生态翻译学视角下纪实小说翻译研究以《白洋淀纪事》节选汉译英为例

分类号：H315.
9
学号：20172120391
硕士学位论文
A Study on Documentary Novels Translation from the
Perspective of Eco-Translatology: A Case Study on Chinese -
English Translation of the Excerpts from Baiyangdian
Chronicle
生态翻译学视角下纪实小说翻译研究
—以《白洋淀纪事》节选汉译英为例
作者刘晨彦
指导教师梁爱民教授
学科名称英语笔译
学位类别翻译硕士
答辩时间 2019 年 6 月 11 日
A Study on Documentar y Novels Tr anslation fr om the
Per spective of Eco-Tr anslatology: A Case Study on
Chinese - English Tr anslation of the Excer pts fr om
Baiyangdian Chronicle
By
Liu Chenyan
Under the Super vision of

Pr of. Liang Aimin
A Thesis Submitted to the Univer sity of J inan
In Par tial Fulfillment of the Requir ements
For the Degr ee of Master of Tr anslation and Inter pr eting
Univer sity of J inan

J inan, Shandong, P. R. China
J une, 2019
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济南大学硕士学位论文
Contents
Abstr act in English..................................................................................................... III
Abstr act in Chinese..................................................................................................... V
Chapter One Intr oduction........................................................................................... 1
1.1 Introduction of Baiyangdian Chronicle.............................................................1
1.2 Research Background........................................................................................ 2
1.3 Research Purpose and Significance................................................................... 3
1.4 Layout of the Thesis.......................................................................................... 3
Chapter Two Liter atur e Review................................................................................. 5
2.1 Studies on Eco-Translatology...........................................................................5
2.1.1 Studies Abroad........................................................................................ 5
2.1.2 Studies at Home.......................................................................................7
2.2 Studies on Documentary Novel Translation.....................................................9
2.2.1 Studies Abroad........................................................................................ 9
2.2.2 Studies at Home.....................................................................................10
2.3 Summary.........................................................................................................10
Chapter Thr ee Theor etical Fr amewor k...................................................................13
3.1 Historical Development of Eco-Translatology...............................................13
3.1.1 The Initial Stage of Eco-Translatology.................................................. 13
3.1.2 The Developing Stage of Eco-Translatology.........................................14
3.1.3 The Mature Stage of Eco-Translatology................................................ 14
3.2 Core Concepts of Eco-Translatology............................................................. 16
3.2.1 Three-Dimensional Transformation .....................................................16
3.2.2 Ecological Rationality............................................................................16
3.2.3 Post-event Penalty..................................................................................17
3.3 Summary.........................................................................................................18
Chapter Four Textual Analysis of Documentar y Novels........................................19
4.1Types of Documentary Novels........................................................................19
4.1.1 Historical Documentary Novels.............................................................19
I
A Study on Documentary Novels Translation from the Perspective of Eco-Translatology：A Case Study on
Chinese - English Translation of the Excerpts from Baiyangdian Chronicle
4.1.2 Social Documentary Novels...................................................................20

4.2 Features of Documentary Novels...................................................................21
4.2.1 Authenticity in Writing Materials.......................................................... 21
4.2.2 Facticity in Construction of Time and Space.........................................21
4.2.3 Popularity in Narrative Style................................................................. 22
4.3 Features of Baiyangdian Chronicle................................................................23
4.3.1 Lexical Features..................................................................................... 23
4.3.2 Syntactic Features.................................................................................. 24
4.3.3 Rhetorical Features.................................................................................25
4.4 Summary........................................................................................................ 26
Chapter Five Tr anslation Str ategies of Documentar y Novels under
Eco-Tr anslatology............................................................................... 27
5.1 Three-Dimensional Transformation Strategies.............................................. 27
5.1.1 Language Transformation...................................................................... 27
5.1.2 Cultural Transformation.........................................................................32
5.1.3 Communicative Transformation............................................................ 35
5.2 Ecological Rationality Strategies................................................................... 38
5.2.1 Integrity and Relevance Maintenance....................................................38
5.2.2 Ecological Aesthetics Reproduction...................................................... 40
5.3 Post-event Penalty Strategies......................................................................... 41
5.3.1 Mistakes Correction............................................................................... 42
5.3.2 Logical Confusion Elimination.............................................................. 44
5.4 Summary...........................................................................................................45
Chapter Six Conclusion............................................................................................. 47
6.1 Major Findings.................................................................................................47
6.2 Limitations and Further Studies.......................................................................48
Bibliogr aphy................................................................................................................51
Acknowledgements..................................................................................................... 55
Appendix I...................................................................................................................57
Appendix II................................................................................................................. 73
II
Abstr act
Documentary novels are a kind of literary genre which, broadly speaking, depicts
real historical figures and actual events woven together with fictitious conversations
by using the storytelling techniques. In China, although the development of
documentary novels is tortuous, there have always been outstanding works in the past
decades which makes documentary novels become a beautiful landscape in the field
of modern literature. The authenticity and entertainment function of documentary
novels win the reader’s love and make them become good carriers of traditional
cultures, vivid reflections of people’s lifestyle and values. Nowadays, with the
progress of the times, the development of economic society and the deepening of
cross-cultural communication, the significance of Chinese documentary novels’
translation becomes much more prominent. Because the translation of Chinese
documentary novels can help foreign readers to deeply understand the development
and historical changes of Chinese society in a certain period of time. Most importantly,
it is an efficient way to better tell Chinese stories and shape Chinese national images.
The emergence of Eco-translatology is the inevitable result of adapting to the
development requirements of the times. Based on Darwin’s adaptation and selection
theory, Eco-translatology first introduces the concept of ecology into the field of
translation studies. At the same time, a series of translation strategies based on
Eco-translatology, such as three-dimensional transformation, ecological rationality,
and post-event penalty, have caused wide concern. In view of this, through the
excerpted translation practice of the documentary novel Baiyangdian Chronicle, this
thesis conducts a more in-depth study on the translation strategies of documentary
novels under the direction of Eco-ranslatology, aiming to confirm the feasibility of
Eco-translatology in the translation of documentary novels and provide some
inspiration for the development of this theory in China.
The thesis contains six chapters. The first chapter is the general introduction to
Baiyangdian Chronicle, research background, research significance and layout of this
thesis. The second chapter is a literature review of Eco-translatology and documentary
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novels translation. The third chapter is the interpretation of Eco-translatology’s

development process and core concepts. The fourth chapter is the analysis of the
textual features of documentary novels. As the core part of the thesis, the fifth chapter,
from the perspectives of three-dimensional transformation, ecological rationality and
post-event penalty, mainly studies the guiding effect of Eco-translatology in
documentary novels translation and the corresponding translation strategies. The sixth
chapter is the conclusion of the thesis which includes the major findings, the
limitations and the future research direction.
Key Wor ds: Eco-translatology; documentary novels; translation strategies;
three-dimensional transformation; ecological rationality; post-event penalty
IV
摘要
纪实小说广义上是一种以叙事的形式将历史人物与真实事件同虚构的对话
相交织的文学体裁。在中国，纪实小说的发展虽然历经无数坎坷，但数十年来始
终有优秀作品涌现。因此，纪实小说已经成为现代文学领域一道亮丽的风景线。
纪实小说的记录性和趣味性为其赢得了读者的喜爱，而它的真实性又使它成为传
统文化，生活方式，价值观的良好载体。如今，随着时代的进步、经济社会的发
展，跨文化交际越发频繁，中国纪实小说外译的意义越发凸显。因为，中国纪实
小说的外译可帮助国外读者深刻了解特定时期中国社会的发展和历史变迁，是
“讲好中国故事”、“树立中国形象”的重要途径。
生态翻译学的产生是顺应时代发展需要的必然结果，它以达尔文的“适应选
择论”为基础，首次将“生态”的理念引入翻译研究领域。同时，生态翻译学所
倡导的一系列翻译策略如：三维转换、生态理性、事后追惩等引起了人们的广泛
关注。鉴于此，本文以生态翻译学先进的理念为指导，通过纪实小说《白洋淀纪
事》节选翻译实践，对生态翻译策略进行较为深入的研究，旨在证实生态翻译学
理论指导纪实小说翻译的可行性，为该理论在中国的发展提供一定的启示。
本文分为六个章节。第一章是对《白洋淀纪实》、研究背景、研究目的及论
文结构的全面介绍。第二章是对生态翻译学及纪实小说翻译研究的文献综述。第
三章是对生态翻译学的发展历程和核心理论的详细阐释。第四章则对纪实小说的
文本特点进行全面的分析。作为核心章节，第五章主要从三维转换，生态理性和
事后追惩等方面阐述生态翻译学对纪实小说翻译的指导性、探讨纪实小说的翻译
策略。第六章是论文的结语，该部分主要包括主要发现、不足之处及未来研究方
向。
关键词：生态翻译学；纪实小说；翻译策略；三维转换；生态理性；事后追
惩
V
VI
Chapter One Intr oduction
Translation, as a bridge of intercultural communication, is the best tool to

overcome the obstacles in cultural exchange. In order to improve the quality of
translation, it is necessary to add theories to guide translation activities in practice.
This chapter is a comprehensive introduction for the whole thesis including: the
introduction of Baiyangdian Chronicle; the research background of applying
Eco-translatology to the translation of Baiyangdian Chronicle; the research purpose
and significance and the layout of the thesis.
1.1 Intr oduction of Baiyangdian Chronicle
Baiyangdian Chronicle is one of the representative works of contemporary

famous novelist Sun Li. It was published by China Youth Publishing Group in 1958.
Sun Li, formerly known as Sun Shuxun, is the founder of “Lotus Lake School”.
Baiyangdian Chronicle is Sun Li’s first complete collection of novels. It has been
rated as “100 Best Chinese Literature Books in 100 Years”. The collection which is
sorted in chronological order includes nearly 100 short stories written by the author
from 1939 to 1950. Since its publication, the collection has been popular and in great
demand in the past 60 years and has been loved by thousands of readers. Its
distinctive style has influenced many follow-up writers.
This collection mainly narrates the struggle life of the people in the central Hebei
plaint during Anti-Japanese War, shapes many images that are deeply rooted among
the people, shows the pure human nature, and expresses people’s yearning for a
beautiful and peaceful life. The book includes many stories like Warriors, Reeds, The
Women (three parts), Qin and Xiao, Husband, and Spring in the Mountains, etc.
Baiyangdian appearing in the book is in fact an unobtrusive small place. Baiyangdian
people are a group of simple and ordinary people. Although they suffered from the
destruction and oppression of the enemy, they still had a deep love for the motherland.
Some of them took the initiative to join the army and did their bit for the country on
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the battlefield. Some women or elderly people who were too old to fight on the front
line used their own life experience and grasped the opportunity to kill the enemy in
the rear and strove to make a contribution to the Anti-Japanese career.
1.2 Resear ch Backgr ound
With the rapid development of China’s economy and the continuous

improvement of China’s overall national strength and international status, China’s
exchanges with the rest of the world in politics, economy, and culture have become
more frequent. China has gradually attracted the attention of all countries in the world,
and Chinese culture has also been valued and welcomed by people all over the world
for its unique charm. In the context of globalization, it is an important task for
translation to introduce more fine works to the world in order to highlight and
promote the characteristics of Chinese culture.
Documentary novel is both authentic and literary which is usually based on facts
and incorporates fictional artistic creations. The cultural connotation conveyed by the
works is highly credible and persuasive, and it enables the target readers to have a
great literary and artistic experience. Baiyangdian Chronicle as an excellent and
unique documentary novel about anti-Japanese war has a high degree of practical
significance.
In order to improve the quality of translation and make it more in line with the
language environment and cultural environment of the target language, some theories
are usually applied to guide the translation activities in the process of translation. In
today’s society that focuses on ecological development, the emphasis on ecological
civilization in various fields has led to the emergence of Eco-translatology.
Eco-translatology pays great attention to the integrity of translation ecology. This
theory, which emphasizes the harmony between translators and translation activities,
is conducive to improving the coherence and integrity of the content displayed in the
translation, enhancing the readability of the text and improving the reader’s reading
experience. This paper will focus on exploring the application of Eco-translatology in
the translation of documentary novels, with an aim to find effective translation
2
strategies for this special genre.
1.3 Resear ch Pur pose and Significance
The research of this thesis aims to deepen the research depth and breadth of
Eco-translatology to a certain extent. At present, the research on Eco-translatology at
home and abroad is mostly at the theoretical level. The translation practice guided by
Eco-translatology mainly focuses on documentary subtitle translation, propaganda
text and tourism text translation. The research related to the translation of
documentary novels is still lacking. Therefore, using Eco-translatology to guide the
translation of documentary novels can broaden the application scope of
Eco-translatology in translation practice.
The research of this thesis can enrich the translation strategies of documentary
novels from the perspective of Eco-translatology. With the deepening of
cross-cultural communication, the translation of documentary novels is an effective
way to spread Chinese culture and history. Through the guidance of three-dimensional
transformation strategies, ecological rationality strategies and post-event penalty
strategies, the quality of translation can be improved. That is to say, the application of
Eco-translatology can provide more strategies for the translation of documentary
novels and bring the translation into an ecological dimension.
1.4 Layout of the Thesis
This thesis, devoting to the study of translation strategies in Chinese-English

from the perspective of Eco-translatology by taking Sun Li’s Baiyangdian Chronicle
as an example, is divided into six sections. By comparing the two versions of the
translation, the feasibility of using Eco-translatology to guide the documentary
novels’ translation can be proved.
The first chapter mainly introduces the author and the main contents of the
selected text, makes a basic explanation for the research background, states the
research purpose and significance, and introduces the overall framework of the paper.
The second chapter is a literature review, which mainly combs the studies of the
3
Eco-translatology and documentary novel translation at home and abroad.

The third chapter makes a systematic introduction to the theoretical framework
of Eco-translatology, including the historical development of Eco-translatology and
the core concepts of Eco-translatology.
The fourth chapter analyzes the types of documentary novels, the features of
documentary novels as well as the features of Baiyangdian Chronicle.
The fifth chapter is the core chapter trying to illustrate how to translate texts of
documentary novels under the guidance of Eco-translatology. In this chapter, several
translation strategies are explored by comparing two translation versions of some
parts of Sun Li’s Baiyangdian Chronicle. The translation strategies mainly include
three-dimensional transformation strategies, ecological rationality strategies and post-
event penalty strategies.
The sixth chapter is a summary of the whole thesis, which mainly contains the
main findings and limitations of the study as well as some suggestions for the
subsequent research of this field.
4
Chapter Two Liter atur e Review
Since 2001, Eco-translatology has received much attention and many scholars
abroad and at home have been committed to the research of this theory. The
translation of documentary novels began in the 1990s. Since then, it has achieved
great achievements. This chapter mainly gives a comprehensive literature review to
Eco-translatology and documentary novels translation.
2.1 Studies on Eco-Tr anslatology
Eco-translatology, as an ecological approach in translation studies from

ecological perspectives, involves two disciplines, ecology and translatology.
Eco-translatology focus on the integrity of translational ecology, interprets the
translation process from the perspective of translational Eco-environment, describes
the relationship between translators and translational Eco-environment, and focuses
on the translator’s living circumstances and translation ability development.
2.1.1 Studies Abr oad
The formation of each kind of theory has its profound background of the times
and social thoughts. The emergence of Eco-translatology is consistent with the
development direction of society and academics.
First, it is a reflection of economic and social transformation in translation
studies. As is known to all, since the 1960s, human society has gradually begun to
transform from industrial civilization to ecological civilization. In 1962, American
marine biologist Rachel Carson published the famous book Silent Spring which
illustrated the human being at a turning point in survival and development with the
eloquent facts of human destruction of nature (Carson, 1962). In 1972, the United
Nations convened an environmental conference and issued the famous Declaration of
the Human Environment, which refers to the protection of the natural environment to
the height of attention of all human beings. In this context, ecology, a long-neglected
dimension, is introduced into different research fields including translation study field,
5
and becomes a concrete manifestation of the development of the times.

Second, it is a result of the transformation of modern thought and philosophy.
Since the 20th century, in the field of thought and philosophy, there has also been a
transition from human center to ecological integrity. In 1967, the French philosopher
Jacques Derrida proposed the important point that the “center” can be both within the
structure and outside the structure, so that “the center is not the center” (Derrida,
1967). In 1973, the famous Norwegian ecological philosopher Arne Naess put
forward the theory of Deep Ecology, which developed ecology into the field of
philosophy and ethics, and proposed ecological self, ecological equality, ecological
symbiosis and other important ecological philosophy (Naess, 1973). In 1995,
American ecological philosopher David Griffin put forward the important concept of
“Eco-existence”, indicating the philosophy of ecological ontology formally published
(Griffin, 1995). The above development shows that contemporary philosophy
converts from epistemology into ontology, and from the human center into the
ecological integrity. Owing to these transformations mentioned above, the translators
begin to carry out translation activities from the perspective of translation ecology and
promote the formation of Eco-Translatology (Hu Gengshen, 2008).
Peter Newmark divided the cultural interventions in the translation process into
five categories in 1988. The first category is the ecological character of translation
(Newmark, 1988: 22). David Katan further clarified and refined the classification of
translational ecological culture in 1999. He proposed Eco-environment includes
physical environment, political environment, climate, space, constructed environment,
clothing, food, smell and temporary scenes (Katan, 1999: 4). Michelle Cronin’s book
Translation and Globalization specifically stresses the “ecology of translation” in
language research, calling for a “healthy balance” between translations in different
languages (Cronin, 2003: 54). George Steiner divided the translation theory into two
categories: universal theory and local theory and believed that this classification
method was similar to the two basic methods of human beings, namely, the problems
of overall environmental adaptation and local environment adaptation (Lance & Jacky,
1991: 32). In the 21st century, many international translators began to follow and
6
participate in the study of Eco-translatology, including Edwin Gentzler (2012),

Kirsten Malmkjear (1998), Marry SnellHornby (2004), Douglas Robinson (2016), etc.
2.1.2 Studies at Home
In October 2001, Prof. Hu Gengshen gave a lecture on translation named

