{"id":72953,"date":"2024-06-24T15:59:12","date_gmt":"2024-06-24T13:59:12","guid":{"rendered":"https:\/\/primolevi.org\/?post_type=ressource&p=72953"},"modified":"2024-06-27T14:52:01","modified_gmt":"2024-06-27T12:52:01","slug":"letre-de-frontiere-2","status":"publish","type":"ressource","link":"https:\/\/primolevi.org\/en\/ressource\/letre-de-frontiere-2","title":{"rendered":"L\u2019\u00eatre de fronti\u00e8re"},"content":{"rendered":"\n

Dans son livre la Mort dans les yeux<\/em>, Jean-Pierre Vernant, grand sp\u00e9cialiste de l\u2019Antiquit\u00e9, d\u00e9crit trois divinit\u00e9s, chacune incarnant une figure de l\u2019alt\u00e9rit\u00e9 dans la Gr\u00e8ce ancienne, une fa\u00e7on de repr\u00e9senter la rencontre de l\u2019homme avec ce qui lui est \u00e9tranger.<\/p>\n\n\n\n

Il y a Gorg\u00f4, la femme m\u00e9duse aux cheveux de serpent, m\u00e9taphore de l\u2019horreur terrifiante et indicible, de l\u2019affrontement sid\u00e9rant avec la mort. Puis Dionysos, le dieu de la musique et de l\u2019ivresse, c\u2019est-\u00e0-dire de la jouissance extatique qui surgit pour troubler le cours de la vie ordinaire. Et enfin Art\u00e9mis, d\u00e9esse du monde sauvage, de l\u2019animalit\u00e9.<\/p>\n\n\n\n

Quelles repr\u00e9sentations de l\u2019alt\u00e9rit\u00e9 produit-on aujourd\u2019hui ? Chaque \u00e9poque accouche de sa vision de l\u2019\u00e9tranger, venant d\u00e9crire notre ennemi intime. \u00c0 l\u2019\u00e9poque coloniale, l\u2019homme blanc, \u00ab civilis\u00e9 \u00bb, a construit le personnage de l\u2019homme noir, animalis\u00e9, infantile, \u00e0 la sexualit\u00e9 d\u00e9brid\u00e9e, c\u2019est-\u00e0-dire tout ce \u00e0 quoi il \u00e9tait cens\u00e9 avoir renonc\u00e9\u2026 Plus tard la figure du juif est venue nommer l\u2019ennemi int\u00e9rieur, le trait d\u2019impuret\u00e9, de d\u00e9g\u00e9n\u00e9rescence, dont il fallait s\u2019amputer pour sauvegarder sa puret\u00e9 et celle de la race.\u2026<\/p>\n\n\n\n

En 1972, le psychanalyste Jacques Lacan proph\u00e9tisait un grand avenir au racisme. Dans une \u00e8re mondialis\u00e9e voyant les corps et les langues se confondre, et faute de pouvoir maintenir herm\u00e9tiques les fronti\u00e8res entre les nations, une fa\u00e7on pour le sujet de s\u2019assurer de son monde est de s\u2019appuyer sur le racisme comme fronti\u00e8re entre soi et cet Autre qu\u2019il faut \u00e9carter, soumettre, pour qu\u2019il ne m\u2019impose ni sa culture ni ses modes d\u2019\u00eatre. <\/p>\n\n\n\n

Les discours en vigueur actuellement surfent sur ce fantasme de dangerosit\u00e9 et de rivalit\u00e9 imaginaires. Mais si nos soci\u00e9t\u00e9s g\u00e9n\u00e8rent encore et toujours cette repr\u00e9sentation de l\u2019\u00e9tranger-d\u00e9linquant-profiteur \u00e0 exclure, elles diffusent aussi cette figure de l\u2019\u00eatre de fronti\u00e8r<\/em>e, de l\u2019\u00eatre humain perdu dans des masses d\u2019hommes maintenus hors-lieux, dans les camps, sur la mer, dans le d\u00e9sert\u2026<\/p>\n\n\n\n

Je retiens une image qui hante nos m\u00e9dias : celle d\u2019hommes noirs dans la nuit noire, sur une mer noire et mouvante. L\u2019obsc\u00e9nit\u00e9 de cette image, c\u2019est le degr\u00e9 de floutage, d\u2019indistinction de cette nouvelle figure de l\u2019\u00e9tranger. \u00c0 une nuance pr\u00e8s, on ne distinguerait presque rien ni personne dans les halos des torches braqu\u00e9es : quelques reflets dans les regards traqu\u00e9s et dans les bandes r\u00e9fl\u00e9chissantes de gilets de sauvetage. Sur la photo, pas de nom, \u00e0 peine distinguerait-on le ciel de la terre. L\u2019orange vif contraste sur du noir infini.<\/p>\n\n\n\n

