With a radically changing world, cultural identity and images have emerged as one of the most challenging issues in the social and cultural sciences. These changes provide an occasion for a thorough reexamination of cultural, historical, political, and economic aspects of society. The INOR (Iceland and Images of the North) group is an interdisciplinary group of Icelandic and non-Icelandic scholars whose recent research on contemporary and historical images of Iceland and the North seeks to analyze the forms these images assume, as well as their function and dynamics. The 21 articles in this book allow readers to seize the variety and complexity of the issues related to images of Iceland.

Imaginaire | Nord With a radically changing world, cultural identity and images have emerged as one of the most challenging issues in the social and cultural sciences. These changes provide an occasion for a thorough reexamination of cultural, historical, political, and economic aspects of society. The INOR (Iceland and Images of the North) group is an interdisciplinary group of Icelandic and non-Icelandic scholars whose recent research on contemporary and historical images of Iceland and the North seeks to analyze the forms these images assume, as well as their function and dynamics. The twenty-one articles in this book allow readers to seize the variety and complexity of the issues related to images of Iceland. The research project is led by Sumarliði Ísleifsson of the Reykjavík Academy, Iceland, where most of the participants are based, and Daniel Chartier of the International Laboratory for the Comparative Multidisciplinary Study of Representations of the North, based at the Université du Québec à Montréal

"Faces of the North established Ragnar 'RAX' Axelsson as one of the leading documentary photographers of our time. This long-awaited second edition--the result of more than 30 years of documenting the lives of hunters, fishermen, and farmers in the North--doubles the original selection with previously unpublished photographs from RAX's collection, alongside personal accounts of the journeys which led to their creation. The result is a rare testament to cultures across Iceland, the Faroes, and Greenland; to worlds and ways of life that, if not for the photographs, have all but vanished. Raised on an isolated farm in southern Iceland, Ragnar Axelsson (born 1958) became captivated early on by the brutal beauty of the North Atlantic and the delicate interactions between its inhabitants and their environment. Born of that fascination, Faces of the North, first published in 2004, established Axelsson as one of the leading documentary photographers of our time. Long out of print, Faces of the North is now republished in an edition that echoes the format of Axelsson's latest publications, Last Days of the Arctic and Behind the Mountains. In the 2004 edition of Faces of the North, Axelsson collected the images of farmers, hunters and fishermen in the Arctic and the Atlantic that he became best known for; in the 2016 edition, his oeuvre comes full circle, as he looks back upon the foundation of his photographic passion and career."--Publisher's website.

This interdisciplinary volume seeks to examine and explore the various issues surrounding image construction, identity making and representations of the North, as well as the interconnectedness between those issues. The aim is to elucidate the multiple aspects of the idea of the North, both as a mythological space and a discursive system created and shaped by cultures outside the North as well as from within. The objective of the research project Iceland and Images of the North is to elucidate several aspects of images of the North and to explore their functions in the present, focusing especially on Iceland. What effect have Iceland and its people had on images of the North, and how do those images influence the Icelanders and other nations? The project will be a cooperative, interdisciplinary undertaking by researchers in the humanities and social sciences.

This interdisciplinary volume seeks to examine and explore the various issues surrounding image construction, identity making and representations of the North, as well as the interconnectedness between those issues. The aim is to elucidate the multiple aspects of the idea of the North, both as a mythological space and a discursive system created and shaped by cultures outside the North as well as from within. The objective of the research project Iceland and Images of the North is to elucidate several aspects of images of the North and to explore their functions in the present, focusing especially on Iceland. What effect have Iceland and its people had on images of the North, and how do those images influence the Icelanders and other nations? The project will be a cooperative, interdisciplinary undertaking by researchers in the humanities and social sciences.

In Halld r Laxness' novel Under the Glacier, the protagonist travels from Reykjav k to the mythical volcano at the Sn fellsj kull glacier, a place in whose shadow "words cease to have even the slightest meaning." This could be a leitmotif for J rgen Wettke's Iceland images. Whereas language can hardly convey the majesty and beauty of a landscape, the photographs in Elements of Iceland speak volumes in their eloquence. Wettke's photographic journey across the volcanic island is guided by nature's elemental forces: he shows us the diverse forms of fire, water, air, light, and earth. Whether the structures of lava flows, sculptural ice formations, or nature's artworks, aurora borealis, lighting up the sky--J rgen Wettke's photography brings us closer to these wonders of nature. We discover Iceland in an entirely new and breathtaking way

Iceland, Greenland, Northern Norway, and the Faroe Islands lie on the edges of Western Europe, in an area long portrayed by travelers as remote and exotic - its nature harsh, its people reclusive. Since the middle of the eighteenth century, however, this marginalized region has gradually become part of modern Europe, a transformation that is narrated in Karen Oslund’s Iceland Imagined. This cultural and environmental history sweeps across the dramatic North Atlantic landscape, exploring its unusual geography, saga narratives, language, culture, and politics, and analyzing its emergence as a distinctive and symbolic part of Europe. The earliest visions of a wild frontier, filled with dangerous and unpredictable inhabitants, eventually gave way to images of beautiful, well-managed lands, inhabited by simple but virtuous people living close to nature. This transformation was accomplished by state-sponsored natural histories of Iceland which explained that the monsters described in medieval and Renaissance travel accounts did not really exist, and by artists who painted the Icelandic landscapes to reflect their fertile and regulated qualities. Literary scholars and linguists who came to Iceland and Greenland in the nineteenth century related the stories and the languages of the “wild North” to those of their home countries.