First Woman Philosopher with a Doctorate: Elena Cornaro Piscopia

The study analyses the circumstances under which Elena Cornaro Piscopia became the first woman in the world to earn a Doctor degree in Philosophy, which she received from the University of Padua in 1678. The author presents the broader context of the outstanding accomplishment. She points out that, although universities did not allow women to enrol to study, Elena Cornaro managed to earn a doctorate thanks to several favourable circumstances. Of these, the author emphasises the tradition of intellectual centres at Renaissance courts in Italy, which were led by educated women-aristocrats; the development of the Venetian Republic in the sixteenth and seventeenth centuries, which affected the position of women, particularly those from aristocratic families; the openness of universities, namely the Universities of Padua and Bologna. Special attention is given to the family background, life, and studies of Elena Cornaro. The final part of the paper deals with other women philosophers of the seventeenth and eighteenth centuries.

Music-Making Women-Aristocrats

The present article reflects on the shortage of studies concerning music-composing women in the 18th-century Polish-Lithuanian Commonwealth, and focuses on one unique figure among those female musicians – Maria Antonia Walpurgis, an aristocrat of Polish descent, who demonstrated versatile talents. Thoroughly educated in her childhood, she was a poet, composer, singer, and director of her own stage works. This paper discusses the aristocratic artist’s most important experiences and achievements in the field of music, as well as analysing her earliest surviving work, the cycle of 6 Arias for Soprano, Strings and Basso Continuo (1747), which Walpurgis may well have performed herself. The arias have been preserved in a manuscript kept at the Sächsische Landesbibliothek in Dresden, shelf mark Mus.3119-F-11. My analysis assesses their style and aesthetic.

A poem to carp about? Poem 16–3828 of the Man'yōshū collection

The poem discussed has long been regarded as a “nonsense” poem that was extemporized as part of some kind of poetry game at Court. This article presents evidence to demonstrate that through the use of puns and double entendre the poet in fact ingeniously devised a witty scatological verse. Rather than “nonsense”, the poem is discovered to offer covertly a deeply satirical social commentary on the contemporaneous relationships between men and women, aristocrats and outcastes.