미학에서 시학으로 라는 기치는 능동과 생산에 강조점을 두는 방향으로의 관점 이동을 제안하는 것이다. 이 기치가 의미를 갖는 것은 poiesis가 다음과 같은 의미를 갖고 있기 때문이다. (위키피디아에서 그대로 가져온다)

Poiesis

From Wikipedia, the free encyclopedia

Poïesis is etymologically derived from the ancient Greek term ποιέω, which means "to make". This word, the root of our modern "poetry", was first a verb, an action that transforms and continues the world. Neither technical production nor creation in the romantic sense, poïetic work reconciles thought with matter and time, and man with the world. It is often used as a suffix as in the biology terms hematopoiesis and erythropoiesis, the former being the general formation of blood cells and the latter being the formation of red blood cells specifically.

In the Symposium (a Socratic dialogue written by Plato), Diotima describes how mortals strive for immortality in relation to poieses. In all begetting and bringing forth upon the beautiful there is a kind of making/creating or poiesis. In this genesis there is a movement beyond the temporal cycle of birth and decay. "Such a movement can occur in three kinds of poiesis: (1) Natural poiesis through sexual procreation, (2) poiesis in the city through the attainment of heroic fame and finally, and (3) poiesis in the soul through the cultivation of virtue and knowledge."

Martin Heidegger refers to it as a 'bringing-forth', using this term in its widest sense. He explained poiesis as the blooming of the blossom, the coming-out of a butterfly from a cocoon, the plummeting of a waterfall when the snow begins to melt. The last two analogies underline Heidegger's example of a threshold occasion: a moment of ecstasis when something moves away from its standing as one thing to become another.¹