In Our Time: Culture

Melvyn Bragg and his guests discuss the history of metaphor. In Shakespeare's As You Like It, the melancholy Jaques declares: "All the world's a stage/And all the men and women merely players." This is a celebrated use of metaphor, a figure of speech in which one thing is used to describe another. Metaphor is a technique apparently as old as language itself; it is present in the earliest surviving work of literature, the Epic of Gilgamesh. Homer developed it into an art form, and his invention of the epic simile was picked up by later writers including Milton. In the Middle Ages the device of allegory underpinned much of French and English writing, while the Metaphysical poets employed increasingly elaborate metaphorical conceits in the sixteenth century. In the age of the novel the metaphor once again evolved, while the Modernist writers used it to subvert their readers' expectations. But how does metaphor work, and what does this device tell us about the way our minds function?With:Steven ConnorProfessor of Modern Literature and Theory at Birkbeck, University of LondonTom HealyProfessor of Renaissance Studies at the University of SussexJulie SandersProfessor of English Literature and Drama at the University of NottinghamProducer: Thomas Morris.

Melvyn Bragg and his guests discuss the unicorn. In the 5th century BC a Greek historian, Ctesias, described a strange one-horned beast which he believed to live in a remote area of India. Later classical scholars, including Aristotle and Pliny, added to his account of this animal which they called the monoceros, a vicious ass-like creature with a single horn in the middle of its forehead.For centuries the monoceros or unicorn was widely accepted to be a real - if rarely seen - beast. It appears in the Bible, and in the Middle Ages became a powerful Christian symbol. It continued to be represented in art and literature throughout the Renaissance, when 'unicorn horn' became one of the most valuable commodities on earth, thanks to its supposed properties as an antidote to poison. As late as the seventeenth century, scientists believed they had found conclusive proof of the existence of unicorns. It was some time before the animal was shown to be a myth; four hundred years on, the unicorn retains much of its fascination and symbolic power.With:Juliette WoodAssociate Lecturer in Folklore at Cardiff UniversityLauren KassellLecturer in the History and Philosophy of Science at the University of CambridgeDavid EkserdjianProfessor of the History of Art and Film at the University of Leicester.Producer: Thomas Morris.

Melvyn Bragg and his guests discuss the artistic movement known as Sturm und Drang.In the 1770s a small group of German writers started to produce plays, poetry and novels which were radically different from what had gone before. These writers were all young men, and they rejected the values of the Enlightenment, which they felt had robbed art of its spontaneity and feeling. Their work was passionate, ignored existing conventions and privileged the individual's free will above the constraints of society.The most prominent member of the movement was Johann von Goethe, whose novel The Sorrows of Young Werther became its most notable success, translated into more then thirty languages. Despite this and other successes including Schiller's play The Robbers, the Sturm und Drang disappeared almost as quickly as it had emerged; by the mid-1780s it was already a thing of the past.With:Tim BlanningEmeritus Professor of Modern European History at Cambridge UniversitySusanne KordProfessor of German at University College, LondonMaike Oergel Associate Professor of German at the University of NottinghamProducer: Thomas Morris.

Melvyn Bragg discusses 'Lives of the Artists' - the great biographer Giorgio Vasari's study of Renaissance painters, sculptors and architects. In 1550 a little known Italian artist, Giorgio Vasari, published a revolutionary book entitled 'Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times'. In it he chronicled the evolution of Italian art from the early pioneer Giotto to the perfection of Michelangelo.For the first time, Vasari set out to record artists' eccentricities and foibles as well as their artistic triumphs. We learn that the painter Piero di Cosimo was scared of the sound of bells, and witness Donatello shouting at his statues. But amongst these beguiling stories of human achievement, Vasari also explained his own theory of what made great art.In more recent decades, Vasari has been criticised for not allowing factual accuracy to get in the way of a good story. Nonetheless, the influence of his work has been unparalleled. It has formed and defined the way we think about Renaissance art to this day and some credit him with being the founder of the discipline of the history of art. Few artists that Vasari criticised have been comprehensively rehabilitated and Vasari's semi-divine trio of Michelangelo, Raphael and Leonardo are still seen as the apotheosis of artistic perfection. With:Evelyn WelchProfessor of Renaissance Studies and Academic Dean for Arts at Queen Mary, University of LondonDavid EkserdjianProfessor of History of Art and Film at the University of LeicesterMartin KempEmeritus Professor in the History of Art at the University of OxfordProducer: Thomas Morris.

