Edvard Grieg's Peer Gynt Suite: Music and Iconic Realism

Click HERE to view a rendition of Grieg's Peer Gynt Suite Number I, Opus 46

         A delicate melody flows from a flute. One by one, the oboe, then strings, echo this melody until the orchestra swells with the soft, yet intensely resonating melody. Eventually, every section of the orchestra sings this song of peaceful resolve, as the audience awakens to Edvard Grieg’s Peer Gynt Suite Number 1, Opus 46.  Grieg introduces the gentlest instruments of the orchestra and gradually blends in the strength of the entire string and brass sections with a calm resonance a listening audience could associate with morning sunrise. Grieg’s opus illustrates iconic realism as each member of the audience attends to this aural depiction of the dawn of something within its consciousness, interpreting possibility in variation with a theme.

       Iconic structures in music include those resonating mechanisms that represent a specific sound source recognized by a community. These aural sources could include human made instruments, the human voice or natural sounds common within a specific environment. For example, the oboe is a wind instrument that produces sounds very close in frequency and intensity to the human voice. In many baroque pieces of music, which were composed during the enlightenment of human culture, the oboe is a featured instrument, which establishes the iconic nature of the oboe within a musical piece constructed of other wind instruments.

         Since the human voice would not naturally be situated in a musical ensemble, the placement of this icon for the human voice provides the listener an opportunity to attend to this iconic realism within the musical genre of artistic expression and feel the dissonant harmonics that naturally resolve to consonance when the oboe blends with the instrumentation. This aural exercise incorporates resonating sound waves with the listener’s memory, which leads to an interpretation of the sound and thus, the association of significant meaning to the specific sound. 

(from my book, The Theory of Iconic Realism: Understanding the Arts through Cultural Context)

The Great Escape movie and Iconic Realism

The Great Escape movie poster from 'Duck Duck Go' Images

Once, I was channel surfing and landed on The Great Escape, a 1963 film directed by John Sturges. I couldn't help but notice that this film illustrates the semiotic theory of iconic realism in that the audience perceives icons of both freedom and constraint through the character representations of the Allied prisoners of WWII and the German gestapo. 

As the film progresses with bucolic settings that also provide a perception of freedom, only to be constrained by the Nazi forces, the viewer becomes poignantly aware of freedom and its multiple forms. In the end, those characters who are still alive, question their need for physical freedom from the p.o.w. camp as they learn to appreciate their spiritual, intellectual, and emotional autonomy. 

To hear me read this, please click HERE.

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.

Ode to Skunk Cabbage

Below, you will find my favorite spring poem. It has nothing to do with iconic realism. Today is a beautiful, early spring day here, and I just felt like sharing this. Hope you enjoy it!

Photo of Skunk Cabbage

Ode to Skunk Cabbage

Bursting forth from its ruddy milieu

a flower erects from its hooded spathe.

This courageous prophet boldly

faces the frigid air with confidence,

radiating silently, as if to say,

“Come to me, for I offer

nourishment you need now.”

Sweet attraction allures, and she comes:

the beetle, the spider, the queen bee,

warmed by the generosity

of Spring’s first flower.

Odiferous, proud, protective,

he inspires other fragrant flora

to engender beauty.

Now, Spring has arrived

with the burgeoning

of the exceptional Skunk Cabbage.

© Jeanne I. Lakatos

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.

How does this relate to Iconic Realism? 

 1: Iconic natural pond

 2: Scientific research of pond creatures within the pond

 3: This brings audiences 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.  

Click the link below to see and hear Brandon at work: 

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 DuckDuckGo Images shows the statue of Evangeline, 

sitting in the Acadian Memorial in St. Martinville, Louisiana.

My absolute favorite American narrative poem is 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 and Divine purpose, 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)

Dr. Temple Grandin, a Successful Story of Autism, and Iconic Realism

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(Click here to view a trailer of the HBO film.)

To view a video of Dr. Temple Grandin, click here:

https://youtu.be/aF4sP-uC-yI

Dr. Temple Grandin's Website can be found here:

http://www.templegrandin.com

A number of years ago, HBO released a film, entitled Temple Grandin, starring Claire Danes as the title character. This movie tells the life story of Temple Grandin, Ph.D., whose revolutionary method of treating animals in the slaughter houses of western United States has changed the manner which cattle are handled in a more benevolent and respectful manner. This has led to more efficient business practices in the meatpacking industry as well as a higher quality of meat.

