@article {a60dc5b8a28e4673837f0e33dbfa13e3,
	title = {The Cause of Seamless Integration: Revisiting the Dual Authorship of the K{\={a}}vyaprak{\={a}}{\'s}a},
	journal = {Journal of the American Oriental Society},
	volume = {143},
	number = {2},
	year = {2023},
	note = {Funding Information: Author{\textquoteright}s note: I would like to thank Naresh Keerthi, Lawrence McCrea, Andrew Ollett, and David Shulman for comments and suggestions based on earlier drafts of this paper. I am also grateful to all the members of the Mammaṭa reading group for many pleasurable and stimulating hours. This research was supported by the Israel Science Foundation (grant No. 1176/19). 1.(퀀Sukthankar 1912. I return to this argument in section 2 below. Publisher Copyright: {\textcopyright} 2023 American Oriental Society. All rights reserved.},
	month = {apr},
	pages = {271{\textendash}287},
	publisher = {American Oriental Society},
	abstract = {This paper revisits the longstanding tradition concerning the dual authorship of the Light on Literature (K{\={a}}vyaprak{\={a}}{\'s}a), the dominant treatise on Sanskrit poetics in the second millennium ce. The discussion focuses on one case study, a brief comment dismissing the ornament {\textquotedblleft}cause{\textquotedblright} (hetu), found in the latter part of chapter 10 in the portion traditionally attributed to Mammata{\textquoteright}s successor Allata (aka Alaka). This passage is analyzed in the broader context of the Light{\textquoteright}s discussion of semantic capacities (chapter 2), suggestion (chapter 4), and other ornaments (chapter 10). The essay also looks at the way generations of commentators have dealt with this topic and the potential inconsistencies in its treatment in the Light. The paper thus throws light on the question of the work{\textquoteright}s overall integration, seamless or not so seamless, both in its genetic and receptive histories.},
	issn = {0003-0279},
	doi = {10.7817/jaos.143.2.2023.ar010},
	author = {Yigal Bronner}
}
@article {95681e9746544d27989623f05ff782fe,
	title = {Celibate Seducer: Ved{\={a}}nta De{\'s}ika{\textquoteright}s Domestication of Kṛṣṇa{\textquoteright}s Sexuality in the Y{\={a}}dav{\={a}}bhyudaya},
	journal = {International Journal of Hindu Studies},
	volume = {27},
	number = {2},
	year = {2023},
	note = {Funding Information: An earlier version of this paper was presented at {\textquotedblleft}Vaishnavism as Fine Literature,{\textquotedblright} a workshop organized by Alexander Uskokov and held at Yale University in May 2022. We are grateful to the participants for their input and comments. We are also deeply indebted to the anonymous reviewers for their excellent suggestions, from which this paper benefited. Publisher Copyright: {\textcopyright} 2022, The Author(s), under exclusive licence to Springer Nature B.V.},
	pages = {213{\textendash}235},
	publisher = {Springer Netherlands},
	abstract = {Ved{\={a}}nta De{\'s}ika produced his monumental poetic biography of Kṛṣṇa in a time when Kṛṣṇa-centered devotionalism was expanding to become perhaps the dominant mode of bhakti across South Asia. Central to this phenomenon is the growing popularity of the Bh{\={a}}gavatapur{\={a}}ṇa, and especially of its exploration of Kṛṣṇa{\textquoteright}s erotic play with the gopis in his youth. Troubled by the unrestrained and seemingly adharmic sexuality of Kṛṣṇa, De{\'s}ika used the literary techniques and narrative paradigms of the mah{\={a}}k{\={a}}vya to assimilate but also domesticate this increasingly important Bh{\={a}}gavata episode: Kṛṣṇa{\textquoteright}s eroticism remains central but confined within more conventional marital norms and is thus made dharmically and theologically acceptable. Once he has resolved these dharmic problems, however, De{\'s}ika is happy to explore the soteriological, devotional, and paradoxical dimensions of erotic love with Kṛṣṇa.},
	keywords = {Bh{\={a}}gavatapur{\={a}}ṇa, bhakti, eroticism, Kṛṣṇa, Ved{\={a}}nta De{\'s}ika, Y{\={a}}dav{\={a}}bhyudaya},
	issn = {1022-4556},
	doi = {10.1007/s11407-022-09327-w},
	author = {Yigal Bronner and McCrea, Lawrence J.}
}
@inbook {e4b252231c9348cba65b417e175f4bd9,
	title = {Dandin{\textquoteright}s Magic Mirror},
	booktitle = {A Lasting Vision},
	year = {2023},
	note = {Publisher Copyright: {\textcopyright} Oxford University Press 2023.},
	month = {jan},
	pages = {50{\textendash}91},
	publisher = {Oxford University Press},
	organization = {Oxford University Press},
	address = {United Kingdom},
	abstract = {Chapter 1 explores Dandin{\textquoteright}s Mirror of Literature (K{\={a}}vy{\={a}}dar{\'s}a) with a special focus on its pedagogy and method (m{\={a}}rga). The chapter opens by introducing Dandin and his uniquely open vision, in contrast to most works of Sanskrit {\'s}{\={a}}stra and, in particular, to that of his main predecessor, Bhamaha. This openness is then demonstrated in the discussion of three of the Mirror{\textquoteright}s main topics: poetic ornaments (alaṅk{\={a}}ra), for which Dandin presents a set of figurative modules that enable endless new and playful combinations; poetic flaws (doṣa) and virtues (guṇa), which Dandin sees as scalar (virtues become flaws due to sloppiness or overdoing, but almost every flaw can be upgraded to a virtue or an ornament); and poetry{\textquoteright}s difficult path, with an emphasis on the figure of yamaka, or {\textquotedblleft}twinning,{\textquotedblright} which he shows is easier than would otherwise seem. The chapter concludes by briefly discussing Dandin{\textquoteright}s {\textquotedblleft}pleasure principle.{\textquotedblright}},
	keywords = {Alaṅk{\={a}}ra, Bh{\={a}}maha, Dandin, Doṣa, Guṇa, K{\={a}}vy{\={a}}dar{\'s}a, M{\={a}}rga, Pedagogy, {\'s}{\={a}}stra, Yamaka},
	isbn = {9780197642924},
	doi = {10.1093/oso/9780197642924.003.0002},
	author = {Yigal Bronner and Gary Tubb}
}
@inbook {1dc935dd59a045d381021b1f98207315,
	title = {Introduction},
	booktitle = {A Lasting Vision},
	year = {2023},
	note = {Publisher Copyright: {\textcopyright} Oxford University Press 2023.},
	month = {jan},
	pages = {1{\textendash}49},
	publisher = {Oxford University Press},
	organization = {Oxford University Press},
	address = {United Kingdom},
	abstract = {The book{\textquoteright}s introductory chapter explores the broad contours of the Asian story of Dandin{\textquoteright}s Mirror (K{\={a}}vy{\={a}}dar{\'s}a) by comparing it to the tale of Aristotle{\textquoteright}s Poetics. The introduction also places Dandin{\textquoteright}s work in the context of Sheldon Pollock{\textquoteright}s theory of the Sanskrit cosmopolis and its subsequent vernacularization. The chapter shows that the Mirror{\textquoteright}s amazing success in Kannada, Sinhala, Pali, Tamil, Tibetan, and other literary cultures can our expand understanding of the cosmopolitan values and of its transmission networks (here emphasizing the Buddhist monastic and intellectual network, in addition to Pollock{\textquoteright}s focus on the royal court). The introduction also offers an overview of textual strategies used in response to the Mirror, with a focus on selectivity and retention, playfulness and distinction, and, finally, remodeling and repurposing. The introduction concludes with a comment on the future orientation of Dandin as related to its lasting impact in different parts of Asia.},
	keywords = {Aristotle, Buddhism, Dandin, Kannada, Sanskrit cosmopolis, Sheldon Pollock, Sinhala, Tamil, Tibet, Vernacularization},
	isbn = {9780197642924},
	doi = {10.1093/oso/9780197642924.003.0001},
	author = {Yigal Bronner}
}
@book {f5828221051047a1943ede185e7140b2,
	title = {A Lasting Vision: Dandin{\textquoteright}s Mirror in the World of Asian Letters},
	year = {2023},
	note = {Publisher Copyright: {\textcopyright} Oxford University Press 2023.},
	publisher = {Oxford University Press},
