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This article deals with the authorship of Elísabet Kristín Jökulsdóttir, with special emphasis on the autofictional novel Heilræði lásasmiðsins (The locksmith's advice), as well as other works that are based on autobiographical material. Elísabet writes a lot about the female body, its desires and erotic longings, as well as how helpless and weak it can be in particular situations. Her writing on the self, body and sexuality centres on the opposition between love and rejection. The desire for love is the driving force behind her writing and a deep and ruthless self-examination is at work in her fictional world. This desire is closely connected to the female body and sexual drive and Elísabet scrutinizes the nature of 'femininity' and asks what it means to be ,a woman'. Elísabet describes the female body in all its nakedness and vulnerability and shows how the body is the battleground where the main conflicts between self and others take place. Elísabet frequently describes two oppositional worlds in her works. There are conflicts between the magical world and reality, the father and the mother, the child and the grown-up, psychological difficulties and 'sanity'. a divided self is a persistent theme in her writings, as well as the struggle to remain on the right side of the "borders", which are frequently mentioned. Elísabet's writings reveal a struggle for marking a place for oneself in the world, to be heard and seen, to be able to createand recreate the self and through her writing, she copes with existence and difficulties that are rooted in childhood. Through writing, she finds a way out and the writing process serves as self-analysis and therapy. In her works Elísabet also creates her own personal mythology, which she connects with women's struggle for self-realization, freedom and social space. The analysis of Elísabet's works is inspired by the writings of feminist scholars, such as Simone de Beauvoir, Kate millett and Hélène Cixous.

People migrating to Europe in search for a new life have become increasingly visible in various ways for the last few years. The article stresses some of the weaknesses in discussions on migration to Europe, where it is often assumed that migration from the outside world has only recently been affecting Europe. The article emphasizes how classifications of people into categories such as "refugee" and "immigrant" and the naturalization of these categories, can lead to dehumanization and stark simplifications. The article approaches this through stories of three men in Brussels, Belgium who have fled difficult circumstances in their home country Niger. It also explores these issues from some Icelandic discussions.

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.

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.

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.

n 2017 the 500th anniversary of the Lutheran Reformation was celebrated. Then there was a huge discussion about the impact of the Reformation on church, culture and society. In this article and in a second one that follows, this question will be raised, especially in Icelandic context.Here it is assumed that it is only possible to state that a change has occurred or a novelty has arised because of Lutheran influence if it can be demonstrated that the Reformation is a necessary prerequisite for the change / innovation being discussed. Here it is particularly pointed out that various changes that until now have been traced to the Reformation can have been due to the development of the central-con-trolled state power. It is also pointed out that, due to the small population, rural areas and simple social structure, various changes that occurred in urban areas did not succeed in Iceland until long after the Reformation. Such cases are interpret-ed as delayed Lutheran effects. Then, in Iceland, many changes, which were well matched to the core areas of the Reformation, did not work until the 18th century and then because of the pietism. Such cases are interpreted as derivative Lutheran effects.In Iceland two generalizations have been evident in the debate on the influence of the Lutheran Reformation. The first one emphasizes an extensive and radical changes in many areas in the Reformation period and subsequent extensive decline. It is also stated that this regression can be traced directly to the Reformation and not to other fenomenons, e.g. the development of modern, centralized state. The other one states that the Reformation was most powerful in the modernization in both the church and society in Iceland.This article focuses on the influence of the Reformation on religious and church life. Despite the fact that the Reformation has certainly had the broadest and most direct effects on this field, it is noteworthy that the church organization itself was only scarsely affected by the Reformation. After the Reformation the Icelandic church was for example almost as clergy-orientaded as in the middle Ages.

The article addresses the early years of film in iceland, where the goal is to deepen our knowledge of the main participants in introducing and promoting cinema in iceland at the turn of the 19th century. Two years spanning a three-year period mark the beginnings of the age of film in iceland. The former is 1901 when the Dutch filmmaker F. A. Nöggerath came to film iceland and icelanders for an English film company. The latter year is 1903, when the Norwegian, Rasmus Hallseth and the Swede David Fernander, traveled around the country to screen films for the first time in iceland. These two visits mark the emergence of cinema in iceland. iceland-ers had little prior knowledge of the new medium, which was getting to be widely known around the world, apart from the coverage of newspapers and stories of lucky icelanders who had experienced film screenings abroad. Shows using a predecessor of film, the magic lantern, were held by Sigfús Eymundsson and Þorlákur ó. Jo-hnson in the 19th century. After the introduction of films in 1903, several people put together funds to buy Hallseth's and Fernanders' equipment and began to exhibit films on their own. However, daily performances did not happen until Reykjavik Biograftheater (later ,,Gamla Bíó") was established in 1906. After several attempts by various parties to hold regular screenings in Reykjavik, one could say that cinema did not properly settle in iceland until the establishment of Nýja Bíó in 1913.

