Suchergebnisse

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

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.

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 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.

Should the progress in the biological sciences during the last decades give rise to a re-evaluation of literary analysis? The paper opens with a discussion of this question with reference to a fragment of Dagur Sigurðarson's poem "Takk takk Tobbi", pub-lished in Rógmálmur og grásilfur (1971). The question is answered partly affirmative-ly, mostly on the grounds that embodied cognition has to be taken into account when analysing literature. It is pointed out that among the factors that have contributed to a better understanding of the complex relation between the body and language is recent research on Tourette syndrome. The relationship between this neurological disorder and poetry is the main subject of the paper and it is discussed with refer-ence to a scaldic strophe from The Saga of Gisli Sursson. First, Tourette-syndrome is discussed briefly, including the medical profession's stance toward it during the 19thand 20th century and scholarly work on the common traits that the disorder shares with poetry. Subsequently it is considered how these writings can benefit literary scholarship, Gisli Sursson's strophe is analysed and it is proposed that this analysis can't rely on metrical rules alone. Then the aforementioned poem by Dagur Sig-urðarson is reconsidered, and finally a few points are recapitulated.

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.

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.