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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... nature or of the universal rules presented by another author, as opposed to the imitation of his or her particular textual identity.17 Young argued that imitations from the universal, by which he meant the natural, the true, or the ...
... natural argument extended the position outlined by John Locke in the second of his Two Treatises of Government (1690), in which he argued that, through the investment of labor into an otherwise unclaimed property in the state of nature ...
... natural law and proprietary models, as indeed did early nineteenth-century culture more generally. I have said that distinctively Romantic attitudes toward plagiarism began to emerge in the 1760s and operated coherently in British ...
... nature of Coleridge's borrowings and, by extension, the nature of his art, we must understand what he might have intended by claiming his plagiarisms were unconscious—and what his contemporary critics might have imagined was at stake by ...
... nature of the particular textual relationship and rely upon aesthetic judgments, while the last circumstance addresses the problem of intention and relies upon psychological evaluation. On the basis of this definition, DeQuincey ...
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 |