Monet in England

Melvyn Bragg and guests discuss the Fibonacci Sequence. Named after a 13th century Italian Mathematician, Leonardo of Pisa who was known as Fibonacci, each number in the sequence is created by adding the previous two together. It starts 1 1 2 3 5 8 13 21 and goes on forever. It may sound like a piece of mathematical arcania but in the 19th century it began to crop up time and again among the structures of the natural world, from the spirals on a pinecone to the petals on a sunflower.The Fibonacci sequence is also the mathematical first cousin of the Golden Ratio – a number that has haunted human culture for thousands of years. For some, the Golden ratio is the essence of beauty found in the proportions of the Parthenon and the paintings of Leonardo Da Vinci. With Marcus du Sautoy, Professor of Mathematics at the University of Oxford; Jackie Stedall, Junior Research Fellow in History of Mathematics at Queen’s College, Oxford; Ron Knott, Visiting Fellow in the Department of Mathematics at the University of Surrey

29 Nov 200742min

Melvyn Bragg and guests discuss one of the greatest long poems in the English language – The Prelude. Begun in Northern Germany during the terrible winter of 1798 by a young and dreadfully homesick William Wordsworth, The Prelude was to be his masterpiece - an epic retelling of his own life and the foundation stone of English Romanticism. In language of aching beauty wordsworth expressed thoughts about memory, identity, nature and experience familiar to anybody who has walked alone among the hills. With Rosemary Ashton, Quain Professor of English Language and Literature at University College London; Stephen Gill, University Professor of English Literature and Fellow of Lincoln College, Oxford; Emma Mason, Senior Lecturer in English at the University of Warwick.

22 Nov 200742min

Melvyn Bragg discusses the discovery of Oxygen by Joseph Priestley and Antoine Lavoisier. In the late 18th century Chemistry was the prince of the sciences – vital to the economy, it shaped how Europeans fought each other, ate with each other, what they built and the medicine they took. And then, in 1772, the British chemist, Joseph Priestley, stood in front of the Royal Society and reported on his latest discovery: “this air is of exalted nature…A candle burned in this air with an amazing strength of flame; and a bit of red hot wood crackled and burned with a prodigious rapidity. But to complete the proof of the superior quality of this air, I introduced a mouse into it; and in a quantity in which, had it been common air, it would have died in about a quarter of an hour; it lived at two different times, a whole hour, and was taken out quite vigorous.” For the British dissenting preacher, Joseph Priestley, and the French aristocrat, Antoine Lavoisier, Chemistry was full of possibilities and they pursued them for scientific and political ends. But they came to blows over oxygen because they both claimed to have discovered it, provoking a scientific controversy that rattled through the laboratories of France and England until well after their deaths. To understand their disagreement is to understand something about the nature of scientific discovery itself. With Simon Schaffer, Professor in History and Philosophy of Science at the University of Cambridge; Jenny Uglow, Honorary Visiting Professor at the University of Warwick; Hasok Chang, Reader in Philosophy of Science at University College London.

15 Nov 200742min

Melvyn Bragg and guests discuss the Persian Islamic philosopher, Avicenna. In the city of Hamadan in Iran, right in the centre, there is a vast mausoleum dedicated to an Iranian national hero. Built in 1952, exactly 915 years after his death, it’s a great conical tower with twelve supporting columns. It’s dedicated not to a warrior or a king but to a philosopher and physician. His name is Ali Al Husayn Ibn-Sina, but he is also known as Avicenna and he is arguably the most important philosopher in the history of Islam.  In a colourful career Avicenna proved the existence of god, amalgamated all known medical knowledge into one big book and established a mind body dualism 600 years before Descartes and still found time to overindulge in wine and sex. With Peter Adamson, Reader in Philosophy at King's College London; Amira Bennison, Senior Lecturer in Middle Eastern and Islamic Studies at the University of Cambridge; Nader El-Bizri, Affiliated Lecturer in the History and Philosophy of Science at the University of Cambridge.

