In Our Time: Culture

Melvyn Bragg and guests discuss the achievements of the 19th century literary giant, Charles Dickens. George Bernard Shaw said of Little Dorrit that it was “more seditious than Das Kapital”. We can all think of classic Dickens; the gin palaces, grimy narrow lanes, shoe shine boys sitting in the gutters and the terrible city smog. Silas Wake with his peg leg, young Oliver asking for more. But were these figures fictional agents for the radical change that Bernard Shaw suggests? Or was Dickens a great caricaturist but really a conservative at heart? What kind of person was the man Charles Dickens? And what is his political and literary legacy to our age? With Rosemary Ashton is Professor of English at University College London; Michael Slater is Professor of Victorian Literature at Birkbeck College, University of London and editor of The Dent Uniform Edition of Dickens’ Journalism; John Bowen, Senior Lecturer in English at the University of Keele.

Melvyn Bragg and guests discuss existentialism. Imagine being back inside the bustling cafes on the Left Bank of Paris in the 1930s, cigarette smoke, strong coffee and the buzz of continental voices philosophising about human responsibility and freedom. This kind of talk gave utterance to Existentialism. A twentieth century philosophy of everyday life concerned with the individual, and his or her place within the world. In novels, plays and philosophy, Existentialists try to work out the nature of our existence. As Roquentin says in Sartre’s novel ‘Nausea’, “To exist is simply to be there; what exists appears, lets itself be encountered, but you can never deduce it”.But where did these ideas come from? What do they really mean? And how have they impacted on our lives? With Dr A. C. Grayling, Reader in Philosophy at Birkbeck College, University of London; Christina Howells, Professor of French at the University of Oxford, fellow of Wadham College; Simon Critchley, Professor of Philosophy at the University of Essex and author of A Companion to Continental Philosophy.

Melvyn Bragg and guests discuss the Sonnet, the most enduring form in the poet’s armoury. For over five hundred years its fourteen lines have exercised poetic minds from Petrarch and Shakespeare, to Milton, Wordsworth and Heaney. It has inspired the duelling verse of ‘sonneteering’, encapsulated the political perspectives of Cromwell and Kennedy and most of all it has provided a way to meditate upon love.Dante Gabriel Rossetti called it “the moment’s monument”. What is it about the Sonnet that has inspired poets to bind themselves by its strictures again and again? With Sir Frank Kermode, author of many books including Shakespeare’s Language; Phillis Levin, Poet in Residence and Professor of English at Hofstra University; Jonathan Bate, King Alfred Professor of English at the University of Liverpool.

Melvyn Bragg and guests discuss literary modernism. In James Joyce’s Ulysses he writes, “Greater love than this, he said, no man hath that a man may lay down his wife for a friend. Go thou and do likewise. Thus, or words to that effect, saith Zarathustra, sometime regius Professor of French letters to the University of Oxtail”. It is profane, it gets the Bible wrong on purpose, it nods in the direction of Nietzsche and it doesn’t quite seem to make sense - it must be modernism! The literary movement that embraced Joyce, DH Lawrence, TS Eliot, Virginia Woolf and many others in the early decades of the twentieth century.

Modernism claimed to be revolutionary, and has been accused of being wilfully obscure. Some modernist writers campaigned for the rites of working women, others embraced fascism. What were the movements defining features, and do the questions that exercised the genre at the start of the twentieth century have relevance to us at the beginning of the twenty-first?

With John Carey, Merton Professor of English Literature at Oxford University; Laura Marcus, Reader in English at the University of Sussex; Valentine Cunningham, Professor of English Language and Literature at the University of Oxford.

Melvyn Bragg examines what we know about the life of William Shakespeare. Charles Dickens said of the deeply enigmatic Shakespeare, “It is a great comfort…that so little is known concerning the poet. The life of William Shakespeare is a fine mystery and I tremble every day lest something should turn up”. The mystery may have been a pleasure to Dickens but for forgers, conspiracy theorists and Shakespeare scholars it is a tantalising conundrum that has exercised minds since the day the playwright died. How was the low born son of an illiterate craftsman, with a meagre education, able to write with such skill and erudition? How did a provincial man manage to become so attuned to the politics of kings? And how do we know that the plays that we have are the right plays, written by the right man and published in the form they were written?With Katherine Duncan-Jones, Professor of English at Somerville College, Oxford; John Sutherland; Lord Northcliffe Professor of Modern English at University College, London and textual scholar Grace Ioppolo, lecturer in English at the University of Reading.

