photograph

photograph

The Photograph

“...and lo, I am with you always, even unto the end of the world. Amen." (Matthew 28:20) kjv
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Introduction:

My photo
Current: Danbury, CT, United States
Welcome! A few years ago, I discovered an application that artists employ in their works to bring cultural awareness to their audiences. Having discerned this semiotic theory that applies to literature, music, art, film, and the media, I have devoted the blog,Theory of Iconic Realism to explore this theory. The link to the publisher of my book is below. If you or your university would like a copy of this book for your library or if you would like to review it for a scholarly journal, please contact the Edwin Mellen Press at the link listed below. Looking forward to hearing from you!

Thank you for visiting. I hope you will find the information insightful. ~ Dr. Jeanne Iris

Announcements:

I have demonstrated or will demonstrate the application of this theory at the following locations:

2026: I am writing my third book on iconic realism.

November 2025: New England Regional Conference for Irish Studies, Massachusetts College of Liberal Arts, "Sociolinguistic Evidence in James Joyce’s Ulysses: The Use of Language to Express the Semiotic Theory of Iconic Realism"

April 2022: American Conference for Irish Studies, virtual event: (This paper did not discuss Sydney Owenson.) "It’s in the Air: James Joyce’s Demonstration of Cognitive Dissonance through Iconic Realism in His Novel, Ulysses"

October, 2021: Sacred Heart University, Fairfield, CT: "Sydney Owenson’s use of sociolinguistics and iconic realism to defend marginalized communities in 19th century Ireland"

March, 2021: Lenoir-Rhyne University, Hickory, North Carolina: "Sydney Owenson (Lady Morgan): A Nineteenth Century Advocate for Positive Change through Creative Vision"

October, 2019: Elms College, Chicopee, Massachusetts: "A Declaration of Independence: Dissolving Sociolinguistic Borders in the Literature of Sydney Owenson (Lady Morgan)"

31 January, 2026

Aesthetics, Richard Wagner, and Iconic Realism

I took this photo of the River Shannon in Limerick, Ireland.


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 respond with an emotional resistance as it perceives the iconic representation in this new realistic setting.

An example of iconic realism in a musical composition utilizing instrumentation is Wagner’s mythical composition, The Ring of the Nibelungs.  In this piece, Wagner represents various aspects of society through instrumental characterizations. As Eero Tarasti affirms, "the gods appear in the Ring not only as personifications of the elements of nature, for example, Loge as the god of fire, Donner the god of thunder etc, but also as a society, whose leader is Wotan." [1] His use of contrasting instrumentation throughout his opus reveals an intense desire to illustrate corruption within his society. Many filmmakers choose to accompany the drama of their themes utilizing the nineteenth century Wagner music. An example of such intense films is Apocalypse Now, which illustrates the corruption associated with war, in particular, the Vietnam War.
1. Tarasti, Eero. Myth and Music: A Semiotic Apporach to the Aesthetics of Myth in Music, especially that of Wagner, Sibelius and Stravinsky (Paris: Mouton, 1979) 177.  

30 January, 2026

Brian Eno's Ambient Music and Iconic Realism (Click here to view and hear video of Eno's Earth, "An Ending")

A photo of a nearby lake at sunset

From my first book on the semiotic theory of iconic realism: 

Some musical composers apply electronically produced music with natural sounds from the environment to provide the audience with a real association, such as wildlife, bodies of water, seasonal sound sources, and weather phenomena. This particular form of musical presentation, known as ambient music, for its affect on the ambience of one’s surroundings, is often recorded for health facilities. 
  
An example of such musical composition is the healing music of composer, Brian Eno, and his 1978 release, Ambient I: Music for Airports. In the liner of this album, Eno writes, “My intention is to produce original pieces ostensibly (but not exclusively) for particular times and situations with a view to building up a small but versatile catalogue of environmental music suited to a wide variety of moods and atmospheres.”[1] This form of incorporating musical sounds with nature provides the added aesthetic of stimulating the senses with a portion of reality to which the audience relates through memory, transporting an individual to an aspect of memory, aligning the audience with the composer’s perception of reality. 

