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
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... argument addresses the ways in which private ownership was complicated by both gender and genre, es— pecially for cultural materials located at the margins of literary print cul— ture. Chapter 4 focuses on charges of aesthetic ...
... argument is the contention that there are other equally motivated selfrepresentations that have been overlooked by the critical tradition and which are necessarily integral to any historical understanding of the period. This study ...
... argued for two “poles” of authorship, one intertextual and collaborative and the other autonomous and “Romantic,” and advocated for the displacement of Romantic models in pedagogical theory. Rebecca Moore Howard advances a similar argument ...
... argued early in the twentieth century regarding Alfred, Lord Tennyson's borrowings from Percy Bysshe Shelley's Prometheus Unbound in the 18305 and 18405, “Sometimes a writer adopts the phrase of an earlier writer . . . with the ...
... arguing that this is a transparent effort to excuse plagiarism and the literary theft that it represents by casting it as a ... argued both in a 1997 British Academy lecture and in his Allusion to the Poets that plagiarism functions as a ...
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 |