ABSTRACT

Photographs in the archive are believed to hold significance because of the information on their obverse. This article rather focuses upon the reverse of photographic materials as a critical tool to look at the archive. To be more specific, it considers the reverse of the images of Atatürk in the collections of the Turkish Historical Society and deals with the traces there, which serve to assess the content of the images in various ways. As the traces on the reverse of these items are relative to their obverse, the article turns to Erving Goffman’s concept of ‘backstage’ in order to understand the thought-landscape of the archive when it comes to handling visual materials as records.

摘要

由于照片正面的信息，档案中的照片被认为具有重要意义。本文更侧重于将摄影材料的反面作为查看档案的重要工具。更具体地说，它考虑了土耳其历史学会收藏的阿塔图尔克图像的反面，并处理了那里的痕迹，这有助于以各种方式评估图像的内容。由于这些项目背面的痕迹与其正面相关，因此本文转向欧文戈夫曼的“后台”概念，以了解档案馆在处理视觉材料作为记录时的思想景观。