Riwayah Syabab wa ghaniyat li Muhamaund taymur (dirasah Niswiyah)

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‫ﺗﺼﺮﻳﺢ ﺍﻟﺒﺎﺣﺜﺔ‬

‫ﰲ ﻫﺬﻩ ﺍﳌﻨﺎﺳﺒﺔ ﺻﺮﺣﺖ ﺑﺄﻥ‪:‬‬
‫‪.١‬‬

‫ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻛﺘﺒﺘﻪ ﻟﺘﻜﻤﻠﺔ ﺍﻟﺸﺮﻭﻁ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺪﺭﺟﺔ ﺍﳉﺎﻣﻌﻴﺔ‬
‫ﺍﻷﻭﱃ ﲜﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﲜﺎﻛﺮﺗﺎ‪.‬‬

‫‪.٢‬‬


‫ﻛﻞ ﺍﳌﺮﺍﺟﻊ ﺍﻟﱵ ﺍﺳﺘﻌﻤﻠﺘﻬﺎ ﰲ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻗﺪ ﻭﺿﻌﺘﻬﺎ ﺣﺴﺐ‬
‫ﺍﻟﻘﺮﺍﺭﺍﺕ ﺍﳌﻮﺟﻮﺩﺓ ﲜﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ‬
‫ﲜﺎﻛﺮﺗﺎ‪.‬‬

‫‪.٣‬‬

‫ﺇﺫﺍ ﻛﺎﻥ ﺍﻟﺒﺤﺚ ﻣﻦ ﻏﲑ ﺇﻋﺪﺍﺩﻱ ﻭﻳﻮﺟﺪ ﻓﻴﻪ ﺍﻧﺘﺤﺎﻝ ﻵﺭﺍﺀ ﺍﻟﻐﲑ ﺩﻭﻥ‬
‫ﺫﻛﺮﻩ ﻓﺄﺳﺘﻌﺪ ﺃﻥ ﺃﺳﺘﻠﻢ ﻛﻞ ﺍﻟﻌﻘﻮﺑﺎﺕ ﺍﻟﱵ ﻗﺮﺭ‪‬ﺎ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ‬
‫ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﲜﺎﻛﺮﺗﺎ‪.‬‬
‫ﺟﺎﻛﺮﺗﺎ‪ ٢٥ ،‬ﺳﺒﺘﻤﱪ ‪٢٠١١‬ﻡ‬

‫ﺃﺳﻮﺓ ﺣﺴﻨﺔ‬

‫ﲡﺮﻳﺪ ﺍﻟﺒﺤﺚ‬
‫ﺃﺳﻮﺓ ﺣﺴﻨﺔ‪ :‬ﺭﻭﺍﻳﺔ "ﺷﺒﺎﺏ ﻭﻏﺎﻧﻴﺎﺕ" ﶈﻤﻮﺩ ﺗﻴﻤﻮﺭ )ﺩﺭﺍﺳﺔ ﻧﺴﻮﻳﺔ(‬
‫ﺩﺭﺍﺳﺔ ﺭﻭﺍﻳﺔ "ﺷﺒﺎﺏ ﻭﻏﺎﻧﻴﺎﺕ"‪ ،‬ﺭﻭﺍﻳﺔ ﺧﻴﺎﻟﻴﺔ ﶈﻤﻮﺩ ﺗﻴﻤﻮﺭ‪ ،‬ﲢﻜﻲ ﻗﺼﺔ ﺍﳊﺐ ﺑﲔ‬
‫ﻓﱴ ﺍﲰﻪ ﺳﺎﻣﻲ ﻭﻓﺘﺎﺗﲔ ﺍﲰﻬﻤﺎ ﻓﺘﺤﻴﺔ ﻭ‪‬ﺎﱐ‪ ،‬ﻗﺼﺔ ﺍﳊﺐ ﺍﻟﻼﻋﺎﺩﻱ‪ ،‬ﻗﺼﺔ ﺣﺐ ﻳﻠﻮ‪‬ﻧﻪ ﺿﻌﻒ‬
‫ﻭﺗﺄﺳﻒ ﻭﺗﻜﱪ ﻭﺧﻴﺎﻧﺔ‪ ،‬ﻗﺼﺔ ﻗﻬﺮ ﻭﺗﻜﱪ ﺍﻟﺮﺟﺎﻝ ﻟﻠﻤﺮﺃﺓ ﺑﺎﺳﻢ ﺍﻟﺸﺮﻑ ﻭﺍﻟﻜﻔﺎﺀﺓ ﻭﺍﻟﺘﺎﻗﻠﻴﺪ‪،‬‬
‫ﻗﺼﺔ ﺿﻌﻒ ﺍﳌﺮﺃﺓ ﻋﻠﻰ ﲢﺮﻳﺮ ﻧﻔﺴﻬﺎ ﻣﻦ ﺍﻻﻏﺘﻴﺎﻝ ﻭﺍﻟﻈﻠﻢ‪ ،‬ﻗﺼﺔ ﳛﻖ ﻟﻨﺎ ﺃﻥ ﻧﺼﻔﻬﺎ‬
‫ﺑـ"ﻧﺴﻮﻳﺔ"‪.‬‬

