#patricia lysaght

[basicallyanotherwitchesthing]

Patricia Lysaght - The Banshee - Glendale Press - 1986

[fudulike]

Clidna is probably best known for the wave that's associated with her – the Tonn Chlidna (Wave of Clidna). There are stories explaining its origins in the dindshenchas – there are a couple of metrical versions of the story, and a prose version. Clidna is also mentioned in the Acallam na Senórach (The Colloquy of the Two Sages).

Patricia Lysaght's The Banshee: The Irish Supernatural Death-Messenger has some bits and pieces about her as well (spelled Clíona here, for search purposes!).

Coincidentally, I've just finished reading Manchán Magan's Thirty-Two Words for Field: Lost Words of the Irish Landscape, and he touches on the traditions surrounding Clidna and her wave, too (it was a really good read). Magan mentions her association with the Uí Fidgenti, which will give you an idea of the families she might still be linked with. She apparently also adopted the Fitzgeralds and MarCarthys, becoming their bean sí, too.

Hello! I'm somewhat of a beginner who is struggling with research. I'm in university full time, so all my time/energy is directed towards my degree. It leaves little room for spiritual research, and honestly I get overwhelmed so fast on the rare occasion I have time to do it. I'm at a point where I'm not sure where to start with Irish paganism, so to speak. Any advice?

On a more specific note, do you know where I could learn more about Clíodhna? I’ve had an incredibly intense draw to her for a long time. Even when I’m too tired and burnt out on research, I still feel her pull.

This is my general recommended reading list

But I'd point out for a beginner

Celtic Cosmology and the Otherworld: Myths, Orgins, Sovereignty and Liminality, Sharon Paice MacLeod

Celtic Myth and Religion, Sharon Paice MacLeod

Irish Paganism: Reconstructing Irish Polytheism, Morgan Daimler

Celtic Heritage, Alwyn and Brinley Rees

and any papers by John Carey, Berry Cunliffe, Fergus Kelly, Miranda Green, J. P. Mallory (since you're at university you probably have ready access to a lot of these)

As for Clíodna, this is actually the first I've heard of her, but since she has been included in the lineage of a few families you may actually want to look into those families and see what, if anything, you might dig up

[bean-na-farraige-agus-foraoise]

What books would you recommend for a new Celtic reconstructionist.

An incomplete list for sure but some books that I’ve found particularly helpful are:

Fosterage in Medieval Ireland: an Emotional History by Tom C. O’Donnell

Ireland’s Immortals: a History of the Gods of Irish Myth by Mark Williams

Ritual in Late Bronze Age Ireland: Material Culture, Practices, Landscape Setting and Social Context by Katherine Leonard

Cattle Lords and Clansmen: The Social Structure of Early Ireland by Nerys Thomas Patterson

Beyond this I read a LOT of articles, some of my favorites include:

"Caoineadh os Cionn Coirp": The Lament for the Dead in Ireland by Patricia Lysaght

Oenach Aimsire na mBan: Early Irish Seasonal Celebrations, Gender Roles and Mythological Cycles by Sharon Paice MacLeod

Patronage & Devotion in Ancient Irish Religion by Dáithí Ó hÓgáin

Echtrae and Immram: Some Problems of Definition by David N. Dumville

Rhetoric of Myth, Magic, and Conversion: A Prolegomena to Ancient Irish Rhetoric by Richard Johnson-Sheehan and Paul Lynch

Dee ‘Pagan Deity’ by John Carey (this one can be a bit difficult to read if you aren��t used to historical linguistic comparisons but it’s got good good content if you can muscle through it)

I do have PDFs of all of these saved and are willing to share links with anyone willing to come off anon and ask for them! These are by no means comprehensive lists and I always always always recommend also reading the lore for yourself and as many different translations of the lore as you can get your hands on.

I have lots of other stuff saved and am planning on going through and adding a bunch of new stuff soon so please don’t hesitate to reach out. I do better when asked more specific questions like “what do you have on x?” or “I’m wanting to learn more about y, where should I start?” but as far as general “starter kits” go I think I did alright with these. Let me know if you have any questions!

