Humanism as a paradigm is often declared as an alternative approach to education. This paradigm is, in fact, an approach developed in the field of literature and education. The objective of this study is to determine the values underlie the epistemology of the humanistic education theory. Epistemology is the elements that are abstract or implicit. To recognize the epistemology of humanism education theory, this study examines the elements of basic assumptions, values and models of the theory. The results show that the assumptions promoting the theory have similarities with the basic assumptions of the phenomenological epistemology. It sees humans as creatures with consciousness and knowledge for what he did. Thus, every human’s behavior or action is conducted in purpose. In humanistic education theory, meaningfulness and usefulness of the learning process are determined by the learner, not the educator. For that reason, learning design and methods should be developed by the participants based on the needs of the learners. Therefore, the theory does not provide a model for an individual learning process. Thus, it can be concluded that the theory of humanism education rooted from phenomenology epistemology.

Studies on adaptation for younger audiences tend to mull over around the film adaptation of children classics. Adaptation of textual, visual, and operative elements for younger audiences in the context of literary texts with ergodicity like apps, comics, animation films, and games is understudied. This case study based descriptive qualitative study aims at exploring and investigating the phenomenon and how this adaptation is exercised. This study employs Siddharthan's text simplification, Genette's hypertextuality, Nikolajeva's Barthesian proairetic decoding for younger audiences, and Huizinga's play-function and play-mood to address the language aspects of ludic adaptation, Aarseth's ergodic literature and Sander's adaptation to address the literary aspects, and Rajewsky's intermediality to address the medial aspects. Drawing upon the theories and employing Spradleyan analysis, we argue that adaptation for younger audiences is best termed ludic adaptation, an adaptation aimed at establishing a playful communication involving textual, visual, and operative adjustments for younger audiences through transmodalization, transstylization, and transformation of the source texts. In adapting the apps, comics, animation films, and games into their simplified versions, the adapters employ what we call as babyfication, chibification, bambification, and cherubification. Scholars of language and literary studies might apply ludic adaptation to reveal how adaptation

The necessity for a children’s picturebook to generate a proairetic decoding by the children influences translators to deliver the messages of the source text as explicit as possible. This condition leads the translators to implement amplifications aimed at detailing particular information. Though a proairetic reading is achieved through amplification, negative impacts follow the implementation. This qualitative experiential study involves nine children picturebook translators. Exchanging insights and translated texts in a focused group discussion (FGD) comprising of English to Indonesian and English to Javanese children picturebook translators, we found that a typology of amplification technique constructed specifically for children picturebook translation is required to provide a guideline for the translators when forced to apply amplification. The result of the translation data, supported by FGD, indicates that amplification is classifiable into three function-based types namely naturalizing, synchronizing, and stylizing amplifications. These amplifications, when applied, generate four impacts namely congruity losses, effect rendering, reading level deviation, and deviation on the purposes of the children’s picturebooks. These impacts deal with verbosity and thus requiring a further concern on verbosity level acceptance.

This study revisits Hymes' ethnography of communication for game avatars, functioning as a communication nexus connecting games and gamers. Hymes formulates his ethnography of communication into SPEAKING (Settings and Scenes, Participants, Ends, Act Sequences, Keys, Instrumentalities, Norms, and Genres) and this formula deems to be unfit to explain how game avatars communicate. Implementing Klevjer's prosthetic telepresence (2012) to analyze sixty-two game titles, it is revealed that SPEAKING requires an extension when applied to study game avatars since the formula is not designed to explain the prosthetic nature of game avatars. This prosthetic nature produces specific communication ethnography of avatars, which we dub prosthetic communication ethnography. By prosthetic communication ethnography refers to technical elements of gaming, which contribute to the ways the avatars communicate. As Hymes' ethnography of communication with SPEAKING, this avatar based communication ethnography requires the same tool of analysis, which we call GAMING (Gaming systems, Attributes, Mechanics, Indexicalities, Narratives, and Geosocial systems), constructed with indexical storytelling by Fernández-Vara (2011), user interface types of games by Stonehouse (2014) and prosthetic video game theory by Jagodzinski (2019) as the theoretical foundations. GAMING and SPEAKING are integrated by bridging them with Aarseth's ludonarrative dimensions (2012).

Studies on taunting in video game context tend to mull over around how players taunt other players via online chat features. Studies on how taunting works in games with in-game taunt features are under investigated. Examining twenty-seven gamestory-wise and gameplay-wise games, we argue, through this sociolinguistic study, that taunting designed for game characters is better termed ludic taunting since it has different functions from that of taunting in games with online chat feature and in real life. Ludic taunting has two major functions namely narrative and mechanical. The former which refers to taunting for game story-bound purposes is classified into archetyping, cameoing, and mythopoesing. The latter, for game play-bound purposes, is classified into buffing, cosmeticizing, cueing, debuffing, hinting, and rewarding. Game designers and scholars could employ this study as a reference in designing games with in-game taunt features.