Powerplay in Texts – Antony and Cleopatra (Shakespeare), Gladiator (Ridley Scott) & the Statue of Liberty (Warren Brown)

military force is conditional its a measure of one individuals ability to control the environment around itself, including the behaviour of other entities by manipulation and exploitation. The application of force out, whether this be physical or sexual, individual or semipolitical, private or public, replicates ones ability to control, command and act others. Ultimately, an entity with part is permitted to employ this for the benefit of others, or unfortunately to their detriment.Power is transitory therefore, increases or losses in power can significantly impress on an individuals human experience. Three texts permeated by power struggles include Shakespeargons catastrophic play Antony and Cleopatra, Ridley Scotts movie theatre gladiator (2000), and Warren Br receives political cartoon The Statue of Liberty. from each one composer employs a variety of literary and visual techniques including dialogue, symbolism, sound (both diegetic and non-diegetic), mise-en-scene, iro ny, soliloquy and affectional language, to explore the transformative effect of power on the human experience.These powerplays are highly persuasive, and thus we are convinced to embrace the perspectives offered in these texts. The major powers examined in the three texts are political, militaristic and sexual. Antony and Cleopatra is a disastrous play that illustrates a chronicle of deuce leaders from two very different worlds who declension profoundly in love with each other and their endeavor to support their relationship against the papistical Empire, however, it ends tragically with their suicides.Antony grapples with the conflict between his love for Cleopatra and his duties to the Roman Empire the geographical poles that draw him in opposite directions re defend deep-rooted conflicts between his reason and emotion, his sense of duty and his desire, his obligations to the state and his private needs. Soliloquies are used throughout the play as a means of aiding the audit ory modality to understand the subconscious thoughts of the characters. In Act IV, scene 12, Antony states to himself O sun, thy mug up shall I see no more, foreshadowing his own death. conglomerate persuasive forms of power are displayed in this play convincing us to embrace perspectives offered in this text those forms of power organism political, sexual and militaristic. in front Antony met Cleopatra, he held military and political power so great, even his lieutenants were terror-struck to out preform him, But twould offend him, and his offenceShould my performance perish. Antonys affair with Cleopatra makes him disregard his responsibilities where the sexual power present allows for passion to drown his reasonable judgement.Antony knew this in his use of fertility and sexual designry in the metaphor These strong Egyptian fetters I must break, or dope off myself in dotage. Sympathy for Antony was formed through his personal conflict between love and duty, thus weakening A ntonys control over himself and his know loss of power. Antony blames himself for the wrong decision My very vibrissas do mutiny, for the white censure the brown for rashness Here hair is used as a metaphor for age, and Antony hasnt acted as a man with white hair should which is with maturity, instead acting on impulse, brown hair symbolising a younger man.We see the enchanting sexual power of Cleopatra when Enobarbus explains to Agrippa From the barge, a obscure invisible perfume hits the senses, personifying the sexual power held by Cleopatra, not sole(prenominal) over Antony, but the radiating power she holds over all who bumble paths with her. Mardian, go tell him I shake slain myself. This coif delivered by Cleopatra herself is the order, which ultimately, brings Antony to kill himself illustrating Cleopatras manipulative power over him.When she learns that shes being taken to Rome, it produces a fear of humiliation for her accordingly, she ends her life. Caesars use of Antonys own surrendered men in the front battle line creates a mental advantage over Antony by bringing emotion onto the field, Plant those who have revolted in the vanthat Antony may seem to spend his furyupon himself. The emotive language manipulates the situation by making Antony feel he is struggle himself when fighting his deserted soldiers through metaphrasing them as himself.The suicide of both Antony and Cleopatra takes absent from Octavius because they become tragic lovers who would always be remembered, Our army shallin stately show attend this funeraland then to Romeseehigh order in this great solemnity. Irony is used when Caesar parades both Antony and Cleopatra to maximise his gain in power but instead makes the best political break giving them a great ceremony. The varied force of power is extremely persuasive. Throughout the entire play the effects of Powerplay direct the vents of the characters lives and create and disgrace relationships between all character s involved, persuading us to embrace these perspectives concerning the import of power in the human experience. Similarly, Scotts film gladiator, Maximus (Russell Crowe), the Roman general turned Gladiator and Commodus, the son of the Emperor Marcus Aurelius manipulates others to gain power in order to gather their desires. The dominant powerplays in this text and political and militaristic, and due to the perspectives offered on the significance of power in the human experience, we are persuaded to embrace these perspectives.Maximus is portrayed as a powerful character by Scott through the use of mise-en-scene, in particular Maximus costumes, that being of an Upper Class Roman General and hold up (ie his Imperial Sword), and the fact that when we see Maximus fighting, whether it be at the beginning of the film with the Barbarians or near to the end in the arena, we see him through a low-angled camera shot, exemplifying his fighting power and knowledge over his enemies. Maximus image of power is gained, lost, and then later re-gained through the duration of the film, despite the capturing of this power ultimately leads to his death.Correspondingly, we are persuaded to embrace these perspectives about the significance of power in the human experience in Warren Browns political cartoon The Statue of Liberty. This text uses a number of techniques to convey its political power play perspective including contrast of size between the two personas. It is a widely shared notion that power is associated with size the greater the size the greater the level of power. Yet, this cartoon chooses to test this and illustrate the mentation that Osama holds power over the Statue of Liberty.This is both ironic and a contrast of size. Although America, be as the Statue, has been damaged to various terrorist attacks, it still aims to protect itself, just as Maximus aimed to protect Rome at all costs, even after he had been captured and sold as a slave and gladiator. The fac t that Osama is not present within this frame suggests that he holds power of the statue. The political perspectives offered in this text are persuasive, thus convincing us of the significance of power in the human experience.