2562 - 2019 Gender Inequality and Female Responses

CONTENTS
Pages
Conference Theme ................................................................................. 1
Organizing Institutions ........................................................................... 1
Date ....................................................................................................... 1
Rationale................................................................................................. 1
Objectives ............................................................................................... 2
HUSOC Communities ............................................................................ 2
Conference Schedules ............................................................................ 4
Panel Detail and List of Paper ................................................................ 8
 The Internet Homogenizing Culture on YouTube in the

Thai Context: A Case Study of the MV of Rak-Tong-Perd
(Nan-Ok)..................................................................................... 9
 Thai-to-Chinese Translation of Culture-Specific Items in
Khmer Ruins in Southern Isan of Thailand ................................ 31
 The Angel in the House?: The Domestication of Femininity
in Daphne du Maurier’s Rebecca ............................................... 46
 The Glocal Resistance in Anucha Boonyawatana’s Malila:
the Farewell Flower (2018) ........................................................ 54
 Characteristics of Effective English Teachers as perceived by
Royal Thai Police Cadets ........................................................... 61
 The Hin-Le-Le song of Wat bot district, Phitsanulok province:
From The Traditional Vocal Music to NU Choir ....................... 70
 Gender Inequality and Female Responses: An Examination of
Male Dominant Discourses in a Thai TV Series ........................ 80
 University students’ opinion towards learning English language
through online games ................................................................. 110
 A Study of English Borrowed Word Used in Thai Translated
Version of Bridget Jones’ Diary Novel (Book 1) ....................... 122
CONTENTS (CONT.)
Pages
 False Consciousness and Alienation in J.K. Rowling’s

Harry Potter Book Series ............................................................ 142
 Metatheatrical Technique and Its Effect in
Shakespeare’s plays: Henry IV Part I and Hamlet ..................... 151
 Using Songs with Gestures to Enhance English Vocabulary
Learning in Grade 4 Students ..................................................... 162
 A study of international english teachers’ perceptions and the
current use of intercultural communicative competence (icc)
in english language teaching (elt) in thai vocational students .... 174
 The Mask and Masquerade: Performing Gender in David
Ebershoff’s The Danish Girl....................................................... 191
 Analysis of North Korean human rights based on the Spiral model . 201
 Duterte’s ‘Pivot to China’ and the Influence of the Public ............... 217
 Peacebuilding in a social volcano: Critical analysis of grp’s
economic peacebuilding in the duterte administration towards
communist insurgency: a case study of negros island ................ 238
 Transformation of the Vietnamese Society in Thailand:
The Case of Ubon Ratchathani City Municipality ..................... 252
 The State of Democracy in Thailand: A Late 2019 Assessment ....... 267
 17 Years After the Bali Bombings: How Southeast Asia Became
a Breeding Ground for Terrorism ............................................... 284
 The Integration Between New Chinese Immigrants and
Indigenous Ethnic Chinese in Thailand -Observation,
Comparison and Analysis of Local Ethnic Chinese and
New Chinese Immigrants in Phitsanulok along the
Multi-Ethnic Area ....................................................................... 296
List of Peer Reviwers
Dr. Apiwan Nuangpolmak
Dr. Atit Pongpanit
Dr. Attasith Boonsawasd
Dr. Gornkrit Meemongkol
Dr. Great Lekakul
Asst. Prof. Dr. Isabella Ng
Asst. Prof. Dr. Janit Feangfu
Asst. Prof. Dr. Kasem Phenpinant
Asst. Prof. Dr. Kasma Suwanarak
Asst. Prof. Dr. Katsuyuki Takahashi
Asst. Prof. Dr. Kittitouch Soontornwipast
Dr. korrakod paetsasadee
Asst. Prof. Methawee Holasut
Dr. Paradee Tungtang
Dr. Pasoot Lasuka
Dr. Paul Chambers
Asst. Prof. Dr. Piyapong Laosrirattanachai
Dr. Pojanut Sutthipinitharm
Prof. Dr. Rachel Harrison
Asst. Prof. Dr. Ram Prasansak
Dr. Sani Chartudomdej
Asst. Prof. Dr. Savitri Gadavanij
Asst. Prof. Dr. Sirirat Na-ranong
Dr. Supanit Kulsiri
Asst. Prof. Dr. Tat Ammaro
Dr. Thanakorn Thongprayoon
Dr. Thanyalak Thanapakit
The 12th National and International Conferences of Humanities and Social Sciences (HUSOC)
HUSOC-IN.07
th th
24 – 25 October 2019 at Srinakharinwirot University, Bangkok, Thailand
GENDER INEQUALITY AND FEMALE RESPONSES: AN EXAMINATION

OF MALE DOMINANT DISCOURSES IN A THAI TV SERIES
Asst. Prof. Suttipong Permpoon, Anjira Surasen and Asst. Prof. Dr. Supath Kookiattikoon
Introduction
Long known as one of the most powerful strategies utilized to convey both positive and
negative messages to its audience and television has an impact on our society (Dietz &
Strasburger, 1991). Frequently, shows on television are used to portray images of individuals or
groups of people in a particular society. TV series has ranked the most popular show among
different groups of Thai audience for many reasons. Moreover, they are not only used for
entertainment purposes, but are also used to portray social values, aspects and attitudes, and,
sometimes, to send political messages to its target audience. When we take a deeper look at TV
series, we will see many issues related to social ideology and hawkishness. According to Boboltz
(2017), gender is one of the most controversial issues portrayed and reproduced repeatedly to
emphasize proper/ideal gender roles. Additionally, Lauzen (2017) states that women are still
played “personal life-oriented roles” on screen while men are played “work-oriented” roles
nowadays. In fact, the roles of both sexes have been changed, and have always been negotiated.
It can be obviously seen that in many modern or progressive societies, males are no longer
leaders. They do not need to own a house or work for family. Females, on the other hand, have
more rights to join political activities, to possess properties and to achieve in workplace in their
society. In the past, many societies have followed the concept of patriarchy–a social system
organized and ruled by males or comprised of male authority figures (Crossman, 2017). Recently,
in Thailand, a TV series called Bupphesanniwat (บุ พ เพสั น นิ ว าส) or, in its English name, Love
Destiny clearly shows a patriarchal society where men are superior to women in terms of rights
to engage in political activities, to control property and family, and to have social privileges, for
instance. Consequently, patriarchy seems to exploit females, causing gender inequality in society.
On the contrary, matriarchy, also known as gynocentrism, is a society ruled by women (Gaia,
2017). Ideally, some social scientists believe that societies need to be equal in all or as many
aspects as possible. With this idea, it leads to the growth and development of feminism. It is a
political movement, ideology, and social movement that shares a common goal, which is to define,
establish, and achieve political, economic, personal, and social equality of sexes. This includes
seeking to establish educational and professional opportunities for women that are equal to those
for men (Hawkesworth, 2006).
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24th – 25th October 2019 at Srinakharinwirot University, Bangkok, Thailand
In addition to its value for the study of gender roles and equality, Bupphesanniwat is a
romantic-comedy time travel TV comedy series, a reminiscence of the glorious Ayutthaya Kingdom
of Siam in parallel with the events in the present time in the year 2018. Interestingly, the story is
told through the point of view of the main female character named Ketsurang. She describes
incidents she witnesses and expresses her thoughts by speaking to herself, following the
convention of most Thai TV series’ narration. At the beginning of the series, Ketsurang dies by
a car accident in the present time and suddenly travels back in time from the present day to the
reign of the late Ayutthaya Kingdom (during 1656 – 1688 A.D.) because, coincidentally, Karaket
another lead female character who lives in Ayutthaya period or about 387 years ago dies at the
same time. Therefore, Ketsurang’s soul dwells in the body of Karaket in Ayutthaya era. That is,
Ketsurang, who is a “modern woman” in the sense that she lives in the modern time and she
follows general women’ lifestyles of the 21st-century people, must get stuck in the past. Because
of its distinguished narration technique, storyline and critical sociopolitical issues, this TV series
gains popularity and, more importantly, is a good example of the contestation of gender ideologies
and identities that women in different periods of time face and gradually stand for their rights. It
also shows the development and drastic change of gender roles through different ranges of time.
In terms of characterization, Ketsurang is obviously against the power of men. She questions
and responds to the men’s discourses. From these reasons, I choose to study this Thai TV series
to see the male characters’ language use that dominates women and to see how the female
characters retaliate or respond to the male dominant discourses.
In this qualitative study the examination of gender inequality issues demonstrated
through the main characters’ speeches in the TV series, Love Destiny, is presented. Discussion
on forms of inequalities among male and female characters is also provided, to further explore if
female characters seek for equality in the contemporary world or still accept the domination.
The male dominant discourses and female responses demonstrated through the series
in this study are drawn from the speeches of 10 lead characters: Ketsurang, Karaket, Muen
Suntorntewa, Kun Ying Jampa, Ok Ya Hora thibdi, Janwat, Muen Rueng, Phin, Yaem, and Mali.
Because the screenwriter, Salaya Sukaniwat, changed some plots, dialogues, and elements from
the original novel composed by Janyawee Sompredee or Rom Paeng (2010), the dialogues of
the lead characters need to be thematically selected from the TV series—mentions and
discussions about issues related to gender and gender roles will be high-lighted. Another different
point of the novel-TV series adaptation is that the personalities and manners of Karaket in the
series are more childish; thus, she is usually more unreasonable than the one in the novel version.
As a result, the novel cannot be used as a supplementary and consultative source in this study.
1 2 T H H U S O C (24-25 October 2019)  81

However, the results of the study will not affect the implication and interpretation of the novel, as
the novel and screenplay are almost two completely different media.
This study will significantly contribute to cultural learning and awareness since it is
important for people to be aware of any changes of gender roles and equality in their society.
Teachers can also teach their students and raise awareness of the need for equality. Media
producers can be aware of producing biases or stereotypical presentation of one gender. TV
series audiences, in particular, can critically judge and determine the hidden meanings sent
through the entertainment media. To a greater and wider extent, the awareness of gender
inequalities can lead the readers of this study to regard and scrutinize other forms of inequality
critically as well.
Background and Setting of Bupphesanniwat

