Discover the MythCloud

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.

This engraving of Neptune and Amphitrite's Triumphal Chariot, created for the 1599 joyous entry of Archdukes Albert and Isabella into Antwerp, exemplifies how classical mythology served essential political functions in early modern European court culture. Designed by Joos de Momper and engraved by Pieter van der Borcht in 1602, this copper engraving represents the sophisticated integration of mythological references into public ceremonial designed to legitimise political authority.

The "joyous entry" tradition itself functioned as a ritual performance that established mutual obligations between rulers and cities. By incorporating classical deities into these ceremonies, organisers created symbolic frameworks that positioned contemporary rulers within established patterns of legitimate authority. Neptune, as god of the sea, held particular significance for maritime powers like the Spanish Netherlands, creating resonance between mythological references and practical concerns of trade and naval power.

The translation of ephemeral ceremonial elements into permanent engraved form represents an important aspect of how such mythological performances extended their influence beyond immediate participants. Connected to Joannes Bochius' historical narrative of the event, this engraving transformed temporary spectacle into lasting documentation, allowing the symbolic frameworks established during the ceremony to circulate more widely and persist over time.

This artifact demonstrates how classical mythology provided Renaissance and Baroque societies with sophisticated visual language for articulating political relationships and aspirations. By invoking Neptune and Amphitrite in ceremonial contexts, organisers drew on established symbolic associations while adapting them to address contemporary political circumstances. The Museum Plantin-Moretus' preservation of this engraving reflects ongoing cultural interest in understanding how mythological frameworks shaped political culture during this formative period of European state development.

John F. Kennedy's 1963 visit to Ireland, occurring just months before his assassination, represents a pivotal moment in Irish cultural memory and in the mythology of Irish-American identity. As the first U.S. President of Irish Catholic descent to visit his ancestral homeland, Kennedy's journey acquired symbolic dimensions that transcended its political purposes, becoming a powerful narrative about emigration, success, and the enduring connection between Ireland and its diaspora.

Kennedy's visit took place during a significant transition in Irish history, as the country was beginning to emerge from decades of economic stagnation and cultural isolation under Taoiseach Seán Lemass's modernisation programmes. For many Irish people, Kennedy's success epitomised the promise of the American Dream—a narrative in which Irish emigrants could not only survive but thrive and ascend to positions of global influence, validating the sacrifices of previous generations who had left Ireland during periods of famine and hardship.

The symbolism of Kennedy's return was reinforced by his deliberate visit to his ancestral homestead in Dunganstown, County Wexford, where he was photographed taking tea with distant relatives. This carefully choreographed moment created a powerful visual metaphor of return and remembrance that resonated deeply with both Irish and Irish-American audiences, visually embodying the "prodigal son" narrative suggested in the title.

For Irish Americans, Kennedy's rise served as a vindication of their place in the American socio-political landscape, representing the possibilities of inclusion within dominant culture despite a history of anti-Catholic and anti-Irish discrimination. His presidency marked the symbolic culmination of the Irish immigrant journey from marginalised outsiders to full participants in American power structures.

This visit demonstrates how political events can acquire mythological dimensions when they align with powerful narrative patterns that address questions of collective identity, historical trauma, and national aspiration. Kennedy's brief return to Ireland continues to function as a compelling story about emigration, success, and homecoming in both Irish and Irish-American cultural memory.

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.

St. Patrick
The 17th of March is celebrated worldwide as Saint Patrick's Day, a time of parades and revelry honouring Ireland's patron saint. Beyond the festivities, however, lies a complex figure whose historical reality and mythological dimensions have become thoroughly intertwined over fifteen centuries of cultural transmission.

In this episode of Blúiríní Béaloidis, hosts Claire Doohan and Jonny Dillon from the National Folklore Collection of Ireland examine the multifaceted figure of St. Patrick, exploring both the historical person and his evolution in folk tradition. They consider the fascinating intersection between Patrick's Christian mission and the pre-Christian, Pagan traditions he is said to have confronted and transformed.

The programme examines the numerous pilgrimages still conducted in Patrick's name across Ireland, from Skerries in the east to Croagh Patrick in the west, and from Duhallow in the south to Lough Derg in the north. These devotional practices reflect Patrick's enduring influence not only in Ireland but throughout Europe, demonstrating how mythologised historical figures can become focal points for cultural and religious practices that span centuries.

