A haunted house can either be a monster or the habitat of monsters, or even both. These houses have a unique attraction and a variety of methods to catch their prey. The scariest haunted house in the film Rökkur by Erlingur Óttar Thoroddsen (2017) does not provide shelter from wind and weather as it is not made of wood, concrete or stone. The ghosts in Rökkur are lurking online instead. By using the premises of the horror genre, Erlingur focuses specifically on the dangers that young homosexual men can be facing today. Chat rooms and social media are like hunting grounds for the monsters stalking the main characters. The film also focuses on the staggering silence of survivors of sexual violence, as studies have indicated that male victims are less likely to report the crimes they have suffered.
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.
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.
ParlaMint is a multilingual set of comparable corpora containing parliamentary debates mostly starting in 2015 and extending to mid-2020, with each corpus being about 20 million words in size. The sessions in the corpora are marked as belonging to the COVID-19 period (after October 2019), or being "reference" (before that date). The corpora have extensive metadata, including aspects of the parliament; the speakers (name, gender, MP status, party affiliation, party coalition/opposition); are structured into time-stamped terms, sessions and meetings; with speeches being marked by the speaker and their role (e.g. chair, regular speaker). The speeches also contain marked-up transcriber comments, such as gaps in the transcription, interruptions, applause, etc. Note that some corpora have further information, e.g. the year of birth of the speakers, links to their Wikipedia articles, their membership in various committees, etc. The corpora are encoded according to the Parla-CLARIN TEI recommendation (https://clarin-eric.github.io/parla-clarin/), but have been validated against the compatible, but much stricter ParlaMint schemas. This entry contains the ParlaMint TEI-encoded corpora with the derived plain text version of the corpus along with TSV metadata on the speeches. Also included is the 2.0 release of the data and scripts available at the GitHub repository of the ParlaMint project. Note that there also exists the linguistically marked-up version of the corpus, which is available at http://hdl.handle.net/11356/1405.
ParlaMint 2.1 is a multilingual set of 17 comparable corpora containing parliamentary debates mostly starting in 2015 and extending to mid-2020, with each corpus being about 20 million words in size. The sessions in the corpora are marked as belonging to the COVID-19 period (after November 1st 2019), or being "reference" (before that date). The corpora have extensive metadata, including aspects of the parliament; the speakers (name, gender, MP status, party affiliation, party coalition/opposition); are structured into time-stamped terms, sessions and meetings; with speeches being marked by the speaker and their role (e.g. chair, regular speaker). The speeches also contain marked-up transcriber comments, such as gaps in the transcription, interruptions, applause, etc. Note that some corpora have further information, e.g. the year of birth of the speakers, links to their Wikipedia articles, their membership in various committees, etc. The corpora are encoded according to the Parla-CLARIN TEI recommendation (https://clarin-eric.github.io/parla-clarin/), but have been validated against the compatible, but much stricter ParlaMint schemas. This entry contains the ParlaMint TEI-encoded corpora with the derived plain text version of the corpus along with TSV metadata on the speeches. Also included is the 2.0 release of the data and scripts available at the GitHub repository of the ParlaMint project. Note that there also exists the linguistically marked-up version of the corpus, which is available at http://hdl.handle.net/11356/1431.
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.
This article discusses the "Critical period" in language acquisition – based on the theory that children are born with the natural ability to learn language; an ability that gradually fades or disappears. According to this theory, children who are not privy to normal language stimulation during childhood miss their chance to acquire a language "perfectly".Critical periods do not only exist in language, e.g. children and other young animals need to receive visual stimulation for their vision to develop. The beginning of this article considers difference in opportunities for research, and thereby the state of knowledge concerning the critical period in vision, compared to language acquisition. The difference is based mainly on two factors: on the one hand, animals have been studied to elucidate the critical period in vision – an option that linguists do not have – and, on the other, it is quite common for children to lack visual stimulation, i.e. due to cataracts. It is less common for children to grow up without language stimulation, although stories exist of children that, for one reason or another, were deprived of human interaction during childhood. The author uses this opportunity to provide an account of two such stories, in a more detailed fashion than would be necessary to define the critical period in language acquisition. These are also stories of violence and questionable work methods for the sake of science. This is followed by a discussion of deaf children as, in the past – as well as the present day – it was common for them not to receive appropriate language stimulation from the beginning, i.e. via the use of sign language. The examples are so many that late language acquisition by deaf children can shed light on the critical period in language acquisition.Many have discussed the critical period in language acquisition but emphasis is often placed on that which has remained unlearned. This article asks rather what can be learned and whether language structure can be established despite a late start for the language acquisition process.
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.
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.
Í greininni er farið yfir helstu kenningar í póstfemínískum fræðum og leitast við að útskýra þær samræður sem fulltrúar slíkra hugmynda telja sig eiga í við fyrri kynslóðir og konur um aldamótin síðustu. Leitast er við að draga fram hvernig póstfemínisminn er hluti af þriðju bylgju femínisma og hvernig hann sem slíkur hefur áhrif á fjórðu bylgjuna þrátt fyrir að hugmyndaheimur hans geti hljómað annarlega í ljósi aðgerðarstefnu metoo bylgjunnar. Jafnframt er dregið fram hvernig eitt af einkennum femínismans sé samræða og mótþrói við kynslóðina sem kemur á undan. Farið er sérstaklega í viðhorf stefnunnar til kynfrelsis kvenna, klámvæðing í poppmenningu er tekin fyrir og uppgjörið við Playboy kónginn Hugh Hefner. Þá er þáttaröðin Sex and the City greind með hliðsjón af kynvitund, kyngervi og viðhorfum til einhleypu konunnar um síðustu aldamót. Einnig er framhaldsþáttaröðin And Just Like That … skoðuð með það í huga að bera saman ólík efnistök þáttanna á daglegu lífi vinkvennanna á nýjum tímum.
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'.
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.
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Í þeirri lýðræðisvakningu sem varð á Íslandi eftir hrun mátti sjá hvernig ólíkir hópar byggðu lýðræðiskröfur og ákall um meira eða dýpra lýðræði á ólíkum hugmyndum um lýðræði. Kjarni þessara krafna var þó hinn sami: meira lýðræði þýddi aukin áhrif almennings á ákvarðanir og stefnumótun. Þannig undirstrikaði hin almenna umræða um lýðræði þann skilning að virkt samráð við almenning sé nauðsynlegur hluti lýðræðislegra stjórnarhátta. Í þessari grein er gerð tilraun til að varpa ljósi á ólíkt inntak lýðræðiskröfunnar eftir málefnum hverju sinni og athyglinni einkkum beint að þekkingarmiðuðu lýðræði. Því er haldið fram að þótt enn sé ekki hægt að segja að þekkingarmiðað lýðræði byggi á veigamiklum empíriskum rökum, þá bjóði það upp á áhugaverðustu leið samtímans til að hugsa um lýðræðisnýjungar. ; During the democratic awakening in Iceland during and after the financial crisis of 2008 it was evident that different groups based their demands for more or deeper democracy on different conceptions of democracy. Yet their demands had a common core: more democracy meant greater public influence on policy- and decision-making. Thus public discussion insisted on a conception of democracy according to which public consultation is a necessary part of democratic governance. This paper discusses different kinds of consultation depending on the particular demands in each case with particular emphasis on epistemic democracy. I argue that even though it can hardly be said that epistemic democracy is based on much empirical evidence yet, its approach is the most promising way to think about future democratic. ; Peer Reviewed ; Ritrýnt tímarit
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.
