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Ao se compreender que a sociedade é composta por pessoas, e que são esses indivíduos que frequentam o espaço das bibliotecas públicas, entende-se que tais locais devem reconhecer a diversidade social e econômica que as contextualizam. Nesse sentido, esta pesquisa buscou compreender se, e para quem, as bibliotecas públicas brasileiras promovem igualdade de acesso. O objetivo foi realizar uma análise discursiva, à luz do dispositivo analítico de Robin (1973) e com base teórica na discussão de Mediação da Informação, da Lei número 13.696/2018, a Política Nacional de Leitura e Escrita. Dito isso, como recorte textual realizou-se uma análise discursiva do terceiro parágrafo do Artigo 4 da lei, relacionando-o com o segundo e oitavo objetivos do Artigo 3. Os resultados mostraram que a igualdade de acesso proposta pela Lei tem como sujeito de fala as pessoas com deficiência, sendo a Mediação da Informação um modo de se trabalhar o acesso informacional em bibliotecas públicas. Conclui-se, assim, que, ao passo em que os termos da Lei expressam somente às pessoas com deficiência, os demais fluxos de relações devem ocorrer de acordo com a necessidade da pessoa não deficiente, para que essa possa agir em prol do outro grupo. Nessa perspectiva, é na expressão escrita que identifica-se os sujeitos sociais que compõem a sociedade brasileira.

International audience; Hommage à Régine Robin

Per molti studiosi europei, Régine Robin è stata l’allieva dell’École Normale Supérieure e la docente di Paris X sparita dal Vecchio Mondo dopo avere innovato gli studi sul feudalesimo nell’età moderna con contributi quali Fief et seigneurie dans le droit et l’idéologie juridique à la fin du XVIIIe siècle (”Annales historiques de la Révolution française”, 43, 1971, pp. 554-592), e La Société française en 1789: Semur-en-Auxois (Paris, Plon, 1970)., Iperstoria, 2006: Blog Series

Dans ses Papiers perdus, site Web qui se dédouble en parcours universitaire d’un côté, et créatif de l’autre, Régine Robin ne cherche pas à résoudre le problème du non-lieu, mais l’explore, l’exploite et en multiplie les possibilités. Organisés en cinq parties, les 106 fragments varient en longueur, et leur contenu est géré par des contraintes énoncées sur la page d’accueil de la section des textes de création. Malgré cette apparence d’ordre, l’auteure exprime le voeu que le texte soit reconstitué par le lecteur à sa guise, sans suivre un parcours prédéterminé. Afin d’aborder ces textes, nous ferons appel à la cartographie postmoderne, façon de décrire l’espace autour d’une manifestation du soi et de tracer de nouveaux parcours à travers les paysages postmodernes (Jones, 2007), ainsi qu’aux constellations sémantiques qui tracent les réseaux de sens par les graphes Association produits par le logiciel Hyperbase., The author Régine Robin explores and exploits all the possibilities of cyberspace on her website titled Papiers perdus (lost papers), which is split between academic life and creative prose. On the creative side of Papiers perdus, 106 fragments of texts varying in length are organized in five sections and their content is suggested by constraints expressed by the author on her home page. Despite this illusion of order, the author encourages the reader to reconstitute these texts in any order they see fit without any guidance on her part. To create meaningful relationships between these fragments of cybertext without resorting to a linear reading, this article turns to the theory of postmodern cartography, which is a manner by which manifested subjective space can be understood as a means to access and create new paths of meaning through the postmodern world (Jones, 2007). Specifically, with the help of the software Hyperbase, I will analyze the semantic constellations which create networks of meaning through the Association graphs.

