کتیب ملخص المؤتمر الدولي السنوي الرابع حول القضايا الراهنة للغات، علم اللغة، الترجمة و الأدب

‫ﺳﯿﺪ ﺣﺴﯿﻦ ﻓﺎﺿﻠﯽ‬ ‫ﺳﺮﺷﻨﺎﺳﻪ ‪:‬‬
‫ﭼﮑﯿﺪه ﻣﻘﺎﻻت ﭼﻬﺎرﻣﯿﻦ ﮐﻨﻔﺮاﻧﺲ ﺑﯿﻦ اﻟﻤﻠﻠﯽ ﺳﺎﻻﻧﻪ ﺑﺮرﺳﯽ ﻣﺴﺎﺋﻞ ﺟﺎري زﺑﺎن ﻫﺎ‪ ،‬زﺑﺎن‬ ‫ﻋﻨﻮان‪:‬‬
‫ﺷﻨﺎﺳﯽ‪ ،‬ﺗﺮﺟﻤﻪ و ادﺑﯿﺎت‬
‫ﻧﺸﺮ ﺗﺮﺧﻮن‪ 1399 ،‬ﺗﻬﺮان‬ ‫ﻣﺸﺨﺼﺎت ﻧﺸﺮ ‪:‬‬

‫‪ 37‬ﺻﻔﺤﻪ‬ ‫ﻣﺸﺨﺼﺎت ﻇﺎﻫﺮي ‪:‬‬
‫‪978-622-6873-17-8‬‬ ‫ﺷﺎﺑﮏ‪:‬‬
‫‪ 1000‬ﺟﻠﺪ‬ ‫ﺗﯿﺮاژ‪:‬‬
‫ﺗﻬﺮان –ﺧﯿﺎﺑﺎن ﭘﺎﺳﺪاران –ﺑﻬﺎرﺳﺘﺎن ‪– 10‬ﺧﯿﺎﺑﺎن ﻣﺮﯾﻢ –ﺳﺎﺧﺘﻤﺎن ﻣﺮﯾﻢ‪-‬ﭘﻼك ‪ 7‬واﺣﺪ ‪11‬‬ ‫ﻧﺸﺎﻧﯽ ﺳﺎﺧﺘﻤﺎن ﻣﺮﮐﺰي‪:‬‬
‫‪1958816165‬‬ ‫ﮐﺪ ﭘﺴﺘﯽ‪:‬‬
‫اول‬ ‫ﻧﻮﺑﺖ ﭼﺎپ‪:‬‬
‫زﻣﺴﺘﺎن ‪1397‬‬ ‫ﺗﺎرﯾﺦ ﭼﺎپ‪:‬‬
‫ﭼﮑﯿﺪه ﻣﻘﺎﻻت ﭼﻬﺎرﻣﯿﻦ ﮐﻨﻔﺮاﻧﺲ ﺑﯿﻦ اﻟﻤﻠﻠﯽ ﺳﺎﻻﻧﻪ ﺑﺮرﺳﯽ ﻣﺴﺎﺋﻞ ﺟﺎري زﺑﺎن ﻫﺎ‪ ،‬زﺑﺎن‬
‫ﺷﻨﺎﺳﯽ‪ ،‬ﺗﺮﺟﻤﻪ و ادﺑﯿﺎت‬
‫ﮔﺮدآوري ‪ :‬ﺳﯿﺪ ﺣﺴﯿﻦ ﻓﺎﺿﻠﯽ‬

‫ﻧﺎﺷﺮ‪ :‬ﺗﺮﺧﻮن‬
‫ﻧﻮﺑﺖ ﭼﺎپ‪ :‬اول ‪1399-‬‬
‫ﺗﯿﺮاژ‪ 1000:‬ﺟﻠﺪ‬
‫ﻗﯿﻤﺖ ‪ 250000:‬رﯾﺎل‬
‫ﺷﺎﺑﮏ‪978-622-6873-17-8 :‬‬
‫ﮐﻠﯿﻪ ﺣﻘﻮق ﻗﺎﻧﻮﻧﯽ و ﺷﺮﻋﯽ ﺑﺮاي ﻣﻮﻟﻒ ﻣﺤﻔﻮظ اﺳﺖ ‪ .‬ﺗﮑﺜﯿﺮ ﺗﻤﺎﻣﯽ ﯾﺎ ﻗﺴﻤﺘﯽ از اﯾﻦ اﺛﺮ ﺑﻪ ﺻﻮرت ﺣﺮوﻓﭽﯿﻨﯽ‪ ،‬ﭼﺎپ ﻣﺠﺪد‪ ،‬ﭼﺎپ اﻓﺴﺖ‪،‬‬
‫ﭘﻠﯽ ﮐ ﭙﯽ‪ ،‬ﻓﺘﻮﮐﭙﯽ و اﻧﻮاع دﯾﮕﺮ ﭼﺎپ ﻣﻤﻨﻮع اﺳﺖ‪ .‬اﯾﻦ اﺛﺮ ﻣﺸﻤﻮل ﻗﺎﻧﻮن ﺣﻤﺎﯾﺖ ﻣﻮﻟﻔﺎن ﻣﺼﻨﻔﺎن و ﻫﻨﺮﻣﻨﺪان ﻣﺼﻮب ﺳﺎل ‪ 1348‬اﺳﺖ‪.‬ﻫﺮ‬
‫ﮐﺲ ﺗﻤﺎﻣﯽ ﯾﺎ ﻗﺴﻤﺘﯽ از اﯾﻦ اﺛﺮ را ﺑﺪون اﺟﺎزه ﻧﺎﺷﺮ وﻣﻮﻟﻔﺎن‪ ،‬ﭘﺨﺶ ﯾﺎ ﻋﺮﺿﻪ ﮐﻨﺪ‪ ،‬ﻣﻮرد ﭘﯿﮕﺮد ﻗﺎﻧﻮﻧﯽ ﻗﺮار ﻣﯽ ﮔﯿﺮد‪.‬‬
‫ﭼﮑﯿﺪه ﻣﻘﺎﻻت ﭼﻬﺎرﻣﯿﻦ ﮐﻨﻔﺮاﻧﺲ ﺑﯿﻦ اﻟﻤﻠﻠﯽ ﺳﺎﻻﻧﻪ ﺑﺮرﺳﯽ ﻣﺴﺎﺋﻞ‬
‫ﺟﺎري زﺑﺎن ﻫﺎ‪ ،‬زﺑﺎن ﺷﻨﺎﺳﯽ‪ ،‬ﺗﺮﺟﻤﻪ و ادﺑﯿﺎت‬
‫ﮔﺮد آوري ‪ :‬دﮐﺘﺮ ﺳﯿﺪ ﺣﺴﯿﻦ ﻓﺎﺿﻠﯽ‬
‫ﻧﺸﺮ ﺗﺮﺧﻮن‬
English
Part
The Fourth Annual International Conference on Languages, Linguistics, Translation and
Literature (WWW.LLLD.IR), 1-2 February 2020, Iran-Ahwaz, Book of Abstracts
Knowledge as Lived Experience of Worldhood or Involvement in Possible Worlds

Semantics Mediated Through Language
Dr. Zdzisław Wąsik,
Philological School of Higher Education in Wrocław, Poland
In this paper, experiential knowledge as lived perceptions of the real world, will be confronted
with acquisitional knowledge as linguistic actions of text-production and text-reception.
Knowledge acquired through language includes bodies of information stored as texts not only in
human thought but also in speech and writing. It entails meaningful information acquired both
through learning and understanding processes and a reflexive participation in meaning-
constructing-processes. The author will argue that the meanings derived from coping with texts
may differ from meanings embedded in texts produced for communicative purposes. The
humans’ involvement in meaning-processing and meaning-interpreting activities entails also
emotional-aesthetic and intellectual-informative, or conceptual and formative dimensions,
connected with semantic transparency or opacity of texts. Worth noting is anticipatory knowledge
of forthcoming, never experienced facts and states of affair, which appears in the mind of
signifying and communicating individuals as imaginative alterations of abstractions through
personal, or social, construction of reality. When similar schematic constructs come into being in
the minds of members of a linguistic community, as an outcome of recurring interactions, it is
understandable that they find reflections in commonalities of verbal meaning bearers. Humans
integrate with each other individually on the basis of observable verbal means in accordance with
inferable understanding of meaning bearers, which pertain to the relationships between their inner
and outer worlds. Their contacts with external environments is mediated through language,
constituting the reservoir of their lifetime’s stock of knowledge, their lifetime’s contribution to
the world and to the collective stock of knowledge about the world.
Hurdles of Terminology Translation: A Case of Vernacular in the Indian Multilingual

Scenario
Dr. Mina Dan,
University of Calcutta, India
On the list of various types of translation, literary, non-literary, text, knowledge and so on, the
task of terminology translation naturally occupies a place in its own right. However, the inherent
uniqueness of the terms, the source materials in this sector, and the functionality expected from
their translated counterparts in the target language together insist on setting up afresh a
methodology of interdisciplinary make-up. The present paper throws light on various aspects of
an actual task of terminology translation, especially on its unique hurdles. The paper is based on
the ancillary findings of a project titled Defining Key Concepts in Linguistics: A Bilingual
Approach with Text-Machine Interface that had the primary objective of selecting 800 key
concepts in linguistics and preparing a bilingual glossary of them in both hard and soft mode. The
approach followed is of interdisciplinary make-up – engaging tools and concepts from various
fields, viz. terminology, translation, standardization, language planning and linguistics. The
languages involved are English, the source language, and Bangla, the target one. The target
tongue Bangla is a vernacular as well as one of the twenty-two scheduled languages in the Indian
multilingual scenario and it also offers a diglossic character – all of which put forth additional
challenge to the task of translation. The hurdles set up by the fields of term formation,
standardization, translation and the target tongue Bangla during the policy-framing phase are
taken up in this presentation.
1
A Survey Study of Motivation in English Language Learning in Iraqi EFL University

Context
Dr. Hussein Dhahi Muzhir, Dr. Musaab Abdulzahra Raheem Al-Khazaali & Ali Muhammed
Ridha,
University of Kufa, Iraq
The paper aims to investigate the types of the motivational factors that the English students have
which lead them to choose learning English language. The sample of the study consisted of 60
(male and female) students, department of English language at the Faculty of Arts and the
Faculty of languages /University of Kufa for the academic year 2018/2019. A statistical analysis
is employed to find the most dominant motivational factors among students. A student's
questionnaire is used for data collection. The statistical methods which were used to analyze the
given data are: percentages, mean, degree of freedom, sig. the equation of Cronbach's Alpha and
the statistical package for the social sciences (SPSS). The findings revealed that the students are
slightly more strongly motivated toward attitudes toward learning English. The study also
showed that students have a motivation toward learning English language with the negative
answer on the demotivation factor. Moreover, students' motivations tend to be intrinsic rather
than extrinsic.
Shifting Boundaries in a Multilingual Context: The Case of Tunisian Social Media Network
Writing
Abderrazak Ben Hamida & Dr. Hatem Haddad,
iCompass, Tunisia
With the advent of new technologies, and the global spread of social media networks as a
dominant and powerful medium of communication and interaction, new trends and phenomena,
relevant to sociolinguistics and language communication are emerging. In fact, observing social
media language nowadays sheds light on the nature of these new developments, their impact on
established sociolinguistic concepts, as well as on the shifting nature of productive language
skills. In the multilingual context of modern Tunisia, the pervasive use of social media, displays
interesting and complex linguistic manifestations characteristic of an Arabic-French bilingual
community; in addition to its endemic Arabic diglossia. These developments are a challenge to
computational linguistics. In this paper, we will focus on the use of writing in social media
networks by the Tunisian community. We will revisit the relevant sociolinguistic concepts of
diglossia and bilingualism, and attempt to demonstrate the shifting boundaries between Speaking
and Writing, as users adopt new communication strategies to express their feelings, attitudes and
opinions within a growing digital community. The data collection and analysis carried out with
the collaboration of iCompass confirm these shifting sociolinguistic boundaries, and more
permeable boundaries between speaking and writing. We expect to highlight new areas for
research in linguistics, language teaching, in addition to offering solutions, in the context of
regional dialects, to challenges facing computational linguistics applications dealing with
sentiment analysis, churn identification and Chatbots.
2
Towards a Technology-Enhanced Approach for Teaching Arabic as a Foreign Language

in the Light of the South African NQF
Dr. Tawffeek Abdou Saeed Mohammed Al-kanani,
International Peace College South Africa, South Africa
The study investigates the use of a blended learning approach for teaching Arabic as a foreign
language at a South African Islamic college in the light of the South African National Framework
Qualifications’ level descriptors and their critical cross-field outcomes. In particular, the
approach has been used for teaching a Hadeeth Module in an undergraduate BA programme
during the second semester of the academic year 2018-2019 at the International Peace College
South Africa (IPSA). The college adopts a content and language integrated approach for teaching
Arabic. The study concluded that the use of a technology-enhanced blended approach which is
based on Learning Tools Interoperability (LTI) (e.g. web 2.0 and gamification tools) plays a vital
role in motivating the learners and in the achievement of critical cross-field outcomes of each
NQF level including, subject knowledge, critical thinking and problem solving, communication,
teamwork and self-management among others. The study is part of an action research project that
also includes the design of a syllabus for teaching Arabic for Islamic purposes in the South
African context and the attitudes of learners towards it.
Impact of Application of Cognitive Linguistic Theory in Teaching Translation at Libyan

Universities
Dr. Youssif Zaghwani Omar,
University of Benghazi, Libya
Many studies and research reveal that teaching translation at universities in most developing
countries is based mainly on traditional translation theory, in which students use a bilingual
dictionary to translate every single word from one language into another. This, of course, makes a
lot of distortion as words individually have general meaning, not specific. Translation does not
mean associating words in one language to similar words in another language. Rather translation
means conveying meaning and culture from one language into almost similar meaning and
culture in another language. This study was conducted as an endeavor to examine cognitive
linguistic theory in teaching translation through merging linguistic knowledge with translation
experience and knowledge. This study was directed to shed lights on teaching translation from
the perspective of cognitive linguistics. Qualitative research method was used in this study, in
which the researcher interviewed nine instructors of translation at Libyan universities (Benghazi,
Tripoli, and Sebha) as a primary resource and reviewed books, journals, and websites relevant to
the topic of the study as a secondary resource. The researcher has reached findings, amongst of
which is that using traditional method of translation does not guarantee accurate translation.
Based on the findings obtained, the researcher presented some recommendations regarding the
significance of applying cognitive linguistic theory in teaching translation at university level.
3
Translating Literature, Building Relations, Bridging Cultures

Dr. Józef Zaprucki,
Karkonosze College (KPSW), Poland
The general aim of this paper is to offer a semiotic description of processes which has been
taking place within the so called “Culture Talk” in Silesia, the region in the west-south part of
Poland bordering with Germany where the Polish people were resettled from the east part of
Poland after the World War II. The German population was completely resettled westwards,
behind the new borderline of the Odra and Nysa rivers. In this region the Polish settlers met with
the foreign (pre-war) German culture. The process of communication between the present Polish
and the previous foreign German culture has taken place not only in the aspect of time but also in
terms of material and mental communication. The translations of the German pre-war literature
into Polish made by the author of this paper occurred crucial when speaking about identity and
roots of the people who settled down in Silesia after the World War II and about building
relations between Polish and German people.
A Study of Susan Glaspell's Regionalism and Ideal Feminism with Special Reference to
Trifles
Dr. Ammar Shamil Kadhim Al-Khafaji,
University of Baghdad, Iraq
The main purpose of the research is to clarify and investigate in details about Susan Glaspell’s
role in shedding light on the predicament of women in American society in the early twentieth
century showing how sense of the place played an important role in limiting the opportunities of
female protagonists who try to escape the roles imposed upon them by society. Glaspell lived in
the early twentieth century in the Midwest and tackled the important issues like: women's
suffrage, birth control, socialism, union organizing when women were not able to vote or sit as a
member on juries. Her Feminist cause is quite obvious through her works from her first one act
play Suppressed Desire to the final three act play, Alison’s House. The paper analyses Glaspell's
Trifle (1916) from the perspectives of regionalism that defined the American literature of the era
its effect on gender. Thus, shedding light on Suzan Glaspell as a feminist and a regionalist who
recorded an important period of American history. The paper tries to show how Glaspell who was
a regionalist, local colorist and a realist succeeded to deal with issues of social justice and how
she used literature as a weapon to fight the ills of society as an adherent believer in school of "art
for the sake of life".
Translating Proper Nouns in the Holy Quran into English: An Analytical Study
Dr. Tawfeeq Majeed Ahmed Al Kharasani & Ali Hussain Ali,
University of Karbala, Iraq
Translators often encounter many challenges in their task. Accurate translation of proper nouns
from one language to another is one of the main challenges. The current study tries to shed the
light on translating Arabic proper nouns into English. It is a kind of religious text translation, for
all the procedures of translation are in general and translation of the Holy Quran in specific. The
study consists of two parts. The first is the theoretical background concerning the nature of
translation, difficulties, and strategies to solve them. The second part is the practical one which
analyzes translated samples of Arabic proper nouns mentioned in the Holy Quran by four
translators. The study ends with some conclusions.
4
Qur’an Units Translation: The Controversy of Context and Exegesis

Dr. Nabila Boucharif,
University of Algiers 2 Abou Alkacem Saadallah, Algeria
Translating the Holy Qur’an has always been the center of interest for hundreds of translators
through time and space. The product, that is the translation of the meaning of its verses, still
generates controversies as far as the semantic aspect is concerned. Likewise, since the meaning
is initially fraught in the parts of speech, many units in verses have been subsequently differently
translated. Therefore, this paper attempts to examine the importance of context reverting on the
one hand, and the inevitable exegesis reference on the other hand. Furthermore, it aims at
showing how ‘tafsirs’ of distinct religious rites may impact the translator’s alternatives while
dealing with such a sacred text. As far as the method of dealing with the language units is
concerned, it is worth mentioning that we will focus on the impact of context and exegesis on the
translation of some selected samples among verbs (with distinct tenses), nouns (with different
gender and number) and finally adjectives (in all degrees). The major aim is to find out some
units that still generate translation issues because of the scholars’ different exegesis trends.
The Pronunciation of Persian-origin Words among the Punjabi Speakers of Pakistan

Dr. Aamir Zaheer,
National University of Modern Languages (NUML), Pakistan
Persian is a modern Iranian language which developed from Middle Western Iranian which itself
developed from Old Iranian, whereas Punjabi is the language of the region called ‘Punjab’. It is a
Persian word which literally means ‘‘the land of five rivers’’. The Punjab was divided on the base
of religion into Pakistan and India in 1947 during the partition of British India. The Punjabi is a
Northwestern Indo-Aryan language which issued from Sanskrit language via Prakrit and
Apabhramsh. It is the most spoken language in Pakistan. The Persian and Punjabi both languages
belong to Indo-Iranian branch of Indo-European Language family. The Punjabi language
possesses a large quantity of Persian words being used in this language since ancient times. This
study investigates the pronunciation of these Persian origin words present in the Punjabi
language. We recorded and transcribed - in International Phonetic Alphabet - a list of these most
common Persian loanwords articulated by some of Punjabi speakers of Pakistan. We found a
large difference between two pronunciations especially in vocalic category. We made the
categories of these pronunciation differences in order to understand how the Persian
pronunciation of Punjabi speakers of Pakistan differs from modern standard Persian spoken in
Iran. This study will help us to understand the cultural and linguistic relations between Iran and
Pakistan.
Use of Politeness in Diplomatic Correspondence: A Comparative Approach to International

Relations
Dr. Valentin Petroussenko & Dr. Bisserka Veleva,
Plovdiv University & Sofia University, Bulgaria
This paper focuses on the line of linguistic appearances of politeness forms, which are used in
different languages and how it is reflected upon the process of diplomatic communication. The
expressions of politeness reflect both traditions in each language model but also are subject to
strict rules of elaborated diplomatic protocol, and beneath we can trace the features of national
mentalities.
5
Extending the Domain of Interpersonal Rhetoric in Linguistic Pragmatics through

Interactive Properties of Communication Participants
Dr. Elżbieta Magdalena Wąsik,
Adam Mickiewicz University, Poland
The paper will argue that the hitherto developed linguistic pragmatics can only observe cultural
conditionings of communication acts and the empirically accessible interpersonal relationships
between communication participants. But it cannot probe into the real nature of communicative
intentions as well as mental endowments of human individuals. What constitutes the investigative
objects in the domain of pragmatic studies are the principles, rules and maxims of interpersonal
rhetoric which are predominantly used in dyadic and small-groups and to a lesser degree in public
and mass communication. For that reason, the paper puts forward a postulate to elaborate a
conceptual and methodological framework which might be applicable to the study the relational
aspects and inherent constituents of intercultural communication in multinational societies, such
as, for example, intimacy, partnership, cooperation, competition (emulation), combat, and the
like. As an extended research tool, this framework might be helpful in checking how the general
requirements of cross-cultural coexistence are observed by communicating agents adhering to
different civilizational traditions, customs, philosophical and religious beliefs. Accordingly, the
investigative domain of interpersonal rhetoric would comprise not only the norms of interaction
operating in a given society in particular, but also the knowledge about universal qualities of
human beings in general, such as basic needs, requirements, expectations, emotions, and
cognitive addiction to the way of thinking resultant from native languages, habitual behavior, as
well as the inseparability of reasoning and doing (which are conspicuous aspects of human life)
and the capacity to assess one’s own actions from the perspective of others.
Nostalgia and Memory in the Poetry of Al-Andalus

Dr. Simona Smaranda Farcasan,
Library of the Romanian Academy, Romania
The layers of memory and exile are deep in al-Andalus, whose fate was to live only in the hidden
spaces of our intimacy, in our mind’s eyes, in our hearts or in our dreams, wherefrom the art of
memory extracts the precious shards alchemically transmuted into verse. Condemned to fictional
survival, al-Andalus found herself in the heterotopic mirror of a poetry that made the absent
context dramatically present and struggled to build up a memory palace (Menocal 2002)
proclaiming an eternally nostalgic and impossible return. The reconstruction of the lost home,
doomed to become manifest just in the elusive language of a literary text, is still able to generate
a history and mythology that shape reality, a reality in a way quixotically mediated by the century
long Arab tradition of allegiance to the written text. To understand how the obstinately individual
memory deals with the experience of loss and converts it into poetry, our research touches upon
the articulation of exile motifs in the texture of poetic language and discusses the reconstruction
of long gone or vanishing contexts in the same medium.
6
Critical EFL Teaching Practices in a Chinese University

Dr. Xiaochen Hua,
South China Normal University, China
Chinese English-as-Foreign-Language (EFL) learners always complain that the reading articles in
school textbooks are full of prosaic doctrinal content. Educators also advocate to endow students
with critical thinking. To engaging their needs, I conducted a semester of pioneer critical EFL
practices in a Chinese university. Drawing on content-based foreign language teaching, and
critical literacy, this study reports the impact of practicing this theory-oriented instruction and
shed deep light on students’ reflection to it. In two college English classes (98 students in total),
the instructor offered students with authentic English readings, videos, and leaded discussions
toward the materials. Students’ essays, classroom performance, and interviews are analyzed by
thematic analysis. Findings show that, students dislike the Chinese media’s propaganda and
information filtered by the censorship. The desire to hear different voices motivate many of them
to study English harder than they take the traditional English class. However, after they read and
watched that the western media play dirty on broadcasting China, which is way distorted from
their daily life, students’ critical thinking aroused. After broke throw the Chines news censorship
and firewall, they confronted a biased western propaganda. To fight against the hostile news
toward themselves spread in English media around the world, students are strongly motivated to
practice English writing. Through a semester critical EFL practice, many Chinese college EFL
students realized that English literacy can help them get access to different voices, and also
empower them to challenge the western ideology dominated English media around the world.
Word Order as a Stylistic Marker in Selected Poems of Wordswirh

Dr. Shaima’ Abdul Hussein al-Mi’mar,
The present study is concerned with Wordsworth’s poetic language in respect to word order
deviations, and violations of the basic conventional system in English syntax. It endeavors to
show why and how Wordsworth manipulates language in his poems and how such manipulation
differs from one poem to another. Word order is one important aspect of style in general;
however, it is all the more important in poetry style, since the poetic constraints of rhyme and
rhythm require the poet to make for the necessary changes in word order of his poems so that
rhythm is obtained. The question is how far does Wordsworth resort to changes in word order in
the composition of his poems? Another relevant question in this respect is whether the
peculiarities in word order manifested in the poems of this Romantic poet can serve as a
differentiating stylistic marker. The study aims at: 1. Conducting a theoretical study of English
word order to establish a norm. 2. Analysing a representative random samples of the poems of
Wordsworth to establish types of deviations in their word order. 3. Conducting a comparative
study based on the results of the analysis as carried out above. 4. Drawing relevant conclusions
concerning the functionality of word order as a stylistic marker in the data. A representative
sample of the poems composed by the studied poet will be selected and analysed in terms of the
pecularities in their word order depending on Quirk et al (1985). The results of this analysis will
be tabulated with statistical means. Then a comparative analysis is carried out between the
characteristics of the word order in the data. In case this comparative analysis yields significant
differences, this would testify to the validity of the hypothesis.
7
Linguistic Perspectives of English and Arabic Collocations and Some Challenges

Huda Abed Ali Hattab & Dr. Ihsan Muhammed Jawad,
University of Baghdad, Iraq
With learning a second language, collocations are considered a motivating challenge that users
should manage. They are composed of grouping words to shape further addition to meaning.
They are of different types that users of any language should be aware of to develop their
languages. They require competence to be proficiently used in communities to achieve
communication. They play a great role in acquiring vocabulary and consequently develop and
change the constructions of Arabic and English languages, and give another 'taste' of overall
meaning of former structures with equal value. The study highlights some related issues like
having near synonyms, teaching collocations, their types, and more areas to be undertaken. This
paper is a good opportunity to shed light upon the Arabic and English linguistic contribution of
aspects related to word knowledge. Moreover, a number of findings for linguistic uses are
discussed.
The Influence of CLIL Instruction on Iraqi EFL Secondary School Students’ Vocabulary
Repertoire
Husam Mohammed Kareem,
Al-Imam Al-Kadhum University College, Iraq
The goal of the present paper is to offer new indication on the significant role of Content and
Language Integrated Learning (CLIL) in the acquisition of English language vocabulary
compared to traditional learning of English as a foreign language (EFL) in Iraqi secondary school
settings. To do so, the KET test was administered to measure and determine the current level of
secondary school students, while the second tool of measurement was vocabulary pretest and
posttest experimental design. Results of CLIL and non-CLIL students enrolled in the 4th year of
secondary education were examined and contrasted. Findings illustrate that secondary school
students can express themselves in real-life situations and communicate in various contexts. Data
collected from students’ posttest show that CLIL students outperform than non-CLIL students.
The CLIL method displays language and content at the same time such as technology, art and
mathematics by the means of English language. This provides the students with motivating and
suitable educational environment in that students can share their information about other subjects
beside their language.
Teaching Retroflex Consonants of Indo-Aryan Languages

Vidishaa Prakaash,
INALCO, France
The main goal of foreign language teaching today is 'communication' thus pronunciation is
considered a less important part of instruction. However, retroflex sounds which are a
phonological trait shared by most Indo-Aryan languages such as Hindi/Urdu, may be assimilated
by the, Hindi/Urdu as L2 learner due to influence from their L1. This paper proposes the
application of Callamand(1981)’s methodology for teaching phonological system of French using
favourable contexts and phonetic properties of consonants and vowels as an alternative method to
help learners more efficiently perceive and consequently reproduce such phonemes.
8
Towards a Bilingual French-Arabic Lexical Tool: Language, Cultural and Educational

Issues
Dr. Malika Lakhdari,
INALCO, France
Recent progresses in science and technology leads us to ask about the future of specialised
languages. In this instance, similarities and differences between the common language and the
specialised one have drawn considerable attention in recent literature (Quémada, 1967;
Wimmer, 1982; Lerat, 1995; Lehrberger, 2003). Through linguistic, cultural, educational
approaches, this work aims at greater understanding problems related to the biomedical
language. Indeed, in an age of globalisation, the educational tools require tailoring towards a
better responded new world of communication. In order to avoid a marginalisation of this
region, different international organisations advocate for an Arabisation (‫ اﺳ ﺘﻌﺮاب‬/ isti’râb),
henceforth, of the technical terms. Nevertheless, it is a matter of debate because this process has
some drawbacks as it stands. The core idea of the present proposal obviously raises a crucial
question as to how can we achieve tangible results without reference tools? This question has
specifically emphasised the strategic importance of the underlying principles. Such a project
cannot be done without considering the general vocabulary and features of the specialised one
and what is at stake in a lexical tool (Zgusta, 1971). This is particularly important in medicine
where inappropriate formulations might be more severe than in an “ordinary” context. Indeed, a
word is not always easily transferable from one language to another as communities embrace
different ways of thinking. Within this framework, this issue highlights the undeniable role of
pedagogical mediation.
The Southern Voice as an Aesthetic Healing Discourse: Reading in Toni C. Bambara’s

The Salt Eaters
Dr. Muslim Abbas Eidan Al- Ta’an & Shaimaa Hadi Radhi,
University of Kufa & General Directorate for Education in Najaf, Iraq
Toni Cade Bambara’s fresh and new aesthetic voice bestows her a distinctive fame among critics
and generations of readers who highly appreciate her literary works. Poetics of Bambara's
different voice of the black narrative language stems from being deeply rooted in the American
South. For Bambara, to be born in a lyrical Southern environment is to have a cluster of
possibilities: to have such a kind of potentiality of ‘thinking black’ in an open sacred or secular
Southern space; to take into account the matter of force and freedom, and to have a lot of
chances, as a black Southern woman, in terms of art, activism and life. By means of her 'thinking
black' of the sensitive potentiality and energetic power of her mother tongue, she is aesthetically
committed to break her words open in order to get at the bones. Further, she deals with the
musicality of her narrative symbols as if they were atoms. The aesthetic intention beyond her
constant quest is to explore how the voice of the very narrative word becomes an energetic
meaning, and how the word transmits its aesthetic power to the reader as a healing discourse. In
our present paper, we attempt to argue the significance of the voice of the lyrical poetics which
gives its powerful energy to the language of the narrative discourse. The study will show, too,
that Bambara’s narrative poetics stems from the lyrical Southern environment of Black American
space and time.
9
The Struggle between the Id and the Superego in Jandy Nelson’s The Sky is Everywhere
Sabrina Abdulkadhom,
It is only natural that a person encounters a variety of personalities since the day of birth. They
encounter and interact with different personalities, which is basically one of the major processes
that helps with the shaping and developing of one’s own personality. Sigmund Freud, the famous
Austrian neurologist, has studied, analyzed and carefully explained the behavior of people by
dividing the human mind into three major parts. These parts represent the essence of man’s
personality and thus behavior. With the extreme difference of these parts of the mind, it is
obvious that one contradicts the other in nature and thereby a possible struggle may find its place
within the human mind. This division and conflict of the mind are found within the intellectual
structure of every human mind and has not only been the subject in real life, but also in the world
of fiction. The famous novel, The Sky is Everywhere, presents the reader with several characters
where Freud’s division and the conflict of the mind are visible. This research shall first introduce
the novel and its author Jane Nelson. Then it will be followed by a detailed explanation of
Freud’s famous theory of psychoanalysis, explaining the parts of the human mind. The research
will then analyze The Sky is Everywhere according to this theory, followed up by a conclusion to
sum up the findings of this study.
A Linguistic Study of Aesthetic Devices in Sayyidah Zainab's Sermon

Zainab Hussein Alwan,
Aesthetics is an art and a science that has a close connection with human daily life. From the
linguistic perspective, it can be accomplished by using certain devices. The present study aims at
finding out the common devices used in the Sayyidah Zainab's Sermon. It also displays the most
favrouble ones used in the texts above. It is hypothesized that there are certain devices that add
aesthetic value to the texts above. It also expected that they have been chosen deliberately in
accordance with the topics discussed. After analyzing the texts above, it is concluded that
semantic devices are more common than others. This is due to design marvelous panoramic
sights, Framing the sermon with animation is a way to address stony hearts.
Lyotard's Theory of Grand Narratives in Edward Albee's The American Dream

Habeeb Lateef Kahdim Al-qassab,
Ministry of Education; Directorate of AL-Qadisiyah, Iraq
According to Jean-Francois Lyotard, who is regarded by many as one of the leading philosophers
of postmodernism, modernism is based upon some specific metanarratives while postmodernism
is characterized by skepticism toward these metanarratives. This paper intends to probe into
Albee's doubt towards metanarratives like the notion of the America Dream and capitalism
because Albee's The American Dream signifies a metaphor for metanarratives. It will be proved
that the overall contempt for the metanarratives that structures postmodernism is symbolized
through the main characters; in fact, Albee intended to frankly discuss his skepticism towards the
American Dream through the absurd characters in his play. Moreover, he shows how the ideals of
American Dream turn into dreadful.
10
The Influences of the Closely Analysis of Politeness in Tennessee Williams' The Glass
Menagerie
Hussein Nasir Shwein,
Ministry of Education; Directorate of AL-Qadisiyah, Iraq
The verbal and the nonverbal communications are viewed as powerful tools for human existence;
they are the source and medium of the theatrical overall performance from the historical to the
postmodern section. The powerlessness of certain characters to transcend partiality is ordinarily
shown with the representation of yearning reflecting some views of politeness. The motivation
behind this paper is to break down elaborately a chose discourse from Tennessee Williams' The
Glass Menagerie. It expects to underscore on the hypothesis of Politeness, which is portrayed as
a social guideline, numerous etymologists have needed to look about politeness as Brown and
Levinson (1978). They developed the idea of Face as a public self-image. They also said within
‘taking turn' the characters tell the best way to be polite or impolite with each other. The research
will contend that the touchy comprehension of this play can be happened in the perusing of text
while the context is critical to allude to the harmony and disharmony between the characters'
interaction. Therefore, this study is to analyze this play according to the conscious an
unconscious relationship between characters from stylistic analysis of politeness point of view in
Tennessee Williams' The Glass Menagerie. In the following research we intend to fill this gap
identified.
Imagism in Canadian Poetry: A Study of Selected Poems by Raymond Souster

Hassan Abdul Ameer Haraj Al Husseini & Sahar Abdul Ameer Al-Husseini,
Ministry of Education & University of Al-Qadisiyah, Iraq
Plainness, direct expression and exactness in using the images are the main features of imagism,
the movement that has appeared in response to the preceding movements, Romanticism and
Victorianism. The movement that emphasizes the absolute, precise presentation of the image, was
founded by Ezra Pound who is considered the father of imagism and appeared in the twenties of
the modern age. Yet its roots could be traced back to the poet T.E. Hulme. Hulme has a
mentioning in 1903 about the fact that the subject of poetry should be given in exactitude with no
need for elaboration. Such description is given in Hulme's essay "Romanticism and Classicism".
Later in the twenties of the twentieth century Pound adapted these ideas that are introduce by
Hulme in his "imagist" poetry. Consequently it was during the early 1912 when Pound used the
term "imagism" for the first time due to his meeting with Hilda Doolittle for while he read one of
her poems, he approved and signed it as "imagiste". Later he also used the term the time he
published Complete Poetical Works by Hulme.
11
Women in Antiquity: Modern Retellings of Classical Myth in Selected Plays by Marinna

Carr and Carol Lashofe
Zena Dhia Mohammed Hassan Al-Munshi & Dhia Khaleel Nayel,
Myths play an important role in literature. Myths are stories of gods, monsters or immortals
which are transformed from one generation to the other. Myths do not only bear cultural and
religious experiences of a particular community, but they also outline the consequent literary,
artistic and dramatic customs. Some Greek myths have survived for thousands of years because
they reflect the true cultural values, historical happenings and trends. Among the most famous
classical myths are the myths of Medusa and Medea. As for the myth of Medusa, the earliest
known record was found in Theogony (700BC) by Hesiod (8 th-7th century BC.). A later version
of the Medusa myth was made by the Roman poet Ovid (43BC –17/18AD), in his
Metamorphoses (3-8 AD). Medusa is a beautiful mortal maiden, one of the three Gorgons,
daughters of the sea gods. But she was transformed by the God, Athena, into a winged monster
with living snakes on her head. She had the power of turning into stone those who gazed upon
her eyes. Then again, Medea is a tragedy produced in 431BC by the Greek playwright Euripides
(480 – 406 BC) based on the myth of Jason and Medea. Medea is the archetypal sorceress-figure
who murders her children, her brother and betrays her father in order to take revenge on her
husband because of his betrayal and marriage to another woman. Both Medusa and Medea are
among the most fascinating and complex female characters in Greek mythology. Moreover, their
complicated and multiple characters have captivated writers and play wrights for ages. In the
twentieth century, there were many adaptations of both mythological figures; among these
adaptations were those made by contemporary American and Irish women playwrights like Carol
Lashof (1956- ) and Marinna Carr (1964- ). This paper examines the myths of Medusa and
Medea and analyses the ways these myths are borrowed, refashioned and exploited in Lashof’s
Medusa’s Tale (1991) and Carr’s By the Bog of Cats (1998). Both playwrights explore hidden
dimensions of the traditional myths, combining elements from the old and modern worlds and
provide modes of transformation and evolutionary development within their characters.
An Analysis of Types and Functions of Illocutionary Acts in Hassan Nasrallah's Speech

Wasan Norri Fadhil & Dr. Muayyad Omran Chiad,
University of Kerbala, Iraq
Speech is one way of delivering information, thought, and feeling. We can inform something,
make a promise, give thanks, and so on. It expresses a speaker's intention of what he/she says.
This is called an illocutionary act according to Austin (1962) and which is part of speech act.
Thus, this study aims to identify the types of illocutionary acts performed by Hassan Nasrallah in
his speech and, secondly, describe their functions. The data of this study is taken from the
transcript of Hassan Nasrallah in his speech on Syria on May 25th, 2013. A descriptive
qualitative method is used to conduct this study. The data were analyzed based on the types of
illocutionary acts by Searle (1969) and their functions by Leech (1993).The results show that
there are assertive, expressive, directive, and commissive illocutionary acts used by Hassan
Nasrallah. Moreover, assertive is used more than others since the aim of the speech is to give
information. Secondly, there are three functions in this research. These are collaborative,
competitive, and convivial. Collaborative function is used more than others as its aim is to
inform, report, or suggest something.
12
Investigating the Issue of Ideological Conflicts in Uzma Aslam Khan’s The Geometry of God
(2008)
Yaseen Piyar Ali,
University of Sindh, Pakistan
This research paper aims to investigate the issue of ideological conflicts in Uzma Aslam Khan’s
The Geometry of God in context with Zia’s Islamization and means of legalization, legitimization
and incorporation of Islamic ideology through the Party of Creation against scientific
enlightenment. The paper intends to evaluate the characters, Amal, Mehwish, and Noman who
face challenges from patriarchal family and society, and the conflicts of the orthodox religious
rigidity and narrow minded approach of the Party of Creation in clash with scientific knowledge.
Non-empirical method of Textual Analysis and Close Reading method are used to study the
novel under Eagleton’s (1991) ideological perspective in order to explore the way dominant
group’s ideology works to retain the power of legitimization of its orthodox ideology by
promoting beliefs and vested interests upon marginal group in the society. The paper also aspires
to analyze the novel from Tyson’s (2006) feminist perspective which would help to study the
struggle of Amal and Mehwish in a patriarchal society. This paper would unfold the strategies
and policies depicted in the novel to exploit the social and religious institutes for legitimizing the
ideology of Islamization and liberation of young generation from the influence of Science and
western life style. The paper also intends to uncover the way character of Noman goes through
transformation from an obedient and passive boy to a man who gives meaning to his life by
following his passion. The paper would be fruitful to understand the issue of ideological conflicts
depicted in the selected work.
Lexicalization of Religion-bound Terms with Reference to Arabic and English

Basim Jubair Kadhim & Saeed Mahdi Abdulraheem,
The Islamic University, Iraq
Many Islamic terms have English equivalents, but such equivalents do not convey the accurate
meaning that is conceptualized by Arabic users. The Islamic terms have equivalents in the target
language, yet still with no adequate meaning, a matter which creates difficulty in translation. This
study is to investigate the processes of the lexicalized words which are related to Islamic culture.
Following an eclectic model designed for this purpose, several Islamic texts on certain websites
whose first language is English are investigated and many lexicalized terms are found. Fifty texts
are selected to be the representative data for analysis. The eclectic model is of five stages through
which new words are coined via the process of lexicalization. Having investigated all the
processes of the lexicalized terms, considerable conclusions are drawn. Among these conclusions
can be that the orthographic and pronunciation of the lexicalized words remain the same as in
their source language, adding new (loan) words to the target language. Furthermore, the Arabic
Islamic-bound terms which are lexicalized into English implicate the ideological change in the
English speaking community, an important factor in language change. At the level of translation,
lexicalization is a strategy that can be the best substitute for other traditional strategies such as
transliteration or paraphrasing.
13
The New Interpretation of the Literary Heritage as a Basis for International Cultural
Activities in Silesia
Julita Izabela Zaprucka,
University of Economics in Wrocław, Poland
The cultural background of Polish Silesia is a very intricate historical one: From one perspective,
we see the German material heritage which consists of architectural, infrastructural, artistic signs.
From the other perspective, there are Polish people with their genuine cultural consciousness who
have been dwelling here for the last six decades surrounded by the German material environment
and, in some respect, spiritual world. This complex of influences constitutes a Polish Silesian
being confronted with the issues of different cultural interactions. The German literary heritage in
Silesia is close connected with the contemporary literature life in Polish Silesia. The two
literature Nobel Prize Winners come from Silesia - the German writer Gerhart Hauptmann in
1912 and the Polish writer Olga Tokarczuk in 2019. The manor house of Gerhart Hauptmann is
nowadays a Polish literature museum, one of the most visited tourist attractions in the region.
There are many topical fields to explore within the cultural tourism regarding for instance the
religious issues which emerged in Silesia ca. three hundred years ago: The escape of the
Schwenkfelders and the Silesian refuge for the Austrian Protestants, the Zillertalers. Thus, the
general aim of this paper is to offer a description of processes which took place within the so
called shift of cultural values to Silesia from Austria both in terms of space and time, and to
propose how to use this material in order to develop the cultural tourism in Silesia. The new
interpretation of literary heritage in Silesia fosters connecting European inhabitants and teaches
openness for foreign culture, influencing cultural tourism.
The Effect of Persian Adages on Urdu Language and Literature

Muhammad Nasir Afridi,
Sarhad University Science & Technology, Pakistan
Adage is the Arabic feminine word which means the expression of a proverb or a phrase
expressing a general truth. Adages are true interpretations of the basic social and cultural issues,
situations and experiences of many years, and the feelings, the physical interactions, the well-
being and the temperament of the individual and collective life of the Son of Adam. So they have
no creator and no region, but their coin goes beyond the constraints of time and space. Adages are
widely used in all languages of the world without any clogging. Urdu language and literature
besides influenced by many other languages, is widely influenced by Persian words and
formations, techniques and technologies. Similarly, there is a large collection of Persian phrases.
Many adages from Persian language are used as it is in Urdu. In particular, the poets have taken
few lines of poetry and at times whole stanzas from Persian adages. Few adages from Persian are
literally explained, and Interpretation and the meaning and practice of Persian cultural and styles
in Urdu language flow fluently. The Persian adages, which have century’s old cultural traditions,
are all integrated into Urdu, so the combination of the two civilizations has come to the fore.
Adages (proverbs) are a set of words that are based on wise life experience, dissenters,
observation, and behaviour that benefit from this, and in this we find an aspect of the real
meaning of life that transcends psychological, social, cultural, historical and linguistic
experiences and the phenomena and attitudes that take place in it. The research paper will provide
examples of Persian adages that have become the capital of Urdu language and literature and
have expanded Urdu language and literature.
14
Fact and Ethics in the Meaning of the Novel "The Adventures of Huckleberry Finn"
Abdulkadhim Hashim Mutlaq,
Imam Al-Kadhum University College, Iraq
In this paper, the researcher will deliberate the intrinsic bond that survives between ‘Life’ and
‘Literature.’ On a wider plane, the ‘Real Life’ and its skills result in the genesis of the literary
world that is known as ‘Literature.’ On a logical plane, literature informs us about many aspects
and points of life, which in a way builds our insight towards life. On this explanation, one can say
that “Life is Literature and art is Life.” The researcher will be discoursing the beliefs of Walter
Pater and Matthew Arnold about “Art and Life.” As we see on one hand, Walter Pater upholds
the visual notion of art. He spreads the motto: “Art for Art’s sake.” But on we can see, Matthew
Arnold believes that the work of art most serve a community and moral purpose, so he reasserts
the motto: “Art for Life’s sake.” Furthermore, the researcher would refer to Christopher New’s
essay titled, “Literature, Truth and Morality” which will serve as a ‘guiding light’ in order to
analyses the various episodes and incidences of the novel. This essay will entitle the readers to
understand the composite and intertwined nature of the numerous philosophical parts which are
born out of the “world of Literature” and “world of real Life” as well.
Translation Studies for Liberation

Alexandre Dubé-Belzile,
Quebec University in Outaouais, Canada
In this paper, in a Translation Studies approach, I will approach activist translation as a method of
"ideological criticism", as understood by Slavoj Zizek (García and Sánchez 2008, 125-142). My
question is the following: to what extent does activist translation contribute to a liberation of the
translating subject, the target audience and the representations mobilized in the act of translation?
My approach will be theoretical and dialectical. I will oppose the concept of anthropophagy,
inspired by the Brazilian school of cannibal translation of Haroldo de Campos (de Campos and
Wolff 1986, 42-60), to hegemony, the concept of unproductive expenditure, borrowed from
Georges Bataille (Bataille 1967), to capitalism and finally, nomadism, inspired mainly by Gilles
Deleuze and Félix Guattari (1972, 1980), to the State. My objective is to pave to way to renewed
forms of non-hegemonic cultural dialogue through translation.
15
‫اﻟﻘﺴﻢ‬
‫اﻟﻌﺮﰊ‬
‫اﳌﺆﲤﺮ ا وﱄ اﻟﺴﻨﻮي اﻟﺮاﺑﻊ ﺣﻮل اﻟﻘﻀﺎ اﻟﺮاﻫﻨﺔ ﻠﻐﺎت‪ ،‬ﲅ اﻠﻐﺔ‪ ،‬اﻟﱰﲨﺔ و ا ٔدب )‪،( WWW.LLLD.IR‬‬
‫‪ ١-٢‬ﻓﱪا ﺮ‪ ،٢٠٢٠‬ا ٔﻫﻮاز‪ ،‬ﮐﺘ ﺐ ﻣﻠﺨﺺ‬
‫ﻣﻦ ﻣﺸ ِت ﺗﻌﻠﲓ ا ٔﺻﻮات اﻟﻌﺮﺑﯿﺔ ﻟﻐﲑ اﻟﻨﺎﻃﻘﲔ ﲠﺎ ) اﻟﻄﺮاﺋﻖ واﳊﻠﻮل(‬

