The changes brought by the digital age reflect on the definition and study of literature, launching new theoretical challenges. Being marked by TIC, it requires a completion of the tools of analysis, description, interpretation, etc. Starting from the theories launched by Gh. Crăciun, A. Marino, R. Wellek and A. Warren, I. Tânianov, R. Jakobson, T. Eagleton, J. Culler and other theo-rists, we give a new direction to the theoretical approaches of literature in the digital age, concretizing that this new literature does not rely on the discovery of immutable truth, not even only in the establishment of intertextual links, but on the pleasure and freedom of exploration/manipulation afforded by digital ergodic text. Literature in the digital age is meant to entertain, to please with the way it engages the reader. That is why we turn to aesthetics to include in our definition of literature categories such as the spectacular, the playful, and the ergodic. Once it has gone through so many changes, literature can once again specify its purpose. If traditional literature was meant to express the truth and the conception of life (Wellek and Waren), then digital ergodic literature comes first and foremost to entertain, to provoke the pleasure of play and to deliver the content to the reader in a way in which he has great possibilities of choice. The literature is a free aesthetic fact, found in the beauty of the images and shapes on the monitor interface, the new literary procedures, the techniques of manipulation and communication with the work, the ways of structuring the dialogue between the reader and literature, etc. The evolution of literature marked by technologies does not diminish its previous features, but enhances them, connects them to the directions of development of the past text from the paper environment to the electronic one.