Latin American Report - Volume 27, Issue 2, 2011
Volume 27, Issue 2, 2011
Author Mzukisi LentoSource: Latin American Report 27, pp 196 –206 (2011)More Less
The Harlem Renaissance is known as a period of cultural explosion among African Americans. Arguably, however, it was more than this, for many participants in the Harlem Renaissance sought to use culture to address the issue of race relations in the United States of America. Through this they sought to prove that black people were capable of doing anything, just like any other human being. Black people, discriminated against, humiliated and oppressed by an essentially white government in a racist United States, suffered psychologically as well as physically. They were encouraged to believe that the white race was superior to the black one. It is uncontroversial that many Harlem Renaissance figures desired to challenge this belief.
If one accepts this, the thesis statement of this essay follows naturally: that the origins of the Harlem Renaissance can be traced back to the era of the Trans-Atlantic slave trade. The Harlem Renaissance emerged as a result of racism which was also conspicuous (indeed, which became most significant) during the Trans-Atlantic slave trade and the era of slavery in (especially) North America. This might help to explain why blacks in the United States were seen as inferior to their white counterparts in different facets and levels in society - especially, with regard to the Harlem Renaissance, art, culture, literature, and music.
After all, why are there black people in America? The slave trade brought black people to America, conducted by white people looking for cheap labour and easy profits. The dehumanization of the black person which this entailed is expressed in Phyllis Wheatley's poem 'On Being Brought from Africa to America'. Below, The Trans-Atlantic Slave Trade, Slavery, and The Harlem Renaissance are going to be discussed to show chain, relationship, and that really the origins of The Harlem Renaissance can be traced back to the Trans-Atlantic Slave.
Author Arthur T.P. MakandaSource: Latin American Report 27, pp 207 –212 (2011)More Less
The aim of this paper is to explore the idea of healing, rehabilitation and restitution in the everyday social praxis of ordinary people. The paper does so by examining the voices of 'departed' freedom fighters who have been reincarnated through the agency of youths in Zimbabwe. It is part of the argument of this paper, that through these voices the 'possessed' youth attempt to re-insert part of Zimbabwe's history that had been buried by communal amnesia but is now surfacing due to the success of the land reforms. The idea of the myth of eternal return of the 'dead freedom fighters' enacted through the voices of possessed hosts attempts to stabilize the very idea of community and bring 'closure' to the issues related to the need for healing and rehabilitation.
Author Kelvin ChikonzoSource: Latin American Report 27, pp 213 –224 (2011)More Less
This article seeks to demonstrate how theatre instigated for change cannot yield an environment for liberation and recuperation against dominant ideology if it is construed within the generic regime of realism. This paradigm is premised on the fact that the core purpose of transformative theatre is to provide liberated space which allows for diverse voices to deliberate upon their interests, so that social power is not concentrated within one centre and avoids paternalism, marginalization, exclusion and othering. The article uses a play entitled Waiting for Constitution, written by one of Zimbabwe's prolific playwright, Stephen Chifunyise. The article argues that realism, as a style, does not engender institutions of democracy such as empowerment, inclusion and liberation of intellectual and physical agency.
A critical overview of Gabriel Garcia Marquez's representation of sexuality in some of his narrativesAuthor Barbara C. ManyararaSource: Latin American Report 27, pp 225 –235 (2011)More Less
The Colombian Nobel Prize winner Gabriel Garcia Marquez, who has been writing for over sixty years, unfailingly brings sexuality to the fore of his narratives to the extent where its literary representation constitutes his oeuvre. However, his readership has not always liked some of his constructions of sexuality, leading to some litigation and outright bans of some of his works and their adaptations in some parts of the world. Thus, reading his narratives requires an appreciation of his social milieu to establish the patterns of sexual representation as they occur in some of the narratives. This article outlines key issues in his representation of sexuality. Garcia Marquez employs female sexuality as his grand metaphor but the gaps and silences in the telling are metonymous, in this way displaying a particular sensitivity to the reality of sexual desire in his own socio-cultural situation and not some misguided forage into soft porn.
Author Washington MushoreSource: Latin American Report 27, pp 236 –247 (2011)More Less
This article looks at how the language of advertising is designed to maximize its persuasive potential. Semiotic theory will be used in unpacking the meanings of the rhetoric devices in the language of Shona printed advertisements. Rhetoricians recognized that a well-organized advertisement is more convincing or more persuasive than a poorly ordered one. Arguments or benefits of products, services or ideas have to be arranged in the best possible formation if advertisements are to achieve their aims. Since rhetoric is about effective communication, that is, the ability to communicate thoughts with utmost advantage, the basic argument of this article is therefore that the language that advertisers use in their advertisements is something that is carefully designed in order to bait potential customers. Two Shona printed advertisements namely Shumba Super Dust and WaterGuard produced in Zimbabwe will be used as examples.