This article discusses the phenomenon of self-harming or "non-Suicidal Self-In-jury" (nSSI). The International Society for the Study of Self-Injury defines non-sui cidal self-injury as the deliberate, self-inflicted damage of body tissue without suicidal intent and for purposes not socially or culturally sanctioned." The article discusses the cultural and social representations of self-injury, what is implied in it, who engages in it, and for what reasons. A lot can be deduced from interviews with self-harmers who use it to gain control over bad feelings and stress, by hurting their body and participating in risky behaviour. This dangerous activity often has more complicated sides with reference to rituals and spiritual associations to bloodletting, cleansing of all evil and healing, absolution and much wanted peace of mind. Finally, the changes in self-harming discourse and channels of communication are discussed. It has opened up during the last two decades with the arrival of social media. The self-harmers have built their own subcultures with special aesthetics and often preferring theatrical staging or performances instead of verbal expres-sion. These channels can have an uncanny power and influence over young and vulnerable people. The conclusion of the article is that all this requires an informed discussion as a special world, a special angst which is expressing itself in ways that might develop into suicidal behaviour if it is not taken seriously.

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.

The article recounts the account from the Árna saga about Loftur Helgason's trip to Bergen in 1282 and his stay there over winter, explained in terms of the formal sources about the organization of the government and changes in the law in the latter half of the 13th century. These changes were aimed at introducing into Iceland the power of both the King and the Church and in fact marked the actual changes throughout the Norwegian state. Loftur was Skálholt's official and the story about him was part of a long-standing dispute about the position of the chieftains versus the new power of the Church and the opposition to its introduction. The article defines the political confusion described in the Árna sagain Bergen in the winter of 1282-1283 as, on the one hand, changes in the constitution and, on the other hand, legislation, and at the same time whether the Kings Hákon Hákonarson and his son Magnús had systematically pursued a policy of having the Church be an independent party to the government of the state from 1247 onward until the death of the latter in 1280. When the disagreement is looked at as continuing, it is seen that Icelanders had made preparations for changes in the constitution with assurances of introduction of the power of the Church beginning in 1253 and the power of the King from 1262, but, on the other hand, the disagreements in both countries disappeared in the 1270s in the face of the conflict of interests that resulted from the laws that followed in the wake of the constiututional changes. Árna saga tell of this and how the disputes were described, but also that their nature changed as King Erikur came to power in 1280, as he gave the power of the King a new policy that was aimed against the power of the Church. Ousting of the archbishop from Norway and the Christian funerals of the excommunicated chieftains are examples of the conditions of government that could not have been, if the King had no longer had executive power over Christian concerns, as he had already conceded power over spiritual issues to the Pope in Rome with the Settlement at Túnsberg in 1277.

Kosningaréttur er grundvallarréttur þegna í lýðræðisríkjum og þátttaka í kosningum álitin ein af mikilvægustu athöfnum borgaranna. Þó að þessi réttindi skuli tryggð öllum þegnum sýna alþjóðlegar rannsóknir að fatlað fólk er víða útilokað frá þátttöku í kosningum. Fatlað fólk er síður líklegt til að kjósa en ófatlað fólk og mætir iðulega ýmsum hindrunum ef það reynir að taka þátt í kosningum. Þessi grein fjallar um kosningaþátttöku fatlaðs fólks með hliðsjón af niðurstöðum alþjóðlegra rannsókna. Í upphafi eru raktar helstu hindranir í vegi kosningaþátttöku fatlaðs fólks og leitast við að svara hvaða áhrif þessar hindranir hafi, ekki aðeins fyrir fatlaða borgara, heldur jafnframt hvað það þýði fyrir heilbrigði lýðræðis og lýðræðislegra stofnana þegar hluti þegnanna mætir alvarlegum hindrunum varðandi borgaraleg grundvallarréttindi. Íslenskar rannsóknir á þessu sviði eru ekki fyrir hendi og engin skipuleg tölfræðileg gögn eru til varðandi þátttöku fatlaðs fólks í kosningum eða stjórnmálum hér á landi. Byggt á gögnum sem aflað var hjá tveimur fjölmennustu heildarsamtökum fatlaðs fólks hér á landi er rýnt í reynslu, aðstæður og möguleika fatlaðs fólks til þátttöku í kosningum á Íslandi, lagasetningar þar að lútandi og skyldur ríkisins til að stuðla að og tryggja þátttöku fatlaðs fólks í stjórnmálum og opinberu lífi, ekki síst í ljósi þess að Samningur Sameinuðu þjóðanna (SÞ) um réttindi fatlaðs fólks (SRFF) hefur verið fullgiltur hér á landi ; The right to vote is a fundamental right of citizenship in democratic nations, and participation in elections in one of the most important acts undertaken by citizens. Although these rights are guaranteed to all citizens, international research shows that disabled people are widely excluded from participation in elections. Disabled people are less likely to vote than non-disabled people and often encounter various obstacles when they try to participate in elections. This article discusses the voting participation of disabled people in consideration of the international research. The main barriers that disabled people encounter in the voting process will first be outlined. This will be followed by questions concerning the effects these obstacles produce, not only for disabled citizens, but what this means overall for the health of democracy and democratic institutions when a portion of the citizenry encounter serious obstacles concerning their basic civil rights. Icelandic research in this field is extremely limited and no systematic statistical data exists on the participation of disabled people in elections, or politics in general, in this country. Based on data drawn from sources from two of the largest disabled people's organization in the country, the focus here is on the experiences, circumstances and opportunities for disabled people to participate in elections in the country. The findings draw attention to the obligations of the state to promote and ensure the participation of disabled people in politics and public life in light of the recent ratification in Iceland of the UN Convention on the Rights of Persons with Disabilities (CRPD) ; Peer Reviewed