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  • 1.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    A House Divided: Domestic Discourse in Elizabeth Stoddard's "Two Men"1999Conference paper (Refereed)
  • 2.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    A House Divided: The Civil War in Elizabeth Stoddard's "Two Men"1999Conference paper (Refereed)
  • 3.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    A House Divided: The Civil War in Elizabeth Stoddard's TwoMen2001In: American Studies at the Millenium: Ethnicity, Culture and, Literature_. Red. Lena Koski. University of Turku, 115-23, Turku, 2001Chapter in book (Other academic)
  • 4.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    A World-Wide Web of Vampires: Jewelle Gomez's _The Gilda Stories_ and Octavia Butler's _Fledgling_2009Conference paper (Refereed)
  • 5.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Language, Literature and Intercultural Studies (from 2013).
    Adapting Ideologies: Stephen King’s Kingdom Hospital and Matt Reeves’s Let Me In2018Conference paper (Refereed)
    Abstract [en]

    This paper will draw on Linda Hutcheon’s account in A Theory of Adaptation (2013) of “transculturating” and “transcultural adaptations” in examining how two American adaptations of Nordic Gothic texts – Stephen King’s TV series Kingdom Hospital (2004) and Matt Reeves’s movie Let Me In (2010) – change what Hutcheon calls the “ideological valences” of the adapted texts: Lars von Trier’s Danish TV series Riget (1994, 1997) and John Ajvide Lindqvist’s Swedish novel Låt den rätte komma in (2004) and its subsequent 2008 Swedish film adaptation. All of these narratives introduce ghosts and/or vampires into actually existing and, to a large extent, realistically depicted late twentieth- or early twenty-first-century Scandinavian and American environments. However, I will argue that there are significant ideological differences between the Nordic and the American texts, which have an impact on both the aesthetics and the effects of these Gothic or horror narratives.

  • 6.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Language, Literature and Intercultural Studies (from 2013).
    Adapting Space/Spaces of Adaptation: Stephen King’s Kingdom Hospital (2004)2017Conference paper (Refereed)
    Abstract [en]

    Lars von Trier’s TV series Riget (The Kingdom, 1994, 1997) engages with space and geography in various ways. The hospital (Rigshospitalet) in Copenhagen provides a labyrinthine and multi-layered setting equivalent to the castle or the haunted house in earlier Gothic narratives. It is a liminal space that both registers clashes and serves as a conduit between the past and the present, between rationality and the supernatural. Riget also highlights tensions cast as national between the Danish hospital staff and a Swedish physician who perceives his Danish colleagues as irrational and unscientific and who longs to be back in Sweden.

     

    This paper will draw on Linda Hutcheon’s account in A Theory of Adaptation (2013) of “transculturating” and “transcultural adaptations” in examining how the hospital and geographical tensions are portrayed in Stephen King’s Kingdom Hospital (ABC, 2004), an American TV series inspired by and based on Riget. In King’s adaptation the (fictive) hospital is placed in Lewistown, Maine, and the physician at odds with the rest of the hospital staff is from Boston and not from another country. This change, I would argue, introduces a different kind of geographical tension. Apart from discussing this tension and contrasting it to the national one in Riget, I will compare the depiction and function of the hospital in the American TV series to that of the Danish one.

  • 7.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    Alan Duffs och Alan Maleys Literature samt John McRaes and Luisa Pantaleonis Chapter & Verse1992In: Moderna Språk 86.2 (1992): 187-89 (recension)Article, book review (Refereed)
  • 8.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Language, Literature and Intercultural Studies.
    Between Memory and History: The Nineteenth Century in Jewelle Gomez’s Vampire Novel The Gilda Stories and the TV Series True Blood 2010In: American Studies in Scandinavia, ISSN 0044-8060, Vol. 42, no 2, p. 57-73Article in journal (Refereed)
    Abstract [en]

    This article examines two American vampire narratives that depict the perspective and memories of a main character who is turned into a vampire in the US in the nineteenth century: Jewelle Gomez’s novel The Gilda Stories (1991), and the first season of Alan Ball’s popular TV series True Blood (2008). In both narratives, the relationship between the past and the present, embodied by the main vampire character, is of utmost importance, but the two narratives use vampire conventions as well as representations of and references to the nineteenth century in different ways that comment on, revise, or reinscribe generic and socio-historical assumptions about race, gender, class, and sexuality.

