Jeanne d'Arc and Iconic Realism

        

                    

                                                                                     Jeanne d'Arc's Death at the Stake,                                    

                                       by Hermann Stilke (1803–1860)                            

For All Saints Day, I present to you my patron saint, Jeanne D'Arc. I've chosen this painting to illustrate iconic realism. Images merge within this painting of Jeanne d’Arc to provide an interpretation that represents the presence of hope that humanity, with all its industry, will recognize the value in the temporal nature of innocence. Interpretation of this work of art may include a variety of perspectives to complement the number of viewers of the specific art. At this moment of perception, then, the artist and the viewer become collaborators. 

     Once this cognitive collaboration between artist and viewer occurs, the cultural interpretation begins to transform into a collection of new perspectives, based on the historicity of the viewers. New perceptions of a creative work shape newly actualized interpretations of the original work of art, which eventually become accepted interpretations by a community. Once the community recognizes these interpretations, the iconic becomes a reality.

     Through the establishment of an iconic figure within the mind-set of the community, an artist can then place this icon in a new reality that the community does not accept as the normal setting for this iconic figure. This placement allows the artist to make a statement that brings awareness to the community’s consciousness of an aspect within its culture that may need some attention. Jeanne d'Arc illustrated iconic realism in that she was a woman dressed in armor as a medieval man would be, leading French armies for God. In this role, she was able to win freedom for France even though it cost her life. Thus, warring for freedom led to her own spiritual freedom.  

Walt Disney's 'Fantasia: Night on Bald Mountain, Ave Maria, and Iconic Realism

When the Walt Disney studios created the classic film, Fantasia, I wonder if they knew that future generations would be able to view their artistry via the technology of today. This scene directly follows "Night on Bald Mountain" where satanic forces pervade this same space. In the "Ave Maria" segment, the Disney artists have drawn realistic scenes of a pre-dawn woodland. The fervor of the night transforms into a peaceful daylight, conveyed through Franz Schubert's "Ave Maria" and a silent parade of 'saintly' images carrying torches. The placement of these individuals passing through this fertile woodland illustrates that humanity finds enlightened strength in an inner peace.

 Click here to view video of Disney's 'Ave Maria' from "Fantasia"

(Photo from Disney film, Fantasia, Google Images)

Click here to view Disney's "Fantasia" Final Chapter, Part 2 (Night on Bald Mountain) 

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 1951 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 and freedom of speech within 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.

Inspiration and Iconic Realism in Reims, France

Once, as a member of the choir at my Church, I had the privilege of seeing the reaction of the congregation to the priest's homily. The way this poem illustrates iconic realism is that we have a real individual, sitting in the iconic Catholic Mass, listening to the rhetoric of a priest; however, the spirit comes not from the dogmatic words of the priest's mind, but from another spiritual source within that reality and thus illustrates that the mind, heart, soul connection rests within individuals, given to each person by God. Their inner response to relevant awareness can move consciousness in a positive direction, fulfilling their God-given purpose. 

The photograph is one which I took at the Cathedral de Notre Dame in Reims, France. It illustrates iconic realism and my poem below, too. There, an iconic statue and one refurbished, standing side by side, reveal enlightenment through art. Through this restorative project, talent reveals beauty in a cathedral, where souls are restored daily. 

Inspiration

Her eyes met those

of the congregation

bound 

by sententious words 

from a pallid pen

failing to touch

her heart or mind or soul.

So she breathed, 

inhaled the Spirit

who whispered to her,

“You are whole and wonderful.

Follow Him: our Lord and Savior."

Exhaling a slow smile,

she sang a silent, restorative hymn,

a renaissance de le cœur.

© Jeanne I. Lakatos 

If you'd like to hear me read this, please click HERE. 

Semiotic Themes: Apples

Painting: Rafal Olbinski's Apple Trees

Fallen Apple

The fallen apple,

ripe with ardor,

drops from provisional support

and rolls into fertile mire

of fecundity, ignominy.