This exploration reveals how the historical Patrick—a 5th-century Romano-British Christian missionary—has been transformed through layers of hagiography, folk belief, and national mythology into a multivalent symbol that extends far beyond historical reality. The narratives surrounding Patrick, including famous episodes like banishing snakes from Ireland or using the shamrock to explain the Trinity, illustrate how historical figures become mythologised through processes of cultural adaptation and reinterpretation.

Through examining the continuing veneration of Patrick, the programme illuminates how mythological processes remain active in contemporary culture, blending historical, religious, and folkloric elements into narratives that continue to evolve and resonate.

Peter Paul Rubens' woodcut for the title page of Pompa Introïtus Ferdinand exemplifies how Renaissance ceremonial culture deliberately deployed mythological imagery to create sophisticated political narratives. As visual documentation of Ferdinand's ceremonial entry into Antwerp, this title page frame adorned with mythological figures demonstrates how classical references served both aesthetic and political functions in early modern European courtly contexts.

The "joyous entry" tradition itself functioned as ritualised performance that established mutual obligations between rulers and cities through carefully choreographed symbolic actions. By documenting these ephemeral ceremonies in permanent form, publications like Pompa Introïtus Ferdinand transformed temporary spectacle into lasting record, allowing the symbolic frameworks established during the ceremony to circulate more widely and persist over time.

The integration of mythological figures into the frame creates visual rhetoric that positions contemporary political authority within established patterns of legitimate rule. Classical references provided Renaissance courts with sophisticated symbolic language for articulating political relationships and aspirations, creating continuity between ancient precedents and current power structures. This visual strategy exemplifies how early modern political culture relied heavily on mythological frameworks to legitimate authority and articulate political ideals.

The preservation of this woodcut reflects ongoing cultural interest in understanding how visual culture participated in establishing and maintaining political authority during this formative period of European state development. Rather than representing mere decoration, the mythological imagery constitutes an integral component of how political relationships were conceptualised and communicated during this period. The woodcut thus provides valuable evidence of how mythological frameworks shaped political imagination in early modern Europe, creating symbolic language through which power relationships could be articulated, negotiated, and maintained.

This educational resource pack, developed by the National Library of Ireland, introduces secondary school students to the rich relationship between W.B. Yeats (1865-1939)—one of Ireland's most significant literary figures—and the traditional folklore that profoundly influenced his poetic imagination. Drawing on the Library's extensive Yeats collection, it provides students with a structured approach to exploring how mythological narratives shaped literary expression in the Irish Revival period.

The lesson materials guide pupils through an examination of primary and secondary sources from the National Library's holdings, encouraging critical engagement with Yeats's creative process and his adaptation of folk motifs. By investigating how traditional fairytales and folklore informed Yeats's poetry, students gain insight into the dynamic relationship between oral tradition and literary innovation during a formative period in Ireland's cultural development.

W.B. Yeats's engagement with Irish folklore was not merely aesthetic but deeply political, emerging during a period of cultural nationalism when the recovery and celebration of indigenous traditions became integral to the assertion of Irish identity. Alongside figures like Lady Gregory and Douglas Hyde, Yeats participated in collecting and reinterpreting folk narratives, believing they contained spiritual and psychological truths essential to understanding the Irish character.

The featured illustration by Victor Brown, depicting an extract from Yeats's "The Song of Wandering Aengus," visually represents this synthesis of literary craft and mythological source material. This poem, with its references to the supernatural and its evocation of Ireland's mystical landscape, exemplifies how Yeats transformed traditional motifs into modern literary expression.

This educational resource demonstrates the continuing significance of examining how cultural memory is preserved, transmitted, and transformed through artistic expression, encouraging students to consider how traditional narratives maintain relevance through creative reinterpretation.

This woodblock, designed by Pieter van der Borcht I and carved by Antoni van Leest for Rembert Dodoens' influential botanical work Cruijdeboeck, exemplifies how Renaissance scientific publications incorporated mythological elements even as they advanced empirical understanding of the natural world. The integration of mythological figures in the design of a scientific text reflects the transitional nature of Renaissance thought, which blended emerging scientific methodologies with established symbolic frameworks.

The woodblock's intricate mythological imagery served multiple functions beyond mere decoration. By framing botanical knowledge within classical mythological references, the design positioned Dodoens' work within established intellectual traditions while simultaneously signalling its participation in Renaissance cultural innovations. The specific replacement of Maria of Hungary's heraldic shield with a floral vase in the 1563 edition demonstrates how such imagery adapted to changing political circumstances while maintaining visual continuity.