‫د‪ .‬ﶊﺪ اﻣ ﺎرك اﻟﺸﺎذﱄ ﶊﺪ اﻟﺒﻨﺪاري‪،‬‬
‫ﺎﻣﻌﺔ ا ٔزﻫﺮ‪ ،‬ﻣﴫ‬
‫ا ّٕن ﺗﻌﻠﲓ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﻟﻐﲑ اﻟﻨﺎﻃﻘﲔ ﲠﺎ ﻣ ﺪان رﺣﺐ‪ ،‬ﺸﻐﻞ ٔﻫ ﺑﻌﺾ اﻟﻘﻀﺎ اﳌﻬﻤﺔ‪ ،‬وﻣﻦ اﻟﻘﻀﺎ اﻟﱵ ﯾﺘﻔﻖ اﳋﱪاء ﰲ ﻫﺬا اﳌﯿﺪان ﲆ ٔﳘﯿﳤﺎ‪ ،‬ﻗﻀﯿﺔ ﺗﻌﻠﲓ‬
‫ا ٔﺻﻮات اﻟﻌﺮﺑﯿﺔ ﻟﻐﲑ اﻟﻨﺎﻃﻘﲔ ﲠﺎ‪ ،‬وﺗ ٔﰏ ٔﳘﯿﺔ اﻟﺼﻮت ﻣﻦ ﻮﻧﻪ اﻠﺒﻨﺔ ا ٔوﱃ ﰲ اﻠﻐﺔ‪ ،‬واﻟﻌﺮب – ﻛﲈ ﻗﺎل ﻓﲑث – ﻣﻦ ا ٔﱈ اﳌﺘﻘﺪﻣﺔ ﰲ دراﺳﺔ ا ٔﺻﻮات؛ رﰬ‬
‫ﻗ اﻻٕﻣﲀ ت اﳌﺘﺎ ﺔ ٓﻧﺬاك‪ ،‬وذ ﳋﺪﻣﺔ اﻟﻘﺮ ٓن اﻟﻜﺮﱘ‪ ،‬ﻓ ﺪؤا ﺑﻮﺻﻒ ﳐﺎرج اﳊﺮوف‪ ،‬وذ ﺮ ﺻﻔﺎﲥﺎ ﰲ ﻣﺮ ﻣ ﻜﺮة ﺎل ﺗﻌﻠﳰﻬﻢ وﺗﻌﻠّﻤﻬﻢ اﻟﻘﺮ ٓن اﻟﻜﺮﱘ‪ .‬وﻣ ﻌﲅ‬
‫اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﳇﻐﺔ ﻧﯿﺔ ﳚﺪُ ﺑﻌﺾ اﳌﺸ ﰻ ﺎل اﻟﻨّﻄﻖ ﺑﺒﻌﺾ ا ٔﺻﻮات ﺎﺻﺔ اﻟﱵ ﻠﺖ ﻣﳯﺎ ﻟﻐﺘﻪ ا ٔﺻﻠﯿﺔ‪ .‬وﻣﻦ ﻫﺬا اﳌﻨﻄﻠﻖ ﺗﻨﺎول اﻟﺒﺤﺚ ﻓﺎﺋﺪة ﺗﻌﲅ اﻟﺼﻮت ﰲ‬
‫اﻟﻌﺮﺑﯿﺔ ﻟﻐﲑ اﻟﻨﺎﻃﻘﲔ ﰲ ﺛﻼﺛﺔ ﻣﻮاﺿﻊ ‪:‬‬
‫اﳌﻮﺿﻊ ا ٔول ‪ :‬اﳊﺮﰷت اﻟﻘﺼﲑة واﻟﻄﻮﯾ ٔو اﻟﺼﻮاﺋﺖ اﻟﺴﺘﺔ‪ ،‬وﱓ ﻣﻦ ٔﱒ اﳌﺸ ﰻ اﻟﱵ ﺗﻘﺎﺑﻞ ﻣ ﻌﲅ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ‪ ،‬وﻣﻦ اﳌﻌﻠﻮم ٔن اﳋﻄ ٔ ﰲ ﻧﻄﻖ اﳊﺮﰷت ﰲ ٔي‬
‫ﻣﻦ اﻠﻐﺎت ﯾﺆدى إﱃ ﺳﻮء اﻟﻔﻬﻢ واﺧ ﻼف ا ٔﻣﺮ ﲆ اﻟﺴﺎﻣﻌﲔ‪ ،‬ﻓﻀﻼ ﻋﻦ ٔﻧﻪ ﯾﺒﺪو ﺑﯿﺎ ﰲ ا ٓذان ﲑ ﻣﻘ ﻮل وﻻ ﻣﺴ ﺴﺎغ ‪ .‬ﰒ ﻋﺮﺿﻨﺎ ﻟ ٔ ﺻﻮات اﻟﻔﻮﻗﻄﻌﯿﺔ‬
‫" اﻟﻨﱪ واﻟﺘﻨﻐﲓ"‪ ،‬ودور ﻫﺬﻩ ا ٔﺻﻮات اﻟﺼﺎﺋﺘﺔ ﰲ ﺴﻬﯿﻞ ﺗﻌﲅ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﻟﻐﲑ اﻟﻨﺎﻃﻘﲔ ﲠﺎ ‪.‬‬
‫اﳌﻮﺿﻊ اﻟﺜﺎﱐ ‪ :‬ا ٔﺻﻮات اﻟﺼﺎﻣ ﺔ‪ ،‬وﺗﻨﺎوﻟﺖ ﻣﳯﺎ ‪:‬‬
‫" ٔل" اﻟﻘﻤﺮﯾﺔ واﻟﺸﻤﺴﯿﺔ وﺧﻄ ٔ ﻣ ﻌﻠﻤﻲ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﰲ ﻧﻄﻖ ﻫﺬﻩ ا ٔﺻﻮات‪ ،‬و ٔﳘﯿﳤﺎ ﻋﻨﺪ اﻟﻨﻄﻖ ‪.‬‬
‫اﳌﻮﺿﻊ اﻟﺜﺎﻟﺚ ‪ :‬ﺗﻨﺎوﻟﺖ ﻓ ﻪ ٔ ﺮ اﳊﺮوف ا ﺎورة ﰲ إﯾﺜﺎر اﳊﺮﰷت‪ ،‬و ٔﻗﺼﺪ ﺑﺬ إﯾﺜﺎر ﺣﺮوف اﳊﻠﻖ ﲝﺮﻛﺔ اﻟﻔ ﺔ‪ ،‬وﻫﻮ ﻣﺎ ﺮز دورﻩ ﰲ ا راﺳﺎت اﻟﺼﻮﺗﯿﺔ‬
‫ﻗﺪﳝًﺎ‪ ،‬وﰱ ﻗﻮاﻧﲔ ا ٔﺻﻮات ﺪﯾﺜًﺎ‪ ،‬وﳒﺪﻩ واﲵًﺎ ﰲ ﻧﻄﻖ ﻣ ﻌﻠﻤﻲ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﺪﯾﺜًﺎ ‪.‬‬
‫وﺗﻨﺎو ُﻟﺖ ﰲ اﳋﺎﲤﺔ ٔﱒ اﻟﻨﺘﺎﰀ اﻟﱵ ﺗﻮﺻﻞ ٕا ﳱﺎ اﻟﺒﺤﺚ‪ ،‬و ٔﱒ اﻟﺘﻮﺻ ّﯿﺎت‪ ،‬ﰒ ﺛ ﺖ ﺑ ٔﱒ اﳌﺮاﺟﻊ‪.‬‬
‫اﻟﻮﰟ اﻠﻐﻮي اﳉﻐﺮاﰲ ﻟﻘﺮاءات اﳌﺼﺤﻒ اﻟﻜﺮﱘ و ٔﺣﺮﻓﻪ و ٓ ر اﻟﻌﻮﳌﺔ ﲆ ﺗﻌﺪد ﳤﺎ او ا ﻜﲈﺷﻬﺎ‬
‫د‪ .‬ﺳﻔ ﺎن اﻟﻜﺮﺟﻮﺳﲇ و د‪ٓ .‬ن وا ‪،‬‬
‫ﺎﻣﻌﺔ ﺗﻮر و ﺎﻣﻌﺔ رﻦ اﻟﺜﺎﻧﯿﺔ‪ ،‬ﻓﺮﺴﺎ‬
‫إن ﺗﻄﻮر اﻟﻌﻠﻮم اﻠﻐﻮﯾﺔ ا ي وﺻﻠﻨﺎ إﻟﯿﻪ اﻟﯿﻮم ﱂ ﻜﻦ ﳑﻜ ًﺎ ا ّٕﻻ ﻧ ﺔ ﻟﺘﻔﺎ ﻠﻬﺎ ﻣﻊ اﻟﻌﻠﻮم ا ٔﺧﺮى‪ ،‬اﺟ ﻋﯿﺔ ﰷﻧﺖ ٔم ﻃﺒﯿﻌﯿﺔ‪ ،‬ﳑﺎ دﻓﻌﻨﺎ ٕاﱃ ﺗﻘﺪﱘ ﻫﺬﻩ اﻟﻮرﻗﺔ اﻟﺒﺤﺜﯿﺔ‬
‫اﻟﱵ ﺴﻌﻰ إﱃ ﺑﻨﺎء ﺟﺴﻮر ﺑﲔ ِﻠﻤﲔ ّﻤﲔ ﻫﲈ اﳉﻐﺮاﻓ ﺎ و ﲅ اﻠﻐﺔ‪ .‬ﻫﺬﻩ اﳉﺴﻮر ﺗﺘ ﺬ ﻣﻔﻬﻮﻣﲔ ٔﺳﺎﺳﲔ ﻛﻘﺎ ﺪة ﻟﻬﺎ وﻫﲈ‪ :‬اﻟﻮﰟ اﻠﻐﻮي واﻟﻮﰟ اﳉﻐﺮاﰲ‪ .‬ا ٔول‬
‫ﺸﲑ اﱃ ﻣﺴ ٔ ﲢﺪﯾﺪ ﺗﻌﺪدﯾﺔ اﻟﻘﺮاءات وا ٔﺣﺮف وﻛﺬ ﻟﯿﻮﻧﺔ اﻠﻐﺔ واﻟﺜﺎﱐ ﯾُﻌﲎ ﺑﺘ ﺪﯾﺪ اﳌﻮاﻗﻊ اﳉﻐﺮاﻓ ﺔ اﻟﱵ ﺗﺘ ٔﻗﲅ اﻠﻐﺔ ﻣﻌﻬﺎ وﺗﻌﻜﺴﻬﺎ‪ .‬ﺳﻨ ﺎول ﺑﺪاﯾﺔ ٔن‬
‫ﻧﺒﺤﺚ ﻋﻦ ﰻ ﻣﺎ ﺸﲑ إﱃ ﲢﺪﯾﺪ ﻣﻮاﻗﻊ ﺟﻐﺮاﻓ ﺔ ﻣﻌﯿﻨﺔ ﱪ ﻣﺴ ٔ ﺗﻨﻮع ﻗﺮاءات ٔﺣﺮف اﳌﺼﺤﻒ اﻟﻜﺮﱘ وﺗﻌﺪدﻫﺎ ﰒ ﺳ ﺸﺘﻐﻞ ﲆ ﲢﺪﯾﺪ ﻣﺎ ﯾﱰﺗﺐ ﲆ ﲻﻠﯿﺔ‬
‫اﻟﺮﺑﻂ ﺑﲔ ﻫﺬ ﻦ ا ﺎﻟﲔ ﻣﻦ رؤﯾﺔ ﺪﯾﺪة ﻟﻬﺬﻩ اﳌﺴ ٔ ‪ .‬إن ﺗ اﻻٕﺷﺎرات اﳉﻐﺮاﻓ ﺔ ﺳﺘﻜﻮن ﳎﺎل ﲝﺚ ٓن وا ا ي ﺳ ﺴﺎ ﺪ ﻣﻦ ﺔ ﲆ اﻟﻘ ﺎم ﲟﺎ ﺴﻤﯿﻪ ٔﻫﻞ‬
‫اﳉﻐﺮاﻓ ﺔ ﺑـ )‪ٔ (Géolocalisation‬ي اﻟﻮﰟ اﳉﻐﺮاﰲ ا ي ﺳﲑﺑﻂ ﺑﲔ ﲻﻠﯿﺔ ﺗ ٔﻗﲅ اﻠﻐﺔ ﻣﻊ اﳌﻮاﻗﻊ اﳉﻐﺮاﻓ ﺔ واﻟﺜﻘﺎﻓ ﺔ و ﺟ ﻋﯿﺔ اﻟﱵ ﳛ ّﻞ ﲠﺎ ﻫﺬا اﻟﻨﺺ وﻟ ﺲ‬
‫اﻟﻌﻜﺲ‪ٔ .‬ﻣﺎ اﻟﻮﰟ اﻠﻐﻮي وا ي ﺳﯿﻘﻊ ﲢﺪﯾﺪﻩ ﲆ ﺎﺗﻖ ﺳﻔ ﺎن اﻟﻜﺮﺟﻮﺳﲇ ﻓﺎٕﻧﻪ ﺳﯿﺠﻌﻠﻨﺎ ﻧﻠﻤﺲ ٔ ﺪ ﻣﻌﺠﺰات ﻟﻐﺔ ﺧﻄﺎب اﳌﺼﺤﻒ اﻟﻜﺮﱘ ﱪ ﻟﻐﺔ ّ‬
‫ﺗﺘﻄﺒﻊ ﺑﻄﺎﺑﻊ‬
‫ٔﻫﻞ اﻟﺒﻼد اﻟﱵ ﲢ ّﻞ ﲠﺎ و ٔﺣ ﺎ ً ﺗﺘ ﺬر ﻣﻊ ﻓﻜﺮ وﻧ َ ْﻔﺲ اﻟﻘﺎرئ واﳌﺴ ﳣﻊ ﲝﯿﺚ ﺗﺪﻓﻊ ﺑﻪ وﺸﲁ ﲑ ﻣ ﺎﴍ إﱃ ﻓﻬﻢ ٓﺧﺮ ﻟﻬﺬا اﳌﺼﺤﻒ اﻟﻜﺮﱘ‪ .‬إن ﻫﺬﻩ اﻠﯿﻮﻧﺔ اﻠﻐﻮﯾﺔ‬
‫اﻟﱵ ّﲤﲒ ﲠﺎ اﻟﻨﺺ اﻟﻘﺮ ٓﱐ ﻻ ﻣ ﯿ َﻞ ﻟﻬﺎ ﰲ ٔي ﺣﻀﺎرة ٔﺧﺮى وﺑﻘ ﺖ ﲆ ّﻣﺮ اﻟﻌﺼﻮر ﺣﻜﺮ ًا ﲆ اﳊﻀﺎرة اﻟﻌﺮﺑﯿﺔ اﻻٕﺳﻼﻣ ﺔ‪ .‬إن ﺗﻌﺪدﯾﺔ ﻫﺬﻩ ا ٔﺣﺮف وﺗ اﻟﻘﺮاءات‬
‫ﻣﺴ ٔ ذات ﺪ ﻦ ﻓﻬﻲ ﻧﻌﻤﺔ وﻧﻘﻤﺔ ﺑ ٓن ﻣﻌ ًﺎ وﻃﺮﯾﻘ ﻨﺎ ﰲ اﻟﺘﻌﺎﻣﻞ ﻣﻌﻬﺎ ﺎﻟﺒ ًﺎ ﻣﺎ ﺗﻌﻜﺲ ﻣﺴﺘﻮى ﺗﻌﺎﻣﻠﻨﺎ ﻣﻊ ﻫﺬا اﻻٕرث اﳌﺘﻌﺪد ﳑّﺎ ﻗﺴﻢ اﳌﺴﻠﻤﲔ‪ ،‬ﺑﲔ ﺷﯿﻌﺔ وﺳﻨﺔ‪،‬‬
‫ﰠ ﻫﺬﻩ ا ٔﺣﺮف ٔو ﻣﺎ ﻫﻮ ٔﻓﻀﻞ ﻫﺬﻩ اﻟﻘﺮاءات‪ٕ .‬اﻧ ّﻨﺎ ﻟﻦ ﻧﺪ ﻞ ﰲ ﻫﺬا اﳉﺪل ا ﯾﲏ ﰲ ﲝﺜﻨﺎ ﻫﺬا وﻛﲈ ٔﻧﻨﺎ ﻟﻦ ﺮى ﱪ ﺗﻨﻮع ﻣﻮاﻗﻒ اﳌﺴﻠﻤﲔ دﻟﯿ ًﻼ‬ ‫ﺣﻮل ﻣﺎ ﻫﻮ ٔ ّ‬
‫ّ‬ ‫ّ‬
‫ﲆ اﻧﻘﺴﺎ ﻢ ﺑﻞ إن ﻫﺬا ا ٔﻣﺮ ﻻ ﯾﺪل إﻻ ﲆ ﺗﻌﺪدﯾﺔ ﻓﻜﺮﱒ وﻏﻨﺎﻩ‪ .‬إن ﻫﺬﻩ اﻟﺘﻌﺪدﯾﺔ ﰲ ا ٔﺣﺮف واﻟﻘﺮاءات واﻟﺘﻼوات ﻟﻬﺬا اﳌﺼﺤﻒ اﻟﻜﺮﱘ ﻟ ﺴﺖ ﻟ ﺴﺒﺔ ﻟﻨﺎ‬
‫ا ّٕﻻ ﻋﺒﺎرة ﻋﻦ ﻣﺮ ٓة ﺗﻌﻜﺲ ﻓﻜﺮ اﻟﺸﻌﻮب اﻟﱵ ﺮدد ﻧﺼﻮص ﻫﺬا اﳌﺼﺤﻒ اﻟﻜﺮﱘ ورو ﺎ وﻫﻮﳤﺎ‪ .‬ﳁﺤﻮر اﻫ ﻣ ﺎ ﻫﻮ ﻫﺬﻩ اﻠﯿﻮﻧﺔ اﻠﻐﻮﯾﺔ اﻟﱵ ﻗﺪ ﺑﺪ ٔت ﺗﻌﺎﱐ ﰲ‬
‫زﻣﺎﻧﻨﺎ ﻣﻦ ﻣﺮض ٔﺻﺎﲠﺎ ٔﻻ وﻫﻮ ﻣﺮض اﻟﺘﻘﻮﻗﻊ واﻟﺘﳫﺲ و ﻜﲈش اﻠﻐﻮي‪ .‬ﻓﻌﴫ اﳊﺎﴐ وﲢﺖ ﺿﻐﻂ اﻟﻌﻮﳌﺔ ٔﻧ ﺖ ﺣﺮﻓ ًﺎ وا ﺪ ًا وﻗﺮاءة وا ﺪة ﻻ ﺑﻞ وﻓﻬﲈً وا ﺪاً‬
‫ﻟﻬﺬا اﳌﺼﺤﻒ اﻟﻜﺮﱘ‪ .‬إن ﻫﺬا اﻟﺸﲁ ﻠﻌﻮﳌﺔ ﯾﺒﻌﺪ ﻋﻦ اﻟﱰاث ا ﯾﲏ واﻠﻐﻮي اﳌﺘﻌﺪد وﯾُﻠﻐﻲ ﺪﻟﯿﺔ اﻠﯿﻮﻧﺔ اﻠﻐﻮﯾﺔ وﺗﻌﺪدﯾﺔ ٔﺣﺮف وﻗﺮاءات ﻫﺬا اﳌﺼﺤﻒ اﻟﻜﺮﱘ‬
‫اﻠﺘﲔ وٕان اﺧ ﻠﻄﺘﺎ ٔﺣ ﺎ ً ا ّٕﻻ ٔﳖﲈ ﯾﻌﱪان ﻣﻌ ًﺎ ﻋﻦ ﻣﺴ ٔ اﳉﺪل اﻟﺼﺎ ﺪ واﻟﻬﺎﺑﻂ اﻟﱵ ﻃﺎﳌﺎ ﻋﺮﻓﻬﺎ اﻟﻔﻜﺮ اﻻٕﺳﻼﱊ‪.‬‬
‫‪١٦‬‬
‫ﻣﻦ ﺟﻐﺮاﻓ ﺎ اﻠﻐﺎت إﱃ ﻟﻐﺔ اﻟﺴ ﺎر)ا ٔﻧﱰ ت(‬

‫د‪ .‬ﺑﻮزﯾﺪي ﺑﻮﻜﺮ و د‪ .‬زﺑﲑي ﻋﺒﺪ اﻟﺮزاق‪،‬‬
‫ﺎﻣﻌﺔﺳﻄﯿﻒ ‪ ٢‬و ﺎﻣﻌﺔ اﳌﺴﯿ ‪ ،‬اﳉﺰا ﺮ‬
‫إن ﺟﻐﺮاﻓ ﺔ اﻠﻐﺔ ﻣﻦ ﻼل اﻻٕﻣﲀﻧﯿﺎت اﻟﱵ ﺗﻮﻓﺮﻫﺎ ﻻ ﺴﻠﻂ اﻟﻀﻮء ﻓﻘﻂ ﲆ اﻟﻌﻼﻣﺔ اﳌﻮﺟﻮدة ﺑﲔ اﻠﻐﺔ واﳉﻐﺮاﻓ ﺎ‪ ،‬وﻟﻜﻦ ﻜﺸﻒ ﻠﯿﺎ ﺗﺼﻮر وﻧﻈﺮة ﻠﻌﺎﱂ‪ .‬ﻧﻘﺼﺪ‬
‫ﲠﺎ ا ٔ ﺮ اﶈﲇ ا ي ﯾﻠﺘﺼﻖ ﻟ م ﻣﻊ إﻣﲀﻧﯿﺔ إﻋﻄﺎء ﺑﺪﻗﺔ‪ ،‬ﻓﻜﺮة ﻋﻦ اﻠﻐﺎت ) ﻋﺘﺒﺎرﻫﺎ ﺮا ﳏﻠﯿﺎ(‪ ،‬وﺣﱴ ﻋﻦ ﻣﺴﺘﻘ ﻠﻬﺎ‪ ،‬اﳌﺴ ﺘﻘ ﻞ ا ي ﺸﻐﻞ وﯾﺆرق ر ﻞ‬
‫اﻟﺴﯿﺎﺳﺔ واﻠﻐﻮي وﺣﱴ اﳌﻮاﻃﻦ اﻟﻌﺎدي‪ٔ .‬ﻟﺴﻨﺎ ﳓﻦ اﻟﯿﻮم ﰲ ﻣﺮ "ﻣﻀﻄﺮﺑﺔ وﻣﻘﻠﻘﺔ" ﻣﻊ ﻇﻬﻮر ﳎﺎل ﻟﻐﻮي ﺪﯾﺪ ﲢﻤ وﺗﻐﺬﯾﻪ ا ٔﻧﱰ ت ﻣﻦ ﻼل ﺛﻮرة‬
‫اﻟﺘﻘ ﯿﺎت اﳉﺪﯾﺪة ﻟ ٕﻼ ﻼم واﻻﺗﺼﺎل ‪ NTIC‬؟ إن ا ٔﻧﱰ ت ﺣﻮﻟﺖ ا ﳣﻌﺎت واﻠﻐﺎت‪ .‬ﲨﯿﻊ اﻠﻐﺎت اﻛ ُﺴﺤﺖ ﰲ ٓن وا ﺪ‪ ،‬وﺗﺘﻌﺮض ﻟﺴﯿﻮل ﻣﻦ ﻣﻔﺮدات ﺎﱂ‬
‫ا ٔﻧﱰ ت‪ .‬اﻟﺴﯿﻞ ا ي ﳚﱪ ﲆ ﻣﺮاﺟﻌﺔ اﳌﺴﺎ ﺎت اﻠﻐﻮﯾﺔ وﳚﺮف ﰻ ﻣﺎﳚﺪ ﰲ ﻃﺮﯾﻘﻪ ﻣﻦ ﺑﺪﳞﯿﺎت و ﺗﺼﻮرات وﻛﺬ ﺮﺳﺎ ت ﻗﺎﻧﻮﻧﯿﺔ ﻣﻔﱰض ٔن ﲢﻤﻲ‬
‫اﻠﻐﺔ واﻟﺜﻘﺎﻓﺔ‪ .‬وﻟﻜﻦ ﻣﺎ اﻟﻌﻤﻞ؟ اﳊﺪود اﻟﺘﻘﻠﯿﺪﯾﺔ ﺴﻘﻂ ٔﻣﺎم اﳉﻐﺮاﻓ ﺎ ﻓﱰاﺿﯿﺔ اﳉﺪﯾﺪة )ﻏﻮﻧﺪوا اﻓﱰاﴈ‪ :‬ﺎﱂ اﻟﺴ ﺎر( ‪ٔ ،‬ﻟ ﺴﺖ ﻫﺎﺗﻪ ا ٔ ﲑة ﰲ ﺎ إﻛ ل‬
‫ﲢﺖ ٔ ﲔ اﶺﯿﻊ؟ اﳉﻐﺮاﻓ ﺎ ﱔ ﻣﻦ ا ٓن ﻓﺼﺎ ﺪا ﻓﻀﺎء اﻟﻜﱰوﱐ‪ .‬اﳉﻐﺮاﻓ ﺎ اﻠﻐﻮﯾﺔ ﱔ ٔﯾﻀﺎ ﻣﻦ ا ٓن ﻓﺼﺎ ﺪا "ﺳ ﺎر ﻟﻐﺔ" ٔو ﻗﻞ إن ﺷ ﺖ ا ﻠﺴﺎﻧﯿﺎت اﻻٕﻟﻜﱰوﻧﯿﺔ‪.‬‬
‫إذن‪ ،‬ﯿﻒ ﺴﺘﻄﯿﻊ اﻟﺮﳃﻨﺔ ﲢﺮﯾﻚ ‪-‬ﰲ اﻟﻮﻗﺖ ﻧﻔﺴﻪ‪ -‬اﳊﺪود اﻟﻄﺒﯿﻌﯿﺔ )اﻟﺘﻘﻠﯿﺪﯾﺔ( وا ٔﻓﺎق اﻠﻐﻮﯾﺔ‪ ،‬وﺧﺼﻮﺻﺎ اﳌﻔﺮدات اﳉﻐﺮاﻓ ﺔ )اﳌﻔﺮدات اﶈﻠﯿﺔ اﶈﺪدة ﺟﻐﺮاﻓ ﺎ‬
‫(؟ ﻫﻞ ٕﻣﲀﻧﻨﺎ ﻣﻮاﺻ اﻟﺘ ﺪث ﻋﻦ ﺟﻐﺮاﻓ ﺎ اﻠﻐﺎت ﰷﺧ ﺼﺎص ﻣﺮﺗﺒﻂ ﲟ ﺎل ﺟﻐﺮاﰲ رﲰﺘﻪ اﻟﺘﻀﺎرﺲ وا ٕﻻ ﺴﺎن؟ إﻧﻨﺎ ﻻ ﺴﳤﺪف ٕا ﺎﺑﺔ ﺷﺎﻣ ‪،‬وﻟﻜﻦ ﺴﻌﻰ‬
‫ﺑ ﺴﺎﻃﺔ ﻟﺮﰟ ﻣﺴﺎرات ﰲ ﳎﺎل ﲅ اﻠﻐﺔ اﳉﻐﺮاﰲ و ﲅ اﻻٕﺟ ع اﻠﻐﻮي واﻠﺴﺎﻧﯿﺎت اﻻٕﻟﻜﱰوﻧﯿﺔ )‪(cyber linguistique‬ﺑﺪون ﲡﺎﻫﻞ ردود ا ٔﻓﻌﺎل )اﻟﺴﯿﺎﺳﺎت‬
‫اﻠﻐﻮﯾﺔ اﶵﺎﺋﯿﺔ( اﻟﱵ ﺗﺜﲑﻫﺎ‪ ،‬وﻛﺬا اﻟﻌﻮاﻗﺐ اﳌﺮﺗﺒﻄﺔ ﲠﺎ )اﻛ ﺴﺎح اﻻٕﳒﻠﲒﯾﺔ ﻠﻌﺎﱂ وﲥﺪﯾﺪ ا ٔﻗﻠﯿﺎت اﻠﻐﻮﯾﺔ‪ ،‬ﺳﺘﻐﻮال اﻠﻐﻮي واﻟﺘﻮ ﺪ اﻟﺜﻘﺎﰲ و ٔ ﺎدﯾﺔ اﻟﻔﻜﺮ‪(...‬‬
‫اﻟﱵ ﺗﻨﺠﺮ ﲆ ٕا ﺮﻫﺎ‪.‬‬
‫ا ﰷء اﻠﻐﻮي ى ﺗﻼﻣ ﺬ اﻟﺼﻒ ا ٔول ﺑﺘﺪاﰄ ﻣﻦ اﳌﻠﺘﺤﻘﲔ و ﲑ اﳌﻠﺘﺤﻘﲔ ﺮ ض ا ٔﻃﻔﺎل‬

‫د‪ .‬اﳝﺎن ﻋﺒﺎس ﲇ ﺣﺴﻦ اﳋﻔﺎف و د‪ .‬ﻣﺎزن ﺣﺴﻦ ﺎﰟ اﳊﺴﲏ‪،‬‬
‫اﳉﺎﻣﻌﺔ اﳌﺴ ﴫﯾﺔ و ﺎﻣﻌﺔ واﺳﻂ‪ ،‬اﻟﻌﺮاق‬
‫ا ﰷء اﻠﻐﻮي ﻣﻦ اﳌﻔﺎﻫﲓ اﳊﺪﯾﺜﺔ ﰲ ﻣ ﺪان اﻟﻌﻠﻮم اﻟﻨﻔﺴﯿﺔ اﻟﱵ اﺳﺘ ٔ ﺮت ﻫ م ﻠﲈء اﻟﻨﻔﺲ ﰲ اﻟﺴﻨﻮات ا ٔ ﲑة ﳁﻔﻬﻮم ا ﰷء ا ﻠﻐﻮي ﻫﻮ ا ﺪ اﳌﺼﺎدر ا ٔﺳﺎﺳﯿﺔ‬
‫اﻟﱵ ﯾﻌﳣﺪ ﻠﳱﺎ اﻟﻔﺮد ﰲ ﺗﻔﺴﲑ ﻣﺎ ﯾﻮا ﻪ اﻟﻔﺮد ﻣﻦ ﻣﻮاﻗﻒ‪ .‬ﺴﳤﺪف اﻟﺒﺤﺚ اﳊﺎﱄ إﱃ اﳌﻘﺎرﻧﺔ ﰲ ا ﰷء اﻠﻐﻮي ﺑﲔ ﺗﻼﻣ ﺬ اﻟﺼﻒ ا ٔول ﺑﺘﺪاﰄ ﻣﻦ ا ٔﻃﻔﺎل‬
‫اﳌﻠﺘﺤﻘﲔ و ﲑ اﳌﻠﺘﺤﻘﲔ ﺮ ض ا ٔﻃﻔﺎل وﻟﺘﺤﻘ ﻖ ﻫﺬا اﻟﻬﺪف وﺿﻊ اﻟﺒﺎﺣ ﺎن اﻟﻔﺮﺿﯿﺎت اﻟﺼﻔﺮﯾﺔ ا ٓﺗﯿﺔ‪:‬‬
‫‪-‬ﻻ ﯾﻮ ﺪ ﻓﺮق ذا دﻻ إﺣﺼﺎﺋﯿﺔ ﺑﲔ ﻣ ﻮﺳﻂ در ﺎت ا ﰷء اﻠﻐﻮي ى ﺗﻼﻣ ﺬ اﻟﺼﻒ ا ٔول ﺑﺘﺪاﰄ اﳌﻠﺘﺤﻘﲔ و ﲑ اﳌﻠﺘﺤﻘﲔ ﺮ ض ا ٔﻃﻔﺎل‪.‬‬
‫‪-‬ﻻ ﯾﻮ ﺪ ﻓﺮق ذا دﻻ إﺣﺼﺎﺋﯿﺔ ﺑﲔ ﻣ ﻮﺳﻂ در ﺎت ا ﰷء اﻠﻐﻮي ى ﺗﻼﻣ ﺬ اﻟﺼﻒ ا ٔول ﺑﺘﺪاﰄ‪ /‬اﳌﻠﺘﺤﻘﲔ ﺮ ض ا ٔﻃﻔﺎل وﻓﻘﺎ ﳌﺘﻐﲑ اﳉ ﺲ‪.‬‬
‫‪-‬ﻻ ﯾﻮ ﺪ ﻓﺮق ذا دﻻ إﺣﺼﺎﺋﯿﺔ ﺑﲔ ﻣ ﻮﺳﻂ در ﺎت ا ﰷء اﻠﻐﻮي ى ﺗﻼﻣ ﺬ اﻟﺼﻒ ا ٔول ﺑﺘﺪاﰄ ﲑ اﳌﻠﺘﺤﻘﲔ ﺮ ض ا ٔﻃﻔﺎل وﻓﻘﺎ ﳌﺘﻐﲑ اﳉ ﺲ‪.‬‬
‫ﻜﻮن ﳎﳣﻊ اﻟﺒﺤﺚ ﻣﻦ ﺗﻼﻣ ﺬ اﻟﺼﻒ ا ٔول ﺑﺘﺪاﰄ اﳌﻠﺘﺤﻘﲔ و ﲑ اﳌﻠﺘﺤﻘﲔ ﺮ ض ا ٔﻃﻔﺎل ﰲ اﳌﺪارس ﺑﺘﺪاﺋﯿﺔ اﳊﻜﻮﻣ ﺔ اﻟﺘﺎﺑﻌﺔ ﳌﺪ ﺮﯾﺔ ﺮﺑﯿﺔ اﻟﻜﺮخ اﻟﺜﺎﻧﯿﺔ‬
‫ﰲ ﺑﻐﺪاد ﻠﻌﺎم ا راﳼ ‪ ،٢٠١٩/٢٠١٨‬و ٔﻣﺎ ﻋﯿﻨﺔ اﻟﺒﺤﺚ ﻓﻘﺪ ﻜﻮﻧﺖ ﻣﻦ )‪ (٢٠٠‬ﺗﻠﻤﯿﺬا وﺗﻠﻤﯿﺬة وﺑﻮاﻗﻊ )‪ (١٠٠‬ﺗﻠﻤﯿﺬا و ﺗﻠﻤﯿﺬة ﻣﻦ ﺗﻼﻣ ﺬ اﻟﺼﻒ ا ٔول‬
‫ﺑﺘﺪاﰄ اﳌﻠﺘﺤﻘﲔ ﺮ ض ا ٔﻃﻔﺎل‪ ،‬و )‪ (١٠٠‬ﺗﻠﻤﯿﺬا و ﺗﻠﻤﯿﺬة ﻣﻦ ﺗﻼﻣ ﺬ اﻟﺼﻒ ا ٔول ﺑﺘﺪاﰄ ﲑ اﳌﻠﺘﺤﻘﲔ ﺮ ض ا ٔﻃﻔﺎل‪ ،‬وﰎ اﺧ ﯿﺎرﱒ ﻣﻦ )‪ (٥‬ﻣﺪارس‬
‫اﺑﺘﺪاﺋﯿﺔ ﳐﺘﻠﻄﺔ و ﲑ ﳐﺘﻠﻄﺔ‪ ،‬وﻗﺪ اﺳ ﻌﺪ اﻟﺒﺎﺣ ﺎن اﻟﺘﻼﻣ ﺬ اﻟﺮاﺳﺒﲔ ﰲ اﻟﺼﻒ ا ٔول‪ .‬وﻗﺪ اﺳﺘ ﺪم اﻟﺒﺎﺣ ﺎن ﻣﻘ ﺎس ا ﰷء اﻠﻐﻮي اﳌﻌﺪ ﻣﻦ ﻗ ﻞ ) اﳊﯿﺎﱄ‬
‫‪ (٢٠١٠،‬اﳌﻌﺪ ﻠﺒ ﺔ اﻟﻌﺮاﻗ ﺔ وﻟ ٔ ﻃﻔﺎل ﺑﻌﻤﺮ )‪ (٦-٥‬ﺳﻨﻮات‪ ،‬اﳌﺘﻀﻤﻦ )‪ (٧‬ﻓﻘﺮات‪ ،‬وﰎ اﺳﺘﺨﺮاج اﻟﺼﺪق اﻟﻈﺎﻫﺮي ﻣﺆﴍا ﻠﺼﺪق وﰎ اﻟﺘﺤﻘﻖ ﻣﻦ ﺛﺒﺎت‬
‫ﺧ ﺒﺎر ﺑﺘﻄﺒﯿﻘﻪ ﲆ ﻋﯿﻨﺔ اﻟﺜﺒﺎت اﻟﺒﺎﻟﻐﺔ )‪ (٦٠‬ﺗﻠﻤﯿﺬا وﺗﻠﻤﯿﺬة‪ ،‬وان ٔ ﲆ در ﺔ ﳌﻘ ﺎس اﻠﻐﻮي ﱔ )‪ (٧‬در ﺔ واﻗﻞ در ﺔ ﳏﳣ ﱔ )ﺻﻔﺮ( وﻣ ﻮﺳﻂ ا ر ﺎت‬
‫اﻟﻨﻈﺮي ﱔ )‪ (٣٫٥‬وﻟﺘ ﻠﯿﻞ اﻟﻨﺘﺎﰀ إﺣﺼﺎﺋﯿﺎ اﺳﺘ ﺪم ﻣﻌﺎﻣﻞ ارﺗﺒﺎط ﺑﲑﺳﻮن ﻻﺳﺘﺨﺮاج اﻟﺜﺒﺎت ﺑﻄﺮﯾﻘﺔ ٕا ﺎدة ﺧ ﺒﺎر و ﺧ ﺒﺎر اﻟﺘﺎﰄ ‪ t-Test‬ﻟﻌﯿﻨ ﲔ‬
‫ﻣﺴﺘﻘﻠﺘﲔ ﻻﺧ ﺒﺎر دﻻ اﻟﻔﺮوق ﺑﲔ ا ﻮر وا ٕﻻ ث ﻣﻦ اﳌﻠﺘﺤﻘﲔ و ﲑ اﳌﻠﺘﺤﻘﲔ ﺮ ض ا ٔﻃﻔﺎل ﰲ ا ﰷء اﻠﻐﻮي‪ ،‬وﺗﻮﺻﻠﺖ ا راﺳﺔ ٕاﱃ اﻟﻨﺘﺎﰀ ا ٓﺗﯿﺔ‪:‬‬
‫‪-‬ﻻ ﯾﻮ ﺪ ﻓﺮق ذا دﻻ إﺣﺼﺎﺋﯿﺔ ﺑﲔ ﻣ ﻮﺳﻂ در ﺎت ا ﰷء اﻠﻐﻮي ى ﺗﻼﻣ ﺬ اﻟﺼﻒ ا ٔول ﺑﺘﺪاﰄ )ا ﻮر و ث( اﳌﻠﺘﺤﻘﲔ ﺮ ض ا ٔﻃﻔﺎل و ﲑ اﳌﻠﺘﺤﻘﲔ‬
‫ﺮ ض ا ٔﻃﻔﺎل‪.‬‬
‫‪-‬ﻻ ﯾﻮ ﺪ ﻓﺮق ذا دﻻ إﺣﺼﺎﺋﯿﺔ ﺑﲔ ﻣ ﻮﺳﻂ در ﺎت ا ﰷء اﻠﻐﻮي ى ﺗﻼﻣ ﺬ اﻟﺼﻒ ا ٔول ﺑﺘﺪاﰄ )ا ﻮر و ث( اﳌﻠﺘﺤﻘﲔ ﺮ ض ا ٔﻃﻔﺎل‪.‬‬
‫‪-‬ﻻ ﯾﻮ ﺪ ﻓﺮق ذا دﻻ إﺣﺼﺎﺋﯿﺔ ﺑﲔ ﻣ ﻮﺳﻂ در ﺎت اﻠﻐﻮي ى ﺗﻼﻣ ﺬ اﻟﺼﻒ ا ٔول ﺑﺘﺪاﰄ )ا ﻮر و ث( ﲑ اﳌﻠﺘﺤﻘﲔ ﺮ ض ا ٔﻃﻔﺎل‪.‬‬
‫‪١٧‬‬
‫اﻟﺮؤﯾﺔ اﳊﻀﺎرﯾﺔ ﰲ اﳋﻄﺎب اﻟﺸﻌﺮي اﻟﻌﲈﱐ‪ٔ :‬ﺑﻮﻣﺴﲅ ا ﳢﻼﱐ ﳕﻮذ ًﺎ‬

‫د‪ .‬ﺎﻓﻆ ﻦ ٔﲪﺪ ﻦ ﺳﺎﱂ ٔﻣ ﻮﺳﻌﯿﺪي‪،‬‬
‫اﳫﯿﺔ اﻟﺘﻘ ﯿﺔ ﺑﲋوى‪ ،‬ﺳﻠﻄﻨﺔ ﻋﲈن‬
‫ﺗﱰاﰼ اﻟﱰﺳﺎﻧﺔ اﳊﻀﺎرﯾﺔ ﰲ ﻣ ﻈﻮﻣﺔ اﻟﺸﻌﺮ اﻟﻌﺮﰊ ﺮاﻛﲈ ﳚﻌﻞ اﳌﺘﻠﻘﻲ ﰲ ﻗﻠﻖ ﻣﻌﺮﰲ ﲝﱻ ٕازاء ﻣﺎ ﲢﻤ ﻫﺬﻩ اﳌﺼﻄﻠ ﺎت ﻣﻦ اﻧﻌﲀﺳﺎت دﻻﻟﯿﺔ‪ ،‬وﺗﻮﺟﳱﺎت ﻣﻌﻨﻮﯾﺔ‪،‬‬
‫وﻣ ﺒﻊ ذ ٔن اﻟﺘﻜﻮﯾﻨﺎت اﻟﺸﻌﺮﯾﺔ ﲤﺘﺢ ﻣﻦ ﻓﻀﺎءات ٔﯾﺪﯾﻮﻟﻮﺟ ﺔ واﺳﻌﺔ‪ ،‬ﻻ ﺗﺘّﺼﻞ ﲝﻘﻞ دﯾﲏ ٔو ﻗﻮﱊ ٔو ﺛﻘﺎﰲ ﲿﺴﺐ‪ ،‬وﻟﻜﳯﺎ ﻗﺪ ﻜﻮن ﺎﻣﻌﺔ ﲁّ ﻫﺬﻩ اﳌﻨﻈﻮﻣﺎت‬
‫اﳌﻌﺮﻓ ﺔ اﻟﱵ ﻗﺪ ﺗﺘﺠﺴﺪ ﰲ رؤﯾﺔ ﺣﻀﺎرﯾﺔ ﯾﺘ ّﺎﻫﺎ اﻟﺸﺎﻋﺮ‪ .‬ا ّٕن ﻫﺬﻩ اﻟﺘﺪا ﻼت اﳌﺼﻄﻠﺤﯿﺔ اﻟﻨﺎﲡﺔ ﻋﻦ اﻧﻐﲈس اﻟﺸﺎﻋﺮ ﰲ ﲡﺮﺑﺘﻪ اﻟﺸﻌﺮﯾﺔ ﻻ ﺗﺼﻤﺪ ﻛﺜﲑا ٔﻣﺎم اﻟﺮؤﯾﺔ‬
‫اﳌﳯﺠﯿﺔ اﻟﻨﻘﺪﯾﺔ اﻟﻔﺎﺣﺼﺔ‪ ،‬وﻣﻊ ذ ﻓﻼ ﯾﻮ ﺪ إﺟﲈع ٔﰷدﳝﻲ ﻧﻘﺪي ﲡﺎﻩ ﻣﺪوﻧﺔ ﺧﻄﺎﺑﯿﺔ وا ﺪة‪ ،‬وﻟﻌﻞ ﻣﺮ ّد ﻫﺬا ﺎﺋﺪ إﱃ ﻣﻌﺎﱐ اﳌﻌﺎﱐ اﻟﱵ ٔﺷﺎر ٕا ﳱﺎ ﻋﺒﺪ اﻟﻘﺎﻫﺮ‬
‫اﳉﺮ ﺎﱐ‪ ،‬و ٔﻛّﺪ ﻠﳱﺎ روﻻن رت ﰲ إﺷﺎرﺗﻪ إﱃ ٔ ّن اﳌﻌﲎ اﻻٕﳛﺎﰄ ﳝﺜﻞ ﻧﻮ ﺎ ﻣﻦ ﻧﺘﻘﺎل ﻣﻦ اﳌﻌﲎ ا ﻻﱄ ٔو اﻻٕﺷﺎري إﱃ ﻣﻌﲎ دﻻﱄ ﺪﯾﺪ ٓﺧﺮ‪ .‬ﰲ ﻇ ّﻞ ﻫﺬﻩ‬
‫اﻟﺮؤى ﲢﺎول اﻟﻮرﻗﺔ ﲆ ﺗﻠ ّﻤﺲ اﻟﺮؤﯾﺔ اﳊﻀﺎرﯾﺔ ﰲ اﻟﺸﻌﺮ اﻟﻌﲈﱐ ﻣﻦ ﺳ ﻞ اﻟﻮﻟﻮج إﱃ ﺎﱂ ﺷﺎﻋﺮ ﻣﻦ ٔ ﺮز اﻟﺸﻌﺮاء اﻟﻌﲈﻧﯿﲔ‪ ،‬ﻫﻮ ٔﺑﻮ ﻣﺴﲅ اﳢﻼﱐ‪ ،‬وﻟﻌﻞ اﻟﺮؤﯾﺔ‬
‫اﳊﻀﺎرﯾﺔ اﳌﺒﺪﺋﯿﺔ ﳣﺜﻞ ﺎرج اﳋﻄﺎب ﲟﻌﺮﻓﺔ ﺧﴬﻣﺔ ٔﰊ ﻣﺴﲅ ﺑﲔ ﻣﲀﻧﯿﲔ ﺣﻀﺎرﯾﲔ ﻫﲈ ﻋﲈن وزﳒﺒﺎر‪ ،‬وﻫﻮ ﻣﺎ ﯾﻌﻄﻰ ﻣﻠﻤ ﺎ إﺿﺎﻓ ﺎ ﰲ ﻣﲒان اﳋﻄﺎب اﻟﺸﻌﺮي‬
‫اﳊﻀﺎري‪ .‬إن ﺻﻨﺎ ﺔ ا ﻻ اﳋﻄﺎﺑﯿﺔ ﻻ ﺗﻌﺘﺪ ﲜﻔﺎف اﳌﺼﻄﻠﺢ وﻧﻀﻮب ﻣ ﺘﺎﻟﯿﺎﺗﻪ اﳌﻌﻨﻮﯾﺔ‪ ،‬وﻫﻨﺎ ﳬﻦ اﻟﻘﳰﺔ اﻟﱵ ﯾﻀﯿﻔﻬﺎ اﻟﻨﻘﺪ ﻠﺸّ ﻌﺮ‪ ،‬و ﺴﺒﻐﻬﺎ اﻟﺸﻌﺮ ﲆ اﻟﻨﻘﺪ‪،‬‬
‫ﯾﻌﱪ ﻋﻦ رؤﯾﺔ ﯾﺘ ّﺎﻫﺎ ﲡﺎﻩ اﳌﻨﺠﺰ اﻟ ﴩي ا ي ﳛﯿﻂ‬ ‫وﻫﺬا ﰲ ﻇﻞ ﻟﻮث اﻟﺮ اﻟﺸﻌﺮﯾﺔ ﻣﻦ اﳌﻨﺘﺞ إﱃ اﳋﻄﺎب إﱃ اﳌﺘﻠﻘّﻲ‪ ،‬ﻓﺎﳢﻼﱐ ﰲ ﻣﺴﺘﻮى اﻟﻨﻈﻢ اﻟﺸﻌﺮي ّ‬
‫ﺑﻪ‪ ،‬وﳛ ّﻤﻞ ﻫﺬﻩ اﻟﺮؤﯾﺔ ﰲ ﺧﻄﺎب ﺮﺳ إﱃ اﳌﺘﻠﻘّﻲ ا ي ﳛﺎول ﺗﻘ ّﻤﺺ ا ور ا ﻗ ﻖ ﰲ اﻟﺘ ٔوﯾﻞ‪.‬‬
‫ﯾﻘﻮل ٔﺑﻮ ﻣﺴﲅ‪:‬‬
‫ﻣ ﻞ اﻠﻘﺎ ٔو ﻏﺮﺿﺎ ﳌﻦ رﱉ‬ ‫ٔﻟ ﺲ ﺎرا ٔن ﻧﻌ ﺶ ٔﻣﺔ‬
‫ﻟﻼﺗﺼﺎل ﲟﺘﻠﻔﻆ ﳍﻢ ﻻ‬ ‫ّ‬ ‫ا ّٕن ﻫﺬﻩ اﻟﺒ ﺖ ﰲ و ﺪﺗﻪ اﻟﺼﻐﲑة اﳌﻨﻔﺮد ﯾﻔ ﺢ ﻣﻌﺎن ﻻ ّﺪ ﻟﻬﺎ ﻣﻦ اﳌﻌﻄﯿﺎت اﳊﻀﺎرﯾﺔ اﻟﱵ ﺗﺘ ﺎوز اﻠﺤﻈﺔ اﳊﯿ ّﺔ اﻟﺘﻠﻔﻈﯿﺔ ﻟﺘﻜﻮن ﻗﺎﺑ‬
‫ﲢﺪّ ﱒ ﺧﻄﻮط زﻣ ﯿﺔ وﻻ ٔﻃﺮ ﻣﲀﻧ ّﯿﺔ‪ ،‬ﻓﻼ ﯾﻘ ﻞ اﻟﻌﺎر ﻓﺮد وﻻ ﺟﲈ ﺔ‪ ،‬وﻫﺬا ﻋﻘﺪ ﺣﻀﺎري ﰲ اﻟﺴﺒﻞ اﻟﱵ ﺗﺒﻌﺪ اﻟﻔﺮد وا ٔﻣﺔ ﻋﻦ ﻫﺬﻩ اﻟﺜﻠﻤﺔ‪ .‬إن اﻟﺼﻮرة اﻟﺒﯿﺎﻧﯿﺔ ﰲ‬
‫اﻟﺴﺎﺑﻖ ﻋﻨﺪﻣﺎ ﲡﻌﻞ ﻗﳰﺔ اﻟﻔﺮد ا ي ﺮﺗﴤ اﻟﻌﺎر ﲆ اﻟﻬﺎﻣﺶ اﳊﻀﺎري‪ ،‬ﻓﺎ ﻠّﻘﺎ ﻻ ﺴﺎوي ﻋﻨﺪ اﻟﻔﺮد ذاﺗﻪ ﻗﳰﺔ ﻣﺎدﯾﺔ ٔو ﻣﻌﻨﻮﯾﺔ‪ ،‬واﻟﻐﺮرض‬ ‫ﻜﺮس ﺑﺆرة اﳌﻌﲎ ّ‬ ‫اﻟﺒ ﺖ ّ‬
‫ﻟﻘ‬ ‫ّ‬
‫ا ي ﺎء ﰲ اﻟﺒ ﺖ ﻣ ﻜﺮا ﻣﻊ اﻣ ﺪاد اﻟﻨﻜﺮة ﻟﻌﻤﻮم ا ٔﻓﺮاد ﯾﺼﻒ ٔﻗﻞ در ﺎت ا وﻧﯿﺔ ﳰﺔ اﻟﴚء‪ .‬إن اﻟﺘﻌﺎﺿﺪ ﺑﲔ اﻟﺒﲎ اﳋﻄﺎﺑﯿﺔ اﻟﺸﻌﺮﯾﺔ ﯾﻔﴤ إﱃ ﻧﺘﺎﰀ ﺗ ٔوﯾﻠﯿﺔ‬
‫ذات اﳓﺮاف ﻣﻌﻨﻮي دا ّل ﲆ ﻣﺪى وﺟﻮد اﻟﻘﲓ اﳊﻀﺎرﯾﺔ ﰲ اﳋﻄﺎب اﻟﺸﻌﺮي‪ .‬وﻫﺬا ﻣﺎ ﲢﺎول اﻟﻮرﻗﺔ اﻟﻮﻗﻮف ﻠﯿﻪ ﻣﻦ ﻼل اﻟﻮﻇﺎﺋﻒ اﳋﻄﺎﺑﯿﺔ اﳌﺘ ٔﺗ ّﯿﺔ ﻣﻦ‬
‫اﻟﱰﯿﺒﺎت اﻟﻨﻈﻤﯿّﺔ ﰲ اﳋﻄﺎب اﻟﺸﻌﺮي‪.‬‬
‫ا ٔدب اﻟﺮﳃﻲ ﺑﲔ ﺗﺪا ﻞ ا ٔﺷﲀل وارﺗﺒﺎك اﳌﻔﺎﻫﲓ‬

‫ﻋﻔﺎف اﻟﺸ ﻮي‪،‬‬
‫ﳇﯿﺔ ا ٓداب واﻟﻔ ﻮن وا ٕﻻ ﺴﺎﻧ ّﯿﺎت ﻣ ﻮﺑﺔ‪ ،‬ﺗﻮﺲ‬
‫اﻟﻔﲏ إﱃ ﺗﻮﻟﯿﺪ ٔﺷﲀل ﻓ ّﯿﺔ‪ ،‬رﻛّﺰت ٔﳕﺎﻃﺎ ﺗﻌﺒﲑﯾﺔ ﺪﯾﺪة‪ ،‬ﻓﺸﳫﺖ‬ ‫ﻻ ﺗﻌﺪّ اﻟﺜﻮرة اﻟﺮﳃ ّﯿﺔ ﺛﻮرة ﻠﻤ ّﯿﺔ ﲿﺴﺐ ﺑﻞ ﺛﻮرة ﻓ ّﯿﺔ ﻛﺬ ‪ ،‬إذ ٔدّى اﻟﺘﻘﺎﻃﻊ ﺑﲔ اﻟﺘﻘﲏ و ّ‬
‫ﺑﺬ ‪ ،‬ﲡﺎوزا ﻠﻔ ﻮن اﻟﺘﻘﻠﯿﺪﯾﺔ واﺳﺘﻔﺰازا ﻟ اﺋﻘﺔ اﻟﻔ ّﯿﺔ وا ﱰاﻗﺎ ﻠﻤﻌﺎﯾﲑ اﻟﱵ د ٔﺑﻨﺎ ﲆ اﻋ دﻫﺎ ﻟﻀﺒﻂ ﻫﻮﯾّﺔ ا ٔﻋﲈل اﻻٕﺑﺪاﻋ ّﯿﺔ‪ .‬وﺗﺒﺪو ﻫﺬﻩ اﳌﺴ ٔ ﺷﺪﯾﺪة اﻟﺘﻌﻘ ﺪ‬
‫اﻟﻨﺺ ﺻﻮرة ﺑﴫﯾّﺔ ﻣ ّ‬
‫ﺤﺮﻛﺔ‪ ،‬وٕاذا اﳌﺘﻘ ّﻞ ﯾﱰدّد ﺑﲔ اﻟﻘﺎرئ‬ ‫اﻟﻨﺺ اﳌﻜ ﻮب اﻟ ّﺼﻮت وا ﻠّﻮن واﳊﺮﻛﺔ‪ ،‬ﻓﺎٕذا ّ‬ ‫ﰲ اﺗ ّﺼﺎﻟﻬﺎ ٔدب ا ي ﺗﻌ ّﺪ ا ﻠّﻐﺔ ﻗﻮاﻣﻪ‪ ،‬ﺣ ﺚ ﳚﺎور ّ‬
‫ﯾﻮﻇﻒ وﺳﺎﺋﻂ ﻣ ﻌﺪّدة ﻣﻦ ﻗ ﯿﻞ اﻟﺼﻮت واﻟﺼﻮرة واﳊﺮﻛﺔ إﱃ ﺎﻧﺐ اﻠﻐﺔ وﯾﻘﱰح ﻠﯿﻨﺎ ﺷﻌﺮا رﳃﯿﺎ ٔو ّﻗﺼﺔ رﳃﯿﺔ ٔو‬ ‫اﳌﺘﻔﺮج واﳌﺘﺼﻔﺢ‪ .‬ﻓﻜ ﻒ ﳝﻜﻦ ٔن ﳓﺎور ٔد ّ‬ ‫و ّ‬
‫رواﯾﺔ رﳃﯿﺔ؟ ا ّٕن ا ٔﻣﺮ ﻣ ﻌﻠﻖ ﲜﲈﻟﯿّﺎت ﺪﯾﺪة ﺴﺘﻔﺰ اﻟﺒﺎﺣﺚ وﺗﻄﺮح إﺷﲀﻻت ﻻ ﳛﴡ ﻟﻬﺎ ﺪّ ‪ .‬ﻟﻬﺬا ﺮوم ﻫﺬﻩ اﳌﻘﺎرﺑﺔ ﺗ ﺎن ٔﺳﺲ ﻫﺬﻩ اﶺﺎﻟﯿّﺎت اﳉﺪﯾﺪة‬
‫اﻟﻨﺺ ا ٔدﰊ وﺗ ّﻊ ﻼﻗﺔ ﻫﺬﻩ ا ٔﺷﲀل‬ ‫وﺗﻔﻜ ﻜﻬﺎ ﻣﻦ ﺔ وٕا رة اﻻٕﺷﲀﻻت اﻟﻨﺎﺷﺌﺔ ﻋﳯﺎ ﻣﻦ ﺔ ٔﺧﺮى ﻣﻦ ﻼل ﺗﺪ ّﺮ ﺪد ﻣﻦ اﳌﻔﺎﻫﲓ ﳈﻔﻬﻮم ا ٔدﺑﯿﺔ وﻣﻔﻬﻮم ّ‬
‫اﻟﺒﺎث واﳌﺘﻘ ﻞ ا ﻠّﺘﲔ ﺗﻘﱰ ﲈ‪ ،‬ﻋﴗ ٔن ﳝﻜّ ﻨﺎ ﺗﺪ ٍ ّﺮ اﳉﻮاﻧﺐ اﳌﺬ ﻮرة ﻣﻦ إﻧﻌﺎم اﻟﻨﻈﺮ ﰲ‬ ‫ا ٔدﺑﯿّﺔ ّاﻟﺮﳃﯿﺔ ٔﺟ ﺎس ا ٔدﺑﯿّﺔ اﻟﺘﻘﻠﯿﺪﯾّﺔ‪ ،‬ﻫﯿﻚ ﻋﻦ اﻟﻨﻈﺮ ﰲ ﺻﻮرﰐ ّ‬
‫ﺗﻔﺾ إﺷﲀﻻﺗﻪ‪.‬‬ ‫ﻫﺬا ا ٔدب ا ي ﻏﺰا اﻟﺴﺎ ﺔ اﻻٕﺑﺪاﻋﯿﺔ ﰲ اﻟﻌﻘﻮد ا ٔ ﲑة وﱂ ﳛﻆ ﺑﺪراﺳﺎت ﻧﻘﺪﯾ ّﺔ ﻣﻌﺘﱪة ّ‬
‫ﺗﺘﻄﺮق إﱃ ﺟﲈﻟﯿّﺎﺗﻪ و ّ‬
‫‪١٨‬‬
‫ﺗﻘﺴﲓ ﻠﻮم اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﻋﻨﺪ ﻃﺎﺷﻜﱪى زادة‬

