Discover the MythCloud

This Lithuanian sakmė about two mothers and their contrasting encounters with hags exemplifies how traditional narratives articulated moral principles through supernatural frameworks. The tale's structure—showing parallel situations with dramatically different outcomes based on intention—creates powerful didactic framework that reinforces social values while acknowledging the mysterious forces believed to shape human experience.

The contrasting fates of the two children—one found carefully swaddled in silk, the other beheaded—establishes clear moral distinction between genuine accident and deliberate negligence. The hags' different lullabies about the "forgotten one" versus the "purposely forgotten one" demonstrate sophisticated moral reasoning that distinguishes between similar actions based on underlying intention. This nuance reflects how traditional moral frameworks often recognised the importance of internal motivation rather than merely external action.

The supernatural beings in this tale function simultaneously as moral arbiters and representations of cosmic justice. Their ability to discern the mothers' true intentions demonstrates belief in forces beyond human perception that nonetheless respond to human moral quality. This integration of supernatural agency with moral consequence creates powerful framework for reinforcing social values by suggesting that unseen forces monitor and respond to human behaviour.

Compiled from Norbertas Vėlius's collection of Lithuanian etiological legends, this tale exemplifies how traditional narratives addressed complex ethical questions through accessible story formats. By portraying extreme consequences for calculated deception, the narrative reinforces community values of genuine care and responsibility while warning against manipulation of social systems. The tale's preservation transforms what was once living oral tradition into documented cultural heritage, changing its function while ensuring its survival beyond the communities that originally created it.

The Royal Museum of Fine Arts Antwerp (KMSKA), one of Belgium's premier cultural institutions dating back to 1810, houses the bronze sculpture Orpheus, Inventory No. 3876, by the renowned modernist sculptor Ossip Zadkine (1890-1967).

This powerful work interprets the mythical Greek musician and poet Orpheus, whose legendary ability to charm all living things with his music made him one of the most enduring figures in Western mythological tradition. Orpheus's journey to the underworld in an attempt to rescue his beloved Eurydice represents one of mythology's most poignant explorations of love, loss, and the limits of human will against fate.

Zadkine, a Russian-born artist who spent most of his career in France, was known for combining cubist abstraction with more traditional figurative elements. His interpretation of Orpheus likely reflects this modernist approach, using dynamic, expressive forms to convey the emotional intensity of the mythological figure. The sculpture would have been created during a period when artists were reinterpreting classical themes through modern aesthetic sensibilities, finding new relevance in ancient narratives.

The choice of bronze as medium provides both permanence and expressive potential, allowing Zadkine to capture the lyrical and tragic nature of Orpheus's story through the plasticity of form. The sculpture exemplifies how mythological subjects continued to inspire artistic innovation throughout the 20th century, providing rich symbolic material for exploring universal human experiences.

This work stands as a testament to mythology's enduring presence in modern artistic expression, demonstrating how ancient narratives provide frameworks for exploring timeless themes of human existence.

Bluiríní Béaloidis is a podcast from the National Folklore Collection at University College Dublin. It explores the rich landscape of Irish and European folk traditions. Each episode journeys through diverse cultural narratives, revealing how understanding our traditional heritage can illuminate our present and guide our future. By uncovering the stories, beliefs, and practices embedded in folklore, the podcast invites listeners to discover the depth and complexity of our shared cultural inheritance.

The Banshee
This episode of Blúiríní Béaloidis explores the Banshee, a figure whose evolution from patron goddess to harbinger of death illuminates the complex processes through which mythological entities adapt to changing cultural contexts. With Professor Patricia Lysaght, the world's leading authority on the subject, host Jonny Dillon examines how this quintessentially Irish supernatural figure has maintained cultural relevance across centuries of social and religious transformation.

The Banshee's transformation from divine patron to death messenger represents a classic example of how pre-Christian mythological figures were reconfigured rather than eliminated under Christian influence. Neither fully demonised nor completely sanitised, the Banshee occupies an ambiguous position in Irish folklore—supernatural yet familiar, frightening yet expected, associated with death yet paradoxically offering a form of continuity through her connection to specific families across generations.

Particularly significant is the Banshee's role in mediating the experience of mortality. By providing advance warning of death, she transforms what might otherwise be a sudden, incomprehensible event into part of an established pattern with recognisable signs and rituals. This function exemplifies how mythological figures often serve to make sense of life's most challenging experiences, providing cultural frameworks for processing universal human concerns.

The persistence of Banshee traditions into modern times demonstrates the remarkable durability of folkloric concepts even in rapidly changing societies. By examining the evolution of this figure through archival audio excerpts and scholarly analysis, this episode offers valuable insights into how traditional mythological elements continue to resonate in contemporary culture, adapting to new contexts while maintaining essential symbolic functions that address enduring human needs.

