In Our Time With Melvyn Bragg Folgen

Melvyn Bragg examines the technological advances and ethics of modern medicine. On an average working day about three quarters of a million of us go to the doctor’s. About a hundred thousand are visited by nurses and other health professionals. Then there are the three hundred thousand that go to the dentist. Health is a central preoccupation. It is also big business, saving life, lengthening life and even promising a stab at eternal life. Yet while some technology is Space Age, the morality is often not far away from the Stone Age. Who decides who lives or dies? Insurance firms, for instance, want genetic information - should they have it? Stem cell research - hailed by many as an extraordinary advance - now runs into conflict with those who do not want the human embryo to be, as they see it, abused. In the 16th century Francis Bacon told us in his Advancement of Learning “Medicine is a science which hath been more professed than laboured, and yet more laboured than advanced: the labour having been, in my judgement, rather in a circle than in a progression”. Well, after a century that has brought us penicillin, the discovery of DNA, heart transplants and key-hole surgery, have we finally escaped the loop? Or does our ethical application of what we can technologically achieve mean we are marching in Bacon’s circle still? With Barry Jackson, consultant surgeon and President of the Royal College of Surgeons of England; Professor Sheila McLean, Director of the Institute of Law and Ethics in Medicine, Glasgow University.

Melvyn Bragg and guests discuss childhood. The 20th Century was proclaimed the Century of the Child. It has been much else but in the western world the position, the possibilities, the meaning and the story of childhood have been changed, for many, monumentally. Children join the workforce much later, they are born into smaller, usually more affluent families than a hundred years ago, they tend to spend their parents’ money rather than contributing to the family coffers, they are handed over to the school for what used to be called the best years of their lives. Children have been involved in a spectacular journey in the last hundred years. St Paul wrote to the Corinthians: “When I was a child, I spake as a child, I understood as a child, I thought as a child: But when I became a man, I put away childish things”. But is it really as simple as that, can one always make such a clear distinction between childhood and being an adult, and is such a division even desirable?For most of this century - in the Western World - childhood has been another country with different laws and separate truths, it is something we either feel we missed or somewhere to which we long to return. Has it always been such a cherished state and do our endless machinations to keep childhood special actually help the individual? With Christina Hardyment, social historian and author of The Future of the Family; Dr Theodore Zeldin, Senior Fellow, St Anthony’s College, Oxford and author of An Intimate History of Humanity.

Melvyn Bragg and guests discuss the history of the ancient genre of tragedy and examines whether we have a psychological need for it, either as catharsis or Schadenfreude. You could be forgiven for thinking that in our century, of all centuries, the notion of the death of a tragedy would be comical. But there is a view that in its broad theatrical sense, tragedy, as defined by Aristotle and accepted to the time of Racine, has indeed lost its place and power as a form. Aristotle in his poetics held that tragedy figured men and women, often greater than ourselves, heroic, whose fall excited sensations of pity and fear which purged the emotions in the spectator, provoking a catharsis. And Chaucer defined it as a story “of hym that stood in greet prosperitee/And is yfallen from heigh degree/Into myserie, and endeth wretchedly”. Tragedy has been redefined many times and in many ages, but does it have a place in our own time? Or is the genre “dead for a ducat”. Not in life - the twentieth century is a monument to tragedy - but in art.With Professor George Steiner, critic, Extraordinary Fellow, Churchill College, Cambridge and author of The Death of Tragedy; Professor Catherine Belsey, Chair of the Centre for Critical and Cultural Theory, University of Cardiff and author of The Subject of Tragedy.