[tellmewhatyouheardpodcast]

Episode 1, The Banshee: sources

Banshee stories & facts including definitions:

Fairy and Folk Tales of the Irish Peasantry by WB Yeats https://www.gutenberg.org/files/33887/33887-h/33887-h.htm (How Thomas Connolly Met the Banshee story)

Fairy Legends and Traditions of the South of Ireland by Thomas Crofton Croker  https://archive.org/details/fairylegendstrad00crokrich/page/iv/mode/2up (Mac Carthy Banshee story)

A Folklore Survey of County Clare by Thomas J Westropp https://www.clarelibrary.ie/eolas/coclare/folklore/folklore_survey/index.html (Lewin Banshee story)

Blúiríní Béaloidis 27 The Banshee with Patricia Lysaght 

The Banshee: a study in beliefs and legends about the Irish supernatural death-messenger by Patricia Lysaght

On keening:

“Keening Tradition” article by Phyllida Anam-Aire http://www.keeningwake.com/keening-tradition/

“No Keening Carried On Nowadays” by Henry N. Gifford https://www.laphamsquarterly.org/roundtable/no-keening-carried-nowadays

Other Celtic wailing women death omens

Caoineag:

Folk Tales & Fairy Lore in Gaelic and English by John Grant https://digital.nls.uk/early-gaelic-book-collections/archive/79221659

Carmina Gadelica, Vol 2 by Alexander Carmichael https://archive.org/details/carminagadelicah04carm/page/n319/mode/2up?view=theater&q=Caoineag

Bean Nighe:

Superstitions of the Highlands and Islands of Scotland by John Gregorson Campbell https://www.gutenberg.org/files/61730/61730-h/61730-h.htm#CHAP_VII_SEC_25

Carmina Gadelica Vol 2 by Alexander Carmichael https://archive.org/details/carminagadelicah04carm/page/n319/mode/2up?view=theater&q=Caoineag

Gwrach y Rhibyn & Cyhyraeth:

Welsh Folk Lore by Elias Owen https://www.gutenberg.org/files/20096/20096-h/20096-h.htm#page302

British Goblins: Welsh Folk-lore, Fairy Mythology, Legends and Traditions by Wirt Sikes 1889  https://www.gutenberg.org/files/34704/34704-h/34704-h.htm

[ozarksappalachia]

🕯️🗡️⛈️Why am I curse friendly?⛈️🗡️🕯️

Cursing is not inherently bad. Wiccans follow the threefold rule, I do not and you don't have to either

Cursing is a very, very old Irish tradition

It's not my job to tell anyone what they can or can't do outside of "don't try to summon spirits/dieties/ancestors from a closed religion/practice cuz you will probably get your shit rocked."

What most think of as curses are actually piseogs, malicious magic targeting anyone. Curses are for justice as I highlighted below from HERE

Source:

I was raised in a Scotch-Irish/Appalachian immigrant family. We're all full of piss and vinegar and ready to fight the world if it means keeping our loved ones safe. And sometimes you have to fight dirty.

All that being said, here's a few curses from the opening of that article and the sources:

"Bad cess on you. Devil take you. May you never prosper. The first drop of water to quench your thirst — may it boil in your bowels. May the flesh rot off your bones, and fall away putrid before your eyes. May your limbs wither and the stench of your rotten carcass be too horrible for hungry dogs. May you fade into nothing, like snow in summer. May you be accursed in the sight of God, and hated by your fellow man. May you die without a priest. May the Almighty’s curse rest on your children. This, I pray."

1 ‘Cess’ is from ‘success’. The sources of the curses are: National Folklore Collection at University College Dublin (hereafter NFC), MS 1838, 296. Patricia Lysaght, ‘Visible Death: Attitudes to the Dying in Ireland’, Merveilles & contes, ix (1995), 34; Galway Mercury, 26 Apr. 1845; Derry Journal, 15 Jan. 1839; W. G. Wood-Martin, Traces of the Elder Faiths of Ireland: A Folklore Sketch. A Handbook of Irish Pre-Christian Traditions, 2 vols. (London, 1902), i, 310; Dublin Weekly Register, 11 May 1844; Dublin Daily Express, 20 Apr. 1886.

If you're going to curse, be cautious...make sure the target has indeed done wrong. Theft, murder, rape, etc. Cursing isn't to be taken lightly. Like with any spell or rituals you do, take time to ground and cleanse yourself and whatever other closing procedures your practice dictates.

Be safe, especially now.

