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...himself plagiarist, but also because, as Tilar J. Mazzeo observes in Plagiarism and Literary Property in the Romantic Period, "Romanticism's almost exclusive critical association with the values of self-legislating originality" (ix) has so often been blamed for the "impossible ideals of . .ex nihilo" (187) creativity that continue to dominate Anglo-American pedagogy and criticism, despite periodic debunkings and in the face of contemporary artistic practice. (For a brilliant counterstatement, I recommend Jonathan Lethem's "The Ecstasy of Influence: A Plagiarism," Harper's Magazine [February, 2007]). Yet despite the persistence of this "association," one doubts whether such impossible ideals were ever...
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