David Mamet’s Faustus presents a complex amalgam of various ideas, traditions and cultures. After a preliminary discussion, in this essay, on the adaptive status of Mamet’s Faustus and on the myth of Faustus throughout history, I approach the notion of periodicity and time in the play, in its religious and anthropological contexts. I further investigate the same theme in tandem with the Nietzschean doctrine of eternal recurrence and its intersection with Judaism and, in specific, with Jewish philosopher Soloveitchik’s conception of halakhic man and its antithetical selves, namely cognitive man and homo religiosus. Exploring the echoes of Jewish existentialism in the works of Soloveitchik, I argue that the play, which is categorized as a typical adaptation of Marlowe’s Doctor Faustus, posits serious questions as to human existence and the significance of intellectual negation and spiritual challenge within a Judaic universe. The essay, beyond the analysis of intertextuality in Mamet’s Faustus, tends to underscore the play’s distinguished contribution to the myth of Faustus from a Judaic perspective.

中文翻译：

---

David Mamet的《浮士德》中犹太宇宙的周期性和暗示

戴维·马梅特（David Mamet）的《浮士德》（Faustus）提出了各种思想，传统和文化的复杂混合体。经过初步讨论，在本文中，关于马梅特的《浮士德》的适应性状态以及整个历史上的浮士德神话，我在戏剧的宗教和人类学背景下探讨了周期性和时间性的概念。我将与尼采永恒的复发学说及其与犹太教的交汇一起进一步研究同一主题，特别是与犹太哲学家索洛维奇基克关于halakhic人的概念及其对立的自我，即认知人和同性宗教。探索索洛维奇克作品中犹太人存在主义的呼应，我认为该剧被归类为马洛的《浮士德博士》的典型改编，对人类的生存以及犹太宇宙中智力否定和精神挑战的重要性提出了严重的问题。除了对马梅特的《浮士德》中的互文性进行分析之外，这篇文章还倾向于从犹太人的角度强调该剧对浮士德神话的杰出贡献。