It’ll not rot in isolation,  

for through benevolence, 

right action will thrive.

© Jeanne I. Lakatos

From my first book: 

A musical composition contains a specific theme. This theme can then repeat every time a musician performs the piece. However, the theme will elicit variations based on instrumentation, acoustics, and musicians actively attempting to recreate the original sound. A new aurally thematic expression results from this interpretation. 

Likewise, a work of art will receive the eyes of multiple viewers. Each person adapts his/her life experience to the interpretation of the rendered artistic theme, thus altering the original thematic construct of the artist. Hence, a theme is in a constant state of evolution, no matter which art form has been presented (Lakatos 20).

How do these representations of themes demonstrate Iconic Realism? In both Olbinski's painting and my poem above, the representation is apples, both artistic expressions reveal the idea of an apple, a healthy fresh fruit, juxtaposed with a more negative depiction of this fruit: fallen. Yet, both expressions illustrate that it's not the apple's doing that leads to the fallen nature and inevitable end; it's the decisions made by the individuals surrounding those apples that bring the audience to an understanding that through benevolence, one can move forward to activate positive change. 

Hans Christian Andersen's "The Ugly Duckling" and Iconic Realism

Photo of two swans, canoodling on East Lake, Danbury, CT

One of my favorite childhood tales is Hans Christian Andersen's "The Ugly Duckling." In this tale, he introduces the concept of tolerance by the placement of the animal kingdom's icon of grace, the swan, in a home of ducklings, known for awkwardness. The young swan is completely out of place in this environment. Here, Andersen uses iconic realism in this way: 

1. He illustrates through the placement of a swan in the midst of the duck family that one may experience cruelty and humiliation. 

2. However, when one looks inward and sees God's child returning the gaze...

3. One can realize individual truth, and therefore, discover possibilities associated with self growth, and make decisions based on talents, skills, knowledge, and individual purpose.  

(Click HERE to view Danny Kaye singing about this tale.)

Iconic realism in Salvador Dali's Art

Salvador Dali's  Melting Clocks 

(from DuckDuckGo Images)

As you gaze upon the art by Salvador Dali, you will note that he uses iconic realism in most of his surrealistic renderings. He will place a recognizable figure in a position in which this figure is not expected to exist. In his own words, he describes these objects as "...nothing more than the soft, extravagant, solitary, paranoiac-critical Camembert cheese of space and time... Hard or soft, what difference does it make! As long as they tell time accurately..." Through his placement of the figure in this unrealistic setting, he creates a realism that brings awareness of an aspect of culture that needs to be reformed, perhaps, our perception of time and how we use it.  

Artistic Reception and Iconic Realism: Graffiti

Artistic Reception of the semiotic theory of iconic realism: 

1. The concept of meaning incorporates various levels of audience responses, directed by the artist, who uses literary, artistic, or musical design as a means to reach the audience’s sensory receptors. 

2. These develop into individual interpretations of a work of art and a deeper understanding of the conceptual elements. 

3. Variations of interpretation result from the reader, viewer, or listener who responds to the material from disparate, historical, or social experience. 

4. Thus, the function of semiotic representation is the reflection of the society in which both the artist and the audience reside.

5. When an artist places an icon in a realistic, non-standard setting, the audience takes note, participating with the artist in a way that introduces  awareness of the need for cultural reform. This application is what I have termed, Iconic Realism.

All of above photos from Google Images

Graffiti is an excellent example of iconic realism.  Here, you will see some examples of graffiti found around New York City. If you look closely, you will notice the juxtaposition of iconic ideals with cynicism, reflecting a mind-set present in an inner city truth, painted on the exterior walls of buildings in one of the world's most significant cities, New York City, New York. These art renderings bring into focus significant dichotomies within our society. 

Riders of the MetroNorth train pass by such examples of graffiti on a daily basis, look out their windows, and subconsciously receive these forms of transformative art. This occurs not only in New York City, but globally. 

