Definition of the Semiotic Theory of Iconic Realism

Note: Occasionally, I post this to let any reader know what my semiotic theory actually is. Hope this brings some clarity for you. Cheers! 

Definition of the Semiotic Theory of Iconic Realism

by Jeanne I. Lakatos

Realism comprises authentic and independent aspects of the natural world, which individuals comprehend through sensory perception. The term icon describes a realistic person or realistic object, categorically perceived by a population as representative of a specific human activity or an object that bears significance to human activity. Iconic realism, then, involves the placement of an icon within the midst of a unique realistic setting, out of place for this particular icon, creating a static coalescence of the icon with the designated realism. Since both the icon and the realistic setting represent an aspect of the culture, the resulting friction between these two entities is the catalyst that generates enlightenment of a cultural dilemma. 

I used visual examples of iconic realism as the cover photos for my books, pictured below.
(Book #3 is forthcoming.)

James Joyce's Ulysses and Iconic Realism: Molly Bloom

Ha'Penny Bridge, Dublin, Ireland

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 with a particular 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

Sydney Owenson: 'The Life and Times of Salvator Rosa,' Independence, and Education

The Resurrected Christ by Salvator Rosa

Courtesy of Google Art

From my book, Innovations in Rhetoric in the Writings of Sydney Owenson (Lady Morgan), p. 231

Sydney Owenson (Lady Morgan), a voice representing independent consciousness, does not discriminate between various forms of aristocratic domination and the voice of the common person. Where knowledge and awareness are concerned, she reveals her perspective of the truth as she illustrates in the following passage from her biographical sketch, The Life and Times of Salvator Rosa:

Knowledge, which is supremacy as long only as it is a monopoly, was then the exclusive possession of the clergy; and the intellectual disparity, which existed between the many and the few, long continued to be the instrument of delusions, of which ignorance inevitably becomes the dupe and the victim. (Owenson, The Life and Times of Salvator Rosa, p. 2)

Her purpose for writing evolves from her focus on bringing awareness of the global and historical significance of Ireland to a philosophical focus on the dissemination of knowledge to all thinking individuals. In the above passage, she points out an ‘intellectual disparity’ which exists between those who have been taught through intensive educational programs and, consequently, then use that education as an “instrument of delusion.” 

Even though she presents Rosa in a discrete manner, Owenson reveals her disdain for any totalitarian control over the human spirit, be it religious or governmental. She remains devoted to the concept of independent and critical thinking as the way for humanity to advance to an  elevated consciousness. Thus, her biography of Salvator Rosa is a statement on the evolution of human culture and the possibilities that exist when human beings utilize the knowledge they gain (educational experiences) in a positive way to enlighten others. 

Spiritual Linguistics

 

Photo from DuckDuckGo Images

Spiritual Linguistics

I've given workshops in what I've termed, Spiritual Linguistics. My definition of Spiritual Linguistics follows: Spiritual is that which we cannot see, but we feel in our hearts. Linguistics is the study of language spoken or read, which can be viewed and analyzed. Language is a system of arbitrary symbols formed to express a thought for the purpose of communication between two or more individuals. 

Each of us can use our faithful awareness of our individual spirituality to communicate a sense of Divinity to others. This, in turn, will assist those we encounter to fulfill their purpose. If we each are responsible for our own spiritual contribution to daily conversations, deferent communication will occur.

Below, highlighted in green, are terms that you might consider. Take some time to carefully examine the semantics (the meanings) behind the highlighted terms as you recite this prayer, given to us by our Lord and Savior, Jesus Christ.

The Lord’s Prayer

Our Father, who art in Heaven

hallowed be thy name.

Thy Kingdom come, Thine Will be done

on earth as it is in Heaven.

Give us this day, our daily bread

and forgive us our debts

as we forgive our debtors

and lead us not into temptation

but deliver us from evil,

for Thine is the kingdom, the power and the glory,

now and forever.

Amen.

"The Field of Dreams" and Iconic Realism

Photo of Derek Jeter, formerly of the NY Yankees, from Google Images

From my book, page 57: 

An example of iconic realism in a film would be the baseball field within the 1989 film, Field of Dreams, based on the novel written by W. P. Kinsella and the screenplay written and directed by Phil Alden Robinson. Throughout the film, the audience knows that the mysterious baseball diamond, carved out of an Iowan cornfield by farmer Ray Kinsella, connects with the sport of baseball. Two iconic factors are present, the sport, which many view as America’s heart and the location, which is the heartland of America.

The realism is the actual grass, the parameters of the field, which consist of the edge of a cornfield and the players, themselves, which are the Chicago Black Socks, a team which had gone through a series of legalities during its prime season. The baseball players are ghosts from this infamous team, who simply wish to play out eternity on a ball field. As the plot unfolds, Ray’s true reason to construct the field revolves around ‘having a catch’ with his father. Therefore, the iconic feature of an authentic baseball field, placed in the middle of a cornfield in Iowa, a very unlikely place for a baseball field, elicits the cultural awareness from the main character. Ray’s illusions of his father were detached from a realistic understanding of his father’s passion, for he very much like Ray, himself, was a hardworking young man, who loved baseball.

Therefore, Robinson’s use of iconic realism in the Field of Dreams illustrates a personal mission of opening the consciousness of America to the conflict within the heart of its people and traditions. The use of illusion and human consciousness illuminate the struggle with personal motivation that produces results as stated repeatedly throughout the film, “If you build it, he will come.” This feature of iconic realism in the Field of Dreams adapts well to contemporary statements of community in iconic characterizations and the realistic dynamics of connection and detachment.