Darwinian Principle of Adaptation and Selection to Translation Studies at the Hong
Kong Baptist University (Du Haibao, 2013). In December of the same year, Prof. Hu
read out the article A Preliminary Study of Translation Adaptation and Selection
Theory at the 3rd Asian Translators Forum of the International Federation of
Translators. This article is the first article on Eco-translatology that Chinese scholars
announced at international conferences. This paper explores the translator’s
adaptation to the translational Eco-environment and the translator’s selection of
version in translation activities, paves the way for a more systematic construction of
translation adaptation and selection theory, and also lays the foundation for the
development of Eco-translatology in China. Eco-translatology, as a whole new term,
has also begun to become more and more familiar to Chinese scholars. In order to
further improve the theory, Professor Hu Gengshen published the monograph
Translation Adaptation and Selection Theory in 2004, which introduces how
Eco-translatology boldly borrows the basic principles of “natural selection” and
“survival of the fittest” in the “adaptation and selection” doctrine in Darwin’s
Evolution Theory, and how to introduce this principle into the field of translation
studies. The book comprehensively and systematically explains the theoretical
background, the adaptation and selection theory for the first time.
In addition to Professor Hu, other scholars in China have been devoted to the
research of Eco-translatology and achieved remarkable results.
Firstly, some scholars published relevant papers in core journals to introduce and
explain the main connotations of Eco-translatology. Liu Yunhong and Xu Jun (2004)
published A New Translation Works with Exploring Spirit——Translation Adaptation
and Selection Theory in Chinese Translators Journal. They believed that adaptation
and selection theory has laid a philosophical foundation for Eco-translatology and has
7
promoted new translation principles and methods. Li Yashu and Huang Zhonglian
(2005) published A Refreshing Theoretical Construction——Reviews on Hu
Gengshen’s Translation Adaptation and Selection Theory in Foreign Language
Education. They considered that adaptation meant the translator’s adaptation to the
translational Eco-environment and selection means the translator implements the
selection of version in the capacity of the translational Eco-environment. Translation
is an alternating cycle of translator’s adaptation and selection. Zu Lijun (2007)
published Eco-Translatology in the Context of Globalization in Chinese Foreign
Languages. He considered that the ecological problems brought by globalization not
only involved in the natural ecology, but also in the language ecology. In addition, he
believed that Eco-translatology maintained the balance of language positions and
cultural exchange and also focused on the ecological nature of language, namely,
cleanliness and ethics.
Secondly, some other scholars applied the theory into practices, and explored the
application of Eco-translatology from different angles, such as, Jiao Weihong (2014)
published Yan Fu‘s Translation of Evolution and Ethics Revisited: A Translatological
Perspective, Shu Huijuan (2010) published The Translation of Public Signs from the
Perspective of Eco-Translatology ——Taking the Theme Slogan of Shanghai World
Expo as an Example. In the research of translators’ translation thoughts, Tong
Xiaomei, Huo Yuehong (2010) published a book entitled Interpretation of the
Eco-Translatology of Zhang Ailing’s Translator's Marginalization, Deng Ke, Meng
Fanjun (2012) published An Interpretation of Eco-Translatology of Wang Zuoliang’s
Translation Thoughts, Liu Yanfang (2010) published An Interpretation of
Eco-Translatology of Lu Xun’s Translation Thoughts. In addition, Professor Sun
Yingchun of Shandong University also began to use the theory of Eco-translatology to
study the translation thoughts of Zhang Guruo. Other scholars carried out a large
number of researches in literary translation, philosophy and social science translation,
business and law translation, as well as interpretation.
All in all, the present studies on Eco-translatology both abroad and at home
mainly include: ecological paradigm, associative sequence chain, ecological
8
rationality, translational Eco-environment, translator-centeredness, adaptation and

selection, three-dimensional transformation, and post-event penalty and so on.
2.2 Studies on Documentar y Novel Tr anslation
In recent years, the creation of documentary novels and the translation of

documentary novels have made great progress and become one of the important study
fields of domestic and overseas scholars. The popularity of translation on
documentary novels in the world has greatly promoted the exchange and
communication of different cultures.
2.2.1 Studies Abr oad
Documentary novels are used to be called non-fiction novels, literature novels,

news novels in the Western countries. It originated in the United States in the 1960s,
and developed rapidly in the 1970s.
The famous American writer Truman Garcia Capote published the book In Cold
Blood: A True Account of a Multiple Murder and Its Consequences in 1966 and
proposed the concept of non-fiction novel. Later, Norman Mailer and other writers
further developed this writing technique and gradually produced a wide range of
influence. Compared with other novels, documentary novels have formed their own
distinctive features. Through the writers’ personal interview with real facts, a large
number of first-hand materials are obtained, and then these materials are written into
novels. In the specific historical background of the 1960s, due to the prevalence of
individualism in the West, and the desire of readers to aspire to the truth, this kind of
novel has gradually become popular in the world.
Some world-famous works have made great influence in Western literature and
society. For example, Norman Mailer’s novel The Song of the Executioner was a
milepost in the development of documentary novels. Joan Didion remarked that no
one but Mailer could have dared this book. He considered that the authentic Western
voice, the voice heard in The Executioner’s Song, was one heard often in life but only
rarely in literature. This novel also had a profound influence in Chinese. Many
9
novelists took The Executioner’s Song as a template to make a further study in

documentary novels translation.
2.2.2 Studies at Home
Chinese contemporary documentary novels emerged in the mid-1980s and

flourished in the 1990s. When China’s documentary novels came out, although it had
certain influences, it did not become a mainstream literary form and failed to attract
sufficient attention. Because it was incompatible with traditional novel creation, the
critics often focused on traditional concept and value orientation, and considered that
the documentary novels were a kind of marginal literature. However, during this
period, there were a number of excellent documentary novels, such as Liu Xinwu’s
5-19 Long Shots (1985), Lao Gui’s Bloody Dusk (2010), Liang Xiaosheng’s Sketch
Book of Peking (1977), and Huang Jiren’s Chongqing Negotiation (1999).
A large number of excellent works have been translated into English and widely
disseminated overseas. For example,《一百个人的十年》written by Feng Jicai was
translated by David Wakefield and Pantheon, named Voices from the Whirlwind. The
continuous expansion of the market has made the translation of documentary novels
more and more concerned by translators. At this time, study on how to properly
translate documentary novels is increasing. In 2012，Zeng Zeng published an article
The Communication from Authenticity to Text: An Illustrative Analysis of
Documentary Text Translation. The author believed that adopting some translation
strategies like domestication during the translation was requisite. In this way, the main
purpose of translation could be conveyed more accurately.
2.3 Summar y
Based on the social transformation of ecological civilization and the theory of

adaptation and selection in Darwin’s Evolution Theory, Eco-translatology has
gradually formed a complete theoretical system through continuous studies of
scholars at home and abroad. The practical application of Eco-translatology are rare in
the perspectives of ecological rationality and post-event penalty. Therefore, the
10
research of this thesis mainly focuses on these perspectives.

The historical events described in the documentary novels can satisfy the
reader’s pursuit of truth, and its literariness can satisfy the reader’s aesthetic and
recreational needs. The translation of documentary novels has made great
contributions to the cultural exchanges of different countries. Relevant academic
research on how to better carry out the translation of documentary novels is increasing.
Therefore, the thesis adopts Eco-translatology to guide the translation of documentary
novels with the purpose to explore effective translation strategies，which is sure to be
of great significance.
11
12
Chapter Thr ee Theor etical Fr amewor k
In 2001, Eco-transatology appeared in the scope of international translation

theory, and showed that Eco-transatology, as a social science, could be organically
combined with the natural science, providing a better explanation for translator’s
translation behaviors under the guidance of the natural science.
3.1 Histor ical Development of Eco-Tr anslatology
After entering the 20th century, human beings not only study the ecosystem from
an objective standpoint, but also put themselves in the ecosystem to conduct studies.
After the cross-disciplinary study of ecology and politics, ecology and education,
ecology and literature, the intersection of ecology and translation has become
inevitable (Fang Mengzhi, 2011). The development of Eco-translatology experienced
several stages and that is, the initial stage, the developing stage and the mature stage.
3.1.1 The Initial Stage of Eco-Tr anslatology
The initial development of the Eco-translatology could be traced back to the

industrial civilization in the 1960s, until the ecological civilization in the 21st century.
In terms of the study of Eco-transatology abroad, many scholars had already made
some researches from the ecological, the environmental, the adaptive, and the
selective perspectives. For example, Peter Newmark divided the culture in the
translation process into five different categories, and the first category was related to
the ecological feature of the translation (Newmark, 1988: 95). Dave Katan made
further explicit taxonomy for the ecological culture of the translation and proposed
that the Eco-environment of the translation was composed of the physical
environment, the political environment, the climate, the space and so on (Katan, 1999:
45).
In China, Eco-translatology was formally established in the 3rd Symposium of
Asian Translators held by International Federation of Translators in 2001. It is the
first time that Chinese scholars have announced article on Eco-translatology at
13
international conferences. Since then, the studies of Eco-translatology have

burgeoning rapidly and have attracted the interest of many scholars to participate in
them.
3.1.2 The Developing Stage of Eco-Tr anslatology
Since 2005, the development of Eco-Translatology has gradually flourished. At

this stage, the number of researchers at different levels has increased significantly.
In August 2006, Prof. Hu Gengshen gave a speech entitled Interpretation of
Eco-translatology, which marked that the systematic evolution and integration of
translation studies from an ecological perspective is formally formed within the scope
of international translation. In 2008, the publishing of Interpretation of
Eco-translatology marked that based on translation adaptation and selection,
Eco-translatology is carried out in an all-round way.
In the development stage, the theoretical expansion of Eco-translatology has
been influenced by the Chinese civilization. The understanding of life can be regarded
as a mainstream of Chinese cultural thoughts, which contains the understanding of
ecology and reflects the wisdom of Chinese traditional culture (Hu Gengshen, 2004:
62). This wisdom includes “Nature and human integration” and
“Moderation-oriented”. The idea of “Nature and human integration” is to seek
harmony between nature and human beings, from which the concept of
Eco-translatology is derived. In addition, scholars like Phillipson (2006) also focuses
on the ecological translation among the different languages and called for keeping the
healthy balance among the translation of the different languages. This healthy balance
can be achieved by constructing the harmony between translators and translational
Eco-environment.
3.1.3 The Matur e Stage of Eco-Tr anslatology
Since 2009, Eco-translatology has gradually become matured and been applied
to practice. The research on Eco-translatology is not limited to the study of theoretical
connotation, but extends to the background, development basis, research focus,
14
theoretical perspective, rational characteristics and enlightenment of translation

studies on Eco-translatology, which makes the theoretical construction more perfect.
In addition, there is an increasing research on the relationship between
Eco-translatology and other disciplines, and the developing prospects of
Eco-translatology become much broader.
The research of translation template and translators’ thoughts from the
Eco-translatology perspective has become more and more mature. The research
template mainly concentrates on translation issues of Chinese classic Dream of Red
Mansions, the ancient poetry Fengqiaoyebo and foreign literature Hamlet. As for the
study of translators’ thoughts, the most profound research is on the Eco-translatology
thoughts of Yan Fu, Lin Yutang, Wang Zuoliang and Lu Xun. Through the analysis of
their translations, Eco-concepts are embodied from the perspectives of translation
standards, translation principles, translation strategies, and translation purposes. The
value of Eco-translatology lies in the application. If a translation theory can be applied
to template analysis and can interpret the translator's thoughts, it is the best evidence
of the feasibility of Eco-translatology.
However, due to the development of the theory and the deepening of the research,
experts and scholars have also expressed their own opinion and divarication about
Eco-translatology. Rosener Warren (1989) insists that translation was a kind of
cognitive and survival patterns. When the literary works were transferred from one
language to another, it was as same as the plants which were moved from one area to
another area. In this process, they must adapt to the new environment which is similar
to the fitness of the human beings to the natural environment. Therefore, how to do a
perfect adaptation still needs in-depth research. Han Wei (2013) believes that the
translation ecosystem has its limitations, and the translator-centeredness reflected in
theory violates the social value orientation. The emergence of these doubts and
communication reflects that the Eco-translatology has received widespread attentions
and responses from the society which inject new vigor vitality to the improvement of
Eco-translatology.
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3.2 Cor e Concepts of Eco-Tr anslatology
Eco-translatology follows the macro-ecological rationality and constructs the

discourse system of Eco-Translatology from the perspective of ecology. Under this
study, the core concepts like the three-dimensional transformation, post-event penalty
and ecological rationality should be emphasized.
3.2.1 Thr ee-Dimensional Tr ansfor mation
The basic theory of Eco-translatology shortens the translation method into

three-dimensional transformation and that is, under the principle of multi-dimensional
adaptation and adaptive selection, it is relatively concentrated on the language
dimension, cultural dimension and communicative dimension.
Language transformation means that the translator adapts to the selection of
language form in the translation process. It is carried out in different aspects and at
different levels. Cultural transformation means the translator pays attention to the
transmission and interpretation of the bilingual cultural connotation in the translation
process. It is to pay attention to the differences in the nature and content of the source
language culture and the target language culture. Communicative transformation
means that the translator pays attention to the adaptive selection transformation of
bilingual communication intention in the translation process. It requires translators to
focus on the level of communication except the transformation of language
information and cultural connotations, and to pay attention to whether the
communicative intentions in the original text are reflected in the translation.
3.2.2 Ecological Rationality
Ecological rationality is summarized as: focusing on the integrity and relevance

and embodying ecological aesthetics (Hu Gengshen, 2011).
Focusing on the integrity and relevance is to follow the ecological rationality.
When studying the translation ecosystem, it cannot be limited to a single
sub-ecological system (such as the translation ontology ecosystem) or a related
16
stakeholder (such as translation sponsor). From the perspective of ecological

rationality, it is necessary to take care of the relevance and integrity between different
ecosystems.
Embodying ecological aesthetics is to follow the ecological rationality. When
studying the translation ecosystem during the process of translation, translators need
to pursue aesthetic elements and ecological aesthetic principles such as beauty,
symmetry, balance, contrast, order and rhythm at the both macro and micro levels.
Owing to the above viewpoint, ecological rationality becomes the macro guiding
concept for constructing the discourse system of Eco-translatology. This concept is
expressed as a kind of holistic thinking, relevance thinking and procedural thinking
(Du Jianhui, 1998). It not only pays attention to the combination of analysis and
synthesis, but also emphasizes the influence and restriction of translation
Eco-environment on translators’ behavior which emphasizes the integration and
coordination of theory and translation and pursues the integration of translator, text
and environment.
3.2.3 Post-event Penalty
Post-event penalty doesn’t refer to the specific translation method but refers to
the requirement or guiding ideology of the translation theory towards the translator’s
behavior (Hu Gengshen, 2011). It was originally popular in the fields of publishing
and journalism management in developed countries such as the United Kingdom and
the United States. It is a post-event penalty in publishing and news management
system.
According to the recent research results of Prof. Hu Gengshen of Tsinghua
University, post-event penalty is a metaphorical expression method. The focus of
translation criticism is not to put forward “sanctions”, “warnings”, “qualifications”
and “chasing and punishment” for translation criticism activities. It is emphasized that
at every stage of the translation criticism activities, the subject and object of the
translation criticism activities should be “manipulated, dominated, controlled, and
re-criticized” with a dynamic and subjective enthusiasm. In other words, all subjects
17
and objects involved in translation criticism activities should make adaptive choices
and rational criticisms. For some untimely, indiscriminate, and wrong translation
criticisms, they must be punished according to the translation ecological environment.
The ecological principle of “survival of the fittest” and “eliminating the weak and
staying strong” re-selects and arbitrates the choice of the subject and object of
translation criticism.
3.3 Summar y
The formation of Eco-translatology has gone through three stages: the initial
stage, the development stage and the mature stage. The initial study of
Eco-translatology is developed on the basis of Darwin’s adaptation and selection
theory. For the first time, Eco-translatology introduces the ecological dimension into
translation studies. This new perspective has attracted the attention of many scholars
at home and abroad. In the developing stage, the detailed theory of Eco-translatology
is developed in the most comprehensive way. At this time, theoretical perspectives
such as three-dimensional transformation, translational Eco-environment,
translator-centeredness and ecological rationality are formed. In the mature stage, the
practical application of Eco-translatology is increasing and the scope is also
continuously expanded.
The most important concepts of Eco-translatology are three-dimensional
transformation, ecological rationality and post-event penalty. Three-dimensional
transformation is the core translation method under Eco-translatology. It is a kind of
adaptive selection in language dimension, cultural dimension, and communication
dimension. Ecological rationality, as the macro-guided ideology followed by
Eco-translatology, is mainly carried out in two aspects: ecological aesthetics, integrity
and relevance. Post-event penalty does not refer to specific translation methods or
specific behavior, but refers to the requirements or guiding ideology for the
translator’s behavior. It is a binding force for translator’s autonomous translation
behavior which aims to obtain a superior translation.
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Chapter Four Textual Analysis of Documentar y Novels
Documentary novels are a kind of literary genre which, broadly speaking, depicts
real historical figures and actual events woven together with fictitious conversations
by using the storytelling techniques (Ha Jianjun, 2013: 16). Therefore, documentary
novels belong to a kind of loosely-defined and flexible genre.
4.1 Types of Documentar y Novels
After the Second World War, American literature generally had a trend of
innovation and change in the form of writing, and various experimental novels came
into being. Documentary novels are the products of the experimental novels of the
United States in the twentieth century which were originally proposed by Philip Roth
in his famous essay American Fiction Writing. Ross pointed out that in the creation of
contemporary American literature, the boundary between fact and fiction is broken.
This is the most basic feature of documentary novel. In the 1960s, some American
novelists rebelled against traditional literary forms. They used the imagination and
skill of the novel to describe the real stories that happened in the real life of the
United States at the time and use literary language and fictional techniques to tell the
major social events that are taking place at the time. Thus, documentary novels were
born and gradually became popular. Generally speaking, there are two types of
Documentary novels (Ha Jianjun, 2013: 28).
4.1.1 Histor ical Documentar y Novels
Historical documentary novels are the most basic type of documentary novels.
Novelists creatively use the language of literature to reproduce historical truth and
elucidate the abundant connotation and historical significance of historical events.
The materials of such works come from historical files in archives, libraries and other
places. The characters, events, time and places in the works are real and credible. The
source material of novels comes from the real social life.
The writer uses the concept and imagination of novels and the various artistic
19
techniques to recreate real events and characters. For example, before wrote Song of
the Executioner, Miller collected the letters of the prisoner Gilmore, the records of the
court and the statements of the witnesses, etc., and then sorted and refined them.
Finally, he wrote more than 1,000 pages of Song of the Executioner. It consists of two
parts: historical facts and fiction; in the writing of The Story of Oswald, he was first
allowed by the Soviet Union to watch the archives on Oswald and visit the members
of The Committee of State Security who were responsible for monitoring Oswald at
the time. Then he wrote this famous documentary novel by using the skills of novels
and the language of literature. Therefore, in general, the story of historical
documentary novels is authentic, and at the same time it is full of interests and
readability. Documentary novels’ main feature is non-fiction, that is, the material
comes from the truth of history. The novelist didn't take over the task of the historian,
but following the historical events and the truth of the characters to narrate events and
portray characters by using the literary language and the imagination and skill of
novels. Therefore, the documentary novels also have the artistic characteristics of
novels.
4.1.2 Social Documentar y Novels
Compared with historical documentary novels which mainly narrate historical

events, social documentary novels mainly narrate the latest hot events in the society.
It reverses the stereotype of news reports, uses the imagination and techniques of the
novel, narrates the major news that are taking place in the society, keeps pace with the
times, and gives readers a deeper understanding of the current society, while at the
same time it also has a strong attraction. The social documentary novels cover a wide
range of topics which public are interested in, so it has a strong advantage in attracting
public interest.
Documentary novelists observe, collect, and analyze the social events from the
perspective of news reports. Instead of reporting in a rigid way, they follow the
principles of reflecting truth and use their rich imagination and fictional techniques to
describe social events and characters. For example, the prototype of Liu Xinwu’s 5-19
20
Long Shot was a football match happened in 1985. At that time, this match became
the hottest news and was discussed by all the people. Liu Xinwu seized the
opportunity and created this famous documentary novel. The creation of social
documentary novels is based on revealing latest social events. It can reflect a broader
and deeper social connotation and social significance, and enlighten people in thought
and life.
4.2 Featur es of Documentar y Novels
Documentary novels are based on real historical events and historical figures to
tell stories and reshape figures as well as to narrate the latest hot events in the society.
All the events, figures in the novels are quite realistic and objective. So authenticity is
the most important feature of documentary novels (Zhang Suzhen, 2013).
4.2.1 Authenticity in Wr iting Mater ials
Traditionally, literature is derived from life and above life. However, the rise of
the new experimental fictional form of American non-fiction in the 1960s changed
people’s aesthetic concept: non-fiction writers did not strive to make the literate texts
superior to life, but strive to make the reader understands the historical events and the
authenticity of historical figures. The source of the material directly determines the
way and method of the novel creation. The non-fiction writer often explains the
source of the creative material to prove that his creation is based on real social
historical events and historical figures, highlighting its reality. Authenticity is the
most important goal pursued by documentary novels. The material of non-fiction
writers comes from the historical events in real life and the facts of historical figures
or social events experienced by writers. Then they fully understand the application of
materials. The novelist's imagination and skills are created.
4.2.2 Facticity in Constr uction of Time and Space
A certain time and space is the creative foundation of documentary novels.