	organization = {Oxford University Press},
	address = {United Kingdom},
	abstract = {A Lasting Vision is dedicated to the Mirror of Literature (K{\={a}}vy{\={a}}dar{\'s}a), a Sanskrit treatise on poetics composed by Dandin in south India (ca. 700 CE) and to its remarkable career throughout large parts of Asia. The Mirror was adapted and translated into several languages in the southern Indian peninsula (Kannada, Tamil) and the island of Sri Lanka (Sinhala, Pali), as well as in the Tibetan plateau far to the north (Tibetan, Mongolian). In all these receiving cultures, it became a classical text and a source of constant engagement and innovation, often well into the modern era. It also traveled to Burma and Thailand, where it held a place of honor in Buddhist monastic education and intellectual life, and likely to the islands of Java and Bali, where it contributed to the production of literature in Old Javanese. There is even reason to believe that it reached China and impacted Chinese literary culture, although far more peripherally than in other parts of Asia. It also maintained a prominent position in the Sanskrit learned discourses throughout the Indian subcontinent for at least a millennium. This multi-authored volume, organized by region and language, is the first attempt to chart and explain the Mirror{\textquoteright}s amazing transregional and multilingual success: what was so unique about this work that might explain its near-continental conquest, how it was transmitted to and received in the many different environments, and what happened to it whenever it was being adopted and adapted.},
	keywords = {Buddhism, Burma, Dandin, Java, Kannada, K{\={a}}vy{\={a}}dar{\'s}a, Pali, Sinhala, Tamil, Tibet},
	isbn = {9780197642924},
	doi = {10.1093/oso/9780197642924.001.0001},
	author = {Yigal Bronner}
}
@inbook {44455a92da094c56bad78191f98d9a74,
	title = {The Mirror of the Practice: Indic Models Internalized in the Indonesian Archipelago},
	booktitle = {A Lasting Vision},
	year = {2023},
	note = {Publisher Copyright: {\textcopyright} Oxford University Press 2023.},
	month = {jan},
	pages = {412{\textendash}465},
	publisher = {Oxford University Press},
	organization = {Oxford University Press},
	address = {United Kingdom},
	abstract = {This chapter explores the adaptation of Indic poetic models in Java and Bali, where practice (prayoga) took precedence over theory ({\'s}{\={a}}stra), and where Dandin{\textquoteright}s Mirror and other cultural grammars left little concrete trace. The chapter{\textquoteright}s first part revisits the earliest known work from Java, the Old Javanese R{\={a}}m{\={a}}yaṇa, an adaptation of a Sanskrit poem by Bhatti that teaches grammar and poetics by example. Here the work{\textquoteright}s {\textquotedblleft}ornamental blocks{\textquotedblright} are analyzed for modes of imparting and experimenting with ornaments found in manuals such as Dandin{\textquoteright}s. The second half explores the later history of kakawin literature by focusing on introductory statements by poets and on manuals such as the Life Breath of Poetry (Bh{\={a}}ṣapr{\={a}}ṇa). The chapter shows that technical knowledge about poetry was continuously taught in classrooms in Java and Bali and suggests that kakawin{\textquoteright}s playful internalization of Dandin{\textquoteright}s modularity and openness eventually rendered his Mirror superfluous.},
	keywords = {Bh{\={a}}ṣapr{\={a}}ṇa, Bhatti, Dandin, Kakawin, Old Javanese, Old Javanese R{\={a}}m{\={a}}yaṇa, Ornamental block, Pedagogy, Prayoga, {\'s}{\={a}}stra},
	isbn = {9780197642924},
	doi = {10.1093/oso/9780197642924.003.0009},
	author = {Yigal Bronner and Helen Creese and Hunter, Thomas M.}
}
@inbook {f0da64c5c28e4273b9f5ef776ba2f6bc,
	title = {Sanskrit Poetics through Dandin{\textquoteright}s Looking Glass: An Alternative History},
	booktitle = {A Lasting Vision},
	year = {2023},
	note = {Publisher Copyright: {\textcopyright} Oxford University Press 2023.},
	month = {jan},
	pages = {253{\textendash}307},
	publisher = {Oxford University Press},
	organization = {Oxford University Press},
	address = {United Kingdom},
	abstract = {This chapter narrates the history of Sanskrit poetic theory (Alaṅk{\={a}}ra{\'s}{\={a}}stra) from the perspective of Dandin{\textquoteright}s Mirror of Literature (K{\={a}}vy{\={a}}dar{\'s}a). It begins with a brief discussion of Dandin{\textquoteright}s predecessors and their potential influence on him. Then follows an analysis of Dandin{\textquoteright}s reception in Kashmir, home to a series of theorists who dominated the field of poetics beginning in the eighth century. The heart of the chapter is dedicated to Dandin{\textquoteright}s most significant commentator, the tenth-century Sinhalese Buddhist monk Ratnashrijnana. It shows how this commentator responded to and extended fundamental aspects of the Mirror such as its openness and modularity. The chapter also shows Ratnashrijnana as steeped in both the world of Sanskrit court literati and that of the Buddhist community and its literature and values. The chapter concludes by the responses to the Mirror by a host of later medieval and early modern thinkers, most significantly King Bhoja (r. ca. 1010{\textendash}1055) and Appayya Dikshita (ca. 1520{\textendash}1592).},
	keywords = {Alaṅk{\={a}}ra{\'s}{\={a}}stra, Anandavardhana, Appayya Dikshita, Bhoja, Dandin, Guṇa, Kashmir, K{\={a}}vy{\={a}}dar{\'s}a, Ratnashrijnana, Sanskrit poetics},
	isbn = {9780197642924},
	doi = {10.1093/oso/9780197642924.003.0006},
	author = {Yigal Bronner and Whitney Cox and Andrew Ollett and Lawrence McCrea}
}
@article {3162046,
	title = {Thinking on Six Feet: The Joy of the Kannada <em>Kuvalay{\={a}}nanda</em>},
	journal = {Journal of South Asian Intellectual History},
	year = {2023},
	pages = {1-29},
	author = {Yigal Bronner and Naresh Keerthi}
}
@inbook {75c94ca00d9a42c3989d6d32b9342e74,
	title = {Appayya Dikṣita},
	booktitle = {Hinduism and Tribal Religions},
	year = {2022},
	pages = {94{\textendash}97},
	publisher = {Springer Netherlands},
	organization = {Springer Netherlands},
	address = {Netherlands},
	isbn = {9789402411881},
	doi = {10.1007/978-94-024-1188-1_978},
	author = {Yigal Bronner},
	editor = {Long, Jeffery D. and Sherma, Rita D. and Pankaj Jain and Madhu Khanna}
}
@book {2b746398eed143e5a02a7b343bd757f6,
	title = {Sensitive Reading: The Pleasures of South Asian Literature in Translation},
	year = {2022},
	note = {Publisher Copyright: {\textcopyright} 2022 by The Regents of the University of California.},
	publisher = {University of California Press},
	organization = {University of California Press},
	address = {ארצות הברית},
	abstract = {What are the pleasures of reading translations of South Asian literature, and what does it take to enjoy a translated text? This volume provides opportunities to explore such questions by bringing together a whole set of new translations by David Shulman, noted scholar of South Asia. The translated selections come from a variety of Indian languages, genres, and periods, from the classical to the contemporary. The translations are accompanied by short essays written to help readers engage and enjoy them. Some of these essays provide background to enhance reading of the translation, whereas others model how to expand appreciation in comparative and broader ways. Together, the translations and the accompanying essays form an essential guide for people interested in literature and art from South Asia.},
	isbn = {9780520384477},
	doi = {10.1525/luminos.114},
	author = {David Shulman},
	editor = {Yigal Bronner and Charles Hallisey}
}
@book {414dbd21dbb24a29a03aa1e21a35866b,
	title = {First Words, Last Words: New Theories for Reading Old Texts in Sixteenth-Century India},
	series = {Aar religion in translation},
	year = {2021},
	publisher = {Oxford University Press},
