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This article deals with the authorship of Elísabet Kristín Jökulsdóttir, with special emphasis on the autofictional novel Heilræði lásasmiðsins (The locksmith's advice), as well as other works that are based on autobiographical material. Elísabet writes a lot about the female body, its desires and erotic longings, as well as how helpless and weak it can be in particular situations. Her writing on the self, body and sexuality centres on the opposition between love and rejection. The desire for love is the driving force behind her writing and a deep and ruthless self-examination is at work in her fictional world. This desire is closely connected to the female body and sexual drive and Elísabet scrutinizes the nature of 'femininity' and asks what it means to be ,a woman'. Elísabet describes the female body in all its nakedness and vulnerability and shows how the body is the battleground where the main conflicts between self and others take place. Elísabet frequently describes two oppositional worlds in her works. There are conflicts between the magical world and reality, the father and the mother, the child and the grown-up, psychological difficulties and 'sanity'. a divided self is a persistent theme in her writings, as well as the struggle to remain on the right side of the "borders", which are frequently mentioned. Elísabet's writings reveal a struggle for marking a place for oneself in the world, to be heard and seen, to be able to createand recreate the self and through her writing, she copes with existence and difficulties that are rooted in childhood. Through writing, she finds a way out and the writing process serves as self-analysis and therapy. In her works Elísabet also creates her own personal mythology, which she connects with women's struggle for self-realization, freedom and social space. The analysis of Elísabet's works is inspired by the writings of feminist scholars, such as Simone de Beauvoir, Kate millett and Hélène Cixous.

During the Forties, Icelandic novelist Guðmundur Daníelsson, wrote a trilogy called Out of the Ground Wast Thou Taken: Fire (1941), Sand (1942) and The Land beyond the Land (1944). Leading up to the publications Daníelsson was vocal about the fact that he had read the works of American novelist William Faulkner. Later in life he would reveal that he read Faulkner in Norwegian translations and proudly acknowledged the direct line of descent he recognized between his own work and that of his American colleague. Until now no systematic analyzes has been done on the many parallels between their works. The article is divided in two. The first half unfolds in which ways Daníelsson reproduced structures, milieu, ideas, characters and events from Faulkner's nov-el Light in August in Fire. The latter half of the article situates Daníelsson's trilogy within a critical framework developed by Faulkner scholars in the last two decades where they have explored the relationship between Faulkner and the many writers who have engaged with him from the postcolonial world. Questions will be raised about if and then how Daníelsson deals with Iceland's postcolonial past in his novels, with a special emphasis on the connection between power and identity as it mani-fests itself in relation to, for example, class, race, gender and disability.

Alda Björk Valdimarsdóttir's book of poetry, We Who Are Blind and Nameless, was published in 2015. The first part of the book, titled "The course of signs", lays the groundwork for the conceptual basis of the work through five poems. These five
poems will be examined through close reading and scholarly materials from various sources, such as cognitive literary studies, philosophy, psychology, social studies and neurological research. There is particular focus on how the poems stimulate the imagination of readers and ruffle their feelings; there is a discussion on (conceptual) metaphors, irony, humor, paradox, geometrical shapes, enumeration, anaphora and, not least, silence which is a common theme in Alda's poetry and also defines the structure of her poems in various ways. This analysis shows how Alda convinces readers to think about the "course of signs" in both a narrow and wider context. She not only causes readers to think about the paradoxical interplay of silence and signs – and thus man's ingrained need to both speak and be silent – but also woman's position within her family/world history and the encroachment of man upon his own environment. Through clever humour and irony, Alda Björk shows how apathetic people often are when faced with signs; how without thinking they give themselves over to them, even though they have other options; how people contribute for the signs to be isolating instead of connecting us with each other – and how they misuse silence or are not able to make use of it.

The astonishing range of writings about the social causes and consequences of the Icelandic 2008 financial crisis proffers a unique opportunity to analyse comparative-ly how scholars from different disciplines in the humanities and social sciences deal with one and the same subject. How does the scholarly approach differ regarding the employment of theories, hypotheses, empirical data and concepts? Is the methodology of the humanities noticeably different from that of the social sciences? Did the boundaries of philosophy and related sciences change in times of crisis, momentarily or permanently?

