Using the example of the cycle of Goethe’s poems “The Chinese-German Book of Seasons and Hours”, in which the poet combines motifs from Chinese and German literature as well as his own poetry, the paper suggests a hypothesis in the light of which an attempt is made to consider the influence of Goethe’s natural-philosophical ideas on peculiarities of his concept of the world literature. In particular, this concerns the matter of integrating the individual (das Besondere) into the universal (das Allgemeine), a well as the concept of the Nature as a living whole. At the same time this universal law of Nature creates a mechanism for the functioning of the living stream of the world literature, where separate national literatures are circulating. “The Chinese-German Book of Seasons and Hours”, where the uniqueness of a single day and the constancy of the seasons are combined, where the memories of the past days are embedded in the imaginary space of China, creates “the space of semantic resonance”, with Goethe’s both aesthetic and natural-philosophical visions being are in the mutual reflection.
The article analyses how L.Tieck understood the phenomena of the traditional narratives. The article discusses the views Tieck had upon the chapbook, and its adaptations in his works, particularly the drama based upon popular material. Three of his dramatic works of that type, «Life and death of the St. Genivieve» (1800), «Emperor Octavian» (1808) and «Fortunatus» (1815), especially the first one, initiated new genres of German Romantic drama called Universaldrama (drama of the universe), which are typologically close to mystery play. Tieck's literary program combined both the rejection of contemporary mass literature and the productive replacement of it with examples of new Romantic art. The contradiction between reality and fiction, which is accentuated in Tieck's comedies, weakens in his Universaldramen. The main theme of his plays is the interpretation of religion as a way to comprehend the world. The poet creates a kind of genre complex, where the drama of historical process is ironically removed. This is the basic principle of his two first big plays – “Life and death of the St. Genivieve” and “Emperor Octavian”. His last play, “Fortunatus” is, however, rather a generalizing "ironic construct" which combines elements of several traditional genres and, at the same time, is a parody of the genre he created.
The 15th-century German texts about Vlad III Dracula are both the result and the instrument of a political campaign. The connection between the original text and its further genre modifications can be traced through their shared features in vocabulary and grammatical constructions. A notable feature of the entire genre paradigm of data is the frequency of using the causative construction lassen+infinitive: none of 15th-century German texts of various genres demonstrate such an abundance of these constructions. This feature could be explained by the fact that the original German text was translated from Latin. The frequency of lassen+infinitive in the texts under research could have been a reflection of Latin syntactic features (subject-less clauses) in the language of the first German source, followed by further transfer of this feature into later German texts about Dracula of other genres (poem, chronicle, Volksbuch). Furthermore, it is possible to assume that the compilers of manuscripts, which served as an outline for further texts of different genres, distinguished, under the influence of Latin, between a simple active clause and a causative construction with a second agent as the subject. In general, the frequency of lassen+infinitive, uncharacteristic of German texts, can be explained by the uniqueness of the original "History of Dracula" and all texts that were derived from it. At the same time, the occurrence of this construction indicates links between these texts.