The article sets and comments on the most important theoretical aspects involved in the idea of self-parody. It also traces the lines that divide the concept of self-parody and concepts with which it is in an apparent or essential relationship. It distinguishes between the various interpretations of the autoparodic phenomenon: from the cultural, aesthetic interpretation to postmodern poetic discursive interpretation. The author’s intention is to give back the functionality and applicability of self-parody term in relation to the literary phenomenon which, to a large extent, generates it, and also which, at least in partly, is generated.