Written as a novel by Rompaeng (Chanrawee Sompreeda, 2010) in 2010, Bupphesanniwat
was selected to be produced into a TV series aired and broadcast nationwide in Thailand in 2018
on Channel 3. It is about Thai history in King Narai of Ayutthaya era and love between a woman
who is from the present time, Ketsurang, and a man who lives in Ayutthaya era. Ketsurang, a 25-
year-old archaeologist living in Bangkok period (1767 to present) 2018 dies by a car accident.
She meets Karaket who has the same appearance as hers by chance by some unknown magic.
Karaket asks Ketsurang to use her body to perform good deeds before she is dragged to hell for
when she was alive, she usually preforms bad deeds. Then Ketsurang’s soul dwells in Karaket’s
body, waking up in a Thai traditional dress and in a middle of nowhere in Ayutthaya period, some
300 years beyond her present time. Ketsurang keeps telling herself that she is dreaming. She
takes some time to learn and adjust herself to the Ayutthaya context. However, she keeps the
identity of liberalism and explicitly expresses her ideas to the people in the ancient time. Her
personalities and manners are unacceptable for many people in the Ayutthaya era. It causes her
to struggle, living in Ayutthaya under the dominance and the power exercised by males.
Patriarchy and Male Domination

Patriarchy means the rule of the father used to describe a specific type of male-dominated
family (Bhasin, 2006). In other words, patriarchy can refer to male dominant society. Mitchell
(1971) points out that patriarchy refers a system ruled by male heads of extended families.
Meanwhile, Walby (1990) defines patriarchy as a system of social structures and practices, in
which men dominate, oppress and exploit women. It is characterized by power, dominance,
hierarchy, and competition (Sultana, 2011).
1 2 T H H U S O C (24-25 October 2019)  82

Sultana’s study titled Patriarchy and Women’s Subordination: A Theoretical Analysis

(2011) presents and conceptualizes the characteristics of patriarchal society in the case study of
Bangladesh. It is used as a theoretical framework in this study as settings, and environmental
factors in Sultana’s study and this study share many things in common. Sultana discusses the
concept of patriarchy and origin of patriarchy by claiming that it is believed that men are born to
dominate and women to be subordinate, and it will continue to be the hierarchy like this. According
to her, both males and females have noticeable biological differences, but it does not have to
become the basis of a sexual hierarchy. Some examples of sexual hierarchy and patriarchy in
Bangladesh include preference of new born male children, discrimination against girls in the
domestic activities, burden of household work on females, the lack of educational opportunities
among females, the lack of freedom and mobility for girls, wife battering, sexual harassment, and
discriminating women from inheritance or property rights. Other examples are the absolute control
over females’ bodies by men, the lack of fertility or reproductive rights among women, the absence
of rights to choose husbands among women, the absence of rights for women to decide on family
planning methods, and the absence of rights for women to choose their own clothes.
Sultana discusses that these characteristics proved that women’s subordination
undermines women’s position in Bangladesh. Women bear many of the marks of a disadvantaged
minority in the social, economic and political realms. Moreover, women are affected by negative
impacts resulting from discrimination at birth leading to deprivation of access to all opportunities
and benefits in family and societal life. Also, religion is considered as a tool to conserve male
dominance over females.
Therefore, Sultana concludes that women are victims of subordination (e.g. under male
domination), exploitation (e.g. unequal pay, lower wages), and oppression (e.g. violence,
harassment). Although women in Bangladesh are apparently guaranteed gender equality by the
constitution and laws, they are not only subordinated in family’s life, but they are also subordinated
in society. It is because patriarchy influences men to exercise their power to control the society.
Female Responses
In this study, response is the way females, the lead character, specifically, reacts to male
dominant discourse— whether she keeps silent, accepts or resists against the discourse.
Response can be explained by Critical Discourse Analysis (CDA) as Dijk (1993), Fairclough
(1995), and, Weiss & Wodak (2003) discuss. They state that discourse is not only texts and
semiosis production, but it is also an interaction toward the discourse in CDA, which is considered
as a resistance against the dominant discourse as Dijk (1993) argued as follows:
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CDA prefers to focus on the elites and their discursive strategies for the
maintenance of inequality through studying top down relations of dominance than to
bottom-up relations of resistance, compliance and acceptance.
That is, female responses are considered as a resistance against male dominance.
Therefore, CDA approach is also employed to analyze whether female characters resist or accept
the dominance.
Using CDA as an approach, conversations involving lead female characters’ responses
reveal negotiation and exploitation of powers by men and women. Oftentimes the female
characters find themselves deprived of the rights to express their ideas and other human rights.
The following section reviews different kinds of rights needed for the analysis of gender inequality.
Human Rights
United Nation (UN) illustrates the Universal Declaration of Human Rights (UDHR) in
many languages all over the world to clarify the rights that everyone has since 1948, after World
War II. Eleanor Roosevelt (1948), chair of the United Nations Human Rights Commission defines
the UDHR as an international Magna Carta for all men everywhere. According to the UDHR, there
are five categories of human rights: civil, political, social, economic, and cultural rights. Further
elaboration on the exploitation of the five women’s rights by men is given in the discussion and
conclusions of this study.
Hofstede’s Cultural Dimensions

Hofstede (1980) employs national culture described in Cultures’ Consequences. It is a
framework for cross-cultural communication which describes the effects of a society’s culture on
the value of its members, and how these values relate to behavior (Hofstede, 1980). The cultural
dimensions can be divided into six dimensions: power distance, individualism vs. collectivism,
masculinity vs. femininity, uncertainty avoidance, long-term vs. short-term orientation, indulgence
vs. restraint. The framework by Hofstede (1980) is directly related to this study in the discussion
of the national culture: whether it has any consequences on belief construction and norm creation.
Contemporary Frameworks and Studies on Gender Inequality, Female Responses and Male
Dominant Discourses
Studies of gender inequality, female responses and male dominant discourses differ in
various cultural groups; however, their presentation and manifestation can occur concurrently in
1 2 T H H U S O C (24-25 October 2019)  84

different arenas and should not be considered merely as a separate form of human rights’
exploitation. Five related studies are selected to reflect the occurrence and presence of the main
issues and problems of the current study.
The selected studies are Sultana’s study (2011) which discusses the characteristics of a
patriarchal society, Panitchpakdi’s study (2007) on the representations of women in Thai soap
operas, Neculaesei’s study (2015) on culture and gender role differences, Kophon’s study (2014)
analyzing the role of retro drama in disseminating and conserving Thai cultural heritage, and a
study of Knight et al. (2012) on how men talk about sexual health using CDA approach.
Sultana (2011) explains the characteristics of patriarchal society using Bangladeshi
society as a case study as shown under the topic “Patriarchy and Male Domination”. However,
some characteristics, e.g., unequal food distribution among men and women and using a Purdah
to cover women’s bodies, cannot be used in the comparison with the contexts in the Thai society.
Additionally, Sultana uses a secondary source by collecting data from other scholars’ works. So,
to some scholars the results and arguments in the study are not perfectly solid since the
researcher does not go to the field in Bangladesh to collect the data to support the claims. Also,
the researcher does not clearly explain the method in the study. However, Sultana’s conclusion
supports that patriarchy results women’s subordinations in terms of social opportunities and
equalities. Therefore, this conclusion can be used to affirm the hypothesis of the study here that
Thai social structures, obviously, exploit and discriminate against women.
Panitchpakdi (2007) examines the representations of women in three prime-time Thai
soap operas with a focus on the relationship between the construction of women and Thai social
ideologies in the context of the Thai feminist movement. Panitchpakdi does a textual analysis, in-
depth interview with soap operas’ producers, and non-participatory observation in her study.
Therefore, in-depth interview and field observation help me better see the process of meaning
construction besides the information from the textual analysis. Additionally, she uses politics of
representation formulated by Stuart Hall (1996) as a theoretical framework. Politics of
representation is a site of contestation and negotiation in meaning-making process. It involves a
process of social construction and identity formation. Unlike Hall, Woodward (1997) argues that
representations produce meanings through which we can make sense of an experience and of
who we are. Also, stereotyping is stated in Hall’s framework (1997) as well. The results of the
study can be concluded that the women representations in Thai soap operas and the ideologies
surrounding their productions provide struggle of dominant gender ideologies and cultural
identities in contemporary Thailand. Moreover, the researcher claims that this study is conducted
by deploying cultural studies’ concept of representation as a key site of struggles (Hall, 1997)
which is considered as strength of the study. Also, the evidence from soap operas reflects the
1 2 T H H U S O C (24-25 October 2019)  85

repetitive and ongoing contestations and struggles of social and gender ideologies. In conclusion,
the results of this study help strengthen a more insightful understanding of representations of
women as sites of ideological struggles and contestation.
In Kophon’s study (2014) on the role of retro drama in disseminating and conserving
Thai cultural heritage, the exploration of whether retro drama can influence Thai society among
the popularity of foreign cultures is highlighted. According to Kophon, retro drama, also known
as time travel drama, aims to represent the so called “Thainess” concept and to preserve it. The
scholar analyzes screenplays and related academic papers using content analysis, and selects
the series aired during the prime time that represent Thai cultures during Ayutthaya – Rattanakosin
era, BE 1757 – 1957, with explicit representations of Thai cultures and history. The findings
suggest that retro drama is valuable, should be promoted more to raise awareness among young
age people, and foreign language subtitles should be provided to introduce Thai cultures to
international level. Thus, this study has proved that TV shows are a political tool utilized to shape
and construct the society.
Likewise, Neculaesei (2015) states that national cultures influence dominance that stems
from ethnicity, religion, social class, age, gender, and education. Therefore, the scholar intends
to prove how cultures shape the roles of genders in the society. The scholar uses content analysis,
similar to Sultana and Kophon’s studies, to figure out factors causing gender discrimination. The
factors that lead to gender discrimination are communication limitation, shaping and affecting the
lives of individuals (Hall, 1984), ethnics differences as a result of differences of perspectives, and
stereotypes. Unsurprisingly, it is found that socio-political context and national cultures shape the
way that individuals view others. The scholar suggests that gender discrimination can be solved
by creating and strengthening a legal framework with the condition of mentality change. Drawing
back to patriarchy, this study is an affirmation that inequalities and discrimination are an effect of
the way men see themselves. In conclusion, in contemporary Thailand, men still see themselves
as the leading or superior group who holds ultimate power in the society; therefore, it is important
to further investigate on how they exercise power through their speeches or discourses and
discuss whether we can change the ideology.
Besides, Knight et al. (2012) study how young men talk about sexual health with other
men, like friends, and their sex partners using CDA as the main approach. They conducted in-
depth interviews with 32 men from clinical (hospital) and non-clinical sites (community centers
and colleges) and from online social networks. The purposes were to examine whether health
service for men can be developed since men hardly talk about sexual health with others. They
mentioned that masculinity is social contexts that influence the way young men talk about sexual
health creating barriers for men’s engagement with STI and HIV testing services (Gautham et al.,
1 2 T H H U S O C (24-25 October 2019)  86