Novelists must use the construction of time and space to express historical events and
21
the objective authenticity of historical figures. Sun Li’s documentary novels are quite
painstaking in the construction of time and space in order to truly and objectively
express the changes of historical events and figures. In his creation, he describes
historical events or shapes historical figures in the order of time. The advantage is that
the readers can experience the whole process of historical events and the activities
sequence of historical figures, and can objectively and truly reflect the original face of
historical events and the growth process of the characters. For example, there are
many time nodes in story Luhua Dang like night, every evening, one night and noon.
Sun Li expands the whole process of escorting the girls and revenging enemies in
chronological order. This kind of narrative pattern makes the readers have a feeling of
personal experience and also makes the entire historical event more authentic. In
terms of the facticity of space, the locales mentioned in the novel are real shrines of
resistance. For example, Luhuadang is located in Anxin County, Hebei Province
which appears in the textbooks and TV dramas many times and is well-known to all.
Setting the location of the story-line in the real place can give the reader a strong
sense of substitution.
4.2.3 Popular ity in Nar r ative Style
Popularity means that the content of documentary novels is closely related to the
readers. In order to accurately convey the connotation of the novel, the language
should be easy-to-understand, clear and simple.
When reading the documentary novels, the readers can establish the inevitable
correspondence between characters, time, place, story-line and natural events. The
works can establish a necessary link among writers, readers and life realities. The
artistic images in the works and the realistic images in life can be clearly and surely
linked. In order to establish this link smoothly, the novelists should adopt a simple
and unadorned narrative style. In the simple and clear narrative, the novel texts not
only enable the language to display its own descriptive function, but let the readers
easily comprehend the deep meaning of the texts without any language barrier.
Although documentary novels use literary expression techniques, such as
22
psychological description, it generally rejects long descriptions (such as the

description of the environment and atmosphere), so readers can easily enter the
context and understand the meaning of the texts.
4.3 Featur es of Baiyangdian Chronicle
Besides the features mentioned above, Baiyangdian Chronicle has its own
language features including lexical features, syntactic features and rhetorical features.
4.3.1 Lexical Featur es
Lexicon is the sum of all (or a specific range) words and fixed phrases in a
language. In Baiyangdian Chronicle, the writer prefers to use straightforward words
to express the strong and sincere emotion, through which the authentic and natural
style are presented in front of the readers directly.
Example 1:“为什么不能?我打他们不用枪，那不是我的本事。愿意看，
明天来看吧!二菱，明天你跟我来看吧，有热闹哩!”(Sun Li, 2017: 7)
This part is selected from Luhuadang, which narrates the story of the old man
who decides to take revenge for these two girls. The old man claims he is highly
skilled, and never makes mistakes. However, the girl is injured and begins to question
the ability of the old man and does not believe that he could successfully revenge
alone. “ 明天你跟我来看吧，有热闹哩。 ” shows that the old man has a
well-thought-out attitude and thinks that he will definitely succeed. Therefore, he
looks forward to seeing the girl to witness his glorious moment. Although the words
are short, the emotions it expressed are quite strong.
Example 2:“这是俺的家，我要让你们哩！”(Sun Li, 2017: 171)
This part is selected from Haoerliang, which narrates the story that a group of
wounded soldiers come to the female director’s home for healing. This brief dialogue
reflects the director as the householder wants to try her best to take care of the
wounded and let them have a fully rest in her house. Although the above examples all
23
describe in a short and direct language, there is no lacking in emotional expression.
4.3.2 Syntactic Featur es
Syntax refers to the individual components of a sentence and their order of

arrangement. The construction of sentence structure in Baiyangdian Chronicle is quite
unique. In the novel, there are many short and long sentences mixed together. Short
sentences are relatively brief and simple, having clear grammatical constituents and
relations such as subject, predicate and objects. Whereas the long sentences are
relatively complex in structure and grammar, often have many modifiers and
coordinate clauses. The flexible use of those sentences adds the rhythm and
demonstrates its colloquial features which enable the readers to be closer to the text
when reading it.
Example 1:“远处，那接近翼中平原的地方，腾起一层红色的尘雾。那
里有杨纯的家。他好像看见了他那临河的小村庄，和他那两间用土甓垒
起的向阳的小屋，那里面居住着他的母亲。”(Sun Li, 2017: 177)
This section describes the scene of Yang Chun standing on the top of the
mountain and looking at his hometown. Long sentences are used to describe the
details of the environment, and short sentences are used to express emotions. “那里有
杨纯的家 ” reflects his missing of hometown and his helpless because of leaving
home.
Example 2:“当他们跑进那通到村里去的山沟，他们迎见了主任！她满
脸流着汗，手拉着踉跄跑来的刘兰！在她旁边是由蒿儿梁老少妇女组成
的担架队，抬来了五个伤员。村里听见了警号的枪声，男人们全到了去
成果庵的路上（主任说，她刚回到家里，去伏击敌人了）。妇女们跑来和
她商量把伤员转移到哪里去，她决定到这个地方来。凡是有力量的，都
在担架上搭一把手，把伤员送了出来！”(Sun Li, 2017: 177)
The selection describes the situation in which women directors and villagers help
to transfer the wounded and complete their respective tasks. The combination of long
24
and short sentences in the description can make people’s behavior descriptions both
coherent and compact. It shows the high will of the whole people to fight against the
enemy.
4.3.3 Rhetor ical Featur es
Rhetoric is used to enhance the effect of expression and enrich the content of the
works. The use of rhetorical devices in novel can make the language more vivid,
interesting and innovative. In Baiyangdian Chronicle, simile and personification is
used more frequently。
Example 1:“老头子浑身没有多少肉，干瘦得像老了的鱼鹰。可是那晒
得干黑的脸短短的花白胡子却特别精神，那一对深陷的眼睛却特别明亮。
很少见到这样尖利明亮的眼睛，除非是在白洋淀上。”(Sun Li, 2017: 4)
Simile refers to the figure of speech that compares two different things in an
interesting and vivid way for artistic effect. In the selection, the appearance of the old
man is described. Comparing the thin body of the old man to the osprey can make the
reader clearly associate the appearance of the old man.
Example 2:“夜晚，敌人从炮楼的小窗子里，呆望着这阴森黑暗的大苇
塘，天空的星星也像浸在水里，而且要滴落下来的样子。到这样的深夜，
苇塘里才有水鸟飞动和唱歌的声音，白天它们紧紧藏到窝里躲避炮火去
了。苇子还是那么狠狠地往上钻，目标好像就是天上。”(Sun Li, 2017: 3)
The selection adopts the rhetoric of personification. Personification of the figure

of speech in which a thing or an idea or an animal is given human attributes, and more
specifically, the non-human objects are portrayed in such a way that we feel they
could act like human beings, enabling the abstract images more vivid and concrete. In
the excerpt, the writer describes the waterfowl resting during the day as being hidden
to escape the artillery. “ 藏” is a movement that describes people’s concealment. It is
used here to describe that small birds are so afraid of war and hide in a safe place.
This kind of rhetoric profoundly portrays the state of fierce war and the turbulent
25
situation.
4.4 Summar y
In general, the content of documentary novels is based on real historical events,

historical figures and hot events happening in the society. It is often described in a
simple and plain language, with the purpose of conveying facts and truth to the reader.
Documentary novels are a kind of reformation of novel texts which breaks people’s
cognition of traditional novels. Its realistic spirit and popularity attract more attention
from the public.
26
Chapter Five Tr anslation Str ategies of Documentar y Novels

under Eco-Tr anslatology
As the main part of the thesis, this chapter explores the translation strategies of
documentary novels by detailed analysis and comparison of two translation versions
of Baiyangdian Chronicle with the aim to prove that Eco-translatology is feasible to
guide the translation of documentary novels. The first version is translated without the
guidance of Eco-translatology and the second version is revised under the guidance of
Eco-translatology.
5.1 Thr ee-Dimensional Tr ansfor mation Str ategies
The basic theory of Eco-translatology makes a summarization on translation

methods. In short, from the perspective of Eco-translatology, the main method of
translation should realize the transformation of three-dimension, that is, based on the
principle of multi-dimensional adaptation and adaptive selection, it is relatively
concentrated in language dimension and cultural dimension and communication
dimension (Hu Gengshen, 2011). In other words, in the entire translation process, the
translator not only needs to achieve language transformation, but also needs to realize
cultural transformation and communicative transformation.
5.1.1 Language Tr ansfor mation
Language transformation is carried out in different aspects and at different levels,

mainly referring to the translator’s adaptive selection of language forms in the
translation process. The great differences between English and Chinese in the form of
language expression determine their differences in language expression. On the basis
of the linguistic Eco-environment, the translator should make necessary choices and
adjustments to the original text in vocabulary level, so as to simultaneously convert
the language form.
In the translation practice of the original text, language transformation is realized
27
mainly from the aspects of vocabulary ecological level and sentence ecological level.
1. In Vocabular y Level
In terms of the language features of Chinese and English, English pays attention
to hypotaxis and Chinese pays attention to parataxis. Conjunctions and prepositions
are used in English frequently, but omissions in Chinese are more common. Therefore,
in the process of translation, the translator pays more attention to realize the language
transformation in vocabulary level.
Example 1:“敌人监视着苇塘。他们提防有人给苇塘里的人送来柴米，
也提防里面的队伍会跑了出去。我们的队伍还没有退却的意思。可是假
如是月明风清的夜晚，人们的眼再尖利一些，就可以看见有一只小船从
苇塘里撑出来，在淀里，像一片苇叶，奔着东南去了。半夜以后，小船
又飘回来，船舱里装满了柴米油盐，有时还带来一两个从远方赶来的干
部。” (Sun Li, 2017: 3)
Ver sion 1: The enemies monitored the reed pond, they beware of people
sending fuel and food into pond, and are aware of the tr oop coming out from
the pond. Our troop had no intention to retreat. But if it was a moonlit night,
and the people's eyes were sharper, they could see a little boat coming out
from the reed pond. The boat was like a reed leaf, rowing to the southeast.
After midnight the boat came back, and the cabin was filled with daily
necessities, and sometimes took a cadre or two who came from far away.
Ver sion 2: The enemies spied on the reed pond to prevent people sending
daily necessities into pond and also prevent the squad in the pond running
away. Our squad had no intention to retreat. However, if it was a bright night
and people’s eyes could be a little bit sharper, they will see a canoe like a
reed leave paddling out of the pond and drifting towards the southeast.
Around midnight, the canoe was drifting back with its cabin filled with
necessities and sometimes took back one or two cadres who came from afar.
In the ver sion 1, without language transformation, the author uses the literal
28
translation to translate, because of lacking the consideration of the target language and
reading habits, the ver sion 1 is only to be faithful to the original text, but lacks of
coherence and grace. The original text uses the popularized language to describe the
event, most of them are short sentences. In ver sion 1, the text is translated according
to the original sentence form, which is quite messy. Therefore, in response to this
feature, the author has made substantial changes in ver sion 2 like adding
corresponding prepositions or conjunctions to form a compound sentence, which aim
to spontaneously connect a series of actions, form an internal logic to express the
meaning of the original text and achieve language transformation.
Besides, ver sion 2 has modified some detailed vocabulary, for example, “tr oop”
is modified to “squad”. According to the description of the novel, it can be seen that
people trapped in the pond is a small anti-war force. For the sake of the size of the
team, using squad to express the meaning of “ 队伍 ” is more accurate. “Boat” is
modified to “canoe”. Boat can refer to all sizes of boats, and canoe refers to long,
light boats that need to be paddled. It can be seen from the original context that the
elderly was punting in and out the pond, and the pond was covered with high reeds.
Only the smaller canoe was free to shuttle, so the canoe was more in line with the
translation requirements.
Example 2:“老头子站起来，拾起篙，撑了一下。那小船转弯抹角钻入
了苇塘的深处。”(Sun Li, 2017: 6)
Ver sion 1: The elder got up, took a bamboo, and gave a push. The boat
tur ned ar ound and went into the depth of pond.
Ver sion 2: The old man stood up, picked up the pole and took a row. The
canoe tor tuously moved into the depth of pond.
In the original text, the action of “站起来”、“拾起蒿”、“撑了一下” has three

different purposes, the three movements are coherent but the meanings do not overlap,
so the translation is taken in a straightforward manner, retaining the part of the words
in the original text, so ver sion 1 and ver sion 2 did not change much in the first
sentence. In the latter sentence, “ 转弯抹角 ” means walking along a curved road,
29
indicating the state of movement. “ 钻入 ” also expresses a state of movement.

Therefore, in the translation, the author transforms the verb into an adverb to modify
“ 钻入”, and expresses the scene that the canoe is twisted into the pond. The adverbs
are used to modify the central word “ 钻入” that the author wants to emphasize. This
method of translation adapts to the Eco-environment of the target language, and the
translated sentences are clear and smooth and also take a good care of the ecological
balance between the original and the target language.
In terms of expression, English tends to be static, while Chinese tends to be
dynamic. Therefore, it should be carefully analyzed during translation. Under the
premise of adapting to the Eco-environment of target language, the translator chooses
the appropriate words to transplant the primitive ecology to the target language
ecology which can effectively realize language transformation.
2. In Sentence Level
There are differences in the expressions of English and Chinese. The time
sequence and logical relationship of Chinese are often arranged in order from first to
last, from cause to result, from hypothesis to inference, from fact to conclusion.
English can be flexibly arranged according to the meaning of the sentence and the
need of structure with the help of morphological change and rich conjunctions. The
order of this change is often different from Chinese (Lian Shuneng, 2010: 5).
Therefore, in order to conform to the English sentence expression habits, the
translation adopts a strategy of sentence structure transformation to create harmonious
language ecology.
Example 1:“你这比方打错了！”主任说，“老百姓帮助你们，情愿把心
掏给你们，为什么？这为的是你们把我们救了出来！”(Sun Li, 2017: 178)
Ver sion 1: “You make a wrong example.” the director said, “the masses help
you, they are willing to give you everything they have, why? Because you
are saving us.”
Ver sion 2: “You gave a wrong example.” the director said, “ why ar e the
30
masses willing to help you, and even to give their lives？ It’s because you
have saved us!”
In Chinese expression, people accustomed to “ 为什么 ” at the end of the

sentence to strengthen the interrogative tone, highlighting the reasons in the whole
event, which is a quite colloquial expression. In the process of translation, it is not
feasible to use the habit of Chinese to express the English word order. Therefore, the
author advanced the position of “为什么” , which is made the translation more fluent.
Example 2:“老头子浑身没有多少肉，干瘦得像老了的鱼鹰。可是那晒
得干黑的脸，短短的花白胡子却特别精神，那一对深陷的眼睛却特别明
亮。很少见到这样尖利明亮的眼睛，除非在白洋淀上。”(Sun Li, 2017: 4)
Ver sion 1: The old man didn’t have much flesh on his body, and he was
as thin as an old ospr ey. But he had a sunburnt face and a short grizzled
beard, a pair of deep-set eyes is particularly bright. It is r ar e to see such
shar p and br ight eyes, except in the Baiyangdian.
Ver sion 2: The old man was as thin as an old ospr ey. However, his tanned
face, short grizzled beard is particularly spirited, especially this pair of deep
eyes are quite bright. Only in Baiyangdian can you see such shar p and
br ight eyes.
The ver sion1 is translated according to the form of Chinese short sentences
which makes the translation very messy. In ver sion 2, the first sentence and the last
sentence of the original text use the translation technique of combination to recombine
the short sentences in the original text into the hypotaxis sentences. For example, the
structure of as···as··· in ver sion 2 combines two original clauses that describe the
appearance of the old man together, so that the old thin body and the osprey can be
compared together, which can more clearly highlight the appearance of the old man.
In the last sentence, in order to highlight the purity of the people’s hearts and the
beauty of human nature, the author expresses that such a clear and bright eye only can
be seen in places like Baiyangdian. Therefore, in ver sion 2, the author uses the
emphatic pattern of “only” to emphasize the place of Baiyangdian. While fully
31
expressing the author’s creative intentions, it also conforms to the English expression
habits and the Eco-environment which emphasizes in language transformation. This
also helps to achieve an organic combination of the original text and the translated
text in the language dimension.
5.1.2 Cultur al Tr ansfor mation
Cultural transformation refers to the translator’s cultural awareness in the process

