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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... Shelley households, and the argument addresses the ways in which private ownership was complicated by both gender ... Shelley's “A Defence of Poetry” and Alastor in light of the poet's anxieties about his literary obligations. Finally ...
... Shelley's Prometheus Unbound in the 18305 and 18405, “Sometimes a writer adopts the phrase of an earlier writer . . . with the intention that the reader should recognize it. . . . and if the reader fails to recognize it, he does not ...
... Shelley made a similar point when arguing for the originality of Virgil. It was, Shelley wrote, “with a modesty that ill ... Shelley's argument was that, by copying the truth, Virgil had simultaneously borrowed from his predecessors and ...
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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 |