2008). Some participants revealed that talking about sexual health means they are weak which is
resisting the idea of masculinity. The results suggest that men can both comply with and resist
dominant discourses depending on social contexts; on the other hands, they avoided talking about
sexual health in a serious way, but ironic teasing humor (Korobov, 2008). Additionally, ‘manning
up’ represents a discourse that is used to break the silence and move beyond prescribed ‘guy
talk’ in order to engage in action-oriented discussion (Knight et al., 2012). In summary, this study
suggests that men’s health is at risk if they align themselves with masculinity. Hence, that they
should be more opened to talk about sexual health for their own benefits in the health services.
From the studies aforementioned, Knight et al. (2012) and Panitchpakdi (2007) use in-
depth interview to collect data to prove that some ideologies can be reflected through the
discourse. In terms of exploring the relations between discourse and society, using an in-depth
interview as a data collection strengthens the claim and provides more insightful results to explain
societal relationships, and it can affirm current situations in societies. However, analyzing texts
and semiosis, like Neculaesei (2015), Kophan (2014), and Sultana (2011), also give deep
information to uncover how discourse is reproduced and affects the society. On the other hand,
using CDA as an approach can be done by both in-depth interview and content analysis because
both can reveal the roots of beliefs and ideologies hidden behind the discourse. Therefore, the
previous studies prove that, to clearly explain the events, scholars need to fully understand the
framework, approach, and social contexts. For instance, it can be seen in Knight’s study that the
use of CDA only does not reveal much about the core contents and cannot fully uncover the
hidden messages in the participants’ discourses; they only transcribe the conversations and
describe them, then categorize them into themes without explaining how the ways participants
talk relate to masculinity and dominance. Still, the results of the study are clearly explained that
masculinity has an impact on the ways men talk about their sexual health. Furthermore,
Panitchpakdi and Kophon prove that TV shows can be used as a political tool to construct social
values and beliefs on audiences’ mind. As a consequence, this study will demonstrate how
Bupphesanniwat constructs cultural beliefs and social ideologies through the language use on
Thai people’s mind.
This study, similar to the previous studies in terms of its exploration to understand the
roots of cultures and beliefs produced by the media, is different in data collection, analysis, and
discussion. This textual analysis does not include interviews or field-based observation as it aims
to thoroughly explore the texts.
Male Dominant Discourses and Female’s Responses in Bupphesanniwat
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The following tables demonstrate male dominant discourses and female responses or
reactions in detail. The explanations are based on the CDA approach, describing how discourses
are used to control women and how discourses reflect norms and beliefs of men and society in
Ayutthaya time. The contexts or situations are also given, and the dominant discourses are
underlined for the ease of reading and further references.
Dialogue 1
Episode 11/1 at 15.00
Muen Suntorntewa asks Ketsurang about her well-being because she was unhappy
the day before, but today she seems better. Ketsurang seems moody and upset with him.
Ketsurang: I don’t need to tell you everything. (ข้าไม่จาเป็ นต้องบอกคุณพีท่ ุกอย่าง)
Muen Suntorntewa: You need to. (จาเป็ น)
Ketsurang: Why? (ทาไม)
Muen Suntorntewa: Because you’re my fiancée. (เพราะออเจ้าเป็ นคู่หมัน้ ของข้า)
Ketsurang: If I’m your wife, I still don’t need to do so. (ต่อให้เป็ นเมียก็ไม่ตอ้ งบอกทุกอย่าง)
Muen Suntorntewa: Karaket…You’re not my wife, yet you will be soon. You need to know
that, in Ayutthaya, husbands are completely superior to wives. (แม่การะเกด...ถึงออเจ้าจะยัง
ไม่ใช่แต่วนั หน้าก็ใช่ ออเจ้าก็ตอ้ งรูว้ ่าในอยุธยานี้ผวั มีอานาจเหนือเมีย )
Ketsurang: What an old-fashioned law! (กฎหมายไดโนเสาร์เต่าพันปี )
Muen Suntorntewa: You’ve always been acting weird. Wife is a man’s property. You’re going
to be my first wife. You must obey me no matter what. Not only to obey, but your fortunes
belong to me as well. If you commit any crimes or do anything wrong, I can lash you as many
as I want. I can sell you. Also, if you commit adultery- (ออเจ้าพูดจาประหลาดตามเคย คนเป็ น
เมียคือสมบัตขิ องผัว ตัวออเจ้าจะเป็ นเมียกลางเมืองของข้า ออเจ้าต้องเชื่อฟั งข้า ต้องทาทุกอย่างที่
ข้าสังให้
่ ออเจ้าทา อย่าว่าแต่ออเจ้าต้องบอกกล่าวข้าทุกอย่างทีอ่ อเจ้าทา แม้แต่ทรัพย์สมบัตขิ องออเจ้า
ทุกอย่างเป็ นของข้า หากออเจ้าทาความผิดใด ๆ ข้าจะตีจะโบยออเจ้าเท่าไหร่ขา้ ย่อมทาได้ ข้าจะขาย
ออเจ้าก็ยอ่ มได้ และถ้าออเจ้ามีช.ู้ ..)
Ketsurang: Hold on. We haven’t got married yet. How would I do that? (เดีย๋ วนะคะ...ยังไม่แต่ง
มีชแู้ ล้วเหรอคะ)
Muen Suntorntewa: If you commit adultery, I can choose how to punish you. (ถ้าออเจ้าคบชู้
ข้าเลือกวิธลี งโทษออเจ้าได้หลายวิธ)ี
Ketsurang: What are the punishment methods? (อะไรบ้างคะ)
Muen Suntorntewa: I can demand for a capital punishment or trade you in a slave trade.
(ข้าจะเลือกให้ออเจ้าถูกประหารชีวติ หรือขายออเจ้าเป็ นทาส)
1 2 T H H U S O C (24-25 October 2019)  88

Ketsurang: Seriously? (หา)

Muen Suntorntewa: Or sell you to a brothel. (หรือจะขายให้ซ่องชาเราบุรษุ )
Ketsurang: Really? (โห)
Muen Suntorntewa: Or leave you to be raped by a horse. (หรือจะให้มา้ ชาเราออเจ้า)
Ketsurang: WHAT!? A HORSE? (ห๊า (เสียงหลง) ม้า!?)
Muen Suntorntewa: Yes, a horse. (ใช่ ม้า)
Ketsurang: (mumble) How could it be possible? Men enforced this law and those rules for
sure. (to Muen Suntorntewa) What if/ (พึมพา) คิดได้ยงั ไงเนี่ย คนคิดเป็ นผูช้ ายแหงเลย (ถามหมืน่
สุนทรฯ) แล้วถ้า...
Khun Ying Jampa: Stop, Pho Det. I’m about to faint. (พอเถอะพ่อเดช แม่จวนจะเป็ นลมแล้ว)
Ketsurang: No, auntie. This is important. Don’t faint yet, please. (ไม่ได้ค่ะคุณป้ า เรือ่ งนี้สาคัญ
อย่าพึง่ เป็ นลมเจ้าค่ะ)
Khun Ying Jampa (sniffing the balm)
Ketsurang: What if men commit adultery? (แล้วถ้าผูช้ ายมีชลู้ ่ะคะ)
Ok Ya Hora Thipdi: (interrupting and yelling) WHAT DID YOU SAY? (เจ้าว่ากระไรนะ)
Everyone is awkward and immediately silence is present.
Ok Ya Hora Thipdi: Karaket, you are such a rebellion! Ayutthaya ladies never think like you
do! (แม่การะเกด ออเจ้าพูดจาสามหาวยิง่ แม่หญิงทัง้ อยุธยามิมผี ใู้ ดคิดอย่างเจ้า )
Ketsurang: (shaking voice) W….What do they think then? (แล้วเขาคิดกันอย่างไรล่ะเจ้าคะ)
Ok Ya Hora Thipdi: You don’t need to know! Keep in mind that no man is considered
committing adultery except that he has sex with married women. (ออเจ้าไม่จาเป็ นต้องรู!้ รูแ้ ค่ว่า
มิมผี ชู้ ายคนใดขึน้ ชื่อว่ามีชู้ ถ้าไม่ไปเสพสังวาสกับแม่หญิงทีม่ ผี วั แล้ว )
Ketsurang: Even with a single lady, it is still a kind of cheating because man has an affair
with another lady, but it’s because men have enforced the law, so they don’t think it’s a form
of cheating. (ถึงกับหญิงทีไ่ ม่มสี ามีกเ็ รียกว่ามีชเู้ จ้าค่ะ เพราะนอกใจภรรยาไปมีผหู้ ญิงอื่น แต่เพราะ
ผูช้ ายเป็ นคนเขียนกฎหมายไงเจ้าคะ จึงไม่เรียกว่ามีชู้)
Ok Ya Hora Thipdi: SHUT UP! (raising his voice) (พอที)
Ketsurang: I’m sorry. Please, excuse me. (asking with shaking voice) (ขอโทษเจ้าค่ะ งัน้ ขอตัว
นะเจ้าคะ) (leaving the room)
In Ayutthaya, according to the series, men can demand for different forms of punishment
if their wives commit adultery. Ketsurang points out that such punishments are unfair because
men enforce the law; hence, they do not consider it a crime if they commit adultery. The excerpt
1 2 T H H U S O C (24-25 October 2019)  89