William Elliot Griffis's Dutch Fairy Tales for Young Folks represents a significant contribution to the preservation and transmission of Dutch folkloric traditions at a crucial historical juncture when rapid modernisation threatened traditional oral cultures. By collecting and adapting these narratives for young English-speaking readers, Griffis participated in the broader 19th and early 20th century movement to document folkloric traditions while simultaneously transforming them through new media and contexts.

The collection's focus on moral values inherent in Dutch folklore reflects how traditional narratives functioned as vehicles for cultural transmission across generations. Unlike modern entertainment that often separates amusement from instruction, these tales integrated both functions, providing engaging narratives that simultaneously reinforced community values and practical wisdom. Griffis's adaptation preserves this dual functionality while making it accessible to audiences outside its original cultural context.

Griffis's expertise in Dutch culture positioned him to serve as cultural translator, making these narratives accessible to English-speaking audiences while preserving distinctive elements that reflect particular Dutch historical experiences and values. This cross-cultural adaptation represents an important aspect of how folkloric traditions evolved in the modern era, maintaining relevance through translation while inevitably transforming through contact with new cultural contexts.

The illustrated format of the collection recognises how visual elements enhance folkloric transmission, particularly for younger audiences. This integration of text and image creates a multisensory experience that, while different from traditional oral storytelling, offers its own form of immersive engagement with cultural mythology. By introducing young readers to European cultural narratives through accessible adaptations, collections like this helped maintain continuity with traditional wisdom while adapting it to modern literary forms, preserving folklore not as static artifact but as living, evolving tradition.

This Lithuanian etiological legend about the creation of the Sun represents a classic example of how traditional societies developed narrative explanations for cosmic phenomena. The story of a blacksmith who forged a shiny piece of iron for six years before hurling it into the sky where it remains as the Sun demonstrates how mythological thinking connected natural phenomena to human activities and crafts, making the cosmic comprehensible through familiar frameworks.

The attribution of the Sun's creation to a blacksmith reflects the cultural significance of metalworking in traditional societies. The transformation of raw materials through fire and skill represented one of humanity's most profound technological achievements, naturally lending itself to mythological associations with cosmic creation. The six-year timeframe emphasises the extraordinary effort required, positioning this cosmic creation as the ultimate expression of human craft rather than instantaneous divine action.

The act of throwing the forged Sun into the sky creates a compelling visual image that bridges human and cosmic domains. This narrative element exemplifies how mythological thinking frequently creates connections between everyday human actions and cosmic processes, making the universe conceptually accessible through familiar frameworks. The simplicity and directness of this explanation demonstrates how mythological narratives often distill complex phenomena into comprehensible stories that connect human experience to larger cosmic patterns.

The preservation of this tale in Norbertas Vėlius's collection How the Earth Came to Be: Lithuanian Etiological Legends represents an important transition in how such narratives function—from living explanatory frameworks to documented cultural heritage. This preservation process transforms oral traditions into textual artifacts, changing their social function while ensuring their survival beyond the communities that originally created them. The contemporary interest in such etiological legends reflects continuing fascination with how traditional societies created meaningful explanatory frameworks for understanding the natural world through narrative rather than scientific explanation.

In Karol Radziszewski's 2017 mural in Warsaw, Poland, the traditional Warsaw Mermaid (the city's emblem) is joined by a mer-man, a bold addition that adds complexity to the established myth. The mermaid, long a symbol of Warsaw's strength and resilience since at least the 14th century, is reinterpreted by Radziszewski in a contemporary, dynamic form.

The mer-man element, uncommon in Warsaw's traditional iconography, introduces balance and duality, suggesting that the city's spirit isn't defined by a singular symbol but by a broader, more inclusive narrative. By combining these figures, Radziszewski challenges historical gendered interpretations while echoing themes of cooperation and harmony.

This innovative approach to the well-known legend demonstrates the fluidity of myth in modern artistic discourse. The mural transcends simple representation of the city's coat of arms to become a reflection of Warsaw's evolving identity in the 21st century. It exemplifies how traditional mythological symbols can be reinterpreted to address contemporary social concerns while maintaining their connection to cultural heritage.

The artwork stands as a visual dialogue between past and present, traditional and progressive, maintaining the protective symbolism of the original mermaid while expanding its meaning to encompass new values of inclusion and diversity. This adaptation shows how urban mythologies continue to evolve, reflecting changing social attitudes while preserving their function as shared narratives that unite communities.

The attempted assassination of Donald Trump in 2024 catalysed a powerful shared narrative that blurs the boundaries between politics, religion, and the supernatural. In the aftermath of this near-fatal incident, a fervent base of supporters adopted a new interpretation of Trump's ordeal, casting him not merely as a victim but as a martyred figure with divine purpose.