‫د‪ .‬ﻫﺪ ﶊﺪ ﺴﯿﻮﱐ ﺳﺎﱂ و د‪ .‬ﺻﺒﺎح ٔﲪﺪ ﻋﺒﺪ اﻟﻮﻫﺎب اﻟﺴﻠ ن‪،‬‬
‫ﺎﻣﻌﺔ اﻟﺴﻠﻄﺎن ﻗﺎﺑﻮس‪ ،‬ﺳﻠﻄﻨﺔ ﻋﲈن‬
‫ﻫﺪﻓﺖ ا راﺳﺔ إﱃ اﻟﺘﻌﺮف إﱃ ﺗﻘﺴﲓ ﻠﻮم اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ و ٓداﲠﺎ ﰲ ﺧﻄﺔ اﻟﺘﺼﻨﯿﻒ اﻟﱵ وﺿﻌﻬﺎ ﻃﺎﺷﻜﱪى زادة ﰲ ﻛﺘﺎﺑﻪ )ﻣﻔ ﺎح اﻟﺴﻌﺎدة وﻣﺼﺒﺎح اﻟﺴﯿﺎدة(‪.‬‬
‫وﻛﺬ اﻟﺘﻌﺮف إﱃ اﳌﻨﻄﻖ ا ي اﺳ ﺪ إﻟﯿﻪ ﻃﺎﺷﻜﱪى زادة ﰲ ﺗﻘﺴﲓ ﻠﻮم اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ و ٓداﲠﺎ‪ .‬وﻗﺪ اﺗﺒﻌﺖ ا راﺳﺔ اﳌﳯﺞ اﻟﺘ ﻠﯿﲇ اﻟﻮﺻﻔﻲ؛ ﻣﻦ ﻼل ﲢﻠﯿﻞ‬
‫ﺗﻘﺴﲓ ﻠﻮم اﻠﻐﺔ و ٓداﲠﺎ ﰲ ﻛﺘﺎب )ﻣﻔ ﺎح اﻟﺴﻌﺎدة وﻣﺼﺒﺎح اﻟﺴﯿﺎدة( ﻟﻄﺎﺷﻜﱪى زادة؛ وذ ﻠﺘﻌﺮف ﲆ اﳋﺮﯾﻄﺔ اﻟﺘﺼﻨﯿﻔ ﺔ ﻟﻬﺎ‪ ،‬وﻻﺳﺘ ﺎط اﳌﻨﻄﻖ ا ي اﺗﺒﻌﻪ‬
‫ﻃﺎﺷﻜﱪى زادة ﰲ ﺗﻘﺴﲓ ﻠﻮم اﻠﻐﺔ و ٓداﲠﺎ و ﺮﺗ ﳢﺎ‪ .‬ﻟ ٕﻼ ﺎﺑﺔ ﲆ ﺳﺆال اﻟﺒﺤﺚ اﻟﺮﺋ ﴘ‪ :‬ﻣﺎ ﻣ ﻄﻖ ﺗﺼﻨﯿﻒ ﻠﻮم اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ و ٓداﲠﺎ ﰲ ﻛﺘﺎب ﻣﻔ ﺎح اﻟﺴﻌﺎدة‬
‫وﻣﺼﺒﺎح اﻟﺴﯿﺎدة ﻟﻄﺎﺷﻜﱪى زادة؟ وا ي ﺗﻔﺮع إﱃ ٔﺳﺌ ﻓﺮﻋﯿﺔ‪ -١ :‬ﯿﻒ ﻗﺴﻢ ﻃﺎﺷﻜﱪى زادة ﻠﻮم اﻠﻐﺔ و ٓداﲠﺎ وﻣﺎ ﱔ اﳋﺮﯾﻄﺔ اﻟﺘﺼﻨﯿﻔ ﺔ ﻟﻬﺬﻩ اﳌﻮﺿﻮ ﺎت؟‪،‬‬
‫‪-٢‬ﻣﺎ اﳌﻨﻄﻖ ا ي اﺗﺒﻌﻪ ﻃﺎﺷﻜﱪى زادة ﰲ ﺗﻘﺴﲓ ﻠﻮم اﻠﻐﺔ و ٓداﲠﺎ و ﺮﺗ ﳢﺎ؟ وﻗﺪ ﺗﻮﺻﻠﺖ ا راﺳﺔ إﱃ ٔن ﺗﻘﺴﲓ ﻃﺎﺷﻜﱪى زادة ﻟﻌﻠﻮم اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﺎء وﻓﻖ‬
‫ﻣ ﻄﻖ ﻣﻌﲔ وﻓﻠﺴﻔﺔ ﳏﺪدة؛ ﱔ اﻋ د اﻟﻌﲅ اﻟﻼﺣﻖ ﲆ اﻟﺴﺎﺑﻖ و ٔن ﻠﻮم اﻠﻐﺔ ﱔ وﺳﺎﺋﻞ ﻠﻌﻠﻮم ا ٔﺧﺮى‪ ،‬و ٔن ﺗﺼﻨﯿﻔﻪ ﻟﻌﻠﻮم اﻠﻐﺔ واﻟﻌﺮﺑﯿﺔ و ٓداﲠﺎ ﯾﻌﺪ ﻣﻦ ٔﻓﻀﻞ‬
‫اﻟﺘﺼﺎﻧﯿﻒ اﻟﻌﺮﺑﯿﺔ اﻻٕﺳﻼﻣ ﺔ‪ .‬وﺗﻮﴆ ا راﺳﺔ ﺑﴬورة إﺟﺮاء ﲝﻮث ﺗ ﺎول ﲢﻠﯿﻞ ﻧﻈﻢ اﻟﺘﺼﻨﯿﻒ اﻟﻌﺮﺑﯿﺔ ﺳﻼﻣ ﺔ اﻟﱵ ٔﻧﺘﺠﳤﺎ اﳊﻀﺎرة اﻟﻌﺮﺑﯿﺔ اﻻٕﺳﻼﻣ ﺔ‪.‬‬
‫اﻟﻜ ﺎﺑﺔ اﻟﺮﳃﯿﺔ ﰲ ا ٔدب اﻟﻌﺮﰊ رواﯾﺔ ﶊﺪ ﺳﻨﺎ "ﻇﻼل اﻟﻌﺎﺷﻖ" ٔﳕﻮذ ًﺎ‬
‫د‪ .‬ﺮﳝﺔ ﺑﻠ ﺎﻣﺴﺔ‪،‬‬
‫ﺎﻣﻌﺔ ﻋﺒﺪ اﻟﺮﺣﲈن ﻣﲑة ﲜﺎﯾﺔ‪ ،‬اﳉﺰا ﺮ‬
‫ﻟﻘﺪ ﻋﺮف اﻟﻨﺺ ا ٔدﰊ ﰲ اﻟﻌﴫ اﻟﺮاﻫﻦ ﺣﺮﻛﺔ اﻧﺘﻘﺎﻟﯿﺔ ﻧﻮﻋﯿﺔ ّﲑت اﳌ ٔﻟﻮف وﺻﻨﻌﺖ اﳉﺪﯾﺪ‪ ،‬وذ ﻋﻨﺪﻣﺎ اﺳﺘﻔﺎد ا ٔدب ﻣﻦ اﻟﺘﻄﻮر اﻟﺘﻜ ﻮﻟﻮ وﻣﻦ اﻟﺜﻮرة‬
‫ﺗﻐﲑت ٔﺷﲀل‬ ‫ﺗﻄﻮر اﻟﻔﻜﺮ اﻟ ﴩي وﺗﻄﻮرت ﻟﯿﺎت ﺗﻔﻜﲑﻩ‪ّ ،‬‬ ‫اﻟﺘﻘ ﯿﺔ اﻟﻜ ﲑة اﻟﱵ ﺷﻬﺪﻫﺎ ﻫﺬا اﻟﻌﺎﱂ‪ ،‬ﻣﻊ ﻇﻬﻮر ﺷﺒﻜﺔ اﻻٕﻧ ﻧﱰ ﺖ وﻣﺎ ٔ ﺪﺛﺘﻪ ﰲ ﺎﱂ اﻻﺗﺼﺎل‪ .‬وﳇﲈ ّ‬
‫ﺗﻌﺒﲑﻩ‪ ،‬وﻣﻦ َ ّﰒ ﺗﻐﲑت إدرﰷﺗﻪ ﻟ ٔ ﺷﯿﺎء واﳊﯿﺎة واﻟﻌﺎﱂ‪ ،‬وﯾﻌﺘﱪ ﰻ اﻧﺘﻘﺎل ﺣﻀﺎري ﲟﺜﺎﺑﺔ اﻧﺘﻘﺎل ﰲ ٔﺳﺌ اﻟﻮاﻗﻊ‪ .‬ﻣﻦ ﻫﺬا اﳌﻨﻄﻠﻖ ﺎءت ﻓﻜﺮة اﻟﺒﺤﺚ ﰲ ﻼﻗﺔ‬
‫اﻟﻨﺺ اﻟﺮﳃﻲ وﻓﻌﻞ اﻟﻘﺮاءة و ٔﳘﯿﳤﺎ ﰲ ﻗ ﺎم ﲻﻠﯿﺔ اﻟﺘﻮاﺻﻞ وٕاﻇﻬﺎر ﯿﻔ ﺔ ﲡﺎوب ﲨﻬﻮر اﻟﻘﺮاء وﻫﺬا اﻟﻨﻮع اﳉﺪﯾﺪ ﻣﻦ ا ٔدب‪ ،‬وﻫﻞ ﯾﺘﻔﺎ ﻞ اﻟﻘﺎرئ وﻣ ﲀﻧﲒﻣﺎت اﻟﻜ ﺎﺑﺔ‬
‫اﻟﺮﳃﯿﺔ اﻟﱵ ﯾﻘﺪم ﻓﳱﺎ اﳌﺆﻟﻒ ﻧﺼﺎ ﻣﻔ ﻮ ﺎ ﺑﻼ ﺪود ﰲ ٔ ﺪ اﳌﻮاﻗﻊ ﲆ اﻟﺸﺒﻜﺔ وﯾﻔﺴﺢ ﻓﳱﺎ ا ﺎل ﻠﻤﺘﻠﻘﻲ ﳌﺸﺎرﻛﺘﻪ ﰲ ﺑﻨﺎء اﻟﻌﻤﻠﯿﺔ ﺑﺪاﻋﯿﺔ‪ ،‬وﯿﻒ ﺳﺎﱒ ﻫﺬا‬
‫اﻟﻨﺺ ﰲ ٕا رة ردود ﻓﻌﻞ اﻟﻘﺎرئ و ﺑﻌﺚ اﳉﺪال و ﺧ ﻼف ﰲ ﻓﻬﻢ ﲻﻖ اﻟﻨﺺ‪ ،‬وﻫﻞ ﳝﻜﻦ ﻟﻬﺬﻩ اﻟﻜ ﺎﺑﺔ اﻟﺮﳃﯿﺔ ٔن ﺗﺼﺒﺢ ﺑﺪﯾﻼ ﻠﻜ ﺎﺑﺔ اﻟﻮرﻗ ﺔ‪ ،‬وﻫﻞ ﻧﻌﺘﱪ‬
‫اﻟﺮﳃﻨﺔ ﱔ اﳌﻔ ﺎح ﻟﻀﲈن اﻟﻔﻌﻞ اﻟﺘﻮاﺻﲇ ﰲ اﻟﻮاﻗﻊ اﳌﻌﺎﴏ ‪ٔ ..‬ﺳﺌ و ٔﺧﺮى ﺳﻨ ﺎول ﺎﺑﺔ ﻋﳯﺎ ﻣﻦ ﻼل اﺧ ﯿﺎر ﻋﯿّﻨﺔ ﻣﻦ اﻟ ذج اﻟﺘﻄﺒﯿﻘ ﺔ ﺮواﯾﺔ" ﴍوق‬
‫ﴰﺲ" ﻟ ٔﻣﺮﲄ رو ﺮت ٔرﻻﻧﻮ‪،‬ورواﯾﺔ ﶊﺪ ﺳﻨﺎ "ﻇﻼل اﻟﻌﺎﺷﻖ" اﻟﱵ ﺴ ﳥﺮ ﻓﳱﺎ ﯿﻔ ﺔ ﲡﺎوب وﺗﻔﺎ ﻞ اﻟﻘﺮاء واﻟﻨﺺ اﻟﺮﳃﻲ‪ ،‬و ﻟﺘﺎﱄ ﻗ ﺎم اﻟﻔﻌﻞ اﻟﺘﻮاﺻﲇ‪.‬‬
‫اﳌﻌﲎ واﻟﺴﯿﺎق ﰲ ﺮﲨﺔ اﻟﻨﺺ اﳌﴪ اﻻٕﳒﻠﲒي إﱃ اﻟﻌﺮﺑﯿﺔ ﻣﴪﺣ ﺔ ﻣﻜ ﯿﺚ ﻟﻮﯾﻠﯿﺎم ﺷﻜﺴﺒﲑ‪ٔ -‬ﳕﻮذ ًﺎ‬
‫د‪ .‬ﻣ ﲑة ﲪﯿﺪش‪،‬‬
‫ﻣﻌﻬﺪ اﻟﱰﲨﺔ‪ -‬ﺎﻣﻌﺔ اﳉﺰا ﺮ ‪ ،٢‬اﳉﺰا ﺮ‬
‫ﻜ ﺐ اﻟﻨﺺ اﳌﴪ ﺑﻐﯿﺔ ﻋﺮﺿﻪ ﲆ ﲨﻬﻮر ﻣ ﺎﴍة‪ ،‬ﻻ ﺣ ﺲ ٔوراق‪ ،‬ﻓﻬﻮ ﯾﺼﻮر ﺣ ﺎة ا ٔﺷ ﺎص وﺑ ﺎﲥﻢ وﳎﳣﻌﺎﲥﻢ‪ ،‬ﲟﺎ ﺸﻤ ﻣﻦ ﲭﺎ ﲣﺘﻠﻒ ﻋﻦ ﲑﻫﺎ‪.‬‬
‫و ٔﻧﻪ ﻛﺬ ﻓﲁ ﳇﻤﺔ ﻓ ﻪ ﲢﻤﻞ ﺑﻌﺪا دﻻﻟﯿﺎ‪ ،‬وﻣﻌﲎ ﯾ ﺞ ﻋﻦ ﺳﯿﺎق ﺗﻮﻇﯿﻔﻬﺎ‪ ،‬ﻓ ﺼﻨﻊ اﻟﻨﺼﻮص اﳌﴪﺣ ﺔ اﻟﻔﺮق واﳋﺼﻮﺻﯿﺔ ﳌﻘﺎرﻧﺔ ﻣﻊ اﻟﻨﺼﻮص ا ٔدﺑﯿﺔ ا ٔﺧﺮى‪.‬‬
‫و ﻠﯿﻪ‪ ،‬ﳖﺪف ﱪ ﻫﺬﻩ اﻟﻮرﻗﺔ اﻟﺒﺤﺜﯿﺔ‪ ،‬ﺑ ﺎول ﻣﴪﺣ ﺔ اﻻٕﳒﻠﲒي وﻟﯿﺎم ﺷﻜﺴﺒﲑ‪ ،‬اﱃ ﺴﻠﯿﻂ اﻟﻀﻮء ﲆ دور اﻟﺴﯿﺎق ﰲ ﲢﺮﺮ اﳌﻌﲎ اﳌﺴ ﺸﻒ ﻣﻦ اﳌﻮﻗﻒ‪.‬‬
‫ذ ﻟﺼﺒﻎ اﻋﺘﺒﺎر ﺳﯿﲄ ﲆ اﻟﻨﺺ اﳌﴪ وﻫﻮ اﻟﻜﺸﻒ ﻋﻦ ﻣﺎﻫﯿﺘﻪ‪ ،‬واﻋﻄﺎﺋﻪ ﻧﻈﺮة ﺪﯾﺪة ﲤﻜﻦ ﻣﻦ ﻣﻌﺎﳉﺘﻪ ﺸﲁ ٔﺳﻬﻞ‪ ،‬واﻟﺘﻌﺎﻣﻞ ﻣﻌﻪ وﻓﻬﻤﻪ ﺸﲁ‬
‫ﲱﯿﺢ ﻣﻦ اﳌﺘﻠﻘﻲ ﲆ ﻏﺮار اﻟﻘﺎرئ‪ ،‬واﳌﺸﺎﻫﺪ واﳌﱰﰖ‪ .‬ﻓﺎﳓﴫت إﺷﲀﻟﯿﺔ ا راﺳﯿﺔ ﺣﻮل ﺗﻮﺿﯿﺢ اﻟﺼ ﺑﲔ اﻟﺴﯿﺎق واﳌﻌﲎ‪ ،‬واﱃ ٔي ﻣﺪى ﳝﻜﻦ ﻠﺴﯿﺎق ٔن‬
‫ﯾﺆﺮ ﲆ ﻟﯿﺔ ﻧﻘﻞ ﻣﻌﲎ اﻟﺮﺳﺎ إﱃ اﻠﻐﺔ اﻟﻬﺪف؟ ﺗﻘﻮم ا راﺳﺔ ﲆ ﺟﺰء ﻧﻈﺮي و ٓﺧﺮ ﺗﻄﺒﯿﻘﻲ‪ ،‬وﻓﻘﺎ ﻠﻤﳯﺞ اﻟﺘ ﻠﯿﲇ اﻟﻨﻘﺪي‪.‬‬
‫‪١٩‬‬
‫اﻟﴪد واوﻫﺎم ﯾﺪوﻟﻮﺟ ﺎ‬

‫د‪ .‬ﻋﺒﺎس ﻣﻄﺮ‪،‬‬
‫ﺎﻣﻌﺔ ذي ﻗﺎر‪ ،‬اﻟﻌﺮاق‬
‫ﺎوﻟﺖ اﻟﺴﻠﻄﺔ ﰲ ﶍﻞ رﳜﻬﺎ اﻻٕﯾﺪﯾﻮﻟﻮ اﻟﻬﳰﻨﺔ ﲆ ﻃﺮﯾﻘﺔ اﻟﴪد وﲥ ﲔ ﺗﻮ ﺎﺗﻪ‪ ،‬ﲟﺎ ﯾﺪﱘ ﺳﻠﻄﳤﺎ اﳌﺴ ﳣﺪة ٔﺳﺎس ﻣﻦ ﻣ ﺎﺑﻊ دﯾ ﺔ‪ّ ٔ ،‬ﻣ ﺖ ﻟﻬﺎ اﳋﻨﻮع‬
‫وﳑﺎرﺳﺎت ﻣﺎدﯾ ٍﺔ ﲢﺪدﻫﺎ وﺗﺘﺤﲂ ﻓﳱﺎ وﺗﻌﯿﺪ إﻧﺘﺎ ﺎ داﲚ ًﺎ‬
‫ٍ‬ ‫اﻟﺸﻌﱯ ﰲ ﻣﻌﻈﻢ ﲢﻮﻻﲥﺎ اﻟﺘﺎرﳜﯿﺔ‪ ،‬وﻫﻮ ا ٔﻣﺮ ا ي ﺟﻌﻞ اﻟﻨﺎس ٍ‬
‫ﰷﺋﻨﺎت إﯾﺪﯾﻮﻟﻮﺟ ﺔ" ﺗﺘﺤﺮك ﲷﻦ ﻃﻘﻮس‬
‫ٔ ﺰة ا و اﻻٕﯾﺪﯾﻮﻟﻮﺟ ﺔ‪ٔ ،‬ي ٔدوات ا ﳣﻊ وﻣﺆﺳﺴﺎﺗﻪ اﳌﺎدﯾﺔ اﻟﱵ ﲡﻨﺪ ا ٔﻓﺮاد ﰲ ﺛﻘﺎﻓ ٍﺔ ﻣﺎ ٔو إﯾﺪﯾﻮﻟﻮﺟ ﺔ ﻣﺎ‪ ،‬وﺗﱲ ﲻﻠﯿﺔ اﻟﺘﺠﻨﯿﺪ ﻫﺬﻩ ﺑﻮاﺳﻄﺔ ﻟﯿﺔ ﺴﻤﳱﺎ ٔﻟﺘﻮﺳﲑ‬
‫ﺳﺘﺠﻮاب ٔو اﻟﻨﺪاء و ﺳﺘﺪ ﺎء‪ ،‬ﻓ ﻮاﺳﻄﺔ ﻫﺬﻩ ا ﻟﯿﺔ ﯾﱲ ﲡﻨﯿﺪ اﻟﻔﺮد وﲢﻮﯾ ﻣﻦ ﰷ ٍﻦ ﻻ‪-‬إﯾﺪﯾﻮﻟﻮ ٔ ْي ﻓﺮ ٌد ﻣﻮﺟﻮ ٌد ﲆ ﲭﯿﺘﻪ وﻃﺒﯿﻌﺘﻪ‪ ،‬إﱃ ﰷ ٍﻦ إﯾﺪﯾﻮﻟﻮ‬
‫ٔﺻﺒﺤﺖ ﴎد ت ا و اﳌﺘﻘ ّﻤﺼﺔ ﲁّ رﻣﺰ ت اﳌﻘﺪس وﺛﯿﻘ ًﺔ ﳖﺎﺋﯿ ًﺔ‪ ،‬ﻣﻜ ﺴﺒ ًﺔ ﱪ ذ‬ ‫ﺴ ﺸﻌﺮ ٔ ْن ﲦّﺔ إﯾﺪﯾﻮﻟﻮﺟ ﺔ) ٔو ﺴﻘ ًﺎ ﺛﻘﺎﻓ ًﺎ( ﯾﻨﺎدﯾﻪ وﺴﺘﺪﻋﯿﻪ"‪،‬‬
‫اﻟﺘﻘ ّﻤﺺ ﺗﺼﺪﯾﻘ ًﺎ ﻣﻀﺎﻓ ًﺎ‪،‬ﲝﲂ رﺗﺒﺎط اﳉﺪﱄ واﻟﱰاﳈﻲ ﺑﲔ اﻟﺴﻠﻄﺔ وا ﻦ‪ ،‬و ٔﺻﺒﺤﺖ روا ﳤﺎ ﻟ ٔ ﺪاث ﻣﺪوﻧ ًﺔ ﻣﺴﺎﻧﺪ ًة ﻠﻤﺮﻛﺰ ت اﳌﺎﻟﻜﺔ ﻟﻬﺎ‪ ،‬وﺑﻔﻀﻞ ذ ﻓﺮﺿَ ﺖ‬
‫ﺧﻄﺎﲠﺎ اﻟﺴﯿﺎﳼ واﻟﺜﻘﺎﰲ ﲆ اﶺﻬﻮر‪ ،‬وﻫﻜﺬا ﻓﺎٕﳖﺎ"ﻣ ّﺎ ٌ إﱃ اﻟﻐﻤﻮض اﻟﻮاﰣ ٔﻛﱶ ﻣﻦ ﻣ ﻠﻬﺎ إﱃ اﻟﻮﺿﻮح‪،‬إﳖﺎ ﺗ ﺸ ﺚ ﻻﻋﺘﻘﺎد واﻟﻮﺛﻮق ٔﻛﱶ ﳑﺎ ﺗﲋع إﱃ اﻟﻨﻘﺪ‪،‬إﳖﺎ‬
‫ﰻ ﻣﻌﺮﻓ ٍﺔ ﺣﻘ ﻘ ٍﺔ‪ ،‬ﺗﻘﻮم دوﻣ ًﺎ ﺿﺪ ﯾﻘﲔ اﻟﺒﺪاﻫﺎت واﻣ ﻼء اﻟﻔﻜﺮ ا وﻏﲈﰄ‪.‬‬
‫ﲢﺐ ﻣ ﻼء وﲥﺎب اﻟﻔﺮاغ‪ ،‬ﻓﻬ ﻲ إذن ﻟ ﺴﺖ ﻃﺮﯾﻘ ًﺎ إﱃ اﳌﻌﺮﻓﺔ ﻣﺎ داﻣﺖ ّ‬ ‫ّ‬
‫ﺣﻮار اﻟﺜﻘﺎﻓﺎت ﰲ اﻟﻘﺮ ٓن اﻟﻜﺮﱘ ‪-‬اﳌﻨﻄﻠﻘﺎت واﻟﻘﻮا ﺪ‪-‬‬

‫ﺣﻮاء ﻋﺒﺪ اﻠﻄﯿﻒ‪،‬‬
‫ﺎﻣﻌﺔ ﻋﺒﺎس ﻟﻐﺮور ﺸ ‪ ،‬اﳉﺰا ﺮ‬
‫ﳛﺎول ﻫﺬا اﻟﺒﺤﺚ ﺗﻮﺿﯿﺢ وﺑﯿﺎن ﺣﻮار اﻟﺜﻘﺎﻓﺎت ﳈﻔﻬﻮم وﻣﺼﻄﻠﺢ ﺗﺒﺎﯾ ﺖ ﺣﻮ اﳌﻮاﻗﻒ‪ ،‬واﺧ ﻠﻔﺖ دوﻧﻪ اﻟﺮؤى ﺟﺮاء اﳋﻠﻂ اﻟﺸﺎﺋﻊ ﻣﻊ ﻣﻔﻬﻮم ﺗﻘﺎرب ا ٔد ن و ﲑﻩ‬
‫ﻣﻦ اﳌﻔﺎﻫﲓ ا ﺎورة‪ ،‬وﻧﻈﺮا ﻟﻘ اﳌﻮاﻗﻒ ا اﻋﯿﺔ إﱃ ﻋﺮض ﻫﺬا اﳌﴩوع ﲆ ا ﺳﺘﻮر اﻟﺮ ﱐ‪ ،‬واﺳﺘ ﺎط ﻗﻮا ﺪﻩ وﻣ ﻄﻠﻘﺎﺗﻪ ﻣ ﻪ‪ ،‬ﻓﻘﺪ ﺎوﻟﺖ اﻟﺒﺎﺣ ﺔ اﻟﻮﻗﻮف‬
‫ﻠﯿﻪ ﰲ ﻫﺬﻩ ا راﺳﺔ‪ ،‬وذ ﻣﻦ ﻼل ﲢﺪﯾﺪ ﻣﻔﻬﻮم ﺣﻮار اﻟﺜﻘﺎﻓﺎت‪ ،‬وﻋﺮض ﴰﻮﻟﯿﺔ ﻣ ﻄﻠﻘﺎت اﳊﻮار ﰲ اﻟﻘﺮ ٓن اﻟﻜﺮﱘ‪ ،‬وﻣﻦ ﲦﺔ اﺳﺘ ﺎط ﻗﻮا ﺪ ﻫﺬا اﳊﻮار ﻣﻦ‬
‫ﻼل ا ﺮ اﳊﻜﲓ‪ .‬وﻟﻌﻞ ٔﳘﯿﺔ اﳌﻮﺿﻮع و ٔﺳﺒﺎب اﺧ ﯿﺎرﻩ ﺗﺘﻀﺢ ﻣﻦ ﻼل اﻟﻨﻘﺎط ا ٓﺗﯿﺔ‪ .١ :‬ﻏﯿﺎب اﳌﻔﻬﻮم اﻟﻌﻠﻤﻲ اﶈﺪد ﳊﻮار اﻟﺜﻘﺎﻓﺎت ى اﻟﻜ ﲑ ﻣﻦ اﳌﺜﻘﻔﲔ ﻣﻊ‬
‫ﻛﱶة ﺣﻀﻮرﻩ ﰲ اﳌﺆﲤﺮات واﻟﻨﺪوات ووﺳﺎﺋﻞ ا ٕﻻ ﻼم ﲻﻮﻣﺎ‪ ،‬ﳑﺎ ﳚﻌﻞ ﻫﺬا اﳌﻔﻬﻮم واﺳﻌﺎ زﺋﺒﻘ ﺎ وﻫﻼﻣ ﺎ‪ .٢ ،‬اﻟﺮد ﲆ ﰻ ﻣﻦ ادﻋﯽ ﺮاﺛﯿﺔ اﻟﻘﺮ ٓن اﻟﻜﺮﱘ وﳏﺪودﯾﺔ‬
‫ﻧﺼﻮﺻﻪ‪ .٣ ،‬ﳏﺎو اﻟﺘﻘﻌﯿﺪ ﻟﻬﺬا اﳌﻮﺿﻮع و ﻧﻄﻼق ﺑﻪ ﻣﻦ ﻠﻔ ﺔ ﲱﯿ ﺔ و ﻗﺎ ﺪة ﻣ ﯿﻨﺔ‪ .٤ ،‬ﺗﺼﺤﯿﺢ اﳌﻨﻄﻠﻘﺎت وﺿﺒﻂ اﻟﻘﻮا ﺪ اﻟﱵ وﺟﺐ ٔن ﯾﻨﻄﻠﻖ ﻣﳯﺎ اﶈﺎور‬
‫اﳌﺴﲅ‪ٔ .٥ ،‬ن ﻟ ﻦ ﻣﲀﻧﺘﻪ اﳋﺎﺻﺔ ﰲ اﻟﺜﻘﺎﻓﺎت ﰷن ﻟﺰاﻣﺎ ﺗ ﺎن اﳉﺎﻧﺐ اﻟﻌﻘﺪي ﰲ ﻫﺬا اﳊﻮار اﻟﺜﻘﺎﰲ‪ٔ .‬ﻣﺎ ٔﻫﺪاف اﻟﺒﺤﺚ ﻓ ﳣﺜﻞ ﰲ‪ :‬ﺿﺒﻂ ﻣﻔﻬﻮم ﺣﻮار اﻟﺜﻘﺎﻓﺎت‬
‫ﰲ ﳐﺘﻠﻒ اﳌﺴﺘﻮ ت‪ ،‬ﺑﯿﺎن ﻣﲀﻧﺔ اﳊﻮار ﰲ اﻟﻘﺮ ٓن اﻟﻜﺮﱘ وﺗ ٔﺻ وﴰﻮ ﳐﺘﻠﻒ ﺷﺆون ا ٔﻣﺔ اﻻٕﺳﻼﻣ ﺔ‪ ،‬ﺑﯿﺎن اﻟﻀﻮاﺑﻂ واﶈﺪدات اﻟﻌﻘﺪﯾﺔ ﳊﻮار اﻟﺜﻘﺎﻓﺎت‪.‬‬
‫اﺳﺘﻌﺎﻧﺖ اﻟﺒﺎﺣ ﺔ ﻠﻮﺻﻮل إﱃ ﻫﺬﻩ ا ٔﻫﺪاف ﳌﳯﺞ ﺳﺘﻘﺮاﰄ ﻟﺘ ﻊ ا ٔد اﻟﻘﺮ ٓﻧﯿﺔ اﳌﺘﻌﻠﻘﺔ ﳌﻮﺿﻮع ﻟﺒﯿﺎن اﳌﳯﺞ اﻟﻘﺮ ٓﱐ اﻟﺮﺷﯿﺪ ﰲ اﳊﻮار ﺎﻣﺔ و ﰲ ﺣﻮار اﻟﺜﻘﺎﻓﺎت‬
‫ﺸﲁ ﺎص‪.‬‬
‫رﻣﺰﯾﺔ اﻠﻐﺔ ﰲ ا ٔدب اﻟﺼﻮﰲ‬

‫د‪ .‬ﻓﺮﯾﺪة ﻣﻮﱃ‪،‬‬
‫إن ٔﱒ ﻣﺎ ﳝﲒ ا ٔدب اﻟﺼﻮﰲ – ﺷﻌﺮا وﻧﱶا –ﺧﺼﻮﺻﯿﺔ اﻠﻐﺔ اﻟﱵ ﻛﺘﺐ ﲠﺎ‪،‬ﻓﻘﺪ ﺰع اﻟﺼﻮﻓ ﺔ ﰲ ﻛﺘﺎ ﲥﻢ ﺰ ﺔ ذاﺗﯿﺔ ﲻﯿﻘﺔ ﺣ ﺚ ﺎﺻﻮا ﰲ ﺎﱂ ﻣﺎ وراء اﳊﻮاس‬
‫ﻠﻮﺻﻮل إﱃ ا ات اﳌﻌﺸﻮﻗﺔ واﻟﻌﻠﻮم اﻟ ﻧﯿﺔ واﳊﻘﺎﺋﻖ اﻟﻌﻠﻮﯾﺔ‪،‬ف ﺎءت ﻟﻐﳤﻢ ﻣﻌﻘﺪة ﺗﻌﻘ ﺪ رؤ ﳤﻢ اﻟﺼﻮﻓ ﺔ ‪،‬رﻣﺰﯾﺔ ﺑﻌﯿﺪة ﻋﻦ اﻟﺘﴫﱖ‪ ،‬ﺎﻣﻀﺔ إﱃ در ﺔ ﻻ ﲀد‬
‫ﯾﻔﻬﻤﻬﺎ اﻟﻘﺎرئ‪ ،‬و ٔن اﻟﺘﻌﺒﲑ ﻋﻦ اﻟﺒﺎﻃﻦ اﻟﺮو اﻟﻌﻤﯿﻖ ﯾﻘ ﴤ ﲡﺎوز اﻟﻈﺎﻫﺮ اﳊﴘ واﳋﺮوج ﻣﻦ اﻠﻐﺔ واﳊﺮف ا ي ﳝﺜﻠﻬﺎ ﻓﻘﺪ ٔﺳﻘﻂ اﳌﺘﺼﻮﻓﺔ اﻟﻮﻇﯿﻔﺔ اﻟﺘﻌﺒﲑﯾﺔ‬
‫اﻟﻨﻘﻠﯿﺔ ﻠﻐﺔ وﴮﻨﻮﻫﺎ ﺑﻄﺎﻗﺔ ﺸﻔ ﺔ راﺋﯿﺔ وﻟﻘﺤﻮﻫﺎ ﺮﻣﻮز وﺗﻠﻮﳛﺎت ﻗﺼﺪ اﻟﺘﻌﺒﲑ ﻋﻦ اﳌﻨﻔﻠﺖ ﻣﻦ ا ٔﴎار اﻻٕﻟﻬﯿﺔ اﻟﱵ ﻻ ﺗﻘﻮى اﻠﻐﺔ اﻟﻌﺎدﯾﺔ ﻋﻦ اﻻٕﺧ ﺎر ﻋﳯﺎ‪،‬ﻛﲈ‬
‫اﺑﺘﻜﺮوا ٔﻟﻔﺎﻇﺎ ﺪﯾﺪة ﳍﻢ ﯾﺘﺪاوﻟﻮﳖﺎ ﻓ ﺑ ﳯﻢ و ٔﻃﻠﻘﻮا اﺳﲈء ﻣﻦ ﻗ ﯿﻞ اﻟﺮﻣﻮز اﳋﻔ ﺔ ﲆ ﻣﺴﻤﯿﺎت ﻻ ﺮاد اﻟﺘﴫﱖ ﲠﺎ ﻓﺸﺎﻋﺖ ﺑﺬ اﻟﺮﻣﺰﯾﺔ ﰲ اﻟﻜ ﺎﺑﺔ اﻟﺼﻮﻓ ﺔ‬
‫ﻧﱶﻫﺎ وﺷﻌﺮﻫﺎ‪ .‬ﺳﺘ ﺎول ﻫﺬﻩ اﻟﻮرﻗﺔ اﻟﻜﺸﻒ ﻋﻦ ﺧﺼﻮﺻﯿﺔ اﻠﻐﺔ اﻟﺼﻮﻓ ﺔ ورﻣﺰﳤﺎ ﻣﻦ ﻼل ﻗﺮاءة ﺑﻌﺾ اﻟ ذج ا ٔدﺑﯿﺔ اﻟﱵ ﺗﻄﻐﻰ ﻓﳱﺎ اﻠﻐﺔ اﻟﺮﻣﺰﯾﺔ ﺸﲁ ﻣﻠﻔﺖ‪.‬‬
‫‪٢٠‬‬
‫ﻓﻦ اﳋﻄﺎﺑﺔ واﻟﺘﻮاﺻﻞ ى اﻟﻌﺮب‬

‫د‪ .‬ﻧﺼﲑة رﯾ ﻠــﻲ‪،‬‬
‫اﳋﻄﺎﺑﺔ ﻣﻦ اﻟﻔ ﻮن ا ٔدﺑﯿﺔ اﻟﱵ ﻋﺮﻓﻬﺎ اﻟﻌﺮب ﻣ ﺬ ﲾﺮ رﳜﻬﻢ ا ٔدﰊ‪ ،‬ﳁﺜﻠﲈ ﺗﺒﺎرى اﻟﺸﻌﺮاء ﰲ اﺸﺎد اﻟﺸﻌﺮ وٕاﻇﻬﺎر ﺗﻔﻮﻗﻬﻢ‪ ،‬ﻛﺬ ﺗﺒﺎرى اﳋﻄﺒﺎء ﻓ ﺑ ﳯﻢ ٕﻻ ﺮاز‬
‫ﻓﺼﺎﺣﳤﻢ وﻧﺒﻮﻏﻬﻢ ﰲ ﳎﺎل ﻗﺪراﲥﻢ اﳋﻄﺎﺑﯿﺔ‪ ،‬اﺳﺘﻄﺎﻋﺖ اﳋﻄﺎﺑﺔ ٔن ﲢﺘﻞ ﻣﲀﻧﺔ ﻋﻈﳰﺔ ﰲ ﻧﻔﻮس اﻟﻌﺮب ﲤﺎﻣﺎ ﻣ ﻞ اﳌﲀﻧﺔ اﻟﺮاﻗ ﺔ اﻟﱵ ﺣﻈﻲ ﲠﺎ اﻟﻔﻦ اﻟﺸﻌﺮي‬
‫ﻋﻨﺪﱒ‪ .‬وﻗﺪ ﺷﻬﺪت اﳋﻄﺎﺑﺔ ﺗﻄﻮرا واﲵﺎ ﻣ ﺬ ﳎﻲء اﻻٕﺳﻼم ﲆ ﯾﺪ اﻟﺮﺳﻮل)ص( واﳋﻠﻔﺎء اﻟﺮاﺷﺪ ﻦ‪ ،‬ﻛﲈ ازدادت ﻧﺒﻮ ﺎ وﺗ ٔﻟﻘﺎ ﻣﻊ ﻣﻄﻠﻊ ﻋﴫ ﺑﲏ ٔﻣ ﺔ‪ ،‬وﰲ ﺻﺪر‬
‫ا و اﻟﻌﺒﺎﺳﯿﺔ‪ .‬و ﻠﯿﻪ ﳖﺪف ﻣﻦ ﻼل ﻫﺬﻩ اﳌﺪا اﻟﺘﻌﺮﯾﻒ ﻟﻔﻦ اﳋﻄﺎﰊ وٕا ﺮاز ٔﱒ ﻣﻘﻮﻣﺎﺗﻪ‪ ،‬وﺗ ﻊ ﻫﺬا اﻟﻔﻦ اﻟﻘﻮﱄ ﱪ ﻋﺼﻮرﻩ ا ﺘﻠﻔﺔ)اﳉﺎﻫﲇ‪ -‬اﻻٕﺳﻼﱊ‪-‬‬
‫ا ٔﻣﻮي‪ -‬اﻟﻌﺒﺎﳼ( وﺗﻘﺪﱘ ٔﺷﻬﺮ اﳋﻄﺒﺎء ا ﻦ ﳌﻊ ﳒﻤﻬﻢ ﰲ ﰻ ﻋﴫ ﻣﻦ ﻫﺬﻩ اﻟﻌﺼﻮر‪.‬‬
‫اﳌﱰﰖ و دورﻩ ﰲ ﻣﻮا ﺔ اﻟﴫاع اﻟﻘﺎﰂ ﺑﲔ ﻟﻐﺔ ا ٔم وﻟﻐﺔ ا ٔﺟ ﱯ‬

‫د‪ .‬ﳒﻤﺔ زﻗﺮور‪،‬‬
‫ﺎﻣﻌﺔ ﶊﺪ ﳌﲔ د ﲔ‪ ،‬اﳉﺰا ﺮ‬
‫ﻻ ﳜﻠﻮ ٔي ﳎﳣﻊ ﻣﻦ اﻟﺘﻨﻮ ﺎت اﳉﻐﺮاﻓ ﺔ اﻟﱵ ﺗﻔﴤ إﱃ إﻓﺮاز اﻟﺘﻨﻮ ﺎت اﻠﻐﻮﯾﺔ‪ ،‬إذ ﯾﺆدي ا ﺴﺎع رﻗﻌﺔ اﺳﺘ ﺪام اﻠﻐﺔ إﱃ ﺗﻔﺮﻋﻬﺎ وﻇﻬﻮر ﻟﻬ ﺎت ﯿﺔ ﳐﺘﻠﻔﺔ ﰲ ﰻ‬
‫ﳏﻠ‬
‫ﻣ ﻄﻘﺔ ﻣﻦ ﻣ ﺎﻃﻖ اﺳﺘﻌﲈﻟﻬﺎ‪ ،‬وﻮن اﻟ ﴩ ﯾﺘﳫﻤﻮن ﻟﻐﺎت ﳐﺘﻠﻔﺔ ُو ﺪت اﻟﱰﲨﺔ‪ ،‬ﺣ ﺚ ا ّٕن ﺎ ﺔ ا ٕﻻ ﺴﺎن إﱃ اﻟﺘﻔﺎﱒ واﻟﺘ ﺎﻃﺐ ﺟﻌﻠﺘﻪ ﯾﻠ ٔ إﱃ اﺳﺘﻌﲈل اﻟﱰﲨﺔ‬
‫ﻮﺳﺎﻃﺔ ﳋﻠﻖ اﻟﺘﻼﰳ اﳊﻀﺎري ﺑﲔ ا ٔﱈ واﻟﺸﻌﻮب ﻣﻦ ﻼل ﻣ ﻄﻖ ا ٔ ﺬ واﻟﻌﻄﺎء‪ ،‬ﲆ اﻋﺘﺒﺎر اﻟﱰﲨﺔ ﺟﴪ ﻠﺘﻮاﺻﻞ ﺑﲔ ﳐﺘﻠﻒ اﻟﺜﻘﺎﻓﺎت وﻻ ﳝﻜﻦ ﺳﺘﻐﻨﺎء‬
‫ﻋﳯﺎ ﺑﻞ ﯾ ﻐﻲ ﺗﻌﺰﺰ ﻫﺬﻩ اﳌﻬﻨﺔ اﻟﱵ ﲡﻌﻞ ﻣﻦ اﻟﻘﺎرئ ﺑﺼﻔﺔ ﺎﻣﺔ واﻟﻌﺮﰊ ﺧﺼﻮﺻﺎ‪ ،‬ﯾﻄﻠﻊ ﲆ اﳌﻨﺘ ﺎت ا ٔدﺑﯿﺔ واﻟﻌﻠﻤﯿﺔ واﻟﻔﻜﺮﯾﺔ اﻟﻌﺎﳌﯿﺔ‪ ،‬وﯾﻮا ﺐ ﻋﴫ اﻟﺘﻜ ﻮﻟﻮﺟ ﺎ‬
‫وﺗﻔﺠﺮ اﳌﻌﺮﻓﺔ‪ .‬وﲥﺪف ﻫﺬﻩ اﳌﺪا إﱃ اﻟﱰﻛﲒ ﲆ ﳏﻨﺔ اﳌﱰﰖ ﰲ ﲻﻠﯿﺔ ﻧﺘﻘﺎل ﻣﻦ ﻟﻐﺔ إﱃ ٔﺧﺮى‪ ،‬وﺮﻛّﺰ ٔﻛﱶ ﲆ اﻟﺼﻌﻮﺑﺔ اﻟﱵ ﯾﻮا ﻬﺎ اﳌﱰﰖ ﰲ ﻧﻘﻞ اﳌﻔﺎﻫﲓ‬
‫ﻣﻦ ﻟﻐﺔ إﱃ ٔﺧﺮى ﰲ ﺧﻀﻢ ﳎﳣﻌﺎت ﲆ اﺧ ﻼف ٔﻟﺴ ﳤﺎ ﺗﻮﺻﻒ ﻟﺘﻌﺪد اﻠﻐﻮي واﻟﺜﻘﺎﰲ‪ ،‬وذ ﻣﻦ ﻼل اﻟﻨﻘﻂ ا ٓﺗﯿﺔ‪ :‬ﻣﺪى ﺻﻌﻮﺑﺔ ّﻤﺔ اﳌﱰﰖ ٔﺛﻨﺎء اﻟﺘﻘﺎﺋﻪ‬
‫ٔﺟ ﱯ دا ﻞ ﻟﻐﺘﻪ‪ ،‬اﻟﺘﻨﺎﻓﺮ اﳉﺬري واﻧﻌﲀﺳﻪ ﲆ اﺳﺘ ﺎ اﻟﱰﲨﺔ‪ ،‬اﻻٕﺳﱰاﺗﯿﺠﯿﺔ اﻟﱵ ﳜﻀﻊ ﻟﻬﺎ اﳌﱰﰖ ٔﻣﺎم ﻋﻨﴫ اﻟﺒﻼ ﺔ ﺑﺼﻮرﻫﺎ وﳎﺎزاﲥﺎ و ﺳﺘﻌﺎرة و ﲑﻫﺎ‬
‫ﻣﻦ اﻟﺼﻮر اﻟﺒﯿﺎﻧﯿﺔ‪ ،‬إﱃ ﺎﻧﺐ اﻠﻌﺐ ﻠﻐﺔ‪.‬‬
‫اﻟﻘﺮ ٓن اﻟﻜﺮﱘ و ٔ ﺮﻩ ﰲ اﻠﻬ ﺎت اﻟﻌﺮﺑﯿﺔ‬

