‫ﻫﺰﺍﺭ ﻓﻼﺕ‬

‫ﮐﺎﭘﻴﺘﺎﻟﻴﺴﻢ ﻭ ﺍﺳﮑﻴﺰﻭﻓﺮﻧﻲ‬

‫ژﻳﻞ ﺩﻟﻮﺯ ﻭ ﻓﻠﻴﮑﺲ ﮔﺘﺎﺭﻱ‬

‫ﺗﺮﺟﻤﻪﻱ‬
‫ﺯﻫﺮﻩ ﺍﮐﺴﻴﺮﻱ‪ ،‬ﻣﺤﺪﺛﻪ ﺯﺍﺭﻉ‪ ،‬ﭘﻴﻤﺎﻥ ﻏﻼﻣﻲ‪ ،‬ﺍﻳﻤﺎﻥ ﮔﻨﺠﻲ‬

‫ﺭﺥﺩﺍﺩ ﻧﻮ‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫ﻓﻬﺮﺳﺖ‬

‫ﺩﺭﺁﻣﺪ ‪2 .................................‬‬
‫ﻳﺎﺩﺩﺍﺷﺖ ﻣﺆﻟﻔﺎﻥ ﺍﺛﺮ ‪5 ....................‬‬
‫ﻓﺼﻞ ﺍﻭﻝ‪ :‬ﺩﺭﺁﻣﺪ‪ :‬ﺭﻳﺰﻭﻡ ‪6 .................‬‬
‫ﭘﻴﻮﺳﺖ‪ :‬ﺭﻭﺵِ ﮐﺎﺕﺁپِ ﺑﺮﺍﻳﻦ ﺟﻴﺴﻴﻦ‪Error! Bookmark not defined.‬‬
‫ﺩﻭﻡ‪ :1914 :‬ﻳﮏ ﻳﺎ ﭼﻨﺪ ﮔﺮگ؟ ‪10 .........‬‬ ‫ﻓﺼﻞ‬
‫ِ ﻣﺴﻴﺢ‪ :‬ﺯﻣﻴﻦﺷﻨﺎﺳﻲ ﺍﺧﻼﻗﻴﺎﺕ )ﺯﻣﻴﻦ‬‫ﺳﻮﻡ‪ 10000 :‬ﺳﺎﻝ ﻗﺒﻞ ﺍﺯ ﻣﻴﻼﺩ‬ ‫ﻓﺼﻞ‬
‫ﺭﺍ ﮐﻪ ﻣﻲﺍﻧﮕﺎﺭﺩ؟( ‪15 .................‬‬ ‫ﺧﻮﺩ‬
‫‪21‬‬ ‫ﭼﻬﺎﺭﻡ‪ 20 :‬ﻧﻮﺍﻣﺒﺮ ‪ 1923‬ـ ﺑﻦﺍﻧﮕﺎﺭﻩﻫﺎﻱ ﺯﺑﺎﻥﺷﻨﺎﺳﻲ‬ ‫ﻓﺼﻞ‬
‫‪» .I‬ﺯﺑﺎﻥ ﺍﻃﻼﻋﺎﺗﻲ ﻭ ﺍﺭﺗﺒﺎﻃﺎﺗﻲ ﺍﺳﺖ« ‪21 .......‬‬
‫‪» .II‬ﻳﮏ ﻣﺎﺷﻴﻦ ﺍﻧﺘﺰﺍﻋﻲ ﺯﺑﺎﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﮐﻪ ﺑﻪ ﻫﻴﭻ ﻓﺎﮐﺘﻮﺭ "ﻋﺮﺿﻲ" ﺗﻮﺳﻞ‬
‫ﻧﻤﻲﺟﻮﻳﺪ« ‪Error! Bookmark not defined. ............‬‬
‫‪» .III‬ﺛﺎﺑﺖﻫﺎ ﻳﺎ ﺍﻣﻮﺭ ﮐﻠﻲﺍﻱ ﻣﺘﻌﻠﻖ ﺑﻪ ﺯﺑﺎﻥ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ ﮐﻪ ﻣﺎ ﺭﺍ ﻗﺎﺩﺭ‬
‫‪Error! Bookmark not‬‬ ‫ﻣﻲﺳﺎﺯﻧﺪ ﺗﺎ ﺯﺑﺎﻥ ﺭﺍ ﺳﻴﺴﺘﻤﻲ ﻫﻤﮕﻮﻥ ﺗﻌﺮﻳﻒ ﮐﻨﻴﻢ‪«.‬‬
‫‪defined.‬‬
‫‪» .IV‬ﺯﺑﺎﻥ ﺭﺍ ﺗﻨﻬﺎ ﺗﺤﺖ ﺷﺮﺍﻳﻂ ﻳﮏ ﺯﺑﺎﻥ ﻣﻌﻴﺎﺭ ﻳﺎ ﻣﺎژﻭﺭ ﻣﻲﺗﻮﺍﻥ ﺑﻪ‬
‫ﺷﮑﻠﻲ ﻋﻠﻤﻲ ﻣﻄﺎﻟﻌﻪ ﮐﺮﺩ‪Error! Bookmark not defined.«.‬‬
‫ﻓﺼﻞ ﭘﻨﺠﻢ‪ 587 :‬ﺳﺎﻝ ﻗﺒﻞ ﺍﺯ ﻣﻴﻼﺩ ﻣﺴﻴﺢ ﺗﺎ ‪ 70‬ﺳﺎﻝ ﭘﺲ ﺍﺯ ﻣﻴﻼﺩ‬
‫ﻣﺴﻴﺢ‪ :‬ﺩﺭﺑﺎﺭﻩﻱ ﺭژﻳﻢﻫﺎﻱ ﻣﺘﻌﺪﺩ ﻧﺸﺎﻧﻪﻫﺎ ‪28 ..‬‬
‫‪36‬‬ ‫ﻓﺼﻞ ﺷﺸﻢ‪ 28 :‬ﻧﻮﺍﻣﺒﺮ ‪ :1947‬ﭼﮕﻮﻧﻪ ﺑﺪﻧﻲ ﺑﺪﻭﻥ ﺍﻧﺪﺍﻡ ﺑﺴﺎﺯﻳﻢ؟‬
‫‪ .7‬ﺳﺎﻝ ﺻﻔﺮ‪ :‬ﭼﻬﺮﻩﺍﻱﺑﻮﺩﻥ‪51 ..........................................‬‬
‫‪54‬‬ ‫‪ :1874 .8‬ﺳﻪ ﺭﻣﺎﻥِ ﮐﻮﺗﺎﻩ‪ ،‬ﻳﺎ‪» ،‬ﭼﻪ ﺍﺗﻔﺎﻗﻲ ﺍﻓﺘﺎﺩ؟«‬
‫‪ :1933 .9‬ﺧﺮﺩﺳﻴﺎﺳﺖ ﻭ ﻗﻄﻌﻪﻭﺍﺭﮔﻲ ‪58 ..........................‬‬
‫‪63‬‬ ‫‪ :1730 .10‬ﺷﺪﻳﺪ ـ ﺷﺪﻥ‪ ،‬ﺣﻴﻮﺍﻥ ـ ﺷﺪﻥ‪ ،‬ﺩﺭکﻧﺎﭘﺬﻳﺮ ـ ﺷﺪﻥ‪... ،‬‬
‫‪ :1837 .11‬ﺍﺯ ﺭﻳﺘﻮﺭﻧﻠﻠﻮ‪70 ............................................‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫ﺩﺭﺁﻣﺪ‬

‫‪ .1‬ﻫﺰﺍﺭ ﻓﻼﺕ ﺁﻣﻴﺰﻩﺍﻱ ﺍﺳﺖ ﺍﺯ ﻣﻮﺳﻴﻘﻲﻫﺎ‪ ،‬ﺍﻗﻠﻴﻢﻫﺎ‪ ،‬ﺳﺮﺯﻣﻴﻦﻫﺎ‪،‬‬

‫ﻗﺎﺭﻩﻫﺎ‪ ،‬ﭘﺮﻭﺍﺯﻫﺎ‪ ،‬ﺣﻴﻮﺍﻥﻫﺎ‪ ،‬ﺍﺷﺘﺮﺍکﻫﺎ‪ ،‬ﻧﺴﺒﺖﻫﺎ‪ ،‬ﻭ ﻣﻮﺟﻮﺩﺍﺕ ﻧﻮ‪،‬‬
‫ﻣﻮﺟﻮﺩﺍﺗﻲ ﺩﺭ ﺭﺍﻩ ﻭ ﮔﻢﺷﺪﻩ ﺩﺭ ﻻﺑﻪﻻﻱ ﻫﺮﺍﺱﻫﺎ ﻭ ﺩﻟﻬﺮﻩﻫﺎﻱ‬
‫ﭘﺎﺭﺍﻧﻮﻳﺎﻳﻲ ﺍﻧﺴﺎﻥﻫﺎ‪ ،‬ﻫﻤﺎﻥ ﺿﻌﻴﻒﺗﺮﻳﻦ‪ ،‬ﺳﻠﺴﻠﻪﻣﺮﺍﺗﺒﻲﺗﺮﻳﻦ‪ ،‬ﻭ‬
‫ﻣﻨﺠﻤﺪﺗﺮﻳﻦ ﻣﻮﺟﻮﺩﻱ ﮐﻪ ﻃﺒﻴﻌﺖ ﻣﻲﺗﻮﺍﻧﺴﺖ ﺁﻥ ﺭﺍ ﺗﻮﻟﻴﺪ ﮐﻨﺪ‪ ،‬ﻫﻤﺎﻥ‬
‫ﻣﻮﺟﻮﺩﻱ ﮐﻪ ﺩﺭ ﺁﻳﻨﺪﻩﺍﻱ ﻧﻪ ﭼﻨﺪﺍﻥ ﺩﻭﺭ‪ ،‬ﺩﺭ ﻭﺍﭘﺴﻴﻦ ﺩﻗﺎﻳﻖ ﺍﺯ‬
‫ﻫﺰﺍﺭﻩﺍﻱ ﮐﻪ ﻧﻴﭽﻪ ﺁﻥ ﺭﺍ ﻧﻴﻬﻴﻠﻴﺴﻢ ﻧﺎﻣﻴﺪ‪ ،‬ﺑﻪ ﺩﺳﺖ ﻭ ﭘﺎﻱ ﻃﺒﻴﻌﺖ‬
‫ﺧﻮﺍﻫﺪ ﺍﻓﺘﺎﺩ ﺗﺎ ﻃﺒﻴﻌﺖ ﭼﺎﺭﻩﺍﻱ ﺑﺮﺍﻱ ﺍﻭ ﺑﻴﺎﺑﺪ‪ ،‬ﺍﻣﺎ ﺩﺭﻳﻐﺎ ﮐﻪ‬
‫ﻃﺒﻴﻌﺖ ﻫﻴﭻ ﭼﺎﺭﻩﺍﻱ ﺭﺍ ﺑﺮﺍﻱ ﺍﻧﺴﺎﻥ ﻣﺘﺼﻮﺭ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ‪ ،‬ﻭﺍﭘﺴﻴﻦ‬
‫ﺍﻧﺴﺎﻥ ﺭﺍ ﺭﻫﺎ ﺧﻮﺍﻫﺪ ﮐﺮﺩ ﺗﺎ ﺍﻧﺴﺎﻥِ ﻧﻮ ﺯﺍﺩﻩ ﺷﻮﺩ‪ ،‬ﻫﻤﺎﻥ ﺍﻧﺴﺎﻧﻲ ﮐﻪ‬
‫ﺩﻳﮕﺮ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺍﻧﺴﺎﻥ ﻧﺎﻣﻴﺪﻩ ﺷﻮﺩ‪ ،‬ﺯﻳﺮﺍ ﺍﻭ ﻧﻴﺎﺯﻣﻨﺪ ﻧﺎﻣﻲ ﻧﻮ‪،‬‬
‫ﻣﻨﺎﺳﺒﺎﺗﻲ ﻧﻮ‪ ،‬ﺍﻗﻠﻴﻤﻲ ﻧﻮ‪ ،‬ﻗﺎﺭﻩﺍﻱ ﻧﻮ‪ ،‬ﺟﻬﺎﻧﻲ ﻧﻮ‪ ،‬ﻭ ﺍﺷﺘﺮﺍﻙﻫﺎﻳﻲ ﻧﻮ‬
‫ِ‬‫ِ ﺗﺎﺯﻩﺍﻱ ﺑﺪﻝ ﺧﻮﺍﻫﺪ ﺷﺪ ﮐﻪ ﺧﺎﮐﺴﺘﺮ‬ ‫ﺍﺳﺖ‪ ،‬ﺍﻭ ﺑﻪ ﻫﻤﺎﻥ ﻣﻮﺟﻮﺩ‬
‫ﺧﻮﻳﺸﺎﻭﻧﺪﺍﻥِ ﮔﺬﺷﺘﻪﺍﺵ ﺑﻪ ﺑﺎﺩ ﺳﭙﺮﺩﻩ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺧﻮﻳﺸﺎﻭﻧﺪﺍﻧﻲ ﮐﻪ‬
‫ﺣﻴﻮﺍﻧﻲ ﻭ ﻣﻮﻟﮑﻮﻟﻲ ﺷﺪﻩﺍﻧﺪ ﻭ ﻫﺬﻳﺎﻥﻫﺎﻱ ﺍﺳﮑﻴﺰﻭﻓﺮﻧﻴﺎﻳﻲ‪ ،‬ﻧﺎﺑﻪﻫﻨﮕﺎﻡ‬
‫ِ ﺗﺎﺭﻳﺦ ﺑﻪ ﺩﻭﺵ ﮐﺸﻴﺪﻩﺍﻧﺪ‪ ،‬ﺟﻬﺎﻥ ﺭﺍ ﻫﺮ‬‫ﻭ ﺍﺑﺪﻱ ﺯﻧﺪﮔﻲ ﺭﺍ ﺩﺭ ﺳﺮﺗﺎﺳﺮ‬
‫ﺑﺎﺭ ﺯﺍﻳﻴﺪﻩﺍﻧﺪ‪ ،‬ﻭ ﺣﺘﻲ ﺟﻐﺮﺍﻓﻴﺎﻱ ﮐﻨﻮﻧﻲ ﺍﻧﺪﻳﺸﻪ‪ ،‬ﺑﺪﻥ‪ ،‬ﻭ ﮔﻮﺷﺖ ﻣﺎ ﺭﺍ‬
‫ِ ﺁﺭﻱﮔﻮﻳﻲ ﻧﺎﺏﺷﺎﻥ ﺳﺎﺧﺘﻪﺍﻧﺪ‪ .‬ﭼﮕﻮﻧﻪ ﻣﻲﺧﻮﺍﻫﻴﻢ ﺑﺎ ﭼﻨﻴﻦ‬ ‫ﺍﺯ ﺭﻫﮕﺬﺭ‬
‫ﺷﺪﺕﻫﺎﻱ ﻣﻬﻠﮑﻲ ﺳﺮ ﮐﻨﻴﻢ؟ ﺑﻲﺗﺮﺩﻳﺪ ﻫﺮ ﺍﻗﻠﻴﻢ ﻧﻮ ﻣﻨﺎﺳﺒﺎﺕ ﻧﻮﻳﻦ ﺧﻮﺩﺵ‬
‫ﺭﺍ ﺑﺮﻗﺮﺍﺭ ﻣﻲﺳﺎﺯﺩ ﻭ ﺟﻬﺎﻥﻫﺎﻱ ﻧﻮﻳﻦ ﺧﻮﺩﺵ ﺭﺍ ﻋﺮﺿﻪ ﻣﻲﻛﻨﺪ‪ .‬ﻫﺮ ﺍﻗﻠﻴﻢ‬
‫ﻧﻮ ﻭﻳﺮﺍﻧﻲ ﺍﻗﻠﻴﻢﻫﺎﻱ ﭘﻴﺸﻴﻦ ﻭ ﺁﻓﺮﻳﻨﺶِ ﺟﺎﻧﻮﺭﺍﻧﻲ ﺗﺎﺯﻩ ﺩﺭ ﺑﻄﻦِ‬
‫ِ ﻫﺰﺍﺭ ﻓﻼﺕ ﺭﺍ ﻧﻴﺰ ﻣﻲﺗﻮﺍﻥ ﺁﻓﺮﻳﻨﺶ ﻫﻤﻴﻦ‬ ‫ﻣﻨﺎﺳﺒﺎﺕ ﺣﺎﺿﺮ ﺍﺳﺖ‪ .‬ﮐﺎﺭ‬
‫ِ ﻫﻮﺵ‪،‬‬
‫ﻣﻮﻗﻌﻴﺖﻫﺎﻱ ﺟﻤﻌﻲ ﻧﻮ ﺩﺍﻧﺴﺖ‪ ،‬ﻭﺿﻌﻴﺘﻲ ﮐﻪ ﻫﺮ ﻫﺴﺘﻨﺪﻩ ﻧﻪ ﺍﺯ ﻃﺮﻳﻖ‬
‫ﺍﺳﺘﻌﺪﺍﺩ‪ ،‬ﻣﻌﺮﻓﺖ‪ ،‬ﻋﻘﻞ‪ ،‬ﺧﻠﻮﺕﮔﺰﻳﻨﻲ‪ ،‬ﺫﺍﺕ‪ ،‬ﻭ ﺍﻧﺴﺎﻧﻴﺖ‪ ،‬ﺑﻠﻜﻪ ﺗﻨﻬﺎ ﺍﺯ‬
‫ِ ﺷﺪﻥﻫﺎ‪ ،‬ﺗﻮﺍﻧﺎﻳﻲﻫﺎ‪ ،‬ﻇﺮﻓﻴﺖﻫﺎ‪ ،‬ﻭ ﻭﺍﻗﻌﻴﺖﻫﺎﻱ ﻫﺴﺘﻲﺷﻨﺎﺧﺘﻲﺍﺵ‬ ‫ﺧﻼﻝ‬
‫ِ ﻧﻴﺮﻭﺷﻨﺎﺧﺘﻲ‬‫ﻓﻬﻤﻴﺪﻩ ﻣﻲﺷﻮﺩ ﻭ ﺑﻪ ﮐﺎﺭ ﻣﻲﺭﻭﺩ‪ .‬ﻫﺰﺍﺭ ﻓﻼﺕ ﺗﺮﺳﻴﻢ‬
‫ِ ﺯﺩ ﻭ ﺧﻮﺭﺩ ﺑﻲﻭﻗﻔﻪﻱ ﻣﻴﺎﻥ‬‫ﺗﻮﺍﻧﺎﻳﻲﻫﺎﻱ ﻣﺤﻴﻂﻫﺎﻱ ﺍﺟﺘﻤﺎﻋﻲﻣﺎﻥ ﺍﺯ ﺧﻼﻝ‬
‫ﺷﺪﺕﻫﺎﻱ ﻫﺴﺘﻲﺷﻨﺎﺧﺘﻲ ﺩﺭ ﺳﺮﺗﺎﺳﺮ ﮔﻴﺘﻲ ﺍﺳﺖ‪ :‬ﺑﻪ ﻣﺎ ﺑﮕﻮﻳﻴﺪ ﭼﻪ‬
‫ﺗﻮﺍﻧﺎﻳﻲﻫﺎ ﻭ ﻇﺮﻓﻴﺖﻫﺎﻳﻲ ﺩﺍﺭﻳﺪ‪ ،‬ﺗﺎ ﻣﺎ ﻫﻢ ﺑﻪ ﺷﻤﺎ ﺑﮕﻮﻳﻴﻢ ﮐﻪ ﺑﻪ ﭼﻪ‬
‫ﮐﺎﺭﻱ ﻣﻲﺁﻳﻴﺪ‪» .‬ﺧﻄﻮﻁ ﺭﺍ ﺣﺮﮐﺖ ﺩﻫﻴﺪ‪ ،‬ﻫﺮﮔﺰ ﻧﻘﻄﻪ ﻧﮑﺸﻴﺪ! ﺳﺮﻋﺖ ﻧﻘﻄﻪ‬
‫ِ‬‫ﺭﺍ ﺑﻪ ﺧﻂ ﺑﺪﻝ ﻣﻲﻛﻨﺪ! ﭼﺎﻻک ﺑﺎﺷﻴﺪ‪ ،‬ﺣﺘﻲ ﻭﻗﺘﻲ ﻫﻨﻮﺯ ﺭﺍﮐﺪ ﻫﺴﺘﻴﺪ! ﺧﻂ‬
‫ِ ﭘﺮﻭﺍﺯ‪«.‬‬
‫ِ ﺟﻬﺶ‪ ،‬ﺧﻂ‬
‫ﭘﻴﺶﺁﻣﺪ‪ ،‬ﺧﻂ‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

‫‪ .2‬ﻫﺰﺍﺭ ﻓﻼﺕ ﻳﮏ ﮐﺘﺎﺏ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﮐﺘﺎﺑﻲ ﮐﻪ ﺩﺭ ﺟﺴﺘﺠﻮﻱ ﺑﺪﻥِ ﺑﺪﻭﻥِ‬
‫ِ ﮐﺘﺎﺏ ﺍﺳﺖ‪ .‬ﺑﺪﻳﻦ ﻣﻌﻨﺎ‪ ،‬ﻣﻮﺍﺟﻬﻪ ﺑﺎ ﺍﻳﻦ ﮐﺘﺎﺏ ﺁﺳﺎﻥ‬ ‫ِ ﻣﻔﻬﻮﻡ‬
‫ِ ﺧﻮﺩ‬
‫ﺍﻧﺪﺍﻡ‬
‫ﻧﻴﺴﺖ‪ .‬ﺷﺎﻳﺪ ﺍﻳﻦ ﻧﺨﺴﺘﻴﻦ ﻧﮑﺘﻪﺍﻱ ﺑﺎﺷﺪ ﮐﻪ ﺑﺎﻳﺪ ﺑﻪ ﮔﻮﺵ ﺧﻮﺍﻧﻨﺪﻩﻱ‬
‫ﻓﺎﺭﺳﻲﺯﺑﺎﻥِ ﺍﺛﺮ ﺑﺮﺳﺪ‪ .‬ﺑﺮﺧﻲ ﺍﺯ ﮔﺰﺍﺭﻩﻫﺎ‪ ،‬ﻗﻄﻌﻪﻫﺎ‪ ،‬ﭘﺎﺭﺍﮔﺮﺍﻑﻫﺎ‪ ،‬ﻭ‬
‫ﮐﻠﻤﺎﺕ ﭼﻨﺎﻥ ﺗﻨﺪ ﻭ ﺳﺮﻳﻊ ﺍﺯ ﻣﻘﺎﺑﻞ ﭼﺸﻢﻫﺎﻱ ﻣﺎ ﻣﻲﮔﺬﺭﻧﺪ ﮐﻪ ﮔﻮﻳﻲ‬
‫ﻣﻌﻤﻮﻟﻲ ﻳﺎ ﺧﻨﺜﻲ ﺑﻪﻧﻈﺮ ﻣﻲﺁﻳﻨﺪ‪ .‬ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺍﺛﺮ ﻧﻴﺰ ﭼﻨﻴﻦ ﺳﻮﺩﺍﻳﻲ‬
‫ﺩﺍﺭﻧﺪ‪ .‬ﺁﻥﻫﺎ ﺩﻭﺳﺖ ﺩﺍﺭﻧﺪ ﭼﻨﺎﻥ ﺳﺨﻦ ﺑﮕﻮﻳﻨﺪ ﮐﻪ ﮔﻮﻳﻲ ﺗﻨﻬﺎ ﺩﺍﺭﻧﺪ ﺍﺯ‬
‫ِ ﺳﺨﻦﮔﻔﺘﻦ ﺑﻬﺮﻩ ﻣﻲﺑﺮﻧﺪ‪ .‬ﺍﻣﺎ ﺭﺳﻴﺪﻥ ﺑﻪ ﺑﺪﻥِ ﺑﺪﻭﻥِ ﺍﻧﺪﺍﻡ‬ ‫ﻧﻮﻋﻲ ﻃﺮﺯ‬
‫ﭘﺎﻳﺎﻥﭘﺬﻳﺮ ﻧﻴﺴﺖ‪ .‬ﺗﻮﻟﻴﺪ ﻭ ﮐﺸﻒ ﻫﺮ ﺑﺪﻥ ﺑﺪﻭﻥ ﺍﻧﺪﺍﻣﻲ ﻣﺴﺘﻠﺰﻡ‬
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‫ﻓﺮﺁﻳﻨﺪﻫﺎﻱ ﺳﺎﺧﺖﮔﺮﺍﻳﺎﻧﻪﻱ ﺑﻲﻭﻗﻔﻪﺍﻱ ﺍﺳﺖ ﮐﻪ ﻭﺍﻗﻌﻴﺖِ ﺍﺟﺘﻤﺎﻋﻲ ﻭ‬
‫ﺑﻲﻭﺍﺳﻄﻪﻱ ﻣﻴﻞ ﻭ ﻧﻴﺮﻭﮔﺬﺍﺭﻱﻫﺎﻱ ﺳﻴﺎﺳﻲﺍﺵ ﺭﺍ ﺩﺭﻳﺎﺑﺪ ﻭ ﺑﺘﻮﺍﻧﺪ ﺁﻥﻫﺎ‬
‫ﺭﺍ ﺑﻪ ﮐﺎﺭ ﺑﻨﺪﺩ‪ .‬ﺍﺯ ﺍﻳﻦ ﺣﻴﺚ‪ ،‬ﺑﺎﻳﺪ ﺣﻮﺻﻠﻪﻱ ﺯﻳﺎﺩﻱ ﺑﻪ ﺧﺮﺝ ﺩﺍﺩ‪:‬‬
‫ﻫﺰﺍﺭ ﻓﻼﺕ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻱ ﺑﻲﻧﻬﺎﻳﺖ ﻓﻼﺕﻫﺎﻱ ﺗﺮﺳﻴﻢﺷﺪﻩ ﻭ ﭼﻪﺑﺴﺎ ﺗﺮﺳﻴﻢﻧﺸﺪﻩ‬
‫ﻭ ﺩﺭ ـ ﺭﺍﻩﺍﺵ ﮐﺎﺭ ﻣﻲﺑﺮﺩ ﻭ ﺍﺯ ﻣﺎ ﮐﺎﺭ ﻣﻲﺧﻮﺍﻫﺪ‪» .‬ﺑﺲ ﺍﺳﺖ! ﺩﺍﺭﻱ ﻣﺮﺍ‬
‫ﺧﺴﺘﻪ ﻣﻲﻛﻨﻲ! ﺁﺯﻣﺎﻳﺶ ﮐﻦ‪ ،‬ﺩﻻﻟﺖ ﻭ ﺗﻔﺴﻴﺮ ﻧﮑﻦ! ﻣﮑﺎﻥﻫﺎ‪ ،‬ﻗﻠﻤﺮﻭﻣﻨﺪﻱﻫﺎ‪،‬‬
‫ِ ﭘﺮﻭﺍﺯ‬
‫ِ ﺧﻮﺩﺕ ﺭﺍ ﭘﻴﺪﺍ ﮐﻦ!«‬ ‫ﻗﻠﻤﺮﻭﺯﺩﺍﻳﻲﻫﺎ‪ ،‬ﺭژﻳﻢ‪ ،‬ﻭ ﺧﻄﻮﻁ‬
‫‪ .3‬ﮐﺘﺎﺑﻲ ﮐﻪ ﺑﻪ ﺯﺑﺎﻥ ﻧﻪ ﺩﺭ ﻣﻘﺎﻡ ﻣﺎﻳﻪﺍﻱ ﺻﻠﺐ‪ ،‬ﺍﺑﮋﮐﺘﻴﻮ‪ ،‬ﻳﺎ‬
‫ﺳﻮﺑﮋﮐﺘﻴﻮ‪ ،‬ﺑﻞ ﺑﻪﻋﻨﻮﺍﻥ ﻭﺿﻌﻴﺘﻲ ﻧﺎﻣﺘﻮﺍﺯﻥ‪ ،‬ﺩﻳﮕﺮﮔﻮﻥ‪ ،‬ﺑﺲﮔﺎﻧﻪ‪،‬‬
‫ِ ﺗﻐﻴﺮﻫﺎﻱ ﻧﺎﺏ ﻧﮕﺎﻩ ﻣﻲﻛﻨﺪ‪ ،‬ﻣﻲﺗﻮﺍﻧﺪ ﻫﺮ ﻣﺸﮑﻠﻲ‬ ‫ﻏﻴﺮﺳﻮﺑﮋﮐﺘﻴﻮ‪ ،‬ﻭ ﻭﺍﺟﺪ‬
‫ﺭﺍ ﺑﺮ ﺳﺮ ﺭﺍﻩ ﻓﻬﻢﺍﺵ ﺑﻪ ﻭﺟﻮﺩ ﺁﻭﺭﺩ‪ .‬ﮐﺘﺎﺑﻲ ﮐﻪ ﺑﺎ ﺁﺯﻣﻮﻥﮔﺮﻱﻫﺎ‪ ،‬ﺑﺎ‬
‫ﻣﺤﻠﻮﻝﻫﺎﻱ ﺷﻴﻤﻴﺎﻳﻲ‪ ،‬ﺑﺎ ﻧﺴﺒﺖﻫﺎﻱ ﮐﻴﻬﺎﻧﻲ‪ ،‬ﺑﺎ ﺷﺪﻥﻫﺎﻱ ﻧﺎﺏ‪ ،‬ﺑﺎ‬
‫ﻟﺠﺎﻡﮔﺴﻴﺨﺘﮕﻲ ﻭﺍﻗﻌﻴﺖِ ﻧﻮﺷﺘﺎﺭ‪ ،‬ﻭ ﺑﺎ ﻋﻤﻞﮔﺮﺍﻳﻲ ﻭ ﮐﺎﺭﮐﺮﺩﮔﺮﺍﻳﻲ‬
‫ﺿﺪﺯﺑﺎﻥﺷﻨﺎﺧﺘﻲ ﻧﻮﺷﺘﻪ ﻣﻲﺷﻮﺩ‪ ،‬ﻣﻲﺗﻮﺍﻧﺪ ﻫﺮ ﮐﺴﻲ ﺭﺍ ﮐﻪ ﺗﻮﺍﻧﺎﻳﻲ‬
‫ﺳﺎﺩﻩﺗﺮﻳﻦ ﺁﺭﻱﮔﻮﻳﻲ ﺑﻪ ﺁﺳﺘﺎﻧﻪﻫﺎ‪ ،‬ﮔﺬﺍﺭﻫﺎ‪ ،‬ﻣﻴﻞﻫﺎ‪ ،‬ﻭ ﺷﺪﻥﻫﺎﻳﺶ ﺭﺍ‬
‫ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﺍﺯ ﺧﻮﺩﺵ ﻣﻨﺰﺟﺮ ﮐﻨﺪ‪ .‬ﺑﺎﻳﺪ ﺑﺘﻮﺍﻧﻴﻢ ﺑﻪﻧﺤﻮﻱ ﺍﻧﻀﻤﺎﻣﻲ‪،‬‬
‫ﻭﺍﻗﻌﻲ‪ ،‬ﻭ ﺟﻮﻫﺮﻱ ﺑﻪ ﻣﻨﺎﺳﺒﺎﺕِ ﺯﻣﻴﻨﻲ ﻭ ﮐﻴﻬﺎﻧﻲ ﻫﺴﺘﻲ ﻧﮕﺎﻩ ﮐﻨﻴﻢ‪.‬‬
‫ﺗﻮﺍﻧﺎﻳﻲ ﻣﻮﺍﺟﻬﻪ ﻭ ﺭﻭﺵﺷﻨﺎﺳﻲ ﻣﻮﺍﺟﻬﻪ ﻳﮑﻲ ﺍﺯ ﻧﺨﺴﺘﻴﻦ ﺷﺮﻁﻫﺎﻱ ﻫﺮ ﻓﻬﻢ‬
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‫ِ ﻭﺍﻗﻌﻲ ﭼﻴﺴﺖ؟ ﺁﻳﺎ ﻭﺍﻗﻌﻲﺗﺮﻳﻦ ﻭﺍﻗﻌﻲ ﻫﻢ ﻭﺟﻮﺩ‬ ‫ﻭﺍﻗﻌﻲ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺧﻮﺩ‬
‫ﺩﺍﺭﺩ ﮐﻪ ﺑﺘﻮﺍﻧﺪ ﻫﻤﮕﺎﻥ ﺭﺍ ﺩﺭ ﺁﻏﻮﺵ ﺑﮑﺸﺪ ﻭ ﺍﻧﺰﺟﺎﺭﺷﺎﻥ ﺭﺍ ﻧﻴﺰ ﺗﺎﺏ‬
‫ِ ﻋﻨﮑﺒﻮﺕ ﺑﻪ ﺷﺒﮑﻪﺍﻱ‬ ‫ﺑﻴﺎﻭﺭﺩ‪ ،‬ﻫﻤﺎﻥ ﻭﺍﻗﻌﻴﺘﻲ ﮐﻪ ﻣﻲﺗﻮﺍﻧﺪ ﻫﻤﭽﻮﻥ ﺗﺎﺭ‬
‫ﺳﺮﺗﺎﺳﺮﻱ ﺍﺯ ﮔﻮﺷﺖﻫﺎﻱ ﺟﺮﺍﺣﺖﺩﻳﺪﻩ ﺷﮑﻞ ﺩﻫﺪ؟ ﺗﻮﺍﻧﺎﻳﻲ ﻣﻮﺍﺟﻬﻪ ﺑﻪ‬
‫ِ ﻋﺸﻖ‪،‬‬‫ﻣﻮﻗﻌﻴﺘﻲ ﻋﺎﺷﻘﺎﻧﻪ ﻣﻲﻣﺎﻧﺪ‪ :‬ﺁﻳﺎ ﻣﻲﺗﻮﺍﻧﻴﻢ ﻧﻪ ﺗﻨﻬﺎ ﺑﻪ ﺧﻮﺩ‬
‫ﺑﻠﻜﻪ ﺑﻪ ﺧﻮﺩ ﺁﺭﻱﮔﻮﻳﻲ ﺑﻪ ﻋﺸﻖ ﻧﻴﺰ ﺁﺭﻱﮔﻮ ﺑﺎﺷﻴﻢ؟ ﺁﻳﺎ ﻣﻲﺗﻮﺍﻧﻴﻢ‬
‫ِ ﺗﮑﺎﻣﻞﻫﺎﻱ ﻧﺎﻣﻮﺍﺯﻱ ﺑﺪﻥﻫﺎﻱ ﺑﺪﻭﻥِ ﺍﻧﺪﺍﻡ ﺍﻳﻦ ﮐﺘﺎﺏ ﺷﻮﻳﻢ ﻭ ﺣﺘﻲ‬ ‫ﻋﺎﺷﻖ‬
‫ﺧﻮﺩﻣﺎﻥ ﻓﻼﺕﻫﺎﻱ ﺟﻤﻌﻲﻣﺎﻥ ﺭﺍ ﺑﺎ ﺩﻭﺳﺖﻣﺎﻥ ﺑﺴﺎﺯﻳﻢ ﻭ ﭼﻪ ﺑﺴﺎ ﺩﺷﻤﻦِ‬
‫ﺩﺷﻤﻦ ﺭﺍ ﺩﻭﺳﺖ ﻧﭙﻨﺪﺍﺭﻳﻢ؟ ﮐﺎﺭﮐﺮﺩﮔﺮﺍﻳﻲ ﻫﺰﺍﺭ ﻓﻼﺕ ﻋﻤﻼً ﺩﺭ ﺟﺴﺘﺠﻮﻱ‬
‫ﺗﻮﻟﻴﺪ ﺟﻤﻌﻴﺖﻫﺎﻳﻲ ﺁﻭﺍﺭﻩ‪ ،‬ﺳﺮﮔﺮﺩﺍﻥ‪ ،‬ﻭﻳﻼﻥ‪ ،‬ﭘﺮﺳﻪﺯﻥ‪ ،‬ﻭ ﮐﻮچﮔﺮ ﺍﺳﺖ‪.‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

‫ﻧﻘﺸﻪﻫﺎﻱ ﻫﺴﺘﻲ ﺍﺟﺘﻤﺎﻋﻲﺗﺎﻥ ﺭﺍ ﺗﺮﺳﻴﻢ ﮐﻨﻴﺪ‪ .‬ﻧﻤﻮﺩﺍﺭﻫﺎﻱ ﺟﻤﻌﻲ‬
‫ﺟﻤﻌﻴﺖﻫﺎﻳﺘﺎﻥ ﺭﺍ ﺑﺴﺎﺯﻳﺪ‪ .‬ﻣﺎﺷﻴﻦﻫﺎﻱ ﺟﻨﮓﺗﺎﻥ ﺭﺍ ﺑﺎﺭ ﮐﻨﻴﺪ‪» .‬ﺟﻔﺖﻫﺎ‪،‬‬
‫ﻫﻤﺰﺍﺩﻫﺎ‪ ،‬ﻭ ﺭﺍﺯﻫﺎﻳﺘﺎﻥ‪ ،‬ﻭ ﻧﻴﺰ ﺗﺮﮐﻴﺐﺑﻨﺪﻱﻫﺎﻱ ﺍﻳﻦ ﻫﻤﻪ ﭼﻴﺴﺘﻨﺪ؟«‬
‫ﺯﻫﺮﻩ ﺍﮐﺴﻴﺮﻱ‪ ،‬ﻣﺤﺪﺛﻪ ﺯﺍﺭﻉ‪ ،‬ﭘﻴﻤﺎﻥ ﻏﻼﻣﻲ‪ ،‬ﺍﻳﻤﺎﻥ ﮔﻨﺠﻲ‬

‫ﻳﺎﺩﺩﺍﺷﺖ ﻣﺆﻟﻔﺎﻥ ﺍﺛﺮ‬

‫ﺍﻳﻦ ﮐﺘﺎﺏ ﺟﻠﺪ ﻣﮑﻤﻞ ﺿﺪﺍﺩﻳﭗ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺩﻭ ﮐﺘﺎﺏ ﻫﻤﺮﺍﻩ ﺑﺎ ﻫﻢ‬
‫ﮐﺎﭘﻴﺘﺎﻟﻴﺴﻢ ﻭ ﺍﺳﮑﻴﺰﻭﻓﺮﻧﻲ ﺭﺍ ﻣﻲﺳﺎﺯﻧﺪ‪.‬‬
‫ﻫﺰﺍﺭ ﻓﻼﺕ ﻧﻪ ﺍﺯ ﻓﺼﻮﻝ‪ ،‬ﺑﻠﻜﻪ ﺍﺯ »ﻓﻼﺕﻫﺎ« ﺗﺸﮑﻴﻞ ﻣﻲﺷﻮﺩ‪ .‬ﺩﻟﻴﻞﺍﺵ‬
‫ﺭﺍ ﺑﻌﺪﺗﺮ ﺗﻮﺿﻴﺢ ﺧﻮﺍﻫﻴﻢ ﺩﺍﺩ )ﻭ ﺧﻮﺍﻫﻴﻢ ﮔﻔﺖ ﭼﺮﺍ ﻫﻤﻪﻱ ﻣﺘﻦﻫﺎ ﺗﺎﺭﻳﺦ‬
‫ﺩﺍﺭﻧﺪ(‪ .‬ﺍﻳﻦ ﻓﻼﺕﻫﺎ ﺭﺍ ﺗﺎ ﺣﺪ ﻣﺸﺨﺼﻲ ﻣﻲﺗﻮﺍﻥ ﻣﺴﺘﻘﻞ ﺍﺯ ﻳﮑﺪﻳﮕﺮ‬
‫ﺧﻮﺍﻧﺪ‪ ،‬ﻣﮕﺮ ﻧﺘﻴﺠﻪﮔﻴﺮﻱ ﮐﻪ ﺑﺎﻳﺪ ﺩﺭ ﭘﺎﻳﺎﻥ ﺧﻮﺍﻧﺪﻩ ﺷﻮﺩ‪.‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫ﻓﺼﻞ ﺍﻭﻝ‪ :‬ﺩﺭﺁﻣﺪ‪ :‬ﺭﻳﺰﻭﻡ‬

‫)‪1(Sylvano Bussoti‬‬ ‫ﺳﻴﻠﻮﺍﻧﻮ ﺑﺎﺳﻮﺗﻲ‬

‫ﻣﺎ ﻫﺮ ﺩﻭ ﺿﺪﺍﺩﻳﭗ ﺭﺍ ﺑﺎ ﻫﻢ ﻧﻮﺷﺘﻴﻢ‪ .‬ﭘﻴﺸﺎﭘﻴﺶ ﺍﺯﺩﺣﺎﻣﻲ ﺩﺭ ﮐﺎﺭ‬

‫ﺑﻮﺩ ﭼﻮﻥ ﻫﺮﻳﮏ ﺍﺯ ﻣﺎ ﭼﻨﺪﻳﻦ ﻧﻔﺮ ﺑﻮﺩﻳﻢ‪ .‬ﺍﻳﻦﺟﺎ ﺍﺯ ﻫﺮ ﺁﻥﭼﻪ ﮐﻪ ﺩﺭ‬
‫ﺗﻴﺮﺭﺱﻣﺎﻥ ﺑﻮﺩ ﺍﺳﺘﻔﺎﺩﻩ ﮐﺮﺩﻳﻢ‪ ،‬ﻫﺮ ﺁﻥﭼﻪ ﮐﻪ ﻧﺰﺩﻳﮏﺗﺮﻳﻦ ﻭ ﺩﻭﺭﺗﺮﻳﻦ‬
‫ِ ﻫﻮﺷﻤﻨﺪﺍﻧﻪﺍﻱ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﻧﺴﺒﺖ ﺩﺍﺩﻩﺍﻳﻢ ﺗﺎ‬ ‫ﺑﻮﺩ‪ .‬ﺍﺳﺎﻣﻲ ﻣﺴﺘﻌﺎﺭ‬
‫ﺷﻨﺎﺳﺎﻳﻲ ﻧﺸﻮﻳﻢ‪ .‬ﭼﺮﺍ ﺑﺎﻳﺪ ﻧﺎﻡﻫﺎﻱ ﺧﻮﻳﺶ ﺭﺍ ﺣﻔﻆ ﻣﻲﻛﺮﺩﻳﻢ؟ ﺍﺯ ﺭﻭﻱ‬
‫ً ﺍﺯ ﺭﻭﻱ ﻋﺎﺩﺕ‪ .‬ﺗﺎ ﺩﺭ ﻋﻮﺽ ﺧﻮﺩﻣﺎﻥ ﺭﺍ ﺷﻨﺎﺳﺎﻳﻲﻧﺎﭘﺬﻳﺮ‬ ‫ﻋﺎﺩﺕ‪ ،‬ﻣﻄﻠﻘﺎ‬
‫ﮐﻨﻴﻢ‪ .‬ﺗﺎ ﺩﺭکﻧﺎﭘﺬﻳﺮ ﮐﻨﻴﻢ‪ ،‬ﻧﻪ ﺧﻮﺩﻣﺎﻥ‪ ،‬ﺑﻠﻜﻪ ﺁﻥﭼﻪ ﻣﺎ ﺭﺍ ﺑﻪ ﻋﻤﻞ‪،‬‬
‫ﺍﺣﺴﺎﺱ‪ ،‬ﻭ ﻓﮑﺮ ﻭﺍﻣﻲﺩﺍﺭﺩ‪ .‬ﻭ ﻧﻴﺰ ﭼﻮﻥ ﺧﻮﺏ ﺍﺳﺖ ﮐﻪ ﻫﻤﭽﻮﻥ ﻫﺮﮐﺲِ ﺩﻳﮕﺮﻱ‬
‫ﺻﺤﺒﺖ ﮐﻨﻴﻢ‪ ،‬ﺑﮕﻮﻳﻴﻢ ﺧﻮﺭﺷﻴﺪ ﻃﻠﻮﻉ ﻣﻲﻛﻨﺪ ﻭﻗﺘﻲ ﻫﻤﻪ ﻣﻲﺩﺍﻧﻨﺪ ﺍﻳﻦ‬
‫ِ ﺳﺨﻦﮔﻔﺘﻦ ﺍﺳﺖ‪ .‬ﺗﺎ ﺑﺮﺳﻴﻢ‪ ،‬ﻧﻪ ﺑﻪ ﻧﻘﻄﻪﺍﻱ ﮐﻪ ﺩﻳﮕﺮ‬ ‫ﺗﻨﻬﺎ ﻧﻮﻋﻲ ﻃﺮﺯ‬
‫ﻧﻤﻲﮔﻮﻳﻴﻢ ﻣﻦ‪ ،‬ﺑﻞ ﺑﻪ ﻧﻘﻄﻪﺍﻱ ﮐﻪ ﺩﻳﮕﺮ ﺍﻫﻤﻴﺘﻲ ﻧﺪﺍﺭﺩ ﺑﮕﻮﻳﻴﻢ ﻣﻦ‪ .‬ﻣﺎ‬
‫ﺩﻳﮕﺮ ﺧﻮﺩﻣﺎﻥ ﻧﻴﺴﺘﻴﻢ‪ .‬ﻫﺮ ﮐﺪﺍﻡﻣﺎﻥ ﺧﻮﺩﺵ ﺭﺍ ﻣﻲﺷﻨﺎﺳﺪ‪ .‬ﻳﺎﺭﻱ ﺷﺪﻩﺍﻳﻢ‪،‬‬
‫ﺍﻟﻬﺎﻡ ﮔﺮﻓﺘﻪﺍﻳﻢ‪ ،‬ﺑﺲﮔﺎﻧﻪ ﺷﺪﻩﺍﻳﻢ‪.‬‬
‫ِ ﺷﮑﻞﮔﺮﻓﺘﻪﻱ ﻣﺘﻌﺪﺩ‪ ،‬ﻭ‬‫ﮐﺘﺎﺏ ﻧﻪ ﺍﺑﮋﻩ ﺩﺍﺭﺩ ﻧﻪ ﺳﻮژﻩ؛ ﺑﻠﻜﻪ ﺍﺯ ﻣﻮﺍﺩ‬
‫ﺩﺍﺩﻩﻫﺎ ﻭ ﺳﺮﻋﺖﻫﺎﻱ ﺑﺴﻴﺎﺭ ﻣﺘﻔﺎﻭﺗﻲ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻧﺴﺒﺖﺩﺍﺩﻥِ ﮐﺘﺎﺏ‬
‫ِ ﺍﻳﻦ ﻣﻮﺍﺩ ﻭ ﺑﻴﺮﻭﻧﻲﺑﻮﺩﻥِ‬ ‫ﻧﺎﺩﻳﺪﻩﮔﺮﻓﺘﻦِ ﮐﺎﺭ‬ ‫ﺑﻪ ﻳﮏ ﺳﻮژﻩ‬
‫ﻧﺴﺒﺖﻫﺎﻳﺸﺎﻥ ﺍﺳﺖ‪ ،‬ﻭ ﻧﻴﺰ ﺳﺎﺧﺘﻦِ ﺧﺪﺍﻳﻲ ﺑﺨﺸﻨﺪﻩ ﺑﺮﺍﻱ ﺗﻮﺟﻴﻪ ﺣﺮﮐﺖﻫﺎﻱ‬
‫ِ ﻣﻔﺼﻞﺑﻨﺪﻱ‬‫ﺯﻣﻴﻦﺷﻨﺎﺧﺘﻲ ﺍﺳﺖ‪ .‬ﺩﺭ ﮐﺘﺎﺏ‪ ،‬ﭼﻨﺎﻥﮐﻪ ﺩﺭ ﻫﻤﻪﻱ ﭼﻴﺰﻫﺎ‪ ،‬ﺧﻄﻮﻁ‬
‫ِ ﭘﺮﻭﺍﺯ‪ ،‬ﺣﺮﮐﺖﻫﺎﻱ‬‫ﻳﺎ ﻗﻄﻌﻪﻭﺍﺭﮔﻲ‪ ،‬ﭼﻴﻨﻪﻫﺎ ﻭ ﻗﻠﻤﺮﻭﻫﺎ‪ ،‬ﻭ ﻫﻤﭽﻨﻴﻦ ﺧﻄﻮﻁ‬
‫ﻗﻠﻤﺮﻭﺯﺩﺍﻳﻲ ﻭ ﭼﻴﻨﻪﺯﺩﺍﻳﻲ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ‪ .‬ﻧﺮﺥﻫﺎﻱ ﺗﻄﺒﻴﻘﻲ ﺳﻴﻼﻥ ﺑﺮ ﺍﻳﻦ‬
‫ﭘﺪﻳﺪﻩﻫﺎﻱ ﺁﻫﺴﺘﮕﻲ ﻭ ﮔﺮﺍﻥﺭﻭﻱ ﻧﺴﺒﻲ‪ ،‬ﻳﺎ‪ ،‬ﺑﺮ ﻋﮑﺲ‪ ،‬ﭘﺪﻳﺪﻩﻫﺎﻱ‬ ‫ﺧﻄﻮﻁ‬
‫ﺷﺘﺎﺏ ﻭ ﮔﺴﺴﺖ ﺭﺍ ﺗﻮﻟﻴﺪ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺍﻳﻦ ﻫﻤﻪ‪ ،‬ﻳﻌﻨﻲ ﺧﻄﻮﻁ ﻭ ﺳﺮﻋﺖﻫﺎﻱ‬

‫‪1. Sylvano Bussoti, Five Pieces for Piano for David Tudor.‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫ِ ﺍﻧﺪﺍﺯﻩﮔﻴﺮﻱ‪ ،‬ﻧﻮﻋﻲ ﺳﺮﻫﻢﺑﻨﺪﻱ ﺭﺍ ﻣﻲﺳﺎﺯﻧﺪ‪ .‬ﮐﺘﺎﺏ ﻧﻮﻋﻲ‬ ‫ﻗﺎﺑﻞ‬
‫ﺳﺮﻫﻢﺑﻨﺪﻱ‪ ،‬ﻭ ﺍﺯ ﺍﻳﻦ ﺣﻴﺚ ﻧﺴﺒﺖﻧﺪﺍﺩﻧﻲ ﺍﺳﺖ‪ .‬ﮐﺘﺎﺏ ﺑﺲﮔﺎﻧﮕﻲ ﺍﺳﺖ ــ‬
‫ِ ﺑﺲﮔﺎﻧﻪ ﻭﻗﺘﻲ ﺩﻳﮕﺮ ﻧﺴﺒﺖ ﺩﺍﺩﻩ ﻧﻤﻲﺷﻮﺩ‪،‬‬‫ﺍﻣﺎ ﻫﻨﻮﺯ ﻧﻤﻲﺩﺍﻧﻴﻢ ﮐﻪ ﺍﻣﺮ‬
‫ﻳﻌﻨﻲ‪ ،‬ﭘﺲ ﺍﺯ ﺁﻥﮐﻪ ﺑﻪ ﺷﺄﻥِ ﺍﺳﻢ ﺍﺭﺗﻘﺎء ﻣﻲﻳﺎﺑﺪ‪ ،‬ﭼﻪ ﭼﻴﺰ ﺭﺍ ﺑﻪ‬
‫ﻫﻤﺮﺍﻩ ﻣﻲﺁﻭﺭﺩ‪ .‬ﻳﮏ ﻃﺮﻑِ ﺳﺮﻫﻢﺑﻨﺪﻱ ﻣﺎﺷﻴﻨﻲ ﺑﺎ ﭼﻴﻨﻪﻫﺎ ﺭﻭﺑﻪﺭﻭ ﻣﻲﺷﻮﺩ‪،‬‬
‫ﮐﻪ ﺑﻲﺷﮏ ﺁﻥ ﺭﺍ ﺑﻪ ﺍﺭﮔﺎﻧﻴﺴﻢ‪ ،‬ﻳﺎ ﺗﻤﺎﻣﻴﺖِ ﺩﻻﻟﺖﮔﺮ‪ ،‬ﻳﺎ ﺑﻪ ﺗﻌﻴﻨﻲ‬
‫ﻧﺴﺒﺖﺩﺍﺩﻧﻲ ﺑﻪ ﻳﮏ ﺳﻮژﻩ ﺑﺪﻝ ﻣﻲﻛﻨﺪ؛ ﺍﻣﺎ ﺳﺮﻫﻢﺑﻨﺪﻱ ﻣﺎﺷﻴﻨﻲ ﻃﺮﻑ‬
‫ﺩﻳﮕﺮﻱ ﻧﻴﺰ ﺩﺍﺭﺩ ﮐﻪ ﺑﺎ ﻳﮏ ﺑﺪﻥِ ﺑﺪﻭﻥِ ﺍﻧﺪﺍﻡ ﺭﻭﺑﻪﺭﻭﺳﺖ‪ ،‬ﺑﺪﻧﻲ ﮐﻪ‬
‫ﻣﺪﺍﻡ ﺍﺭﮔﺎﻧﻴﺴﻢ ﺭﺍ ﻓﺴﺦ ﻣﻲﻛﻨﺪ‪ ،‬ﻭ ﺳﺒﺐ ﻣﻲﺷﻮﺩ ﺗﺎ ﺍﺟﺰﺍﻱ ﻧﺎﺩﻻﻟﺖﮔﺮ ﻳﺎ‬
‫ﺷﺪﺕﻫﺎﻱ ﻧﺎﺏ ﮔﺬﺭ ﮐﻨﻨﺪ ﻳﺎ ﺑﻪ ﭼﺮﺧﺶ ﺩﺭﺁﻳﻨﺪ‪ ،‬ﻭ ﺳﻮژﻩﻫﺎﻳﻲ ﺭﺍ ﺑﻪ ﺧﻮﺩﺵ‬
‫ِ ﺷﺪﺕ ﺑﺮ ﺟﺎﻱ ﻧﻤﻲﮔﺬﺍﺭﺩ‪.‬‬‫ﻧﺴﺒﺖ ﺩﻫﺪ ﮐﻪ ﭼﻴﺰﻱ ﺟﺰ ﻳﮏ ﻧﺎﻡ ﺑﻪﻣﺜﺎﺑﻪﻱ ﺭﺩ‬
‫ِ ﺩﺭ ﻧﻈﺮ‬ ‫ِ ﮐﺘﺎﺏ ﭼﻴﺴﺖ؟ ﺑﺴﺘﻪ ﺑﻪ ﻣﺎﻫﻴﺖِ ﺧﻄﻮﻁ‬ ‫ﺑﺪﻥِ ﺑﺪﻭﻥِ ﺍﻧﺪﺍﻡ‬
‫ِ ﺧﺎﺹﺷﺎﻥ‪ ،‬ﻭ ﺍﻣﮑﺎﻥِ ﻫﻢﮔﺮﺍﻳﻲﺷﺎﻥ ﺭﻭﻱ‬ ‫ﮔﺮﻓﺘﻪﺷﺪﻩ‪ ،‬ﺭﺗﺒﻪ ﻳﺎ ﺗﺮﺍﮐﻢ‬
‫»ﺻﻔﺤﻪﻱ ﻫﻤﻨﻮﺍﺧﺘﻲ« ﮐﻪ ﺍﻧﺘﺨﺎﺏﺷﺎﻥ ﺭﺍ ﺗﻀﻤﻴﻦ ﻣﻲﻛﻨﺪ‪ ،‬ﭼﻨﺪﻳﻦ ﺑﺪﻥ ﺑﺪﻭﻥِ‬
‫ﺍﻧﺪﺍﻡ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺍﻳﻦﺟﺎ‪ ،‬ﻫﻤﭽﻮﻥ ﻫﺮ ﺟﺎﻱ ﺩﻳﮕﺮ‪ ،‬ﻭﺍﺣﺪﻫﺎﻱ‬
‫ﺍﻧﺪﺍﺯﻩﮔﻴﺮﻱ ﺣﻴﺎﺗﻲ ﻫﺴﺘﻨﺪ‪ :‬ﻧﻮﺷﺘﺎﺭ ﺭﺍ ﮐﻤﻲ ﮐﻨﻴﺪ‪ .‬ﺗﻔﺎﻭﺗﻲ ﺑﻴﻦِ ﺁﻥﭼﻪ‬
‫ﻳﮏ ﮐﺘﺎﺏ ﺩﺭﺑﺎﺭﻩﺍﺵ ﺣﺮﻑ ﻣﻲﺯﻧﺪ ﻭ ﭼﮕﻮﻧﮕﻲ ﺳﺎﺧﺘﻪﺷﺪﻥِ ﮐﺘﺎﺏ ﻭﺟﻮﺩ‬
‫ﻧﺪﺍﺭﺩ‪ .‬ﺍﺯ ﺍﻳﻦﺭﻭ‪ ،‬ﮐﺘﺎﺏ ﻫﻴﭻ ﺍﺑﮋﻩﺍﻱ ﻧﻴﺰ ﻧﺪﺍﺭﺩ‪ .‬ﮐﺘﺎﺏ ﺩﺭ ﻣﻘﺎﻡ‬
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‫ﺳﺮﻫﻢﺑﻨﺪﻱ ﻓﻘﻂ ﺧﻮﺩﺵ ﺭﺍ ﺩﺍﺭﺩ‪ ،‬ﺁﻥ ﻫﻢ ﺩﺭ ﻧﺴﺒﺖ ﺑﺎ ﺩﻳﮕﺮ ﺳﺮﻫﻢﺑﻨﺪﻱﻫﺎ‬
‫ﻭ ﺩﺭ ﻧﺴﺒﺖ ﺑﺎ ﺩﻳﮕﺮ ﺑﺪﻥﻫﺎﻱ ﺑﺪﻭﻥ ﺍﻧﺪﺍﻡ‪ .‬ﻫﺮﮔﺰ ﻧﻤﻲﭘﺮﺳﻴﻢ ﮐﺘﺎﺏ‪ ،‬ﺑﻪ‬
‫ﻣﻨﺰﻟﻪﻱ ﻣﺪﻟﻮﻝ ﻳﺎ ﺩﺍﻝ‪ ،‬ﭼﻪ ﻣﻌﻨﺎ ﻣﻲﺩﻫﺪ؛ ﺑﻪ ﺩﻧﺒﺎﻝ ﻫﻴﭻ ﭼﻴﺰﻱ ﺩﺭ‬
‫ﮐﺘﺎﺏ ﻧﻴﺴﺘﻴﻢ‪ .‬ﺑﻠﻜﻪ ﻣﻲﭘﺮﺳﻴﻢ ﻳﮏ ﮐﺘﺎﺏ ﻫﻤﺮﺍﻩ ﺑﺎ ﭼﻪ ﭼﻴﺰ ﺩﻳﮕﺮﻱ ﻋﻤﻞ‬
‫ﻣﻲﻛﻨﺪ‪ ،‬ﻭ ﺩﺭ ﻧﺴﺒﺖ ﺑﺎ ﭼﻪ ﭼﻴﺰﻫﺎﻱ ﺩﻳﮕﺮﻱ ﺷﺪﺕﻫﺎ ﺭﺍ ﺍﻧﺘﻘﺎﻝ ﻣﻲﺩﻫﺪ‪،‬‬
‫ﺑﺲﮔﺎﻧﮕﻲﻫﺎﻳﺶ ﺩﺭ ﭼﻪ ﺑﺲﮔﺎﻧﮕﻲﻫﺎﻱ ﺩﻳﮕﺮﻱ ﺟﺎﻱ ﺩﺍﺩﻩ ﺷﺪﻩﺍﻧﺪ ﻭ ﻣﺴﺦ‬
‫ﮔﺮﺩﻳﺪﻩﺍﻧﺪ‪ ،‬ﻭ ﻫﻢﮔﺮﺍﻳﻲﺍﺵ ﺭﺍ ﺑﺎ ﭼﻪ ﺑﺪﻥﻫﺎﻱ ﺑﺪﻭﻥِ ﺍﻧﺪﺍﻣﻲ ﺍﻳﺠﺎﺩ‬
‫ِ ﺧﺎﺭﺝ ﻭ ﺭﻭﻱ ﺧﺎﺭﺝ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﮐﺘﺎﺏ‬ ‫ﻣﻲﻛﻨﺪ‪ .‬ﮐﺘﺎﺏ ﺗﻨﻬﺎ ﺍﺯ ﺧﻼﻝ‬
‫ِ ﺍﻧﺪﺍﺯﻩﮔﻴﺮﻱ( ﺍﻳﻦ ﻣﺎﺷﻴﻦِ ﺍﺩﺑﻲ ﺑﺎ‬‫ﻣﺎﺷﻴﻨﻲ ﮐﻮﭼﮏ ﺍﺳﺖ؛ ﻧﺴﺒﺖِ )ﻗﺎﺑﻞ‬
‫ﻣﺎﺷﻴﻦِ ﺟﻨﮓ‪ ،‬ﻣﺎﺷﻴﻦِ ﻋﺸﻖ‪ ،‬ﻣﺎﺷﻴﻦِ ﺍﻧﻘﻼﺑﻲ‪ ،‬ﻭ ﺍﻟﺦ‪ ،‬ﻭ ﻧﻴﺰ ﺑﺎ ﻣﺎﺷﻴﻦِ‬
‫ﺍﻧﺘﺰﺍﻋﻲ ﮐﻪ ﺍﻳﻦ ﻣﺎﺷﻴﻦﻫﺎ ﺭﺍ ﺩﻭﺭ ﻣﻲﻛﻨﺪ‪ ،‬ﭼﻴﺴﺖ؟ ﺑﻪﺧﺎﻃﺮ ﻧﻘﻞﻗﻮﻝ‬
‫ﺁﻭﺭﺩﻥﻫﺎﻱ ﺑﻴﺶ ﺍﺯ ﺍﻧﺪﺍﺯﻩ ﺍﺯ ﻣﺆﻟﻒﻫﺎﻱ ﺍﺩﺑﻲ ﻣﻮﺭﺩ ﺍﻧﺘﻘﺎﺩ ﻗﺮﺍﺭ‬
‫ﮔﺮﻓﺘﻴﻢ‪ .‬ﺍﻣﺎ ﻭﻗﺘﻲ ﮐﺴﻲ ﻣﻲﻧﻮﻳﺴﺪ‪ ،‬ﺗﻨﻬﺎ ﭘﺮﺳﺶ ﺍﻳﻦ ﺍﺳﺖ ﮐﻪ ﻣﺎﺷﻴﻦِ‬
‫ﺍﺩﺑﻲ ﺑﻪ ﭼﻪ ﻣﺎﺷﻴﻦِ ﺩﻳﮕﺮﻱ ﻣﻲﺗﻮﺍﻧﺪ ﭼﻔﺖ ﺷﻮﺩ‪ ،‬ﻭ ﺑﺎﻳﺪ ﭼﻔﺖ ﺷﻮﺩ‪ ،‬ﺗﺎ‬
‫ﺟﻨﮓ ﺩﻳﻮﺍﻧﻪ‪ ،‬ﮐﺎﻓﮑﺎ ﻭ ﺧﺎﺭﻕﺍﻟﻌﺎﺩﻩﺗﺮﻳﻦ‬‫ﮐﺎﺭ ﮐﻨﺪ‪ .‬ﮐﻼﻳﺴﺖ ﻭ ﻣﺎﺷﻴﻦِ ِ‬
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‫ِ ﺍﺩﺑﻴﺎﺕ‪ ،‬ﮐﻪ ﻳﻘﻴﻨﺎ ﺑﻪ‬ ‫ﻣﺎﺷﻴﻦِ ﺑﻮﺭﻭﮐﺮﺍﺗﻴﮏ‪) ...‬ﺍﮔﺮ ﮐﺴﻲ ﺍﺯ ﺧﻼﻝ‬
‫ﻣﻌﻨﺎﻱ ﺑﻪﻃﻮﺭ ﺍﺩﺑﻲ ﻧﻴﺴﺖ‪ ،‬ﺣﻴﻮﺍﻥ ﻳﺎ ﮔﻴﺎﻩ ﺷﻮﺩ ﭼﻪ؟ ﺁﻳﺎ ﺍﺑﺘﺪﺍ ﺍﺯ‬
‫ِ ﺻﺪﺍ ﻧﻴﺴﺖ ﮐﻪ ﮐﺴﻲ ﺣﻴﻮﺍﻥ ﻣﻲﺷﻮﺩ؟( ﺍﺩﺑﻴﺎﺕ ﻧﻮﻋﻲ ﺳﺮﻫﻢﺑﻨﺪﻱ ﺍﺳﺖ‪.‬‬ ‫ﺧﻼﻝ‬
‫ﺍﺩﺑﻴﺎﺕ ﻫﻴﭻ ﺭﺑﻄﻲ ﺑﻪ ﺍﻳﺪﺋﻮﻟﻮژﻱ ﻧﺪﺍﺭﺩ‪ .‬ﻫﻴﭻ ﺍﻳﺪﺋﻮﻟﻮژﻱﺍﻱ ﻭﺟﻮﺩ‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫ﻧﺪﺍﺭﺩ ﻭ ﻫﺮﮔﺰ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺗﻨﻬﺎ ﺩﺭﺑﺎﺭﻩﻱ ﺑﺲﮔﺎﻧﮕﻲﻫﺎ‪ ،‬ﺧﻄﻮﻁ‪،‬‬
‫ِ ﭘﺮﻭﺍﺯ ﻭ ﺷﺪﺕﻫﺎ‪ ،‬ﺳﺮﻫﻢﺑﻨﺪﻱﻫﺎﻱ‬ ‫ﭼﻴﻨﻪﻫﺎ‪ ،‬ﻭ ﻗﻄﻌﻪﻭﺍﺭﮔﻲﻫﺎ‪ ،‬ﺧﻄﻮﻁ‬
‫ﻣﺎﺷﻴﻨﻲ ﻭ ﮔﻮﻧﻪﻫﺎﻱ ﻣﺘﻌﺪﺩﺷﺎﻥ‪ ،‬ﺑﺪﻥﻫﺎﻱ ﺑﺪﻭﻥ ﺍﻧﺪﺍﻡ ﻭ ﺳﺎﺧﺘﻤﺎﻥ ﻭ‬
‫ﮔﺰﻳﻨﺶﺷﺎﻥ‪ ،‬ﺻﻔﺤﻪﻱ ﻫﻤﻨﻮﺍﺧﺘﻲ‪ ،‬ﻭ ﻭﺍﺣﺪﻫﺎﻱ ﺍﻧﺪﺍﺯﻩﮔﻴﺮﻱ ﻫﺮ ﮐﺪﺍﻡ ﺳﺨﻦ‬
‫ِ ﺑﺪﻥِ ﺑﺪﻭﻥ‬‫ِﻟﻮﺳﻨﺞﻫﺎ‪ ،‬ﻭﺍﺣﺪﻫﺎﻱ ﺗﺮﺍﮐﻢ‬‫ﻣﻲﮔﻮﻳﻴﻢ ﻭ ﺑﺲ‪ .‬ﭼﻴﻨﻪﺳﻨﺞﻫﺎ‪ ،‬ﺩ‬
‫ﺍﻧﺪﺍﻡ‪ ،‬ﻭﺍﺣﺪﻫﺎﻱ ﻫﻢﮔﺮﺍﻳﻲ ﺑﺪﻥ ﺑﺪﻭﻥ ﺍﻧﺪﺍﻡ‪ :‬ﻧﻪ ﺗﻨﻬﺎ ﺍﻳﻦ ﻫﻤﻪ‬
‫ﮐﻤﻲﺳﺎﺯﻱ ﻧﻮﺷﺘﺎﺭ ﺭﺍ ﻣﻲﺳﺎﺯﻧﺪ‪ ،‬ﺑﻠﻜﻪ ﻫﻤﻮﺍﺭﻩ ﻧﻮﺷﺘﺎﺭ ﺭﺍ ﺑﻪﻣﺜﺎﺑﻪﻱ‬
‫ﺳﻨﺠﻪﻱ ﭼﻴﺰﻱ ﺩﻳﮕﺮ ﺗﻌﺮﻳﻒ ﻣﻲﻛﻨﻨﺪ‪ .‬ﻧﻮﺷﺘﺎﺭ ﻫﻴﭻ ﺭﺑﻄﻲ ﺑﻪ ﺩﻻﻟﺖ ﻧﺪﺍﺭﺩ‪،‬‬
‫ﺑﻠﻜﻪ ﺑﺎ ﻣﺴﺎﺣﻲ‪ ،‬ﻧﻘﺸﻪﺑﺮﺩﺍﺭﻱ‪ ،‬ﻭ ﺣﺘﻲ ﺣﻮﺯﻩﻫﺎﻱ ﺩﺭ ﺭﺍﻩ ﺳﺮﻭﮐﺎﺭ ﺩﺍﺭﺩ‪.‬‬
‫ِ ﺟﻬﺎﻥ‪،‬‬‫ﺭﻳﺸﻪـﮐﺘﺎﺏ ﺍﺳﺖ‪ .‬ﺩﺭﺧﺖ ﭘﻴﺸﺎﭘﻴﺶ ﺗﺼﻮﻳﺮ‬ ‫ِ ﮐﺘﺎﺏ‬‫ﺍﻭﻟﻴﻦ ﻧﻮﻉ‬
‫ِ ﮐﺘﺎﺏ ﻫﻤﺎﻥ ﮐﺘﺎﺏِ‬ ‫ِ ﺟﻬﺎﻥ ـ ﺩﺭﺧﺖ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻧﻮﻉ‬ ‫ﺗﺼﻮﻳﺮ‬ ‫ﻳﺎ ﺭﻳﺸﻪ‬
‫ِ ﺩﺭﻭﻧﻲﺑﻮﺩﻥِ ﺍﺻﻴﻞ‪ ،‬ﺍﺭﮔﺎﻧﻴﮏ‪ ،‬ﺩﻻﻟﺖﮔﺮ ﻭ ﺳﻮﺑﮋﮐﺘﻴﻮ‬ ‫ﮐﻼﺳﻴﮏ ﺍﺳﺖ‪ ،‬ﻣﺜﻞ‬
‫)ﭼﻴﻨﻪﻫﺎﻱ ﮐﺘﺎﺏ(‪ .‬ﺍﻳﻦ ﮐﺘﺎﺏ ﺍﺯ ﺟﻬﺎﻥ ﺗﻘﻠﻴﺪ ﻣﻲﻛﻨﺪ‪ ،‬ﻫﻤﭽﻮﻥ ﻫﻨﺮ ﮐﻪ‬
‫ﺍﺯ ﻃﺒﻴﻌﺖ ﺗﻘﻠﻴﺪ ﻣﻲﻛﻨﺪ ﻭ ﺑﺎ ﺭﻭﻳﻪﻫﺎﻱ ﺧﺎﺹ ﺧﻮﺩﺵ ﺁﻥﭼﻪ ﺭﺍ ﻃﺒﻴﻌﺖ‬
‫ﻧﻤﻲﺗﻮﺍﻧﺪ ﻳﺎ ﺩﻳﮕﺮ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺍﻧﺠﺎﻡ ﺩﻫﺪ‪ ،‬ﺗﺤﻘﻖ ﻣﻲﺑﺨﺸﺪ‪ .‬ﻗﺎﻧﻮﻥِ ﮐﺘﺎﺏ‬
‫ِ ﻭﺍﺣﺪﻱ ﮐﻪ ﺑﻪ ﺩﻭ ﺑﺪﻝ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﻫﻤﺎﻥ ﻗﺎﻧﻮﻥِ ﺗﺄﻣﻞ ﺍﺳﺖ‪ ،‬ﻳﻌﻨﻲ ﺍﻣﺮ‬
‫ﻗﺎﻧﻮﻥِ ﮐﺘﺎﺏ ﭼﻄﻮﺭ ﻣﻲﺗﻮﺍﻧﺪ ﺩﺭﻭﻥِ ﻃﺒﻴﻌﺖ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﻭﻗﺘﻲ‬
‫ِ ﺑﻴﻦ ﺟﻬﺎﻥ ﻭ ﮐﺘﺎﺏ‪ ،‬ﻃﺒﻴﻌﺖ ﻭ ﻫﻨﺮ ﺭﺍ ﮐﻨﺘﺮﻝ ﻣﻲﻛﻨﺪ؟ ﻳﮏ ﺑﻪ ﺩﻭ‬ ‫ﺗﻘﺴﻴﻢ‬
‫ﺑﺪﻝ ﻣﻲﺷﻮﺩ‪ :‬ﻫﺮ ﺁﻳﻨﻪ ﺑﺎ ﺍﻳﻦ ﻓﺮﻣﻮﻝ ﻣﻮﺍﺟﻪ ﻣﻲﺷﻮﻳﻢ ــ ﭼﻪ ﻣﺎﺋﻮ ﺁﻥ‬
‫ﺭﺍ ﺑﻪﻧﺤﻮﻱ ﺍﺳﺘﺮﺍﺗﮋﻳﮏ ﺑﻴﺎﻥ ﮐﻨﺪ‪ ،‬ﭼﻪ ﺑﻪ »ﺩﻳﺎﻟﮑﺘﻴﮑﻲ«ﺗﺮﻳﻦ ﺷﻴﻮﻩﻱ‬
‫ﻣﻤﮑﻦ ﻓﻬﻢ ﺷﻮﺩ ــ ﺁﻥﭼﻪ ﺩﺭ ﭘﻴﺶِ ﺭﻭﻱ ﻣﺎ ﺍﺳﺖ‪ ،‬ﮐﻼﺳﻴﮏﺗﺮﻳﻦ‪،‬‬
‫ِ ﺍﻧﺪﻳﺸﻪ ﺍﺳﺖ‪ .‬ﻃﺒﻴﻌﺖ‬ ‫ﺗﺄﻣﻠﻲﺗﺮﻳﻦ‪ ،‬ﮐﻬﻨﻪﺗﺮﻳﻦ‪ ،‬ﻭ ﺧﺴﺘﻪﮐﻨﻨﺪﻩﺗﺮﻳﻦ ﻧﻮﻉ‬
‫ﺍﻳﻦﻃﻮﺭ ﻋﻤﻞ ﻧﻤﻲﻛﻨﺪ‪ :‬ﺭﻳﺸﻪﻫﺎ ﺩﺭ ﻃﺒﻴﻌﺖ ﺭﻳﺸﻪﻫﺎﻳﻲ ﺍﺻﻠﻲ ﻭ ﻋﻤﻮﺩﻱ‬
‫ِ ﺑﺲﮔﺎﻧﻪ‪ ،‬ﻋﺮﺿﻲ ﻭ ﺣﻠﻘﻮﻱ ﺷﺎﺧﻪﺷﺎﺧﻪﺷﺪﻥ ﻭ ﻧﻪ‬ ‫ﻫﺴﺘﻨﺪ‪ ،‬ﻫﻤﺮﺍﻩ ﺑﺎ ﺳﻴﺴﺘﻢ‬
‫ِ ﺍﻧﺸﻌﺎﺏ ﺑﻪ ﺩﻭ ﺷﺎﺧﻪ‪ .‬ﺍﻧﺪﻳﺸﻪ ﺍﺯ ﻃﺒﻴﻌﺖ ﻋﻘﺐ ﻣﻲﺍﻓﺘﺪ‪ .‬ﺣﺘﻲ‬ ‫ﺳﻴﺴﺘﻢ‬
‫ﮐﺘﺎﺏ ﺑﻪﻣﺜﺎﺑﻪﻱ ﻭﺍﻗﻌﻴﺘﻲ ﻃﺒﻴﻌﻲ ﺭﻳﺸﻪﺍﻱ ﺍﺻﻠﻲ ﻭ ﻋﻤﻮﺩﻱ ﺍﺳﺖ ﻫﻤﺮﺍﻩ ﺑﺎ‬
‫ِ ﭼﺮﺧﺸﻲ ﻭ ﺑﺮگﻫﺎﻱ ﺍﻃﺮﺍﻑﺍﺵ‪ .‬ﺍﻣﺎ ﮐﺘﺎﺏ ﺩﺭ ﻣﻘﺎﻡ‬
‫ِ‬ ‫ﺷﻴﺮﺍﺯﻩﻱ ﻣﺤﻮﺭ‬
‫ﻭﺍﻗﻌﻴﺘﻲ ﻣﻌﻨﻮﻱ‪ ،‬ﻳﻌﻨﻲ ﺩﺭﺧﺖ ﻳﺎ ﺭﻳﺸﻪ ﺑﻪﻣﺜﺎﺑﻪﻱ ﻳﮏ ﺗﺼﻮﻳﺮ‪ ،‬ﻗﺎﻧﻮﻥِ‬
‫ِ ﻭﺍﺣﺪﻱ ﺭﺍ ﮐﻪ ﺑﻪ ﺩﻭ ﺑﺪﻝ ﻣﻲﺷﻮﺩ ﻭ ﺑﻌﺪ ﻗﺎﻧﻮﻥِ ﺍﻣﺮ ﺩﻭﺗﺎﻳﻲ ﺭﺍ ﮐﻪ‬ ‫ﺍﻣﺮ‬
‫ِ ﺩﻭﺩﻭﻳﻲ‬‫ﺑﻪ ﭼﻬﺎﺭ ﺑﺪﻝ ﻣﻲﺷﻮﺩ‪ ،‬ﺑﻲﻭﻗﻔﻪ ﮔﺴﺘﺮﺵ ﻣﻲﺩﻫﺪ‪ ...‬ﻣﻨﻄﻖ‬
‫ﻭﺍﻗﻌﻴﺖِ ﻣﻌﻨﻮﻱ ﺭﻳﺸﻪـﺩﺭﺧﺖ ﺍﺳﺖ‪ .‬ﺣﺘﻲ ﺭﺷﺘﻪﺍﻱ »ﭘﻴﺸﺮﻓﺘﻪ« ﻫﻤﭽﻮﻥ‬
‫ِ ﺑﻨﻴﺎﺩﻳﻦﺍﺵ ﺣﻔﻆ‬ ‫ﺯﺑﺎﻥﺷﻨﺎﺳﻲ ﻧﻴﺰ ﺭﻳﺸﻪـﺩﺭﺧﺖ ﺭﺍ ﺑﻪﻣﺜﺎﺑﻪﻱ ﺗﺼﻮﻳﺮ‬
‫ِ ﮐﻼﺳﻴﮏ ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﺪ )ﻣﺜﻼً‪،‬‬‫ﻣﻲﻛﻨﺪ‪ ،‬ﻭ ﺑﺪﻳﻦﺳﺎﻥ ﺩﺭ ﭘﻴﻮﻧﺪ ﺑﺎ ﺗﺄﻣﻞ‬
‫ﭼﺎﻣﺴﮑﻲ ﻭ ﺩﺭﺧﺖﻫﺎﻱ ﻧﺤﻮﻱﺍﺵ ﮐﻪ ﺍﺯ ﻧﻘﻄﻪﻱ ‪ S‬ﺷﺮﻭﻉ ﻣﻲﻛﻨﺪ ﻭ ﺑﺎ ﺍﻧﺸﻌﺎﺏ‬
‫ِ ﺍﻧﺪﻳﺸﻪ ﻫﺮﮔﺰ‬ ‫ﺑﻪ ﺩﻭ ﺷﺎﺧﻪ ﭘﻴﺶ ﻣﻲﺭﻭﺩ(‪ .‬ﺑﻪ ﺑﻴﺎﻥ ﺩﻳﮕﺮ‪ ،‬ﺍﻳﻦ ﺳﻴﺴﺘﻢ‬
‫ِ ﺍﻧﺪﻳﺸﻪ‪ ،‬ﺑﺎ ﭘﻴﺮﻭﻱ ﺍﺯ ﺭﻭﺷﻲ‬ ‫ﺑﺲﮔﺎﻧﮕﻲ ﺭﺍ ﻧﻔﻬﻤﻴﺪﻩ ﺍﺳﺖ‪ :‬ﺍﻳﻦ ﺳﻴﺴﺘﻢ‬
‫ﻣﻌﻨﻮﻱ ﺑﺮﺍﻱ ﺭﺳﻴﺪﻥ ﺑﻪ ﺩﻭ‪ ،‬ﺑﺎﻳﺪ ﻭﺣﺪﺕِ ﺑﻨﻴﺎﺩﻳﻦ ﻭ ﻣﺤﮑﻤﻲ ﺭﺍ ﭘﻴﺶﻓﺮﺽ‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

‫ً ﺍﺯ ﻳﮏ‬
‫ﺑﮕﻴﺮﺩ‪ .‬ﺑﻲﺷﮏ ﻣﻲﺗﻮﺍﻥ ﭘﻴﺮﻭ ﺭﻭﺵِ ﻃﺒﻴﻌﻲ ﺍﺯ ﺟﺎﻧﺐِ ﺍﺑﮋﻩ ﻣﺴﺘﻘﻴﻤﺎ‬
‫ﺑﻪ ﺳﻪ‪ ،‬ﭼﻬﺎﺭ‪ ،‬ﻳﺎ ﭘﻨﺞ ﺣﺮﮐﺖ ﮐﻨﻴﻢ‪ ،‬ﺍﻟﺒﺘﻪ ﺗﻨﻬﺎ ﺍﮔﺮ ﻭﺣﺪﺕِ ﺑﻨﻴﺎﺩﻳﻦ ﻭ‬
‫ﻣﺤﮑﻤﻲ ﺩﺭ ﮐﺎﺭ ﺑﺎﺷﺪ‪ ،‬ﻳﻌﻨﻲ ﻭﺣﺪﺕِ ﺭﻳﺸﻪﻱ ﺍﺻﻠﻲ ﻭ ﻋﻤﻮﺩﻱ ﻣﺤﻮﺭ‬
‫ِ ﭼﺮﺧﺸﻲ‬
‫ﮐﻪ ﺍﺯ ﺭﻳﺸﻪﻫﺎﻱ ﺛﺎﻧﻮﻱ ﺣﻤﺎﻳﺖ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻳﻦ ﺳﻴﺴﺘﻢ ﭼﻨﺪﺍﻥ ﭘﻴﺶﺑﺮﻧﺪﻩ‬
‫ِ ﺩﻭﺗﮏﻣﻌﻨﺎﻳﻲ‪ 2‬ﺑﻴﻦِ ﺣﻠﻘﻪﻫﺎﻱ ﻣﺘﻮﺍﻟﻲ ﺑﻪﺳﺎﺩﮔﻲ ﺑﻪ ﺟﺎﻱ‬ ‫ﻧﻴﺴﺖ‪ .‬ﺭﻭﺍﺑﻂ‬

‫‪2. biunovocal‬‬
‫ً ﺩﻭ ﺿﺎﺑﻄﻪ ﻳﺎ ﺩﻭ ﻟﻔﻆ ﺭﺍ‬ ‫]ﺩﻭﺗﮏﻣﻌﻨﺎﻳﻲ ﺳﻨﺦِ ﺧﺎﺻﻲ ﺍﺯ ﻧﺴﺒﺖ ﺭﺍ ﻣﻌﻴﻦ ﻣﻲﻛﻨﺪ ﮐﻪ ﻣﻨﺤﺼﺮﺍ‬
‫ﺑﻪ ﻳﮑﺪﻳﮕﺮ ﭘﻴﻮﻧﺪ ﻣﻲﺩﻫﺪ‪ ،‬ﺑﻪﻧﺤﻮﻱ ﮐﻪ ﻳﮑﻲ ﺍﺯ ﺩﻭ ﻃﺮﻑِ ﺿﺎﺑﻄﻪ ﻳﺎ ﻳﮑﻲ ﺍﺯ ﺍﻟﻔﺎﻅ ﺑﺮ‬
‫ﻧﺴﺒﺖ ﺗﺴﻠﻂ ﺩﺍﺭﺩ‪ .‬ﻧﺰﺩ ﺩﻟﻮﺯ ﻭ ﮔﺘﺎﺭﻱ ﺳﻴﺴﺘﻢﻫﺎﻱ ﺑﺎﺯﻧﻤﺎﻳﻲ ﻭ ﺩﻻﻟﺖ ﺳﻴﻼﻥﻫﺎ ﺭﺍ ﻣﺘﻮﻗﻒ ﻭ‬
‫ﺗﻮﻟﻴﺪ ﻣﻴﻞﮔﺮ ﺭﺍ ﻗﻄﻊ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺍﻳﻦ ﺳﻴﺴﺘﻢﻫﺎ ﺍﺯ ﻫﻤﻴﻦ ﻧﺴﺒﺖﻫﺎﻱ ﺩﻭﺗﮏﻣﻌﻨﺎ ﺳﺎﺧﺘﻪ‬
‫ﻣﻲﺷﻮﻧﺪ‪ :‬ﺟﻔﺖﻫﺎﻱ ﺑﺎﺯﻧﻤﻮﺩﮔﺮ ﻭ ﺑﺎﺯﻧﻤﻮﺩﻩ‪ ،‬ﺩﺍﻝ ﻭ ﻣﺪﻟﻮﻝ‪ .‬ﺍﻳﻦ ﻟﻔﻆ ﺍﺯ ﻧﻈﺮﻳﻪﻱ‬
‫ﺭﻳﺎﺿﻴﺎﺗﻲ ﻣﺸﺘﻖ ﻣﻲﺷﻮﺩ ﻭ ﺑﻪ ﺟﻔﺖِ ﻳﮏ ﺑﻪ ﻳﮏِ ﺩﻭ ﺳﺮﻱ ﺍﺯ ﺷﮑﻞﻫﺎ ﻳﺎ ﺍﻋﺪﺍﺩ‪ ،‬ﻳﺎ ﺟﻔﺖِ ﻳﮏ‬
‫ﺑﻪ ﻳﮏِ ﺩﻻﻟﺖ ﺧﺎﺹ ﺩﺭ ﻧﻈﺮﻳﻪﻱ ﻣﺠﻤﻮﻋﻪﻫﺎ ﻧﻴﺰ ﺍﺭﺟﺎﻉ ﺩﺍﺭﺩ‪ .‬ﺑﺮﺍﻱ ﻧﻤﻮﻧﻪ‪ ،‬ﺟﻔﺖﻫﺎﻱ‬
‫ﺩﻭﺗﮏﻣﻌﻨﺎﻳﻲ ﻫﻤﻪﻱ ﺍﻋﺪﺍﺩ ﺑﺎ ﻫﻤﻪﻱ ﺍﻋﺪﺍﺩ ﺍﻭﻝ ﺑﻪ ﺻﻮﺭﺕ )‪ 1‬ﺑﻪ ‪ 2 ،1‬ﺑﻪ ‪ 3 ،3‬ﺑﻪ ‪4 ،5‬‬
‫ِ ﺍﻭﻝ ﻧﻴﺰ‬‫ﺑﻪ ‪ 5 ،7‬ﺑﻪ ‪ (...11‬ﺍﺛﺒﺎﺕ ﻣﻲﻛﻨﺪ ﮐﻪ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻱ ﻫﻤﻪﻱ ﺍﻋﺪﺍﺩ ﻣﻮﺟﻮﺩ‪ ،‬ﻋﺪﺩ‬
‫ِ ﺍﻭﻝﺷﺎﻥ ﺗﺠﺰﻳﻪ ﮐﺮﺩ‪ .‬ﺍﻣﺎ‬ ‫ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺩﺭ ﻧﺘﻴﺠﻪ‪ ،‬ﻣﻲﺗﻮﺍﻥ ﻫﻤﻪﻱ ﺍﻋﺪﺍﺩ ﺭﺍ ﺑﻪ ﺍﻋﺪﺍﺩ‬
‫ﮐﺎﺭﺑﺴﺖ ﺍﺻﻠﻲ ﺍﻳﻦ ﻣﻔﻬﻮﻡ ﻧﺰﺩ ﺩﻟﻮﺯ ﻭ ﮔﺘﺎﺭﻱ ﺭﺍ ﻣﻲﺗﻮﺍﻥ ﺩﺭ ﺍﺳﮑﻴﺰﻭﮐﺎﻭﻱ ﺩﻳﺪ‪ .‬ﻧﺴﺒﺖﻫﺎﻱ‬
‫ِ ﻧﺎﺗﻮﺍﻧﻲ ﺍﺯ ﺗﻮﺿﻴﺢ‬ ‫ﺩﻭﺗﮏﻣﻌﻨﺎﻳﻲ ﻣﻲﺗﻮﺍﻧﻨﺪ ﺭﻭﻳﮑﺮﺩﻫﺎﻱ ﺳﺎﺧﺘﺎﺭﮔﺮﺍﻳﺎﻧﻪ ﺭﺍ ﺩﺭ ﻣﻘﺎﻡ‬
‫ﻭﺍﻗﻌﻴﺖِ ﻣﺎﺩﻱ ﺳﻨﺘﺰﻫﺎﻱ ﻫﺴﺘﻲﺷﻨﺎﺧﺘﻲ‪ ،‬ﺣﺮﮐﺖﻫﺎ‪ ،‬ﻭ ﺷﺪﻥﻫﺎ ﺗﻮﺻﻴﻒ ﮐﻨﻨﺪ‪ .‬ﺩﺭ ﻭﺍﻗﻊ‪،‬‬
‫ِ ﺭﻳﺰﻭﻣﺎﺗﻴﮑﻲ ﺗﺨﻄﻲ ﻣﻲﻛﻨﺪ ﮐﻪ ﺑﻪﻭﺳﻴﻠﻪﺍﺵ ﻫﻤﻪ ﭼﻴﺰ ﻣﻲﺗﻮﺍﻧﺪ ﻭ‬ ‫ﺳﺎﺧﺘﺎﺭﮔﺮﺍﻳﻲ ﺍﺯ ﺍﺻﻞ‬
‫ِ ﺩﻭﺗﮏﻣﻌﻨﺎ ﺭﺍ ﻣﻲﺗﻮﺍﻥ ﺍﺯ ﻳﮏﺳﻮ ﺑﺎ‬ ‫ﺑﺎﻳﺪ ﺩﺭ ﻧﺴﺒﺖ ﺑﺎ ﻳﮑﺪﻳﮕﺮ ﻗﺮﺍﺭ ﺑﮕﻴﺮﺩ‪ .‬ﺍﻣﺮ‬
‫ِ ﺑﻨﻴﺎﺩﻳﻦِ ﺁﺯﺍﺩﺳﺎﺯﻱ ﺳﻨﺘﺰﻫﺎﻱ ﻣﻴﻞ ﺍﺯ ﻣﻘﻮﻻﺕ( ﻭ ﺍﺯ ﺳﻮﻱ ﺩﻳﮕﺮ‬ ‫ِ ﺷﺮﻁ‬‫ﺗﮏﻣﻌﻨﺎﻳﻲ )ﺩﺭ ﻣﻘﺎﻡ‬
‫ﺑﺎ ﺍﺭﺗﺒﺎﻁﻫﺎﻱ ﭼﻨﺪﻣﻌﻨﺎ )ﮐﻪ ﺩﺭ ﺑﺪﻥِ ﺑﺪﻭﻥِ ﺍﻧﺪﺍﻡ ﺭﻭﻱ ﻣﻲﺩﻫﻨﺪ( ﺩﺭ ﺗﻘﺎﺑﻞ ﻗﺮﺍﺭ ﺩﺍﺩ‪.‬‬
‫ﺩﻟﻮﺯ ﻭ ﮔﺘﺎﺭﻱ‪ ،‬ﺑﺮﺍﻱ ﺗﺸﺮﻳﺢِ ﺻﻠﺒﻴﺖ ﻭ ﺗﻌﺎﻟﻲ ﺑﺎﺯﻧﻤﺎﻳﻲ ﺑﺮ ﻣﺒﻨﺎﻱ ﻣﺎﺗﺮﻳﺎﻟﻴﺴﻢ‬
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‫ﺍﺳﺘﻌﻼﻳﻲ‪ ،‬ﺑﺮﻗﺮﺍﺭﻱ ﻧﺴﺒﺖﻫﺎﻱ ﺩﻭﺗﮏﻣﻌﻨﺎﻳﻲ ﺭﺍ ﻧﺎﺷﻲ ﺍﺯ ﺍﺳﺘﻔﺎﺩﻩﻱ ﻧﺎﻣﺸﺮﻭﻉ‪ ،‬ﻣﻨﻔﻲ‪،‬‬
‫ِ ﺳﻨﺘﺰﻫﺎﻱ ﺍﻧﻔﺼﺎﻟﻲ ﻣﻲﺩﺍﻧﻨﺪ )ﻧﻘﺪ ﺍﺳﺘﻌﻼﻳﻲ(‪» .‬ﺩﻭﺗﮏﻣﻌﻨﺎﻳﻲﺳﺎﺯﻱ«‬ ‫ﺍﻧﺤﺼﺎﺭﻱ‪ ،‬ﻭ ﻣﺤﺪﻭﺩﮔﺮ‬
‫ﻝ‬
‫ِ‬ ‫ﺩﺍ‬ ‫ﻳﺎ‬ ‫ﺩﻳﭗ‬‫ﺍ‬ ‫ﻧﻘﺎﺏ‬
‫ِ‬ ‫ﺩﺭ‬ ‫ﺍﻟﺦ(‪،‬‬ ‫ﻭ‬ ‫ﺗﮑﻮﻳﻦ‪،‬‬ ‫ﻫﺎﻱ‬‫ﺧﺼﻴﺼﻪ‬ ‫ﻫﺎ‪،‬‬‫ﺳﻮژﻩ‬ ‫ﻫﺎ‪،‬‬‫)ﻭﺍﺝ‬ ‫ﺿﻮﺍﺑﻂ ﻭ ﺍﻟﻔﺎﻅ‬
‫ِ ﮐﻠﻴﺪﻱ ﺩﺭ‬‫ِ ﺩﻭﺗﮏﻣﻌﻨﺎ ﻋﻨﺼﺮ‬ ‫ﻣﺴﺘﺒﺪ‪ ،‬ﺑﻪ ﺑﺮﻗﺮﺍﺭﻱ ﺑﻌﺪﻱ ﺍﺯ ﺗﻌﺎﻟﻲ ﭘﻴﻮﻧﺪ ﻣﻲﺧﻮﺭﺩ‪ .‬ﭘﺲ ﺍﻣﺮ‬
‫ﻓﻬﻢ ﻗﻠﻤﺮﻭﻱ ﻏﻴﺮﺑﺎﺯﻧﻤﺎﻳﺎﻧﻪﻱ ﺳﻨﺘﺰﻫﺎﻱ ﺁﺯﺍﺩ ﺍﺳﺖ‪ .‬ﺩﻭﺗﮏﻣﻌﻨﺎﻳﻲ ﻣﻲﺗﻮﺍﻧﺪ ﺍﻧﻘﻴﺎﺩ ﺗﺎﻡ ﻭ‬
‫ﺗﻤﺎﻡ ﺳﻨﺘﺰﻫﺎﻱ ﺁﺯﺍﺩ ﺑﻪ ﺍﺭﺟﺎﻉ ﺑﻲﭘﺎﻳﺎﻥِ ﺑﺎﺯﻧﻤﻮﺩﺷﺪﮔﺎﻥ ﺑﻪ ﺑﺎﺯﻧﻤﻮﺩﮐﻨﻨﺪﮔﺎﻥ ﻭ ﻣﺪﻟﻮﻝﻫﺎ‬
‫ﺑﻪ ﺩﺍﻝﻫﺎ ﺭﺍ ﺗﻮﺿﻴﺢ ﺩﻫﺪ‪ .‬ﺩﻟﻮﺯ ﻭ ﮔﺘﺎﺭﻱ ﻧﺴﺒﺖ ﺍﺩﻳﭙﻲ ﺭﺍ ﻧﻴﺰ ﺑﺮ ﻣﺒﻨﺎﻱ ﺑﺮﻗﺮﺍﺭﻱ‬
‫ِ ﺍﺟﺘﻤﺎﻋﻲ )ﻭ ﺿﺪﺗﻮﻟﻴﺪ( ﻭ‬ ‫ﺷﺒﮑﻪﻱ ﻳﮑﭙﺎﺭﭼﻪ ﺍﺯ ﺍﺗﺼﺎﻻﺕ ﺩﻭﺗﮏﻣﻌﻨﺎﻳﻲ ﺑﻴﻦ ﻭﺿﻌﻴﺖﻫﺎﻱ ﺗﻮﻟﻴﺪ‬
‫ﻭﺿﻌﻴﺖﻫﺎﻱ ﻃﺒﻴﻌﻲ )ﮐﺎﺭﺑﺮﺩﻫﺎ( ﺗﻌﺮﻳﻒ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺍﻣﺎ ﺩﻭﺗﮏﻣﻌﻨﺎﻳﻲ ﺭﺑﻄﻲ ﺑﻪ ﺩﻭﺩﻭﻳﻲ‬
‫ِ ﻧﺴﺒﺖﻫﺎﻱ ﺩﻭﺗﮏﻣﻌﻨﺎﻳﻲ ﺑﺮ ﻳﮏ ﻭﺿﻌﻴﺖ‪ ،‬ﺻﻮﺭﺕِ‬ ‫ﻧﺪﺍﺭﺩ‪ ،‬ﺍﻣﺎ ﻣﻲﺗﻮﺍﻧﺪ ﺍﺯ ﻳﮏ ﺳﻮ‪ ،‬ﺑﺎ ﺗﺤﻤﻴﻞ‬
‫ﺩﻳﮕﺮﻱ ﺍﺯ ﺩﻭﮔﺎﻧﮕﻲ ﺭﺍ ﺗﻮﻟﻴﺪ ﮐﻨﺪ ﻭ ﺍﺯ ﺳﻮﻱ ﺩﻳﮕﺮ‪ ،‬ﺻﻮﺭﺕِ ﻣﺘﻔﺎﻭﺗﻲ ﺍﺯ ﺧﻄﻲﺑﻮﺩﻥ ﺍﺭﺍﺋﻪ‬
‫ﺩﻫﺪ ﮐﻪ ﻗﺎﺩﺭ ﺑﻪ ﺗﻮﻗﻒ ﺑﺮﺧﻲ ﺍﺯ ﺳﻨﺘﺰﻫﺎﺳﺖ‪ .‬ﺑﺪﻳﻦ ﻣﻌﻨﺎ‪ ،‬ﺩﻭﺗﮏﻣﻌﻨﺎﻳﻲ ﺻﻮﺭﺕِ ﻋﺠﻴﺒﻲ ﺍﺯ‬
‫ﺳﺮﮐﻮﺏِ ﺩﻭﮔﺎﻧﻪﺍﻧﮕﺎﺭﺍﻧﻪ ﻳﺎ ﻧﻮﻋﻲ ﺗﺼﺮﻑِ ﮐﺎﺫﺏِ ﺑﺲﮔﺎﻧﮕﻲ ﺍﺳﺖ )ﭼﺎﻣﺴﮑﻲ(‪ ،‬ﻭ ﺍﺯ ﺍﻳﻦ ﺣﻴﺚ‪،‬‬
‫ﻧﺒﺎﻳﺪ ﺁﻥ ﺭﺍ ﺑﺎ ﺩﻭﺩﻭﻳﻲ ﻳﮑﻲ ﺩﺍﻧﺴﺖ‪ .‬ﺍﻣﺎ ﻓﺮﺁﻳﻨﺪ ﺳﺮﮐﻮﺏ ﺩﻭﺗﮏﻣﻌﻨﺎﻳﻲ ﻧﻴﺰ ﺑﺪﻳﻦ ﻗﺮﺍﺭ‬
‫ﺍﺳﺖ‪) :‬ﺍﻟﻒ( ﺟﺪﺍﺳﺎﺯﻱ ﺿﺎﺑﻄﻪﻱ ﻣﺘﻌﺎﻟﻲ ﮐﻪ ﺑﺮ ﺳﻨﺘﺰ ﺗﺴﻠﻂ ﺩﺍﺭﺩ‪) ،‬ﺏ( ﺗﻤﺎﻣﻴﺖﺑﺨﺸﻲ ﺑﻪ‬
‫ﺣﻮﺯﻩﺍﻱ ﻣﺠﺰﺍ‪) ،‬پ( ﺗﻌﻴﻴﻦِ ﻭﺍﺣﺪﻫﺎﻱ ﺍﻧﺪﺍﺯﻩﮔﻴﺮﻱ ﮐﻪ ﻫﻤﻪﻱ ﻧﺴﺒﺖﻫﺎ ﺑﻪ ﺁﻥﻫﺎ ﻣﻘﻴﺪ‬
‫ﻫﺴﺘﻨﺪ‪ .‬ﺩﻭﺗﮏﻣﻌﻨﺎﻳﻲ ﺩﺭ ﺿﺪﺍﺩﻳﭗ ﻭ ﻫﺰﺍﺭﻓﻼﺕ )ﻫﻤﭽﻮﻥ ﺑﺴﻴﺎﺭﻱ ﺩﻳﮕﺮ ﺍﺯ ﻣﻔﺎﻫﻴﻢ‪ ،‬ﺍﺯ ﺟﻤﻠﻪ‬
‫ﺑﺪﻥ ﺑﺪﻭﻥ ﺍﻧﺪﺍﻡ( ﺩﻭ ﺻﻮﺭﺕﺑﻨﺪﻱ ﻣﻔﻬﻮﻣﻲ ﻣﺘﻔﺎﻭﺕ ﺩﺍﺭﺩ‪ .‬ﺩﺭ ﺿﺪﺍﺩﻳﭗ‪ ،‬ﺩﻭﺗﮏﻣﻌﻨﺎﻳﻲ ﺩﺭ‬
‫ِ ﻣﺠﻤﻮﻋﻪﺍﻱ ﻧﺎﻣﺘﻨﺎﻫﻲ )ﻭ ﺑﺎﻟﻘﻮﻩ( ﺍﺯ‬ ‫ِ ﺩﻭﺩﻭﻳﻲ ﺷﺮﻁ‬‫ﻣﻘﺎﺑﻞ ﺩﻭﺩﻭﻳﻲ ﺍﺳﺖ‪ ،‬ﺑﻪﻧﺤﻮﻱ ﮐﻪ ﺍﻣﺮ‬
‫ﺍﺗﺼﺎﻻﺕ ﭼﻨﺪﻣﻌﻨﺎﻳﻲ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺩﺭ ﻫﺰﺍﺭ ﻓﻼﺕ‪ ،‬ﺑﺎ ﻣﻌﺮﻓﻲ »ﻧﻈﺮﻳﻪﻱ ﺭﻳﺰﻭﻡ«‪ ،‬ﺩﻭﺩﻭﻳﻲ ﻭ‬
‫ِ ﻧﺎﻣﻲ ﻭﺍﺣﺪ ﺩﺳﺘﻪﺑﻨﺪﻱ‬ ‫ﺩﻭﺗﮏﻣﻌﻨﺎﻳﻲ ﺭﺍ ﻧﻤﻲﺗﻮﺍﻥ ﺩﺭ ﺗﻘﺎﺑﻞ ﺑﺎ ﻳﮑﺪﻳﮕﺮ ﺩﺍﻧﺴﺖ ﻳﺎ ﺫﻳﻞ‬
‫ﮐﺮﺩ‪ .‬ﻣﺴﺄﻟﻪﻱ ﺩﻳﮕﺮ ﻧﻪ ﺑﺮ ﺳﺮ ﺳﺮﮐﻮﺏِ ﺩﻭﺗﮏﻣﻌﻨﺎﻳﻲ‪ ،‬ﺑﻠﮑﻪ ﺑﺮ ﺳﺮ ﺭﺍﺑﻄﻪﺍﻱ ﺧﺎﺹ ﺑﻴﻦ ﺍﻣﺮ‬
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‫ِ ﺩﻭﺩﻭﻳﻲ ﺍﻧﺸﻌﺎﺏ ﺑﻪ ﺩﻭ ﺷﺎﺧﻪ ﻣﻲﻧﺸﻴﻨﻨﺪ‪ .‬ﺭﻳﺸﻪﻱ ﺍﺻﻠﻲ ﻭ ﻋﻤﻮﺩﻱ‬ ‫ﻣﻨﻄﻖ‬
‫ِ ﺑﻬﺘﺮﻱ ﺍﺯ‬‫ِ ﭼﺮﺧﺸﻲ ﻧﺴﺒﺖ ﺑﻪ ﺭﻳﺸﻪﻱ ﻣﻨﺸﻌﺐ ﺑﻪ ﺩﻭ ﺷﺎﺧﻪ ﻫﻴﭻ ﻓﻬﻢ‬ ‫ﻣﺤﻮﺭ‬
‫ﺑﺲﮔﺎﻧﮕﻲ ﺍﺭﺍﺋﻪ ﻧﻤﻲﺩﻫﺪ‪ .‬ﻳﮑﻲ ﺩﺭ ﺍﺑﮋﻩ ﻋﻤﻞ ﻣﻲﻛﻨﺪ ﻭ ﺩﻳﮕﺮﻱ ﺩﺭ ﺳﻮژﻩ‪.‬‬
‫ِ ﺩﻭﺗﮏﻣﻌﻨﺎﻳﻲ ﻫﻨﻮﺯ ﺑﺮ ﺭﻭﺍﻥﮐﺎﻭﻱ )ﺩﺭﺧﺖِ ﺗﻮﻫﻢ‬‫ِ ﺩﻭﺩﻭﻳﻲ ﻭ ﺭﻭﺍﺑﻂ‬‫ﻣﻨﻄﻖ‬
‫ِ ﺷﺮﺑﺮ(‪ ،‬ﺯﺑﺎﻥﺷﻨﺎﺳﻲ‪ ،‬ﺳﺎﺧﺘﺎﺭﮔﺮﺍﻳﻲ‪ ،‬ﻭ ﺣﺘﻲ‬
‫ِ ﻓﺮﻭﻳﺪﻱ ﺍﺯ ﻣﻮﺭﺩ‬‫ﺩﺭ ﺗﻔﺴﻴﺮ‬
‫ِ ﺍﻃﻼﻋﺎﺕ ﺣﺎﮐﻢ ﻫﺴﺘﻨﺪ‪.‬‬
‫ﻋﻠﻢ‬

‫ﻓﺼﻞ ﺩﻭﻡ‬

‫‪ :1914‬ﻳﮏ ﻳﺎ ﭼﻨﺪ ﮔﺮگ؟‬

‫ﺗﻮﺿﻴﺢ ﻋﮑﺲ‪ :‬ﭘﻬﻨﻪﻱ ﺭﺩﭘﺎﻫﺎ‪ ،‬ﻳﺎ ﺧﻂ ﮔﺮگ‬

‫ﺁﻥ ﺭﻭﺯ‪ ،‬ﻣﺮﺩ ﮔﺮگﺁﺫﻳﻦ ﺑﺎ ﺧﺴﺘﮕﻲ ﺧﺎﺻﻲ ﺍﺯ ﺭﻭﻱ ﺗﺨﺖ ﺭﻭﺍﻥﻛﺎﻭﻱ‬

‫ِ ﻓﺮﻭﻳﺪ ﺑﺮﺍﻱ ﭘﻮﺷﺎﻧﺪﻥِ ﺣﻘﻴﻘﺖ ﻭ ﮐﻨﺎﺭ ﮔﺬﺍﺷﺘﻦ ﺁﻥ‬‫ﺑﺮﺧﺎﺳﺖ‪ .‬ﺍﻭ ﺍﺯ ﻧﺒﻮﻍ‬
‫ﻭ ﺳﭙﺲ ﭘﺮ ﮐﺮﺩﻥ ﺍﻳﻦ ﺣﻔﺮﻩ ﺑﺎ ﺗﺪﺍﻋﻲﻫﺎ ﺑﺎﺧﺒﺮ ﺑﻮﺩ‪ .‬ﺍﻭ ﻣﻲﺩﺍﻧﺴﺖ ﮐﻪ‬
‫ً ﺍﺯ ﻣﻘﻌﺪﻫﺎ ﻫﻴﭻ ﻧﻤﻲﺩﺍﻧﺪ‪ .‬ﻓﺮﻭﻳﺪ ﺗﻨﻬﺎ‬ ‫ﻓﺮﻭﻳﺪ ﺍﺯ ﮔﺮگﻫﺎ ﻳﺎ ﻧﺘﻴﺠﺘﺎ‬
‫ِ ﺳﮓ ﭼﻴﺴﺖ‪ .‬ﺍﻣﺎ ﮐﺎﻓﻲ ﻧﺒﻮﺩ‪ .‬ﻧﻤﻲﺗﻮﺍﻧﺴﺖ‬ ‫ﻣﻲﺩﺍﻧﺴﺖ ﮐﻪ ﺳﮓ ﭼﻴﺴﺖ‪ ،‬ﮐﻪ ﺩﻡ‬
‫ِ ﺍﻭ ﺧﺒﺮ‬
‫ﮐﺎﻓﻲ ﺑﺎﺷﺪ‪ .‬ﻣﺮﺩ ﮔﺮگﺁﺫﻳﻦ ﻣﻲﺩﺍﻧﺴﺖ ﻓﺮﻭﻳﺪ ﺑﻪ ﺯﻭﺩﻱ ﺍﺯ ﺑﻬﺒﻮﺩ‬
‫ً ﺍﻳﻦﻃﻮﺭ ﭘﻴﺶ ﻧﻤﻲﺭﻓﺖ ﻭ ﻣﻌﺎﻟﺠﻪﻱ ﺍﻭ ﺗﺤﺖ ﻧﻈﺮ‬ ‫ﻣﻲﺩﻫﺪ‪ ،‬ﺍﻣﺎ ﻗﻀﻴﻪ ﺍﺑﺪﺍ‬
‫ِﺮ ﺗﺎ ﺍﺑﺪ ﺍﺩﺍﻣﻪ ﻣﻲﻳﺎﻓﺖ‪ .‬ﺩﺳﺖِ ﺁﺧﺮ‪ ،‬ﺍﻭ‬ ‫‪4‬‬ ‫ﺑﺮﻭﻧﺲﻭﻳﮏ‪ ،3‬ﻟﮑﺎﻥ ﻭ ﻟ‬
‫ِﮑﻠ‬
‫ﺹ ﺗﻤﺎﻡﻋﻴﺎﺭ‪ ،‬ﻳﻌﻨﻲ‬‫ﻣﻲﺩﺍﻧﺴﺖ ﮐﻪ ﺩﺭ ﻓﺮﺁﻳﻨﺪ ﺩﺭﻳﺎﻓﺖﮐﺮﺩﻥِ ﻳﮏ ﺍﺳﻢ ﺧﺎِ‬

‫ِ ﺑﺎﻟﻔﻌﻞ‪ ،‬ﻳﺎ‪ ،‬ﺁﻥﻃﻮﺭ ﮐﻪ ﺩﺭ ﻓﺼﻞﻫﺎﻱ ﺑﻌﺪ ﺧﻮﺍﻫﻴﻢ ﺩﻳﺪ‪ ،‬ﺑﺮ ﺳﺮ‬ ‫ﻧﻬﻔﺘﻪ )ﻣﺠﺎﺯﻱ( ﻭ ﺍﻣﺮ‬
‫ِ ﺯﻣﻴﻦﻧﮕﺎﺭﺍﻧﻪ ﺍﺳﺖ‪ .‬ﻡ[‬
‫ﻋﺮﺽ ﻭ ﻃﻮﻝ‬
‫‪ ،Brunswick .‬ﺭﻭﺙ ﺟﻴﻦ ﻣﮏ ﺑﺮﻭﻧﺲﻭﻳﮏ )‪1897‬ـ‪ (1946‬ﺭﻭﺍﻥﭘﺰﺷﮏ ﺁﻣﺮﻳﮑﺎﻳﻲ ﮐﻪ ﺍﺯ ﺷﺎﮔﺮﺩﺍﻥ‬
‫ﺍﺻﻠﻲ ﻓﺮﻭﻳﺪ ﺑﻮﺩ‪ .‬ﻡ‬
‫‪ ،Leclaire .‬ﺳﺮﺝ ﻟﮑﻠﺮ )‪1924‬ـ‪ (1994‬ﺭﻭﺍﻥﭘﺰﺷﮏ ﻭ ﺭﻭﺍﻥﮐﺎﻭ ﻓﺮﺍﻧﺴﻮﻱ ﮐﻪ ﻭﻱ ﺭﺍ ﻧﺨﺴﺘﻴﻦ‬
‫ﻟﮑﺎﻧﻲ ﻓﺮﺍﻧﺴﻪ ﻧﻴﺰ ﻣﻲﺩﺍﻧﻨﺪ‪ .‬ﻡ‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫ﺹ ﺧﻮﺩﺵ‪ ،‬ﺯﻳﺮﺍ ﺍﻳﻦ ﺍﺳﻢ ﺑﻪ‬‫ِ ﺧﺎِ‬
‫ﻣﺮﺩ ﮔﺮگﺁﺫﻳﻦ ﺍﺳﺖ؛ ﺍﺳﻤﻲ ﺧﺎﺹﺗﺮ ﺍﺯ ﺍﺳﻢ‬
‫ِ ﺁﻧﻲ ﻳﮏ ﺑﺲﮔﺎﻧﮕﻲ ژﻧﺮﻳﮏ ﺩﺳﺖ ﻳﺎﻓﺖ‪:‬‬ ‫ﺑﺎﻻﺗﺮﻳﻦ ﺩﺭﺟﻪﻱ ﺗﮑﻴﻨﮕﻲ ﺩﺭ ﻓﻬﻢ‬
‫ﺹ ﻧﻮ ﻭ ﺣﻘﻴﻘﻲ ﺍﺯ ﺭﻳﺨﺖ ﺧﻮﺍﻫﺪ‬ ‫ﮔﺮگﻫﺎ‪ .‬ﺍﻭ ﻣﻲﺩﺍﻧﺴﺖ ﮐﻪ ﺍﻳﻦ ﺍﺳﻢ ﺧﺎِ‬
‫ِ ﭘﺪﺭ‬‫ﺍﻓﺘﺎﺩ ﻭ ﻏﻠﻂ ﻫﺠﻲ ﺧﻮﺍﻫﺪ ﺷﺪ؛ ﻭ ﺭﻭﻧﻮﻳﺲ ﺁﻥ ﻧﺎﻣﻲ ﻣﺸﺘﻖ ﺍﺯ ﻧﺎﻡ‬
‫ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬
‫ﻓﺮﻭﻳﺪ ﺑﻪﻧﻮﺑﻪﻱ ﺧﻮﺩ ﮐﺎﺭ ﺭﺍ ﺑﺎ ﻧﻮﺷﺘﻦِ ﺻﻔﺤﺎﺗﻲ ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﺍﺩﺍﻣﻪ‬
‫ﺧﻮﺍﻫﺪ ﺩﺍﺩ‪ .‬ﺻﻔﺤﺎﺗﻲ ﺳﺮﺗﺎﺳﺮ ﮐﺎﺭﺑﺮﺩﻱ‪ :‬ﻫﻤﺎﻥ ﻣﻘﺎﻟﻪﻱ ﺳﺎﻝ ‪1915‬‬
‫ﺩﺭﺑﺎﺭﻩﻱ »ﻧﺎﺧﻮﺩﺁﮔﺎﻩ« ﮐﻪ ﺑﻪ ﺗﻔﺎﻭﺕ ﺑﻴﻦ ﺭﻭﺍﻥﺭﻧﺠﻮﺭﻱ ﻭ ﺭﻭﺍﻥﭘﺮﻳﺸﻲ‬
‫ﻣﻲﭘﺮﺩﺍﺯﺩ‪ .‬ﻓﺮﻭﻳﺪ ﻣﻲﮔﻮﻳﺪ ﻫﻴﺴﺘﺮﻳﻚﻫﺎ ﻳﺎ ﻭﺳﻮﺍﺳﻲﻫﺎ ﺁﺩﻡﻫﺎﻳﻲ ﻫﺴﺘﻨﺪ‬
‫ﮐﻪ ﻗﺎﺩﺭﻧﺪ ﺑﻴﻦ ﺟﻮﺭﺍﺏ ﻭ ﻣﻬﺒﻞ‪ ،‬ﺑﻴﻦ ﺧﺮﺍﺵ ﻭ ﺍﺧﺘﮕﻲ‪ ،‬ﻭ ﭼﻴﺰﻫﺎﻳﻲ ﺍﺯ‬
‫ً ﺩﺭ‬‫ﺍﻳﻦ ﺩﺳﺖ ﻣﻘﺎﻳﺴﻪﺍﻱ ﻓﺮﺍﮔﻴﺮ ﺑﺮﻗﺮﺍﺭ ﮐﻨﻨﺪ‪ .‬ﺑﻲﺷﮏ‪ ،‬ﺁﻥﻫﺎ ﺩﻗﻴﻘﺎ‬
‫ﻫﻤﺎﻥ ﺯﻣﺎﻥ ﺍﺑﮋﻩ ﺭﺍ ﺑﻪ ﺷﮑﻠﻲ ﻓﺮﺍﮔﻴﺮ ﻓﻬﻢ‪ ،‬ﻭ ﺁﻥ ﺭﺍ ﺑﻪ ﻣﻨﺰﻟﻪﻱ‬
‫ﻓﻘﺪﺍﻥ ﺩﺭک ﻣﻲﻛﻨﻨﺪ‪ .‬ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻦ‪ ،‬ﻫﺮﮔﺰ ﻳﮏ ﺭﻭﺍﻥﺭﻧﺠﻮﺭ ﭘﻮﺳﺖ ﺭﺍ ﺑﻪ‬
‫ﺷﮑﻠﻲ ﺍﺭﻭﺗﻴﮏ ﻭ ﺩﺭ ﻣﻘﺎﻡ ﺑﺲﮔﺎﻧﮕﻲ ﻣﻨﺎﻓﺬ‪ ،‬ﻟﮑﻪﻫﺎﻱ ﮐﻮﭼﮏ‪ ،‬ﺧﺮﺍﺵﻫﺎﻱ‬
‫ﺭﻳﺰ ﻳﺎ ﭼﺎﻟﻪﻫﺎﻱ ﺳﻴﺎﻩ ﺩﺭک ﻧﻤﻲﻛﻨﺪ ﻳﺎ ﺟﻮﺭﺍﺏ ﺭﺍ ﺑﻪ ﺷﮑﻠﻲ ﺍﺭﻭﺗﻴﮏ ﺑﻪ‬
‫ﻣﻨﺰﻟﻪﻱ ﺑﺲﮔﺎﻧﮕﻲ ﮐﻮﻙﻫﺎ ﻧﻤﻲﻓﻬﻤﺪ‪ .‬ﺍﻣﺎ ﺭﻭﺍﻥﭘﺮﻳﺶ ﻣﻲﺗﻮﺍﻧﺪ‪» :‬ﺑﺎﻳﺪ‬
‫ﺍﻧﺘﻈﺎﺭ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﻢ ﺑﺲﮔﺎﻧﮕﻲ ﺍﻳﻦ ﺣﻔﺮﻩﻫﺎﻱ ﮐﻮﭼﮏ ﺑﺎﻋﺚ ﺷﻮﺩ ﺍﻭ ﺁﻥﻫﺎ‬
‫ﺭﺍ ﺟﺎﻳﮕﺰﻳﻨﻲ ﺑﺮﺍﻱ ﺁﻟﺖ ﺗﻨﺎﺳﻠﻲ ﺯﻧﺎﻧﻪ ﺩﺭ ﻧﻈﺮ ﻧﮕﻴﺮﺩ‪ 5«.‬ﻣﻘﺎﻳﺴﻪﮐﺮﺩﻥِ‬
‫ِﻲ ﺍﺳﺖ‪ ،‬ﻫﻤﻴﺸﻪ ﭼﻨﻴﻦ ﮐﺎﺭﻱ ﺍﻧﺠﺎﻡ ﺷﺪﻩ؛ ﺍﻣﺎ‬‫ﻳﮏ ﺟﻮﺭﺍﺏ ﺑﺎ ﻳﮏ ﻣﻬﺒﻞ ﺍﻭﮐ‬
‫ﺑﺎﻳﺪ ﺩﻳﻮﺍﻧﻪ ﺑﺎﺷﻴﺪ ﺗﺎ ﺍﻧﺒﻮﻫﻲ ﺧﺸﮏ ﻭ ﺧﺎﻟﻲ ﺍﺯ ﮐﻮﻙﻫﺎ ﺭﺍ ﺑﺎ ﭘﻬﻨﻪﺍﻱ‬
‫ﺍﺯ ﻣﻬﺒﻞﻫﺎ ﻗﻴﺎﺱ ﮐﻨﻴﺪ‪ :‬ﻓﺮﻭﻳﺪ ﭼﻨﻴﻦ ﻣﻲﮔﻮﻳﺪ‪ .‬ﺍﻳﻦ ﺍﺩﻋﺎ ﻧﻤﺎﻳﺎﻧﮕﺮ ﻳﮏ‬
‫ﮐﺸﻒ ﺑﺎﻟﻴﻨﻲ ﻣﻬﻢ ﺍﺳﺖ‪ :‬ﺗﻔﺎﻭﺗﻲ ﺗﺎﻡ ﻭ ﺗﻤﺎﻡ ﺩﺭ ﺳﺒﮏ‪ ،‬ﺑﻴﻦ ﺭﻭﺍﻥﺭﻧﺠﻮﺭﻱ‬
‫ﻭ ﺭﻭﺍﻥﭘﺮﻳﺸﻲ‪ .‬ﺑﺮﺍﻱ ﻣﺜﺎﻝ‪ ،‬ﺳﺎﻟﻮﺍﺩﻭﺭ ﺩﺍﻟﻲ ﺩﺭ ﺗﻼﺵ ﺑﺮﺍﻱ ﺑﺎﺯﺗﻮﻟﻴﺪ‬
‫ﺗﻮﻫﻤﺎﺗﺶ ﻣﻲﺗﻮﺍﻧﺪ ﺑﻪ ﺗﻔﺼﻴﻞ ﺩﺭﺑﺎﺭﻩﻱ ﻫﻤﺎﻥ‪ 6‬ﺷﺎﺥ ﮐﺮﮔﺪﻥ ﭘﺮﮔﻮﻳﻲ ﮐﻨﺪ؛‬
‫ً ﺑﻪﺧﺎﻃﺮ ﻫﻤﻪﻱ ﺍﻳﻦ ﭘﺮﮔﻮﻳﻲﻫﺎ ﮔﻔﺘﻤﺎﻥِ ﺭﻭﺍﻥﺭﻧﺠﻮﺭﻱ ﺭﺍ ﭘﺸﺖ ﺳﺮ‬
‫ﻭ ﺩﻗﻴﻘﺎ‬
‫ﻧﮕﺬﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﻭﻗﺘﻲ ﺷﺮﻭﻉ ﺑﻪ ﻣﻘﺎﻳﺴﻪﻱ ﺩﻭﻥﺩﻭﻥﺷﺪﻥﻫﺎﻱ ﭘﻮﺳﺖ ﺑﺎ‬
‫ﭘﻬﻨﻪﺍﻱ ﺍﺯ ﺷﺎﺥﻫﺎﻱ ﺭﻳﺰ ﮐﺮﮔﺪﻥ ﻣﻲﻛﻨﺪ‪ ،‬ﺗﻐﻴﻴﺮ ﭘﻴﺶﺁﻣﺪﻩ ﺩﺭ ﺟﻮ ﺭﺍ ﺣﺲ‬
‫ﻣﻲﻛﻨﻴﻢ ﻭ ﻣﻲﻓﻬﻤﻴﻢ ﺍﮐﻨﻮﻥ ﺩﺭ ﭘﻴﺸﮕﺎﻩ ﺟﻨﻮﻥ ﻫﺴﺘﻴﻢ‪ .‬ﺁﻳﺎ ﺍﺻﻼً ﻣﺴﺄﻟﻪ‬
‫ِ ﺑﺲﮔﺎﻧﮕﻲ ﻧﺎﺑﻲ‬‫ﻫﻨﻮﺯ ﺑﺮ ﺳﺮ ﻧﻮﻋﻲ ﻣﻘﺎﻳﺴﻪ ﺍﺳﺖ؟ ﺑﺮﻋﮑﺲ‪ ،‬ﻣﺴﺄﻟﻪ ﺑﺮ ﺳﺮ‬
‫ﺍﺳﺖ ﮐﻪ ﻋﻨﺎﺻﺮ ﺭﺍ ﺩﮔﺮﮔﻮﻥ ﻣﻲﺳﺎﺯﺩ ﻳﺎ ﺩﭼﺎﺭ ﺷﺪﻥ ﻣﻲﺷﻮﺩ‪ .7‬ﺩﺭ ﺳﻄﺢِ‬
‫ﻣﻴﮑﺮﻭﻟﻮژﻳﮏ‪ ،‬ﺩﻭﻥﺩﻭﻥﻫﺎﻱ ﺭﻳﺰ ﺷﺎﺥ »ﻣﻲﺷﻮﻧﺪ« ﻭ ﺷﺎﺥﻫﺎ‪ ،‬ﺍﺣﻠﻴﻞﻫﺎﻳﻲ‬
‫ﮐﻮﭼﮏ‪.‬‬

‫‪5 Sigmund Freud, Papers on Metapsychology, vol. 14, Standard Edition, trans. James Strachey (London: Hogarth Press, 1957), p.‬‬
‫‪200.‬‬
‫‪6 THE‬‬
‫‪ ،Becomes .‬ﻓﻌﻞ ﻣﻲﺷﻮﺩ ﺭﺍ ﺑﻪ ﺩﻟﻴﻞ ﺍﻫﻤﻴﺖِ »ﺷﺪﻥ« ﻧﺰﺩ‬
‫ِ ﺩﻟﻮﺯ ﺑﻪ ﺩﭼﺎﺭ ﺷﺪﻥ ﻣﻲﺷﻮﺩ‬
‫ً ﻣﻌﻨﺎﻱ ﺧﻮﺩ ﺁﻥ ﺍﺯ ﻧﻈﺮ‬
‫ِ ﺭﺑﻄﻲ ﺍﺳﺖ ﻭ ﻋﻤﻮﻣﺎ‬
‫ﺑﺎﺯﮔﺮﺩﺍﻧﺪﻩﺍﻳﻢ؛ ﺯﻳﺮﺍ ﻣﻲﺷﻮﺩ ﺩﺭ ﻓﺎﺭﺳﻲ ﻓﻌﻞ‬
‫ﺩﻭﺭ ﻣﻲﻣﺎﻧﺪ‪ .‬ﻡ‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

