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28-481: Sister Arcangela Tarabotti was born Elena Cassandra Tarabotti in Castello, Venice . Her parents were Stefano Tarabotti and Maria Cadena. One of her siblings was the painter Caterina Tarabotti . Tarabotti was one of eleven children and the eldest of seven daughters. Tarabotti, like her father, had physical disabilities, which made her feel physically weak and may have contributed to her father’s conclusion that she

56-525: A heterodox Aristotelian professor at Padua , Pona was a leading member of the influential Accademia degli Incogniti - a society of Venetian intellectuals famous for the libertine and anti-clerical tendencies of many of its members. By the mid-1630s, Pona converted to a strict Catholicism and abjured his juvenile production. He died in Verona on 2 October 1655. Pona is best known for the horrific and macabre stories of La lucerna ( The Lamp , 1625). This

84-402: A provocative protofeminist politics. Paternal Tyranny , widely considered Tarabotti's most prized work, lays bare her radical politics. Lynn Lara Westwater, a historian who has researched and written much on Tarabotti’s life and works calls Paternal Tyranny "scathing and deeply subversive." Paternal Tyranny was indeed subversive, and was received as such: in 1654, the year it was published,

112-619: A range of people, from subversive scientists to well known writers. Tarabotti was the only woman writer in Venice ever documented to have a relationship and correspondences with—as well as enjoy the patronage of— Giovanni Francesco Loredan , founder of the Incogniti literary society, and boasts in her Letters of correspondence with many other members of the Venetian elite. Tarabotti also corresponded and exchanged her work with Francesco Pona ,

140-540: A subversive author of various erotic novels and deliberately anticlerical works; with father Angelico Aprosio , an elite scholar from Ventimiglia; with a "fugitive Carthusian monk" whose works also criticized forced monachization and mistreatment of women in the cloister; with Giovanni Francesco Busenello , a successful Italian lawyer, a prolific poet, and an acclaimed librettist; and with Count Pier Paolo Bissari of Vicenza, another writer whose works range from prose, to poetry, to libretti. Possibly after Tarabotti's Letters

168-433: A worldly way or cut her hair until directly ordered to do so by Catholic Cardinal and Patriarch of Venice, Federico Baldissera Bartolomeo Corner or Cornaro . Her beliefs, however, remained unchanged; Tarabotti wrote in her autobiography, explaining that "He made me amend my vanities. I cut off my hair, but I did not uproot my emotions. I reformed my life, but my thoughts flourish rampantly, and just like my shorn hair, grow all

196-618: Is a dialogue between a young student, Eureta, and a soul imprisoned in his oil lamp . The soul tells the boy the story of its many reincarnations in various people, animals, and objects, emphasizing the pathological and cruel aspects of its experiences. Despite its heterodoxy (in March 1626 La lucerna was included in the Index Librorum Prohibitorum by the Catholic Church), the work was so popular that it

224-403: Is a list of Tarabotti’s published works (in chronological date of publication). Castello, Venice Castello is the largest of the six sestieri of Venice , Italy. There had been, since at least the 8th-century, small settlements of the islands of San Pietro di Castello (for which the sestiere is named). This island was also called Isola d'Olivo From the thirteenth century onward,

252-518: The Congregation of the Index attempted to get it placed on the Index of Prohibited Books —and, thus, effectively banned. Paternal Tyranny was eventually placed on the Index in 1661. From "With Truthful Tongue and Faithful Pen": Arcangela Tarabotti Against Paternal Tyranny" by Elissa B. Weaver She did not spare fathers, nor the Venetian state that quietly supported the practice in order to limit

280-456: The Castello district of Venice, although the inside of the building is currently inaccessible, boarded up and padlocked. In 1620, Tarabotti took her first vows and, in 1623, she took her final vows rendering her monastic status permanent. At least during her earlier years in the cloister, Tarabotti was said to have been rebellious and outspoken; Tarabotti tells she wore the religious habit in

308-659: The case of Paternal Tyranny —the text that many historians say was her most prized and maybe most politically subversive work— Letters reveals an ongoing, highly strategic, and often disappointing if impressive saga of requests for patronage and editorial help. The correspondence between Tarabotti and Ismaël Bullialdus was the avenue of publishing for Tarabotti's works La tirannia paterna and La semplicita` ingannata, otherwise known as Paternal Tyranny and Innocent Deceived . Both Paternal Tyranny and Innocent Deceived were published posthumously. Tarabotti and Bullialdus' correspondence broadens our understanding of social notions of

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336-486: The church, to gender hierarchies—that ensure the subjugation of women, especially through forcing women into the cloister and denying them sufficient education. In Paternal Tyranny , Tarabotti critiques misogynistic narratives in popular European writings, supporting her pro-women messages with texts such as the Bible , Dante’s Divine Comedy , and the works of other Venetian women writers like Lucrezia Marinella . All in all,

364-445: The church. Tarabotti's open criticisms of the coerced monachization of women, misogyny, and other facets of patriarchal systems made her a unique political writer. Not only was the content of Tarabotti's written work unique, but so too was the style of her writing—Tarabotti's mode of writing melded autobiography, fictional account, literary critique, political manifesto, invective, and hermeneutics, to create powerful works that forwarded

392-577: The convent; not only that, Tarabotti also managed to circulate her works among peers through correspondence, and appears to have had many visits from outsiders—all of which contact and correspondence were in direct disobedience of Church officials. During her time in the cloister, Tarabotti appears to have educated herself and created an impressive network of correspondents, including various writers, scientists, and political figures. Tarabotti used this network to engage in critical political and literary discourse with cultural and political figures, and to help in

