Sydney Owenson (Lady Morgan): "Woman and Her Master"

From my paper, presented at the Southern American Conference for Irish Studies Regional Meeting, 2021:

The substance of my second book aligns my semiotic theory of iconic realism with the philosophical framework of the 19th century Irish author and poet, Sydney Owenson (Lady Morgan). Regarding creative expression, writers such as Sydney Owenson have had the opportunity to incorporate human experience in their art by tapping into the consciousness of humanity on multiple sensory levels. In her 1840 book, Woman and Her Master, Owenson makes the following observation: 

The acquirement of a physical elevation, in expanding the sphere of vision, and opening new and vast regions to the sense, obscures and diminishes the individual details comprehended in its grasp; so that intellectual and moral elevation, which has opened to the mind’s eye the wider fields of scientific research and of social combination, has caused the relative value of the smaller facts presented to its apprehension to be either overlooked, or mistaken. (WHM, p. 15)

Owenson’s writing demonstrates my semiotic theory of iconic realism as a means to enlighten her readers to the possibilities of making positive change happen with their own lives and possibly those within their communities by linking the sensory paths of consciousness with appropriate and positive action. She incorporates the Romantic concept of nature’s influence on humanity’s intellectual actions while she introduces the reality of political and societal constraints through her characters’ struggles with self-awareness. Through this conflict, Owenson personifies the dichotomous nature of glory in which her birth nation struggles with true autonomy and its native glór [1] to be heard.

[1] Glor is the Irish term for sound, voice.

Semiotic Theory of Iconic Realism: Definition and Illustration of Jesus the Christ

Below is my theory of iconic realism. 

I will bring it up to the front page periodically for reference purposes. 

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 dissonance between these two entities is the catalyst that generates enlightenment of a cultural dilemma.

An example of iconic realism would be as follows:

An artist places an image of Jesus the Christ, or a representation of this icon of the Christian Faith in the midst of a shopping mall on a Sunday afternoon, an aspect of the real world. The placement of Jesus in this setting would generate enlightenment of a cultural dilemma, reviving a new consciousness that exists within the public's cognitive dissonance of Christianity and a secular activity (shopping in the mall) that focuses on the reality of materialism, which becomes prevalent during this particular time in historically busy holiday season. 

Touchdown Jesus 

@ University of Notre Dame, Indiana, U.S.A.

'60 Minutes' Story on Homeless Families and Iconic Realism

Map showing percentage of homeless families across the U.S.A. from:  http://cflhomeless.files.wordpress.com/2010/06/florida-map.jpg

The weekly television program, "60 Minutes," once aired a story examining the background of a few homeless families near Disney World in Orlando, Florida. This media production was an excellent example of iconic realism. Situated in central Florida, Disney World's theme has been "The happiest place on the planet." However, just a few miles down the road from the fantasy land dwelt the harsh reality of the declining U.S. economy. Families had to make the painful decision to move into hotels that would normally be housing temporary visitors of the vacation capital. Now, these hotels have become 'home' for the many families.

The iconic theme park juxtaposed to this American tragedy brings awareness of the cultural need for United States citizens to creatively invent ways to help these neighbors return to their jobs or begin new ones in an effort to experience their inalienable rights, outlined in the Declaration of Independence: "life, liberty and the pursuit of happiness."

The 'Garbage Man' and Iconic Realism

 The 'Garbage Man' cometh.

The 'Garbage Man' taketh away!

Congratulations President Donald J. Trump,

45th and 47th President of the United States of America!

Photo from Google Images and Fox News

How is this photo an example of iconic realism? A duly elected President of the United States of America and those who supported him were labeled 'garbage' by the current President Joe Biden. The garbage man is an iconic figure in that we see garbage men working diligently and collecting trash every week. However, to see the former President (and now President-elect) sitting in the garbage truck with his name on it is an image not expected. This image sets forth a message to those who attempt to insult President Donald Trump and his supporters: It won't work! Common sense will prevail. 

Again, Congratulations President Donald J. Trump. 

May God's Blessings be with you and our country. 

Arthur Miller's 'The Crucible' and Iconic Realism

http://z.hubpages.com/u/234410_f260.jpg

From my book: 

In Arthur Miller’s play, The Crucible, characterization takes place within the parameters of a seventeenth century New England village. Yet, the message that Miller is sending to his audience parallels the political ramifications of the anti-communist hearings in the United States, when fear of communism heavily influenced the psychological landscape. He creates a series of events that illustrate iconic realism through his use of lighting, characterization and dialogue. As each member of the town accused of witchcraft is called to trial, the lighting and stage presence illuminates the audience to the author’s intention. Written in 1953, shortly after the anti-communist hearings, known as the House Committee on Un-American Activities,[1] each character could depict some facet of the House Committee’s representation, for actions by the House committee resembled those of the drama’s magistrates. 

 

The setting of the play is a seventeenth century New England village, during a time when actual witch hunts did take place. Miller admits to changing a few names and facts regarding the characters, “This play is not history in the sense in which the word is used by the academic historian… However... the reader will discover here the essential nature of one of the strangest...chapters in human history.”[2] Thus, Miller chooses a tale of human interaction to demonstrate his sincere concern for the cultural future of the United States and humanity in general.

I wonder... Have some current politicians and media anchors read this play?  Somehow, I think not. 

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[1] Carr, Robert K. “The Un-American Committee.” The University of Chicago Law Review. 18.3 (Spring, 1951) 598-633.

[2] Miller, Arthur. The Crucible. (New York: Penguin Books, 1976) 2.

Sydney Owenson's Writing and Iconic Realism: Spiritual Connection Between Humanity and Natural Law

An excerpt from my book: 

Owenson acknowledges the spiritual connection between humanity and natural law, a common theme occurring in Goethe’s works. In one of his conversations with Johann Peter Eckermann, he explains:

Freedom consists not in refusing to recognize anything above us, but in respecting something which is above us; for, by respecting it, we raise ourselves to it, and, by our very acknowledgment, prove that we bear within ourselves what is higher, and are worthy to be on a level with it. [1]

Owenson, then, incorporates the Romantic concept of nature’s influence on humanity’s intellectual actions while she introduces the reality of political and societal constraints through many of her characters’ struggles with self-awareness. Through this conflict, Owenson personifies the dichotomous nature of glory in which her birth nation struggles with true autonomy and its native glór (voice) to be heard. Owenson’s romantic, graceful style of writing demonstrates iconic realism through the interactions of her characters as she awakens her society to effective conflict resolution that begins with the self.

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[1] Johann Goethe, quoted in Conversations of Goethe with Johann Peter Eckermann, translated by John Oxennford, edited by J.K. Moorhead (New York: Da Capo Press, 1998), p. 157.