‫ﭘﻴﺶ ﺍﺯ ﺁﻥﮐﻪ ﻓﺮﻭﻳﺪ ﺑﺰﺭگﺗﺮﻳﻦ ﻫﻨﺮ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ‪ ،‬ﺍﻳﻦ ﻫﻨﺮ ﺑﺲﮔﺎﻧﮕﻲ‬
‫ﻣﻠﮑﻮﻟﻲ‪ ،‬ﺭﺍ ﮐﺸﻒ ﮐﻨﺪ‪ ،‬ﺍﻭ ﺭﺍ ﺧﺴﺘﮕﻲﻧﺎﭘﺬﻳﺮ ﺩﺭﻣﻲﻳﺎﺑﻴﻢ‪ ،‬ﺩﺭ ﮐﺎﺭ‬
‫ِ‬
‫ِﻢﻫﺎﻱ ﺁﺷﻨﺎﻳﺶ ﻧﻈﻴﺮ‬‫ﺑﺎﺯﮔﺮﺩﺍﻧﺪﻥ ﺍﺗﺤﺎﺩﻫﺎﻱ ﻳﮑﭙﺎﺭﭼﻪ‪ ،‬ﻭ ﺍﺭﺟﺎﻉ ﺑﻪ ﺗ‬
‫ﻫﻤﺎﻥ ﭘﺪﺭ‪ ،8‬ﻫﻤﺎﻥ ﺍﺣﻠﻴﻞ‪ ،9‬ﻫﻤﺎﻥ ﻭﺍژﻥ‪ ،10‬ﺍﺧﺘﮕﻲ ﺑﺎ ﺣﺮﻑ ﺍﻭﻝ ﺑﺰﺭگ‬
‫ً ﺑﻪ ﺭﻳﺸﻪﻫﺎ ﺑﺎﺯ‬ ‫‪) ...‬ﻓﺮﻭﻳﺪ‪ ،‬ﺩﺭ ﺷﺮﻑ ﮐﺸﻒ ﺭﻳﺰﻭﻡ‪ ،‬ﻫﻤﻴﺸﻪ ﺻﺮﻓﺎ‬
‫ﻣﻲﮔﺮﺩﺩ( ﻓﺮﺍﻳﻨﺪ ﺗﻘﻠﻴﻞﮔﺮ ﻣﻘﺎﻟﻪﻱ ‪ 1915‬ﺑﺴﻴﺎﺭﺟﺎﻟﺐ ﺍﺳﺖ‪ :‬ﺍﻭ ﻣﻲﮔﻮﻳﺪ‬
‫ﮐﻪ ﻣﻘﺎﻳﺴﻪﻫﺎ ﻭ ﻫﻤﺎﻧﻨﺪﺳﺎﺯﻱﻫﺎﻱ ﻓﺮﺩ ﺭﻭﺍﻥﺭﻧﺠﻮﺭ ﺑﻪﻭﺳﻴﻠﻪﻱ ﺑﺎﺯﻧﻤﺎﻳﻲ‬
‫ﭼﻴﺰﻫﺎ ﻫﺪﺍﻳﺖ ﻣﻲﺷﻮﺩ‪ ،‬ﺩﺭﺣﺎﻟﻲﮐﻪ ﻫﻤﻪﻱ ﺁﻥ ﭼﻴﺰﻱ ﮐﻪ ﺭﻭﺍﻥﭘﺮﻳﺶ ﺍﺯ ﺧﻮﺩ‬
‫ﺑﺮﺟﺎﻱ ﻣﻲﮔﺬﺍﺭﺩ ﺑﺎﺯﻧﻤﺎﻳﻲﻫﺎﻱ ﮐﻠﻤﺎﺕ ﺍﺳﺖ )ﺑﺮﺍﻱ ﻣﺜﺎﻝ ﻭﺍژﻩﻱ‬
‫»ﭼﺎﻟﻪ«(‪» .‬ﺁﻥﭼﻪ ﮐﻪ ﺟﺎﻳﮕﺰﻳﻨﻲ ﺭﺍ ﺭﻗﻢ ﺯﺩﻩ ﺍﺳﺖ‪ ،‬ﻧﻪ ﺷﺒﺎﻫﺖ ﺑﻴﻦ‬
‫ﭼﻴﺰﻫﺎﻱ ﺍﺷﺎﺭﻩ ﺷﺪﻩ‪ ،‬ﺑﻠﮑﻪ ﻫﻤﺴﺎﻧﻲ ﮐﻠﻤﺎﺗﻲ ﺍﺳﺖ ﮐﻪ ﺁﻥﻫﺎ ﺭﺍ ﺑﻴﺎﻥ‬
‫ﻣﻲﻛﻨﻨﺪ« )ﺻﻔﺤﻪ‪ .(201‬ﭘﺲ ﺍﮔﺮ ﻫﻴﭻ ﻭﺣﺪﺗﻲ ﺩﺭ ﺧﻮﺩ ﭼﻴﺰ ﻧﻴﺴﺖ‪ ،‬ﺩﺳﺖﮐﻢ‬
‫ﻭﺣﺪﺕ ﻭ ﺍﻳﻦﻫﻤﺎﻧﻲ ﺩﺭ ﮐﻠﻤﻪ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻣﻼﺣﻈﻪ ﺧﻮﺍﻫﺪ ﺷﺪ ﮐﻪ ﻧﺎﻡﻫﺎ‬
‫ﺩﺭﻭﻥ ﮐﺎﺭﺑﺮﺩ ﮔﺴﺘﺮﺩﻩﺷﺎﻥ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪ ﻣﻲﺷﻮﻧﺪ‪ ،‬ﺑﻪ ﺑﻴﺎﻧﻲ ﺩﻳﮕﺮ‪ ،‬ﺩﺭ‬
‫ﻣﻘﺎﻡ ﻧﺎﻡﻫﺎﻱ ﻋﺎﻣﻲ ﮐﺎﺭ ﻣﻲﻛﻨﻨﺪ ﮐﻪ ﻳﮑﭙﺎﺭﭼﻪﺳﺎﺯﻱ ﻣﺠﻤﻮﻋﻪﺍﻱ ﺭﺍ ﮐﻪ ﺩﺭ‬
‫ِ ﺧﺎﺹ ﻣﻲﺗﻮﺍﻧﺪ ﻫﻴﭻ ﭼﻴﺰ ﺟﺰ ﻫﻤﺎﻥ‬
‫ﺧﻮﺩ ﻣﻲﮔﻨﺠﺎﻧﻨﺪ‪ ،‬ﺗﻀﻤﻴﻦ ﻣﻲﻛﻨﻨﺪ‪ .‬ﻧﺎﻡ‬
‫ﻧﻤﻮﻧﻪﻱ ﺣﺪﻱ‪ 11‬ﻧﺎﻡ ﻋﺎﻡ ﻧﺒﺎﺷﺪ‪ ،‬ﮐﻪ ﺑﺲﮔﺎﻧﮕﻲ ﭘﻴﺸﺘﺮ ﺭﺍﻡ ﺷﺪﻩ ﺭﺍ ﺩﺭﻭﻥ‬
‫ً ﻣﻨﺤﺼﺮﺑﻪﻓﺮﺩ ﺭﺑﻂ‬‫ﺧﻮﺩ ﺩﺍﺭﺩ ﻭ ﺁﻥ ﺭﺍ ﺑﻪ ﻳﮏ ﻫﺴﺘﻲ ﻳﺎ ﺍﺑﮋﻩﻱ ﻓﺮﺿﺎ‬
‫ﻣﻲﺩﻫﺪ‪ .‬ﺍﻳﻦ ﺍﻣﺮ‪ ،‬ﻫﻢ ﺩﺭ ﻃﺮﻑ ﮐﻠﻤﺎﺕ ﻭ ﻫﻢ ﭼﻴﺰﻫﺎ‪ ،‬ﺭﺍﺑﻄﻪﻱ ﻣﻴﺎﻥ ﻧﺎﻡ‬
‫ً‬
‫ﺧﺎﺹ )ﺑﻪﻣﺜﺎﺑﻪ ﻳﮏ ﺷﺪﺕ( ﻭ ﺑﺲﮔﺎﻧﮕﻲ ﺭﺍ )ﺑﺲﮔﺎﻧﮕﻲﺍﻱ ﮐﻪ ﺁﻥ ﻧﺎﻡ ﻓﻮﺭﺍ‬
‫ﻣﺘﺒﺎﺩﺭ ﻣﻲﻛﻨﺪ( ﺑﻪ ﺧﻄﺮ ﻣﻲﺍﻧﺪﺍﺯﺩ‪ .‬ﺑﺮﺍﻱ ﻓﺮﻭﻳﺪ‪ ،‬ﻭﻗﺘﻲ ﭼﻴﺰ ﻣﺘﻼﺷﻲ‬
‫ﻣﻲﺷﻮﺩ ﻭ ﺍﻳﻦﻫﻤﺎﻧﻲﺍﺵ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻣﻲﺩﻫﺪ‪ ،‬ﮐﻠﻤﻪ ﻫﻨﻮﺯ ﺁﻥﺟﺎ ﺣﻀﻮﺭ ﺩﺍﺭﺩ‬
‫ﺗﺎ ﺁﻥ ﺍﻳﻦﻫﻤﺎﻧﻲ ﺭﺍ ﺑﺎﺯﮔﺮﺩﺍﻧﺪ ﻳﺎ ﺍﻳﻦﻫﻤﺎﻧﻲ ﺟﺪﻳﺪ ﺭﺍ ﺧﻠﻖ ﮐﻨﺪ‪.‬‬
‫ﻓﺮﻭﻳﺪ ﺍﺯ ﮐﻠﻤﻪﻫﺎ ﺍﻧﺘﻈﺎﺭ ﺩﺍﺷﺖ ﻭﺣﺪﺗﻲ ﺭﺍ ﺑﺎﺯ ﻣﺴﺘﻘﺮ ﺳﺎﺯﻧﺪ ﮐﻪ ﺩﻳﮕﺮ‬
‫ﺩﺭ ﭼﻴﺰﻫﺎ ﻳﺎﻓﺖ ﻧﻤﻲﺷﻮﺩ‪ .‬ﺁﻳﺎ ﺍﮐﻨﻮﻥ ﺷﺎﻫﺪ ﺍﻭﻟﻴﻦ ﻫﻴﺠﺎﻧﺎﺕ ﻳﮏ‬
‫ﻣﺎﺟﺮﺍﺟﻮﻳﻲ ﻣﺘﻌﺎﻗﺐ‪ ،‬ﻣﺎﺟﺮﺍﻱ ﻫﻤﺎﻥ ﺩﺍﻝ‪ ،‬ﻧﻴﺴﺘﻴﻢ؛ ﻳﻌﻨﻲ ﺁﻥ ﻋﺎﻣﻞ‬
‫ﻣﺴﺘﺒﺪ ﮔﻤﺮﺍﻩ ﮐﻪ ﺑﻪ ﺟﺎﻱ ﻧﺎﻡﻫﺎﻱ ﺧﺎﺹ ﻏﻴﺮﺩﻻﻟﺘﮕﺮ ﻣﻲﻧﺸﻴﻨﺪ ﻭ‬
‫ﺑﺲﮔﺎﻧﮕﻲﻫﺎ ﺭﺍ ﺑﺎ ﻭﺣﺪﺕ ﺗﻴﺮﻩﻭﺗﺎﺭ ﺍﺑﮋﻩﺍﻱ ﺟﺎﻳﮕﺰﻳﻦ ﻣﻲﻛﻨﺪ ﮔﻤﺸﺪﻩ‬
‫ﺍﻋﻼﻡ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬
‫ِ ﺑﻪ‬
‫ﻣﺎ ﺍﺯ ﮔﺮگﻫﺎ ﺩﻭﺭ ﻧﻴﺴﺘﻴﻢ‪ .‬ﺯﻳﺮﺍ ﻣﺮﺩ ﮔﺮگﺁﺫﻳﻦ ﺩﺭ ﺍﭘﻴﺰﻭﺩ ﺩﻭﻡ‬
‫ً ﻣﺮﺍﻗﺐ ﺍﻧﻮﺍﻉ ﻣﺨﺘﻠﻒِ ﭼﺎﻟﻪﻫﺎﻱ ﮐﻮﭼﮏ‬
‫ﺍﺻﻄﻼﺡ ﺭﻭﺍﻧﻲﭘﺮﻳﺸﻲ ﺧﻮﺩ‪ ،‬ﺩﺍﺋﻤﺎ‬
‫ﻳﺎ ﺯﺧﻢﻫﺎﻱ ﻭﺍﻗﻊ ﺑﺮ ﭘﻮﺳﺖ ﺩﻣﺎﻏﺶ ﻭ ﺗﻐﻴﻴﺮﺍﺕ ﻣﺴﻴﺮ ﺁﻥﻫﺎ ﺑﻮﺩ‪ .‬ﺍﻭ ﺩﺭ‬
‫ﺩﻭﺭﻩﻱ ﺍﻭﻟﺶ ﮐﻪ ﻓﺮﻭﻳﺪ ﺁﻥ ﺭﺍ ﺭﻭﺍﻥﺭﻧﺠﻮﺭﻱ ﻣﻲﻧﺎﻣﺪ‪ ،‬ﺭﻭﻳﺎﻳﻲ ﺭﺍ ﺑﺎﺯﮔﻮ‬

‫‪8. The father‬‬

‫‪9. The penis‬‬
‫‪10. The vagina‬‬
‫‪11. extreme case‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫ﻣﻲﻛﻨﺪ ﺩﺭﺑﺎﺭﻩﻱ ﺷﺶ ﻳﺎ ﻫﻔﺖ ﺗﺎ ﮔﺮگ ﺩﺭ ﻳﮏ ﺩﺭﺧﺖ‪ ،‬ﮐﻪ ﭘﻨﺞﺗﺎﻱ ﺁﻥﻫﺎ ﺭﺍ‬
‫ﺭﺳﻢ ﮐﺮﺩ‪ .‬ﭼﻪ ﮐﺴﻲ ﻧﻤﻲﺩﺍﻧﺪ ﮐﻪ ﮔﺮگﻫﺎ ﮔﺮﻭﻫﻲ ﺳﻔﺮ ﻣﻲﻛﻨﻨﺪ؟ ﻓﻘﻂ‬
‫ﻓﺮﻭﻳﺪ‪ .‬ﻫﺮ ﺑﭽﻪﺍﻱ ﺍﻳﻦ ﺭﺍ ﻣﻲﺩﺍﻧﺪ‪ .‬ﺍﻣﺎ ﻧﻪ ﻓﺮﻭﻳﺪ‪ .‬ﺑﺎ ﻭﺳﻮﺍﺱﻫﺎﻱ‬
‫ﮐﺎﺫﺏ ﻣﻲﭘﺮﺳﺪ‪ ،‬ﭼﮕﻮﻧﻪ ﺑﺎﻳﺪ ﺍﻳﻦ ﻭﺍﻗﻌﻴﺖ ﺭﺍ ﺗﻮﺿﻴﺢ ﺩﻫﻴﻢ ﮐﻪ ﭘﻨﺞ‪ ،‬ﺷﺶ‪،‬‬
‫ﻳﺎ ﻫﻔﺖ ﮔﺮگ ﺩﺭ ﺍﻳﻦ ﺭﺅﻳﺎ ﻭﺟﻮﺩ ﺩﺍﺭﺩ؟ ﺍﻭ ﺗﺼﻤﻴﻢ ﮔﺮﻓﺘﻪ ﺍﺳﺖ ﮐﻪ ﭼﻨﻴﻦ‬
‫ﭼﻴﺰﻱ ﺭﻭﺍﻥﺭﻧﺠﻮﺭﻱ ﺑﺎﺷﺪ‪ ،‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻓﺮﺍﻳﻨﺪ ﺗﻘﻠﻴﻞﮔﺮ ﺩﻳﮕﺮﻱ ﺭﺍ ﺑﻪ‬
‫ﮐﺎﺭ ﻣﻲﺑﻨﺪﺩ‪ :‬ﺗﺪﺍﻋﻲ ﺁﺯﺍﺩ ﺩﺭ ﺳﻄﺢ ﺑﺎﺯﻧﻤﺎﻳﻲ ﭼﻴﺰﻫﺎ‪ ،‬ﺑﻪ ﺟﺎﻱ ﺗﺎﺑﻌﻴﺖ‬
‫ﮐﻼﻣﻲ‪ 12‬ﺩﺭ ﺳﻄﺢ ﺑﺎﺯﻧﻤﺎﻳﻲ ﮐﻠﻤﺎﺕ‪ .‬ﻧﺘﻴﺠﻪ ﻳﮑﺴﺎﻥ ﺍﺳﺖ‪ ،‬ﺯﻳﺮﺍ ﻫﻤﻴﺸﻪ‬
‫ً‬
‫ﻣﺴﺌﻠﻪ ﺑﺮ ﺳﺮ ﺑﺎﺯﮔﺮﺩﺍﻧﺪﻥ ﻭﺣﺪﺕ ﻳﺎ ﺍﻳﻦﻫﻤﺎﻧﻲ ﺷﺨﺺ ﻳﺎ ﺍﺑﮋﻩﻱ ﻇﺎﻫﺮﺍ‬
‫ﺍﺯﺩﺳﺖﺭﻓﺘﻪ ﺍﺳﺖ‪ .‬ﮔﺮگﻫﺎ ﺑﺎﻳﺪ ﺍﺯ ﺑﺲﮔﺎﻧﮕﻲﺷﺎﻥ ﻣﺒﺮﺍ ﺷﻮﻧﺪ‪ .‬ﺍﻳﻦ‬
‫ﻋﻤﻠﻴﺎﺕ ﺍﺯ ﻃﺮﻳﻖ ﺗﺪﺍﻋﻲ ﺭﺅﻳﺎ ﺑﺎ ﻗﺼﻪﻱ »ﮔﺮگ ﻭ ﻫﻔﺖ ﺑﺰﻏﺎﻟﻪ« )ﮔﻪ ﻓﻘﻂ‬
‫ﺷﺶ ﺗﺎﻱ ﺁﻥﻫﺎ ﺧﻮﺭﺩﻩ ﻣﻲﺷﻮﻧﺪ( ﻣﺤﻘﻖ ﻣﻲﺷﻮﺩ‪ .‬ﻣﺎ ﺷﺎﻫﺪ ﺧﻮﺷﺤﺎﻟﻲ‬
‫ﺗﻘﻠﻴﻞﮔﺮ ﻓﺮﻭﻳﺪ ﻫﺴﺘﻴﻢ؛ ﻣﺎ ﺑﻪ ﻣﻌﻨﺎﻱ ﺩﻗﻴﻖ ﮐﻠﻤﻪ ﻣﻲﺑﻴﻨﻴﻢ ﮐﻪ‬
‫ﺑﺲﮔﺎﻧﮕﻲ ﮔﺮگﻫﺎ ﺭﺍ ﺭﻫﺎ ﻣﻲﺳﺎﺯﺩ ﺗﺎ ﺷﮑﻞ ﺑﺰﻋﺎﻟﻪﻫﺎ ﺭﺍ ﺑﮕﻴﺮﻧﺪ ﮐﻪ‬
‫ً ﺑﺰﻏﺎﻟﻪ‬
‫ً ﻫﻴﭻ ﺭﺑﻄﻲ ﺑﻪ ﺩﺍﺳﺘﺎﻥ ﻧﺪﺍﺭﻧﺪ‪ .‬ﻫﻔﺖ ﮔﺮﮔﻲ ﮐﻪ ﺻﺮﻓﺎ‬ ‫ﻣﻄﻠﻘﺎ‬
‫ﻫﺴﺘﻨﺪ‪ .‬ﺷﺶ ﮔﺮگ‪ :‬ﻫﻔﺘﻤﻴﻦ ﺑﺰﻏﺎﻟﻪ )ﺧﻮﺩ ﻣﺮﺩ ﮔﺮگﺁﺫﻳﻦ( ﺩﺭ ﺳﺎﻋﺖ ﻗﺎﻳﻢ‬
‫ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﭘﻨﺞ ﮔﺮگ‪ :‬ﻣﻤﮑﻦ ﺍﺳﺖ ﻭﺍﻟﺪﻳﻨﺶ ﺭﺍ ﺩﻳﺪﻩ ﺑﺎﺷﺪ ﮐﻪ ﺩﺭ ﺳﺎﻋﺖ‬
‫ﭘﻨﺞ ﻋﺸﻖﺑﺎﺯﻱ ﻣﻲﻛﻨﻨﺪ‪ ،‬ﻭ ﻋﺪﺩ ﺭﻭﻣﻲ ‪ V‬ﺑﺎ ﺑﺎﺯ ﺷﺪﻥ ﺍﺭﻭﺗﻴﮏ ﭘﺎﻫﺎﻱ ﻳﮏ‬
‫ﺯﻥ ﺗﺪﺍﻋﻲ ﻣﻲﺷﻮﺩ‪ .‬ﺳﻪ ﮔﺮگ‪ :‬ﻭﺍﻟﺪﻳﻦ ﺷﺎﻳﺪ ﺳﻪ ﺑﺎﺭ ﻋﺸﻖﺑﺎﺯﻱ ﮐﺮﺩﻩﺍﻧﺪ‪.‬‬
‫ﺩﻭ ﮔﺮگ‪ :‬ﺷﺎﻳﺪ ﺍﻭﻟﻴﻦ ﺟﻔﺖﮔﻴﺮﻱ ﮐﻪ ﮐﻮﺩک ﺩﻳﺪﻩ ﻣﺮﺑﻮﻁ ﺑﻪ ﭘﺪﺭ ﻭ ﻣﺎﺩﺭ‬
‫ﻭ ﺩﺭ ﺣﺎﻟﺘﻲ ﺣﻴﻮﺍﻧﻲ‪ 13‬ﺑﻮﺩﻩ ﻳﺎ ﺷﺎﻳﺪ ﺣﺘﻲ ﺑﻴﻦ ﺩﻭ ﺳﮓ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﻳﮏ‬
‫ﮔﺮگ‪ :‬ﺍﻳﻦ ﮔﺮگ ﭘﺪﺭ ﺍﺳﺖ‪ ،‬ﻫﻤﺎﻥﻃﻮﺭ ﮐﻪ ﺍﺯ ﺍﻭﻝ ﻫﻢ ﺑﺮ ﻫﻤﻪﻱ ﻣﺎ ﻣﻌﻠﻮﻡ‬
‫ﺑﻮﺩ‪ .‬ﺻﻔﺮ ﮔﺮگ‪ :‬ﺍﻭ ﺩﻣﺶ ﺭﺍ ﮔﻢ ﮐﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﺍﻭ ﻧﻪ ﺗﻨﻬﺎ ﺍﺧﺘﻪ ﻣﻲﻛﻨﺪ‪،‬‬
‫ﺑﻠﮑﻪ ﺧﻮﺩ ﻧﻴﺰ ﺍﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻓﺮﻭﻳﺪ ﺩﺍﺭﺩ ﭼﻪ ﮐﺴﻲ ﺭﺍ ﮔﻮﻝ ﻣﻲﺯﻧﺪ؟‬
‫ﮔﺮگﻫﺎ ﺷﺎﻧﺲ ﺍﻳﻦ ﺭﺍ ﻧﺪﺍﺭﻧﺪ ﮐﻪ ﺑﮕﺮﻳﺰﻧﺪ ﻭ ﺩﺳﺘﻪﻱ ﺧﻮﺩ ﺭﺍ ﻧﺠﺎﺕ‬
‫ﺩﻫﻨﺪ‪ :‬ﭘﻴﺸﺎﭘﻴﺶ ﺍﺯ ﻫﻤﺎﻥ ﺍﺑﺘﺪﺍ ﻣﻘﺪﺭ ﺷﺪﻩ ﺍﺳﺖ ﮐﻪ ﺣﻴﻮﺍﻧﺎﺕ ﻓﻘﻂ‬
‫ﺑﺘﻮﺍﻧﻨﺪ ﺩﺭ ﺧﺪﻣﺖ ﺑﺎﺯﻧﻤﺎﻳﻲ ﺟﻤﺎﻉ ﻣﻴﺎﻥ ﻭﺍﻟﺪﻳﻦ ﻗﺮﺍﺭ ﮔﻴﺮﻧﺪ‪ ،‬ﻳﺎ‬
‫ﺑﺎﻟﻌﮑﺲ‪ ،‬ﺍﺯ ﻃﺮﻳﻖ ﺟﻤﺎﻉ ﻣﻴﺎﻥ ﻭﺍﻟﺪﻳﻦ ﺑﺎﺯﻧﻤﺎﻳﻲ ﺷﻮﻧﺪ‪ .‬ﻓﺮﻭﻳﺪ ﺁﺷﮑﺎﺭﺍ‬
‫ﭼﻴﺰﻱ ﺩﺭﺑﺎﺭﻩﻱ ﺍﻓﺴﻮﻥ ﻭ ﺟﺬﺑﻪﻱ ﺳﺎﻃﻊ ﺍﺯ ﮔﺮگﻫﺎ ﻭ ﻣﻌﻨﺎﻱ ﺁﻥ ﻓﺮﺍﺧﻮﺍﻥِ‬
‫ﺧﺎﻣﻮﺵﺷﺎﻥ ﻧﻤﻲﺩﺍﻧﺪ‪ :‬ﻓﺮﺍﺧﻮﺍﻥِ ﺧﺎﻣﻮﺵ ﮔﺮگﻫﺎ ﺑﻪ ﮔﺮگـﺷﺪﻥ‪ .‬ﮔﺮگﻫﺎ ﺑﻪ‬
‫ﮐﻮﺩک ﺭﻭﻳﺎﭘﺮﺩﺍﺯ ﻧﮕﺎﻩ ﻣﻲﻛﻨﻨﺪ‪ ،‬ﺍﺯ ﻗﺼﺪ ﻧﮕﺎﻩ ﻣﻲﻛﻨﻨﺪ؛ ﻣﻄﻤﺌﻦﺗﺮ ﺍﺳﺖ‬
‫ﮐﻪ ﺑﻪ ﺧﻮﺩ ﺑﮕﻮﻳﻲ ﮐﻪ ﺭﺅﻳﺎ ﻧﻮﻋﻲ ﻭﺍژﮔﻮﻧﻲ ﺍﻳﺠﺎﺩ ﻣﻲﻛﻨﺪ‪ ،‬ﻭ ﺁﻥ ﺍﻳﻦﮐﻪ‬
‫ً ﮐﻮﺩک ﺍﺳﺖ ﮐﻪ ﺳﮓﻫﺎ ﻳﺎ ﻭﺍﻟﺪﻳﻦ ﺭﺍ ﺩﺭ ﺣﻴﻦ ﻋﺸﻖﺑﺎﺯﻱ ﻣﻲﺑﻴﻨﺪ‪.‬‬ ‫ﻭﺍﻗﻌﺎ‬
‫ﻓﺮﻭﻳﺪ ﻓﻘﻂ ﺳﮓ ﻳﺎ ﮔﺮگ ﺍﺩﻳﭙﻲ ﺭﺍ ﻣﻲﺷﻨﺎﺳﺪ‪ ،‬ﻳﻌﻨﻲ ﺁﻥ ﺑﺎﺑﺎ ﮔﺮﮔﻪﻱ‬
‫ﺍﺧﺘﻪﻱ ﺍﺧﺘﻪﮐﻦ ﺭﺍ‪ ،‬ﺁﻥ ﺳﮓ ﺩﺭ ﮐﺎﻧﺎﻝ ﺁﺏ ﺭﺍ‪ ،‬ﻋﻮﻋﻮﻱ ﺭﻭﺍﻥﻛﺎﻭ ﺭﺍ‪.‬‬

‫‪12. verbal subsumption‬‬

‫‪13. more ferarum‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

‫ﻓﺮﺍﻧﻲ ﺩﺭ ﺣﺎﻝ ﮔﻮﺵﺩﺍﺩﻥ ﺑﻪ ﺑﺮﻧﺎﻣﻪﺍﻱ ﺩﺭﺑﺎﺭﻩﻱ ﮔﺮگﻫﺎ ﺍﺳﺖ‪ .‬ﺑﻪ ﺍﻭ‬
‫ﻣﻲﮔﻮﻳﻢ‪ ،‬ﺩﻭﺳﺖ ﺩﺍﺭﻱ ﻳﮏ ﮔﺮگ ﺑﺎﺷﻲ؟ ﺍﻭ ﺑﺎ ﺗﮑﺒﺮ ﭘﺎﺳﺦ ﻣﻲﺩﻫﺪ‪ ،‬ﭼﻪ‬
‫ﺍﺣﻤﻘﺎﻧﻪ‪ ،‬ﺗﻮ ﻧﻤﻲﺗﻮﺍﻧﻲ ﻳﮏ ﮔﺮگ ﺑﺎﺷﻲ‪ ،‬ﺗﻮ ﻫﻤﻴﺸﻪ ﻫﺸﺖ ﻳﺎ ﻧﻪ‪ ،‬ﺷﺶ ﻳﺎ‬
‫ﻫﻔﺖ ﮔﺮگ ﻫﺴﺘﻲ‪ .‬ﻧﻪ ﺍﻳﻦﮐﻪ ﺧﻮﺩﺕ ﺑﻪ ﺗﻨﻬﺎﻳﻲ ﻭ ﺩﺭ ﻳﮏ ﻟﺤﻈﻪ ﺷﺶ ﻳﺎ ﻫﻔﺖ‬
‫ﮔﺮگ ﺩﻳﮕﺮ‪.‬‬
‫ﮔﺮگ ﺑﺎﺷﻲ‪ ،‬ﺑﻠﮑﻪ ﻳﮏ ﮔﺮگ ﺑﻴﻦ ﺑﻘﻴﻪﺍﻱ؛ ﺑﻴﻦ ﭘﻨﺞ ﻳﺎ ﺷﺶ ِ‬
‫ﻣﺴﺄﻟﻪﻱ ﻣﻬﻢ ﺩﺭ ﮔﺮگـﺷﺪﻥ ﻣﻮﻗﻌﻴﺖ ﺗﻮﺩﻩ ﺍﺳﺖ‪ ،‬ﻭ ﺍﺯ ﻫﻤﻪ ﻣﻬﻢﺗﺮ ﻣﻮﻗﻌﻴﺖ‬
‫ﺧﻮﺩ ﺳﻮژﻩ ﺩﺭ ﻧﺴﺒﺖ ﺑﺎ ﺩﺳﺘﻪ ﻳﺎ ﮔﺮگـ ﺑﺲﮔﺎﻧﮕﻲ‪ :14‬ﭼﮕﻮﻧﻪ ﺳﻮژﻩ ﺑﻪ‬
‫ﺩﺳﺘﻪ ﻣﻠﺤﻖ ﻣﻲﺷﻮﺩ ﻳﺎ ﻧﻤﻲﺷﻮﺩ؛ ﭼﻪ ﻓﺎﺻﻠﻪﺍﻱ ﺍﺯ ﺁﻥ ﺩﺍﺭﺩ؛ ﭼﮕﻮﻧﻪ ﺑﻪ‬
‫ﺑﺲﮔﺎﻧﮕﻲ ﻣﻲﭼﺴﺒﺪ ﻳﺎ ﻧﻤﻲﭼﺴﺒﺪ‪ .‬ﻓﺮﺍﻧﻲ ﺑﺮﺍﻱ ﻣﻼﻳﻢﮐﺮﺩﻥ ﺩﺭﺷﺘﻲ ﭘﺎﺳﺦﺍﺵ‬
‫ﺭﻭﻳﺎﻳﻲ ﺭﺍ ﺗﻌﺮﻳﻒ ﻣﻲﻛﻨﺪ‪» :‬ﺻﺤﺮﺍﻳﻲ ﺁﻥﺟﺎ ﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ ﺑﺎﺯ ﺑﻲﻣﻌﻨﺎﺳﺖ‬
‫ﺑﮕﻮﻳﻲ ﻣﻦ ﺩﺭ ﺻﺤﺮﺍ ﻫﺴﺘﻢ‪ .‬ﺍﻳﻦ ﺗﺼﻮﻳﺮﻱ ﺗﻤﺎﻡﻧﻤﺎﻳﺎﻧﻪ‪ 15‬ﺍﺯ ﺻﺤﺮﺍ ﺍﺳﺖ ﻭ‬
‫ﻧﻪ ﺻﺤﺮﺍﻳﻲ ﺗﺮﺍژﻳﮏ ﻳﺎ ﺑﻲﺳﮑﻨﻪ‪ .‬ﺍﻳﻦ ﺻﺤﺮﺍ ﺗﻨﻬﺎ ﺑﻪ ﺍﻳﻦ ﺩﻟﻴﻞ ﺻﺤﺮﺍ‬
‫ﺳﺖ ﮐﻪ ﺧﻮﺭﺷﻴﺪﺵ ﺍﺧﺮﺍﻳﻲﺭﻧﮓ‪ ،‬ﺳﻮﺯﺍﻥ ﻭ ﺑﻲﺳﺎﻳﻪ ﺍﺳﺖ‪ .‬ﺟﻤﺎﻋﺘﻲ ﻋﻈﻴﻢ ﻭ‬
‫ﻣﺎﻻﻣﺎﻝ ﺩﺭ ﺁﻥ ﻫﺴﺘﻨﺪ‪ ،‬ﻓﻮﺟﻲ ﺍﺯ ﺯﻧﺒﻮﺭﻫﺎ‪ ،‬ﺳﺮﻭﺻﺪﺍﻱ ﻓﻮﺗﺒﺎﻟﻴﺴﺖﻫﺎ ﻳﺎ‬
‫ﮔﺮﻭﻫﻲ ﺍﺯ ﻃﻮﺍﺭﻕ‪ .16‬ﻣﻦ ﺑﺮ ﻟﺒﻪﻱ ﺟﻤﺎﻋﺖ‪ ،‬ﺩﺭ ﺣﺎﺷﻴﻪ ﻫﺴﺘﻢ‪ :‬ﺍﻣﺎ ﻣﻦ ﺑﻪ‬
‫ﻫﻤﺎﻥ ﺟﻤﺎﻋﺖ ﺗﻌﻠﻖ ﺩﺍﺭﻡ‪ ،‬ﺑﺎ ﻳﮑﻲ ﺍﺯ ﺍﻋﻀﺎﻱ ﺧﺎﺭﺟﻲ ﺑﺪﻧﻢ‪ ،‬ﺑﺎ ﻳﮏ ﺩﺳﺖ‬
‫ﻳﺎ ﻳﮏ ﭘﺎ‪ ،‬ﺑﻪ ﺁﻥﻫﺎ ﭼﺴﺒﻴﺪﻩ ﺍﻡ‪ .‬ﻣﻲﺩﺍﻧﻢ ﺣﺎﺷﻴﻪ ﺗﻨﻬﺎ ﺟﺎﻳﻲ ﺍﺳﺖ ﮐﻪ‬
‫ِ ﻏﻮﻏﺎ‪ ،‬ﺧﻮﺍﻫﻢ‬
‫ﻣﻲﺗﻮﺍﻧﻢ ﺑﺎﺷﻢ‪ ،‬ﻣﻲﺩﺍﻧﻢ ﮐﻪ ﺍﮔﺮ ﺗﻦ ﺩﻫﻢ ﺑﻪ ﺭﻓﺘﻦ ﺩﺭ ﺩﻝ‬
‫ِﺒﺮﻡ‪،‬‬
‫ﻣﺮﺩ ﻭ ﺑﺎﺯ ﺑﺎ ﻫﻤﺎﻥ ﻗﻄﻌﻴﺖ ﻣﻲﺩﺍﻧﻢ ﮐﻪ ﺍﮔﺮ ﺍﺯ ﺍﻳﻦ ﺟﻤﺎﻋﺖ ﻧﻴﺰ ﺑ‬
‫ِ ﺁﻥ ﺑﺴﻴﺎﺭ‬
‫ﻣﻲﻣﻴﺮﻡ‪ .‬ﻧﻪ؛ ﻣﻮﻗﻌﻴﺖ ﻣﻨﺎﺳﺒﻲ ﺑﺮﺍﻱ ﻣﺎﻧﺪﻥ ﻧﻴﺴﺖ‪ ،‬ﺣﺘﻲ ﺣﻔﻆ‬

‫‪14. wolf-multiplicity‬‬
‫‪15. panoramic‬‬
‫ﺁﻓﺮﻳﻘﺎ ﻫﺴﺘﻨﺪ‪ .‬ﻃﻮﺍﺭﻕ ﻗﻮﻣﻲ ﺻﺤﺮﺍﻧﺸﻴﻦ‬ ‫ِﺮ)ﺁﻣﺎﺯﻳﻎ(ﺩﺭ ﺷﻤﺎﻝ‬‫ِﺮﺑ‬ ‫‪ .‬ﻃﻮﺍﺭ‬
‫ِﻕ ﻳﮑﻲ ﺍﺯ ﺍﻗﻮﺍﻡ ﺑ‬
‫ﺑﺰﺭگ ﺁﻓﺮﻳﻘﺎ ﮐﻮچﮔﺮﺩﻱ ﻣﻲﮐﺮﺩﻧﺪ ﻭﻟﻲ‬ ‫ﺍﺳﺖ ﮐﻪ ﺍﻓﺮﺍﺩ ﺁﻥ ﺭﻭﺯﮔﺎﺭﻱ ﺩﺭ ﻫﻤﻪﻱ ﺻﺤﺮﺍﻱ‬
‫ﻃﻮﺍﺭﻕ ﺭﺍ ﺩﻳﮕﺮﺍﻥ ﺑﺮﺍﻱ ﺍﻳﺸﺎﻥ ﺑﻪﮐﺎﺭ‬ ‫ﺍﻣﺮﻭﺯﻩ ﺑﻴﺸﺘﺮ ﺩﺭ ﻏﺮﺏ ﺻﺤﺮﺍ ﺳﮑﻮﻧﺖ ﺩﺍﺭﻧﺪ‪ .‬ﻧﺎﻡ‬
‫)ﮔﻮﻳﺸﻮﺭﺍﻥ ﺗﻤﺎﺷﻖ( ﻭ ﺍﻣﺎﺯﻏﺎﻥ )ﻣﺮﺩﻡ‬ ‫ِﻖ«‬
‫ِﻞﺗﻤﺎﺷ‬
‫ﻣﻲﺑﺮﻧﺪ ﻭﺍﻳﺸﺎﻥ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﻧﺎﻡﻫﺎﻱ »ﮐ‬
‫ﺁﺯﺍﺩ( ﻣﻲﻧﺎﻣﻨﺪ‪ .‬ﺯﺑﺎﻥ ﺍﻳﺸﺎﻥ ﺭﺍ ﻃﻮﺍﺭﻗﻲ ﻣﻲﮔﻮﻳﻨﺪ‪.‬‬
‫ﻃﻮﺍﺭﻕ ﺧﻂ ﻭ ﺍﻟﻔﺒﺎﻱ ﻭﻳﮋﻩﺍﻱ ﺑﺮﺍﻱ ﺧﻮﺩ ﺩﺍﺭﻧﺪ ﺑﻪﻧﺎﻡ ﺗﻴﻔﻴﻨﺎﻍ ﮐﻪ ﺍﻣﺮﻭﺯﻩ ﮐﺎﺭﺑﺮﺩ‬
‫ﺯﻳﺎﺩﻱ ﻧﺪﺍﺭﺩ‪ .‬ﻃﻲ ﺩﻭ ﻫﺰﺍﺭ ﺳﺎﻝ‪ ،‬ﻃﻮﺍﺭﻕ ﺑﺎ ﮐﺎﺭﻭﺍﻥﻫﺎﻱ ﺧﻮﺩ ﺩﺍﺩﻭﺳﺘﺪ ﺻﺤﺮﺍﮔﺬﺭ ﺭﺍ ﺯﻧﺪﻩ‬
‫ﻧﮕﻪ ﺩﺍﺷﺘﻪﺍﻧﺪ‪ .‬ﺍﻳﻦ ﮐﺎﺭﻭﺍﻥﻫﺎ‪ ،‬ﺍﺯ ﻃﺮﻳﻖ ‪ ۵‬ﻣﺴﻴﺮ ﺻﺤﺮﺍﻳﻲ‪ ،‬ﺷﻬﺮﻫﺎﻱ ﺑﺰﺭگ ﮐﻨﺎﺭﻩﻱ ﺟﻨﻮﺑﻲ‬
‫ﺻﺤﺮﺍ ﺭﺍ ﺑﻪ ﻣﻨﺎﻃﻖ ﻣﺪﻳﺘﺮﺍﻧﻪﺍﻱ ﺷﻤﺎﻝ ﺁﻓﺮﻳﻘﺎ ﭘﻴﻮﻧﺪ ﺩﺍﺩﻩﺍﻧﺪ‪.‬‬
‫ﺟﻤﻌﻴﺖ ﻃﻮﺍﺭﻕ ﺩﺭ ﺳﺎﻝ ‪ ٢٠١٢‬ﺣﺪﻭﺩ ‪ ٢‬ﺗﺎ ‪ ٣‬ﻣﻴﻠﻴﻮﻥ ﻧﻔﺮ ﺑﺮﺁﻭﺭﺩ ﺷﺪﻩ ﮐﻪ ﻧﻮﺍﺭﻱ ﻭﺳﻴﻊ ﺩﺭ‬
‫ﺻﺤﺮﺍﻱ ﺑﺰﺭگ ﺁﻓﺮﻳﻘﺎ ﻭ ﮐﻨﺎﺭﻩﻫﺎﻱ ﺁﻥ ﺍﺯ ﻟﻴﺒﻲ‪ ،‬ﺷﻤﺎﻝ ﻧﻴﺠﺮ‪ ،‬ﺟﻨﻮﺏ ﺍﻟﺠﺰﺍﻳﺮ ﻭ ﺷﻤﺎﻝ‬
‫ﻣﺎﻟﻲ ﺗﺎ ﺑﻮﺭﮐﻴﻨﺎﻓﺎﺳﻮ ﺭﺍ ﺩﺭ ﺑﺮ ﻣﻲﮔﻴﺮﺩ‪ .‬ﺑﻴﺸﺘﺮﻳﻦ ﺟﻤﻌﻴﺖ ﺁﻥﻫﺎ ﺩﺭ ﻣﺎﻟﻲ ﺳﺎﮐﻦ ﺍﺳﺖ ﮐﻪ‬
‫ﺣﺪﻭﺩ ‪ ١‬ﻣﻴﻠﻴﻮﻥ ﻧﻔﺮ ﺍﺯ ﺟﻤﻌﻴﺖ ﺍﻳﻦ ﮐﺸﻮﺭ ﺭﺍ ﺗﺸﮑﻴﻞ ﻣﻲﺩﻫﺪ‪ .‬ﺗﺎﺭﻳﺦ ﭘﺴﺎﺍﺳﺘﻌﻤﺎﺭﻱ ﻃﻮﺍﺭﻕ‬
‫ﺩﺭ ﻣﺎﻟﻲ ﻭ ﻧﻴﺠﺮ ﺷﺎﻫﺪ ﺯﻧﺠﻴﺮﻩﺍﻱ ﺍﺯ ﺷﻮﺭﺵﻫﺎ ﺑﻮﺩﻩ ﮐﻪ ﺑﻪ ﺩﻟﻴﻞ ﺩﺭ ﺣﺎﺷﻴﻪ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻦ‬
‫ﺁﻥﻫﺎ ﻭ ﻋﺪﻡ ﺭﻋﺎﻳﺖ ﻣﻮﺍﻓﻘﺘﻨﺎﻣﻪﻫﺎﻱ ﺻﻠﺢ ﺑﻴﻦ ﺁﻥﻫﺎ ﻭ ﺣﮑﻮﻣﺖﻫﺎ ﺭﺥ ﺩﺍﺩﻩﺍﻧﺪ ‪.‬ﻣﺎﻟﻲ ﺷﺎﻫﺪ‬
‫ﺳﻪ ﻗﻴﺎﻡ ﺑﺰﺭگ ﻃﻮﺍﺭﻕ ﺩﺭ ﺳﺎﻝﻫﺎﻱ ‪۶۴‬ـ‪٩۵ ،١٩۶٢‬ـ‪ ١٩٩٠‬ﻭ ‪٩‬ـ‪ ٢٠٠٧‬ﺑﻮﺩﻩﺍﺳﺖ‪ .‬ﺩﺭ ﺳﺎﻝ ‪٢٠١٢‬‬
‫ﻧﻴﺰ ﺑﺎ ﺳﻘﻮﻁ ﺣﮑﻮﻣﺖ ﻣﻌﻤﺮ ﻗﺬﺍﻓﻲ ﺩﺭ ﻟﻴﺒﻲ ﻭ ﭘﻴﻮﺳﺘﻦ ﺩﻭ ﺗﺎ ﺳﻪ ﻫﺰﺍﺭ ﺟﻨﮕﺠﻮﻱ ﺣﺮﻓﻪﺍﻱ‬
‫ﻃﻮﺍﺭﻕ ﺍﺯ ﺍﺭﺗﺶ ﻟﻴﺒﻲ ﺑﻪ ﻃﻮﺍﺭﻕ ﻧﺎﺭﺍﺿﻲ ﺍﻫﻞ ﻣﺎﻟﻲ ﺷﻮﺭﺵ ﺑﺰﺭگ ﺩﻳﮕﺮﻱ ﺩﺭ ﺷﻤﺎﻝ ﺍﻳﻦ‬
‫ﮐﺸﻮﺭ ﺩﺭﮔﺮﻓﺖ‪ .‬ﻡ ـ ﻣﻨﺒﻊ‪ :‬ﻭﻳﮑﻴﭙﺪﻳﺎ‪.‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

‫ﺩﺷﻮﺍﺭ ﺍﺳﺖ‪ ،‬ﺯﻳﺮﺍ ﺍﻳﻦ ﻫﺴﺘﻨﺪﻩﻫﺎ ﺩﺭ ﺣﺮﮐﺖ ﺩﺍﺋﻤﻲ ﻫﺴﺘﻨﺪ‪ ،‬ﺟﻨﺒﺶﻫﺎﻱﺷﺎﻥ‬
‫ﭘﻴﺶﺑﻴﻨﻲﻧﺎﭘﺬﻳﺮ ﺍﺳﺖ ﻭ ﺍﺯ ﻫﻴﭻ ﺭﻳﺘﻤﻲ ﺗﺒﻌﻴﺖ ﻧﻤﻲﻛﻨﺪ‪ .‬ﺁﻥﻫﺎ ﭼﺮﺥ‬
‫ﻣﻲﺯﻧﻨﺪ‪ ،‬ﺑﻪ ﺷﻤﺎﻝ ﻣﻲﺭﻭﻧﺪ‪ ،‬ﻭ ﺳﭙﺲ ﻧﺎﮔﻬﺎﻥ ﻋﺎﺯﻡ ﺷﺮﻕ ﻣﻲﺷﻮﻧﺪ؛ ﻫﻴﭻﻳﮏ‬
‫ﺍﺯ ﺍﻓﺮﺍﺩ ﺩﺍﺧﻞ ﺟﻤﺎﻋﺖ ﺩﺭ ﻣﮑﺎﻧﻲ ﻳﮑﺴﺎﻥ ﻧﺴﺒﺖ ﺑﻪ ﺳﺎﻳﺮﻳﻦ ﺑﺎﻗﻲ‬
‫ﻧﻤﻲﻣﺎﻧﺪ‪ .‬ﭘﺲ ﻣﻦ ﻧﻴﺰ ﺩﺭ ﺣﺮﮐﺘﻲ ﺩﺍﺋﻤﻲ ﻫﺴﺘﻢ؛ ﻭ ﺍﻳﻦ ﻫﻤﻪ ﺳﻄﺢِ ﺑﺎﻻﺗﺮﻱ‬
‫ﺍﺯ ﺗﻨﺶ ﺭﺍ ﻣﻲﻃﻠﺒﺪ‪ ،‬ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻦ ﻣﺮﺍ ﺩﺳﺘﺨﻮﺵ ﻧﻮﻋﻲ ﺷﺎﺩﺍﻧﻲ ﺧﺸﻦ ﻭ‬
‫ً ﺳﺮﮔﻴﺠﻪﺁﻭﺭ ﻣﻲﻛﻨﺪ‪ «.‬ﻳﮏ ﺭﻭﻳﺎﻱ ﺍﺳﮑﻴﺰﻭﻳﻲ ﺑﺴﻴﺎﺭ ﺧﻮﺏ‪ .‬ﺑﻪ‬ ‫ﻧﺴﺒﺘﺎ‬
‫ﺗﻤﺎﻣﻲ ﺟﺰﺋﻲ ﺍﺯ ﺟﻤﺎﻋﺖ ﺑﻮﺩﻥ‪ ،‬ﻭ ﺩﺭ ﻋﻴﻦﺣﺎﻝ ﮐﺎﻣﻼً ﺑﻴﺮﻭﻥ ﻭ ﺟﺪﺍﺍﻓﺘﺎﺩﻩ‬
‫ﺍﺯ ﺁﻥ‪ :‬ﺑﺮ ﻟﺒﻪ ﺑﻮﺩﻥ‪ ،‬ﻗﺪﻡ ﺯﺩﻥ ﺑﺎ ﻭﻳﺮﺟﻴﻨﻴﺎ ﻭﻭﻟﻒ )ﺩﻳﮕﺮ ﻫﺮﮔﺰ‬
‫ﻧﺨﻮﺍﻫﻢ ﮔﻔﺖ »ﻣﻦ ﺍﻳﻦ ﺍﻡ‪ ،‬ﻣﻦ ﺁﻥ ﺍﻡ‪17(«.‬‬

‫ﻓﺼﻞ ﺳﻮﻡ‬

‫‪ 10000‬ﺳﺎﻝ ﻗﺒﻞ ﺍﺯ ﻣﻴﻼﺩ‬

‫ِ ﻣﺴﻴﺢ‪ :‬ﺯﻣﻴﻦﺷﻨﺎﺳﻲ ﺍﺧﻼﻗﻴﺎﺕ‬
‫)ﺯﻣﻴﻦ ﺧﻮﺩ ﺭﺍ ﮐﻪ ﻣﻲﺍﻧﮕﺎﺭﺩ؟(‬

‫ﻣﻀﺎﻋﻒ‪18‬‬ ‫ﻣﻔﺼﻞﺑﻨﺪﻱ‬
‫ﺁﺭﺗﻮﺭ ﮐﻨﻦ ﺩﻭﻳﻞ‪ 19‬ﺗﻮﺻﻴﻒ ﻣﻲﻛﻨﺪ ﮐﻪ ﭘﺮﻭﻓﺴﻮﺭ ﭼﻠﻨﺠﺮ‪ ،20‬ﻫﻤﺎﻥ ﮐﺴﻲ ﮐﻪ‬
‫ﺯﻣﻴﻦ ﺭﺍ ﻭﺍﺩﺍﺷﺖ ﺗﺎ ﺑﺎ ﻣﺎﺷﻴﻦِ ﺩﺭﺩﺵ ﺟﻴﻎ ﺑﮑﺸﺪ‪ ،‬ﭘﺲ ﺍﺯ ﺗﺮﮐﻴﺐِ‬

‫]‪17. [TRANS: Virginia Woolf, Mrs. Dalloway (New York: Harcourt, Brace and World, 1925), p. 11).‬‬
‫‪18. Photo Boyer, Lobster. Collection Viollet‬‬
‫‪19. Arthur Conan Doyle‬‬
‫ﺁﺭﺗﻮﺭ ﮐﻨﻦ ﺩﻭﻳﻞ )‪1859‬ـ‪ (1930‬ﭘﺰﺷﮏ ﻭ ﻧﻮﻳﺴﻨﺪﻩﻱ ﺍﺳﮑﺎﺗﻠﻨﺪﻱ ﺍﺳﺖ‪ .‬ﺍﻭ ﺩﻭ ﺍﺛﺮ ﻭ ﺷﺨﺼﻴﺖ‬
‫ﺑﺮﺟﺴﺘﻪ ﺭﺍ ﺧﻠﻖ ﮐﺮﺩﻩ ﺍﺳﺖ‪ :‬ﺍﻭﻝ‪ ،‬ﺷﺮﻟﻮک ﻫﻮﻟﻤﺰ ﮐﻪ ﺳﻨﮓﺑﻨﺎﻱ ﺁﺛﺎﺭ ﺟﻨﺎﻳﻲ ﺭﺍ ﻣﻲﮔﺬﺍﺭﺩ‪،‬‬
‫ﻭ ﺩﻭﻡ‪ ،‬ﭘﺮﻓﺴﻮﺭ ﭼﻠﻨﺠﺮ )ﺟﺮﺝ ﺍﺩﻭﺍﺭﺩ ﺟﻠﻨﺠﺮ(‪ .‬ﻫﺮﭼﻘﺪﺭ ﺷﺮﻟﻮک ﻫﻮﻟﻤﺰ ﺷﺨﺼﻴﺘﻲ ﺁﺭﺍﻡ ﻭ‬
‫ﺗﺤﻠﻴﻞﮔﺮ ﺩﺍﺭﺩ‪ ،‬ﭘﺮﻓﺴﻮﺭ ﭼﻠﻨﺠﺮﻱ ﺷﺨﺼﻴﺘﻲ ﭘﺮﺧﺎﺵﮔﺮ ﻭ ﺳﻠﻄﻪﺟﻮ ﺍﺳﺖ‪ .‬ﺁﺭﺗﻮ ﮐﻨﻦ ﺩﻭﻳﻞ‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫ﮐﺘﺎﺏﻫﺎﻱ ﻣﺘﻌﺪﺩ ﺩﺭﺑﺎﺏ ﺯﻣﻴﻦﺷﻨﺎﺳﻲ ﻭ ﺯﻳﺴﺖﺷﻨﺎﺳﻲ ﺳﺨﻨﺮﺍﻧﻲﺍﻱ ﺍﺭﺍﺋﻪ‬
‫ِ ﺧﻮﻱ ﻣﻴﻤﻮﻥﮔﻮﻥﺍﺵ ﺑﻮﺩ‪ .‬ﺍﻭ ﺗﻮﺿﻴﺢ ﻣﻲﺩﻫﺪ ﮐﻪ ﺯﻣﻴﻦ‬ ‫ﮐﺮﺩ ﮐﻪ ﺩﺭﺧﻮﺭ‬
‫ِ‬
‫ﺑﺪﻧﻲ ﺑﺪﻭﻥ ﺍﻧﺪﺍﻡ ﺍﺳﺖ ــ ﻗﻠﻤﺮﻭﺯﺩﻭﺩﻩ‪ ،‬ﻣﻨﺠﻤﺪ‪ ،‬ﻣﻮﻟﮑﻮﻟﻲ ﻋﻈﻴﻢ‪ .‬ﻣﻮﺍﺩ‬
‫ﻓﺮﻡﻧﻴﺎﻓﺘﻪ ﻭ ﻧﺎﭘﺎﻳﺪﺍﺭ‪ ،‬ﺳﻴﻼﻥﻫﺎﻳﻲ ﺍﺯ ﻫﻤﻪﺳﻮ‪ ،‬ﺷﺪﺕﻫﺎﻳﻲ ﺁﺯﺍﺩ ﺑﺎ‬
‫ﺗﮑﻴﻨﮕﻲﻫﺎﻱ ﻛﻮچﮔﺮ‪ ،‬ﻭ ﺫﺭﺍﺕ ﺩﻳﻮﺍﻧﻪ ﻳﺎ ﺯﻭﺩﮔﺬﺭ ﺩﺭ ﺍﻳﻦ ﺑﺪﻥِ ﺑﺪﻭﻥ‬
‫ﺍﻧﺪﺍﻡ ﺭﺧﻨﻪ ﮐﺮﺩﻩﺍﻧﺪ‪ .‬ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻦ‪ ،‬ﻣﺴﺄﻟﻪﻱ ﺣﺎﺿﺮ ﺍﻳﻦ ﻧﺒﻮﺩ‪ .‬ﺯﻳﺮﺍ‬
‫ﭘﺪﻳﺪﻩﺍﻱ ﺑﺴﻴﺎﺭ ﻣﻬﻢ ﻭ ﺍﺟﺘﻨﺎﺏﻧﺎﭘﺬﻳﺮ ﻭ ﺍﺯ ﺑﺴﻴﺎﺭﻱ ﺟﻬﺎﺕ ﺳﻮﺩﻣﻨﺪ ﻭ‬
‫ﺍﺯ ﺑﺴﻴﺎﺭﻱ ﺟﻬﺎﺕ ﻧﺎﮔﻮﺍﺭ ﻫﻤﺰﻣﺎﻥ ﺭﻭﻱ ﺯﻣﻴﻦ ﺍﺗﻔﺎﻕ ﻣﻲﺍﻓﺘﺪ‪:‬‬
‫ﭼﻴﻨﻪﺑﻨﺪﻱ‪ .‬ﭼﻴﻨﻪﻫﺎ ﻻﻳﻪﻫﺎ ﻭ ﮐﻤﺮﺑﻨﺪﻫﺎ ﻫﺴﺘﻨﺪ‪ .‬ﭼﻴﻨﻪﻫﺎ ﺍﺯ ﻓﺮﻡﺑﺨﺸﻴﺪﻥ‬
‫ﺑﻪ ﻣﻮﺍﺩ‪ ،‬ﺍﺯ ﻣﺤﺒﻮﺱﮐﺮﺩﻥِ ﺷﺪﺕﻫﺎ ﻳﺎ ﮔﻴﺮﺍﻧﺪﺍﺧﺘﻦِ ﺗﮑﻴﻨﮕﻲﻫﺎ ﺩﺭﻭﻥِ‬
‫ِ ﻣﻮﻟﮑﻮﻝﻫﺎﻱ ﺑﺰﺭگ ﻭ ﮐﻮﭼﮏ ﺑﺮ ﺑﺪﻥِ‬‫ﺳﻴﺴﺘﻢﻫﺎﻱ ﻃﻨﻴﻦ ﻭ ﺣﺸﻮﻫﺎ‪ ،‬ﺍﺯ ﺗﻮﻟﻴﺪ‬
‫ﺯﻣﻴﻦ ﻭ ﺳﺎﺯﻣﺎﻥﺩﻫﻲ ﺁﻥﻫﺎ ﺩﺭ ﻣﺠﻤﻮﻋﻪﻫﺎﻱ ﻣﻮﻟﻲ ﺗﺸﮑﻴﻞ ﺷﺪﻩﺍﻧﺪ‪ .‬ﭼﻴﻨﻪﻫﺎ‬
‫ﻫﻤﺎﻥ ﻛﻨﺶﻫﺎﻱ ﺗﺴﺨﻴﺮ ﻫﺴﺘﻨﺪ‪ ،‬ﺁﻥﻫﺎ ﺷﺒﻴﻪ »ﺳﻴﺎﻩﭼﺎﻟﻪﻫﺎ« ﻳﺎ ﻣﻮﺍﻧﻌﻲ‬
‫ﻫﺴﺘﻨﺪ ﮐﻪ ﻣﻲﮐﻮﺷﻨﺪ ﻫﺮ ﺁﻥﭼﻪ ﺭﺍ ﺩﺭ ﺗﻴﺮﺭﺱﺷﺎﻥ ﺍﺳﺖ‪ ،‬ﺑﺮﺑﺎﻳﻨﺪ‪ .21‬ﺍﻳﻦ‬
‫ﭼﻴﻨﻪﻫﺎ ﺑﺎ ﺭﻣﺰﮔﺬﺍﺭﻱ ﻭ ﻗﻠﻤﺮﻭﮔﺬﺍﺭﻱ ﺭﻭﻱ ﺯﻣﻴﻦ ﻋﻤﻞ ﻣﻲﻛﻨﻨﺪ؛ ﺁﻥﻫﺎ‬
‫ً ﺑﺎ ﺭﻣﺰﮔﺎﻥ ﻭ ﻗﻠﻤﺮﻭﻣﻨﺪﻱ ﭘﻴﺶ ﻣﻲﺭﻭﻧﺪ‪ .‬ﭼﻴﻨﻪﻫﺎ ﺩﺍﻭﺭﻱﻫﺎﻱ ﺧﺪﺍ‬ ‫ﺁﻧﺎ‬
‫ِ ﺳﻴﺴﺘﻢ ﺩﺍﻭﺭﻱ ﺧﺪﺍ ﺍﺳﺖ )ﺍﻣﺎ‬ ‫ﻫﺴﺘﻨﺪ؛ ﺑﻪﻃﻮﺭ ﮐﻠﻲ‪ ،‬ﭼﻴﻨﻪﺑﻨﺪﻱ ﺳﺮﺗﺎﺳﺮ‬
‫ﺯﻣﻴﻦ‪ ،‬ﻳﺎ ﺑﺪﻥِ ﺑﺪﻭﻥِ ﺍﻧﺪﺍﻡ‪ ،‬ﺑﻪ ﺗﻨﺎﻭﺏ ﺍﺯ ﺁﻥ ﺩﺍﻭﺭﻱ ﻃﻔﺮﻩ ﻣﻲﺭﻭﺩ‪،‬‬
‫ﻣﻲﮔﺮﻳﺰﺩ ﻭ ﭼﻴﻨﻪﺯﺩﺍﻳﻲ‪ ،‬ﺭﻣﺰﺯﺩﺍﻳﻲ‪ ،‬ﻭ ﻗﻠﻤﺮﻭﺯﺩﺍﻳﻲ ﻣﻲﺷﻮﺩ(‪.‬‬
‫ﭼﻠﻨﺠﺮ ﺟﻤﻠﻪﺍﻱ ﺭﺍ ﮐﻪ ﺍﺩﻋﺎ ﻣﻲﻛﻨﺪ ﺩﺭ ﻳﮏ ﮐﺘﺎﺏِ ﺯﻣﻴﻦﺷﻨﺎﺳﻲ ﺑﺎ ﺁﻥ‬
‫ﺑﺮﺧﻮﺭﺩ ﮐﺮﺩﻩ‪ ،‬ﻧﻘﻞ ﮐﺮﺩ‪ .‬ﺍﻭ ﻣﻲﮔﻔﺖ ﺑﺎﻳﺪ ﺁﻥ ﺟﻤﻠﻪ ﺭﺍ ﺍﺯ ﺑﺮ ﮐﻨﻴﻢ‬
‫ﺻﻔﺤﻪﻱ‬ ‫ﭼﻮﻥ ﺗﻨﻬﺎ ﺑﻌﺪﺗﺮ ﺁﻥ ﺭﺍ ﻣﻲﻓﻬﻤﻴﻢ‪» :‬ﻳﮏ ﺳﻄﺢِ ﭼﻴﻨﻪﺑﻨﺪﻱ‬
‫ِ ﻫﻤﻨﻮﺍﺧﺘﻲ ﺍﺳﺖ ﮐﻪ ﺑﻴﻦ ﺩﻭ ﻻﻳﻪ ﻗﺮﺍﺭ ﺩﺍﺭﺩ«‪ .‬ﻻﻳﻪﻫﺎ ﻫﻤﺎﻥ‬ ‫ﻓﺸﺮﺩﻩﺗﺮ‬
‫ﭼﻴﻨﻪﻫﺎ ﻫﺴﺘﻨﺪ‪ .‬ﺁﻥ ﻫﻢ ﺩﺳﺖﮐﻢ ﺩﻭ ﺑﻪ ﺩﻭ ﻣﻲﺁﻳﻨﺪ‪ ،‬ﻳﮏ ﻻﻳﻪ ﺑﻪﻣﺜﺎﺑﻪﻱ‬
‫ﺯﻳﺮﻻﻳﻪ ﺑﺮﺍﻱ ﻻﻳﻪﻱ ﺩﻳﮕﺮ ﺑﻪ ﮐﺎﺭ ﻣﻲﺭﻭﺩ‪ .‬ﺳﻄﺢِ ﭼﻴﻨﻪﺑﻨﺪﻱ ﻧﻮﻋﻲ‬
‫ﺳﺮﻫﻢﺑﻨﺪﻱ ﻣﺎﺷﻴﻨﻲ ﻣﺘﻤﺎﻳﺰ ﺍﺯ ﭼﻴﻨﻪﻫﺎ ﺍﺳﺖ‪ .‬ﺳﺮﻫﻢﺑﻨﺪﻱ ﺑﻴﻦِ ﺩﻭ ﻻﻳﻪ‪،‬‬
‫ﺑﻴﻦِ ﺩﻭ ﭼﻴﻨﻪ ﺍﺳﺖ؛ ﺍﺯ ﻳﮏﺳﻮ‪ ،‬ﺳﺮﻫﻢﺑﻨﺪﻱ ﺑﺎ ﭼﻴﻨﻪ ﻣﻮﺍﺟﻪ ﻣﻲﺷﻮﺩ )ﺩﺭ‬
‫ﺍﻳﻦ ﺳﻮﻳﻪ‪ ،‬ﺳﺮﻫﻢﺑﻨﺪﻱ ﻧﻮﻋﻲ ﺑﻴﻨﺎـﻻﻳﻪ ﺍﺳﺖ(‪ ،‬ﺍﻣﺎ ﺍﺯ ﺳﻮﻱ ﺩﻳﮕﺮ‪ ،‬ﺑﺎ‬
‫ِ ﺩﻳﮕﺮﻱ ﻣﻮﺍﺟﻪ ﻣﻲﺷﻮﺩ‪ ،‬ﻳﻌﻨﻲ ﺑﺎ ﺑﺪﻥِ ﺑﺪﻭﻥِ ﺍﻧﺪﺍﻡ ﻳﺎ ﺻﻔﺤﻪﻱ‬ ‫ﭼﻴﺰ‬
‫ِ ﺑﺪﻥِ‬‫ﻫﻤﻨﻮﺍﺧﺘﻲ )ﺍﻳﻦﺟﺎ‪ ،‬ﺳﺮﻫﻢﺑﻨﺪﻱ ﻳﮏ ﻓﺮﺍـﻻﻳﻪ ﺍﺳﺖ(‪ .‬ﺩﺭ ﻭﺍﻗﻊ‪ ،‬ﺧﻮﺩ‬

‫ﺑﻪﻭﺍﺳﻄﻪﻱ ﺑﻴﻤﺎﺭﻱ ﺻﺮﻉ ﺩﻭﺭﺍﻥ ﺯﻳﺎﺩﻱ ﺭﺍ ﺩﺭ ﺁﺳﺎﻳﺸﮕﺎﻩ ﺳﭙﺮﻱ ﻣﻲﻛﻨﺪ‪ .‬ﺩﻳﮕﺮ ﺁﺛﺎﺭ ﺍﻭ‬
‫ﮔﺴﺘﺮﻩﻱ ﺑﻠﻨﺪﻱ ﺍﺯ ﻧﻤﺎﻳﺶﻧﺎﻣﻪ‪ ،‬ﺩﺍﺳﺘﺎﻥ ﮐﻮﺗﺎﻩ‪ ،‬ﺷﻌﺮ‪ ،‬ﺭﻣﺎﻥ ﻋﺎﺷﻘﺎﻧﻪ‪ ،‬ﻭ ﺭﻣﺎﻥ ﺗﺎﺭﻳﺨﻲ‬
‫ﺭﺍ ﭘﻮﺷﺶ ﻣﻲﺩﻫﻨﺪ‪ .‬ﻡ‬
‫‪ .‬ﺭ‪.‬ک‪ .‬ﭘﺎﻧﻮﻳﺲ ﻗﺒﻠﻲ‪ .‬ﻡ‬
‫‪21. Roland Omnes, L'univers et ses metamorphoses (Paris: Hermann, 1973), p. 164:‬‬
‫ِ ﻧﻘﻄﻪﻱ ﺑﺤﺮﺍﻧﻲ ﺍﻓﺘﺎﺩﻩ ﺍﺳﺖ ﺑﻪ‬‫»ﺳﺘﺎﺭﻩﺍﻱ ﮐﻪ ﺁﻧﻘﺪﺭ ﺩﻭﺭ ﻣﺘﻼﺷﻲ ﺷﺪﻩ ﮐﻪ ﺷﻌﺎﻉﺍﺵ ﺯﻳﺮ‬
‫ﺳﻴﺎﻩﭼﺎﻟﻪ )ﺳﺘﺎﺭﻩﻱ ﻣﺴﺪﻭﺩﺷﺪﻩ( ﺑﺪﻝ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻳﻦ ﺍﺻﻄﻼﺡ ﺑﺪﻳﻦ ﻣﻌﻨﺎ ﺍﺳﺖ ﮐﻪ ﻫﺮ ﺁﻥﭼﻪ ﺩﺭ‬
‫ِ ﭼﻨﻴﻦ ﺍﺑﮋﻩﺍﻱ ﻓﺮﺳﺘﺎﺩﻩ ﺷﻮﺩ ﻫﺮﮔﺰ ﺑﺎﺯﻧﺨﻮﺍﻫﺪ ﮔﺸﺖ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ‪ ،‬ﮐﺎﻣﻼً ﺳﻴﺎﻩ ﺍﺳﺖ‬ ‫ﻣﺴﻴﺮ‬
‫ﺯﻳﺮﺍ ﻫﻴﭻ ﻧﻮﺭﻱ ﺍﺯ ﺧﻮﺩ ﻣﺘﺼﺎﻋﺪ ﻳﺎ ﺑﺎﺯﺗﺎﺏ ﻧﻤﻲﻛﻨﺪ‪«.‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

‫ﺑﺪﻭﻥِ ﺍﻧﺪﺍﻡ ﺻﻔﺤﻪﻱ ﻫﻤﻨﻮﺍﺧﺘﻲ ﺍﺳﺖ ﻭ ﺩﺭ ﺳﻄﺢِ ﭼﻴﻨﻪﻫﺎ ﻓﺸﺮﺩﻩ ﻳﺎ ﺿﺨﻴﻢ‬
‫ﻣﻲﺷﻮﺩ‪.‬‬
‫ﺧﺪﺍ ﻫﻤﺎﻥ ﺧﺮﭼﻨﮓ‪ ،‬ﻳﺎ ﮔﺎﺯﺍﻧﺒﺮﻱ ﺩﻭ ﮐﺎﺭﻩ‪ ،‬ﻳﺎ ﺑﻦﺑﺴﺘﻲ ﺩﻭ ﺳﻮﻳﻪ ﺍﺳﺖ‪.‬‬
‫ﻧﻪ ﺗﻨﻬﺎ ﭼﻴﻨﻪﻫﺎ ﺩﺳﺖﮐﻢ ﺩﻭﺑﻪﺩﻭ ﻣﻲﺁﻳﻨﺪ‪ ،‬ﺑﻠﮑﻪ ﻫﺮ ﭼﻴﻨﻪ ﺑﻪ ﺷﻴﻮﻩﺍﻱ‬
‫ﻣﺘﻔﺎﻭﺕ ﻣﻀﺎﻋﻒ ﺍﺳﺖ )ﭼﻴﻨﻪ ﺑﻪﺧﻮﺩﻱﺧﻮﺩ ﭼﻨﺪﻳﻦ ﻻﻳﻪ ﺩﺍﺭﺩ(‪ .‬ﻫﺮ ﭼﻴﻨﻪ‬
‫ﭘﺪﻳﺪﻩﻫﺎﻱ ﺳﺎﺯﻧﺪﻩﻱ ﻣﻔﺼﻞﺑﻨﺪﻱ ﻣﻀﺎﻋﻒ ﺭﺍ ﻋﺮﺿﻪ ﻣﻲﻛﻨﺪ‪ .‬ﺩﻭ ﺑﺎﺭ‬
‫ً ﺑﺪﻳﻦﻣﻌﻨﺎ ﻧﻴﺴﺖ ﮐﻪ ﺑﮕﻮﻳﻴﻢ‬ ‫ﻣﻔﺼﻞﺑﻨﺪﻱ ﮐﻦ‪ .BA ،B-A :‬ﺍﻳﻦ ﻧﮑﺘﻪ ﺍﺑﺪﺍ‬
‫ﭼﻴﻨﻪﻫﺎ ﺳﺨﻦ ﻣﻲﮔﻮﻳﻨﺪ ﻳﺎ ﺯﺑﺎﻥﻣﺤﻮﺭ ﻫﺴﺘﻨﺪ‪ .‬ﻣﻔﺼﻞﺑﻨﺪﻱ ﻣﻀﺎﻋﻒ ﺁﻧﻘﺪﺭ‬
‫ﻣﺘﻐﻴﺮ ﺍﺳﺖ ﮐﻪ ﻧﻪ ﺑﺎ ﺍﻟﮕﻮﻳﻲ ﻋﺎﻡ‪ ،‬ﺑﻠﮑﻪ ﺑﺎ ﻣﻮﺭﺩﻱ ﺑﻪ ﻧﺴﺒﺖ ﺳﺎﺩﻩ‬
‫ﻭﺍﺣﺪﻫﺎﻱ ﻣﻮﻟﮑﻮﻟﻲ ﻳﺎ ﺷﺒﻪﻣﻮﻟﮑﻮﻟﻲ‬ ‫ﺁﻏﺎﺯ ﻣﻲﻛﻨﻴﻢ‪ .‬ﺍﻭﻟﻴﻦ ﻣﻔﺼﻞﺑﻨﺪﻱ‬
‫ﻓﺮﺍﭘﺎﻳﺪﺍﺭ )ﺟﻮﻫﺮﻫﺎ( ﺭﺍ ﺍﺯ ﻣﻴﺎﻥِ ﺫﺭﻩ ـ ﺳﻴﻼﻥﻫﺎﻱ ﻧﺎﭘﺎﻳﺪﺍﺭ ﺍﻧﺘﺨﺎﺏ‬
‫ِ ﺁﻣﺎﺭﻱ ﺍﺯ‬‫ﻳﺎ ﺍﺳﺘﻨﺘﺎﺝ ﻣﻲﻛﻨﺪ؛ ﻭﺍﺣﺪﻫﺎﻳﻲ ﮐﻪ ﺍﻳﻦ ﻣﻔﺼﻞﺑﻨﺪﻱ ﻧﻮﻋﻲ ﻧﻈﻢ‬
‫ﺍﺗﺼﺎﻝﻫﺎ ﻭ ﺗﻮﺍﻟﻲﻫﺎ )ﻓﺮﻡﻫﺎ( ﺭﺍ ﺑﺮ ﺁﻥﻫﺎ ﺗﺤﻤﻴﻞ ﻣﻲﻛﻨﺪ‪ .‬ﻣﻔﺼﻞﺑﻨﺪﻱ‬
‫ﺩﻭﻡ ﺳﺎﺧﺘﺎﺭﻫﺎﻱ ﮐﺎﺭﮐﺮﺩﻱ‪ ،‬ﻓﺸﺮﺩﻩ‪ ،‬ﻭ ﭘﺎﻳﺪﺍﺭ )ﻓﺮﻡﻫﺎ( ﺭﺍ ﺑﺮﻗﺮﺍﺭ‬
‫ﻣﻲﻛﻨﺪ‪ ،‬ﻭ ﺗﺮﮐﻴﺐﻫﺎﻱ ﻣﻮﻟﻲ ﺭﺍ ﮐﻪ ﺩﺭ ﺍﻳﻦ ﺳﺎﺧﺘﺎﺭﻫﺎ ﻫﻤﺰﻣﺎﻥ ﺑﺎﻟﻔﻌﻞ‬
‫ﻣﻲﺷﻮﻧﺪ‪ ،‬ﻣﻲﺳﺎﺯﺩ )ﺟﻮﻫﺮﻫﺎ(‪ .‬ﺑﺮﺍﻱ ﻣﺜﺎﻝ‪ ،‬ﺩﺭ ﭼﻴﻨﻪﺍﻱ ﺯﻣﻴﻦﺷﻨﺎﺧﺘﻲ‬
‫ِ »ﺭﺳﻮﺏﮔﺬﺍﺭﻱ« ﺧﻮﺍﻧﺪﻩ ﻣﻲﺷﻮﺩ؛ ﻓﺮﺁﻳﻨﺪﻱ ﮐﻪ‬ ‫ﻣﻔﺼﻞﺑﻨﺪﻱ ﺍﻭﻝ ﻓﺮﺁﻳﻨﺪ‬
‫ِ ﻧﻈﻤﻲ ﺁﻣﺎﺭﻱ ﺗﻪﻧﺸﻴﻦ ﻣﻲﻛﻨﺪ‪:‬‬ ‫ﻭﺍﺣﺪﻫﺎﻱ ﺭﺳﻮﺏِ ﭼﺮﺧﻪﺍﻱ ﺭﺍ ﺑﺮ ﻃﺒﻖ‬
‫ﺁﻥ‪ .‬ﻣﻔﺼﻞﺑﻨﺪﻱ ﺩﻭﻡ ﻧﻮﻋﻲ‬ ‫‪23‬‬‫ﻓﻠﻴﺶ‪ ،22‬ﺑﺎ ﺗﻮﺍﻟﻲ ﺳﻨﮓ ﻣﺎﺳﻪ ﻭ ﺷﻴﺴﺖِ‬
‫ِ ﮐﺎﺭﮐﺮﺩﻱ ﭘﺎﻳﺪﺍﺭ ﺭﺍ ﺑﺮﻗﺮﺍﺭ ﻣﻲﻛﻨﺪ ﻭ ﮔﺬﺭ‬ ‫»ﺗﺎـﺷﺪﻥ« ﺍﺳﺖ ﮐﻪ ﺳﺎﺧﺘﺎﺭ‬
‫ﺳﻨﮓ ﺭﺳﻮﺑﻲ ﺭﺍ ﻣﻮﺟﺐ ﻣﻲﺷﻮﺩ‪.‬‬
‫ﺍﺯ ﺭﺳﻮﺏ ﺑﻪ ِ‬
‫ِ ﺑﻴﻦِ ﺍﻳﻦ ﺩﻭ ﻣﻔﺼﻞﺑﻨﺪﻱ ﺑﻴﻦِ ﺟﻮﻫﺮﻫﺎ ﻭ ﻓﺮﻡﻫﺎ‬ ‫ﻭﺍﺿﺢ ﺍﺳﺖ ﮐﻪ ﺗﻤﺎﻳﺰ‬
‫ِ ﻓﺮﻡﻳﺎﻓﺘﻪ ﻧﻴﺴﺘﻨﺪ‪ .‬ﻓﺮﻡﻫﺎ ﺑﻪ‬ ‫ﺑﺮﻗﺮﺍﺭ ﻧﻴﺴﺖ‪ .‬ﺟﻮﻫﺮﻫﺎ ﭼﻴﺰﻱ ﺟﺰ ﻣﻮﺍﺩ‬
‫ﺭﻣﺰﮔﺎﻥ ﻭ ﺷﻴﻮﻩﻫﺎﻱ ﺭﻣﺰﮔﺬﺍﺭﻱ ﻭ ﺭﻣﺰﺯﺩﺍﻳﻲ ﺍﺷﺎﺭﻩ ﺩﺍﺭﻧﺪ‪ .‬ﺟﻮﻫﺮﻫﺎ‬
‫ِ ﺷﮑﻞﻳﺎﻓﺘﻪ ﺑﻪ ﻗﻠﻤﺮﻭﻣﻨﺪﻱﻫﺎ ﻭ ﺩﺭﺟﻪﻫﺎﻱ ﻗﻠﻤﺮﻭﮔﺬﺍﺭﻱ ﻭ‬ ‫ﺑﻪﻣﺜﺎﺑﻪﻱ ﻣﻮﺍﺩ‬
‫ﺩﺭﺟﻪﻫﺎﻱ ﻗﻠﻤﺮﻭﺯﺩﺍﻳﻲ ﺍﺭﺟﺎﻉ ﻣﻲﻳﺎﺑﻨﺪ‪ .‬ﺍﻣﺎ ﻫﺮ ﻣﻔﺼﻞﺑﻨﺪﻱ ﻳﮏ ﺭﻣﺰﮔﺎﻥ‬
‫ِ ﻓﺮﻡ ﻭ ﺟﻮﻫﺮ‬ ‫ﻭ ﻳﮏ ﻗﻠﻤﺮﻭﻣﻨﺪﻱ ﺩﺍﺭﺩ؛ ﺑﻨﺎﺑﺮﺍﻳﻦ ﻫﺮ ﻣﻔﺼﻞﺑﻨﺪﻱ ﻭﺍﺟﺪ‬
‫ِ ﻧﻮﻉ‬
‫ِ‬ ‫ﺍﺳﺖ‪ .‬ﺗﺎ ﺍﻳﻦﺟﺎ ﻣﻲﺗﻮﺍﻧﻴﻢ ﺑﮕﻮﻳﻴﻢ ﮐﻪ ﻫﺮ ﻣﻔﺼﻞﺑﻨﺪﻱ ﻭﺍﺟﺪ‬
‫ﻣﺘﻨﺎﻇﺮﻱ ﺍﺯ ﻗﻄﻌﻪﻭﺍﺭﮔﻲ ﻳﺎ ﺑﺲﮔﺎﻧﮕﻲ ﺍﺳﺖ‪ :‬ﻳﮏ ﻧﻮﻉ ﺍﺯ ﻣﻔﺼﻞﺑﻨﺪﻱ‬
‫ِ ﺩﻳﮕﺮ‪ ،‬ﺳﺨﺖ‪،‬‬ ‫ﻣﻨﻌﻄﻒ‪ ،‬ﻣﻮﻟﮑﻮﻟﻲﺗﺮ‪ ،‬ﻭ ﺑﻪ ﺗﻤﺎﻣﻲ ﻧﻈﻢﻳﺎﻓﺘﻪ‪ ،‬ﻭ ﻧﻮﻉ‬
‫ِ‬
‫ﻣﻮﻟﻲ‪ ،‬ﻭ ﺳﺎﺯﻣﺎﻥﻳﺎﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺑﺎ ﺍﻳﻦﮐﻪ ﻣﻔﺼﻞﺑﻨﺪﻱ ﺍﻭﻝ ﻓﺎﻗﺪ‬
‫ﺑﺮﻫﻢﻛﻨﺶﻫﺎﻱ ﺳﻴﺴﺘﻤﺎﻧﻪ ﻧﻴﺴﺖ‪ ،‬ﺍﻣﺎ ﺑﻪﻭﻳﮋﻩ ﺩﺭ ﻣﻔﺼﻞﺑﻨﺪﻱ ﺩﻭﻡ ﺍﺳﺖ ﮐﻪ‬

‫‪22. flysch‬‬
‫ﻧﻮﻋﻲ ﺗﻪﻧﺸﻴﻦِ ﺭﺳﻮﺑﻲ ﻣﺘﺸﮑﻞ ﺍﺯ ﺑﺴﺘﺮﻫﺎﻱ ﻧﺎﺯکِ ِ‬
‫ﺳﻨﮓ ﺭﺱ ﻭ ﺁﻫﮏ ﮐﻪ ﺑﻪ ﺗﻨﺎﻭﺏ ﺑﺎ ﭼﻴﻨﻪﻫﺎﻱ‬
‫ِ ﺳﻨﮓ ﻣﺎﺳﻪ ﻳﺎ ﺳﻨﮓ ﺟﻮﺵ ﺟﺎﻧﺸﻴﻦ ﻣﻲﺷﻮﺩ‪ .‬ﻡ‬‫ﺯﻣﺨﺖﺗﺮﻱ ﻣﺜﻞ‬
‫‪23. schist‬‬
‫ﺳﻨﮓ ﺩﮔﺮﮔﻮﻥِ ﺩﺍﻧﻪﺩﺭﺷﺖ ﻣﺘﺸﮑﻞ ﺍﺯ ﻻﻳﻪﻫﺎﻱ ﻣﺘﻔﺎﻭﺕِ ﻣﻌﺪﻧﻲ ﮐﻪ ﻣﻲﺗﻮﺍﻧﺪ ﺑﻪ ﺻﻔﺤﻪﻫﺎﻱ‬
‫ﻧﻮﻋﻲ ِ‬
‫ﻧﺎﺯک ﻭ ﻧﺎﻣﻨﻈﻢ ﺗﻘﺴﻴﻢ ﺷﻮﺩ‪ .‬ﻡ‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫ﭘﺪﻳﺪﻩﻫﺎﻱ ﺳﺎﺯﻧﺪﻩﻱ ﻓﺮﺍﺭﻣﺰﮔﺬﺍﺭﻱ ﺗﻮﻟﻴﺪ ﻣﻲﺷﻮﻧﺪ؛ ﻳﻌﻨﻲ ﭘﺪﻳﺪﻩﻫﺎﻱ‬
‫ﻳﮑﭙﺎﺭﭼﻪﺳﺎﺯﻱ‪،‬‬ ‫ﺗﻤﺎﻣﻴﺖﺑﺨﺸﻲ‪،‬‬ ‫ﻭﺣﺪﺕﺑﺨﺸﻲ‪،‬‬ ‫ﻣﺮﮐﺰﻳﺖﺩﻫﻲ‪،‬‬
‫ﺳﻠﺴﻠﻪﻣﺮﺍﺗﺒﻲﮐﺮﺩﻥ‪ ،‬ﻭ ﭘﺎﻳﺎﻥﺑﺨﺸﻲ‪ .‬ﻫﺮ ﺩﻭ ﻣﻔﺼﻞﺑﻨﺪﻱ ﻧﺴﺒﺖﻫﺎﻱ ﺩﻭﺩﻭﻳﻲ‬
‫ﺑﻴﻦ ﻗﻄﻌﻪﻫﺎﻱ ﻣﺘﻨﺎﻇﺮﺷﺎﻥ ﺑﺮﻗﺮﺍﺭ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺍﻣﺎ ﺑﻴﻦ ﻗﻄﻌﻪﻫﺎﻱ ﻳﮏ‬
‫ﻣﻔﺼﻞﺑﻨﺪﻱ ﻭ ﻗﻄﻌﻪﻫﺎﻱ ﻣﻔﺼﻞﺑﻨﺪﻱ ﺩﻳﮕﺮ ﺭﻭﺍﺑﻄﻲ ﺩﻭﺗﮏﻣﻌﻨﺎﻳﻲ ﻭﺟﻮﺩ‬
‫ِ ﻗﻮﺍﻧﻴﻦِ ﺑﺴﻴﺎﺭ ﭘﻴﭽﻴﺪﻩﺗﺮ ﻫﺴﺘﻨﺪ‪ .‬ﻭﺍژﻩﻱ »ﺳﺎﺧﺘﺎﺭ«‬ ‫ﺩﺍﺭﻧﺪ ﮐﻪ ﻣﻄﻴﻊ‬
‫ِ ﺍﻳﻦ ﻧﺴﺒﺖﻫﺎ ﻭ ﺭﺍﺑﻄﻪﻫﺎ ﺍﺳﺘﻔﺎﺩﻩ‬ ‫ﻣﻤﮑﻦ ﺍﺳﺖ ﺑﺮﺍﻱ ﻣﺸﺨﺺﮐﺮﺩﻥِ ﻣﺠﻤﻮﻉ‬
‫ﺷﻮﺩ‪ ،‬ﺍﻣﺎ ﺗﻮﻫﻢ ﺍﺳﺖ ﮐﻪ ﺑﺎﻭﺭ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﻢ ﺳﺎﺧﺘﺎﺭ ﻭﺍﭘﺴﻴﻦ ﻭﺍژﻩﻱ‬
‫ِ ﺑﻴﻦِ ﺩﻭ‬‫ﺯﻣﻴﻦ ﺍﺳﺖ‪ .‬ﻫﻤﭽﻨﻴﻦ‪ ،‬ﻧﻤﻲﺗﻮﺍﻥ ﺑﺪﻳﻬﻲ ﺩﺍﻧﺴﺖ ﮐﻪ ﺗﻤﺎﻳﺰ‬
‫ِ ﻣﻮﻟﻲ ﺍﺳﺖ‪.‬‬‫ﻣﻔﺼﻞﺑﻨﺪﻱ ﻫﻤﻮﺍﺭﻩ ﺗﻤﺎﻳﺰ ﺑﻴﻦ ﺍﻣﺮ ﻣﻮﻟﮑﻮﻟﻲ ﻭ ﺍﻣﺮ‬
‫ِ ﭼﻴﻨﻪﻫﺎﻱ ﭘﺮﺍﻧﺮژﻱ‪ ،‬ﻓﻴﺰﻳﮑﻲ‬ ‫ﭘﺮﻭﻓﺴﻮﺭ ﭼﻠﻨﺠﺮ ﺍﺯ ﮔﻮﻧﺎﮔﻮﻧﻲ ﺑﺴﻴﺎﺭ‬
‫ِ ﭼﻴﻨﻪﻫﺎﻱ‬‫ً ﺳﺮﺍﻍ‬ ‫ﺷﻴﻤﻴﺎﻳﻲ‪ ،‬ﻭ ﺯﻣﻴﻦﺷﻨﺎﺧﺘﻲ ﺭﺩ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻭ ﻣﺴﺘﻘﻴﻤﺎ‬
‫ِ ﻧﻮﻋﻲ ﭼﻴﻨﻪﺑﻨﺪﻱ ﺍﺭﮔﺎﻧﻴﮏ ﻋﻈﻴﻢ ﻣﻲﺭﻭﺩ‪ .‬ﺩﻳﮕﺮﺑﺎﺭ‬ ‫ﺍﺭﮔﺎﻧﻴﮏ‪ ،‬ﻳﺎ ﻭﺟﻮﺩ‬
‫ﻣﺴﺄﻟﻪﻱ ﺍﺭﮔﺎﻧﻴﺴﻢ ــ ﺍﻳﻦﮐﻪ ﭼﻄﻮﺭ ﺍﺯ ﺑﺪﻥ ﺍﺭﮔﺎﻧﻴﺴﻢ »ﺑﺴﺎﺯﻳﻢ« ــ‬
‫ﻫﻤﺎﻥ ﻣﺴﺄﻟﻪﻱ ﻣﻔﺼﻞﺑﻨﺪﻱ‪ ،‬ﻭ ﻧﺴﺒﺖِ ﻣﺒﺘﻨﻲ ﺑﺮ ﻣﻔﺼﻞﺑﻨﺪﻱ ﺍﺳﺖ‪ .‬ﺩﮔﻦﻫﺎ‪،24‬‬
‫ﮐﻪ ﭘﺮﻭﻓﺴﻮﺭ ﺑﻪ ﺧﻮﺑﻲ ﺍﺯ ﺁﻥﻫﺎ ﺁﮔﺎﻩ ﺑﻮﺩ‪ ،‬ﻣﺴﺄﻟﻪ ﺭﺍ ﺍﻳﻦﮔﻮﻧﻪ‬
‫ﻓﺮﻣﻮﻝﺑﻨﺪﻱ ﻣﻲﻛﻨﻨﺪ‪ :‬ﺍﺭﮔﺎﻧﻴﺴﻢ ﺑﺮ ﺑﺪﻥِ ﻓﻠﺰﮐﺎﺭ ﺭﻭﻱ ﻣﻲﺩﻫﺪ‪ ،‬ﺁﻥ ﻫﻢ ﺑﻪ‬
‫ﻟﻄﻒِ ﻣﺎﺷﻴﻦ ﻳﺎ ﻧﻮﻋﻲ ﺳﺮﻫﻢﺑﻨﺪﻱ ﻣﺎﺷﻴﻨﻲ ﮐﻪ ﺑﺪﻥ ﺍﻭ ﺭﺍ ﭼﻴﻨﻪﺑﻨﺪﻱ‬
‫ﻣﻲﻛﻨﺪ‪» .‬ﺿﺮﺑﻪﻱ ﭼﮑﺶ ﻭ ﺳﻨﺪﺍﻥ ﺩﺳﺖﻫﺎ ﻭ ﭘﺎﻫﺎﻳﺶ ﺭﺍ ﺍﺯ ﻧﺎﺣﻴﻪﻱ ﺁﺭﻧﺞ‬
‫ِ ﺍﻭ ﻧﺒﻮﺩﻧﺪ‪ .‬ﺑﺪﻳﻦ‬ ‫ﻭ ﺯﺍﻧﻮ ﺷﮑﺴﺖ؛ ﺍﻧﺪﺍﻡﻫﺎﻳﻲ ﮐﻪ ﺗﺎ ﺁﻥ ﻟﺤﻈﻪ ﻣﺎﻝ‬
‫ِ ﻧﻮﻳﻦِ ﺍﻧﺴﺎﻧﻲ ﺭﺳﻴﺪ ﮐﻪ ﻗﺮﺍﺭ‬ ‫ﺹ ﻓﺮﻡ‬
‫ﺗﺮﺗﻴﺐ‪ ،‬ﺍﻭ ﺑﻪ ﻣﻔﺼﻞﺑﻨﺪﻱﻫﺎﻳﻲ ﺧﺎِ‬
‫ِ ﺯﻣﻴﻦ ﮔﺴﺘﺮﺩﻩ ﺷﻮﺩ؛ ﻓﺮﻣﻲ ﮐﻪ ﻭﻗﻒِ ﮐﺎﺭ ﺷﺪﻩ ﺑﻮﺩ‪ ...‬ﺩﺳﺖﺍﺵ‬ ‫ﺑﻮﺩ ﺳﺮﺗﺎﺳﺮ‬
‫ِ ﮐﺎﺭ ﺗﺎ ﺷﺪﻩ ﺑﻮﺩ«‪ 25.‬ﺑﺪﻳﻬﻲ ﺍﺳﺖ ﮐﻪ ﻣﺤﺪﻭﺩﮐﺮﺩﻥِ ﻧﺴﺒﺖِ‬ ‫ﻧﻴﺰ ﺑﻪ ﻣﻨﻈﻮﺭ‬
‫ِ ﺳﺨﻦﮔﻔﺘﻦ ﺍﺳﺖ‪.‬‬ ‫ً ﻧﻮﻋﻲ ﻃﺮﺯ‬‫ﻣﺒﺘﻨﻲ ﺑﺮ ﻣﻔﺼﻞﺑﻨﺪﻱ ﺑﻪ ﺍﺳﺘﺨﻮﺍﻥﻫﺎ ﺻﺮﻓﺎ‬
‫ِ ﺍﺭﮔﺎﻧﻴﺴﻢ ﺑﺎﻳﺪ ﺩﺭ ﻧﺴﺒﺖ ﺑﺎ ﻧﻮﻋﻲ ﻣﻔﺼﻞﺑﻨﺪﻱ ﻣﻀﺎﻋﻒ‪ ،‬ﻭ ﺑﺮ‬ ‫ﺳﺮﺗﺎﺳﺮ‬
‫ِ ﺭﻳﺨﺖ‪ :26‬ﺍﺯ‬‫ِ ﻣﺘﻔﺎﻭﺕ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪ ﺷﻮﺩ‪ .‬ﺍﻭﻝ‪ ،‬ﺩﺭ ﺳﻄﺢِ ﺗﮑﺎﻣﻞ‬ ‫ﺳﻄﻮﺡ‬
‫ﻳﮏ ﺳﻮ‪ ،‬ﻭﺍﻗﻌﻴﺖﻫﺎﻳﻲ ﺍﺯ ﺳﻨﺦِ ﻣﻮﻟﮑﻮﻟﻲ ﺑﻪ ﻫﻤﺮﺍﻩ ﻧﺴﺒﺖﻫﺎﻱ ﺗﺼﺎﺩﻓﻲ ﺩﺭ‬
‫ِ ﭘﺪﻳﺪﻩﻫﺎﻱ ﻣﺰﺩﺣﻢ ﻳﺎ ﻣﺠﻤﻮﻋﻪﻫﺎﻱ ﺁﻣﺎﺭﻱ ﺗﻌﻴﻴﻦﮐﻨﻨﺪﻩﻱ ﻧﻈﻢ ﮔﺮﻓﺘﺎﺭ‬ ‫ﺩﻝ‬
‫ِ ﭘﺮﻭﺗﺌﻴﻨﻲ ﻭ ﺭﺷﺘﻪ ﻳﺎ ﻗﻄﻌﻪﻭﺍﺭﮔﻲﺍﺵ(؛ ﺍﺯ ﺳﻮﻱ ﺩﻳﮕﺮ‪،‬‬ ‫ﺷﺪﻩﺍﻧﺪ )ﻓﻴﺒﺮ‬

‫‪24. Dogon‬‬
‫ِ ﻓﻼﺕِ ﻣﺮﮐﺰﻱ ﻧﺎﺣﻴﻪﻱ ﮐﻮﻫﺴﺘﺎﻧﻨﻲ ﻣﺎﻟﻲ ﮐﻪ ﺯﺑﺎﻥﺷﺎﻥ ﻗﺮﺍﺑﺖِ ﻧﺎﻣﺸﺨﺼﻲ ﺑﺎ‬
‫ِ ﮐﺸﺎﻭﺭﺯ‬‫ﻣﺮﺩﻡ‬
‫ﺳﻴﺎﻫﺎﻥِ ﮐﻮﻧﮕﻮ ﺩﺍﺭﺩ‪ .‬ﺩﮔﻦﻫﺎ ﺩﺭ ﺧﺎﻧﻪﻫﺎﻳﻲ ﺭﻭﺳﺘﺎﻳﻲ ﺍﺯ ﺟﻨﺲ ﮔﻞ ﻭ ﻟﺠﻦ‪ ،‬ﻭ ﺑﺎ ﻣﻌﻤﺎﺭﻱ‬
‫ﻭﻳﮋﻩﺍﻱ ﺯﻧﺪﮔﻲ ﻣﻲﮐﻨﻨﺪ ﻭ ﺑﺮﺍﻱ ﭘﻴﮑﺮﻫﺎ ﻭ ﻣﺎﺳﮏﻫﺎﻱ ﭼﻮﺑﻲ‪ ،‬ﻭ ﻧﻴﺰ ﺻﻨﺎﻳﻊ ﻓﻠﺰﻱ ﻭ‬
‫ﭼﺮﻣﻲﺷﺎﻥ ﺷﻬﺮﺕ ﺩﺍﺭﻧﺪ‪ .‬ﻡ‬
‫‪25. Marcel Griaule, Dieu d'eau (Paris: Fayard, 1975), pp. 38-41.‬‬
‫‪26. morphogenesis‬‬
‫ِ ﺭﻳﺨﺖ؛ ﺩﺭ ﺯﻣﻴﻦﺷﻨﺎﺳﻲ ﺑﻪ ﺷﮑﻞﮔﻴﺮﻱ ﺳﺎﺧﺘﺎﺭ ﻳﺎ ﻭﻳﮋﮔﻲ ﻃﺒﻴﻌﻲ‬ ‫ﻣﻮﺭﻓﻮژﻧﺴﻴﺲ ﻳﺎ ﺗﮑﺎﻣﻞ‬
‫ِ ﻳﮏ ﺍﺭﮔﺎﻧﻴﺴﻢ ﻳﺎ‬
‫ِ ﻓﺮﻡ‬
‫ِ ﺯﻣﻴﻦ ﻣﻲﮔﻮﻳﻨﺪ‪ ،‬ﻭ ﺩﺭ ﺑﻴﻮﻟﻮژﻱ ﻭ ﺟﻨﻴﻦﺷﻨﺎﺳﻲ ﺑﻪ ﺗﮑﺎﻣﻞ‬ ‫ﺳﺎﺧﺘﺎﺭ‬
‫ﺟﻨﻴﻦ ﻃﻲ ﺩﻭﺭﺍﻥِ ﺭﺷﺪﺵ‪ .‬ﻡ‬

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 ‫ِ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪﻫﺎ ﺩﺭ ﺳﺎﺧﺘﺎﺭﻫﺎﻱ ﭘﺎﻳﺪﺍﺭﻱ ﺑﻪ ﮐﺎﺭ ﮔﺮﻓﺘﻪ ﺷﺪﻩﺍﻧﺪ ﮐﻪ‬ ‫ﺧﻮﺩ‬
‫ﺗﺮﮐﻴﺐﻫﺎﻱ ﺳﻪﺑﻌﺪﻱﻧﻤﺎ ﺭﺍ »ﺍﻧﺘﺨﺎﺏ ﻣﻲﻛﻨﻨﺪ«‪ ،‬ﺑﻪ ﺍﻧﺪﺍﻡﻫﺎ‪ ،‬ﮐﺎﺭﮐﺮﺩﻫﺎ‪،‬‬
‫ﻭ ﺗﻨﻈﻴﻢﻫﺎ ﺷﮑﻞ ﻣﻲﺩﻫﻨﺪ‪ ،‬ﻣﮑﺎﻧﻴﺴﻢﻫﺎﻱ ﻣﻮﻟﻲ ﺭﺍ ﺳﺎﺯﻣﺎﻥﺩﻫﻲ ﻣﻲﻛﻨﻨﺪ‪ ،‬ﻭ‬
‫ﺣﺘﻲ ﻣﺮﮐﺰﻫﺎﻳﻲ ﺭﺍ ﮐﻪ ﻣﻲﺗﻮﺍﻧﻨﺪ ﺑﻪ ﻓﺮﺍﺳﻮﻱ ﺍﺯﺩﺣﺎﻡﻫﺎ ﭘﺮﻭﺍﺯ ﮐﻨﻨﺪ‪،27‬‬
‫ﻣﮑﺎﻧﻴﺴﻢﻫﺎ ﺭﺍ ﺯﻳﺮ ﻧﻈﺮ ﺑﮕﻴﺮﻧﺪ‪ ،‬ﺍﺑﺰﺍﺭﻫﺎ ﺭﺍ ﺗﻌﻤﻴﺮ ﻭ ﺍﺯ ﺁﻥﻫﺎ‬
‫ﺑﻬﺮﻩﻭﺭﻱ ﮐﻨﻨﺪ‪ ،‬ﻭ ﻣﺠﻤﻮﻋﻪ ﺭﺍ »ﻓﺮﺍﺭﻣﺰﮔﺬﺍﺭﻱ« ﮐﻨﻨﺪ‪ ،‬ﺗﻮﺯﻳﻊ ﻣﻲﻛﻨﻨﺪ‬
‫ِ ﺩﻭﻣﻲ ﺍﺯ‬ ‫ِ ﺳﺎﺧﺘﺎﺭﻱ ﻓﺸﺮﺩﻩ؛ ﻧﻮﻉ‬ ‫)ﺑﺮ ﺧﻮﺩ ﺗﺎ ـ ﺷﺪﻥِ ﻓﻴﺒﺮ ﺑﻪ ﺷﮑﻞ‬
‫ﻗﻄﻌﻪﻭﺍﺭﮔﻲ(‪ 28.‬ﺭﺳﻮﺏﮐﺮﺩﻥ ﻭ ﺗﺎ ـ ﮐﺮﺩﻥ‪ ،‬ﻓﻴﺒﺮ ﻭ ﭘﻴﭻ ﻭ ﺗﺎ ﺯﺩﻥ‪.‬‬
‫ﺩﺭ ﺳﻄﺤﻲ ﺩﻳﮕﺮ‪ ،‬ﺷﻴﻤﻲ ﺳﻠﻮﻟﻲ ﮐﻪ ﺳﺎﺧﺘﻤﺎﻥِ ﭘﺮﻭﺗﺌﻴﻦﻫﺎ ﺭﺍ ﺗﺤﺖِ ﮐﻨﺘﺮﻝ‬
‫ﺩﺍﺭﺩ‪ ،‬ﺑﺎ ﻣﻔﺼﻞﺑﻨﺪﻱ ﻣﻀﺎﻋﻒ ﻋﻤﻞ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻳﻦ ﻣﻔﺼﻞﺑﻨﺪﻱ ﻣﻀﺎﻋﻒ‬
‫ِ ﻣﻮﻟﮑﻮﻟﻲ‪ ،‬ﻭ ﻧﻴﺰ ﻣﻔﺼﻞﺑﻨﺪﻱ ﺑﻴﻦ ﻣﻮﻟﮑﻮﻝﻫﺎﻱ ﮐﻮﭼﮏ ﻭ ﺑﺰﺭگ‪،‬‬ ‫ﺩﺭﻭﻧﻲ ﺍﻣﺮ‬
‫ﻳﺎ ﻗﻄﻌﻪﻭﺍﺭﮔﻲ ﺑﻪﻭﺍﺳﻄﻪﻱ ﺍﺻﻼﺡ ﻭ ﭘﻠﻴﻤﺮﻱﺳﺎﺯﻱ ﻣﺘﻮﺍﻟﻲ ﺍﺳﺖ‪» .‬ﺍﻭﻝ‪،‬‬
‫ِ ﻣﺠﻤﻮﻋﻪﺍﻱ ﺍﺯ‬ ‫ﻋﻨﺎﺻﺮﻱ ﮐﻪ ﺍﺯ ﻭﺍﺳﻄﻪ ﮔﺮﻓﺘﻪ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﺍﺯ ﻃﺮﻳﻖ‬
‫ﺩﮔﺮﮔﻮﻧﻲﻫﺎ ﺗﺮﮐﻴﺐ ﻣﻲﺷﻮﻧﺪ‪ ...‬ﺍﻳﻦ ﻓﻌﺎﻟﻴﺖ ﺑﻪ ﺗﻤﺎﻣﻲ ﺻﺪﻫﺎ ﻭﺍﮐﻨﺶِ‬
‫ِ ﻣﺤﺪﻭﺩﻱ ﺍﺯ‬ ‫ﺷﻴﻤﻴﺎﻳﻲ ﺭﺍ ﺩﺭ ﺑﺮ ﺩﺍﺭﺩ‪ .‬ﺍﻣﺎ ﺩﺭ ﻧﻬﺎﻳﺖ‪ ،‬ﺗﻌﺪﺍﺩ‬
‫ﺗﺮﮐﻴﺐﻫﺎﻱ ﮐﻮﭼﮏ‪ ،‬ﺣﺪﺍﮐﺜﺮ ﭼﻨﺪ ﺩﻭﺟﻴﻦ‪ ،‬ﺭﺍ ﺗﻮﻟﻴﺪ ﻣﻲﻛﻨﺪ‪ .‬ﺩﺭ ﻣﺮﺣﻠﻪﻱ‬
‫ِ ﺷﻴﻤﻲ ﺳﻠﻮﻟﻲ‪ ،‬ﻣﻮﻟﮑﻮﻝﻫﺎﻱ ﮐﻮﭼﮏ ﺳﺮﻫﻢﺑﻨﺪﻱ ﺷﺪﻩﺍﻧﺪ ﺗﺎ ﻣﻮﻟﮑﻮﻝﻫﺎﻳﻲ‬ ‫ﺩﻭﻡ‬
‫ِ ﻫﻢ ﭘﻴﻮﺳﺘﻪ‬ ‫ﺑﺰﺭگﺗﺮ ﺭﺍ ﺗﻮﻟﻴﺪ ﮐﻨﻨﺪ‪ .‬ﭘﻠﻴﻤﺮﻱﺳﺎﺯﻱ ﻭﺍﺣﺪﻫﺎﻱ ﺳﺮ‬

‫‪27. overflying‬‬
‫ِ ﻇﺮﻳﻒﺍﺵ ﺩﺭ ﺿﺪﺍﺩﻳﭗ‬
‫ﻣﺎﻳﮑﻞ ﻫﺎﺭﺕ‪ ،‬ﻓﻴﻠﺴﻮﻑِ ﺩﻟﻮﺯﻱ ﺁﻣﺮﻳﮑﺎﻳﻲ ﺩﺭﺑﺎﺭﻩﻱ ﺍﻳﻦ ﺗﺮﻡ ﻭ ﮐﺎﺭﮐﺮﺩ‬
‫ً‬
‫ﻭ ﻫﺰﺍﺭ ﻓﻼﺕ ﻣﻲﻧﻮﻳﺴﺪ‪ ،survol» :‬ﻳﺎ ﭘﺮﻭﺍﺯ ﺑﻪ ﻓﺮﺍﺳﻮ‪ ،‬ﮐﻪ ﻣﻔﻬﻮﻣﻲ ﻧﺴﺒﺘﺎ ﺳﺮﺭﺍﺳﺖ ﺍﺳﺖ‪ ،‬ﻳﺎ‬
‫ﺩﺳﺖﮐﻢ ﻫﻴﭻ ﻣﺴﺄﻟﻪﻱ ﻭﺍﻗﻌﻲﺍﻱ ﺑﺮﺍﻱ ﺗﺮﺟﻤﻪ ﺍﻳﺠﺎﺩ ﻧﻤﻲﻛﻨﺪ‪ .‬ﻓﻘﻂ ﻣﻲﺧﻮﺍﻫﻢ ﺑﻪ ﺁﻥ ﺍﺷﺎﺭﻩ‬
‫ِ ﺍﻳﻦ ﻭﺍژﻩ ﺩﺭ ﻳﺎﺩﺩﺍﺷﺘﻲﺳﺖ ﮐﻪ ﺑﻪ ﺟﺎﻥ‬ ‫ﮐﺮﺩﻩ ﺑﺎﺷﻢ ﻭ ﺑﺮ ﺍﺳﺘﻔﺎﺩﻩﺍﺵ ﺗﺎﮐﻴﺪ ﮐﻨﻢ‪ .‬ﺧﺎﺳﺘﮕﺎﻩ‬
‫ﺍﻭﺭﻱ ﺍﺭﺟﺎﻉ ﻣﻲﻳﺎﺑﺪ‪» .‬ﺟﺎﻥ ﺍﻭﺭﻱ‪ ،‬ﺩﺭ ﺍﺭﺍﺋﻪﺍﺵ‪ ،‬ژﺍﻳﺖ ﺭﺍ ﺗﻌﻴﻴﻦِ ﺣﺪﻭﺩﻧﺸﺪﻩ ﻣﻲﻧﺎﻣﺪ‪،‬‬
‫ﺗﻌﻴﻴﻦِ ﺣﺪﻭﺩﻧﺸﺪﻩ ﺩﺭ ﭘﺮﻭﺍﺯﻱ ]‪ [survol‬ﺩﺍﺋﻤﻲ« )ﺿﺪﺍﺩﻳﭗ‪ ،‬ﺹ‪ .(386‬ﺳﭙﺲ ﺩﻟﻮﺯ ﻭ ﮔﺘﺎﺭﻱ ﺍﻳﻦ‬
‫ﺗﺮﻡ ﺭﺍ ﺑﺮﺍﻱ ﺗﻮﺿﻴﺢِ »ﻳﺎ«ﻱ ﺍﺳﮑﻴﺰﻭ ﺩﺭ ﻣﺘﻦ ﺑﻪ ﮐﺎﺭ ﻣﻲﺑﺮﻧﺪ‪» .‬ﺍﺳﮑﻴﺰﻭﻓﺮﻧﻴﮏ ﻳﺎ ﻣﺮﺩﻩ‬
‫ﺍﺳﺖ ﻳﺎ ﺯﻧﺪﻩ‪ ،‬ﻧﻪ ﻫﺮ ﺩﻭ ﺩﺭ ﺁﻥِ ﻭﺍﺣﺪ‪ ،‬ﺍﻣﺎ ﻫﺮ ﮐﺪﺍﻡﺷﺎﻥ ﺑﻪﻣﺜﺎﺑﻪﻱ ﻧﻘﻄﻪﻱ ﻧﻬﺎﻳﻲ‬
‫ﻓﺎﺻﻠﻪﺍﻱﺳﺖ ﮐﻪ ﺍﺳﮑﻴﺰﻭ ﺑﺮ ﺁﻥ ﺳﺮ ﻣﻲﺧﻮﺭﺩ ]‪) « [qu'il survole en glissant‬ﻫﻤﺎﻥ‪ ،‬ﺹ‪» .(76‬ﺍﺳﮑﻴﺰﻭ‬
‫ﺺ ﺳﺎﺯﻣﺎﻳﻪﻫﺎﻱ ﻣﺘﻨﺎﻗﺾ ﺑﺎ‬ ‫ﺩﺭ ﺍﻧﻔﺼﺎﻝ ﻫﺴﺖ ﻭ ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﺪ‪ .‬ﺍﻭ ﺍﻧﻔﺼﺎﻝ ﺭﺍ ﺑﺎ ﺗﺸﺨﻴِ‬
‫ِ ﭘﺮﻭﺍﺯ ﺑﻪ ﻓﺮﺍﺳﻮﻳﻲ‬‫ﭘﺮﺩﺍﺧﺘﻦ ﺑﻪ ﺟﺰﺋﻴﺎﺕ ﺑﺎﻃﻞ ﻧﻤﻲﻛﻨﺪ؛ ﺩﺭ ﻋﻮﺽ‪ ،‬ﺍﻧﻔﺼﺎﻝ ﺭﺍ ﺍﺯ ﺧﻼﻝ‬
‫]‪ [survol‬ﭘﻴﻮﺳﺘﻪ ﻭ ﺍﻧﺪﺍﺯﻩﮔﺮﻓﺘﻦِ ﻓﺎﺻﻠﻪﺍﻱ ﺗﻘﺴﻴﻢﻧﺎﭘﺬﻳﺮ ﺗﺄﺋﻴﺪ ﻣﻲﻛﻨﺪ‪ ....‬ﭘﺮﻭﺍﺯ ﺑﻪ‬
‫ِ ﺁﺧﺮ‪» :‬ﺍﮔﺮ ﺑﺪﻥ ﺑﺪﻭﻥِ ﺍﻧﺪﺍﻡ‬‫ِ ﺗﻘﺴﻴﻢﻧﺎﭘﺬﻳﺮ ﻫﻤﺮﺍﻩ ﺍﺳﺖ‪ .‬ﻣﺜﺎﻝ‬ ‫ﻓﺮﺍﺳﻮ ﻫﻤﻮﺍﺭﻩ ﺑﺎ ﻓﻮﺍﺻﻞ‬
‫ﺩﺭ ﻭﺍﻗﻊ ﺍﻳﻦ ﺑﻴﺎﺑﺎﻥ ﺍﺳﺖ‪ ،‬ﭘﺲ ﻓﺎﺻﻠﻪﺍﻱ ﺗﻘﺴﻴﻢﻧﺎﭘﺬﻳﺮ ﻭ ﺗﺠﺰﻳﻪﻧﺎﭘﺬﻳﺮ ﺍﺳﺖ ﮐﻪ ﺍﺳﮑﻴﺰﻭ‬
‫ﺑﺮ ﺁﻥ ﺳﺮ ﻣﻲﺧﻮﺭﺩ ﺗﺎ ﻫﺮ ﺁﻥ ﺟﺎﻳﻲ ﺑﺎﺷﺪ ﮐﻪ ﭼﻴﺰﻱ ﻭﺍﻗﻌﻲ ﺗﻮﻟﻴﺪ ﺷﺪﻩ ﺍﺳﺖ‪) «...‬ﻫﻤﺎﻥ‪،‬‬
‫ِ ﺗﻮﺃﻣﺎﻥِ ﺍﻧﻔﺼﺎﻝ ﻭ ﻫﻢ ﺑﺮﺍﻱ ﻓﺎﺻﻠﻪﺍﺵ ﺍﺯ ﺳﻄﺤﻲ ﮐﻪ‬ ‫ِ ﻏﺮﻳﺐ‪ :‬ﻫﻢ ﺑﺮﺍﻱ ﺣﻔﻆ‬‫ﺹ‪87‬ـ‪ .(86‬ﻣﻔﻬﻮﻡ‬
‫ِ ﺁﻥ ﭘﺮﻭﺍﺯ ﻣﻲﻛﻨﺪ« ﻡ‬
‫ﺑﺮ ﻓﺮﺍﺯ‬
‫‪ .‬ﺑﺮﺍﻱ ﺗﻠﻘﻲ ﻋﻤﻮﻣﻲ ﺍﺯ ﺗﻮ ﺟﻨﺒﻪ ﺍﺯ ﺗﮑﻮﻳﻦ ﺭﻳﺨﺖ‪ ،‬ﺭ‪.‬ک‪.‬‬
‫‪Raymod Ruyer, La genese de formes vivantes (Paris: Flammarion, 1958), pp. 54ff.‬‬
‫‪Pierre Vendryes, Vie et probability (Paris: Albin Michel, 1945).‬‬
‫ﻭﺍﻧﺪﺭﺍﻱ ﻧﻘﺶِ ﻧﺴﺒﺖِ ﻣﺒﻨﻲ ﺑﺮ ﻣﻔﺼﻞﺑﻨﺪﻱ ﺑﺎ ﺳﻴﺴﺘﻢﻫﺎﻱ ﻣﻔﺼﻞﺑﻨﺪﻱﺷﺪﻩ ﺭﺍ ﺗﺤﻠﻴﻞ ﻣﻲﻛﻨﺪ‪.‬‬
‫ﺩﺭﺑﺎﺏ ﺩﻭ ﺟﻨﺒﻪﻱ ﺳﺎﺧﺘﺎﺭﻱ ﭘﺮﻭﺗﺌﻴﻦ‪ ،‬ﺭ‪.‬ک‪.‬‬
‫‪Jacques Monod, Chance and Necessity, trans. Austryn Wainhouse (New York: Vintage, 1972), pp. 90-95.‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫ﺯﻧﺠﻴﺮﻩﻫﺎﻱ ﻧﻮﻋﻲ ﺩﺭﺷﺖﻣﻮﻟﮑﻮﻝﻫﺎ ﺭﺍ ﺷﮑﻞ ﻣﻲﺩﻫﺪ‪ ...‬ﺍﺯ ﺍﻳﻦﺭﻭ‪ ،‬ﺩﻭ‬
‫ﻣﺮﺣﻠﻪﻱ ﺷﻴﻤﻲ ﺳﻠﻮﻟﻲ ﺩﺭ ﮐﺎﺭﮐﺮﺩ‪ ،‬ﻣﺤﺼﻮﻻﺕ‪ ،‬ﻭ ﻣﺎﻫﻴﺖ ﺗﻔﺎﻭﺕ ﺩﺍﺭﻧﺪ‪.‬‬
‫ﺍﻭﻟﻴﻦ ﻣﺮﺣﻠﻪ ﻧﻘﺶﻣﺎﻳﻪﻫﺎﻱ ﺷﻴﻤﻴﺎﻳﻲ ﺭﺍ ﺍﺯ ﺩﺭﻭﻥ ﺗﻬﻲ ﻣﻲﻛﻨﺪ؛ ﻭ ﺩﻭﻣﻴﻦ‬
‫ﻣﺮﺣﻠﻪ ﺁﻥﻫﺎ ﺭﺍ ﺳﺮﻫﻢﺑﻨﺪﻱ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻭﻟﻲ ﺑﻪ ﺗﺮﮐﻴﺐﻫﺎﻳﻲ ﺷﮑﻞ ﻣﻲﺩﻫﺪ ﮐﻪ‬
‫ِ ﺯﻳﺴﺖﺳﻨﺘﺰ‬‫ً ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ‪ ،‬ﺯﻳﺮﺍ ﺁﻥﻫﺎ ﻣﻴﺎﻧﺠﻲﻫﺎﻳﻲ ﺩﺭ ﻣﺴﻴﺮ‬ ‫ﻓﻘﻂ ﻣﻮﻗﺘﺎ‬
‫ﻫﺴﺘﻨﺪ؛ ﺩﻭﻣﻲ ﻣﺤﺼﻮﻻﺕِ ﭘﺎﻳﺪﺍﺭ ﻣﻲﺳﺎﺯﺩ‪ .‬ﺍﻭﻟﻲ ﺑﺎ ﻣﺠﻤﻮﻋﻪﺍﻱ ﺍﺯ‬
‫ِ ﻫﻤﺎﻥ ﻭﺍﮐﻨﺶ«‪ .29‬ﺑﻪ‬
‫ﻭﺍﻛﻨﺶﻫﺎﻱ ﻣﺘﻔﺎﻭﺕ ﻋﻤﻞ ﻣﻲﻛﻨﺪ؛ ﻭ ﺩﻭﻣﻲ ﺑﺎ ﺗﮑﺮﺍﺭ‬
‫ِ ﺷﻴﻤﻲ ﺳﻠﻮﻟﻲ ﺑﻪ ﺁﻥ ﻭﺍﺑﺴﺘﻪ‬ ‫ﻋﻼﻭﻩ‪ ،‬ﺳﻄﺢِ ﺳﻮﻣﻲ ﻧﻴﺰ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﮐﻪ ﺧﻮﺩ‬
‫ﺍﺳﺖ‪ .‬ﺩﺭ ﻋﻮﺽ‪ ،‬ﺭﻣﺰﮔﺎﻥِ ژﻧﺘﻴﮏ ﺍﺯ ﻗﻄﻌﻪﻭﺍﺭﮔﻲ ﻣﻀﺎﻋﻒ ﻳﺎ ﻣﻔﺼﻞﺑﻨﺪﻱ‬
‫ِ ﻣﺴﺘﻘﻞ‪:‬‬‫ﻣﻀﺎﻋﻒ ﺟﺪﺍﻳﻲﻧﺎﭘﺬﻳﺮ ﺍﺳﺖ‪ ،‬ﻳﻌﻨﻲ ﺍﻳﻦﺑﺎﺭ ﺑﻴﻦِ ﺩﻭ ﻧﻮﻉ ﻣﻮﻟﮑﻮﻝ‬
‫ﺗﻮﺍﻟﻲ ﻭﺍﺣﺪﻫﺎﻱ ﭘﺮﻭﺗﺌﻴﻦ ﻭ ﻭﺍﺣﺪﻫﺎﻱ ﻧﻮﮐﻠﺌﻴﮏ‪ ،‬ﻫﻤﺮﺍﻩ ﺑﺎ ﻧﺴﺒﺖﻫﺎﻱ‬
‫ِ ﺩﻭﺗﮏﻣﻌﻨﺎﻳﻲ ﺑﻴﻦ ﻭﺍﺣﺪﻫﺎﻳﻲ‬ ‫ﺩﻭﺩﻭﻳﻲ ﺑﻴﻦ ﻭﺍﺣﺪﻫﺎﻱ ﻫﻤﺎﻥ ﻧﻮﻉ ﻭ ﺭﻭﺍﺑﻂ‬
‫ﺍﺯ ﻧﻮﻉ ﻣﺘﻔﺎﻭﺕ‪ .‬ﺍﺯ ﺍﻳﻦﺭﻭ‪ ،‬ﻫﻤﻮﺍﺭﻩ ﺩﻭ ﻣﻔﺼﻞﺑﻨﺪﻱ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﺩﻭ‬
‫ﻗﻄﻌﻪﻭﺍﺭﮔﻲ‪ ،‬ﺩﻭ ﻧﻮﻉ ﺑﺲﮔﺎﻧﮕﻲ‪ ،‬ﮐﻪ ﻫﺮ ﮐﺪﺍﻡ ﻓﺮﻡﻫﺎ ﻭ ﺟﻮﻫﺮﻫﺎ ﺭﺍ ﺑﻪ‬
‫ِ ﺍﻳﻦ ﺩﻭ ﻣﻔﺼﻞﺑﻨﺪﻱ‪ ،‬ﺣﺘﻲ ﺩﺭﻭﻥِ ﭼﻴﻨﻪﺍﻱ‬ ‫ﮐﺎﺭ ﻣﻲﮔﻴﺮﺩ‪ .‬ﺍﻣﺎ ﺗﻮﺯﻳﻊ‬
‫ﻳﮑﺴﺎﻥ‪ ،‬ﺛﺎﺑﺖ ﻧﻴﺴﺖ‪.‬‬
‫ﻋﻠﻲﺭﻏﻢ ﺍﻗﺘﺪﺍﺭﻫﺎﻳﻲ ﮐﻪ ﭘﺮﻭﻓﺴﻮﺭ ﺑﻪ ﺁﻥﻫﺎ ﻣﺘﻮﺳﻞ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﺁﻥﻫﺎ‬
‫ﺭﺍ »ﺩﻭﺳﺘﺎﻥِ« ﺧﻮﺩ ﻣﻲﻧﺎﻣﻴﺪ‪ ،‬ﻣﺨﺎﻃﺒﺎﻥ ﺑﺪﻓﻬﻤﻲﻫﺎ‪ ،‬ﺳﻮءﺗﻌﺒﻴﺮﻫﺎ‪ ،‬ﻭ ﺣﺘﻲ‬
‫ﻋﺪﻡ ﺗﻨﺎﺳﺐﻫﺎﻱ ﻣﺘﻌﺪﺩ ﺩﺭ ﺳﺨﻨﺮﺍﻧﻲ ﭘﺮﻭﻓﺴﻮﺭ ﺭﺍ ﺑﺎ ﮐﺞﺧﻠﻘﻲ ﺗﻘﺒﻴﺢ‬
‫ِ ﺣﺎﺿﺮ ﺑﺪﺗﺮ ﻣﻲﺷﻮﻧﺪ‪.‬‬ ‫ﻣﻲﻛﻨﻨﺪ‪ .‬ﺣﺘﻲ ﺩﮔﻦﻫﺎ‪ ...‬ﻭ ﭼﻴﺰﻫﺎ ﺩﺭ ﺣﺎﻝ‬
‫ﭘﺮﻭﻓﺴﻮﺭ ﺑﺎ ﺧﻮﺩﺧﻮﺍﻫﻲ ﺑﻪﺧﺎﻃﺮ ﮐﻴﻒ ﺍﺯ ﻋﻘﺐ ﺑﻪ ﺧﻮﺩﺵ ﺗﺒﺮﻳﮏ ﻣﻲﮔﻮﻳﺪ‪،‬‬
‫ﺍﻣﺎ ﺣﺎﺻﻞ ﮐﺎﺭ‪ ،‬ﺍﮔﺮ ﻧﮕﻮﻳﻴﻢ ﺍﺑﺘﺬﺍﻝﻫﺎﻱ ﺍﺑﻠﻬﺎﻧﻪ‪ ،‬ﻫﻤﻮﺍﺭﻩ ﺗﻮﻟﻪﻫﺎﻱ‬
‫ﺭﻳﻘﻮ ﻭ ﻏﺪﻩﻫﺎﻱ ﭼﺮﺑﻲ‪ ،‬ﻭ ﺁﺕ ﻭ ﺁﺷﻐﺎﻝ ﺍﺯ ﺁﺏ ﺩﺭﻣﻲﺁﻣﺪ‪ .‬ﺑﻪ ﻋﻼﻭﻩ‪،‬‬
‫ﭘﺮﻭﻓﺴﻮﺭ ﺯﻣﻴﻦﺷﻨﺎﺱ ﻳﺎ ﺯﻳﺴﺖﺷﻨﺎﺱ ﻧﺒﻮﺩ‪ ،‬ﺍﻭ ﺣﺘﻲ ﺯﺑﺎﻥﺷﻨﺎﺱ‪ ،‬ﻗﻮﻡﺷﻨﺎﺱ‪،‬‬
‫ﺺ ﺍﻭ ﻫﺮﭼﻪ ﮐﻪ ﺑﻮﺩ ﺍﺯ ﻣﺪﺕﻫﺎ ﭘﻴﺶ ﻓﺮﺍﻣﻮﺵ ﺷﺪﻩ‬‫ﻳﺎ ﺭﻭﺍﻥﮐﺎﻭ ﻧﺒﻮﺩ؛ ﺗﺨﺼِ‬
‫ﺑﻮﺩ‪ .‬ﺩﺭ ﻭﺍﻗﻊ‪ ،‬ﭘﺮﻭﻓﺴﻮﺭ ﭼﻠﻨﺠﺮ ﻣﻀﺎﻋﻒ ﺑﻮﺩ‪ ،‬ﺩﻭ ﺑﺎﺭ ﻣﻔﺼﻞﺑﻨﺪﻱ ﺷﺪﻩ‬
‫ﺑﻮﺩ‪ ،‬ﻭ ﭼﻴﺰﻫﺎ ﺭﺍ ﺳﺎﺩﻩﺗﺮ ﻧﻤﻲﻛﺮﺩ‪ ،‬ﻣﺮﺩﻡ ﻫﺮﮔﺰ ﻧﻤﻲﺩﺍﻧﺴﺘﻨﺪ ﮐﺪﺍﻡ ﻳﮏ‬
‫ﺍﺯ ﺍﻭ ﺣﺎﺿﺮ ﺑﻮﺩ‪ .‬ﺍﻭ )؟( ﺍﺩﻋﺎ ﻣﻲﻛﺮﺩ ﺣﻮﺯﻩﺍﻱ ﺭﺍ ﺍﺑﺪﺍﻉ ﮐﺮﺩﻩ ﺍﺳﺖ‬
‫ﮐﻪ ﺑﺎ ﻧﺎﻡﻫﺎﻱ ﮔﻮﻧﺎﮔﻮﻧﻲ ﺑﻪ ﺁﻥ ﺍﺭﺟﺎﻉ ﻣﻲﺩﺍﺩ‪ :‬ﺭﻳﺰﻭﻣﺎﺗﻴﮏ‪،‬‬
‫ﭼﻴﻨﻪﮐﺎﻭﻱ‪ ،‬ﺍﺳﮑﻴﺰﻭﮐﺎﻭﻱ‪ ،‬ﻛﻮچﮔﺮﺷﻨﺎﺳﻲ‪ ،‬ﺧﺮﺩﺳﻴﺎﺳﺖ‪ ،‬ﮐﺎﺭﮐﺮﺩﺷﻨﺎﺳﻲ‪ ،‬ﻭ‬
‫ِ ﺑﺲﮔﺎﻧﮕﻲﻫﺎ‪ .‬ﺍﻣﺎ ﻫﻴﭽﮑﺲ ﺑﻪ ﺭﻭﺷﻨﻲ ﻧﻤﻲﻓﻬﻤﻴﺪ ﺍﻫﺪﺍﻑ‪ ،‬ﺭﻭﺵ‪ ،‬ﻳﺎ‬ ‫ﻋﻠﻢ‬
‫ِ‬
‫ِ ﺭﺷﺘﻪﻱ ﺧﺎﺹ ﭘﺮﻭﻓﺴﻮﺭ ﭼﻪ ﺑﻮﺩﻧﺪ‪ .‬ﭘﺮﻭﻓﺴﻮﺭ ﺁﻻﺳﮑﺎﻱ ﺟﻮﺍﻥ‪ ،‬ﺷﺎﮔﺮﺩ‬ ‫ﺍﺻﻮﻝ‬
‫ِ ﭼﺸﻤﻲ ﭼﻠﻨﺠﺮ‪ ،‬ﻣﺰﻭﺭﺍﻧﻪ ﺗﻼﺵ ﮐﺮﺩ ﺑﺎ ﺍﻳﻦ ﺗﻮﺟﻴﻪ ﺍﺯ ﺧﻮﺩ ﺩﻓﺎﻉ ﮐﻨﺪ‬ ‫ﻧﻮﺭ‬
‫ﮐﻪ ﮔﺬﺭ ﺍﺯ ﻳﮏ ﻣﻔﺼﻞﺑﻨﺪﻱ ﺑﻪ ﻣﻔﺼﻞﺑﻨﺪﻱ ﺩﻳﮕﺮ ﺭﻭﻱ ﭼﻴﻨﻪﺍﻱ ﻣﺸﺨﺺ ﺑﻪ‬
‫ِ ﺁﺏ ﻫﻤﺮﺍﻩ ﺍﺳﺖ‪ ،‬ﻫﻢ ﺩﺭ‬‫ﺭﺍﺣﺘﻲ ﺗﺼﺪﻳﻖ ﻣﻲﺷﻮﺩ‪ ،‬ﺯﻳﺮﺍ ﻫﻤﻮﺍﺭﻩ ﺑﺎ ﮐﻤﺒﻮﺩ‬
‫ژﻧﺘﻴﮏ ﻭ ﻫﻢ ﺩﺭ ﺯﻣﻴﻦﺷﻨﺎﺳﻲ‪ ،‬ﻭ ﺣﺘﻲ ﺩﺭ ﺯﺑﺎﻥﺷﻨﺎﺳﻲ‪ ،‬ﺟﺎﻳﻲ ﮐﻪ ﺍﻫﻤﻴﺖِ‬

