摘要：Pareyson defines art under three dimensions: knowing, conceiving and doing, and through the analysis of such dimensions, he develops the "aesthetics of form-activity". Being a form, art is an action, while being done, creates a reason and a way for doing it. For Merleau-Ponty, the artist invents something that, only through the eyes of the audience, reaches artistic expression – it is the work of the audience that carries out the expressive operation. Considering the conceptions of both of these authors, we studied the relation art-psychoanalysis, starting from one view to the other. More specifically, this article deals with the relation between literature and psychoanalysis, using the novel To the Left of the Father , by Raduan Nassar, as a starting point, until it reaches the psychoanalysis in its formative meaning; an action that, while being done, creates a reason and a way for doing it. Because it portraits life and its tragic unpredictable changes, Nassar’s novel refers us to questions raised by Freud, in "Culture and Its Discontents", and to the shock they’ve undergone through Reich.
关键词：Psychoanalysis;Fenomenology;To the left of the Father;Freud;Reich.;Psicología del arte, literatura, psicoanálisis, fenomenología,;psychologie de l’art, littérature, psychanalyse, phénoménologie, Agriculture archaïque.;Psicologia da arte, literatura, psicanálise, fenomenologia,