In his musical composition, Earth, An Ending, he provides the audience with a reality that heightens awareness of the possibility of positive cultural change either within an individual or within Earth’s community as a whole.

[1] Eno, Brian. Music for Airports/Ambient 1. Liner notes. PVC 7908 (AMB 001), 1978. 

29 January, 2026

William Butler Yeats' "The Tower II" and Iconic Realism

I took this photograph of Thoor Ballylee some years ago.

I pace upon the battlements and stare
On the foundations of a house, or where
Tree like a sooty finger, starts from the earth;
and send imagination forth
Under the day’s declining beam, and call
Images and memories
From ruin or from ancient trees,
For I would ask a question of them all.
(“The Tower II,” ll. 18-25) [1]

Here, Yeats places himself in the midst of the Tower, the earthen icon of the human soul. Born of the ancient source of all life, this soul’s power rests in the simplicity of a child’s voice, echoing for the “blind man’s joy.” This simplicity is so powerful that “certain men, be[come] maddened by those rhymes,” (l. 42) a magnificent union of the duality existent in imagination and reality. 

To further illustrate this duality, Yeats incorporates the iconic representation of “The Great Memory” to signify the reality of human consciousness. The speaker is out of control while at the same time, he is in control, “Come old, necessitous, half-mounted man;/And bring beauty’s blind rambling celebrant” (ll. 91-2). This ambivalence, accented with alliteration, leads to Yeats’ revelation that from chaos comes order and from dissonance, consonant harmony. He continues with his reference to human consciousness with an allusion to his recurrent swan’s song: “When the swan must fix his eye/ Upon a fading gleam, /Float out upon a long/Last reach of glistening stream/And there sing his last song” (ll. 141-45). 

The central theme of this poem is the realization of life’s paradox that art is both illusion and ideal. When Yeats reveals through the alliteration and rapid meter of “Man makes a superhuman/Mirror-resembling dream” (ll.165-66), he draws upon his references of the Easter Uprising and WWI in which reality of life recreates itself through the restructuring of chaos. 

Yeats’s iconic-bucolic imagery of singing birds in the introductory and concluding lines of “The Tower” reinforce his message of universal harmony that echoes throughout the sphere of life’s transformations. His final lines, “Seem but the clouds of the sky/When the horizon fades,/ Or a bird’s sleepy cry/ Among the deepening shades” (ll.193-96), indicate his reconciliation of life, art, Ireland and reality. It is not by accident that this poem leads directly to “Meditations in Time of Civil War.” 

In “The Tower,” Yeats illustrates the necessity for humanity to acknowledge the reality of life’s paradox and to nurture human consciousness with eyes wide open to human frailties as well as the glorious harmony present in one's creative endeavors.

The Tower
By William Butler Yeats (1865 – 1939)
                               I
What shall I do with this absurdity—
O heart, O troubled heart—this caricature,
Decrepit age that has been tied to me
As to a dog's tail? 
Never had I more
Excited, passionate, fantastical
Imagination, nor an ear and eye
That more expected the impossible—
No, not in boyhood when with rod and fly,
Or the humbler worm, I climbed Ben Bulben's back
And had the livelong summer day to spend.
It seems that I must bid the Muse go pack,
Choose Plato and Plotinus for a friend
Until imagination, ear and eye,
Can be content with argument and deal
In abstract things; or be derided by
A sort of battered kettle at the heel.
                                II
I pace upon the battlements and stare
On the foundations of a house, or where
Tree, like a sooty finger, starts from earth;
And send imagination forth
Under the day's declining beam, and call
Images and memories
From ruin or from ancient trees,
For I would ask a question of them all.
 
Beyond that ridge lived Mrs. French, and once
When every silver candlestick or sconce
Lit up the dark mahogany and the wine,
A serving-man, that could divine
That most respected lady's every wish,
Ran and with the garden shears
Clipped an insolent farmer's ears
And brought them in a little covered dish.
 
Some few remembered still when I was young
A peasant girl commended by a song,
Who'd lived somewhere upon that rocky place,
And praised the colour of her face, 
And had the greater joy in praising her,
Remembering that, if walked she there,
Farmers jostled at the fair
So great a glory did the song confer.
 
