The phrase 'coercive character' is correct and usable in written English.
It is used to describe a particular type of person whose behaviour is intended to influence, control or dominate others through force, threat or intimidation. Example: The bully had a coercive character and had no issue exploiting his victim's fear.
In comparison with sound, which in worship usually presents a coercive character, lighting and fire, whether permanent or occasional, generally signify a sacred or spiritual presence, an offering, prayer, intercession, or purification.
But since it must use these means, it is at every moment in danger of itself acquiring a coercive character" – is taken to an extreme that is aesthetic (the first section is "For Marcel Proust") as well as cerebral.
Moreover, in discussing the non-coercive character of judgment, the fact that it can only appeal to but never force the agreement of others, she claims that "this 'wooing' or persuading corresponds closely to what the Greeks called peithein, the convincing and persuading speech which they regarded as the typically political form of people talking with one another" (BPF, 222).
In 1765 Adams wrote "A Dissertation on the Canon and Feudal Law," which justified opposition to the recently enacted Stamp Act an effort to raise revenue by requiring all publications and legal documents to bear a stamp by arguing that Parliament's intrusions into colonial affairs exposed the inherently coercive and corrupt character of English politics.
Its emphasis on legislative institutions was replaced by a focus on law-applying institutions such as courts, and its insistence of the role of coercive force gave way to theories emphasizing the systematic and normative character of law.
What remained unclear was the character of the relationship consensual or coercive, a matter of love or rape, or a mutually satisfactory arrangement.
In all of them, female characters find themselves imprisoned in coercive relationships with charismatic bullies; in all but one, the bully is a man (the exception is "The Long Prospect," in which the hateful Lilian Hulm holds sway over her granddaughter, Emily, who has come to live with her after being largely abandoned by her parents).
The prince's self-discipline is shown in his good moral character and his moderate use of coercive force.
Now, modern institutions presume a shared ethics by virtue of being society-wide, the increasingly technological and bureaucratized character of these institutions can result in outcomes that appear either purely contingent or purely coercive, lacking either rationality or morality.
