ying to him or herself. Pseudonyms qua indirect communication helped readers to achieve personal understanding, rather than merely intellectual apprehension of an idea without application.Stories: Many portions of Kierkegaard’s work contain fictional narratives to help illustrate or illuminate some of his points. As is explained in his book, The Point of View for My Work as an Author, Kierkegaard takes advantage of the engaging quality of fiction to prevent the reader from disinterestedly analyzing his points, and to focus on how the reader feels personally about his ideas contained within the story. As indirect communication, story uses concrete instantiations of ideas rather than presenting an objectified, analytic theory to pick through and not relate to oneself. Heavy irony: An element of all forms of Kierkegaard’s writing include stating assertions that he does not completely agree with, in order to get the reader thinking. An extension of other forms of indirect communication, heavy irony in his work helps to indicate which statements Kierkegaard emphasizes, positively or negatively. Oftentimes, many pages can be taken up in what seems to be an extensive description of something unimportant, idle philosophizing, or heaps of glorious praise. The content of these digressions may not necessarily be ironic, though it sometimes is. More often, the form or motivation for the digression contains the irony. For example, he writes an extremely verbose essay from the perspective of a person debating whether or not to walk to the park, implying by it that this kind of extensive fascination with a topic should permeate our religious lives every moment, not just on Sundays for an hour. Again, as indirect communication, Kierkegaard’s irony serves to elucidate his points without coming out and directly saying them. Ludwig WittgensteinLogical format of ‘Tractatus Logico-Philosophicus’: In the Tractatus, Wittgenstein&...
