Relevant bibliographies by topics / Dhvani (Poetics) Sanskrit poetry

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Academic literature on the topic 'Dhvani (Poetics) Sanskrit poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Dhvani (Poetics) Sanskrit poetry"

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Chaturvedi, Namrata. "Christian Devotional Poetry and Sanskrit Hermeneutics." International Journal of Asian Christianity 1, no. 1 (November 1, 2018): 64–90. http://dx.doi.org/10.1163/25424246-00101005.

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This paper focuses on exploring dhvani as a hermeneutical tool for reading Christian devotional literature. Dhvani is a theory of poetic suggestion proposed by Ānandavardhana in the eighth century and elaborated upon by Abhinavagupta in the eleventh century that posits layers of semantics in poetic language. By focusing on the devotional poetry of the seventeenth-century religious poets of England, this paper argues for Ānandavardhana’s proposed poetics of suggestion as an enabling way of reading and cognizing devotion as a psycho emotive process. In the context of Indian Christianity, dhvani has been suggested by certain scholars as also enriching the possibilities of interfaith dialogue. This paper argues for incorporating poetic frameworks like dhvani as modes of interfaith dialogue, especially when reading Christian texts in India.
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WRIGHT, J. C. "The Pali Subodhālankāra and Dandin's Kāvyādarśa." Bulletin of the School of Oriental and African Studies 65, no. 2 (June 2002): 323–41. http://dx.doi.org/10.1017/s0041977x02000125.

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The only notable works on poetics and prosody that survive in Pali are the Subodhālankāra (comprising, in effect, Kārikā and Vrtti) and Vuttodaya. They have been ascribed to the twelfth-century Sinhalese monk Sangharakkhita and described, almost from the outset, as ‘dependent upon Sanskrit models’ and ‘based entirely upon Sanskrit prosody’ respectively. Indeed the Vrtti names a ‘Dandi’ as its basic source. The Pali Text Society's 2000 edition of the Subodhālankāra, complete with two versions of the Vrtti, compiled by P. S. Jaini, has registered many, but by no means all of the parallel passages in Dandin's Kāvyādarśa, the seminal manual of Sanskrit poetic theory. The present article seeks to show that the Pali texts depend rather on earlier Middle Indian traditions of rhetoric and poetics, coupled with theories adumbrated in Nātyaśāstra. It is reasonably certain that the basic Pali material, especially as presented in the version with ‘Abhinavatīkā’, has been drawn upon by the author of the Sanskrit Kāvyādarśa; and there is evidence that the ‘Porānatīkā’ has been superficially influenced by the Sanskrit text. The material goes far to explain classical Sanskrit notions of Alamkāra, Rasa and Dhvani. The Pali prosody Vuttodaya seems to have been equally baselessly maligned, and should take its place along with surviving vestiges of Prakrit prosody as the fundamental link between Vedic and classical theory.
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Charan Sukla, Ananta. "Indian Intermedial Poetics: the Sanskrit Rasa-Dhvani Theory." Cultura 13, no. 2 (January 1, 2016): 13–18. http://dx.doi.org/10.3726/b10729_13.

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Kaikini, Srajana. "Resonance in Dhvani Aesthetics and the Deleuzian Logic of Sensation." Deleuze and Guattari Studies 12, no. 1 (February 2018): 29–44. http://dx.doi.org/10.3366/dlgs.2018.0294.

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This paper undertakes an intersectional reading of visual art through theories of literary interpretation in Sanskrit poetics in close reading with Deleuze's notions of sensation. The concept of Dhvani – the Indian theory of suggestion which can be translated as resonance, as explored in the Rasa – Dhvani aesthetics offers key insights into understanding the mode in which sensation as discussed by Deleuze operates throughout his reflections on Francis Bacon's and Cézanne's works. The paper constructs a comparative framework to review modern and classical art history, mainly in the medium of painting, through an understanding of the concept of Dhvani, and charts a course of reinterpreting and examining possible points of concurrence and departure with respect to the Deleuzian logic of sensation and his notions of time-image and perception. The author thereby aims to move art interpretation's paradigm towards a non-linguistic sensory paradigm of experience. The focus of the paper is to break the moulds of normative theory-making which guide ideal conditions of ‘understanding art’ and look into alternative modes of experiencing the ‘vocabulary’ of art through trans-disciplinary intersections, in this case the disciplines being those of visual art, literature and phenomenology.
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Sukla, Ananta Charan. "The Poetics of the Freudian Corpus: Jacques Lacan’s Reading of the Sanskrit Dhvani Theory." International Journal of the Humanities: Annual Review 11, no. 1 (2014): 97–111. http://dx.doi.org/10.18848/1447-9508/cgp/v11/43960.

