Melvyn Bragg and guests discuss the Renaissance, which was first given its role as the birth place of modern man by the nineteenth century historian Jacob Burckhardt. At the start of his immensely influential Civilisation of the Renaissance in Italy, he wrote “In the Middle Ages both sides of human consciousness - that which was turned within as that which was turned without - lay dreaming or half awake beneath a common veil. The veil was woven of faith, illusion, childish prepossession, through which the world and history were seen clad in strange hues…In Italy this veil first melted into air” But is the Renaissance really a cultural miracle, and is it fair to think of medieval thought as being ‘obscured by a veil’? Should we even call the period around the fifteenth century the Renaissance when the very word implies that culture, for a thousand years, has been dead? What if our idea of the Renaissance is completely wrong? With Francis Ames-Lewis, Professor of History of Art, Birkbeck College; Peter Burke, Professor of Cultural History and Fellow of Emmanuel College, University of Cambridge; Dr Evelyn Welch, Reader in the History of Art, University of Sussex.

Melvyn Bragg and guests discuss the American Ideal. The Twentieth Century has been called the American Century, and you don’t have to look very far to see the evidence of its enormous success. In 1919 President Woodrow Wilson said; “Sometimes people call me an idealist. Well that is the way I know I am an American. America is the only idealistic nation in the world”. America is the world’s popular culture and its centre of the expensive higher sciences and scholarship. Its riches would make Midas weep in disbelief. Its contradictions grind the molars of intellectuals, critics within without. But its imperial, seemingly unassailable fortress is swollen with many treasures and open to many weaknesses.What is the ideal that underwrites that idealism and how has it driven the phenomenal influence that the USA has gained culturally, economically and diplomatically across the globe? And was it ever ideal and is it ideal any longer?With Christopher Hitchens, writer, journalist and author of No One Left to Lie To: The Triangulations of William Jefferson Clinton; John Keane, Professor of Politics, University of Westminster and Director of the Centre for the Study of Democracy; Susan Sontag, cultural critics and essayists, and author of the novel In America.

Melvyn Bragg and guests discuss the work of William Shakespeare. He was nominated as the Man of the last Millennium and he steps into this one - on film, on stage, in academia, in schools, in private passions, probably in song and dance as well - every bit as briskly as he did in 1600. He's been called our greatest living playwright. We are told he taught us how to be modern. That he is the true Bible of our times. We are also told that his work is irrelevant to a massive percentage of the population, sandbanked by critics, neutered by establishments and, above all, embalmed in a cargo of language increasingly out of reach and ken of those who might heave him up the next century. William Shakespeare 'was not of an age, but for all time' according to Ben Johnson. That was in the seventeenth century and it's a claim that has often been repeated since, but is it really true? Is what we see in theatre and increasingly at the cinema the work of a playwright whose works live on, or are we merely watching historical reconstructions - museum pieces - with any contemporary meaning obscured by the reverence we pay to the author? And if Shakespeare is for all time, what is it about him that makes him so eternally special?With Professor Sir Frank Kermode, literary critic and author of Shakespeare's Language; Michael Bogdanov, theatre, television, opera and film director and a founder member of the English Shakespeare Company; Germaine Greer, Professor of English and Comparative Studies, Warwick University.

Melvyn Bragg and guests discuss Death, what the 16th century philosopher Frances Bacon called, ‘the least of all evils’. A subject which has provoked thousands of reflections which live on: How has the perception, dread or even desire for our own endings shaped the development of the culture of Europe and the West, from funeral rituals to Gothic novels, to the Aids fiction and fact of today. From the celebration of the passage of a soul to the grief of the loss of a body. And how have different eras addressed the essential existential problems that death presents us with?With Jonathan Dollimore, Professor of English, York University; Thomas Lynch, poet, essayist, funeral director and author of The Undertaking - Life Studies from the Dismal Trade; Marilyn Butler, Professor of English Literature and Rector of Exeter College, Oxford.

Melvyn Bragg and guests discuss the characteristics of the English identity. “An Englishman’s word is his bond”, “An Englishman’s home is his castle”. “England is a nation of shopkeepers”, but also “the most exclusive club there is”. To Cecil Rhodes to be an Englishman was to have “won first prize in the lottery of life” but to Jonathan Swift the English were “the most pernicious race of odious vermin that nature ever suffered to crawl upon the surface of the earth”. Organised, effete, cruel, brave, inventive, determined …Who are the English? And when, how and in what heat was their English identity forged? Britain has now the highest percentage of inter-racial marriages in the world. Does that say as much about the English as their previously branded characteristics of gravity, sense of order, domesticity and propriety? What was Englishness and is it possible now to define it in anything more than the loosest and baggiest terms?With Paul Langford, Professor of Modern History, University of Oxford; Peter Mandler, Professor of Modern History at London Guildhall University; Professor Lola Young Director of the National Museum and Archives of Black History and Culture.

