In Our Time: Culture Folgen

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.