Podcasts about Old Irish

Dia Duit agus Fáilte Hello & Welcome mo charasIn this episode, I explore old Irish mourning traditions, drawing from my visits to the Ulster Folk Museum and the Doagh Famine Village. I speak about the wake customs, the keeners, and the cultural roots behind these rituals, honouring how our ancestors held grief as a communal, sacred experience.Throughout the episode, I share a heart-chakra candle blessing, gentle drumming, and my own short keening-style lament at the end — offered not as performance, but as remembrance. This episode creates a soft space where grief is honoured, witnessed, and held, rather than something to fix or rush through.A grounded journey into Irish heritage, healing, and the sacredness of mourning.Timestamps 00:24 Introduction 02:59 Remembrance Candle Blessing02:54 Lighting Remembrance Candle 03:31 Heart chakra Bowl & Candle 04:16 Remembrance Candle & Drumming 05:51 Bean Chaoineadh - Keening Woman 06:47 Keening Explained 13:03 Old Irish Wake Set Up13:22 Old Irish Wake Explained 15:13 Dead Ringer 16:45 Other Old Irish Traditions (mirrors/clocks)17:45 Snuff At The Irish Wake 19:51 Poitín Irish Moonshine 21:51 Reflections on Irish Wake Traditions 26:58 Touching On My Grief Experience 34:48 Final Blessing 36:08 Keening Song Translation 36:42 My Keening Song If you'd like to watch the full video version of this episode, it's up now on my YouTube — Temple of Hazehttps://www.youtube.com/@TempleofHazeSlán go fóill - Bye for nowHazel