Melvyn Bragg examines materialism and the consumer. Does consumerism - as a cult, a fact, a need, a religion - threaten culture as we have known it, individuality as we desire it, life as we aspire to its best condition? Is the march of Mammon an army of jack-booted businessmen, using the propaganda of advertising and the seduction of the supermarket to trample us into submission, and into the worshipping of the great god - Buy? Or is the consumer the new source of power? A truer, more democratic individual freedom? Wordsworth prophesied much current criticism of consumerism when he wrote “The world is too much with us; late and soon,/getting and spending we lay waste our powers: Little we see in Nature that is ours:/We have given our hearts away, a sordid boon!”. How has ‘getting and spending’ come to enjoy the place of importance it holds in our lives, and why have we so often seen shopping as in opposition to some notion of our ‘true natures’?With Rachel Bowlby, Professor of English, University of York and author of Carried Away: The Invention of Modern Shopping; William Gibson, science fiction writer and author of Neuromancer and All Tomorrow’s Parties.

Melvyn Bragg and guests discuss the Roman poet Ovid and explore the theme of metamorphosis from the transformation of Narcissus to the bug of Kafka’s story, and beyond. Ovid wrote at the beginning of The Metamorphoses - in Ted Hughes’ wonderful version - “now I am ready to tell how bodies are changed/Into different bodies/I summon the supernatural beings/who first contrived/The transmogrifications/In the stuff of life./You did it for your own amusement./Descend again, be pleased to reanimate/this revival of those marvels.”And descend they did: The metamorphoses is an extraordinarily wide sweep through the teeming, changing world of Roman and Greek mythology.The tales were immensely popular in their own day, they were an inspiration to Chaucer, Ovid was Shakespeare’s favourite poet, and two thousand years after they were written the stories of shape changing still seem relevant: Ted Hughes won the Whitbread Book of the Year with his translation of Tales from Ovid in 1997, and a new collection called Ovid Metamorphosed has garnered versions of the tales from authors and poets from all over the world.With A S Byatt, novelist and one of the contributors to Ovid Metamorphosed; Dr Catherine Bates, critic and Research Fellow, University of Warwick.

Melvyn Bragg and guests discuss the history of the politics and practice of reading. Gustave Flaubert’s sage advice to us was: “Do not read, as children do, to amuse yourself, or like the ambitious, for the purpose of instruction. No, read in order to live.”Advice on reading - good and bad - litters the ages, from the Catholic Church refusing to translate the Bible into modern languages, to 18th century women being warned that injudicious reading could turn them to prostitution or worse. It seems that as soon as the written word was invented it came with a health warning. But thankfully, throughout the history of reading from the invention of the printing press onwards, much of that advice has been completely ignored. From the prayer wheel of medieval England to the electronic book, how has the process of reading has changed over time? How will tomorrow’s readers compare to those of the past, and is what we read today - and how we read it - essential or peripheral to the people we become?With Kevin Sharpe, Professor of History, University of Southampton; Jacqueline Pearson, Professor of English Literature, Manchester University.

Melvyn Bragg investigates masculinity in literature. Ernest Hemingway wrote in The Old Man and the Sea, “A man can be destroyed but not defeated”. In a time when traditional male roles have been systematically challenged it is a sentiment that seems to come from a strangely distant past, and the men that inhabit fiction today can seem a world away from Hemingway’s brave heroes - although we must remember James Bond and Hannibal Lecter. But has there been a change in the last century in literary fiction or does that one strand not stand for more than a small part of the equation? One of the successful liberating movements of the twentieth century was the increasing enfranchisement of women. Accompanying, perhaps consequent on this, in some fiction at any rate, were signs of the de-testosteroning of man. Are the ideals of masculinity that underlie the portrayal of men by today’s authors so very different from the images of men from earlier in the twentieth century? And is there a British literary ideal of man that is at odds with its American counterpart?With Martin Amis, author of Money, Success and The Information; Cora Kaplan, feminist cultural critic and Professor of English, Southampton University.

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.