簡政珍的詩學理論主要源自現象學家胡塞爾、海德格、布萊與以哲等人，他反對以理論來讀詩，主張以「有感的閱讀」來詮釋作品。這是呼應胡塞爾「理論懸置」的說法。秉持布萊「意識批評」的主張，簡政珍也強調讀者要與作者共享一種創作意識，要「以作品中的意識為意識而達到意識交流」。他根據以哲的閱讀的「空白」說，提出其空隙美學的理論，主張讀者在有形的文字之外要看到空白處的弦外之音，因為「沒有空隙，也沒有詩」。依此論述，簡政珍無疑是位現象學的詩學家，而且在台灣詩壇自成一格，樹立了自己獨特的詩論家地位。

Chien's poetics is mainly originated from the phenomenologist Edmund Husserl, Martin Heidegger, Georges Poulet, Wolfgang Iser and the others. He opposes to read the poems with theory, and advocates the ＂sensible reading＂ to interpret the works. This reading echoes on Husserl's ＂ theory of suspension＂. In line with the idea of ＂criticism of consciousness＂ of Poulet, Chien also emphasizes that the readers should share a creative consciousness with the author and consciously communicate with consciousness in the works. According to the ＂blank＂ view written by Iser, Chien puts forward the theory of the ＂gap aesthetics＂, and advocates that the reader should hear the overtone of the blank outside the text for ＂there is no gap, no poetry＂. In accordance with the above discussion, it can be said that Chien is undoubtedly not only a poetic phenomenologist, but also a unique poetic theorist in the Taiwan poetic circle. He sets up his own status of the poetic theorist in Taiwan.