The technical execution of the woodblock—signed by its creators and preserved through its acquisition in 1876—represents a material artifact of Renaissance printmaking practices. The collaborative process between designer and woodcarver exemplifies how knowledge transmission in this period required specialised technical skills alongside intellectual innovation. This collaboration mirrors the broader Renaissance integration of artistic and scientific pursuits, challenging modern disciplinary boundaries.

This woodblock thus stands at a significant historical juncture, participating in the transition from predominantly mythological frameworks for understanding nature toward more empirical approaches. Rather than representing a clean break with earlier modes of thought, it demonstrates how new scientific methodologies emerged gradually, incorporating elements of traditional symbolic thinking while developing increasingly systematic approaches to natural phenomena. The Plantin-Moretus Museum's preservation of this artifact reflects ongoing cultural interest in understanding this pivotal moment in European intellectual history.

Yorgos Maraziotis' artistic research project Mythical Truths offers a sophisticated exploration of how contemporary institutions develop their own mythologies through the accumulation and circulation of personal narratives. By collecting stories from students at the Royal Academy of Fine Arts Antwerp and treating them as myths that oscillate between truth and fiction, Maraziotis demonstrates how mythological thinking continues to shape collective identity even in ostensibly rational modern contexts.

The project's recognition that personal belief, fact, fiction, and myth are intertwined within our understanding of the world challenges simplistic distinctions between objective and subjective knowledge. This approach reflects contemporary understandings of how social realities are constructed through shared narratives rather than existing as fixed, independent truths. By applying this framework to art education specifically, Maraziotis illuminates how artistic institutions develop distinct cultures through the accumulation and transmission of stories that shape participants' experiences and expectations.

Particularly significant is the project's attention to the Academy's 360-year history and its current international character, with students from over fifty countries engaging in critical self-reflection and artistic practice. This emphasis on diversity within a historically situated institution raises important questions about how cultural narratives evolve through contact with multiple traditions and perspectives. The project thus examines the dynamic interplay between institutional continuity and cultural evolution.

Maraziotis' questioning of whether memory is a fixed notion or a constantly evolving construct addresses fundamental issues in how mythological thinking operates in contemporary contexts. By exploring how an archive of everyday stories can facilitate institutional pluralism and inspire meaningful change, the project demonstrates how mythological frameworks continue to serve essential functions in modern society—providing flexible frameworks for understanding complex social realities while adapting to changing circumstances and diverse perspectives.

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.

"Spotkanie z Warszawą" ("Meeting with Warsaw") represents contemporary Polish musician Monika Brodka's reinterpretation of a 1964 song originally performed by Irena Santor, a leading figure in Polish popular music of the post-war era. This musical reimagining, featured on Brodka's 2021 album BRUT, demonstrates how cultural narratives evolve through artistic reinterpretation across generations.

Brodka's adaptation maintains a connection to the original composition's melodic structure while transforming it through contemporary alternative sensibilities. The accompanying black-and-white video, which Brodka directed herself, features the artist in the symbolic role of the Warsaw Mermaid (Syrenka Warszawska)—the emblematic figure that has represented Poland's capital since at least the 14th century and appears on the city's coat of arms.

Through this visual narrative, Brodka recounts Warsaw's tumultuous history, particularly focusing on the city's resilience and rebuilding after the devastation of World War II, when approximately 85% of the city was destroyed. This historical reference connects contemporary audiences with the collective memory of trauma and renewal that has shaped Warsaw's urban identity.

By embodying the mermaid figure, Brodka places herself within a lineage of cultural symbols that have helped define Warsaw's character through centuries of political upheaval. Her modern reinterpretation demonstrates how mythological figures can be reinvented to speak to contemporary concerns while maintaining their connection to historical narratives.

This project reflects the fluid nature of cultural mythology in contemporary artistic practice, showing how traditional symbols and narratives can be reimagined to create dialogue between past and present, continuity and innovation, in the ongoing construction of urban and national identities.

These Baltic brass rings featuring serpent motifs exemplify how mythological understanding was literally worn on the body in traditional societies. Inspired by archaeological findings throughout the Baltic region, these rings transform abstract cosmological concepts into tangible, personal objects that connected individuals to broader cultural narratives.

The serpent, a potent symbol in Baltic mythology as in many world traditions, functioned as a multivalent emblem associated with protection, fertility, and cyclical renewal. Its ability to shed its skin made it a natural symbol of transformation and rebirth, while its movement between surface and underground realms positioned it as a mediator between worlds. The specific association with justice, happiness, and domestic safety suggests the serpent's role as a guardian of proper order in both cosmic and social domains.

