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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... sources were acknowledged, could be considered plagiarism because satire was often understood by early nineteenth-century writers and readers to have violated the standard of improvement. Improvement: By far the most important element ...
... sources, and writers were given broad license to borrow from the works of other authors so long as those ... source of facts, ideas, or specific language” and functions most commonly within the terms set out by the Berne Convention for ...
... sources were routine in the eighteenth century. A writer could rely upon “well-versed” readers to recognize and to appreciate the complexities of the imitation being presented; or, as Richard Steele described it: “Poetry being imitation ...
... source materials. Indeed, early reviewers such as Edmund Burke emphasized that the “story is in reality nothing more than a vehicle for satire.”32 By the 1790s, however, Sterne was being accused of plagiarism from sources that ranged ...
... sources and what they were. How— ever, had the critical tradition simply documented Coleridge's borrowings, the case would be less interesting. Instead, Coleridge himself—his motivations, his evasions, his character—has frequently ...
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 |