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  1. The Kāvyaprakāśa in the Benares-Centered Network of Sanskrit Learning.Patrick T. Cummins - 2020 - Journal of Indian Philosophy 48 (3):353-384.
    This article tells an intellectual history of Mammaṭa Bhaṭṭa’s Kāvyaprakāśa in the Benares-Centered Network of Sanskrit Learning from c. 1600–1750 CE. The core narrative proposed herein is that the discourse on Sanskrit Poetics reaches a bifurcated state by the 1400s and 1500s: the Kāvyaprakāśa commentarial tradition constitutes a distinct domain, wherein commentators debate exclusively among themselves on lower-order issues. This period of normalcy is ruptured by Appayya Dīkṣita, who effectively destabilizes the discourse, overhauling the conventional wisdom via his empiricist polemics (...)
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  • Appayya’s Vedānta and Nīlakaṇṭha’s Vedāntakataka.Christopher Minkowski - 2016 - Journal of Indian Philosophy 44 (1):95-114.
    The seventeenth century author Nīlakaṇṭha Caturdhara wrote several works criticising the Vedāntic theology of the sixteenth century author, Appayya Dīkṣita. In one of these works, the Vedāntakataka, Nīlakaṇṭha picks out two doctrines for criticism: that the liberated soul becomes the Lord, and that souls thus liberated remain the Lord until all other souls are liberated. These doctrines appear both in Appayya’s Advaitin and in his Śivādvaitin writings. They appear to be ones to which Appayya was committed. They raise theological and (...)
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  • Illumination, imagination, creativity: Rājaśekhara, Kuntaka, and Jagannātha on pratibhā.David Shulman - 2008 - Journal of Indian Philosophy 36 (4):481-505.
    Sanskrit poeticians make the visionary faculty of pratibhā a necessary part of the professional poet’s make-up. The term has a pre-history in Bhartṛhari’s linguistic metaphysics, where it is used to explain the unitary perception of meaning. This essay examines the relation between pratibhā and possible theories of the imagination, with a focus on three unusual theoreticians—Rājaśekhara, Kuntaka, and Jagannātha Paṇḍita. Rājaśekhara offers an analysis of pratibhā that is heavily interactive, requiring the discerning presence of the bhāvaka listener or critic; he (...)
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  • Demystifying Kashmiri Rasa Ideology: Rāmacandra–Guṇacandra’s Theory of Aesthetics in Their Nāṭyadarpaṇa.Aleksandra Restifo - 2019 - Journal of Indian Philosophy 47 (1):1-29.
    This paper presents a study of Rāmacandra–Guṇacandra’s theory of aesthetics in light of the Kashmiri rasa ideology and demonstrates that the Jain authors offer a new and original conceptualization of aesthetic experience, in which the spectator remains cognitively active in the course of watching the drama. In their model, the relationship between rasa and pleasure is mediated by a cognitive error, and the feeling of pleasure does not coincide with the savoring of rasa but emerges after the savoring of rasa (...)
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  • Poetry and the Play of the Goddess: Theology in Jayaratha’s Alaṃkāravimarśinī.James D. Reich - 2020 - Journal of Indian Philosophy 48 (4):665-674.
    The beginning of Jayaratha’s commentary on Ruyyaka’s Alaṃkārasarvasva contains a long digression on the nature of the goddess Parā Vāc, “Highest Speech,” referred to in Ruyyaka’s benedictory verse. This is an unusual choice in a text on poetics, and attention to Jayaratha’s religious context reveals that the digression is based closely on Abhinavagupta’s Parātrīśikāvivaraṇa, a tantric commentary. Jayaratha models his opening passage on this text in order to bolster an argument he wants to make about poetry, namely that poetry is (...)
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  • Birds of a Feather: Vāmana Bhaṭṭa Bāṇa's Haṃsasandeśa and Its Intertexts.Yigal Bronner - 2021 - Journal of the American Oriental Society 133 (3):495.
    Courier poetry is perhaps the richest and most vital literary genre of premodern South Asia, with hundreds of poems in a great variety of languages. But other than dubbing these poems “imitations” of Kālidāsa’s classical model, existing scholarship offers very little explanation of why this should be the case: why poets repeatedly turned to this literary form, exactly how they engaged with existing precedents, and what, if anything, was new in these many poems. In hopes of raising and beginning to (...)
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