The diploma thesis follows the crucial genealogical ruptures of the dispositif of authenticity, foremost its forms of occurrence in the history of literary valuation and thus shows that its central place in the literary pantheon wasn't gained in Romanticism, but already in the Enlightenment. The purpose of this historical excursus is to show that authenticity is an integral element of the establishement of the concept of literature itself (which arises at the time, when the dispositif of authenticity in Europe is already dominant) as well as its focal categories: the author, the work, the reader, etc. This is why both literary science and critique, despite numerous theoretical and literary attempts (some of them are used as a basis for this thesis), cannot get rid of this dispositif; even more: contemporary practices of these disciplines often fall into revisionism and the belief in an authentic core that should supposedly constitute the "experience of the literary work" as much as the contemporary subject in general. The diploma thesis names this position authenticism. Through the chosen examples it si shown, how authenticism in contemporary Slovenian literary critique leads into cynicism and an inveterate literary mysticism as two sides of the same medal; but at the end it also marks a way out of this problem, which can only be in the realization of literary critique (and science) of its (their) own authenticism and its (their) critical confrontation with it.