‫‪29. Francois Jacob, The Logic of Life, trans. Betty E. Spillman (New York: Pantheon, 1973), pp. 269-270‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫ﭘﺪﻳﺪﻩﻱ »ﺳﺎﻟﻮﻳﺎﻱ ﮔﻤﺸﺪﻩ« ﺑﻪ ﺳﻨﺠﺶ ﮔﺰﺍﺭﺩﻩ ﻣﻲﺷﻮﺩ‪ .‬ﭼﻠﻨﺠﺮ ﻣﻲﺭﻧﺠﺪ‪ ،‬ﻭ‬
‫ﺗﺮﺟﻴﺢ ﻣﻲﺩﻫﺪ ﺗﺎ ﺩﻭﺳﺖﺍﺵ ﺭﺍ ﻓﺮﺍﺑﺨﻮﺍﻧﺪ‪ ،‬ﺩﻭﺳﺘﻲ ﮐﻪ ﺍﻭ ﺭﺍ ﺯﻣﻴﻦﺷﻨﺎﺱ‬
‫ِﻮ‪ ،30‬ﺁﻥ ﭘﺮﻧﺲِ ﺗﻴﺮﻩﮔﻮﻥِ ﺍﺯ‬
‫ﺍﺳﭙﻴﻨﻮﺯﺍﻳﻲ ﺩﺍﻧﻤﺎﺭﮐﻲ ﻣﻲﻧﺎﻣﻴﺪ‪ ،‬ﻳﻠﻤﺰﻟ‬
‫ِ ﻫﻤﻠﺖ ﮐﻪ ﺯﺑﺎﻥ ﺩﻏﺪﻏﻪﺍﺵ ﺑﻮﺩ‪ ،‬ﺗﺎ ﺑﻪ ﺩﻗﺖ »ﭼﻴﻨﻪﺑﻨﺪﻱ« ﺯﺑﺎﻥ ﺭﺍ‬‫ﺗﺒﺎﺭ‬
‫ِﻮ ﻣﻲﺗﻮﺍﻧﺴﺖ ﺷﺒﮑﻪﺍﻱ ﺍﺯ ﺍﻧﮕﺎﺭﻩﻫﺎﻱ ﻣﺎﺩﻩ‪ ،‬ﻣﺤﺘﻮﺍ ﻭ‬
‫ﺗﺤﻠﻴﻞ ﮐﻨﺪ‪ .‬ﻳﻠﻤﺰﻟ‬
‫ﺑﻴﺎﻥ‪ ،‬ﻓﺮﻡ ﻭ ﺟﻮﻫﺮ ﺑﺴﺎﺯﺩ‪ .‬ﺍﻭ ﻣﻲﮔﻔﺖ ﺍﻳﻦ ﺍﻧﮕﺎﺭﻩﻫﺎ ﻫﻤﺎﻥ ﭼﻴﻨﻪﻫﺎ‬
‫ﻫﺴﺘﻨﺪ‪ .‬ﺣﺎﻝ‪ ،‬ﻣﺰﻳﺖِ ﺍﻳﻦ ﺷﺒﮑﻪ ﮔﺴﺴﺘﻦ ﺍﺯ ﺩﻭﮔﺎﻧﻪﺍﻧﮕﺎﺭﻱ ﻓﺮﻡـﻣﺤﺘﻮﺍ‬
‫ِ ﺑﻴﺎﻥ‪ .‬ﺩﺷﻤﻨﺎﻥِ‬ ‫ِ ﻣﺤﺘﻮﺍ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﮐﻪ ﻓﺮﻡ‬
‫ﺍﺳﺖ‪ ،‬ﺯﻳﺮﺍ ﻫﻤﺎﻥﻗﺪﺭ ﻓﺮﻡ‬
‫ِ ﺩﻭﺑﺎﺭﻩﻱ‬‫ِ ﺗﻌﻤﻴﺪ‬ ‫ً ﺭﺍﻫﻲ ﺑﺮﺍﻱ ﻏﺴﻞ‬‫ِﻮ ﺍﻳﻦ ﻧﮑﺘﻪ ﺭﺍ ﺻﺮﻓﺎ‬ ‫ﻳﻠﻤﺰﻟ‬
‫ِ ﮐﺎﻣﻼً‬‫ِ ﺩﺍﻝ ﻭ ﻣﺪﻟﻮﻝ ﻣﻲﺩﺍﻧﺴﺘﻨﺪ‪ ،‬ﺍﻣﺎ ﺍﺗﻔﺎﻕ‬ ‫ﺍﻧﮕﺎﺭﻩﻫﺎﻱ ﻣﻨﺴﻮﺥ‬
‫ِﻮ ﻣﻤﮑﻦ ﺍﺳﺖ‬‫ِ ﻳﻠﻤﺰﻟ‬ ‫ﻣﺘﻔﺎﻭﺗﻲ ﺩﺍﺷﺖ ﻣﻲﺍﻓﺘﺎﺩ‪ .‬ﻋﻠﻲﺭﻏﻢ ﭼﻴﺰﻱ ﮐﻪ ﺧﻮﺩ‬
‫ﮔﻔﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﺍﻳﻦ ﺷﺒﮑﻪ ﺩﺭ ﮔﺴﺘﺮﻩ ﻭ ﺧﺎﺳﺘﮕﺎﻩﺍﺵ ﺯﺑﺎﻥﺷﻨﺎﺧﺘﻲ ﻧﻴﺴﺖ‬
‫ِ‬
‫)ﻣﻔﺼﻞﺑﻨﺪﻱ ﻣﻀﺎﻋﻒ ﻧﻴﺰ ﻫﻤﻴﻦﻃﻮﺭ ﺍﺳﺖ‪ ،‬ﺍﮔﺮ ﺯﺑﺎﻥ ﺑﻪ ﺳﻬﻢ ﺧﻮﺩﺵ ﻭﺍﺟﺪ‬
‫ﻧﻮﻋﻲ ﺧﺎﺹﺑﻮﺩﻥ ﺑﺎﺷﺪ‪ ،‬ﭼﻨﺎﻥﮐﻪ ﺑﻪ ﻗﻄﻊ ﺍﻳﻦﮔﻮﻧﻪ ﺍﺳﺖ‪ ،‬ﺁﻥ ﺧﺎﺹﺑﻮﺩﻥ ﻧﻪ‬
‫ِﻮ‪ ،‬ﭼﺮﺍﮐﻪ ﻫﺮ ﺩﻭ‬ ‫ﻣﻨﻮﻁ ﺑﻪ ﻣﻔﺼﻞﺑﻨﺪﻱ ﻣﻀﺎﻋﻒ ﺍﺳﺖ ﻧﻪ ﺷﺒﮑﻪﻱ ﻳﻠﻤﺰﻟ‬
‫ﻣﺸﺨﺼﻪﻫﺎﻱ ﻋﻤﻮﻣﻲ ﭼﻴﻨﻪﻫﺎ ﻫﺴﺘﻨﺪ(‪.‬‬

‫ﻓﺼﻞ ﭼﻬﺎﺭﻡ‬

‫‪ 20‬ﻧﻮﺍﻣﺒﺮ ‪ 1923‬ـ ﺑﻦﺍﻧﮕﺎﺭﻩﻫﺎﻱ ﺯﺑﺎﻥﺷﻨﺎﺳﻲ‬

‫ﺳﺮﻫﻢﺑﻨﺪﻱ ﺩﺳﺘﻮﺭـﮐﻠﻤﻪ‬

‫‪» .I‬ﺯﺑﺎﻥ ﺍﻃﻼﻋﺎﺗﻲ ﻭ ﺍﺭﺗﺒﺎﻃﺎﺗﻲ ﺍﺳﺖ«‬

‫ﻭﻗﺘﻲ ﺧﺎﻧﻢ ﻣﻌﻠﻢ ﻳﮏ ﻗﺎﻋﺪﻩﻱ ﮔﺮﺍﻣﺮﻱ ﻳﺎ ﻣﺮﺑﻮﻁ ﺑﻪ ﻋﻠﻢ ﺣﺴﺎﺏ ﺭﺍ ﺑﻪ‬
‫ﺩﺍﻧﺶﺁﻣﻮﺯﺍﻧﺶ ﺁﻣﻮﺯﺵ ﻣﻲﺩﻫﺪ‪ ،‬ﻫﻤﺎﻥﻗﺪﺭ ﺩﺭ ﺣﺎﻝ ﻣﻄﻠﻊﺳﺎﺧﺘﻦ ﺁﻥﻫﺎ ﺍﺳﺖ‬

‫‪30. Hjelmslev‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

‫ﮐﻪ ﻭﻗﺘﻲ ﺍﺯ ﺩﺍﻧﺶﺁﻣﻮﺯﻱ ﺳﺆﺍﻝ ﻣﻲﭘﺮﺳﺪ‪ ،‬ﺩﺭ ﺣﺎﻝ ﻣﻄﻠﻊﮐﺮﺩﻥ ﺧﻮﻳﺶ ﺍﺳﺖ‪.‬‬
‫ﺍﻭ ﺁﻥ ﻗﺪﺭﻫﺎ ﺍﺯ ﻃﺮﻳﻖ »ﻧﺸﺎﻧﻪﻫﺎﻱ ﺍﻣﺮﻱ«‪ ،31‬ﺩﺳﺘﻮﺭﺩﺍﺩﻥ ﻳﺎ‬
‫ﻓﺮﻣﺎﻥﺩﺍﺩﻥ ﺁﻣﻮﺯﺵ ﻧﻤﻲﺩﻫﺪ‪ .‬ﻓﺮﺍﻣﻴﻦ ﻳﮏ ﻣﻌﻠﻢ ﻧﺴﺒﺖ ﺑﻪ ﺁﻥﭼﻪ ﺑﻪ ﻣﺎ‬
‫ِ ﺩﻻﻟﺖﻫﺎﻱ ﻧﺨﺴﺘﻴﻦ‬
‫ﻣﻲﺁﻣﻮﺯﺍﻧﺪ‪ ،‬ﺧﺎﺭﺟﻲ ﻳﺎ ﺍﺿﺎﻓﻲ ﻧﻴﺴﺘﻨﺪ‪ .‬ﺁﻥﻫﺎ ﺍﺯ ﺩﻝ‬
‫ﺳﻴﻼﻥ ﻧﻤﻲﻳﺎﺑﻨﺪ ﻳﺎ ﺍﺯ ﺍﻃﻼﻋﺎﺕ ﻧﺘﻴﺠﻪ ﻧﻤﻲﺷﻮﻧﺪ‪ :‬ﻳﮏ ﺩﺳﺘﻮﺭ ﻫﻤﻴﺸﻪ ﻭ‬
‫ﭘﻴﺸﺎﭘﻴﺶ ﺑﻪ ﺩﺳﺘﻮﺭﻫﺎﻱ ﭘﻴﺸﻴﻨﻲ ﻣﺮﺑﻮﻁ ﺍﺳﺖ‪ ،‬ﻭ ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ‬
‫ﺩﺳﺘﻮﺭﺩﺍﺩﻥ ﺣﺸﻮ ﺍﺳﺖ‪ .‬ﻣﺎﺷﻴﻦِ ﺁﻣﻮﺯﺵ ﺍﺟﺒﺎﺭﻱ‪ ،‬ﺍﻃﻼﻋﺎﺕ ﺭﺍ ﺍﻧﺘﻘﺎﻝ‬
‫ﻧﻤﻲﺩﻫﺪ‪ :‬ﺍﻳﻦ ﻣﺎﺷﻴﻦ ﻣﺨﺘﺼﺎﺗﻲ ﻧﺸﺎﻧﻪﺷﻨﺎﺧﺘﻲ ﺭﺍ ﺑﺮ ﮐﻮﺩک ﺗﺤﻤﻴﻞ ﻣﻲﻛﻨﺪ‬
‫ﮐﻪ ﻫﻤﻪﻱ ﺍﻧﻮﺍﻉ ﺑﻨﻴﺎﻥﻫﺎﻱ ﺩﻭﮔﺎﻧﻪﻱ ﮔﺮﺍﻣﺮ )ﻣﺬﮐﺮـﻣﺆﻧﺚ‪ ،‬ﺗﮑﻴﻦـ‬
‫ﺑﺲﮔﺎﻧﻪ‪ ،‬ﺍﺳﻢ ـ ﻓﻌﻞ‪ ،‬ﺳﻮژﻩﻱ ﮔﺰﺍﺭﻩ ـ ﺳﻮژﻩﻱ ﺑﻴﺎﻥ‪ ،32‬ﺍﻟﺦ( ﺭﺍ ﺩﺭ‬
‫ﺍﺧﺘﻴﺎﺭ ﺩﺍﺭﺩ‪ .‬ﻭﺍﺣﺪ ﺍﺑﺘﺪﺍﻳﻲ ﺯﺑﺎﻥ ــ ﮔﺰﺍﺭﻩ ــ ﻫﻤﺎﻥ ﮐﻠﻤﻪ ـ ﺩﺳﺘﻮﺭ‬
‫ِ ﺳﻠﻴﻢ‪ ،‬ﻳﻌﻨﻲ ﻗﻮﻩﻱ ﻣﺮﮐﺰﻳﺖﺩﺍﺩﻥ ﺑﻪ‬ ‫ﺍﺳﺖ‪ .33‬ﻣﺎ ﺑﺎﻳﺪ ﺑﻪ ﺟﺎﻱ ﻋﻘﻞ‬
‫ِ ﻣﻨﺘﺸﺮ ﮐﺮﺩﻥ‪،‬‬
‫ﺍﻃﻼﻋﺎﺕ‪ ،‬ﻧﻮﻋﻲ ﻗﻮﻩﻱ ﺳﻬﻤﮕﻴﻦ ﺭﺍ ﺗﻌﺮﻳﻒ ﮐﻨﻴﻢ ﮐﻪ ﺷﺎﻣﻞ‬
‫ﺩﺭﻳﺎﻓﺖﮐﺮﺩﻥ‪ ،‬ﻭ ﻣﺨﺎﺑﺮﻩﻱ ﮐﻠﻤﻪ ـ ﺩﺳﺘﻮﺭﻫﺎ ﺍﺳﺖ‪ .‬ﺯﺑﺎﻥ ﻧﻪ ﺑﺮﺍﻱ‬
‫ﺑﺎﻭﺭﺩﺍﺷﺘﻦ ﺑﻪ ﺁﻥ‪ ،‬ﮐﻪ ﺑﺮﺍﻱ ﻓﺮﻣﺎﻥﺑﺮﺩﻥ ﺍﺯ ﺁﻥ ﻭ ﺍﺟﺒﺎﺭ ﺑﻪ‬
‫ً ﻗﺼﺪ ﻧﺪﺍﺭﺩ ﺻﺪﺍﻗﺖﺍﺵ‬
‫ﻓﺮﻣﺎﻧﺒﺮﺩﺍﺭﻱ ﺳﺎﺧﺘﻪ ﻣﻲﺷﻮﺩ‪» .‬ﻫﻤﺴﺮ ﺑﺎﺭﻭﻥ ﺍﺑﺪﺍ‬
‫ً ﺩﺭ ﺣﺎﻝ ﺭﺳﺎﻧﺪﻥِ ﺗﻠﻮﻳﺤﻲ ﺍﻳﻦ ﻓﺤﻮﺍ ﺍﺳﺖ‬
‫ﺭﺍ ﺑﻪ ﻣﻦ ﺑﻘﺒﻮﻻﻧﺪ؛ ﺍﻭ ﺻﺮﻓﺎ‬
‫ﮐﻪ ﺗﺮﺟﻴﺢ ﻣﻲﺩﻫﺪ ﻣﻦ ﺗﻈﺎﻫﺮ ﺑﻪ ﻣﻮﺍﻓﻘﺖ ﺑﺎ ﺍﻭ ﺑﮑﻨﻢ‪ 34«.‬ﻣﺎ ﻫﻤﻴﻦ‬
‫]ﻣﮑﺎﻧﻴﺰﻡ[ ﺭﺍ ﺩﺭ ﺍﻋﻼﻥﻫﺎﻱ ﭘﻠﻴﺴﻲ ﻳﺎ ﺣﮑﻮﻣﺘﻲ ﻣﻲﺑﻴﻨﻴﻢ؛ ﺍﻋﻼﻥﻫﺎﻳﻲ ﮐﻪ‬
‫ﻧﻪ ﺑﺎﻭﺭﮐﺮﺩﻧﻲﺍﻧﺪ ﻭ ﻧﻪ ﻭﺍﺟﺪ ﻫﻴﭻ ﺣﻘﻴﻘﺘﻲ‪ ،‬ﺑﻞ ﺑﻪ ﺭﻭﺷﻨﻲ ﻣﻲﮔﻮﻳﻨﺪ ﭼﻪ‬
‫ﭼﻴﺰ ﺑﺎﻳﺪ ﻣﺸﺎﻫﺪﻩ ﺷﻮﺩ ﻭ ﭼﻪ ﭼﻴﺰ ﺑﺎﻳﺪ ﺍﺑﻘﺎ ﮔﺮﺩﺩ‪ .‬ﺑﻲﺗﻔﺎﻭﺗﻲ ﺍﻳﻦ‬
‫ﺍﻋﻼﻥﻫﺎ ﺑﻪ ﻫﺮ ﻧﻮﻋﻲ ﺍﺯ ﺍﻋﺘﺒﺎﺭ ﻭ ﺑﺎﻭﺭﭘﺬﻳﺮﻱ‪ ،‬ﺍﻏﻠﺐ ﺩﺭ ﺁﺳﺘﺎﻧﻪﻱ‬
‫ﺭﺳﻴﺪﻥ ﺑﻪ ﻧﻮﻋﻲ ﺗﺤﺮﻳﮏ ﻋﻤﻮﻣﻲ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻧﮑﺘﻪ ﺍﺛﺒﺎﺕ ﻣﻲﻛﻨﺪ ﮐﻪ ﻣﻮﺿﻮﻉ‬
‫ﺍﺻﻠﻲ ﺟﺎﻱ ﺩﻳﮕﺮﻱ ﻧﻬﻔﺘﻪ ﺍﺳﺖ‪ .‬ﺑﮕﺬﺍﺭ ﻣﺮﺩﻡ ﺑﮕﻮﻳﻨﺪ ‪ :...‬ﺍﻳﻦ ﺍﺳﺖ‬
‫ﻫﻤﻪﻱ ﺁﻥﭼﻪ ﺯﺑﺎﻥ ﻣﻄﺎﻟﺒﻪ ﻣﻲﻛﻨﺪ‪ .‬ﺍﺳﭙﻨﮕﻠﺮ ﺍﺷﺎﺭﻩ ﻣﻲﻛﻨﺪ ﮐﻪ ﻓﺮﻡﻫﺎﻱ‬
‫ﺑﻨﻴﺎﺩﻳﻦ ﮔﻔﺘﺎﺭ‪ ،‬ﻧﻪ ﮔﺰﺍﺭﻩﻱ ﻧﻮﻋﻲ ﺩﺍﻭﺭﻱ ﻳﺎ ﺑﻴﺎﻥ ﻧﻮﻋﻲ ﺍﺣﺴﺎﺱ‪ ،‬ﺑﻞ‬

‫ً ﻧﻈﺎﻣﻲ ﺭﺍ‬
‫‪ ،Insign .‬ﻧﺸﺎﻧﻪ‪ ،‬ﺷﮑﻞ ﻳﺎ ﺗﺼﻮﻳﺮﻱ ﮐﻪ ﮔﺮﻭﻩ ﻳﺎ ﺳﺎﺯﻣﺎﻧﻲ ﻗﺪﺭﺗﻤﻨﺪ‪ ،‬ﻣﺨﺼﻮﺻﺎ‬
‫ﺑﺎﺯﻧﻤﺎﻳﻲ ﻣﻲﻛﻨﺪ‪ .‬ﻡ‬
‫‪ .‬ﺩﺭ ﺍﻳﻦ ﻓﺼﻞ ﻫﺮﺟﺎ ﺍﺯ »ﺑﻴﺎﻥ« ﺍﺳﺘﻔﺎﺩﻩ ﮐﺮﺩﻩﺍﻳﻢ‪ ،‬ﻣﻨﻈﻮﺭﻣﺎﻥ ‪ enunciation‬ﺑﻮﺩﻩ ﺍﺳﺖ ﻭ‬
‫ﻫﺮ ﺟﺎ ﺍﺯ »ﺑﻴﺎﻥ« ﺑﻪ ‪ expression‬ﺍﺷﺎﺭﻩ ﮐﺮﺩﻩﺍﻳﻢ‪ .‬ﻡ‬
‫‪ ،:Mot d'ordre .‬ﺩﺭ ﻓﺮﺍﻧﺴﻮﻱ ﻣﻌﻴﺎﺭ ﺍﻳﻦ ﺗﺮﮐﻴﺐ ﺑﻪ ﻣﻌﻨﺎﻱ »ﺷﻌﺎﺭ« ﻳﺎ »ﺭﻣﺰ ﻋﺒﻮﺭ« )ﺩﺭ‬
‫ﮐﺎﺭﺑﺮﺩﻫﺎﻱ ﻧﻈﺎﻣﻲ( ﺍﺳﺖ‪ .‬ﺩﻟﻮﺯ ﻭ ﮔﺘﺎﺭﻱ ﺍﺯ ﺍﻳﻦ ﻟﻔﻆ ﺑﻪ ﻣﻌﻨﺎﻱ ﺗﺤﺖﺍﻟﻠﻔﻈﻲ‪ ،‬ﻳﻌﻨﻲ‬
‫»ﮐﻠﻤﻪﺍﻱ ﺍﺯ ﺟﻨﺲِ ﺩﺳﺘﻮﺭ« ﻫﻢ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻲﮐﻨﻨﺪ ﻭ ﻣﻌﻨﺎﻱ ﺩﻭﮔﺎﻧﻪﺍﻱ ﻣﺪﻧﻈﺮ ﺩﺍﺭﻧﺪ‪ :‬ﮐﻠﻤﻪ‬
‫ﻳﺎ ﻋﺒﺎﺭﺗﻲ ﮐﻪ ﺩﺳﺘﻮﺭﻱ ﺭﺍ ﺷﮑﻞ ﻣﻲﺩﻫﺪ‪ ،‬ﻳﺎ ﮐﻠﻤﻪ ﻭ ﻋﺒﺎﺭﺕِ ﺁﻓﺮﻳﻨﻨﺪﻩﻱ ﺩﺳﺘﻮﺭ‪ .‬ﻡ‬
‫‪34. Georges Darien, L'epaulette (Paris: 10/18, 1973), p. 435. Or Zola, La BeteHumaine, trans. Leonard Tancock (New York:‬‬
‫‪Penguin, 1977), p. 148:‬‬
‫»ﺍﻳﻦ ﺣﺮﻑﻫﺎ ﺭﺍ ﻧﻪ ﺑﺮﺍﻱ ﻣﺘﻘﺎﻋﺪﮐﺮﺩﻥ ﺍﻭ‪ ،‬ﺑﻠﮑﻪ ﺗﻨﻬﺎ ﺑﺮﺍﻱ ﻫﺸﺪﺍﺭﺩﺍﺩﻥ ﺑﻪ ﺍﻭ ﺑﺮ ﺯﺑﺎﻥ‬
‫ﻣﻲﺭﺍﻧﺪ؛ ﺑﺮﺍﻱ ﺍﻳﻨﮑﻪ ﻫﺸﺪﺍﺭ ﺩﻫﺪ ﺍﻭ ﺩﺭ ﭼﺸﻤﺎﻥ ﺍﮐﺜﺮﻳﺖِ ﻣﺮﺩﻡ ﺩﻧﻴﺎ ﺑﻲﮔﻨﺎﻩ ﺍﺳﺖ‪ «.‬ﺍﻳﻦ‬
‫ﺳﻨﺦ ﮔﺰﺍﺭﻩ ﺑﻪ ﻧﻈﺮ ﻣﺎ ﺑﻴﺶ ﺍﺯ ﮔﺰﺍﺭﻩﻱ ﺍﺧﺒﺎﺭﻱ ﻳﺎ ﺍﻃﻼﻋﺎﺗﻲ )ﻣﺜﻼً »ﻣﺎﺭﮐﻴﺰ ﺳﺎﻋﺖ ﭘﻨﺞ‬
‫ﻋﺼﺮ ﺑﻴﺮﻭﻥ ﺭﻓﺖ«( ﺳﺮﺷﺖﻧﻤﺎﻱ ﺭﻣﺎﻥ ﺍﺳﺖ‪.‬‬

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‫»ﻓﺮﻣﺎﻥ‪ ،‬ﺑﻴﺎﻥِ ﻓﺮﻣﺎﻧﺒﺮﺩﺍﺭﻱ‪ ،‬ﺣﮑﻢ‪ ،‬ﺳﺆﺍﻝ‪ ،‬ﺗﺄﻳﻴﺪ ﻳﺎ ﻧﻔﻲ« ﻫﺴﺘﻨﺪ‪،‬‬
‫ﻳﻌﻨﻲ ﻓﺮﺍﺯﻫﺎﻱ ﺑﺴﻴﺎﺭ ﮐﻮﺗﺎﻫﻲ ﮐﻪ ﺑﺮ ﺯﻧﺪﮔﻲ ﻓﺮﻣﺎﻥ ﻣﻲﺭﺍﻧﻨﺪ ﻭ ﺍﺯ‬
‫ﻋﺎﻣﻠﻴﻦ ﺍﻗﺘﺼﺎﺩﻱ ﻭ ﭘﺮﻭژﻩﻫﺎﻱ ﮐﻼﻥ ﺟﺪﺍﻧﺸﺪﻧﻲ ﻫﺴﺘﻨﺪ‪» .‬ﺁﻣﺎﺩﻩﺍﻱ؟«‬
‫»ﺑﻠﻪ‪» «.‬ﺍﺩﺍﻣﻪ ﺑﺪﻩ‪ 35«.‬ﮐﻠﻤﺎﺕ ﺍﺑﺰﺍﺭ ﻧﻴﺴﺘﻨﺪ‪ ،‬ﺑﻞ ﻣﺎ ﻫﻤﺎﻧﻄﻮﺭﻱ ﺑﻪ‬
‫ﮐﻮﺩﮐﺎﻥ ﺯﺑﺎﻥ‪ ،‬ﻗﻠﻢ ﻭ ﺩﻓﺘﺮ ﻣﻲﺩﻫﻴﻢ ﮐﻪ ﺑﻪ ﮐﺎﺭﮔﺮﺍﻥ ﺑﻴﻠﭽﻪ ﻭ ﮐﻠﻨﮓ‬
‫ﻣﻲﺩﻫﻴﻢ‪ .‬ﻳﮏ ﻗﺎﻋﺪﻩﻱ ﮔﺮﺍﻣﺮﻱ‪ ،‬ﭘﻴﺶ ﺍﺯ ﺁﻥﻛﻪ ﻳﮏ ﻧﺸﺎﻧﮕﺮ‬
‫ِ‪ 36‬ﻧﺤﻮﻱ ﺑﺎﺷﺪ‪،‬‬
‫ِ ﻗﺪﺭﺕ ﺍﺳﺖ‪ .‬ﺩﺳﺘﻮﺭ ﺑﻪ ﺩﻻﻟﺖﻫﺎﻱ ﭘﻴﺸﻴﻨﻲ ﻳﺎ ﺑﻪ ﻳﮏ‬ ‫ﻧﻮﻋﻲ ﻧﺸﺎﻧﮕﺮ‬
‫ﺳﺎﺯﻣﺎﻧﺪﻫﻲ ﭘﻴﺸﻴﻨﻲ ﺍﺯ ﻭﺍﺣﺪﻫﺎﻱ ﻣﺘﻤﺎﻳﺰ ﺍﺭﺟﺎﻉ ﻧﺪﺍﺭﺩ‪ .‬ﺩﺭﺳﺖ ﺑﺮﻋﮑﺲ‪.‬‬
‫ِ ﺿﺮﻭﺭﻱ ﺍﺳﺖ ﮐﻪ ﺑﺮﺍﻱ ﺍﻧﺘﺸﺎﺭ‪ ،‬ﻣﺨﺎﺑﺮﻩ ﻭ‬ ‫ً ﺣﺪﺍﻗﻞ ﭘﻴﺶﺷﺮﻁ‬
‫ﺍﻃﻼﻋﺎﺕ ﺻﺮﻓﺎ‬
‫ﻣﺸﺎﻫﺪﻩﻱ ﺩﺳﺘﻮﺭﻫﺎ ﺑﻪﻣﺜﺎﺑﻪﻱ ﻓﺮﺍﻣﻴﻦ ﻻﺯﻡ ﺍﺳﺖ‪ .‬ﺁﺩﻡ ﺑﺎﻳﺪ ﻓﻘﻂ ﺁﻧﻘﺪﺭ‬
‫ﻣﻄﻠﻊ ﺑﺎﺷﺪ ﮐﻪ »ﺁﺗﺶ« ﺭﺍ ﺑﺎ »ﺑﻪﭘﻴﺶ«‪ 37‬ﺧﻠﻂ ﻧﮑﻨﺪ ﻳﺎ ﺍﺯ ﻣﻮﻗﻌﻴﺖ‬
‫ﻧﮑﺒﺖِ ﻣﻌﻠﻢ ﻭ ﺩﺍﻧﺶﺁﻣﻮﺯ ــ ﺁﻥﻃﻮﺭ ﮐﻪ ﻟﻮﺋﻴﺲ ﮐﺎﺭﻭﻝ ﺗﻮﺻﻴﻒ ﮐﺮﺩﻩ ﺍﺳﺖ‬
‫ــ ﺍﺟﺘﻨﺎﺏ ﻭﺭﺯﺩ )ﻣﻌﻠﻢ‪ ،‬ﺑﺎﻻﻱ ﭘﻠﻪﻫﺎ‪ ،‬ﭘﺮﺳﺸﻲ ﺭﺍ ﻃﺮﺡ ﻣﻲﻛﻨﺪ ﮐﻪ‬
‫ﺧﺪﻣﺘﮑﺎﺭﺍﻥ ﺁﻥ ﺭﺍ ﺍﻧﺘﻘﺎﻝ ﻣﻲﺩﻫﻨﺪ ﻭ ﺩﺭ ﻫﺮ ﭘﻠﻪ ﺍﺯ ﻣﺴﻴﺮ ﺁﻥ ﺭﺍ‬
‫ﺗﺤﺮﻳﻒ ﻣﻲﻛﻨﻨﺪ‪ ،‬ﻭ ﺩﺍﻧﺶﺁﻣﻮﺯ‪ ،‬ﺁﻥ ﭘﺎﻳﻴﻦ ﺩﺭ ﺣﻴﺎﻁ‪ ،‬ﭘﺎﺳﺦ ﻣﻲﺩﻫﺪ ﻭ ﺍﻳﻦ‬
‫ﭘﺎﺳﺦ ﻧﻴﺰ ﺩﺭ ﻫﺮ ﭘﻠﻪ ﺍﺯ ﻣﺴﻴﺮ ﺑﺎﺯﮔﺸﺖ ﺩﭼﺎﺭ ﺗﺤﺮﻳﻒ ﻣﻲﺷﻮﺩ(‪ .‬ﺯﺑﺎﻥ‬
‫ﺯﻧﺪﮔﻲ ﻧﻴﺴﺖ؛ ﺯﺑﺎﻥ ﺑﻪ ﺯﻧﺪﮔﻲ ﺩﺳﺘﻮﺭ ﻣﻲﺩﻫﺪ‪ .‬ﺯﻧﺪﮔﻲ ﺳﺨﻦ ﻧﻤﻲﮔﻮﻳﺪ؛‬
‫ﮔﻮﺵ ﻣﻲﺩﻫﺪ ﻭ ﺑﻪ ﺍﻧﺘﻈﺎﺭ ﻣﻲﺍﻳﺴﺘﺪ‪ .38‬ﻫﺮ ﮐﻠﻤﻪـ ﺩﺳﺘﻮﺭﻱ‪ ،‬ﺣﺘﻲ ﮐﻠﻤﻪـ‬
‫ِ ﻳﮏ ﭘﺪﺭ ﺑﻪ ﭘﺴﺮﺵ‪ ،‬ﺧﺮﺩﻩﺍﻱ ﺣﮑﻢ ﻣﺮگ ﺑﺎ ﺧﻮﺩ ﺣﻤﻞ ﻣﻲﻛﻨﺪ ــ ﻳﺎ‬ ‫ﺩﺳﺘﻮﺭ‬
‫ﺁﻥﻃﻮﺭ ﮐﻪ ﮐﺎﻓﮑﺎ ﺑﻴﺎﻥ ﻣﻲﻛﻨﺪ‪ ،‬ﻧﻮﻋﻲ ﺩﺍﻭﺭﻱ‪.‬‬
‫ﺑﺨﺶ ﺩﺷﻮﺍﺭ ﻗﻀﻴﻪ ﻣﺸﺨﺺﮐﺮﺩﻥ ﺟﺎﻳﮕﺎﻩ ﻭ ﮔﺴﺘﺮﻩﻱ ﮐﻠﻤﻪـ ﺩﺳﺘﻮﺭ ﺍﺳﺖ‪.‬‬
‫ً ﻳﮏ‬‫ِ ﺯﺑﺎﻥ ﻧﻴﺴﺖ‪ ،‬ﺯﻳﺮﺍ ﮐﻠﻤﻪ ـ ﺩﺳﺘﻮﺭ ﺻﺮﻓﺎ‬ ‫ﻣﺴﺄﻟﻪ ﺑﺮ ﺳﺮ ﺧﺎﺳﺘﮕﺎﻩ‬
‫ﮐﺎﺭﮐﺮﺩـ ﺯﺑﺎﻥ ﺍﺳﺖ‪ ،‬ﻳﻌﻨﻲ ﮐﺎﺭﮐﺮﺩﻱ ﻫﻢﮔﺴﺘﺮﻩ ﺑﺎ ﺯﺑﺎﻥ‪ .‬ﺍﮔﺮ ﺯﺑﺎﻥ‬
‫ﻫﻤﻴﺸﻪ ﺍﻧﮕﺎﺭ ﺧﻮﺩﺵ ﺭﺍ ﭘﻴﺶﻓﺮﺽ ﻣﻲﮔﻴﺮﺩ‪ ،‬ﺍﮔﺮ ﻧﻤﻲﺗﻮﺍﻧﻴﻢ ﻳﮏ ﻧﻘﻄﻪﻱ‬
‫ﻋﺰﻳﻤﺖ ﻏﻴﺮﺯﺑﺎﻥﺷﻨﺎﺧﺘﻲ ﺑﺪﺍﻥ ﺗﺨﺼﻴﺺ ﺩﻫﻴﻢ‪ ،‬ﺑﺪﻳﻦ ﺩﻟﻴﻞ ﺍﺳﺖ ﮐﻪ ﺯﺑﺎﻥ‬
‫ﺑﻴﻦ ﭼﻴﺰﻱ ﺩﻳﺪﻩﺷﺪﻩ )ﻳﺎ ﺍﺣﺴﺎﺱﺷﺪﻩ( ﻭ ﭼﻴﺰﻱ ﮔﻔﺘﻪﺷﺪﻩ ﻋﻤﻞ ﻧﻤﻲﻛﻨﺪ‪ ،‬ﺑﻞ‬
‫ﻫﻤﻴﺸﻪ ﺍﺯ ﺳﺨﻦﮔﻔﺘﻦ ﺑﻪ ﺳﺨﻦﮔﻔﺘﻦ ﮔﺬﺭ ﻣﻲﻛﻨﺪ‪ .‬ﻣﺎ ﻣﻌﺘﻘﺪﻳﻢ ﺭﻭﺍﻳﺖ ﻧﻪ‬
‫ِ ﺁﻥﭼﻪ ﺩﻳﺪﻩ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﺑﻞ ﺷﺎﻣﻞ ﻣﺨﺎﺑﺮﻩﻱ ﺁﻥ ﭼﻴﺰﻱ ﻣﻲﺷﻮﺩ‬ ‫ﺷﺎﻣﻞ ﺍﻧﺘﻘﺎﻝ‬
‫ِ ﻗﻮﻝ‪.39‬‬
‫ﮐﻪ ﺷﻨﻴﺪﻩ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﮐﻪ ﮐﺲ ﺩﻳﮕﺮﻱ ﺑﻪ ﺷﻤﺎ ﮔﻔﺘﻪ ﺍﺳﺖ‪ .‬ﻧﻘﻞ‬
‫ﺣﺘﻲ ﮐﺎﻓﻲ ﻧﻴﺴﺖ ﭘﺎﻱ ﺑﺼﻴﺮﺗﻲ ﺗﺤﺮﻳﻒﺷﺪﻩ ﺑﺎ ﺷﻮﺭ ﺭﺍ ﺑﻪ ﻣﻴﺎﻥ ﮐﺸﻴﺪ‪.‬‬

‫‪35. Oswald Spengler, Man and Technics, trans. Charles Francis Atkinson (New York: Knopf, 1932), p. 54 [translation modified].‬‬
‫‪36. marker‬‬
‫‪ .‬ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺑﺎ ﺩﻭ ﮐﻠﻤﻪﻱ ‪»] fire‬ﺁﺗﺶ«[ ﻭ ‪»] fore‬ﺑﻪﭘﻴﺶ«[ ﺑﺎﺯﻱ ﺯﺑﺎﻧﻲ ﮐﺮﺩﻩﺍﻧﺪ‪ .‬ﻡ‬
‫‪38. Brice Parain, Sur la dialectique (Paris: Gallimard, 1953):‬‬
‫ﭘﺎﺭﺍﻥ ﻧﻈﺮﻳﻪﺍﻱ ﺩﺭﺑﺎﺭﻩﻱ »ﻓﺮﺽﮔﺮﻓﺘﻦ« ﻳﺎ ﺍﻣﺮ »ﭘﻴﺶﻓﺮﺽ ﮔﺮﻓﺘﻪﺷﺪﻩ« ﺩﺭ ﺯﺑﺎﻥ ﺭﺍ ﺩﺭ‬
‫ﺭﺍﺑﻄﻪ ﺑﺎ ﺩﺳﺘﻮﺭﻫﺎﻱ ﺩﺍﺩﻩﺷﺪﻩ ﺑﻪ ﺯﻧﺪﮔﻲ ﺑﺴﻂ ﻣﻲﺩﻫﺪ؛ ﺍﻣﺎ ﺑﻪ ﺟﺎﻱ ﻣﺴﺄﻟﻪ ﺭﺍ ﺍﺯ ﺟﻨﺲ‬
‫ﻗﺪﺭﺕ ﺑﻪ ﻣﻌﻨﺎﻱ ﺳﻴﺎﺳﻲ ﺑﺪﺍﻧﺪ‪ ،‬ﺍﺯ ﺟﻨﺲ ﻭﻇﻴﻔﻪ ﺑﻪ ﻣﻌﻨﺎﻱ ﺍﺧﻼﻗﻴﺎﺗﻲ ﺩﺭ ﻧﻈﺮ ﻣﻲﮔﻴﺮﺩ‪.‬‬
‫‪39. Hearsay‬‬

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‫ﺯﺑﺎﻥِ »ﻧﺨﺴﺘﻴﻦ«‪ ،‬ﻳﺎ ﺑﻬﺘﺮ ﻧﺨﺴﺘﻴﻦ ﺗﻌﻴﻦ ﺯﺑﺎﻥ‪ ،‬ﻧﻪ ﻣﺠﺎﺯ ﻳﺎ ﺍﺳﺘﻌﺎﺭﻩ‬
‫ﺑﻞ ﮔﻔﺘﻤﺎﻥ ﻏﻴﺮﻣﺴﺘﻘﻴﻢ ﺍﺳﺖ‪ .40‬ﺩﻳﮕﺮ ﻣﻌﻠﻮﻡ ﺷﺪﻩ ﺍﺳﺖ ﺍﻫﻤﻴﺘﻲ ﮐﻪ ﺑﺮﺧﻲ‬
‫ﺑﻪ ﺍﺳﺘﻌﺎﺭﻩ ﻭ ﻣﺠﺎﺯ ﻣﺮﺳﻞ ﻧﺴﺒﺖ ﻣﻲﺩﻫﻨﺪ‪ ،‬ﺑﺮﺍﻱ ﻣﻄﺎﻟﻌﺎﺕ ﺯﺑﺎﻥ‬
‫ً ﻣﻌﻠﻮﻝ ﻫﺴﺘﻨﺪ؛‬‫ﻓﺎﺟﻌﻪﺑﺎﺭ ﺍﺳﺖ‪ .‬ﺍﺳﺘﻌﺎﺭﻩﻫﺎ ﻭ ﻣﺠﺎﺯﻫﺎﻱ ﻣﺮﺳﻞ ﺻﺮﻓﺎ‬
‫ﺁﻥﻫﺎ ﻓﻘﻂ ﺯﻣﺎﻧﻲ ﺑﺨﺸﻲ ﺍﺯ ﺯﺑﺎﻥ ﻫﺴﺘﻨﺪ ﮐﻪ ﮔﻔﺘﻤﺎﻥ ﻏﻴﺮﻣﺴﺘﻘﻴﻢ ﺭﺍ‬
‫ﭘﻴﺶﻓﺮﺽ ﺑﮕﻴﺮﻧﺪ‪ .‬ﺷﻮﺭﻫﺎﻱ ﺑﺴﻴﺎﺭﻱ ﺩﺭ ﻳﮏ ﺷﻮﺭ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﻫﻤﻪﻱ‬
‫ﻃﺮﻳﻘﻪﻫﺎﻱ ﺻﺪﺍ ــ ﺯﻣﺰﻣﻪﮐﺮﺩﻥﻫﺎ‪ ،‬ﻧﻮک ﺯﺑﺎﻧﻲ ﺣﺮﻑﺯﺩﻥ ــ ﺩﺭ ﻳﮏ ﺻﺪﺍ‬
‫ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ :‬ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺍﺳﺖ ﮐﻪ ﺗﻤﺎﻣﻲ ﮔﻔﺘﻤﺎﻥﻫﺎ ﻏﻴﺮﻣﺴﺘﻘﻴﻢ‬
‫ﻫﺴﺘﻨﺪ‪ ،‬ﻭ ﺣﺮﮐﺖِ ﺗﺮﺟﻤﻪﺍﻱ ﺩﺭﺧﻮﺭ‬
‫ِ ﺯﺑﺎﻥ‪ ،‬ﻫﻤﺎﻥ ﮔﻔﺘﻤﺎﻥ ﻏﻴﺮﻣﺴﺘﻘﻴﻢ ﺍﺳﺖ‪.‬‬
‫ﺑﻨﻮﻧﻴﺴﺘﻪ ﺯﺑﺎﻥﺩﺍﺷﺘﻦِ ﺯﻧﺒﻮﺭﻫﺎ ﺭﺍ ﺭﺩ ﻣﻲﻛﻨﺪ‪ ،‬ﺣﺘﻲ ﺍﮔﺮ ﺁﻥﻫﺎ ﻧﻮﻋﻲ‬
‫ِ ﮐﺪﮔﺬﺍﺭﻱ ﺍﺭﮔﺎﻧﻴﮏ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ ﻭ ﺣﺘﻲ ﺍﮔﺮ ﺍﺯ ﻣﺠﺎﺯﻫﺎ‬ ‫ﻓﺮﺁﻳﻨﺪ‬
‫ﺍﺳﺘﻔﺎﺩﻩ ﮐﻨﻨﺪ‪ .‬ﺯﻧﺒﻮﺭ ﺯﺑﺎﻥ ﻧﺪﺍﺭﺩ‪ ،‬ﺯﻳﺮﺍ ﻣﻲﺗﻮﺍﻧﺪ ﺁﻥﭼﻪ ﺭﺍ ﺩﻳﺪﻩ‬
‫ﺷﺪﻩ ﺍﺳﺖ ﺍﻧﺘﻘﺎﻝ ﺩﻫﺪ‪ ،‬ﺍﻣﺎ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺁﻥﭼﻪ ﺭﺍ ﺑﻪ ﻭﻱ ﻣﻨﺘﻘﻞ ﺷﺪﻩ‬
‫ﺍﺳﺖ‪ ،‬ﻣﺨﺎﺑﺮﻩ ﮐﻨﺪ‪ .‬ﺯﻧﺒﻮﺭﻱ ﮐﻪ ﻳﮏ ﻣﻨﺒﻊ ﻏﺬﺍ ﺩﻳﺪﻩ ﺍﺳﺖ‪ ،‬ﻣﻲﺗﻮﺍﻧﺪ ﺑﻪ‬
‫ﺯﻧﺒﻮﺭﻫﺎﻳﻲ ﮐﻪ ﺁﻥ ﺭﺍ ﻧﺪﻳﺪﻩ ﺍﻧﺪ ﭘﻴﺎﻡ ﺑﻔﺮﺳﺘﺪ‪ ،‬ﺍﻣﺎ ﻳﮏ ﺯﻧﺒﻮﺭ ﮐﻪ ﺁﻥ‬
‫ﻣﻨﺒﻊ ﻏﺬﺍ ﺭﺍ ﻧﺪﻳﺪﻩ ﺍﺳﺖ‪ ،‬ﻧﻤﻲﺗﻮﺍﻧﺪ ﭘﻴﺎﻡ ﺭﺍ ﺑﻪ ﺩﻳﮕﺮﺍﻧﻲ ﮐﻪ ﺁﻥ ﺭﺍ‬
‫ً ﻓﺮﺁﻳﻨﺪ ﻋﺒﻮﺭ ﺍﺯ ﻃﺮﻑ ﺍﻭﻝ ﺑﻪ‬‫ﻧﺪﻳﺪﻩﺍﻧﺪ‪ ،‬ﻣﺨﺎﺑﺮﻩ ﮐﻨﺪ‪ .41‬ﺯﺑﺎﻥ ﺻﺮﻓﺎ‬
‫ﻃﺮﻑ ﺩﻭﻡ‪ ،‬ﻳﻌﻨﻲ »ﮔﺬﺭ ﺍﺯ ﮐﺴﻲ ﮐﻪ ﺩﻳﺪﻩ ﺑﻪ ﮐﺴﻲ ﮐﻪ ﻧﺪﻳﺪﻩ«‪ ،‬ﻧﻴﺴﺖ؛ ﺑﻞ‬
‫ً ﺍﺯ ﻳﮏ ﻃﺮﻑ ﺩﻭﻡ ﺑﻪ ﻳﮏ ﻃﺮﻑ ﺳﻮﻡ‪ ،‬ﮐﻪ ﻫﻴﭻﻳﮏ ﭼﻴﺰﻱ ﺭﺍ ﻧﺪﻳﺪﻩ‬ ‫ﺿﺮﻭﺭﺗﺎ‬
‫ﺍﺳﺖ‪ ،‬ﮔﺬﺭ ﻣﻲﻛﻨﺪ‪ .‬ﺑﺪﻳﻦ ﻣﻌﻨﺎ ﺍﺳﺖ ﮐﻪ ﺯﺑﺎﻥ ﻣﺨﺎﺑﺮﻩﻱ ﮐﻠﻤﻪ ﺑﻪﻣﺜﺎﺑﻪﻱ‬
‫ﺩﺳﺘﻮﺭـﮐﻠﻤﻪ ﺍﺳﺖ‪ ،‬ﻭ ﻧﻪ ﺍﻧﺘﻘﺎﻝ ﻳﮏ ﻧﺸﺎﻧﻪ ﺑﻪﻣﺜﺎﺑﻪﻱ ﺍﻃﻼﻋﺎﺕ‪ .‬ﺯﺑﺎﻥ‬
‫ﻳﮏ ﻧﻘﺸﻪ ﺍﺳﺖ‪ ،‬ﻧﻪ ﻧﻮﻋﻲ ﺭﺩﮔﻴﺮﻱ‪ .‬ﺍﻣﺎ ﭼﮕﻮﻧﻪ ﺩﺳﺘﻮﺭـﮐﻠﻤﻪ ﻣﻲﺗﻮﺍﻧﺪ‬
‫ﮐﺎﺭﮐﺮﺩﻱ ﻫﻢﮔﺴﺘﺮﻩ ﺑﺎ ﺯﺑﺎﻥ ﺑﺎﺷﺪ‪ ،‬ﺁﻥ ﻫﻢ ﻭﻗﺘﻲ ﺩﺳﺘﻮﺭ ﻭ ﻓﺮﻣﺎﻥ‪،‬‬
‫ﺍﻧﮕﺎﺭ ﺑﻪ ﺳﻨﺨﻲ ﻣﺤﺪﻭﺩ ﺍﺯ ﺣﮑﻢ ﺻﺮﻳﺢ ﮔﺮﻩ ﻣﻲﺧﻮﺭﻧﺪ؛ ﻳﻌﻨﻲ ﺣﮑﻢ ﺻﺮﻳﺤﻲ‬
‫ﮐﻪ ﻣﺸﺨﺼﻪﺍﺵ ﺍﻣﺮ ﺍﻟﺰﺍﻡﺁﻭﺭ ﺍﺳﺖ؟‬

‫ً ﺁﺯﺍﺩ‬ ‫‪ .‬ﺩﻭ ﻧﻮﻳﺴﻨﺪﻩ ﺑﻪﻃﻮﺭ ﺧﺎﺹ ﺍﻫﻤﻴﺖ ﮔﻔﺘﻤﺎﻥ ﻏﻴﺮﻣﺴﺘﻘﻴﻢ‪ ،‬ﺑﻪﺧﺼﻮﺹ ﺑﻪ ﻓﺮﻡ‬
‫ِ ﺍﺻﻄﻼﺣﺎ‬
‫ِ ﻧﻈﺮﻳﻪﻱ ﺑﻴﺎﻥ ﺧﺎﻃﺮﻧﺸﺎﻥ ﮐﺮﺩﻩﺍﻧﺪ ﮐﻪ ﻭﺭﺍﻱ ﻣﻘﻮﻟﻪﻫﺎﻱ ﺳﻨﺘﻲ‬ ‫ﺁﻥ ﺭﺍ ﺍﺯ ﻧﻈﺮﮔﺎﻩ‬
‫ﺯﺑﺎﻥﺷﻨﺎﺧﺘﻲ ﻣﻲﺭﻭﺩ‪:‬‬
‫‪V. N. Volosinov (for Russian, German, and French), Marxism and the Philosophy of Language [attributed to Mikhail Bakhtin in the‬‬
‫‪French edition cited by the authors-TRANS], trans. Ladislav Matejka and I. R. Titunik. (Cambridge, Mass.: Harvard University Press,‬‬
‫‪1986), Part 3, "Toward a History of Forms and Utterance in Language Constructions," pp. 109-200; Pier Paolo Pasolini (for Italian),‬‬
‫‪Vexperience heretique (Paris: Payot, 1976), part 1.‬‬
‫ﻣﺎ ﺑﻪ ﭘﮋﻭﻫﺶ ﻣﻨﺘﺸﺮﻧﺸﺪﻩﻱ ﺯﻳﺮ ﻧﻴﺰ ﺭﺟﻮﻉ ﻣﻲﮐﻨﻴﻢ‪:‬‬
‫"‪J.-P. Bamberger, "Les formes du discours indirect dans le cinema, muet et parlant.‬‬
‫‪41. Emile Benveniste, Problems in General Linguistics, trans. Mary Elizabeth Meek (Coral Gables, Fla.: University of Miami‬‬
‫‪Press, 1971), p. 53:‬‬
‫»ﺑﺮﺍﻱ ﻣﺜﺎﻝ‪ ،‬ﻫﻴﭻ ﻧﺸﺎﻧﻪﺍﻱ ﻣﺒﻨﻲ ﺑﺮ ﺍﻳﻦ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ ﮐﻪ ﻳﮏ ﺯﻧﺒﻮﺭ ﺑﺎ ﭘﻴﺎﻣﻲ ﮐﻪ ﺩﺭ‬
‫ﮐﻨﺪﻭﻱ ﺧﻮﺩ ﺩﺭﻳﺎﻓﺖ ﮐﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﺑﻪ ﺳﻮﻱ ﮐﻨﺪﻭﻱ ﺩﻳﮕﺮﻱ ﻣﻲﺷﺘﺎﺑﺪ‪ .‬ﺍﻳﻦ ﮐﺎﺭ ﺑﻪ ﻧﻮﻋﻲ‬
‫ﻣﺨﺎﺑﺮﻩ ﻳﺎ ﺭﻟﻪ ﺭﺍﻩ ﻣﻲﺑﺮﺩ‪«.‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

‫ﺗﺰ ﻣﻌﺮﻭﻑ ﺁﺳﺘﻴﻦ ﺑﻪ ﺭﻭﺷﻨﻲ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ ﮐﻪ ﻣﻨﺎﺳﺒﺎﺕ ﻋﺮﺿﻲ ﻣﺘﻌﺪﺩ‬
‫ﺑﻴﻦ ﮐﻨﺶ ﻭ ﮔﻔﺘﺎﺭ‪ ،‬ﮐﻪ ﺑﻪﻭﺍﺳﻄﻪﻱ ﺁﻥﻫﺎ ﻳﮏ ﮔﺰﺍﺭﻩ ﻣﻲﺗﻮﺍﻧﺪ ﻳﮏ ﮐﻨﺶ ﺭﺍ‬
‫ﺑﻪ ﺷﻴﻮﻩﺍﻱ ﺍﺧﺒﺎﺭﻱ ﺗﻮﺻﻴﻒ‪ ،‬ﻳﺎ ﺁﻥ ﺭﺍ ﺑﻪ ﺷﻴﻮﻩﺍﻱ ﺍﻣﺮﻱ ﺗﻠﻘﻴﻦ ﮐﻨﺪ ﻳﺎ‬
‫ﺍﻟﺦ‪ ،‬ﻫﻤﻪﻱ ﺁﻥ ﭼﻴﺰﻱ ﻧﻴﺴﺖ ﮐﻪ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻋﻼﻭﻩ ﺑﺮ ﺁﻥﻫﺎ‪ ،‬ﻣﻨﺎﺳﺒﺎﺗﻲ‬
‫ﺫﺍﺗﻲ ﺑﻴﻦ ﮔﻔﺘﺎﺭ ﻭ ﻛﻨﺶﻫﺎﻳﻲ ﻣﻌﻴﻦ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﻛﻨﺶﻫﺎﻳﻲ ﮐﻪ ﺑﺎ ﮔﻔﺘﻦ‬
‫ﺁﻥﻫﺎ‪ 42‬ﺗﺤﻘﻖ ﻣﻲﻳﺎﺑﻨﺪ )ﺍﺟﺮﺍﻳﻲ‪ :43‬ﻣﻦ ﺑﺎ ﮔﻔﺘﻦِ »ﻗﺴﻢ ﻣﻲﺧﻮﺭﻡ« ﺍﺳﺖ ﮐﻪ‬
‫ﻗﺴﻢ ﻣﻲﺧﻮﺭﻡ(‪ ،‬ﻭ ﺑﻪﻃﻮﺭ ﮐﻠﻲﺗﺮ‪ ،‬ﺑﻴﻦ ﮔﻔﺘﺎﺭ ﻭ ﻛﻨﺶﻫﺎﻱ ﻣﻌﻴﻨﻲ ﮐﻪ ﺑﺎ‬
‫ﺳﺨﻦﮔﻔﺘﻦ ﺗﺤﻘﻖ ﻣﻲﻳﺎﺑﻨﺪ )ﻧﺎﻋﺒﺎﺭﺕﭘﺮﺩﺍﺯﺍﻧﻪ‪ :44‬ﺑﺎ ﮔﻔﺘﻦ »ﺁﻳﺎ‪...‬؟«‬
‫ﻳﮏ ﺳﺆﺍﻝ ﻣﻲﭘﺮﺳﻢ‪ ،‬ﺑﺎ ﮔﻔﺘﻦِ »ﺩﻭﺳﺘﺖ ﺩﺍﺭﻡ‪ «...‬ﻗﻮﻝ ﻣﻲﺩﻫﻢ؛ ﺑﺎ‬
‫ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺣﺎﻟﺖ ﺍﻣﺮﻱ ﻓﺮﻣﺎﻥ ﻣﻲﺩﻫﻢ؛ ﻭ ﺍﻟﺦ(‪ .‬ﺍﻳﻦ ﻋﻤﻞﻫﺎ ﺩﺭﻭﻧﻲ‬
‫ﮔﻔﺘﺎﺭ ﻫﺴﺘﻨﺪ‪ ،‬ﻭ ﺍﻳﻦ ﻣﻨﺎﺳﺒﺎﺕِ ﺩﺭﻭﻧﻤﺎﻧﺪﮔﺎﺭ ﺑﻴﻦ ﮔﺰﺍﺭﻩﻫﺎ ﻭ ﻋﻤﻞﻫﺎ‬
‫ﺭﺍ ﭘﻴﺶﻓﺮﺽﻫﺎﻱ ﺗﻠﻮﻳﺤﻲ ﻳﺎ ﻏﻴﺮﮔﻔﺘﻤﺎﻧﻲ ﻧﺎﻡﮔﺬﺍﺭﻱ ﮐﺮﺩﻩﺍﻧﺪ؛ ﺁﻥ ﻫﻢ ﺩﺭ‬
‫ﺗﻘﺎﺑﻞ ﺑﺎ ﭘﻨﺪﺍﺷﺖﻫﺎﻱ‪ 45‬ﺑﺎﻟﻘﻮﻩ ﺻﺮﻳﺢ ﮐﻪ ﻳﮏ ﮔﺰﺍﺭﻩ ﺑﺎ ﺁﻥﻫﺎ ﺑﻪ ﺩﻳﮕﺮ‬
‫ﮔﺰﺍﺭﻩﻫﺎ ﻳﺎ ﻳﮏ ﮐﻨﺶ ﺧﺎﺭﺟﻲ ﺍﺭﺟﺎﻉ ﻣﻲﺩﻫﺪ )ﺩﻭﮐﺮﻭ(‪ .‬ﻧﻈﺮﻳﻪﻱ ﺣﻴﻄﻪﻱ‬
‫ﺍﺟﺮﺍﻳﻲ ﻭ ﺣﻴﻄﻪﻱ ﻭﺳﻴﻊﺗﺮ ﻧﺎﻋﺒﺎﺭﺕﭘﺮﺩﺍﺯﺍﻧﻪ‪ ،‬ﺳﻪ ﭘﻴﺎﻣﺪ ﻣﻬﻢ ﻭ‬
‫ﺑﻲﻭﺍﺳﻄﻪ ﺩﺭ ﺑﺮﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ .1 :‬ﻓﻬﻢ ﺯﺑﺎﻥ ﺑﻪﻣﺜﺎﺑﻪﻱ ﻳﮏ ﮐﺪ ﺭﺍ ﻧﺎﻣﻤﮑﻦ‬
‫ِ ﺍﻣﮑﺎﻥِ ﻫﻤﻪﻱ ﺗﻮﺟﻴﻬﺎﺕ ﺍﺳﺖ‪ .‬ﻫﻤﭽﻨﻴﻦ ﻓﻬﻢ‬
‫ِ‬ ‫ﺳﺎﺧﺘﻪ ﺍﺳﺖ‪ ،‬ﺯﻳﺮﺍ ﮐﺪ ﺷﺮﻁ‬
‫ﮔﻔﺘﺎﺭ ﺑﻪﻣﺜﺎﺑﻪﻱ ﺍﻧﺘﻘﺎﻝ ﺍﻃﻼﻋﺎﺕ ﺭﺍ ﻧﺎﻣﻤﮑﻦ ﺳﺎﺧﺘﻪ ﺍﺳﺖ‪ :‬ﺩﺳﺘﻮﺭﺩﺍﺩﻥ‪،‬‬
‫ﭘﺮﺳﻴﺪﻥ‪ ،‬ﻗﻮﻝﺩﺍﺩﻥ‪ ،‬ﻳﺎ ﺗﺄﻳﻴﺪ ﮐﺮﺩﻥ ﺑﻪ ﻣﻌﻨﺎﻱ ﻣﻄﻠﻊﺳﺎﺧﺘﻦ ﮐﺴﻲ‬
‫ﺩﺭﺑﺎﺭﻩﻱ ﻳﮏ ﻓﺮﻣﺎﻥ‪ ،‬ﺷﮏ‪ ،‬ﺍﻟﺘﺰﺍﻡ ﻳﺎ ﺣﮑﻢ ﻧﻴﺴﺖ‪ ،‬ﺑﻞ ﺑﻪ ﻣﻌﻨﺎﻱ‬
‫ً ﺗﻠﻮﻳﺤﻲ ﺍﺳﺖ‪.‬‬‫ﺍﻧﺠﺎﻡﺩﺍﺩﻥِ ﺍﻳﻦ ﻋﻤﻞﻫﺎﻱ ﺧﺎﺹ‪ ،‬ﺩﺭﻭﻧﻤﺎﻧﺪﮔﺎﺭ ﻭ ﺿﺮﻭﺭﺗﺎ‬
‫‪ .2‬ﺗﻌﺮﻳﻒِ ﻣﻌﻨﺎﺷﻨﺎﺳﻲ‪ ،‬ﻋﻠﻢ ﺻﺮﻑ ﻭ ﻧﺤﻮ‪ ،‬ﻳﺎ ﺣﺘﻲ ﻭﺍﺝﺷﻨﺎﺳﻲ ﺭﺍ ﺑﻪ‬
‫ﻣﻨﺰﻟﻪﻱ ﺣﻴﻄﻪﻫﺎﻱ ﻋﻠﻤﻲ ﺯﺑﺎﻥ ﻭ ﻣﺴﺘﻘﻞ ﺍﺯ ﮐﺎﺭﺑﺮﺩﺷﻨﺎﺳﻲ ﻧﺎﻣﻤﮑﻦ ﺳﺎﺧﺘﻪ‬
‫ﺍﺳﺖ‪ .‬ﮐﺎﺭﺑﺮﺩﺷﻨﺎﺳﻲ ﺩﻳﮕﺮ ﻳﮏ »ﮐﭙﻪ ﺯﺑﺎﻟﻪ« ﻧﻴﺴﺖ‪ ،‬ﺗﻌﻴﻦﻫﺎﻱ‬
‫ِ ﺧﻮﺩ ﻧﻴﺴﺘﻨﺪ‪ :‬ﺍﻳﻦﻛﻪ ﻳﺎ‬ ‫ﮐﺎﺭﺑﺮﺩﺷﻨﺎﺧﺘﻲ ﺩﻳﮕﺮ ﻣﻘﻴﺪ ﺑﻪ ﺁﻟﺘﺮﻧﺎﺗﻴﻮ‬
‫ﺑﻴﺮﻭﻥ ﺯﺑﺎﻥ ﻗﺮﺍﺭ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻲ ﻳﺎ ﺷﺮﻭﻁ ﻣﺸﺨﺼﻲ ﺭﺍ ﺑﺮﺁﻭﺭﺩﻩ ﺳﺎﺯﻱ ﮐﻪ‬
‫ﺗﻌﻴﻦﻫﺎﻱ ﮐﺎﺭﺑﺮﺩﺷﻨﺎﺧﺘﻲ ﺭﺍ ﻧﺤﻮﺷﻨﺎﺧﺘﻲ ﻭ ﻧﺸﺎﻧﻪﺷﻨﺎﺧﺘﻲ ﻣﻲﻛﻨﺪ‪ .‬ﺩﺭ‬
‫ﻋﻮﺽ‪ ،‬ﮐﺎﺭﺑﺮﺩﺷﻨﺎﺳﻲ ﺑﻪ ﭘﻴﺶﻓﺮﺽﻫﺎﻱ ﻗﺮﺍﺭﮔﺮﻓﺘﻪ ﺩﺭ ﭘﺲِ ﻫﻤﻪﻱ ﺩﻳﮕﺮ‬
‫ﺍﺑﻌﺎﺩ ﺑﺪﻝ ﻣﻲﺷﻮﺩ ﻭ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻫﻤﻪ ﭼﻴﺰ ﺩﺍﺧﻞ ﻣﻲﻛﻨﺪ‪ .3 .‬ﺣﻔﻆ‬
‫ِ ﺗﻤﺎﻳﺰ‬
‫ﺑﻴﻦ ﻻﻧﮓ ﻭ ﭘﺎﺭﻭﻝ ﺭﺍ ﻧﺎﻣﻤﮑﻦ ﻣﻲﻛﻨﺪ ﺯﻳﺮﺍ ﭘﺎﺭﻭﻝ ﺩﻳﮕﺮ ﻧﻤﻲﺗﻮﺍﻧﺪ‬
‫ً ﺍﺳﺘﻔﺎﺩﻩﻱ ﻋﺮﺿﻲ ﻭ ﻓﺮﺩﻱ ﻧﻮﻋﻲ ﺩﻻﻟﺖ ﺁﻏﺎﺯﻳﻦ ﻳﺎ ﮐﺎﺭﺑﺮﺩ‬
‫ِ ﻣﺘﻐﻴﺮ‬ ‫ﺻﺮﻓﺎ‬
‫ِ ﺍﺯ ﭘﻴﺶ ﻣﻮﺟﻮﺩ ]ﻳﻌﻨﻲ ﻫﻤﺎﻥ ﻻﻧﮓ[ ﺗﻌﺮﻳﻒ ﺷﻮﺩ‪ .‬ﺩﺭﺳﺖ ﺑﺮ ﻋﮑﺲ‪،‬‬ ‫ﻧﺤﻮ‬
‫ِ ﺯﺑﺎﻥ ﺭﺍ ﺩﻳﮕﺮ ﻧﻤﻲﺗﻮﺍﻥ ﻣﺴﺘﻘﻞ ﺍﺯ ﻛﻨﺶﻫﺎﻱ ﭘﺎﺭﻭﻝ‬ ‫ﻣﻌﻨﺎ ﻭ ﻧﺤﻮ‬

‫‪42. sayingthem‬‬
‫‪43. The performative‬‬
‫‪44. the illocutionary‬‬
‫‪45. assumption‬‬

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 ‫)ﻛﻨﺶﻫﺎﻱ ﮔﻔﺘﺎﺭﻱ( ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺖ؛ ﻛﻨﺶﻫﺎﻳﻲ ﮐﻪ ﺗﻮﺳﻂ ﻣﻌﻨﺎ ﻭ ﻧﺤﻮ ﺍﺯ‬
‫ﭘﻴﺶ ﻓﺮﺽ ﮔﺮﻓﺘﻪ ﻣﻲﺷﻮﻧﺪ‪.46‬‬
‫ﺑﻪ ﺭﺍﺳﺘﻲ ﺩﺭﻳﺎﻓﺘﻦ ﺍﻳﻦ ﻣﺴﺄﻟﻪ ﺩﺷﻮﺍﺭ ﺍﺳﺖ ﮐﻪ ﭼﮕﻮﻧﻪ ﻛﻨﺶﻫﺎﻱ‬
‫ﮔﻔﺘﺎﺭﻱ ﻳﺎ ﭘﻴﺶﻓﺮﺽﻫﺎﻱ ﺗﻠﻮﻳﺤﻲ ﺭﺍ ﻣﻲﺗﻮﺍﻥ ﮐﺎﺭﮐﺮﺩﻱ ﻫﻢﮔﺴﺘﺮﻩ ﺑﺎ ﺯﺑﺎﻥ‬
‫ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺖ‪ .‬ﻭ ﺍﺯ ﺁﻥ ﻫﻢ ﺩﺷﻮﺍﺭﺗﺮ ﺯﻣﺎﻧﻲ ﺍﺳﺖ ﮐﻪ ﺍﺯ ﺍﻣﺮ ﺍﺟﺮﺍﻳﻲ‬
‫ﺁﻏﺎﺯ ﮐﻨﻲ )ﻫﻤﺎﻥ ﮐﻪ ﻓﺮﺩ ﺑﺎ ﮔﻔﺘﻦﺍﺵ ﺍﻧﺠﺎﻡ ﻣﻲﺩﻫﺪ( ﻭ ﺑﺎ ﺑﺴﻂ ﺁﻥ ﺑﻪ‬
‫ﺍﻣﺮ ﻏﻴﺮﻋﺒﺎﺭﺕﭘﺮﺩﺍﺯﺍﻧﻪ ﺑﺮﺳﻲ )ﻫﻤﺎﻥ ﮐﻪ ﻓﺮﺩ ﺩﺭ ﺳﺨﻦﮔﻔﺘﻦ ﺍﻧﺠﺎﻡ‬
‫ﻣﻲﺩﻫﺪ(‪ .‬ﺯﻳﺮﺍ ﻫﻤﻴﺸﻪ ﻣﻲﺗﻮﺍﻥ ﺍﻳﻦ ﺣﺮﮐﺖ ﺭﺍ ﻋﻘﻴﻢ ﮔﺬﺍﺷﺖ‪ .‬ﺗﻮﺿﻴﺢﺩﺍﺩﻥ‬
‫ﺍﻣﺮ ﺍﺟﺮﺍﻳﻲ ﺗﻮﺳﻂ ﻣﺸﺨﺼﻪﻫﺎﻱ ﻧﺤﻮﺷﻨﺎﺧﺘﻲ ﻭ ﻣﻌﻨﺎﺷﻨﺎﺧﺘﻲ ﻣﻲﺗﻮﺍﻧﺪ ﻣﻮﺟﺐ‬
‫ﻣﺤﺼﻮﺭﺷﺪﻥ ﺍﻣﺮ ﺍﺟﺮﺍﻳﻲ ﺷﻮﺩ؛ ﻣﺸﺨﺼﻪﻫﺎﻳﻲ ﮐﻪ ﺍﺯ ﻫﺮﮔﻮﻧﻪ ﺗﻮﺳﻞ ﺑﻪ ﻧﻮﻋﻲ‬
‫ﮐﺎﺭﺑﺮﺩﺷﻨﺎﺳﻲ ﻋﻤﻮﻣﻴﺖﻳﺎﻓﺘﻪ ﺍﺣﺘﺮﺍﺯ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺑﺮﺍﻱ ﻣﺜﺎﻝ‪ ،‬ﺑﻪ ﺯﻋﻢ‬
‫ﺑﻨﻮﻧﻴﺴﺘﻪ ﺍﻣﺮ ﺍﺟﺮﺍﻳﻲ ﻧﻪ ﺑﻪ ﻋﻤﻞﻫﺎ‪ ،‬ﺑﻠﮑﻪ ﺩﺭ ﻋﻮﺽ ﺑﻪ ﻧﻮﻋﻲ ﺧﺎﺻﻴﺖِ‬
‫ﺧﻮﺩﺍﺭﺟﺎﻉﮔﺮﻱ ﺍﻟﻔﺎﻅ )ﺿﻤﺎﻳﺮ ﺷﺨﺼﻲ ﺣﻘﻴﻘﻲ‪ ،‬ﻣﻦ‪ ،‬ﺗﻮ‪ ،... ،‬ﮐﻪ ﺑﻪﻋﻨﻮﺍﻥ‬
‫ﺗﻌﻮﻳﺾﮐﻨﻨﺪﻩ‪ 47‬ﺗﻌﺮﻳﻒ ﻣﻲﺷﻮﻧﺪ( ﻣﺮﺑﻮﻁ ﻣﻲﺷﻮﺩ‪ .‬ﺑﻪ ﺍﻳﻦ ﺍﻋﺘﺒﺎﺭ‪ ،‬ﻧﻮﻋﻲ‬
‫ﺳﺎﺧﺘﺎﺭ ﺍﺯ ﭘﻴﺶ ﻣﻮﺟﻮﺩ ﺳﻮﺑﮋﮐﺘﻴﻮﻳﺘﻪ‪ ،‬ﻳﺎ ﺑﻴﻨﺎﺳﻮﺑﮋﮐﺘﻴﻮﻳﺘﻪ‪ ،‬ﺩﺭ ﺯﺑﺎﻥ‬
‫ﺑﺴﻨﺪﻩ ﺍﺳﺖ ﺗﺎ ﻛﻨﺶﻫﺎﻱ ﮔﻔﺘﺎﺭﻱ ﺭﺍ ﺷﺮﺡ ﺩﻫﺪ‪ ،‬ﺑﻪ ﺟﺎﻱ ﺁﻥﻛﻪ ﺁﻥﻫﺎ ﺭﺍ‬
‫ﭘﻴﺶﻓﺮﺽ ﺑﮕﻴﺮﺩ‪ .48‬ﭘﺲ ﺑﻨﻮﻧﻴﺴﺘﻪ ﺯﺑﺎﻥ ﺭﺍ ﺍﺭﺗﺒﺎﻃﺎﺗﻲ ﻭ ﻧﻪ ﺍﻃﻼﻋﺎﺗﻲ‬
‫ﺗﻌﺮﻳﻒ ﻣﻲﻛﻨﺪ؛ ﺍﻳﻦ ﺑﻴﻨﺎﺳﻮﺑﮋﮐﺘﻴﻮﻳﺘﻪ ﻳﺎ ﺳﻮﺑﮋﮐﺘﻴﻮﻳﺘﻪﻱ ﺑﻪ ﺭﺍﺳﺘﻲ‬
‫ﺯﺑﺎﻧﻲ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﺗﻮﺿﻴﺢ ﻣﻲﺩﻫﺪ‪ ،‬ﺑﻪ ﺑﻴﺎﻥ ﺩﻳﮕﺮ‪ ،‬ﻫﻤﻪﻱ ﺁﻥ ﭼﻴﺰﻫﺎﻳﻲ‬
‫ﺭﺍ ﺷﺮﺡ ﻣﻲﺩﻫﺪ ﮐﻪ ﺑﺎ ﮔﻔﺘﻪﺷﺪﻥ ﭘﺎ ﺑﻪ ﻫﺴﺘﻲ ﻣﻲﮔﺬﺍﺭﺩ‪ .‬ﺳﺆﺍﻝ ﺍﻳﻦ ﺍﺳﺖ‬
‫ﮐﻪ ﺁﻳﺎ ﺍﺭﺗﺒﺎﻃﺎﺕ ﺳﻮﺑﮋﮐﺘﻴﻮ ﻧﺴﺒﺖ ﺑﻪ ﺍﻃﻼﻋﺎﺕ ﺍﻳﺪﻩﺁﻝ ﺍﻧﮕﺎﺭﻩﻱ ﺯﺑﺎﻧﻲ‬
‫ﺑﻬﺘﺮﻱ ﺍﺳﺖ؟ ﺍﺳﻮﺍﻟﺪ ﺩﻭﮐﺮﻭ ﺩﻻﻳﻠﻲ ﺍﺭﺍﺋﻪ ﺩﺍﺩﻩ ﺍﺳﺖ ﮐﻪ ﺑﺎﻋﺚ ﺷﺪ ﻃﺮﺡ‬
‫ﺑﻨﻮﻳﻨﺴﺘﻪ ﺭﺍ ﻭﺍژﮔﻮﻥ ﺳﺎﺯﺩ‪ :‬ﭘﺪﻳﺪﻩﻱ ﺧﻮﺩﺍﺭﺟﺎﻉﮔﺮﻱ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺍﻣﺮ‬
‫ﺍﺭﺟﺎﻋﻲ ﺭﺍ ﺷﺮﺡ ﺩﻫﺪ‪ .‬ﻗﻀﻴﻪ ﻋﮑﺲ ﺍﻳﻦ ﺍﺳﺖ؛ »ﻭﺍﻗﻌﻴﺖ ﺍﻳﻦ ﺍﺳﺖ ﮐﻪ‬
‫ﮔﺰﺍﺭﻩﻫﺎﻱ ﻣﺸﺨﺺ ﺑﻪ ﻟﺤﺎﻅ ﺍﺟﺘﻤﺎﻋﻲ ﮐﺎﻣﻼً ﺩﺭ ﺧﺪﻣﺖ ﺗﺤﻘﻖ ﺍﻋﻤﺎﻝ ﻣﺸﺨﺼﻲ‬
‫ﻗﺮﺍﺭ ﺩﺍﺭﻧﺪ« ﮐﻪ ﺧﻮﺩﺍﺭﺟﺎﻉﮔﺮﻱ ﺭﺍ ﺗﻮﺿﻴﺢ ﻣﻲﺩﻫﺪ‪ .‬ﺍﻣﺮ ﺍﺟﺮﺍﻳﻲ ﺧﻮﺩ‬
‫ﺗﻮﺳﻂ ﺍﻣﺮ ﻧﺎﻋﺒﺎﺭﺕﭘﺮﺩﺍﺯﺍﻧﻪ ﺗﻮﺿﻴﺢ ﺩﺍﺩﻩ ﻣﻲﺷﻮﺩ ﻭ ﻧﻪ ﺑﺮﻋﮑﺲ؛ ﺍﻳﻦ‬
‫ﺍﻣﺮ ﻧﺎﻋﺒﺎﺭﺕﭘﺮﺩﺍﺯﺍﻧﻪ ﺍﺳﺖ ﮐﻪ ﺑﻪﻧﻮﺑﻪﻱﺧﻮﺩ ﭘﻴﺶﻓﺮﺽﻫﺎﻱ ﺗﻠﻮﻳﺤﻲ ﻳﺎ‬

‫‪ .‬ﻭﻳﻠﻴﺎﻡ ﻻﺑﻮﻑ ﺑﻪﻭﺿﻮﺡ ﺗﻀﺎﺩ ﻳﺎ ﺩﺳﺖﮐﻢ ﭘﺎﺭﺍﺩﻭﮐﺴﻲ ﺭﺍ ﮐﻪ ﺗﻤﺎﻳﺰ ﺑﻴﻦ ﻻﻧﮓ ﻭ ﭘﺎﺭﻭﻝ‬
‫ﻣﻲﺳﺎﺯﺩ‪ ،‬ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺍﺳﺖ‪ :‬ﻻﻧﮓ ﺑﻪﻣﺜﺎﺑﻪﻱ »ﺑﺨﺶ ﺍﺟﺘﻤﺎﻋﻲ« ﺯﺑﺎﻥ ﺗﻌﺮﻳﻒ ﻣﻲﺷﻮﺩ ﻭ ﭘﺎﺭﻭﻝ‬
‫ﺑﻪ ﻭﺍﺭﻳﺎﺳﻴﻮﻥﻫﺎﻱ ﻓﺮﺩﻱ ﻧﺴﺒﺖ ﺩﺍﺩﻩ ﻣﻲﺷﻮﺩ؛ ﺍﻣﺎ ﺍﺯ ﺁﻥﺟﺎ ﮐﻪ ﺑﺨﺶ ﺍﺟﺘﻤﺎﻋﻲ ﺩﺭ ﺧﻮﺩ‬
‫ً ﻧﺘﻴﺠﻪ ﺧﻮﺍﻫﻴﻢ ﮔﺮﻓﺖ ﮐﻪ ﻓﺮﺩ ﻳﮑﻪ ﺑﺮﺍﻱ ﻧﺸﺎﻥﺩﺍﺩﻥ ﺍﺻﻮﻝ ﻻﻧﮓ ﺑﺪﻭﻥ‬
‫ﺗﻤﺎﻡ ﻣﻲﺷﻮﺩ‪ ،‬ﺿﺮﻭﺭﺗﺎ‬
‫ﻫﻴﮓ ﺍﺭﺟﺎﻋﻲ ﺑﻪ ﺩﺍﺩﻩﻫﺎﻱ ﺧﺎﺭﺟﻲ ﺑﺴﻨﺪﻩ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ ،‬ﺩﺭﺣﺎﻟﻲﮐﻪ ﭘﺎﺭﻭﻝ ﺗﻨﻬﺎ ﻣﻲﺗﻮﺍﻧﺪ ﺩﺭ‬
‫ﺑﺴﺘﺮﻱ ﺍﺟﺘﻤﺎﻋﻲ ﻣﻄﺎﻟﻌﻪ ﺷﻮﺩ‪ .‬ﻫﻤﻴﻦ ﭘﺎﺭﺍﺩﻭﮐﺲ ﺍﺯ ﺳﻮﺳﻮﺭ ﮔﺮﻓﺘﻪ ﺗﺎ ﭼﺎﻣﺴﮑﻲ ﺗﮑﺮﺍﺭ‬
‫ﻣﻲﺷﻮﺩ‪» :‬ﺳﻮﻳﻪﻱ ﺍﺟﺘﻤﺎﻋﻲ ﺯﺑﺎﻥ ﺑﺎ ﻣﺸﺎﻫﺪﻩﻱ ﻫﺮ ﻓﺮﺩﻱ ﻣﻮﺭﺩ ﻣﻄﺎﻟﻌﻪ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﺩ‪ ،‬ﺍﻣﺎ‬
‫ﺳﻮﻳﻪﻱ ﻓﺮﺩﻱ ﺗﻨﻬﺎ ﺑﺎ ﻣﺸﺎﻫﺪﻩﻱ ﺯﺑﺎﻥ ﺩﺭ ﺑﺴﺘﺮ ﺍﺟﺘﻤﺎﻋﻲ ﻗﺎﺑﻞ ﺑﺮﺭﺳﻲ ﺍﺳﺖ‪ «.‬ﺭ‪.‬ک‪:‬‬
‫‪Labov, Sociolinguistic Patterns (Philadelphia: University of Pennsylvania Press, 1972), p. 186.‬‬
‫‪47. shifter‬‬
‫‪48. Benveniste, Problems in General Linguistics, part 4 ("Man and Language"); on the elimination of the illocutionary, see pp. 237-238.‬‬

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‫ﻏﻴﺮﮔﻔﺘﻤﺎﻧﻲ ﺭﺍ ﺑﺮﻣﻲﺳﺎﺯﺩ‪ .‬ﻭ ﺍﻣﺮ ﻧﺎﻋﺒﺎﺭﺕﭘﺮﺩﺍﺯﺍﻧﻪ ﺩﺭ ﻋﻮﺽ ﺗﻮﺳﻂ‬
‫ﺳﺮﻫﻢﺑﻨﺪﻱﻫﺎﻱ ﺟﻤﻌﻲ ﺑﻴﺎﻥ‪ ،‬ﻛﻨﺶﻫﺎﻱ ﻗﻀﺎﻳﻲ‪ ،‬ﻳﺎ ﻛﻨﺶﻫﺎﻳﻲ ﻫﻢﺍﺭﺯ ﺑﺎ‬
‫ﻛﻨﺶﻫﺎﻱ ﻗﻀﺎﻳﻲ ﺗﻮﺿﻴﺢ ﺩﺍﺩﻩ ﻣﻲﺷﻮﺩ؛ ﻛﻨﺶﻫﺎﻳﻲ ﮐﻪ ﺑﺮ ﺭﻭﻧﺪﻫﺎﻱ‬
‫ﺳﻮﺑﮋﮐﺘﻴﻮﺳﺎﺯﻱ ﻳﺎ ﻧﺸﺎﻧﺪﻥ ﺳﻮژﻩﻫﺎ ﺩﺭ ﺯﺑﺎﻥ ﻭﺍﺑﺴﺘﻪ ﻧﻴﺴﺖ ﻭ ﺩﺭ ﻭﺍﻗﻊ‬
‫ﺗﻮﺯﻳﻊ ﺁﻥﻫﺎ ﺭﺍ ﻫﻢ ﻣﻌﻴﻦ ﻣﻲﻛﻨﺪ‪ .‬ﺍﺭﺗﺒﺎﻃﺎﺕ ﺩﻳﮕﺮ ﻣﻔﻬﻮﻡ ﺑﻬﺘﺮﻱ ﺍﺯ‬
‫ﺳﺮﻫﻢﺑﻨﺪﻱﻫﺎﻱ‬ ‫ﺷﺮﺡ‬ ‫ﺩﺭ‬ ‫ﺑﻴﻨﺎﺳﻮﺑﮋﮐﺘﻴﻮﻳﺘﻪ‬ ‫ﻧﻴﺴﺖ؛‬ ‫ﺍﻃﻼﻋﺎﺕ‬
‫ﻧﻴﺴﺖ؛‬ ‫ﭘﻴﺶﺑﺮﻧﺪﻩ‬ ‫ﺩﻻﻟﺘﻲ‬ ‫ﻇﺮﻓﻴﺖ‬ ‫ﺍﺯ‬ ‫ﺑﻴﺶ‬ ‫»ﻛﻨﺶﻫﺎـﮔﺰﺍﺭﻩﻫﺎ«‬
‫ﺳﺮﻫﻢﺑﻨﺪﻱﻫﺎﻳﻲ ﮐﻪ ﺩﺭ ﻫﺮ ﺯﺑﺎﻥ ﻧﻘﺶ ﻭ ﺩﺍﻣﻨﻪﻱ ﻭﺍژک ﻫﺎﻱ ﺳﻮﺑﮋﮐﺘﻴﻮ‬
‫‪49‬‬

‫ﺭﺍ ﺗﺤﺪﻳﺪ ﻣﻲﻛﻨﺪ‪) .50‬ﺧﻮﺍﻫﻴﻢ ﺩﻳﺪ ﮐﻪ ﺗﺤﻠﻴﻞ ﮔﻔﺘﻤﺎﻥ ﻏﻴﺮﻣﺴﺘﻘﻴﻢ ﺍﻳﻦ‬

‫ﻧﻘﻄﻪﻧﻈﺮ ﺭﺍ ﺗﺄﻳﻴﺪ ﻭ ﺗﺼﺪﻳﻖ ﻣﻲﻛﻨﺪ‪ ،‬ﺯﻳﺮﺍ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ ﮐﻪ‬
‫ﺳﻮﺑﮋﮐﺘﻴﻮﺳﺎﺯﻱﻫﺎ ﺍﻭﻟﻴﻪ ﻧﻴﺴﺘﻨﺪ‪ ،‬ﺑﻞ ﺍﺯ ﻧﻮﻋﻲ ﺳﺮﻫﻢﺑﻨﺪﻱ ﭘﻴﭽﻴﺪﻩ ﻧﺸﺎﺕ‬
‫ﻣﻲﮔﻴﺮﻧﺪ‪(.‬‬
‫ﻣﺎ ﺩﺳﺘﻮﺭـ ﮐﻠﻤﻪﻫﺎ ﺭﺍ ﻧﻪ ﻳﮏ ﺩﺳﺘﻪﻱ ﻣﺸﺨﺺ ﻭ ﺟﺰﺋﻲ ﺍﺯ ﮔﺰﺍﺭﻩﻫﺎﻱ‬
‫ﺻﺮﻳﺢ )ﻣﺜﻼً ﮔﺰﺍﺭﻩﻱ ﺍﻣﺮﻱ( ﺑﻠﮑﻪ ﻧﺴﺒﺖ ﻫﺮ ﮐﻠﻤﻪ ﻭ ﻫﺮ ﮔﺰﺍﺭﻩ ﺑﻪ‬
‫ﭘﻴﺶﻓﺮﺽﻫﺎﻱ ﺗﻠﻮﻳﺤﻲ ﻣﻲﺩﺍﻧﻴﻢ؛ ﻳﺎ ﺑﻪ ﺑﻴﺎﻥ ﺩﻳﮕﺮ‪ ،‬ﻧﺴﺒﺖ ﻫﺮ ﮐﻠﻤﻪ ﻳﺎ‬
‫ﻫﺮ ﮔﺰﺍﺭﻩ ﺑﻪ ﻛﻨﺶﻫﺎﻱ ﮔﻔﺘﺎﺭﻱ ﮐﻪ ﻓﻘﻂ ﺩﺭ ﮔﺰﺍﺭﻩ ﺗﺤﻘﻖ ﻣﻲﻳﺎﺑﻨﺪ ﻭ‬
‫ﻣﻲﺗﻮﺍﻧﻨﺪ ﺗﺤﻘﻖ ﻳﺎﺑﻨﺪ‪ .‬ﺩﺳﺘﻮﺭ ـ ﮐﻠﻤﻪﻫﺎ ﻓﻘﻂ ﺑﻪ ﻓﺮﻣﺎﻥﻫﺎ ﺭﺑﻂ‬
‫ﻧﺪﺍﺭﻧﺪ‪ ،‬ﺑﻞ ﺑﺎ ﻫﻤﻪﻱ ﻛﻨﺶﻫﺎﻳﻲ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﻫﺴﺘﻨﺪ ﮐﻪ ﺑﺎ ﮔﺰﺍﺭﻩﻫﺎ‪ ،‬ﺍﺯ‬
‫ﺧﻼﻝ ﻧﻮﻋﻲ »ﺍﺟﺒﺎﺭ ﺍﺟﺘﻤﺎﻋﻲ« ﺩﺭ ﭘﻴﻮﻧﺪ ﺑﺎﺷﻨﺪ‪ .‬ﻫﺮ ﮔﺰﺍﺭﻩﺍﻱ ﺍﻳﻦ‬
‫ﭘﻴﻮﻧﺪ ﺭﺍ‪ ،‬ﻣﺴﺘﻘﻴﻢ ﻳﺎ ﻏﻴﺮﻣﺴﺘﻘﻴﻢ‪ ،‬ﺑﻪ ﻧﻤﺎﻳﺶ ﻣﻲﮔﺬﺍﺭﺩ‪ .‬ﺳﺆﺍﻝﻫﺎ ﻭ‬
‫ﻭﻋﺪﻩﻫﺎ ﻫﻤﺎﻥ ﺩﺳﺘﻮﺭ ـ ﮐﻠﻤﻪﻫﺎ ﻫﺴﺘﻨﺪ‪ .‬ﺗﻨﻬﺎ ﺗﻌﺮﻳﻒ ﻣﻤﮑﻦ ﺍﺯ ﺯﺑﺎﻥ‬
‫ﻣﺠﻤﻮﻋﻪﻱ ﻫﻤﻪﻱ ﺩﺳﺘﻮﺭ ـ ﮐﻠﻤﻪﻫﺎ‪ ،‬ﭘﻴﺶﻓﺮﺽﻫﺎﻱ ﺿﻤﻨﻲ ﻳﺎ ﻛﻨﺶﻫﺎﻱ ﮔﻔﺘﺎﺭﻱ‬
‫ﺍﺳﺖ ﮐﻪ ﺩﺭ ﻳﮏ ﺯﺑﺎﻥ ﺩﺭ ﻟﺤﻈﻪﺍﻱ ﺩﺍﺩﻩﺷﺪﻩ ﺟﺎﺭﻱﺍﻧﺪ‪.‬‬
‫ﻧﺴﺒﺖ ﺑﻴﻦ ﺟﻤﻠﻪ ﻭ ﮐﻨﺶ ﺩﺭﻭﻧﻲ ﻭ ﺩﺭﻭﻧﻤﺎﻧﺪﮔﺎﺭ ﺍﺳﺖ ﺍﻣﺎ ﺍﺯ ﺟﻨﺲ‬
‫ﺍﻳﻦﻫﻤﺎﻧﻲ ﻧﻴﺴﺖ‪ .‬ﺑﺮ ﻋﮑﺲ‪ ،‬ﺑﺎ ﻧﺴﺒﺖ ﺣﺸﻮ ﻃﺮﻓﻴﻢ‪ .‬ﺧﻮﺩ ﮐﻠﻤﻪ ـ ﺩﺳﺘﻮﺭ‬
‫ِ ﮐﻨﺶ ﻭ ﺟﻤﻠﻪ ﺍﺳﺖ‪ .‬ﺭﻭﺯﻧﺎﻣﻪﻫﺎ ﻭ ﺍﺧﺒﺎﺭ ﺑﺎ ﺣﺸﻮ ﭘﻴﺶ ﻣﻲﺭﻭﻧﺪ ﻭ‬ ‫ﺣﺸﻮ‬
‫ﺑﺪﻳﻦﺗﺮﺗﻴﺐ ﺑﻪ ﻣﺎ ﻣﻲﮔﻮﻳﻨﺪ ﮐﻪ »ﺑﺎﻳﺪ« ﺑﻪ ﭼﻪ ﭼﻴﺰﻱ ﺑﻴﻨﺪﻳﺸﻴﻢ‪ ،‬ﭼﻪ‬
‫ﭼﻴﺰﻱ ﺭﺍ ﺣﻔﻆ ﮐﻨﻴﻢ‪ ،‬ﺍﻧﺘﻈﺎﺭ ﭼﻪ ﭼﻴﺰﻱ ﺭﺍ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﻢ ﻭ ﺍﻟﺦ‪ .‬ﺯﺑﺎﻥ‬
‫ﻧﻪ ﺍﻃﻼﻋﺎﺗﻲ ﺍﺳﺖ ﻭ ﻧﻪ ﺍﺭﺗﺒﺎﻃﺎﺗﻲ‪/‬ﺍﻧﺘﻘﺎﻟﻲ‪ .‬ﺯﺑﺎﻥ ﻧﻪ ﺍﻧﺘﻘﺎﻝ ﺍﻃﻼﻋﺎﺕ‬
‫ﮐﻪ ﭼﻴﺰﻱ ﺑﻪ ﮐﻞ ﻣﺘﻔﺎﻭﺕ ﺍﺳﺖ‪ :‬ﺯﺑﺎﻥ ﻣﺨﺎﺑﺮﻩﻱ ﺩﺳﺘﻮﺭ ـ ﮐﻠﻤﻪﻫﺎ‪ ،‬ﺧﻮﺍﻩ‬

‫‪49. morphem‬‬
‫‪50. Oswald Ducrot, Dire et nepas dire (Paris: Hermann, 1972), pp. 70-80, and "De Saussure a la philosophie du langage," preface‬‬
‫‪to the French translation of S. R. Searle's Speech Acts, Actes de langage (Paris: Hermann, 1972):‬‬
‫ِ ﺯﺑﺎﻥﺷﻨﺎﺧﺘﻲ ﻭ ﻧﻴﺰ ﺍﺭﺗﺒﺎﻃﺎﺕ ﻭ ﺳﻮﺑﮋﮐﺘﻴﻮﻳﺘﻪ ﺭﺍ ﺑﻪ‬ ‫ﺩﻭﮐﺮﻭ ﺍﻧﮕﺎﺭﻩﻫﺎﻱ ﺍﻃﻼﻋﺎﺕ ﻭ ﮐﺪ‬
‫ﺽ ﺯﺑﺎﻥﺷﻨﺎﺧﺘﻲ« ﻳﺎ ﺗﻠﻮﻳﺤﻲﺑﻮﺩﻥِ ﻏﻴﺮﮔﻔﺘﻤﺎﻧﻲ ﺭﺍ ﺩﺭ‬
‫ﭼﺎﻟﺶ ﻣﻲﮐﺸﺪ‪ .‬ﺍﻭ ﻧﻈﺮﻳﻪﺍﻱ ﺍﺯ »ﭘﻴﺶﻓﺮِ‬
‫ﺗﻘﺎﺑﻞ ﺑﺎ ﺗﻠﻮﻳﺤﻲﺑﻮﺩﻥ ﻗﻄﻌﻲ ﻳﺎ ﮔﻔﺘﻤﺎﻧﻲ ــ ﮐﻪ ﻫﻨﻮﺯ ﺑﻪ ﻳﮏ ﮐﺪ ﺍﺭﺟﺎﻉ ﻣﻲﺩﻫﺪ ــ ﺑﺴﻂ‬
‫ﻣﻲﺩﻫﺪ‪ .‬ﻭﻱ ﻧﻮﻋﻲ ﮐﺎﺭﺑﺮﺩﺷﻨﺎﺳﻲ ﻣﻲﺳﺎﺯﺩ ﮐﻪ ﺳﺮﺗﺎﺳﺮ ﺯﺑﺎﻥﺷﻨﺎﺳﻲ ﺭﺍ ﭘﻮﺷﺶ ﻣﻲﺩﻫﺪ ﻭ ﺑﻪ ﺳﻮﻱ‬
‫ﺑﺮﺭﺳﻲ ﺳﺮﻫﻢﺑﻨﺪﻱﻫﺎﻱ ﺯﺑﺎﻥ‪ ،‬ﺍﺯ ﻣﻨﻈﺮﻱ »ﻗﻀﺎﻳﻲ«‪» ،‬ﺟﺪﻟﻲ« ﻳﺎ »ﺳﻴﺎﺳﻲ« ﻗﺪﻡ ﺑﺮﻣﻲﺩﺍﺭﺩ‪.‬‬

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‫ﺍﺯ ﺟﻤﻠﻪﺍﻱ ﺑﻪ ﺟﻤﻠﻪﺍﻱ ﺩﻳﮕﺮ ﻳﺎ ﺧﻮﺍﻩ ﺩﺭﻭﻥ ﻫﺮ ﺟﻤﻠﻪ ﺍﺳﺖ‪ ،‬ﺁﻥ ﻫﻢ ﺗﺎ‬
‫ﺟﺎﻳﻲ ﮐﻪ ﻫﺮ ﺟﻤﻠﻪ ﻳﮏ ﮐﻨﺶ ﺭﺍ ﺗﺤﻘﻖ ﻣﻲﺑﺨﺸﺪ ﻭ ﮐﻨﺶ ﺩﺭ ﮔﺰﺍﺭﻩ ﮐﺎﻣﻞ‬
‫ﻣﻲﺷﻮﺩ‪ .‬ﻋﻤﻮﻣﻲﺗﺮﻳﻦ ﻃﺮﺡﻭﺍﺭﻩﻱ ﻋﻠﻢ ﺍﻃﻼﻋﺎﺕ ﻧﻮﻋﻲ ﺣﺎﻟﺖ ﺍﻳﺪﻩﺁﻝ ﺍﺯ‬
‫ً ﻧﻮﻋﻲ ﺷﺮﻁ‬‫ﺑﻴﺸﻴﻨﻪﻱ ﺍﻃﻼﻋﺎﺕ ﺭﺍ ﻳﮏ ﺍﺻﻞ ﻣﻲﮔﻴﺮﺩ ﻭ ﺣﺸﻮ ﺭﺍ ﻧﻴﺰ ﺻﺮﻓﺎ‬
‫ﻣﺤﺪﻭﺩﮐﻨﻨﺪﻩ ﮐﻪ ﺑﺮﺍﻱ ﮐﺎﻫﺶ ﺍﻳﻦ ﺑﻴﺸﻴﻨﻪﻱ ﺗﺌﻮﺭﻳﮏ ﺑﻪ ﮐﺎﺭ ﺑﺴﺘﻪ ﻣﻲﺷﻮﺩ‬
‫ﺗﺎ ﺳﺮﻭﺻﺪﺍ‪ 51‬ﺁﻥ ﺭﺍ ﺩﺭ ﺧﻮﺩ ﺧﻔﻪ ﻧﮑﻨﺪ‪ .‬ﻣﺎ ﻣﻲﮔﻮﻳﻴﻢ ﮐﻪ ﺣﺸﻮ‬
‫ِ ﺩﺳﺘﻮﺭ ـ‬
‫ً ﺷﺮﻁ ﺣﺪﺍﻗﻠﻲ ﺑﺮﺍﻱ‬ ‫ﮐﻠﻤﻪ ﺣﺸﻮ ﺍﺻﻠﻲ ﻭ ﺁﻏﺎﺯﻳﻦ ﺍﺳﺖ ﻭ ﺍﻃﻼﻋﺎﺕ ﺻﺮﻓﺎ‬
‫ﻣﺨﺎﺑﺮﻩﻱ ﺩﺳﺘﻮﺭ ـ ﮐﻠﻤﻪﻫﺎ ﺍﺳﺖ ) ﺑﻪ ﻫﻤﻴﻦ ﻋﻠﺖ ﺍﺳﺖ ﮐﻪ ﺗﻘﺎﺑﻞ‬
‫ﺑﺮﻗﺮﺍﺭﺷﺪﻩ ﻧﻪ ﺑﻴﻦ ﺳﺮﻭﺻﺪﺍ ﻭ ﺍﻃﻼﻋﺎﺕ‪ ،‬ﺑﻞ ﻣﻴﺎﻥ ﻫﻤﻪﻱ ﺑﻲﺍﻧﻀﺒﺎﻃﻲﻫﺎﻱ‬
‫ﻣﻮﺟﻮﺩ ﺩﺭ ﺯﺑﺎﻥ ﻭ ﺩﺳﺘﻮﺭ ـ ﮐﻠﻤﻪ ﺑﻪﻣﺜﺎﺑﻪﻱ ﺍﻧﻀﺒﺎﻁ ﻳﺎ »ﮔﺮﺍﻣﺮﻱﺑﻮﺩﻥ«‬
‫ﺍﺳﺖ(‪ .‬ﺣﺸﻮ ﺩﻭ ﻓﺮﻡ ﺩﺍﺭﺩ‪ ،‬ﻓﺮﮐﺎﻧﺲ ]ﺗﻨﺎﻭﺏ[ ﻭ ﺭﺯﻭﻧﺎﻧﺲ ]ﻃﻨﻴﻦ[؛ ﻣﻮﺭﺩ‬
‫ﺍﻭﻝ ﺑﻪ ﺍﻫﻤﻴﺖ ﺍﻃﻼﻋﺎﺕ ﺭﺑﻂ ﺩﺍﺭﺩ ﻭ ﻣﻮﺭﺩ ﺩﻭﻡ )ﻣﻦ ﻓﺎﻋﻠﻲ = ﻣﻦ ﻓﺎﻋﻠﻲ‬
‫]‪ ([I = I‬ﺑﻪ ﺳﻮﺑﮋﮐﺘﻴﻮﻳﺘﻪﻱ ﺍﺭﺗﺒﺎﻃﺎﺕ ﻣﺮﺑﻮﻁ ﺍﺳﺖ‪ .‬ﻭﺍﺿﺢ ﺍﺳﺖ ﮐﻪ‬
‫ﺍﻃﻼﻋﺎﺕ ﻭ ﺍﺭﺗﺒﺎﻃﺎﺕ ﻭ ﺣﺘﻲ ﻇﺮﻓﻴﺖ ﺩﻻﻟﺘﻲ ﻭ ﺳﻮﺑﮋﮐﺘﻴﻮﺳﺎﺯﻱ‪ ،‬ﻣﻘﻴﺪ ﺑﻪ‬
‫ﺣﺸﻮ ﻫﺴﺘﻨﺪ‪ .‬ﮔﺎﻩ ﺗﻤﺎﻳﺰﻱ ﻣﻴﺎﻥ ﺍﻃﻼﻋﺎﺕ ﻭ ﺍﺭﺗﺒﺎﻃﺎﺕ ﻗﺎﺋﻞ ﻣﻲﺷﻮﻧﺪ؛‬
‫ﺑﺮﺧﻲ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻧﻮﻋﻲ ﻇﺮﻓﻴﺖ ﺩﻻﻟﺘﻲ ﺍﻧﺘﺰﺍﻋﻲ ﺍﻃﻼﻋﺎﺕ ﻭ ﻧﻮﻋﻲ‬
‫ﺳﻮﺑﮋﮐﺘﻴﻮﺳﺎﺯﻱ ﺍﻧﺘﺰﺍﻋﻲ ﺍﺭﺗﺒﺎﻃﺎﺕ ﺭﺍ ﻣﺘﺼﻮﺭ ﻣﻲﺷﻮﻧﺪ‪ .‬ﺑﺎ ﺍﻳﻦﺣﺎﻝ‪،‬‬
‫ﻫﻴﭻﻳﮏ ]ﺍﺯ ﺍﻳﻦ ﺩﻭ[ ﺑﻪ ﻫﻴﭻ ﻓﺮﻡ ﺿﻤﻨﻲ ﻳﺎ ﺍﺻﻠﻲ ﺍﺯ ﺯﺑﺎﻥ ﻣﻨﺠﺮ‬
‫ﻧﻤﻲﺷﻮﺩ‪ .‬ﻫﻤﭽﻨﻴﻦ ﻫﻴﭻ ﻇﺮﻓﻴﺖ ﺩﻻﻟﺘﻲ ﻣﺴﺘﻘﻠﻲ ﺍﺯ ﺩﻻﻟﺖﻫﺎﻱ ﻣﺴﻠﻂ ﻭ ﻧﻴﺰ‬
‫ﻫﻴﭻ ﺳﻮﺑﮋﮐﺘﻴﻮﺳﺎﺯﻱﺍﻱ ﻣﺴﺘﻘﻞ ﺍﺯ ﻧﻈﻢ ﻣﺴﺘﻘﺮ ﺍﻧﻘﻴﺎﺩ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ؛‬
‫ﺑﻠﮑﻪ ﻫﺮ ﺩﻭ ﺑﺮ ﻣﺎﻫﻴﺖ ﻭ ﻣﺨﺎﺑﺮﻩﻱ ﺩﺳﺘﻮﺭ ـ ﮐﻠﻤﻪﻫﺎ ﺩﺭ ﻳﮏ ﺳﺎﺣﺖ‬
‫ﺍﺟﺘﻤﺎﻋﻲ ﻣﻔﺮﻭﺽ ﻭﺍﺑﺴﺘﻪﺍﻧﺪ‪.‬‬

‫ﻓﺼﻞ ﭘﻨﺠﻢ‬

‫‪ 587‬ﺳﺎﻝ ﻗﺒﻞ ﺍﺯ ﻣﻴﻼﺩ ﻣﺴﻴﺢ ﺗﺎ ‪ 70‬ﺳﺎﻝ ﭘﺲ ﺍﺯ ﻣﻴﻼﺩ‬

‫ﻣﺴﻴﺢ‪ :‬ﺩﺭﺑﺎﺭﻩﻱ ﺭژﻳﻢﻫﺎﻱ ﻣﺘﻌﺪﺩ ﻧﺸﺎﻧﻪﻫﺎ‬

‫‪51. noise‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫ِ ﻧﻮ‬
‫ﻳﮏ ﺭژﻳﻢ‬

‫ﺹ ﺑﻴﺎﻥ‪ 52‬ﺭﺍ‪ ،‬ﺩﺳﺖﻛﻢ ﻭﻗﺘﻲ ﺑﻴﺎﻥ ﺯﺑﺎﻥﺷﻨﺎﺧﺘﻲ‬ ‫ﻫﺮ ﻓﺮﻣﺎﻝﺳﺎﺯﻱ ﺧﺎِ‬

‫ِ ﻧﺸﺎﻧﻪﻫﺎ ﺳﺎﺯﻧﺪﻩﻱ ﺳﻴﺴﺘﻤﻲ‬ ‫ِ ﻧﺸﺎﻧﻪﻫﺎ ﻣﻲﺧﻮﺍﻧﻴﻢ‪ .‬ﺭژﻳﻢ‬ ‫ﺑﺎﺷﺪ‪ ،‬ﺭژﻳﻢ‬
‫ِ ﺳﻴﺴﺘﻢﻫﺎﻱ ﻧﺸﺎﻧﻪﺍﻱ ﺩﺭ ﺧﻮﺩ ﺩﺷﻮﺍﺭ ﺑﻪﻧﻈﺮ‬ ‫ﻧﺸﺎﻧﻪﺍﻱ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺗﺤﻠﻴﻞ‬
‫ِ ﺑﻴﺎﻥ ﻫﻤﺰﻣﺎﻥ‬ ‫ِ ﻣﺤﺘﻮﺍﻳﻲ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﮐﻪ ﺍﺯ ﻓﺮﻡ‬ ‫ﻣﻲﺭﺳﺪ‪ :‬ﻫﻤﻮﺍﺭﻩ ﻓﺮﻡ‬
‫ﺗﻔﮑﻴﮏﻧﺎﭘﺬﻳﺮ ﻭ ﻣﺴﺘﻘﻞ ﺍﺳﺖ‪ ،‬ﻭ ﺍﻳﻦ ﺩﻭ ﻓﺮﻡ ﺑﻪ ﺳﺮﻫﻢﺑﻨﺪﻱﻫﺎﻳﻲ ﺗﻌﻠﻖ‬
‫ً ﺯﺑﺎﻥﺷﻨﺎﺧﺘﻲ ﻧﻴﺴﺘﻨﺪ‪ .‬ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻦ‪ ،‬ﻣﻲﺗﻮﺍﻥ ﻃﻮﺭﻱ‬ ‫ﺩﺍﺭﻧﺪ ﮐﻪ ﺍﺳﺎﺳﺎ‬
‫ﭘﻴﺶ ﺭﻓﺖ ﮐﻪ ﺍﻧﮕﺎﺭ ﻓﺮﻣﺎﻝﺳﺎﺯﻱ ﺑﻴﺎﻥ ﺧﻮﺩﺁﺋﻴﻦ ﻭ ﺧﻮﺩﺑﺴﻨﺪﻩ ﺑﺎﺷﺪ‪ .‬ﺣﺘﻲ‬
‫ﺍﮔﺮ ﭼﻨﻴﻦ ﺷﻮﺩ‪ ،‬ﺁﻧﻘﺪﺭ ﮔﻮﻧﺎﮔﻮﻧﻲ ﺩﺭ ﻓﺮﻡﻫﺎﻱ ﺑﻴﺎﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﻭ ﺍﻳﻦ‬
‫ِ ﻫﺮ ﻣﺰﻳﺖِ ﺧﺎﺹ ﺑﻪ ﻓﺮﻡ ﻳﺎ‬ ‫ﻓﺮﻡﻫﺎ ﺁﻧﻘﺪﺭ ﺩﺭﻫﻢﺁﻣﻴﺨﺘﻪﺍﻧﺪ‪ ،‬ﮐﻪ ﺍﻃﻼﻕ‬
‫ِ »ﺩﺍﻝ« ﻧﺎﻣﻤﮑﻦ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﺳﻴﺴﺘﻢ ﺩﻻﻟﺖﮔﺮ ﻧﺸﺎﻧﻪﺍﻱ ﺭﺍ ﻋﻠﻢ ﺷﻨﺎﺧﺖ‬ ‫ﺭژﻳﻢ‬
‫ﺑﺨﻮﺍﻧﻴﻢ‪ ،‬ﺁﻧﮕﺎﻩ ﻋﻠﻢ ﺷﻨﺎﺧﺖ ﻧﺸﺎﻧﻪ ﺗﻨﻬﺎ ﻳﮑﻲ ﺍﺯ ﺭژﻳﻢ‬
‫ِ‬ ‫‪53‬‬ ‫ﻧﺸﺎﻧﻪ‬
‫ﻧﺸﺎﻧﻪﻫﺎ ﺑﻴﻦِ ﺩﻳﮕﺮ ﺭژﻳﻢﻫﺎ ﺍﺳﺖ ﻭ ﻧﻪ ﻣﻬﻢﺗﺮﻳﻦﺷﺎﻥ‪ .‬ﺿﺮﻭﺭﺕِ ﺑﺎﺯﮔﺸﺖ ﺑﻪ‬
‫ﮐﺎﺭﮐﺮﺩﺷﻨﺎﺳﻲ ﺍﺯ ﻫﻤﻴﻦﺭﻭﺳﺖ؛ ﮐﺎﺭﮐﺮﺩﺷﻨﺎﺳﻲﺍﻱ ﮐﻪ ﺯﺑﺎﻥ ﺩﺭ ﺁﻥ ﻫﺮﮔﺰ‬
‫ِ ﺷﻨﺎﺧﺖِ ﻧﺸﺎﻧﻪﻱ‬ ‫ِ ﮐﻠﻲﺑﻮﺩﻥِ ﺩﺭ ﺧﻮﺩ‪ ،‬ﻓﺮﻣﺎﻝﺳﺎﺯﻱ ﺧﻮﺩﺑﺴﻨﺪﻩ‪ ،‬ﻋﻠﻢ‬ ‫ﻭﺍﺟﺪ‬
‫ِ ﺩﻻﻟﺖﮔﺮ ﺑﻪ ﻧﺎﻡ‬ ‫ﻋﺎﻡ‪ ،‬ﻳﺎ ﻓﺮﺍﺯﺑﺎﻥ ﻧﻴﺴﺖ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ‪ ،‬ﻣﻄﺎﻟﻌﻪﻱ ﺭژﻳﻢ‬
‫ﺭژﻳﻢﻫﺎﻱ ﻧﺸﺎﻧﻪﻫﺎ ﺩﺭ ﺍﺑﺘﺪﺍ ﮔﻮﺍﻩ ﻧﺎﺑﺴﻨﺪﮔﻲ ﭘﻴﺶﻓﺮﺽﻫﺎﻱ ﺯﺑﺎﻥﺷﻨﺎﺧﺘﻲ‬
‫ﺍﺳﺖ‪.‬‬
‫ِ ﺩﻻﻟﺖﮔﺮ ﻧﺸﺎﻧﻪ )ﻧﺸﺎﻧﻪﻱ ﺩﻻﻟﺖﮔﺮ(‬ ‫ِ ﺳﺎﺩﻩﺍﻱ ﺑﺮﺍﻱ ﺭژﻳﻢ‬ ‫ِ ﻋﺎﻡ‬‫ﻓﺮﻣﻮﻝ‬
‫ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ :‬ﻫﺮ ﻧﺸﺎﻧﻪ ﺑﻪ ﻧﺸﺎﻧﻪﺍﻱ ﺩﻳﮕﺮ ﻭ ﺗﻨﻬﺎ ﺑﻪ ﻧﺸﺎﻧﻪﺍﻱ ﺩﻳﮕﺮ‬
‫ﺗﺎ ﺑﻲﻧﻬﺎﻳﺖ ﺍﺭﺟﺎﻉ ﻣﻲﻳﺎﺑﺪ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮ ﺩﺭ ﺳﺮﺣﺪ ﻣﻲﺗﻮﺍﻥ ﺍﺯ‬
‫ﺍﻧﮕﺎﺭﻩﻱ ﻧﺸﺎﻧﻪ ﭼﺸﻢ ﭘﻮﺷﻴﺪ‪ ،‬ﺯﻳﺮﺍ ﺁﻥﭼﻪ ﺣﻔﻆ ﻣﻲﺷﻮﺩ ﺍﺻﻮﻻً ﻧﺴﺒﺖِ ﻧﺸﺎﻧﻪ‬
‫ﺑﺎ ﻭﺿﻌﻴﺖِ ﭼﻴﺰﻫﺎﻳﻲ ﮐﻪ ﻣﻌﻴﻦ ﻣﻲﻛﻨﺪ ﻳﺎ ﺑﺎ ﻣﻮﺟﻮﺩﻳﺘﻲ ﮐﻪ ﺑﺮ ﺁﻥ ﺩﻻﻟﺖ‬
‫ِ ﻧﺸﺎﻧﻪ ﺑﻪ ﻧﺸﺎﻧﻪ ﺗﺎ ﺟﺎﻳﻲ ﺍﺳﺖ‬ ‫ً ﻧﺴﺒﺖِ ﻓﺮﻣﺎﻝ‬‫ﻣﻲﻛﻨﺪ‪ ،‬ﻧﻴﺴﺖ‪ ،‬ﺑﻞ ﺻﺮﻓﺎ‬
‫ﮐﻪ ﺯﻧﺠﻴﺮﻩﻱ ﺑﻪ ﺍﺻﻄﻼﺡ ﺩﻻﻟﺖﮔﺮ ﺭﺍ ﺗﻌﺮﻳﻒ ﮐﻨﺪ‪ .‬ﺑﻲﺣﺪﻭﺣﺼﺮ ﺑﻮﺩﻥِ ﻇﺮﻓﻴﺖِ‬
‫ﺩﻻﻟﺘﻲ ﺟﺎﻳﮕﺰﻳﻦِ ﻧﺸﺎﻧﻪ ﻣﻲﺷﻮﺩ‪ .‬ﻭﻗﺘﻲ ﻣﻌﻨﺎﻱ ﻇﺎﻫﺮﻱ‪) 54‬ﺍﻳﻦﺟﺎ‪،‬‬
‫ﻣﻌﻴﻦﮐﺮﺩﻥ ﻭ ﺩﻻﻟﺖﮐﺮﺩﻥ ﺑﺎ ﻫﻢ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪ ﻣﻲﺷﻮﻧﺪ( ﺑﺨﺸﻲ ﺍﺯ ﻣﻌﻨﺎﻱ‬
‫ِ ﺩﻻﻟﺖﮔﺮ ﻧﺸﺎﻧﻪ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﻳﻢ‪.‬‬ ‫ﺿﻤﻨﻲ‪ 55‬ﺩﺍﻧﺴﺘﻪ ﺷﻮﺩ‪ ،‬ﮐﺎﻣﻼً ﺩﺭﻭﻥِ ﺭژﻳﻢ‬
‫ِ ﺗﻌﻴﻴﻦﭘﺬﻳﺮ ﺭﺍ‬ ‫ِ ﭼﻴﺰﻫﺎ ﮐﻪ ﺍﻣﺮ‬‫ﺑﻪ ﺷﺎﺧﺺﻫﺎ‪ ،‬ﻳﺎ ﻭﺿﻌﻴﺖﻫﺎﻱ ﻗﻠﻤﺮﻭﻣﻨﺪ‬

‫‪52. expression‬‬
‫ﻭﻗﺘﻲ ﻭﺍژﻩﻱ »ﺑﻴﺎﻥ« ﺩﺭ ﺗﺮﮐﻴﺐِ »ﺳﻮژﻩﻱ ﺑﻴﺎﻥ« ]‪) [enunciation‬ﺩﺭ ﮐﻨﺎﺭ‬
‫ِ »ﺳﻮژﻩﻱ ﮔﺰﺍﺭﻩ«(‬
‫ِ ﺁﻥﻫﺎ ﺑﻪ ﺭﻭﺍﻥﮐﺎﻭﻱ ﻣﻌﻄﻮﻑ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﻭﻗﺘﻲ ﺍﺯ‬ ‫ﺍﺳﺘﻔﺎﺩﻩ ﺷﻮﺩ‪ ،‬ﺑﻪﻃﻮﺭ ﻣﺸﺨﺺ ﺑﻪ ﻧﻘﺪ‬
‫ِ ﺑﻴﺎﻥ« ]‪ [expression‬ﺍﺳﺘﻔﺎﺩﻩ ﺷﻮﺩ‪ .،‬ﻣﻨﻈﻮﺭ‬
‫ِ ﺑﻴﺎﻥ« ﻳﺎ »ﺟﻮﻫﺮ‬‫ﻭﺍژﻩﻱ ﺑﻴﺎﻥ ﺩﺭ ﺗﺮﮐﻴﺐِ »ﻓﺮﻡ‬
‫ﻫﺴﺘﻲ ﺍﺳﭙﻴﻨﻮﺯﻳﺴﺘﻲ ﻣﺪﻧﻈﺮ ﺁﻥﻫﺎﺳﺖ‪ .‬ﻡ‬
‫‪53. semiology‬‬
‫‪54. denotation‬‬
‫‪55. connotation‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫ﻣﻲﺳﺎﺯﻧﺪ‪ ،‬ﺗﻮﺟﻪ ﭼﻨﺪﺍﻧﻲ ﻧﺸﺪﻩ ﺍﺳﺖ‪ .‬ﺑﻪ ﺷﻤﺎﻳﻞ ﻧﻴﺰ ﺗﻮﺟﻪ ﺯﻳﺎﺩﻱ‬
‫ِ ﺩﻻﻟﺖﭘﺬﻳﺮ ﺭﺍ‬‫ﻧﻤﻲﺷﻮﺩ‪ ،‬ﻳﻌﻨﻲ ﺑﻪ ﻋﻤﻠﻴﺎﺕﻫﺎﻱ ﺑﺎﺯﻗﻠﻤﺮﻭﮔﺬﺍﺭﻱ ﮐﻪ ﺍﻣﺮ‬
‫ﻣﻲﺳﺎﺯﻧﺪ‪ .‬ﺍﺯ ﺍﻳﻦﺭﻭ‪ ،‬ﻧﺸﺎﻧﻪ ﺑﻪ ﺩﺭﺟﻪﻱ ﺑﺎﻻﻳﻲ ﺍﺯ ﻗﻠﻤﺮﻭﺯﺩﺍﻳﻲ ﻧﺴﺒﻲ‬
‫ِ ﺍﺭﺟﺎﻉ ﺍﺯ ﻧﺸﺎﻧﻪ‬‫ﺩﺳﺖ ﻳﺎﻓﺘﻪ ﺍﺳﺖ؛ ﻧﺸﺎﻧﻪ ﻫﻤﭽﻮﻥ ﻧﻤﺎﺩ ﺩﺭ ﺣﺮﮐﺖِ ﻣﺪﺍﻭﻡ‬
‫ﺑﻪ ﻧﺸﺎﻧﻪ ﺩﺍﻧﺴﺘﻪ ﻣﻲﺷﻮﺩ‪ .‬ﺩﺍﻝ ﻧﺸﺎﻧﻪﺍﻱ ﺍﺳﺖ ﮐﻪ ﺑﺎ ﻧﺸﺎﻧﻪ ﺣﺸﻮ‬
‫ﻣﻲﺷﻮﺩ‪ .‬ﻫﻤﻪﻱ ﻧﺸﺎﻧﻪﻫﺎ ﻧﺸﺎﻧﻪﻫﺎﻱ ﻧﺸﺎﻧﻪﻫﺎ ﻫﺴﺘﻨﺪ‪ .‬ﻣﺴﺄﻟﻪ ﺍﻣﺎ ﻧﻪ ﺑﺮ‬
‫ِ ﺍﻳﻦﻛﻪ ﻳﮏ ﻧﺸﺎﻧﻪﻱ ﻣﺸﺨﺺ ﺑﻪ ﭼﻪ ﺩﻻﻟﺖ ﻣﻲﻛﻨﺪ‪ ،‬ﺑﻞ ﺍﻳﻦ ﺍﺳﺖ ﮐﻪ‬ ‫ﺳﺮ‬
‫ﻧﺸﺎﻧﻪ ﺑﻪ ﭼﻪ ﻧﺸﺎﻧﻪﻫﺎﻱ ﺩﻳﮕﺮﻱ ﺍﺭﺟﺎﻉ ﻣﻲﻳﺎﺑﺪ‪ ،‬ﻳﺎ ﭼﻪ ﻧﺸﺎﻧﻪﻫﺎﻳﻲ ﺧﻮﺩ‬
‫ﺭﺍ ﺑﻪ ﺁﻥ ﺍﺿﺎﻓﻪ ﻣﻲﻛﻨﻨﺪ ﺗﺎ ﺑﻪ ﺷﺒﮑﻪﺍﻱ ﺑﺪﻭﻥِ ﺁﻏﺎﺯ ﻳﺎ ﭘﺎﻳﺎﻥ ﻓﺮﻡ‬
‫ِ ﺟﻮﻱ ﺑﺪﻭﻥِ ﺭﻳﺨﺖ ﺑﺎﺯﻣﻲﺗﺎﺑﺎﻧﺪ‪ .‬ﻫﻤﻴﻦ‬ ‫ﺩﻫﻨﺪ ﮐﻪ ﺳﺎﻳﻪﺍﺵ ﺭﺍ ﺑﺮ ﭘﻴﻮﺳﺘﺎﺭ‬
‫ِ ﺑﺪﻭﻥِ ﺭﻳﺨﺖ ﺍﮐﻨﻮﻥ ﻧﻘﺶِ »ﻣﺪﻟﻮﻝ« ﺭﺍ ﺑﺎﺯﻱ ﻣﻲﻛﻨﺪ‪ ،‬ﺍﻣﺎ‬ ‫ﭘﻴﻮﺳﺘﺎﺭ‬
‫ِ ﺍﻳﻦ ﭘﻴﻮﺳﺘﺎﺭ ﻧﻴﺰ‬ ‫ِ ﺩﺍﻝ ﻣﻲﻟﻐﺰﺩ‪ ،‬ﻭ ﺣﺘﻲ ﺧﻮﺩ‬ ‫ﭘﻴﻮﺳﺘﻪ ﺑﻪ ﻧﺮﻣﻲ ﺯﻳﺮ‬
‫ﺹ ﻫﻤﻪﻱ‬
‫ﺗﻨﻬﺎ ﺩﺭ ﻣﻘﺎﻡ ﻭﺍﺳﻄﻪ ﻳﺎ ﺩﻳﻮﺍﺭ ﺩﺭ ﺧﺪﻣﺖ ﺩﺍﻝ ﺍﺳﺖ‪ :‬ﻓﺮﻡﻫﺎﻱ ﺧﺎِ‬
‫ﻣﺤﺘﻮﺍﻫﺎ ﺩﺭ ﺍﻳﻦ ﭘﻴﻮﺳﺘﺎﺭ ﻣﺤﻮ ﻣﻲﺷﻮﻧﺪ‪ .‬ﺟﻮﻱﮐﺮﺩﻥ ﻳﺎ ﺯﻣﻴﻨﻲﮐﺮﺩﻥِ‬
‫ﻣﺤﺘﻮﺍﻫﺎ‪ .‬ﻣﺤﺘﻮﺍﻫﺎ ﺍﻧﺘﺰﺍﻋﻲﺷﺪﻩ ﻫﺴﺘﻨﺪ‪ .‬ﺍﻳﻦ ﻫﻤﺎﻥ ﻣﻮﻗﻌﻴﺘﻲ ﺍﺳﺖ ﮐﻪ‬
‫ﻟﻮﻱ ـ ﺍﺷﺘﺮﺍﻭﺱ ﺗﻮﺻﻴﻒ ﻣﻲﻛﻨﺪ‪ :‬ﺟﻬﺎﻥ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦﻛﻪ ﮐﺴﻲ ﺑﺪﺍﻧﺪ ﺑﻪ ﭼﻪ‬
‫ﭼﻴﺰﻱ ﺩﻻﻟﺖ ﻣﻲﻛﻨﺪ‪ ،‬ﺩﺳﺖ ﺑﻪ ﺩﻻﻟﺖ ﻣﻲﺑﺮﺩ؛ ﻣﺪﻟﻮﻝ ﺑﻲﺁﻥﻛﻪ ﺑﺪﺍﻧﻴﻢ‬
‫ِ ﺷﻤﺎ ﺑﺎ ﺳﻴﻤﺎﻳﻲ ﺧﻨﺪﻩﺩﺍﺭ ﺑﻪ ﺷﻤﺎ ﻧﮕﺎﻩ‬ ‫ﭼﻴﺴﺖ‪ ،‬ﺩﺍﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪ .56‬ﻫﻤﺴﺮ‬
‫ﻣﻲﻛﻨﺪ‪ .‬ﻭ ﺍﻣﺮﻭﺯ ﺻﺒﺢ ﭘﺴﺘﭽﻲ ﻧﺎﻣﻪﺍﻱ ﺍﺯ ﺳﺎﺯﻣﺎﻥ ﺧﺪﻣﺎﺕ ﺩﺭﺁﻣﺪ ﺩﺍﺧﻠﻲ‬
‫ﺑﻪ ﺩﺳﺖ ﺷﻤﺎ ﻣﻲﺩﻫﺪ ﻭ ﺑﺮﺍﻱﺗﺎﻥ ﺁﺭﺯﻭﻱ ﺧﻮﺵﺷﺎﻧﺴﻲ ﻣﻲﻛﻨﺪ‪ .‬ﺑﻌﺪ ﭘﺎﻳﺘﺎﻥ‬
‫ِ ﺳﮓ ﻓﺮﻭ ﻣﻲﺭﻭﺩ‪ .‬ﻣﻲﺩﻳﺪﻳﺪ ﮐﻪ ﺩﻭ ﺗﮑﻪ ﭼﻮﺏ ﻣﺜﻞ‬ ‫ﺩﺭ ﺍﻧﺒﻮﻩﻱ ﺍﺯ ﻣﺪﻓﻮﻉ‬
‫ﻋﻘﺮﺑﻪﻫﺎﻱ ﺳﺎﻋﺖ ﺭﻭﻱ ﭘﻴﺎﺩﻩﺭﻭ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪﺍﻧﺪ‪ .‬ﻭﻗﺘﻲ ﺑﻪ ﺩﻓﺘﺮ ﮐﺎﺭﺗﺎﻥ‬
‫ِﭻ ﻣﻲﻛﺮﺩﻧﺪ‪ .‬ﻣﻬﻢ ﻧﻴﺴﺖ ﮐﻪ ﻣﻌﻨﻲ‬ ‫ﻭﺍﺭﺩ ﺷﺪﻳﺪ ﺩﺍﺷﺘﻨﺪ ﭘﺸﺖِ ﺳﺮﺗﺎﻥ ﭘ‬
‫ِﭻﭘ‬
‫ﻣﻲﺩﻫﺪ‪ ،‬ﻣﺴﺄﻟﻪ ﺍﻳﻦ ﺍﺳﺖ ﮐﻪ ﻫﻨﻮﺯ ﺩﻻﻟﺖﮔﺮ ﺍﺳﺖ‪ .‬ﻧﺸﺎﻧﻪﺍﻱ ﮐﻪ ﺑﻪ‬
‫ِ ﻋﺪﻡ ﻗﻄﻌﻴﺖ ﻭ ﻋﺠﺰﻱ ﻋﺠﻴﺐ ﺍﺳﺖ‪،‬‬ ‫ﻧﺸﺎﻧﻪﻫﺎﻱ ﺩﻳﮕﺮ ﺍﺭﺟﺎﻉ ﻣﻲﻳﺎﺑﺪ‪ ،‬ﭘﺎﺑﻨﺪ‬
‫ِ ﭘﺎﺭﺍﻧﻮﺋﻴﮏ ﺍﻳﻦ‬‫ﺍﻣﺎ ﺩﺍﻝﺍﻱ ﮐﻪ ﺯﻧﺠﻴﺮﻩ ﺭﺍ ﻣﻲﺳﺎﺯﺩ‪ ،‬ﻣﻘﺘﺪﺭ ﺍﺳﺖ‪ .‬ﻓﺮﺩ‬
‫ِ ﻧﺸﺎﻧﻪﻱ ﻗﻠﻤﺮﻭﺯﺩﻭﺩﻩ ﺭﺍ ﮐﻪ ﺍﺯ ﻫﺮ ﺳﻮ ﺩﺭ ﺟﻮﻱ ﻟﻐﺰﺍﻥ ﺑﻪ ﺍﻭ‬ ‫ﻋﺠﺰ‬
‫ﺣﻤﻠﻪﻭﺭ ﻣﻲﺷﻮﺩ‪ ،‬ﺑﻪ ﺍﺷﺘﺮﺍک ﻣﻲﮔﺬﺍﺭﺩ‪ ،‬ﺍﻣﺎ ﺍﻳﻦ ﻭﺿﻌﻴﺖ ﻓﻘﻂ ﺍﺑﺮﻗﺪﺭﺕِ‬
‫ِ ﺍﺣﺴﺎﺱِ‬‫ِ ﺷﺒﮑﻪﺍﻱ ﮐﻪ ﻣﻴﺎﻥِ ﺟﻮ ﻣﻨﺘﺸﺮ ﻣﻲﺷﻮﺩ‪ ،‬ﺍﺯ ﺧﻼﻝ‬ ‫ﺩﺍﻝ ﺭﺍ ﺩﺭ ﻣﻘﺎﻡ‬
‫ِ ﭘﺎﺭﺍﻧﻮﺋﻴﮏ ﻗﺮﺍﺭ ﻣﻲﺩﻫﺪ‪ .‬ﺭژﻳﻢ‬
‫ِ‬ ‫ﺧﺸﻤﻲ ﻫﻤﺎﻳﻮﻧﻲ‪ ،‬ﺑﻬﺘﺮ ﺩﺭ ﺩﺳﺘﺮﺱِ ﻓﺮﺩ‬
‫ِ ﭘﺎﺭﺍﻧﻮﺋﻴﮏ‪ :‬ﺩﺍﺭﻧﺪ ﺑﻪ ﻣﻦ ﺣﻤﻠﻪ ﻣﻲﻛﻨﻨﺪ ﻭ ﻣﺮﺍ ﺁﺯﺍﺭ ﻣﻲﺩﻫﻨﺪ‪،‬‬ ‫ﻣﺴﺘﺒﺪ‬
‫ﺍﻣﺎ ﻣﻲﺗﻮﺍﻧﻢ ﺣﺪﺱ ﺑﺰﻧﻢ ﭼﻪ ﻗﺼﺪﻱ ﺩﺍﺭﻧﺪ‪ ،‬ﻣﻦ ﻳﮏ ﻗﺪﻡ ﺍﺯ ﺁﻥﻫﺎ ﺟﻠﻮﺗﺮ‬

