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The Photograph

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Introduction:

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Current: Danbury, CT, United States
Welcome! A few years ago, I discovered an application that artists employ in their works to bring cultural awareness to their audiences. Having discerned this semiotic theory that applies to literature, music, art, film, and the media, I have devoted the blog, "Theory of Iconic Realism" to explore this theory. The link to the publisher of my book is below. If you or your university would like a copy of this book for your library or if you would like to review it for a scholarly journal, please contact the Edwin Mellen Press at the link listed below. Looking forward to hearing from you!

Thank you for visiting. I hope you will find the information insightful. ~ Dr. Jeanne Iris
To view my page on the Edwin Mellen Press website, please click below:

Announcements:

I have demonstrated or will demonstrate the application of this theory at the following locations:
April, 2016 @ University of Notre Dame:
A 'Daughter of Attila' Speaks: The Semiotic Theory of Iconic Realism in the Cultural Identity of Irish Celts and Magyars
November, 2016 @ Massachusetts Maritime Academy:
"A Terrible Beauty is Born"...The Semiotic Theory of Iconic Realism and William Butler Yeats' poem, Easter 1916
November 2017 @ Georgetown University:
Harmony of the Spheres and the Semiotic Theory of Iconic Realism in Sydney Owenson's Epistolary Tale, The Wild Irish Girl

Dates pending: I will present the theory of iconic realism at universities and art institutes which have purchased my book.



12 January, 2010

Feeling and Realism in Artistic Expression (Click here to view an example of art and reality.)

Artistic choice enables the audience to experience an historical and emotional bond with the artist. For example, if pleasure and pain are derived through the senses, then the realism with which an artist chooses to place an iconic representation will provide the audience and the artist a certain amount of sensory stimuli to which the audience responds in the experience of receiving the artistic renderings into its consciousness (Lakatos 39). 


In the example of Bill Shannon's "Crutch", he explains the varying responsive communication between artist and audience.