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? |
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... influence on eighteenth- and early nineteenth—century publishing is not the subject of this book, there are several significant parallels. The development of a Romantic attitude toward plagiarism that is distinct 10 Chapter 1.
Tilar J. Mazzeo. development of a Romantic attitude toward plagiarism that is distinct from earlier eighteenth ... attitudes toward plagiarism because it explains one of the central metaphors employed by writers in bringing charges ...
... attitudes toward plagiarism began to emerge in the 1760s and operated coherently in British culture by the 17905. One sign of this was the renewed interest in charges of plagiarism that began in the decade following Donaldson v. Beckett ...
... attitudes toward plagiarism. During the first three~quarters of the eighteenth century, satirical imitation was distinguished from plagiarism, and there was the tacit understanding that appropriation for the purpose of satire could rise ...
... attitudes toward the charge in Georgian Britain. Over the course of this study, I consider how the rhetoric of plagiarism was used in concrete instances to articulate these and other aesthetic judg— ments in order to privilege ...
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 |