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This paper is concerned with the representation of urban space. If the sources for this paper are an East German novel by Christa Wolf and a West German film by Wim Wenders, I am not considering them from the perspective of a Germanist but through my concern with the city as a locus of memory. By focusing on the Postmodern city or on the understanding of the nature of cities that emerged after the Seventies, my main interest is in how previously deleted or marginalized historical references and connections are reintroduced as central concerns. I will begin by presenting Christa Wolf's Kindheitsmuster in the light of the trip that her main protagonist takes into a previously familiar urban space. A specific town becomes an emblem for lasting impressions, as revisiting a place bends mind and body back to past aspects. The novel focuses on memory, and more specifically on German memories of the Second World War. These are also central to Wim Wenders' film Der Himmel Über Berlin although they are developed in a different direction. I will discuss this film as an example of the New German Cinema as well as present its concern with loss and remembrance as they appear to be inscribed within the Berlin of the late Eighties. Wenders makes Berlin the centre ofhis narrative and this city is a key location in relation to my interest in urban memory and cities as repositories of history. After considering this question in relation to its manifestation in Der Himmel Über Berlin, I will focus on recent changes in the architectural

Urban Memory in Germany: The City as a Trace of History in Christa Wolf's Kindheitsmuster and Wim Wenders' Der Himmel Über Berlin