Raymond Williams, one of the leading Left thinkers in Great Britain during the twentieth century, once said that the question of resistance is the problem of incorporation. If we judge Maxine Hong Kingston’s feminist ideas as expressed in The Woman Warrior in light of this perspective, it is without doubt that hers amount to a resistant or oppositional stance against any gender inequality a maligned weaker sex has suffered. This resistance starts to manifest itself in "White Tigers (「白虎山學道」) ," the first section of her so-called memoir published in 1976, when the famous Mulan Folklore was rewritten and appropriated. Fa Mulan (花木蘭), the girl who substituted for her aged father to fight bravely in the battlefield, and her tale, positively confront derogatory remarks, like "cowbirds," "maggots in the rice," and "slave," which Maxine Hong Kingston heard during her childhood, as well as gender discrimination in general. Nonetheless, this appropriation of Mulan Folklore is problematic because it is also a problem of incorporation- or, in Stephen Greenblatt's words, a typical example of "the production and containment of subversion and disorder" by hegemony. In fact, the dominant class in Chinese society had already incorporated the folklore in its politically correct language, not to mention Mulan, the 1998 animated Walt Disney film version. Perhaps the popularity of The Woman Warrior could be viewed as the triumph of a global patriarchal order when most of its readers have accepted Kingston's controversial treatment of her heroine in "White Tigers."; or, it is probably an example of the incorporation of feminism by mainstream commercialism. The purpose of this paper is to examine the tricky relationship between Mulan Folklore and Maxine Hong Kingston's version about a female general in The Woman Warrior, and subsequently the complicated ties between power and literary texts.