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Grein sú sem hér er þýdd birtist í bandaríska tímaritinu Law and Literature á liðnu ári. Hún ber vott um vaxandi þátttöku norrænna fræðimanna á alþjóðlegu rannsóknarsviði laga og bókmennta á síðari árum en er einnig til marks um forvitnilegt og frjótt samstarf tveggja einstaklinga sem tilheyra ólíkum rannsóknarhefðum bókmenntafræði og lögfræði. Birt með leyfi höfunda og Taylor & Francis Ltd. © Cardozo School of Law.

The aim of this article is to discuss two contemporary Icelandic novels, Kata by Steinar Bragi and Gott fólk by Valur Grettisson, in connection to interpretations of revenge literature and films in the field of Law and literature. Both novels deal with shortcomings in the legal system and judiciary in dealing with and proving crimes involving rape and sexual abuse. This analysis focuses on how the two novels are connected to the advocacy for change, both for the legislator and the judicial system in Iceland. The novel Kata is named after the protagonist, whose daughter is kidnapped, raped and murdered. Kata decides to revenge her daughter and murder the perpetrators, one by one. Throughout the story the reader is made aware of the necessity of avenge, but still the question of righteousness remains. In Gott fólk the narrator, Sölvi, is put through the accountability process by Sara and her friends, after she accuses him of both mental and sexual misconduct during the time of their relationship. Sölvi experiences the process as revenge, but to the reader it is clear that he is guilty and cannot cope with that realization. The two novels offer a basis for discussion on sexual offence, the legal system, revenge and justice.

Literature has a long history of chastising women who defy ,traditional' gender roles. By turning a critical eye on the poem danse grotesque by the Icelandic poet Sjón, its staging and visual presentations, as well as fundamental interpretive keys such as trolls and dance, one senses a resistance to the prevailing manifestations of women in the Western media. The article shows how the poem reassesses the relationship between femininity and death in Western culture.Keywords: Concrete poetry, avant-garde, decadence, gender roles, death, dance, trollsKjartan Már ÓmarssonDoktorsnemi í almennri bókmenntafræði Hugvísindasviði Háskóla ÍslandsSæmundargötu 2 IS-101 Reykjavík, Íslandko@hi.is

Markmið greinarinnar er að fjalla um skáldsögur tveggja íslenskra kvenrithöfunda sem beita fagurfræði hins ókennilega (e. the uncanny, þ. das unheimliche) til að takast á við atburði fjármálahrunsins árið 2008. Sögurnar sem um ræðir eru Ég man þig (2010) eftir Yrsu Sigurðardóttur, og Hvítfeld: Fjölskyldusaga (2012) eftir Kristínu Eiríksdóttur. Í hug- og félagsvísindum er hrunið skilgreint sem sameiginlegt áfall þjóðar sem leiddi til djúpstæðrar minnis- og sjálfsmyndarkrísu á hinu sameiginlega opinbera sviði. Þá hefur hugmyndin um hrunbókmenntir verið glögglega skilgreind og rædd, til dæmis í bók Aleric Hall, Útrásarvíkingar: The Literature of the Icelandic Financial Crisis (2008-2014). Í greininni skoða ég hvernig ókennileg stef verkanna skírskota til samfélagsástands á hruntímum og hvernig reimd hús frásagnanna endurspegla bælingu, ótta og loks sorg á tímum fjármálakreppu.

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.

This volume is the first study of the influence of Roman law on the first written law of Iceland. Starting with a presentation of the legislation during the period of the Icelandic free state, Hafliði Másson is presented in detail. Through him influences from Roman law, as well as norms from the Old Testament played a part in the legal codex of Grágás. The work is thus of significance for legal history as well as for German and Byzantine studies. Hans Henning Hoff, Hamburg.

This essay concerns itself with perceptions of the urban sphere, with its manifestations in literature and life writing, and with the city as a place of strangeness and travel in various senses, including the ways in which it pertains to the individual
world view. Cities are places of density and internal connections, but their gates also open out and connect with other places, and increasingly other cities. Following a discussion of the Icelandic links between Copenhagen and Reykjavík, and the slow emergence of the latter as a "literary capital", the course is set for foreign cities, including Berlin and Paris in the company of Walter Benjamin, and the experience of getting lost with Franz Kafka in places that may be Prague and New York. In
attempting to answer the question whether it is possible to become intimate with cities, we have recourse to city guides, life maps, a touring theatre – and the art of losing and finding.

Erlendis hafa þverfaglegar rannsóknir á sviði laga og bókmennta verið blómlegar á undanförnum ártugum. Á fyrstu áratugum tuttugustu aldar mótaðist meðal bandarískra lögfræðikennara hreyfing í kringum þetta efni (e. the law and literature movement) sem hafði framan af þann tilgang að bæta húmanískan bakgrunn lögfræðinema. Um miðjan þriðja áratuginn voru færð rök fyrir mikilvægi þess að lögfræðingar kynntu sér skáldskap og bókmenntir. Þar sem starf stéttarinnar snerist að verulegu leyti um skriftir (að semja sóknar- og varnarræður, lög og dómsorð) væri yfirgripsmikil þekking á stíl og stílbrögðum gagnleg hverjum þeim sem vildi ná árangri í faginu. Ekki leið á löngu þar til bandaríska fræðiumræðan fór að hafa áhrif víðar, meðal annars í Evrópu. Meginmarkmið með þessu þemahefti Ritisins er að kynna þessa fræðahefð hérlendis og vekja áhuga á margháttuðum tengslum lögfræðinnar við bókmenntafræði, sagnfræði og heimspeki. Í heftinu birtast fjórar frumsamdar og tvær þýddar greinar þar sem lög og bókmenntir fléttast saman.

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.

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.

Húsið (1983) or The House, directed by Egill Eðvarðsson, was the first icelandic fea-ture-length horror film. it follows the tradition of the haunted house genre which was popular between the Seventies and Eighties. The haunted house is a graveyard of gothic secrets but also the place where buried secrets come alive. The haunted house is often a traumatic location or a manifestation of the trauma haunting its inhabitants' minds. Thus, the haunted house horror is usually first and foremost dealing with the horror within the brain of the inhabitants. This article explores how the haunted house in Húsið manifests the protagonist's trauma in terms of recent studies by the psychiatrists Bessel van der Kolk and Onno van der Hart.