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444 Karla Huebner woman was both visibly and invisibly international, in that many of the photos were of foreign origin but the editorial intent was clearly to suggest that the domestic readership partook of this international modernity. Few images show Others with whom Czechoslovak readers would not readily identify or whom they would not aspire to be like; such Others were usually exotic and distant Africans and Asians. Urban Slovak readers could choose to identify with the fashionable modern women shown, although if there were any rural Slovak readers of Eva, it is unlikely they would have found these images much like anything in their own lives; such imagery would have functioned more as fantasy. Their own clothing was more like some of that shown in the spread “How Women of Various Nations Dress” (Eva, Prague, 1 March 1930). Some of the only Czechoslovaks in the early years of Eva to be photographed dressed in kroj (regional garb) were children of unspecified ethnicity greeting President Masaryk (Eva, Prague, 1 March 1930). The unstated message, then, was that folk costume was charming as costume but most suitable for people with little power—children and rural Slovaks. Folk costume did not appear at all in Zva’s pictorial history of clothing from creation to the present (Eva, Prague, 1 October 1930) (ill. 190). Feminist magazines were not image-heavy and in general their images were of prominent women. Zensky svet offered more images than most, but aside from its photos of artists, writers, and dancers, its illustrations were similar to those in Eva in emphasizing the lives of modern young women whose ethnicity was simply of generic European origin (Zenskÿ svet, Prague, 1928) (ill. 191). Periodicals aimed at leftist and communist women, unsurprisingly, took a very different direction than bourgeois consumer magazines like Moderni divka and Eva. The communist weekly Zena: Tyden komunistickych Zen, for example, did not use imagery of fashion and abundance and modernity. Instead, in the mid-1920s its images of women were almost universally of poor agricultural and industrial workers wearing buns or head scarves. Often sad or stern, only occasionally jolly, they represented a universalized yet recognizably central European proletariat (ill. 194).8 Images of suffering Germans emphasize similarity, not Otherness, although a touch of Schadenfreude (pleasure in the sufferings of others) may be present given that the Germans look so miserable (ill. 192). A picture of life in Russia takes the opposite tack and is unbelievably idyllic.’° The most Other image in all of 1924, however, appeared in an advertisement for a book on the so-called history of love." This scene of dark-skinned voluptuousness was not used for every magazine's 8 Rozsévatka (The Female Sower) section of Zena: Tydentk komunistickych Zen (Woman: Communist Women’s Weekly), 21 February 1924. ° Zena: Tydenik komunistickych Zen, 14 February 1924: “German proletariat!” 10 Zena: Tydentk komunistickych Zen, 13 November 1924: “Fruits of the triumphant social Russian revolution” 1 Zena: Tydenik komunistickjch Zen, 16 October 1924.
