Plagiarism and Literary Property in the Romantic PeriodUniversity of Pennsylvania Press, 2013 M04 23 - 256 pages In a series of articles published in Tait's Magazine in 1834, Thomas DeQuincey catalogued four potential instances of plagiarism in the work of his friend and literary competitor Samuel Taylor Coleridge. DeQuincey's charges and the controversy they ignited have shaped readers' responses to the work of such writers as Coleridge, Lord Byron, William Wordsworth, and John Clare ever since. But what did plagiarism mean some two hundred years ago in Britain? What was at stake when early nineteenth-century authors levied such charges against each other? How would matters change if we were to evaluate these writers by the standards of their own national moment? And what does our moral investment in plagiarism tell us about ourselves and about our relationship to the Romantic myth of authorship? |
From inside the book
Results 1-5 of 67
... Romanticism—Great Britain. 3. Plagiarism—Great Britain—History—lgth century. 4. Plagiarism—Great Biitain~History~18th century. 5. Intellectual property—Great Britain—History—lgth century. 6. Intellectual property—Great Britain—History ...
... Romanticism's almost exclusive critical association with the values of self-legislating originality helped to obscure the degree to which these writers were concerned with issues of borrowing, textual assimilation, and narrative mastery ...
... Romanticism as a disciplinary category and “self—perpetuating model,” there is also at least one important respect in which this study does not participate in that critical endeavor: I have not been particularly focused on reading at ...
... Romanticism and its ideological effects on poetry are the inheritance this study takes up, and plagiarism is one of the claims that early nineteenthcentury history makes upon the present. In the course of this study, I use the terms ...
... Romanticism and the rise of the author has been in poststructuralism, while the legal historian Fiona Macmillan argues for the “inherent” connection “between the r0mantic figure of the author, literary theory, and copyright law ...
Contents
1 | |
17 | |
3 Property and the Margins of Literary Print Culture | 49 |
Byron Originality and Aesthetic Plagiarism | 86 |
Travel Writing and the Defense of Modern Poetry | 122 |
Class Improvement and Enclosure | 144 |
Afterword | 182 |
Notes | 189 |
Bibliography | 211 |
Index | 227 |
Acknowledgments | 235 |