Melvyn Bragg and guests discuss Roman Satire. Much of Roman culture was a development of their rich inheritance from the Greeks. But satire was a form the Romans could claim to have invented. The grandfather of Roman satire, Ennius, was also an important figure in early Roman literature more generally. Strikingly, he pioneered both epic and the satirical mockery of epic.But the father of the genre, Lucilius, is the writer credited with taking satire decisively towards what we now understand by the word: incisive invective aimed at particular personalities and their wrongs.All this happened under the Roman Republic, in which there was a large measure of free speech. But then the Republic was overthrown and Augustus established the Empire.The great satirist Horace had fought to save the Republic, but now reinvented himself as a loyal citizen of the Imperium. His satirical work explores the strains and hypocrisies of trying to maintain an independent sense of self at the heart of an autocracy.This struggle was deepened in the work of Persius, whose Stoicism-inflected writing was a quietist attempt to endure under the regime without challenging it.The work of the last great Roman satirist, Juvenal, was famously savage - yet his targets were either generic or long dead. So was satire a conservative or a radical genre? Was it cynical or did it aim to 'improve' people? Did it have any real impact? And was it actually funny?With:Mary BeardProfessor of Classics at Cambridge UniversityDenis FeeneyProfessor of Classics and Giger Professor of Latin at Princeton UniversityDuncan KennedyProfessor of Latin Literature and the Theory of Criticism at the University of BristolProducer: Phil Tinline.

Melvyn Bragg and guests David Jackson, Dorothy Rowe and Alastair Wright discuss the work of the Norwegian artist Edvard Munch, focusing on his most famous painting, The Scream.First exhibited in 1893 in Berlin, The Scream was the culmination of Munch's magnum opus, a series of paintings called The Frieze of Life. This depicted the course of human existence through burgeoning love and sexual passion to suffering, despair and death, in Munch's highly original, proto-expressionist style. His titles, from Death in the Sickroom, through Madonna to The Vampire, suggest just how directly and unironically he sought to depict the anxieties of late-19th century Europe.But against all Munch's images, it is The Scream which stands out as the work which has seared itself into the Western imagination. It remains widely celebrated for capturing the torment of existence in what appeared to many in Munch's time to be a frightening, godless world.Munch himself endured a childhood beset by illness, madness and bereavement. At 13, he was told by his father that his tuberculosis was fatal. But he survived and went on to become a major figure first in the Norwegian, then the European, avant-garde. He became involved with two of the great playwrights of the period. He collaborated with his fellow countryman Henrik Ibsen and became a close friend of the tempestuous Swede August Strindberg. He admired the work of Post-Impressionist painters such as Paul Gauguin and Vincent van Gogh and the philosophy of Friedrich Nietzsche, all of whom influenced his art. Munch's own influence resonated through the 20th century, from German Expressionism to Andy Warhol and beyond. His work, particularly The Scream, remains powerful today.David Jackson is Professor of Russian and Scandinavian Art Histories at the University of Leeds; Dorothy Rowe is Senior Lecturer in the History of Art at the University of Bristol; Alastair Wright is University Lecturer in the History of Art at St John's College, University of Oxford.

Melvyn Bragg and guests Rosemary Ashton, Dinah Birch and Valentine Cunningham discuss George Eliot's novel Silas Marner.Published in 1861, Silas Marner is by far Eliot's shortest and seemingly simplest work. Yet beneath the fairytale-like structure, of all her novels it offers the most focused expression of Eliot's moral view. Influenced by the deconstruction of Christianity pioneered by leading European thinkers including Auguste Comte and Ludwig Feuerbach, Silas Marner is a highly sophisticated attempt to translate the symbolism of religion into purely human terms.The novel tells the story of Silas, a weaver who is thrown out of his religious community after being falsely charged with theft. Silas is embittered and exists only for his work and his precious hoard of money - until that money is stolen, and an abandoned child wanders into his house.By the end of her lifetime, George Eliot was the most powerful female intellectual in the country. Her extraordinary range of publications encompassed novels, poetry, literary criticism, scientific and religious texts. But beneath her fierce intellecualism was the deep convinction that for society to continue, humans must connect with their fellow humans. And it is this idea that forms the core of her writing.Rosemary Ashton is Quain Professor of English Language and Literature at University College, London; Dinah Birch is Professor of English at Liverpool University; And Valentine Cunningham is Professor of English Language and Literature at Corpus Christi, University of Oxford.

