Junot Díaz’s Pulitzer Prize-winning The Brief Wondrous Life of Oscar Wao (2007) incorporates a glorious tumble of languages and registers that blend together with promiscuous fluidity and unrestricted brio. The Dominican American author’s Englishlanguage novel integrates so much Spanish, both in vocabulary and in syntax, that some critics have called it Spanglish. In fact, as we shall see, the code-switching and linguistic hybridity in this novel go far beyond the simple mixture of English and Spanish, creating a polyphonic symphony of languages, dialects, and registers in this tumultuous amalgam of a tragicomic narrative that focuses on the fukú (curse) that has haunted Oscar de León’s family in both New Jersey and the Dominican Republic over the course of three (touching on four) generations. Junot Díaz is the first Dominican American and second Latino to be awarded a Pulitzer Prize. The committee cited “a dazzling, richly layered novel about an overweight, nerdy Dominican-American teenager who comes of age in a multi-generational immigrant family, devouring comic books, spinning fantasies and searching for love.” Díaz has served on the Pulitzer Prize Board since 2010, stepping down briefly after accusations of sexual misconduct, from which he was subsequently exonerated by both the Pulitzer Prize Board and MIT, where he is the Rudge and Nancy Allen Professor of Writing. He was recognized with a MacArthur Fellowship “Genius Grant” in 2012. Oscar Wao bedazzles with its eclectic and electrifying use of language, which is stretched and transformed not only with the Spanish that infuses or “invades” the English from the first page to the last, but with the use of multiple registers and dialects in both English and Spanish: academic jargon coexisting with African American slang and what Díaz affectionately labels “nerdish,” Dominican-flavored Spanish rubbing shoulders, as Díaz says, with “palabras mejicanas, palabras cubanas, palabras boricuas. It was important to have that kind of flexibility.” This swirl of languages and registers and references is jumbled together into one heterogeneous whole without the use of intext glosses or even italics to mark the different languages, allowing the reader to experience the whole raucous medley directly, without moderation. Díaz explains that the mixture of languages and registers and references was important because it brings different groups into dialogue with each other: “It was really fun to have these different registers going on and to force communities—it’s not to say that the intellectual language is exclusively for a certain group, but I knew a lot of the Dominican kids I grew up with weren’t going to know who the fuck Foucault was—but I thought it was real nice to put all these people together ... and to see if they could speak to each other.” In other words, Díaz chose not to privilege any particular register

中文翻译：

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将西班牙语翻译成西班牙语：OSCAR WAO 短暂而奇妙的一生

朱诺·迪亚兹 (Junot Díaz) 的普利策奖获奖作品《奥斯卡·瓦奥的短暂奇妙一生》(The Brief Wondrous Life of Oscar Wao (2007) 融合了语言和语域的辉煌翻滚，混杂的流动性和不受限制的 brio 融合在一起。这位多米尼加裔美国作家的英语小说在词汇和句法上都融合了如此多的西班牙语，以至于一些评论家称其为西班牙语。事实上，正如我们将看到的，这部小说中的代码转换和语言混合远远超出了英语和西班牙语的简单混合，在这个悲喜剧叙事的喧嚣混合中创造了语言、方言和语域的复调交响乐关于 fuku（诅咒）在新泽西州和多米尼加共和国的奥斯卡·德莱昂（Oscar de León）的家人已经困扰了三代（涉及四代）。Junot Díaz 是第一位获得普利策奖的多米尼加裔美国人和第二位拉丁裔美国人。该委员会引用了“一部令人眼花缭乱、层次丰富的小说，讲述了一个超重、书呆子的多米尼加裔美国青少年，他在一个多代移民家庭长大，吞食漫画书，幻想和寻找爱情。” 迪亚兹自 2010 年以来一直在普利策奖委员会任职，在被指控性行为不端后短暂辞职，随后他被普利策奖委员会和麻省理工学院无罪释放，他是拉奇和南希艾伦写作教授。2012 年，他获得了麦克阿瑟奖学金“天才奖”。奥斯卡·瓦 (Oscar Wao) 以其不拘一格和激动人心的语言使用而令人眼花缭乱，它不仅随着从第一页到最后一页注入或“侵入”英语的西班牙语而被拉伸和转换，而且还使用英语和西班牙语中的多种语域和方言：学术术语与非裔美国人的俚语共存，以及什么正如迪亚兹所说，迪亚兹亲切地给“书呆子”贴上了“书呆子”的标签，多米尼加风味的西班牙揉肩是“palabras mejicanas、palabras cubanas、palabras boricuas。拥有这种灵活性很重要。” 这种语言、语域和参考文献的漩涡混杂在一起，形成一个异质的整体，没有使用文本注释甚至斜体来标记不同的语言，让读者直接体验整个喧闹的混合体，无需中庸。迪亚兹解释说，语言、语域和参考文献的混合很重要，因为它使不同的群体相互对话：“让这些不同的语域继续存在并迫使社区进行真的很有趣——这并不是说知识语言是专门针对某个群体，但我知道很多和我一起长大的多米尼加孩子不会知道他妈的福柯是谁——但我认为把所有这些人放在一起真的很好……然后看看如果他们可以互相交谈。” 换句话说，迪亚兹选择不给任何特定的寄存器特权 但我知道很多和我一起长大的多米尼加孩子不会知道福柯他妈的是谁——但我认为把所有这些人放在一起真的很好……看看他们是否可以和每个人交谈其他。” 换句话说，迪亚兹选择不给任何特定的寄存器特权 但我知道很多和我一起长大的多米尼加孩子不会知道福柯他妈的是谁——但我认为把所有这些人放在一起真的很好……看看他们是否可以和每个人交谈其他。” 换句话说，迪亚兹选择不给任何特定的寄存器特权