In Our Time Folgen

Melvyn Bragg and guests discuss the anti slavery novel, 'Uncle Tom's Cabin'. When Abraham Lincoln met the writer Harriet Beecher Stowe after the start of the American Civil War, he reportedly said to her: 'So you're the little lady whose book started this big war'. Stowe's novel Uncle Tom's Cabin, published in 1852, is credited as fuelling the cause to abolish slavery in the northern half of the United States in direct response to its continuation in the South. The book deals with the harsh reality of slavery and the enduring power of Christian faith. It proved to be the bestselling novel of the 19th century, outselling the Bible in its first year of publication. Its fame spread internationally, No other book had portrayed an African-American slave as a central figure who was heroic and Christ-like. Lord Palmerston praised it highly and Tolstoy reportedly said it was his favourite novel. What impact did Uncle Tom's Cabin have on the on the Civil War and the abolition of slavery in 19th century America? How did the book create stereotypes about African Americans, many of which endure to this day? And what was its literary legacy? With Dr Celeste-Marie Bernier, Lecturer in American Studies at the University of Nottingham; Dr Sarah Meer, Lecturer and Director of Studies in English at Selwyn College, University of Cambridge; Dr Clive Webb, Reader in American History at the University of Sussex.

Melvyn Bragg and guests discuss the heart. Aristotle considered the heart to be the seat of thought, reason and emotion. The Roman physician Galen located the seat of the passions in the liver, the seat of reason in the brain, and considered the heart to be the seat of the emotions. It was not until the 17th century that the physician William Harvey wrote in the preface to his thesis On the Motion of the Heart and Blood in Animals, a letter addressed to King Charles I. 'The heart of animals is the foundation of their life, the sovereign of everything within them...from which all power proceeds. The King, in like manner, is the foundation of his kingdom, the sun of the world around him, the heart of the republic, the foundation whence all power, all grace doth flow'. Harvey was probably wise to address the King in this manner, for what he laid out in his groundbreaking text challenged scientific wisdom that had gone unquestioned for centuries about the true function of the heart. Organs had been seen in a hierarchical structure with the heart as the pinnacle. But Harvey transformed the metaphor into something quite different: the heart as a mechanistic pumping device. How had the Ancient Greeks and Islamic physicians understood the heart? What role did the bodily humours play in this understanding? Why has the heart always been seen as the seat of emotion and passion? And why was it that despite Harvey's discoveries about the heart and its function, this had limited implications for medical therapy and advancement? With David Wootton, Anniversary Professor of History at the University of York; Fay Bound Alberti, Research Fellow at the Wellcome Unit for the History of Medicine at the University of Manchester; Jonathan Sawday, Professor of English Studies at the University of Strathclyde.

Melvyn Bragg and guests discuss the mathematical structures that lie within the heart of music. The seventeenth century philosopher Gottfried Leibniz wrote: 'Music is the pleasure the human mind experiences from counting without being aware that it is counting'. Mathematical structures have always provided the bare bones around which musicians compose music and have been vital to the very practical considerations of performance such as fingering and tempo. But there is a more complex area in the relationship between maths and music which is to do with the physics of sound: how pitch is determined by force or weight; how the complex arrangement of notes in relation to each other produces a scale; and how frequency determines the harmonics of sound. How were mathematical formulations used to create early music? Why do we in the West hear twelve notes in the octave when the Chinese hear fifty-three? What is the mathematical sequence that produces the so-called 'golden section'? And why was there a resurgence of the use of mathematics in composition in the twentieth century? With Marcus du Sautoy, Professor of Mathematics at the University of Oxford; Robin Wilson, Professor of Pure Mathematics at the Open University; Ruth Tatlow, Lecturer in Music Theory at the University of Stockholm.