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Literary Plagiarism in England from Dryden to Sterne

从德莱顿到斯特恩的英国文学抄袭现象

基本信息

批准号：
AH/E504736/1
负责人：
Richard Terry
金额：
$ 3.44万
依托单位：
University of Sunderland
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2006
资助国家：
英国
起止时间：
2006 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FE504736%2F1
关键词：
Literary Plagiarism England Dryden Sterne

项目摘要

The issue of plagiarism has never been of so much public concern as now. Universities, in particular, feel beleaguered in the face of what appears to be an epidemic of students cheating through the means of plagiarism. All universities have had to draw up plagiarism policies through which the issue can be policed, but in practice all such policies are dogged by uncertainties, not so much about the definition of plagiarism, as about the possibilities of extenuation that could apply to any particular offence.The research proposed here will investigate attitudes towards, and debates about, plagiarism during an earlier historical period (roughly 1660 to 1775). The period is a particularly important one in the history of literary plagiarism. It is in the eighteenth century that plagiarism as we understand the concept now emerges (the current OED definition, for example, is modeled on one originally proposed in 1775). During this period, the plagiarism allegation is used extensively by satirists in the conduct of their quarrels, and several major writers (including Swift, Pope and Sterne) have their works subjected to accusations of plagiarism. Discussion of plagiarism at this time is also affected by the rise of creative originality as a concept and by the concomitant loss of status of imitation as a compositional method. At the same time, vigorous debates are conducted about copyright; about the extent to which literary works can be considered as legally own able commodities.My research is not primarily concerned with tracking down literary thefts or with 'outing' eighteenth-century authors as plagiarists, but rather with investigating why the plagiarism allegation is applied in a particular instance. What in practice differentiates a literary 'borrowing' from a literary 'theft', and does the margin between appropriate and illicit appropriation of other authors' words change over the course of the period being investigated?

抄袭问题从来没有像现在这样引起公众的如此关注。尤其是，面对似乎流行的学生通过剽窃手段作弊的现象，大学感到四面楚歌。所有大学都不得不制定抄袭政策，通过这些政策可以监督这一问题，但实际上，所有这些政策都受到不确定因素的困扰，与其说是关于抄袭的定义，不如说是关于可能适用于任何特定罪行的减轻责任的可能性。这里提出的研究将调查更早的历史时期(大约1660年至1775年)对抄袭的态度和关于抄袭的争论。这一时期在文学抄袭史上是一个特别重要的时期。我们现在所理解的抄袭概念是在18世纪出现的(例如，目前的牛津英语词典的定义是以1775年最初提出的定义为基础的)。在此期间，讽刺作家在争吵中广泛使用抄袭指控，几位主要作家(包括斯威夫特、波普和斯特恩)的作品都受到抄袭指控。此时有关抄袭的讨论也受到作为一个概念的创造性原创性的兴起以及作为作曲方法的模仿地位的随之丧失的影响。与此同时，关于版权的激烈辩论；关于文学作品在多大程度上可以被视为合法拥有的商品。我的研究主要不是追查文学盗窃或揭露18世纪的作者是抄袭者，而是调查为什么抄袭指控在特定情况下适用。在实践中，文学“借用”与文学“盗窃”的区别是什么？在被调查的这段时间里，适当和非法盗用其他作者的文字之间的界限是否会发生变化？