Beyond their symbolic content, these rings served as personal talismans, believed to channel protective powers for the wearer. This apotropaic function illustrates how mythological thinking in traditional societies extended beyond abstract belief into practical engagement with supernatural forces through material objects. The wearing of such symbols represented both cultural affiliation and active participation in a world understood to be animated by unseen forces.

The contemporary reproduction of such designs demonstrates how mythological symbols maintain cultural resonance even when detached from their original belief contexts, serving as tangible connections to ancestral worldviews. These seemingly modest objects thus function as repositories of cultural memory, linking past and present through persistent symbolic forms.

Bram Stoker, the renowned author of Dracula, maintained a special connection to Marsh's Library in Dublin, Ireland's first public library founded in 1707. This historic institution served as a quiet sanctuary for his writing during his youth.

Between 1866 and 1867, Stoker regularly visited the library, immersing himself in its extensive collection of books on history, folklore, and the supernatural. While no direct evidence confirms that these visits inspired Dracula, several texts he consulted discuss Transylvania and historical figures that would later influence his iconic vampire novel.

Intriguingly, the library holds clues to some of the more subtle elements in Dracula. Stoker's fascination with the 5th of November—a date of historical significance in Britain—can be traced to books he read at Marsh's. This date, commemorating both the foiling of the Gunpowder Plot in 1605 and the Williamite victory over King James II in 1688, becomes central to the plot of Dracula, marking the vampire's period of vulnerability.

This connection between Stoker's literary creation and his research at Marsh's Library exemplifies how mythological narratives often draw from multiple historical and cultural sources, transformed through the creative process into new stories that capture the public imagination. It also demonstrates how physical spaces—libraries, archives, and collections—serve as crucial repositories not just of information but of narrative inspiration.

Just after the Easter Rising, as executions of its leaders began, The Irish Times predicted that the rebellion would "pass into history with the equally unsuccessful insurrections of the past."

This raises one of history's great imponderables: what might have happened if the British had not executed the leaders? Would the widespread anger and dismay at the destruction and loss of life have subsided, or would it have fuelled ongoing resentment? Would the initial hostility towards the rebels on the streets of Dublin have persisted if the executions had not occurred, or would the leaders have become martyrs, shifting public sentiment in their favour?

The British decision to execute the leaders undoubtedly intensified support for the cause, helping to galvanise the independence movement. This case demonstrates the power of martyrdom in mythmaking and national narratives—how death in service of a cause transforms individuals into symbols that transcend their historical context, reshaping public memory and political allegiance.

Pagan Rave represents an innovative, ongoing performance-based project that reimagines traditional folk customs and seasonal rituals of Ireland for contemporary contexts. Rather than treating these traditions as static cultural artifacts to be preserved, the project approaches them as living practices that can be adapted and revitalised for current communities.

Taking as its foundation the costumed figures and characters from Irish and European folk theatre and seasonal festivals, Pagan Rave operates at the boundaries between past and present, tradition and innovation. The project seeks to embody the transformative and liberating aspects of masks and music in ceremonial contexts, exploring how these traditional elements can create meaningful communal experiences in contemporary society.

The project manifests in various forms and scales. Some events are large, community-oriented festivals involving scores of performer-participants and hundreds of spectators, creating immersive experiences that connect communities to seasonal rhythms and shared cultural heritage. Others are more intimate gatherings with smaller groups, focused on exploring ritual space through mask, music, and movement to access altered states of consciousness. Some manifestations are purely celebratory, emphasising communal enjoyment and festivity.

Pagan Rave maintains connections with related musical projects, including Aeons, an electronica band founded by Muireann Nic Amhlaoibh, and the musical collective Mr Muntz. These collaborations demonstrate how traditional practices can find new expressions through contemporary media and performance styles.

This initiative exemplifies how mythological and ritual traditions remain vital through adaptation and reinterpretation, rather than through simple preservation. By engaging bodily, communally, and emotionally with traditional forms, Pagan Rave demonstrates the continuing relevance of ritual practices in creating meaningful shared experiences in modern contexts.