As this film illustrates, Dr. Grandin was diagnosed as autistic in the 1950s. Her determination and fortitude placed her in a number of situations which qualify as examples of iconic realism. She was a woman, struggling with her condition and dedicated to work in the 'man's world' of raising cattle for the food industry in the western U.S. during the 1950s-60s, before the women's movement took hold in the 1970s. Moreover, she introduced innovative ways to reach children and adults with autism before U.S. Public Law 94142 was passed, providing free and appropriate education for children with special needs.

For that reason, I have placed the wonderful HBO film of Dr. Grandin's life experiences in this category of iconic realism because this iconic figure of a woman, placed in a setting where women were not usually found, brings awareness not only of the condition of autism and the possibilities of individuals who deal with it, but the audience becomes aware of the beef industry and the positive results associated with treating cattle with respect.(Click here to view a trailer for the HBO film.)

Margaret Mitchell's Scarlet O'Hara and Iconic Realism (Click here to view a clip from the film, Gone with the Wind.)

Photo from Google Images

"As God is my witness, they're not going to lick me. 

I'll never be hungry again, nor any of my folks..."

Margaret Mitchell's Pulitzer Prize winning novel, Gone with the Wind, beautifully illustrates the semiotic theory of iconic realism. She places a gentle young woman, raised on a southern plantation, in the midst of the American Civil War (or War of Northern Aggression, as they say south of the Mason-Dixon Line). Through this juxtaposition, Mitchell makes her audience aware of the need for perseverance to maintain one's dignity, personally and culturally.

In the scene above, Scarlet emerges from Tara, fatigued and tattered like a wilted magnolia blossom, but she slowly elevates herself as the horizon brightens. Her spirit breathes life back into this flower as a nation learns to cultivate the quality of innovation.

This novel was published in 1936, during the midst of the Great Depression when millions of Americans needed the kind of determination that the character, Scarlet O'Hara, exhibited. In addition, the interaction between the various characters throughout this novel illustrates a need for cultural reform on many levels.

Einstein's Theory of Relativity and Iconic Realism

painting by William Rock, Chinese calligraphy by Huang Xiang

“The eclipse of May 29, 1919 confirmed Einstein’s theory that the light could be bent by the gravitational force of the sun. An English expedition in the area of the eclipse have actually measured the deflexion of starlight from the sun. The data of the expedition was presented to a special joint meeting of the Royal Astronomical Society and the Royal Society of London on November 6, 1919." 

(Dr. Ljubo Vujovic, Secretary General, Tesla Memorial Society of New York)

This scientific event held at the conclusion of WWI illustrates iconic realism in the media. Albert Einstein, an icon of the scientific community, received confirmation of his theory of relativity through data collected by an English expedition. The manner which this event illustrates the theory of iconic realism is as follows:

1. Germany and England were iconic enemies during WWI.

2. Representatives from both countries were present at a scientific conference.

3. This meeting or juxtaposition led to a united elevation of scientific awareness.

Ironically, twenty years later, this same peace activist urged President Roosevelt to begin research into the production of the atomic bomb as a means to bring a quick end to WWII. And we all know the rest of that narrative.

Work cited: 

Vujovic, Dr. Ljubo. Albert Einstein (1879-1955). Tesla Memorial Society of New York. http://www.teslasociety.com/einstein.htm

August 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 distance. Regardless of the interpretation, this sculpture exemplifies iconic realism in that 1. there is an iconic structure, 2. placed in a realistic setting that does not conform to the accepting reality of intimacy. Through this juxtaposition, the artist illustrates 3a. cultural liberty, an innovation for the era in which it was sculpted or 3b. the gentle spirit that exists when true love is expressed freely.

To hear me read this, please click HERE.

"Dixit Dominus" (With gratitude to Mozart) and Iconic Realism

Cochlea from Medical Dictionary- The Free Dictionary

When I was in high school, I was blessed to attend a two week music workshop at the University of Georgia. I began by playing oboe in the orchestra, but switched to sing in the advanced choir. It was much more rewarding to me, and I thoroughly enjoyed singing Alto to Mozart's Dixit Dominus as one of the classical pieces we sang for the cumulative concert. 

