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 75
... reading at the margins of Romantic-period culture and have not engaged consciously in “recovery” research, except in relation to the specific category of plagiarism.2 The early nineteenth-century discourse surrounding plagiarism ...
... readers talked about plagiarism. They debated particular instances and its aesthetic implications in both private correspondence and public print media. The critical tradition, however, has analyzed the topic without considering how the ...
... readers interested in other historical periods and disciplinary approaches will recognize the ways in which the “inheritance” of Romantic authorship continues to shape contemporary analyses of intellectual property. Roland Barthes's ...
... readers and writers in Georgian Britain? And what defined the success or failure of a literary work in the period that we have come to call Romanticism? As a determination of aesthetic failure, plagiarism and the critical discourse that ...
... reader could be expected to recognize the original. Ironically, the more extensive the borrowing the more likely it ... readers to have violated the standard of improvement. Improvement: By far the most important element of any Romantic ...
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 |