	organization = {Oxford University Press},
	address = {בריטניה},
	abstract = {"First Words, Last Words charts an intense "pamphlet war" that took place in sixteenth-century South India. The book explores this controversy as a case study in the dynamics of innovation in early modern India, a time of great intellectual innovation. This debate took place within the traditional discourses of Vedic Hermeneutics, or M\=im\=a\d ms\=a, and its increasingly influential sibling discipline of Ved\=anta, and its proponents among the leading intellectuals and public figures of the period. At the heart of this dispute lies the role of sequence in the cognitive processing of textual information, especially of a scriptural nature. Vy\=asat\=irtha and his grand-pupil Vijay\=indrat\=irtha, writers belonging to the camp of Dualist Ved\=anta, purported to uphold the radical view of their founding father, Madhva, who believed, against a long tradition of M\=im\=a\d ms\=a interpreters, that the closing portion of a scriptural passage should govern the interpretation of its opening. By contrast, the Nondualist Appayya Dikshita ostensibly defended this tradition{\textquoteright}s preference for the opening. But, as the book shows, the debaters gradually converged on a profoundly novel hermeneutic-cognitive theory in which sequence played little role, if any. In fact, they knowingly broke new ground, and only postured as traditionalists. First Words, Last Words explores the nature of theoretical innovation in this debate and sets it against the background of comparative examples from other major scriptural interpretive traditions. The book briefly surveys the use of sequence in Jewish, Christian, and Islamic hermeneutics and also seeks out parallel cases of covert innovation in these traditions"{\textendash}},
	doi = {10.1093/oso/9780197583470.001.0001},
	author = {Yigal Bronner and McCrea, Lawrence J}
}
@inbook {b49beadd3895463d936c40c042ad7cc9,
	title = {In Search of Scholasticism: Sanskrit Poetics and Its Long Path to {\'S}{\={a}}strahood},
	booktitle = {Les scolastiques indiennes},
	series = {{\'E}tudes th{\'e}matiques},
	year = {2020},
	month = {jan},
	pages = {109{\textendash}130},
	publisher = {Ecole fran{\c c}aise d{\textquoteright}Extr{\^e}me-Orient},
	organization = {Ecole fran{\c c}aise d{\textquoteright}Extr{\^e}me-Orient},
	isbn = {9782855392707},
	author = {Yigal Bronner},
	editor = {Emilie Aussant and G{\'e}rard Colas}
}
@article {3578a16b22004b7cb77596f4bb67ac74,
	title = {Indic Ornaments on Javanese Shores: Retooling Sanskrit Figures in the Old Javanese R{\={a}}m{\={a}}yaṇa},
	journal = {Journal of the American Oriental Society},
	volume = {139},
	number = {1},
	year = {2019},
	note = {Publisher Copyright: {\textcopyright} 2019 American Oriental Society. All rights reserved.},
	month = {jan},
	pages = {41{\textendash}66},
	publisher = {American Oriental Society},
	abstract = {The Old Javanese R{\={a}}m{\={a}}yana Kakawin, the earliest known Javanese literary work, is based on the sixth-century Sanskrit Bhattik{\={a}}vya. It is an outcome of a careful and thorough project of translation and adaptation that took place at a formative moment in the cultural exchange between South and Southeast Asia. In this essay we explore what it was that the Javanese poets set out to capture when they rendered the Bhattik{\={a}}vya into Old Javanese, what sort of knowledge and protocols informed their work, in what way the outcome was different from the original, and what the Old Javanese R{\={a}}m{\={a}}yana can teach us about Bhatti{\textquoteright}s poem and the nascent poetics of kakawin literature In particular, we show how Sanskrit figures of speech, or ornaments (alamk{\={a}}ra) were understood, commented upon, expanded, and reconfigured. A close look at these texts allows us insights into this remarkable moment of cultural exchange.},
	issn = {0003-0279},
	doi = {10.7817/jameroriesoci.139.1.0041},
	author = {Yigal Bronner and Helen Creese}
}
@book {c70116cd6b5f42a9a8f9b0b0fe64d191,
	title = {עין להודו},
	series = {ידיעות ספרים},
	year = {2019},
	note = {מעבר לשער גם: משכל - הוצאה לאור מייסודן של ידיעות אחרונות וספרי חמד.},
	publisher = {הוצאת ספרים ע"ש י"ל מאגנס, האוניברסיטה העברית},
	organization = {הוצאת ספרים ע"ש י"ל מאגנס, האוניברסיטה העברית},
	abstract = {"מהי הודו? איך נוצרה הציוויליזציה העשירה שלה? איך פשטה ולבשה צורה במשך אלפי שנים, ולאן מועדות פניה? לראשונה בעברית, עין להודו מציג מבוא מקיף ומאיר עיניים להיסטוריה ולתרבות של התת־יבשת ההודית, ממקורותיה הפרה־היסטוריים ועד למאה ה־21. הספר פונה לקהל הרחב לרבות דורות של אוהבי הודו בישראל, והוא מלווה בתמונות, מפות, איורים, ובמבחר קטעים מתורגמים שנותנים טעם ומוסיפים ניחוחות. קוראים שירצו להבין את עקרון הקרמה, תורת הבודהה, שורשי היוגה וההגות ההינדואית, האופי והמורשת הייחודיים של האסלאם ההודי, היווצרותה של מדינת הלאום ופועלו של גאנדהי, או סתם לצאת לסיור בקו המטרו של דלהי, ימצאו בספר הזה את הכלים הדרושים להרפתקה ההודית." {\textendash} מן המעטפת האחורית},
	author = {יגאל ברונר and דוד שולמן}
}
@article {89aa9c27df6640a5927f27a0ff5dddc3,
	title = {Pedagogy, Playfulness, and Innovation in Daṇḍin{\textquoteright}s Condensed Speech},
	journal = {Rivista degli Studi Orientali},
	volume = {90},
	number = {1-4},
	year = {2017},
	note = {Publisher Copyright: {\textcopyright} Copyright by Fabrizio Serra editor, Paisa, Roma.},
	pages = {77{\textendash}92},
	publisher = {Fabrizio Serra Editore},
	abstract = {Why was Dandin{\textquoteright}s Mirror of Literature (K{\={a}}vy{\={a}}dar{\'s}a), a text that swept much of Asia and inspired so many translations, adaptations, commentaries, and literary responses in a variety of languages, so successful? This paper highlights some of the Mirror{\textquoteright}s key innovative agendas by examining one small section of the work, the passage defining and exemplifying the ornament "condensed speech" (sam{\={a}}sokti). More specifically, the paper examines Dandin{\textquoteright}s dramatic redefinition of this device in comparison to what we find in the work of his most important predecessors, Bh{\={a}}maha and Bhatti. Dandin expanded this ornament to include various types of insinuation, thus making it a powerful suggestive device, not unlike the aesthetic-semantic force that Anandavardhana later called dhvani. Dandin, moreover, used the subcategories of condensed speech to showcase his new pedagogy and playfully to illustrate the complex metatropic effects of poetry: its ability to play with the precedents of earlier poets and with the underlying poetic convention.},
	keywords = {Anandavardhana, Bh{\={a}}maha, Bhatti, Dandin, Innovation, Pedagogy, Playfulness, Ratna{\'s}rij{\~n}{\={a}}na, Sam{\={a}}sokti},
	issn = {0392-4866},
	doi = {10.19272/201703804005},
	author = {Yigal Bronner}
}
@article {b6c62b0fe91742d8b85c86bd2ebd144b,
	title = {On Working with and Learning from Ornaments: An Afterword},
	journal = {Rivista degli Studi Orientali},
	volume = {90},
	number = {1-4},
	year = {2017},
	note = {Publisher Copyright: {\textcopyright} Copyright by Fabrizio Serra editor, Paisa, Roma.},
	pages = {183{\textendash}187},
	publisher = {Fabrizio Serra Editore},
	abstract = {Coming as an afterword to the six papers addressing "Condensed speech" (sam{\={a}}sokti), this short essay assesses their cumulative contribution to our understanding of Dandin{\textquoteright}s Mirror of Literature (K{\={a}}vy{\={a}}dar{\'s}a) and its impact. It tries to think of ornaments (alank{\={a}}ra) as primary tools with which we can understand aesthetic theory and practice in South Asia, and which we can also use for analyzing negotiations between its cosmopolitan and vernacular forms (negotiations wherein Dandin{\textquoteright}s Mirrorplayed a central role).},
	keywords = {Alaṅk{\={a}}ra, Dandin, Ornaments, Ruyyaka, Sam{\={a}}sokti, Sanskrit, Sinhala, Tamil, Tibetan},
	issn = {0392-4866},
