Sonic traces of the Third Reich have held significant memorial power in post-war Germany. This article traces three works that sample one of the most well-known recordings from the Nazi period: Joseph Goebbels's declaration of Total War, delivered on 18 February 1943, and broadcast on newsreel and radio the following week. In both message and material, this recording epitomizes Friedrich Kittler's claim that tape is a military technology. The works examined span different memory debates in post-war Germany: Bernd Alois Zimmermann realized Requiem für einen jungen Dichter (1967–9) as West Germans were engaging in the first public discussions of the Holocaust, Georg Katzer's Mein 1989 (1990) is an East German composer's early response to the fall of the Berlin Wall, while Marcel Beyer's novel Flughunde (The Karnau Tapes, 1995) reveals the continued attempt to address the legacy of the Third Reich after German Reunification. Analysed together, these works create new configurations of discourse about wartime memory, moving away from geopolitical contours. Each of these artists transforms tape's wartime uses – namely dissemination and encryption – into forms of memorial labour. Through their physical and conceptual manipulations of tape, these artists create less deterministic readings of the Nazi past.

中文翻译：

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战后德国的磁带工作和记忆工作

第三帝国的声波痕迹在战后德国具有重要的纪念意义。本文追溯了三部作品，其中采样了纳粹时期最著名的录音之一：约瑟夫·戈培尔的《全面战争宣言》，于 1943 年 2 月 18 日发表，并在接下来的一周在新闻短片和广播中播出。在信息和材料中，这段录音集中体现了弗里德里希·基特勒关于磁带是一种军事技术的主张。研究的作品跨越了战后德国的不同记忆辩论：Bernd Alois Zimmermann 意识到Requiem für einen jungen Dichter（1967-9 年）当西德人首次公开讨论大屠杀时，格奥尔格·卡策（Georg Katzer）我 1989(1990) 是东德作曲家对柏林墙倒塌的早期回应，而马塞尔·拜尔的小说弗拉格洪德(卡瑙磁带, 1995) 揭示了在德国统一后解决第三帝国遗留问题的持续尝试。一起分析，这些作品创造了关于战时记忆的新话语配置，远离地缘政治轮廓。这些艺术家中的每一位都将磁带的战时用途——即传播和加密——转化为纪念劳动的形式。通过他们对磁带的物理和概念操作，这些艺术家创造了对纳粹过去不太确定的解读。