This paper examines Diego Velázquez's portraits of Margarita Teresa and Baltasar Carlos to achieve an understanding of the children¹s political and gendered identities.
In contrast to critics who characterize John Milton's work as unconcerned with the material world, this essay argues that the material world is crucial to Milton's conception of the sublime.
This essay contends that Milton's critique of Sin and Death, and allegory more generally, lies in their relation to his system of signs and the epistemological value of those signs.