 

In the poem below, I demonstrate my semiotic theory of iconic realism by writing a description of the hearing process, but one aspect of that process is unexpected: the cochlea is dormant. This human ear is deaf. Thus, this perfect individual will never hear as the hearing public does...Dixit Dominus. (It is God's Word.) The Word will have to come to that individual through alternative means. I have placed the iconic representation of hearing with an iconic composition, Dixit Dominus, to bring awareness of the beauty in all of humanity, particularly in those individuals who cannot hear with their ears. They must experience the heavenly Word in their unique way. 

Dixit Dominus 

The chorus swells; waves rush in,

their flow controlled 

by the canal's turbid banks. 

Membrane pulsates - 

Malleus, Incus, Stapes

vibrate

through a liquid universe.  

Electrical impulses meander

in and out and around 

minuscule hair cells within.

Majestic cochlea sits on its throne,

dormant. 

Eighth nerve to the brain reaches out.

Mozart sheds a heavenly tear. 

This perfect one will never hear ~

Dixit Dominus.

© Jeanne I. Lakatos

To hear Mozart's Vesperae solennes de Confessore, Dixit Dominus, click onto this link: 

https://youtu.be/H7QbViCuGfU

Click onto the link below to see an animation of sound felt along the basilar membrane in the cochlea:

https://youtu.be/dyenMluFaUw

Sydney Owenson: 'The Life and Times of Salvator Rosa,' Independence, and Education

The Resurrected Christ by Salvator Rosa

Courtesy of Google Art

From my book, Innovations in Rhetoric in the Writings of Sydney Owenson (Lady Morgan), p. 231

Sydney Owenson (Lady Morgan), a voice representing independent consciousness, does not discriminate between various forms of aristocratic domination and the voice of the common person. Where knowledge and awareness are concerned, she reveals her perspective of the truth as she illustrates in the following passage from her biographical sketch, The Life and Times of Salvator Rosa:

Knowledge, which is supremacy as long only as it is a monopoly, was then the exclusive possession of the clergy; and the intellectual disparity, which existed between the many and the few, long continued to be the instrument of delusions, of which ignorance inevitably becomes the dupe and the victim. (Owenson, The Life and Times of Salvator Rosa, p. 2)

Her purpose for writing evolves from her focus on bringing awareness of the global and historical significance of Ireland to a philosophical focus on the dissemination of knowledge to all thinking individuals. In the above passage, she points out an ‘intellectual disparity’ which exists between those who have been taught through intensive educational programs and, consequently, then use that education as an “instrument of delusion.” 

Even though she presents Rosa in a discrete manner, Owenson reveals her disdain for any totalitarian control over the human spirit, be it religious or governmental. She remains devoted to the concept of independent and critical thinking as the way for humanity to advance to an  elevated consciousness. Thus, her biography of Salvator Rosa is a statement on the evolution of human culture and the possibilities that exist when human beings utilize the knowledge they gain (educational experiences) in a positive way to enlighten others. 

Spiritual Linguistics

 

Photo from DuckDuckGo Images

Spiritual Linguistics

I've given workshops in what I've termed, Spiritual Linguistics. My definition of Spiritual Linguistics follows: Spiritual is that which we cannot see, but we feel in our hearts. Linguistics is the study of language spoken or read, which can be viewed and analyzed. Language is a system of arbitrary symbols formed to express a thought for the purpose of communication between two or more individuals. 

Each of us can use our faithful awareness of our individual spirituality to communicate a sense of Divinity to others. This, in turn, will assist those we encounter to fulfill their purpose. If we each are responsible for our own spiritual contribution to daily conversations, deferent communication will occur.

Below, highlighted in green, are terms that you might consider. Take some time to carefully examine the semantics (the meanings) behind the highlighted terms as you recite this prayer, given to us by our Lord and Savior, Jesus Christ.

The Lord’s Prayer

Our Father, who art in Heaven

hallowed be thy name.

Thy Kingdom come, Thine Will be done

on earth as it is in Heaven.

Give us this day, our daily bread

and forgive us our debts

as we forgive our debtors

and lead us not into temptation

but deliver us from evil,

for Thine is the kingdom, the power and the glory,

now and forever.

Amen.

'Blind Girl at a Holy Well...' by Frederic W. Burton and Iconic Realism

Below is an excerpt from a paper I was beginning to present at a New England Regional Meeting of the American Conference for Irish Studies. Unfortunately, I came down with the Noro virus and had to leave the conference suddenly and drive across the entire state of Connecticut… sick as a dog. Ugh! What a memory… Anyway, enjoy this excerpt that I never was able to present completely. 

