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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... question: What constituted plagiarism in Britain during the late eighteenth and early nineteenth centuries? From this central historical question, a series of other questions inevitably develop, and these become the topics that give ...
... question of plagiarism and the specific aesthetic contests that it masks. Any historicist methodology is, of course, indebted to theoretical paradigms that are broadly familiar to scholars of the Romantic period. In some important ...
... without considering how the historical deployment of the term has evolved. One of the specific ways in which the picture of British Romanticism remains incomplete is in respect to the question of plagiarism—a question xii Preface.
Tilar J. Mazzeo. incomplete is in respect to the question of plagiarism—a question that shaped not only how these writers responded to each other but also how the critical tradition of scholarship, from the nineteenth century until the ...
... questions of voice, persona, and narrative or lyric masteryl The question of improvement was central to this charge. Authors who acknowledged their borrowings and failed to improve upon them,\of course, were not typically charged with ...
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 |