In this course, Völsunga saga will be read and analyzed from different perspectives, in close connection to the heroic lays of the Eddic tradition. After an in-depth reading, the focus will be set on individual episodes, such as about Sigurðr Fáfnisbani and his ancestry, the Gjúkungar, Atli, and Jörmunrekr. Some European analogues will be examined, whether in historiography, poetry or art. Then, we will turn our attention to the dissemination of the material throughout the ages and its representations in different forms of art and textual media, as for example opera, film and other visual arts, folktales, folk songs and traditional ballads. The objective is to demonstrate the multifunctional and diverse strands that lie between the literature and the older as well as younger manifestations of the subject matter.

The course explores the relationship between political and aesthetic discourse in Iceland during the era of the cultural Cold War, a global ideological struggle waged by the two superpowers, the United States and the Soviet Union, for the hearts and minds of populations around the world in the latter half of the 20th century. The course draws on interdisciplinary research on the Cold War, with a focus on the interplay between global influences and local conditions. This glocal approach allows for an examination of Icelandic agents in the Cold War not only as representatives of the two empires, the United States and the Soviet Union, but also based on their own cultural values and interests. A mixed methodology will be employed, incorporating theories and methods from the social sciences, as well as from art history, literary studies, and historiography. Special emphasis will be placed on the analysis of literary texts and artworks, while attention will also be given to the participation of Icelandic intellectuals and artists in international cultural activities. Students will explore how the Cold War has been addressed in recent years, both in academic contexts and in public dissemination through exhibitions, podcasts, and graphic novels.

This workshop focuses on 21^st-century research on Icelandic modern literature. All students participate actively in discussions and projects and share responsibility with the teachers for the transfer of knowledge and the progress of the work. The teachers are professional leaders, supervisors and discussion moderators but do not give formal lectures. Emphasis will be placed on research-based learning, which involves students defining research questions, finding older research, reviewing it, having an opinion on it and expressing themselves about it in a group of peers in a research group, collecting their own data, analyzing it and describing it, receiving feedback, giving feedback to others and writing an academic text (research thesis).

More information on workshops can be found here.

The student chooses a subject in consultation with a teacher, who takes on the role of a supervisor. Together they draw up a reading list and define the project output.

The student chooses a subject in consultation with a teacher, who takes on the role of a supervisor. Together they draw up a reading list and define the project output.

Training in various aspects of the writing and editing of scientific texts. Various kinds of texts (non-fiction) examined and evaluated. Training in reviewing and commenting on scientific texts and in other aspects of editorial work. The main emphasis will be on the writing of articles, but other kinds of texts will also be considered, both shorter (conference abstracts, reviews) and longer (theses, books), as well as research proposals. Discussion of guidelines for the preparation of manuscripts. Types of plagiarism and how to avoid them and find them. Texts on different subjects will be used as examples, especially writings in linguistics, literature and history. The book Skrifaðu bæði skýrt og rétt will be used as a textbook (Höskuldur Þráinsson 2015).

This course is open to students of many MA programmes in the School of Humanities, cf. the regulations of the individual subjects. Students in the MA programmes in Icelandic literature, Icelandic linguistics, Icelandic studies and Icelandic teaching can take the course as part of the MA course requirements in Icelandic literature or Icelandic linguistics. Students in the MA programme in Icelandic teaching can, however, not have this course as the only linguistics or literature course in their MA.

The student chooses a subject in consultation with a teacher, who takes on the role of a supervisor. Together they draw up a reading list and define the project output.

The student chooses a subject in consultation with a teacher, who takes on the role of a supervisor. Together they draw up a reading list and define the project output.

This workshop covers important international research conducted on Icelandic medieval literature in the 21^st century. Students will actively participate in discussions and projects and share responsibility with the instructor for the dissemination of knowledge and the progress of the course. The instructor serves as a professional leader and discussion facilitator but does not give formal lectures. The emphasis will be on research-based learning, which involves students defining research questions, finding research publications, analyzing them, forming opinions about them, and expressing them in a peer group setting. They will collect their own data, analyze and describe it, receive feedback, provide feedback to others, and write a research thesis.

More information on workshops can be found here.

In this course, Faroese and Icelandic literary works from the 20th and 21st centuries will be read and placed in the context of the literary and cultural history of these two island nations. The course topics include, among other things, the questions that have preoccupied the authors, how the nations’ identities are reflected in the works, and the connections between the Faroese and Icelandic literary fields, such as through translations.

The course is taught in collaboration with Guðrún í Jákupsstovu, a lecturer at the University of the Faroe Islands, who teaches a comparable course there during the same semester. Part of the course will therefore be taught online, but classroom teaching and student participation in person are also expected. The aim is for a study trip to Tórshavn to be part of the course, and likewise, the Faroese group will visit Reykjavík

Close reading of poetry, both religious and secular, from the 17th and 18th centuries. The concept baroque and the main characteristics of socalled baroque-texts will be analysed, in order to answer the question wether literary genres used by Icelandic poets can be identified as baroque texts and whether there are comparisons in contemporary foreign (European) literature. Texts will be read by the poets Hallgrímur Pétursson, Stefán Ólafsson, Bjarni Gissurarson, Steinunn Finnsdóttir, Sigga skálda og Látra-Björg.

By focusing on folk tales, literature and other relevant sources, the course discusses the manifestations of nature and the supernatural in Icelandic narrative culture throughout the centuries. Students will learn about the significance, interface, and unclear boundaries of these phenomena and how they have shaped society and the environment as well. Students will thus get to know different ideas about the position of people and (other) animals within, above or "outside" of nature. Through diverse lectures and assignments, topics such as humanity vs. animality, the known world vs. other worlds, and the materiality vs. the supernatural, will be discussed from critical points of view. The roles and forms of landscape, organisms, bodies, weather, and natural phenomena in the narrative culture will be explored. The latest research in this broad field will be presented, such as on the representation of earthquakes and celestial bodies, bears, whales, seals, and domestic animals, and on the supernatural creatures of nature and other mythological creatures such as fairies, ghosts, trolls, and berserks. Students will learn how story worlds and folklore have left their mark on the perception of nature, folk traditions, folk customs, and social spaces such as enchanted spots, sacred places and hunted places. We also ask how these narratives appear in folk art and visual art, from previous centuries to the present. Finally, we will explore the significance of nature narratives and the supernatural in the context of the Anthropocene, human perspectives, climate change, and the different status of social groups and species.

This course provides an overview of Icelandic manuscript culture. Students will get practical training in reading Icelandic manuscripts from different periods, from the earliest extant Icelandic vellums dating to the twelfth and thirteenth centuries down to the paper manuscripts of the seventeenth and eighteenth centuries. The origins of the Icelandic script will be discussed as well as its development over time, and students will get practical training in reading different types of script from different periods. The orthography of medieval manuscripts differs considerably from the modern orthography. It includes a system of abbreviations that is partly inherited from a much earlier Latin tradition. Students will get practical training in interpreting these abbreviations. The Icelandic language has also changed over time, and different manifestations of these language changes appear when reading and examining Icelandic texts from different periods. A selection of these changes will be discussed. Changes in script, orthography, and language provide valuable indications of the date of the manuscript, and students will get practical training in dating medieval Icelandic manuscripts based on script, orthography, and language.

Various aspects of medieval book production will be discussed, including the making of parchment and ink, and book binding. Scribes and scribal schools will be discussed as well as probable centres of book production in medieval Iceland. The works of some prolific scribes in the fourteenth century will be examined. What did they write? How did they write? Did they change their practice over a long scribal career? The texts contained by the manuscripts will also be examined and the basics of textual criticism introduced. Njáls saga, for instance, has survived in over sixty manuscripts with considerable textual variation. Which manuscript should then constitute the basis for a printed edition of Njáls saga? Different types of printed editions will be discussed, and students try their hand at editing a medieval text. The electronic editing of pre-modern texts will be introduced, and students will get practical training in mark-up with XML according to the guidelines of the Medieval Nordic Text Archive (MENOTA) and the Medieval Unicode Font Initiative (MUFI).

The course is taught through a combination of lectures and workshops with considerable student engagement. Many of the lectures will be pre-recorded allowing more time in the classroom for discussion and student contributions.

The course is run in cooperation with the Árni Magnússon Institute for Icelandic Studies which has the custody of the largest single collection of Icelandic medieval manuscripts. Students will visit the institute to learn about its collections and facilities and to examine manuscripts.

Course synopsis

Week 1
(1) Introduction
The course: format, readings, requirements and assessment.
The subject matter: Medieval Icelandic manuscripts.

(2) The earliest Icelandic manuscripts
A sketch of the history of the Latin script and the earliest writings in Icelandic. Where did Icelanders learn to use the Latin alphabet? Which orthography did they employ? Some main characteristics of medieval orthography and the use of abbreviations.

Week 2
(3) Electronic editing of medieval texts
How can medieval texts be presented electronically? The XML mark-up language, TEI, MENOTA, MUFI, and related matters. We will try our hand at electronic editing.

