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The concept of the indirect communication, the paradox, and the moment of Practice in Christianity, in particular, confirmed and sharpened Barth's ideas on contemporary Christianity and the Christian life. Kierkegaard and the early Barth think that in Christianity, direct communication is impossible because Christ appears incognito.
The figure of Socrates, whom Kierkegaard encountered in Plato's dialogues, would prove to be a phenomenal influence on the philosopher's later interest in irony, as well as his frequent deployment of indirect communication. Kierkegaard loved to walk along the crooked streets of 19th century Copenhagen, where carriages rarely went.
But he stressed indirect communication. The law of delicacy by which an author is permitted to use what he has experienced is that he never says the truth but keeps the truth for himself and only lets it emerge in different ways. Søren Kierkegaard, Journals and Papers IV A 161 [3]
Either/or was indirect communication but Kierkegaard’s discourses are direct communication. The two modes of communication have ultimately the same aim: “to make aware of the religious, the essentially Christian.” [12] Later, in May 1849, Kierkegaard wrote this:
In 1988 Mary Elizabeth Moore discusses Kierkegaard's method of indirect communication in this book. [48] In his Stages on Life's Way (SLW), Kierkegaard speaks of irony as the means by which persons make the transition between aesthetic and ethical awareness, and humor as the means for making the transition between ethical and religious ...
Direct communication consists of statements that can be communicated and understood without appropriation, that is, without experiencing personally what is being communicated. Objective knowledge can be communicated directly. Indirect communication requires appropriation on the part of the receiver. The receiver must experience or have ...
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Since the pseudonymous works are in the form of “indirect communication,” they stand in need of interpretation, and the Discourses, which always were in the form of “direct communication,” afford in some instances (especially in the case of Repetition, Fear and Trembling, and the Stages) a very precious and specific illumination of S.K ...