Episode 86 Recalling Brigid by Orna Ross Orna Ross reads ‘Recalling Brigid' and discusses the poem with Mark McGuinness. https://media.blubrry.com/amouthfulofair/media.blubrry.com/amouthfulofair/content.blubrry.com/amouthfulofair/86_Recalling_Brigid_by_Orna_Ross.mp3 This poem is from: Poet Town: The Poetry of Hastings & Thereabouts edited by Richard Newham Sullivan Available from: Poet Town is available from: The publisher: Moth Light Press Amazon: UK | US Recalling Brigid by Orna Ross Queen of queens, they called herin the old books, the Irish Mary.Never washed her hands, nor her headin sight of a man, never lookedinto a man's face. She was goodwith the poor, multiplied food,gave ale to lepers. Among birds,call her dove; among trees, a vine.A sun among stars. Such was the sort of womanpreferred as the takeover was made:consecrated cask, throne to His glory,intercessor. Brigid said nothing to any of this,the reverence, or the upbraidings.Her realm is the lacuna,silence her sceptre,her own way of life its own witness. Out of desire, the lure of lustor the dust of great deeds,she was distorted:to consort, mother-virgin,to victim or whore. I am not as womanlya woman as she.So I say: Let us see.Let us say how she is the one. It is she who conceivesand she who does bear.She who knitted us in the womband who will cradle our tomb-fraying. Daily she offers her arms,clothes us in compassion,smiles as we wrigglefor baubles. Yes, it is she who lifts you aloftto whisper through your ears,to kiss your eyes,to touch her coolingcheek to your cheek. Interview transcript Mark: Orna, where did this poem come from? Orna: Hi Mark. Yeah, so it's one of a collection that I'm working on, around Irish women from history and myth. And these are women that I grew up with, as a young person, receiving a sort of a typical Irish education, if you like. Orna: And so some of them are saints, some of them are mythological people. Well, saints are also mythological people! Some of them are historical figures who've been mythologized. And I just wanted to go back in and do my own exploration of each of these women because everybody else had. So I've been gathering these poems over a long time, but it actually started with this one. It started with Brigid. And Brigid is a figure from ancient Irish mythology. And she was Christianized into a Roman Catholic saint. She is the patron saint of Ireland. One of. You've probably heard of the other one. Patrick. You probably haven't heard of this one: Brigid. And, so many things have been projected on her. And it's interesting to read what, what survives of what is written about her because what's written earlier on in time is quite different to what's written later on. And she continues to be an inspiration. Her feast day is the first day of spring in Ireland, which in Ireland is the first day of February. It's much earlier than it is in England. And she's just an interesting, personification of the female virtues as they've been perceived over time. Mark: So you said she was written about differently in earlier times to more recent times, which I think is pertinent to how you're exploring that in the poem. So maybe you could just give us a brief summary of that. Orna: Yes. So I, the poem refers to ‘the takeover'. And by that, I kind of mean the Christian, but hand in hand with Christian goes the patriarchal, takeover of old images of women in general. And Brigid is part of that. So earlier, renditions about her tend to focus on her as a healer, as a wise woman, as a very compassionate person, ‘ale to lepers' is one of the, images in the poem. Whereas later versions tend to emphasize her holiness and her saintliness and, her goodness and I suppose what we would typically think is a good, religious, icon. So it's interesting just to read how that changes and differs as we go. And she also then had her detractors, which is where we get to the ideas, about women generally that are in the poem – the consort, mother, victim, whore, those kinds of ideas. You see them brushing against Brigid over time, but she comes through intact actually, as a woman in her own right. And these don't tend to stick to her as they have stuck to others. Mark: And sometimes when poets use mythological figures like this, there's a kind of a critique of, ‘Well, that's a little bit old fashioned, it's poetry with a capital P'. But reading this and listening to you, it kind of really underlines to me that mythology and religion are really quite present in Ireland. Orna: Oh, gosh, yes! The past is very present in Ireland still, in lots of ways. And. It's interesting. I suppose it's something to do with being a small island on the very edge of, in inverted commas, civilization. Although the Irish like to think they civilized Europe during the dark ages by sending our saints and our scholarship, our images of people like Brigid, the truth is that old ways lingered on a long time, and particularly the part of Ireland where I grew up. So, I grew up in County Wexford down in the small bottom right-hand corner, the very southeast tip of Ireland. Around it, there is a river and a small hill that kind of cuts that area off. And around County Wexford in general, there are larger hills and a big river that cuts Wexford off. So they tended to travel by sea more than road, people from that part of the world. And it was the first part of Ireland to be conquered the Norman conquest and, Old English lingered there right up until, well, there are still words that are used in Wexford that aren't used elsewhere. Carols and songs as well. So other parts of Ireland and, obviously England, had moved on, it but kind of got stuck there. So I'm just kind of pointing up the fact that yes, things stayed, passed on in an oral kind of culture and an oral tradition. And hedge schools and such like, long after such things had faded away in other parts of Europe. Mark: And you say Old English rather than Irish was lingering? Orna: That's right. And, because they had, well, the Normans came to England first Hastings, actually where I live now. One of the reasons I'm here, I think is that I felt a lot of similarities between here and Wexford and I think the Norman invasion in both places, it was part of that. So yeah, a hundred years after the Normans landed in Hastings, they were brought over to Wexford by an Irish chieftain to help him win one of his battles with another Irish chieftain. So English came with the Normans to Ireland. Mark: Right. And this is another amazing thing about Ireland, is the kind of the different layers, like archaeological layers of language. You've got Irish, you've got Old English, you've got Norman French, you've got Latin from the church, you've got Norse from the Vikings and so on. It's incredibly rich. Orna: Yes. More diverse, I think. And again, because of its cut off nature, these things lasted longer, I think, because that's also true of England, but the overlay is stronger and so they don't make their way through. Mark: Right, right. And the ghosts can peep through. So, okay, that's the historical cultural context. What does Brigid mean to you and why did you choose her as the first figure in this sequence? Orna: She chose me, I think. I very much feel this poem, you know, some poems are made and some arrive and this one arrived. I wanted to do something to celebrate her. That was all I knew because it was the first day of spring, which I always loved, that first day of February. You know, when winter is really beginning to bite and you feel, I mean, there is no sign of spring except some crocuses maybe peeking up and, uh, a few spring flowers making a little promise. But usually the weather is awful, but it's the first day of spring and it's, been a really important day for me from that point of view. And then the fact that it does, you know, the fact that Patrick is such a great big deal everywhere and Brigid isn't known at all. So that's kind of where I started and I just knew I'd like to write a poem. And then it was one of those ones that I, if I had set out to write a poem about Brigid, I don't think this is what I would have written. It just arrived. And I found that I was thinking about lots of things and as the first poem of this sequence, I wanted to say some of the things about womanhood in the poem, and I, well, I realised I did, because that's what emerged. So for me, it's very much about that kind of quiet aspect of, so, you know, we've got feminism, which talks very much about women's rights to do whatever it is they want to do in the outer world. But for me, she, in this poem, represents the inner, the quiet virtues, if you like, always there for us. We're not always there for them, but they're always there and active in our lives all the time, and I wanted to celebrate that in the poem. So that's what, you know, I got, the rough draft just came pouring out, and that's what I found myself wanting to bring out. Mark: And the title, ‘Recalling Brigid', you know, I was thinking about that word ‘recalling', because it could mean ‘remembering', but it could also mean ‘calling' or ‘summoning'. Orna: Yes, deliberately chosen for both of those meanings, yes, very well spotted there, poetry reader. Mark: Well, you know, this is a very ancient function of poetry, isn't it? And it's where it kind of shades into charm or spells, to summon, or invoke a spirit or some kind of otherworldly creature or being. Orna: Absolutely. I think you've got the heart of what the poem is trying to do there. It is about calling forth, something, as I say, that's there, that we're all, you know, is there for all of us in our lives, but that we're not always aware of it. And our culture actively stifles it, and makes it seem like it's less important than it is. And so, yes, very much exactly all the words, the beautiful words you've just used there. I was hoping this poem would tap into that. Mark: Very much. And, you know, the beginning, ‘Queen of Queens, they called her'. So presumably this is in the old pre-Christian days, ‘they called her'. So there's that word ‘calling' again, and you give us the kind of the gloss, ‘in the old books, the Irish Mary'. And then you introduce the takeover: ‘such was the sort of woman / preferred as the takeover was made:' And then you get the other version. And then you've got: ‘Brigid said nothing to any of this,' which I think is really wonderful that she keeps – so you've gone from ‘they' in the past, ‘what they called her'. And then Brigid keeping her own counsel about this. She said nothing to any of this, ‘the reverence, or the upbraidings'. And then we get you where you say, ‘I am not as womanly / a woman as she. / So I say: let us see. / Let us say how she is the one. // It is she who conceives, and she who does bear.' Lovely, beautiful repetitions and shifts in there. So you really, you step forward into the poem at that point. Orna: I really wanted to, to place myself in relation to, to her and to all the women in this collection. Which isn't out yet, by the way, it's not finished. So I've got another three to go. No, I really wanted to place myself in relation to the women in the poems. That was an important part of the project for me. And I do that, you know, lots of different ways. But this poem, the first one is very much about, I suppose, calling out, you know, the ‘recalling' that you were talking about there a few moments ago, calling out the qualities. That we tend to overlook and that are attributed to Brigid as a womanly woman. And so, yeah, that's, that's what I was saying. I'm more of a feminist woman who is regarded by some as less womanly. so there is a, that's an interesting debate for me. That's a very interesting, particularly now at this time, I think, it's very interesting to talk about, you know, what is a feminist and what is feminism. And I personally believe in feminisms, lots of different, you know, it's multiple sort of thing. But these poems are born of a, you know, a feminist poet's sensibility without a doubt. So in this first