[*** = 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"
Last modified 28 June 2008; traducido diciembre 2009