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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... charges of plagiarism evoke strong responses. My objective here, however, is not to reignite a familiar contro— versy, and it is not to defend or to indict either an individual poet or a literary movement. This is not a book about guilt ...
... plagiarism and its immediate eighteenth-century precursors by distinguishing ... plagiarism outlined by his first accuser, Thomas DeQuincey. My particular ... charges of aesthetic plagiarism levied against Lord Byron, particularly by ...
... plagiarism in the late eighteenth and early nineteenth centuries in Britain is another way of asking what defined Romanticism. The central claim of this study is that the relationship was constitutive. The stakes in Romantic-period charges ...
... charged with poetical plagiarism if borrowings were simply unacknowledged and unimproved. Plagiarisms of this sort were not culpable and, therefore, did not carry with them moral implications. Rather, the charges conveyed an aesthetic ...
... charges of plagiarism, extrapolated here from a range of Romantic-period texts on the subject that I discuss in the course of this study, were often the subject of interpretive but not general disagreement.' Acknowledgment: Apart from ...
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 |