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 literary texts of the early nineteenth century, this is essentially a study of the Romantic “canon” and of the ways in which its formation was con— nected to the critical debate surrounding plagiarism, influence, and the Preface ...
Tilar J. Mazzeo. nected to the critical debate surrounding plagiarism, influence, and the tra— dition. I focus primarily on the textual appropriations of Wordsworth, Byron, and Coleridge for no other reason than that these writers were ...
... displacement of Romantic models in pedagogical theory. Rebecca Moore Howard advances a similar argument in her influential study Stand— ing in the Shadow of Giants: Plagiarists, Authors, Collaborators, proposing Preface xiii.
... 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.
... influenced by gender merit further critical attention and are discussed in detail in Chapter 3 of this study, the borrowing was permissible by contemporary standards. By the standards of the time, there was no plagiarism from Brun ...
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 |