                                            

Literary Resonance, Revolution, and Iconic Realism in Sydney Owenson's novel, _The Wild Irish Girl_

Photo from insert of the 1888 publication of The Wild Irish Girl by Sydney Owenson

Iconic realism intones throughout Sydney Owenson’s national tale, The Wild Irish Girl, written from a unique and insightful cultural point of view shortly after the British Act of Union 1801.

Sydney Owenson engages in the construction of iconic realism through her interface with the concept of literary harmony elicited from the initial resonance of Irish revolution. She creates characters as iconic representatives of the mind-set existing in her historical reality. They speak in their native Irish Gaeilge in opposition to standard English, leading her audiences to literally hear a recognizable semblance of truth. This truth can then become a basis for future writers to harmonize with the transitioning, historical significance of human consciousness.

Such resonance, which distinguishes between intense reality and strength of the human spirit through iconic realism, echoes within Owenson’s novel. By means of her characters and their circumstances following the British Act of Union 1801, Owenson demonstrates the necessity for humankind to relate to one another on a realistic rather than a symbolic level. 

Music Therapy and Iconic Realism

The Eastern Meadowlark

photo from DuckDuckGo Images

Whales from the Tennessee Maritime Museum

Google Images

Click the titles below to hear examples of this kind of therapeutic music:

1. The Lark Ascending by Ralph Vaughan Williams: 

2. Songs of Whales and Dolphins (This is a long video, 1 hour, 17 minutes)

As the mind correlates all sensation with memory, restful auditory stimulation, so closely connected with the synapses of the cerebral cortex, can transport an individual to the aspect of memory that lowers respiration, allowing for calm, deep breathing, and individual focus on the natural processes within a calm state of mind. How does this relate to the semiotic theory of iconic realism? This form of music therapy, aiding in the rejuvenation of an individual’s respiration and peace of mind, can also open one's mind to move in a more positive direction in one's own life experience. 

Another example exists in the vocal expressions of whales singing under the depths of the ocean. This has been used by environmentalists to bring attention to the plight of aquatic species of animals. This use of whales, when placed in accompaniment within a contemporary musical environment outside the parameters of the ocean depths, is an example of iconic realism. In such a case, the aural experience of the sea echoing on shore provides the audience with a dichotomy that brings awareness to the dilemma of the whales and their neighbors in the deep sea. 

Image of Jesus in My Maple Tree and Iconic Realism

I took this photo one gray, winter day. 

If you look at the very bottom center, you will also see a natural, etched cross. 

Each morning, as I sip my cup of coffee and look out my living room window, I am blessed with this image of Jesus, divinely etched in the trunk of a maple tree. Sometimes, He is more difficult to see at first, but His appearance always comes through eventually. Isn't that just like Him, though? Whenever we struggle through life, we don't always feel the presence of our Lord until we step back, ponder, and realize that He has been with us all along, guiding, sharing, and comforting. 

How does this reveal the semiotic theory of iconic realism? 

1. We have an iconic, etched image of Jesus, the Christ.

2. His image has been etched by God (or Nature if you like) on the trunk of a maple tree, not the usual placement of such an image. 

3. He is present there to remind my family, friends, and me that He is always with us, even when our troubled, bewildered minds fail to recognize His beloved, peaceful presence. 

Anne Cleary and Dennis Connolly, Video Artists and Iconic Realism

Anne Cleary and Dennis Connolly

Photo from Google Images

This is a segment from a presentation that I was in the midst of presenting at a New England Conference for Irish Studies. However, I came down with the Norovirus. Ugh! What a horrible virus!  Anyway, I had to leave the room very quickly, unable to complete my presentation. Thus, here 'tis: 

Anne Cleary and Dennis Connolly are partners in life and have lived in Dublin, Ireland and Paris, France. They collaborate to create video art. Their films are dependent on audience interaction, with their audiences inclusive of common individuals ranging in ages from young children to older adults. This artistic team illustrate the iconic human act of moving through Dublin, Ireland or any metropolis. However, many of the individuals do not connect with each other. The significance of this is the key to understanding the iconic realism in this work of art. 

