Part IV “Understanding Abuses of Power, and How to Stop Them” - Deepstash
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Part IV “Understanding Abuses of Power, and How to Stop Them”

She argues “power sometimes corrupts but abuses of power can be avoided.” Moreover, according to the author, the effects of power are:

(1) disinhibition, people act more readily on almost all kinds of impulses;

(2) objectification, treating humans as objects to attain personal aims; and

(3) entitlement, thinking that they deserve the things they want just because they want them. 

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MORE IDEAS ON THIS

More power

Gruenfeld offers a caveat that when an individual thinks much of the power he possesses, he thinks of power as a resource so he can get the attention of others. In turn, he perceives that the accumulation of power is the end in itself and so he does all things whatever it takes to get such a cove...

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Part I “When The Curtain Goes Up”

Part I “When The Curtain Goes Up” discusses the concept of power—meaning, myths, and truths. The construct of power is very interesting to anyone; humans are so fascinated about this topic. Psychologists believe that it is because humans are afraid of death and power promises somehow a kind of im...

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Part II “The Two Faces of Power”

Playing high does not mean immediately landing on the top. A person who exemplifies power-up does not have a hint of self-doubt, maximizes his comfort, speaks slowly and deliberately, and uses complete sentences.  

On the other hand, playing power down invites connection and cooperation. A ...

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Acting with power

Acting with power

In the book, she credits the program with the understanding that “power comes from the role we play.” Successful actors do not let their insecurities hinder them from doing what they need. She emphasizes that actors “step away from their own drama and learn how to play a ...

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Part III “Taking the Stage”

Gruenfeld contends that acting is not faking—we are just wearing our roles; the author suggests that we try to accept the reality of the stage we are on as in to immerse ourselves fully in it and show a version of self that makes sense. 

Gruenfeld contends that acting is not faking—we are j...

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