[friz]

giornate londinesi per Carnival King of Europe, il progetto europeo del Museo di San Michele

Relazione di Kezich e film editi dal Museo degli Usi e Costumi della Gente Trentina presso il Royal Anthropological Institute

Il Royal Anthropological Institute of Great Britain and Ireland, la veneranda istituzione britannica per lo sviluppo della ricerca antropologica, fondata nel 1871 sotto il patrocinio diretto della famiglia reale inglese, ha dedicato due giornate di attività nella sua prestigiosa sede di Fitzrovia, a Londra, a Carnival King of Europe, il progetto europeo del Museo degli Usi e Costumi della Gente Trentina.

Il primo giorno, 26 ottobre, Giovanni Kezich ha tenuto la corposa relazione introduttiva al convegno “Folklore and anthropology in conversation”, terzo seminario congiunto del Royal Anthropological Institute insieme all’antica sorella e rivale, la Folklore Society of London. Fondata nel 1878, la Folklore Society è infatti l’altro grande faro della ricerca demoetnoantropologica di ambito anglofono, ed è quindi singolarmente significativo che, a suggello del recentissimo improvviso riavvicinamento tra i due sodalizi, che hanno attraversato un periodo di freddezza reciproca durato poco meno di un secolo, l’apertura dei lavori sia spettata proprio a “Carnival King of Europe”, un progetto di ricerca antropologico che affonda però le sue radici nell’ambito del folklore europeo, riconducendo così insieme folklore e antropologia, lungo un confine che, anche nell’accademia inglese, evidentemente non è più un tabù. A seguire, nel corso della conferenza, gli interventi di Paul Cowdell sulla folklorista inglese Violet Alford, di Marielle Risse sulle fiabe di ispirazione coranica nell’Oman meridionale, di Matthew Ryan-East sull’antropologo positivista Joseph Jacobs, di Massimiliano Carocci sull’Anthropological Index Online, di Leslie Sass sul folklore della Natività, di Florentina Badalanova Geller ancora su carnevali e mascherate nel ricchissimo contesto bulgaro. A presiedere la riunione, il direttore del Royal Anthropological Institute, David Shankland, e la presidente della Folklore Society, la professoressa Patricia Lysaght. Per il Museo, che conduce il progetto dal 2007, in una prima fase insieme a otto altri partner europei, e poi da solo a partire dal 2013, la posizione di tutto rilievo conseguita in un convegno londinese di questa qualità e autorevolezza rappresenta un bellissimo riconoscimento, che fa seguito al “Premio dell’Unione europea per il Patrimonio Culturale/Europa Nostra Awards 2017” conseguito nel maggio di quest’anno a Turku in Finlandia.

Il giorno successivo, 27 ottobre, vi è stata la presentazione pubblica del grande repertorio documentario che scaturisce dalla ricerca “Carnival King of Europe”: 38 film, suddivisi in 7 DVD tematici sui temi propri delle mascherate (Natale e dintorni; Scampanatori; Memorie pastorali; Eserciti per finta; Arature rituali; Girare il villaggio; Roghi sacrificali), più quello che contiene il film definitivo “Carnival King of Europe 2.1”, già vincitore di un premio prestigioso a Kyoto nel 2009. Tutti i film sono opera di Michele Trentini, il pluripremiato, talentuoso filmmaker roveretano, che per più di un decennio ha prestato la sua opera al Museo.

Da questo momento, tutto il cospicuo repertorio di documentazione cinematografica relativo al progetto “Carnival King of Europe”, frutto della ricerca sul campo effettuata in 13 paesi europei, viene preso in carico dalla distribuzione del Royal Anthropological Institute, che opera in tutto il mondo, sulla base di un contratto stipulato con il Museo.