This phenomenon demonstrates how contemporary political narratives adopt mythological structures, positioning Trump as a resurrected hero destined to lead a movement grounded in unwavering devotion. The emergence of this narrative illustrates the enduring power of martyrdom archetypes across cultural contexts and historical periods.

Through the lens of modern mythmaking, Trump's near-death experience has been reframed as a miraculous event, with supporters reimagining him as a saviour figure—an embodiment of strength and resilience against adversity. This transformation echoes ancient hero narratives where the protagonist undergoes a symbolic death and rebirth, emerging with renewed purpose and authority.

By examining the role of martyrdom in this political narrative, we can observe how mythic storytelling serves not only to reinforce Trump's public persona but also to entrench his influence in contemporary politics. The revival of such archetypal patterns reveals the persistent human tendency to understand political events through mythological frameworks, regardless of technological advancement or secular governance structures.

The remarkable cultural resonance of Fairytale of New York by The Pogues and Kirsty MacColl exemplifies how popular music can generate contemporary mythologies that address fundamental human concerns while responding to specific historical circumstances. Released in 1987, this unconventional Christmas song has transcended its origins to become a seasonal touchstone that offers a complex meditation on disillusionment, loss, and enduring human connection despite its ostensibly bleak narrative.

The song's unusual power derives partly from its engagement with the immigrant experience, particularly the Irish diaspora in America. By narrativising the tension between aspiration and reality in the immigrant journey, it connects personal disappointment to broader historical patterns of migration and adaptation. The mythological resonance of New York City itself—as both "city upon a hill" and site of potential disillusionment—provides a setting where personal struggles acquire broader symbolic significance.

The song's dialogue structure, alternating between male and female perspectives, creates a dynamic narrative that resists simplistic resolution. This formal approach exemplifies how contemporary mythology often embraces complexity and contradiction rather than offering straightforward moral lessons, reflecting modern understanding of human experience as inherently multifaceted and ambiguous. The juxtaposition of Christmas imagery with themes of addiction, conflict, and failed dreams creates productive tension that challenges the sanitised sentimentality of conventional holiday narratives.

The enduring popularity of this song—despite controversy over some of its lyrics—demonstrates how contemporary cultural forms continue to generate mythological frameworks that provide meaningful ways of understanding complex human experiences. Like traditional seasonal rituals that acknowledge darkness within celebration, Fairytale of New York offers a framework for recognising both joy and sorrow as essential components of human experience. Its cultural significance transcends mere entertainment, functioning as a modern seasonal myth that addresses universal themes through specific cultural references and individual narratives.

The Royal Museum of Fine Arts Antwerp (KMSKA) displays Pomona, Inventory No. 2232, a copper sculpture by Ossip Zadkine (1890-1967), a significant figure in 20th-century modernist sculpture. This piece offers a compelling modern interpretation of Pomona, the Roman goddess of fruit trees, gardens, and orchards.

In Roman mythology, Pomona was unique among the pantheon for her exclusive association with cultivation rather than wild nature. She was portrayed as a skilled gardener who preferred the cultivated countryside to the untamed forests, symbolising humanity's relationship with domesticated landscapes. Her myth most famously includes the story of her courtship by Vertumnus, god of seasons and change, who won her affection by disguising himself in various forms.

Zadkine, born in Russia but primarily active in France, was known for his dynamic and expressive sculptures that blended cubist influences with more traditional forms. His interpretation of Pomona likely incorporates his signature style, which often featured elongated, angular forms and textured surfaces that create a sense of movement and emotional intensity.

The sculpture reflects Zadkine's deep engagement with mythology and nature, exploring themes of growth, fertility, and the relationship between humanity and the natural world. His modern treatment of this classical subject demonstrates how ancient mythological figures continue to provide rich material for artistic exploration across changing aesthetic movements.

The inclusion of this work in KMSKA's collection highlights Zadkine's significance in 20th-century art history and demonstrates the museum's commitment to representing the evolution of mythological subjects through modern artistic interpretation.

The Royal Museum of Fine Arts Antwerp (KMSKA), established in the early 19th century as one of Belgium's premier cultural institutions, houses A Plaster Model for a Sculpture, Inventory No. 1872, by Paul De Vigne (1843-1901), a significant Belgian sculptor known for his contributions to the nation's artistic heritage.

This plaster model depicts mythological figures, demonstrating De Vigne's masterful understanding of classical forms and his meticulous attention to detail. As preliminary works, plaster models held particular importance in the sculptural process of the 19th century, allowing artists to refine their compositions before committing to more permanent materials like marble or bronze.

De Vigne, who studied at the academies of Ghent and Brussels before spending time in Italy and Paris, became known for his public monuments and idealised figurative works. His sculptural style typically blended academic rigour with emotionally expressive elements, creating works that were technically accomplished while conveying deeper symbolic meanings.