one, I just wanted to call out, you know, the womanly virtues, if you like. Mark: Yeah. So I get a sense of you kind of starting as a tuning fork for different ideas and voices, calling her different things. And then you shift into, ‘Let us see. / Let us say…' I love the description earlier on where you said it's a celebration because by the end of the poem, it really is. It's all her attributes, isn't it? ‘It is she who conceives / and she who does bear.' And so on. Again, how easy was it for you to let go and, and, and step into that? Because it's kind of a thing that it's a little bit, it's not what we associate with modern poetry, is it? Orna: No, not at all. Not at all. But I had to ages ago, give up on modern poetry. If I wanted to write poetry, I had to drop so much, so much that I learned, you know, English Lit. was my original degree. And, you know, I, I was in love with poetry from a very young age. So, I learned everything I could about everything. And then I had to drop it all because I didn't write, I didn't write any poems between the end of my teens and my early forties when I lost a very dear friend. And then when I went on, shortly afterwards to, develop breast cancer. So those two things together unlocked the poetry gates and poems came again. And the kind of poems that came, very often were not, poems that they're not fashionable in that sense. You know, they're not what poetry tends to be. And from that point, in our time, if you like, some are, some, some do come that way, but an awful lot don't. And, for that reason, I'm just so entirely delighted to be able to self-publish because they speak to readers and say they communicate. And to me, that's what matters. And I don't have to worry about being accepted by a poetry establishment at all. I don't spend any time whatsoever thinking about that. I work at the craft, but I, it's for myself and for the poem and for the reader, but not to please anybody that, you know, would be a gatekeeper of any kind. Mark: Well, some listeners will know this – you are very much known as a champion of opportunity and diversity in publishing for writers and self-publishing, independent publishing, however you call it. But I think what I'd like to focus on here is the fact that, you know, by writing a poem like this, you highlight the conventions that we have in modern poetry. And it's easy to see the conventions of the past, but maybe not so much the ones in the present. And I love the fact that you've just sidestepped that or ignored that and written the poem that came to you. Orna: Yes. Yes, very much did and do. And like I said, I don't spend, I did at one time spend time thinking about this, but I spend absolutely no time now thinking about this at all. Mark: That's so refreshing to hear! [Laughter] Orna: No, it's, it's great. It's certainly a liberation. I think very much about the poem and what the poem needs and wants from me. And I make mistakes. I, you know, I don't do well on some poems. I go back, rewrite, sometimes years later, sometimes after they're published. so yeah. It's not that I don't think about form or structure or, you know, all of the things that poets think about but I only think about the master, you know, is the poem itself or the reader possibly or the communication between the bridge between me and the reader, something like that. But yeah, it's liberating for sure. Mark: And how did that play out in this poem? I mean, how close is this to the original draft that came to you? Orna: It's one of the poems that's closest to the original. It kind of arrived and I didn't want to play with it too much at all. So yeah, it, I just left it be. I let it be what I wanted to be because for me there are echoes in this poem as well of Old Irish poetry and ways of writing. you know, that if you, I don't know if you've ever had the pleasure of reading Old Irish poetry in translation? Mark: Yes. Orna: So, you know, that sense of I'm reading something from a completely different mind. It's, it isn't just that the, you know, the structures are different or whatever. It's like the whole mind and sensibility is something else. And that was one of the things I wanted to slightly have to retain in this poem. You know, I felt that it, it carries some of that forward and I wanted to, to leave it there as an echo. Mark: Yeah. Quite a lot of those Old Irish poems have a kind of a litany, a list of attributes of the poet or their beloved or the divine being that they're evoking. And that comes across very strongly here. Orna: Yeah, definitely. That's sort of a list of, which to the modern ear can sound obvious and, you know, just not poetry really. So yeah, I think that's one of the qualities that it carries. Mark: And I love the kind of the incantatory repetitive thing. Like I was saying about the, ‘So I say: let us see. / Let us say', and then ‘It is she… It is she… she who', you know, it just carries you along. It's got a hypnotic quality to it. Orna: Yes. And the she part, you know, the emphasizing the feminine, I suppose, touch of the divine feminine, but very much the physical feminine, and activities as well. So, you know, women held the role of birth and death very much in Irish culture again, up to really quite recently. I remember that, in my own youth and okay, I am getting on a bit, but, it's still, you know, it was quite late in time where, women did the laying out for burial. They did the keening of the, the wake, all of that. I remember very well. so at the beginning and end of life at the thresholds, if you like, that was a woman's job. And, that was lost, I think in the takeover. But I still think all the emotional labour around those thresholds are still very much held by women, you know, silently and quietly. And yeah, Brigid doesn't shout about it, but in this poem, I want to call it. Mark: Yeah. Recall it. Okay. And then let's go back to Hastings, which we touched on earlier, because this, okay. It's, it's going to be in your collection. It's been published in a wonderful anthology poetry from Hastings called Poet Town. Tell us a bit about that book and how you came to be involved. Orna: Yeah. So I heard about it and, Richard [Newham Sullivan] wonderful, poet and, publisher and general literary person. He now lives in New York, but he grew up in Hastings and lived here for many years. And it was a kind of a homesickness project he told me later, for him just. But he carried the idea in his mind for a very long time. He wanted to, he knew that there was an incredible, poetic history in Hastings, which people were not aware of. So Hastings is very well known. Hastings and St. Leonard's, where I live, both are very well known as arty kind of towns. Visual arts are very, very visible here, and all sorts of marvellous things going on, and music as well, there's brilliant Fat Tuesday music festival every year, but there's also, there's classical music, music in the pubs, music coming out your ears, literally. But very little about the literary life that goes on here, and lots of writers living here. And so Richard wanted to just bring forward the poetry side of that. And so he decided it's a passion project for him. He decided to, he worked with the publisher, a small publisher here, in Hastings for it. It's Moth Light Press. And he set out to gather as many living poets into one collection as he could. And this is where I was interested because as, I'm a historical novelist as well, so history is big for me, and I was really interested in the history, you know, the history and the poets who had lived here. There were quite a few. It's not every day you find yourself in an anthology with Lord Byron and Keats, and, two Rossetti's! So that was a joy, discovering all the poets who, had a connection to Hastings back to, I think he went back to the early 1800s with it. So, yeah, it's been a huge success, and, people are loving the book, and it has really brought poetry, brought pride, I think, to the poetry community in the town, which is lovely. Mark: Yeah, I'm really enjoying it, and I love the fact that it's got the old and the new. Because, of course, that's what I do here on A Mouthful of Air. I always think the ghosts of poetry past are always present in the work of the living. I hadn't realized what a deep and rich poetic history Hastings had. So, yeah, Poet Town, a great anthology. Do check that out while you're waiting for Orna's sequence to come to light. And Orna, thank you so much for sharing such a remarkable poem and distinctive take on the poet's craft. And I think this would be a good point to listen to the poem again, and appreciate your praise and celebration once more. Orna: Thanks so much, Mark, for having me. I really enjoyed it. Thank you. Recalling Brigid by Orna Ross Queen of queens, they called herin the old books, the Irish Mary.Never washed her hands, nor her headin sight of a man, never lookedinto a man's face. She was goodwith the poor, multiplied food,gave ale to lepers. Among birds,call her dove; among trees, a vine.A sun among stars. Such was the sort of womanpreferred as the takeover was made:consecrated cask, throne to His glory,intercessor. Brigid said nothing to any of this,the reverence, or the upbraidings.Her realm is the lacuna,silence her sceptre,her own way of life its own witness. Out of desire, the lure of lustor the dust of great deeds,she was distorted:to consort, mother-virgin,to victim or whore. I am not as womanlya woman as she.So I say: Let us see.Let us say how she is the one. It is she who conceivesand she who does bear.She who knitted us in the womband who will cradle our tomb-fraying. Daily she offers her arms,clothes us in compassion,smiles as we wrigglefor baubles. Yes, it is she who lifts you aloftto whisper through your ears,to kiss your eyes,to touch her coolingcheek to your cheek. Poet Town: The Poetry of Hastings & Thereabouts ‘Recalling Brigid' is from Poet Town: The Poetry of Hasting & Thereabouts, published by Moth Light Press. Available from: Poet Town is available from: The publisher: Moth Light Press Amazon: UK | US Orna Ross Orna Ross is an award-winning poet and novelist. Her poetry, rooted in Irish heritage and mindfulness practice, explores love, loss, creativity, and spiritual renewal through a female lens. As founder-director of the Alliance of Independent Authors (ALLi), she champions creative freedom for poets and writers. Her forthcoming collection, And Then Came the Beginning—Poems of Iconic Irish Women, Ancient and Modern—is available for pre-order at OrnaRoss.com/TheBeginning. A Mouthful of Air – the podcast This is a transcript of an episode of A Mouthful of Air – a poetry podcast hosted by Mark McGuinness. New episodes are released every other Tuesday. You can hear every episode of the podcast via Apple, Spotify, Google Podcasts or your favourite app. You can have a full transcript of every new episode sent to you via email. The music and soundscapes for the show are created by Javier Weyler. Sound production is by Breaking Waves and visual identity by Irene Hoffman. A Mouthful of Air is produced by The 21st Century Creative, with support from Arts Council England via a National Lottery Project Grant. Listen to the show You can listen and subscribe to A Mouthful of Air on all the main podcast platforms Related Episodes Recalling Brigid by Orna Ross Orna Ross reads and discusses ‘Recalling Brigid’ from Poet Town. From The Rime of the Ancient Mariner by Samuel Taylor Coleridge Episode 85 From The Rime of the Ancient Mariner by Samuel Taylor Coleridge Mark McGuinness reads and discusses a passage from ‘The Rime of the Ancient Mariner' by Samuel Taylor Coleridge.Poet Samuel Taylor ColeridgeReading and commentary by Mark McGuinnessFrom... Alchemy by Gregory Leadbetter Episode 84 Alchemy by Gregory Leadbetter Gregory Leadbetter reads ‘Alchemy' and discusses the poem with Mark McGuinness.This poem is from: The Infernal Garden by Gregory LeadbetterAvailable from: The Infernal Garden is available from: The publisher: Nine Arches...

