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O Ritual de Imbolc é um dos quatro rituais ou “sabats” considerados mais importantes e mágicos do ano. Também conhecido pelos nomes Imbolg, Oilmec, Festa do Fogo, Noite de Brigit ou Candlemas, é um festival que tem suas origens históricas na Irlanda, Escócia e Ilha de Man. É um dos quatro festivais mágicos gaélicos e ainda chamado de festival galês Gwyl Fair y Canhwyllau. Roda da Vida Celta A Roda da Vida celta é composta de oito rituais que celebram e se conectam com energias específicas. São eles: Samhain (noite das bruxas) Litha (solstício de verão) Imbolc (noite do fogo) Mabon (equinócio de outono) Beltane (ritual do amor) Yule (solstício de inverno) Lammas (ritual da colheita e prosperidade) Ostara (equinócio de primavera) Data do Ritual de Imbolc O Imbolc é celebrado entre 30/01 e 02/02, mas alguns autores sugerem que no hemisfério sul o ritual é comemorado em agosto – isto acontece pois eles invertem as datas da roda celta dos rituais, acompanhando a inversão das estações, que s

  Fonte:https://irishmyths.com/ Distinguishing between these four types of storytelling traditions—myths, legends, folktales, and fairytales—should be an easy task. After all, each has its own discrete entry in the dictionary. So a quick perusal of their definitions should reveal, with crystal clarity, the stark contrasts between them, deep lines gouged in the sand separating one from the other, myth from legend from folktale from fairytale. When investigating specifically the differences between Irish myths, Irish legends, Irish folktales, and Irish fairytales, those lines in the sand all but disappear, they are jumbled and crisscrossed, stamped with footprints—and not from some accidental stumbling, but seemingly from intentional stomping. Alas, life is never that easy. And Irish storytellers—the bards, the filí, and later, the seanchaí—haven’t made it any easier. Consider the following: A traditional definition of “myth” establishes it as a story concerned with the activities of god

Witchcraft takes on many forms and perspectives in various works of literature. It finds its origins in folklore and myths, it carries the traits of gothic and horror, but it is also used in satire and comedy, and undoubtedly plays a major role in fantasy. The mystical and supernatural have always been associated with all things dark, scary, and evil. However, the representation of witches and magic has developed through time, leaving outdated stereotypes behind. The aesthetics of horror, the weird, grotesque, and everything else different from normal reality have switched from being repulsive and feared to being attractive. Eventually, witches transform into the protagonists of the story and make witchcraft seem appealing. Horror has roots in folklore and religious traditions, however, as a literary genre, its rise began with the Gothic literature of the late 18th century. Early Gothic writers, like Horace Walpole and Matthew Lewis, introduced the elements of gore and grotesque in the

https://www.learnreligions.com/brighid-hearth-goddess-of-ireland-2561958 Nos ciclos mitológicos irlandeses, Brighid (ou Brighit), cujo nome é derivado do brigue celta ou "exaltado", é filha do Dagda e, portanto, uma dos Tuatha de Dannan . Suas duas irmãs também se chamavam Brighid e eram associadas à cura e ao artesanato. As três Brighids eram tipicamente tratadas como três aspectos de uma única divindade, tornando-a uma deusa tripla celta clássica . Patrono e Protetor Brighid era a padroeira dos poetas e bardos, bem como dos curandeiros e mágicos. Ela era especialmente honrada quando se tratava de assuntos de profecia e adivinhação. Ela foi homenageada com uma chama sagrada mantida por um grupo de sacerdotisas, e seu santuário em Kildare, Irlanda, mais tarde tornou-se o lar da variante cristã de Brighid, Santa Brígida de Kildare . Kildare também é o local de um dos vários poços sagrados nas regiões celtas, muitos dos quais estão conectados a Brighid. Ainda hoje, não é incomu

https://www.google.com/amp/s/blog.artsper.com/en/a-closer-look/bewitched-women-as-witches-in-art-history/amp/ Artsper is taking a look at art history through the lens of the supernatural. As long as superstition has existed, it has appeared in artwork – a testimony to both our fear and curiosity for it. One of the more thought-provoking areas of this topic is the portrayal of Witch Art. Witch art sheds light on the ostracization and oppression of women throughout history. Those outcast women unfortunate enough to be accused of witchcraft have both fascinated and frightened artists. A combination of fear and an age-old predilection for the superstitious has birthed incredible imaginative interpretations of the occult.  A retrospective look back at witches in art reveals much about society’s tragic treatment of women.   The History Behind Witch Artworks General conjecture about the nature of witches was that they were individuals who made pacts with the Devil in exchange for supernatural

