<![CDATA[This thesis focuses on necromancy and crisis of Renaissance subjectivity in the play, Doctor Faustus by Christopher Marlowe. The intellectual conflicts of the Renaissance that Faustus is seeking forbidden knowledge mirror the greater religious conflicts of the Renaissance as the humanist ambitions started seeking space in theology. In this analysis, in which we read necromancy as both a dramatic topos and cultural talk, we are able to demonstrate how Faustus becomes symbolic of a figure who is ambivalent between the sweeping self-fashioning and spiritual apprehension. His agreement with Mephistopheles serves as the paradox of Renaissance individuality, when he wishes to go beyond the limits of humanity, he ends up in the loop of self-destruction. Based on interdisciplinary knowledge in theology, history of science and early modern cultural studies, the thesis contends that the play of Marlowe dramatizes the instability of the Renaissance self at the border between the medieval determinism and the modern autonomy. In this perspective, doctor Faustus turns out to be not just a morality tragedy, but a deep inquiry into the psychological and ideological crisis that lies at the center of the early modern identity. Keywords: Renaissance, Subjectivity, Necromancy, Magic,Power, Pride, Ambition, Humanism]]>
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