	doi = {10.19272/201703804011},
	author = {Yigal Bronner}
}
@article {b63fa00f1db842cfb5ac91be532a3672,
	title = {A Renaissance Man in Memory: Appayya Dikṣita Through the Ages},
	journal = {Journal of Indian Philosophy},
	volume = {44},
	number = {1},
	year = {2016},
	note = {Publisher Copyright: {\textcopyright} 2014, Springer Science+Business Media Dordrecht.},
	month = {mar},
	pages = {11{\textendash}39},
	publisher = {Springer Netherlands},
	abstract = {This essay is a first attempt to trace the evolution of biographical accounts of Appayya Dikṣita from the sixteenth century onward, with special attention to their continuities and changes. It explores what these rich materials teach us about Appayya Dikṣita and his times, and what lessons they offer about the changing historical sensibilities in South India during the transition to the colonial and postcolonial eras. I tentatively identify two important junctures in the development of these materials: one that took place in the first generation to be born after his death, when the idea of him as an avatar of {\'S}iva was introduced, and another at the end of the nineteenth century and the beginning of the twentieth, when many new stories about his encounters with his colleagues and students surfaced. The essay follows a set of themes and tensions that pertain to Appayya Dikṣita{\textquoteright}s social and political affiliations, his sectarian agendas, and the geographic sphere of his activities. These themes and tensions are closely related and prove to be surprisingly resilient, despite the many changes that occurred during the five centuries of recollection that this essay sketches. This overall coherence, I argue, is integral to Appayya Dikṣita{\textquoteright}s sociopolitical context and self-chosen identity.},
	keywords = {Appayya Dikṣita, Biography / hagiography, Mannargudi Periyar, Nilakaṇṭha Dikṣita, {\'S}aivism / Vaiṣṇavism, {\'S}iv{\={a}}nanda Yogi},
	issn = {0022-1791},
	doi = {10.1007/s10781-014-9251-6},
	author = {Yigal Bronner}
}
@article {7ceb0e32d11349eaa1a00822b13e1bf5,
	title = {Text to Tradition: The "Naiṣadhiyacarita" and Literary Community in South Asia, by Deven M. Patel},
	journal = {South Asia: Journal of South Asia Studies},
	volume = {39},
	number = {2},
	year = {2016},
	month = {apr},
	pages = {497{\textendash}498},
	publisher = {Routledge},
	issn = {0085-6401},
	doi = {10.1080/00856401.2016.1173622},
	author = {Yigal Bronner}
}
@inbook {f3ab902ed7174fc68da6a71f9b03d6fc,
	title = {Understanding Udbhaṭa: The Invention of Kashmiri Poetics in the Jay{\={a}}piḍa Moment},
	booktitle = {Around Abhinavagupta},
	series = {Leipziger Studien zu Kultur und Geschichte S{\"u}d- und Zentralasiens},
	year = {2016},
	pages = {81{\textendash}147},
	publisher = {LIT Verlag},
	organization = {LIT Verlag},
	isbn = {9783643906977},
	author = {Yigal Bronner},
	editor = {Eli Franco and Isabelle Rati{\'e}}
}
@article {11e314debe6e400a8f737609a00f943a,
	title = {Csaba Dezs{\H o} and Dominic Goodall (editors and translators), D{\={a}}modaraguptaviracitaṃ Kuṭṭanimatam = The Bawd{\textquoteright}s Counsel: Being an Eighth-Century Verse Novel in Sanskrit by D{\={a}}modaragupta. Newly edited and translated into English},
	journal = {Indo-Iranian Journal},
	volume = {58},
	number = {1},
	year = {2015},
	month = {jan},
	pages = {79{\textendash}86},
	publisher = {Brill Academic Publishers},
	issn = {0019-7246},
	doi = {10.1163/15728536-05800002},
	author = {Yigal Bronner}
}
@article {e169b4f6f122478ea40a55cacb6b1bdc,
	title = {The Power of Primacy and the Domination of the Injunction: Appayya Dikṣita{\textquoteright}s Two Personas in a Debate about Vedic Hermeneutics},
	journal = {Journal of Hindu Studies},
	volume = {8},
	number = {1},
	year = {2015},
	note = {Publisher Copyright: {\textcopyright} The Author 2015. Oxford University Press and The Oxford Centre for Hindu Studies. All rights reserved.},
	pages = {111{\textendash}123},
	publisher = {Oxford University Press},
	abstract = {This article is the first study of Appayya Da ksita{\textquoteright}s Upakramaparak- rama. Here he attacks Vyasatirtha{\textquoteright}s new and provocative argument according to which the hermeneutic protocols of Vedic passages always assumed that the closing of a passage overrides its opening. Appayya offers a systematic refutation of Vyasatirtha{\textquoteright}s examples in an effort to show that sequence matters and that, as was known at least since the time of ͆abara, it is the opening that outweighs the closing and not the other way around. But, as the article shows, midway through the work the author presents a new and comprehensive theory that, he believes, underlies both Mimamsa and Vedanta reading protocols, one in which sequence is completely immaterial. The article argues that the tension between these two voices is not entirely resolvable and is, moreover, emblematic of the author{\textquoteright}s intellectual legacy and of scholarly work in his period more generally.},
	issn = {1756-4255},
	doi = {10.1093/jhs/hiv012},
	author = {Yigal Bronner}
}
@article {5fa6be34604d46a293a75b85cb6870bc,
	title = {South Meets North: Banaras from the Perspective of Appayya Dikṣita},
	journal = {South Asian History and Culture},
	volume = {6},
	number = {1},
	year = {2015},
	note = {Funding Information: The research for this essay was supported by a generous grant from the Israel Science Foundation [grant number 1485/12]. Publisher Copyright: {\textcopyright} 2014 Taylor and Francis.},
	month = {jan},
	pages = {10{\textendash}31},
	publisher = {Taylor and Francis Ltd.},
	abstract = {During the last decades of the sixteenth century, Banaras began to assert itself as a powerful intellectual centre of a magnitude never seen before in South Asia. Scholars working in all disciplines and from every part of the subcontinent were drawn to this city, where they not only produced voluminous innovative scholarship but also created a deliberative body of scholars and jurists that began to assume all-India responsibilities. By the best estimates, the second half of the sixteenth century is also the time when the career of Appayya Dikṣita (1520{\textendash}1593), one of India{\textquoteright}s most important and influential scholars in early modernity, peaked far to the south of Banaras, in the Tamil country. This essay examines scholarly and social networks between Banaras and the Deep South through the perspective of this seminal scholar, his works and his successors. In particular, I ask what types of transsubcontinental ties between South and North existed during Appayya{\textquoteright}s life and how they changed after his time, both in practice and in memory. As the essay shows, it was only towards the very end of the nineteenth century that reports began to surface, suggesting that Appayya visited Banaras and interacted in person with its leading intellectuals. But even though these narratives are demonstrably fictional, Appayya{\textquoteright}s afterlife in Banaras is faithful to key aspects of his intellectual persona and to the actual lives of his texts and descendants in the northern city.},
	keywords = {Appayya Dikṣita, Banaras, Intellectual history, Sanskrit, South India},
	issn = {1947-2498},
	doi = {10.1080/19472498.2014.969008},
	author = {Yigal Bronner}
}
@article {855900c6194549169f95bb40e8e18a98,
	title = {למפות את המרחב ואת הזמן: מסר מתת-היבשת ההודית},
	journal = {תיאוריה וביקורת},
	volume = {44},
	year = {2015},
	pages = {327{\textendash}336},