(4) The earliest Icelandic orthography and the First Grammatical Treatise
The use of the Latin alphabet for writing Icelandic: challenges — and the solutions proposed by the author of the First Grammatical Treatise in the middle of the twelfth century.

Week 3
(5) Icelandic script and orthography in the thirteenth century
The difference between Icelandic and Norwegian orthography in the twelfth century. What changed in the course of the thirteenth century?

(6) Different types of print editions: scholarly editions
How accurate should printed editions be? Should every little detail in the manuscript be reproduced? What is “Classical Old Icelandic Normalized Orthography”? What are the needs of the readers? What is the role of the editor?

Week 4
(7) Norwegian influence on script, orthography, and language in Icelandic manuscripts
What is the manifestation of this Norwegian influence? How deep-rooted was it? How long did it last?

(8) The dating of manuscripts: script, orthography, and language
How can medieval Icelandic manuscripts be dated? Features of script, orthography, and language that can be helpful for dating.

Week 5
(9) Icelandic script and orthography in the fourteenth century
Main characteristics and their development.

(10) One scribal hand or many?
Distinguishing different scribal hands: some criteria. The Icelandic Homily Book from around 1200: One scribe or fourteen?

Week 6
(11) Book production: parchment, ink, binding — and conservation
From animal skin to parchment. How was the ink produced? Book design and book binding. The care and conservation of medieval manuscripts.

(12) Book production: parchment, ink, binding — and conservation
A visit to the Árni Magnússon Institute for Icelandic Studies.

— STUDY WEEK —

Week 7
(13) Scribes, scribal milieus, the export of books
On prolific scribes, scribal collaboration, and extensive production of books. Were books produced in Iceland for export in the thirteenth and fourteenth centuries?

(14) Icelandic script and orthography in the fifteenth and sixteenth centuries
Main characteristics and their development.

Week 8
(15) Textual criticism
On the transmission of texts through copying. Textual variation, manuscript classification, and stemmatology.

(16) Textual criticism
Comparing manuscripts and collecting variants.

Week 9
(17) Manuscript illumination
On illuminated manuscripts, historiated initials, artists and their models.

(18) Manuscript catalogues and cataloguing
We will familiarize ourselves with the most important manuscript catalogues and learn about the principles of manuscript cataloguing.

Week 10
(19) Icelandic script and orthography in the seventeenth and eighteenth centuries
Main characteristics and their development.

(20) The transmission of the text: a relic or a living text?
How did the language change when a scribe copied from an old exemplar? Njáls saga is believed to have been written towards the end of the thirteenth century. What is the language of Njáls saga in seventeenth- and eighteenth-century manuscripts?

Week 11
(21) Antiquarianism, manuscript collectors, and copyists
The sixteenth century saw the rise of interest in antiquities, old manuscripts were collected and copied.

(22) Different types of print editions: popular editions
How is a pre-modern text best presented to the modern reader? Should archaic features of language and orthography be retained or should they be updated? On the allegiance to the manuscript and allegiance to the reader.

Week 12
(23) Manuscript collections and manuscript collectors
The life and work of Árni Magnússon.

(24) The manuscript dispute and the return of the manuscripts to Iceland
The search for Codex Scardensis and a nerve-racking auction in London. The custody dispute with Denmark and the return of the manuscripts to Iceland 1971–1997.

— This synopsis may be subject to change. —

Readings

The reading list is on the course website on Canvas. It consists of readings in several languages, including English, Icelandic, Danish, Norwegian, German, and French. The reading list is (often) divided into three main sections:

(a) Required readings: Texts that everyone is required to read. These are all in English.

(b) Optional supplementary readings: These are optional readings for those who want a more in-depth discussion. Most of these readings are in English, but not all.

(c) For those who still want more: A variety of optional readings in several languages, not least in Icelandic, for those who still want more. This section is mostly for reference purposes and as a tool for further research.

Many of the required readings (and some of the optional readings) are found on the Canvas course website. Other reading materials are available in the institute library in the Árni Magnússon Institute in Edda and the University Library (Háskólabókasafn) in the Þjóðarbókhlaða.

Prerequisites
Some skills in Icelandic are essential to fully benefit from the course, as emphasis will be placed on practical training in reading and transcribing text from medieval Icelandic manuscripts. MIS105F Old Icelandic 1 or equivalent study of Old Icelandic is sufficient or some skills in Modern Icelandic. Please, consult the instructor if in doubt.

Course format
The course is taught through a combination of lectures and workshops with considerable student engagement. Many of the lectures will be prerecorded allowing more time in the classroom for discussion and student contributions (flipped classroom).

Working language: This course is open to students with different linguistic backgrounds, and there are two working languages, English and Icelandic. Pre-recorded lectures are in both English and Icelandic (except for guest lecturers who will present in English), written assignments are in both English and Icelandic, and reading materials are in English, Icelandic and the Scandinavian languages, but for those who cannot read Icelandic or the Scan-dinavian languages, all required readings are in English. English is the main working language in the classroom, but questions and contributions to class discussion may also be in Icelandic. — See a separate note on the working languages and the classroom arrangement.

Course requirements and assessment
The final grade for the course will be based on:

(1) Transcription assignments: 30%
(2) Manuscript catalogue assignment: 10%
(3) Manuscript dating assignment: 10%
(4) Presentation: manuscript of the day: 10%
(5) Research paper: 30%
(6) Class participation: 10%

All written assignments will be submitted through Canvas. More detailed instructions and information on deadlines is found on Canvas.

Many students, who finish their studies in the School of Humanities, in particular students from the Department of Icelandic and Comparative Cultural Studies, are likely to be employed in the future by media-companies, publishing houses and cultural institutions and asked to write criticism or news about books and art-events. The course focuses on the role and characteristics of cultural journalism in Iceland. Students will get acquainted with most of the genres of cultural journalism, such as interviews, criticism, news-releases and blog. They will work on practical assignments that will be related to specific cultural events in Iceland in the spring of 2018.

By focusing on folk tales, literature and other relevant sources, the course discusses the manifestations of nature and the supernatural in Icelandic narrative culture throughout the centuries. Students will learn about the significance, interface, and unclear boundaries of these phenomena and how they have shaped society and the environment as well. Students will thus get to know different ideas about the position of people and (other) animals within, above or "outside" of nature. Through diverse lectures and assignments, topics such as humanity vs. animality, the known world vs. other worlds, and materiality vs. the supernatural, will be discussed from critical points of view. The roles and forms of landscape, organisms, bodies, weather, and natural phenomena in the narrative culture will be explored. The latest research in this broad field will be presented, such as on the representation of earthquakes and celestial bodies, bears, whales, seals, and domestic animals, and on the supernatural creatures of nature and other mythological creatures such as fairies, ghosts, trolls, and berserks. Students will learn how story worlds and folklore have left their mark on the perception of nature, folk traditions, folk customs, and social spaces such as enchanted spots, sacred places and hunted places. We also ask how these narratives appear in folk art and visual art, from previous centuries to the present. Finally, we will explore the significance of nature narratives and the supernatural in the context of the Anthropocene, human perspectives, climate change, and the different statuses of social groups and species

The main purpose of the course is twofold. First, to shed light on how Icelandic is taught in upper primary and secondary schools. Second, to explore ways of developing Icelandic as a school subject, with respect to practical and theoretical research. What ability should be emphasized in the use and practice of the language? What skills should students have obtained by the end of each school level and how should they be trained? Which aspects of language and literature are most important for the students to know and understand? What are the most used teaching methods? What kind of teaching material is most commonly used in schools and to what extent does it reflect recent knowledge and developments in the fields of language and literature? In the course assignments the students will be trained in defining and implementing their own teaching ideas, with an emphasis on recent knowledge.

An examination will be made of the religious beliefs and practices of people in Scandinavia from the earliest of times until the conversion, material ranging from burial practices to rock carvings, to the written evidence given in the works of Tacitus, Adam of Bremen and Saxo Grammaticus, as well as in early Icelandic works like the Eddic poems and the Kings' sagas. Alongside this discussion of the development and key features of Old Norse religion, some attention will be paid to the concepts of seid and shamanism, especially in connection to their role in early religions. Finally, an examination will be made of the conversion of Scandinavia and how Christian concepts and practices both fitted and contrasted with the previously dominant Old Norse worldview.

Teaching format

• The teaching takes place in the form of lectures and discussion on the material of the lectures.

The course focuses on the fiction of Sjón, with emphasis on novels, poetry and cinema, based on the study Sjónsbók: Ævintýrið um höfundinn, súrrealisma og sýnir (2016) by Úlfhildur Dagsdóttir, and the essay collection Critical Approaches to Sjón : North of the Sun (2025). Theories of surrealism and the avant garde, narrative and cultural studies will be discussed.

