Wolfgang Rihm's is one of the more radical – which is to say ‘deep’ and ‘rooted’ – relationships towards tonality among all post-war composers. In this article, I concentrate on the role psychosis plays in this relationship, arguing that tonality for Rihm often assumes the operations of what Jacques Lacan called a symbolic order: a network of laws and codes which sustain the world of subjects and others. In Lacanian terms, it is the subject's unsuccessful installation in the symbolic which triggers psychosis – a state organized by mimetic rivalries, the body's invasion byjouissance, and the de-hierarchization and loss of control of the drives. Tonality, for Rihm, is apoorly installed symbolic order, from which music ‘breaks’ psychotically. But it would be a mistake to pathologize Rihm's music. Rather, Rihm's is one of the more cunning, problematic, ‘neurotic’ solutions to one of modernism's oldest challenges: how to function creatively in the absence of (a) language. Both the challenge and the solution are themselves as old as aesthetic modernism; they can be understood as the two sides of modernism's ‘fundamental fantasy’, in which madness becomes a practicable sanity, and psychosis a saving symbolic order.

中文翻译：

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Rihm，调性，精神病，现代性

Wolfgang Rihm 是战后所有作曲家对调性关系较为激进的之一，即“深刻”和“根深蒂固”的关系。在这篇文章中，我专注于精神病在这种关系中所扮演的角色，认为 Rihm 的调性通常假设了雅克·拉康所谓的符号秩序的运作：一个维持主体和他人世界的法律和代码网络。用拉康的术语来说，正是主体在符号中的不成功安装引发了精神病——一种由模仿竞争组织的状态，身体的入侵享乐，以及驱动器的分层和失去控制。对于 Rihm 来说，调性是一种符号顺序安装不当，音乐从心理上“中断”。但将 Rihm 的音乐病态化是错误的。相反，对于现代主义最古老的挑战之一：如何在没有（a）语言的情况下创造性地发挥作用，Rihm 是更狡猾、更成问题、更“神经质”的解决方案之一。挑战和解决方案本身与审美现代主义一样古老；它们可以理解为现代主义“基本幻想”的两个方面，其中疯狂成为一种切实可行的理智，而精神病则成为一种拯救的象征秩序。