These individuals emulate a common, human activity, yet this act, captured by the videographers’ observing eye to express lack of physical contact, creates certain dissonance. The message from this careful configuration of a ubiquitous eye and common human activity could be that humanity longs to embrace life fully; however, certain parameters prevent this occurrence. Other possible interpretations may involve a sense of detachment. Regardless of the interpretation, these artists exemplify iconic realism in that there is an iconic structure, the human eye behind a camera, placed in a realistic setting that does not conform to the accepting reality of intimacy. Through this juxtaposition, the artists illustrate cultural liberation through video images, an innovation in this current age of reality viewing. 

To view a brief example of their video art, click HERE. 

Iconic realism in Music

Click the image above to hear ambient music with nature sounds

From my book, p. 77: 

A community will associate specific meaning with a sound, connecting interpretation with cultural significance. Continued and consistent associations with sound sources create iconic structures within the musical compositions of the community. These structures originate from musical instruments including the human voice, sounds of the environment, or synthesized sound sources, each source signifying a specific aspect of a community’s culture. 

A composer incorporates the semiotic theory of iconic realism through placement of the established iconic structure in a new, realistic setting, not traditional for such an iconic structure. The created dissonance alerts the listening audience to a new association, bringing awareness to a cultural dilemma represented by this innovative musical construct.  

Since music is an aural art form, the structure which music contains depends on two parameters: time and space. Sound waves travel through space within a specific time frame. Musical composition consists of metrical patterns, rhythm, arrangement of pitch variations conveyed through instrumentation and notation of musical dynamics changing the speed and intensity of those pitches. A composer determines the amount of time and space needed to express her/his art within these parameters. The semiotic component of music is most present in the genre of opera, in which music aligns with narration aurally and kinesthetically. 

The listener is an active participant in the musical flow, assimilating the sensory stimuli received from the sound source with the tonal information of the musical composition as well as the visual stimulation of the stage presentation. In this sense, the composers, the musicians and the audience collaborate albeit in an autonomous manner, forming an interpretation. 

Iconic realism in music involves the sounds of nature, outer space or any object not associated with a musical instrument, that has been synthesized with traditional musical instruments of an orchestra, jazz group, or contemporary musical group. The juxtaposition of the natural or tech sounds with the orchestral music illustrates an aspect of cultural reform, as established by the composer of the musical piece. 

We hear this kind of musical juxtaposition in many of the spa-like pieces that incorporate the sounds of wolves, birds, frogs with ambient, meditation music. Click the image above to hear an example from YouTube. 

Iconic Realism through Cognitive Dissonance in James Joyce's Ulysses

A view of Dublin from the top floor of the Guinness Factory

An excerpt from a paper I presented at an American Conference for Irish Studies:

Throughout his novel, Ulysses, James Joyce illustrates iconic realism through cognitive dissonance by means of language that contains semantic components directly correlating with his characters and their settings. In turn, the readers interpret those linguistic features according to knowledge of the language and manner in which the semantic elements align with their personal experience. 

As Joyce pens this novel, the world around him deals with the repercussions of World War I, and the general reaction is one of stalwart patriotism to culture. Joyce acknowledges this through his resonating dissonance between characters devoted to traditional elements within the Irish community and those attached to more dissonant coexistences, eventually leading to Bloom realizing the isolation in his own life. 

An example is through examination of linguistic and structural patterns employed by Joyce, through a distinctive, realistic element, the human act of breathing. Considering that Ulysses was once banned by libraries in the United States, and as recently as just a few years ago, clear breathing in public places has been banned due to mask mandates during the covid pandemic, a conscientious reader just might find release from the stifling, cognitive dissonance while reading through Joyce’s realistic representation of the aromatic Dublin travels of Leopold Bloom. One needs only to read the gaseous lines from this novel to imagine the dissonance of Joyce’s mind and Bloom’s physicality. 