In this course, Völsunga saga will be read and analyzed from different perspectives, in close connection to the heroic lays of the Eddic tradition. After an in-depth reading, the focus will be set on individual episodes, such as about Sigurðr Fáfnisbani and his ancestry, the Gjúkungar, Atli, and Jörmunrekr. Some European analogues will be examined, whether in historiography, poetry or art. Then, we will turn our attention to the dissemination of the material throughout the ages and its representations in different forms of art and textual media, as for example opera, film and other visual arts, folktales, folk songs and traditional ballads. The objective is to demonstrate the multifunctional and diverse strands that lie between the literature and the older as well as younger manifestations of the subject matter.

The course explores the relationship between political and aesthetic discourse in Iceland during the era of the cultural Cold War, a global ideological struggle waged by the two superpowers, the United States and the Soviet Union, for the hearts and minds of populations around the world in the latter half of the 20th century. The course draws on interdisciplinary research on the Cold War, with a focus on the interplay between global influences and local conditions. This glocal approach allows for an examination of Icelandic agents in the Cold War not only as representatives of the two empires, the United States and the Soviet Union, but also based on their own cultural values and interests. A mixed methodology will be employed, incorporating theories and methods from the social sciences, as well as from art history, literary studies, and historiography. Special emphasis will be placed on the analysis of literary texts and artworks, while attention will also be given to the participation of Icelandic intellectuals and artists in international cultural activities. Students will explore how the Cold War has been addressed in recent years, both in academic contexts and in public dissemination through exhibitions, podcasts, and graphic novels.

This workshop focuses on 21^st-century research on Icelandic modern literature. All students participate actively in discussions and projects and share responsibility with the teachers for the transfer of knowledge and the progress of the work. The teachers are professional leaders, supervisors and discussion moderators but do not give formal lectures. Emphasis will be placed on research-based learning, which involves students defining research questions, finding older research, reviewing it, having an opinion on it and expressing themselves about it in a group of peers in a research group, collecting their own data, analyzing it and describing it, receiving feedback, giving feedback to others and writing an academic text (research thesis).

More information on workshops can be found here.

The student chooses a subject in consultation with a teacher, who takes on the role of a supervisor. Together they draw up a reading list and define the project output.

The student chooses a subject in consultation with a teacher, who takes on the role of a supervisor. Together they draw up a reading list and define the project output.

Training in various aspects of the writing and editing of scientific texts. Various kinds of texts (non-fiction) examined and evaluated. Training in reviewing and commenting on scientific texts and in other aspects of editorial work. The main emphasis will be on the writing of articles, but other kinds of texts will also be considered, both shorter (conference abstracts, reviews) and longer (theses, books), as well as research proposals. Discussion of guidelines for the preparation of manuscripts. Types of plagiarism and how to avoid them and find them. Texts on different subjects will be used as examples, especially writings in linguistics, literature and history. The book Skrifaðu bæði skýrt og rétt will be used as a textbook (Höskuldur Þráinsson 2015).

This course is open to students of many MA programmes in the School of Humanities, cf. the regulations of the individual subjects. Students in the MA programmes in Icelandic literature, Icelandic linguistics, Icelandic studies and Icelandic teaching can take the course as part of the MA course requirements in Icelandic literature or Icelandic linguistics. Students in the MA programme in Icelandic teaching can, however, not have this course as the only linguistics or literature course in their MA.

Students wishing to write a MA thesis shall contact the head of department regarding the choice of supervisor. Requests for a specific supervisor are honoured where possible, but otherwise a supervisor is selected based on the topic of the thesis and the specialist knowledge of teaching staff in Icelandic.

The student chooses a subject in consultation with a teacher, who takes on the role of a supervisor. Together they draw up a reading list and define the project output.

The student chooses a subject in consultation with a teacher, who takes on the role of a supervisor. Together they draw up a reading list and define the project output.

This workshop covers important international research conducted on Icelandic medieval literature in the 21^st century. Students will actively participate in discussions and projects and share responsibility with the instructor for the dissemination of knowledge and the progress of the course. The instructor serves as a professional leader and discussion facilitator but does not give formal lectures. The emphasis will be on research-based learning, which involves students defining research questions, finding research publications, analyzing them, forming opinions about them, and expressing them in a peer group setting. They will collect their own data, analyze and describe it, receive feedback, provide feedback to others, and write a research thesis.

More information on workshops can be found here.

In this course, Faroese and Icelandic literary works from the 20th and 21st centuries will be read and placed in the context of the literary and cultural history of these two island nations. The course topics include, among other things, the questions that have preoccupied the authors, how the nations’ identities are reflected in the works, and the connections between the Faroese and Icelandic literary fields, such as through translations.

The course is taught in collaboration with Guðrún í Jákupsstovu, a lecturer at the University of the Faroe Islands, who teaches a comparable course there during the same semester. Part of the course will therefore be taught online, but classroom teaching and student participation in person are also expected. The aim is for a study trip to Tórshavn to be part of the course, and likewise, the Faroese group will visit Reykjavík

Close reading of poetry, both religious and secular, from the 17th and 18th centuries. The concept baroque and the main characteristics of socalled baroque-texts will be analysed, in order to answer the question wether literary genres used by Icelandic poets can be identified as baroque texts and whether there are comparisons in contemporary foreign (European) literature. Texts will be read by the poets Hallgrímur Pétursson, Stefán Ólafsson, Bjarni Gissurarson, Steinunn Finnsdóttir, Sigga skálda og Látra-Björg.

By focusing on folk tales, literature and other relevant sources, the course discusses the manifestations of nature and the supernatural in Icelandic narrative culture throughout the centuries. Students will learn about the significance, interface, and unclear boundaries of these phenomena and how they have shaped society and the environment as well. Students will thus get to know different ideas about the position of people and (other) animals within, above or "outside" of nature. Through diverse lectures and assignments, topics such as humanity vs. animality, the known world vs. other worlds, and the materiality vs. the supernatural, will be discussed from critical points of view. The roles and forms of landscape, organisms, bodies, weather, and natural phenomena in the narrative culture will be explored. The latest research in this broad field will be presented, such as on the representation of earthquakes and celestial bodies, bears, whales, seals, and domestic animals, and on the supernatural creatures of nature and other mythological creatures such as fairies, ghosts, trolls, and berserks. Students will learn how story worlds and folklore have left their mark on the perception of nature, folk traditions, folk customs, and social spaces such as enchanted spots, sacred places and hunted places. We also ask how these narratives appear in folk art and visual art, from previous centuries to the present. Finally, we will explore the significance of nature narratives and the supernatural in the context of the Anthropocene, human perspectives, climate change, and the different status of social groups and species.

This course provides an overview of Icelandic manuscript culture. Students will get practical training in reading Icelandic manuscripts from different periods, from the earliest extant Icelandic vellums dating to the twelfth and thirteenth centuries down to the paper manuscripts of the seventeenth and eighteenth centuries. The origins of the Icelandic script will be discussed as well as its development over time, and students will get practical training in reading different types of script from different periods. The orthography of medieval manuscripts differs considerably from the modern orthography. It includes a system of abbreviations that is partly inherited from a much earlier Latin tradition. Students will get practical training in interpreting these abbreviations. The Icelandic language has also changed over time, and different manifestations of these language changes appear when reading and examining Icelandic texts from different periods. A selection of these changes will be discussed. Changes in script, orthography, and language provide valuable indications of the date of the manuscript, and students will get practical training in dating medieval Icelandic manuscripts based on script, orthography, and language.

Various aspects of medieval book production will be discussed, including the making of parchment and ink, and book binding. Scribes and scribal schools will be discussed as well as probable centres of book production in medieval Iceland. The works of some prolific scribes in the fourteenth century will be examined. What did they write? How did they write? Did they change their practice over a long scribal career? The texts contained by the manuscripts will also be examined and the basics of textual criticism introduced. Njáls saga, for instance, has survived in over sixty manuscripts with considerable textual variation. Which manuscript should then constitute the basis for a printed edition of Njáls saga? Different types of printed editions will be discussed, and students try their hand at editing a medieval text. The electronic editing of pre-modern texts will be introduced, and students will get practical training in mark-up with XML according to the guidelines of the Medieval Nordic Text Archive (MENOTA) and the Medieval Unicode Font Initiative (MUFI).

The course is taught through a combination of lectures and workshops with considerable student engagement. Many of the lectures will be pre-recorded allowing more time in the classroom for discussion and student contributions.

The course is run in cooperation with the Árni Magnússon Institute for Icelandic Studies which has the custody of the largest single collection of Icelandic medieval manuscripts. Students will visit the institute to learn about its collections and facilities and to examine manuscripts.

Course synopsis

Week 1
(1) Introduction
The course: format, readings, requirements and assessment.
The subject matter: Medieval Icelandic manuscripts.

(2) The earliest Icelandic manuscripts
A sketch of the history of the Latin script and the earliest writings in Icelandic. Where did Icelanders learn to use the Latin alphabet? Which orthography did they employ? Some main characteristics of medieval orthography and the use of abbreviations.

Week 2
(3) Electronic editing of medieval texts
How can medieval texts be presented electronically? The XML mark-up language, TEI, MENOTA, MUFI, and related matters. We will try our hand at electronic editing.

