NETIESIOGINĖS KOMUNIKACIJOS YPATYBĖS II: ŽAIDIMAS PSEUDONIMAIS, AFORIZMAIS, METAFOROMIS IR IRONIJA
Ways of Indirect Communication II: Dealing with Pseudonyms, Aphorisms, Metaphors, and Irony

Summary/Abstract: This is one of a series of articles devoted to the problem of indirect communication in the texts of Zhuangzi and Kierkegaard. The author investigates questions such as how to understand their use of pseudonyms, aphorisms, metaphors, and irony. The question of pseudonyms is very important in Kierkegaard's writing. Most of his philosophical works, except for a few polemical, anti-ecclesiastical tracts composed just before his death and the edifying discourses, were written under various pseudonyms. The author shows that each pseudonym operates from a different philosophical perspective and represents a different point of view. Thus, pseudonyms in Kierkegaard's work are like different authors who have their own values and points of view. In Zhuangzi's work we find different allegorical personas, through which he represents different points of view. The author argues that both Zhuangzi and Kierkegaard employ these tactics of indirect communication for similar reasons. In this way they: (a) show that the most important things (existential truth, the great Dao etc) cannot be communicated directly; (b) create a distance between themselves and their own texts; (c) help readers understand that these texts are always layered and what is written never directly presents what must be. The author shows that negation, aphorisms, metaphors, and irony occupy an important place in Zhuangzi's and Kierkegaard's philosophical works and offer good examples of various strategies of indirect communication. Such a writing style allows them to change their point of view, be unattached to any particular and precise idea, and fill their texts with inner polemic. Strategies of indirect communication - the use of metaphor, parable, irony, and so forth - are found throughout the works of Zhuangzi and Kierkegaard. All of these strategies are a kind of play at the limits of language.

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