<p>Praamžius  occupies a fundamental position in Lithuanian mythology, particularly within  creation myths and the structure of the ancient pantheon. The name itself,  translating to <em>"Eternal"</em> or  <em>"Primordial,"</em> underscores this deity's  foundational status in Baltic cosmology as an originating creative force that  precedes and underlies existence itself.</p><p>Unlike the  anthropomorphic depictions common to many mythological traditions, Praamžius  is primarily conceptual, representing universal principles rather than  appearing in a defined physical form. This abstract quality reflects a  sophisticated theological understanding that transcends simple  personification of natural forces.</p><p>In mythological  narratives, Praamžius is portrayed as the originator of all life, determining  fundamental destinies while allowing beings to shape their external  attributes through their will—a nuanced concept that balances predestination  with free will. The mythology depicts Praamžius contending with opposing  forces like devils (<em>Velnias</em>), nymphs  (<em>Laumės</em>), witches, and selfish beings, reflecting his  role as a guardian of cosmic order against chaotic or destructive  elements.</p><p>The mythology positions him at the head of a  divine hierarchy, influencing narratives about celestial bodies (the Sun,  Moon), his son Perkūnas (the thunder god), winds, giants, and other  mythological figures. These interconnected stories extend into various folk  traditions including legends, fairy tales, and songs, revealing Praamžius as  the central axis around which Lithuanian mythological cycles  revolve.</p><p>While original narratives about Praamžius often  incorporate Christian influences, demonstrating the syncretism between  indigenous beliefs and later religious traditions, he remains a profound  symbol of cosmic order and creative power in Lithuanian cultural  memory.</p>

This woodblock from 1652, crafted by Christoffel Jegher (c. 1596-1653), features the printer's mark of the prestigious Plantin Press (Officina Plantiniana), one of the most significant printing establishments in 16th and 17th century Europe. Now preserved in the Museum Plantin-Moretus in Antwerp, Belgium—a UNESCO World Heritage site—this artefact represents the intersection of visual symbolism, commercial identity, and early modern print culture.

The design includes a compass held by a hand emerging from a cloud, flanked by two allegorical figures: Hercules symbolising labour (Labor) and a female figure representing constancy (Constantia). This iconography encapsulated the press's motto: "Through work and constancy," reflecting the values of its founder, Christophe Plantin, and his successors, the Moretus family.

The mark served as both a commercial logo and a symbolic representation of the press's commitment to precise, consistent work. Used in notable publications such as various editions of the Breviarium Romanum, this visual identifier helped establish the Plantin Press's reputation for quality across Europe during a period when books were becoming increasingly central to knowledge dissemination.

Jegher, a master woodcutter who collaborated with Peter Paul Rubens on numerous projects, brought exceptional craftsmanship to this small but significant piece. His technical skill exemplifies the artistic standards maintained by the press, where visual and textual elements were integrated with equal attention to detail and quality.

The block stands as a testament to the development of brand identity in early modern publishing, demonstrating how symbolic visual language was deployed to communicate values and establish recognition in an expanding marketplace of printed materials.

The concept of the "riverbody" explored through Belgian composer Peter Benoit's work on the Scheldt River offers a sophisticated framework for understanding how geographical features become repositories of cultural mythology. Rivers, with their literal and metaphorical capacity for flow, connection, and transformation, have provided ideal vehicles for mythological thinking across diverse cultures and historical periods.

Benoit's musical exploration of the Scheldt exemplifies how natural features acquire mythological significance through the accretion of historical, cultural, and emotional associations. The river becomes not merely a physical watercourse but a living entity that embodies collective memories, historical events, and communal values. This transformation of geographical feature into mythological entity demonstrates the persistent human tendency to imbue the material world with symbolic and narrative significance.

The comparison to other mythologised waterways—such as the Nile in Egypt or the Ganges in India—highlights how this pattern of river-based cultural mythology transcends specific cultural contexts. Across civilisations, rivers have functioned as boundary markers, lifelines, trade routes, and symbolic pathways between worlds. Their physical characteristics—flowing from source to mouth, constantly changing yet remaining identifiable, sustaining life while occasionally threatening it—make them natural repositories for complex cultural narratives.

Benoit's compositions represent a modern continuation of this ancient pattern, adapting traditional mythological thinking to contemporary artistic forms. By creating musical interpretations of the Scheldt's symbolic significance, his work demonstrates how mythological thinking continues to evolve through artistic innovation, finding new expressions while maintaining connection to fundamental patterns of human meaning-making. The riverbody thus exemplifies how mythological frameworks persist in ostensibly secular contexts, addressing enduring human needs for narrative coherence and connection to place.

James Ensor's (1860-1949) pencil sketch of a mythological scene exemplifies how modern artists continued to draw inspiration from classical mythological sources while transforming them through distinctive personal vision and contemporary concerns. As a Belgian artist renowned for his unsettling works that blend surrealism, grotesque imagery, and sharp social commentary, Ensor approached mythological subjects not as mere academic exercises but as vehicles for exploring profound questions about human existence and social structures.

