Appropriations of texts have occurred for centuries, as stories have been adapted to contemporary situations. Themes can be reinforced, contemporised or subverted. Discuss in relation to the Faustian Bargain in Marloe!s Doctor Faustus and its contemporary appropriations in "liver #tone!s $all #treet and %arol Ann Du&y!s 'MrsFaust!.There is no doubt that appropriations of texts have occurred for centuries, as stories have been adapted to contemporary situations.The concept of the Faustian bargain, from its introduction in Marlowes Doctor Faustus to its contemporarily appropriated state inOliver tones !all treet and "arol #nn Du$ys %Mrs Faust, is explored within respective contextual values as themes have been reinforced, contemporised and subverted. Doctor Faustus incorporates themes of &nowledge and power and spiritual sacri'ce,all of which directly re(ect the competitive and religious aspects of the renaissance period. !all treet portrays the economic competition of the )*th "entury +ost Depression era and exploits concepts of corruption, fame and wealth in con,unction with the Faustian -argain. For Mrs Faust, the poem utilises a reversal role in gender stereotypes to convey the loneliness and stupor on the Faustian -argain.Doctor Faustus tells a story about an ambitious young man whom, from the very start, is tempted by ubi.uitous &nowledge, power and wealth. /e is blinded by his worldly ambitions and illustrates it as one with 0emperors and &ings#re but obeyed in their several provinces1. The hyperbolic desires Faustus hosts not only directly re(ect the values of the 2enaissance man, one with power and wisdom, but also ultimately cause Faustus to forget his human morality. 3n his opening solilo.uy, Faustus turns his bac& from redemption, arguing that 03f we say that we have no sin, !e deceiveourselves, and theres no truth in us. !hy then beli&e we must sin, #nd so conse.uently die.1 3n his speech, he ,uxtaposes the sin with death with words from the -ible 0The reward of sin is death14 this biblical allusion serves to underscore Faustuss ignorance of the possibility of redemption as well as to exemplify him as the paragon of the 2enaissance man 5 turning away from the religious structures of the medieval age in favour of the enlightened age of reason and human achievement./owever, the contrasting and competing trait of despair enters moststrongly into Faustus6 characteri7ation in #ct 38 when his days are dwindling. #s Faustus feels his designated years coming to an end and the time when he will serve Mephistopheles in hell for eternity fast approaching, his yearnings for repentance and redemption begin to overwhelm him. /e see&s for advice, 0loo& up to heaven4 remember 9od6s mercies are in'nite1, yet ultimately denies such Thomas :iang 5 ;nglish ;xtrepentance as a result from his inherent despair. /is despair, which competes with and overcomes his arrogance, leads him to his ultimate doom 0 corruption of money > in its concept of the Faustian -argain. #s the stereotypical and ambitious wor&ing class member, -ud Fox demonstrates all the economical hardships and adversities experienced by the )*th century !all treet members. The harsh and cruel lifestyle blinds -ud into searching for %an easy way out, forces him to sacri'ce his morality, and in exchange, allows him to gain an extraordinary amount of reputation and wealth. During his 'rst proper meeting with 9ordon 9e&&o, -ud Fox presents one of themost memorable line 0=ife comes down to ,ust one moment4 this is one of them1. This crucial moment catalyses -ud into the world of the %big buc&s. The camera pan from when -ud leaves the elevator to 9e&&os door is symbolic of -uds leaving his life behind and entering a new world, a world that is fuelled by money and power. The mirror that -ud uses to 'x his attire is also symbolic of bidding farewell to his old self.The 'lm also uses a variety of foreshadowing devices to convey the inherent immorality within human beings. #lthough the Faustian -argain concept is appropriated to the ?@A*s yuppie ethos with the movie carrying a traditional coming of age plot structure > the ambitious youth seduced by successful businessmen, betrayed and tries to turn the tables > the themes of immorality and self identity are overwhelmingly reinforced through the ambitious greed indicative through the characterisations of -ud Fox and 9ordon 9e&&o. This immorality is exempli'ed through !all treets insider trading exploitation, which is directly re(ective of the competitive predatory nature of the ?@A*s. From the opening scenes to the ending scenes, -ud Fox undergoes a drastic change from being the innocent ambitious youth to the corrupted businessman who would incessantly dive into the illegal side of stoc& mar&eting. /is B words posed in a rhetorical .uestion 0!ho am 3C1 mar&s his deluded self and ,usti'es his blinded status.Finally, Mrs Faust by "arol #nn Du$y portrays the character of Faust,perhaps in the "hristopher Marlowes play Doctor Faustus, in the perspective of a woman. The 'rst line of the poem sets the pace andconveys a %to the point tone as demonstrated by 0First things 'rst1. 3n addition, the parataxis and fragmented sentences elucidates a Thomas :iang 5 ;nglish ;xtdis,ointed life she and her husband are experiencing, and ,uxtaposesthe %cultured Faust, who gives dinner parties, with his more animalistic side who 0meets panthers1 and 0feasts1 showing his inner bestiality that is both irrational and immoral. The appropriationof immorality during Du$ys context directly re(ects the sexual stereotypical perspective of men on women. The sexual innuendo 0