‫د‪ .‬ﻓﻀﯿ ﻋﺒﻮﳼ ﳏﺴﻦ ﺣﺴﲔ اﻟﻌﺎﻣﺮي ‪،‬‬
‫ﺎﻣﻌﺔ اﻟﻜﻮﻓﺔ‪ ،‬اﻟﻌﺮاق‬
‫ﻻﺷﻚ ٔن اﻠﻬ ﺎت ﲤﺜﻞ ﻟﻐﺔ ﻗﻮم ﯾﺘ ﺪﺛﻮن ﲠﺎ ﰲ ﺣ ﺎﲥﻢ اﻟﯿﻮﻣ ﺔ ﻓﻬ ﻲ ﲤﲒﱒ ﻋﻦ ﻗﻮم ﲑﱒ‪ ،‬ﺣﱴ ٔن اﻟﻘﺪﻣﺎء ﺴﻤﻮﳖﺎ ﻠﻐﺎت ﻓ ﻘﻮﻟﻮن ﻟﻐﺔ ﲤﲓ و ﺮاد ﻟﻬ ﺔ ﲤﲓ‪،‬‬
‫وﯾﻘﻮﻟﻮن ﻟﻐﺔ اﳊ ﺎز و ﺮاد ﻟﻬ ﺔ اﳊ ﺎز‪ ،‬واﻟﻘﺮ ٓن اﻟﻜﺮﱘ ﳝﺜﻞ اﳌﻌﺠﺰة اﳋﺎ ة اﻟﱵ ﲢﺪت اﻟﻌﺮب ﰲ ﻓﺼﺎﺣﳤﻢ وﺑﻼﻏﳤﻢ ٔن ﯾ ٔﺗﻮا ﺴﻮرة ﻣﻦ ﻣ َوﻟَ ْﻮ َﰷ َن ﺑ َ ْﻌﻀُ ﻬ ُْﻢ ِﻟ َﺒ ْﻌ ٍﺾ‬
‫َﻇﻬِﲑ ًا ؛ ﺣﱴ ٔﳖﻢ وﺻﻔﻮﻩ ﺸﱴ اﻟﻨﻌﻮت ﻓﻘﺎﻟﻮا ٔﺳﺎﻃﲑ ا ٔوﻟﲔ‪ ،‬وﻗﺎﻟﻮا ٔﺿﻐﺎث ٔ ﻼم‪ ،‬وﻗﺎﻟﻮا ﲮﺮا ﯾﻔﱰى‪ ،‬ﻓﻬﻞ ﺮى ٔ ﺮ اﻟﻘﺮ ٓن اﻟﻜﺮﱘ ﰲ ﺗ اﻠﻬ ﺎت ﻣﻦ‬
‫ﺣ ﺚ ﺑﻘﺎﲛﺎ ٔو ﺗﻄﻮرﻫﺎ؛ وﻣﺎ ﱔ وﺳﺎﺋﻞ اﻟﺘ ٔﺛﲑ ﻫﺬا ﻣﺎ ﻜﺸﻔﻪ اﻟﺒﺤﺚ ا ي ﺎء ﲢﺖ ﻋﻨﻮان)اﻟﻘﺮ ٓن اﻟﻜﺮﱘ و ٔ ﺮﻩ ﰲ اﻠﻬ ﺎت اﻟﻌﺮﺑﯿﺔ( ﻓﲀﻧﺖ ﻓﺮﺿﯿﺔ اﻟﺒﺤﺚ ﱔ‬
‫ﺑﯿﺎن ٔ ﺮ اﻟﻘﺮ ٓن اﻟﻜﺮﱘ ﰲ اﻠﻬ ﺎت‪ ،‬وﻣﺸﳫﺔ اﻟﺒﺤﺚ ﺗﺪور ﺣﻮل اﻠﻬ ﺎت و ﻼﻗﳤﺎ ﻟﻘﺮ ٓن اﻟﻜﺮﱘ‪ ،‬و ٔﻣﺎ اﻟﺒﺤﺚ ﻓ ﺘ ٔﻟﻒ ﻣﻦ ﻣﻘﺪﻣﺔ وﲤﻬﯿﺪ وﻣ ﺤﺜﲔ‪ ،‬ﺗﻨﺎول ا ﳣﻬﯿﺪ‪:‬‬
‫اﻟﺘﻌﺮﯾﻒ ﻠﻬ ﺎت ﰲ اﻠﻐﺔ و ﺻﻄﻼح‪ ،‬وﺗﻀﻤﻦ اﳌﺒﺤﺚ ا ٔول دراﺳﺔ اﻠﻬ ﺎت ﰲ اﻟ ﺸ ٔة واﻟﺘﻄﻮر‪ ،‬وﺗﻄﺮﻗ ﺎ ﰲ اﳌﺒﺤﺚ اﻟﺜﺎﱐ إﱃ ٔ ﺮ اﻟﻘﺮ ٓن اﻟﻜﺮﱘ ﰲ اﻠﻬ ﺎت‪،‬‬
‫وﻣﻦ ﰒ ﺧﱲ اﻟﺒﺤﺚ ﻟﻨﺘﺎﰀ اﻟﱵ ﺗﻠﳤﺎ اﳌﺼﺎدر ﻣﺴﺒﻮﻗﺔ ﻟﻬﻮاﻣﺶ‪ ،‬وﻣﻦ ٔﳘﻬﺎ‪:‬‬
‫ٔ‬
‫‪ -١‬ﲤﺜﻞ اﻠﻬ ﺎت ﻟﻐﺔ ﻗﻮم ﻣﻦ ا ٔﻗﻮام ﻗﺪ اﻋﺘﺎدوا ﲆ اﺳﺘﻌﲈﻟﻬﺎ ﰲ اﻟﺘﻌﺒﲑ ﻋﻦ ٔﻏﺮاﺿﻬﻢ وﻣﻘﺎﺻﺪﱒ ﻓﲀن ﻟ ﺲ ﻣﻦ اﻟﺴﻬﻮ ﲡﺮﯾﺪﱒ ﻣﳯﺎ؛ ﻓﲀن ﻣﻦ ا ﺳﺒﺎب اﻟﱵ‬
‫ٔ ﺮت ﰲ ﺑﻘﺎﲛﺎ اﱃ ﺎﻧﺐ اﻠﻐﺔ ا ٔم ﻠﻘﻮم ﳇﻬﻢ‪.‬‬
‫‪ ٔ -٢‬ﺮ اﻟﻘﺮ ٓن اﻟﻜﺮﱘ ﰲ ﺑﻘﺎء ﺗ اﻠﻬ ﺎت‪ ،‬وا ﻟﯿﻞ ﲆ ذ اﻟﻘﺮاءات اﻟﻘﺮ ٓﻧﯿﺔ اﻟﱵ ﺗﻨﺎوﳤﺎ اﳌﺼﺎدر ا ﺘﻠﻔﺔ واﻟﱵ ٔر ٔﲥﺎ اﱃ اﺧ ﻼف اﻠﻬ ﺎت اﻟﻌﺮﺑﯿﺔ ﰲ ﻗﺮاءة‬
‫اﻟﻘﺮ ٓن‪.‬‬
‫‪٢١‬‬
‫ا ات وا ٓﺧﺮ ‪ ....‬دراﺳﺔ ﰲ ر اﻦ ﺟ ﲑ‬
‫د‪ .‬ﲇ ﻋﺒﺪ اﻟﻨﱯ ٕا ﺮﻫﲓ ﶊﺪ ﺣﺴﻦ ﻓﺮ ﺎن‪،‬‬
‫اﳉﺎﻣﻌﺔ ا ٔﻫﻠﯿﺔ‪ ،‬اﻟﺒﺤﺮﻦ‬
‫ﺗﻮ ّد ﻫﺬﻩ ا راﺳﺔ اﻟﻜﺸﻒ ﻋﻦ ﻣﻔﻬﻮﱊ ا ات وا ٓﺧﺮ‪ ،‬واﻟﻌﻼﻗﺔ اﳉﺪﻟﯿﺔ ﺑ ﳯﲈ‪ ،‬ﻣﻦ ﻼل ﲤﺜﻠﻬﲈ ﰲ ر اﻦ ﺟ ﲑ؛ ﺳ ﻄﺎق رؤﯾﺘﻪ ﻟ ٓﺧﺮ اﳌﺆﺗﻠﻒ وا ﺘﻠﻒ‪.‬‬
‫ﴪب ﰲ اﳊﻘ ﻘﺔ ﻣﻔﻬﻮﻣﺎت اﳓﯿﺎزﻩ اﻟﻔﲏ واﻟﻔﻜﺮي‬ ‫وﻻﺷﻚ ا ّٕن اﻦ ﺟ ﲑ ا ي ٔوﳘﻨﺎ – ﻣﻦ ﻼل ﴎدﻩ ﰲ ر ﻠﺘﻪ اﻟﺸﻬﲑة – ﲟﻮﺿﻮﻋﯿﺘﻪ ﲡﺎﻩ ﻣﺎ ﴪد وﯾﺼﻒ؛ ّ‬
‫واﻟﺜﻘﺎﰲ ﱪ ﻣﺪوﻧﺘﻪ ) ر اﻦ ﺟ ﲑ (‪ .‬وﳓﻦ ٔﻣﺎم ﻫﺬﻩ اﳌﺪوﻧﺔ اﻟﱵ ﺗﺒﺪو ٔﳖّ ﺎ ﺗﻘﱰب ﻣﻦ اﻟﻌﻤﻞ اﳉﻐﺮاﰲ ﺳﻨﻔﺤﺺ ﻣﻜﻮ ت ﻫﺬﻩ اﳌﺪوﻧﺔ‪ ،‬ﰒ ﺳﻨﻌﻤﻞ ﲆ ﺣﴫ‬
‫ﻼﻗ ﻪ ٔﺷﯿﺎء واﳌﻮاﻗﻒ واﳌﻠﻞ واﻟﻨ ﻞ واﻟﻔﺮق واﳌﺬاﻫﺐ‪ .‬ﻓﻔﻲ اﻟﻮﻗﺖ ا ي ﺮاﻩ ﯾﺼﻒ اﳌﻌﺎﱂ اﻟﱵ ﺷﺎﻫﺪﻫﺎ‪ ،‬وﯾﺬ ﺮ اﳌﻮاﻗﻒ اﻟﱵ ﱪﻫﺎ ﰲ ر ﻠﺘﻪ‪ ،‬ﺮاﻩ ﯾﺘ ﺬ ﻣﻮﻗﻔﺎ‬
‫ﻣ ﺒﺎﯾﻨﺎ – ﻻ ﻣﻦ ا ٔﻓﺮاد واﶺﺎ ﺎت ﲿﺴﺐ ﺑﻞ ﺣﱴ ا ٔﺷﯿﺎء‪ -‬ﲿﲔ ﯾﻌﺠﺐ ﴚء ٔو ﯾﺆﳌﻪ ﳾء ﯾﺘﺤﻮل ﴎدﻩ ) ٔو وﺻﻔﻪ( إﱃ ﻣﻘﻄﻮ ﺔ ٔدﺑﯿﺔ ﻻ ﲣﻠﻮ ﻣﻦ ﺷﺎﻋﺮﯾﺔ‬
‫ا ٔدﯾﺐ اﻟﺒﺎرع‪ ،‬و ﲔ ﻻ ﯾﻌﻨﯿﻪ ا ٔﻣﺮ ﴚء ﯾﺼﻒ ﺗ اﳌﺸﺎﻫﺪات وﺻﻒ اﳉﻐﺮاﰲ اﶈﺎﯾﺪ‪ .‬وﻻ ﯾﻘ ﴫ ا ٔﻣﺮ ﲆ ا ٔﺷﯿﺎء ﺑﻞ ﺣﱴ ﲆ ا ٔﻓﺮاد واﶺﺎ ﺎت‪ٕ .‬اﻧ ّﻨﺎ ﻣﻦ‬
‫ﻼل ﻫﺬﻩ اﻟﻮرﻗﺔ ﺳﻨ ﲔ ﻃﺒﯿﻌﺔ ﺗ اﻟﻌﻼﻗﺔ و ﺪﻟﯿﳤﺎ واﻧﻌﲀﺳﺎﲥﺎ ﲆ ٔدﺑﯿﺔ اﻟﴪد واﻟﻮﺻﻒ ﰲ ﻫﺬﻩ اﻟﺮ اﻟﺸﻬﲑ‪.‬‬
‫اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ و ﻠﻮم اﻟﺮ ﺿﯿﺎت‬

‫د‪ .‬ﻠﯿﻔﻪ ﻦ زاﯾﺪ اﻟﺸﻘﴢ‪،‬‬
‫اﳫﯿﺔ اﻟﺘﻘ ﯿﺔ ﺑﲋوى‪ ،‬ﺳﻠﻄﻨﺔ ﻋﲈن‬
‫ﺗﺘﻔﺮد اﻟﺮ ﺿﯿﺎت ﳌﺴﺘﻮى اﳌﺮﺗﻔﻊ ﻣﻦ اﻟﺘﺠﺮﯾﺪ و ﻓﻬ ﻰ ﺴﺘ ﺪم ﰲ ﺟﻮﻫﺮﻫﺎ ﲆ اﻟﺮﻣﻮز ﺑﺪﻻ ﻣﻦ ا ٔﻟﻔﺎظ اﳌ ٔﻟﻮﻓﺔ ﻓﻬﻰ ﻟﻐﺔ ﻗﺎﲚﺔ ﲆ اﻟﺮﻣﻮز واﳌﻘﺪرة ﲆ‬
‫اﺳﺘﻌﲈل ﻫﺬﻩ اﻟﺮﻣﻮز ﻣﻦ اﻟﻬﺒﺎت اﻟﱵ ﯾﻨﻔﺮد ﲠﺎ ا ٕﻻ ﺴﺎن‪ ،‬ودراﺳﺔ ﻟﻐﺔ اﻟﺮ ﺿﯿﺎت اﻟﱵ ﺗﻘﻮم ﲆ اﻟﺮﻣﻮز ‪،‬ﳝﻜﻦ ٔن ﺴﻬﻢ إﺳﻬﺎﻣﺎ ﻓﻌﺎﻻ ﰲ ﲢﻘ ﻖ ٔﻫﺪاﻓﻬﺎ‪ .‬و ﻓﺎٕن‬
‫اﻟﻨﻈﺮة ا ﳮﻄﯿﺔ اﻟﺴﺎﺋﺪة ﲆ ٔن اﻟﺮ ﺿﯿﺎت ﳎﺮدة ورﻣﺰﯾﺔ و ﺎﺻﺔ ﻋﻨﺪﻣﺎ ﯾﺘﻌﻠﻖ ا ٔﻣﺮ ﻟﻜ ﺎﺑﺔ‪ ،‬ﺣ ﺚ ﳜﺘﻔﻲ ا ور ا ٕﻻ ﺴﺎﱐ ﻓﳱﺎ‪ .‬و ٔ ﺮز ﻣ ﺎل ﲆ ذ ﻫﻮ اﻟﻜ ﺎﺑﺔ‬
‫ﺑﺼﯿﻐﺔ اﳌﺒﲏ ﲆ ا ﻬﻮل‪ ،‬وﻛﱶة اﶺﻞ ا ٔﲰﯿﺔ‪ ،‬وٕاﺧﻔﺎء ﻣﺴ ﳣﺮ ﻠﻔﻌﻞ ﲝﯿﺚ ﻻ ﯾﻈﻬﺮ ﻣﻦ ﯾﻘﻮم ﻟﻌﻤﻠﯿﺎت اﳊﺴﺎﺑﯿﺔ ﰷﶺﻊ واﻟﻄﺮح واﻟﻘﺴﻤﺔ واﻟﴬب‪ .‬و ٔﳖﺎ ﺑﻌﯿﺪة‬
‫ﰻ اﻟﺒﻌﺪ ﻋﻦ اﻟﻌﺎﱂ ا ٕﻻ ﺴﺎﱐ‪ .‬وﲠﺬا ﻓﺎٕن ﻫﻨﺎك اﻟﻌﺪﯾﺪ ﻣﻦ ا راﺳﺎت اﻟﱵ ٔوﲵﺖ اﳉﺎﻧﺐ ﺟ ﻋﻲ واﻟﺜﻘﺎﰲ واﻟﺴﯿﺎﳼ ﻟﺘﻌﲅ وﺗﻌﻠﲓ اﻟﺮ ﺿﯿﺎت‪ ،‬واﻟﻨﻈﺮ ٕا ﳱﺎ ﻛﻔﻌﻞ‬
‫اﺟ ﻋﻲ ﳝﻜﻦ ٔن ﻜﻮن ﻣﻦ ﻼل رﺑﻄﻬﺎ ﻠﻐﺔ ‪ .‬وﻣﻊ ﺗ ٔ ﺮ ﻠﻮم اﻟﺮ ﺿﯿﺎت ﻟﺘﻄﻮرات اﻟﱵ ﺪﺛﺖ ﰲ ﳎﺎل اﻠﺴﺎﻧﯿﺎت ﺟ ﻋﯿﺔ‪ ،‬وﻣﻊ ﻇﻬﻮر ٔﻧﻈﻤﺔ ٔﺧﺮى ﻠﳣﺜﯿﻞ‬
‫واﻟﺘﻮاﺻﻞ ﰷﻟﺼﻮر وا ٕﻻﳝﺎءات‪ .‬وﺳ ٔﺗﻨﺎول ﻫﻨﺎ ﺑﻌﺾ اﻟﺼﻮر ﻣﻦ اﳌﻔﺎﻫﲓ اﻟﺮ ﺿﯿﺔ اﻟﱵ ﻟﻬﺎ ٔرﺗﺒﺎط ﻠﻐﺔ ﺸﲁ و ﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﺸﲁ ﺎص وٕاﺿﺎح ٔن ﻟﻐﺔ اﻟﺮ ﺿﯿﺎت‬
‫ﱔ ﻟﻐﺔ ﳝﻜﻦ اﻟﺘ ﺎﻃﺐ ﲠﺎ‪.‬‬
‫اﻟﴪﻗﺎت اﻟﺸﻌﺮﯾﺔ ﰲ ﻛﺘﺎب ا ر اﻟﻔﺮﯾﺪ وﺑ ﺖ اﻟﻘﺼﯿﺪ ٔ ﻦ اﯾﺪﻣﺮ اﳌﺴﺘﻌﺼﻤﻲ )ت ‪ ٧١٠‬ه(‬

‫د‪ .‬ﶊﺪ ﺣﺴﲔ ﻋﺒﺪ ﷲ اﳌﻬﺪاوي و د‪ .‬ﻣﲀﺳﺐ ﻋﺒﺎدي ﻋﺒﻮد‪،‬‬
‫ﺎﻣﻌﺔ ﺮﺑﻼء‪ ،‬اﻟﻌﺮاق‬
‫ﻓﻘﺪ ﰷن ا ٔدب اﻟﻌﺮﰊ _وﻻ ﺰال_ ﻣﻌﯿﻨ ًﺎ ﻻ ﯾﻨﻀﺐ‪ ،‬ﳝﺪ ﲟﻜ ﻮ ت ﺟﻮاﻫﺮﻩ ﲆ ﻃﻮل اﻟﺰﻣﺎن‪ ،‬واﻟﻌﺼﻮر‪ ،‬وٕان ﻛﺘﺎب )ا ر اﻟﻔﺮﯾﺪ وﺑ ﺖ اﻟﻘﺼﯿﺪ( ﻫﻮ ٔ ﺪ ﺗ‬
‫اﳉﻮاﻫﺮ اﻟﻨﻔ ﺴﺔ اﻟﱵ ﺑﻘ ﺖ ﺣ ﺴﺔ اﳌﻜ ﺒﺎت‪ ،‬ﻣﺮﻫﻮﻧﺔ ﻟ ﺴ ــــــــــــــﺎن‪ ،‬ﺣﱴ اﻧﱪى ﻟﻬﺎ ر ﺎ ٌل؛ ﻟﯿﻨﲑوا و ﻬﺎ‪ ،‬وﯾُﻌﯿﺪوا روﻧﻘﻬﺎ ﻣﻦ ﺪﯾﺪ؛ إذ ﲻﺪ ا ﻛﺘﻮر ﻓﺆاد‬
‫ﻛﲔ إﱃ إﺧﺮاج ﻫﺬا اﻟﺴﻔﺮ اﳋﺎ ﻣﻦ ﺪﯾﺪ ﻋﻨﺪﻣﺎ ﴩ ﳐﻄﻮﻃﺘﻪ اﻟﱵ ﰷن ﻠﳱﺎ‪ِّ ،‬ﰒ ﻗﺎم ا ﻛﺘﻮر ﰷﻣﻞ ﺳﻠﲈن اﳉﺒﻮري ﺑﺘﺤﻘ ﻘﻪ‪ ،‬وﻃﺒﺎﻋﺘﻪ‪ ،‬وٕاﺧﺮا ﻪ ﲆ اﻟﻨﺤﻮ‬
‫ا ي ﺑﲔ ٔﯾﺪﯾﻨﺎ‪ ،‬و ٔﱒ ﻣﺎ ﳝﲒ ﻫﺬا اﻟﻜ ﺎب ﲶﺎﻣﺔ اﳌﺎدة اﻟﻌﻠﻤﯿﺔ ﻓ ﻪ‪ ،‬وﺗﻨﻮﻋﻬﺎ ﻣﺎ ﺑﲔ اﻟﺸﻌﺮ‪ ،‬واﻟﻨﱶ؛ إذ اﺣ ﻮى ﲆ ﻣﺎ ﯾﻘﺎرب ﻋﴩﻦ اﻟﻒ ﺑ ﺖ ﺷﻌﺮي ﻫﯿﻚ ﻋﻦ‬
‫ا ٔﺧ ﺎر‪ ،‬واﻟﻨﱶ اﻟﻔﲏ‪ ،‬ﻛﲈ ٔ ّن ﻣﺆﻟﻒ اﻟﻜ ﺎب ﺎش ﰲ اﳊﻘ ﺔ اﻟﱵ ٔﻋﻘ ﺖ ﺳﻘﻮط ﺑﻐﺪاد ﺳﻨﺔ )‪٦٥٦‬ﻫــ( ‪ ،‬وﯾﻌﻜﺲ ﺷﲁ اﳊﯿﺎة اﻟﺜﻘﺎﻓ ﺔ‪ ،‬واﻟﻌﻠﻤﯿﺔ‪ ،‬اﻟﱵ ﳣﺘﻊ ﲠﺎ‬
‫ﻠﲈؤﻫﺎ‪ .‬وﺗﻘﻮم اﻟﻔﻜﺮة اﻟﺮﺋ ﺴﺔ ﰲ اﻟﻜ ﺎب ﲆ ﲨﻊ ٔﻛﱪ ﻗﺪر ﳑﻜﻦ ﻣﻦ ا ٔﺑﯿﺎت اﻟﺸﻮارد اﻟﱵ ﺟﺮت ﳎﺮى ا ٔﻣـــــــــﺜﺎل‪ ،‬وﻜﻮن ﻗﺎﲚﺔ ﺑﺬاﲥﺎ‪ ،‬ﻣﺴﺘﻘ ﲟﻌﻨﺎﻫﺎ‪ ،‬ﲑ‬
‫ﳏﺘﺎ ﺔ إﱃ ﲑﻫﺎ ﰲ إﲤﺎم ﻣﻌﻨﺎﻫﺎ‪ ،‬وﻣ ﻠﲈ ﺷﻐﻠﺖ ﻗﻀﯿﺔ اﻟﴪﻗﺎت اﻟﺸﻌﺮﯾﺔ ٔذﻫﺎن اﻟﻨﻘﺎد اﻟﻘﺪﻣﺎء‪ ،‬ﻓﻘﺪ ﺷﻐﻠﺖ ذﻫﻦ اﻦ ٔﯾﺪﻣﺮ؛ إذ ﲀد ﯾ ﲏ ﻛﺘﺎﺑﻪ ﻠﳱﺎ؛ ﻓﻼ ﲀد‬
‫ﯾﺬ ﺮ ﺑ ًﺎ‪ٔ ،‬و ﶍﻮ ﺔ ٔﺑﯿﺎت إﻻ وذ ﺮ ﻣﻦ ٔ ﻦ ٔ ﺬﻩ ﺻﺎﺣ ﻪ ‪ ،‬وﻣﻦ ﻫﻮ ﳐﱰ ﻪ‪ ،‬و ٔ ﻦ ٔ ﺎد اﳌﺘﺒﻊ ‪ ،‬و ٔ ﻦ ٔﺧﻔﻖ‪ ،‬وﺑﻠﻎ ﻣﻦ اﻫ ﻣﻪ ﲠﺬﻩ اﻟﻘﻀﯿﺔ؛ ٔﻧ ّﻪ ٔﺣﴡ اﳌﺼﻄﻠ ﺎت‬
‫وﻓﺼﻞ اﻟﻘﻮل ﻓﳱﺎ‪ ،‬وﻧﻮع ﰲ اﺳﺘﻌﲈل اﻟﺸﻮاﻫﺪ اﳌﺮاﻓﻘﺔ ﻟﻬﺎ‪ ،‬ﰲ ﻣﻘﺪﻣ ﻪ اﻟﻨﻘﺪﯾﺔ‪ ،‬وﰷن ﺪدﻫﺎ ﺴﻌﺔ ﻋﴩ ﴐ ‪ ،‬ﻓﲀن ذ ﺎﻧﺒ ًﺎ ﺗﻨﻈﲑ ً‪ ،‬وﺗﻄﺒﯿﻘ ﺎ ‪.‬‬ ‫ا ا ﻠﳱﺎ ‪ّ ،‬‬
‫وﻫﺬا اﻟﺒﺤﺚ دراﺳﺔ ﺗﻄﺒﯿﻘ ﺔ ﰲ ﻫﺬا اﻟﻜ ﺎب‪.‬‬
‫‪٢٢‬‬
‫ازدواﺟ ﺔ اﻠﻐﺔ ى ﻃﻔﺎل وﺗ ٔﺛﲑﻫﺎ ﲆ ﺳﻠﻮ ﻬﻢ‬

‫د‪ .‬ﲰﲑة ﺣﺴﻦ ﻋﻄﯿﺔ‪،‬‬
‫اﳉﺎﻣﻌﺔ اﳌﺴ ﴫﯾﺔ‪ ،‬اﻟﻌﺮاق‬
‫ﺗﻌﺪ ﻣﺮ اﻟﻄﻔﻮ ﻣﻦ اﳌﺮا ﻞ اﳌﻬﻤﺔ ﰲ ﺣ ﺎة ا ٕﻻ ﺴﺎن وﺑﻨﺎء ﴯﺼﯿﺘﻪ وﺗﻄﻮر ﻗﺪراﺗﻪ اﳌﻌﺮﻓ ﺔ و ﺟ ﻋﯿﺔ واﳉﺴﻤﯿﺔ‪ ،‬ﻓﻬﻲ اﳌﺮ اﳌﻬﻤﺔ ﰲ ٔﻇﻬﺎر ذﰷء اﻟﻄﻔﻞ‬
‫وﺗﻠﻔﻈﻪ ا ٔوﱄ ﻠﻐﺔ واﻟﱵ ﯾﻌﱪ ﲠﺎ ﻋﲈ ﺮﯾﺪ ﻣﻦ ﻼل ﺣ ﲀك ﺑ ٔﻗﺮاﻧﻪ و ﺳﺘ ﺪام اﳌﻔﺮدات اﻠﻐﻮﯾﺔ ا ٔوﻟﯿﺔ اﻟﱵ ﯾﺘﻌﻠﻤﻬﺎ ﻣﻦ ا ٓﺧﺮﻦ‪ ،‬وا ﻦ ﺎءوا ﻣﻦ ﺑ ﺎت ﳐﺘﻠﻔﺔ‬
‫وﻣ ﻨﻮ ﺔ ﺳﻮاء ﰲ اﻟﺮوﺿﺔ ٔو اﳊﻲ ا ي ﯾﻌ ﺸﻮن ﻓ ﻪ‪ .‬ﯾﺘﻌﲅ ا ٔﻃﻔﺎل ﰲ ﲨﯿﻊ ٔﳓﺎء اﻟﻌﺎﱂ اﻟﺮﻣﻮز اﻟﺼﻮﺗﯿﺔ ﻋﻦ ﻃﺮﯾﻖ ﳏ ﰷة ﻣﺎ ﺗﺘﻠﻘﺎﻩ ٓذاﳖﻢ ﻣﻦ ٔﺻﻮات وﰲ ﻏﻀﻮن‬
‫ﺳﻨﻮات ﻗﻠﯿ ﺴﺘﻄﯿﻌﻮن ﻣﻦ ﻼﻫﺎ اﻣ ﻼك ﺮوة ﻟﻔﻈﯿﺔ ﻻ ﺑ ٔس ﲠﺎ واﺳﺘ ﺪام ﺮا ﯿﺐ ﻟﻐﻮﯾﺔ ﲱﯿ ﺔ ﻟﺘﻜﻮن وﺳﯿ اﻻﺗﺼﺎل ﺑﲔ ا ٔﻓﺮاد‪ .‬ا ّٕن زدواﺟ ﺔ اﻠﻐﻮﯾﺔ‬
‫ﻣﺼﻄﻠﺢ ﻗﺪﱘ ِﰲ ﺸ ٔﺗﻪ‪ ،‬ﺪﯾﺚ ِﰲ ﺗﻌﻘ ﺪﻩ‪ ،‬وﰷن ٔول ﻣﻦ درﺳﻪ دراﺳﺔ ﻠﻤﯿﺔ اﻠﻐﻮي ا ٔﻣﺮﲄ )ﻓﺮﺟﺴﻮن( ﰒ ﺗﻮاﻟﺖ ا راﺳﺎت َ َﲆ ﻫﺬﻩ اﻟﻈﺎﻫﺮة ﺑﻌﺪﻩ ﻣﻦ اﻟﻐﺮﺑﯿﲔ‬
‫ﻣ ﻞ )ﻓ ﺸﲈن( و)ﻓﺎﺳﻮ ( و ﲑﻫﲈ‪ ،‬وﻣﻦ اﻟﻌﺮب ﻣ ﻞ د‪ٕ .‬ا ﺮاﻫﲓ اﻟﻔﻼي ود‪ .‬ﳖﺎد اﳌﻮﳻ ود‪ .‬ﶊﺪ را اﻟﺰﻏﻮل و ﲑﱒ‪ .‬وﺳﻨ ﺎول ِﰲ ﻫ ََﺬا اﻟﺒﺤﺚ اﻟﺘﻌﺮف َ َﲆ‬
‫ﻇﺎﻫﺮة زدواﺟ ﺔ اﻠﻐﻮﯾﺔ و ٔﺳﺒﺎب ﺪو ﺎ واﳌﺸ ت اﻟﱵ ﻧﺘﺠﺖ ﻋﳯﺎ و ٓ رﻫﺎ ﲆ ﺳﻠﻮك ﻃﻔﺎل‪ ،‬ﰒ اﳊﻠﻮل اﳌﻘﱰ ﺔ ﻟﻌﻼج ﻫﺬﻩ اﻟﻈﺎﻫﺮة‪.‬‬
‫ﺴﺎع ا ﻻﱄ ﻟ ٕﻼﺿﺎﻓﺔ ﰲ اﻟﻘﺮ ٓن اﻟﻜﺮﱘ‬

‫د‪ .‬رﻓﺎﻩ ﻋﺒﺪ اﳊﺴﲔ ﺪي اﻟﻔ ﻼوي‪،‬‬
‫ﻣﻦ ا ٔﺳﺎﻟﯿﺐ اﻟﱵ ﺎء ﻠﳱﺎ ﻛﺘﺎب ﷲ و ٔﺳﻬﻤﺖ ﰲ ﺗﻮﺳﯿﻊ ا ﻻ اﻻٕﺿﺎﻓﺔ ﺮﻛﻨﳱﺎ‪ :‬اﳌﻀﺎف واﳌﻀﺎف إﻟﯿﻪ ﻓ ﻮﺳﯿﻊ ا ﻻ ﻋﻨﺪ اﻠﻐﻮﯾﲔ ﻫﻮ اﳋﺮوج ﻋﻦ ا ٔﺻﻞ‬
‫ﺴﺎع ﰲ اﳌﻔﺮدات ٔم ﺴﺎع ﰲ ا ٔﺳﺎﻟﯿﺐ‪ .‬ﻓﻘﺪ ﻟﺖ اﻻٕﺿﺎﻓﺔ ﰲ اﻟﻘﺮ ٓن اﻟﻜﺮﱘ اﳊﲒ اﻟﻮاﺳﻊ واﻟﻜ ﲑ‬ ‫واﻟ ﺴﺎﻣﺢ ﰲ دﻗﺔ اﻟﻌﺒﺎرة ﻋﻦ اﳌﻌﲎ اﳌﺮاد ﺳﻮاء ﰲ ذ‬
‫ﳌﺎ ﻟﻬﺎ ﻣﻦ ا ﺮ ﰲ ﺗﻨﻈﲓ ٔواﴏ اﻟ م وﺗﻮﺛﯿﻘﻪ وﺟﻌ ﻣﱰاﺑﻄ ًﺎ ﻣ ٓزر ًا ﻧﺘﻠﻤﺴﻪ ﰲ ٔﺛﻨﺎء وﻇﯿﻔﳤﺎ اﻟﺒﻨﺎﺋﯿﺔ اﻟﱵ ﺴﺎﱒ ﰲ ﲤﺎﺳﻚ ﻣﻔﺮدات اﻠﻐﺔ واﺴ ﺎ ﺎ ﺣﱴ ﺪّت ﲰﺔ‬
‫رزة ﰲ ﻛﺘﺎب ﷲ ﻣﻦ ﻃﺮﯾﻖ ﺗﻮﻇﯿﻔﻬﺎ وﻫﯿﳫﯿﳤﺎ ﰲ ﺗﻐﯿﲑ )اﳌﻀﺎف إﻟﯿﻪ( وﺛﺒﺎت )اﳌﻀﺎف( و ٔﺑﻌﺎدﻫﺎ ا ﻻﻟﯿﺔ ﰲ ﺳﯿﺎﻗﺎت ورودﻫﺎ ﰲ اﻟﻨﺺ اﻟﻘﺮ ٓﱐ؛ ﻓﲀﻧﺖ ﻓﺮﺿﯿﺔ‬
‫اﻟﺒﺤﺚ ﺑﯿﺎن ﺮ ا ﻻﱄ ﻟﻼﺿﺎﻓﺔ ﰲ اﻟﻘﺮ ٓن اﻟﻜﺮﱘ وﻣﺸﳫﺔ اﻟﺒﺤﺚ ﺗﺪور ﺣﻮل ﺑﯿﺎن ﺗ ا ﻻﻻت‪ .‬و ٔ ّﻣﺎ اﻟﺒﺤﺚ ﻓ ﺘﻜﻮن ﻣﻦ ﻣ ﺤﺜﲔ ﯾﺘﻘﺪ ﲈ ﲤﻬﯿﺪ ﺑﻌﻨﻮان ﻣﻔﻬﻮم‬
‫ﺴﺎع ا ﻻﱄ ﻟﻐﺔ واﺻﻄﻼ ًﺎ ‪ ،‬وﰲ اﳌﺒﺤﺚ ا ٔول ﻣﳯﲈ ﺗﻨﺎوﻟﻨﺎ ﻣﻔﻬﻮم اﻻٕﺿﺎﻓﺔ ﻟﻐﺔ واﺻﻄﻼ ًﺎ و ٔﻗﺴﺎم اﻻٕﺿﺎﻓﺔ‪ ،‬و ٔﺣﲀ ﺎ وﺿﻮاﺑﻄﻬﺎ‪ّ ٔ .‬ﻣﺎ اﳌﺒﺤﺚ اﻟﺜﺎﱐ ﻓﻌﺮﺿﻨﺎ‬
‫ﻓ ﻪ ٔﻏﺮاض ا ٕﻻﺿﺎﻓﺔ ودﻻﻻﲥﺎ ﰲ اﻟﻘﺮ ٓن اﻟﻜﺮﱘ وﻣﳯﺎ ‪ :‬ﺗ ٔﻧ ﺚ اﳌﺬ ﺮ‪ ،‬وﺗﺬﻛﲑ اﳌﺆﻧﺚ‪ ،‬واﻟﺒﻨﺎء واﻟﻈﺮﻓ ﺔ واﳌﺼﺪرﯾﺔ و ﺴﺎع ﰲ اﻟ م‪ ،‬واﻻٕﳚﺎز و ﺧ ﺼﺎر ‪,‬‬
‫واﳊﺎ ﺔ إﱃ اﳌﻌﲎ‪ ،‬وﺟﻮاز ﺬف ء اﻟﺘ ٔﻧ ﺚ ﻣﻦ ٓﺧﺮ اﳌﻀﺎف‪ ،‬ﰒ ﰷﻧﺖ اﳋﺎﲤﺔ اﻟﱵ ﺗﻀﻤﻨﺖ ا ﺮز ﻣﺎ ﺎء ﻣﻦ ﻧﺘﺎﰀ ّ‬
‫ﺗﻮﺻﻞ ٕا ﳱﺎ اﻟﺒﺤﺚ‪.‬‬
‫ﻋﻮﳌﺔ ا ٔﺑ ﺔ ﺷﺘﻘﺎﻗ ﺔ اﻟﻌﺮﺑﯿﺔ ﰲ اﳌﺼﻄﻠﺢ اﻟﻌﻠﻤﻲ‬

‫ﻓﺮﯾﺪة ﺷﻮرو‪،‬‬
‫اﳌﻌﻬﺪ اﻟﻌﺎﱄ ﻠﻐﺎت ﺑﻨﺎﺑﻞ‪ ،‬ﺗﻮﺲ‬
‫ﺳ ٔﻫﱲ ﰲ ﻫﺬﻩ اﳌﺪا ﲟﺴ ٔ دﻗ ﻘﺔ ﺗﻨﺪرج ﲷﻦ ﲢﺪ ت اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﻠﻌﻮﳌﺔ اﻠﻐﻮﯾﺔ ﱪ ﺗﻌﺎﻣﻠﻬﺎ ﻣﻊ اﻠﻐﺎت اﳌﺼﺪر اﻟﱵ ﺴﺘﻘﻲ ﻣﳯﺎ ﻣﺼﻄﻠ ﺎﲥﺎ اﻟﻌﻠﻤﯿﺔ‪ .‬وﺗ ٔﰐ ﻫﺬﻩ‬
‫اﳌﺪا ﲢﺖ ﻋﻨﻮان "ﻋﻮﳌﺔ ا ٔﺑ ﺔ ﺷﺘﻘﺎﻗ ﺔ اﻟﻌﺮﺑﯿﺔ ﰲ اﳌﺼﻄﻠﺢ اﻟﻌﻠﻤﻲ"‪ .‬وﺳﳯﱲ ﲟ ﺎل اﻠﻐﺔ ا ﺘﺼﺔ ٔي ﳎﺎل اﻟﻌﻠﻮم ﺣ ﺚ ﺗﺘﻮا ﺮ اﳌﺼﻄﻠ ﺎت ا ﺧ واﳌﻌﺮﺑﺔ‬
‫ﰲ اﳌﻌﺎﰖ ا ّﺘﺼﺔ اﻟﺜﻨﺎﺋﯿﺔ واﻟﺜﻼﺛﯿﺔ اﻠﻐﺔ‪ .‬إن اﻟﻌﻮﳌﺔ ﺗﻄﻠﻊ وﺗﻮ ّ ﻪ اﻗ ﺼﺎدي ﺳﯿﺎﳼ ﻜ ﻮﻟﻮ ﺣﻀﺎري وﺛﻘﺎﰲ وﻣﻦ ٔ ﺮز ٔﺷﲀل اﻟﻌﻮﳌﺔ اﻟﺜﻘﺎﻓ ﺔ اﻟﱵ ﺸﻬﺪﻫﺎ اﻟﻌﴫ‬
‫اﳊﺎﴐ ﱔ اﻟﻌﻮﳌﺔ اﻠﻐﻮﯾﺔ‪ ،‬ﻓﻘﺪ وﻓﺮت اﻟﻌﻮﳌﺔ ﲨﯿﻊ اﻟﻮﺳﺎﺋﻞ ﲁ ﻟﻐﺔ ﻟﺘ ﺪ ﺳ ﻠﻬﺎ إﱃ اﻟﺘﻮاﺻﻞ ا وﱄ ﻟﻜﳯﺎ ﻣﻦ ﺔ ٔﺧﺮى ﻗﺪ ٔدت إﱃ ﻣﺎ ﳝﻜﻦ ٔن ﻧﻄﻠﻖ ﻠﯿﻪ‬
‫ﻣﺼﻄﻠﺢ " ٔزﻣﺔ اﻟﻬﻮﯾﺔ اﻠﻐﻮﯾﺔ" إذ ﱂ ﯾﻌﺪ ٔﺑﻨﺎء اﻟﻌﴫ ﯾﻌ ﺸﻮن اﻠﻐﺔ اﻟﱵ ﺗ ﳣﻲ ٕا ﳱﺎ ﺛﻘﺎﻓﳤﻢ‪ ،‬ﯾﺪل ﲆ ذ ﻣﺰاﲪﺔ اﻠﻐﺘﲔ ﳒﻠﲒﯾﺔ واﻟﻔﺮﺴﯿﺔ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﰲ ﺑﻼدﻫﺎ‪،‬‬
‫ﰲ وﺳﺎﺋﻞ ا ٕﻻ ﻼم وﰲ اﻟﻮ ﺋﻖ اﻟﺮﲰﯿﺔ‪ ،‬و ﺎﺻﺔ ﰲ اﻟﺘﻌﻠﲓ‪ .‬وﲡﺎوزت اﻟﻌﻮﳌﺔ اﻠﻐﻮﯾﺔ ا ﺎﻻت اﻟﻌﺎﻣﺔ إﱃ ﳎﺎﻻت ﺧ ﺼﺎص وﻣﻦ ﻣﻈﺎﻫﺮﻫﺎ اﳌﻌﺎﰖ اﻟﺜﻨﺎﺋﯿﺔ واﻟﺜﻼﺛﯿﺔ‬
‫اﻠﻐﺔ اﻟﺰاﺧﺮة ﳌﺼﻄﻠ ﺎت اﳌﻘﱰﺿﺔ ﻣﻦ اﻠﻐﺘﲔ ﳒﻠﲒﯾﺔ واﻟﻔﺮﺴﯿﺔ‪ ،‬ﻓﻼ ﳜﻠﻮ ﻣﻌﺠﻢ ﳐﺘﺺ ﻣﻦ اﳌﺼﻄﻠ ﺎت ا ﺧ ‪ ،‬وﻣﻦ ذ ﻣ ﻼ "ﺗﻠﻔﻮن" و "ﺗﻠ ْﻜﺲ"‬
‫اﳌﻌﺮﺑﺔ‪ٔ ،‬ي اﳌﺼﻄﻠ ﺎت اﳌﻘﱰﺿﺔ‬ ‫و"ﻓﺎ ْﻛﺲ"‪ .‬إﻻ ٔﻧﻨﺎ ﻟﻦ ﻧﺘﻮﻗﻒ ﻋﻨﺪ اﳌﺼﻄﻠﺢ ا ﺧ ﻞ وٕاﳕﺎ ﺳ ﻄﺮق إﱃ ﺷﲁ ٓﺧﺮ ﻣﻦ ٔﺷﲀل اﻟﻌﻮﳌﺔ اﻠﻐﻮﯾﺔ‪ ،‬وﱔ اﳌﺼﻄﻠ ﺎت ّ‬
‫اﳌُﻨﺪ ِﻣ ﺔ ﰲ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ‪ .‬واﻟ ذج ﻣﻦ ﻫﺬﻩ اﳌﺼﻄﻠ ﺎت ﺪﯾﺪة ﰲ اﳌﻌﺎﰖ اﻟﻌﺎﻣﺔ ٔو ا ّﺘﺼﺔ‪ .‬ﻓﻜ ﻒ ﻋ ُّﺮﺑﺖ ﻫﺬﻩ اﳌﺼﻄﻠ ﺎت ﻣﻮﺿﻮع دراﺳ ﺎ؟ ﻣﺎ ﱔ ا ﻟﯿﺎت‬
‫اﳌﻌﳣﺪة ﰲ وﺿﻊ اﳌﺼﻄﻠﺢ اﻟﻌﻠﻤﻲ اﻟﻌﺮﰊ اﳌﻨﻘﻮل ﻣﻦ اﻠﻐﺎت ا ٔﺟ ﺒﯿﺔ؟ وﻫﻞ ﳒﺤﺖ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﰲ ﲢﺪّ ﳞﺎ ﻠﻌﻮﳌﺔ اﻠﻐﻮﯾﺔ ﺑﻨﻘﻞ اﳌﺼﻄﻠﺢ اﻟﻌﻠﻤﻲ ﱪ ﻫﺬﻩ ا ﻟﯿﺎت؟‬
‫‪٢٣‬‬
‫اﻟﺒﻌﺪ اﻟﻨﻔﴘ ﰲ ﻧﺼﻮص دب اﳌﴪ )ﻫﺎﻣﻠﺖ ٔﳕﻮذ ًﺎ(‬

‫د‪ .‬ﻣﻌﯿﺒﺪ ﻠﻒ راﺷﺪ اﻟﻌ ﺴﺎوي‪،‬‬
‫ﻣﻌﻬﺪ اﻟﻔ ﻮن اﶺﯿ ﻠﺒﻨﲔ‪ ،‬اﳌﺪ ﺮﯾﺔ اﻟﻌﺎﻣﺔ ﻟﱰﺑﯿﺔ اﻟﺒﴫة‪ ،‬اﻟﻌﺮاق‬
‫ﰷن ا ٔدب اﻻٕﻏﺮﯾﻘﻲ وﻣ ﺬ ﺸ ٔﺗﻪ ا ٔوﱃ ﯾﺘ ﺬ ﻣﻦ ﴏا ﺎت اﻟﻨﻔﺲ ا ٕﻻ ﺴﺎﻧﯿﺔ ورﻏﺒﺎﲥﺎ ﻣﺎدﺗﻪ اﻟﺮﺋ ﺴﯿﺔ‪ ،‬ﺣ ﺚ ﰷن اﻟﻜ ﺎب اﻻٕﻏﺮﯾﻖ ﳛﺎوﻟﻮن ﰲ ﻧﺼﻮﺻﻬﻢ اﻟﻜﺸﻒ‬
‫ﻋﻦ ﺧ ﺎ اﻟﻨﻔﺲ ا ٕﻻ ﺴﺎﻧﯿﺔ ﺳﻮاء ﺎء ﻫﺬا اﻟﻜﺸﻒ ﺸﲁ ٔﺳﻄﻮري او واﻗﻌﻲ‪ ،‬ﻛﲈ ٔﳖﻢ ﱂ ﳞﻤﻠﻮا اﻟﻮاﻗﻊ ا ي ﰷن ﯾﻌﺪ اﳌﺆﺮ ا ٔﻛﱶ ٔﳘﯿﺔ ﰲ ﺗﻔﺴﲑ ﺳﻠﻮك ﴯﺼﯿﺎت‬
‫ﺗ اﻟﻨﺼﻮص ﻫﺬا ﻣﻦ ﺣ ﺔ وﻣﻦ ﺣ ﺔ اﺧﺮى ﻓﺎن ﺗ اﻟﻨﺼﻮص ﰷﻧﺖ ﲤﺜﻞ وﺳﯿ ﻠﺘﻨﻔ ﺲ ﻋﻦ اﳌﻌﺎ ة اﻟﱵ ﯾﻌ ﺸﻬﺎ اﲀﺗﺐ او ا ﳣﻊ وﳏﺎو ذات رد ﻓﻌﻞ‬
‫اﻧﻌﲀﳼ ﳌﻌﺎﳉﺔ ﺳﻠﺒﯿﺎت ذ اﻟﻮاﻗﻊ و ﲆ ﻫﺬا ﻓﺎن ﰻ ﻧﺺ ٔﺑﺪاﻋﻲ ﻫﻮ ﻧ ﺔ ﺳﺒ ﺔ ﻧﻔﺴﯿﺔ وﳛﺘﻮي ﲆ اﻟﻈﺎﻫﺮ واﳌﻀﻤﺮ اﻧﻪ اﻧﻌﲀس ﻟﻨﻔﺴﯿﺔ ا ﲀﺗﺐ واﻧﻌﲀس‬
‫ﰲ اﻟﻐﺎﻟﺐ ﻟﺒﻮاﻋﺚ ﺎﻓ ﺔ ﲆ اﳌﺒﺪع ﺣ ﯾ ﺞ ﻧﺼﻪ ا ٔدﰊ وﻣﻊ ﺗﻌﺎﻗﺐ اﻟﻔﱰات اﻟﺰﻣ ﯿﺔ وﻇﻬﻮر اﻟﻨﻈﺮ ت اﻟﱵ اﻫﳣﺖ ﻟﺘ ﻠﯿﻞ اﻟﻨﻔﴘ وﺗﻄﻮرﻫﺎ ﰲ ﻫﺬا ا ﺎل‬
‫ٔﺻﺒﺤﺖ ﴏا ﺎت اﻟﻨﻔﺲ ا ٕﻻ ﺴﺎﻧﯿﺔ ﱔ ﻣﺎدة ﺗ اﻟﻨﻈﺮ ت وﲠﺬا ٔ ﺬت ﺗ اﻟﻨﻈﺮ ت اﻟﻨﺼﻮص ا ٔدﺑﯿﺔ ﻋﯿﻨﺎت ﻠﺘ ﻠﯿﻞ اﻟﻨﻔﴘ وﺗﻨﺎوﻟﺖ ﴯﺼﯿﺎﲥﺎ وواﻗﻊ ﺗ‬
‫اﻟﺸﺨﺼﯿﺎت ﻫﺎدﻓﺔ ﻣﻦ وراء ﰻ ذ اﱃ اﻟﻮﺻﻮل اﱃ دواﻓﻊ ذ اﻟﻨﺘﺎج ا ٔدﰊ وﺳﻠﻮﯿﺎت ﴯﺼﯿﺎﺗﻪ وﻣﺪى ﻼﻗﺔ ا ﲀﺗﺐ –اﻟﻨﻔﺴﯿﺔ ‪ -‬ﲁ ذ ‪ .‬ﻟﻘﺪ و ﺪت‬
‫ﺗ اﻟﻨﻈﺮ ت ﰲ ﻧﺼﻮص ﺷﻜﺴﺒﲑ اﳌﴪﺣ ﺔ ﻣﺎدة ﻏﻨﯿﺔ ﳌﯿﺪاﳖﺎ اﻟﺘ ﻠﯿﲇ اﻟﻨﻔﴘ ﻓ ﻨﺎوﻟﺖ ﺗ اﻟﻨﺼﻮص ﻟﻨﻘﺪ اﻟﺘ ﻠﯿﲇ اﻟﻨﻔﴘ ﻣ ﯿﻨﺔ ٔﺳﺒﺎب ودواﻓﻊ اﻟﴫا ﺎت‬
‫اﻟﻨﻔﺴﯿﺔ دا ﻞ ﺗ اﻟﻨﺼﻮص وا ﺮ اﻟﻮاﻗﻊ اﻟﺒ ﱩ واﻟﻄﺒﻘﻲ ﰲ ﺗﻔﻌﯿﻠﻬﺎ‪ .‬وﳑﺎ ﺗﻘﺪم ﻓﻘﺪ ارﺗ ٔى اﻟﺒﺎﺣﺚ ٔن ﯾ ﺎول ﰲ ﲝﺜﻪ اﻟﻜﺸﻒ ﻋﻦ اﻟﺒﻌﺪ اﻟﻨﻔﴘ ﻟﺸﺨﺼﯿﺔ ﻫﺎﻣﻠﺖ‬
‫ﻧﻌﲀﺳﺎت اﻟﱵ ٔ ﺮت ﱔ ا ٔﺧﺮى ﲆ ﴯﺼﯿﺔ ﻫﺎﻣﻠﺖ ﳑﺎ دﻓﻌﺘﻪ اﱃ ﴯﺼﯿﺔ ذات ٔﺑﻌﺎد ﻣ ﺒﺎﯾﻨﺔ ﰲ ﻜﻮﳯﺎ‪.‬‬ ‫ﳏﺎوﻻ اﻟﻮﺻﻮل إﱃ ﺗ‬
‫اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ و اﻟﻘﺮ ٓن اﻟﻜﺮﱘ ﻧﻈﺎم ﺻﻮﰐ وا ﺪ‬

‫د‪ .‬اﻟﻬﻮاري ﻗﺎرة ﺪاش‪،‬‬
‫ﺎﻣﻌﺔ وﻫﺮان ‪ ،١‬اﳉﺰا ﺮ‬
‫ﰲ ﻫﺬا اﳌﻘﺎل ﺳﻮف ٔدﻞ ﲆ ٔن ﻧﻈﺎم ﺻﻨﺎ ﺔ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ اﻟﻄﺒﯿﻌﻲ ا ي ﯾﻌﳣﺪ ﻠﯩﺎﻟﺼﻔﺎت اﻟﺼﻮﺗﯿﺔ وﳐﺎرج ا ٔﺻﻮات وﻣﻮاﻗﻊ اﻟﺼﻮت ﰲ اﳉﺬر و ﲆ ﺻﻮر اﳉﻬﺮ‬
‫واﳍﻤﺲ ﰲ اﳉﺬور اﻠﻐﻮﯾﺔ اﻟﻌﺮﺑﯿﺔ ﺑﺘﻘﺎﻟﯿﳢﺎ ا ٔرﺑﻌﺔ وﺗﻨﺎﻇﺮﻫﺎ ﺑﲔ اﳉﻬﺮ واﳍﻤﺲ‪ .‬ﻫﺬﻩ ا ٔﺳﺲ اﻟﱵ ﺗﻌﳣﺪ ﻠﳱﺎ اﻠﻐﺔ ﰲ ﻧﻈﺎم ﺻﻨﺎﻋﳤﺎ ا ي ﳚﺐ ٕا ﺎدة اﻟﻨﻈﺮ ﻓ ﻪ ﺣﱴ‬
‫ﻧﻌﯿﺪ اﻟﺘﻮازن اﳊﻘ ﻘﻲ ﳉﺬور اﻠﻐﺔ ﰲ ﺗﺘﺎﺑﻌﻬﺎ ﰲ ﺮﺗ ﺐ ﺬورﻫﺎ‪ ،‬ﻫﺬﻩ ا ٔﺳﺲ ﱔ ﻧﻔﺴﻬﺎ اﻟﱵ ﺮﻜﺰ ﻠﳱﺎ اﻟﻨﻈﺎم اﻟﺼﻮﰐ ﰲ اﻟﻘﺮ ٓن اﻟﻜﺮﱘ ﺗﻔﺼﯿﻼ ﳌﺎ ﺎء ﰲ ٔول‬
‫اﻟﺒﻘﺮة ﻣﻊ ا ٓﯾﺔ ا ٔوﱃ واﻟﺜﺎﻧﯿﺔ ﻣﳯﺎ؛ ﻗﺎل ﺗﻌﺎﱃ‪" :‬اﱂ ذ اﻟﻜ ﺎب ﻻ رﯾﺐ ﻓ ﻪ"‪ .‬ﻓﻬﻨﺎك ﻼﻗﺔ ﻗﻮﯾﺔ ﺑﲔ اﳊﺮوف اﳌﻘﻄﻌﺔ واﻟﻜ ﺎب وﲨ ﻻ رﯾﺐ ﻓ ﻪ‪ .‬وﻫﺬﻩ اﳊﺮوف‬
‫اﳌﻘﻄﻌﺔ ﺗﺆدي ﺑﺪورﻫﺎ إﱃ اﻟﻌﺎﺋﻼت اﻟﺼﻮﺗﯿﺔ اﻟﱵ ﺗﺘﺤﲂ ﰲ ﻧﻈﺎم ﺻﻨﺎ ﺔ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ‪ ،‬ﳁﺜﻼ ا ٔﻟﻒ ﰲ ٔول اﻟﺴﻮرة ﺮﻣﺰ ﻟﻌﺎﺋ ٔﺻﻮات ا ﻠﲔ‪ :‬ا ٔﻟﻒ واﻟﻮاو واﻟﯿﺎء‪،‬‬
‫واﳌﲓ واﻟﻼم ﺮﻣﺰان ﻟﻌﺎﺋ ا ٔﺻﻮات اﳌﺘﻮﺳﻈﺔ اﻟﻨﻮن واﳌﲓ واﻟﺮاء واﻟﻼم‪ .‬واﻟﻘﺎف وﻣﺎ ﲤﺜﻞ ﻣﻦ ﺎﺋ ا ٔﺻﻮات ا ﻬﻮرة اﻟﺸﺪﯾﺪة‪ .‬ﻃﺒﻌﺎ ﰻ ﻫﺬا ﺳ ﺴﺘ ﺪ ﻓ ﻪ ﲆ‬
‫ﻣﺎ ﺎء ﰲ ﰻ اﻟﻘﺮ ٓن اﻟﻜﺮﱘ ﻣﻦ ٓ ت و ﺎﺻﺔ ﻣﺎ ﺎء ﰲ ﲒ اﻟﻔﺎﺻ اﻟﻘﺮ ٓﻧﯿﺔ ﻣﻊ اﻟﴩ واﻟﺘﻮﺿﯿﺢ ﳌﺎ ﲽﺾ ﻣﻦ ﻼﻗﺎت ﺻﻮﺗﯿﺔ ﰲ اﻟﻔﻮاﺻﻞ ﺑﲔ ا ٔﺻﻮات‪.‬واﻟﻨ ﺔ‬
‫اﳯﺎﺋﯿﺔ ٔن ﻧﻈﺎم ﺻﻨﺎ ﺔ اﻠﻐﺔ وﻧﻈﺎم اﻻٕﲺﺎز اﻟﺼﻮﰐ ﰲ اﻟﻘﺮ ٓن اﻟﻜﺮﱘ ﻧﻈﺎم وا ﺪ‪ ،‬ﻣﻦ ﻋﻨﺪ ﷲ اﻟﻌﺰﺰ اﻟﻌﻠﲓ اﳊﻜﲓ اﳋﺒﲑ‪.‬‬
‫إﺷﲀﻟﯿﺔ ﺮﲨﺔ اﻟﻨﺺ اﻟﻘﺮ ٓﱐ‬

