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This thesis presents a conceptual examination of the modernist director read through Gillian Rose's speculative lenses of the 'broken middle'. Highlighting the significance of speculative philosophy, I explore the meaning of the director as a mediating subjectivity. I demonstrate how a speculative reading of the director can act as a corrective to the received totalitarian, despotic image of the director. I urge for the rehabilitation of the director as a history and as a practice and I propose the emergence of this figure as being the outcome of a complex theatrical articulation entangled with the discipline of philosophy. Combining close readings of philosophical texts by Rose, Plato, Castoriadis, Badiou, Rancière, Laclau and Mouffe, among several other intellectual references in this study, I explore the director as a mode or trope of embodied philosophy. My argument also proposes the director as an Event, in Badiou's definition, and I trace this configuration as already taking place with the 'tragic' paradigm of the Athenian theatre. This Event of the director, I then argue, gets fully inaugurated in modernism as the Event of thought in theatre. I explore how the director acting as a mediator transforms theatre to what Puchner calls 'a theatre of ideas' while simultaneously philosophy becomes itself transformed to a theatre of thought. Chapter 1 outlines the key strands of Rose's thought and sets out the theoretical parameters of my examination. The chapter argues for a speculative reading of the director cross-examined with current positions within theatre historiography. The chapter paves a new understanding of the director, not historically, but conceptually, as a mode of embodied thought. Chapter 2 explores the relationship between the primacy and centrality of the aesthetic paradigm of theatre in philosophy and the role and practice of the poet - or 'chorodidaskalos' - who I consider as an early philosophical figuration of the modern director. I highlight speculative 'aporia' which in Rose indicates a path 'without a path' as the primary modality of thinking philosophically, already at work in tragedy, that renders the modernist director as a theatrical thinker. Chapter 3 puts forward the case of the director's mediating subjectivity by arguing for the Event of the director. I analyse Badiou's philosophy of the Event, making connections to speculative philosophy and illuminating the Evental dimension of this figure. Chapter 4 moves the examination to the Event of the director that I locate in Richard Wagner. My reading explores the philosophical dimension of Wagner as an artist and a thinker by which I rehabilitate his overtly negative image. I do this by reading Left Hegelianism, and anarchist philosophy more broadly, in Wagner's operatic works, writings, and political activism. Chapter 5 examines the 'speculative director' in the aesthetic project of Naturalism and Realism. The chapter includes a published section by which I explore the political mode of the director indirectly, by examining the articulatory discourse in Laclau and Mouffe's definition and the practice of affirmation. Chapter 6 looks at the avant-garde manifesto as a form of meta-language that seeks to actively re-shape theatre and the world as embodied, declaimed philosophy. The chapter repositions the avant-garde's aesthetic preoccupation with failure as a profoundly transformative project rather than as being incomplete. The included published article examines more closely the affinity between the Spartacus Manifesto by Rose Luxemburg (philosophy) and the more politicized forms of the Dada Berlin manifesto art (theatre). Chapter 7 is the concluding chapter by which I argue the case of the director finally having entered the theatre as a philosopher; that is, through Bertolt Brecht.

