When She Started Acting Queer: A Queer Gothic Reading of Nick Joaquin’s The Woman Who Had Two Navels

Miguel Antonio  Lizada

doi:http://doi.org/

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Translation and the Problem of Realism in Philippine Literature in English

Translation and/as Research

Translation Politics in Ilocano- Hawaiian Writing

Truth, Justice, and Performative Knowledge: Chokri Ben Chikha’s Theatrical “Truth Commission” on (Neo)colonial Injustices

Tungo sa Dalumat ng Bayan: Isang Metonimiya

Turning from the Margins: Discoursing Heidegger at the End of Life as We Know It

Two Approaches to the Positioning of Translations: A Comparative Study of Itamar Even-Zohar’s Polysystem Studies and Gideon Toury’s "Descriptive Translation Studies and Beyond"

Types of Borrowings in Tagalog/Filipino

Understanding the Potential for a Hallyu “Backlash” in Southeast Asia: A Case Study of Consumers in Thailand, Malaysia and Philippines

Unreading the Novel, or Experiencing Ninotchka Rosca's State of War as Mythopoeia

Vernacular World Making: E. San Juan, Jr. and the Rehearsal for the New International

Vimala Devi's Bhatcars and the Mundcars: Laborers, Landlords, and Culture in Goa

Vultures and Candles as Metaphors of Leadership Failures in Emeka Nwabueze’s A Parliament of Vultures and Uche-Chinemere Nwaozuzu’s The Candles

We the Divided: Partitions of Performance in the Ceramic State

We Were War Surplus, Too: Nick Joaquin and the Impossibilities of Filipino Historical Becoming

Webtoon as a New Korean Wave in the Process of Glocalization

Weights and Pressures: Precarity And Democracy’s Legislative Subjects

What the Planetary Filipino Should Know: San Juan Versus Almario

What’s Tropical about Nick Joaquin’s Tropical Gothic? Heat and Corporeality in “The Summer Solstice” and “The Dying Wanton”

When She Started Acting Queer: A Queer Gothic Reading of Nick Joaquin’s The Woman Who Had Two Navels

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