‫‪56. Claude Levi-Strauss, "Introduction a l'oeuvre de Marcel Mauss," in Marcel Mauss, Sociologie et anthropologie (Paris: PUF,‬‬
‫‪1973),pp.48-49.‬‬
‫)ﻟﻮﻱ ﺍﺷﺘﺮﺍﺱ ﺑﻌﺪﺗﺮ ﺩﺭ ﺍﻳﻦ ﻣﺘﻦ ﺟﻨﺒﻪﻱ ﺩﻳﮕﺮﻱ ﺍﺯ ﻣﺪﻟﻮﻝ ﺭﺍ ﻣﻄﺮﺡ ﻣﻲﻛﻨﺪ(‪ .‬ﺭﺍﺟﻊ ﺑﻪ‬
‫ِ ﺟﻮﻱ‪ ،‬ﺭﺟﻮﻉ ﮐﻨﻴﺪ ﺑﻪ ﺗﻮﺻﻴﻔﺎﺕِ ﺭﻭﺍﻥﭘﺰﺷﮑﺎﻧﻪﻱ ﺑﻴﻨﺰﻭﺍﮔﻨﺮ ﻭ ﺁﺭﻳﺘ‬
‫ِﻲ‪.‬‬ ‫ِ ﭘﻴﻮﺳﺘﺎﺭ‬
‫ﺟﻨﺒﻪﻱ ﺍﻭﻝ‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫ﻫﺴﺘﻢ‪ ،‬ﻫﻤﻴﺸﻪ ﻣﻲﺩﺍﻧﺴﺘﻢ‪ ،‬ﺣﺘﻲ ﺩﺭ ﻋﺠﺰﻡ ﻗﺪﺭﺗﻤﻨﺪ ﻫﺴﺘﻢ‪» ،‬ﻣﻦ ﺑﻪ ﺁﻥﻫﺎ‬
‫ﻣﻲﺭﺳﻢ«‪.‬‬
‫ﺩﺭ ﺭژﻳﻤﻲ ﺍﺯ ﺍﻳﻦ ﺩﺳﺖ ﻫﻴﭻ ﭼﻴﺰ ﻫﺮﮔﺰ ﺑﻪ ﺳﺮ ﻧﻴﺎﻣﺪﻩ ﻭ ﮐﺎﺭﺵ ﺗﻤﺎﻡ‬
‫ﻧﺸﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺭژﻳﻢ ﺑﺮﺍﻱ ﻫﻤﻴﻦ ﮐﺎﺭ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﻭ ﺭژﻳﻤﻲ‬
‫ﺗﺮﺍژﻳﮏ ﺍﺯ ﺟﻨﺲِ ﺑﺪﻫﻲ ﺑﻲﭘﺎﻳﺎﻥ ﺍﺳﺖ ﮐﻪ ﻫﻤﺰﻣﺎﻥ ﺑﻪ ﺁﻥ ﺑﺪﻫﮑﺎﺭ ﻭ ﺍﺯ‬
‫ﺁﻥ ﻃﻠﺒﮑﺎﺭ ﻫﺴﺘﻴﻢ‪ .‬ﻳﮏ ﻧﺸﺎﻧﻪ ﺑﻪ ﻧﺸﺎﻧﻪﺍﻱ ﺩﻳﮕﺮ ﺍﺭﺟﺎﻉ ﻣﻲﻳﺎﺑﺪ ﮐﻪ ﺍﺯ‬
‫ﺩﺭﻭﻥِ ﺁﻥ ﻣﻲﮔﺬﺭﺩ ﻭ ﺁﻥ ﺭﺍ ﺑﻪ ﺩﺭﻭﻥِ ﻧﺸﺎﻧﻪﺍﻱ ﺩﻳﮕﺮ ﻣﻲﺑﺮﺩ‪» .‬ﺗﺎ ﺁﻥﺟﺎ‬
‫ﮐﻪ ﻧﺸﺎﻧﻪ ﺑﻪﻃﻮﺭ ﺣﻠﻘﻮﻱ ﺑﺎﺯﻣﻲﮔﺮﺩﺩ‪ «...‬ﻧﻪ ﺗﻨﻬﺎ ﻧﺸﺎﻧﻪﻫﺎ ﺑﻪ ﺷﺒﮑﻪﺍﻱ‬
‫ﺑﻲﭘﺎﻳﺎﻥ ﻓﺮﻡ ﻣﻲﺩﻫﻨﺪ‪ ،‬ﺑﻠﻜﻪ ﺷﺒﮑﻪﻱ ﻧﺸﺎﻧﻪﻫﺎ ﺗﺎ ﺑﻲﻧﻬﺎﻳﺖ ﺣﻠﻘﻮﻱ ﺍﺳﺖ‪.‬‬
‫ﮔﺰﺍﺭﻩ ﺍﺯ ﺍﺑﮋﻩﺍﺵ‪ ،‬ﻭ ﻧﺎﻡ ﺍﺯ ﺻﺎﺣﺐﺍﺵ ﺟﺎﻥ ﺑﻪ ﺩﺭ ﻣﻲﺑﺮﺩ‪ .‬ﻧﺸﺎﻧﻪ ﭼﻪ‬
‫ﺩﺭﻭﻥِ ﻧﺸﺎﻧﻪﻫﺎﻱ ﺩﻳﮕﺮ ﮔﺬﺭ ﮐﻨﺪ‪ ،‬ﭼﻪ ﺑﺮﺍﻱ ﺯﻣﺎﻧﻲ ﻣﺸﺨﺺ ﺣﻔﻆ ﺷﻮﺩ‪ ،‬ﺍﺯ‬
‫ﻭﺿﻌﻴﺖِ ﭼﻴﺰﻫﺎ ﻭ ﻣﺪﻟﻮﻝﺍﺵ ﺟﺎﻥ ﺑﻪ ﺩﺭ ﻣﻲﺑﺮﺩ؛ ﻧﺸﺎﻧﻪ ﺷﺒﻴﻪ ﻳﮏ ﺣﻴﻮﺍﻥ‬
‫ﻳﺎ ﺷﺨﺼﻲ ﻣﺮﺩﻩ ﻣﻲﺟﻬﺪ ﺗﺎ ﺟﺎﻳﺶ ﺭﺍ ﺩﺭ ﺯﻧﺠﻴﺮﻩ ﺑﺎﺯﻳﺎﺑﺪ ﻭ ﻭﺿﻌﻴﺘﻲ ﻧﻮ‪،‬‬
‫ﻣﺪﻟﻮﻟﻲ ﻧﻮ ﺭﺍ ﻧﻴﺮﻭﮔﺬﺍﺭﻱ ﮐﻨﺪ‪ ،‬ﮐﻪ ﺩﺭ ﻋﻮﺽ ﺧﻮﺩﺵ ﺭﺍ ﺍﺯ ﺁﻥ ﺧﻼﺹ‬
‫ﺧﻮﺍﻫﺪ ﮐﺮﺩ‪ .57‬ﺍﺷﺎﺭﻩﺍﻱ ﺑﻪ ﺑﺎﺯﮔﺸﺖِ ﺍﺑﺪﻱ‪ .‬ﺭژﻳﻤﻲ ﺳﺮﺗﺎﺳﺮ ﺍﺯ‬
‫ﮔﺰﺍﺭﻩﻫﺎﻱ ﺳﺮﮔﺮﺩﺍﻥ ﻭ ﺷﻨﺎﻭﺭ‪ ،‬ﺍﺯ ﻧﺎﻡﻫﺎﻱ ﻣﻌﻠﻖ‪ ،‬ﻭ ﺍﺯ ﻧﺸﺎﻧﻪﻫﺎﻳﻲ ﺩﺭ‬
‫ِ ﺑﺎﺯﮔﺸﺘﻦ ﻭ ﺭﺍﻧﺪﻩﺷﺪﻥ ﺑﺎ ﺯﻧﺠﻴﺮﻩ ﺩﺭ ﮐﺎﺭ ﺍﺳﺖ‪ .‬ﺩﺍﻝ ﺩﺭ ﻣﻘﺎﻡ‬
‫ِ‬ ‫ﺍﻧﺘﻈﺎﺭ‬
‫ِ ﺧﻮﺩﺑﻪﺧﻮﺩﻱ ﻧﺸﺎﻧﻪﻱ ﻗﻠﻤﺮﻭﺯﺩﻭﺩﻩ ﻳﺎ ﺟﻬﺎﻧﻲ ﺍﻧﺪﻭﻩﺑﺎﺭ ﺍﺯ ﺩﻫﺸﺖ‪.‬‬ ‫ﺣﺸﻮ‬
‫ﺍﻣﺎ ﺁﻥﭼﻪ ﺍﻫﻤﻴﺖ ﺩﺍﺭﺩ ﻧﻪ ﻫﻤﻴﻦ ﺣﻠﻘﻮﻱﺑﻮﺩﻥِ ﻧﺸﺎﻧﻪﻫﺎﺳﺖ‪ ،‬ﻧﻪ‬
‫ﺑﺲﮔﺎﻧﮕﻲ ﺣﻠﻘﻪﻫﺎ ﻳﺎ ﺯﻧﺠﻴﺮﻩﻫﺎ‪ .‬ﻧﺸﺎﻧﻪ ﻧﻪ ﺗﻨﻬﺎ ﺩﺭ ﺣﻠﻘﻪﺍﻱ ﻳﮑﺴﺎﻥ ﺑﻪ‬
‫ﺩﻳﮕﺮ ﻧﺸﺎﻧﻪﻫﺎ‪ ،‬ﺑﻠﻜﻪ ﺩﺭ ﺣﻠﻘﻪﻫﺎ ﻳﺎ ﻣﺎﺭﭘﻴﭻﻫﺎﻱ ﺩﻳﮕﺮ ﻧﻴﺰ ﺑﻪ‬
‫ﻧﺸﺎﻧﻪﻫﺎ ﺍﺭﺟﺎﻉ ﻣﻲﻳﺎﺑﺪ‪ .‬ﺭﻭﺑﺮﺕ ﻟﻮﻳﻲ ﺗﻮﺻﻴﻒ ﻣﻲﻛﻨﺪ ﮐﻪ ﻭﻗﺘﻲ ﻫﻤﺴﺮﺍﻥِ‬
‫ِﺮﻭ‪ 58‬ﻭ ﻫﭙﻲ‪ 59‬ﺑﻪ ﺁﻥﻫﺎ ﺧﻴﺎﻧﺖ ﻣﻲﻛﻨﻨﺪ ﭼﻪ ﻭﺍﮐﻨﺶِ ﻣﺘﻔﺎﻭﺗﻲ‬ ‫ﻣﺮﺩﺍﻥِ ﮐ‬
‫ﻧﺸﺎﻥ ﻣﻲﺩﻫﻨﺪ )ﮐﺮﻭﻫﺎ ﺷﮑﺎﺭﭼﻲﻫﺎﻳﻲ ﻛﻮچﮔﺮ ﻫﺴﺘﻨﺪ ﻭ ﻫﭙﻲﻫﺎ ﻳﮏ‬
‫ِﺮﻭ ﺻﻮﺭﺕِ ﻫﻤﺴﺮﺵ ﺭﺍ‬
‫ﺟﺎﻧﺸﻴﻦﻫﺎﻳﻲ ﺑﺎ ﺳﻨﺘﻲ ﺍﻣﭙﺮﺍﻃﻮﺭﻱ(‪» :‬ﻳﮏ ﺳﺮﺥﭘﻮﺳﺖِ ﮐ‬
‫ﮐﻪ ﺑﻪ ﺍﻭ ﺧﻴﺎﻧﺖ ﮐﺮﺩﻩ ﭼﺎک ﻣﻲﺩﻫﺪ‪ ،‬ﺩﺭﺣﺎﻟﻲﮐﻪ ﻫﭙﻲﺍﻱ ﮐﻪ ﻗﺮﺑﺎﻧﻲ ﭼﻨﻴﻦ‬
‫ِ ﺁﺭﺍﻣﺶ‪ ،‬ﺩﻋﺎ ﻣﻲﻛﻨﺪ ﺧﺸﻜﺴﺎﻟﻲ ﻭ ﻗﺤﻄﻲ ﺑﺮ ﺳﺮ‬ ‫ﺑﺪﺑﻴﺎﺭﻱﺍﻱ ﺷﺪﻩ‪ ،‬ﺩﺭ ﮐﻤﺎﻝ‬
‫ِ ﻣﺴﺘﺒﺪ ﻳﺎ ﺭژﻳﻢ‬
‫ِ‬ ‫ﺭﻭﺳﺘﺎ ﺑﻴﺎﻳﺪ«‪ .‬ﺳﺎﺩﻩ ﺍﺳﺖ ﺑﺒﻴﻨﻴﻢ ﭘﺎﺭﺍﻧﻮﻳﺎ‪ ،‬ﻋﻨﺼﺮ‬
‫ﺩﻻﻟﺖﮔﺮ‪ ،‬ﻳﺎ ﺩﻳﮕﺮﺑﺎﺭ‪ ،‬ﺑﻪ ﻗﻮﻝ ﻟﻮﻱ ـ ﺍﺷﺘﺮﺍﻭﺱ »ﺗﻌﺼﺐ« ﮐﺠﺎ ﻗﺮﺍﺭ‬
‫ﺩﺍﺭﺩ‪» :‬ﻋﻤﻼً‪ ،‬ﻫﻤﻪ ﭼﻴﺰ ﺑﺮﺍﻱ ﻳﮏ ﻫﭙﻲ ﻣﺘﺼﻞ ﺍﺳﺖ‪ :‬ﺍﺧﺘﻼﻟﻲ ﺍﺟﺘﻤﺎﻋﻲ ﻳﺎ‬
‫ﻭﺍﻗﻌﻪﺍﻱ ﺧﺎﻧﮕﻲ ﺳﻴﺴﺘﻢ ﺟﻬﺎﻥ ﺭﺍ ﮐﻪ ﺳﻄﻮﺡﺍﺵ ﺑﺎ ﺗﻨﺎﻇﺮﻫﺎﻱ ﺑﺲﮔﺎﻧﻪ‬
‫ﻭﺣﺪﺕ ﻳﺎﻓﺘﻪﺍﻧﺪ‪ ،‬ﺑﻪ ﭼﺎﻟﺶ ﻣﻲﻛﺸﺪ؛ ﺍﻧﻘﻄﺎﻋﻲ ﺑﺮ ﺻﻔﺤﻪﺍﻱ ﻣﻌﻘﻮﻝ ﻭ ﺍﺯ‬
‫ِ ﺍﺧﻼﻗﻴﺎﺗﻲ ﺗﺤﻤﻞﭘﺬﻳﺮ ﺍﺳﺖ‪ ،‬ﺁﻥ ﻫﻢ ﺗﻨﻬﺎ ﻫﻤﭽﻮﻥ ﻃﺮﺡﺍﻓﮑﻨﻲ ﺩﻳﮕﺮ‬ ‫ﻧﻈﺮ‬

‫‪ .‬ﺭﺍﺟﻊ ﺑﻪ ﺗﺤﻠﻴﻞ‬
‫ِ ﺍﻳﻦ ﺩﻭ ﻣﻮﺭﺩ‪ ،‬ﺭ‪.‬ک‪.‬‬
‫‪Levi-Strauss, The Savage Mind (Chicago: University of Chicago Press, 1966), pp. 209ff.‬‬
‫‪ ،Crow .‬ﺑﻪ ﻋﻀﻮ‬
‫ِ ﻗﺒﻴﻠﻪﻱ ﺳﺮﺥﭘﻮﺳﺘﺎﻥِ ﮐﺮﻭ ﺩﺭ ﻣﻮﻧﺘﺎﻧﺎﻱ ﺷﻤﺎﻟﻲ ﮐﺮﻭ ﻣﻲﮔﻮﻳﻨﺪ‪ .‬ﻡ‬
‫‪ ،Hopi .‬ﺑﻪ ﻋﻀﻮ ﻗﺒﻴﻠﻪﻱ ﺳﺮﺥﭘﻮﺳﺘﺎﻥِ ﭘﻮﺋ‬
‫ِﺒﻠﻮ ﺩﺭ ﺁﺭﻳﺰﻭﻧﺎﻱ ﺷﻤﺎﻟﻲ ﻫﭙﻲ ﻣﻲﮔﻮﻳﻨﺪ‪ .‬ﻡ‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫ِ ﺩﻳﮕﺮ«‪ .60‬ﻫﭙﻲﻫﺎ ﺍﺯ ﻳﮏ ﺣﻠﻘﻪ ﺑﻪ ﺣﻠﻘﻪﻱ‬ ‫ﺍﻧﻘﻄﺎﻉﻫﺎﻱ ﻣﺮﺗﺒﻂ ﺑﺎ ﺳﻄﻮﺡ‬
‫ﺩﻳﮕﺮ‪ ،‬ﻳﺎ ﺍﺯ ﻳﮏ ﻧﺸﺎﻧﻪ ﺑﻪ ﻧﺸﺎﻧﻪﺍﻱ ﻣﺘﻔﺎﻭﺕ ﻣﻲﭘﺮﻧﺪ‪ .‬ﻳﮏ ﻫﭙﻲ ﺭﻭﺳﺘﺎ‬
‫ِ ﺑﺎﺯﮔﺸﺘﻦ ﺗﺮک ﻣﻲﻛﻨﺪ‪ .‬ﭘﺮﺵﻫﺎ ﻧﻪ ﺗﻨﻬﺎ ﺑﺎ ﺁﻳﻴﻦﻫﺎﻱ‬ ‫ﻳﺎ ﺷﻬﺮ ﺭﺍ ﺑﻪ ﻗﺼﺪ‬
‫ﭘﻴﺸﺎﺩﻻﻟﺖﮔﺮ‪ ،‬ﺑﻞ ﻫﻤﭽﻨﻴﻦ ﺑﺎ ﺑﻮﺭﻭﮐﺮﺍﺳﻲ ﺳﺮﺗﺎﺳﺮ ﺍﻣﭙﺮﺍﻃﻮﺭﻱ ﮐﻪ ﺭﺍﺟﻊ‬
‫ﺑﻪ ﻣﺸﺮﻭﻋﻴﺖﺷﺎﻥ ﺩﺍﻭﺭﻱ ﻣﻲﻛﻨﺪ‪ ،‬ﺗﻨﻈﻴﻢ ﻭ ﻗﺎﻋﺪﻩﻣﻨﺪ ﻣﻲﺷﻮﻧﺪ‪ .‬ﺍﻳﻦ‬
‫ﭘﺮﺵﻫﺎ ﺑﻪ ﺗﺼﺎﺩﻑ ﺍﻳﺠﺎﺩ ﻧﻤﻲﺷﻮﻧﺪ ﻭ ﺑﺪﻭﻥِ ﻗﺎﻋﺪﻩ ﻧﻴﺴﺘﻨﺪ‪ .‬ﻧﻪ ﺗﻨﻬﺎ‬
‫ﺗﻨﻈﻴﻢ ﻭ ﻗﺎﻋﺪﻩﻣﻨﺪ ﻣﻲﺷﻮﻧﺪ‪ ،‬ﺑﻠﻜﻪ ﺑﻌﻀﻲ ﺍﺯ ﺁﻥﻫﺎ ﻧﻴﺰ ﻣﻤﻨﻮﻉ ﻫﺴﺘﻨﺪ‪:‬‬
‫ﺍﺯ ﺑﻴﺮﻭﻧﻲﺗﺮﻳﻦ ﺣﻠﻘﻪ ﻗﺪﻡ ﻓﺮﺍﺗﺮ ﻧﮕﺬﺍﺭﻳﺪ‪ ،‬ﺑﻪ ﺩﺍﺧﻠﻲﺗﺮﻳﻦ ﺣﻠﻘﻪ‬
‫ﻧﺰﺩﻳﮏ ﻧﺸﻮﻳﺪ‪ ...‬ﺗﻤﺎﻳﺰﻱ ﺑﻴﻦِ ﺣﻠﻘﻪﻫﺎ ﺩﺭ ﮐﺎﺭ ﺍﺳﺖ‪ ،‬ﺯﻳﺮﺍــ ﺑﺎ ﺍﻳﻦﻛﻪ‬
‫ﻫﻤﻪﻱ ﻧﺸﺎﻧﻪﻫﺎ ﺗﺎ ﺣﺪﻱ ﺑﻪ ﻳﮑﺪﻳﮕﺮ ﺍﺭﺟﺎﻉ ﻣﻲﻳﺎﺑﻨﺪ ﮐﻪ ﻗﻠﻤﺮﻭﺯﺩﺍﻳﻲ‬
‫ِ ﻇﺮﻓﻴﺖِ ﺩﻻﻟﺘﻲ ﻫﺪﺍﻳﺖ ﺷﻮﻧﺪ‪ ،‬ﻭ ﺩﺭ ﺳﺮﺗﺎﺳﺮ‬
‫ِ‬ ‫ﺷﻮﻧﺪ‪ ،‬ﺑﻪ ﺳﻮﻱ ﻫﻤﺎﻥ ﻣﺮﮐﺰ‬
‫ﭘﻴﻮﺳﺘﺎﺭﻱ ﺑﺪﻭﻥِ ﺭﻳﺨﺖ ﺗﻮﺯﻳﻊ ﺷﻮﻧﺪــﺳﺮﻋﺖﻫﺎﻱ ﻗﻠﻤﺮﻭﺯﺩﺍﻳﻲ ﻣﺘﻔﺎﻭﺗﻲ‬
‫ِ ﺗﻮﻟﺪﺷﺎﻥ ﻫﺴﺘﻨﺪ )ﻣﻌﺒﺪ‪ ،‬ﮐﺎﺥ‪ ،‬ﺧﺎﻧﻪ‪ ،‬ﺧﻴﺎﺑﺎﻥ‪،‬‬ ‫ِ ﻣﺤﻞ‬
‫ﺩﺍﺭﻧﺪ ﮐﻪ ﮔﻮﺍﻩ‬
‫ِ‬
‫ِ ﻧﺴﺒﺖﻫﺎﻱ ﺗﻔﺎﻭﺕﮔﺬﺍﺭﻱ ﻫﺴﺘﻨﺪ ﮐﻪ ﺣﺎﻓﻆ‬ ‫ﺭﻭﺳﺘﺎ‪ ،‬ﺑﻴﺸﻪ‪ ،‬ﻭ ﺍﻟﺦ(‪ ،‬ﻭ ﻭﺍﺟﺪ‬
‫ِ ﭘﻴﻮﺳﺘﺎﺭ ﻫﺴﺘﻨﺪ‬ ‫ﺗﻔﺎﻭﺕِ ﺑﻴﻦِ ﺣﻠﻘﻪﻫﺎ ﻳﺎ ﺳﺎﺯﻧﺪﻩﻱ ﺁﺳﺘﺎﻧﻪﻫﺎ ﺩﺭ ﺟﻮ‬
‫)ﺧﺼﻮﺻﻲ ﻳﺎ ﻋﻤﻮﻣﻲ‪ ،‬ﻭﺍﻗﻌﻪﻱ ﺧﺎﻧﻮﺍﺩﮔﻲ ﻭ ﺑﻲﻧﻈﻤﻲ ﺍﺟﺘﻤﺎﻋﻲ(‪ .‬ﺑﻪ ﻋﻼﻭﻩ‪،‬‬
‫ِ ﺍﻳﻦ ﺁﺳﺘﺎﻧﻪﻫﺎ ﻭ ﺣﻠﻘﻪﻫﺎ ﻣﻮﺭﺩ ﺑﻪ ﻣﻮﺭﺩ ﺗﻐﻴﻴﺮ ﻣﻲﻛﻨﺪ‪ .‬ﻓﺮﻳﺐ‬ ‫ﺗﻮﺯﻳﻊ‬
‫ﺩﺭ ﺍﻳﻦ ﺳﻴﺴﺘﻢ ﺑﻨﻴﺎﺩﻳﻦ ﺍﺳﺖ‪ .‬ﭘﺮﻳﺪﻥ ﺍﺯ ﻳﮏ ﺣﻠﻘﻪ ﺑﻪ ﺣﻠﻘﻪﻱ ﺩﻳﮕﺮ‪،‬‬
‫ﺣﺮﮐﺖﺩﺍﺩﻥِ ﻫﻤﻴﺸﮕﻲ ﺻﺤﻨﻪ‪ ،‬ﭘﺎﻳﺎﻥﺭﺳﺎﻧﺪﻥﺍﺵ ﺩﺭ ﺟﺎﻳﻲ ﺩﻳﮕﺮ‪ :‬ﻋﻤﻠﻴﺎﺕِ‬
‫ِ ﺳﻮژﻩﺍﻱ ﮐﻪ ﺑﻪ ﻋﻤﻠﻴﺎﺕِ ﭘﺎﺭﺍﻧﻮﺋﻴﮏِ ﻣﺴﺘﺒﺪ‬ ‫ﻫﻴﺴﺘﺮﻳﮏِ ﻓﺮﻳﺒﮑﺎﺭ ﺩﺭ ﻣﻘﺎﻡ‬
‫ِ ﻇﺮﻓﻴﺖِ ﺩﻻﻟﺘﻲ ﭘﺎﺳﺦ ﻣﻲﺩﻫﺪ‪ ،‬ﭼﻨﻴﻦ ﺍﺳﺖ‪.‬‬‫ﻭ ﻣﺴﺘﻘﺮ ﺩﺭ ﻣﺮﮐﺰ‬
‫ً‬
‫ِ ﺩﻻﻟﺖﮔﺮ ﺻﺮﻓﺎ ﺑﺎ ﺭﺳﺎﻟﺖِ‬ ‫ﺟﻨﺒﻪﻱ ﺩﻳﮕﺮﻱ ﻧﻴﺰ ﺩﺭ ﮐﺎﺭ ﺍﺳﺖ‪ :‬ﺭژﻳﻢ‬
‫ﺳﺎﺯﻣﺎﻧﺪﻫﻲ ﻧﺸﺎﻧﻪﻫﺎ )ﮐﻪ ﺍﺯ ﻫﺮ ﺳﻮ ﻣﺘﺼﺎﻋﺪ ﻣﻲﺷﻮﻧﺪ( ﺩﺭ ﻗﺎﻟﺐِ ﺣﻠﻘﻪﻫﺎ‬
‫ِ ﺣﻠﻘﻪﻫﺎ ﻳﺎ ﻣﺎﺭﭘﻴﭻ ﺭﺍ ﺗﻀﻤﻴﻦ‬ ‫ً ﺑﺴﻂ‬
‫ﻣﻮﺍﺟﻪ ﻧﻴﺴﺖ‪ ،‬ﺑﻠﻜﻪ ﺑﺎﻳﺪ ﺩﺍﺋﻤﺎ‬
‫ﮐﻨﺪ‪ ،‬ﺑﺎﻳﺪ ﺑﺮﺍﻱ ﻏﻠﺒﻪﮐﺮﺩﻥ ﺑﺮ ﺁﻧﺘﺮﻭﭘﻲ ﺫﺍﺗﻲ ﺳﻴﺴﺘﻢ ﻭ ﻭﺍﺩﺍﺷﺘﻦِ‬
‫ِ ﺑﻴﺸﺘﺮﻱ‬‫ِ ﺣﻠﻘﻪﻫﺎﻱ ﻗﺪﻳﻤﻲ‪ ،‬ﺩﺍﻝ‬ ‫ﺣﻠﻘﻪﻫﺎﻱ ﺟﺪﻳﺪ ﺑﻪ ﺷﮑﻮﻓﺎﻳﻲ ﻳﺎ ﺗﮑﻤﻴﻞ‬
‫ِ ﺛﺎﻧﻮﻱ ﺩﺭ ﺧﺪﻣﺖِ ﻇﺮﻓﻴﺖِ‬‫ﺑﺮﺍﻱ ﻣﺮﮐﺰ ﻓﺮﺍﻫﻢ ﺁﻭﺭﺩ‪ .‬ﺍﺯ ﺍﻳﻦﺭﻭ‪ ،‬ﻣﮑﺎﻧﻴﺴﻢ‬
‫ِ ﺟﺪﻳﺪﻱ‬‫ﺩﻻﻟﺘﻲ ﺿﺮﻭﺭﻱ ﺍﺳﺖ‪ :‬ﻇﺮﻓﻴﺖِ ﺗﻔﺴﻴﺮﻱ ﻳﺎ ﺗﻔﺴﻴﺮ‪ .‬ﺍﻳﻦﺑﺎﺭ ﺩﺍﻝ ﺷﮑﻞ‬
‫ِ ﺑﺪﻭﻥِ ﺭﻳﺨﺘﻲ ﻧﻴﺴﺖ ﮐﻪ ﺑﻲﺁﻥﻛﻪ‬‫ﺑﻪ ﺧﻮﺩ ﻣﻲﮔﻴﺮﺩ‪ :‬ﺩﺍﻝ ﺩﻳﮕﺮ ﺁﻥ ﭘﻴﻮﺳﺘﺎﺭ‬
‫ﺷﻨﺎﺧﺘﻪ ﺷﻮﺩ‪ ،‬ﺩﺍﺩﻩ ﺷﺪﻩ ﺑﺎﺷﺪ؛ ﺩﺍﻝﺍﻱ ﮐﻪ ﺷﺒﮑﻪﻱ ﻧﺸﺎﻧﻪﻫﺎ ﺍﺯ ﻣﻴﺎﻥِ ﺁﻥ‬
‫ﺑﻪ ﺭﻳﺴﻤﺎﻥ ﮐﺸﻴﺪﻩ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺳﻬﻤﻲ ﺍﺯ ﻣﺪﻟﻮﻝ ﺑﺮﺍﻱ ﺗﻨﺎﻇﺮ ﺑﺎ ﻳﮏ‬
‫ﻧﺸﺎﻧﻪ ﻳﺎ ﮔﺮﻭﻫﻲ ﺍﺯ ﻧﺸﺎﻧﻪﻫﺎ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﮐﻪ ﺁﻥ ﻣﺪﻟﻮﻝ ﺭﺍ ﻣﻨﺎﺳﺐ‬
‫ﭘﻨﺪﺍﺷﺘﻪ ﺍﺳﺖ ﻭ ﺍﺯ ﺍﻳﻦﺭﻭ ﺁﻥ ﺭﺍ ﻗﺎﺑﻞ ﺷﻨﺎﺧﺖ ﻣﻲﺳﺎﺯﺩ‪ .‬ﺑﻪ ﻣﺤﻮﺭ‬
‫ِ‬
‫ﻫﻤﻨﺸﻴﻨﻲ ﻧﺸﺎﻧﻪﺍﻱ ﮐﻪ ﺑﻪ ﺩﻳﮕﺮ ﻧﺸﺎﻧﻪﻫﺎ ﺍﺭﺟﺎﻉ ﻣﻲﻳﺎﺑﺪ‪ ،‬ﻣﺤﻮﺭ‬
‫ِ‬

‫‪ .‬ﺭ‪.‬ک‪ .‬ﻣﻘﺪﻣﻪﻱ ﻟﻮﻱ ﺍﺷﺘﺮﺍﺱ ﺑﻪ ﮐﺘﺎﺏِ‬

‫‪Don C. Talayesva, Soleil Hopi (Paris: Plon, 1968), p. vi [translation of Sun Chief, ed. Leo W. Simmons (New Haven, Conn.: Yale‬‬
‫‪University Press, 1942)].‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫ﺟﺎﻧﺸﻴﻨﻲ ﺍﺿﺎﻓﻪ ﺷﺪﻩ ﮐﻪ ﻧﺸﺎﻧﻪﻱ ﻓﺮﻣﺎﻝﺷﺪﻩ ﺑﺮ ﺁﻥ ﻣﺪﻟﻮﻟﻲ ﻣﻨﺎﺳﺐ ﺑﺮﺍﻱ‬
‫ِ ﻣﺤﺘﻮﺍ ﺩﺭ ﮐﺎﺭ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺑﻪ‬‫ﺧﻮﺩ ﺩﺳﺖ ﻭ ﭘﺎ ﻣﻲﻛﻨﺪ )ﺩﻳﮕﺮﺑﺎﺭ‪ ،‬ﺍﻧﺘﺰﺍﻉ‬
‫ﺷﻴﻮﻩﺍﻱ ﻧﻮ(‪ .‬ﮐﺸﻴﺶِ ﺗﻔﺴﻴﺮﮔﺮ‪ ،‬ﻳﺎ ﭘﻴﺶﮔﻮ‪ ،‬ﻳﮑﻲ ﺍﺯ ﺑﻮﺭﻭﮐﺮﺍﺕﻫﺎﻱ‬
‫ﻣﺴﺘﺒﺪـﺧﺪﺍ ﺍﺳﺖ‪ .‬ﺟﻨﺒﻪﻱ ﺟﺪﻳﺪ ﻓﺮﻳﺐ ﺳﺮﺑﺮﻣﻲﺁﻭﺭﺩ‪ ،‬ﻓﺮﻳﺐِ ﮐﺸﻴﺶ‪ :‬ﺗﻔﺴﻴﺮ‬
‫ﺗﺎ ﺑﻲﻧﻬﺎﻳﺖ ﺑﺮﺩﻩ ﻣﻲﺷﻮﺩ ﻭ ﻫﺮﮔﺰ ﺑﺎ ﭼﻴﺰﻱ ﻣﻮﺍﺟﻪ ﻧﻤﻲﺷﻮﺩ ﺗﺎ ﭼﻴﺰﻱ ﺭﺍ‬
‫ً ﺩﺍﻝ ﺭﺍ‬
‫ﺗﻔﺴﻴﺮ ﮐﻨﺪ ﮐﻪ ﭘﻴﺸﺘﺮ ﺧﻮﺩ ﻧﻮﻋﻲ ﺗﻔﺴﻴﺮ ﻧﺒﺎﺷﺪ‪ .‬ﻣﺪﻟﻮﻝ ﺩﺍﺋﻤﺎ‬
‫ﺍﺯ ﻧﻮ ﺑﻬﺮﻩﻣﻨﺪ ﻣﻲﻛﻨﺪ‪ ،‬ﺁﻥ ﺭﺍ ﺩﻭﺑﺎﺭﻩ ﺑﺎﺭﮔﺬﺍﺭﻱ ﻣﻲﻛﻨﺪ‪ ،‬ﻳﺎ ﺩﺍﻝﻫﺎﻱ‬
‫ﺑﻴﺸﺘﺮﻱ ﺗﻮﻟﻴﺪ ﻣﻲﻛﻨﺪ‪ .‬ﻓﺮﻡ ﻫﻤﻮﺍﺭﻩ ﺍﺯ ﺩﺍﻝ ﻧﺸﺄﺕ ﻣﻲﮔﻴﺮﺩ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ‪،‬‬
‫ِ ﺩﺍﻝ ﺍﺳﺖ‪ ،‬ﺁﻥ ﻫﻢ ﺩﺭ ﺣﺸﻮ ﻳﺎ »ﻓﺰﻭﻧﻲ«ﺍﺵ‪ .‬ﮐﺎﻣﻼً‬ ‫ِ ﻏﺎﻳﻲ ﺧﻮﺩ‬ ‫ﻣﺪﻟﻮﻝ‬
‫ِ‬
‫ِ ﺗﻮﻟﻴﺪ‬
‫ﺑﻴﻬﻮﺩﻩ ﺍﺳﺖ ﮐﻪ ﺑﺨﻮﺍﻫﻴﻢ ﺍﺯ ﺗﻔﺴﻴﺮ ﻳﺎ ﺣﺘﻲ ﺍﺭﺗﺒﺎﻁ ﺍﺯ ﺧﻼﻝ‬
‫ﺩﺍﻝ ﻓﺮﺍﺭﻭﻱ ﮐﻨﻴﻢ‪ ،‬ﺯﻳﺮﺍ ﺍﺭﺗﺒﺎﻁ ﻭ ﺗﻔﺴﻴﺮ ﻫﻤﻮﺍﺭﻩ ﺩﺭ ﺧﺪﻣﺖِ ﺑﺎﺯﺗﻮﻟﻴﺪ‬
‫ً ﺭﺍﻫﻲ ﺑﺮﺍﻱ ﺍﺣﻴﺎﻱ ﺍﻧﮕﺎﺭﻩﻱ‬ ‫ِ ﺩﺍﻝ ﻫﺴﺘﻨﺪ‪ .‬ﺍﻳﻦ ﻣﺴﻴﺮ ﻗﻄﻌﺎ‬ ‫ﻭ ﺗﻮﻟﻴﺪ‬
‫ﺗﻮﻟﻴﺪ ﻧﻴﺴﺖ‪ .‬ﮐﺸﻒِ ﮐﺸﻴﺶـﺭﻭﺍﻥﮐﺎﻭﻫﺎ )ﮐﺸﻔﻲ ﮐﻪ ﻫﺮ ﻧﻮﻋﻲ ﺍﺯ ﮐﺸﻴﺶ ﻳﺎ‬
‫ﻏﻴﺐﮔﻮﻳﻲ ﺩﺭ ﺯﻣﺎﻧﻪﻱ ﺧﻮﺩﺷﺎﻥ ﮐﺮﺩﻧﺪ( ﺍﻳﻦ ﺑﻮﺩ ﮐﻪ ﺗﻔﺴﻴﺮ ﺑﺎﻳﺪ ﺩﺭ‬
‫ِ ﻇﺮﻓﻴﺖِ ﺩﻻﻟﺘﻲ ﺑﺎﺷﺪ؛ ﺁﻥ ﻫﻢ ﺗﺎ ﺟﺎﻳﻲ ﮐﻪ ﺩﺍﻝ ﺑﻬﺮﻩﺍﻱ ﺍﺯ‬ ‫ﺍﻧﻘﻴﺎﺩ‬
‫ﻣﺪﻟﻮﻝ ﻧﻤﻲﺑﺮﺩ ﺑﻲﺁﻥﻛﻪ ﻣﺪﻟﻮﻝ ﻧﻴﺰ ﺑﻪﻧﻮﺑﻪﻱ ﺧﻮﺩﺵ ﺍﺯ ﻧﻮ ﺑﻬﺮﻩﺍﻱ ﺍﺯ‬
‫ﺩﺍﻝ ﻧﺒﺮﺩ‪ .‬ﺩﺭ ﻭﺍﻗﻊ‪ ،‬ﺩﻳﮕﺮ ﺣﺘﻲ ﻧﻴﺎﺯﻱ ﺑﻪ ﺗﻔﺴﻴﺮ ﻧﻴﺴﺖ‪ ،‬ﭼﺮﺍﮐﻪ‬
‫ﺑﻬﺘﺮﻳﻦ‪ ،‬ﺳﻨﺠﻴﺪﻩﺗﺮﻳﻦ‪ ،‬ﻭ ﺭﻳﺸﻪﺍﻱﺗﺮﻳﻦ ﺗﻔﺴﻴﺮ ﺳﮑﻮﺗﻲ ﺑﻲﺍﻧﺪﺍﺯﻩ‬
‫ﻣﻌﻨﺎﺩﺍﺭ ﺍﺳﺖ‪ .‬ﺑﻪ ﺧﻮﺑﻲ ﻣﻲﺩﺍﻧﻴﻢ ﮔﺮﭼﻪ ﺭﻭﺍﻥﮐﺎﻭﻫﺎ ﺍﺯ ﺳﺨﻦﮔﻔﺘﻦ ﺩﺳﺖ‬
‫ﮐﺸﻴﺪﻩﺍﻧﺪ‪ ،‬ﺍﻣﺎ ﺣﺘﻲ ﺑﻴﺶ ﺍﺯ ﭘﻴﺶ ﺗﻔﺴﻴﺮ ﻣﻲﻛﻨﻨﺪ‪ ،‬ﻳﺎ ﺑﻪ ﺑﻴﺎﻥ ﺑﻬﺘﺮ‪،‬‬
‫ﺑﻪ ﺗﻔﺴﻴﺮ ﺍﺯ ﺟﺎﻧﺐِ ﺳﻮژﻩ ﺩﺍﻣﻦ ﻣﻲﺯﻧﻨﺪ؛ ﺳﻮژﻩﺍﻱ ﮐﻪ ﺍﺯ ﻳﮏ ﺣﻠﻘﻪﻱ‬
‫ﺟﻬﻨﻢ ﺑﻪ ﺣﻠﻘﻪ ﺑﻌﺪﻱ ﻣﻲﭘﺮﺩ‪ .‬ﺩﺭ ﺣﻘﻴﻘﺖ‪ ،‬ﻇﺮﻓﻴﺖِ ﺩﻻﻟﺘﻲ ﻳﺎ‬
‫ﺽ ﺯﻣﻴﻦ ﻳﺎ ﭘﻮﺳﺖ‪ ،‬ﻳﺎ ﻫﻤﺎﻥ ﺭﻭﺍﻥﺭﻧﺠﻮﺭﻱ‬ ‫ﺗﻔﺴﻴﺮﺭﻧﺠﻮﺭﻱ‪ 61‬ﺩﻭ ﻣﺮِ‬
‫ﺑﻨﻴﺎﺩﻳﻦِ ﺑﺸﺮ ﻫﺴﺘﻨﺪ‬
‫ِ ﻇﺮﻓﻴﺖِ ﺩﻻﻟﺘﻲ ﻳﺎ ﺩﺍﻝ ﺑﻪﻧﻔﺴﻪ‬
‫ِ ﺯﻳﺎﺩﻱ ﻧﺪﺍﺭﻳﻢ ﮐﻪ ﺭﺍﺟﻊ ﺑﻪ ﻣﺮﮐﺰ‬‫ﭼﻴﺰ‬
‫ِ ﻇﺮﻓﻴﺖِ ﺩﻻﻟﺘﻲ ﻫﻤﺎﻥﻗﺪﺭ ﺍﻧﺘﺰﺍﻋﻲ ﻧﺎﺏ ﺍﺳﺖ ﮐﻪ‬ ‫ﺑﮕﻮﻳﻴﻢ‪ ،‬ﺯﻳﺮﺍ ﻣﺮﮐﺰ‬
‫ﺍﺻﻠﻲ ﻧﺎﺏ ﻧﻴﺰ ﻣﺤﺴﻮﺏ ﻣﻲﺷﻮﺩ؛ ﺑﻪ ﺑﻴﺎﻥِ ﺩﻳﮕﺮ‪ ،‬ﻇﺮﻓﻴﺖِ ﺩﻻﻟﺘﻲ ﻫﻴﭻ‬
‫ﻧﻴﺴﺖ‪ .‬ﺍﻫﻤﻴﺖ ﻧﺪﺍﺭﺩ ﻓﻘﺪﺍﻥ ﻣﺴﺄﻟﻪ ﺑﺎﺷﺪ ﻳﺎ ﻓﺰﻭﻧﻲ‪ .‬ﺑﻪ ﺣﺮﻑ ﻣﺸﺎﺑﻪﺍﻱ‬
‫ﻣﻲﺭﺳﻴﻢ ﺍﮔﺮ ﺑﮕﻮﻳﻴﻢ ﮐﻪ ﻧﺸﺎﻧﻪ ﺗﺎ ﺑﻲﻧﻬﺎﻳﺖ ﺑﻪ ﻧﺸﺎﻧﻪﻫﺎﻱ ﺩﻳﮕﺮ ﺍﺭﺟﺎﻉ‬
‫ﻣﻲﻳﺎﺑﺪ ﻭ ﻣﺠﻤﻮﻋﻪﻱ ﻧﺎﻣﺘﻨﺎﻫﻲ ﻫﻤﻪﻱ ﻧﺸﺎﻧﻪﻫﺎ ﺑﻪ ﺩﺍﻟﻲ ﺑﺮﺗﺮ ﺍﺭﺟﺎﻉ‬
‫ِ ﻧﺎﺏِ ﺩﺍﻝ ﺣﺘﻲ ﻧﻤﻲﺗﻮﺍﻧﺴﺖ‬ ‫ِ ﻓﺮﻣﺎﻝ‬‫ﻣﻲﻳﺎﺑﺪ‪ .‬ﺩﺭ ﻫﺮ ﺣﺎﻝ‪ ،‬ﺍﻳﻦ ﺣﺸﻮ‬
‫ِ ﺑﻴﺎﻥِ ﺧﻮﻳﺶ ﺭﺍ ﮐﻪ ﺑﺎﻳﺪ ﺑﺮﺍﻱ ﺁﻥ ﺍﺳﻤﻲ‬ ‫ﻣﻔﻬﻮﻡﭘﺮﺩﺍﺯﻱ ﺷﻮﺩ ﺍﮔﺮ ﺟﻮﻫﺮ‬
‫ﺑﻴﺎﺑﻴﻢ ﻧﻤﻲﺩﺍﺷﺖ‪ :‬ﭼﻬﺮﻩﺍﻱﺑﻮﺩﻥ‪ .62‬ﻧﻪ ﺗﻨﻬﺎ ﺧﺼﻴﺼﻪﻫﺎﻱ ﭼﻬﺮﻩﺍﻱﺑﻮﺩﻥ‬
‫ﻫﻤﻴﺸﻪ ﺯﺑﺎﻥ ﺭﺍ ﻫﻤﺮﺍﻫﻲ ﻣﻲﻛﻨﻨﺪ‪ ،‬ﺑﻠﻜﻪ ﭼﻬﺮﻩ ﻫﻤﻪﻱ ﺣﺸﻮﻫﺎ ﺭﺍ ﻣﺘﺒﻠﻮﺭ‬
‫ﻣﻲﻛﻨﺪ‪ ،‬ﻭ ﻧﺸﺎﻧﻪﻫﺎﻱ ﺩﻻﻟﺖﮔﺮ ﺭﺍ ﻣﺘﺼﺎﻋﺪ ﻭ ﺩﺭﻳﺎﻓﺖ‪ ،‬ﺁﺯﺍﺩ ﻭ ﺍﺯ ﻧﻮ‬

‫‪61. interpretosis‬‬
‫‪62. faciality‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

‫ﺗﺴﺨﻴﺮ ﻣﻲﻛﻨﺪ‪ .‬ﭼﻬﺮﻩ ﺑﺪﻧﻲ ﺳﺮﺗﺎﺳﺮ ﻣﻌﻄﻮﻑ ﺑﻪ ﺧﻮﻳﺶ ﺍﺳﺖ‪ :‬ﺷﺒﻴﻪ ﺑﺪﻥِ‬
‫ِ ﻇﺮﻓﻴﺖِ ﺩﻻﻟﺘﻲ ﺍﺳﺖ ﮐﻪ ﻫﻤﻪﻱ ﻧﺸﺎﻧﻪﻫﺎﻱ ﻗﻠﻤﺮﻭﺯﺩﻭﺩﻩ ﺧﻮﺩ ﺭﺍ ﺑﻪ‬ ‫ﻣﺮﮐﺰ‬
‫ِ ﻗﻠﻤﺮﻭﺯﺩﺍﻳﻲ ﺍﻳﻦ ﻧﺸﺎﻧﻪﻫﺎ ﺭﺍ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ‪.‬‬ ‫ﺁﻥ ﺍﻟﺼﺎﻕ ﻣﻲﻛﻨﻨﺪ‪ ،‬ﻭ ﺣﺪ‬
‫ﺻﺪﺍ ﺍﺯ ﭼﻬﺮﻩ ﺳﺎﻃﻊ ﻣﻲﺷﻮﺩ؛ ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮ ﺍﺳﺖ ﮐﻪ ﺁﻥﭼﻪ ﻧﻮﺷﺘﻪ ﺷﺪﻩ‬
‫ﺧﺼﻴﺼﻪﺍﻱ ﺩﻫﺎﻧﻲ ﻳﺎ ﻏﻴﺮﮐﺘﺎﺑﻲ ﺭﺍ ﺣﻔﻆ ﻣﻲﻛﻨﺪ‪ ،‬ﻫﺮ ﻗﺪﺭ ﻫﻢ ﮐﻪ ﻣﺎﺷﻴﻦِ‬
‫ً ﺩﺭ ﺑﻮﺭﻭﮐﺮﺍﺳﻲ ﺍﻣﭙﺮﺍﻃﻮﺭﻱ ﻣﻬﻢ ﺑﺎﺷﺪ‪ .‬ﭼﻬﺮﻩ ﺷﻤﺎﻳﻞ‬
‫ِ‬ ‫ﻧﻮﺷﺘﻦ ﺍﺳﺎﺳﺎ‬
‫ِ ﺩﻻﻟﺖﮔﺮ‪ ،‬ﻳﺎ ﻧﻮﻋﻲ ﺑﺎﺯﻗﻠﻤﺮﻭﮔﺬﺍﺭﻱ ﻣﺤﺴﻮﺏ ﻣﻲﺷﻮﺩ ﮐﻪ ﻧﺴﺒﺖ‬ ‫ﻣﻨﺎﺳﺐِ ﺭژﻳﻢ‬
‫ﺑﻪ ﺳﻴﺴﺘﻢ ﺩﺭﻭﻧﻲ ﺍﺳﺖ‪ .‬ﺩﺍﻝ ﺑﺮ ﭼﻬﺮﻩ ﺑﺎﺯﻗﻠﻤﺮﻭﮔﺬﺍﺭﻱ ﻣﻲﻛﻨﺪ‪ .‬ﭼﻬﺮﻩ‬
‫ﺟﻮﻫﺮ ﺭﺍ ﺑﻪ ﺩﺍﻝ ﻣﻲﺩﻫﺪ؛ ﺍﻳﻦ ﻭﺿﻌﻴﺖ ﺑﻪ ﺗﻔﺴﻴﺮ ﺩﺍﻣﻦ ﻣﻲﺯﻧﺪ‪ ،‬ﻭ ﺗﻐﻴﻴﺮ‬
‫ﻣﻲﻛﻨﺪ‪ ،‬ﺧﺼﻴﺼﻪﻫﺎ ﺭﺍ ﺗﻐﻴﻴﺮ ﻣﻲﺩﻫﺪ‪ ،‬ﺁﻥ ﻫﻢ ﻭﻗﺘﻲ ﺗﻔﺴﻴﺮ ﺩﺍﻝ ﺭﺍ ﺍﺯ‬
‫ﺟﻮﻫﺮﺵ ﺑﻬﺮﻩﻣﻨﺪ ﻣﻲﻛﻨﺪ‪ .‬ﻧﮕﺎﻩ ﮐﻨﻴﺪ‪ ،‬ﺑﻴﺎﻥﺍﺵ ﺗﻐﻴﻴﺮ ﮐﺮﺩ‪ .‬ﺩﺍﻝ ﻫﻤﻴﺸﻪ‬
‫ِ ﻣﻨﻈﻮﻣﻪﻱ‬ ‫ﭼﻬﺮﻩﺍﻱﺷﺪﻩ ﺍﺳﺖ‪ .‬ﭼﻬﺮﻩﺍﻱﺑﻮﺩﻥ ﻣﺎﺩﻳﺖ ﺭﺍ ﺑﺮ ﺳﺮﺗﺎﺳﺮ‬
‫ﻇﺮﻓﻴﺖﻫﺎﻱ ﺩﻻﻟﺘﻲ ﻭ ﺗﻔﺴﻴﺮﻫﺎ ﺣﮑﻤﻔﺮﻣﺎ ﻣﻲﻛﻨﺪ )ﺭﻭﺍﻥﺷﻨﺎﺱﻫﺎ ﺑﻪﻃﻮﺭ‬
‫ﮔﺴﺘﺮﺩﻩﺍﻱ ﺭﺍﺟﻊ ﺑﻪ ﻧﺴﺒﺖﻫﺎﻱ ﮐﻮﺩک ﺑﺎ ﭼﻬﺮﻩﻱ ﻣﺎﺩﺭﺵ ﻧﻮﺷﺘﻪﺍﻧﺪ‪ ،‬ﻭ‬
‫ﺟﺎﻣﻌﻪﺷﻨﺎﺱﻫﺎ ﻧﻴﺰ ﺭﺍﺟﻊ ﺑﻪ ﻧﻘﺶِ ﭼﻬﺮﻩ ﺩﺭ ﺭﺳﺎﻧﻪﻫﺎﻱ ﻋﻤﻮﻣﻲ ﻭ ﺗﺒﻠﻴﻐﺎﺕ‬
‫ﻗﻠﻢ ﺯﺩﻩﺍﻧﺪ(‪ .‬ﻣﺴﺘﺒﺪـﺧﺪﺍ ﻫﺮﮔﺰ ﭼﻬﺮﻩﺍﺵ ﺭﺍ ﭘﻨﻬﺎﻥ ﻧﮑﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﺍﺻﻼً ﻭ‬
‫ً! ﺍﻭ ﺧﻮﺩ ﺭﺍ ﻳﮏ ﻳﺎ ﺣﺘﻲ ﭼﻨﺪﻳﻦ ﻣﻲﻛﻨﺪ‪ .‬ﻧﻘﺎﺏ ﭼﻬﺮﻩ ﺭﺍ‬ ‫ﺍﺑﺪﺍ‬
‫ﻧﻤﻲﭘﻮﺷﺎﻧﺪ‪ ،‬ﻧﻘﺎﺏ ﻫﻤﺎﻥ ﭼﻬﺮﻩ ﺍﺳﺖ‪ .‬ﮐﺸﻴﺶ ﭼﻬﺮﻩﻱ ﺧﺪﺍ ﺭﺍ ﺍﺩﺍﺭﻩ‬
‫ﻣﻲﻛﻨﺪ‪ .‬ﺑﺎ ﻣﺴﺘﺒﺪ ﻫﻤﻪ ﭼﻴﺰ ﻋﻤﻮﻣﻲ ﺍﺳﺖ‪ ،‬ﻭ ﻫﺮﭼﻪ ﮐﻪ ﻋﻤﻮﻣﻲ ﺍﺳﺖ ﺑﻪ‬
‫ﻟﻄﻒِ ﭼﻬﺮﻩ ﺍﻳﻦﮔﻮﻧﻪ ﺍﺳﺖ‪ .‬ﺩﺭﻭﻍﻫﺎ ﻭ ﻓﺮﻳﺐﻫﺎ ﻣﻤﮑﻦ ﺍﺳﺖ ﺑﺨﺸﻲ ﺑﻨﻴﺎﺩﻳﻦ‬
‫ِ ﺩﻻﻟﺖﮔﺮ ﺑﺎﺷﻨﺪ‪ ،‬ﺍﻣﺎ ﺭﺍﺯﭘﻮﺷﻲ ﺍﻳﻦﮔﻮﻧﻪ ﻧﻴﺴﺖ‪ .63‬ﺑﺮﻋﮑﺲ‪،‬‬ ‫ﺍﺯ ﺭژﻳﻢ‬
‫ﻭﻗﺘﻲ ﭼﻬﺮﻩ ﻣﺤﻮ ﻣﻲﺷﻮﺩ‪ ،‬ﻭﻗﺘﻲ ﺧﺼﻴﺼﻪﻫﺎﻱ ﭼﻬﺮﻩﺍﻱﺑﻮﺩﻥ ﻧﺎﭘﺪﻳﺪ ﻣﻲﺷﻮﻧﺪ‪،‬‬
‫ِ‬‫ِ ﺩﻳﮕﺮﻱ ﻭﺍﺭﺩ ﺷﺪﻩﺍﻳﻢ‪ ،‬ﻣﻨﺎﻃﻖ‬ ‫ﻣﻲﺗﻮﺍﻧﻴﻢ ﻣﻄﻤﺌﻦ ﺑﺎﺷﻴﻢ ﮐﻪ ﺑﻪ ﺭژﻳﻢ‬
‫ﺩﻳﮕﺮﻱ ﮐﻪ ﺑﻲﻧﻬﺎﻳﺖ ﺻﺎﻣﺖﺗﺮ ﻭ ﺩﺭکﻧﺎﭘﺬﻳﺮﺗﺮ ﻫﺴﺘﻨﺪ‪ ،‬ﺟﺎﻳﻲ ﮐﻪ‬
‫ﺷﺪﻥﻫﺎ‪،‬‬ ‫ـ‬ ‫ﻣﻮﻟﮑﻮﻟﻲ‬ ‫ﻣﻲﺩﻫﻨﺪ‪،‬‬ ‫ﺭﻭﻱ‬ ‫ﺯﻳﺮﺯﻣﻴﻨﻲ‬ ‫ﺣﻴﻮﺍﻥـﺷﺪﻥﻫﺎﻱ‬
‫ِ ﺳﻴﺴﺘﻢ ﺩﻻﻟﺖﮔﺮ ﺳﺮﺭﻳﺰ ﻣﻲﻛﻨﻨﺪ‪ .‬ﻣﺴﺘﺒﺪ‬‫ﻗﻠﻤﺮﻭﺯﺩﺍﻳﻲﻫﺎﻱ ﺷﺒﺎﻧﻪ ﺍﺯ ﺣﺪﻭﺩ‬
‫ِ ﺑﺪﻥِ ﺩﺍﻝ‬
‫ِ ﺑﺪﻥﺍﺵ ﺍﺳﺖ‪ ،‬ﺩﺭ ﻣﻘﺎﻡ‬
‫ﻳﺎ ﺧﺪﺍ ﭼﻬﺮﻩﻱ ﺧﻮﺭﺷﻴﺪﻱ ﺭﺍ ﮐﻪ ﺳﺮﺗﺎﺳﺮ‬
‫ِ ﻋﺠﻴﺐ ﻭ ﻏﺮﻳﺒﻲ ﺑﻪ ﻣﻦ ﺍﻧﺪﺍﺧﺖ‪ .‬ﺍﺑﺮﻭﻫﺎﻳﺶ ﺭﺍ‬‫ﺑﺮﻕ ﻣﻲﺍﻧﺪﺍﺯﺩ‪ .‬ﺍﻭ ﻧﮕﺎﻩ‬
‫ﮔﺮﻩ ﮐﺮﺩ‪ ،‬ﭼﻪ ﮐﺮﺩﻩﺍﻡ ﮐﻪ ﻗﻴﺎﻓﻪﺍﺵ ﺗﻐﻴﻴﺮ ﮐﺮﺩ؟ ﻋﮑﺲﺍﺵ ﺭﺍ ﺩﺭ ﻣﻘﺎﺑﻞﺍﻡ‬
‫ِ ﺍﺳﺘﺮﻳﻨﺪﺑﺮگ‪،‬‬ ‫ﺩﺍﺭﻡ‪ ،‬ﺍﻧﮕﺎﺭ ﺩﺍﺭﺩ ﺑﻪ ﻣﻦ ﻧﮕﺎﻩ ﻣﻲﻛﻨﺪ‪ ...‬ﺑﻪ ﻗﻮﻝ‬

‫ِ ﺩﻭﻟﺖ ﺻﻮﺭﺕﺍﺵ ﺭﺍ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ ﻭ‬ ‫‪ .‬ﺑﺮﺍﻱ ﻣﺜﺎﻝ‪ ،‬ﺩﺭ ﺍﺳﺎﻃﻴﺮ‬

‫ِ ﺑﺎﻧﺘﻮ ﺍﻭﻟﻴﻦ ﺑﻨﻴﺎﻥﮔﺬﺍﺭ‬
‫ً ﺟﻨﮕﺠﻮ‪ ،‬ﻫﻨﺮ‬
‫ِ ﺭﺍﺯﺩﺍﺭﻱ‬ ‫ﺩﺭ ﻣﻌﺮﺽ ﻋﻤﻮﻡ ﻣﻲﺧﻮﺭﺩ ﻭ ﻣﻲﻧﻮﺷﺪ‪ ،‬ﺩﺭﺣﺎﻟﻲﮐﻪ ﺷﮑﺎﺭﭼﻲ‪ ،‬ﻭ ﻣﺘﻌﺎﻗﺒﺎ‬
‫ﺭﺍ ﺍﺑﺪﺍﻉ ﻣﻲﮐﻨﻨﺪ‪ .‬ﺭ‪.‬ک‪.‬‬
‫‪Luc de Heusch, Le roi ivre ou I'origine de I'Etat (Paris: Gallimard, 1972), pp. 20-25.‬‬
‫ﻟﻮک ﺩﻭ ﻫﻮﺵ ﻟﺤﻈﻪﻱ ﺩﻭﻡ ﺭﺍ ﺻﺤﻪﺍﻱ ﺑﺮ ﺗﻤﺪﻧﻲ »ﭘﺎﻟﻮﺩﻩ«ﺗﺮ ﻣﻲﺩﺍﻧﺪ؛ ﺍﺯ ﺳﻮﻱ ﺩﻳﮕﺮ‪ ،‬ﺍﻳﻦ‬
‫ِ ﻧﺸﺎﻧﻪﺷﻨﺎﺧﺘﻲ ﺟﻨﮓ‬
‫ِ ﻧﺸﺎﻧﻪﺷﻨﺎﺧﺘﻲ ﻣﺘﻔﺎﻭﺗﻲ ﺍﺳﺖ‪ ،‬ﻳﻌﻨﻲ ﻫﻤﺎﻥ ﺳﻴﺴﺘﻢ‬
‫ﻧﮑﺘﻪ ﺑﺮﺍﻱ ﻣﺎ ﺳﻴﺴﺘﻢ‬
‫ِ ﻋﻤﻮﻣﻲ‪.‬‬
‫ﻭ ﻧﻪ ﺁﺛﺎﺭ‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫ِ ﺩﺍﻝ‪ ،‬ﭘﺮﺗﻮﺍﻓﮑﻨﻲ ﺩﺭ ﻫﻤﻪ ﺳﻮ‪،‬‬ ‫ِ ﭼﻬﺮﻩ‪ .‬ﻓﺮﺍﺭﻣﺰﮔﺬﺍﺭﻱ ﺗﻮﺳﻂ‬ ‫ﻧﻈﺎﺭﺕ ﺗﻮﺳﻂ‬
‫ِ ﻣﺤﻠﻲﻧﺸﺪﻩ‪.‬‬
‫ﻫﻤﻪﺟﺎـ ﺣﺎﺿﺮ‬
‫ﺩﺭ ﻧﻬﺎﻳﺖ‪ ،‬ﭼﻬﺮﻩ ﻳﺎ ﺑﺪﻥِ ﻣﺴﺘﺒﺪ ﻳﺎ ﺧﺪﺍ ﭼﻴﺰﻱ ﺷﺒﻴﻪ ﺿﺪﺑﺪﻥ ﺩﺍﺭﺩ‪:‬‬
‫ﺑﺪﻥِ ﺷﮑﻨﺠﻪﺷﺪﻩ‪ ،‬ﻳﺎ ﺑﻬﺘﺮ ﺑﮕﻮﻳﻴﻢ‪ ،‬ﺑﺪﻥِ ﺣﺬﻑﺷﺪﻩ‪ .‬ﺷﮑﻲ ﻧﻴﺴﺖ ﮐﻪ ﺍﻳﻦ ﺩﻭ‬
‫ِ ﺁﺯﻣﻮﻥﻫﺎﻱ‬
‫ﺑﺪﻥ ﺍﺭﺗﺒﺎﻁ ﻣﻲﮔﻴﺮﻧﺪ‪ ،‬ﺯﻳﺮﺍ ﺑﺪﻥِ ﻣﺴﺘﺒﺪ ﮔﻪﮔﺎﻩ ﺩﺭ ﺍﻧﻘﻴﺎﺩ‬
‫ﺗﺤﻘﻴﺮ ﻳﺎ ﺣﺘﻲ ﺷﮑﻨﺠﻪ‪ ،‬ﻳﺎ ﺁﺯﻣﻮﻥﻫﺎﻱ ﺗﺒﻌﻴﺪ ﻭ ﺣﺬﻑ ﺍﺳﺖ‪» .‬ﻣﻲﺗﻮﺍﻥ‬
‫ﺗﺼﻮﺭ ﮐﺮﺩ ﮐﻪ ﺑﺪﻥِ ﺍﻧﺴﺎﻥِ ﻣﺤﮑﻮﻡ ﺭﺍ ﺩﺭ ﻗﻄﺐِ ﻣﻘﺎﺑﻞ ﻗﺮﺍﺭ ﺩﻫﻴﻢ؛ ﺍﻭ‬
‫ﻧﻴﺰ ﺷﺄﻥِ ﻗﺎﻧﻮﻧﻲ ﺧﻮﺩﺵ ﺭﺍ ﺩﺍﺭﺩ؛ ﻭ ﺗﺸﺮﻳﻔﺎﺕِ ﺧﻮﺩﺵ ﺭﺍ ﺳﺒﺐ ﻣﻲﺷﻮﺩ‪...‬‬
‫ﺺ ﺣﺎﮐﻢ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺩﺍﺭﺩ‬ ‫ﻧﻪ ﺑﻪ ﺍﻳﻦ ﺧﺎﻃﺮ ﮐﻪ ﻗﺪﺭﺕِ ﻣﺎﺯﺍﺩﻱ ﺭﺍ ﮐﻪ ﺷﺨِ‬
‫ﺑﺮﻗﺮﺍﺭ ﮐﻨﺪ‪ ،‬ﺑﻞ ﺑﺮﺍﻱ ﺁﻥﻛﻪ ﻓﻘﺪﺍﻥِ ﻗﺪﺭﺕ ﺭﺍ ﺭﻣﺰﮔﺬﺍﺭﻱ ﮐﻨﺪ؛ ﻓﻘﺪﺍﻧﻲ‬
‫ِ ﺗﻨﺒﻴﻪ ﺩﺭﺁﻣﺪﻩﺍﻧﺪ‪ ،‬ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ‪ .‬ﺍﻧﺴﺎﻥِ‬ ‫ﮐﻪ ﺁﻥﻫﺎﻳﻲ ﺭﺍ ﮐﻪ ﺑﻪ ﺍﻧﻘﻴﺎﺩ‬
‫ﻣﺤﮑﻮﻡ‪ ،‬ﺩﺭ ﺗﺎﺭﻳﮏﺗﺮﻳﻦ ﻧﺎﺣﻴﻪﻱ ﺳﺎﺣﺖِ ﺳﻴﺎﺳﻲ‪ ،‬ﻓﻴﮕﻮﺭ‬
‫ِ ﻣﺘﻘﺎﺭﻥ ﻭ ﻭﺍژﮔﻮﻥِ‬
‫ً ﻫﻤﺎﻥ ﮐﺴﻲ ﺍﺳﺖ ﮐﻪ‬ ‫ِ ﺷﮑﻨﺠﻪﺷﺪﻩ ﺍﺳﺎﺳﺎ‬ ‫ﺷﺎﻩ ﺭﺍ ﺑﺮﺟﺴﺘﻪ ﻣﻲﻛﻨﺪ«‪ .64‬ﻓﺮﺩ‬
‫ﭼﻬﺮﻩﺍﺵ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻣﻲﺩﻫﺪ‪ ،‬ﺑﻪ ﻧﻮﻋﻲ ﺣﻴﻮﺍﻥـﺷﺪﻥ ﻭﺍﺭﺩ ﻣﻲﺷﻮﺩ‪ ،‬ﻧﻮﻋﻲ‬
‫ﻣﻮﻟﮑﻮﻟﻲ ـ ﺷﺪﻥ ﮐﻪ ﺧﺎﮐﺴﺘﺮﺵ ﺭﺍ ﺑﻪ ﺑﺎﺩ ﻣﻲﺳﭙﺎﺭﻧﺪ‪ .‬ﺍﻣﺎ ﺑﻪﻧﻈﺮ ﻣﻲﺭﺳﺪ‬
‫ﮐﺴﻲ ﮐﻪ ﺷﮑﻨﺠﻪ ﺷﺪﻩ ﺑﻪ ﻫﻴﭻﺭﻭ ﭘﺎﻳﺎﻥ ﮐﺎﺭ ﻧﻴﺴﺖ‪ ،‬ﺑﻠﻜﻪ ﺩﺭ ﻋﻮﺽ ﻧﺨﺴﺘﻴﻦ‬
‫ﻗﺪﻡ ﭘﻴﺶ ﺍﺯ ﺣﺬﻑ ﺍﺳﺖ‪ .‬ﺍﺩﻳﭗ ﺩﺳﺖﮐﻢ ﺍﻳﻦ ﺭﺍ ﻓﻬﻤﻴﺪ‪ .‬ﺍﻭ ﺧﻮﻳﺶ ﺭﺍ‬
‫ﺷﮑﻨﺠﻪ ﺩﺍﺩ‪ ،‬ﭼﺸﻢﻫﺎﻳﺶ ﺭﺍ ﺍﺯ ﺣﺪﻗﻪ ﺩﺭﺁﻭﺭﺩ‪ ،‬ﻭ ﺭﻓﺖ‪ .‬ﺁﻳﻴﻦ ﻳﺎ‬
‫ﺣﻴﻮﺍﻥـﺷﺪﻥِ ﺑﻼﮔﺮﺩﺍﻥ‪ 65‬ﺁﺷﮑﺎﺭﺍ ﻫﻤﻴﻦ ﺭﺍ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ‪ :‬ﻧﺨﺴﺘﻴﻦ ﺣﻴﻮﺍﻥِ‬
‫ﻗﺮﺑﺎﻧﻲ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺣﻴﻮﺍﻥِ ﺩﻭﻡ ﺭﺍﻧﺪﻩ ﻭ ﺑﻪ ﺑﻴﺎﺑﺎﻥ‬ ‫ﮐﻔﺎﺭﻩﺍﻱ‬
‫ِ ﺟﺪﻳﺪﻱ ﺍﺯ ﺁﻧﺘﺮﻭﭘﻲ‬‫ِ ﺩﻻﻟﺖﮔﺮ ﻓﺮﻡ‬‫ﻓﺮﺳﺘﺎﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺑﻼﮔﺮﺩﺍﻥ ﺩﺭ ﺭژﻳﻢ‬
‫ﻓﺰﺍﻳﻨﺪﻩ ﺩﺭ ﺳﻴﺴﺘﻢ ﻧﺸﺎﻧﻪﻫﺎ ﺭﺍ ﺑﺎﺯﻣﻲﻧﻤﺎﻳﺪ‪ :‬ﺑﻼﮔﺮﺩﺍﻥ ﻣﺘﻬﻢ ﺑﻪ ﻫﺮ‬
‫ِ ﻧﺸﺎﻧﻪﻫﺎﻱ‬
‫»ﺑﺪﻱ« ﺩﺭ ﺯﻣﺎﻧﻪﺍﻱ ﻣﺸﺨﺺ ﺍﺳﺖ‪ ،‬ﻳﻌﻨﻲ ﻫﺮ ﭼﻪ ﮐﻪ ﺩﺭ ﻣﻘﺎﺑﻞ‬
‫ﺩﻻﻟﺖﮔﺮ ﻣﻘﺎﻭﻣﺖ ﻣﻲﻛﺮﺩ‪ ،‬ﻫﺮﭼﻪ ﮐﻪ ﺑﻪ ﺍﺭﺟﺎﻉ ﺍﺯ ﻧﺸﺎﻧﻪ ﺑﻪ ﻧﺸﺎﻧﻪﻱ‬
‫ِ ﺣﻠﻘﻪﻫﺎﻱ ﻣﺘﻔﺎﻭﺕ ﺗﻦ ﻧﻤﻲﺩﺍﺩ؛ ﺑﻪ ﻋﻼﻭﻩ‪ ،‬ﺍﻭ ﻫﺮ ﭼﻴﺰﻱ ﺭﺍ‬ ‫ﺩﻳﮕﺮ ﺍﺯ ﺧﻼﻝ‬
‫ﻓﺮﺽ ﻣﻲﮔﻴﺮﺩ ﮐﻪ ﻧﻤﻲﺗﻮﺍﻧﺴﺖ ﺩﺍﻝ ﺭﺍ ﺩﺭ ﻣﺮﮐﺰ ﺧﻮﺩﺵ ﺍﺯ ﻧﻮ ﺗﻐﺬﻳﻪ ﮐﻨﺪ‬
‫ﻭ ﻫﺮﭼﻪ ﺭﺍ ﮐﻪ ﺧﺎﺭﺝ ﺍﺯ ﺑﻴﺮﻭﻧﻲﺗﺮﻳﻦ ﺩﺍﻳﺮﻩ ﺳﺮﺭﻳﺰ ﻣﻲﻛﺮﺩ‪ ،‬ﺍﺯ ﻣﻴﺎﻥ‬
‫ِ ﭘﺮﻭﺍﺯﻱ ﺍﺳﺖ‬
‫ِ ﺁﻥ ﺧﻂ‬ ‫ﻣﻲﺑﺮﺩ‪ .‬ﺩﺭ ﻧﻬﺎﻳﺖ ﻭ ﺑﻪﻃﻮﺭ ﺧﺎﺹ‪ ،‬ﺑﻼﮔﺮﺩﺍﻥ ﺗﺠﺴﺪ‬
‫ِ ﺩﻻﻟﺖﮔﺮ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺗﺎﺏ ﺁﻭﺭﺩ‪ ،‬ﻳﺎ ﺑﻪ ﺑﻴﺎﻥ ﺩﻳﮕﺮ‪ ،‬ﻧﻮﻋﻲ‬ ‫ﮐﻪ ﺭژﻳﻢ‬
‫ِ ﻣﺰﺑﻮﺭ ﺑﺎﻳﺪ ﺧﻄﻲ ﺍﺯ ﺍﻳﻦ ﻧﻮﻉ‬ ‫ﻗﻠﻤﺮﻭﺯﺩﺍﻳﻲ ﻣﻄﻠﻖ ﻣﺤﺴﻮﺏ ﻣﻲﺷﻮﺩ؛ ﺭژﻳﻢ‬
‫ً‬
‫ﺭﺍ ﻣﺴﺪﻭﺩ ﮐﻨﺪ‪ ،‬ﻳﺎ ﺁﻥ ﺭﺍ ﺑﻪ ﺷﻴﻮﻩﺍﻱ ﮐﺎﻣﻼً ﻣﻨﻔﻲ ﺗﻌﺮﻳﻒ ﮐﻨﺪ‪ ،‬ﺩﻗﻴﻘﺎ‬
‫ﺑﺪﻳﻦﺧﺎﻃﺮ ﮐﻪ ﺁﻥ ﺧﻂ ﺍﺯ ﺩﺭﺟﻪﻱ ﻗﻠﻤﺮﻭﺯﺩﺍﻳﻲ ﻧﺸﺎﻧﻪﻱ ﺩﻻﻟﺖﮔﺮ ﻓﺮﺍﺗﺮ‬
‫ِ ﭘﺮﻭﺍﺯ ﺷﺒﻴﻪ‬
‫ﻣﻲﺭﻭﺩ‪ ،‬ﺣﺎﻝ ﻫﺮ ﭼﻪ ﻗﺪﺭ ﻫﻢ ﮐﻪ ﺍﻳﻦ ﺧﻂ ﻣﺮﺗﻔﻊ ﺑﺎﺷﺪ‪ .‬ﺧﻂ‬

‫‪64. Michel Foucault, Discipline and Punish, trans. A. M. Sheridan Smith (New York: Vintage, 1975), p. 29‬‬
‫‪ ،Scapegoat .‬ﺩﺭ ﺍﻧﺠﻴﻞ ﺑﻪ ﺑﺰﻱ ﮔﻔﺘﻪ ﻣﻲﺷﻮﺩ ﮐﻪ ﮐﺸﻴﺶِ ﺍﻋﻈﻢ ﻳﻬﻮﺩﻱ ﮔﻨﺎﻫﺎﻥ ﻣﺮﺩﻡ ﺭﺍ‬
‫ﺑﻪﻃﺮﺯﻱ ﻧﻤﺎﺩﻳﻦ ﺑﺮ ﺁﻥ ﻧﻬﺎﺩ ﻭ ﺭﻭﺍﻧﻪ ﺑﻴﺎﺑﺎﻥ ﮐﺮﺩ‪ .‬ﺍﺯ ﺁﻥ ﭘﺲ ﺍﻳﻦ ﻭﺍژﻩ ﺭﺍ ﺑﻪ ﮐﺴﻲ‬
‫ﺍﻃﻼﻕ ﮐﺮﺩﻧﺪ ﮐﻪ ﺑﻪﺧﺎﻃﺮ ﺍﺷﺘﺒﺎﻫﺎﺕ ﻳﺎ ﮔﻨﺎﻫﺎﻥ ﺩﻳﮕﺮ ﺳﺮﺯﻧﺶ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻣﺮﻭﺯ ﺩﺭ ﻓﺎﺭﺳﻲ ﺍﺯ‬
‫ﻣﻌﺎﺩﻝﻫﺎﻳﻲ ﻫﻤﭽﻮﻥ ﺑﻼﮔﺮﺩﺍﻥ ﻳﺎ ﺳﭙﺮ ﺑﻼ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻲﮐﻨﻴﻢ‪ .‬ﻡ‬

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 ‫ِ ﭘﺮﻭﺍﺯ ﻧﻔﺮﻳﻦ ﺷﺪﻩ‬ ‫ﻣﻤﺎﺱِ ﺣﻠﻘﻪﻫﺎﻱ ﻇﺮﻓﻴﺖِ ﺩﻻﻟﺘﻲ ﻭ ﻣﺮﮐﺰ‬
‫ِ ﺩﺍﻝ ﺍﺳﺖ‪ .‬ﺧﻂ‬
‫ِ ﭼﻬﺮﻩﻱ ﻣﺴﺘﺒﺪ ﻳﺎ ﺧﺪﺍ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﺩ‪ .‬ﻫﺮ‬ ‫ِ ﺑﺰ‪ 66‬ﺩﺭ ﻣﻘﺎﺑﻞ‬
‫ﺍﺳﺖ‪ .‬ﻣﻘﻌﺪ‬
‫ﭼﻴﺰﻱ ﮐﻪ ﺳﻴﺴﺘﻢ ﺭﺍ ﺑﻪ ﭘﺮﻭﺍﺯ ﺗﻬﺪﻳﺪ ﮐﻨﺪ‪ ،‬ﮐﺸﺘﻪ ﺧﻮﺍﻫﺪ ﺷﺪ ﻳﺎ ﺧﻮﺩﺵ‬
‫ﺑﻪ ﭘﺮﻭﺍﺯ ﺩﺭ ﺧﻮﺍﻫﺪ ﺁﻣﺪ‪ .‬ﻫﺮ ﺁﻥﭼﻪ ﺍﺯ ﻓﺰﻭﻧﻲ ﺩﺍﻝ ﻓﺮﺍﺗﺮ ﻣﻲﺭﻭﺩ ﻳﺎ‬
‫ﺍﺯ ﺯﻳﺮ ﺁﻥ ﮔﺬﺭ ﻣﻲﻛﻨﺪ‪ ،‬ﺑﺎ ﺍﺭﺯﺷﻲ ﻣﻨﻔﻲ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﺗﻨﻬﺎ‬
‫ﺍﻧﺘﺨﺎﺏِ ﺷﻤﺎ ﺑﻴﻦِ ﭘﺸﺖِ ﺑﺰ ﻭ ﭼﻬﺮﻩﻱ ﺧﺪﺍ‪ ،‬ﻳﻌﻨﻲ ﺑﻴﻦِ ﺳﺎﺣﺮﻫﺎ ﻭ ﮐﺸﻴﺶﻫﺎ‬
‫ﺍﺳﺖ‪ .‬ﺩﺭ ﻧﺘﻴﺠﻪ‪ ،‬ﺳﻴﺴﺘﻤﻲ ﮐﺎﻣﻞ ﺍﺯ ﭼﻬﺮﻩﻱ ﭘﺎﺭﺍﻧﻮﻳﻴﺪ ﻳﺎ ﺑﺪﻥِ ﻣﺴﺘﺒﺪـ‬
‫ِ ﺩﻻﻟﺖﮔﺮ ﻣﻌﺒﺪ ﺗﺸﮑﻴﻞ ﻣﻲﺷﻮﺩ؛ ﮐﺸﻴﺶﻫﺎﻱ ﻣﻔﺴﺮ ﮐﻪ ﭘﻴﻮﺳﺘﻪ‬ ‫ﺧﺪﺍ ﺩﺭ ﻣﺮﮐﺰ‬
‫ﻣﺪﻟﻮﻝ ﺭﺍ ﺩﺭ ﻣﻌﺒﺪ ﺍﺯ ﻧﻮ ﺗﻐﺬﻳﻪ ﻣﻲﻛﻨﻨﺪ‪ ،‬ﻭ ﺁﻥ ﺭﺍ ﺑﻪ ﺩﺍﻝ ﺗﺒﺪﻳﻞ‬
‫ِ ﺧﺎﺭﺝ ﮐﻪ ﺩﺭ ﺣﻠﻘﻪﻫﺎﻱ ﺗﻨﮓ ﺑﻪ ﻫﻢ‬ ‫ﻣﻲﻛﻨﻨﺪ؛ ﺟﻤﻌﻴﺖِ ﻫﻴﺴﺘﺮﻳﮏِ ﻣﺮﺩﻡ‬
‫ﭼﺴﺒﻴﺪﻩﺍﻧﺪ؛ ﻣﺮﺩﻣﻲ ﮐﻪ ﺍﺯ ﻳﮏ ﺣﻠﻘﻪ ﺑﻪ ﺣﻠﻘﻪﻱ ﺩﻳﮕﺮ ﻣﻲﭘﺮﻧﺪ؛ ﺑﻼﮔﺮﺩﺍﻥِ‬
‫ﺑﻲﭼﻬﺮﻩ ﻭ ﻏﻢﺍﻓﺰﺍ ﮐﻪ ﺍﺯ ﻣﺮﮐﺰ ﺳﺎﻃﻊ ﻣﻲﺷﻮﺩ‪ ،‬ﮐﺸﻴﺶﻫﺎ ﺍﻧﺘﺨﺎﺏﺍﺵ‬
‫ِ‬‫ﻣﻲﻛﻨﻨﺪ‪ ،‬ﺑﺎ ﺁﻥ ﺳﺮﻭﮐﺎﺭ ﺩﺍﺭﻧﺪ‪ ،‬ﺁﻥ ﺭﺍ ﻣﻲﺁﺭﺍﻳﻨﺪ‪ ،‬ﺑﻼﮔﺮﺩﺍﻥ ﺑﺎ ﭘﺮﻭﺍﺯ‬
‫ِ ﺣﻠﻘﻪﻫﺎ ﺭﺩ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻳﻦ ﻧﻤﺎﻱ ﮐﻠﻲ ﺑﻪ‬ ‫ﻧﺴﻨﺠﻴﺪﻩﺍﺵ ﺩﺭ ﺑﻴﺎﺑﺎﻥ ﺍﺯ ﻭﺳﻂ‬
‫ِ ﺍﺳﺘﺒﺪﺍﺩﻱ ﺍﻣﭙﺮﺍﻃﻮﺭﻱ‪ ،‬ﺑﻠﻜﻪ ﺑﻪ ﻫﻤﻪﻱ‬ ‫ﻏﺎﻳﺖ ﻋﺠﻮﻻﻧﻪ ﻧﻪ ﺗﻨﻬﺎ ﺑﻪ ﺭژﻳﻢ‬
‫ﮔﺮﻭﻩﻫﺎﻱ ﺗﺤﺖ ﺍﻧﻘﻴﺎﺩ‪ ،‬ﺷﺎﺧﻪﺷﺎﺧﻪ‪ ،‬ﺳﻠﺴﻠﻪﻣﺮﺍﺗﺒﻲ‪ ،‬ﻭ ﻣﺮﮐﺰﮔﺮﺍ ﮐﺎﺭﺑﺴﺖ‬
‫ﺩﺍﺭﺩ‪ :‬ﺍﺣﺰﺍﺏِ ﺳﻴﺎﺳﻲ‪ ،‬ﺟﻨﺒﺶﻫﺎﻱ ﺍﺩﺑﻲ‪ ،‬ﺗﺪﺍﻋﻲﻫﺎﻱ ﺭﻭﺍﻥﮐﺎﻭﺍﻧﻪ‪،‬‬
‫ﺧﺎﻧﻮﺍﺩﻩﻫﺎ‪ ،‬ﻭﺍﺣﺪﻫﺎﻱ ﺯﻧﺎﺷﻮﻳﻲ‪ ،‬ﻭ ﺍﻟﺦ‪ .‬ﻋﮑﺲ‪ ،‬ﭼﻬﺮﻩﺍﻱﺑﻮﺩﻥ‪ ،‬ﺣﺸﻮ‪،‬‬
‫ِ ﺩﺍﻝ؛‬‫ﻇﺮﻓﻴﺖِ ﺩﻻﻟﺘﻲ ﻭ ﺗﻔﺴﻴﺮ ﻫﻤﻪﺟﺎ ﺩﺭ ﮐﺎﺭ ﻫﺴﺘﻨﺪ‪ .‬ﺟﻬﺎﻥِ ﻣﻼﻝﺁﻭﺭ‬
‫ِ ﺍﻳﻦ ﺟﻬﺎﻥ ﺑﺎ ﮐﺎﺭﮐﺮﺩﻱ ﻫﻤﻮﺍﺭﻩ ﻣﻌﺎﺻﺮ؛ ﺑﺎ ﻓﺮﻳﺐِ ﺫﺍﺗﻲﺍﺵ ﮐﻪ‬ ‫ﺁﺭﮐﺎﺋﻴﺴﻢ‬
‫ﺑﻪ ﻫﻤﻪﻱ ﺟﻨﺒﻪﻫﺎﻱ ﺁﻥ ﺩﻻﻟﺘﻲ ﺿﻤﻨﻲ ﺩﺍﺭﺩ؛ ﻟﻮﺩﮔﻲ ﻋﻤﻴﻖﺍﺵ‪ .‬ﺩﺍﻝ ﺑﺮ ﻫﺮ‬
‫ﻣﺸﺎﺟﺮﻩﻱ ﺧﺎﻧﮕﻲ ﻭ ﺩﺭ ﻫﺮ ﺁﭘﺎﺭﺍﺗﻮﺱِ ﺩﻭﻟﺘﻲ ﺣﮑﻮﻣﺖ ﻣﻲﻛﻨﺪ‪.‬‬

‫ﻓﺼﻞ ﺷﺸﻢ‬

‫‪ 28‬ﻧﻮﺍﻣﺒﺮ ‪ :1947‬ﭼﮕﻮﻧﻪ ﺑﺪﻧﻲ ﺑﺪﻭﻥ ﺍﻧﺪﺍﻡ ﺑﺴﺎﺯﻳﻢ؟‬

‫‪66. goat‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫ﻭ ﺗﻮﺯﻳﻊ ﺷﺪﺕﻫﺎ‬ ‫‪67‬‬ ‫ﺗﺨﻢ ﺩﻭﮔﻮﻧﻲ‬

‫ﺩﺭ ﻫﺮ ﺻﻮﺭﺕ‪ ،‬ﻳﮑﻲ )ﻳﺎ ﭼﻨﺪﺗﺎ( ﺍﺯ ﺁﻥ ﺩﺍﺭﻳﺪ‪ .‬ﻧﻪ ﺑﺪﻳﻦ ﻣﻌﻨﺎ ﮐﻪ‬
‫ﺍﻧﮕﺎﺭ ﺍﺯ ﭘﻴﺶ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻳﺎ ﺣﺎﺿﺮﺁﻣﺎﺩﻩ ﻣﻬﻴﺎ ﻣﻲﺷﻮﺩ )ﮔﺮﭼﻪ ﺍﺯ ﺑﺮﺧﻲ‬
‫ﺟﻬﺎﺕ ﭘﻴﺸﺎﭘﻴﺶ ﻣﻮﺟﻮﺩ ﺍﺳﺖ(‪ .‬ﺩﺭ ﻫﺮ ﺻﻮﺭﺕ‪ ،‬ﻳﮑﻲ ﺍﺯ ﺁﻥ ﺭﺍ ﻣﻲﺳﺎﺯﻳﺪ؛‬
‫ﻧﻤﻲﺗﻮﺍﻧﻴﺪ ﺑﺪﻭﻥِ ﺳﺎﺧﺘﻦِ ﻳﮑﻲ ﺍﺯ ﺁﻥﻫﺎ ﻣﻴﻞ ﺑﻮﺭﺯﻳﺪ‪ .‬ﻭ ﺁﻥ ﻫﻢ ﺍﻧﺘﻈﺎﺭ‬
‫ﺷﻤﺎ ﺭﺍ ﻣﻲﻛﺸﺪ؛ ﺗﻤﺮﻳﻨﻲ ﻏﻴﺮﻗﺎﺑﻞ ﺍﺟﺘﻨﺎﺏ ﻳﺎ ﻧﻮﻋﻲ ﺁﺯﻣﻮﻥﮔﺮﻱ ﺍﺳﺖ ﻭ‬
‫ﺍﺯ ﭘﻴﺶ ﺩﺭ ﻫﻤﺎﻥ ﺩﻗﻴﻘﻪﺍﻱ ﺗﺤﻘﻖ ﻣﻲﻳﺎﺑﺪ ﮐﻪ ﺳﺎﺧﺘﻦِ ﺁﻥ ﺭﺍ ﺗﻘﺒﻞ‬
‫ﻣﻲﻛﻨﻴﺪ‪ ،‬ﻭ ﺗﺎ ﺯﻣﺎﻧﻲ ﺗﺤﻘﻖ ﻧﻤﻲﻳﺎﺑﺪ ﮐﻪ ﺳﺎﺧﺘﻦِ ﺁﻥ ﺭﺍ ﺗﻘﺒﻞ ﻧﮑﻨﻴﺪ‪.‬‬
‫ﺍﻟﺒﺘﻪ ﻧﻤﻲﺗﻮﺍﻥ ﭼﻨﺪﺍﻥ ﺑﻪ ﺍﻳﻦ ﺍﺩﻋﺎ ﺩﻝ ﺑﺴﺖ‪ ،‬ﺯﻳﺮﺍ ﭼﻪ ﺑﺴﺎ ﺳﻤﺒﻞﺍﺵ‬
‫ﮐﻨﻴﺪ‪ .‬ﻳﺎ ﭼﻪﺑﺴﺎ ﻫﻮﻟﻨﺎک ﺑﺎﺷﺪ ﻭ ﺷﻤﺎ ﺭﺍ ﺑﻪ ﺳﻮﻱ ﻣﺮگ ﺳﻮﻕ ﺩﻫﺪ‪ .‬ﺍﻳﻦ‬
‫ﭼﻴﺰ ﻫﻤﺎﻧﻘﺪﺭ ﻣﻴﻞ ﺍﺳﺖ ﮐﻪ ﻧﺎـﻣﻴﻞ ﺍﺳﺖ‪ .‬ﻭ ﺑﻪﻫﻴﭻﻭﺟﻪ ﻳﮏ ﺍﻳﺪﻩ ﻳﺎ‬
‫ﻣﻔﻬﻮﻡ ﻧﻴﺴﺖ‪ ،‬ﺑﻠﮑﻪ ﻧﻮﻋﻲ ﻋﻤﻞ ﺍﺳﺖ‪ ،‬ﻣﺠﻤﻮﻋﻪﺍﻱ ﺍﺯ ﺍﻋﻤﺎﻝ ﺍﺳﺖ‪ .‬ﻫﺮﮔﺰ‬
‫ﻧﻤﻲﺗﻮﺍﻧﻴﺪ ﺑﻪ ﺑﺪﻥ ﺑﺪﻭﻥ ﺍﻧﺪﺍﻡ ]ﺏ‪.‬ﺏ‪.‬ﺍ[ ﺩﺳﺖ ﻳﺎﺑﻴﺪ‪ ،‬ﻧﻤﻲﺗﻮﺍﻧﻴﺪ ﺑﻪ‬
‫ﺁﻥ ﺩﺳﺖ ﻳﺎﺑﻴﺪ‪ ،‬ﺑﻞ ﻫﻤﻴﺸﻪ ﺩﺍﺭﻳﺪ ﺑﻪ ﺁﻥ ﻧﺎﺋﻞ ﻣﻲﺷﻮﻳﺪ؛ ﺑﺪﻥ ﺑﺪﻭﻥ‬
‫ﺍﻧﺪﺍﻡ ﻳﮏ ﺣﺪ ﺍﺳﺖ‪ .‬ﻣﺮﺩﻡ ﻣﻲﭘﺮﺳﻨﺪ‪ ،‬ﭘﺲ ﺍﻳﻦ ﺏ‪.‬ﺏ‪.‬ﺍ ﭼﻴﺴﺖ؟ ــ ﺍﻣﺎ ﺷﻤﺎ‬
‫ﺍﺯ ﭘﻴﺶ ﺭﻭﻱ ﺁﻥ ﻫﺴﺘﻴﺪ‪ ،‬ﻣﺜﻞ ﻳﮏ ﺟﺎﻧﻮﺭ ﻣﻮﺫﻱ ﺳﺮﻳﻊ ﺣﺮﮐﺖ ﻣﻲﻛﻨﻴﺪ‪ ،‬ﻣﺜﻞ‬
‫ﺷﺨﺼﻲ ﻧﺎﺑﻴﻨﺎ ﮐﻮﺭﻣﺎﻝ ﭘﻴﺶ ﻣﻲﺭﻭﻳﺪ‪ ،‬ﻳﺎ ﻣﺜﻞ ﻳﮏ ﺩﻳﻮﺍﻧﻪ ﻣﻲﺩﻭﻳﺪ‪:‬‬
‫ﻣﺴﺎﻓﺮ ﺻﺤﺮﺍ ﻭ ﮐﻮچﮔﺮ ﺟﻠﮕﻪﻫﺎ‪ .‬ﺭﻭﻱ ﺏ‪.‬ﺏ‪.‬ﺍ ﻣﻲﺧﻮﺍﺑﻴﻢ‪ ،‬ﺯﻧﺪﮔﻲﻫﺎﻱ‬
‫ﺑﻴﺪﺍﺭﻣﺎﻥ ﺭﺍ ﻣﻲﺯﻳﻴﻢ‪ ،‬ﻣﻲﺟﻨﮕﻴﻢ ــ ﻣﻲﺟﻨﮕﻴﻢ ﻭ ﺑﺎ ﻣﺎ ﻣﻲﺟﻨﮕﻨﺪــ ﺑﻪ‬
‫ﺩﻧﺒﺎﻝ ﺟﺎﻱﻣﺎﻥ ﻣﻲﮔﺮﺩﻳﻢ‪ ،‬ﻭ ﺷﺎﺩﻳﻬﺎﻱ ﻧﺎﮔﻔﺘﻪ ﻭ ﺷﮑﺴﺖﻫﺎﻱ ﺷﮕﻔﺖﺁﻭﺭ ﺭﺍ‬

‫‪ ،Dogon .‬ﺩﻭﮔﻮﻥﻫﺎ ﻗﺒﻴﻠﻪﺍﻱ ﻫﺴﺘﻨﺪ ﮐﻪ ﺩﺭ ﺑﺨﺶ ﺍﺻﻠﻲ ﻧﺎﺣﻴﻪﻱ »ﺑﻨﺪﻳﺎﮔﺎﺭﺍ« ﻭ‬

‫»ﺩﻭﺍﻧﺘﺰﺍ« ﺩﺭ ﻣﺎﻟﻲ‪ ،‬ﺩﺭ ﻏﺮﺏ ﺁﻓﺮﻳﻘﺎ ﺳﺎﮐﻦ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺣﻮﻝﻭﺣﻮﺵ ﺍﻳﻦ ﻗﻮﻡ ﺩﺍﺳﺘﺎﻥﻫﺎﻱ‬
‫ﺯﻳﺎﺩﻱ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺍﻧﺴﺎﻥﺷﻨﺎﺳﻲ ﻓﺮﺍﻧﺴﻮﻱ ﺑﻪ ﻧﺎﻡ ﻣﺎﺭﺳﻞ ﮔﺮﻳﻮﻟﻪ )‪ 1898‬ـ ‪(1956‬‬
‫ﺗﺤﻘﻴﻘﺎﺕ ﺑﺴﻴﺎﺭﻱ ﺩﺭ ﻣﻮﺭﺩ ﺍﻳﻦ ﻗﻮﻡ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻩ ﺍﺳﺖ ﻭ ﻋﻤﺪﻩﻱ ﺭﻭﺍﻳﺖﻫﺎﻱ ﻣﺮﺑﻮﻁ ﺑﻪ‬
‫ﻧﺠﻮﻡ ﺧﻴﺮﻩﮐﻨﻨﺪﻩﻱ ﺍﻳﻦ ﻗﻮﻡ‪ ،‬ﺍﻓﺴﺎﻧﻪﻫﺎﻱ ﻣﺮﺑﻮﻁ ﺑﻪ »ﻧﻮﻣﻮ« ــ ﺍﺭﻭﺍﺡ ﺍﺟﺪﺍﺩﻱ ﻣﻘﺪﺱ ﻗﻮﻡ‬
‫ﺩﻭﮔﻮﻥ ــ ﻭ ﺗﺨﻢﻫﺎﻱ ﮐﻴﻬﺎﻧﻲ ﺩﻭﮔﻮﻥ ﻣﺮﺑﻮﻁ ﺑﻪ ﻭﻱ ﺍﺳﺖ‪ .‬ﻡ‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫ﺗﺠﺮﺑﻪ ﻣﻲﻛﻨﻴﻢ؛ ﺑﺮ ﺏ‪.‬ﺏ‪.‬ﺍ ﻧﻔﻮﺫ ﻣﻲﻛﻨﻴﻢ ﻭ ﺩﺭ ﻣﺎ ﻧﻔﻮﺫ ﻣﻲﻛﻨﻨﺪ؛ ﺭﻭﻱ‬
‫ﺏ‪.‬ﺏ‪.‬ﺍ ﻋﺸﻖ ﻣﻲﻭﺭﺯﻳﻢ‪ .‬ﺩﺭ ‪ 28‬ﻧﻮﺍﻣﺒﺮ ‪ 1947‬ﺁﺭﺗﻮ ﻋﻠﻴﻪ ﺍﻧﺪﺍﻡﻫﺎ ﺍﻋﻼﻥ‬
‫ﺟﻨﮓ ﻣﻲﻛﻨﺪ‪ :‬ﺧﻼﺹ ﺷﺪﻥ ﺍﺯ ﺩﺍﻭﺭﻱ ﺧﺪﺍﻭﻧﺪ‪» ،‬ﺯﻳﺮﺍ ﻣﻲﺗﻮﺍﻧﻲ ﺍﮔﺮ ﺑﺨﻮﺍﻫﻲ‬
‫ﻣﺮﺍ ﺑﺒﻨﺪﻱ‪ ،‬ﺍﻣﺎ ﭼﻴﺰﻱ ﺑﻲﻓﺎﻳﺪﻩﺗﺮ ﺍﺯ ﻳﮏ ﺍﻧﺪﺍﻡ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪68«.‬‬

‫ﺁﺯﻣﻮﻥﮔﺮﻱ‪ :‬ﻧﻪ ﻓﻘﻂ ﺁﺯﻣﻮﻥﮔﺮﻱ ﺭﺍﺩﻳﻮﻓﻮﻧﻴﮏ‪ ،‬ﺑﻞ ﻫﻤﭽﻨﻴﻦ ﺁﺯﻣﻮﻥﮔﺮﻱ‬

‫ِ ﺳﺎﻧﺴﻮﺭ ﻭ ﺳﺮﮐﻮﺏ ﻣﻲﺷﻮﺩ‪ .‬ﮐﻮﺭﭘﻮﺱ‬ ‫ﺯﻳﺴﺖﺷﻨﺎﺧﺘﻲ ﻭ ﺳﻴﺎﺳﻲ ﮐﻪ ﻣﺘﺤﻤﻞ‬
‫]ﺟﺴﻢ[ ﻭ ﺳﻮﺳﻴﻮﺱ‪ ،69‬ﺳﻴﺎﺳﺖ ﻭ ﺁﺯﻣﻮﻥﮔﺮﻱ‪ .‬ﺁﻥﻫﺎ ﺑﻪ ﺷﻤﺎ ﺍﺟﺎﺯﻩ‬
‫ﻧﺨﻮﺍﻫﻨﺪ ﺩﺍﺩ ﺩﺭ ﺁﺭﺍﻣﺶ ﺁﺯﻣﻮﻥﮔﺮﻱ ﮐﻨﻴﺪ‪.‬‬
‫ﺏ‪.‬ﺏ‪.‬ﺍ‪ :‬ﻫﻨﻮﺯ ﺁﻥ ﻟﺤﻈﻪ ﻓﺮﺍ ﻧﺮﺳﻴﺪﻩ ﮐﻪ ﺑﺪﻥ ﺍﻧﺪﺍﻡﻫﺎﻱ ﮐﺎﻓﻲ ﺩﺍﺷﺘﻪ‬
‫ﺑﺎﺷﺪ ﻭ ﺑﺨﻮﺍﻫﺪ ﺁﻥﻫﺎ ﺭﺍ ﺍﺯ ﺳﺮ ﺑﺎﺯ ﮐﻨﺪ ﻳﺎ ﺍﺯ ﺩﺳﺖ ﺑﺪﻫﺪ‪ .‬ﭘﻴﺸﺮﻭﻱﺍﻱ‬
‫ﺯﻣﺎﻥﺑﺮ‪ .‬ﺑﺪﻥِ ﺧﻮﺩﺑﻴﻤﺎﺭﺍﻧﮕﺎﺭ‪ :‬ﺍﻧﺪﺍﻡﻫﺎ ﺗﺨﺮﻳﺐ ﻣﻲﺷﻮﻧﺪ‪ ،‬ﺁﺳﻴﺐ‬
‫ﭘﻴﺸﺎﭘﻴﺶ ﻭﺍﺭﺩ ﺁﻣﺪﻩ ﺍﺳﺖ‪ ،‬ﺩﻳﮕﺮ ﺑﻴﺶ ﺍﺯ ﺍﻳﻦ ﺭﺥ ﻧﻤﻲﺩﻫﺪ‪» .‬ﺩﻭﺷﻴﺰﻩ ‪X‬‬
‫ﺍﺩﻋﺎ ﻣﻲﻛﻨﺪ ﮐﻪ ﺩﻳﮕﺮ ﻣﻐﺰ ﻳﺎ ﺍﻋﺼﺎﺏ ﻳﺎ ﻗﻔﺴﻪ ﺳﻴﻨﻪ ﻳﺎ ﻣﻌﺪﻩ ﻳﺎ ﺩﻝ ﻭ‬
‫ﺭﻭﺩﻩ ﻧﺪﺍﺭﺩ‪ .‬ﻫﻤﻪﻱ ﺁﻥﭼﻪ ﺑﺮﺍﻳﺶ ﻣﺎﻧﺪﻩ‪ ،‬ﭘﻮﺳﺖ ﻭ ﺍﺳﺘﺨﻮﺍﻥِ ﺑﺪﻧﻲ‬
‫ِ ﺍﻭﺳﺖ‪ 70«.‬ﺑﺪﻥ ﭘﺎﺭﺍﻧﻮﺋﻴﺪ‪ :‬ﺍﻧﺪﺍﻡﻫﺎ‬‫ﻧﺎﺑﻪﺳﺎﻣﺎﻥ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﮐﻠﻤﺎﺕ ﺧﻮﺩ‬
‫ً ﺗﺤﺖ ﻳﻮﺭﺵِ ﻧﻴﺮﻭﻫﺎﻱ ﺧﺎﺭﺟﻲ ﻫﺴﺘﻨﺪ‪ ،‬ﺍﻣﺎ ﺩﺭ ﻋﻴﻦﺣﺎﻝ ﺗﻮﺳﻂ‬ ‫ﺩﺍﺋﻤﺎ‬
‫ﺍﻧﺮژﻱﻫﺎﻱ ﺧﺎﺭﺟﻲ ﺑﺎﺯﻳﺎﺑﻲ ﻣﻲﺷﻮﻧﺪ‪») .‬ﺍﻭ ﺑﺮﺍﻱ ﻣﺪﺗﻲ ﻃﻮﻻﻧﻲ ﺑﺪﻭﻥ‬
‫ً ﺑﺪﻭﻥِ ﺷﺶ‪ ،‬ﺑﺎ ﻳﮏ ﻣﺮﻱ ﭘﺎﺭﻩﭘﺎﺭﻩ‪ ،‬ﺑﺪﻭﻥِ‬ ‫ﻣﻌﺪﻩ‪ ،‬ﺑﺪﻭﻥِ ﺭﻭﺩﻩ‪ ،‬ﺗﻘﺮﻳﺒﺎ‬
‫ﻣﺜﺎﻧﻪ ﻭ ﺑﺎ ﺩﻧﺪﻩﻫﺎﻱ ﺧﻮﺭﺩﺷﺪﻩ ﺯﻧﺪﮔﻲ ﮐﺮﺩ‪ ،‬ﮔﺎﻫﻲ ﭘﻴﺶ ﻣﻲﺁﻣﺪ ﺑﺨﺸﻲ ﺍﺯ‬
‫ﺣﻨﺠﺮﻩﻱ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﻏﺬﺍﻳﺶ ﻣﻲﺑﻠﻌﻴﺪ‪ ،‬ﺍﻟﺦ‪ .‬ﺍﻣﺎ ﻣﻌﺠﺰﻩﻫﺎﻱ ﺍﻻﻫﻲ‬
‫)»ﺍﺷﻌﻪﻫﺎ«( ﻫﻤﻮﺍﺭﻩ ﺁﻥﭼﻪ ﺭﺍ ﺗﺨﺮﻳﺐ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﺎﺯ ﻣﻲﮔﺮﺩﺍﻧﺪﻧﺪ‪71(«.‬‬

‫ﺑﺪﻥ ﺍﺳﮑﻴﺰﻭ ﮐﻪ ﺑﻪ ﻗﻴﻤﺖ ﮐﺎﺗﺎﺗﻮﻧﻴﺎ‪ ،72‬ﻧﺰﺍﻉ ﺩﺭﻭﻧﻲ ﻓﻌﺎﻻﻧﻪﻱ ﺧﻮﻳﺶ ﺭﺍ‬

‫ِ ﺍﻧﺪﺍﻡﻫﺎ ﺗﺮﺗﻴﺐ ﻣﻲﺩﺍﺩ‪ .‬ﺑﺪﻥ ﺗﺨﺪﻳﺮﻱ‪ ،‬ﺍﺳﮑﻴﺰﻭﻱ ﺁﺯﻣﻮﻥﮔﺮﺍﻧﻪ‪:‬‬ ‫ﻋﻠﻴﻪ‬
‫»ﺑﺪﻥ ﺍﻧﺴﺎﻧﻲ ﺑﻪﮔﻮﻧﻪﺍﻱ ﻣﻔﺘﻀﺢ ﻧﺎﮐﺎﺭﺁﻣﺪ ﺍﺳﺖ‪ .‬ﺑﺮﺍﻱ ﺍﻳﻦﻛﻪ ﺍﺯ ﻧﻈﻢ‬
‫ِ ﻫﻤﻪﮐﺎﺭﻩ‬‫ﺭﻫﺎﻳﻲ ﻳﺎﺑﻲ‪ ،‬ﺑﻪ ﺟﺎﻱ ﻳﮏ ﺩﻫﺎﻥ‪ ،‬ﻭ ﻳﮏ ﻣﻘﻌﺪ ﭼﺮﺍ ﻳﮏ ﺳﻮﺭﺍﺥ‬
‫ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﻴﻢ ﮐﻪ ﺑﺨﻮﺭﺩ ﻭ ﺩﻓﻊ ﮐﻨﺪ؟ ﻣﻲﺗﻮﺍﻧﺴﺘﻴﻢ ﺑﻴﻨﻲ ﻭ ﺩﻫﺎﻥ ﺭﺍ‬
‫ﻣﻬﺮ ﻭ ﻣﻮﻡ ﮐﻨﻴﻢ‪ ،‬ﻣﻌﺪﻩ ﺭﺍ ﭘﺮ ﮐﻨﻴﻢ‪ ،‬ﻳﮏ ﺳﻮﺭﺍﺥ ﻫﻮﺍ ﻣﺴﺘﻘﻴﻢ ﺑﻪ ﺭﻳﻪ‬

‫‪68. [TRANS: Antonin Artaud, "To Have Done With the Judgement of God," Selected Writings, ed. Susan Sontag (New York:‬‬
‫]‪Farrar, Straus and Giroux, 1976), p. 571.‬‬
‫ِ ﺩﻟﻮﺯ ﻭ ﮔﺘﺎﺭﻱ ﺩﺭ ﺿﺪﺍﻭﺩﻳﭗ‪،‬‬ ‫‪ .‬ﺍﻳﻦ ﺗﺮﻡ ﺍﺯ ﺿﺪﺍﻭﺩﻳﭗ ﻭﺍﻡ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺑﻪﺯﻋﻢ‬
‫ﺗﻮﻟﻴﺪ ﻣﻴﻞﻭﺭﺯ ﻧﻴﺎﺯ ﺑﻪ ﺗﻮﻟﻴﺪ ﺍﺟﺘﻤﺎﻋﻲ ﺩﺍﺭﺩ‪ .‬ﺳﻮﺳﻴﻮﺱ ﻳﮏ ﻗﻠﻤﺮﻭ ﺩﺭ ﺳﺎﺣﺖِ ﺟﺎﻣﻌﻪ ﺍﺳﺖ‬
‫ِ ﺷﺎﺧﺺﻫﺎﻱ ﻣﺎﺷﻴﻨﻲ )‪(machinic index‬‬‫ﮐﻪ ﺷﺪﺕﻫﺎﻱ ﮐﺪﮔﺬﺍﺭﻱ ﻭ ﺑﺎﺯﮐﺪﮔﺬﺍﺭﻱ ﺭﺍ ﺍﺯ ﻃﺮﻳﻖ‬
‫]ﺳﻴﻼﻥﻫﺎﻳﻲ ﮐﻪ ﻗﻠﻤﺮﻭﺯﺩﺍﻳﻲ ﻣﻲﮐﻨﻨﺪ[ ﺭﻭﻱ ﺧﻮﺩ ﺛﺒﺖ ﻭ ﺿﺒﻂ ﻣﻲﮐﻨﺪ‪ .‬ﺍﺯ ﺍﻳﻦ ﻃﺮﻳﻖ‪،‬‬
‫ِ ﻣﻴﻞﻭﺭﺯ ﻓﻌﺎﻟﻴﺖ ﺩﺍﺭﺩ‪ .‬ﻫﺴﺘﻪﻱ ﺳﻮﺳﻴﻮﺱ‬ ‫ﺳﻮﺳﻴﻮﺱ ﺩﺭ ﺗﻮﻟﻴﺪ ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﺳﭙﺲ ﺩﺭ ﺗﻮﻟﻴﺪ‬
‫ﻣﺎﺷﻴﻦﻫﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ ﻫﺴﺘﻨﺪ‪ .‬ﻡ‬
‫]‪70. [TRANS: Jules Cotard, Etard sur les maladies cerebrates et mentales (Paris: Brail-liere, 1891).‬‬
‫‪71. [TRANS: Dr. Schreber's Memoirs, quoted by Sigmund Freud, Notes on a Case of Para-noia, vol. 12, Standard Edition, trans.‬‬
‫]‪James Strachey (London: Hogarth Press, 1957), p. 17.‬‬
‫‪ .‬ﻓﻠﺞ ﻋﻀﻼﻧﻲ ﻋﻤﻮﻣﻲ‪ .‬ﻡ‬

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‫ﺑﺎﺯ ﮐﻨﻴﻢ‪ ،‬ﻳﻌﻨﻲ ﻫﻤﺎﻧﺠﺎ ﮐﻪ ﺍﺯ ﺍﻭﻝ ﺑﺎﻳﺪ ﻣﻲﺑﻮﺩ‪ 73«.‬ﺑﺪﻥ ﻣﺎﺯﻭﺧﻴﺴﺖ‪:‬‬
‫ً ﺩﺭ ﻣﻮﺭﺩ ﺍﻳﻦ‬‫ﺁﻥ ﺭﺍ ﺑﻪ ﺩﺷﻮﺍﺭﻱ ﻣﻲﺗﻮﺍﻥ ﺑﺮ ﺣﺴﺐِ ﺩﺭﺩ ﻓﻬﻤﻴﺪ؛ ﺍﺳﺎﺳﺎ‬
‫ﺑﺪﻥ ﻣﺴﺄﻟﻪﻱ ﺏ‪.‬ﺏ‪.‬ﺍ ﻣﻄﺮﺡ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺑﺪﻥ ﺳﺎﺩﻳﺴﺖ ﻳﺎ ﻓﺎﺣﺸﻪﻱ ﺧﺎﺹ ﺧﻮﺩﺵ‬
‫ﺭﺍ ﺩﺍﺭﺩ ﮐﻪ ]ﺳﻮﺭﺍﺥﻫﺎﻱ[ ﺁﻥ ﺑﺪﻥ ﺭﺍ ﺩﺭﺯ ﻣﻲﮔﻴﺮﺩ‪ :‬ﭼﺸﻢﻫﺎ‪ ،‬ﻣﻘﻌﺪ‪،‬‬
‫ﻣﺠﺮﺍﻱ ﺍﺩﺭﺍﺭ‪ ،‬ﺳﻴﻨﻪﻫﺎ ﻭ ﺑﻴﻨﻲ ﺩﺭﺯ ﮔﺮﻓﺘﻪ ﻣﻲﺷﻮﻧﺪ‪ .‬ﺁﻥﻗﺪﺭ ﺧﻮﺩﺵ ﺭﺍ‬
‫ﻣﻲﺑﻨﺪﺩ ﺗﺎ ﺍﻧﺪﺍﻡﻫﺎ ﺍﺯ ﮐﺎﺭ ﻣﻲﺍﻓﺘﻨﺪ؛ ﭘﻮﺳﺘﺶ ﮐﻨﺪﻩ ﻣﻲﺷﻮﺩ‪ ،‬ﺍﻧﮕﺎﺭ ﮐﻪ‬
‫ﺍﻧﺪﺍﻡﻫﺎ ﺑﻪ ﭘﻮﺳﺖ ﭼﺴﺒﻴﺪﻩ ﺑﺎﺷﻨﺪ؛ ﺳﻮﺩﻭﻣﻲﺷﺪﻩ ﻭ ﺧﻔﻪﺷﺪﻩ‪ ،‬ﺗﺎ ﻣﻄﻤﺌﻦ‬
‫ﺑﺎﺷﺪ ﮐﻪ ﻫﻤﻪ ﭼﻴﺰ ﮐﺎﻣﻼً ﺩﺭﺯ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬
‫ﭼﺮﺍ ﭼﻨﻴﻦ ﺟﻮﻻﻥ ﺩﻟﺘﻨﮓﮐﻨﻨﺪﻩﺍﻱ ﺍﺯ ﺑﺪﻥﻫﺎﻱ ﺧﺸﮑﻴﺪﻩ‪ ،‬ﮐﺎﺗﺎﺗﻮﻧﻴﺎﻳﻲ‪،‬‬
‫ﺷﻴﺸﻪﺍﻱ ﺷﺪﻩ‪ ،‬ﻭ ﺩﺭﺯ ﮔﺮﻓﺘﻪ‪ ،‬ﺁﻥ ﻫﻢ ﺩﺭ ﻋﻴﻦﺣﺎﻟﻲ ﮐﻪ ﺏ‪.‬ﺏ‪.‬ﺁ ﻣﻤﻠﻮ ﺍﺯ‬
‫ﺷﺎﺩﺍﻧﻲ‪ ،‬ﺧﻠﺴﻪ ﻭ ﺭﻗﺺ ﺍﺳﺖ؟ ﭘﺲ ﭼﺮﺍ ﺍﻳﻦ ﻣﺜﺎﻝﻫﺎ‪ ،‬ﭼﺮﺍ ﺑﺎﻳﺪ ﺍﺯ ﺁﻧﺠﺎ‬
‫ﺷﺮﻭﻉ ﮐﻨﻴﻢ؟ ﺑﺪﻥﻫﺎﻱ ﺗﺨﻠﻴﻪﺷﺪﻩ‪ ،‬ﺑﻪ ﺟﺎﻱ ﺑﺪﻥﻫﺎﻱ ﭘﺮ‪ .‬ﭼﻪ ﺍﺗﻔﺎﻗﻲ‬
‫ﺍﻓﺘﺎﺩ؟ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻱ ﮐﺎﻓﻲ ﻣﺤﺘﺎﻁ ﺑﻮﺩﻳﺪ؟ ﻧﻪ ﻋﻘﻞ‪ ،‬ﮐﻪ ﺍﺣﺘﻴﺎﻁ‪.‬‬
‫ﺁﺯﻣﻮﻥﮔﺮﻱ‪:‬‬ ‫ﺩﺭﻭﻥﻣﺎﻧﺪﮔﺎﺭ‬ ‫ﻗﺎﻋﺪﻩﻱ‬ ‫ﻋﻨﻮﺍﻥ‬ ‫ﺑﻪ‬ ‫ﺩﺯﺑﻨﺪﻱﮐﺮﺩﻥ‬
‫ﺗﺰﺭﻳﻖﮐﺮﺩﻥﻫﺎﻱ ﻣﺤﺘﺎﻃﺎﻧﻪ‪ .‬ﺑﺴﻴﺎﺭﻱ ﺩﺭ ﺍﻳﻦ ﻧﺒﺮﺩ ﺷﮑﺴﺖ ﺧﻮﺭﺩﻩﺍﻧﺪ‪ .‬ﺁﻳﺎ‬
‫ً ﺍﻳﻦ ﻫﻤﻪ ﻧﺎﺭﺍﺣﺖﮐﻨﻨﺪﻩ ﻭ ﺧﻄﺮﻧﺎک ﺍﺳﺖ ﮐﻪ ﺍﺯ ﺩﻳﺪﻥ ﺑﺎ‬ ‫ﻭﺍﻗﻌﺎ‬
‫ﭼﺸﻢﻫﺎﻳﺖ‪ ،‬ﻧﻔﺲ ﮐﺸﻴﺪﻥ ﺑﺎ ﺷﺶﻫﺎﻳﺖ‪ ،‬ﺑﻠﻌﻴﺪﻥ ﺑﺎ ﺩﻫﺎﻧﺖ‪ ،‬ﺳﺨﻦ ﮔﻔﺘﻦ ﺑﺎ‬
‫ﺯﺑﺎﻧﺖ‪ ،‬ﺍﻧﺪﻳﺸﻴﺪﻥ ﺑﺎ ﻣﻐﺰﺕ ﻭ ﺩﺍﺷﺘﻦ ﻣﻘﻌﺪ ﻭ ﺣﻨﺠﺮﻩ‪ ،‬ﺳﺮ ﻭ ﭘﺎ‪ ،‬ﺧﺴﺘﻪ‬
‫ﺷﺪﻩ ﺑﺎﺷﻲ؟ ﭼﺮﺍ ﺭﻭﻱ ﺳﺮﺕ ﺭﺍﻩ ﻧﺮﻭﻱ‪ ،‬ﺑﺎ ﺳﻴﻨﻮﺱﻫﺎﻳﺖ ﺁﻭﺍﺯ ﻧﺨﻮﺍﻧﻲ‪ ،‬ﺍﺯ‬
‫ِﺮﻑِ ﭼﻴﺰ‪ ،‬ﻣﻮﺟﻮﺩﻳﺖ‪ ،‬ﺑﺪﻥ‬‫ﺧﻼﻝ ﭘﻮﺳﺘﺖ ﻧﺒﻴﻨﻲ‪ ،‬ﺑﺎ ﺷﮑﻤﺖ ﻧﻔﺲ ﻧﮑﺸﻲ‪ :‬ﺻ‬
‫ﮐﺎﻣﻞ‪ ،‬ﺳﻔﺮ ﺑﻲﺣﺮﮐﺖ‪ ،‬ﺑﻲﺍﺷﺘﻬﺎﻳﻲ‪ ،‬ﺑﻴﻨﺎﻳﻲ ﭘﻮﺳﺘﻲ‪ ،‬ﻳﻮﮔﺎ‪ ،‬ﮐﺮﻳﺸﻨﺎ‪،‬‬
‫ﻋﺸﻖ‪ ،‬ﺁﺯﻣﻮﻥﮔﺮﻱ‪ .‬ﺟﺎﻳﻲ ﮐﻪ ﺭﻭﺍﻥﻛﺎﻭﻱ ﻣﻲﮔﻮﻳﺪ »ﺑﺎﻳﺴﺖ‪ ،‬ﺧﻮﺩ ﺍﺕ ﺭﺍ‬
‫ﺩﻭﺑﺎﺭﻩ ﭘﻴﺪﺍ ﮐﻦ‪ «،‬ﻣﺎ ﺑﺎﻳﺪ ﺩﺭ ﻋﻮﺽ ﺑﮕﻮﻳﻴﻢ »ﺑﻴﺎ ﻫﻨﻮﺯ ﻫﻢ ﭘﻴﺸﺘﺮ‬
‫ِ‬
‫ﺑﺮﻭﻳﻢ‪ ،‬ﻫﻨﻮﺯ ﺏ‪.‬ﺏ‪.‬ﺁ ﻱ ﺧﻮﺩﻣﺎﻥ ﺭﺍ ﭘﻴﺪﺍ ﻧﮑﺮﺩﻩ ﺍﻳﻢ‪ ،‬ﺑﻪ ﺣﺪ ﮐﺎﻓﻲ ﺧﻮﺩ‬
‫]‪ [self‬ﺧﻮﻳﺶ ﺭﺍ ﺍﺯ ﻫﻢ ﻧﮕﺴﻴﺨﺘﻪﺍﻳﻢ‪ «.‬ﻳﺎﺩﺁﻭﺭﻱ ﺭﺍ ﺑﺎ ﻓﺮﺍﻣﻮﺷﻲ ﻭ‬
‫ﺗﻔﺴﻴﺮ ﺭﺍ ﺑﺎ ﺁﺯﻣﻮﻥﮔﺮﻱ ﺟﺎﻳﮕﺰﻳﻦ ﮐﻦ‪ .‬ﺑﺪﻥ ﺑﺪﻭﻥ ﺍﻧﺪﺍﻣﺖ ﺭﺍ ﭘﻴﺪﺍ ﮐﻦ‪.‬‬
‫ﺩﺭﻳﺎﺏ ﮐﻪ ﺁﻥ ﺭﺍ ﭼﮕﻮﻧﻪ ﺑﺴﺎﺯﻱ‪ .‬ﺍﻳﻦ ﻣﺴﺄﻟﻪﻱ ﻣﺮگ ﻭ ﺯﻧﺪﮔﻲ ﺍﺳﺖ‪،‬‬
‫ﺟﻮﺍﻧﻲ ﻭ ﭘﻴﺮﻱ‪ ،‬ﻏﻢ ﻭ ﺳﺮﺧﻮﺷﻲ‪ .‬ﺁﻥﺟﺎﺳﺖ ﮐﻪ ﺗﮑﻠﻴﻒ ﻫﻤﻪ ﭼﻴﺰ ﻣﺸﺨﺺ‬
‫ﻣﻲﺷﻮﺩ‪.‬‬
‫»ﺩﻭﺷﻴﺰﻩ ﻋﺰﻳﺰ‪ .1 ،‬ﻣﻲﺗﻮﺍﻧﻴﺪ ﻣﺮﺍ ﺭﻭﻱ ﻣﻴﺰ ﺑﺒﻨﺪﻳﺪ‪ ،‬ﻭ ﻃﻨﺎﺏﻫﺎ ﺭﺍ‬
‫ﺳﻔﺖ ﺑﮑﺸﻴﺪ‪ ،‬ﺁﻥ ﻫﻢ ﺑﺮﺍﻱ ﺩﻩ ﺗﺎ ﭘﺎﻧﺰﺩﻩ ﺩﻗﻴﻘﻪ‪ ،‬ﻳﻌﻨﻲ ﺯﻣﺎﻧﻲ ﮐﺎﻓﻲ‬
‫ﺟﻬﺖ ﻣﻬﻴﺎ ﮐﺮﺩﻥ ﺍﺑﺰﺍﺭﻫﺎ؛ ‪ .2‬ﺩﺳﺖﮐﻢ ﺻﺪ ﺿﺮﺑﻪ ﺗﺎﺯﻳﺎﻧﻪ‪ ،‬ﻭ ﭼﻨﺪﻳﻦ‬
‫ﺩﻗﻴﻘﻪ ﺩﺭﻧﮓ؛ ‪ .3‬ﺍﮐﻨﻮﻥ ﺩﻭﺧﺘﻦ ﺭﺍ ﺷﺮﻭﻉ ﻣﻲﻛﻨﻴﺪ‪ ،‬ﺷﻤﺎ ﺳﻮﺭﺍﺥ ﺑﺎﻻﻱ‬
‫ﺍﺣﻠﻴﻞ ﺭﺍ ﻣﻲﺩﻭﺯﻳﺪ؛ ﺁﻧﮕﺎﻩ ﭘﻮﺳﺖ ﺩﻭﺭ ﻭ ﺑﺮ ﺑﺎﻻﻱ ﺍﺣﻠﻴﻞ ﺭﺍ ﺑﻪ ﻫﻤﺎﻥ‬
‫ﺑﺎﻻﻳﺶ ﻣﻲﺩﻭﺯﻳﺪ‪ ،‬ﺁﻥ ﻫﻢ ﻃﻮﺭﻱ ﮐﻪ ﺍﺯ ﭘﺎﺭﻩ ﺷﺪﻥ ﻗﺴﻤﺖ ﺑﺎﻻﻳﻲ ﺟﻠﻮﮔﻴﺮﻱ‬
‫ﮐﻨﺪ؛ ﻭ ﺳﭙﺲ ﮐﻴﺴﻪﻱ ﺑﻴﻀﻪ ﺭﺍ ﺑﻪ ﭘﻮﺳﺖ ﺭﺍﻥﻫﺎ ﻣﻲﺩﻭﺯﻳﺪ‪ .‬ﺁﻧﮕﺎﻩ ﺳﻴﻨﻪﻫﺎ‬

