車爾諾文（Chaya Czernowin）的室內歌劇（Kammeroper）《內在》（Pnima…ins Innere, 1998-99）是西方藝術音樂中最早由大屠殺第二代（也就是倖存者的孩子那一代）所創作的關於「猶太大屠殺」（Holocaust）的歌劇，並且它是車爾諾文最具代表性的創作之一。《內在》主要以大屠殺第二代的眼光，探討其第一代因為受到大屠殺的嚴重創傷而無法說出此創傷經歷的「無法言語性」，以及因為第一代的創傷經歷，造成第二代生長於這歷史悲劇的陰影下，而影響其心靈的成長。這部歌劇形式創新、音樂風格前衛且技法複雜困難，尤其此歌劇很特別的是，人聲完全沒有唱出任何一個完整的字，而只有發出母音、子音或單音節等發音，象徵《內在》主角對於大屠殺創傷經歷的無法言語性。筆者希望透過音樂分析與詮釋的方法，來理解此部歌劇創新前衛的風格特色，以及它所要表達的內容與情感，讓讀者可以較容易地進入這部歌劇和車爾諾文的音樂世界。另外，透過分析詮釋車爾諾文這部代表性的作品，筆者嘗試對於當代重要的（女性）作曲家以及主題關於「猶太大屠殺」的前衛藝術音樂進行探討，來補充台灣在這兩方面的研究。

Chaya Czernowin's chamber opera Pnima... ins Innere (Inwards) (1998-99) is the first opera about the Holocaust composed by the second generation of Holocaust survivors (that is, the children of the survivors), and it is one of the most representative works of Czernowin. From the perspective of the second generation of Holocaust survivors, the opera deals with the impossibility of communicating the Holocaust trauma experienced by the first generation, as well as how it affected the psychological growth of the next generation. This opera is innovative in form, avant-garde in musical style, and complex in its musical techniques. What is also special about this opera is that the human voice does not sing any complete words at all, but only pronounces vowels, consonants or monosyllables, which symbolizes the impossibility of communicating the Holocaust trauma for the protagonists of this opera. The author of this paper aims to explain the innovative and avant-garde style and characteristics of this opera, as well as the content and emotions it wants to express, through the methods of musical analysis and interpretation, so that readers can more easily understand and enter into this opera and the musical world of Czernowin. By analyzing and interpreting this representative work of Czernowin, the author attempts to supplement Taiwanese research on these two aspects by discussing important contemporary (female) composers and avant-garde art music on the theme of the "Jewish Holocaust".