Жанровете в теоретичната мисъл на немския романтизъм с примери от Фридрих Шлегел и Новалис
Genres in the Theoretical Thought of German Romanticism with Examples from Friedrich Schlegel and Novalis

Summary/Abstract: This article examines the role of aphorism, fragment, and novel in the theoretical framework of German Romanticism, focusing on Friedrich Schlegel and Novalis. In contrast to rigid philosophical systems, the Romantics developed progressive Universalpoesie, an aesthetic of openness, dynamism, and incompleteness. Aphorism and fragment, with their anti-systemic and paradoxical character, became central forms for articulating this vision. They condense meaning while simultaneously foregrounding incompletion, thus reflecting the Romantic commitment to process, becoming, and irony. The novel, in turn, represents the practical realization of this aesthetic. Conceived as a synthesis of multiple genres – lyric, narrative, philosophy – it aspires to totality while remaining consciously unfinished. In its interplay with fragmentary and aphoristic forms, the Romantic novel highlights the tension between striving for unity and embracing incompleteness. Together, these forms establish a poetics that not only subverts established literary systems but also anticipates modernist ideas such as aesthetic autonomy, self-referentiality, and the dissolution of genre boundaries.

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