Vers une anthropologie de l’exil : le « second » Todorov

• Main Author: Stefano Lazzarin
• Format: Article
• Language: English
• Published: Università degli studi di Trento 2014-05-01
• Series: Ticontre: Teoria Testo Traduzione
• Online Access: http://www.ticontre.org/ojs/index.php/t3/article/view/11
• ISSN: 2284-4473; 2284-4473

<div class="page" title="Page 93"><div class="layoutArea"><div class="column"><p><span style="font-size: 11.000000pt; font-family: 'EBGaramond12-Regular-Identity-H';">Au début des années quatre-vingt, un tournant intellectuel majeur intervient dans l’œuvre de Tzvetan Todorov. L’un des nombreux éléments de nouveauté qui caractérisent sa « seconde » période par rapport à la « première » est la place de plus en plus significative que Todorov réserve à la problématique de l’exil. En effet, après 1980, au fil de ses ouvrages et avec une force particulière dans le « diptyque du dépaysement » que forment </span><span style="font-size: 11.000000pt; font-family: 'EBGaramond12-Italic-Identity-H';"><em>L’homme dépaysé</em> </span><span style="font-size: 11.000000pt; font-family: 'EBGaramond12-Regular-Identity-H';">(1996) et </span><em><span style="font-size: 11pt; font-family: 'EBGaramond12-Italic-Identity-H';">Devoirs et délices </span></em><span style="font-size: 11.000000pt; font-family: 'EBGaramond12-Regular-Identity-H';">(2002), Todorov a progressivement tracé les lignes directrices d’une véritable </span><em><span style="font-size: 11pt; font-family: 'EBGaramond12-Italic-Identity-H';">anthropologie de l’exil</span></em><span style="font-size: 11.000000pt; font-family: 'EBGaramond12-Regular-Identity-H';">, qui plonge ses racines dans l’expérience d’acculturation – et de remise en cause de son passé – qu’il a accomplie lors de son passage de Sofia à Paris, et pendant les années de sa « francisation ».</span></p><p><span style="font-size: 11.000000pt; font-family: 'EBGaramond12-Regular-Identity-H';"><br /></span></p><p> </p><div class="page" title="Page 93"><div class="layoutArea"><div class="column"><p><span style="font-size: 11.000000pt; font-family: 'EBGaramond12-Regular-Identity-H';">The beginning of the 1980s marks a major turning point in Tzvetan Todorov’s intellectual career. The notion of exile plays a more and more important role in his later work. Particularly in </span><em><span style="font-size: 11pt; font-family: 'EBGaramond12-Italic-Identity-H';">L’homme dépaysé </span></em><span style="font-size: 11.000000pt; font-family: 'EBGaramond12-Regular-Identity-H';">(1996) and </span><em><span style="font-size: 11pt; font-family: 'EBGaramond12-Italic-Identity-H';">Devoirs et délices </span></em><span style="font-size: 11.000000pt; font-family: 'EBGaramond12-Regular-Identity-H';">(2002), which can be considered as a “diptych of disorientation,” Todorov outlined an </span><span style="font-size: 11.000000pt; font-family: 'EBGaramond12-Italic-Identity-H';">anthropology of exile</span><span style="font-size: 11.000000pt; font-family: 'EBGaramond12-Regular-Identity-H';">, based on the experience of acculturation – and the rediscussion of his own past – that occurred to him when he moved from Sofia to Paris as well as during the years of his “francization”. </span></p></div></div></div><p><span style="font-size: 11.000000pt; font-family: 'EBGaramond12-Regular-Identity-H';"><br /></span></p></div></div></div>