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? |
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... essay A Letter from an Author to a Member of Parliament Concerning Literary Property, the decision in Tonson v. Collins (1760) formalized this nascent discourse by finding that, while style could be considered a factor in determining a ...
... as a glancing but devastating critique of the Biographia Literaria and its author. DeQuincey's essays offer one of the most extensive contemporary discussions available to us of what constituted plagiarism in the Romantic 18 Chapter 2.
... essays, he distinguishes between two categories of plagiarism: “conscious” or culpable plagiarism and “unconscious” or merely aesthetic plagiarism. While both cases imply a species of literary failure within a text, only conscious ...
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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 |