Musical models and themes have been essential features in the work of Peter Handke

Musical models and themes have been essential features in the work of Peter Handke from his rock-concert-like 'language plays' of the 1960s and early 1970s on. As a temporal medium, music connects directly with a hallmark of Handke's writing, namely the narrative feature of epiphany. These pronounced moments of connection between self and world set amid narrative flow are in turn linked to a thematic model of enchantment rooted in both neo-Romantic and modernist aesthetic and critical traditions in Austria and Central Europe. Particular attention is paid to Handke's motif of the jukebox, a globalizing musical mechanism that advances both a collective reading of cultural narrative and a subjective critical construction of it. Seit seinen rockkonzerthaften Sprechstücken der 1960er und frühen 1970er Jahre spielen Vorbilder und Themen aus der Sphäre der Musik in der Schreibkarriere Peter Handkes bis heute eine bestimmende Rolle. Als zeitverbundenes Medium schließt sich die Musik unmittelbar an einem Grundkennzeichen handkeschen Schreibens an, und zwar dem Epiphanischen. Jene inmitten narrativer Bewegung ausgesprochenen Augenblicke des miteinander Verbundenseins zwischen Ich und Welt verknüpfen sich mit dem thematischen Modell der Verzauberung — einer Thematik, die in ästhetischen und kulturkritischen Traditionen der österreichischen Neuromantik und der mitteleuropäischen Moderne tief verwurzelt ist. Weiterer Schwerpunkt des Beitrags bezieht sich auf das handkesche Motiv der Jukebox, die als globalisierender Musikmechanismus dient, der sowohl kollektives Ablesen als auch subjektiv-kritische Konstruktionen kultureller Narrative fördert. 


https://www.jstor.org/stable/27944914?seq=1#page_scan_tab_contents

analysis of the art of memory in Peter Handke’s Die Wiederholung

This analysis of the art of memory in Peter Handke’s Die Wiederholung argues that his notion of memory is rooted in Kierkegaard’s (future-oriented) concept of repetition rather than the Greek (past-oriented) concept of recollection. Drawing on Stanley Cavell’s reading of Thoreau, this chapter explores the environmental ramifications of such a dramaturgy of memory. It investigates the anthropological dialectics of primary and secondary nature, the relation between spatial mapping and language development, and the paradox of gaining identity through accepting otherness. Close readings of narrative strategies offer new insights into the ways in which Handke combines his language philosophy with an ethics of space, movement, 

https://link.springer.com/chapter/10.1057/978-1-137-54222-9_6

movement in Peter Handke´s novel ”Der Bildverlust”

http://www.diva-portal.org/smash/get/diva2:431139/FULLTEXT01.pdf

This study explores the motif of movement in Peter Handke´s novel ”Der Bildverlust” (2002). The novel is about an ”adventuress”, who travels through a desert in order to get to a person called ”the author”, who is to write down her story. The study shows that the physical movement while travelling through the desert is interconnected with a corresponding physical movement even on the level of perception and on the level of language. For example, both reading and gazing describe a pendular physical movement betweeen the object and the perceiving subject. On the one hand, this complex net of physical movement causes a perpetual being on the move on all these different levels. On the other hand, it makes more intensive perception possible. Thus, the study recurs to the theory of phenomenology and here especially the phenomenology of perception by Paul Ricoeur. Ricoeur´s theory helps illuminate the relationship between perception and language and chisels out the creative function of perception and language. Also in the ”Bildverlust” the complex movement on the different levels is orientated to the creative aspect of both perception and language. Not only is ”the author” the destination of the journey, but also all movements are permeated with putting into words in shorthand the perceived and the experienced and finally the act of narrating and of being narrated. Increasingly, even rhythm permeates the movements. This results in a transcending experience of the subject, embedded in physical movement, perception and the act of formulating and narration.....

http://www.diva-portal.org/smash/get/diva2:431139/FULLTEXT01.pdf