Þórarinn B. Þorláksson (1867–1924) has been credited with being the first Icelandic professional painter. His reception, both during his lifetime and posthumously, is therefore an interesting indication of the changes in the outlook and ideology surrounding the reception of Scandinavian fin­de­siécle art up to the present. He was honourably mentioned by his contemporaries and then was forgotten in the upheavals surrounding the adoption of modern styles, such as abstract art, in Ice­land around the Second World War. He re­gained attention in the sixties and has since then been revered as an important, though problematic, pioneer of Icelandic painting. This has in recent years been especially evident in the way he has been mentioned in the context of the revival of Nordic and Scandinavian late 19th and early 20th century art in Northern­Europe and America. The paper reviews and analyses the historical reception Þorláksson has received and the way his work has been inscribed into the narrative of Icelandic and Scandinavian Art History. This process is an attempt to understand and contextualise Þorláksson's work in aesthetic terms, while at the same time function as a critical mirror of the trends and ideolo­gies surrounding the Nordic revival in recent years.

The regulation of film exhibition in Iceland has closely shadowed the history of cinema exhibition itself. Although regulation practices have undergone various shifts and realignments throughout the twentieth century, they retained certain core concerns and a basic ideological imperative having to do with child protection and child welfare. Movies were thought to have a disproportionate impact on children, with "impressionable minds" often being invoked. Their interior lives and successful journey towards maturity were put at risk each and every time they encountered unsuitable filmic materials. Thus, while assuming that adults could fend for them-selves among the limited number of theaters in Reykjavík, children were a whole another matter and required protection. Civic bodies were consequently formed and empowered to evaluate and regulate films. But even in the context of fairly rigorous surveillance and codification, the turn taken by regulatory authorities in the 1980s strikes one as exceptional and unprecedented. The Film Certification Board (TFCB) was, for the first time, authorized to prohibit and suppress from distribution films deemed especially malignant and harmful. Motivating this vast expansion of the powers of the regulatory body were concerns about a variety of exploitation and horror films that were being distributed on video, films that were thought to transgress so erroneously in terms of on-screen violence that their mere existence posed a grave threat to children. Two years after finding its role so radical-ly enlarged, TFCB put together a list of 67 "video-nasties", to borrow a term from the very similar but later moral panic that occurred in Britain. Police raids were conducted and every video store in the country was visited in a nation-wide effort to remove the now illegal films from rental stores. This article posits that the icelandic nasties list can be viewed as something of a unique testament to the extent to which the meaning, aesthetic coherence and the affect of cultural objects is constructed in the process of reception, while also main-taining that the process of reception is thoroughly shaped by historical discourses, social class, embedded moral codes and a social system of values, as well as techno-logical progress. in what amounts to a perfect storm of moralizing, political games-manship and the sheer panic of a certain segment of the population, the governing institutions in iceland managed in the span of months to overturn constitutionally protected rights to free speech and privacy, as well as undermine central principles of the republic. Two decades would pass before these setbacks were recuperated, and then only on a legal and institutional level. While analyzing the history of the icelandic video nasties, the article also attempts to grapple with and articulate the symbolic register of the ban, how it speaks to the status of cinema in Iceland at the close of the twentieth century, and what ideological strains, morals and/or values were being put into play and funneled into this particular debate. Then, to close, the role of the most notorious of the nasties, Cannibal Holocaust (Ruggero Deodato, 1980), is examined in the context of media coverage and parliamentary debates at the time.

In this article I discuss how various collective art projects involving artists and curators using the city as an exhibition site have transformed artistic discourse in Iceland. Chantal Mouffe´s conception of public space as a battleground and art practices as agnostic interventions into this space raise questions about the branding and commodification of art and cultural institutions. Mouffe believes that despite the unrestrained commercial control of the urban landscape, artists still have the possibility of intervening in the political and economic status quo. Employing Mouffe´s analyses as a guiding principle, the study confirms that the permanent value of art in public spaces need not be limited to individual artists' form, style or content, but may be capable of mobilizing political, critical and artistic discussions within the urban community.

