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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... unconscious, I consider how plagiarism was linked to habit and inhabitation for the poet. Chapter 3 examines the problem of coterie and oral circulation and issues of plagiarism as they emerged primarily in the Wordsworth and Shelley ...
... considered legitimately unconscious, in part because the knowledge of the act did not always preclude it having been performed unconsciously. The term coincidence is frequently used to describe unconscious plagiarisms 4 Chapter 1.
Tilar J. Mazzeo. The term coincidence is frequently used to describe unconscious plagiarisms and had particular philosophical associations. The combination of these elements and the emphasis on improvement in particular suggests how ...
... unconscious appropriation that was familiar to his contemporaries but did not resonate with modern readers. The “New” Aesthetics: Imitation and Originality While modern constructions of plagiarism emphasize the moral elements of the ...
... unconscious, and Thomas DeQuincey, in his infamous 1834 serial exposé of the poet, characterized Coleridge's most culpable intellectual debts as a personal neurosis. The psychological analysis of Coleridge's plagiarisms, then, began ...
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 |