality and task demands modulate the LPC pattern.},
  journaltitle = {Brain Research},
  urldate =      {2019-05-31},
  date =         {2018-01},
  pages =        {231-244},
  keywords =     {Creative language,LPC,N400,Novel metaphor},
  author =       {Rataj, Karolina and Przekoracka-Krawczyk, Anna and van der
                  Lubbe, Rob H. J.},
  options =      {useprefix=true},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Contemporary
                  Neuroscience/rataj et al_2018_on understanding creative
                  language.pdf;/home/jon/Dokumentujo/Papers/Dissertation/Contemporary
                  Neuroscience/rataj et al_2018_on understanding creative
                  language.pdf}
}

@article{schmidtNeuralCorrelatesMetaphor2009,
  title =        {Neural {{Correlates}} of {{Metaphor Processing}}: {{The
                  Roles}} of {{Figurativeness}}, {{Familiarity}} and
                  {{Difficulty}}},
  volume =       71,
  issn =         {0278-2626},
  url =
                  {http://www.sciencedirect.com/science/article/pii/S0278262609000980},
  doi =          {10.1016/j.bandc.2009.06.001},
  shorttitle =   {Neural {{Correlates}} of {{Metaphor Processing}}},
  abstract =     {There is currently much interest in investigating the neural
                  substrates of metaphor processing. In particular, it has been
                  suggested that the right hemisphere plays a special role in
                  the comprehension of figurative (non-literal) language, and in
                  particular metaphors. However, some studies find no evidence
                  of right hemisphere involvement in metaphor comprehension
                  (e.g. [Lee, S. S., \& Dapretto, M. (2006). Metaphorical vs.
                  literal word meanings: fMRI evidence against a selective role
                  of the right hemisphere. NeuroImage, 29, 536–544; Rapp, A. M.,
                  Leube, D. T., Erb, M., Grodd, W., \& Kircher, T. T. J. (2004).
                  Neural correlates of metaphor processing. Cognitive Brain
                  Research, 20, 395–402]). We suggest that lateralization
                  differences between literal and metaphorical language may be
                  due to factors such as differences in familiarity ([Schmidt,
                  G. L., DeBuse, C. J., \& Seger, C. A. (2007). Right hemisphere
                  metaphor processing? Characterizing the lateralization of
                  semantic processes. Brain and Language, 100, 127–141]), or
                  difficulty ([Bookheimer, S. (2002). Functional MRI of
                  language: New approaches to understanding the cortical
                  organization of semantic processing. Annual Review of
                  Neuroscience, 25, 151–188; Rapp, A. M., Leube, D. T., Erb, M.,
                  Grodd, W., \& Kircher, T. T. J. (2004). Neural correlates of
                  metaphor processing. Cognitive Brain Research, 20, 395–402])
                  in addition to figurativeness. The purpose of this study was
                  to separate the effects of figurativeness, familiarity, and
                  difficulty on the recruitment of neural systems involved in
                  language, in particular right hemisphere mechanisms. This was
                  achieved by comparing neural activation using functional
                  magnetic resonance imaging (fMRI) between four conditions:
                  literal sentences, familiar and easy to understand metaphors,
                  unfamiliar and easy to understand metaphors, and unfamiliar
                  and difficult to understand metaphors. Metaphors recruited the
                  right insula, left temporal pole and right inferior frontal
                  gyrus in comparison with literal sentences. Familiar metaphors
                  recruited the right middle frontal gyrus when contrasted with
                  unfamiliar metaphors. Easy metaphors showed higher activation
                  in the left middle frontal gyrus as compared to difficult
                  metaphors, while difficult metaphors showed selective
                  activation in the left inferior frontal gyrus as compared to
                  easy metaphors. We conclude that the right hemisphere is
                  involved in metaphor processing and that the factors of
                  figurativeness, familiarity and difficulty are important in
                  determining neural recruitment of semantic processing.},
  number =       3,
  journaltitle = {Brain and Cognition},
  urldate =      {2019-05-31},
  date =         {2009-12},
  pages =        {375-386},
  keywords =     {Metaphors,Semantic processing,Figurative language,Insula,Right
                  hemisphere},
  author =       {Schmidt, Gwenda L. and Seger, Carol A.},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Contemporary
                  Neuroscience/schmidt_seger_2009_neural correlates of metaphor
                  processing.pdf;/home/jon/Dokumentujo/Papers/Dissertation/Contemporary
                  Neuroscience/schmidt_seger_2009_neural correlates of metaphor
                  processing.pdf}
}

@article{benedekCreatingMetaphorsNeural2014,
  title =        {Creating {{Metaphors}}: {{The Neural Basis}} of {{Figurative
                  Language Production}}},
  volume =       90,
  issn =         {1053-8119},
  url =
                  {http://www.sciencedirect.com/science/article/pii/S1053811913012664},
  doi =          {10.1016/j.neuroimage.2013.12.046},
  shorttitle =   {Creating {{Metaphors}}},
  abstract =     {Neuroscience research has thoroughly studied how nonliteral
                  language is processed during metaphor comprehension. However,
                  it is not clear how the brain actually creates nonliteral
                  language. Therefore, the present study for the first time
                  investigates the neural correlates of metaphor production.
                  Participants completed sentences by generating novel metaphors
                  or literal synonyms during functional imaging. Responses were
                  spoken aloud in the scanner, recorded, and subsequently rated
                  for their creative quality. We found that metaphor production
                  was associated with focal activity in predominantly
                  left-hemispheric brain regions, specifically the left angular
                  gyrus, the left middle and superior frontal gyri—corresponding
                  to the left dorsomedial prefrontal (DMPFC) cortex—and the
                  posterior cingulate cortex. Moreover, brain activation in the
                  left anterior DMPFC and the right middle temporal gyrus was
                  found to linearly increase with the creative quality of
                  metaphor responses. These findings are related to
                  neuroscientific evidence on metaphor comprehension, creative
                  idea generation and episodic future thought, suggesting that
                  creating metaphors involves the flexible adaptation of
                  semantic memory to imagine and construct novel figures of
                  speech. Furthermore, the left DMPFC may exert executive
                  control to maintain strategic search and selection, thus
                  facilitating creativity of thought.},
  journaltitle = {NeuroImage},
  urldate =      {2019-05-31},
  date =         {2014-04},
  pages =        {99-106},
  keywords =     {fMRI,Creativity,Language production,Mental
                  simulation,Metaphor},
  author =       {Benedek, Mathias and Beaty, Roger and Jauk, Emanuel and
                  Koschutnig, Karl and Fink, Andreas and Silvia, Paul J. and
                  Dunst, Beate and Neubauer, Aljoscha C.},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Contemporary
                  Neuroscience/benedek et al_2014_creating
                  metaphors.pdf;/home/jon/Dokumentujo/Papers/Dissertation/Contemporary
                  Neuroscience/benedek et al_2014_creating metaphors.pdf}
}

@incollection{jastrowDreamsBlind1900,
  location =     {{New York, NY, US}},
  title =        {The {{Dreams}} of the {{Blind}}},
  abstract =     {Man is predominantly a visual animal, to him seeing is
                  believing. We teach by illustrations, models, and
                  object-lessons, and reduce complex relations to the curves of
                  the graphic method, to bring home and impress our statements.
                  Our every-day language, as well as the imagery of poetry,
                  abounds in metaphors and similes appealing to images which the
                  eye has taught us to appreciate. The eye is also the medium of
                  impressions of aesthetic as well as of intellectual value; and
                  one grand division of art is lost to those who cannot see.
                  This chapter discusses topics such as: the role of vision in
                  mental life, the retention of vision in dreams as dependent
                  upon the age of the loss of sight, corroborations of the above
                  results by other evidence, and the dreams of the blind-deaf.
                  The chapter also discusses Helen Keller's account of her
                  dream-life. Finally this chapter closes with discussion of the
                  distinctions in dream-life of incidents experienced during the
                  period of sight from those of the blindness period, the
                  imagination of the blind and the illustrations of their
                  dreams. (PsycINFO Database Record (c) 2016 APA, all rights
                  reserved)},
  booktitle =    {Fact and {{Fable}} in {{Psychology}}},
  publisher =    {{D Appleton \& Company}},
  date =         1900,
  pages =        {337-370},
  keywords =     {Blind,Deaf Blind,Dream Content,Dreaming,Mind,Vision},
  author =       {Jastrow, Joseph},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Contemporary
                  Neuroscience/jastrow_1900_the dreams of the
                  blind.pdf;/home/jon/Dokumentujo/Papers/Dissertation/Contemporary
                  Neuroscience/jastrow_1900_the dreams of the blind.pdf},
  doi =          {10.1037/10919-011}
}

@article{gleasonDirectedSeeVisual2011a,
  title =        {Directed to {{See}}: {{Visual Prompting}} in {{Imagist
                  Poems}}},
  volume =       45,
  issn =         {0039-4238},
  url =          {https://www.jstor.org/stable/10.5325/style.45.3.489},
  shorttitle =   {Directed to {{See}}},
  abstract =     {In this essay I argue that sight-oriented linguistic cues
                  within a text can encourage the reader to visualize, and I
                  examine Imagist poetry for these inducements. My analysis
                  begins with the premise that texts implicitly guide the
                  reader's imagination and that certain words automatically urge
                  a reader to image. In addition to these prompts, Imagist
                  poetry is rife with moments of “directed seeing,” explicit
                  references within the poem to the act of seeing; given the
                  implicit textual guidance provided by the poem, the poem's
                  speaker effectively instructs the reader with these sight
                  references to mentally image what the speaker “sees.”
                  Experimental research supports this notion of visual
                  prompting: when subjects are instructed to form images, the
                  otherwise low imagers of the group produce strong imagery
                  effects. The poetic speaker's de facto instructions to “see”
                  are powered by a similar, though less explicit, element of
                  prompting that promotes visual imagery in readers.},
  number =       3,
  journaltitle = {Style},
  urldate =      {2019-05-31},
  date =         2011,
  pages =        {489-509},
  author =       {Gleason, Daniel W.},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Contemporary
                  Neuroscience/gleason_2011_directed to
                  see.pdf;/home/jon/Dokumentujo/Papers/Dissertation/Contemporary
                  Neuroscience/gleason_2011_directed to see.pdf}
}

@article{olsenPoetryVision1994,
  title =        {Poetry and {{Vision}}},
  volume =       40,
  issn =         {0009-3696},
  url =          {https://www.jstor.org/stable/25305885},
  doi =          {10.2307/25305885},
  number =       4,
  journaltitle = {Chicago Review},
  urldate =      {2019-05-31},
  date =         1994,
  pages =        {33-50},
  author =       {Olsen, William},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Later Lit
                  Crit/olsen_1994_poetry and
                  vision.pdf;/home/jon/Dokumentujo/Papers/Dissertation/Later Lit
                  Crit/olsen_1994_poetry and vision.pdf}
}

@article{walkerVisualSpatialImagery1972,
  title =        {Visual and {{Spatial Imagery}} in {{Verlaine}}'s {{Fêtes
                  Galantes}}},
  volume =       87,
  issn =         {0030-8129},
  url =          {https://www.jstor.org/stable/461178},
  doi =          {10.2307/461178},
  abstract =     {[The poems of Fêtes galantes by Paul Verlaine have marked
                  visual and musical aspects with which criticism often deals by
                  comparing the subject matter and style of the poems with those
                  of paintings by Watteau and music by Debussy. It is more
                  rewarding to study similarities of basic artistic form in
                  these works about the Rococo dream world; in particular, the
                  visual and spatial imagery shared by Verlaine and Watteau
                  helps elucidate Fêtes galantes. The vague, ambiguous, and
                  shifting impressions sought by Verlaine are created visually
                  by Watteau as the latter varies sharp delineation with hazy
                  blending. The paintings tend to have either detached
                  foreground figures or a merging of figures into a misty
                  background. Verlaine uses these effects of detachment and
                  merging in virtual space, verbally rendered, and coordinates
                  them with the recurrent themes of his suite of poems. A
                  visualized pattern along a time line results as he shifts from
                  one effect to the other in individual works and in the total
                  composition. Much of the musicality of the work is thus
                  produced through visual and spatial imagery in sequence.
                  Increased understanding of Verlaine's creation of artistic
                  form suggests the need for study of the relationships between
                  this form and the contents of the poems.]},
  number =       5,
  journaltitle = {PMLA},
  urldate =      {2019-05-31},
  date =         1972,
  pages =        {1007-1015},
  keywords =     {symbolism},
  author =       {Walker, Hallam},
  file =
                  {/home/jon/Dokumentujo/Papers/Dissertation/Symbolism/walker_1972_visual
                  and spatial imagery in verlaine's fêtes
                  galantes.pdf;/home/jon/Dokumentujo/Papers/Dissertation/Symbolism/walker_1972_visual
                  and spatial imagery in verlaine's fêtes galantes.pdf}
}

