【摘要】 《古风五十九首》是李白的代表性作品,其中的灾异与祥瑞书写起到了丰富诗歌艺术表达效果的作用,也成为经史与文学的跨界通道。组诗的首篇采用灾异书写史中最重要的典故之一"西狩获麟",实现了诗歌的经学意蕴和复古宣告。灾异祥瑞意象在组诗的咏史诗、时事诗中普遍使用,提供了典故的互文、超越的视野和沟通天人的轨迹,激发了想象力和虚实相生的韵味。祥瑞书写对其中游仙诗的美感生成也发挥了值得重视的作用。以天人感应为基础思路的灾异与祥瑞,集成了众多的天文与物象,提炼了大量来源于现实又超越于现实的可知可感可联想的符号,并且在长期发展过程中积累了大量的文化内涵,可谓文学创作者的一种意象宝库。灾异与祥瑞,作为经学的理论、史书的记录,也在文学表达中促进了文本、意义与韵味的生成。更多还原

【Abstract】 Fifty-Nine Ancient Style Poems is the representative work of LI Bai, the great poet of the Tang Dynasty. The descriptions of calamity and auspiciousness enrich the expressive effect of poetry, and also become a bridge between history and literature. The first poem adopted one of the most important allusions in the history of disaster and abnormality which implicate the restoring of classics. The image of calamity and auspiciousness are widely used in poems stimulating the charm of imagination. The writing of auspiciousness also plays an important role in the aesthetic feeling in the poems about immortals. The calamities and auspiciousness based on the induction between heaven and man integrated many astronomical and substantive phenomena, extracted a large number of symbols which originate from reality and transcend reality. Calamities and auspiciousness, as the records of Confucian classics and historical books, also promote the production of text, meaning and aroma in literary expression.更多还原