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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... 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 or innocence, although those have been the terms of the plagiarism debate almost since its ...
... familiar textual strategies such as imitation and satire. The following chapters take up the alleged plagiarisms of a range of Romantic-period authors, beginning in Chapter 2 with Coleridge's literary obligations and with the ...
... familiar to scholars of the Romantic period. In some important respects, this book is a belated response to Ierome McGann's succinct observation in The Romantic Ideology: A Critical Investigation that we have tended to accept the self ...
... familiar or should be familiar was considered sufficient acknowledgment, and, unlike some of the other, more particularized elements of Romantic-period plagiarism, this was generally true throughout the eighteenth and nineteenth ...
... familiar only those major texts that were regularly taught as part of the national curriculum. Shakespeare and Milton were almost universally considered familiar texts, reflecting the nineteenth-century reevaluation of the status 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 |