@article{basyeColorImageryStephen1980,
  title =        {Color {{Imagery}} in {{Stephen Crane}}'s {{Poetry}}},
  volume =       13,
  issn =         {0002-9823},
  url =          {https://www.jstor.org/stable/27745932},
  number =       1,
  journaltitle = {American Literary Realism, 1870-1910},
  urldate =      {2019-05-31},
  date =         1980,
  pages =        {122-131},
  author =       {Basye, Robert C.},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Later Lit
                  Crit/basye_1980_color imagery in stephen crane's poetry.pdf}
}

@article{mitchellTABLEAUTABOORESISTANCE1988,
  title =        {{{TABLEAU AND TABOO}}: {{THE RESISTANCE TO VISION IN LITERARY
                  DISCOURSE}}},
  volume =       51,
  issn =         {0007-8069},
  url =          {https://www.jstor.org/stable/44377021},
  shorttitle =   {{{TABLEAU AND TABOO}}},
  number =       1,
  journaltitle = {CEA Critic},
  urldate =      {2019-05-31},
  date =         1988,
  pages =        {4-10},
  author =       {Mitchell, W. J. T.},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Later Lit
                  Crit/mitchell_1988_tableau and taboo.pdf}
}

@article{meltzoffRhetoricVision1970,
  title =        {On the {{Rhetoric}} of {{Vision}}},
  volume =       3,
  issn =         {0024-094X},
  url =          {https://www.jstor.org/stable/1572049},
  doi =          {10.2307/1572049},
  abstract =     {[In all visual forms which carry meaning, from architecture to
                  painting, the author points out that there is a level of
                  organization which is rhetorical. The whole meaning of a work
                  of art is the sphere of iconology. The study of its forms
                  without regard to symbolic or other meaning is formal
                  analysis. The area between, where the lesser forms of
                  organization of meaning occur, is the area of visual rhetoric.
                  Rhetoric is used in its classical, verbal sense as the means
                  by which words are chosen, pitched to some diction, pointed
                  with gestures and expression, and arrayed in order to affect a
                  listener towards some end. Visual rhetoric overlaps verbal
                  rhetoric when the material it orders translates easily from
                  words to images and back, as in Renaissance and Baroque
                  painting done under the motto 'ut pictura poesis'. By far the
                  largest part of visual rhetoric has no verbal analogues and
                  is, in fact, the discovery of the non-literary art of our
                  time. The author states that the concept of the rhetoric of
                  vision puts into a coherent system our ideas of style, genres,
                  modes of representation, iconography, media, personal manner,
                  format, composition and the negation of all or any of these.
                  Visual rhetoric is the Iconography of the twentieth century.
                  /// L'auteur montre que, dans toutes les formes plastiques
                  porteuses de signification, de l'architecture à la peinture,
                  il existe un niveau d'organisation rhétorique de cette
                  signification. La signification globale d'une œuvre d'art est
                  du domaine de l'iconologie; alors que de procéder à une étude
                  des formes qu'elle présente sans la relier à une signification
                  symbolique ou autre revient à faire une analyse formelle.
                  C'est entre ces deux points de vue, là où se manifestent les
                  formes inférieures d'organisation de la signification, que se
                  place le domaine de la rhétorique visuelle. 'Rhétorique' est
                  ici employé dans son sens les plus classique et verbal, comme
                  le moyen de choisir des mots, de les adapter à un style, de
                  les mettre en relief grâce à des gestes ou à des expressions,
                  et de les arranger de façon à produire un certain effet sur
                  l'auditeur. La rhétorique visuelle dépasse la rhétorique
                  verbale lorsque ce qu'elle ordonnance passe facilement des
                  mots aux images et vice versa, comme c'est le cas de la
                  peinture de la Renaissance et de l'époque Baroque qui
                  suivirent la devise 'ut pictura poesis'. En grande partie, il
                  n'est rien de comparable à la rhétorique visuelle, laquelle
                  consiste, de fait, en la découverte de l'art non-littéraire de
                  notre époque. L'auteur pense que le concept de la rhétorique
                  de la vision permet de rassembler dans un système cohérent nos
                  idées de style, genres, modes de représentation, iconographie,
                  moyens, manière personnelle, format, composition, ainsi que la
                  négation de tout ou partie de ces éléments. La rhétorique
                  visuelle est l'iconographie du vingtième siècle.]},
  number =       1,
  journaltitle = {Leonardo},
  urldate =      {2019-05-31},
  date =         1970,
  pages =        {27-38},
  author =       {Meltzoff, Stanley},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Later Lit
                  Crit/meltzoff_1970_on the rhetoric of vision.pdf}
}

@article{gallagherFilmImageryLiterary1978,
  title =        {Film {{Imagery}}, {{Literary Imagery}}: {{Some Distinctions}}},
  volume =       5,
  issn =         {0093-3139},
  url =          {https://www.jstor.org/stable/25111229},
  shorttitle =   {Film {{Imagery}}, {{Literary Imagery}}},
  number =       3,
  journaltitle = {College Literature},
  urldate =      {2019-05-31},
  date =         1978,
  pages =        {157-173},
  author =       {Gallagher, Brian},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Later Lit
                  Crit/gallagher_1978_film imagery, literary imagery.pdf}
}

@article{riffaterreDescriptiveImagery1981,
  title =        {Descriptive {{Imagery}}},
  issn =         {0044-0078},
  url =          {https://www.jstor.org/stable/2929879},
  doi =          {10.2307/2929879},
  number =       61,
  journaltitle = {Yale French Studies},
  urldate =      {2019-05-31},
  date =         1981,
  pages =        {107-125},
  author =       {Riffaterre, Michael},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Later Lit
                  Crit/riffaterre_1981_descriptive imagery.pdf}
}

@article{doakCOLORLIGHTIMAGERY1974,
  title =        {{{Color and Light Imagery}}: {{An Annotated Bibliography}}},
  volume =       8,
  issn =         {0039-4238},
  url =          {https://www.jstor.org/stable/42945196},
  shorttitle =   {{{Color and Light Imagery}}},
  abstract =     {The recent burgeoning in the field of color and light
                  criticism is a product of contemporary objectivist critical
                  theories. But there are problems in philosophy and in
                  methodology, and coordination and synthesis of the critical
                  efforts are needed at this point. Accordingly, this
                  bibliography emphasizes studies with important technical and
                  theoretical approaches. It also includes a section on
                  reference material dealing with color; and it points out, in
                  the index, criticism which is related to color imagery (e.g.,
                  studies of gem symbolism in literature, flower symbolism,
                  clothing symbolism, physiognomy of literary characters,
                  folklore, and the relation between literature and the plastic
                  arts). The bibliography surveys criticism of color and light
                  imagery in the English language from its beginnings in the
                  nineteenth century through 1973.},
  number =       1,
  journaltitle = {Style},
  urldate =      {2019-05-31},
  date =         1974,
  pages =        {208-259},
  author =       {Doak, Robert and Doak, Robert W.},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Later Lit
                  Crit/doak_doak_1974_color and light imagery.pdf}
}

@article{friedmanImagerySensationSymbol1953,
  title =        {Imagery: {{From Sensation}} to {{Symbol}}},
  volume =       12,
  issn =         {0021-8529},
  url =          {https://www.jstor.org/stable/426298},
  doi =          {10.2307/426298},
  shorttitle =   {Imagery},
  number =       1,
  journaltitle = {The Journal of Aesthetics and Art Criticism},
  urldate =      {2019-05-31},
  date =         1953,
  pages =        {25-37},
  author =       {Friedman, Norman},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Later Lit
                  Crit/friedman_1953_imagery.pdf}
}

@article{fosterEideticImageryImagiste1969,
  title =        {Eidetic {{Imagery}} and {{Imagiste Perception}}},
  volume =       28,
  issn =         {0021-8529},
  url =          {https://www.jstor.org/stable/428562},
  doi =          {10.2307/428562},
  number =       2,
  journaltitle = {The Journal of Aesthetics and Art Criticism},
  urldate =      {2019-05-31},
  date =         1969,
  pages =        {133-145},
  author =       {Foster, Steven},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Later Lit
                  Crit/foster_1969_eidetic imagery and imagiste perception.pdf}
}

@article{capognaEkphrasisCulturalCapital2018,
  title =        {Ekphrasis, {{Cultural Capital}}, and the {{Cultivation}} of
                  {{Detachment}} in {{T}}.{{S}}. {{Eliot}}'s {{Early Poetry}}},
  volume =       41,
  issn =         {0022-281X},
  url =          {https://www.jstor.org/stable/10.2979/jmodelite.41.3.13},
  abstract =     {[In his early published and uncollected poetry, T.S. Eliot's
                  ambivalent engagements with the genre of ekphrasis—the poetic
                  contemplation of a visual art object—are indicative of his
                  nascent and ambivalent commitments to the cultivation of a
                  disinterested poetic voice. While his early published
                  collections externalize the perception of art objects onto
                  decadent communities who are vulgarized for their interest in
                  the fine arts, the unpublished ekphrastic poetry that remained
                  in the notebook he titled Inventions of the March Hare
                  represent markedly different relations between modern poet and
                  historical art: these poetic speakers engage actively and
                  imaginatively, though tentatively and uneasily, with the art
                  of the Old Masters. The conflicting status of ekphrasis and
                  aesthetic experience across these contexts attests to the
                  generic conventions and forms of cultural capital that Eliot
                  negotiated as he sought to develop a distinctively modern
                  poetic.]},
  number =       3,
  journaltitle = {Journal of Modern Literature},
  urldate =      {2019-05-31},
  date =         2018,
  pages =        {147-165},
  author =       {Capogna, Frank},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Later Lit
                  Crit/capogna_2018_ekphrasis, cultural capital, and the
                  cultivation of detachment in t.pdf}
}

@article{emeryRefiguringPostcolonialImagination1997,
  title =        {Refiguring the {{Postcolonial Imagination}}: {{Tropes}} of
                  {{Visuality}} in {{Writing}} by {{Rhys}}, {{Kincaid}}, and
                  {{Cliff}}},
  volume =       16,
  issn =         {0732-7730},
  url =          {https://www.jstor.org/stable/464362},
  doi =          {10.2307/464362},
  shorttitle =   {Refiguring the {{Postcolonial Imagination}}},
  number =       2,
  journaltitle = {Tulsa Studies in Women's Literature},
  urldate =      {2019-05-31},
  date =         1997,
  pages =        {259-280},
  author =       {Emery, Mary Lou},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Later Lit
                  Crit/emery_1997_refiguring the postcolonial imagination.pdf}
}

@article{lundquistReverenceResistanceBarbara1997,
  title =        {Reverence and {{Resistance}}: {{Barbara Guest}},
                  {{Ekphrasis}}, and the {{Female Gaze}}},
  volume =       38,
  issn =         {0010-7484},
  url =          {https://www.jstor.org/stable/1208783},
  doi =          {10.2307/1208783},
  shorttitle =   {Reverence and {{Resistance}}},
  number =       2,
  journaltitle = {Contemporary Literature},
  urldate =      {2019-05-31},
  date =         1997,
  pages =        {260-286},
  author =       {Lundquist, Sara},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Later Lit
                  Crit/lundquist_1997_reverence and resistance.pdf}
}

@article{stewartCinecritureModernismFlicker1998,
  title =        {"{{Cinécriture}}": {{Modernism}}'s {{Flicker Effect}}},
  volume =       29,
  issn =         {0028-6087},
  url =          {https://www.jstor.org/stable/20057510},
  shorttitle =   {"{{Cinécriture}}"},
  number =       4,
  journaltitle = {New Literary History},
  urldate =      {2019-05-31},
  date =         1998,
  pages =        {727-768},
  author =       {Stewart, Garrett},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Later Lit
                  Crit/stewart_1998_cinécriture.pdf}
}

@article{stelmachTextTableauEkphrastic2006,
  title =        {From Text tO Tableau: Ekphrastic Enchantment in Mrs. Dalloway and To the Lighthouse},
  volume =       38,
  issn =         {0039-3827},
  url =          {https://www.jstor.org/stable/29533767},
  shorttitle =   {From Text to Tableau},
  number =       3,
  journaltitle = {Studies in the Novel},
  urldate =      {2019-05-31},
  date =         2006,
  pages =        {304-326},
  author =       {Stelmach, Kathryn},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Later Lit Crit/stelmach_2006_from text to tableau.pdf}
}

