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Poetics and Literary Theory
It is not possible, to view the special position of poetics in twentieth-century literary 
theory without broader connections, because poetics has not been detached from the whole of 
theory of literature, as used to be the case upto the eighteenth century. Historically it merged 
or emerged in various ways from the general field of literary theory, philosophy and 
aesthetics, its particular act of creation. Plato, with his philosophical considerations, and the 
Sophists with their interest in the technique of creation, had already opened up this extensive 
field, and the wise Aristotle had been seeking a balance between the two tendencies.
An oscillation between poetics and literary theory is a characteristic feature of the 
period that we are examining; moreover, it is not only a matter of terminological questions 
but of conceptual questions as well. Poetics has become an important integrating component 
of literary-theoretical studies, but sometimes it has been assigned the mere role of 
summarizing 'formal means' in the spirit of older traditions. Besides the relation to general 
literary theory it is necessary to mention still others of particular consequence in the twentieth 
century: emphasis on the work, on its artistic quality, on its specificity has made prominent a 
particular notion of the criticism, analysis and interpretation of the work.
Individual Poetry
This dynamic conception of creation as the realization of certain possibilities, 
tendencies and models rooted in the essence of the creative act has paved the way further for 
a new conception of the relationship between general poetics and an author's poetics. 
Theoretical poetics of the twentieth century spans the connection between these two sphere: 
an individual poetics (or the poetics of a group, of a movement) is nothing more than one of 
the concretizations, of the potential that is offered to creation.
The relationship between general poetics and different types of individual poetics 
does not mean that a poetics linked only to a certain kind creation, primarily contemporary 
creation, was being established. This initial relationship is only a basis for understanding 
certain general principles of creation in a synchronic and diachronic direction. The problems 
that stand out against the background of modern art provide the possibility of a confrontation 
with prior creation, and it is therefore possible to elaborate a historical poetics and to 
broaden; again the basis for modeling and for typological study at the level of general 
theoretical works. Hence historical poetics will appear in a new light, while, on the other 
hand, the study of so-called immanent poetics, will become actual. Today’s interest is on 
individual formulation of the theoretical aspects of creation is finding a response precisely in 
the theory of immanent poetics.
Therefore, it again appears that twentieth-century poetics is not new or modern in its 
object but in its methods and results, in which it has sought and has found its way both to the 
literary work and to its theory.