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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... late eighteenth and early nineteenth centuries? From this central historical question, a series of other questions inevitably develop, and these become the topics that give shape to the chapters that constitute this book. For if ...
... eighteenth-century precursors by distinguishing these borrowings from familiar textual strategies such as imitation and satire. The following chapters ... late eighteenth and early nineteenth centuries, when the term applied, and x Preface.
... late eighteenth-century British culture. In The Death and Return of the Author: Criticism and Subjectivity in Barthes, Foucault, and Derrida, Séan Burke demonstrates how persistent the connection between Romanticism and the rise of the ...
... late eighteenth and early nineteenth centuries in Britain is another way of asking what defined Romanticism. The central claim of this study is that the relationship was constitutive. The stakes in Romantic-period charges of plagiarism ...
... late eighteenth- and early nineteenth-century writers were in textual strategies of assimilation, absorption, and appropriation. While Romanticism has been traditionally associated with the values of autogenous originality and invention ...
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 |