University of Stellenbosch, South Africa. The Narrativisation of Post 2000 Zimbabwe in the Shona popular Song-genre: An Appraisal Approach, PhD Thesis.
Appraisal and Evaluation in Zimbabwean Parliamentary Discourse and Its Representation in Newspaper Articles. English for Specific Purposes 30: 286–297. The Presentation of Self in Scholarly Life: Identity and Marginalisation in Academic Homepages. Stance and Engagement: A Model of Instruction in Academic Discourse. Amsterdam: John Benjamins Publishing Company. In Analysing Identities in Discourse, ed. Identities in Discourse: An Integrative View. An Introduction to Discourse Analysis: Theory and Practice. Taking a Stance on Emotion: Affect, Sequence and Intersubjectivity in Dialogic Interaction. Amsterdam: John Benjamins Publishing Company.ĭu Bois, J.W., and E. In Stancetaking in Discourse: Subjectivity, Evaluation, Interaction, ed. Amsterdam: John Benjamins Publishing Company.ĭu Bois, J.W. Identity in Narrative: A Study of Immigrant Discourse 3. African Sociological Review 6 (1): 1–16.ĭe Fina, A. Down with the Devil: Forward with Christ!’ A Study of the Interface Between Religious and Political Discourses in Zimbabwe. Journal of English for Academic Purposes 5: 97–116.īiber, D., and E. Stance in Spoken and Written University Registers. What We Contrarians Already Know: Individual and Communal Aspects of Attitudinal Identity.
GISTO MUSIC PROFESSIONAL
Analyzing Genre: Language Use in Professional Settings. Key Components of Musical Discourse Analysis. Newcastle: Cambridge Scholars Publishing.Īleshinskaya, E. In Rhetorical Aspects of Discourses in Present Day Society, ed. Talking About Families to Create Winning Identities. Political and religious discourse identities in Tuku’s music are niche areas that have not been explored from a discourse-linguistic perspective. Mtukudzi’s political and religious songs are conveniently sampled. We engage the Stance theory to make an assessment of how Mtukudzi expressed his feelings, judgments and commitments in the construction of political and religious identities in his songs. It argues that Mtukudzi dialogically constructed and contested certain political and religious identities, taking a stance toward the self and others in response to salient dimensions of the socio-cultural situation. It is in this context that this chapter evaluates political and religious identities in Oliver Mtukudzi’s music. The textuality of songs is not neutral, but a matter of a public act that dialogically positions and (dis)aligns subjects with certain political and religious identities. Political and religious identities are among a plethora of constructions and contestations of meanings advanced by music producers and artists. Music has become one of the most powerful tools to communicate diverse issues in the public discourse of contemporary societies.
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