And certain men, being maddened by those rhymes,
Or else by toasting her a score of times,
Rose from the table and declared it right
To test their fancy by their sight;
But they mistook the brightness of the moon
For the prosaic light of day—
Music had driven their wits astray—
And one was drowned in the great bog of Cloone.
 
Strange, but the man who made the song was blind;
Yet, now I have considered it, I find
That nothing strange; the tragedy began
With Homer that was a blind man,
And Helen has all living hearts betrayed.
O may the moon and sunlight seem
One inextricable beam,
For if I triumph I must make men mad.
 
And I myself created Hanrahan
And drove him drunk or sober through the dawn
From somewhere in the neighbouring cottages.
Caught by an old man's juggleries
He stumbled, tumbled, fumbled to and fro
And had but broken knees for hire
And horrible splendour of desire;
I thought it all out twenty years ago:
 
Good fellows shuffled cards in an old bawn;
And when that ancient ruffian's turn was on
He so bewitched the cards under his thumb
That all but the one card became
A pack of hounds and not a pack of cards,
And that he changed into a hare.
Hanrahan rose in frenzy there
And followed up those baying creatures towards—
 
O towards I have forgotten what—enough!
I must recall a man that neither love
Nor music nor an enemy's clipped ear
Could, he was so harried, cheer;
A figure that has grown so fabulous
There's not a neighbour left to say
When he finished his dog's day:
An ancient bankrupt master of this house.
 
Before that ruin came, for centuries, 
Rough men-at-arms, cross-gartered to the knees
Or shod in iron, climbed the narrow stairs, 
And certain men-at-arms there were
Whose images, in the Great Memory stored,
Come with loud cry and panting breast
To break upon a sleeper's rest
While their great wooden dice beat on the board.
 
As I would question all, come all who can;
Come old, necessitous, half-mounted man;
And bring beauty's blind rambling celebrant;
The red man the juggler sent
Through God-forsaken meadows; Mrs. French,
Gifted with so fine an ear;
The man drowned in a bog's mire,
When mocking Muses chose the country wench.
 
Did all old men and women, rich and poor,
Who trod upon these rocks or passed this door,
Whether in public or in secret rage
As I do now against old age?
But I have found an answer in those eyes
That are impatient to be gone;
Go therefore; but leave Hanrahan,
For I need all his mighty memories.
 
Old lecher with a love on every wind,
Bring up out of that deep considering mind
All that you have discovered in the grave,
For it is certain that you have 
Reckoned up every unforeknown, unseeing
Plunge, lured by a softening eye,
Or by a touch or a sigh,
Into the labyrinth of another's being;
 
Does the imagination dwell the most
Upon a woman won or a woman lost?
If on the lost, admit you turned aside
From a great labyrinth out of pride,
Cowardice, some silly over-subtle thought
Or anything called conscience once;
And that if memory recur, the sun's
Under eclipse and the day blotted out.
                                III
It is time that I wrote my will;
I choose upstanding men
That climb the streams until
The fountain leap, and at dawn
Drop their cast at the side
Of dripping stone; I declare
They shall inherit my pride,
The pride of people that were 
Bound neither to Cause nor to State, 
Neither to slaves that were spat on,
Nor to the tyrants that spat,
The people of Burke and of Grattan
That gave, though free to refuse—
Pride, like that of the morn, 
When the headlong light is loose,
Or that of the fabulous horn,
Or that of the sudden shower
When all streams are dry,
Or that of the hour
When the swan must fix his eye
Upon a fading gleam,
Float out upon a long
Last reach of glittering stream 
And there sing his last song.
And I declare my faith:
I mock Plotinus' thought
And cry in Plato's teeth,
Death and life were not
Till man made up the whole,
Made lock, stock and barrel
Out of his bitter soul, 
Aye, sun and moon and star, all, 
And further add to that
That, being dead, we rise, 
Dream and so create
Translunar Paradise.
I have prepared my peace
With learned Italian things
And the proud stones of Greece,
Poet's imaginings
And memories of love,
Memories of the words of women,
All those things whereof
Man makes a superhuman
Mirror-resembling dream.
 
