Jane Eyre and Iconic Realism

(Click HERE  to view the final scene from this 2006 BBC production of Jane Eyre.)

Charlotte Brontë's novel, Jane Eyre, illustrates the theory of iconic realism in that her title character, Jane, depicts a young woman who, although abused as a child, manages to maintain her inner strength and dignity as she responsibly carries out her iconic role as an honest, humble governess while placed in the midst of wealth and deceit. Through this character, Brontë brings awareness to her audience of the complex emotions and intelligence within the feminine mindset. Stalwart Jane, the epitome of inner strength, becomes the lens through which her former master, blinded in a fire, ultimately perceives and strives to understand his world. 

Brandon Balengee, Bio-Artist, and Iconic Realism (Click onto this title to see and hear Brandon Balengee discuss his research/art.)

Here, Brandon Ballengee, artist and scientist, collaborates with communities around the world to bring awareness of environmental change. His source is the iconic feature of ancient civilizations, the pond. Ballengee's research follows the phenomena of mutation in the amphibian populations worldwide. Then, he uses his skill as an artist to create awareness of this biological variance, focusing his audience's attention on environmental transformation.

Iconic Realism: 

Step 1: Iconic natural pond

Step 2: Scientific research of pond creatures

Step 3: Brings audience to awareness of the importance of clean water sources

An added feature here is taking the scientific research and turning it into an art form, again, to bring awareness of the need for environmental stewardship.  

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

Sociolinguistic Style of Sydney Owenson's Writing and Iconic Realism

Sydney Owenson (Lady Morgan)

From both my second book and an ACIS Mid-Atlantic/New England Regional Conference presentation:

Iconic realism is the placement of a realistic and iconic figure juxtaposed to another realistic iconic example to enlighten an audience of the need for cultural transformation. Sydney Owenson (Lady Morgan) uses her personal experience and historical research to demonstrate revolutionary rhetoric through application of character role reversals, class discrepancies, and linguistic variations, all of which illustrate the need for societal transformation within various regions of nineteenth-century Ireland. 

For example, in the preface of her essay entitled, Absenteeism, she highlights the need for both the English and the Irish to be mindful of their patriotic responsibilities: 

“Notwithstanding the intense interest which is felt throughout all England concerning Ireland and Irish affairs, notwithstanding the frequent debates in parliament, and more frequent pamphlets and volumes published on points of Irish politics and economy, the prevailing ignorance on these subjects still operates powerfully in maintaining prejudices the most unfounded and the most fatal, and in retarding those measures of wisdom and of justice without which Ireland can never be happy; or the British Empire secure.” (Absenteeism pp. ix, x)

In this statement, Owenson demonstrates the commonality between the authority, England, and the respective community of Ireland, as she begins with the phrase, ‘notwithstanding the intense interest which is felt…’ She engages in the assertive use of negative phraseology linked with a deferential passive voice to unite the divergent intentions of England and Ireland. 

Her decision to carefully select the grammatical configuration of passive voice hints at her concern over absenteeism and indicates that she is stepping back to show respect for authority while she remains specific in her focus on the negative effect that this course of action has on the Irish citizenry.  She concludes this paragraph with a series of negative phrases that focus on the dire consequences if both Ireland and England do not consider the elimination of cultural bias. 

Through her sociolinguistic style of including Irish language and political tones with her enlightening observations of the English treatment of the Irish, she creates a sense of balance in a revolutionary manner that clashes with various societal levels, using iconic realism to juxtapose history with societal expression to bring about an awareness of the need for societal cohesion. 

Iconic Realism and Photograph of a Baby Swaddled in the United States Flag

Yes, according to the official rules regarding our beloved United States flag, wrapping a baby in the flag is not on the list of appropriate uses.

However, these two photographs creatively illustrate my semiotic theory of iconic realism in that we see a baby, comfortably situated in the midst of a United States flag, held by a soldier in one photo and a responsible adult in the other. These photographs represent the infancy of hope, relying on adults to show strength and determination as facilitators of this human quality.

The future generations of U. S. citizens are dependent on the adults of this great nation to make decisions that will create an environment which enables these children to contribute their talents and skills to move humanity forward.

On this Memorial Day, we acknowledge those who gave the ultimate sacrifice for us to continue to engage in freedom. God Bless America. 

Photographs from Bing Images

Iconic Realism in the Medieval Narrative Poem, Roman de la Rose

“The Dance in the Garden”

by Pavane, illumination from Roman de la Rose, Toulouse, early 16th century, 

in the British Library (Harley MS 4425, fol. 14v)

From my book, The Theory of Iconic Realism..., p. 47:

The medieval poem Roman de la Rose, written by Guillaume de Lorris and Jean de Meun in the 13th century, takes place in a medieval garden and represents the experience of love and desire through the dream of a twenty-year-old man. The authors use allegorical characters such as Reason, Envy, Genius, Old Age, Fair Welcome, and the god of Love to advise this young lover, as he discovers his inner motivation and develops needed courage to seek the desire of his heart in the form of a beautiful rose. Within the poetics of Roman de la Rose the writers have interwoven ideals that pertain to intuitive thought by associating visual iconography with the lexicon it illustrates. 

The rose represents a young woman in the setting of a realistic medieval castle. Although the authors create an aristocratic presentation of courtly love by the placement of the rose in this garden as a young man’s desirous fantasy, the reality is that a young man would not likely fall in love with a flower. However, the writers situate a sense of game playing with the semantics of the text and image, transporting the telling of this tale as a primary source of entertainment and enlightenment of designated cultural restraints within an aristocratic community, utilizing iconic realism as a source of enlightenment for their audience. This enlightenment involves the medieval male audience recognizing the sensitivities and complex thinking of the women in their lives.