New Criticism is a Western literary theory that emphasizes the close reading of texts and the analysis of their formal elements. It is not a key concept in Indian literary discourse analysis, which is based on traditional Indian aesthetics and philosophies.

Abhinavagupta, a renowned Indian aesthetician, believed that the primary goal of literary art is to provide aesthetic pleasure to the reader or audience. He argued that literature should evoke a sense of wonder and delight, and that its beauty should be appreciated for its own sake.

Rasa is a key concept in Indian literary discourse analysis that refers to the process of understanding and interpreting a literary text. It is the aesthetic experience that the reader or audience derives from the text, and it is often described as a combination of emotions, thoughts, and sensations.

Adbhuta is not a type of rasa in Indian literary discourse analysis. The nine rasas are Shringara (love), Hasya (laughter), Karuna (compassion), Raudra (anger), Vira (heroism), Bhayanaka (fear), Bibhatsa (disgust), and Shanta (peace).

Alankar is the term used to describe the use of figurative language and other rhetorical devices in a literary text. It is a broad category that includes a wide range of techniques, such as similes, metaphors, personification, and hyperbole.

Utsava is not a type of alankar. The four main types of alankar are Upamana (simile), Rupaka (metaphor), Utsa (hyperbole), and Shlesha (pun).

Dhvani is the term used to describe the use of indirect or implied meaning in a literary text. It is a key concept in Indian literary discourse analysis, and it refers to the suggestion or evocation of meaning beyond the literal level of the text.

Abhidha is not a type of dhvani. The three main types of dhvani are Vyangya (suggested meaning), Anuvadya (implied meaning), and Tatparya (intended meaning).

Vakrokti is the term used to describe the use of irony, paradox, or ambiguity in a literary text. It is a type of alankar that involves the use of unexpected or unconventional language or imagery to create a particular effect.

Upama is not a type of vakrokti. The three main types of vakrokti are Vipareetavakya (irony), Vyatireka (paradox), and Shlesha (pun).

T.S. Eliot is not a key figure in the development of Indian literary discourse analysis. Abhinavagupta, Anandavardhana, and Mammata are all renowned Indian scholars who made significant contributions to the field.

The Waste Land is not a key text in Indian literary discourse analysis. Natyashastra, Abhinavabharati, and Dhvanyaloka are all important texts that have shaped the development of the field.

New Criticism is not a key concept in postcolonial Indian literary discourse analysis. Hybridity, mimicry, and subalternity are all important concepts that have been used to analyze postcolonial Indian literature.

F.R. Leavis is not a key figure in postcolonial Indian literary discourse analysis. Homi K. Bhabha, Gayatri Chakravorty Spivak, and Edward Said are all renowned scholars who have made significant contributions to the field.

The Great Tradition is not a key text in postcolonial Indian literary discourse analysis. The Location of Culture, Can the Subaltern Speak?, and Orientalism are all important texts that have shaped the development of the field.