@article{hamiltonCognitiveRhetoricImagism2004,
  title =        {Toward a {{Cognitive Rhetoric}} of {{Imagism}}},
  volume =       38,
  issn =         {0039-4238},
  url =          {https://www.jstor.org/stable/10.5325/style.38.4.468},
  abstract =     {In this article, I reveal how concepts like fictive motion,
                  image schemas, and analogical reference relate to the
                  cognitive rhetoric of Imagism. I focus especially on the
                  figurative language of Imagist poetry by analyzing similes,
                  metaphors, and analogies in Imagist poems. I discuss the
                  evolution of Imagist style before discussing figures in
                  specific poems. I draw on findings from cognitive linguistics,
                  psycholinguistics, and pragmatics to suggest what a fully
                  developed cognitive rhetoric of Imagism could entail.},
  number =       4,
  journaltitle = {Style},
  urldate =      {2019-05-31},
  date =         2004,
  pages =        {468-490},
  author =       {Hamilton, Craig A.},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Later Lit
                  Crit/hamilton_2004_toward a cognitive rhetoric of imagism.pdf}
}

@article{kawamotoUseDisuseTradition1999,
  title =        {The {{Use}} and {{Disuse}} of {{Tradition}} in {{Bashō}}'s
                  {{Haiku}} and {{Imagist Poetry}}},
  volume =       20,
  issn =         {0333-5372},
  url =          {https://www.jstor.org/stable/1773197},
  abstract =     {[Bashō's haiku and the poetry of the imagists are the two most
                  prominent examples of extremely short poetic forms in world
                  literature. Their brevity matters, for the drastic reduction
                  in space bespeaks the poets' fundamental questioning of what
                  poetry really is: there is no room to be anything but
                  "poetic." For the imagists, this meant fresh imagery as a
                  means of cognitive exploration. Preoccupied with "newness,"
                  however, they tended to disregard the importance of the "old"
                  as a necessary means to set off novelty, an oversight that led
                  to their eventual demise. Haiku, on the other hand, is a genre
                  of long standing, firmly rooted in tradition. The key to its
                  unabated vigor lies in Bashō's keen awareness of the utility
                  of the past in undertaking an avant-garde enterprise, which he
                  summed up in his famous adage "fueki-ryūkō," which can be
                  roughly translated as "permanence and change." My essay
                  undertakes a detailed and comparative stylistic and semiotic
                  analysis of a few representative works by Basho and the
                  Imagists, exploring the part tradition plays in them.]},
  number =       4,
  journaltitle = {Poetics Today},
  urldate =      {2019-05-31},
  date =         1999,
  pages =        {709-721},
  author =       {Kawamoto, Koji},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Later Lit
                  Crit/kawamoto_1999_the use and disuse of tradition in bashō's
                  haiku and imagist poetry.pdf}
}

@article{gibsonCONTRADICTORYIMAGESCONFLICTING2011,
  title =        {{{Contradictory Images}}: {{The Conflicting Influences of
                  Henri Bergson and William James on T}}. {{E}}. {{Hulme}},
                  {{and the Consequences for Imagism}}},
  volume =       62,
  issn =         {0034-6551},
  url =          {https://www.jstor.org/stable/23016466},
  shorttitle =   {{{Contradictory Images}}},
  abstract =     {[This article considers the evolution of Hulme's thought from
                  his 'Lecture on Modern Poetry' to 'Romanticism and
                  Classicism', including the development of his belief in poetry
                  as a visual language, why he defines the 'aesthetic emotion'
                  in such a limited way, and why he links these ideas to the
                  Classicism of Action Française. What it demonstrates is that
                  William James's description of the distinction between
                  Romantic and Classical art in Principles of Psychology played
                  a part in helping Hulme to reduce Bergson's concept of
                  'aesthetic emotion' to sensation, and to see such effects as
                  pertaining to Classical, rather than Romantic art. However,
                  Hulme failed to realise that Bergson's ideas on art were in
                  fact incompatible with William James's. This incompatibility
                  caused tensions between the theory and practice of the Imagist
                  movement inspired by Hulme's ideas. The conflict was caused
                  partly by James's denial of the uniqueness of aesthetic
                  emotion, and partly because, in reducing the aesthetic emotion
                  to sensation, he negates the importance of memory and
                  association to the image's aesthetic effect, which is by its
                  very nature temporal in manifestation. The piece concludes by
                  demonstrating how the poem 'Hermes of the Ways', by H.D., does
                  not concord with Pound's doctrine of image as an 'intellectual
                  and emotional complex in an instant of time', and needs memory
                  and association to unravel if the image is to work. This
                  critique demonstrates the divergence between genuine Imagist
                  practice and William James's prioritisation of immediate
                  sensation, which Hulme had communicated to Imagist theory.]},
  number =       254,
  journaltitle = {The Review of English Studies},
  urldate =      {2019-05-31},
  date =         2011,
  pages =        {275-295},
  author =       {Gibson, Matthew},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Later Lit
                  Crit/gibson_2011_contradictory images.pdf}
}

@article{ramseyUsesVisibleAmerican1967,
  title =        {Uses of the {{Visible}}: {{American Imagism}}, {{French
                  Symbolism}}},
  volume =       4,
  issn =         {0010-4132},
  url =          {https://www.jstor.org/stable/40245893},
  shorttitle =   {Uses of the {{Visible}}},
  number =       {1/2},
  journaltitle = {Comparative Literature Studies},
  urldate =      {2019-05-31},
  date =         1967,
  pages =        {177-191},
  author =       {Ramsey, Warren},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Later Lit
                  Crit/ramsey_1967_uses of the visible.pdf}
}

@article{lakeReturnMetaphorDeep1989,
  title =        {Return to {{Metaphor}}: {{From Deep Imagist}} to {{New
                  Formalist}}},
  volume =       74,
  issn =         {0038-4712},
  url =          {https://www.jstor.org/stable/43470137},
  shorttitle =   {Return to {{Metaphor}}},
  number =       4,
  journaltitle = {Southwest Review},
  urldate =      {2019-05-31},
  date =         1989,
  pages =        {515-529},
  author =       {LAKE, PAUL},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Later Lit
                  Crit/lake_1989_return to metaphor.pdf}
}

@article{morganWilliamCarlosWilliams1947,
  title =        {William {{Carlos Williams}}: {{Imagery}}, {{Rhythm}},
                  {{Form}}},
  volume =       55,
  issn =         {0037-3052},
  url =          {https://www.jstor.org/stable/27537788},
  shorttitle =   {William {{Carlos Williams}}},
  number =       4,
  journaltitle = {The Sewanee Review},
  urldate =      {2019-05-31},
  date =         1947,
  pages =        {675-690},
  author =       {Morgan, Frederick},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Later Lit
                  Crit/morgan_1947_william carlos williams.pdf}
}

@article{naremoreImagistsFrenchGeneration1970,
  title =        {The {{Imagists}} and the {{French}} "{{Generation}} of 1900"},
  volume =       11,
  issn =         {0010-7484},
  url =          {https://www.jstor.org/stable/1207793},
  doi =          {10.2307/1207793},
  number =       3,
  journaltitle = {Contemporary Literature},
  urldate =      {2019-05-31},
  date =         1970,
  pages =        {354-374},
  author =       {Naremore, James},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Later Lit
                  Crit/naremore_1970_the imagists and the french generation of
                  1900.pdf}
}

@article{kongCinematicTechniquesModernist2005,
  title =        {Cinematic {{Techniques}} in {{Modernist Poetry}}},
  volume =       33,
  issn =         {0090-4260},
  url =          {https://www.jstor.org/stable/43797208},
  number =       1,
  journaltitle = {Literature/Film Quarterly},
  urldate =      {2019-05-31},
  date =         2005,
  pages =        {28-40},
  author =       {Kong, Ying},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Later Lit
                  Crit/kong_2005_cinematic techniques in modernist poetry.pdf}
}

@article{waldropReasonImagesOne1985,
  title =        {A {{Reason}} for {{Images}}: {{One Key}} to {{Modernism}}},
  volume =       15,
  issn =         {0047-7729},
  url =          {https://www.jstor.org/stable/3194444},
  doi =          {10.2307/3194444},
  shorttitle =   {A {{Reason}} for {{Images}}},
  number =       3,
  journaltitle = {Modern Language Studies},
  urldate =      {2019-05-31},
  date =         1985,
  pages =        {72-84},
  author =       {Waldrop, Keith},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Later Lit
                  Crit/waldrop_1985_a reason for images.pdf}
}

@article{blachowiczAnalogRepresentationMental1997,
  title =        {Analog {{Representation Beyond Mental Imagery}}},
  volume =       94,
  issn =         {0022-362X},
  url =          {https://www.jstor.org/stable/2940776},
  doi =          {10.2307/2940776},
  number =       2,
  journaltitle = {The Journal of Philosophy},
  urldate =      {2019-05-31},
  date =         1997,
  pages =        {55-84},
  author =       {Blachowicz, James},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Later Lit
                  Crit/blachowicz_1997_analog representation beyond mental
                  imagery.pdf}
}

@article{priceImageThinking1951,
  title =        {Image {{Thinking}}},
  volume =       52,
  issn =         {0066-7374},
  url =          {https://www.jstor.org/stable/4544499},
  journaltitle = {Proceedings of the Aristotelian Society},
  urldate =      {2019-05-31},
  date =         1951,
  pages =        {135-166},
  author =       {Price, H. H.},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Later Lit
                  Crit/price_1951_image thinking.pdf}
}

@article{skaffPoundImagismSurreal1985,
  title =        {Pound's {{Imagism}} and the {{Surreal}}},
  volume =       12,
  issn =         {0022-281X},
  url =          {https://www.jstor.org/stable/3831319},
  number =       2,
  journaltitle = {Journal of Modern Literature},
  urldate =      {2019-05-31},
  date =         1985,
  pages =        {185-210},
  author =       {Skaff, William},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Later Lit
                  Crit/skaff_1985_pound's imagism and the surreal.pdf}
}

@article{brandaburEzraPoundWassily1973,
  title =        {Ezra {{Pound}} and {{Wassily Kandinsky}}: {{A Language}} in
                  {{Form}} and {{Color}}},
  volume =       7,
  issn =         {0021-8510},
  url =          {https://www.jstor.org/stable/3331947},
  doi =          {10.2307/3331947},
  shorttitle =   {Ezra {{Pound}} and {{Wassily Kandinsky}}},
  number =       2,
  journaltitle = {Journal of Aesthetic Education},
  urldate =      {2019-05-31},
  date =         1973,
  pages =        {91-107},
  author =       {Brandabur, Edward},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Later Lit
                  Crit/brandabur_1973_ezra pound and wassily kandinsky.pdf}
}

@article{shepardMentalImage1978,
  title =        {The {{Mental Image}}.},
  volume =       33,
  number =       2,
  journaltitle = {American psychologist},
  date =         1978,
  pages =        125,
  author =       {Shepard, Roger N.},
  file =         {/home/jon/Dokumentujo/Papers/James Joyce/Portrait of the Artist as
                  a Young Man/Shepard_1978_The mental image.pdf}
}

@book{janssenNatureMentalImage1976,
  title =        {On the {{Nature}} of the {{Mental Image}}},
  publisher =    {{Institute for Perception TNO Soesterberg, The Netherlands}},
  date =         1976,
  author =       {Janssen, Wiel},
  file =         {/home/jon/Dokumentujo/Papers/James Joyce/Portrait of the Artist as
                  a Young Man/Janssen_1976_On the nature of the mental
                  image.pdf}
}

@article{melletReopeningMentalImagery1998,
  title =        {Reopening the {{Mental Imagery Debate}}: {{Lessons}} from
                  {{Functional Anatomy}}},
  volume =       8,
  shorttitle =   {Reopening the {{Mental Imagery Debate}}},
  number =       2,
  journaltitle = {Neuroimage},
  date =         1998,
  pages =        {129-139},
  author =       {Mellet, Emmanuel and Petit, Laurent and Mazoyer, Bernard and
                  Denis, Michael and Tzourio, Natalie},
  file =
                  {/home/jon/Zotero/storage/C55LHFMC/rd8hp6du2b.scholar.serialssolutions.com.html}
}

