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.

This cultural and environmental history sweeps across the dramatic North Atlantic landscape, exploring its unusual geology, saga narratives, language, culture, and politics and analyzing its emergence as a distinctive and symbolic part of Europe. The book closes with a discussion of Iceland's modern whaling practices and its recent financial collapse.

An island is a world out of time and place, separated by literal and figurative oceans, where the confines of reality are tenuous and magic may be possible. Iceland—with its relative isolation, enchanting mythologies, creative people, and the otherworldly wild beauty of its glaciers, geysers, volcanos, and fjords—encompases this special magic in the minds of many, including writer Kurt Caswell. Vividly illustrated by Julia Oldham, Iceland Summer recounts Caswell’s journey traversing the country by foot and bus accompanied by his lifelong friend Scott. The pair set out from Reykjavík and travel clockwise along the Ring Road, stopping along the way for backcountry walking trips. Caswell immerses himself in the natural beauty and charming eccentricities of the tiny island nation. With his drinking and hiking buddy by his side, and fueled by a steady diet of Brennivín (fermented grain mash) and pylsur (Icelandic hot dogs), he explores the Hornstrandir peninsula, walks to the famed Dettifoss waterfall, waits for a glimpse of the lake monster Lagarfljótsormurinn at Egilsstaðir, visits the world’s only penis museum, and pays homage to centuries of Icelandic literary tradition at the Árni Magnússon Institute. Writing in the tradition of other pairs who have traveled in Iceland, like W. G. Collingwood and Jón Stefánsson, and W. H. Auden and Louis MacNeice, Caswell meditates on the value of wild places in the modern world, travel as both pastime and occupation, the nature of friendship, and walking, food, and literature. Scott is the Sancho Panza to Caswell’s Don Quixote, offering a ribald humor that grounds Caswell’s flights into the romantic. The two travel well together and together arrive at the understanding that what anchors them both is their lifelong friendship.

A guide to Iceland's rich literary heritage - from Norse witches to contemporary crime fiction. Iceland is an island of multiple identities in constant flux, just like its unruly, volcanic ground. Shaped as much by storytelling as it is by tectonic activity, Iceland's literary heritage is one of Europe's richest – and most ancient. Iceland: A Literary Guide for Travellers takes the literary-minded traveller (either in person or in an armchair) on a vivid and illuminating journey. It follows Iceland's many stories that have been passed down through the generations: told and retold by sheep farmers, psalm-writers, travelling reverends, independence fighters, scholars and hedonists. From the captivating Norse myths, which continue to inspire contemporary authors such as A. S. Byatt, to gripping Scandinavian crime fiction and Game of Thrones, via Jules Verne and J. R. R. Tolkien, W. H. Auden and Seamus Heaney, Iceland's influence has spread far beyond its frozen shores. Peopled by Norse maidens and witches, elves and outlaws, and taking the reader and traveller from Reykjavik and the Bay of Smokes to the remote Westfjords and desolate highlands, this is an enthralling portrait of the Land of Ice and Fire.

The Norse men and women who sailed to Iceland brought stories with them-stories of their lives and their ancestors, passed down for centuries, going back in time to great Vikings, legendary heroes, and even the ancient gods and goddesses. A new wave of stories entered with Christianity-stories of exotic lands and beasts, of saints and holy men facing demons and monsters. A third wave of stories came to Iceland via Norway, whose king had commissioned translations of tales of chivalry-of the courtly love of gallant knights and beautiful ladies. And all of these blended together in Iceland, creating swashbuckling sagas unlike any other medieval literature. This book presents eleven sagas and six shorter texts tracing the growth of these sagas of adventure, from Norse legends of King Half and Asmund Champion's Bane, to the life of the Apostle Bartholomew, to tales of Parceval and King Arthur, to the sagas of heroes like Vilmund the Outsider and Yngvar the Far-Traveler and Samson the Fair.

Osman, the founder of the Ottoman Empire, had a dream in which a tree sprouted from his navel. As the tree grew, its shade covered the earth; as Osman’s empire grew, it, too, covered the earth. This is the most widely accepted foundation myth of the longest-lasting empire in the history of Islam, and offers a telling clue to its unique legacy. Underlying every aspect of the Ottoman Empire’s epic history—from its founding around 1300 to its end in the twentieth century—is its successful management of natural resources. Under Osman’s Tree analyzes this rich environmental history to understand the most remarkable qualities of the Ottoman Empire—its longevity, politics, economy, and society. The early modern Middle East was the world’s most crucial zone of connection and interaction. Accordingly, the Ottoman Empire’s many varied environments affected and were affected by global trade, climate, and disease. From down in the mud of Egypt’s canals to up in the treetops of Anatolia, Alan Mikhail tackles major aspects of the Middle East’s environmental history: natural resource management, climate, human and animal labor, energy, water control, disease, and politics. He also points to some of the ways in which the region’s dominant religious tradition, Islam, has understood and related to the natural world. Marrying environmental and Ottoman history, Under Osman’s Tree offers a bold new interpretation of the past five hundred years of Middle Eastern history.

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.

Comparative philology was one of the most prolific fields of knowledge in the humanities during the 19th century. Based on the discovery of the Indo-European language family, it seemed to admit the reconstruction of a common history of European languages, and even mythologies, literatures, and people. However, it also represented a way to establish geographies of belonging and difference in the context of 19th century nation-building and identity politics. In spite of a widely acknowledged consensus about the principles and methods of comparative philology, the results depended on local conditions and practices. If Scandinavians were considered to be Germanic or not, for example, was up to identity politics that differed in Berlin, Strasbourg, Copenhagen and Paris. The contributors here elaborate these dynamics through analyses of the changing and conflicting versions of imaginative geographies that the actors of comparative philology evoked by using Scandinavian literatures and cultures. They also show how these seemingly delocalized scientific models depended on ever-different local needs and practices. Through this, the book represents the first distinctly transnational dynamic geography and history of the philological knowledge of the North – not only as a history of a scientific discourse, but also as a result of doing and performing scientific work.

During the past three decades, Iceland has attained a strong presence in the world through its musical culture, with images of the nation being packaged and shipped out in melodies, harmonies, and rhythms. What 'Iceland' means for people, both at home and abroad, is conditioned by music and its ability to animate notions of nature and nationality. In six chapters that range from discussions of indie rock ballads to 'Nordic noir' television music, Dissonant Landscapes describes the capacity of musical expression to transform ideas about nature and nationality on the northern edges of Europe.