Sligo Abbey, Ireland

The Photograph

A cup o' coffee on a snowy January morning


My photo
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:


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

13 August, 2011

Gary Russo, NYC Construction Worker, and Iconic Realism (Click this title to view Mr. Russo singing.)

photo from Google Images

Those who visit any major construction site in Manhattan instantly become aware of the resilience that is needed to persevere in rebuilding an area of the world with millions of eyes attending to every detail. Cameras installed at the Ground Zero construction site monitor every movement of the rebuilding process there. These multi-sensory experiences in lower Manhattan: the cacophony from construction crews, visual monitors and the many artistic renderings of the human reaction to the process of rebuilding, all create a living example of the semiotic theory of iconic realism.

In particular, one construction worker at the 2nd Avenue subway site demonstrates this theory. His name is Gary Russo, and he has made it his mission to bring awareness of the beauty of music right in the midst of the barrage of sound associated with the machines involved in this subway construction. Passersby experience his crooning with recorded big band musical accompaniment, and soon their sensory bombardment is melodically soothed with the songs of the musical icon, Frank Sinatra.  

       Iconic representation of art within any community develops from that community’s awareness of the connection between artist endeavor and human consciousness. When the community understands that each artist is contributing to the possible transformation of consciousness, fresh ideas offer the possibility for growth in the potential for change.

16 June, 2011

James Joyce's Ulysses and Iconic Realism: Molly Bloom

Ha'Penny Bridge: Photo taken May, 2011

To celebrate Bloomsday (June 16th)below is an excerpt from a chapter, which I contributed to the book entitled, Breaking the Mould: Literary Representation of Irish Catholicism in Literature: 

James Joyce illustrates iconic realism by means of Victorian feminine perceptions throughout Molly Bloom’s soliloquy in the final chapter of his epic tale, Ulysses. Using stream of consciousness in a manner unparalleled at this novel’s publication, Joyce leads his audience to the entrance of the sphere of Molly’s mind, taking the reader to every crevice of her feminine consciousness. Joyce defies the social stigma of women during this era as he interweaves Molly Bloom’s expression of a unique feminine point of view.

Through Molly’s voice, he seeks answers to his own challenge with a feminine defiance of human weakness. The Ireland in which James Joyce lives is in the midst of revolution. As Joyce leaves his ancestral home, he allows his own genius to flourish. He sees the result of the male world’s design for women and seeks to illuminate the world with its significance. His personal associations with women frame the female portrait of Molly Bloom, as he places Molly in the midst of the Victorian era, with its focus on proper placement of gender roles, customs and even nations, carries the burden of living with this regimented philosophical point of view.

Joyce designs the person of Molly to reveal traits that originate from conventional Victorian male ideas of how a woman should act or think. Joyce writes Molly as one whose actions have a tendency to focus upon her sexual desires. Molly, like Ireland, is a contradiction of human spirit. On one hand, she is independent, wild, yet she depends on the ruler of her heart for identity. Nevertheless, Joyce uses outspoken behavior by Molly to reveal his personal hopeful desire for Ireland, one that seeks to declare independence from the established English Common law.

Jeanne I. Lakatos 2010