‫ﻭﰲ ﻫﺬﺍ ﺍﻟﺼﺪﺩ‪ ،‬ﺑﻌﺪ ﲨﻊ ﻭﻗﺮﺍﺀﺓ ﺍﻟﻜﺘﺐ ﺍﳌﺘﻌﻠﻘﺔ ﺑﺎﻟﺒﺤﺚ ﻋﺎﻣﺔ ﰲ ﺍﻷﺩﺏ ﺑﻜﻞ‬
‫ﺃﻧﻮﺍﻋﻪ ﻟﻠﻮﺻﻮﻝ ﺇﱃ ﻏﺎﻳﺘﻪ‪ ،‬ﻣﺎﻟﺖ ﺍﻟﺒﺎﺣﺜﺔ ﺇﱃ ﻣﻨﻬﺞ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ ﰲ ﲢﻠﻴﻞ ﺭﻭﺍﻳﺔ "ﺷﺒﺎﺏ‬
‫ﻭﻏﺎﻧﻴﺎﺕ"‪ .‬ﻭﻣﻦ ﺧﻼﻝ ﲝﺜﻬﺎ ﲢﺎﻭﻝ ﺍﻟﺒﺎﺣﺜﺔ ﺃﻥ ﲡﻴﺐ ﻋﻦ ﺍﻟﺴﺆﺍﻟﲔ‪ :‬ﻣﺎ ﻫﻲ ﺃﺷﻜﺎﻝ ﺍﻟﻈﻠﻢ‬
‫ﺍﳉﻨﺴﻲ ﺍﻟﱵ ﻧﺎﻟﺘﻬﺎ ﺍﳌﺮﺃﺓ ﰲ ﺍﻟﺮﻭﺍﻳﺔ؟ ﻭﻣﺎ ﻫﻲ ﺍﶈﺎﻭﻻﺕ ﺍﻟﱵ ﻓﻌﻠﺘﻬﺎ ﺍﳌﺮﺃﺓ ﰲ ﲢﺮﻳﺮ ﻧﻔﺴﻬﺎ ﻣﻦ‬
‫ﺍﻟﻈﻠﻢ ﺍﳉﻨﺴﻲ؟‬
‫ﻭﺑﻌﺪ ﲢﻠﻴﻞ ﺍﻟﺮﻭﺍﻳﺔ ﻇﻬﺮﺕ ﻧﺘﺎﺋﺞ ﺍﻟﺒﺤﺚ ﻓﻴﻤﺎ ﻳﻠﻲ‪ :‬ﺃﻥ ﺍﳌﺮﺃﺓ ﰲ ﻫﺬﻩ ﺍﻟﺮﻭﺍﻳﺔ ﺗﻌﻴﺶ‬
‫ﲢﺖ ﺿﻐﻂ ﺃﺷﻜﺎﻝ ﺍﻟﻈﻠﻢ ﺍﳉﻨﺴﻲ ﺑﺄﻥ ﲪﻠﺖ ﻓﺘﺤﻴﺔ ﻣﻦ ﻧﺘﻴﺠﺔ ﺣﺒﻬﺎ ﻟﺴﺎﻣﻲ ﻟﻜﻦ ﺃﺧﻮ ﺳﺎﻣﻲ‬
‫ﻃﺮﺩﻫﺎ ﺇﱃ ﻗﺮﻳﺔ ﺑﻌﻴﺪﺓ ﺑﺴﺒﺐ ﺃﻥ ﻓﺘﺤﻴﺔ ﺗﻨﺘﻤﻲ ﺇﱃ ﺍﻟﻄﺒﻘﺔ ﺍﳌﺘﻮﺍﺿﻌﺔ‪ ،‬ﻭﺃﻛﺮﻫﻬﺎ ﺑﺎﻟﺰﻭﺍﺝ ﺇﱃ‬
‫ﺭﺟﻞ ﺁﺧﺮ ﻣﻦ ﺩﻭﻥ ﺳﺎﻣﻲ؛ ﻭﺃﻥ ﻋﻘﺪ ﺃﺧﻮ ﺳﺎﻣﻲ ﺍﻟﺰﻭﺍﺝ ﺇﱃ ‪‬ﺎﱐ ﻭﻟﻮ ﲢﻮﻝ ﺑﻴﻨﻬﻤﺎ ﺛﻼﺛﻮﻥ‬
‫ﺳﻨﺔ ﻣﻦ ﺍﻟﻌﻤﺮ؛ ﻭﺃﻥ ﺍﺳﺘﻤﺘﻊ ﺳﺎﻣﻲ ﺑﺒﺪﻥ ‪‬ﺎﱐ ﺑﺎﻟﻌﻼﻗﺔ ﺍﻷﺛﻴﻤﺔ ﰒ ﺧﺎ‪‬ﺎ ﺑﺘﺮﻛﻬﺎ ﺑﻌﺪ‪ ‬ﻓﺎﺳﺘﻠﻤﺖ‬
‫ﻣﺼﲑﻫﺎ ﺃﻥ ﺗﻜﻮﻥ ﻋﺎﻫﺮﺓ ﺑﺪﻭﻥ ﺣﺐ ﺳﺎﻣﻲ ﺍﳋﺎﺋﻦ‪ .‬ﻭﻳﺒﺪﻭ ﰲ ﺍﻟﺮﻭﺍﻳﺔ ﺃﻥ ﺍﳌﺮﺃﺓ ﺍﻣﺘﻨﻌﺖ ﻣﻦ‬
‫ﻃﻠﺐ ﺍﻟﻌﻠﻢ ﺇﻃﻼﻗﺎ ﻭﻣﻦ ﺍﳋﺮﻭﺝ ﺇﻻ ﲟﺼﺎﺣﺒﺔ ﻭﻟﻴﻬﺎ ﺃﻭ ﳏﺮﻣﻬﺎ‪ .‬ﻓﻜﻴﻒ ﳝﻜﻦ ﳍﺎ ﺍﻻﺷﺘﺮﺍﻙ ﰲ‬
‫ﳎﺎﻻﺕ ﺍﳊﻴﺎﺓ ﺍﳌﺘﻨﻮﻋﺔ‪.‬‬
‫ﻭﺑﺎﻷﺳﻒ ﺃﻥ ﺍﳌﺆﻟﻒ ﻻ ﺗﻮﻓﹼﺮ ﺍﻟﻘﺼﺔ ﲟﺎ ﻳﺸﲑ ﺇﱃ ﻣﻜﺎﻓﺤﺔ ﺍﳌﺮﺃﺓ ﻋﻠﻰ ﻇﻠﻢ ﺍﻟﺮﺟﺎﻝ ﺇﻻ‬
‫ﺃﻥ ﺍﺳﺘﻠﻤﺖ ﻣﺼﲑﻫﺎ ﻭﺍﺣﺘﻤﻞ ﺍﺣﺘﻤﺎﻻ ﺷﺪﻳﺪﺍ‪ .‬ﻭﺍﺳﺘﻨﺘﺠﺖ ﺍﻟﺒﺎﺣﺜﺔ ﺃﻥ ﺍﳌﺆﻟﻒ ﻳﺪﺍﻓﻊ ﻟﻠﺤﺮﻛﺔ‬
‫ﺍﻟﻨﺴﻮﻳﺔ ﻣﻦ ﻃﺮﻳﻖ ﺇﺑﺪﺍﺀ ﺿﻌﻒ ﺍﻟﻨﺴﺎﺀ ﰲ ﺍﻟﻘﺮﻥ ﺍﳌﺎﺿﻲ ﻋﻠﻰ ﺍﳌﻜﺎﻓﺤﺔ ﻣﻦ ﺃﺟﻞ ﲢﺮﻳﺮ ﻧﻔﺴﻬﺎ‬
‫ﻣﻦ ﺍﻟﻈﻠﻢ ﺍﳉﻨﺴﻲ‪ ،‬ﻣﺎ ﻳﺴﺒﺐ ﻇﻬﻮﺭ ﺍﳊﺮﻛﺔ ﺍﻟﻨﺴﻮﻳﺔ ﰲ ﺍ‪‬ﺘﻤﻌﺎﺕ ﺍﻟﻌﺮﺑﻴﺔ‪.‬‬

‫ﺷﻜﺮ ﻭﺗﻘﺪﻳﺮ‬
‫﴿ﺑﺴﻢ ﺍﷲ ﺍﻟﺮﲪﻦ ﺍﻟﺮﺣﻴﻢ﴾‬

‫ﺍﳊﻤﺪ ﷲ ﺭﺏ ﺍﻟﻌﺎﳌﲔ‪ ،‬ﻭﺍﻟﺼﻼﺓ ﻭﺍﻟﺴﻼﻡ ﻋﻠﻰ ﺭﺳﻮﻝ ﺍﷲ ﳏﻤﺪ ﺑﻦ ﻋﺒﺪ‬
‫ﺍﷲ ﻭﻋﻠﻰ ﺁﻟﻪ ﻭﺻﺤﺒﻪ ﻭﻣﻦ ﻭﺍﻻﻩ‪.‬‬
‫ﺃﻣﺎ ﺑﻌﺪ‪ ،‬ﻗﺪ ﲤﺖ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ‪ ،‬ﻭﻟﻮﻻ ﻋﻨﺎﻳﺔ ﺍﷲ ﻭﺗﻮﻓﻴﻘﻪ ﻟﻜﺎﻧﺖ‬
‫ﺍﻟﺒﺎﺣﺜﺔ ﻏﲑ ﻗﺎﺩﺭﺓ ﻋﻠﻰ ﺇﲤﺎﻣﻬﺎ ﺍﻟﱵ ﺗﻜﻮﻥ ﺷﺮﻃﺎ ﻣﻦ ﺷﺮﻭﻁ ﺍﳊﺼﻮﻝ ﻋﻠﻰ‬
‫ﺍﻟﺪﺭﺟﺔ ﺍﳉﺎﻣﻌﻴﺔ ﺍﻷﻭﱃ ﺑﻜﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﲜﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ‬
‫ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﲜﺎﻛﺮﺗﺎ‪.‬‬
‫ﻭ‪‬ﺬﻩ ﺍﳌﻨﺎﺳﺒﺔ‪ ،‬ﺗﻘﺪﻡ ﺍﻟﺒﺎﺣﺜﺔ ﺷﻜﺮﻫﺎ ﻭﺗﻘﺪﻳﺮﻫﺎ ﺇﱃ ﻛﻞ ﻣﻦ ﺃﺭﺷﺪﻫﺎ‬
‫ﺑﺎﻟﺘﻮﺟﻴﻬﺎﺕ ﺍﻟﺜﻤﻴﻨﺔ‪ ،‬ﻭﺍﻟﻨﺼﺎﺋﺢ ﺫﺍﺕ ﺍﻟﻘﻴﻤﺔ‪ ،‬ﻭﺃﻋﺎ‪‬ﺎ ﺑﻌﻨﺎﻳﺔ ﻛﺒﲑﺓ ﺣﱴ ﺃﲤﺖ‬
‫ﺍﻟﺒﺎﺣﺜﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ‪ ،‬ﻓﻤﻦ ﻫﺆﻻﺀ‪:‬‬
‫‪.١‬‬

‫ﻓﻀﻴﻠﺔ ﻋﻤﻴﺪ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ‪ ،‬ﺍﻟﺪﻛﺘﻮﺭ ﺍﳊﺎﺝ »ﻋﺒﺪ‬
‫ﺍﻟﻮﺍﺣﺪ ﻫﺎﺷﻢ« ﺍﳌﺎﺟﺴﺘﲑ ﻭﲨﻴﻊ ﻣﺴﺎﻋﺪﻳﻪ‪ ،‬ﻭﲨﻴﻊ ﺍﻷﺳﺎﺗﺬﺓ ﺍﻟﺬﻳﻦ ﺑﺬﻟﻮﺍ‬

