Blade Runner and Iconic Realism

Photo from Google Images

The 1982 film, Blade Runner, directed by Ridley Scott, screenplay written by Hampton Fancher, is based on the novel, Do Androids Dream of Electric Sheep? by Philip K. Dick. In the film set in a futuristic Los Angeles, Harrison Ford’s character, Deckard, has a mission to terminate 4 replicants. 

However, his iconic character of the rugged cop experiences a change of conscience as emotional turmoil enters his stark reality. This film contains several illustrations of iconic realism through the use of iconic images overlaid with obscure, futuristic settings that bring the audience to an awareness of the ambiguous reality faced by humans as we deal with various forms of strength and weakness. Moreover, this film offers questions surrounding the applications of artificial intelligence, which, at the time of this writing, have very little connection with human consciousness.  

Christine de Pisan (or Pizan) Medieval Writer, and Iconic Realism in Roman de la Rose

The Selected Writings of Christine de Pizan

A Norton Critical Edition

Christine de Pisan (or Pizan) was a 14-15^th century writer who illustrated the semiotic theory of iconic realism in many of her writings and particularly in her debate of the French poem, Roman de la Rose. I explain her contribution in the excerpt below from my first book:

The semiotic constructs of symbolism, semantics and linguistic pragmatics provide the leverage for the creative ideas to manifest within each member of the audience. At this point, symbolism becomes a new association of the possibility for recognized imagery with unrecognized reality. A newly formed idea becomes the reality within the mind of the receiving audience, boundless in perception constraints. The audience member receives this reality and conceives the new idea through a multi-sensory experience. In reference to Roman de la Rose and interpretation, Christine de Pisan noted: 

Because human understanding cannot attain to a perfect knowledge of absolute truth and cannot comprehend mysteries on account of the gross, terrestrial darkness which impedes and obstructs true light, so that men draw conclusions from opinion rather than from certain knowledge – for these reasons, debates often arise among even the wisest of men because of differing opinions, each one striving to show by his reasoning that his particular opinion is the true one.^[1]

Through her rhetoric, Christine de Pisan illustrates the complexities involved with interpretation and the possibilities of renewed thought processes. No longer associated with the original idea, the new concept emerges with an energy of its own, with which the audience member can now associate creative action, continuing the creative process of the original thought. Thus, iconic realism magnifies the elements of semiotic theory through renewed perceptions that the receptive audience experiences with an artist’s rendering of reality.  

^[1]Christine de Pisan. La Querelle de la Rose: Letters and Documents.trans. Joseph L. Baird and John R. Kane. (Chapel Hill: U of North Carolina Press, 1978).

Excerpt from my book, The Theory of Iconic Realism

James Joyce's Ulysses: Breathing in Natural and New Laws

Often, individuals perceive the world in terms of various human laws and semantic representations established by the community. These laws or rules of thought have been the subject of many philosophers throughout history. One such philosopher was Thomas Aquinas, who described differences between natural law and new law, represented by Christ. 

Dr. Taylor Marshall, who devoted his doctoral dissertation to Thomas Aquinas’ philosophical approach to such laws, states: 

"Natural law is not the same as ‘laws of nature’ such as gravity. Natural law is an inward inclination toward the good and the avoidance of evil. It is a natural operating system. Thomas [Aquinas] explicitly teaches it is not chiefly a set of moral commandments. Rather it is an inclination humans have toward the good." (43)

Dr. Marshall continues with his discussion of Natural Law versus Thomas Aquinas’ interpretation of New Law in which he states: 

The New Law of the Gospel fulfills what is lacking in the natural law. It is required that every Christian seek to prayerfully persuade every man and woman on Earth to enter into the New Law of Christ.” (44) 

In his novel, Ulysses, James Joyce illustrates the manner in which human beings manage these laws, both Natural and New, as he weaves in and out of Leopold Bloom’s odyssey as if he were a spirit, acknowledging the human frailties and the responsibilities that many leave deposited along the wayside of their life’s journeys. He utilizes Bloom’s adventure to reveal this spiritual arc to the reader through a combination of language, human interactions, and observations.

As a reader of Joyce’s Ulysses inhales and exhales this linguistic masterpiece, an opportunity exists to affect change in the reader’s consciousness and perhaps even in one’s own community. Through his configuration of various linguistic and literary styles to illustrate various societal constraints, Joyce presents his reading audience with views of his own cognitive dissonance, represented as the other through Leopold Bloom, as well as the distinction between the Irish consciousness and that of other countries in Europe during the first world war years. 

