2018

2018
Harp and shadow

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!

12 November, 2010

Poetry Bus: Blinds Open

This week's Poetry Bus has Karen as its inspirational driver. Our challenge is as follows:
Write about one of the following:
(1) a time you had to choose between two clearly divergent paths

(2) a time you were called to walk a  path you didn't choose for yourself
(3) a time you refused to travel the path you were called to follow.  
I've chosen to write about a situation that caused me to make a decision. It all began with the closing of blinds to shield my eyes from the setting sun. 
Photo from Google Images
Blinds Open 
A blinding
moves her
to close the blind
shielding her
from the intensity.

Outside-
the hour of dusk
palpitates
with a creative verve
releasing brilliance.

Within-
a beam expands
that cannot blind
for memory
sustains the weakest eye.

Jeanne I. Lakatos  2010

16 June, 2010

Bloomsday!

I took this photo of O'Neill's Pub, Suffolk St., Dublin, Ireland 27 May, 2010.
---that was the one true thing he said in his life and the sun shines for you yes that was why I liked him---  (from Molly Bloom's soliloquy in the novel, Ulysses, by James Joyce)

Happy Bloomsday! In James Joyce's novel, Ulysses, Leopold Bloom epitomizes the concept of circuitous paths, as he meanders through the streets of Dublin on the 16th of June, 1904. The following is an excerpt from a paper I presented in Dun Laoghaire last year. It will be a chapter in a book to be published this year with Peter Lang Publishers and illustrates the use of iconic realism in James Joyce's Ulysses as well as in the medieval poem, Roman de la Rose. The following excerpt from that chapter discusses the character, Molly Bloom, who speaks out in the final 'Penelope' chapter through 40 pages of stream of consciousness and not a punctuation point to be found... an amazing read!

            In his novel, Ulysses, James Joyce illustrates parochial dissonance by means of Victorian feminine perceptions throughout Molly Bloom’s soliloquy in the final chapter of his epic tale. Using stream of consciousness in a manner unparalleled at this novel’s publication, Joyce leads his audience to the entrance of the sphere of Molly’s mind, taking the reader to every crevice of her feminine consciousness. Joyce defies the social stigma of women during this era as he interweaves Molly Bloom’s expression of a unique feminine point of view.

            Through Molly’s voice, he seeks answers to his own challenge with a feminine defiance of human weakness. The Ireland in which James Joyce lives is in the midst of revolution. As Joyce leaves his ancestral home, he allows his own genius to flourish. He sees the result of the male world’s design for women and seeks to illuminate the world with its significance. His personal associations with women frame the female portrait of Molly Bloom, as he places Molly in the midst of the Victorian era, with its focus on proper placement of gender roles, customs and even nations, carries the burden of living with this regimented philosophical point of view. Joyce designs the person of Molly to reveal traits that originate from conventional Victorian masculine ideas of how a woman should act or think. Joyce writes Molly as one whose actions have a tendency to focus upon her sexual desires. Molly, like Ireland, is a contradiction of human spirit. On one hand, she is independent, wild, yet she depends on the ruler of her heart for identity. 

26 February, 2010

Sepia Saturday: Ana de Mendoza, Princess Eboli from Verdi's "Don Carlo"

This past week, I had to remove my right contact lens for a day and replace it with an eye patch. A colleague passed by my office and made a comment about Verdi's opera, Don Carlo whose character, Princess Eboli, dons an eye patch. (Too bad she shares her title with a fatal bacteria.) This colleague is also the chairman of our World Languages and Literature Department, so of course, she provided me with some wonderful sites to support her statement. When I viewed these videos, I thought this would make a great 'Sepia Saturday' contribution! I hope you enjoy them...

Information on Ana de Mendoza, Princess of Eboli:
http://en.wikipedia.org/wiki/Ana_de_Mendoza,_Princess_of_%C3%89boli

Videos of opera:
http://www.youtube.com/watch?v=wrbPQjftR CA&feature=related
http://www.youtube.com/watch?v=KWuGKwGK4I8&feature=related

27 January, 2010

RED CAR Poetry


Soooo happy that TFE has resumed the poetry bus extravaganza! 
This week, however, we're posting in honor of Nuala Ni Chonchuir's 
wonderful book, "Portrait of an Artist with a Red Car." Well, I do actually
drive a red Jeep Liberty, which I have named, Cherries Jubilee, so this
week's dedication is close to my heart. 
Below is a poem I wrote a while ago after passing a farm and seeing 
the cows getting loaded onto a red cattle van. I was amazed to see the 
reaction of the cows across the street in the lower pasture, obviously 
distraught. As it turned out, the cows were only on their way to their
annual check up. Whew!!!


Beouf

Brown cows loaded
into a red cattle van
One last bellow
to spare their ribs
Black cow shouts out
from the lower pasture
"Don't worry, Girlfriend!
I'll meat you on the other side."

This week, the 'girls' will be on the menu:
Porterhouse, Babyback, Filet Mignon
"Medium Rare, au jus on the side, please."

I wonder,
as the restaurant patrons
pass the emptied pasture
in beefed up red sports cars
with their beoufed up selves,
will there be a longing?

Jeanne I. Lakatos 2010