@article{pylyshynReturnMentalImage2003,
  title =        {Return of the {{Mental Image}}: {{Are There Really Pictures}}
                  in the {{Brain}}?},
  volume =       7,
  shorttitle =   {Return of the {{Mental Image}}},
  number =       3,
  journaltitle = {Trends in cognitive sciences},
  date =         2003,
  pages =        {113-118},
  author =       {Pylyshyn, Zenon}
}

@article{maniMentalRepresentationSpatial1982,
  title =        {The {{Mental Representation}} of {{Spatial Descriptions}}},
  volume =       10,
  number =       2,
  journaltitle = {Memory \& Cognition},
  date =         1982,
  pages =        {181-187},
  author =       {Mani, Kannan and Johnson-Laird, Philip N.},
  file =         {/home/jon/Dokumentujo/Papers/James Joyce/Portrait of the Artist as
                  a Young Man/Mani_Johnson-Laird_1982_The mental representation
                  of spatial descriptions.pdf}
}

@article{gleasonVisualExperienceImage2009,
  langid =       {english},
  title =        {The {{Visual Experience}} of {{Image Metaphor}}: {{Cognitive
                  Insights}} into {{Imagist Figures}}},
  volume =       30,
  issn =         {0333-5372},
  url =
                  {https://read.dukeupress.edu/poetics-today/article/30/3/423/20994/The-Visual-Experience-of-Image-Metaphor-Cognitive},
  doi =          {10.1215/03335372-2009-002},
  shorttitle =   {The {{Visual Experience}} of {{Image Metaphor}}},
  number =       3,
  journaltitle = {Poetics Today},
  urldate =      {2019-05-31},
  date =         {2009-09},
  pages =        {423-470},
  author =       {Gleason, Daniel W.},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/gleason_2009_the visual
                  experience of image metaphor.pdf}
}

@article{gordonStudyImageryTest1915a,
  title =        {A {{Study}} of an {{Imagery Test}}},
  volume =       12,
  issn =         {0160-9335},
  url =          {https://www.jstor.org/stable/2012741},
  doi =          {10.2307/2012741},
  number =       21,
  journaltitle = {The Journal of Philosophy, Psychology and Scientific Methods},
  urldate =      {2019-05-31},
  date =         1915,
  pages =        {574-579},
  author =       {Gordon, Kate},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Later Lit
                  Crit/gordon_1915_a study of an imagery test.pdf}
}

@article{alexanderObservationsVisualImagery1904,
  title =        {Some {{Observations}} on {{Visual Imagery}}},
  volume =       11,
  issn =         {1939-1471(Electronic),0033-295X(Print)},
  doi =          {10.1037/h0069793},
  abstract =     {Discusses the concept of visual imagery. With reference to
                  vividness, 3 grades or intensities of visual imagery have been
                  discriminated: Pictures of things or typographical images,
                  distinct images filled with substance, and richer images. They
                  may also be divided into voluntary or memory images, and
                  spontaneous and irrelevant images. Projections are images that
                  intrude upon the conscious of real space, such that sensible
                  ideas become sensation without any material alteration of
                  character and content. Images seem larger when projected on a
                  distant screen, and smaller when projected on a nearer one. In
                  dreams, objects appear to be the size of real objects, and do
                  not appear as images, but as real things. A number of factors
                  like attention, interest, and suggestion influence imagery. It
                  has been also discussed in terms of dissociation and ideal
                  synthesis. (PsycINFO Database Record (c) 2016 APA, all rights
                  reserved)},
  number =       {4-5},
  journaltitle = {Psychological Review},
  date =         1904,
  pages =        {319-337},
  keywords =     {Imagery,Attention,Dissociation,Distance
                  Perception,Memory,Visual Perception},
  author =       {Alexander, H. B.},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Later Lit
                  Crit/alexander_1904_some observations on visual imagery.pdf}
}

@book{scholesParadoxyModernism2008,
  langid =       {english},
  title =        {Paradoxy of {{Modernism}}},
  isbn =         {978-0-300-12884-0},
  abstract =     {In this lively, personal book, Robert Scholes intervenes in
                  ongoing discussions about modernism in the arts during the
                  crucial half-century from 1895 to 1945. While critics of and
                  apologists for modernism have defined modern art and
                  literature in terms of binary oppositions—high/low, old/new,
                  hard/soft, poetry/rhetoric—Scholes contends that these
                  distinctions are in fact confused and misleading. Such
                  oppositions are instances of “paradoxy”—an apparent clarity
                  that covers real confusion.Closely examining specific literary
                  texts, drawings, critical writings, and memoirs, Scholes seeks
                  to complicate the neat polar oppositions attributed to
                  modernism. He argues for the rehabilitation of works in the
                  middle ground that have been trivialized in previous
                  evaluations, and he fights orthodoxy with such paradoxes as
                  “durable fluff,” “formulaic creativity,” and “iridescent
                  mediocrity.” The book reconsiders major figures like James
                  Joyce while underscoring the value of minor figures and
                  addressing new attention to others rarely studied. It includes
                  twenty-two illustrations of the artworks discussed. Filled
                  with the observations of a personable and witty guide, this is
                  a book that opens up for a reader’s delight the rich cultural
                  terrain of modernism.},
  publisher =    {{Yale University Press}},
  date =         {2008-10},
  keywords =     {Literary Criticism / General},
  author =       {Scholes, Robert}
}

@book{brooksWellWroughtUrn1947,
  langid =       {english},
  title =        {The {{Well Wrought Urn}}: {{Studies}} in the {{Structure}} of
                  {{Poetry}}},
  isbn =         {978-0-15-695705-2},
  shorttitle =   {The {{Well Wrought Urn}}},
  abstract =     {"This book consists of detailed commentaries on ten famous
                  English poems from the Elizabethan period to the present. The
                  specific works ... are: Donne's The Canonization,
                  Shakespeare's Macbeth, Milton's L'allegro and Il penseroso,
                  Herrick's Corinna's going a-Maying, Pope's The rape of the
                  lock, Gray's Elegy written in a country churchyard,
                  Wordsworth's Ode: intimations of immortality from
                  Recollections of early childhood, Keat's Ode on a grecian urn,
                  Tennyson's Tears, idle tears, Yeats's Among school
                  children"--Cover.},
  publisher =    {{Houghton Mifflin Harcourt}},
  date =         1947,
  keywords =     {Literary Criticism / Poetry,Irish,Literary Criticism /
                  European / English,Poetry / European / English,Scottish,Welsh},
  author =       {Brooks, Cleanth and Rand, Paul},
  file =         {/home/jon/Dokumentujo/Papers/Dissertation/Period
                  Crit/brooks_rand_1947_the well wrought urn.pdf}
}

@article{valentineFunctionImagesAppreciation1923,
  langid =       {english},
  title =        {The {{Function}} of {{Images}} in the {{Appreciation}} of
                  {{Poetry}}},
  volume =       14,
  issn =         {0373-2460},
  url =
                  {https://search.proquest.com/docview/1293619276/citation/4E513FEBAF7D4D1EPQ/1},
  number =       2,
  journaltitle = {British Journal of Psychology. General Section; London, etc.},
  urldate =      {2019-06-01},
  date =         {1923-10},
  pages =        {164-191},
  keywords =     {Psychology},
  author =       {Valentine, C. W.},
  file =         {/home/jon/Dokumentujo/Papers/valentine_1923_the function of images
                  in the appreciation of poetry.pdf}
}

@collection{kennedyEkphrasticEncountersNew2019,
  langid = {english},
  location = {{Manchester}},
  title = {Ekphrastic {{Encounters}}: {{New Interdisciplinary Essays}} on {{Literature}} and the {{Visual Arts}}},
  isbn = {978-1-5261-2579-8},
  shorttitle = {Ekphrastic {{Encounters}}},
  publisher = {{Manchester University Press}},
  date = {2019},
  keywords = {Art and literature,Ekphrasis},
  editor = {Kennedy, David and Meek, Richard},
  annotation = {This book offers a comprehensive reassessment of ekphrasis: the verbal representation of visual art. Ekphrasis has been traditionally regarded as a form of paragone (competition) between word and image. This interdisciplinary collection of essays seeks to complicate this critical paradigm and proposes a more reciprocal model of ekphrasis that involves an encounter or exchange between visual and textual cultures. This critical and theoretical shift demands a new form of ekphrastic poetics, which is less concerned with representational and institutional struggles, and more concerned with ideas of ethics, affect and intersubjectivity. Ekphrastic encounters brings together leading scholars working in the field of word-and-image studies and offers a fresh exploration of ekphrastic texts from the Renaissance to the present day. Taken together, the chapters establish a new set of theoretical frameworks for exploring the ekphrastic encounter. -- Klappentext Introduction: from paragone to encounter - David Kennedy and Richard MeekPart I: Early modern encounters 1 'Lamentable objects': ekphrasis and historical materiality in Shakespeare's The Rape of Lucrece - Rachel Eisendrath2 'Fabulously counterfeit': ekphrastic encounters in Kyd's The Spanish Tragedy - Richard Meek3 'Art indeed is long, but life is short': ekphrasis and mortality in Andrew Marvell - Keith McDonald 4 'The Painter has made a finer Story than the Poet': Jonathan Richardson's ekphrastic 'Dissertation' on Poussin's Tancred and Erminia - Jason LawrencePart II: Nineteenth-century encounters 5 Blind spots of narration? Ekphrasis and Laocooen digressions in the novel - Catriona MacLeod6 The face of Beatrice Cenci - Stephen Cheeke7 Mirroring naturalism in word and image: a critical exchange between Emile Zola and Edouard Manet - Lauren S. Weingarden8 Close encounters of the third kind: Hamo Thornycroft's The Mower and Matthew Arnold's 'Thyrsis' - Jane ThomasPart III: Modern and postmodern encounters 9 An artist of the bizarre: Stanley Spencer's 'ordinary' ekphrases - Liliane Louvel 10 The graphics of ekphrastic writing: Raymond Pettibon's drawing-writing - Tilo Reifenstein 11 Ekphrasis/exscription: Jean-Luc Nancy on thinking and touching art - Johanna Malt 12 On gazers' encounters with visual art: ekphrasis, readers, 'iconotexts' - Claus Cluver Afterword - James A. W. HeffernanIndex --}
}

@book{heffernanMuseumWordsPoetics1993,
  location =     {{Chicago}},
  title =        {Museum of {{Words}} : {{The Poetics}} of {{Ekphrasis}} from
                  {{Homer}} to {{Ashbery}}},
  isbn =         {978-0-226-32313-8},
  shorttitle =   {Museum of {{Words}}},
  publisher =    {{University of Chicago Press}},
  date =         1993,
  keywords =     {Literature,History and criticism,Ekphrasis},
  author =       {Heffernan, James A. W.}
}

@book{kennedyEkphrasticEncounterContemporaryc2012,
  location =     {{Burlington, VT}},
  title =        {The {{Ekphrastic Encounter}} in {{Contemporary British
                  Poetry}} and {{Elsewhere}}},
  isbn =         {978-1-4094-1880-1},
  publisher =    {{Ashgate}},
  year =         {c2012},
  keywords =     {History and criticism,English poetry,Ekphrasis},
  author =       {Kennedy, David}
}

@collection{cammarataFictionalArtworksLiterary2016,
  location = {{Milan}},
  title = {Fictional {{Artworks}}: {{Literary Ékphrasis}} and the {{Invention}} of {{Images}}},
  isbn = {978-88-6977-058-6},
  shorttitle = {Fictional {{Artworks}}},
  abstract = {The volume is devoted to images in painting, photography and cinema invented by literature. At the same time it intends to question, through this perspective, the relationship between text and image, between verbal and visual in modern and contemporary literature. The authors involved study the mutual boundaries between literature and arts from the point of view of aesthetics, visual culture and literary theory, trying to build a map of the notional ekphrasis, a description which constitutes the work of art while telling it},
  number = {n. 2},
  series = {Literature},
  publisher = {{Mimesis International}},
  date = {2016},
  keywords = {Art and literature,Ekphrasis,Art in literature,Description (Rhetoric)},
  editor = {Cammarata, Valeria and Mignano, Valentina},
  lccn = {PN56.E45 F53 2016},
  note = {OCLC: ocn942839720},
  annotation = {At Avery

~}
}

@book{conradDescriptiveNarrativeWritingc1927,
  location =     {{New York [etc.]}},
  title =        {Descriptive and {{Narrative Writing}}, [{{Electronic
                  Resource}}]},
  publisher =    {{Houghton Mifflin Co}},
  year =         {c1927},
  keywords =     {Description (Rhetoric),Narration (Rhetoric)},
  author =       {Conrad, Lawrence H. (Lawrence Henry)}
}