(4) The earliest Icelandic orthography and the First Grammatical Treatise
The use of the Latin alphabet for writing Icelandic: challenges — and the solutions proposed by the author of the First Grammatical Treatise in the middle of the twelfth century.

Week 3
(5) Icelandic script and orthography in the thirteenth century
The difference between Icelandic and Norwegian orthography in the twelfth century. What changed in the course of the thirteenth century?

(6) Different types of print editions: scholarly editions
How accurate should printed editions be? Should every little detail in the manuscript be reproduced? What is “Classical Old Icelandic Normalized Orthography”? What are the needs of the readers? What is the role of the editor?

Week 4
(7) Norwegian influence on script, orthography, and language in Icelandic manuscripts
What is the manifestation of this Norwegian influence? How deep-rooted was it? How long did it last?

(8) The dating of manuscripts: script, orthography, and language
How can medieval Icelandic manuscripts be dated? Features of script, orthography, and language that can be helpful for dating.

Week 5
(9) Icelandic script and orthography in the fourteenth century
Main characteristics and their development.

(10) One scribal hand or many?
Distinguishing different scribal hands: some criteria. The Icelandic Homily Book from around 1200: One scribe or fourteen?

Week 6
(11) Book production: parchment, ink, binding — and conservation
From animal skin to parchment. How was the ink produced? Book design and book binding. The care and conservation of medieval manuscripts.

(12) Book production: parchment, ink, binding — and conservation
A visit to the Árni Magnússon Institute for Icelandic Studies.

— STUDY WEEK —

Week 7
(13) Scribes, scribal milieus, the export of books
On prolific scribes, scribal collaboration, and extensive production of books. Were books produced in Iceland for export in the thirteenth and fourteenth centuries?

(14) Icelandic script and orthography in the fifteenth and sixteenth centuries
Main characteristics and their development.

Week 8
(15) Textual criticism
On the transmission of texts through copying. Textual variation, manuscript classification, and stemmatology.

(16) Textual criticism
Comparing manuscripts and collecting variants.

Week 9
(17) Manuscript illumination
On illuminated manuscripts, historiated initials, artists and their models.

(18) Manuscript catalogues and cataloguing
We will familiarize ourselves with the most important manuscript catalogues and learn about the principles of manuscript cataloguing.

Week 10
(19) Icelandic script and orthography in the seventeenth and eighteenth centuries
Main characteristics and their development.

(20) The transmission of the text: a relic or a living text?
How did the language change when a scribe copied from an old exemplar? Njáls saga is believed to have been written towards the end of the thirteenth century. What is the language of Njáls saga in seventeenth- and eighteenth-century manuscripts?

Week 11
(21) Antiquarianism, manuscript collectors, and copyists
The sixteenth century saw the rise of interest in antiquities, old manuscripts were collected and copied.

(22) Different types of print editions: popular editions
How is a pre-modern text best presented to the modern reader? Should archaic features of language and orthography be retained or should they be updated? On the allegiance to the manuscript and allegiance to the reader.

Week 12
(23) Manuscript collections and manuscript collectors
The life and work of Árni Magnússon.

(24) The manuscript dispute and the return of the manuscripts to Iceland
The search for Codex Scardensis and a nerve-racking auction in London. The custody dispute with Denmark and the return of the manuscripts to Iceland 1971–1997.

— This synopsis may be subject to change. —

Readings

The reading list is on the course website on Canvas. It consists of readings in several languages, including English, Icelandic, Danish, Norwegian, German, and French. The reading list is (often) divided into three main sections:

(a) Required readings: Texts that everyone is required to read. These are all in English.

(b) Optional supplementary readings: These are optional readings for those who want a more in-depth discussion. Most of these readings are in English, but not all.

(c) For those who still want more: A variety of optional readings in several languages, not least in Icelandic, for those who still want more. This section is mostly for reference purposes and as a tool for further research.

Many of the required readings (and some of the optional readings) are found on the Canvas course website. Other reading materials are available in the institute library in the Árni Magnússon Institute in Edda and the University Library (Háskólabókasafn) in the Þjóðarbókhlaða.

Prerequisites
Some skills in Icelandic are essential to fully benefit from the course, as emphasis will be placed on practical training in reading and transcribing text from medieval Icelandic manuscripts. MIS105F Old Icelandic 1 or equivalent study of Old Icelandic is sufficient or some skills in Modern Icelandic. Please, consult the instructor if in doubt.

Course format
The course is taught through a combination of lectures and workshops with considerable student engagement. Many of the lectures will be prerecorded allowing more time in the classroom for discussion and student contributions (flipped classroom).

Working language: This course is open to students with different linguistic backgrounds, and there are two working languages, English and Icelandic. Pre-recorded lectures are in both English and Icelandic (except for guest lecturers who will present in English), written assignments are in both English and Icelandic, and reading materials are in English, Icelandic and the Scandinavian languages, but for those who cannot read Icelandic or the Scan-dinavian languages, all required readings are in English. English is the main working language in the classroom, but questions and contributions to class discussion may also be in Icelandic. — See a separate note on the working languages and the classroom arrangement.

Course requirements and assessment
The final grade for the course will be based on:

(1) Transcription assignments: 30%
(2) Manuscript catalogue assignment: 10%
(3) Manuscript dating assignment: 10%
(4) Presentation: manuscript of the day: 10%
(5) Research paper: 30%
(6) Class participation: 10%

All written assignments will be submitted through Canvas. More detailed instructions and information on deadlines is found on Canvas.

Many students, who finish their studies in the School of Humanities, in particular students from the Department of Icelandic and Comparative Cultural Studies, are likely to be employed in the future by media-companies, publishing houses and cultural institutions and asked to write criticism or news about books and art-events. The course focuses on the role and characteristics of cultural journalism in Iceland. Students will get acquainted with most of the genres of cultural journalism, such as interviews, criticism, news-releases and blog. They will work on practical assignments that will be related to specific cultural events in Iceland in the spring of 2018.

By focusing on folk tales, literature and other relevant sources, the course discusses the manifestations of nature and the supernatural in Icelandic narrative culture throughout the centuries. Students will learn about the significance, interface, and unclear boundaries of these phenomena and how they have shaped society and the environment as well. Students will thus get to know different ideas about the position of people and (other) animals within, above or "outside" of nature. Through diverse lectures and assignments, topics such as humanity vs. animality, the known world vs. other worlds, and materiality vs. the supernatural, will be discussed from critical points of view. The roles and forms of landscape, organisms, bodies, weather, and natural phenomena in the narrative culture will be explored. The latest research in this broad field will be presented, such as on the representation of earthquakes and celestial bodies, bears, whales, seals, and domestic animals, and on the supernatural creatures of nature and other mythological creatures such as fairies, ghosts, trolls, and berserks. Students will learn how story worlds and folklore have left their mark on the perception of nature, folk traditions, folk customs, and social spaces such as enchanted spots, sacred places and hunted places. We also ask how these narratives appear in folk art and visual art, from previous centuries to the present. Finally, we will explore the significance of nature narratives and the supernatural in the context of the Anthropocene, human perspectives, climate change, and the different statuses of social groups and species

The main purpose of the course is twofold. First, to shed light on how Icelandic is taught in upper primary and secondary schools. Second, to explore ways of developing Icelandic as a school subject, with respect to practical and theoretical research. What ability should be emphasized in the use and practice of the language? What skills should students have obtained by the end of each school level and how should they be trained? Which aspects of language and literature are most important for the students to know and understand? What are the most used teaching methods? What kind of teaching material is most commonly used in schools and to what extent does it reflect recent knowledge and developments in the fields of language and literature? In the course assignments the students will be trained in defining and implementing their own teaching ideas, with an emphasis on recent knowledge.

An examination will be made of the religious beliefs and practices of people in Scandinavia from the earliest of times until the conversion, material ranging from burial practices to rock carvings, to the written evidence given in the works of Tacitus, Adam of Bremen and Saxo Grammaticus, as well as in early Icelandic works like the Eddic poems and the Kings' sagas. Alongside this discussion of the development and key features of Old Norse religion, some attention will be paid to the concepts of seid and shamanism, especially in connection to their role in early religions. Finally, an examination will be made of the conversion of Scandinavia and how Christian concepts and practices both fitted and contrasted with the previously dominant Old Norse worldview.

Teaching format

• The teaching takes place in the form of lectures and discussion on the material of the lectures.

The course focuses on the fiction of Sjón, with emphasis on novels, poetry and cinema, based on the study Sjónsbók: Ævintýrið um höfundinn, súrrealisma og sýnir (2016) by Úlfhildur Dagsdóttir, and the essay collection Critical Approaches to Sjón : North of the Sun (2025). Theories of surrealism and the avant garde, narrative and cultural studies will be discussed.

Students wishing to write a MA thesis shall contact the head of department regarding the choice of supervisor. Requests for a specific supervisor are honoured where possible, but otherwise a supervisor is selected based on the topic of the thesis and the specialist knowledge of teaching staff in Icelandic.