The mythological theme of this model reflects the continuing importance of classical subject matter in 19th-century European sculpture. Artists of this period often drew upon Greek and Roman mythology to convey universal ideas through timeless imagery, using familiar narratives to explore contemporary concerns about beauty, morality, or human achievement.

The presence of this preparatory model in the museum's collection provides valuable insight into the artistic process and the technical aspects of sculpture production during this period. It demonstrates how mythological themes continued to serve as vehicles for artistic expression well into the modern era, maintaining their cultural relevance even as artistic styles evolved.

The folk song "Tai Gražiai Paukšteliai Čilba" ("So Beautifully the Little Birds Chirp") represents a significant element of Lithuania's rich oral tradition, documented by the renowned Lithuanian scholar Jonas Basanavičius (1851-1927) during his extensive fieldwork in the late 19th century. Sung by villagers from Dziegcioriai village, this piece exemplifies the deep connection between Lithuanian folk culture and the natural world.

Basanavičius, often referred to as the "Patriarch of the Nation," was a physician, folklorist, and key figure in the Lithuanian National Revival movement. His systematic collection of folk songs, tales, and traditions played a crucial role in preserving Lithuanian cultural heritage during a period when Lithuanian national identity was threatened under Tsarist Russian rule.

This particular song likely belongs to a category of Lithuanian folk songs known as dainos, which often feature nature imagery as a means of expressing human emotions and experiences. The reference to birdsong would typically serve as a metaphorical device, possibly representing themes such as joy, freedom, or the arrival of spring and renewal.

Traditional Lithuanian folk songs frequently employ such natural imagery to create connections between human experience and the rhythms and patterns observed in the surrounding environment. Birds, in particular, often feature prominently in Baltic folklore and mythology, sometimes serving as messengers between worlds or symbols of the human soul.

The preservation of this song by the Lithuanian Folklore Archive at the Institute of Lithuanian Literature and Folklore ensures that this cultural expression remains accessible for study, performance, and appreciation, maintaining a living connection to traditional ways of understanding and representing the relationship between humans and the natural world.

Marcin Napiórkowski's Mitologia współczesna (Contemporary Mythology) offers a sophisticated analysis of how mythological thinking persists in modern Polish society despite ostensible secularisation and rationalisation. By examining everyday phenomena—from the popularity of kebabs to the iconic status of ski jumper Adam Małysz—Napiórkowski demonstrates how seemingly mundane aspects of contemporary life function as repositories of collective meaning that structure social understanding in ways remarkably similar to traditional mythological systems.

Particularly significant is Napiórkowski's focus on charitable events and urban legends, which reveals how modern societies continue to create shared narratives that address fundamental human concerns about community, morality, and the unknown. These contemporary social practices and narratives serve functions remarkably similar to traditional mythology—providing frameworks for understanding complex aspects of experience, reinforcing social bonds, and navigating uncertainty—while adapting to modern contexts and concerns.

The structuralist approach that Napiórkowski employs reveals the underlying patterns that connect contemporary cultural phenomena to traditional mythological thinking. By identifying the persistent structures that shape how societies create meaning, this methodology demonstrates the remarkable continuity in human meaning-making processes despite significant changes in specific content and contexts. This approach challenges simplistic notions of modern rationality by revealing how mythological thinking persists beneath the surface of ostensibly rational modern discourses.

By inviting readers to critically engage with these pervasive myths and their role in shaping perceptions, Napiórkowski's work exemplifies how contemporary academic analysis can itself contribute to more reflective engagement with the mythological dimensions of modern life. Rather than simply debunking modern myths as irrational, this approach recognises their essential function in creating social meaning while encouraging more conscious and critical participation in these shared frameworks. This reflective stance represents an important evolution in how societies engage with their own mythological systems.

Bluiríní Béaloidis is a podcast from the National Folklore Collection at University College Dublin. It explores the rich landscape of Irish and European folk traditions. Each episode journeys through diverse cultural narratives, revealing how understanding our traditional heritage can illuminate our present and guide our future. By uncovering the stories, beliefs, and practices embedded in folklore, the podcast invites listeners to discover the depth and complexity of our shared cultural inheritance.

The Púca
This episode of Blúiríní Béaloidis examines the controversy surrounding Aidan Harte's Púca of Ennistymon sculpture, revealing how folkloric entities continue to evoke powerful responses in contemporary society. The public reaction against this artwork—denounced by some as a "pagan idol"—demonstrates the enduring tension between Christian and pre-Christian traditions in Ireland, and how folkloric figures remain potent symbols rather than mere cultural artefacts.

The Púca itself represents a fascinating case study in liminal mythology—a boundary-crossing entity that resists simple categorisation. This amorphous, shape-shifting spirit inhabits the psychological and physical margins of the human world, frequenting transitional spaces like glens, caves, and cliffs. The diverse manifestations of the Púca in folklore—appearing variously as horse, goat, dog, or even light—reflect its function as an embodiment of the unpredictable and uncontrollable elements of nature and human experience.

