Acoustic Micro- and Macroephemeralities in Literature. Robert Walser’s Microscript 364 (1925) and Peter Weber’s Silber und Salbader (1999)

Boris Previsic

About this exposition

The genesis of Robert Walser’s Mikrogramm 364 (Microscript 364) follows an acoustic trace which positions itself at a deliberate distance from visual mediality, constitutes itself in sequences of assonances, and oscillates between poetry and prose. Acoustic microephemerality is thus the actual motivating force behind writing. Peter Weber’s novel Silber und Salbader employs similar sound processes in the creation of syntagmatic linkages, although he “sediments” this narration in historical and geological soundscapes, which the macroephemerality of acoustic retention tries to overcome by means of a literary vision. Drawing on Roman Jakobson’s “poetic function,” it is demonstrated, through example, how the acoustic elements of their texts are central to the poetology of both authors – for each, however, from a different perspective: acoustic micro- and macroephemerality, respectively.

type	research exposition
date	30/12/2016
published	18/01/2017
last modified	18/01/2017
status	published
share status	private
license	All rights reserved
url	https://www.researchcatalogue.net/view/322802/322803
doi	https://doi.org/10.22501/JSS.322802
published in	Journal of Sonic Studies
portal issue	13. Issue 13

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Acoustic Micro- and Macroephemeralities in Literature. Robert Walser’s Microscript 364 (1925) and Peter Weber’s Silber und Salbader (1999) (2017)

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