1. Chyzhevskyi and Skovoroda: Hermeneutics of Style, Philosophy of the Heart
© Serhiy Kvit

2. Dmytro Chyzhevskyi (1894-1977)
cultural-historical epochs

3. Dmytro Chyzhevskyi
does not reject any sources that could explain the embodiment of the artistic style
person of the Renaissance, Baroque and Romanticism, used concepts of formalism and structuralism, phenomenology, cordocentrism
belong to The Shot/Executed Renaissance (he was shot as well)
was a mystic and had a special relationship with evil spirits

4. Dmytro Chyzhevskyi
Fizer speaks about apodictical attention to the stylistic peculiarities of language and the reduction of himself and the political and ideological contexts in which this language arose. The style was a language category for Chyzhevskyi. He paid attention to the individual writer's styles. At the same time, he partially understood the mechanisms of changes in aesthetic fashions dialectically (according to Hegel).

5. Dmytro Chyzhevskyi
Relations with Vyssarion Belinsky, who did not know the sources, didn't understand the essences of philosophical concepts, used plagiarism, and also harassed Mykola Hohol. At the same time, Chyzhevskyi acknowledged the presence of a bright individual style in the works of Belinsky.

6. Understanding of style includes consideration of the following factors:
individual
historical and aesthetic
ideological (philosophical)
national and cultural
comparative
features of postmodernism (attention to the details and nuances)
affinity with the romantic approach of Dilthey (understanding of the spirit of time)

7. Discovering of the Ukrainian Baroque:
culture of synthesis (in particular Gothic and Renaissance, West and East, Antiquity and Christianity)
propensity to exaggerations and hyperboles
love for paradoxes, grotesque, big forms
universality
importance for understanding of Ukrainian culture

8. Dmytro Chyzhevskyi
The style is a determining aesthetic and philosophical characteristic of a work. Not only the interpreter/reader comprehend a text according to the principles of receptive aesthetics, but also initially, it is done by the author in accordance with all available language means in his arsenal. The author carries out a kind of stylistic actualization/ putting of ideas, artistic means, compositions.

9. Hryhoriy Skovoroda (1722-1794 )
the philosophy of the heart

10. Hryhoriy Skovoroda
barefooted wandering philosopher (pre-existentialism: the consistency of what the philosopher thinks, speaks and how he lives)
concordance of the philosopher to the truth (Foucault's concept of taking care of himself: the truth belongs to the philosopher and the philosopher belongs to the truth; also the Greeks: the philosopher determines the truth and the truth determines the philosopher)

11. Hryhoriy Skovoroda to think deeply (the Greeks)
to find the internal person, using internal memory (metaphor of St. Augustine’s philosophical hermeneutics)
concerned about the ability to recognize the truth, and not to "get confused in the evil nets" (similar to Loyola's metaphorical thinking)
to shell out the kernel of walnut, to chew (reduction from the phenomenology of Husserl)

12. Hryhoriy Skovoroda
The heart symbolizes humanity, acting as "divine spark" and "center of the soul", uniting the man with God and outlining a holistic person. The heart can be associated with thinking and act as something rational. It is the same as the "deep abyss of our thoughts," which conceal those truths that our "internal memory" preserves.

13. Hryhoriy Skovoroda
Chyzhevskyi about Skovoroda: "Life is philosophy and philosophy is life. This is the main idea. In the fact that he made his philosophy his life, he embodied his philosophy in life - the greatness of Skovoroda. It's also perhaps his certain weakness".

14. Hryhoriy Skovoroda
In the poem "De Libertate" Skovoroda praises Bohdan Khmelnytsky for heroism, leadership, and readiness to defend freedom. In that political context of Russian occupation, this poem is very telling.

15. Hryhoriy Skovoroda
One of the main concepts of Skovoroda is the concept of kinship, without which harmony is impossible. Words must be relevant to thinking. That is why "it's necessary to translate thoughts, not words". Accordingly, the work has to correspond to the character and inclinations of the person. Conversely, a discrepancy is a "poison", damaging to life. It can be argued that this "kindred work" serves as one of the varieties of the metaphor of the eternal heart.