Velkommen til Studentmorgen fredag, programmet som peaka på ungdomsskolen! Ahmed og Anna har fått i hjemmelekse fra Olivia å se Twilight, og vi beskriver deg som hører på. Anna yapper om Barcelona, Olivia engasjerer seg for Old Irish og Ahmed vil kjøre en stor bil. Og vi får gjensyn med blivende og etablerte spalter: Hot takes, helgeplaner og drikkelek!

'I don't mind talking to people, what else would I do?'Dave caught up with Steve Buscemi and Fred Armisen about the new season of Netflix's 'Wednesday'.

Brian Gurrin, census and population specialist with the Virtual Record Treasury of Ireland project, joins Moncrieff to explain how old Irish census data — once thought lost — has been partially reconstructed, offering a rare window into Irish life, pre-civil war.Listen here

Brian Gurrin, census and population specialist with the Virtual Record Treasury of Ireland project, joins Moncrieff to explain how old Irish census data — once thought lost — has been partially reconstructed, offering a rare window into Irish life, pre-civil war.Listen here

More than two-fifths of 25-year-old Irish men and a third of women are drinking at levels the World Health Organization classifies as "hazardous," according to a new CSO report on the wellbeing of young adults. We heard from CEO of Alcohol Action Ireland Dr Sheila Gilheanys with reaction to this report findings.

More than two-fifths of 25-year-old Irish men and a third of women are drinking at levels the World Health Organization classifies as "hazardous," according to a new CSO report on the wellbeing of young adults. We heard from CEO of Alcohol Action Ireland Dr Sheila Gilheanys with reaction to this report findings.

This week: Old Irish sayings, too fat to skydive, brozempic, the dangers of processed food, addictive food additives, Dr. pimple popper, diabetes, McCann's new addiction, guys being dudes, pickup artists, LBH, food conspiracies, now that's what I call dopamine & much more. Support the squad and get an extra episode every Thursday: https://www.patreon.com/TheBombSquadPod Follow The Bomb Squad Pod on: Youtube Instagram TikTok X

Send us a textIrish water fairies are not like Tinkerbell; they are monsters.  This episode I share some of my favorites:Muirdris, the “Sea Bramble” or “Sea Briar” - A huge, mysterious, undefined horror that inflates and deflates, expands and contracts like a bellows. It has features of a thorn-bush, with branches that stings, and its appearance alone is deadly. Alp-Luachra - In Celtic mythology, a Joint-eateror Just-halver the Alp-luachra is a type of fairy who sits invisibly and consumes half of their victim's food. Chailleach- The word "Cailleach" literally means "old woman, hag" and comes from the Old Irish word caillech, which means "veiled one".  The serpent of Loch Chraili - Similarto the Loch Ness monster  The white trout, the legend of Cong - A woman turned fish pining for her dead fiance  An Dobharchú  - Translated means ‘water hound', or ‘hound of deep'. Thought to be a cross between a giant otter and a hound, Dobhar Chu is about seven-foot-long, or about the size of a crocodile. In fact, it is also known as the Irish crocodile.Support the showIrish Mythology - Mythical Cycle - Book of Invasions

Spain based journalist Gerard Couzens reports that a 21-year-old Irish woman has been killed while climbing a mountain near Malaga.

Among the thousands of tomes housed in the National Library of Ireland are many cookbooks, stretching back to the 1660s. The recipes inside offer a fascinating glimpse into the lives of our ancestors, particularly women.Two keepers at the NLI have been examining these books for a series of talks called ‘Cooking the Books'. Joining Seán to discuss are Joanne Carroll and Nora Thornton, Assistant Keepers at the National Library of Ireland…Image: National Library of Ireland

Among the thousands of tomes housed in the National Library of Ireland are many cookbooks, stretching back to the 1660s. The recipes inside offer a fascinating glimpse into the lives of our ancestors, particularly women.Two keepers at the NLI have been examining these books for a series of talks called ‘Cooking the Books'. Joining Seán to discuss are Joanne Carroll and Nora Thornton, Assistant Keepers at the National Library of Ireland…Image: National Library of Ireland

Joe Ribbon is a master craftsman who has spent his life preserving the tradition of the old Irish dresser.

