LEADER 04448nam 2200733Ia 450 001 9910787540603321 005 20220304014430.0 010 $a0-8122-0273-2 024 7 $a10.9783/9780812202731 035 $a(CKB)2670000000418172 035 $a(EBL)3442036 035 $a(SSID)ssj0001053100 035 $a(PQKBManifestationID)11606380 035 $a(PQKBTitleCode)TC0001053100 035 $a(PQKBWorkID)11084244 035 $a(PQKB)11745213 035 $a(OCoLC)859162309 035 $a(MdBmJHUP)muse27909 035 $a(DE-B1597)449129 035 $a(OCoLC)979740596 035 $a(DE-B1597)9780812202731 035 $a(Au-PeEL)EBL3442036 035 $a(CaPaEBR)ebr10748346 035 $a(MiAaPQ)EBC3442036 035 $a(EXLCZ)992670000000418172 100 $a20060615d2007 uy 0 101 0 $aeng 135 $aurnn#---|u||u 181 $ctxt 182 $cc 183 $acr 200 10$aPlagiarism and literary property in the Romantic period$b[electronic resource] /$fTilar J. Mazzeo 210 $aPhiladelphia $cUniversity of Pennsylvania Press$dc2007 215 $a1 online resource (256 p.) 225 0 $aMaterial Texts 300 $aDescription based upon print version of record. 311 0 $a0-8122-3967-9 320 $aIncludes bibliographical references (p. [211]-226) and index. 327 $tFront matter --$tContents --$tAbbreviations --$tPreface --$tChapter 1 Romantic Plagiarism and the Critical Inheritance --$tChapter 2 Coleridge, Plagiarism, and Narrative Mastery --$tChapter 3 Property and the Margins of Literary Print Culture --$tChapter 4 "The Slip-Shod Muse": Byron, Originality, and Aesthetic Plagiarism --$tChapter 5 Monstrosities Strung into an Epic: Travel Writing and the Defense of "Modern" Poetry --$tChapter 6 Poaching on the Literary Estate: Class, Improvement, and Enclosure --$tAfterword --$tNotes --$tBibliography --$tIndex --$tAcknowledgments 330 $aIn a series of articles published in Tait's Magazine in 1834, Thomas DeQuincey catalogued four potential instances of plagiarism in the work of his friend and literary competitor Samuel Taylor Coleridge. DeQuincey's charges and the controversy they ignited have shaped readers' responses to the work of such writers as Coleridge, Lord Byron, William Wordsworth, and John Clare ever since. But what did plagiarism mean some two hundred years ago in Britain? What was at stake when early nineteenth-century authors levied such charges against each other? How would matters change if we were to evaluate these writers by the standards of their own national moment? And what does our moral investment in plagiarism tell us about ourselves and about our relationship to the Romantic myth of authorship? In Plagiarism and Literary Property in the Romantic Period, Tilar Mazzeo historicizes the discussion of late eighteenth- and early nineteenth-century plagiarism and demonstrates that it had little in common with our current understanding of the term. The book offers a major reassessment of the role of borrowing, textual appropriation, and narrative mastery in British Romantic literature and provides a new picture of the period and its central aesthetic contests. Above all, Mazzeo challenges the almost exclusive modern association of Romanticism with originality and takes a fresh look at some of the most familiar writings of the period and the controversies surrounding them. 410 0$aMaterial Texts 606 $aEnglish poetry$y19th century$xHistory and criticism 606 $aIntellectual property$zGreat Britain$xHistory$y18th century 606 $aIntellectual property$zGreat Britain$xHistory$y19th century 606 $aPlagiarism$zGreat Britain$xHistory$y18th century 606 $aPlagiarism$zGreat Britain$xHistory$y19th century 606 $aRomanticism$zGreat Britain 610 $aCultural Studies. 610 $aLiterature. 615 0$aEnglish poetry$xHistory and criticism. 615 0$aIntellectual property$xHistory 615 0$aIntellectual property$xHistory 615 0$aPlagiarism$xHistory 615 0$aPlagiarism$xHistory 615 0$aRomanticism 676 $a821/.709145 700 $aMazzeo$b Tilar J$01135879 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910787540603321 996 $aPlagiarism and literary property in the Romantic period$93809389 997 $aUNINA