In this course, Völsunga saga will be read and analyzed from different perspectives, in close connection to the heroic lays of the Eddic tradition. After an in-depth reading, the focus will be set on individual episodes, such as about Sigurðr Fáfnisbani and his ancestry, the Gjúkungar, Atli, and Jörmunrekr. Some European analogues will be examined, whether in historiography, poetry or art. Then, we will turn our attention to the dissemination of the material throughout the ages and its representations in different forms of art and textual media, as for example opera, film and other visual arts, folktales, folk songs and traditional ballads. The objective is to demonstrate the multifunctional and diverse strands that lie between the literature and the older as well as younger manifestations of the subject matter.

The course explores the relationship between political and aesthetic discourse in Iceland during the era of the cultural Cold War, a global ideological struggle waged by the two superpowers, the United States and the Soviet Union, for the hearts and minds of populations around the world in the latter half of the 20th century. The course draws on interdisciplinary research on the Cold War, with a focus on the interplay between global influences and local conditions. This glocal approach allows for an examination of Icelandic agents in the Cold War not only as representatives of the two empires, the United States and the Soviet Union, but also based on their own cultural values and interests. A mixed methodology will be employed, incorporating theories and methods from the social sciences, as well as from art history, literary studies, and historiography. Special emphasis will be placed on the analysis of literary texts and artworks, while attention will also be given to the participation of Icelandic intellectuals and artists in international cultural activities. Students will explore how the Cold War has been addressed in recent years, both in academic contexts and in public dissemination through exhibitions, podcasts, and graphic novels.

This workshop focuses on 21^st-century research on Icelandic modern literature. All students participate actively in discussions and projects and share responsibility with the teachers for the transfer of knowledge and the progress of the work. The teachers are professional leaders, supervisors and discussion moderators but do not give formal lectures. Emphasis will be placed on research-based learning, which involves students defining research questions, finding older research, reviewing it, having an opinion on it and expressing themselves about it in a group of peers in a research group, collecting their own data, analyzing it and describing it, receiving feedback, giving feedback to others and writing an academic text (research thesis).

More information on workshops can be found here.

The student chooses a subject in consultation with a teacher, who takes on the role of a supervisor. Together they draw up a reading list and define the project output.

The student chooses a subject in consultation with a teacher, who takes on the role of a supervisor. Together they draw up a reading list and define the project output.

Training in various aspects of the writing and editing of scientific texts. Various kinds of texts (non-fiction) examined and evaluated. Training in reviewing and commenting on scientific texts and in other aspects of editorial work. The main emphasis will be on the writing of articles, but other kinds of texts will also be considered, both shorter (conference abstracts, reviews) and longer (theses, books), as well as research proposals. Discussion of guidelines for the preparation of manuscripts. Types of plagiarism and how to avoid them and find them. Texts on different subjects will be used as examples, especially writings in linguistics, literature and history. The book Skrifaðu bæði skýrt og rétt will be used as a textbook (Höskuldur Þráinsson 2015).

This course is open to students of many MA programmes in the School of Humanities, cf. the regulations of the individual subjects. Students in the MA programmes in Icelandic literature, Icelandic linguistics, Icelandic studies and Icelandic teaching can take the course as part of the MA course requirements in Icelandic literature or Icelandic linguistics. Students in the MA programme in Icelandic teaching can, however, not have this course as the only linguistics or literature course in their MA.

The student chooses a subject in consultation with a teacher, who takes on the role of a supervisor. Together they draw up a reading list and define the project output.

The student chooses a subject in consultation with a teacher, who takes on the role of a supervisor. Together they draw up a reading list and define the project output.

This workshop covers important international research conducted on Icelandic medieval literature in the 21^st century. Students will actively participate in discussions and projects and share responsibility with the instructor for the dissemination of knowledge and the progress of the course. The instructor serves as a professional leader and discussion facilitator but does not give formal lectures. The emphasis will be on research-based learning, which involves students defining research questions, finding research publications, analyzing them, forming opinions about them, and expressing them in a peer group setting. They will collect their own data, analyze and describe it, receive feedback, provide feedback to others, and write a research thesis.

More information on workshops can be found here.

In this course, Faroese and Icelandic literary works from the 20th and 21st centuries will be read and placed in the context of the literary and cultural history of these two island nations. The course topics include, among other things, the questions that have preoccupied the authors, how the nations’ identities are reflected in the works, and the connections between the Faroese and Icelandic literary fields, such as through translations.

The course is taught in collaboration with Guðrún í Jákupsstovu, a lecturer at the University of the Faroe Islands, who teaches a comparable course there during the same semester. Part of the course will therefore be taught online, but classroom teaching and student participation in person are also expected. The aim is for a study trip to Tórshavn to be part of the course, and likewise, the Faroese group will visit Reykjavík

Close reading of poetry, both religious and secular, from the 17th and 18th centuries. The concept baroque and the main characteristics of socalled baroque-texts will be analysed, in order to answer the question wether literary genres used by Icelandic poets can be identified as baroque texts and whether there are comparisons in contemporary foreign (European) literature. Texts will be read by the poets Hallgrímur Pétursson, Stefán Ólafsson, Bjarni Gissurarson, Steinunn Finnsdóttir, Sigga skálda og Látra-Björg.

By focusing on folk tales, literature and other relevant sources, the course discusses the manifestations of nature and the supernatural in Icelandic narrative culture throughout the centuries. Students will learn about the significance, interface, and unclear boundaries of these phenomena and how they have shaped society and the environment as well. Students will thus get to know different ideas about the position of people and (other) animals within, above or "outside" of nature. Through diverse lectures and assignments, topics such as humanity vs. animality, the known world vs. other worlds, and the materiality vs. the supernatural, will be discussed from critical points of view. The roles and forms of landscape, organisms, bodies, weather, and natural phenomena in the narrative culture will be explored. The latest research in this broad field will be presented, such as on the representation of earthquakes and celestial bodies, bears, whales, seals, and domestic animals, and on the supernatural creatures of nature and other mythological creatures such as fairies, ghosts, trolls, and berserks. Students will learn how story worlds and folklore have left their mark on the perception of nature, folk traditions, folk customs, and social spaces such as enchanted spots, sacred places and hunted places. We also ask how these narratives appear in folk art and visual art, from previous centuries to the present. Finally, we will explore the significance of nature narratives and the supernatural in the context of the Anthropocene, human perspectives, climate change, and the different status of social groups and species.

This course provides an overview of Icelandic manuscript culture. Students will get practical training in reading Icelandic manuscripts from different periods, from the earliest extant Icelandic vellums dating to the twelfth and thirteenth centuries down to the paper manuscripts of the seventeenth and eighteenth centuries. The origins of the Icelandic script will be discussed as well as its development over time, and students will get practical training in reading different types of script from different periods. The orthography of medieval manuscripts differs considerably from the modern orthography. It includes a system of abbreviations that is partly inherited from a much earlier Latin tradition. Students will get practical training in interpreting these abbreviations. The Icelandic language has also changed over time, and different manifestations of these language changes appear when reading and examining Icelandic texts from different periods. A selection of these changes will be discussed. Changes in script, orthography, and language provide valuable indications of the date of the manuscript, and students will get practical training in dating medieval Icelandic manuscripts based on script, orthography, and language.

Various aspects of medieval book production will be discussed, including the making of parchment and ink, and book binding. Scribes and scribal schools will be discussed as well as probable centres of book production in medieval Iceland. The works of some prolific scribes in the fourteenth century will be examined. What did they write? How did they write? Did they change their practice over a long scribal career? The texts contained by the manuscripts will also be examined and the basics of textual criticism introduced. Njáls saga, for instance, has survived in over sixty manuscripts with considerable textual variation. Which manuscript should then constitute the basis for a printed edition of Njáls saga? Different types of printed editions will be discussed, and students try their hand at editing a medieval text. The electronic editing of pre-modern texts will be introduced, and students will get practical training in mark-up with XML according to the guidelines of the Medieval Nordic Text Archive (MENOTA) and the Medieval Unicode Font Initiative (MUFI).

The course is taught through a combination of lectures and workshops with considerable student engagement. Many of the lectures will be pre-recorded allowing more time in the classroom for discussion and student contributions.

The course is run in cooperation with the Árni Magnússon Institute for Icelandic Studies which has the custody of the largest single collection of Icelandic medieval manuscripts. Students will visit the institute to learn about its collections and facilities and to examine manuscripts.

Course synopsis

Week 1
(1) Introduction
The course: format, readings, requirements and assessment.
The subject matter: Medieval Icelandic manuscripts.

(2) The earliest Icelandic manuscripts
A sketch of the history of the Latin script and the earliest writings in Icelandic. Where did Icelanders learn to use the Latin alphabet? Which orthography did they employ? Some main characteristics of medieval orthography and the use of abbreviations.

Week 2
(3) Electronic editing of medieval texts
How can medieval texts be presented electronically? The XML mark-up language, TEI, MENOTA, MUFI, and related matters. We will try our hand at electronic editing.

