This article investigates the use of sound at mass rallies during World War II, a topic that has not been explored in depth. By using the concepts of sound memory and soundscape, the article examines how contemporary literature represents past war events, specifically focusing on how national groups and individuals are portrayed in relation to other people, places, events, and axiological systems. The analysis centres on the perspectives of third-generation authors, allowing for a deeper understanding of how the identities of perpetrators and victims are constructed and negotiated differently at the collective and individual levels. To achieve this, the article examines two literary works, Marcel Beyer’s German novel The Karnau Tapes and Kateřina Tučková’s Czech novel Gerta, using a combination of sound studies and literary studies. The article argues that the sensory aspects of memory and oblivion can shed light on the soundscape created by mass rallies during wartime and how this has shaped Czech and German cultural memory. However, even the third generation is not immune to the pressure of silence on certain issues, dictated by a collective need to preserve and consolidate a particular image of the nation.

中文翻译：

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战时群众集会声景中的肇事者和受害者模糊不清：马塞尔·拜尔的《卡瑙录音带》和凯特琳娜·图奇科娃的《格尔塔》中的第三代视角

本文调查了第二次世界大战期间大规模集会中声音的使用，这是一个尚未深入探讨的主题。通过使用声音记忆和音景的概念，本文探讨了当代文学如何再现过去的战争事件，特别关注如何描绘国家群体和个人与其他人、地点、事件和价值论系统的关系。该分析以第三代作者的观点为中心，使人们能够更深入地了解加害者和受害者的身份是如何在集体和个人层面上以不同的方式构建和协商的。为了实现这一目标，本文结合声音研究和文学研究，考察了两部文学作品：马塞尔·拜尔的德国小说《卡瑙录音带》和凯特琳娜·图奇科娃的捷克小说《格尔塔》。文章认为，记忆和遗忘的感官方面可以揭示战时大规模集会所产生的音景，以及这如何塑造了捷克和德国的文化记忆。然而，即使是第三代也不能幸免于在某些问题上保持沉默的压力，这是出于维护和巩固国家特定形象的集体需要。