Discover the MythCloud

The Royal Museum of Fine Arts Antwerp (KMSKA), one of Belgium's foremost cultural institutions, houses a remarkable pencil sketch titled Oedipus Abandoned by Jean Antoine Verschaeren. This artwork captures a defining moment from Greek mythology that has fascinated artists and storytellers for millennia.

The drawing depicts the infant Oedipus being abandoned by his father, King Laius of Thebes, a pivotal moment in one of Western culture's most influential mythological narratives. In the original myth, Laius abandons his son after receiving a prophecy that the child would one day kill his father and marry his mother. This attempted infanticide sets in motion the tragic sequence of events that would ultimately fulfil the prophecy.

Created with white and black chalk on paper, Verschaeren's rendering captures the dramatic tension of this moment, illustrating how mythological narratives continue to provide artists with powerful subject matter for exploring fundamental human emotions and ethical dilemmas. The abandoned child who would grow up to unwittingly fulfil a terrible prophecy represents one of mythology's most profound explorations of fate, free will, and unintended consequences.

The Oedipus myth has influenced not only visual arts but also literature, psychology, and philosophy. Sophocles' dramatic treatment in Oedipus Rex remains a cornerstone of Western theatre, while Sigmund Freud's concept of the "Oedipus complex" demonstrates the myth's enduring impact on modern understanding of human psychology.

This artwork exemplifies how mythological narratives persist across cultures and eras, continually reinterpreted to reflect changing aesthetic sensibilities while maintaining their essential exploration of universal human concerns.

This Lithuanian folk tale about Death, classified as a sakmė or etiological legend, offers a mythological explanation for why death always seems to have a cause. The narrative demonstrates how traditional societies created meaningful frameworks for understanding inevitable but often inexplicable aspects of human existence.

According to the tale, when God assigned various forces of nature their duties, Death was tasked with taking human lives. However, Death expressed concern about facing human anger and resentment for this necessary but unwelcome role. Understanding this dilemma, God promised to provide a reason for each death—whether through injury, illness, drowning, or other circumstances—ensuring that there would always be an explanation for mortality that would deflect blame from Death itself.

This simple yet profound narrative addresses a fundamental human need to find meaning and causality in mortality. By establishing that every death has a specific cause, the legend creates an explanatory framework that helps communities process loss while maintaining belief in a purposeful cosmic order. Death is positioned not as arbitrary or malevolent, but as an agent fulfilling a necessary function within a divinely ordered system.

The story reflects a sophisticated theological perspective that acknowledges death's inevitability while suggesting that the reasons behind individual deaths are part of a greater design, even when they appear harsh or unfair to human understanding. This perspective offers a way to reconcile belief in divine benevolence with the reality of suffering and loss.

Compiled by the noted Lithuanian folklorist Norbertas Vėlius in How the Earth Came to Be: Lithuanian Etiological Legends, this tale represents an important element of traditional Lithuanian understanding of mortality, demonstrating how mythological narratives helped communities make meaning from fundamental existential questions.

This Lithuanian folk song, recorded by the prominent 19th-century scholar Jonas Basanavičius from villagers in Dziegcioriai, represents a crucial moment in the preservation of Baltic oral traditions. The documentation of such cultural expressions occurred during a period when traditional rural practices were increasingly threatened by modernisation and political suppression, making Basanavičius's work not merely academic documentation but a deliberate act of cultural preservation with nationalist implications.

Folk songs held particular significance in Lithuanian cultural identity due to their role in maintaining linguistic and cultural distinctiveness during periods of political domination by various empires. The persistence of Lithuanian-language songs like Oi, kad aš gertau dieną, naktelę through generations of oral transmission demonstrates how cultural practices functioned as forms of passive resistance to assimilation, preserving distinctive elements of collective identity even under political pressure.

The archival preservation of both audio recording and visual documentation in the Lithuanian Folklore Archive transforms what was originally a living, performed tradition into a documented cultural artifact. This transition from participatory community practice to institutional preservation represents a fundamental shift in how such cultural expressions function and are transmitted, while simultaneously ensuring their survival beyond the communities that originally created them.

The contemporary accessibility of these materials through institutional resources reflects evolving attitudes toward folkloric heritage, which has been revalued in post-Soviet contexts as crucial evidence of national cultural distinctiveness. The preservation of such materials thus serves not just scholarly purposes but contributes to ongoing processes of national identity formation, demonstrating how historical cultural practices continue to inform contemporary understanding of Lithuanian distinctiveness within broader Baltic and European contexts.