  • 9.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    Children's Literature, Nation Building, and Dissent: The Case of Elizabeth Stoddard's _Lolly Dinks's Doings_2008Conference paper (Refereed)
  • 10.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Language, Literature and Intercultural Studies (from 2013).
    Chronotopes in Harriet Jacobs's Incidents in the Life of a Slave Girl2016In: African American Review, ISSN 1062-4783, E-ISSN 1945-6182, Vol. 49, no 1, p. 19-34Article in journal (Refereed)
    Abstract [en]

    This article employs Bakhtin’s concept of the chronotope to examine the interrelatedness of different places, temporalities, characterization, and values in Harriet Jacobs’s Incidents in the Life of a Slave Girl. Focusing on the complex interactions of four chronotopes—Dr. Flint’s house, the provincial town, the grandmother’s house, and the garret—the article yields a deeper understanding of how Jacobs critiques antebellum American society and, at the same time, constructs the grandmother’s house as chronotope as a site of negotiation with her most obvious historical addressee: the Northern white middle-class woman.

  • 11.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Language, Literature and Intercultural Studies.
    Dealing with the Uncanny?: Cultural Adaptation in Matt Reeves’s Vampire Movie Let Me In2016In: American Studies in Scandinavia, ISSN 0044-8060, Vol. 48, no 1, p. 25-41Article in journal (Refereed)
    Abstract [en]

    The aim of this article is to examine cultural adaptation and uncanny potential in Matt Reeves’s vampire movie Let Me In (2010), which is an adaptation of John Ajvide Lindqvist’s vampire novel Låt den rätte komma in (2004) – in English translation, Let the Right One In (2007) – and the Swedish film adaptation (2008), for which Lindqvist wrote the screenplay. The article draws on Linda Hutcheon’s theoretical account of “transculturating” and “transcultural adaptations” as well as on different discussions of the uncanny. My analysis establishes that both films evoke the uncanny by introducing horror into the familiar and ordinary as represented by the geographical setting; however, it also shows that there are significant ideological differences between the American film and the Swedish film and novel concerning gender and sexuality, particularly related to the two central figures of the boy and the vampire, but also in relationships that can be regarded as part of the general social and cultural setting. In short, gender-bending and sexual ambiguities, in addition to the uncanny aspects of the human protagonist, are omitted in the American version. In these respects, Reeves’s adaptation is less complex, less uncanny, and much more ideologically conservative than the Swedish versions.

  • 12.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    Encountering the Other?: Adaptation and Cultural Translation in Matt Reeves's Vampire Movie Let Me In2012Conference paper (Refereed)
    Abstract [en]

    The figure of the vampire is a peculiarly transnational phenomenon as it moves, sometimes with supernatural speed, between different countries, parts of the world, and media. One intriguing recent example is the English translation and film adaptations of John Ajvide Lindqvist’s Swedish bestselling novel Låt den rätte komma in [Let the Right One In] (2004). It was translated into English in 2007, and Thomas Alfredson directed a Swedish film based on the novel – with the screenplay written by Lindqvist – that was first screened in 2008. This film reached an international audience to great acclaim. In 2010, Matt Reeves’s American remake of the film was released under the title Let Me In. Reeves’s film is set in Los Alamos in a 1980s US instead of in Swedish Blackeberg, a Stockholm suburb, in the same period. In this paper, I want to examine how the cultural setting is translated from the Swedish context to the American one and compare how the 1980s is represented in the Swedish and the American films. Moreover, I will argue that there are some significant changes, particularly regarding gender and sex, in the central figure of the vampire as it is adapted from novel to film, and from Swedish film to American film. I will relate both the cultural representation of the setting and the changes in the figure of the vampire to the “encounter with the other,” to the familiar and the unfamiliar. To what extent does the American film adaptation retain uncanny and horror elements that can be found in the Swedish adaptation and/or the novel? What could be the reasons for omissions and changes?

