ABSTRACT Wilhelm Müller’s 1824 cycle Die Winterreise, and particularly its final poem ‘Der Leiermann’, are often read as nihilistic expressions of a Romantic death wish. The wanderer moves into a state of eternal alienation, symbolized by the icy landscape where he will forever rehearse his songs of loneliness and despair to the much-maligned music of the outcast hurdy-gurdy man, who has in turn been read as a harbinger of death. This article argues that such readings overlook the radically critical mode taken up by the wanderer when he stops his journey, dismissing a Romantic aesthetics of forwards striving in favour of a (paradoxically) new aesthetics of repetition. The subversive potential of this act is revealed in Elfriede Jelinek’s 2011 play Winterreise, in which a hurdy-gurdy woman challenges a modern culture obsessed with novelty by stubbornly refusing to move. By rereading Müller’s ‘Der Leiermann’ in dialogue with Jelinek’s experimental reworking, we can recognize how both works reject the chimerical lure of the future for the sake of deliberate attention to the present moment. Müller’s poem is not, then, the nadir of a self-destructive Romanticism, but an innovative escape from its logical end.

中文翻译：

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威廉·穆勒（WilhelmMüller）的里尔曼（Leiermann），艾尔弗里德·耶利内克（Elfriede Jelinek）的里尔弗劳（Leierfrau）和激进重复

摘要威廉·穆勒（WilhelmMüller）1824年的《死亡模具》（Die Winterreise），尤其是其最后一首诗《德尔·莱尔曼》（Der Leiermann），通常被理解为浪漫主义死亡愿望的虚无表达。流浪者进入永恒的疏远状态，以冰冷的风景为象征，在那里他将永远将自己的孤独和绝望的歌曲排练成被抛弃的仓促风俗的人的残酷音乐，而后者又被看作是预兆的预兆。死亡。本文认为，这样的解读忽视了流浪者停止行进时所采取的根本批评模式，摒弃了浪漫主义的前卫美学，而倾向于（反常的）新的重复美学。Elfriede Jelinek在2011年的剧集Winterreise中揭示了这种行为的颠覆性潜力，一位顽皮的古德女人顽固地拒绝搬迁，挑战着一种痴迷于新颖性的现代文化。通过与耶利内克的实验性翻修对话重读穆勒的《德尔·莱尔曼》，我们可以认识到，为了刻意关注当下，这两部作品是如何拒绝未来的嵌合诱惑的。因此，穆勒的诗不是自我毁灭性浪漫主义的最低点，而是从逻辑上的创新突破。