However, Leopold Bloom also experiences personal and religious revelations through each inhaling and expelling of air. One such vivid example is in the chapter, entitled, Aeolus. Here, Joyce uses the heaving air of a pompous society’s fickle response to Bloom’s Jewish culture. In this chapter, we are introduced to various comparisons between Jesus Christ, Stephen Daedalus, and Bloom: their dissonant placements in their individual societies and how each has dealt with these discrepancies. Joyce describes the editor as having a ‘scarlet beaked face,’ a ‘comb of feathery hair’ and a harsh voice, similar to that of a cock crowing, once again referring to the Biblical reference of Peter rejecting Christ on the morning of his crucifixion (Blamires 49). Such reflections illustrate the iconic realism that Joyce incorporates in this novel, as he uses these iconic images within Bloom’s mind, occasionally audibly articulated by Bloom, but mostly present only in his mind, to bring the audience in alignment with the dissonance present in Bloom’s, and Joyce’s, Dublin. 

Sydney Owenson's National Tales: Politics and Iconic Realism

The O'Briens and the O'Flahertys by Sydney Owenson (Lady Morgan)

Photo from Google Images

An amazing coincidence exists in the writings of Sydney Owenson and current political possibilities.  

From my book, pages 116-117: 

Owenson utilizes dialectal variations in her national tales, aligning her personal philosophy with both her British and Irish reading audiences. In her national tale, The O’Briens and the O’Flahertys, she incorporates French, Italian and Latin in the dialogue between aristocratic parties, such as Lady Knocklofty, creating a linguistic image of a tray of fondant-covered 'treats, sweet.' Yet, conversations with O’Brien entail elongated monologues that bear some resemblance to political pamphlets, as her character espouses his political determination: 

Now that the whole world is in movement, that nations are alive to their own interests, and reflect on their own affairs, the education, which the public gives to itself, absorbs and neutralizes the instruction prepared for it by governments and hierarchies, whenever the results of both do not coincide. Open or secret, the confederacy to govern by misleading must fail…To govern the age in which we live, ambitious spirits must place themselves at its head; and to control opinion, they must advance it. (The O’Briens and O’Flahertys, p. 233)

Here, she conveys the historicity of her own background as she converses with the audience through her characters’ intellectual dialogue, bringing her readers into the heated debates of issues, which deal primarily with the human struggle for order, dignity, and self-expression. 

Owenson echoes these thoughts in many of her works through the use of iconic realism, placing her characters in iconic roles, and creating situations in which they must interact contrary to the common perception of these individual roles. Often, her aristocratic characters contend with hardships felt by the common man and woman. Through utilizing coping strategies not normally associated with aristocrats, these characters then learn that their cultural differences can evolve into tolerance. Even their linguistic disparity develops into a semiotic inclusion that Owenson employs to bring about enlightened cultural interpretation and eventual coalescence.

To hear me read this, please click HERE.

Celt and Magyar and Iconic Realism: Part Three (Jewelry and Weaponry)

An audience interprets visual and tactile arts by incorporating the artistic components of color, form, line and texture. Each of these elements could be an iconic representation in that a community establishes a specific association with the art component. Over time, this component represents an aspect of the culture, which establishes the association. An iconic figure originally part of the mindset of a community can be placed in a new reality that the community does not accept as the normal setting for this iconic figure. This placement brings awareness to the community’s consciousness of an aspect within its culture that may need some attention. 

For instance, recent evidence has been unearthed which contains common signs and symbols in the weaponry and jewelry found in archaeological sites from both the Celtic and the Magyar regions of ancient Europe. The visual arrangements of these commonplace associations within the framework of jewelry and weaponry comprise iconic figures within a new reality, thus creating an example of iconic realism.

Below, you will see images of a few archaeological finds from these regions that contain similar artistic configurations. (See images below.) 