@book{albrightDescriptiveWritingElectronic1924,
  location =     {{New York}},
  title =        {Descriptive {{Writing}} [{{Electronic Resource}}]},
  publisher =    {{Macmillan Co}},
  year =         {1924, c1911},
  keywords =     {English language,Rhetoric,Description (Rhetoric)},
  author =       {Albright, Evelyn May}
}

@book{baldwinSpecimensProseDescription1895,
  location =     {{New York}},
  title =        {Specimens of {{Prose Description}}},
  publisher =    {{Holt}},
  date =         1895,
  keywords =     {Description (Rhetoric),English prose literature},
  author =       {Baldwin, Charles Sears}
}

@book{DescriptionEcriturePeinture1987,
  location =     {{Groningen}},
  title =        {Description - {{Écriture}} - {{Peinture}}},
  publisher =    {{C.R.I.N.}},
  date =         1987,
  keywords =     {History and criticism,Description (Rhetoric),French fiction}
}

@book{trickettRuskinLanguageDescription1982,
  location =     {{London}},
  title =        {Ruskin and the {{Language}} of {{Description}}},
  isbn =         {978-0-900232-11-4},
  publisher =    {{English Association}},
  date =         1982,
  keywords =     {Criticism and interpretation,John,Description
                  (Rhetoric),1819-1900,Ruskin},
  author =       {Trickett, Rachel}
}

@book{hamonIntroductionAnalyseDescriptif1981,
  location =     {{Paris}},
  title =        {Introduction à l'analyse {{Du Descriptif}}},
  isbn =         {978-2-01-007289-5},
  publisher =    {{Hachette}},
  date =         1981,
  keywords =     {Description (Rhetoric),Discourse analysis,French language},
  author =       {Hamon, Philippe}
}

@book{irwinPicturingDescriptionIllusion1979,
  location =     {{Boston}},
  title =        {Picturing : {{Description}} and {{Illusion}} in the
                  {{Nineteenth}}-{{Century Novel}}},
  isbn =         {978-0-04-801021-6},
  shorttitle =   {Picturing},
  publisher =    {{Allen \& Unwin}},
  date =         1979,
  keywords =     {19th century,History and criticism,English fiction,Description
                  (Rhetoric)},
  author =       {Irwin, Michael}
}

@book{dessoirOutlinesHistoryPsychology1912,
  location =     {{New York}},
  title =        {Outlines of the {{History}} of {{Psychology}}},
  publisher =    {{The Macmillan Company}},
  date =         1912,
  keywords =     {History,Psychology,history,Outline},
  author =       {Dessoir, Max}
}

@book{thomasSexSocietyElectronic1907,
  location =     {{Chicago}},
  title =        {Sex and {{Society}}; [{{Electronic Resource}}] {{Studies}} in
                  the {{Social Psychology}} of {{Sex}}},
  publisher =    {{Univ. of Chicago Press}},
  date =         1907,
  keywords =     {Women,Psychology,Sex (Psychology),Sex differences
                  (Psychology)},
  author =       {Thomas, William Isaac}
}

@book{wheelerSciencePsychologyIntroductory1929,
  location =     {{New York}},
  title =        {The {{Science}} of {{Psychology}}; an {{Introductory Study}}},
  publisher =    {{Thomas Y. Crowell company}},
  date =         1929,
  keywords =     {Psychology,Behaviorism (Psychology),Gestalt psychology},
  author =       {Wheeler, Raymond Holder}
}

@book{leeBeautifulIntroductionPsychological1913,
  langid =       {english},
  title =        {The {{Beautiful}}: {{An Introduction}} to {{Psychological
                  Aesthetics}}},
  shorttitle =   {The {{Beautiful}}},
  publisher =    {{Universiy Press}},
  date =         1913,
  author =       {Lee, Vernon}
}

@book{kellerStoryMyLife1908,
  langid =       {english},
  title =        {The {{Story}} of {{My Life}}; with {{Her Letters}} (1887-1901)
                  and a {{Supplementary Account}} of {{Her Education}},
                  {{Including Passages}} from the {{Reports}} and {{Letters}} of
                  {{Her Teacher}}, {{Anne Mansfield Sullivan}}},
  url =          {http://archive.org/details/storyofmylifewit00kelluoft},
  abstract =     14,
  publisher =    {{New York, Doubleday}},
  urldate =      {2019-06-09},
  date =         1908,
  author =       {Keller, Helen and Sullivan, Annie},
  lccn =         {AES-1232},
  collaborator = {Gerstein - University of Toronto}
}

@collection{evansUnderstandingJamesUnderstanding2017,
  location = {{New York}},
  title = {Understanding {{James}}, {{Understanding Modernism}}},
  isbn = {978-1-5013-0274-9},
  publisher = {{Bloomsbury Academic, an imprint of Bloomsbury Publishing, Inc}},
  date = {2017},
  keywords = {Modernism (Literature),History and criticism,Influence,James,William},
  editor = {Evans, David Howell},
  file = {/home/jon/Zotero/storage/KJSWMFR3/12499230.html},
  lccn = {B945.J24 U53 2017},
  annotation = {Includes index}
}

@book{berkeleyEssayNewTheory1709,
  langid =       {english},
  title =        {An {{Essay Towards}} a {{New Theory}} of {{Vision}}},
  publisher =    {{Aaron Rhames}},
  date =         1709,
  author =       {Berkeley, George}
}

@book{beraudHeritageSymbolistesOrigines1906,
  title =        {L'héritage {{Des Symbolistes}};{{Origines}}, {{Technique}} et
                  {{Défense Du Vers Libre Français}}.},
  url =          {http://hdl.handle.net/2027/chi.16852507},
  publisher =    {{Paris,}},
  date =         1906,
  author =       {Béraud, Henri},
  file =         {/home/jon/Zotero/storage/LJ78RJ9Z/pt.html}
}

@book{marinettiEnqueteInternationaleVers1909,
  title =        {Enquête {{Internationale Sur Le Vers Libre}} et {{Manifeste Du
                  Futurisme}} /},
  url =          {http://hdl.handle.net/2027/hvd.32044011432861},
  publisher =    {{Milano :}},
  date =         1909,
  author =       {Marinetti, F. T.},
  file =         {/home/jon/Zotero/storage/PDXBIYKJ/pt.html}
}

@book{dondoVersLibreLogical1922,
  title =        {Vers {{Libre}} a {{Logical Development}} of {{French Verse}},},
  url =          {http://hdl.handle.net/2027/mdp.39015024853577},
  publisher =    {{Paris,}},
  date =         1922,
  author =       {Dondo, Mathurin Marius},
  file =         {/home/jon/Zotero/storage/97VMZIVT/pt.html}
}

@book{dujardinPremiersPoietesVers1922,
  title =        {Les {{Premiers Poıetes Du Vers Libre}}.},
  url =          {http://hdl.handle.net/2027/uc1.32106001717732},
  publisher =    {{Paris}},
  date =         1922,
  author =       {Dujardin, Edouard},
  file =         {/home/jon/Zotero/storage/AP9SSV4F/pt.html}
}

@book{kahnVersLibre1912,
  title =        {Le {{Vers Libre}} ...},
  url =          {http://hdl.handle.net/2027/mdp.39015049424636},
  publisher =    {{Paris,}},
  origdate =     1912,
  author =       {Kahn, Gustave},
  file =         {/home/jon/Zotero/storage/W6QFLW8C/pt.html}
}

@book{scottVersLibreEmergence1990,
  location =     {{New York}},
  title =        {Vers {{Libre}} : {{The Emergence}} of {{Free Verse}} in
                  {{France}}, 1886-1914},
  isbn =         {978-0-19-815159-3},
  shorttitle =   {Vers {{Libre}}},
  publisher =    {{Oxford University Press}},
  date =         1990,
  keywords =     {19th century,20th century,History and criticism,French
                  language,Free verse,French poetry,Versification},
  author =       {Scott, Clive},
  file =         {/home/jon/Zotero/storage/GY75YJ28/831446.html},
  annotation =   {[object Object]}
}

@book{joyceVictoriansRearviewMirror2007,
  location =     {{Athens}},
  title =        {The {{Victorians}} in the {{Rearview Mirror}}},
  isbn =         {978-0-8214-1761-4},
  publisher =    {{Ohio University Press}},
  date =         2007,
  keywords =     {19th century,20th century,History,Aesthetics,Modernism
                  (Literature),History and criticism,English
                  literature,Authors,Great
                  Britain,1837-1901,Civilization,English,Historiography,Literature
                  and history,Nostalgia in literature,Political and social
                  views,Social values in literature,Victoria},
  author =       {Joyce, Simon}
}

@book{pendaAestheticsIdeologyLawrence2017,
  langid =       {english},
  title =        {Aesthetics and {{Ideology}} of {{D}}. {{H}}. {{Lawrence}},
                  {{Virginia Woolf}}, and {{T}}. {{S}}. {{Eliot}}},
  isbn =         {978-1-4985-2806-1},
  abstract =     {Scrutinizing the aesthetic and ideological in the works by
                  Lawrence, Woolf, and Eliot, this book gives a different
                  perspective on Modernism and what are considered to be its
                  principal features. In that respect, fragmentation, disunity,
                  relativity of things, break with tradition, as well as the
                  depiction of life’s disorder, are disputed and seen as
                  aesthetic means for the promotion of certain
                  ideologies.Aesthetics and Ideology of D. H. Lawrence, Virginia
                  Woolf, and T. S. Eliot offers a smooth transition from general
                  discussion and revision of some fixed concepts related to
                  Modernism, through individual authors and their major works to
                  the conclusion where the main findings are summarized and
                  further explicated.Apart from dealing with Modernism in
                  general, Aesthetics and Ideology of D. H. Lawrence, Virginia
                  Woolf and T. S. Eliot presents a somewhat different view on
                  the authors it deals with. They are not only seen as opponents
                  of established religious, political, and social views, but to
                  a certain extent as their perpetrators. This duality
                  concerning their stances is reconciled by their insisting on
                  the aesthetic unity.},
  publisher =    {{Lexington Books}},
  date =         {2017-12},
  keywords =     {Irish,Literary Criticism / European / English,Scottish,Welsh},
  author =       {Penda, Petar}
}

@article{Imagination,
  langid =       {english},
  title =        {Imagination},
  url =
                  {https://www.oxfordbibliographies.com/view/document/obo-9780195396577/obo-9780195396577-0130.xml},
  doi =          {10.1093/OBO/9780195396577-0130},
  journaltitle = {Oxford Bibliographies},
  urldate =      {2019-06-12}
}

@article{pondromBookPoetsClub1973,
  langid =       {english},
  title =        {‘{{The Book}} of the {{Poets}}' {{Club}}’ and {{Pound}}'s
                  ‘{{School}} of {{Images}}’.},
  issn =         {0022281X},
  url =
                  {https://search-proquest-com.ezproxy.cul.columbia.edu/docview/2152911247?pq-origsite=summon&},
  journaltitle = {Journal of Modern Literature},
  urldate =      {2019-06-13},
  date =         1973,
  pages =        {100-2},
  keywords =     {English Literature: Twentieth Century: Authors: Pound,English
                  Literature: Twentieth Century: Poetry,Ezra},
  author =       {Pondrom, Cyrena N.},
  file =         {/home/jon/Zotero/storage/BW2DQU56/Pondrom_1973_‘The Book of
                  the Poets' Club’ and Pound's ‘School of Images’.pdf}
}

@article{weaverEgoist1915,
  title =        {The {{Egoist}}},
  volume =       2,
  url =
                  {http://modjourn.org/render.php?id=1306936031578127&view=mjp_object},
  number =       5,
  urldate =      {2019-06-14},
  date =         {1915-05},
  editor =       {Weaver, Harriet Shaw},
  file =         {/home/jon/Zotero/storage/NE5DNT9W/1915_The
                  Egoist.pdf;/home/jon/Zotero/storage/IBLFECQ9/render.html}
}

@collection{lowellImagistPoets1915,
  location = {{Boston and New York}},
  title = {Some {{Imagist Poets}}},
  url = {http://hdl.handle.net/2027/uc2.ark:/13960/t42r3wd5s},
  date = {1915},
  editor = {Lowell, Amy}
}