‫ﻓﺮو ﺔ ﻦ اﻟﴩﯾﻒ‪،‬‬
‫ﺎﻣﻌﺔ ﻣﻮﻟﻮد ﻣﻌﻤﺮي‪ ،‬اﳉﺰا ﺮ‬
‫ﻣﻦ ٔ ﺮز ﻣﺎ ﳣﲒ ﺑﻪ اﻟﻨﺺ اﻟﻘﺮ ٓﱐ ﻮﻧﻪ ﻧﺼﺎ ﻣ ﻔ ﺎ ﲆ اﳌﻌﲎ ﻣﻦ ﺔ و دﻗ ﻖ اﳌﺼﻄﻠﺢ ﻣﻦ ﺔ ٔﺧﺮى ﳑﺎ ﳚﻌﻞ ﺮﲨﺘﻪ ﻣﻦ اﻟﺼﻌﻮﺑﺔ ﲟﺎ ﰷن‪ ،‬ﺣ ﺚ ﳚﺪ اﳌﱰﰖ‬
‫ﻧﻔﺴﻪ ٔﻣﺎم ﻓﻬﻮم ﻣ ﻌﺪدة ﻟﺘﻌﺪد اﻟﺘﻔﺎﺳﲑ و اﻟﺘ ٔوﯾﻼت و ٔﻣﺎم ﻣﺼﻄﻠﺢ دﻗ ﻖ ﻻ ﯾﻘ ﻞ اﻟﺘﻌﺪد ٔو اﻟﱰادف‪ ،‬ﻣﻦ ﻫﻨﺎ ﻓﺎٕن اﻻٕﺷﲀﻟﯿﺔ اﻟﱵ ﯾﻮا ُ ﻬَﺎ ﻣﱰﰖ اﻟﻨﺺ اﻟﻘﺮ ٓﱐ ﻻ‬
‫ﳬﻦ ﰲ ﺪﻟﯿﺔ اﻻٕﻣﲀﻧﯿﺔ و ﺳﺘ ﺎ و ٕاﻧ ّﲈ ﺗﻄﺮح ٔوﻻ ﲆ ﺻﻌﯿﺪ اﳌﺮ ﻠﺘﲔ ا ٔوﱃ و اﻟﺜﺎﻧﯿﺔ ﻟﺴﲑورة اﻟﱰﲨﺔ وﻫﲈ اﻟﻔﻬﻢ و اﻟﺘ ٔوﯾﻞ‪ ،‬وﳬﻦ اﻻٕﺷﲀل ٔﺳﺎﺳﺎ ﻣﻦ‬
‫ﻼل اﶈﺎو ﰲ اﻟﻮﺻﻮل إﱃ اﻟﻔﻬﻢ؛ إذ ﻻﺑﺪ ﻠﻤﱰﰖ ٔن ﯾَﻔﻬﻢ ﰾ ﯾُﻔﻬﻢ ا ٔﻣﺮ ا ي ﳛﯿ إﱃ اﻟﻨﺼﻮص اﻟﺸﺎر ﺔ ﺑﺘﻌﺪد ٔزﻣ ﺔ ﺻﺪورﻫﺎ و ﻣﺬاﻫﳢﺎ ﳑﺎ ﳚﻌﻞ ﻣﻦ ر‬
‫اﻟﻮﺻﻮل إﱃ اﳌﻌﲎ ﺷﺎﻗﺔ ٔو ﳏﻨﺔ ﻛﲈ ٔﺳﲈﻫﺎ ﺮﻣﺎن‪ .‬و ﻧﯿﺎ ﲆ ﺻﻌﯿﺪ اﳌﺮ ا ٔ ﲑة و ﻫﻮ ﻓﻌﻞ اﻟﱰﲨﺔ وﳬﻦ ذ ﻓ ﺴﻤﻰ ٕﺷﲀﻟﯿﺔ اﳌﺼﻄﻠﺢ و ر اﻟﺒﺤﺚ‬
‫ﻋﻦ ﻣﲀ ﰲ ﻟﻐﺔ اﻟﻬﺪف و ﻫﺬا راﺟﻊ إﱃ ﻃﺒﯿﻌﺔ اﳌﺼﻄﻠﺢ اﻟﻘﺮ ٓﱐ‪ .‬و ﰲ ﰻ ّﻣﺮة ﳚﺪ اﻟﻘﺎرئ اﳌﺴﻘ ﻞ ﻧﻔﺴﻪ ٔﻣﺎم ﺮﲨﺔ ﺪﯾﺪة ﲑ ﺗ اﻟﱵ ﻗﺪ ر ٓﻫﺎ وﻗﺮ ٔﻫﺎ‬
‫ﻣﻦ ذي ﻗ ﻞ‪.‬‬
‫‪٢٤‬‬
‫اﻟﺘﻨﻮع اﻠﻐﻮي ﰲ ﳏﺎﻓﻈﺔ ﻇﻔﺎر‬

‫ﺳﺎﱂ ﺳﻬﯿﻞ ﲆ ﲑون اﻟﺸﺤﺮي‪،‬‬
‫ﺳﻠﻄﻨﺔ ﻋﲈن‬
‫ﳣﲒ ﳏﺎﻓﻈﺔ ﻇﻔﺎر ﻋﻦ ﻛﺜﲑ ﻣﻦ ٔﻗﺎﻟﲓ ﺷﺒﻪ اﳉﺰﺮة اﻟﻌﺮﺑﯿﺔ ﺑﻮﺟﻮد ﺗﺒﺎ ﻦ ﻟﻐﻮي ﺑﲔ ﻟﻐﺎت ٔﻫﻠﻬﺎ؛ ﺣ ﺚ ﳝﻜﻦ ﺗﻘﺴﲓ ﻣ ﻈﻮﻣﳤﺎ اﻠﻐﻮﯾﺔ إﱃ ﻗﺴﻤﲔ رﺋ ﺴﲔ ﻫﲈ‪ :‬اﻠﻐﺔ‬
‫اﻟﻌﺮﺑﯿﺔ وﻟﻬ ﺎﲥﺎ ﰲ اﳊﻮاﴐ وﺟﺰء ﻣﻦ دﯾﺔ ﻇﻔﺎر وﯾ ﻈﻢ ﻓ ﻪ‪ :‬اﻠﻬ ﺔ اﻟﻌﺮﺑﯿﺔ ﰲ اﳊﻮاﴐ اﻟﺮﺋ ﺴﺔ‪ :‬ﳈﺪﯾﻨﺔ ﺻﻼ ‪ ،‬وﻣﺮ ط‪ ،‬وﻃﺎﻗﺔ‪ ،‬وا ﻠﻬ ﺔ اﻟﻀﻨﯿﺔ واﳌﻌﺮوﻓﺔ ﳏﻠﯿﺎ‬
‫ﺑﻠﻬ ﺔ ﺑ ﺖ ﻛﺜﲑ‪ ،‬واﳌﻨ ﴩة ﰲ دﯾﺔ ﻇﻔﺎر‪ٔ .‬ﻣﺎ اﻟﻘﺴﻢ اﻟﺜﺎﱐ)ﻣﻮﺿﻮع ﻫﺬا اﳌﻘﺎل( ﻓﻬﻮ‪ :‬اﻠﻐﺎت اﻟﻌﺮﺑﯿﺔ اﳉﻨﻮﺑﯿﺔ اﻟﺒﺎﻗ ﺔ‪ ،‬واﳌﻨ ﴩة ﰲ ﻣ ﺎﻃﻖ رﯾﻔ ﺔ وﲱﺮاوﯾﺔ ﻣﻦ‬
‫ﳏﺎﻓﻈﺔ ﻇﻔﺎر‪ ،‬ﰷﻠﻐﺔ اﻟﺸﺤﺮﯾﺔ واﳌﻬﺮﯾﺔ واﻟﺒﻄﺤﺮﯾﺔ واﻟﻬﺒﯿﻮت‪.‬‬
‫اﳌﻌﻮﻗﺎت واﳌﺸ ﰻ اﻟﱵ ﺗﻮا ﻪ ﺗﻌﻠﲓ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﻠﻨﺎﻃﻘﲔ ﺑﻐﲑﻫﺎ ﰲ دول إﻓﺮﯾﻘ ﺎ ﺟ ﻮب اﻟﺼﺤﺮاء‬
‫د‪ٔ .‬ﲪﺪ ٔﺑﻮ اﻟﻔ ﺢ ﻋ ن‪،‬‬
‫ﺎﻣﻌﺔ اﳌ ﻓ ﺼﻞ‪ ،‬ﺸﺎد‬
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‫ﻋﺮﻓﺖ ٔﻓﺮﯾﻘ ﺎ ﺟ ﻮب اﻟﺼﺤﺮاء ) ﺸﺎد ‪ -‬اﻟﻨﯿﺠﺮ ‪ -‬ﻧﯿ ﲑ ‪ -‬ﻣﺎﱄ ‪ -‬اﻟﳬﺮون( اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﰲ ﻓﱰات ﻣ ﻜﺮة ﺪا ﺗﻌﻮد إﱄ ﻣ ﺘﺼﻒ اﻟﻘﺮن ا ول اﻟﻬﺠﺮي اﻟﺴﺎﺑﻊ‬
‫اﳌﯿﻼدي‪ ،‬ﻣﻊ ﻃﻼﺋﻊ اﻟﻔ ﻮ ﺎت اﻻٕﺳﻼﻣ ﺔ ﰒ اﻟﻘﻮاﻓﻞ اﻟﺘ ﺎرﯾﺔ وا ﻋﻮﯾﺔ ﻻﺣﻘﺎ وﺗﻌﺰز وﺟﻮدﻫﺎ ﻣﻊ اﻟﻬﺠﺮات اﻟﻌﺮﺑﯿﺔ اﻟﱵ ﺗﻀﺎﻋﻔﺖ ﻓ ﺑﻌﺪ ﻓ ٔﻧﺘﺠﺖ ﻗ ﺎم اﳌﲈ‬
‫واﻻٕﻣﱪاﻃﻮر ت اﻻٕﺳﻼﻣ ﺔ ﰲ ﻫﺬﻩ اﳌﻨﺎﻃﻖ ﻓﲀﻧﺖ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﱔ ا ٔداة اﻟﺮﲰﯿﺔ ﻟﻬﺬﻩ ا ول واﳌﺮاﻛﺰ‪ ،‬و ٔﺻﺒﺤﺖ ﻟﻐﺔ اﻟﻔﻜﺮ واﻟﻔﻦ وا ٔدب واﻟﺘﻌﻠﲓ ﺑﻞ واﻟﺘﻮاﺻﻞ‬
‫اﻟﺸﻌﱯ‪ ,‬ﻟﻜﻦ ﺮاﺟﻌﺖ ﻧﻈﺮا ﻟﻀﻌﻒ اﻟﺘﻮاﺻﻞ اﻟﺜﻘﺎﰲ واﻟﻌﻠﻤﻲ ﻣﻊ ا ول واﳌﺮاﻛﺰ اﳊﻀﺎرﯾﺔ ﰲ اﻟﻌﺎﱂ اﻻٕﺳﻼﱊ )اﻟﻮﻃﻦ اﻟﻌﺮﰊ( ﰒ وﻫﻦ ﺗﻮاﺻﻠﻬﺎ ﺑﻌﺪ ﳎﻲء اﳌﺴﺘﻌﻤﺮ‬
‫ا ي ﺎول ٔن ﯾﻌﺰز ﺛﻘﺎﻓ ﻪ ﻣﻦ ﻼل ﺗﻌﻠﲓ ﻟﻐﺘﻪ وﻓﺮض ﺛﻘﺎﻓ ﻪ وﳏﺎرﺑﺔ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ‪ ،‬ﻓﲀن ﻟﻬﺬا اﻟﴫاع اﳊﻀﺎري ٔ ﺮﻩ اﻟﻜ ﲑ ﰲ ﺮاﺟﻊ ﻣﲀﻧﺔ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ إﱃ ا ر ﺔ‬
‫اﻟﺜﺎﻧﯿﺔ ٔو اﻟﺜﺎﻟﺜﺔ واﻗﻌﯿﺎ ﰲ ﻫﺬﻩ ا ول إذا اﳓﴫ ﺗﻠﻘﳱﺎ ﻓﻘﻂ ﰲ اﳊﻠﻘﺎت ا ﯾ ﺔ و ٔﻣﺎ ﻦ اﻟﻌﺒﺎدة‪ ،‬وﺑﻌﺪ ﲢﺮر ﻫﺬﻩ ا ول ﺑﺪ ٔت اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﺴﱰد ﺑﻌﺾ ﻣﻮاﻗﻌﻬﺎ‪،‬‬
‫ﺑﻈﻬﻮر ﻃﺒﻘﺔ ﻣﻦ اﳌﺜﻘﻔﲔ ﻟﻬﺎ دواﻓﻊ ﻟﺘﻌﲅ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ رﰬ اﻟﻌﻘ ﺎت اﻟﱵ ﺗﻌﱰض ﻃﺮﯾﻖ ﺗﻌﻠﻤﻬﺎ‪ ،‬ﻌﺪم ﺗﻮﻓﺮ اﳌﺮاﻛﺰ ا ﺼﺼﺔ ﰲ ﺗﻌﻠﳰﻬﺎ وﴊ اﳌﺮاﻛﺰ اﻟﺜﻘﺎﻓ ﺔ اﻟﺘﺎﺑﻌﺔ ﻟ ول‬
‫اﻟﻌﺮﺑﯿﺔ ﻟ ﴩ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ك ‪ -‬اﳌﺮﻛﺰ اﻠﯿﱯ اﻟﺜﻘﺎﰲ ﺳﺎﺑﻘﺎ – ﻛﺬ ﻧﺪرة اﳌﺪارس اﻟﻌﺮﺑﯿﺔ ا ﳮﻮذﺟ ﺔ واﻧﻌﺪا ﺎ رة ﰲ ﻣ ﺎﻃﻖ ﺒﲑة‪ ،‬واﻓ ﻘﺎد اﳌﳯﺞ ا ﻠﻐﻮي اﻟﱰﺑﻮي ا ي‬
‫ﺮاﻋﻲ ﻓ ﻪ ا ٔﺳﺲ اﳌﳯﺠﯿﺔ ﻟﺘﻌﻠﲓ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﻠﻨﺎﻃﻘﲔ ﺑﻐﲑﻫﺎ ﺗﺘﻜ ﻒ ﻣﻊ اﻟﺒ ﺔ واﳌﺴﺘﻮى و ﻧﺪرة اﳌﺘﺨﺼﺼﲔ ﰲ ﺗﻌﻠﲓ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﻠﻨﺎﻃﻘﲔ ﺑﻐﲑﻫﺎ إﺿﺎﻓﺔ إﱃ‬
‫ﻓﻘﺪان اﳌﺸﺎرﯾﻊ اﻟﱵ ﯾﻨﺎط ٕا ﳱﺎ ﺗﻄﻮﺮ اﻟﻌﺮﺑﯿﺔ ﰲ اﻟﺸﻌﺐ ا ﺘﻠﻔﺔ واﻟﻔﻬﻢ اﳋﺎﻃﺊ ﻋﻨﺪ ﺑﻌﺾ اﻟﻨﺎﻃﻘﲔ ﺑﻐﲑﻫﺎ ٔﳖﺎ ﻟﻐﺔ د ﻦ ﲿﺴﺐ وﻟ ﺴﺖ ﻟﻐﺔ ﺛﻘﺎﻓﺔ وﺣﻀﺎرة ‪ ،‬و‬
‫اﻟﴫاع اﻟﻘﺎﰂ ﺑ ﳯﺎ وﻟﻐﺎت اﳌﺴﺘﻌﻤﺮ اﻟﱵ ﻓﺮﺿﺖ ﺑﻘﻮة ﺳﺘﻌﲈر ﻻٕﺣ ﺎء اﻟﻌﺎﻣ ﺔ وﺑﻌﺾ اﻠﻐﺎت واﻠﻬ ﺎت اﶈﻠﯿﺔ ﻟﺘ ﻞ ﳏﻠﻬﺎ‪ ،‬ﻓﻬﺬا ﳇﻪ ﺸﲁ اﻟﻌﻘ ﺎت واﳌﺸ ﰻ‬
‫اﻟﱵ ﺗﻮا ﻬﺎ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ‪.‬‬
‫ا ٔﺳﲈء اﻟﻮاردة ﺑﻠﻬﺠﺘﲔ ﰲ اﻟﻘﺮ ٓن اﻟﻜﺮﱘ‬

‫د‪ .‬رازق ﺟﻌﻔﺮ ﻋﺒﺪاﳊﺴﲔ اﻟﺰﺮ ﺎوي‪،‬‬
‫اﻟﱰﺑﻮﯾﺔ اﳌﻔ ﻮ ﺔ‪ ،‬اﻟﻌﺮاق‬
‫ﲝﺜﻨﺎ ﻫﺬاﻋﺮض ﻟ ٔ ﺳﲈء اﻟﻮاردة ﺑﻠﻬﺠﺘﲔ ﰲ اﻟﻘﺮ ٓن اﻟﻜﺮﱘ وﻫﻮ ﲆ ﻗﺴﻤﲔ ‪ٔ :‬وﻻً ‪ :‬ﻣﺎ ٔ ّﻗﺮ اﻠﻐﻮﯾﻮن ﺑ ٔﻧﻪ ﻣﻦ اﻠﻬ ﺎت ‪ ،‬وﱔ َد ب و َد ب و د َْرك و د ََرك و ُر ْﺟﺰ‬
‫ﴐ و ِﻛ َﱪ و ِﻛ ْﱪ‬‫ﴐو َ ّ‬ ‫ﲯ ِﺮ ّ و ِﲯْﺮ ّ و ُ ّ‬
‫و ِر ْﺟﺰ و َرﻫْﺐ و َرﻫَﺐ و َﺳ ْﲅ و ِﺳ ْﲅ َوﺳ َﲅ ُ ْﻜﺮ و ُ ُﻜﺮ ‪ .‬و ﻧﯿﺎ‪ :‬ﻣﺎ اﺣﳣﻞ ٔن ﻜﻮن ﻣﻦ اﻠﻬ ﺎت ﻣ ﻞ َﺣ ّﺞ و ِﺣ ّﺞ و ُ ْ‬
‫و ُﻛ ْﺮﻩ و َﻛ ْﺮﻩ و ُﻣ ْ و َﻣ ْ و ﻧ َ ْﻌﻤﺔ و ِﻧ ْﻌﻤﺔ ‪ .‬ﻋﻮﻫﻮﻋﺮض ﻠﻘﺮاءات ا ﺘﻠﻔﺔ ﲁ ﻟﻔﻆ ﻣﳯﲈ ﻛﺬ ‪ ،‬ﳁﻦ اﳌﻌﺮوف ٔﻧﻪ ﻟ ﺴﺖ ﰻ اﻟﻘﺮاءات ﻗﺎﲚﺔ ﲆ اﺧ ﻼف اﻠﻬ ﺎت‬
‫‪ .‬وﻗﺪ ﺗﺒﲔ ٔن ﻣﺎ ورد ﰲ ا ٔ ﺮ ﺑ ٔن اﻟﻘﺮ ٓن اﻟﻜﺮﱘ ﺰل ﺑﻠﻐﺔ ﻗﺮﺶ‪ ،‬ﯾﻌﲏ ٔﻛﱶﻩ ا ي ﻻ ﯾ ﺎﰱ ﻣﻊ ﻟﻬ ﺎت اﻟﻘ ﺎﺋﻞ ا ٔﺧﺮى‪ ،‬ﺑﺪﻟﯿﻞ ورود ا ٔﻟﻔﺎظ ـ اﻟﱵ ﺑﯿ ﳤﺎ ا راﺳﺔ‬
‫ـ ﻣﻦ ﻟﻬ ﺎت ٔﺧﺮى ﰲ اﻟﻘﺮاءة اﻟﻮا ﺪة اﳌﺸﻬﻮرة ﻋﻨﺪ ‪ ،‬وﱔ ﻗﺮاءة ﺣﻔﺺ ﻋﻦ ﺎﰡ ﻦ ٔﰊ اﻟﻨﺠﻮد اﻟﻜﻮﰲ‪ .‬ﻓﻀ ًﻼ ﻋﻦ ٔﻧﻪ رﺧﺺ ﺑﻘﺮاءة اﻟﻘﺮ ٓن اﻟﻜﺮﱘ ﲆ وﻓﻖ‬
‫اﻠﻬ ﺎت ا ﺘﻠﻔﺔ ﻠﻘ ﺎﺋﻞ ا ٔﺧﺮى‪ ،‬ﺣ ﲣﺘﻠﻒ ﻋﻦ ﻟﻬ ﺔ ﻗﺮﺶ وﺸﻖ ﻠﳱﺎ ذ ‪ ،‬ﻛﲈ ﻧﻘﻠﻨﺎ‪ .‬وﻗﺪ د ّل وﺟﻮد ﻫﺬﻩ ا ٔﻟﻔﺎظ اﻟﻮاردة ﺑﻠﻬﺠﺘﲔ ﳐﺘﻠﻔ ﲔ ـ ﻣﻮﺿﻊ ا راﺳﺔ‬
‫ـ ﲆ ٔن ﻫﺬا اﻟﱰﺧ ﺺ ﱂ ﻜﻦ ﻣﺆﻗ ًﺎ إﱃ ٔن ﺗﻌﺘﺎد ا ٔﻟﺴﻨﺔ ﲆ ﻟﻬ ﺔ ﻗﺮﺶ‪ ،‬وا ﳤ ﻰ ﻜ ﺎﺑﺔ اﳌﺼﺤﻒ اﳉﺎﻣﻊ ‪ ،‬ﻛﲈ ﯾﻘﻮل ﺑﻌﺾ اﻟﻘﺪﻣﺎء واﶈﺪﺛﲔ ‪ ،‬ﺑﻞ ﻫﻮ ﻣﺴ ﳣﺮ‬
‫اﺳ ﳣﺮار اﻟﻘﺮ ٓن اﻟﻜﺮﱘ ﻧﻔﺴﻪ‪.‬‬
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‫اﳌﲀن اﳌﻐﻠﻖ ﰲ ﻣﻘﺎﻣﺎت اﳊﺮﺮي ورﺳﻮﻣﺎت اﻟﻮاﺳﻄﻲ ﺪﻟﯿﺔ اﻟﺼﻮرة واﻟﻨﺺ‬

‫ﻧﻮر ﲇ اﻟﺮﻣﺎ و د‪ .‬ﺿﯿﺎء ﻏﲏ اﻟﻌﺒﻮدي‪،‬‬
‫ﻟﻘﺪ ﺷﲁ اﳌﲀن ﳰﺔ ﻤﺔ ﰲ ﻣﻘﺎﻣﺎت اﳊﺮﺮي ﻓﻬ ﻲ ﻗﺎﲚﺔ ٔﺳﺎﺳ ًﺎ ﲆ اﻧﺘﻘﺎل راوﳞﺎ )اﳊﺎرث( ﻣﻦ ﻣﲀن إﱃ ٓﺧﺮ ﻃﻠﺒ ًﺎ ﻠﻌﲅ واﳌﻌﺮﻓﺔ‪ ،‬ﯾﻘﺎﺑ ﰲ ذ اﻧﺘﻘﺎل ﺑﻄﻞ‬
‫اﳌﻘﺎﻣﺎت ) ٔﺑﻮ زﯾﺪ اﻟﴪو ( ﻣﻦ ﻣﲀن إﱃ ٓﺧﺮ ٔﯾﻀ ًﺎ ﻃﻠﺒ ًﺎ ﻠﲈل ﻻﺣ ﯿﺎل و ﺳﺘ ﺪاء‪ .‬وﰷن اﳊﺮﺮي ﳛﺪد ﻓﻀﺎء اﳌﻘﺎﻣﺎت ﲆ ﻟﺴﺎن اﳊﺎرث ﻗ ﻞ اﻟﴩوع ﲁ‬
‫ﻣﻘﺎﻣﺔ ﻟﯿﻨﻘﻞ ﺑﺬ ذﻫﻦ اﳌﺘﻠﻘﻲ إﱃ زﻣﺎن وﻣﲀن ﺪو ﺎ‪ .‬وﻗﺪ اﺑﺪع اﻟﻮاﺳﻄﻲ ﰲ رﲰﻪ ﻠﻤﲀن ﳎﺴﺪ ًا ٕا ﻩ ﲟﺎ ﺎء ﰲ ﻧﺺ اﳌﻘﺎﻣﺎت ﻣﻀﯿﻔ ًﺎ ٕاﻟﯿﻪ رؤﯾﺔ واﻗﻌﯿﺔ ﺗ ٔ ﺬ‬
‫اﻟﻨﺎﻇﺮ إﱃ زﻣﺎن اﳌﻘﺎﻣﺎت وﻣﲀﳖﺎ ﻣﻀﯿﻔ ًﺎ ﻟﻬﺎ ﳌﺴﺔ ﺟﲈﻟﯿﺔ ﻓ ﯿﺔ ﴪ اﻟﻨﺎﻇﺮ ﻟﻬﺎ‪ ،‬ﻓﻀ ًﻼ ﻋﻦ ﺗﻀﻤﯿﻨﻪ ﺴﻘ ًﺎ ﺛﻘﺎﻓ ًﺎ‪ ،‬وﻧﻘﺪاً ﺳﯿﺎﺳﯿ ًﺎ ﻻ ﳝﻜﻦ اﻟﺒﻮح ﺑﻪ ﺸﲁ ﻣ ﺎﴍ‪،‬‬
‫ﻟﺘﺼﺒﺢ ﺑﺬ اﻟﺼﻮرة وﺳﯿ ﺗﻮاﺻﻠﯿﺔ ﲑ ﻟﻔﻈﯿﺔ ﻻ ﺗﻘﻞ ٔﳘﯿﺔ ﻋﻦ اﻟﻨﺺ اﳌﻜ ﻮب؛ ا ﺎء اﻟﺒﺤﺚ ﻟﯿﺪرس ﺪﻟﯿﺔ اﻟﺼﻮرة واﻟﻨﺺ ﰲ اﳌﲀن اﳌﻐﻠﻖ ﳌﻘﺎﻣﺎت اﳊﺮﺮي‬
‫ورﺳﻮﻣﺎت اﻟﻮاﺳﻄﻲ‪ .‬وﻫﻨﺎ ﳝﻜ ﻨﺎ ٔن ﻧﻄﺮح ﺑﻌﺾ اﻻٕﺷﲀﻟﯿﺎت ﻣﳯﺎ‪ :‬ﻫﻞ ﰷن اﻟﻮاﺳﻄﻲ ﻣﻠﱱﻣ ًﺎ ﰲ رﰟ اﳌﲀن اﳌﻐﻠﻖ ﻣﻦ ﺣ ﺚ اﻧﻐﻼﻗﻪ واﻧﻔ ﺎ ﻪ ﻣﺎد ً ﻛﲈ ﺎء ﰲ‬
‫اﻟﻨﺺ؟ ﻫﻞ اﻟﻨﺎﻇﺮ إﱃ رﺳﻮم اﻟﻮاﺳﻄﻲ ﺸﻌﺮ ﺑﻮﺟﻮد و ﺪة ﻣﲀﻧﯿﺔ ﺸﻌﺮ اﻟﻨﺎﻇﺮ ﻟﻮ ﺪة اﻟﺰﻣﺎﻧﯿﺔ؟ ﻫﻞ ﳝﻜﻦ ﺳﺘﻐﻨﺎء ﻋﻦ ﻧﺺ اﳌﻘﺎﻣﺎت ﻗ ﺎ رﺳﻮﻣﺎت اﻟﻮاﺳﻄﻲ‬
‫اﻟﱵ ﲡﺴﺪﻩ ﰲ اﻟﺼﻮرة ﻓ ﻞ ﺑﺬ ﺻﻮرﲥﺎ ﳏﻞ ﻧﺼﻬﺎ؟‬
‫اﻟﻔﺎظ اﻟﻘﺮان اﻟﻜﺮﱘ ذات ا ٔﺻﻮل ﻛﺪﯾﺔ‪ :‬دراﺳﺔ ﰲ واﻗﻌﯿﺔ اﻟﻘﺮان اﻟﻜﺮﱘ وٕاﲺﺎز ﺑﻼﻏﺘﻪ‬
‫د‪ .‬ﶊﺪ ﻓﻬﺪ اﻟﻘ ﴘ و د‪ .‬ﺳﻌﺪ ﺳﻠﲈن ﻓﻬﺪ‪،‬‬
‫ﺎﻣﻌﺔ واﺳﻂ و ﺎﻣﻌﺔ ﺑﻐﺪاد‪ ،‬اﻟﻌﺮاق‬
‫ﻗﺎل ﺗﻌﺎﱃ " َو َﻣﺎ ْر َﺳﻠْ َﻨﺎ ِﻣﻦ ر ُﺳﻮلٍ اﻻ ِﺑ ِﻠ َﺴ ِﺎن ﻗَ ْﻮ ِﻣ ِﻪ ِﻟ ُﯿ َﺒ ِ ّ َﲔ ﻟَﻬ ُْﻢ ۖ "‪ ،‬وﲟﺎ ان ﻟﺴﺎن ﺳﲀن اﳉﺰﺮة اﻟﻌﺮﺑﯿﺔ ﻫﻮ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ا ﺰل اﻟﻘﺮان اﻟﻜﺮﱘ ﺑﻪ‪ ،‬وﰷن ﰲ ذ اﺑﻠﻎ‬
‫ﺮ و ﲺﺎز ﰲ ان ﷲ ﺗﻌﺎﱃ ﻗﺪ ﲢﺪى اﳌﴩﻛﲔ ﰲ اﻛﱶ ﳾء ﯾﺘﻘ ﻮﻧﻪ وﯾﻌﱱون ﺑﻪ وﻫﻮ اﻟﻔﺼﺎ ﺔ واﻟﺒﯿﺎن‪ ،‬وﲟﺎ ان اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﺗﻌﻮد اﱃ ﺎﺋ اﻠﻐﺎت) اﻟﺴﺎﻣ ﺔ(‬
‫ﻓﺎﻟﻌﺮﺑﯿﺔ اﻟﻔﺼﺤﻰ ﱔ اﻟﺸﲈﻟﯿﺔ اﻟﱵ ﺗ ﳤ ﻲ إﱃ اﳉﻨﻮﺑﯿﺔ اﻟﻐﺮﺑﯿﺔ ﻣﻦ اﻠﻐﺎت اﳉﺰرﯾﺔ اﻟﺴﺎﻣ ﺔ‪ ،‬وﯾﺬﻫﺐ ﺑﻌﺾ اﻟﺒﺎﺣ ﲔ اﶈﺪﺛﲔ إﱃ ٔ ّن ا ﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﱔ ٔﻗﺮب اﻠﻐﺎت‬
‫اﻟﺴﺎﻣ ﺔ إﱃ اﻠﻐﺔ اﻟﺴﺎﻣ ﺔ ا ٔم‪ .‬ا ﳁﻦ اﻟﺒﺪﳞ ﻲ ان ﻜﻮن ﻫﻨﺎك اﻟﻔﺎظ ﻣﺸﱰﻛﺔ ﺑ ﳯﺎ وﺑﲔ ﻗﺮﯾﺒﺎﲥﺎ ﻣﻦ اﻠﻐﺎت ﺳﻮاء اﳊﯿﺔ ام اﳌﻨﻘﺮﺿﺔ وﻣﻦ ا ﺮز ﻫﺬﻩ اﻠﻐﺎت ﱔ‬
‫اﻠﻐﺔ ﻛﺪﯾﺔ‪ ،‬اذ ﺗ ُﻌﺪ اﻠﻐﺔ ا ٔﻛﺪﯾﺔ اﻠﻐﺔ اﻟﺮﺋ ﺴﺔ اﻟﺜﺎﻧﯿﺔ وا ٔﻛﱶ ٔﳘﯿﺔ ﻣﻦ ﺑﲔ ﻟﻐﺎت اﻟﻌﺮاق اﻟﻘﺪﱘ ﻓﻀ ًﻼ ﻋﻦ ﻮﳖﺎ ٔﻗﺪم اﻠﻐﺎت )اﻟﺴﺎﻣ ﺔ( ﺗﺪوﯾﻨﺎ‪ ،‬وﻗﺪ اﺷﺘﻘﺖ‬
‫اﻠﻐﺔ ا ٔﻛﺪﯾﺔ اﲰﻬﺎ ﻣﻦ اﰟ ا ٔﻛﺪﯾﲔ ا ﻦ ﻧ ُﺴﺒﻮا إﱃ ﺎﲳﺔ ﳑﻠﻜﳤﻢ ٔﻛﺪ اﻟﱵ ٔﺳﺴﻬﺎ ﴎﺟﻮن‪٢٢٣٠ – ٢٣٧١‬ق‪.‬م‪ .‬ان ﻣﺼﻄﻠﺢ اﻠﻐﺔ ا ٔﻛﺪﯾﺔ ﻣﺼﻄﻠﺢ ﺪﯾﺪ‬
‫ﺴ ًﺎ ﻻ ﯾﺘ ﺎوز رﱗ اﺳﺘﻌﲈ ٔواﺳﻂ اﻟﻘﺮن اﻟﺘﺎﺳﻊ ﻋﴩ‪ ،‬إﻻ اﻧ ُﻪ ﻗﺪ اﺳﺘﻌﻤﻞ ﺑﺼﯿﻐﺘ ِﻪ ا ٔﻛﺪﯾﺔ ﰲ اﻟﻨﺼﻮص اﳌﺴﲈرﯾﺔ اﻟﻘﺪﳝﺔ إذ ُ ِّﲰﯿﺖ ﻟﻐﳤﻢ ﻠﻐﺔ ا ٔﻛﺪﯾﺔ " ِﻟﺸﺎن‬
‫اﻛ ﺪﱘ‪ .‬وﰷن ٔول ﻣﻦ اﺳﺘﻌﻤﻞ ﻣﺼﻄﻠﺢ اﻠﻐﺔ ا ٔﻛﺪﯾﺔ اﻟﺒﺎﺣﺚ ا ٕﻻ ﳫﲒي روﻟﻨﺼﻮن ‪ ،١٨٥٢‬واﺳﺘﻌﻤﻞ ﻫﺬا اﳌﺼﻄﻠﺢ ﰲ ﻣﻌﻈﻢ ا راﺳﺎت اﳊﺪﯾﺜﺔ اﻟﱵ ﺻﺪرت ﻣ ﺬ‬
‫ﲬﺴ ﺎت اﻟﻘﺮن اﳌﺎﴈ وﺣﱴ ا ٓن ﻟ ٕﻼﺷﺎرة إﱃ ﻟﻐﺔ ﺳﲀن اﻟﻌﺮاق اﻟﻘﺪﻣﺎء اﻟﺮﺋ ﺴﺔ ﻣ ﺬ اﻟﻨﺼﻒ اﻟﺜﺎﱐ ﻣﻦ ا ٔﻟﻒ اﻟﺜﺎﻟﺚ ﻗ ﻞ اﳌﯿﻼد ﰲ اﻗﻞ ﺗﻘﺪ ﺮ ﺑﻮﺻﻔﻬﺎ ﻟﻐﺔ‬
‫ﲣﺎﻃﺐ وﺗﺪوﻦ ﳖﺎﺋﯿ ًﺎ ﰲ ٔواﺧﺮ ﻋﺼﻮر ﻣﺎ ﻗ ﻞ اﳌﯿﻼد‪ .‬ا ﺎء اﻟﻘﺮان اﻟﻜﺮﱘ ﰾ ﯾﻮﰣ ﻠﻨﺎس اﳌﻌﺎﴏﻦ ﻠﺮﺳﻮل ان ﻫﺬا اﻟﻘﺮان ﻗﺪ ﺰل ﺑﻠﻐﳤﻢ اﻟﱵ ﱔ ﺟﺰء‬
‫ﻣﻦ ﻣ ﻈﻮﻣﺔ ﻟﻐﻮﯾﺔ اﻛﱪ وﱔ ﻣ ﻈﻮﻣﺔ اﻠﻐﺎت اﳉﺰرﯾﺔ اﻟﱵ ﱂ ﻜﻦ ﯾﻌﺮﻓﻮا ﻣﳯﺎ ﺳﻮى اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ‪ ,‬وﺑﺬ ﺻﺪﻗﺖ ا ٓﯾﺔ اﻟﻘﺮ ٓﻧﯿﺔ اﻟﻜﺮﳝﺔ ﰲ وﺻﻒ اﻟﻘﺮان اﻟﻜﺮﱘ ‪":‬‬
‫َو َﺰﻟْ َﻨﺎ اﻟَ ْﯿ َﻚ ْاﻟ ِﻜ َ َ‬
‫ﺎب ِ ﻟْ َﺤ ّ ِﻖ ُﻣ َﺼ ِّﺪﻗًﺎ ِﻟ ّ َﻤﺎ ﺑ َ ْ َﲔ ﯾَﺪَ ﯾْ ِﻪ ِﻣ َﻦ ْاﻟ ِﻜ َ ِﺎب َو ُﻣﻬَ ْﯿ ِﻤﻨًﺎ َﻠَ ْﯿ ِﻪ "‪ .‬وﻗﺪ اﻓﱰض اﻟﺒﺤﺚ ان اﻟﻘﺮان ﻗﺪ ذ ﺮ ﻣﻔﺮدات ﺗﻌﻮد ﺑ ٔﺻﻠﻬﺎ اﱃ اﻠﻐﺔ ﻛﺪﯾﺔ اﻟﱵ ﱔ‬
‫ﻣ ﻘﺮﺿﺔ ﰲ زﻣﺎﻧﻪ وان ﺳ ﺐ ذ ﺮ ﻫﺬﻩ اﳌﻔﺮدات ﻟﻮﺟﻮد اﻟﱰاﺑﻂ ﺑﲔ اﻠﻐﺘﲔ ﻛﺪﯾﺔ واﻟﻌﺮﺑﯿﺔ ذ اﳖﲈ ﺗﻌﻮدان اﱃ اﺻﻞ ﻣﺸﱰك وا ﺪ‪ .‬ﻟﻘﺪ ﻫﺪف اﻟﺒﺤﺚ اﱃ‬
‫ﺗﻮﺿﯿﺢ ان اﻟﻘﺮان اﻟﻜﺮﱘ وﺑﺼﻔ ﻪ ﻛﺘﺎب ﻫﺪاﯾﺔ وارﺷﺎد ﻠﻨﺎس ﺣﺮص ﲆ ﳐﺎﻃﺒﳤﻢ ﻠﺴﺎن ا ي ﯾﻔﻬﻤﻮﻧﻪ ‪ ,‬وﲟﺎ ﻫﻮ ﻣﺸﻬﻮر ﻣﻦ ﻣﻔﺮدات ﳍﻢ ﺣﱴ ﻻ ﻜﻮن ﳍﻢ ﲩﺔ‬
‫ﰲ اﳖﻢ ﱂ ﺑﻔﻬﻤﻮا ﻣﺎ ﺮﯾﺪﻩ اﻟﻘﺮان اﻟﻜﺮﱘ ﻣﻦ اﻏﺮاض و ﺎ ت‪.‬‬
‫اﻟﺘﺎﺑﻮﻫﺎت ﰲ رواﯾﺔ ٔدر ﻬﺎ اﻟ ﺴﯿﺎن ﻟﺴﻨﺎء ﺷﻌﻼن‬

‫د‪ .‬ﺿﯿﺎء ﻏﲏ اﻟﻌﺒﻮدي‪،‬‬
‫إن ﰻ ﺑ ﺔ ﴎدﯾﺔ ﺗﻌﳣﺪ اﳊﻮار ﰲ ﺸﻜ ﻠﻬﺎ ٕاﻻّ ٔن ﲦﺔ ﴎدا ﻻ ﯾﻌﳣﺪ اﻻﺗﺼﺎل اﻠﻔﻈﻲ ﱪ اﳊﻮار ﻓﻘﻂ‪ ،‬وٕاﳕﺎ ﯾﻌﳣﺪ ﺑﻌﻀﻪ ﲆ اﻟﻮﺻﻒ اﳊﺮﰾ ا ي ﯾ ﺎﱉ اﻟﴪد‬
‫ﻣﻌﻪ‪ ،‬وﺑﻌﺾ اﳌﴪودات ﺗﻌﳣﺪ ﲆ ﺣﺮﻛﺔ اﳉﺴﺪ‪ ،‬وﻣﻦ ﻫﻨﺎ ﺷﲁ اﳉﺴﺪ ﰲ رواﯾﺔ ) ٔدر ﻬﺎ اﻟ ﺴﯿﺎن( ﻠﺮواﺋﯿﺔ ﺳﻨﺎء اﻟﺸﻌﻼن ﳰﺔ رزة ﰲ ﺑﻨﺎء اﻟﻨﺺ‪ ،‬ﺎوﻟﺖ ﻓ ﻪ‬
‫اﻟﺮواﺋﯿﺔ ٔ ْن ﺗﻘﺪم اﳊﻠﻮل ﻠﻤﻌﻀﻼت اﻟﱵ ﺮاﻓﻖ ﳎﳣﻌﻨﺎ‪ ،‬ﻓﲀن اﳉﺴﺪ واﻣ ﺪادﻩ اﳊﺐ واﳉ ﺲ ﻃﺮﯾﻘﻬﺎ ﰲ اﳋﻼص وٕاﳚﺎد اﳊﻞ اﳌﻨﺎﺳﺐ‪ .‬ا ﺎوﻟﺖ ان ادرس‬
‫اﻟﺘﺎﺑﻮﻫﺎت ﰲ ﻫﺬﻩ اﻟﺮواﯾﺔ ﻣﻦ ﻼل اﺑﻌﺎدﻫﺎ اﻟﺜﻼﺛﺔ اﻟﺴﯿﺎﺳﺔ واﳉ ﺲ وا ﻦ‪.‬‬
‫‪٢٦‬‬
‫ﻟﯿﺎت اﻟﺘﺪاوﻟﯿﺔ ﰲ ﺧﻄﺎب اﻟﻘﺮ ٓن اﻟﻜﺮﱘ ‪-‬ﺳﻮرة ﯾﻮﺳﻒ ٔﳕﻮذ ﺎ‪-‬‬