420-878: The district grew around a naval dockyard on what was originally the Isole Gemini . The land in the district was dominated by the Arsenale of the Republic of Venice , then the largest naval complex in Europe. A Greek mercantile community numbering around 5,000 in the Renaissance and late Middle Ages was based in this district, with the Flanginian School and the Greek Orthodox Church of San Giorgio dei Greci being located here, of which

448-408: The editing and publishing of five texts during her lifetime (and, Paternal Tyranny , her most prized work, two years after her death). Though sometimes cloistered women had opportunities to educate themselves and sometimes had access to books and writing materials, Tarabotti's level of education seemed unique even among this group of women—indeed, some historians have remarked that while her handwriting

476-988: The former comprises the Hellenic Institute of Byzantine and Post-Byzantine Studies in Venice and the latter is now the seat of the Greek Orthodox Archdiocese of Italy . Other significant structures were by the monasteries in the north of the quarter. Napoleon closed the Arsenal and planned what are now the Bienniale Gardens . More recently the island of Sant'Elena has been created, and more land drained at other extremities of Castello. Prominent sites and buildings in Castello include: 45°26′08.52″N 12°20′54.60″E  /  45.4357000°N 12.3485000°E  / 45.4357000; 12.3485000 Francesco Pona Francesco Pona (11 October 1595 – 2 October 1655)

504-425: The literary and publishing world of Venice and beyond, and despite being an enclosed nun she was able to publish her work. She could not let the misogynist behavior of men stand without response: she wrote that "he who stings must be stung." Paternal Tyranny is organized into three sections or "books", the unifying theme of which is the structures of power—from state and governmental hierarchies, to hierarchies within

532-450: The more." Indeed, though Tarabotti remained less outwardly rebellious after this time, she wrote that, by living as a nun, she was "living a lie." Nuns at this time lived under strict enclosure and separately from lay society, and were prohibited by Canon Law from interacting with people outside of the cloister. Enclosed as she was, Tarabotti managed to educate herself, reading and writing a great deal of prohibited books during her years in

560-546: The prominence of female disciples in Jesus Christ's following given the patriarchal context of first-century Judaism, and consequently arguing that women should have a more significant role in the contemporary church and world. Some historians argue that Tarabotti's published Letters reveal a "wide-ranging and powerful set of correspondents that included leading cultural and political figures from throughout Northern Italy and into France." Indeed, Tarabotti corresponded with

588-591: The size of the aristocracy, nor the Church, which officially condemned it, but remained silently complicit, unwilling to uphold its principles and defend the exercise of free will. Tarabotti's complaint did not remain a personal one. She understood that misogyny was the source of her oppression and that all women were its victims, and she spent her life defending women and exposing the illogic of arguments for their inferiority and suppression. Through her writing and her forceful personality Arcangela Tarabotti made connections in

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616-468: The text combats what its title asserts: male tyranny. Arcangela Tarabotti has slowly carved out her importance in history, specifically in the history of feminism, since her rediscovery in the late 1930s by Benedetto Croce, Giuseppe Portigliotti, and Emilio Zanette. In recent years, many studies and critical works have been published on Tarabotti whose authors have consisted of Elissa Weaver, Lynn Westwater and Meredith Ray, and Letizia Panizza. The following

644-405: The time including female participation and male-female collaboration. The correspondence also strengthens our view of Ismaël Bullialdus, who was an avid defender of Galileo and an advocate for scientific truths, but also displays social activism in helping Tarabotti to publish her works which would disseminate word of injustice involving the paternal system which lead to her forced indoctrination into

672-413: Was an Italian medical doctor, philosopher, Marinist poet and writer from Verona , whose works ranged from scientific treatises and history to poetry and plays. A Veronese medical doctor and member of many academies, Pona was a prolific writer, producing medical and scientific texts, historiography , literary translation, drama, lyric poetry , prose romances, and tales. A follower of Cesare Cremonini ,

700-602: Was not "well above average.", her culture and skills were. Most unusual though, may have been Tarabotti's radical politics and connections to influential literary and political communities. Her works incorporate a profound critique of the Catholic Church's increasing limitation treatment of its female agents in the 17th century. She particularly highlights the role of education and the disparities between male and female opportunities for schooling. Her argumentation remains thoroughly grounded in biblical evidence, highlighting

728-612: Was published, she began a correspondence with Ismaël Bullialdus , a prominent astronomer and mathematician, whom she had met when he was in Venice visiting the French Ambassador and his wife in 1645-1646. Her letters situate Tarabotti in a scholarly community of writers, scientists, and other important political and cultural figures, wherein her presence as a woman was unique and hard won. Her published correspondence also made clear her unyielding resolve to circulate her works and spread her political messages. Indeed, especially in

756-417: Was reprinted in five editions before the end of the decade. Ormondo (1635), with its five insert-stories, offers an interesting blend of romance and novella traditions. Pona is also known for his translations of Ovid 's Metamorphoses (1617) and John Barclay 's Argenis (1629). Later in his life, he wrote an emblem book , Cardiomorphoseos, sive ex corde desumpta emblemata sacra (1645), called by

784-582: Was unfit for marriage. According to her, at the age of 11 (in 1615), Tarabotti was sent as a boarder to the Benedictine convent of Sant’Anna, but the convent papers state her presence only from 1617 onwards. Such monachization—especially of daughters deemed “unmarriageable”—was common in Early Modern Europe; this practice, especially when forced or coerced, formed the thematic center of her critical works. The Chiesa di Sant'Anna still stands in

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