Melvyn Bragg and guests Gregory Irvine, Nicola Liscutin and Angus Lockyer discuss the history of the Samurai and the role of their myth in Japanese national identity.The Samurai have a fearsome historical reputation as a suicidally brave caste of Japanese warriors. During World War Two, kamikaze pilots were photographed climbing into their cockpits with Samurai swords, encapsulating the way the myth of the Samurai's martial ethos kept its power long after their heyday. But the Samurai's role in Japanese culture is much more complex than that. They were deeply engaged with Zen Buddhism and Noh Theatre, and sponsored haiku poetry. After their role in Japan's century of civil war, ending in the early 1600s, they became part of the country's civil service. A 250-year peace toppled them into identity crisis.In the 19th century, with the arrival of the West, they played an important role in the establishment of a Japanese nation-state, not least by restoring the Emperor to power. And in the 20th century the mythological version of the Samurai, designed in part for Western consumption, became integral to a newly forged national identity.Nicola Liscutin is Programme Director of Japanese Studies at Birkbeck College, University of London; Gregory Irvine is Senior Curator Japan at the Victoria and Albert Museum; Angus Lockyer is Lecturer in Japanese History and Chair of the Japan Research Centre at the School of Oriental and African Studies, University of London.

Melvyn Bragg and guests Roy Foster, Jeri Johnson and Katherine Mullin discuss A Portrait of the Artist as a Young Man, James Joyce's groundbreaking 1916 novel about growing up in Catholic Ireland.Many novelists choose their own young life as the subject for their first book. But very few have subjected themselves to the intense self-scrutiny of the great Irish novelist James Joyce. In A Portrait of the Artist as a Young Man, published in 1916, Joyce follows his alter ego, Stephen Dedalus, from babyhood to young adulthood. He takes us from Stephen wetting the bed, through a teenage visit to a prostitute, and on through religious terrors to the prospect of freedom. When it was published, the book met with shock at its graphic honesty. Joyce shows Stephen wrestling with the pressures of his family, his Church and his nation. Yet this was far from being a straightforward youthful tirade. Joyce's novel is also daringly experimental, taking us deep into Stephen's psyche. And since its publication almost a century ago, it has had a huge influence on novelists across the world.With: Roy Foster, Carroll Professor of Irish History and Fellow of Hertford College, OxfordJeri Johnson, Senior Fellow in English at Exeter College, OxfordKatherine Mullin, Senior Lecturer in English Literature at the University of Leeds.

Melvyn Bragg and guests Jonathan Bate, Julie Sanders and Janet Clare discuss Elizabethan and Jacobean revenge tragedy. From Thomas Kyd's The Spanish Tragedy to Shakespeare's Hamlet, the Elizabethan stage was awash with the bloody business of revenge. Revenge was dramatic, theatrical and hugely popular. It also possessed a fresh psychological depth in the way vengeful minds were portrayed through a new dramatic device: the soliloquy. But these tales of troubled individuals, of family wrongs and the iniquities of power also spoke to an audience for whom the vengeful codes of medieval England were being replaced by Tudor legal systems, by bureaucracy and the demands of the state above those of the individual. Therefore, the heady brew of hatred, madness, violence, evil deeds and righteous anger found on stage reflected the passing of something off stage.Jonathan Bate is Professor of Shakespeare and Renaissance Literature at the University of Warwick; Julie Sanders is Professor of English Literature and Drama at the University of Nottingham; Janet Clare is Professor of Renaissance Literature at the University of Hull.