Particularly revealing are the contradictory narratives surrounding encounters with the Púca. Tales of terrifying night-rides across treacherous landscapes exist alongside stories portraying the entity as a protective guardian. This duality exemplifies how folkloric figures often serve as repositories for complex and sometimes contradictory human attitudes toward the mysteries of existence.

The contemporary controversy over Harte's sculpture reflects a broader pattern in which traditional folkloric entities continue to function as active cultural forces rather than mere historical curiosities. The public's visceral response to the Púca's representation demonstrates that such figures maintain a psychological potency that transcends rational dismissal, revealing how pre-modern mythological thinking persists beneath the surface of our ostensibly rational society. This episode provides a fascinating window into how ancient folkloric traditions continue to shape modern identity and community boundaries.

Perkūnas stands as one of the most powerful and revered deities in the Baltic pantheon, central to Lithuanian pagan traditions dating back to the pre-Christian era. This thunder god plays a multifaceted role as nature's protector, fertility bringer, and justice enforcer, embodying the dynamic and often unpredictable power of atmospheric phenomena.

Deeply connected to seasonal cycles, Perkūnas is renowned for his thunderbolts, which are said to fertilise the earth goddess Žemyna during spring's first storm, awakening nature from winter dormancy and initiating the annual cycle of growth and renewal. This connection between celestial and terrestrial fertility reflects the agricultural foundations of Baltic spiritual traditions.

Perkūnas is typically depicted wielding weapons like the "god's whip" (lightning) or stone axes, which he uses to punish wrongdoing and maintain cosmic order. His character as a just, if sometimes impatient, guardian of morality is exemplified in his rivalry with Velnias, a deity associated with chaos and the underworld. This duality underscores the balance between light and darkness, order and chaos in Baltic mythological understanding.

Rituals honouring Perkūnas included sacrifices, prayers for favourable weather, and offerings of grain or livestock. People sought his protection during storms by adorning homes with sacred tree branches or ringing bells to repel evil spirits. Thunder was interpreted as Perkūnas' voice, through which he communicated with priests who would lead communities in sacrifices and celebrations.

The enduring significance of Perkūnas in Lithuanian folklore illustrates how mythological figures can embody both natural forces and moral principles, providing frameworks for understanding both the physical world and ethical behaviour.

Paul Joostens' (1889-1960) sketch depicting various zodiac figures exemplifies how ancient astrological symbolism continued to provide creative inspiration for modern artists grappling with rapidly changing cultural contexts. This work, part of the Royal Museum of Fine Arts in Antwerp's collection, represents Joostens' engagement with mythological frameworks during his association with De Pelgrim, a Catholic-inspired art collective that sought to reconnect modern artistic expression with spiritual traditions.

Joostens' artistic trajectory—moving from Cubism through Dadaism and abstraction before developing his self-described "Gothic Joostens" style heavily influenced by Flemish Primitives—illustrates the complex relationship between modernist experimentation and traditional symbolic systems. Rather than simply rejecting established mythological frameworks, many modernist artists reinterpreted them through new formal approaches, finding continuing value in ancient symbolic languages even as they embraced innovative techniques.

The zodiac itself represents one of humanity's most enduring mythological frameworks, providing a system for understanding the relationship between celestial phenomena and human experience. By incorporating zodiacal imagery into his work, Joostens participates in an artistic tradition stretching back to ancient civilisations while reinterpreting these symbols through the lens of modern aesthetic sensibilities and personal spiritual exploration.

Joostens' exploration of religious themes alongside more experimental and sensual subjects throughout his career demonstrates how mythological thinking persisted in modernist art despite its ostensible rejection of traditional frameworks. His eventual isolation and the darker tone of his later works reflects the challenges faced by artists attempting to maintain connection to traditional symbolic systems while responding to the profound social and cultural disruptions of the early 20th century. This tension between tradition and innovation, spiritual search and material reality, characterises much of the most significant art of this turbulent period.

The iconography surrounding the 1981 hunger strikes in Northern Ireland demonstrates the powerful role of visual symbolism in political resistance movements. Emerging from the "Blanket Protest" that began in 1976 at the H-Blocks of the Maze Prison (Long Kesh), this visual language created enduring symbols that transcended their immediate context to shape broader narratives of political struggle.

The Blanket Protest itself began when prisoners refused to wear standard prison uniforms, seeing this as acceptance of criminal rather than political status. Instead, they wrapped themselves in blankets, creating a striking visual metaphor of dignified resistance against state categorisation. This image—men clothed only in blankets within stark cell environments—communicated their determination to maintain political identity despite physical deprivation and institutional pressure.

