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āļāļēāļĢāļāđāļēāļ§ âāđāļĄāđâ āļāđāļēāļĄāļāļ§āļēāļĄāđāļāđāļāļāļ·āđāļāļāđāļēāļāļāļēāļĢāđāļāļĨāļāļģāđāļŠāļāļāļāļēāļāļēāļĢāđāļ āļāļĢāļ°āļĢāļēāļāļāļīāļāļāļāđāđāļĢāļ·āđāļāļ âāđāļāđāļ§āļāļāļĄāđāļāđāļâ āļāļāļąāļāļ āļēāļĐāļēāļāļĩāļ
Lu, Dan, āļāļāļīāļĐāļāļē āļāļīāļāļāļīāļāļ°āļāļļāļĨ, āļāļļāļĢāļīāļāļāļĢāđ āļĻāļĢāļĩāļŠāļĄāļāļ§āļīāļĨ, Jitchinakul, Khanitta, Srisomthawin, Burin (2022)
-the translator was unable to interpret equivalently the original action verbs, resulting in the Chinese readersâ inability to have the same feeling as the Thai readers; and 4) lexical aesthetic quality aspect-the translator was unable to equivalently transfer... the original aesthetic quality of the action verbs, resulting in the Chinese readersâ inability to clearly understand the charactersâ movements. The reasons for the inability to overcome these four aspects are the translatorâs lack of understanding of the socio
æåĶč―ŽčŊįéŪéĒį įĐķåŊđ蹥ïžãäļæĩ·åŪčīãæģ°čŊæŽ
Wiratpokee, Pratuangporn (2010)
of the target language, while reading a translated work, receive the same inspiration, emotion and aesthetic as the readers of the source language do while reading the original." (Fang Mengzhi, 2004) Literary translation can help introduce foreign cultures
āļāļēāļĢāļĄāļāđāļāļĢāļēāļĢāļāļāļēāļāļąāļāļāļļāļāļĒāļ·āļāđāļŦāđāļāļāļļāļāļĄāļāļēāļĢāļāđāļāļēāļāđāļāļĻ: āļāļĨāļ§āļīāļāļĩāļāļēāļĢāđāļāļĨāļāļāļŠāļąāļāļ§āļēāļŠāđāļāļāļ§āļāļīāļĒāļēāļĒāđāļĢāļ·āđāļāļ āđāļāļĩāđāļĒāļāđāļŪāđāđāļāļāļĩāđ
āļ§āļļāļāļīāļāļāļĐāđ āļāļĢāļ°āļāļąāļāļāļĄāļīāļāļĢ, āļāļāļāļāļĢ āļāļļāđāļĄāļāļāļ, Prapantamit, Wuttipong, Numtong, Kanokporn (2022)
In literature, erotic motives represented sexual desire and aesthetics of human sexual arousal and revealed a writerâs gender ideology. Correspondingly, translatorsâ gender identities and ideology were also accordant with these components... were the relevant factors for communicating the erotic motives to readers. Also, this feature functioned as a space to form identity and subdue each other between males and females through language aesthetics, which passionately and intensely portrayed
āļāļąāļāļŦāļēāļāļēāļĢāđāļāļĨāļāļąāļāđāļāļīāļāļāļāļĩāļ āļēāļĐāļēāļāļąāļāļāļĪāļĐāđāļāđāļāļ āļēāļĐāļēāđāļāļĒ āļāļĢāļāļĩāļĻāļķāļāļĐāļēāđāļĢāļ·āđāļāļ Ladyboy the Secret World of Thailandâs Third Gender
āđāļŦāļĄāļāļąāļŠāļŠāļīāļĢāļī āļŦāļ§āđāļēāļāļāļąāļ, Whangphan, Hemmaphatsiri (2018)
āļāđāļāļāļïŋ―āļģāļāļķāļāļāļķāļāļāļēāļĢāļĢāļąāļāļĐāļēāļŠïŋ―āļģāļāļ§āļ (Idiom) āļĨāļĩāļĨāļē (style) āļāļąāļĻāļāļāļāļī (attitude) āļŠāļļāļāļāļĢāļĩāļĒāļ° (aesthetic) āļāļāļ āļāļđāđāđāļāļĩāļĒāļāđāļŦāđāđāļŦāļĄāļēāļ°āļŠāļĄāļŠïŋ―āļģāļŦāļĢāļąāļāļāđāļāđāļāļĒāđāļāļĢāđāļŠāļđāđāļŠāļēāļāļēāļĢāļāļ° āđāļĨāļ°āļïŋ―āļģāđāļŠāļāļāđāļāļĢāļđāļāđāļāļāļāļĩāđāđāļāļĩāļĒāļāđāļāļĩāļĒāļ (equivalence) āļāļąāļ āļ āļēāļĐāļēāļāđāļāļāļāļąāļāđāļŦāđāļĄāļēāļāļāļĩāđāļŠāļļāļ
āļāļēāļĢāļāđāļēāļ§ âāđāļĄāđâ āļāđāļēāļĄāļāļ§āļēāļĄāđāļāđāļāļāļ·āđāļāļāđāļēāļāļ āļēāļĐāļē āļāļĢāļāļĩāļĻāļķāļāļĐāļēāļāļēāļĢāđāļāļĨāļāļģāļāđāļāļ 4 āļāļģāđāļāļāļ§āļāļīāļĒāļēāļĒāđāļĢāļ·āđāļāļ âāļāđāļēāļāļŦāļĨāļąāļāļ āļēāļâ āļāļāļāļĻāļĢāļĩāļāļđāļĢāļāļēāļāļāļąāļāļ āļēāļĐāļēāļāļĩāļ
CAI, SIYAO, āļāļąāļ§āļāļąāļ āļŠāļļāļāļĢāļĢāļāļĒāļĻ, āļāļļāļĢāļīāļāļāļĢāđ āļĻāļĢāļĩāļŠāļĄāļāļ§āļīāļĨ, Suphanyot, Buaphan, Srisomthawin, Burin, āļāļąāļ§āļāļąāļ āļŠāļļāļāļĢāļĢāļāļĒāļĻ, āļāļļāļĢāļīāļāļāļĢāđ āļĻāļĢāļĩāļŠāļĄāļāļ§āļīāļĨ (2022)
the otherness: 1) word choices that lack aesthetic quality; and 2) partial translation. The reason behind the word choices that lack aesthetic quality and partial translation, or inability to produce the translation that is in accord with Sri Buraphaâs intention