In Our Time: Culture

Melvyn Bragg and guests Rosemary Ashton, Dinah Birch and Valentine Cunningham discuss George Eliot's novel Silas Marner.Published in 1861, Silas Marner is by far Eliot's shortest and seemingly simplest work. Yet beneath the fairytale-like structure, of all her novels it offers the most focused expression of Eliot's moral view. Influenced by the deconstruction of Christianity pioneered by leading European thinkers including Auguste Comte and Ludwig Feuerbach, Silas Marner is a highly sophisticated attempt to translate the symbolism of religion into purely human terms.The novel tells the story of Silas, a weaver who is thrown out of his religious community after being falsely charged with theft. Silas is embittered and exists only for his work and his precious hoard of money - until that money is stolen, and an abandoned child wanders into his house.By the end of her lifetime, George Eliot was the most powerful female intellectual in the country. Her extraordinary range of publications encompassed novels, poetry, literary criticism, scientific and religious texts. But beneath her fierce intellecualism was the deep convinction that for society to continue, humans must connect with their fellow humans. And it is this idea that forms the core of her writing.Rosemary Ashton is Quain Professor of English Language and Literature at University College, London; Dinah Birch is Professor of English at Liverpool University; And Valentine Cunningham is Professor of English Language and Literature at Corpus Christi, University of Oxford.

Melvyn Bragg and guests Gregory Irvine, Nicola Liscutin and Angus Lockyer discuss the history of the Samurai and the role of their myth in Japanese national identity.The Samurai have a fearsome historical reputation as a suicidally brave caste of Japanese warriors. During World War Two, kamikaze pilots were photographed climbing into their cockpits with Samurai swords, encapsulating the way the myth of the Samurai's martial ethos kept its power long after their heyday. But the Samurai's role in Japanese culture is much more complex than that. They were deeply engaged with Zen Buddhism and Noh Theatre, and sponsored haiku poetry. After their role in Japan's century of civil war, ending in the early 1600s, they became part of the country's civil service. A 250-year peace toppled them into identity crisis.In the 19th century, with the arrival of the West, they played an important role in the establishment of a Japanese nation-state, not least by restoring the Emperor to power. And in the 20th century the mythological version of the Samurai, designed in part for Western consumption, became integral to a newly forged national identity.Nicola Liscutin is Programme Director of Japanese Studies at Birkbeck College, University of London; Gregory Irvine is Senior Curator Japan at the Victoria and Albert Museum; Angus Lockyer is Lecturer in Japanese History and Chair of the Japan Research Centre at the School of Oriental and African Studies, University of London.

Melvyn Bragg and guests Roy Foster, Jeri Johnson and Katherine Mullin discuss A Portrait of the Artist as a Young Man, James Joyce's groundbreaking 1916 novel about growing up in Catholic Ireland.Many novelists choose their own young life as the subject for their first book. But very few have subjected themselves to the intense self-scrutiny of the great Irish novelist James Joyce. In A Portrait of the Artist as a Young Man, published in 1916, Joyce follows his alter ego, Stephen Dedalus, from babyhood to young adulthood. He takes us from Stephen wetting the bed, through a teenage visit to a prostitute, and on through religious terrors to the prospect of freedom. When it was published, the book met with shock at its graphic honesty. Joyce shows Stephen wrestling with the pressures of his family, his Church and his nation. Yet this was far from being a straightforward youthful tirade. Joyce's novel is also daringly experimental, taking us deep into Stephen's psyche. And since its publication almost a century ago, it has had a huge influence on novelists across the world.With: Roy Foster, Carroll Professor of Irish History and Fellow of Hertford College, OxfordJeri Johnson, Senior Fellow in English at Exeter College, OxfordKatherine Mullin, Senior Lecturer in English Literature at the University of Leeds.

Melvyn Bragg and guests Jonathan Bate, Julie Sanders and Janet Clare discuss Elizabethan and Jacobean revenge tragedy. From Thomas Kyd's The Spanish Tragedy to Shakespeare's Hamlet, the Elizabethan stage was awash with the bloody business of revenge. Revenge was dramatic, theatrical and hugely popular. It also possessed a fresh psychological depth in the way vengeful minds were portrayed through a new dramatic device: the soliloquy. But these tales of troubled individuals, of family wrongs and the iniquities of power also spoke to an audience for whom the vengeful codes of medieval England were being replaced by Tudor legal systems, by bureaucracy and the demands of the state above those of the individual. Therefore, the heady brew of hatred, madness, violence, evil deeds and righteous anger found on stage reflected the passing of something off stage.Jonathan Bate is Professor of Shakespeare and Renaissance Literature at the University of Warwick; Julie Sanders is Professor of English Literature and Drama at the University of Nottingham; Janet Clare is Professor of Renaissance Literature at the University of Hull.

