In Our Time: Culture

Melvyn Bragg and guests discuss one of the influential painters at the heart of the French Impressionist movement: Berthe Morisot (1841-1895). The men in her circle could freely paint in busy bars and public spaces, while Morisot captured the domestic world and found new, daring ways to paint quickly in the open air. Her work shows women as they were, to her: informal, unguarded, and not transformed or distorted for the eyes of men. The image above is one of her few self-portraits, though several portraits of her survive by other artists, chiefly her sister Edma and her brother-in-law Edouard Manet. With Tamar Garb Professor of History of Art at University College LondonLois Oliver Curator at the Royal Academy and Adjunct Professor of Art History at the American University of Notre Dame London.AndClaire Moran Reader in French at Queen's University BelfastProducer: Simon Tillotson

Melvyn Bragg and guests discuss George Orwell's (1903-1950) final novel, published in 1949, set in a dystopian London which is now found in Airstrip One, part of the totalitarian superstate of Oceania which is always at war and where the protagonist, Winston Smith, works at the Ministry of Truth as a rewriter of history: 'Who controls the past,' ran the Party slogan, 'controls the future: who controls the present controls the past.' The influence of Orwell's novel is immeasurable, highlighting threats to personal freedom with concepts he named such as doublespeak, thoughtcrime, Room 101, Big Brother, memory hole and thought police.With David Dwan Professor of English Literature and Intellectual History at the University of OxfordLisa Mullen Teaching Associate in Modern Contemporary Literature at the University of CambridgeAndJohn Bowen Professor of English Literature at the University of YorkProducer: Simon Tillotson

Melvyn Bragg and guests discuss the origin of this personification of the English everyman and his development as both British and Britain in the following centuries. He first appeared along with Lewis Baboon (French) and Nicholas Frog (Dutch) in 1712 in a pamphlet that satirised the funding of the War of the Spanish Succession. The author was John Arbuthnot (1667-1735), a Scottish doctor and satirist who was part of the circle of Swift and Pope, and his John Bull was the English voter, overwhelmed by taxes that went not so much into the war itself but into the pockets of its financiers. For the next two centuries, Arbuthnot’s John Bull was a gift for cartoonists and satirists, especially when they wanted to ridicule British governments for taking advantage of the people’s patriotism. The image above is by William Charles, a Scottish engraver who emigrated to the United States, and dates from 1814 during the Anglo-American War of 1812. WithJudith Hawley Professor of 18th Century Literature at Royal Holloway, University of LondonMiles Taylor Professor of British History and Society at Humboldt, University of BerlinAndMark Knights Professor of History at the University of WarwickProducer: Simon Tillotson

Melvyn Bragg and guests discuss the celebrated Welsh poet, Dylan Thomas (1914 - 1953). He wrote some of his best poems before he was twenty in the first half of his short, remarkable life, and was prolific in the second half too with poems such as those set in London under the Blitz and reworkings of his childhood in Swansea, and his famous radio play Under Milk Wood (performed after his death). He was read widely and widely heard: with his reading tours in America and recordings of his works that sold in their hundreds of thousands after his death, he is credited with reviving the act of poetry as performance in the 20th century.WithNerys Williams Associate Professor of Poetry and Poetics at University College DublinJohn Goodby Professor of Arts and Culture at Sheffield Hallam UniversityAndLeo Mellor The Roma Gill Fellow in English at Murray Edwards College, University of CambridgeProducer: Simon Tillotson

Melvyn Bragg and guests discuss two of China’s greatest poets, Li Bai and Du Fu, who wrote in the 8th century in the Tang Era. Li Bai (701-762AD) is known for personal poems, many of them about drinking wine, and for finding the enjoyment in life. Du Fu (712-770AD), a few years younger, is more of an everyman, writing in the upheaval of the An Lushan Rebellion (755-763AD). Together they have been a central part of Chinese culture for over a millennium, reflecting the balance between the individual and the public life, and one sign of their enduring appeal is that there is rarely agreement on which of them is the greater.The image above is intended to depict Du Fu.With Tim Barrett Professor Emeritus of East Asian History at SOAS, University of LondonTian Yuan Tan Shaw Professor of Chinese at the University of Oxford and Professorial Fellow at University CollegeAndFrances Wood Former Curator of the Chinese Collections at the British LibraryProducer: Simon Tillotson

