The document discusses Greek views on authorship, originality, and invention. It addresses how these concepts were defined differently in ancient Greece compared to contemporary understandings. Specifically, authorship was seen as inspired by divine sources rather than originating from solitary, proprietary individuals. The document also notes the complexity of analyzing authorship concepts across different historical periods and cultures.

1. Greek Views of
Authorship
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2. imitative
vs
inspired
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3. How are invention and
originality defined in this
cultural model?
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4. Behme:
Lastly, I would like to address the issue of
terminology and suggest that historians of
authorship ethics benefit from being sensitive to
the vocabulary used in particular periods and by
particular authors. This allows for the identification
of relevant precursors to our contemporary
concepts while avoiding the anachronistic
imposition of contemporary terms. (208)
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6. Lo, many years later:
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8. Solitary
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9. Originary
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10. Proprietary
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11. Sophists
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12. Lauer:
• Kairos
• Epistemology
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13. Wednesday, January 23, 13

14. Originality
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15. Theresa:
And here I am also inserting my own expectations for
authorship, which I then need to be mindful of,
because here I am assuming that a real author writes
for non-profit and cares little for fame, as long as he/
she writes and is heard by the communities he/she
hopes to reach (but then, what is being "heard," and
how is this idea of author reception much different
from Isocrates desire to have worldly immortality and
fame?) ...as you can see, very complicated in my mind.
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16. Seth:
What assumptions about authorship, originality, and
ownership do both Plato and Isocrates seem to be
operating upon? In terms of these three terms, what
can we learn through Plato and Isocrates about the
cultural/historical differences between Greece circa
500 BCE and America circa 2012?
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17. Wednesday, January 23, 13

18. Phaedrus: 4 sources for
initiation of discourse
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19. • inspiration of the muses
• dissonance between two speeches that
prompts a third speech
• adaptation to the situation (kairos) by
knowing the souls of the audience
• love itself
(Lauer 17)
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20. and, of course:
it’s complicated.
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21. Ion
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22. Wednesday, January 23, 13

23. “interpreters of
interpreters” (Ion)
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24. Wednesday, January 23, 13

25. poet is set apart through divine association
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26. Mouthpiece
Avatar
Messenger
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27. Seth:
For Plato, the loadstone represents the gods, the muses, the divine
origin of authorial inspiration. (That word, inspire, means literally to
breathe into. Inspiration always comes from somewhere else. It is in
many ways opposed to the connotations of originality and genius
often given to it.) The rings, then, represent the circulation of that
inspiration, a series of translations and transcriptions and
interpretations, whose source is not human.
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28. The Republic
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29. What shall we do with poets and honeyed Muses?
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30. “... we have come to see that we
must not take such poetry seriously as
a serious thing that lays hold on
truth, but that he who lends an ear to
it must be on his guard fearing for the
polity of his soul and must believe
what we have said about
poetry” (21-22).
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31. Wednesday, January 23, 13

32. strategies for:
• analyzing discourse & categorizing its matter
• exploring using the 28 topics & special
topics
• arts for framing probable rhetorical
epistemologies
(Lauer, 19)
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33. Muckelbauer
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