19世纪末,批评家的地位一直很低。而王尔德的批评理论的出现大大提高了批评家当时的地位。通过王尔德与罗兰.巴特批评理论的比较,从不同的角度对批评和批评者的使命给予了不同的定义,找寻其共同点并探讨王尔德批评理论的深层含义。王尔德所推崇的印象主义的批评方式虽有其合理性,并不适用于所有的艺术作品,而且一旦步入极端,将艺术作品与艺术家完全割裂来来,会落入形式主义的窠臼。 Late 19th century, the status of critics has been very low. The appearance of Wilde’s theory of criticism greatly enhanced the critics’ status at that time. By comparing the criticisms of Wilde and Roland Barthes, the dissertation defines the mission of critics and critics from different perspectives, finds their common ground and explores the deeper implications of Wilk’s critical theory. Impressionism advocated by Oscar Wilde’s criticism, though its rationality, does not apply to all works of art, and once it enters into extremes, it completely falls into the trap of formalism if the work of art is completely separated from the artist.