The Semiotic Theory of Iconic Realism: Understanding the Arts through Cultural Context
© Dr. Jeanne I. Lakatos, Ph.D.
Introduction:

- Dr. Jeanne Iris
- 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
Announcements:
05 April, 2025
Century Mountain Project and Iconic Realism
04 April, 2025
Arthur Miller's 'The Crucible' and Iconic Realism
From my book:
In Arthur Miller’s play, The Crucible, characterization takes place within the parameters of a seventeenth century New England village. Yet, the message that Miller is sending to his audience parallels the political ramifications of the anti-communist hearings in the United States, when fear of communism heavily influenced the psychological landscape. He creates a series of events that illustrate iconic realism through his use of lighting, characterization and dialogue. As each member of the town accused of witchcraft is called to trial, the lighting and stage presence illuminates the audience to the author’s intention. Written in 1953, shortly after the anti-communist hearings, known as the House Committee on Un-American Activities,[1] each character could depict some facet of the House Committee’s representation, for actions by the House committee resembled those of the drama’s magistrates.
The setting of the play is a seventeenth century New England village, during a time when actual witch hunts did take place. Miller admits to changing a few names and facts regarding the characters, “This play is not history in the sense in which the word is used by the academic historian… However... the reader will discover here the essential nature of one of the strangest...chapters in human history.”[2] Thus, Miller chooses a tale of human interaction to demonstrate his sincere concern for the cultural future of the United States and humanity in general.
I wonder... Have some current politicians and media anchors read this play? Somehow, I think not.
03 April, 2025
'Hellelil and Hildebrand, Meeting on the Turret Stairs' by F. W. Burton and Iconic Realism
painting by Frederic William Burton
Frederic William Burton was born in County Clare, Ireland in 1816. In his painting, Hellelil and Hildebrand, Meeting on the Turret Stairs, Burton depicts the medieval Danish ballad of two lovers, Helleilil and Hildebrand, a princess and a soldier, who meet in secret for a final embrace. Here, Burton illustrates iconic realism in this richly hued watercolor as he places Helleilil in iconic royal blue with her back facing the audience. He links the arm of the soldier, dressed in a foreshadowing red, with that of the princess. Both heads held low, Burton intertwines the two lovers on a turret staircase. We cannot see which way they are moving, almost as if time has been stilled in this embrace. We would normally not see this kind of meeting represented with such vivid hue, but with iconic realism, this blatant use of color brings awareness to the audience of a possible disconnect between the aristocracy and military.