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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... assimilation, and narrative mastery over another? The first chapter of this book begins by considering the critical tradition that has privileged Romantic ideas of the autogenous author to the exclusion of models of coterie or ...
... assimilation, and narrative dominance, this project is an extension of McGann's thesis. However, there are ways in which it represents a revision: one of the central premises of my argument is the contention that there are other equally ...
... assimilation as they were with the category of originality—values that were not seen as mutually exclusive in the nineteenth century. This book considers, then, the disjunction between how Romanticperiod writers engaged with issues of ...
... assimilation, absorption, and appropriation. While Romanticism has been traditionally associated with the values of autogenous originality and invention, the cultural conventions of Georgian Britain privileged as literary achievements ...
... assimilation. Copyright, Satire, and the Ownership of Literary Style While the discussions surrounding plagiarism in Georgian Britain functioned as a crucible in which the literary values of Romanticism were contested and articulated by ...
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 |