Melvyn Bragg and guests Steve Jones, Bill Amos and Eleanor Weston discuss the evolutionary history of the whale. The ancestor of all whales alive today was a small, land-based mammal with cloven hoofs, perhaps like a pig or a big mole. How this creature developed into the celebrated leviathan of the deep is one of the more extraordinary stories in the canon of evolution. The whale has undergone vast changes in size, has moved from land to water, lost its legs and developed specialised features such as filter feeding and echo location. How it achieved this is an exemplar of how evolution works and how natural selection can impose extreme changes on the body shape and abilities of living things. How the story of the whales was pieced together also reveals the various forms of evidence - from fossils to molecules - that we now use to understand the ancestry of life on Earth.Steve Jones is Professor of Genetics at University College London; Eleanor Weston is a mammalian palaeontologist at the Natural History Museum, London; Bill Amos is Professor of Evolutionary Genetics at Cambridge University.

Melvyn Bragg and guests David Bradshaw, Daniel Pick and Michele Barrett discuss Aldous Huxley's dystopian 1932 novel, Brave New World. In Act V Scene I of Shakespeare's The Tempest, the character Miranda declares 'O wonder! How many Godly creatures are there here! How beauteous mankind is! O Brave new world! That has such people in it!'. It is perhaps the only line of Shakespeare to be made famous by someone else, for Brave New World is not associated with Prospero's Island of sprites, magic and wondrous noises, but with Aldous Huxley's dystopia of eugenics, soma and zero gravity tennis. A world, incidentally, upon which literary references to Shakespeare would be entirely lost. Brave New World is a lurid, satirical dystopia in which the hopes and fears of the 1930s are writ large and yet the book seems uncannily prescient about our own time. But why did Huxley feel the need to write it and is Brave New World really as dystopian as we are led to believe?

Melvyn Bragg and guests discuss The School of Athens – the fresco painted by the Italian Renaissance painter, Raphael, for Pope Julius II’s private library in the Vatican. The fresco depicts some of the most famous philosophers of ancient times, including Aristotle and Plato, engaged in discussion amidst the splendour of a classical Renaissance chamber. It is considered to be one of the greatest images in Western art not only because of Raphael’s skill as a painter, but also his ability to have created an enduring image that continues to inspire philosophical debate today. Raphael captured something essential about the philosophies of these two men, but he also revealed much about his own time. That such a pagan pair could be found beside a Pope in private tells of the complexity of intellectual life at the time when classical learning was reborn in what we now call the Renaissance.With Angie Hobbs, Associate Professor in Philosophy at the University of Warwick; Valery Rees, Renaissance scholar and senior member of the Language Department at the School of Economic Science; Jill Kraye, Professor of the History of Renaissance Philosophy and Librarian at the Warburg Institute at the University of London

Melvyn Bragg and guests, including Steve Connor and Lawrence Rainey, discuss TS Eliot's seminal poem The Waste Land and its ambivalence to the modern world of technology, democracy and capitalism that was being forged around it.

Melvyn Bragg discusses the fairy tales of the Brothers Grimm with Juliette Wood, Marina Warner and Tony Phelan. The German siblings who in 1812 published a collection of fairy tales including Rapunzel, Hansel and Gretel, Cinderella and Rumpelstiltskin. But the Grimm versions are surprisingly, sometimes shockingly, different. Cinderella has no fairy godmother, her ugly sisters are not ugly but they do have their eyes pecked out by pigeons. Sleeping Beauty does not have an evil stepmother, Rapunzel is pregnant and Frog Princes do not get kissed but thrown against walls. They may not be the fairy tales as we know them, but without the Brothers Grimm we might not know them at all. But why did two respectable German linguists go chasing after fairy stories, what do the stories tell us about German culture and romantic nationalism at the time and why do these ever-evolving tales of horror, wonder and fantasy continue to hold us in thrall?With Juliette Wood, Associate Lecturer in Folklore at Cardiff University; Marina Warner, Professor in the Department of Literature, Film and Theatre Studies at the University of Essex; Tony Phelan, Professor in German at Keble College, Oxford.

Melvyn Bragg and guests discuss one of the most brilliant and shocking satires ever written in English – Jonathan Swift’s A Modest Proposal. Masquerading as an attempt to end poverty in Ireland once and for all, a Modest Proposal is a short pamphlet that draws the reader into a scheme for economic and industrial horror. Published anonymously but written by Jonathan Swift, A Modest Proposal lays bare the cruel presumptions, unchecked prejudice, the politics and the poverty of the 18th century, but it also reveals, perhaps more than anything else, the character and the mind of Swift himself.With John Mullan, Professor of English at University College London; Judith Hawley, Professor of 18th Century Literature at Royal Holloway, University of London and Ian McBride, Senior Lecturer in the History Department at King’s College London.