随着阐释学、接受美学的兴起,人们认识到读者作为独立的审美个体,在解读文学作品时能够不被作者所左右,能够对文本进行独立而客观的评价。有意无意地站在白居易的视角解读《琵琶行》,是《琵琶行》鉴赏史上的主流解读方法。这种解读的不足之处在于,将琵琶女与作者互相激发、触动的双向行为,简单处理为琵琶女激发了白居易情感抒发的单向行为。因而,仅从白居易的视角分析《琵琶行》,是单向度的,是不全面的。只有增加从琵琶女的视角,才能全面、深入地理解《琵琶行》。因而,破除阅读教学中的作者至上观念,对于中学语文教学的开展具有重要的现实意义。 With the rise of hermeneutics and acceptance of aesthetics, people realize that the reader, as an independent aesthetic individual, can independently and objectively evaluate the text without being influenced by the author. The intentional or unintentional interpretation of “Pipa” from the perspective of Bai Juyi is the mainstream interpretation method in the history of the appreciation of Pipa. The shortcomings of this interpretation is that the two-way action of mutual excitement and touch between the female Pipa and the author is simply handled as a one-way act inspired by Bai Jifei’s emotional expression. Therefore, analyzing the “pipa” only from the perspective of Bai Juyi is unilateral and incomplete. Only by increasing the perspective from the female Pipa can we fully and deeply understand the “Pipa”. Therefore, breaking the author’s supremacy in reading teaching has an important practical significance for the development of Chinese teaching in middle school.