(4) The earliest Icelandic orthography and the First Grammatical Treatise
The use of the Latin alphabet for writing Icelandic: challenges — and the solutions proposed by the author of the First Grammatical Treatise in the middle of the twelfth century.

Week 3
(5) Icelandic script and orthography in the thirteenth century
The difference between Icelandic and Norwegian orthography in the twelfth century. What changed in the course of the thirteenth century?

(6) Different types of print editions: scholarly editions
How accurate should printed editions be? Should every little detail in the manuscript be reproduced? What is “Classical Old Icelandic Normalized Orthography”? What are the needs of the readers? What is the role of the editor?

Week 4
(7) Norwegian influence on script, orthography, and language in Icelandic manuscripts
What is the manifestation of this Norwegian influence? How deep-rooted was it? How long did it last?

(8) The dating of manuscripts: script, orthography, and language
How can medieval Icelandic manuscripts be dated? Features of script, orthography, and language that can be helpful for dating.

Week 5
(9) Icelandic script and orthography in the fourteenth century
Main characteristics and their development.

(10) One scribal hand or many?
Distinguishing different scribal hands: some criteria. The Icelandic Homily Book from around 1200: One scribe or fourteen?

Week 6
(11) Book production: parchment, ink, binding — and conservation
From animal skin to parchment. How was the ink produced? Book design and book binding. The care and conservation of medieval manuscripts.

(12) Book production: parchment, ink, binding — and conservation
A visit to the Árni Magnússon Institute for Icelandic Studies.

— STUDY WEEK —

Week 7
(13) Scribes, scribal milieus, the export of books
On prolific scribes, scribal collaboration, and extensive production of books. Were books produced in Iceland for export in the thirteenth and fourteenth centuries?

(14) Icelandic script and orthography in the fifteenth and sixteenth centuries
Main characteristics and their development.

Week 8
(15) Textual criticism
On the transmission of texts through copying. Textual variation, manuscript classification, and stemmatology.

(16) Textual criticism
Comparing manuscripts and collecting variants.

Week 9
(17) Manuscript illumination
On illuminated manuscripts, historiated initials, artists and their models.

(18) Manuscript catalogues and cataloguing
We will familiarize ourselves with the most important manuscript catalogues and learn about the principles of manuscript cataloguing.

Week 10
(19) Icelandic script and orthography in the seventeenth and eighteenth centuries
Main characteristics and their development.

(20) The transmission of the text: a relic or a living text?
How did the language change when a scribe copied from an old exemplar? Njáls saga is believed to have been written towards the end of the thirteenth century. What is the language of Njáls saga in seventeenth- and eighteenth-century manuscripts?

Week 11
(21) Antiquarianism, manuscript collectors, and copyists
The sixteenth century saw the rise of interest in antiquities, old manuscripts were collected and copied.

(22) Different types of print editions: popular editions
How is a pre-modern text best presented to the modern reader? Should archaic features of language and orthography be retained or should they be updated? On the allegiance to the manuscript and allegiance to the reader.

Week 12
(23) Manuscript collections and manuscript collectors
The life and work of Árni Magnússon.

(24) The manuscript dispute and the return of the manuscripts to Iceland
The search for Codex Scardensis and a nerve-racking auction in London. The custody dispute with Denmark and the return of the manuscripts to Iceland 1971–1997.

— This synopsis may be subject to change. —

Readings

The reading list is on the course website on Canvas. It consists of readings in several languages, including English, Icelandic, Danish, Norwegian, German, and French. The reading list is (often) divided into three main sections:

(a) Required readings: Texts that everyone is required to read. These are all in English.

(b) Optional supplementary readings: These are optional readings for those who want a more in-depth discussion. Most of these readings are in English, but not all.

(c) For those who still want more: A variety of optional readings in several languages, not least in Icelandic, for those who still want more. This section is mostly for reference purposes and as a tool for further research.

Many of the required readings (and some of the optional readings) are found on the Canvas course website. Other reading materials are available in the institute library in the Árni Magnússon Institute in Edda and the University Library (Háskólabókasafn) in the Þjóðarbókhlaða.

Prerequisites
Some skills in Icelandic are essential to fully benefit from the course, as emphasis will be placed on practical training in reading and transcribing text from medieval Icelandic manuscripts. MIS105F Old Icelandic 1 or equivalent study of Old Icelandic is sufficient or some skills in Modern Icelandic. Please, consult the instructor if in doubt.

Course format
The course is taught through a combination of lectures and workshops with considerable student engagement. Many of the lectures will be prerecorded allowing more time in the classroom for discussion and student contributions (flipped classroom).

Working language: This course is open to students with different linguistic backgrounds, and there are two working languages, English and Icelandic. Pre-recorded lectures are in both English and Icelandic (except for guest lecturers who will present in English), written assignments are in both English and Icelandic, and reading materials are in English, Icelandic and the Scandinavian languages, but for those who cannot read Icelandic or the Scan-dinavian languages, all required readings are in English. English is the main working language in the classroom, but questions and contributions to class discussion may also be in Icelandic. — See a separate note on the working languages and the classroom arrangement.

Course requirements and assessment
The final grade for the course will be based on:

(1) Transcription assignments: 30%
(2) Manuscript catalogue assignment: 10%
(3) Manuscript dating assignment: 10%
(4) Presentation: manuscript of the day: 10%
(5) Research paper: 30%
(6) Class participation: 10%

All written assignments will be submitted through Canvas. More detailed instructions and information on deadlines is found on Canvas.

Many students, who finish their studies in the School of Humanities, in particular students from the Department of Icelandic and Comparative Cultural Studies, are likely to be employed in the future by media-companies, publishing houses and cultural institutions and asked to write criticism or news about books and art-events. The course focuses on the role and characteristics of cultural journalism in Iceland. Students will get acquainted with most of the genres of cultural journalism, such as interviews, criticism, news-releases and blog. They will work on practical assignments that will be related to specific cultural events in Iceland in the spring of 2018.

By focusing on folk tales, literature and other relevant sources, the course discusses the manifestations of nature and the supernatural in Icelandic narrative culture throughout the centuries. Students will learn about the significance, interface, and unclear boundaries of these phenomena and how they have shaped society and the environment as well. Students will thus get to know different ideas about the position of people and (other) animals within, above or "outside" of nature. Through diverse lectures and assignments, topics such as humanity vs. animality, the known world vs. other worlds, and materiality vs. the supernatural, will be discussed from critical points of view. The roles and forms of landscape, organisms, bodies, weather, and natural phenomena in the narrative culture will be explored. The latest research in this broad field will be presented, such as on the representation of earthquakes and celestial bodies, bears, whales, seals, and domestic animals, and on the supernatural creatures of nature and other mythological creatures such as fairies, ghosts, trolls, and berserks. Students will learn how story worlds and folklore have left their mark on the perception of nature, folk traditions, folk customs, and social spaces such as enchanted spots, sacred places and hunted places. We also ask how these narratives appear in folk art and visual art, from previous centuries to the present. Finally, we will explore the significance of nature narratives and the supernatural in the context of the Anthropocene, human perspectives, climate change, and the different statuses of social groups and species

The main purpose of the course is twofold. First, to shed light on how Icelandic is taught in upper primary and secondary schools. Second, to explore ways of developing Icelandic as a school subject, with respect to practical and theoretical research. What ability should be emphasized in the use and practice of the language? What skills should students have obtained by the end of each school level and how should they be trained? Which aspects of language and literature are most important for the students to know and understand? What are the most used teaching methods? What kind of teaching material is most commonly used in schools and to what extent does it reflect recent knowledge and developments in the fields of language and literature? In the course assignments the students will be trained in defining and implementing their own teaching ideas, with an emphasis on recent knowledge.

An examination will be made of the religious beliefs and practices of people in Scandinavia from the earliest of times until the conversion, material ranging from burial practices to rock carvings, to the written evidence given in the works of Tacitus, Adam of Bremen and Saxo Grammaticus, as well as in early Icelandic works like the Eddic poems and the Kings' sagas. Alongside this discussion of the development and key features of Old Norse religion, some attention will be paid to the concepts of seid and shamanism, especially in connection to their role in early religions. Finally, an examination will be made of the conversion of Scandinavia and how Christian concepts and practices both fitted and contrasted with the previously dominant Old Norse worldview.

Teaching format

• The teaching takes place in the form of lectures and discussion on the material of the lectures.

The course focuses on the fiction of Sjón, with emphasis on novels, poetry and cinema, based on the study Sjónsbók: Ævintýrið um höfundinn, súrrealisma og sýnir (2016) by Úlfhildur Dagsdóttir, and the essay collection Critical Approaches to Sjón : North of the Sun (2025). Theories of surrealism and the avant garde, narrative and cultural studies will be discussed.