Throughout his career, Ensor explored themes of death, human folly, and societal masks, frequently employing motifs like skeletons, masks, and distorted figures. His engagement with mythological imagery provided an established symbolic language through which he could address these persistent concerns, adapting classical references to express distinctly modern anxieties about identity, mortality, and social authenticity.

Ensor's ability to fuse mythological, religious, and folk imagery with contemporary social critique positioned him as a precursor to surrealism, demonstrating how traditional symbolic systems could be reimagined to address the psychological and social disruptions of modernity. His work demonstrates that mythological thinking remained a vital artistic resource even as traditional belief systems lost cultural authority, providing flexible frameworks for exploring aspects of human experience that resist purely rational explanation.

The tension between the real and the imagined in Ensor's work—highlighted in this drawing's cataloguing title—reflects broader modernist concerns with the nature of reality and representation. By deploying mythological imagery within dreamlike or nightmarish landscapes, Ensor created visual experiences that challenged simplistic distinctions between objective and subjective reality, using traditional symbolic language to explore distinctly modern psychological territories. His enduring influence demonstrates how mythological frameworks continued to provide valuable resources for artistic innovation even in rapidly secularising modern contexts.

Project 2025, a comprehensive political roadmap developed by The Heritage Foundation to guide conservative policy in the United States, draws heavily on enduring American myths that resonate deeply within the national psyche. These narratives function not merely as political strategies but as cultural frameworks that shape values, define collective identity, and establish ideological parameters for governance.

Designed as a blueprint for a potential Republican administration in 2025, the roadmap represents the collaborative efforts of over 400 contributors from conservative think tanks and organisations. It outlines an ambitious agenda to reshape the U.S. federal government, prioritising government size reduction, environmental and social regulation curtailment, states' rights reinforcement, and traditional conservative value promotion. Central to its implementation strategy is a proposed strengthening of executive power, including the replacement of career civil servants with politically aligned appointees.

Project 2025 exemplifies the creation of a shared narrative—a cornerstone of modern mythology—that frames governance as a heroic battle to "restore America." Like ancient myths that defined collective identity and purpose, it employs recurring themes of decline, redemption, and renewal. The initiative positions its vision as a national rescue mission, with bureaucratic elites and progressive policies cast as antagonists in a larger narrative of revival, employing archetypal patterns of heroism, villainy, and promised utopia to create a powerful ideological rallying point for those disenchanted by rapid social and political change.

However, like all modern myths, this framing risks oversimplifying complex realities. By reducing governance to a binary struggle between good and evil, it can deepen societal divisions and hinder constructive dialogue about policy trade-offs and compromises. Understanding how initiatives like Project 2025 leverage mythological structures reveals them as more than political strategies—they are attempts to define a comprehensive vision for society's future through narrative frameworks that resonate with deeply held cultural beliefs.

Folk music has always carried echoes of mythology—a weaving of personal and collective memory that transforms ordinary lives into extraordinary narratives. In Ireland, this mythological dimension has played a vital role in forging national identity, especially during periods of social or political upheaval.

Today, as folk music experiences a remarkable revival in Ireland, it offers a compelling case study in the enduring interplay between myth, culture, and nation-building. Contemporary acts like Lankum, Ye Vagabonds, and The Mary Wallopers are reshaping Irish folk music for a new generation, drawing on traditional forms while incorporating modern sensibilities and concerns. This new movement builds upon earlier revivals while responding to present-day realities and artistic currents.

The early 20th-century Irish folk revival emerged as an assertion of cultural independence, intertwining artistic expression and political consciousness to craft a distinctly Irish identity separate from British influence. Through grassroots traditions like the "session"—a communal gathering of musicians—and later through global successes like The Dubliners and The Pogues, folk music transcended mere entertainment to become a vessel for storytelling, cultural memory, and collective identity.

The 21st-century folk revival carries forward this tradition while addressing contemporary circumstances. Artists like Lankum redefine the genre with their "doom-folk" sound, bridging Ireland's ancient musical heritage with modern sonic experimentation and thematic concerns. Others, like The Mary Wallopers, reclaim folk's populist roots, stripping away commercialised elements of "tourist-oriented" traditional music to present an unvarnished, irreverent expression of Irishness. Meanwhile, younger artists like Muireann Bradley demonstrate the genre's intergenerational resilience.