This woodcut depicting the mythical creature "Su" was created by the renowned artist Christoffel Jegher (c. 1596-1653) for Juan Eusebio Nieremberg's influential natural history text Historia naturae, maxime peregrinae, libris XVI. distincta, published in Antwerp in 1635. Now preserved in the Museum Plantin-Moretus in Antwerp, Belgium—a UNESCO World Heritage site housing the world's oldest printing presses—this artifact represents the fascinating intersection of early scientific inquiry, mythology, and Renaissance print culture.

Nieremberg (1595-1658), a Spanish Jesuit scholar, created a comprehensive work that attempted to catalogue both actual and legendary creatures from the known world, with particular attention to specimens from the Americas. The inclusion of mythical beings like the "Su" alongside empirically documented animals reflects the transitional nature of scientific understanding in the early modern period, when the boundaries between observation, hearsay, and inherited classical authority remained fluid.

Jegher, who served as court engraver to the King of Spain and collaborated with Peter Paul Rubens on numerous projects, brought considerable artistic skill to this illustration. His technique exemplifies the sophisticated woodcut tradition developed in 16th and 17th century Europe, which allowed for the mass reproduction of detailed images essential to the dissemination of natural history knowledge.

The woodcut's acquisition by the Plantin-Moretus Museum in 1876 preserved it as part of the legacy of the Plantin Press, one of Europe's most significant publishing houses during the Renaissance and Baroque periods. This illustration stands as a testament to the evolving understanding of the natural world during a period when empirical observation was increasingly challenging, but had not yet displaced, the authority of classical and medieval textual traditions.

This Late 19th Century Lithuanian Folk Song Archive, c. 1890s. Collection of images, music notation, various artefacts, and Lithuanian sashes, recorded and curated by Jonas Basanavičius. Lithuanian Art Exhibition; Aleksandras Jurašaitis (1859-1915)/. Lietuvos nacionalinis muziejus (National Museum of Lithuania).represents a crucial moment in the preservation of Baltic oral traditions. Collected from the villagers of Dziegcioriai, the song forms part of Lithuania's intangible cultural heritage—stories and melodies that maintained cultural identity during periods of political suppression and foreign domination.

The preservation of such folk songs is particularly significant in the Baltic context, where sung poetry served as a repository for collective memory and shared values during centuries of occupation by various powers. The act of collecting and archiving these songs was not merely an academic exercise but a deliberate effort to document and legitimise national identity at a time when Baltic political independence was still an aspiration rather than a reality.

Basanavičius himself was not simply a collector but a central figure in Lithuania's national awakening, understanding that folk traditions provided essential material for constructing a coherent national narrative. His work exemplifies how the documentation of folklore often serves dual purposes: preservation of cultural heritage and creation of foundational resources for national mythology.

Now housed in the Lithuanian Folklore Archive, this song exists in a transformed state—from a living, performed tradition to a documented cultural artefact. This transition from orality to archive represents a common pattern in how traditional mythologies are simultaneously preserved and changed by modern institutional practices. While the archival process ensures the song's survival, it also fundamentally alters its context, transforming a participatory community practice into an object of study and cultural memory.

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.

The line "Oi, kad aš gertau dieną, naktelę" translates to 'Oh, if I could drink all day and night' in English, offering a glimpse into the candid expressions of desire and longing that characterise much of Lithuanian folk tradition.

This lyric comes from a traditional Lithuanian folk song recorded by Jonas Basanavičius (1851-1927), a pivotal figure in the Lithuanian National Revival who devoted his life to documenting and preserving Lithuanian cultural heritage. The song was collected from villagers in Dziegcioriai during Basanavičius's extensive fieldwork in the late 19th century, a period when Lithuanian national identity was being consciously reclaimed and reasserted after centuries of political domination by neighbouring powers.

The song's theme of drinking reflects the social realities of rural life, where alcohol often featured prominently in celebrations, community gatherings, and as a means of coping with hardship. Folk songs addressing drinking frequently navigate complex emotional terrain, expressing everything from celebratory joy to melancholic escape from difficult circumstances.

