Published 2014-05-01
“…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>…”
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