In Our Time With Melvyn Bragg

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In Our Time With Melvyn Bragg

Melvyn Bragg and his guests discuss the history of ideas - including topics drawn from philosophy, science, history, religion and culture.

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  • Folge vom 08.04.2010
    William Hazlitt
    Melvyn Bragg and guests discuss the life and works of William Hazlitt. Hazlitt is best known for his essays, which ranged in subject matter from Shakespeare, through his first meeting with Samuel Taylor Coleridge, to a boxing match. What is less well-known, however, is that he began his writing life as a philosopher, before deliberately abandoning the field for journalism. Nonetheless, his early reasoning about the power of the imagination to take human beings beyond narrow self-interest, as encapsulated in his 'Essay on the Principles of Human Action', shines through his more popular work.Hazlitt is a figure full of contradictions - a republican who revered Napoleon, and a radical who admired the conservative philosopher Edmund Burke. His reputation suffered terribly from his book 'Liber Amoris', a self-revealing memoir of his infatuation with his landlady's daughter. But in the Victorian and Edwardian eras, his importance was acknowledged by writers like Charles Dickens, Robert Louis Stevenson and Ford Madox Ford. In the 180 years since his death, his stature as perhaps the finest essayist in the language has grown and grown. With:Jonathan BateProfessor of English Literature at the University of Warwick Anthony GraylingProfessor of Philosophy at Birkbeck College, University of LondonUttara NatarajanSenior Lecturer in the Department of English and Comparative Literature at Goldsmiths College, University of LondonProducer: Phil Tinline.
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  • Folge vom 01.04.2010
    The City - a history, part 2
    Melvyn Bragg presents the second of a two part discussion about the history of the city. George Stephenson invented rail transport in the north-east of England in the 1820s, but it was not until over twenty years later that rail networks began to spring up to ferry workers in and out of the centre of British cities. When they did, this had a vast, transforming effect on the whole nature of cities - taking the pressure off dense, overcrowded central areas, but helping cities like London explode outwards.Victorian London was widely held at the time to be rather chaotic - especially in comparison with the grandiose, highly-orchestrated developments in continental European cities like Paris and Barcelona.The process of transformation was given another fillip by the introduction of the motor car. In this, the final part of a two-part special edition of 'In Our Time' exploring the development of cities, we're going to examine how Stephenson's invention transformed cities almost beyond recognition, and follow the story up to the present day.Peter Hall is Professor of Planning and Regeneration at The Bartlett School of Planning, University College London; Tristram Hunt is lecturer in History at Queen Mary College at the University of London; and Ricky Burdett is Professor of Urban Studies at the London School of Economics.
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  • Folge vom 25.03.2010
    The City - a history, part 1
    Melvyn Bragg presents the first of a two-part discussion about the history of the city. With Peter Hall, Julia Merritt and Greg Woolf.The story of cities is widely held to begin in the 8th millennium BC in Mesopotamia. By 4000 BC, there were cities in the Indus Valley, by 3000 BC in Egypt, and by 2000 BC in China. What happened in the west was the furthest ripple of that phenomenon. In 1000 BC Athens still only had a population of one thousand. At its height, Athens' position as a powerful Mediterranean trading city allowed it to become the birthplace of much that would later characterise western cities, from politics through architecture to culture. Then, early in the first millenium AD, the world saw its first million-strong city: Rome. Maintaining a population of this size required stupendous feats of organisation and ingenuity. But in following centuries, as Rome declined and fell, the city itself, in the west at least, declined too; power emanated from kings and their mobile courts, rather than particular settlements.In China, urban trading posts continued to flourish, but their innovative energy dwindled before the end of the first millennium. Between 1150 and the onset of the Black Death in 1350, the city underwent a resurgence in Europe. City-states developed in Italy and in Germany. At this stage, there was no omnipotent power-centre to match Ancient Rome. But with the growth of sea and then ocean trade, and the centralisation of power in capitals ruling nation-states, cities like London, Paris, Madrid, Amsterdam and St Petersburg became increasingly wealthy, dynamic and ostentatious. By 1801, one of these - London - finally matched Ancient Rome's peak population of a million. Along the way, the city had become an ideal to be revered and a spectre to be feared.Peter Hall is Professor of Planning and Regeneration at The Bartlett School of Planning, University College London; Julia Merritt is Associate Professor of History at the University of Nottingham; Greg Woolfis Professor of Ancient History at the University of St Andrews.
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  • Folge vom 18.03.2010
    Munch and The Scream
    Melvyn Bragg and guests David Jackson, Dorothy Rowe and Alastair Wright discuss the work of the Norwegian artist Edvard Munch, focusing on his most famous painting, The Scream.First exhibited in 1893 in Berlin, The Scream was the culmination of Munch's magnum opus, a series of paintings called The Frieze of Life. This depicted the course of human existence through burgeoning love and sexual passion to suffering, despair and death, in Munch's highly original, proto-expressionist style. His titles, from Death in the Sickroom, through Madonna to The Vampire, suggest just how directly and unironically he sought to depict the anxieties of late-19th century Europe.But against all Munch's images, it is The Scream which stands out as the work which has seared itself into the Western imagination. It remains widely celebrated for capturing the torment of existence in what appeared to many in Munch's time to be a frightening, godless world.Munch himself endured a childhood beset by illness, madness and bereavement. At 13, he was told by his father that his tuberculosis was fatal. But he survived and went on to become a major figure first in the Norwegian, then the European, avant-garde. He became involved with two of the great playwrights of the period. He collaborated with his fellow countryman Henrik Ibsen and became a close friend of the tempestuous Swede August Strindberg. He admired the work of Post-Impressionist painters such as Paul Gauguin and Vincent van Gogh and the philosophy of Friedrich Nietzsche, all of whom influenced his art. Munch's own influence resonated through the 20th century, from German Expressionism to Andy Warhol and beyond. His work, particularly The Scream, remains powerful today.David Jackson is Professor of Russian and Scandinavian Art Histories at the University of Leeds; Dorothy Rowe is Senior Lecturer in the History of Art at the University of Bristol; Alastair Wright is University Lecturer in the History of Art at St John's College, University of Oxford.
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