	abstract = {האם ידע ביאליק סנסקריט ושאל ממנה אל העברית את התבנית השירית הפופולרית ביותר שלה, שירי שליח? ואולי ידע שפה הודית או דרום{\textendash}אסיאתית אחרת {\textemdash} טמילית (Tamil), סינהלה (Sinhala), גוג{\textquoteright}ראטית (Gujarati) או בנגלית (Bengali), שפות שבכולן יש קורפוסים גדולים של שירי שליח, וברבים מהם השליחים הם ציפורים? כמו בשירו של ביאליק "אֶל הַצִּפֹור", גם בשירים הדרום{\textendash}אסיאתיים נוטה השליח להיות אילם, משתתף דמיוני בשיח פנימי שמתחולל כולו אצל הדובר (או המשורר). גם אם שתיקתו של השליח מעוררת תסכול מסוים אצל השולח, או בשירו של ביאליק אצל מי שמצפה למסר, אין לראות בה סרבנות מכּוונת. כבר בשיר היסוד של הז{\textquoteright}אנר, "ענן שליח" של קאלידאסה (K{\={a}}lid{\={a}}sa), שנכתב במאה הרביעית או החמישית לספירה, נדרש גיבור השיר במפורש{\textellipsis}},
	issn = {2663-3531},
	author = {יגאל ברונר and דוד שולמן}
}
@inbook {88337447f491474eb3d3eeac7520860d,
	title = {Daṇḍin},
	booktitle = {The Oxford Encyclopedia of Aesthetics},
	volume = {2},
	year = {2014},
	pages = {278{\textendash}279},
	publisher = {Oxford University Press},
	organization = {Oxford University Press},
	address = {United States},
	abstract = {Daṇḍin is one of the best known and most influential figures in Asian literary history. Born in South India in},
	isbn = {9780199747115},
	doi = {10.1093/acref/9780199747108.013.0199},
	author = {Yigal Bronner},
	editor = {Michael Kelly}
}
@article {5cd059d1ac094421966d804d86aa54ea,
	title = {{\'E}treindre la Simultan{\'e}it{\'e}: Histoire du~{\'S}leṣa~en Asie du Sud},
	journal = {Etudes Romanes de Brno},
	volume = {35},
	number = {2},
	year = {2014},
	month = {jan},
	pages = {81{\textendash}98},
	publisher = {Masaryk University Press},
	keywords = {300-1399, Indian literature, poetry, polysemy, Sanskrit language literature, simultaneity, {\'s}leṣa},
	issn = {1803-7399},
	author = {Yigal Bronner}
}
@book {b90b3febf48646b19a05cdf9aa812bfb,
	title = {Innovations and Turning Points: Toward a History of Kavya Literature},
	year = {2014},
	publisher = {Oxford University Press},
	organization = {Oxford University Press},
	address = {בריטניה},
	abstract = {This volume is the first attempt to offer a panoramic historical overview of South Asian classical poetry, especially in Sanskrit. Many of the essays in this volume are the first serious studies of the great masterpieces of South Asian literature. Moreover, the book as a whole captures the millennium-long developmental logic of kavya literature by identifying a series of critical moments of breakthrough and innovation-that is, moments when the basic rules of composition and the aesthetic and poetic goals underwent dramatic change, allowing the tradition to reinvent itself. Individual sections thus focus on the beginnings of kavya literature and Kalidasa{\textquoteright}s creation of what came to be its classical form; the new poetic model that emerged from the intense competition and conversation of Bharavi and Magha in the middle of the first millennium; the extended revolutionary period in Kanauj, where Bana and his successors reconceived the meaning and practice of Sanskrit poetry; and the no less transformative period at the beginning of the second millennium, when poets of genius such as Sriharsa were active in the context of India{\textquoteright}s nascent vernacularization. The scope of the volume extends beyond Sanskrit to early modern Hindi, and beyond the subcontinent and the Himalayas to Java and Tibet, where kavya found a new home and continued to evolve. A general introduction proposes a theoretical framework for the study of this immense literary tradition in terms of its continuous self-reinvention. {\textendash}},
	isbn = {9780199453559},
	editor = {Yigal Bronner and Shulman, David Dean and Gary Jubb}
}
@inbook {a2d21ace1f154e9c98bbb390740a70e7,
	title = {The Nail-Mark That Lit the Bedroom: Biography of a Compound},
	booktitle = {Innovations and turning points},
	year = {2014},
	pages = {237{\textendash}262},
	publisher = {Oxford University Press},
	organization = {Oxford University Press},
	address = {India},
	isbn = {9780199453559},
	author = {Yigal Bronner},
	editor = {Yigal Bronner and Shulman, David Dean and Gary Jubb}
}
@inbook {c747c7e3fb59483e91ad5e0e378bec2b,
	title = {Sanskrit Aesthetics},
	booktitle = {The Oxford Encyclopedia of Aesthetics},
	volume = {5},
	year = {2014},
	pages = {455{\textendash}459},
	publisher = {Oxford University Press},
	organization = {Oxford University Press},
	address = {ארצות הברית},
	abstract = {The Sanskrit language held a monopoly over poetic expressivity in large parts of Asia, from Afghanistan in the west to},
	isbn = {9780199747115},
	doi = {10.1093/acref/9780199747108.013.0640},
	author = {Yigal Bronner},
	editor = {Michael Kelly}
}
@article {80f74a931f674ece90326f3ad47084d5,
	title = {Birds of a Feather: V{\={a}}mana Bhaṭṭa B{\={a}}ṇa{\textquoteright}s Haṃsasande{\'s}a and Its Intertexts},
	journal = {Journal of the American Oriental Society},
	volume = {133},
	number = {3},
	year = {2013},
	pages = {495{\textendash}526},
	publisher = {American Oriental Society},
	abstract = {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 Kalidasa{\textquoteright}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 answer such questions, this essay closely examines one such work, the HamsasandeSa of Vamana Bhatta Bana (fl. ca. 1400), and its close correspondence with two important intertexts: Kalidasa{\textquoteright}s MeghasandeSa and Vedanta Defika{\textquoteright}s HamsasandeSa. I argue that Vamana Bhatta Bana{\textquoteright}s work is an intricate mosaic that is put together from pieces-both absences and presences-that are taken from both these poems and that make sense only if we are familiar with their sources, and that this mosaic is nonetheless a surprisingly new and independent statement. On the basis of this analysis, I go on to suggest that novelty in the genre is partly made possible (and manifest) precisely through dense engagement with the vocabulary, figures of speech, situations, and other building blocks of the intertexts, a practice that often results in a heightened mode of density.},
	issn = {0003-0279},
	doi = {10.7817/jameroriesoci.133.3.0495},
	author = {Yigal Bronner}
}
@article {cf04349bf9664f7fa812ce5c9384f18c,
	title = {Embracing Simultaneity: The Story of "{\'S}leṣa" in South Asia},
	journal = {Cracow Indological Studies},
	volume = {15},
	year = {2013},
	pages = {119{\textendash}141},
	publisher = {Ksiegarnia Akademicka Ltd},
	abstract = {This essay deals with literary works that combine two or more topics, characters, or plotlines and convey them concurrently to their respective destinations. It is based on my monograph Extreme Poetry: The South Asian Movement of Simultaneous Narration (Bronner 2010), where I discuss this phenomenon at length. Here I will limit myself briefly to presenting three main points: that the dimensions of the {\'s}leṣa phenomenon in South Asia are enormous, that experiments with artistic simultaneity have a demonstrable and meaningful history, and that this is the history of a self-conscious literary movement. I conclude with three brief examples of {\'s}leṣa verses from three very different works that exemplify some of the poetic uses to which {\'s}leṣa was put and that demonstrate how the literary movement under discussion used {\'s}leṣa to advance the aesthetic projects of South Asian culture and push them to the extreme.},
	issn = {1732-0917},
	doi = {10.12797/cis.15.2013.15.08},
	author = {Yigal Bronner}
}
@article {8a7e646be59a463cad51a76a0eae8f7e,
	title = {From Conqueror to Connoisseur: Kalhaṇa{\textquoteright}s Account of Jay{\={a}}piḍa and the Fashioning of Kashmir as a Kingdom of Learning},
	journal = {Indian Economic and Social History Review},
	volume = {50},
	number = {2},
	year = {2013},
	month = {apr},
	pages = {161{\textendash}177},
	publisher = {SAGE Publications Ltd},