‫ﺟﻬﻮﺩﻫﻢ ﰲ ‪‬ﺬﻳﺐ ﺍﻟﺒﺎﺣﺜﺔ ﺑﺎﻻﺭﺷﺎﺩﺍﺕ ﺍﻟﻘﻴﻤﺔ ﺣﱴ ﻳﺘﻤﻜﻦ ﻣﻦ ﺇﲤﺎﻡ‬
‫ﺩﺭﺍﺳﺘﻬﺎ ﰲ ﻫﺬﻩ ﺍﻟﻜﻠﻴﺔ‪ ،‬ﻓﻠﻬﻢ ﻣﻦ ﺍﷲ ﺗﻌﺎﱃ ﺧﲑ ﺍﳉﺰﺍﺀ‪.‬‬
‫‪.٢‬‬

‫ﻓﻀﻴﻠﺔ ﺍﻷﺳﺘﺎﺫ ﺍﻟﺪﻛﺘﻮﺭ »ﺷﻜﺮﺍﻥ ﻛﺎﻣﻞ« ﺍﳌﺎﺟﺴﺘﲑ ﻋﻠﻰ ﺇﻋﻄﺎﺋﻪ ﺍﻟﺒﺎﺣﺜﺔ‬
‫ﻋﻠﻮﻣﻪ ﻭﺧﱪﺍﺗﻪ ﻭﺃﻭﻗﺎﺗﻪ ﺍﻟﺜﻤﻴﻨﺔ ﰲ ﺍﻹﺷﺮﺍﻑ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻭﻗﻴﺎﻣﻪ‬

‫ﺑﺈﺭﺷﺎﺩﺍ‪‬ﺎ ﻭﺗﻮﺟﻴﻬﺎ‪‬ﺎ ﺍﻟﻘﻴﻤﺔ ﰲ ﺩﺭﺍﺳﺔ ﻫﺬﺍ ﺍﳌﻮﺿﻮﻉ ﻭﻛﺘﺎﺑﺘﻪ‪.‬‬

‫‪.٣‬‬

‫ﻓﻀﻠﻴﺔ ﺭﺋﻴﺲ ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍ‪‬ﺎ ﺍﻟﺪﻛﺘﻮﺭﺍﻧﺪﻭﺱ »ﺃﺩﺍﻧﺞ‬
‫ﺃﺳﺪﺍﺭﻱ« ﺍﳌﺎﺟﺴﺘﲑ‪ ،‬ﻭﺳﻜﺮﺗﲑﺗﻪ ﺍﻟﺪﻛﺘﻮﺭﺓ »ﺷﻬﻴﺎ ﺑﻮﺍﻧﺎ« ﺍﳌﺎﺟﺴﺘﲑ ﺍﻟﱵ‬
‫ﺳﺎﻋﺪﺕ ﺍﻟﺒﺎﺣﺜﺔ ﰲ ﻧﻴﻞ ﺍﻹﻋﻼﻣﺎﺕ ﺍﳌﻬﻤﺔ ﻋﻦ ﺍﻟﻜﻠﻴﺔ ﻭﻛﺘﺎﺑﺔ ﺍﻟﺒﺤﺚ‬
‫ﻭﺇﻗﺎﻣﺘﻪ‪.‬‬

‫‪.٤‬‬

‫ﺭﺋﻴﺲ ﻣﻜﺘﺒﺔ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﲜﺎﻛﺮﺗﺎ‬
‫ﻭﻣﻮﻇﻔﻴﻬﺎ‪ ،‬ﺍﻟﺬﻳﻦ ﺃﺗﺎﺣﻮﺍ ﳍﺎ ﻓﺮﺻﺔ ﲦﻴﻨﺔ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﻜﺘﺐ ﺍﻟﱵ‬
‫ﺍﺣﺘﺎﺟﺖ ﺇﻟﻴﻬﺎ ﺃﺛﻨﺎﺀ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ‪.‬‬

‫‪.٥‬‬

‫ﲣﺺ ﺍﻟﺒﺎﺣﺜﺔ ﺑﻜﻞ ﺧﻀﻮﻉ ﻭﺧﻠﻮﺹ‪ ،‬ﺷﻜﺮﻫﺎ ﻭﺗﻘﺪﻳﺮﻫﺎ ﻭﻋﻈﻴﻢ ﲢﻴﺘﻬﺎ‬
‫ﻭﻏﺎﻳﺔ ﺍﺣﺘﺮﺍﻣﻬﺎ ﻷﺑﻴﻬﺎ ﺍﳊﺎﺝ »ﺍﺑﻨﻮ« ﻭﺃﻣﻬﺎ ﺍﳊﺎﺟﺔ »ﺇﺭﻭﺍﻥ ﺳﻮﻣﺎﺭﱐ«‬


‫ﺍﻟﺬﹶﻳﻦ ﻗﺪ ﺭﺑﻴﺎﻫﺎ ﺗﺮﺑﻴﺔ ﺇﺳﻼﻣﻴﺔ ﻭﺳﺎﻋﺪﺍﻫﺎ ﻣﺴﺎﻋﺪﺓ ﻛﺎﻣﻠﺔ ﻭﺃﻋﻄﻴﺎﻫﺎ‬
‫ﻧﻔﺎﻗﺎ‪‬ﺎ ﺍﳌﺎﻟﻴﺔ ﻣﻨﺬ ﺻﻐﺮﻫﺎ ﺇﱃ ﻳﻮﻣﻨﺎ ﻫﺬﺍ ﺣﱴ ﺗﺴﺘﻄﻴﻊ ﺃﻥ ﺗﺘﻢ ﺩﺭﺍﺳﺘﻬﺎ‬
‫ﰲ ﻫﺬﻩ ﺍﳉﺎﻣﻌﺔ‪.‬‬
‫‪.٦‬‬

‫ﻭﻟﻸﺻﺪﻗﺎﺀ ﻛﻠﻬﻢ ﻃﻠﺒﺔ ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍ‪‬ﺎ ﻣﻦ ﺟﻴﻞ ‪٢٠٠٦‬‬
‫ﺍﻟﺬﻳﻦ ﻳﻘﺪﻣﻮﻥ ﻣﺴﺎﻋﺪ‪‬ﻢ ﻭﺍﻗﺘﺮﺍﺣﺎ‪‬ﻢ ﻭﻋﺎﻣﺔ ﺇﱃ ﲨﻴﻊ ﺍﻷﺻﺪﻗﺎﺀ ﰲ‬
‫ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ‪.‬‬
‫ﺗﺮﺟﻮ ﺍﻟﺒﺎﺣﺜﺔ ﺃﻥ ﻳﻜﻮﻥ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻧﺎﻓﻌﺎ ﰲ ﺧﺪﻣﺔ ﺍﻟﻌﻠﻢ ﻭﲨﻴﻊ ﺍﳌﻬﺘﻤﲔ‬

‫ﺑﺘﻌﻠﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺗﻌﻠﻴﻤﻬﺎ‪ ،‬ﻭﺗﺮﺟﻮ ﺃﻳﻀﺎ ﺍﻻﻗﺘﺮﺍﺣﺎﺕ ﳑﻦ ﻟﻪ ﺍﻫﺘﻤﺎﻡ ﻣﺎﺱ ‪‬ﺬﺍ‬
‫ﺍﻟﻌﻠﻢ ﰲ ﺗﻜﻤﻠﺔ ﺃﺧﻄﺎﺀ ﻫﺬﺍ ﺍﻟﺒﺤﺚ‪ .‬ﻭﺃﺧﲑﺍ‪ ،‬ﺗﻘﺪﻡ ﺍﻟﺒﺎﺣﺜﺔ ﻏﺎﻳﺔ ﺍﻟﺸﻜﺮ ﺇﱃ ﻛﻞ‬
‫ﻣﻦ ﺳﺎﻋﺪﻫﺎ ﻭﺟﺰﺍﻫﻢ ﺍﷲ ﺧﲑ ﺍﳉﺰﺍﺀ‪ ،‬ﻭﺍﳊﻤﺪ ﷲ ﺭﺏ ﺍﻟﻌﺎﳌﲔ‪.‬‬

