This paper critically examines Pirates of the Caribbean: The Curse of the Black Pearl through the dual lenses of Freudian psychoanalytic theory and postcolonial criticism, revealing that the narrative articulates complex thematic oppositions through a multifaceted analysis. The study yields three key results: 1) Freudian constructs such as the ‘id,’ ‘ego,’ and ‘superego’ exemplify the internal conflicts of characters, emphasizing the dynamic tension between instinctual desires and moral control; 2) a clear binary opposition is established between the pursuit of freedom, embodied by characters like Captain Jack Sparrow, and the state of entrapment, exemplified by the cursed crew whose internalized guilt and consequences of greed bind them; and 3) the integration of psychoanalytic and postcolonial perspectives provides interdisciplinary insights, demonstrating how historical power dynamics and personal identity conflicts converge in cinematic storytelling. The significance of these findings lies in their potential to refine methodologies in literary and film criticism by offering a nuanced understanding of narrative complexity and cultural dynamics. Consequently, further research is expected to extend this dual-framework approach to a broader range of films and narrative forms, thereby enriching scholarly debates on themes of freedom, power, and identity within contemporary popular culture.

This paper examines the interplay between Stoic philosophy and early New Testament theology, with a particular focus on Pauline writings. It explores how core Stoic concepts—such as logos, virtue, and natural law—were strategically adapted by early Christian thinkers to communicate the gospel within a Hellenistic intellectual framework. The discussion reveals three key points of theological tension: 1) Resurrection versus Immortality of the Soul: Whereas Stoicism posits that the soul merely returns to the universal order, Christian doctrine asserts the resurrection of the body and the promise of eternal, transformed identity (Engberg-Pedersen, 2020; Ferguson, 2021). 2) Personal God versus Pantheistic Logos: The Stoic view of an impersonal, all-pervading logos contrasts sharply with the Christian emphasis on a personal, relational God who actively engages with creation (Arnold, 1971; Wilson, 2023). 3) Grace versus Self-Sufficiency: Although Stoic ethics valorize self-sufficiency achieved through reason and discipline, Paul redefines these ideals by grounding moral strength in divine grace, thereby highlighting human dependence on Christ (Malherbe, 2022). This research shows how early Christian theology both borrowed from and diverged from prevailing philosophical traditions, thus laying the groundwork for a distinctive doctrinal identity. This synthesis not only facilitated the spread of Christianity among a philosophically sophisticated audience but also continues to offer a rich framework for contemporary theological dialogue and interfaith engagement. It is expected that further exploration of this convergence will deepen our understanding of the dynamic relationship between secular philosophy and religious thought, with implications for modern ethical discourse and apologetics.

This study employed Critical Discourse Analysis (CDA), a qualitative method to examine Pope Francis’s (2024) speeches in Jakarta, integrating ​Teun van Dijk’s socio-cognitive framework​ (2006) and ​Ruth Wodak’s discourse, historical approach (2001). As the result, the findings emerge: 1) The Pope’s rhetorical strategies; such as, ​inclusive pronouns​ (e.g., “we”) and ​metaphors​ like “bridges of dialogue”, construct collective identity and align with Indonesia’s national motto "Bhinneka Tunggal Ika" (Unity in Diversity), framing interfaith harmony as a moral imperative. 2) The speeches depict power dynamics by positioning the Church as a “servant of the common good,””compassion,” “mercy,” and “inclusivity” which aligns with the Islamic principles (e.g., rahmatan lil ‘alamin), legitimizing the alignment to state policies while subtly outlining systemic inequities, in line with van Dijk’s concept of symbolic power. 3) The discourse reconciles historical tensions by referencing Indonesia’s conflict struggles and avoiding contentious terms like “conversion,” reflecting Wodak’s emphasis on the role of historical context in shaping communication. The Pope’s rhetoric strategically engages Indonesia’s past events and present-day religious policies to foster reconciliation and legitimize the Church’s role in a pluralist society. Through textual analysis, contextual triangulation with policy documents, and ethical rigor, the study draws attention to the Pope’s strategic balance of affirming state-endorsed pluralism while advocating for grassroots justice, demonstrating CDA’s efficacy in decoding religious diplomacy in diverse societies.