This revival represents more than nostalgia—it is mythology in real-time, reconstructing authenticity while forging a forward-looking cultural identity that acknowledges tradition without being constrained by it.

The Irish flag's history offers insights into how visual symbols shape national narratives. From green fields with golden harps to today's tricolour, these emblems create visual shorthand for complex historical narratives and cultural values.

Early Irish flags used Gaelic iconography, particularly the green field with golden harp, linking modern national aspirations to ancient heritage. By using pre-colonial symbols, these flags positioned independence movements as restoring historical sovereignty rather than creating new political entities. This exemplifies how nationalist movements construct mythologies connecting contemporary struggles to idealised historical precedents.

The tricolour's introduction in 1848 by Thomas Francis Meagher represents a sophisticated attempt to address Ireland's religious divisions. Inspired by the French revolutionary tricolour, Meagher's adaptation reflected Ireland's revolutionary aspirations while addressing its unique social landscape. Incorporating green (Catholics/Nationalists), orange (Protestants/Unionists) and white (peace between them), this design articulated an aspirational vision of unity that acknowledged divisions while suggesting possible reconciliation. The tricolour functioned not simply as representation but as visual articulation of a desired future.

The flag gained deeper meaning through historical events, particularly its association with the 1916 Easter Rising. Flying above the General Post Office during the rebellion, it first became linked with narratives of sacrifice and resistance fundamental to Irish independence mythology. The Rising's leaders embraced collective struggle for the public good, aspiring to create an Ireland serving all citizens equally. In later decades, this symbol experienced problematic recontextualisations by Republican paramilitaries during the Troubles and more recently by elements of Ireland's emerging far-right movements.

This evolution shows how symbols develop through historical contexts rather than formal design alone, acquiring complex resonances that both reflect and shape collective identity, sometimes contradicting their original aspirational meaning.

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‍We Can't Let The Far Right Claim Our Tricolour
District Magazine, April 2025, Instagram, Dray Morgan (Extract)
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It's unsettling, it's saddening but it's also disgraceful. Irish iconography used to promote a fundamentally non-Irish sentiment. The Tricolour left bismerched and Irish culture being overlooked for the sake of racism and xenophobia. Don't let the far right claim our Tricolour. There's no denying that the scenes from Saturday's anti-immigration protest were unsettling. Equally as striking is the choice of iconography by right-wing demonstrators when disseminating a fundamentally non-Irish sentiment.

Tri-colours and harps were ever-present throughout the crowds, combined with chants of "Get Them Out" and other xenophobic slogans.

Here are some reasons why the Irish Tricolour and other iconography doesn't and will never align with anti-immigration and far-right rhetoric.‍

The History of the Tricolour: The Irish Tricolour came to fruition in 1848, when the leader of Young Irelanders, Thomas Francis Meagher, received the flag from a group of French women in Paris. The flag symbolised solidarity with the Irish cause against the British oppressors, as well as peace between Catholics and Protestants. The Tricolour did not become Ireland's national flag until 68 years later in 1916. Until then, it served as an international sign of solidarity between Ireland and other nations, a progressive symbol which sought equality and resistance from discriminatory regimes.

This was also the era in which Ireland saw its greatest emigration in its history. The Great Hunger saw over 2.5 million people forced to leave their homes and emigrate across the world, spreading Irish iconography and culture globally. Ireland's population decreased heavily from 6.55 million to 4.23 million, rendering those who left effective humanitarian refugees.‍

Imported Ideology: Anti-immigration has and never will be an ideology of the Irish. It is, of course, impossible to ignore the fact that Ireland has the largest diaspora per capita of any nation in the world. 80 million people outside of Ireland claim Irish ancestry. We are a nation of emigrants.

Furthermore, imported ideologies are filtered through social media into the Irish psyche. This was only exemplified by the MAGA sympathisers and even imagery of Vladimir Putin at Saturday's demonstration. In May 2024, The Journal reported on more than 150 social media accounts that were claiming to be Irish but were operated by non-Irish users. Accounts like these contribute heavily to a rising ethno-nationalistic and racist view. Irish social media users are unknowingly being influenced by foreign entities.

A Sinister Core: At the core of anti-immigration Ireland, is a truly sinister underbelly that operates through Telegram channels, with rhetoric led by unwavering racism and fringe ideologies. Figureheads such as head of the extremist far-right National Party, Justin Barrett (who was present at Saturday's rally) spew admiration for Nazi ideology as well as pushing misinformation and conspiracy theories. This has led to fringe groups such as Clann Eireann, a racist group with almost 3,000 members on Telegram. From 2020 to 2023, mis and disinformation in Irish Telegram channels rose by 326%.

