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
Results 1-5 of 15
... one's own historical work . . . [by casting] [hlistorical interpretation . . . as responding to a call from the past—not some mystical appeal but a concrete sense of what is incomplete within it that has claims on the present ...
... one's own production. Most often, discussions of improvement rested upon this matter of “seamlessness,” and unimproved texts were frequently described as monstrous, patchwork, or unassimilated, suggesting that the evaluation of literary ...
... one's literary competitors of plagiarism—a charge implying precisely the opposite of “new”—-—offered the occasion simultaneously to dismiss the efforts of another writer as not part of the current literary scene and to demonstrate that ...
You have reached your viewing limit for this book.
You have reached your viewing limit for this book.
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 |