Rodin's "The Kiss" and Iconic Realism

Photo of Rodin's The Kiss from Google Images

August Rodin’s The Kiss illustrates an iconic human act of a loving embrace. However, the two individuals do not touch. The significance of this is the key to understanding the iconic realism in this work of art. These two lovers emulate a common, human activity, yet this embrace, sculpted to express lack of physical contact, creates certain dissonance. 

The message from this careful configuration could be that humanity longs to embrace life fully, as an act of love; however, certain parameters prevent this occurrence. Other possible interpretations may involve a sense of detachment. Regardless of the interpretation, this sculpture exemplifies iconic realism in that there is an iconic structure, placed in a realistic setting that does not conform to the accepting reality of intimacy. Through this juxtaposition, the artist illustrates cultural liberty, an innovation for the era in which it was sculpted.

James Joyce's Ulysses Character, Molly Bloom, and Iconic Realism

The Character of Molly Bloom in James Joyce's Ulysses

I took this photo of actors in Dublin on a June 16th, re-enacting James Joyce's Ulysses.

In James Joyce's Ulysses, he illustrates the semiotic theory of iconic realism through the character, Molly Bloom, placing her in 1904 Dublin, to inform his reading public that there is a need for cultural transformation regarding English Common Law. 

Below is an excerpt from my book on this example of the semiotic theory of iconic realism, pages 93-94. 

Those who have read the final chapter of Ulysses will recognize my added little tribute, which is not in my book. Yes 

 

Yes, James 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. This law states that ‘a husband was responsible…for the behavior and ‘discipline’ of his wife and had the right, for due cause, to chastise his wife with a stick as thick as the thumb.’^[1] Because Joyce grew up amid this turbulent gender reconfiguration during the late nineteenth century, the residue of the strict, Victorian regulations of female behavior appear within his characterizations. Molly is exotic, born of a British lieutenant and a Spanish Jewess and has a normal childhood, which is highly unlikely, as this type of mixed marriage is not one, which would have survived well in the late nineteenth century. 

 

Yes, she moves to the mainland Ireland, where she meets and marries a man who is Irish-Hungarian. Joyce places Molly’s birthday on the same day as the Virgin Mary’s recognized birth date by the Catholic Church, September 8. However, Molly becomes the antitheses of the Virgin Mary, pure of sin, for she is powerful in her earthly relationships and lacks the spiritual elevation associated with the Blessed Mother. Obviously, no matter how hard he tries, Joyce cannot dissociate himself from the teachings of his Catholic faith. Several times during her soliloquy, Molly references Catholic traditions, such as saying the ‘Hail Mary’ prayer.

 

Yes, Joyce illustrates iconic realism through the character of Molly as a female representative of the defiant nature of an Ireland in the growing industrial age. She embodies the elements of Victorian womanhood: beauty, talent, motherhood, faith, struggle, and even scandal, yet she also explores the social and emotional complexities with which women must deal during this era. Indeed, Joyce’s depiction of iconic Molly Bloom, placed in an iconic Dublin, Ireland of 1904, brings attention to his audience of the need for cultural change. Yes

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^[1] Henke, Suzette and Elain Unkeless (eds), Women in Joyce (Chicago: University of Illinois Press, 1982). p. 120.

 

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.)

Two Candles Burning

The following poem is the poetic version of the Introduction to a collection of short stories that I will finish writing...one day...

How does this explain iconic realism? Well, I was sitting in a church, watching two candles that people lit for a specific purpose, and I noticed how these candles seemed to take on the characteristics of playful humans. The candles were iconic representations of human need, sharing an inanimate form of delight in a setting that was meant to be solemn and prayerful. This activity, in turn, captured my attention, brought me immediately to my knees, and lifted my heart to furtively pray for the two people who lit those wicks hours before I arrived.   

 

Two Candles Burning

 

Two candles burn

dripping wax

in a molten dance

of devotion and delight

caressing the air,

amusing, antagonizing

in mischievous coalition.

Flames pulsate

in a zephyr's wave

like birds with fluttering,

flickering wings 

entwine mid-air.

Two guests, having left the pews

leave with their prayers 

still swirling through the air.

Imploring with solicitude

as the reflective waxen fervor

blends with my own petitions,  

I kneel and add their hopes to mine.

 

© Jeanne I. Lakatos

 

Natural Order and Iconic Realism

I took this photo in Coole Park, County Galway, Ireland

If one were to gaze upon the photograph I have posted above, a sense of equality exists within the natural balance of the trees' trunks, for they vividly reflect the underground root system, the source of their immensely visual structures; yet, each tree is uniquely exposed by a natural Order. 

This illustrates the existence of iconic realism in the natural world in that it is unusual to see a tree's trunk and branches specifically revealing the source of its power. Usually, one would have to dig beneath the surface to see this, but as I walked beneath the branches of these enormous Irish evergreens, I could almost feel the life force surging from the unseen root systems below my feet.

What does this reveal in a cultural sense? Those leaders that become the most powerful, whether in government, business, education, or the arts, acknowledge the source of their power exists within the individuals who contribute to the root of their successful endeavors, originating from that which flourishes from below the surface, "endowed by their Creator..."  

Longfellow's "Evangeline" and Iconic Realism ("Evangeline" de Longfellow et realism emblématique) (Click onto this title to hear the song, Evangeline, sung by Annie Blanchard en français)

Photo from Google Images

August 18th is National Couples Day, so I decided to bring back my favorite narrative poem, Evangeline, written by Henry Wadsworth Longfellow. He beautifully illustrates the theory of iconic realism, for he writes of an iconic love between two Acadian villagers, separated by imperialistic orders of the British military.

As the two lovers set off on their lifelong quest, each alone, yet jointly searching through the American wilderness with hope of an eventual reunion, the audience becomes aware of diminishing cultures across this vast continent as one community gains control over another with little regard for cultural tolerance. In the final stanza of this epic poem, Longfellow illustrates that a culture, like love, may go through changes, but with God's gift of human perseverance, both a culture and love will prevail:

Still stands the forest primeval; but far away from its shadow, 

Side by side, in their nameless graves, the lovers are sleeping. 

Under the humble walls of the little Catholic churchyard, 

In the heart of the city, they lie, unknown and unnoticed; 

Daily the tides of life go ebbing and flowing beside them, 

Thousands of throbbing hearts, where theirs are at rest and forever, 

Thousands of aching brains, where theirs no longer are busy, 

Thousands of toiling hands, where theirs have ceased from their labors, 

Thousands of weary feet, where theirs have completed their journey! 

Still stands the forest primeval; but under the shade of its branches 

Dwells another race, with other customs and language. 

Only along the shore of the mournful and misty Atlantic 

Linger a few Acadian peasants, whose fathers from exile 

Wandered back to their native land to die in its bosom; 

In the fisherman's cot the wheel and the loom are still busy; 

Maidens still wear their Norman caps and their kirtles of homespun, 

And by the evening fire repeat Evangeline's story, 

While from its rocky caverns the deep-voiced, neighboring ocean 

Speaks, and in accents disconsolate answers the wail of the forest.

(Longfellow, Evangeline, Part II, Canto V)