  • 13.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Language, Literature and Intercultural Studies.
    Fairy Tales by Three American Nineteenth-Century Writers: Richard Henry Stoddard, Horace E. Scudder, and Elizabeth Stoddard2013Conference paper (Refereed)
    Abstract [en]

    Fairy Tales by Three American Nineteenth-Century Writers: Richard Henry Stoddard, Horace E. Scudder, and Elizabeth Stoddard

    In the antebellum US, the predominant modes in American children’s literature were didacticism and moralism, and although translations of the Grimms’s and Hans Christian Andersen’s fairy tales were available, many American authors and publishers regarded fairy tales as unsuitable for the modern needs of a new nation. Nevertheless, there were American writers who, inspired by Andersen’s tales, actually fought for the fairies and published fairy tales in the 1850s, 60s, and 70s: the poet and editor Richard Henry Stoddard published Adventures in Fairyland in 1853; the man of letters and editor Horace E. Scudder Seven Little People and Their Friends in 1862, Dream Children in 1864, and Stories from My Attic in 1869; and the short-story writer and novelist Elizabeth Stoddard Lolly Dinks’s Doings in 1874. It could indeed be argued that these writers were instrumental in bringing about as well as recording important shifts in attitude in and towards American children’s literature during these three decades. Although, or rather precisely because, their literary exploits reached far beyond children’s literature, they helped establish it as a significant literary realm: after the Civil War, American children’s literature was considered worthy of the imaginative efforts of the best American writers, of reviews in prestigious journals, and of publication in quality periodicals. In this paper, I will explore a few of the nineteenth-century American fairy tales in terms of didacticism, imagination, and nation building.

  • 14.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Language, Literature and Intercultural Studies.
    Familiarizing the Uncanny: Matt Reeves’s Vampire Movie Let Me In2014Conference paper (Other academic)
    Abstract [en]

    Familiarizing the Uncanny: Matt Reeves’s Vampire Movie Let Me In

    The vampire is a peculiarly transnational phenomenon as it moves, sometimes with supernatural speed, between different countries, parts of the world, and media. One intriguing recent example is the film adaptations of John Ajvide Lindqvist’s Swedish bestselling novel Låt den rätte komma in [Let the Right One In] (2004). A Swedish film based on the novel – directed by Thomas Alfredson with the screenplay written by Lindqvist – was first screened in 2008. In 2010, Matt Reeves’s American remake of the film, Let Me In, was released. This film is set in Los Alamos in a 1980s US instead of in Swedish Blackeberg, a Stockholm suburb, in the same period. In this paper, I will relate both the cultural representation of the setting and the changes in the figure of the vampire to the uncanny, to the familiar and the unfamiliar. I am interested in to what extent the American film adaptation retains, changes, or omits uncanny elements that can be found in the Swedish adaptation and/or the novel. There are some significant changes and omissions that, I suggest, may indicate a lower tolerance of uncanny elements in the American film than in its Swedish counterpart.

  • 15.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Language, Literature and Intercultural Studies.
    Framing the Fairy Tale: Nation Building and Imagination in Hawthorne's and the Stoddard's Books for Children2014Conference paper (Refereed)
    Abstract [en]

    Framing the Fairy Tale: Nation-Building and Imagination in Hawthorne’s and the Stoddards’ Nineteenth-Century Books for Children

     

    In the antebellum U.S., the predominant modes in American children’s literature were didacticism and moralism, and although translations of the Grimms’s and Hans Christian Andersen’s fairy tales were available, many American authors and publishers regarded fairy tales as unsuitable for the modern needs of a new nation. Nevertheless, there were American writers who, inspired by Andersen’s tales, published fairy tales in the 1850s, 60s, and 70s. These writers were instrumental in bringing about as well as recording important shifts in attitude in and towards American children’s literature during these three decades. Although, or rather precisely because, their literary reputations reached far beyond children’s literature, they helped establish it as a significant literary realm: after the Civil War, American children’s literature was considered worthy of the imaginative efforts of the best American writers, of reviews in prestigious journals, and of publication in quality periodicals.