Joyce releases his own constraints and embraces the possibilities associated with challenging stereotypes, linguistic barriers, and cultural standards. He creates his own version of Nature and New Laws. His extensive references to elitist whims within this novel contribute to the iconic intricacies of dissonant cultures existing in the midst of a torn tapestry of Dublin and Europe as the people deal with the post and pre- world wars. Indeed, Joyce’s use of iconic realism throughout his novel, Ulysses, creates an awareness of the need for cultural change.

Marshall, Taylor, Ph.D., Thomas Aquinas in Fifty Pages, Electronic Copyright, Texas, U.S.A., 2013. 

Irish Music and Iconic Realism in Sydney Owenson's piece, "When Floating O'er"

 

Sydney Owenson (Lady Morgan) and Harp

from my book cover, 

a special acknowledgment to the New York Public Library

From my presentation at an annual Conference of the Association of Franco-Irish Studies, Dublin, Ireland: 

The Irish melody, “When Floating O’er: Cathleen Nolan” from Sydney Owenson’s 1803 collection, Twelve Original Hibernian Melodies, demonstrates an iconic vision and focuses the audience’s attention on iconic elements associated with late 18th - early 19th century Ireland that deal with transformation. This particular piece demonstrates my semiotic theory of iconic realism in that it complies with the following necessary components of my theory: 

1.    The presence of a realistic icon: a representation of Cathleen ni Houlihan. 

2.   Deliberate placement of the icon within the midst of a unique, realistic setting out of place for this particular icon: lyrical and musical choices. 

3.  A created dissonance between these two entities as the catalyst that generates audience enlightenment of a cultural dilemma in need of transformation: Irish awareness of cultural valor.  

In Owenson’s compilation entitled, Twelve Original Hibernian Melodies, published in 1803, one melody, “When Floating Oér,” contains lyrics that relate directly to the Irish iconic figure, Cathleen ni Houlihan. She situates the essence of this character as one who is ubiquitous yet elusive, much like segments of Irish culture at the onset of the nineteenth century.  

Not only did Owenson’s nineteenth century listening audience experience the pleasant melody of this tune, they also were able to interpret the lyrics as an Irish romantic memory or a realization that a change in the historical relevance of Irish history was at hand. Playing this piece and other Irish melodies on her harp, Owenson exhibited iconic realism by bringing attention of Irish history, plucked on soothing strings. Perhaps, her attempt was to lull her audience into a state of acceptance or awaken them gradually by means of intense harmonics. 

Thus, the utility of music as a means of representing the semiotic theory of iconic realism involves a multiple sensory application in connection with sound wave production and its effect on human cognition. Whether the connection originates from a classical music composition, sounds of nature, or a synthesized production, juxtaposition of an iconic sound with an aspect of realism produces an auditory response that ultimately can lead to an audience’s awareness of positive change, be it cultural or individual.

Two Candles Burning and Iconic Realism

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 

and 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

 

Happy Thanksgiving! (Click the photo below to hear some lovely Thanksgiving Hymns.)

Photo from Google Images

As Thanksgiving Day draws near, and we Americans reflect upon the many blessings in our lives, I extend my sincere thanks to all of you ladies and gentlemen who have visited this blog. Your kind words and gentle spirits have meant the world to me. 

God bless! ~ Dr. Jeanne Iris

Shakespeare's 'Venus and Adonis' and Iconic Realism

"Venus and Adonis" by Francois Lemoyne (1729)

Iconic realism is evident in William Shakespeare's epyllion, "Venus and Adonis." He places these two beings of different mortalities in a lush setting, similar to the Garden of Eden, but the goddess of Love finds it impossible to obtain the object of her desire, for his own desires and eventual mortality triumph. Through his representation of this immortal creature in conjunction with a mortal setting and circumstances, Shakespeare uses the goddess of Love to elucidate for his readers the importance of suffering as a vital aspect of the human experience.

Painting of William Shakespeare by William Rock

Chinese Calligraphy of Hamlet's Soliloquy by Huang Xiang

Listen to the John Blow musical rendition (1683) of this tragic tale below.

Performance: Concerto Copenhagen 

The Basilica de la Sacre-Coeur de Montmartre and Iconic Realism

 

The Basilica of Sacre-Coeur de Montmartre 

 MIGUEL MEDINA/AFP via Getty Images

When the power outage occurred after the opening night of the 2024 Olympics in Paris, France, something close to miraculous happened. The debauchery that took place during the opening ceremonies was offensive, rude, and had nothing to do with Parisian art. It was a direct insult to Christians worldwide and to our Lord, Jesus Christ. 

