ABSTRACT Karlheinz Stockhausen created a scandal when he described the 9/11 attacks on the World Trade Center as the greatest work of art, which he attributed to Lucifer, the archetypal rebel of his opera-cycle LICHT. In trying to understand Stockhausen’s comment, it is useful to examine his conceptualization of Lucifer by drawing on Lacan’s psychic register of the Real and Adorno’s concept of dissonance, at the same time critiquing the composer’s perception and depiction of some of the darker regions of the human psyche. Such an examination suggests that Stockhausen’s depiction of Lucifer represents a view of terrorism as a symptom of society’s inability to reconcile with its own internal contradictions and dissonance.

中文翻译：

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不和谐的恐怖：斯托克豪森的路西法和 9/11 的艺术

摘要 卡尔海因茨·斯托克豪森 (Karlheinz Stockhausen) 将 9/11 对世贸中心的袭击描述为最伟大的艺术作品，这引发了一场丑闻，他将其归因于路西法 (Lucifer)，他是他的歌剧周期 LICHT 的典型反叛者。在试图理解斯托克豪森的评论时，通过借鉴拉康对实在界和阿多诺的不和谐概念的心理记录来检验他对路西法的概念化是有用的，同时批评作曲家对人类某些黑暗区域的感知和描绘精神。这样的考察表明，斯托克豪森对路西法的描述代表了一种观点，即恐怖主义是社会无法与自身内部矛盾和不和谐调和的症状。