Horace Walpole and then Anne Radcliffe appeared to have triggered an anti-enlightenment movement: the Gothic that swept in Coleridge, two Shelleys, Byron, the Brontés, Walter Scott and Dickens, innumerable painters and architects, and even designed the Palace of Westminster itself.In 1765 Horace Walpole bewitched an unprepared public with the first ever Gothic novel The Castle of Ottranto. The poet Thomas Gray complained the novel made him “afraid to go to bed o’ nights”, and wind swept battlements, mysterious apparitions and armour that goes clang in the night has haunted the dungeons of popular culture ever since. But Gothic is more that novels, and from under its swirling cassock the Gothic Revival in architecture became the state style for an Empire, and the high camp of The Monk reached the acme of seriousness under the influence of John Ruskin. So how did the Gothic style manage to both sensationalise the public and form, quite literally the pillars of the establishment? Any why does a style forged in the spectral shadows of the Ages of Enlightenment still hold so such a secure position in popular culture today.With Chris Baldick, Professor of English at Goldsmiths College, London and author of In Frankenstein’s Shadow; A N Wilson, novelist, biographer, journalist and author of God’s Funeral; Emma Clery, senior lecturer in the English Department at Sheffield Hallam University and author of The Rise of Supernatural Fiction.

Melvyn Bragg and guests discuss role of Freudian analysis in understanding the great works of literature. Freud said, “The poets and philosophers before me discovered the unconscious. What I discovered was the scientific method by which the unconscious can be studied”. Psychoanalysis has always been more than a ‘talking cure’ and it has strong ties to literature, but one hundred years after the publication of the first great work of psychoanalysis, The Interpretation of Dreams, critics are putting the scientific basis of Freud’s work in grave doubt and he is in danger of being pitched in with poets. The great American critic Harold Bloom has said “Freud, the writer will survive the death of psychoanalysis”, and the analyst and writer Adam Phillips seems to go further in his new book Promises Promises where he writes, “I think of Freud as a romantic writer, and I read psychoanalysis as poetry, so I don’t have to worry whether it is true or even useful”.So what is the relationship of psychoanalysis to literature, and if it is to be reclassified as literature itself can it still be practised as a talking cure?With Adam Phillips, author of Promises Promises: Essays on Psychoanalysis and Literature; Malcolm Bowie, Marshal Foch Professor of French Literature, Oxford University; Lisa Appignanesi novelist and co-author of Freud’s Women.

Melvyn Bragg and guests discuss the ideals, exponents and legacy of Romanticism. In the space of a few years around the start of the nineteenth century the Romantic period gave us: Wordsworth, Coleridge, Blake, Burns, two Shelleys, Keats, De Quincey, Carlyle, Byron, Scott… the list goes on and on. And the poems: The Rhyme of the Ancient Mariner, Ode to a Nightingale, Tintern Abbey, Ozymandias, Don Juan… they make up some of the best known and most enjoyed works of literature in the English language. How do we explain what seems to be an extraordinary explosion of talent? Were the Romantics really a movement with their own philosphy and ideals? And when its adherents often died so tragically young, and its poems often seem so steeped in nostalgia and so wrapped in the transcendental, is Romanticism really good for you in a modern world? With Jonathan Bate, Professor of English, University of Liverpool; Rosemary Ashton, Professor of English, University College London; Nicholas Roe, Professor of English, University of St Andrews.

Melvyn Bragg and guests discuss the history of London. To T.S.Eliot it was the “Unreal City”, to Wordsworth “Earth has not anything to show more fair” but to Shelley, “Hell is a city much like London”. At the start of this twenty-first century the capital city covers an area of 625 square miles, is home to 7 million souls, and has an economy which at more than £115 billion is larger than that of Saudi Arabia, Ireland or Singapore. Is this modern metropolis still the place that the poets described? Can there be such a thing as a history of a city, which in each generation sucks in its communities from around the country and around the globe? In a city whose buildings have been razed, whose people have been decimated and whose borders have been dramatically redrawn, what is there that connects it to its own past?With Peter Ackroyd, author of London: The Biography; Claire Tomalin, author and biographer of Samuel Pepys; Iain Sinclair, poet, novelist and author of Liquid City and Lights Out for the Territory.

Melvyn Bragg and guests discuss biography which sells more books now than ever before; last year people in this country spent 115 million pounds on 12 and a half million copies of biographies. And it’s not just in Britain that life stories are popular; the United States Library of Congress found recently that in the previous six months more people had read a biography than any other kind of book. But what drives this fascination in the lives of others; lives which have often long since passed. Why do the literary studies of often long dead characters make such popular books? And what is the role of the biographer who provides that account? Truthful chronicler, or inevitably biased re-inventor?With Richard Holmes, writer, biographer and the author of Sidetracks:Explorations of a Romantic Biographer; Nigel Hamilton, biographer, Director of the British Institute of Biography and Professor of Biography, De Montfort University, Leicester; Amanda Foreman, biographer of Georgiana, Duchess of Devonshire.