	abstract = {This article is primarily concerned with asking how we can read Kalhaṇa{\textquoteright}s R{\={a}}jataraṅgiṇi as historians, other than by mining it for facts and names or using it as a proof of some South Asian given. I conduct my investigation on a relatively small sample, a well-defined narrative sequence of about 100 verses from the fourth chapter, or {\textquoteleft}wave{\textquoteright}, of the River of Kings (4.402{\textendash}502), which narrates King Jay{\={a}}piḍa{\textquoteright}s first military campaign. I try to demonstrate that this section depicts a dramatic shift in Kashmir{\textquoteright}s investment in learning and the arts. Thus I argue that the R{\={a}}jataraṅgiṇi, despite its unifying poetic and moralistic framework, is acutely attuned to changes in Kashmir{\textquoteright}s history, including this region{\textquoteright}s special cultural and intellectual history, a topic that is clearly dear to Kalhaṇa{\textquoteright}s heart.},
	keywords = {cultural and intellectual history, Jay{\={a}}piḍa, Kalhaṇa, Kashmir, R{\={a}}jataraṅgiNdot belowi, Udbhatdot belowa},
	issn = {0019-4646},
	doi = {10.1177/0019464613487098},
	author = {Yigal Bronner}
}
@article {61219abf2f214b688b7631581797a713,
	title = {The R{\={a}}m{\={a}}yaṇa of V{\={a}}lmiki: An Epic of Ancient India, Volume VI: Yuddhak{\={a}}ṇḍa. Translated bt Robert P. Goldman, Sally J. Sutherland Goldman, and Barend A. van Nooten},
	journal = {European Legacy},
	volume = {18},
	number = {4},
	year = {2013},
	month = {jul},
	pages = {496{\textendash}499},
	publisher = {Taylor and Francis Ltd.},
	issn = {1084-8770},
	doi = {10.1080/10848770.2013.791429},
	author = {Yigal Bronner}
}
@article {f9f252352f7c45cba751827c7d52d1b0,
	title = {A Question of Priority: Revisiting the Bh{\={a}}maha-Daṇḍin Debate},
	journal = {Journal of Indian Philosophy},
	volume = {40},
	number = {1},
	year = {2012},
	pages = {67{\textendash}118},
	publisher = {Springer Netherlands},
	abstract = {As has been obvious to anyone who has looked at them, there is a special relationship between the two earliest extant works on Sanskrit poetics: Bh{\={a}}maha{\textquoteright}s K{\={a}}vy{\={a}}laṃk{\={a}}ra (Ornamenting Poetry) and Daṇḍin{\textquoteright}s K{\={a}}vy{\={a}}dar{\'s}a (The Mirror of Poetry). The two not only share an analytical framework and many aspects of their organization but also often employ the selfsame language and imagery when they are defining and exemplifying what is by and large a shared repertoire of literary devices. In addition, they also betray highly specific disagreements regarding the nature and aesthetic value of a set of literary phenomena. It has thus long been clear to Indologists that the two are in conversation with one another, but the nature of the conversation and its directionality have never been determined: Was Bh{\={a}}maha responding to Daṇḍin{\textquoteright}s K{\={a}}vy{\={a}}dar{\'s}a? Was Daṇḍin making a rejoinder to Bh{\={a}}maha{\textquoteright}s K{\={a}}vy{\={a}}laṃk{\={a}}ra? Were the two authors contemporaries who directly interacted with one another? Or was their interaction indirect and mediated through other texts that are no longer extant? Determining the nature of the interrelations between the two authors and their texts may teach us a great deal about the origins of Sanskrit poetics, the direction in which it developed during its formative period, and the way in which some of the disagreements between Daṇḍin and Bh{\={a}}maha metamorphosed in later time. By reviewing existing scholarship, considering new evidence, and taking a fresh look at some of the passages that have long stood at the center of this debate, this article sets out to answer the question of the texts{\textquoteright} relationship and relative chronology.},
	keywords = {Alamdot belowk{\={a}}ra{\'s}{\={a}}stra, Bh{\={a}}maha, Dandot belowddot belowin},
	issn = {0022-1791},
	doi = {10.1007/s10781-011-9128-x},
	author = {Yigal Bronner}
}
@inbook {1f57c70952ed4f778780603a3274ddca,
	title = {Sanskrit Poetics},
	booktitle = {The Princeton Encyclopedia of Poetry and Poetics},
	year = {2012},
	pages = {1244{\textendash}1250},
	publisher = {Princeton University Press},
	organization = {Princeton University Press},
	edition = {4th},
	address = {United States},
	abstract = {I. Early History II. Middle Period: Sanskrit Poetics in Kashmir and Beyond III. New Poetics in Early ModernitySanskrit poetics},
	isbn = {9780691133348},
	doi = {10.1093/acref/9780190681173.013.0994},
	author = {Y. Bronner},
	editor = {Roland Greene and Stephen Cushman}
}
@inbook {135fce3e0c1e4c49bd1b940b81fa67ba,
	title = {{\'S}leṣa},
	booktitle = {The Princeton Encyclopedia of Poetry and Poetics},
	year = {2012},
	pages = {1310},
	publisher = {Princeton University Press},
	organization = {Princeton University Press},
	edition = {4th},
	address = {United States},
	abstract = {Technically speaking, {\'s}leṣa is a literary device or *{\textquotedblleft}ornament{\textquotedblright} (*alaṃk{\={a}}ra), one of many in},
	isbn = {9780691133348},
	doi = {10.1093/acref/9780190681173.013.1048},
	author = {Y. Bronner},
	editor = {Roland Greene and Stephen Cushman}
}
@article {bcd2944d9d544ff39d1fac0e266defc9,
	title = {To Be or Not to Be {\'S}i{\'s}up{\={a}}la: Which Version of the Key Speech in M{\={a}}gna{\textquoteright}s Great Poem Did He Really Write?},
	journal = {Journal of the American Oriental Society},
	volume = {132},
	number = {3},
	year = {2012},
	pages = {427{\textendash}455},
	publisher = {American Oriental Society},
	issn = {0003-0279},
	doi = {10.7817/jameroriesoci.132.3.0427},
	author = {Yigal Bronner and Lawrence McCrea}
}
@article {a417f01dde9740acaca4e97d6038cf7c,
	title = {Khoroche, Peter and Herman Tieken, Poems on Life and Love in Ancient India: H{\={a}}la{\textquoteright}s Sattasai, translated from the Prakrit and introduced},
	journal = {Indo-Iranian Journal},
	volume = {54},
	number = {1},
	year = {2011},
	month = {jan},
	pages = {67{\textendash}71},
	publisher = {Brill Academic Publishers},
	issn = {0019-7246},
	doi = {10.1163/001972411x552436},
	author = {Yigal Bronner}
}
@article {933aba6cd30a49d7a5f7e6404cd572b7,
	title = {A Road Map for Future Studies: The Language of the Gods in the World of Scholars},
	journal = {Comparative Studies of South Asia, Africa and the Middle East},
	volume = {31},
	number = {2},
	year = {2011},
	month = {jan},
	pages = {538{\textendash}544},
	publisher = {Duke University Press},
	keywords = {1199 B.C.-1399 A.D., Indian literature, review article, Sanskrit language literature, vernacular language},
	issn = {1089-201X},
	doi = {10.1215/1089201X-1264406},
	author = {Yigal Bronner}
}
@book {dcdd81aa245843bca7dba1ab74b6c013,
	title = {South Asian Texts in History: Critical Engagements with Sheldon Pollock},
	series = {Asia past \&amp; present: new research from AAS},
	year = {2011},
	publisher = {Association for Asian Studies},
	organization = {Association for Asian Studies},
	isbn = {0924304634},
	editor = {Yigal Bronner and Whitney Cox and McCrea, Lawrence J}
}
@inbook {6ca597a5dae2438ebd752bc0cf1b2cd4,
	title = {A Text with a Thesis: The R{\={a}}m{\={a}}yaṇa from Appayya Dikṣita{\textquoteright}s Receptive End},
	booktitle = {South Asian Texts in History},
	series = {Asia past \&amp; present: new research from AAS},
	year = {2011},
	pages = {45{\textendash}63},
	publisher = {Association for Asian Studies},
	organization = {Association for Asian Studies},
	isbn = {9780924304637},
	author = {Yigal Bronner},
	editor = {Yigal Bronner and Whitney Cox and McCrea, Lawrence J. and Pollock, Sheldon I.}
}
@inbook {935ed6d16e3d42d88c794f064bf775f9,
	title = {Arriving at a Definition: Appayya Dikṣita{\textquoteright}s Meditation on the Simile and the Onset of New Poetics},
	booktitle = {Language, ritual and poetics in ancient India and Iran},
	series = {Studies in the humanities},
	year = {2010},
	pages = {195{\textendash}230},
	publisher = {The Israel Academy of Science and Humanities},
	organization = {The Israel Academy of Science and Humanities},
	isbn = {9789652081797},
	author = {Yigal Bronner},
	editor = {David Shulman}
}
@book {2aa8380b25b043a59fb60c8cf019d2e4,