@book{de2011course,
  title =        {Course in {{General Linguistics}}},
  isbn =         {978-0-231-52795-8},
  url =          {https://books.google.com/books?id=ffzWX9LeeykC},
  publisher =    {{Columbia University Press}},
  date =         2011,
  author =       {de Saussure, F. and Baskin, W. and Meisel, P. and Saussy, H.},
  options =      {useprefix=true},
  lccn =         2010053912
}

@book{chow2002protestant,
  title =        {The {{Protestant Ethnic}} and the {{Spirit}} of
                  {{Capitalism}}},
  isbn =         {978-0-231-12421-8},
  url =          {https://books.google.com/books?id=Muj_GPKOcasC},
  publisher =    {{Columbia University Press}},
  date =         2002,
  author =       {Chow, R.},
  lccn =         20219492
}

@book{rorty1992linguistic,
  title =        {The {{Linguistic Turn}}: {{Essays}} in {{Philosophical
                  Method}}},
  isbn =         {978-0-226-72569-7},
  url =          {https://books.google.com/books?id=LTOaM0X6e6cC},
  publisher =    {{University of Chicago Press}},
  date =         1992,
  author =       {Rorty, R.},
  lccn =         91038851
}

@book{schotter2018hieroglyphic,
  title =        {Hieroglyphic {{Modernisms}}: {{Writing}} and {{New Media}} in
                  the {{Twentieth Century}}},
  isbn =         {978-1-4744-2479-0},
  url =          {https://books.google.com/books?id=e398DwAAQBAJ},
  publisher =    {{Edinburgh University Press}},
  date =         2018,
  author =       {Schotter, J.}
}

@article{noguchi1916,
  title =        {Seventeen-{{Syllable Hokku Poems}}},
  volume =       3,
  number =       11,
  journaltitle = {The Egoist},
  date =         {1916-11},
  pages =        175,
  author =       {Noguchi, Yone}
}

@article{apple1920,
  title =        {The {{Apple}} (of Beauty and Discord)},
  volume =       1,
  journaltitle = {The Apple (of beauty and discord)},
  date =         1920
}

@book{hayot2009chinese,
  title =        {Chinese {{Dreams}}: {{Pound}}, {{Brecht}}, {{Tel Quel}}},
  isbn =         {978-0-472-02493-3},
  url =          {https://books.google.com/books?id=ThJUVuFzV5YC},
  publisher =    {{University of Michigan Press}},
  date =         2009,
  author =       {Hayot, E.R.J.}
}

@book{kern1996orientalism,
  title =        {Orientalism, {{Modernism}}, and the {{American Poem}}},
  isbn =         {978-0-521-49613-1},
  url =          {https://books.google.com/books?id=lx5GAwEACAAJ},
  series =       {Cambridge {{Studies}} in {{American Literature}} and
                  {{Culture}}},
  publisher =    {{Cambridge University Press}},
  date =         1996,
  author =       {Kern, R.},
  lccn =         {lc95017535}
}

@book{pound2018cathay,
  title =        {Cathay: {{A Critical Edition}}},
  isbn =         {978-0-8232-8139-8},
  url =          {https://books.google.com/books?id=-L-IDwAAQBAJ},
  publisher =    {{Fordham University Press}},
  date =         2018,
  author =       {Pound, E. and Billings, T. and Bush, C. and Saussy, H.}
}

@book{noguchi1914spirit,
  title =        {The {{Spirit}} of {{Japanese Poetry}}},
  url =          {https://books.google.com/books?id=tWM7AQAAMAAJ},
  number =       {v. 2},
  series =       {The {{Spirit}} of {{Japanese Poetry}}},
  publisher =    {{J. Murray}},
  date =         1914,
  author =       {Noguchi, Y.},
  lccn =         14012863
}

@book{shaw1895sanity,
  title =        {The {{Sanity}} of {{Art}}},
  url =          {https://books.google.com/books?id=-nQEAAAAYAAJ},
  series =       {{{DHL}}/{{Shaw}} Bibliography ; No. {{A086b}}},
  publisher =    {{B. R. Tucker}},
  date =         1895,
  author =       {Shaw, B.},
  lccn =         08004586
}

@book{gibbons1973rooms,
  title =        {Rooms in the {{Darwin Hotel}}: {{Studies}} in {{English
                  Criticism}} and {{Ideas}}, 1880-1920},
  url =          {https://books.google.com/books?id=ybdivwEACAAJ},
  publisher =    {{University of Western Australia Press}},
  date =         1973,
  author =       {Gibbons, T.H.},
  lccn =         08020547
}

@book{martin1967new,
  title =        {The {{New Age}} under {{Orage}}: Chapters in {{English}}
                  Cultural History},
  url =          {https://books.google.com/books?id=mgU3AAAAIAAJ},
  publisher =    {{Manchester U.P.}},
  date =         1967,
  author =       {Martin, W.},
  lccn =         {b67023874}
}

@book{peterson1964magazines,
  title =        {Magazines in the Twentieth Century},
  url =          {https://books.google.com/books?id=hAhlAAAAMAAJ},
  publisher =    {{University of Illinois Press}},
  date =         1964,
  author =       {Peterson, T.},
  lccn =         64018668
}

@book{taylor1910leaders,
  title =        {Leaders of {{Socialism}}, {{Past}} and {{Present}}},
  url =          {https://books.google.com/books?id=KNtGAAAAIAAJ},
  publisher =    {{Duffield}},
  date =         1910,
  author =       {Taylor, G.R.S.},
  lccn =         11001956
}

@book{faxonephemeral,
  title =        {"{{Ephemeral Bibelots}}.": {{A Bibliography}} of the {{Modern
                  Chapbooks}} and {{Their Imitators}}, {{Including}} the
                  {{Short}}-Story {{Magazines}}, from {{Their First Issue}} to
                  {{May}}, 1903},
  url =          {https://books.google.com/books?id=kmD6swEACAAJ},
  author =       {Faxon, F.W.},
  years =        1903,
  lccn =         {cd37000156}
}

@book{stone2002breeding,
  title =        {Breeding {{Superman}}: {{Nietzsche}}, {{Race}} and
                  {{Eugenics}} in {{Edwardian}} and {{Interwar Britain}}},
  isbn =         {978-0-85323-997-0},
  url =          {https://books.google.com/books?id=-USctl-PAmsC},
  series =       {Liverpool {{University Press}} - {{Studies}} in {{European
                  Regional Cultures Series}}},
  publisher =    {{Liverpool University Press}},
  date =         2002,
  author =       {Stone, D.},
  lccn =         2002437898
}

@book{riffaterre1980semiotics,
  title =        {Semiotics of {{Poetry}}},
  isbn =         {978-0-416-73200-9},
  url =          {https://books.google.com/books?id=V5sOAAAAQAAJ},
  series =       {Advances in Semiotics},
  publisher =    {{Methuen}},
  date =         1980,
  author =       {Riffaterre, M.},
  lccn =         78003245
}

@book{harmer1975victory,
  title =        {Victory in {{Limbo}}: {{Imagism}}, 1908-1917},
  isbn =         {978-0-436-19110-7},
  url =          {https://books.google.com/books?id=Q_TFQgAACAAJ},
  publisher =    {{Secker \& Warburg}},
  date =         1975,
  author =       {Harmer, J.B.},
  lccn =         75316720
}

@article{brinkman2009making,
  title =        {Making {{Modern Poetry}}: {{Format}}, {{Genre}} and the
                  {{Invention}} of {{Imagism}} (e)},
  volume =       32,
  number =       2,
  journaltitle = {Journal of Modern Literature},
  date =         2009,
  pages =        {20-40},
  author =       {Brinkman, Bartholomew},
  file =
                  {/home/jon/Dokumentujo/Papers/zotero/storage/KAMLPBFG/Brinkman_2009_Making
                  Modern Poetry.pdf},
  publisher =    {{Indiana University Press}}
}

@article{macdonald1916,
  title =        {Imagist {{Poetry}}: A {{Review}}},
  volume =       24,
  url =
                  {https://babel.hathitrust.org/cgi/pt?id=uc1.b2928812;view=2up;seq=40},
  journaltitle = {Queens Quarterly},
  date =         {1916-07},
  pages =        23,
  author =       {Macdonald, J. F.}
}

@article{martin1970,
  eprinttype =   {jstor},
  eprint =       1261393,
  title =        {The {{Sources}} of the {{Imagist Aesthetic}}},
  volume =       85,
  issn =         00308129,
  number =       2,
  journaltitle = {PMLA},
  date =         1970,
  pages =        {196-204},
  author =       {Martin, Wallace},
  publisher =    {{Modern Language Association}}
}

@article{kwaw1915hokku,
  title =        {The {{Hokku}}—a {{New Verse Form}}},
  volume =       3,
  number =       5,
  journaltitle = {Vanity Fair},
  pages =        46,
  author =       {Ya, Kwaw Li}
}

@book{davies2009companion,
  title =        {A {{Companion}} to {{Aesthetics}}},
  isbn =         {978-1-4443-1042-9},
  url =          {https://books.google.com/books?id=yN8FnXwJgVAC},
  series =       {Blackwell {{Companions}} to {{Philosophy}}},
  publisher =    {{Wiley}},
  date =         2009,
  author =       {Davies, S. and Higgins, K.M. and Hopkins, R. and Stecker, R.
                  and Cooper, D.E.}
}

@book{monroe1923new,
  title =        {The {{New Poetry}}: {{An Anthology}} of {{Twentieth}}-Century
                  {{Verse}} in {{English}}},
  url =          {https://books.google.com/books?id=EkNAAAAAIAAJ},
  publisher =    {{Macmillan}},
  date =         1923,
  author =       {Monroe, H. and Henderson, A.C.},
  lccn =         23008333
}

@book{ezra1954literary,
  title =        {Literary {{Essays}} of {{Ezra Pound}}},
  isbn =         {978-0-8112-0157-5},
  url =          {https://books.google.com/books?id=uOQMlH_zYNAC},
  series =       {Literary {{Essays}} of {{Ezra Pound}}},
  publisher =    {{New Directions}},
  date =         1954,
  author =       {Ezra Pound, T.S.E. and Pound, E. and Eliot, T.S.},
  file =         {/home/jon/Dokumentujo/Papers/ezra1954literary.pdf},
  lccn =         54007905
}

@book{hamilton2014ezra,
  title =        {Ezra {{Pound}} and the {{Symbolist Inheritance}}},
  isbn =         {978-1-4008-6269-6},
  url =          {https://books.google.com/books?id=wDQABAAAQBAJ},
  series =       {Princeton {{Legacy Library}}},
  publisher =    {{Princeton University Press}},
  date =         2014,
  author =       {Hamilton, S.},
  file =         {/home/jon/Dokumentujo/Papers/hamilton2014ezra.pdf}
}

@book{beasley2007theorists,
  title =        {Theorists of {{Modernist Poetry}}: {{T}}.{{S}}. {{Eliot}},
                  {{T}}.{{E}}. {{Hulme}}, {{Ezra Pound}}},
  isbn =         {978-1-134-45139-5},
  url =          {https://books.google.com/books?id=flqBAgAAQBAJ},
  series =       {Routledge {{Critical Thinkers}}},
  publisher =    {{Taylor \& Francis}},
  date =         2007,
  author =       {Beasley, R.}
}

@book{nadel2004ezra,
  title =        {Ezra {{Pound}}: {{A Literary Life}}},
  isbn =         {978-0-230-37881-0},
  url =          {https://books.google.com/books?id=ECiGDAAAQBAJ},
  series =       {Literary {{Lives}}},
  publisher =    {{Palgrave Macmillan UK}},
  date =         2004,
  author =       {Nadel, I.},
  lccn =         2004041502
}

@book{pound1937polite,
  title =        {Polite Essays},
  url =          {https://books.google.com/books?id=e08NAQAAMAAJ},
  series =       {Essay Index Reprint Series},
  publisher =    {{Books for Libraries Press}},
  date =         1937,
  author =       {Pound, E.},
  lccn =         67022111
}

@book{lewis2010modernist,
  title =        {Modernist {{Image}}},
  isbn =         {978-1-4438-2249-7},
  url =          {https://books.google.com/books?id=IFcaBwAAQBAJ},
  series =       {{{EBSCO}} Ebook Academic Collection},
  publisher =    {{Cambridge Scholars Publisher}},
  date =         2010,
  author =       {Lewis, E.},
  file =         {/home/jon/Dokumentujo/Papers/lewis2010modernist.pdf}
}