This particular lyric's power lies in its directness and the universal human desire it captures—the wish to indulge without constraint or consequence. The expression of such yearnings in folk music provided a culturally sanctioned outlet for sentiments that might otherwise remain unspoken in everyday life.

Preserved by the Lithuanian Literature and Folklore Institute's Lithuanian Folklore Archive, this song represents an important element of Lithuania's intangible cultural heritage. Such archives play a crucial role in maintaining connections to traditional cultural expressions that might otherwise be lost in the transition to modern society.

Brian Ferneyhough's Cassandra's Dream Song (1970) and its subsequent interpretations offer a fascinating case study in how classical mythological figures continue to function as potent vehicles for exploring contemporary concerns. By invoking Cassandra—the Trojan princess whose true prophecies were doomed to be disbelieved—the composition creates a multilayered reflection on communication, truth, and the limitations of human understanding.

The controversy surrounding gendered interpretations of the piece demonstrates how mythological references serve as cultural battlegrounds where competing values and perspectives contend for interpretive authority. Traditional readings that emphasised stereotypical female suffering collided with contemporary psychological approaches that sought to explore the complexity of Cassandra's inner conflict and prophetic burden. This interpretive evolution reflects broader societal shifts in understanding gender and psychological experience.

Particularly significant is flutist Ine Vanoeveren's "restyling" of the work, which reimagines it through a contemporary psychological lens. This approach exemplifies how mythological figures maintain relevance through continuous reinterpretation—each generation finds new meaning in ancient archetypes by applying current frameworks of understanding. Vanoeveren's approach demonstrates how performers themselves participate in mythological evolution, bringing new perspectives to established narratives.

The intersection of complexity music and psychological themes in this composition reveals how contemporary artistic practices often serve functions similar to traditional mythology—creating frameworks for exploring aspects of experience that resist simple articulation. By evoking Cassandra's tragic position, Ferneyhough's work addresses fundamental human concerns about knowledge, belief, and communication that transcend specific historical contexts. The ongoing reinterpretation of this piece demonstrates how mythological references continue to provide flexible frameworks for examining evolving cultural concerns.

Naginės are traditional Baltic leather shoes that represent more than mere footwear—they embody cultural identity, practical knowledge, and the relationship between Baltic peoples and their environment. These handcrafted shoes originated in the rural communities of Lithuania, Latvia, and Estonia, serving as everyday wear for villagers across the region.

Crafted from soft, locally sourced leather, these shoes exemplify the resourcefulness of Baltic rural communities and their ability to create functional items from available materials. Their design prioritises simplicity, durability, and comfort for walking long distances across varied terrain, reflecting the predominantly agricultural lifestyle of historical Baltic societies.

The cultural significance of Naginės extends beyond their practical function. They represent a tangible link to traditional ways of life that have been largely displaced by industrialisation and modernisation. The knowledge of their construction and use constitutes an important element of intangible cultural heritage, preserving techniques and cultural practices that might otherwise be lost.

In contemporary Baltic societies, Naginės have experienced a revival as part of a broader movement to reclaim traditional crafts and cultural practices. Artisans in the region continue to produce these shoes, often adapting traditional designs for modern wearers, demonstrating how cultural artifacts can evolve while maintaining connections to their historical origins.

This resurgence of interest in traditional footwear reflects a wider pattern in which globalised societies seek to preserve distinctive cultural elements as counterpoints to homogenisation, using material culture as a means of maintaining and expressing cultural identity.

Marc McMenamin's report on the unexpected connection between Bram Stoker and Mary Shelley—whose maternal grandmothers are buried in the same church in Ballyshannon, County Donegal—offers fascinating insight into how local history and folklore influenced the development of two defining works of Gothic literature. This geographical coincidence invites deeper consideration of how specific landscapes and local traditions inform even the most universally resonant literary creations.

The report's exploration of how real historical events—particularly the cholera epidemic of 1832—shaped these fictional narratives demonstrates the complex relationship between historical trauma and literary mythology. By incorporating elements from actual catastrophes into their supernatural narratives, both authors created frameworks for processing collective fears and anxieties through displaced fictional contexts. This transformation of historical experience into mythological narrative exemplifies how Gothic literature often addresses real social concerns through symbolic displacement.

