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The publication<ref>James Ryan: The Glamor of the New Turkish Woman in "Resimli Ay". In: stambouline. 2013, last accessed on 3. December 2018.</ref>, popular among the Turkish population, addressed socially relevant topics in the form of editorials, opinion surveys, letters to the editor, short stories and poems as well as self-help articles.<ref>A. Holly Shissler: Womanhood Is Not For Sale: Sabiha Zekeriya Sertel Against Prostitution and For Women's Employment. In: Journal of Middle East Women's Studies (= Innovative Women: Unsung Pioneers of Social Change). Vol. 4, No. 3, p. 12–30.</ref> In addition to dealing with contrasting aspects such as child poverty and factory work versus nightclubs and dance trends, the role of the modern Turkish woman in particular played a major role.<ref>James Ryan: The Glamor of the New Turkish Woman in "Resimli Ay". In: stambouline. 2013, last accessed on 3. December 2018.</ref> Glamorous illustrations in the style of [[Vanity Fair]] or [[Vogue]] were intended to draw a cosmopolitan public image of women and reflected the urban [[elite]] of [[Istanbul]].<ref>James Ryan: The Glamor of the New Turkish Woman in "Resimli Ay". In: stambouline. 2013, last accessed on 3. December 2018.</ref>
The publication<ref>James Ryan: The Glamor of the New Turkish Woman in "Resimli Ay". In: stambouline. 2013, last accessed on 3. December 2018.</ref>, popular among the Turkish population, addressed socially relevant topics in the form of editorials, opinion surveys, letters to the editor, short stories and poems as well as self-help articles.<ref>A. Holly Shissler: Womanhood Is Not For Sale: Sabiha Zekeriya Sertel Against Prostitution and For Women's Employment. In: Journal of Middle East Women's Studies (= Innovative Women: Unsung Pioneers of Social Change). Vol. 4, No. 3, p. 12–30.</ref> In addition to dealing with contrasting aspects such as child poverty and factory work versus nightclubs and dance trends, the role of the modern Turkish woman in particular played a major role.<ref>James Ryan: The Glamor of the New Turkish Woman in "Resimli Ay". In: stambouline. 2013, last accessed on 3. December 2018.</ref> Glamorous illustrations in the style of [[Vanity Fair]] or [[Vogue]] were intended to draw a cosmopolitan public image of women and reflected the urban [[elite]] of [[Istanbul]].<ref>James Ryan: The Glamor of the New Turkish Woman in "Resimli Ay". In: stambouline. 2013, last accessed on 3. December 2018.</ref>


==References==
{{Reflist}}


[[Category:Literature magazines]]
[[Category:Literary magazines]]
[[Category:Defunct magazines of Turkey]]
[[Category:Defunct magazines of Turkey]]
[[Category:Magazines established in 1926]]
[[Category:Magazines established in 1926]]

Revision as of 22:42, 10 July 2019

Sevimli Ay
EditorSabiha Sertel
CategoriesLiterature
Frequencymonthly
FounderSabiha Sertel and Zekeriya Sertel
Founded1926
Final issue1927
LanguageOttoman Turkish
WebsiteSevimli Ay

The Ottoman-Turkish magazine Sevimli Ay (Ottoman-Turkish:سويملى آى; DMG: Sevīmlī Ay; English: "Lovely Moon") was published in Istanbul from 1926 to 1927 and was the temporary title of the magazine Resimli Ay (1924-1938).[1] The editorial management consisted of the journalists Sabiha Sertel and her husband Zekeriya Sertel, also general director for press of the new republic and founders of the predecessor Resimli Ay.[2] Influenced by their study visit to the USA, together with other influential intellectuals[3] they wanted to contribute to improving of the political and economic living conditions - especially of Turkish woman -[4] and to the intellectual education of the Turkish population.[5] The magazine was thus a publication organ for the socialist and avant-garde requirements of the 1920s.[6]

Zekeriya Sertel's critical attitude towards the Turkish state within the framework of the republican movement led to his arrest in May 1925, which resulted in the takeover of the financial and editorial management as well as the production of the magazine by his wife Sabiha Sertel.[7] In 1926 the journal was censored by state and was published under its new title Sevimli Ay for the following two years.[8] Like its predecessor, Sevimli Ay was published monthly and consisted of a total of twelve issues, each with about fifty large-format pages.[9] After Zekeriya Sertel's early release from prison, the journal continued to be published again under her original name Resimli Ay between 1927 and 1938 - from October 1928 also in the new Turkish Latin alphabet - with a few interruptions.[10]

