 The Romantic multilateral and pluralistic perspective on tradition became the basis for the new cultural paradigm.However, in her work "The Romantic Fever", she demonstrates that Romanticism could not hold itself to a static and unambiguous system — not even among its epigones, since they merely reinforced its antinomies and transformed them into stereotypes.In her books, she discussed numerous aspects of this new paradigm such as the new Romantic hero; a radical violation of the death taboo; re-exploration of the hidden and forgotten which led to the ennobling of vernacular cultures (folk culture in particular, but also the pagan, Slavic, Nordic and Oriental ones); the concept of nature as a model; a mode of existence which in an inevitable way identifies creation with destruction or even self-destruction and life with death; the understanding of history as a theophany; the dramatic philosophy of existence stretching from salvation to nothingness; as well as suppressed existential experiences (that of a child, madman or a woman).