The persistence of themes concerning plagues, death, and the undead in local folklore reflects how oral traditions preserved collective memory of historical traumas while providing frameworks for understanding them. These folkloric elements provided crucial material for both Stoker and Shelley, demonstrating how literary innovations often draw on traditional narrative patterns rather than emerging ex nihilo. This connection highlights the essential role of cultural context in shaping even the most seemingly unique artistic visions.

The contributions from Professor Jarlath Killeen of Trinity College Dublin and local historian Brian Drummond exemplify contemporary scholarly approaches to understanding the relationship between folklore, history, and literary creation. By examining how local traditions influenced works that would eventually reshape global popular culture, this report illuminates the continuous feedback between local specificity and universal themes that characterises the evolution of cultural mythology. The enduring global influence of Dracula and Frankenstein demonstrates how works deeply rooted in specific cultural contexts can transcend their origins to address universal human concerns across diverse cultural boundaries.

The Heritage Foundation, established in 1973 as a conservative think tank in Washington, D.C., represents a significant force in shaping American political discourse through strategic narrative construction. Its influence extends beyond traditional policy analysis to include the deliberate crafting of compelling national narratives that resonate with specific segments of the American electorate.

Operating at the intersection of policy development and ideological promotion, the Foundation serves a dual function: providing detailed policy recommendations while simultaneously framing these proposals within broader narratives about American identity and values. Central to its mission is advocacy for limited government, free-market economics, and traditional social values, positioned as foundational principles essential for national prosperity and success.

One of the most significant examples of the Foundation's narrative-shaping capacity emerged during the Reagan administration with its influential Mandate for Leadership, a comprehensive policy agenda that profoundly influenced the government's approach to conservative governance in the 1980s. This initiative helped establish Heritage not merely as a policy research organisation but as a mythmaker, crafting visions of America as a land of opportunity and strength while framing progressive policies as existential threats to national vitality.

The Foundation's role in shaping modern conservative thought continues today through ambitious initiatives like Project 2025, which aims to advance a comprehensive conservative vision for governance, emphasising themes of national restoration in response to perceived social and political decline. By embedding policy proposals within narratives of American exceptionalism, self-reliance, and moral clarity, Heritage effectively engages with its audience's desire for purpose and direction in uncertain times.

This approach exemplifies how contemporary political organisations function as modern mythology creators, developing narrative frameworks that explain current circumstances, predict future outcomes, and prescribe solutions based on specific value systems and interpretations of national identity and purpose.

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.

The founding of the Gaelic League (Conradh na Gaeilge) in 1893 marks a pivotal moment in Irish cultural history, representing a deliberate effort to reclaim and revitalise a central element of national identity at a critical historical juncture. Under the leadership of Douglas Hyde, a Protestant scholar who would later become Ireland's first president, the League emerged as a formidable force in shaping a renewed sense of Irish cultural distinctiveness.

Hyde's vision, articulated in his influential 1892 speech "The Necessity for De-Anglicising Ireland," framed Irish heritage as a wellspring of national strength and distinctiveness that had been eroded through centuries of colonial influence. His approach positioned language revival not merely as a linguistic project but as a comprehensive cultural regeneration essential to authentic national identity.

Drawing upon the rich tapestry of Celtic myths, traditional music, and oral storytelling traditions, the Gaelic League fostered a cultural renaissance that sought to counter the homogenising forces of British colonialism. By offering Irish language classes, traditional music sessions, and Irish dance workshops through branches across the country, the League connected communities with the mythology of their heritage, transforming cultural symbols into powerful expressions of identity and resistance.

The League's influence extended far beyond language revitalisation. Many of its members, including Patrick Pearse and Éamon de Valera, would become central figures in Ireland's independence movement, demonstrating how cultural revival often serves as a precursor to political mobilisation. While officially non-political, the organisation created spaces where national consciousness could develop and strengthen.

In this sense, Conradh na Gaeilge functioned as a re-mythologising movement, reimagining Ireland as a land defined by its own ancient and enduring narratives rather than through colonial perspectives. By positioning Irish language and culture at the heart of national identity, the League provided a narrative of resilience and authenticity that would profoundly influence Ireland's path toward independence and its subsequent cultural policies.

The concept of myth has long been recognised as a tool for addressing existential uncertainties and imbuing human actions with meaning. In traditional societies, myths were not perceived as false but rather as narratives that helped make sense of the world through symbolic frameworks. This understanding shifted significantly with the emergence of political myth, a deliberate construct created to consolidate power and influence.

