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.Blow was not able to solve other problems, however,including ill health, insuH"cient capital, and bureaucratic opposition toher landholding.Already in 1891, the Colonial Department had decidedto discourage small-scale, private landownership in favor of companylandholding." " Blow returned to Berlin in early 1894 and attempted tofloat the Tanga Company with Friedrich Lange and Julius Schar-lach."d" The venture failed, and she finally had to sell her plantation to theGerman East African Company."e"The fact that Blow had lived in Africa twice and pursued indepen-dent projects there attracted people to her for the rest of her life.Herbiographer, the novelist and activist for gay and lesbian rights, SophieHoechstetter, saw Blow s struggle to gain the respect of her fellowcolonists as typical of what women faced if they dared to flout conven-tion: Now Frieda von Blow had to experience how hard a singlewoman had to fight in order to succeed in public life. "" To artists andintellectuals in Europe whom she encountered in the 1890s, Blowrepresented courage and the exotic.Rainer Maria Rilke saw in her ele-ments of the primitivism to which many modernists were drawn.Ac-cording to Rilke s biographer, he was fascinated.by Frieda s connec-tion with East Africa and touched by Frieda s colonial model of theprimitive life as a guide to an improved existence. ""Blow and Andreas-Salom met Rilke in Munich in May 1897,where Blow was giving a colonialist lecture.That summer and again in1899, the three of them spent several weeks at a vacation cottage theyhad named Loufried, in Wolfratshausen, a small town in the country-side outside Munich, walking barefoot, wearing peasant clothes, andeating vegetarian food. "" They were joined in 1897 by the architect Au-gust Endell; Akim Volynsky, a Russian friend of Andreas-Salom; thephotographer and feminist Sophia Goudstikker; and her sister MathildeGoudstikker.Sophia Goudstikker owned her own studio, the Atelierfrieda von blow 65 Elvira, located in a house of Endell s fanciful design that was a Jugendstillandmark of Munich.The Atelier Elvira was a hub of gay and lesbiansocial life and intellectual and artistic life in Munich." Goudstikker wasthe first unmarried woman to obtain a royal license as a photographer."+"In the late 1890s Blow became friends with Goudstikker s romanticpartner, Ika Freudenberg, a writer, chairwoman of the Munich Associa-tion for Women s Interests (Mnchner Verein fr Fraueninteressen),and cofounder, along with Goudstikker, of the first legal advice centerfor women in Munich."&!Between 1894 and 1900 Blow took up feminism as part of her questto understand the fate of women in Imperial Germany.She wrote essaysthat addressed the exploitation of women factory workers, defendedfeminists from accusations of deficient patriotism, and advocated a yearof national service for young women as a way of earning full citizenshipanalogous to young men s military service."`" In a public exchange withAndreas-Salom over the relationship between a writer s sex and writingstyle, Blow insisted that women, far from seeking to conceal theirfemininity in their writing, should embrace the idea of writing specifi-cally qua women." " She also produced several stories that directly ad-dressed how social institutions and men s power oppressed women,such as The Stylized Woman (dedicated to Goudstikker) and thecollection Lonely Women."d" The problem of how unmarried bourgeoisand elite women could support themselves touched Blow personally.Her inheritance did not suH"ce to support her, and she always had to liveby her writing."e" Blow s feminist short stories and essays express thefeeling of entrapment that many women of her class shared around theturn of the century.Feminists were among Blow s readers and admirers from the begin-ning of her writing career [ Pobierz całość w formacie PDF ]
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.Blow was not able to solve other problems, however,including ill health, insuH"cient capital, and bureaucratic opposition toher landholding.Already in 1891, the Colonial Department had decidedto discourage small-scale, private landownership in favor of companylandholding." " Blow returned to Berlin in early 1894 and attempted tofloat the Tanga Company with Friedrich Lange and Julius Schar-lach."d" The venture failed, and she finally had to sell her plantation to theGerman East African Company."e"The fact that Blow had lived in Africa twice and pursued indepen-dent projects there attracted people to her for the rest of her life.Herbiographer, the novelist and activist for gay and lesbian rights, SophieHoechstetter, saw Blow s struggle to gain the respect of her fellowcolonists as typical of what women faced if they dared to flout conven-tion: Now Frieda von Blow had to experience how hard a singlewoman had to fight in order to succeed in public life. "" To artists andintellectuals in Europe whom she encountered in the 1890s, Blowrepresented courage and the exotic.Rainer Maria Rilke saw in her ele-ments of the primitivism to which many modernists were drawn.Ac-cording to Rilke s biographer, he was fascinated.by Frieda s connec-tion with East Africa and touched by Frieda s colonial model of theprimitive life as a guide to an improved existence. ""Blow and Andreas-Salom met Rilke in Munich in May 1897,where Blow was giving a colonialist lecture.That summer and again in1899, the three of them spent several weeks at a vacation cottage theyhad named Loufried, in Wolfratshausen, a small town in the country-side outside Munich, walking barefoot, wearing peasant clothes, andeating vegetarian food. "" They were joined in 1897 by the architect Au-gust Endell; Akim Volynsky, a Russian friend of Andreas-Salom; thephotographer and feminist Sophia Goudstikker; and her sister MathildeGoudstikker.Sophia Goudstikker owned her own studio, the Atelierfrieda von blow 65 Elvira, located in a house of Endell s fanciful design that was a Jugendstillandmark of Munich.The Atelier Elvira was a hub of gay and lesbiansocial life and intellectual and artistic life in Munich." Goudstikker wasthe first unmarried woman to obtain a royal license as a photographer."+"In the late 1890s Blow became friends with Goudstikker s romanticpartner, Ika Freudenberg, a writer, chairwoman of the Munich Associa-tion for Women s Interests (Mnchner Verein fr Fraueninteressen),and cofounder, along with Goudstikker, of the first legal advice centerfor women in Munich."&!Between 1894 and 1900 Blow took up feminism as part of her questto understand the fate of women in Imperial Germany.She wrote essaysthat addressed the exploitation of women factory workers, defendedfeminists from accusations of deficient patriotism, and advocated a yearof national service for young women as a way of earning full citizenshipanalogous to young men s military service."`" In a public exchange withAndreas-Salom over the relationship between a writer s sex and writingstyle, Blow insisted that women, far from seeking to conceal theirfemininity in their writing, should embrace the idea of writing specifi-cally qua women." " She also produced several stories that directly ad-dressed how social institutions and men s power oppressed women,such as The Stylized Woman (dedicated to Goudstikker) and thecollection Lonely Women."d" The problem of how unmarried bourgeoisand elite women could support themselves touched Blow personally.Her inheritance did not suH"ce to support her, and she always had to liveby her writing."e" Blow s feminist short stories and essays express thefeeling of entrapment that many women of her class shared around theturn of the century.Feminists were among Blow s readers and admirers from the begin-ning of her writing career [ Pobierz całość w formacie PDF ]