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Milena Gabanelli da http://www.lanostratv.it

Serata Tesero 6

Serata Tesero 5

serata Tesero

Serata Tesero 1

I giovani e il lavoro – Cles

Augsburg

L’aula del Consiglio provinciale di Trento, foto http://www.walterviola.it

http://www.salto.bz

Enrico Letta, http://www.oggi.it

en.wikipedia.org

L’incrocio di Dermulo da http://maps.google.it

foto David Fontanari

http://www.sassuolo2000.it

http://www.ilmattino.it

Paolo Panebianco, presidente Associazione Comunità e coordinatore regionale Nursing Up, sindacato professioni sanitarie infermieristiche

Margherita Hack, foto http://www.tumblr.com

Carmen Noldin, assessore al volontariato Comunità Valle di Non

da sinistra Giuseppe Vergara, Mario Magnani, Paolo Panebianco

L’Ospedale Santa Chiara di Trento, http://www.wikipedia.org

I giovani e il lavoro – Cles

http://www.nocensura.com

La presentazione de “L’Italia dei democratici” alla http://www.festademocratica.it

http://www.formiche.net

I partecipanti al Festival della gioventù dell’Euregio il 20 marzo 2013 a Villa Bortolazzi. Foto su http://www.europaregion.info

Tutta la “squadra” del Partito democratico del Trentino

In Regione

Versione 3D di un tabellone elettorale

en.wikipedia.org

wikiprestiti.org

http://www.areeprotette.provincia.tn.it

italyinfo.it La Regione, senza confine a Salorno

Alla festa Anffas

Serata Tesero 2

Trentino TV – Mario Magnani

Serata Tesero 4

Serata Tesero 3

http://www.investintrentino.it

Serata a Baselga

I giovani e il lavoro – Cles

Serata a Baselga

I giovani e il lavoro – Cles

http://www.agenziefiscali.usb.it

I giovani e il lavoro – Cles

Con i candidati del Partito Democratico del Trentino in Alta Valsugana

http://www.cooperazionetrentina.it

foto di Alberto Gianera

I candidati alle primarie del 13 luglio 2013. Da sinistra Alexander Schuster, Ugo Rossi, Mauro Gilmozzi, Alessandro Olivi, Lucia Coppola

http://www.controlacrisi.org

maps.google.it

http://www.anvolt.org

http://www.trentotoday.it

da http://www.lettera43.it, foto dell’Ansa

I giovani e il lavoro – Cles

La sede dell’Ufficio Euregio di Trentino-Alto Adige-Tirolo a Bruxelles. http://www.alpeuregio.org

img 20160503 wa00001

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Carnival King of Europe, progetto europeo del Museo di San Michele, a Londra giornate londinesi per Carnival King of Europe, il progetto europeo del Museo di San Michele Relazione di Kezich e film editi dal Museo degli Usi e Costumi della Gente Trentina presso il Royal Anthropological Institute…

[bean-na-farraige-agus-foraoise]

"Only family members were usually present for the coffining of the corpse as the remainder of the mourners waited outside for the removal of the deceased (feet foremost) from the house; if the family members were unable to perform the lament, the keening woman would also be present at that point to perform a lamentation. It was vital, according to folk belief, that no tears fell on the corpse during lamenting, especially when the body was in the coffin, though a reason for this is not always forthcoming. It was customary to place the closed coffin on chairs outside the house prior to commencing the journey to the cemetery when lamenting would again take."

Caoineadh os Ciann Coirp: The Lament for the Dead in Ireland by Patricia Lysaght

[bean-na-farraige-agus-foraoise]

""Laments are the poetry of final parting." In different parts of the world they have been included in the rites of departure surrounding crucial turning points in life, such as marriage, death, setting off to war and so on.....As a poetic and song genre it is part of the Irish language tradition and is termed caoineadh, the origin of the English word keen."

Caoineadh os Ciann Coirp: The Lament for the Dead in Ireland by Patricia Lysaght

[bean-na-farraige-agus-foraoise]

"It was considered wrong to lament for the dead on returning to the house after the funeral (Nior cheart aon olagdn a chasadh nd aon ghol a dheanamh tar eis filleadh ar an dtigh i ndiaidh na sochraide ("It was not right to lament or cry on returning to the house after the funeral ..."). While the matter needs further investigation, it would appear that subsequent lamentation for one's own dead was also confined to the cemetery, and performed on an ad hoc basis on the occasion of other burials. While the dead were remembered in Irish tradition, it would appear that visiting cemetries tended to be avoided, except on the occasions of funerals. However, keening in the cemetery after Mass on Sundays is reported from the parish of Cloghaneely, in northwest County Donegal, in the early-nineteenth century, where presumably the graveyard surrounded the church. It was also considered wrong to grieve too much or too long for the dead as it could keep them "from their rest.""

