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The ambiguity between reality and fiction haunts Einar Már Guðmundsson's novel Hundadagar (Dog Days, 2015), as it is a fictional narrative about factual, historical figures and events, such as Jörgen Jörgensen, Rev. Jón Steingrímsson, Finnur Magnússon and Guðrún Johnsen, while the same can be said about many other novels labeled as postmodernism. Canadian literary scholar Linda Hutcheon coined the concept of historiographic metafiction to describe fictions as such, which are "intensely self-reflexive", while "paradoxically lay claim to historical events and personages". Hutcheon suggests that historiographic metafictions fully illuminate the very way in which postmodernism entangles itself with both the epistemological and ontological status of history. This paper begins with an introduction to Hutcheon's theoretical contributions on postmodernism, postmodern literature and the relationship between history and fiction, followed by a reading of Hundadagar as a historiographic metafiction. The narrator's strategies—such as parataxis, metanarrative comments, we-narrative discourse and documentary intertext—largely indicate an imitation, a revelation, or say, a parody of the process of historian's writings. The paper further suggests that it is the Icelandic financial crisis in 2008 that prompts the narrator to revisit the 18. and 19. century, since the financial crisis takes the role of a rupture of the Enlightenment ideals, leading to disorder and chaos. Moreover, the narrator finds an uncanny similarity between the past and the present, as if the history has been repeating itself. The spectre of history keeps (re)appearing in a deferred temporality. While revisiting the past, the narrator also (re)visits the present in an allegorical way. In a word, as a historiographic metafiction, Einar Már Guðmundsson's Hundadagar is "fundamentally contradictory, resolutely historical, and inescapably political", just as Hutcheon's perception of postmodernism.

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'.

Eitt af meginmarkmiðum núgildandi aðalnámskrár (Mennta- og menningarmálaráðuneytið, 2011/2013) er að búa nemendur undir þátttöku í lýðræðislegu samfélagi. Samkvæmt þessu á grunnskólinn að vera sá staður sem veitir nemendum svigrúm til að öðlast reynslu af lýðræðislegu starfi og vera þátttakendur í því. Markmið þessarar rannsóknar var að kanna mögulegar breytingar á viðhorfum nemenda í þessum efnum yfir fimm ára tímabil, 2010 til 2015. Tveir hópar nemenda í 6.–10. bekk (Nalls = 627) voru spurðir um afstöðu sína til lýðræðis og lýðræðisþátttöku með fimm ára millibili. Rannsóknin var gerð í samvinnu við tíu skóla sem söfnuðu gögnum við reglubundið sjálfsmat. Niðurstöður sýna að viðhorf nemenda til lýðræðis í grunnskólum á Íslandi og lýðræðisþátttaka virðist hafa tekið mjög litlum breytingum á framangreindu tímabili. Engar breytingar var að finna á því sem kallað hefur verið frjálslynd lýðræðissjónarmið, svo sem tjáningarfrelsi og samkeppni í skólastofunni. Aftur á móti mátti greina smávægilega jákvæða breytingu á viðhorfum til þess sem kallað hefur verið samstarfslýðræði, þ.e. til þátttöku og samvinnu. Mikilvægi lýðræðisþátttöku að mati nemendanna virtist dala lítillega yfir þetta fimm ára tímabil. Niðurstöðurnar voru bornar saman við danska rannsókn frá árinu 2001 sem þessi rannsókn tók mið af. Enginn afgerandi munur fannst á viðhorfum dönsku og íslensku ungmennanna. Þó virtust frjálslynd lýðræðissjónarmið vera traustari hjá dönsku ungmennunum. ; The Icelandic national curriculum guide for compulsory schools published in 2011 specially emphasized the importance of preparing students for active participation in a democratic society: "It is expected that children and youth learn democracy by learning about democracy in a democracy" (Mennta- og menningarmálaráðuneytið, p. 19). Democracy was furthermore emphasized as one of six fundamental pillars of the Icelandic education system together with literacy, sustainability, health and welfare, human rights, equality, and creativity. Accordingly, knowledge about changes in attitudes towards democracy and democratic participation since the introduction of this new conception in 2011 is of importance. The increased emphasis on issues related to democracy introduced in the Icelandic national curriculum guide for compulsory schools were to be fully implemented in 2013. Studies on how Icelandic students are prepared for an active participation in the constantly changing democratic society are few and far between. Therefore, the results of this study can be considered of importance for education stakeholders such as teachers, parents, students, and scholars. The theoretical model used in the study is based on the works of Danish researchers (Jacobsen, Jensen, Madsen, Sylvestersen, & Vincent, 2004), where democratic perspectives in a Western tradition are conceived as liberal democracy (e.g., emphasizing the rights of the individual) and republican democracy (e.g., emphasizing solidarity). According to the model, both perspectives need to be in place for a democracy to function, and it is in the tension between these two perspectives a democratic process becomes active. The goal of this study is to contribute to an increased theoretical and empirical knowledge about democratic processes and democratic participation in public schools. The research was intended to detect possible changes in the responses of children to questions related to liberal and republican democracy after the full implementation of the Icelandic national curriculum guide from 2011. The goals of the study were approached by asking two groups of children in Grades 6 through 10 (Ntotal = 627) about their attitudes towards democracy and democratic participation in the classroom. The first data collection was conducted in 2010 and the second data collection was conducted in 2015. The study was conducted in collaboration with 10 schools that carried out the data collection as a part of their own internal evaluation. The results show that attitudes towards democracy and democratic participation over the above depicted period had changed remotely during the five-year period. No changes were found in attitudes related to a liberal democracy. A slight positive change was detected regarding opportunities for participation and collaboration in a republican democracy. However, the importance of democratic participation showed a slight decline during this five-year period. According to the model of Jacobsen et. al. (2004) one of the prerequisites for liberal democracy is individuality. A comparison with Danish result from 2001 showed that about 61% of the Danish adolescents indicated that it was very important to "be the way they are" but only 47% of the Icelandic adolescents responded the same way in 2015. These results were in accordance with other manifestations of liberal democracy in the survey, which seemed stronger among the Danish adolescents. The limited change in the attitudes of adolescents towards democracy and democratic participation raises questions about whether compulsory schools had the resources to implement the changes in policy recommended by the 2011 national curriculum guide. More research is needed to explore what was done in schools to increase democracy in the classroom during the 2011-2013 implementation period. Furthermore, it is important to conduct further research to identify efficient ways for teachers and school administrators to meet the policy recommendation for an increased emphasis of democracy in Icelandic classrooms. Finally, comparison with results from other countries give reason to conduct more research on manifestations of liberal democracy (e.g., opportunities for an open and democratic discussion; respect for individuality) among Icelandic adolescents. ; Peer Reviewed

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.

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

This article presents findings from two qualitative research studies on readers' emotional reactions and empathy towards literary texts. Participants were presented with two fragments from novels by Vigdís Grímsdóttir and then asked about their reactions. In the first study, 20 participants were asked to read a fragment from the novel Þögnin(2000) and half of the participants had some kind of a musical education and the other half with no background in music. Interestingly, having a musical background impacted reactions differently than what was expected. As a result, a second study was carried out where the reactions of visual artists (10) were compared to non-artists (10) to a fragment from the novel Þegar stjarna hrapar (2003). Both novels contain information specific to music (Þögnin) or visual arts (Þegar stjarna hrapar). Cognitive science methods, such as the schema theory, will be used to explain how readers of diverse backgrounds react differently to the same text. This approach also illustrates how useful qualitative methods can be in studying topics beyond only the content of the text.

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.

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.