shows the supreme power of men in that period. This discourse also proves that not only its
meaning matters, but it is also the way individuals convey the message. Ok Ya Hora Thibdi, a
powerful male scholar of the Ayutthaya court, is extremely angry at Ketsurang because she defies
the power, the law, and the way society is. As a consequence, forcing Ketsurang to stop
expressing her opinion violates the rights to have a freedom of speech of women.
Dialogue 2
Everyone in the house; Ok Ya Hora Thibdi, Muen Suntorntewa, KhunYing Jampa, and
Ketsurang, is going to go to the temple. Yet, they have a small quarrel and criticize on
Karaket’s hairstyle.
Khun Ying Jampa: Karaket, are you crazy? (แม่การะเกด นันออเจ้ ่ าวิปลาสไปแล้วเหรอนันน่
่ ะ)
Ketsurang: Yes? Why, ma’am? (ขา? ทาไมหรอคะ?)
*Khun Ying Jampa is about to hit Ketsurang to punish her.
Muen Suntorntewa: (interrupting) Mother. (คุณแม่ขอรับ)
Khun Ying Jampa: Pho Det, tell her to redo her hair. Also, tell her that she’s not just a
daughter of an unknown city ruler but a niece of Ok Ya Hora Thibdi, a great master of the
king. (พ่อเดช บอกแม่การะเกดให้หวีผมเสียใหม่ บอกนางด้วยว่า นางไม่ใช่ลกู สาวพระยาหัวเมืองทีไ่ ม่
มีใครรูจ้ กั เหมือนเมือ่ ก่อน แต่บดั นี้นางมีศกั ดิ ์เป็ นหลานสาวออกญาโหราธิบดี พระราชครูของขุนหลวง)
Ketsurang, speechless, does not move because she admires the honor and title of the man.
Since Ketsurang is interested in history, she’s always excited when she hears the names of
important people in Thai history.
Khun Ying Jampa: Why are you still here? Go! (ยังยืนทาหน้าอึมครึมอยูอ่ กี ไปสะสิ)
Ketsurang: Auntie, why? Everyone can do whatever hairstyles. What’s wrong with mine?
(คุณป้ าคะ ทาไมล่ะคะ ใครจะทาผมยังไงก็ได้ แปลกตรงไหนคะ)
Khun Ying Jampa: Here she is, the greatest rebellion. E Phin, E Yaem, take your master
away. If she doesn’t redo the hair, you two will be punish too! (ดูทรี พึ ดู ยอกย้อนไม่มใี ครปาน
อีผนิ อีแย้ม มึงเอานายมึงไป ถ้าไม่เปลีย่ นให้เป็ นผูเ้ ป็ นคนกับเขา มึงสองคนหลังขาด)
Ketsurang: Phin, Yaem, DON’T. Auntie, uncle, the hair is on my head. I can do whatever I
want because it’s my hair. What did I do wrong? (พีผ่ นิ พีแ่ ย้มไม่ตอ้ ง คุณป้ าคะ คุณลุงคะ
ผมบนหัวของข้า ข้าจะหวียงั ไงมันก็คอื หัวของข้า ข้าผิดตรงไหนคะ)
Khun Ying Jampa: Alas! My dear, please make it right. Definitely, I won’t let her go with this
queer hairstyle. It is a shame. People will gossip that ladies in this house are going nuts. If
this happens, it’s going to be a talk of the town. Pho Det, I won’t let that happen. (จัดการด้วย
1 2 T H H U S O C (24-25 October 2019)  90

เถิด ข้าไม่ยอมให้นางไปวัดด้วยผมวิปลาสเช่นนี้เป็ นอันขาด อับอายไปถึงไหนๆ เขายิง่ ลือว่าแม่หญิง

เรือนนี้เป็ นบ้าไปเสียแล้ว ถ้าให้เป็ นอย่างนี้คงลือกันทัวพระนคร
่ พ่อเดช...แม่ไม่ยอมเป็ นอันขาด)
Ok Ya Hora Thibdi: (Walking closer to study the hair) I think it’s strange, yet beautiful.
(ข้าว่ามันแปลกและสวยดีนะ)
Khun Ying Jampa: Oh dear! Then you all may go. I’ll stay home. (upset) (คุณพี!่ ถ้าอย่างนัน้
คุณพีก่ ไ็ ปเถิด ข้าไม่ไปแล้ว)
Muen Suntorntewa: You … should do as my mother said. (ออเจ้า...ทาตามทีค่ ุณแม่บอกเถิด)
Ketsurang: Did I do anything wrong? What is wrong about it? Is it illegal? (ข้าทาผิดอะไร
ทาผิดตรงไหน ผิดกฎหมายเหรอคะ)
Muen Suntorntewa: You did nothing at all. (ออเจ้าไม่ได้ทาผิดอันใดทัง้ สิน้ )
Ketsurang: Then why? (แล้วทาไมล่ะคะ)
Muen Suntorntewa: You have to meet the whole people in the temple and it is not good for
you, and I don’t want it to happen to you. (ออเจ้าจะต้องสูส้ ายตาคนทัง้ วัด ซึง่ ไม่เป็ นการดีกบั
ออเจ้าเลย ข้าไม่อยากให้เป็ นเช่นนัน้ )
Ketsurang: (stays silent and accepts to redo the hairstyle)
In this scene, Khun Ying Jampa gets mad at Ketsurang because she ties her hair in a
pigtail style and decorates it like a traditional Esan sausage. Khun Ying Jampa immediately forces
Ketsurang to redo the hairstyle like the traditional one. She demands both Ok Ya Hora Thibdi and
Muen Suntorntewa to make it ‘right’ because the crazy/ cutting edge hairstyle deeply embarrasses
her and disgraces the family. However, Ketsurang does not understand why she cannot do her
own hair the way she wants. She also retorts that there is no law to prohibit her to do so. This
scene, Ok Ya Hora Thibdi and Muen Suntorntewa do not seem to have any problems with the
hairstyle. Besides, Ok Ya Hora Thibdi finds it beautiful, and that makes Khun Yin Jampa angrier.
Consequently, Muen Suntorntewa explains logically that she might feel embarrassed in front of
the crowded in the temple, which he does not want it to happen to her. Therefore, this scene
shows the lack of physical mobility in term of dress (Sultana, 2011) and the resistance of women
against the traditional norm.
1 2 T H H U S O C (24-25 October 2019)  91

Dialogue 3
In the previous episode, a whirlpool causes a long-tail boat accident while Ketsurang
and Muen Suntorntewa are in it, and Muen Suntorntewa is drowned and losses
consciousness. So, Ketsurang gives him a ‘mouth to mouth’ resuscitation, a life-saving
strategy. Everyone is shocked by the incident. Later, in this scene, Muen Suntorntewa tells
his father every detail about the circumstance while Ketsurang sits and listens quietly.
Ok Ya Hora Thibdi: This time, people will talk about what happened all over the town. So,
what’s your plan? (คราวนี้กค็ งจะลือกันทัง้ พระนคร แล้วออเจ้าจะทาอย่างไร)
Muen Suntorntewa: I think I’m going to get married. (ข้าคิดจะออกเรือนขอรับ)
Ok Ya Hora Thibdi: Do you think so? (คิดอย่างนัน้ รือ)
Muen Suntorntewa: Yes, sir. (ขอรับ)
Ok Ya Hora Thibdi: Thoroughly? (ถีถ่ ว้ นแล้ว)
Ketsurang: Well…excuse me? (เอ่อ เดีย๋ วนะคะ)
Ok Ya Hora Thibdi: Have you slept on it already? (ตรองทัง้ คืน)
Ketsurang: There’s no need to do so, uncle. If they want to rumor it, just let them. We can
ignore them. Plus, I was shouting all the time “I’m saving his life”. No one’s gonna think I did
an appropriate thing. It’s not a big deal. So, marriage isn’t necessary at all. (ไม่จาเป็ นต้อง
ขนาดนัน้ ก็ได้นะคะคุณลุง ใครจะลือก็ปล่อยให้เค้าลือไปเราไม่ตอ้ งสนใจสะอย่าง จะกลัวอะไรล่ะคะ อีก
อย่างข้าก็ประกาศอยูต่ ลอดว่า ช่วยชีวติ ๆ ไม่มใี ครคิดหรอกค่ะว่าข้าทาเรื่องน่ าเกลียด เรือ่ งเล็กนิด
เดียวเองเจ้าค่ะ ไม่จาเป็ นต้องออกเรือนหรอกนะคะ)
Muen Suntorntewa: Karaket, shut up. (แม่การะเกด เงียบปาก)
Ok Ya Hora Thibdi: Yes, Karaket, it’s an adult business – stop being nosey. So, Pho Det, do
you want an engagement first? (อือ้ ใช่ แม่การะเกด นี่เป็ นเรือ่ งทีผใู้ หญ่เจรจากัน มิใช่เรือ่ งทีเ่ จ้าจะ
สอดขึน้ พ่อเดช พ่อเดชอยากให้เป็ นแค่หมัน้ หมายไว้ก่อนใช่หรือไม่)
Khun Ying Jampa walks into the hallway
Khun Ying Jampa: (interrupting) Karaket, huh, a trouble maker! (แม่การะเกด หึ แม่ตวั ดี)
Khun Ying Jampa blames Ketsurang that the incident was the worst thing happening to her
family, and no one has ever done it before in Ayutthaya. Yet, Ok Ya Hora Thibdi says that it
needs to be corrected by marriage because Ketsurang’s reputation is destroyed and she can
be left on the shelf.
1 2 T H H U S O C (24-25 October 2019)  92