This is perhaps the most new-agey title we've ever given for any of our videos but bear with me! It's appropriate, I promise! In this lecture, we explore the exciting world of Kavaca (spiritual armor), devices or mantras which serve an apotropaic (protective) function. We say a few things about physical kavacas that can be worn and which are often made out of specific metals, stones and yantras before introducing three forms of "mantra-kavaca", mantra-armors you can start using immediately to protect yourself from all harm whether physical, psychical or spiritual! Finally, I make a comparison between the Devi Kavaca from the Chandi and the Old Irish prayer "St. Patrick's Breastplate" to introduce some Kavacas in the Christian mystical tradition also!May you be safe and protected always! Jai Mā!Our pūjā class meets live every Thursday evening at 6:30pm PST via this link:https://www.zoom.us/j/7028380815If you want to follow along with the "How To Do Tantrik Puja" course, you can watch or rewatch previous lectures here:https://www.patreon.com/collection/233799Lectures happen live every Monday at 7pm PST and Friday 10am PSTUse this link and I will see you there:https://www.zoom.us/j/7028380815For more videos, guided meditations and instruction and for access to our lecture library, visit me at:https://www.patreon.com/yogawithnishTo get in on the discussion and access various spiritual materials, join our Discord here: https://discord.gg/U8zKP8yMrMSupport the show

Alex Ryzhuk is missing and feared dead following a suspected Russian drone attack. His former Guidance Counsellor Sarah Eastman tells us about him

Damien Dempsey is launching a project to encourage children to make space for music and folklore. The Songs & Stories initiative is hoping to nurture the next generation of songwriters, singers and storytellers and keep our traditions alive. Galway based teacher & Founder of Inspiring You.ie, Philip Cribbin and Damien Dempsey tell us more.

Teresa Gilmore, archaeologist at Birmingham Museums Trust, explains a very rare find of a centuries old ogham-inscribed stone from Ireland in a garden in Coventry, England.

Many of us will have old recipes handed down from our parents or our grandparents that are our go to resource for the best comfort food but one woman has collected more than 3,000 old Irish recipes, Róisín Hynes is the founder of www.oldirishrecipes.com

Passing down recipes from generation to generation is crucial to our culture but it seems that it has faded in recent years, most likely due to finding a recipe within seconds online. An Irish woman started collecting old Irish recipes in 2020, and now has 3,000 of them! Roisin Hynes is a writer at oldirishrecipes.com, as well as that collector and joins Seán to discuss.Image: Old Irish Recipes

While the Old Irish Goat is already an endangered species in Ireland, the absence of legal protection means it is now also the target of trophy hunters. Joining Seán to discuss the issue is Sinead Keane, volunteer with the Old Irish Goat Society.

Featuring the greatest periwinkle story ever told, this episode explores the evidence for the language spoken in Ireland in late antiquity with the highly entertaining Prof. David Stifter (Maynooth University). He tells us all about the uniqueness of the ogham/ogam writing script (which may or may not have been invented by a Kerryman) and how difficult Old Irish is to learn. Stay tuned to the end to hear Prof. Stifter recite/translate some lines and poetry in Old Irish, Modern Irish, Latin and German. This is the third and final episode of our little trilogy on Ireland in late antiquity. The first two episodes are 'Ireland in the Roman Empire with Dr Elva Johnston' and 'St Patrick with Terry O'Hagan'. Happy Easter! Suggested reading/links: Ogam booklet by David Stifter: https://shop.universitybooks.ie/Books/Ogam-Language-Writing-Epigraphy_9788413404226 David Stifter, Sengoidelc: Old Irish for Beginners (Syracuse, 2006) https://shop.universitybooks.ie/Books/SENGOIDELC-OLD-IRISH-FOR-BEGINNERS_9780815630722 The Og(h)am project website, esp blog on spelling and pronounciation: https://ogham.glasgow.ac.uk/index.php/2021/12/06/you-say-ogham-and-i-say ogam/#:~:text=There%20are%20those%20who%20speak,as%20if%20you%20were%20gargling). Regular episodes every two weeks (on a Friday). Email: medievalirishhistory@gmail.com Twitter X: @EarlyIrishPod Supported by the Dept of Early Irish, Maynooth University, & Science Foundation Ireland/The Irish Research Council. Views expressed are the speakers' own. Production: Tiago de Oliveira Veloso Silva. Logo design: Matheus de Paula Costa Music: Lexin_Music --- Send in a voice message: https://podcasters.spotify.com/pod/show/medievalirishhistory/message

Surprise twins Cuan & Tadhg - dad Cian says only for orange juice he'd have missed the birth...Speaking of names - some old Irish ones have come right back in fashion,,, EV's - one dealer is getting out of them because they don't hold their value & lots more Hosted on Acast. See acast.com/privacy for more information.

Fr Jim Fegan, PP, Ballindaggin, Caim and Kiltealy, Co. Wexford outlines the local reaction to the death of a young Wexford man in a drowning incident in Bali.

In this episode we discover the soft and tender Celtic roots of the word bog. A bog is an area of decayed vegetation which forms a wet spongy ground too soft for walking on, and comes from Middle English bog (swamp, morass), from Irish / Scottish Gaelic bog (soft, tender, marshy, boggy), from Old Irish […]

And now for something rather different... we're stepping out of the Changeling canon and into the wonderful world of late 90s/early 00s homebrew with Changeling: the Celtic Cycle. Written by three World of Darkness authors, CtCC radically re-imagines the world of Changeling: no Glamour and Banality, no Dreamers to cultivate, no Dreaming separate from the Umbra. Instead, the fae in this version of the game are directly inspired by Celtic mythology and epic. The supplement was released in three installments as part of a zine, in all its early-days-of-desktop-publishing glory, and is as much an interesting historical artifact for that context as for its contents. But the authors also went on to be involved in Book of Lost of Houses, Dark Ages: Fae, and Changeling: the Lost, with all of which we see a few subtle connections... The text is findable online, but we'll also have it available in our Discord (link below!). Some other links include: A few homebrew books by Pooka that poke at a couple of these themes are mentioned in this episode, which you can snag at https://www.storytellersvault.com/product/381967?affiliate_id=3063731, https://www.storytellersvault.com/product/418295?affiliate_id=3063731, or https://www.storytellersvault.com/product/412055?affiliate_id=3063731. While the links provided in the notes at the end of the supplement are mostly defunct or broken, a couple of them have stood the test of time... we would point you in particular to https://pantheon.org/, the Encyclopedia Mythica (a one-stop source for many a folkloric tidbit before Wikipedia was a thing), and https://www.luminarium.org/mythology/ireland/, a hefty collection of Irish myth in particular. Need some Irish curses on the spot? Take your pick from https://www3.smo.uhi.ac.uk/gaeilge/donncha/focal/features/mallacht (the modern one) or https://www3.smo.uhi.ac.uk/sengoidelc/donncha/maldacht (Old Irish). As always, our own passel of social media links: Discord: https://discord.me/ctp Email: podcast@changelingthepodcast.com Facebook: https://www.facebook.com/profile.php?id=100082973960699 Mastodon: https://dice.camp/@ChangelingPod Patreon: https://www.patreon.com/changelingthepodcast YouTube: https://www.youtube.com/@ChangelingThePodcast your hosts Josh Hillerup (any pronoun) went looking for Changeling: the Danish Cycle, but only found a kith that could shapechange into flaky pastries. Pooka G (any pronoun/they) favors the Branch of Rhiannon, for which one sympathy is to wear a full-on Stevie Nicks ensemble. High on the mountain stands a boat But are they gods or real folk? We can't see the fire but we smell the smoke Who'll take the plough? Who'll be the yoke? –Horslips, "Trouble with a Capital T"

