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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... genre, es— pecially for cultural materials located at the margins of literary print cul— ture. Chapter 4 focuses on charges of aesthetic plagiarism levied against Lord Byron, particularly by William Wordsworth and his supporter Henry ...
... genres. The most conservative position considered as 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 ...
... genres. The denigration of satire in the 1780s and 1790s reflects the change inaugurated by new attitudes toward ... genre with hostility rather than appreciation.30 More recently, Stephen Jones and Gary Dyer have documented this same ...
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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 |