‫‪73. William Burroughs, Naked Lunch (New York: Grove Press, 1966), p. 131.‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

‫ﺭﺍ ﻣﻲﺩﻭﺯﻳﺪ ﻭ ﺩﮐﻤﻪ ﺍﻱ ﺑﺎ ﭼﻬﺎﺭ ﺳﻮﺭﺍﺥ ﺭﺍ ﺑﻪ ﺧﻮﺑﻲ ﺑﻪ ﻫﺮ ﻧﻮک ﺳﻴﻨﻪ‬
‫ﻣﺘﺼﻞ ﻣﻲﻛﻨﻴﺪ‪ .‬ﺁﻥ ﻭﻗﺖ ﻣﻲﺗﻮﺍﻧﻴﺪ ﺍﻳﻦ ﺩﮐﻤﻪ ﻫﺎ ﺭﺍ ﺑﺎ ﮐﺸﻲ ﮐﻪ ﺍﺯ‬
‫ﺳﻮﺭﺍﺥﻫﺎﻱ ﺁﻥﻫﺎ ﺭﺩ ﻣﻲﺷﻮﺩ ﺑﻪ ﻫﻢ ﻭﺻﻞ ﮐﻨﻴﺪــ ﺣﺎﻻ ﻣﺮﺣﻠﻪ ﺩﻭﻡ ﺭﺍ ﭘﻲ‬
‫ﺑﮕﻴﺮﻳﺪ‪ .4 :‬ﺣﻖ ﺍﻧﺘﺨﺎﺏ ﺩﺍﺭﻳﺪ ﮐﻪ ﻳﺎ ﻣﺮﺍ ﺭﻭﻱ ﻣﻴﺰ ﺑﺮﮔﺮﺩﺍﻧﻴﺪ‬
‫ﺑﻪﻃﻮﺭﻱ ﮐﻪ ﺭﻭﻱ ﺷﮑﻢ ﺧﻮﺍﺑﻴﺪﻩ ﻭ ﺑﺴﺘﻪ ﺷﺪﻩ ﺑﺎﺷﻢ‪ ،‬ﺍﻣﺎ ﭘﺎﻫﺎﻳﻢ ﺑﻪ‬
‫ﻳﮑﺪﻳﮕﺮ ﭼﻔﺖ ﺑﺎﺷﻨﺪ‪ ،‬ﻳﺎ ﻣﺮﺍ ﺩﺭ ﺣﺎﻟﻲ ﺑﻪ ﺳﺘﻮﻥ ﺑﺒﻨﺪﻳﺪ ﮐﻪ ﻣﭻ ﺩﺳﺘﺎﻧﻢ‬
‫ﻭ ﭘﺎﻫﺎﻳﻢ ﺩﺭ ﭘﺸﺖ ﺳﺘﻮﻥ ﺑﺴﺘﻪ ﺷﺪﻩ ﺑﺎﺷﻨﺪ ﻭ ﮐﻞ ﺑﺪﻧﻢ ﺳﻔﺖ ﻭ ﻣﺤﮑﻢ ﺩﺭ‬
‫ﺑﻨﺪ ﺑﺎﺷﺪ؛ ‪ .5‬ﺩﺳﺖﮐﻢ ﺻﺪﺑﺎﺭ ﺑﻪ ﭘﺸﺖ ﺭﺍﻥﻫﺎﻱ ﻣﻦ ﺷﻼﻕ ﻣﻲﺯﻧﻴﺪ؛ ‪ .6‬ﺍﺯ‬
‫ﺑﺎﻻ ﺗﺎ ﭘﺎﻳﻴﻦ ﺷﮑﺎﻑ ﭘﺸﺖ ﻣﺮﺍ ﺑﻪ ﻫﻢ ﻣﻲﺩﻭﺯﻳﺪ‪ .‬ﻣﺤﮑﻢ ﺑﺎ ﻧﺨﻲ ﺩﻭﻻ‪ ،‬ﮐﻪ‬
‫ﻫﺮ ﮐﻮک ﺁﻥ ﮔﺮﻩ ﺩﺍﺭ ﺑﺎﺷﺪ‪ .‬ﺍﮔﺮ ﺭﻭﻱ ﻣﻴﺰ ﻫﺴﺘﻢ‪ ،‬ﺣﺎﻻ ﻣﺮﺍ ﺑﻪ ﺳﺘﻮﻥ‬
‫ﺑﺒﻨﺪﻳﺪ؛ ‪ .7‬ﭘﻨﺠﺎﻩ ﺿﺮﺑﻪﻱ ﻣﺤﮑﻢ ﺑﻪ ﭘﺸﺖﺍﻡ ﺑﺰﻧﻴﺪ؛ ‪ .8‬ﺍﮔﺮ ﻣﻲﺧﻮﺍﻫﻴﺪ‬
‫ﺷﮑﻨﺠﻪ ﺭﺍ ﺷﺪﺕ ﺑﺒﺨﺸﻴﺪ ﻭ ﺑﻪ ﺁﺧﺮﻳﻦ ﺗﻬﺪﻳﺪﺗﺎﻥ ﺟﺎﻣﻪﻱ ﻋﻤﻞ ﺑﭙﻮﺷﺎﻧﻴﺪ‪،‬‬
‫ﺳﻨﺠﺎﻕﻫﺎ ﺭﺍ ﺗﺎ ﺁﻥﺟﺎ ﮐﻪ ﻣﻲﺭﻭﻧﺪ ﺩﺍﺧﻞ ﭘﺸﺖﺍﻡ ﻓﺮﻭ ﮐﻨﻴﺪ؛ ‪ .9‬ﺳﭙﺲ‬
‫ﻣﻲﺗﻮﺍﻧﻴﺪ ﻣﺮﺍ ﺑﻪ ﺻﻨﺪﻟﻲ ﺑﺒﻨﺪﻳﺪ؛ ﺳﻲ ﺿﺮﺑﻪﻱ ﻣﺤﮑﻢ ﺑﻪ ﺳﻴﻨﻪﺍﻡ ﻣﻲﺯﻧﻴﺪ‬
‫ﻭ ﺳﻨﺠﺎﻕﻫﺎﻱ ﮐﻮﭼﮏﺗﺮ ﺭﺍ ﻓﺮﻭ ﻣﻲﻛﻨﻴﺪ؛ ﺍﮔﺮ ﺧﻮﺵ ﺩﺍﺭﻳﺪ‪ ،‬ﻣﻲﺗﻮﺍﻧﻴﺪ ﻫﻤﻪ‬
‫ﻳﺎ ﺗﻌﺪﺍﺩﻱ ﺍﺯ ﺁﻥﻫﺎ ﺭﺍ ﻗﺒﻞ ﺍﺯ ﻓﺮﻭﮐﺮﺩﻥ ﺩﺍﻍ ﻭ ﮔﺪﺍﺧﺘﻪ ﮐﻨﻴﺪ‪ .‬ﺑﺎﻳﺪ‬
‫ﺧﻴﻠﻲ ﻣﺤﮑﻢ ﺑﻪ ﺻﻨﺪﻟﻲ ﺑﺴﺘﻪ ﺷﺪﻩ ﺑﺎﺷﻢ ﻭ ﺩﺳﺖﻫﺎ ﭘﺸﺘﻢ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ‬
‫ﺑﺎﺷﻨﺪ‪ ،‬ﺑﻪﻃﻮﺭﻱ ﮐﻪ ﺳﻴﻨﻪﺍﻡ ﺑﻴﺮﻭﻥ ﺑﺰﻧﺪ‪ .‬ﺣﺮﻓﻲ ﺍﺯ ﺳﻮﺧﺘﮕﻲ ﻧﺰﺩﻩﺍﻡ‪،‬‬
‫ﺗﻨﻬﺎ ﺑﻪ ﺍﻳﻦ ﺧﺎﻃﺮ ﮐﻪ ﻫﻤﻴﻦ ﭼﻨﺪ ﻭﻗﺖ ﺑﻌﺪ ﺁﺯﻣﺎﻳﺸﻲ ﭘﺰﺷﮑﻲ ﺧﻮﺍﻫﻢ‬
‫ﺩﺍﺷﺖ ﻭ ﺩﺭﻣﺎﻥ ﺳﻮﺧﺘﮕﻲﻫﺎ ﺯﻣﺎﻥ ﺯﻳﺎﺩﻱ ﻣﻲﺑﺮﺩ‪ «.‬ﺍﻳﻦ ﻓﺎﻧﺘﺰﻱ ﻧﻴﺴﺖ‪ ،‬ﻳﮏ‬
‫ﺑﺮﻧﺎﻣﻪ ﺍﺳﺖ‪ :‬ﺗﻔﺎﻭﺗﻲ ﺍﺳﺎﺳﻲ ﺑﻴﻦ ﺗﻔﺴﻴﺮ ﺭﻭﺍﻥﻛﺎﻭﺍﻧﻪﻱ ﻓﺎﻧﺘﺰﻱ ﻭ‬
‫ﺁﺯﻣﻮﻥﮔﺮﻱ ﺿﺪﺭﻭﺍﻥﭘﺰﺷﮑﻴﻨﻪﻱ ﺑﺮﻧﺎﻣﻪ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .74‬ﺑﻴﻦ ﻓﺎﻧﺘﺰﻱ‪،‬‬
‫ﺗﻔﺴﻴﺮﻱ ﮐﻪ ﺧﻮﺩ ﺑﺎﻳﺪ ﺗﻔﺴﻴﺮ ﺷﻮﺩ‪ ،‬ﻭ ﺑﺮﻧﺎﻣﻪﻱ ﻣﺤﺮﮐﻪﻱ ﺁﺯﻣﻮﻥﮔﺮﻱ‪.‬‬
‫ﻭﻗﺘﻲ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﺩﻭﺭ ﺑﺮﻳﺰﻳﺪ‪ ،‬ﺁﻥﭼﻪ ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﺪ ﺏ‪.‬ﺏ‪.‬ﺍ ﺍﺳﺖ‪ .‬ﺷﻤﺎ‬
‫ً ﻓﺎﻧﺘﺰﻱ‪ ،‬ﻭ ﺩﻻﻟﺖﻫﺎ ﻭ ﻓﺮﺍﻳﻨﺪﻫﺎﻱ ﺗﻮﻟﻴﺪ ﺳﻮﺑﮋﮐﺘﻴﻮﻳﺘﻪ ﺭﺍ‪،‬‬ ‫ﺩﻗﻴﻘﺎ‬
‫ﺑﻪﻣﺜﺎﺑﻪﻱ ﻳﮏ ﮐﻞ‪ ،‬ﺩﻭﺭ ﻣﻲﺭﻳﺰﻳﺪ‪ .‬ﺭﻭﺍﻥﻛﺎﻭﻱ ﺧﻼﻑ ﺍﻳﻦ ﺭﺍ ﺍﻧﺠﺎﻡ‬
‫ﻣﻲﺩﻫﺪ‪ :‬ﺭﻭﺍﻥﻛﺎﻭﻱ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﺑﻪ ﻓﺎﻧﺘﺰﻱﻫﺎ ﺑﺮﻣﻲﮔﺮﺩﺍﻧﺪ‪ ،‬ﻫﻤﻪ ﭼﻴﺰ‬
‫ﺭﺍ ﺑﻪ ﻓﺎﻧﺘﺰﻱ ﻗﻠﺐ ﻣﻲﻛﻨﺪ‪ ،‬ﻓﺎﻧﺘﺰﻱ ﺭﺍ ﺣﻔﻆ ﻣﻲﻛﻨﺪ‪ .‬ﺭﻭﺍﻥﻛﺎﻭﻱ ﺷﺎﻫﺎﻧﻪ‬
‫ﺍﻣﺮ ﻭﺍﻗﻌﻲ ﺭﺍ ﺑﺪ ﻭﺻﻠﻪ ﻣﻲﺯﻧﺪ‪ ،‬ﺯﻳﺮﺍ ﺏ‪.‬ﺏ‪.‬ﺁ ﺭﺍ ﺑﺪ ﻭﺻﻠﻪ ﻣﻲﺯﻧﺪ‪.‬‬
‫ﭼﻴﺰﻱ ﺭﺥ ﺧﻮﺍﻫﺪ ﺩﺍﺩ‪ .‬ﭼﻴﺰﻱ ﻫﻢ ﺍﮐﻨﻮﻥ ﺩﺭ ﺣﺎﻝ ﻭﻗﻮﻉ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺁﻥﭼﻪ‬
‫ً ﺑﻪﻫﻤﺎﻥ ﺷﻴﻮﻩﺍﻱ ﺍﺗﻔﺎﻕ ﻧﻤﻲﺍﻓﺘﺪ ﮐﻪ‬
‫ﺭﻭﻱ ﺏ‪.‬ﺏ‪.‬ﺍ ﺭﺥ ﺧﻮﺍﻫﺪ ﺩﺍﺩ‪ ،‬ﺩﻗﻴﻘﺎ‬
‫ِ ﺁﻥ ﺑﺮﺍﻱ ﺧﻮﺩ ﺏ‪.‬ﺏ‪.‬ﺍ ﻣﻲ ﻣﻲﺳﺎﺯﻳﺪ‪ .‬ﺑﺎ ﺍﻳﻦﺣﺎﻝ‪ ،‬ﻫﺮﻳﮏ ﺩﻳﮕﺮﻱ ﺭﺍ ﺩﺭ‬
‫ﻃﺒﻖ‬
‫ﺑﺮﺩﺍﺭﺩ‪ .‬ﺍﺯ ﻫﻤﻴﻦﺭﻭ‪ ،‬ﺩﻭ ﻣﺮﺣﻠﻪﻱ ﻣﺰﺑﻮﺭ ﺩﺭ ﻧﺎﻣﻪﻱ ﺑﻨﺪ ﭘﻴﺶ ﻭﺟﻮﺩ‬

‫‪ .‬ﺗﻘﺎﺑﻞ ﺑﺮﻧﺎﻣﻪـﻓﺎﻧﺘﺰﻱ ﺑﻪ ﺭﻭﺷﻨﻲ ﺩﺭ ﮐﺎﺭ ﻣﻴﺸﻞ ﺩﻭ ﻣﻮﺯﺍﻥ ــ ﮐﻪ ﻳﮏ ﻣﻮﺭﺩﮐﺎﻭﻱ‬

‫ﺩﺭﺑﺎﺭﻩﻱ ﻣﺎﺯﻭﺧﻴﺴﻢ ﺍﺳﺖ ــ ﻇﺎﻫﺮ ﻣﻲﺷﻮﺩ‪ .‬ﺭﺟﻮﻉ ﮐﻨﻴﺪ ﺑﻪ‪:‬‬
‫‪M'uzan in La sexualit'e perverse, ed. Isle and Robert Barande et al. (Paris: Payot, 1972), p. 36.‬‬
‫ﺍﮔﺮﭼﻪ ﻣﻮﺯﺍﻥ ﺑﻪﻃﻮﺭ ﺧﺎﺹ ﺑﻪ ﺍﻳﻦ ﺗﻘﺎﺑﻞ ﻧﻤﻲﭘﺮﺩﺍﺯﺩ‪ ،‬ﺍﻣﺎ ﺍﺯ ﺍﻧﮕﺎﺭﻩﻱ ﺑﺮﻧﺎﻣﻪ ﺍﺳﺘﻔﺎﺩﻩ‬
‫ﻣﻲﮐﻨﺪ ﺗﺎ ﺩﺭﻭﻥﻣﺎﻳﻪﻫﺎﻱ ﺍﻭﺩﻳﭗ‪ ،‬ﺍﺿﻄﺮﺍﺏ ﻭ ﺍﺧﺘﮕﻲ ﺭﺍ ﺑﻪ ﭘﺮﺳﺶ ﺑﮑﺸﺪ‪.‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

‫ﺩﺍﺭﻧﺪ‪ .‬ﭼﺮﺍ ﺍﻳﻦ ﺩﻭ ﻣﺮﺣﻠﻪﻱ ﺑﻪﻭﺿﻮﺡ ﺗﻔﮑﻴﮏ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﺩﺭ ﺣﺎﻟﻲ ﮐﻪ ﭼﻴﺰﻱ‬
‫ﻳﮑﺴﺎﻥ ﺩﺭ ﻫﺮ ﺩﻭ ﻣﻮﺭﺩ ﺍﻧﺠﺎﻡ ﻣﻲﮔﻴﺮﺩ ــ ﺩﻭﺧﺘﻦ ﻭ ﺷﻼﻕ ﺯﺩﻥ؟ ﻳﮏ ﻣﺮﺣﻠﻪ‬
‫ﺑﺮﺍﻱ ﺳﺎﺧﺖ ﺏ‪.‬ﺏ‪.‬ﺁ‪ ،‬ﻣﺮﺣﻠﻪﻱ ﺩﻳﮕﺮ ﺟﻬﺖ ﺑﻪ ﮔﺮﺩﺵ ﺩﺭﺁﻭﺭﺩﻥ ﭼﻴﺰﻱ ﺭﻭﻱ‬
‫ﺏ‪.‬ﺏ‪.‬ﺍ ﻳﺎ ﮔﺬﺭﺍﻧﺪﻥ ﺁﻥ ﺍﺯ ﺧﻼﻝ ﺏ‪.‬ﺏ‪.‬ﺍ؛ ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻦ ﻓﺮﺍﻳﻨﺪﻫﺎﻱ‬
‫ﻳﮑﺴﺎﻧﻲ ﺩﺭ ﻫﺮ ﺩﻭ ﻣﺮﺣﻠﻪ ﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﻧﺪ‪ ،‬ﺍﻣﺎ ﺍﻳﻦ‬
‫ﻓﺮﺁﻳﻨﺪﻫﺎ ﺑﺎﻳﺪ ﺗﺠﺪﻳﺪ ﺷﻮﻧﺪ‪ ،‬ﻭ ﺩﻭﺑﺎﺭ ﺍﻧﺠﺎﻡ ﭘﺬﻳﺮﻧﺪ‪ .‬ﻣﺸﺨﺺ ﺍﺳﺖ ﮐﻪ‬
‫ﻣﺎﺯﻭﺧﻴﺴﺖ ﺗﺤﺖ ﺷﺮﺍﻳﻄﻲ ﺑﺮﺍﻱ ﺧﻮﺩ ﻳﮏ ﺏ‪.‬ﺏ‪.‬ﺁ ﻣﻲﺳﺎﺯﺩ ﮐﻪ ﺏ‪.‬ﺏ‪.‬ﺁ ﺩﻳﮕﺮ‬
‫ﻧﻤﻲﺗﻮﺍﻧﺪ ﺑﺎ ﻫﻴﭻ ﭼﻴﺰﻱ ﺟﺰ ﺷﺪﺕﻫﺎﻱ ﺩﺭﺩ‪ ،‬ﻳﺎ ﻣﻮﺝﻫﺎﻱ ﺩﺭﺩ ﭘﺮ ﺷﻮﺩ‪ .‬ﻏﻠﻂ‬
‫ﺍﺳﺖ ﮐﻪ ﺑﮕﻮﻳﻴﻢ ﻣﺎﺯﻭﺧﻴﺴﺖ ﺑﻪ ﺩﻧﺒﺎﻝ ﺩﺭﺩ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺑﻪ ﻫﻤﺎﻥ ﺍﻧﺪﺍﺯﻩ‬
‫ً ﺗﻌﻠﻴﻘﻲ ﻳﺎ ﻏﻴﺮﻣﺴﺘﻘﻴﻢ‬‫ﻧﻴﺰ ﻏﻠﻂ ﺍﺳﺖ ﮐﻪ ﺑﮕﻮﻳﻴﻢ ﺍﻭ ﺑﻪ ﺷﮑﻠﻲ ﻣﺨﺼﻮﺻﺎ‬
‫ﺩﺭﭘﻲ ﻟﺬﺕ ﺍﺳﺖ‪ .‬ﻣﺎﺯﻭﺧﻴﺴﺖ ﺑﻪ ﺩﻧﺒﺎﻝ ﻧﻮﻋﻲ ﺏ‪.‬ﺏ‪.‬ﺍ ﺍﺳﺖ ﮐﻪ ﻓﻘﻂ ﺩﺭﺩ‬
‫ﻣﻲﺗﻮﺍﻧﺪ ﺁﻥ ﺭﺍ ﭘﺮ ﮐﻨﺪ ﻳﺎ ﺩﺭﻧﻮﺭﺩﺩ‪ ،‬ﺁﻥ ﻫﻢ ﺑﻪ ﺳﺒﺐ ﺷﺮﺍﻳﻄﻲ ﮐﻪ ﺗﺤﺖ‬
‫ﺁﻥ ﺏ‪.‬ﺏ‪.‬ﺍ ﺑﺮﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺩﺭﺩﻫﺎ ﻫﻤﺎﻥ ﺟﻤﻌﻴﺖﻫﺎ‪ ،‬ﺩﺳﺘﻪﻫﺎ‪ ،‬ﻭ ﺣﺎﻻﺕ‬
‫ﺷﺎﻩ ـ ﻣﺎﺯﻭﺧﻴﺴﺖ ـ ﺩﺭ ـ ﺻﺤﺮﺍ ﻫﺴﺘﻨﺪ ﮐﻪ ﺧﻮﺩ ﻣﺎﺯﻭﺧﻴﺴﺖ ﺗﻮﻟﻴﺪ ﻭ‬
‫ﺗﮑﺜﻴﺮ ﻣﻲﻛﻨﺪ‪ .‬ﻫﻤﻴﻦ ﻣﺎﺟﺮﺍ ﺩﺭﺑﺎﺭﻩﻱ ﺑﺪﻥ ﺗﺨﺪﻳﺮﻱ ﻭ ﺷﺪﺕﻫﺎﻱ ﺳﺮﻣﺎ‪ ،‬ﻳﺎ‬
‫ﻣﻮﺝﻫﺎﻱ ﻳﺨﭽﺎﻟﻲ‪ ،‬ﺻﺎﺩﻕ ﺍﺳﺖ‪ .‬ﺑﺮﺍﻱ ﻫﺮ ﻧﻮﻉ ﺏ‪.‬ﺏ‪.‬ﺁ ﺑﺎﻳﺪ ﺑﭙﺮﺳﻴﻢ‪ .1 :‬ﺍﺯ‬
‫ﭼﻪ ﻧﻮﻋﻲ ﺍﺳﺖ‪ ،‬ﭼﮕﻮﻧﻪ ﻭ ﺑﺎ ﭼﻪ ﻓﺮﺍﻳﻨﺪﻫﺎ ﻭ ﻭﺳﺎﻳﻠﻲ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‬
‫)ﮐﻪ ﺍﺯ ﭘﻴﺶ ﺗﻌﻴﻴﻦ ﻣﻲﻛﻨﺪ ﭼﻪ ﭼﻴﺰﻱ ﺑﺮ ﺏ‪.‬ﺏ‪.‬ﺍ ﻭﺍﻗﻊ ﺧﻮﺍﻫﺪ ﺷﺪ(؟ ‪.2‬‬
‫ﺣﺎﻻﺗﺶ ﭼﻴﺴﺖ‪ ،‬ﭼﻪ ﭼﻴﺰﻱ‪ ،‬ﻭ ﺑﺎ ﭼﻪ ﻣﺘﻐﻴﺮﻫﺎ ﻭ ﭼﻪ ﺷﮕﻔﺘﻲﻫﺎﻳﻲ ﺭﺥ ﺧﻮﺍﻫﺪ‬
‫ﺩﺍﺩ؟ ﭼﻪ ﭼﻴﺰﻱ ﻏﻴﺮﻣﻨﺘﻈﺮﻩ ﺍﺳﺖ ﻭ ﺍﻧﺘﻈﺎﺭ ﭼﻪ ﭼﻴﺰﻱ ﻣﻲﺭﻭﺩ؟ ﺧﻼﺻﻪ‪ ،‬ﻳﮏ‬
‫ﻧﺴﺒﺖ ﺑﺴﻴﺎﺭ ﻣﺸﺨﺺ ﺗﺮﮐﻴﺐ ]ﺳﻨﺘﺰ[ ﻭ ﺗﺤﻠﻴﻞ ﻣﻴﺎﻥ ﻧﻮﻉ ﻣﻌﻠﻮﻣﻲ ﺍﺯ ﺏ‪.‬ﺏ‪.‬ﺍ‬
‫ﺹ ﺗﺮﮐﻴﺐ‬
‫ﻭ ﺁﻥﭼﻪ ﮐﻪ ﺑﺮ ﺭﻭﻱ ﺁﻥ ﺭﺥ ﻣﻲﺩﻫﺪ‪ ،‬ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ :‬ﻧﺴﺒﺖ ﺑﺴﻴﺎﺭ ﺧﺎِ‬
‫ﻭ ﺗﺤﻠﻴﻞ ﻣﻴﺎﻥ ﻳﮏ ﻧﻮﻉ ﻣﻔﺮﻭﺽ ﺏ‪.‬ﺏ‪.‬ﺍ ﻭ ﺁﻥﭼﻪ ﮐﻪ ﺑﺮ ﺭﻭﻱ ﺁﻥ ﺭﺥ ﻣﻲﺩﻫﺪ‪:‬‬
‫ً ﭼﻴﺰﻱ ﺩﺭ ﻳﮏ ﺣﺎﻟﺖ ﻣﻌﻠﻮﻡ‬ ‫ﻳﮏ ﺗﺮﮐﻴﺐِ ﭘﻴﺸﻴﻨﻲ ﮐﻪ ﺑﻪﻭﺳﻴﻠﻪﻱ ﺁﻥ ﺿﺮﻭﺭﺗﺎ‬
‫ﺗﻮﻟﻴﺪ ﺧﻮﺍﻫﺪ ﺷﺪ )ﺍﻣﺎ ﻫﻨﻮﺯ ﻣﻌﻠﻮﻡ ﻧﻴﺴﺖ ﮐﻪ ﭼﻪ ﺧﻮﺍﻫﺪ ﺑﻮﺩ(‪ ،‬ﻭ ﻳﮏ‬
‫ﺗﺤﻠﻴﻞ ﻧﺎﻣﺘﻨﺎﻫﻲ ﮐﻪ ﺑﻪﻭﺳﻴﻠﻪﻱ ﺁﻥ‪ ،‬ﭼﻴﺰﻱ ﮐﻪ ﺑﺮ ﺏ‪.‬ﺏ‪.‬ﺍ ﺗﻮﻟﻴﺪ ﻣﻲﺷﻮﺩ‪،‬‬
‫ﭘﻴﺸﺎﭘﻴﺶ ﺑﺨﺸﻲ ﺍﺯ ﺗﻮﻟﻴﺪ ﺁﻥ ﺑﺪﻥ ﺍﺳﺖ‪ ،‬ﭘﻴﺸﺎﭘﻴﺶ ﺩﺭ ﺑﺪﻥ ﻟﺤﺎﻅ ﺷﺪﻩ‬
‫ﺍﺳﺖ‪ ،‬ﻭ ﭘﻴﺸﺎﭘﻴﺶ ﺑﺮ ﺁﻥ ﻗﺮﺍﺭ ﺩﺍﺭﺩ )ﺍﻣﺎ ﺑﻪ ﻗﻴﻤﺖ ﺗﻌﺪﺍﺩﻱ ﻧﺎﻣﺘﻨﺎﻫﻲ‬
‫ﺍﺯ ﮔﺬﺍﺭﻫﺎ‪ ،‬ﺗﻘﺴﻴﻢﻫﺎ‪ ،‬ﻭ ﺗﻮﻟﻴﺪﺍﺕ ﺛﺎﻧﻮﻱ(‪ .‬ﺍﻳﻦ ﻳﮏ ﺁﺯﻣﻮﻥﮔﺮﻱ ﺑﺴﻴﺎﺭ‬
‫ﻇﺮﻳﻒ ﺍﺳﺖ‪ ،‬ﺯﻳﺮﺍ ﻧﺒﺎﻳﺪ ﻫﻴﭻﮔﻮﻧﻪ ﺍﻧﺤﻄﺎﻁ ﺣﺎﻟﺖﻫﺎ ﻳﺎ ﺣﺘﻲ ﻟﻐﺰﺵ ﺩﺭ‬
‫ﻧﻮﻉ‪ ،‬ﺭﺥ ﺩﻫﺪ‪ :‬ﻣﺎﺯﻭﺧﻴﺴﺖ ﻭ ﻣﺼﺮﻑﮐﻨﻨﺪﻩﻱ ﻣﻮﺍﺩ ﻣﺨﺪﺭ ﺍﻳﻦ ﺧﻄﺮﺍﺕ ﻫﻤﻮﺍﺭﻩ‬
‫ـ ﺣﺎﺿﺮ ﺭﺍ ﺑﻪ ﺟﺎﻥ ﻣﻲﺧﺮﻧﺪ ﮐﻪ ﺏ‪.‬ﺏ‪.‬ﺍ ﻫﺎﻱ ﺁﻥﻫﺎ ﺭﺍ‪ ،‬ﺑﻪﺟﺎﻱ ﭘﺮ ﮐﺮﺩﻥ‪،‬‬
‫ﺧﺎﻟﻲ ﻣﻲﻛﻨﺪ‪.‬‬
‫ﺣﺘﻲ ﺍﮔﺮ ﺩﻭﺑﺎﺭ ﺷﮑﺴﺖ ﺑﺨﻮﺭﻳﺪ‪ ،‬ﺷﮑﺴﺖ ﺑﺎﺭ ﺩﻭﻡﺗﺎﻥ ﻫﻤﺎﻥ ﺷﮑﺴﺖ‬
‫ﺍﻭﻟﻴﻪ‪ ،‬ﻳﺎ ﻫﻤﺎﻥ ﺧﻄﺮ ﺍﻭﻟﻴﻪ ﺍﺳﺖ‪ .‬ﻳﮏ ﺑﺎﺭ ﺩﺭ ﺳﻄﺢِ ﺳﺎﺧﺘﻦ ﺏ‪.‬ﺏ‪.‬ﺍ ﻭ‬
‫ﺑﺎﺭ ﺩﻳﮕﺮ ﺩﺭ ﺳﻄﺢِ ﺁﻥﭼﻪ ﮐﻪ ﺍﺯ ﺧﻼﻝ ﺏ‪.‬ﺏ‪.‬ﺍ ﻣﻲﮔﺬﺭﺩ ﻳﺎ ﻧﻤﻲﮔﺬﺭﺩ‪ .‬ﻓﮑﺮ‬
‫ﻣﻲﻛﻨﻴﺪ ﮐﻪ ﺏ‪.‬ﺏ‪.‬ﺁﻱ ﺧﻮﺑﻲ ﺑﺮﺍﻱ ﺧﻮﺩ ﺳﺎﺧﺘﻪ ﺍﻳﺪ‪ ،‬ﮐﻪ ﺟﺎﻳﮕﺎﻩ‪ ،‬ﻗﺪﺭﺕ‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

‫)‪ (puissance‬ﻭ ﺟﻤﻌﻲﺑﻮﺩﻥِ )ﻫﻤﻴﺸﻪ ﺟﻤﻌﻲ ﺑﻮﺩﻥﺍﻱ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﺣﺘﻲ ﻭﻗﺘﻲ‬
‫ﺗﻨﻬﺎ ﻫﺴﺘﻴﺪ( ﺩﺭﺳﺘﻲ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﮐﺮﺩﻩ ﺍﻳﺪ‪ ،‬ﻭ ﺳﭙﺲ ﻫﻴﭻ ﭼﻴﺰ ﮔﺬﺭ‬
‫ﻧﻤﻲﻛﻨﺪ‪ ،‬ﻫﻴﭻ ﭼﻴﺰ ﺑﻪ ﮔﺮﺩﺵ ﺩﺭ ﻧﻤﻲﺁﻳﺪ‪ ،‬ﻳﺎ ﭼﻴﺰﻱ ﻫﺴﺖ ﮐﻪ ﭼﻴﺰﻫﺎ ﺭﺍ‬
‫ﺍﺯ ﺣﺮﮐﺖ ﺑﺎﺯﻣﻲﺩﺍﺭﺩ‪ .‬ﻳﮏ ﻧﻘﻄﻪﻱ ﭘﺎﺭﺍﻧﻮﻳﻴﺪﻱ‪ ،‬ﻳﮏ ﻧﻘﻄﻪﻱ ﺍﻧﺴﺪﺍﺩ‪ ،‬ﺟﻮﺵ‬
‫ِ ﻭﻳﻠﻴﺎﻡ ﺑﺎﺭﻭﺯ‬
‫ِ ﭘﺴﺮ‬ ‫ﻭ ﺧﺮﻭﺵ ﻫﺬﻳﺎﻥ‪ :‬ﻫﻤﻴﻦ ﺍﺳﺖ ﮐﻪ ﺑﻪ ﻭﺿﻮﺡ ﺩﺭ ﺍﺳﭙﻴﺪ‬
‫ﺑﻪ ﭼﺸﻢ ﻣﻲﺧﻮﺭﺩ‪ .‬ﺁﻳﺎ ﻣﻲﺗﻮﺍﻥ ﺍﻳﻦ ﻧﻘﻄﻪﻱ ﺧﻄﺮ ﺭﺍ ﻣﮑﺎﻥﻳﺎﺑﻲ ﮐﺮﺩ‪ ،‬ﺁﻳﺎ‬
‫ﻣﺎﻧﻊ ﺑﺎﻳﺪ ﺩﻓﻊ ﺷﻮﺩ‪ ،‬ﻳﺎ ﺩﺭ ﻋﻮﺽ ﺑﺎﻳﺪ »ﺑﻪ ﻣﺤﺾ ﺁﻥﮐﻪ ﺍﻧﺤﻄﺎﻁ ﻇﺎﻫﺮ‬
‫ﮔﺸﺖ‪ ،‬ﺑﻪ ﺁﻥ ﻋﺸﻖ ﻭﺭﺯﻳﺪ‪ ،‬ﺁﻥ ﺭﺍ ﺍﺭﺝ ﻧﻬﺎﺩ ﻭ ﺗﺴﻠﻴﻢﺍﺵ ﺷﺪ«؟ ﺁﻳﺎ‬
‫ﺳﺪﮐﺮﺩﻥ ﻭ ﺳﺪ ﺷﺪﻥ‪ ،‬ﮐﻤﺎﮐﺎﻥ ﻧﻮﻋﻲ ﺷﺪﺕ ﻧﻴﺴﺘﻨﺪ؟ ﺩﺭ ﻫﺮ ﻣﻮﺭﺩ‪ ،‬ﺑﺎﻳﺪ‬
‫ﺗﻌﻴﻴﻦ ﮐﻨﻴﻢ ﮐﻪ ﭼﻪ ﭼﻴﺰ ﻭﺍﻗﻊ ﻣﻲﺷﻮﺩ ﻭ ﭼﻪ ﭼﻴﺰ ﮔﺬﺭ ﻧﻤﻲﻛﻨﺪ‪ ،‬ﭼﻪ ﭼﻴﺰ‬
‫ِ ﺁﻥ‪ .‬ﻫﻤﺎﻥﻃﻮﺭ ﮐﻪ ﻟﻮﻳﻦ‪ 75‬ﻣﻲﮔﻮﻳﺪ‪،‬‬‫ﻣﻮﺟﺐ ﻋﺒﻮﺭ ﻣﻲﺷﻮﺩ ﻭ ﭼﻪ ﭼﻴﺰ ﻣﺎﻧﻊ‬
‫ﺩﺭ ﻣﺪﺍﺭ ﮔﻮﺷﺖ‪ ،‬ﭼﻴﺰﻱ ﺍﺯ ﮐﺎﻧﺎﻝﻫﺎ ﺳﺮﺍﺯﻳﺮ ﻣﻲﺷﻮﺩ؛ ﮐﺎﻧﺎﻝﻫﺎﻳﻲ ﮐﻪ‬
‫ﺩﺭﻫﺎﻳﻲ ﺑﺎ ﺩﺭﺑﺎﻥﻫﺎ ﻭ ﻋﺎﺑﺮﺍﻥ‪ ،‬ﺑﺨﺶﻫﺎﻳﺸﺎﻥ ﺭﺍ ﻣﺮﺯﺑﻨﺪﻱ ﮐﺮﺩﻩﺍﻧﺪ‪.‬‬
‫ﺩﺭﺑﺎﺯﮐﻦﻫﺎ ﻭ ﺗﻠﻪﺑﻨﺪﻫﺎ‪ ،‬ﻣﺎﻻﺑﺎﺭﻫﺎ‪ 76‬ﻭ ﻓﻴﺮﺍﺑﺮﺍﺱ‪ .77‬ﺑﺪﻥ ﺍﮐﻨﻮﻥ ﻫﻴﭻ‬
‫ﭼﻴﺰ ﻧﻴﺴﺖ ﻣﮕﺮ ﻣﺠﻤﻮﻋﻪﺍﻱ ﺍﺯ ﺳﻮﭘﺎپﻫﺎ‪ ،‬ﻗﻔﻞﻫﺎ‪ ،‬ﺩﺭﻳﭽﻪﻫﺎﻱ ﺁﺏ‪ ،‬ﮔﻮﻱﻫﺎ‪،‬‬
‫ﻳﺎ ﻟﻮﻟﻪﻫﺎﻱ ﺍﺭﺗﺒﺎﻃﻲ‪ ،‬ﮐﻪ ﻫﺮ ﻳﮏ ﻧﺎﻡ ﺧﺎﺹ ﺧﻮﺩ ﺭﺍ ﺩﺍﺭﻧﺪ‪ :‬ﻧﻮﻋﻲ ﻣﺮﺩﻡ‬
‫ﺷﺪﻥِ ﺏ‪.‬ﺏ‪.‬ﺍ‪ ،‬ﻣﺘﺮﻭﭘﻮﻟﻴﺴﻲ ﮐﻪ ﺑﺎﻳﺪ ﺑﺎ ﺗﺎﺯﻳﺎﻧﻪ ﻣﺪﻳﺮﻳﺖ ﺷﻮﺩ‪ .‬ﭼﻪ ﭼﻴﺰ‬
‫ﺁﻥ ﺭﺍ ﻣﻲﻣﺮﺩﻣﺪ‪ ،‬ﭼﻪ ﺍﺯ ﺧﻼﻝ ﺁﻥ ﻋﺒﻮﺭ ﻣﻲﻛﻨﺪ‪ ،‬ﻭ ﭼﻪ ﭼﻴﺰ ﻣﻮﺟﺐ ﺍﻧﺴﺪﺍﺩ‬
‫ﻣﻲﺷﻮﺩ؟‬
‫ﻳﮏ ﺏ‪.‬ﺏ‪.‬ﺍ ﺑﻪﮔﻮﻧﻪﺍﻱ ﺳﺎﺧﺘﻪ ﻣﻲﺷﻮﺩ ﮐﻪ ﺗﻨﻬﺎ ﺷﺪﺕﻫﺎ ﻣﻲﺗﻮﺍﻧﻨﺪ ﺁﻥ ﺭﺍ‬
‫ﺍﺷﻐﺎﻝ ﮐﻨﻨﺪ ﻭ ﺩﺭ ﺁﻥ ﺳﺎﮐﻦ ﺷﻮﻧﺪ‪ .‬ﺗﻨﻬﺎ ﺷﺪﺕﻫﺎ ﻋﺒﻮﺭ ﻣﻲﻛﻨﻨﺪ ﻭ ﺑﻪ‬
‫ﮔﺮﺩﺵ ﺩﺭﻣﻲﺁﻳﻨﺪ‪ .‬ﺑﺎ ﺍﻳﻦﺣﺎﻝ‪ ،‬ﺏ‪.‬ﺏ‪.‬ﺍ ﻳﮏ ﺻﺤﻨﻪ‪ ،‬ﻳﮏ ﺟﺎﻳﮕﺎﻩ ﻳﺎ ﺣﺘﻲ‬
‫ﺗﮑﻴﻪﮔﺎﻫﻲ ﻧﻴﺴﺖ ﮐﻪ ﭼﻴﺰﻱ ﺍﺯ ﻓﺮﺍﺯ ﺁﻥ ﻳﺎ ﺑﺎ ﺗﮑﻴﻪ ﺑﺮ ﺁﻥ ﻋﺒﻮﺭ ﮐﻨﺪ‪.‬‬
‫ﺏ‪.‬ﺏ‪.‬ﺍ ﻫﻴﭻ ﺭﺑﻄﻲ ﺑﻪ ﻓﺎﻧﺘﺰﻱ ﻧﺪﺍﺭﺩ‪ ،‬ﻫﻴﭻ ﭼﻴﺰ ﺑﺮﺍﻱ ﺗﻔﺴﻴﺮﮐﺮﺩﻥ ]ﺭﻭﻱ‬
‫ﺁﻥ[ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﺏ‪.‬ﺏ‪.‬ﺍ ﻣﻮﺟﺐِ ﻋﺒﻮﺭ ﺷﺪﺕﻫﺎ ﻣﻲﺷﻮﺩ؛ ﺁﻥﻫﺎ ﺭﺍ ﺩﺭ ﻧﻮﻋﻲ‬
‫‪] spatium‬ﻓﻀﺎ[ ﺗﻮﻟﻴﺪ ﻭ ﺗﻮﺯﻳﻊ ﻣﻲﻛﻨﺪ ﮐﻪ ﺧﻮﺩ ﺍﺷﺘﺪﺍﺩﻱ ﻭ ﻓﺎﻗﺪ ﺍﻣﺘﺪﺍﺩ‬
‫ﺍﺳﺖ‪ .‬ﻣﮑﺎﻥ ﻧﻴﺴﺖ‪ ،‬ﺩﺭ ﻣﮑﺎﻥ ﻫﻢ ﻧﻴﺴﺖ؛ ﻣﺎﺩﻩﺍﻱ ﺍﺳﺖ ﮐﻪ ﺗﺎ ﺩﺭﺟﻪﺍﻱ‬
‫ﻣﻔﺮﻭﺽ ﻣﮑﺎﻥ ﺭﺍ ﺍﺷﻐﺎﻝ ﻣﻲﻛﻨﺪ ــ ﺗﺎ ﺩﺭﺟﻪﺍﻱ ﻣﺘﻨﺎﻇﺮ ﺑﺎ ﺷﺪﺕﻫﺎﻱ‬
‫ﺗﻮﻟﻴﺪﺷﺪﻩ‪ .‬ﺏ‪.‬ﺏ‪.‬ﺍ ﭼﻴﻨﻪﺑﻨﺪﻱﻧﺸﺪﻩ‪ ،‬ﻓﺮﻡﻧﻴﺎﻓﺘﻪ‪ ،‬ﻣﺎﺩﻩﻱ ﺷﺪﻳﺪ‪ ،‬ﻣﺎﺗﺮﻳﺲ‬
‫ﺷﺪﺕ‪ ،‬ﻳﺎ ﺷﺪﺕ = ‪ 0‬ﺍﺳﺖ؛ ﺍﻣﺎ ﺍﻳﻦ ﺻﻔﺮ ﻫﻴﭻ ﭼﻴﺰ ﻣﻨﻔﻲﺍﻱ ﻧﺪﺍﺭﺩ‪ ،‬ﻫﻴﭻ‬

‫‪ .‬ﮐﻮﺭﺕ ﻟﻮﻳﻦ‪ ،‬ﺭﻭﺍﻥﺷﻨﺎﺱ ﺁﻟﻤﺎﻧﻲـﺁﻣﺮﻳﮑﺎﻳﻲ )‪ 1890‬ـ ‪ .(1947‬ﻡ‬

‫‪ .‬ﻣﺎﻻﺑﺎﺭﻫﺎ ﻧﺎﻣﻲ ﺍﺳﺖ ﮐﻪ ﺍﺯ ﺩﻭﺭﺍﻥ ﺍﺳﺘﻌﻤﺎﺭ ﺑﻪ ﺟﺎﻱ ﻣﺎﻧﺪﻩ‪ .‬ﻏﺮﺑﻲﻫﺎ ﺑﻪ ﻣﺮﺩﻡ ﻫﻨﺪ‬
‫ﺟﻨﻮﺑﻲ ﻣﺎﻻﺑﺎﺭ ﻣﻲﮔﻔﺘﻨﺪ‪ .‬ﺑﺮﺍﻱ ﻣﺜﺎﻝ‪ ،‬ﻫﻠﻨﺪﻱﻫﺎ ﺗﺎﻣﻴﻞﻫﺎﻱ ﺳﺮﻳﻼﻧﮑﺎ ﺭﺍ ﺑﺎ ﺍﻳﻦ ﻟﻔﻆ‬
‫ﻣﻲﻧﺎﻣﻴﺪﻧﺪ ﻭ ﻓﺮﺍﻧﺴﻮﻱﻫﺎ ﻧﻴﺰ ﺑﻪ ﮐﺎﺭﮔﺮﺍﻥ ﺗﺎﻣﻴﻠﻲ ﻣﺎﻻﺑﺎﺭ ﻣﻲﮔﻔﺘﻨﺪ‪ .‬ﻡ‬
‫‪ .‬ﻓﻴﺮﺍﺑﺮﺍﺱ ﺍﺯ ﺍﺻﻄﻼﺡ ﻓﺮﺍﻧﺴﻮﻱ ‪ fier à bras‬ﺑﻪ ﻣﻌﻨﺎﻱ »ﺑﺎﺯﻭﻱ ﭘﺮﻗﺪﺭﺕ« ﺁﻣﺪﻩ ﺍﺳﺖ ﻭ ﻧﺎﻡ‬
‫ﺷﻮﺍﻟﻴﻪﺍﻱ ﺍﺯ ﻧﮋﺍﺩ ﻋﺮﺏﻫﺎﻱ ﺣﺎﺷﻴﻪﻱ ﺍﻣﭙﺮﺍﺗﻮﺭﻱ ﺭﻭﻡ ﺍﺳﺖ ﻭ ﺩﺭ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻱ‬
‫ﺗﺨﻴﻠﻲ ﻓﺮﺍﻧﺴﻮﻱﻫﺎ ﺁﻣﺪﻩ ﺍﺳﺖ‪ .‬ﻓﻴﺮﺍﺑﺮﺍﺱ ﭘﺴﺮ ﺑﺎﻻﻥ ﭘﺎﺩﺷﺎﻩ ﺍﺳﭙﺎﻧﻴﺎ ﺍﺳﺖ ﮐﻪ ﺑﻪ ﻣﺴﻴﺤﻴﺖ‬
‫ﻣﻲﮔﺮﻭﺩ ﻭ ﺑﺮﺍﻱ ﺷﺎﺭﻟﻤﺎﻧﻲ ﻣﻲﺟﻨﮕﺪ‪ .‬ﻡ‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

‫ﺷﺪﺕ ﻣﻨﻔﻲ ﻳﺎ ﻣﺘﻀﺎﺩﻱ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﻣﺎﺩﻩ ﻣﻌﺎﺩﻝ ﺍﻧﺮژﻱ ﺍﺳﺖ‪ .‬ﺗﻮﻟﻴﺪ‬
‫ﺍﻣﺮ ﻭﺍﻗﻌﻲ ﺑﻪ ﻣﻨﺰﻟﻪﻱ ﻣﻘﺪﺍﺭﻱ ﺍﺷﺘﺪﺍﺩﻱ ﺍﺳﺖ ﮐﻪ ﺍﺯ ﺻﻔﺮ ﺁﻏﺎﺯ ﻣﻲﺷﻮﺩ‪.‬‬
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‫ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮ ﺍﺳﺖ ﮐﻪ ﺏ‪.‬ﺏ‪.‬ﺍ ﺭﺍ ﺗﺨﻢ ﮐﺎﻣﻞﺍﻱ ﭘﻴﺶ ﺍﺯ ﺍﻣﺘﺪﺍﺩ‬
‫ﺍﺭﮔﺎﻧﻴﺴﻢ ﻭ ﺳﺎﺯﻣﺎﻥﺩﻫﻲ ﺍﻧﺪﺍﻡﻫﺎ ]ﻫﻤﺎﻥ ﺍﺭﮔﺎﻥﺑﻨﺪﻱ ﺍﺭﮔﺎﻥﻫﺎ[‪ ،‬ﻭ ﭘﻴﺶ‬
‫ﺍﺯ ﺷﮑﻞﮔﻴﺮﻱ ﭼﻴﻨﻪﻫﺎ ﺩﺭ ﻧﻈﺮ ﻣﻲﮔﻴﺮﻳﻢ؛ ﻫﻤﺎﻥﻃﻮﺭ ﮐﻪ ﺗﺨﻢ ﺷﺪﻳﺪ ﺑﺎ‬
‫ﻣﺤﻮﺭﻫﺎ ﻭ ﺑﺮﺩﺍﺭﻫﺎ‪ ،‬ﮔﺮﺍﺩﻳﺎﻥﻫﺎ ﻭ ﺁﺳﺘﺎﻧﻪﻫﺎ‪ ،‬ﺑﺎ ﮔﺮﺍﻳﺶﻫﺎﻱ ﭘﻮﻳﺎﻳﻲ‬
‫ﮐﻪ ﺩﺭﺑﺮﺩﺍﺭﻧﺪﻩﻱ ﺩﮔﺮﺩﻳﺴﻲ ﺍﻧﺮژﻱ ﺍﻧﺪ ﻭ ﺑﺎ ﺟﻨﺒﺶﻫﺎﻱ ﮐﻴﻨﻤﺎﺗﻴﮏ ﮐﻪ ﺩﺭ‬
‫ﺑﺮﺩﺍﺭﻧﺪﻩﻱ ﻧﺎﺑﺠﺎﻳﻲ ﮔﺮﻭﻫﻲﺍﻧﺪ‪ ،‬ﻭ ﺑﺎ ﻧﻘﻞ ﻣﮑﺎﻥﻫﺎ‪ :‬ﻫﻤﻪ ﻭﺍﺑﺴﺘﻪ ﺑﻪ‬
‫ﻓﺮﻡﻫﺎﻱ ﺟﺎﻧﺒﻲﺍﻧﺪ ﺯﻳﺮﺍ ﺍﻧﺪﺍﻡﻫﺎ ﺍﻳﻦﺟﺎ ﺗﻨﻬﺎ ﺩﺭ ﻣﻘﺎﻡ ﺷﺪﺕﻫﺎﻱ ﻧﺎﺏ‬
‫ﮐﺎﺭ ﻣﻲﻛﻨﻨﺪ ﻭ ﻇﺎﻫﺮ ﻣﻲﺷﻮﻧﺪ‪ .78‬ﺍﻧﺪﺍﻡ ﺑﺎ ﻋﺒﻮﺭ ﺍﺯ ﻳﮏ ﺁﺳﺘﺎﻧﻪ‪ ،‬ﻭﻗﺘﻲ‬
‫ﮔﺮﺍﺩﻳﺎﻥﺍﺵ ﺗﻐﻴﻴﺮ ﻣﻲﻛﻨﺪ‪ ،‬ﺗﻐﻴﻴﺮ ﻣﻲﻛﻨﺪ‪» .‬ﻫﻴﭻ ﺍﻧﺪﺍﻣﻲ ﺑﺮﺣﺴﺐ ﮐﺎﺭﮐﺮﺩ‬
‫ﻳﺎ ﻣﻮﻗﻌﻴﺖ ﺛﺎﺑﺖ ﻧﻴﺴﺖ‪ ... ،‬ﺍﻧﺪﺍﻡﻫﺎﻱ ﺟﻨﺴﻲ ﻫﻤﻪﺟﺎ ﺟﻮﺍﻧﻪ ﻣﻲﺯﻧﻨﺪ‪...‬‬
‫ﺭﮐﺘﻮﻡﻫﺎ ﺑﺎﺯ ﻣﻲﺷﻮﻧﺪ‪ ،‬ﻣﺪﻓﻮﻉ ﻣﻲﻛﻨﻨﺪ ﻭ ﺑﺴﺘﻪ ﻣﻲﺷﻮﻧﺪ‪ ...‬ﺭﻧﮓ ﻭ‬
‫ﻫﻢﻧﻮﺍﺧﺘﻲ ﺳﺮﺗﺎﺳﺮ ﺍﺭﮔﺎﻧﻴﺴﻢ ﺑﺎ ﺗﺮﺗﻴﺐﻫﺎ ﻭ ﺗﻨﻈﻴﻢﻫﺎﻳﻲ ﺻﻮﺭﺕﮔﺮﻓﺘﻪ ﺩﺭ‬
‫ﮐﺴﺮﻱ ﺍﺯ ﺛﺎﻧﻴﻪ ﺗﻐﻴﻴﺮ ﻣﻲﻛﻨﻨﺪ‪ 79«.‬ﺗﺨﻢ ﺗﺎﻧﺘﺎﺭﺍﻳﻲ‪.80‬‬
‫ِ ﺏ‪.‬ﺏ‪.‬ﺍ ﻧﻴﺴﺖ؟‬‫ﺍﺯ ﺍﻳﻦﻫﺎ ﮔﺬﺷﺘﻪ‪ ،‬ﻣﮕﺮ ﺍﺧﻼﻕ ﺍﺳﭙﻴﻨﻮﺯﺍ ﮐﺘﺎﺏِ ﻋﻈﻴﻢ‬
‫ﺣﺎﻻﺕ ﺳﻨﺦﻫﺎ ﻳﺎ ﮔﻮﻧﻪﻫﺎﻱ ﺏ‪.‬ﺏ‪.‬ﺍ ﻫﺴﺘﻨﺪ‪ ،‬ﺟﻮﻫﺮﻫﺎ‪ ،‬ﻗﺪﺭﺕﻫﺎ‪ ،‬ﺷﺪﺕﻫﺎﻱ‬
‫ﺻﻔﺮ ﺑﻪ ﻣﻨﺰﻟﻪﻱ ﺯﻫﺪﺍﻥﻫﺎﻱ ﺗﻮﻟﻴﺪ‪ .‬ﺍﻧﻮﺍﻉ ﻫﻤﻪﻱ ﭼﻴﺰﻫﺎﻳﻲ ﻫﺴﺘﻨﺪ ﮐﻪ‬
‫ﻣﺸﻐﻮﻝ ﻋﺒﻮﺭﮐﺮﺩﻥﺍﻧﺪ‪ :‬ﻣﻮﺝﻫﺎ ﻭ ﻧﻮﺳﺎﻥﻫﺎ‪ ،‬ﻣﻬﺎﺟﺮﺕﻫﺎ‪ ،‬ﺁﺳﺘﺎﻧﻪﻫﺎ ﻭ‬
‫ﮔﺮﺍﺩﻳﺎﻥﻫﺎ‪ ،‬ﺷﺪﺕﻫﺎﻱ ﺗﻮﻟﻴﺪﺷﺪﻩ ﺩﺭ ﺳﻨﺦ ﻣﻌﻴﻨﻲ ﺍﺯ ﺟﻮﻫﺮ ﮐﻪ ﺍﺯ‬
‫ﻣﺎﺗﺮﻳﺴﻲ ﻣﻔﺮﻭﺽ ﺁﻏﺎﺯ ﻣﻲﺷﻮﺩ‪ .‬ﺑﺪﻥ ﻣﺎﺯﻭﺧﻴﺴﺖ ﺑﻪﻣﺜﺎﺑﻪﻱ ﻳﮏ ﺣﺎﻟﺖ ﻳﺎ‬
‫ﮔﻮﻧﻪ ﺍﺯ ﺟﻮﻫﺮ‪ ،‬ﺑﺎ ﺗﻮﻟﻴﺪ ﺷﺪﺕﻫﺎ ﻭ ﺍﻧﻮﺍﻉ ﺩﺭﺩﺵ ﮐﻪ ﻣﺒﺘﻨﻲ ﺑﺮ ﺩﺭﺟﻪﻱ‬
‫ﺻﻔﺮ ﺩﻭﺧﺘﻪﺷﺪﻥ ﻭ ﺩﺭﺯﮔﺮﻓﺘﻪﺷﺪﻥ ﺍﺳﺖ‪ .‬ﺑﺪﻥ ﺗﺨﺪﻳﺮﻱ ﺑﻪ ﻣﻨﺰﻟﻪﻱ ﺣﺎﻟﺘﻲ‬
‫ﻣﺘﻔﺎﻭﺕ‪ ،‬ﺑﺎ ﺗﻮﻟﻴﺪ ﺷﺪﺕﻫﺎﻱ ﺧﺎﺹ ﻣﺒﺘﻨﻲ ﺑﺮ ﺳﺮﻣﺎﻱ ﻣﻄﻠﻖ = ‪،0‬‬
‫)»ﻋﻤﻠﻲﻫﺎ ﻫﻤﻴﺸﻪ ﺍﺯ ﺁﻥﭼﻪ ﺧﻮﺩﺷﺎﻥ ﺳﺮﻣﺎ ﻣﻲﺧﻮﺍﻧﻨﺪ‪ ،‬ﺷﺎﮐﻲﺍﻧﺪ‪ ،‬ﻳﻘﻪﻱ‬
‫ﮐﺖﻫﺎﻱ ﺳﻴﺎﻩﺷﺎﻥ ﺭﺍ ﺑﺎﻻ ﻣﻲﺩﻫﻨﺪ ﻭ ﮔﺮﺩﻥﻫﺎﻱ ﭘﻼﺳﻴﺪﻩﺷﺎﻥ ﺭﺍ ﻣﺤﮑﻢ‬
‫ﻣﻲﭘﻮﺷﺎﻧﻨﺪ‪...‬ﻳﮏ ﻋﻤﻠﻲ ﺑﻪ ﺗﻤﺎﻡ ﻣﻌﻨﺎ ﺍﺣﻤﻖ‪ .‬ﻳﮏ ﻋﻤﻠﻲ ﻧﻤﻲﺧﻮﺍﻫﺪ ﮔﺮﻡ‬
‫ﺷﻮﺩ‪ ،‬ﻣﻲﺧﻮﺍﻫﺪ ﺧﻨﮏ ـ ﺧﻨﮏﺗﺮ ـ ﺳﺮﺩ ﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺟﻮﺭﻱ ﺳﺮﻣﺎ ﺭﺍ ﻣﻲﺧﻮﺍﻫﺪ‬
‫ﮐﻪ ﺩﻭﺍﻳﺶ ﺭﺍ ــ ﺳﺮﻣﺎ ﻧﻪ ﺩﺭ ﺑﻴﺮﻭﻥ ﮐﻪ ﺍﺻﻼً ﺑﻪ ﺩﺭﺩﺵ ﻧﻤﻲﺧﻮﺭﺩ‪ ،‬ﺑﻠﮑﻪ‬
‫ﺩﺭ ﺩﺭﻭﻥ ﺗﺎ ﺑﺘﻮﺍﻧﺪ ﺑﺎ ﺳﺘﻮﻥ ﻓﻘﺮﺍﺗﻲ ﻣﺜﻞ ﻳﮏ ﺟﮏ ﻫﻴﺪﺭﻭﻟﻴﮏ ﻳﺦﺯﺩﻩ‬

‫‪78. Albert Dalcq, L'oeufet son dynamisme organisateur (Paris: Albin Michel, 1941), p. 95:‬‬
‫»ﻓﺮﻡﻫﺎ ﺑﺴﺘﻪ ﺑﻪ ﭘﻮﻳﺎﻳﻲ ﮐﻴﻨﻤﺎﺗﻴﮏ ﺗﺼﺎﺩﻓﻲ ﻫﺴﺘﻨﺪ‪ .‬ﺍﻳﻦﮐﻪ ﺭﻭﺯﻧﻪ ﻳﺎ ﺳﻮﺭﺍﺧﻲ ﺩﺭ‬
‫ِ ﻣﻬﺎﺟﺮﺕ ﺍﻫﻤﻴﺖ‬‫ﻣﻴﮑﺮﻭﺍﺭﮔﺎﻧﻴﺴﻢ ﺷﮑﻞ ﺑﮕﻴﺮﺩ‪ ،‬ﻣﺴﺄﻟﻪﺍﻱ ﺛﺎﻧﻮﻱ ﺍﺳﺖ‪ .‬ﺗﻨﻬﺎ ﺧﻮﺩ ﻓﺮﺁﻳﻨﺪ‬
‫ﺩﺍﺭﺩ؛ ﺁﻥﭼﻪ ﻧﻔﻮﺫ ﻳﺎ ﺧﻂ ﺑﺪﻭﻱ ﺭﻭﺯﻧﻪ ﺭﺍ ﺑﻪ ﻭﺟﻮﺩ ﻣﻲﺁﻭﺭﺩ‪ ،‬ﭘﻴﭻﺧﻮﺭﺩﮔﻲ ﺭﻭﻱ ﺧﻮﺩ ﻧﻴﺴﺖ‪،‬‬
‫ﺑﻞ ﺗﻐﻴﺮﻫﺎﻱ ﺯﻣﺎﻧﻲ ﻭ ﮐﻤﻲ ﻧﺎﺏ ﺍﺳﺖ‪«.‬‬
‫‪79. Burroughs, Naked Lunch, p. 8.‬‬
‫‪ ،Tantric .‬ﺗﺎﻧﺘﺮﺍ ﻳﺎ ‪ tantra‬ﺑﻪ ﮔﺮﻭﻩ ﺧﺎﺻﻲ ﺍﺯ ﺭﺳﺎﻻﺕ ﺳﺎﻧﺴﮑﺮﻳﺘﻲ ﺍﻃﻼﻕ ﻣﻲﺷﻮﺩ ﮐﻪ ﻣﺤﺘﻮﺍﻱ‬
‫ﻧﺎﻫﻤﮕﻮﻧﻲ ﺩﺍﺭﻧﺪ ﺍﻣﺎ ﺑﻪ ﺗﻤﺮﻳﻦﻫﺎﻱ ﺭﻣﺰﺁﻟﻮﺩﻱ ﺑﺎ ﻫﺪﻑ ﺧﺎﻟﺺﺳﺎﺯﻱ ﻭ ﺗﺰﮐﻴﻪﻱ ﺑﺪﻥ ﻭ ﮐﻨﺘﺮﻝ‬
‫ﺭﻭﺍﻥ ﻣﻲﭘﺮﺩﺍﺯﻧﺪ‪ .‬ﻡ‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

‫ﺑﻨﺸﻴﻨﺪ‪...‬ﺳﻮﺧﺖﻭﺳﺎﺯ ﺑﺪﻥ ﺍﻭ ﺑﻪ ﺻﻔﺮ ﻣﻄﻠﻖ ﻧﺰﺩﻳﮏ ﻣﻲﺷﻮﺩ«‪ (81‬ﻭ ﺍﻟﺦ‪.‬‬
‫ِ ﻫﻤﻪﻱ ﺟﻮﻫﺮﻫﺎ‪ ،‬ﻳﻌﻨﻲ ﺟﻮﻫﺮﻱ ﻳﮑﻪ ﺑﺮﺍﻱ ﻫﻤﻪﻱ‬ ‫ﺍﻳﻦ ﻣﺴﺄﻟﻪ ﮐﻪ ﺁﻳﺎ ﺟﻮﻫﺮ‬
‫ﺣﺎﻻﺕ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻳﺎ ﻧﻪ‪ ،‬ﺑﺪﻝ ﻣﻲﺷﻮﺩ ﺑﻪ ﺍﻳﻦ ﺳﺆﺍﻝ‪ :‬ﺁﻳﺎ ﺗﻤﺎﻣﻴﺘﻲ ﺍﺯ‬
‫ﻫﻤﻪﻱ ﺏ‪.‬ﺏ‪.‬ﺍ ﻫﺎ ﻭﺟﻮﺩ ﺩﺍﺭﺩ؟ ﺍﮔﺮ ﺏ‪.‬ﺏ‪.‬ﺍ ﭘﻴﺸﺎﭘﻴﺶ ﻳﮏ ﺣﺪ ﺑﺎﺷﺪ‪،‬‬
‫ﺩﺭﺑﺎﺭﻩﻱ ﺗﻤﺎﻣﻴﺖِ ﻫﻤﻪﻱ ﺏ‪.‬ﺏ‪.‬ﺍ ﻫﺎ ﭼﻪ ﻣﻲﺗﻮﺍﻧﻴﻢ ﺑﮕﻮﻳﻴﻢ؟ ﺍﻳﻦ ﻣﺴﺄﻟﻪﻱ‬
‫ﺍﻣﺮ ﻭﺍﺣﺪ ﻭ ﺍﻣﺮ ﺑﺲﮔﺎﻧﻪ ﻧﻴﺴﺖ‪ ،‬ﺑﻞ ﻣﺴﺄﻟﻪﻱ ﻧﻮﻋﻲ ﺑﺲﮔﺎﻧﮕﻲ ﺩﺭﻫﻢﺟﻮﺵ‬
‫ﺍﺳﺖ ﮐﻪ ﻋﻤﻼً ﺑﻪﻃﻮﺭ ﻣﻮﺛﺮﻱ ﻭﺭﺍﻱ ﻫﺮ ﺗﻀﺎﺩ ﺑﻴﻦ ﺍﻣﺮ ﻭﺍﺣﺪ ﻭ ﺍﻣﺮ‬
‫ً ﻭﺣﺪﺕ‬
‫ﺑﺲﮔﺎﻧﻪ ﻣﻲﺭﻭﺩ‪ .‬ﻳﮏ ﺑﺲﮔﺎﻧﮕﻲ ﻓﺮﻣﺎﻝ ﺍﺯ ﺣﺎﻻﺕ ﺟﻮﻫﺮﻱ ﮐﻪ ﺍﺳﺎﺳﺎ‬
‫ﻫﺴﺘﻲﺷﻨﺎﺧﺘﻲ ﺟﻮﻫﺮ ﺭﺍ ﺑﺮﻣﻲﺳﺎﺯﻧﺪ‪ .‬ﭘﻴﻮﺳﺘﺎﺭﻱ ﺍﺯ ﻫﻤﻪﻱ ﺣﺎﻻﺕ ﻳﺎ‬
‫ﮔﻮﻧﻪﻫﺎﻱ ﺷﺪﺕ ﺗﺤﺖ ﺟﻮﻫﺮﻱ ﻳﮑﻪ‪ ،‬ﻭ ﭘﻴﻮﺳﺘﺎﺭﻱ ﺍﺯ ﺷﺪﺕﻫﺎﻱ ﮔﻮﻧﻪﺍﻱ ﻣﻌﻴﻦ‬
‫ﺗﺤﺖ ﺳﻨﺦ ﻳﺎ ﺣﺎﻟﺘﻲ ﻳﮑﻪ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﭘﻴﻮﺳﺘﺎﺭﻱ ﺍﺯ ﻫﻤﻪﻱ ﺟﻮﻫﺮﻫﺎ ﺩﺭ‬
‫ِ ﻣﻨﻘﻄﻊﻧﺸﺪﻩﻱ ﺏ‪.‬ﺏ‪.‬ﺍ‪ .‬ﺏ‪.‬ﺏ‪.‬ﺍ‪،‬‬‫ﺷﺪﺕ ﻭ ﻫﻤﻪﻱ ﺷﺪﺕﻫﺎ ﺩﺭ ﺟﻮﻫﺮ‪ .‬ﭘﻴﻮﺳﺘﺎﺭ‬
‫ﻣﺎﺯﻭﺧﻴﺴﺖﻫﺎ‪،‬‬ ‫ﻣﺨﺪﺭﺑﺎﺯﻫﺎ‪،‬‬ ‫ﺩﺭﻭﻥﻣﺎﻧﺪﮔﺎﺭ‪.‬‬ ‫ﺣﺪ‬ ‫ﺩﺭﻭﻥﻣﺎﻧﺪﮔﺎﺭﻱ‪،‬‬
‫ﺍﺳﮑﻴﺰﻭﻓﺮﻥﻫﺎ‪ ،‬ﻋﺸﺎﻕــ ﻫﻤﻪﻱ ﺏ‪.‬ﺏ‪.‬ﺍ ﻫﺎ ﺑﺎ ﺍﺳﭙﻴﻨﻮﺯﺍ ﺑﻴﻌﺖ ﻣﻲﻛﻨﻨﺪ‪.‬‬
‫ﺏ‪.‬ﺏ‪.‬ﺍ ﺳﺎﺣﺖ ﺩﺭﻭﻥﻣﺎﻧﺪﮔﺎﺭﻱ ﻣﻴﻞ ﺍﺳﺖ‪ ،‬ﺳﻄﺢ ﻫﻢﻧﻮﺍﺧﺘﻲ ﺧﺎﺹ ﻣﻴﻞ ﺍﺳﺖ )ﻭ‬
‫ِ ﺗﻮﻟﻴﺪ ﺑﺪﻭﻥ ﺍﺭﺟﺎﻉ ﺑﻪ ﻫﻴﭻ ﻧﻮﻉ ﻋﺎﻣﻠﻴﺖ‬ ‫ﻣﻴﻞ ﺧﻮﺩ ﺑﻪ ﻣﻨﺰﻟﻪﻱ ﻓﺮﺁﻳﻨﺪ‬
‫ﺑﻴﺮﻭﻧﻲ ــ ﺧﻮﺍﻩ ﻓﻘﺪﺍﻧﻲ ﺑﺎﺷﺪ ﮐﻪ ﺧﺎﻟﻲﺍﺵ ﮐﻨﺪ ﻳﺎ ﻟﺬﺗﻲ ﮐﻪ ﭘﺮﺵ‬
‫ﮐﻨﺪــ ﺗﻌﺮﻳﻒ ﻣﻲﺷﻮﺩ(‪.‬‬
‫ﻫﺮ ﺑﺎﺭ ﮐﻪ ﺑﻪ ﻣﻴﻞ ﺧﻴﺎﻧﺖ ﻣﻲﺷﻮﺩ‪ ،‬ﻫﺮﺑﺎﺭ ﮐﻪ ﻣﻴﻞ ﻧﻔﺮﻳﻦ ﻣﻲﺷﻮﺩ ﻭ ﺍﺯ‬
‫ﺳﺎﺣﺖ ﺩﺭﻭﻥﻣﺎﻧﺪﮔﺎﺭﻱﺍﺵ ﺭﻳﺸﻪﮐﻦ ﻣﻲﺷﻮﺩ‪ ،‬ﻫﻤﻴﺸﻪ ﭘﺎﻱ ﻳﮏ ﮐﺸﻴﺶ ﺩﺭ ﻣﻴﺎﻥ‬
‫ﺍﺳﺖ‪ .‬ﮐﺸﻴﺶ ﺑﺎ ﻧﻔﺮﻳﻨﻲ ﺳﻪﮔﺎﻧﻪ ﻣﻴﻞ ﺭﺍ ﻃﻠﺴﻢ ﻣﻲﻛﻨﺪ‪ :‬ﻗﺎﻧﻮﻥِ ﻣﻨﻔﻲ‪،‬‬
‫ﻗﺎﻋﺪﻩﻱ ﻋﺮﺿﻲ‪ ،‬ﻭ ﺍﻳﺪﻩﺁﻟﻲ ﻣﺘﻌﺎﻟﻲ‪ .‬ﮐﺸﻴﺶ ﺭﻭ ﺑﻪ ﺷﻤﺎﻝ ﮐﺮﺩ ﻭ ﮔﻔﺖ‪،‬‬
‫ﻣﻴﻞ ﻓﻘﺪﺍﻥ ﺍﺳﺖ )ﭼﮕﻮﻧﻪ ﻣﻲﺗﻮﺍﻧﺴﺖ ﻓﺎﻗﺪ ﺁﻥ ﭼﻴﺰﻱ ﻧﺒﺎﺷﺪ ﮐﻪ ﺑﺪﺍﻥ ﻣﻴﻞ‬
‫ﻣﻲﻭﺭﺯﺩ؟(‪ .‬ﮐﺸﻴﺶ ﻧﺨﺴﺘﻴﻦ ﻗﺮﺑﺎﻧﻲﮔﺮﻱ‪ ،‬ﻳﻌﻨﻲ ﺍﺧﺘﮕﻲ ﺭﺍ‪ ،‬ﺍﺟﺮﺍ ﮐﺮﺩ ﻭ‬
‫ﻫﻤﻪﻱ ﻣﺮﺩﺍﻥ ﻭ ﺯﻧﺎﻥِ ﺷﻤﺎﻝ ﭘﺸﺖ ﺍﻭ ﺑﻪ ﺻﻒ ﺷﺪﻧﺪ ﻭ ﻫﻤﺎﻫﻨﮓ ﻓﺮﻳﺎﺩ ﺳﺮ‬
‫ﺩﺍﺩﻧﺪ‪» ،‬ﻓﻘﺪﺍﻥ‪ ،‬ﻓﻘﺪﺍﻥ‪ ،‬ﺍﻳﻦ ﺍﺳﺖ ﻋﺮﻑِ ﻣﺎ‪ «.‬ﺳﭙﺲ ﮐﺸﻴﺶ‪ ،‬ﺭﻭ ﺑﻪ ﺟﻨﻮﺏ‪،‬‬
‫ﻣﻴﻞ ﺭﺍ ﺑﻪ ﻟﺬﺕ ﭘﻴﻮﻧﺪ ﺯﺩ‪ .‬ﺯﻳﺮﺍ ﮐﺸﻴﺸﺎﻧﻲ ﻟﺬﺕﺟﻮ ﻭ ﺣﺘﻲ ﻋﻴﺎﺵ ﻫﻢ‬
‫ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ‪ .‬ﻣﻴﻞ ﺑﺎ ﻟﺬﺕ ﺁﺭﺍﻡ ﻣﻲﮔﻴﺮﺩ؛ ﻭ ﻧﻪ ﻓﻘﻂ ﻟﺬﺕ ﺑﻪ ﭼﻨﮓﺁﻣﺪﻩ‬
‫ﻣﻴﻞ ﺭﺍ ﺑﺮﺍﻱ ﻟﺤﻈﻪﺍﻱ ﺧﺎﻣﻮﺵ ﻣﻲﻛﻨﺪ‪ ،‬ﺑﻠﮑﻪ ﻓﺮﺁﻳﻨﺪ ﺑﻪﭼﻨﮓﺁﻣﺪﻧﺶ ﻧﻴﺰ‬
‫ﭘﻴﺸﺎﭘﻴﺶ ﺭﻭﺷﻲ ﺍﺳﺖ ﺑﺮﺍﻱ ﻭﻗﻔﻪﺍﻧﺪﺍﺧﺘﻦ ﺩﺭ ﻣﻴﻞ‪ ،‬ﺗﺨﻠﻴﻪﻱ ﺑﻲﺩﺭﻧﮓ ﺁﻥ ﻭ‬
‫ِ ﻣﻴﻞ ﺭﺍ ﺍﺯ ﺩﻭﺵِ ﺧﻮﺩ ﺑﺮﺩﺍﺷﺘﻦ‪ .‬ﻟﺬﺕ ﺑﻪﻣﺜﺎﺑﻪﻱ ﺗﺨﻠﻴﻪ‪:‬‬ ‫ﺩﺳﺖﺁﺧﺮ‪ ،‬ﺑﺎﺭ‬
‫ﮐﺸﻴﺶ ﺩﻭﻣﻴﻦ ﻗﺮﺑﺎﻧﻲﮔﺮﻱ‪ ،‬ﻳﻌﻨﻲ ﺍﺳﺘﻤﻨﺎء ﺭﺍ ﺑﻪ ﺍﺟﺮﺍ ﺩﺭ ﺁﻭﺭﺩ‪ .‬ﺳﭙﺲ‬
‫ﺩﺭﺣﺎﻟﻲﮐﻪ ﺭﻭ ﺑﻪ ﺷﺮﻕ ﺩﺍﺷﺖ‪ ،‬ﺑﺎﻧﮓ ﺑﺮﺁﻭﺭﺩ‪ :‬ژﻭﺋﻴﺴﺎﻧﺲ ﻧﺎﻣﻤﮑﻦ ﺍﺳﺖ‪،‬‬
‫ﺍﻣﺎ ژﻭﺋﻴﺴﺎﻧﺲ ﻧﺎﻣﻤﮑﻦ ﺩﺭ ﻣﻴﻞ ﺣﮏ ﻣﻲﺷﻮﺩ‪ .‬ﺍﺯ ﺍﻳﻦﺭﻭ‪ ،‬ﺩﺭ ﻧﺎﻣﻤﮑﻨﻲ‬

‫‪81. Ibid., pp. xlv-xlvi.‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫»‪manque-a-‬‬‫ژﻭﺋﻴﺴﺎﻧﺲ ﻫﻤﺎﻥ ﺍﻳﺪﻩﺁﻝ‪ ،‬ﻳﻌﻨﻲ ‪ manque-a-jouir82‬ﻗﺮﺍﺭ ﺩﺍﺭﺩ؛‬
‫‪jouir‬ﮐﻪ ﺯﻧﺪﮔﻲ ﺍﺳﺖ«‪ .83‬ﮐﺸﻴﺶ ﺳﻮﻣﻴﻦ ﻗﺮﺑﺎﻧﻲﮔﺮﻱ‪ ،‬ﻓﺎﻧﺘﺰﻱ ﻳﺎ ﻫﺰﺍﺭ ﻭ ﻳﮏ‬
‫ﺷﺐ‪ ،‬ﻳﺎ ﺻﺪ ﻭ ﺑﻴﺴﺖ ﺭﻭﺯ ﺭﺍ ﺍﺟﺮﺍ ﮐﺮﺩ‪ ،‬ﺩﺭﺣﺎﻟﻲﮐﻪ ﺷﺮﻗﻴﺎﻥ ﻫﻠﻬﻠﻪ‬
‫ﻣﻲﻛﺮﺩﻧﺪ‪ :‬ﺁﺭﻱ‪ ،‬ﻣﺎ ﻓﺎﻧﺘﺰﻱ ﺷﻤﺎ‪ ،‬ﺍﻳﺪﻩﺁﻝ ﺷﻤﺎ ﻭ ﻧﺎﻣﻤﮑﻨﻲ ﻫﻢ ﺷﻤﺎ ﻭ‬
‫ﻫﻢ ﺧﻮﺩ ﺧﻮﺍﻫﻴﻢ ﺑﻮﺩ‪ .‬ﮐﺸﻴﺶ ﺑﻪ ﻏﺮﺏ ﺭﻭ ﻧﮑﺮﺩ‪ .‬ﺍﻭ ﻣﻲﺩﺍﻧﺴﺖ ﮐﻪ ﺩﺭ ﻏﺮﺏ‬
‫ﻳﮏ ﺳﻄﺢ ﻫﻢﻧﻮﺍﺧﺘﻲ ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪ ،‬ﺍﻣﺎ ﺗﺼﻮﺭ ﻣﻲﻛﺮﺩ ﺍﻳﻦ ﺭﺍﻩ ﺑﺎ ﺳﺘﻮﻥﻫﺎﻱ‬
‫ﻫﺮﮐﻮﻝ ﻣﺴﺪﻭﺩ ﺷﺪﻩ ﺑﺎﺷﺪ‪ ،‬ﻭ ﺑﻪ ﻧﺎﮐﺠﺎ ﺭﺍﻩ ﺑﺮﺩ ﻭ ﻣﺮﺩﻡ ﺩﺭ ﺁﻥ ﺳﮑﻨﻲ‬
‫ﻧﮕﺰﻳﺪﻩ ﺑﺎﺷﻨﺪ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﻫﻤﺎﻥ ﺟﺎﻳﻲ ﺍﺳﺖ ﮐﻪ ﻣﻴﻞ ﺩﺭ ﺣﺎﻝ ﮐﻤﻴﻦ ﺑﻮﺩ‪،‬‬
‫ﻏﺮﺏ ﮐﻮﺗﺎﻩﺗﺮﻳﻦ ﻣﺴﻴﺮﻱ ﺑﻮﺩ ﮐﻪ ﺷﺮﻕ ﻭ ﻫﻤﻴﻦﻃﻮﺭ ﺩﻳﮕﺮ ﺟﻬﺎﺕ ﺑﺎ ﺁﻥ‬
‫ﺩﻭﺑﺎﺭﻩ ﮐﺸﻒ ﻳﺎ ﻗﻠﻤﺮﻭﺯﺩﻭﺩﻩ ﻣﻲﺷﺪﻧﺪ‪.‬‬
‫ﻣﺘﺎﺧﺮﺗﺮﻳﻦ ﻓﻴﮕﻮﺭ ﮐﺸﻴﺶ‪ ،‬ﺭﻭﺍﻥﻛﺎﻭ ﺍﺳﺖ ﺑﺎ ﺁﻥ ﺳﻪ ﺍﺻﻞﺍﺵ‪ :‬ﻟﺬﺕ‪ ،‬ﻣﺮگ‪،‬‬
‫ِ ﻣﺜﻞ ﻳﺎ ﺣﺘﻲ‬‫ِ ﺗﻮﻟﻴﺪ‬
‫ﻭ ﻭﺍﻗﻌﻴﺖ‪ .‬ﺑﻲﺷﮏ ﺭﻭﺍﻥﻛﺎﻭﻱ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ ﻣﻴﻞ ﺗﺎﺑﻊ‬
‫ِ ﺭﻭﺍﻥﻛﺎﻭﻱ ﺑﻮﺩ‪ .‬ﺍﻣﺎ ﺭﻭﺍﻥﻛﺎﻭﻱ‬ ‫ﺍﻧﺪﺍﻡﻫﺎﻱ ﺗﻨﺎﺳﻠﻲ ﻧﻴﺴﺖ‪ .‬ﺍﻳﻦ ﻣﺪﺭﻧﻴﺴﻢ‬
‫ﺑﻨﻴﺎﻥﻫﺎ ﺭﺍ ﺣﻔﻆ ﮐﺮﺩ؛ ﺣﺘﻲ ﺭﺍﻩﻫﺎﻱ ﺟﺪﻳﺪﻱ ﺭﺍ ﺑﺮﺍﻱ ﺣﮏ ﻭ ﺛﺒﺖِ ﻗﺎﻧﻮﻥ‬
‫ﻣﻨﻔﻲ ﻓﻘﺪﺍﻥ‪ ،‬ﻗﺎﻋﺪﻩﻱ ﻋﺮﺿﻲ ﻟﺬﺕ ﻭ ﺍﻳﺪﻩﺁﻝ ﻣﺘﻌﺎﻟﻲ ﻓﺎﻧﺘﺰﻱ ﺩﺭ ﻣﻴﻞ‬
‫ﻳﺎﻓﺖ‪ .‬ﺗﻔﺴﻴﺮ ﻣﺎﺯﻭﺧﻴﺴﻢ ﺭﺍ ﺩﺭ ﻧﻈﺮ ﺑﮕﻴﺮﻳﺪ‪ :‬ﻭﻗﺘﻲ ﻏﺮﻳﺰﻩﻱ ﻣﻀﺤﮏ ﻣﺮگ‬
‫ِ ﻫﺮﮐﺲِ ﺩﻳﮕﺮﻱ ﺩﺭﭘﻲ‬‫ﺩﺳﺖﺁﻭﻳﺰ ﻗﺮﺍﺭ ﻧﻤﻲﮔﻴﺮﺩ‪ ،‬ﻣﻲﮔﻮﻳﻨﺪ ﻣﺎﺯﻭﺧﻴﺴﺖ ﻣﺜﻞ‬
‫ِ ﺩﺭﺩ ﻳﺎ ﺗﺤﻘﻴﺮﻫﺎﻳﻲ ــ‬ ‫ﻟﺬﺕ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺍﻳﻦ ﻟﺬﺕ ﺭﺍ ﻓﻘﻂ ﺍﺯ ﻃﺮﻳﻖ‬
‫ﺗﺤﻘﻴﺮﻫﺎﻳﻲ ﮐﻪ ﻓﺎﻧﺘﺰﻱﺷﺎﻥ ﺭﺍ ﺩﺭ ﺳﺮ ﺩﺍﺷﺘﻪــ ﺑﻪ ﭼﻨﮓ ﻣﻲﺁﻭﺭﺩ ﮐﻪ‬
‫ِ ﺍﺿﻄﺮﺍﺏِ ﻋﻤﻴﻖ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺗﻮﺿﻴﺢ ﺩﻗﻴﻖ‬ ‫ﮐﺎﺭﮐﺮﺩﺷﺎﻥ ﺳﺒﮏﮐﺮﺩﻥ ﻭ ﺩﻓﻊ‬
‫ﻧﻴﺴﺖ؛ ﺭﻧﺞ ﻣﺎﺯﻭﺧﻴﺴﺖ ﺑﻬﺎﻳﻲ ﺍﺳﺖ ﮐﻪ ﺑﺎﻳﺪ ﺑﭙﺮﺩﺍﺯﺩ‪ ،‬ﺍﻣﺎ ﻧﻪ ﺑﺮﺍﻱ‬
‫ِ ﮐﺎﺫﺏِ ﺑﻴﻦ ﻣﻴﻞ ﻭ ﻟﺬﺕ‬ ‫ﺩﺳﺖﻳﺎﺑﻲ ﺑﻪ ﻟﺬﺕ‪ ،‬ﺑﻞ ﺑﺮﺍﻱ ﺑﺎﺯﮐﺮﺩﻥِ ﮔﺮﻩ‬
‫ﺑﻪﻣﺜﺎﺑﻪﻱ ﺳﻨﺠﻪﺍﻱ ﻋﺮﺿﻲ‪ .‬ﻟﺬﺕ ﺑﻪﻫﻴﭻﻭﺟﻪ ﭼﻴﺰﻱ ﻧﻴﺴﺖ ﮐﻪ ﻓﻘﻂ ﺑﺎ ﻧﻮﻋﻲ‬
‫ﺭﺍﻩ ﻓﺮﻋﻲ ﺍﺯ ﺧﻼﻝ ﺭﻧﺞ ﺑﻪ ﺩﺳﺖ ﺁﻳﺪ؛ ﻟﺬﺕ ﭼﻴﺰﻱ ﺍﺳﺖ ﮐﻪ ﺑﺎﻳﺪ ﺗﺎ ﺟﺎﻳﻲ‬
‫ِ ﻣﺜﺒﺖ‬
‫ﮐﻪ ﻣﻤﮑﻦ ﺍﺳﺖ ﺑﻪ ﺗﺎﺧﻴﺮ ﺑﻴﺎﻓﺘﺪ؛ ﺯﻳﺮﺍ ﺩﺭ ﻓﺮﺁﻳﻨﺪ ﻣﺴﺘﻤﺮ ﻣﻴﻞ‬
‫ﻭﻗﻔﻪ ﻣﻲﺍﻧﺪﺍﺯﺩ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﻧﻮﻋﻲ ﺳﺮﺧﻮﺷﻲ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﮐﻪ ﺩﺭﻭﻥﻣﺎﻧﺪﮔﺎﺭ‬
‫ﻣﻴﻞ ﺍﺳﺖ‪ ،‬ﮔﻮﻳﻲ ﻣﻴﻞ ﺑﺎ ﺧﻮﺩ ﻭ ﺑﺎﺯﺗﺎﺏﻫﺎﻳﺶ ﭘﺮ ﺷﺪﻩ ﺑﺎﺷﺪ؛ ﺍﻳﻦ‬
‫ﺳﺮﺧﻮﺷﻲ ﻣﺘﻀﻤﻦ ﻫﻴﭻ ﻓﻘﺪﺍﻥ ﻳﺎ ﻧﺎﻣﻤﮑﻨﻲﺍﻱ ﻧﻴﺴﺖ ﻭ ﺑﺎ ﻫﻴﭻ ﻟﺬﺗﻲ‬
‫ﺳﻨﺠﻴﺪﻩ ﻧﻤﻲﺷﻮﺩ ﺯﻳﺮﺍ ﻫﻤﺎﻥ ﭼﻴﺰﻱ ﺍﺳﺖ ﮐﻪ ﺷﺪﺕﻫﺎﻱ ﻟﺬﺕ ﺭﺍ ﺗﻮﺯﻳﻊ‬
‫ﻣﻲﻛﻨﺪ ﻭ ﻣﺎﻧﻊ ﺍﺯ ﺁﻥ ﻣﻲﺷﻮﺩ ﮐﻪ ﺍﻳﻦ ﺷﺪﺕﻫﺎ ﺑﺎ ﺍﺿﻄﺮﺍﺏ‪ ،‬ﺷﺮﻡ‪ ،‬ﻭ ﮔﻨﺎﻩ‬

‫‪ .‬ﺍﻳﻦ ﺍﺻﻄﻼﺡ ﻓﺮﺍﻧﺴﻮﻱ ﺍﻳﻬﺎﻡ ﺩﺍﺭﺩ ﻭ ﺑﻪ ﺩﻭ ﻣﻌﻨﺎ ﺧﻮﺍﻧﺪﻩ ﻣﻲﺷﻮﺩ‪ .‬ﺭ‪.‬ک‪ .‬ﭘﺎﻧﻮﻳﺲ ‪.2‬‬
‫ﻡ‬
‫‪ .‬ژﻭﺋﻴﺴﺎﻧﺲ‪» :‬ﻟﺬﺕ‪ ،‬ﮐﻴﻒ‪ ،‬ﺍﺭﮔﺎﺳﻢ«‪ .‬ﺍﺑﮋﻩﻱ ﻣﻴﻞ ﺩﺭ ﺭﻭﺍﻥﮐﺎﻭﻱ ﻟﮑﺎﻧﻲ ﺑﻪﺷﮑﻞ‬
‫ﭼﺎﺭﻩﻧﺎﭘﺬﻳﺮﻱ ﻣﻔﻘﻮﺩ ﺍﺳﺖ ﻭ ﺳﻮژﻩ ﺗﺎ ﺍﺑﺪ ﺷﮑﺎﻑ ﻣﻲﺧﻮﺭﺩ‪ .‬ژﻭﺋﻴﺴﺎﻧﺲ ﺑﻪﻃﻮﺭ ﻣﻀﺎﻋﻒ ﻣﺤﺎﻝ‬
‫ﺍﺳﺖ‪ :‬ﺯﻧﺪﮔﻲ ﻧﻮﻋﻲ ‪ manque-a-jouir‬ﺑﻪ ﻣﻌﻨﺎﻱ »ﻓﻘﺪﺍﻥِ ﮐﻴﻒ« ﺍﺳﺖ‪ ،‬ﺯﻳﺮﺍ ﺑﻪ ﺍﺑﮋﻩﻱ ﺣﻘﻴﻘﻲ ﻣﻴﻞ‬
‫ﻧﻤﻲﺗﻮﺍﻥ ﺩﺳﺖ ﻳﺎﻓﺖ؛ ﻭ ﻧﻴﺰ ﺯﻧﺪﮔﻲ ﻧﻮﻋﻲ ‪ manque-a-jouir‬ﺑﻪ ﻣﻌﻨﺎﻱ »ﻓﻘﺪﺍﻧﻲ ﺑﺮﺍﻱ ﮐﻴﻒﺑﺮﺩﻥ ﺍﺯ‬
‫ﺁﻥ« ﺍﺳﺖ‪ ،‬ﺯﻳﺮﺍ ژﻭﺋﻴﺴﺎﻧﺲ ﺩﺭ ﻣﻘﺎﻡ ﺳﺮﺷﺎﺭﻱ ﺍﺭﮔﺎﺳﻤﻲ ﻭﺣﺪﺕ ﺑﺎ ﺍﺑﮋﻩﻱ ﺟﺎﻳﮕﺰﻳﻦ‪ ،‬ﻣﻌﺎﺩﻝ‬
‫ِ‬
‫ﻓﺴﺦِ ﺳﻮژﻩﺍﻱ ﺍﺳﺖ ﮐﻪ ﺑﻪ ﻟﺤﺎﻅ ﺳﺎﺧﺘﻤﺎﻧﻲ ﺷﮑﺎﻑ ﻣﻲﺧﻮﺭﺩ‪ .‬ﭘﺲ ﻫﻤﻴﺸﻪ ﻳﮑﻲ ﺍﺯ ﺿﻮﺍﺑﻂ ﺿﺮﻭﺭﻱ‪،‬‬
‫ﻳﻌﻨﻲ ﻳﺎ ﺳﻮژﻩ ﻭ ﻳﺎ ﺍﺑﮋﻩ‪ ،‬ﻣﻔﻘﻮﺩ ﺍﺳﺖ‪ .‬ﻡ‪ .‬ﺍ‬

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‫ﭘﻮﺷﺎﻧﺪﻩ ﺷﻮﺩ‪ .‬ﺑﻪﻃﻮﺭ ﺧﻼﺻﻪ‪ ،‬ﻣﺎﺯﻭﺧﻴﺴﺖ ﺍﺯ ﺭﻧﺞ ﺑﻪﻋﻨﻮﺍﻥ ﺭﻭﺷﻲ ﺑﺮﺍﻱ‬
‫ﺑﺮﺳﺎﺧﺘﻦِ ﻳﮏ ﺑﺪﻥ ﺑﺪﻭﻥ ﺍﻧﺪﺍﻡ ﻭ ﺗﻮﻟﻴﺪ ﻳﮏ ﺻﻔﺤﻪﻱ ﻫﻢﻧﻮﺍﺧﺘﻲ ﻣﻴﻞ ﺑﻬﺮﻩ‬
‫ﻣﻲﺑﺮﺩ‪ .‬ﺍﻳﻦﻛﻪ ﺭﻭﺵﻫﺎﻱ ﺩﻳﮕﺮ‪ ،‬ﻭ ﺭﻭﻳﻪﻫﺎﻱ ﺩﻳﮕﺮﻱ ﺟﺰ ﻣﺎﺯﻭﺧﻴﺴﻢ ﻭ‬
‫ً ﺑﻬﺘﺮ ﺍﺯ ﺁﻥ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ‪ ،‬ﺟﺪﺍﻱ ﺍﺯ ﺍﻳﻦ ﺑﺤﺚ ﺍﺳﺖ؛ ﮐﺎﻓﻲ ﺍﺳﺖ‬ ‫ﻣﺴﻠﻤﺎ‬
‫ﺑﺮﺧﻲ ﺍﻳﻦ ﺭﻭﻳﻪ ﺭﺍ ﺑﺮﺍﻱ ﺧﻮﺩ ﻣﻨﺎﺳﺐ ﺑﻴﺎﺑﻨﺪ‪.‬‬
‫ﻣﺎﺯﻭﺧﻴﺴﺘﻲ ﺭﺍ ﺩﺭ ﻧﻈﺮ ﺑﮕﻴﺮﻳﺪ ﮐﻪ ﺭﻭﺍﻥﻛﺎﻭﻱ ﻧﺸﺪﻩ ﺑﺎﺷﺪ‪:‬‬
‫»ﺑﺮﻧﺎﻣﻪ‪ ...‬ﺷﺐ‪ ،‬ﺑﺮ ﻣﻦ ﺍﻓﺴﺎﺭ ﺑﺰﻧﻴﺪ ﻭ ﺩﺳﺘﺎﻧﻢ ﺭﺍ ﻣﺤﮑﻢﺗﺮ ﺑﻪ ﻫﻢ‬
‫ﺑﺒﻨﺪﻳﺪ‪ :‬ﻳﺎ ﺑﺎ ﺯﻧﺠﻴﺮ ﺑﻪ ﻣﻴﻠﻪﻱ ﻓﻠﺰﻱ ﺍﻓﺴﺎﺭ‪ ،‬ﻳﺎ ﺩﺭﺳﺖ ﺑﻌﺪ ﺍﺯ‬
‫ﺑﺮﮔﺸﺘﻦ ﺍﺯ ﺣﻤﺎﻡ ﺑﻪ ﺗﺴﻤﻪﻱ ﺑﺰﺭگ‪ .‬ﺣﺎﻻ ﮐﻞ ﻳﺮﺍﻕ ﺭﺍ ﺭﻭﻱ ﺩﻭﺷﻢ‬
‫ﺑﮕﺬﺍﺭﻳﺪ‪ ،‬ﻫﻢ ﺩﻫﻨﻪﻫﺎ ﻭ ﻫﻢ ﺍﺷﮑﻠﮏﻫﺎﻱ‪ 84‬ﺷﺴﺖ‪ ،‬ﻭ ﺍﺷﮑﻠﮏﻫﺎﻱ ﺷﺴﺖ ﺭﺍ ﺑﻪ‬
‫ﻳﺮﺍﻕ ﻣﺘﺼﻞ ﮐﻨﻴﺪ‪ .‬ﺍﺣﻠﻴﻠﻢ ﺑﺎﻳﺪ ﺩﺭ ﻳﮏ ﻏﻼﻑ ﻓﻠﺰﻱ ﻗﺮﺍﺭ ﮔﻴﺮﺩ‪ .‬ﺩﺭ ﻃﻲ‬
‫ﺭﻭﺯ ﺑﺮﺍﻱ ﺩﻭ ﺳﺎﻋﺖ ﺑﺎ ﺩﻫﻨﻪ ﺳﻮﺍﺭﻱ ﺑﮕﻴﺮﻳﺪ ﻭ ﻫﻤﻴﻦ ﮐﺎﺭ ﺭﺍ ﺑﻌﺪ ﺍﺯ‬
‫ﻇﻬﺮﻫﺎ ﻫﺮ ﻭﻗﺖ ﺍﻧﺠﺎﻡ ﺑﺪﻫﻴﺪ ﮐﻪ ﺧﻮﺩﺗﺎﻥ‪ ،‬ﺍﺭﺑﺎﺏ‪ ،‬ﺍﺭﺍﺩﻩ ﮐﺮﺩﻩ ﺑﺎﺷﻴﺪ‪.‬‬
‫ﺳﻪ ﻳﺎ ﭼﻬﺎﺭ ﺭﻭﺯ ﺣﺒﺲ ﻣﺪﺍﻡ ﺩﺭ ﺣﺎﻟﻲ ﮐﻪ ﺩﺳﺖﻫﺎ ﻫﻨﻮﺯ ﺑﺴﺘﻪﺍﻧﺪ ﻭ ﺩﻫﻨﻪ‬
‫ﭘﻲﺩﺭﭘﻲ ﺷﻞ ﻳﺎ ﺳﻔﺖ ﻣﻲﺷﻮﺩ‪ .‬ﺍﺭﺑﺎﺏ ﻫﺮﮔﺰ ﺑﺪﻭﻥ ﺗﺎﺯﻳﺎﻧﻪ ﻭ ﺑﺪﻭﻥ‬
‫ﺍﺳﺘﻔﺎﺩﻩ ﮐﺮﺩﻥ ﺍﺯ ﺁﻥ ﺑﻪ ﺍﺳﺒﺶ ﻧﺰﺩﻳﮏ ﻧﺨﻮﺍﻫﺪ ﺷﺪ‪ .‬ﺍﮔﺮ ﺣﻴﻮﺍﻥ ﺑﻲﺻﺒﺮﻱ‬
‫ﻳﺎ ﻳﺎﻏﻲﮔﺮﻱ ﺍﺯ ﺧﻮﺩ ﻧﺸﺎﻥ ﺩﺍﺩ ﺩﻫﻨﻪ ﺳﻔﺖﺗﺮ ﮐﺸﻴﺪﻩ ﺧﻮﺍﻫﺪ ﺷﺪ‪ ،‬ﺍﺭﺑﺎﺏ‬
‫ﺁﻥﻫﺎ ﺭﺍ ﺩﺭ ﺩﺳﺖ ﺧﻮﺍﻫﺪ ﮔﺮﻓﺖ ﻭ ﭼﺎﺭﭘﺎ ﺭﺍ ﺣﺴﺎﺑﻲ ﮔﻮﺷﻤﺎﻟﻲ ﺧﻮﺍﻫﺪ‬
‫ﺩﺍﺩ‪ 85«.‬ﺍﻳﻦ ﻣﺎﺯﻭﺧﻴﺴﺖ ﺩﺍﺭﺩ ﭼﻪ ﮐﺎﺭ ﻣﻲﻛﻨﺪ؟ ﺍﻧﮕﺎﺭ ﺩﺍﺭﺩ ﺍﺩﺍﻱ ﻳﮏ‬
‫ﺍﺳﺐ ﺭﺍ ﺩﺭﻣﻲﺁﻭﺭﺩ‪] Equus eroticus ،‬ﻫﻨﺮ ﺷﻬﻮﺍﻧﻲ ﺍﺳﺐﻭﺍﺭ[؛ ﺍﻣﺎ ﻧﻪ‪ ،‬ﺍﻳﻦ‬
‫ﻧﻴﺴﺖ‪ .‬ﻫﻤﻴﻦﻃﻮﺭ ﺍﺳﺐ ﻭ ﺍﺭﺑﺎﺏـ ﻣﺮﺑﻲ ﻳﺎ ﺩﻭﺷﻴﺰﻩ‪ ،‬ﻫﻴﭻ ﮐﺪﺍﻡ ﺗﺼﺎﻭﻳﺮ‬
‫ﻣﺎﺩﺭ ﻳﺎ ﭘﺪﺭ ﻧﻴﺴﺘﻨﺪ‪ .‬ﭼﻴﺰﻱ ﮐﺎﻣﻼً ﻣﺘﻔﺎﻭﺕ ﺩﺭ ﺟﺮﻳﺎﻥ ﺍﺳﺖ‪ :‬ﻧﻮﻋﻲ‬
‫ﺣﻴﻮﺍﻥـﺷﺪﻥِ ﺿﺮﻭﺭﻱ ﻣﺎﺯﻭﺧﻴﺴﻢ‪ .‬ﻣﺴﺄﻟﻪ ﺑﺮ ﺳﺮ ﻧﻴﺮﻭﻫﺎ ﺍﺳﺖ‪ .‬ﻣﺎﺯﻭﺧﻴﺴﺖ‬
‫ِ ﺗﺮﺑﻴﺖﮐﺮﺩﻥ ــ ﻧﻴﺮﻭﻫﺎﻱ ﻏﺮﻳﺰﻱ‬‫ﺁﻥ ﺭﺍ ﺑﺪﻳﻦ ﺷﻴﻮﻩ ﺍﺭﺍﺋﻪ ﻣﻲﺩﻫﺪ‪ :‬ﺍﺻﻞ‬
‫ﺭﺍ ﺗﺨﺮﻳﺐ ﮐﻦ ﺗﺎ ﺁﻥﻫﺎ ﺭﺍ ﺑﺎ ﻧﻴﺮﻭﻫﺎﻱ ﻣﻨﺘﻘﻞﺷﺪﻩ ﺟﺎﻳﮕﺰﻳﻦ ﮐﻨﻲ‪ .‬ﺩﺭ‬
‫ﻭﺍﻗﻊ‪ ،‬ﺑﻴﺸﺘﺮ ﺍﺯ ﺁﻥﮐﻪ ﺗﺨﺮﻳﺐ ﺑﺎﺷﺪ‪ ،‬ﻧﻮﻋﻲ ﻣﺒﺎﺩﻟﻪ ﻭ ﮔﺮﺩﺵ ﺍﺳﺖ )»ﻫﺮ‬
‫ﺁﻥﭼﻪ ﺑﺮ ﺳﺮ ﻳﮏ ﺍﺳﺐ ﺑﻴﺎﻳﺪ‪ ،‬ﺑﺮ ﺳﺮ ﻣﻦ ﻧﻴﺰ ﻣﻲﺗﻮﺍﻧﺪ ﺑﻴﺎﻳﺪ«(‪ .‬ﺍﺳﺐﻫﺎ‬
‫ﺗﺮﺑﻴﺖ ﻣﻲﺷﻮﻧﺪ‪ :‬ﺍﻧﺴﺎﻥﻫﺎ ﺑﺮ ﻧﻴﺮﻭﻫﺎﻱ ﻏﺮﻳﺰﻱ ﺍﺳﺐ‪ ،‬ﻧﻴﺮﻭﻫﺎﻱ‬
‫ﻣﻨﺘﻘﻞﺷﺪﻩﺍﻱ ﺭﺍ ﺗﺤﻤﻴﻞ ﻣﻲﻛﻨﻨﺪ ﮐﻪ ﻧﻴﺮﻭﻫﺎﻱ ﻏﺮﻳﺰﻱ ﺭﺍ ﺳﺎﻣﺎﻥ ﺩﻫﺪ‪،‬‬
‫ﺍﺩﺍﺭﻩ ﮐﻨﺪ‪ ،‬ﮔﺰﻳﻨﺶ ﮐﻨﺪ‪ ،‬ﺑﺮ ﺁﻥﻫﺎ ﭼﻴﺮﻩ ﺷﻮﺩ ﻭ ﺁﻥﻫﺎ ﺭﺍ ﻓﺮﺍﮐﺪﮔﺬﺍﺭﻱ‬
‫ﮐﻨﺪ‪ .‬ﻣﺎﺯﻭﺧﻴﺴﺖ ﻧﻮﻋﻲ ﻭﺍژﮔﻮﻧﻲ ﻧﺸﺎﻧﻪﻫﺎ ﺭﺍ ﻣﻮﺟﺐ ﻣﻲﺷﻮﺩ‪ :‬ﺍﺳﺐ‬
‫ﻧﻴﺮﻭﻫﺎﻱ ﻣﻨﺘﻘﻞﺷﺪﻩﺍﺵ ﺭﺍ ﺑﻪ ﻭﻱ ﻣﻨﺘﻘﻞ ﻣﻲﻛﻨﺪ‪ ،‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻧﻴﺮﻭﻫﺎﻱ‬
‫ﺩﺭﻭﻧﻲ ﻣﺎﺯﻭﺧﻴﺴﺖ ﻧﻴﺰ ﺑﻪ ﻧﻮﺑﻪﻱ ﺧﻮﺩ ﺭﺍﻡ ﺧﻮﺍﻫﻨﺪ ﺷﺪ‪ .‬ﺩﻭ ﻣﺠﻤﻮﻋﻪ‬
‫ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﻣﺠﻤﻮﻋﻪﺍﻱ ﺍﺯ ﺁﻥِ ﺍﺳﺐ )ﻧﻴﺮﻭﻱ ﺫﺍﺗﻲ‪ ،‬ﻧﻴﺮﻭﻱ ﻣﻨﺘﻘﻞﺷﺪﻩ‬

‫‪ .‬ﺁﻟﺘﻲ ﺍﺳﺖ ﺍﺯ ﭼﻮﺏ ﮐﻪ ﻻﻱ ﭘﻨﺠﻪﻱ ﺩﺯﺩﺍﻥ ﮔﺬﺍﺭﻧﺪ ﻭ ﻓﺸﺎﺭ ﺩﻫﻨﺪ ﺗﺎ ﺍﺯ ﺩﺭﺩ ﻋﺎﺟﺰ‬
‫ﺷﻮﻧﺪ ﻭ ﺩﺯﺩﻱ ﺭﺍ ﺑﺮﻭﺯ ﺩﻫﻨﺪ )ﻟﻐﺖﻧﺎﻣﻪﻱ ﺩﻫﺨﺪﺍ(‪ .‬ﻡ‬
‫‪85. Roger Dupouy, "Du masochisme," Annales m'edico-psychologiques, series 12, vol. 2 (1929), p. 405.‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

‫ﺗﻮﺳﻂ ﺑﺸﺮ(‪ ،‬ﻭ ﻣﺠﻤﻮﻋﻪﺍﻱ ﺍﺯ ﺁﻥِ ﻣﺎﺯﻭﺧﻴﺴﺖ )ﻧﻴﺮﻭﻫﺎﻱ ﻣﻨﺘﻘﻞﺷﺪﻩ‬
‫ﺑﻪﻭﺍﺳﻄﻪﻱ ﺍﺳﺐ‪ ،‬ﻧﻴﺮﻭﻱ ﺫﺍﺗﻲ ﺑﺸﺮ(‪ .‬ﻳﮏ ﻣﺠﻤﻮﻋﻪ ﺩﺭﻭﻥِ ﺩﻳﮕﺮﻱ ﻣﻨﻔﺠﺮ‬
‫ﻣﻲﺷﻮﺩ‪ ،‬ﻭ ﺑﺎ ﺁﻥ ﻣﺪﺍﺭﻱ ﺭﺍ ﺷﮑﻞ ﻣﻲﺩﻫﺪ‪ :‬ﺍﻓﺰﺍﻳﺶ ﺩﺭ ﻗﺪﺭﺕ‪ ،‬ﻳﺎ ﻣﺪﺍﺭﻱ‬
‫ﺍﺯ ﺷﺪﺕﻫﺎ‪» .‬ﺍﺭﺑﺎﺏ« ﻳﺎ ﺣﺘﻲ ﺩﻭﺷﻴﺰﻩـﺳﻮﺍﺭﮐﺎﺭ‪ ،‬ﻫﻤﺎﻥ ﺍﺳﺐﺳﻮﺍﺭ‪ ،‬ﺍﺯ‬
‫ﺗﺒﺪﻳﻞ ﻭ ﻗﻠﺐِ ﻧﻴﺮﻭﻫﺎ ﻭ ﻭﺍژﮔﻮﻧﻲ ﻧﻴﺮﻭﻫﺎ ﺍﻃﻤﻴﻨﺎﻥ ﺣﺎﺻﻞ ﻣﻲﻛﻨﺪ‪.‬‬
‫ﺳﺎﺣﺖ‬ ‫ﻫﻤﺰﻣﺎﻥ‬ ‫ﮐﻪ‬ ‫ﺑﺮﻣﻲﺳﺎﺯﺩ‬ ‫ﺳﺮﺗﺎﺳﺮﻱ‬ ‫ﺳﺮﻫﻢﺑﻨﺪﻱﺍﻱ‬ ‫ﻣﺎﺯﺧﻮﻳﺴﺖ‬
‫ﺩﺭﻭﻥﻣﺎﻧﺪﮔﺎﺭﻱ ﻣﻴﻞ ﺭﺍ ﺗﺮﺳﻴﻢ ﻭ ﭘﺮ ﻣﻲﻛﻨﺪ؛ ﺍﻭ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺧﻮﺩ‪،‬‬
‫ﺍﺳﺐ ﻭ ﺩﻭﺷﻴﺰﻩ ﻳﮏ ﺑﺪﻥ ﺑﺪﻭﻥ ﺍﻧﺪﺍﻡ ﻳﺎ ﻳﮏ ﺻﻔﺤﻪﻱ ﻫﻢﻧﻮﺍﺧﺘﻲ ﻣﻲﺳﺎﺯﺩ‪.‬‬
‫»ﻧﺘﺎﻳﺠﻲ ﮐﻪ ﺑﺎﻳﺪ ﺣﺎﺻﻞ ﺷﻮﺩ‪ :‬ﻫﻤﻴﺸﻪ ﭼﺸﻢﺍﻧﺘﻈﺎﺭ ﮐﻨﺶﻫﺎ ﻭ ﺩﺳﺘﻮﺭﻫﺎ‬
‫ﻧﮕﻪ ﺩﺍﺷﺘﻪ ﻣﻲﺷﻮﻡ ﻭ ﺑﻪ ﺗﺪﺭﻳﺞ ﻫﻤﻪﻱ ﺧﺼﻮﻣﺖﺍﻡ ﺑﺎ ﻧﻮﻋﻲ ﭘﻴﻮﻧﺪ ﻣﻴﺎﻥ‬
‫ِﺮﻑِ ﻓﮑﺮﮐﺮﺩﻥ ﺑﻪ‬ ‫ﺷﺨﺺ ﻣﻦ ﻭ ﺷﺨﺺ ﺷﻤﺎ ﺟﺎﻳﮕﺰﻳﻦ ﻣﻲﺷﻮﺩ‪ ...‬ﭘﺲ ﺑﺎ ﺻ‬
‫ﭼﮑﻤﻪﻫﺎﻱ ﺷﻤﺎ‪ ،‬ﺑﻲﺁﻥﮐﻪ ﺣﺘﻲ ﺑﺪﺍﻥ ﺍﻋﺘﺮﺍﻑ ﮐﻨﻢ‪ ،‬ﺑﺎﻳﺪ ﺑﺘﺮﺳﻢ‪ .‬ﺑﺪﻳﻦ‬
‫ﻃﺮﻳﻖ‪ ،‬ﺩﻳﮕﺮ ﭘﺎﻫﺎﻱ ﺯﻧﺎﻧﻪ ﻧﻴﺴﺖ ﮐﻪ ﺑﺮ ﻣﻦ ﺗﺄﺛﻴﺮ ﻣﻲﮔﺬﺍﺭﺩ‪ ،‬ﻭ ﺍﮔﺮ‬
‫ﺧﻮﺵ ﺩﺍﺭﻳﺪ ﺗﺤﺖ ﺍﻣﺮ ﺷﻤﺎ ﻧﻮﺍﺯﺵﻫﺎﻱﺗﺎﻥ ﺭﺍ ﭘﺬﻳﺮﺍ ﺷﻮﻡ‪ ،‬ﺁﻥ ﺯﻣﺎﻥ ﮐﻪ‬
‫ﺍﻧﺠﺎﻡ ﺩﺍﺩﻩ ﺑﺎﺷﻴﺪﺵ ﻭ ﺍﮔﺮ ﮐﺎﺭﻱ ﮐﻨﻴﺪ ﮐﻪ ﺁﻥﻫﺎ ﺭﺍ ﺣﺲ ﮐﻨﻢ‪ ،‬ﺁﻧﮕﺎﻩ‬
‫ﺑﺪﻥﺗﺎﻥ ﺑﺮ ﻣﻦ ﺭﺩ ﺧﻮﺍﻫﺪ ﺍﻧﺪﺍﺧﺖ؛ ﺁﻥ ﻫﻢ ﺑﻪﮔﻮﻧﻪﺍﻱ ﮐﻪ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ‬
‫ﻫﺮﮔﺰ ﺑﻪ ﺧﻮﺩ ﻧﺪﻳﺪﻩﺍﻡ ﻭ ﺟﺰ ﺍﻳﻦ ﻧﻴﺰ ﻫﺮﮔﺰ ﻧﻤﻲﺗﻮﺍﻧﺴﺘﻢ ﺑﺒﻴﻨﻢ«‪.86‬‬
‫ﭘﺎﻫﺎ ﻫﻨﻮﺯ ﺍﻧﺪﺍﻡ ﻫﺴﺘﻨﺪ‪ ،‬ﺍﻣﺎ ﭼﮑﻤﻪﻫﺎ ﺍﮐﻨﻮﻥ ﻓﻘﻂ ﻣﻨﻄﻘﻪﺍﻱ ﺍﺯ ﺷﺪﺕ‬
‫ﺭﺍ ﺑﻪ ﻣﻨﺰﻟﻪﻱ ﻧﻮﻋﻲ ﺭﺩ ﻳﺎ ﻣﻨﻄﻘﻪ ﺭﻭﻱ ﺏ‪.‬ﺏ‪.‬ﺍ ﺗﻌﻴﻦ ﻣﻲﺑﺨﺸﻨﺪ‪.‬‬
‫ﺑﻪﻃﻮﺭ ﻣﺸﺎﺑﻪ‪ ،‬ﻳﺎ ﺩﺭﻭﺍﻗﻊ ﺑﻪ ﺷﻴﻮﻩﺍﻱ ﻣﺘﻔﺎﻭﺕ‪ ،‬ﺧﻄﺎ ﺧﻮﺍﻫﺪ ﺑﻮﺩ ﻋﺸﻖ‬
‫ﺩﺭﺑﺎﺭﻱ ﺭﺍ ﺑﺮ ﺣﺴﺐ ﻧﻮﻋﻲ ﻗﺎﻧﻮﻥ ﻓﻘﺪﺍﻥ ﻳﺎ ﻧﻮﻋﻲ ﺍﻳﺪﻩﺁﻝ ]ﺍﺯ ﺟﻨﺲِ[‬
‫ﺗﻌﺎﻟﻲ ﺗﻔﺴﻴﺮ ﮐﻨﻴﻢ‪ .‬ﭼﺸﻢﭘﻮﺷﻲ ﺍﺯ ﻟﺬﺕ ﺑﻴﺮﻭﻧﻲ ﻳﺎ ﺗﺎﺧﻴﺮ ﺁﻥ‪ ،‬ﻭ ﭘﺲﺭﻭﻱ‬
‫ﺑﻲﭘﺎﻳﺎﻥﺍﺵ‪ ،‬ﺑﺮﻋﮑﺲ ﺑﻪ ﺣﺎﻟﺘﻲ ﺗﺤﻘﻖﻳﺎﻓﺘﻪ ﮔﻮﺍﻫﻲ ﻣﻲﺩﻫﺪ ﮐﻪ ﺩﺭ ﺁﻥ ﻣﻴﻞ‬
‫ﺩﻳﮕﺮ ﻫﻴﭻ ﻓﻘﺪﺍﻧﻲ ﻧﺪﺍﺭﺩ‪ ،‬ﺑﻞ ﺧﻮﺩ ﺭﺍ ﭘﺮ ﻣﻲﻛﻨﺪ ﻭ ﺳﺎﺣﺖ‬
‫ﺩﺭﻭﻥﻣﺎﻧﺪﮔﺎﺭﻱ ﺧﻮﺩ ﺭﺍ ﺑﺮ ﻣﻲﺳﺎﺯﺩ‪ .‬ﻟﺬﺕ‪ ،‬ﻋﻮﺍﻃﻒ ﻳﮏ ﺷﺨﺺ ﻳﺎ ﻳﮏ ﺳﻮژﻩ‬
‫ﺍﺳﺖ؛ ﻭ ﺑﺮﺍﻱ ﺍﺷﺨﺎﺹ‪ ،‬ﺗﻨﻬﺎ ﺭﺍﻫﻲ ﺍﺳﺖ ﮐﻪ ﺑﺘﻮﺍﻧﻨﺪ ﺩﺭ ﻓﺮﺍﻳﻨﺪ ﻣﻴﻞ ــ‬
‫ﻓﺮﺍﻳﻨﺪﻱ ﮐﻪ ﺍﺯ ﺁﻥﻫﺎ ﭘﻴﺸﻲ ﻣﻲﮔﻴﺮﺩ ــ »ﺧﻮﺩ ﺭﺍ ﭘﻴﺪﺍ ﮐﻨﻨﺪ«؛ ﻟﺬﺕﻫﺎ‪،‬‬
‫ﺣﺘﻲ ﻣﺼﻨﻮﻋﻲﺗﺮﻳﻦ ﺁﻥﻫﺎ‪ ،‬ﻫﻤﺎﻥ ﺑﺎﺯﻗﻠﻤﺮﻭﮔﺬﺍﺭﻱﻫﺎ ﻫﺴﺘﻨﺪ‪ .‬ﺍﻣﺎ ﻣﺴﺄﻟﻪ‬
‫ً ﺑﺮ ﺳﺮ ﺍﻳﻦ ﺍﺳﺖ ﮐﻪ ﺁﻳﺎ ﻳﺎﻓﺘﻦِ ﺧﻮﺩ ]‪ [self‬ﺿﺮﻭﺭﻱ ﺍﺳﺖ ﻳﺎ ﺧﻴﺮ‪.‬‬ ‫ﺩﻗﻴﻘﺎ‬
‫ِ ﺟﻬﺎﻥ ﺑﻪ‬ ‫ﻋﺸﻖ ﺩﺭﺑﺎﺭﻱ ﻫﻤﺎﻥﻗﺪﺭ ﺑﻪ ﺧﻮﺩ ]‪ [self‬ﻋﺸﻖ ﻣﻲﻭﺭﺯﺩ ﮐﻪ ﺑﻪ ﮐﻞ‬
‫ﺷﻴﻮﻩﺍﻱ ﻣﻠﮑﻮﺗﻲ ﻳﺎ ﺩﻳﻨﻲ‪ .‬ﻣﺴﺄﻟﻪ ﺑﺮ ﺳﺮ ﺳﺎﺧﺘﻦِ ﻳﮏ ﺑﺪﻥ ﺑﺪﻭﻥ ﺍﻧﺪﺍﻡ‬
‫ﺍﺳﺖ ﮐﻪ ﺷﺪﺕﻫﺎ ﺑﺮ ﺁﻥ ﺍﺯ ﺧﻮﺩ ﻭ ﺩﻳﮕﺮﻱ ﻋﺒﻮﺭ ﻣﻲﻛﻨﻨﺪ ــ ﻧﻪ ﺑﻪ ﻧﺎﻡ‬
‫ِ‬
‫ﺳﻄﺢ ﺑﺎﻻﺗﺮﻱ ﺍﺯ ﻋﻤﻮﻣﻴﺖ ﻳﺎ ﺍﻣﺘﺪﺍﺩﻱ ﻭﺳﻴﻊﺗﺮ‪ ،‬ﺑﻞ ﺑﻪ ﻟﻄﻒِ ﺗﮑﻨﻴﮕﻲﻫﺎﻳﻲ‬
‫ﮐﻪ ﺩﻳﮕﺮ ﻧﻤﻲﺗﻮﺍﻥ ﺁﻥﻫﺎ ﺭﺍ ﺷﺨﺼﻲ ﺑﻪ ﺣﺴﺎﺏ ﺁﻭﺭﺩ ﻭ ﺷﺪﺕﻫﺎﻳﻲ ﮐﻪ ﺩﻳﮕﺮ‬
‫ﻧﻤﻲﺗﻮﺍﻥ ﺁﻥﻫﺎ ﺭﺍ ﺍﻣﺘﺪﺍﺩﻱ ﺩﺍﻧﺴﺖ‪ .‬ﺳﺎﺣﺖ ﺩﺭﻭﻥﻣﺎﻧﺪﮔﺎﺭﻱ ﺩﺭﻭﻧﻲ ﺧﻮﺩ‬
‫ِ ]‪ [self‬ﺑﻴﺮﻭﻧﻲ ﻳﺎ ﻳﮏ ﻧﺎـﺧﻮﺩ ]‪ [non-self‬ﻧﻴﺰ‬
‫]‪ [self‬ﻧﻴﺴﺖ ﺍﻣﺎ ﺍﺯ ﻳﮏ ﺧﻮﺩ‬