‫د‪ .‬ﻧ ﻞ ﺣﻮﯾﲇ‪،‬‬
‫ﺎﻣﻌﺔ اﳉﺰا ﺮ ‪ٔ -٢-‬ﺑﻮ اﻟﻘﺎﰟ ﺳﻌﺪ ﷲ‪ ،‬اﳉﺰا ﺮ‬
‫ﺗﻨﻈﺮ اﻟﺘﺪاوﻟﯿﺔ ﻠﻐﺔ ﲆ ٔﳖّ ﺎ ﺸﺎط ﳝﺎرس ﲷﻦ ﺳﯿﺎق ﺗﻌﺪّ دت ا ٔو ﻪ ﺗﺘّ ﺪ ﻓ ﻪ ﻇﺮوف وﻣﻼ ﺴﺎت اﻟﻌﻤﻠﯿﺔ اﻟﺘ ﺎﻃﺒﯿﺔ ﻣﻦ ﻋﻮاﻣﻞ ﻧﻔﺴﯿﺔ واﺟ ﻋﯿﺔ وﺛﻘﺎﻓ ﺔ ودﯾ ﺔ‬
‫وﻣﻘﺎﻣ ﺔ و ﲑﻫﺎ‪ ،‬ﻓﻬﻲ ﺴﻌﻰ إﱃ إﺛﺒﺎت ﻼﻗﺔ اﳌﺘﳫّﻢ ﺴﯿﺎق اﻟ م وﻓﻖ ﳎﺎﻻت ﲝﺜﯿﺔ ﳐﺘﻠﻔﺔ ﰷﻻٕﺷﺎر ت وﻣ ﻀﻤﻨﺎت اﻟﻘﻮل و ٔﻓﻌﺎل اﻟ م‪ .‬و ﺳ ﺴﻌﻰ‬
‫ﻠﻘﺼﺔ اﻟﻘﺮ ٓﻧﯿﺔ ﳌﺎ ﲤﺘﻠﻜﻪ ﻣﻦ ﻓﻀﺎءات دا ﻠﯿﺔ ﻣ ﺎﺳﺒﺔ ﻟ ّ رس اﻟﺘﺪاوﱄ ﰷﳊﻮار ﺑﲔ‬ ‫ﰲ ﻣﺪا ﻠﺘﻨﺎ ﻫﺬﻩ اﺳﺘ ﺪام ا ٔداة اﻟﺘﺪاوﻟﯿﺔ ﰲ اﻟﻜﺸﻒ ﻋﻦ اﳋﺼﺎﺋﺺ اﳋﻄﺎﺑﯿﺔ ّ‬
‫اﻟﺸﺨﺼﯿﺎت واﳌﻮاﻗﻒ اﻟﺼﺎدرة ﻋﳯﺎ‪ ،‬وﻇﺮوف اﳌﺘ ﺎﻃﺒﲔ وﻣﻼ ﺴﺎت اﳋﻄﺎب ا ﺘﻠﻔﺔ‪ .‬ا ّٕن ﻫﺬا اﳌﻨﺤﻰ ا ي ﳝﺜ اﻟﺘﻮ ﻪ اﻟﺘﺪاوﱄ ﰲ دراﺳﺔ اﳊﻮار ﻫﻮ اﻻٕﻃﺎر اﻟﻌﺎم‬
‫ا ي ﺳﯿ ٔﰐ ﰲ ﺳﯿﺎﻗﻪ ﲝﺜﻨﺎ ﻫﺬا‪ّ ٔ ،‬ن اﻟﻘﺼﺺ اﻟﻘﺮ ٓﱐ ﻋﺘﺒﺎرﻩ ذا ﻏﺮض دﯾﲏ ٔﲰﻰ وﻣﻦ ﻼل ﺗﻮﻇﯿﻔﻪ ٔﺳﻠﻮب اﳊﻮار دا ﻞ اﻟﻨّﺺ ﺑﲔ ﻣﺮﺳﻞ وﻣ ٍﻠﻖ‪ ،‬ﻓ ٕﺎﻧ ّﻪ ﯾﻘﺪّم‬
‫ﻣﺎ ﺎء ﻓ ﻪ ﻣﻦ ﺗﻮﺟﳱﺎت واﻗﻌﺔ ﺎرج ذ اﻟﻨﺺ ﻟﻘﺮاءﲥﺎ وﻓﻬﻢ ﻣﻐﺰاﻫﺎ‪ ،‬ووﻗﻊ اﺧ ﯿﺎر ﲆ ﻗﺼﺔ اﻟﻨﱯ ﯾﻮﺳﻒ ﻠﯿﻪ اﻟﺴﻼم اﳌﺬ ﻮرة ﰲ اﻟﻘﺮ ٓن اﻟﻜﺮﱘ )ﺳﻮرة‬
‫ﯾﻮﺳﻒ( ﻧﻈﺮا ﳌﺎ ﺰﺧﺮ ﺑﻪ ﻣﻦ ﺣﻮارات ﻛﺜﯿﻔﺔ ٔﻧﺘﺠﳤﺎ ﻇﺮوف اﻟ م واﳌﺘﳫّﻢ‪ ،‬وٕاﻧﻨّﺎ ﻧﻘﺼﺪ ﲟﺼﻄﻠﺢ ﺗﺪاوﻟﯿﺎت اﳊﻮار ﰲ ﻗﺼﺔ ﯾﻮﺳﻒ ﰻ ﳎﺎﻻت اﻟﺒﺤﺚ اﻟﺘﺪاوﱄ‬
‫ﺑﺪر ﺎﺗﻪ اﻟﺜﻼث اﳌﺒﺜﻮﺛﺔ ﻓﳱﺎ وﻣﺎ ورد ﰲ ﻼﻗﺎت ﺗﺒﺎدل اﻟ م ﺑﲔ ﴯﺼﯿﺎت ّ‬
‫اﻟﻘﺼﺔ‪.‬‬
‫ا ﺮ ﺮ ﻣﺞ ﺗﺪرﯾﱯ اﻟﻜﱰوﱐ ﰲ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﰲ اﻛ ﺴﺎب اﳌﻔﺎﻫﲓ اﻠﻐﻮﯾﺔ ﻟﻐﲑ اﻟﻨﺎﻃﻘﲔ ﲠﺎ‬
‫د‪ .‬ﻣﻮﻓﻖ ﻋﺒﺪاﻟﻌﺰﺰ اﳊﺴﻨﺎوي‪،‬‬
‫اﳉﺎﻣﻌﺔ اﻟﺘﻘ ﯿﺔ اﳉﻨﻮﺑﯿﺔ‪ ،‬اﻟﻌﺮاق‬
‫ﺗﻌﺪ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﻣﻦ ٔﱒ اﻠﻐﺎت اﻟﻌﺎﳌﯿﺔ ﻮﳖﺎ ﻟﻐﺔ اﻟﻘﺮ ٓن اﻟﻜﺮﱘ واﻟﱵ ﯾ ﻐﻲ ﲆ اﳌﺴﻠﻤﲔ ﰲ اﻟﺒ ان ﺳﻼﻣ ﺔ ﺗﻌﻠﻤﻬﺎ واﺳ ﻌﺎب ﻣﻔﺎﻫﳰﻬﺎ ﲆ اﺧ ﻼف ﻗﻮﻣ ﺎﲥﻢ‬
‫وﻟﻐﺎﲥﻢ‪ .‬وﻫﺪف اﻟﺒﺤﺚ اﱃ ﺗﺼﻤﲓ ﺮ ﻣﺞ ﺗﺪرﯾﱯ اﻟﻜﱰوﱐ ﰲ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ وﻣﻌﺮﻓﺔ ا ﺮﻩ ﰲ اﻛ ﺴﺎب اﳌﻔﺎﻫﲓ اﻠﻐﻮﯾﺔ ﻟﻐﲑ اﻟﻨﺎﻃﻘﲔ ﲠﺎ‪ .‬وﻜﻮﻧﺖ ﻋﯿﻨﺔ اﻟﺒﺤﺚ ﻣﻦ‬
‫)‪ (١٢٠‬ﻃﺎﻟﺒﺎ وﻃﺎﻟﺒﺔ ﰲ ﺪد ﻣﻦ اﳉﺎﻣﻌﺎت اﻟﻌﺎﳌﯿﺔ ﻣﻦ ﲑ اﻟﻨﺎﻃﻘﲔ ﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ‪ .‬وﲳﻢ اﻟﺒﺎﺣﺚ ﺮ ﳎﺎ ﺗﺪرﯾ ﺎ اﻟﻜﱰوﻧﯿﺎ ﻟﺘﻌﻠﲓ اﳌﻔﺎﻫﲓ اﻠﻐﻮﯾﺔ اﻟﻌﺮﺑﯿﺔ ﺑ ٔﺳﺘ ﺪام‬
‫اﳋﻄﻮات اﳌﻌﺮوﻓﺔ ﰲ ﺗﺼﻤﲓ اﻟﱪاﻣﺞ اﻟﺘﺪرﯾ ﺔ ووﺿﻌﺖ ﺧﻄﺔ اﻟﺒﺤﺚ‪ .‬وا ﺪ اﺧ ﺒﺎر اﻛ ﺴﺎب اﳌﻔﺎﻫﲓ اﻠﻐﻮﯾﺔ ا ي ﯾﺘﻜﻮن ﻣﻦ )‪ (٤٠‬ﺳﺆ ﻣﻮﺿﻮﻋﯿﺎ ﳣﲒ‬
‫ﻟﺼﺪق واﻟﺜﺒﺎت‪ .‬وﰎ ﺴﺠﯿﻞ اﻓﺮاد اﻟﻌﯿﻨﺔ ﲆ اﻟﱪ ﻣﺞ اﻟﺘﺪرﯾﱯ ﻟﻜﱰوﱐ واﺟﺮي اﻟﺘﻄﺒﯿﻖ اﻟﻘ ﲇ ﻻﺧ ﺒﺎر اﻛ ﺴﺎب اﳌﻔﺎﻫﲓ اﻠﻐﻮﯾﺔ ﲆ ﻋﯿﻨﺔ اﻟﺒﺤﺚ و ﻠﻠﺖ‬
‫ﻧﺘﺎﲗﻪ‪ .‬ﺑﻌﺪ ذ ﰎ ﺗﻨﻔ ﺬ اﻟﱪ ﻣﺞ ﻋﻦ ﺑﻌﺪ ﻣﻦ ﻼل ﺷﺒﻜﺔ ﻧﱰﻧﺖ ﲆ اﻟﻌﯿﻨﺔ وﳌﺪة ﺛﻼﺛﺔ اﺳﺎﺑﯿﻊ ‪ .‬ﰒ اﺟﺮي اﻟﺘﻄﺒﯿﻖ اﻟﺒﻌﺪي ﻟﻼﺧ ﺒﺎر ﲆ اﻟﻌﯿﻨﺔ و ﻠﻠﺖ ﻧﺘﺎﲗﻪ‬
‫ﺑ ٔﺳﺘ ﺪام اﻟﻮﺳﺎﺋﻞ ا ٔﺣﺼﺎﺋﯿﺔ اﳌﻨﺎﺳﺒﺔ‪ .‬وﰎ اﺟﺮاء اﳌﻘﺎرﻧﺔ ﺣﺼﺎﺋﯿﺔ ﺑﲔ ﻧﺘﺎﰀ ا ﺎ ت ﻋﯿﻨﺔ اﻟﺒﺤﺚ ﰲ اﻟﺘﻄﺒﯿﻘﲔ اﻟﻘ ﲇ واﻟﺒﻌﺪي ﻟﻼﺧ ﺒﺎر‪ .‬و ٔﺳﺘ ﺞ اﻟﺒﺎﺣﺚ‬
‫وﺟﻮد ﺮ ﳚﺎﰊ ﻠﱪ ﻣﺞ اﻟﺘﺪرﯾﱯ ﻟﻜﱰوﱐ ﰲ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﰲ اﻛ ﺴﺎب اﳌﻔﺎﻫﲓ اﻠﻐﻮﯾﺔ ﻟﻐﲑ اﻟﻨﺎﻃﻘﲔ ﲠﺎ‪ .‬وﻃﺮح ﺪدا ﻣﻦ اﻟﺘﻮﺻﯿﺎت اﳌﻨﺎﺳﺒﺔ ذات اﻟﻌﻼﻗﺔ‬
‫ﺑ ﺎﰀ اﻟﺒﺤﺚ ﺣ ﺚ ٔوﴅ ﺑ ٔﺳﺘ ﺪام اﻟﱪاﻣﺞ اﻟﺘﺪرﯾ ﺔ ﻟﻜﱰوﻧﯿﺔ ﻋﻦ ﺑﻌﺪ ﰲ ﺗﻌﻠﲓ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﻟﻐﲑ اﻟﻨﺎﻃﻘﲔ ﲠﺎ و ٔﻗﱰح ﺪدا ﻣﻦ اﻟﺒﺤﻮث اﳌﳬ ﻟﻬﺬا اﻟﺒﺤﺚ‪.‬‬
‫ﻣﻼﻣﺢ اﳌﻨﺤﻰ اﻟﺘﲀﻣﲇ ﰲ ا رس اﻠﻐﻮي اﳊﺪﯾﺚ ـ ﻣﻘﺎرﺑﺔ وﺗﻄﺒﯿﻖ ـ ﲨ اﳌﻔﻌﻮل ﺑﻪ ﰲ اﻟﻜ ﺎب ٔﳕﻮذ ًﺎ‬
‫د‪ٔ .‬ﻧﻔﺎل ﴏ ﻃﺎﻟﺐ ﶊﺪ اﳌﻮﺳﻮي‪،‬‬
‫ﺎﻣﻌﺔ اﻟﺒﴫة‪ ،‬اﻟﻌﺮاق‬
‫ﯾﻌﲎ ﻫﺬا اﻟﺒﺤﺚ ﺑﺘ ﻊ ﻣﻼﻣﺢ اﳌﻨﺤﻰ اﻟﺘﲀﻣﲇ ﰲ ﺿﻮء ﻣ ﺎﱑ ا رس اﻠﻐﻮي اﳊﺪﯾﺚ وﻧﻈﺮ ﺗﻪ‪ ،‬ﻟﻘﺪ وﻇﻔﺖ ﻛﺜﲑ ﻣﻦ اﳊﻘﻮل اﳌﻌﺮﻓ ﺔ ﻣﻔﻬﻮم اﻟﺘﲀﻣﻞ ﰷﻟﻔﻠﺴﻔﺔ‪ ،‬و ﲅ‬
‫اﻟﻨﻔﺲ‪ ،‬و ﲅ ﻃﺮاﺋﻖ اﻟﺘﺪرﺲ‪ ،‬واﻟﻨﻘﺪ ا ٔدﰊ اﳊﺪﯾﺚ‪ ،‬ﺳﻌﯿ ًﺎ ﻟﺘﺤﻘ ﻖ اﻟﺘﲀﻣﻞ وﺻﻮﻻً اﱃ ٔدق اﻟﻨﺘﺎﰀ‪ ،‬و ٔﻛﱶﻫﺎ ﴰﻮ ًﻻ‪ ،‬وﰲ ﺳ ﻞ ﲢﻘ ﻖ ذ اﺧ ﻄﺖ ﻫﺬﻩ ا راﺳﺔ‬
‫ﻟﻬﺎ ﺳ ﻠﲔ ٔوﳍﲈ ﻧﻈﺮي وا ٓﺧﺮ ﺗﻄﺒﯿﻘﻲ‪ .‬ﰷن ﻫﺪف اﳌﻘﺎرﺑﺔ اﻟﻨﻈﺮﯾﺔ ﺗﺒﲔ ﻣﻼﻣﺢ اﳌﻨﺤﻰ اﻟﺘﲀﻣﲇ و ٔﺑﻌﺎدﻩ ﰲ ﻣﳯﺠﯿﺔ ا رس اﻠﻐﻮي اﳊﺪﯾﺚ ﺑﺪء ًا ﺑ ٔﻓﲀر دي ﺳﻮﺳﲑ‪،‬‬
‫وﻣﺎ ٔﻋﻘﳢﺎ ﻣﻦ ﺗﻄﻮرات ﺗﻠﺖ ﻣﺮ اﻟ ﺸ ٔة‪ ،‬ﻓﻘﺪ ﰷن ﳌﻔﻬﻮم اﻟﺘﲀﻣﻞ ﺣﻀﻮر ﻓﺎ ﻞ ﰲ اﻟﺘ ٔﺳ ﺲ اﳌﳯﺠﻲ ﻟﻌﲅ اﻠﻐﺔ اﳊﺪﯾﺚ ﻣ ﺬ ًا ﺻﻮر ًا ﺷﱴ‪ ،‬و ٔﺑﻌﺎداً ﺪة‪ ،‬ﳁﻦ‬
‫ﻣﻼﳏﻪ ﻣﺎ ﯾﻈﻬﺮ ﰲ اﻟﺘﲀﻣﻞ ﺑﲔ ﻣ ﺎﱑ ا رس اﻠﻐﻮي اﳊﺪﯾﺚ ﺣ ﻨ ًﺎ‪ ،‬وﺑﲔ ﻣﺴﺘﻮ ﺗﻪ اﻠﻐﻮﯾﺔ ﺣ ﻨ ًﺎ ٓﺧﺮ‪ ،‬وﰲ ﻼﻗﺔ ﲅ اﻠﻐﺔ ﺴﻮاﻩ ﻣﻦ اﻟﻔﺮوع اﳌﻌﺮﻓ ﺔ ا ٔﺧﺮى‪،‬‬
‫ﻓﻀ ًﻼ ﻋﲈ ﻧﻠﺤﻈﻪ ﻣﻦ ﺳﻌﻲ اﳌﺪارس اﻠﻐﻮﯾﺔ اﳊﺪﯾﺜﺔ اﱃ ﲢﻘ ﻖ اﻟﺘﲀﻣﻞ اﳌﳯﺠﻲ ﻓ ﺗﻘﺪﻣﻪ ﻣﻦ ﻧﻈﺮ ت ﺑﻮﺻﻔﻬﺎ اﳌﻨﻄﻠﻖ واﻟﺮﻛﲒة ا ٔﺳﺎس‪ ،‬ﻣ ﺎوزة ﰲ اﻟﻮﻗﺖ ﻋﯿﻨﻪ‬
‫ﻣﺎ ﺮاﻩ ﻣﻦ ﻧﻘﺺ ﻓﳱﺎ ﱪ اﻟﺘﻨﻘ ﺢ واﻟﺘﻄﻮﺮ‪ ،‬ﻣﻀﯿﻔﺔ ﻣﺎ ﺮﺗ ﻪ ﻣ ﺎﺳﺒ ًﺎ رة‪ ،‬وﻣﻘﻮﻣﺔ ﳌﺎ اﻋﻮج ﻣﻦ ٔﺳﺴﻬﺎ اﳌﳯﺠﯿﺔ‪ ،‬و ﺎد ﻋﻦ اﻟﺴ ﻞ رة ٔﺧﺮى‪ٔ .‬ﻣﺎ اﻟﺴ ﻞ اﻟﺘﻄﺒﯿﻘﻲ‬
‫ﰲ ﻫﺬﻩ ا راﺳﺔ ﻓﻘﺪ ﺗﻨﺎول ﲨ اﳌﻔﻌﻮل ﺑﻪ ﰲ ﻛﺘﺎب ﺳ ﻮﯾﻪ ﺗ ٔ ﯿﺪ ًا ﻟ ور اﳌﻌﻨﻮي ﻠﻤﻔﻌﻮل ﺑﻪ ﰲ اﶺ ﰲ ﺿﻮء اﳌﺴﺘﻮﯾﲔ اﻟﺜﺎﺑﺖ واﳌﺘﺤﺮك‪ ،‬ﺳﻌﯿ ًﺎ ﻻٕﺛﺒﺎت اﳌﻨﺤﻰ‬
‫اﻟﺘﲀﻣﲇ ا ي وﻇﻔﻪ ﺳ ﻮﯾﻪ ﰲ ﶍﻞ ﺟﻮاﻧﺐ ﻛﺘﺎﺑﻪ‪ ،‬ﳑﺎ ٔﺿﻔﻰ ﲆ ﳖ ﻪ ﲰﺔ اﻟﻮﺻﻔ ﺔ‪ ،‬واﳌﻌﯿﺎرﯾﺔ‪ .‬واﻟﻮﻇﯿﻔ ﺔ‪ ،‬واﻟﺴﯿﺎﻗ ﺔ ﺟ ﻋﯿﺔ‪ ،‬واﻟﺘﺤﻮﯾﻠﯿﺔ ‪,‬واﻟﺘﺪاوﻟﯿﺔ ﰲ‬
‫اﻟﻮﻗﺖ ﻋﯿﻨﻪ‪ ،‬ﳏﻘﻘ ًﺎ ﲀﻣ ًﻼ ﰲ اﻟﺮؤى ﱔ ٔﺑﻌﺪ ﻣﺎ ﻜﻮن ﻋﻦ اﻟﺘﻨﺎﻓﺮ واﻟﺘﻌﺎرض‪ ،‬ﻣﻮﻇﻔ ًﺎ ً ﰲ ﻣﻮﺿﻌﻪ اﳌﻼﰂ‪ ،‬دون ٔن ﯾﻐﻠﺐ ﺎﻧﺒ ًﺎ ﲆ ٓﺧﺮ‪ٔ ،‬و ﳞﻤﻞ ﺎﻧﺒ ًﺎ ﲆ‬
‫ﺣﺴﺎب ٓﺧﺮ‪.‬‬
‫‪٢٧‬‬
‫اﻟﺸﻚ ﰲ ﻛﺘﺐ اﻟﱰاث ﺑﲔ ا اﺗﯿﺔ واﳌﻮﺿﻮﻋﯿﺔ‪ :‬ﻛﺘﺎب ﳖﺞ اﻟﺒﻼ ﺔ ٔﳕﻮذ ﺎً‬

‫د‪ .‬ﲇ اﲪﺪ ﺪي ﲻﺮان‪،‬‬
‫اﳉﺎﻣﻌﺔ ﻫﻠﯿﺔ‪ ،‬اﻟﺒﺤﺮﻦ‬
‫ﻟﻘﺪ ﴪب اﻟﺸﻚ إﱃ ﺪ ٍد ﻣﻦ ﻛﺘﺐ اﻟﱰاث ﰷﻟﻌﲔ ﻠ ﻠﯿﻞ ﻦ ٔﲪﺪ اﻟﻔﺮاﻫﯿﺪي و ﲑﻩ‪ ،‬ودار ﺣﻮﻟﻬﺎ ﺪ ٌل ﺒﲑ ﻧﻔ ًﺎ واﺛﺒﺎ ً‪ ،‬وذ ٔﺳﺒﺎب ﻣ ﻌﺪدة ﻣﳯﺎ ﻓ ﯿﺔ وﻣﳯﺎ‬
‫ﻣﺎﳜﺺ اﻟﺴﻨﺪ ‪ ،‬وﻣﳯﺎ ﻣﺎ ﯾﺘﻌﻠﻖ ﲟﻀﻤﻮن ا ﻄﻮط‪ ،‬وﰷن ﻟﻬﺬا اﻟﺸﻚ دواﻓﻊ ﻛﺜﲑة ‪ ،‬وﻣﻦ ﻫﺬﻩ اﻟﻜ ﺐ اﻟﱵ دار ﺣﻮﻟﻬﺎ ﺪل ﻛﺘﺎب ﳖﺞ اﻟﺒﻼ ﺔ ا ي وﺿﻌ ُﻪ اﻟﴩﯾﻒ‬
‫اﻟﺮﴈ )‪٤٠٦‬ﻫـ( ﺎﻣﻌ ًﺎ ﻓ ﻪ ﺧﻄﺐ‪ ،‬ورﺳﺎﺋﻞ‪ ،‬وﻣﻮاﻋﻆ وﺣﲂ ﲇ ﻦ ٔﰊ ﻃﺎﻟﺐ )ع(‪ ،‬ﰒ ﺗﺪاو اﻟﻨﺎس واﻧ ﴩ ﻓ ﺑ ﳯﻢ‪ ،‬وذاع ﺻﯿﺘﻪ‪ ،‬وﺗﻨﺎو ﲑ وا ٍﺪ ﻣﻦ‬
‫ا ٔد ء ﻟﴩح واﻟﺘﻔﻜﲑ‪ ،‬ﺣﱴ ﺎء ﻗﺎﴈ اﻟﻘﻀﺎة اﻦ ﲀن )‪٦٨١‬ﻫـ(‪ ،‬ﺻﺎﺣﺐ ﻛﺘﺎب وﻓ ﺎت ا ٔﻋﯿﺎن‪ ،‬وﺷﻜﻚ ﻓ ﻪ‪ ،‬ﰒ اﻧﺘﻘﻞ ﻫﺬا اﻟﺸﻚ ﺑﻌﺪ ذ إﱃ ٓﺧﺮﻦ‪،‬‬
‫وﻫﺬا اﻟﺒﺤﺚ ﯾ ﺎول اﻟﻘﳰﺔ اﻟﻌﻠﻤﯿﺔ ﻟﻬﺬا اﻟﺸﻚ وا واﻓﻊ اﻟﱵ ٔدت إﻟﯿﻪ ﰒ دراﺳﺔ اﻟﻜ ﺎب وﻣﺪى ﲱﺘﻪ‪ ،‬وﻣﺪى ﻣﻮﺿﻮﻋﯿﺔ اﻟﺸﻚ‪ ،‬واﻟﻨﻈﺮ ﰲ اﻟﺮدود‪ ،‬ﻟﺘﻘﻮﱘ اﳌﺎدة‬
‫اﻟﻌﻠﻤﯿﺔ ﻟﻬﺬا اﻟﺸﻚ‪.‬‬
‫ﺗﻌﺪد اﻟﻘﺼﺪﯾﺔ اﻠﻐﻮﯾﺔ ﻠﻤﻔﺮدة اﻟﻘﺮ ٓﻧﯿﺔ ﰲ ﺿﻮء ﺗﻨﻮع اﻟﺴﯿﺎق‬

‫د‪ .‬ﰷﻇﻢ ﻋﺒﺪ ﻓﺮﱖ اﳌﻮﱃ اﳌﻮﺳﻮي ‪،‬‬
‫ﺎﻣﻌﺔ ﻣ ﺴﺎن‪ ،‬اﻟﻌﺮاق‬
‫ﻠﺨﻮض ﰲ دﻻﻻﺗ ِﻪ وﻣﻌﺎﻧﯿﻪ اﳌُﺘ ﺪد ِة ‪ ،‬ﻓﺸَ ﻬﺪت ﺣﺮﻛ ًﺔ اﻟﺘ ٔﻟﯿﻒ اﻟﻘﺮ ٓﱐ اﻫ ﻣﺎ ﳌﻔﺮد ِة اﻟﻘﺮ ٓﻧﯿﺔ ِﻣ ُﺬ ﻋﻬ ٍﺪ ﻣ ﻜﺮ‪َ ،‬ﲑ‬ ‫ﰷن اﻟﻘﺮ ٓ ُن وﻣﺎ ﺰ ُال ٔرﺿ ًﺎ ﻜﺮ ًا ﺗُﻐﺮي اﻟﺒﺎﺣ َﲔ ِ‬ ‫َ‬
‫ﻠﻤﻔﺮدات ﻣﻌﺎ ٍن ﻣﻌﺠ ِﻤﯿ ٍﺔ ُﻋ ِﺮﻓَﺖ ﲠﺎ ﰲ‬
‫ِ‬ ‫اﳋﻮض ﰲ ﺑﯿﺎن ا ِﺮ اﻟﺴﯿﺎق‪ .‬وﳒﺪ ﻣﻦ ﺔ ٔﺧﺮى ٔن‬ ‫دون ٍ‬ ‫َ‬ ‫ٕﺣﺼﺎء‬ ‫ﻻ‬ ‫ا‬‫و‬ ‫ﺪ‬ ‫ِ‬ ‫ّ‬ ‫اﻟﻌ‬ ‫ﺪود‬ ‫ﻋﻨﺪ‬ ‫وﻗﻔﺖ‬ ‫ٍ‬
‫ة‬ ‫ﺮ‬‫َ‬ ‫ِ‬ ‫ﻨﺎ‬ ‫ﻣ‬
‫ُ‬ ‫ات‬‫ٍ‬ ‫ر‬ ‫ٕﺷﺎ‬ ‫ا‬ ‫ﺖ‬ ‫ﻇﻠ‬ ‫ﳖﺎ‬ ‫ٔ‬
‫ﻼزم دوﻧ َﲈ ﺎ ٍﺔ إﱃ ﻣﻌﺮﻓ ِﺔ اﻟﺴﯿﺎق ‪ٔ ،‬ن ذ ﺮﻫﺎ ُﳛ ِﻘّﻖ َﺳ ﺒﻘﺎ َﻣﻌﺮﻓ ًﺎ ﻣﻌﻠﻮﻣ ًﺎ‪ ،‬وﻗﺪ ﲣﺮج‬ ‫ﲻﻮ ِم ﻟﻐﺎت اﻟﻌﺎﱂ‪ ،‬ﳁﺎ ٔ ْن ﺗَﻄﺮق ﲰ َﻊ اﳌﺘﻠﻘﻲ ﻣﻔﺮد ٌة ﺣﱴ َﺴ َﺘﺪﻋﻲ ﻣﻌﻨﺎﻫﺎ اﳌ ُ ِ‬
‫ﻓﻀﺎءات َﻣ ﺎزﯾ ٍﺔ َرﺣ ٍﺔ ﺑﻔﻀﻞِ اﻟﺴﯿﺎﻗﺎت اﻟﻘﺎدرة ﲆ إﺧﺮا ﺎ ِﻣﻦ َ ِ ّﲒ اﳌَﻌﺎﱐ)اﻠﻔﻈﯿﺔ( إﱃ اﻟﻘﺼﺪﯾﺔ ا ﺎزﯾﺔ)ا ﻠﻐﻮﯾ ﺔ(‪ ،‬واﻟﺼﺎدر ﻋﻦ‬ ‫ٍ‬ ‫ﻣﻦ َﻃﻮﻗﻬﺎ اﳌﻌﺠﻤﻲ اﻟﻀَ ّﯿِﻖ إﱃ‬
‫ِ‬
‫ﺗﻌﺪدت اﳌﻘﺎﺻﺪ اﻠﻐﻮﯾﺔ ﻠﻤﻔﺮد ِة اﻟﻘﺮ ٓﻧﯿﺔ ورﺻﺪﻫﺎ اﻟﻜ ﲑ ﻣﻦ ٔﺋِﻤﺔ اﻠﻐَﺔ وﻓَﻄﺎ ﻞِ اﻟﻨﺤﻮ‪،‬‬ ‫ُ‬ ‫ُ‬
‫ٕﺑﺪاﻋﻲ‪ ،‬ان اﳫﻤﺔ ﺗَﻘ َﻞ ﻧﻌﺘﺎق‪ ،‬واﳌﺒ ِﺪع ﻫﻮ اﳌﻌ ِﺘﻖ ا ٔول ﻟﻬﺎ‪ .‬ﻟﻘﺪ ْ‬ ‫ﳎﻬﻮ ٍد ا ّ ٍ‬
‫ِ‬
‫ﻔﺮدات اﻟﻘﺮ ٓن وﻣﻌﺎﻧﯿﻪ وﳎﺎزاﺗﻪ‪ ،‬و ٔدﱃ اﶈﺪﺛﻮن ﺑﺪﻟ ِﻮﱒ ﻓ ﺘﺒﻌﻮا ﻇﺎﻫﺮ َة اﻟﺘﻨﻮع‬ ‫ﯾﺐ ُﻣ ِ‬ ‫ﺸﱰك اﻠﻔﻈﻲ‪ ،‬وﻏﺮ ِ‬ ‫و اﻟﺒﯿﺎن‪ ،‬و ﺎﺑﺬة اﳌﻔﴪﻦ ﰲ ﻣﺆﻟﻔﺎﲥﻢ ﲔ وﻗﻔﻮا ﻋﻨﺪ ﻠ ُﻤ َ‬ ‫ِ‬
‫ِ‬ ‫ً‬
‫ﻣﻦ ا ٔﺣ ﺎن‪ ،‬ﺣﱴ َﺪت ﻇﺎﻫﺮ ُة اﻟﺘﻨﻮع ا ﻻﱄ و ﺎ ﻣﻦ ٔﻋﻈﻢ ٔو ﻪ اﻻٕﲺﺎز اﻟﻘﺮ ٓﱐ ‪ .‬ﺎءت ﻣﻔﺮداتٌ‬ ‫ﻠﺖ ﻣﻦ ا ِﺮ اﻟﺴﯿﺎق ﰲ ﻛﺜ ٍﲑ ِ‬ ‫اﻟﻘﺼﺪي ﻠﻤﻔﺮدات اﻟﻘﺮ ٓﻧﯿﺔ‪ ،‬و ْان ْ‬
‫اﻟﺴﯿﺎق ﰲ‬
‫ِ‬ ‫َﺳﻌﻰ اﻟﺒﺎﺣﺚ – وﰲ ﺿﻮء ﺗ اﻻٕﺷﺎرات إﱃ ﺗﻠﻤﺲ ا َﺮ‬ ‫ِ‬ ‫ٍ‬ ‫ٍ‬
‫ﰲ اﻟﻘﺮ ٓ ِن اﻟﻜﺮ ِﱘ ﻟﺘﻨﻔ ُﺢ ﲆ اﺣ ﻻت ﻗﺼﺪﯾﺔ ﺪﯾﺪة ﲝ َﺴ ِﺐ اﻟﺴﯿﺎﻗﺎت اﳊﺎﺿﻨﺔ ﻟﻬﺎ‪،‬‬
‫ِ‬
‫ﺘﻨﻮ ﺔ ﰲ ﺿﻮء ﺗﻨﻮع اﻟﺴﯿﺎق‪،‬‬ ‫ُ‬ ‫ً‬ ‫َ‬ ‫ُ‬ ‫ٓ‬
‫ﻟﻔﺎظ اﻟﻘﺮ ﻧﯿﺔ‪ ،‬ﲾﺎء اﻟ َﺒﺤﺚ ﺗَ ﻌﺎ ﻠ ُﻤﻨَ ِﺢ اﻟﻘﺼﺪﯾﺔ ا ﻻﻟﯿﺔ اﳌ ِّ‬‫ﻣﻘﺪار ِﻩ ﰲ ُﻣﻔﺮد ٍة ﻣﺎ‪ٔ ،‬و اﺳﺘﻘﺼﺎﺋِ ِﻪ ﰲ ﲻﻮ ِم ا ٔ ِ‬ ‫اﻟﻨﻈﺮ ﻋﻦ ِ‬ ‫اﻟﺘﻨﻮع ﺑﻐ َِّﺾ َ‬‫ﻫﺬا ِّ‬
‫ﳜﻠﺺ ﺑِﻨﺎ ٕاﱃ ُﻣ ﺘ َﻐﻰ اﻟﺒﺤﺚ‪.‬‬ ‫ٍ‬
‫ﺘﻌﺪدة ﺑﻌﺪ ﲤﻬﯿﺪ ُ‬ ‫ِ‬ ‫ُ‬ ‫ِ‬ ‫ِ‬
‫ﳕﺎذج ﳐﺘﺎرة ﻣﻦ اﳌﻔﺮدات‪ ،‬واﻟﱵ ُروﻋ َﻲ ﻓﳱﺎ اﻟﱰﺗ ﺐ اﻟﻬ ﺎﰄ ﻟﺒﯿﺎن َﻣﻌﺎ ﳱﺎ اﳌ ّ‬ ‫ٍ‬ ‫ﻓﺎﻗ ﴫ ﲆ َ‬
‫ﻗ ﺒﺎس‪ ،‬واﻟﺘﻨﺎص‪ ،‬واﻟﻘﺮ ٓﻧﯿﺔ‪ :‬ﻧﻈﺮة ﰲ إﺷﲀﻟﯿﺔ اﳌﺼﻄﻠ ﺎت‪ ،‬واﳌﻔﺎﻫﲓ‪ ،‬واﻟﺘﻄﺒﯿﻘﺎت‬
‫د‪ .‬ﻣﺤﻤﺪ ﻋﺒﺪاﻟﺤﺴﯿﻦ ﻣﺤﻤﺪ اﻟﺨﻄﯿﺐ و ﻋﻼوي ﻛﺎﻇﻢ ﻛﺸﯿﺶ‪،‬‬
‫ﻓﺎٕن ﺳﺘﻌﺎﻧﺔ ﺑ ٓ ت اﻟﻘﺮ ٓن اﻟﻜﺮﱘ إﻣﺎّ ٔن ﻜﻮن اﻗ ﺒﺎﺳ ًﺎ ﻧﺼ ّﯿ ًﺎ ﺣﺮﻓ ًﺎ‪ ،‬وﻫﺬا ﻣﺎ ﺟ ﻞ ﻠﯿﻪ ﻛﺜﲑ ﻣﻦ اﻟﺸﻌﺮاء واﻟﻜ ّﺎب‪ ،‬وا ّﻣﺎ ٔن ﻜﻮن ّ‬
‫ﺗﻨﺎﺻ ًﺎ ﲜﻤ )ﺑﺆرة ﳏﻮرﯾﺔ( ٔو‬
‫ﳫﻤﺘﲔ ﻣﻦ ٓﯾﺔ‪ٔ ،‬و ﺮﻣﺰ ﻟﺼﻮرة ﻗﺮ ٓﻧﯿﺔ‪ٔ ،‬و ﺑﺘﻠﻤﯿﺢ ﻟﺴﻮرة ﻗﺮ ٓﻧﯿﺔ ﰷﻣ ‪ٔ ،‬و ٕﳛﺎء ﻟﻔﻜﺮة‪ٔ ،‬و ﻣﻌﲎ‪ٔ ،‬و ﻗﺼﺔ ﻗﺮ ٓﻧﯿﺔ‪ .‬ور ٔي اﻟﺒﺎﺣ ﲔ ٔن اﻟﺘﻨﺎص اﻟﻘﺮ ٓﱐ ﺴﺘﻮﻋﺐ‬
‫اﶈﻮر‪ ،‬و ٔن اﻟﻨﺺ اﻟﻘﺮ ٓﱐ إن اﺳﺘﻐﺮق اﻟﻨﺺ اﻟ ﴩي اﻟﺸﻌﺮي ٔو اﻟﻨﱶي ﺑ ﺴﺒﺔ ﻃﺎﻏﯿﺔ ﺎﻟﺒﺔ ﰲ اﻟﺘﻌﺒﲑ ﻓ ٕﺎﻧ ّﻪ ﺸ ّﲁ ﻣﻦ و ﺔ ﻧﻈﺮ ﻫﺬﻩ‬ ‫ﻗ ﺒﺎس اﳊﺮﰲ‪ ،‬ﻛﲈ ّ‬
‫اﻟﻈﺎﻫﺮة اﳌﻮﺳﻮﻣﺔ ﺑـ ) اﻟﻘﺮ ٓﻧﯿﺔ ( ﰲ اﻟﻨﺺ اﻟ ﴩي‪ .‬وﻣﻦ اﻟﺒﺪﳞ ﻲ ٔن ﺮﻧﻮ اﻟﻨﺼﻮص اﻟ ﴩﯾﺔ ﺻﻮب اﻟﻨﺺ اﻟﻘﺮ ٓﱐ اﻟﺴﲈوي ﻟ ٕﻼﻓﺎدة ﻣ ﻪ‪ ،‬دﻋﲈً ٔﻓﲀرﻫﺎ ‪ ،‬وﺗﺘﻮﳚﺎً‬
‫ٔﺳﺎﻟﯿﳢﺎ‪ ،‬وﱔ ﰲ ﰻ ذ ﲆ اﳌﺴﺎر اﳌﻜﺸﺎر ٕا ﳱﲈ ﰲ اﻟﺘﻄﺒﯿﻖ‪ ،‬واﻻٕﻓﺎدة ) ﻗ ﺒﺎس(‪ ،‬و )اﻟﺘﻨﺎص( ﺗﺬﻫﺐ ﺑﻌﯿﺪ ًا ﻋﻦ اﳌﺼﻄﻠ ﺎت واﳌﻔﺎﻫﲓ‪ ،‬اﻟﻘﺪﳝﺔ واﳊﺪﯾﺜﺔ‬
‫اﻟﱵ ﺗﻮﻣﺊ ﻣﻦ ﻃﺮف ﺧﻔﻲ إﱃ اﻟﴪﻗﺔ ٔو إﱃ ﺷﳢﺔ ٔ ٔ ﺬ واﳌ ٔﺧﻮذ‪ ،‬و ﳮﻮ اﻗﱰا ً ﰲ اﻟﻮﻗﺖ ﻋﯿﻨﻪ إﱃ ﺗﻔﻜﲑ اﳌﺘﻠﻘﻲ وو ﺪاﻧﻪ اﳌﺘﻔﺎ ﻞ ﻣﻊ اﻟﻨﺺ اﻟﻘﺮ ٓﱐ ﻣﻦ ﺔ‪،‬‬
‫وﲮﺮ اﻟﺼﻮرة اﻟﺒﯿﺎﻧﯿﺔ ﻠﻤﺒﺪع اﻟ ﴩي ﻣﻦ ﺔ ٔﺧﺮى‪ .‬وﻣﻦ ﻫﻨﺎ ﺗﺒﻘﻰ ﻠﻘﺮ ٓن ﺣ ﻨﺌﺬ ﻗﺪرﺗﻪ ﲆ اﻟﻘﳰﻮﻣﺔ داﲚ ًﺎ‪ ،‬وﻗﺪرﺗﻪ ﲆ اﻟﻌﻄﺎء اﳌﺴ ﺘ ﺪ ﺗﻮاﺻ ًﻼ ﺑﻄﺎﻗﺎت ﻻ ﺪود‬
‫ﻟﻬﺎ‪ ،‬وﺗﺒﻘﻰ ﺎﯾﺔ اﳌﺒﺪع ﺗﻌﺎﻟﻖ اﻟﻨﺼﻮص ﻣﻊ ﺑﻌﻀﻬﺎ اﻟﺒﻌﺾ وﺗ ٔﻟﯿﻔﻬﺎ ﰲ ﺴﯿﺞ ﻟﻐﻮي ﺎﻣﻊ ﻣ ﻨﺎﰬ ﻣ ﺎﺲ‪ ،‬ﳛﻠﻖ ﰲ اﳋﯿﺎل‪ ،‬وﯾﺪاﻋﺐ اﻟﻌﺎﻃﻔﺔ‪ ،‬و ﺴﻜﻦ إﱃ اﻟﻌﻘﻞ ‪...‬‬
‫‪٢٨‬‬
‫ﴏاع اﻠﻐﺔ واﻟﻬﻮﯾﺔ ﰲ اﻗﻠﲓ ﺮدﺳﺘﺎن‪ -‬اﻟﻌﺮاق‪ :‬ﺑﻌﺎد واﻟﺘﺪاﻋﯿﺎت‬

‫د‪ .‬ﲪﺪان رﻣﻀﺎن ﶊﺪ و د‪ .‬ﻫﯿﻔﺎء ﯾﻮﺲ ﺣﺴﲔ‪،‬‬
‫ﺎﻣﻌﺔ اﳌﻮﺻﻞ‪ ،‬اﻟﻌﺮاق‬
‫ﳞﺪف ﻫﺬا اﻟﺒﺤﺚ إﱃ اﻟﻜﺸﻒ ﻋﻦ ٔ ﺮ اﻠﻐﺔ ﰲ ﲡﺬ ﺮ اﻟﻬُ ِﻮﯾّﺔ اﻟﻜﺮدﯾﺔ ﰲ ﻇ ّﻞ اﳌﺘﻐﲑات ا وﻟﯿﺔ واﻟﻈﺮوف اﻟﻌﴫﯾّﺔ اﳉﺪﯾﺪة‪ ،‬إذ ٔﺻﺒﺢ اﻟﻀّ ﻌﻒ ا ﻠّﻐﻮي اﻟﻌﺎم ﯾﺆدّي‬
‫ﻟﺘّﺪرﱕ إﱃ ذو ن اﻟﺸﺨﺼﯿﺔ‪ ،‬وﻓَ ْﻘﺪان اﻟﻬُ ِﻮﯾّﺔ‪ ،‬واﻧﻘﻄﺎع اﻟﺼ ﻟﺮاﺑﻄﺔ اﻟّﱵ ﺗُﻮ ِّ ﺪ ا ٔ ّﻣﺔ‪ ،‬وﺸ ﺖ ﯿﺎﳖﺎ‪ ،‬وﻻﲢﻘّﻖ ﻟﻬﺎ اﺳﺘﻘﻼﻟﻬﺎ‪ ،‬وﺗﺒﻌﺪﻫﺎ ﻋﻦ ّ‬
‫ﺗﺒﻮؤﻫﺎ اﳌﲀﻧﺔ اﳌﺮﻣﻮﻗﺔ‬
‫ﺑﲔ ا ٔﱈ اﳊ ّﯿﺔ‪ .‬وﻣﻦ ﻫﻨﺎ ﻓﺎ ّٕن اﺷﲀﻟﯿﺔ ﻫﺬا اﻟﺒﺤﺚ ﺳﯿ ﺎول ﻣﻮﺿﻮ ﺎت ذات ﺻ وﺛﯿﻘﺔ ﻟﻌﻼﻗﺔ ﺑﲔ اﻠﻐﺔ واﻟﻬﻮﯾّﺔ‪ ،‬ﻣﳯﺎ ﻣﻔﻬﻮم اﻟﻬﻮﯾ ّﺔ‪ ،‬واﻠﻐﺔ‪ ،‬و ﻼﻗﳤﲈ ﻟﻬﻮﯾّﺔ‬
‫اﻟﻜﺮدﯾﺔ‪ ،‬و ٔﱒ اﻟﺘ ﺪ ت اﳌﻌﺎﴏة اﻟﱵ ﺗﻮا ﻪ اﻠﻐﺔ اﻟﻜﺮﯾﺔ ﰲ اﻟﻮﻗﺖ اﻟﺮاﻫﻦ ﰲ ﻇﻞ ﻋﴫ اﻟﻌﻮﳌﺔ‪ ،‬وا ور اﳌ ٔﻣﻮل ﻣﻦ اﳊﻜﻮﻣﺔ اﻟﻜﺮدﯾﺔ وﻣﺆﺳﺴﺎﲥﺎ اﻟﺮﲰ ّﯿﺔ ﲡﺎﻩ اﻠﻐﺔ‬
‫‪ .‬وﻗﺪ ﻠﺼﺖ اﻟﺒﺤﺚ إﱃ ٔﻧ ّﻪ ﻻ ُﻫ ِﻮﯾّﺔ ﺑﻼ ﻟﻐﺔ‪.‬‬
‫ﻣ ﺎﱑ اﻟﺘﻌﻠﲓ واﻟﺼﻌﻮ ت واﻟﺘﻮﺻﯿﺎت واﳌﻘﱰ ﺎت ﰲ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﻟﻐﲑ اﻟﻨﺎﻃﻘﲔ ﲠﺎ‬

‫د‪ .‬ﳒﻼء ﶊﺪ ﻓﺎ ﺰ اﻟﺒﯿﻄﺎر‪،‬‬
‫ﻣﺆﺳﺴﺔ وﻃﻦ ﻠﺘﳮﯿﺔ اﻟﺜﻘﺎﻓ ﺔ و ﺟ ﻋﯿﺔ‪ ،‬ﻣﴫ‬
‫إن اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﱔ ﻣﻦ ٔﻛﱪ ﻟﻐﺎت ا ﻤﻮ ﺔ اﻟﺴﺎﻣ ﺔ ﻣﻦ ﺣ ﺚ ﺪد اﳌﺘ ﺪﺛﲔ وٕا ﺪى ٔﻛﱶ اﻠﻐﺎت اﻧ ﺸﺎراً ﰲ اﻟﻌﺎﱂ وﺴﺘ ﺪ ﺎ ﺣﻮاﱄ ﺛﻼﲦﺎﺋﺔ ﻣﻠﯿﻮن وﺣﱴ ﲬﺴﲈﺋﺔ‬
‫ﻣﻠﯿﻮن ﺴﻤﺔ ﰲ ‪ ٢٢‬دو ﻋﺮﺑﯿﺔ وﱔ ﻟﻐﺔ اﻟﻘﺮ ٓن اﻟﻜﺮﱘ وﻟﻐﺔ ﻣﺼﺪري اﻟ ﴩﯾﻊ ا ٔﺳﺎﺳﯿﲔ ﰲ اﻻٕﺳﻼم وا ٔ ﺎدﯾﺚ اﻟﻨﺒﻮﯾﺔ‪ .‬وﻻ ﺗﱲ اﻟﺼﻼة إﻻ ٕﺗﻘﺎن ﺑﻌﺾ ﻣﻦ ﳇﲈت‬
‫ﻫﺬﻩ اﻠﻐﺔ‪ .‬إﺿﺎﻓﺔ إﱃ ﻮﳖﺎ ٕﰷ ﺪى اﻠﻐﺎت اﻟﺮﲰﯿﺔ اﻟﺴﺖ ﳌﻨﻈﻤﺔ ﱈ اﳌﺘ ﺪة و ﺪد ﻣﻦ اﻟﻬﯿﺌﺎت اﻟﻌﺎﳌﯿﺔ‪ .‬ﳑﺎ ﯾﺪل ﲆ ٔﳘﯿﺔ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﻋﺘﺒﺎرﻫﺎ ﻣﻦ ٔﱒ ﻟﻐﺎت‬
‫اﳊﻀﺎرة واﻟﺜﻘﺎﻓﺔ وا ﺑﻠﻮﻣﺎﺳﯿﺔ ﰲ اﻟﻌﺎﱂ ٔﲨﻊ‪ .‬ﯾﻘﻮل ا ٔﺳﺘﺎذ ﻣﺮ ﻠﯿﻮت ﺳﺘﺎذ ﲜﺎﻣﻌﺔ ا ﺴﻔﻮرد‪) :‬اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﻻ ﺰال ﺣ ﺔ ﺣ ﺎة ﺣﻘ ﻘ ﺔ وﱔ وا ﺪة ﻣﻦ ﺛﻼث‬
‫ﻟﻐﺎت اﺳﺘﻮﻟﺖ ﲆ ﺳﲀن اﳌﻌﻤﻮرة اﺳ ﻼء ﱂ ﳛﺼﻞ ﻠﳱﺎ ﲑﻫﺎ‪ .‬ﻫﻨﺎك ﺪة ﻣ ﺎﱑ ﻟﺘﻌﻠﲓ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﻟﻐﲑ اﻟﻨﺎﻃﻘﲔ ﲠﺎ وﲣﺘﻠﻒ ﺧ ﻼف ﻫﺪف اﳌﺘﻌﲅ ﻠﻐﺔ‪ .‬وﻣﻦ‬
‫ﻫﺬﻩ اﳌﻨﺎﱑ‪:‬‬
‫‪-‬اﻟﻄﺮﯾﻘﺔ ا ﳣﺪة ﲆ ﻓﺼﺤﻰ اﻟﱰاث‪ :‬ﺗﻌﺪ ﻫﺬﻩ اﻟﻄﺮﯾﻘﺔ ﻣﻦ ٔﻗﺪم ﻃﺮق ﺗﻌﻠﲓ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ‪ ،‬ﯾﱲ ﺗﻄﺒﯿﻘﻬﺎ ﰲ اﳉﺎﻣﻌﺎت ﻣﺮﻜ ﺔ وﰷﻧﺖ ﺮﻛﺰ ﲆ دراﺳﺔ اﻟﻔﺼﺤﻰ‬ ‫ﳌﻌ‬
‫اﻟﻮاردة ﻟﻘﺮ ٓن اﻟﻜﺮﱘ واﻟﻜ ﺐ اﻟﺘﺎرﳜﯿﺔ وا ٔدﺑﯿﺔ واﻟﻔﻠﺴﻔ ﺔ واﳉﻐﺮاﻓ ﺔ اﻟﻘﺪﳝﺔ‪.‬‬
‫‪-‬اﻟﻄﺮﯾﻘﺔ اﳌﻌﳣﺪة ﲆ ﻓﺼﺤﻰ اﻟﻌﴫ اﳊﺪﯾﺚ‪ :‬ﺗﻌﺘﱪ ﻣﻦ ٔﺷﻬﺮ و ٔ ﺴﺐ اﻟﻄﺮق ﻟﺘﻌﻠﲓ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﺎﻟﯿﺎ واﻟﱵ ﯾﱲ ا ﳤﺎ ﺎ ﰲ ﻣﻌﻈﻢ اﳌﺪارس‪.‬‬
‫ً‬
‫‪-‬اﻟﻄﺮﯾﻘﺔ اﳌﻌﳣﺪة ﲆ اﻠﻬ ﺎت اﻟﻌﺎﻣ ﺔ‪ :‬وﺮﻛﺰ ﻫﺬﻩ اﻟﻄﺮﯾﻘﺔ ﲆ ﺗﺪرﯾﺐ ﺎرة اﶈﺎدﺛﺔ واﻟﱵ ﲤﺘﺎز ﺴﻬﻮ ﺬب اﻫ م ا ارﺳﲔ‪ ،‬ﺣ ﺚ ﺑﺪ ٔ ﺗﻄﺒﯿﻖ ﻫﺬﻩ اﻟﻄﺮﯾﻘﺔ ﰲ‬
‫اﳉﺎﻣﻌﺎت ا ٔﻣﺮﻜ ﺔ اﻋﺘﺒﺎراً ﻣﻦ اﶆﺴ ﺎت ﻣﻦ اﻟﻘﺮن اﳌﺎﴈ‪.‬‬
‫‪-‬اﻟﻄﺮﯾﻘﺔ اﳌﻌﳣﺪة ﲆ اﻠﻐﺔ اﻟﻮﺳﻄﻰ‪ :‬إن ﻫﺬﻩ اﻟﻄﺮﯾﻘﺔ ﺮﻛﺰ ﲆ ﺗﻌﻠﲓ ﳕﻂ ٔوﺳﻂ ﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ وا ي ﯾﺘﻮا ﺪ ﺑﲔ اﻟﻔﺼﺤﻰ واﻠﻬ ﺎت اﻟﻌﺎﻣ ﺔ‪ .‬وﻫﻮ ﻣﺎ ﺴﻤﻰ "اﻠﻐﺔ‬
‫اﳌﺸﱰﻛﺔ" ٔو "اﻠﻐﺔ اﻟﻮﺳﻄﻰ"‪.‬‬
‫ﺗ ٔوﯾﻞ ﻣﻌﲎ اﻟﻜﱪ ء ﰲ ﺷﻌﺮ اﳌﺘ ﱯ‬

‫ﻓﺎﻃﻤﺔ ﻋﺒﺪ زﯾﺪ ﺷﻮﻦ اﳋﺰاﻋﻲ‪،‬‬
‫ﺒﲑا ﺷﻐﻞ ا ارﺳﲔ ﻗﺪﳝًﺎ و ﺪﯾﺜًﺎ‪ ،‬إﻻ ٔن ﺗ ٔوﯾﻞ ﻣﻌﲎ اﻟﻜﱪ ء ﰲ ﺷﻌﺮ اﳌﺘ ﱯ ﺗﻌﺪ دراﺳﺔ ﺪﯾﺪة ﰲ‬ ‫ﻜ ﺴﺐ ﻫﺬﻩ ا راﺳﺔ ٔﳘﯿﺔ ﺎﺻﺔ ﻣﻦ ﻮﳖﺎ ﺗﻨﺎوﻟﺖ ً‬
‫ﺷﺎﻋﺮا ً‬
‫ﻣﻮﺿﻮﻋﻬﺎ ﲆ اﻟﺮﰬ ﻣﻦ ا راﺳﺎت اﻟﱵ دارت ﺣﻮ ‪ ،‬ان ا راﺳﺎت ﳇﻬﺎ ﺗ ﺎول اﳌﻌﲎ اﻟﻈﺎﻫﺮ ﻠﺒ ﺖ اﻟﺸﻌﺮي وﱂ ﺗﻨﻈﺮ ﻠﻤﻌﲎ اﳌﻜ ﻮن ا ي ﺎﻟﺒﺎ ﻣﺎ اﺗﻌﺐ‬
‫اﻟﺸﺎﻋﺮ وادﱉ ﻗ ا ﺮوح ﻣﻦ اﻟﺰﻣﻦ واﺻﺎﺣ ﻪ‪ .‬وﰲ ﻫﺬا اﻟﺴﯿﺎق ﲢﺪﯾﺪا ﺳﻨﺪرس اﻟﻜﱪ ء اﻟﱵ اراد ان ﯾﻈﻬﺮﻫﺎ اﳌﺘ ﱯ ﰲ ﺷﻌﺮﻩ‪ ،‬وﻟ ﺲ اﻟﱵ ﺗﻘﺎل ﻋﻨﻪ‪ ،‬وﻣﻦ‬
‫اﶈﺎور اﻟﱵ ﯾﺪور ﻓﳱﺎ اﻟﺒﺤﺚ‪ :‬ﱱاز ﻟﻨﻔﺲ‪ ،‬اﻣﺎ اﶈﻮر اﻟﺜﺎﱐ ﻣﻦ اﻟﺒﺤﺚ ﻓﻘﺪم ﱱاز ﲟﻘﺪرﺗﻪ اﻟﺸﻌﺮﯾﺔ‪ ،‬ﰲ ﲔ ﺷﲁ اﶈﻮر اﻟﺜﺎﻟﺚ اﻟﻔﺨﺮ ﻟﻘﻮم ا ي ﲯﺮﱒ‬
‫ﻠﺮد ﲆ اﳊﺎﺳﺪ ﻦ اﳌﺘﺼﯿﺪ ﻦ ‪ .‬وﯾﺘﻘﺪم ﲆ ﻫﺬﻩ اﶈﺎور ﺎد ﻣﻜﻮن ﻣﻦ رﻛﻨﲔ‪ ،‬ﯾﺒﲔ اﻟﺮﻦ ا ٔول ﻣﻌﲎ اﻟﻔﺨﺮ واﻟﻜﱪ ء واﻟﻌﻼﻗﺔ ﺑ ﳯﲈ‪ ،‬ﰲ ﲔ ﺮﻛﺰ اﻟﺜﺎﱐ ﲆ‬
‫ﺗﻮﺿﯿﺢ ﺳ ﺐ اﻟﻜﱪ ء ﻋﻨﺪ اﳌﺘ ﱯ‪ .‬وﲠﺬا اﻟﻘﺪر ﳯ ﻲ اﻟﺒﺤﺚ ﲞﺎﲤﺔ‪ ،‬ﳋﺼﺖ ﻓﳱﺎ اﱒ ﻧﺘﺎﰀ اﻟﺒﺤﺚ‪ ،‬وﺛ ﺖ ﻠﻤﺼﺎدر واﳌﺮاﺟﻊ‪.‬‬
‫‪٢٩‬‬
‫اﻟﻘﲓ اﻟﺮوﺣ ﺔ و ا ٔ ﻼﻗ ﺔ ﰲ ا ٔدب اﻟﺼﻮﰲ و ٔ ﺮﻫﺎ ﰲ ﳖﻀﺔ ا ٔﻣﺔ‬