In this analysis, Joanna Włodarczyk examines the role of political mythology within the context of the Round Table negotiations and the subsequent Fourth Republic of Poland, with particular focus on the political period of 2005-2007. The Round Table talks of 1989, which facilitated Poland's transition from communism to democracy, became the foundation for competing mythological narratives about the nation's rebirth.

Through careful study of political speeches and election campaigns from 2005 and 2007, Włodarczyk explores how myths, often irrational in nature, become intertwined with rational techniques employed to propagate them. This duality reveals how political narratives are crafted to shape public perception and serve strategic objectives, often by simplifying complex historical events into archetypal patterns that resonate emotionally with citizens.

The analysis demonstrates how the concept of the "Fourth Republic" became a powerful political myth during this period, promising moral renewal and justice after what some political actors portrayed as an imperfect or compromised transition to democracy. By mythologising the past, particularly the Round Table negotiations, political forces attempted to legitimise their vision for Poland's future while delegitimising their opponents.

This research illuminates how political mythology functions in contemporary democratic societies, showing that despite increased secularisation and rationalisation of public life, mythical thinking remains a potent force in political discourse, shaping collective memory and national identity in profound ways.

Seven Ages: The Story of the Irish Stateis a landmark documentary series produced in 2000 by Araby Productions for RTÉ and BBC Northern Ireland. Directed by Seán Ó Mórdha, this influential seven-part series chronicles Ireland's evolution since its founding in 1921 through key political, social, and cultural moments in history.

The series offers a comprehensive exploration of how Ireland, as a new nation-state, evolved a collective identity over its first seven decades. The shared national narrative, initially framed by founding leaders, evolved through a dynamic interplay of internal and external socio-economic-cultural forces. It reveals the complex process through which societies construct and sustain their sense of collective self

Episode 2 analyses how Éamon de Valera's Fianna Fáil fundamentally reshaped Ireland's political landscape by skilfully harnessing cultural mythology as a political tool. The party's deliberate promotion of traditional Irish values was a sophisticated exercise in narrative construction, connecting contemporary political aims with selective interpretations of cultural heritage to reinforce a cohesive national story.

Seán Ó Mórdha's series illuminates the complex relationship between political power and cultural narrative, demonstrating how emerging nations often look backward to move forward. The series shows how de Valera's Ireland exemplifies a universal pattern in which new political orders establish legitimacy by positioning themselves as natural inheritors of an idealised past.

Each episode reveals critical moments where Ireland's self-conception was challenged, negotiated, and reformulated, highlighting the essential role of storytelling in political legitimation. The documentary features insights from key political figures including former Presidents and Taoisigh who themselves participated in the evolution of Ireland's national narrative.

By examining the interplay between political pragmatism and cultural symbolism, the series offers profound insights into how national identities are deliberately crafted to serve contemporary needs. First broadcast in 2000, Seven Ages continues to provide valuable perspective on how societies create coherent narratives from complex and often contradictory histories, showing that the mythologies that bind us together are as much inventions as discoveries.

Seven Ages: The Story of the Irish Stateis a landmark documentary series produced in 2000 by Araby Productions for RTÉ and BBC Northern Ireland. Directed by Seán Ó Mórdha, this influential seven-part series chronicles Ireland's evolution since its founding in 1921 through key political, social, and cultural moments in history.

The series offers a comprehensive exploration of how Ireland, as a new nation-state, evolved a collective identity over its first seven decades. The shared national narrative, initially framed by founding leaders, evolved through a dynamic interplay of internal and external socio-economic-cultural forces. It reveals the complex process through which societies construct and sustain their sense of collective self

Episode 6 examines how Ireland's relationship with Europe in the 1970s necessitated a profound recalibration of national mythology. The emergence of narratives positioning Ireland within a broader European context reveals the adaptability of national storytelling, demonstrating how societies reformulate their identities to accommodate new geopolitical alignments without abandoning core elements of self-conception.

Seán Ó Mórdha's documentary series presents this period as a critical junction where Ireland negotiated the tension between sovereignty and integration, illustrating how national myths evolve to reconcile seemingly contradictory imperatives. The series demonstrates how societies craft narratives that allow them to participate in transnational projects while maintaining distinctive identities.

