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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... particular interest here is in the critical description of Coleridge's borrowings as psychologically motivated, and, by rereading Romantic-period models of the unconscious, I consider how plagiarism was linked to habit and inhabitation ...
... particular critical and aesthetic tradition that has privileged certain values, authors, and forms of subjectivity ... particular history makes on the present. Early nineteenth-century British writers and readers talked about plagiarism ...
... particular intensity on deconstructing the myth of the singular, autonomous author, and the foundational works in this criticism have identified this myth as an authentically Romantic one. In an important early essay, for example, James ...
... particular literary 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 ...
... particular alleged plagiarisms of writers ranging from Wordsworth and Coleridge to Byron, Clare, and Shelley. However, by way of introduction and summary, it will be useful to know that, in early nineteenth-century Britain, there was ...
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 |