By David Palumbo-Liu
Who determines what ethnic literature will get integrated within the usual academic canon? How does this choice making take place? The Ethnic Canon questions the present procedure, arguing that texts are additional to the canon in simple terms after an operation that makes an attempt to solve and neutralize historic and political contradictions and changes. The Ethnic Canon bargains a wide selection of serious viewpoints and speaks to the background and perform of canon formation inside particular ethnic literatures. The texts tested contain Toni Morrison's track of Solomon, Ralph Ellison's Invisible guy, Américo Paredes's among Worlds, Richard Rodriquez's Days of legal responsibility, and David Henry Hwang's M. Butterfly, in addition to the novels of Amy Tan.
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Extra info for The Ethnic Canon: Histories, Institutions, and Interventions
See "Identities on Parade" (conversation between Bhikhu Parekh and Homi Bhabha), Marxism Today (June 1989): 28. 41. " Vocational Educational Journal 66:8 (November—December 1991): 32-33,76. 42. Marjorie Perloff has remarked upon the abiding institutional practices of canonization that enclose multicultural studies. See Perloff, "An Intellectual Impasse," Salmagundi 72 (fall 1986): 125-30. This issue of the journal is devoted to the topic of literary canons, and represents a number of moderate to liberal viewpoints.
Our concern is what we are saying, writing, thinking, and doing. " In contemporary feminist circles, a debate rages concerning language: whether men own it; whether it is a fixed, immutable force that is reality; or whether it is merely a process that signifies nothing but through which we are all entertained nonetheless. Some feminist critics debate whether we take our meaning and sense of self from language and in that process become phallocentric ourselves, or if there is a use of language that is, or can be, feminine.
Finally, Colleen Lye draws together issues of gender and ethnicity to analyze a specific text's transmutations within transnational critical discourse. She draws our attention to the way David Henry Hwang's M. Butterfly may be appropriated as a text that necessarily dismantles hegemonic structures, but only at the cost of writing out the problematics of transnational cultural politics in favor of a decontextualized and extremely localized reading of gender. A crucial element of Lye's critique is her observation of the way particular readings of the play are problematized when it DAVID P A L U M B O - L I U 22 is promoted and performed in different national situations.