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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... poet or a literary movement. This is not a book about guilt or innocence, although those have been the terms of the plagiarism debate almost since its incep— tion. Rather, this study sets out to answer what turns out to be a deceptively ...
... poet. Chapter 3 examines the problem of coterie and oral circulation and issues of plagiarism as they emerged primarily in the Wordsworth and Shelley households, and the argument addresses the ways in which private ownership was ...
... poets and of Coleridge, in particular, were debated vigorously throughout the twentieth century, but their ... poetic objectives, or their use of tradition. The almost exclusive critical emphasis on the plagiarisms of Coleridge ...
Tilar J. Mazzeo. logic of Romanticism: he is the brilliant and innovative poet who claimed imaginative origins for his works but ... poets writing in the period. At the same time, the singular attention given to his borrowing is clearly ...
... poet, Samuel Taylor Coleridge, and one of the claims of this book is the contention that such silent literary appropriations were far more widespread and common among writers of the period and were viewed according to histori— cally ...
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 |