     

    In this paper, I will focus on the poet and editor Richard Henry Stoddard’s Adventures in Fairyland (1853) and the short-story writer and novelist Elizabeth Stoddard’s Lolly Dinks’s Doings (1874). Both of these writers use a domestic frame for their fairy tales, which I will argue has to do with the nation-building concerns of these children’s books. I will discuss the Stoddards’ frames in relation to Nathaniel Hawthorne’s in his popular children’s book with retellings of Greek myths: A Wonder-Book for Girls and Boys (1852).

  • 16.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Language, Literature and Intercultural Studies.
    Framing the Fairy Tale: Nation-Building and Imagination in Hawthorne’s and the Stoddards’ Nineteenth-Century Books for Children2014Conference paper (Other academic)
    Abstract [en]

    Framing the Fairy Tale: Nation-Building and Imagination in Hawthorne’s and the Stoddards’ Nineteenth-Century Books for Children

     

    In the antebellum U.S., the predominant modes in American children’s literature were didacticism and moralism, and although translations of the Grimms’s and Hans Christian Andersen’s fairy tales were available, many American authors and publishers regarded fairy tales as unsuitable for the modern needs of a new nation. Nevertheless, there were American writers who, inspired by Andersen’s tales, published fairy tales in the 1850s, 60s, and 70s. These writers were instrumental in bringing about as well as recording important shifts in attitude in and towards American children’s literature during these three decades. Although, or rather precisely because, their literary reputations reached far beyond children’s literature, they helped establish it as a significant literary realm: after the Civil War, American children’s literature was considered worthy of the imaginative efforts of the best American writers, of reviews in prestigious journals, and of publication in quality periodicals.

     

    In this paper, I will begin with a brief discussion of Hawthorne’s popular Wonder-Book for Girls and Boys (1852), which is one of the two books in which he retells Greek myths as stories for children – or, if you will, as fairy tales. Then I will focus on Richard Henry Stoddard’s Adventures in Fairyland (1853) and the short-story writer and novelist Elizabeth Stoddard’s Lolly Dinks’s Doings (1874). All of these writers use a domestic frame for their fairy tales and myths; these frames, I will argue, address nation-building concerns as well as the question about the place of imagination and play in nineteenth-century American children’s books.

  • 17.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Language, Literature and Intercultural Studies (from 2013).
    From Sunnydale to Engelsfors and Back Again?: "Translating" Buffy and My So-Called Life across Decades, Media and National Borders2019Conference paper (Refereed)
    Abstract [en]

    On the publication of the first novel in the Swedish Engelsfors trilogy (2011-2013), which is about seven small-town teenage witches who have to stop the apocalypse, the two authors expressed the love they share for the ground-breaking American TV series Buffy the Vampire Slayer (1997-2003) and My So Called Life (1994-1995). These two series communicated in significant ways with Sara Elfgren and Mats Strandberg when they were teenagers in the 1990s. This paper will focus on how elements from the two American series have been adapted and translated into particular Swedish circumstances in the Engelsfors trilogy. Examining the transformations that such transcultural translation entails, I argue, adds to the understanding of the long-term influences of American productions on subsequent productions in other countries and media. Moreover, the Engelsfors trilogy has been translated into twenty-five different languages including English and may thus in turn have an impact on English-language cultural productions.

