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• Males are Toxic: A Masculine Critique of Ayad Akhtar’s Play The Who & The What

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• The Study of Female Anxiety in Hotel du Lac from the Perspective of Power Theory

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• Translating Al-Fuzai’s ’The Passage of Time’

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• Strategy Politeness of Werkudara in Wayang purwa

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• Borders and Cultural Identification in Leila Aboulela’s Novel the Translator

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• An Analysis of Liberal Feminism of the Main Character in Brave Film

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• The Role of Dubbed Cartoons in Supporting Third Culture Kids: A Case Study of the Toy Story Trilogy

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• Narrating the Wound: Trauma and Memory in Coleridge’s ‘Ancient Mariner’ and Poe’s ‘The Raven’

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• Social Media and Language Evolution: The Impact of Digital Communication on Language Change

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• Precarity and Struggles of Employment: A Case Study of Undergraduates in Hong Kong

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• An Existential Reading of GB Shaw’s Arms and the Man

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• Revisiting Philippine Folklore: Ba-diw as Discourse of Ethnicity in the Nonfolklorist Humanistic Lens

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• Nora's Transcendental Consciousness from Marianne's Sensibility: A Reading of Ibsen's A Doll's House and Austen's Sense and Sensibility

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  2020-09-30

• 2019 Indonesia Presidential-Vice Presidential Debate in Corpus Linguistics Perspective

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• Female Influencers’ Self-presentation and Digital Leadership in Morocco: A Multimodal Discourse Analysis Approach to their Posted Content on Instagram

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• Viewing Joe Biden's Victory Speech in 2020 from the Perspective of Language Metafunction

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• A Gender-Sex System that afrocentralizes the Issue of a Traditional Female identity. The Case in Nawal El Saadawi’s Woman at Point Zero and Nuruddin Farah’s From a Crooked Rib

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• Ethnolinguistic Vitality of the Subanen Tribe in Barangay Sebasi, Clarin

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• “Who the Hell are You?”: Language Styles and Politeness in the Film Enola Holmes

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• Kambilangatao: A Study of the Visual Grammar of Tarpaulins

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