‫ﺟﺎﻛﺮﺗﺎ‪ ٢٥ ،‬ﺳﺒﺘﻤﱪ ‪٢٠١١‬ﻡ‬

‫»ﺃﺳﻮﺓ ﺣﺴﻨﺔ«‬

‫ﳏﺘﻮﻳﺎﺕ ﺍﻟﺒﺤﺚ‬


‫ﻣﻮﺍﻓﻘﺔ ﺍﳌﺸﺮﻑ ‪ ....................................................‬ﺏ‬
‫ﻗﺮﺍﺭ ﳉﻨﺔ ﺍﳌﻨﺎﻗﺸﺔ ﻭﺍﳊﻜﻢ ﻋﻠﻰ ﺍﻟﺒﺤﺚ ‪ ................................‬ﺝ‬
‫ﺗﺼﺮﻳﺢ ﺍﻟﺒﺎﺣﺜﺔ ‪ .....................................................‬ﺩ‬
‫ﲡﺮﻳﺪ ﺍﻟﺒﺤﺚ ‪ ......................................................‬ﻩ‬
‫ﺷﻜﺮ ﻭﺗﻘﺪﻳﺮ ‪ ......................................................‬ﻭ‬
‫ﳏﺘﻮﻳﺎﺕ ﺍﻟﺒﺤﺚ ‪ ...................................................‬ﻁ‬

‫ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ‪ :‬ﻣﻘﺪﻣﺔ‬
‫ﺃ‪.‬‬

‫ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ ‪١ ...............................................‬‬

‫ﺏ‪ .‬ﲢﺪﻳﺪ ﺍﳌﺸﻜﻠﺔ ‪٥ ................................................‬‬
‫ﺝ‪ .‬ﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ ‪٥ ...........................................‬‬
‫ﺩ‪.‬‬

‫ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺴﺎﺑﻘﺔ ‪٥ ............................................‬‬

‫ﻩ‪.‬‬


‫ﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ ‪٦ ................................................‬‬

‫ﻭ‪.‬‬

‫ﺧﻄﺔ ﺍﻟﺒﺤﺚ ‪٧ .................................................‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱐ‪ :‬ﶈﺔ ﻋﻦ ﺍﻟﺮﻭﺍﻳﺔ ﻭﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ‬
‫ﺃ‪.‬‬

‫ﺍﻟﺮﻭﺍﻳﺔ ‪٩ .......................................................‬‬
‫‪.١‬‬

‫ﻣﻔﻬﻮﻡ ﺍﻟﺮﻭﺍﻳﺔ ‪٩ ..........................................‬‬

‫‪.٢‬‬

‫ﺃﻧﻮﺍﻉ ﺍﻟﺮﻭﺍﻳﺔ ‪١٣ ..........................................‬‬

‫ﺏ‪ .‬ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ ‪١٥ ................................................‬‬
‫‪.١‬‬


‫ﻣﻔﻬﻮﻡ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ ‪١٥ ...................................‬‬

‫‪.٢‬‬

‫ﺃﻧﻮﺍﻉ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ ‪١٧ ....................................‬‬

‫‪.٣‬‬

‫ﻛﻴﻔﻴﺔ ﺗﻄﺒﻴﻖ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ ﰲ ﳎﺎﻝ ﺍﻟﺮﻭﺍﻳﺔ ‪١٩ ...............‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﻟﺚ‪ :‬ﺳﲑﺓ ﳏﻤﻮﺩ ﺗﻴﻤﻮﺭ‬
‫ﺃ‪.‬‬

‫ﻣﻮﻟﺪﻩ ﻭﻧﺸﺄﺗﻪ ‪٢٢ ................................................‬‬

‫ﺏ‪ .‬ﺃﻋﻤﺎﻟﻪ ﺍﻷﺩﺑﻴﺔ ‪٢٤ ................................................‬‬

‫ﺝ‪ .‬ﺁﺭﺍﺀ ﺍﻟﻨﻘﺎﺩ ﻋﻨﻪ ‪٢٦ ...............................................‬‬


‫ﺍﻟﺒﺎﺏ ﺍﻟﺮﺍﺑﻊ‪ :‬ﺍﻟﺪﺭﺍﺳﺔ ﺍﻟﻨﺴﻮﻳﺔ ﻟﺮﻭﺍﻳﺔ "ﺷﺒﺎﺏ ﻭﻏﺎﻧﻴﺎﺕ"‬
‫ﺃ‪.‬‬

‫ﺍﺧﺘﺼﺎﺭ ﺭﻭﺍﻳﺔ "ﺷﺒﺎﺏ ﻭﻏﺎﻧﻴﺎﺕ" ‪٢٩ ..............................‬‬

‫ﺏ‪ .‬ﺃﺷﻜﺎﻝ ﺍﻟﻈﻠﻢ ﺍﻟﻨﺴﺎﺋﻲ ﺍﻟﱵ ﻧﺎﻟﺘﻬﺎ ﺍﳌﺮﺃﺓ ‪٣١ ..........................‬‬
‫ﺝ‪ .‬ﺍﻟﻔﻜﺮﺓ ﰲ ﲢﺮﻳﺮ ﺍﳌﺮﺃﺓ ﻣﻦ ﺍﻟﻈﻠﻢ ﺍﻟﻨﺴﺎﺋﻲ ‪٣٩ ........................‬‬

‫ﺍﻟﺒﺎﺏ ﺍﳋﺎﻣﺲ‪ :‬ﺧﺎﲤﺔ‬
‫ﺃ‪.‬‬

‫ﻧﺘﺎﺋﺞ ﺍﻟﺒﺤﺚ ‪٤٣.................................................‬‬

‫ﺏ‪ .‬ﺍﻻﻗﺘﺮﺍﺣﺎﺕ ‪٤٦..................................................‬‬

‫ﺍﳌﺼﺎﺩﺭ ﻭﺍﳌﺮﺍﺟﻊ ‪٤٧...................................................‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ‬
‫ﻣﻘﺪﻣﺔ‬


‫ﺃ‪.‬‬

‫ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ‬
‫ﻣﺎ ﺯﺍﻟﺖ ﺍ‪‬ﺘﻤﻌﺎﺕ ﺍﻟﻌﺮﺑﻴﺔ ﺇﱃ ﺍﻵﻥ ﺗﻌﻠﻰ ﻣﻦ ﻗﻴﻤﺔ ﺍﻟﺬﻛﺮ ﻋﻠﻰ ﺍﻷﻧﺜﻰ‪.‬‬

‫ﻭﻟﻌﻞ ﺍﻟﺴﺒﺐ ﰲ ﻫﺬﺍ ﺍﺳﺘﻤﺮﺍﺭ ﺍﻟﺘﺼﻮﺭﺍﺕ ﺍﻟﻘﺒﻠﻴﺔ ﰲ ﺍ‪‬ﺘﻤﻌﺎﺕ ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﻓﻤﺎ ﺯﺍﻝ‬
‫ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻻﹸﺳ‪‬ﺮ ﻳﻔﻀﻠﻮﻥ ﺍﻟﺬﻛﻮﺭ ﻋﻠﻰ ﺍﻹﻧﺎﺙ‪ ،‬ﺑﻞ ﺇﻥ ﺑﻌﺾ ﺍﳌﺘﻌﻠﻤﲔ ﺗﻌﻠﻴﻤﺎ‬
‫ﺭﻓﻴﻌﺎ ﰲ ﺍ‪‬ﺘﻤﻊ ﺍﺣﻴﺎﻧﺎ ﻣﺎ ﻳﻜﺜﺮﻭﻥ ﺍﻟﻨﺴﻞ ﻣﻦ ﺃﺟﻞ ﺇﳒﺎﺏ ﺍﻟﺬﻛﻮﺭ‪ ،‬ﻭﱂ ﻳﻜﻦ‬
‫ﺍﻟﺘﻌﻠﻴﻢ ﻭﺳﻴﻠﺔ ﻟﺘﻐﻴﲑ ﺻﻮﺭﺓ ﺍﳌﺮﺃﺓ ﰲ ﺍ‪‬ﺘﻤﻊ ﺑﻞ ﺇﻥ ﻫﻨﺎﻙ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺣﺎﻟﺖ‬
‫ﺍﻟﻄﻼﻕ‪ ،‬ﺃﻭ ﺍﻟﺰﻭﺍﺝ ﺑﺄﺧﺮﻯ ﻋﻠﻰ ﺯﻭﺟﺘﻪ ﻳﻌﻮﺩ ﻧﺘﻴﺠﺔ ﻷﻥ ﺍﻟﺰﻭﺟﺔ ﱂ ﺗﻨﺠﺐ ﻟﻪ‬
‫ﺍﻟﻮﻟﺪ‪ ،‬ﰲ ﺣﲔ ﺃﻥ ﺍﻟﻌﻠﻢ ﺍﳊﺪﻳﺚ ﺃﺛﺒﺖ ﺃﻥ ﺍﻟﺮﺟﻞ ﻫﻮ ﺍﳌﺴﺆﻭﻝ ﻋﻦ ﲢﺪﻳﺪ ﻧﻮﻋﻴﺔ‬