  • 18.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    Genre as Cultural Memory in Octavia Butler's Orphan Narratives2009Conference paper (Refereed)
  • 19.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    Genre as Cultural Memory in Octavia Butler's _Survivor_2009Conference paper (Refereed)
  • 20.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Language, Literature and Intercultural Studies (from 2013).
    Gothic Transcultural Adaptation: Stephen King’s TV Series Kingdom Hospital2017Conference paper (Refereed)
    Abstract [en]

    TV series, movies, and literature. American horror and Gothic have had a large impact on Nordic productions, but at the same time Nordic Gothic – as well as Nordic Noir – has become extremely popular in the US. One example of the latter is Stephen King’s TV series Kingdom Hospital (2004), which is based on Lars von Trier’s Danish TV series Riget (1994, 1997). In her paper, Troy will employ Linda Hutcheon’s notion of transcultural adaptation in order to analyze some of the differences between King’s and von Trier’s TV series in regard to, for example, Gothic humor; the representation of the history of the setting, social institutions, the provincial vs. the urban, gender and class hierarchies; and media-specific features that guide the viewers’ perception, such as the title sequences and musical themes that frame the episodes as well as the special effects, camera angles, and the color and quality of the footage.

  • 21.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    Hans Christian Andersen and Nineteenth-Century American Writers of Fairy Tales2011Conference paper (Refereed)
  • 22.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    Images of Nineteenth-Century America in Recent American Vampire Narratives2010Conference paper (Refereed)
  • 23.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    In the First Person and in the House: The House Chronotope in Four Works by American Women Writers1999Doctoral thesis, monograph (Other academic)
  • 24.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Language, Literature and Intercultural Studies (from 2013).
    Juliette Wells, Reading Austen in America2018In: American Studies in Scandinavia, ISSN 0044-8060, Vol. 50, no 2, p. 125-128Article, book review (Other academic)
  • 25.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Language, Literature and Intercultural Studies (from 2013).
    Let the Peripatetic Vampire Child In: Gothic Permutations2016Conference paper (Refereed)
    Abstract [en]

    The figure of the vampire is a peculiarly transnational phenomenon as it moves, sometimes with supernatural speed, between different countries, parts of the world, and media. As the title indicates, my point of departure for discussing the permutations and functions of the vampire child in different settings will be John Ajvide Lindqvist’s bestselling Swedish vampire novel Låt den rätte komma in [Let the Right One In] (2004), which was translated into English in 2007. The Swedish film adaptation of the novel, directed by Tomas Alfredson and with the screenplay written by Lindqvist, was first screened in 2008; it reached an international as well as national audience to great acclaim. In 2010, Matt Reeves’s American film adaptation, or remake, was released under the title Let Me In. In my presentation, I will not only comment on the Swedish vampire child Eli’s movement between different media and translation into the vampire girl Abby in the American film, but also suggest that Eli might have a forerunner in Thai-American S. P. Somtow’s eternally twelve-year-old vampire Timmy in Vampire Junction (1984), which has been considered a splatterpunk novel.