Khun Yin Jampa: Better send her back to Song Kwae Town. (ส่งกลับเมืองสองแควไป
ไม่ดกี ว่าหรือ)
Ok Ya Hora Thibdi: I’ve been decided. NO NEED to discuss this anymore. (ข้าได้ตดั สินใจเรือ่ ง
นี้ไปแล้ว ไม่จาเป็ นต้องถกเถียงกันอีก)
Khun Yin Jampa stops saying things, is displeased, and expresses a disappointing feeling on
her face.
The discourse in Table 3. above clearly presents how men exercise their power through
their speeches and language. Because Ok Ya Hora Thibdi’s role is a family leader who holds the
supreme power in the house, his decision is considered absolute. This is a patriarchal
characteristic called family planning methods decided by husbands (Sultana, 2011). In addition,
forcing Ketsurang to stop sharing her opinion is not only because she is younger, but because
women have no rights to make a decision on the issue or any other important domestic affairs.
Dialogue 4
Eepisode 12/3 at 04.30
At Mali’s mansion, Ketsurang and Muen Suntorntewa visit the lady. When they about
to leave the mansion, Mali has a fight with her husband. Ketsurang asks about wife physical
battering in Ayutthaya.
Ketsurang: It is common, isn’t it? (เป็ นเรือ่ งปกติใช่มยั ้ เจ้าคะคุณพี)่
Muen Suntorntewa: What’s common? (ปกติอย่างไร)
Ketsurang: It’s common to abuse wife. (ทีผ่ วั จะลงไม้ลงมือกับเมีย)
Muen Suntorntewa: Yes, it is. Why can’t it happen? (เป็ นเช่นนัน้ สิ เหตุใดจึงมิได้)
Ketsurang: Of course not! Both husbands and wives are humans. (ไม่ ไ ด้ส ิเ จ้า คะ ผัว กับ เมีย ก็
เป็ นคนเหมือนกันนะเจ้าคะ)
Muen Suntorntewa: You’re talking nonsense again. Who said they aren’t humans? (ออเจ้าพูดจา
ประหลาดอีกแล้วหนา ผูใ้ ดว่ามิใช่คนเล่า)
Ketsurang: Humans are all equal. (เป็ นคนเท่ากัน)
Muen Suntorntewa: How’s equal? Women are in men’s custody. Men are their life-protectors,
defending women’s well-being. That can’t be equal. (เท่ากันได้อย่างไร ผู้หญิงอยู่ในอารักขาของ
ผูช้ าย ผูช้ ายคุม้ ครองคุม้ หัวผูห้ ญิงจักว่าเท่ากันได้อย่างไร)
Ketsurang: A life-protector and guardian? (คุม้ หัวหรือเจ้าคะ)
Muen Suntorntewa: It is. (ใช่ คุม้ หัว)
Ketsurang: Unacceptable. I can’t take it. (รับไม่ได้)
1 2 T H H U S O C (24-25 October 2019)  93

Muen Suntorntewa: Take what? (a language barrier among the characters [modern Thai
language versus old Ayutthaya language: the word ‘take’ in this context was not introduced in
that period]) (รับอะไรรือ)
Ketsurang: If my husband physically abuses me, I’ll fight till death. (ถ้าผัว ข้าตบตีข้า ไม่ข้าก็ผวั
จะต้องตายกันไปข้างนึงแน่นอน)
Muen Suntorntewa silently stares at Ketsurang, feeling surprised and stunned.
Ketsurang: I’m serious. (จริง)
Muen Suntorntewa: Can you behave? Mind your language! If you’re hardheaded or too
stubborn, why can’t I abuse you? At least I should batter or shut you in the house for good.
(เรียบร้อยเป็ นหรือไม่ วาจาระคายหูนัก หากออเจ้าดือ้ ดึงจักไม่ให้ล งไม้ลงมือบ้างหรอกฤา อย่างน้อย
ต้องตีสกั ทีสองทีให้หายดือ้ แลขังไว้ในเรือนมิให้ไปทีใ่ ด คงจักดี)
Ketsurang: Only good in your eyes. (walks away) (ดีไปคนเดียวเถอะค่ะคุณพี)่ (เดินหนี)
Muen Suntorntewa tediously signs
The male character expresses the idea of wife battering to discipline a wife, another
characteristic of the patriarchal society by Sultana (2011). This emphasizes the common physical
abuse in Thai society. Also, it reflects domestic violence in the house. Otherwise, Muen
Suntorntewa suggests that men can lawfully abuse their wives because men are viewed as a
superior gender and are protectors of women. However, this time Ketsurang responses against
the norm. She voices that men and women are equal. Therefore, women should not be abused
and physically hurt. Additionally, Ketsurang adds that if she is abused by her husband, she will
fight back. This can be said that women, when being abused, should not accept, should stand
against it, and voice for their own ideas of what they deserve and do not deserve to get.
Dialogue 5
Eepisode 2/1 at 27.19 and 2/2 at 0.05
Muen Suntorntewa hears that Ketsurang is talking alone. They, then, have a fight.
Muen Suntorntewa: WAIT! (shouting angrily) (เดีย๋ ว!)
Ketsurang: It’s the second “wait”. (สองเดีย๋ วแล้วนะคะ)
Muen Suntorntewa: You speak weird. (ออเจ้าพูดจาประหลาด)
Ketsurang: (mumbles) Strange, then weird, the next time will be ‘crazy’ for sure. (ตอนแรกแปลก
ตอนนี้ประหลาด ตอนหน้าวิปลาสชัวร์)
Muen Suntorntewa: You don’t speak our language. Who are you? (ออเจ้าพูดจาไม่เหมือนทีช่ าว
เราพูดกัน ออเจ้าเป็ นใคร)
1 2 T H H U S O C (24-25 October 2019)  94