Each episode explores pivotal moments in Ireland's development, revealing how national mythologies function as dynamic frameworks that can expand to incorporate new dimensions of identity and belonging. The documentary features perspectives from political leaders and cultural commentators who witnessed and shaped this evolution, offering unique insights into the conscious and unconscious processes of narrative adaptation.

By examining how Ireland positioned itself within European frameworks while maintaining its distinctive character, the series provides a sophisticated understanding of how national identities navigate the complex interplay between particularity and universality. First broadcast in 2000, Seven Ages continues to offer valuable perspective on how societies craft cohesive narratives that make sense of their changing place in the world, demonstrating that effective national mythologies must be both rooted and adaptable.

This Baltic leather waistband adorned with brass decorations represents a sophisticated fusion of practical function and mythological expression. Archaeological findings of such items throughout the Baltic region reveal how everyday objects served as carriers of cultural identity and cosmic understanding in traditional societies.

The intricate brass fittings, featuring geometric patterns and solar symbols, transform a utilitarian item into a statement of both social status and spiritual alignment. The sun motif, recurring throughout Baltic decorative arts, connects the wearer to cycles of life, fertility, and temporal order—fundamental concepts in agricultural societies whose prosperity depended on cosmic regularity.

Beyond indicating social standing, such elaborately decorated belts likely served protective functions, with specific motifs believed to safeguard the wearer from various harms. This integration of practical, social, and apotropaic functions illustrates how pre-modern societies operated with more unified conceptual frameworks than modern compartmentalised thinking allows, seeing no contradiction between practical purpose and symbolic meaning.

The combination of leather and brass demonstrates not only technical skill but conceptual sophistication, bringing together animal-derived and earth-derived materials to create an object that mediates between different realms. This material hybridity mirrors the belt's function as a boundary marker on the human body, encircling the waist at the juncture of upper and lower body. Such items provide tangible evidence of how mythological thinking permeated everyday life in traditional Baltic societies, embedding cosmic understanding in the most practical aspects of material culture.

The reed sculpture exhibition in Amber Bay, Juodkrante represents a sophisticated contemporary reinterpretation of ancient seasonal rituals. By combining traditional craftsmanship with modern artistic sensibilities, this annual installation demonstrates how pre-modern mythological thinking continues to evolve through new cultural forms while maintaining connection to historical practices.

The deliberate timing of the exhibition during the Autumn Equinox—a period of balance between light and darkness—connects this contemporary artistic practice to universal human patterns of marking seasonal transitions. Across cultures, equinoxes and solstices have served as crucial temporal markers, prompting ritual activities that acknowledge cosmic patterns and their influence on human experience. This exhibition thus participates in a tradition that extends back to humanity's earliest attempts to understand and harmonise with natural cycles.

The illumination of sculptures during the festival creates a powerful visual metaphor for enlightenment or revelation, while their placement on water connects them to universal mythological concepts of liminality and transformation. The Curonian region's historical association with amber—a material often mythologised in Baltic traditions—adds another layer of symbolic resonance, incorporating local cultural significance into the broader pattern of seasonal observance.

This festival exemplifies how contemporary societies create new ritual spaces that serve functions similar to traditional mythological practices—marking time, connecting communities to landscapes, and facilitating shared experiences that transcend ordinary reality. The merger of art, nature, and local history demonstrates that mythological thinking remains a vital cultural force, adapting ancient patterns to address modern needs for meaning and connection while creating experiences that respond to contemporary aesthetic sensibilities.

Lorcan Collins' podcast Revolutionary Ireland demonstrates how digital media, community engagement, and passionate storytelling can bring historical research to life. Through rigorous grassroots investigation and compelling narration, Collins crafts historical narratives that connect past and present, shedding light on key moments in Ireland's struggle for independence.

The podcast's focus on key figures, battles, and political landscapes demonstrates how shared narratives are constructed through selective emphasis on dramatic moments and heroic individuals. By distilling complex historical processes into vivid narratives centred on identifiable protagonists, Collins creates accessible frameworks for understanding national identity that follow established patterns of mythological storytelling while maintaining historical credibility through informed research.

Collins' engaging narrative style demonstrates how effective contemporary history maintains emotional resonance while addressing factual complexity. By balancing compelling storytelling with historical accuracy, the podcast creates experiences that function simultaneously as entertainment and education, allowing audiences to develop emotional connections to historical events while enhancing their factual understanding. This dual functionality parallels traditional mythological narratives, which typically combined instructive content with engaging delivery.

