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"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)"

29 August, 2024

The Great Escape movie and Iconic Realism


The Great Escape movie poster from 'Duck Duck Go' Images

I was channel surfing the other day and landed on The Great Escape, a 1963 film directed by John Sturges. I couldn't help but notice that this film illustrates the semiotic theory of iconic realism in that the audience perceives icons of both freedom and constraint through the character representations of the Allied prisoners of WWII and the German gestapo. 

As the film progresses with bucolic settings that also provide a perception of freedom, only to be constrained by the Nazi forces, the viewer becomes poignantly aware of freedom and its multiple forms of limitation. In the end, those characters who are still alive, question their need for physical freedom from the p.o.w. camp as they learn to appreciate their spiritual, intellectual, and emotional autonomy. 

 

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