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Political Humour and Zimbabwean Identity on Social Media Platforms

Bag om Political Humour and Zimbabwean Identity on Social Media Platforms

Political Humour and Zimbabwean Identity on Social Media Platforms by Mbongeni Jonny Msimanga studies Zimbabwean digital political communication to investigate how political satire constructs, critiques, contests, mediates, and negotiates national identity. Focusing on Bustop and Magamba TV, two YouTube channels that specialise in satiric political skits, this book demonstrates what it means to be a Zimbabwean, and who or what authorises such belonging. Msimanga traces contestations of Zimbabwe's national identity since independence in 1980, refracted by the Gukurahundi genocide, questioning national sovereignty and national security, the fast-track land reform programme, and human rights abuses perpetrated by the incumbent ZANU-PF government. This book provides a conceptual framework that deploys a context-sensitive understanding of satire relevant to the global south and to Zimbabwe. Msimanga concludes that Magamba and Bustop TV are successful in utilising opportunities inherent in the inflection point and crossroads facing Zimbabwe to open and amplify new spaces for contesting, negotiating, and critiquing what it means to belong to the national project.

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  • Sprog:
  • Engelsk
  • ISBN:
  • 9781666943283
  • Indbinding:
  • Hardback
  • Sideantal:
  • 194
  • Udgivet:
  • 15. januar 2025
  • Kan forudbestilles.
  • 15. januar 2025

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Political Humour and Zimbabwean Identity on Social Media Platforms by Mbongeni Jonny Msimanga studies Zimbabwean digital political communication to investigate how political satire constructs, critiques, contests, mediates, and negotiates national identity. Focusing on Bustop and Magamba TV, two YouTube channels that specialise in satiric political skits, this book demonstrates what it means to be a Zimbabwean, and who or what authorises such belonging. Msimanga traces contestations of Zimbabwe's national identity since independence in 1980, refracted by the Gukurahundi genocide, questioning national sovereignty and national security, the fast-track land reform programme, and human rights abuses perpetrated by the incumbent ZANU-PF government. This book provides a conceptual framework that deploys a context-sensitive understanding of satire relevant to the global south and to Zimbabwe. Msimanga concludes that Magamba and Bustop TV are successful in utilising opportunities inherent in the inflection point and crossroads facing Zimbabwe to open and amplify new spaces for contesting, negotiating, and critiquing what it means to belong to the national project.

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