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Uma, B. "The Structural Compression of Kāvyprakāsa and Taṇṭiyalaṅkāra." Shanlax International Journal of Arts, Science and Humanities 7, no. 4 (April 1, 2020): 84–90. http://dx.doi.org/10.34293/sijash.v7i4.2318.

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Tolkāppiyam, the first extant work of Tamil grammar covers the descriptions on the ‘Rhetoric Grammar’ (aṇiyilakkaṇam; figures of language) under the chapter simile. Later on, In ‘Vīracōḻiyam’ which is one of the five grammatical thoughts of Tamil, (Eḻuttu, Col, Poruḷ, Yāppu, Aṇi) the rhetoric aspects of the language was described as following Sanskrit work ‘kāviyātarca’. Subsequently, more works such as Taṇṭiyalaṅkāra, Māṟāṉalaṅkāram, Toṉṉūl Viḷakkam, Muttuvīriyam were written based on the Sanskrit rhetorical conventions. Though the rhetoric works in Tamil were written on the basis of Sanskrit rhetoric aspects, it would have been authored in the Tamil context. Considering the requirement of a comparative research to understand this, the present study proposes to analyses the Sanskrit work ‘Kāvyprakāsa’ written in 11thAD and Tamil work ‘Taṇṭiyalaṅkāra’ written in 12thAD. Noteworthy, both the books were authored in the same time period. This work is comparing the structure of the rhetoric grammatical work of kāvyaprakāsa in Sanskrit and Taṇṭiyalaṅkāra in Tamil. Kāvyaprakāsa divided into ten chapter (ullāsa) and comprises three parts, the kārikās (the stanzas), the vrutti (the explanatory prose gloss), and the examples. This book has 143 rules for poetics. Taṇṭiyalaṅkāram is the earliest complete rhetoric grammar of Tamil written by Dandi. He explains ‘Taṇṭiyalaṅkāram’ under ‘Potuvaṇiyiyal’ (common rhetoric), ‘Poruḷaṇiyiyal’ (rhetoric meaning) and ‘Collaṇiyiyal’ (rhetoric terms). I would like to look at the internal structure and external structure of both texts. Internal structure will deals with auspicious verse, purpose of poetry, divisions of poetry, poetry defects, poetry gunās and rhetoric terms. The chapter divisions will be considering as external structures.
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Karcz, Marta. "The ripeness of poetry—innovation in the concept of kāvyapāka as introduced by Bhoja." Cracow Indological Studies 22, no. 2 (December 31, 2020): 63–78. http://dx.doi.org/10.12797/cis.22.2020.02.04.

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The paper examines the contribution of Bhoja, an 11th-century theoretician of Sanskrit literature, to the theory of kāvyapāka—the maturity or ripeness of poetry. The concept relies on comparison between a poem and a fruit as they likewise must come to fruition to reach perfection—the state when they are most pleasing to their recipients. The theory is mentioned in numerous important Sanskrit works on poetics. However, different theoreticians perceive the state of perfection in poetry somewhat differently. Bhoja provides yet one more view on this matter. Although he relies on his predecessors, and in some points agrees with them, he also offers fresh perspectives on the subject. The paper focuses on the analyses of relevant passages from Bhoja’s works, Sarasvatīkaṇṭhābharaṇa and Śṛṅgāraprakāśa, concerning the subject of kāvyapāka, and compares them with the views of other theoreticians as summarized in the first part of the study.
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D’Avella, Victor B. "Recreating Daṇḍin’s Styles in Tamil." Cracow Indological Studies 22, no. 2 (December 31, 2020): 17–41. http://dx.doi.org/10.12797/cis.22.2020.02.02.