Published in Québec in 1983, Régine Robin’s novel The Wanderer (La Québécoite) quickly achieved immense success and was republished ten years later. This novel with an intriguing title was often considered as „ethnic“, given the fact that it was written in French by a writer who had a different mother tongue and was not originally from Québec. As an immigrant, Régine Robin dealt with the subject that was close to her: cultural shock and difficulties a newcomer faced in adapting to a new country. This is why this novel became an emblematic cipher of „migrant writing“. It represents an exceptionally fascinating work, not only from the point of view of its rich content, but also of its fragmentary structure and innovative literary process. The story is not linear and, in the words of the author herself, was „an experiment both in the literary and social sense“, which would be difficult to grasp and define. It is a work where, apparently, the author does not respect any order, either chronological, spatial or logical. Indeed, it is a text-patchwork created with pieces arranged pell-mell, where we can find accumulated fragments of the present and the past; flashbacks of history (personal); History (collective); real spaces (ancient and contemporary); imaginary spaces; a whole diversity of cultures, traditions, languages and literatures; a plurality of narrative voices; probable stories; uncertain destinies and so on. Nevertheless, the reader should not disregard the fact that there is a thread that holds together all these so-called disordered fragments, which finally build a certain image (material and cultural) of the spaces evoked and give an idea of endless wandering, since the story of each chapter ends at the same place, only to start the story again in a different way. All these probable stories and this (outer) movement in space symbolize a perpetual search and reflect the internal instability of an immigrant. Indeed, in the course of the heroine's constant displacement (both spatial and temporal wanderings) she „picks up“ one by one the pieces of her identity puzzle. The problematization of identity here presents itself as a very complex project where the notion of space (place and also non-place) announces other recurring themes from which it cannot be dissociated, such as personal origins (of heroes, of the writer), the languages she speaks and the luggage of memory. All of this contributes to a dynamic vision of the space from which emerges the question of the role it assumes in the construction of identity.

Contemporary narratives no longer display a singular city but a palimpsest of cities. “L ’esprit migrateur" (Pierre Ouellet) and “la rencontre transculturelle" (Patrick Imbert) inhabit the new literary imaginary. What representations of Montréal do texts, such as La Québécoite by Regine Robin and La femme qui fuit by Anaïs Barbeau-Lavalette present? How can we describe the experience of wandering through the city of Montréal? And what are its relationships with transculturalism? If the topic of mobility has been common in Québécois literature since the 1980s, mainly in the works of migrant writers, mobility is nowadays not geocultural: it is rather symbolic and ontological.

The article aims to present a literary internet project entitled “Rivka A.”, by Régine Robin, a Quebec writer and researcher who creates short literary texts based on the crumbs of everyday life that she then publishes on her website. In this way she creates an “autobiographical experiment on the web”, a kind of literary blog that can also be treated as a literary game since the author, inspired by the works of Georges Perec, encourages the reader to compose texts in his own manner. Everyday activities, trivia, banal events, being the starting point for the author, provoke reflection on the subject of identity, memory, but also literary creation itself.

O objetivo deste artigo é abordar a obra Mégapolis: les derniers pas du flâneur de Régine Robin sob uma perspectiva psicanalítica, especificamente a partir da noção de “estranho” elaborada por S. Freud em um estudo homônimo, publicado em 1919. Nesse estudo, Freud se dedica à pesquisa sobre uma estética ligada ao ‘estranho’, uma estética que provoca no sujeito, exposto a uma situação cotidiana ou a uma obra de arte, um sentimento de ‘inquietante estranheza’. Mégapolis é uma obra literária de difícil categorização: ensaio, ensaio ficcional, romance, autoficção, relato de viagem, reportagem, guia cultural. Para articular essa obra à estética do estranho, foram selecionadas passagens em que a ficção se sobrepõe aos outros gêneros narrativos, sobretudo aquelas em que a personagem-narradora se depara com seu duplo privilegiado que é materializado na figura da ‘mulher que anda’ (La femme qui marche), obra do artista multimídia canadense Michael Snow. Essa figura é representada pela silhueta de um perfil de mulher recortada em cartolina. Em Mégapolis, a figura aparece subitamente durante as perambulações de Robin por cinco megalópoles. Seu surgimento inesperado provoca tanto na personagem como no leitor um desnorteamento. Primeiro porque rompe a linearidade da narrativa marcando a passagem de um gênero narrativo para outro; segundo porque a figura, que surge, persegue e assombra a personagem tornando-se seu duplo. Sustentaremos que a sensação provocada pelo surgimento do duplo em Mégapolis está ligada à estética do ‘estranho’ que pode ser experimentada diante uma obra ficcional. This article aims at examining Régine Robin’s Mégapolis: 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. Mégapolis 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 Mégapolis, 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 Mégapolis is connected to the aesthetics of the ‘uncanny’ which can be experienced before a work of fiction. Cet article a pour but d’aborder l’oeuvre Mégapolis: les derniers pas du flâneur de Régine Robin à partir de l’approche psychanalytique, spécifiquement de la notion d’inquiétante étrangeté développée par Freud dans une étude homonyme, parue en 1919. Dans cette étude, Freud se dédie à rechercher l’esthétique liée à l’inquiétante étrangeté, c’est-à-dire, une esthétique qui provoque chez le sujet un sentiment de désarroi. Mégapolis est un livre difficile à classer: essai, essai fictionnel, autofiction, récit de voyage, reportage, guide culturel. Pour l’analyser du point de vue de l’esthétique de l’inquiétante étrangeté, nous avons sélectionné des passages où la fiction prédomine sur les autres genres narratifs, surtout les passages où le personnage-narrateur se retrouve devant son double privilégié qui est matérialisé par la figure de La “Femme qui marche”, une oeuvre de l’artiste multimédia canadien Michael Snow. Cette figure est représentée par la silhouette d’un profil de femme découpé en carton. Dans le livreMégapolis, la figure surgit pendant les déambulations de Robin par cinq mégalopoles. Son apparition produit um certain trouble chez le personnage-narrateur et aussi chez le lecteur. D’abord parce que la linéarité de la narration est rompue, marquant le passage d’un genre narratif à 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 provoquée par l’apparition du double dans Mégapolis est liée à l’esthétique de l’inquiétante étrangeté qu’on peut expérimenter devant une oeuvre fictionnelle.

