I’ve taught freshman composition courses for almost two years now, expecting my diverse body of students from multicultural backgrounds to all coalesce and perform to one standard above all others: White Vernacular English (WVE) or White American Vernacular English (WAVE). As writers, we pride ourselves on being open-minded yet authentic, and we hope our students do the same—as long as they adhere to what we consider valid style of writing. Why have the rigid, outdated principles the foundation of college composition was built on not shifted to accept other vernaculars?
(Photos courtesy of Flickr and Wikipedia.)
by Steve Royek
The professional football career of Richie Incognito is probably over and he faces a life of being known as the white player who harassed black teammate Jonathan Martin with threatening and racist texts and voice messages.
Could he, however, soon be trading in his orange and turquoise Miami Dolphins’ uniform for an orange prison jumpsuit?
If Oliver Wendell Holmes Jr. had his way, he just might.
Of all the names swirling around this sad, salacious scandal of language-based threats and violent rhetoric, one of the most interesting might be that of the former U.S. Supreme Court justice. Holmes authored the landmark 1919 “Schenck v. United States” opinion that set legal guidelines
for violent speech with the often-quoted “shouting fire in a theatre” analogy. “Schenck” was the first high court ruling to carve out an exception to the once-absolute Freedom of Speech protection in the Bill of Rights.
Over the years, those exceptions have been crystalized into a three-part test of protected violent speech: Is there intent to commit a violent act, is that action imminent, and is there a strong likelihood the act will be carried out? All three of these tests appear to have been met in the Incognito affair, which opens up the player to criminal charges of terroristic threats.
thoughts on writing, art, & new media by glassworks editorial staFF