As the protest escalated into the hunger strikes of 1981, the visual representation of the strikers themselves became increasingly powerful. Photographs of the ten men who died, particularly Bobby Sands, underwent a transformation from documentary images to iconic symbols. Their gaunt faces, captured before imprisonment and then circulated alongside their political writings, created a narrative of sacrifice and principle that resonated well beyond Ireland, prompting international protests from New York to Tehran.

The use of simplified visual elements—blankets, prison cells, and portraits of the hunger strikers—alongside slogans like "Give Us Our Rights" created an instantly recognisable visual language that communicated complex political demands through accessible imagery. These symbols transcended literacy and language barriers, allowing the republican cause to build international solidarity.

Decades later, this iconography continues to shape republican identity, demonstrating how visual elements can become repositories of collective memory that transmit historical experiences to new generations, maintaining continuity in political movements through shared visual references.

Peter Paul Rubens' Mythological Figure depicting a centaur and girl exemplifies how classical mythology provided Renaissance and Baroque artists with a sophisticated visual language for exploring fundamental human concerns. This ink drawing, part of the Royal Museum of Fine Arts in Antwerp's collection, demonstrates the enduring cultural power of hybrid mythological figures in European artistic tradition.

The centaur—half human, half horse—represents one of mythology's most enduring hybrid creatures, embodying the tension between rational thought and animal instinct that defines the human condition. By depicting this boundary-crossing figure interacting with a human girl, Rubens creates a visual meditation on the relationship between civilisation and nature, reason and passion, that continues to resonate with contemporary viewers despite our distance from classical belief systems.

Rubens' skill in capturing dynamic, emotionally expressive figures is particularly well-suited to mythological subjects, which frequently explore intense emotional states and dramatic transformations. His characteristic style, with its emphasis on movement and sensuality, brings mythological narratives to life through visual storytelling that engages viewers on both intellectual and emotional levels.

This drawing exemplifies how mythological subjects allowed artists to explore themes that might otherwise be difficult to address directly—particularly those concerning the body, desire, and the boundaries of the human. By framing such explorations within established mythological contexts, artists could engage with potentially controversial subjects while maintaining the protective distance of allegory. The persistence of such mythological representations throughout European art history demonstrates their effectiveness as vehicles for exploring complex psychological and philosophical questions across changing cultural contexts.

Slavic mythology remains largely obscured despite its richness, with a scarcity of written sources compared to other ancient traditions. What knowledge we have today has been pieced together through archaeological finds, linguistic studies, and folklore analysis, creating a fragmented but fascinating portrait of pre-Christian Slavic spirituality.

The pantheon features powerful deities like Perun, the thunder god, and Veles, god of cattle and the underworld, though their worship varied significantly by region and tribe. These gods were central to cosmological narratives that explained natural phenomena and reinforced social structures, creating shared narratives that bound communities together.

Ritual practices, including ceremonies around multi-headed idols and seasonal festivals, formed the practical expression of these beliefs. While Christianisation eventually overshadowed many of these traditions, remnants persist in cultural practices and stories today, demonstrating the resilience of mythological narratives even as formal religious structures change.

This fragmentary quality of Slavic mythology offers a compelling case study in how mythological systems survive when their original context is disrupted, adapting and persisting through folk practice and cultural memory.

Peter Paul Rubens' Faun and a Satyr, Carrying a Fruit Basket exemplifies how classical mythological figures continued to provide Renaissance and Baroque artists with sophisticated visual language for exploring fundamental human concerns. This print, housed at the Royal Museum of Fine Arts in Antwerp, demonstrates the enduring cultural power of hybrid mythological figures in European artistic traditions long after the decline of classical religious belief.

Fauns and satyrs—mythological beings combining human and animal characteristics—represent the complex relationship between human rationality and natural instinct that has preoccupied Western philosophical and artistic traditions since antiquity. By depicting these boundary-crossing figures engaged in the mundane activity of carrying a fruit basket, Rubens creates a visual meditation on the integration of civilised and natural impulses that defines the human condition.

The fruit basket itself adds another layer of symbolic resonance, potentially referencing fertility, abundance, and sensual pleasure—themes commonly associated with these mythological beings. This layering of symbolic references exemplifies how mythological imagery created rich visual texts that rewarded multiple levels of interpretation, from immediate sensory appreciation to sophisticated philosophical contemplation.

Rubens' characteristic style, with its emphasis on dynamic, sensual figures, was particularly well-suited to mythological subjects that explored the relationship between physical embodiment and spiritual or intellectual concerns. His ability to infuse classical references with immediate emotional and physical presence demonstrates how artistic reinterpretation kept mythological frameworks culturally relevant despite changing religious and philosophical contexts. The preservation of this print in Antwerp's Royal Museum reflects ongoing cultural interest in understanding how mythological imagery evolved through artistic reinterpretation while maintaining connection to classical traditions.

