{"id":{"repo_id":"cambridge","oai_identifier":"oai:www.repository.cam.ac.uk:1810/394086"},"canonical_url":"https://search.dev.ndltd.org/etd/cambridge/oai:www.repository.cam.ac.uk:1810/394086","repository":{"repo_id":"cambridge","name":"Cambridge University","base_url":"https://api.repository.cam.ac.uk/server/oai/request"},"display":{"title":"The Significance of Birds in Early Chinese Poetry","abstract":"This thesis looks at the use of avian imagery across a wide range of early Chinese poetry: the Shijing, the Chu ci, works from the Yuefu 樂府 (Music Bureau collection) and its related anthologies – Zuo Keming’s 左克明 (fl. 14th cent.), Gu Yuefu 古樂府 (‘Ancient Music Bureau collection’), Guo Maoqian’s 郭茂倩 (c.a. 1041–1099) Yuefu shiji 樂府詩集 (Anthology of Music Bureau Poetry), and some works collected in Yutai Xinyong 玉臺新詠 (‘New Songs from the Jade Terrace’), Gushi ji 古詩紀 (Record of Ancient Poetry) and Gushi yuan 古詩源 (Sources of Ancient Poetry). Some fu 賦 works are also cited. The key word ‘significance’ indicates a move away from identifying and prescribing the meaning of certain species of birds. Instead I ask other questions about how birds in general are important to the way that poetry achieves its effect. The focus therefore throughout is on poetry as communication, and poetry as performance. The thesis covers three iconic elements of avian behaviour: love, flight, and song. These three defining characteristics of birds and their resonances with the human experience lie at the heart of the poems discussed and their effect as tools of communication and performance.","abstract_html":"This thesis looks at the use of avian imagery across a wide range of early Chinese poetry: the Shijing, the Chu ci, works from the Yuefu 樂府 (Music Bureau collection) and its related anthologies – Zuo Keming’s 左克明 (fl. 14th cent.), Gu Yuefu 古樂府 (‘Ancient Music Bureau collection’), Guo Maoqian’s 郭茂倩 (c.a. 1041–1099) Yuefu shiji 樂府詩集 (Anthology of Music Bureau Poetry), and some works collected in Yutai Xinyong 玉臺新詠 (‘New Songs from the Jade Terrace’), Gushi ji 古詩紀 (Record of Ancient Poetry) and Gushi yuan 古詩源 (Sources of Ancient Poetry). Some fu 賦 works are also cited. The key word ‘significance’ indicates a move away from identifying and prescribing the meaning of certain species of birds. Instead I ask other questions about how birds in general are important to the way that poetry achieves its effect. The focus therefore throughout is on poetry as communication, and poetry as performance. The thesis covers three iconic elements of avian behaviour: love, flight, and song. These three defining characteristics of birds and their resonances with the human experience lie at the heart of the poems discussed and their effect as tools of communication and performance.","abstract_has_math":false,"creators":["Donegan-Cross, John"],"institution":"University of Cambridge","degree_name":"Doctor of Philosophy (PhD)","degree_level":"Higher Doctorate","degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":["Sterckx, Roel"],"committee_chairs":[],"committee_members":[],"year":2025,"date_issued":"2025-08-12","date_published":"2025-08-12","updated_at":"2026-07-22T22:24:28Z","subjects":["Avian imagery","Birds in Chinese poetry","Classical Chinese literature","Early Chinese poetry"],"languages":["eng"],"rights":[],"rights_urls":["https://www.repository.cam.ac.uk/bitstreams/75993a30-e246-4d45-aca4-56f6f0858e1a/download","http://purl.org/NET/rdflicense/allrightsreserved"],"identifier_entries":[]},"links":{"outbound_url":"https://doi.org/10.17863/CAM.124171","outbound_label":"DOI","outbound_source":"dc:identifier.doi"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Sterckx, Roel"]},{"key":"dc:contributor.sponsor","label":"Sponsor","values":["Wolfson Postgraduate Foundation in the Humanities, Chiang Ching-kuo Foundation, Chuan Lyu foundation, Great Britain-China Educational Trust"]},{"key":"dc:creator","label":"Author","values":["Donegan-Cross, John"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.issued","label":"Date","values":["2025-08-12"]},{"key":"dc:publisher.institution","label":"Dc Publisher Institution","values":["University of Cambridge"]},{"key":"dc:relation.isreferencedby.uri","label":"Dc Relation Isreferencedby URI","values":["https://www.repository.cam.ac.uk/handle/1810/394086"]},{"key":"dc:type","label":"Dc Type","values":["Thesis"]},{"key":"dc:type.qualificationlevel","label":"Dc Type Qualificationlevel","values":["Higher Doctorate"]},{"key":"dc:type.qualificationname","label":"Dc Type Qualificationname","values":["Doctor of Philosophy (PhD)"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Avian imagery","Birds in Chinese poetry","Classical Chinese literature","Early Chinese poetry"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]},{"key":"dc:rights","label":"Dc Rights","values":["https://www.repository.cam.ac.uk/bitstreams/75993a30-e246-4d45-aca4-56f6f0858e1a/download","http://purl.org/NET/rdflicense/allrightsreserved"]},{"key":"dc:rights.embargotype","label":"Dc Rights Embargotype","values":["controlled.access"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.doi","label":"DOI","values":["https://doi.org/10.17863/CAM.124171"]},{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://www.repository.cam.ac.uk/bitstreams/b97ca2fc-dfca-4d6b-bf9a-8fb5ee714bfc/download"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This thesis looks at the use of avian imagery across a wide range of early Chinese poetry: the Shijing, the Chu ci, works from the Yuefu 樂府 (Music Bureau collection) and its related anthologies – Zuo Keming’s 左克明 (fl. 14th cent.), Gu Yuefu 古樂府 (‘Ancient Music Bureau collection’), Guo Maoqian’s 郭茂倩 (c.a. 1041–1099) Yuefu shiji 樂府詩集 (Anthology of Music Bureau Poetry), and some works collected in Yutai Xinyong 玉臺新詠 (‘New Songs from the Jade Terrace’), Gushi ji 古詩紀 (Record of Ancient Poetry) and Gushi yuan 古詩源 (Sources of Ancient Poetry). Some fu 賦 works are also cited. The key word ‘significance’ indicates a move away from identifying and prescribing the meaning of certain species of birds. Instead I ask other questions about how birds in general are important to the way that poetry achieves its effect. The focus therefore throughout is on poetry as communication, and poetry as performance. The thesis covers three iconic elements of avian behaviour: love, flight, and song. 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Some fu 賦 works are also cited. The key word ‘significance’ indicates a move away from identifying and prescribing the meaning of certain species of birds. Instead I ask other questions about how birds in general are important to the way that poetry achieves its effect. The focus therefore throughout is on poetry as communication, and poetry as performance. The thesis covers three iconic elements of avian behaviour: love, flight, and song. 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