Cultural Imperialism

Melvyn Bragg and his guests discuss the work of the eighteenth-century philosopher, politician and writer Edmund Burke.Born in Dublin, Burke began his career in London as a journalist and made his name with two works of philosophy before entering Parliament. There he quickly established a reputation as one of the most formidable orators of an age which also included Pitt the Younger.When unrest began in America in the 1760s, Burke was quick to defend the American colonists in their uprising. But it was his response to another revolution which ensured he would be remembered by posterity. In 1790 he published Reflections on the Revolution in France, a work of great literary verve which attacked the revolutionaries and predicted disaster for their project. The book prompted Thomas Paine to write his masterpiece Rights of Man, and Mary Wollstonecraft was among the others to take part in the ensuing pamphlet war. Burke's influence shaped our parliamentary democracy and attitude to Empire, and lingers today.With:Karen O'BrienProfessor of English at the University of WarwickRichard BourkeSenior Lecturer in History at Queen Mary, University of LondonJohn KeaneProfessor of Politics at the University of SydneyProducer: Thomas Morris.

3 Juni 201042min

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.

27 Maj 201041min

From the 1600s to the 1800s, scientific research in Britain was not yet a professional, publicly-funded career.So the wealth, status and freedom enjoyed by British aristocrats gave them the opportunity to play an important role in pushing science forwards - whether as patrons or practitioners.The Cavendish family produced a whole succession of such figures.In the 1600s, the mathematician Sir Charles Cavendish and his brother William collected telescopes and mathematical treatises, and promoted dialogue between British and Continental thinkers. They brought Margaret Cavendish, William's second wife, into their discussions and researches, and she went on to become a visionary, if eccentric, science writer, unafraid to take on towering figures of the day like Robert Hooke.In the 1700s, the brothers' cousin's great-grandson, Lord Charles Cavendish, emerged as a leading light of the Royal Society.Underpinned by his rich inheritance, Charles' son Henry became one of the great experimental scientists of the English Enlightenment.And in the 1800s, William Cavendish, Henry's cousin's grandson, personally funded the establishment of Cambridge University's Cavendish Laboratory. In subsequent decades, the Lab become the site of more great breakthroughs.With:Jim BennettDirector of the Museum of the History of Science at the University of OxfordPatricia FaraSenior Tutor of Clare College, University of CambridgeSimon SchafferProfessor of History of Science at the University of Cambridge and Fellow of Darwin College, CambridgeProducer - Phil Tinline.

20 Maj 201042min

Melvyn Bragg and guests discuss 'The Varieties of Religious Experience' by William James. The American novelist Henry James famously made London his home and himself more English than the English. In contrast, his psychologist brother, William, was deeply immersed in his American heritage. But in 1901, William came to Britain too. He had been invited to deliver a series of prestigious public lectures in Edinburgh. In them, he attempted a daringly original intellectual project. For the first time, here was a close-up examination of religion not as a body of beliefs, but as an intimate personal experience. When the lectures were printed, as 'The Varieties of Religious Experience', they were an instant success.They laid the ground for a whole new area of study - the psychology of religion - and influenced figures from the psychiatrist Carl Jung to the novelist Aldous Huxley. To date, James's book has been reprinted thirty-six times and has been hailed as one of the best non-fiction books of the twentieth century.With:Jonathan ReeFreelance philosopherJohn HaldaneProfessor of Philosophy at the University of St AndrewsGwen Griffith-DicksonEmeritus Professor of Divinity at Gresham College and Director of the Lokahi FoundationProducer: Natasha Emerson.