It's episode 15 and the finale of the first series of ALILI! To mark the occasion, the tables have been turned and your usual host now finds himself on the receiving end of the format he created, as Krishnan Ram-Prasad rejoins the show to interview me about the amazing Old Irish language. We dive into what this language is, who spoke it, who wrote in it, and why it's terrifying at first but actually rather wonderful. Books to get you started!- Sengoidelc by David Stifter: ⁠https://press.syr.edu/supressbooks/1022/sengoidelc/⁠- A Student's Companion to Old Irish grammar by Ranke de Vries: ⁠https://books.google.co.uk/books?id=Se7VzQEACAAJ&source=gbs_book_other_versions⁠ Host: Dr Krishnan Ram-PrasadGuest: Danny BateMusic: Bossa Nova by William_KingArtwork: William Marler Hosted on Acast. See acast.com/privacy for more information.

在歐洲版圖上堪稱「邊緣人」的愛爾蘭，過去幾個世紀的歷史可謂多災多難，還因饑荒導致人口銳減；然而流傳千年的凱爾特文化不只沒有消失，反而隨著移民被帶到了世界其他角落！尤其在愛爾蘭裔眾多的美國與加拿大，許多人的姓氏上的留著凱爾特血統的印記；號稱北美愛爾蘭人首都的城市波士頓，甚至直接以凱爾特人為自己的籃球隊命名！想了解歐洲傳統文化、了解英語世界，愛爾蘭這個國家不得不提。 因此這集節目裡，我們以坊間熟悉的愛爾蘭文化元素開展，嘗試探尋它們的根源；接著，我們將分析誰是凱爾特人、他們在歐洲的勢力消長，以及他們的文化如何繼續影響今日的世界；最後，我們則會聊到愛爾蘭被迫英國化，以及脫離英國的過程，還有過去數十年間如何從西歐最窮國家，搖身一變到今天人均名目GDP位居世界第二，獲得了「凱爾特老虎」（The Celtic Tiger）的稱號。 同樣位於不列顛群島，我們對愛爾蘭的認識遠遠不如隔壁的英國。跟著我們一起發現愛爾蘭，以及它的文化如何影響全世界吧！ 插入音樂： Cuban Sandwich by Doug Maxwell/Media Right Productions. Rop tu mo baile (Be thou my vision) sung in Old Irish by Gareth Hughes, Wikipedia Commons. Achaidh Cheide - Celtic by Kevin MacLeod, Creative Commons Attribution 4.0 license. Parting Glass by Audionautix, Creative Commons Attribution 4.0 license. ✅ 本集重點： (00:00:16) 前言閒聊，你對愛爾蘭的印象是什麼？ (00:03:45) 聖派翠克（Saint Patrick）、酢漿草（Shamrock）與愛爾蘭綠、踢踏舞、健力士（Guinness）啤酒 (00:07:02) 曾經稱霸西歐、後來退守邊緣、文化影響力卻未減少的凱爾特人，與六個凱爾特民族（Celtic Nations） (00:12:52) 愛爾蘭移民影響新世界的直接證據：英文姓名中的凱爾特密碼！原來麥當勞、麥克阿瑟、歐尼爾、史恩．康納萊這些名字都來自凱爾特？ (00:18:37) 從聯合到獨立，蘇格蘭被迫英國化與脫離的過程，英國統治留下的痕跡 (00:26:28) 凱爾特老虎（The Celtic Tiger），從西歐最窮國家，翻身成為人均名目GDP排行世界第二的外資熱點 (00:31:42) 結語，原來名字是文化傳承的絕佳載體！ Show note https://ltsoj.com/podcast-ep154 Facebook https://facebook.com/travel.wok Instagram https://instagram.com/travel.wok 意見回饋 https://forms.gle/4v9Xc5PJz4geQp7K7 寫信給主廚 travel.wok@ltsoj.com 旅行熱炒店官網 https://ltsoj.com/

For our 25th episode Scott Fischbuch joins us for a much needed white pill. We discuss the traditional Irish hymn Be Thou My Vision (Rop tú mo baile in Irish). Originating in the 6th Century AD and written in Old Irish, the hymn was not translated into English until 1905 and was not set to music until 1919. The poem was written by the Ollamh Érenn (Chief Poet of Ireland) Eochaid mac Colla (AKA Saint Dallán Forgaill) who lived between 560 AD and 640 AD and used as a lorica by the early Irish. The music is set to an Irish folk tune called Slane. Scott F. leads us in a faith-promoting discussion on Christianity and having hope in a fallen world. Éirinn go Brách! Link to the song version by Audrey Assad used in this episode: https://youtu.be/dXDhCEnM-bQ?si=QUbHkD71_6ozvOSa Irish language version: https://www.youtube.com/watch?v=X6tuTOwcb9E Check out Scott Fischbuch's men's retreat project: https://toolswithscott.com/ Follow Scott and Sean on Twitter: Scott- @dotgiff Sean- @hashtagheybro If you've got a song you think should be featured on the podcast send us an email or a DM on Twitter/X: historyinmusicpodcast@gmail.com

Enter the world of Ogham, an ancient Irish script which is still somewhat shrouded in mystery... though over at the Ogham Academy we're doing our best to make it a little clearer each week - be sure to join the mailing list there so you don't miss out! This is a quick introduction to its history and origins, geographical spread, and how to 'translate' modern words and phrases through the Ogham script.

This week on Talking History, we're excavating the history of Medieval Dublin - finding out what life was like back then and what archaeological evidence can reveal. Joining Patrick Geoghegan is: • Ruth Johnson, Dublin's City Archaeologist, protecting, managing and investigating the city's oldest heritage. She completed a PhD in Medieval History at TCD. • Paul Duffy, archaeologist, historian and author, specialising in medieval and urban archaeology. His historical research centres on the Crusades and, in particular, Irish involvement in the thirteenth century Cathar Crusade in Languedoc. • Dr Grace O'Keeffe, a medieval historian based in Dublin and the editor of Archaeology Ireland. Her doctoral research in TCD was on the hospital of St John the Baptist in medieval Dublin. • And Dr Catherine Swift, Department of History, Mary Immaculate College Limerick. Research interests include Medieval Ireland with particular interest in ogham stones, St Patrick, Old Irish historical sources, Scandinavian society and settlement in Ireland, Brian Boru and the kingdom of Thomond, Anglo-Norman colony of the Mid-West and DNA studies of medieval Irish population. She has an M.Phil in Archaeology from the University of Durham, a D.Phil in History from University of Oxford and an M.Phil in Early Irish Language.

