8 Most Important Updates for You to Know on LinkedIn †March 2016

8 Most Important Updates for You to Know on LinkedIn – March 2016 It’s hard to believe 6 months have passed since my last  What’s New on LinkedIn update in October 2015. There are a bunch of updates I want you to know about. They may have passed across your inbox, and you might have taken note, or you might not have paid attention. This summary should be all you need to make sure you’re on top of the current features on LinkedIn! Managing your settings – coming soon The â€Å"Privacy Settings† menu is soon going to be easier to navigate. All settings will be categorized into three groups: Account, Privacy and Communications. It will look something like this: Connection suggestions – coming soon LinkedIn will be suggesting more connections to you based on who has you in the contacts they’ve uploaded to LinkedIn. You will also have more control over who sees you as a suggested connection. Here’s what one of those suggestions will look like: Reminder: You can send customized messages via mobile! I mentioned this in my October update and it’s worth addressing again. Be careful when you send invitations via your mobile device. Do NOT click on â€Å"Connect† – you need to find the â€Å"Menu† or â€Å"More† button on an Android or the â€Å"†¦Ã¢â‚¬  on an iPhone. Here’s what that looks like on an iPhone: Next you’ll get a â€Å"Customize invite† option: Click on â€Å"Customize invite† and write your message. Your connections will appreciate you for treating them like human beings not robots. More mobile application changes LinkedIn rolled out a new and improved mobile app in December. You should now be having a better experience with its new 5 core areas, Your Feed (Home), Me, My Network, Messaging, and Search. For more info see Our New LinkedIn App is Here! Making it Easier than Ever to Stay In Touch with the People and Information you Need to be Successful. Insights on LinkedIn job postings LinkedIn has made it easier to find background information about jobs that interest you. Enjoy discovering †¦ What connections you have at a company: Who will work with you if you get the job: Hiring trends at the company (for premium subscribers): This data puts you as a job seeker in a powerful position to understand your viability as a potential employee and to connect with the right people at the organization. Snagajob LinkedIn is providing more resources for hourly jobseekers through Snagajob. One significant implication of this partnership is that having a LinkedIn profile will become important for a wider audience. Snagajob subscribers will also get a 1-month free subscription to Lynda.com where they can take courses to acquire important skills for their profession. Inbox Messaging Honestly, LinkedIn’s Updated Messaging Features have been driving me and many people I know up a wall. Old messages are vanishing like hotcakes. I’m hoping LinkedIn will fix this soon! Introductions In October I highlighted problems with the Request an introduction feature on LinkedIn. I’m happy to report that it is now working properly! If you want to be introduced to a second degree connection, go to your mutual connection’s profile page and look on the right hand side for the â€Å"How You’re Connected† section. Click on â€Å"Get introduced† to be taken to a pre-populated messaging template that can be customized as needed. Enjoy expanding your network with this now functional feature! OK savvy LinkedIn users, have fun with all these changes. As soon as you get used to this bunch, there will be more. And if you have questions about any of these changes or others you are noticing, let me know and I’ll do my best to address them in future blogs and e-book editions!

