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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... poet. Chapter 3 examines the problem of coterie and oral circulation and issues of plagiarism as they emerged primarily ... poet's anxieties about his literary obligations. Finally, Chapter 6 explores Wordsworth's concern regarding the ...
... poet, Samuel Taylor Coleridge, and one of the claims of this book is the contention that such silent literary ... poet's defenders evoking his prodigious powers of memory or eccentric work habits and with his critics documenting ...
... poet's legitimate use of literature understood to be part of the public intellectual tradition, on account of its ... poet effectively naturalizes his work and transforms it into a species of property not limited to exclusive or “private ...
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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 |