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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... satire. The following chapters take up the alleged plagiarisms of a range of Romantic-period authors, beginning in Chapter 2 with Coleridge's literary obligations and with the conventions of plagiarism outlined by his first accuser ...
... satire during the Romantic period, even where those intentions were explicit and the sources were acknowledged, could be considered plagiarism because satire was often understood by early nineteenth-century writers and readers to have ...
... Satire, and the 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 ...
... satire that Romanticism subsequently deemphasized in favor of originality. Because an author's engagement with learning and tradition was a crucial component of his or her ability to “instruct and delight,” extended allusions to and ...
... satire in the 1780s and 1790s reflects the change inaugurated by new attitudes toward plagiarism. During the first three~quarters of the eighteenth century, satirical imitation was distinguished from plagiarism, and there was the tacit ...
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 |