Prenant comme point de départ le rapport paradoxal qui existe entre le témoignage et la littérature (l’un étant considéré comme véridique et l’autre, comme fictive) le présent mémoire s’intéresse à l’utilisation de la fiction dans les récits autobiographiques et testimoniaux de Jorge Semprun, avec L’Écriture ou la vie (1994), et de Régine Robin, avec L’Immense fatigue des pierres (1996). L’étude de ces textes tente de vérifier l’hypothèse selon laquelle, en faisant de leur témoignage une œuvre littéraire qui assume sa part de fiction, les deux auteurs arriveraient à offrir un témoignage plus juste de leur expérience de la Shoah. Le premier chapitre constitue un panorama critique et historique des deux axes théoriques principaux sur lesquels s’appuie ce travail, d’une part les études sur l’écriture testimoniale et sur la littérature de la Shoah (Derrida, Bornand, Prstojevic) et d’autre part les travaux sur l’autobiographie (Lejeune, Robin, Viart et Vercier). Il s’interroge sur les liens qui les unissent tout en tentant de positionner Robin et Semprun à travers ce champ de pratiques littéraires. Les deuxièmes et troisièmes chapitres s’intéressent ensuite aux différents effets de fiction et de réel qui se trouvent dans les deux œuvres du corpus et analysent, dans un premier temps, la mise en scène d’un pacte de vérité ambiguë passant par la représentation littéraire de la figure auctoriale et de l’acte d’écriture et, dans un deuxième temps, la représentation littéraire du réel en étudiant les nombreuses références intertextuelles, la présence du topos de la visite au camp de concentration, ainsi que l’utilisation particulière de l’archive par Semprun et Robin., Taking as a starting point the paradoxical link that exists between testimony and literature (one being considered veracious and the other, fictional), this master’s thesis explores the use of fiction in the autobiographical and testimonial works of Jorge Semprun, with L’Écriture ou la vie (1994), and Régine Robin, with L’Immense fatigue des pierres (1996). This study tries to confirm the assumption that, in making their testimony a literary work which assumes a fare share of fiction, the two authors succeed in offering a more accurate testimony of their experience of Holocaust. Chapter one consists in a critic and historic overview of the two approaches, which are this thesis foundations : the Holocaust studies and the testimonial writings (Derrida, Bornand, Prstojevic) on one hand, and the studies on autobiographical writings (Lejeune, Robin, Viart and Vercier) on the other. It focusses on finding what unifies them and tries to position Robin and Semprun in this large literary conventions spectrum. The next two chapters of this thesis are focussing on the various fictional effects as well as on the reality-occurencies in both novels of the corpus, first by studying the staging of this ambiguous truth pact through the literary representation of the auctorial figures and the act of writing, and then, by observing the literary representation of reality through the many intertextual references, the actual concentration camp visits descriptions (that have become a topos of Holocaust literature) and finally Semprun and Robin’s particular use of the archives.

