The Almost Person: Myth, Narrative and The Doctor

Paul Ricœur describes selfhood as the product of a communal narrative. Communal narratives structured as symbolic myths provide a narrative identity and an ethic of selfhood. The psychologist Jerome Bruner, for instance, places the source of such a narrative identity in the family, where ‘canonical stories’ are formed. ‘Home’ becomes a mode of discourse, a way of recognizing ourselves in the narratives given to us by others. This paper will draw on these concepts of narrative identity in order to investigate the problems to selfhood which face the character of The Doctor in the BBC series Doctor Who. I will identify The Doctor as a character who acts within a self-constructed narrative vacuum, reading the character by contrasting two types of personal myth-making, one ‘real’, as in a lived narrative, and one ‘counterfeit’; a conjured myth to replace and obscure the lived self. The paper will pay particular attention to the twenty-first century reincarnations of Doctor Who. I will argue that the writing of Russell T. Davis and later Steven Moffat in particular directly address this tension of myth and selfhood, as The Doctor struggles between his self-imposed role as a modern Prometheus and the insistent haunting and return of his own story. In these incarnations, his companions become mirrors to The Doctor, bringing with them their own narrative and ethical identities. In turn, it is through his companions that The Doctor is able to build his own lived narrative of sorts, which challenges his self-created ‘mythology’. In contrast to the weeping angels, whose horrific agency manifests only when not apprehended, the Doctor’s story continues to become more real the more he is ‘perceived’, both by the human race and by the viewer.

Prometheus on Mars: Nineteenth-Century Science Fiction and the Language of Romanticism

The development of astrophysics in the nineteenth century drew mankind closer to the planets. For the first time, it was possible to give serious scientific consideration to the possibilities for life on other planets. The greatest leap, however, was in recognizing what was not known, and acknowledging the limits of human intuition. ‘Ideas,’ wrote Agnes M. Clerke, ‘have all at once become plastic’. As the scientific community tested the limits of scientific understanding, it became the role of science-fiction writers to imagine the universe beyond these limits. This paper will examine the ways in which nineteenth-century science fiction used the inheritance of the poetic language of Romanticism to reinstate the centrality of human being in the universe. I will explore the ways in which writers such as Edward Bulwer-Lytton (The Coming Race, 1871) and W. S. Lach-Szyrma (Aleriel, 1883) extended the Byronic hero to envisage extra-terrestrial utopias. The Hegelian systematic mythology described by Byron and Shelley had reimagined paradise and redemption on earth. Through science fiction, this mythology extended out towards the stars. A discourse on the possibilities of extra-terrestrial life became a Romantic discourse on the possibilities of being. The Byronic hero could now find a home not by escaping the shackles of religion, but as an angelic citizen of Venus or Mars. In this way, the paper will explore how science-fiction writers appropriated the language of Romantic poetry to build a bridge between the framework of scientific knowledge and the extent of human imagination.