Ný saga - 01.01.1989, Blaðsíða 99

Abstracts
ANNIVERSARY (AFMÆLI)
Loftur Guttormsson: The French Revolution as
reported in lceland. (Franska byltingin í ágripi
Magnúsar Stephensens)
The author looks at reports of the French Revolution in
contemporary lcelandic sources. Especially in the journal
Minnisverð tíðindi, written and published by the magistrate
Magnús Stephensen.
BOOKS (AF BÓKUM)
Gunnar Karlsson „l’m giving the nation a hist-
ory...“ („Ég er að gefa þjóðinni sögu...“)
Gunnar Karlsson, Professor of lcelandic History at the
University of lceland, has in recent years produced a series of
text books of lcelandic history, both for primary and secondary
schools in lceland. Here he explains the principles upon which
the books rest as well as his reasons for undertaking this
project.
GENEALOGY (ÆTTVÍSI)
Guðjón Friðriksson: The Reykjavík „Noblesse
d’Robe“. (Embættismannaaðall í Reykjavík)
An examination of the family links between the members of
the upper class in Reykjavík in 1870 and 1910.
Helgi Skúli Kjartansson
An lcelandic Klondike. (Klondike íslands).
A note on last year’s genealogy article.
Guðmundur J. Guðmundsson
Lustful clergy. (Klerkar í klípu).
The article examines the chastity of the lcelandic clergy in
the middle ages. The author shows how the clergy appears
not to have obeyed the rules and regulations set by the higher
authorities both in Rome and Norway, but that their behaviour
was for the most on the whole tolerated. It was only when
there were other breaches that the chastity of the priest in
question was taken into consideration, and such offences
added to the other offences, to increase the overall impact.
Guðmundur Hálfdanarson
Freedom does not mean laissez-faire. (Frelsi er
ekki sama og frjálshyggja).
The article examines whether the push for economic
independence and the freedom of employment in lceland in
the 19th century can be viewed as a product of laissez-faire
policy. The author comes to the conclusion that this was not
the case. He claims that lcelandic MPs and leading farmers
were in fact not interested in complete freedom, but rather in
a society that took interest in the social well-being of its
citizens, even if that meant deciding for them what was for
their own good.
Halldór Bjarnason
Big business and war profits. (Stórfyrirtæki og
stríðsgróði).
The author examines changes in the composition of trade
and business in Reykjavík from 1940-1952. Drawing on tax
returns as a major source, he shows how fisheries and the
fish industry gave way to various service industries and
entertainment establishments as the main source of revenue
for the city of Reykjavík.
INTERVIEW
“Societies that don’t care for their history are blind
and without memory". („Þjóðfélög sem ekki hirða
um sögu sína eru minnislaus og blind.“)
An interview with the French Historian Jacques Le Goff
Matthew James Driscoll
The cloak of chastity. (Skikkja skírlífisins).
The author examines how a 12th century French fabliau
was translated into a prose romance in Norway in the 13th
century and then again into verse in lceland in the 15th
century, showing how the tale of a chastity-testing mantel,
while remaining essentially the same, had a different meaning
and played a different role in these three very different
societies.
Már Jónsson
Paternity and oaths in 17th century lceland.
(Barnsfeðranir og eiðatökur á 17.öld).
The author examines why and how unmarried women in
17th century lceland had to name fathers for their children and
how the men in question could forswear these children.
POINT OF VIEW (SJÓNARHÓLL)
Gunnar Kristjánsson: Leaving the nest. (Flogið úr
hreiðri).
Here the Rev. Gunnar Kristjánsson expresses his views on
the future of lcelanders and how only by understanding the
history of one’s nation one can plan for the future in a sensible
way and not be at the mercy of various “experts", many of
whom don’t feel that they are responsible for planning a better
future.
VISUAL HISTORY (SJÓN OG SAGA)
Sumarliði ísleifsson: One picture’s worth a thous-
and words. (Mynd: 1000 orða ígildi).
The author describes a video film he is making about the
farming society of 19th century lceland. He only uses still
photographs, yet produces a moving picture.
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