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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... Critical Inheritance 1 Coleridge, Plagiarism, and Narrative Mastery 17 Property and the Margins of Literary Print Culture 49 “The Slip-Shocl Muse”: Byron, Originality, and Aesthetic Plagiarism 86 Monstrosities Strung into an Epic ...
... critical association with the values of self-legislating originality helped to obscure the degree to which these writers were concerned with issues of borrowing, textual assimilation, and narrative mastery over another? The first ...
... critical description of Coleridge's borrowings as psychologically motivated, and, by rereading Romantic-period models of the unconscious, I consider how plagiarism was linked to habit and inhabitation for the poet. Chapter 3 examines ...
... 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 it masks. Any historicist ...
... critical and aesthetic tradition that has privileged certain values, authors, and forms of subjectivity. The intention in allowing these terms to operate as unmarked signs is not to reify the Romantic ideology but only to reflect the ...
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 |