Caoineadh os Ciann Coirp: The Lament for the Dead in Ireland by Patricia Lysaght 

[bean-na-farraige-agus-foraoise]

"This lament is essentially a structured personal, tribal, and communal response to death in the traditional manner. It invites interpretation on a number of levels: it can be read as a public document in response to a public duty, one that is redolent of the political, religious and cultural antagonisms of eighteenth-century Ireland, and concerned, too, with the cosmic significance of death; but it is also a review of the significant moments of the shared private life [of the deceased and their family]. Drawing on ancient lament conventions and on her own powers of improvisation, and taking advantage of the dramatic potential of the meter, [she] unleashes a range of emotions -- rage, loss, guilt, grief, pity, family pride, anger and revenge -- all within the schema of the traditional lament for the dead."

Caoineadh os Ciann Coirp: The Lament for the Dead in Ireland by Patricia Lysaght

[bean-na-farraige-agus-foraoise]

"The lament is a poem "born out of a moment." It is composed in performance, and though there is some indication that laments in Ireland may have been performed on other major occasions of parting -- emigration and eviction, the event which facilitates and demands its oral composition in the Irish context is a death, usually of a male member of a family. Its principal interpreter is the lamenting woman, usually a close relative of the deceased, who controls the lamentation experience."

Caoineadh os Ciann Coirp: The Lament for the Dead in Ireland by Patricia Lysaght

[bean-na-farraige-agus-foraoise]

"...it provides not only a catalogue of conventional themes and images found in lament poetry the world over, and encapsulates the political and cultural atmosphere of its time, but perhaps even more significantly, it can also be read as an exposition of two journeys by the lamenting woman in question, who was also the chief mourner: a private journey through the grief and mourning process, from denial through anger to acceptance of death; and a public journey in her symbolic role as agent of transition and incorporation.

Caoineadh os Ciann Coirp: The Lament for the Dead in Ireland by Patricia Lysaght

[bean-na-farraige-agus-foraoise]

"Of central importance in the obsequies, the lament for the dead can be perceived, therefore, as a ritual embodying the power to effect reconciliation between the deceased and the bereaved family and the community in order to effect the transfer to the otherworld and the proper incorporation with the ancestors -- for the sake of the deceased and the living mourning group. This reconciliation is to be achieved by means of the poetic expression of praise and grief addressed to the corpse who, according to folk belief in parts of Ireland, retains the power of hearing until the priest throws three shovels of earth on the coffin at burial."

Caoineadh os Ciann Coirp: The Lament for the Dead in Ireland by Patricia Lysaght

[bean-na-farraige-agus-foraoise]

"...the lament is considered a primary force in enabling the transition of the deceased person into the Christian/ancestral otherworld of Irish tradition and in effecting incorporation among the family ancestors. The lamenting woman is viewed as both a symbol and an agent of this process, while the games and revelry are a means of reasserting continuing vitality and and the potential for renewal in the community after the disruption caused by death."

Caoineadh os Ciann Coirp: The Lament for the Dead in Ireland by Patricia Lysaght

[bean-na-farraige-agus-foraoise]

"In Blathmac's time (and also in later centuries), loud public lamentation over a deceased person in a large public gathering was portrayed as an integral part of the funeral ritual and essential to the honour of the deceased. Indeed this belief was so strong that an account from the nineteenth century states that even the death of strangers in the community was marked with lamentation....The lament was performed in the presence of the deceased and it was a means of expressing a sense of personal (not just conventional) loss, grief, love, sorrow and bitterness."

Caoineadh os Ciann Coirp: The Lament for the Dead in Ireland by Patricia Lysaght

[bean-na-farraige-agus-foraoise]

"...the fact that the custom of lamentation over a deceased person continued for so long in Ireland in the face of such condemnation and disapproval, and was considered a necessary part of mortuary rituals, is clear evidence of its deep-rooted significance. As an integral part of the wake for the dead it must be considered in conjunction with that other well-known aspect of Irish obsequies -- revelry. The meaning and significance of the lamentation and revelry which characterized some wakes of the past in Ireland are viewed by tradition-bearers today partly in terms of adherence to traditional practices and partly as a show of community solidarity with the bereaved family."

Caoineadh os Ciann Coirp: The Lament for the Dead in Ireland by Patricia Lysaght