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In Sanskrit poetics, the defining characteristics of poetry, its very life breath, are the guṇas, ‘qualities’. They make up the phonetic and syntactic fabric of poetic language without which there would be nothing to further to ornament. Many of these intimate features are by necessity specific to the Sanskrit language and defined in terms of its peculiar grammar including phonology and morphology. In the present article, I will describe what happens to four of these guṇas when they are transferred to the Tamil language in the Taṇṭiyalaṅkāram, a close adaptation of Daṇḍin’s Kāvyādarśa. I wish to demonstrate that the Tamil Taṇṭi did not thoughtlessly accept the Sanskrit model but sought, in some cases, to redefine the qualities so that they are meaningful in the context of Tamil grammar and its poetological tradition. A partial translation of the Tamil text is included.
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Li, Shenghai. "Between Love, Renunciation, and Compassionate Heroism: Reading Sanskrit Buddhist Literature through the Prism of Disgust." Religions 11, no. 9 (September 15, 2020): 471. http://dx.doi.org/10.3390/rel11090471.

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Disgust occupies a particular space in Buddhism where repulsive aspects of the human body are visualized and reflected upon in contemplative practices. The Indian tradition of aesthetics also recognizes disgust as one of the basic human emotions that can be transformed into an aestheticized form, which is experienced when one enjoys drama and poetry. Buddhist literature offers a particularly fertile ground for both religious and literary ideas to manifest, unravel, and entangle in a narrative setting. It is in this context that we find elements of disgust being incorporated into two types of Buddhist narrative: (1) discouragement with worldly objects and renunciation, and (2) courageous act of self-sacrifice. Vidyākara’s anthology of Sanskrit poetry (Subhāṣitaratnakoṣa) and the poetics section of Sa skya Paṇḍita’s introduction to the Indian systems of cultural knowledge (Mkhas pa rnams ’jug pa’i sgo) offer two rare examples of Buddhist engagement with aesthetics of emotions. In addition to some developed views of literary critics, these two Buddhist writers are relied on in this study to provide perspectives on how Buddhists themselves in the final phase of Indian Buddhism might have read Buddhist literature in light of what they learned from the theory of aesthetics.
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"The hidden meaning of dhvani poetry: Basic principles of reading applied to a number of Sanskrit lyric poems." Vestnik of Saint Petersburg University. Asian and African Studies 10, no. 1 (2018). http://dx.doi.org/10.21638/11701/spbu13.2018.108.

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Dissertations / Theses on the topic "Dhvani (Poetics) Sanskrit poetry"

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Beltran-Aponte, MariaTeresa. "Hearing with the Eyes: Voice in Written and Visual Discourses and the Ghost of a Contemporary Warrior." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1275423339.

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Bronner, Yigal David. "Poetry at its extreme : the theory and practice of bitextual poetry (slesa) in South Asia /." 1999. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9951767.

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Books on the topic "Dhvani (Poetics) Sanskrit poetry"

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Swaroop, Sharda. The role of dhvani in Sanskrit poetics. Mumbai: Bharatiya Vidya Bhavan, 1998.

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1949-, Tripathi Radhavallabh, and Rashtriya Sanskrit Sansthan, eds. Dhvanimīmāṃsā: Dhvanivirodhisiddhāntapariśīlanasandarbhe. Navadehalī: Rāṣṭriyasaṃskr̥tasaṃsthānam, 2010.

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Nāgarīpracāriṇī Sabhā (Vārānasi, Uttar Pradesh, India), ed. Dhvani sampradāya aura usake siddhānta: Śabda-śaktti-vivecana. 2nd ed. Vārāṇasī: Nāgarīpracāriṇī Sabhā, 2001.

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author, Parashar Vikalp 1983, ed. Dhvani and structuralist poetics: Multicultural studies of creation of meaning in poetry. New Delhi: D.K. Printworld, 2012.