In the 21st century, feminism continues to grapple with persistent challenges, including gender pay gaps, underrepresentation in leadership roles, and ongoing debates over reproductive rights that echo historical struggles for equality. Drawing connections to feminist protests during the Victorian era. Using a qualitative method, this study employed feminist theory, particularly the works of Judith Butler (1990), Betty Friedan (1963), and Charlotte Brontë (1847) to analyze the 2020 film Enola Holmes. The film is examined as a cultural text that subverts patriarchal norms and offers a narrative of female empowerment by: 1) presenting characters, such as Enola and her mother, Eudoria, who reject conventional feminine behavior in favor of self-defense, independence, and intellectual curiosity; 2) critiquing institutional constraints through the depiction of rigid gender stereotypes enforced by settings like the finishing school; and 3) illustrating how Enola’s defiance of familial and societal expectations empowers her to reclaim agency and reshape her future. This article contributes to ongoing academic discourse on gender representation in media by demonstrating how modern adaptations of historical settings can illuminate contemporary feminist issues and challenge established societal norms regarding gender equality.

This study investigates the postcolonial ecocritical dimensions of James Cameron’s Avatar: The Way of Water (2022), focusing on the tension between the Na’vi (colonized) and the Resources Development Administration (RDA) (colonizer). Drawing on Nixon’s (2011) concept of slow violence and Ashcroft, Griffiths, and Tiffin’s (2002) analysis of imperial dominance, using a qualitative method, the study explores how the film portrays cultural erasure, environmental harm, and resilience. The Na’vi exemplify spiritual connection and ecological respect, while the RDA’s militarized extractive practices reflect unchecked capitalist exploitation. Through a synthesis of film analysis and theoretical insights, this article reveals the broader implications of postcolonial ecocriticism for understanding cultural survival and environmental justice. As the results: 1) The Na’vi endure cultural erasure and ecological harm yet demonstrate resilience through a deep spiritual bond with their environment. 2) The RDA embodies destructive imperialism, deploying militarized technology to extract resources without regard for cultural or ecological welfare. 3) The film’s portrayal of conflict fosters critical reflection on postcolonial ecocriticism, underscoring the need to address the interlinked crises of environmental exploitation and cultural marginalization. By examining Avatar: The Way of Water through a postcolonial ecocritical lens, this study highlights the urgency of integrating cultural and environmental advocacy. It is anticipated that these findings will encourage further scholarly discourse on how literary and cinematic narratives can galvanize both academic and public engagement in dismantling exploitative power structures and championing ecological stewardship.

This research examines Vera Southgate “Beauty and The Beast” through the lenses of Feminist literary criticism. Focusing on how the story adresses traditional gender roles and transformation. Using Simone de Beauvoir to explore the role of women in society. As a result: 1) The narrative suppresses conventional evaluations by shifting focus from physical appearance to inner virtue and emotional transformation. Beast’s appearance does not fit societal expectations. It makes society, Beauty, does not accept the Beast by his physical appearance. 2) Traditional gender roles are actively imposed, marginalizing female agency and reinforcing patriarchal norms. The traditional gender roles between women and men in society are shown in this literature, where men are more dominant and providers while women are caretakers and submissive. 3) The interrelationship of power between characters illustrates a dialectical relationship in which dependence and autonomy are continuously renegotiated. True love is not based on physical appearance, but it is from the kindness from the heart. It can make a big transformation when someone finds their true love. This analysis is significant for its contribution to feminist literary criticism, as it illustrates the dual capacity of literature to both reinforce and challenge societal structures. It is expected that these insights will stimulate further research into the transformative potential of narrative in reshaping gender identities and power relations.

This research investigates the impact of the Character Habituation program on student academic performance at Makarios Christian School at Junior High level during the 2023/2024 academic year. Character education has emerged as a critical element in the development of students' ethical principles, conduct, and educational achievement. This investigation utilized a comparative analytical framework to evaluate the influence of character habituation approach on individual student performance and the broader academic milieu, using Bandura’s (1977) Social Learning Theory and Pearson’s (1901) theory of Correlation analysis. The findings indicate that: 1) The investigation revealed that students who regularly engaged in the Character Habituation program generally attained superior academic grades. This observation implies a moderate positive effect of the program on student performance. 2) Students who engaged in the program continued to encounter academic obstacles, whereas a select few who abstained from participation still achieved elevated grades. This suggests that additional variables, such as individual academic capabilities or learning difficulties, also play a significant role in influencing academic outcomes. 3) The outcomes from the Pearson correlation study suggested a moderate positive connection (r = 0.45) tying program involvement to educational achievement, illustrating that although the program aids in academic results, it is not the only major contributor. The implications of these findings are anticipated to inform educational policy by emphasizing the significance of character habituation programs in promoting comprehensive student development, proposing that the incorporation of moral and social principles into the educational curriculum can enhance both academic results and enduring values.