‫‪86. Ibid.‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫ﻧﺸﺄﺕ ﻧﻤﻲﮔﻴﺮﺩ‪ .‬ﺑﺮ ﻋﮑﺲ‪ ،‬ﻫﻤﭽﻮﻥ ﺧﺎﺭﺝِ ﻣﻄﻠﻖ ﺍﺳﺖ ﮐﻪ ﻫﻴﭻ ﺧﻮﺩ ]‪ [self‬ﺍﻱ‬
‫ﺍﺯ‬ ‫ﺑﺨﺸﻲ‬ ‫ﻳﮑﺴﺎﻥ‬ ‫ﺑﻪﻃﻮﺭ‬ ‫ﺑﻴﺮﻭﻥ‬ ‫ﻭ‬ ‫ﺩﺭﻭﻥ‬ ‫ﺯﻳﺮﺍ‬ ‫ﻧﻤﻲﺷﻨﺎﺳﺪ‪،‬‬
‫ﺩﺭﻭﻥﻣﺎﻧﺪﮔﺎﺭﻱﺍﻱ ﻫﺴﺘﻨﺪ ﮐﻪ ﺩﺭ ﺁﻥ ﺑﻪ ﻳﮑﺪﻳﮕﺮ ﺟﻮﺵ ﺧﻮﺭﺩﻩﺍﻧﺪ‪.‬‬
‫ِ ﺩﺭﺑﺎﺭﻱ‪ ،‬ﻣﺒﺎﺩﻟﻪﻱ ﻗﻠﺐﻫﺎ‪ ،‬ﺁﺯﻣﻮﻥ ﻳﺎ »ﻣﺤﮏ«‪ :‬ﻫﻤﻪ‬ ‫»ﺳﺮﺧﻮﺷﻲ« ﺩﺭ ﻋﺸﻖ‬
‫ﭼﻴﺰ ﻣﺠﺎﺯ ﺍﺳﺖ‪ ،‬ﺗﺎ ﺯﻣﺎﻧﻲ ﮐﻪ ﻧﺴﺒﺖ ﺑﻪ ﻣﻴﻞ ﺑﻴﺮﻭﻧﻲ ﻳﺎ ﻧﺴﺒﺖ ﺑﻪ‬
‫ﺻﻔﺤﻪﻱ ﺁﻥ ﻣﺘﻌﺎﻟﻲ ﻧﺒﺎﺷﺪ ﻳﺎ ﺍﻳﻦﻛﻪ ﻧﺴﺒﺖ ﺑﻪ ﺍﺷﺨﺎﺹ ﺩﺭﻭﻧﻲ ﻧﺒﺎﺷﺪ‪.‬‬
‫ﻧﺎﭼﻴﺰﺗﺮﻳﻦِ ﻧﻮﺍﺯﺵﻫﺎ ﻣﻲﺗﻮﺍﻧﺪ ﺑﻪ ﻗﺪﺭﺕﻣﻨﺪﻱ ﻳﮏ ﺍﺭﮔﺎﺳﻢ ﺑﺎﺷﺪ؛ ﺍﺭﮔﺎﺳﻢ‬
‫ﻳﮏ ﻭﺍﻗﻌﻴﺖِ ﺻﺮﻑ ﺍﺳﺖ‪ ،‬ﻭ ﺩﺭ ﻧﺴﺒﺖ ﺑﺎ ﻣﻴﻠﻲ ﮐﻪ ﺩﺭ ﺗﻌﻘﻴﺐ ﺍﺻﻞ ﺧﻮﻳﺶ‬
‫ﺍﺳﺖ‪ ،‬ﻭﺍﻗﻌﻴﺘﻲ ﺭﻗﺖﺍﻧﮕﻴﺰ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﻣﺠﺎﺯ ﺍﺳﺖ‪ :‬ﺗﻨﻬﺎ‬
‫ﻧﮑﺘﻪﻱ ﻣﻬﻢ ﺍﻳﻦ ﺍﺳﺖ ﮐﻪ ﻟﺬﺕ ﺳﻴﻼﻥ ﺧﻮﺩ ﻣﻴﻞ ﺑﺎﺷﺪ‪ ،‬ﺩﺭﻭﻥﻣﺎﻧﺪﮔﺎﺭﻱ‬
‫ﺑﺎﺷﺪ‪ ،‬ﻭ ﻧﻪ ﺳﻨﺠﻪﺍﻱ ﮐﻪ ﺩﺭ ﻣﻴﻞ ﻭﻗﻔﻪ ﺑﻴﻨﺪﺍﺯﺩ ﻳﺎ ﺁﻥ ﺭﺍ ﺑﻪ ﺩﺳﺖ‬
‫ﺍﺷﺒﺎﺡ ﺳﻪﮔﺎﻧﻪ‪ ،‬ﻳﻌﻨﻲ ﻓﻘﺪﺍﻥ ﺩﺭﻭﻧﻲ‪ ،‬ﺗﻌﺎﻟﻲ ﻭﺍﻻﺗﺮ‪ ،‬ﻭ ﺑﻴﺮﻭﻧﻲﺑﻮﺩﻥِ‬
‫ﻧﻤﺎﻳﺎﻥ ﺑﺮﺳﺎﻧﺪ‪ .87‬ﺍﮔﺮ ﻟﺬﺕ ﻫﻨﺠﺎﺭ ﻣﻴﻞ ﻧﻴﺴﺖ‪ ،‬ﺑﻪ ﻟﻄﻒِ ﻓﻘﺪﺍﻧﻲ ﻧﻴﺴﺖ‬
‫ﮐﻪ ﭘﺮﮐﺮﺩﻥِ ﺁﻥ ﻣﺤﺎﻝ ﺍﺳﺖ‪ ،‬ﺑﻞ ﺑﺮﻋﮑﺲ ﺑﻪ ﻟﻄﻒِ ﺍﻳﺠﺎﺑﻴﺖ ﺁﻥ‪ ،‬ﺑﻪ ﺑﻴﺎﻥ‬
‫ﺩﻳﮕﺮ‪ ،‬ﺑﻪ ﻟﻄﻒِ ﺻﻔﺤﻪﻱ ﻫﻢﻧﻮﺍﺧﺘﻲ ﺍﺳﺖ ﮐﻪ ﺩﺭ ﻣﺴﻴﺮ ﻓﺮﺁﻳﻨﺪ ﺧﻮﺩ ﺗﺮﺳﻴﻢ‬
‫ﻣﻲﻛﻨﺪ‪.‬‬
‫ﻳﮏ ﻣﺠﻤﻮﻋﻪﻱ ﻋﻈﻴﻢ ژﺍﭘﻨﻲ ﺍﺯ ﺭﺳﺎﻻﺕ ﺗﺎﺋﻮﺋﻴﺴﺘﻲ ﭼﻴﻨﻲ ﺩﺭ ‪ 982‬ـ ‪984‬‬
‫ﻗﺒﻞ ﺍﺯ ﻣﻴﻼﺩ ﺳﺎﺧﺘﻪ ﺷﺪ‪ .‬ﺩﺭ ﺁﻥ ﻣﺠﻤﻮﻋﻪ‪ ،‬ﺻﻮﺭﺕﺑﻨﺪﻱ ﻣﺪﺍﺭﻱ ﺍﺯ ﺷﺪﺕﻫﺎ‬
‫ﺭﺍ ﺑﻴﻦ ﺍﻧﺮژﻱ ﺯﻧﺎﻧﻪ ﻭ ﻣﺮﺩﺍﻧﻪ ﻣﻲﺑﻴﻨﻴﻢ‪ ،‬ﺑﺪﻳﻦﮔﻮﻧﻪ ﮐﻪ ﺯﻥ ﻧﻘﺶ‬
‫ﻧﻴﺮﻭﻱ ﻓﻄﺮﻱ ﻳﺎ ﻏﺮﻳﺰﻱ )ﻳﻴﻦ( ﺭﺍ ﺑﺎﺯﻱ ﻣﻲﻛﻨﺪ؛ ﻧﻴﺮﻭﻳﻲ ﮐﻪ ﺑﻪ ﻣﺮﺩ‬
‫ﻣﻨﺘﻘﻞ ﻣﻲﺷﻮﺩ ﻳﺎ ﺗﻮﺳﻂ ﺍﻭ ﺩﺯﺩﻳﺪﻩ ﻣﻲﺷﻮﺩ‪ ،‬ﺁﻥ ﻫﻢ ﺑﻪ ﻃﺮﻳﻘﻲ ﮐﻪ ﻧﻴﺮﻭﻱ‬
‫ﻣﻨﺘﻘﻞﺷﺪﻩﻱ ﻣﺮﺩ )ﻳﺎﻧﮓ( ﺑﻪﻧﻮﺑﻪﻱﺧﻮﺩ ﻓﻄﺮﻱ‪ ،‬ﺣﺘﻲ ﻓﻄﺮﻱﺗﺮ ﻣﻲﺷﻮﺩ‪ :‬ﻧﻮﻋﻲ‬
‫ﺍﻓﺰﺍﻳﺶِ ﻗﺪﺭﺕﻫﺎ‪ .‬ﺷﺮﻁ ﺗﻮﺯﻳﻊ ﻭ ﺗﮑﺜﻴﺮ ﻳﺎﺩﺷﺪﻩ ﺍﻳﻦ ﺍﺳﺖ ﮐﻪ ﻣﺮﺩ ﺩﭼﺎﺭ‬
‫ﺍﻧﺰﺍﻝ ﻧﺸﻮﺩ‪ .88‬ﻣﺴﺄﻟﻪ ﻧﻪ ﺑﺮ ﺳﺮ ﺗﺠﺮﺑﻪﮐﺮﺩﻥِ ﻣﻴﻞ ﺑﻪﻣﺜﺎﺑﻪﻱ ﻓﻘﺪﺍﻧﻲ‬
‫ﺩﺭﻭﻧﻲ ﺍﺳﺖ ﻭ ﻧﻪ ﺑﺮ ﺳﺮ ﺑﻪ ﺗﻌﻮﻳﻖﺍﻧﺪﺍﺧﺘﻦ ﻟﺬﺕ ﺑﺮﺍﻱ ﺗﻮﻟﻴﺪ ﻧﻮﻋﻲ‬
‫ﺍﺭﺯﺵ ﺍﻓﺰﻭﺩﻩ ﺑﺎ ﻗﺎﺑﻠﻴﺖ ﺧﺎﺭﺟﻲﺷﺪﻥ؛ ﺑﻞ ﺩﺭ ﻋﻮﺽ ﻣﺴﺄﻟﻪ ﺳﺎﺧﺘﻦِ ﻳﮏ ﺑﺪﻥ‬
‫ﺑﺪﻭﻥ ﺍﻧﺪﺍﻡ ﺍﺷﺘﺪﺍﺩﻱ‪ ،‬ﻳﻌﻨﻲ ﺗﺎﺋﻮ‪ ،‬ﻳﺎ ﺳﺎﺣﺘﻲ ﺍﺯ ﺩﺭﻭﻥﻣﺎﻧﺪﮔﺎﺭﻱ ﺍﺳﺖ‬
‫ﮐﻪ ﺩﺭ ﺁﻥ ﻣﻴﻞ ﺩﭼﺎﺭ ﻫﻴﭻ ﻓﻘﺪﺍﻧﻲ ﻧﻴﺴﺖ ﻭ ﺑﻨﺎﺑﺮﺍﻳﻦ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺑﻪ ﻫﻴﭻ‬
‫ﻣﻌﻴﺎﺭ ﺑﻴﺮﻭﻧﻲ ﻳﺎ ﻣﺘﻌﺎﻟﻲ ﭘﻴﻮﻧﺪ ﺑﺨﻮﺭﺩ‪ .‬ﺩﺭﺳﺖ ﺍﺳﺖ ﮐﻪ ﮐﻞ ﻳﮏ ﻣﺪﺍﺭ‬

‫‪ .‬ﺩﺭﺑﺎﺭﻩﻱ ﻋﺸﻖ ﺩﺭﺑﺎﺭﻱ ﻭ ﺩﺭﻭﻧﻤﺎﻧﺪﮔﺎﺭﻱ ﺭﺍﺩﻳﮑﺎﻝ ﺁﻥﮐﻪ ﻫﻢ ﺍﺳﺘﻌﻼﻱ ﺩﻳﻨﻲ ﻭ ﻫﻢ‬

‫ﺑﻴﺮﻭﻧﻲﺑﻮﺩﻥ ﻟﺬﺕﮔﺮﺍﻳﺎﻧﻪ ﺭﺍ ﻃﺮﺩ ﻣﻲﮐﻨﺪ‪ ،‬ﺑﻪ ﻣﻨﺒﻊ ﺯﻳﺮ ﺭﺟﻮﻉ ﮐﻨﻴﺪ‪:‬‬
‫‪Rene Nelli, L'erotique des troubadours (Paris: Union Generale d'Editions, 1974), in particular, vol. l,pp. 267, 316, 358, and 370, and‬‬
‫‪vol. 2, pp. 47, 53, and 75. (Also vol. 1, p. 128):‬‬
‫ﻳﮑﻲ ﺍﺯ ﺗﻔﺎﻭﺕﻫﺎﻱ ﻋﻤﺪﻩﻱ ﺑﻴﻦ ﻋﺸﻖ ﺷﻮﺍﻟﻴﻪﮔﺮﺍﻧﻪ ﻭ ﻋﺸﻖ ﺩﺭﺑﺎﺭﻱ ﺍﻳﻦ ﺑﻮﺩ ﮐﻪ »ﺑﺮﺍﻱ‬
‫ِ ﻋﺸﻖ ﮐﻪ ﺑﺪﺍﻥ ﺍﻓﺘﺨﺎﺭ ﺑﺎﻳﺪ ﮐﺮﺩ‪ ،‬ﻫﻤﻴﺸﻪ ﻧﺴﺒﺖ ﺑﻪ ﻋﺸﻖ ﺧﺎﺭﺟﻲ ﺍﺳﺖ‪،‬‬ ‫ﺷﻮﺍﻟﻴﻪﻫﺎ ﺗﻬﻮﺭ‬
‫ً ﺩﺭﻭﻧﻲ ﻋﺸﻖ ﺍﺳﺖ؛ ﺗﻬﻮﺭ‬
‫ِ ﺟﻨﮕﻲ ﺑﺎ‬ ‫ﺩﺭﺣﺎﻟﻲﮐﻪ ﺩﺭ ﺳﻴﺴﺘﻢ ﻋﺸﻖ ﺩﺭﺑﺎﺭﻱ‪ ،‬ﺁﺯﻣﻮﻥ ﻋﺸﻖ ﺫﺍﺗﺎ‬
‫»ﻗﻬﺮﻣﺎﻥﮔﺮﺍﻳﻲ ﺍﺣﺴﺎﺳﺎﺗﻲ« ﺟﺎﻳﮕﺰﻳﻦ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻳﻦ ﺗﺤﻮﻟﻲ ﺩﺭ ﻣﺎﺷﻴﻦ ﺟﻨﮕﻲ ﺍﺳﺖ‪(.‬‬
‫‪88. Robert Van Gulik, Sexual Life in Ancient China (Leiden: Brill, 1961); and Jean-Francois Lyotard's discussion of it, Economie libidinale‬‬
‫‪(Paris: Minuit, 1974), pp. 241 -251.‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

‫ﺭﺍ ﻣﻲﺗﻮﺍﻥ ﺩﺭ ﺭﺍﺳﺘﺎﻱ ﺍﻫﺪﺍﻑ ﺯﺍﻳﺸﻲ ﺟﻬﺖﺩﻫﻲ ﮐﺮﺩ )ﺍﻧﺰﺍﻝ‪ ،‬ﻭﻗﺘﻲ‬
‫ﺍﻧﺮژﻱﻫﺎ ﺻﺤﻴﺢ ﻫﺴﺘﻨﺪ(؛ ﮐﻨﻔﺴﻴﻮﺳﻴﺴﻢ ﭼﻨﻴﻦ ﺩﺭﮐﻲ ﺩﺍﺭﺩ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﺍﻣﺮ‬
‫ﺗﻨﻬﺎ ﺑﺮﺍﻱ ﻳﮏ ﺳﻮﻳﻪ ﺍﺯ ﺳﺮﻫﻢﺑﻨﺪﻱ ﻣﻴﻞ ﺻﺎﺩﻕ ﺍﺳﺖ؛ ﺑﺮﺍﻱ ﺳﻮﻳﻪﺍﻱ ﮐﻪ‬
‫ﺭﻭﺑﻪﺭﻭﻱ ﭼﻴﻨﻪﻫﺎ‪ ،‬ﺍﺭﮔﺎﻧﻴﺴﻢﻫﺎ‪ ،‬ﺩﻭﻟﺖ‪ ،‬ﺧﺎﻧﻮﺍﺩﻩ ﻭ ‪ ...‬ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪.‬‬
‫ﺍﻣﺎ ﺑﺮﺍﻱ ﺳﻮﻳﻪﻱ ﺩﻳﮕﺮ‪ ،‬ﺳﻮﻳﻪﻱ ﺗﺎﺋﻮﻳﻲ ﭼﻴﻨﻪﺯﺩﺍﻳﻲ ــ ﮐﻪ ﺻﻔﺤﻪﻱ‬
‫ﻫﻢﻧﻮﺍﺧﺘﻲ ﻣﺨﺘﺺ ﻣﻴﻞ ﺭﺍ ﺗﺮﺳﻴﻢ ﻣﻲﻛﻨﺪــ ﺻﺎﺩﻕ ﻧﻴﺴﺖ‪ .‬ﺁﻳﺎ ﺗﺎﺋﻮ‬
‫ﻣﺎﺯﻭﺧﻴﺴﺘﻲ ﺳﺖ؟ ﺁﻳﺎ ﻋﺸﻖ ﺩﺭﺑﺎﺭﻱ ﺗﺎﺋﻮﺋﻴﺴﺘﻲ ﺍﺳﺖ؟ ﺍﻳﻦ ﭘﺮﺳﺶﻫﺎ ﺳﺮﺍﺳﺮ‬
‫ﺑﻲﻣﻌﻨﻲﺍﻧﺪ‪ .‬ﺳﺎﺣﺖ ﺩﺭﻭﻥﻣﺎﻧﺪﮔﺎﺭﻱ ﻳﺎ ﺻﻔﺤﻪﻱ ﻫﻢﻧﻮﺍﺧﺘﻲ ﺑﺎﻳﺪ ﺳﺎﺧﺘﻪ‬
‫ﺷﻮﺩ ﻭ ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﻣﻲﺗﻮﺍﻧﺪ ﺩﺭ ﺻﻮﺭﺕﺑﻨﺪﻱﻫﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ ﺑﺴﻴﺎﺭ ﻣﺘﻔﺎﻭﺕ‬
‫ﻭ ﺍﺯ ﺧﻼﻝ ﺳﺮﻫﻢﺑﻨﺪﻱﻫﺎﻱ ﺑﺴﻴﺎﺭ ﻣﺘﻔﺎﻭﺕ )ﻣﻨﺤﺮﻑ‪ ،‬ﻫﻨﺮﻱ‪ ،‬ﻋﻠﻤﻲ‪،‬‬
‫ﻋﺮﻓﺎﻧﻲ‪ ،‬ﺳﻴﺎﺳﻲ( ﺑﺎ ﺳﻨﺦﻫﺎﻱ ﻣﺘﻔﺎﻭﺗﻲ ﺍﺯ ﺑﺪﻥﻫﺎﻱ ﺑﺪﻭﻥ ﺍﻧﺪﺍﻡ ﺭﺥ‬
‫ﺩﻫﺪ‪ .‬ﺳﺎﺣﺖ ﺩﺭﻭﻥﻣﺎﻧﺪﮔﺎﺭﻱ ﻗﻄﻌﻪ ﺑﻪ ﻗﻄﻌﻪ ﺳﺎﺧﺘﻪ ﻣﻲﺷﻮﺩ ﻭ ﻣﮑﺎﻥﻫﺎ‪،‬‬
‫ﺷﺮﺍﻳﻂ ﻭ ﺗﮑﻨﻴﮏﻫﺎ ]ﻱ ﻣﺘﻔﺎﻭﺕ ﺳﺎﺧﺘﻦ ﺁﻥ[ ﻏﻴﺮﻗﺎﺑﻞﺗﻘﻠﻴﻞ ﺑﻪ‬
‫ﻳﮑﺪﻳﮕﺮﻧﺪ‪ .‬ﭘﺲ ﻣﺴﺄﻟﻪ ﺍﻳﻦ ﺍﺳﺖ ﮐﻪ ﺁﻳﺎ ﻗﻄﻌﺎﺕ ﺑﺎ ﻫﻢ ﺟﻔﺖﻭﺟﻮﺭ‬
‫ﻣﻲﺷﻮﻧﺪ‪ ،‬ﻭ ﺍﮔﺮ ﻣﻲﺷﻮﻧﺪ‪ ،‬ﺑﻪ ﭼﻪ ﻗﻴﻤﺘﻲ‪ .‬ﻻﺟﺮﻡ ﺩﻭﺭﮔﻪﻫﺎﻳﻲ ﻫﻴﻮﻻﻳﻲ ﺑﻪ‬
‫ﻭﺟﻮﺩ ﺧﻮﺍﻫﻨﺪ ﺁﻣﺪ‪ .‬ﺻﻔﺤﻪﻱ ﻫﻢﻧﻮﺍﺧﺘﻲ ﺗﻤﺎﻣﻴﺖِ ﻫﻤﻪﻱ ﺏ‪.‬ﺏ‪.‬ﺍ ﻫﺎ ﺧﻮﺍﻫﺪ‬
‫ﺑﻮﺩ‪ ،‬ﻧﻮﻋﻲ ﺑﺲﮔﺎﻧﮕﻲ ﻧﺎﺏِ ﺩﺭﻭﻥﻣﺎﻧﺪﮔﺎﺭ ﮐﻪ ﻳﮏ ﻗﻄﻌﻪﻱ ﺁﻥ ﭼﻪ ﺑﺴﺎ ﭼﻴﻨﻲ‬
‫ً‬
‫ﺑﺎﺷﺪ‪ ،‬ﺩﻳﮕﺮﻱ ﺁﻣﺮﻳﮑﺎﻳﻲ‪ ،‬ﺁﻥ ﻳﮑﻲ ﻗﺮﻭﻥ ﻭﺳﻄﺎﻳﻲ‪ ،‬ﻭ ﺩﻳﮕﺮﻱ ﺗﻤﺎﻣﺎ‬
‫ﻣﻨﺤﺮﻑ‪ ،‬ﺍﻣﺎ ﺩﺭ ﻋﻴﻦﺣﺎﻝ ﻫﻤﻪ ﺩﺭ ﺟﻨﺒﺸﻲ ﺍﺯ ﻗﻠﻤﺮﻭﺯﺩﺍﻳﻲ ﻋﻤﻮﻣﻴﺖﻳﺎﻓﺘﻪ‬
‫ﻗﺮﺍﺭ ﺩﺍﺭﻧﺪ ﮐﻪ ﻫﺮ ﺯﻥ ﻳﺎ ﻣﺮﺩﻱ ﺩﺭ ﺁﻥ ﭼﻴﺰﻱ ﺭﺍ ﺧﻮﺍﻫﺪ ﮔﺮﻓﺖ ﻳﺎ‬
‫ﺧﻮﺍﻫﺪ ﺳﺎﺧﺖ ﮐﻪ ﺍﺯ ﺗﻮﺍﻧﺶ ﺑﺮﺁﻳﺪ؛ ﺁﻥ ﻫﻢ ﺑﺮ ﺍﺳﺎﺱ ﺫﺍﺋﻘﻪﻫﺎﻳﻲ ﮐﻪ ﺩﺭ‬
‫ﺍﻧﺘﺰﺍﻉﮐﺮﺩﻥ ﺍﺯ ﻳﮏ ﺧﻮﺩ ﺑﺪﺍﻥﻫﺎ ﻧﺎﺋﻞ ﻣﻲﺷﻮﺩ‪ ،‬ﻳﻌﻨﻲ ﺑﺮ ﺍﺳﺎﺱ ﻳﮏ‬
‫ﺳﻴﺎﺳﺖ ﻳﺎ ﺍﺳﺘﺮﺍﺗﮋﻱ ﮐﻪ ﺑﻪﻃﻮﺭ ﻣﻮﻓﻘﻴﺖﺁﻣﻴﺰﻱ ﺍﺯ ﻳﮏ ﺻﻮﺭﺕﺑﻨﺪﻱ‬
‫ﺩﺍﺩﻩﺷﺪﻩ ﺍﻧﺘﺰﺍﻉ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﻳﻌﻨﻲ ﺑﺮ ﺍﺳﺎﺱ ﺭﻭﻳﻪﺍﻱ ﺩﺍﺩﻩ ﺷﺪﻩ ﮐﻪ ﺍﺯ‬
‫ﺧﺎﺳﺘﮕﺎﻩ ﺧﻮﻳﺶ ﺍﻧﺘﺰﺍﻉ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬
‫ﻣﺎ ﻣﻴﺎﻥ ﺍﻳﻦ ﺳﻪ ﺗﻤﻴﻴﺰ ﻗﺎﻳﻞ ﻣﻲﺷﻮﻳﻢ‪ .1 :‬ﺏ‪.‬ﺏ‪.‬ﺍ ﻫﺎ ﮐﻪ ﺳﻨﺦﻫﺎ‪،‬‬
‫ِ‬
‫ﺍﻗﺴﺎﻡ ﻳﺎ ﺻﻔﺎﺕِ ﺟﻮﻫﺮﻱ ﻣﺘﻔﺎﻭﺕ ﻫﺴﺘﻨﺪ‪ .‬ﺑﺮﺍﻱ ﻣﺜﺎﻝ‪ ،‬ﺳﺮﻣﺎﻱ ﺏ‪.‬ﺏ‪.‬ﺍ‬
‫ِ ﻣﺎﺯﻭﺧﻴﺴﺖ‪ .‬ﻫﺮﻳﮏ ﺩﺭﺟﻪﻱ ‪ 0‬ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻣﻨﺰﻟﻪﻱ‬ ‫◌ ﺏ‪.‬ﺏ‪.‬ﺍ‬‫ﺗﺨﺪﻳﺮﻱ‪ ،‬ﺩﺭﺩِ‬
‫ِ ﺗﻮﻟﻴﺪ )‪ (remissio‬ﺩﺍﺭﺍ ﻫﺴﺘﻨﺪ‪ .2 .‬ﺑﺮ ﺳﺮ ﻫﺮ ﺳﻨﺦ ﺍﺯ ﺏ‪.‬ﺏ‪.‬ﺍ ﭼﻪ‬ ‫ﺍﺻﻞ‬
‫ﻣﻲﺁﻳﺪ‪ ،‬ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ‪ ،‬ﺣﺎﻻﺕ‪ ،‬ﺷﺪﺕﻫﺎﻳﻲ ﮐﻪ ﺗﻮﻟﻴﺪ ﻣﻲﺷﻮﻧﺪ‪ ،‬ﻣﻮﺝﻫﺎﻳﻲ‬
‫ﮐﻪ ﻣﻲﮔﺬﺭﻧﺪ )‪ .3 .(latitudo‬ﺗﻤﺎﻣﻴﺖِ ﺑﺎﻟﻘﻮﻩﻱ ﻫﻤﻪﻱ ﺏ‪.‬ﺏ‪.‬ﺍﻫﺎ‪ ،‬ﺻﻔﺤﻪﻱ‬
‫ﻫﻢﻧﻮﺍﺧﺘﻲ )‪ ،Omnitudo‬ﮐﻪ ﮔﺎﻩ ﺏ‪.‬ﺏ‪.‬ﺍ‪ 89‬ﺧﻮﺍﻧﺪﻩ ﻣﻲﺷﻮﺩ(‪ .‬ﭼﻨﺪﻳﻦ ﺳﺆﺍﻝ‬
‫ﭘﻴﺶ ﻣﻲﺁﻳﺪ‪ .‬ﺍﻭﻝ ﺍﻳﻦﻛﻪ ﭼﮕﻮﻧﻪ ﺑﺮﺍﻱ ﺧﻮﺩﺕ ﻳﮏ ﺏ‪.‬ﺏ‪.‬ﺍ ﺑﺴﺎﺯﻱ ﻭ ﭼﮕﻮﻧﻪ‬
‫ﺷﺪﺕﻫﺎﻱ ﻣﺮﺑﻮﻃﻲ ﺭﺍ ﺗﻮﻟﻴﺪ ﮐﻨﻲ ﮐﻪ ﺑﺪﻭﻥ ﺁﻥﻫﺎ ﺏ‪.‬ﺏ‪.‬ﺍ ﺗﻬﻲ ﺑﺎﻗﻲ‬
‫ً ﻣﺘﻔﺎﻭﺕ ﻫﺴﺘﻨﺪ(‪ .‬ﻭ ﻧﻴﺰ ﭼﮕﻮﻧﻪ ﺑﻪ‬ ‫ﻣﻲﻣﺎﻧﺪ )ﮐﻪ ﺩﻭ ﺳﺆﺍﻝ ﺗﻘﺮﻳﺒﺎ‬

‫‪ ،The BwO .‬ﺍﻳﻨﺒﺎﺭ ﺏ‪.‬ﺏ‪.‬ﺍ ﻧﻪ ﻧﮑﺮﻩ ﮐﻪ ﻣﻌﺮﻓﻪ ﺍﺳﺖ ﻭ ﺣﺮﻭﻑ ﻧﺨﺴﺖ ﺁﻥ ﻧﻴﺰ ﻫﻤﭽﻮﻥ ﻳﮏ‬
‫ِ ﺧﺎﺹ ﺑﺰﺭگ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻡ‬‫ﻧﺎﻡ‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

‫ﺻﻔﺤﻪﻱ ﻫﻢﻧﻮﺍﺧﺘﻲ ﺩﺳﺖﻳﺎﺑﻲ‪ .‬ﭼﮕﻮﻧﻪ ﻫﻤﻪﻱ ﺏ‪.‬ﺏ‪.‬ﺍﻫﺎ ﺭﺍ ﺑﺪﻭﺯﻱ‪ ،‬ﺁﺭﺍﻡ‬
‫ﮐﻨﻲ‪ ،‬ﻭ ﺑﻪ ﻫﻢ ﮔﺮﻩ ﺑﺰﻧﻲ‪ .‬ﺍﻳﻦ ﮐﺎﺭ ﺗﻨﻬﺎ ﺑﻪﻭﺍﺳﻄﻪﻱ ﺩﺭﻫﻢﺁﻣﻴﺨﺘﻦ‬
‫ﺷﺪﺕﻫﺎﻱ ﺗﻮﻟﻴﺪﺷﺪﻩ ﺑﺮ ﻫﺮ ﺏ‪.‬ﺏ‪.‬ﺍ ﻣﻤﮑﻦ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ ،‬ﻳﻌﻨﻲ ﺑﺎ ﺗﻮﻟﻴﺪ‬
‫ﮐﺮﺩﻥ ﭘﻴﻮﺳﺘﺎﺭﻱ ﺍﺯ ﻫﻤﻪﻱ ﭘﻴﻮﺳﺘﮕﻲﻫﺎﻱ ﺷﺪﻳﺪ‪ .‬ﺁﻳﺎ ﺳﺮﻫﻢﺑﻨﺪﻱﻫﺎﻳﻲ ﮐﻪ‬
‫ﺑﺮﺍﻱ ﺳﺎﺧﺘﻦِ ﻫﺮ ﺏ‪.‬ﺏ‪.‬ﺍ ﺿﺮﻭﺭﻱ ﺍﻧﺪ‪ ،‬ﻳﮏ ﻣﺎﺷﻴﻦ ﺍﻧﺘﺰﺍﻋﻲ ﻋﻈﻴﻢ ﻧﻴﺴﺖ ﮐﻪ‬
‫ﺑﺮﺍﻱ ﺳﺎﺧﺘﻦ ﺻﻔﺤﻪﻱ ﻫﻢﻧﻮﺍﺧﺘﻲ ﺿﺮﻭﺭﻱ ﺍﺳﺖ؟ ﮔﺮﮔﻮﺭﻱ ﺑﻴﺘﺴﻮﻥ‪ 90‬ﺍﺯ ﻟﻔﻆ‬
‫ﻓﻼﺕ ﺑﺮﺍﻱ ﻧﻮﺍﺣﻲ ﭘﻴﻮﺳﺘﻪﻱ ﺷﺪﺕ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻲﻛﻨﺪ؛ ﺍﺯ ﺁﻥ ﺩﺳﺖ ﻧﻮﺍﺣﻲ ﮐﻪ‬
‫ﺍﺟﺎﺯﻩ ﻧﻤﻲﺩﻫﻨﺪ ﻫﻴﭻ ﺍﻧﻘﻀﺎء ﺧﺎﺭﺟﻲ ﺁﻥﻫﺎ ﺭﺍ ﻗﻄﻊ ﮐﻨﺪ ﻭ ﻧﻴﺰ ﺩﺭ‬
‫ﺭﺍﺳﺘﺎﻱ ﻳﮏ ﻧﻘﻄﻪﻱ ﺍﻭﺝ ﻣﺠﺎﻝ ﺳﺎﺧﺘﻪﺷﺪﻥ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﻣﻲﺑﺨﺸﻨﺪ؛‬
‫ﭘﺮﻭﺳﻪﻫﺎﻱ ﻗﺎﻃﻊ ﺟﻨﺴﻲ ﻳﺎ ﭘﺮﺧﺎﺷﮕﺮﺍﻧﻪ ﺩﺭ ﻓﺮﻫﻨﮓ ﺑﻠﻮﻧﺰﻱ‪ 91‬ﻧﻤﻮﻧﻪﻫﺎﻳﻲ‬
‫ﺍﺯ ﺍﻳﻦ ﺍﻣﺮ ﻫﺴﺘﻨﺪ‪ .92‬ﻳﮏ ﻓﻼﺕ ﻗﻄﻌﻪﺍﻱ ﺍﺯ ﺩﺭﻭﻥﻣﺎﻧﺪﮔﺎﺭﻱ ﺍﺳﺖ‪ .‬ﻫﺮ‬
‫ﺏ‪.‬ﺏ‪.‬ﺍ ﺍﺯ ﻓﻼﺕﻫﺎ ﺳﺎﺧﺘﻪ ﻣﻲﺷﻮﺩ‪ .‬ﻫﺮ ﺏ‪.‬ﺏ‪.‬ﺍ ﺧﻮﺩ ﻓﻼﺗﻲ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺑﺎ‬
‫ﺩﻳﮕﺮ ﻓﻼﺕﻫﺎ ﺑﺮ ﺻﻔﺤﻪﻱ ﻫﻢﻧﻮﺍﺧﺘﻲ ﺍﺳﺖ‪ .‬ﺏ‪.‬ﺏ‪.‬ﺍ ﻳﮏ ﺟﺰء ﺳﺎﺯﻧﺪﻩﻱ ﮔﺬﺍﺭ‬
‫ﺍﺳﺖ‪.‬‬

‫‪ ،Gregory Bateson .‬ﺍﻧﺴﺎﻥﺷﻨﺎﺱ‪ ،‬ﺟﺎﻣﻌﻪﺷﻨﺎﺱ ﻭ ﺯﺑﺎﻥﺷﻨﺎﺱ ﺍﻧﮕﻠﻴﺴﻲ )‪1904‬ـ‪ .(1980‬ﻡ‬

‫‪ .‬ﺑﺨﺸﻲ ﺍﺯ ﺑﻮﻣﻴﺎﻥ ﻣﺘﻨﻮﻉ ﺟﺰﺍﻳﺮ ﺍﻧﺪﻭﻧﺰﻱ ﮐﻪ ﺍﮐﻨﻮﻥ ‪ 1/5‬ﺩﺭﺻﺪ ﺟﻤﻌﻴﺖ ﺍﻧﺪﻭﻧﺰﻱ ﺭﺍ‬
‫ﺗﺸﮑﻴﻞ ﻣﻲﺩﻫﻨﺪ‪ .‬ﻡ‬
‫‪92. Gregory Bateson, Steps to an Ecology of Mind (New York: Ballantine Books, 1972), p. 113.‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫‪ .7‬ﺳﺎﻝ‬
‫ِ ﺻﻔﺮ‪ :‬ﭼﻬﺮﻩﺍﻱﺑﻮﺩﻥ‬

‫ِ ﻇﺮﻓﻴﺖ ﺩﻻﻟﺘﻲ ﻭ ﺳﻮﺑﮋﮐﺘﻴﻮﺳﺎﺯﻱ ﻣﻮﺍﺟﻪ ﺷﺪﻳﻢ‪.‬‬ ‫ﭘﻴﺸﺘﺮ ﺑﺎ ﺩﻭ ﻣﺤﻮﺭ‬

‫ﺩﺭﻳﺎﻓﺘﻴﻢ ﮐﻪ ﺁﻥﻫﺎ ﺩﻭ ﻧﻈﺎﻡ ﻧﺸﺎﻧﻪﺷﻨﺎﺧﺘﻲ ﺑﺴﻴﺎﺭ ﻣﺘﻔﺎﻭﺕ ﻳﺎ ﺣﺘﻲ ﺩﻭ‬
‫ﭼﻴﻨﻪ ﻫﺴﺘﻨﺪ‪ .‬ﻇﺮﻓﻴﺖ ﺩﻻﻟﺘﻲ ﻫﻤﻮﺍﺭﻩ ﺩﻳﻮﺍﺭﻱ ﺳﻔﻴﺪ ﺩﺍﺭﺩ ﮐﻪ ﺑﺮ ﺁﻥ‬
‫ﻧﺸﺎﻧﻪﻫﺎ ﻭ ﺣﺸﻮﻫﺎﻱ ﺧﻮﺩ ﺭﺍ ﺣﮏ ﻭ ﺛﺒﺖ ﻣﻲﻛﻨﺪ‪ .‬ﺳﻮﺑﮋﮐﺘﻴﻮﺳﺎﺯﻱ ﻫﻤﻮﺍﺭﻩ‬
‫ﺳﻴﺎﻩﭼﺎﻟﻪﺍﻱ ﺩﺍﺭﺩ ﮐﻪ ﺩﺭ ﺁﻥ ﺁﮔﺎﻫﻲ‪ ،‬ﺷﻮﺭ ﻭ ﺣﺸﻮﻫﺎﻳﺶ ﺭﺍ ﻣﻨﺰﻝ ﻣﻲﺩﻫﺪ‪.‬‬
‫ﺍﺯ ﺁﻥﺟﺎ ﮐﻪ ﺳﺮﺗﺎﺳﺮ ﻧﺸﺎﻧﻪﺷﻨﺎﺳﻲ ﻣﺨﻠﻮﻁ ﻣﻲﺷﻮﻧﺪ ﻭ ﭼﻴﻨﻪﻫﺎ ﺩﺳﺖﮐﻢ ﺑﻪ‬
‫»ﺩﻭ«ﻫﺎ ﺑﺪﻝ ﻣﻲﺷﻮﻧﺪ‪ ،‬ﻧﺒﺎﻳﺪ ﺗﻌﺠﺐ ﮐﺮﺩ ﮐﻪ ﻳﮏ ﻣﮑﺎﻧﻴﺰﻡ ﺑﺴﻴﺎﺭ ﺧﺎﺹ ﺩﺭ‬
‫ﻓﺼﻞ ﻣﺸﺘﺮک ﺁﻥﻫﺎ ﻣﺴﺘﻘﺮ ﻣﻲﺷﻮﺩ‪ .‬ﻋﺠﻴﺐ ﺁﻥﻛﻪ ﺍﻳﻦ ﻣﮑﺎﻧﻴﺰﻡ ﻫﻤﺎﻥ ﭼﻬﺮﻩ‬
‫ﺍﺳﺖ‪ :‬ﻧﻈﺎﻡ ﺩﻳﻮﺍﺭ ﺳﻔﻴﺪ‪/‬ﺳﻴﺎﻩﭼﺎﻟﻪ‪ .‬ﭼﻬﺮﻩﺍﻱ ﻭﺳﻴﻊ ﻫﻤﺮﺍﻩ ﺑﺎ ﮔﻮﻧﻪﻫﺎﻱ‬
‫ﺳﻔﻴﺪ‪ ،‬ﭼﻬﺮﻩﺍﻱ ﮔﭽﻲ ﻫﻤﺮﺍﻩ ﺑﺎ ﭼﺸﻢﻫﺎﻳﻲ ﮐﻪ ﺑﻲﻭﻗﻔﻪ ﺭﻭﺑﻪﺭﻭﻱ ﺳﻴﺎﻩﭼﺎﻟﻪ‬
‫ﺣﺮﮐﺖ ﻣﻲﻛﻨﻨﺪ‪ .‬ﮐﻠﻪﻱ ﺩﻟﻘﮏ‪ ،‬ﺩﻟﻘﮏ ﺳﻔﻴﺪ‪ ،‬ﭘﺎﻧﺘﻮﻣﻴﻤﻲ ﺳﻔﻴﺪ ﺭﻧﮓ ﻫﻤﭽﻮﻥ‬
‫ﻣﻬﺘﺎﺏ‪ ،‬ﻓﺮﺷﺘﻪﻱ ﻣﺮگ‪ ،‬ﮐﻔﻦ ﻣﻘﺪﺱ‪ .‬ﭼﻬﺮﻩ ﻟﻔﺎﻓﻲ ﺧﺎﺭﺟﻲ ﻧﺴﺒﺖ ﺑﻪ ﺷﺨﺼﻲ‬
‫ﻧﻴﺴﺖ ﮐﻪ ﺳﺨﻦ ﻣﻲﮔﻮﻳﺪ‪ ،‬ﻓﮑﺮ ﻣﻲﻛﻨﺪ ﻳﺎ ﺍﺣﺴﺎﺱ ﻣﻲﻛﻨﺪ‪ .‬ﺍﮔﺮ ﺷﻨﻮﻧﺪﻩﻱ‬
‫ﺑﺎﻟﻘﻮﻩ ﺑﺮﺍﻱ ﺭﺍﻫﻨﻤﺎﻳﻲﮔﺮﻓﺘﻦ ﺩﺭ ﻣﻮﺭﺩ ﺍﻧﺘﺨﺎﺏﻫﺎﻱ ]ﻣﻌﻨﺎﻳﻲ[ ﺧﻮﻳﺶ ﺍﺯ‬
‫ِ ﺩﺍﻝ ﺩﺭ ﺯﺑﺎﻥ‪ ،‬ﺣﺘﻲ ﻭﺍﺣﺪﻫﺎﻱ‬
‫ﭼﻬﺮﻩﻱ ﺳﺨﻦﮔﻮ ﺍﺳﺘﻔﺎﺩﻩ ﻧﮑﻨﺪ‪ ،‬ﺁﻥﮔﺎﻩ ﻓﺮﻡ‬
‫ﺁﻥ‪ ،‬ﻧﺎﻣﻌﻴﻦ ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﺪ )»ﺁﻫﺎﻱ‪ ،‬ﺍﻭ ﻋﺼﺒﺎﻧﻲ ﺑﻪﻧﻈﺮ ﻣﻲﺭﺳﺪ ‪«...‬؛‬
‫»ﻧﻤﻲﺗﻮﺍﻧﺴﺖ ﺁﻥ ﺭﺍ ﺑﺮ ﺯﺑﺎﻥ ﺁﻭﺭﺩ ‪«...‬؛ »ﻭﻗﺘﻲ ﺑﺎﻫﺎﺕ ﺣﺮﻑ ﻣﻲﺯﻧﻢ‪،‬‬
‫ﺑﻪ ﭼﻬﺮﻩﺍﻡ ﻧﮕﺎﻩ ﮐﻦ ‪«...‬؛ »ﺑﺎ ﺩﻗﺖ ﺑﻪ ﻣﻦ ﻧﮕﺎﻩ ﮐﻦ ‪ .(«...‬ﻳﮏ ﺑﭽﻪ‪،‬‬
‫ﺯﻥ‪ ،‬ﻣﺎﺩﺭ‪ ،‬ﻣﺮﺩ‪ ،‬ﺷﻮﻫﺮ‪ ،‬ﺭﻳﻴﺲ‪ ،‬ﻣﻌﻠﻢ‪ ،‬ﻳﺎ ﺍﻓﺴﺮ ﭘﻠﻴﺲ ﺑﻪ ﺯﺑﺎﻧﻲ ﻋﺎﻡ‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

‫ﺳﺨﻦ ﻧﻤﻲﮔﻮﻳﺪ ﺍﻣﺎ ﮐﺴﻲ ﺍﺳﺖ ﮐﻪ ﺧﺼﻴﺼﻪﻫﺎﻱ ﺩﻻﻟﺘﻲﺍﺵ ﺑﻪ ﺧﺼﻴﺼﻪﻫﺎﻱ‬
‫ﭼﻬﺮﻩﺍﻱ ﺑﻮﺩﻥ ﻣﺸﺨﺼﻲ ﺍﻟﺤﺎﻕ ﻣﻲﺷﻮﻧﺪ‪ .‬ﭼﻬﺮﻩﻫﺎ ﺩﺭ ﺍﺻﻞ ﻓﺮﺩﻱ ﻧﻴﺴﺘﻨﺪ؛‬
‫ﺁﻥﻫﺎ ﻣﻨﺎﻃﻖ ﺗﻨﺎﻭﺏ ﻳﺎ ﺍﺣﺘﻤﺎﻝ ﺭﺍ ﺗﻌﺮﻳﻒ ﻣﻲﻛﻨﻨﺪ‪ ،‬ﻭ ﺳﺎﺣﺘﻲ ﺭﺍ‬
‫ﺣﺪﮔﺬﺍﺭﻱ ﻣﻲﻛﻨﻨﺪ ﮐﻪ ﭘﻴﺸﺎﭘﻴﺶ ﻫﺮ ﺑﻴﺎﻥ ﻳﺎ ﺍﺗﺼﺎﻟﻲ ﺭﺍ ﮐﻪ ﺗﺎﺑﻊ‬
‫ﺩﻻﻟﺖﻫﺎﻱ ﻣﺮﺑﻮﻃﻪ ﻧﻤﻲﺷﻮﺩ‪ ،‬ﺧﻨﺜﻲ ﻣﻲﻛﻨﺪ‪ .‬ﺑﻪﻃﻮﺭ ﻣﺸﺎﺑﻪ‪ ،‬ﺍﮔﺮ ﭼﻬﺮﻩﻫﺎ‬
‫ﻣﮑﺎﻥ ﻫﻨﺪﺳﻲﻫﺎﻱ ﺭﺯﻭﻧﺎﻧﺴﻲ ﺭﺍ ﺷﮑﻞ ﻧﻤﻲﺩﺍﺩﻧﺪ ﮐﻪ ﻭﺍﻗﻌﻴﺖ ﻣﺤﺴﻮﺱ ﻳﺎ‬
‫ﺫﻫﻨﻲ ﺭﺍ ﺑﺮﻣﻲﮔﺰﻳﻨﺪ ﻭ ﺁﻥ ﺭﺍ ﭘﻴﺸﺎﭘﻴﺶ ﺑﺎ ﻭﺍﻗﻌﻴﺘﻲ ﻣﺴﻠﻂ ﻣﻨﻄﺒﻖ‬
‫ً ﺗﻬﻲ‬
‫ﻣﻲﺳﺎﺯﺩ‪ ،‬ﻓﺮﻡ ﺳﻮﺑﮋﮐﺘﻴﻮﻳﺘﻪ‪ ،‬ﺧﻮﺍﻩ ﺁﮔﺎﻫﻲ ﺑﺎﺷﺪ ﻳﺎ ﺷﻮﺭ‪ ،‬ﻣﻄﻠﻘﺎ‬
‫ِ ﭼﻬﺮﻩ ﺣﺸﻮ ﺍﺳﺖ‪ .‬ﭼﻬﺮﻩ ﻫﻤﺮﺍﻩ ﺑﺎ ﺣﺸﻮﻫﺎﻱ ﺩﻻﻟﺖ ﻳﺎ‬‫ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﺪ‪ .‬ﺧﻮﺩ‬
‫ﺗﻨﺎﻭﺏ‪ ،‬ﻭ ﻧﻴﺰ ﺣﺸﻮﻫﺎﻱ ﺭﺯﻭﻧﺎﻧﺲ ﻳﺎ ﺳﻮﺑﮋﮐﺘﻴﻮﻳﺘﻪ ﺧﻮﺩ ﺩﺭ ﺩﺍﻡ ﺣﺸﻮ‬
‫ﮔﺮﻓﺘﺎﺭ ﺍﺳﺖ‪ .‬ﭼﻬﺮﻩ ﺩﻳﻮﺍﺭﻱ ﺭﺍ ﻣﻲﺳﺎﺯﺩ ﮐﻪ ﺩﺍﻝ ﺑﺮﺍﻱ ﺑﺮﺧﻮﺭﺩ ﻭ‬
‫ِ ﺩﺍﻝ‪ ،‬ﻳﻌﻨﻲ ﻗﺎﺏ ﻳﺎ‬ ‫ﺑﺎﺯﮔﺸﺖ ﺑﻪ ﺁﻥ ﻧﻴﺎﺯ ﺩﺍﺭﺩ؛ ﭼﻬﺮﻩ ﺩﻳﻮﺍﺭ‬
‫ﮐﻪ‬ ‫ﻣﻲﻛﻨﺪ‬ ‫ﺣﻔﺮ‬ ‫ﺭﺍ‬ ‫ﭼﺎﻟﻪﺍﻱ‬ ‫ﭼﻬﺮﻩ‬ ‫ﻣﻲﺳﺎﺯﺩ‪.‬‬ ‫ﺭﺍ‬ ‫ﺻﻔﺤﻪﻧﻤﺎﻳﺶ‬
‫ﺳﻮﺑﮋﮐﺘﻴﻮﺳﺎﺯﻱ ﺑﺮﺍﻱ ﻋﺒﻮﺭ ﮐﺮﺩﻥ ﺑﻪ ﺁﻥ ﻧﻴﺎﺯ ﺩﺍﺭﺩ‪ :‬ﭼﻬﺮﻩ ﺳﻴﺎﻩﭼﺎﻟﻪﻱ‬
‫ﺳﻮﺑﮋﮐﺘﻴﻮﻳﺘﻪ ﺩﺭ ﻣﻘﺎﻡ ﺁﮔﺎﻫﻲ ﻳﺎ ﺷﻮﺭ‪ ،‬ﺩﻭﺭﺑﻴﻦ ﻳﺎ ﭼﺸﻢ ﺳﻮﻡ ﺭﺍ‬
‫ﻣﻲﺳﺎﺯﺩ‪.‬‬
‫ً‬
‫ﻳﺎ ﺍﻳﻦﻛﻪ ﺑﺎﻳﺪ ﻗﻀﻴﻪ ﺭﺍ ﺑﻪﻧﺤﻮ ﺩﻳﮕﺮﻱ ﺗﻌﺮﻳﻒ ﮐﻨﻴﻢ؟ ﺍﻳﻦ ﺩﻗﻴﻘﺎ‬
‫ﭼﻬﺮﻩ ﻧﻴﺴﺖ ﮐﻪ ﺩﻳﻮﺍﺭ ﺩﺍﻝ ﻳﺎ ﭼﺎﻟﻪﻱ ﺳﻮﺑﮋﮐﺘﻴﻮﻳﺘﻪ ﺭﺍ ﻣﻲﺳﺎﺯﺩ‪ .‬ﭼﻬﺮﻩ‪،‬‬
‫ﺩﺳﺖﮐﻢ ﭼﻬﺮﻩﻱ ﺍﻧﻀﻤﺎﻣﻲ‪ ،‬ﺑﻪﻃﻮﺭ ﻣﺒﻬﻢ ﻭ ﻧﺎﻣﻌﻠﻮﻣﻲ ﺷﺮﻭﻉ ﻣﻲﻛﻨﺪ ﺑﻪ‬
‫ﺷﮑﻞﮔﺮﻓﺘﻦ ﺭﻭﻱ ﺩﻳﻮﺍﺭ ﺳﻔﻴﺪ ﻭ ﻧﻴﺰ ﻇﺎﻫﺮﺷﺪﻥ ﺩﺭ ﺳﻴﺎﻩﭼﺎﻟﻪ‪ .‬ﺩﺭ ﻓﻴﻠﻢ‬
‫ﻣﻲﺗﻮﺍﻥ ﮐﻠﻮﺯﺁپ ﭼﻬﺮﻩ ﺭﺍ ﻭﺍﺟﺪ ﺩﻭ ﻗﻄﺐ ﺩﺍﻧﺴﺖ‪ :‬ﻳﺎ ﻭﺍﺩﺍﺷﺘﻦ ﭼﻬﺮﻩ ﺑﻪ‬
‫ﺍﻧﻌﮑﺎﺱ ﻧﻮﺭ ﻳﺎ ﺑﺮﻋﮑﺲ‪ ،‬ﺗﺄﻛﻴﺪ ﺑﺮ ﺳﺎﻳﻪﻫﺎﻱ ﺁﻥ ﺗﺎ ﻧﻘﻄﻪﺍﻱ ﮐﻪ ﭼﻬﺮﻩ‬
‫ﺩﺭ »ﺗﺎﺭﻳﮑﻲ ﺑﻲﺭﺣﻤﺎﻧﻪﺍﻱ« ﻏﻮﻃﻪﻭﺭ ﺷﻮﺩ‪ 93.‬ﻳﮏ ﺑﺎﺭ ﺭﻭﺍﻥﻛﺎﻭﻱ ﮔﻔﺘﻪ‬
‫ِ ﺍﺩﺭﺍکﺷﺪﻩﺍﻱ ﺑﺼﺮﻱ ﺍﺳﺖ ﮐﻪ »ﮔﻮﻧﺎﮔﻮﻧﻲﻫﺎﻱ ﻣﺘﻔﺎﻭﺕ‬ ‫ﺑﻮﺩ ﮐﻪ ﭼﻬﺮﻩ ﺍﻣﺮ‬
‫ﺩﺭﺧﺸﺶ ﻣﺒﻬﻢ ﻭ ﺑﺪﻭﻥ ﻓﺮﻡ ﻳﺎ ﺑﻌﺪ« ﺭﺍ ﻣﺘﺒﻠﻮﺭ ﻣﻲﻛﻨﺪ‪ .‬ﻳﮏ ﺳﻔﻴﺪﻱ‬
‫ﺑﺮﺍﻧﮕﻴﺰﺍﻧﻨﺪﻩ‪ ،‬ﻳﮏ ﭼﺎﻟﻪﻱ ﻣﺠﺬﻭﺏﮐﻨﻨﺪﻩ‪ ،‬ﻳﮏ ﭼﻬﺮﻩ‪ .‬ﺑﺮ ﺍﺳﺎﺱ ﺍﻳﻦ ﺷﺮﺡ‪،‬‬
‫ﺳﻴﺎﻩﭼﺎﻟﻪﻱ ﺑﺪﻭﻥ ﺑﻌﺪ ﻭ ﺩﻳﻮﺍﺭ ﺳﻔﻴﺪ ﺑﺪﻭﻥ ﻓﺮﻡ ﭘﻴﺸﺎﭘﻴﺶ ﺁﻥﺟﺎ ﺁﻣﺎﺩﻩﻱ‬
‫ﮐﺎﺭ ﻫﺴﺘﻨﺪ‪ .‬ﻭ ﺍﺯ ﻗﺒﻞ ﻧﻴﺰ ﺗﻌﺪﺍﺩﻱ ﺗﺮﮐﻴﺐ ﻣﻤﮑﻦ ﺩﺭ ﻧﻈﺎﻡ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪:‬‬
‫ﻳﺎ ﺳﻴﺎﻩﭼﺎﻟﻪﻫﺎ ﺧﻮﺩ ﺭﺍ ﺑﺮ ﺩﻳﻮﺍﺭ ﺳﻔﻴﺪ ﺗﻮﺯﻳﻊ ﻣﻲﻛﻨﻨﺪ ﻳﺎ ﺩﻳﻮﺍﺭ‬
‫ﺳﻔﻴﺪ ﮐﻨﺪﻩ ﻣﻲﺷﻮﺩ ﻭ ﺑﻪ ﺳﻮﻱ ﺳﻴﺎﻩﭼﺎﻟﻪﺍﻱ ﻣﺮﮐﺐ ﺍﺯ ﻫﻤﻪﻱ ﺳﻴﺎﻩﭼﺎﻟﻪﻫﺎ‬
‫ﺣﺮﮐﺖ ﻣﻲﻛﻨﺪ ﻭ ﺁﻥ ﻫﺎ ﺭﺍ ﺑﻪ ﺯﻭﺭ ﺣﺮﮐﺖ ﻣﻲﺩﻫﺪ ﻳﺎ ﺁﻥﻫﺎ ﺭﺍ ﻭﺍﺩﺍﺭ‬
‫ﻣﻲﻛﻨﺪ ﮐﻪ »ﺑﻪ ﺑﺎﻻﺗﺮﻳﻦ ﻧﻘﻄﻪ ﺑﺮﻭﻧﺪ‪ «.‬ﮔﺎﻩ ﭼﻬﺮﻩﻫﺎ ﻫﻤﺮﺍﻩ ﺑﺎ‬
‫ﭼﺎﻟﻪﻫﺎﻳﺸﺎﻥ ﺑﺮ ﺩﻳﻮﺍﺭ ﻇﺎﻫﺮ ﻣﻲﺷﻮﻧﺪ؛ ﮔﺎﻩ ﻫﻤﺮﺍﻩ ﺑﺎ ﺩﻳﻮﺍﺭ ﺧﻄﻲﺷﺪﻩ ﻭ‬
‫ﺑﺮﺍﻓﺮﺍﺷﺘﻪﺷﺎﻥ ﺩﺭ ﭼﺎﻟﻪ ﻇﺎﻫﺮ ﻣﻲﺷﻮﻧﺪ‪ .‬ﻳﮏ ﺩﺍﺳﺘﺎﻥ ﺗﺮﺳﻨﺎک؛ ﭼﻬﺮﻩ ﻳﮏ‬
‫ً ﺩﺍﻝ ﺩﻳﻮﺍﺭﻱ ﺭﺍ ﮐﻪ ﻧﻴﺎﺯ ﺩﺍﺭﺩ ﻗﺎﺋﻢ ﺑﻪ‬‫ﺩﺍﺳﺘﺎﻥ ﺗﺮﺳﻨﺎک ﺍﺳﺖ‪ .‬ﻗﻄﻌﺎ‬
‫ً ﺳﻮﺑﮋﮐﺘﻴﻮﻳﺘﻪ ﭼﺎﻟﻪﺍﺵ ﺭﺍ ﺑﻪ ﺗﻨﻬﺎﻳﻲ ﺣﻔﺮ‬ ‫ﺧﻮﺩ ﻧﻤﻲﺳﺎﺯﺩ؛ ﻗﻄﻌﺎ‬

‫‪93‬‬
‫‪. Josef von Sternberg, Funin a Chinese Laundry(Nev/ York: MacMillan, 1965), p. 324.‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

‫ﻧﻤﻲﻛﻨﺪ‪ .‬ﭼﻬﺮﻩﻫﺎﻱ ﺍﻧﻀﻤﺎﻣﻲ ﻧﻤﻲﺗﻮﺍﻧﻨﺪ ﺣﺎﺿﺮﺁﻣﺎﺩﻩ ﭘﻨﺪﺍﺷﺘﻪ ﺷﻮﻧﺪ‪.‬‬
‫ﺁﻥﻫﺎ ﺑﺎ ﻳﮏ ﻣﺎﺷﻴﻦ ﺍﻧﺘﺰﺍﻋﻲ ﭼﻬﺮﻩﺍﻱ ﺑﻮﺩﻥ )‪ (visageite‬ﺗﻮﻟﻴﺪ ﻣﻲﺷﻮﻧﺪ‪،‬‬
‫ﻣﺎﺷﻴﻨﻲ ﮐﻪ ﺁﻥﻫﺎ ﺭﺍ ﺩﺭﺳﺖ ﻫﻤﺎﻥ ﺯﻣﺎﻧﻲ ﺗﻮﻟﻴﺪ ﻣﻲﻛﻨﺪ ﮐﻪ ﺑﻪ ﺩﺍﻝ‬
‫ﺩﻳﻮﺍﺭ ﺳﻔﻴﺪﺵ ﻭ ﺑﻪ ﺳﻮﺑﮋﮐﺘﻴﻮﻳﺘﻪ ﺳﻴﺎﻩﭼﺎﻟﻪﺍﺵ ﺭﺍ ﻣﻲﺑﺨﺸﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ‬
‫ﺩﺭ ﺍﺑﺘﺪﺍ ﻣﻲﮔﻮﻳﻴﻢ ﮐﻪ ﻧﻈﺎﻡ ﺳﻴﺎﻩﭼﺎﻟﻪ‪/‬ﺩﻳﻮﺍﺭ ﺳﻔﻴﺪ ﻧﻪ ﻳﮏ ﭼﻬﺮﻩ ﺑﻞ‬
‫ﻫﻤﺎﻥ ﻣﺎﺷﻴﻦ ﺍﻧﺘﺰﺍﻋﻲ ﺍﺳﺖ ﮐﻪ ﭼﻬﺮﻩﻫﺎ ﺭﺍ ﺑﺮﺣﺴﺐ ﺗﺮﻛﻴﺐﻫﺎﻱ ﻣﺘﻐﻴﺮ‬
‫ﭼﺮﺥﺩﻧﺪﻩﻫﺎﻳﺶ ﺗﻮﻟﻴﺪ ﻣﻲﻛﻨﺪ‪ .‬ﺍﺯ ﻣﺎﺷﻴﻦ ﺍﻧﺘﺰﺍﻋﻲ ﺍﻧﺘﻈﺎﺭ ﻧﺪﺍﺷﺘﻪ‬
‫ﺑﺎﺷﻴﺪ ﮐﻪ ﺑﺎ ﺁﻥﭼﻪ ﺗﻮﻟﻴﺪ ﻣﻲﻛﻨﺪ ﻳﺎ ﺗﻮﻟﻴﺪ ﺧﻮﺍﻫﺪ ﮐﺮﺩ‪ ،‬ﻫﻴﭻ ﺷﺒﺎﻫﺘﻲ‬
‫ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬
‫ﻣﺎﺷﻴﻦ ﺍﻧﺘﺰﺍﻋﻲ ﻭﻗﺘﻲ ﺳﺮﺑﺮﻣﻲﺁﻭﺭﺩ ﮐﻪ ﻫﻴﭻ ﺍﻧﺘﻈﺎﺭﺵ ﺭﺍ ﻧﺪﺍﺭﻳﺪ‪ ،‬ﺩﺭ‬
‫ﻭﻫﻠﻪﺍﻱ ﺗﺼﺎﺩﻓﻲ ﺩﺭﺳﺖ ﺯﻣﺎﻧﻲ ﮐﻪ ﺑﻪ ﺧﻮﺍﺏ ﻓﺮﻭﻣﻲﺭﻭﻳﺪ‪ ،‬ﻳﺎ ﺑﻪ ﺣﺎﻟﺖ ﻏﺶ‬
‫ﻳﺎ ﺗﻮﻫﻢ ﻣﻲﺍﻓﺘﻴﺪ ﻳﺎ ﺩﺍﺭﻳﺪ ﻳﮏ ﺁﺯﻣﻮﻥﮔﺮﻱ ﺟﺴﻤﻲ ﻣﻔﺮﺡ ﺍﻧﺠﺎﻡ ﻣﻲﺩﻫﻴﺪ‬
‫‪» ...‬ﺑﻼﻣﻔﻠﺪ‪ ،«94‬ﺩﺍﺳﺘﺎﻥ ﺑﻠﻨﺪ ﮐﺎﻓﮑﺎ‪ :‬ﻣﺮﺩ ﻋﺰﺏ ﺑﻌﺪﺍﺯﻇﻬﺮ ﺑﻪ ﺧﺎﻧﻪ‬
‫ﺑﺎﺯﻣﻲﮔﺮﺩﺩ ﺗﺎ ﺩﻭ ﺗﻮپ ﭘﻴﻨﮓﭘﻨﮓ ﮐﻮﭼﮏ ﺭﺍ ﮐﻪ ﺧﻮﺩﺑﻪﺧﻮﺩ ﺭﻭﻱ »ﺩﻳﻮﺍﺭ«‬
‫ِ ﺳﺎﺧﺘﻪﺷﺪﻩ ﺑﻪ ﺩﺳﺖ ﺯﻣﻴﻦ ــ ﺑﺎﻻ ﻭ ﭘﺎﻳﻴﻦ ﻣﻲﭘﺮﻧﺪ‪ ،‬ﭘﻴﺪﺍ‬ ‫ــ ﺩﻳﻮﺍﺭ‬
‫ﮐﻨﺪ‪ .‬ﺁﻥ ﺩﻭ ﺗﻮپ ﻫﻤﻪﺟﺎ ﺑﺎﻻ ﻭ ﭘﺎﻳﻴﻦ ﻣﻲﭘﺮﻧﺪ ﻭ ﺣﺘﻲ ﺗﻼﺵ ﻣﻲﻛﻨﻨﺪ ﺗﺎ‬
‫ﺑﻪ ﺻﻮﺭﺕ ﺍﻭ ﻫﻢ ﺑﺮﺧﻮﺭﺩ ﮐﻨﻨﺪ‪ .‬ﺁﻥﻫﺎ ﺗﻮپﻫﺎﻱ ﮐﻮﭼﮏﺗﺮ ﻭ ﺍﻟﮑﺘﺮﻳﮑﻲ‬
‫ﺩﻳﮕﺮﻱ ﺭﺍ ﺩﺭﺑﺮ ﻣﻲﮔﻴﺮﻧﺪ‪ .‬ﺑﻼﻣﻔﻠﺪ ﺩﺳﺖﺁﺧﺮ ﻣﻮﻓﻖ ﻣﻲﺷﻮﺩ ﺁﻥﻫﺎ ﺭﺍ ﺩﺭ‬
‫ﺳﻴﺎﻩﭼﺎﻟﻪﻱ ﻳﮏ ﺟﺎﺭﺧﺘﻲ ﮔﻴﺮ ﺑﻴﻨﺪﺍﺯﺩ‪ .‬ﻣﺎﺟﺮﺍ ﺭﻭﺯ ﺑﻌﺪ ﺍﺩﺍﻣﻪ ﻣﻲﻳﺎﺑﺪ‪:‬‬
‫ﺑﻠﻮﻣﻔﻠﺪ ﺳﻌﻲ ﻣﻲﻛﻨﺪ ﺗﺎ ﺗﻮپﻫﺎ ﺭﺍ ﺑﻪ ﭘﺴﺮﮐﻲ ﺧﻞ ﻭ ﭼﻞ ﻭ ﺩﻭ ﺩﺧﺘﺮ‬
‫ﮐﻮﭼﮏ ﺑﺪﻫﺪ ﮐﻪ ﺩﺭ ﺣﺎﻝ ﺷﮑﻠﮏ ﺩﺭﺁﻭﺭﺩﻥ ﻫﺴﺘﻨﺪ‪ .‬ﺳﭙﺲ ﺩﺭ ﺩﻓﺘﺮ ﮐﺎﺭﺵ ﻧﻴﺰ‬
‫ﻣﺎﺟﺮﺍ ﺍﺩﺍﻣﻪ ﻣﻲﻳﺎﺑﺪ ﻭ ﺍﻭ ﺁﻥﺟﺎ ﺑﺎ ﺩﻭ ﺩﺳﺘﻴﺎﺭ ﺷﻴﺮﻳﻦﻋﻘﻞ ﻭ‬
‫ﺷﮑﻠﮏﺩﺭﺁﻭﺭﺵ ﮐﻪ ﻣﻲﺧﻮﺍﻫﻨﺪ ﺑﺎ ﺟﺎﺭﻭ ﺑﭙﺮﻧﺪ ﻭ ﺑﮕﺮﻳﺰﻧﺪ‪ ،‬ﻣﻮﺍﺟﻪ ﻣﻲﺷﻮﺩ‪.‬‬
‫ﺩﺭ ﺑﺎﻟﻪﻱ ﻓﻮﻕﺍﻟﻌﺎﺩﻩﺍﻱ ﺍﺯ ﺩﺑﻮﺳﻲ ﻭ ﻧﻴﮋﻳﻨﺴﮑﻲ‪ ،‬ﻳﮏ ﺗﻮپ ﺗﻨﻴﺲ ﮐﻮﭼﮏ‬
‫ﺩﺭ ﺗﺎﺭﻳﮏﺭﻭﺷﻦ ﺭﻭﻱ ﺻﺤﻨﻪ ﺑﺎﻻ ﻭ ﭘﺎﻳﻴﻦ ﻣﻲﭘﺮﺩ ﻭ ﺩﺭ ﭘﺎﻳﺎﻥ ﻧﻴﺰ ﺗﻮپ‬
‫ﺩﻳﮕﺮﻱ ﺑﻪ ﺷﻴﻮﻩﺍﻱ ﻣﺸﺎﺑﻪ ﻇﺎﻫﺮ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻳﻦ ﺑﺎﺭ‪ ،‬ﺑﻴﻦ ﺩﻭ ﺗﻮپ‪ ،‬ﺩﻭ‬
‫ﺩﺧﺘﺮ ﻫﺴﺘﻨﺪ ﻭ ﭘﺴﺮﻱ ﮐﻪ ﺁﻥﻫﺎ ﺭﺍ ﺩﺭ ﺣﺎﻝ ﺭﻗﺼﻲ ﺷﻮﺭﻣﻨﺪﺍﻧﻪ ﻭ ﺑﺮﻭﺯ‬
‫ﺧﺼﻴﺼﻪﻫﺎﻱ ﭼﻬﺮﻩﺍﻱ ﺩﺭ ﺩﺭﺧﺸﺶﻫﺎﻱ ﻣﺒﻬﻢ )ﮐﻨﺠﮑﺎﻭﻱ‪ ،‬ﺑﻐﺾ‪ ،‬ﻣﻄﺎﻳﺒﻪ‪،‬‬
‫ﺧﻠﺴﻪ‪ (... ،‬ﺗﻤﺎﺷﺎ ﻣﻲﻛﻨﺪ‪ 95.‬ﻫﻴﭻ ﭼﻴﺰ ﺑﺮﺍﻱ ﺷﺮﺡ ﺩﺍﺩﻥ ﻭ ﺗﻔﺴﻴﺮ ﮐﺮﺩﻥ‬
‫ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﺗﻨﻬﺎ ﺑﺎ ﻣﺎﺷﻴﻦ ﺍﻧﺘﺰﺍﻋﻲ ﻧﺎﺏِ ﻳﮏ ﺣﺎﻟﺖ ﺗﺎﺭﻳﮏ ﻭ ﺭﻭﺷﻦ‬
‫ﻃﺮﻑ ﻫﺴﺘﻴﻢ‪ .‬ﺩﻳﻮﺍﺭ ﺳﻔﻴﺪ‪ /‬ﺳﻴﺎﻩﭼﺎﻟﻪ؟ ﺍﻣﺎ ﺩﻳﻮﺍﺭ ﻫﻢ ﺑﺎ ﺍﺗﮑﺎ ﺑﻪ‬
‫ﺗﺮﻛﻴﺐﻫﺎ ﻣﻲﺗﻮﺍﻧﺴﺖ ﺳﻴﺎﻩ ﺑﺎﺷﺪ ﻭ ﭼﺎﻟﻪ ﻧﻴﺰ ﺑﻪ ﻫﻤﻴﻦ ﺗﺮﺗﻴﺐ ﺳﻔﻴﺪ‪.‬‬
‫ﺗﻮپﻫﺎ ﻣﻲﺗﻮﺍﻧﻨﺪ ﺑﻪ ﺩﻳﻮﺍﺭﻱ ﺑﺨﻮﺭﻧﺪ ﻭ ﭘﺲ ﺟﻬﻨﺪ ﻳﺎ ﺩﺭﻭﻥ ﺳﻴﺎﻩﭼﺎﻟﻪﺍﻱ‬
‫ﭼﺮﺧﺎﻥ ﻓﺮﻭ ﺭﻭﻧﺪ‪ .‬ﺁﻥﻫﺎ ﺣﺘﻲ ﺣﻴﻦ ﺿﺮﺑﻪ ﻧﻘﺶ ﻧﺴﺒﻲ ﭼﺎﻟﻪ ﺭﺍ ﺩﺭ ﻧﺴﺒﺖ‬

‫‪94‬‬
‫‪. [TRANS: "Blumfeld. An Elderly Gentleman." The Complete Stories of Franz Kafka, ed. Nahum N. Glazer (New York:‬‬
‫]‪Schocken, 1983), pp. 183-205.‬‬
‫‪95‬‬
‫‪. On this ballet, see Jean Barraque's Debussy (Paris: Seuil, 1977), which cites the text of the argument, pp. 166-171.‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

‫ً ﻏﻠﺖ ﻣﻲﺧﻮﺭﻧﺪ‬
‫ﺑﺎ ﺩﻳﻮﺍﺭ ﺍﻳﻔﺎ ﻣﻲﻛﻨﻨﺪ‪ ،‬ﺩﺭﺳﺖ ﻫﻤﭽﻮﻥ ﻭﻗﺘﻲ ﮐﻪ ﻣﺴﺘﻘﻴﻤﺎ‬
‫ﻭ ﻧﻘﺶ ﻧﺴﺒﻲ ﺩﻳﻮﺍﺭ ﺭﺍ ﺩﺭ ﻧﺴﺒﺖ ﺑﺎ ﭼﺎﻟﻪﺍﻱ ﮐﻪ ﺑﻪ ﺳﻤﺖﺍﺵ ﻣﻲﺭﻭﻧﺪ‪،‬‬
‫ﺍﻳﻔﺎ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺁﻥﻫﺎ ﺩﺭ ﻧﻈﺎﻡ ﺩﻳﻮﺍﺭ ﺳﻔﻴﺪ‪/‬ﺳﻴﺎﻩﭼﺎﻟﻪ ﮔﺮﺩﺵ ﻣﻲﻛﻨﻨﺪ‪.‬‬
‫ﻫﻴﭻﻳﮏ ﺍﺯ ﺍﻳﻦ ﻫﻤﻪ ﺑﻪ ﭼﻬﺮﻩ ﺷﺒﺎﻫﺖ ﻧﺪﺍﺭﺩ‪ ،‬ﺑﺎ ﺍﻳﻦﺣﺎﻝ ﭼﻬﺮﻩﻫﺎ ﺩﺭ‬
‫ﺳﺮﺗﺎﺳﺮ ﻧﻈﺎﻡ ﺗﻮﺯﻳﻊ ﻣﻲﺷﻮﻧﺪ ﻭ ﺧﺼﻴﺼﻪﻫﺎﻱ ﭼﻬﺮﻩﺍﻱﺑﻮﺩﻥ ﺳﺎﺯﻣﺎﻥ‬
‫ﻣﻲﻳﺎﺑﺪ‪ .‬ﺩﺭ ﻫﺮ ﺻﻮﺭﺕ‪ ،‬ﻣﺎﺷﻴﻦ ﺍﻧﺘﺰﺍﻋﻲ ﻣﻲﺗﻮﺍﻧﺪ ﺩﺭ ﺩﻳﮕﺮ ﭼﻴﺰﻫﺎ ﺑﻪ‬
‫ﺟﺰ ﭼﻬﺮﻩﻫﺎ ﻧﻴﺰ ﺍﺟﺮﺍﻳﻲ ﺷﻮﺩ‪ ،‬ﺍﻣﺎ ﻧﻪ ﺩﺭ ﻫﺮ ﻧﻈﻤﻲ ﻭ ﻧﻪ ﺑﺪﻭﻥ ﺑﻨﻴﺎﻥ‬
‫)‪ (raisons‬ﺿﺮﻭﺭﻱﺍﺵ‪.‬‬

‫‪ :1874 .8‬ﺳﻪ ﺭﻣﺎﻥِ ﮐﻮﺗﺎﻩ‪ ،‬ﻳﺎ‪» ،‬ﭼﻪ ﺍﺗﻔﺎﻗﻲ ﺍﻓﺘﺎﺩ؟«‬

‫ِ ژﺍﻧﺮﻱ ﺍﺩﺑﻲ ﭼﻨﺪﺍﻥ ﺩﺷﻮﺍﺭ‬ ‫ﺗﻌﻴﻴﻦِ ﺫﺍﺕِ »ﺭﻣﺎﻥِ ﮐﻮﺗﺎﻩ‪ «96‬ﺩﺭ ﻣﻘﺎﻡ‬
‫ﻧﻴﺴﺖ‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﭘﻴﺮﺍﻣﻮﻥ ﺍﻳﻦ ﭘﺮﺳﺶ ﺳﺎﻣﺎﻥ ﻣﻲﻳﺎﺑﺪ ﮐﻪ »ﭼﻪ ﺭﻭﻱ ﺩﺍﺩ؟‬
‫ﭼﻪ ﻣﻲﺗﻮﺍﻧﺴﺖ ﺭﻭﻱ ﺩﺍﺩﻩ ﺑﺎﺷﺪ؟« ﻗﺼﻪ‪ 97‬ﻣﻘﺎﺑﻞ‬
‫ِ ﺭﻣﺎﻥِ ﮐﻮﺗﺎﻩ ﺍﺳﺖ‪ ،‬ﺯﻳﺮﺍ‬
‫ﺧﻮﺍﻧﻨﺪﻩ ﺭﻭﻱﻫﻢﺭﻓﺘﻪ ﭘﺮﺳﺸﻲ ﻣﺘﻔﺎﻭﺕ ﺭﺍ ﺑﺎ ﻧﻔﺲِ ﺣﺒﺲﺷﺪﻩ ﺩﺭ ﺳﻴﻨﻪ‬
‫ﻣﻲﭘﺮﺳﺪ‪ :‬ﭼﻪ ﺍﺗﻔﺎﻗﻲ ﻗﺮﺍﺭ ﺍﺳﺖ ﺑﻴﺎﻓﺘﺪ؟ ﻫﻤﻴﺸﻪ ﻗﺮﺍﺭ ﺍﺳﺖ ﺍﺗﻔﺎﻗﻲ‬
‫ﺑﻴﺎﻓﺘﺪ‪ ،‬ﻭ ﺭﻭﻱ ﺩﻫﺪ‪ .‬ﻫﻤﻮﺍﺭﻩ ﺩﺭ ﺭﻣﺎﻥ ﻧﻴﺰ ﺍﺗﻔﺎﻗﻲ ﻣﻲﺍﻓﺘﺪ‪ ،‬ﺍﻣﺎ‬
‫ِ‬‫ِ ]ﻭﺍﺭﻳﺎﺳﻴﻮﻥ[ ﺣﻀﻮﺭ‬‫ِ ﺭﻣﺎﻥِ ﮐﻮﺗﺎﻩ ﻭ ﻗﺼﻪ ﺭﺍ ﺩﺭﻭﻥِ ﺗﻐﻴﺮ‬ ‫ﺭﻣﺎﻥ ﻋﻨﺎﺻﺮ‬
‫ﺯﻧﺪﻩﻱ ﻫﻤﻴﺸﮕﻲﺍﺵ )ﺩﻳﺮﻧﺪ( ﺗﻠﻔﻴﻖ ﻣﻲﻛﻨﺪ‪ .‬ﺍﺯ ﺍﻳﻦ ﻣﻨﻈﺮ‪ ،‬ﺭﻣﺎﻥِ‬
‫ً ﭼﻨﺪﻇﺮﻓﻴﺘﻲ ﺍﺳﺖ‪ ،‬ﺯﻳﺮﺍ ﻏﺎﻟﺐ ﺍﻭﻗﺎﺕ‬ ‫ﮐﺎﺭﺁﮔﺎﻫﻲ ژﺍﻧﺮﻱ ﺧﺼﻮﺻﺎ‬
‫ﭼﻴﺰ=ﺍﻳﮑﺲﺍﻱ ﮐﻪ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩﻩ ﺩﺭ ﻣﺮﺗﺒﻪﻱ ﻗﺎﺗﻞ ﻳﺎ ﺩﺯﺩ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ‬

‫‪96‬‬
‫)‪. Novella (en) / Nouvelle (fr‬‬
‫‪97‬‬
‫)‪. Tale (en) / Conte (fr‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫ً ﺁﻥﭼﻪ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩﻩ ﺑﺎﻳﺪ ﮐﺸﻒ ﺷﻮﺩ‪ ،‬ﻭ ﺍﮐﻨﻮﻥ ﺑﺎ ﺍﻟﮕﻮﻳﻲ‬ ‫ﺩﻗﻴﻘﺎ‬
‫ِ ﺍﻳﻦ ﻭﺟﻮﻩ ﻣﺘﻔﺎﻭﺕ ﺑﻪ‬ ‫ﮐﺎﺭﺍﮔﺎﻫﻲ ﻣﺸﺨﺺ ﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺑﺎ ﺍﻳﻦﺣﺎﻝ‪ ،‬ﺗﻘﻠﻴﻞ‬
‫ﺳﻪ ﺑﻌﺪ ﺍﺯ ﺯﻣﺎﻥ ﺧﻄﺎﺳﺖ‪» .‬ﺍﺗﻔﺎﻗﻲ ﺍﻓﺘﺎﺩ«‪ ،‬ﻳﺎ »ﻗﺮﺍﺭ ﺍﺳﺖ ﺍﺗﻔﺎﻗﻲ‬
‫ﺑﻴﺎﻓﺘﺪ«‪ ،‬ﻣﻲﺗﻮﺍﻧﺪ ﮔﺬﺷﺘﻪﺍﻱ ﺁﻥﻗﺪﺭ ﺑﻼﻓﺎﺻﻠﻪ‪ ،‬ﻳﺎ ﺁﻳﻨﺪﻩﺍﻱ ﺁﻥﻗﺪﺭ‬
‫ِ ﻫﻮﺳﺮﻝ( ﺑﺎ ﻧﮕﻬﺪﺍﺷﺖﻫﺎ ﻭ‬ ‫ﻧﺰﺩﻳﮏ ﺭﺍ ﻣﻌﻴﻦ ﮐﻨﺪ ﮐﻪ )ﺑﻪ ﻗﻮﻝ‬
‫ﭘﻴﺶﻳﺎﺯﻱﻫﺎﻱ ﺧﻮﺩ ﺣﺎﻝ ﻳﮑﻲ ﺑﺎﺷﻨﺪ‪ .‬ﺩﺭ ﻫﺮ ﺣﺎﻝ‪ ،‬ﺍﻳﻦ ﺗﻤﺎﻳﺰ ﻣﺸﺮﻭﻉ ﺍﺳﺖ‬
‫ﻭ ﺧﻮﺩ ﺁﻥﻫﺎ ﻧﻴﺰ ﻧﻈﺮ ﺑﻪ ﺣﺮﻛﺖﻫﺎﻱ ﻣﺘﻔﺎﻭﺗﻲ ﮐﻪ ﺑﻪ ﺣﺎﻝ ﺟﺎﻥ ﻣﻲﺩﻫﻨﺪ‪،‬‬
‫ﺑﺎ ﺣﺎﻝ ﻣﻌﺎﺻﺮ ﻫﺴﺘﻨﺪ‪ :‬ﻳﮑﻲ ﺑﺎ ﺣﺎﻝ ﺣﺮﮐﺖ ﻣﻲﻛﻨﺪ‪ ،‬ﺩﻳﮕﺮﻱ ﺣﺎﻝ ﺭﺍ ﺍﺯ‬
‫ﻟﺤﻈﻪﺍﻱ ﮐﻪ ﺣﺎﺿﺮ ﺍﺳﺖ )ﺭﻣﺎﻥِ ﮐﻮﺗﺎﻩ( ﺑﻪ ﮔﺬﺷﺘﻪ ﻣﻲﺍﻓﮑﻨﺪ‪ ،‬ﺩﺭﺣﺎﻟﻲﻛﻪ‬
‫ﻳﮑﻲ ﺩﻳﮕﺮ ﻫﻤﺰﻣﺎﻥ ﺁﻥ ﺭﺍ ﺑﻪ ﺁﻳﻨﺪﻩ ﻣﻲﮐﺸﺎﻧﺪ )ﻗﺼﻪ(‪ .‬ﺧﻮﺵﺍﻗﺒﺎﻝ ﻫﺴﺘﻴﻢ‬
‫ِ ﻗﺼﻪﻧﻮﻳﺲ ﻭ ﺭﻣﺎﻥﮐﻮﺗﺎﻩﻧﻮﻳﺲ‬ ‫ﮐﻪ ﺗﻠﻘﻲﻫﺎﻳﻲ ﺍﺯ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺭﺍ ﺍﺯ ﺧﻼﻝ‬
‫ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺩﺍﺭﻳﻢ‪ :‬ﺩﻭ ﻋﺎﺷﻖ‪ ،‬ﮐﻪ ﻳﮑﻲ ﺍﺯ ﺁﻥﻫﺎ ﺑﻪ ﻧﺎﮔﺎﻩ ﺩﺭ ﺍﺗﺎﻕ‬
‫ِ‬
‫ﻳﮑﻲ ﺩﻳﮕﺮ ﻣﻲﻣﻴﺮﺩ‪ .‬ﺩﺭ »ﻧﻴﺮﻧﮓ«‪ ،‬ﻗﺼﻪﻱ ﻣﻮﭘﺎﺳﺎﻥ‪ ،‬ﻫﻤﻪ ﭼﻴﺰ ﺣﻮﻝ‬
‫ِ ﺍﻳ ﻦ‬
‫ﭘﺮﺳﺶﻫﺎ ﻣﻲﮔﺮﺩﺩ‪ :‬ﭼﻪ ﺍﺗﻔﺎﻗﻲ ﻗﺮﺍﺭ ﺍﺳﺖ ﺑﻴﺎﻓﺘﺪ؟ ﭼﮕﻮﻧﻪ ﺑﺎﺯﻣﺎﻧﺪﻩ ﺧﻮﺩ‬
‫ﺭﺍ ﺍﺯ ﺍﻳﻦ ﻣﻮﻗﻌﻴﺖ ﺑﻴﺮﻭﻥ ﻣﻲﻛﺸﺪ؟ ﻧﺎﺟﻲـﺳﻮﻡ ﺷﺨﺺ‪ ،‬ﮐﻪ ﺩﺭ ﺍﻳﻦﺟﺎ ﻳﮏ‬
‫ﺩﮐﺘﺮ ﺍﺳﺖ‪ ،‬ﺑﻪ ﭼﻪ ﻓﮑﺮ ﻣﻲﻛﻨﺪ؟ ﺩﺭ »ﭘﺮﺩﻩﻱ ﺳﺮﺥ«‪ ،‬ﺭﻣﺎﻥ ﮐﻮﺗﺎﻩ ﺑﺎﺭﺑﻲ‬
‫ِ ﺍﻳﻦ ﭘﺮﺳﺶﻫﺎ ﻣﻲﮔﺮﺩﺩ‪ :‬ﺍﺗﻔﺎﻗﻲ ﺍﻓﺘﺎﺩ‪ ،‬ﺍﻣﺎ ﭼﻪ‬ ‫ﺩﻭﺭﻭﻳﻲ‪ ،‬ﻫﻤﻪ ﭼﻴﺰ ﺣﻮﻝ‬
‫ً ﻧﻤﻲﺩﺍﻧﻴﻢ ﺯﻥِ‬‫ﺍﺗﻔﺎﻗﻲ؟ ﻣﺴﺄﻟﻪ ﺍﻳﻦ ﺍﺳﺖ‪ ،‬ﻧﻪ ﺗﻨﻬﺎ ﺑﺪﻳﻦﺧﺎﻃﺮ ﮐﻪ ﻭﺍﻗﻌﺎ‬
‫ﺟﻮﺍﻥِ ﻳﺦﺯﺩﻩ ﺑﻪ ﭼﻪ ﺩﻟﻴﻠﻲ ﻣﺮﺩ‪ ،‬ﺑﻞ ﻫﻤﭽﻨﻴﻦ ﺑﺪﻳﻦﺧﺎﻃﺮ ﮐﻪ ﻫﺮﮔﺰ‬
‫ِ ﻧﻴﺮﻭﻱ ﺩﺭﻳﺎﻳﻲ ﺑﺨﺸﻴﺪ‪ ،‬ﻳﺎ ﭼﻄﻮﺭ ﻫﻤﻴﻦ‬‫ﻧﻤﻲﻓﻬﻤﻴﻢ ﭼﺮﺍ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺍﻓﺴﺮ‬
‫ﻧﺎﺟﻲ‪ ،‬ﮐﻪ ﺍﻳﻦﺟﺎ ﮐﻠﻮﻧﻞ ﮔﺮﺩﺍﻥ ﺍﺳﺖ‪ ،‬ﺗﻮﺍﻧﺴﺖ ﺑﻪ ﺍﻣﻮﺭ ﺳﺎﻣﺎﻥ ﺩﻫﺪ‪98.‬‬
‫ِ‬
‫ﻧﺒﺎﻳﺪ ﻓﮑﺮ ﮐﺮﺩ ﮐﻪ ﺑﺎﺯﮔﺬﺍﺷﺘﻦِ ﭘﺎﻳﺎﻥِ ﭼﻴﺰﻫﺎ ﺁﺳﺎﻥ ﺍﺳﺖ‪ :‬ﺑﺮﺍﻱ ﺍﻳﻦﻛﻪ‬
‫ﭼﻴﺰﻱ ﺩﺭ ﮐﺎﺭ ﺑﺎﺷﺪ ﮐﻪ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩﻩ ﻭ ﻣﺎ ﻫﻴﭻ ﺍﺯ ﺁﻥ ﻧﻤﻲﺩﺍﻧﻴﻢ‪ ،‬ﻳﺎ‬
‫ِ ﻣﺘﻮﺍﻟﻲ ﺍﺗﻔﺎﻕ ﺑﻴﺎﻓﺘﻨﺪ‪ ،‬ﺑﻪ ﺗﻮﺟﻪ ﻭ‬ ‫ﺣﺘﻲ ﺑﺮﺍﻱ ﺍﻳﻦﻛﻪ ﭼﻴﺰﻫﺎﻱ ﻣﺘﻌﺪﺩ‬
‫ﺩﻗﺖِ ﻣﻮﺷﮑﺎﻓﺎﻧﻪﻱ ﮐﻢﺗﺮﻱ ﻧﺴﺒﺖ ﺑﻪ ﺣﺎﻟﺖ ﻣﻌﮑﻮﺱ‪ ،‬ﻳﻌﻨﻲ ﻧﺴﺒﺖ ﺑﻪ ﻭﻗﺘﻲ‬
‫ﮐﻪ ﻣﺆﻟﻒ ﺑﺎﻳﺪ ﺟﺰﺋﻴﺎﺕِ ﭼﻴﺰﻫﺎﻳﻲ ﺭﺍ ﮐﻪ ﺑﺎﻳﺪ ﺩﺍﻧﺴﺘﻪ ﺷﻮﻧﺪ ﺍﺑﺪﺍﻉ‬
‫ﮐﻨﺪ‪ ،‬ﻧﻴﺎﺯ ﻧﻴﺴﺖ‪ .‬ﻫﺮﮔﺰ ﻧﻤﻲﺩﺍﻧﻴﺪ ﭼﻪ ﺍﺗﻔﺎﻗﻲ ﺍﻓﺘﺎﺩ‪ ،‬ﻳﺎ ﻫﻤﻮﺍﺭﻩ‬
‫ﻣﻲﺩﺍﻧﻴﺪ ﭼﻪ ﺍﺗﻔﺎﻗﻲ ﻗﺮﺍﺭ ﺍﺳﺖ ﺑﻴﺎﻓﺘﺪ‪ :‬ﺍﻳﻦﻫﺎ ﺩﻻﻳﻠﻲﺳﺖ ﺑﺮﺍﻱ ﺩﻭ ﻧﻔﺲِ‬
‫ﺣﺒﺲﺷﺪﻩﻱ ﺧﻮﺍﻧﻨﺪﻩ ﺑﻪ ﺗﺮﺗﻴﺐ ﺩﺭ ﺭﻣﺎﻥِ ﮐﻮﺗﺎﻩ ﻭ ﻗﺼﻪ‪ ،‬ﻭ ﻧﻴﺰ ﺩﻭ ﺷﻴﻮﻩ‬
‫ِ ﺯﻧﺪﻩ ﺩﺭ ﺁﻥ ﺩﺭ ﻫﺮ ﻟﺤﻈﻪ ﺗﻘﺴﻴﻢ ﻣﻲﺷﻮﺩ‪ .‬ﺩﺭ ﺭﻣﺎﻥِ ﮐﻮﺗﺎﻩ‪،‬‬ ‫ﮐﻪ ﺣﺎﻝ‬
‫ِ ﺍﺗﻔﺎﻗﻲ ﻧﻴﺴﺘﻴﻢ‪ ،‬ﺑﻞ ﺍﻧﺘﻈﺎﺭ ﺩﺍﺭﻳﻢ ﮐﻪ ﺑﻪ ﺗﺎﺯﮔﻲ ﺍﺗﻔﺎﻗﻲ‬ ‫ﻣﻨﺘﻈﺮ‬

‫‪98‬‬
‫‪. See Jules Amedee Barbey d’Aurevilly, The Diaboliques, trans. Ernest Boyd (New York: Knof, 1925).‬‬
‫ِ ﻣﻮﭘﺴﺎﻥ ﺑﻪ ﻗﺼﻪ ﻣﺤﺪﻭﺩ ﻧﻴﺴﺖ؛ ﺍﻭ ﺭﻣﺎﻥﻫﺎﻱ ﮐﻮﺗﺎﻫﻲ‪ ،‬ﻳﺎ ﺭﻣﺎﻥﻫﺎﻱ ﺣﺎﻭﻱ‬ ‫ﺍﻟﺒﺘﻪ ﮐﺎﺭ‬
‫ِ ﭼﻬﺎﺭ ﻳﮏ ﺯﻧﺪﮔﻲ‪» :‬ﻣﻮﻗﻊ‬
‫ِ‬ ‫ِ ﻟﻴﺰﻭﻥ ﺩﺭ ﻓﺼﻞ‬ ‫ً‬
‫ِ ﺭﻣﺎﻥِ ﮐﻮﺗﺎﻩ ﻧﻴﺰ ﻧﻮﺷﺖ‪ .‬ﻣﺜﻼ‪ ،‬ﺍﭘﻴﺰﻭﺩ‬ ‫ﻋﻨﺎﺻﺮ‬
‫ﺗﮑﺎﻧﻪﻱ ﻧﺎﮔﻬﺎﻧﻲ ﺧﺎﻟﻪ ﻟﻴﺰﻭﻥ ﺑﻮﺩ ‪ ...‬ﻫﺮﮔﺰ ﺩﻳﮕﺮ ﺍﺯ ﺁﻥ ﺣﺮﻓﻲ ﺑﻪ ﻣﻴﺎﻥ ﻧﻴﺎﻣﺪ‪ ،‬ﻭ‬
‫ِ ﺑﻴﺴﺖ ﺳﺎﻟﻪ ﺑﻲﺁﻥﮐﻪ ﮐﺴﻲ ﺑﺪﺍﻧﺪ‬
‫ﺍﻧﮕﺎﺭ ﭘﻮﺷﻴﺪﻩ ﺩﺭ ﻣﻪ ﺑﺎﻗﻲ ﻣﺎﻧﺪ‪ .‬ﻳﮏ ﺭﻭﺯ ﻋﺼﺮ‪ ،‬ﻟﻴﺰ‬
‫ِ ﺍﻭ ﻣﺠﺎﻟﻲ ﺑﻪ‬‫ﭼﺮﺍ‪ ،‬ﺧﻮﺩ ﺭﺍ ﺩﺭﻭﻥِ ﺁﺏ ﭘﺮﺗﺎﺏ ﮐﺮﺩ‪ .‬ﻫﻴﭻ ﭼﻴﺰﻱ ﺩﺭ ﺯﻧﺪﮔﻲ ﻭ ﺭﻓﺘﺎﺭ‬
‫ﭘﻴﺶﺑﻴﻨﻲ ﭼﻨﻴﻦِ ﺩﻳﻮﺍﻧﮕﻲﺍﻱ ﻧﻤﻲﺩﺍﺩ‪«.‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

‫ﺍﻓﺘﺎﺩﻩ ﺑﺎﺷﺪ‪ .‬ﺭﻣﺎﻥِ ﮐﻮﺗﺎﻩ ﻧﻮﻋﻲ ﻭﺍﭘﺴﻴﻦ ﺭﻣﺎﻥِ ﮐﻮﺗﺎﻩ ﺍﺳﺖ‪ ،‬ﺩﺭﺣﺎﻟﻲﻛﻪ‬
‫ِ« ﻗﺼﻪﻧﻮﻳﺲ ﮐﺎﻣﻼً ﺍﺯ ﺣﻀﻮﺭ‬
‫ِ‬ ‫ﻗﺼﻪ ﻧﻮﻋﻲ ﺍﻭﻟﻴﻦ ﻗﺼﻪ ﺍﺳﺖ‪» .‬ﺣﻀﻮﺭ‬
‫ِ ﺭﻣﺎﻥﻧﻮﻳﺲ‬ ‫ِ ﻫﺮ ﺩﻭ ﺍﺯ ﺣﻀﻮﺭ‬ ‫ﺭﻣﺎﻥﮐﻮﺗﺎﻩﻧﻮﻳﺲ ﻣﺘﻔﺎﻭﺕ ﺍﺳﺖ )ﻭ ﺣﻀﻮﺭ‬
‫ِ ﺯﻣﺎﻥ ﻭﺳﻮﺍﺱ ﺑﻪ‬ ‫ﻣﺘﻔﺎﻭﺕ ﺍﺳﺖ(‪ .‬ﺑﻴﺎﻳﻴﺪ ﺑﻴﺶ ﺍﺯ ﺍﻳﻦ ﺩﺭﺑﺎﺭﻩﻱ ﺍﺑﻌﺎﺩ‬
‫ِ ﺑﺴﻴﺎﺭ ﮐﻤﻲ ﺑﻪ ﺣﺎﻓﻈﻪﻱ ﮔﺬﺷﺘﻪ ﻳﺎ ﻋﻤﻞ‬
‫ِ‬ ‫ﺧﺮﺝ ﻧﺪﻫﻴﻢ‪ :‬ﺭﻣﺎﻥِ ﮐﻮﺗﺎﻩ ﺭﺑﻂ‬
‫ﺗﺄﻣﻞ ﺩﺍﺭﺩ؛ ﻭ ﮐﺎﻣﻼً ﺑﺮﻋﮑﺲ‪ ،‬ﺍﺯ ﻧﻮﻋﻲ ﻓﺮﺍﻣﻮﺷﻲ ﺑﻨﻴﺎﺩﻳﻦ ﺳﻮءﺍﺳﺘﻔﺎﺩﻩ‬
‫ِ »ﭼﻪ ﺍﺗﻔﺎﻗﻲ ﺍﻓﺘﺎﺩ« ﺗﮑﺎﻣﻞ ﻣﻲﻳﺎﺑﺪ‪،‬‬ ‫ﻣﻲﻛﻨﺪ‪ .‬ﺭﻣﺎﻥِ ﮐﻮﺗﺎﻩ ﺩﺭ ﻋﻨﺼﺮ‬
‫ﭼﻮﻥ ﻣﺎ ﺭﺍ ﺩﺭ ﻧﺴﺒﺖ ﺑﺎ ﭼﻴﺰﻱ ﻧﺸﻨﺎﺧﺘﻨﻲ ﻭ ﺩﺭکﻧﺎﭘﺬﻳﺮ ﻗﺮﺍﺭ ﻣﻲﺩﻫﺪ )ﻭ‬
‫ﻧﻪ ﺑﺮﻋﮑﺲ‪ :‬ﻳﻌﻨﻲ ﺑﺮﺍﻱ ﺍﻳﻦ ﻧﻴﺴﺖ ﮐﻪ ﺍﺯ ﮔﺬﺷﺘﻪﺍﻱ ﺳﺨﻦ ﻣﻲﮔﻮﻳﺪ ﮐﻪ‬
‫ﺩﻳﮕﺮ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺩﺍﻧﺸﻲ ﺍﺯ ﺁﻥ ﺑﺮﺍﻱﻣﺎﻥ ﻓﺮﺍﻫﻢ ﺁﻭﺭﺩ(‪ .‬ﺭﻣﺎﻥِ ﮐﻮﺗﺎﻩ‬
‫ً‬
‫ﭼﻪﺑﺴﺎ ﺣﺘﻲ ﺍﻳﻦ ﺑﺎﺷﺪ ﮐﻪ ﻫﻴﭻ ﺍﺗﻔﺎﻗﻲ ﻧﻴﺎﻓﺘﺎﺩﻩ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺩﻗﻴﻘﺎ‬
‫ﻫﻤﺎﻧﻲﺳﺖ ﮐﻪ ﻣﺎ ﺭﺍ ﻭﺍﻣﻲﺩﺍﺭﺩ ﺗﺎ ﺑﮕﻮﻳﻴﻢ ﻫﺮ ﺁﻥﭼﻪ ﻣﻲﺗﻮﺍﻧﺴﺖ ﺍﺗﻔﺎﻕ‬
‫ﺑﻴﺎﻓﺘﺪ ﺗﺎ ﺳﺒﺐ ﺷﻮﺩ ﻓﺮﺍﻣﻮﺵ ﮐﻨﻢ ﮐﻠﻴﺪﻫﺎﻳﻢ ﺭﺍ ﮐﺠﺎ ﮔﺬﺍﺷﺘﻢ‪ ،‬ﻳﺎ‬
‫ﺭگ ﮐﻮﭼﮑﻲ ﺩﺭ ﻣﻐﺰﻡ‬ ‫ﺍﻳﻦﻛﻪ ﺁﻳﺎ ﺁﻥ ﻧﺎﻣﻪ ﺭﺍ ﻓﺮﺳﺘﺎﺩﻡ‪ ،‬ﻭ ﻏﻴﺮﻩ؟ ﭼﻪ ِ‬
‫ﻣﻲﺗﻮﺍﻧﺪ ﭘﺎﺭﻩ ﺷﺪﻩ ﺑﺎﺷﺪ؟ ﺍﻳﻦ ﻫﻴﭻ ﭼﻴﺴﺖ ﮐﻪ ﺳﺒﺐ ﻣﻲﺷﻮﺩ ﺍﺗﻔﺎﻗﻲ‬
‫ﺑﻴﺎﻓﺘﺪ؟ ﺭﻣﺎﻥِ ﮐﻮﺗﺎﻩ ﻧﺴﺒﺖِ ﺑﻨﻴﺎﺩﻳﻨﻲ ﺑﺎ ﺭﺍﺯﭘﻮﺷﻲ ﺩﺍﺭﺩ )ﻧﻪ ﺑﺎ‬
‫ِ ﺭﺍﺯ‪ ،‬ﮐﻪ‬ ‫ﻣﺴﺄﻟﻪ ﻳﺎ ﻣﻮﺿﻮﻋﻲ ﻣﺮﻣﻮﺯ ﮐﻪ ﺑﺎﻳﺪ ﮐﺸﻒ ﺷﻮﺩ‪ ،‬ﺑﻞ ﺑﺎ ﻓﺮﻡ‬
‫ﻧﻔﻮﺫﻧﺎﭘﺬﻳﺮ ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﺪ(‪ ،‬ﺩﺭﺣﺎﻟﻲﻛﻪ ﻗﺼﻪ ﺑﺎ ﮐﺸﻒ ﻧﺴﺒﺖ ﺩﺍﺭﺩ )ﻓﺮﻡ‬
‫ِ‬
‫ﮐﺸﻒ‪ ،‬ﻣﺴﺘﻘﻞ ﺍﺯ ﺁﻥﭼﻪ ﻣﻲﺗﻮﺍﻧﺪ ﮐﺸﻒ ﺷﻮﺩ(‪ .‬ﺭﻣﺎﻥِ ﮐﻮﺗﺎﻩ ﻧﻴﺰ ﻭﺿﻊﻫﺎﻱ‬
‫ﺑﺪﻥ ﻭ ﺫﻫﻦ ﺭﺍ ﮐﻪ ﺷﺒﻴﻪ ﺗﺎـﻫﺎ ﻳﺎ ﻟﻔﺎﻓﻪﻫﺎ ﻫﺴﺘﻨﺪ‪ ،‬ﻣﻘﺮﺭ ﻣﻲﻛﻨﺪ‪،‬‬
‫ﺩﺭﺣﺎﻟﻲﻛﻪ ﻗﺼﻪ ﻧﮕﺮﺵﻫﺎ ﻳﺎ ﻣﻮﺿﻊﻫﺎﻳﻲ ﺭﺍ ﮐﻪ ﺷﺒﻴﻪ ﺗﺎـﮔﺸﺎﻳﻲﻫﺎ ﻳﺎ‬
‫ﮔﺸﻮﺩﻥﻫﺎ ــ ﻭ ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻦ ﻏﻴﺮﻣﻨﺘﻈﺮﻩ ــ ﻫﺴﺘﻨﺪ ﺑﻪﮐﺎﺭ ﻣﻲﺑﻨﺪﺩ‪.‬‬
‫ِ ﺑﺪﻥ‪ ،‬ﻳﺎ ﺑﻪ ﺑﻴﺎﻥ ﺩﻳﮕﺮ‪ ،‬ﺑﻪ ﻭﺿﻌﻴﺖﻫﺎﻱ‬ ‫ﺑﺎﺭﺑﻲ ﻋﻼﻗﻪﻱ ﺁﺷﮑﺎﺭﻱ ﺑﻪ ﻭﺿﻊ‬
‫ﺑﺪﻥ ﺩﺍﺭﺩ‪ ،‬ﺁﻥ ﻫﻢ ﻭﻗﺘﻲ ﺑﺎ ﭼﻴﺰﻱ ﮐﻪ ﺗﺎﺯﻩ ﺍﺗﻔﺎﻕﺍﻓﺘﺎﺩﻩ ﺷﮕﻔﺖﺯﺩﻩ ﺷﺪﻩ‬
‫ﺍﺳﺖ‪ .‬ﺑﺎﺭﺑﻲ ﺩﺭ ﭘﻴﺸﮕﻔﺘﺎﺭ ﺍﻫﺮﻳﻤﻨﻲﻫﺎ ﺣﺘﻲ ﭘﻴﺸﻨﻬﺎﺩ ﻣﻲﻛﻨﺪ ﮐﻪ ﻧﻮﻋﻲ‬
‫ﻭ‬ ‫ﻫﺮﺯﻩﻧﮕﺎﺭﻱ‪،‬‬ ‫ﺳﮑﺴﻮﺁﻟﻴﺘﻪ‪،‬‬ ‫ﺑﺪﻥ‪،‬‬ ‫ﻭﺿﻊﻫﺎﻱ‬ ‫ﺍﺯ‬ ‫ﺍﻫﺮﻳﻤﻦﮔﺮﺍﻳﻲ‬
‫ﻣﺪﻓﻮﻉﺷﻨﺎﺳﻲ ﻭﺿﻊﻫﺎﻱ ﺑﺴﻴﺎﺭ ﻣﺘﻔﺎﻭﺕ ﺍﺯ ﺁﻥﻫﺎﻳﻲ ﺩﺭ ﮐﺎﺭ ﺍﺳﺖ ﮐﻪ‬
‫ﻫﻤﺰﻣﺎﻥ ﻧﺸﺎﻥﮔﺮ ﻧﮕﺮﺵﻫﺎ ﻳﺎ ﻣﻮﺿﻊﻫﺎﻱ ﺑﺪﻥ ﻧﻴﺰ ﻫﺴﺘﻨﺪ‪ .‬ﻭﺿﻊ ﺷﺒﻴﻪ‬
‫ِ ﻣﻌﮑﻮﺱ ﺍﺳﺖ‪ .‬ﻭ ﺍﺯ ﺍﻳﻦ ﺭﻭ ﻣﺴﺄﻟﻪ ﺑﺮ ﺳﺮ ﺍﻳﻦ ﻧﻴﺴﺖ ﮐﻪ ﺑﮕﻮﻳﻴﻢ‬ ‫ﺗﻌﻠﻴﻖ‬
‫ﺭﻣﺎﻥِ ﮐﻮﺗﺎﻩ ﺑﻪ ﮔﺬﺷﺘﻪ ﻣﺮﺑﻮﻁ ﺍﺳﺖ‪ ،‬ﻭ ﻗﺼﻪ ﺑﻪ ﺁﻳﻨﺪﻩ؛ ﺑﻞ ﺩﺭ ﻋﻮﺽ‬
‫ِ ﭼﻴﺰﻱ ﻣﺮﺑﻮﻁ‬ ‫ِ ﺣﺎﻝ ﺑﻪ ﺑﻌﺪ ﻓﺮﻣﺎﻝ‬‫ﺑﺎﻳﺪ ﺑﮕﻮﻳﻴﻢ ﮐﻪ ﺭﻣﺎﻥِ ﮐﻮﺗﺎﻩ ﺩﺭ ﺧﻮﺩ‬
‫ﺍﺳﺖ ﮐﻪ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩﻩ ﺍﺳﺖ‪ ،‬ﺣﺘﻲ ﺍﮔﺮ ﺁﻥ ﭼﻴﺰ ﻫﻴﭻ ﻧﻴﺴﺖ ﻳﺎ ﻧﺎﺷﻨﺎﺧﺘﻪ‬
‫ِ ﻫﻤﺰﻣﺎﻥِ ﺭﻣﺎﻥِ ﮐﻮﺗﺎﻩ‬‫ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﺪ‪ .‬ﺑﻪﻃﻮﺭ ﻣﺸﺎﺑﻪ‪ ،‬ﻧﺒﺎﻳﺪ ﺳﺒﺐ ﺑﺮﺧﻮﺭﺩ‬
‫ِ ﺍﻓﺴﺎﻧﻪﻭﺍﺭ‪ ،‬ﻭ ﻏﻴﺮﻩ‬ ‫ِ ﺧﻴﺎﻟﻲ‪ ،‬ﺍﻣﺮ‬‫ﻭ ﻗﺼﻪ ﺑﺎ ﻣﻘﻮﻟﻪﻫﺎﻳﻲ ﻫﻤﭽﻮﻥ ﺍﻣﺮ‬
‫ﺷﻮﻳﻢ؛ ﺍﻳﻦ ﻣﺴﺄﻟﻪﻱ ﺩﻳﮕﺮﻱﺳﺖ‪ ،‬ﺩﻟﻴﻠﻲ ﺑﺮﺍﻱ ﻫﻢﭘﻮﺷﺎﻧﻲ ﺍﻳﻦ ﺑﺮﺧﻮﺭﺩ‬
‫ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﭘﻴﻮﻧﺪﻫﺎﻱ ﺭﻣﺎﻥِ ﮐﻮﺗﺎﻩ ﺍﺯ ﺍﻳﻦ ﻗﺮﺍﺭ ﻫﺴﺘﻨﺪ‪ :‬ﭼﻪ ﺍﺗﻔﺎﻗﻲ‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫ﺍﻓﺘﺎﺩ؟ )ﺣﺎﻟﺖﻣﻨﺪﻱ ]ﻭﺟﻪ[ ﻳﺎ ﺑﻴﺎﻥ(‪ ،‬ﺭﺍﺯﭘﻮﺷﻲ )ﻓﺮﻡ(‪ ،‬ﻭﺿﻊِ ﺑﺪﻥ‬
‫)ﻣﺤﺘﻮﺍ(‪.‬‬
‫ﻓﻴﺘﺰﺟﺮﺍﻟﺪ ﺭﺍ ﺩﺭ ﻧﻈﺮ ﺑﮕﻴﺮﻳﺪ‪ .‬ﺍﻭ ﻧﻮﻳﺴﻨﺪﻩﻱ ﻧﺎﺑﻐﻪﻱ ﻗﺼﻪ ﻭ ﺭﻣﺎﻥِ‬
‫ﺑﻠﻨﺪ ﺍﺳﺖ‪ .‬ﺍﻭ ﻭﻗﺘﻲ ﻳﮏ ﻧﻮﻳﺴﻨﺪﻩﻱ ﺭﻣﺎﻥِ ﮐﻮﺗﺎﻩ ﺍﺳﺖ ﮐﻪ ﺍﺯ ﺧﻮﺩﺵ‬
‫ﻣﻲﭘﺮﺳﺪ ﭼﻪ ﺑﺎﻳﺪ ﺑﺮ ﺳﺮ ﭼﻴﺰﻫﺎ ﺑﻴﺎﻳﺪ ﺗﺎ ﺑﺪﻳﻦ ﺟﺎ ﺑﺮﺳﻨﺪ؟ ﺍﻭ ﺗﻨﻬﺎ‬
‫ﮐﺴﻲﺳﺖ ﮐﻪ ﺗﻮﺍﻧﺴﺘﻪ ﺍﻳﻦ ﭘﺮﺳﺶ ﺭﺍ ﺑﻪ ﭼﻨﻴﻦ ﻧﻘﻄﻪﺍﻱ ﺍﺯ ﺷﺪﺕ ﺑﺮﺳﺎﻧﺪ‪.‬‬
‫ﺍﻳﻦ ﭘﺮﺳﺶ ﺩﺭ ﻣﻮﺭﺩ ﺣﺎﻓﻈﻪ‪ ،‬ﺗﺄﻣﻞ‪ ،‬ﮐﻬﻨﺴﺎﻟﻲ‪ ،‬ﻳﺎ ﺧﺴﺘﮕﻲ ﻧﻴﺴﺖ‪،‬‬
‫ﺩﺭﺣﺎﻟﻲﻛﻪ ﻗﺼﻪ ﺑﺎ ﮐﻮﺩﮐﻲ‪ ،‬ﮐﻨﺶ‪ ،‬ﻳﺎ ﺗﮑﺎﻧﻪ ﺳﺮﻭﮐﺎﺭ ﺩﺍﺭﺩ‪ .‬ﺑﺎ ﻭﺟﻮﺩ‬
‫ﺍﻳﻦ ﺩﺭﺳﺖ ﺍﺳﺖ ﮐﻪ ﻓﻴﺘﺰﺟﺮﺍﻟﺪ ﺗﻨﻬﺎ ﻭﻗﺘﻲ ﺍﺯ ﺧﻮﺩﺵ ﺁﻥ ﭘﺮﺳﺶ ﺩﺭﺑﺎﺭﻩﻱ‬
‫ﻧﻮﻳﺴﻨﺪﻩﻱ ﺭﻣﺎﻥِ ﮐﻮﺗﺎﻩ ﺭﺍ ﻣﻲﭘﺮﺳﺪ ﮐﻪ ﮐﻮﻓﺘﻪ‪ ،‬ﺧﺴﺘﻪ‪ ،‬ﺑﻴﻤﺎﺭ‪ ،‬ﻳﺎ ﺣﺘﻲ‬
‫ً ﺍﺗﺼﺎﻟﻲ ﺩﺭ ﮐﺎﺭ ﻧﻴﺴﺖ‪،‬‬ ‫ﺯﻫﻮﺍﺭ ﺩﺭ ﺭﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺩﻳﮕﺮ ﺑﺎﺭ ﻟﺰﻭﻣﺎ‬
‫ﺑﻠﻜﻪ ﻣﻲﺗﻮﺍﻧﺪ ﻣﺴﺄﻟﻪﻱ ﻧﻴﺮﻭﻣﻨﺪﻱ ﻳﺎ ﻋﺸﻖ ﺑﺎﺷﺪ‪ .‬ﺭﻣﺎﻥِ ﮐﻮﺗﺎﻩ‪ ،‬ﺣﺘﻲ ﺩﺭ‬
‫ِ‬‫ﻧﺎﺍﻣﻴﺪﮐﻨﻨﺪﻩﺗﺮﻳﻦ ﺷﺮﺍﻳﻂ‪ ،‬ﻫﻨﻮﺯ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺑﻬﺘﺮ ﺍﺳﺖ ﮐﻪ ﺁﻥ ﺭﺍ ﮐﺎﺭ‬
‫ﺍﺩﺭﺍک ﺑﺪﺍﻧﻴﻢ‪ :‬ﺑﻪ ﺍﺗﺎﻗﻲ ﻭﺍﺭﺩ ﻣﻲﺷﻮﻳﺪ ﻭ ﭼﻴﺰﻱ ﺭﺍ ﮐﻪ ﭘﻴﺸﺘﺮ ﺁﻥﺟﺎ‬
‫ﻫﺴﺖ‪ ،‬ﺩﺭک ﻣﻲﻛﻨﻴﺪ؛ ﭼﻴﺰﻱ ﮐﻪ ﺗﺎﺯﻩ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩﻩ‪ ،‬ﺑﺎ ﺍﻳﻦﻛﻪ ﻫﻨﻮﺯ‬
‫ِ ﺍﺗﻔﺎﻕﺍﻓﺘﺎﺩﻥ‬‫ﺍﻧﺠﺎﻡ ﻧﺸﺪﻩ ﺍﺳﺖ‪ .‬ﻳﺎ ﻣﻲﺩﺍﻧﻴﺪ ﮐﻪ ﺁﻥﭼﻪ ﺩﺭ ﻓﺮﺁﻳﻨﺪ‬
‫ﺍﺳﺖ‪ ،‬ﺩﺍﺭﺩ ﺑﺮﺍﻱ ﺁﺧﺮﻳﻦ ﺑﺎﺭ ﺍﺗﻔﺎﻕ ﻣﻲﺍﻓﺘﺪ‪ ،‬ﻭ ﻫﻨﻮﺯ ﻫﻴﭻ ﻧﺸﺪﻩ ﺑﻪ‬
‫ﺁﺧﺮ ﺭﺳﻴﺪﻩ ﺍﺳﺖ‪» .‬ﺩﻭﺳﺖﺍﺕ ﺩﺍﺭﻡ«ﻱ ﻣﻲﺷﻨﻮﻳﺪ ﻭ ﻣﻲﺩﺍﻧﻴﺪ ﮐﻪ ﺁﺧﺮﻳﻦ‬
‫ﺩﻭﺳﺖﺍﺕ ﺩﺍﺭﻡ ﺍﺳﺖ‪ .‬ﻧﺸﺎﻧﻪﺷﻨﺎﺳﻲ ﺍﺩﺭﺍﮐﻲ‪ .‬ﺧﺪﺍ‪ ،‬ﻳﺎ ﺁﻥﭼﻪ ﻣﻲﺗﻮﺍﻧﺴﺖ‬
‫ﺍﺗﻔﺎﻕ ﺑﻴﺎﻓﺘﺪ‪ ،‬ﺁﻥ ﻫﻢ ﺑﺎ ﺍﻳﻦﻛﻪ ﻫﻤﻪ ﭼﻴﺰ ﻫﺴﺖ ﻭ ﺩﺭکﻧﺎﭘﺬﻳﺮ ﺑﺎﻗﻲ‬
‫ﻣﻲﻣﺎﻧﺪ‪ ،‬ﻭ ﺑﺮﺍﻱ ﺍﻳﻦﻛﻪ ﻫﻤﻪ ﭼﻴﺰ ﺑﺎﺷﺪ ﻭ ﺗﺎ ﺍﺑﺪ ﺩﺭکﻧﺎﭘﺬﻳﺮ ﺑﺎﻗﻲ‬
‫ﺑﻤﺎﻧﺪ؟‬
‫ِ ﻧﻮﻋﻲ ﺧﺎﺹﺑﻮﺩﻥ ﺍﺳﺖ‪ ،‬ﺑﻞ ﻫﻤﭽﻨﻴﻦ ﺷﻴﻮﻩﺍﻱ‬ ‫ﻧﻪﺗﻨﻬﺎ ﺭﻣﺎﻥِ ﮐﻮﺗﺎﻩ ﻭﺍﺟﺪ‬
‫ﺧﺎﺹ ﺩﺭ ﮐﺎﺭ ﺍﺳﺖ ﮐﻪ ﺭﻣﺎﻥِ ﮐﻮﺗﺎﻩ ﺩﺭ ﺁﻥ ﺑﺎ ﻣﺴﺄﻟﻪﺍﻱ ﮐﻠﻲ ﺳﺮﻭﮐﺎﺭ‬
‫ِ ﻧﻮﺷﺘﻦ‬‫ﺩﺍﺭﺩ‪ .‬ﺯﻳﺮﺍ ﻣﺎ ﺍﺯ ﺧﻄﻮﻁ ﺳﺎﺧﺘﻪ ﺷﺪﻩﺍﻳﻢ‪ .‬ﻣﻨﻈﻮﺭﻣﺎﻥ ﺗﻨﻬﺎ ﺧﻄﻮﻁ‬
‫ِ‬‫ِ ﺯﻧﺪﮔﻲ‪ ،‬ﺧﻄﻮﻁ‬‫ِ ﺩﻳﮕﺮ ﺩﺭﻣﻲﺁﻣﻲﺯﻧﺪ‪ ،‬ﺧﻄﻮﻁ‬‫ِ ﻧﻮﺷﺘﻦ ﺑﺎ ﺧﻄﻮﻁ‬ ‫ﻧﻴﺴﺖ‪ .‬ﺧﻄﻮﻁ‬
‫ِ ﺧﻂِ ﻧﻮﺷﺘﻦ‪ ،‬ﺧﻄﻮﻃﻲ ﮐﻪ ﺑﻴﻦِ‬
‫ِ ﺩﮔﺮﮔﻮﻧﻲ ﺧﻮﺩ‬‫ِ ﻣﻮﻟﺪ‬
‫ﺑﺨﺖ ﻳﺎ ﺑﺪﺑﺨﺘﻲ‪ ،‬ﺧﻄﻮﻁ‬
‫ِ ﻧﻮﺷﺘﻦ ﻫﺴﺘﻨﺪ‪ .‬ﺷﺎﻳﺪ ﺭﻣﺎﻥِ ﮐﻮﺗﺎﻩ ﺷﻴﻮﻩﻱ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻣﻮﺟﺐﺷﺪﻥ ﻳﺎ‬‫ﺧﻄﻮﻁ‬
‫ﺗﺮﮐﻴﺐﮐﺮﺩﻥِ ﺍﻳﻦ ﺧﻄﻮﻁ ﺩﺍﺭﺩ‪ ،‬ﮐﻪ ﺩﺭ ﻫﺮ ﺣﺎﻝ ﺑﻪ ﻫﻤﻪ ﻭ ﻫﺮ ژﺍﻧﺮﻱ‬
‫ﻣﺘﻌﻠﻖ ﻫﺴﺘﻨﺪ‪ .‬ﻭﻻﺩﻳﻤﻴﺮ ﭘﺮﺍپ ﺑﺎ ﻭﻗﺎﺭ ﺗﻤﺎﻡ ﻣﻲﮔﻮﻳﺪ ﻗﺼﻪﻱ ﻋﺎﻣﻴﺎﻧﻪ‪99‬‬
‫ِ‬
‫ﺑﺎﻳﺪ ﺑﺮﺣﺴﺐ ﺣﺮﻛﺖﻫﺎﻱ ﺑﻴﺮﻭﻧﻲ ﻭ ﺩﺭﻭﻧﻲ ﮐﻪ ﺻﻼﺣﻴﺖﺍﺵ ﺭﺍ ﺗﻌﻴﻴﻦ‬
‫ﺹ ﺧﻮﺩﺵ ﺗﺮﮐﻴﺐ‬‫ﻣﻲﻛﻨﻨﺪ‪ ،‬ﺻﻮﺭﺕﺑﻨﺪﻱﺍﺵ ﻣﻲﻛﻨﻨﺪ‪ ،‬ﻭ ﺁﻥ ﺭﺍ ﺑﻪ ﺷﻴﻮﻩﻱ ﺧﺎِ‬
‫ِ‬‫ﻣﻲﻛﻨﻨﺪ‪ ،‬ﺗﻌﺮﻳﻒ ﺷﻮﺩ‪ 100.‬ﻣﻲﺧﻮﺍﻫﻴﻢ ﻧﺸﺎﻥ ﺩﻫﻴﻢ ﺭﻣﺎﻥِ ﮐﻮﺗﺎﻩ ﺑﺎ ﺧﻄﻮﻁ‬
‫ِ ﮔﻮﺷﺘﻲﺍﻱ ﺗﻌﺮﻳﻒ ﻣﻲﺷﻮﺩ ﮐﻪ ﺁﺷﮑﺎﺭﮔﻲ ﺧﺎﺻﻲ ﺭﺍ ﺑﻪ ﻫﻤﺮﺍﻩﺍﺵ‬ ‫ﺯﻧﺪﻩ‪ ،‬ﺧﻄﻮﻁ‬
‫ﻣﻲﺁﻭﺭﺩ‪ .‬ﻣﺎﺭﺳﻞ ﺁﺭﻻﻧﺪ ﺑﻪ ﺩﺭﺳﺘﻲ ﻣﻲﮔﻮﻳﺪ ﺭﻣﺎﻥِ ﮐﻮﺗﺎﻩ »ﭼﻴﺰﻱ ﻧﻴﺴﺖ‬

‫‪99‬‬
‫‪. folktale‬‬
‫‪100‬‬
‫)‪. Vladimir Propp, Morphology of the Folktale, 2nd ed., trans. Laurence Scott (Austin: University of Texas Press, 1968‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

‫ِ ﻧﺎﺑﻲ ﺗﺎ ﺍﺧﺘﻼﻑﻫﺎﻱ ﺟﺰﺋﻲ‪ ،‬ﻭ ﻫﻴﭻ ﻧﻴﺴﺖ ﻣﮕﺮ ﻗﺪﺭﺕِ ﻧﺎﺏ ﻭ‬ ‫ﻣﮕﺮ ﺧﻄﻮﻁ‬
‫ِ ﻭﺍژﻩ«‪101.‬‬
‫ﺁﮔﺎﻩ‬

‫‪ :1933 .9‬ﺧﺮﺩﺳﻴﺎﺳﺖ ﻭ ﻗﻄﻌﻪﻭﺍﺭﮔﻲ‬

‫ﻗﻄﻌﻪﻭﺍﺭﮔﻲﻫﺎ )ﻣﺠﻤﻮﻋﻪﻱ ﺳﻨﺦﻫﺎﻱ ﺁﻥ(‬

‫ﺍﺯ ﻫﺮ ﺳﻮ ﻭ ﻃﺮﻑ ﻗﻄﻌﻪﻗﻄﻌﻪ ﺷﺪﻩﺍﻳﻢ‪ .‬ﺍﻧﺴﺎﻥ ﺣﻴﻮﺍﻥِ ﻗﻄﻌﻪﻭﺍﺭ ﺍﺳﺖ‪.‬‬

‫ﻗﻄﻌﻪﻭﺍﺭﮔﻲ ﺫﺍﺗﻲ ﻫﻤﻪﻱ ﭼﻴﻨﻪﻫﺎﻱ ﺳﺎﺯﻧﺪﻩﻱ ﻣﺎﺳﺖ‪ .‬ﺍﻗﺎﻣﺖﮔﺰﻳﺪﻥ‪ ،‬ﮔﺸﺖﺯﺩﻥ‪،‬‬
‫ﮐﺎﺭﮐﺮﺩﻥ‪ ،‬ﺑﺎﺯﻱﮐﺮﺩﻥ‪ :‬ﺯﻧﺪﮔﻲ ﺍﺯ ﺣﻴﺚ ﻣﮑﺎﻧﻲ ﻭ ﺍﺟﺘﻤﺎﻋﻲ ﻗﻄﻌﻪﻗﻄﻌﻪ ﺷﺪﻩ‬
‫ِ ﻣﻘﺎﺻﺪ ﺗﻌﻴﻴﻦﺷﺪﻩ ﺑﺮﺍﻱ ﺍﺗﺎﻕﻫﺎﻳﺶ ﻗﻄﻌﻪﻗﻄﻌﻪ ﺷﺪﻩ ﺍﺳﺖ؛‬‫ﺍﺳﺖ‪ .‬ﺧﺎﻧﻪ ﻃﺒﻖ‬
‫ِ ﻣﺎﻫﻴﺖِ ﮐﺎﺭ ﻭ ﻋﻤﻠﮑﺮﺩﻫﺎﻱ‬ ‫ِ ﺷﻬﺮ؛ ﮐﺎﺭﺧﺎﻧﻪ ﻃﺒﻖ‬ ‫ِ ﻧﻈﻢ‬‫ﺧﻴﺎﺑﺎﻥﻫﺎ ﻃﺒﻖ‬
‫ﺍﺟﺮﺍﺷﺪﻩ ﺩﺭ ﺁﻥ‪ .‬ﻣﺎ ﭘﻴﺮﻭِ ﺗﻘﺎﺑﻞﻫﺎﻱ ﺩﻭﮔﺎﻧﻪﻱ ﺑﺰﺭگ ﺑﻪ ﻃﺮﻳﻘﻲ ﺩﻭﺩﻭﻳﻲ‬
‫ﻗﻄﻌﻪﻗﻄﻌﻪ ﺷﺪﻩﺍﻳﻢ‪ :‬ﻃﺒﻘﺎﺕ ﺍﺟﺘﻤﺎﻋﻲ‪ ،‬ﻭ ﻧﻴﺰ ﻣﺮﺩﺍﻥ ـ ﺯﻧﺎﻥ‪ ،‬ﺑﺰﺭﮔﺴﺎﻻﻥ‬
‫ـ ﮐﻮﺩﮐﺎﻥ‪ ،‬ﻭ ﺍﻟﺦ‪ .‬ﻣﺎ ﺑﻪ ﻃﺮﻳﻘﻲ ﺣﻠﻘﻮﻱ‪ ،‬ﺩﺭ ﺣﻠﻘﻪﻫﺎﻱ ﺑﺰﺭگ ﻭ ﺑﺰﺭگﺗﺮ‪،‬‬
‫ﺩﺭ ﻗﺮﺹﻫﺎ ﻳﺎ ﮔﺮﺩﻱﻫﺎﻱ‪ 102‬ﭘﻬﻦ ﻭ ﭘﻬﻦﺗﺮ ﻗﻄﻌﻪﻗﻄﻌﻪ ﺷﺪﻩﺍﻳﻢ‪ ،‬ﺷﺒﻴﻪ‬