In this course, Völsunga saga will be read and analyzed from different perspectives, in close connection to the heroic lays of the Eddic tradition. After an in-depth reading, the focus will be set on individual episodes, such as about Sigurðr Fáfnisbani and his ancestry, the Gjúkungar, Atli, and Jörmunrekr. Some European analogues will be examined, whether in historiography, poetry or art. Then, we will turn our attention to the dissemination of the material throughout the ages and its representations in different forms of art and textual media, as for example opera, film and other visual arts, folktales, folk songs and traditional ballads. The objective is to demonstrate the multifunctional and diverse strands that lie between the literature and the older as well as younger manifestations of the subject matter.

The course explores the relationship between political and aesthetic discourse in Iceland during the era of the cultural Cold War, a global ideological struggle waged by the two superpowers, the United States and the Soviet Union, for the hearts and minds of populations around the world in the latter half of the 20th century. The course draws on interdisciplinary research on the Cold War, with a focus on the interplay between global influences and local conditions. This glocal approach allows for an examination of Icelandic agents in the Cold War not only as representatives of the two empires, the United States and the Soviet Union, but also based on their own cultural values and interests. A mixed methodology will be employed, incorporating theories and methods from the social sciences, as well as from art history, literary studies, and historiography. Special emphasis will be placed on the analysis of literary texts and artworks, while attention will also be given to the participation of Icelandic intellectuals and artists in international cultural activities. Students will explore how the Cold War has been addressed in recent years, both in academic contexts and in public dissemination through exhibitions, podcasts, and graphic novels.

This workshop focuses on 21^st-century research on Icelandic modern literature. All students participate actively in discussions and projects and share responsibility with the teachers for the transfer of knowledge and the progress of the work. The teachers are professional leaders, supervisors and discussion moderators but do not give formal lectures. Emphasis will be placed on research-based learning, which involves students defining research questions, finding older research, reviewing it, having an opinion on it and expressing themselves about it in a group of peers in a research group, collecting their own data, analyzing it and describing it, receiving feedback, giving feedback to others and writing an academic text (research thesis).

More information on workshops can be found here.

The student chooses a subject in consultation with a teacher, who takes on the role of a supervisor. Together they draw up a reading list and define the project output.

The student chooses a subject in consultation with a teacher, who takes on the role of a supervisor. Together they draw up a reading list and define the project output.

Training in various aspects of the writing and editing of scientific texts. Various kinds of texts (non-fiction) examined and evaluated. Training in reviewing and commenting on scientific texts and in other aspects of editorial work. The main emphasis will be on the writing of articles, but other kinds of texts will also be considered, both shorter (conference abstracts, reviews) and longer (theses, books), as well as research proposals. Discussion of guidelines for the preparation of manuscripts. Types of plagiarism and how to avoid them and find them. Texts on different subjects will be used as examples, especially writings in linguistics, literature and history. The book Skrifaðu bæði skýrt og rétt will be used as a textbook (Höskuldur Þráinsson 2015).

This course is open to students of many MA programmes in the School of Humanities, cf. the regulations of the individual subjects. Students in the MA programmes in Icelandic literature, Icelandic linguistics, Icelandic studies and Icelandic teaching can take the course as part of the MA course requirements in Icelandic literature or Icelandic linguistics. Students in the MA programme in Icelandic teaching can, however, not have this course as the only linguistics or literature course in their MA.

Students wishing to write a MA thesis shall contact the head of department regarding the choice of supervisor. Requests for a specific supervisor are honoured where possible, but otherwise a supervisor is selected based on the topic of the thesis and the specialist knowledge of teaching staff in Icelandic.

The student chooses a subject in consultation with a teacher, who takes on the role of a supervisor. Together they draw up a reading list and define the project output.

The student chooses a subject in consultation with a teacher, who takes on the role of a supervisor. Together they draw up a reading list and define the project output.

This workshop covers important international research conducted on Icelandic medieval literature in the 21^st century. Students will actively participate in discussions and projects and share responsibility with the instructor for the dissemination of knowledge and the progress of the course. The instructor serves as a professional leader and discussion facilitator but does not give formal lectures. The emphasis will be on research-based learning, which involves students defining research questions, finding research publications, analyzing them, forming opinions about them, and expressing them in a peer group setting. They will collect their own data, analyze and describe it, receive feedback, provide feedback to others, and write a research thesis.

More information on workshops can be found here.

In this course, Faroese and Icelandic literary works from the 20th and 21st centuries will be read and placed in the context of the literary and cultural history of these two island nations. The course topics include, among other things, the questions that have preoccupied the authors, how the nations’ identities are reflected in the works, and the connections between the Faroese and Icelandic literary fields, such as through translations.

The course is taught in collaboration with Guðrún í Jákupsstovu, a lecturer at the University of the Faroe Islands, who teaches a comparable course there during the same semester. Part of the course will therefore be taught online, but classroom teaching and student participation in person are also expected. The aim is for a study trip to Tórshavn to be part of the course, and likewise, the Faroese group will visit Reykjavík

Close reading of poetry, both religious and secular, from the 17th and 18th centuries. The concept baroque and the main characteristics of socalled baroque-texts will be analysed, in order to answer the question wether literary genres used by Icelandic poets can be identified as baroque texts and whether there are comparisons in contemporary foreign (European) literature. Texts will be read by the poets Hallgrímur Pétursson, Stefán Ólafsson, Bjarni Gissurarson, Steinunn Finnsdóttir, Sigga skálda og Látra-Björg.

By focusing on folk tales, literature and other relevant sources, the course discusses the manifestations of nature and the supernatural in Icelandic narrative culture throughout the centuries. Students will learn about the significance, interface, and unclear boundaries of these phenomena and how they have shaped society and the environment as well. Students will thus get to know different ideas about the position of people and (other) animals within, above or "outside" of nature. Through diverse lectures and assignments, topics such as humanity vs. animality, the known world vs. other worlds, and the materiality vs. the supernatural, will be discussed from critical points of view. The roles and forms of landscape, organisms, bodies, weather, and natural phenomena in the narrative culture will be explored. The latest research in this broad field will be presented, such as on the representation of earthquakes and celestial bodies, bears, whales, seals, and domestic animals, and on the supernatural creatures of nature and other mythological creatures such as fairies, ghosts, trolls, and berserks. Students will learn how story worlds and folklore have left their mark on the perception of nature, folk traditions, folk customs, and social spaces such as enchanted spots, sacred places and hunted places. We also ask how these narratives appear in folk art and visual art, from previous centuries to the present. Finally, we will explore the significance of nature narratives and the supernatural in the context of the Anthropocene, human perspectives, climate change, and the different status of social groups and species.

This course provides an overview of Icelandic manuscript culture. Students will get practical training in reading Icelandic manuscripts from different periods, from the earliest extant Icelandic vellums dating to the twelfth and thirteenth centuries down to the paper manuscripts of the seventeenth and eighteenth centuries. The origins of the Icelandic script will be discussed as well as its development over time, and students will get practical training in reading different types of script from different periods. The orthography of medieval manuscripts differs considerably from the modern orthography. It includes a system of abbreviations that is partly inherited from a much earlier Latin tradition. Students will get practical training in interpreting these abbreviations. The Icelandic language has also changed over time, and different manifestations of these language changes appear when reading and examining Icelandic texts from different periods. A selection of these changes will be discussed. Changes in script, orthography, and language provide valuable indications of the date of the manuscript, and students will get practical training in dating medieval Icelandic manuscripts based on script, orthography, and language.

Various aspects of medieval book production will be discussed, including the making of parchment and ink, and book binding. Scribes and scribal schools will be discussed as well as probable centres of book production in medieval Iceland. The works of some prolific scribes in the fourteenth century will be examined. What did they write? How did they write? Did they change their practice over a long scribal career? The texts contained by the manuscripts will also be examined and the basics of textual criticism introduced. Njáls saga, for instance, has survived in over sixty manuscripts with considerable textual variation. Which manuscript should then constitute the basis for a printed edition of Njáls saga? Different types of printed editions will be discussed, and students try their hand at editing a medieval text. The electronic editing of pre-modern texts will be introduced, and students will get practical training in mark-up with XML according to the guidelines of the Medieval Nordic Text Archive (MENOTA) and the Medieval Unicode Font Initiative (MUFI).

The course is taught through a combination of lectures and workshops with considerable student engagement. Many of the lectures will be pre-recorded allowing more time in the classroom for discussion and student contributions.

The course is run in cooperation with the Árni Magnússon Institute for Icelandic Studies which has the custody of the largest single collection of Icelandic medieval manuscripts. Students will visit the institute to learn about its collections and facilities and to examine manuscripts.

Course synopsis

Week 1
(1) Introduction
The course: format, readings, requirements and assessment.
The subject matter: Medieval Icelandic manuscripts.

(2) The earliest Icelandic manuscripts
A sketch of the history of the Latin script and the earliest writings in Icelandic. Where did Icelanders learn to use the Latin alphabet? Which orthography did they employ? Some main characteristics of medieval orthography and the use of abbreviations.

Week 2
(3) Electronic editing of medieval texts
How can medieval texts be presented electronically? The XML mark-up language, TEI, MENOTA, MUFI, and related matters. We will try our hand at electronic editing.