Ketsurang (silent)
Muen Suntorntewa: I’m asking. Why do you remain silent? (ข้าถาม ใยทาหน้านิ่งอย่างนี้)
Ketsurang: I don’t know what to say. (ก็ไม่รจู้ ะตอบว่าอะไรนิคะ)
Muen Suntorntewa: ANSWER MY QUESTION! (shouting loudly) (ตอบทีข่ า้ ถาม)
Ketsurang: Then why are you asking like that? (shouting) (แล้วถามแบบนัน้ ทาไมล่ะคะ)
Muen Suntorntewa: Eh! You’re SO STRANGE. (เอ้ะ ออเจ้านี่ประหลาดจริง)
Ketsurang: It’s true. You clearly know who I am. (ก็มนั จริงนี่คะ คุณหมื่นก็รอู้ ยู่แล้วว่าฉัน..ข้า เป็ น
ใคร)
Muen Suntorntewa is silent but is staring at Ketsurang attentively.
Ketsurang: (mumbles) Like an x-ray scanner. (อือ้ หือ อย่างกับเครือ่ งเอกซเรย์)
Muen Suntorntewa: (physically oppressing Ketsurang and furiously shouting) WHAT DID YOU
SAY? SAY IT again. (ออเจ้าพูดอะไร พูดใหม่อกี ที)
Ketsurang: Nothing. Just mumbling. (เปล่าค่ะ แค่ราพึงราพัน)
Muen Suntorntewa: NO! You said weird thing! What language is that? (continuing shouting) (ไม่
จริง ทีอ่ อเจ้าพูดมันดูประหลาด นันภาษาอะไร)
่
Ketsurang: Ouch! It’s hurt. (groaning) (เจ็บนะคะ)
Muen Suntorntewa: Answer me! WHO ARE YOU? (ตอบข้ามาเดีย๋ วนี้ว่าเป็ นใคร)
Ketsurang: I am Karaket. (เป็ นการะเกดสิคะ)
Muen Suntorntewa: NO WAY! (physically abusing Karaket) (ไม่จริง)
Ketsurang: Ouch! (mumbling) Ayutthaya man is cruel, … brutal. (โอ้ย ทาไมผูช้ ายอยุธยามันโหด
อย่างนี้วะ)
Muen Suntorntewa: What? (ว่าอย่างไร)
Ketsurang: (walking away to keep distance) Stay there! I’ll fight back if you come any closer.
(อย่าเข้ามานะคะ ฉันสูจ้ ริงด้วย)
Muen Suntorntewa: WHAT!? (ออเจ้าว่าอะไรนะ)
Ketsurang: I’ll FIGHT. (ฉันสู)้
Muen Suntorntewa: You’re going nuts. Fighting against men? I’ve never seen it before. (ออเจ้า
เสียสติ วิปลาสไปแล้ว เป็ นหญิงลุกขึน้ สูก้ บั ผูช้ าย ข้าไม่เคยเห็น)
Ketsurang: WHY? Women and men are equal. (ทาไมคะ เป็ นหญิงเป็ นชายก็คนเหมือนกัน)
Muen Suntorntewa (silent)
Ketsurang stares at Muen Suntorntewa and walks away silently.
Muen Suntorntewa: WAIT! Karaket! I said STOP! (เดีย๋ ว แม่การะเกด ข้าบอกให้หยุด)
Ketsurang leaves the scene.
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In this conversation, Muen Suntorntewa and Ketsurang are having an argument at the
hallway. It is the first time they have the conversation after the curse (Mon Kritsanagali – a make-
up curse used to imprecate ones to death). Muen Suntorntewa is curious to know who the woman
is since her personalities and behaviors are completely different from when she was before having
been cursed. It is commonly known that Thai ladies have to well-manneredly behave. Karaket
normally speaks Ayutthaya language, meaning that the language she speaks can be understood
easily for the man; but, this time what she says is completely strange and nonsense. Moreover,
she says “I’ll fight you” with the notion that both men and female are equal which is not an
appropriate manner for ladies. It is against the ideal socio-political concept in the ancient time.
People believe in hierarchy of economic status, social class, and gender supremacy. Thus, women
must be subordinated and are under the power of men.
Dialogue 6
Episode 4/5 at 6.18
Muen Suntorntewa and Ketsurang arrive home from the market. After stepping out
from the long-tail boat, they have this conversation
Muen Suntorntewa: Karaket, you just stepped out of the house. I’m not sure that your flirting
behavior is normal, or you didn’t mean to, yet it’s unacceptable. People may rumor that Ok
Ya Hora Thibdi’s niece is untamed and flirts around. It disgraces all of us. (แม่การะเกด ออเจ้า
เพิง่ ออกนอกเรือน มิรวู้ ่ากิรยิ าชม้ายชายตาของออเจ้าเป็ นวิสยั ปกติฤาเผลอไผล จะเป็ นอันใดก็ตามก็ม ิ
บังควรกระทา ผูใ้ ดเห็นเข้าจักเอาไปนินทาได้ว่า หลานคุณพ่อกิรยิ ามิงาม เป็ นหญิงชม้ายชายตาให้
ผูช้ ายไปถ้วนทัว่ จักพาขายขีห้ น้ากันทัง้ เรือน)
Ketsurang keeps silent and seems not to understand.
Muen Suntorntewa: If you want to say anything, go ahead. (จักว่าอย่างไรก็ว่ามา)
Ketsurang: I have nothing to say because I don’t know what you mean, but if you want me to
understand it, you have to repeat it all. (ไม่ได้ว่าค่ะ เพราะข้าฟั งไม่รเู้ รือ่ ง แต่ถา้ อยากให้ขา้ ฟั งรู้
เรือ่ งก็ตอ้ งพูดใหม่ทงั ้ หมดนัน่ แหละค่ะ)
Muen Suntorntewa indignantly looks at her in the eyes.
Ketsurang: I’m waiting. (รอฟั งอยูค่ ่ะ)
Muen Suntorntewa: You’re talking nonsense. You fully aware of what you’ve been doing, or
you have no idea that Ayutthaya ladies never behave badly like you. Only Song Kwae ladies
do it. (ออเจ้าอย่าพูดจาเหลวไหลเลื่อนเปื้ อนเชือนแชไปข้างโน้นข้างนี้ ออเจ้าทาสิง่ ใดย่อมรูอ้ ยูแ่ ก่ใจ
หรือออเจ้าไม่รวู้ ่าแม่หญิงอโยธยาเขาไม่ทากิรยิ าน่ าละอายอย่างออเจ้า เห็นจะมีแต่แม่หญิงเมืองสอง
แควเท่านัน้ )
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Ketsurang: Ayutthaya ladies have done the same, and I saw it! (ผูห้ ญิงอโยธยาก็ทาเหมือนกัน
ไม่ใช่ไม่เคยเห็น)
Muen Suntorntewa: What do you mean? (ออเจ้าหมายจะพูดว่ากระไร)
Ketsurang: That’s it. As you please. (ตามนัน้ )
Muen Suntorntewa: That’s it? What? [language barrier: the Thai phrase equivalent to the
English phrase ‘That’s it’ was not introduced.] (ตามนัน้ ตามไหน?)
Ketsurang: That’s it. Because I’ve seen Ayutthaya ladies did it, and they did it with you! At
Wat Derm Ayutthaya, I’ve seen everything! In that case, you accepted it, but I did nothing, but
you still blame me! It’s a double standard! (ก็ตามนัน้ แหละค่ะ เพราะข้าก็เคยเห็นผูห้ ญิงอโยธยาทา
เหมือนกัน ไม่ได้ทากับใครทีไ่ หน ทากับตัวเองนันแหละ
่ ทีว่ ดั เดิมอโยธยาข้าเห็นทัง้ หมด ทีอย่างงัน้ ทา
ได้ ทีขา้ ยังไม่ได้ทาอะไรเลยยังมาว่า สองมาตรฐานชัดๆ)
Ketsurang yells at the man, in the meantime, Muen Suntorntewa walks straight to her
attempting to physically hurt her. Then she pushes him away and walks out of the scene.
This discourse presents a female response. In this episode, Muen Suntorntewa begins
to fall for Ketsurang. Therefore, he is jealous when Ketsurang talks intimately to and has some
delightful moments with other men such as Muen Rueng and Luang Si Yot. That is what he calls
“flirting.” Panitchpakdi (2007) states that female characters in her study hardly response to
domination and subordination. Moreover, this conversation supports the idea of women
subordination in terms of looking down on women. In addition, in this context, Ketsurang has a
piece of evidence to back up her argument from being blamed.
Discussion
As Fairclough (1995) defines that in critical discourse analysis the relationships of
dominance, discrimination, power, and control are concerned, this part primarily focuses on the
relationships between the characters and social contexts. In addition, the roots of beliefs and
norms that shape Ayutthaya society are discussed in the series.
First of all, the series’ setting is in Ayutthaya period (during 1656 – 1688 A.D.) and modern
time (during the 2010s). In Ayutthaya era, men hold the power of the society. Privileges and
properties, including women, one kind of the male’s properties, belong to men. In other words,
women are men’s objects (in dialogue 1, “wife is a man’s property”). Therefore, men can treat
women as they please. This point of view, seeing women as a lower rank than men, causes social
problems and leads to discrimination in the society. Most Ayutthaya women do not consider it
domination because they agree to be controlled by men. To them, it is beneficial to have men
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as protectors. As you may see from other female characters in Bupphesanniwat: Khun Ying
Jampa, Lady Janwat, Phin, and Yaem, the female characters never question, nor do they resist
anything, right/ proper or wrong, men do. Instead, they choose to follow the commands of men
strictly. Yet, Ketsurang who is from the modern time, points out that there is something wrong
with such kind of power exercised by men. So, in her idea, inequality in the society should be
fixed somehow. Thus, this is how the social problem occurs, the different points of view of the
same issue or conflict among Ketsurang and other characters. Viewers can see development of
this dynamic lead female character from the exposition or opening situation in the series that
leads to minor and major conflicts in the story.
Even though the representatives of Ayutthaya women agree to be controlled,
occasionally, they stand up against domination and oppression. However, men always force and
oppress them under their control, abusing them physically and verbally. As in dialogue 1 when
Ketsurang tries to explain what adultery is, Ok Ya Hora Thibdi loudly yells at her, causing her to
give up on expressing her thought. In addition, this scene not only presents how men dominate
women, but it also displays seniority and respectfulness in Thai society. In a Thai context, younger
individuals are oppressed in the same way women are. In other words, questioning and explaining
are considered disrespectful if inferior or younger people do it directly to the superior or older
ones. From this reason and mindset, Ketsurang stops arguing with Ok Ya Hora Thibdi and leaves
the scene immediately. According to Panitchpakdi (2007), female characters hardly resist the
subordination in Thai soap operas. Nevertheless, the lead female character in Bupphesanniwat
resists to the power of men. Ketsurang, the lead character, responses both verbally and non-
verbally to male dominant discourses. Meanwhile, what Ketsurang have said and done is usually
logical in order to convince others to believe that submission of male dominance is unacceptable.
Other characters seem to against Ketsurang in the early episodes. Then in final episodes
(9 – 15), they accept the idea of female resistance.
In conclusion, in Bupphesanniwat, men oppress women by reminding women that they
are in a lower rank and they are objects to men through spoken discourses when the character
have conversations. Also, the main female character, Ketsurang, responses to every discourse
that exploits and oppresses her rights, possibly both to show her disapproval and to change the
way the Ayutthaya society is at some degree. Also, Ketsurang frequently adds her reasons to
support her arguments and beliefs and to show that she is not a woman who accepts domination
and subordination. For the audience, this might be one of the key intended messages that
Ketsurang conveys— to encourage woment to stop keeping silent when being oppressed by men.
Otherwise, the series is artfully presented to introduce and balance the ideas of modernization
and maintenance of traditional values in a subtle way through dynamic changes and gradual
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transformation of the lead characters. In other words, Ketsurang has not seriously and solely
strived to modernize the society. Also, Khun Ying Jampa has not been strict in every aspect to
change Ketsurang’s behaviors totally. In addition, in several scenes, Ketsurang has made it clear
that she has not been in Ayutthaya to change things, but she has only been in Ayutthaya for her
soulmate, Muen Suntorntewa (or Rueng Rit, the other twin of her best friend in her modern time).
It indicates that she does not attempt to revolutionize the beliefs and norms that have long been
rooted, practised and passed on from generation to generation in Ayutthaya culture and diversified
the society for ages.
Characteristics of Patriarchal Society
Table 1 below helps clarify the contexts of domination that cause women’s subordination
in Thai society. The characteristics of patriarchal society (Sultana, 2011) are classified in the first
column of following table. The second column shows the discourses in Bupphesanniwat that
demonstrate women subordination during Ayutthaya period.
Table 1 The characteristics of patriarchal society in Bupphesanniwat
Characteristics Examples and explanation

Example 1 Episode 11/1 – see dialogue 1 for more details.
Ketsurang and Muen Suntorntewa are arguing about the definition of adultery.
Muen Suntorntewa frightens Ketsurang, saying that women can be abused,
sold, and killed if the women cheat on their husbands.
Wife-battering Example 2 Episode 12/3 - see dialogue 4 for more details.
Ketsurang questions if it is normal to batter wife. Muen Suntorntewa explains
why it is acceptable for men to batter their wives—to compel the wife not to be
against the husband; in other words, to maintain and sustain men’s power
over women.
Example 3 Episode 8/2 at 11.50
Ketsurang joins a traditional game with children in the house. She is curious
about who they are. So, she asks her servants for further information. Also,
Lack of
she asks if these children are provided with proper or adequate education.
educational
One of her servants, Phin, says “girls cannot be given an opportunity to study”
opportunities
(โอ้ย เด็กผูห้ ญิงจะเรียนหนังสือได้ยงั ไรเจ้าคะ). Yet, Ketsurang adds that lady
Janwat is highly educated, but the servant explains that it is because she is a
daughter of a senior government official.
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Table 1 (cont.)
Characteristics Examples and explanation

