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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... obligations and with the conventions of plagiarism outlined by his first accuser, Thomas DeQuincey. My particular interest here is in the critical description of Coleridge's borrowings as psychologically motivated, and, by rereading ...
... obligations masked a larger contest about how to come to critical judgment. But what did plagiarism mean for readers and writers in Georgian Britain? And what defined the success or failure of a literary work in the period that we have ...
... obligation cannot be easily understood in Freudian terms. The term unconscious was in regular use by the turn of the nineteenth century, and it was generally accepted that all writers would borrow unconsciously from time to time ...
... obligations and deceptions. However, while Coleridge's debts have been extensively catalogued, neither the construc— tions of plagiarism nor of the unconscious, as Coleridge and his Romantic contemporaries might have understood those ...
... obligations was not strictly accurate (they had been noted by Coleridge himself as early as 1796), the Tait's Magazine articles inaugurated the controversy and, in doing so, articulated some of the complexities that informed Romantic ...
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 |