(4) The earliest Icelandic orthography and the First Grammatical Treatise
The use of the Latin alphabet for writing Icelandic: challenges — and the solutions proposed by the author of the First Grammatical Treatise in the middle of the twelfth century.

Week 3
(5) Icelandic script and orthography in the thirteenth century
The difference between Icelandic and Norwegian orthography in the twelfth century. What changed in the course of the thirteenth century?

(6) Different types of print editions: scholarly editions
How accurate should printed editions be? Should every little detail in the manuscript be reproduced? What is “Classical Old Icelandic Normalized Orthography”? What are the needs of the readers? What is the role of the editor?

Week 4
(7) Norwegian influence on script, orthography, and language in Icelandic manuscripts
What is the manifestation of this Norwegian influence? How deep-rooted was it? How long did it last?

(8) The dating of manuscripts: script, orthography, and language
How can medieval Icelandic manuscripts be dated? Features of script, orthography, and language that can be helpful for dating.

Week 5
(9) Icelandic script and orthography in the fourteenth century
Main characteristics and their development.

(10) One scribal hand or many?
Distinguishing different scribal hands: some criteria. The Icelandic Homily Book from around 1200: One scribe or fourteen?

Week 6
(11) Book production: parchment, ink, binding — and conservation
From animal skin to parchment. How was the ink produced? Book design and book binding. The care and conservation of medieval manuscripts.

(12) Book production: parchment, ink, binding — and conservation
A visit to the Árni Magnússon Institute for Icelandic Studies.

— STUDY WEEK —

Week 7
(13) Scribes, scribal milieus, the export of books
On prolific scribes, scribal collaboration, and extensive production of books. Were books produced in Iceland for export in the thirteenth and fourteenth centuries?

(14) Icelandic script and orthography in the fifteenth and sixteenth centuries
Main characteristics and their development.

Week 8
(15) Textual criticism
On the transmission of texts through copying. Textual variation, manuscript classification, and stemmatology.

(16) Textual criticism
Comparing manuscripts and collecting variants.

Week 9
(17) Manuscript illumination
On illuminated manuscripts, historiated initials, artists and their models.

(18) Manuscript catalogues and cataloguing
We will familiarize ourselves with the most important manuscript catalogues and learn about the principles of manuscript cataloguing.

Week 10
(19) Icelandic script and orthography in the seventeenth and eighteenth centuries
Main characteristics and their development.

(20) The transmission of the text: a relic or a living text?
How did the language change when a scribe copied from an old exemplar? Njáls saga is believed to have been written towards the end of the thirteenth century. What is the language of Njáls saga in seventeenth- and eighteenth-century manuscripts?

Week 11
(21) Antiquarianism, manuscript collectors, and copyists
The sixteenth century saw the rise of interest in antiquities, old manuscripts were collected and copied.

(22) Different types of print editions: popular editions
How is a pre-modern text best presented to the modern reader? Should archaic features of language and orthography be retained or should they be updated? On the allegiance to the manuscript and allegiance to the reader.

Week 12
(23) Manuscript collections and manuscript collectors
The life and work of Árni Magnússon.

(24) The manuscript dispute and the return of the manuscripts to Iceland
The search for Codex Scardensis and a nerve-racking auction in London. The custody dispute with Denmark and the return of the manuscripts to Iceland 1971–1997.

— This synopsis may be subject to change. —

Readings

The reading list is on the course website on Canvas. It consists of readings in several languages, including English, Icelandic, Danish, Norwegian, German, and French. The reading list is (often) divided into three main sections:

(a) Required readings: Texts that everyone is required to read. These are all in English.

(b) Optional supplementary readings: These are optional readings for those who want a more in-depth discussion. Most of these readings are in English, but not all.

(c) For those who still want more: A variety of optional readings in several languages, not least in Icelandic, for those who still want more. This section is mostly for reference purposes and as a tool for further research.

Many of the required readings (and some of the optional readings) are found on the Canvas course website. Other reading materials are available in the institute library in the Árni Magnússon Institute in Edda and the University Library (Háskólabókasafn) in the Þjóðarbókhlaða.

Prerequisites
Some skills in Icelandic are essential to fully benefit from the course, as emphasis will be placed on practical training in reading and transcribing text from medieval Icelandic manuscripts. MIS105F Old Icelandic 1 or equivalent study of Old Icelandic is sufficient or some skills in Modern Icelandic. Please, consult the instructor if in doubt.

Course format
The course is taught through a combination of lectures and workshops with considerable student engagement. Many of the lectures will be prerecorded allowing more time in the classroom for discussion and student contributions (flipped classroom).

Working language: This course is open to students with different linguistic backgrounds, and there are two working languages, English and Icelandic. Pre-recorded lectures are in both English and Icelandic (except for guest lecturers who will present in English), written assignments are in both English and Icelandic, and reading materials are in English, Icelandic and the Scandinavian languages, but for those who cannot read Icelandic or the Scan-dinavian languages, all required readings are in English. English is the main working language in the classroom, but questions and contributions to class discussion may also be in Icelandic. — See a separate note on the working languages and the classroom arrangement.

Course requirements and assessment
The final grade for the course will be based on:

(1) Transcription assignments: 30%
(2) Manuscript catalogue assignment: 10%
(3) Manuscript dating assignment: 10%
(4) Presentation: manuscript of the day: 10%
(5) Research paper: 30%
(6) Class participation: 10%

All written assignments will be submitted through Canvas. More detailed instructions and information on deadlines is found on Canvas.

Many students, who finish their studies in the School of Humanities, in particular students from the Department of Icelandic and Comparative Cultural Studies, are likely to be employed in the future by media-companies, publishing houses and cultural institutions and asked to write criticism or news about books and art-events. The course focuses on the role and characteristics of cultural journalism in Iceland. Students will get acquainted with most of the genres of cultural journalism, such as interviews, criticism, news-releases and blog. They will work on practical assignments that will be related to specific cultural events in Iceland in the spring of 2018.

By focusing on folk tales, literature and other relevant sources, the course discusses the manifestations of nature and the supernatural in Icelandic narrative culture throughout the centuries. Students will learn about the significance, interface, and unclear boundaries of these phenomena and how they have shaped society and the environment as well. Students will thus get to know different ideas about the position of people and (other) animals within, above or "outside" of nature. Through diverse lectures and assignments, topics such as humanity vs. animality, the known world vs. other worlds, and materiality vs. the supernatural, will be discussed from critical points of view. The roles and forms of landscape, organisms, bodies, weather, and natural phenomena in the narrative culture will be explored. The latest research in this broad field will be presented, such as on the representation of earthquakes and celestial bodies, bears, whales, seals, and domestic animals, and on the supernatural creatures of nature and other mythological creatures such as fairies, ghosts, trolls, and berserks. Students will learn how story worlds and folklore have left their mark on the perception of nature, folk traditions, folk customs, and social spaces such as enchanted spots, sacred places and hunted places. We also ask how these narratives appear in folk art and visual art, from previous centuries to the present. Finally, we will explore the significance of nature narratives and the supernatural in the context of the Anthropocene, human perspectives, climate change, and the different statuses of social groups and species

The main purpose of the course is twofold. First, to shed light on how Icelandic is taught in upper primary and secondary schools. Second, to explore ways of developing Icelandic as a school subject, with respect to practical and theoretical research. What ability should be emphasized in the use and practice of the language? What skills should students have obtained by the end of each school level and how should they be trained? Which aspects of language and literature are most important for the students to know and understand? What are the most used teaching methods? What kind of teaching material is most commonly used in schools and to what extent does it reflect recent knowledge and developments in the fields of language and literature? In the course assignments the students will be trained in defining and implementing their own teaching ideas, with an emphasis on recent knowledge.

An examination will be made of the religious beliefs and practices of people in Scandinavia from the earliest of times until the conversion, material ranging from burial practices to rock carvings, to the written evidence given in the works of Tacitus, Adam of Bremen and Saxo Grammaticus, as well as in early Icelandic works like the Eddic poems and the Kings' sagas. Alongside this discussion of the development and key features of Old Norse religion, some attention will be paid to the concepts of seid and shamanism, especially in connection to their role in early religions. Finally, an examination will be made of the conversion of Scandinavia and how Christian concepts and practices both fitted and contrasted with the previously dominant Old Norse worldview.

Teaching format

• The teaching takes place in the form of lectures and discussion on the material of the lectures.

The course focuses on the fiction of Sjón, with emphasis on novels, poetry and cinema, based on the study Sjónsbók: Ævintýrið um höfundinn, súrrealisma og sýnir (2016) by Úlfhildur Dagsdóttir, and the essay collection Critical Approaches to Sjón : North of the Sun (2025). Theories of surrealism and the avant garde, narrative and cultural studies will be discussed.

Students wishing to write a MA thesis shall contact the head of department regarding the choice of supervisor. Requests for a specific supervisor are honoured where possible, but otherwise a supervisor is selected based on the topic of the thesis and the specialist knowledge of teaching staff in Icelandic.