‫‪١‬‬

‫‪٢‬‬
‫ﺍﳉﻨﺴﲔ‪ ١.‬ﰒ ﻛﺎﻧﺖ ﺻﻮﺭﺓ ﺍﳌﺮﺃﺓ ﰲ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ ﻟﻴﺴﺖ ﺗﻌﺒﲑﺍ ﺻﺎﺩﻗﺎ ﻋﻨﻬﺎ‬
‫ﻭﻻ ﲤﺜﻴﻼ ﻟﻠﻨﻤﻮﺫﺝ ﺍﻟﺴﺎﺋﺪ ﻟﻠﻤﺮﺃﺓ ﺍﻟﻌﺮﺑﻴﺔ‪.‬‬

‫‪٢‬‬

‫ﺇﻥ ﻭﻗﻮﻉ ﺍﻟﺘﻤﻴﻴﺰ ﲡﺎﻩ ﺍﻟﻨﺴﺎﺀ ﻭﲣﻠﹼﻔﻬﺎ ﰲ ﻣﺼﺮ ﺻﺎﺭ ﻣﺒﺤﺜﺎ ﻫﺎﻣﺎ ﻟﺪﻯ‬
‫ﺍﳌﻔﻜﹼﺮﻳﻦ ﻭﺍﳌﻬﺘﻤﲔ ﰲ ﺃﻭﺍﺧﺮ ﺍﻟﻘﺮﻥ ﺍﻟﺘﺎﺳﻊ ﻋﺸﺮ‪ .‬ﻭﻗﻀﻴﺔ ﲢﺮﻳﺮ ﺍﳌﺮﺃﺓ ﻭﻧﺰﻋﻬﺎ‬
‫ﻣﻦ ﺃﻱ ﻗﻴﻮﺩ ﻭﲣﻠﻒ ﺗﻜﻮﻥ ﻣﻮﺿﻮﻋﺎ ﻣﺸﻮ‪‬ﻗﺎ ﻳﺪﻋﻮ ﺍﳌﻔﻜﹼﺮﻳﻦ ﻳﺘﻨﺎﻗﺸﻮﻥ‬
‫ﻭﻳﺘﻨﺎﻇﺮﻭﻥ ﻋﻦ ﻛﻴﻔﻴﺔ ﲢﻠﻴﻞ ﻫﺬﻩ ﺍﻟﻘﻀﻴﺔ ﺍﻟﻜﱪﻯ‪ .‬ﻭﻣﺎ ﺯﺍﻝ ﻓﻴﻪ ﺧﻼﻑ ﺑﲔ‬
‫ﺍﳌﺆﻳ‪‬ﺪﻳﻦ ﻭﺍﳌﻌﺎﺭﺿﲔ‪ .‬ﻭﻫﺬﻩ ﺍﳌﺴﺄﻟﺔ ﻗﺪ ﺃﺩﺕ ﺃﻳﻀﺎﹰ ﺇﱃ ﻇﻬﻮﺭ ﺑﻌﺾ ﺃﺷﻬﺮ‬
‫ﺍﳌﻔﻜﹼﺮﻳﻦ ﰲ ﻣﺼﺮ ﺍﻟﹼﺬﻳﻦ ﻳﻌﺘﻨﻮﻥ ﻭﻳﻬﺘﻤﻮﻥ ﻏﺎﻳﺔ ﺍﻻﻫﺘﻤﺎﻡ ﺑﺄﻣﻮﺭ ﺍﳌﺮﺃﺓ‪ ،‬ﻣﻨﻬﻢ‬
‫ﻗﺎﺳﻢ ﺁﻣﲔ‪ ،‬ﻭﻣﺎﻟﻚ ﺣﻔﲏ ﻧﺎﺻﻒ‪ ،‬ﻭﺇﺣﺴﺎﻥ ﻋﺒﺪ ﺍﻟﻘﺪﻭﺱ‪ ،‬ﻭﻧﻮﺍﻝ‬
‫ﺍﻟﺴﻌﺪﺍﻭﻱ‪.‬‬

‫‪٣‬‬

‫ﻭﻣﻦ ﺍﻟﺮﻭﺍﺋﻴﲔ ﺍﳌﺼﺮﻳﲔ ﺍﻟﺬﻳﻦ ﻳﺘﺨﺬﻭﻥ ﻗﻀﻴﺔ ﺍﳉﻨﺴﻴﺔ ﻛﻤﻮﺿﻮﻉ‬
‫ﳌﺆﻟﻔﺎﺗﻪ ﳏﻤﻮﺩ ﺗﻴﻤﻮﺭ‪ ،‬ﻛﺎﺗﺐ ﻗﺼﺼﻲ‪ .‬ﻭﻟﺪ ﳏﻤﻮﺩ ﺗﻴﻤﻮﺭ ﰲ ﺍﻟﻘﺎﻫﺮﺓ ﰲ ﺃﺳﺮﺓ‬
‫‪١‬ﺃﲪﺪ ﳏﻤﺪ ﺳﺎﱂ‪ ،‬ﺍﳌﺮﺃﺓ ﰲ ﺍﻟﻔﻜﺮ ﺍﻟﻌﺮﰊ ﺍﳊﺪﻳﺚ‪ ) ،‬ﺍﳍﻴﺌﺔ ﺍﳌﺼﺮﻳﺔ ﺍﻟﻌﺎﻣﺔ ﻟﻠﻜﺘﺎﺏ(‪ ،‬ﺹ‪١٠‬‬
‫‪"٢‬ﺻﻮﺭﺓ ﺍﳌﺮﺃﺓ ﰲ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ"‪ ،‬ﺟﺮﻳﺪﺓ ﺍﻟﻮﺳﻂ‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ ‪ ٢٥‬ﺍﺑﺮﻳﻞ ‪ ٢٠٠٩‬ﻣﻦ‬

‫‪http://www.el-‬‬

‫‪wasat.com‬‬

‫ﺳﱵ ﻧﻮﺭ ﻛﺎﻣﻠﻴﺎﻭﺍﰐ‪" ،‬ﺭﻭﺍﻳﺔ "ﻭ ﻧﺴﻴﺖ ﺃﻧ‪‬ﻲ ﺇﻣﺮﺃﺓ" ﻹﺣﺴﺎﻥ ﻋﺒﺪ ﺍﻟﻘﺪﻭﺱ" )ﺩﺭﺍﺳﺔ ﻧﻘﺪﻳﺔ‬

‫‪٣‬‬

‫ﻧﺴﻮﻳﺔ(‪ ،‬ﺭﺳﺎﻟﺔ ﻏﲑ ﻣﻨﺸﻮﺭﺓ‪ ،‬ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ‪ ،٢٠٠٨ ،‬ﺹ‪٥‬‬