of translation. He/she recognizes that translation is a cross-language and intercultural
communication process, and pays attention to overcoming obstacles caused by
cultural differences to ensure the smooth development of information exchange.
Therefore, the translator as the subject should have a better cultural awareness,
understand the cultural norms, be familiar with the local customs, so as to make a full
comprehension of source language.
1. In Diver sity of Cultur al Connotation
Due to the differences in Chinese and English cultural background, some local
cultural will be missing in the target language. For this problem, footnote is adopted
in the translation .
Example 1:“人们轻易不出门，坐在炕上，拨弄着一盆红红的麦秸火。
妇女们出来一下子，把手插在腰里，又赶紧跑到屋里去。”(Sun Li, 2017:
171)
Ver sion 1: People rarely went out, they were used to sitting on the kang and
fiddling the brazier. When they needed to come out, they would stick their
hands in the waist and run back to the house quickly.
Ver sion 2: The villagers seldom went out, they just sat on the kang1 fiddling
the brazier. When the women had to come out for a second, they often thrust
their hands into their waists to keep warm, and then hurried into the house.
Note 1. A bed made of adobe or br ick in Nor ther n China. Under neath
the bed, ther e is a hole to make a fir e for keeping war m.
32
This section describes how the rural people keep warm in the winter. “炕” is the
main heating tool for people, so people will sit on the kang when they are at home. In
ver sion 1, the author adopts transliteration method to translate “ 炕 ” into kang, but
ignores the target language readers’ lack of understanding of Chinese folk culture.
Therefore, in ver sion 2, although transliteration is still used for translation, the author
adds footnotes after the translation to explain, so that the translation can maintain the
original short form, and the reader can understand the folk customs and avoid
communication barriers caused by cultural differences .
Example 2:“一会，我给你们搓窝窝吃，别看我们蒿儿梁村小，我搓的
窝窝可远近知名哩！”(Sun Li, 2017: 171)
Ver sion1: “I will steam oat bread for you later. Although our place is small,
my oat br ead is known far and wide.”
Ver sion 2: “ I will cook Wowo2 for you later. Although our village is small
and secluded, the Wowo2 i cooked is quite famous to all.
Note 2. A kind of bunsik which is made of hulls oats flour , looked like
mini bushel.
“窝窝” is a northern food that looks like a hive. In version 1, the author used the
raw material as the translation of the food name. This kind of translation can only
make the reader understand that “ 窝窝 ” is a kind of food made of oat, but it is
difficult to imagine its shape. In order to avoid the imbalance of the translation
Eco-environment, the author decides to adopt transliteration to supplement the
differences in the content of the culture for the readers. In addition to the cultural
transformation, the Eco-environment of the version is complete and balanced with the
original text. Therefore, in version 2, the author uses transliteration method to
translate “ 窝窝 ” but adds a footnote below, so that there is sufficient space for a
detailed introduction of “窝窝”.
2. In Special Expr ession of Cultur e
Influenced by ancient Chinese philosophy, especially natural philosophy,
33
Chinese culture pays attention to the harmony between man and nature and the
doctrine of the mean. This kind of overall and balanced ideology has a special
reaction in written language, that is four-character structure. The four-character, as the
name suggests, is a four-word phrase. Feng Qinghua divides the four-character into
two categories: one is the four-character idiom, and the other is the four-character
phrase. This expression is both concise and tidy (Feng Qinghua, 2001:112). However,
there are only a small quantity of idioms in English can match the connotation of the
Chinese four-character. Therefore, in order to fully express the meaning of the text in
the translation, the author adopts the translation method of interpretation to realize
cultural transformation.
Example 1:“你们不信我的话，我也不和你们说。谁叫我丢人现眼，打
牙跌嘴呢!可是，等到天明，你们看吧!”(Sun Li, 2017: 7)
Ver sion 1: “You don’t trust me. There is no need to say more. It does be my
fault. But, ther e will have a good show tomor r ow.
Ver sion 2: “You don’t believe in my word, there is no use saying more. I do
make a complete fool of myself. But ther e will be a cr acking good show
for you tomor r ow.”
In the original text, “ 丢人现眼 ” is a four-character idiom, “ 打牙跌嘴 ” is a

four-character slang. These two phrases have the same meaning that someone can’t
keep his promise and is ashamed of being teased by others. In ver sion 1, the old man
thought he had made a serious mistake for making the big girl injured. Therefore, the
author translated it into “It does be my fault”. However, the original text emphasizes
that the old man is very ashamed of the injury caused by his mistakes, so this sense of
shame should be reflected in the translation. Thus, the author uses a traditional
English phrase “make a fool of oneself” in ver sion 2 to express the shame of the old
man.
Example 2:“什么好的生活比得上冲锋陷阵呢？”他沉默了。(Sun Li, 2017:

289)
Ver sion 1: "What good life is better than heading into battle?" He fell in
34
silence.
Ver sion 2: “What kind of good life can be compared to char ging for war d
on the battlefield?” He lapsed into silence.
This example is taken from Warrior. The warrior in the text was injured and
became disabled in the war. In the dialogue with others, he expressed his desire to
return to the battlefield and to fight the enemy. “ 冲锋陷阵” means to sally forth the
enemy, go deep into the enemy, and fight bravely. The author originally used
“heading into battle” in ver sion 1 to indicate that the warrior was on the front line
during the fighting, but this expression does not highlight the eagerness of the warrior
to return to the front line and the urgency of killing with the enemy. It also does not
reflect his bravery and fearlessness. The phrase “char ge for war d” in English can
better reflect the fearless of sacrifice.
In cultural transformation, the translators should pay more attention to the
connotation of bilingual culture and the cultural interpretation behind the text. When
translating, translators should not only focus on the transformation of target language
and source language, but also should understand and better grasp the whole cultural
system.
5.1.3 Communicative Tr ansfor mation
Communicative transformation refers to the translator’s focus on the level of

communication. It stresses the transformation in language information and cultural
connotation, and whether the communicative intentions in the original text are
reflected.
1. In Logical Conver sion
Logical conversion refers to the reasonable reconstruction and reproduction of

the implicit information. In the specific cognitive environment of the novel, the
colloquial expression of the protagonist is more common and simplified. At this time,
the structure of dialogue is usually incomplete. If directly transplanted the information
into the target culture according to the original expression, the meaning implied in the
35
original text cannot be expressed, which affects the communication ecology inside the
sentence.
Example 1:“看你，这时洗脸干什么?什么时候啊，还这么爱干净!”(Sun
Li, 2017: 5)
Ver sion 1: “look at you, why are you washing your face now? Why ar e you
still so cleanliness now?”
Ver sion 2: “look at you, why are you washing you face and pay attention to
the cleanliness in such a cr itical moment?
It can be seen from the context that the old man is carrying two girls through the
enemy’s blockade line, the situation is extremely critical, but the little girl is still
washing her face with the lake water, so the big girl criticizes the immature behavior
of the little girl. “ 什么时候啊” in the original text is not a sample question of time,
but an emphasis on the tension of the situation. The three of them are at the corner of
life and death. Therefore, compared to the literal translation in ver sion 1, ver sion 2
makes an introduction of dialogue background, and uses “in such a cr itical moment”
to describe the atmosphere, so that readers can understand why big girls will ask
questions like this, and let them have a first- hand experience about this turbulence
times.
2. In Discour se Cohesion Conver sion
Discourse Cohesion Conversion refers to using pronoun replacement strategy to

correct the problems of pronoun ambiguity. The pronoun is an important tool for
textual cohesion, and discourse cohesion which is also an important approach for
authors to elaborate, ratiocinate, and express opinions. It can ensure the unity of the
discourse and the semantic field (Tan Zaixi, 1999: 42).
Example 1:“刘兰每天的工作，是烧开水，煮刀剪铗子消毒，团药棉。
这些事情，主任全帮她做，她好问，又心灵手巧，三两天，就学会了。”
(Sun Li, 2017: 173)
Ver sion 1: Liu Lan’s daily work is to boil water, sterilize knife and clip,
36
paste medicine cotton. The director did all these stuff for her . She was
inquisitive and skillful, and learned things well in a few days.
Ver sion 2: Liu Lan’s daily work is to boil water, sterilize knife and clip,
paste medicine cotton. The director did all these things for Liu Lan and she
was inquisitive and skillful, and able to learn things well in a few days.
There are two female characters in the selection, and two pronouns “ 她 ”. The
source language readers are more familiar with the language environment and the text
background, therefore this kind of expression will not affect the reader’s
understanding of the meaning. In version1, the translator did not notice the pronoun
problem and translated the text in a literal way. In fact, “her ” and “she” refer to
different characters, which will cause dyslexia to the target readers. They may feel
confused that who is helping whom? and who is good at learning? For this reason, the
translator connects the two sentences in the form of the compound sentences in
version 2, indicating that the two sentences are the same subject and refer to the same
person to avoid ambiguity.
Example 2:“找妇救会的主任。区委书记没说她叫什么名字，只说一打
听女主任，谁也知道。”(Sun Li, 2017: 170)
Ver sion 1: “Look for the director of the woman’s rescue society. The
secretary of the district committee did not say her name. She only said that
if inquir e about the female dir ector , ever yone will know”
Ver sion 2: “We can ask the director of Woman’s National Salvation
Association for help, the secr etar y doesn’t tell her name, but if we inquir e
about the dir ector , ever yone knows about her .”
The selection describes the story of nurse, Liu Lan and doctor Yang Chun
leading the transfer of the wounded. They are going to Haoerliang to find the help of a
woman director. Two subjects were omitted from the original text, that is, the nurse
and the doctor went to seek help and inquired about the director. According to the
translation method in ver sion 1, the role of the dialogue is basically expressed that the
purpose of the action is to seek help, but the protagonists of this story are doctors and
37
caregivers. Their fearless spirit which is showing during the mission should be
reflected thoroughly. Therefore, the translation method used in ver sion 2 clearly
highlights the subject, in order to emphasize the core role of the nurse and doctor in
the whole story. In consideration of the overall Eco-environment, emphasizing the
communicative transformation helps the translator to grasp the author’s intentions and
remind the translator to strictly convey the information according to the original text.
In Sun Li’s novels, the language that can represent the simple characteristics of
the working people are mostly. This feature is particularly obvious in the outline and
depiction of characters. Therefore, in the process of translation, translators must take
into account the differences between Chinese and English language, cultural
background and other aspects, and better achieve the transformation of three
dimensions.
5.2 Ecological Rationality
From the perspective of ecology, especially from the perspective of ecosystems

to make a comprehensive survey and interpretation in translation studies, it can be
found that the rational characteristics of the ecosystem are very significant regardless
of the natural ecosystem or the translation ecosystem, regardless of the size or level of
the system. The rational characteristics of ecosystems can be summarized as: focusing
on the integrity and relevance and reflecting the ecological aesthetics (Hu Gengshen,
2011: 6). These features of ecological rationality can provide enlightenment, ideas
and methods for translation studies.
5.2.1 Integr ity and Relevance Maintenance
Integrity and relevance, as mentioned before, means to focus on the continuity of

paragraphs and make the extremely complex translation ecosystem as a whole. In the
process of translating Baiyangdian Chronicle, the content between the paragraphs
should be considered together to ensure the continuity and fluency of the meaning
expression. Especially in the narrative style of the novel, dialogue is the main form.
Lacking of relevance and integrity will weaken the expression of the character’s
38
emotion.
Example 1:“我不能送你们进去了。”
小女孩子睁大眼睛问：
“为什么呀?”
老头子直直地望着前面说：
“我没脸见人。”(Sun Li, 2017: 6)
Ver sion 1: “I cannot send you in.”
The little girl asked with eyes wide open:
“why?”
The elder looked straight ahead and said:
“I have no face to see people now.”
Ver sion 2: “I cannot send you in.”
The little girl kept her eyes wide-open and asked:
“why not?”
The elder primly stared ahead and said:
“I am ashamed to face people now.”
In the original text, the elder was very self-blaming because of his mistakes, and
he did not want to continue to send girls into the pond, then this conversation was
born. Ver sion1 is faithful to the original text, it expresses the meaning more
accurately. However, the translator should fully consider the Eco-environment of
translation, and the dialogue should maintain emotional continuity and follow the
principle of ecological rationality, that is integrity and relevance. In ver sion 2, “the
little gir l asked with eyes wide open” is revised as “The little gir l kept her eyes
wide-open and asked” which emphasizes the order of actions. As the girl heard that
the elder were unwilling to continue to escort them, she first expressed her amazing
through “ 睁大双眼 ” and then asked the reason. This gradual process reflects the
emotional changes of little girl. In ver sion 2, “I have no face to see people now” is
revised as “I am ashamed to face people now”. Although ver sion 1 expresses the
meaning of “ 没脸见人”, it does not express the inner reason at the same time. The
39
elder was ashamed of making mistakes, so he was unwilling to see people. Therefore,
“ashamed to face people” can better reflect his feeling of shame.
5.2.2 Ecological Aesthetics Repr oduction
Nature is beautiful and rational. The beauty of nature lies in its rich colors, lines
and sounds; the rationality of nature lies in its order and harmony. This kind of
beautiful image, beautiful thinking, beautiful joy, and beautiful pursuit are particularly
good in the translation ecology, especially in the translation process. In translation
studies, some people have elaborated on “word beauty”, “sentence beauty” and “logic
beauty”; some people have discussed “accurate beauty” and “fuzzy beauty”; others
have advocated and discussed about “beauty of difference” and “beauty of simplicity”
and so on. It can be said that in the process of translation studies, people have been
pursuing beauty both at the macro level and at the micro level. They have been
striving for “symmetry”, “equilibrium”, “contrast”, “order” and “rhythm”, and all of
these are the aesthetic elements of ecology and the principles of ecological aesthetics.
Example 1:“第二天，中午的时候，非常闷热。一轮红日当天，水面上
浮着一层烟气。小火轮开得离苇塘远一些，鬼子们又偷偷地爬下来洗澡
了。十几个鬼子在水里泅着，日本人的水式真不错。水淀里没有一个人
影，只有一团白绸子样的水鸟，也躲开鬼子往北飞去，落到大荷叶下面
歇凉去了。”(Sun Li, 2017: 7)
Ver sion 1: By the noon of the next day, it was ver y hot. The hot sun was
shining right overhead, there was a layer of smoke on the water. The steam
launch was far away from the reed pond, and the enemies secretly climbed
down to take a bath. Over a dozen enemies in the water, they were good
swimmer. There was nobody in the lake, only some waterfowls were like a
mass of white silk, also to fly north away from the devil, fell into the big
lotus leaves to rest.
Ver sion 2: By the noon of the next day, the weather was sultr y. The torrid
sun was shining right overhead, there was a layer of smoke on the water. The
40
steam launch was far away from the reed pond, and the enemies secretly
climbed down to take a bath. Over a dozen enemies swam in the water, they
were good swimmer. There was nobody in the pond, only some waterfowls
were like a mass of white silk, flew towards north to stay away from the devil,
and then fell under the big lotus leaves to rest.
The selection is an environmental description of the eve of revenge. This

description not only depicts the natural environment of the pond, but also
foreshadows the actions of the elder which creates a tense and oppressive atmosphere.
The difference between ver sion 1 and ver sion 2 lies in the modification of some
adjectives. Translators use more accurate adjectives to describe the environment to
achieve the principles of accurate beauty, symmetry and balance of ecological
aesthetics. In the original text, “ 非常闷热 ” is a kind of feeling that the weather is
very hot and the air pressure is low, which makes people breathless. The description
of the environment aims to set the mood. Ver sion1 uses hot to describe the weather.
Although it expresses the state of “ 热 ”, it cannot accurately express the oppressive
atmosphere before the arrival of a bloody war, and cannot maintain a balance with the
original context. In ver sion 2, the translator uses sultry to modify the weather to
express the state of “闷” and “热”.
5.3 Post-event Penalty Str ategies
Post-event penalty is a metaphorical expression, not a specific translation method

or specific practice, but a requirement or guiding ideology for translation theory or for
translator behavior (Hu Gengshen, 2011). Instead of proposing “sermon”, “warning”,
and “restriction” to the translator in advance, it emphasizes that at every stage of the
translation, the translator is able to “manipulate/dominate/make/rewrite”, that is,
everything is done by the translator to make adaptive selection. However, after each
stage of selection, the translator’s selection, especially the final translation, is judged
and dealt with. Specifically, after the translation, the translator’s selection is
re-selected and arbitrated according to the rules of “survival of the fittest” followed by
41
the translational Eco-environment.

It can be seen that in the process of translation, the translator is the “master”, and
the translator can fully demonstrate his/her adaptability, judgment ability, selection
ability and creativity. However, after the translation is completed, it not only goes
through the review and evaluation from critics, publishers, readers, etc., but also goes
through the translator’s own reflection and modification.
The ver sion 2 revised under the guidance of Eco-translatology is also a kind of
post-event penalty which is completed after careful consideration and collation.
5.3.1 Mistakes Cor r ection
During the translation process, some words, phrases and sentences in the original
text were missed due to the carelessness of translator. Therefore, in the version 2, this
kind of mistake was made up
Example 1:“到这样的深夜，苇塘里才有水鸟飞动和唱歌的声音，白天
它们是紧紧藏到窝里躲避炮火去了。苇子还是那么狠狠地往上钻，目标
好像就是天上。”(Sun Li, 2017: 3)
Ver sion 1: It was late at night that the birds in the reed pond began to move
and sing. It seemed like they hid themselves in their nests to escape the fire
during the daylight. The reeds were still continuously gr owing up as if the
goal was the sky.
Ver sion 2: It was late at night that the waterfowl in the reed pond began to
flit and sing. It seemed like they hid themselves str ictly in their nests to
elude the gunfire during the daylight. The reeds were still str uggling to gr ow
up as if the goal was to perforate the sky.
In the original text, there are two degree adverb, that is “紧紧”and“狠狠地”. In
the ver sion 1, these two words were ignored. Although the meaning of the text is
conveyed, the degree of expression is heavily discounted. The selection is a
description of the night environment in reed pond, and it is also the foundation of the
whole emotional tone. The waterfowl’s habit of sleeping in the daytime and hunting
42
in the night is a metaphor for people’s miserable existence situation. Under the
persecution of the Japanese, people acted with caution and only dared to come out at
night. Even the nature of animals is so bound, not to mention humans. The reed that
had been smashed into the sky reflected the tenacious vitality of the plant and its
perseverance. It was an oblique reference of the perseverance of people who persist in
resisting and fighting against the enemy even in such a difficult situation. From the
perspective of the environmental background, the role of the two degree adverbs of
“ 紧紧” and “ 狠狠地” is very important. Therefore, when modifying ver sion 2, the
translator strictly follows the source text to translate and supply the previously
vocabulary which was ignored before. “ 紧紧 ” is translated as strictly reflecting the
waterfowl’s fear of artillery. “ 狠狠地往上钻” is translated as struggling to grow up
which reflects the reed had a fervent desire to grow up.
Example 2:“天气好的时候，从桥上走过，常看见有些村妇淘菜；有些
军队上的小鬼，打破冰层捉小沙鱼，手冻得像胡萝ト，还是兴高采烈地
喊着。”(Sun Li, 2017: 288)
Ver sion 1: When the weather was good, I walked over the bridge and often
saw some village women washing vegetables; some of the enemies in the
army broke the ice to catch small sand fish, and their hands were frozen like
a carrot, but shouted happily.
Ver sion 2: When walking across the bridge in good weather, you often saw
some village women washing vegetables and some young soldier s in the
army breaking the ice to catch small sand fish. Their hands were frozen like a
carrot, but exclaim happily.
The selection narrated the daily life of protagonist who often crossed the bridge
to buy pork. When crossing the bridge, he often saw soldiers who caught fish in the
river. In the whole novel, the authors used the “ 鬼子 ” to refer to the enemy, so in
version1 the translator habitually equates the “ 小鬼 ” with the “ 鬼子 ” into the
enemies. In the second modification, the translator found that such a translation was
wrong. “小鬼” is a kind of nickname for teenagers. “ 鬼子” is a derogatory name for
43
the aggressor. In addition, from the original text, using the word “ 兴高采烈 ” to
describe “小鬼” can also be seen that the author is a kind of fatherly attitude towards
“小鬼”. Thus, in ver sion 2, the translator used “young soldier s” instead of the name
of “小鬼”.
5.3.2 Logical Confusion Elimination
Logical confusion means that translator cannot exactly express the meaning of
original text in a logical way and fail to make the original text conform to the logical
thinking habit of target readers and adapt to the translational Eco-environment.
Example 1:“小女孩子有些发急。在路上也遇见过这样的带路人，带到
半路上就不愿带了，叫人为难。”(Sun Li, 2017: 6)
Ver sion 1: The little girl was anxious. We also met such a guide on the
r oad who gave up halfway, which was embar r assing.
Ver sion 2: The little girl was anxious. They had met this kind of guide
who gave up halfway, which made them quite embar r assed.
The original text is all in the form of short sentences. When translating into the
target language, it is necessary to supplement and consummate the missing
components or the unspecified parts. The non-restrictive attributive clause in ver sion
1 expressed that the event which the guide was unwilling to continue to lead the way
was embarrassing. In fact, the original expression means that the old man was not
willing to lead the way, so that the little girl who wanted to reach the safe area quickly
felt quite embarrassed. The part being emphasized is the inner feelings of the little girl.
Therefore, in ver sion 2, the translator modified the translation to make it more in line
with the original context, as well as highlighted the girls’ disappointment and
helplessness.
Example 2:“他没法解释：大江大海过了多少，为什么这一次的任务，
偏偏没有完成?自己没儿没女，这两个孩子多么叫人喜爱!自己平日夸下
口，这一次带着挂花的人进去，怎么张嘴说话?”(Sun Li, 2017: 7)
Ver sion 1: He could not explain: he had passed many big r iver and big sea.
44
why this mission had not been completed. He didn’t have any children and
those two girls were so simpatico! He had spoken big before, but this time he
took an injured girl into the pond, he felt ashamed.
Ver sion 2: He could not explain: he had gone thr ough many difficulties
and danger s. Why was this mission not completed? He didn’t have any
children and those two girls were so simpatico! He had talked big before, but
this time he took a injured girl into the pond, he felt ashamed.
In the original text, the old man once said that he will never make a mistake in
punting canoe, but this time the girl he liked so much was injured for his carelessness.
The selection is the inner monologue of the old man at this time. “大江大河” is a folk
saying in Chinese that refers to many difficulties and obstacles. Therefore, when the
source language readers see this word, they can understand the difficulties that the old
man has experienced, and comprehend the annoyance and remorse of the old man
who failed in such a small matter after completing so many important tasks. Therefore,
in ver sion 2, the translator translates “大江大河” into “difficulties and danger s”, to
directly express the concept of “ 困难重重 ”, in order to reduce communication
barriers, and make the version more in line with the target language’s
Eco-environment.
5.4 Summar y
In this chapter, strategies have been put forward from the perspective of
Eco-translatology as well as considering the features of documentary novels. The
three-dimensional transformation strategy is the transformation in language dimension,
cultural dimension and communicative dimension. The transformation based on
language dimension is carried out from two aspects: vocabulary level and sentence
level. The transformation based on cultural dimension is carried out from the diversity
of cultural connotation and special expression of culture. The transformation based on
communicative dimension is carried out from logical conversion and discourse
cohesion conversion. The conveying of documentary feature and artistic feature of
45
Chinese documentary novels rely on the version that has the highest degree of
adaptation and selection.
Ecological rationality is the macro guiding ideology of Eco-tranlatology. This
part mainly applies ecological rationality to the practice from the aspects of integrity
and relevance and ecological aesthetics. The version revised under this theory is more
accurate in the expression of meaning and more equipotent with the emotion of
original text.
Translators under the theory of Eco-translatology have great autonomy, that is,
the translator-centeredness. The translator can decide how to translate the source text
according to his/her own adaptive selection. Therefore, in order to avoid the
subjective error of the translator, it is necessary to constrain the translator through
post-event penalty which is also a self-reflective translation strategy for translators.
After a second time’s deep comprehension of the original context, the translator can
revise the translation from the two aspects of missed translation and logical confusion
elimination, so that the modified version of the translation can reproduce the original
text to a higher degree and better adapt to the Eco-environment of the target language.
46
Chapter Six Conclusion
This thesis focuses on documentary novels translation of Baiyangdian Chronicle