Contemporary narratives no longer display a singular city but a palimpsest of cities. “L’esprit migrateur” (Pierre Ouellet) and “la rencontre transculturelle” (Patrick Imbert) inhabit the new literary imaginary. What representations of Montreal do texts, such as La Québécoite by Régine Robin and La femme qui fuit by Anaïs Barbeau-Lavalette present? How can we describe the experience of wandering through the city of Montreal? And what relationships with transculturalism? If the topic of mobility has been common in Quebecois literature since the 1980s, mainly in the works of migrant writers, mobility is not geocultural any more today: it is rather symbolic and ontological. Le récit littéraire d’aujourd’hui ne semble plus habiter une ville, mais un palimpseste de villes. « L’esprit migrateur » (Pierre Ouellet) et « la rencontre transculturelle » (Patrick Imbert) s’avèrent être les nouvelles conditions de l’imaginaire contemporain. Quels visages de Montréal se déplient dans La Québécoite de Régine Robin et dans La femme qui fuit d’Anaïs Barbeau-Lavalette ? Comment peut-on arpenter Montréal, se l’approprier, en saisir les secrets ? Et quels rapports à la transculture ? Si le thème du déplacement s’est largement répandu dans la littérature québécoise depuis les années 1980, sous l’impulsion des écrivains issus de la migration, aujourd’hui, le déplacement n’est plus d’ordre géoculturel, mais de nature symbolique et ontologique.

Among many interesting tendencies in the Quebecois literature the phenomenon of "migrant literature", so called the Neo-Quebec literature, is particularly worth mentioning, as thanks to it the Quebecois literature abandons the national frames and contributes to the hybridization of culture. Régine Robin, a writer bom in Paris and coming from the family of Polish Jews, is one of the representatives of the phenomenon, whose an interesting illustration is a novel La Québécoite (English title: The Wanderer), which describes three hypothetical scenarios of the immigrant's visit to Quebec. From the translational point of view, the Robin’s text is particularly worth analyzing from the perspective of two groups of problems. Firstly, the text abounds of the signs of strangeness included in the language of the public space, which means the lists of notions, placards, toponyms, the fragments of journals, TV programs, results of the hockey league, which would require from a translator a presumptive coherent strategy of translation or explication to the target recipient. Secondly, the novel abounds of the fragments referring to the individual memory of the narrator as well as to the collective memory, within three cultural circles: Quebecois, French and referring to the Jewish tradition. A translator would face a dilemma namely, whether all the elements should be explained to the target recipient. The most important feature of the Robin’s text is its multiculturalism, appearing in fact by the means of one language. An eventual translation would require a new approach of the process of translation, especially if a multicultural original would be transferred to a homogenous target culture.

Ce mémoire propose des lectures croisées de la mémoire urbaine dans Dora Bruder de Patrick Modiano et La Québécoite de Régine Robin. Les deux récits mettent en scène des narrateurs héritiers de la mémoire de la Shoah qui déambulent dans les villes de Paris et Montréal. La ville est espace d’intelligibilité dont les signes sont porteurs de sens à activer par l’observateur. À l’aide de la sémiotique de la ville (Benjamin) et des pratiques de la ville (De Certeau) et en tenant compte de la position particulière des narrateurs autour des enjeux du témoignage et de l’écriture, ce mémoire cherche à étudier comment la ville participe au déploiement d’une mémoire juive en même temps qu’elle contribue à son inévitable perte. La Deuxième Guerre mondiale a eu lieu en partie à Paris, qui en porte les traces dans une forte densité mémorielle, tandis que Montréal, ville diasporique où les événements ne se sont pas déroulés, accueille les mémoires écorchées qui se fixent d’une autre manière dans l’espace urbain. Dans les deux récits, l’espace urbain est nécessaire à la mise en texte de la rupture et de la perte, qui se dévoilent à la fois au niveau thématique (destruction urbaine, échecs répétés, perte identitaire) et formel (remise en question du récit, hybridité générique.), This thesis offers crossed readings of urban memory in Dora Bruder from Patrick Modiano and La Québécoite from Régine Robin. Both stories depict narrators heirs of the Holocaust memory who roam the cities of Paris and Montreal. The city is a space of intelligibility whose signs are meaningful to the observer. Using the semiotics of the city (Benjamin), the practices of the city (De Certeau) and taking into account the specific position of both narrators on the issues of testimony and writing, this study seeks to explore how the city spreads the Jewish memory while at the same time contributing to its inevitable loss. The Second World War took partly place in Paris, which bears the traces in a high density of memory, while Montreal, a city where Holocaust events did not unfold, is hosting memories otherwise within its urban space. In both stories, the city is necessary to the writing of the breakdown and loss, which reveal themselves both in the background (urban destruction, repeated failures, loss of identity) and form (question of the story, generic hybridity.)

