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"A critical anthology of indigenous-authored texts, including Nahua, Quechua, and Spanish which native peoples and Spaniards convey their perspectives on Spanish colonial order. The first volume with native testimonies of Spanish expansion and examines geographically and culturally realities of indigenous elites in the colonial period"--Provided by publisher

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.

This article surveys the ouevre of the Icelandic writer Jakobína Sigurðardóttir (1918-1994) on the occasion of her centenary. Various aspects of her novels, short stories, poetry and memoirs are examined, including the ways in which she presents time in her texts – time as it pertains to individual life spans and the interaction of different generations, as well as time in the life of a nation which could be said to have switched abodes in the course of the 20th Century, moving from rural to urban settings, and during this time the island nation attained sovereignty and independence. narrative is a key element in treating time and historical shifts, and attention is paid to the ways in which Sigurðardóttir both renews realist traditions and resorts to more radical narrative forms, pulling the reader into an active dialogue on gender and generational issues, on social justice and equality, as well on the routes and conditions which connect and mould places of dwelling – individual houses as well as the abode of the nation.

The icelandic poet Gerður Kristný has in the last two decades repeatedly told tragic stories focusing on the systemic violence that has for so long been directed against women, and her long narrative poem Drápa, or The Slaying (2014), is no exception. Drápa is a feminist critique focusing on the true story of Gréta Birgisdóttir, who was murdered by her husband Bragi Ólafsson in Reykjavík in January 1988. it is a poem about a killing that draws its power from various different sources, such as modern true crime fiction, the Nordic crime novel, and fantastic tales.

In the Icelandic traditional ballads from medieval and post-medieval times, wo-men and their voices are very prominent, while stories of male heroes were rather portrayed in rímur. The language is very unusual and shows signs of translation, formulas are frequently used, and the mode of narration is objective and clear. Love is a common subject, and so is violence, often gender-based and sexual. In the article the background of these ballads is discussed shortly and their emergence in Icelandic oral culture and later its literature, as they were recorded by educated men, from nameless sources, most probably women. Seven ballads are then used to show different aspects of violence within the genre. All are highly dramatic, and their subject is harsh: hardship, rape, birth and loss of children, and sometimes the victims take things into their own hands and avenge in a graphic way. How ballads that tell such terrible tales, can have been sung and danced to at joyous gatherings, is an interesting food for thought. It will be reasoned that these ballads have primarily been sung by women, and they can even have been a consolation and a tool to deal with gender-based violence in their own lives.

Þýðingin að þessu sinni er grein kanadíska rithöfundarins Margaret Atwood, "Am I a Bad Feminist?" sem birtist í dagblaðinu The Globe and Mail í Toronto í ársbyrjun 2018. Tilefni þess að Atwood skrifaði greinina eru atburðir sem áttu sér stað í Háskólanum í Bresku-Kólumbíu fyrir nokkrum árum þegar kennari við skólann var leystur frá störfum. Mikil umræða skapaðist um málið og viðbrögð rithöfunda og annarra sem kenna má við kanadíska menningarstofnun leiddu til klofnings í kanadískum bókmenntaheimi. Forsaga og eftirköst greinarinnar eru rakin í inngangi ritstjórnar og Aðalsteins Eyþórssonar, en óhætt er að segja að hún hafi vakið töluverð viðbrögð.

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.

Umfjöllun um kynbundið ofbeldi hefur farið hátt síðustu ár en það er meginefni Ritsins þessu sinni. Með sífellt fleiri frásögnum af raunverulegu ofbeldi og áreiti – og skáldskap sem fæst við kynbundið ofbeldi og byggir jafnvel á raunverulegum atburðum – hafa menn ekki aðeins orðið meðvitaðri en fyrr um kynbundið valdamunstur sem viðgengst í tilteknu félagslegu samhengi samtímans (jafnt þröngu sem víðu) og orðið gagnrýnni en áður á ýmis lög, dóma og fyrningarákvæði; Þeir eru teknir að skoða kynbundið ofbeldi í tengslum við annað ofbeldi sem fyrr hefði naumast verið tengt því; farnir að greina það á fortíðarsviðum þar sem því hefur lítt eða ekki verið veitt eftirtekt fyrr og teknir að leggja markvisst niður fyrir sér staðlaða, ósjálfráða og menningarbundna hugsun sem lýsir af máli.