‫‪101‬‬
‫)‪Marcel Arland, Le Promeneur (Paris: Pavois, 1944‬‬
‫‪ ،Corona .‬ﺍﻳﻦ ﻭﺍژﻩ ﺩﺭ ﻣﻌﻨﺎﻫﺎﻱ ﺯﻳﺮ ﺑﻪﮐﺎﺭ ﻣﻲﺭﻭﺩ‪ .1» :‬ﺗﺎﺝ‪ ،‬ﺩﻳﻬﻴﻢ‪ ،‬ﺍﻓﺴﺮ‪ ،‬ﺍﮐﻠﻴﻞ‬
‫‪) .2‬ﺳﺘﺎﺭﻩﺷﻨﺎﺳﻲ( ]ﺧﻮﺭﺷﻴﺪ[ ﺗﺎﺝ؛ ]ﻣﺎﻩ[ ﻫﺎﻟﻪ ‪) .3‬ﮐﺎﻟﺒﺪﺷﻨﺎﺳﻲ( ]ﺩﻧﺪﺍﻥ ﻭ ﻏﻴﺮﻩ[ ﺗﺎﺝ‬
‫‪) .4‬ﻣﻌﻤﺎﺭﻱ( ]ﻗﺮﻧﻴﺰ[ ﺗﺎﺝ‪ ،‬ﻟﺒﻪ‪ ،‬ﭘﻴﺶﺁﻣﺪﮔﻲ ‪) .5‬ﺩﺭ ﮐﻠﻴﺴﺎ( ﭼﻠﭽﺮﺍﻍ )ﮔﺮﺩ(« )ﻓﺮﻫﻨﮓ‬
‫ﻣﻌﺎﺻﺮ ﻫﺰﺍﺭﻩ‪ ،‬ﺍﻧﮕﻠﻴﺴﻲ ـ ﻓﺎﺭﺳﻲ‪ ،‬ﻋﻠﻲ ﻣﺤﻤﺪ ﺣﻖﺷﻨﺎﺱ ﻭ ﺩﻳﮕﺮﺍﻥ‪ ،‬ﻧﺸﺮ ﻓﺮﻫﻨﮓ ﻣﻌﺎﺻﺮ‪،‬‬
‫ﭼﺎپ ﺷﺎﻧﺰﺩﻫﻢ‪ ،1389 ،‬ﻣﺠﻠﺪ ﺑﺰﺭگ(«‪ .‬ﺑﺎ ﺍﻳﻦﺣﺎﻝ‪ ،‬ﺍﻳﻦ ﻭﺍژﻩ ﺩﺭ ﻣﺘﻦ ﺣﺎﺿﺮ ﺑﺮ ﺧﺼﻴﺼﻪﻱ‬

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‫»ﻧﺎﻣﻪ«ﻱ ﺟﻮﻳﺲ‪ :‬ﮐﺎﺭﻫﺎﻱ ﻣﻦ‪ ،‬ﮐﺎﺭﻫﺎﻱ ﻣﺤﻠﻪﺍﻡ‪ ،‬ﮐﺎﺭﻫﺎﻱ ﺷﻬﺮﻡ‪ ،‬ﮐﺎﺭﻫﺎﻱ‬
‫ﮐﺸﻮﺭﻡ‪ ،‬ﮐﺎﺭﻫﺎﻱ ﺟﻬﺎﻥ ‪ ...‬ﻣﺎ ﺑﻪ ﻃﺮﻳﻘﻲ ﺧﻄﻲ ﻗﻄﻌﻪﻗﻄﻌﻪ ﺷﺪﻩﺍﻳﻢ‪ ،‬ﺁﻥ‬
‫ِ ﻣﺴﺘﻘﻴﻢ‪ ،‬ﺧﻄﻮﻃﻲ ﮐﻪ ﻫﺮ‬ ‫ﻫﻢ ﺩﺭ ﺭﺍﺳﺘﺎﻱ ﺧﻄﻲ ﻣﺴﺘﻘﻴﻢ ﻳﺎ ﺗﻌﺪﺍﺩﻱ ﺧﻂ‬
‫ﻗﻄﻌﻪ ﻳﮏ ﺍﭘﻴﺰﻭﺩ ﻳﺎ »ﺭﻭﺍﻝ«ﻱ ﺍﺯ ﺁﻥ ﺭﺍ ﺑﺎﺯﻧﻤﺎﻳﻲ ﻣﻲﻛﻨﺪ‪ :‬ﺑﻪ ﻣﺤﺾ‬
‫ِ ﺩﻳﮕﺮ ﺭﺍ ﺁﻏﺎﺯ ﻣﻲﻛﻨﻴﻢ‪ ،‬ﻭ‬ ‫ﺍﻳﻦﻛﻪ ﻳﮏ ﺭﻭﺍﻝ ﺭﺍ ﺑﻪ ﭘﺎﻳﺎﻥ ﻣﻲﺑﺮﻳﻢ ﺭﻭﺍﻝ‬
‫ﺗﺎ ﺍﺑﺪ ﺩﺭ ﺧﺎﻧﻮﺍﺩﻩ‪ ،‬ﺩﺭ ﻣﺪﺭﺳﻪ‪ ،‬ﺩﺭ ﺍﺭﺗﺶ‪ ،‬ﻭ ﺩﺭ ﺷﻐﻞ ﺭﻭﻳﻪ ﻣﻲﺩﻫﻴﻢ ﻭ‬
‫ﺭﻭﻳﻪ ﻣﻲﭘﺬﻳﺮﻳﻢ‪ .‬ﻣﺪﺭﺳﻪ ﺑﻪ ﻣﺎ ﻣﻲﮔﻮﻳﺪ »ﺩﻳﮕﺮ ﺩﺭ ﺧﺎﻧﻪ ﻧﻴﺴﺘﻲ«؛ ﺍﺭﺗﺶ‬
‫ﺑﻪ ﻣﺎ ﻣﻲﮔﻮﻳﺪ »ﺩﻳﮕﺮ ﺩﺭ ﻣﺪﺭﺳﻪ ﻧﻴﺴﺘﻲ« ‪ ...‬ﮔﻪﮔﺎﻩ ﻗﻄﻌﻪﻫﺎﻱ ﮔﻮﻧﺎﮔﻮﻥ‬
‫ﺑﻪ ﺍﻓﺮﺍﺩ ﻳﺎ ﮔﺮﻭﻩﻫﺎﻱ ﻣﺘﻔﺎﻭﺗﻲ ﺗﻌﻠﻖ ﺩﺍﺭﻧﺪ‪ ،‬ﻭ ﮔﻪﮔﺎﻩ ﻫﻤﺎﻥ ﻓﺮﺩ ﻳﺎ‬
‫ﮔﺮﻭﻩ ﺍﺯ ﻳﮏ ﻗﻄﻌﻪ ﺑﻪ ﻗﻄﻌﻪﻱ ﺩﻳﮕﺮ ﻣﻲﺭﻭﺩ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﻓﻴﮕﻮﺭﻫﺎﻱ‬
‫ﻗﻄﻌﻪﻭﺍﺭﮔﻲ‪ ،‬ﻳﻌﻨﻲ ﻓﻴﮕﻮﺭﻫﺎﻱ ﺩﻭﺩﻭﻳﻲ‪ ،‬ﺣﻠﻘﻮﻱ‪ ،‬ﻭ ﺧﻄﻲ‪ ،‬ﺑﻪ ﻫﻤﺪﻳﮕﺮ‬
‫ﻣﻘﻴﺪ ﻫﺴﺘﻨﺪ‪ ،‬ﺣﺘﻲ ﺍﺯ ﻳﮑﺪﻳﮕﺮ ﮔﺬﺭ ﻣﻲﻛﻨﻨﺪ‪ ،‬ﻭ ﻃﺒﻖ ﻧﻈﺮﮔﺎﻩ ﺗﻐﻴﻴﺮ‬
‫ﻣﻲﻛﻨﻨﺪ‪ .‬ﭼﻨﻴﻦ ﭼﻴﺰﻱ ﭘﻴﺸﺎﭘﻴﺶ ﻣﻴﺎﻥ ﻣﺮﺩﻣﺎﻥ »ﻭﺣﺸﻲ« ﺁﺷﮑﺎﺭ ﺍﺳﺖ‪:‬‬
‫ﻟﻴﺰﻭﺕ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ ﭼﻄﻮﺭ ﺧﺎﻧﻪﻱ ﺍﺷﺘﺮﺍﮐﻲ ﺑﻪ ﻃﺮﻳﻘﻲ ﺣﻠﻘﻮﻱ ﺳﺎﺯﻣﺎﻧﺪﻫﻲ‬
‫ِ ﺧﺎﺻﻲ ﺍﺯ‬ ‫ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﻭ ﺩﺭ ﻣﺠﻤﻮﻋﻪﺍﻱ ﺍﺯ ﮔﺮﺩﻱﻫﺎ‪ ،‬ﮐﻪ ﺩﺭﻭﻥﺷﺎﻥ ﺍﻧﻮﺍﻉ‬
‫ﻓﻌﺎﻟﻴﺖﻫﺎﻱ ﻣﺤﻠﻲﺷﺪﻧﻲ ﺍﺗﻔﺎﻕ ﻣﻲﺍﻓﺘﺪ‪ ،‬ﺍﺯ ﺩﺭﻭﻥ ﺑﻪ ﺑﻴﺮﻭﻥ ﻣﻲﺭﻭﺩ‬
‫)ﭘﺮﺳﺘﺶ ﻭ ﻣﺮﺍﺳﻢﻫﺎ‪ ،‬ﺳﭙﺲ ﻣﺒﺎﺩﻟﻪﻱ ﮐﺎﻻ‪ ،‬ﺳﭙﺲ ﺯﻧﺪﮔﻲ ﺧﺎﻧﻮﺍﺩﮔﻲ‪ ،‬ﻭ ﺳﭙﺲ‬
‫ﺯﺑﺎﻟﻪ ﻭ ﻓﻀﻮﻻﺕ(؛ ﺩﺭ ﻋﻴﻦﺣﺎﻝ‪» ،‬ﻫﺮﻳﮏ ﺍﺯ ﺍﻳﻦ ﮔﺮﺩﻱﻫﺎ ﺧﻮﺩ ﺑﻪﻧﺤﻮﻱ‬
‫ِ ﺧﺎﺻﻲ ﻣﺤﻮﻝ‬ ‫ﻣﻮﺭﺏ ]ﺗﺮﺍﮔﺬﺭﻧﺪﻩ[ ﺗﻘﺴﻴﻢ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﻫﺮ ﻗﻄﻌﻪ ﺑﻪ ﺗﺒﺎﺭ‬
‫ﻣﻲﺷﻮﺩ ﻭ ﻣﻴﺎﻥِ ﮔﺮﻭﻩﻫﺎﻱ ﺧﻮﻳﺸﺎﻭﻧﺪﻱ ﻣﺘﻔﺎﻭﺗﻲ ﺗﻘﺴﻴﻢ ﻣﻲﺷﻮﻧﺪ«‪ 103.‬ﻟﻮﻱ ـ‬
‫ﺍﺳﺘﺮﻭﺍﺱ ﺩﺭ ﺑﺎﻓﺘﻲ ﻋﺎﻡﺗﺮ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ ﮐﻪ ﺳﺎﺯﻣﺎﻧﺪﻫﻲ ﺩﻭﮔﺎﻧﻪﻱ‬
‫ﻣﺮﺩﻣﺎﻥِ ﺑﺪﻭﻱ ﻓﺮﻣﻲ ﺣﻠﻘﻮﻱ ﺩﺍﺭﺩ‪ ،‬ﻭ ﻧﻴﺰ ﻓﺮﻣﻲ ﺧﻄﻲ ﺑﻪ ﺧﻮﺩ ﻣﻲﮔﻴﺮﺩ ﮐﻪ‬
‫»ﻫﺮ ﺗﻌﺪﺍﺩ ﮔﺮﻭﻩ« )ﺩﺳﺖﮐﻢ ﺳﻪ ﮔﺮﻭﻩ(‪ 104‬ﺭﺍ ﺩﺭﺑﺮ ﻣﻲﮔﻴﺮﺩ‪.‬‬
‫ﻭﻗﺘﻲ ﻣﺴﺄﻟﻪ ﺑﺮ ﺳﺮ ﺯﻧﺪﮔﻲ ﺧﻮﺩﻣﺎﻥ ﺍﺳﺖ ﭼﺮﺍ ﺑﻪ ﺑﺪﻭﻱﻫﺎ‬
‫ﺑﺎﺯﻣﻲﮔﺮﺩﻳﻢ؟ ﻭﺍﻗﻌﻴﺖ ﺍﻳﻦ ﺍﺳﺖ ﮐﻪ ﻗﻮﻡﺷﻨﺎﺱﻫﺎ ﺍﻧﮕﺎﺭﻩﻱ ﻗﻄﻌﻪﻭﺍﺭﮔﻲ ﺭﺍ‬
‫ِ ﺑﻪ ﺍﺻﻄﻼﺡ ﺑﺪﻭﻱ ﺳﺎﺧﺘﻨﺪ؛ ﺟﻮﺍﻣﻌﻲ ﮐﻪ ﻫﻴﭻ‬ ‫ﺑﺮﺍﻱ ﺗﻮﺿﻴﺢِ ﺟﻮﺍﻣﻊ‬
‫ِ ﻗﺪﺭﺕِ ﺟﻬﺎﻥﺷﻤﻮﻝ ﻳﺎ‬ ‫ﺁﭘﺎﺭﺍﺗﻮﺱِ ﺩﻭﻟﺘﻲ ﻣﺮﮐﺰﻱ ﻭ ﺛﺎﺑﺖ ﻭ ﻫﻴﭻ ﻣﮑﺎﻧﻴﺴﻢ‬
‫ﻧﻬﺎﺩﻫﺎﻱ ﺳﻴﺎﺳﻲ ﺗﺨﺼﺼﻲ ﻧﺪﺍﺭﻧﺪ‪ .‬ﻗﻄﻌﻪﻫﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ ﺩﺭ ﺍﻳﻦ ﺟﻮﺍﻣﻊ‪،‬‬
‫ِ ﻣﺸﺨﺼﻲ ﺑﻴﻦ ﺩﻭ ﻗﻄﺐِ ﻏﺎﻳﻲ‬ ‫ﺑﺴﺘﻪ ﺑﻪ ﻭﻇﻴﻔﻪ ﻭ ﺟﺎﻳﮕﺎﻩ‪ ،‬ﺁﺯﺍﺩﻱ ﻋﻤﻞ‬
‫ﺁﻣﻴﺨﺘﻦ ﻭ ﺑﺮﻳﺪﻥ ﺩﺍﺭﺩ؛ ﺍﺭﺗﺒﺎﻁﭘﺬﻳﺮﻱ ﻗﺎﺑﻞ ﺗﻮﺟﻬﻲ ﻧﻴﺰ ﺑﻴﻦ ﻋﻨﺎﺿﺮ‬
‫ِ‬
‫ﺩﻳﮕﺮﮔﻮﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﺑﻪﻃﻮﺭﻱ ﮐﻪ ﻳﮏ ﻗﻄﻌﻪ ﻣﻲﺗﻮﺍﻧﺪ ﺑﻪ ﺷﻴﻮﻩﻫﺎﻱ‬
‫ﻣﺘﻔﺎﻭﺕ ﺑﺎ ﻗﻄﻌﻪﻱ ﺩﻳﮕﺮ ﺟﻔﺖ ﻭ ﺟﻮﺭ ﺷﻮﺩ؛ ﻭ ﺍﻳﻦ ﻗﻄﻌﻪﻫﺎ ﺳﺎﺧﺘﻤﺎﻧﻲ‬
‫ﻣﺤﻠﻲ ﺩﺍﺭﻧﺪ ﮐﻪ ﺗﻌﻴﻦِ ﭘﻴﺸﻴﻨﻲ ﻋﺮﺻﻪﺍﻱ ﺑﻨﻴﺎﺩﻳﻦ )ﺍﻗﺘﺼﺎﺩﻱ‪ ،‬ﺳﻴﺎﺳﻲ‪،‬‬

‫ِ ﻫﺎﻟﻪ ﺑﻮﺩﻥ« ﺍﺷﺎﺭﻩ ﺩﺍﺭﺩ‪ ،‬ﺩﺭ ﻧﺘﻴﺠﻪ ﺍﺯ ﻣﻌﺎﺩﻝ‬

‫ِ‬ ‫»ﮔﺮﺩ ﺑﻮﺩﻥ«‪» ،‬ﺣﻠﻘﻮﻱﺑﻮﺩﻥ« ﻭ »ﺑﻪ ﺷﮑﻞ‬
‫»ﮔﺮﺩﻱ« ﺍﺳﺘﻔﺎﺩﻩ ﻣﻲﮐﻨﻴﻢ‪ .‬ﻡ‬
‫‪103‬‬
‫‪. Jacques Lizot, Le cercle des Feux (Paris: Seuil, 1976), p. 118.‬‬
‫‪104‬‬
‫‪. Claude Levi-Strauss, Structural Anthropology, trans. Claire Jacobson and Brooke Grundfest Schoeft (New York: Basic Books, 1963): "Do‬‬
‫‪Dual Organizations Exist?" pp. 132-163.‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫ﻗﻀﺎﻳﻲ‪ ،‬ﻫﻨﺮﻱ( ﺭﺍ ﮐﻨﺎﺭ ﻣﻲﺯﻧﺪ؛ ﺍﻳﻦ ﻗﻄﻌﻪﻫﺎ ﺧﺼﻮﺻﻴﺖﻫﺎﻳﻲ ﻋﺎﺭﺿﻲ ﻭ‬
‫ِ ﻧﺴﺒﺖﻫﺎﻳﻲ ﻫﺴﺘﻨﺪ ﮐﻪ ﺑﻪ ﺧﺼﻮﺻﻴﺖﻫﺎﻱ ﺫﺍﺗﻲ‬ ‫ﻣﻮﻗﻌﻴﺘﻲ ﺩﺍﺭﻧﺪ‪ ،‬ﻳﺎ ﻭﺍﺟﺪ‬
‫ﺳﺎﺧﺘﺎﺭ ﺗﻘﻠﻴﻞﻧﺎﭘﺬﻳﺮﻧﺪ؛ ﻓﻌﺎﻟﻴﺖ ﭘﻴﻮﺳﺘﻪ ﺍﺳﺖ‪ ،‬ﺍﺯ ﺍﻳﻦ ﺭﻭ‪،‬‬
‫ِ ﭼﻴﺰﻱ ﺟﺪﺍ ﺍﺯ ﻧﻮﻋﻲ ﻗﻄﻌﻪﺑﻨﺪﻱ ﺟﺎﺭﻱ ﮐﻪ ﺑﺎ‬ ‫ﻗﻄﻌﻪﻭﺍﺭﮔﻲ ﺩﺭ ﻣﻘﺎﻡ‬
‫ﺭﻭﻳﺶﻫﺎ‪ ،‬ﺟﺪﺍﺳﺎﺯﻱﻫﺎ‪ ،‬ﻭ ﺗﻠﻔﻴﻖﻫﺎ ﻋﻤﻞ ﻣﻲﻛﻨﺪ‪ ،‬ﻓﻬﻤﻴﺪﻩ ﻧﻤﻲﺷﻮﺩ‪ .‬ﺳﺮﺷﺖِ‬
‫ﻗﻄﻌﻪﻭﺍﺭﮔﻲ ﺑﺪﻭﻱ ﺑﺎ ﺭﻣﺰﮔﺎﻥِ ﭼﻨﺪﺻﺪﺍﻳﻲ ﻣﺒﺘﻨﻲ ﺑﺮ ﺗﺒﺎﺭﻫﺎ‪ ،‬ﻭ‬
‫ﻣﻮﻗﻌﻴﺖﻫﺎ ﻭ ﻣﻨﺎﺳﺒﺎﺕِ ﻣﺘﻐﻴﺮﺷﺎﻥ‪ ،‬ﻭ ﻧﻴﺰ ﺑﺎ ﻗﻠﻤﺮﻭﻣﻨﺪﻱ ﻣﺒﺘﻨﻲ ﺑﺮ‬
‫ﺗﻘﺴﻴﻤﺎﺕِ ﻣﺤﻠﻲ ﻭ ﻫﻢﭘﻮﺷﺎﻧﻨﺪﻩ ﺗﻮﺻﻴﻒ ﻣﻲﺷﻮﺩ‪.‬ﺭﻣﺰﮔﺎﻥﻫﺎ ﻭ ﻗﻠﻤﺮﻭﻫﺎ‪،‬‬
‫ﺗﺒﺎﺭﻫﺎﻱ ﻃﺎﻳﻔﻪﺍﻱ‪ ،‬ﻭ ﻗﻠﻤﺮﻭﻣﻨﺪﻱﻫﺎﻱ ﻗﺒﻴﻠﻪﺍﻱ ﻧﻮﻋﻲ ﻗﻄﻌﻪﻭﺍﺭﮔﻲ ﺑﻪ‬
‫ﻧﺴﺒﺖ ﻣﻨﻌﻄﻒ ﺭﺍ ﺷﮑﻞ ﻣﻲﺩﻫﻨﺪ‪105.‬‬

‫ﺑﺎ ﺍﻳﻦﺣﺎﻝ‪ ،‬ﺑﻪ ﻧﻈﺮﻣﺎﻥ ﺑﻪ ﺩﺷﻮﺍﺭﻱ ﺑﺘﻮﺍﻥ ﺑﺎﻭﺭ ﺩﺍﺷﺖ ﮐﻪ ﺟﻮﺍﻣﻊ‬

‫ﺩﻭﻟﺘﻲ‪ ،‬ﺣﺘﻲ ﺩﻭﻟﺖﻫﺎﻱ ﻣﺪﺭﻥﻣﺎﻥ‪ ،‬ﺑﻪ ﺍﻧﺪﺍﺯﻩﻱ ﺟﻮﺍﻣﻊ ﺑﺪﻭﻱ ﻗﻄﻌﻪﻭﺍﺭ‬
‫ِ ﮐﻼﺳﻴﮏِ ﺑﻴﻦ ﻗﻄﻌﻪﻭﺍﺭﮔﻲ ﻭ ﻣﺮﮐﺰﻳﺖﺑﺨﺸﻲ ﻧﺎﻣﺮﺑﻮﻁ ﺑﻪﻧﻈﺮ‬ ‫ﻧﻴﺴﺘﻨﺪ‪ .‬ﺗﻘﺎﺑﻞ‬
‫ﻣﻲﺭﺳﺪ‪ 106.‬ﻧﻪ ﺗﻨﻬﺎ ﺩﻭﻟﺖ ﺑﺮ ﻗﻄﻌﻪﻫﺎﻳﻲ ﮐﻪ ﺣﻔﻆ ﻣﻲﻛﻨﺪ ﻳﺎ ﺍﺟﺎﺯﻩﻱ ﺑﻘﺎ‬
‫ِ ﻗﺪﺭﺕ ﻣﻲﻛﻨﺪ‪ ،‬ﺑﻠﻜﻪ ﻗﻄﻌﻪﻭﺍﺭﮔﻲ ﺧﻮﺩﺵ ﺭﺍ ﻧﻴﺰ‬ ‫ِﻋﻤﺎﻝ‬
‫ﺑﻪ ﺁﻥﻫﺎ ﻣﻲﺩﻫﺪ ﺍ‬
‫ﺗﺼﺮﻑ ﻭ ﺗﺤﻤﻴﻞ ﻣﻲﻛﻨﺪ‪ .‬ﺍﺣﺘﻤﺎﻻً ﺗﻘﺎﺑﻠﻲ ﮐﻪ ﺟﺎﻣﻌﻪﺷﻨﺎﺱﻫﺎ ﺑﻴﻦ ﺍﻣﺮ‬
‫ً ﺯﻳﺴﺖﺷﻨﺎﺧﺘﻲ ﺍﺳﺖ‪ :‬ﮐﺮﻡ‬
‫ِ‬ ‫ﻗﻄﻌﻪﻭﺍﺭ ﻭ ﺍﻣﺮ ﻣﺮﮐﺰﻱ ﺑﺮﻗﺮﺍﺭ ﻣﻲﻛﻨﻨﺪ ﻋﻤﻴﻘﺎ‬
‫ِ ﻣﺮﮐﺰﻱ ﻋﻠﻲﺭﻏﻢ ﻭ ﺑﻪ‬ ‫ِ ﻣﻐﺰ‬‫ِ ﻋﺼﺒﻲ ﻣﺮﮐﺰﻱ‪ .‬ﺍﻣﺎ ﺧﻮﺩ‬ ‫ﺣﻠﻘﻮﻱ‪ ،‬ﻭ ﺳﻴﺴﺘﻢ‬
‫ِﺮﻡ ﺍﺳﺖ‪ ،‬ﺣﺘﻲ ﻗﻄﻌﻪﻗﻄﻌﻪﺷﺪﻩﺗﺮ ﺍﺯ‬ ‫ِ ﻫﻤﻪﻱ ﻛﻨﺶﻫﺎﻱ ﻧﻴﺎﺑﺘﻲ ﻳﮏ ﮐ‬ ‫ﺍﻧﻀﻤﺎﻡ‬
‫ِ ﻣﺮﮐﺰﻱ ﻭ ﺍﻣﺮ ﻗﻄﻌﻪﻭﺍﺭ ﻭﺟﻮﺩ‬ ‫ﺩﻳﮕﺮ ﺑﺨﺶﻫﺎ‪ .‬ﻫﻴﭻ ﺗﻘﺎﺑﻠﻲ ﺑﻴﻦِ ﺍﻣﺮ‬
‫ِ ﺟﻬﺎﻥﺷﻤﻮﻝ ﻭﺣﺪﺕﻳﺎﻓﺘﻪ ﻭ ﻭﺣﺪﺕﺑﺨﺶ‬ ‫ِ ﺳﻴﺎﺳﻲ ﻣﺪﺭﻥ ﻳﮏ ﮐﻞ‬ ‫ﻧﺪﺍﺭﺩ‪ .‬ﺳﻴﺴﺘﻢ‬
‫ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺑﺪﻳﻦﺧﺎﻃﺮ ﺍﻳﻦﮔﻮﻧﻪ ﺍﺳﺖ ﮐﻪ ﺍﻳﻦ ﺳﻴﺴﺘﻢ ﻣﻨﻈﻮﻣﻪﺍﻱ ﺍﺯ‬
‫ﺯﻳﺮﺳﻴﺴﺘﻢﻫﺎﻱ ﻫﻢﻧﺸﻴﻦﺷﺪﻩ‪ ،‬ﺭﻭﻱ ﻫﻢ ﭼﻴﺪﻩ‪ ،‬ﻭ ﻧﻈﻢﻳﺎﻓﺘﻪ ﺭﺍ ﺍﻳﺠﺎﺏ‬
‫ِ ﺗﻘﺴﻴﻢﺑﻨﺪﻱﻫﺎ ﻭ ﻓﺮﺁﻳﻨﺪﻫﺎﻱ‬ ‫ِ ﺗﺼﻤﻴﻢﮔﻴﺮﻱ ﻫﻤﻪﻱ ﺍﻧﻮﺍﻉ‬ ‫ﻣﻲﻛﻨﺪ؛ ﺗﺤﻠﻴﻞ‬
‫ﺟﺰﺋﻲﺍﻱ ﺭﺍ ﮐﻪ ﺑﻪ ﻫﻢ ﻣﺘﺼﻞ ﻣﻲﺷﻮﻧﺪ‪ ،‬ﺁﺷﮑﺎﺭ ﻣﻲﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﻧﻪ ﺑﺪﻭﻥِ‬
‫ِ ﻗﻄﻌﻪﻭﺍﺭ ﮐﺎﺭ ﻋﻤﻞ‬‫ﺷﮑﺎﻑﻫﺎ ﻭ ﺟﺎﺑﺠﺎﻳﻲﻫﺎ‪ .‬ﻓﻦﺳﺎﻻﺭﻱ ﺑﻪﻭﺍﺳﻄﻪﻱ ﺗﻘﺴﻴﻢ‬
‫ِ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﮐﺎﺭ ﻧﻴﺰ ﮐﺎﺭﺑﺴﺖ ﻣﻲﻳﺎﺑﺪ(‪.‬‬ ‫ﻣﻲﻛﻨﺪ )ﺍﻳﻦ ﺍﻣﺮ ﺑﻪ ﺗﻘﺴﻴﻢ‬
‫ِ ﺗﻘﺴﻴﻢﺑﻨﺪﻱﺷﺪﻩ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻭ ﺗﻨﻬﺎ ﺑﺎ‬ ‫ﺑﻮﺭﻭﮐﺮﺍﺳﻲ ﺗﻨﻬﺎ ﺩﺭ ﺩﻓﺎﺗﺮ‬
‫»ﺟﺎﺑﺠﺎﻳﻲﻫﺎﻱ ﻫﺪﻑﺩﺍﺭ« ﻭ »ﻧﻘﺺﻫﺎﻱ ﮐﺎﺭﻱ« ﻣﺘﻨﺎﻇﺮﺵ ﮐﺎﺭ ﻣﻲﻛﻨﺪ‪.‬‬
‫ِ ﺭﺋﻴﺲ ﻫﻤﺎﻥﻗﺪﺭ ﺍﻧﺘﻬﺎﻱ ﺳﺎﻟﻦ‬ ‫ً ﻫﺮﻣﻲ ﻧﻴﺴﺖ؛ ﺩﻓﺘﺮ‬ ‫ﺳﻠﺴﻠﻪﻣﺮﺍﺗﺐ ﺻﺮﻓﺎ‬
‫ﻗﺮﺍﺭ ﺩﺍﺭﺩ ﮐﻪ ﺩﺭ ﺑﺎﻻﻱ ﺑﺮﺝ‪ .‬ﺧﻼﺻﻪ‪ ،‬ﺑﺎﻳﺪ ﺑﮕﻮﻳﻴﻢ ﮐﻪ ﺯﻧﺪﮔﻲ ﻣﺪﺭﻥ ﻧﻪ‬

‫‪105‬‬
‫‪. African Political Systems, ed. Meyer Frotes and E. E. Evans-Pritchard (New York: Oxford University Press, 1978): Fortes, "The‬‬
‫‪Political System of the Tellensi of the Northern Territories of the Gold Coast," pp. 239-271, and Evans-Pritchard, "The Nuer of the‬‬
‫‪Southern Sudan," pp. 272-296‬‬
‫‪ .‬ژﺭژ ﺑﺎﻻﻧﺪﻳﺮ ﺭﻭﺵﻫﺎﻳﻲ ﺭﺍ ﮐﻪ ﻗﻮﻡﺷﻨﺎﺳﺎﻥ ﻭ ﺟﺎﻣﻌﻪﺷﻨﺎﺳﺎﻥ ﺍﻳﻦ ﻭﺿﻌﻴﺖ ﺭﺍ ﺗﻌﺮﻳﻒ‬
‫ﻣﻲﮐﻨﻨﺪ ﺗﺤﻠﻴﻞ ﻣﻲﻛﻨﺪ‪:‬‬
‫‪Political Anthropology, trans. A. M. Sheridan Smith (New York: Pantheon, 1970), pp. 137-143.‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

‫ﺗﻨﻬﺎ ﺍﺯ ﻗﻄﻌﻪﻭﺍﺭﮔﻲ ﺧﻼﺹ ﻧﺸﺪﻩ‪ ،‬ﺑﻠﻜﻪ ﺑﺮﻋﮑﺲ ﺁﻥ ﺭﺍ ﺑﻪﻃﻮﺭ ﺍﺳﺘﺜﻨﺎﻳﻲ‬
‫ﺻﻠﺐ ﮐﺮﺩﻩ ﺍﺳﺖ‪.‬‬
‫ِ ﻣﺮﮐﺰﻳﺖﻳﺎﻓﺘﻪ‬
‫ِ ﻗﻄﻌﻪﻭﺍﺭ ﻭ ﺍﻣﺮ‬‫ﺑﻪ ﺟﺎﻱ ﺑﺮﻗﺮﺍﺭﮐﺮﺩﻥِ ﺗﻘﺎﺑﻠﻲ ﺑﻴﻦ ﺍﻣﺮ‬
‫ﺑﺎﻳﺪ ﺑﻴﻦِ ﺩﻭ ﺳﻨﺦ ﺍﺯ ﻗﻄﻌﻪﻭﺍﺭﮔﻲ ﺗﻤﺎﻳﺰ ﻗﺎﺋﻞ ﺷﻮﻳﻢ‪ :‬ﻳﮑﻲ ﻗﻄﻌﻪﻭﺍﺭﮔﻲ‬
‫»ﺑﺪﻭﻱ« ﻭ ﻣﻨﻌﻄﻒ‪ ،‬ﻭ ﺩﻳﮕﺮﻱ ﻗﻄﻌﻪﻭﺍﺭﮔﻲ »ﻣﺪﺭﻥ« ﻭ ﺻﻠﺐ‪ .‬ﺍﻳﻦ ﺗﻤﺎﻳﺰ‬
‫ﭼﻬﺎﺭﭼﻮﺏ ﻫﺮﻳﮏ ﺍﺯ ﻓﻴﮕﻮﺭﻫﺎﻱ ﭘﻴﺸﺘﺮ ﺑﺤﺚﺷﺪﻩ ﺭﺍ ﺍﺯ ﻧﻮ ﻣﺸﺨﺺ ﻣﻲﻛﻨﺪ‪.‬‬
‫‪ .1‬ﺗﻘﺎﺑﻞﻫﺎﻱ ﺩﻭﺩﻭﻳﻲ )ﻣﺮﺩﺍﻥ‪/‬ﺯﻧﺎﻥ‪ ،‬ﺁﻥﻫﺎﻳﻲ ﮐﻪ ﺑﺎﻻ ﻫﺴﺘﻨﺪ‪/‬ﺁﻥﻫﺎﻳﻲ‬
‫ِ ﺑﺪﻭﻱ ﺑﺴﻴﺎﺭ ﻗﻮﻱ ﻫﺴﺘﻨﺪ ﺍﻣﺎ‬ ‫ﮐﻪ ﭘﺎﻳﻴﻦ ﻫﺴﺘﻨﺪ‪ ،‬ﻭ ﻏﻴﺮﻩ( ﺩﺭ ﺟﻮﺍﻣﻊ‬
‫ﺑﻪﻧﻈﺮ ﻣﻲﺭﺳﺪ ﻧﺘﻴﺠﻪﻱ ﻣﺎﺷﻴﻦﻫﺎ ﻭ ﺳﺮﻫﻢﺑﻨﺪﻱﻫﺎﻳﻲ ﺑﺎﺷﻨﺪ ﮐﻪ ﺩﺭ ﺧﻮﺩ‬
‫ﺩﻭﺩﻭﻳﻲ ﻧﻴﺴﺘﻨﺪ‪ .‬ﺩﻭﺩﻭﻳﻲﺑﻮﺩﻥِ ﺍﺟﺘﻤﺎﻋﻲ ﺑﻴﻦ ﻣﺮﺩﺍﻥ ﻭ ﺯﻧﺎﻥ ﺩﺭ ﻳﮏ‬
‫ِ ﺧﻮﺩ ﺭﺍ ﺍﺯ‬‫ِ ﺁﻥ ﻫﺮ ﺩﻭ ﺟﻨﺲ ﺑﺎﻳﺪ ﻫﻤﺴﺮ‬ ‫ﮔﺮﻭﻩ ﻗﻮﺍﻋﺪﻱ ﺭﺍ ﮐﻪ ﻃﺒﻖ‬
‫ﮔﺮﻭﻩﻫﺎﻱ ﻣﺘﻔﺎﻭﺗﻲ ﺑﺮﮔﺰﻳﻨﻨﺪ‪ ،‬ﺑﻪ ﮐﺎﺭ ﻣﻲﺑﻨﺪﺩ )ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺍﺳﺖ ﮐﻪ‬
‫ﺩﺳﺖﮐﻢ ﺳﻪ ﮔﺮﻭﻩ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ(‪ .‬ﺍﺯ ﺍﻳﻦ ﺭﻭ‪ ،‬ﻟﻮﻱ ـﺍﺳﺘﺮﺍﻭﺱ ﻣﻲﺗﻮﺍﻧﺪ‬
‫ﻧﺸﺎﻥ ﺩﻫﺪ ﮐﻪ ﺳﺎﺯﻣﺎﻥﺩﻫﻲ ﺩﻭﮔﺎﻧﻪ ﻫﺮﮔﺰ ﺩﺭ ﺍﻳﻦ ﻧﻮﻉ ﺟﺎﻣﻌﻪ ﺑﻪ ﺧﻮﺩ‬
‫ِ ﻣﺪﺭﻥ‪ ،‬ﻳﺎ ﺩﺭ ﻋﻮﺽ ﺟﻮﺍﻣﻊ‬
‫ِ‬ ‫ﻣﺘﮑﻲ ﻧﻴﺴﺖ‪ .‬ﺑﺮﻋﮑﺲ‪ ،‬ﺍﻳﻦ ﺧﺎﺹﺑﻮﺩﻥِ ﺟﻮﺍﻣﻊ‬
‫ﺩﻭﻟﺘﻲ ﺍﺳﺖ ﮐﻪ ﻣﺎﺷﻴﻦﻫﺎﻳﻲ ﺭﺍ ﮐﻪ ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﻋﻤﻞ ﻣﻲﻛﻨﻨﺪ ﺑﻪ‬
‫ِ ﺩﻭﺗﮏﻣﻌﻨﺎﻳﻲ ﻭ‬‫ﺩﻭﮔﺎﻧﮕﻲ ﺧﻮﺩﺷﺎﻥ ﻣﻲﮐﺸﺎﻧﻨﺪ‪ ،‬ﻭ ﻫﻤﺰﻣﺎﻥ ﺑﺎ ﺭﻭﺍﺑﻂ‬
‫ً ﺑﺎ ﺍﻧﺘﺨﺎﺏﻫﺎﻱ ﺩﻭﺩﻭﻳﻲﺷﺪﻩ ﭘﻴﺶ ﻣﻲﺭﻭﻧﺪ‪ .‬ﻃﺒﻘﺎﺕ ﻭ ﺟﻨﺲﻫﺎ ﺩﻭ‬ ‫ﻣﺘﻌﺎﻗﺒﺎ‬
‫ﺑﻪ ﺩﻭ ﻣﻲﺁﻳﻨﺪ ﻭ ﭘﺪﻳﺪﻩﻫﺎﻱ ﺳﻪ ﻗﺴﻤﺘﻲ ﺍﺯ ﻧﻮﻋﻲ ﺟﺎﺑﺠﺎﻱ ﺍﻣﺮ ﺩﻭﮔﺎﻧﻪ‬
‫ﻧﺸﺄﺕ ﻣﻲﮔﻴﺮﻧﺪ ﻭ ﻧﻪ ﺑﺮﻋﮑﺲ‪ .‬ﭘﻴﺸﺘﺮ ﺑﺎ ﺍﻳﻦ ﻧﮑﺘﻪ ﻣﻮﺍﺟﻪ ﺷﺪﻩﺍﻳﻢ‪،‬‬
‫ﻣﺎﺷﻴﻦ ﭼﻬﺮﻩ‪ ،‬ﮐﻪ ﺍﺯ ﺍﻳﻦ ﺣﻴﺚ ﺍﺯ ﻣﺎﺷﻴﻦﻫﺎﻱ ﮐﻠﻪﻱ‬
‫ِ‬ ‫ً ﺩﺭ ﻣﻮﺭﺩ‬
‫ِ‬ ‫ﺧﺼﻮﺻﺎ‬
‫ﺑﺪﻭﻱ ﻣﺘﻔﺎﻭﺕ ﺍﺳﺖ‪ .‬ﺑﻪﻧﻈﺮ ﻣﻲﺭﺳﺪ ﺟﻮﺍﻣﻊ ﻣﺪﺭﻥ ﻗﻄﻌﻪﻭﺍﺭﮔﻲ ﺩﻭﮔﺎﻧﻪ ﺭﺍ‬
‫ﺑﻪ ﺳﻄﺢِ ﻧﻮﻋﻲ ﺳﺎﺯﻣﺎﻥﺩﻫﻲ ﺧﻮﺩﺑﺴﻨﺪﻩ ﺍﺭﺗﻘﺎء ﺩﺍﺩﻧﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻣﺴﺄﻟﻪ‬
‫ﺍﻳﻦ ﻧﻴﺴﺖ ﮐﻪ ﺁﻳﺎ ﺷﺄﻥِ ﺯﻧﺎﻥ ﻳﺎ ﺷﺄﻥِ ﻓﺮﻭﺩﺳﺘﺎﻥ ﺑﻬﺘﺮ ﻳﺎ ﺑﺪﺗﺮ ﺍﺳﺖ‪،‬‬
‫ﺑﻠﻜﻪ ﻣﺴﺄﻟﻪ ﺑﺮ ﺳﺮ ﺳﻨﺦِ ﺳﺎﺯﻣﺎﻥﺩﻫﻲﺍﻱ ﺍﺳﺖ ﮐﻪ ﺷﺄﻥِ ﻣﺰﺑﻮﺭ ﺍﺯ ﺁﻥ‬
‫ﻧﺘﻴﺠﻪ ﻣﻲﺷﻮﺩ‪.‬‬
‫‪ .2‬ﺑﻪﻃﻮﺭ ﻣﺸﺎﺑﻪ‪ ،‬ﺧﺎﻃﺮﻧﺸﺎﻥ ﻣﻲﻛﻨﻴﻢ ﮐﻪ ﺩﺭ ﺟﻮﺍﻣﻊ‬
‫ِ ﺑﺪﻭﻱ ﻗﻄﻌﻪﻭﺍﺭﮔﻲ‬
‫ً ﺍﻳﺠﺎﺏ ﻧﻤﻲﻛﻨﺪ ﮐﻪ ﺣﻠﻘﻪﻫﺎ ﻣﺘﺤﺪﺍﻟﻤﺮﮐﺰ ﻫﺴﺘﻨﺪ‪ ،‬ﻳﺎ‬ ‫ﺣﻠﻘﻮﻱ ﻟﺰﻭﻣﺎ‬
‫ِ ﻣﻨﻌﻄﻒ‪ ،‬ﻣﺮﺍﮐﺰ ﭘﻴﺸﺎﭘﻴﺶ ﺩﺭ ﻣﻘﺎﻡ‬ ‫ﻣﺮﮐﺰﻱ ﻳﮑﺴﺎﻥ ﺩﺍﺭﻧﺪ‪ .‬ﺩﺭ ﻳﮏ ﺭژﻳﻢ‬
‫ﮔﺮﻩﻫﺎ‪ ،‬ﭼﺸﻢﻫﺎ‪ ،‬ﻳﺎ ﺳﻴﺎﻩﭼﺎﻟﻪﻫﺎ ﻋﻤﻞ ﻣﻲﻛﻨﻨﺪ؛ ﺍﻣﺎ ﻫﻤﻪﻱ ﺁﻥﻫﺎ ﺑﺎ‬
‫ﻫﻤﺪﻳﮕﺮ ﻃﻨﻴﻦ ﻧﻤﻲﺍﻧﺪﺍﺯﻧﺪ‪ ،‬ﺭﻭﻱ ﻧﻘﻄﻪﺍﻱ ﻣﺸﺎﺑﻪ ﻧﻤﻲﺍﻓﺘﻨﺪ‪ ،‬ﻭ ﺩﺭ‬
‫ﺳﻴﺎﻩﭼﺎﻟﻪﻱ ﻳﮑﺴﺎﻧﻲ ﻫﻤﮕﺮﺍ ﻧﻤﻲﺷﻮﻧﺪ‪ .‬ﺑﺲﮔﺎﻧﮕﻲ ﺍﺯ ﭼﺸﻢﻫﺎﻱ ﺟﺎﻥﭘﻨﺪﺍﺭ‬
‫ﺩﺭ ﮐﺎﺭ ﺍﺳﺖ‪ ،‬ﺑﻪﻧﺤﻮﻱ ﮐﻪ ﻫﺮﻳﮏ ﺍﺯ ﺍﻳﻦ ﭼﺸﻢﻫﺎﻱ ﺟﺎﻥﭘﻨﺪﺍﺭ ﺑﺮﺍﻱ ﻣﺜﺎﻝ‬
‫ﻳﮏ ﺟﺎﻥِ ﺣﻴﻮﺍﻧﻲ ﺧﺎﺹ )ﻣﺎﺭـﺟﺎﻥ‪ ،‬ﺩﺍﺭﮐﻮﺏـﺟﺎﻥ‪ ،‬ﺳﻮﺳﻤﺎﺭـﺟﺎﻥ‪ (... ،‬ﺭﺍ‬
‫ِ ﺣﻴﻮﺍﻧﻲ ﻣﺘﻔﺎﻭﺕ ﺍﺷﻐﺎﻝ‬ ‫ﺗﻌﻴﻴﻦ ﻣﻲﻛﻨﺪ‪ .‬ﻫﺮ ﺳﻴﺎﻩﭼﺎﻟﻪ ﺭﺍ ﻳﮏ ﭼﺸﻢ‬
‫ﻣﻲﻛﻨﺪ‪ .‬ﺑﻲﺗﺮﺩﻳﺪ‪ ،‬ﻣﻲﺑﻴﻨﻴﻢ ﮐﻪ ﻋﻤﻠﻴﺎﺕﻫﺎﻱ ﺻﻠﺐﺳﺎﺯﻱ ﻭ ﻣﺮﮐﺰﻳﺖﺑﺨﺸﻲ‬
‫ﺍﻳﻦﺟﺎ ﻭ ﺁﻥﺟﺎ ﺷﮑﻞ ﻣﻲﮔﻴﺮﻧﺪ‪ :‬ﻫﻤﻪﻱ ﻣﺮﺍﮐﺰ ﺑﺎﻳﺪ ﺑﺮ ﺣﻠﻘﻪﻱ ﻭﺍﺣﺪﻱ ﺟﻤﻊ‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫ِ ﻭﺍﺣﺪﻱ ﺩﺍﺭﺩ‪ .‬ﺷﻤﻦ ﺑﻴﻦِ ﻫﻤﻪﻱ ﻧﻘﻄﻪﻫﺎ ﻳﺎ ﺟﺎﻥﻫﺎ‬ ‫ﺷﻮﻧﺪ ﮐﻪ ﺧﻮﺩ ﻣﺮﮐﺰ‬
‫ﺧﻄﻮﻃﻲ ﺗﺮﺳﻴﻢ ﻣﻲﻛﻨﺪ‪ ،‬ﻭ ﻳﮏ ﻣﻨﻈﻮﻣﻪ ﻳﺎ ﻣﺠﻤﻮﻋﻪﺍﻱ ﻣﺘﺸﻌﺸﻊ ﺍﺯ ﺭﻳﺸﻪﻫﺎﻱ‬
‫ﮔﺮﻩﺧﻮﺭﺩﻩ ﺑﻪ ﺩﺭﺧﺖِ ﻣﺮﮐﺰﻱ ﺭﺍ ﺭﺳﻢ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻳﻦ ﺯﺍﻳﺶِ ﻗﺪﺭﺕِ‬
‫ﻣﺮﮐﺰﻳﺖﻳﺎﻓﺘﻪﺍﻱ ﺍﺳﺖ ﻫﻤﺮﺍﻩ ﺑﺎ ﺳﻴﺴﺘﻤﻲ ﺷﺎﺧﻪﻭﺍﺭ ﺗﺎ ﺑﻪ ﺭﻭﻳﺶﻫﺎﻱ‬
‫ِ ﺍﻧﺸﻌﺎﺏ‬‫ِ ﺑﺪﻭﻱ ﺍﻧﻀﺒﺎﻁ ﺑﺒﺨﺸﺪ‪ 107.‬ﺍﻳﻦﺟﺎ ﺩﺭﺧﺖ ﺗﻮﺃﻣﺎﻥ ﻧﻘﺶِ ﺍﺻﻞ‬ ‫ﺭﻳﺰﻭﻡ‬
‫ِ ﮔﺮﺩﺵ ﺭﺍ ﺑﺎﺯﻱ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻣﺎ‬ ‫ِ ﺩﻭﺩﻭﻳﻲﺑﻮﺩﻥ‪ ،‬ﻭ ﻣﺤﻮﺭ‬‫ﺑﻪ ﺩﻭ ﺷﺎﺧﻪ ﻳﺎ ﺍﺻﻞ‬
‫ً‬
‫ﻗﺪﺭﺕِ ﺷﻤﻦ ﻫﻨﻮﺯ ﮐﺎﻣﻼً ﻣﺤﻠﻲﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﺍﮐﻴﺪﺍ ﺑﻪ ﻗﻄﻌﻪﺍﻱ ﺧﺎﺹ ﻭﺍﺑﺴﺘﻪ‬
‫ﺍﺳﺖ‪ ،‬ﻣﻨﻮﻁ ﺑﻪ ﻣﺨﺪﺭﻫﺎ ﺍﺳﺖ‪ ،‬ﻭ ﻫﺮ ﻧﻘﻄﻪ ﺑﻪ ﻣﺘﺼﺎﻋﺪ ﮐﺮﺩﻥِ ﺭﺷﺘﻪﻫﺎﻱ‬
‫ﻣﺴﺘﻘﻞ ﺍﺩﺍﻣﻪ ﻣﻲﺩﻫﺪ‪ .‬ﭼﻨﻴﻦ ﺣﺮﻓﻲ ﺭﺍ ﻧﻤﻲﺗﻮﺍﻥ ﺩﺭﺑﺎﺭﻩﻱ ﺟﻮﺍﻣﻊ ﻣﺪﺭﻥ‬
‫ِ ﻗﻄﻌﻪﻭﺍﺭ‬‫ِ ﺍﻣﺮ‬‫ِ ﻣﺮﮐﺰﻳﺖﻳﺎﻓﺘﻪ ﺩﺭ ﻣﻘﺎﺑﻞ‬‫ً ﺍﻣﺮ‬‫ﻳﺎ ﺣﺘﻲ ﺩﻭﻟﺖ ﮔﻔﺖ‪ .‬ﻳﻘﻴﻨﺎ‬
‫ﻗﺮﺍﺭ ﻧﺪﺍﺭﺩ ﻭ ﺣﻠﻘﻪﻫﺎ ﻣﺘﻤﺎﻳﺰ ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﻨﺪ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﺣﻠﻘﻪﻫﺎ‬
‫ً ﺷﺎﺧﻪﺷﺎﺧﻪ ﻣﻲﺷﻮﻧﺪ‪ .‬ﻗﻄﻌﻪﻭﺍﺭﮔﻲ ﺻﻠﺐ‬ ‫ﻣﺘﺤﺪﺍﻟﻤﺮﮐﺰ ﻣﻲﺷﻮﻧﺪ‪ ،‬ﻭ ﻗﻄﻌﺎ‬
‫ﻣﻲﺷﻮﺩ‪ ،‬ﺁﻥ ﻫﻢ ﺗﺎ ﺣﺪﻱ ﮐﻪ ﻫﻤﻪﻱ ﻣﺮﺍﮐﺰ ﺩﺭ ﻧﻘﻄﻪﻱ ﻭﺍﺣﺪ ﺍﻧﺒﺎﺷﺖ ﺑﻪ‬
‫ﻃﻨﻴﻦ ﻣﻲﺍﻓﺘﻨﺪ ﻭ ﻫﻤﻪﻱ ﺳﻴﺎﻩﭼﺎﻟﻪﻫﺎ ﻧﻴﺰ ﺑﺮ ﻫﻤﻴﻦ ﻧﻘﻄﻪ ﻣﻲﺍﻓﺘﻨﺪ؛‬
‫ﻧﻘﻄﻪﻱ ﺍﻧﺒﺎﺷﺘﻲ ﮐﻪ ﺷﺒﻴﻪ ﻳﮏ ﻧﻘﻄﻪﻱ ﺗﻘﺎﻃﻊ ﺟﺎﻳﻲ ﭘﺸﺖ ﭼﺸﻢﻫﺎﺳﺖ‪ .‬ﭼﻬﺮﻩﻱ‬
‫ﭘﺪﺭ‪ ،‬ﻣﻌﻠﻢ‪ ،‬ﮐﻠﻮﻧﻞ‪ ،‬ﺭﺋﻴﺲ ﺣﺸﻮ ﻣﻲﺷﻮﺩ‪ ،‬ﺑﻪ ﻣﺮﮐﺰﻱ ﺍﺯ ﻇﺮﻓﻴﺖِ ﺩﻻﻟﺘﻲ‬
‫ﺍﺭﺟﺎﻉ ﻣﻲﻳﺎﺑﺪ ﮐﻪ ﺍﺯ ﺣﻠﻘﻪﻫﺎﻱ ﮔﻮﻧﺎﮔﻮﻥ ﻋﺒﻮﺭ ﻣﻲﻛﻨﺪ‪ ،‬ﻭ ﺍﺯ ﺭﻭﻱ ﻫﻤﻪﻱ‬
‫ﻗﻄﻌﻪﻫﺎ ﺑﺮﻣﻲﮔﺮﺩﺩ‪ .‬ﮐﻼﻥﭼﻬﺮﻩﺍﻱ ﮐﻪ ﻣﺮﮐﺰﺵ ﻫﻤﻪﺟﺎ ﻫﺴﺖ ﻭ ﻣﺤﻴﻂﺍﺵ ﻫﻴﭻﺟﺎ‬
‫ِ ﭼﻬﺮﻩﺍﻱﺷﺪﻥﻫﺎﻱ ﺣﻴﻮﺍﻧﻲ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﻧﻴﺴﺖ ﺟﺎﻳﮕﺰﻳﻦِ ﺧﺮﺩﮐﻠﻪﻫﺎﻱ ﻣﻨﻌﻄﻒِ ﻭﺍﺟﺪ‬
‫ﺩﻳﮕﺮ ‪ n‬ﭼﺸﻢ ﺩﺭ ﺁﺳﻤﺎﻥ ﻳﺎ ﺩﺭ ﺣﻴﻮﺍﻥـﺷﺪﻥﻫﺎ ﻭ ﮔﻴﺎﻩـﺷﺪﻥ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪،‬‬
‫ِ ﻣﺮﮐﺰﻱ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﮐﻪ ﻫﻤﻪﻱ ﺷﻌﺎﻉﻫﺎ ﺭﺍ ﻣﻲﭘﺎﻳﺪ‪.‬‬ ‫ِ ﻣﺤﺎﺳﺒﻪﮔﺮ‬‫ﺑﻞ ﻳﮏ ﭼﺸﻢ‬
‫ﺩﻭﻟﺖِ ﻣﺮﮐﺰﻱ ﻧﻪ ﻓﺴﺦِ ﻗﻄﻌﻪﻭﺍﺭﮔﻲ ﺣﻠﻘﻮﻱ‪ ،‬ﺑﻠﻜﻪ ﺑﺎ ﻣﺘﺤﺪﺍﻟﻤﺮﮐﺰ ﺑﻮﺩﻥِ‬
‫ﺣﻠﻘﻪﻫﺎﻱ ﻣﺘﻤﺎﻳﺰ‪ ،‬ﻳﺎ ﺳﺎﺯﻣﺎﻥﺩﻫﻲ ﻳﮏ ﻃﻨﻴﻦ ]ﺗﺸﺪﻳﺪ[ ﻣﻴﺎﻥ ﻣﺮﺍﮐﺰ‬
‫ﺳﺎﺧﺘﻪ ﻣﻲﺷﻮﺩ‪ .‬ﭘﻴﺸﺎﭘﻴﺶ ﻣﺮﺍﮐﺰِ ﻗﺪﺭﺕ ﺑﺴﻴﺎﺭﻱ ﺩﺭ ﺟﻮﺍﻣﻊ ﺑﺪﻭﻱ ﻭﺟﻮﺩ‬
‫ً‪ ،‬ﭼﻨﻴﻦ ﻣﺮﺍﮐﺰِ ﻗﺪﺭﺗﻲ ﻫﻨﻮﺯ ﺩﺭ ﺟﻮﺍﻣﻊِ ﺩﻭﻟﺘﻲ ﻭﺟﻮﺩ‬
‫ﺩﺍﺭﻧﺪ؛ ﻳﺎ ﺗﺮﺟﻴﺤﺎ‬
‫ِ ﺩﻭﻟﺘﻲ ﻫﻤﭽﻮﻥ ﺁﭘﺎﺭﺍﺗﻮﺱﻫﺎﻱ ﻃﻨﻴﻦ‬ ‫ﺩﺍﺭﻧﺪ‪ .‬ﺩﺭ ﻫﺮ ﺻﻮﺭﺕ‪ ،‬ﺍﻳﻦ ﺟﻮﺍﻣﻊ‬
‫ِ ﺩﻭﻟﺘﻲ ﺑﻪ ﻃﻨﻴﻦ ﺳﺎﺯﻣﺎﻥ ﻣﻲﺩﻫﻨﺪ‪ ،‬ﺩﺭﺣﺎﻟﻲﻛﻪ‬ ‫ﺭﻓﺘﺎﺭ ﻣﻲﻛﻨﻨﺪ؛ ﺟﻮﺍﻣﻊ‬
‫ﺟﻮﺍﻣﻊ ﺑﺪﻭﻱ ﺍﺯ ﺁﻥ ﻣﻤﺎﻧﻌﺖ ﻣﻲﻛﻨﻨﺪ‪108.‬‬
‫ِ‬

‫‪ .‬ﺩﺭﺑﺎﺏِ ﺳﺮﺁﻏﺎﺯ‬
‫ِ ﺷﻤﻦ ﻭ ﻧﻘﺶِ ﺩﺭﺧﺖ ﺑﻴﻦِ ﺳﺮﺥﭘﻮﺳﺘﺎﻥِ ﻳﺎﻧﻮﻣﺎﻣﻲ‪ ،‬ﺭ‪.‬ک‪.‬‬
‫‪Jacques Lizot, Le cercle des feux, pp. 127-135:‬‬
‫»ﺑﻴﻦِ ﭘﺎﻫﺎﻳﺶ ﺑﺎﻋﺠﻠﻪ ﺳﻮﺭﺍﺧﻲ ﮐﻨﺪﻩ ﺷﺪﻩ‪ ،‬ﮐﻪ ﺩﺭ ﺁﻥ ﺷﺎﻟﻮﺩﻩﻱ ﭘﺎﻳﻪﺍﻱ ﮐﻪ ﻣﻲﺧﻮﺍﻫﻨﺪ‬
‫ِ ﺧﻴﺎﻟﻴﻨﻲ ﺭﻭﻱ ﺯﻣﻴﻦ ﻣﻲﮐﺸﺪ ﮐﻪ ﺍﺯ ﻫﻤﻪ‬ ‫ﺁﻥﺟﺎ ﻋﻠﻢ ﮐﻨﻨﺪ ﺭﺍ ﻗﺮﺍﺭ ﻣﻲﺩﻫﻨﺪ‪ .‬ﺗﻮﺭﺍﻭﻱ ﺧﻄﻮﻁ‬
‫ﺳﻮ ﻣﻲﺩﺭﺧﺸﻨﺪ‪ .‬ﺍﻭ ﻣﻲﮔﻮﻳﺪ‪» ،‬ﺍﻳﻦﻫﺎ ﻫﻤﻪ ﺭﻳﺸﻪ ﻫﺴﺘﻨﺪ««‪.‬‬
‫ِ ﺁﻥﻫﺎﺳﺖ‪ ،‬ﺑﻠﮑﻪ‬‫ً ﻧﻪ ﺑﻪ ﻭﺳﻴﻠﻪﻱ ﺳﻨﺦِ ﻗﺪﺭﺕِﻫﺎﻱ ﻋﻤﻮﻣﻲﺍﻱ ﮐﻪ ﻭﺍﺟﺪ‬
‫‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ‪ ،‬ﺩﻭﻟﺖ ﺻﺮﻓﺎ‬
‫ﺑﻪ ﻣﻨﺰﻟﻪﻱ ﻣﺤﻔﻈﻪﻫﺎﻱ ﻃﻨﻴﻦ ﺑﺮﺍﻱ ﻗﺪﺭﺕﻫﺎﻱ ﺧﺼﻮﺻﻲ ﻭ ﻋﻤﻮﻣﻲ ﺗﻌﺮﻳﻒ ﻣﻲﺷﻮﺩ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮ‪،‬‬
‫ِ ﺑﻴﻦِ ﻋﻤﻮﻣﻲ ﻭ ﺧﺼﻮﺻﻲ ﺗﻤﺎﻳﺰﻱ ﺍﺳﺖ ﮐﻪ ﻧﺴﺒﺖ ﺑﻪ ﻗﺎﻧﻮﻥِ ﺑﻮﺭژﻭﺍﻳﻲ‬ ‫ﺁﻟﺘﻮﺳﺮ ﻣﻲﮔﻮﻳﺪ‪» :‬ﺗﻤﺎﻳﺰ‬
‫ﺩﺭﻭﻧﻲ‪ ،‬ﻭ ﺩﺭ ﻋﺮﺻﻪﻫﺎﻱ ﺗﺎﺑﻊ ﻳﻌﻨﻲ ﻫﻤﺎﻥ ﺟﺎﻳﻲ ﮐﻪ ﻗﺎﻧﻮﻥِ ﺑﻮﺭژﻭﺍ ﻗﺪﺭﺕﻫﺎﻳﺶ ﺭﺍ ﺍﻋﻤﺎﻝ‬
‫ﻣﻲﻛﻨﺪ‪ ،‬ﻣﻌﺘﺒﺮ ﺍﺳﺖ‪ .‬ﻋﺮﺻﻪﻱ ﺩﻭﻟﺖ ﺍﺯ ﺁﻥ ﻃﻔﺮﻩ ﻣﻲﺭﻭﺩ ﺯﻳﺮﺍ ﻭﺭﺍﻱ ﻗﺎﻧﻮﻥ ﺍﺳﺖ ‪ ...‬ﺑﻠﮑﻪ ﺑﺮ‬
‫ِ ﺧﺼﻮﺻﻲ ﺍﺳﺖ‪«.‬‬ ‫ﺧﻼﻑ ﺑﻨﻴﺎﻥِ ﻫﺮ ﺗﻤﺎﻳﺰ ﺑﻴﻦِ ﺍﻣﺮ ﻋﻤﻮﻣﻲ ﻭ ﺍﻣﺮ‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫‪ :1730 .10‬ﺷﺪﻳﺪ ـﺷﺪﻥ‪ ،‬ﺣﻴﻮﺍﻥـﺷﺪﻥ‪،‬‬
‫ﺩﺭکﻧﺎﭘﺬﻳﺮ ـ ﺷﺪﻥ‪... ،‬‬

‫ﺧﺎﻃﺮﺍﺕ ﻳﮏ ﻋﺸﻖ ﺳﻴﻨﻤﺎ‪ .‬ﻣﻦ ﻓﻴﻠﻢ ﺧﻮﺏ ﻭﻳﻼﺭﺩ )ﺩﻧﻴﻞ ﻣﻦ‪ (1972 ،‬ﺭﺍ‬
‫ِ ﺭﺩﻩ »ﺏ«‪ ،‬ﺍﻣﺎ ﻳﮏ ﻓﻴﻠﻢ‬ ‫ﺑﻪ ﻳﺎﺩ ﻣﻲﺁﻭﺭﻡ‪ .‬ﺷﺎﻳﺪ ﻳﮏ ﻓﻴﻠﻢ‬
‫ﺑﻲﻃﺮﻓﺪﺍﺭﺧﻮﺏ‪ :‬ﺑﻲﻃﺮﻓﺪﺍﺭ‪ ،‬ﭼﻮﻥ ﻗﻬﺮﻣﺎﻧﺎﻧﺶ ﻣﻮﺵ ﻫﺴﺘﻨﺪ‪ .‬ﺧﺎﻃﺮﻩﻱ ﻣﻦ ﺍﺯ‬
‫ً ﺩﻗﻴﻖ ﻧﻴﺴﺖ‪ .‬ﺩﺍﺳﺘﺎﻧﺶ ﺭﺍ ﺑﺎ ﻧﮑﺎﺕ ﮐﻠﻲ ﺁﻥ ﺑﺎﺯﮔﻮ‬ ‫ﺍﻳﻦ ﻓﻴﻠﻢ ﻟﺰﻭﻣﺎ‬
‫ﻣﻲﻛﻨﻢ‪ .‬ﻭﻳﻼﺭﺩ ﺑﺎ ﻣﺎﺩﺭ ﺍﻗﺘﺪﺍﺭﻃﻠﺒﺶ ﺩﺭ ﻳﮏ ﺧﺎﻧﻪ ﻗﺪﻳﻤﻲ‪ ،‬ﻣﺘﻌﻠﻖ ﺑﻪ‬
‫ِ ﺍﺩﻳﭙﻲ ﻭ ﻭﺣﺸﺖ ﺯﺍ‪ .‬ﻣﺎﺩﺭﺵ ﺑﻪ ﺍﻭ ﺩﺳﺘﻮﺭ‬‫ﺧﺎﻧﺪﺍﻥ‪ ،‬ﺯﻧﺪﮔﻲ ﻣﻲﻛﻨﺪ‪ .‬ﺟﻮ‬
‫ﻣﻲﺩﻫﺪ ﮐﻪ ﻳﮏ ﻧﻮﺯﺍﺩ ﻣﻮﺵ ﺭﺍ ﺑﮑﺸﺪ‪ .‬ﺍﻭ ﻳﮑﻲ ﺭﺍ ﻣﻲﺑﺨﺸﺪ )ﻳﺎ ﺩﻭ ﺗﺎ ﺭﺍ‬
‫ﻳﺎ ﺑﻴﺸﺘﺮ(‪ .‬ﺑﻌﺪ ﺍﺯ ﻳﮏ ﺟﺮ ﻭ ﺑﺤﺚ ﺧﺸﻦ‪ ،‬ﻣﺎﺩﺭ ﮐﻪ ﺑﻪ ﺳﮓ »ﺷﺒﺎﻫﺖ‬
‫ﺩﺍﺭﺩ«‪ ،‬ﻣﻲﻣﻴﺮﺩ‪ .‬ﻳﮏ ﺗﺎﺟﺮ ﭼﺸﻢ ﻃﻤﻊ ﺑﻪ ﺧﺎﻧﻪ ﻣﻲﺑﻨﺪﺩ‪ ،‬ﻭ ﻭﻳﻼﺭﺩ ﺩﺭ‬
‫ﻣﻌﺮﺽ ﺧﻄﺮ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻥ ﺁﻥ ﺧﺎﻧﻪ ﺍﺳﺖ‪ .‬ﺍﻭ ﺍﺯ ﺁﻥ ﻣﻮﺵ ﺍﺻﻠﻲ ﮐﻪ ﻧﺠﺎﺕ‬
‫ِﻦ )ﺁﻥ ﻣﻮﺵ( ﺛﺎﺑﺖ ﻣﻲﻛﻨﺪ ﮐﻪ ﺍﺯ ﻫﻮﺵ ﺷﮕﺮﻓﻲ‬ ‫ﺩﺍﺩﻩ ﺧﻮﺷﺶ ﻣﻲﺁﻳﺪ؛ ﺑ‬
‫ِﻦ‪.‬‬
‫ﺑﺮﺧﻮﺭﺩﺍﺭ ﺍﺳﺖ‪ .‬ﻳﮏ ﻣﻮﺵ ﺳﻔﻴﺪ ﻣﺎﺩﻩ ﻫﻢ ﺩﺭ ﻣﻴﺎﻥ ﺍﺳﺖ‪ ،‬ﻫﻤﺪﻡ ﺑ‬
‫ﻭﻳﻼﺭﺩ ﻫﻤﻪ ﻭﻗﺖ ﺁﺯﺍﺩﺵ ﺭﺍ ﺑﺎ ﺁﻧﺎﻥ ﻣﻲﮔﺬﺭﺍﻧﺪ‪ .‬ﺁﻥﻫﺎ ﺗﮑﺜﻴﺮ ﻣﻲﺷﻮﻧﺪ‪.‬‬
‫ﻭﻳﻼﺭﺩ ﺩﺳﺘﻪﻱ ﻣﻮﺵﻫﺎ ﺭﺍ ﺑﻪ ﺭﻫﺒﺮﻱ ﺑﻦ ﺑﻪ ﺧﺎﻧﻪ ﻣﺮﺩ ﮐﺎﺳﺐ ﻣﻲﺑﺮﺩ ﻭ ﺍﻭ‬

‫‪"Ideologie et appareils ideologiques d'Etat," La Pensee, no. 151 (June 1970), pp. 29-35.‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

‫ﺑﻪ ﻣﺮﮔﻲ ﺩﻫﺸﺘﻨﺎک ﺩﭼﺎﺭ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻣﺎ ﻭﻳﻼﺭﺩ ﺍﺯ ﺭﻭﻱ ﺣﻤﺎﻗﺖ ﺁﻥ ﺩﻭ ﻣﻮﺵ‬
‫ﻣﺤﺒﻮﺏ ﺭﺍ ﺑﺎ ﺧﻮﺩ ﺑﻪ ﺍﺩﺍﺭﻩ ﻣﻲﺑﺮﺩ ﻭ ﻫﻴﭻ ﭼﺎﺭﻩ ﺍﻱ ﻧﺪﺍﺭﺩ ﺟﺰ ﺍﻳﻦﻛﻪ‬
‫ﺑﻪ ﮐﺎﺭﻣﻨﺪﺍﻥ ﺍﺟﺎﺯﻩ ﺩﻫﺪ ﻣﻮﺵ ﺳﻔﻴﺪ ﺭﺍ ﺑﮑﺸﻨﺪ‪ .‬ﺑﻦ ﻧﮕﺎﻫﻲ ﺳﺨﺖ ﻭ‬
‫ﻃﻮﻻﻧﻲ ﺑﻪ ﻭﻳﻼﺭﺩ ﻣﻲﺍﻧﺪﺍﺯﺩ ﻭ ﺳﭙﺲ ﻣﻲﮔﺮﻳﺰﺩ‪ .‬ﭘﺲ ﺍﺯ ﺍﻳﻦ ﻭﻳﻼﺭﺩ ﻳﮏ‬
‫ﻭﻗﻔﻪ ﺭﺍ ﺩﺭ ﺳﺮﻧﻮﺷﺖ ﺧﻮﺩ‪ ،‬ﺩﺭ ﻣﻮﺵ ـ ﺷﺪﻥ‪ ،‬ﺗﺠﺮﺑﻪ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻭ ﺑﺎ ﻫﻤﻪﻱ‬
‫ﺗﻮﺍﻧﺶ ﺗﻼﺵ ﻣﻲﻛﻨﺪ ﺗﺎ ﻣﻴﺎﻥ ﺍﻧﺴﺎﻥﻫﺎ ﺑﺎﻗﻲ ﺑﻤﺎﻧﺪ‪ .‬ﺍﻭ ﺣﺘﻲ ﺑﻪ‬
‫ﭘﻴﺸﻨﻬﺎﺩﺍﺕ ﺍﻏﻮﺍﮔﺮﺍﻧﻪﻱ ﻳﮏ ﺯﻥ ﺟﻮﺍﻥ ﺩﺭ ﺍﺩﺍﺭﻩ ﻭﺍﮐﻨﺶ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ ﮐﻪ‬
‫»ﺷﺒﺎﻫﺖ« ﺯﻳﺎﺩﻱ ﺑﻪ ﻣﻮﺵ ﺩﺍﺭﺩــ ﺍﻣﺎ ﺍﻳﻦ ﺻﺮﻓﺎ ﻳﮏ ﺷﺒﺎﻫﺖ ﺍﺳﺖ‪ .‬ﻳﮏ‬
‫ﺭﻭﺯ‪ ،‬ﻭﻗﺘﻲ ﺍﻭ ﺯﻥ ﺟﻮﺍﻥ ﺭﺍ ﺩﻋﻮﺕ ﮐﺮﺩﻩ‪ ،‬ﻫﻤﻪ ﭼﻴﺰ ﺁﻣﺎﺩﻩ ﺑﺮﻗﺮﺍﺭﻱ‬
‫ﭘﻴﻮﻧﺪ ﺯﻧﺎﺷﻮﻳﻲ ﺷﺪﻩ‪ ،‬ﻭ ﺯﻣﻴﻨﻪ ﺑﺮﺍﻱ ﺑﺎﺯﮔﺸﺖ ﺍﻣﺮ ﺍﺩﻳﭙﻲ ﺁﻣﺎﺩﻩ ﮔﺸﺘﻪ‬
‫ﺍﺳﺖ‪ ،‬ﺑﻦ ﻧﺎﮔﻬﺎﻥ‪ ،‬ﻟﺒﺮﻳﺰ ﺍﺯ ﻧﻔﺮﺕ‪ ،‬ﺩﻭﺑﺎﺭﻩ ﻇﺎﻫﺮ ﻣﻲﺷﻮﺩ‪ .‬ﻭﻳﻼﺭﺩ ﺗﻼﺵ‬
‫ﻣﻲﻛﻨﺪ ﺗﺎ ﺍﻭ ﺭﺍ ﺩﻭﺭ ﮐﻨﺪ‪ ،‬ﺍﻣﺎ ﻓﻘﻂ ﻣﻮﻓﻖ ﻣﻲﺷﻮﺩ ﮐﻪ ﺯﻥ ﺟﻮﺍﻥ ﺭﺍ‬
‫ﻓﺮﺍﺭﻱ ﺩﻫﺪ‪ :‬ﺳﭙﺲ ﺑﻦ‪ ،‬ﻭﻳﻼﺭﺩ ﺭﺍ ﺍﻏﻮﺍ ﻣﻲ ﮐﻨﺪ ﺗﺎ ﺑﻪ ﺯﻳﺮﺯﻣﻴﻦ ﺑﻴﺎﻳﺪ؛‬
‫ﺁﻥﺟﺎ ﮐﻪ ﻳﮏ ﺩﺳﺘﻪﻱ ﺑﻲﺷﻤﺎﺭ ﺍﺯ ﻣﻮﺵﻫﺎ ﺩﺭ ﺍﻧﺘﻈﺎﺭﻧﺪ ﺗﺎ ﺍﻭ ﺭﺍ ﺍﺯ ﻫﻢ‬
‫ﺑﺪﺭﻧﺪ‪ .‬ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﻪ ﻳﮏ ﺍﻓﺴﺎﻧﻪ ﺷﺒﺎﻫﺖ ﺩﺍﺭﺩ‪ :‬ﺑﻪ ﻫﻴﭻﻭﺟﻪ ﺁﺯﺍﺭﺩﻫﻨﺪﻩ‬
‫ﻧﻴﺴﺖ‪.‬‬
‫ﻫﻤﻪﺍﺵ ﻫﻤﻴﻦ ﺍﺳﺖ‪ :‬ﻳﮏ ﺣﻴﻮﺍﻥ ـ ﺷﺪﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﮐﻪ ﺑﻪ ﭘﻴﺸﺮﻭﻱ ﺑﺮ‬
‫ﺍﺳﺎﺱ ﺷﺒﺎﻫﺖ ﺍﮐﺘﻔﺎ ﻧﻤﻲ ﮐﻨﺪ؛ ﺑﻞ ﺑﺮﻋﮑﺲ‪ ،‬ﺷﺒﺎﻫﺖ ﺑﺮﺍﻱ ﺁﻥ ﺩﺭ ﺣﮑﻢ ﻳﮏ‬
‫ﻣﺎﻧﻊ ﻳﺎ ﻭﻗﻔﻪ ﺍﺳﺖ؛ ﺍﺯﺩﻳﺎﺩ ﻣﻮﺵﻫﺎ‪ ،‬ﻳﻌﻨﻲ ﻫﻤﺎﻥ ﺩﺳﺘﻪﻱ ﻣﻮﺵﻫﺎ‪ ،‬ﻳﮏ‬
‫ِ ﻣﻮﻟﻲ ﺧﺎﻧﻮﺍﺩﻩ‪،‬‬
‫ﻣﻠﻮﮐﻮﻟﻲـﺷﺪﻥ ﺭﺍ ﺑﻪ ﻫﻤﺮﺍﻩ ﺩﺍﺭﺩ ﮐﻪ ﻗﺪﺭﺕﻫﺎﻱ ﻋﻈﻴﻢ‬
‫ﺷﻐﻞ‪ ،‬ﻭ ﻭﺿﻌﻴﺖ ﺯﻧﺎﺷﻮﻳﻲ ﺭﺍ ﺗﺤﻠﻴﻞ ﻣﻲﺑﺮﺩ؛ ﻳﮏ ﺍﻧﺘﺨﺎﺏ ﺷﻴﻄﺎﻧﻲ ﺩﺭ‬
‫ﻣﻴﺎﻥ ﺍﺳﺖ ﺯﻳﺮﺍ ﺩﺭ ﺩﺳﺘﻪ ﻳﮏ »ﺑﺮﮔﺰﻳﺪﻩ« ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﮐﻪ ﺑﺎ ﺍﻭ ﻧﻮﻋﻲ‬
‫ﻭﺻﻠﺖ‪ ،‬ﻳﮏ ﻋﻬﺪ ﻣﺨﻮﻑ‪ ،‬ﺑﺴﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ :‬ﺗﺎﺳﻴﺲ ﻧﻮﻋﻲ ﺳﺮﻫﻢﺑﻨﺪﻱ‪ ،‬ﻧﻮﻋﻲ‬
‫ﻣﺎﺷﻴﻦ ﺟﻨﮕﻲ ﻳﺎ ﻣﺎﺷﻴﻦ ﺟﻨﺎﻳﻲ ﺩﺭ ﻣﻴﺎﻥ ﺍﺳﺖ ﮐﻪ ﻣﻲ ﺗﻮﺍﻧﺪ ﺑﻪ ﻧﻘﻄﻪﻱ‬
‫ﺧﻮﺩﺗﺨﺮﻳﺐﮔﺮﻱ ﺑﺮﺳﺪ؛ ﻧﻮﻋﻲ ﮔﺮﺩﺵ ﺗﺄﺛﻴﺮﺍﺕ ]ﻋﻮﺍﻃﻒ[ ﻏﻴﺮﺷﺨﺼﻲ ﻭﺟﻮﺩ‬
‫ﺩﺍﺭﺩ‪ ،‬ﻳﮏ ﺟﺮﻳﺎﻥ ﻣﺘﻨﺎﻭﺏ ﭘﺮﻭژﻩ ﻫﺎﻱ ﺩﻻﻟﺖﮔﺮ ﻭ ﻫﻤﭽﻨﻴﻦ ﺍﺣﺴﺎﺳﺎﺕ‬
‫ﺳﻮﺑﮋﮐﺘﻴﻮ ﺭﺍ ﺗﺨﺮﻳﺐ ﻣﻲﻛﻨﺪ‪ ،‬ﻭ ﻳﮏ ﺟﻨﺴﻴﺖ ﻧﺎﺍﻧﺴﺎﻧﻲ ﺑﺮ ﻣﻲﺳﺎﺯﺩ؛ ﻭ ﻳﮏ‬
‫ﻗﻠﻤﺮﻭﺯﺩﺍﻳﻲ ﻗﻮﻱ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﺗﺎ ﺍﺯ ﺗﻼﺵﻫﺎﻳﻲ ﻣﻤﺎﻧﻌﺖ ﮐﻨﺪ ﮐﻪ ﺩﺭ ﺟﻬﺖ‬
‫ﺑﺎﺯﻗﻠﻤﺮﻭﮔﺬﺍﺭﻱ ﺣﺮﻓﻪﺍﻱ‪ ،‬ﻧﮑﺎﺣﻲ‪ ،‬ﻳﺎ ﺍﺩﻳﭙﻲ ﺻﻮﺭﺕ ﻣﻲﮔﻴﺮﺩ‪) .‬ﺁﻳﺎ‬
‫ﺣﻴﻮﺍﻧﺎﺗﻲ ﺍﺩﻳﭙﻲ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ ﮐﻪ ﺑﺘﻮﺍﻥ ﺑﺎ ﺁﻥﻫﺎ »ﺍﺩﻳﭗ ﺭﺍ ﺑﺎﺯﻱ‬
‫ﮐﺮﺩ«‪ ،‬ﺧﺎﻧﻮﺍﺩﻩ ﺭﺍ ﺑﺎﺯﻱ ﮐﻨﺪ‪» ،‬ﮔﺮﺑﻪﻱ ﮐﻮﭼﮏ ﻣﻦ«‪» ،‬ﺳﮓ ﮐﻮﭼﮏ ﻣﻦ« ﺭﺍ‬
‫ﺑﺎﺯﻱ ﮐﺮﺩ‪ ،‬ﻭ ﺁﻥﮔﺎﻩ ﺁﻳﺎ ﺣﻴﻮﺍﻧﺎﺗﻲ ﺩﻳﮕﺮ‪ ،‬ﺑﺮﻋﮑﺲ ﺁﻥﻫﺎ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ‪،‬‬
‫ﮐﻪ ﻣﺎ ﺭﺍ ﺑﻪ ﻳﮏ ﺷﺪﻥ ﺳﺨﺖ ﻭ ﻏﻴﺮﻗﺎﺑﻞ ﺍﺟﺘﻨﺎﺏ ﺑﮑﺸﺎﻧﻨﺪ؟ ﻳﺎ ﻳﮏ ﻓﺮﺿﻴﻪ‬
‫ﺩﻳﮕﺮ‪ :‬ﺁﻳﺎ ﻳﮏ ﺣﻴﻮﺍﻥ ﺗﻮﺃﻣﺎﻥ ﻣﻲ ﺗﻮﺍﻧﺪ ﺑﺮﺣﺴﺐ ﺷﺮﺍﻳﻂ ﺑﺎ ﻳﮑﻲ ﺍﺯ ﺩﻭ‬
‫ﮐﺎﺭﮐﺮﺩ ﻭ ﺟﻨﺒﺶ ﻣﺘﻀﺎﺩ ﻫﻤﺮﺍﻩ ﺷﻮﺩ؟(‬
‫ﺧﺎﻃﺮﺍﺕ ﻳﮏ ﻧﺎﺗﻮﺭﺍﻟﻴﺴﺖ‪ .‬ﻳﮑﻲ ﺍﺯ ﻣﺴﺎﻳﻞ ﺍﺻﻠﻲ ﺗﺎﺭﻳﺦ ﻃﺒﻴﻌﻲ ﺍﻳﻦ‬
‫ﺑﻮﺩ ﮐﻪ ﺭﺍﺑﻄﻪ ﻣﻴﺎﻥ ﺣﻴﻮﺍﻧﺎﺕ ﺭﺍ ﻣﻔﻬﻮﻡ ﭘﺮﺩﺍﺯﻱ ﮐﻨﺪ‪ .‬ﺍﻳﻦ ﻣﻨﻈﺮ‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

‫ﺑﺴﻴﺎﺭ ﻣﺘﻔﺎﻭﺕ ﺍﺳﺖ ﺑﺎ ﺗﮑﺎﻣﻞﮔﺮﺍﻳﻲ ﻣﺘﺎﺧﺮ‪ ،‬ﮐﻪ ﺧﻮﺩ ﺭﺍ ﺑﺮﺣﺴﺐ‬
‫ﺗﺒﺎﺭﺷﻨﺎﺳﻲ‪ ،‬ﺧﻮﻳﺸﺎﻭﻧﺪﻱ‪ ،‬ﺷﺠﺮﻩ‪ ،‬ﻭ ﻧﺴﺐ ﺗﺒﻴﻴﻦ ﮐﺮﺩ‪ .‬ﻣﻲﺩﺍﻧﻴﻢ ﮐﻪ‬
‫ً ﺑﺮﺣﺴﺐ‬
‫ﺗﮑﺎﻣﻞﮔﺮﺍﻳﻲ ﺑﻪ ﺍﻳﺪﻩ ﻧﻮﻋﻲ ﺗﮑﺎﻣﻞ ﺩﺳﺖ ﻳﺎﻓﺘﻪ ﺍﺳﺖ ﮐﻪ ﺿﺮﻭﺭﺗﺎ‬
‫ﻧﺴﺐ ﻋﻤﻞ ﻧﻤﻲﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺑﺮﺍﻱ ﺗﮑﺎﻣﻞﮔﺮﺍﻳﻲ ﺍﻳﻦ ﺍﻣﺮ ﻏﻴﺮﻗﺎﺑﻞ ﺍﺟﺘﻨﺎﺏ‬
‫ﺑﻮﺩ ﮐﻪ ﺑﺎ ﺩﺭﻭﻥﻣﺎﻳﻪﻱ ﺗﺒﺎﺭﺷﻨﺎﺳﺎﻧﻪ ﺁﻏﺎﺯ ﺑﻪﮐﺎﺭ ﮐﻨﺪ‪ .‬ﺧﻮﺩ ﺩﺍﺭﻭﻳﻦ‬
‫ﻧﻴﺰ ﻓﺤﻮﺍﻱ ﺗﮑﺎﻣﻞﮔﺮﺍﻳﺎﻧﻪﻱ ﺧﻮﻳﺸﺎﻭﻧﺪﻱ ﺭﺍ ﻭ ﻓﺤﻮﺍﻱ ﻧﺎﺗﻮﺭﺍﻟﻴﺴﺘﻲ ﺟﻤﻊ‬
‫ﻭ ﺍﺭﺯﺵ ﺗﻔﺎﻭﺕﻫﺎ ﻭ ﺷﺒﺎﻫﺖﻫﺎ ﺭﺍ ﭼﻴﺰﻫﺎﻳﻲ ﻣﺘﻔﺎﻭﺕ ﻣﻲﮔﻴﺮﺩ‪ :‬ﮔﺮﻭﻩﻫﺎﻳﻲ‬
‫ﮐﻪ ﺑﻪ ﻳﮏ ﺩﺭﺟﻪ ﻧﺴﺒﺖ ﺩﺍﺩﻩ ﺷﺪﻩﺍﻧﺪ ﻣﻲﺗﻮﺍﻧﻨﺪ ﺩﺭﺟﻪﺍﻱ ﺑﺴﻴﺎﺭ ﻣﺘﻐﻴﺮ‬
‫ً ﺍﺯ ﺁﻥﺟﺎ‬
‫ﺗﻔﺎﻭﺕ ﺭﺍ ﺩﺭ ﻧﺴﺒﺖ ﺑﺎ ﻧﻴﺎﮐﺎﻥ ﺑﻪ ﻧﻤﺎﻳﺶ ﻣﻲﮔﺬﺍﺭﻧﺪ‪ .‬ﺩﻗﻴﻘﺎ‬
‫ً ﺑﺎ ﺟﻤﻊ‪/‬ﺗﻠﺨﻴﺺ ﻭ ﺍﺭﺯﺵ ﺗﻔﺎﻭﺕﻫﺎ ﮐﺎﺭ ﻣﻲﻛﻨﺪ‪،‬‬‫ﮐﻪ ﺗﺎﺭﻳﺦ ﻃﺒﻴﻌﻲ ﺍﺳﺎﺳﺎ‬
‫ﻣﻲ ﺗﻮﺍﻧﺪ ﺗﺼﻮﺭﻱ ﺍﺯ ﭘﻴﺸﺮﻓﺖﻫﺎ ﻭ ﭘﺴﺮﻓﺖﻫﺎ‪ ،‬ﺍﺳﺘﻤﺮﺍﺭﻫﺎ ﻭ ﮔﺴﺴﺖﻫﺎﻱ‬
‫ﺍﺻﻠﻲ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﺍﻣﺎ ﺑﻪ ﺗﮑﺎﻣﻞ ﺩﺭ ﻣﻌﻨﺎﻱ ﻣﺸﺨﺺ ﺁﻥ ﺍﻋﺘﻨﺎﻳﻲ‬
‫ﻧﺪﺍﺭﺩ‪ ،‬ﺑﻪ ﺑﻴﺎﻥ ﺩﻳﮕﺮ‪ ،‬ﺍﻣﮑﺎﻥ ﻧﻮﻋﻲ ﺷﺠﺮﻩ‪/‬ﻧﮋﺍﺩ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﮐﻪ‬
‫ﺩﺭﺟﻪﻫﺎﻱ ﺗﻐﻴﻴﺮ ﺁﻥ ﺑﺮﺣﺴﺐ ﺷﺮﺍﻳﻂ ﺑﻴﺮﻭﻧﻲ ﺗﻌﻴﻴﻦ ﻣﻲﺷﻮﺩ‪ .‬ﺗﺎﺭﻳﺦ ﻃﺒﻴﻌﻲ‬
‫ﻓﻘﻂ ﻣﻲﺗﻮﺍﻧﺪ ﺑﺮﺣﺴﺐ ﺭﻭﺍﺑﻂ )ﻣﻴﺎﻥ ﺍﻟﻒ ﻭ ﺏ( ﻓﮑﺮ ﮐﻨﺪ‪ ،‬ﻧﻪ ﺑﺮﺣﺴﺐ‬
‫ﺗﻮﻟﻴﺪ )ﺍﺯ ﺍﻟﻒ ﺑﻪ ﻓﻼﻥ)‪.((x‬‬
‫ﺍﻣﺎ ﭼﻴﺰﻱ ﺑﺴﻴﺎﺭ ﻣﻬﻢ ﺩﺭ ﺳﻄﺢ ﺭﻭﺍﺑﻂ ﻓﺎﺵ ﻣﻲﺷﻮﺩ‪ .‬ﺯﻳﺮﺍ ﺗﺎﺭﻳﺦ‬
‫ﻃﺒﻴﻌﻲ ﺭﻭﺍﺑﻂ ﻣﻴﺎﻥ ﺣﻴﻮﺍﻧﺎﺕ ﺭﺍ ﺑﻪ ﺩﻭ ﺭﻭﺵ ﻣﺪﻧﻈﺮ ﻗﺮﺍﺭ ﻣﻲﺩﻫﺪ‪:‬‬
‫ﻣﺠﻤﻮﻋﻪ ﻭ ﺳﺎﺧﺘﺎﺭ‪ .‬ﺩﺭ ﻣﻮﺭﺩ ﻳﮏ ﻣﺠﻤﻮﻋﻪ‪ ،‬ﻣﻦ ﻣﻲﮔﻮﻳﻢ ﮐﻪ ﺍﻟﻒ ﺷﺒﻴﻪ ﺏ‬
‫ﺍﺳﺖ‪ ،‬ﺏ ﺷﺒﻴﻪ پ ﺍﺳﺖ ﻭ ﺍﻟﻲﺁﺧﺮ‪ .‬ﻫﻤﻪﻱ ﺍﻳﻦ ﺿﻮﺍﺑﻂ ﺑﺎ ﺩﺭﺟﺎﺗﻲ ﻣﺘﻔﺎﻭﺕ‬
‫ﺑﺎ ﻳﮏ ﺿﺎﺑﻄﻪ‪ ،‬ﮐﻤﺎﻝ‪ ،‬ﻳﺎ ﮐﻴﻔﻴﺘﻲ ﻭﺍﺣﺪ ﻭ ﺍﻋﻼ ﺳﺎﺯﮔﺎﺭﻱ ﺩﺍﺭﻧﺪ‪ ،‬ﮐﻪ‬
‫ً ﻫﻤﺎﻥ ﭼﻴﺰﻱ ﺍﺳﺖ ﮐﻪ‬ ‫ﺑﻪﻋﻨﻮﺍﻥ ﺍﺻﻞ ﺍﺳﺎﺳﻲ ﻣﺠﻤﻮﻋﻪ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺩﻗﻴﻘﺎ‬
‫ﻣﺘﺎﻟﻬﻴﻦ ﺑﻪ ﺁﻥ »ﻗﻴﺎﺱ ﺗﺸﺎﺑﻬﻲ ﻧﺴﺒﺖ« ﺍﻃﻼﻕ ﻣﻲﻛﺮﺩﻧﺪ‪ .‬ﺩﺭﺑﺎﺏ ﺳﺎﺧﺘﺎﺭ‬
‫ﻣﻦ ﻣﻲ ﮔﻮﻳﻢ ﮐﻪ ﻧﺴﺒﺖ ﺍﻟﻒ ﺑﻪ ﺏ ﻫﻤﺎﻥﻃﻮﺭ ﺍﺳﺖ ﮐﻪ ﻧﺴﺒﺖ پ ﺑﻪ ﺕ؛ ﻭ‬
‫ﻫﺮﻳﮏ ﺍﺯ ﺍﻳﻦ ﺭﻭﺍﺑﻂ ﺩﺭﭘﻲ ﺍﺳﻠﻮﺏ ﺧﻮﺩ ﮐﻤﺎﻝ ﻣﻮﺭﺩ ﻧﻈﺮ ﺭﺍ ﻣﺤﻘﻖ ﻣﻲ‬
‫ﮐﻨﺪ‪ :‬ﺁﺑﺸﺶﻫﺎ ﺑﺮﺍﻱ ﺗﻨﻔﺲ ﺯﻳﺮ ﺁﺏ ﻫﺴﺘﻨﺪ‪ ،‬ﻫﻤﺎﻥﻃﻮﺭ ﮐﻪ ﺷﺶ ﺑﺮﺍﻱ ﺗﻨﻔﺲ‬
‫ﻫﻮﺍ‪ .‬ﻳﺎ ﻗﻠﺐ ﺑﺎ ﺁﺑﺸﺶ ﻫﻤﺎﻥ ﻧﺴﺒﺘﻲ ﺭﺍ ﺩﺍﺭﺩ ﮐﻪ ﻧﺒﻮﺩ ﻗﻠﺐ ﺑﻪ ﻧﺎﻱ‬
‫]ﺩﺭ ﺣﺸﺮﺍﺕ[‪ ... 109‬ﺍﻳﻦ ﻫﻤﺎﻥ »ﻗﻴﺎﺱ ﺗﺸﺎﺑﻬﻲ ﻣﺘﻨﺎﺳﺐﺑﻮﺩﻥ« ﺍﺳﺖ‪ .‬ﺩﺭ‬
‫ﻣﻮﺭﺩ ﺍﻭﻝ‪ ،‬ﻣﻦ ﺷﺒﺎﻫﺖﻫﺎﻳﻲ ﺩﺍﺭﻡ ﮐﻪ ﺩﺭ ﻳﮏ ﻣﺠﻤﻮﻋﻪﻱ ﻳﮕﺎﻧﻪ ﻳﺎ ﺑﻴﻦ‬
‫ﻣﺠﻤﻮﻋﻪﻫﺎ ﺑﺎ ﻳﮑﺪﻳﮕﺮ ﻣﺘﻔﺎﻭﺗﻨﺪ‪ .‬ﺩﺭ ﻣﻮﺭﺩ ﺩﻭﻡ ﻣﻦ ﺗﻔﺎﻭﺕﻫﺎﻳﻲ ﺩﺍﺭﻡ‬
‫ﮐﻪ ﺩﺭﻭﻥ ﻳﮏ ﺗﮏ ﺳﺎﺧﺘﺎﺭ‪ ،‬ﻳﺎ ﻣﻴﺎﻥ ﺳﺎﺧﺘﺎﺭﻫﺎ‪ ،‬ﺑﺎ ﻳﮑﺪﻳﮕﺮ ﻣﺸﺎﺑﻬﺖ‬
‫ﺩﺍﺭﻧﺪ‪ .‬ﺍﻭﻟﻴﻦ ﻧﻮﻉ ﻗﻴﺎﺱ‪ ،‬ﻣﺤﺴﻮﺱﺗﺮ ﻭ ﻣﺤﺒﻮﺑﺘﺮ ﺩﺍﻧﺴﺘﻪ ﻣﻲﺷﻮﺩ ﻭ ﺑﻪ‬
‫ﺗﺨﻴﻞ ﻧﻴﺎﺯ ﺩﺍﺭﺩ؛ ﺍﻣﺎ ﻗﺴﻤﻲ ﺍﺯ ﺗﺨﻴﻞ ﻣﻮﺭﺩ ﻧﻴﺎﺯ ﺍﺳﺖ ﮐﻪ ﺑﻠﻴﻎ ﺑﺎﺷﺪ‬
‫ﭼﺮﺍﮐﻪ ﺑﺎﻳﺪ ﺷﺎﺧﻪ ﺷﺪﻥﻫﺎ ﻭ ﺍﻧﺸﻌﺎﺑﺎﺕ ﺩﺭﻭﻥ ﻣﺠﻤﻮﻋﻪ ﺭﺍ ﻣﺪﻧﻈﺮ ﻗﺮﺍﺭ‬
‫ﺩﻫﺪ‪ ،‬ﮔﺴﺴﺖﻫﺎﻱ ﺁﺷﮑﺎﺭ ﺭﺍ ﭘﺮ ﮐﻨﺪ‪ ،‬ﺷﺒﺎﻫﺖﻫﺎﻱ ﻏﻠﻂ ﺭﺍ ﺩﻓﻊ ﮐﻨﺪ ﻭ‬
‫ﺷﺒﺎﻫﺖﻫﺎﻱ ﺩﺭﺳﺖ ﺭﺍ ﺗﺼﻤﻴﻦ ﻧﻤﺎﻳﺪ‪ ،‬ﻭ ﻫﻢ ﭘﻴﺸﺮﻓﺖﻫﺎ ﻭ ﻫﻢ ﭘﺴﺮﻓﺖﻫﺎ ﻳﺎ‬

‫‪ .‬ﺣﺸﺮﺍﺕ ﻓﺎﻗﺪ ﻗﻠﺐ ﻫﺴﺘﻨﺪ ﻭ ﺗﻨﻔﺲ ﺩﺭ ﺁﻥﻫﺎ ﺑﻪﻭﺳﻴﻠﻪﻱ ﻧﺎﻱ ﺻﻮﺭﺕ ﻣﻲﮔﻴﺮﺩ‪.‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

‫ﺗﻨﺰﻝ ﺭﺗﺒﻪﻫﺎ ﺭﺍ ﻣﺪﻧﻈﺮ ﻗﺮﺍﺭ ﺩﻫﺪ‪ .‬ﺩﻭﻣﻴﻦ ﻓﺮﻡ ﻗﻴﺎﺱ ﻣﻠﻮﮐﺎﻧﻪ ﺩﺍﻧﺴﺘﻪ‬
‫ﻣﻲﺷﻮﺩ ﺯﻳﺮﺍ ﺩﺭ ﻋﻮﺽ ﻧﻴﺎﺯﻣﻨﺪ ﻫﻤﻪﻱ ﻣﻨﺎﺑﻊ ﻓﻬﻢ ﻭ ﺩﺭﻳﺎﻓﺖ ﺍﺳﺖ ﺗﺎ‬
‫ﻧﺴﺒﺖﻫﺎﻱ ﻫﻢﺍﺭﺯ ﺭﺍ ﺑﻴﺎﺑﺪ؛ ﺁﻥ ﻫﻢ ﺑﺎ ﮐﺸﻒ ﻣﺘﻐﻴﺮﻫﺎﻱ ﻣﺴﺘﻘﻞ‪ ،‬ﺍﺯ ﻳﮏ‬
‫ﻃﺮﻑ‪ ،‬ﮐﻪ ﻣﻲﺗﻮﺍﻧﻨﺪ ﺑﺮﺍﻱ ﻓﺮﻡ ﺩﺍﺩﻥ ﺑﻪ ﻳﮏ ﺳﺎﺧﺘﺎﺭ ﺗﺮﮐﻴﺐ ﺷﻮﻧﺪ‪ ،‬ﻭ ﺍﺯ‬
‫ﻃﺮﻑ ﺩﻳﮕﺮ ﺑﺎ ﮐﺸﻒ ﻫﻢﺑﺴﺘﻪﻫﺎﻳﻲ ﮐﻪ ﺩﺭﻭﻥ ﻫﺮ ﺳﺎﺧﺘﺎﺭ ﻣﺴﺘﻠﺰﻡ ﻳﮑﺪﻳﮕﺮ‬
‫ﺍﻧﺪ‪ .‬ﻫﺮ ﭼﻘﺪﺭ ﻫﻢ ﮐﻪ ﺩﻭ ﻣﻮﺿﻮﻉ ﺳﺎﺧﺘﺎﺭ ﻭ ﻣﺠﻤﻮﻋﻪ ﺑﺎ ﻳﮑﺪﻳﮕﺮ ﻣﺘﻔﺎﻭﺕ‬
‫ﺑﺎﺷﻨﺪ‪ ،‬ﺑﺎ ﺍﻳﻦﺣﺎﻝ ﻫﻤﻮﺍﺭﻩ ﺩﺭ ﺗﺎﺭﻳﺦ ﻃﺒﻴﻌﻲ ﺣﻀﻮﺭﻱ ﺗﻮﺃﻣﺎﻥ)ﻫﻤﺰﻳﺴﺘﻲ(‬
‫ﺩﺍﺷﺘﻪﺍﻧﺪ؛ ﺩﺭ ﻇﺎﻫﺮ ﻣﺘﻨﺎﻗﺾ‪ ،‬ﺍﻣﺎ ﺩﺭ ﻋﻤﻞ ﺑﻪ ﻳﮏ ﺳﺎﺯﺵ ﮐﻤﺎﺑﻴﺶ‬
‫ﭘﺎﻳﺪﺍﺭ ﺭﺳﻴﺪﻩﺍﻧﺪ‪ 110.‬ﺑﻪ ﻫﻤﻴﻦ ﺷﻴﻮﻩ‪ ،‬ﺩﻭ ﭼﻬﺮﻩﻱ ﻗﻴﺎﺱ ﺩﺭ ﺍﺫﻫﺎﻥ‬
‫ﻣﺘﺎﻟﻪﻫﺎ ﺩﺭ ﻣﻌﺎﺩﻻﺕ ﻣﺨﺘﻠﻒ ﻫﻤﺰﻳﺴﺘﻲ ﺩﺍﺷﺘﻪﺍﻧﺪ‪ .‬ﺑﻪ ﺍﻳﻦ ﺩﻟﻴﻞ ﮐﻪ ﺩﺭ‬
‫ﻫﺮ ﺩﻭ ﻣﻮﺭﺩ ﻃﺒﻴﻌﺖ ﺑﻪ ﻣﺜﺎﺑﻪ ﻧﻮﻋﻲ ﻣﺤﺎﮐﺎﺕ ﻋﻈﻴﻢ ﺍﻧﮕﺎﺷﺘﻪ ﻣﻲﺷﻮﺩ‪ :‬ﻳﺎ‬
‫ﺩﺭ ﻓﺮﻡ ﺯﻧﺠﻴﺮﻩﺍﻱ ﺍﺯ ﻫﺴﺘﻲﻫﺎ ﮐﻪ ﺗﺎ ﺍﺑﺪ‪ ،‬ﺭﻭ ﺑﻪ ﭘﻴﺶ ﻳﺎ ﭘﺲﺭﻭﺍﻧﻪ‪،‬‬
‫ﺍﺯ ﻳﮑﺪﻳﮕﺮ ﺗﻘﻠﻴﺪ ﻣﻲﻛﻨﻨﺪ‪ ،‬ﻭ ﺭﻭ ﺑﻪ ﺳﻮﻱ ﺿﺎﺑﻄﻪﻱ ﻭﺍﻻﺗﺮ ﺍﻟﻬﻲ ــ ﺑﻪ‬
‫ﻣﺜﺎﺑﻪ ﻣﺪﻟﻲ ﺑﺮﺍﻱ ﻣﺠﻤﻮﻋﻪ ﻭ ﺍﺻﻞ ﭘﺸﺖ ﺁﻥ ــ ﺩﺍﺭﻧﺪ ﮐﻪ ﻫﻤﻪ ﺁﻥ ﺭﺍ ﺑﺎ‬
‫ﺷﺒﺎﻫﺘﻲ ﺩﺭﺟﻪﺑﻨﺪﻱﺷﺪﻩ ﺗﻘﻠﻴﺪ ﻣﻲﻛﻨﻨﺪ؛ ﻳﺎ ﺩﺭ ﻗﺎﻟﺐ ﻳﮏ ﺗﻘﻠﻴﺪ ﺁﻳﻨﻪﺍﻱ‪،‬‬
‫ﺁﻥ ﻫﻢ ﺩﺭﺣﺎﻟﻲﻛﻪ ﻫﻴﭻ ﭼﻴﺰ ﺑﺮﺍﻱ ﺗﻘﻠﻴﺪ ﺑﺎﻗﻲ ﻧﻤﺎﻧﺪﻩ ﺍﺳﺖ‪ ،‬ﺯﻳﺮﺍ ﺍﻳﻦ‬
‫ﺧﻮﺩ ﻫﻤﺎﻥ ﻣﺪﻟﻲ ﺍﺳﺖ ﮐﻪ ﻫﺮ ﭼﻴﺰ ﺩﻳﮕﺮ ﺁﻥ ﺭﺍ ﺗﻘﻠﻴﺪ ﻣﻲﻛﻨﺪ‪ ،‬ﺍﻟﺒﺘﻪ‬
‫ﻳﺎ‬ ‫ﻣﺤﺎﮐﺎﺗﻲ‬ ‫ﺩﻳﺪﮔﺎﻩ‬ ‫)ﺍﻳﻦ‬ ‫ﺳﻔﺎﺭﺷﻲ‪.‬‬ ‫ﺗﻔﺎﻭﺗﻲ‬ ‫ﺑﺎ‬ ‫ﺑﺎﺭ‬ ‫ﺍﻳﻦ‬
‫ﺗﻘﻠﻴﺪﺑﺎﻭﺭﺍﻧﻪ ﻫﻤﺎﻥ ﭼﻴﺰﻱ ﺍﺳﺖ ﮐﻪ ﺍﻳﺪﻩﻱ ﺗﻮﻟﻴﺪـﺗﮑﺎﻣﻞ ﺭﺍ ﺩﺭ ﺣﺎﻝ‬
‫ﺣﺎﺿﺮ ﻣﻤﮑﻦ ﺳﺎﺧﺘﻪ ﺍﺳﺖ‪(.‬‬
‫ً ﺍﻳﻦ ﻣﺸﮑﻞ ﺭﺍ ﭘﺸﺖ ﺳﺮ ﻧﮕﺬﺍﺷﺘﻪ ﺍﻳﻢ‪ .‬ﺍﻳﺪﻩﻫﺎ ﻧﻤﻲﻣﻴﺮﻧﺪ‪ .‬ﻭ‬ ‫ﺍﺑﺪﺍ‬
‫ً‬
‫ﺍﻟﺒﺘﻪ ﺻﺮﻓﺎ ﺩﺭ ﻣﻘﺎﻡ ﭼﻴﺰﻫﺎﻱ ﮐﻬﻨﻪ ﻫﻢ ﺑﺎﻗﻲ ﻧﻤﻲﻣﺎﻧﻨﺪ‪ .‬ﺷﺎﻳﺪ ﺁﻥﻫﺎ‬
‫ﺩﺭ ﻟﺤﻈﻪﺍﻱ ﻣﻌﻴﻦ ﺑﻪ ﻣﺮﺣﻠﻪﺍﻱ ﻋﻠﻤﻲ ﺩﺳﺖ ﻳﺎﺑﻨﺪ‪ ،‬ﻭ ﺳﭙﺲ ﺁﻥ ﺷﺄﻥ ﺭﺍ ﺍﺯ‬
‫ﺩﺳﺖ ﺑﺪﻫﻨﺪ ﻳﺎ ﺑﻪ ﺳﺮﺍﻍ ﺩﻳﮕﺮ ﻋﻠﻮﻡ ﺑﺮﻭﻧﺪ‪ .‬ﮐﺎﺭﺑﺴﺖ ﻭ ﺷﺎﻥ ﺍﻳﻦ‬
‫ﺍﻳﺪﻩﻫﺎ ﻭ ﺣﺘﻲ ﻓﺮﻡ ﻭ ﻣﺤﺘﻮﺍﻳﺸﺎﻥ ﻗﺎﺑﻞ ﺗﻐﻴﻴﺮ ﺍﺳﺖ؛ ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻦ‪،‬‬
‫ﺁﻥﻫﺎ ﭼﻴﺰﻱ ﺫﺍﺗﻲ ﻭ ﺍﺳﺎﺳﻲ ﺭﺍ ﺩﺭ ﺳﺮﺗﺎﺳﺮ ﺍﻳﻦ ﭘﺮﻭﺳﻪ ﻭ ﺩﺭ ﻃﻮﻝ ﺍﻳﻦ‬
‫ﺟﺎﺑﺠﺎﺷﺪﻥ ﻭ ﺣﻴﻦ ﺗﻮﺯﻳﻊ ﺩﺭ ﺩﺍﻣﻨﻪﺍﻱ ﺟﺪﻳﺪ ﺣﻔﻆ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺍﻳﺪﻩﻫﺎ‬
‫ﻫﻤﻮﺍﺭﻩ ﻗﺎﺑﻠﻴﺖ ﺍﺳﺘﻔﺎﺩﻩﻱ ﻣﺠﺪﺩ ﺩﺍﺭﻧﺪ‪ ،‬ﺯﻳﺮﺍ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﻫﻢ ﺩﺭ‬
‫ﺣﺎﻻﺕ ﺑﺎﻟﻔﻌﻞ ﻣﺨﺘﻠﻔﻲ ﺑﻪﮐﺎﺭ ﻣﻲﺭﻓﺘﻨﺪ‪ .‬ﺯﻳﺮﺍ ﺍﺯ ﻳﮏﺳﻮ ﺭﻭﺍﺑﻂ ﺑﻴﻦ‬
‫ﺣﻴﻮﺍﻧﺎﺕ ﻧﻪ ﺗﻨﻬﺎ ﺍﺑﮋﻩﻱ ﻋﻠﻮﻡ ﺑﻞ ﻫﻤﭽﻨﻴﻦ ﺍﺑﮋﻩﻱ ﺭﻭﻳﺎﻫﺎ‪ ،‬ﺳﻤﺒﻮﻟﻴﺴﻢ‪،‬‬
‫ﻫﻨﺮ ﻭ ﺷﻌﺮ‪ ،‬ﻋﻤﻞ ﻭ ﺍﺳﺘﻔﺎﺩﻩﻱ ﻋﻤﻠﻲ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﻭ ﺍﺯ ﺳﻮﻱ ﺩﻳﮕﺮ‪،‬‬
‫ﺭﻭﺍﺑﻂ ﺑﻴﻦ ﺣﻴﻮﺍﻧﺎﺕ ﺑﺎ ﻧﺴﺒﺖﻫﺎﻱ ﺑﻴﻦ ﺍﻧﺴﺎﻥ ﻭ ﺣﻴﻮﺍﻥ‪ ،‬ﻣﺮﺩ ﻭ ﺯﻥ‪،‬‬
‫ﻣﺮﺩ ﻭ ﮐﻮﺩک‪ ،‬ﻣﺮﺩ ﻭ ﻋﻨﺎﺻﺮ‪ ،‬ﻭ ﻣﺮﺩ ﻭ ﺟﻬﺎﻥ ﻓﻴﺰﻳﮑﻲ ﻭ ﺧﺮﺩﻩﻓﻴﺰﻳﮑﻲ‬

‫‪ .‬ﺩﺭﺑﺎﺭﻩﻱ ﺭﺍﺑﻄﻪﻱ ﻣﮑﻤﻞﺑﻮﺩﻥ ﺳﺮﻱ ﻭ ﺳﺎﺧﺘﺎﺭ ﻭ ﺍﻳﻦﮐﻪ ﭼﮕﻮﻧﻪ ﺍﻳﻦﻫﺎ ﺍﺯ ﺗﮑﺎﻣﻞﺑﺎﻭﺭﻱ‬

‫ﺗﻔﺎﻭﺕ ﺩﺍﺭﻧﺪ‪ ،‬ﺑﻪ ﻣﻨﺒﻊﻫﺎﻱ ﺯﻳﺮ ﺭﺟﻮﻉ ﮐﻨﻴﺪ‪:‬‬
‫‪Henri Daudin, Cuvier et Lamarck. Les classes zoologiques et Tid'ee de serie animale, vol. 2 of Etudes d'histoire des sciences‬‬
‫‪naturelles (Paris: Alcan, 1926); and Michel Foucault, The Order of 'Things (NewYork: Vintage, 1970).‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫ﮔﺮﻩ ﺧﻮﺭﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻳﺪﻩﻱ ﺩﻭﺳﻮﻳﻪﻱ »ﺳﺮﻱـﺳﺎﺧﺘﺎﺭ« ﺩﺭ ﺩﻗﻴﻘﻪﺍﻱ ﻣﺸﺨﺺ ﺍﺯ‬
‫ﺁﺳﺘﺎﻧﻪﺍﻱ ﻋﻠﻤﻲ ﺩﺭﻣﻲﮔﺬﺭﺩ؛ ﺍﻣﺎ ﺍﺯ ﺍﻥﺟﺎ ﺁﻏﺎﺯ ﻧﮑﺮﺩﻩ ﻭ ﺁﻥﺟﺎ‬
‫ﻧﻤﻲﻣﺎﻧﺪ ﻳﺎ ﺑﻪ ﺩﻳﮕﺮ ﻋﻠﻮﻡ ﺭﻭﺍﻧﻪ ﻣﻲﺷﻮﺩ ﻭ ﺑﺮﺍﻱ ﻣﺜﺎﻝ ﻋﻠﻮﻡ ﺍﻧﺴﺎﻧﻲ‬
‫ﺭﺍ ﺑﻪ ﺭﺍﻩ ﻣﻲﺍﻧﺪﺍﺯﺩ ﮐﻪ ﺩﺭ ﺧﺪﻣﺖ ﺑﺮﺭﺳﻲ ﺭﻭﻳﺎﻫﺎ‪ ،‬ﺍﺳﻄﻮﺭﻩﻫﺎ ﻭ‬
‫ﺳﺎﺯﻣﺎﻧﺪﻫﻲﻫﺎ ﺍﺳﺖ‪ .‬ﺗﺎﺭﻳﺦ ﺍﻳﺪﻩﻫﺎ ﻧﺒﺎﻳﺪ ﻫﺮﮔﺰ ﭘﻴﻮﺳﺘﻪ ﺑﺎﺷﺪ؛ ﺑﺎﻳﺪ‬
‫ﺍﺯ ﺷﺒﺎﻫﺖﻫﺎ‪ ،‬ﺷﺠﺮﻩﻫﺎ ﻳﺎ ﻧﺴﺐﻫﺎ ﺑﭙﺮﻫﻴﺰﺩ؛ ﺑﺎﻳﺪ ﺑﻪ ﻣﺸﺨﺺﮐﺮﺩﻥ‬
‫ﺁﺳﺘﺎﻧﻪﻫﺎ ﻭ ﺳﻔﺮﻫﺎ ﻗﻨﺎﻋﺖ ﮐﻨﺪ‪ :‬ﺁﺳﺘﺎﻧﻪﻫﺎﻳﻲ ﮐﻪ ﺍﻳﺪﻩﻫﺎ ﺍﺯ ﺧﻼﻝ ﺁﻥﻫﺎ‬
‫ﻣﻲﮔﺬﺭﻧﺪ ﻭ ﺳﻔﺮﻫﺎﻳﻲ ﮐﻪ ﺍﻳﺪﻩ ﻣﻲﻛﻨﺪ ﻭ ﻣﺎﻫﻴﺖﻳﺎ ﺍﺑﮋﻩﺍﺵ ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ‬
‫ﺩﺳﺘﺨﻮﺵ ﺗﻐﻴﻴﺮ ﻣﻲﺷﻮﺩ‪ .‬ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻦ‪ ،‬ﺭﻭﺍﺑﻂ ﺍﺑﮋﮐﺘﻴﻮ ﺑﻴﻦ ﺣﻴﻮﺍﻧﺎﺕ‬
‫ﺑﻪ ﺑﺮﺧﻲ ﻧﺴﺒﺖﻫﺎﻱ ﺳﻮﺑﮋﮐﺘﻴﻮ ﺑﻴﻦ ﺍﻧﺴﺎﻥ ﻭ ﺣﻴﻮﺍﻥ ﺑﺴﻂ ﻳﺎﻓﺘﻪ ﺍﺳﺖ؛ ﺁﻥ‬
‫ﻫﻢ ﺍﺯ ﻧﻈﺮﮔﺎﻩ ﺗﺨﻴﻠﻲ ﺟﻤﻌﻲ ﻳﺎ ﻗﻮﻩﻱ ﻓﺎﻫﻤﻪﻱ ﺍﺟﺘﻤﺎﻋﻲ‪.‬‬
‫ﻳﻮﻧﮓ ﻧﻈﺮﻳﻪﻱ ﮐﻬﻦﺍﻟﮕﻮ ﺩﺭ ﻣﻘﺎﻡ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﺟﻤﻌﻲ ﺭﺍ ﺷﺮﺡ ﺩﺍﺩ؛ ﺍﻳﻦ‬
‫ﻧﻈﺮﻳﻪ ﺑﻪ ﺣﻴﻮﺍﻥ ﻧﻘﺸﻲ ﺑﺴﻴﺎﺭ ﻣﻬﻢ ﺩﺭ ﺭﻭﻳﺎﻫﺎ‪ ،‬ﺍﺳﻄﻮﺭﻩﻫﺎ ﻭ‬
‫ﺟﻤﻌﻲﺑﻮﺩﻥﻫﺎﻱ ﺍﻧﺴﺎﻧﻲ ﻋﻄﺎ ﻣﻲﻛﻨﺪ‪ .‬ﺣﻴﻮﺍﻥ ﺍﺯ ﺁﻥ ﺳﺮﻱ ﮐﻪ ﺳﻮﻳﻪﻱ ﺩﻭﮔﺎﻧﻪﻱ‬
‫ﭘﻴﺸﺮﻓﺖـﭘﺲﺭﻓﺖ ﺭﺍ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ‪ ،‬ﺟﺪﺍﻧﺸﺪﻧﻲ ﺍﺳﺖ )ﺩﺭ ﺍﻳﻦ ﺳﺮﻱ ﻫﺮ ﺿﺎﺑﻄﻪ‬
‫ﻧﻘﺶ ﺗﻐﻴﻴﺮﺩﻫﻨﺪﻩﻱ ﻣﻤﮑﻦ ﻟﻴﺒﻴﺪﻭ )ﺩﮔﺮﺩﻳﺴﻲ( ﺭﺍ ﺍﻳﻔﺎ ﻣﻲﻛﻨﺪ‪ (.‬ﺭﻭﻱ‬
‫ﮐﺮﺩﻥ ﺑﻪ ﺭﻭﻳﺎﻫﺎ ﺍﺯ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﻧﺸﺎﺕ ﮔﺮﻓﺘﻪ ﺍﺳﺖ؛ ﻭ ﺍﻳﻦ ﺭﻭﻳﮑﺮﺩ ﺑﻪ‬
‫ﺍﺩﻏﺎﻡ ﺣﻴﻮﺍﻥ ﻭ ﺗﺼﻮﻳﺮ ﺁﺯﺍﺭﻧﺪﻩﻱ ﺁﻥ ﺩﺭ ﺳﺮﻱ ﮐﻬﻦﺍﻟﮕﻮﻳﻲ ﺧﺘﻢ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬
‫ﺍﻳﻦ ﺳﺮﻱ ﻣﻲﺗﻮﺍﻧﺪ ﺷﺎﻣﻞ ﺗﻮﺍﻟﻲﻫﺎﻱ ﺯﻧﺎﻧﻪ‪ ،‬ﻣﺮﺩﺍﻧﻪ‪ ،‬ﻳﺎ ﺑﭽﮕﺎﻧﻪ ﻭ ﻧﻴﺰ‬
‫ﺗﻮﺍﻟﻲﻫﺎﻱ ﺣﻴﻮﺍﻧﻲ‪ ،‬ﮔﻴﺎﻫﻲ‪ ،‬ﻭ ﺣﺘﻲ ﺗﻮﺍﻟﻲﻫﺎﻱ ﻣﺮﺑﻮﻁ ﺑﻪ ﻋﻨﺎﺻﺮ ﻭ‬
‫ﻣﻮﻟﮑﻮﻝﻫﺎ ﻫﻢ ﺑﺎﺷﺪ‪ .‬ﺍﻧﺴﺎﻥ ﺑﺮﺧﻼﻑ ﺍﺩﻋﺎﻱ ﺗﺎﺭﻳﺦ ﻃﺒﻴﻌﻲ ﺩﻳﮕﺮ ﺿﺎﺑﻄﻪﻱ‬
‫ﻳﮑﻪﺗﺎﺯ ﺳﺮﻱ ﻧﻴﺴﺖ؛ ﺍﻳﻦ ﺿﺎﺑﻄﻪ ﻣﻲﺗﻮﺍﻧﺪ ﺣﻴﻮﺍﻧﻲ ﺑﺮﺍﻱ ﺍﻧﺴﺎﻥ ﺑﺎﺷﺪ‪ ،‬ﻣﺜﻼً‬
‫ﺷﻴﺮ‪ ،‬ﺧﺮﭼﻨﮓ‪ ،‬ﭘﺮﻧﺪﻩﻱ ﺷﮑﺎﺭﭼﻲ‪ ،‬ﻳﺎ ﺷﭙﺶ‪ ،‬ﺁﻥ ﻫﻢ ﺩﺭ ﻧﺴﺒﺖ ﺑﺎ ﻋﻤﻞ ﻳﺎ‬
‫ﮐﺎﺭﮐﺮﺩﻱ ﻣﻔﺮﻭﺽ ﻭ ﺩﺭ ﺗﻄﺎﺑﻖ ﺑﺎ ﻣﻄﺎﻟﺒﻪﺍﻱ ﻣﻔﺮﻭﺽ ﺍﺯ ﺳﻮﻱ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ‪.‬‬
‫ﺑﺎﺷﻼﺭ ﮐﺘﺎﺏ ﻳﻮﻧﮕﻲ ﺑﺴﻴﺎﺭ ﺧﻮﺑﻲ ﻧﺸﻮﺕ ﻭ ﺩﺭ ﺁﻥ ﺳﺮﻱ ﻣﻨﺸﻌﺐﺷﺪﻩﻱ‬
‫ﻟﻮﺗﺮﻩﺁﻣﻮﻥ ﺭﺍ ﺗﻮﺿﻴﺢ ﺩﺍﺩ ﻭ ﺿﺮﻳﺐ ﺳﺮﻋﺖ ﺩﮔﺮﮔﺪﻳﺴﻲﻫﺎ ﻭ ﺩﺭﺟﻪﻱ ﮐﻤﺎﻝ‬
‫ﻫﺮ ﺿﺎﺑﻄﻪ ﺭﺍ ﺩﺭ ﻧﺴﺒﺖ ﺑﺎ ﻧﻮﻋﻲ ﭘﺮﺧﺎﺷﮕﺮﻱ ﻧﺎﺏ ﺩﺭ ﻣﻘﺎﻡ ﺍﺻﻞ ﺳﺮﻱ‬
‫ﻟﺤﺎﻅ ﮐﺮﺩ‪ :‬ﺩﻧﺪﺍﻥ ﻧﻴﺶ ﻣﺎﺭ‪ ،‬ﺷﺎﺥ ﮐﺮﮔﺪﻥ‪ ،‬ﺩﻧﺪﺍﻥ ﺳﮓ‪ ،‬ﻭ ﻣﻨﻘﺎﺭ ﺟﻐﺬ؛ ﻭ‬
‫ﺑﺎﻻﺗﺮ ﺍﺯ ﺁﻥﻫﺎ‪ ،‬ﭼﻨﮕﺎﻝﻫﺎﻱ ﻋﻘﺎﺏ ﻳﺎ ﮐﺮﮐﺲ‪ ،‬ﭼﻨﮕﮏ ﺧﺮﭼﻨﮓ‪ ،‬ﭘﺎﻱ ﺷﺘﻪ ﻳﺎ‬
‫ﻣﮑﻨﺪﻩﻫﺎﻱ ﺍﺧﺘﺎﭘﻮﺱ‪ .‬ﺩﺭ ﺳﺮﺗﺎﺳﺮ ﺁﺛﺎﺭ ﻳﻮﻧﮓ ﻓﺮﺁﻳﻨﺪﻱ ﺍﺯ ﻣﺤﺎﮐﺎﺕ‬
‫ﻃﺒﻴﻌﺖ ﻭ ﻓﺮﻫﻨﮓ ﺭﺍ ﺑﻪﻭﺍﺳﻄﻪﻱ ﻗﻴﺎﺱﻫﺎﻱ ﺗﺸﺎﺑﻬﻲ ﻧﺴﺒﺖ ــ ﮐﻪ ﺩﺭ ﺁﻥﻫﺎ‬
‫ﺳﺮﻱ ﻭ ﺿﻮﺍﺑﻄﺶ ﻭ ﻣﻬﻢﺗﺮ‪ ،‬ﺣﻴﻮﺍﻧﺎﺕ ﻣﻮﺿﻌﻲ ﺑﻴﻨﺎﺑﻴﻨﻲ ﺩﺍﺭﻧﺪ ــ ﺩﺭ ﺗﻮﺭ‬
‫ﺧﻮﻳﺶ ﮔﺮﺩ ﻣﻲﺁﻭﺭﺩ ﻭ ﭼﺮﺧﻪﻫﺎﻱ ﻗﻠﺐِ ﻃﺒﻴﻌﺖ ﺑﻪ ﻓﺮﻫﻨﮓ ﺑﻪ ﻃﺒﻴﻌﺖ ﺭﺍ‬
‫ﺗﻀﻤﻴﻦ ﻣﻲﻛﻨﺪ‪ :‬ﮐﻬﻦﺍﻟﮕﻮﻫﺎ ﺩﺭ ﻣﻘﺎﻡ »ﺑﺎﺯﻧﻤﺎﻳﻲﻫﺎﻱ ﻗﻴﺎﺳﻲ«‪.111‬‬

‫‪111‬‬
‫‪. See Carl Jung, Symbols of Transformation, trans. R. F. C. Hull (New York: Harper, 1962), and Gaston Bachelard, Lautr'eamont‬‬
‫‪(Paris: Librairie Jose Corti, 1939).‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