@incollection{mcguiness2008,
  title =        {Imagism},
  isbn =         {978-1-4051-5467-3},
  url =          {https://books.google.com/books?id=erbvl47AIaIC},
  booktitle =    {A {{Companion}} to {{Modernist Literature}} and {{Culture}}},
  series =       {Blackwell {{Companions}} to {{Literature}} and {{Culture}}},
  publisher =    {{John Wiley and Sons}},
  date =         2008,
  author =       {McGuiness, Patrick},
  editor =       {David Bradshaw, Kevin J. H. Dettmar},
  file =
                  {/home/jon/Dokumentujo/Papers/zotero/storage/KDW9FJTH/McGuiness_2008_Imagism.pdf},
  lccn =         2005019721
}

@book{beasley2007ezra,
  title =        {Ezra {{Pound}} and the {{Visual Culture}} of {{Modernism}}},
  isbn =         {978-0-521-87040-5},
  url =          {https://books.google.com/books?id=BkOCtpaU2aMC},
  publisher =    {{Cambridge University Press}},
  date =         2007,
  author =       {Beasley, R.},
  lccn =         2007281313
}

@book{tryphonopoulos2005ezra,
  title =        {The {{Ezra Pound Encyclopedia}}},
  isbn =         {978-0-313-30448-4},
  url =          {https://books.google.com/books?id=ttMlqGMYCsIC},
  series =       {{{ABC}}-{{Clio}} Ebook},
  publisher =    {{Greenwood Press}},
  date =         2005,
  author =       {Tryphonopoulos, D.P. and Adams, S.},
  lccn =         2004028176
}

@book{fenollosa2009chinese,
  title =        {The {{Chinese Written Character}} as a {{Medium}} for
                  {{Poetry}}: {{A Critical Edition}}},
  isbn =         {978-0-8232-2870-6},
  url =          {https://books.google.com/books?id=P14rAH8xU9EC},
  series =       {Online Access with {{EBA}}: {{JSTOR}}},
  publisher =    {{Fordham University Press}},
  date =         2009,
  author =       {Fenollosa, E. and Pound, E. and Saussy, H. and Klein, L.},
  file =         {/home/jon/Dokumentujo/Papers/zotero/storage/8B83679Y/Fenollosa et
                  al_2009_The Chinese Written Character as a Medium for
                  Poetry.pdf}
}

@book{xie2015ezra,
  title =        {Ezra {{Pound}} and the {{Appropriation}} of {{Chinese
                  Poetry}}: {{Cathay}}, {{Translation}}, and {{Imagism}}},
  isbn =         {978-1-317-94502-4},
  url =          {https://books.google.com/books?id=Z39ACwAAQBAJ},
  series =       {Comparative {{Literature}} and {{Cultural Studies}}},
  publisher =    {{Taylor \& Francis}},
  date =         2015,
  author =       {Xie, M.}
}

@book{various2008new,
  title =        {New {{Paths Verse}}-{{Prose}}-{{Pictures}} 1917-1918},
  isbn =         {978-1-4437-7600-4},
  url =          {https://books.google.com/books?id=2NAh-fwKgEwC},
  publisher =    {{Read Books}},
  date =         2008,
  author =       {{Various}}
}

@book{aldington1916images,
  title =        {Images {{Old}} and {{New}}},
  url =          {https://books.google.com/books?id=Yb4-AAAAIAAJ},
  series =       {The Contemporary Series},
  publisher =    {{Four seas Company}},
  date =         1916,
  author =       {Aldington, R.},
  lccn =         18006796
}

@book{aldington1941life,
  title =        {Life for {{Life}}'s {{Sake}}: {{A Book}} of {{Reminiscences}}},
  url =          {https://books.google.com/books?id=XSsMAAAAMAAJ},
  publisher =    {{Viking Press}},
  date =         1941,
  author =       {Aldington, R.},
  lccn =         {nuc87537460}
}

@article{pound1913,
  eprinttype =   {jstor},
  eprint =       20569730,
  title =        {A {{Few Don}}'ts by an {{Imagiste}}},
  volume =       1,
  issn =         00322032,
  number =       6,
  journaltitle = {Poetry},
  date =         1913,
  pages =        {200-206},
  author =       {Pound, Ezra},
  publisher =    {{Poetry Foundation}}
}

@article{flint1913,
  eprinttype =   {jstor},
  eprint =       20569729,
  title =        {Imagisme},
  volume =       1,
  issn =         00322032,
  number =       6,
  journaltitle = {Poetry},
  date =         1913,
  pages =        {198-200},
  author =       {Flint, F. S.},
  file =
                  {/home/jon/Dokumentujo/Papers/zotero/storage/XGMBGGRY/Flint_1913_Imagisme.pdf},
  publisher =    {{Poetry Foundation}}
}

@incollection{aristotle1941,
  title =        {De {{Anima}} 3.7.15},
  booktitle =    {The {{Basic Works}} of {{Aristotle}}},
  publisher =    {{Random House}},
  date =         1941,
  author =       {{Aristotle}}
}

@incollection{White_2016,
  title =        {Neural {{Mechanisms}} of {{Saliency}}, {{Attention}}, and
                  {{Orienting}}},
  url =          {https://doi.org/10.1007%2F978-981-10-0213-7_1},
  booktitle =    {Computational and {{Cognitive Neuroscience}} of {{Vision}}},
  publisher =    {{Springer Singapore}},
  date =         {2016-10},
  pages =        {1-23},
  author =       {White, Brian J. and Munoz, Douglas P.},
  doi =          {10.1007/978-981-10-0213-7_1}
}

@book{levin1993modernity,
  title =        {Modernity and the {{Hegemony}} of {{Vision}}},
  isbn =         {978-0-520-07973-1},
  url =          {https://books.google.com/books?id=FXeNbyhrlooC},
  series =       {Philosophy/{{Cultural}} Studies/{{Literature}}},
  publisher =    {{University of California Press}},
  date =         1993,
  author =       {Levin, D.M.},
  lccn =         93001523
}

@article{Kintsch_1972,
  title =        {Abstract Nouns: {{Imagery}} versus Lexical Complexity},
  volume =       11,
  issn =         {0022-5371},
  url =          {http://dx.doi.org/10.1016/s0022-5371(72)80060-4},
  doi =          {10.1016/s0022-5371(72)80060-4},
  number =       1,
  journaltitle = {Journal of Verbal Learning and Verbal Behavior},
  date =         {1972-02},
  pages =        {59--65},
  author =       {Kintsch, Walter},
  publisher =    {{Elsevier BV}}
}

@article{Cohen_1976,
  title =        {Visual {{Imagery}} in {{Thought}}},
  volume =       7,
  url =          {https://doi.org/10.2307%2F468560},
  doi =          {10.2307/468560},
  number =       3,
  journaltitle = {New Literary History},
  date =         1976,
  pages =        513,
  author =       {Cohen, Gillian},
  publisher =    {{JSTOR}}
}

@incollection{Zunshine_2015,
  title =        {Theorizing {{Imagery}}, {{Aesthetics}}, and {{Doubly Directed
                  States}}},
  url =          {https://doi.org/10.1093%2Foxfordhb%2F9780199978069.013.0013},
  booktitle =    {The {{Oxford Handbook}} of {{Cognitive Literary Studies}}},
  publisher =    {{Oxford University Press}},
  date =         {2015-01},
  author =       {Zunshine, Lisa and Starr, G. Gabrielle},
  doi =          {10.1093/oxfordhb/9780199978069.013.0013}
}

@book{downey1911imaginal,
  title =        {The {{Imaginal Reaction}} to {{Poetry}}: {{The Affective}} and
                  the {{Aesthetic Judgment}}},
  url =          {https://books.google.com/books?id=7i93grnws7AC},
  series =       {University of {{Wyoming}}. {{Dept}}. of Psychology. {{Bull}}},
  publisher =    {{Laramie republican Company}},
  date =         1911,
  author =       {Downey, J.E.},
  lccn =         {miu33000275}
}

@article{frank2007layers,
  title =        {Layers of the Visual: {{Towards}} a Literary History of Visual
                  Culture},
  date =         2007,
  author =       {Frank, Gustav}
}

@book{binet1903étude,
  title =        {L'étude Expérimentale de l'intelligence},
  url =          {https://books.google.com/books?id=kJSwrR_KkwMC},
  series =       {Bibliothèque de Pédagogie et de Psychologie},
  publisher =    {{A. Costes}},
  date =         1903,
  author =       {Binet, A.},
  lccn =         {e12001253}
}

@book{betts1909distribution,
  title =        {The {{Distribution}} and {{Functions}} of {{Mental Imagery}}},
  url =          {https://books.google.com/books?id=jCgNAAAAIAAJ},
  series =       {Contributions to Education},
  publisher =    {{Teachers College, Columbia University}},
  date =         1909,
  author =       {Betts, G.H.},
  lccn =         09025433
}

@article{scarry1995vivacity,
  title =        {On Vivacity: {{The}} Difference between Daydreaming and
                  Imagining-under-Authorial-Instruction},
  number =       52,
  journaltitle = {Representations},
  date =         1995,
  pages =        {1-26},
  author =       {Scarry, Elaine},
  publisher =    {{University of California Press}}
}

@book{kosslyn2006case,
  title =        {The {{Case}} for {{Mental Imagery}}},
  isbn =         {978-0-19-972757-5},
  url =          {https://books.google.com/books?id=igi-Z_w38CUC},
  series =       {Oxford {{Psychology Series}}},
  publisher =    {{Oxford University Press}},
  date =         2006,
  author =       {Kosslyn, S.M. and Thompson, W.L. and Ganis, G.}
}

@book{schwenger1999fantasm,
  title =        {Fantasm and {{Fiction}}: {{On Textual Envisioning}}},
  isbn =         {978-0-8047-3472-1},
  url =          {https://books.google.com/books?id=48wULU-OnrYC},
  series =       {Cultural Memory in the Present},
  publisher =    {{Stanford University Press}},
  date =         1999,
  author =       {Schwenger, P.},
  lccn =         98050953
}

@book{punday2003narrative,
  title =        {Narrative {{Bodies}}: {{Toward}} a {{Corporeal Narratology}}},
  isbn =         {978-1-4039-8165-3},
  url =          {https://books.google.com/books?id=jf3FAAAAQBAJ},
  publisher =    {{Palgrave Macmillan US}},
  date =         2003,
  author =       {Punday, D.}
}

@book{auyoung2018fiction,
  title =        {When {{Fiction Feels Real}}: {{Representation}} and the
                  {{Reading Mind}}},
  isbn =         {978-0-19-084549-0},
  url =          {https://books.google.com/books?id=u_hyDwAAQBAJ},
  publisher =    {{Oxford University Press}},
  date =         2018,
  author =       {Auyoung, E.},
}

@book{denis2012imagery,
  title =        {Imagery, {{Language}} and {{Visuo}}-{{Spatial Thinking}}},
  isbn =         {978-1-135-43093-1},
  url =          {https://books.google.com/books?id=-YBvRmB2vg4C},
  series =       {Current {{Issues}} in {{Thinking}} and {{Reasoning}}},
  publisher =    {{Taylor \& Francis}},
  date =         2012,
  author =       {Denis, M. and Logie, R. and Cornoldo, C. and de Vega, M. and
                  EngelKamp, J.},
  options =      {useprefix=true}
}

@book{collins1991poetics,
  title =        {The {{Poetics}} of the {{Mind}}'s {{Eye}}: {{Literature}} and
                  the {{Psychology}} of {{Imagination}}},
  isbn =         {978-0-8122-1360-7},
  url =          {https://books.google.com/books?id=PwcnjWRVTTsC},
  publisher =    {{University of Pennsylvania Press, Incorporated}},
  date =         1991,
  author =       {Collins, C.},
  lccn =         91020561
}

@article{paivio1983mind,
  title =        {The Mind's Eye in Arts and Science},
  volume =       12,
  number =       1,
  journaltitle = {Poetics},
  date =         1983,
  pages =        {1-18},
  author =       {Paivio, Allan},
  publisher =    {{Elsevier}}
}

@book{richardson1999imagery,
  title =        {Imagery},
  isbn =         {978-0-86377-843-8},
  url =          {https://books.google.com/books?id=SC3e6WuWp50C},
  series =       {Cognitive Psychology : A Modular Course},
  publisher =    {{Psychology Press}},
  date =         1999,
  author =       {Richardson, J.T.E.},
  lccn =         99187241
}

@article{esrock2005visualisation,
  title =        {Visualisation},
  journaltitle = {David Herman/Manfred Jahn/Marie-Laure Ryan (Hg.): Routledge
                  Encyclopedia of Narrative Theory. New York},
  date =         2005,
  pages =        {633-634},
  author =       {Esrock, Ellen}
}

