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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... literature and its related historical and critical contexts, readers interested in other historical periods and disciplinary approaches will recognize the ways in which the “inheritance” of Romantic authorship continues to shape ...
... literature” was evaluated as distinct from other forms of expression, and authors found guilty of poetical plagiarisms were simultaneously guilty of writing badly. Plagiarism signaled a failure to achieve the minimum aesthetic ...
... literature and on the relationship between “high” and “low” 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 ...
... literature privileged displays of erudition, imitation, and satire that Romanticism subsequently deemphasized in favor of originality. Because an author's engagement with learning and tradition was a crucial component of his or her ...
... literature also affected the critical reception of certain literary genres. The denigration of satire in the 1780s and 1790s reflects the change inaugurated by new attitudes toward plagiarism. During the first three~quarters of the ...
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 |