The suffering that initially prompts ethical reflection is frequently forgotten in the generalised rational response of much contemporary International Relations theory. This thesis draws on Theodor W. Adorno and Gillian Rose to propose an alternative approach to suffering in world politics. Adorno argues suffering and trauma play a key role in the task of enlightening Enlightenment. They emphasise the concrete particularity of human existence in a way that is radically challenging to Enlightenment thought. Understanding suffering helps to drive a negative dialectics that preserves the non-identical (that which cannot be understood, manipulated or controlled by reason), holding it up against the instrumentalism and abstraction that have prevented Enlightenment thought from fulfilling its promise. Part One reviews contemporary approaches to international ethics in a way that draws out their affinity with the Enlightenment thought Adorno criticises. Despite their variety, liberal and Habermasian approaches to international ethics tend to be rational and problem-solving, to assume moral progress, to underestimate the importance of history and culture, and to neglect inner lives. They approach ethics in a way that pays too little attention to the social, historical, and cultural antecedents of suffering and therefore promotes solutions that, whilst in some ways inspiring, are too disconnected from the suffering they seek to address to be effective in practice. Part Two deepens the critique of modern ethics through an exposition of Adorno's work. It then draws on Adorno's conception of promise, Rose's writing on mourning and political risk, and a broader literature on ways of working through trauma to propose an alternative way of being in the world with ethical and political implications. I advocate a neo-Hegelian work of mourning, which deepens understanding of the complexities of violence and informs a difficult, tentative, anxiety-ridden taking of political risk in pursuit of a good enough justice.

The translation of names is a topic for discussion within many fields, no less so within translation studies. Furthermore, the translation of proper names in children’s literature is a topic with on-going changes. There is a divide between those who believe that the names should be translated into proper cultural equivalent and those who believe it is time to have faith in children being able to handle foreign names. That is what this study will focus on. Approx. 15 names from seven children’s books from 1865 to 2011 were studied to conclude that there seems to be a greater faith in children’s ability to handle foreign names. Three languages were compared English, Spanish, and Swedish with the majority of the 337 names studied being kept in their original format, with spelling intact. / Översättningen av namn är ett diskussionsämne inom många områden, inte minst inom översättningsstudier. Utöver detta är översättningen av egennamn inom barnlitteratur ett ämne som är under ständig förändring. Det finns en klyfta mellan de som menar att namn borde bli översatta till sin kulturella likvärdighet och de som menar att det är på tiden att lita på att barn kan hantera främmande namn. Det är denna diskussion som kommer vara fokus för denna uppsatsen. Ca. 15 namn från sju barnböcker från 1865 till 2011 studerades för att visa att det verkar finnas en större tilltro till barns förmåga att hantera främmande namn. Tre språk jämfördes, engelska, spanska och svenska. Var utav de 337 namnen som studerades var majoriteten oförändrade i översättningarna.

Both young adult literature and transnational literature occupy transitional spaces and defy simple classifications. Their commonalities naturally suit the two sets of literature for concurrent study. However, the field is underdeveloped, particularly in the United States. With a concentration on the exchanges taking place between the U.S. and Germany, this thesis addresses the need to assemble primary materials and pertinent critical commentary into a single place available to educators, scholars, and researchers to acquire background on transnational YAL themes. The thesis delineates methods used in conducting and compiling research on U.S.-German YAL exchange and highlights the translation and publication concerns associated with this process. It examines how prizes for translations are granted in each nation, identifying organizations that facilitate the process of exchange and describing transnational trends rising out of these circumstances. The concluding chapter visits concerns and complications raised during the investigation, posing questions for further study of the U.S.-German young adult literature relationship and advocating the pursuit of similar research in other world regions. The appendices provide sites for continued examination. They include lists of award-winning translations available in the U.S., novels by American authors that have been translated and published in Germany, and novels by German-language authors that have been translated and published in the U.S.

This paper explores Ted Chiang's novella "Seventy-Two Letters" and the way in which it combines genres, scientific and historical ideas in an effort to examine topics about life and creation. The combinations result in an intriguing representation of a history which is then made different and where Chiang can creatively challenge past ideas. Research by Foucault and Gillian Beer yielded insight into how historic and scientific concepts from biology in the nineteenth century became a culture's dominant understanding of life. Lakoff and Johnson argue that concepts are metaphorical in nature and Chiang skillfully incorporates metaphors to examine the creative force of language in the story. Darwin's theory of evolution is used as a conceptual framework and incorporated with older and outdated theories like preformation and recapitulation to speculate about how life can be created. The resulting effect is a layered and complex story that engages the readers' critical awareness of fictional and factual worlds alike.