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
Results 1-5 of 53
... original. Ironically, the more extensive the borrowing the more likely it was to have been considered acknowledged. The reemployment of texts that were familiar or should be familiar was considered sufficient acknowledgment, and, unlike ...
... original, has had the task of creating the taste by which he is to be enjoyed."15 Coleridge likewise wrote of the “new school of poetry” instantiated by Southey and later Wordsworth, and in some respects the Biographia Literaria ...
... original as an aesthetic category designating superior imitation is generally credited to Edward Young's preRomantic Conjectures on Original Composition (1759), in which he defined as original the imitation of nature or of the universal ...
... original limitations to copyright (fourteen years, plus an additional fourteen years if the author were still living) proposed in the Statute of Anne.22 This interesting history is primarily relevant for understanding Romantic-period ...
... original work is one that Romantic-period writers shared to a considerable extent with their immediate predecessors. However, the neoclassical emphasis on plagiarism as the reemployment of word-for-word particulars gave way by the last ...
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 |