Abstract
This thesis seeks to reconcile these tensions by proposing a revised theory of authorship grounded in the concept of creative intention and the ontological relationship between agents and artifacts. Moving beyond the narrow confines of written texts, it expands the discussion to all artifacts—physical, intellectual, and even performative—arguing that authorship is not merely a legal or cultural label, but a necessary condition tied to the creation of intentional objects. Through an analysis of philosophical frameworks, case studies, and contemporary challenges, the thesis introduces two key systems: the Authorship Family Tree, which traces the origins of artifacts and authorship, and the Partial Authorship System, which allocates and limits authorship based on specific contributions made by agents. By critically engaging Barthes, Foucault, Hilpinen, and other contemporary scholars, this thesis aims to redefine authorship in a way that respects both the agency of creators and the collaborative, cumulative nature of human innovation. Ultimately, it argues for a more precise approach to authorship, one that adapts to the complexities of modern creation while preserving the foundational link between intention and artifact.