当20世纪文学批评还笼罩在一味奉作家为上帝的气氛中时,一篇要将作家“置于死地”的文章发表了,这篇文章便是罗兰巴特的《作者的死亡》。正如尼采提出“上帝死了”的时候一样,作家死亡论在文学批评界也掀起了千层巨浪,并由此促使了西方文论的转型。《作者的死亡》批判了传统文学中固执机械的以作者为中心的、用作者传记来阐述作品文本的批评方式。巴特认为,要将作者与文本拉远距离,使文本更独立的存在。作为一个反作者意图者,巴特对长期以来文学评论对作者的过度关注以及对文本的漠视的风气,采取极端推崇作者之死的理论方式以予回应。至此,作者的主导地位被颠覆,写作的神话被翻转,文本、读者的作用将受到重新的审视。在《作者的死亡》的开头中,巴特用对《萨拉辛》中被阉割男人提出疑问的方式抛出了自己的观点并提出“写作是对任何声 When twentieth-century literary criticism was still shrouded in an atmosphere in which the writer was God, an article to put writer ”To Die“ was published, which is Roland Barthes ”The Death of the Author.“ Just as Nietzsche proposed that God died, the theory of writer death also set off a huge wave in the literary criticism circles, and this has prompted the transformation of western literary theory. The Author’s Death criticizes author-centered, stubborn machines in traditional Chinese literature and uses author biographies to describe how the texts are criticized. Bart believes that the author should be pulled away from the text to make the text more independent existence. As an anti-author intentions, Bart responded to the long-standing theory that the literary criticism has paid too much attention to the author and indifference to the text, adopting the theoretical approach of extolling the author’s death. At this point, the author’s dominance has been subverted, the myth of writing has been reversed, and the role of texts and readership has been re-examined. At the beginning of ”The Death of the Author“, Bart throws his own point of view in a way that questions castrated men in ”Sarasin“ and proposes that ”