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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... voice and examines the charges of plagiarism brought against him in The Excursion in relation to the larger legal discourse of enclosure. Wordsworth's rhetorical investment in class metaphors is contrasted with the accusations of ...
... voices in relation to the critical tradition of “R0mantic” studies and to literary texts from the period, in order to provide a new way of understanding both the perennial question of plagiarism and the specific aesthetic contests that ...
... 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 plagiarism ...
... voice or style of one's own production. Most often, discussions of improvement rested upon this matter of “seamlessness,” and unimproved texts were frequently described as monstrous, patchwork, or unassimilated, suggesting that the ...
... voice and tone than upon other narrative elements. This critical emphasis was supported in eighteenth- and early nineteenth-century law, which recognized style as an element of literary property. Improvement represents one of the clear ...
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 |