In Our Time With Melvyn Bragg Folgen

Melvyn Bragg examines how two writers’ work have been shaped by political oppression and explores whether writers have a political role in modern society. The connection between writers and politics has its roots in classical times, but in the 20th century the writer has been called on as the witness with increasing frequency and intensity. And many times the price of articulation has been severe. In the century in which saw the execution of writers such as Ken Saro Wiwa in Nigeria in 1995, and a fatwa imposed on Salman Rushdie, Melvyn Bragg talks to two writers who between them experienced exile, censorship and the manipulation of authoritarian states - Ariel Dorfman from South America and Nadine Gordimer, the Nobel Prize winner from South Africa, to discuss the writing of fiction and political oppression. What, if any, is the writer’s political role in our world today?With Nadine Gordimer, Nobel Prize-winning South African novelist; Ariel Dorfman, South American journalist, scholar and author of Death and the Maiden.

Melvyn Bragg and guests discuss whether religion can still be seen as a way of interpreting and judging good and evil in modern western civilisation and examines what the discoveries of Darwin and our knowledge of the true physiological nature and history of man has done for us in terms understanding our concepts of good and evil. As we entered the 20th century Nietzsche announced that God is dead. Was his hatred of Christianity a natural consequence of his belief in the unlimited possibility of mankind’s self creation? If we have enough basic self confidence in our own selves, do we need God?Leszek Kolakowski and Galen Strawson map the current terrain of morality as perceived through philosophy, politics and Darwin and Christ.With Leszek Kolakowski, author and Professor of Philosophy, Oxford University; Galen Strawson, author and Fellow and Tutor in Philosophy, Jesus College, Oxford.

Melvyn Bragg and guests discuss the rise in so-called spectacular architecture at the end of the 20th century. Is architecture to do with what we live in, where it’s located, the buildings that accommodate at best so much more than a few private bodies, or is it the spectacular, even show-off, extravagance, even fantasy, of architects - or is it engineers who see the huge swash of public money as an opportunity to plant a place in posterity? Daniel Libeskind has been heralded as one of the greatest architects of his generation and of the latter half of the 20th century. He is the architect of some spectacular buildings - two of which are the Jewish Museum in Berlin and the highly controversial Spiral Extension to London’s own Victoria and Albert Museum, which his critics have described as looking like imploding cardboard boxes.But why are we witnessing at the end of the century a sudden glut of spectacular buildings, such as Libeskind’s? What do they say about the state of contemporary architecture? And do they show a blatant disregard for history? Is it merely‘the architecture of excess in a world of diminishing resources, a chic counterpoint at the end of the 20th century’?With Daniel Libeskind architect of the Jewish Museum in Berlin and the Spiral Extension to London’s Victoria and Albert Museum; Richard Weston, architect and lecturer at De Montfort University.