Ces nouvelles images construisent l\u2019\u00e9tranger d\u2019aujourd\u2019hui comme cet \u00eatre de fronti\u00e8re, \u00e9tranger de venir de nulle part, dont les contours du corps se distinguent \u00e0 peine de la masse, \u00e0 peine de l\u2019arri\u00e8re-fond, et dont on n\u2019interroge aucune coordonn\u00e9e, comme si son existence se r\u00e9sumait aux tranches de vies pass\u00e9es en transit. Jacques Derrida a nomm\u00e9 anarchive<\/a><\/em> cette force de destruction qui ne laisse derri\u00e8re elle ni reste, ni document, ni monument – ni archive donc, de ces hommes qui coulent et de nos images d\u2019eux – qui ne font trace que d\u2019une absence.<\/p>\n\n\n\n

Une patiente, r\u00e9fugi\u00e9e politique en France depuis plusieurs ann\u00e9es dans des conditions que d\u2019autres trouveraient certainement \u00ab dignes \u00bb, et \u00e0 qui je demandais o\u00f9 elle allait quand elle sortait de chez elle, me r\u00e9pond : \u00ab Nous on marche, on ne va nulle part.<\/em> \u00bb<\/p>\n\n\n\n

Pourquoi maintenir ind\u00e9finiment des \u00eatres aux fronti\u00e8res ? Et pourquoi montrer sans cesse ces sujets perdus dans cet en-de\u00e7\u00e0 du monde, sans passage possible ?<\/p>\n\n\n\n

Est-ce la face obscure de notre r\u00eave d\u2019\u00eatre affranchis de tout, sans filiation, sans histoire, sans coordonn\u00e9es fixes ? Est-ce une tentative pour figurer la douleur d\u2019exister dans le monde inhabitable, apocalyptique, que nous redoutons, nous qui ne cessons d\u2019attenter aux lois civilisatrices et aux limites de la terre qui nous accueille ?<\/p>\n\n\n\n

La d\u00e9esse Art\u00e9mis, l\u2019\u00e9trang\u00e8re, habite dans les confins, dans les zones limitrophes et ind\u00e9cises : lagunes, marais, terres non cultivables. Elle est invoqu\u00e9e dans les moments de passage et en organise les rites. Elle pousse les adolescents \u00e0 la quitter et \u00e0 entrer dans l\u2019espace civique. Elle aide les femmes \u00e0 accoucher. Elle fixe aussi des r\u00e8gles et des limites \u00e0 la guerre, pour \u00e9viter un d\u00e9bordement belliqueux entra\u00eenant une r\u00e9gression vers un \u00e9tat ant\u00e9rieur \u00e0 la civilisation.<\/p>\n\n\n\n

Elle permet qu\u2019un franchissement soit possible, elle accompagne sur la rive.<\/p>\n\n\n\n

Quelles nouvelles figures, sacr\u00e9es ou profanes, invoquer aujourd\u2019hui pour redonner un visage \u00e0 l\u2019\u00e9tranger, que pour lui les mers et les montagnes redeviennent des passages ?  <\/p>\n\n\n\n

\u00c9<\/em>milie Abed,<\/em> psychologue clinicienne et psychanalyste<\/p>\n","protected":false},"excerpt":{"rendered":"

Dans son livre la Mort dans les yeux, Jean-Pierre Vernant, grand sp\u00e9cialiste de l\u2019Antiquit\u00e9, d\u00e9crit trois divinit\u00e9s, chacune incarnant une figure de l\u2019alt\u00e9rit\u00e9 dans la Gr\u00e8ce ancienne, une fa\u00e7on de repr\u00e9senter la rencontre de l\u2019homme avec ce qui lui est \u00e9tranger. Il y a Gorg\u00f4, la femme m\u00e9duse aux cheveux de serpent, m\u00e9taphore de l\u2019horreur … Continued<\/a><\/p>\n","protected":false},"author":17,"featured_media":71618,"parent":0,"menu_order":82,"template":"","format":"standard","categorie-des-ressources":[185,296],"collection-de-ressources":[310],"mot-cle-des-ressources":[298,328],"class_list":["post-72953","ressource","type-ressource","status-publish","format-standard","has-post-thumbnail","hentry","categorie-des-ressources-les-consequences-de-lexil","categorie-des-ressources-revue-memoires","collection-de-ressources-infranchissables-frontieres-n88","mot-cle-des-ressources-publications","mot-cle-des-ressources-revue-memoires"],"acf":[],"yoast_head":"\nL\u2019\u00eatre de fronti\u00e8re - Centre Primo Levi<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/primolevi.org\/ressource\/letre-de-frontiere-2\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"L\u2019\u00eatre de fronti\u00e8re - Centre Primo Levi\" \/>\n<meta property=\"og:description\" content=\"Dans son livre la Mort dans les yeux, Jean-Pierre Vernant, grand sp\u00e9cialiste de l\u2019Antiquit\u00e9, d\u00e9crit trois divinit\u00e9s, chacune incarnant une figure de l\u2019alt\u00e9rit\u00e9 dans la Gr\u00e8ce ancienne, une fa\u00e7on de repr\u00e9senter la rencontre de l\u2019homme avec ce qui lui est \u00e9tranger. 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