‫ﻓﺮﻗ ﺲ ر ض‪،‬‬
‫إن اﻟﺘﺼﻮف ﻛﺘﺠﺮﺑﺔ روﺣ ﺔ و ﺪاﻧﯿﺔ‪ٔ ،‬ﺻﯿ ﰲ اﻟﻔﻜﺮ اﻻٕﺳﻼﱊ‪ .‬ﺗﻌﱪ ﻋﻦ ﲪﻮ ﻣﻦ اﳋﱪات ا ٕﻻ ﺴﺎﻧﯿﺔ اﳌﻔﻌﻤﺔ ﻟﺼﻔﺎء اﻟﺮو و اﻟﻘﲓ ا ٔ ﻼﻗ ﺔ‪ .‬ﻓﻬﻲ ٔﳕﻮذج‬
‫ﻟﻔﻜﺮة "ا ٕﻻ ﺴﺎن اﲀﻣﻞ"‪ ،‬ا ي ﺳﻌﺖ اﳊﻀﺎرة اﻻٕﺳﻼﻣ ﺔ ﻟﺘ ٔﺳ ﺴﻪ ﻣ ﺬ ﺸ ٔﲥﺎ‪ .‬و ﻣﺎ اﻟﺘﺠﺮﺑﺔ اﻟﺼﻮﻓ ﺔ ) ﺗﻨﻈﲑ و ﲻﻠﯿﺎ( ﺳﻮى اﺳ ﳣﺮارا ﻟﻬﺬا ا ﳯﺞ ﰲ ﺑﻨﺎء اﻟﻔﺮد و‬
‫ا ﳣﻊ‪ .‬ﻓﺎ ﳣﻊ اﳌﻌﺎﴏ‪ ،‬د ﻞ ﻓﺼﻼ ٓﺧﺮ ﻣﻦ اﻟﺘ ﺪ ت و اﻟﺮﻫﺎ ت ﰲ ﺟﻮاﻧﺐ و ﳎﺎﻻت ﻛﺜﲑة )ﺳﯿﺎﺳﯿﺔ‪ ،‬اﻗ ﺼﺎدﯾﺔ‪ ،‬و اﺟ ﻋﯿﺔ(‪ .‬ﻠﻔﺖ ﺗﺪاﻋﯿﺎت ﲆ ا ٕﻻ ﺴﺎن‬
‫اﳌﻌﺎﴏ‪ .‬ﻓﺼﻨﻌﺖ ﻣ ﻪ ٕا ﺴﺎ ﻣﺎد ‪ ،‬و ٔﻓﺮﻏﺘﻪ ﻣﻦ ٔﺻ اﻟﺮو ‪ .‬ﻓﺎﳊﺎ ﺔ ٔﻛﱶ ﻣﻦ ﻣﻠ ﺔ‪ ،‬ﳮﻮذج ﯾﻘﺪم ﺗﺼﻮرات ﲱﯿ ﺔ و ﻣﻘﻮﻣﺎت ﺳﻠﳰﺔ ﻟ ٕﻼ ﺴﺎن و اﻟﻮﺟﻮد‪ .‬ﯾﻌﯿﺪ‬
‫رﺳﳫﺔ ا ﳣﻊ ا ي ﻓﻘﺪ ﻣﻘﻮﻣﺎﺗﻪ ا ﯾ ﺔ و اﻟﺮوﺣ ﺔ‪ .‬ﻓﺎﻟﺘﺠﺮﺑﺔ اﻟﺼﻮﻓ ﺔ ﰲ ﺎ ﳢﺎ اﻟﺘﻨﻈﲑي )ا ٔدب اﳌﻜ ﻮب(‪ ،‬ﻗﺎدر ﲆ ﴩ اﻟﻮﻋﻲ اﻟﺴﻠﲓ‪ ،‬و ﳐﺘﻠﻒ اﻟﻘﲓ و اﳌﺜﻞ‬
‫ا ٕﻻ ﺴﺎﻧﯿﺔ‪ .‬و ﻗﺎدر ﲆ اﻟﺘ ٔﺛﲑ ﰲ اﻟﻨﻔﻮس و ﺗﻐﺬ ﳤﺎ روﺣ ﺎ‪ .‬إذ ﺴﻌﻰ ﻟﻨﻘﻞ اﻟﻘﲓ ا ٕﻻ ﺴﺎﻧﯿﺔ‪ ،‬و ﻏﺮس ﻓﻀﺎﺋﻞ ا ٔ ﻼق ﰲ ٕا ﺴﺎن ﻫﺬا اﻟﻌﴫ‪ .‬اﻟﻬﺶ ﰲ ﻜﻮﯾﻨﻪ اﻟﺮو‬
‫و ا ٔ ﻼﰶ‪ ،‬ﻓﺎ ٔدب اﻟﺼﻮﰲ ﻫﻮ ﻣﻌﺮﻛﺔ ﻓﻜﺮﯾﺔ ﺿﺪ ﺛﻘﺎﻓﺔ اﻟﻌﴫ‪ ،‬ﻫﺬﻩ اﻟﺜﻘﺎﻓﺔ اﻟﻘﺎﲚﺔ ﲆ ﺳ ﺪاد و اﻟﻬﳰﻨﺔ‪ ،‬ﳓﻼل و اﻟﻌﺒ ﺔ‪ .‬و ﻣﻦ ﻼل ﻫﺬﻩ اﻟﻮرﻗﺔ اﻟﺒﺤﺜﯿﺔ‪،‬‬
‫ﺳﻨ ﺎول اﻟﺘﻄﺮق ٔﳘﯿﺔ اﻟﺘﺠﺮﺑﺔ اﻟﺼﻮﻓ ﺔ‪" ،‬ﲡﺮﺑﺔ اﻟﻜ ﺎﺑﺔ ا ٔدﺑﯿﺔ"‪ ،‬ﰲ ﻏﺮس اﻟﻘﲓ اﻟﺮوﺣ ﺔ و ا ٔ ﻼﻗ ﺔ ﰲ ا ﳣﻊ‪ .‬و ﻣﺪى اﻟﺘ ٔﺛﲑ ا ي ﻗﺪ ﳛﺪﺛﻪ ا ٔدب اﻟﺼﻮﰲ ﰲ‬
‫ﻜﻮﻦ ا ٔﻓﺮاد و اﶺﺎ ﺎت روﺣ ﺎ و ٔ ﻼﻗ ﺎ‪ .‬و ٔﺑﻌﺎد ﻫﺬا اﻟﺘ ٔﺛﲑ ﰲ ﳖﻀﺔ ا ٔﻣﺔ‪.‬‬
‫ﻣﻔﻬﻮم )ﲪ اﻟﻌﺮش( ﺑﲔ اﻟﻨﺺ اﻟﻘﺮ ٓﱐ واﻟﻨﺺ اﻻٕﻣﺎﱊ‪ -‬دراﺳﺔ ٔﺳﻠﻮﺑﯿﺔ ﻣﻮازﻧﺔ ‪-‬‬
‫د‪ .‬ﻓﺎﻃﻤﺔ ﻋﺒﺪ ا ٔﻣﲑ راﴈ اﻟﺴﻼﱊ و ﻣﲎ ﻋﺒﺪ اﳊﺮ ﻣﻮﳻ‪،‬‬
‫اﳉﺎﻣﻌﺔ اﻻٕﺳﻼﻣ ﺔ‪ ،‬اﻟﻌﺮاق‬
‫ﻟﻘﺪ ﻠﻖ ﷲ ﺳﺒ ﺎﻧﻪ وﺗﻌﺎﱃ اﳌﻼ ﻜﺔ ﲨﯿﻌ ًﺎ‪ ،‬وﻟﻜ ﻪ ّﻋﺰ و ﻞ اﺧ ﺺ ﻃﺎﺋﻔﺔ ﻣﳯﻢ ﲝﻤﻞ ﻋﺮﺷﻪ وذ ﺮﻩ وﺴ ﻪ‪ ،‬ﯾﺪﻋﻮن ﻠﻤﺆﻣ ﲔ وﺴ ٔﻟﻮن ﳍﻢ اﳌﻐﻔﺮة ﻣ ﻪ ﺳﺒ ﺎﻧﻪ‬
‫وﺗﻌﺎﱃ وﷲ ّﻋﺰ و ﻞ ذ ﺮﱒ ﰲ ﺑﻌﺾ ا ٓ ت ﻣﳯﺎ ﰲ ﺳﻮرة اﻟﺰﻣﺮ وﺳﻮرة ﺎﻓﺮ وﺳﻮرة اﳊﺎﻗﺔ وذ ﺮ ﰲ ﻫﺬﻩ ا ٓ ت ﲻﻠﻬﻢ وﺻﻔﺎﲥﻢ ا ﱰت ﻫﺬا اﳌﻮﺿﻮع ﳉﺪﺗﻪ‬
‫وﻠﺘﻌﺮف ﲆ ﲪ اﻟﻌﺮش وﻣﻼﺣﻈﺔ ﺗﻌﺒﲑ اﻟﻘﺮ ٓن ﰲ ذ و ٔﴎارﻩ وﺑﻼﻏﺘﻪ وﻓﺼﺎﺣ ﻪ ﰲ ﺗﺼﻮﺮ ﲪ اﻟﻌﺮش ﻟﻨﺎ وﯿﻒ ﻜﻮﻧﻮن ﰲ ﺎﱂ اﻟﻐﯿﺐ‪ .‬وﺳ ٔﻟﻒ ﻫﺬﻩ‬
‫ا راﺳﺔ ﻣﻦ ﻣﻘﺪﻣﺔ وﲤﻬﯿﺪ وﺛﻼﺛﺔ ﻣ ﺎﺣﺚ ﺗﻠﳱﺎ اﳋﺎﲤﺔ وﻗﺎﲚﺔ ﺑ ٔﱒ اﳌﺼﺎدر واﳌﺮاﺟﻊ‪ .‬وﺳﻨﺬ ﺮ ﰲ ا ﳣﻬﯿﺪ ٓراء اﻟﻌﻠﲈء ﰲ ﻣﻔﻬﻮم )ﲪ اﻟﻌﺮش(‪ٔ ،‬ﻣﺎ اﳌﺒﺤﺚ ا ٔول‬
‫ﻓﺴﯿﻜﻮن ﻋﻨﻮاﻧﻪ‪) :‬ﲪ اﻟﻌﺮش ﰲ ا ٔﺳﻠﻮب اﻟﻘﺮ ٓﱐ( وﯾﺘﻀﻤﻦ ٔﺳﺎﻟﯿﺐ ﳐﺘﺼﺔ ﻣﳯﺎ ٔﺳﻠﻮب ﻟﺘﻔﺎت‪ ،‬و ٔﺳﻠﻮب اﻟﺘﻘﺪﱘ واﻟﺘ ٔ ﲑ‪ ،‬و ٔﺳﻠﻮب ا ٔﻣﺮ‪ ،‬و ٔﺳﻠﻮب ا ﺎء‪،‬‬
‫و ٔﺳﻠﻮب اﻟﺘﻮﯿﺪ‪ .‬واﳌﺒﺤﺚ اﻟﺜﺎﱐ ﻋﻨﻮاﻧﻪ‪) :‬ﲪ اﻟﻌﺮش ﰲ اﻟﺼﺤﯿﻔﺔ اﻟﺴ ﺎدﯾﺔ( ﺳﻨﺪرس ﻓ ﻪ ﶍﻮ ﺔ ٔﺳﺎﻟﯿﺐ‪ ،‬ﻣﻦ ٔﳘﻬﺎ ٔﺳﻠﻮب ا ﺎء‪ ،‬و ٔﺳﻠﻮب اﻟﻨﻔﻲ‪ ،‬و ٔﺳﻠﻮب‬
‫ﻟﺘﻔﺎت‪ ،‬و ٔﺳﻠﻮب اﻟﺘﻘﺪﱘ واﻟﺘ ٔ ﲑ‪ .‬ﻠﲈً ﺑ ٔن اﻟﺒﺤﺚ ﻻ ﯾﻘﺼﺪ راﺳﺔ ا ٔﺳﻠﻮﺑﯿﺔ ﻫﻨﺎ ﻣﻌﻨﺎﻫﺎ اﻟﻌﺎم وﺟﻮا ﳢﺎ ا ﺘﻠﻔﺔ‪ ،‬إذ ﳜﺘﺺ ﺑﺪراﺳﺔ ا ٔﺳﺎﻟﯿﺐ اﻟﻨﺤﻮﯾﺔ واﻟﺒﻼﻏﯿﺔ‬
‫ﻓﻘﻂ‪ٔ .‬ﻣﺎ اﳌﺒﺤﺚ اﻟﺜﺎﻟﺚ ﻓﻬﻮ ﻋﺒﺎرة ﻋﻦ ﻣﻮازﻧﺔ ﺑﲔ ﲪ اﻟﻌﺮش ﰲ اﻟﻘﺮ ٓن اﻟﻜﺮﱘ وﰲ اﻟﺼﺤﯿﻔﺔ اﻟﺴ ﺎدﯾﺔ‪ ،‬ﺳﻨﺬ ﺮﻫﺎ ﲆ ﺷﲁ ﻓﻘﺮات ﯾﱲ اﺳﺘ ﺎ ﺎ ﻣﻦ اﳌﺒﺤﺜﲔ‬
‫اﻟﺴﺎﺑﻘﲔ‪.‬‬
‫ﱰاب ﰲ ﺷﻌﺮ اﻦ اﻟﻌﻨﱪي ٔﳕﻮذ ﺎً‬
‫ﲇ ﻃﺎﻟﺐ ﺪي اﲪﺮ اﻟﻌﺠﯿﲇ‪،‬‬
‫وزارة اﻟﺘﻌﻠﲓ اﻟﻌﺎﱄ واﻟﺒﺤﺚ اﻟﻌﻠﻤﻲ‪ ،‬اﻟﻌﺮاق‬
‫ﱰاب ﻇﺎﻫﺮة اﺟ ﻋﯿﺔ ﻧﻔﺴﯿﺔ ﺷﻐﻠﺖ اﻟﻨﺎس واﻟﻌﻠﲈء ﰲ ﻣﺎﻫﯿﳤﺎ واﺳﺒﺎﲠﺎ ودواﻓﻌﻬﺎ وﺗ ٔﺛﲑاﲥﺎ ﻈﺎﻫﺮة وﺟﻮدﯾﺔ ٕا ﺴﺎﻧﯿﺔ ﻣﻼزﻣﺔ ﻠﻮﺟﻮد ا ٕﻻ ﺴﺎﱐ ﻋﺘﺒﺎرﻫﺎ ﲰﺔ‬
‫ﺟﻮﻫﺮﯾﺔ ﻠﻮﺟﻮد ا ٕﻻ ﺴﺎﱐ ﻓﻘﺪ ﺷﻐﻠﺖ د ء واﳌﻔﻜﺮﻦ واﻟﻔﻼﺳﻔﺔ وزاﰘ اﳌﺼﻄﻠ ﺎت ﰲ ﻛﺘﺐ اﻟﻨﻘﺪ و دب و ﲅ اﻟﻨﻔﺲ واﻟﺘ ﻠﯿﻞ ﺟ ﻋﻲ و ﲅ اﻟﻼﻫﻮت‪،‬‬
‫ﰲ ﻫﺬا اﻟﺒﺤﺚ ﺳﻠﻄﻨﺎ اﻟﻀﻮء ﲆ ﻫﺬﻩ اﻟﻈﺎﻫﺮة وﺗﻨﺎوﻟﻬﺎ ﻣﻦ ﺪة ﻧﻮا ﻣ ﺬ ﻦ ﻣﻦ اﻦ اﻟﻌﻨﱪي إﳕﻮذ ًﺎ ﻻٕﺳﻘﺎط ﱰاب ﻠﯿﻪ ﻣﺸﺨﺼﲔ اﱒ ﻣﻈﺎﻫﺮ ﱰاب‬
‫ﻋﻨﺪﻩ ﻣﻦ ﺔ اﳋﻮف ﻣﻦ ﻗﺪم واﳍﻢ واﻟﻘﻠﻖ اﳌﺘﻼزﻣﲔ وﺛﻨﺎﺋﯿﺔ اﻟ ﺸﺎؤم واﳊﻨﲔ اﻟﱵ ﻃﻐﺖ ﲆ اﺷﻌﺎرﻩ واﻟﱵ دﻓﻌﺘﻪ ﻻﲣﺎذ اﳊﯿﻮا ت اﻟﻮﺣﺸﯿﺔ ﻠﯿﻼ ﯾ ٔ ﺲ‬
‫اﳱﺎ وﺴﻌﺪ ﻟﻘﺮب ﻣﳯﺎ وﯾ ﳦﺎ ﳘﻮﻣﻪ وﻣﺸﺎﻋﺮﻩ و ٔ ﺎﺳ ﺴﻪ ﲆ ﻼف اﻟﻄﺒﯿﻌﺔ اﻟﱵ ﺎدة ﻣﺎ ﯾﻔﺮ ﺴﺎن ﻣﻦ اﳊﯿﻮا ت اﳌﻔﱰﺳﺔ و ﺲ اﻟ ﴩ ﺑﻌﻀﻬﻢ ﺑﺒﻌﺾ ان‬
‫ﱰاب ﻋﻨﺪ ﻫﺬا اﻟﺸﺎﻋﺮ ﻫﻮ ﻧ ﺔ ﳌﺎ ﺎﺷﻪ ﰲ ﻣﺮا ﻞ ﺣ ﺎﺗﻪ اﻟﻌﻤﺮﯾﺔ وﳌﺎ ﻣﺮ ﺑﻪ ﻣﻦ ﳏﻦ وﺷﺪاﺋﺪ دﻓﻌﺖ ﺑﻪ اﱃ ﻣﺎ وﺻﻞ اﻟﯿﻪ اﻗﺎﻣ ﻪ ﻣ ﻔﺮدا ﰲ اﻟﺼﺤﺮاء اﳌﻘﻔﺮة‬
‫اﳌﻮﺣﺸﺔ و َ ﯾﻪ ﻼﻇﺔ وﺷﺪة وﻗﺴﻮة اﻧﻌﻜﺴﺖ ﲆ ﺣ ﺎﺗﻪ ﻓﺎﺿﻄﺮﺑﺖ ﻧ ﺔ ﻟﻬﺎ واﲣﺬ ﱰاب ﺪة ﺻﻮر وﻣﻈﺎﻫﺮ ﻋﻨﺪﻩ‪.‬‬
‫‪٣٠‬‬
‫ٔدب اﳌﻘﺎ ﻋﻨﺪ ﶊﻮد ﳰﻮر وﻛﺘﺎﺑﻪ)اﻟﺸﺨﺼﯿﺎت اﻟﻌﴩون(‪ ،‬ﻗﺮاءة ﲢﻠﯿﻠﯿﺔ ﰲ اﲡﺎﻫﺎﺗﻪ اﻟﺜﻘﺎﻓ ﺔ واﻟﻔ ﯿﺔ‬
‫ٔوراس ﻧﺼﯿﻒ ﺎﰟ ﶊﺪ و ٔوراس ﺳﻠﲈن ﻌﯿﺪ اﻟﺴﻼﱊ‪،‬‬
‫ﺎﻣﻌﺔ اﻟﻜﻮﻓﺔ و ﺎﻣﻌﺔ اﻟﻘﺎﰟ اﳋﴬاء‪ ،‬اﻟﻌﺮاق‬
‫دب اﳌﻘﺎ ﻋﻨﺪ ا ٔدﯾﺐ ﶊﻮد ﳰﻮر‪ ،‬راﺋﺪ اﻟﻘﺼﺔ اﻟﻌﺮﺑﯿﺔ اﳊﺪﯾﺜﺔ ﰲ ﻣﴫ واﻟﺒﻼد اﻟﻌﺮﺑﯿﺔ‪ ،‬وﻋﻀﻮ ﶍﻊ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﰲ اﻟﻘﺎﻫﺮة‪ ،‬إذ ﲨﻊ ﻣﻘﺎﻻﺗﻪ‬
‫اﺳﺘﻘﴡ اﻟﺒﺤﺚ ٔ َ‬
‫ا ٔدﺑﯿﺔ ﰲ ﻛﺘﺎب ﺳﲈﻩ )اﻟﺸﺨﺼﯿﺎت اﻟﻌﴩون(‪ٔ ،‬ﻓﺼﺤﺖ ﻓ ﻪ ﻣﻘﺎﻻﺗﻪ ﻋﻦ ٔﺳﻠﻮب رﻓ ﻊ ﲨﻊ ﺧﺼﺎﺋﺺ ﻣﻮﺳﯿﻘﻰ اﻟﺸﻌﺮ‪ ،‬وﴎدﯾﺔ اﻟﻘﺼﺔ‪ ،‬واﻟﺘ ﻠﯿﻞ اﻟﻌﻠﻤﻲ‪ٔ .‬ﻣﺎ‬
‫ﴯﺼﯿﺎﺗﻪ اﻟﻌﴩون ﻫﻨﺎ ﻓﻬﻲ ﳑﺎ ﲨﻌﺘﻪ ﲠﻢ اﳌﻌﺎﴏة‪ ،‬ووﺻﻠﺘﻪ ﺑ ٔﻛﱶﱒ ﲱﺒ ٌﺔ و ٔﻟﻔ ٌﺔ‪ ،‬ﻓﲀﻧﺖ ﺗ ٓﴏة ﻓﻜﺮﯾﺔ وﺛﻘﻰ‪ .‬ﺗﻮﰲ ﰲ ‪ٔ ٢٥‬ﻏﺴﻄﺲ ‪ ،١٩٧٣‬ﰲ ﺳﻮ ﴪا‪/‬‬
‫ﻣﺪﯾﻨﺔ ﻟﻮزان‪ .‬اﺷ ﳣﻞ اﻟﺒﺤﺚ ﲆ ﲤﻬﯿﺪ و ٔرﺑﻌﺔ ﻣ ﺎﺣﺚ‪ٔ :‬وﺟﺰ ا ﳣﻬﯿﺪ ﺸ ٔة ٔدب اﳌﻘﺎ وﺗﻄﻮرﻫﺎ ﻋﻨﺪ اﻟﻐﺮب واﻟﻌﺮب‪ .‬ﰒ درس اﳌﺒﺤﺚ ا ٔول‪ :‬ﺸ ٔة ﶊﻮد ﳰﻮر ﲷﻦ‬
‫ﺳﯿﺎﻗﺎت ﻋﴫﻩ اﻟﺜﻘﺎﻓ ﺔ‪ ،‬وﻣﺎ ٔورث اﳌﻜ ﺒﺔ اﻟﻌﺮﺑﯿﺔ ﻣﻦ ٓ رﻩ ا ٔدﺑﯿﺔ ﰲ ﻓﻦ اﻟﻘﺼﺔ اﳊﺪﯾﺜﺔ‪ ،‬وﺣﲈﺳﻪ ﻟﺮﻓﺪ ﺑ ﻩ ﻟﺘﻄﻮر اﳊﻀﺎري واﻟﻔﻜﺮي ﰲ ٔورو ‪ .‬واﻧﱪى اﳌﺒﺤﺚ‬
‫اﻟﺜﺎﱐ ﻻﺳﺘﻌﺮاض ٔﺳﲈء ﴯﺼﯿﺎﺗﻪ اﻟﻌﴩﻦ ﻣﻦ ﻣﻔﻜﺮﻦ و ٔد ء‪ ،‬ﻓﻬﻢ ٔ ﺮز )ا ٔﯾﻘﻮ ت اﻟﺜﻘﺎﻓ ﺔ( ﳯﻀﺔ ﻣﴫ‪ -‬ﲟﺴﺘﻮ ﲥﺎ ا ٕﻻ ﺴﺎﻧﯿﺔ ﰷﻓﺔ‪ -‬ﰲ اﻟﻌﴫ اﳊﺪﯾﺚ‪ ،‬ﰒ اﻟﺘﻔﺖ‬
‫إﱃ ﳑﲒات ٔﺳﻠﻮﺑﻪ اﳌﻘﺎﱄ ﰲ وﺻﻔﻪ ﻟﻬﺬﻩ اﻟﺸﺨﺼﯿﺎت‪ ،‬ﻓﻮ ﺪ اﻟﺒﺤﺚ ٔن ﶊﻮد ﳰﻮر ﯾ ﻘﻞ ﰲ ٔﺳﻠﻮﺑﻪ ﺑﲔ ﴯﺼﯿﺔ اﻟﻘﺎص‪ٔ ،‬و ُاﻟﺼﺤﻔﻲ‪ٔ ،‬و ﰷﺗﺐ اﻟﺴﲑة ا اﺗﯿﺔ‪،‬‬
‫ﻓ ُﺸﻌﺮ اﻟﻘﺎرئ ٔن ﳰﻮر ﺑ ٔﺳﻠﻮﺑﻪ اﳌﺮاوغ ﻫﺬا ﻗﺪ ﻛﺘﺐ ﻋﻦ ﻧﻔﺴﻪ‪ ،‬ودورﻩ ﰲ ﺗ ﲏ ﻣﺬاﻫﺐ اﳊﺪاﺛﺔ‪ ،‬ﻟﯿﻜﻮن ﻣﻊ ﺗ اﻟﺸﺨﺼﯿﺎت ﻣ ﺒﻊ إﻟﻬﺎم ﻻ ﯾﻨﻀﺐ ﻟ ٔﺟ ﺎل‬
‫اﻟﻼﺣﻘﺔ‪ٔ .‬ﻣﺎ اﳌﺒﺤﺚ اﻟﺜﺎﻟﺚ‪ ،‬ﻓﻘﺪ دُرﺳﺖ ﻓ ﻪ اﻟﻘﲓ ﺟ ﻋﯿﺔ واﻟﻔﻜﺮﯾﺔ وا ٔدﺑﯿﺔ اﻟﱵ ﺣﻔﻠﺖ ﲠﺎ ﻣﻘﺎﻻت ﳰﻮر‪ ،‬ﲷﻦ اﻟﺴﯿﺎﻗﺎت اﻟﺜﻘﺎﻓ ﺔ اﳌﻬﳰﻨﺔ ﲆ روح ﻋﴫﻩ‪.‬‬
‫ﻮد اﻟﺴ ّﯿﺪ ﳏﺴﻦ ا ٔﻣﲔ وا ﻠّﻐﺔ اﻟﻌﺮﺑﯿّﺔ ﻣﻦ ﻼل ُﻣﺆﻟّﻔﺎﺗﻪ‬

‫د‪ .‬ﺣﺴﲔ ٔﲪﺪ ﺣﺴﲔ ﶊﺪ ﺳﻠﲈن‪،‬‬
‫اﻟﺒﺤﺮﻦ‬
‫ﺗ ﺎول اﻟﻮرﻗﺔ ﺣ ﺎة ﲅ ﻣﻦ ٔ ﻼم اﻟﻌﺮﺑ ّﯿﺔ‪ ،‬وﴯﺼﯿﺔ ﻣﻦ اﻟﺸّ ﺨﺼﯿﺎت اﻟﻌﻠﻤ ّﯿﺔ اﻟﺒﺎرزة ﳖﺎﯾﺔ اﻟﻘﺮن اﻟﺘّﺎﺳﻊ ﻋﴩ واﻟﻨّﺼﻒ ا ٔ ّول ﻣﻦ اﻟﻘﺮن اﻟﻌﴩﻦ اﳌﯿﻼدي‪ ،‬اﻟﻘﺮن‬
‫ّاﻟﺮاﺑﻊ ﻋﴩ اﻟﻬﺠــﺮي ﺣ ّﱴ ﻋﺼـــﺮ ﻫﺬا؛ وﻫــــﻮ ﻓﻘ ﻪ ٔﺻـــﻮﱄ‪ ،‬وﻋ ﺎﱂ دﯾﲏ‪ ،‬و ﺷﺎﻋـــﺮ‪ ،‬و ٔدﯾﺐ‪ ،‬و ُﻣ ّﺆرخ اﻫﱲ ّﻟﺴﲑة و ﲅ ّاﻟﺮ ﺎل‪ ،‬وﻟُﻐﻮي ﻋُﲏ ﻠّﻐﺔ‪ ،‬واﺗﻘﻦ‬
‫اﻟﴫف‪ ،‬واﻟﺒﯿﺎن‪ ،‬واﻟﺒﻼ ﺔ‪ ،‬و ﻣﺴﺎﻫﲈت ﻛﺜﲑة ﰲ ﺪﻣﺔ اﻠﻐﺔ اﻟﻌﺮﺑ ّﯿﺔ‪ ،‬وﻇﻬﺮ ذ واﲵﺎ ﰲ ﻣﺆﻟﻔﺎﺗﻪ‪ ،‬و ﻛﺘﺎ ﺗﻪ‪ ،‬وﻣﻘﺎﻻﺗﻪ‪،‬‬ ‫ﻠﻮم اﻟﻌﺮﺑ ّﯿﺔ‪ ،‬و ٔﻟﻒ ﰲ اﻟﻨّﺤﻮ و ّ‬
‫وﺧﻄﺎ ﺗﻪ‪ .‬ﺛﻘﺎﻓﺔ وﺳﻌﯿﺎ ﻣﲏ ﻟﺒﯿﺎن ﻮدﻩ ﺗ اﻟﱵ ﱂ ﲢﻆ ﻣﻦ اﻟﻌﻨﺎﯾﺔ واﻻٕﯾﻀﺎح‪ ،‬وﲟﻨﺎﺳﺒﺔ اﻧﻌﻘﺎد ﻫﺬا اﳌﺆﲤﺮ اﳌﺒﺎرك‪ ،‬وﻣﻦ ٔ ﻞ ٔداء اﻟﻮاﺟﺐ ﳓﻮ ﻫﺬا اﻟﻌﺎﱂ اﻟﻜ ﲑ‪،‬‬
‫ﺎءت ﻓﻜﺮة ﺴﻠﯿﻂ اﻟﻀﻮء ﲆ رﳜﻪ‪ ،‬وﲡﻠﯿﺔ ٔ ﺮﻩ و ﻮدﻩ ﰲ ﺪﻣﺔ ا ﻠّﻐﺔ اﻟﻌﺮﺑﯿّﺔ‪ ،‬وﺳ ﱲ ذ ﻣﻦ ﻼل اﳊﺪﯾﺚ ﻋﻦ ﺳﲑة اﻟﻌﻼﻣﺔ اﻟﺴﯿﺪ ﳏﺴﻦ ا ٔﻣﲔ‪ ،‬ﻓ ٔﲢﺪث‬
‫ﻋﻦ اﲰﻪ ووﻻدﺗﻪ وﻣﺆﻫﻼﺗﻪ و ٔﻋﲈ وﻛﺘﺒﻪ‪ ،‬و ٓ رﻩ‪ ،‬ور ﻼﺗﻪ‪ ،‬وﺛﻨﺎء اﻟﻌﻠﲈء ﻠﯿﻪ‪ ،‬وٕارﺛﻪ ا ﯾﲏ‪ ،‬واﻟﺘﺎرﳜﻲ‪ ،‬واﻟﱰﺑﻮي‪ ،‬وا ٔدﰊ‪ ،‬واﻠﻐﻮي اﻟﱵ ﻻ ﺰال ﲦﺮاﲥﺎ ﻣﻮﺟﻮدة‬
‫ﺣﱴ ﯾﻮﻣ ﺎ ﻫﺬا؛ واﺧ ُﳣﺖ اﻟﻮرﻗﺔ ﳊﺪﯾﺚ ﻋﻦ ٔ ﺮز اﻟﻨﺘﺎﰀ اﻟﱵ ﺗﻮﺻﻠﺖ ٕا ﳱﺎ‪ ،‬ﯾ ﻌﻬﺎ ﺛ ﺖ ﺑ ٔﺳﲈء اﳌﺼﺎدر واﳌﺮاﺟﻊ اﻟﱵ ُ‬
‫ﺪت ٕا ﳱﺎ‪.‬‬
‫ا ٔ وا ٓﺧﺮ ﰲ اﻟﺮواﯾﺔ اﻟﻌﺮﺑﯿﺔ اﺧ ﻼف ٔم ﻟﻘﺎء؟‬

‫د‪ .‬ﺗﻮﱊ ﻫﺸﺎم‪،‬‬
‫ﺎﻣﻌﺔ ﻋﺒﺎس ﻟﻐﺮور ﺸ ‪ ،‬اﳉﺰا ﺮ‬
‫ﺳ ﺴﻌﻰ ﻫﺬﻩ اﻟﻮرﻗﺔ اﻟﻌﻠﻤﯿﺔ ﻣﻦ ﻼل ﻋﻨﻮاﳖﺎ إﱃ ﻣﻘﺎرﺑﺔ اﳋﻄﺎب اﻟﺮواﰄ ﺣﻮل ﻣﺎ ﳝﻜﻦ ٔن ﺮﺗﺒﻂ ﺑﻘﻀﯿﺔ ا ٔ وا ٓﺧﺮ ﰲ اﻟﴪد اﻟﺮواﰄ‪ ،‬وﲢﺪﯾﺪا ﻫﻮﯾﺔ ا ٓﺧﺮ‬
‫ا ي ﻃﺎﳌﺎ ﻧ ُﻈﺮ إﻟﯿﻪ ﰲ اﻟﺮواﯾﺔ اﻟﻌﺮﺑﯿﺔ ﲆ ٔﻧﻪ ﻫﻮ اﳉﺤﲓ وﻓﻘﺎ ﻠﻤﻘﻮ ذاﺋﻌﺔ اﻟﺼ ﺖ اﻟﱵ ﻗﺎﻟﻬﺎ ﺳﺎرﺮ‪ :‬ا ٓﺧﺮون ﱒ اﳉﺤﲓ‪ ،‬ﻫﺬا ﺴ ﺪ دون ﺷﻚ إﱃ اﻟﻌﻼﻗﺔ اﻟﱵ‬
‫ﺗَ ﺗ َْﺖ ﻋﻦ ﻃﺮﯾﻖ اﻟﺼﻮرة اﻟﱵ ﻮﳤﺎ ا ٔ )ا ات( ﻋﻦ ا ٓﺧﺮ‪ ،‬ﺎﺻﺔ ﻓ ﯾﺘﻌﻠﻖ ﻟﻔﱰة اﻟﻜﻮﻟﻮﻧﯿﺎﻟﯿﺔ اﻟﱵ ﻣﲒﲥﺎ ﻧﻈﺮة اﻟﺘﻌﺎﱄ واﻟﺘﺒﺎﱔ ﰲ ﻣﻘﺎﺑﻞ ا وﻧﯿﺔ و ﺣ ﻘﺎر ﻟ ٔ‬
‫اﳌﺴ َﺘ ْﻌ َﻤﺮ‪ٔ .‬ﻣﺎ ﻋﻦ اﻟﺮواﯾﺘﲔ –ﳏﻞ ا راﺳﺔ‪) -‬اﳱﻮدي اﳊﺎﱄ ﻟﻌﲇ اﳌﻘﺮي "ﰷﺗﺐ ﳝﲏ"‪ ،‬و ٔرﺑﻌﻮن ﺎﻣﺎ ﰲ اﻧﺘﻈﺎر ا ﺰاﺑﯿﻞ ﻟﺴﻌﯿﺪ ﺧﻄﯿﱯ "ﰷﺗﺐ ﺟﺰا ﺮي"( ﻓﺎٕن‬
‫اﻟﻘﺎرئ ﳚﺪ ﻣﲒة ﳐﺘﻠﻔﺔ ﰲ اﻟﺘﻌﺎﻣﻞ ﻣﻊ ا ٓﺧﺮ ﺣ ﺚ ﺴﻮد ﺟﻮ اﳊﻮار اﻟﺒﺎﻋﺚ ﲆ إرﺳﺎء وﻣﺪ ﺟﺴﻮر ﺗﻮاﺻﻞ ﺑﲔ ا ٔ وا ٓﺧﺮ‪ ،‬ﻓ ﺼﺒﺢ ا ٓﺧﺮ ٕاﳚﺎﺑﯿﺎ وﻣ ﺎزا ﻟﻬُﻮﯾﺔ‬
‫ا ٔ ‪ ،‬ﻛﲈ ﻫﻮاﳊﺎل ﰲ رواﯾﺔ اﳱﻮدي اﳊﺎﱄ اﻟﱵ ﲻﺪ ﺻﺎﺣﳢﺎ إﱃ اﻟﺘﻘﺮﯾﺐ ﺑﲔ ﻓﺎﻃﻤﺔ اﳌﺴﻠﻤﺔ وﺳﺎﱂ اﳱﻮدي ﻋﻦ ﻃﺮﯾﻖ ﻼﻗﺔ ﺣﺐ ﺗ ﳤ ﻲ ﻟﺰواج‪ ،‬ﻟﻜﻦ اﶺﯿﻞ ﰲ‬
‫ا ٔﻣﺮ ٔن اﻟﺘﻌﺮف ﲆ ا ٓﺧﺮ ﰷن ﻋﻦ ﻃﺮﯾﻖ ﺗﻮﻇﯿﻒ وﺳﺎﺋﻞ اﳌﻌﺮﻓﺔ دون اﻻٕرﲀن ﳌﺎ ﻫﻮ ﻣ ﻮارث ى ا ٔ ﻋﻦ ﻮن ا ﳱﻮدي ﻣﺮﺗﺒﻂ ﻻ ﳏﺎ ﻟﺼﻬﯿﻮﻧﯿﺔ ﲁ ﻣﺎ‬
‫ﺗﻌﻨﯿﻪ ﻣﻦ ﻏﻄﺮﺳﺔ وﺗﻄﺎول‪،‬وﰲ رواﯾﺔ‪ٔ :‬رﺑﻌﻮن ﺎﻣﺎ ﰲ اﻧﺘﻈﺎر ا ﺰاﺑﯿﻞ ﳒﺪ ﺷﺘﻐﺎل ﲆ ﻫﻮﯾﺔا ٓﺧﺮ ﺑﺘﻘﺪﱘ ﴯﺼﯿﺔ ٔﺻﻠﻬﺎ ﻓﺮﴘ ﳑﺜ ﰲ اﳊﺎج ﺟﻮزﯾﻒ ا ي‬
‫ﯾﻌﺘﻨﻖ ﺳﻼم وﳛﲄ ﻗﺼﺘﻪ وﻗﺼﺺ ٔﺧﺮى ﰲ اﳉﺰا ﺮ وﲢﺪﯾﺪا ﰲ ﺑﻮﺳﻌﺎدة اﳉﺰا ﺮﯾﺔ‪،‬ﻓﻘﺪ ارﺗﺒﻂ ﻫﺬا ا ٔ ﲑ ﲟﲀن و ٔرض ﻟ ﺴﺖ ٔرﺿﻪ وداﻓﻊ ﻋﳯﺎ ﺿﺪ ﺑ ﻩ ﻓﺮﺴﺎ‪،‬‬
‫وﰲ ﻫﺬا ﲡﺎوز ٔﳕﺎط اﻟﻜ ﺎﺑﺔ اﻟﺮواﺋﯿﺔ اﻟﺘﻘﻠﯿﺪﯾﺔ اﻟﱵ ﻟﻌﺒﺖ ﲆ وﺮ اﻟﴩق ا ﻮري واﻟﻐﺮب ا ٔﻧﺜﻮي‪ .‬وﻫﺬا ﻣﺎ ﳒﺪﻩ ﰲ رواﯾﺔ ﻣﻮﰟ اﻟﻬﺠﺮة إﱃ اﻟﺸﲈل ﻠﻄﯿﺐ‬
‫ﺻﺎﱀ‪.‬‬
‫‪٣١‬‬
‫ﺳﺆال اﻻٕﻣﲀن اﻟﻨﻘﺪي ﰲ ٔدب ﻣﺎ ﺑﻌﺪ اﳊﺪاﺛﺔ‪ٔ ...‬و ﰲ اﻟﺘﻮ ﻪ اﳌﺎ ﺑﻌﺪ ﺪاﰔ ﻟ ٔدب ﻣﻦ اﻟﺘﺼﻮﺮ إﱃ اﻟﺘﺜﻮﺮ‬
‫د‪ .‬ﺳﻬﯿ ﻣﳰﻮن و د‪ .‬ﻧ ﺑﻠﻌﺒﺪي‪،‬‬
‫ﺎﻣﻌﺔ ﺣﺴ ﺔ ﻦ ﺑﻮ ﲇ‪ ،‬اﳉﺰا ﺮ‬
‫ﺸﲁ "ﻣﺎ ﺑﻌﺪ اﳊﺪاﺛﺔ" ﰲ ﻣﺎ ﺑﻌﺪ ﳤﺎ اﻟﺰﻣ ﯿﺔ‪ ،‬ﺗ ٔﺳ ﺴﺎ‪ ،‬وا ٕﻻ ﺴ ﳰﻮﻟﻮﺟ ﺔ‪ ،‬ﲡﺎوزا‪ ،‬ﳊﺮﻛﺔ اﳊﺪاﺛﺔ اﻟﻔﻜﺮﯾﺔ‪ٕ ،‬ا ﺎ إﱃ "اﻟﻼﻋﻘﻞ"‪ ،‬ودﻋﻮة إﱃ ٕاﺣ ﺎء ﻣﺮﺟﻌﯿﺘﻪ ّ‬
‫اﻟﺘﺼﻮرﯾﺔ‬
‫واﻟﺘﺼﻮ ﺮﯾﺔ ﰲ إﻧﺘﺎج اﳌﻌﲎ وﺑﻨﺎء اﳌﻌﺮﻓﺔ‪ .‬و ٔن ﲦﺔ دﻻﻟﺘﺎن ﺴ ﻄﳯﲈ "اﻟﻼﻋﻘﻞ" ﰲ ﻣﻔﻬﻮﻣﻪ ووﻇﯿﻔ ﻪ دا ﻞ اﻟﺴﯿﺎق اﻟﻔﻜﺮي اﳌﺎ ﺑﻌﺪ ﺪاﰔ‪ ،‬وﻫﲈ‪ ١ :‬ـ "اﳋﯿﺎل"‬
‫ﳈﻨﻄﻠﻖ ﻣﻌﺮﰲ و ﺎﺻﯿﺔ ﻣﻔﻬﻮﻣ ﺔ‪ ،‬و ٔﻓﻖ ﻗﳰﻲ ﻓﲏ ‪ .‬و‪ ٢‬ـ "اﻟﻨﻘﺪ" ﻮﻇﯿﻔﺔ ﳝﺎرﺳﻬﺎ‪ ،‬ﰲ ﺛﻮرﺗﻪ وﺗﻔﻜ ﻜﻪ ﻠﻤﻨﺠﺰ اﳌﻌﺮﰲ اﻟﻌﻘﻼﱐ اﳊﺪاﰔ‪ .‬و"اﻟﻼﻋﻘﻞ" ﰲ ﺑﻌﺪﻩ اﳋﯿﺎﱄ‬
‫ﳚﺪ ﰲ ا ٔدب اﻟﻔﻀﺎء ا ٔ ﺴﺐ وا ٔرﺣﺐ ﻟ ﺸﳫﻪ وﺗﺒﻠﻮرﻩ اﳌﻔﻬﻮﱊ‪ ،‬ووﻇﯿﻔ ﻪ اﻟﻨﻘﺪﯾﺔ‪ .‬وﻫﻮ ﻣﺎ ﯾﻔﴪ وﯾﱪر دواﻋﻲ اﻟﺴﺒﻖ ا ٔدﰊ ﰲ اﻟ ﺸ ٔة واﻟﺘ ٔﺳ ﺲ ﻟـ "ﻣﺎ ﺑﻌﺪ‬
‫اﳊﺪاﺛﺔ" اﺑﺘﺪاء‪ ،‬ﻣﻦ ﻣ ﻄﻠﻖ ٔن اﻟﻼﻣﻌﻘﻮﻟﯿﺔ ﰲ ﺟﻮﻫﺮﻫﺎ اﻟﻮ ﺪاﱐ‪ ،‬وﺑﻌﺪﻫﺎ اﻟﻔﲏ‪ ،‬وﻟﻐﳤﺎ اﻟﻮاﺻﻔﺔ‪ ،‬وﻃﺮاﺋﻘﻬﺎ اﻟﺘﻌﺒﲑﯾﺔ اﻟﴪدﯾﺔ اﳊﲀﺋﯿﺔ‪ ،‬واﻟﻘﺼﺼﯿﺔ اﻟﺮواﺋﯿﺔ‪ ،‬ﻣ ﺒﺖ‬
‫ٔدﰊ ﲆ ﺳ ﻞ ا ٔﺻﺎ وا ﳣﲒ‪ ،‬ﳎﺎور وﻣ ﺎ ﺲ ﻣﻊ ﻣ ﺎﳤﺎ ا ٔﺳﻄﻮرﯾﺔ وا ﯾ ﺔ‪ ،‬وﻣ ﺎوز ﻠﻌﻠﻮم ا ٕﻻ ﺴﺎﻧﯿﺔ ﰲ ﻣﻌﻘﻮﻟﯿﳤﺎ اﳌﻨﻄﻘ ﺔ واﻟﱪﻫﺎﻧﯿﺔ‪ .‬واﻟﺴﺆال ا ي ﯾﺜﺎر ﻋﻨﺪ‬
‫ﻫﺬا ا ٔﻓﻖ؛ ٔﻓﻖ اﻟﺘ ٔﺳ ﺲ ا ٔدﰊ ﻟﻔﻜﺮ ﻣﺎ ﺑﻌﺪ اﳊﺪاﺛﺔ‪ ،‬واﺿﻄﻼ ﻪ ﳌﻬﻤﺔ اﻟﻨﻘﺪﯾﺔ ٔﺳﺌ اﳊﻘ ﻘﺔ؛ ﺣﻘ ﻘﺔ اﻟﻮﺟﻮد واﳌﻌﺮﻓﺔ واﻟﻘﲓ‪ ،‬ﻫﻮ‪ :‬ﯿﻒ ﳝﻜﻦ ﻟـ "اﻟﻼﻋﻘﻞ" ﰲ‬
‫ﺗﻮ ّ ﻪ ا ٔدﰊ اﳌﻌﺎﴏ ٔن ﻜﻮن ﻣﻮ ّ ﺎ ﻠﻨﻘﺪ‪ ،‬وﻣ ﻮاﻓﻘﺎ ﻣﻌﻪ‪ ،‬وﻫﻮ ﰲ ﺟﻮﻫﺮﻩ ﳑﺎرﺳﺔ ﻋﻘﻠﯿﺔ ﺎﻟﺼﺔ؟ وﻣﺎ ﻫﻮ اﻻٕﻣﲀن ا ٕﻻ ﺴ ﳰﻮﻟﻮ ﻟ ٔدب اﳌﻌﺎﴏ ﰲ ﳑﺎرﺳﺘﻪ ﻠﻮﻇﯿﻔﺔ‬
‫اﻟﻨﻘﺪﯾﺔ ﰲ اﻟﻔﻀﺎء اﳌﺎ ﺑﻌﺪ ﺪاﰔ ا ي ٔﺳﺴﻪ؟ وﻣﺎ ﺧﺼﻮﺻﯿﺔ اﻟﺘﺠﺮﺑﺔ اﻟﻨﻘﺪﯾﺔ ا ٔدﺑﯿﺔ اﳌﻌﺎﴏة ﰲ ﺳﯿﺎﻗﻬﺎ اﳌﻌﺮﰲ اﳌﺎ ﺑﻌﺪ ﺪاﰔ‪ ،‬ﻣﻦ اﻟﻨﺎﺣ ﺔ ا ٕﻻ ﺴ ﳰﻮﻟﻮﺟ ﺔ واﻟﻘﳰﯿﺔ؟‬
‫وﻣﺎ ٔ ﺮﻫﺎ ﲆ اﻟﻔﻠﺴﻔﺔ ﰲ ﺗﻌﺎﻃﳱﺎ ﻣﻊ ﺳﺆال ﻣﺎ ﺑﻌﺪ اﳊﺪاﺛﺔ‪ ،‬ﻣﻔﻬﻮﻣﺎ ووﻇﯿﻔﺔ‪ ،‬وﻣﳯ ﺎ؟ ﺧﺼﻮﺻﺎ و ٔن اﻟﻨﻘﺪ ﻫﻮ اﳋﺎﺻﯿﺔ اﳉﻮﻫﺮﯾﺔ ﻠﻔﻜﺮ اﻟﻔﻠﺴﻔﻲ ٔﺳﺎﺳﺎ؟ اﻧﻄﻼﻗﺎ ﻣﻦ‬
‫ﻫﺬا اﻟﺴﺆال اﶈﻮري‪ ،‬ﯾﺘﺤﺮك ﺗﻔﻜﲑ ﰲ ﻫﺬا اﻟﺒﺤﺚ‪ ،‬اﺳﺘﻘﺼﺎء وﲢﻠﯿﻼ ﻻٕﺷﲀﻟﯿﺔ اﻻٕﻣﲀن اﻟﻨﻘﺪي ﻟ ٔ دب دا ﻞ اﻟﺴﯿﺎق اﳌﻌﺮﰲ اﳌﺎ ﺑﻌﺪ ﺪاﰔ‪ ،‬وﻣﻦ ﻼ ‪.‬‬
‫وﻟ ٕﻼﻣﲀ ت ا ٕﻻ ﺴ ﳰﻮﻟﻮﺟ ﺔ ﻟﺘ ﺎوز اﻟﻄﺮح اﻟﻌﻘﻼﱐ اﳊﺪاﰔ ﰲ ﻠﻔ ﺘﻪ اﻟﻔﻠﺴﻔ ﺔ‪ .‬و ٔن ﻣﻘﺎرﺑ ﺎ ﳊﯿ ﺎت ﻫﺬﻩ اﻻٕﺷﲀﻟﯿﺔ ﺗﺘ ٔﺳﺲ ﲆ ﳕﺎذج ﻟﺘ ﺎرب ٔدﺑﯿﺔ ﻣﺎ ﺑﻌﺪ‬
‫ﺪاﺛﯿﺔ رزة ﰲ ﳊﻈﳤﺎ اﻟﻐﺮﺑﯿﺔ واﻟﻌﺮﺑﯿﺔ اﳌﻌﺎﴏة‪ ،‬و ﺳﺘ ﺎس ﲠﺎ ٔﻣ ﺷﺎر ﺔ‪ ،‬وﲡﺎرب إﺑﺪاﻋﯿﺔ ﻣﻔﺼ ﺔ‪ ،‬ﰲ اﻟﺒﻨﺎء اﻟﻔﻜﺮي ﻟﺒﺤﺜﻨﺎ‪.‬‬
‫إﺷﲀﻟﯿﺔ اﳌﳯﺞ ﰲ ﺗﻌﻠﲓ اﻟﻨﺤﻮ اﻟﻌﺮﰊ ﻋﻨﺪ اﻟﻨ ﺎة اﳌﻌﺎﴏﻦ‬

‫د‪ .‬ﺑﻮﺷﻌﺸﻮ ﺔ راﰆ‪،‬‬
‫ﺎﻣﻌﺔ ﺸ ‪ ،‬اﳉﺰا ﺮ‬
‫ﺴﻌﻰ اﳌﺪا إﱃ اﻟﺒﺤﺚ ﰲ إﺷﲀﻟﯿﺔ اﳌﳯﺞ ﻋﻨﺪ اﻟﻨ ﺎة اﳌﻌﺎﴏﻦ ا ﻦ ﺗﻮ ﻮا ﻟﻨﻘﺪ اﻟﺸﺪﯾﺪ ﳌﳯﺞ اﻟﻨ ﺎة اﻟﻘﺪﻣﺎء ﻓﺎﲥﻤﻮﻩ ﻟﻘﺼﻮر وﺑ ٔﻧﻪ اﻟﺴ ﺐ ا ٔﺳﺎس ﰲ ﺻﻌﻮﺑﺔ‬
‫اﻟﻨﺤﻮ اﻟﻌﺮﰊ ﲆ اﻟﻨﺎﺷﺌﺔ‪ .‬وﻟﻬﺬا ﻓﺎٕن اﳌﺪا ﺳﺘ ﻊ ﻫﺬﻩ ا راﺳﺎت اﻟﻌﺮﺑﯿﺔ اﳌﻌﺎﴏة ﻟﺘﻘ ﲓ واﻟﺘﻘﻮﯾﲓ‪ ،‬وﺑﯿﺎن ﻣﺎ ﻓﳱﺎ ﻣﻦ إﲧﺎف ﰲ دراﺳﺔ اﻟﱰاث اﻟﻨﺤﻮي اﻟﻌﺮﰊ‪،‬‬
‫ﻓﻘﺪ ﺎوﻟﺖ ﻫﺬﻩ ا راﺳﺎت ٔن ﺗﻌﯿﺪ ﺑﻨﺎء اﻟﻨﺤﻮ اﻟﻌﺮﰊ ﺑﻨﺎء ﺪﯾﺪا ﳜﺎﻟﻒ ﻣﺎ ﰷن ﻠﯿﻪ ﻋﻨﺪ اﻟﻘﺪاﱉ‪ ،‬ﻛﲈ ﻓﻌﻞ ﺷﻮﰶ ﺿﯿﻒ ﰲ ﺗﻘﺪﳝﻪ ﻟﻜ ﺎب اﻟﺮد ﲆ اﻟﻨ ﺎة‪ ،‬وﻛﲈ‬
‫ﻓﻌﻞ ٕا ﺮاﻫﲓ ﻣﺼﻄﻔﻰ ﰲ إﺣ ﺎء اﻟﻨﺤﻮ‪ .‬وٕاذن‪ ،‬ﻓﺎٕن إﺷﲀﻟﯿﺔ اﻟﺒﺤﺚ ﳣﺜﻞ ٔﺳﺎﺳﺎ ﰲ اﻟﺴﺆال اﻟﺘﺎﱄ‪ :‬ﻫﻞ اﳌﳯﺞ ا ي اﺗﺒﻌﻪ اﻟﻨ ﺎة اﳌﻌﺎﴏون ﰲ ﺗﻘﻮﱘ اﻟﻨﺤﻮ اﻟﻌﺮﰊ‬
‫اﻟﻘﺪﱘ ﻣﳯﺞ ﻣﺴﺘﻘﲓ ﻣﻦ ﺣ ﺔ ﻣﺮا ﺎﺗﻪ ٔﺻﻮل اﳌﳯﺞ اﻟﻌﺮﰊ اﻟﻘﺪﱘ‪ٔ ،‬م ٔﻧﻪ زاد ﻣﻦ ﺑُﻌﺪ اﻟﻨﺎﺷﺌﺔ ﻋﻦ اﻟﻨﺤﻮ اﻟﻌﺮﰊ؟‪ .‬وﻫﻞ ﰷن ﻣﳯﺞ اﻟﻘﺪاﱉ ﻣﳯ ﺎ ﲑ ﳎﺪ ﰲ ﺗﺒﻮﯾﺐ‬
‫اﻟﻨﺤﻮ اﻟﻌﺮﰊ وﺗﻌﻠﳰﻪ؟‬
‫ﻇﺎﻫﺮة ﱰاب ﰲ ﺷﻌﺮ اﻟﻘ ﺎل اﻟ ﰊ‬