Fontaines D.C. represent a fascinating contemporary adaptation of Irish literary traditions into musical form, demonstrating how mythological thinking evolves through new media while maintaining connection to established cultural frameworks. By channeling the linguistic explorations of Joyce, the social critiques of Kavanagh, and the existential investigations of Irish literature into post-punk musical expression, the band creates a compelling synthesis of traditional and contemporary approaches to cultural storytelling.

The band's emergence from Dublin's literary culture reflects the continuing vitality of Ireland's literary heritage as a resource for addressing contemporary experience. Rather than merely referencing literary predecessors, Fontaines D.C. adapt core elements of Irish literary tradition—careful attention to language, engagement with place, exploration of identity—to create musical expressions that respond to contemporary urban experience. This process exemplifies how effective cultural mythology evolves through creative reinterpretation rather than mere preservation.

Particularly significant is the band's exploration of Dublin's psychological landscape through rhythmic language and introspective lyrics. By rendering urban experience through carefully crafted verbal and musical frameworks, their work continues the tradition of Irish writers who have transformed specific locations into universal metaphors for human experience. This transformation of physical environment into mythological landscape demonstrates how contemporary artists continue to create meaningful frameworks for understanding place-based identity in rapidly changing urban contexts.

The band's engagement with Ireland's literary mythologies represents a form of cultural archaeology, uncovering and reinterpreting elements of shared cultural memory for new audiences and circumstances. By translating literary approaches into musical form, they create multisensory experiences that engage audiences emotionally and intellectually, demonstrating how mythological thinking continues to evolve through medium-specific adaptations. Their work exemplifies how contemporary artists maintain dialogue with cultural traditions not through imitation but through creative transformation that addresses present concerns while acknowledging historical continuity.

The Eurovision Song Contest, established in 1956, has cultivated a unique cultural position over its six-decade history. Celebrated for its vibrant display of musical talent, cultural exchange and kitsch reworkings of national mythologies, the contest serves as a platform for creative expression that transcends national boundaries while paradoxically reinforcing them.

Johnny Logan, affectionately dubbed "Mr. Eurovision," stands as a pivotal figure within this narrative. His unprecedented achievements—winning twice as a performer (1980 with "What's Another Year" and 1987 with "Hold Me Now") and once as a songwriter (1992's "Why Me?" performed by Linda Martin)—have secured his iconic status in Eurovision history. His victories highlight his cross-national continental appeal, particularly in countries with strong Eurovision traditions like Sweden and Germany.

Despite Logan's international acclaim, the contrast between his reception abroad and at home in Ireland is striking. While celebrated across Europe for his contributions to the contest, his success has often received more muted recognition in Ireland. This discrepancy reflects broader cultural tensions regarding Eurovision itself, which has sometimes been viewed through a lens of kitsch in Ireland, especially as the national music scene evolved it's own rock and folk genres in the 1980s and 1990s.

Logan's legacy demonstrates how cultural figures can become emblematic of transnational shared experiences while simultaneously occupying complex positions within their national contexts. His story illustrates the intricate interplay between national identity, musical expression, and the mythologies that shape our understanding of cultural phenomena in an increasingly connected Europe.

This studio photograph of a white coffee set adorned with mythological reliefs, captured by Frank Philippi in Hoboken in 1953, exemplifies how classical mythological imagery continued to influence everyday design well into the 20th century. The persistence of such decorative elements on functional domestic objects demonstrates mythology's remarkable adaptive capacity, transcending its original religious contexts to serve aesthetic and cultural functions in modern secular settings.

The mid-20th century's renewed interest in classical motifs reflects a broader pattern in which societies look to historical traditions for aesthetic inspiration during periods of rapid change and uncertainty. Following the disruptions of World War II, classical references provided reassuring connections to established cultural traditions while simultaneously allowing for modern reinterpretation and adaptation.

The transformation of mythological narratives into decorative relief elements on a coffee set exemplifies how ancient symbolic systems are fragmented and repurposed in modern contexts. Detached from their original narrative frameworks and religious significance, these mythological figures become primarily aesthetic elements, though they retain subtle cultural resonances for viewers familiar with classical traditions.

Philippi's careful photographic documentation of this designed object represents another layer of cultural transformation—the professional documentation of decorative arts that positions everyday objects within frameworks of design history and cultural significance. This photograph thus captures not just a coffee set but a moment in the ongoing evolution of how societies incorporate mythological elements into everyday environments, adapting ancient symbolic systems to contemporary contexts while maintaining connections to cultural heritage.

Eoin Cantwell's thesis on Hipster Republicanism and the Rebranding of Sinn Féin examines Ireland's changing relationship with republican identity and how traditional political mythologies adapt to contemporary cultural, aesthetic and digital contexts.

By analysing Sinn Féin's transformation from a political pariah associated with paramilitary violence to a mainstream political force, Cantwell illuminates how political movements respond to changing social and political circumstances by selectively reframing historical narratives while maintaining narrative continuity with established traditions.

