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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... tradition that has privileged Romantic ideas of the autogenous author to the exclusion of models of coterie or collaborative authorship, and it explains why this tradition has focused so intently on the plagiarisms of a single poet ...
... tradition of “R0mantic” studies and to literary texts from the period, in order to provide a new way of understanding both the perennial question of plagiarism and the specific aesthetic contests that it masks. Any historicist ...
... tradition. I have used the term historical imagination to describe what I consider to be the central methodological goal of this project, and what I mean by that term is perhaps best articulated by Charles Altieri, whose essay “Can We ...
... tradition of scholarship, from the nineteenth century until the present, has constructed its literary past. This study challenges that assumption that we know what “Romanti— cism” was. The characterization of the period and its ...
... Tradition (1969) Asking what defined plagiarism in 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 ...
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 |