‫د‪ .‬ﰷﻇﻢ ﺧﻀﲑ ﰷﻇﻢ اﻟﻘﺎﴈ‪،‬‬
‫ﻣﺪ ﺮﯾﺔ ﺮﺑﯿﺔ ذي ﻗﺎر‪ ،‬اﻟﻌﺮاق‬
‫ﱰاب ﻇﺎﻫﺮة ا ﺴﺎﻧﯿﺔ )ﺳﺎ ﻜﻮ اﺟ ﻋﯿﺔ( ﺗﻘﻮم ﲆ اﻟﺘﻨﺎﻓﺮ ﺑﲔ ا ات وا ﳣﻊ او ا ات و ﺧﺮ‪ ،‬ﺮﺟﻊ اﺳﺒﺎﲠﺎ اﱃ ﻋﻮاﻣﻞ ﻣﲀﻧﯿﺔ وزﻣﺎﻧﯿﺔ ودﯾ ﺔ وﺗ ﺸ ٔ ﻋﻦ‬
‫ﻇﺮوف ﻗﺎﻫﺮة ﳌ ٔﺳ ٔة ﺎﺷﻬﺎ اﻟﻔﺮد‪ ،‬او ﻟﺘﺠﺮﺑﺔ ﻇﺮﻓ ﺔ ﲮﺮﯾﺔ ﺸﻌﺮ ﻣﻌﻬﺎ ﺴﺎن ﻻﺴﻼخ و ﺳﺘﻼب وﺿﻌﻒ اﻟﻘﺪرة ﲆ اﻟﺘﻜ ﻒ واﳌﻮاﲚﺔ ﻣﻊ ا ﳣﻊ ‪ ،‬وﻗﺪ ﯾ ﻊ‬
‫ﻫﺬا ﺣﺴﺎس ﻛﺜﲑ ﻣﻦ اﻟﺘﺨﯿﻼت واﳊﺪس اﳌﻨﻌﺶ واﻟﻬﺬ ن و ﲑﻫﺎ ﻣﻦ اﻟﺘﺪاﻋﯿﺎت اﻟﱵ و ﺪ ﻫﺎ ﺎﴐة ﺑﻘﻮة ﰲ اﺷﻌﺎر اﻟﻘ ﺎل اﻟ ﰊ وﺷﻌﺮاء اﺧﺮﻦ ا ﺎﻗﺖ‬
‫ﲠﻢ دا ﺮة اﻟﺘﻮ ﺪ و ﱰاب ‪ .‬و ﲆ اﻟﺮﰬ ﻣﻦ ﺷﯿﻮع ﻇﺎﻫﺮة ﱰاب ﰲ دب اﻟﻌﺮﰊ ﱂ ﺗﺘ ﺎوز اﻟﺘﻌﺮﯾﻔﺎت اﻟﱵ وﺿﻌﺖ ﻟﻬﺎ ﺪود ا ﻻﻻت اﻟﻐﺮﺑﯿﺔ اﳌﻌﺎﴏة واﻟﱵ‬
‫اﺧﳣﺮ ﻣﻌﻀﻤﻬﺎ ﰲ ﻓﻀﺎء ﻣﻌﺮﰲ ﺎص ﺣ ﺜﯿﺎﺗﻪ وﺑﻮاﻋﺜﻪ اﻟﱵ ﻗﺪ ﺗﺘ ﺎﺲ ﻣﻊ اﻟﺜﻘﺎﻓﺔ اﻟﻌﺮﺑﯿﺔ او ﺗ ﺎﻓﺮ ﻣﻌﻬﺎ‪ ،‬ﻣﺮ ا ي ﳛﱲ ﻠﯿﻨﺎ ﻣﻌﺎﯾﻨﺔ ﻣﻔﻬﻮم ﱰاب ﰲ اﻟﺜﻘﺎﻓﺔ‬
‫اﻟﻌﺮﺑﯿﺔ وﺗﻘﴢ دﻻﻻﺗﻪ ا ﺘﻠﻔﺔ‪ ،‬وﻗﺪ اﲣﺬ ﻣﻦ اﺷﻌﺎر اﻟﻘ ﺎل اﻟ ﰊ ﻣ ﻄﻠﻘﺎ ﻟﻔﻬﻢ وﻣﻌﺎﯾﻨﺔ ﺗ اﻟﻈﺎﻫﺮة ‪.‬‬
‫‪٣٢‬‬
‫ﺳﺘﻔﻬﺎم ﲑ ﺳﺘﻌﻼﱊ ودﻻﻻﺗﻪ ﰲ ﺧﻄﺒﺔ اﻟﺴﯿﺪة زﯾ ﺐ ) ﻠﳱﺎ اﻟﺴﻼم ( ﰲ اﻟﻜﻮﻓﺔ‬

‫د‪ .‬ﻣ ﺴﻢ ﺪ ن ﻋﺒﺪ اﻟﺮﺳﻮل ﻋﺰﺰ اﻟﻜﻔﺎﰄ‪،‬‬
‫ﺗﻨﺎول اﻟﺒﺤﺚ اﺳﻠﻮ ﻣﻦ اﺳﺎﻟﯿﺐ اﻟ م ﺸﺎﰄ وﻫﻮ ﺳﺘﻔﻬﺎم ﲟﻌﻨﺎﻩ ا ﺎزي ) ﲑ ﺳﺘﻌﻼﱊ (ﰲ ﺧﻄﺒﺔ اﻟﺴﯿﺪة زﯾ ﺐ ﺑ ﺖ ﲇ ﻦ اﰊ ﻃﺎﻟﺐ ) ﻠﳱﲈ‬
‫اﻟﺴﻼم( ﰲ اﻟﻜﻮﻓﺔ ‪ .‬وﻫﺬا اﻟﻨﻮع ﻣﻦ ﺳﺎﻟﯿﺐ اﻠﻐﻮﯾﺔ ﻜﻮن ﻓ ﻪ اﻟﺴﺎﺋﻞ ﺎﳌﺎ ﲟﺎ ﺴﺎل ﻋﻨﻪ‪ ،‬ﻟﻜ ﻪ ﯾﻘﺼﺪ ﻓ ﻪ ﻧﻮع ﻣﻦ اﳌﻌﺎﱐ ا ﺎزﯾﺔ اﻟﱵ ﯾﻔﻬﻤﻬﺎ اﳌﺘﻠﻘﻲ ﻣﻦ اﻟﺴﯿﺎق‬
‫اﻠﻐﻮي ﻋﻨﺪ ﺗ ٔﻣﻞ اﻟﻨﺺ وﻓﻘﻪ‪ ،‬وﺳﱪ ﻣﺎ ﳬﻦ وراءﻩ ﻣﻦ ﻣﻌﺎن واﴎار‪ ،‬وﻫﺬﻩ اﳌﻌﺎﱐ ا ﺎزﯾﺔ ﺮﯾﺔ وﻣ ﻨﻮ ﺔ ﺗ ﺴﻊ ﻟﺸﱴ ﴐوب اﻟﻔﻜﺮ وﳐﺘﻠﻒ اﳌﺸﺎﻋﺮ‪ ،‬ﻣﻦ ﻫﺬﻩ‬
‫اﳌﻌﺎﱐ‪ :‬اﻟﺘﻘﺮﺮ‪ ،‬واﻟﺘﻘﺮﯾﻊ‪ ،‬واﻟﺘﻮﺑﯿﺦ ‪،‬واﻟﺘﻌﺠﺐ و ﲑﻫﺎ‪ .‬وﻗﺪ اﺳﺘﻄﺎﻋﺖ اﻟﺴﯿﺪة زﯾ ﺐ ) ﻠﳱﺎ اﻟﺴﻼم (ان ﺗﻮﻇﻒ ﻫﺬا ﺳﻠﻮب ﲟﻌﺎﻧﯿﻪ ا ﺎزﯾﺔ ﻟﻜﺸﻒ زﯾﻒ ﺪاء‬
‫واﻇﻬﺎر اﳊﻘﺎﺋﻖ واﲿﺎم اﳋﺼﻮم ﳊ ﺔ وا ﻟﯿﻞ‪ .‬وﻧﻘﺪ ﻇﻢ اﻟﺒﺤﺚ ﲆ ﻣ ﺤﺜﲔ‪ :‬ول ﺗﻨﺎول اﳉﺎﻧﺐ اﻟﻨﻈﺮي ﻻﺳﻠﻮب ﺳﺘﻔﻬﺎم ﲑ ﺳﺘﻌﻼﱊ ﻋﻨﺪ ﻠﲈء اﻠﻐﺔ‬
‫اﻟﻌﺮﺑﯿﺔ )اﻟﻨﺤﻮﯾﲔ واﻟﺒﻼﻏﯿﲔ (‪ ،‬ﰲ ﲔ ﺗﻨﺎول اﳌﺒﺤﺚ اﻟﺜﺎﱐ اﳉﺎﻧﺐ اﻟﺘﻄﺒﯿﻘﻲ واﻟﺘ ﻠﯿﲇ ﻻﺳﻠﻮب ﺳﺘﻔﻬﺎم ﲑ ﺳﺘﻌﻼﱊ ﻣﻦ ﺧﻄﺒﺔ اﻟﺴﯿﺪة زﯾ ﺐ ) ﻠﳱﺎ‬
‫اﻟﺴﻼم( ﰲ اﻟﻜﻮﻓﺔ‪ ،‬ﻣﻊ ﺑﯿﺎن ادواﺗﻪ وﺑﻨ ﻪ اﻟﱰﯿﺒﺔ ودﻻﻻﲥﺎ‪ .‬وﻗﺪ ﺳﺒﻖ اﳌﺒﺤﺜﲔ ﻣﻘﺪﻣﺔ اﺳﺘﻌﺮﺿﺖ ﻣﻦ ﻼﻟﻬﺎ اﳘﯿﺔ اﳌﻮﺿﻮع واﺳﺒﺎب اﺧ ﯿﺎرﻩ وﻣﳯﺞ اﻟﺒﺤﺚ وﺧﻄﺔ‬
‫اﻟﺒﺎﺣ ﺔ ‪ .‬ﰒ ﲤﻬﯿﺪ ﻋﲎ ﺑ ﺎن اﳌﻌﲎ اﻠﻐﻮي و ﺻﻄﻼ ﳌﻔﻬﻮم ﺳﺘﻔﻬﺎم ﲑ ﺳﺘﻌﻼﱊ‪ .‬وﰲ اﳋﺘﺎم ﺑﯿ ﺖ ٔ ﺮزاﻟﻨﺘﺎﰀ اﻟﱵ ﺗﻮﺻﻞ اﳱﺎ اﻟﺒﺤﺚ‪.‬‬
‫اﳌﺘﺎﻫﺔ ﻓﻀﺎء رواﺋﯿﺎ ﰲ اﻟﺮواﯾﺔ اﳉﺰا ﺮﯾﺔ ‪ :‬رواﯾﺔ اﻟﻮﱄ اﻟﻄﺎﻫﺮ ﯾﻌﻮد إﱃ ﻣﻘﺎﻣﻪ اﻟﺰﰾ ﳕﻮذ ًﺎ‬
‫د‪ .‬ﻣﲎ ﺸﲅ‪،‬‬
‫اﳌﺪرﺳﺔ اﻟﻌﻠﯿﺎ ﻟ ٔ ﺳﺎﺗﺬة ٓﺳﯿﺎ ﺟ ﺎر‪ ،‬اﳉﺰا ﺮ‬
‫ﺗﻨﻄﺒﻊ اﻟﺘﻐﲑات اﻟﻄﺎرءة ﲆ ا ﳣﻌﺎت ﲆ ٓداﲠﺎ‪ ،‬و ﻟﻌﻞ ﻣﻦ ٔﱒ اﻟﻌﻨﺎﴏ اﻟﺮواﺋﯿﺔ اﻟﱵ ﺗ ٔ ﺮ ﻟﺘﻐﲑات ﺟ ﻋﯿﺔ ﻫﻮ اﻟﻔﻀﺎء اﻟﺮواﰄ ا ي اﻧﺘﻘﻞ ﻣﻦ ﻮﻧﻪ ﳎﺮد ﻣﲀن‬
‫ﯾﺆﻃﺮ ا ٔ ﺪاث ﰲ اﻟﺮوا ت اﻟ ﺳﯿﻜ ﺔ إﱃ ﺑﻄﻞ رواﰄ ﺎﻟﺐ‪ٔ ،‬و إﱃ ﻓﻀﺎء ﶊﻞ ﲜﻤ ﻣﻦ اﻟﻘﲓ و ا ﻻﻻت‪ ،‬و ﺗﺘ ﲆ اﳌﺪﯾﻨﺔ ﻛﻔﻀﺎء رواﰄ ٔدى وﻇﺎﺋﻒ دراﻣ ﺔ‬
‫ﺪةﻣﳯﺎ اﻠﻘﺎء و اﳋﻄﺮ ‪..‬و ﲑﻫﺎ‪ ،‬و ٔ ﺎدت ﺸﻐﯿﻞ ﺗﺼﻮرات ﻗﺪﳝﺔ‪ ،‬ﰷﻟﴪداب و اﳌﺘﺎﻫﺔ‪ ،‬و اﻟﺴﻠﻄﺔ اﳋﻔ ﺔ ﳣﻌﺎت ﴎﯾﺔ ﺗﻌ ﺶ ﻜﻮاﺑ ﺲ اﳌﺪﯾﻨﺔ اﳌﱰوﺑﻮﻟﯿﺘﺎﻧﯿﺔ‪.‬‬
‫و اﳌﺘﺎﻫﺔ وا ﺪة ﻣﻦ ﻫﺬﻩ اﻟﺘﺼﻮرات اﻟﻘﺪﳝﺔ اﻟﱵ ﺎدت ﻜ ﺎﻓﺔ ﻟﱰﻣﺰ ﻟﻮﻋﻲ ا ٕﻻ ﺴﺎن اﳌﻌﺎﴏ ﺑﻔﻀﺎﺋﻪ ﻓ ﺪﻫﺎ ﻋﻨﺪ ﺪد ﻣﻦ اﻟﻜ ﺎب اﻟﻌﺎﳌﯿﲔ ﻣﳯﻢ ﰷﻓﲀ‪ ،‬ﺑﻮر ﺲ‪،‬‬
‫روب ﺎرﯾﯿﻪ‪..‬و ﲑﱒ‪ ،‬وﻗﺪ ﺷﻐﻞ اﻟﻄﺎﻫﺮ وﻃﺎر ﻫﺬا اﻟﺘﺼﻮر ﻟﻜﻦ ٕﻋﻄﺎﺋﻪ ﺷ ﺪﯾﺪا‪ ،‬ﯾﲌ ﻋﻦ ٔﺻﺎ ا ﲀﺗﺐ ﰲ اﺳ ر ﻣﺎ ﻫﻮ ﻣﻄﺮوح ﻣﻦ ٔﻓﲀر واﺳ ﻌﺎﲠﺎ‬
‫وﲤﺜﻠﻬﺎ وٕا ﺎدة اﻧﺘﺎ ﺎ ﲟﺎ ﯾﻮاﻓﻖ ﺧﺼﻮﺻﯿﺘﻪ اﻟﺘﺎرﳜﯿﺔ و ﺟ ﻋﯿﺔ‪ ،‬واﳉﻐﺮاﻓ ﺔ ٔﯾﻀﺎ ﰲ ﻫﺬﻩ اﳊﺎ ‪.‬‬
‫ﺟﲈﻟﯿّﺎت اﻟ ّﺴﻖ ا ٔﯾﻘﻮﱐ ﰲ ا ٔدب ّاﻟﺮﳃﻲ ‪-‬رواﯾﺔ "ﺷﺎت" ﶈﻤﺪ ﺳﻨﺎ ﳕﻮذ ﺎً‬
‫د‪ .‬زﯿﺔ ﻨﻪ‪،‬‬
‫ﺗﺘﻮﺟﺖ اﳌﻨﻈﻮﻣﺔ اﻟﺜﻘﺎﻓ ﺔ واﻟﺴﺎ ﺔ اﻟﻌﻠﻤﯿﺔ ﻧﻔ ﺎح ﻫﺎﺋﻞ ﻠﻤﻌﻠﻮﻣﺔ اﻟﺮﳃﯿﺔ‪ ،‬واﻟﺘﻘ ﯿﺎت ا ﻟﯿﺔ ﺑﻐﯿﺔ ﺗﻨﻮﺮ ﻋﻮاﱂ اﳌﻌﺮﻓﺔ‪ ،‬وﺗ ٔﻃﲑ اﻟﺘﻘﺪم اﻟﺘﻜ ﻮﻟﻮ ﰲ ﺪﻣﺔ اﻟﻌﲅ وﺗﻔﻌﯿﻞ‬ ‫ّ‬
‫اﻟﺮﳃﻲ ﻠﳯﻮض ﲜﺬوﺗﻪ واﺳﱰداد ﻣﲀﻧﺘﻪ‪ ،‬ورﻓﻊ ﲢﺪّ ت اﻟﺘﻮاﺻﻞ اﻟﺮﳃﻲ اﻟﻌﺮﰊ‪ ،‬ا ٔﻣﺮ ا ي‬ ‫ّ‬ ‫ر‬‫اﻟﺘﻄﻮ‬
‫ّ‬ ‫ﻫﺬا‬ ‫ﻓﻀﺎءات‬ ‫ﰲ‬ ‫اﻟﻌﺮﰊ‬
‫ّ‬ ‫دﰊ‬ ‫ٔ‬ ‫ا‬ ‫اﻟﻨﺘﺎج‬ ‫اط‬
‫ﺮ‬ ‫اﳔ‬ ‫ﲆ‬ ‫ﱀ‬ ‫ٔ‬ ‫ﻣﺎ‬ ‫ﻐﺔ‪،‬‬ ‫ا ﻠّ‬
‫ﻜﺸﻒ ﻋﻨﻪ ﻣﻦ ﻼل ﳏﻄﺎت ﻫﺬا اﳌﻘﺎل ا ي ﯾ ﻠﻮر ﻣﻮﺿﻮ ﻪ ﺣﻮل ﻓﺎ ﻠﯿﺔ اﻟ ﺴﻖ ا ٔﯾﻘﻮﱐ ﲷﻦ ا ٔدب اﻟﺮﳃﻲ ﻧﺼ ًﺎ رﳃﯿ ًﺎ إﺑﺪاﻋﯿ ًﺎ ﺗﻔﺎ ﻠﯿ ًﺎ‪ ،‬ﲟﺎ ﳛﯿﻄﻪ ﻣﻦ ٔﯾﻘﻮ ت‬
‫ﲰﻌﯿﺔ ﺷﺎﻣ ﻠﺼﻮت‪ ،‬و ٔﯾﻘﻮ ت ﺑﴫﯾﺔ ﻜﺸﻒ رﻣﺰﯾﺔ اﻟﺼﻮرة‪ ،‬ﻫﯿﻚ ﻋﻦ ﻣﺎ ﲢﻤ اﻟﺮواﺑﻂ اﻟﺘﻔﺎ ﻠﯿﺔ ﻣﻦ دﻻﺋﻠﯿﺔ دا ﻞ اﻟﺴﯿﺎﻗﺎت اﻟﴪدﯾﺔ ﻠﻨﺺ ّاﻟﺮﳃﻲ‪ٔ ،‬ﺿﻒ‬
‫إﱃ ﻣﺎ ﺗﻄﺒﻌﻪ اﻟﺮﳃﻨﺔ ﰲ اﳌﻨﺠﺰ اﻟﺮﳃﻲ اﻟﻌﺮﰊ اﻧﻄﻼﻗ ًﺎ ﻣﻦ ا ﻠّﺴﺎﻧﯿﺎت اﳊﺎﺳﻮﺑﯿﺔ‪ ،‬واﳌﻌﺎﳉﺔ ا ﻟﯿﺔ ﻠﻨﺼﻮص‪ ،‬وﻣﺎ ﯾ ﻪ اﻟ ﺴﻖ اﻟﺮﳃﻲ ﻣﻦ دﻻﺋﻠﯿﺔ ﰲ اﻟﻨﺼﻮص اﻟﺮﳃﯿﺔ‬
‫اﻟﻌﺮﺑﯿﺔ‪ ،‬وٕاﻣﺎﻃﺔ ا ﻠّﺜﺎم ﻋﻦ ﻟﯿﺎت اﻟﺮﳃﻨﺔ و ﺪّ ة اﻟﺘﻔﺎ ﻞ واﻟﺘﻮاﺻﻞ ﺑﻠﻐﺔ اﻟﻀﺎد ﰲ ﺑﻘﺎع اﻟﻌﺎﱂ‪ ،‬إذ ﺗ ﺢ ا ﻠّﻐﺔ ا ٔﯾﻘﻮﻧﯿﺔ إﻣﲀﻧﯿﺔ اﻟﺘﻮاﺻﻞ اﻟﺘﻔﺎ ﲇ ﰲ ﺧﻀﻢ ﻋﴫ اﻟﺮﳃﻨﺔ‬
‫واﻟﺘﻄﻮر اﻟﺘﻜ ﻮﻟﻮ اﳌ ﺴﺎرع‪ ،‬ﻣﺎ ﻣﻜّﻦ اﳌﻨﻈﻮﻣﺔ اﻟﻔﻜﺮﯾﺔ وا راﺳﺎت اﻟﻌﻠﻤﯿﺔ اﻟﻌﺮﺑﯿﺔ ﰲ ﳔﺮاط ﰲ ﻫﺬﻩ اﻟﻜ ﺎﺑﺔ اﳉﺪﯾﺪة؛ ٔي اﻟﻜ ﺎﺑﺔ اﻟﺮﳃﯿﺔ‪ ،‬ﻣﺎ ﺳﻨ ّﻨﻪ ﱪ اﻟﻨﺺ‬
‫ّاﻟﺮﳃﻲ اﳌﺪرج ﰲ ﻓﻀﺎء اﻟﺮواﯾﺔ اﻟﺮﳃﯿﺔ اﳌﻮﺳﻮﻣﺔ‪ :‬ﺷﺎت ﻠﺮواﰄ ا ٔردﱐ ﶊﺪ ﺳﻨﺎ ‪ ،‬و ﻠﯿﻪ ﺮﻛﺰ ﰲ ﻫﺬا اﳌﻘﺎل ﲆ ﲨ ﻣﻦ اﻟﻌﻨﺎﴏ؛ ﰷﻟ ﺴﻖ ا ٔﯾﻘﻮﱐ‪ ،‬اﻟﺮواﺑﻂ‬
‫اﻟﺘﻔﺎ ﻠﯿﺔ‪ ،‬اﻟﻌﺘﺒﺎت ا ٔﯾﻘﻮﻧﯿﺔ‪ ،‬ا ﻠّﺴﺎﻧﯿﺎت اﳊﺎﺳﻮﺑﯿﺔ‪ ،‬اﳌﻌﺎﳉﺔ ا ﻟﯿﺔ ﻠﻨﺼﻮص‪ ،‬إﺿﺎﻓﺔ إﱃ ذ اﻟﺮؤى اﳌﻀﻤﺮة اﳌﺴﺘ ﻄﺔ ﻣﻦ ا ٔ ﺴﺎق ا ﻻﺋﻠﯿﺔ ّ‬
‫اﳌﺸﳫﺔ ﻟ ٔ دب اﻟﺮﳃﻲ‪.‬‬
‫‪٣٣‬‬
‫اﳌﻘﺎﻣﺎت ﻧﺪﻟﺴﯿﺔ دراﺳﺔ ﺳ ﺴﻮﻟﻮﺟ ﺔ ‪-‬اﳌﻘﺎﻣﺔ اﳉﻨﯿﺔ ﻠﴪﻗﺴﻄﻲ ٔﳕﻮذ ًﺎ‪-‬‬

‫د‪ .‬ﻣﺮﺗﴣ ﻛﲈل ﺣﺮﳚﻪ اﻟﯿﺎﴎي و د‪ .‬ا ﻫﯿﺪ ﻋﺒﺪ ﻣﲑ اﻟﺮﰷﰊ‪،‬‬
‫ﺗﻘﻒ ﻫﺬﻩ ا راﺳﺔ ﻋﻨﺪ ٕا ﺪى ﻣﻘﺎﻣﺎت اﻟﴪﻗﺴﻄﻲ اﻠﺰوﻣ ﺔ ﺑﻐﯿﺔ ﲢﻠﯿﻠﻬﺎ وﺑﯿﺎن اﻟﻈﻮاﻫﺮ وا ٔﺑﻌﺎد ﺟ ﻋﯿﺔ اﻟﱵ ﺗﻨﺎوﳤﺎ ﻫﺬﻩ اﳌﻘﺎﻣﺔ وﱔ اﳌﻘﺎﻣﺔ اﻟﺴﺎدﺳﺔ وا ٔرﺑﻌﲔ‬
‫اﳌﺴﲈة ﳌﻘﺎﻣﺔ اﳉﻨﯿﺔ إذ ﺮﺻﺪ ﻫﺬﻩ اﳌﻘﺎﻣﺔ ﻇﺎﻫﺮة اﺟ ﻋﯿﺔ ﰷﻧﺖ ﻣ ﻔﺸﯿﺔ ﰲ ا ﳣﻊ ا ٔﻧﺪﻟﴘ ٓﻧﺬاك وﱔ ﻇﺎﻫﺮة اﻧﺘ ﺎل اﻟﻄﺐ وﻧﺘﺎﲗﻬﺎ ﺟ ﻋﯿﺔ اﻟﺴﻠﺒﯿﺔ ﲆ ا ﳣﻊ‬
‫ﻓ ﺠﺮي ا ٔ ﺪاث ﰲ ﻫﺬﻩ اﳌﻘﺎﻣﺔ ﲆ ﻟﺴﺎن اﻟﺮاوي )اﳌﻨﺬر ﻦ ﺣﲈم( ا ي ﳛﺪث ﻋﻦ )اﻟﺴﺎﺋﺐ اﻦ ﲤﺎم( اﻟﺸﺨﺺ اﻟﺮﺋ ﴘ ﰲ ﻫﺬﻩ اﳌﻘﺎﻣﺔ ﻓ ﺘ ﲎ اﻟﴪﻗﺴﻄﻲ‬
‫وﺻﻔ ًﺎ ﻟ ٔﻣﻜ ﺔ اﻟﱵ ﲡﺮي ﻓﳱﺎ ا ٔ ﺪاث وﻗﺪ اﻫﱲ اﻟﴪﻗﺴﻄﻲ ﻟﺒﻨﺎء اﻠﻐﻮي واﻟﺘﺼﻮﺮي ﰲ ﻫﺬﻩ اﳌﻘﺎﻣﺔ اﻫ ﻣ ًﺎ ﻟﻐ ًﺎ ﻟﯿﻜﺸﻒ ﻋﻦ اﳉﺎﻧﺐ ﺟ ﻋﻲ ﰲ ﻫﺬﻩ اﳌﻘﺎﻣﺔ‬
‫اﻟﺼ ﳊﺪث ﺟ ﻋﻲ اﻟﺮﺋ ﴘ ﻠﻤﻘﺎﻣﺔ وﻫﻮ اﻧﺘ ﺎل‬ ‫ﻠﺸﺨﺼﯿﺎت ﲆ ﻫﯿﺌﺔ ﺣﲀﯾﺔ ﻓ ﻨﻘﻞ اﻟﴪﻗﺴﻄﻲ اﳌﺘﻠﻘﻲ ﲞﻔﺔ اﱃ اﻟﻔﺮوع اﳉﺰﺋﯿﺔ ﻟ ٔ ﺪاث اﻟﱵ ﻜﻮن وﺛﯿﻘﺔ ّ ِ‬
‫اﻟﻄﺐ‪ .‬ﺮﰟ اﻟﴪﻗﺴﻄﻲ ﻣﻦ ﻼل ﲢﺎور اﻟﺸﺨﺼﯿﺘﲔ اﻟﺮﺋ ﺴﯿ ﲔ ﰲ ٔ ﺪاث ﻫﺬﻩ اﳌﻘﺎﻣﺔ‪ .‬اﳉﺎﻧﺐ ﺟ ﻋﻲ اﳌﻬﻢ ﰲ ﻫﺬﻩ اﳌﻘﺎﻣﺔ ﯾﺘ ﲆ ﰲ اﻟﴫاع ا ٕﻻ ﺴﺎﱐ ﺑﲔ‬
‫اﻟﻘﲓ ا ٔ ﻼﻗ ﺔ اﻟﻔﺎﺿ واﳊﺎ ﺎت ا ٕﻻ ﺴﺎﻧﯿﺔ ﻟﯿﻜﺸﻒ ﻋﻦ ﻫﺸﺎﺷﺔ اﻠﺤﻤﺔ ﺟ ﻋﯿﺔ وﱔ ﲢﲄ ﺎﻧﺒ ًﺎ ﻣﻦ اﻟﻌﯿﻮب ﺟ ﻋﯿﺔ اﻟﱵ ﰷﻧﺖ ﻣﺴ ﴩﯾﺔ ﰲ ا ﳣﻊ ا ٔﻧﺪﻟﴘ‬
‫ٓﻧﺬاك ﺳﻨ ﯿّﳯﺎ ﰲ ﲝﺜﻨﺎ ﻫﺬا ا ي ﯾﺘﻜﻮن ﻣﻦ ﲤﻬﯿﺪ ﺳﻠﻄﻨﺎ اﻟﻀﻮء ﻓ ﻪ ﲆ اﳌﻘﺎﻣﺎت ﺟ ﻋﯿﺔ ﰲ ا ٔﻧﺪﻟﺲ ﰒ اﳌﺒﺤﺚ ول ا ي ﺗﻀﻤﻦ ﺮﲨﺔ ﴯﺼﯿﺔ ﻠﴪﻗﺴﻄﻲ‬
‫ﰒ اﳌﺒﺤﺚ اﻟﺜﺎﱐ ا ي ﺑ ﺎ ﻓ ﻪ ﻫﺬﻩ ا ٔﺑﻌﺎد ﺟ ﻋﯿﺔ اﻟﱵ ﻧﻘﻠﻬﺎ ﻠﻤﺘﻠﻘﻲ اﻟﴪﻗﺴﻄﻲ ﲞﻔﺔ وﺑﺪﻗﺔ ﰒ اﳋﺎﲤﺔ اﻟﱵ ﺗﺘﻀﻤﻦ اﱒ اﻟﻨﺘﺎﰀ اﻟﱵ ﺗﻮﺻﻞ اﳱﺎ اﻟﺒﺤﺚ ﰒ اﳌﻈﺎن‬
‫ا ي ﯾﺘﻀﻤﻦ ٔﱒ ﻣﺼﺎدر اﻟﺒﺤﺚ وﻣﺮاﺟﻌﻪ‪.‬‬
‫دور ﻣﺪارس ﻫﺮاة و ﻠﲈءﻫﺎ ﰲ ﺗﻄﻮﺮ ﺗﻌﻠﲓ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﻠﻨﺎﻃﻘﲔ ﺑﻐﲑﻫﺎ‬
‫د‪ .‬ﺳ ّﯿﺪ ﺟﲈل ا ﻦ اﻟﻬﺮوي ‪،‬‬
‫ﺎﻣﻌﺔ اﳉﺎﱊ‪ٔ ،‬ﻓﻐﺎﺴﺘﺎن‬
‫ٔ ّﻋﺮف ﰲ ﻫﺬﻩ اﳌﻘﺎ ٔﱒ اﳌﺮاﻛﺰ اﻟﺘﻌﻠﳰﯿﺔ اﳌﻮﺟﻮدة ﰲ ﺧﺮاﺳﺎن و ﺎﺻﺔ ﰲ ﻣﺪﯾﻨﺔ "ﻫﺮاة" – ﻗﺪﳝﺎ و ﺪﯾﺜﺎ‪ -‬و ﺪﻣﺎﲥﻢ اﳉﻠﯿ ﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ و ٓداﲠﺎ ﰲ اﻟﻌﺼﻮر اﳋﺎﻟﯿﺔ‬
‫ﺑﻌﺪ اﻻٕﺳﻼم إﱃ ﻋﴫ اﳊﺎﴐ‪ ،‬وﺑﻌﺾ ﺒﺎر ﻠﲈء اﻟﻨﺤﻮ واﻠﻐﺔ واﳌﻌﺎﱐ ا ﻦ ﺮﺑّﻮا ﰲ ﻫﺬﻩ اﳌﻨﻄﻘﺔ اﻟﻌﺮﯾﻘﺔ ﻣ ﻞ ٔﺑﻮ ﻋﺒﯿﺪ اﻟﻘﺎﰟ ﻦ ﺳﻼم اﻟﻬﺮوي‪ ،‬وا ٔزﻫﺮي‬
‫اﻟﻬﺮوي اﻠﻐﻮي اﻟﺸﻬﲑ‪ ،‬وﻧﻮر ا ﻦ ﻋﺒﺪ اﻟﺮﲪﻦ اﳉﺎﱊ اﻟﻨﺤﻮي اﻟﺸﻬﲑ‪ ،‬وﻣﺴﻌﻮد ﻦ ﲻﺮ اﳌﺸﻬﻮر ﺴﻌﺪ اﻟﺘﻔ ﺎزاﱐ ﻣﻦ ٔﲚﺔ اﻟﻌﺮﺑﯿﺔ واﻟﺒﯿﺎن واﳌﻨﻄﻖ‪ ،‬واﻧ ء ﻫﺆﻻء‬
‫ا ٔ ﻼم إﱃ ﻣﺪرﺳﺔ اﻟﻜﻮﻓﺔ ٔو ﻣﺪرﺳﺔ اﻟﺒﴫة‪ ،‬وﻣﺪى ﺗ ٔﺛﲑﱒ ﲆ ا ٔدب اﻟﻌﺮﰊ ﱪ اﻟﻘﺮون اﳋﺎﻟﯿﺔ‪ .‬واﻟﻄﺮﯾﻘﺔ اﻟﱴ اﺳﺘ ﺪﻣﺖ ﰲ ﲨﻊ اﻟﺒﯿﺎ ت ﱔ اﳌﺮاﺟﻌﺔ إﱃ‬
‫اﻟﮑ ﺐ اﳌﺴ ﺪة ﰲ ﺣ ﺎة اﻟﻌﻠﲈء و ٔﯾﻀﺎ إﱃ ﮐﺘﺐ ﻫﺆﻻء ا ٔ ﻼم‪ ،‬وﻛﺬا اﺳﺘﻔﺪت ﻣﻦ رﱗ ا ٔﻣﺔ ا ﯿﺪ‪ ،‬وﺣﱴ ﻣﻦ اﻟﻜ ﺐ واﳌﺒﺎﺣﺚ اﳌﺘﻌﻠﻘﺔ ﺑﻐﲑ اﳌﺴﻠﻤﲔ ﰲ ﻫﺬا‬
‫ﺗﻮﺻﻠﺖ إﱃ ﻧﺘﺎﰀ ﻫﺮة ﻗ ّﻤﺔ ﳑﺎ ﺗﻮﰣ ﻠﺒﺎﺣﺚ اﻟﮑﺮﱘ ﻣﺪی ﺪﻣﺎت ﻫﺆﻻء ا ٔ ﺎﰖ اﻟﻐﲑ اﻟﻨﺎﻃﻘﲔ ﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﻟﻬﺬﻩ اﻠﻐﺔ ﳑﺎ ﺗﻨﺪﻫﺶ ﻣ ﻪ اﻟﺴﺎﻣﻊ ٔول‬ ‫ا ﺎل‪ .‬و ّ‬
‫وﻫ ‪.‬‬
‫اﺳﺘﺪﻻﻻت ﻟﻐﻮﯾﺔ ﳌﺒﺎﺣﺚ ﻓﻘﻬﯿﺔ ﻣﻦ ﻧﺼﻮص ﻗﺮ ٓﻧﯿﺔ‬

‫ﳒﺎة ﳒﻢ ﻋﺒﺪ ﷲ‪،‬‬
‫إن ﻣﻦ ﯾﺘﺪﺮ ٓي ا ﺮ اﳊﻜﲓ وﯾﺘ ﻊ ٓ ﺗﻪ ﳚﺪ ﻓﳱﺎ ا ﻋﻮة إﱃ ٔن ﳛﲕ اﻟﻨﺎس‪ ،‬ﺣ ﺎة ﻃﯿﺒﺔ ﺴﻮدﻫﺎ ا ٔﻣﻦ واﻟﻌﺪل وﺻﯿﺎﻧﺔ اﻟﻨﻈﺎم‪ ،‬ﻣﻦ ٔ ﻞ ﺑﻪ‪ ،‬ﻋﻮﻗﺐ ﺑ ٔﺷﺪ‬
‫اﻟﻌﻘﻮ ت ﰲ ا ﻧﯿﺎ وا ٓﺧﺮة‪ ،‬ﻓﺎٕن اﻟﻌﻘﻮﺑﺔ ﰲ اﻻٕﺳﻼم واﻟﻘﻮاﻧﲔ ﳇﻬﺎ ﺪل وﺣﻖ؛ ﻻٕﺻﻼح اﳉﻨﺎة وزﺟﺮ ا ﺮﻣﲔ وردﻋﻬﻢ‪ ،‬واﻟﻌﻘﻮﺑﺔ ﺗﺘﻔﺎوت ﺑﺘﻔﺎوت اﳉﺮﳝﺔ وﻣﻘﺪار‬
‫ﺧﻄﺮﻫﺎ و ٔ ﻼﻟﻬﺎ ﺑ ٔﻣﻦ ا ﳣﻊ‪ ،‬وﻫﺬا دﻟﯿﻞ ﲆ ﻣﺪى اﻫ م اﻟﴩﯾﻌﺔ اﻟﻐﺮاء ﲝﻘﻮق اﻟﻨﺎس ور ﺎﯾﺔ ٔﻣﳯﻢ وﺳﻼﻣﳤﻢ‪ .‬وﳌﻌﺮﻓﺔ اﳌﺮاد ﻣﻦ ا ٓﯾﺔ اﻟﻜﺮﳝﺔ ﻻ ﺑﺪ ﻣﻦ ﻣﻌﺮﻓﺔ ﻣﻌﺎﱐ‬
‫ٔﻟﻔﺎﻇﻬﺎ‪ ،‬ﺣﱴ ﻧﻌﺮف ﻣﻦ ﻼﻟﻬﺎ ﺣﲀم اﻟﴩﯾﻌﺔ اﳋﺎﺻﺔ ﺑﺬ اﳌﻌﲎ ﺳﺘﺪﻻﱄ‪ .‬ﻣﻦ ٔﱒ ﻫﺬﻩ اﳌﺒﺎﺣﺚ )ﱔ اﶺﻊ ﺑﲔ اﻟﺼﻼﺗﲔ‪ ،‬ﺪ اﻟﴪﻗﺔ‪ ،‬ﺪة اﻟﻄﻼق‪،‬‬
‫اﶈﺎرﺑﺔ‪ٓ ،‬داب ﻗﺮاءة اﻟﻘﺮ ٓن اﻟﻜﺮﱘ(‪ .‬ﻓﻬﻲ ﻋﺒﺎرة ﻋﻦ ﻧﺼﻮص ﻗﺮ ٓﻧﯿﺔ ﯾﱲ ﻣﻦ ﻼﻟﻬﺎ اﺳﺘﺨﺮاج اﳌﻌﺎﱐ اﻠﻐﻮﯾﺔ ﻣﳯﺎ‪.‬‬
‫‪٣٤‬‬
‫اﻟﺘﻨﺎص اﻟﻘﺮ ٓﱏ ﰱ ﺧﻄﺐ ﳖﺞ اﻟﺒﻼ ﺔ‬

‫د‪ .‬ﲆ ﻣﻄﻮری ﻋﻀﻮ اﻟﻬﯿﺌﺔ اﻟﺘﻌﻠﳰﺔ ﲜﺎﻣﻌﺔ ﺸﻤﺮان اﻫﻮاز و رﺣﳰﻪ ﭼﻮﻻﻧﯿﺎن ﻃﺎﻟﺒﺔ اﳌﺎﺟﺴﱰ ﺑﻘﺴﻢ ﻠﻮم اﻟﻘﺮ ٓن و اﳊﺪﯾﺚ ﲜﺎﻣﻌﻪ ﺸﻤﺮان اﻫﻮاز‪ ،‬ا ﺮان‬
‫ﯾﻌﺘﱪ اﻟﺘﻨﺎص ﻣﻦ اﻟﺘﻘ ﯿﺎت ا ٔدﺑﯿﺔ ﰱ دا ﺮة اﻟﻨﻘﺪ اﳊﺪﯾﺚ‪ ،‬و ﻗﺪ ﺣﻈﯽ ﲟﲀﻧﺔ ﻋﻨﺪ اﻟﻨﻘﺎد و اﻟﺒﺎﺣ ﲔ‪ .‬ﲟﺎ ّان اﻟﺘﻨﺎص ﻗﺪ اﮐ ﺸﻒ ﺪﯾﺜﺎ ٔﻻ ان ﻫﺬا ا ٔﻣﺮ ﻻ ﯾﻌﲎ‬
‫ﻧﻪ ﻻ ﯾﻮ ﺪ ﺮاﺑﻂ ﺑ ﻪ و ﺑﲔ اﻟﻨﺼﻮص اﻟﻘﺪﳝﺔ‪ .‬ﻣﻦ زاوﯾﺔ ٔﺧﺮی‪ ،‬ﳛﺘﻮی ﮐﺘﺎب ﳖﺞ اﻟﺒﻼ ﺔ ﲆ ﺧﻄﺐ‪ ،‬و رﺳﺎﺋﻞ و ﲨﻞ ﻗﺼﺎر ٔﻣﲑ اﳌﺆﻣ ﲔ ﲆ)ع(‪ .‬ﯾﻌﺘﱪ‬
‫ﻫﺬا اﻟﮑ ﺎب اﳋﺎ ‪ ٔ ،‬ﺪ اﳌﺼﺎدر ا ﯾ ﺔ ا ﳥﯿﻨﺔ اﻟﱴ ﻻ ﯾﻀﺎﻫﯽ ﻟﻬﺎ ﻣﺼﺪر ٓﺧﺮ اﻟﻘﺮ ٓن اﻟﮑﺮﱘ‪ .‬ﺴﻠﻂ ﻫﺬﻩ اﳌﻘﺎ ﺿﻮءﻫﺎ ﲆ اﻟﺘﻌﺮﯾﻒ ﻟﺘﻨﺎص وذ ﺮ ٔﻧﻮا ﻪ ﻣﻊ‬
‫اﻻﺗﯿﺎن ﺑ ٔﻣ ﻣﻦ ﺧﻄﺐ اﻣﲑاﳌﺆﻣ ﲔ )ع(؛ ﻣ ﺬة ﺳﻠﻮب اﻟﻮﺻﻔﯽ‪ -‬اﻟﺘ ﻠﯿﲆ ﰱ دراﺳﺘﻪ‪ .‬و ﻗﺪ ﺗﺒ ّﲔ ﻣﻦ ﻼل دراﺳ ﺎ ٔ ّن اﻣﲑ اﳌﺆﻣ ﲔ ﻗﺪ إﲣﺬ اﻟﻘﺮ ٓن ﺸﺎﻫﺪ‬
‫ﳋﻄﺒﻪ و ﻗﺪ ﰷن اﺳﺘ ﺪاﻣﻪ ﻠﺘﻨﺎص اﻻٕﻣ ﺼﺎﴅ ﰱ ﺧﻄﺒﻪ ٔﮐﱶ ﻣﻦ ﺳﺎ ﺮ ﻧﻮاع‪.‬‬
‫‪٣٥‬‬

کتیب ملخص المؤتمر الدولي السنوي الرابع حول القضايا الراهنة للغات، علم اللغة، الترجمة و الأدب

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کتیب ملخص المؤتمر الدولي السنوي الرابع حول القضايا الراهنة للغات، علم اللغة، الترجمة و الأدب

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‫ﻣﻦ ﻣﺸ ِت ﺗﻌﻠﲓ ا ٔﺻﻮات اﻟﻌﺮﺑﯿﺔ ﻟﻐﲑ اﻟﻨﺎﻃﻘﲔ ﲠﺎ ) اﻟﻄﺮاﺋﻖ واﳊﻠﻮل(‬

‫ﻣﻦ ﺟﻐﺮاﻓ ﺎ اﻠﻐﺎت إﱃ ﻟﻐﺔ اﻟﺴ ﺎر)ا ٔﻧﱰ ت(‬

‫ا ﰷء اﻠﻐﻮي ى ﺗﻼﻣ ﺬ اﻟﺼﻒ ا ٔول ﺑﺘﺪاﰄ ﻣﻦ اﳌﻠﺘﺤﻘﲔ و ﲑ اﳌﻠﺘﺤﻘﲔ ﺮ ض ا ٔﻃﻔﺎل‬

‫اﻟﺮؤﯾﺔ اﳊﻀﺎرﯾﺔ ﰲ اﳋﻄﺎب اﻟﺸﻌﺮي اﻟﻌﲈﱐ‪ٔ :‬ﺑﻮﻣﺴﲅ ا ﳢﻼﱐ ﳕﻮذ ًﺎ‬

‫ا ٔدب اﻟﺮﳃﻲ ﺑﲔ ﺗﺪا ﻞ ا ٔﺷﲀل وارﺗﺒﺎك اﳌﻔﺎﻫﲓ‬

‫ﺗﻘﺴﲓ ﻠﻮم اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﻋﻨﺪ ﻃﺎﺷﻜﱪى زادة‬

‫اﻟﴪد واوﻫﺎم ﯾﺪوﻟﻮﺟ ﺎ‬

‫ﺣﻮار اﻟﺜﻘﺎﻓﺎت ﰲ اﻟﻘﺮ ٓن اﻟﻜﺮﱘ ‪-‬اﳌﻨﻄﻠﻘﺎت واﻟﻘﻮا ﺪ‪-‬‬

‫رﻣﺰﯾﺔ اﻠﻐﺔ ﰲ ا ٔدب اﻟﺼﻮﰲ‬

‫ﻓﻦ اﳋﻄﺎﺑﺔ واﻟﺘﻮاﺻﻞ ى اﻟﻌﺮب‬

‫اﳌﱰﰖ و دورﻩ ﰲ ﻣﻮا ﺔ اﻟﴫاع اﻟﻘﺎﰂ ﺑﲔ ﻟﻐﺔ ا ٔم وﻟﻐﺔ ا ٔﺟ ﱯ‬

‫اﻟﻘﺮ ٓن اﻟﻜﺮﱘ و ٔ ﺮﻩ ﰲ اﻠﻬ ﺎت اﻟﻌﺮﺑﯿﺔ‬

‫اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ و ﻠﻮم اﻟﺮ ﺿﯿﺎت‬

‫اﻟﴪﻗﺎت اﻟﺸﻌﺮﯾﺔ ﰲ ﻛﺘﺎب ا ر اﻟﻔﺮﯾﺪ وﺑ ﺖ اﻟﻘﺼﯿﺪ ٔ ﻦ اﯾﺪﻣﺮ اﳌﺴﺘﻌﺼﻤﻲ )ت ‪ ٧١٠‬ه(‬

‫ازدواﺟ ﺔ اﻠﻐﺔ ى ﻃﻔﺎل وﺗ ٔﺛﲑﻫﺎ ﲆ ﺳﻠﻮ ﻬﻢ‬

‫ﺴﺎع ا ﻻﱄ ﻟ ٕﻼﺿﺎﻓﺔ ﰲ اﻟﻘﺮ ٓن اﻟﻜﺮﱘ‬

‫ﻋﻮﳌﺔ ا ٔﺑ ﺔ ﺷﺘﻘﺎﻗ ﺔ اﻟﻌﺮﺑﯿﺔ ﰲ اﳌﺼﻄﻠﺢ اﻟﻌﻠﻤﻲ‬

‫اﻟﺒﻌﺪ اﻟﻨﻔﴘ ﰲ ﻧﺼﻮص دب اﳌﴪ )ﻫﺎﻣﻠﺖ ٔﳕﻮذ ًﺎ(‬

‫اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ و اﻟﻘﺮ ٓن اﻟﻜﺮﱘ ﻧﻈﺎم ﺻﻮﰐ وا ﺪ‬

‫إﺷﲀﻟﯿﺔ ﺮﲨﺔ اﻟﻨﺺ اﻟﻘﺮ ٓﱐ‬

‫اﻟﺘﻨﻮع اﻠﻐﻮي ﰲ ﳏﺎﻓﻈﺔ ﻇﻔﺎر‬

‫ا ٔﺳﲈء اﻟﻮاردة ﺑﻠﻬﺠﺘﲔ ﰲ اﻟﻘﺮ ٓن اﻟﻜﺮﱘ‬

‫اﳌﲀن اﳌﻐﻠﻖ ﰲ ﻣﻘﺎﻣﺎت اﳊﺮﺮي ورﺳﻮﻣﺎت اﻟﻮاﺳﻄﻲ ﺪﻟﯿﺔ اﻟﺼﻮرة واﻟﻨﺺ‬

‫اﻟﺘﺎﺑﻮﻫﺎت ﰲ رواﯾﺔ ٔدر ﻬﺎ اﻟ ﺴﯿﺎن ﻟﺴﻨﺎء ﺷﻌﻼن‬

‫ﻟﯿﺎت اﻟﺘﺪاوﻟﯿﺔ ﰲ ﺧﻄﺎب اﻟﻘﺮ ٓن اﻟﻜﺮﱘ ‪-‬ﺳﻮرة ﯾﻮﺳﻒ ٔﳕﻮذ ﺎ‪-‬‬

‫اﻟﺸﻚ ﰲ ﻛﺘﺐ اﻟﱰاث ﺑﲔ ا اﺗﯿﺔ واﳌﻮﺿﻮﻋﯿﺔ‪ :‬ﻛﺘﺎب ﳖﺞ اﻟﺒﻼ ﺔ ٔﳕﻮذ ﺎً‬

‫ﺗﻌﺪد اﻟﻘﺼﺪﯾﺔ اﻠﻐﻮﯾﺔ ﻠﻤﻔﺮدة اﻟﻘﺮ ٓﻧﯿﺔ ﰲ ﺿﻮء ﺗﻨﻮع اﻟﺴﯿﺎق‬

‫ﴏاع اﻠﻐﺔ واﻟﻬﻮﯾﺔ ﰲ اﻗﻠﲓ ﺮدﺳﺘﺎن‪ -‬اﻟﻌﺮاق‪ :‬ﺑﻌﺎد واﻟﺘﺪاﻋﯿﺎت‬

‫ﻣ ﺎﱑ اﻟﺘﻌﻠﲓ واﻟﺼﻌﻮ ت واﻟﺘﻮﺻﯿﺎت واﳌﻘﱰ ﺎت ﰲ اﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ ﻟﻐﲑ اﻟﻨﺎﻃﻘﲔ ﲠﺎ‬

‫ﺗ ٔوﯾﻞ ﻣﻌﲎ اﻟﻜﱪ ء ﰲ ﺷﻌﺮ اﳌﺘ ﱯ‬

‫اﻟﻘﲓ اﻟﺮوﺣ ﺔ و ا ٔ ﻼﻗ ﺔ ﰲ ا ٔدب اﻟﺼﻮﰲ و ٔ ﺮﻫﺎ ﰲ ﳖﻀﺔ ا ٔﻣﺔ‬

‫ﻮد اﻟﺴ ّﯿﺪ ﳏﺴﻦ ا ٔﻣﲔ وا ﻠّﻐﺔ اﻟﻌﺮﺑﯿّﺔ ﻣﻦ ﻼل ُﻣﺆﻟّﻔﺎﺗﻪ‬

‫ا ٔ وا ٓﺧﺮ ﰲ اﻟﺮواﯾﺔ اﻟﻌﺮﺑﯿﺔ اﺧ ﻼف ٔم ﻟﻘﺎء؟‬

‫إﺷﲀﻟﯿﺔ اﳌﳯﺞ ﰲ ﺗﻌﻠﲓ اﻟﻨﺤﻮ اﻟﻌﺮﰊ ﻋﻨﺪ اﻟﻨ ﺎة اﳌﻌﺎﴏﻦ‬

‫ﻇﺎﻫﺮة ﱰاب ﰲ ﺷﻌﺮ اﻟﻘ ﺎل اﻟ ﰊ‬