This article offers a discussion of two contemporary Icelandic literary works, Woman at 1000 Degreesby Hallgrímur Helgason and The Outlaw by Jón Gnarr, both of which have been subject to discussion and critique regarding the authors' use of real life individuals and events. The reception of these texts is read against the framework of Icelandic laws regarding freedom of expression and rights to privacy. Two Icelandic legal cases, regarding a literary text and cinematic production, serve as case studies for the Icelandic framework.

n 2017 the 500th anniversary of the Lutheran Reformation was celebrated. Then there was a huge discussion about the impact of the Reformation on church, culture and society. In this article and in a second one that follows, this question will be raised, especially in Icelandic context.Here it is assumed that it is only possible to state that a change has occurred or a novelty has arised because of Lutheran influence if it can be demonstrated that the Reformation is a necessary prerequisite for the change / innovation being discussed. Here it is particularly pointed out that various changes that until now have been traced to the Reformation can have been due to the development of the central-con-trolled state power. It is also pointed out that, due to the small population, rural areas and simple social structure, various changes that occurred in urban areas did not succeed in Iceland until long after the Reformation. Such cases are interpret-ed as delayed Lutheran effects. Then, in Iceland, many changes, which were well matched to the core areas of the Reformation, did not work until the 18th century and then because of the pietism. Such cases are interpreted as derivative Lutheran effects.In Iceland two generalizations have been evident in the debate on the influence of the Lutheran Reformation. The first one emphasizes an extensive and radical changes in many areas in the Reformation period and subsequent extensive decline. It is also stated that this regression can be traced directly to the Reformation and not to other fenomenons, e.g. the development of modern, centralized state. The other one states that the Reformation was most powerful in the modernization in both the church and society in Iceland.This article focuses on the influence of the Reformation on religious and church life. Despite the fact that the Reformation has certainly had the broadest and most direct effects on this field, it is noteworthy that the church organization itself was only scarsely affected by the Reformation. After the Reformation the Icelandic church was for example almost as clergy-orientaded as in the middle Ages.

In 2017 the 500th anniversary of the Lutheran Reformation was celebrated. Then there was a huge discussion about the impact of the Reformation on church, culture and society. In this article and in an another one published in last number of this journal, this question will be raised, especially in Icelandic context. Here it is assumed that it is only possible to state that a change has occurred or a novelty has arised because of Lutheran influence if it can be demonstrated that the Reformation is a necessary prerequisite for the change / innovation being discussed. Here it is particularly pointed out that various changes that until now have been traced to the Reformation can have been due to the development of the central-controlled state power. It is also pointed out that, due to the small population, rural areas and simple social structure, various changes that occurred in urban areas did not succeed in Iceland until long after the Reformation. Such cases are interpreted as delayed Lutheran effects. Then, in Iceland, many changes, which were well matched to the core areas of the Reformation, did not work until the 18th century and then because of the pietism. Such cases are interpreted as derivative Lutheran effects.In Iceland two generalizations have been evident in the debate on the influence of the Lutheran Reformation. The first one emphasizes extensive and radical changes in many areas in the Reformation period and subsequent extensive decline. It is also stated that this regression can be traced directly to the Reformation and not to other fenomenons, e.g. the development of modern, centralized state. The other one states that the Reformation was most powerful in the modernization in both the church and society in Iceland.This article focuses on the influence of the Reformation in the field of culture and society. These include e.g. the closure of monasteries and the consequences of it in the field of welfare, which have been widely discussed in recent times.The final conclusion of these two articles is that the main influence of the Reformation is found in the field of faith itself, and that the Reformation made it easier for the Lutheran Church than the two traditional denominations, the Roman Catholic Church and that Orthodox one, to meet the modernization in culture and society.

