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  1. Wendy Steiner (2008). Intertextuality in Painting. American Journal of Semiotics 3 (4):57-67.
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  2. Peter Brooks, Paul H. Fry, W. B. Carnochan, Jonathan Culler, Seth Lerer, Donald G. Marshall, Barbara Johnson, Wendy Steiner, Susan Haack & Martha C. Nussbaum (2002). Symposium: A Beginning in the Humanities. Journal of Aesthetic Education 36 (3):1-49.
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  3. Wendy Steiner (1996). Book Review: The Scandal of Pleasure: Art in an Age of Fundamentalism. [REVIEW] Philosophy and Literature 20 (1).
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  4. Wendy Steiner (1995). The Scandal of Pleasure: Art in an Age of Fundamentalism. University of Chicago Press.
    Surveying a wide range of cultural controversies, from the Mapplethorpe affair to Salman Rushdie's death sentence, from canon-revision in the academy to the scandals that have surrounded Anthony Blunt, Martin Heidegger, and Paul de Man, Wendy Steiner shows that the fear and outrage they inspired are the result of dangerous misunderstanding about the relationship between art and life. "Stimulating. . . . A splendid rebuttal of those on the left and right who think that the pleasures induced by art are (...)
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  5. Wendy Steiner (1979). The Case for Unclear Thinking: The New Critics Versus Charles Morris. Critical Inquiry 6 (2):257.
    In 1946, after an eight-year debate with the New Critics, Charles Morris doggedly maintained that "an education which gave due place to semiotic would destroy at its foundations the cleavage and opposition of science and the humanities."1 This insistence on the unity of disciplines—the hallmark of the logical empiricist movement and its brainchild, The International Encyclopedia of Unified Science —effectively silenced semiotics as a force in American literary studies. For the New Critics' point of departure—and one of the few tenets (...)
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  6. Wendy Steiner (1977). The Semiotics of a Genre: Portraiture in Literature and Painting. Semiotica 21 (1-2).
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