For much of the history of saga scholarship, questions of origins, the role of feud, kinship, and the structure of the society, and its institutions, have been fertile grounds for research. As such, the female characters – who were certainly less overtly prominent in the settlement of the country as outlined in the texts, as well as in the public and institutional structures – have often been overlooked as subjects of in depth scholarly enquiry. Turning a sharp gaze upon three particular characters, from three different sagas: Auðr from Gísla saga, Guðrún from Laxdæla saga, and Hallgerður from Njáls saga, and entering upon a comparative analysis of the introductions, marriages, and divorces – if applicable – of the characters, this study refutes the archetypical models under which these characters are sometimes studied, and examines the idea of marriage, contrary to its commonly perceived function, as largely a destabilizing force.

This thesis is concerned with how a set of different texts, all titled with various English or Icelandic versions of Egils saga, exists, can be interrelated, and may be read. The first level of interpretation, before reading of the text even begins to occur, is a response to the book as a physical object whose ordering encourages and excludes certain interpretations. The first two chapters analyze the six English translations of Egils saga: W.C. Green (1893), E.R. Eddison (1930), Gwyn Jones (1960), Christine Fell and John Lucas (1975), Hermann Palsson and Paul Edwards (1976), Bernard Scudder (1997): together with the Icelandic editions used as their source texts, in terms of paratext, as developed by Gerard Genette. The third chapter consists of translation analyses. These use some of the methods of traditional translation criticism, together with more liberal methods of analysis associated with 'Translation Studies', as established by Susan Bassnett, among others. I conclude that the reader of translations who intends to move between 'target language' (language of translation) and 'source language' (language for translation), or who is in the process of getting the freedom to make transitions between these languages, is a special case, and that there is a literature which exists for them. By this I mean that, while it can be liberating to read literary translations as works 'in their own right', there are areas in some literary translations where it is best, or possible, to manipulate several languages and culture levels. There are also literary translations where the play between source language and target language, texts and paratexts, is necessary to their existence. Although I retain the 'source' and 'target' terminology of Translation Studies, I begin the chapter by questioning the direction of the vector: "target" texts are in some senses the 'source' texts for the 'source' texts subsequently encountered by readers between languages. The final chapter studies processes of transformation in Egils saga, following the Islenzk fornrit text. It shows how the saga itself is concerned with the meaning and powers of language and processes of transmission: it translates itself, not in a modern self-reflexive sense, but with its own, historically particular aesthetic.

Iceland is a sub-aerial part of the mid-Atlantic Ridge which has formed above an E migrating ridge centred hotspot. The Hengill area is a ridge-ridge-transform triple point that contains a central volcano-fissure swarm system and a large geothermal area. A seismological study of this triple point was conducted with the main emphasis on natural earthquake studies. The aims were to study the geothermal prospect and tectonic structure and to evaluate the passive seismic method as a geothermal prospecting tool. The area exhibits continuous small magnitude earthquake activity that correlates positively with surface geothermal displays, and negatively with surface faulting. The log (cumulative frequency) magnitude relationship is linear and indicates a b value of 0.74 ± 0.06. Focal mechanisms for 178 events indicated both shear and tensile crack type movements, the latter being confined to the high temperature geothermal area. Teleseismic and explosion data indicate a low velocity body beneath the central volcano in the depth range 0 - 10 km, flanked by higher velocity bodies to the W and E. Two volcanic systems occupy the Hengill area : the presently active Hengill system and the extinct Grensdalur system. The ongoing seismicity of the area is attributed to contraction cracking due to the action of cool groundwater fluids on hot rook, which, in a tensile stress regime, results in tensile crack formation. The high temperature area is fuelled by two heat sources associated with the two volcanic systems and may be divided into two separate fields that exhibit contrasting reservoir characteristics. Local seismioity studies may be applied to other Icelandic high temperature geothermal areas as a tool to map those volumes of rock that are fueling the geothermal reservoirs. The continuous formation of small tensile cracks on accretionary plate boundaries offers an explanation for the mechanism of dyke injection.

Thesis--Freiburg i. B. / Vita. Includes bibliographical references (p. 318-328).

Thesis (doctoral)--University of Lund, 1989. / Includes bibliographical references (p. [363]-378).

Thesis (Ph. D.)--University of California, San Diego, 2003. / Vita. Includes bibliographical references (leaves 192-197).