8 Nov 200741min

Melvyn Bragg and guests discuss morality by taking a long hard look at the idea of guilt. The 18th century politician and philosopher Edmund Burke was once moved to comment: “Guilt was never a rational thing; it distorts all the faculties of the human mind, it perverts them, it leaves a man no longer in the free use of his reason, it puts him into confusion.”Guilt is a legal category but also a psychological state and a moral idea. Over the centuries theologians, philosophers and psychologists have tried to determine how it relates to morality, reason and the workings of the mind? The answers seem to cut deeply into our understanding of what it is to be human.With Stephen Mulhall, Fellow and Tutor in Philosophy at New College, Oxford; Miranda Fricker, Senior Lecturer in Philosophy at Birkbeck, University of London; Oliver Davies, Professor of Christian Doctrine at King’s College London

1 Nov 200742min

Melvyn Bragg and guests discuss the 18th century obsession with taste. In the mid 18th century the social commentator, George Coleman, decried the great fashion of his time: “Taste is at present the darling idol of the polite world…The fine ladies and gentlemen dress with Taste; the architects, whether Gothic or Chinese, build with Taste; the painters paint with Taste; critics read with Taste; and in short, fiddlers, players, singers, dancers, and mechanics themselves, are all the sons and daughters of Taste. Yet in this amazing super-abundancy of Taste, few can say what it really is, or what the word itself signifies.”From the pens of philosophers to the interior decor of the middle classes, the idea of good and bad taste shaped decisions about dress, wallpaper, furniture, architecture, literature and much more. The period saw an explosion in the taste industries - the origins of Chippendale furniture, Wedgwood pottery and Christie's auction house - and a similar growth in magazines and journals devoted to the new aesthetic, moral and social guidelines. But taste was also a battle ground that pitched old money against new, the city against the country and men against women. With Amanda Vickery, Reader in History at Royal Holloway, University of London; John Mullan, Professor of English at University College London; Jeremy Black, Professor of History at the University of Exeter

25 Okt 200742min

Melvyn Bragg discusses the myths, tales and legends of the Arabian Nights.Once upon a time a wealthy merchant grew hot in the sun and sat down under a tree. Having eaten a date, he threw aside the stone, and immediately there appeared before him a Genie of enormous height who, holding a drawn sword in his hand, approached him, and said, “rise that I may kill thee”. This is from The Arabian Nights, a collection of miraculous tales including Ali Baba and the Forty Thieves and Sinbad the Sailor. Forged in the medieval Arab world, it became so popular in Europe that the 18th century Gothic writer Horace Walpole declared “Read Sinbad the Sailor’s Voyages and you will grow sick of Aeneas”.Its origins are Indian and Persian but it was championed initially by an 18th century Frenchman, Antoine Galland. Celebrated for its fabulous stories, it is a patchwork of sex, violence, magic, adventure, and cruelty – a far cry from the children’s book that it has become. With Robert Irwin, Senior Research Associate at the School of Oriental and African Studies, University of London; Marina Warner, Professor in the Department of Literature, Film and Theatre Studies at the University of Essex; Gerard van Gelder, Laudian Professor of Arabic at the University of Oxford.

18 Okt 200742min

Melvyn Bragg and guests discuss the Divine Right of Kings. In Shakespeare’s Macbeth, the character Malcolm describes the magical healing powers of the king: “How he solicits heaven, Himself best knows; but strangely-visited people, All swoln and ulcerous, pitiful to the eye, The mere despair of surgery, he cures; Hanging a golden stamp about their necks, Put on with holy prayers...”The idea that a monarch could heal with his touch flowed from the idea that a king was sacred, appointed by God and above the judgement of earthly powers. It was called the Divine Right of Kings. The idea resided deep in the culture of 17th century Britain affecting the pomp of the Stuart Kings, the writings of Milton and Shakespeare and the political works of John Locke. It is a story that involves witches, regicide, scrofula, Macbeth, miraculous portraits and some of the greatest poetry in the English language. With Justin Champion, Professor of the History of Early Modern Ideas at Royal Holloway, University of London; Tom Healy, Professor of Renaissance Studies at Birkbeck College, University of London; Clare Jackson, Lecturer and Director of Studies in History at Trinity Hall, Cambridge

11 Okt 200741min