However, God is in charge, and when those lights went out, and a large portion of the Parisian landscape stood in darkness, one structure remained bright, welcoming, and a true testament of our Lord's power of Love and redemption. That structure was the Basilica de la Sacre-Coeur de Montmartre. 

This image illustrates the semiotic theory of iconic realism in that it shows the world that even in the midst of darkness, both literal and figurative, an iconic piece of architecture can brilliantly demonstrate the constant presence of our Lord. 

Walt Whitman's "When I Heard the Learn'd Astronomer" and Iconic Realism

Adler Planetarium Astronomy Museum, Art Institute of Chicago

When I Heard the Learn'd Astronomer

by Walt Whitman

When I heard the learn'd astronomer,

When the proofs, the figures, were ranged in columns before me,

When I was shown the charts and diagrams, to add, divide,

and measure them,

When I sitting heard the astronomer where he lectured with

much applause in the lecture-room,

How soon unaccountable I became tired and sick,

Till rising and gliding out I wander'd off by myself,

In the mystical moist night-air, and from time to time,

Look'd up in perfect silence at the stars.

Above is a poem by the American poet, Walt Whitman. Here, the speaker leaves an astronomy lecture to step outside the fixed parameters and subsequently, learns first-hand the beauty in viewing the same firmament of which the lecturer speaks, but viewed simply with the naked eye, in silence. By leaving the lecture, the speaker has knowledge shared by the astronomer inside and now enjoys the silent beauty with appreciated knowledge. More importantly, the speaker has appreciation of the significance of the stars’ natural state. 

This poem illustrates iconic realism in that the subject, constellations in a contrived setting, brings the audience (the speaker in the poem) to a recognition that education of natural phenomena directly connects humanity with nature. 

I warmly thank the Art Institute of Chicago for purchasing a copy of my book, The Theory of Iconic Realism: Understanding the Arts through Cultural Context.

To hear me read this, please click HERE.

The Tiny Hand of Samuel Armas (In honor of Respect for Life )

Photo from Google Images

In 1999, Michael Clancy captured on film the little hand of Samuel Armas, held here by Vanderbilt University Hospital surgeon, Dr. Joseph Bruner. The iconic element here is the hand of the human fetus, for it represents life, innocence, and complete vulnerability.

This is an excellent example of iconic realism in photography, for one usually would not think that the connection between a 21 week old human in the womb and a surgeon could physically take place in this manner. See how the tiny hand grasps the finger of the surgeon, illustrating the need for human touch even when the baby is in the mother's womb!

One cultural dilemma that this photograph reveals is that even though there exist limitations and possibilities of medical science,  the beauty in the touch of a human hand is a divine statement that life is precious and can be meaningful from the womb... before birth.

"Before I formed thee in the belly I knew thee; and before thou camest forth out of the womb, I sanctified thee..." (Jeremiah 1:5) kjv

Semiotic Themes

I took this photo in Dublin, Ireland.

Content of material represented through literature, art and music contains the linguistic configurations associated with language in addition to visual and auditory stimuli: 

In literature, content consists of language, represented by words on a page that convey meaning to the audience. 

Artistic content varies from materials, such as paint, rock, metal, fabric, or other physical substances, with the subject matter originating in the human experience. 

Musical compositions include content that incorporates any form of resonance to which the auditory mechanism responds.

For instance, thematic representation of creative expression incorporates the history, language and culture of the artist in relation to individual purpose of expression with an audience. 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 (historicity) to the interpretation of the rendered artistic theme, thus altering the original thematic construct of the artist. Hence, an artist's theme is in a constant state of evolution, no matter which art form has been presented. (Lakatos 22-23)

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

---

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

 

Imre Madách's "The Tragedy of Man," Arthur Griffith's "The Resurrection of Hungary: A Parallel for Ireland", and Iconic Realism

Dissonance is an avenue to creative expression for change, indicated in Imre Madách's play and Arthur Griffith's book, The Resurrection of Hungary: A Parallel for Ireland.

In his 1860 play, "The Tragedy of Man," Imre Madách uses iconic realism to illustrate cultural awareness of the value in humanity's ability to understand the simple gifts of our Lord.  He questions societal expectations by moving his audience through a journey of social outcry against pettiness in his depictions of Adam, Eve and Lucifer, entangled in episodic adventures that transcend historical boundaries.

