Cinnabar and Alabaster

key claims by chapter/author:
1. Howard: We too-often & too-unconsciously use the term "author" to create a binary division between (grubby, error-prone, un-qualified) "students" and culturally-validated "authors."
2. Butler: Copyright is federal/international law, plagiarism is about morality, & at their intersection (because it's not a logical connection) is a postmodern connundrum: the laws & policies on the books don't reflect the theories we study & teach.
3. Adams: The notion of Authorship involves a distancing from the material body of the writer; writers slave over desks, make erasures, breathe, & occupy student positions, while Authors are above and indifferent to materiality and such correlatives as readers' needs.
4. Robillard: Our textual practices work like our classroom practices to keep students in a deficient, immoral, classless category binarily opposed to Authorship: why else do we use Authors' names when we quote from them and replace our students' names with pseudonyms if we acknowledge a responsible individual at all?
5. Gilfus: Composition textbooks/handbooks construct students primarily as un-authors & potential theives who need to be corrected, as deficient geniuses responsible for their own isolated work even when they're encouraged to learn from the work of others, as inexperienced users of their own language whose ideas would never be cited in each others' work like the ideas of "real" authors.
6. Bain Warring conceptions of authorship (solitary genius vs. social nexus) come into obvious conflict in writing centers, where tutors are supposed to assist students while holding back ideas, suggestions, and even corrections they would offer colleagues, reinforcing a romantic notion of invention even while the field's favorite theorists decry such and further widening the gulf between the faculty-elite & student-Others.
7. Brooke Emerging and rapidly-changing computer technologies change the face of Authorship: anyone can publish, but the simple fact of wide exposure does not an Author make; and sampling is a kind of authoring (in postmodern theory a kind much closer to the accepted norm than in other theoretical conceptions) but to call it such is threatening to long-accepted popular conception.
8. Queen The practices & metaphors of authoritative writing being already firmly male-gendered (founding fathers), women often made strides into male-dominated linguistic modes by use of mimesis; such modes of becoming authorized, of donning existing mantles of authority, can and should be part of the classroom practice of teaching writers to write like the authorities whose positions they wish to inhabit.
9. Baca "Alternate ideologies of authoring" besides the dominant Western ideals carried over from European Enlightenment thinkers already exist, even in the U.S.; we don't need to reinvent the wheel to break out of some of these habits we're starting to reexamine, but instead need to listen to the other voices already among us.
10. Carrick Because there are dominant modes of discourse and power in their world, students must be taught those modes rather than only taught in spite of them as if resistance came without a cost; rather than giving up the potential for change, however, Carrick suggests several classroom activities that can be used to examine and call into question the necessity of existing frameworks even while working within their demands.

passages:
1. the terms "student, writer, and author carry very different cultural freight" (Howard)
4. "students are neither authors nor writers but applicants for admission to the place where authors and writers operate" (Howard)
6-7. foucault & barthes & their precious-dead author, oh my. (Howard)
8. "now that everybody had it, literacy was no longer a hallmark of the upper classes. Not surprisingly, the notion of the author of genius and originality became increasingly important" (Howard)
10. Trimbur & Crosswhite advising against totally remaking authorship as only-always social (Howard)
11. Lunsford's "from owning to owning up" (find Lunsford)
14. copyright is based in economic principles; intellectual labor is Locke's baby (Butler)
15. "plagiarists violate no federal or state laws" (Butler)
19. "imitation is a normal part of the authorial process"; copyright law & plagiarism policies disagree about whether ideas are owned or belong to the public domain (Butler)
28. "those who are not Authors are characterized as all body, mired in the material" (Adams)
29. "Authorial status derives from an (apparent) indifference to readers' needs, whereas student writers are required to remain obedient to and grounded in the very material demands of their teacher-readers" (Adams)
30. "The author-function represents status, a hollowed-out space, not a presence" (Adams)
34. lesbians writing together "queers" author-space (& i'll go ahead and assume the writing-together does the queering even w/o the lesbians); "the chair is empty because it was never occupied"; "if texts are indeed orphans...then readers are free to throw parties in the parents' absence. Finally, collaborative writing threatens to expose the dirty secret of Authorship: writers are never solitary" (Adams)
35. proliferate writing = prostitution; "Even the writer who is supposedly working alone is actually trying on selves, negotiating identities. (Adams)
47. "the refusal to name students positions teachers as the parents with the power to name or withhold a name"; naming Authors names relationships between writer & Author, between Author & other Author; witholding students' names makes them interchangeable (Robillard)
48-9. Harris & CCCs policy (Robillard)
50-1. teachers can't grant authority to students; (a) they don't have it to give, & (b) students aren't wholly lacking, either. (Robillard)
58. all writers learn to share words via imitation & adaptation (Gilfus)
59. trouble w/expressivist pedagogy--> "these two versions of authorship combine to normalize the construction of authors as both instruments of God and independent producers, and thus owners, of the words they compose" (Gilfus)
69. Barthes' metaphors get fabric-y ("tissue") (Gilfus)
71. a-ha: patchwriting = what i called "close imitation"
76. we can be writers, but to write about writing with authority we have to invoke (A)uthors (Bain)
78. power is relational; when terms s.a. "author, Author, and writer" are "used imprecisely, they not only confer power but also hide the operation whereby that power is conferred." (Bain)
79. the author-function functions differently when the author really is dead. (Bain)
84. collaboration btw. writers of equal status = learning; unequal status = cheating (Bain)
86. we create us/them divisions by withholding idea-sharing from students that we'd share w/colleagues. (Bain)
93. "anyone can be an author, if...publishing is limited to the admittedly narrow criterion of 'making public,'" but the apparent "inverse relationship between quantity and quality" leads to the reality that while "anyone can be an author, perhaps,...not everyone can be an Author" (Brooke)
98. shifts by shifting the realm: in "various screen-based textualities, authorship is less a matter of asserting a thesis or a plot than it is of providing a range of possibilities" (i.e. mix-tapes)(Brooke)
102-3. Carruthers--> "there are two distinct stages involved in the making of an authority--the first is the individual process of 'authoring,' and the second is the matter of 'authorizing,' which is a social and communal activity"; authorship can't just be "claimed" but must be "granted...by an authorizing authority.(Queen)
114. imitation & mimesis--which "can be used as an authorizing tool" (Queen)
117. Valdes quote
121. Matalene on cultural assumptions: "As Western writing teachers, when we admit the ethnocentricity of our notion of the 'Authentic Voice,' we can begin to appreciate the sound of other voices" (Baca)
124-5. western history (of comp) isn't the only history (Baca)
130. Anzeldua's metaphor: "the writing process as the seaming together of fragments"; Lunsford's "authorship as a patchwork" (Baca)
132. the [other models are] out there (Baca)
136-7. "storying an argument" assignment--links to something of Tobi's w/no reference (Carrick)
140-1. "authority/authorship narrative" assignment (Carrick)

top 5: Barthes, Foucault, Howard, Lunsford, Susan Miller