ABSTRACT This essay considers the conceptual aftermath of concinnitas—roughly, an agreeable interplay of parts—from the point of view of Early German Romanticism. In the Renaissance, concinnitas plays a central role in Leon Battista Alberti’s architectural writings due to its ability to masterfully connect and compose other essential elements, such as number, outline, and position. At that time, concinnitas also served other discourses beyond architecture, including rhetoric and music, where the concept of harmony is closely linked to concinnitas. From the perspective of German Romantic aesthetics, it seems logical that such a concept, with its ability to move easily among various aesthetic discourses and to navigate between parts and the whole, would be of particular interest. This essay argues that the Romantic concepts of Ebenmaß and Architektonik offer the most logical connections to Alberti’s theory of concinnity. With reference to Novalis’s encyclopedia project and his novel, Heinrich von Ofterdingen, I suggest that reflection on concinnity has something special to offer a discussion of Romantic elements: a heightened awareness of materiality in the midst of conceptual abstractions. As a guiding concept that becomes embodied in various ways in Romantic thinking, concinnity might also become a valuable heuristic tool for Romanticist scholars.

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元素联系：康辛尼蒂的浪漫后果

摘要 本文从早期德国浪漫主义的角度考虑了 concinnitas 的概念后果——粗略地说，部分之间令人愉快的相互作用。在文艺复兴时期，concinnitas 在 Leon Battista Alberti 的建筑作品中扮演着核心角色，因为它能够巧妙地连接和组合其他基本元素，例如数字、轮廓和位置。当时，concinnitas 还服务于建筑以外的其他话语，包括修辞和音乐，其中和谐的概念与 concinnitas 密切相关。从德国浪漫主义美学的角度来看，这样一个概念能够在各种美学话语中轻松移动并在部分和整体之间导航，这似乎是合乎逻辑的。本文认为 Ebenmaß 和 Architektonik 的浪漫主义概念提供了与阿尔贝蒂的同感理论最合乎逻辑的联系。参考诺瓦利斯的百科全书计划和他的小说海因里希·冯·奥特丁根，我认为对同性的反思有一些特别的东西可以提供浪漫元素的讨论：在概念抽象中对物质性的高度认识。作为一种在浪漫主义思想中以各种方式体现的指导概念，相亲也可能成为浪漫主义学者的一种宝贵的启发式工具。在概念抽象中对物质性的高度认识。作为一种在浪漫主义思想中以各种方式体现的指导性概念，相亲也可能成为浪漫主义学者的一种宝贵的启发式工具。在概念抽象中对物质性的高度认识。作为一种在浪漫主义思想中以各种方式体现的指导概念，相亲也可能成为浪漫主义学者的一种宝贵的启发式工具。