L’ESTHÉTIQUE DE L’INQUIÉTANTE ÉTRANGETÉ DANS LE LIVRE MÉGAPOLIS: LES DERNIERS PAS DU FLÂNEUR.

O objetivo deste artigo e abordar a obra Megapolis: les derniers pas du flâneur de Regine Robin sob uma perspectiva psicanalitica, especificamente a partir da nocao de “estranho” elaborada por S. Freud em um estudo homonimo, publicado em 1919. Nesse estudo, Freud se dedica a pesquisa sobre uma estetica ligada ao ‘estranho’, uma estetica que provoca no sujeito, exposto a uma situacao cotidiana ou a uma obra de arte, um sentimento de ‘inquietante estranheza’. Megapolis e uma obra literaria de dificil categorizacao: ensaio, ensaio ficcional, romance, autoficcao, relato de viagem, reportagem, guia cultural. Para articular essa obra a estetica do estranho, foram selecionadas passagens em que a ficcao se sobrepoe aos outros generos narrativos, sobretudo aquelas em que a personagem-narradora se depara com seu duplo privilegiado que e materializado na figura da ‘mulher que anda’ ( La femme qui marche ), obra do artista multimidia canadense Michael Snow. Essa figura e representada pela silhueta de um perfil de mulher recortada em cartolina. Em Megapolis , a figura aparece subitamente durante as perambulacoes de Robin por cinco megalopoles. Seu surgimento inesperado provoca tanto na personagem como no leitor um desnorteamento. Primeiro porque rompe a linearidade da narrativa marcando a passagem de um genero narrativo para outro; segundo porque a figura, que surge, persegue e assombra a personagem tornando-se seu duplo. Sustentaremos que a sensacao provocada pelo surgimento do duplo em Megapolis esta ligada a estetica do ‘estranho’ que pode ser experimentada diante uma obra ficcional. Palavras-chave : estranho, duplo, ficcao, Regine Robin Abstract : This article aims at examining Regine Robin’s Megapolis: les derniers pas du flâneur in a psychoanalytic perspective, with a particular focus on Freud’s notion of the “uncanny”, developed by him in a study published in 1919. In this study, Freud is dedicated to research on an aesthetics connected to the ‘uncanny’, that is, an aesthetics that makes someone experience an uncanny feeling when exposed to an everyday situation or a work of art. Megapolis is a literary work hard to categorization: essay, fictional essay, novel, self-fiction, travel story, report, cultural guide. In order to articulate this work with the aesthetics of the ‘uncanny’, passages were selected in which fiction overlaps the other narrative genres, especially those ones where the (author-narrator) character is faced with her privileged double that is embodied in the figure of the “walking woman” ( La femme qui marche ). Work of art by the Canadian multimedia artist Michael Snow, this figure is represented by the silhouette of a woman’s profile cardboard cutout. In Megapolis , the figure suddenly appears during Robin’s wanderings through five megalopolis. Its unexpected appearance causes both the character and the reader a certain numbness. First, because it breaks the linearity of the narrative, marking the passage of a narrative genre to another, and second, because the figure that appears pursues and haunts the character, becoming her double. In this article, we argue that the sensation caused by the emergence of the double in Megapolis is connected to the aesthetics of the ‘uncanny’ which can be experienced before a work of fiction. Keywords : uncanny; double; fiction; Regine Robin Resume : Cet article a pour but d’aborder l’oeuvre Megapolis: les derniers pas du flâneur de Regine Robin a partir de l’approche psychanalytique, specifiquement de la notion d’inquietante etrangete developpee par Freud dans une etude homonyme, parue en 1919. Dans cette etude, Freud se dedie a rechercher l’esthetique liee a l’inquietante etrangete, c’est-a-dire, une esthetique qui provoque chez le sujet un sentiment de desarroi. Megapolis est un livre difficile a classer: essai, essai fictionnel, autofiction, recit de voyage, reportage, guide culturel. Pour l’analyser du point de vue de l’esthetique de l’inquietante etrangete, nous avons selectionne des passages ou la fiction predomine sur les autres genres narratifs, surtout les passages ou le personnage-narrateur se retrouve devant son double privilegie qui est materialise par la figure de La “Femme qui marche”, une oeuvre de l’artiste multimedia canadien Michael Snow. Cette figure est representee par la silhouette d’un profil de femme decoupe en carton. Dans le livre Megapolis , la figure surgit pendant les deambulations de Robin par cinq megalopoles. Son apparition produit um certain trouble chez le personnage-narrateur et aussi chez le lecteur. D’abord parce que la linearite de la narration est rompue, marquant le passage d’un genre narratif a l’autre; ensuite parce que la figure, qui surgit, poursuit et hante le personnage-narrateur en devenant son double. Nous allons soutenir que la sensation provoquee par l’apparition du double dans Megapolis est liee a l’esthetique de l’inquietante etrangete qu’on peut experimenter devant une oeuvre fictionnelle. Mots-cles : inquietante etrangete; double; fiction; Regine Robin