This article compares the innovations aesthetics proposed by Crítica Genética against the inflexibility imposed by aristotelian analytical thinking, source of the formalist criticism. This thought, which still cause damage to the creativity of artists, advocates that the poetic discourse should, in the strong sense of duty, be subjected by force to the yoke of analytical thinking by way of categorization and valuation. In this study, an archeology of the critical, the liberator aspect of Crítica Genética is exposed because emphasizes the movement of the interior to the exterior of the artistic work, unlike the other, the formalist critics, which at first constrain the artistic work in totum.