The podcast format itself represents significant evolution in how national narratives are transmitted and consumed. By creating episodic audio content accessible through digital platforms, Collins adapts traditional storytelling to contemporary media consumption patterns, ensuring historical narratives remain accessible to audiences accustomed to on-demand digital content. This adaptation exemplifies how historical thinking maintains cultural relevance through continuous media evolution, finding new vessels for transmission while preserving core narrative structures and symbolic frameworks.

This woodcut used for the title page of Francisco Aguilonius' scientific work on optics exemplifies how Renaissance and early modern scientific publications incorporated mythological imagery even as they advanced empirical understanding of natural phenomena. Created in the Officina Plantiniana printing press in Antwerp, the frame adorned with various mythological figures demonstrates the complex relationship between emerging scientific methodologies and established symbolic frameworks during this transitional period in European intellectual history.

The integration of classical mythological references in a scientific work on optics reflects the Renaissance understanding of knowledge as an integrated whole rather than a collection of discrete disciplines. By framing scientific content with mythological imagery, the publication positioned new optical discoveries within established intellectual traditions while simultaneously signaling its participation in humanist cultural innovations. This visual rhetoric exemplifies how early modern scientific communication operated within broader cultural frameworks rather than as a completely separate domain.

The specific choice of mythological figures likely created meaningful connections between classical traditions and the optical content of Aguilonius' work. Light, vision, and perception were subjects of significant interest in classical mythology and philosophy, providing rich symbolic resources for visual representation of optical principles. This deliberate connection between ancient and modern approaches to similar phenomena exemplifies how Renaissance thought evolved through dialogue with classical precedents rather than through complete rejection of earlier frameworks.

The preservation of this woodcut in the Royal Museum of Fine Arts in Antwerp reflects ongoing cultural interest in understanding how visual culture participated in the complex evolution of scientific thought. Rather than representing a clean break with earlier modes of understanding, scientific illustration during this period demonstrates how new empirical approaches emerged gradually from within established intellectual frameworks, incorporating elements of traditional symbolic thinking while developing increasingly systematic approaches to natural phenomena.

Talking History offers a distinctive exploration of pivotal political, social and cultural events that have shaped our world, examining the complex figures central to these historical moments. Hosted by Dr Patrick Geoghegan of Trinity College Dublin, this programme interrogates the multifaceted, often contested dimensions of our collective past, illuminating what these historical narratives reveal about contemporary society.

The Irish Wake
This right of passage represents one of Ireland's most distinctive cultural traditions, a complex ritual that has evolved over centuries to address the universal human experience of death through distinctively Irish practices and perspectives. More than simply a funeral rite, the Wake embodies a unique expression of how Irish communities have traditionally coped with, commemorated, and even celebrated the passage from life to death.

This episode of RTÉ's "Talking History" with Patrick Geoghegan explores the rich history of Irish wakes, examining their development and significance across centuries. The programme was inspired by the opening of Ireland's first dedicated Irish Wake Museum at Waterford Treasures, which preserves and showcases this important aspect of cultural heritage that risks being lost in an increasingly secularised and medicalised approach to death.

Traditional Irish wakes combined elements of Christian ritual with pre-Christian practices, creating a distinctive approach to death that emphasised community solidarity, storytelling, and often humour in the face of loss. The body would typically be prepared at home and laid out in the best room of the house, with visitors coming to pay respects over several days. These gatherings featured a characteristic blend of solemnity and sociability, with prayer sessions interspersed with storytelling, music, food, drink, and occasionally games.

As noted by comedian Dave Allen, whose observations are featured in the programme, Ireland developed a distinctive cultural approach to death that acknowledged its inevitability while finding ways to celebrate life in its presence. Allen describes the wake as a "marvellous celebration" that could transform even the death of an unpopular community member into an occasion for gathering and storytelling.

This tradition exemplifies how communities develop cultural practices to make meaning from mortality, creating shared narratives and rituals that provide structure and comfort during times of loss while reinforcing social bonds and collective identity.

The Swan of Tuonela (Tuonelan joutsen) stands as one of Jean Sibelius's most evocative compositions, a tone poem that vividly translates Finnish mythological imagery into musical expression. Completed in 1895 as part of his Lemminkäinen Suite (Four Legends from the Kalevala), this piece demonstrates how traditional narratives can inspire profound artistic interpretations that transcend their original cultural contexts.

