Sydney Owenson's, Florence Macarthy, and Iconic Realism through Patriotic Rhetoric

From my second book and presentation at the American Conference for Irish Studies: 

Sydney Owenson (Lady Morgan) embarks on another adventure of writing a national tale centered on the title character of her novel, Florence Macarthy, A National Tale. In 1818, Irish government is now firmly established as one emanating from British rule. The British have just lost another war with the Americans, and with that loss, have endured a reduction of pride. France is in the process of rebuilding its own government, so Ireland is in a position whereby discussions with the British may be able to develop in regaining possible individual rights within the law. Owenson seizes this opportunity to enlighten her reading audience with a renewed spirit of empowerment. However, she also needs to increase her book sales among those with the economic means, so she relies on her usual technique of expressing a revolutionary consciousness through her characters’ dialogues and actions.  

Owenson sees this as an opportunity to reach into the mind-sets of the Irish and the English through the linguistic arrangement within her tales that correlate with both the Irish and British readers. She has a current reading audience now, so she uses this forum of writing national tales to demonstrate the fortitude needed to realize revolutionary reform. In her 1818 novel, Owenson’s title character, Florence Macarthy, addresses a Marquis of Dunore and boldly states: 

I never will call you my lord, till the day of judgment; that is, till all’s proved; and your lordship, the great Marquis of Dunore (which you are at the blessed moment), taking possession of your castle; for fortune, though she be portrayed to stand upon a rolling stone, as being flighty by nature, yet for the most part she helpeth such as be of courageous mind, and valiant stomach. – Did not Thomyris the Scythian queen, and the collateral ancestor of the Macarthies, by her great spirit, with a few hundred followers, bate Cyrus intirely, with many thousands? And did not --, but I will not bother your lordship with needless tediousness, only just will defy the world, from this day out, to prove that I care a testoon for you. (F.M. p. 200)

Owenson clearly demonstrates a courageous stance in the lexicon she chooses her character to use here.  The bold statement, “I never will call you my lord,” emphasizes dissolution of the feudal state, yet it focuses on the necessity for individuals to state their claims of autonomy. Furthermore, she alludes to Thomyris, the Scythian queen, to authenticate her point of view, illustrating the strength within her bloodline. In her decorous conclusion of this passage, Owenson announces through her character, “I will not bother your lordship with needless tediousness…”, utilising the use of negative phraseology, ‘will not bother’ and “needless tediousness,” along with the equally negative, yet bold verb, ‘defy’ to express very politely her defiance juxtaposed with national pride. 

This novel embodies the determination of a patriot who refuses to allow any governing entity total control over its free-thinking populace. As she moves her characters through the novel, they become stronger in their fortitude to withstand any societal or political pressures, and they overcome any weaknesses through their united allegiance to the ability of each individual to express her or himself in a way that moves humanity forward to positive transformation.  Thus, Owenson transforms her own consciousness by releasing through her characters’ dialogue and actions any anxiety, which her contemporaries may inflict in their critique of her nationalistic penchant.

Harriet Tubman and Iconic Realism

                                                                      (Photos from Google Images)

Harriet Tubman, aka "Moses of the Underground Railroad"

Harriet S. Tubman: Born Araminta Ross, c. March 1822, Dorchester County, Maryland, U.S.A. Died: March 10, 1913 in Auburn, New York, U.S.A.

During the early nineteenth century, when slavery was prevalent in the southern United States, a woman named Harriet Tubman had actually escaped to the north via the “Underground Railroad.” She decided to do something to help the enslaved individuals find freedom in the northern states and even further north in Canada and earned the title of "Moses" of the Underground Railroad. Eventually, she worked as an agent for the Union during the Civil War. (American Biography Channel)

Harriet Tubman illustrates the theory of iconic realism in that she was a former slave, physically weakened by the actions of a former slave owner, yet she rose above her horrific circumstances to become a woman on whom many relied to make their way to freedom. Not only that, but the actual government that established the Fugitive Slave Law of 1793, ended up hiring her as an agent for the Union Army during the American Civil War. 

