CLASSIC CANON TEXTS

The classic canon refers to historical works of literature curated by an intellectual elite, primarily white English men, and reinforced by proponents of Christian values in the United States (Pike, 2003). These texts are prevalent in secondary school curricula because as education formed in America, language arts or composition classes originated for the purpose of educating White Protestant boys and men, primarily with a classical focus (Crowley, 1998).

 

Arguments exist for and against teaching the classic canon in schools. 

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While traditional literature from the classic canon generally does not reflect the experiences or identities of women, minorities, or those with lower socio-economic status, Pike (2003) argues that because literature from the classic canon is removed from modern social and experiential norms, it can be interpreted objectively as a work of art rather than interpreted as relevant or true, and offer a varied chronological perspective. It also provides  adolescents with an opportunity to “read diachronically across time,” thus offering a varied or historical perspective (Pike, 2003). Additionally, Pike argues that the classical canon provides opportunities for students to contrast historical perspectives with their own using critical discourse. 

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The classic canon includes texts that were written as entertainment for educated adults long ago and are thus irrelevant to adolescent learners (Gallo, 2001). Gallo argues that the inaccessibility and irrelevance of classical works due to dense vocabulary and dated ideologies and experiences for adolescent readers in school turns adolescents away from literature. Additionally, the focus on classical texts for adolescents is problematic because students who do not identify with the authors and characters in these texts are excluded from valuable identity exploration opportunities.

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ADDITIONAL RESOURCES

Articles about teaching and the classic canon:

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• Edutopia article on The Reading Wars: Choice vs. Canon

• NCTE Blog post by Jason D. DeHart on What the Canon Means Now