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The Photograph

"Now may the Lord of peace himself give you peace at all times in every way. The Lord be with you all." (2 Thessalonians 3:16)
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Introduction:

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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:

I have demonstrated or will demonstrate the application of this theory at the following locations:

2023-25: I am writing my third book on iconic realism.

April 2022: American Conference for Irish Studies, virtual event: (This paper did not discuss Sydney Owenson.) "It’s in the Air: James Joyce’s Demonstration of Cognitive Dissonance through Iconic Realism in His Novel, Ulysses"

October, 2021: Sacred Heart University, Fairfield, CT: "Sydney Owenson’s use of sociolinguistics and iconic realism to defend marginalized communities in 19th century Ireland"

March, 2021: Lenoir-Rhyne University, Hickory, North Carolina: "Sydney Owenson (Lady Morgan): A Nineteenth Century Advocate for Positive Change through Creative Vision"

October, 2019: Elms College, Chicopee, Massachusetts: "A Declaration of Independence: Dissolving Sociolinguistic Borders in the Literature of Sydney Owenson (Lady Morgan)"

18 July, 2024

Dante Alighieri's "Paradiso" and Iconic Realism




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Dante Alighieri's final book of The Divine Comedy is Paradiso. In this book, he demonstrates the theory of iconic realism in that he aligns the spirit of the beloved Beatrice with the true wisdom of God, yet he simultaneously illustrates the need for humanity to acknowledge the glorious virtues found within the constraints of human interaction. 

CANTO IV, lines 28-39: The souls exist as projections of their truest light, the light that shines directly from God, which is their 'true home' whereas in lines 72-81, what the Pilgrim cannot learn directly must be taught him through a suffering analogy involving the senses, human physiological experience. This contradicts the earlier lines that indicate truth as intangible and experienced only through one's own enlightenment from God. 

The human will does not enjoy freedom to move of his own accord; he acts in response to the intensity of individual motivation. When perfect balance exists between two motives, the will is deprived of its power to move, and becomes paralyzed. A paradox that remains is humanity needs to interact with others but resists the risk of reaching out to God to help us take effective action. The result is apathy. 

CANTO IV
Lines 28-39:
Choose the most God-like of the Seraphim---     
    take Moses, or Samuel, or take either John, 
    or even Mary--- not one is nearer Him,                 30

nor holds his seat atop the blessed spheres
    in any heaven apart from those you saw; 
    nor has his being more or fewer years.

All add their beauty to the Highest Wheat, 
    share the sweet life, and vary n it only                   35
    by how much of the Eternal Breath they feel.

They showed themselves here not because this post
    has been assigned them, but to symbolize
    that they stand lowest in the Heavenly host.

Lines 72-81: 
" --If violence, to begin,
     occurs when those who suffer its abuse
     contribute nothing to what forces them, 
     then these should have no claim to that excuse.   75

For the will, if it will not, cannot be spent,
     but does as nature does within a flame
     a thousand or ten thousand winds have bent.       

If it yields of itself, even in the least, 
     Then it assists the violence -- as did these            80
     who could have gone back to their holy feast. 

from: The Divine Comedy by Dante Alighieri
Translated by John Ciardi 
New American Library, 2003