121 | Dan Disney, Jessica L. Wilkinson and Cassandra Atherton ‘bending in all directions everywhere’: 1 a juddering, glimpsing, eidólonging of poets. Dan Disney, Jessica L. Wilkinson and Cassandra Atherton Dan Disney’s collections of poetry include either, Orpheus (UWA Publishing, 2016) and Report from a border (with John Warwicker; Light Trap Press, 2016). He currently teaches in the English Literature Program at Sogang University, Seoul. Jessica L. Wilkinson is Senior Lecturer at RMIT University and the founding editor of Rabbit: a journal for noniction poetry. She is author of Marionette: A Biography of Miss Marion Davies (2012) and Suite for Percy Grainger (2014). Cassandra Atherton is Associate Professor of Writing and Literature at Deakin University and was a Harvard Visiting Scholar (2016). Her most recent collections are Exhumed (2015), Trace (2015) and Pika-Don (forthcoming). introduction/ 서론 Deriving from the Ancient Greek etymons eîdos (‘form’) and eídō (‘to see’), the modern term ‘eidólon’ transmutes into English in two interconnected ways: an eidólon can either be an idealised person or thing, or a spectre or phantom. In poetry, the term is often associated with Walt Whitman’s poem of the same name, included in his ‘Inscriptions’ section of the 1881–82 edition of Leaves of Grass. In this apocryphal text, stanzas repeatedly conclude on the word ‘eidólon’ as if the repetitions are one means (semantic satiation) by which to challenge connections between signiied and signiier. The American transcendentalist’s poem ofers ‘a theory about how a poet should handle, or mediate, form and materiality’ (Cohen 1), and the eidólon remains paradoxical for Whitman, a ‘spiritual image of the immaterial’ which ‘seeks to demonstrate the incompleteness Walt Whitman, ‘Eidólons’ [. . .] the substance of an artist’s mood or savan’s studies long. . ./ To fashion his eidólon