Question: Relationships at all levels involve complex powerplay. How is this complexity represented in Othello and Prize Giving? Othello, by Shakespeare, and Prize Giving by Gwen Harwood, both have relationships that involve complex powerplay. Powerplay is the subtle shifts of power between people for some ulterior motive. Powerplay is complex because of its varying representations and its ability to shift suddenly.
Historians of the first and second centuries AD, such as Josephus, Plutarch, Appian and Cassius Dio wrote for political purposes and portray Cleopatra as a strong political figure although their views are strongly biased towards Roman interests. As time passed, the attitude towards Cleopatra began to change as Europe entered the Renaissance, with Shakespeare’s Cleopatra being a much more passionate and tragic figure than the depiction of previous historians. Today, the typical modern belief depicted by films is that Cleopatra was a passionate and sexy queen of the Nile who drove men wild with desire and seduced every great leader she encountered. However Leonor Varela depicts a very different Cleopatra in Franc Roddam’s 1999 production than that played by Elizabeth Taylor in Mankiewicz’s 1963 production. The Augustan poets Horace[1] and Virgil are slanted towards Rome, as both were poet laureate to Augustus[2].
Shakespeare applies power play to heighten a person’s influence and control over others; the theme of manipulation is expressed in astonishing ways through Iago’s power in Othello. Iago is an impressive master of deception, shown throughout the text. All characters are deceived in one way or another by Iago’s powerful manipulative schemes for instance Michael Cassio, “If I can fasten but one cup upon him, with that which he hath drunk tonight already, he’ll be as full of quarrel and offence as my young mistress’ dog.” Iago’s plan behind this speech is that by getting Cassio drunk, being the person he is, he will end up getting into a fight, “full of quarrel,” which will ruin his reputation and his trust earned by his boss
The expression "siren" is still used to describe something that is both dangerous and enthralling. In myths that were created later on, creatures that drew men in to inflict harm, would be thought of and referred to as “sirens”. This temptress figure also connects to modern day popular culture. Popular culture is defined by the World Dictionary as “cultural activities...suited to, or aimed at the tastes of the general masses of people”. A pop culture theme that relates to this archetype of the temptress, is portrayed in songs like ‘Modern Day Delilah’, by KISS.
Miller encourages the responders recognition of Abigail as an autocratic power within the play by threatening the weak and vulnerable. This is show at the end of Act 1 with the repetition of "I saw ________ with the devil!" The climax of Abigail's confession creates such intensity within the scene the girls join in. Through Miller's use of dramatic stage structure exposes ____________ between John Proctor and his wife Elizabeth, *Elizabeth pauses, and turns her back on Proctor* this shows her reluctancy to confront Proctor on his affair with Abigail. As Proctor own feelings of disgust overcome him, his confession to the affair with Abigail brings him forward to the court where Danforth's ultimatum, "you are either with the court or you will be courted, there is no in between" conveys the juxtaposing value the town of Salem holds, you conform or become exiled.
All representations are acts of manipulation Power play is featured in human experience at all levels, from the public world of politics to the private world of personal relationships. Human nature often tries to wield power over others by interpreting events and skewing them so that they will have dominance over others. This tendency of humans to orchestrate the lives of others to suit their own intentions can be illustrated in Shakespeare’s tragedy ‘Antony and Cleopatra.’ Similarly in, Elizabeth (1998), Shekhar Kapur showcases, the triumphing rise of Elizabeth from her rotten beginnings to being one of England's most powerful monarchs, through use of various power play tactics. In the Shakespearean tragedy Antony and Cleopatra, Cleopatra’s acts of manipulation are retained in her political autocracy by utilising her sexual power. She is portrayed as a powerful manipulator with animal imagery as she is referred to as “the serpent of old Nile” reinforcing her cunning ways.
In conclusion, Lady Macbeth asserts her dominance and takes over situations through her superior personality. To start, the characters drives are on different levels as well and help prove the point why they are opposites. Both characters maintain a desire and drive for power but Lady Macbeth's actually drives her counter parts proving her to be the superior of the two. Her drive for power happens to be so ridiculous that it controls Macbeth's actions. She basically questions his man hood at one point and and claims she would slay a baby for him.
1. Discuss how power is conveyed in your text and one other related text of your own choosing The harnessing of power has the capacity to manipulate or undermine your surroundings. However, due to the complex nature of power, it can be both a negative and positive tool. Through Kate Grenville's accomplished novel, The Secret River and Jane Campion's haunting film, The Piano, we will explore the ways patriarchal power can be manipulated and undermined through personal, sensual and sexual relationships and the way cultural power is undermined and manipulated by weapons and the wealthy. Patriarchal power can be manipulated and undermined when it comes to personal relationships.
The fascinating aspect of the psychoanalytic investigation is that it searches for a purpose beyond that which is strictly in the text. By insinuating the existence of innate and hidden motives, it allows for a broad range of abstract and creative possibilities. When applied to Little Red Riding Hood, it appropriately suggests evidence toward underlying sexual motivations and tensions. Additionally, this analysis unfolds a constant interplay between forces of the human psyche. And also it reveals a conflict between man and woman in which women are the ultimate winner.
For vilest things Become themselves in her, that the holy priests Bless she is riggish.” Where Enobarbus is describing how all women can feed a man’s appetite and give them whatever they want or need (“The appetites they feed, but she makes me hungry”), displays how all women in the time of the play were stereotyped as an invaluable prize that could satisfy men if they were ever desired. Cleopatra being notorious for being strong-minded, strong-willed and tyrannical; and frequently described as a ‘whore’ within the play; she is looked upon as an exception or rarity. Enobarbus describes this as if he is baffled at the fact Cleopatra -being a woman -had this effect on him and many other men – this known from all of her previous lovers and spouses. The inequality and juxtaposition between men and women is clearly indicated here. This would relate to Queen Elizabeth I in Shakespearean times.