Discourse in Othello Essay Example

Discourse in Othello Essay Example Discourse in Othello Paper Discourse in Othello Paper Essay Topic: Leviathan The Breadwinner Language Is, arguably, the primary defining feature that separates humanity from the rest of the animal kingdom. It has allowed the classification of our known universe. And the subsequent formation of an abstract body of collective intelligence. Language also has the power to persuade and seduce, which has resulted in a dynamic understanding of our feeling and emotions. Due to the fundamental function of language to Interpret and understand the complexities of our own social system, it follows that ways of speaking about specific ideas and beliefs are instrumental in the formation and manipulation of ideologies in such a system. In the context of Othello, Moor of Venice, discourse around gender works to both reinforce and challenge the dominant assumptions of patriarchal society through the normalization and empowerment of primary female characters. The Elizabethan era marked an interesting period in the history of gender dynamics. Although the role of women In society was still very limited, the highly Intelligent Queen Elizabeth Inspired a spike In womens education. Gender expectations were precise: men were the breadwinners and women raised the children and maintained the household. However, the era did witness the emergence of female artists; for example, female writers were often contracted to transcribe religious works, and a painter by the name of Leviathan Terrible was even contracted by Henry VIII, Mary and Elizabeth. The intellectually liberal Renaissance movement gained momentum during this time, and as the empires female figurehead became ever more revered, the affluent members of society hired private tutors to provide education for their wives and daughters as It was still unacceptable for women to attend school or university. Women rarely had the money to fund their own education, with the exception of lethal heiresses and the monarchy, as they were unable to enter respected professions or inherit land titles. Due to an overarching belief that women were the weaker sex, It was considered Important for them to by looked after by a man; which resulted in marriage being the unquestioned goal of all girls. Despite many depictions of abusive marriages at the time, it was expected that while the man was the head of the relationship, his role was to care for the woman. Should she need chastising, he was never to be cruel or harm her; and abuse resulted In prosecution. Its important to understand these social conditions when analyzing the position of women in Othello, as the dynamics of gender inequality are a direct result of the context in which they exist. As a result of misogynistic discourse In the play, the female characters are marginals; portrayed as uncontrollable, deceiving, dishonest, and unfaithful. The censorship of female action by men who own them is made clear by the questioning of female virtue and honesty; fathers, from hence trust not your daughters mulled By what you see them act. Othello claims that the curse of marriage Is that [men] an call these delicate creatures [theirs], and not their appetites! This language clearly positions women as innately promiscuous objects to be owned, in this case by I OFF were comparable too dogs in regards to their lack of control, however the pairing with delicate implies some form of desirability. Such language constructs women as pretty, fickle beings, which continues to reinforce their inferior position as slaves to their mans impulses. Emilie initially supports this assumption by enabling Lagos fantasies by stealing Adhesions handkerchief, claiming that that My wayward Cubans hat h a hundred times wooed me to steal it ND I nothing, but to please his fantasy. The roots of such assumptions find themselves firmly planted in The Bible, where the beautiful Eve was not only created at the whim of Adam, but her inability to resist temptation was to blame for his subsequent suffering. These misogynistic themes are echoed in Adhesions self-proclaimed divided duty to noble father and noble Moor, as well in the suggestion that Othello fall from grace is all because of Adhesions suggested inability to resist Cassias seduction. Gags intentioned accusation of her as the cunning where of Venice unjustly vilifies her, and ultimately results Othello deciding that she must die, else shell betray more men. This is supported by Dampen Callaghan writing in Women and Gender in Renaissance Tragedy that makes the point that misogynistic discourse leads, directly or indirectly, to the death of the female. The kind of language she is referring to is no more evident that in the momen ts preceding Adhesions death, when Othello refers to her as perjured woman, strumpet, where, false, a liar, and foul. The play questions the sexual morality of women right from the beginning, and the plot is centric to the assumption that one can easily be framed to make women false; which is reinforced by by Lagos accusation that women are players in your housewifely, and housewives in your beds, meaning that they are more dedicated to sexual pursuit than to the duties of the marital house. These beliefs, although shocking to modern audiences, were accepted without question at the time of production because Elizabethan ideology was saturated with patriarchal and misogynistic assumptions. It seems illogical that the women in Othello, who express themselves as virtuous, independent, and articulate despite their normalization, would put up with such extreme treatment without some sort of objection. Shakespearian works are renowned for the avocation of movements that were controversial at the time; and although Othello provides copious examples of womens submission to the dominance of patriarchal views, the female characters do express their desire for gender equality. In such times, the tone of their dialogue changes from submissive to empowered, which Just shows how remarkable the power of language is in repeating ideas and beliefs. For example, Desman demands to accompany Othello to the battleground of Cypress, claiming that its her rite of love, not duty, as a wife to accompany her husband to war. Her decisive language represents the independent personalities of the female minority at the time that objected to blatant objectification and suppression by the patriarchy. At one of the most shocking moments of the play, when Othello strikes his wife, she does not revert to self-blame as in the majority of the play, and instead defends her virtue by decisively stating, I eve not deserved this. However it is Emilie who serves as the best example of a when complaining to Ago that Othello has borrowed Desman, saying that A beggar in his drink could not have laid such terms upon his called and condemning the cogging, cozening slave who she blames for having devised this slander. This example of strong, empowered language is the first indication that she doesnt conform to the subservient woman expectation, and she continues to defend Adhesions virtue to her dying breaths; saying that she was chaste. Towards the inclusion of the play, she goes farther than any other character to subvert the dominant misogynistic discourse, and advocates for the consideration of gender equality. L do think it is their husbands faults if wives do fall she says, Let husbands know their wives have sense like them. This is the only time in the play where female characters dominate the stage for a significant about of time, free to speak without the constraints of patriarchal expectation. They challenge the cultural stereotype of women as graceful and devoid of the typically masculine traits; saying, why we have galls; and though we have some grace, yet we have some revenge. Although being vulnerable to violent temptations may not necessarily be desirable, to strip a gender of an entire human experience is degrading, and would have seriously contributed to the distorted power distribution that resulted in the unequal treatment of women in Elizabethan society. The discourse around gender in Othello, Moor of Venice works to both marginals and empower the primary female characters; which in turn presents conflicting presentations of Elizabethan society in terms of patriarchal dominance. For the majority of the play, the women of the text are excluded from the use powerful discourse, and hence are constructed as mindless conformations to the archetype of the victimizes Elizabethan woman. They are treated like objects to be owned by the dominant male characters, and are vilified as a result of unfounded, misogynistic slander. Additionally, the apparently unpredictable and uncontrollable nature of female sexuality is seen to undermine male authority, eliciting further discrimination. Although attempts are made by women to assert their rights as equals through the adoption of a more powerful discourse, it is either ignored, or only done in an exclusively female environment; which does nothing to challenge either their normalization or the assumptions of patriarchal dominance. As a modern audience, we can appreciate this injustice; however such a suggestion was ground breaking in Shakespearean time. As such, it is evident that the treatment of gender bias in Othello establishes the play as typical the Elizabethan era, but also revolutionary in its suggestion that society should function in any other way.