Example 4 Episode 2/5 at 3.15
Ketsurang asks to go out with Muen Suntorntewa. At first, he denies, but
Ketsurang begs him for it several times untill the man agrees to comply,
allowing her to accompany him.
Example 5 Episode 7/4
Muen Suntorntewa is about to go to She Gun Market with Muen Rueng.
Lack of freedom
Ketsurang wants to visit the market with him, but he denies. He also threatens
and mobility
her that if she does not obey, he will not take her to anywhere else. Then they
talk about Ban Jeen Market, making Ketsurang excited and desire to go.
Example 6 Episode7/5
This time, Ketsurang asks to go to Ban Jeen Market. Once again, Muen
Suntorntewa denies doing so because it is not a place for aristocrat or noble
ladies (หญิงผูด้ )ี . However, she sneaks off.
Example 7 Episode 15 – After marriage, Ketsurang is pregnant. Muen
Preference of
Suntorntewa feels the baby and says, “may you give birth to a baby boy for
newborn boys
me, please.” (ขอลูกชายให้ขา้ เถิดหนาลูกพ่อ)
Lack of physical Example 8 Episode 14 – Ketsurang puts a flower behind her ear, and Khun
mobility in terms Ying Jampa, again, blames her for that as it is a symbol of prostitute (หญิงงาม
of dress เมือง).
Example 9 Episode 6/5 – While Ketsurang is eavesdropping, Phin says “ladies
must care for “ladies’ household responsibilies”. “Cooking, work in the kitchen,
Women’s
garland-flower making, and taking care of or serving men are one of them.”
responsibilities
Example 10 Episode 7/2 – After the elders agree to arrange her marriage,
for household
Ketsurang needs to learn lady’s work as Phin has said in episode 6/5. She
works
needs to know all of that because, according to Khun Ying Jampa, she must
be able to teach the servants when she becomes the first wife (เมียกลางเมือง).
Additionally, the following characteristics—sexual harassment at workplace, the control

of women's bodies by men, unequal inheritance to male family members, and food distributing to
male first are partially displayed in Bupphesanniwat. Additionally, the outstanding context that
can be discussed and compared with Sultana’s study is access to food resources. In Bangladesh,
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food is not enough to meet peoples’ needs. It is believed that Bangladesh has faced with economic
problems causing food production and food accessing almost impossible (Sultana, 2011).
Furthermore, Sultana adds that the lack of food has caused self-sacrifice. Since thousands of
children in Bangladesh have been underweight, mothers have sacrificed for their children whereas
men can have enough food since they work for and take care of the family. In contrast, in the
series Ayutthaya has plenty of food as we can see from several the cooking scenes. Ketsurang
cooks various dishes, studies, and practices different recipes. Therefore, the Thai and
Bangladeshi contexts are different.
Overall, sexual harassment at workplace, the control of women's bodies by men, and
unequal inheritance to male family members cannot be intensively discussed in this study since
the series are incomprehensive to those issues, and the settings are of different contexts to the
framework. However, the demonstrated issues in the series is not a form of generalization, cannot
be applied to every cultural, social, and political condition or phenomenon in the modern or
traditional Thai culture as a whole. They are only small parts of a reflection and criticism of events
of different opinions and attitudes people might have in the ancient time. Some cultures or norms
have already disappeared because people both in the old and new generations have learned to
understand each other. For instance, the conflicts among such characters as Khun Ying Jampa
and Ketsurang, and Muen Suntorntewa and Ketsurang, are serious from episodes 2 to 8.
Meanwhile, viewers of the series can see that the conflicts towards the end of the story are
resolved. It can be implied that Thai people are flexible in a way. They can embrace changes and
adapt with the environment easily, yet prompt or sudden changes sometimes cause negative
consequences. This phenomenon can be explained based on Hofstede’s cultural dimensions
(1980). Thailand scores 64 points in the dimension of uncertainty avoidance (Hofstede, 1980). It
means Thai people try to avoid ambiguous or unknown situations that can create misbeliefs
ormisconceptions, and build new institutions. The ways Ketsurang has brought new beliefs and
has tried to change things are considered as threats in some cases.
Rights Exploitation
Since the Human Rights (United Nation Declaration of Human Rights, 1949) framework
is employed to classify the exploitation of power and the presence of inequality demonstrated
through the TV series, this topic presents the way women are inferior to men and are considered
subordinates with the brief examples from the series.
1. Civil Right
In terms of frequency, the civil right is not obviously exploited in the series, but it can
be considered as an important and distinguished form of discrimination. As Karaket is originally
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from Song Kwae (Pitsanulok city in the present time), the language she speaks is not pleasing to
the ears of and cannot be fully understood by Ayutthaya people. Thus, her behaviors, personalities
and the way she uses her language cause racial discrimination. The examples of discourses can
be studied below.
Table 8 Civil right exploitation in Bupphesanniwat
Episode 4/5 Muen Suntorntewa: You’re talking nonsense. You are fully aware of what
you’ve done, or you have no idea that Ayutthaya ladies never behave badly
like you. Only Song Kwae ladies do. (ออเจ้าอย่าพูดจาเหลวไหลเลื่อนเปื้ อนเชือน
แชไปข้างโน้นข้างนี้ ออเจ้าทาสิง่ ใดย่อมรูอ้ ยูแ่ ก่ใจ หรือออเจ้าไม่รวู้ ่าแม่หญิงอโยธยา
เขาไม่ทากิรยิ าน่ าละอายอย่างออเจ้า เห็นจะมีแต่แม่หญิงเมืองสองแควเท่านัน้ )
Episode 11/1 Ok Ya Hora Thibdi: Karaket, you are such a rebellion. Ayutthaya ladies never
think like you do!(แม่การะเกด ออเจ้าพูดจาสามหาวยิง่ แม่หญิงทัง้ อยุธยามิมผี ใู้ ด
คิดอย่างเจ้า)
Episode 2/5 Muen Suntorntewa: I’ve never seen anyone (in Ayutthaya) behaving badly
like you. (ข้าไม่เคยเห็นผูใ้ ดทากริยาน่ารังเกียจเหมือนอย่างออเจ้า)
Episode 3/1 Muen Suntorntewa: Step aside. Don’t be an aberrant lady.What a shame.
(ออเจ้าหลีกไป อย่าตอแยให้ผดิ วิสยั หญิง น่ารังเกียจเหลือทน)
Episode 3/3 Muen Suntorntewa: That behavior’s very disgusting. Don’t you know that lady
shouldn’t wave their hands at guys like that.
(กิรยิ าเมือ่ ครู่ น่ าเกลียดเหลือทน ออเจ้ามิรฤู้ าว่าเป็ นสตรีมคิ วรโบกไม้โบกมือให้ผใู้ ด)
We can conclude from these excerpts that whenever Ketsurang did something wrong
or acted differently from the norms of Ayutthaya people, people always blame that it is resulted
from her origin and background. Therefore, she is considered alien and needs to adjust herself
to the norm.
2. Political Right
Political right is the right to engage in political activities and decisions. In the series,
women are banned from voicing their political opinions and expressing and political information.
Ketsurang and Khun Ying Jampa are eager to know the detail of some major political events, but
the men keep it confidential. It is because women and men hold different social and political
roles. In this context, the lead female characters are in a noble family led by noblemen. Therefore,
men’s and women’s duties are absolutely separated. Men usually go out to serve the king at the
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grand palace while women usually stay home doing housework and taking care of babies. But
Ketsurang, a representative of modern women, goes against the social ideology. The following
conversation presents two points of view: the view of ideal Ayutthaya women and modern women.
Dialogue 7
Example from episode 6/5 at 6.53
Muen Suntorntewa, Muen Rueng, and other senior male officials discuss the “men’s
businesses” in which women are not allowed to participate, but Ketsurang attempts to
eavesdrop.
Ketsurang: WHY? Why can’t I join them? (ทาไมอะ ทาไมถึงอยูด่ ว้ ยไม่ได้ ข้าไม่เข้าใจ)
Phin: It’s a government affair for men only, ma’am. (ข้อราชการเฉพาะผูช้ ายเจ้าค่ะ)
Ketsurang: Why do they look so serious? (ทาไมดูซเี รียสกันจัง)
Yaem: There’s no lady wishing to know men’s businesses, ma’am. (ไม่ม ีแ ม่ห ญิง คนใด อยากรู้
เรือ่ งผูช้ ายหรอกเจ้าค่ะ)
Phin: Ladies must care for ladies’ affairs, ma’am. Cooking, kitchen work, garland-flower making,
and serving men, ma’am. (ผูห้ ญิงก็ต้องรูเ้ รื่องผูห้ ญิงด้วยกันสิเจ้าคะ ทากับข้าว งานครัว กรองมาลัย
ร้อยดอกไม้แล้วก็ปรนนิบตั ผิ ชู้ ายเจ้าค่ะ)
Ketsurang: (signs) But that’s not an “IT WOMAN.” You know? (แต่นัน่ ไม่ใช่วถิ ขี องผู้หญิงยุคไอที
ยูโน๊ ?)
3. Social Right
Social right oppression is highly demonstrated in episode 8 where Ketsurang asks
her servants about the children in the house, whether they are provided with proper education as
shown in Example 3 Episode 8/2/ at 11.50. In this context, it is not only about gender equality,
but it is also about social class. As Ketsurang points out that Lady Janwat is provided with
education, it is because she is a daughter of a nobleman. Also, the right to choose a partner and
to have a family is oppressed as discussed in dialogue 3 when Muen Suntorntewa tells his father
that he is going to marry Karaket (Ketsurang). However, Ketsurang tries to voice that she does
not want the marriage; yet, she is forced to stop interrupting the conversation instead.
4. Economic Right
The economic right of women is not oppressed in Bupphesanniwat. In contrast, Muen
Rueng, a male character, is discriminated by Lady Janwat’s mother, a female character, instead.
Because Muen Rueng’s father is in a lower rank than Lady Janwat’s, the mother discourages
Muen Rueng from engaging and from dating her daughter. However, he proves himself that he is
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the right man for the Lady by performing many good deeds both to win the Lady’s heart and her
mother. Thus, they end up together happily.
5. Cultural Right
Cultural right is another right that is oppressed. There are two cases obviously
demonstrating in the series: the right to dress freely and to speak the native-tongue language. To
dress properly in Ayutthaya time, women must straighten the hair, but Ketsurang ties her hair in
a strange style (episode 3), unsuitable for Ayutthaya women. As a consequence, she is blamed
and forced to redo the hair in a traditional style. Also, there is a rule for aristocrat ladies not to
put any flowers on their ear as Ketsurang does in episode 14. Putting a flower on an ear conveys
a negative meaning. Another case is a freedom to speak a native language. The example
discourses are presented below.
Episode 2/1
 Muen Suntorntewa: You speak weird. (ออเจ้าพูดจาประหลาด)
 Muen Suntorntewa: NO! You said a weird thing! What language is that?
(ไม่จริง ทีอ่ อเจ้าพูดมันดูประหลาด นันภาษาอะไร)
่
Episode 12/3
 Muen Suntorntewa: You’re talking nonsense again. Who said they aren’t
human. (ออเจ้าพูดจาประหลาดอีกแล้วหนา ผูใ้ ดว่ามิใช่คนเล่า)
Episode 6/5
 Ketsurang: (sign) but that’s not an “IT WOMAN.” You know?
(แต่นนไม่
ั ่ ใช่วถิ ขี องผูห้ ญิงยุคไอที ยูโน๊ ?)
(Phin and Yaem look at each other as they don’t get what Ketsurang says.)
From the examples, every time Ketsurang speaks on her own way, other characters
seem perplexed and will respond negatively, including her servants: Phin and Yaem. In
conversations from episode 6/5, when Ketsurang says “but that’s not an “IT woman.” You know?”,
both Phin and Yaem reacts strangely and leaves Ketsurang alone. With modern advances, the
word "IT" standing for Information Technology, is widely used in the modernized age. It points out
that Ketsurang is from a different age which is full of data and information, urging her to be curious
and think critically. Furthermore, Ketsurang also teaches her servants some transliterated, modern
or loan words such as “OK”, “sure”, and “Khun Mae Ban” (female butler or housekeeper), which
are considered alien, foreign or fancy words for people in the past. This implies that Ketsurang
has not tried to adapt herself to the environment perfectly at the first place, and she has introduced
new things and innovations, and, changed the environment around her. Yet, after Ketsurang has
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lived in Ayutthaya for some time, she and other characters started to blend together, understand
each other and live in harmony.
Bupphesanniwat through a Feminist Point of View
The intended key messages of the series can be interpreted in different points of view.
To me, Bupphesanniwat obviously reflects the issue of gender inequality in Thailand particularly
in premodern Siam. We can also see the development of gender inequality from then to the
contemporary Thai society nowadays. Ketsurang is a representative of a lady with a strong,
determined idea of feminism who attempts to change a cultural ideology by introducing the
concept that both men and women are equal in all aspects. As discussed earlier, women in
Ayutthaya are afraid of standing up against the power of men, expressing opinions, and presenting
their perspectives or attitudes. For example, although Khun Ying Jampa disagrees with her
husband about the marriage of her son, she keeps silent to avoid conflicts with her husband. In
contrast, when Ketsurang disagrees with her husband, she immediately speaks up her mind.
Comparing such incidents to those in the modern time, surprisingly, many Thai women still keep
silent when they are exploited or subordinated, and when they have different perspectives from
others, men, in particular. Consequently, women should start to show their strength in a positive,
creative or gentle way by standing up for their rights and profits. Bearing in their mind that power
can be negotiated, women can force changes in their culture or society. Besides, men should be
aware that the world has been changed. They no longer hold the supreme or absolute power in
the society. Therefore, they may have to adjust themselves to the new ideology, the belief of
being equal for all genders. Listening to others’ voices means embracing diversities and accepting
changes in the modern world.
Bupphesanniwat through a Political View
Kophan (2014) stated that time-travel TV series is usually used as a tool of political and
cultural preservation. Also, it is to instill the idea of nationalism on audience’ mind. Frequently,
Ketsurang questions the historical incidents whether it is true as she has studied many of them
in her college in the modern time. However, she somehow tries to remind herself not to question
everything in the history. In analyzing such perspective the question may not be “if an individual
can travel back to the past, and can change things, will he change it?”. But it might be how to
make things better or how to improve life quality. Interestingly, Ketsurang brings many new
innovations to Ayutthaya such as new recipes, a water purifier, and a new form of pillow.
Nevertheless, eventhough she has a chance to change a very important historical event, she
ignores to be against Kosa Lek’s punishment for receiving bribes, as it is proved that he was
innocent later (according to the history class she learns in her modern time), and it leads to King
1 2 T H H U S O C (24-25 October 2019)  105