As at the loophole there
The daws chatter and scream,
And drop twigs layer upon layer.
When they have mounted up, 
The mother bird will rest
On their hollow top,
And so warm her wild nest.
 
I leave both faith and pride
To young upstanding men
Climbing the mountain-side,
That under bursting dawn
They may drop a fly;
Being of that metal made
Till it was broken by
This sedentary trade.
 
Now shall I make my soul, 
Compelling it to study 
In a learned school
Till the wreck of body, 
Slow decay of blood,
Testy delirium
Or dull decrepitude,
Or what worse evil come—
The death of friends, or death
Of every brilliant eye
That made a catch in the breath—
Seem but the clouds of the sky 
When the horizon fades, 
Or a bird's sleepy cry 
Among the deepening shades.

[1] Yeats, William Butler. The Collected Poems of W.B. Yeats. (Hertfordshire, G.B.: Wordsworth Editions, Ltd., 2000)

[2] Lakatos, Jeanne. The Theory of Iconic Realism: Understanding the Arts through Cultural Context. New York: The Edwin Mellen Press, 2008, pp. 54-55.

28 January, 2026

"Don't Stop Believing" and Iconic Realism


Photo of a lake in New England

Any song that speaks of south Detroit draws my attention, and the classic song, "Don't Stop Believing" by Journey is no exception. How does this song demonstrate the semiotic theory of iconic realism? 
1.  The song reveals iconic images of the human struggle with emotions.
2.  They are juxtaposed with light and enlightenment.
3. This placement brings the audience of this song in tune with the perpetual dilemma of humanity's search for meaning. "It goes on and on and on and on."



Don't Stop Believing

by Journey

Just a small town girl, livin' in a lonely world
She took the midnight train goin' anywhere
Just a city boy, born and raised in south Detroit
He took the midnight train goin' anywhere

A singer in a smokey room
A smell of wine and cheap perfume
For a smile they can share the night
It goes on and on and on and on

Chorus:
Strangers waiting, up and down the boulevard
Their shadows searching in the night
Streetlights people, living just to find emotion
Hiding, somewhere in the night

Working hard to get my fill,
Everybody wants a thrill
Payin' anything to roll the dice,
just one more time
Some will win, some will lose
Some were born to sing the blues
Oh, the movie never ends
It goes on and on and on and on

(chorus)

Don't stop believin'
Hold on to the feelin'
Streetlight people


26 January, 2026

Symphony at The Cloisters, New York City, and Iconic Realism

The Cloisters, New York City
www.pbase.com/ terraxplorer/image/68935986

The following excerpt is in the Introduction of my first book: The Theory of Iconic Realism. I'd like to thank Professor Lionel Bascom, RIP, for telling me of this experience as his illustration of iconic realism.

A group of New Yorkers assembles in the Cloisters museum, which sits atop a hill overlooking the Hudson River, just outside of Manhattan. These individuals have come to listen to a concert, which will be presented just before sunset. Anticipating a traditional concert with musicians performing in front of a listening audience, they search for seating. They notice that chairs have been strategically placed throughout the museum, a few here, a few there, up the winding staircases, in the garden, along the walls of stone. Confused, the concert attendees seat themselves, waiting.

Soon, echoing through the interweaving chambers of the museum, low brass instruments create a resonating medieval drone, monotone voices chanting in Latin with sustained pitches, fill the damp air with a sound that transports the audience from the busy New York City museum to a medieval stone castle. The glow from the setting sun mixed with low lighting envelops the medieval tapestries, statuary and paintings while muted melodies fill the audience with an aural feast. Iconic melodies that signify this medieval period permeate the halls.

The medieval tones mingle with the realism in the works of art, architecture and presence of the audience, sensually transported to this era. When the concert ends, the members of this audience become aware of the cultural distinctions between the two worlds of medieval Europe and twentieth century New York City, now transformed in their perceptions of continuity of human interaction in time and space, having experienced iconic realism.


25 January, 2026

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

Saint Francis in Ecstacy 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.