| Issue | Title | |
| Vol 7, No 1 (2020) | The Flouting of Grice’s Conversational Maxims in Pirates of the Caribbean 1-5 | Abstract PDF 71-84 |
| Krismona Apriyani, Thomas Joko Priyo Sembodo | ||
| Vol 5, No 1 (2018) | The Flouting of the Gricean Maxims in the Movies Insidious and Insidious 2 | Abstract 65-76 PDF |
| Melinda Kurniati, Sharifah Hanidar | ||
| Vol 7, No 1 (2020) | The Heroine’s Journey towards Wholeness as seen in Margaret Atwood’s Surfacing | Abstract PDF 117-130 |
| Hendarti Azizah Ayuningtyas, Rahmawan Jatmiko | ||
| Vol 10, No 1 (2023) | The Impact of Colonialism in Hugh Lofting’s The Story of Doctor Dolittle | Abstract PDF |
| Raden Alexander Carlson Medicio, Nur Saktiningrum | ||
| Vol 11, No 2 (2024) | The Influence of The Speaker's and Hearer's Age on Request Strategies Used in the Movie Yours, Mine & Ours | Abstract PDF |
| Aflah Nuraini Salsabila, Amin Basuki | ||
| Vol 5, No 1 (2018) | The Influences of the Puritan’s Teaching on Young Goodman in Hawthorne’s Young Goodman Brown | Abstract 1-8 PDF |
| Theresia Juwita Purnama, Eddy Pursubaryanto | ||
| Vol 2, No 2 (2013) | The Meanings of Modal Auxiliary Verbs in the Movie "The Perks of being a Wallflower" | Abstract PDF |
| Herlina Endah Atmaja | ||
| Vol 2, No 1 (2013) | THE MISERY OF WAR AS SEEN IN STEPHEN CRANE'S WAR IS KINF AND WALT WHITMAN'S DIRGE FOR TWO VETERANS | Abstract PDF |
| Luqman Nur Chandra | ||
| Vol 1, No 2 (2012) | The Non-Observance of Gricean Maxims in the Movie Series "Sherlock Holmes" | Abstract PDF |
| Najih Suraya | ||
| Vol 3, No 1 (2014) | The Non-Observance of Quality Maxim as Seen in the Movie "Twilight Saga: Twilight" | Abstract PDF |
| Dwi Lestari | ||
| Vol 9, No 2 (2022) | The Patterns of Blends Found in Food and Beverage Names in Instagram | Abstract PDF |
| Ummi Adha Khoirunnisa, Rio Rini Diah Moehkardi | ||
| Vol 1, No 3 (2012) | The Personality of the Speaker of T.S. Elliot’s “Portrait of a Lady” | Abstract PDF |
| Nia Susanti | ||
| Vol 9, No 1 (2022) | The Production of Conversational Humor by Flouting Gricean Maxims in the Sitcom The IT Crowd | Abstract PDF |
| Ilsa Krisdwiyani, Sharifah Hanidar | ||
| Vol 10, No 2 (2023) | The Significance of The Cat as a Character with Moral Ambiguity in Neil Gaiman's Coraline | Abstract PDF |
| Namira Azzahra, Rahmawan Jatmiko | ||
| Vol 6, No 2 (2019) | The Significance of the Conch in William Golding's Lord of the Flies | Abstract 156-163 PDF |
| Jamiah Solehati, Bernadus Hidayat | ||
| Vol 7, No 2 (2020) | The Significance of the Hero’s Journey in Siddhartha’s Character Development as Seen in Herman Hesse’s Siddhartha | Abstract PDF |
| Adelia Damayanti, Achmad Munjid | ||
| Vol 8, No 1 (2021) | The Translation of Idioms from English into Indonesian: The Case of J.K. Rowling’s Harry Potter and the Half-Blood Prince | Abstract PDF |
| Margarete Theda Kalyca Krisandini, Adi Sutrisno | ||
| Vol 6, No 1 (2019) | The Translation of Idioms in George Orwell’s Animal Farm | Abstract PDF |
| Husnul Abdi, Aris Munandar | ||
| Vol 1, No 2 (2012) | The Translation of Idioms in Rowling’s "Harry Potter and the Prisoner of Azkaban" into Indonesian | Abstract PDF |
| Mustika Pratiwi Putri N. | ||
| Vol 6, No 2 (2019) | The Translation Strategies of Metaphors in the Movies Mulan and Moana | Abstract 200-211 PDF |
| Prasna Audri Alanisa, Aris Munandar | ||
| Vol 3, No 2 (2014) | The Use of Command Strategies by Dave’s Mother in A Novel Entitled "A Child Called ‘It’" | Abstract PDF |
| Dini Luthfiani | ||
| Vol 2, No 2 (2013) | The Use of Pronoun in The Jakarta Post and Jakarta Globe | Abstract PDF |
| Miftakhur Rofi’ah | ||
| Vol 3, No 1 (2014) | The Use of Request Strategies in the Movie "The Proposal" | Abstract PDF |
| Desi Wulan Sari | ||
| Vol 7, No 2 (2020) | The Violation of Conversational Maxims in the Movie Series Divergent | Abstract PDF |
| Adelia Fatmawati Pradani, Thomas Joko Priyo Sembodo | ||
| Vol 10, No 2 (2023) | The Word-Formation Processes and Semantic Relations of Compound Words in National Geographic Magazine Articles | Abstract PDF |
| Muhammad Akmal Taqiyyudin, Rio Rini Diah Moehkardi | ||
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