Phetracha’s seizure of power. This can be said that Ketsurang obviously ignores to get involved
with political activities, or to change any parts of the history, while she clearly expresses her
interest. From this reason, we can also conclude that Ketsurang, like many eager people, just
wants to share her knowledge and tell people what she knows. But when it comes to major
changes, decisions must be made carefully.
Bupphesanniwat through a Religious View
A religious issue cannot be cut off entirely from the discussion. In the series, the settings
are mostly arranged in different religious places. The characters usually make merit in the
morning, go to the temple on Buddhist holy days, and make flower garlands for Buddha images
and monks. Also, they strongly believe in doing good and avoiding performing bad deeds. These
are all about religious beliefs. Buddhists believe that doing good deeds can lead them to a divine
or heavenly place where Lord Buddha stays after they die. This can be discussed that the series
producer attempts to keep the religious belief with the society since nowadays Thai people are
more likely to disassociate themselves from religious activities. Some people do not even follow
any religious beliefs. Hence, the series intendedly raises this social value on the audience’s mind
to keep the flow of the belief and to remind the audience of a good old way of life of Thai people.
A modern woman like Ketsurang, despite being rebellious, in the series, she is morally good and
strictly follow religious teachings, and thus, is a good example of a dynamic character and realistic
person.
Conclusions
If we put the series into an unbiased view, we can say that to regard the past by using
a modern lens is not a fair and good idea as people can learn a lot from history and there always
are opportunities to make things better. Differences of time and ages affect the way people live
and think. People’s thoughts and behaviors are shaped by many temporal factors. They are
raised and taught by people of different generations. In the article “Generation Gap: An Emerging
Issue of Society” by Aggarwal and others (2017), generation gap is a serious problem because
the ways young and elder generations view the world are of different angles. In Bupphesanniwat,
seemingly, the screenwriter has tried to point out both the young’s and older generation’s
perspectives in gender roles: Khun Ying Jampa represents how elder generation view the young
while Ketsurang represents how the young view elder generation. In other words, Muen
Suntorntewa also represents the group of men that agree to comply with gender equality. In short,
the series presents different social perspectives on gender-role differences through each main
character.
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Given the fact that Bupphesanniwat TV series can be interpreted from various
perspectives, the most outstanding issue, in my point of view, is gender inequality. This series
presents the ways modern women view their traditional practices and beliefs, and, the ways
traditional women and men view modern women. In the past, some men viewed that women were
in lower rank than they were, and, thus, most women were willing to be subordinated to men
whereas some women viewed themselves in the same rank as men, or even in a higher rank. In
fact, various perspectives, opinions or attitudes on gender issues, domestic issues, or even
political issues, are not considered as problems if individuals appreciate and respect others’ rights
and avoid exploiting one another. This study has investigated intended messages and issues
hidden in the conversations of the series, and has been proven that the series can reflect, make
beliefs and reproduce certain stereotypes in the Thai society. Therefore, it will be more beneficial
if any further studies related to the series or gender inequality can investigate the opinions of
Bupphesaniwat’s audience or other time-travel series/ films. Additionally, another issue worth
exploring is seniority and hierarchy system. This issue can be studied extensively and intensively
to explain the roots of aged hierarchy in relation to gender inequality or other forms of inequalities.
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2562 - 2019 Gender Inequality and Female Responses

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CONTENTS

Conference Theme ................................................................................. 1

Organizing Institutions ........................................................................... 1

HUSOC Communities ............................................................................ 2

Conference Schedules ............................................................................ 4

Panel Detail and List of Paper ................................................................ 8

 The Internet Homogenizing Culture on YouTube in the

 False Consciousness and Alienation in J.K. Rowling’s

GENDER INEQUALITY AND FEMALE RESPONSES: AN EXAMINATION

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24th – 25th October 2019 at Srinakharinwirot University, Bangkok, Thailand

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24th – 25th October 2019 at Srinakharinwirot University, Bangkok, Thailand

Background and Setting of Bupphesanniwat

Patriarchy and Male Domination

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24th – 25th October 2019 at Srinakharinwirot University, Bangkok, Thailand

Sultana’s study titled Patriarchy and Women’s Subordination: A Theoretical Analysis

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24th – 25th October 2019 at Srinakharinwirot University, Bangkok, Thailand

Hofstede’s Cultural Dimensions

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24th – 25th October 2019 at Srinakharinwirot University, Bangkok, Thailand

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24th – 25th October 2019 at Srinakharinwirot University, Bangkok, Thailand

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24th – 25th October 2019 at Srinakharinwirot University, Bangkok, Thailand

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24th – 25th October 2019 at Srinakharinwirot University, Bangkok, Thailand

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24th – 25th October 2019 at Srinakharinwirot University, Bangkok, Thailand

Ketsurang: Seriously? (หา)

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24th – 25th October 2019 at Srinakharinwirot University, Bangkok, Thailand

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24th – 25th October 2019 at Srinakharinwirot University, Bangkok, Thailand

เถิด ข้าไม่ยอมให้นางไปวัดด้วยผมวิปลาสเช่นนี้เป็ นอันขาด อับอายไปถึงไหนๆ เขายิง่ ลือว่าแม่หญิง

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24th – 25th October 2019 at Srinakharinwirot University, Bangkok, Thailand

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24th – 25th October 2019 at Srinakharinwirot University, Bangkok, Thailand

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24th – 25th October 2019 at Srinakharinwirot University, Bangkok, Thailand

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24th – 25th October 2019 at Srinakharinwirot University, Bangkok, Thailand

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24th – 25th October 2019 at Srinakharinwirot University, Bangkok, Thailand

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24th – 25th October 2019 at Srinakharinwirot University, Bangkok, Thailand

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24th – 25th October 2019 at Srinakharinwirot University, Bangkok, Thailand

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24th – 25th October 2019 at Srinakharinwirot University, Bangkok, Thailand

Table 1 The characteristics of patriarchal society in Bupphesanniwat

Characteristics Examples and explanation

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24th – 25th October 2019 at Srinakharinwirot University, Bangkok, Thailand

Characteristics Examples and explanation