Cantwell examines how a reemergence of young Irish republicanism offers a compelling case study in the evolution of political mythology through cultural and political adaptation. By blending modern sensibilities with romanticised notions of Irish republicanism, Sinn Féin has created visual and narrative frameworks that appeal to younger demographics while maintaining connection to historical political traditions. This strategic repositioning exemplifies how political movements navigate the tension between historical authenticity and contemporary relevance.

Parallels with broader cultural phenomena illustrate how political mythologies operate across multiple domains simultaneously. Two patterns emerge: first, a resurgence of traditional Irish culture embraced by younger generations as relevant and authentic; second, the mainstreaming of previously polarizing Republican bands like the Wolfe Tones. These cultural expressions reveal national narratives as contested sites rather than neutral historical accounts. Contemporary political identities thus form through ongoing reinterpretation of shared historical references, not rigid ideological positions. Meanwhile, newer folk acts like Lankum and The Mary Wallopers adopt more apolitical stances while still drawing on and reinventing more traditional forms.

Sinn Féin's sophisticated digital strategy—leveraging memes, merchandise, and social media—demonstrates how traditional political narratives adapt to new media environments. By creating simplified, commodified versions of complex historical narratives, these approaches make political mythologies accessible to audiences without detailed historical knowledge. This strategic simplification exemplifies how contemporary political movements navigate tensions between historical complexity and the need for accessible messaging, often prioritising emotional resonance over historical nuance. The broader cultural moment shaped by Brexit, changing demographics, and evolving national identities creates context in which these reimagined republican symbols acquire new significance while maintaining connections to established political traditions.

This illustrated collection of folk tales from Flanders offers a fascinating window into how traditional European societies conceptualised the boundaries between human and animal realms. These narratives, drawn from the cultural heritage of Flanders and Brabant, explore a liminal space where transformation and moral instruction converge, revealing deep-seated anxieties and aspirations about human nature.

The tales themselves occupy a characteristic position in European folklore, blending practical moral instruction with fantastic elements that challenge fixed categories of existence. This combination reflects the multidimensional function of traditional narratives—simultaneously entertaining, instructing, and providing frameworks for understanding ambiguous aspects of human experience. The blurring of boundaries between human and animal forms frequently serves to explore moral and ethical questions about what truly constitutes humanity.

Jean de Bosschère's illustrations enhance this conceptual framework through their distinctive visual language. His "whimsical and grotesque" style perfectly complements narratives concerned with transformation and liminality, creating visual representations of the stories' thematic concerns. The integration of text and image creates a multisensory experience that mirrors traditional oral storytelling's engagement of multiple cognitive faculties.

The preservation of these tales in written and illustrated form represents a crucial transition in European folklore—from oral tradition to literary artifact. This transformation, occurring throughout Europe in the 19th and early 20th centuries, fundamentally altered how folk narratives functioned in society, shifting them from communal performances to private reading experiences. Nevertheless, the enduring appeal of these collected tales demonstrates how folkloric elements continue to resonate even when removed from their original social contexts, addressing psychological and social concerns that remain relevant despite changing cultural circumstances.

This Lithuanian sakmė, or etiological folk tale, offers a mythological explanation for lightning strikes, demonstrating how pre-scientific cultures interpreted natural phenomena through narrative frameworks that reinforced moral and social values.

According to the tale, the origin of lightning can be traced to an ancient conflict between Perkūnas, the powerful thunder god in Baltic mythology, and the devil. The narrative begins with the devil borrowing money from Perkūnas but then refusing repayment and mocking the god, triggering Perkūnas' rage. This initial transgression—breaking a promise and disrespecting a divinity—establishes the moral foundation of the story.

The lightning that flashes across the sky represents Perkūnas' continuing pursuit of the devil, who attempts to hide in various places: on farms, inside animals, or within people's clothing. When lightning strikes a tree, sets fire to a house, or kills a person or animal, it is explained as the devil hiding there, making these locations the inadvertent targets of Perkūnas' wrath.

This narrative demonstrates how mythological explanations often served multiple functions in traditional societies. Beyond explaining the natural phenomenon of lightning, the tale reinforces social values regarding debt repayment and respect for authority. It also provides practical guidance by warning people about potentially dangerous locations during thunderstorms.

The story's structure, with the devil constantly fleeing and Perkūnas relentlessly pursuing, creates a compelling explanation for lightning's unpredictable and repeated nature. This cyclical, unresolved conflict explains why lightning continues to occur rather than being a one-time event.

Compiled and edited by folklorist Norbertas Vėlius in How the Earth Came to Be: Lithuanian Etiological Legends, this tale exemplifies how mythology provided frameworks for understanding natural phenomena while reinforcing cultural values and practical knowledge.