Simon Mária
Pecsi Tudomanyegyetem, KK Pszichiatriai és Pszichoterapias Klinika, Pecs, Hungary, E-mail:
Psychiatr Hung. 2021;36(3):271-284.
This essay presents two studies of Bertalan Petho's rich and diverse oeuvre. The first one (published in 1967) analyzed a schizophrenic composer-patient's composition created during the acute phase of schizophrenia and consi - dered the hiatus discursivitatis as one of the main characteristics of the pathology of expression in his musical works. The second study is the patients' catamnestic follow-up after 13 years. In that late, chronic, residual phase of schizophrenia with overwhelmingly negative symptoms, the mannieristic catatonia dominated the clinical feature, as well as the pathology of musical expression. These two studies build a bridge between music and psychopathology in a way unique in the literature and greatly demonstrate the utilization of musical expression in the phenomenological approach of schizophrenia. Due to Berta - lan Petho's high level of musical literacy, his knowledge of music theory and harmony, we have an insight through a specific window into the severe self-disturbance and alienisation determining the schizophrenic world of experience. Petho's approach is still relevant today: it fits conceptually to the most novel phenome-nological framework of the psychopathology of schizophrenia, i.e. to the ipseity-hyperreflexivity model, as well as to theories that draw a parallel between the schizophrenic reification and alienisation and the 20th-century modernism.
本文介绍了对贝塔兰·佩托丰富多样的作品的两项研究。第一项研究（发表于1967年）分析了一位精神分裂症作曲家患者在精神分裂症急性期创作的作品，并将话语间断视为其音乐作品中表达病理学的主要特征之一。第二项研究是对患者13年后的随访。在精神分裂症的那个晚期、慢性、残留期，以阴性症状为主导，怪异症性紧张症主导了临床特征以及音乐表达的病理学。这两项研究以一种在文献中独一无二的方式在音乐与精神病理学之间架起了一座桥梁，并极大地展示了音乐表达在精神分裂症现象学方法中的应用。由于贝塔兰·佩托具有很高的音乐素养、音乐理论与和声知识，我们通过一扇特定的窗口洞察到了决定精神分裂症体验世界的严重自我干扰和异化。佩托的方法在今天仍然具有相关性：它在概念上符合精神分裂症精神病理学中最新的现象学框架，即自我性 - 过度反射模型，以及那些在精神分裂症的物化和异化与20世纪现代主义之间进行类比的理论。