‫‪٣‬‬
‫ﺍﺷﺘﻬﺮﺕ ﺑﺎﻷﺩﺏ‪ .‬ﻓﻮﺍﻟﺪﻩ ﺃﲪﺪ ﺗﻴﻤﻮﺭ ﺑﺎﺷﺎ‪ ،‬ﺍﻷﺩﻳﺐ ﺍﳌﻌﺮﻭﻑ‪ ،‬ﺍﻟﺬﻱ ﻋﺮﻑ‬
‫ﺑﺎﻫﺘﻤﺎﻣﺎﺗﻪ ﺍﻟﻮﺍﺳﻌﺔ ﺑﺎﻟﺘﺮﺍﺙ ﺍﻟﻌﺮﰊ‪ ،‬ﻭﻛﺎﻥ "ﲝﺎﺛﺔ ﰲ ﻓﻨﻮﻥ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ‪،‬‬
‫ﻭﺍﻷﺩﺏ ﻭﺍﻟﺘﺎﺭﻳﺦ‪ ،‬ﻭﺧﻠﹼﻒ ﻣﻜﺘﺒﺔ ﻋﻈﻴﻤﺔ ﻫﻲ "ﺍﻟﺘﻴﻤﻮﺭﻳﺔ"‪ ،‬ﺗﻌﺪ ﺫﺧﲑﺓ ﻟﻠﺒﺎﺣﺜﲔ‬
‫ﺇﱃ ﺍﻵﻥ ﺑﺪﺍﺭ ﺍﻟﻜﺘﺐ ﺍﳌﺼﺮﻳﺔ‪ ،‬ﲟﺎ ﲢﻮﻱ ﻣﻦ ﻧﻮﺍﺩﺭ ﺍﻟﻜﺘﺐ ﻭﺍﳌﺨﻄﻮﻃﺎﺕ"‪،‬‬
‫ﻭﻋﻤﺘﻪ ﺍﻟﺸﺎﻋﺮﺓ ﺍﻟﺮﺍﺋﺪﺓ ﻋﺎﺋﺸﺔ ﺍﻟﺘﻴﻤﻮﺭﻳﺔ ﺻﺎﺣﺒﺔ ﺩﻳﻮﺍﻥ "ﺣﻠﻴﺔ ﺍﻟﻄﺮﺍﺯ"‪ ،‬ﻭﺷﻘﻴﻘﻪ‬
‫ﳏﻤﺪ ﺗﻴﻤﻮﺭ ﺻﺎﺣﺐ ﺃﻭﻝ ﻗﺼﺔ ﻗﺼﲑﺓ ﰲ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ‪.‬‬

‫‪٤‬‬

‫ﻭﻳ‪‬ﻌﺪ‪ ‬ﳏﻤﻮﺩ ﺗﻴﻤﻮﺭ ﺃﺣﺪ ﺍﻟﺮﻭﺍﺩ ﺍﻷﻭﺍﺋﻞ ﻟﻔﻦ ﺍﻟﻘﺼﺔ ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﻭﻫﻮ ﻭﺍﺣﺪ‬
‫ﻣﻦ ﺍﻟﻘﻼﺋﻞ ﺍﻟﺬﻳﻦ ‪‬ﻀﻮﺍ ‪‬ﺬﺍ ﺍﻟﻔﻦ ﺍﻟﺬﻱ ﺷﻬﺪ ﻧﻀﻮﺟﺎ ﻣﺒﻜﺮﺍ ﻋﻠﻰ ﻳﺪﻳﻪ‪،‬‬
‫ﻭﺍﺳﺘﻄﺎﻉ ﺃﻥ ﻳﻘﺪﻡ ﺃﻟﻮﺍﻧﺎ ﳐﺘﻠﻔﺔ ﻣﻦ ﺍﻟﻘﺼﺺ ﺍﻟﻮﺍﻗﻌﻴﺔ ﻭﺍﻟﺮﻭﻣﺎﻧﺴﻴﺔ ﻭﺍﻟﺘﺎﺭﳜﻴﺔ‬
‫ﻭﺍﻻﺟﺘﻤﺎﻋﻴﺔ‪ ،‬ﻛﻤﺎ ﺑﺮﻉ ﰲ ﻓﻨﻮﻥ ﺍﻟﻘﺼﺔ ﺍﳌﺨﺘﻠﻔﺔ؛ ﺳﻮﺍﺀ ﻛﺎﻧﺖ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ‪،‬‬
‫ﺃﻭ ﺍﻟﺮﻭﺍﻳﺔ‪ ،‬ﻭﺗﺄﺛﱠﺮ ﺑﻪ ﻋﺪﺩ ﻛﺒﲑ ﻣﻦ ﺍﻷﺩﺑﺎﺀ ﻭﺍﻟﺮﻭﺍﺋﻴﲔ ﺍﻟﺬﻳﻦ ﺃﻓﺎﺩﻭﺍ ﻛﺜﲑﺍ ﻣﻦ‬
‫ﺭﻳﺎﺩﺗﻪ ﺍﻷﺩﺑﻴﺔ ﻭﺇﺑﺪﺍﻋﺎﺗﻪ ﺍﻟﻘﺼﺼﻴﺔ؛ ﻓﺴﺎﺭﻭﺍ ﻋﻠﻰ ﺩﺭﺑﻪ‪ ،‬ﻭﻧﺴﺠﻮﺍ ﻋﻠﻰ ﻣﻨﻮﺍﻟﻪ‪.‬‬

‫‪٥‬‬

‫ﻭﻗﺪ ﻻﻗﺖ ﻣﺆﻟﻔﺎﺗﻪ ﺍﻫﺘﻤﺎﻣﺎ ﻛﺒﲑﺍ ﻣﻦ ﺍﻷﺩﺑﺎﺀ ﻭﺍﻟﻨﻘﺎﺩ ﻭﺍﻟﺪﺍﺭﺳﲔ؛ ﻓﺘ‪‬ﺮﺟﻢ‬
‫‪" ٤‬ﳏﻤﻮﺩ ﺗﻴﻤﻮﺭ"‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ ‪ ٧‬ﺃﺑﺮﻳﻞ ‪ ٢٠١٠‬ﻣﻦ‬

‫‪http://ar.wikipedia.org‬‬

‫‪٥‬ﲰﲑ ﺣﻠﱯ‪" ،‬ﳏﻤﻮﺩ ﺗﻴﻤﻮﺭ‪ ..‬ﺷﻴﺦ ﺍﻟﻘﺼﺔ ﺍﻟﻌﺮﺑﻴﺔ"‪ ،‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﻮﺫﺓ ﰲ ‪ ١٧‬ﻣﺎﺭﺱ ‪ ٢٠١٠‬ﻣﻦ‬
‫‪http://www.islamonline.net‬‬

‫‪٤‬‬
‫ﻛﺜﲑ ﻣﻨﻬﺎ ﺇﱃ ﻋﺪﻳﺪ ﻣﻦ ﺍﻟﻠﻐﺎﺕ‪ :‬ﻛﺎﻟﻔﺮﻧﺴﻴﺔ‪ ،‬ﻭﺍﻹﳒﻠﻴﺰﻳﺔ‪ ،‬ﻭﺍﻷﳌﺎﻧﻴﺔ‪،‬‬
‫ﻭﺍﻹﻳﻄﺎﻟﻴﺔ‪ ،‬ﻭﺍﻟﻌﱪﻳﺔ‪ ،‬ﻭﺍﻟﻘﻮﻗﺎﺯﻳﺔ‪ ،‬ﻭﺍﻟﺮﻭﺳﻴﺔ‪ ،‬ﻭﺍﻟﺼﻴﻨﻴﺔ‪ ،‬ﻭﺍﻹﻧﺪﻭﻧﻴﺴﻴﺔ‪،‬‬
‫ﻭﺍﻹﺳﺒﺎﻧﻴﺔ‪.‬‬

