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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... models of coterie or collaborative authorship, and it explains why this tradition has focused so intently on the plagiarisms of a single poet, Samuel Taylor Coleridge, as ideologically and culturally aberrant. Within Preface.
... authorship continues to shape contemporary analyses of intellectual property. Roland Barthes's famous observations in “The Death of the Author” locate the origins of authorship as an ideological function in the Romantic period, and, of ...
... authorship.”5 While this is a conventional view of Romanticism, historical evidence does not support this characterization of plagiarism in the early nineteenth century. During the Romantic period, plagiarism was primarily concerned ...
... authorship as a cultural function with an institutional history and in its most extreme articulations proposes that plagiarism is a charge used in a market economy to discipline authors and to perpetuate “Romantic” ideas of solitary ...
... authorship cannot accurately explain literary appropriation in the Romantic period. Yet, Romanticism is part of the modern controversy. It is “Romantic” au— thorship that postmodern scholars hope to deconstruct in the process of ...
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 |