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āļāļēāļĢāļāđ‰āļēāļ§ â€œāđ„āļĄāđˆâ€ āļ‚āđ‰āļēāļĄāļ„āļ§āļēāļĄāđ€āļ›āđ‡āļ™āļ­āļ·āđˆāļ™āļ”āđ‰āļēāļ™āļāļēāļĢāđāļ›āļĨāļ„āļģāđāļŠāļ”āļ‡āļ­āļēāļāļēāļĢāđƒāļ™ āļžāļĢāļ°āļĢāļēāļŠāļ™āļīāļžāļ™āļ˜āđŒāđ€āļĢāļ·āđˆāļ­āļ‡ â€œāđāļāđ‰āļ§āļˆāļ­āļĄāđāļāđˆāļ™â€ āļ‰āļšāļąāļšāļ āļēāļĐāļēāļˆāļĩāļ™

Lu, Dan, āļ‚āļ™āļīāļĐāļāļē āļˆāļīāļ•āļŠāļīāļ™āļ°āļāļļāļĨ, āļšāļļāļĢāļīāļ™āļ—āļĢāđŒ āļĻāļĢāļĩāļŠāļĄāļ–āļ§āļīāļĨ, Jitchinakul, Khanitta, Srisomthawin, Burin (2022)

-the translator was unable to interpret equivalently the original action verbs, resulting in the Chinese readers’ 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 readers’ inability to clearly understand the characters’ movements. The reasons for the inability to overcome these four aspects are the translator’s lack of understanding of the socio

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文å­Ķč―ŽčŊ‘įš„é—ŪéĒ˜į ”įĐķåŊđčąĄïžšã€Šäĩ·åŪčīã€‹æģ°čŊ‘朎

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

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āļ­āļēāļĢāļĄāļ“āđŒāļ›āļĢāļēāļĢāļ–āļ™āļēāļāļąāļšāļˆāļļāļ”āļĒāļ·āļ™āđāļŦāđˆāļ‡āļ­āļļāļ”āļĄāļāļēāļĢāļ“āđŒāļ—āļēāļ‡āđ€āļžāļĻ: āļāļĨāļ§āļīāļ˜āļĩāļāļēāļĢāđāļ›āļĨāļšāļ—āļŠāļąāļ‡āļ§āļēāļŠāđƒāļ™āļ™āļ§āļ™āļīāļĒāļēāļĒāđ€āļĢāļ·āđˆāļ­āļ‡ āđ€āļ‹āļĩāđˆāļĒāļ‡āđ„āļŪāđ‰āđ€āļšāļšāļĩāđ‰

āļ§āļļāļ’āļīāļžāļ‡āļĐāđŒ āļ›āļĢāļ°āļžāļąāļ™āļ˜āļĄāļīāļ•āļĢ, āļāļ™āļāļžāļĢ āļ™āļļāđˆāļĄāļ—āļ­āļ‡, Prapantamit, Wuttipong, Numtong, Kanokporn (2022)

In literature, erotic motives represented sexual desire and aesthetics of human sexual arousal and revealed a writer’s gender ideology. Correspondingly, translators’ 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

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āļ›āļąāļāļŦāļēāļāļēāļĢāđāļ›āļĨāļšāļąāļ™āđ€āļ—āļīāļ‡āļ„āļ”āļĩāļ āļēāļĐāļēāļ­āļąāļ‡āļāļĪāļĐāđ€āļ›āđ‡āļ™āļ āļēāļĐāļēāđ„āļ—āļĒ āļāļĢāļ“āļĩāļĻāļķāļāļĐāļēāđ€āļĢāļ·āđˆāļ­āļ‡ Ladyboy the Secret World of Thailand’s Third Gender

āđ€āļŦāļĄāļžāļąāļŠāļŠāļīāļĢāļī āļŦāļ§āđˆāļēāļ‡āļžāļąāļ™, Whangphan, Hemmaphatsiri (2018)

āļ•āđ‰āļ­āļ‡āļ„ïŋ―āļģāļ™āļķāļ‡āļ–āļķāļ‡āļāļēāļĢāļĢāļąāļāļĐāļēāļŠïŋ―āļģāļ™āļ§āļ™ (Idiom) āļĨāļĩāļĨāļē (style) āļ—āļąāļĻāļ™āļ„āļ•āļī (attitude) āļŠāļļāļ™āļ—āļĢāļĩāļĒāļ° (aesthetic) āļ‚āļ­āļ‡ āļœāļđāđ‰āđ€āļ‚āļĩāļĒāļ™āđƒāļŦāđ‰āđ€āļŦāļĄāļēāļ°āļŠāļĄāļŠïŋ―āļģāļŦāļĢāļąāļšāļ•āđˆāļ­āđ€āļœāļĒāđāļžāļĢāđˆāļŠāļđāđˆāļŠāļēāļ˜āļēāļĢāļ“āļ° āđāļĨāļ°āļ™ïŋ―āļģāđ€āļŠāļ™āļ­āđƒāļ™āļĢāļđāļ›āđāļšāļšāļ—āļĩāđˆāđ€āļ—āļĩāļĒāļšāđ€āļ„āļĩāļĒāļ‡ (equivalence) āļāļąāļš āļ āļēāļĐāļēāļ•āđ‰āļ™āļ‰āļšāļąāļšāđƒāļŦāđ‰āļĄāļēāļāļ—āļĩāđˆāļŠāļļāļ”

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āļāļēāļĢāļāđ‰āļēāļ§ â€œāđ„āļĄāđˆâ€ āļ‚āđ‰āļēāļĄāļ„āļ§āļēāļĄāđ€āļ›āđ‡āļ™āļ­āļ·āđˆāļ™āļ”āđ‰āļēāļ™āļ āļēāļĐāļē āļāļĢāļ“āļĩāļĻāļķāļāļĐāļēāļāļēāļĢāđāļ›āļĨāļ„āļģāļ‹āđ‰āļ­āļ™ 4 āļ„āļģāđƒāļ™āļ™āļ§āļ™āļīāļĒāļēāļĒāđ€āļĢāļ·āđˆāļ­āļ‡ â€œāļ‚āđ‰āļēāļ‡āļŦāļĨāļąāļ‡āļ āļēāļžâ€ āļ‚āļ­āļ‡āļĻāļĢāļĩāļšāļđāļĢāļžāļēāļ‰āļšāļąāļšāļ āļēāļĐāļēāļˆāļĩāļ™

CAI, SIYAO, āļšāļąāļ§āļœāļąāļ™ āļŠāļļāļžāļĢāļĢāļ“āļĒāļĻ, āļšāļļāļĢāļīāļ™āļ—āļĢāđŒ āļĻāļĢāļĩāļŠāļĄāļ–āļ§āļīāļĨ, Suphanyot, Buaphan, Srisomthawin, Burin, āļšāļąāļ§āļœāļąāļ™ āļŠāļļāļžāļĢāļĢāļ“āļĒāļĻ, āļšāļļāļĢāļīāļ™āļ—āļĢāđŒ āļĻāļĢāļĩāļŠāļĄāļ–āļ§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 Burapha’s intention