  • 26.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    Loss of words: Octavia Butler's 'Speech Sounds'2005In: The Power of Words: Studies in Honor of Moira Linnarud / [ed] Solveig Granath, June Miliander, Elisabeth Wennö, Karlstad: Karlstad University Press , 2005, p. 73-80Chapter in book (Other academic)
  • 27.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    make up something just like real life; only it must be all true fairy life: Metafiction, Storytelling and the Role of the Addressee in Elizabeth Stoddard's _Lolly Dinks's Doings_2001Conference paper (Refereed)
  • 28.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    Making Home: Orphanhood and Agency in Contemporary American Novels2010Conference paper (Refereed)
  • 29.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    Matrix and Metramorphosis: Subjectivity, Memory and Trauma in Pat Barker's _Union Street_2004Conference paper (Other (popular science, discussion, etc.))
  • 30.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    Matrix, Memory, and 'Wit(h)nessing Trauma' in Pat Barker's _Union Street_2004Conference paper (Refereed)
  • 31.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    Matrix, Metramorphosis and Memory in _Union Street_, _Liza's England_ and _Another World_2006Conference paper (Refereed)
  • 32.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    Matrix, Metramorphosis, and the Readymade in Union Street, Liza’s England and Another World2011In: Re-reading Pat Barker / [ed] Pat Wheeler, Newcastle upon Tyne: Cambridge Scholars Publishing, 2011, p. 1-12Chapter in book (Other academic)
  • 33.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    Memory and Familial Hauntings in Pat Barker's _Another World_2004Conference paper (Other (popular science, discussion, etc.))
  • 34.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    Memory and Literature: The Case of Pat Barker's 'Another World'2005In: Memory Work / [ed] Andreas Kitzmann, Conny Mithander, John Sundholm, Frankfurt am Main: Peter Lang , 2005, p. 85-103Chapter in book (Other academic)
  • 35.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    Metaforer som hälsotecken,2000In: Kvinnovetenskaplig Tidskrift 21.4 (2000): 86 - 90. (recension)Article, book review (Refereed)
  • 36.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    Narrative and Trauma: Kaye Gibbons's Ellen Foster and Margaret Atwood's "Death by Landscape"2006In: Berätta för att förstå: Sju essäer / [ed] Åke Bergwall, Anders Tyrberg & Elisabeth Wennö, Karlstad: Karlstad University Press, 2006, p. 125-152Chapter in book (Other academic)
  • 37.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    Negotiating Culture, Gender and Genre: Octavia Butler's "Bloodchild"2002In: Collusion and Resistance: Women Writing in English / [ed] Kerstin Shands, Huddinge: Södertörn University College , 2002, p. 200-09Chapter in book (Other academic)
  • 38.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    Negotiating Genre and Captivity in Octavia Butler's _Survivor_2010In: Callaloo, ISSN 0161-2492, Vol. 33, no 4, p. 1116-1131Article in journal (Refereed)
  • 39.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    Negotiating Genre, Gender, and Ethnicity: Octavia Butler's _Survivor_2009Conference paper (Refereed)
  • 40.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Language, Literature and Intercultural Studies (from 2013).
    Placing the Gothic in American Adaptations of Nordic Texts2018Conference paper (Refereed)
  • 41.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Language, Literature and Intercultural Studies (from 2013).
    Predator and Prey: The Vampire Child in Novels by S.P. Somtow and John Ajvide Lindqvist2017In: Edda. Nordisk tidsskrift for litteraturforskning, ISSN 0013-0818, E-ISSN 1500-1989, Vol. 104, no 2, p. 130-144Article in journal (Refereed)
    Abstract [en]

    The temporal convergence between the social and cultural preoccupation with child sexual abuse, with the pedophile as the ultimate predator, and the appearance of the child vampire as a central character in vampire fiction in the late twentieth century can be traced to genre conventions and to representations of the vampire and of the child. This article examines vampire children and child sexual abuse in three novels: S. P. Somtow’s Vampire Junction (1984) and Valentine (1992), and John Ajvide Lindqvist’s Let the Right One In (2004), and shows how they tap into contemporary sexual taboos and fears for children in order to cre- ate uncanny and Gothic effects. Highlighting that the representations of the vampire child contain a number of dichotomies, the article also relates all three novels to splatterpunk, and outlines a different trajectory for the sympathetic vampire that led to Lindqvist’s novel, which triggered the Swedish Gothic boom in the twenty-first century.