They travel to ancient Greece, Rome, Egypt, the middle ages, and London. Madách’s radical, textual dissent against the provincial establishment reveals his personal truth by eliminating story line constrictions of time and space. He deliberately places Adam and Eve in these unusual settings for this couple to illustrate that the journey of self worth and independence includes the worthiness of nation, beginning with the attainment of self-knowledge. He presents Eve as the mother of humanity, with the conviction that her children will move humanity forward in their quest for true knowledge. Similarly, Madách holds onto the hope that his Hungary would develop autonomy and maintain its unique culture and language.  

In his 1918 book, The Resurrection of Hungary, Arthur Griffith writes, “Ireland’s heroic and long-enduring resistances to the destruction of her independent nationality were themes the writers of Young Hungary dwelt upon to enkindle and make resolute the Magyar people” (xxiv). Griffith’s association of Ireland and Hungary illustrates that artists living within the contrived constraints of both of these countries use the power of a dissonant pen to motivate their reading audiences to make positive choices.

Iconic Realism and Commercial Use

(Image from Google Images)

A few years ago, I had viewed a TV commercial for a national American bank. The ad began with footage of an adorable, well-fed, happy baby, followed by a series of events that could affect this baby during his/her lifetime, placing the iconic image of innocence juxtaposed with the risks of adult decisions, bringing the audience to the recognition that their savings would earn wonderful dividends if placed in this bank. 

In another commercial, a hybrid automobile is placed in the middle of a lush, wooded glen. Little by little, the writers narrate the environmental benefits of owning this car. Again, the placement of an icon for modern society in the middle of the natural environment makes a statement about the cultural movement for earthly stewardship (as well as the adaptability of that particular car to a variety of terrains).  

However, they never mentioned the cost of maintaining such a vehicle. Hmmm... food for thought in another commercial perhaps...

Indeed, the use of iconic realism is a creative means to sell a product!

Sándor Liezen-Mayer's Painting, "St. Elisabeth of Hungary" and Iconic Realism

Sándor Liezen-Mayer Saint Elisabeth of Hungary

Hungarian National Gallery, Budapest

During the Christmas season, we see paintings depicting the birth of Jesus. As a woman of Hungarian ancestry (Lakatos is Hungarian for 'locksmith'), I was intrigued by this beautiful painting of St. Elisabeth of Hungary by Sandor Liezen-Mayer. Here, we see a Madonna-like figure and her infant child in a lowly state with Elisabeth extending her royal cloak to them.

An example of iconic realism, this painting illustrates the humility of the origins of Christian precepts and the balance of power when this humility extends from all levels of society. Liezen-Mayer does this through the variation of color, shading, and interaction between the architecture and human figures. Tragically widowed at the age of 20, Szent Erzsébet devoted her short life to charitable works in Germany and Europe. She died in 1231, at the age of 24. Her feast day is November 17. 

Saint Stephen and Iconic Realism

The Stoning of Saint Stephen

by Rembrandt, 1625

This painting is housed in le Musée des Beaux-Arts de Lyon, Lyon, France

Saint Stephen was ordained one of the first deacons of the Christian faith by decree of the first apostles of Jesus after Jesus' crucifixion. He was outspoken about the hypocritical actions of the Jewish leaders. Many widows in Jerusalem were not being appropriately cared for, and Stephen made this known to the Sanhedrin. Instead of listening to his reasoning, the Jewish leaders and others led him outside the gates of Jerusalem and proceeded to stone him to death. As he was being stoned, he spoke these words, "Lord, lay not this sin to their charge." (Acts 7:60)

How does this act of martyrdom reflect the semiotic theory of iconic realism? 

1. An iconic, real figure, Stephen, is brought to trial before the Jewish Sanhedrin. (an iconic, realistic figure in a place not usually associated with Christian leaders)

2. He believed in the Law of Moses, yet the Jewish leaders thought of him as a political and religious threat, and gave Saul of Tarsus orders to have him stoned to death. (An extreme action that causes Stephen to resist any thought of combative response.) 

Note: Saul would eventually receive the Divine calling to serve the Lord as Paul and compose many of writings found in the New Testament. 

3. As Stephen was being stoned, he was heard crying out, "Lord, lay not this sin to their charge." (Acts: 7:60) Forgiveness within his heart that reflected the words of Jesus before He perished on the cross. (This action brings the reading audience to an awareness of the need for forgiveness in order for one to save one's soul.  

Saint Stephen's feast day is December 26. 

Background information has been paraphrased from this website: 

https://www.catholic.org/saints/saint.php?saint_id=137