Weird Fictions Research Group invites you to a talk by
Patrycja Pichnicka-Trivedi
(University of Warsaw)

Customary Strangers: Double Mirroring of Otherness in Eastern-Western Vampire Narratives

This event is a part of the Monsters ReVisited series organized by the Weird Fictions Research Group members and their invited guests.

Monday, March 29, 2021
at 5:00 p.m.

You can get 2 OZN points for participating in this event.


This is an online event. To attend, click the button below or enter into your browser, and join the meeting.


The Vampire serves as a perfect embodiment of the Other of all sorts: racial, sexual, ethnic, gender and class. Vampire Narrative shows an immanent and ever-present rule organizing society, the division into ‘us’ and ‘the Other’. The main objective of my research is to provide a comparative description of Vampire Narratives as collective fantasies about the radical otherness. I am examining flexible, but ever-present structures of the Vampire Narrative as models of the (late) modern socio-cultural relations, attitudes, ideologies and ways of organizing.

The most important part, and simultaneously the one usually neglected in analysis, is the structure of the narrative. I will thus use structural analysis as main methodology, supported by grounded theory with elements of feminist studies, Marxist studies, intersectional theories and others.
Examining Western Vampire Narrative (anglo- and francophone) in contrast and in the reflection of the non-Western narrative (on the example of Russian and Polish cases), I shall examine the process of building of global Otherness: an archipelago of gradual difference. In the non-Western countries Vampire narratives might be used to imitate the West, as a sign of (proto)colonial aspiration, as well as the embodiments of the discourse of resistance towards the sovereign global Western domination. Both imitation and resistance can be used to create non-Western own model of sovereignty towards their own Others, or to include those Others. National resistance toward global Western domination can oppress local marginalized groups, and reversely: emancipation of locally marginalized groups can be tangled in (proto)colonial imitation of the Western ways. Finally, resistance or imitation coexist in non-Western societies and depend on the ideological orientation.

The case of Eastern European Vampire Narratives is especially interesting for multiple reasons. Vampire figure was born in Slavian folklore (as upiór, upyr, vurdulak etc.). The figure was taken but the Western culture and gave birth to Western modern Narrative, expressing Western social views, particularly putting Eastern Europe as a domain of perfect Otherness. Eastern Europe, wanting to create modern fiction Vampire stories has had to (re)adapt the Vampire (indeed “vampire”, wampir, vampir etc. not upiór or vurdulak any more) Narrative from the West. The fact that this Narrative primarily served the purpose of othering the East (including Eastern Europe) made this adaptation doubly fascinating matter of studies, as a tool with which Eastern Europe tries to position itself in the global world, towards the West, as a representation of how the Eastern Europe sees itself, sees the West and sees itself as being seen by the West.


Patrycja Pichnicka-Trivedi is a graduate of Kolegium MISH, History of Art and Cultural Studies. Master’s Degree with Summa Cum Laude. Published in “Kultura popularna”, “Praktyka teoretyczna”, “Polish Journal of Political Science” and monographies. Participated in national and international conferences. Chosen as finalist in prof. Jerzy Buzek competition for Scientific Debut 2019. Writing thesis on the representations of Otherness in popular culture. Beside popular culture she is interested in intersectional studies, biomedical anthropology, posthuman studies and postcolonial studies.


Changes in Dr. Gajda-Łaszewska’s office hours schedule

June 26, 2024

Dr. Gajda-Łaszewska will be available in the office on Tuesday (2 July 2024), 1:30-3:30 pm and online (ZOOM) on Thursday (4 July 2024), 12:00-2:00 pm.

June 17-18: Polish-language conference „Jak uczyć o płci i seksualności? Interdyscyplinarność, instytucjonalizacja, zaangażowanie społeczne.”

June 17, 2024

Konferencja „Jak uczyć o płci i seksualności? Interdyscyplinarność, instytucjonalizacja, zaangażowanie społeczne” ma na celu stworzenie przestrzeni, w której mogą się spotkać społeczności akademickie, aktywistyczne, artystyczne, eksperckie tworzące i przekazujące wiedzę o płci i seksualności. Jaka mogłaby być dziś edukacja seksualna? Gdzie jest miejsce na feministyczny i queerowy aktywizm w akademii? Czy słowem kluczowym jest „równość” czy „nierówności”? Czy potrafimy wspólnie wyobrazić sobie studia magisterskie o płci i seksualności w Polsce? Zapraszamy na 6 paneli dyskusyjnych.

Year 2023/2024

June 11: Biosocial Groups, Biosocial Criminals – the Body and Medicine as Organizing Agents

June 11, 2024

Weird Fictions Research Group cordially invites you to the very last event this semester! The lecture will show how medical anthropology and cultural studies can shed light on medicine-related social and cultural phenomena.

Year 2023/2024

June 6: Marketing Barbie’s “Curvy New Body”: Mattel’s Fashionistas Line and its Legacy Brand Politics

June 6, 2024

We would like to invite you to an upcoming lecture given by a Fulbright Scholar, Doctor Rebecca C. Hains! During this lecture, you will have the pleasure of listening to Dr. Hains’s exploration of Barbie from the feminist perspective, the history of Barbie’s body type, and the feminist critique around it. The talk will also discuss the PR surrounding the “Curvy” Barbies’ release, a topic that has sparked many intense debates.

Year 2023/2024

June 5: Dissecting Theater: Medical Horror on Stage

June 5, 2024

Weird Fictions Research Group cordially invites you to a penultimate event this semester! We will discuss the ways in which medicine and theater are correlated and how medical horror stories can thrive on stage. We will explore the universal nature of theater by analyzing the sources of fear in Starkid’s The Guy Who Didn’t Like Musicals as well.