  • 42.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    Reading Hans Christian Andersen in the US: Elizabeth Stoddard's _Lolly Dinks's Doings_2008Conference paper (Refereed)
  • 43.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    Remembering the Euro-American Literary Tradition: Marilynne Robinsons Housekeeping and Cultural Memory2011Conference paper (Refereed)
  • 44.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    Re-membering the Family: Family and Violence in Octavia Butler's _Fledgling_2007Conference paper (Refereed)
  • 45.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    Re-membering the Family in Octavia E. Butler's _Fledgling_2010Conference paper (Refereed)
  • 46.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    Revisiting the Captivity Narrative in a Spaceship: Boundaries Transgressed in Octavia Butler's _Survivor_1999In: Dangerous Crossings: Papers on Transgression in Literature and Culture / [ed] Eds. Monica Loeb and Gerald Porter, Umeå: Umeå University , 1999, p. 187-98Chapter in book (Other academic)
  • 47.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Education, Department of Languages.
    Revisiting the Grandmother's House as Chronotope in Harriet Jacobs's Incidents in the Life of a Slave Girl2012Conference paper (Other academic)
  • 48.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Language, Literature and Intercultural Studies (from 2013).
    "Strange Matings" and Cultural Encounters: Octavia Butler's Fiction as "Companion Species" to Theory2019In: An Eclectic Bestiary: Encounters in a More-than-Human World / [ed] Birgit Spengler and Babette B. Tischleder, Transcript Verlag, 2019, p. 263-275Chapter in book (Other academic)
  • 49.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Language, Literature and Intercultural Studies.
    "Strange Matings" and Unexpected Encounters: Octavia Butler’s Hybrid Fictions2015Conference paper (Refereed)
    Abstract [en]

    Title: “’Strange Matings’ and Unexpected Encounters: Octavia Butler’s Hybrid Fictions”

     

    Abstract: “Strange matings” is a quotation from African American science-fiction writer Octavia Butler’s fifth novel, Wild Seed (1980) – it also serves as the title of the second book to date entirely devoted to Butler’s work. Nothing could be more appropriate since there are intimate as well as hostile encounters between humans and different species in many of her narratives from the Clayarks (a quadruped hybrid human-alien species) in her first published novel Patternmaster (1974) to the Ina (vampires) in her last novel, Fledgling (2005). Through these always cultural and often biological exchanges, Butler’s fiction explores the problems and possibilities of hybridity in ways that matches and sometimes surpass theoretical formulations of the concept. There is never an option for her human protagonists to settle with the notion of the “Sacred Image of the Same” (Butler, Survivor 1978); they have to find ways of dealing with “Others” – other races or ethnicities and/or other species– and with the outcomes of these encounters in terms of individual physical and mental changes and hybrid offspring. In this paper, I will examine a few examples of cross-species encounters in Butler’s fiction and discuss the theoretical implications of these fictional boundary crossings.

  • 50.
    Holmgren Troy, Maria
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Language, Literature and Intercultural Studies (from 2013).
    Strange Matings: Hybridity and Miscegenation in Octavia Butler's Fiction2016Conference paper (Other academic)
    Abstract [en]

    “Strange matings” is a quotation from African American science-fiction writer Octavia Butler’s fifth novel, Wild Seed (1980) – it also serves as the title of the second book entirely devoted to Butler’s work.[1] Nothing could be more appropriate since there are intimate encounters between humans and different species in a number of her narratives from the Clayarks (a quadruped hybrid human-alien species) in her first published novel Patternmaster (1974) to the Ina (vampires) in her last novel, Fledgling (2005). The protagonist of this novel is a genetic experiment, a hybrid, whose African American ancestry is the solution to a problem but, at the same time, means that her family members are murdered due to enduring racist ideas originating in American slavery, which in this speculative novel has spread to another humanoid species. In many of her novels, Butler addresses the racist notion of miscegenation both literally and figuratively. Many of her main characters are what other characters often regard as miscegenated offspring; many are also placed in situations where they have to embrace, or at least accept, inter-species biological relations and reproduce differently in order to survive and possibly develop. In this paper, I will focus on how Butler portrays “strange matings” and imagines different family constellations for hybrid protagonists against the backdrop of American ideas of miscegenation.

    [1]Strange Matings: Science Fiction, Feminism, African American Voices, and Octavia E. Butler (2013) edited by Rebecca J. Holden and Nisi Shawl.

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