Melvyn Bragg and guests discuss the French playwright who, in 1791, wrote The Declaration of the Rights of Woman and of the Female Citizen. This was Olympe de Gouges (1748-93) and she was responding to The Declaration of the Rights of Man and of the Citizen from 1789, the start of the French Revolution which, by excluding women from these rights, had fallen far short of its apparent goals. Where the latter declared ‘men are born equal’, she asserted ‘women are born equal to men,’ adding, ‘since women are allowed to mount the scaffold, they should also be allowed to stand in parliament and defend their rights’. Two years later this playwright, novelist, activist and woman of letters did herself mount the scaffold, two weeks after Marie Antoinette, for the crime of being open to the idea of a constitutional monarchy and, for two hundred years, her reputation died with her, only to be revived with great vigour in the last 40 years.With Catriona Seth Marshal Foch Professor of French Literature at the University of OxfordKatherine Astbury Professor of French Studies at the University of WarwickAndSanja Perovic Reader in 18th century French studies at King’s College LondonProducer: Simon Tillotson

Melvyn Bragg and guests discuss the influential novella of John Polidori (1795-1821) published in 1819 and attributed first to Lord Byron (1788-1824) who had started a version of it in 1816 at the Villa Diodati in the Year Without A Summer. There Byron, his personal physician Polidori, Mary and Percy Shelley and Claire Clairmont had whiled away the weeks of miserable weather by telling ghost stories, famously giving rise to Mary Shelley's 'Frankenstein'. Emerging soon after, 'The Vampyre' thrilled readers with its aristocratic Lord Ruthven who glutted his thirst with the blood of his victims, his status an abrupt change from the stories of peasant vampires of eastern and central Europe that had spread in the 18th Century with the expansion of the Austro-Hungarian empire. The connection with Lord Byron gave the novella a boost, and soon 'The Vampyre' spawned West End plays, penny dreadfuls such as 'Varney the Vampire', Bram Stoker’s 'Dracula', F.W Murnau's film 'Nosferatu A Symphony of Horror', and countless others.The image above is of Bela Lugosi (1882-1956) as Count Mora in Metro-Goldwyn-Meyer's 'Vampires of Prague' (1935)With Nick Groom Professor of Literature in English at the University of MacauSamantha George Associate Professor of Research in Literature at the University of HertfordshireAnd Martyn Rady Professor Emeritus of Central European History at University College LondonProducer: Simon Tillotson

Melvyn Bragg and guests discuss the astonishing work of Michelangelo (1477-1564) in this great chapel in the Vatican, firstly the ceiling with images from Genesis (of which the image above is a detail) and later The Last Judgement on the altar wall. For the Papacy, Michelangelo's achievement was a bold affirmation of the spiritual and political status of the Vatican, of Rome and of the Catholic Church. For the artist himself, already famous as the sculptor of David in Florence, it was a test of his skill and stamina, and of the potential for art to amaze which he realised in his astonishing mastery of the human form.WithCatherine Fletcher Professor of History at Manchester Metropolitan UniversitySarah Vowles The Smirnov Family Curator of Italian and French Prints and Drawings at the British MuseumAndMatthias Wivel The Aud Jebsen Curator of Sixteenth-Century Italian Paintings at the National GalleryProducer: Simon Tillotson

The podcast explores the Greek tragedy 'Antigone' and its themes of conflict between generations, state and individual, autocracy and openness. It discusses the character of Creon and his transformation into an autocrat. The significance of Tari S's blindness and the unfolding tragic events are analyzed. The impact and significance of Antigone in various historical contexts are explored. Antigone's loyalty to the gods of the dead and the skillful writing of the play are discussed. The significance of plotting in tragedy and the influence of Sophocles are examined.

Melvyn Bragg and guests discuss William Shakespeare's famous tragedy, written in the early 1590s after a series of histories and comedies. His audience already knew the story of the feuding Capulets and Montagues in Verona and the fate of the young lovers from their rival houses, but not how Shakespeare would tell it and, with his poetry and plotting, he created a work so powerful and timeless that his play has shaped the way we talk of love, especially young love, ever since.The image above is of Mrs Patrick Campbell ('Mrs Pat') as Juliet and Johnson Forbes-Robinson as Romeo in a scene from the 1895 production at the Lyceum Theatre, LondonWithHelen Hackett Professor of English Literature at University College LondonPaul Prescott Professor of English and Theatre at the University of California MercedAndEmma Smith Professor of Shakespeare Studies at Hertford College, University of OxfordProducer: Simon Tillotson