The article initially addresses the novel Kata by Steinar Bragi in the context of genre and asks to what extent it aligns itself with the crime novel, in particular the more recent brand of the crime novel wherein social issues are placed at the forefront. The point is made that Kata diverges in some important respects from even the most radical of critiques found within the parameters of the crime genre, in that it suspends the very concepts that usually ground such narratives (justice, right, and crime) and comes to the conclusion that the widespread social acceptance of violence against women delegitimizes the entire edifice of Western thinking on social justice. It is here that the article looks towards Louis Althusser's theorization 149of ideological and oppressive state apparatuses, while shifting their object from the class struggle to gender relations. Althusser's concepts are employed to shed light on the ideology that supports and enables violence against women in contemporary societies, and how the reverse of the oppressive function of the state, that is, state leniency and disinterest in prosecuting sex crimes, or creating the environment in which they are unlikely to be reported, are taken up in the novel, thematized, and in turn, fuel the rage of the protagonist. Finally, a question is raised as to the signific-ance of the fact that a novel about female rage and disempowerment is written by a male author.

Moonstone: The Boy Who Never Was (Mánasteinn: Drengurinn sem aldrei var til, 2013) by Sjón tells of three eventful months in the life of Máni Steinn in the fall of 1918. In this short period the volcano Katla erupts, the Spanish flu rages and Iceland regains its sovereignty from Denmark. Building on Judith Butler's, Mary Douglas's and Michel Foucault's theories regarding the body as a cultural construct, this article focuses on body discourse as presented in Moonstone. According to Douglas there is a direct link between boundaries of the body and boundaries of society. Everything that endangers the stability of society's boundaries is considered social pollution. Foucault's theory on panopticism likewise identifies surveillance and discipline of citizens' bodies as means of maintaining society's social structure. Because Máni Steinn is queer, his body is considered abnormal according to the period's definitions on what constitutes a healthy and stable body. Aberrations from the "healthy", heterosexual body creates divergence within society's fabric. To regain the appearance of a "pure" society Máni needs to be hidden or banished from it. Yet the arrival of the Spanish flu to Reykjavík deconstructs conventional definition of the body and unravels the social hierarchy. The distinction between the healthy and the infected is obliterated, as the body becomes a site where irreconcilable opposites merge. During the turmoil of the Spanish flu boundaries of the body become as unstable as society's boundaries become fluent.

The aim of this article is to discuss the book Dísusaga by Vigdís Grímsdóttir. In the story, which has been categorized as a fictional auto­biography, Vigdís writes about a rape she experienced as a child, focusing on the crime ́s effect. She talks about her decision to keep silent about the crime, which leads to – as described in Dísusaga– her being split into two personas, Dísa and Gríms. This article focuses on the communication between the two characters, in particular their power struggle. The analysis that is put forth is based on methods from theories about trauma, dialogical self and conceptual metaphors. In this article different attitudes toward sexual vio­lence in different times is also addressed by looking at the reception of other works by Vigdís, which have been connected to her persona.

In the past months and years women have been raising awareness against rape and other sexual violence. The aim of the research discussed in this article is to shed a light on rape culture in Iceland, especially what ideas are prevailing among young people about rape, survivors and perpetrators. Moreover, the aim is to shed a light on the impact of these ideas on rape survivors. The study draws on focus group interviews with university students and semi-structured interviews with a university student, rape survivors and an expert who works closely with survivors. The findings highlight rape culture in Iceland and how rape and other sexual violence is normal-ized. Predominant discourses and myths tend to question the rape, portray survivors as responsible for the rape and find ways to extenuate perpetrators.

Medieval Icelandic law contains no provisions about copyright. Authors used without hesitation narrative texts by others, but poets were paid for composing laudatory poems about kings and narrators for telling stories at their courts. The art of storytelling became a speciality of Icelanders, who were also hired to write biographies of Norwegian kings. It was considered reprehensible to use the poetry of others as one's own work. Two Norwegian poets may have got the cognomens skáldaspillir (Destroyer of poets?) and illskælda (Bad or Evil poet?) for plagiarism. An Icelandic poet composed a laudatory poem about a woman but changed it to fit another one, receiving a bitter revenge. In Icelandic sagas stanzas occur frequently and, unlike borrowings in prose, their authors are usually named. In the medieval law of Iceland it is forbidden to compose about people not only derogatory but also laudatory poetry. Conceivably it has been considered to give the author some kind of power over the person who was the subject of the poetry. Proper copyright, though, does not occur in Icelandic law until the beginning of the twentieth century.