The present work aimed study the Freud’s esthetic considerations present in the text “The
Uncanny” (1919), how such positions promote a real discontinuity in the western esthetic
thought. In this way, at least show how all the artistic production has in the unconscious
material it’s main engine and source of inspiration, Freud inserts it in the group of the other
productions of unconscious, (dreams, jokes, neurosis, etc). Nevertheless, in the context of
“The Stranger”, Freud starts to understand the art not anymore as a production of the psycho
apparatus moved by the principle of pleasure, therefore in this text Freud advances the matter
of the death pulsing and the eternal return of undesirable feelings as the functioning of a
subjectivity guided beyond the principle of pleasure, in this meaning, the death as the last stop
of the existence starts being the great keynote of the new Freudian’s researches, and the
beauty of the art would be like that hopelessly involved in the anguish and helpless provoked
by the comeback of undesirable feelings. In this way the unheimlich while haunt and
uneasiness feeling provoked by the devil’s pulsing that insists in being present, starts being
faced by Freud as an important esthetic principle.
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