Rannsóknarefni og aðferðir þeirra höfunda sem hér skrifa eru innbyrðis afar ólík. Í hugvísindum spanna greinarnar vítt svið, frá síðmiðöldum til samtímans. Ingibjörg Eyþórsdóttir skrifar um kynbundið ofbeldi í sagnadönsum og hvernig þeir voru notaðir til að koma mikilvægum upplýsingum á milli kynslóða kvenna. Bókmenntagreining Öldu Bjarkar Valdimarsdóttur og Guðna Elíssonar annars vegar og Björns Þórs Vilhjálmssonar hins vegar tekur mið af raunverulegum frásögnum af ofbeldi sem hefur átt sér stað í íslensku samfélagi og hvernig unnið er með það í skáldskap. Alda Björk og Guðni fjalla um ljóðabókina Drápu eftir Gerði Kristnýju en Björn Þór um skáldsöguna Kötu eftir Steinar Braga. Af sviði sálfræðinnar skrifar Rannveig Sigurvinsdóttir um rannsókn sem hún gerði á birtingarmyndum kynferðisofbeldis í frásögnum kvenna á netinu (sem komu fram árin 2015–2017 á Facebook og Twitter), og tók þá mið af réttlætingum gerenda og þolenda. Þorgerður Einarsdóttir prófessor í kynjafræði og Þórhildur Sæmundsdóttir kynjafræðingur og meistaranemi í lögfræði greina niðurstöður Hæstaréttar í kynferðisbrotamálum eftir breytingar á kynferðisbrotakafla hegningarlaganna 1992 og 2007. Þær greina þrástef og mynstur í orðræðunni, og hvort og þá hvernig samfélagsleg staða kvenna birtist í niðurstöðum dómstólanna. Guðrún Þórhallsdóttir málfræðingur skoðar sögu nafnorðanna gleðimaður og gleðikona og veltir meðal annars fyrir sér mismunandi merkingu þeirra og eðli málbreytinga sem gleði-orð hafa orðið fyrir.

Óritrýndar greinar innan þema eru tvær en báðar eru eftir rithöfunda. Hallgrímur Helgason ræðir eigin upplifun af neikvæðum viðbrögðum annarra gagnvart nauðgunarlýsingu sem hann skrifaði um í bókinni Sjóveikur í München, sem byggir á eigin reynslu. Grein Margaret Atwood er þýðing heftisins en hún fjallar um afstöðu rithöfundarins og vangaveltur um atburði sem áttu sér stað í kanadískum háskóla fyrir fáeinum árum.

Explanations of sexual violence are an important topic because they reveal the societal context of violence. Perpetrators of violence commonly reject blame, explaining their actions with survivor behavior or the situation. In this study, 397 Icelandic social media posts from Facebook and Twitter were analyzed for explanations of violence. Societal explanations included general negative attitudes towards women, biological essentialism (that men cannot control their sex drive), the entitlement of men to sex and objectification. Survivor explanations included that the survivor had been drinking alcohol at the time of the violence, and that the survivor was expected to fight back to justify the event being classified as violence. The monster stereotype of perpetrators was salient in the accounts, either as fact, or to specifically challenge that idea. The results reveal powerful societal stereotypes when it comes to sexual violence, which need to be counteracted in the future.

This paper discusses the history of the nouns gleðimaður, which is known from Old as well as Modern icelandic, and gleðikona which first occurs in an 18th-century source. Other nominal compounds for men and women that have gleði- as their first member are also introduced. The meaning of these words is compared, as is their usage, in order to test the claim that the words for men normally have a neutral meaning ('cheerful man, party animal') but the words for women have a pejorative meaning ('hussy, prostitute'). The nature of the changes in the history of the gleði-compounds is also discussed, e.g., to what extent borrowing from a foreign language has taken place. Lars-Gunnar Andersson's categorization of the so-called "ugliness" of words is used for a more detailed definition of the semantic changes. Finally, we touch on the wish to reclaim the word gleðikona that has been observed in the last decades, i.e., to revive the practically forgotten meaning 'cheerful woman, female party animal'.

The paper analyzes the rulings of the Supreme Court of iceland in rape cases after changes in the penal code in 1992 and 2007. The study employs discourse analysis in which legitimizing principles are identified. The aim of the paper is to explore whether victim blaming, misogyny or other such attitudes are reflected in the rul­ings. The paper concludes that the rulings' focus is mainly on physical abuse and violence although less emphasis is put on that after the changes in the penal code. Mental harm caused by rape is often given little attention or even completely igno­red. One main conclusion is that rape myths are reflected in the rulings and victim blaming is common although it is decreasing. it is also apparent that the emphasis on victim blaming diminishes if the perpetrator is of foreign origin.

Síðasta aldarfjórðunginn eða svo hafa verið gefnar út ýmsar skáldsögur og ævisögur, mismikið skáldaðar, sem segja opinskátt frá kynbundnu ofbeldi. Hallgrímur Helgason er einn þeirra rithöfunda sem hefur skrifað um eigin reynslu af því tagi. Í greininni segir rithöfundurinn frá viðbrögðum samfélagsins við nauðgunarlýsingu sem birtist í bókinni Sjóveikur í München (2015) og áhrifunum sem þau höfðu á hann. Frásögn Hallgríms sýnir að þótt umræðan um kynbundið ofbeldi hafi aukist mjög er á því bannhelgi þegar það beinist gegn körlum.

Sögurnar og ljóðin sem hér birtast, eftir þær Jónu Kristjönu Hólmgeirsdóttur og Karítas Hrundar Pálsdóttur ritlistarnema, voru samin undir áhrifum frá Jakobínu Sigurðardóttur sem hefði átt aldarafmæli árið 2018.