Cette thèse examine la construction d’une nouvelle identité individuelle à travers la reconstitution du passé et l’écriture des souvenirs dans la littérature francophone de la diaspora juive, entre 1945 et aujourd’hui. Quatre romans servent de texte de référence pour notre analyse : La Québécoite de Régine Robin, W ou le souvenir d ’enfance de Georges Perec, Sépharade d’Eliette Abécassis et La Statue de Sel d’Albert Memmi. Nous démontrons comment des éléments particuliers - la problématique identitaire, la famille, le patronyme, le traitement de l’espace et du temps, la langue, la littérature et la fiabilité des souvenirs - influencent la quête identitaire des personnages principaux dans les quatre romans considérés. Cette étude met en relief les différences entre la construction identitaire chez les rescapés de la Shoah et chez ceux qui n’ont pas éprouvé l’horreur du régime nazi. De plus, elle souligne l’importance de la reconstitution du passé pour la formulation d’une nouvelle identité.

The late 1980s and early 1990s saw a revival of critical debates around, on the one hand, Walter Benjamin’s understanding offlânerie, the practice of street walking in the nineteenth-century metropolis, and on the other hand the existence of a female counterpart for the (usually male)flâneur. Most of the analyses, coming from Janet Wolff, Elizabeth Wilson, Susan Buck-Morss, and Anne Friedberg, but also the contributors to Keith Tester’s critical anthology The Flâneur (1994) returned to Baudelairian and Benjaminian depictions offlânerie and revealed ways in which the practice and its participants (male and female alike) were still significant for understanding a highly commodified urban existence. My thesis is founded on Wilson’s and Deborah Parson’s argument that we can rightfully consider theflâneuse as an important participant in the life in the metropolis even if this implies a reading of the city that is more metaphorical than purely sociological. While most arguments focus on the image of the flâneuse as prostitute or shopper, my thesis proposes the image of the middle-class female intellectual ■.\ (ethnographer, artist, sociologist) as a more fitting counterpart to the flâneur. Miriam Henderson, the protagonist in Dorothy Richardson’s series Pilgrimage, and Régine Robin’s narrator in Mégapolis. Les derniers pas duflâneur, illustrate the concepts of modem and postmodem flâneuse respectively and constitute useful instruments for interrogating modem and postmodem urban life seen from the perspective of a woman flâneuring on the streets of the big cities.

La presencia de los inmigrantes de los países del Este en la literatura francocanadiense, ya sea como sujetos o como objetos de la narración, es el punto de partida para el estudio de los posibles vínculos interculturales que los inmigrantes establecen y el análisis de la representación del "otro". Se han seleccionado las obras de cuatro autoras: Gabrielle Roy y Myriam Beaudoin, de origen canadiense, y Régine Robin y Olga Boutenko, pertenecientes a la denominada "literatura migrante". La comparación de todos ellos, personajes en el primer caso y narradoras en el segundo, nos lleva a la conclusión de que la búsqueda de un espacio propio, la libertad y la representación son elementos recurrentes en este contexto específico, en el que la noción de identidad, que siempre ha sido problemática, debe ser reconstruida. La présence d'immigrants en provenance de l'Europe de l'Est dans la littérature franco-canadienne, en tant que sujets ou objets de la narration, est le point de départ pour l'étude des possibles liens interculturaux que les immigrants tissent, ainsi que pour l'analyse de la représentation de l'"autre". Nous avons sélectionné les oeuvres de quatre écrivaines: Gabrielle Roy et Myriam Beaudoin, d'origine canadienne, et Régine Robin et Olga Boutenko, appartenant à la soi-disant "littérature migrante". La comparaison des personnages, dans le premier cas, et des narratrices, dans le second, nous amène à conclure que la recherche d'un espace propre, de la liberté et de la représentation sont des éléments récurrents dans ce contexte spécifique, dans lequel la notion d'identité, toujours problématique, doit être reconstruite.