@book{wettlaufer2003mind,
  title =        {In the {{Mind}}'s {{Eye}}: {{The Visual Impulse}} in
                  {{Diderot}}, {{Baudelaire}} and {{Ruskin}}},
  isbn =         {978-90-420-1035-2},
  url =          {https://books.google.com/books?id=xI5ymCe5j0oC},
  series =       {Faux {{Titre Series}}},
  publisher =    {{Rodopi}},
  date =         2003,
  author =       {Wettlaufer, A.},
  lccn =         2005019299
}

@book{esrock1994reader,
  title =        {The Reader's Eye: Visual Imaging as Reader Response},
  url =          {https://books.google.com/books?id=juBkAAAAMAAJ},
  publisher =    {{Johns Hopkins University Press}},
  date =         1994,
  author =       {Esrock, E.J.},
  lccn =         {lc93025075}
}

@book{crary1992techniques,
  title =        {Techniques of the {{Observer}}: {{On Vision}} and
                  {{Modernity}} in the {{Nineteenth Century}}},
  isbn =         {978-0-262-53107-8},
  url =          {https://books.google.com/books?id=Ea6i1lKVGLkC},
  series =       {October Books},
  publisher =    {{MIT Press}},
  date =         1992,
  author =       {Crary, J.},
  lccn =         90006164
}

@book{harrow2013art,
  title =        {The {{Art}} of the {{Text}}: {{Visuality}} in {{Nineteenth}}
                  and {{Twentieth Century Literary}} and {{Other Media}}},
  isbn =         {978-0-7083-2660-2},
  url =          {https://books.google.com/books?id=136vBwAAQBAJ},
  series =       {Studies in {{Visual Culture}}},
  publisher =    {{University of Wales Press}},
  date =         2013,
  author =       {Harrow, S.R.}
}

@book{bodola2017literary,
  title =        {Literary {{Visualities}}: {{Visual Descriptions}}, {{Readerly
                  Visualisations}}, {{Textual Visibilities}}},
  isbn =         {978-3-11-037803-0},
  url =          {https://books.google.com/books?id=w3gqDwAAQBAJ},
  publisher =    {{De Gruyter}},
  date =         2017,
  author =       {Bodola, R. and Isekenmeier, G.}
}

@book{rippl2015handbook,
  title =        {Handbook of {{Intermediality}}: {{Literature}} -- {{Image}} --
                  {{Sound}} -- {{Music}}},
  isbn =         {978-3-11-031107-5},
  url =          {https://books.google.com/books?id=7OoxCgAAQBAJ},
  series =       {Handbooks of {{English}} and {{American Studies}}},
  publisher =    {{De Gruyter}},
  date =         2015,
  author =       {Rippl, G.},
  lccn =         2015022337
}

@article{brosch201518,
  title =        {18 {{Images}} in {{Narrative Literature}}: {{Cognitive
                  Experience}} and {{Iconic Moments}}},
  volume =       1,
  journaltitle = {Handbook of Intermediality: Literature--Image--Sound--Music},
  date =         2015,
  pages =        343,
  author =       {Brosch, Renate},
  publisher =    {{Walter de Gruyter GmbH \& Co KG}}
}

@book{hornby2017still,
  title =        {Still {{Modernism}}: {{Photography}}, {{Literature}},
                  {{Film}}},
  isbn =         {978-0-19-066122-9},
  url =          {https://books.google.com/books?id=yF0vDwAAQBAJ},
  publisher =    {{Oxford University Press}},
  date =         2017,
  author =       {Hornby, L.},
  lccn =         2017006842
}

@book{beeston2018and,
  title =        {In and {{Out}} of {{Sight}}: {{Modernist Writing}} and the
                  {{Photographic Unseen}}},
  isbn =         {978-0-19-069016-8},
  url =          {https://books.google.com/books?id=4cM9DwAAQBAJ},
  series =       {Modernist Literature \& Culture},
  publisher =    {{Oxford University Press}},
  date =         2018,
  author =       {Beeston, A.},
  lccn =         2017023291
}

@book{williams1970english,
  title =        {The {{English}} Novel from {{Dickens}} to {{Lawrence}}},
  url =          {https://books.google.com/books?id=KDNaAAAAMAAJ},
  series =       {Literary Criticism},
  publisher =    {{Chatto \& Windus}},
  date =         1970,
  author =       {Williams, R.},
  lccn =         75510258
}

@book{burke2010literary,
  title =        {Literary {{Reading}}, {{Cognition}} and {{Emotion}}: {{An
                  Exploration}} of the {{Oceanic Mind}}},
  isbn =         {978-1-136-89065-9},
  url =          {https://books.google.com/books?id=l7guCgAAQBAJ},
  series =       {Routledge Studies in Rhetoric and Stylistics},
  publisher =    {{Taylor \& Francis}},
  date =         2010,
  author =       {Burke, M.}
}

@book{lay1898mental,
  title =        {Mental {{Imagery}}: {{Experimentally}} and {{Subjectively
                  Considered}}},
  url =          {https://books.google.com/books?id=-v59AAAAMAAJ},
  series =       {Columbia University Contributions to Philosophy and
                  Psychology},
  publisher =    {{Macmillan}},
  date =         1898,
  author =       {Lay, W.},
  lccn =         03031955
}

@book{turnley1856language,
  title =        {The {{Language}} of the {{Eye}}: {{The Importance}} and
                  {{Dignity}} of the {{Eye}} as {{Indicative}} of {{General
                  Character}}, {{Female Beauty}}, and {{Manly Genius}}},
  url =          {https://books.google.com/books?id=4GIJxq73DHEC},
  publisher =    {{Partridge and Company}},
  date =         1856,
  author =       {Turnley, J.},
  lccn =         10032107
}

@book{iser1991act,
  title =        {The {{Act}} of {{Reading}}: {{A Theory}} of {{Aesthetic
                  Response}}},
  url =          {https://books.google.com/books?id=ek7TjwEACAAJ},
  publisher =    {{John Hopkins University Press}},
  date =         1991,
  author =       {Iser, W. and University, Johns Hopkins}
}

@article{sadoski1990,
  title =        {Imagination in {{Story Reading}}: {{The Role}} of {{Imagery}},
                  {{Verbal Recall}}, {{Story Analysis}}, and {{Processing
                  Levels}}},
  volume =       22,
  url =          {https://doi.org/10.1080/10862969009547694},
  doi =          {10.1080/10862969009547694},
  abstract =     {The spontaneous use of imagery and its relationship to free
                  verbal recall were investigated. Community college students
                  read a 2,100-word story under one of three sets of
                  instructions and then recalled the story and reported their
                  images immediately and 48 hours later. A new methodology for
                  classifying imagery reports was developed. Results indicated
                  that separate categories of imagery reports and verbal recalls
                  were not highly correlated. Principal components analysis
                  yielded factors predominated by imagery variables. Further,
                  whereas total verbal recall declined over the retention
                  interval (i.e., forgetting), imagery did not. Experimental
                  instructions to readers designed to manipulate processing
                  depth in an externally valid fashion did not result in
                  significant differences in imagery reporting and recall,
                  suggesting that a strict levels of processing view may be
                  untenable for ecologically valid reading situations. Other
                  results indicated that a significant relationship existed
                  between imaging a story segment and the story grammar
                  macro-structure of that segment, and that imagery of the
                  climactic event was the most common. This study contributes to
                  a series of studies using various texts and methodologies that
                  suggest that imagery is a distinctive aspect of reading,
                  viable for study in its own right.},
  number =       1,
  journaltitle = {Journal of Reading Behavior},
  date =         1990,
  pages =        {55-70},
  author =       {Sadoski, Mark and Goetz, Ernest T. and Arturo Olivarez, Jr.
                  and Lee, Sharon and Roberts, Nancy M.},
  eprint =       {https://doi.org/10.1080/10862969009547694}
}

@book{stockwell2012texture,
  title =        {Texture: {{A Cognitive Aesthetics}} of {{Reading}}},
  isbn =         {978-0-7486-2582-6},
  url =          {https://books.google.com/books?id=nORSgHpartoC},
  series =       {Edinburgh {{University Press Series}}},
  publisher =    {{Edinburgh University Press}},
  date =         2012,
  author =       {Stockwell, P.},
  lccn =         2012551718
}

@book{hulme1994collected,
  title =        {The {{Collected Writings}} of {{T}}.{{E}}. {{Hulme}}},
  isbn =         {978-0-19-811234-1},
  url =          {https://books.google.com/books?id=fSkKAQAAMAAJ},
  publisher =    {{Clarendon Press}},
  date =         1994,
  author =       {Hulme, T.E. and Csengeri, Karen},
  lccn =         {lc93043811}
}

@book{mcparland2014film,
  title =        {Film and {{Literary Modernism}}},
  isbn =         {978-1-4438-6644-6},
  url =          {https://books.google.com/books?id=YDkyBwAAQBAJ},
  series =       {{{EBSCO}} Ebook Academic Collection},
  publisher =    {{Cambridge Scholars Publishing}},
  date =         2014,
  author =       {McParland, R.P.},
  lccn =         2013414575
}

@book{fairchild2013color,
  title =        {Color {{Appearance Models}}},
  isbn =         {978-1-119-96703-3},
  url =          {https://books.google.com/books?id=hh3lXMJ4bDIC},
  series =       {The {{Wiley}}-{{IS}}\&{{T Series}} in {{Imaging Science}} and
                  {{Technology}}},
  publisher =    {{Wiley}},
  date =         2013,
  author =       {Fairchild, M.D.},
  lccn =         2013017473
}

@book{elliot2015handbook,
  title =        {Handbook of {{Color Psychology}}},
  isbn =         {978-1-316-39533-2},
  url =          {https://books.google.com/books?id=9I69CwAAQBAJ},
  series =       {Cambridge {{Handbooks}} in {{Psychology}}},
  publisher =    {{Cambridge University Press}},
  date =         2015,
  author =       {Elliot, A.J. and Fairchild, M.D. and Franklin, A.}
}

@book{grumbine1921psychology,
  title =        {Psychology of {{Color}}},
  url =          {https://books.google.com/books?id=9PxDAAAAYAAJ},
  publisher =    {{Order of the white rose}},
  date =         1921,
  author =       {Grumbine, J.C.F.},
  lccn =         22003487
}

@book{hughes1972imagism,
  title =        {Imagism \& the {{Imagists}}: {{A Study}} in {{Modern Poetry}}},
  isbn =         {978-0-8196-0282-4},
  url =          {https://books.google.com/books?id=UteQES0-KioC},
  publisher =    {{Biblo and Tannen}},
  date =         1972,
  author =       {Hughes, G.},
  lccn =         72007421
}

@inproceedings{breault2013soilie,
  title =        {{{SOILIE}}: {{A}} Computational Model of {{2D}} Visual
                  Imagination},
  booktitle =    {Proceedings of the 11th {{International Conference}} on
                  {{Cognitive Modeling}}, {{Ottawa}}: {{Carleton University}}},
  date =         2013,
  author =       {Breault, Vincent and Ouellet, Sébastien and Somers, Sterling
                  and Davies, Jim}
}

@inproceedings{vertolli2013visual,
  title =        {Visual Imagination in Context: {{Retrieving}} a Coherent Set
                  of Labels with {{Coherencer}}},
  booktitle =    {Proceedings of the 12th {{International Conference}} on
                  {{Cognitive Modeling}}, {{Ottawa}}: {{Carleton University}}},
  date =         2013,
  author =       {Vertolli, Michael O and Davies, Jim}
}

@book{eliot2014complete2,
  title =        {The {{Complete Prose}} of {{T}}.{{S}}. {{Eliot}}: {{The}}
                  Perfect Critic, 1919-1926},
  isbn =         {978-1-4214-1295-5},
  url =          {https://books.google.com/books?id=tBg1ngAACAAJ},
  number =       {v. 2},
  publisher =    {{Johns Hopkins University Press}},
  date =         2014,
  author =       {Eliot, T.S. and Schuchard, R. and Cuda, A. and Brooker, J.S.
                  and Dickey, F. and Formichelli, J.}
}

@book{eliot2014complete1,
  title =        {The {{Complete Prose}} of {{T}}.{{S}}. {{Eliot}}:
                  {{Apprentice}} Years, 1905-1918},
  isbn =         {978-1-4214-1294-8},
  url =          {https://books.google.com/books?id=wXyRA