This thesis aims to form the basis of research on the Icelandic street art by detailing the main events that spurred the development of this art movement and by describing the key factors that shaped the evolution of this artistic movement in Iceland and the societal reaction towards it. The presented theoretical material aims to enable discussion on street art substance in this one particular country, taking into consideration the scope of definitions applied in international street art research. While regarding already existing studies on this artistic movement in other countries, this thesis presents the local specifics in order to highlight the differences in artistic and social approach. The topic was chosen due to personal interests that grew expansively while the author was living in Iceland. The possibilities to directly observe the evolving contemporary art scene and participate in the ongoing changes served as a factual basis for further research. Author noticed the sizeable gap in the research on Icelandic art, especially available to international academic forums. Moreover, there has been no previously conducted research on Icelandic street art, and, to date, only limited study on Icelandic contemporary art is available. Another factor for the choice of theme was the particular interest in the contemporary artistic movements that raise the question of applicable art definitions and hence also the scope of research, which demands a multidisciplinary approach. Street art, as a dynamic socio – artistic movement, encompasses such an approach and challenges the researchers to apply various methods of art history, combined with sociological approach, in order to conduct research on graffiti, street art or broader urban creativity. Due to the ambivalent nature of street art as well as the possible legal consequences it carries, accessing the functional sources for academic purposes is crucial. This study involves materials obtained direct in local research, through interviews and field work but also municipal documentation and information provided in domestic press and social media. It seemed essential to present the most important occurrences in local political and social history and to summarize the factors that allowed the formation and development of Icelandic street art. Due to the pioneering element of the study, the monography of the movement seemed more appropriate than a detailed analysis of particular artworks or artists’ biographies adopting methodologies designed for the history of art.:PART I Theory 1. Methodology and research goals 1.1 Subject matter and research tools 1.2 Historical background reasoning the topic choice 1.3 Development of history of art as a discipline reasoning the topic choice 1.4 Information sources used in research, collection methods and value assessment 1.5 Specifics of Iceland 2. Fluctuating scope of the area of interest 2.1 Change in the approach 2.2 Widening research and multidisciplinary approach 3. Nomenclature in the street art and urban activity studies 3.1 Overview of milestones in attempts of street art definitions 3.2 Newest points of view 3.3 Definitions used hereby 4. Institutionalization as an inseparable part of street art history 4.1 Scope of definition 4.2 Institutionalization as an inseparable part of street art 4.3 The side effect of sponsored street art 4.3.1 Graffiti in large-format advertising 4.3.2 Substitute for freedom in curated urban space 4.3.3 Zero Tolerance Policies and clean cities 4.4 Publicity of the public art 4.5 Research on the institutionalization of street art 5. Icelandic street art in the context of the current state of international research 5.1 Area of interest – social studies and the edge of different disciplines 5.2 Different means of research on street art 5.2.1 Festivals, conferences and street art museums as a research tool 5.2.1.1 Street art festivals 5.2.1.2 Street art conferences 5.2.1.3. Street art museums 5.2.2 Material published in book forms 5.2.3 Online accessible articles and reviews, blogs 5.3 Icelandic art 5.4 Street art in Reykjavík 5.4.1 The Reykjavík Grapevine 5.4.2 Online sources: personal blogs, tourist information, social media accounts 5.4.3 Hard copy published materials 5.4.4. Social media and sharing platforms 5.4.5 Film materials 5.4.6 Publications of cultural and educational institutions 6. Icelandic street art 6.1 Environment for street art development in Iceland. Artistic society after the Second World War 6.2 Hlíðargöngin as the first scene for Icelandic street art 6.3 Bloom and expansion time 6.4. Zero Tolerance Policy Implementation in Reykjavík 6.4.1 Reasons for the implementation of Zero Tolerance 6.4.2 Scandinavian inspirations for Implementation of Zero Tolerance Policy 6.4.3 The costs of Zero Tolerance Policy 6.4.4 Obtaining permission for graffiti 6.4.5 An assigned place for graffiti 6.4.6 Icelandic version of Zero Tolerance Policy 6.5 The peak of urban creativity around 2012 6.5.1 Hjartagarðurinn 6.5.2 Guido van Helten Sailors, Skagaströnd 2013 Afi, Reykjavík 2013 No exit, Reykjavík 2013 – 2014 Halla, Vestmannaeyar, 2014 Girl, Akureyri 2014 Jón from Vör, Kópavogur 2015 Sæfari, 2015 6.5.3. Sara Riel 6.5.3.1 Education, early recognition and awards 6.5.3.2 Beginnings on the street art scene 6.5.3.3 Time of growing up 6.5.3.4 In the vibrant city 6.5.3.5 Natural Kingdoms 6.5.3.6 Memento Mori 6.5.3.7 Is it legal? 6.5.3.8 Turn into abstract organic art 6.5.3.9 What plant would you like to be and why? 6.6 Street art intensity around 2012 – 2013 and balancing the scene off 6.7 Wall Poetry 6.7.1 Iceland Airwaves Festival 6.7.2 Urban Nation 6.7.3 Wall Poetry 2015 6.7.3.1 Project description 6.7.3.2 Artworks 6.7.4 Wall Poetry 2016 6.8 Current situation on Icelandic street art scene 7 The official and social approach towards street art in Iceland 7.1 Street art reception 7.2 Reykjavík´s mayor Jón Gnarr and Banksy 7.3 Educational institutions 7.4 Artists associations 7.5 Exhibition rooms and artists-run spaces 8. ”Icelandness”? 9. Summary List of the Icelandic names and their translation in English Photography credentials Bibliography PART II Photographic material Fig. 1 Research on social reception of street art Photographs

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The purpose of this dissertation is to empirically test the hypothesis that children's omission of functional elements reflects performance factors (McKee, 1994; McKee & Iwasaki, 2001), rather than lack of knowledge (Felix, 1987; Radford, 1990, 1995; Tomasello, 2000). The multi-level production system treats content and function morphemes differently (Garrett, 1982). Further, a function morpheme's free or bound status and the independence of the content stem affect the likelihood that a function morpheme will be omitted. Four experiments each employed production and comprehension tasks testing English- and Icelandic-speaking children's and adults' production and comprehension of different prepositional phrases. The English experiments tested prepositional phrases with content prepositions and content/function preposition combinations. The Icelandic experiments tested prepositional phrases with prepositions and their associated case markings. Function prepositions in English and case markings in Icelandic both convey information about case, with the former being a free function morpheme, and the latter a bound function morpheme. Both English- and Icelandic-speaking children showed comprehension of prepositions that they do not produce. Further, Icelandic-speaking children produced case markings but English-speaking children did not produce function prepositions. These findings support a performance-based hypothesis with omission attributable to coordination issues among elements in the multi-level production system. These findings also show the importance of cross-modality and cross-linguistic research in studying the competence of children before, during, and after the telegraphic speech stage.

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