with the guidance of Eco-translatology. Documentary novels translation has its own
features and constraints. The features of documentary novels determine that their
translations are constrained by authenticity and artistry. Therefore, the translator
should try to use faithful language to make them more credible for target readers but
at the same time have a sense of beauty.
6.1 Major Findings
This thesis aims to study the translation of documentary novels from the
perspective of Eco-translatology. Through case analysis, how the three-dimensional
transformation, ecological rationality and post-event penalty of Eco-translatology
enable translators to make a better translation in the documentary novels is deeply
explored. The major findings of the study are as followings.
Firstly, the feasibility of applying Eco-translatology to the translation of
documentary novels can be proved. Each documentary novel is a record of a historical
event or social event. A complete event is like a complete translation ecosystem in
Eco-translatology. Therefore, this similarity makes Eco-translatology quite suitable
for the translation needs of documentary novels.
Secondly, the application of three-dimensional transformation can realize the
transformation in language, cultural and communicative dimensions and make the
translation more harmonious with the target language. This strategy can help to
achieve the authenticity and accuracy pursued by the documentary novels translation.
Thirdly, the application of ecological rationality strategy is the optimization of
the translation of documentary novels. It emphasizes the integrity of the translated
text like the coherence of semantic meaning and the emotional expression and makes
the translation more elegant on the basis of faithfulness. This strategy can help to
reflect the artistry of documentary novels.
Fourthly, The application of post-event penalty can improve the preciseness of
47
documentary novels. The documentary feature of novels requires it to be accurate and

objective. The translator is responsible for the entire translation process as a
subjective existence, and may inevitably make mistakes. At this time, this strategy can
form a constraint on the translator. Through the translator’s review of the text, the
translation quality is improved, and the content of the novel is faithfully conveyed.
These strategies have important practical significance for the study of
documentary novels translation, they also provide more fancy inspirations for
translators which can help to improve the quality of translation and promote
cross-cultural communication.
6.2 Limitations and Futur e Studies
As a translation theory that is still in perfection, Eco-translatology still has

shortcomings in its development. Although the theoretical basis and theoretical
connotation are constantly enriched and perfected, as an emerging perspective of
translation, Eco-translatology combines the ecology and translatology, internalizes the
entire translation process into a translational Eco-environment. Therefore, it takes
more time for Eco-translatology to be accepted by the masses.
The translator-centeredness of Eco-translatology has been questioned by many
scholars. They believe the translator’s excessive autonomy will affect the quality of
translation. Post-event penalty is an effective solution for this query, that is an
evaluation of the translator and the reward and punishment mechanism, which needs
to strengthen the relevant research. As an emerging theory, Eco-translatology has a
good development prospect, requires more in-depth understanding and flexible
mastery of the translator at the theoretical level and application background.
The future studies of Eco-translatology should focus on the balance of translation
Eco-environment of source language and target language and concentrate on
improving the applicability of translation strategies. Combined with the analysis of
Baiyangdian Chronicle, it is not difficult to find that in the process of translating the
text, a variety of translation strategies and multiple translation methods will be
comprehensively applied. The examples listed are the most frequently used and most
48
representative translation strategies. The various translation strategies are different,