Here, we have an iconic figure, placing herself in an environment not usually associated with such a woman, placed in that precarious environment in order to bring about a cultural transformation. In this case, that would be freedom for the enslaved. The most current recognition of this amazing woman is that it has been proposed to have her image representing the United States of America on the new 2030 dollar bill, but at this writing, I'm not sure if that will occur or not. 

Click on the link below to view a short biography of Mrs. Harriet Tubman:

https://www.youtube.com/watch?v=XmsNGrkbHm4

National Tales and Iconic Realism: Sydney Owenson (Lady Morgan) and James Joyce

 

Sydney Owenson (Lady Morgan) and James Joyce (photos from DuckDuckGo Images)

The Abstract for my paper, presented at the American Conference for Irish Studies, Boston, MA:  

Both Sydney Owenson and James Joyce illustrate my semiotic theory of iconic realism in their depictions of the strength of women from 1819 to 2026. Sydney Owenson’s unique methodology of creating romance out of stagnation in her national tales educates other women in their struggle for autonomy by bringing awareness of cultural disparity in the mid-nineteenth century. She motivates her readers to consider an innovative approach to the nineteenth century male and female dynamic by using specific rhetorical configurations to create discourse between her characters. 

Likewise, James Joyce illustrates parochial dissonance by means of Victorian feminine perceptions throughout Molly Bloom’s soliloquy in the final chapter of his epic tale, Ulysses. Using stream of consciousness, Joyce leads his audience to the entrance of the sphere of Molly’s mind, taking the reader to every crevice of her feminine consciousness, defying the social stigma of women during this era through Molly Bloom’s expression of unique feminine defiance of human weakness. 

Thus, Owenson’s national characters and Joyce’s Molly Bloom could be analogous to a linguistic duet that resonates with the harmonics of psychological and cultural discovery through the experience of historical dissonance. They place their iconic characterizations in situations that may have seemed outrageous to their first readers, ah, but not to the twenty-first century’s enlightened consciousness. 

Tyree Guyton's 'Heidelberg Project' and Iconic Realism (Click this title to view more information)

Tyree Guyton, photo from Google Images

Soles of Detroit photo from Google Images

A while ago, I was channel surfing and happened upon a series of shows on the Green Planet channel entitled, "Detroit in Overdrive." Well, having been born and raised through my 14th year of life in the fine Metro Detroit area, I just had to watch these shows. And they brought tears to my eyes. One particular story, which focused on Tyree Guyton's Heidelberg Project, immediately struck me, for it was a perfect demonstration of iconic realism. Thank you, Tyree! 

Mr. Guyton has assembled a collection of iconic items that many people had discarded, including houses in his neighborhood. He applied his artistic talent to breathe life into the objects while simultaneously illustrated to those blessed with viewing this project with an awareness of possibility. He has turned blight into right! His juxtaposition of trash turned into art, in the midst of a forgotten and neglected neighborhood, demonstrates the cultural renaissance that is taking place in Detroit through the creative perseverance of dedicated individuals. 

Another fascinating aspect of this project centers on shoes. Mr. Guyton has collected shoes of all shapes and sizes, restored and newly painted by the members of the community. He has arranged those works of art in the middle of a street, providing his audience with an awareness of Detroit's restored soles as a visual testimony of the soulful restoration that occurs when dedication to the creativity and energy of a community transforms that community's heart and vitality. God bless you, Tyree Guyton! Onward!

Image of Jesus in My Maple Tree and Iconic Realism

I took this photo this past Thursday. 

If you look at the very bottom center, you will also see a natural, etched cross. 

Each morning, as I sip my cup of coffee and look out my living room window, I am blessed with this image of Jesus, pointing upward, divinely etched in the trunk of a maple tree. Sometimes, He is more difficult to see at first, but His appearance always comes through eventually. Isn't that just like Him, though? Whenever we struggle through life, we don't always feel the presence of our Lord until we step back, ponder, and realize that He has been with us all along, guiding, sharing, and comforting. 

How does this reveal the semiotic theory of iconic realism? 

1. We have an iconic, etched image of Jesus, the Christ.

2. His image has been etched by God (or Nature if you like) on the trunk of a maple tree, not the usual placement of such an image. 

3. He is present there to remind my family, friends, and me that He is always with us, even when our troubled, bewildered minds fail to recognize His beloved, peaceful presence.