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100 Falat
100 Falat
ﮐﺎﭘﻴﺘﺎﻟﻴﺴﻢ ﻭ ﺍﺳﮑﻴﺰﻭﻓﺮﻧﻲ
ﺗﺮﺟﻤﻪﻱ
ﺯﻫﺮﻩ ﺍﮐﺴﻴﺮﻱ ،ﻣﺤﺪﺛﻪ ﺯﺍﺭﻉ ،ﭘﻴﻤﺎﻥ ﻏﻼﻣﻲ ،ﺍﻳﻤﺎﻥ ﮔﻨﺠﻲ
ﺭﺥﺩﺍﺩ ﻧﻮ
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 ............................................
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.
1. Sylvano Bussoti, Five Pieces for Piano for David Tudor.
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
ِ
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
ِ
ﻓﺼﻞ ﺩﻭﻡ
ِ 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
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
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.
ﻓﺼﻞ ﺳﻮﻡ
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
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«.
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
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
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.
29. Francois Jacob, The Logic of Life, trans. Betty E. Spillman (New York: Pantheon, 1973), pp. 269-270
ﻓﺼﻞ ﭼﻬﺎﺭﻡ
ﺳﺮﻫﻢﺑﻨﺪﻱ ﺩﺳﺘﻮﺭـﮐﻠﻤﻪ
30. Hjelmslev
ً 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.
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
ً 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«.
42. sayingthem
43. The performative
44. the illocutionary
45. assumption
.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.
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.
ﻓﺼﻞ ﭘﻨﺠﻢ
51. noise
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
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
.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
61. interpretosis
62. faciality
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
ﻓﺼﻞ ﺷﺸﻢ
66. goat
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
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
73. William Burroughs, Naked Lunch (New York: Grove Press, 1966), p. 131.
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
.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
.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.
86. Ibid.
،The BwO .ﺍﻳﻨﺒﺎﺭ ﺏ.ﺏ.ﺍ ﻧﻪ ﻧﮑﺮﻩ ﮐﻪ ﻣﻌﺮﻓﻪ ﺍﺳﺖ ﻭ ﺣﺮﻭﻑ ﻧﺨﺴﺖ ﺁﻥ ﻧﻴﺰ ﻫﻤﭽﻮﻥ ﻳﮏ
ِ ﺧﺎﺹ ﺑﺰﺭگ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ .ﻡﻧﺎﻡ
93
. Josef von Sternberg, Funin a Chinese Laundry(Nev/ York: MacMillan, 1965), p. 324.
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.
ِ 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
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«.
99
. folktale
100
). Vladimir Propp, Morphology of the Folktale, 2nd ed., trans. Laurence Scott (Austin: University of Texas Press, 1968
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
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.
.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
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.
.ﺣﺸﺮﺍﺕ ﻓﺎﻗﺪ ﻗﻠﺐ ﻫﺴﺘﻨﺪ ﻭ ﺗﻨﻔﺲ ﺩﺭ ﺁﻥﻫﺎ ﺑﻪﻭﺳﻴﻠﻪﻱ ﻧﺎﻱ ﺻﻮﺭﺕ ﻣﻲﮔﻴﺮﺩ.
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).
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.
.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(.
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.
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.
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
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.
125
. Jakob Johann von Uexkiill, Mondesanimauxet mondehumain (Paris: Gonthier, 1965).
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).