but they are related and interact with each other and are unified in the perspective of
Eco-translatology. The purpose of using different translation strategies is to improve
the acceptance of translated texts in target readers and to enhance the ecological
adaptability of translated texts. Different translation strategies are not used separately
throughout the translation process. Under the premise of understanding and grasping
the thoughts and main contents of the original text, it is necessary to highlight the
characteristics of the text and maintain the characteristics of Eco-environment.
Making corresponding adjustments and changes to adapt to the Eco-environment of
the translated text and ensuring the coexistence in the “two environments” also have
great necessity which putting new and higher requirements on the translator. In the
future translation practice, it should be actively practiced and carefully summarized.
Eco-translatology provides translators with a new perspective on translation
research and practice. The philosophical law that developing on the basis of
inheritance, innovating in the process of development is also applicable to the
Eco-translatology which is formed and gradually improved in the background of the
development of the times and social progress. On the basis of inheriting the relevant
theories and translation strategies of traditional translation studies, scholars should
continue to innovate, and develop and apply various translation strategies from the
perspective of Eco-translatology, and practice them in different types of texts. The
theoretical viewpoints and connotations of Eco-translatology are perfected in the
practice of translation, and the harmony between the original text and the target text,
the original author and the translator is realized in the entire Eco-environment of
translation.
49
50
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54
Acknowledgments
With the fulfillment of this thesis, I would like to extend my sincere thanks to all
those who have encouraged me during the two years in University of Jinan. I also
would like to express my earnest gratitude to those who have provided me with their
valuable suggestions and help during my dissertation writing.
First and foremost, I would like to extend my sincere thanks to my respected
supervisor, Professor Liang Aimin, who has been giving me constant supervision in
the writing of this thesis. She has carefully read my drafts sentence by sentence and
polished it again and again. She has offered me invaluable assistance and patient
counsel in writing this dissertation. Without her consistent concern and instruction, it
would be impossible for me to complete this dissertation.
Second, I am grateful to all other teachers of School of Foreign Languages, my
friends and classmates for their generous help on my thesis and study.
Last but not least, I would like to show my deep love for my family, who have
supported me with unconditional sacrifice.
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56
Appendix I
芦花荡 1
导读：在被数人封锁的苇塘中，有一位能撑着小船自由行走，并为我们接送
干部、带来粮食的神奇老人。这天，他护送两个女孩子来找队伍，却因一时疏忽
让其中一个女孩子被鬼子打中。第二天，为了给这个女孩子报仇，他用自己多年
纵横水面的经验狠狠地反击了鬼子。
夜晚，敌人从炮楼的小窗子里，呆望着这阴森黑暗的大苇塘，天空的星星也
像浸在水里，而且要滴落下来的样子。到这样的深夜，苇塘里才有水鸟飞动和唱
歌的声音，白天它们是紧紧藏到窝里躲避炮火去了。苇子还是那么狠狠地往上钻，
目标好像就是天上。
敌人监视着苇塘。他们提防有人给苇塘里的人送来柴米，也提防里面的队伍
会跑了出去。我们的队伍还没有退却的意思。可是假如是月明风清的夜晚，人们
的眼再尖利一些，就可以看见有一只小船从苇塘里撑出来，在淀里，像一片苇叶，
奔着东南去了。半夜以后，小船又飘回来，船舱里装满了柴米油盐，有时还带来
一两个从远方赶来的干部。
撑船的是一个将近六十岁的老头子，船是一只尖尖的小船。老头子只穿一条
蓝色的破旧短裤，站在船尾巴上，手里拿着一根竹篙。
老头子浑身没有多少肉，干瘦得像老了的鱼鹰。可是那晒得干黑的脸，短短
的花白胡子却特别精神，那一对深陷的眼睛却特别明亮。很少见到这样尖利明亮
的眼睛，除非是在白洋淀上。
老头子每天夜里在水淀出入，他的工作范围广得很：里外交通，运输粮草，
护送干部；而且不带一枝枪。他对苇塘里的负责同志说：你什么也靠给我，我什
么也靠给水上的能耐，一切保险。
老头子过于自信和自尊。每天夜里，在敌人紧紧封锁的水面上，就像一个没
事人，他按照早出晚归捕鱼撒网那股悠闲的心情撑着船，编算着使自己高兴也使
别人高兴的事情。
因为他，敌人的愿望就没有达到。
1
来源:《白洋淀纪事》节选，孙犁著，北京:商务印书馆，2017.
57
每到傍晚，苇塘里的歌声还是那么响，不像是饿肚子的人们唱的；稻米和肥
鱼的香味，还是从苇塘里飘出来。敌人发了愁。
一天夜里，老头子从东边很远的地方回来。弯弯下垂的月亮，浮在水一样的
天上。老头子载了两个女孩子回来。孩子们在炮火里滚了一个多月，都发着疟子，
昨天跑到这里来找队伍，想在苇塘里休息休息，打打针。
老头子很喜欢这两个孩子：大的叫大菱，小的叫二菱。把她们接上船，老头
子就叫她们睡一觉，他说：什么事也没有了，安心睡一觉吧，到苇塘里，咱们还
有大米和鱼吃。
孩子们在炮火里一直没安静过，神经紧张得很。一点轻微的声音，闭上的眼
就又睁开了。现在又是到了这么一个新鲜的地方，有水有船，荡悠悠的，夜晚的
风吹得长期发烧的脸也清爽多了，就更睡不着。
眼前的环境好像是一个梦。在敌人的炮火里打滚，在高粱地里淋着雨过夜，
一晚上不知道要过几条汽车路，爬几道沟。发高烧和打寒噤的时候，孩子们也没
停下来。一心想：找队伍去呀，找到队伍就好了!
这是冀中区的女孩子们，大的不过十五，小的才十三。她们在家乡的道路上
行军，眼望着天边的北斗。她们看着初夏的小麦黄梢，看着中秋的高粱晒米。雁
在她们的头顶往南飞去，不久又向北飞来。她们长大成人了。
小女孩子趴在船边，用两只小手淘着水玩。发烧的手浸在清凉的水里很舒服，
她随手就舀了一把泼在脸上，那脸涂着厚厚的泥和汗。她痛痛快快地洗起来，连
那短短的头发。大些的轻声吆喝她：
“看你，这时洗脸干什么?什么时候啊，还这么爱干净!”
小女孩子抬起头来，望一望老头子，笑着说：
“洗一洗就精神了!”
老头子说：
“不怕，洗一洗吧，多么俊的一个孩子呀!”
远远有一片阴惨的黄色的光，突然一转就转到她们的船上来。女孩子正在拧
着水淋淋的头发，叫了一声。老头子说：
“不怕，小火轮上的探照灯，它照不见我们。”
他蹲下去，撑着船往北绕一绕。黄色的光仍然向四下里探照，一下照在水面
58
上，一下又照到远处的树林里去了。
老头子小声说：
“不要说话，要过封锁线了!”
小船无声地，但是飞快地前进。当小船和那黑糊糊的小火轮站到一条横线上
的时候，探照灯突然照向她们，不动了。两个女孩子的脸照得雪白，紧接着就扫
射过一梭机枪。
老头子叫了一声“趴下”，一抽身就跳进水里去，踏着水用两手推着小船前
进。大女孩子把小女孩子抱在怀里，倒在船底上，用身子遮盖了她。
子弹吱吱地在她们的船边钻到水里去，有的一见水就爆炸了。
大女孩子负了伤，虽说她没有叫一声也没有哼一声，可是胳膊没有了力量，
再也搂不住那个小的，她翻了下去。那小的觉得有一股热热的东西流到自己脸上
来，连忙爬起来，把大的抱在自己怀里，带着哭声向老头子喊：
“她挂花了!”
老头子没听见，拼命地往前推着船，还是柔和地说：
“不怕。他打不着我们!”
“她挂了花!”
“谁?”老头子的身体往上蹿了一蹿，随着，那小船很厉害地仄歪了一下。
老头子觉得自己的手脚顿时失去了力量，他用手扒着船尾，跟着浮了几步，才又
拼命地往前推了一把。
他们已经离苇塘很近。老头子爬到船上去，他觉得两只老眼有些昏花。可是
他到底用篙拨开外面一层芦苇，找到了那窄窄的入口。
一钻进苇塘，他就放下篙，扶起那大女孩子的头。
大女孩子微微睁了一下眼，吃力地说：
“我不要紧。快把我们送进苇塘里去吧!”
老头子无力地坐下来，船停在那里。月亮落了，半夜以后的苇塘，有些飒飒
的风响。老头子叹了一口气，停了半天才说：
“我不能送你们进去了。”
小女孩子睁大眼睛问：
“为什么呀?”
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老头子直直地望着前面说：
“我没脸见人。”
小女孩子有些发急。在路上也遇见过这样的带路人，带到半路上就不愿带了，
叫人为难。她像央告那老头子：
“老同志，你快把我们送进去吧，你看她流了这么多血，我们要找医生给她
裹伤呀!”
老头子站起来，拾起篙，撑了一下。那小船转弯抹角钻入了苇塘的深处。
这时那受伤的才痛苦地哼哼起来。小女孩子安慰她，又好像是抱怨，一路上
多么紧张，也没怎么样。谁知到了这里，反倒……一声一声像连珠箭，射穿老头
子的心。他没法解释：大江大海过了多少，为什么这一次的任务，偏偏没有完成?
自己没儿没女，这两个孩子多么叫人喜爱!自己平日夸下口，这一次带着挂花的
人进去，怎么张嘴说话?这老脸呀!他叫着大菱说：
“他们打伤了你，流了这么多血，等明天我叫他们十个人流血!”
两个孩子全没有答言，老头子觉得受了轻视。他说：
“你们不信我的话，我也不和你们说。谁叫我丢人现眼，打牙跌嘴呢!可是，
等到天明，你们看吧!”
小女孩子说：
“你这么大年纪了，还能打仗?”
老头子狠狠地说：
“为什么不能?我打他们不用枪，那不是我的本事。愿意看，明天来看吧!
二菱，明天你跟我来看吧，有热闹哩!”
中午的时候，非常闷热。一轮红日当天，水面上浮着一层烟气。小火轮开得
离苇塘远一些，鬼子们又偷偷地爬下来洗澡了。十几个鬼子在水里泅着，日本人
的水式真不错。水淀里没有一个人影，只有一团白绸子样的水鸟，也躲开鬼子往
北飞去，落到大荷叶下面歇凉去了。从荷花淀里却撑出一只小船来。一个干瘦的
老头子，只穿一条破短裤，站在船尾巴上，有一篙没一篙地撑着，两只手却忙着
剥那又肥又大的莲蓬，一个一个投进嘴里去。
他的船头上放着那样大的一捆莲蓬，是刚从荷花淀里摘下来的。不到白洋淀，
哪里去吃这样新鲜的东西?来到白洋淀上几天了，鬼子们也还是望着荷花淀瞪眼。
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他们冲着那小船吆喝，叫他过来。
老头子向他们看了一眼，就又低下头去。还是有一篙没一篙地撑着船，剥着
莲蓬。船却慢慢地冲着这里来了。
小船离鬼子还有一箭之地，好像老头子才看出洗澡的是鬼子，只一篙，小船
溜溜转了一个圆圈，又回去了。鬼子们拍打着水追过去，老头子张皇失措，船却
走不动，鬼子紧紧追上了他。
眼前是几根埋在水里的枯木桩子，日久天长，也许人们忘记这是为什么埋的
了。这里的水却是镜子一样平，蓝天一般清，拉长的水草在水底轻轻地浮动。鬼
子们追上来，看看就扒上了船。老头子又是一篙，小船旋风一样绕着鬼子们转，
莲蓬的清香，在他们的鼻子尖上扫过。鬼子们像是玩着捉迷藏，乱转着身子，抓
上抓下。
一个鬼子尖叫了一声，就蹲到水里去。他被什么东西狠狠咬了一口，是一只
锋利的钩子穿透了他的大腿。别的鬼子吃惊地往四下里一散，每个人的腿肚子也
就挂上了钩。他们挣扎着，想摆脱那毒蛇一样的钩子。那替女孩子报仇的钩子却
全找到腿上来，有的两个，有的三个。鬼子们痛得鬼叫，可是再也不敢动弹了。
老头子把船一撑来到他们的身边，举起篙来砸着鬼子们的脑袋，像敲打顽固
的老玉米一样。
他狠狠地敲打，向着苇塘望了一眼。在那里，鲜嫩的芦花，一片展开的紫色
的丝绒，正在迎风飘撒。
在那苇塘的边缘，芦花下面，有一个女孩子，她用密密的苇叶遮掩着身子，
看着这场英雄的行为。
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蒿儿梁
导读：在敌人的“扫荡”开始的时候，杨纯医生带着五个伤员和刘兰这个看
护转移到蒿儿梁。蒿儿梁的妇救会主任和她的丈夫都是积极拥护组织的人。他们
在敌人的“扫荡”中，用自己的力量保护了杨纯医生等人。
一九四三年，敌人冬季“扫荡”开始了，杨纯医生带着五个伤员，和一个小
女看护，名叫刘兰，转移到繁峙五台交界地方，住在北台脚下的成果庵里。五台
山有五个台顶，北边的就叫北台。这是有名的高山，常年积雪不化，六月天走过
山顶，遇见风雹，行人也会冻死。
一条石沟小河绕着成果庵的粉墙急急流过。站在成果庵的大殿台阶，可以看
到北台顶上雄厚的雪堆。这几天情况紧急，区委书记夜里来通知杨医生，叫他往
山上转移，住到蒿儿梁去。
他们清早出发，杨医生走在前面，招呼着担架，轻抬轻放，脚下留神，不要
叫冰雪滑倒。他看好平整的地方，叫大家放下擦擦汗休息一下，就又往上爬。
刘兰跟在担架后面，嘴里冒着热气，一步一步挨上来。杨医生把她的卫生包
接过来，挂到自己身上。
他的身上，东西已经不少。一支大枪，三十粒子弹、五个手榴弹，一个皮药
包。两条米袋像围巾一样缠在他的脖子里。背上，他自已的背包驮着刘兰的背包。
他挺身走着，山底子鞋拍啦啦沉重地响着。
“杨医生，我们的药棉又不多了。”刘兰跟在后面说。
“到蒿儿梁，我们做。”
“怎么着弄个消毒的小锅吧，做饭的大钢，真不好刷干净，老百姓也不愿意
叫使！”
“这也要到蒿儿梁想办法。”
刘兰又问：
“伤号光吃莜麦不好吧？”
“到蒿儿梁，弄些细粮吃。”
“蒿儿梁，蒿儿梁！到了蒿儿梁，我们找谁呀？”
“找妇救会的主任。区委书记没说她叫什么名字，只说一打听女主任，谁也
知道。”
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他们顺着盘道往上走，转过三四个山头才看见在前面的山顶上，有一个小村
庄。这小村庄叫太阳照得发光，秃秃的没有一棵树，靠它西边的山上，却有一大
片叫雪压着的密密的杉树林；隔着山沟，可以听见在树林边缘奔跑的狍子的尖叫。
村庄里有一只雄鸡也在长鸣。再绕过一个山头，看见有一洼泉水，周围结了厚冰，
一条直直的小路，通到村里去。村里的人吃这个泉的水。村庄不远了。
这个不到三十户的小村，就叫蒿儿梁。
女主任去住娘家了，还没有回来，主任的丈夫，一个五十来岁的粗壮汉子，
把他们安排到一间泥墙草顶的小小的南屋里，随着粮秣送来了茅柴，就点火烧起
炕来。
杨纯到村庄周围转了一转。都是疏疏落落的草顶泥墙小房，家家也都没有篱
笆。村里村外，只有些小小的莜麦秸垛，盖着厚雪。街道上，担水滴落，结了一
层冰。全村只有一棵歪把的老树，但遍山坡长着那么一丛丛带刺的小树，在冰天
雪地，满挂着累累的、鲜艳欲滴的红色颗粒。
人们轻易不出门，坐在炕上，拨弄着一盆红红的麦秸火。妇女们出来一下子，
把手插在腰里，又赶紧跑到屋里去。
女主任的丈夫，在院里备好一匹小毛驴，出门去了。第二天，把主任接了回
来。
到了院里，主任从毛驴上跳下。她不过二十五岁，披着一件男人的深黑面的
黑羊皮袄，紫色的圆顶帽子装着珠花。她嘻嘻地笑着跑到南屋里来。她的相貌，
和这一带那些好看的女人一样，白胖胖的脸，鲜红的嘴唇和白牙齿。她看了刘兰
一眼，又看了杨纯一眼，笑着不说话。刘兰让她到炕上暖和，她说：
“这是俺的家，我要让你们哩！”
杨纯说：“你就是主任呀？我们把你的房子占了．”
“不要紧”主任说，
“老头子说你们来了，我真高兴。”她伸过手去摸了摸炕
席说：“好，炕还热。不行哩，我们这个地方冷呀！有人给你们做饭？”
刘兰说：“有。”
“一会，我给你们搓窝窝吃，别看我们蒿儿梁村小，我搓的窝窝可远近知名
哩！”
晌午，主任推门进来。她脱去了羊皮衣，穿一件破旧的红棉枖，怀抱着一大
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块光亮的黄色琉璃瓦，这是搓莜面窝窝的工具，她说是托人到台怀买来的。她站
立在炕边，卷起抽子。搓的窝窝又薄又小，放的整整齐齐。
“好妹妹！”主任笑着对刘兰说，
“我叫你头一回吃这么讲究的饭食，你离开
蒿儿梁，你要想蒿儿梁哩！”
“我不想蒿儿梁，这个冷劲我受不了！”刘兰也笑着说。
杨纯说：
“你要想蒿儿梁的窝窝吃哩！”
“对了，你要想我这手艺哩！”主任笑着把手掌拍一拍。
“为什么你的胳膊那么胖？”刘兰问，“是吃莜麦吃的？”
“享福享的吧！”主任说，
“这几年我是胖了，那几年，我比你还瘦哩，我的
好妹子！有工夫，我要和你说一说我受的苦理！”
夜间，主任叫刘兰搬到她新拾掇好，烧了炕的小东屋里去睡，打发她的男人，
到別人家去睡了。这一夜，主任把头放在刘兰的枕上，叙说她的身世。她说
“我家在川里，从小给地主家当丫头使唤。十六岁上，娘才把我领回家，嫁
给这里，我今年二十五，男人比我大一半。他是个实落人，也知道疼我。我觉着
比在地主家里受人欺侮强多了。这几年，减了租子，我们也能吃饱，又没有孩子
累着，我就发胖了。”
“我问问你，”主任从枕上抬起头来，
“我们的仗，又打得不好吗，怎么你们
又跑到这个野地方来？”
“仗打得好。”刘兰说，“这是伤号，要找个安稳地方。”
“我就怕咱们的仗打败了！”主任长舒一口气，
“我们种的是川里地主家的地，
咱们胜了，他就不敢山上来，你们一走，他就派人来吓我。我就盼咱们打胜仗，
要把川里也占了，咱们的日子会更好过哩！那时，这地，就成了咱自己的吧？”
“对了，以后，谁种的地就是谁的。”
“我想，总得是那样。”主任说，
“不把敌人打走，我的命还在人家手心里攥
着哩！”
“为什么？”
“我娘把我领出来，嫁给了这里。那家地主看见我出息得好了，生了歪心哩！
他叫人吓唬我，叫我回去，又吓唬我的男人，说叫三亩地換了我。他杂种想算着
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吧！他觉着我还是那几年，给他当奴才的时候哩！”
停了一会，她说：
“妹子，我就靠着你们，把仗打好了，我们就都熬了出来。
你困了吧，靠近我点睡，就会暖和些。”
刘兰每天的工作，是烧开水，煮刀剪铗子消毒，团药棉。这些事情，主任全
帮她做，她好问，又心灵手巧，三两天，就学会了。她帮着刘兰给伤号们去换药，
和他们说笑，伤员们听刘兰说，主任搓的窝窝好，就争着求她做饭，这样一来，
她就整天卷着两只袖子，带着两手面，笑出来，笑进去。
在这小庄上，也还只有莜麦面和山药蛋吃。不管怎样变，也还是莜面和山药
蛋，不久伤员们就吃腻了，想吃点别的。杨纯到处打听，想给他们弄些白面、羊
肉、白菜和萝卜吃。可是在这小庄上，你休想找到这些东西，问到那些老人，老
人们说：
“庄子上有的东西，凭是多么贵重，我们也给你们吃；要讨换这些东西，
除非是到川里。”
自从添了这么七个生人，小庄上热闹起来，两盘碾子整天不闲，有时还要点
上灯推莜麦，青年人要去放哨，坐探，小孩子要去送信砍柴，妇女们拆洗伤员的
药布衣服，分班做饭。全村每个人都分担了一点责任，快乐并且觉到光荣。
整个小村庄在热情地支援帮助这个小小的队伍，杨纯不愿再多麻烦他们。他
和主任商量，主任笑着说：
“你站在这个梁上想大米白面吃，那就难死了，你可以到川里去找。”
杨纯说：
“情况这么紧，怎么能到川里去？”
主任说:
“敌人都到山里“扫荡”了，川里这会空着哩，不要紧，你去吧，那里什么
都现成！”
“你看，我是离不开！”杨纯说。
“离不开你的伤员，怕他们受了损失？”主任说，“你还是不信服我们这小
庄子。你把他们交给我，放心去吧！
杨纯没有答声。他不能离开这些伤员，他觉得就像那些母亲，在极端困难的
时候，也不能放下那拖累着的孩子一样。主任望着他说：
“要不，你给我写个信，我去。”
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杨纯说：
“那也不好。”
“你这人，这样也不好，那样也不好，你可就拿出你那巧妙办法来呀！”
“我怕你遇见危险。”
“我遇不见危险。”主任说，
“就是遇上我也认了。你怕我碰上鬼子？碰上他
们，他们也没办法，他们捉不住那满山野跑的狍子，就捉不住我。”
“那就让你跑一趟吧！”杨纯说。
他给川里负责的同志写了信，主任看着他把图章盖得清清楚楚，才收起来，
放在棉袄的底襟里，披上她那件大皮祆，就向杨纯告辞。杨纯把她送到村北口那
棵歪老的树下面，对她说：
“去到川里，见到熟人，千万可别说，咱这庄上住着八路！”
主任笑了一笑，用她那胖胖的手掌把嘴一盖，说：
“我这嘴严实着哩！”她看了杨纯一眼，接着说：
“杨同志，我不佩服你别的，
就佩服你这小小的年纪，办事这么仔细，心眼这么多！”
她转身走了，踢着路上的雪和石子。转过山坡，她好像又想起了什么，转身
回来，喊道：“杨同志，我们当家的病了，你去给他看看吧！”
杨纯问：
“什么病呀？”
“准是受了风寒，你给他点洋药吃吧！”
她那清脆的声音，在山谷里，惊起阵阵的回响。
杨纯回到家里，带上药包，去给主任的丈夫看病。他住在游击组员名叫青儿
的小屋里。杨纯推门进去，老人笑着让他坐。杨纯说：
“不舒服吗？我给你带了药来。”
老人说：
“不要紧。只有些头痛，不用吃药。药很贵的，我一辈子没吃过药。”
青儿笑着说：
“哥哥吃点药吧，吃了药，同志也不跟我们要钱！”
杨纯爬过去，摸一摸他的横着深刻皱纹的前额，又摸一摸他的暴露着粗筋的
脉，说：
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“不要紧，叫兄弟给你烧些水，吃点药就会好了。”
杨纯给老人包出药来，青儿点火烧水。
老人说：
“一定是她告诉了你。”
杨纯说：
“你说的是主任呀？”
老人说：
“是她。黑间她来了，我说不要紧，叫她回去了。同志，她还年轻，我愿意
叫她多给咱们做些事！”
停了一会，老人又说：
“同志，什么时候，我们的天下就打下来？什么时候，
把川里的敌人也打走就好了。同志，穷人过着日子，老是没有个底确哩！”
青儿烧着火说：
“哥哥先担心他这几亩地，怕地主再上山来逼人。这两天，看见情况不好，
就又病了。”
杨纯安慰鼓励了老人一番。
隔了一天，老人的病好了，可是情况更紧了，他和杨纯商量，在附近山里，
找个严实地方，预备着伤员们转移。
吃过晌午饭，他带着杨纯，从向西的一条山沟跑下去。
到了山底，他们攀着那突出的石头和垂下来的荆条往上爬，半天才走进了那
杉树林。树林里积着很厚的雪，向阳的一面，挂满长长的冰柱。不管雪和冰柱都
掩不住那正在青春的、翠绿的杉树林。这无边的杉树，同年同月从这山坡长出，
受着同等的滋润和营养，它们都是一般茂盛，一般粗细，一般在这刺骨的寒风里，
茁壮生长。树林里没有道路，人走过了，留下的脚印，不久就又被雪掩盖。主任
的丈夫指给杨纯：“那边有一个地窖，”又说，“从这后面上去，就是北台顶、敌
人再也不能上去！”
他找着那条陡峭的小路，小路已经叫深雪掩盖，他扒着杉树往上走，雪一直
陷到他的大腿那里。他往上爬，雪不断地从他脚下滚来，盖住杨纯。杨纯紧紧跟
上去，身上反倒暖和起来，流着汗。主任的丈夫转脸告诉他：把你的扣子结好，
帽子拉下来，到了山顶，你的手就伸不出来了。
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他们爬到一个能站脚的地方，站在那里喘喘气。他们就要登上那大山顶，可
是从西北方向刮过一阵阵的风，这风头是这样劲，使他们站立不稳。看准风头过
去，主任的丈夫才赶忙招呼杨纯跑上去。
站在这山顶上，会忘记了是站在山上，它是这样平敞和看不见边际，只是觉
得天和地离得很近，人感受到压迫。风从很远的吹过来，没有声音，卷起一团团
的雪柱。
走在那平平的山顶上，有一片片薄薄的雪。太阳照在山顶上，像是月亮的光，
没有一点暖意。山顶上，常常看见有一种叫雪风吹干了的黄白色的菊花形的小花，
香气很是浓烈，主任的丈夫采了放在衣袋里，说是可以当茶叶喝。
薄薄的雪上，也有粗大的野兽走过的脚印。它们深夜在这山顶上行走，黄昏
和黎明，向着山下号叫，这只配是老虎、豹。
在这里，可以看见无数的、像蒿儿梁那样小小的村庄，像一片片的落叶，粘
在各个山的向阳处。可以看见台顶远处大寺院的粉墙琉璃，可以看见川里的河流，
河流两岸平坦的稻田，和地主们青楼瓦舍的庄院。
主任的丈夫说：“我们住的这小村子，都是穷佃户，不是庙里的佃户，就是
川里的佃户！”
杨纯站在山顶上，他觉得是站在他们作战的边区的头顶上。千万条山谷，纵
横在他的眼前，那山谷里起起伏伏，响着一种强烈的风声。冰雪伏藏在她的怀里、
阳光照在她的脊背上。瀑布，是为了养育她的儿女，永远流不尽的乳浆，现在结
了冰，一直垂到她的脚底！
杨纯想到：他的同志们，他的队伍，正在抵挡这寒冷的天气，熬受着锻炼，
他们穿着单薄的军衣，背着粗糙食粮，从这条山谷，转战到那个山头，人民热望
他们胜利。
远处，那接近翼中平原的地方，腾起一层红色的尘雾。那里有杨纯的家。他
好像看见了他那临河的小村庄，和他那两间用土甓垒起的向阳的小屋，那里面居
住着他的母亲。
忽然、主任的丈夫喊：“不好，你来看，敌人到了成果庵吗？”
杨纯看见，在远远山脚下面，成果庵那里点起火，他断定敌人到了那里，天
气还早，敌人可能还要住上赶，到蒿儿梁，他隐隐约约听见了山的下面有枪声，
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那是放哨人的警号！
他们慌忙寻找下山的道路，主任的丈夫跑在前边。他们从雪上住下滑，石头
和荆条撕碎了他们的衣裳，手上流着血。
杨纯心里阵阵作痛，他离开了受伤的同志，使他们遭受牺牲！
当他们跑进那通到村里去的山沟，他们迎见了主任！她满脸流着汗，手拉着
踉跄跑来的刘兰！在她旁边是由蒿儿梁老少妇女组成的担架队，抬来了五个伤员。
村里听见了警号的枪声，男人们全到了去成果庵的路上（主任说，她刚回到家里，
去伏击敌人了）。妇女们跑来和她商量把伤员转移到哪里去，她决定到这个地方
来。凡是有力量的，都在担架上搭一把手，把伤员送了出来！
她们把伤员抬到了杉树林的深处，安置在地窖里。她们还抬来主任从川里弄
来的粮食和菜蔬，妇女们也都带了干粮来。
主任的丈夫回到村里探消息。
夜晚，飘起雪来，妇女们围坐在地窖旁边，照顾着伤员。杨纯到前面放哨，
主任和刘兰在杉树林的边缘站岗。
她们靠在一棵杉树上，主任把羊皮大衣解开，掩盖着刘兰的头。她们前面有
一条小河，河面上已经结了冰，还盖上了很厚的雪，但是那小小的山溪冲激得很
历害，在厚厚的冰下面，还听到它那淙淙的寻找道路、流向前去的声音。
主任紧紧抱着刘兰。雪飘在她们头上，不久淹没了她们的脚；雪飘在她们脸
上，但立刻就融化了。刘兰呼吸着从她的胸怀放散的热气，这孩子竟有些困倦。
主任望着前面，借着她的好眼力和雪光，她看见杨纯，那个青年人，那个医
生，那个同志，抱着一支大枪，站在山坡一块突出的尖石上。他那白色毡帽，成
了一顶雪帽，蓝色的大棉袄背后，也落上一层厚雪，杨纯站在那里，尖着耳朵，
听着山谷里的一切声音。不久，他跺一跺脚上的雪，从石头上轻轻跳下来，走到
主任的面前说：
“蒿儿梁什么声音也没有，敌人想是在成果庵过夜了，看黎明的时候吧！”
主任说：
“要紧的时候，我们就转移到山顶上去，原班人马都在这里！”
又说：“刘兰睡着了，就叫她这么着睡一会吧！”
杨纯说:
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“你们帮助了我们！”
“我们不是自己人？”主任笑着问。
“这就叫鱼帮水，水帮鱼吧！”杨纯也笑着说。
主任问：
“谁是水，谁是鱼？”
“老百姓是水，我们是鱼！”杨纯说。
“你这比方打错了！”主任说，
“老百姓帮助你们，情愿把心掏给你们，为什
么？这为的是你们把我们救了出来！”
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战士
导读：一年冬天，
“我”住在石桥这个小村子里。那时，
“我”经常到镇上买
猪肉吃。这家的掌柜是一个残疾的军人，在战争中被打伤了右臂和左腿，同掌柜
这样的人还有很多，因为他们是在战争中被伤害的，因此很多人都非常照顾他们
的生意。
那年冬天，我住在一个叫石桥的小村子。村子前面有一条河，搭上了一个草
桥。天气好的时候，从桥上走过，常看见有些村妇淘菜；有些军队上的小鬼，打
破冰层捉小沙鱼，手冻得像胡萝ト，还是兴高采烈地喊着。
这个冬季，我有几次是通过这个小桥，到河对岸镇上，去买猪肉吃。掌柜是
一个残废军人，打伤了右臂和左腿。这铺子，是他几个残废弟兄合股开的合作社。
第一次，我向他买了ー个腰花和一块猪肝。他摆荡着左腿用左手给我切好了。
一般的山里的猪肉是弄得粗糙的，猪很小就杀了，皮上还带着毛，涂上刺眼的颜
色，煮的时候不放盐。当我称赞他的肉有味道和干净的时候，他透露聪明地笑着，
两排洁白的牙齿，二个嘴角往上翘起来，肉也多给了我一些。
第二次，我去是一个雪天，我多烫了一小壶酒。这天，多了一个伙计：伤了
胯骨，两条腿都软了。
三个人围着火谈起来。
伙计不爱说话。我们说起和他没有关系的话来，他就只是笑笑。有时也插进
一两句，就像新开刃的刀子一样。谈到他们受伤，掌柜望着伙计说：
“先还是他把我背到担架上去，我们是一班，我是他的班长。那次追击敌人，
我们拼命追，指导员喊，叫防御着身子，我们只是追，不肯放走一个敌人！”
“那样有意思的生活不会有了。”伙计说了一句，用力吹着火，火照进他的
眼，眼珠好像浮在火里。掌柜还是笑着，对伙计说：
“又来了，”他转过头来对我，
“他沉不住气哩，同志。那时，我倒下了，他
把我往后背了几十步，又赶上去，被最后的一个敌人打穿了胯。他直到现在，还
想再干干呢！”
伙计干脆地说：
“怨我们的医道不行么！”
“怎样？”我同他。
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“不能换上一副胯骨吗，如能那样，我今天还在队伍里。难道我能剥一辈子
猪吗？”
“小心你的眼！”掌柜停止了笑对伙计警戒着，使我吃了一惊。
“他整天焦躁不能上火线，眼晴已经有毛病了。”
我安慰他说，人民和国家记着他的功劳，打走敌人，我们有好日子过。
“什么好的生活比得上冲锋陷阵呢？”他沉默了。
第三次我去，正赶上他两个抬了一筐肉要去赶集，我已经是熟人了，掌柜的
对伏在锅上的一个女人说：
“照顾这位同志吃吧。新出锅的，对不起，我不照应了。”
那个女人个子很矮，衣服上涂着油垢，正在肉皮上抹糖色，我坐在他们的炕
上，炕头上睡着一个孩子，放着一个火盆。
女人多话，有些泼。她对我说，她是掌柜的老婆，掌柜的从一百里以外的家
里把她接来，她有些抱怨，说他不中用，得她来帮忙。
我对她讲，她丈夫的伤，是天下最大的光荣记号，她应该好好帮他做事。
这都是一年前的事了。第四次我去，是今年冬季战斗结束以后。一天黄昏，
我又去看他们，他们却搬走了，遇见一个村干部，他和我说起了那个伙计，他说：
“那才算个战士！反‘扫荡’开始了我们的队伍已经准备在附近作战，我派
了人去抬他们，因为他们不能上山过岭。那个伙计不走，他对去抬他的民兵们说：
你们不配合子弟兵作战吗？民兵们说：配合呀！他大声喊：好！那你们抬我到山
头上去吧，我要指挥你们！民兵们都劝他，他说不能因为抬一个残废的人耽误几
个有战斗力的，他对民兵们讲：你们不知道我吗？我可以指挥你们！我可以打枪，
也可以扔手弹，我只是不会跑罢了。民兵们拗他不过，就真的带好一切武器，把
他抬到敌人过路的山头上去。你看，结果就打了一个漂亮的伏击战。”
临别他说：
“你要找他们，到城南庄去吧，他们的肉铺比以前红火多了！”
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Appendix II
Luhuadang
Introduction: In the reed pond, which was sealed off by several enemies, there was a
wonder man who could shuttle freely by punting a boat and help us pick up cadres
and deliver food. One day, he escorted two girls to find the team, due to a momentary
negligence, one of the girls was shot by the enemy. The next day, to avenge for the
girl, he fought back against the enemies by using his years of experience in water.
At night, the enemies stared at the gloomy reed pond from the small window of
the battery, and the stars in the sky were as if they had been soaked in water and were
about to drip down. It was late at night that the waterfowl in the reed pond began to
flit and sing. It seemed like they hid themselves strictly in their nests to elude the
gunfire during the daylight. The reeds were still struggling to grow up as if the goal
was to perforate the sky.
The enemies spied on the reed pond to prevent people sending daily necessities
into pond and also prevent the squad in the pond running away. Our squad had no
intention to retreat. However, if it was a bright night and people’s eyes could be a
little bit sharper, they will see a canoe like a reed leave paddling out of the pond and
drifting towards the southeast. Around midnight, the canoe was drifting back with its
cabin filled with necessities and sometimes took back one or two cadres who came
from afar.
The punter was an elder, nearly sixty, and the boat was a pointed boat. The elder,
wearing a worn blue shorts, stood on the stern with a bamboo in his hand.
The old man was as thin as an old osprey. However, his tanned face, short
grizzled beard is particularly spirited, especially this pair of deep eyes are quite bright.
Only in Baiyangdian can you see such sharp and bright eyes.
The elder shuttled in the baiyang lake every night, and he had a wide range of
work, from transporting supplies to escorting cadres. and with no weapons. He said to
the comrade who was in charge of the reed pond, you could depend on me for
everything, then I could depend on my ability of water.
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The elder was overconfident and self-esteem. Every night, under the enemy’s
tight blockade, he was like a trouble-free man, shuttling his boat in the leisurely mood
like daily fishing , and toying with the idea which pleased himself and others.
Because of him, the enemy’s wishes were not fulfilled.
Every evening, the singing in the reed pond was still sonorous, and it’s not like
singing by hungry people; the tasty smell of rice and fish was still coming from the
pond. The enemy was puzzled.
One night, the elder came back from the far east. The drooping moon was
floating in the sky. The elder drove two girls back. The girls stayed in the gunfire
more than a month, all with malaria. They ran to here to find the troop yesterday,
wanted to have a rest and take a cure in the pond.
The elder liked two girls very much: the older one was called Da Ling, and the
younger one was called Er Ling. The elder brought girls into the boat and told them to
sleep. He said, there was nothing to worry, you could go to sleep in peace. When
arrived in pond, we had tasty rice and fish to eat.
The children got nervous in the gunfire. A slight noise would make them startled
awake. Now it was a fresh place, with asway water and boat, and the night’s wind
blew on her burning face and made her much more awake.
The present environment was like a dream. They were rolling in the enemy’s
gunfire, spending the night in the rainy sorghum, and didn’t know how many car
roads to cross, how many gullies to climb. The children did not stop even when they
were with a high fever and shiver. They just held one thought: to seek the troop, all
the miseries would come to end.
The girls were from central Hebei province, the older one was fifteen and the
younger one was thirteen. They were marching in their hometown and staring at the
big dipper. They were looking at the yellowish wheat in the early summer and red
sorghum in the mid autumn. The geese flew overhead to the south and soon flew back
again. They grew up.
The little girl lay on the boat and played water with her two little hands. The
feverish hand was comfortable in the cool water, and she scooped a handful of it over
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her face, which was covered with mud and sweat. She washed herself up, even with
her short hair. The larger one softly shouted:
“Look at you, why are you washing you face and pay attention to the cleanliness
in such a critical moment?”
The little girl raised her eyes toward the elder and said:
“It can make me refresh!”
The elder said:
“It’s OK, go wash up, what a pretty girl!”
There was a sombre yellow light in the distance, which suddenly shone on their
boat. The girl was twisting her wet hair and screaming. The elder said:
“Don’t be afraid, the searchlight on the steam launch can’t catch us.”
He crouched down and rowed to the north. The yellow light was still shining
around, sometimes on the water; sometimes on the distant woods.
The elder whispered:
“Be quiet, we are going through the blockade!”
The boat was silent, but moving fast. When the boat and the steam launch stood
on a line, the searchlight suddenly caught them and stopped. The two girls’ faces were
pale and then the machine gun strafed toward them .
The elder yelled “get down”, then jumped into the water and used his hands to
push the boat forward. The big girl took the little girl in her arms, threw her down on
the bottom of the boat, and covered her with her body.
The bullets squeaked into the water near their boat, and some exploded in contact
with the water.
The big girl was hurt, even though she neither cried nor snored, her arms were
powerless, and she could not hold on to the little one any more, and she fell over. The
little one felt something hot running down her face, she quickly got up, held the big
one in her arms, and cried to the elder:
“She is injured!”
The elder didn’t hear that, still pushed the boat like mad and blandly said:
“Don’t be afraid, they won’t shoot us.”
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“She’s injured!”
“Who?” The elder’s body sprang up, and with the boat skew, the elder felt that
his hands and feet had lost their strength. He grabbed the stern of the boat and floated
a few steps before he pushed boat forward again.
They were already close to the reed pond. The elder climbed into the boat. He
felt his eyes were dim. But he finally used the bamboo to put the outer reeds apart and
found the narrow entrance.
When got into the reed pond, the elder put down the bamboo and supported the
big girl’s head.
The girl slightly opened her eyes and said:
“It doesn’t matter. Send us into the pond quickly!”
The elder sat down weakly, and parked the boat there. The moon fell, and after
midnight there was a rustle of wind in the reed pond. The elder sighed and paused for
a long time before he said:
“I cannot send you in.”
The little girl kept her eyes wide-open and asked:
“Why not?”
The elder primly stared ahead and said:
“I am ashamed to face people now.”
The little girl was anxious. They had met this kind of guide who gave up halfway,
which made them quite embarrassed.
“Old comrade, please send us in quickly, she has shed so much blood, we should
find a doctor to bind up the wound.”
The old man stood up, picked up the pole and took a row. The canoe tortuously
moved into the depth of pond.
Then the wounded girl groaned bitterly. The little girl comforted her but more
like complaining about how nervous she was all the way. Fortunately there were no
casualties. But this time he failed. He could not explain: he had gone through many
difficulties and dangers. Why was this mission not completed? He didn’t have any
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children and those two girls were so simpatico! He had talked big before, but this time
he took a injured girl into the pond, he felt ashamed. He talked to Da Ling:
“You are wounded by them and bleed so much blood, tomorrow, i will let them
pay ten times the costs!”
The girls didn’t answer him, the elder felt slighted. He said:
“I do make a complete fool of myself. But there will be a cracking good show for
you tomorrow.”
The little girl said:
“Can you still fight at your age?”
The elder said severely
“Why not? I don’t need to use guns to hit them, that’s not my specialty. If you
are willing, you can come to see it, it’s gonna be really exciting.”
By the noon of the next day, the weather was sultry. The torrid sun was shining
right overhead, there was a layer of smoke on the water. The steam launch was far
away from the reed pond, and the enemies secretly climbed down to take a bath. Over
a dozen enemies swam in the water, they were good swimmer. There was nobody in
the pond, only some waterfowls were like a mass of white silk, flew towards north to
stay away from the devil, and then fell under the big lotus leaves to rest. A boat
rowing out from the lotus lake, a thin old man, wearing a broken shorts, was standing
on the boat’s tail. His two hands were busy peeling the big, fat lotus and dropping it
one by one into his mouth.
On the bow of the old man’s boat was a large bundle of lotuses which were just
picked from the lotus lake. If you don’t come to Baiyangdian, there is nowhere to eat
such fresh food? Even though the enemies had come here for a few days, they were
still obsessed with the lotus lake. The enemies shouted at the old man to let him come
over.
The elder looked at them, then lower his head. He still optionally poling the boat,
peeling the lotus. The boat came slowly towards the enemies.
When the boat closed to the enemies, the elder had just discovered that those
were enemies. With just one poling, the boat turned back and rowed away. The
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enemies beat the water to catch up with him, the elder was in a panic and the ship
could not move, the enemies closely followed him.
There were several dry wooden piles in the water. As time went, people might
forget why they were buried. The water was as flat as a mirror, as clear as blue sky,
and the elongated seaweed floated gently under the water. The enemies came after
him and boarded the ship. The elder made another pole, and the boat whirled round
the enemies, the scent of the lotus swept over their noses. The enemies seemed to be
playing hide-and-seek, wiggling their bodies, scratching around.
A enemy squealed and squatted into the water. His thigh was pierced by a sharp
hook like he was bit by something. The others were astonished and scattered away,
and each man's legs was hooked. They struggled to get rid of the venomous hook. But
all the hooks which were used to avenge for the girl bit their legs ferociously. The
enemies cried with pain, but they dared not move.
The elder rowed the boat towards the enemies and beat their heads with the
bamboo like beating old corns.
He beat ferociously and glanced at the pond. There were fresh reed catkins like
a field of unfurling purple velvet floating in the wind.
At the edge of the reed pond, under the reed catkins, a girl covered herself with
thick reeds and watched the heroic deed.
78
Haoerliang
Introduction ： At the start of the enemy’s “mop-up”, doctor Yang Chun moved to
Haoerliang with five wounded and a nurse named Liu Lan. The director of Women’s
National Salvation Association and her husband are active advocates. They used their
own strength to protect doctor Yang Chun and others in the enemy’s “mop-up”.
In 1943, when the enemy’s winter “mopping-up” began, doctor Yang Chun, with
five wounded soldiers and a young nurse named Liu Lan, moved to the border of the
Fanzhi and Wutai and lived in the Chengguoan which is at the foot of the north
platform. The mount Wutai has five gazebos, and the one on the north is called the
north platform. This is the famous mountain, with snow that never melts. When
walking through the peak, if the pedestrians encounter the storm, they may freeze to
death.
A river flowed along the outer wall of Chengguoan. Standing on the steps of the
hall in Chengguoan, you could see the massive snow piles on the top of the north
platform. These days the situation was urgent. The secretary came to inform Dr. Yang
at night, telling him to move to the mountain and live in Haoerliang.
They set out early in the morning, and Dr. Yang walked ahead, beckoning the
stretcher to lift gently. Watching your step, don’t slip on the snow. He looked for the
flat place, told everyone to put down the stretcher and have a rest, then continued to
climb up again.
Liu Lan followed behind the stretcher with steaming out of from her mouth. Dr.
Yang took her bag and hung it on himself.
He had carried a lot, a big gun, thirty bullets, five grenades, and a medicine bag.
Two rice bags wrapped around his neck like a scarf. Ha had his own backpack and
Liu Lan’s backpack on his back. He strengthened up and walked with his soles of
shoes snapped heavily.
“Dr. Yang, we don’t have much cotton.” Liu Lan followed.
“When arrived at Haoerliang, we can do it ourselves.”
“We must find a pot to sterilize, the cooking pot is too hard to brush down, and
79
the villagers is also unwilling lending it to us.”