‫‪٦‬‬

‫ﻭﻣﻦ ﻣﺆﻟﻔﺎﺕ ﳏﻤﻮﺩ ﺗﻴﻤﻮﺭ ﺭﻭﺍﻳﺔ "ﺷﺒﺎﺏ ﻭﻏﺎﻧﻴﺎﺕ" ﺍﻟﱵ ﲢﻜﻲ ﻋﻠﻴﻨﺎ‬
‫ﻗﺼﺔ ﺍﻣﺮﺗﲔ ﺃﻭﻻﳘﺎ ﻣﻦ ﺍﻟﻄﺒﻘﺔ ﺍﻟﻌﺮﻳﻘﺔ ﺍﲰﻬﺎ ‪‬ﺎﱐ ﻭﺛﺎﻧﻴﺘﻬﻤﺎ ﻣﻦ ﺍﻟﻄﺒﻘﺔ‬
‫ﺍﳌﺘﻮﺍﺿﻌﺔ ﺃﻱ ﻣﻦ ﻋﺎﻣﺔ ﺍﻟﻨﺎﺱ ﺍﲰﻬﺎ ﻓﺘﺤﻴﺔ‪ ،‬ﻛﺎﻧﺘﺎ ﳛﺒﻬﻤﺎ ﺳﺎﻣﻲ‪ .‬ﻓﻈﻬﺮ ﺍﻟﺼﺮﺍﻉ‬
‫ﺍﳊﱯ ﺑﻴﻨﻬﻢ‪ ،‬ﻭﻟﻜﻦ ﺍﻷﺧﻄﺮ ﻫﻮ ﻣﻨﻊ ﺍﻷﺳﺮﺓ ﻣﻦ ﺫﻟﻚ ﺍﳊﺐ ﺍﻟﺬﻱ ﻻ ﻳﻨﺘﻤﻲ ﺇﱃ‬
‫ﺍﻟﺘﻜﺎﻓﺆ ﻭﺍﳌﺴﺎﻭﺍﺓ ﻣﻦ ﺣﻴﺚ ﺍﻟﻄﺒﻘﺔ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‪ .‬ﻭﺍﻟﺮﻭﺍﻳﺔ ﺃﻳﻀﺎ ﲢﻜﻲ ﻋﻠﻴﻨﺎ‬
‫ﺃﺷﻜﺎﻻ ﺷﱴ ﻣﻦ ﻋ‪‬ﺮﻑ ﺍﻷﺳﺮﺓ ﺍﻟﺬﻱ ﻳﻀﺮﺏ ﻋﻠﻰ ﺃﻭﻟﺌﻚ ﺍﻟﺸﺨﺼﻴﺎﺕ‬
‫ﺑﺎﳌﻤﻨﻮﻋﺎﺕ ﻭﺍﳌﻨﻬﻴﺎﺕ ﻭﲞﺎﺻﺔ ﲡﺎﻩ ﺍﳌﺮﺃﺗﲔ‪.‬‬
‫ﻓﻤﻦ ﻫﺬﻩ ﺍﻟﻘﻀﺎﻳﺎ ﺍﳉﻨﺴﻴﺔ ﺗﻮﺩ ﺍﻟﺒﺎﺣﺜﺔ ﺃﻥ ﺗﺒﺤﺚ ﻋﻦ ﺭﻭﺍﻳﺔ "ﺷﺒﺎﺏ‬
‫ﻭﻏﺎﻧﻴﺎﺕ" ﶈﻤﻮﺩ ﺗﻴﻤﻮﺭ ﰲ ﺿﻮﺀ ﺍﻟﻨﺴﻮﻳﺔ‪ .‬ﻭﻫﻲ ﺣﺮﻛﺔ ﺗﺘﻄﻠﺐ ﻋﻦ ﺣﻘﻮﻕ‬

‫‪٦‬ﲰﲑ ﺣﻠﱯ‪" ،‬ﳏﻤﻮﺩ ﺗﻴﻤﻮﺭ‪ ..‬ﺷﻴﺦ ﺍﻟﻘﺼﺔ ﺍﻟﻌﺮﺑﻴﺔ"‪.‬‬

‫‪٥‬‬
‫ﺍﳌﺮﺃﺓ ﺃﻭ ﺍﳌﺴﺎﻭﺓ ﺑﲔ ﺍﳉﻨﺴﲔ‪ ٧.‬ﻫﺬﺍ ﻟﻜﺸﻒ ﺷﺨﺼﻴﺔ ﺍﳌﺮﺃﺓ ﺍﻟﺮﺋﻴﺴﻴﺔ ﻟﻠﺮﻭﺍﻳﺔ‬
‫ﻭﻣﻌﺮﻓﺔ ﺩﻭﺭﻫﺎ ﻭﻛﻴﻔﻴﺔ ﳏﺎﻭﻟﺘﻬﺎ ﻟﻼﺳﺘﻘﻼﻝ ﻣﻦ ﻫﻴﻤﻨﺔ ﺍﻟﺮﺟﺎﻝ ﻭﻃﻠﺐ ﺣﻘﻮﻗﻬﺎ‪.‬‬

‫ﺏ‪ .‬ﲢﺪﻳﺪ ﺍﳌﺸﻜﻠﺔ‬
‫ﻳﻘﺘﺼﺮ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ ﻋﻠﻰ ﻣﺎ ﻳﻠﻲ‪:‬‬
‫‪.١‬‬

‫ﻣﺎ ﻫﻲ ﺃﺷﻜﺎﻝ ﺍﻟﻈﻠﻢ ﺍﻟﻨﺴﺎﺋﻲ ﺍﻟﱵ ﻧﺎﻟﺘﻬﺎ ﺍﳌﺮﺃﺓ ﰲ ﺍﻟﺮﻭﺍﻳﺔ؟‬

‫‪.٢‬‬

‫ﻣﺎ ﻫﻲ ﺍﻷﻓﻜﺎﺭ ﻟﻠﻤﺮﺃﺓ ﰲ ﲢﺮﻳﺮ ﻧﻔﺴﻬﺎ ﻣﻦ ﺍﻟﻈﻠﻢ ﺍﻟﻨﺴﺎﺋﻲ؟‬

‫ﺝ‪ .‬ﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ‬
‫ﺃﻣﺎ ﺍﻷﻏﺮﺍﺽ ﻣﻦ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻓﻬﻲ‪:‬‬
‫‪.١‬‬

‫ﻣﻌﺮﻓﺔ ﺃﺷﻜﺎﻝ ﺍﻟﻈﻠﻢ ﺍﻟﻨﺴﺎﺋﻲ ﺍﻟﱵ ﻧﺎﻟﺘﻬﺎ ﺍﳌﺮﺃﺓ‪.‬‬

‫‪.٢‬‬

‫ﻣﻌﺮﻓﺔ ﺍﻷﻓﻜﺎﺭ ﰲ ﲢﺮﻳﺮ ﺍﳌﺮﺃﺓ ﻣﻦ ﺍﻟﻈﻠﻢ ﺍﻟﻨﺴﺎﺋﻲ‪.‬‬

‫‪٧‬‬

‫‪Sugihastuti. Wanita di Mata Wanita: Perspektif Sajak-Sajak Toety Heraty. Bandung:‬‬
‫‪Yayasan Nuansa Cendekia, ٢٠٠٠. Cet.ke-١, h.٣٧.‬‬

‫‪٦‬‬
‫ﺩ‪.‬‬

‫ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺴﺎﺑﻘﺔ‬
‫ﻭﺟﺪﺕ ﺍﻟﺒﺎﺣﺜﺔ ﰲ ﻗﺎﺋﻤﺔ ﺃﲰﺎﺀ ﻣﺘﺨﺮﺟﻲ ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺃﺩ‪‬ﺎ ﲝﺜﺎ‬

‫ﻭﺍﺣﺪﺍ ﻟﻸﺧﺖ ﻣﺮﻟﻴﺎﻧﺎ ﺃﻏﺴﻄﲔ ﺍﻟﱵ ﲝﺜﺖ ﻋﻦ ﺭﻭﺍﻳﺔ "ﺷﺒﺎﺏ ﻭﻏﺎﻧﻴﺎﺕ" ﶈﻤﻮﺩ‬
‫ﺗﻴﻤﻮﺭ ﲝﺜﺎﹰ ﲢﻠﻴﻠﻴﺎﹰ ﻋﻦ ﻋﻨﺎﺻﺮﻫﺎ ﺍﻟﺪﺍﺧﻠﻴﺔ ﻣﻦ ﺍﳌﻮﺿﻮﻉ ﻭﺍﻟﺸﺨﺼﻴﺎﺕ ﻭﺍﻟﺒﻴﺌﺔ‬
‫ﻭﺍﳊﺒﻜﺔ ﻭﺍﻟﺮﺳﺎﻟﺔ )ﲝﺜﺎﹰ ﺑﻨﻴﻮﻳﺎﹰ(‪ .‬ﻭﻟﻴﺲ ﻣﻨﻬﻢ ﻣﻦ ﲝﺚ ﻋﻦ ﻧﻔﺲ ﺍﻟﺮﻭﺍﻳﺔ ﲝﺜﺎﹰ‬
‫ﻧﺴﻮﻳﺎﹰ ﺑﺘﻄﺒﻴﻖ ﻧﻈﺮﻳﺔ ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﺍﻟﻨﺴﻮﻱ ﻋﻠﻴﻬﺎ‪ .‬ﻟﺬﻟﻚ‪ ،‬ﺗﻮﺩ ﺍﻟﺒﺎﺣﺜﺔ ﺃﻥ ﺗﺒﺤﺚ‬
‫ﻋﻨﻬﺎ ﺩﺭﺍﺳﺔ ﻧﺴﻮﻳﺔ‪.‬‬

