Plagiarism is the theft of someone’s ideas or language, and is a form of cheating which is morally and ethically unacceptable. This study analyses the nature of plagiarism from an Islamic perspective and its prevalence in institutions of higher learning in the Muslim world, especially among faculty members. It also examines the ways in which universities attempt to minimise or marginalise plagiarism. This study is warranted by the fact that there is relatively very little research on the issue of plagiarism (...) at universities in the Muslim world and that existing research seldom addresses the issue of academics engaged in such unethical practices. Based upon existing surveys, interviews, and documentary sources, the study found that in earlier periods, standards were not inevitably lower than those that exist today and that the scope for condemning plagiarists has always existed. It also found that despite Islam’s loathing, the incidence of plagiarism has grown significantly among Muslim students and faculty members in the Muslim world. The response to plagiarism varies from country to country. Some Muslim countries tolerate plagiarism, while others are taking steps to curb it. Institutions in Malaysia approach the problem of plagiarism as a matter of morality and crime that emphasise the need to develop writing and researching skills. They resort to honour codes, emphasise law and enforcement, and teach ways to write and cite. However, the success of these methods needs to be further probed. (shrink)

Visual academies were unique social formations in the ancien régime, so distinctive that they are best studied as prototype professions. Alone among academies, they were responsible for offering instruction. Alone among educational institutions, they linked liberal instruction to occupational practice. Alone among ‘learned’ occupations, they accommodated an irreducible manual component. The visual Académie in Paris in particular established literally the first ‘graduate school’ in any field of activity and admitted students on the basis of anonymously scored student competitions. Equivalent activities (...) will not begin to emerge in medicine or law until the mid-19th century. Our historical case, in short, calls into question the received orthodoxy regarding the time and place of the first professionalism projects. Instead of focusing on 19th-century Britain, we are now considering mid-17th-century France and thereby preparing the way for a new start in the sociology of professions. (shrink)

This review essay has two divisions. In its first division it sets out a brief overview of recent Marxist research in the field of ‘Romanticism’, identifying two major lines of inquiry. On the one hand, the attempt to expand our sense of what might constitute a ruthless critique of social relations; on the other, an attempt to develop a materialist account of aesthetic disengagement. This first division concludes with an extended summary of John Barrell’s account of the treason trials of (...) the middle 1790s, as set out in his bookImagining the King’s Death. It argues that Barrell’s book is the most significant recent work belonging to the second line of inquiry. In its second division the review responds to Barrell’s concluding discussion, in which the aesthetic consequences of the treason trials are established by means of a close reading of some of the poetry of Samuel Taylor Coleridge. The division finishes with some more general remarks on the subject of a materialist aesthetics of disengagement. (shrink)

Martha Woodmansee's The Author, Art, and the Market misunderstands the concept of autonomous art: it does not deny art's instrumental role in life, but rather reconceives this role as essentially psychological. The work of art becomes an emblem of self?control, and as such of great social import. But as Richard Goldthwaite's Wealth and the Demand for Art in Italy suggests, this role is traduced by the tendency of capitalism increasingly to eschew the high art exemplified by the Renaissance when there (...) is money to be made in unchallenging, trashy popular culture. (shrink)