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Date Added: June 06, 2012 11:20:48 AM
Author: sharwan
Category: Arts & Humanities: Education

The concept of "mainstream" is typically a literary concept of the American mindset. The first indication of this is that today we do not have a Brazilian term that expresses. Some people use "mainstream" (which seems of electrical engineering parlance), "trunk literary" (ibid. of forestry). I usually use a circumlocution as "literature itself", which seems awfully vague. "Mainstream" is used in English to express a way Americans envision the literature: a huge river that has a main current, like the Nile, which breaks down as the Nile delta in a possibly smaller streams, which would be genres (police, terror, love, westerns, etc..), which, however, only exist because they are a mere diversion of the waters of that part of a larger stream, which is the river itself. When Americans speak of "mainstream" they are saying something like: "the modern urban realist essays and articles, which describes the life of human types recognizable recognizable human environments, and that makes us revelations about the socio-historical-economical environment, and on the psychological profile of the characters. " This is the dominant literary model in the Western world, from the literary criticism of the press and journals to university studies. The fact correspond to a very narrow slice of literary production is not important. The "mainstream" is not major because of the amount, but because of its sheer power to impose itself as a model. This type of book has credibility and political power, a power purely spiritual, but not less powerful for it. It has most of the critics, teachers and students at his side. It is a model that has been perfected for at least two hundred years. In Brazil, this is divided in mainstream social-historical realism and psychological realism. When an author belonging to one of these trends began to exaggerate certain features, begins to break away from the mainstream. Ruben Fonseca, for example, now and again seems to be being pushed into the ghetto of detective fiction, but always returns to the mainstream. (Among other things, because the critics do not want to give it up.) As the Brazilian cult is obsessed with history, the historical romance between us is part of the mainstream, not the literature of gender. When is a set of texts out of the mainstream and is a genre? I would say is when it creates a public self, a niche market, a feedback system (critical reviews, publications) itself and becomes not need the mainstream system. This occurred with the U.S. science fiction, and it is ironic that, after becoming independent of the larger system suffers today nostalgia is not accepted by him. Maybe I'm wrong, but I have the impression that there ever was a time when the science fiction stories were more present in Brazil. Sure, we've had some magazines dedicated to the genre, which make things any easier, but the books with tales were also more numerous. And it's nice to say that some of the best science fiction tales are, without disparaging the huge volumes that have been produced lately, sometimes in trilogies quadrilogias and other "strategies" - with some really spectacular stories and essays. Today, a publishers who have dedicated themselves to the publication of the tales of the genre is Becoming, which now presents this Assembly Star, which proves that size does not matter, making an excellent compilation of what was called by the editor of "science fiction" policy, with Brazilian and foreign authors. And since the book starts well, with an introduction of 26 pages, "Elective Affinities Between Science Fiction and Politics," written by the publisher Simon White Marcello, which in itself worth the book. He not only presents some definitions and characteristics of the policy, as it establishes the relationship between literature and science fiction. Also, prepare a historical overview of the works that circulate directly or indirectly to the subgenus "fc + politics," which shows, among other things, the scope of the genre and the ease with which passes by several subjects.