本文透過檢視英國文藝復興時期的作家克里斯多弗‧馬洛的作品《浮士德》來探討此著作在該文化時期的身體政治觀點。文章要彰顯的乃是，主角浮士德視人類身軀為其追求永恆不朽的媒介，並意圖藉其來企及上帝之權力。更甚者是，他視人類身軀終將腐朽之事實為一巨大威脅，認定其駭人程度甚於靈魂之受詛咒。因此之故，他驅使自己去推崇身體之滿足為最終之生命意義。他之召喚逝去的亞歷山大帝與特洛伊的海倫二者之靈魂，乃是以死亡取代生命，以毀敗取代再
生，以巫術取代傳統知識，以魔鬼取代上帝的具體表現。巫術成為浮士德的魔法望遠鏡，藉由它來窺知／探刺上天的隱密。事實上，浮士德召魂時刻畫出的圈圍是一種打破過去與現在，生命與死亡的界限之舉止。他對海倫的窺視與慾念，連接了他召魂的圈和他瞳眸的圈：他眼中淫視的圈足以喚起召魂圈中的慾念客體。
另，他之親吻海倫所藉用之身體器官──舌──如同長著雙翅的語言，不可馴服，完全呈現浮士德之慾火，並體現於他展現魔力時唸出之咒語。而在與魔鬼交易之時刻，他手臂上出現的逃逸字語和他暫停的血液，卻吊詭地透露出一絲自我約制的神秘訊息。

This study aims to uncover the politics and poetics of the human body within the cultural context of the English Renaissance through the analysis of Christopher Marlowe’s Dr. Faustus, a tragedy on the rebellious hero’s fatal valuing of corporeality (body) over spirituality (soul). Corporeality is to Faustus the truth of his searching of immortality, the signifier of the exercise of the mighty godlike power, in that he claims himself a demi-god, soaring above the human confinement. Above all, Faustus envisions the decay of the human body as being even more horrible than the damnation of the soul, thus he is driven to worship the fullest corporeal satisfaction. His conjuring up of Alexander the Great and Helen of Troy has suggested to some critics
the replacing of life with death, regeneration with decay, classical knowledge with necromancy, God with Lucifer. The “art” of necromancy is to the magician his telescope, the transgressive tool with which one may peep/penetrate into heaven. Like his corporeal eye’s circular field of vision which also encompasses the powers of memory and imagination, the conjurer’s circle that surrounds his/her body blurs the boundaries between past and present, living and dead. In his voyeuristic gaze of
Helen, we see the congruence of the conjurer’s circle and the circular field of vision of the eye, where the latter now has an active necromantic force or power: the necromancer’s lustful voyeurism is also his power to conjure the very physical object of his desire. With Faustus’ kiss of Helen, the corporeal part—tongue—is brought into play, a body part untamed and associated with Faustus’ inflamed, impassioned,
swollen rhetoric, hyperbolic, winged lingua, which has extended to his incantations.
The words written on Faustus’ body, with its self-negating command to “flee,” like the blood that congeals and then recommences to flow, suggests a kind of magic power that resides finally in stasis and self-control, if not quite total self-negation.