photograph

photograph

The Photograph

Subé Fountain with gold statue of Winged Victory, built in 1907, Reims, France.

Introduction:

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:

Announcements:

Recently, 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.



26 April, 2017

Imre Madách's "The Tragedy of Man" and Iconic Realism


Dissonance is an avenue to creative expression for change, indicated in Imre Madách's play...

In his 1860 play, "The Tragedy of Man," Imre Madách uses iconic realism to illustrate cultural awareness of the value in humanity's ability to determine its destiny.  He questions societal expectations by moving his audience through a journey of social outcry against parochialism in his depictions of Adam, Eve and Lucifer, entangled in episodic adventures that transcend historical boundaries.

They travel to ancient Greece, Rome, Egypt, the middle ages and London, Madách’s radical, textual dissent against the provincial establishment reveals his personal truth by eliminating story line constrictions of time and space. He deliberately places Adam and Eve in these unusual settings for this couple to illustrate that the journey of self worth and independence includes the worthiness of nation and begins with the attainment of self-knowledge.

He presents Eve as the mother of humanity, with theconviction that her children will move humanity forward in their quest for true knowledge. Similarly, Madách holds onto the hope that his Hungary would develop autonomy and maintain its unique culture and language.  In his 1918 book, The Resurrection of Hungary, Arthur Griffith writes, “Ireland’s heroic and long-enduring resistances to the destruction of her independent nationality were themes the writers of Young Hungary dwelt upon to enkindle and make resolute the Magyar people” (xxiv). Griffith’s association of Ireland and Hungary illustrates that artists living within the parochial constraints of both of these countries use the power of a dissonant pen to motivate.