In Our Time: Culture

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.

Melvyn Bragg and guests discuss the development and the future of the novel. D.H. Lawrence was proud of his job, he said: “I am a man, and alive…for this reason I am a novelist. And being a novelist, I consider myself superior to the saint, the scientist, the philosopher, and the poet, who are all great masters of different bits of man alive, but never get the whole hog”. Fiction pours from the presses and in number of titles, this must be the most prolific of novel-producing ages. But are they as good as in the golden age, or the silver, or the bronze, or the steam age? And do they signify? Is technology marginalising the novel or is it still the greatest way of telling a story?Despite many premature declarations of its demise, (stretching back almost to the date of its birth), the novel has been ‘getting the whole hog’ for hundreds of years. But what makes a novel different from other literature, and can we expect it to be still around, ‘getting the whole hog’ into the next century? With D J Taylor, novelist, critic, biographer of Thackeray and author of After the War; Gillian Beer, King Edward VII Professor of English Literature, Cambridge University and Chairman of the Booker Prize judges 1997.

Melvyn Bragg and guests discuss the relationship between maths and storytelling. Is there a hidden mathematical logic in stories? The American mathematician John Allen Paulos thinks so. It’s an intriguing thought. Patterns, measurement, the logic of jokes, numerology from Leviticus to Alice in Wonderland, but does it really go to the square root of fiction? According to anthropologists, both have similar origins - in our prehistoric ancestors’ need to measure and assess the world around them. Both mathematics and stories need a shape and structure to make any sense. But does it go further than that? Is it possible to apply mathematical logic to literature or to reduce a joke to an algebraic equation? Or are literary imagination and scientific substance irreconcilable?With John Allen Paulos, Presidential Scholar of Mathematics, Temple University, Philadelphia and author of Once Upon a Number - The hidden mathematical logic of stories; Marina Warner, novelist, historian, critic, former Reith Lecturer and Visiting Professor at Birkbeck College, London.

Melvyn Bragg and guests discuss truth, lies and fiction. In 1995 a book appeared which brought its author great acclaim from serious critics, won prizes, stunned its readers and was thought to add significantly and profoundly to the literature of the Holocaust. The book was called Fragments, its author, Binjamin Wilkomirski. But recently the veracity of the account told in Fragments has been questioned by Elena Lappin, the author of an investigative essay published in the literary magazine Granta. When it was exposed as a fiction - or should it be called a lie? - it triggered many arguments, one of which is that of the value of authenticity and the supremacy of originality in the culture of the late twentieth century. Does it really matter if literature isn’t entirely truthful? And is the idea of authenticity in writing a recent invention?With Elena Lappin, novelist and author of an investigative essay published in Granta called ‘Truth and Lies’, where she questions the veracity of the account of the Holocaust in the book Fragments by Binjamin Wilkomirski; Dr Nick Groom, lecturer in English, University of Exeter.

Melvyn Bragg and guests discuss capitalism throughout the last two centuries. In 1848 Karl Marx in The Communist Manifesto described the dynamic force of capitalism as it swept through the 19th century: Constant revolutionising of production, uninterrupted disturbance of all social conditions, everlasting uncertainty and agitation. ‘All that is solid melts into air’. Was Karl Marx, in criticizing capitalism, actually responsible for defining it? From Marx’s critique of capitalism in the 19th Century through to the collapse of Communism at the end of the twentieth century, have we witnessed the triumph of capitalism? Or are we only now learning the full costs and the social impact of unfettered capitalism?With Anatole Kaletsky, economics commentator and Associate Editor of The Times, and author of The Costs of Default and In the Shadow of Debt; Edward Luttwak, Senior Fellow at the Center for Strategic and International Studies, Washington DC and author of Turbo Capitalism: Winners and Losers in the Global Economy.

Melvyn Bragg and guests discuss the British monarchy. In the last two hundred and fifty years, we’ve beheaded one king, exiled another, hired a distant German-speaking dynasty to fill the monarch’s role, and then mocked and ignored them, suffered a mad man and then a lavish sensualist, threatened a young queen, and then, over a century ago, invented a pageantry which brought majesty to a monarchy which is now tilting at the twenty first century against many and mighty odds. How has the monarchy survived since the execution of Charles the First two hundred and fifty years ago and what relevance does it have in a devolved Britain?With Professor David Cannadine, Director of the Institute of Historical Research, London and former Lecturer in History and Fellow, Christ’s College, Cambridge; Bea Campbell, sociologist, journalist and author of Diana, Princess of Wales.

Melvyn Bragg and guests discuss memory. At the start of the twentieth century Freud put memory at the centre of our psychology, and as the century has worn on what a nation remembers and what it should try to forget has become one of the binding political questions that modern societies face. As every second passes, humanity has a moment more to remember, and perhaps this fact alone goes a long way to explaining the ever changing role of memory, both in the mind of individuals and at the heart of the body politic. Memory, what to remember and when to forget, has personal and national implications. Whether we look to Chile, South Africa, Germany or Northern Ireland, these are all societies where the issue of memory is at the centre of the dilemmas and challenges they face. And in the mind of the individual too - as ever more forms of information crowd for space in our minds, and the image from someone else’s photograph can be more enduring than our own first hand experience of an event, can memory itself forever remain unchanged in its role within our psychology? Have our ways of remembering changed? Not in the sense neuro-biologists would explore the subject, but in its cultural and collective, as well as its individual, sense. “Memory is decidedly in fashion” writes Dr Nancy Wood, “whether attention is focused on the so-called return of repressed memories of the abused individual, or on the black holes in a nation’s recollection of its past. The topic of memory has become a compelling preoccupation”. With Professor Malcolm Bowie, Marshall Foch Professor of French Literature at Oxford University and Director of Oxford’s European Humanities Research Centre; Dr Nancy Wood, Chair of Media Studies, University of Sussex and author of Vectors of Memory.

Melvyn Bragg and guests discuss multiculturalism. The divisions between people provoked and exploited because of differences in religion, culture, nationality and race seem to beset the planet the more information technology promises globalisation. A recent estimate put the figure of people living in a country other than the one of their birth at 80 million. Does this mean that, amongst these eighty million people, their country of origin, their sense of self, and their cultural history are no longer as significant as they were? And how are those eighty million people and their descendants accommodated in the country to which they have moved - do their lives exemplify the success of multicultural policies or are they subject to racism? Is it possible to define how attitudes to race and identity have changed this century, given its vast shifts of population, cultures and peoples?With Stuart Hall, former Professor of Sociology, Open University and currently on a Commission set up by the Runnymede Trust looking at the future of multi-ethnic Britain; Dr Avtar Brah, Senior Lecturer in Sociology, Birkbeck College, London University.

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 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.