The publication[11], popular among the Turkish population, addressed socially relevant topics in the form of editorials, opinion surveys, letters to the editor, short stories and poems as well as self-help articles.[12] In addition to dealing with contrasting aspects such as child poverty and factory work versus nightclubs and dance trends, the role of the modern Turkish woman in particular played a major role.[13] Glamorous illustrations in the style of Vanity Fair or Vogue were intended to draw a cosmopolitan public image of women and reflected the urban elite of Istanbul.[14]

References

  1. ^ Gisela Procházka-Eisl: The Lower End of the Economy: The Portrayal of Poverty in the Ottoman Magazin Press. In: Gisela Procházka-Eisl, Martin Strohmeier (eds.): The Economy as an Issue in the Middle Eastern Press. Neue Beihefte zur Wiener Zeitschrift für die Kunde des Morgenlandes. LIT Verlag, Wien, p. 151-71.
  2. ^ James Ryan: The Glamor of the New Turkish Woman in "Resimli Ay". In: stambouline. 2013, last accessed on 3. December 2018.
  3. ^ Gisela Procházka-Eisl: The Lower End of the Economy: The Portrayal of Poverty in the Ottoman Magazin Press. In: Gisela Procházka-Eisl, Martin Strohmeier (eds.): The Economy as an Issue in the Middle Eastern Press. Neue Beihefte zur Wiener Zeitschrift für die Kunde des Morgenlandes. LIT Verlag, Wien, p. 151-71.
  4. ^ A. Holly Shissler: Womanhood Is Not For Sale: Sabiha Zekeriya Sertel Against Prostitution and For Women's Employment. In: Journal of Middle East Women's Studies (= Innovative Women: Unsung Pioneers of Social Change). Vol. 4, No. 3, p. 12–30.
  5. ^ Gisela Procházka-Eisl: The Lower End of the Economy: The Portrayal of Poverty in the Ottoman Magazin Press. In: Gisela Procházka-Eisl, Martin Strohmeier (eds.): The Economy as an Issue in the Middle Eastern Press. Neue Beihefte zur Wiener Zeitschrift für die Kunde des Morgenlandes. LIT Verlag, Wien, p. 151-71.
  6. ^ Mehmet Fatih Uslu: Resimli Ay Magazine (1929-1931): The Emergence of an Oppositional Focus Between Socialism and Avant-Gardism. In: Bogazici University. The Atatürk Institute for Modern Turkish History. Last accessed on 3. December 2018.
  7. ^ A. Holly Shissler: Womanhood Is Not For Sale: Sabiha Zekeriya Sertel Against Prostitution and For Women's Employment. In: Journal of Middle East Women's Studies (= Innovative Women: Unsung Pioneers of Social Change). Vol. 4, No. 3, p. 12–30.
  8. ^ Gisela Procházka-Eisl: The Lower End of the Economy: The Portrayal of Poverty in the Ottoman Magazin Press. In: Gisela Procházka-Eisl, Martin Strohmeier (eds.): The Economy as an Issue in the Middle Eastern Press. Neue Beihefte zur Wiener Zeitschrift für die Kunde des Morgenlandes. LIT Verlag, Wien, p. 151-71.
  9. ^ Sevimli Ay (1926)
  10. ^ Resimli Ay (1928)
  11. ^ James Ryan: The Glamor of the New Turkish Woman in "Resimli Ay". In: stambouline. 2013, last accessed on 3. December 2018.
  12. ^ A. Holly Shissler: Womanhood Is Not For Sale: Sabiha Zekeriya Sertel Against Prostitution and For Women's Employment. In: Journal of Middle East Women's Studies (= Innovative Women: Unsung Pioneers of Social Change). Vol. 4, No. 3, p. 12–30.
  13. ^ James Ryan: The Glamor of the New Turkish Woman in "Resimli Ay". In: stambouline. 2013, last accessed on 3. December 2018.
  14. ^ James Ryan: The Glamor of the New Turkish Woman in "Resimli Ay". In: stambouline. 2013, last accessed on 3. December 2018.
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