Suchergebnisse

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.

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.

Greinin fjallar um framandorð sem notuð eru í samtali tveggja fimmtán ára grunnskóladrengja sem eru að spila Grand Theft Auto. Til skoðunar eru orð sem ekki hafa verið talin til íslensks orðaforða og eru annaðhvort ekki í íslenskum orðabókum eða eru merkt þar sem "ekki viðurkennt mál". Upptökurnar eru samtals þrjár klukkustundir og 20 mínútur að lengd og innihalda 20.881 lesmálsorð (þar með talin ókláruð orð, hlátur og önnur hljóð). Spurningarnar sem leitast er við að svara í greininni eru eftirfarandi: 1) Hversu hátt hlutfall af orðaforða samtalsins eru framandorð?, 2) Hvernig skiptast framandorðin í flokka?, og 3) Gefur rannsóknin einhverjar vísbendingar um áhrif tölvuleikja á orðaforða ungra Íslendinga? Stuðst er við aðferðafræði samskiptamálfræðinnar við úrvinnslu efnisins.

Niðurstöðurnar sýna að samtals eru 1.988 framandeiningar í samtölunum eða um 9,5% af öllum efniviðnum. Orðasambönd sem notuð eru sem ein heild eru talin sem ein eining, til dæmis nafnliðir á borð við treasure hunt og lengri segðir eins og the turtlenecks are here boys. Einingunum er skipt í sex flokka: nafnorð og nafnliðir (49,5%), lýsingarorð (12%), sagnir (12%), atviksorð og atviksliðir (0,6%), málnotkunarlegar tökur (26,3%) og heilar segðir (6,6%). Einnig sýna niðurstöður að stór hluti orðaforðans, sér í lagi þess sem fellur í flokk nafnorða og nafnliða, eru orð sem tengjast sjálfum tölvuleiknum.

The astonishing range of writings about the social causes and consequences of the Icelandic 2008 financial crisis proffers a unique opportunity to analyse comparative-ly how scholars from different disciplines in the humanities and social sciences deal with one and the same subject. How does the scholarly approach differ regarding the employment of theories, hypotheses, empirical data and concepts? Is the methodology of the humanities noticeably different from that of the social sciences? Did the boundaries of philosophy and related sciences change in times of crisis, momentarily or permanently?

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.

Skólaárið 2019–2020 svöruðu 1096 unglingar víðs vegar um landið rafrænni könnun um slangur. Þessi grein fjallar um það hvernig áhrif stafrænnar tækni birtast í svörunum. Sams konar könnun var lögð fyrir haustið 2000 en þá handskrifuðu nemendur svör sín. Samanburður á þessum tveimur könnunum bendir til þess að netsamskipti með lyklaborðum og snertiskjáum geti ýtt undir frumlega notkun unglinga á tungumálinu. Hin hefðbundna hugmynd um að formlegt málsnið hæfi best í rituðu máli á ekki lengur við enda væri nær að lýsa þeim viðmiðum sem myndast hafa í netsamskiptum sem nýju málsniði á mörkum ritmáls- og talmálsstíls. Meðal þess sem virðist hafa aukist síðan um aldamótin er ýmiss konar leikur að stöfun, margföldun bókstafa, skammstafanir, afklippur og aðrar styttingar. Flest atriðin sem fjallað er um í greininni birtast bæði í íslenskum og enskum orðum í svörum þátttakenda en virðast þó heldur algengari í þeim ensku.

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.

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.

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.

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.