	title = {Extreme Poetry: The South Asian Movement of Simultaneous Narration},
	series = {South Asia across the disciplines},
	year = {2010},
	publisher = {Columbia University Press},
	organization = {Columbia University Press},
	abstract = {Beginning in the sixth century C.E. and continuing for more than a thousand years, an extraordinary poetic practice was the trademark of a major literary movement in South Asia. Authors invented a special language to depict both the apparent and hidden sides of disguised or dual characters, and then used it to narrate India{\textquoteright}s major epics, the Ramayana and the Mahabharata, simultaneously.Originally produced in Sanskrit, these dual narratives eventually worked their way into regional languages, especially Telugu and Tamil, and other artistic media, such as sculpture. Scholars have long dismissed simultaneous narration as a mere curiosity, if not a sign of cultural decline in medieval India. Yet Yigal Bronner{\textquoteright}s Extreme Poetry effectively negates this position, proving that, far from being a meaningless pastime, this intricate, "bitextual" technique both transcended and reinvented Sanskrit literary expression.The poems of simultaneous narration teased and estranged existing convention and showcased the interrelations between the tradition{\textquoteright}s foundational texts. By focusing on these achievements and their reverberations through time, Bronner rewrites the history of Sanskrit literature and its aesthetic goals. He also expands on contemporary theories of intertextuality, which have been largely confined to Western texts and practices.},
	author = {Yigal Bronner}
}
@article {63bd050e38d94ff9acff01f8ff15c649,
	title = {Introduction},
	journal = {Journal of Indian Philosophy},
	volume = {38},
	number = {5},
	year = {2010},
	pages = {453{\textendash}455},
	publisher = {Springer Netherlands},
	issn = {0022-1791},
	doi = {10.1007/s10781-010-9101-0},
	author = {Lawrence McCrea and Yigal Bronner and Whitney Cox}
}
@article {5a64ab0e6dfb41849d368b0688ae60f8,
	title = {The Poetics of Ambivalence: Imagining and Unimagining the Political in Bilhaṇa{\textquoteright}s Vikram{\={a}}ṇkadevacarita},
	journal = {Journal of Indian Philosophy},
	volume = {38},
	number = {5},
	year = {2010},
	month = {jan},
	pages = {457{\textendash}483},
	publisher = {Springer Netherlands},
	abstract = {There is something quite deceptive about Bilhaṇa{\textquoteright}s Vikram{\={a}}ṅkadevacarita, one of the most popular and oft-quoted works of the Sanskrit canon. The poem conforms perfectly to the stipulations of the mah{\={a}}k{\={a}}vya genre: it is replete with descriptions of bravery in battle and amorous plays with beautiful women; its language is intensified by a powerful arsenal of ornaments and images; and it portrays its main hero, King Vikram{\={a}}ṅka VI of the C{\={a}}ḷukya dynasty (r. 1076-1126), as an equal of R{\={a}}ma. At the same time, the poem subverts these very aspects of Sanskrit literary culture: the poetic language is thinned down at a series of crucial junctions; the R{\={a}}maness of the hero is repeatedly undermined; and the poet consistently airs his ambivalence toward, if not utter resentment for his immediate cultural milieu, his own patron and subject matter, and the very task of a court poet. The article argues that Bilhaṇa{\textquoteright}s ambivalence and alienation are the hallmark of his work, and that the poet constantly and consciously struggles with and comments on what he sees as the utter incompatibility between poetry and political reality. It also demonstrates that Bilhaṇa{\textquoteright}s unique, personal voice resonates in his many afterlives and in several collections of poems attributed to him posthumously. I argue that it may well be a sign of recognition of what was truly innovative in his poetry that the tradition has credited Bilhaṇa with such additional lives and corpora.},
	keywords = {Alienation, ambivalence, B{\={a}}ṅa, BilhaNdot belowa, C{\={a}}lukyas, Kashmir, K{\={a}}vya, Vikram{\={a}}ṅkadevacarita},
	issn = {0022-1791},
	doi = {10.1007/s10781-010-9100-1},
	author = {Yigal Bronner}
}
@article {a503aaa2bb2948caa2f13e2c1969e2fe,
	title = {Change in Disguise: The Early Discourse on Vy{\={a}}jastuti},
	journal = {Journal of the American Oriental Society},
	volume = {129},
	number = {2},
	year = {2009},
	pages = {179{\textendash}198},
	publisher = {American Oriental Society},
	keywords = {300-1399, BLAME, CRITICISM, Indian literature, poetic technique, praise, Sanskrit language literature},
	issn = {0003-0279},
	author = {Yigal Bronner}
}
@book {a7bc881286dc4caea3898a620a561e13,
	title = {"Self-Surrender", "Peace", "Compassion" and "The Mission of the Goose": Poems and Prayers from South India},
	series = {The Clay Sanskrit library},
	year = {2009},
	publisher = {New York University Press; JJC Foundation},
	organization = {New York University Press; JJC Foundation},
	edition = {1st},
	isbn = {9780814741108},
	author = {Appayya Diksita and Nilakantha Diksita and Venkatanatha and Venkatanatha and Yigal Bronner and Shulman, David Dean}
}
@article {c7af67a65b7446958461e0adab99f2fc,
	title = {Blaming the Messenger: A Controversy in Late Sanskrit Poetics and Its Implications},
	journal = {Bulletin of the School of Oriental and African Studies},
	volume = {71},
	number = {1},
	year = {2008},
	pages = {75{\textendash}91},
	publisher = {Cambridge University Press},
	abstract = {The last active period in the tradition of Sanskrit poetics, although associated with scholars who for the first time explicitly identified themselves as new, has generally been castigated in modern histories as repetitious and devoid of thoughtfulness. This paper presents a case study dealing with competing analyses of a single short poem by two of the major theorists of this period, Appayya Diksita (sixteenth century) and Jagann{\={a}}tha Panditar{\={a}}ja (seventeenth century). Their arguments on this one famous poem touch in new ways on the central questions of what the role of poetics had become within the Sanskrit world and the way in which it should operate in relation to other systems of knowledge and literary cultures.},
	issn = {0041-977X},
	doi = {10.1017/s0041977x08000050},
	author = {Yigal Bronner and Tubb, Gary A.}
}
@inbook {53d43b9fff2e4d669b8fd169f7d71f0f,
	title = {Manufacturing Sanskrit: On Lexicographers at the Service of Poetry and the Joys of Learning a Language},
	booktitle = {Karmic passages},
	year = {2008},
	pages = {88{\textendash}111},
	publisher = {Oxford University Press},
	organization = {Oxford University Press},
	address = {India},
	keywords = {Buddhism, India {\textendash} Civilization, India {\textendash} Study and teaching {\textendash} Israel, Indic literature {\textendash} Criticism and interpretation, Indologists {\textendash} Israel, Learning and scholarship {\textendash} Israel},
	isbn = {9780195697070},
	author = {Yigal Bronner},
	editor = {David Shulman and Shalva Weil}
}
@article {5bdd96450ea14961bf4af272a533c487,
	title = {Vastutas tu: Methodology and the New School of Sanskrit Poetics},
	journal = {Journal of Indian Philosophy},
	volume = {36},
	number = {5-6},
	year = {2008},
	pages = {619{\textendash}632},
	publisher = {Springer Netherlands},
