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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... imitation and 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 ...
... Imitation and Originality While modern constructions of plagiarism emphasize the moral elements of the charge and focus particularly on similarities in phrasing, Romanticera constructions were primarily concerned with aesthetic and ...
... imitation. While the “original” is sometimes understood to imply ex nihilo invention and a solipsistic expressivism, it was employed during the British Romantic period to signify a form of imitation that was transformative because it ...
... imitation of nature or of the universal rules presented by another author, as opposed to the imitation of his or her particular textual identity.17 Young argued that imitations from the universal, by which he meant the natural, the true ...
... imitation being presented; or, as Richard Steele described it: “Poetry being imitation, and . . . that imitation being the best which deceives most easily, it follows that we must take up the customs which are most familiar or ...
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 |