Blind Girl at a Holy Well - a Scene in the West of Ireland
Painting by Frederick William Burton

In Frederic William Burton's painting, Blind Girl at a Holy Well - a Scene in the West of Ireland, we could broaden our interpretation to consider who Burton was representing through this young, blind girl. Notice that the younger girl serves as blind girl's ‘eyes.’  Through the establishment of the iconic figure of a blind girl within the mind-set of the community, Burton places this icon in a new reality that the community does not usually accept as the normal setting for this iconic figure: a blind girl gathering water at a well. 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. 

In Burton's painting, the commonplace figures become associations of those communal concepts to which many members can relate on a personal level: hope, industriousness and innocence, all of which he creates in the necessary function of gathering water. In Luke 6:39,  Jesus asks His disciples, "Can a blind person guide a blind person?" In this painting, the audience can "see" the necessity for others to help those, who are blinded, in the human act of quenching thirst, be that a physical, emotional, or political thirst.

The Semiotic Theory of Iconic Realism and Sydney Owenson (Lady Morgan), Writer and Patriot

 

Sydney Owenson Morgan and Harp 

(My book cover photo, permission to use photo has been given by the New York Public Library)

My semiotic theory of iconic realism is one I composed whilst researching Sydney Owenson’s national tale, The Wild Irish Girl. This semiotic theory of iconic realism involves any artist’s placement of a realistic, iconic object or person in a unique realistic setting in which this icon does not usually appear, to create a vivid representation of the icon within the designated realistic setting. 

Since both the icon and the realistic setting represent conceptual realism within a given culture which the artist’s rendering represents, this unexpected juxtaposition results in a vital perception. These two unusual entities, positioned by the artist, create awareness in the audience of a need for a change within the culture. 

Sydney Owenson incorporates the field of semiotics, dealing with the meaning of Irish terms and their connections with English interpretations. I had noticed the manner in which she established the iconic images of Ireland and England in realistic settings that were normally not associated with these images. In doing so, she brings to light the needed transformation of legislative and societal interactions between the 19th century English and Irish. 

© Jeanne I. Lakatos

To hear me read this, please click HERE.

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.)

Wisdom from Saint Seraphim of Sarov and the Great Outdoors

Saint Seraphim of Sarov, monument in Kurskaya Oblast, Russia.

I've always enjoyed observing and interacting with the wildlife that surround me. I whistle with the birds, hoot with the owls, clear dead leaves, branches, and twigs for the sprouting flowers and other vegetation, readying them for the bees, butterflies, and hummingbirds soon to arrive. Each season can be a joyful time of the year.

Through the wisdom of Saint Seraphim of Sarov, we can learn to live in harmony with the world around us by observing the creatures who share our Earthly experience with us. As far as iconic realism goes, we humans, who have been blessed with spirit and the ability to discern life with a high level of intelligence, can learn how to live well from the 'lesser,' yet often wiser, creatures as we appreciate the outdoors, juxtaposed with the homes of the wildlife.  

His feast day is January 2. To learn more about Saint Seraphim, click HERE .

Words of Wisdom from Saint Seraphim of Sarov

Drink water from the spring where horses drink. The horse will never drink bad water.

Lay your bed where the cat sleeps.

Eat the fruit that has been touched by a worm.

Boldly pick the mushroom on which the insects sit.

Plant the tree where the mole digs.

Build your house where the snake sits to warm itself.

Dig your fountain where the birds hide from heat.

Go to sleep and wake up at the same time with the birds – you will reap all of the day's golden grains.

Eat more green – you will have strong legs and a resistant heart, like the beings of the forest.

Swim often and you will feel on earth like the fish in the water.

Look at the sky as often as possible and your thoughts will become light and clear.

Be quiet a lot, speak little – and silence will come into your heart, and your spirit will be calm and filled with peace.

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. 

Century Mountain Project and Iconic Realism

Huang Xiang and William Rock

Click HERE to see their website

William Rock and Huang Xiang have formed a collaboration that unites iconic figures throughout the centuries with artistic/poetic expression. Their juxtaposition of these creative geniuses in the common public arena brings awareness of cultural coalescence.

However, the audience incorporates and assimilates the information gained from perceiving a work of art, the reader, viewer or listener structures the information in order to create interpretation.

The audience draws from personal nuances to create the parameters of this creative endeavor, basing it upon the artist’s textual, visual, scientific or musical composition. This circuitous relationship between the audience and the artist continues to unfold as the audience adapts its mind-set to the art form.