	abstract = {Recognizing newness is a difficult task in any intellectual history, and different cultures have gauged and evaluated novelty in different ways. In this paper we ponder the status of innovation in the context of the somewhat unusual history of one Sanskrit knowledge system, that of poetics, and try to define what in the methodology, views, style, and self-awareness of Sanskrit literary theorists in the early modern period was new. The paper focuses primarily on one thinker, Jagann{\={a}}tha Panditar{\={a}}ja, the most famous and influential author on poetics in the seventeenth century, and his relationship with his important sixteenth-century predecessor, Appayya Diksita. We discuss Jagann{\={a}}tha{\textquoteright}s complex system of labeling of ideas as "new" and "old," the new essay style that he used to chart the evolution of ideas in his tradition, his notion of himself as an independent thinker capable of improving the system created by his predecessors in order to protect its essential assets, and the reasons his critique of Appayya was so harsh. For both scholars what emerges as new is not so much their opinions on particular topics as the new ways in which they position themselves in relation to their system.},
	keywords = {Alamk{\={a}}ra{\'s}{\={a}}stra, Appayya Dikṣita, Jagann{\={a}}tha Panditar{\={a}}ja, Newness, Rasagaṅg{\={a}}dhara, Sanskrit poetics},
	issn = {0022-1791},
	doi = {10.1007/s10781-008-9044-x},
	author = {Gary Tubb and Yigal Bronner}
}
@article {4df3af3815864a50bb955fe4afdc99c1,
	title = {Singing to God, Educating the People: Appayya Dikṣita and the Function of Stotras},
	journal = {Journal of the American Oriental Society},
	volume = {127},
	number = {2},
	year = {2007},
	pages = {113{\textendash}130},
	publisher = {American Oriental Society},
	issn = {0003-0279},
	author = {Yigal Bronner}
}
@inbook {f17b2853e56a4cc594b3faf627ac155a,
	title = {This Is No Lotus, It Is a Face: Poetics as Grammar in Daṇḍin{\textquoteright}s Investigation of the Simile},
	booktitle = {The Poetics of Grammar and the Metaphysics of Sound and Sign},
	series = {Jerusalem Studies in Religion and Culture},
	year = {2007},
	pages = {91{\textendash}108},
	publisher = {Brill Academic Publishers},
	organization = {Brill Academic Publishers},
	address = {Netherlands},
	doi = {10.1163/ej.9789004158108.i-377.38},
	author = {Yigal Bronner},
	editor = {David Shulman and La Porta, Sergio}
}
@article {cb9b326240d145439e2a87946fca8b4b,
	title = {{\textquoteleft}A Cloud Turned Goose{\textquoteright}: Sanskrit in the Vernacular Millennium},
	journal = {Indian Economic and Social History Review},
	volume = {43},
	number = {1},
	year = {2006},
	pages = {1{\textendash}30},
	publisher = {SAGE Publications Ltd},
	abstract = {A vast corpus of Sanskrit poetry (k{\={a}}vya) was produced over the last thousand years; most of these works reveal a vital and organic relation to the crystallising regional traditions of the subcontinent and to emerging vernacular literatures. Thus we have, for example, the Sanskrit literatures of Kerala, of Bengal-Orissa, of Andhra, and so on. These works, often addressed primarily to local audiences, have remained largely unknown and mostly undervalued, despite their intrinsic merits and enormous importance for the cultural history of India. We explore the particular forms of complex expressivity, including rich temporal and spatial modalities, apparent in such poems, focusing in particular on Ved{\^a}nta De{\'s}ika{\textquoteright}s Hamsasande{\'s}a, a fourteenth-century messenger-poem modelled after K{\={a}}lid{\={a}}sa{\textquoteright}s Meghasande{\'s}a. We hypothesise a principle: as localisation increases, what is lost in geographical range is made up for by increasing depth. Sanskrit poetry thus comes to play a critical, highly original role in the elaboration of regional cultural identities and the articulation of innovative cultural thematics; a re-conceptualised ecology of Sanskrit genres, including entirely new forms keyed to local experience, eventually appears in each of the regions. In short, rumours of the death of Sanskrit after 1000 A.D. are greatly exaggerated.},
	issn = {0019-4646},
	doi = {10.1177/001946460504300101},
	author = {Yigal Bronner and David Shulman}
}
@article {4e26ba085be1470cbccccdc50523eabe,
	title = {Back to the Future: Appayya Dik\d sita{\textquoteright}s Kuvalay{\={a}}nanda and the Rewriting of Sanskrit Poetics},
	journal = {Wiener Zeitschrift f{\"u}r die Kunde S{\"u}dasiens},
	volume = {48},
	year = {2005},
	month = {jan},
	pages = {47{\textendash}79},
	issn = {0084-0084},
	doi = {10.1553/wzksxlviiis47},
	author = {Yigal Bronner}
}
@article {6d22087fda3a49c1ace7e09901c1c526,
	title = {Design and Rhetoric in a Sanskrit Court Epic: The {\textquotedblleft}Kir{\={a}}t{\={a}}rjuniya{\textquotedblright} of Bh{\={a}}ravi. By Indira Viswanathan Peterson},
	journal = {History of Religions},
	volume = {45},
	year = {2005},
	month = {aug},
	pages = {78{\textendash}82},
	publisher = {University of Chicago},
	issn = {0018-2710},
	doi = {10.1086/497810},
	author = {Yigal Bronner}
}
@article {24a877e45c624fde99db7aafe50f87f2,
	title = {What is New and What is Navya: Sanskrit Poetics on the Eve of Colonialism},
	journal = {Journal of Indian Philosophy},
	volume = {30},
	number = {5},
	year = {2002},
	pages = {441{\textendash}462},
	publisher = {Springer Netherlands},
	issn = {0022-1791},
	doi = {10.1023/A:1022801004559},
	author = {Yigal Bronner}
}
@book {942cde94bc084a0e81de891e934c55d2,
	title = {גירוש התושבים הפלסטינים מאזור דרום הר חברון},
	year = {2002},
	note = {מול השער גם: המרכז לאינפורמציה אלטרנטיבית, שומרי משפט - רבנים למען זכויות אדם, הועד הישראלי נגד הריסת בתים.},
	publisher = {תעאיוש},
	organization = {תעאיוש},
	author = {יגאל ברונר and הלל כהן}
}
@article {80f86cc405de4d2fa8855c7d3bf18c2c,
	title = {The Poetics of Distortive Talk: Plot and Character in Ratn{\={a}}kara{\textquoteright}s "Fifty Verbal Pervesions" (Vakroktipa{\~n}c{\={a}}{\'s}ik{\={a}})},
	journal = {Journal of Indian Philosophy},
	volume = {29},
	number = {4},
	year = {2001},
	pages = {435{\textendash}464},
	publisher = {Springer Netherlands},
	issn = {0022-1791},
	doi = {10.1023/A:1013163426691},
	author = {Yigal Bronner and Lawrence McCrea}
}
@article {94cdd2282b094175b8f1664ea7539c4a,
	title = {Sanskrit Poetry in Search of a History: The Case of {\'S}leṣa},
	journal = {Journal of Oriental Research},
	volume = {68-70},
	year = {2000},
	note = {Dr. S. S. Janaki Commemoration Volume},
	pages = {315{\textendash}356},
	issn = {0022-3301},
	author = {Yigal Bronner}
}
@article {f0bdfc22dd72471bb19a39aab105ab81,
	title = {Double-Bodied Poet, Double-Bodied Poem: Ravicandra{\textquoteright}s Commentary on the Amaru{\'s}atakam and the Rules of Sanskrit Literary Interpretation},
	journal = {Journal of Indian Philosophy},
	volume = {26},
	number = {3},
	year = {1998},
	pages = {233{\textendash}261},
	publisher = {Springer Netherlands},
	issn = {0022-1791},
	doi = {10.1023/A:1004358522739},
	author = {Yigal Bronner}
}
@book {71de1f3b8c604d829bef99f26e3f8738,
	title = {Restrictions on Travel Abroad for East Jerusalem and West Bank Palestinians: A Report Detailing Exit Permit Requests Filed in 1991 Through the Hotline: Center for the Defence of the Individual},
	year = {1992},
	note = {Includes appendices},
	publisher = {Hotline: Center for the Defence of the Individual},
	organization = {Hotline: Center for the Defence of the Individual},
	author = {Yigal Bronner and Assaf Oron}
}
@book {80b354a66f7b4e629262cb6d5b6e141f,
	title = {אישורי יציאה לחו"ל לתושבי מזרח ירושלים והגדה המערבית: דו"ח על סמך פניות שהוגשו באמצעות המוקד להגנת הפרט בשנת 1991},
	year = {1992},
	publisher = {המוקד להגנת הפרט},
	organization = {המוקד להגנת הפרט},
	abstract = {דו"ח זה דן בסוגיה מתחום זכויות האדם בשטחים שנכבשו על-ידי ישראל ב- 1967 - מזרח ירושלים, הגדה המערבית ורצועת עזה - חופש התנועה של התושבים לחו"ל ובחזרה. זכות התנועה של התושב אל מחוץ לארצו ובחזרה אליה מוכרת באמנות בינלאומיות שונות כאחת מזכויות האדם הבסיסיות. על חלק מאמנות אלה חתומה ישראל. השלטון הישראלי בשטחים משלים, מטעם זה ומטעמים רבים אחרים, עם יציאה של תושבי השטחים, בעיקר דרך גשרי הירדן. אולם מתוקף סמכויותיו הנרחבות כשלטון צבאי, הוא שומר לעצמו את הזכות לאסור על יציאת תושבים מסוימים - וגם על האחרים מערים קשיים רבים. השיקול המדריך באופן מוצהר הגבלות אלה הוא חיוניותן לביטחון המדינה. כל שיקול אחר פסול.},
	author = {יגאל ברונר and אסף אורון}
}
