Abstract
The use of photography in the cultural context of the 1920s and 1930s in Weimar Germany, lead to the existence of socio-political studies organized in typologies under the structure of the archive. The article explores the conditions that have made possible the emergency of typologies and photographic archives and the way by which in these studies the pseudoscience of physiognomy acquires tow different perspectives: humanist and racial. We propose to see through these forms of representation the use of photography during this period, in order to examine the limits that traced between these two perspectives, as well as, its relationship with the forms of power-knowledge.
Highlights
The use of photography in the cultural context of the 1920s and 1930s in Weimar Germany, lead to the existence of socio-political studies organized in typologies under the structure of the archive
We propose to see through these forms of representation the use of photography during this period, in order to examine the limits that traced between these two perspectives, as well as, its relationship with the forms of power-knowledge
Tomando en consideración estas circunstancias, nos resulta fácil reconocer que las tradiciones fisiognómicas que Sander introduce en el siglo XX, a través de su proyecto Menschen des 20
Summary
The use of photography in the cultural context of the 1920s and 1930s in Weimar Germany, lead to the existence of socio-political studies organized in typologies under the structure of the archive. Recordemos que la creencia en el lenguaje universal de la fotografía ligada al modelo de inventario, de los archivos globales establecidos por los museos, las bibliotecas o los archivos policiales, en fin, ligada a los sistemas de conocimiento positivista del siglo XIX, deja en evidencia dos aspectos importantes: 1.
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