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Jhā, Laliteśvara. Rasa prasthāna aura dhvani prasthāna kā adhyayana. Darabhaṅgā: Mithilā Śodha Saṃsthāna, 1987.

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Jhā, Laliteśvara. Rasa prasthāna aura dhvani prasthāna kā adhyayana. Darabhaṅgā: Mithilā Śodha Saṃsthāna, 1987.

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Panda, P. K. Concept of dhvani in Sanskrit poetics: Indian theory of suggestion and principles of literary criticism in the light of Ānanadavardhana's Dhvanyāloka and its commentator Madhusudan Miśra's Avadhāna commentary. Delhi: Penman Publishers, 1988.

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Viśvavidyālaya, Sampūrṇānanda Saṃskr̥ta, ed. Dhvanyātmamīmāṃsā. Vārāṇasī: Sampūrṇānada Saṃskr̥ta Viśvavidyālaya, 2007.

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Abhinavagupta. Abhinavagupta's Dhvanyaloka-locana, with an anonymous Sanskrit commentary. New Delhi, India: Meharchand Lachhmandas Publications, 1988.

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Pāṇḍeya, Rameśakumāra. Dhvanimarmaprakāśah̤: Vyañjanāvirodhināmācāryāṇāṃ siddhāntasamīkṣaṇam. Dillī: Oriyaṇṭala Buka Seṇṭara, 1998.

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Book chapters on the topic "Dhvani (Poetics) Sanskrit poetry"

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"7. THEORIES OF ŚLESA IN SANSKRIT POETICS." In Extreme Poetry, 195–230. Columbia University Press, 2010. http://dx.doi.org/10.7312/bron15160-010.

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Stainton, Hamsa. "Stotra as Kāvya." In Poetry as Prayer in the Sanskrit Hymns of Kashmir, 197–230. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190889814.003.0006.

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This chapter investigates the relationship between Sanskrit hymns of praise and classical Sanskrit literature. It first surveys the complicated and often ambiguous position of stotras within Sanskrit literary culture. Then it analyzes Jagaddhara Bhaṭṭa’s Stutikusumāñjali as an historically significant example of how devotional poets sought to elevate the status of the stotra form. Jagaddhara reaffirms the value of classical Sanskrit poetry and poetics even as he re-envisions this literary world as being justified and revitalized by devotional praise of Śiva. He incorporates and expands upon earlier traditions of poetry and poetics in creative ways, giving special prominence to the “flashy” style of poetry (citrakāvya) and the poetic figure of “repetition” (yamaka). His ambitious and innovative hymns, as well as those of later poets in Kashmir, testify to the vitality of Sanskrit literary production in the region and offer critical evidence in the debate about the so-called death of Sanskrit.
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Stainton, Hamsa. "Introduction." In Poetry as Prayer in the Sanskrit Hymns of Kashmir, 1–26. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190889814.003.0001.

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This chapter frames the present study of Sanskrit hymns of praise from Kashmir in terms of the relationship between poetic and religious expression in South Asia. It introduces and discusses six key elements that weave throughout the book: the genre known as the stotra (hymn of praise); poetry (kāvya); poetics (alaṅkāraśāstra); prayer; bhakti (devotion); and the region of Kashmir, including the major contours of its religious and literary history. In doing so, the chapter summarizes the central themes of the book and establishes the context for analyzing poetry as prayer. It concludes by reviewing the contents and organization of the book.
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Stainton, Hamsa. "Conclusion." In Poetry as Prayer in the Sanskrit Hymns of Kashmir, 287–98. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190889814.003.0009.

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This concluding chapter returns to the recurring themes introduced in Chapter 1—Kashmir, poetry, poetics, stotra, bhakti, and prayer—in light of the arguments developed throughout this book. It explores how stotras are about relationships and connections, and it argues that these Sanskrit hymns are critical sources for studying the history and historiography of bhakti traditions in South Asia. It summarizes the appeal of the stotra form as a genre for religious practice and reflection, and it revisits what this study of Sanskrit hymns contributes to the study of prayer more broadly. As a whole, this chapter serves as a commentary on the title of the book, unpacking what it means to study poetry as prayer in the stotras of Kashmir.
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