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Copyright of Adab Al-Kufa is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper offers an extended introduction to the Kavikaṇṭhapāśa (or "Leash for Poets"), an anonymous text on the metaphysical qualities of poetry. By way of an annotated translation of key passages, the essay argues that the Kavikaṇṭhapāśa was likely composed sometime in the twelfth or thirteenth century, and that it is closely connected to the earliest Tamil pāṭṭiyal s. This suggests that it is one of the earliest witnesses to the metaphysical analysis of poetry in the Deccan and southern India. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

Jāyagauḍa's Kannaḍakuvalayānanda , the name may suggest, is another run-of-the-mill regional adaptation of Appayya Dīkṣita's bestseller textbook of Sanskrit poetics— The Joy of the Night Lily (Kuvalayānanda). However, a close reading of Jāyagauḍa's definitions and more importantly, his carefully curated examples, tells a different story. Jāyagauḍa's text is by no means a slavish translation, nor is his aim to present a brandnew, local theory of poetic figures. Rather, the Kannaḍakuvalayānanda places recent ṣaṭpadi poetry at the center-stage of poetics and creatively shifts the valence of understanding figures from abstract theory to writerly and readerly practice, beginning with Appayya Dīkṣita's own examples. The interaction of a "Sanskrit" poetic theory with a Kannada poetic memory here produces most unusual results. This experiment also draws our attention to a dazzlingly new (and as it turns out, very traditional) mode of doing literary criticism—in Sanskrit as well as in Kannada. [ABSTRACT FROM AUTHOR]

This article examines the text-metrical ("poetic") organization of epistemic stance-taking in discourse, focusing on epistemic stance in a form of argumentation, Tibetan Buddhist 'debate' (rtsod pa) at Sera Monastery in India. Emergent text-metrical structures in discourse are shown to reflexively map utterance-level propositional stance into larger-scale, fractionally congruent models of interactional stance. In charting the movement from epistemic stance to interactional stance by way of poetic structure, the article argues for and clarifies the place of poetics in the study of stance. [ABSTRACT FROM AUTHOR]