“Let’s figure it out after arrived at Haoerliang.”
Liu Lan asked again:
“Only eating hulless oat is helpless for the wounded soldiers.”
“When arriving at Haoerliang, we can find some refined grain to eat.”
“Haoerliang, Haoerliang! Who can we ask for help when we get there?”
“We can ask the director of Woman’s National Salvation Association for help,
the secretary doesn’t tell her name, but if we inquire about the director, everyone
knows about her.”
They walked up along the winding road and passed three or four hills before they
saw a small village on the top of the hill. The little village glowed under the sun, and
there was not a single tree in it; but the hill on it west had a great mass of fir-trees
covered with snow. Across the mountain gully, screams of the roe which were
running at the edge of the forest could be heard. A cock was singing in the village.
Crossed another hill, there were a pool of water, thick with ice, and a straight path
leading to the village. The people in the village drank the water from the spring. The
village was not far away.
This village named Haoerliang had less than thirty families.
The director went to live in her mother’s house and did not return. The director’s
husband, a stout man of about fifty years old, arranged them to a small south room
with mud walls and grass roof. He brought them some firewood and burned the
heated brick bed.
Yang Chun hung around the village. There were scattered cottages with thatched
roofs and mud walls, but no fences. Outside the village, there were small oat straw
battlements, covered with thick snow. The water dropped from carrying pole froze in
the streets.There was only one crooked old tree in the village, but the whole hillside
was covered with small trees with thorns. In such an ice world, the trees bore many
fresh red fruits.
The villagers seldom went out, they just sat on the kang1 fiddling the brazier.
When the women had to come out for a second, they often thrust their hands into their
80
waists to keep warm, and then hurried into the house.

