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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... ownership was complicated by both gender and genre, es— pecially for cultural materials located at the margins of literary print cul— ture. Chapter 4 focuses on charges of aesthetic plagiarism levied against Lord Byron, particularly by ...
... ownership that they represent. In recent years, composition specialists have focused with particular intensity on deconstructing the myth of the singular, autonomous author, and the foundational works in this criticism have identified ...
... ownership of tone and style no longer operate either legally or rhetorically in the same manner. Because plagiarism represents a statutory violation of property only insofar as it is related to the infringement of copyright or moral ...
... Ownership of Literary Style While the discussions surrounding plagiarism in Georgian Britain functioned as a crucible in which the literary values of Romanticism were contested and articulated by writers and their readers, that debate ...
... ownership of real estate placed him in conflict with writers such as Byron and even Coleridge who tended to view the possession of texts as less restricted. In some respect, then, the Romantic poets continued to play Critical Inheritance ...
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 |