Jewelry and Weaponry found at the Celtic Cemetery at Ménfőcsanak, Hungary

For more information, see the article below:

https://akjournals.com/view/journals/072/71/2/article-p443.xml

To wrap up this three-part series, through the use of the semiotic theory of iconic realism, artists shape the consciousness of various aspects of culture, including education, history, business, and aesthetics whereby their works of art combine an iconic figure with a realistic setting that communicates an incompatibility with the accepted environment in which the audience commonly associates the iconic figure. Understanding the language presented through the art form, be it literary, visual or aural, the audience may even respond with an emotional resistance, as it perceives the iconic representation in this new realistic setting. Once this resistance occurs, the opportunity exists for the audience to consider a change of thought that may need to take place.

 

Celt and Magyar Connection and Iconic Realism: Part Two (Music)

       

                                        Celtic Uillean Pipes                                               Hungarian Duda
                                                                      (Both photos from 'Duck Duck Go' images)

A piece of music can contain iconic structures within the two variables of musical arrangement, dynamics and instrumentation. A melody contains structure in the form of rhythm, meter and pitch, arranged in various degrees of intensity.  Often, a particular arrangement will reflect the culture of a community, for example, an Irish jig or a Hungarian czardas. Eventually, this becomes an iconic structure, representing the entire culture. When one hears an Irish jig or Hungarian czardas, usually an image of the corresponding culture comes to mind, making this musical piece iconic. Both the czardas and the jig are forms of folk dances. Personally, I learned how to do the czardas as a child, attending many a wedding celebration. 

The Hungarian pitches and frequencies follow the same structure as the songs associated with the Celtic musical experience, which later had become the Hungarian czardas and Irish jig. Another common musical link between the Irish and the Hungarian is the bagpipe. In Hungary, it’s called the duda, the bag is made from goat’s skin and the instrument usually has a carved goat’s head as the chanter; in Ireland, it is the Uilleann pipes. According to historian, Winnie Czulinski: 

The Hungarian bagpipe…was rescued from near distinction by classical composers Zoltán Kodály and Béla Bartók. Look for bagpipes, too, in just about any of the other lands the ancient Celts deflowered and defamed, from Poland to Macedonia to Sicily. The most multicultural pipes of all may be the Eryri pipes, made by Goat Industries in North Wales, that manage to combine Scottish, Irish, Hungarian and Bulgarian ideas.[1]

                           https://www.youtube.com/watch?v=dq3m_R3Lnu4 

                            (Irish Uilleann pipes) 

                            https://youtu.be/PITLPH-Yq3E?feature=shared 

                            (Hungarian duda)

The realism aspect of this example rests in the physical nature of the sound production. The sound waves of the bagpipe produce high frequencies similar to those interpreted by the human ear to emanate the human voice, singing in a specific tone. Not only do these sound waves vibrate at the same or similar frequency, but also the audience often associates the timbre of the sound source in the bagpipe with that of a strong, human voice; whereas sound waves associated with the flute symbolize either a frail human or a bird and provides the semiotic structures for realistic interpretation. 

Composers arrange musical configurations and assign instruments containing the pitch and timbre that the audience will associate with specific elements of its culture. In this way, the audience forms the association of sound to memory and interpretation ensues. This not only occurs with instrumentation, but appears in the retelling of oral stories passed down through generations of all cultures.

Therefore, to illustrate iconic realism within the musical compositions of Irish and Hungarian folksongs, we hear the same pentatonic scales, situated in similar formats, with similar meanings, yet from two cultures that many would not associate as having these elements in common.

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[1] Czulinski, Winnie. Drone On! The High History of Celtic Music. Sound and Vision, 2004.

Celt and Magyar Connection and Iconic Realism: Part One (Linguistic Elements)

Map of the Germanic Kingdoms and East Roman Empire in 486 A.D. 

