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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.

This introductory chapter focuses on the multiple and diverse representations of urban communities and their infinite complexity. Firstly, the chapter introduces samples of recent representations of the city of Reykjavík, from Icelandic artists and scholars. Then the focus shifts to Enrique del Acebo Ibáñez´s theoretical ideas, as revealed in his book Sociología del arraigo: Una lectura crítica de la teoría de la ciudad (1996), (Sociology of Rootedness: Theories on the Origin and Nature of Urban Communities), translated into Icelandic in 2007, where he discusses the complex phenomenon of the "city" and questions the role of its inhabitants. His reflections substantiate previous theories of scholars such as Ferdinand Tönnies, Emile Durkheim, Georg Simmel, Oswald Spengler, René König and Henri Lefebvre, whose writings are introduced and discussed in the chapter as well. Finally, the chapter applies a critical approach to a brief analysis of well-known Latin American narrative readily available in Icelandic, such as One hundred years of solitude (Cien años de soledad, 1967) by Gabriel García Márquez, The House of the Spirits (La casa de los espíritus, 1982) by Isabel Allende, and Amulet (Amuleto, 1999) by Eduardo Bolaño.

Afstaða Íslendinga til öryggismála hefur lítið verið rannsökuð frá því í lok kalda stríðsins. Í þessari grein eru kynntar niðurstöður könnunar um afstöðu til og hugmyndir um utanríkis- og öryggismál, en Félagsvísindastofnun HÍ vann könnunina í nóvember og desember 2016. Niðurstöður könnunarinnar eru settar í samhengi við þróun í öryggisfræðum, þá sérstaklega öryggisgeira (e. security sectors) verufræðilegt öryggi (e. ontological security) og öryggisvæðingu (e. securitization). Helstu niðurstöður eru að almenningur á Íslandi telur öryggi sínu helst stafa ógn af efnahagslegum og fjárhagslegum óstöðugleika og náttúruhamförum, en telur litlar líkur á því að hernaðarátök eða hryðjuverkaárásir snerti landið beint. Þessar niðurstöður eru í takmörkuðu samræmi við helstu áherslur stjórnvalda í öryggismálum og því mikilvægt að stjórnvöld átti sig á því hvernig hægt er að tryggja það að almenningur sé meðvitaður um þær forsendur sem áhættumat og öryggisstefna grundvallast á. ; Icelanders' views on security and foreign affairs since the end of the Cold War are an understudied issue. This article presents the findings of a large scale survey on the position and ideas about foreign affairs and security. The survey was conducted by the Social Science Research Institute of the University of Iceland in November and December 2016. The results of the survey are placed in the context of developments in security studies, with an emphasis on security sectors, ontological security, and securitization. The main findings are that the Icelandic public believes that its security is most threatened by economic and financial instability, as well as natural hazards, but thinks there is a very limited chance of military conflict or terrorist attacks directly affecting the country. These findings are incongruent with the main emphases of Icelandic authorities, as they appear in security policy and political discourse. It is therefore important that the authorities understand how to engage with the public about the criteria upon which risk assessments and security policies are based. ; Peer Reviewed

This essay offers a succinct but comprehensive overview of Icelandic cinema from its early 20th-century emergence to the present day. Split into two parts, the first half focusses on filmmaking in Iceland prior to the founding of the Icelandic Film Fund in 1978, which was to establish a continuous local film production for the first time. Prior to that filmmaking in Iceland boiled down to the occasional efforts of local amateurs, albeit often quite skilled ones, and professional filmmakers visiting from abroad. Indeed, the few silent feature films made in the country all stemmed from foreign filmmakers adapting Icelandic literature and taking advantage of its photogenic landscapes. The first Icelandic feature was not made until 1948 and although immensely popular, like those that followed in its wake, the national audience was simply too small to sustain filmmaking without financial support. Although this changed fundamentally with the Icelandic Film Fund, which instigated contemporary Icelandic cinema and the subject of the essay's second half, the Fund's support proved insufficient as the novelty of Icelandic cinema began to wear off at the local box office in the late 1980s. The rescue came from outside sources, in the form of nordic and European film funds, whose support was to transnationalize Icelandic cinema in terms of not only financing and production but also themes and subject material. These changes are most apparent in Icelandic cinema of the 1990s which also began to garner interest at the international film festival circuit. In the first decade of the twenty first century, however, American genre cinema began to replace the European art film as the typical model for Icelandic filmmakers. Hollywood itself also began to show extensive interest in Icelandic landscapes for its runaway productions, as did many other foreign film crews. In this way Icelandic cinema is increasingly characterized by not only national and transnational elements but also international ones.

The Icelandic-English parallel corpus MaCoCu-is-en 1.0 was built by crawling the ".is" internet top-level domain in 2021, extending the crawl dynamically to other domains as well. All the crawling process was carried out by the MaCoCu crawler (https://github.com/macocu/MaCoCu-crawler). Websites containing documents in both target languages were identified and processed using the tool Bitextor (https://github.com/bitextor/bitextor). Considerable efforts were devoted into cleaning the extracted text to provide a high-quality parallel corpus. This was achieved by removing boilerplate and near-duplicated paragraphs and documents that are not in one of the targeted languages. Document and segment alignment as implemented in Bitextor were carried out, and BicleanerAI (https://github.com/bitextor/bicleaner-ai) and Bifixer (https://github.com/bitextor/bifixer) were used for fixing, cleaning, and deduplicating the final version of the corpus. While the TXT format consists solely of pairs of source and target segments (one or several sentences), each segment pair in the TMX format is accompanied by the following metadata: - source and target document URL; - quality score as provided by the tool BicleanerAI; - translation direction identification: the source segment in each segment pair was identified by using a probabilistic model; - personal information identification ("biroamer-entities"): segments containing personal information are flagged, so final users of the corpus can decide whether to use these segments; - language variants: the language variant of English (British or American) was identified for every segment pair on document and domain level. Notice and take down: Should you consider that our data contains material that is owned by you and should therefore not be reproduced here, please: (1) Clearly identify yourself, with detailed contact data such as an address, telephone number or email address at which you can be contacted. (2) Clearly identify the copyrighted work claimed to be infringed. (3) Clearly identify the material that is claimed to be infringing and information reasonably sufficient in order to allow us to locate the material. (4) Please write to the contact person for this resource whose email is available in the full item record. We will comply with legitimate requests by removing the affected sources from the next release of the corpus. This action has received funding from the European Union's Connecting Europe Facility 2014-2020 - CEF Telecom, under Grant Agreement No. INEA/CEF/ICT/A2020/2278341. This communication reflects only the author's view. The Agency is not responsible for any use that may be made of the information it contains.