Sláinte! Top o the mornin to ya! This week, we taste and review our first Irish whiskey of the podcast. Is it Jameson or Proper Twelve? No...we had to go straight to some of the oldest stuff that we could find: Redbreast 27 Year Old Irish Whiskey. You may have walked past this bottle many times since it carries a hefty price tag...but, was that a good decision? You'll have to listen to find out. Join the lads this week as they discuss fun times with their kiddos, old stories about St. Patty's day, and sip on something that they've never had before. May your troubles be less, and your blessings be more. ------------------------- Socials IG: https://www.instagram.com/themashupky FB: https://www.facebook.com/themashupky TW: https://twitter.com/themashupky Partnership Visit Bourbonoutfitter.com and enter code THEMASHUP for a special discount or visit bourbonoutfitter.com/THEMASHUP Music: All the Fixings by Zachariah Hickman Thank you so much for listening!

Callers tell Katie about their old Irish cures and remedies.

In this very special episode we take a trip around Inishmore - the largest of the Aran Islands - in the company of Cyril O'Flaherty. Cyril is a well known local historian and artist and gives a special insight into many old Irish culture and traditions as we travel around - many of which are still alive in this most beautiful of settings. Along the way, Carina and Mike have plenty of chat, craic and music. We do hope you enjoy!Support the Letter from Ireland Show:Thank you for listening to the Letter from Ireland show. To support the podcast, get lots of member-only features and follow Mike and Carina behind the scenes as they travel around Ireland go to ALetterfromIreland.com/plus .

The public consultation to choose what to put in the newly designed Irish passport is open, with lots of different suggestions of what to put in – from a humpback whale to a red deer. Another one of them is the Old Irish Goat, and the Old Irish Goat Society is asking the public to vote for the goat before the survey closes next week. Sinead Keane of the Old Irish Goat Visitor Centre joined Sean on the show.

Paul Reynolds, Crime Correspondent, has the latest on an Irish woman being killed in Spain.

In Episode 31 our conversation about VIKINGS VALHALLA continues with NAHIR OTAÑO GRACIA, a medieval scholar whose “Global North Atlantic” extends the Viking story from the North Sea to the Iberian Peninsula, Mediterranean, and the tip of North Africa. We talk about how the Vikings's travels and encounters changed their culture and destinies as seen in VIKINGS: VALHALLA. Nahir Otaño Gracia, is Assistant Professor of English at the University of New Mexico and a Member of the Institute for Advanced Studies located in Princeton, NJ (IAS). Her theoretical frameworks include Critical Race Studies, Translation Theory and Practice, and the Global North Atlantic—extending the North Atlantic to include the Iberian Peninsula and Africa. She has published several articles on literatures written in Middle English, Old Castilian, Old Catalan, Old Irish, and Old Norse-Icelandic, and they have appeared in journals such as "Arthuriana," "Comitatus," "Enarratio," "English Language Notes," and "Viator." Her essay, “Towards a Decentered Global North Atlantic,” won the 2022 Medieval Academy of America Article Prize in Critical Race Studies. 0:08 - Intro to Historical Drama with The Boston Sisters ((generic open); 1:20 - VIKINGS: VALHALLA Seasons 1 & 2 Recap; 2:47 - Nahir Otaño Gracia & Her Journey to Medieval Scholarship (Medieval Studies); 5:28 - Mapping the Global North Atlantic; 8:36 - Recovering Medieval History -- Not Just White and Male; 12:37 - Port Cities and Cultural Encounters; 17:26 - Shield Maidens, Scholars and Queens (Medieval Womanhood) 22:37 - Break 23:08- Religious Conflicts in the Middle Ages; 32:01 - Mariam, Muslim Scholar in Vikings: Valhalla; 35:17 - Middle Ages: A Time of Possibility 38:24 LIGHTNING ROUND Questions STAY ENGAGED with HISTORICAL DRAMA WITH THE BOSTON SISTERS LISTEN to past past podcasts starting with the guests featured in this bonus episode SIGN UP for our mailing list SUBSCRIBE to the podcast on your favorite podcast platform You can SUPPORT this podcast on Anchor or SHOP THE PODCAST on our affiliate bookstore Thank you for listening! --- Support this podcast: https://podcasters.spotify.com/pod/show/historicaldramasisters/support

Joe Rogan's reptilian pineal gland, Chris begs for Old Irish lessons, and how to help a baby hold their spear. Hosted on Acast. See acast.com/privacy for more information.

In todays special Christmas episode, we share a selection of old Irish Christmas carols, songs and tunes. They include:The Bells of Dublin/Christmas Eve - performed by The ChieftainsChristmas in Killarney - performed by Bing CrosbyCuroo, Curoo Carol of the Birds - performed by Maggie Sansone, Andrea Hoag, Sharon Knowles, Patrick EganChristmas Angels - performed by ClannadThe Wexford Carol - performed by Alison Krauss, Yo-Yo Ma, Natalie McMasterOnce in Royal David's City - performed by The Chieftains, The Renaissance Singers, David DrinkelDon Oíche úd I Mbeithil (That Night in Bethlemam) - performed by Celtic WomanThe Kerry Christmas Carol - performed by Nora CoganThe Wren, The Wren - performed by Lisa O'NeillOíche Chiúin - Chorale (Silent Night) - performed by Enya

In this episode of The Catholic Talk Show, the guys are joined by Fr. Michael Larkin as he shares his experience and wisdom gained from over 60 years in the priesthood. Learn more about your ad choices. Visit megaphone.fm/adchoices

Old Irish shopfronts have a very distinctive place in the hearts of many. It seems among a younger generation, there's a real effort to save as many of them as possible. Siofra Mulqueen has been gathering some memories of shop fronts. Joined by Jessica Traynor, Eddie Shanahan, Revert Design and Our Type.

For years, once-widespread barley varieties such as Hunter, Goldthorpe and Old Irish lay dormant, yet preserved, in the Department of Agriculture's Seed Bank outside Dublin. These grains held the flavours and stories of a different time where different approaches to farming, brewing and distilling reigned.  If Waterford Distillery was to continue its quest of pursuing whisky flavour and "the old ways" the team knew that what they sought lay in cold storage in the laboratories of the Seed Bank.  In this episode we'll share how Waterford Distillery and its growing partners turned 50 grams of heritage barley into 50 barrels of whisky through a 5 year-long passion-fueled process full of challenges and new learnings. 