Map by William Robert Shepherd (1871-1934)

Map from Google Images

From my paper, presented at the American Conference for Irish Studies at the University of Notre Dame, South Bend, Indiana: 

In three parts, I will bring attention to the music, art, and linguistic elements that have proven to be common between the Celts and the Magyars of approximately 5-600 A.D. I will demonstrate the similarities in cultural traditions through the prism of iconic realism. For instance, found in ancient Magyar burial grounds near Budapest were weaponry, bearing the same symbolic features of those used by the Celts. This anthropological find indicates the significance of cultural rituals and artistic renderings among a group of people not usually associated with each other. That is where iconic realism enters the discussion.  The three components of this theory follow: 

1.    The artist presents a realistic icon in a work of art.

2.    The artist places the icon in a realistic setting unusual for this icon.

3.    The purpose for this placement is to make the audience aware of a need for cultural transformation.

The study of iconic realism in this presentation will demonstrate the similarities in the way that the Hungarians and Irish have struggled throughout history to maintain cultural identity. In the sense of comparison between the Magyars and the Celts, let’s look at some commonalities in a linguistic sample of both languages, hailing from the Finno-Ugraic linguistic root:

A cup of mead:  Celtic MEDUHun  MEDOS (Hungarian "mézes") 

A sunny disposition: (Irish SCOIR = szór; Irish SCORAIOCHT = Hungarian szórakozás / SORCHA

In Irish CHELL = trick, game CALAOIS = to trick, CEALG to trick, to fish, CEALA =to make something disappear, to hide; In Hungarian: csal, csel, csali

BODUA is the Celtic word for "victory" and it is possible that the incoming Hun troops were greeted with a joyful exclamation of "Bodua!" The victorious Huns were considered liberators because their society did not practice the inhuman institution of slavery of the "civilized" Romans. After the "victory" BUDA was built, the "Ancient Buda" (Ős-Buda), which we know as "Atilla's castle" (Etzilburg) from history.

The proud city of Sicambria, the Celtic city, which could have been called SICAN-BHARR before it became Latinized. This name means "Szék-bérces" in Hungarian (a 'Seat' upon a hill) - this type of word composition was also part of the Hungarian language structure; for further examples see Hegy-magas at Lake Balaton, or Becs-kerek in the Bánság. (In Irish, SUIOCHAN (Hungarian: szikán) means a seat, seating place, bench; seat as a seat of a settlement, a residence; a gathering, assembly, a court of law)

In the sense of comparison between the Magyars and the Celts, let’s look at some commonalities in a linguistic sample of both languages, hailing from the Finno-Ugraic linguistic root: 

A cup of mead:  Celtic MEDUHun  MEDOS (Hungarian "mézes") 

A sunny disposition: (Irish SCOIR = szór; Irish SCORAIOCHT = Hungarian szórakozás / SORCHA

In Irish CHELL = trick, game CALAOIS = to trick, CEALG to trick, to fish, CEALA =to make something disappear, to hide; In Hungarian: csal, csel, csali

BODUA is the Celtic word for "victory" and it is possible that the incoming Hun troops were greeted with a joyful exclamation of "Bodua!" The victorious Huns were considered liberators because their society did not practice the inhuman institution of slavery of the "civilized" Romans. After the "victory" BUDA was built, the "Ancient Buda" (Ős-Buda), which we know as "Atilla's castle" (Etzilburg) from history.

The proud city of Sicambria, the Celtic city, which could have been called SICAN-BHARR before it became Latinized. This name means "Szék-bérces" in Hungarian (a 'Seat' upon a hill) - this type of word composition was also part of the Hungarian language structure; for further examples see Hegy-magas at Lake Balaton, or Becs-kerek in the Bánság. (In Irish, SUIOCHAN (Hungarian: szikán) means a seat, seating place, bench; seat as a seat of a settlement, a residence; a gathering, assembly, a court of law)

Clearly, there is a phonetic as well as semantic correlation between some relevant terms in both the Gaelic and the Hungarian (Magyar) languages. These correlations also appear in aural structures as well.