providing exciting new material never before available in modern editions. It includes examples of popular dramatic genres, such as the sainete and the zarzuela usually excluded from anthologies, and recognizes the contributions of women writers such as Gertrudis Hore, Carolina Coronado, Gertrudis Gomez de Avellandeda, Rosalia de Castro, Concepcion Arenal, Cecilia Bohl de Faber (Fernan Caballero), and Emilia Pardo Bazan. Siglos XVIII y XIX dashes the commonplace that there was little novelistic activity during the eighteenth century through the inclusion of selections from a wide range of fiction. In addition, it incorporates fascinating new research on the theoretical basis for the development of the novel during the 1700s. This anthology also challenges the notion that the baroque withered after Calderon. Examples from the works of transitional poets and playwrights illustrates that baroque styles and themes continued to be popular throught much of the century. In the area of nineteenth-century literature, Siglos XVIII y XIX is the first anthology to provide a truly balanced view of the political, social, and literary debates of the period. It includes ideological prose by a wide variety of thinkers: conservatives as well as liberals, Neo-Catholics as well as Krausists. Unlike other collections on the market, this volume gives a thorough account of the development of the historical novel and of the novela de costumbres contemporaneas during both the first and second halves of the century. While in their critical introductions the editors avail themselves of the very latest research, they avoid modern (and often inaccurate) terminology, preferring the terminology used by nineteenth-century theorists themselves.

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