Suchergebnisse
Filter
14 Ergebnisse
Sortierung:
Í óræðri samtíð með óvissa framtíð: íslensk sveitarblöð og samfélagsbreytingar um aldamótin 1900
In: Meistaraprófsritröð Sagnfræðistofnunar Háskóla Íslands
Konur og vígamenn: staða kynjanna á Íslandi á 12. og 13. öld
In: Sagnfræðirannsóknir 12
Hvað er svona merkilegt við það?: Störf kvenna í 100 ár ; [út í tilefni af samnefndri sýningu í Bogasal Þjóðminjasafnsins opnuð var 19. júni 2015]
In: Rit Þjóðminjasafn Íslands 39
Við brún nýs dags: saga Verkamannafélagsins Dagsbrúnar : 1906 - 1930
In: Sagnfræðirannsóknir 19
Our sacred maíz is our mother
" 'If you want to know who you are and where you come from, follow the maíz.' That was the advice given to author Roberto Cintli Rodriguez when he was investigating the origins and migrations of Mexican peoples in the Four Corners region of the United States. Follow it he did, and his book Our Sacred Maíz Is Our Mother changes the way we look at Mexican Americans. Not so much peoples created as a result of war or invasion, they are people of the corn, connected through a seven-thousand-year old maíz culture to other Indigenous inhabitants of the continent. Using corn as the framework for discussing broader issues of knowledge production and history of belonging, the author looks at how corn was included in codices and Mayan texts, how it was discussed by elders, and how it is represented in theater and stories as a way of illustrating that Mexicans and Mexican Americans share a common culture. Rodriguez brings together scholarly and traditional (elder) knowledge about the long history of maíz/corn cultivation and culture, its roots in Mesoamerica, and its living relationship to Indigenous peoples throughout the continent, including Mexicans and Central Americans now living in the United States. The author argues that, given the restrictive immigration policies and popular resentment toward migrants, a continued connection to maíz culture challenges the social exclusion and discrimination that frames migrants as outsiders and gives them a sense of belonging not encapsulated in the idea of citizenship. The "hidden transcripts" of corn in everyday culture--art, song, stories, dance, and cuisine (maíz-based foods like the tortilla)--have nurtured, even across centuries of colonialism, the living maíz culture of ancient knowledge. "--
Alþýðumenning á Íslandi: 1830 - 1930 ; ritað mál, menntun og félagshreyfingar
In: Sagnfræðirannsóknir 18
"Taumlaust blóðbað án listræns tilgangs": Íslenski bannlistinn og Kvikmyndaeftirlit ríkisins
In: Íslenskar kvikmyndir; Ritið, Band 19, Heft 2, S. 69-133
ISSN: 2298-8513
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.
"Orðin laðast að henni / eins og skortur": Um fyrsta hluta ljóðabókarinnar Við sem erum blind og nafnlaus
In: Ritið; Undur og ógnir borgarsamfélagsins, Band 18, Heft 2, S. 139-158
ISSN: 2298-8513
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.