Tragedy is one of The mosT disTincTive ancient genres, a well-known object of high literary prestige. However, the consensus that surrounds its relevance starts to wane when attempting to come to a definition of the genre itself. Criticism has frequently focused on dissociating the tragic and tragedy as genre (or mode). If somebody, like the two editors of this well-grounded volume, adds furthermore the permeable qualifications Baroque and Classicist to the term tragedy, the challenge is considerable. Nonetheless, the authors in this collection of essays delve forcefully into the intricacies of Baroque and Classicist tragedy with the wish to contribute to the scholarly debate on the use of these terms within the history of drama and theater, and of political theology. The focus lies on the conjoined character of politics and aesthetics, since “tragedy was an ‘aesthetic’ way of thinking about many things, and it was particularly suited to rumination upon public affairs” (5). This drama, mainly concerned with the well-known theme of exposing the evils of political tyranny, articulated over time more elaborate and sophisticated themes reflecting on sovereignty, religion, authority, righteousness of rebellion, ethical issues, etc. Tragedy, as undeniable part of the public sphere, exposed, supported, or challenged current perspectives and revealed par excellence the power of literature, and particularly of theater. The book’s fourteen chapters are organized into four sections, following an impressive introduction by the two editors, Jan Bloemendal and Nigel Smith, that serves to successfully frame the sections against the historical backdrop of tragedy and to clarify the rationale of the volume. It also offers a wealth of relevant bibliography to date. The four parts that constitute the spine of the volume are sovereignty, religion, ethics, and mobility. With this last part, maybe not obvious at a first glance, the book contributes also to the knowledge of cultural migration of literature throughout Europe and engages with the most recent research lines on the transnational transmission of theater. Jan Bloemendal and Nigel Smith, editors. Politics and Aesthetics in European Baroque and Classicist Tragedy.

中文翻译：

---

欧洲巴洛克和古典主义悲剧中的政治与美学编辑。作者：Jan Bloemendal 和 Nigel Smith

悲剧是最独特的古代体裁之一，是众所周知的具有很高文学威望的对象。然而，当试图对流派本身进行定义时，围绕其相关性的共识开始减弱。批评经常侧重于将悲剧与悲剧分离为体裁（或模式）。如果有人像这本内容丰富的卷的两位编辑一样，将巴洛克和古典主义的可渗透的限定词添加到悲剧一词中，那么挑战是相当大的。尽管如此，这本论文集的作者还是深入研究了巴洛克和古典主义悲剧的错综复杂，希望为关于这些术语在戏剧史和政治神学历史中的使用的学术辩论做出贡献。重点在于政治与美学的结合性，因为“悲剧是一种对许多事物的'审美'思考方式，它特别适合对公共事务的反思”（5）。这部剧以揭露政治暴政弊端的知名题材为主，随着时间的推移，将主权、宗教、权威、叛逆之义、伦理问题等主题阐述得更加精细复杂。悲剧是不可否认的一部分。公共领域，暴露、支持或挑战当前的观点，展现出卓越的文学力量，尤其是戏剧的力量。在两位编辑 Jan Bloemendal 和 Nigel Smith 令人印象深刻的介绍之后，本书的十四章分为四个部分，这有助于在悲剧的历史背景下成功地构建各个部分，并阐明该卷的基本原理。迄今为止，它还提供了丰富的相关参考书目。构成本书脊梁的四个部分是主权、宗教、伦理和流动性。最后一部分，乍一看可能并不明显，这本书也有助于了解整个欧洲的文学文化迁移，并涉及有关戏剧跨国传播的最新研究路线。Jan Bloemendal 和 Nigel Smith，编辑。欧洲巴洛克和古典主义悲剧中的政治和美学。乍一看可能并不明显，这本书也有助于了解整个欧洲的文学文化迁移，并涉及有关戏剧跨国传播的最新研究方向。Jan Bloemendal 和 Nigel Smith，编辑。欧洲巴洛克和古典主义悲剧中的政治和美学。乍一看可能并不明显，这本书也有助于了解整个欧洲的文学文化迁移，并涉及有关戏剧跨国传播的最新研究方向。Jan Bloemendal 和 Nigel Smith，编辑。欧洲巴洛克和古典主义悲剧中的政治和美学。