In this post -structuralist ethos, with the shift towards the context rather than the text, ‘construction’ in representation has assumed a special significance. With the advent of the theories of social constructionism during the early 1980s, the entire field of ‘representation’ might be seen as context -driven where discourses the authors/narrators subscribe to, take precedence. From day to day speech to scholarly enunciations of diverse fields of knowledge, these discourses mediate in the ‘construction’ of meaning for the recipients. The building blocks of these discourses are the signs/codes employed in the ‘representation’ of these discourses. The present paper is concerned with the semiotic analysis of select Imagist poems where ‘images’ operate as signs/codes that go on to ‘construct’ a specific and distinctive ‘reading’ for the readers of these poems. This employment of ‘images’ is related t o the discursive structures of early modernism prevailing during the first decades of the twentieth century in European literature. Select discursive blocks of this period as ‘reaction to the preceding Victorian floridness ’, ‘the First World War ’ and ‘the City’ is taken up for semiotic analysis in this paper