Tony talks with Morgan Daimler, a self-described witch who is an expert in Celtic and fairy folklore, about the magical Celtic roots of Halloween. Morgan Daimler is also an author of non-fiction and urban fantasy/paranormal romance, as well as a blogger, poet, and amateur translator of Old Irish. Her work has been published in several places such as Circle Magazine, Witches and Pagans Magazine, and the CR journal Air n-Aithesc.https://www.amazon.com/Morgan-Daimler/e/B0047QW0WY%3Fref=dbs_a_mng_rwt_scns_sharePlease Subscribe and Share This Show! Show your support for Truth Be Told by shopping our website for official merchandise! www.truthbetoldworldwide.com

Saint Michael and All Angels, Thursday, Proper 21 in the Church Calendar We usually post weekly based on Sunday readings. This week we are following the Daily Office lectionary with a post Monday through Friday. Our general order and lectionary comes from the Book of Common Prayer (1979) Daily Office. We'll sing the song “Be Thou My Vision” translated from Old Irish by Mary Byrne. We'll then offer a Prayer of Confession. We'll read Psalms 103:19-22 followed by the Gloria Patri. Our Scripture Lesson is John 1:47-51 . We'll say the Apostles' Creed, the Lord's Prayer, and the Collect of the Day. We'll then have a time of prompted prayer. If you have a prayer request please submit it here. Sign up here for the email list. Visit Patreon to give and support Morning Prayer monthly. Go to PayPal to give a one-time gift. Art: Stained glass window, Saint Michael and All Angels Church, Dallas, TX.

Saint Michael and All Angels, Thursday, Proper 21 in the Church Calendar We usually post weekly based on Sunday readings. This week we are following the Daily Office lectionary with a post Monday through Friday. Our general order and lectionary comes from the Book of Common Prayer (1979) Daily Office. We'll sing the song “Be Thou My Vision” translated from Old Irish by Mary Byrne. We'll then offer a Prayer of Confession. We'll read Psalms 103:19-22 followed by the Gloria Patri. Our Scripture Lesson is John 1:47-51 . We'll say the Apostles' Creed, the Lord's Prayer, and the Collect of the Day. We'll then have a time of prompted prayer. If you have a prayer request please submit it here. Sign up here for the email list. Visit Patreon to give and support Morning Prayer monthly. Go to PayPal to give a one-time gift. Art: Stained glass window, Saint Michael and All Angels Church, Dallas, TX. --- Send in a voice message: https://podcasters.spotify.com/pod/show/prayerandworship/message

In my quest to dig into Irish whiskey history, this may be one of my favorite episodes yet. We start off with one of the great legends of Ireland - a legend tied to the area I was traveling through, the Boyne River Valley. I get to visit Slane Distillery, taste their whiskey and head over to Boann to learn the experimental side of that distillery and more legends. Meanwhile, I dig deep into the 17th century, when Irish uisce beatha was gaining a great reputation in London, until a Dutch upstart stole the show. All this and a beheading and rebellion - this week on Whiskey Lore.

In this very special episode we take a trip around Inishmore - the largest of the Aran Islands - in the company of Cyril O'Flaherty. Cyril is a well known local historian and artist and gives a special insight into many old Irish culture and traditions as we travel around - many of which are still alive in this most beautiful of settings. Along the way, Carina and Mike have plenty of chat, craic and music. We do hope you enjoy!

This is a poem in Old Irish, translated by Morgan Daimler and read in translation here by Lora O'Brien, providing information on foods that are 'proper' for Bealtaine, Lúnasa, Samhain & Imbolc - the Irish Fire Festivals.Database entry is here - https://codecs.vanhamel.nl/Atberim_frib_lith_saineBuy Morgan's translation book 'Tales of the Tuatha Dé Danann here - https://amzn.to/3pfZFfY (affiliate link!)Fire Festivals classes at the Irish Pagan School:Irish Pagan Holidays Bundle - https://irishpaganschool.com/p/irish-pagan-holidaysSamhain Ritual & Practice - https://irishpaganschool.com/p/ritual-samhain (1 of 4)(This audio originally appeared as a video on the IPS YouTube channel, all Pagan focused content on YouTube is now available directly on the Irish Pagan School channel - https://www.youtube.com/c/TheIrishPaganSchool)Fáilte! Welcome to the Podcast, with your hosts - authors and co-founders of the Irish Pagan School) - Lora O'Brien and Jon O'Sullivan. If you enjoyed this podcast, please leave us a positive review in your podcast listener, then head over to IrishPaganSchool.com and enroll in one of our free or paid courses. Slán go fóill, and we will see you next time!Support the show

Lee Fenlon The second of a new Series of Story Archaeology podcast conversations on mythology and its 'Stories in the Landscape'. Join Chris and Ralph, professor of Statistical Physics and enthusiastic comaparative mythologist, as they discuss the remakable possibilities of applying socio-physics to epic myth cycles;take an appreciative retrospective look at the International 'Arts for Sinann' competition which took place last year; and explore the exciting prospects of a new Arts and research project on 'Maths, Myths and Gender' to be launched, in conjunction with the Irish Post, in early May. Susan Mannion Find out about the Arts For Sinann Project and view the exhibition gallery WATCH THIS SPACE: A full description of the new Maths, Myths and Gender project to be launched at Bealtaine, will be available here in a few days time. Morpheus-Ravenna-Carog We covered a lot of stories in this conversation. Below you will find a small selection of relevant links to podcasts and articles connected to our conversation topics. Find out more about ScathachFind out more about FuimnachFind out more about Medb and her sistersFind out more about oral tradition theoryFind out more about Emer Applogies about any shortcomings in the recording quality at times. Ralph and I will be meeting up over the Summer months sometime and intend to have a futher non-remote recorded conversation. By that time we will have plenty to discussincluding the new art and reseach project to be launched in May. Bill Rabinovitch Coming soon: A conversation with Clare Milledge. Clare is an Australian artist based in Sydney She is currently exhibiting at the Sydney Biennalle. The description of the installation reaads 'Imbás: a well at the bottom of the sea, draws on the Story of Sinann, an Old Irish story/dindshenchas about the forming of the river Shannon. ' The Sinann story and the postcast was a 'source' ideas for the installation. I, very much, look forward to talking with her sometime in May.

Discovered very recently, this seems to be a pagan site that existed for thousands of years until Christianity was introduced into Ireland on a large scale. God bless you and thank you for listening! Please subscribe!