Max Beerbohm (original) (raw)

[*** = en Espagnol. Traducción de Martin Glikson revisada y editada por Asun López-Varela. El diseño HTML, el formato, y los enlaces de George P. Landow.]

"A Defence of Cosmetics"

• Of Clowns and Cosmetics
• Rebutting Ruskin: Beerbohm Blasts Ruskin's Ruminations
• Cosmetics: Artifice or Art?
• Visionary Promise, Descriptive Metaphors, and Ending
• Beerbohm, Cosmetics, and Women
• Addressing the Audience in Beerbohm’s "Pervasion of Rouge"
• Salvation and Sincerity: Satire in Beerbohm's "A Defense of Cosmetics"
• A Defence of Cosmetics and the Age of Reproduction
• The Role of Satirist and Aesthete in Beerbohm's "The Pervasion of Rouge"
• Blurred Lines between Sage and Satire in Beerbohm
• Say goodbye to your soul and embrace artificiality!***
• Thoroughly Modern Max / Oscar Night
• The Importance of Being Ernest in Word Choice in Max Beerbohm's "The Pervasion of Rouge"
• Here a Sage, There a Satirist: Ambiguity in Beerbohm's "A Defense of Cosmetics"
• Criticizing Artifice by Lauding It
• Beerbohm's Skin-deep Satire
• Max Beerbohm, the Meanest Kid in the Playground
• Life Imitates Art, Using a Makeup Palette
• Frivolity and Femininity
• The Girl Queen and the Painted Lily

Diminuendo

• Beerbohm's Early Retirement
• Playing with Extreme Comparisons: Intellectual Isolation vs. Decadent Pleasure
• Sitting on a Pedestal in Max Beerbohm's "Diminuendo"
• The Crescendo of Satire in "Diminuendo"
• A Scribe's Decrescendo Affect
• Sage Satire in "Diminuendo"

Victorian Web Aesthetes & Decadents Autores Max Beerbohm

Last modified 28 June 2008; traducido diciembre 2009