This study examines how Legally Blonde (2001) depicts femininity using a qualitative content analysis: intelligence, and gender dynamics by applying feminist criticism, gender performativity by Judith Butler (1990) and intersectionality frameworks by Kimberlé Crenshaw (1991). In addition, the elements of the visual narratives (cinematography), such as: camerawork, tones of colors were analyzed. As the result: 1) It reveals how the movie subverts traditional gender stereotypes by showing Elle Woods’ transformation from being perceived as a “dumb blonde” to a competent lawyer, challenging societal expectations that femininity equates to a lack of intelligence. 2) It highlights the challenges women face in male-dominated professions, as seen in Elle’s experience navigating Harvard Law School while maintaining her feminine identity. 3) It focuses on how Elle’s success illustrates that professional competence and femininity are not mutually exclusive, as her journey critiques the rigid expectations placed on women in professional spaces. This research offers a detailed perspective on gender roles in media, highlighting how movies can either question or uphold societal expectations related to gender and career achievement.

This study investigates the critical issue in Wonder Woman (1984) in feminist perspective, by using Judith Butler’s (1990) theory of gender performativity. The movie explores the interconnectedness of feminine strength and vulnerability, traditional gender roles, and the theme of power and agency. Diana Prince’s journey reflects the societal pressure on women to embody both strength and emotional complexity, while Barbara Minerva’s transformation into Cheetah represents the internalization of masculine ideals of power. As the results: 1) The movie demonstrates that feminine strength and vulnerability can coexist, subverting the notion that power must align solely with masculine ideals. 2) Wonder Woman (1984) critiques traditional gender roles by showing how women’s autonomy is often constrained by societal expectations, particularly in relationships and social responsibilities. 3) The movie reveals a significant difference in how power and agency are explored between male and female characters, with male characters like Max Lord wielding unchecked power, while female characters must navigate moral and societal limitations. Through Butler’s framework, Wonder Woman 1984 critiques traditional gender norms, suggesting that true empowerment comes from redefining power and success beyond patriarchal structures. This article is expected to enhance feminist discourse in movie analysis by offering a more profound insight into how media portrayals of women both challenge and uphold societal standards. Hence, it enhances critical conversations around gender, power, and identity, encouraging further exploration of how movies can influence and reflect progressing perspectives on gender equality.

This study examines the portrayal of gender roles of the characters and the social expectations in ‘Mulan,’ (2020) the live-action movie, using the feminist theory of gender performativity by Butler, J. (1990). The research focuses on how Mulan’s character challenges traditional gender roles in Chinese society, the significance of "chi" as a metaphor for inner strength and its gendered portrayal, and the societal consequences of defying gender expectations. By applying a qualitative approach, the study explores key aspects such as female stereotypes, empowerment, and cultural symbols within the movie, while connecting them to feminist theory. The research reveals that 1) Mulan’s character actively subverts the gender binary of masculinity versus femininity by assuming roles traditionally reserved for men, thereby challenging stereotypes about female weakness. 2) The metaphor of "chi" is analyzed as a representation of inner strength, with Mulan’s mastery of it breaking gendered associations of power with masculinity. 3) The movie highlights the societal risks women face when defying gender norms, as well as the rewards of embracing individuality and agency. The movie offers a nuanced depiction of gender roles, blending Confucian values with feminist ideals. Mulan’s journey not only represents female empowerment but also blurs the lines between traditional masculine and feminine traits, ultimately questioning the fixedness of gender identity. This study aims to contribute to feminist discussions in literary analysis through movies as media and offer insight into how globalized interpretations of cultural narratives can reflect evolving perspectives on gender equality.