https://wiccaliving.com/wiccan-calendar-imbolc/ O segundo Sabá do ano Wiccan celebra o final do inverno e o início do ciclo de crescimento no Hemisfério Norte. Os meses longos e frios estão quase no fim e os primeiros sinais da Primavera podem ser testemunhados no florescimento dos narcisos e dos açafrões e na lenta saída dos animais da sua hibernação. Embora a neve possa continuar a cobrir o solo em muitas regiões, a parte mais sombria da estação fria já ficou para trás. Este quarto de dia cruzado – a meio caminho entre o Solstício de Inverno e o Equinócio de Primavera – é um marco bem-vindo para muitos que aguardam ansiosamente os meses mais quentes. Imbolc, também conhecido em algumas tradições pagãs como Dia de Brighid, Candelária, Festa das Tochas e até Dia da Marmota, é comemorado em 2 de fevereiro. Para os Wiccanos , este Sabá é um momento de agradecer pela crescente luz do dia, à medida que o Deus está desenvolvendo e fortalecendo seu poder. A Deusa , recuperando-se do nascimen

  Fonte: Wikipedia  Imbolc ou Imbolg ( pronúncia irlandesa: [ɪˈmˠɔlˠɡ] ), também chamado de Dia de Santa Brígida ( irlandês : Lá Fhéile Bríde ; gaélico escocês : Là Fhèill Brìghde ; manx : Laa'l Breeshey ), é um festival tradicional gaélico . Marca o início da primavera e, para os cristãos, é a festa de Santa Brígida , padroeira da Irlanda. É realizada em 1º de fevereiro, aproximadamente a meio caminho entre o solstício de inverno e o equinócio de primavera . [1] [2] Historicamente, suas tradições foram amplamente observadas em toda a Irlanda , Escócia e Ilha de Man . Imbolc é um dos quatro festivais sazonais gaélicos, junto com: Beltane , Lughnasadh e Samhain .  Imbolc é mencionado na literatura irlandesa antiga , e algumas evidências sugerem que também foi uma data importante nos tempos antigos. Acredita-se que o Imbolc era originalmente um festival pagão associado à época do parto e à deusa Brigid . Os historiadores sugerem que a santa e sua festa são cristianizações destas. [4]

  https://www.nls.uk/learning-zone/literature-and-language/themes-in-focus/witches/source-2/ Nobody would believe such folly now-a-days, except low and ignorant creatures such as those who consult gipsies in order to have their fortunes told'. — Sir Walter Scott writing in 'Tales of a grandfather' about the three witches in 'Macbeth'. Shakespeare's witches Written between 1603 and 1607, 'Macbeth' was one of the first plays Shakespeare produced during the reign of the newly crowned King James I of England (James VI of Scotland). Although James had acceded to the Scottish throne as an infant in 1567, he only became king of England in 1603 after the death of Queen Elizabeth I, who had failed to produce an heir. This union of the crowns ensured that from 1603 the king was simultaneously King James VI of Scotland and King James I of England. In writing ‘Macbeth’ it is likely that Shakespeare was keen to win the favour of the new king of England. This might ex

Fairytales, myths, folklore, urban legends, all of those compact, strange stories that we pass from person to person and between generations—they’re the first stories we encounter, a medium for transmitting ideas and expectations, a window into our individual and our collective imaginations. All of this, and they still have to be entertaining enough to hold our interest. The stories we choose to tell—and how we choose to tell them—speak to what we value. For this reason, I also love retellings of folklore, which are always in conversation with their source material. Sometimes that conversation is about the original story itself, the world that produced it, or how our own world has changed since. My favorite retellings, though, are those that use the opportunity to reflect on the nature of storytelling— its capabilities, its limitations, and its place in defining who we are. The strange power of storytelling is central to my short story collection, Fruiting Bodies. The collection’s eigh

Fonte: Mere Child's Play? Comparing Greek Myth with Fairy Tale - Antigone https://antigonejournal.com/2021/10/greek-myth-fairy-tale/  "People love to tell stories. We love to hear about the adventures others have faced, as well as their successes and misfortunes. We enjoy delving into a world that’s similar to but also different from our own to hear how great characters, and even not-so-great characters, face challenges that are sometimes very familiar, sometimes entirely fantastical. The Ancient Greeks loved their myths. Adults and children alike enjoyed hearing about the exploits of heroes such as Heracles and Theseus, and of monsters such as Medusa and the Minotaur. Besides being part of their religious culture, these myths were a constant presence in their daily lives: on vases, on temples, in the theatre, and on the street. The author’s Once Upon A Myth (Olympia, London, 2021): a fresh pairing of Greek myth and fairy tale for children. Fairy tales have likewise featured h