‫ﺁﻳﺎ ﺗﺼﺎﺩﻓﻲ ﺍﺳﺖ ﮐﻪ ﺳﺎﺧﺘﺎﺭﮔﺮﺍﻳﻲ ﺑﺎ ﭼﻨﻴﻦ ﺍﺻﺮﺍﺭﻱ ﺷﺄﻥ‬
‫ﺍﺧﺘﺼﺎﺹﺩﺍﺩﻩﺷﺪﻩ ﺑﻪ ﺗﺨﻴﻞ‪ ،‬ﺑﺮﻗﺮﺍﺭﻱ ﺷﺒﺎﻫﺖﻫﺎ ﺩﺭ ﻳﮏ ﺳﺮﻱ‪ ،‬ﻭ ﺗﻘﻠﻴﺪ‬
‫ﻣﺴﻠﻂ ﺑﺮ ﺳﺮﺗﺎﺳﺮ ﺳﺮﻱ ﻭ ﮐﺸﺎﻧﺪﻥ ﺁﻥ ﺑﻪ ﺿﺎﺑﻄﻪﻱ ﺳﺮﻱ ﻭ ﻧﻴﺰ‬
‫ﻫﻤﺎﻧﻨﺪﺳﺎﺯﻱ ﺑﺎ ﺿﺎﺑﻄﻪﻱ ﻧﻬﺎﻳﻲ ﺭﺍ ﺗﻘﺒﻴﺢ ﮐﺮﺩ؟ ﻫﻴﭻ ﭼﻴﺰ ﺭﻭﺷﻦﺗﺮ ﺍﺯ‬
‫ﻣﺘﻦﻫﺎﻱ ﻣﺸﻬﻮﺭ ﻟﻮﻱﺍﺳﺘﺮﺍﻭﺱ ﺩﺭﺑﺎﺭﻩﻱ ﺗﻮﺗﻢﭘﺮﺳﺘﻲ ﻧﻴﺴﺖ‪ :‬ﺗﻌﺎﻟﻲﺑﺨﺸﻴﺪﻥ‬
‫ﺑﻪ ﺷﺒﺎﻫﺖﻫﺎﻱ ﺧﺎﺭﺟﻲ ﺑﺮﺍﻱ ﺭﺳﻴﺪﻥ ﺑﻪ ﻫﻤﺴﺎﻧﻲﻫﺎﻱ ﺩﺭﻭﻧﻲ‪ 112.‬ﻣﺴﺄﻟﻪ‬
‫ﺩﻳﮕﺮ ﺑﺮ ﺳﺮ ﺑﺮﻗﺮﺍﺭﻱ ﺳﺎﺯﻣﺎﻧﺪﻫﻲ ﻣﺘﻨﺎﻭﺏ ﺍﻣﺮ ﺗﺨﻴﻠﻲ ﻧﻴﺴﺖ‪ ،‬ﺑﻞ ﺑﺮﻋﮑﺲ‬
‫ﺑﺮ ﺳﺮ ﻧﻈﻤﻲ ﻧﻤﺎﺩﻳﻦ ﻭ ﺳﺎﺧﺘﺎﺭﻱ ﺍﺯ ﻓﺎﻫﻤﻪ ﺍﺳﺖ‪ .‬ﺩﻳﮕﺮ ﻣﺴﺄﻟﻪ ﺑﺮ ﺳﺮ‬
‫ﺷﺒﺎﻫﺖﻫﺎﻱ ﺩﺭﺟﻪﺑﻨﺪﻱﺷﺪﻩ ﻧﻴﺴﺖ ﮐﻪ ﺩﺳﺖﺁﺧﺮ ﺑﻪ ﻫﻤﺎﻧﻨﺪﺳﺎﺯﻱ ﺍﻧﺴﺎﻥ ﻭ‬
‫ﺣﻴﻮﺍﻥ ﺩﺭ ﻗﻠﺐ ﻣﺸﺎﺭﮐﺘﻲ ﺭﺍﺯﻭﺭﺯﺍﻧﻪ ﻣﻲﺭﺳﺪ‪ .‬ﺑﻞ ﻣﺴﺄﻟﻪ ﺑﺮ ﺳﺮ‬
‫ﺗﺮﺗﻴﺐﺑﺨﺸﻴﺪﻥ ﺑﻪ ﺗﻔﺎﻭﺕﻫﺎ ﺑﺮﺍﻱ ﺭﺳﻴﺪﻥ ﺑﻪ ﺗﻨﺎﻇﺮ ﺑﻴﻦ ﻧﺴﺒﺖﻫﺎ ﺍﺳﺖ‪.‬‬
‫ﺣﻴﻮﺍﻥ ﺑﺮﺣﺴﺐ ﻧﺴﺒﺖﻫﺎﻱ ﺩﻓﺮﺍﻧﺴﻴﻠﻲ ]ﺗﻔﺎﻭﺕﮔﺬﺍﺭ[ ﻳﺎ ﺗﻘﺎﺑﻞﻫﺎﻱ ﻣﺘﻤﺎﻳﺰ‬
‫ﺑﻴﻦ ﮔﻮﻧﻪﻫﺎ ﺗﻮﺯﻳﻊ ﻣﻲﺷﻮﺩ؛ ﻫﻤﻴﻦ ﺍﻣﺮ ﺩﺭ ﻣﻮﺭﺩ ﺍﻧﺴﺎﻥ ﻭ ﺑﺮﺣﺴﺐ‬
‫ﮔﺮﻭﻩﻫﺎﻱ ﻣﺪﻧﻈﺮﻗﺮﺍﺭﮔﺮﻓﺘﻪ ﺻﺎﺩﻕ ﺍﺳﺖ‪ .‬ﻭﻗﺘﻲ ﺑﻪ ﺗﺤﻠﻴﻞ ﻧﻬﺎﺩ ﺗﻮﺗﻢ‬
‫ﻣﻲﭘﺮﺩﺍﺯﻳﻢ‪ ،‬ﻧﻤﻲﮔﻮﻳﻴﻢ ﺍﻳﻦ ﮔﺮﻭﻩ ﺍﺯ ﻣﺮﺩﻡ ﺑﺎ ﺁﻥﮔﻮﻧﻪ ﺍﺯ ﺣﻴﻮﺍﻧﺎﺕ‬
‫ﻫﻤﺎﻧﻨﺪﺳﺎﺯﻱ ﻣﻲﻛﻨﻨﺪ‪ .‬ﻣﻲﮔﻮﻳﻴﻢ ﻧﺴﺒﺖ ﮔﺮﻭﻩ ‪ A‬ﺑﻪ ﮔﺮﻭﻩ ‪ ،B‬ﻫﻤﺎﻥ ﻧﺴﺒﺖ‬
‫ﮔﻮﻧﻪﻱ ’‪ A‬ﺑﻪ ﮔﻮﻧﻪﻱ ’‪ B‬ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺭﻭﺵ ﺍﺯ ﺍﺳﺎﺱ ﺑﺎ ﺭﻭﺵ ﭘﻴﺸﻴﻦ ﺗﻔﺎﻭﺕ‬
‫ﺩﺍﺭﺩ‪ :‬ﺑﺎ ﻓﺮﺽ ﺩﻭ ﮔﺮﻭﻩ ﺍﻧﺴﺎﻧﻲ ﮐﻪ ﻫﺮ ﻳﮏ ﺣﻴﻮﺍﻥ ﺗﻮﺗﻤﻲ ﺧﻮﻳﺶ ﺭﺍ‬
‫ﺩﺍﺭﻧﺪ‪ ،‬ﺑﺎﻳﺪ ﺷﻴﻮﻩﺍﻱ ﺭﺍ ﮐﺸﻒ ﮐﻨﻴﻢ ﮐﻪ ﺩﺭ ﺁﻥ ﺩﻭ ﺗﻮﺗﻢ ﻧﺴﺒﺖﻫﺎﻳﻲ‬
‫ﻣﺸﺎﺑﻪ ﺭﺍ ﺑﺎ ﻧﺴﺒﺖﻫﺎﻱ ﺑﻴﻦ ﺩﻭ ﮔﺮﻭﻩ ﺑﺮ ﻗﺮﺍﺭ ﻣﻲﻛﻨﻨﺪ ــ ﻧﺴﺒﺖ ﮐﻼﻍ‬
‫ﺑﻪ ﺷﺎﻫﻴﻦ‪ ،‬ﻫﻤﺎﻥ ﻧﺴﺒﺖ ‪...‬‬
‫ﺍﻳﻦ ﺭﻭﺵ ﻫﻤﭽﻨﻴﻦ ﺩﺭ ﻣﻮﺭﺩ ﻧﺴﺒﺖﻫﺎﻱ ﻣﺮﺩـﮐﻮﺩک‪ ،‬ﻣﺮﺩ ﺯﻥ ﻭ ﺍﻟﺦ ﻧﻴﺰ‬
‫ﺻﺪﻕ ﻣﻲﻛﻨﺪ‪ .‬ﺍﮔﺮ ﺑﺮﺍﻱ ﻣﺜﺎﻝ ﺍﺷﺎﺭﻩ ﮐﻨﻴﻢ ﮐﻪ ﺳﻠﺤﺸﻮﺭ ﻧﺴﺒﺖ ﺣﻴﺮﺕﺍﻧﮕﻴﺰ‬
‫ﻣﻌﻴﻨﻲ ﺑﺎ ﺯﻥ ﺟﻮﺍﻥ ﺩﺍﺭﺩ‪ ،‬ﺍﺯ ﺑﺮﻗﺮﺍﺭﻱ ﺳﺮﻱ ﺗﺨﻴﻠﻲﺍﻱ ﺳﺮ ﺑﺎﺯ ﺯﺩﻳﻢ ﮐﻪ‬
‫ﺩﻭ ﭼﻴﺰ ﺭﺍ ﺑﻪ ﻫﻢ ﮔﺮﻩ ﻣﻲﺯﻧﺪ؛ ﻭ ﺩﺭ ﻋﻮﺽ‪ ،‬ﺑﻪ ﺩﻧﺒﺎﻝ ﺿﺎﺑﻄﻪﺍﻱ ﮔﺸﺘﻴﻢ‬
‫ﮐﻪ ﻫﻢﺍﺭﺯﻱ ﻧﺴﺒﺖﻫﺎ ﺭﺍ ﺑﻪ ﻭﺟﻮﺩ ﻣﻲﺁﻭﺭﺩ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ‪ ،‬ﻭﺭﻧﺎﻥ ﻣﻲﺗﻮﺍﻧﺪ‬
‫ﺑﮕﻮﻳﺪ ﻧﺴﺒﺖ ﺍﺯﺩﻭﺍﺝ ﺑﻪ ﺯﻥ ﻫﻤﺎﻥ ﻧﺴﺒﺖ ﺟﻨﮓ ﺑﻪ ﻣﺮﺩ ﺍﺳﺖ‪.‬‬
‫ﻧﺘﻴﺠﻪ ﻧﻮﻋﻲ ﻫﻤﺴﺎﻧﻲ ﺑﻴﻦ ﺑﺎﮐﺮﻩ ــ ﮐﻪ ﺍﺯ ﺍﺯﺩﻭﺍﺝ ﺍﻣﺘﻨﺎﻉ ﻣﻲﻛﻨﺪ ــ‬
‫ﺑﺎ ﺳﻠﺤﺸﻮﺭ ــ ﮐﻪ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﭘﻮﺷﺶ ﺯﻥ ﻣﺨﻔﻲ ﻣﻲﻛﻨﺪ ــ ﺍﺳﺖ‪ 113.‬ﺧﻼﺻﻪ‪،‬‬
‫ﻓﺎﻫﻤﻪﻱ ﻧﻤﺎﺩﻳﻦ ﺟﺎﻳﮕﺰﻳﻦ ﻗﻴﺎﺱ ﺗﺸﺎﺑﻬﻲ ﺗﻨﺎﺳﺐ ﻫﻤﺮﺍﻩ ﺑﺎ ﻧﻮﻋﻲ ﻗﻴﺎﺱ‬
‫ﺗﺸﺎﺑﻬﻲ ﻣﺘﻨﺎﺳﺐﺑﻮﺩﻥ ﺍﺳﺖ؛ ﻣﺘﻨﺎﻭﺏﮐﺮﺩﻥ ﺷﺒﺎﻫﺖﻫﺎ ﻫﻤﺮﺍﻩ ﺑﺎ ﻧﻮﻋﻲ‬
‫ﺳﺎﺧﺘﺎﺭﺑﺨﺸﻲ ﺑﻪ ﺗﻔﺎﻭﺕﻫﺎ؛ ﻫﻤﺎﻧﻨﺪﺳﺎﺯﻱ ﺿﻮﺍﺑﻂ ﺑﺎ ﻧﻮﻋﻲ ﺑﺮﺍﺑﺮﻱ‬
‫ﻧﺴﺒﺖﻫﺎ؛ ﺩﮔﺮﺩﻳﺴﻲﻫﺎﻱ ﺗﺨﻴﻞ ﺑﺎ ﺍﺳﺘﻌﺎﺭﻩﻫﺎﻱ ﻣﻔﻬﻮﻣﻲ؛ ﭘﻴﻮﺳﺘﮕﻲ ﻋﻈﻴﻢ‬
‫ﺑﻴﻦ ﻃﺒﻴﻌﺖ ﻭ ﻓﺮﻫﻨﮓ ﻫﻤﺮﺍﻩ ﺑﺎ ﺟﺮﻳﺎﻧﻲ ﻋﻤﻴﻖ ﮐﻪ ﺗﻨﺎﻇﺮﻫﺎ ﺭﺍ ﺑﺪﻭﻥ‬

‫‪112‬‬
‫‪. Claude Levi-Strauss, Totemism, trans. Rodney Needham (Boston: Beacon Press, 1963), p. 78.‬‬
‫‪113‬‬
‫‪. Jean-Pierre Vernant in Problemes de la guerre en Grece ancienne (Civilisations et societes, no. 11), ed. Jean-Pierre Vernant‬‬
‫‪(The Hague: Mouton, 1968), pp. 15-16.‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

‫ﺷﺒﺎﻫﺖ ﺩﺍﺩﻥ ﺑﻪ ﺁﻥ ﺩﻭ ﺗﻮﺯﻳﻊ ﻣﻲﻛﻨﺪ؛ ﺗﻘﻠﻴﺪ ﺍﺯ ﻣﺪﻟﻲ ﺍﻭﻟﻴﻪ ﻫﻤﺮﺍﻩ‬
‫ﺑﺎ ﻣﺤﺎﮐﺎﺗﻲ ﮐﻪ ﺧﻮﺩﺵ ﺁﻏﺎﺯﻳﻦ ﻭ ﻓﺎﻗﺪ ﺍﻟﮕﻮ ﺍﺳﺖ‪ .‬ﻳﮏ ﻣﺮﺩ ﻫﺮﮔﺰ‬
‫ﻧﻤﻲﺗﻮﺍﻧﺪ ﺑﮕﻮﻳﺪ‪» :‬ﻣﻦ ﻳﮏ ﮔﺎﻭ ﻧﺮ‪ ،‬ﻳﮏ ﮔﺮگ‪ ،‬ﻳﺎ ‪ ...‬ﻫﺴﺘﻢ‪ «.‬ﺍﻣﺎ‬
‫ﻣﻲﺗﻮﺍﻧﺪ ﺑﮕﻮﻳﺪ‪» :‬ﻧﺴﺒﺖ ﻣﻦ ﺑﻪ ﺯﻥ ﻫﻤﺎﻥ ﻧﺴﺒﺖ ﮔﺎﻭ ﻧﺮ ﺑﻪ ﮔﺎﻭ ﺍﺳﺖ‪،‬‬
‫ﻧﺴﺒﺖ ﻣﻦ ﺑﻪ ﻣﺮﺩ ﺩﻳﮕﺮﻱ ﻫﻤﺎﻥ ﻧﺴﺒﺖ ﮔﺮگ ﺑﻪ ﮔﻮﺳﻔﻨﺪ ﺍﺳﺖ«‪.‬‬
‫ﺳﺎﺧﺘﺎﺭﮔﺮﺍﻳﻲ ﺍﻧﻘﻼﺑﻲ ﺑﺰﺭگ ﺭﺍ ﻧﻤﺎﻳﻨﺪﮔﻲ ﻣﻲﻛﻨﺪ؛ ﺳﺮﺗﺎﺳﺮ ﺩﻧﻴﺎ‬
‫ﻋﻘﻼﻧﻲﺗﺮ ﻣﻲﺷﻮﺩ‪ .‬ﻟﻮﻱ ﺍﺳﺘﺮﺍﺗﻮﺱ ﻓﻘﻂ ﺑﻪ ﺍﻳﻦ ﻗﺎﻧﻊ ﻧﻤﻲﺷﻮﺩ ﮐﻪ ﺑﻪ‬
‫ﺍﻟﮕﻮﻱ ﺳﺎﺧﺘﺎﺭﮔﺮﺍﻳﺎﻧﻪ ﺗﻤﺎﻡ ﺷﮑﻮﻩ ﻭ ﺟﺎﻳﮕﺎﻩ ﻳﮏ ﻧﻈﺎﻡ ﻃﺒﻘﻪﺑﻨﺪﻱ‬
‫ﺣﻘﻴﻘﻲ ﺭﺍ ﺍﻋﻄﺎ ﮐﻨﺪ؛ ﺍﻭ ﺍﻟﮕﻮﻱ ﻣﺘﻨﺎﻭﺏ ﺭﺍ ﻧﻴﺰ ﺑﻪ ﺩﺍﻣﻨﻪﻱ ﺗﻴﺮﻩ ﻭ‬
‫ﺗﺎﺭ ﻗﺮﺑﺎﻧﻲﮔﺮﻱ ﻣﻲﺑﺮﺩ ﻭ ﺁﻥ ﺭﺍ ﺗﻮﻫﻤﻲ ﻭ ﺣﺘﻲ ﺗﻬﻲ ﺍﺯ ﻣﻌﻨﺎ ﺗﻮﺻﻴﻒ‬
‫ﻣﻲﻛﻨﺪ‪ .‬ﺩﺭﻭﻧﻤﺎﻳﻪﻱ ﻣﺘﻨﺎﻭﺏ ﻗﺮﺑﺎﻧﻲﮔﺮﻱ ﺑﺎﻳﺪ ﺗﺴﻠﻴﻢ ﺩﺭﻭﻧﻤﺎﻳﻪﻱ‬
‫ﺳﺎﺧﺘﺎﺭﻱ ﻧﻬﺎﺩ ﺗﻮﺗﻢ ﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺍﻳﻦﺟﺎ‪ ،‬ﺩﺭﺳﺖ ﻫﻤﭽﻮﻥ ﺩﺭ ﺗﺎﺭﻳﺦ ﻃﺒﻴﻌﻲ‪،‬‬
‫ﺳﺎﺯﮔﺎﺭﻱﻫﺎﻱ ﺯﻳﺎﺩﻱ ﺑﻴﻦ ﺳﺮﻱ ﮐﻬﻦﺍﻟﮕﻮﻳﻲ ﻭ ﺳﺎﺧﺘﺎﺭﻫﺎﻱ ﻧﻤﺎﺩﻳﻦ ﻭﺟﻮﺩ‬
‫ﺩﺍﺭﺩ‪114.‬‬

‫‪ .‬ﺩﺭﺑﺎﺭﻩﻱ ﺗﻘﺎﺑﻞ ﺑﻴﻦ ﺳﺮﻱﻫﺎﻱ ﻗﺮﺑﺎﻧﻲﮔﺮﻱ ﻭ ﺳﺎﺧﺘﺎﺭ ﺗﻮﺗﻤﻲ‪ ،‬ﺑﻪ ﻣﻨﺒﻊ ﺯﻳﺮ ﺭﺟﻮﻉ‬
‫ﮐﻨﻴﺪ‪:‬‬
‫ﻟﻮﻱﺍﺳﺘﺮﺍﻭﺱ ﻋﻠﻲﺭﻏﻢ ﻫﻤﻪﻱ ﻣﺨﺎﻟﻔﺖﻫﺎﻱ ﺳﺮﺳﺨﺘﺎﻧﻪﺍﺵ ﺩﺭ ﻣﻮﺭﺩ ﺳﺮﻱﻫﺎ‪ ،‬ﺳﺎﺯﮔﺎﺭﻱ ﻣﻴﺎﻥ ﺍﻳﻦ‬
‫ﺩﻭ ﺩﺭﻭﻥﻣﺎﻳﻪ ﺭﺍ ﻣﻲﭘﺬﻳﺮﺩ‪ :‬ﺧﻮﺩ ﺳﺎﺧﺘﺎﺭ ﺍﺣﺴﺎﺳﻲ ﺑﺴﻴﺎﺭ ﺍﻧﻀﻤﺎﻣﻲ ﻧﺴﺒﺖ ﺑﻪ‬
‫ﺧﻮﻳﺸﺎﻭﻧﺪﻱﻫﺎﻱ ﺳﺒﺒﻲ ﺭﺍ ﺍﻳﺠﺎﺏ ﻣﻲﻛﻨﺪ )ﺻﻔﺤﺎﺕ ‪37‬ـ ‪ (38‬ﻭ ﻣﺒﺘﻨﻲ ﺑﺮ ﺩﻭ ﺳﺮﻱ ﺍﺳﺖ ﮐﻪ‬
‫ﺧﻮﺩ ﺳﺎﺧﺘﺎﺭ ﺑﻴﻦ ﺁﻥﻫﺎ ﻫﻤﺴﺎﻧﻲﻫﺎﻱ ﻧﺴﺒﺖﻫﺎ ﺭﺍ ﺑﺮﻗﺮﺍﺭ ﻣﻲﺳﺎﺯﺩ‪ .‬ﺑﻪﻃﻮﺭ ﺧﺎﺹ‪،‬‬
‫»ﺗﺎﺭﻳﺨﻲـﺷﺪﻥ« ﻣﻲﺗﻮﺍﻧﺪ ﭘﻴﭽﻴﺪﮔﻲﻫﺎ ﻳﺎ ﺗﻨﺰﻝﻫﺎﻳﻲ ﺭﺍ ﭘﺪﻳﺪ ﺁﻭﺭﺩ ﮐﻪ ﺍﻳﻦ ﻫﻤﺴﺎﻧﻲﻫﺎ ﺭﺍ‬
‫ﺑﺎ ﺷﺒﺎﻫﺖﻫﺎ ﻭ ﻫﻤﺎﻧﻨﺪﺳﺎﺯﻱﻫﺎﻱ ﺑﻴﻦ ﺿﻮﺍﺑﻂ ﺟﺎﻳﮕﺰﻳﻦ ﻣﻲﮐﻨﻨﺪ )ﺭ‪.‬ک‪ .‬ﺻﻔﺤﺎﺕ ‪ 115‬ﺑﻪ ﺑﻌﺪ‬
‫ﻭ ﺁﻧﭽﻪ ﻟﻮﻱﺍﺳﺘﺮﺍﻭﺱ »ﺳﻮﻳﻪﻱ ﻟﻐﺰﺍﻥ ﺗﻮﺗﻢﭘﺮﺳﺘﻲ« ﻣﻲﺧﻮﺍﻧﺪ‪(.‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫‪ :1837 .11‬ﺍﺯ ﺭﻳﺘﻮﺭﻧﻠﻠﻮ‬

‫ِﻪ‪ ،‬ﻣﺎﺷﻴﻦِ ﭼﻬﭽﻬﻪﺯﻥ‪1922 ،‬‬

‫ﭘﻞ ﮐﻠ‬

‫‪ .1‬ﮐﻮﺩﮐﻲ ﺩﺭ ﺗﺎﺭﻳﮑﻲ‪ ،‬ﻗﺒﻀﻪﻱ ﺗﺮﺱ‪ ،‬ﺧﻮﻳﺶ ﺭﺍ ﺑﺎ ﺯﻣﺰﻣﻪﻱ ﺁﻭﺍﺯﻱ ﺯﻳﺮ‬

‫ﻟﺐ ﺁﺭﺍﻡ ﻣﻲﻛﻨﺪ‪ .‬ﺭﺍﻩ ﻣﻲﺭﻭﺩ ﻭ ﺩﺳﺘﺨﻮﺵِ ﺁﻭﺍﺯﺵ ﻣﺘﻮﻗﻒ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻭ ﮐﻪ‬
‫ﮔﻢ ﺷﺪﻩ‪ ،‬ﺩﺭ ﺟﺴﺘﺠﻮﻱ ﭘﻨﺎﻫﮕﺎﻫﻲ ﺍﺳﺖ‪ ،‬ﺭﺍﻩﺍﺵ ﺭﺍ ﺑﻪ ﺑﻬﺘﺮﻳﻦ ﺷﮑﻞ ﻣﻤﮑﻦ‬
‫ِ ﮐﻮﭼﮏﺍﺵ ﻣﻲﺳﭙﺎﺭﺩ‪ .‬ﺍﻳﻦ ﺁﻭﺍﺯ ﻫﻤﭽﻮﻥ ﭘﻴﺶﻃﺮﺣﻲ ﺍﺯ ﻣﺮﮐﺰﻱ‬ ‫ﺑﻪ ﺁﻭﺍﺯ‬
‫ﺁﺭﺍﻡﺑﺨﺶ ﻭ ﭘﺎﻳﺪﺍﺭﮐﻨﻨﺪﻩ‪ ،‬ﺁﺭﺍﻡ ﻭ ﭘﺎﻳﺪﺍﺭ‪ ،‬ﺩﺭ ﻗﻠﺐِ ﺁﺷﻮﺏ ﺍﺳﺖ‪ .‬ﺷﺎﻳﺪ‬
‫ﺍﻳﻦ ﮐﻮﺩک ﺣﻴﻦِ ﺁﻭﺍﺯﺧﻮﺍﻧﺪﻥ ﺟﺴﺖ ﻭ ﺧﻴﺰ ﮐﻨﺪ‪ ،‬ﻭ ﺳﺮﻋﺖﺍﺵ ﺭﺍ ﺗﻨﺪ ﻳﺎ‬
‫ِ ﺁﻭﺍﺯ ﭘﻴﺸﺎﭘﻴﺶ ﻳﮏ ﺟﺴﺖﻭﺧﻴﺰ ﺍﺳﺖ‪ :‬ﺍﺯ ﺁﺷﻮﺏ ﺑﻪ‬ ‫ﮔﺮﺍﻥ ﮐﻨﺪ‪ .‬ﺍﻣﺎ ﺧﻮﺩ‬
‫ﺳﺮﺁﻏﺎﺯﻫﺎﻱ ﻧﻈﻢ ﺩﺭ ﺁﺷﻮﺏ ﻣﻲﺟﻬﺪ ﻭ ﻫﺮﺁﻳﻨﻪ ﺩﺭ ﺧﻄﺮ ﮔﺴﻠﻴﺪﻥ ﺍﺳﺖ‪.‬‬
‫ِ ﺍﻭﺭﻓﻪ‪.‬‬
‫ﻫﻤﻮﺍﺭﻩ ﻃﻨﻴﻨﻲ ﺩﺭ ﺭﻳﺴﻤﺎﻥِ ﺁﺭﻳﺎﺩﻧﻪ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻳﺎ ﺁﻭﺍﺯ‬
‫‪ .2‬ﺍﮐﻨﻮﻥ ﺩﺭ ﺧﺎﻧﻪﺍﻳﻢ‪ .‬ﺍﻣﺎ ﺧﺎﻧﻪ ﺍﺯ ﭘﻴﺶ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ :‬ﮐﺸﻴﺪﻥِ‬
‫ﺣﻠﻘﻪﺍﻱ ﺩﻭﺭ ﺁﻥ ﻣﺮﮐﺰ ﻧﺎﻣﺸﺨﺺ ﻭ ﺷﮑﻨﻨﺪﻩ‪ ،‬ﺑﺮﺍﻱ ﺳﺎﺯﻣﺎﻧﺪﻫﻲ ﻓﻀﺎﻳﻲ‬
‫ﻣﺤﺪﻭﺩ‪ ،‬ﺿﺮﻭﺭﻱ ﺑﻮﺩ‪ .‬ﻣﺆﻟﻔﻪﻫﺎﻱ ﻣﺘﻌﺪﺩ ﻭ ﺑﺴﻴﺎﺭ ﮔﻮﻧﺎﮔﻮﻧﻲ ﻧﻘﺶ ﺩﺍﺭﻧﺪ‪،‬‬
‫ﻧﺸﺎﻧﮕﺎﻩﻫﺎ ﻭ ﻋﻼﻣﺖﻫﺎﻳﻲ ﺍﺯ ﻫﺮ ﻧﻮﻉ‪ .‬ﺍﻳﻦ ﻧﻴﺰ ﭘﻴﺸﺘﺮ ﺭﺍﺟﻊ ﺑﻪ ﻣﻮﺭﺩ‬
‫ﭘﻴﺸﻴﻦ ﺻﺤﺖ ﺩﺍﺷﺖ‪ .‬ﺍﻣﺎ ﺣﺎﻻ ﻣﺆﻟﻔﻪﻫﺎ ﻧﻪ ﺑﺮﺍﻱ ﺗﻌﻴﻴﻦِ ﺁﻧﻲ ﻳﮏ ﻣﺮﮐﺰ‪،‬‬
‫ﺑﻞ ﺑﺮﺍﻱ ﺳﺎﺯﻣﺎﻧﺪﻫﻲ ﻳﮏ ﻓﻀﺎ ﺑﻪﮐﺎﺭ ﻣﻲﺭﻭﻧﺪ‪ .‬ﻧﻴﺮﻭﻫﺎﻱ ﺁﺷﻮﺏ ﺗﺎ ﺟﺎﻱ‬
‫ﻣﻤﮑﻦ ﺑﻴﺮﻭﻥ ﻧﮕﻪ ﺩﺍﺷﺘﻪ ﻣﻲﺷﻮﻧﺪ‪ ،‬ﻭ ﻓﻀﺎﻱ ﺩﺍﺧﻠﻲ ﺍﺯ ﻧﻴﺮﻭﻫﺎﻱ ﺟﻨﻴﻨﻲ‬
‫ﺭﺳﺎﻟﺘﻲ ﺑﺮﺍﻱ ﺗﺤﻘﻖﻳﺎﻓﺘﻦ ﻳﺎ ﻋﻤﻠﻲ ﺑﺮﺍﻱ ﺍﻧﺠﺎﻡﺩﺍﺩﻥ ﺣﻤﺎﻳﺖ ﻣﻲﻛﻨﺪ‪.‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

‫ﺍﻳﻦ ﺍﻣﺮ ﻓﻌﺎﻟﻴﺘﻲ ﺍﺯ ﺟﻨﺲ ﺍﻧﺘﺨﺎﺏ‪ ،‬ﺯﺩﻭﺩﻥ‪ ،‬ﻭ ﺍﺳﺘﺨﺮﺍﺝﮐﺮﺩﻥ ﺭﺍ ﺩﺭﺑﺮ‬
‫ﻣﻲﮔﻴﺮﺩ‪ ،‬ﺗﺎ ﺍﺯ ﻧﻴﺮﻭﻫﺎﻱ ﺩﺍﺧﻠﻲ ﺯﻣﻴﻦ ﺩﺭ ﻣﻘﺎﺑﻞ ﻏﻮﻃﻪﻭﺭﺷﺪﻥ ﺟﻠﻮﮔﻴﺮﻱ‬
‫ﮐﻨﺪ‪ ،‬ﺗﺎ ﺁﻥﻫﺎ ﺭﺍ ﻗﺎﺩﺭ ﺑﻪ ﻣﻘﺎﻭﻣﺖﮐﺮﺩﻥ ﮐﻨﺪ‪ ،‬ﻳﺎ ﺣﺘﻲ ﺍﺯ ﻣﻴﺎﻥ ﻓﻴﻠﺘﺮ‬
‫ِ ﻓﻀﺎﻳﻲ ﮐﻪ ﺗﺮﺳﻴﻢ ﺷﺪﻩ ﭼﻴﺰﻱ ﺍﺯ ﺁﺷﻮﺏ ﺑﮕﻴﺮﺩ‪ .‬ﻣﺆﻟﻔﻪﻫﺎﻱ‬ ‫ﻳﺎ ﻏﺮﺑﺎﻝ‬
‫ﭘﺮﻃﻨﻴﻦ ﻳﺎ ﺁﻭﺍﻳﻲ ﺑﺴﻴﺎﺭ ﻣﻬﻢ ﻫﺴﺘﻨﺪ‪ :‬ﺩﻳﻮﺍﺭﻱ ﺻﻮﺗﻲ‪ ،‬ﻳﺎ ﺩﺳﺖﮐﻢ‬
‫ﺩﻳﻮﺍﺭﻱ ﺑﺎ ﺁﺟﺮﻫﺎﻱ ﺻﻮﺗﻲ ﺩﺭ ﺁﻥ‪ .‬ﮐﻮﺩک ﺁﻭﺍﺯﻱ ﺯﻣﺰﻣﻪ ﻣﻲﻛﻨﺪ ﺗﺎ ﻧﻴﺮﻭﻱ‬
‫ِ ﺗﮑﻠﻴﻒِ ﻣﺪﺭﺳﻪ ﺭﺍ ﺟﻤﻊ ﮐﻨﺪ‪ .‬ﺯﻧﻲ ﺧﺎﻧﻪﺩﺍﺭ ﺑﺎ ﺧﻮﺩ‬ ‫ﻻﺯﻡ ﺑﺮﺍﻱ ﺗﺤﻮﻳﻞ‬
‫ﺁﻭﺍﺯ ﻣﻲﺧﻮﺍﻧﺪ ﻳﺎ ﺑﻪ ﺭﺍﺩﻳﻮ ﮔﻮﺵ ﻣﻲﺩﻫﺪ‪ ،‬ﺩﺭ ﺣﻴﻦِ ﺍﻳﻦﻛﻪ ﺑﻪ ﻧﻴﺮﻭﻫﺎﻱ‬
‫ﺿﺪﺁﺷﻮﺏِ ﮐﺎﺭﺵ ﺟﻬﺖ ﻣﻲﺩﻫﺪ‪ .‬ﺭﺍﺩﻳﻮﻫﺎ ﻭ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺷﺒﻴﻪ ﺩﻳﻮﺍﺭﻫﺎﻱ ﺻﻮﺗﻲ‬
‫ﺍﻃﺮﺍﻑِ ﻫﺮ ﺧﺎﻧﻪﺍﻱ ﻫﺴﺘﻨﺪ ﻭ ﻗﻠﻤﺮﻭﻫﺎ ﺭﺍ ﻋﻼﻣﺖﮔﺬﺍﺭﻱ ﻣﻲﻛﻨﻨﺪ )ﻭﻗﺘﻲ‬
‫ﺻﺪﺍ ﺧﻴﻠﻲ ﺑﻠﻨﺪ ﻣﻲﺷﻮﺩ‪ ،‬ﻫﻤﺴﺎﻳﻪ ﺷﮑﺎﻳﺖ ﻣﻲﻛﻨﺪ(‪ .‬ﺑﺮﺍﻱ ﻋﻤﻞﻫﺎﻱ ﻭﺍﻻ‬
‫ﺷﺒﻴﻪ ﺑﻨﻴﺎﻥﮔﺬﺍﺭﻱ ﻳﮏ ﺷﻬﺮ ﻳﺎ ﺳﺎﺧﺘﻦ ﻳﮏ ﺁﺩﻡ ﻣﺎﺷﻴﻨﻲ ﺩﺍﻳﺮﻩﺍﻱ ﺗﺮﺳﻴﻢ‬
‫ﺺ ﺑﭽﻪﻫﺎ ﺭﺍﻩ‬‫ﻣﻲﻛﻨﻴﻢ‪ ،‬ﻳﺎ ﺑﻪ ﺑﻴﺎﻥ ﺑﻬﺘﺮ ﺩﺭ ﻳﮏ ﺣﻠﻘﻪ ﻫﻤﭽﻮﻥ ﺩﺭ ﺭﻗِ‬
‫ﻣﻲﺭﻭﻳﻢ‪ ،‬ﻭ ﺻﺎﻣﺖﻫﺎ ﻭ ﻣﺼﻮﺕﻫﺎﻱ ﺭﻳﺘﻤﻴﮑﻲ ﺭﺍ ﺗﺮﮐﻴﺐ ﻣﻲﻛﻨﻴﻢ ﮐﻪ ﺑﺎ‬
‫ﻧﻴﺮﻭﻫﺎﻱ ﺩﺭﻭﻧﻲ ﺁﻓﺮﻳﻨﺶ ﻭ ﻧﻴﺰ ﺑﺎ ﺑﺨﺶﻫﺎﻱ ﻣﺘﻔﺎﻭﺕﺷﺪﻩﻱ ﻳﮏ ﺍﺭﮔﺎﻧﻴﺴﻢ‬
‫ﻣﺘﻨﺎﻇﺮ ﻫﺴﺘﻨﺪ‪ .‬ﺍﺷﺘﺒﺎﻫﻲ ﺩﺭ ﺳﺮﻋﺖ‪ ،‬ﺭﻳﺘﻢ‪ ،‬ﻳﺎ ﻫﺎﺭﻣﻮﻧﻲ ﻓﺎﺟﻌﻪﺁﻣﻴﺰ‬
‫ﺧﻮﺍﻫﺪ ﺑﻮﺩ ﺯﻳﺮﺍ ﺍﻳﻦ ﺍﺷﺘﺒﺎﻩ ﻧﻴﺮﻭﻫﺎﻱ ﺁﺷﻮﺏ ﺭﺍ ﺑﺎﺯﻣﻲﮔﺮﺩﺍﻧﺪ‪ ،‬ﻭ‬
‫ﺁﻓﺮﻳﻨﺸﮕﺮ ﻭ ﺁﻓﺮﻳﻨﺶ ﺭﺍ ﻧﺎﺑﻮﺩ ﻣﻲﻛﻨﺪ‪.‬‬
‫‪ .3‬ﺩﺳﺖﺁﺧﺮ‪ ،‬ﺷﮑﺎﻓﻲ ﺩﺭ ﺣﻠﻘﻪ ﺑﺎﺯ ﻣﻲﻛﻨﻴﻢ‪ ،‬ﺁﻥ ﺭﺍ ﺍﺯ ﻫﻤﻪ ﺳﻮ‬
‫ﻣﻲﮔﺸﺎﻳﻴﻢ‪ ،‬ﮐﺴﻲ ﺭﺍ ﺑﻪ ﺁﻥ ﺭﺍﻩ ﻣﻲﺩﻫﻴﻢ‪ ،‬ﺻﺪﺍﻳﺶ ﻣﻲﻛﻨﻴﻢ‪ ،‬ﻳﺎ ﺩﺭ ﻏﻴﺮ‬
‫ﺍﻳﻦ ﺻﻮﺭﺕ ﺧﻮﺩﻣﺎﻥ ﺑﻴﺮﻭﻥ ﻣﻲﺭﻭﻳﻢ‪ ،‬ﻭ ﻧﺎﮔﻬﺎﻥ ﺑﻪ ﺭﺍﻩ ﻣﻲﺍﻓﺘﻴﻢ‪ .‬ﺣﻠﻘﻪ‬
‫ﺭﺍ ﻧﻪ ﺍﺯ ﮔﻮﺷﻪ ﮐﻪ ﻧﻴﺮﻭﻫﺎﻱ ﻗﺪﻳﻤﻲ ﺁﺷﻮﺏ ﺑﺮ ﺁﻥ ﻓﺸﺎﺭ ﻣﻲﺁﻭﺭﻧﺪ‪ ،‬ﺑﻞ‬
‫ِ ﺣﻠﻘﻪ ﺑﻪ ﻭﺟﻮﺩ ﺁﻭﺭﺩﻩ ﺑﺎﺯ ﻣﻲﻛﻨﻴﻢ‪.‬‬‫ﺁﻥ ﺭﺍ ﺩﺭ ﻧﺎﺣﻴﻪﺍﻱ ﺩﻳﮕﺮﻱ ﮐﻪ ﺧﻮﺩ‬
‫ﮔﻮﻳﻲ ﺣﻠﻘﻪ ﺧﻮﺩﺵ ﻣﻲﺧﻮﺍﻫﺪ ﺑﻪ ﺭﻭﻱ ﺁﻳﻨﺪﻩﺍﻱ ﮔﺸﻮﺩﻩ ﺷﻮﺩ‪ ،‬ﺁﻥ ﻫﻢ‬
‫ﺑﻪﻣﺜﺎﺑﻪﻱ ﮐﺎﺭﮐﺮﺩﻱ ﺍﺯ ﻧﻴﺮﻭﻫﺎﻱ ﺩﺭ ﮐﺎﺭﻱ ﮐﻪ ﺑﻪ ﺁﻥﻫﺎ ﭘﻨﺎﻩ ﻣﻲﺩﻫﺪ‪.‬‬
‫ﺍﻳﻦ ﺑﺎﺭ‪ ،‬ﺑﻪ ﺍﻳﻦ ﺧﺎﻃﺮ ﺍﺳﺖ ﮐﻪ ﺑﻪ ﻧﻴﺮﻭﻫﺎﻱ ﺁﻳﻨﺪﻩ‪ ،‬ﻧﻴﺮﻭﻫﺎﻱ ﮐﻴﻬﺎﻧﻲ‬
‫ﺑﭙﻴﻮﻧﺪﺩ‪ .‬ﻧﺎﮔﻬﺎﻥ ﺑﻪ ﺭﺍﻩ ﻣﻲﺍﻓﺘﻴﻢ ﻭ ﺑﺪﻳﻬﻪﺳﺮﺍﻳﻲﺍﻱ ﺭﺍ ﺑﻪ ﻣﺨﺎﻃﺮﻩ‬
‫ﺩﺭﻣﻲﺍﻧﺪﺍﺯﻳﻢ‪ .‬ﺍﻣﺎ ﺑﺪﻳﻬﻪﺳﺮﺍﻳﻲ ﭘﻴﻮﺳﺘﻦ ﺑﻪ ﺟﻬﺎﻥ ﻳﺎ ﺗﻠﻔﻴﻖﺷﺪﻥ ﺑﺎ ﺁﻥ‬
‫ِ ﺣﺮﮐﺘﻲ‬‫ِ ﺧﻄﻮﻁ‬‫ﺍﺳﺖ‪ .‬ﺩﺭﭘﻲ ﺁﻫﻨﮕﻲ ﺍﺯ ﺧﺎﻧﻪ ﺑﻴﺮﻭﻥ ﻣﻲﺯﻧﺪ‪ .‬ﺩﺭ ﻃﻮﻝ‬
‫ِ ﮐﻮﺩک ﻫﺴﺘﻨﺪ ﻭ ﺧﻮﺩﺷﺎﻥ ﺭﺍ‬‫ِ ﻣﻌﻤﻮﻝ‬
‫ِ ﻣﺴﻴﺮ‬
‫ﭘﺮﻃﻨﻴﻦ ﻭ ژﺳﺖﻣﻨﺪﻱ ﮐﻪ ﻧﺸﺎﻧﮕﺮ‬
‫ِ ﺭﺍﻧﺶ«‬
‫ﺑﻪ ﺍﻳﻦ ﻣﺴﻴﺮ ﻗﻠﻤﻪ ﻣﻲﺯﻧﻨﺪ ﻳﺎ ﺷﺮﻭﻉ ﺑﻪ ﺷﮑﻮﻓﺎ ﮐﺮﺩﻥِ »ﺧﻄﻮﻁ‬
‫ﻫﻤﺮﺍﻩ ﺑﺎ ﺣﻠﻘﻪﻫﺎ‪ ،‬ﮔﺮﻩﻫﺎ‪ ،‬ﺳﺮﻋﺖﻫﺎ‪ ،‬ﺣﺮﻛﺖﻫﺎ‪ ،‬ژﺳﺖﻫﺎ‪ ،‬ﻭ ﻃﻨﻴﻦﻫﺎ‬
‫ﻣﻲﻛﻨﺪ‪115.‬‬

‫‪115‬‬
‫‪. Fernand Deligny, Voix et Voir, Recherches, no. 8 (April 1975),‬‬
‫ِ ﺍﻧﺤﺮﺍﻑ« ﺍﺯ ﻣﺴﻴﺮ‬
‫ِ ﻣﻌﻤﻮﻝ‬ ‫ﺩﺭ ﻣﺴﻴﺮﻱ ﮐﻪ ﻣﻴﺎﻥِ ﮐﻮﺩﮐﺎﻥِ ﺩﺭﺧﻮﺩﻣﺎﻧﺪﻩ )ﺍﺗﻴﺴﺘﻲ( ﻧﻮﻋﻲ »ﺧﻂ‬
‫ِ ﺧﻮﺩ«‬
‫ﻣﻨﺤﺮﻑ ﻣﻲﺷﻮﺩ ﻭ ﺷﺮﻭﻉ ﺑﻪ »ﻟﺮﺯﻳﺪﻥ«‪» ،‬ﺑﻪ ﺗﻼﻃﻢ ﺩﺭﺁﻣﺪﻥ« ﻭ »ﺩﻭﺭﺷﺪﻥ ﺍﺯ ﻣﺴﻴﺮ‬
‫ﻣﻲﻛﻨﺪ‪.‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫ﺍﻳﻦﻫﺎ ﻧﻪ ﺳﻪ ﻟﺤﻈﻪﻱ ﻣﺘﻮﺍﻟﻲ ﺩﺭ ﻳﮏ ﺗﮑﺎﻣﻞ‪ ،‬ﺑﻞ ﺳﻪ ﺟﻨﺒﻪﻱ ﺍﺯ ﻳﮏ‬
‫ِ ﻭﺍﺣﺪ‪ ،‬ﻳﻌﻨﻲ ﺭﻳﺘﻮﺭﻧﻠﻠﻮ ﻫﺴﺘﻨﺪ‪ .‬ﺁﻥﻫﺎ ﺭﺍ ﻣﻲﺗﻮﺍﻥ ﺩﺭ ﻗﺼﻪﻫﺎ )ﻫﻢ‬ ‫ﭼﻴﺰ‬
‫ﺩﺭ ﺩﺍﺳﺘﺎﻥﻫﺎﻱ ﻭﺣﺸﺖ ﻭ ﻫﻢ ﺩﺭ ﻗﺼﻪﻫﺎﻱ ﭘﺮﻳﺎﻥ(‪ ،‬ﻭ ﻧﻴﺰ ﺩﺭ ﻧﻮﺍﺯﻧﺪﻩﻱ‬
‫ﻣﻮﺳﻴﻘﻲ ﻟﻴﺪ ﻳﺎﻓﺖ‪ .‬ﺭﻳﺘﻮﺭﻧﻠﻠﻮ ﻭﺍﺟﺪ ﻫﻤﻪﻱ ﺍﻳﻦ ﺟﻮﺍﻧﺐ ﺍﺳﺖ‪ ،‬ﻭ ﺁﻥﻫﺎ‬
‫ﺭﺍ ﻫﻤﺰﻣﺎﻥ ﻳﺎ ﻣﺨﻠﻮﻁ ﻣﻲﻛﻨﺪ‪ :‬ﮔﺎﻫﻲ‪ ،‬ﮔﺎﻫﻲ‪ ،‬ﮔﺎﻫﻲ‪ .‬ﮔﺎﻫﻲ ﺁﺷﻮﺏ‬
‫ﺳﻴﺎﻩﭼﺎﻟﻪﻱ ﻋﻈﻴﻤﻲ ﺍﺳﺖ ﮐﻪ ﺩﺭ ﺁﻥ ﺳﻌﻲ ﻣﻲﻛﻨﻴﻢ ﻧﻘﻄﻪﻱ ﺷﮑﻨﻨﺪﻩﺍﻱ ﺭﺍ‬
‫ﺑﻪﻣﺜﺎﺑﻪﻱ ﻳﮏ ﻣﺮﮐﺰ ﺗﺜﺒﻴﺖ ﻣﻲﻛﻨﺪ‪ .‬ﮔﺎﻫﻲ )ﻧﻪ ﻳﮏ ﻓﺮﻡ ﺑﻞ( » ِ‬
‫ﺁﻫﻨﮓ‬
‫ﺣﺮﮐﺖِ« ﺁﺭﺍﻡ ﻭ ﺍﺳﺘﻮﺍﺭﻱ ﺭﺍ ﭘﻴﺮﺍﻣﻮﻥِ ﺁﻥ ﻧﻘﻄﻪ ﺳﺎﺯﻣﺎﻥ ﻣﻲﺩﻫﻴﻢ‪:‬‬
‫ﺳﻴﺎﻩﭼﺎﻟﻪ ﻳﮏ ﺧﺎﻧﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﮔﺎﻫﻲ ﮔﺴﺴﺘﻲ ﺍﺯ ﺳﻴﺎﻩﭼﺎﻟﻪ ﺭﺍ ﺑﻪ ﺁﻥ‬
‫ِﻪ ﺍﻳﻦ ﺳﻪ ﺟﻨﺒﻪ ﻭ ﭘﻴﻮﻧﺪﻫﺎﻱ‬ ‫ﻨﮓ ﺣﺮﮐﺖ ﻗﻠﻤﻪ ﻣﻲﺯﻧﻴﻢ‪ .‬ﭘﻞ ﮐﻠ‬ ‫ﺁﻫِ‬
‫ﺩﺭﻭﻧﻲﺷﺎﻥ ﺭﺍ ﺑﻪ ژﺭﻑﺗﺮﻳﻦ ﺷﻴﻮﻩﻱ ﻣﻤﮑﻦ ﺍﺭﺍﺋﻪ ﮐﺮﺩ‪ .‬ﺍﻭ ﺳﻴﺎﻩﭼﺎﻟﻪ ﺭﺍ‬
‫ﺑﻪ ﺩﻻﻳﻠﻲ ﺗﺼﻮﻳﺮﻱ ﻳﮏ »ﻧﻘﻄﻪﻱ ﺧﺎﮐﺴﺘﺮﻱ« ﻣﻲﺧﻮﺍﻧﺪ‪ .‬ﻧﻘﻄﻪﻱ ﺧﺎﮐﺴﺘﺮﻱ‬
‫ﻫﻤﭽﻮﻥ ﺁﺷﻮﺑﻲ ﻣﻮﺿﻌﻲﻧﺸﺪﻧﻲ ﻭ ﻏﻴﺮﺍﺑﻌﺎﺩﻱ‪ ،‬ﻧﻴﺮﻭﻱ ﺁﺷﻮﺏ‪ ،‬ﻳﺎ ﺩﺳﺘﻪﻱ ﺑﻪ‬
‫ِ ﻣﻨﺤﺮﻑ ﻭ ﮔﻤﺮﺍﻩ ﺷﺮﻭﻉ ﻣﻲﻛﻨﺪ‪ .‬ﺳﭙﺲ ﺍﻳﻦ ﻧﻘﻄﻪ‬ ‫ﻫﻢ ﭘﻴﭽﻴﺪﻩﺍﻱ ﺍﺯ ﺧﻄﻮﻁ‬
‫ِ ﻣﺘﻘﺎﻃﻊ‬
‫ِ‬ ‫»ﺭﻭﻱ ﺧﻮﺩﺵ ﻣﻲﭘﺮﺩ« ﻭ ﻓﻀﺎﻳﻲ ﺍﺑﻌﺎﺩﻱ ﺑﺎ ﻻﻳﻪﻫﺎﻱ ﺍﻓﻘﻲ‪ ،‬ﺳﻄﻮﺡ‬
‫ِ ﻧﻴﺮﻭﻱ ﺩﺭﻭﻧﻲ‬ ‫ِ ﻣﻌﻤﻮﻟﻲ ﻧﻮﺷﺘﻪﻧﺸﺪﻩ‪ ،‬ﻳﺎ ﻫﻤﺎﻥ ﮐﻞ‬ ‫ﻋﻤﻮﺩﻱ‪ ،‬ﺧﻄﻮﻁ‬
‫ﺁﻫﻨﮓ ﺣﺮﮐﺖِ‬
‫ِ‬ ‫ﻗﻠﻤﺮﻭﻣﻨﺪ ﺭﺍ ﻣﺘﺸﻌﺸﻊ ﻣﻲﻛﻨﺪ )ﻫﻤﭽﻨﻴﻦ ﺍﻳﻦ ﻧﻴﺮﻭ ﺩﺭ‬
‫ﺁﺭﺍﻣﺘﺮﻱ‪ ،‬ﺩﺭ ﺟﻮ ﻭ ﺩﺭ ﺁﺏ‪ ،‬ﺳﺮﺑﺮﻣﻲﻛﻨﺪ(‪ .‬ﺍﺯ ﺍﻳﻦ ﺭﻭ‪ ،‬ﻧﻘﻄﻪﻱ ﺧﺎﮐﺴﺘﺮﻱ‬
‫ِ ﺩﻳﮕﺮ ﭘﺮﻳﺪﻩ ﺍﺳﺖ‪ ،‬ﻭ ﺩﻳﮕﺮ ﻧﻪ ﺁﺷﻮﺏ‪،‬‬ ‫)ﺳﻴﺎﻩﭼﺎﻟﻪ( ﺍﺯ ﻳﮏ ﻭﺿﻊ ﺑﻪ ﻭﺿﻊ‬
‫ﺑﻞ ﻣﻨﺰﻝ ﻳﺎ ﺧﺎﻧﻪ ﺭﺍ ﺑﺎﺯﻧﻤﺎﻳﻲ ﻣﻲﻛﻨﺪ‪ .‬ﺩﺳﺖﺁﺧﺮ‪ ،‬ﺍﻳﻦ ﻧﻘﻄﻪ ﺍﺯ ﺧﻮﺩﺵ‬
‫ِ ﭘﺮﺳﻪﺯﻧﻲ ﮐﻪ ﺩﺭ ﻓﻀﺎﻱ ﮐﻴﻬﺎﻥ‬ ‫ﺁﻏﺎﺯ ﻣﻲﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﻧﻴﺮﻭﻫﺎﻱ ﻣﺮﮐﺰﮔﺮﻳﺰ‬
‫ﻣﻨﺘﺸﺮ ﻣﻲﺷﻮﻧﺪ‪ ،‬ﺍﻳﻦ ﻧﻘﻄﻪ ﺭﺍ ﻣﻲﺭﺍﻧﻨﺪ‪» :‬ﺑﻪﻧﺤﻮ ﻣﺘﺸﻨﺠﻲ ﺳﻌﻲ ﻣﻲﻛﻨﻴﻢ‬
‫ﺍﺯ ﺯﻣﻴﻦ ﭘﺮﻭﺍﺯ ﮐﻨﻴﻢ‪ ،‬ﺍﻣﺎ ﺩﺭ ﭼﻨﻴﻦ ﻭﺿﻌﻴﺘﻲ ﻋﻤﻼً ﺳﻌﻲ ﻣﻲﻛﻨﻴﻢ ﺍﺯ ﺍﻳﻦ‬
‫ِ ﻏﺎﻟﺐ ﺑﺮ ﺟﺎﺫﺑﻪ‬‫ﺳﻄﺢ ﻓﺮﺍﺗﺮ ﺭﻭﻳﻢ؛ ﺳﻄﺤﻲ ﮐﻪ ﺍﺯ ﻧﻴﺮﻭﻫﺎﻱ ﻣﺮﮐﺰﮔﺮﻳﺰ‬
‫ﺑﺮﺁﻣﺪﻩ ﺍﺳﺖ‪116«.‬‬

‫ﺍﻏﻠﺐ ﺑﺮ ﻧﻘﺶِ ﺭﻳﺘﻮﺭﻧﻠﻠﻮ ﺗﺄﻛﻴﺪ ﺷﺪﻩ‪ :‬ﺭﻳﺘﻮﺭﻧﻠﻠﻮ ﻗﻠﻤﺮﻭﻣﻨﺪ ﺍﺳﺖ ﻭ‬

‫ﻳﮏ ﺳﺮﻫﻢﺑﻨﺪﻱ ﻗﻠﻤﺮﻭﻣﻨﺪ ﻣﺤﺴﻮﺏ ﻣﻲﺷﻮﺩ‪ .‬ﺁﻭﺍﺯﻫﺎﻱ ﭘﺮﻧﺪﻩ‪ :‬ﭘﺮﻧﺪﻩ ﺁﻭﺍﺯ‬
‫ِ ﺍﺳﻠﻮﺏﻫﺎﻱ ﻳﻮﻧﺎﻧﻲ ﻭ‬ ‫ﻣﻲﺧﻮﺍﻧﺪ ﺗﺎ ﻗﻠﻤﺮﻭـﺍﺵ ﺭﺍ ﻣﺸﺨﺺ ﮐﻨﺪ‪ .‬ﺧﻮﺩ‬
‫ﺭﻳﺘﻢﻫﺎﻱ ﻫﻨﺪﻱ ﻗﻠﻤﺮﻭﻣﻨﺪ‪ ،‬ﺭﻭﺳﺘﺎﻳﻲ‪ ،‬ﻭ ﻣﺤﻠﻲ ﻫﺴﺘﻨﺪ‪ .‬ﻣﻤﮑﻦ ﺍﺳﺖ‬
‫ﺭﻳﺘﻮﺭﻧﻠﻠﻮ ﮐﺎﺭﮐﺮﺩﻫﺎ ﺩﻳﮕﺮﻱ ﺍﺯ ﺟﻤﻠﻪ ﻋﺎﺷﻘﺎﻧﻪ‪ ،‬ﺣﺮﻓﻪﺍﻱ ﻳﺎ ﺍﺟﺘﻤﺎﻋﻲ‪،‬‬
‫ﻣﻨﺎﺟﺎﺗﻲ ﻳﺎ ﮐﻴﻬﺎﻧﻲ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﺑﮕﻴﺮﺩ‪ :‬ﺭﻳﺘﻮﺭﻧﻠﻠﻮ ﻫﻤﻮﺍﺭﻩ ﮐﺮﻩﻱ‬
‫ً ﻣﻌﻨﻮﻱ( ﺭﺍ ﺩﺭ‬‫ﺯﻣﻴﻦ ﺭﺍ ﻫﻤﺮﺍﻩ ﺑﺎ ﺧﻮﺩ ﺣﻤﻞ ﻣﻲﻛﻨﺪ‪ ،‬ﺯﻣﻴﻨﻲ )ﮔﺎﻫﺎ‬
‫ِ ﺯﺍﻳﺸﻲ‪ ،‬ﻳﮏ‬‫ﻣﻘﺎﻡ ﻣﻼﺯﻡﺍﺵ ﻫﻤﺮﺍﻩ ﺩﺍﺭﺩ‪ ،‬ﻭ ﻧﺴﺒﺘﻲ ﺍﺳﺎﺳﻲ ﺑﺎ ﻳﮏ ﺍﻣﺮ‬
‫ﺁﻫﻨﮓ ﮐﻮﺗﺎﻩ ﺍﺳﺖ‪ ،‬ﻓﺮﻣﻮﻟﻲ‬
‫ِ‬ ‫ِ« ﻣﻮﺳﻴﻘﻴﺎﻳﻲ ﻳﮏ‬‫ِ ﺑﻮﻣﻲ ﺩﺍﺭﺩ‪ .‬ﻳﮏ »ﻧﻢ‬ ‫ﺍﻣﺮ‬

‫‪116‬‬
‫‪. Paul Klee, On Modern Art, trans. Paul Findlay, intro. Herbert Reed (London: Faber, 1966), p. 43‬‬
‫ﻭ ﻧﻴﺰ ﺭﺟﻮﻉ ﮐﻨﻴﺪ ﺑﻪ ﻧﻈﺮﺍﺕِ ﻫﻨﺮﻱ ﻣﺎﻟﺪﻳﻨﻲ ﺩﺭ‬
‫‪Henri Maldiney's Regard, parole, espace (Lausanne: L'Age d'homme, 1973), pp. 149-151.‬‬

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 ‫ﻣﻠﻮﺩﻳﮏ ﮐﻪ ﺩﺭ ﭘﻲ ﺷﻨﺎﺧﺖ ﺍﺳﺖ ﻭ ﺷﺎﻟﻮﺩﻩ ﻳﺎ ﺑﻨﻴﺎﻥِ ﭼﻨﺪﺻﺪﺍﻳﻲ ﺑﺎﻗﻲ‬
‫ﻣﻲﻣﺎﻧﺪ )‪ .117(contus firmus‬ﻧﻮﻣﻮﺱ‪ 118‬ﺑﻪﻣﺜﺎﺑﻪﻱ ﻗﺎﻧﻮﻥِ ﺭﺍﻳﺞ ﻭ ﻧﻮﺷﺘﻪﻧﺸﺪﻩ‬
‫ِ ﻓﻀﺎ‪ ،‬ﺗﻮﺯﻳﻌﻲ ﺩﺭ ﻓﻀﺎ ﺗﻔﮑﻴﮏﻧﺸﺪﻧﻲ ﺍﺳﺖ‪ .‬ﺑﻪ ﻫﻤﻴﻦ‬ ‫ﺍﺯ ﻗﺴﻤﻲ ﺗﻮﺯﻳﻊ‬
‫ِﺗﻮﺱ ﻧﻴﺰ ﻫﻤﺎﻥ ﻣﻨﺰﻝ ﺍﺳﺖ‪120.‬‬‫ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺍ‬ ‫‪119‬‬ ‫ِﺗﻮﺱ‬
‫ﻣﻨﻮﺍﻝ‪ ،‬ﻧﻮﻣﻮﺱ ﻫﻤﺎﻥ ﺍ‬
‫ﮔﺎﻫﻲ ﺍﺯ ﺁﺷﻮﺏ ﺑﻪ ﺁﺳﺘﺎﻧﻪﻱ ﻳﮏ ﺳﺮﻫﻢﺑﻨﺪﻱ ﻗﻠﻤﺮﻭﻣﻨﺪ ﻣﻲﺭﻭﻳﻢ‪:‬‬
‫ﻣﺆﻟﻔﻪﻫﺎﻱ ﺟﻬﺖﻣﻨﺪ‪ ،‬ﻣﺎﺩﻭﻥـﺳﺮﻫﻢﺑﻨﺪﻱ‪ .‬ﮔﺎﻫﻲ ﺑﻪ ﺳﺮﻫﻢﺑﻨﺪﻱ ﺳﺎﺯﻣﺎﻥ‬
‫ﻣﻲﺩﻫﻴﻢ‪ :‬ﻣﺆﻟﻔﻪﻫﺎﻱ ﺍﺑﻌﺎﺩﻱ‪ ،‬ﺩﺭﻭﻥـﺳﺮﻫﻢﺑﻨﺪﻱ‪ .‬ﮔﺎﻫﻲ ﺳﺮﻫﻢﺑﻨﺪﻱ‬
‫ِ ﺳﺮﻫﻢﺑﻨﺪﻱﻫﺎﻱ ﺩﻳﮕﺮ‪ ،‬ﻳﺎ ﺑﻪ ﻗﺼﺪ ﺟﺎﻱ ﮐﺎﻣﻼً‬ ‫ﻗﻠﻤﺮﻭﻣﻨﺪ ﺭﺍ ﺑﻪ ﻗﺼﺪ‬
‫ﺩﻳﮕﺮﻱ ﺗﺮک ﻣﻲﻛﻨﻴﻢ‪ :‬ﺑﻴﻨﺎـﺳﺮﻫﻢﺑﻨﺪﻱ‪ ،‬ﻣﺆﻟﻔﻪﻫﺎﻱ ﮔﺬﺍﺭ ﻳﺎ ﺣﺘﻲ ﮔﺮﻳﺰ‪.‬‬
‫ﻭ ﺍﻳﻦ ﻫﻤﻪ ﺗﻮﺃﻣﺎﻥ‪ .‬ﻧﻴﺮﻭﻫﺎﻱ ﺁﺷﻮﺏ‪ ،‬ﻧﻴﺮﻭﻫﺎﻱ ﺯﻣﻴﻨﻲ ]ﺍﻳﻦﺟﻬﺎﻧﻲ[‪،‬‬
‫ﻧﻴﺮﻭﻫﺎﻱ ﮐﻴﻬﺎﻧﻲ‪ :‬ﺍﻳﻦ ﺳﻪ ﻫﻤﮕﻲ ﺑﺎ ﻳﮑﺪﻳﮕﺮ ﻣﻮﺍﺟﻪ ﻭ ﺩﺭ ﺭﻳﺘﻮﺭﻧﻠﻠﻮﻱ‬
‫ﻗﻠﻤﺮﻭﻣﻨﺪ ﻫﻤﮕﺮﺍ ﻣﻲﺷﻮﻧﺪ‪.‬‬
‫ﻭ ﺭﻳﺘﻢﻫﺎ ﺯﺍﺩﻩ ﻣﻲﺷﻮﻧﺪ‪ .‬ﺩﻏﺪﻏﻪﻱ‬ ‫‪121‬‬ ‫ﺍﺯ ﺁﺷﻮﺏ ﻣﺤﻴﻂﻫﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ‬
‫ﮐﻴﻬﺎﻥﺯﺍﻳﻲ ﮐﻬﻦ ﻧﻴﺰ ﻫﻤﻴﻦ ﺍﺳﺖ‪ .‬ﺁﺷﻮﺏ ﻣﺆﻟﻔﻪﻫﺎﻱ ﺟﻬﺖﻣﻨﺪﻱ ﺩﺍﺭﺩ ﮐﻪ‬
‫ﻫﻤﺎﻥ ﺧﻠﺴﻪﻫﺎﻳﺶ ﻫﺴﺘﻨﺪ‪ .‬ﺟﺎﻱ ﺩﻳﮕﺮﻱ ﺩﻳﺪﻩﺍﻳﻢ ﭼﮕﻮﻧﻪ ﻫﻤﻪﻱ ﺍﻧﻮﺍﻉ‬
‫ﻣﺤﻴﻂﻫﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ ﮐﻪ ﻫﺮ ﮐﺪﺍﻡ ﺑﺎ ﻳﮏ ﻣﺆﻟﻔﻪ ﺗﻌﺮﻳﻒ ﺷﺪﻩﺍﻧﺪ ﺩﺭ ﻧﺴﺒﺖ‬
‫ِ ﺍﺟﺘﻤﺎﻋﻲ ﻣﺮﺗﻌﺶ‬ ‫ﺑﺎ ﻳﮑﺪﻳﮕﺮ ﻭ ﺭﻭﻱ ﻳﮑﺪﻳﮕﺮ ﺳﺮ ﻣﻲﺧﻮﺭﻧﺪ‪ .‬ﻫﺮ ﻣﺤﻴﻂ‬
‫ِ ﺩﻭﺭﻩﺍﻱ‬ ‫ﺍﺳﺖ‪ ،‬ﻳﺎ ﺑﻪ ﺑﻴﺎﻥ ﺩﻳﮕﺮ ﺑﻠﻮﮐﻲ ﺍﺯ ﻓﻀﺎـﺯﻣﺎﻥ ﮐﻪ ﺗﮑﺮﺍﺭ‬
‫ِ‬
‫ِ ﺯﻧﺪﻩ ﻭﺍﺟﺪ ﻣﺤﻴﻂ‬ ‫ﻣﺆﻟﻔﻪﻱ ﻣﺰﺑﻮﺭ ﺁﻥ ﺭﺍ ﺳﺎﺧﺘﻪ ﺍﺳﺖ‪ .‬ﺍﺯ ﺍﻳﻦ ﺭﻭ‪ ،‬ﭼﻴﺰ‬
‫ِ ﺍﺟﺘﻤﺎﻋﻲ ﺩﺭﻭﻧﻲﺍﻱ ﺍﺯ ﺟﻨﺲِ‬ ‫ﺍﺟﺘﻤﺎﻋﻲ ﺑﻴﺮﻭﻧﻲ ﺍﺯ ﺟﻨﺲِ ﻣﻮﺍﺩ ﺍﺳﺖ‪ ،‬ﻣﺤﻴﻂ‬
‫ِ ﺍﺟﺘﻤﺎﻋﻲ ﺑﻴﻨﺎﺑﻴﻨﻲ‬ ‫ﻋﻨﺎﺻﺮ ﺳﺎﺯﻧﺪﻩ ﻭ ﺟﻮﻫﺮﻫﺎﻱ ﺳﺎﺧﺘﻪﺷﺪﻩ‪ ،‬ﻧﻮﻋﻲ ﻣﺤﻴﻂ‬
‫ِ ﺍﺟﺘﻤﺎﻋﻲ ﺍﻟﺼﺎﻕﺷﺪﻩﺍﻱ ﺍﺯ ﺟﻨﺲِ ﻣﻨﺎﺑﻊ‬
‫ِ‬ ‫ﻗﺸﺎﻫﺎ ﻭ ﺣﺪﻫﺎ‪ ،‬ﻭ ﻧﻴﺰ ﻣﺤﻴﻂ‬
‫ِ ﺍﺟﺘﻤﺎﻋﻲ ﺭﻣﺰﮔﺎﻥﮔﺬﺍﺭﻱ ﺷﺪﻩ ﺍﺳﺖ‪،‬‬ ‫ﺍﻧﺮژﻱ ﻭ ﻛﻨﺶﻫﺎـﺍﺩﺭﺍکﻫﺎ‪ .‬ﻫﺮ ﻣﺤﻴﻂ‬
‫ِ ﺩﻭﺭﻩﺍﻱ ﺗﻌﺮﻳﻒ ﻣﻲﺷﻮﺩ؛ ﺍﻣﺎ ﻫﺮ‬ ‫ﻫﻤﺎﻥ ﺭﻣﺰﮔﺎﻥﮔﺬﺍﺭﻱ ﮐﻪ ﺑﺎ ﺗﮑﺮﺍﺭ‬
‫ﺭﻣﺰﮔﺎﻥ ﺩﺭ ﻭﺿﻌﻴﺖِ ﺩﺍﺋﻤﻲﺍﻱ ﺍﺯ ﺟﻨﺲِ ﻓﻮﻕﺭﻣﺰﮔﺎﻥﮔﺬﺍﺭﻱ ﻳﺎ ﻓﻮﻕﺍﻟﻘﺎء‬
‫ِ‬
‫ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪ .‬ﻓﻮﻕﺭﻣﺰﮔﺎﻥﮔﺬﺍﺭﻱ ﻳﺎ ﻓﻮﻕﺍﻟﻘﺎء ﺷﻴﻮﻩﺍﻱ ﺍﺳﺖ ﮐﻪ ﻳﮏ ﻣﺤﻴﻂ‬
‫ِ ﺍﺟﺘﻤﺎﻋﻲ ﺩﻳﮕﺮ ﺑﻪﮐﺎﺭ‬ ‫ﺍﺟﺘﻤﺎﻋﻲ ﺩﺭ ﺁﻥ ﺑﻪﻣﺜﺎﺑﻪﻱ ﻣﺒﻨﺎﻳﻲ ﺑﺮﺍﻱ ﻣﺤﻴﻂ‬
‫ِ ﺍﺟﺘﻤﺎﻋﻲ ﺩﻳﮕﺮ ﺑﻨﺎ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﺩﺭ ﺁﻥ‬ ‫ﻣﻲﺭﻭﺩ‪ ،‬ﻳﺎ ﺑﺮﻋﮑﺲ ﺭﻭﻱ ﻣﺤﻴﻂ‬

‫‪ cantus firmus .‬ــ ﺗﺮﮐﻴﺒﻲ ﻻﺗﻴﻦ؛ ﻳﮏ ﻣﻠﻮﺩﻱ ﺍﺳﺖ ﮐﻪ ﺑﻪﻋﻨﻮﺍﻥِ ﻣﺒﻨﺎﻱ ﻳﮏ ﺗﺮﮐﻴﺐﺑﻨﺪﻱ‬
‫ﭼﻨﺪﺻﺪﺍﻳﻲ ﺑﻪﮐﺎﺭ ﻣﻲﺭﻭﺩ‪ .‬ﻡ‪ .‬ﻑ‬
‫‪118‬‬
‫‪. nomos‬‬
‫‪119‬‬
‫‪. ethos‬‬
‫ﺩﺭ‬ ‫ً‬
‫ﺧﺼﻮﺻﺎ‬ ‫ﺳﻄﺢ‪،‬‬ ‫ﻳﺎ‬ ‫ﺯﻣﻴﻦ‬ ‫ﻭ‬ ‫ﻗﻮﻣﻲ‪،‬‬ ‫ﺭﺳﻮﻡ‬
‫ِ‬ ‫ﻭ‬ ‫ﻋﺎﺩﺍﺕ‬ ‫ﻣﻮﺳﻴﻘﺎﻳﻲ‪،‬‬ ‫‪ .‬ﺩﺭﺑﺎﺏ ﻧﻮﻡ‬
‫ِ‬
‫ﭼﻨﺪﺁﻭﺍﻳﻲ‪ ،‬ﺭ‪.‬ک‪.‬‬
‫‪Joseph Samson in Histoire de la musique, ed. Roland Manuel (Paris: Gallimard, 1977), vol. 2, pp. 1168-1172.‬‬
‫ﺑﻪ ﻋﻼﻭﻩ ﻣﻲﺗﻮﺍﻥ ﺑﻪ ﻧﻘﺶِ »ﻣﻘﺎﻡ« ﺩﺭ ﻣﻮﺳﻘﻲ ﻋﺮﺑﻲ ﺍﺷﺎﺭﻩ ﮐﺮﺩ‪ ،‬ﮐﻪ ﻫﻢ ﺍﺯ ﺳﻨﺨﻲ ﻣﻮﺩﺍﻝ ﻭ‬
‫ﻓﺮﻣﻮﻟﻲ ﻣﻠﻮﺩﻳﮏ ﺍﺳﺖ‪:‬‬
‫‪Simon Jargy, La musique arabe (Paris: PUF, 1971), pp. 55ff.‬‬
‫‪121‬‬
‫‪. milieu‬‬

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‫ِ ﺍﺟﺘﻤﺎﻋﻲ‬
‫ِ ﺍﺟﺘﻤﺎﻋﻲ ﺩﻳﮕﺮ ﻣﻨﺘﺸﺮ ﻳﺎ ﺳﺎﺧﺘﻪ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻧﮕﺎﺭﻩﻱ ﻣﺤﻴﻂ‬ ‫ﻣﺤﻴﻂ‬
‫ِ ﺍﺟﺘﻤﺎﻋﻲ ﺑﻪ‬ ‫ً‬
‫ِ ﺯﻧﺪﻩ ﺩﺍﺋﻤﺎ ﺍﺯ ﻳﮏ ﻣﺤﻴﻂ‬ ‫ﻭﺣﺪﺕﮔﺮﺍ ﺍﺳﺖ‪ :‬ﻧﻪ ﺗﻨﻬﺎ ﭼﻴﺰ‬
‫ِ ﺍﺟﺘﻤﺎﻋﻲ ﺩﻳﮕﺮ ﻋﺒﻮﺭ ﻣﻲﻛﻨﺪ‪ ،‬ﺑﻠﻜﻪ ﻣﺤﻴﻂﻫﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ ﺍﺯ ﻳﮑﺪﻳﮕﺮ‬ ‫ﻣﺤﻴﻂ‬
‫ً‬
‫ﻋﺒﻮﺭ ﻣﻲﻛﻨﻨﺪ‪ ،‬ﻭ ﺁﻥﻫﺎ ﺩﺍﺭﻧﺪ ﺍﺳﺎﺳﺎ ﻫﻤﺮﺳﺎﻧﻲ ﻣﻲﻛﻨﻨﺪ ]ﺍﺭﺗﺒﺎﻁ‬
‫ﻣﻲﮔﻴﺮﻧﺪ[‪ .‬ﻣﺤﻴﻂﻫﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ ﺭﻭ ﺑﻪ ﺁﺷﻮﺏ‪ ،‬ﮐﻪ ﺁﻥﻫﺎ ﺭﺍ ﺑﺎ ﻓﺮﺳﻮﺩﮔﻲ‬
‫ﻳﺎ ﺗﻌﺪﻱ ﺗﻬﺪﻳﺪ ﻣﻲﻛﻨﺪ‪ ،‬ﮔﺸﻮﺩﻩ ﻫﺴﺘﻨﺪ‪ .‬ﺭﻳﺘﻢ ﻫﻤﺎﻥ ﭘﺎﺳﺦِ ﻣﺤﻴﻂﻫﺎﻱ‬
‫ﺍﺟﺘﻤﺎﻋﻲ ﺑﻪ ﺁﺷﻮﺏ ﺍﺳﺖ‪ .‬ﺁﻥﭼﻪ ﺁﺷﻮﺏ ﻭ ﺭﻳﺘﻢ ﺑﻪ ﺍﺷﺘﺮﺍک ﺩﺍﺭﻧﺪ‬
‫ِ ﺍﺟﺘﻤﺎﻋﻲ‪ ،‬ﺭﻳﺘﻢـﺁﺷﻮﺏ ﻳﺎ ﺟﻬﺎﻥﺁﺷﻮﺏ‪:‬‬ ‫ﺩﺭـﻣﻴﺎﻥ‪ 122‬ﺍﺳﺖ؛ ﻣﻴﺎﻥِ ﺩﻭ ﻣﺤﻴﻂ‬
‫»ﻣﻴﺎﻥِ ﺷﺐ ﻭ ﺭﻭﺯ‪ ،‬ﻣﻴﺎﻥِ ﺁﻥﭼﻪ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺁﻥﭼﻪ ﺑﻨﺎ ﺑﻪ ﻃﺒﻴﻌﺖ‬
‫ِ ﺍﺭﮔﺎﻧﻴﮏ‪ ،‬ﺍﺯ‬ ‫ِ ﻏﻴﺮﺍﺭﮔﺎﻧﻴﮏ ﺑﻪ ﺍﻣﺮ‬ ‫ﺭﺷﺪ ﻣﻲﻛﻨﺪ‪ ،‬ﺑﻴﻦ ﺗﻐﻴﻴﺮﺍﺕ ﺍﺯ ﺍﻣﺮ‬
‫ﮔﻴﺎﻩ ﺑﻪ ﺣﻴﻮﺍﻥ‪ ،‬ﺍﺯ ﺣﻴﻮﺍﻥ ﺑﻪ ﺍﻧﺴﺎﻥ‪ ،‬ﺍﻣﺎ ﺑﺪﻭﻥِ ﺍﻳﻦ ﺳﺮﻱ ﺳﺎﺯﻧﺪﻩﻱ‬
‫ﻳﮏ ﭘﻴﺸﺮﻓﺖ ‪ «...‬ﺁﺷﻮﺏ ﺩﺭ ﻫﻤﻴﻦ ﺩﺭـﻣﻴﺎﻥ ﺑﻪ ﺭﻳﺘﻢ ﺑﺪﻝ ﻣﻲﺷﻮﺩ‪ ،‬ﻧﻪ ﮐﻪ‬
‫ِ‬
‫ِ ﺭﻳﺘﻢ‪ ،‬ﺑﻠﻜﻪ ﻣﺤﻴﻂ‬ ‫ﺳﻨﮕﺪﻻﻧﻪ‪ ،‬ﺑﻞ ﺍﺯ ﺭﻭﻱ ﺑﺨﺖ‪ .‬ﺁﺷﻮﺏ ﻧﻪ ﺩﺭ ﻣﻘﺎﺑﻞ‬
‫ﮔﺬﺍﺭﻱ‬ ‫ﻫﺮﺁﻳﻨﻪ‬ ‫ﺍﺳﺖ‪.‬‬ ‫ﺍﺟﺘﻤﺎﻋﻲ‬ ‫ﻣﺤﻴﻂﻫﺎﻱ‬ ‫ﻫﻤﻪﻱ‬ ‫ﺍﺟﺘﻤﺎﻋﻲ‬
‫ِ ﺍﺟﺘﻤﺎﻋﻲ ﺩﻳﮕﺮ‪،‬‬ ‫ِ ﺍﺟﺘﻤﺎﻋﻲ ﺑﻪ ﻣﺤﻴﻂ‬ ‫ﻓﻮﻕﺭﻣﺰﮔﺎﻥﮔﺬﺍﺭﻱﺷﺪﻩ ﺍﺯ ﻳﮏ ﻣﺤﻴﻂ‬
‫ِ ﻣﺤﻴﻂﻫﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ‪ ،‬ﻭ ﻫﻤﺎﻫﻨﮕﻲ ﺑﻴﻦ ﻓﻀﺎـﺯﻣﺎﻥﻫﺎﻱ ﺩﻳﮕﺮﮔﻮﻥ ﺩﺭ‬ ‫ﺍﺭﺗﺒﺎﻁ‬
‫ﮐﺎﺭ ﺑﺎﺷﺪ‪ ،‬ﺭﻳﺘﻢ ﻧﻴﺰ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺧﺸﮏﺷﺪﻥ‪ ،‬ﻣﺮگ‪ ،‬ﻳﺎ ﺗﻌﺪﻱ ﺭﻳﺘﻢ‬
‫ﺩﺍﺭﻧﺪ‪ .‬ﻣﺸﻬﻮﺭ ﺍﺳﺖ ﮐﻪ ﺭﻳﺘﻢ ﻧﻪ ﻭﺯﻥ ﺍﺳﺖ ﻧﻪ ﮐﺎﺩﺍﻧﺲ‪ ،‬ﻧﻪ ﺣﺘﻲ ﻭﺯﻥ ﻳﺎ‬
‫ﮐﺎﺩﺍﻧﺲِ ﺑﻲﻣﻨﻈﻢ‪ :‬ﻫﻴﭻ ﭼﻴﺰﻱ ﺍﺯ ﻳﮏ ﻣﺎﺭﺵِ ﻧﻈﺎﻣﻲ ﺭﻳﺘﻤﻴﮏﺗﺮ ﻧﻴﺴﺖ‪.‬‬
‫ﺗﺎﻡﺗﺎﻡ‪1 123‬ـ‪ 2‬ﻧﻴﺴﺖ‪ ،‬ﻭﺍﻟﺲ ‪ 3 ،2 ،1‬ﻧﻴﺴﺖ‪ ،‬ﻣﻮﺳﻴﻘﻲ ﻧﻪ ﺩﻭﺩﻭﻳﻲ ﻳﺎ ﺳﻪ‬
‫ﺳﻪﻳﻲ‪ ،‬ﺑﻞ ﺩﺭ ﻋﻮﺽ ﻫﻤﭽﻮﻥ ﺩﺭ ﻣﻮﺳﻴﻘﻲ ﺗﺮﮐﻲ ﭼﻬﻞ ﻭ ﻫﻔﺖ ﻭﺯﻥِ ﻣﺒﻨﺎ ﺍﺳﺖ‪.‬‬
‫ِ ﺭﻣﺰﮔﺎﻥﮔﺬﺍﺭﻱﺷﺪﻩﺍﻱ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﻣﻲﮔﻴﺮﺩ‬ ‫ﻭﺯﻥ‪ ،‬ﭼﻪ ﻣﻨﻈﻢ ﭼﻪ ﻏﻴﺮ‪ ،‬ﻓﺮﻡ‬
‫ِ ﺍﺟﺘﻤﺎﻋﻲ ﻧﺎﻫﻤﺮﺳﺎﻥ ﺗﻐﻴﻴﺮ‬ ‫ِ ﻣﻴﺰﺍﻥﺍﺵ ﻣﻤﮑﻦ ﺍﺳﺖ ﺩﺭ ﻳﮏ ﻣﺤﻴﻂ‬ ‫ﮐﻪ ﻭﺍﺣﺪ‬
‫ِ ﺗﻨﺎﺳﺐﻧﺎﭘﺬﻳﺮﻱ ﺍﺳﺖ ﮐﻪ‬ ‫ِ ﻧﺎﻣﻮﺯﻥ ﻳﺎ ﺍﻣﺮ‬ ‫ﮐﻨﺪ‪ ،‬ﺩﺭﺣﺎﻟﻲﮐﻪ ﺭﻳﺘﻢ ﺍﻣﺮ‬
‫ﻫﻤﻮﺍﺭﻩ ﺩﺳﺘﺨﻮﺵِ ﻓﻮﻕﺭﻣﺰﮔﺎﻥﮔﺬﺍﺭﻱ ﻣﻲﺷﻮﺩ‪ .‬ﻭﺯﻥ ﺟﺰﻣﻲ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺭﻳﺘﻢ‬
‫ﺑﺤﺮﺍﻧﻲ ﺍﺳﺖ؛ ﺭﻳﺘﻢ ﻟﺤﻈﻪﻫﺎﻱ ﺑﺤﺮﺍﻧﻲ ﺭﺍ ﺑﻪ ﻳﮑﺪﻳﮕﺮ ﮔﺮﻩ ﻣﻲﺯﻧﺪ‪ ،‬ﻳﺎ‬
‫ِ ﺍﺟﺘﻤﺎﻋﻲ ﺩﻳﮕﺮ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻫﻢ‬ ‫ِ ﺍﺟﺘﻤﺎﻋﻲ ﺑﻪ ﻣﺤﻴﻂ‬‫ﺩﺭ ﻋﺒﻮﺭ ﺍﺯ ﻳﮏ ﻣﺤﻴﻂ‬
‫ﮔﺮﻩ ﻣﻲﺯﻧﺪ‪ .‬ﺭﻳﺘﻢ ﻧﻪ ﺩﺭ ﻓﻀﺎـﺯﻣﺎﻧﻲ ﻫﻤﮕﻮﻥ‪ ،‬ﺑﻞ ﺑﻪﻭﺳﻴﻠﻪﻱ ﺑﻠﻮکﻫﺎﻱ‬
‫ﺩﻳﮕﺮﮔﻮﻥ ﻋﻤﻞ ﻣﻲﻛﻨﺪ‪ .‬ﺭﻳﺘﻢ ﻣﺴﻴﺮﺵ ﺭﺍ ﻋﻮﺽ ﻣﻲﻛﻨﺪ‪ .‬ﺑﺎﺷﻼﺭ ﺑﻪ ﺩﺭﺳﺘﻲ‬
‫ً ﮐﻨﺸﻲ )ﺭﻳﺘﻢ( ﻫﻤﻮﺍﺭﻩ ﺑﺮ ﺻﻔﺤﻪﺍﻱ‬ ‫ِ ﺑﻴﻦ ﻟﺤﻈﻪﻫﺎﻱ ﻭﺍﻗﻌﺎ‬‫ﻣﻲﮔﻮﻳﺪ »ﭘﻴﻮﻧﺪ‬
‫ﺍﻳﺠﺎﺩ ﻣﻲﺷﻮﺩ ﮐﻪ ﻣﺘﻔﺎﻭﺕ ﺍﺳﺖ ﺍﺯ ﺻﻔﺤﻪﺍﻱ ﮐﻪ ﮐﻨﺶ ﺑﺮ ﺁﻥ ﺍﻧﺠﺎﻡ‬
‫ﻣﻲﺷﻮﺩ«‪ 124‬ﺭﻳﺘﻢ ﻫﺮﮔﺰ ﺑﺮ ﺻﻔﺤﻪﻱ ﻣﺸﺎﺑﻪﺍﻱ ﻧﺴﺒﺖ ﺑﻪ ﺁﻥﭼﻪ ﻭﺍﺟﺪ ﺭﻳﺘﻢ‬
‫ﺍﺳﺖ ﻗﺮﺍﺭ ﻧﺪﺍﺭﺩ‪ .‬ﮐﻨﺶ ﺩﺭ ﻣﺤﻴﻄﻲ ﺍﺟﺘﻤﺎﻋﻲ ﺭﻭﻱ ﻣﻲﺩﻫﺪ‪ ،‬ﺩﺭﺣﺎﻟﻲﮐﻪ‬

‫‪122‬‬
‫‪. in-between‬‬
‫‪ ،tom-tom .‬ﻃﺒﻠﻲ ﺍﺳﺘﻮﺍﻧﻪﺍﻱ ﮐﻪ ﺑﺎ ﺩﺳﺖ ﻧﻮﺍﺧﺘﻪ ﻣﻲﺷﻮﺩ ﻭ ﺩﺭ ﻓﺮﻫﻨﮓﻫﺎﻱ ﺷﺮﻗﻲ‪،‬‬
‫ﺁﻓﺮﻳﻘﺎﻳﻲ‪ ،‬ﻭ ﺳﺮﺥﭘﻮﺳﺘﺎﻥ ﺁﻣﺮﻳﮑﺎﻱ ﺷﻤﺎﻟﻲ ﻣﺮﺳﻮﻡ ﺍﺳﺖ‪ .‬ﻡ‪ .‬ﻑ‬
‫‪124‬‬
‫‪. Gaston Bachelard, La dialectique de la dur'ee (Paris: Bovin, 1936), pp. 128-129.‬‬
‫ﺗﺄﮐﻴﺪ ﺍﻓﺰﻭﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬

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‫ِ ﺍﺟﺘﻤﺎﻋﻲ‪ ،‬ﺑﻲﻃﺮﻑ‪،‬‬‫ِ ﺍﺟﺘﻤﺎﻋﻲ‪ ،‬ﻣﻴﺎﻥِ ﺩﻭ ﺑﻴﻨﺎـﻣﺤﻴﻂ‬ ‫ﺭﻳﺘﻢ ﻣﻴﺎﻥِ ﺩﻭ ﻣﺤﻴﻂ‬
‫ﻏﺮﻭﺏ‪ ،‬ﻣﻴﺎﻥِ ﺷﺐ ﻭ ﺭﻭﺯ‪ ،‬ﮔﺮگ ﻭ ﻣﻴﺶ ﻳﺎ ‪ ،Zwielicht‬ﺍﻳﻦﺑﻮﺩﻥ ﻭﺍﻗﻊ ﻣﻲﺷﻮﺩ‪.‬‬
‫ﺾ ﻳﺎﻓﺘﻦﺷﺎﻥ‪ :‬ﺭﻳﺘﻢ ﭼﻨﻴﻦ‬‫ِ ﻣﺤﻴﻂﻫﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ‪ ،‬ﺑﺮﺩﺍﺷﺘﻦﺷﺎﻥ ﺑﻪ ﻣﺤِ‬ ‫ﺗﻐﻴﻴﺮ‬
‫ﺍﺳﺖ‪ .‬ﻓﺮﻭﺩ ﺁﻣﺪﻥ‪ ،‬ﺩﺭ ﺁﺏ ﻓﺮﻭﺩ ﺁﻣﺪﻥ‪ ،‬ﺍﻭﺝ ﮔﺮﻓﺘﻦ ‪ ...‬ﺍﻳﻦ ﺍﻣﺮ ﺑﻪ‬
‫ِ ﻭﺯﻥ ﺑﻪ ﺭﻳﺘﻢ‬‫ﺁﺳﺎﻧﻲ ﺍﺯ ﺁﭘﻮﺭﻳﺎﻳﻲ ﺍﺟﺘﻨﺎﺏ ﻣﻲﻛﻨﺪ ﮐﻪ ﺗﻬﺪﻳﺪ ﺑﻪ ﻭﺭﻭﺩ‬
‫ﻣﻲﻛﺮﺩ‪ ،‬ﺁﻥ ﻫﻢ ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻦﻛﻪ ﻗﺼﺪ ﻋﮑﺲِ ﺍﻳﻦ ﻋﻤﻞ ﺭﺍ ﺍﻋﻼﻥ ﻣﻲﻛﺮﺩ‪:‬‬
‫ﭼﮕﻮﻧﻪ ﻣﻲﺗﻮﺍﻥ ﻣﺪﻋﻲ ﻧﺎﺑﺮﺍﺑﺮﻱ ﺳﺎﺯﻧﺪﻩﻱ ﺭﻳﺘﻢ ﺷﺪ ﻭ ﺩﺭ ﻋﻴﻦﺣﺎﻝ‬
‫ﺍﺭﺗﻌﺎﺵﻫﺎﻱ ﺍﻳﺠﺎﺏﺷﺪﻩ‪ ،‬ﻳﺎ ﺗﮑﺮﺍﺭﻫﺎﻱ ﺩﻭﺭﻩﺍﻱ ﻣﺆﻟﻔﻪﻫﺎ ﺭﺍ ﺗﺼﺪﻳﻖ ﮐﺮﺩ؟‬
‫ِ ﺩﻭﺭﻩﺍﻱ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪،‬‬ ‫ِ ﺍﺟﺘﻤﺎﻋﻲ ﺩﺭ ﻭﺍﻗﻊ ﺑﻪ ﻟﻄﻒ ﻳﮏ ﺗﮑﺮﺍﺭ‬ ‫ﻳﮏ ﻣﺤﻴﻂ‬
‫ِ ﺍﺟﺘﻤﺎﻋﻲ‬‫ِ ﺗﻔﺎﻭﺗﻲ ﺍﺳﺖ ﮐﻪ ﻣﺤﻴﻂ‬ ‫ﺍﻣﺎ ﺗﮑﺮﺍﺭﻱ ﮐﻪ ﺗﻨﻬﺎ ﺍﺛﺮﺵ ﺗﻮﻟﻴﺪ‬
‫ِ ﺍﺟﺘﻤﺎﻋﻲ ﺩﻳﮕﺮ ﮔﺬﺭ ﻣﻲﻛﻨﺪ‪ .‬ﻫﻤﻴﻦ ﺗﻔﺎﻭﺕ ﺍﺳﺖ ﮐﻪ‬ ‫ﺑﻪﻭﺳﻴﻠﻪﺍﺵ ﺑﻪ ﻣﺤﻴﻂ‬
‫ﺭﻳﺘﻤﻴﮏ ﻣﺤﺴﻮﺏ ﻣﻲﺷﻮﺩ ﻭ ﻧﻪ ﺗﮑﺮﺍﺭﻱ ﮐﻪ ﺩﺭ ﻫﺮ ﺻﻮﺭﺕ ﺗﻔﺎﻭﺕ ﺭﺍ ﺗﻮﻟﻴﺪ‬
‫ِ ﺗﻮﻟﻴﺪﻱ ﻫﻴﭻ ﺭﺑﻄﻲ ﺑﻪ ﻭﺯﻥِ ﺑﺎﺯﺗﻮﻟﻴﺪﻱ ﻧﺪﺍﺭﺩ‪» .‬ﺭﺍﻩ ﺣﻞ‬
‫ِ‬ ‫ﻣﻲﻛﻨﺪ‪ :‬ﺗﮑﺮﺍﺭ‬
‫ﺑﺤﺮﺍﻧﻲ ﺁﻧﺘﻲﻧﻮﻣﻲ« ﺑﻪ ﻫﻤﻴﻦ ﻣﻨﻮﺍﻝ ﺍﺳﺖ‪.‬‬
‫ﻳﮏ ﻣﻮﺭﺩ ﺍﺯ ﻓﻮﻕﺭﻣﺰﮔﺎﻥﮔﺬﺍﺭﻱ ﺍﺯ ﺍﻫﻤﻴﺖ ﺧﺎﺻﻲ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺍﺳﺖ‪ :‬ﻭﻗﺘﻲ‬
‫ﻳﮏ ﺭﻣﺰﮔﺎﻥ ﺭﺍﺿﻲ ﻧﻴﺴﺖ ﻣﺆﻟﻔﻪﻫﺎﻳﻲ ﺭﺍ ﮐﻪ ﺑﻪﻧﺤﻮ ﻣﺘﻔﺎﻭﺗﻲ‬
‫ﺭﻣﺰﮔﺎﻥﮔﺬﺍﺭﻱ ﺷﺪﻩﺍﻧﺪ ﺑﮕﻴﺮﺩ ﻳﺎ ﺩﺭﻳﺎﻓﺖ ﮐﻨﺪ‪ ،‬ﻭ ﺩﺭ ﻋﻮﺽ ﻗﻄﻌﻪﻫﺎﻱ ﻳﮏ‬
‫ﺭﻣﺰﮔﺎﻥِ ﻣﺘﻔﺎﻭﺕ ﺑﻪﻣﺎﻫﻮ ﺭﺍ ﻣﻲﮔﻴﺮﺩ ﻳﺎ ﺩﺭﻳﺎﻓﺖ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻭﻟﻴﻦ ﻣﻮﺭﺩ‬
‫ﺑﻪ ﻧﺴﺒﺖِ ﺑﺮگـﺁﺏ ﻭ ﺩﻭﻣﻴﻦ ﻣﻮﺭﺩ ﺑﻪ ﻧﺴﺒﺖِ ﻋﻨﮑﺒﻮﺕـﺣﺸﺮﻩ ﻣﺮﺑﻮﻁ ﻣﻲﺷﻮﺩ‪.‬‬
‫ِ ﻋﻨﮑﺒﻮﺕ ﺍﻳﺠﺎﺏ ﻣﻲﻛﻨﺪ ﮐﻪ ﺗﻮﺍﻟﻲﻫﺎﻱ‬ ‫ﺍﻏﻠﺐ ﻣﺘﻮﺟﻪ ﺷﺪﻩﺍﻳﻢ ﮐﻪ ﺗﺎﺭ‬
‫ِ ﺣﺸﺮﻩ ﺩﺭ ﺭﻣﺰﮔﺎﻥِ ﻋﻨﮑﺒﻮﺕ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ؛ ﮔﻮﻳﻲ ﻋﻨﮑﺒﻮﺕ ﻳﮏ‬ ‫ﺭﻣﺰﮔﺎﻥِ ﺧﻮﺩ‬
‫ﺣﺸﺮﻩ ﺩﺭ ﺫﻫﻦﺍﺵ ﺩﺍﺭﺩ‪ ،‬ﻳﮏ »ﻣﻮﺗﻴﻒِ« ﺣﺸﺮﻩ‪ ،‬ﻳﮏ »ﺭﻳﺘﻮﺭﻧﻠﻠﻮ«ﻱ ﺣﺸﺮﻩ‪.‬‬
‫ِ ﺑﻲﻋﺴﻞ‬
‫ﭼﻨﻴﻦ ﺍﺳﺘﻨﺒﺎﻃﻲ ﻣﻤﮑﻦ ﺍﺳﺖ ﺩﻭﺳﻮﻳﻪ ﺑﺎﺷﺪ‪ ،‬ﺁﻧﻄﻮﺭ ﮐﻪ ﺑﻴﻦ ﺯﻧﺒﻮﺭ‬
‫ِ ﻋﺴﻞ ]ﻣﻮﺩﺍﺭ ﻭ ﺑﻲﻧﻴﺶ[ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪.‬‬ ‫ِ ﻣﻴﻤﻮﻥ ﻭ ﺯﻧﺒﻮﺭ‬‫ﻭ ﺍﺭﮐﻴﺪ‪ ،‬ﻳﺎ ﮔﻞ‬
‫ﺳﺘﺎﻳﺶﺑﺮﺍﻧﮕﻴﺰ‬
‫ِ‬ ‫ﻧﻈﺮﻳﻪﻱ‬ ‫ﻧﻮﻋﻲ‬ ‫ﺑﻪ‬ ‫ﺍﻭﮐﺴﮑﻴﻞ‬ ‫ﻓﻦ‬ ‫ژﺍﮐﻮﺏ‬
‫ﻓﻮﻕﺭﻣﺰﮔﺎﻥﮔﺬﺍﺭﻱﻫﺎ ﭘﺮﺩﺍﺧﺘﻪ ﺍﺳﺖ‪ .‬ﺍﻭ ﻣﺆﻟﻔﻪﻫﺎ ﺭﺍ ﻫﻤﭽﻮﻥ ﻣﻠﻮﺩﻱﻫﺎﻳﻲ‬
‫ﺩﺭ ﮐﻮﻧﺘﺮﭘﻮﺍﻥ ﻣﻲﺑﻴﻨﺪ‪ ،‬ﺑﻪﻧﺤﻮﻱ ﮐﻪ ﻫﺮ ﻣﻠﻮﺩﻱ ﻫﻤﭽﻮﻥ ﻣﻮﺗﻴﻔﻲ ﺑﺮﺍﻱ‬
‫ﻣﻠﻮﺩﻱ ﺩﻳﮕﺮ ﻋﻤﻞ ﻣﻲﻛﻨﺪ‪ :‬ﻃﺒﻴﻌﺖ ﺑﻪﻣﺜﺎﺑﻪﻱ ﻣﻮﺳﻴﻘﻲ‪ 125.‬ﻫﺮﺁﻳﻨﻪ‬
‫ِﺮﻑ ﻳﮏ‬
‫ﻓﻮﻕﺭﻣﺰﮔﺎﻥﮔﺬﺍﺭﻱ ﺩﺭ ﮐﺎﺭ ﺑﺎﺷﺪ‪ ،‬ﻣﻲﺗﻮﺍﻧﻴﻢ ﻣﻄﻤﺌﻦ ﺑﺎﺷﻴﻢ ﻧﻪ ﺻ‬
‫ﺍﻓﺰﻭﺩﻥ‪ ،‬ﺑﻞ ﺳﺎﺧﺘﻦِ ﻳﮏ ﺻﻔﺤﻪﻱ ﺟﺪﻳﺪ‪ ،‬ﻣﺜﻞ ﻳﮏ ﺻﻔﺤﻪﻱ ﺍﺭﺯﺵِ ﺍﻓﺰﻭﺩﻩ‬
‫ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻳﮏ ﺻﻔﺤﻪﻱ ﻣﻠﻮﺩﻳﮏ ﻳﺎ ﺭﻳﺘﻤﻴﮏ‪ ،‬ﺍﺭﺯﺵِ ﺍﻓﺰﻭﺩﻩﻱ ﮔﺬﺍﺭ ﻳﺎ‬
‫ﭘﻞﺯﺩﻥ‪ .‬ﺑﺎ ﺍﻳﻦﺣﺎﻝ‪ ،‬ﺍﻳﻦ ﺩﻭ ﻣﻮﺭﺩ ﻫﺮﮔﺰ ﻧﺎﺏ ﻧﻴﺴﺘﻨﺪ؛ ﺁﻥﻫﺎ ﺩﺭ ﻭﺍﻗﻊ‬
‫ﻣﺨﻠﻮﻁ ﻫﺴﺘﻨﺪ )ﺑﺮﺍﻱ ﻣﺜﺎﻝ‪ ،‬ﻧﺴﺒﺖِ ﺑﺮگ‪ ،‬ﺍﻳﻦ ﺑﺎﺭ ﻧﻪ ﺑﺎ ﺁﺏ ﺩﺭ ﮐﻞ‪ ،‬ﺑﻞ‬
‫ﺑﺎ ﺑﺎﺭﺍﻥ(‪.‬‬
‫ِ ﺍﺟﺘﻤﺎﻋﻲ‬‫ﻫﻨﻮﺯ ﻭﺍﺟﺪ ﻳﮏ ﻗﻠﻤﺮﻭ ﻧﻴﺴﺘﻴﻢ‪ ،‬ﻗﻠﻤﺮﻭﻳﻲ ﮐﻪ ﻧﻪ ﻳﮏ ﻣﺤﻴﻂ‬
‫ِ ﺍﺟﺘﻤﺎﻋﻲ ﺍﻓﺰﻭﺩﻩ‪ ،‬ﻧﻪ ﻳﮏ ﺭﻳﺘﻢ ﻳﺎ ﮔﺬﺍﺭ‬ ‫ﺍﺳﺖ‪ ،‬ﻭ ﻧﻪ ﺣﺘﻲ ﻳﮏ ﻣﺤﻴﻂ‬

‫‪125‬‬
‫‪. Jakob Johann von Uexkiill, Mondesanimauxet mondehumain (Paris: Gonthier, 1965).‬‬

‫‪Courtesy of COPYLEFT @copy_left‬‬

 ‫ﻣﻴﺎﻥِ ﻣﺤﻴﻂﻫﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﻗﻠﻤﺮﻭ ﻋﻤﻠﻲ ﺍﺳﺖ ﮐﻪ ﻣﺤﻴﻂﻫﺎﻱ‬
‫ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﺭﻳﺘﻢﻫﺎ ﺭﺍ ﺗﺤﺖﺗﺄﺛﻴﺮ ﻗﺮﺍﺭ ﻣﻲﺩﻫﺪ ﻭ ﺁﻥﻫﺎ ﺭﺍ‬
‫ِ ﻧﻮﻋﻲ ﻗﻠﻤﺮﻭﮔﺬﺍﺭﻱ ﻣﺤﻴﻂﻫﺎﻱ‬ ‫»ﻗﻠﻤﺮﻭﮔﺬﺍﺭﻱ« ﻣﻲﻛﻨﺪ‪ .‬ﻗﻠﻤﺮﻭ ﻣﺤﺼﻮﻝ‬
‫ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﺭﻳﺘﻢﻫﺎ ﺍﺳﺖ‪ .‬ﭘﺮﺳﺶ ﺍﺯ ﺯﻣﺎﻥِ ﻗﻠﻤﺮﻭﺯﺩﺍﻳﻲﺷﺪﻥِ ﻣﺤﻴﻂﻫﺎﻱ‬
‫ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﺭﻳﺘﻢﻫﺎ ﻭ ﻧﻴﺰ ﭘﺮﺳﺶ ﺍﺯ ﺗﻔﺎﻭﺕ ﻣﻴﺎﻥِ ﻳﮏ ﺣﻴﻮﺍﻥِ‬
‫ﻏﻴﺮﻗﻠﻤﺮﻭﻣﻨﺪ ﻭ ﻳﮏ ﺣﻴﻮﺍﻥِ ﻗﻠﻤﺮﻭﻣﻨﺪ ﺍﺯ ﻫﻤﻴﻦ ﺭﻭ ﺍﺳﺖ‪ .‬ﻳﮏ ﻗﻠﻤﺮﻭ‬
‫ِ ﻫﻤﻪﻱ ﻣﺤﻴﻂﻫﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ ﺍﺳﺖ؛ ﺁﻥﻫﺎ ﺭﺍ ﻣﻲﮔﺰﺩ ﻭ ﺑﻪﻧﺤﻮﻱ‬ ‫ﻭﺍﻡﺩﺍﺭ‬
‫ﺟﺴﻤﺎﻧﻲ ﻗﺒﺾ ﻣﻲﻛﻨﺪ )ﺑﺎ ﺍﻳﻦﻛﻪ ﺧﻮﺩﺵ ﻧﺴﺒﺖ ﺑﻪ ﺗﻌﺪﻱﻫﺎ ﺁﺳﻴﺐﭘﺬﻳﺮ ﺑﺎﻗﻲ‬
‫ﻣﻲﻣﺎﻧﺪ(‪ .‬ﻗﻠﻤﺮﻭ ﺍﺯ ﺟﻮﺍﻧﺐ ﻳﺎ ﺳﻬﻢﻫﺎﻱ ﻣﺘﻌﻠﻖ ﺑﻪ ﻣﺤﻴﻂﻫﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ‬
‫ِ‬
‫ِ ﺍﺟﺘﻤﺎﻋﻲ ﺧﺎﺭﺟﻲ‪ ،‬ﻳﮏ ﻣﺤﻴﻂ‬ ‫ﺳﺎﺧﺘﻪ ﻣﻲﺷﻮﺩ‪ .‬ﺧﻮﺩ ﻗﻠﻤﺮﻭ ﻳﮏ ﻣﺤﻴﻂ‬
‫ِ ﺍﺟﺘﻤﺎﻋﻲ‬
‫ِ ﺍﺟﺘﻤﺎﻋﻲ ﺑﻴﻨﺎﺑﻴﻨﻲ‪ ،‬ﻭ ﻳﮏ ﻣﺤﻴﻂ‬ ‫ﺍﺟﺘﻤﺎﻋﻲ ﺩﺍﺧﻠﻲ‪ ،‬ﻳﮏ ﻣﺤﻴﻂ‬
‫ﺍﻟﺼﺎﻗﻲ ﺩﺍﺭﺩ‪ .‬ﻗﻠﻤﺮﻭ ﻣﻨﻄﻘﻪﺍﻱ ﺩﺍﺧﻠﻲ ﺍﺯ ﺟﻨﺲ ﻳﮏ ﻣﺴﮑﻦ ﻳﺎ ﭘﻨﺎﻫﮕﺎﻩ‪،‬‬
‫ﻣﻨﻄﻘﻪﺍﻱ ﺧﺎﺭﺟﻲ ﺍﺯ ﺟﻨﺲِ ﺣﻮﺯﻩﺍﺵ‪ ،‬ﺣﺪﻭﺩ ﻳﺎ ﻏﺸﺎﻫﺎﻱ ﮐﻤﺎﺑﻴﺶ ﺟﻤﻊﺷﺪﻧﻲ‪،‬‬
‫ِ ﺑﻴﻨﺎﺑﻴﻨﻲ ﻳﺎ ﺣﺘﻲ ﺧﻨﺜﻲﺷﺪﻩ‪ ،‬ﻭ ﺫﺧﺎﻳﺮ ﻳﺎ ﺍﻟﺼﺎﻕﻫﺎﻱ ﺍﻧﺮژﻱ‬ ‫ﻣﻨﺎﻃﻖ‬
‫ً »ﺷﺎﺧﺺﻫﺎ«ﻳﻲ ﻣﺸﺨﺺ ﻣﻲﻛﻨﻨﺪ ﮐﻪ ﻣﻤﮑﻦ ﺍﺳﺖ‬ ‫ﺩﺍﺭﺩ‪ .‬ﻗﻠﻤﺮﻭ ﺭﺍ ﺫﺍﺗﺎ‬
‫ِ ﺍﺟﺘﻤﺎﻋﻲﺍﻱ ﺑﺎﺷﻨﺪ‪ :‬ﻣﻮﺍﺩ‪ ،‬ﻣﺤﺼﻮﻻﺕِ‬ ‫ﻣﺆﻟﻔﻪﻫﺎﻳﻲ ﺑﺮﮔﺮﻓﺘﻪ ﺍﺯ ﻫﺮ ﻣﺤﻴﻂ‬
‫ِ ﺍﻧﺮژﻱ‪ ،‬ﺗﺮﺍﮐﻢﻫﺎﻱ‬ ‫ﺍﺭﮔﺎﻧﻴﮏ‪ ،‬ﻭﺿﻌﻴﺖﻫﺎﻱ ﭘﻮﺳﺖ ﻳﺎ ﻏﺸﺎء‪ ،‬ﻣﻨﺎﺑﻊ‬
‫ﺩﻳﮕﺮ ﺍﺯ‬ ‫ِ ﺍﺟﺘﻤﺎﻋﻲ‬ ‫ﻣﺤﻴﻂ‬ ‫ﻣﺆﻟﻔﻪﻫﺎﻱ‬ ‫ﻭﻗﺘﻲ‬ ‫ﺩﺭﺳﺖ‬ ‫ﮐﻨﺶـﺍﺩﺭﺍک‪.‬‬
‫ﺟﻬﺖﻣﻨﺪﺑﻮﺩﻥ ﺩﺳﺖ ﻣﻲﮐﺸﻨﺪ ﺗﺎ ﺩﺭ ﻋﻮﺽ ﺍﺑﻌﺎﺩﻱ ﺷﻮﻧﺪ‪ ،‬ﻳﺎ ﻭﻗﺘﻲ ﻣﺤﻴﻂﻫﺎﻱ‬
‫ﺍﺟﺘﻤﺎﻋﻲ ﺍﺯ ﮐﺎﺭﮐﺮﺩﻱﺑﻮﺩﻥ ﺩﺳﺖ ﻣﻲﮐﺸﻨﺪ ﺗﺎ ﺑﻴﺎﻧﮕﺮ ﺷﻮﻧﺪ‪ ،‬ﺁﻥﮔﺎﻩ ﻳﮏ‬
‫ﻗﻠﻤﺮﻭ ﺩﺭ ﮐﺎﺭ ﺍﺳﺖ‪ .‬ﻭﻗﺘﻲ ﺭﻳﺘﻢ ﻭﺍﺟﺪ ﺧﺼﻴﺼﻪﻱ ﺑﻴﺎﻧﮕﺮﻱ ﺍﺳﺖ‪ ،‬ﻳﮏ‬
‫ِ ﺑﻴﺎﻥ‬
‫ِ ﻣﻮﺍﺩ‬‫ﻗﻠﻤﺮﻭ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺁﻥﭼﻪ ﻗﻠﻤﺮﻭ ﺭﺍ ﺗﻌﺮﻳﻒ ﻣﻲﻛﻨﺪ ﻇﻬﻮﺭ‬
‫ِ ﺭﻧﮓ ﺩﺭ ﭘﺮﻧﺪﮔﺎﻥ ﻳﺎ ﻣﺎﻫﻲﻫﺎ ﺭﺍ ﺩﺭ ﻧﻈﺮ‬ ‫)ﮐﻴﻔﻴﺖﻫﺎ( ﺍﺳﺖ‪ .‬ﻣﺜﺎﻝ‬
‫ﺑﮕﻴﺮﻳﺪ‪ :‬ﺭﻧﮓ ﻳﮏ ﻭﺿﻌﻴﺖِ ﻏﺸﺎﻳﻲ ﻣﺮﺗﺒﻂ ﺑﺎ ﻭﺿﻌﻴﺖﻫﺎﻱ ﻫﻮﺭﻣﻮﻧﻲ ﺩﺍﺧﻠﻲ‬
‫ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺗﺎ ﻭﻗﺘﻲ ﮐﻪ ﺑﻪ ﺳﻨﺨﻲ ﺍﺯ ﮐﻨﺶ )ﺳﮑﺴﻮﺍﻟﻴﺘﻪ‪ ،‬ﺗﻌﺪﻱﮔﺮﻱ‪،‬‬
‫ﭘﺮﻭﺍﺯ( ﮔﺮﻩ ﺧﻮﺭﺩﻩ ﺍﺳﺖ ﮐﺎﺭﮐﺮﺩﻱ ﻭ ﮔﺬﺭﺍ ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﺪ‪ .‬ﺍﺯ ﺳﻮﻱ‬
‫ﺩﻳﮕﺮ‪ ،‬ﻗﻠﻤﺮﻭ ﺑﻴﺎﻧﮕﺮ ﻣﻲﺷﻮﺩ ﻭﻗﺘﻲ ﺑﻪ ﺛﺒﺎﺗﻲ ﺯﻣﺎﻧﻤﻨﺪ ﻭ ﮔﺴﺘﺮﻩﺍﻱ‬
‫ﻣﮑﺎﻧﻤﻨﺪ ﺩﺳﺖ ﻣﻲﻳﺎﺑﺪ ﮐﻪ ﺁﻥ ﺭﺍ ﺑﻪ ﻋﻼﻣﺘﻲ ﻗﻠﻤﺮﻭﻣﻨﺪ ﻳﺎ ﺩﺭ ﻋﻮﺽ‬
‫ﻗﻠﻤﺮﻭﮔﺬﺍﺭﻧﺪﻩ ﺑﺪﻝ ﻣﻲﻛﻨﺪ‪ :‬ﻳﮏ ﺍﻣﻀﺎء‪ 126.‬ﻣﺴﺄﻟﻪ ﺍﻳﻦ ﻧﻴﺴﺖ ﮐﻪ ﺁﻳﺎ ﺭﻧﮓ‬
‫ﮐﺎﺭﮐﺮﺩﺵ ﺭﺍ ﺍﺯ ﺳﺮ ﻣﻲﮔﻴﺮﺩ ﺭﺍ ﮐﺎﺭﮐﺮﺩﻫﺎﻱ ﺟﺪﻳﺪﻱ ﺭﺍ ﺩﺭ ﻗﻠﻤﺮﻭ ﻣﺤﻘﻖ‬

‫‪» .‬ﺟﺎﻣﻪﻱ ﭘﺮﺷﮑﻮﻩﺷﺎﻥ ﭘﺎﻳﺪﺍﺭ ﺍﺳﺖ ‪ ...‬ﺭﻧﮓﺁﻣﻴﺰﻱ ﻣﺎﻫﻴﺎﻥِ ﻣﺮﺟﺎﻧﻲ ﺑﻪﻃﻮﺭ‬

‫ِ ﮔﺴﺘﺮﺩﻩﺍﻱ‬
‫ﺗﻮﺯﻳﻊ ﺷﺪﻩ‪ ،‬ﻭ ﺗﺒﺎﻳﻦِ ﺗﻨﺪﻱ ﺑﺎ ﻧﻮﺍﺣﻲ ﺑﺪﻥ ﺍﻳﺠﺎﺩ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻳﻦ ﻧﮑﺘﻪ ﺑﺎ ﺍﻟﮕﻮﻫﺎﻱ ﺭﻧﮕﻴﻦِ‬
‫ً ﻫﻤﻪ ﻣﺎﻫﻴﺎﻧﻲ ﮐﻪ‬‫ِ ﻣﺎﻫﻴﺎﻥِ ﺁﺏ ﺷﻴﺮﻳﻦ‪ ،‬ﺑﻠﮑﻪ ﺍﻟﮕﻮﻫﺎﻱ ﺭﻧﮕﻴﻦِ ﺗﻘﺮﻳﺒﺎ‬ ‫ﻧﻪ ﺗﻨﻬﺎ ﺍﮐﺜﺮ‬
‫ِ‬
‫ﺩﺭﻧﺪﻩﺧﻮﻳﻲ ﻭ ﺭ ﻗﻠﻤﺮﻭﻣﻨﺪﻱ ﮐﻤﺘﺮﻱ ﺩﺍﺭﻧﺪ ﻣﺘﻔﺎﻭﺕ ﺍﺳﺖ ‪ ...‬ﺁﻭﺍﺯﻫﺎﻱ ﺑﻠﺒﻞ‪ ،‬ﻣﺎﻧﻨﺪ‬
‫ﺭﻧﮓﻫﺎﻱ ﻣﺎﻫﻴﺎﻥِ ﻣﺮﺟﺎﻧﻲ‪ ،‬ﺍﺯ ﺩﻭﺭ ﺑﻪ ﻫﻤﻪﻱ ﺍﻋﻀﺎﻱ ﮔﻮﻧﻪﻱ ﺧﻮﺩ ﺍﺷﺎﺭﻩ ﻣﻲﻛﻨﺪ ﮐﻪ ﻗﻠﻤﺮﻭﻳﻲ‬
‫ﻭﺍﺟﺪ ﻣﺎﻟﮏ ﺷﺪﻩ ﺍﺳﺖ‪«.‬‬
‫‪Konrad Lorenz, On Aggression, trans. Marjorie Kerr Wilson (New York: Harcourt, Brace and World, 1966), pp. 19-20.‬‬
‫‪Kerr Wilson (New York: Harcourt, Brace and World, 1966), pp. 19-20.‬‬

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 ‫ﻣﻲﻛﻨﺪ‪ .‬ﺁﺷﮑﺎﺭ ﺍﺳﺖ ﮐﻪ ﺭﻧﮓ ﻫﻤﻴﻦ ﮐﺎﺭ ﺭﺍ ﻣﻲﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﺍﻳﻦ‬
‫ﺑﺎﺯﺳﺎﺯﻣﺎﻧﺪﻫﻲ ﮐﺎﺭﮐﺮﺩﻫﺎ ﺍﻳﺠﺎﺏ ﻣﻲﻛﻨﺪ ﮐﻪ ﭘﻴﺶ ﺍﺯ ﻫﻤﻪ ﻣﺆﻟﻔﻪﻱ ﻣﺰﺑﻮﺭ‬
‫ﺑﻴﺎﻧﮕﺮﺍ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﻣﻌﻨﻲﺍﺵ ﺍﺯ ﺍﻳﻦ ﻣﻨﻈﺮ ﻣﺸﺨﺺﮐﺮﺩﻥِ ﻳﮏ ﻗﻠﻤﺮﻭ ﺍﺳﺖ‪.‬‬
‫ﮔﻮﻧﻪﻱ ﻳﮑﺴﺎﻧﻲ ﺍﺯ ﭘﺮﻧﺪﮔﺎﻥ ﻧﻴﺰ ﻣﻤﮑﻦ ﺍﺳﺖ ﺑﺎﺯﻧﻤﻮﺩﮔﺮﻫﺎﻳﻲ ﺭﻧﮕﻲ ﻳﺎ‬
‫ﻏﻴﺮﺭﻧﮕﻲ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ؛ ﭘﺮﻧﺪﻩﻫﺎﻱ ﺭﻧﮕﻲ ﻭﺍﺟﺪ ﻳﮏ ﻗﻠﻤﺮﻭ ﻫﺴﺘﻨﺪ‪،‬‬
‫ً ﺳﻔﻴﺪ ﮔﻠﻪﺍﻱ ﻫﺴﺘﻨﺪ‪ .‬ﻣﻲﺩﺍﻧﻴﻢ ﺁﻥ ﻧﻘﺸﻲ ﮐﻪ‬ ‫ﺩﺭﺣﺎﻟﻲﮐﻪ ﭘﺮﻧﺪﮔﺎﻥ ﺗﻤﺎﻣﺎ‬
‫ﺍﺩﺭﺍﺭ ﻭ ﻣﺪﻓﻮﻉ ﺩﺭ ﻋﻼﻣﺖﮔﺬﺍﺭﻱ ﺑﺎﺯﻱ ﻣﻲﻛﻨﻨﺪ‪ ،‬ﻣﺜﻼً ﻣﺪﻓﻮﻉ‬
‫ِ ﻗﻠﻤﺮﻭﻣﻨﺪ‬
‫ﺹ ﻣﻘﻌﺪﻱ‪ ،‬ﺑﻮﻱ ﺧﺎﺻﻲ ﺩﺍﺭﺩ‪ .‬ﺑﺴﻴﺎﺭﻱ‬ ‫ﺩﺭ ﺧﺮﮔﻮﺵ‪ ،‬ﺑﻪ ﺳﺒﺐ ﻏﺪﻩﻫﺎﻱ ﻣﺨﺼﻮِ‬
‫ِ ﻳﮏ ﻧﮕﻬﺒﺎﻥ ﺭﺍ ﻣﻲﻛﻨﻨﺪ ﺍﻧﺪﺍﻡﻫﺎﻱ ﺟﻨﺴﻲﺷﺎﻥ ﺭﺍ‬ ‫ﺍﺯ ﻣﻴﻤﻮﻥﻫﺎ ﻭﻗﺘﻲ ﮐﺎﺭ‬
‫ﺭﻧﮓ ﺭﻭﺷﻨﻲ ﺩﺍﺭﺩ‪ ،‬ﺩﺭ ﻣﻌﺮﺽ ﻧﻤﺎﻳﺶ ﻗﺮﺍﺭ ﻣﻲﺩﻫﻨﺪ‪ :‬ﺍﺣﻠﻴﻞ ﺑﻪ ﻧﻮﻋﻲ‬ ‫ﮐﻪ ِ‬
‫ِ ﻗﻠﻤﺮﻭ ﺭﺍ‬‫ﺭﻧﮓ ﺭﻳﺘﻤﻴﮏ ﻭ ﺑﻴﺎﻧﮕﺮ ﺑﻴﺎﻥ ﺑﺪﻝ ﻣﻲﺷﻮﺩ ﮐﻪ ﺣﺪﻭﺩ‬ ‫ِ ِ‬ ‫ﺣﺎﻣﻞ‬
‫ِ ﺍﺟﺘﻤﺎﻋﻲ ﻫﻢ ﻳﮏ ﮐﻴﻔﻴﺖ ﻣﻲﺷﻮﺩ‪ ،‬ﻫﻢ ﻳﮏ‬ ‫ﻣﺸﺨﺺ ﻣﻲﻛﻨﺪ‪ 127.‬ﻳﮏ ﻣﺆﻟﻔﻪﻱ ﻣﺤﻴﻂ‬
‫ﺧﺼﻴﺼﻪ‪ quale ،‬ﻭ ‪ .proprium‬ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺷﺪﻩ ﺍﺳﺖ ﮐﻪ ﺍﻳﻦ ﺷﺪﻥ ﺍﺯ ﭼﻨﺪﻳﻦ‬
‫ﺣﻴﺚ ﭼﻘﺪﺭ ﺳﺮﻳﻊ ﺍﺳﺖ؛ ﻫﻤﺎﻥ ﺳﺮﻋﺘﻲ ﮐﻪ‪ ،‬ﺗﻮﺃﻣﺎﻥ ﺑﺎ ﺳﺎﺧﺘﻪﺷﺪﻥِ‬
‫ﮐﻴﻔﻴﺖﻫﺎﻱ ﺑﻴﺎﻧﮕﺮ‪ ،‬ﻳﮏ ﻗﻠﻤﺮﻭ ﺑﺎ ﺁﻥ ﺳﺮﻋﺖ ﺍﻧﺘﺨﺎﺏ ﻳﺎ ﺗﻮﻟﻴﺪ ﻣﻲﺷﻮﻧﺪ‪.‬‬
‫ِ ﻗﻬﻮﻩﺍﻱﺭﻧﮓ[‪ 128‬ﻫﺮ ﺭﻭﺯ ﺻﺒﺢ ﺑﺎ‬ ‫‪] Scenopoïetes dentirostris‬ﭘﺮﻧﺪﻩﻱ ﺳﮑﻮﺳﺎﺯ‬
‫ﻓﺮﻭﺍﻓﺘﺎﺩﻥِ ﺑﺮگﻫﺎﻳﻲ ﮐﻪ ﺍﺯ ﺩﺭﺧﺖﺍﺵ ﻣﻲﭼﻴﻨﺪ ﻣﺮﺯﻧﻤﺎﻫﺎﻳﻲ ﺭﺍ ﻣﺸﺨﺺ‬
‫ﻣﻲﻛﻨﺪ‪ ،‬ﺳﭙﺲ ﻭﺍژﮔﻮﻥﺷﺎﻥ ﻣﻲﻛﻨﺪ ﺗﺎ ﻃﺮﻑِ ﺯﻳﺮﻳﻦِ ﺑﻲﺭﻧﮕﺘﺮﺵ ﺩﺭ ﻣﻘﺎﺑﻞ‬
‫ِ‬
‫ﺧﺎک ﻗﺮﺍﺭ ﮔﻴﺮﺩ‪ :‬ﻭﺍژﮔﻮﻧﻲ ﻳﮏ ﻣﺎﺩﻩﻱ ﺑﻴﺎﻥ ﺗﻮﻟﻴﺪ ﻣﻲﻛﻨﺪ‪129.‬‬

‫‪127‬‬
‫‪. Irenaus Eibl-Eibesfeldt, Ethology, trans. Erich Klinghammer (New York: Holt, Rinehart and Winston, 1975):‬‬
‫ﺩﺭﺑﺎﺏ ﺧﺮﮔﻮﺵﻫﺎ ﺹ ‪346‬؛ ﺩﺭﺑﺎﺏ ﭘﺮﻧﺪﮔﺎﻥ ﺹ ‪:171‬‬ ‫ﺩﺭﺑﺎﺏ ﻣﻴﻤﻮﻥﻫﺎ‪ ،‬ﺹ ‪487‬؛‬
‫ِ ﺭﻧﮕﺎﺭﻧﮓ ﻓﺎﺻﻠﻪﻱ ﻣﺸﺨﺼﻲ ﺭﺍ ﺍﺯ ﻳﮑﺪﻳﮕﺮ ﺣﻘﻆ ﻣﻲﮐﻨﻨﺪ‪،‬‬ ‫»ﻓﻨﭻﻫﺎﻱﮔﻮﺭﺧﺮﻱ ﺑﺎ ﭘﺮﻭﺑﺎﻝ‬
‫ﺩﺭﺣﺎﻟﻲﮐﻪ ﭘﺮﻧﺪﮔﺎﻥِ ﺗﻤﺎﻡـﺳﻔﻴﺪ ﺍﺯ ﮔﻮﻧﻪﺍﻱ ﻳﮑﺴﺎﻥ ﺑﺴﻴﺎﺭ ﻧﺰﺩﻳﮏﺗﺮ ﺑﻪ ﻳﮑﺪﻳﮕﺮ‬
‫ﻣﻲﻧﺸﻴﻨﻨﺪ‪«.‬‬
‫‪ .‬ﺍﻳﻦ ﭘﺮﻧﺪﻩ ﺳﻪ ﻧﺎﻡ ﺩﻳﮕﺮ ﻧﻴﺰ ﺩﺍﺭﺩ‪ ،stagemaker bowerbird ،brown stagemaker :‬ﻭ ‪.tooth-billed catbird‬‬
‫ﺍﻳﻦ ﭘﺮﻧﺪﻩﻱ ‪ 27‬ﺳﺎﻧﺘﻲﻣﺘﺮﻱ ﺧﺼﻴﺼﻪﻱ ﻣﻬﻤﻲ ﺩﺍﺭﺩ‪ :‬ﺍﻳﻦ ﭘﺮﻧﺪﮔﺎﻥ ﻻﻧﻪﺍﻱ ﺷﺒﻴﻪ ﺳﮑﻮ‬
‫ﻣﻲﺳﺎﺯﻧﺪ‪ .‬ﭘﺮﻧﺪﻩﻱ ﻧﺮ ﭼﻨﺪﻳﻦ ﺟﻔﺖ ﻣﺎﺩﻩ ﺩﺍﺭﺩ‪ .‬ﺍﻳﻦ ﭘﺮﻧﺪﮔﺎﻥ ﻻﻧﻪﻱ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﺑﺮگﻫﺎﻱ‬
‫ِ ﺩﺭ ﺑﺎﻻﺗﺮﻳﻦ ﻧﻘﻄﻪ ﻗﺮﺍﺭ ﮔﻴﺮﺩ‪.‬‬ ‫ﺳﺒﺰ ﺑﻪﻧﺤﻮﻱ ﺗﺰﺋﻴﻦ ﻣﻲﮐﻨﻨﺪ ﮐﻪ ﻃﺮﻑِ ﺯﻳﺮﻳﻦِ ﮐﻢﺭﻧﮓﺗﺮ‬
‫ﻭﻗﺘﻲ ﭘﺮﻧﺪﻩﻱ ﻣﺎﺩﻩ ﺑﻪ ﻻﻧﻪ ﻧﺰﺩﻳﮏ ﻣﻲﺷﻮﺩ‪ ،‬ﭘﺮﻧﺪﻩﻱ ﻧﺮ ﺑﻪ ﺯﻣﻴﻦ ﻣﻲﺍﻓﺘﺪ ﻭ ﺩﺳﺖ ﺑﻪ‬
‫ﺗﻈﺎﻫﺮ ﻣﻲﺯﻧﺪ‪ .‬ﻡ‪ .‬ﻑ‬
‫‪129‬‬
‫‪. W. H. Thorpe, Learning and Instinct in Animals (London: Methuen, 1956), p. 364 (Fig. 2).‬‬

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