The composition draws on the rich traditions of the Kalevala, Finland's national epic compiled by Elias Lönnrot in the 19th century from Finnish and Karelian oral folklore. Specifically, it depicts the mythical swan that swims on the dark waters of Tuonela, the realm of the dead in Finnish mythology, guarding the border between the worlds of the living and the deceased.

In the original myth, the hero Lemminkäinen is tasked with killing this sacred swan as one of several impossible challenges he must complete. However, before he can accomplish this task, he is himself killed and dismembered. While the narrative is one of violence and tragedy, Sibelius transforms it into a meditation on mortality and the mysterious boundary between life and death.

Through masterful orchestration and haunting melodies, particularly the famous extended English horn solo that represents the swan itself, Sibelius evokes the eerie stillness and profound melancholy of this otherworldly realm. The composition creates a sonic landscape where dark, shimmering strings suggest the black waters of Tuonela, while the swan's theme floats above in serene isolation.

This work exemplifies how mythology continues to provide rich material for artistic exploration across different media and historical periods. Sibelius's interpretation brings Finnish mythological imagery to international audiences, demonstrating how traditional narratives can be reinvented through new forms of expression while maintaining their essential symbolic power.

The Royal Museum of Fine Arts Antwerp (KMSKA), one of Belgium's premier cultural institutions, houses The Fall of Pegasus, Inventory No. 3322/1, a painting by Bill Orix that depicts a dramatic moment from Greek mythology rarely featured in artistic representation.

In classical mythology, Pegasus, the winged horse born from the blood of Medusa after her beheading by Perseus, is most commonly portrayed in his heroic aspects—carrying the thunderbolts of Zeus, helping Bellerophon defeat the Chimera, or creating the Hippocrene spring on Mount Helicon with a strike of his hoof. However, the mythology also includes accounts of Pegasus's downfall, which appears to be the subject of Orix's painting.

According to some versions of the myth, Bellerophon, having successfully tamed Pegasus and accomplished various heroic feats with his aid, became arrogant and attempted to fly to Mount Olympus on the winged horse's back. This hubristic act angered Zeus, who sent a gadfly to sting Pegasus, causing the horse to buck and throw Bellerophon to his death. Pegasus himself continued to Olympus, where he served Zeus by carrying his thunderbolts.

Alternatively, some accounts describe Pegasus eventually falling from the sky due to the intervention of the gods, perhaps as a consequence of his association with Bellerophon's pride or as part of a separate mythological episode. This fall represents the classic mythological theme of punishment for hubris—the dangerous pride that leads mortals or their allies to transgress divine boundaries.

Orix's painting captures this dramatic moment of divine intervention and consequent fall, illustrating how mythological narratives often served as vehicles for exploring themes of human limitation, divine power, and the consequences of overreaching ambition.

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.

The Sága project, created by Belgian band Dez Mona in collaboration with early music ensemble B.O.X (Baroque Orchestration X), represents a sophisticated musical exploration of narrative, mythology, and human experience. Drawing its name from Sága, the Norse goddess of history and storytelling, this innovative performance piece blends contemporary composition with historical musical forms to create what has been described as a "concertante opera."

Dez Mona, known for their distinctive fusion of jazz, classical, gospel, and French art songs, partnered with B.O.X, specialists in historical instruments like the baroque harp, theorbo, and baroque guitar. Together, they created a soundscape that bridges centuries and genres, demonstrating how mythological frameworks continue to inspire contemporary artistic expression.

Thematically, Sága explores fundamental human concerns—homecoming, belonging, and the search for light in a flawed world. Through a series of ballads, the project reflects on the soul's journey and the desire for connection to place and community. This exploration uses historical narrative as a mirror for contemporary experience, creating a poetic and musical journey that resonates across temporal boundaries.

The collaboration showcases how mythological structures provide enduring frameworks for artistic expression, allowing contemporary musicians to draw on ancient narrative patterns while addressing modern human concerns. By invoking Sága, the goddess who remembers and recounts all things, the project positions itself within a tradition of storytelling that connects past and present through shared human experiences.

The project received critical acclaim for its innovative musical arrangements and artistic execution when performed at events like the PROTOTYPE Festival, demonstrating the continuing appeal of mythologically-inspired narratives in contemporary performing arts.