The director’s husband, who had prepared a little donkey ready in the yard, went
out. The next day, he brought the director back.
Arriving at the yard, the director jumped off the donkey. She was only
twenty-five years old, dressed in a man’s black sheepskin coat, and a purple bowler
hat with beads. She hilariously ran to the south room. Her features were the same as
those beautiful women in the neighborhood, with plump white face, red lips and white
teeth. She looked at Liu Lan, and then looked at Yang Chun, laughing but saying
nothing. Liu Lan told her to sit on the kang for warmth, she said:
“It’s my house, please, make yourself at home.”
Yang Chun said: Are you the director? We are taking over your house.”
“Never mind” the director said, “my husband tells me you are here, i am so
glad.” She reached out and felt the kang: well, the kang is warm enough. This place is
very cold. Does anyone cook for you?”
Liu Lan said: “Yes.”
I will cook Wowo2 for you later. Although our village is small and secluded, the
Wowo2 i cooked is quite famous to all.
At noon, the director came in. She took off coat, wearing a red wadded jacket,
holding a big bright yellow glazed tile which was used to make corn bread. She
entrusted people to bringing it from Taihuai. She stood at the Kang, rolling up her
sleeves. The corn breads were thin and small, arraying tidily.
“My sister!” the director laughed and said, “It will be your first time to eat such a
dainty food, when leaving Haoerliang, you will miss here.”
“I won’t miss here, the cold here is more than i can bear.” Liu Lan said.
Yang Chun said:
“You should miss Haoerliang and corn bread.”
“Well, you will miss my cooking skills too.” the director clapped hands with a
smile.
“Why are your arms so fat? Liu Lan asked, “is it the hulless oat’s blame？”
“Maybe the life is too easy and comfortable!” the director said, “I am fat these
81
years, but several years ago, i was thinner than you. My sister! I will tell you about
my suffering when i get a chance!”
At night, the director invited Liu Lan to sleep in the east room and let her
husband lodge in other people’s house. This night, the director slept on the Liu Lan’s
pillow, telling about her life. She said:
“My hometown is Chuanli, i was a servant in landlord’s family. When i was
sixteen, my mother took me home and married me here. I am 25 years old now and
my husband is near 40 years old. He is an honest man and treats me well. I think my
life now is much better than being bullied in landlord’s family. In recent years, the
rent has been reduced, we can eat our fill, we also don’t have a child to take care.
Therefore, the body get fat.”
“Let me ask you,” the director raised her head, “ Did we lose the war? Why did
you come to such a desert place?”
“We are in good shape.” Liu Lan said, “those are wounded soldiers, they need a
safe place to rest.”
“I was worried about losing the war!” the director sighed contentedly, “We are
planting the land of the landowners. If we win, he doesn’t dare to bully us. As soon as
you leave, he will send someone to frighten me. I hope we can win the battle and
occupy Chuanli. By then, we will live a better life! And the land will become our
own.
“You are right, in the future, whoever plants the land will own it.”
“I think so.” the director said, “My life is still in the palm of someone’s hand if
we don’t beat them!”
“Why?”
“My mother brought me out and married me here. The landlord saw that I was
living a good life. He threatened me, told me to go back, and frightened my husband
that he would use three acres land to exchange me. He was just daydreaming! He
thought I was the same slave i used to be.”
Paused for a moment，the director said: “i am counting on you, if we win the war,
all the misery will be gone. Are you sleepy? You can sleep close to me to stay warm.”
82
Liu Lan’s daily work is to boil water, sterilize knife and clip, paste medicine
cotton. The director did all these things for Liu Lan and she was inquisitive and
skillful, and able to learn things well in a few days. She helped liu Lan to change
medicine for the wounded and chatted with them. The wounded soldiers heard that the
director’s corn bread is delicious, so begged her to cook. In this way, she rolled two
sleeves all day and her hands always stained with flour, laughing in and laughing out.
In this small village, people could only eat hulless oats and yams. No matter how
changed, the food they could eat were still hulless oats and yams.Soon the wounded
soldiers were tired of these food and wanted something new. Yang Chun asked
around and wanted to get some wheat flour, mutton, cabbage and radish for them. But
she couldn’t find that at this small village, and when she asked the elders, they said,
“We will give you everything we have, for it is of great value. But if you want these
food, you have to exchange it in Chuanli.”
Since added seven strangers, the small village became lively, two rollers worked
all day, sometimes even lighted the lamp to grind hulless oats. Young people stood
sentry, spied on enemy status, the children sent letters, cut firewood, and the women
washed soldiers’ stypes, clothes and took turns cooking. Everyone in the village
shared a little responsibility and was happy and proud.
The whole village was enthusiastically supporting and helping this small troop,
and Yang Chun did not want to bother them any more. He discussed with the director,
the director said:
“It’s very difficult to eat rice and flour, you can find it in Chuanli.”
Yang Chun said:
“The situation is so urgent, how can i get to Chuanli?”
The director said:
“The enemies are mopping-up in the mountain. Therefore, it’s safe to go to the
Chuanli. You can find everything there.”
“But, you see, i am tied up now.” Yang Chun said.
“Are you afraid that they won’t have a good care?” the director said. “You still
distrust our village. You can turn them over to me.”
83
Yang Chun didn’t answer her. He couldn’t leave the wounded soldiers like a
mother couldn’t leave her child even in the extremely difficult moment. The director
looked at him and said:
“Otherwise, you can write a introduction letter for me, i will go for you.”
Yang Chun said:
“I’m afraid this isn't the proper way.”
“Look at you, none of this works. What smart way can you think of?”
“I am worried that you may meet danger.”
“It’s OK.” the director said, “I won’t be afraid if i meet with the enemies. They
can catch roe deer which is running around the mountain, but they won’t catch me.”
“I will leave this to you.” Yang Chun said.
He wrote a letter to the comrade who was charging in Chuanli and sealed the
stamp clearly. The director put the letter in her cotton jacket and wore her fur coat.
Yang Chun sent her to the old crooked tree in the north exist of the village and said to
her:
“When arriving at Chuanli, you cannot tell acquaintance that the Eighth Route
Army are living in the village.”
The director smiled with her hand covering her mouth and said:
“I will keep my lips buttoned.”she looked at Yang Chun and kept saying: “Yang,
i admire you nothing but carefulness. You can be so thoughtful.”
She turned away with her feet kicking the snow and stones. Through the slope,
she seemed to remember something, turned around and shouted: “Yang, my husband
is sick, please go and treat him.”
Yang Chun asked:
“What’s the matter?”
“He must have a cold, you can give him some western medicine.”
Her ringing voice resounded in the valley.
Yang Chun returned home,took his medicine bag,and went to see the director’s
husband. Her husband lived in Qing Er, a guerrilla’s room. Yang Chun pushed the
door and went in, the elder smiled to let him sit down. Yang Chun said:
84
“Are you uncomfortable? I bring you some medicine.”

The elder said:
“It doesn’t matter. I just have a headache. The medicine is very expensive, i have
never taken a medicine.”
Qing Er said with smile:
“My brother, please take some medicine. The comrade won’t charge us.”
Yang Chun sat on the kang, touched his wrinkly forehead then touched his pulse,
said:
“It doesn’t matter, i will ask Qing Er to boil some water. After taking some
medicine, you will be better.”
Yang Chun took out the medicine, Qing Er boiled the water.
The elder said:
“It must be her who told you about my sick.”
Yang Chun said:
“Are you talking about the director?”
The elder said:
“It’s her. She has come here at dusk.i tell her i am fine and let her go back.
Comrade, she is still young, l am willing to let her contribute more.”
Paused for a moment, the elder said: “comrade, when can we win the war? When
can we drive the enemies off? Comrade, the poor really live a jittery life!”
Qing Er burned the firewood and said:
“My brother is worried about his a few acres of land first, he is afraid of the
landlord to threaten them again. These days, the situation gets worse. He is ill for this
reason.”
Yang Chun comforted and encouraged the elder.
After a day, the elder recovered from his illness, but the situation became more
serious. He discussed with Yang Chun to find a strict place in the nearby mountains
for the transfer of the wounded.
After lunch, he took Yang Chun to run down from a ravine to the west.
At the bottom of the mountain, they climbed up with the help of the prominent
85
stone and the hanging wattle. They spent a long time walking into the cedar forest.
There was thick snow in the woods, and the sunny side was covered with long icicles.
No matter the snow and the icicles, the youthful and green of cedar forest can’t be
covered. This endless cedar tree grew from this hillside in the same month of the same
year. They were equally moisturized and nutritious. They were generally lush,
generally girth, and generally thriving in this biting cold wind. There was no road in
the woods, people passed by, and the footprints left were soon covered up by snow.
The director’s husband pointed to Yang Chun: “There is a cellar,” he continued,
“From the back, it’s the north platform, and the enemy can’t go up anymore!”
He was looking for the steep path. The path was already covered by deep snow.
He walked up by pulling the cedar tree and the snow stuck to his thigh. He climbed up
and the snow continued to roll from his feet, covering Yang Chun. Yang Chun
followed closely, and his body warmed up and sweated. The director’s husband
turned to tell him: Put your button up, pull the hat down. When reaching the top of the
mountain, it’s too cold to stretch you hands out.
They climbed to a place where they could stand and take a breath. They were
going to climb the top of the mountain, but the northwest wind was so strong that they
couldn’t stand firmly. after a gust of wind,the director’s husband told Yang Chun to
run up quickly.
Standing on the top of the mountain, you would forget that you were standing on
the mountain. It was so open and invisible. You could feel that the heavens and the
earth are very close, and you were oppressive. The wind blew from far away, no
sound, rolled up a cluster of snow.
Walking on the flat mountain top, there was a piece of light snow. The sun
shined on the top of the mountain, like the light of the moon, without a little warmth.
On the top of the mountain, there was often a yellow-and-white
chrysanthemum-shaped flower which was dried by blizzard, and the aroma was very
strong. The husband of the director took it in his pocket and said that it could be used
as tea.
On the light snow, there were the footprints of huge beasts. They walked on the
86
top of the mountain late at night, at dusk and dawn, screaming down the mountain,
which must be tigers and leopards.
Here, you could see countless small villages like Haoerliang, they were like
pieces of fallen leaves, sticking to the sunny side of each mountain. You could see the
pink glass wall of the temple on the platform in the distance. You could see the
rivers flowing in the Chuanli, the flat paddy fields were on the both sides of the river,
and the manors of the landlords.
The director’s husband said: “The small village we live in is all the poor tenants,
they are either tenants in the temple or tenants in the Chuanli!”
Yang Chun stood on the top of the mountain, and he felt that he was standing on
the top of the border area where they fought. Thousands of valleys, in front of his eyes,
the valleys were ups and downs accompanied with strong wind. Ice and snow were
hidden in her arms, and the sun shined on her back. The waterfall was to raise her
children, like the inexhaustible whey , and now it was iced, hanging down to her
soles!
Yang Chun thought: His comrades, his team, were resisting this cold weather,
and they were being exercised. They were wearing thin military uniforms and
carrying rough food. From this valley, they continued to fight in another mountain,
and the people were looking forward to their victory.
In the distance, the place near the Hebei central plain was fluttering a layer of red
dust. There was Yang Chun’s home. He seemed to have seen his small village near
the river, and his two sunny huts which his mother was living in.
Suddenly, the director’s husband shouted: “You see, are the enemies arriving at
Chengguoan?”
Yang Chun saw that at the foot of the mountain, there were sparking in the
Chengguoan. He concluded that the enemies had arrived there. It was still quite early,
the enemies might keep moving forward to the Haoerliang. He faintly heard the gun
under the mountain. That was the warning signal of the guard!
They hurriedly searched for the way down the mountain, and the director’s
husband ran ahead. They fell from the snow, and the stone and the wattle shredded
87
their clothes, and blood was flowing on their hands.

Yang Chun’s heart burst into pain that he left the injured comrades and made
them suffer sacrifices.
When they ran into the ravine that leading to the village, they met the director!
She was sweating and ran to here with Liu Lan. Next to her is a stretcher team
composed of women and children of Haoerliang, bringing five wounded soldiers. The
village heard the gunshots of the guard, and the men all went to Chengguoan (the
director said that she had just returned home to ambush the enemies). The women ran
to discuss with her where to transfer the wounded, she decided to come to this place.
Anyone who has strength will take a hand on the stretcher and send the wounded out!
They carried the wounded to the depths of the cedar forest and placed them in
the cellar. They also brought up the food and vegetables that the director had brought
from Chuanli, and the women also brought some dry food.
The director’s husband returned to the village to explore the news.
At night, the snow was drifting, and the women sat around the cellar to take care
of the wounded. Yang Chun went to the front to guard, and the director and Liu Lan
stood guard at the edge of the cedar forest.
They leaned on a fir tree, and the director untied the sheepskin coat and covered
Liu Lan’s head. There was a small river in front of them. The river was already
covered with ice and thick snow, but the little mountain creek was still turbulence.
Under the thick ice, they could hear the sound that the creek was looking for the road
to flow forward.
The director held Liu Lan tightly. The snow floated on their heads and soon
drowned their feet; the snow floated on their faces, but it melted immediately. Liu Lan
breathed the heat from her chest, and the child was a little sleepy.
The director looked at the front, and with her good eyesight and the light of snow,
she saw Yang Chun, the young man, the doctor, the comrade, holding a big gun and
standing on a prominent pointed rock on the hillside. His white felt hat became a
snow cap. Behind his blue big cotton jacket, there was a thick layer of snow. Yang
Chun stood there, pointed his ears and listened to all the sounds in the valley. Soon,
88
he shook off the snow from his feet, jumped lightly from the stone, and walked over
to the director and said:
“Haoerliang is very quiet, the enemies may station at Chengguoan. Let us check
the situation at dawn.”
The director said:
“If the situation is urgent, we can transfer to the top of the mountain, all the
manpower is here.”
She continued: “Liu Lan is sleeping, let her sleep a little while!”
Yang Chun said:
“You are helping us a lot.”
“Aren’t you one of us.” the director asked with smile.
“This is called fish to help the water, water to help the fish!” Yang Chun said
with smile.
The director asked:
“Who is the water, who is the fish?”
“The masses are water, we are fish!” Yang Chun said.
“You gave a wrong example.” the director said, “ Why are the masses willing to
help you, and even to give their lives？It’s because you have saved us!”
89
Warriors
Introduction: One winter, “I” lived in the small village, named Shiqiao. At that time,
“I” often went to the town to buy pork to eat. The shopkeeper is a disabled soldier. He
was injured in the right arm and left leg during the war. There are still many people
like him, because they were injured in the war, so many people were willing to take
care of their business.
That winter, I lived in a small village called Shiqiao. There was a river in front of
the village, and a grass bridge was built above the river. When walking across the
bridge in good weather, you often saw some village women washing vegetables and
some young soldiers in the army breaking the ice to catch small sand fish. Their hands
were frozen like a carrot, but exclaim happily.
This winter, I went through this bridge several times, to the town on the other
side of the river to buy pork. The shopkeeper was a disabled soldier who wounded his
right arm and left leg. The shop was a cooperative of his disabled brothers.
For the first time, I bought him a kidney and a liver. He swayed his left leg and
cut it with left hand. The pork in the mountains was rough, the pigs were killed when
they were small, the skin still had hair on it, painted with dazzling colors and cooked
without salt. When I praised his meat for its taste and cleanness, he smiled smartly,
with two rows of white teeth, two corners of his mouth tilted up, and gave me more
meat.
The second time, I went there in a snowy day, I burned a small pot of wine. On
this day, there was another man who had injured his hipbone and his legs were weak.
The three people talked around the fire.
The guy didn’t talk much. When we talked about things that had nothing to do
with him, he just smiled. Sometimes I put in a sentence or two, just like a new knife.
Speaking of their injuries, the shopkeeper looked at the man and said:
“He took me on the stretcher first. We were class one. I was his squad leader. We
were desperately chasing the enemies, the instructor shouted to let us defense
ourselves, but we just chased, unwilling to let any enemy run away! ”
90
“There won’t be such a funny life.” the man said, and he blew hard on the fire,
which shone in his eyes. His eyeballs seemed to float in the fire. The shopkeeper still
smiled and said to the man:
“Here it is again,” he turned to me. “He couldn’t help himself, comrade. At that
time, I fell down. He took me back a few dozen steps and caught up again. Then his
hipbone was pierced by the last enemy. He still wants to do it again until now!”
The man said directly:
“It should blame on our bad medical level.”
“So what?” i asked him.
“Can’t i put on a new pair of crotch? If i can, I’m still in the team today, and i
don’t need to kill pigs in my entire life.”
“Be careful of your eyes!” The shopkeeper stopped laughing and warned the man,
which surprised me.
“He is full of anxiety that he can’t get on the battlefield again, now there is
something wrong with his eyes.”
I comforted him that the people and the country still remember his merits, when
chasing away the enemies, we will have a good life.
“What kind of good life can be compared to charging forward on the
battlefield?” He lapsed into silence.
The third time I went there, I was catching up with him carrying a basket of meat
to go to the market. I was already an acquaintance, and the treasurer said to a woman:
“You take care of this comrade, this is a new pot of meat. I am sorry, i don’t
have time now.”
The woman was very short, the clothes were stained with grease, and smeared
the pork skin with sugar. I sat on their kang, a child was sleeping on it, with a brazier .
This was a year ago. The fourth time I went there, it was after the end of this
winter’s battle. One evening, I went to see them again. They moved away. When I
met a village cadre, he told me about the buddy. He said:
“They are real soldiers! The anti-“mop-up” began, and our troops were ready to
fight in the vicinity, and I sent men to carry them, for they could not go up the hill.
91
The fellow did not go, and said to the militiamen who carried him, won’t you fight
with us? The militiamen say: cooperate! He shouted loudly: good! Then carry me up
the hill, and I will command you! The militiamen urged him, and he said he could not
afford to delay a few battle-hardened men by carrying a disabled man.don’t you know
me? I can command you! I can shoot a gun or throw a pistol. I just can’t run. The
militiamen protested against him, and took all their weapons in hand, carried him up
the hill where the enemies will pass. You see, the result was a beautiful ambush.”
He said before he left:
“If you want to find them, you can go to the south of the town, their business is
more prosperous than before.”
92
单位代码：10427
密级：公开
93

生态翻译学视角下纪实小说翻译研究 以《白洋淀纪事》节选汉译英为例

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分 类 号：H315.

Under the Super vision of

A Thesis Submitted to the Univer sity of J inan

In Par tial Fulfillment of the Requir ements

For the Degr ee of Master of Tr anslation and Inter pr eting

Univer sity of J inan

论文作者签名： 导师签名： 日期：

4.1.2 Social Documentary Novels...................................................................20

novels translation. The third chapter is the interpretation of Eco-translatology’s

Chapter One Intr oduction

Translation, as a bridge of intercultural communication, is the best tool to

1.1 Intr oduction of Baiyangdian Chronicle

Baiyangdian Chronicle is one of the representative works of contemporary

1.2 Resear ch Backgr ound

With the rapid development of China’s economy and the continuous

strategies for this special genre.

1.3 Resear ch Pur pose and Significance

1.4 Layout of the Thesis

This thesis, devoting to the study of translation strategies in Chinese-English

Eco-translatology and documentary novel translation at home and abroad.

Chapter Two Liter atur e Review

2.1 Studies on Eco-Tr anslatology

Eco-translatology, as an ecological approach in translation studies from

2.1.1 Studies Abr oad

and becomes a concrete manifestation of the development of the times.

participate in the study of Eco-translatology, including Edwin Gentzler (2012),

2.1.2 Studies at Home

In October 2001, Prof. Hu Gengshen gave a lecture on translation named

rationality, translational Eco-environment, translator-centeredness, adaptation and

2.2 Studies on Documentar y Novel Tr anslation

In recent years, the creation of documentary novels and the translation of

2.2.1 Studies Abr oad

Documentary novels are used to be called non-fiction novels, literature novels,

novelists took The Executioner’s Song as a template to make a further study in

2.2.2 Studies at Home

Chinese contemporary documentary novels emerged in the mid-1980s and

Based on the social transformation of ecological civilization and the theory of

research of this thesis mainly focuses on these perspectives.

Chapter Thr ee Theor etical Fr amewor k

In 2001, Eco-transatology appeared in the scope of international translation

3.1 Histor ical Development of Eco-Tr anslatology

3.1.1 The Initial Stage of Eco-Tr anslatology

The initial development of the Eco-translatology could be traced back to the

international conferences. Since then, the studies of Eco-translatology have

3.1.2 The Developing Stage of Eco-Tr anslatology

Since 2005, the development of Eco-Translatology has gradually flourished. At

3.1.3 The Matur e Stage of Eco-Tr anslatology

theoretical perspective, rational characteristics and enlightenment of translation

3.2 Cor e Concepts of Eco-Tr anslatology

Eco-translatology follows the macro-ecological rationality and constructs the

3.2.1 Thr ee-Dimensional Tr ansfor mation

The basic theory of Eco-translatology shortens the translation method into

3.2.2 Ecological Rationality

Ecological rationality is summarized as: focusing on the integrity and relevance

stakeholder (such as translation sponsor). From the perspective of ecological

3.2.3 Post-event Penalty

Chapter Four Textual Analysis of Documentar y Novels

4.1 Types of Documentar y Novels

4.1.1 Histor ical Documentar y Novels

4.1.2 Social Documentar y Novels

Compared with historical documentary novels which mainly narrate historical

4.2 Featur es of Documentar y Novels

4.2.1 Authenticity in Wr iting Mater ials

生态翻译学视角下纪实小说翻译研究以《白洋淀纪事》节选汉译英为例

生态翻译学视角下纪实小说翻译研究以《白洋淀纪事》节选汉译英为例

分类号：H315.

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indicating the state of movement. “ 钻入 ” also expresses a state of movement.

In Chinese expression, people accustomed to “ 为什么 ” at the end of the

In the original text, “ 丢人现眼 ” is a four-character idiom, “ 打牙跌嘴 ” is a