13 Maj 201042min

The Cool Universe is the name astronomers give to the matter between the stars.These great clouds of dust and gas are not hot enough to be detected by optical telescopes.But over the last few decades, they have increasingly become the focus of infrared telescopy.Astronomers had long encountered dark, apparently starless patches in the night sky. When they discovered that these were actually areas obscured by dust, they found a way to see through these vexing barriers, using infrared telescopes, to the light beyond.However, more recently, the dust itself has become a source of fascination.The picture now being revealed by infrared astronomy is of a universe that is dynamic.In this dynamic universe, matter is recycled - and so the dust and gas of the Cool Universe play a vital role. They are the material from which the stars are created, and into which they finally disintegrate, enriching the reservoir of cool matter from which new stars will eventually be formed. As a result of the new research, we are now beginning to see first-hand the way our planet was formed when the solar system was born.With:Carolin CrawfordMember of the Institute of Astronomy, and Fellow of Emmanuel College, at the University of CambridgePaul MurdinVisiting Professor of Astronomy at Liverpool John Moores University's Astronomy Research InstituteMichael Rowan-RobinsonProfessor of Astrophysics at Imperial College, LondonProducer: Phil Tinline.

6 Maj 201042min

Melvyn Bragg and guests discuss the Great Wall of China.The Great Wall is not a single Wall. It is not visible from space, contrary to popular belief, as it is much too thin. But it remains a spectacular architectural and historical phenomenon.The Great Wall's military importance, and its symbolic power, have varied widely in its long existence, as its place in Chinese life has shifted with the country's history. It was initially constructed at the command of the first Emperor, from 221 BC, and was a combination of the various protective walls that had been built by the smaller states which he had conquered and merged to form China. The original Wall was made of pounded earth, and in places the wind-carved remains of this two thousand year old construction are still visible. But the Wall which is familiar to us today is the work of the Ming Dynasty, and its vast programme of reinforcement - prompted by a renewed threat from the Mongols in the north. In the 17th century, amazed Jesuits sent back reports to Europe about the Wall, and ever since it has held a powerful place in the imagination of the West. Some scholars argue that this in turn has shaped the modern Chinese appreciation of their astounding inheritance.Julia LovellLecturer in Chinese History at Birkbeck College, University of LondonRana MitterProfessor of the History and Politics of Modern China at the University of OxfordFrances WoodHead of the Chinese Section at the British LibraryPRODUCER: PHIL TINLINE.

29 Apr 201041min

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.

22 Apr 201042min

Melvyn Bragg and guests discuss the rise and fall of the Zulu Nation.At the beginning of the 19th century, the Zulus were a small pastoral community of a bare few thousand people in the eastern part of what is now South Africa. Their territory was limited to about ten square miles.But within a decade, led by their warrior king, Shaka, they had managed to carve out an empire with a population of many tens of thousands.Shaka was a skilled politician, successfully co-opting many neighbouring peoples into his kingdom as his conquests advanced its borders.He remains best known as a world-class military strategist, who deployed new weapons, and a devastatingly effective technique of encircling enemy troops.But the ground for the Zulus' breathtaking expansion was shaped in part by the destabilising advance of European settlers.It eventually brought the Zulu into confrontation both with the Afrikaners, as at the Battle of Blood River in 1838, and with the British.In the mid-19th century, the Zulu and the British achieved a sustained period of peaceful co-existence.But, especially after the discovery of diamonds began to transform the southern African economy, British priorities changed, and they began to push for a single confederation of the various provinces and colonies.Zululand's independence became an obstacle, and in 1879 the British invaded.On 22 January 1879, the Zulu were unable to overrun a tiny garrison of invaders at Rorke's Drift.Yet on the same day, at the Battle of Isandhlwana, they inflicted a shocking defeat on the well-armed forces of the British Empire - all the more impressive given that the Zulu soldiers were predominantly armed with spears.Nonetheless, the British invasion of Zululand was ultimately successful, and precipitated first annexation, then the kingdom's absorption into the province of Natal (today, KwaZulu-Natal).During their heyday and in the wake of their decline alike, the Zulu became the subject of much myth-making.To the British, the 'Black Napoleon' figure of Shaka, and the vivid image of a proud warrior race, made the Zulu an object of admiration, fear, and appalled fascination, even as the Army moved to subjugate them.And in the decades since the demise of their independent kingdom, the triumphs of the 19th century long remained an important element of the Zulus' collective self-image.With:Saul DavidProfessor of War Studies at the University of BuckinghamSaul DubowProfessor of History at the University of SussexShula MarksEmeritus Professor of History at the School of Oriental and African Studies, University of LondonProducer: Phil Tinline.

15 Apr 201042min