To mark the centenary of Karel Hynek Mácha’s death, the Prague Linguistic Circle compiled the volume Torso a tajemství Máchova díla (Torso and the Mystery of Mácha’s Work). This article provides a detailed analysis of Dmytro Čyževs’kyj’s contribution, ‘K Máchovu světovému názoru’ (‘On Má cha’s worldview’), focusing on its methodological aspects. Contrary to what the title suggests, this is not necessarily a classic hermeneutic endeavour. For Čyževs’kyj seeks to determine what he defines as a ‘worldview’ based on the way in which Mácha’s work is shaped by its language. From the perspective of the history of entanglement, there are certainly points of contact with the discussions held at the time about a structuralist approach within the Prague Linguistic Circle, particularly Jan Mukařovský’s concept of the ‘semantic gesture’, which was also developed in the same anthology on Mácha’s work. In both cases — Čyževs’kyj’s attempt to determine Mácha’s ‘world view’ from the poetic language of his works and Mukařovský’s search for the ‘semantic gesture’ conveyed in the way the parts of the work are connected — the aim, as a parallel reading shows, is to determine a way of referring to the world from the manifest verbal form of Mácha’s work.
This paper reconstructs the core argument of Dmytro Čyževs’kyj’s unfinished project on formalism in ethics, developed in the late 1920s during his exile in Prague. Although the planned book never materialized, Čyževs’kyj published three articles and a broader set of related texts which, taken to gether, articulate a distinctive and coherent theoretical position. At its centre lies a compelling intuition: that literature plays a fundamental role in the constitution of moral subjectivity — what may be termed Čyževs’kyj’s literary anthropology. Čyževs’kyj begins with a critique of Kantian formalism, identifying its abstraction from the concrete will of the individual subject as the root of a broader crisis in ethical theory. Rather than abandoning formalism, however, he seeks to reconfigure it, proposing that ethical meaning is not logically subsumed but symbolically embodied. This claim is developed both philosophically — in a typology of the forms of generality — and interpretively, through readings of Dostoyevsky’s motif of the double. Positioned alongside contemporaries such as Bakhtin, Lukács, and Kojève, Čyževs’kyj offers a unique response: not polyphony, but ontological doubling as the site of ethical individuation.
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