Take Off Those Celtic Jerseys: Multiple Celtic jerseys were seen at the protest. Celtic F.C. was created in 1888 for the purpose of creating a club for Irish immigrants and alleviating the poverty experienced by the Irish community in Scotland. A driving factor of Celtic's ethos is acceptance, humanity and equality. Championed as a club for the oppressed and a haven for the othered, a Celtic jersey will never represent the racist and unwelcoming ideology of the far-right. Gil Heron, Celtic F.C's first black football player and father to Gil-Scott Heron, renowned musician and writer of "The Revolution Will Not Be Televised".

Do You Really Want To Be Like Them? Looking at our British neighbours, the St. George's flag has been ruined by years of bigotry, discrimination and hatred being flown under the banner of the image. Far-right groups on both sides of our seas have appropriated their national flags, giving it connotations of hate and fear. We cannot let this happen to the tricolour, a symbol of hope, peace and a piece of Irish iconography for all to be proud of. We can't let the far right claim our Tricolour.

"The Tricolour will be a right-wing symbol soon if it's not front and centre at counters. Being allergic to your own flag is moronic and damages your legitimacy as a national movement. A sea of red and pink flags without the hard won symbols of Irish nationalism plays into the right-wing narrative that left is inherently anti-Irish. Fly the tricolour if you don't want it to end up like the St Georges flag in England."
Irish artist Spice Bag

Instagram: @district.magazine; Writing @dray.morgan; Photography @hasanyikiciphotography; Additional; @hasanyikiciphotography @gregbyrnephoto @spicebag.exe

Mitologia Słowiańska w Zarysie ("An Outline of Slavic Mythology"), accessible through Polona, the digital library of the National Library of Poland, provides a comprehensive overview of the pre-Christian belief systems of the Slavic peoples. This resource represents an important scholarly effort to reconstruct and understand a mythological tradition that, unlike Greek or Norse mythology, lacks extensive written documentation from its active period.

The text examines key deities in the Slavic pantheon, such as Perun, the thunderer and supreme god of the pantheon, and Veles, the god of the underworld, cattle, and wealth. These gods formed a cosmic dichotomy, with Perun ruling the sky and Veles governing the underworld, their eternal conflict symbolising the tension between order and chaos in the Slavic cosmological view.

Beyond major deities, the work explores the rich world of spirits that populated the Slavic mythological landscape. These include the domovoi (house spirits) that protected homes and families, and the rusalki (water spirits), often represented as beautiful maidens who could bring both blessing and misfortune to those who encountered them.

The text details how these mythological figures were central to the cultural and spiritual practices of pre-Christian Slavic societies, informing seasonal rituals, agricultural practices, and community cohesion. Despite the relative scarcity of primary sources, the work synthesises archaeological findings, linguistic evidence, and later folkloric traditions to construct a coherent picture of Slavic mythological systems.

This scholarly resource demonstrates how mythological research can illuminate historical worldviews and social structures, even when working with fragmentary evidence and traditions disrupted by religious conversion and cultural change.

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.

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 Baltic waistband adorned with spruce-inspired patterns exemplifies how traditional societies encoded sophisticated mythological concepts into everyday objects. The Tree of Life motif transforms a practical item into a vehicle for expressing cosmic understanding and cultural identity, connecting the wearer to both ancestral traditions and universal patterns.

The Tree of Life symbolism represents one of humanity's most widespread mythological concepts—a central axis connecting underground, terrestrial, and celestial realms. In Baltic traditions, this multilayered imagery provided a comprehensive model of cosmic structure while expressing cultural values of continuity and regeneration. Its prominence in textile arts demonstrates how abstract cosmological concepts were made tangible through integration into daily material culture.

The association with Laima, goddess of fate, adds another dimension to the waistband's significance. As a deity concerned with determining life trajectories, Laima's symbolic presence suggests the waistband functioned beyond mere decoration—potentially offering protection and influencing the wearer's destiny. This belief in the active power of symbolic objects illustrates how mythological thinking extended beyond abstract belief into practical engagement with supernatural forces through material objects.

The waistband's versatility as both belt and headband demonstrates the adaptability of traditional Baltic textiles, while the persistence of these patterns in contemporary contexts shows how mythological symbols maintain cultural resonance even when detached from their original belief systems. These textile traditions thus serve as repositories of cultural memory, connecting present practices to ancestral worldviews through the continuity of visual language.