‫ﻩ‪.‬‬

‫ﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ‬
‫ﰲ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ‪ ،‬ﺗﺴﺘﺨﺪﻡ ﺍﻟﺒﺎﺣﺜﺔ ﻃﺮﻳﻘﺔ ﺍﻟﺒﺤﺚ ﺍﳌﻜﺘﱯ‬

‫ﺃﻱ ﻃﺮﻳﻘﺔ ﲨﻊ ﺍﳌﻌﻠﻮﻣﺎﺕ ﺍﻟﱵ ﺗﺘﻌﻠﻖ ﺑﺎﳌﻤﻮﺿﻮﻉ ﻣﻦ ﺍﻟﻜﺘﺐ ﺍﻷﺩﺑﻴﺔ ﻭﺍ‪‬ﻼﺕ‬
‫ﺍﻟﻌﻠﻤﻴﺔ ﻭﺧﺎﻧﺎﺕ ﺍﻷﺩﺏ ﰲ ﺍﳉﺮﺍﺋﺪ ﻭﺍﻟﺮﺳﺎﺋﻞ ﺍﻹﻟﻜﺘﺮﻭﻧﻴﺔ‪ .‬ﰒ ﺗﺴﻠﻚ ﺍﻟﺒﺎﺣﺜﺔ ﰲ‬
‫ﲢﻠﻴﻞ ﺍﻟﺒﺤﺚ ﻋﻠﻰ ﻣﻨﻬﺞ ﺍﻟﻨﻘﺪﻱ ﺍﻟﻨﺴﻮﻱ‪ ،‬ﻭﻫﻮ ﺩﺭﺍﺳﺔ ﺃﺩﺑﻴﺔ ﺗﺘﺨﺬ ﺍﳌﺮﺃﺓ‬
‫ﻛﻤﻮﺿﻮﻋﻬﺎ ﺍﻟﺘﺤﻠﻴﻠﻲ ﳌﺴﺎﻋﺪﺓ ﺍﻟﻘﺮﺍﺀ ﰲ ﻓﻬﻢ ﻭﺗﻔﺴﲑ ﻭﺗﻘﻮﱘ ﺍﻟﻘﺼﺺ ﺍﳌﺮﻭﻳﺔ‬

‫‪٧‬‬
‫ﻟﻠﻜﺎﺗﺒﺎﺕ‪ .‬ﻓﺘﺮﺍﺟﻊ ﺍﻟﺒﺎﺣﺜﺔ ﻛﺘﺎﺏ‬

‫‪Kritik Sastra Feminis: Sebuah Pengantar,‬‬

‫‪(Jakarta: Gramedia Pustaka Utama, ٢٠٠٣) Cet. ke-٢‬‬

‫ﻟﺴﻮﻧﺎﺭﻳﺎﰐ ﺟﺎﻳﺎ ﻧﻐﺎﺭﺍ ﻛﻲ‬

‫ﻻ ﻳﺘﺴﻊ ﺍﻟﺒﺤﺚ ﺇﱃ ﻣﺎ ﻻ ﲢﻴﻂ ﺑﻪ ﺍﻟﺪﺭﺍﺳﺔ ﺍﻟﻨﻘﺪﻳﺔ ﺍﻟﻨﺴﻮﻳﺔ‪ .‬ﻓﺘﻘﻮﻡ ﺍﻟﺒﺎﺣﺜﺔ‬
‫ﺑﺘﻘﺪﱘ ﺃﺣﻮﺍﻝ ﺍﳌﺮﺃﺓ ﺍﳌﻈﻠﻮﻣﺔ ﺍﻟﱵ ﲡﺪﻫﺎ ﺍﻟﺒﺎﺣﺜﺔ ﺿﻤﻦ ﺭﻭﺍﻳﺔ "ﺷﺒﺎﺏ‬
‫ﻭﻏﺎﻧﻴﺎﺕ"‪ ،‬ﰒ ﺗﻜﺸﻒ ﺃﻓﻜﺎﺭ ﺍﳌﺮﺃﺓ ﰲ ﲢﺮﻳﺮ ﻧﻔﺴﻬﺎ ﻣﻦ ﺍﻟﻈﻠﻢ ﺍﻟﻨﺴﺎﺋﻲ‪.‬‬
‫ﺗﻌﺘﻤﺪ ﺍﻟﺒﺎﺣﺜﺔ ﰲ ﺇﺟﺮﺍﺀ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ ﻋﻠﻰ ﻛﺘﺎﺏ ﺍﻟﺪﻟﻴﻞ‬
‫ﺍﻟﺬﻱ ﺃﺻﺪﺭﻩ ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍ‪‬ﺎ ﲢﺖ ﻋﻨﻮﺍﻥ‪:‬‬
‫‪“Pedoman Penulisan Skripsi Bahasa dan Sastra Arab Fakultas Adab‬‬
‫”‪Humaniora UIN Syarif Hidayatullah Jakarta ٢٠٠٧‬‬

‫ﻭ‪.‬‬

‫ﺧﻄﺔ ﺍﻟﺒﺤﺚ‬
‫ﻳﻨﻘﺴﻢ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻋﻠﻰ ﲬﺴﺔ ﺃﺑﻮﺍﺏ‪ ،‬ﻭﻫﻲ‪:‬‬
‫ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ‪ :‬ﻣﻘﺪﻣﺔ‪ ،‬ﲢﺘﻮﻱ ﻋﻠﻰ ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ‪ ،‬ﻭﲢﺪﻳﺪ ﺍﳌﺸﻜﻠﺔ‪،‬‬

‫ﻭﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ‪ ،‬ﻭﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺴﺎﺑﻘﺔ‪ ،‬ﻭﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ‪ ،‬ﻭﺧﻄﺔ ﺍﻟﺒﺤﺚ‪.‬‬

‫‪٨‬‬
‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱐ‪ :‬ﶈﺔ ﻋﻦ ﺍﻟﺮﻭﺍﻳﺔ ﻭﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ‪ ،‬ﲢﺘﻮﻱ ﻋﻠﻰ ﺗﻌﺮﻳﻒ‬
‫ﺍﻟﺮﻭﺍﻳﺔ‪ ،‬ﻭﺃﻧﻮﺍﻉ ﺍﻟﺮﻭﺍﻳﺔ‪ ،‬ﻭﻣﻔﻬﻮﻡ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ‪ ،‬ﻭﺃﻧﻮﺍﻉ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ‪،‬‬
‫ﻭﻛﻴﻔﻴﺔ ﺗﻄﺒﻴﻖ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ ﰲ ﳎﺎﻝ ﺍﻟﺮﻭﺍﻳﺔ‪.‬‬
‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﻟﺚ‪ :‬ﺗﺮﲨﺔ ﺣﻴﺎﺓ ﳏﻤﻮﺩ ﺗﻴﻤﻮﺭ‪ ،‬ﲢﺘﻮﻱ ﻋﻠﻰ ﻣﻮﻟﺪﻩ ﻭﻧﺸﺄﺗﻪ‪،‬‬
‫ﻭﺃﻋﻤﺎﻟﻪ ﺍﻷﺩﺑﻴﺔ‪ ،‬ﻭﺁﺭﺍﺀ ﺍﻟﻨﻘﺎﺩ ﻋﻨﻪ‪.‬‬
‫ﺍﻟﺒﺎﺏ ﺍﻟﺮﺍﺑﻊ‪ :‬ﺍﻟﺪﺭﺍﺳﺔ ﺍﻟﻨﺴﻮﻳﺔ ﻟﺮﻭﺍﻳﺔ "ﺷﺒﺎﺏ ﻭﻏﺎﻧﻴﺎﺕ"‪ ،‬ﲢﺘﻮﻱ ﻋﻠﻰ‬
‫ﺍﺧﺘﺼﺎﺭ ﺍﻟﺮﻭﺍﻳﺔ ﻭﺑﻨﺎﺋﻬﺎ‪ ،‬ﻭﺃﺷﻜﺎﻝ ﺍﻟﻈﻠﻢ ﺍﳉﻨﺴﻲ ﺍﻟﱵ ﲤﻜﻨﺖ ‪‬ﺎ ﺍﳌﺮﺃﺓ‪،‬‬
‫ﻭﳏﺎﻭﻻﺕ ﺍﳌﺮﺃﺓ ﰲ ﲢﺮﻳﺮ ﻧﻔﺴﻬﺎ ﻣﻦ ﺍﻟﻈﻠﻢ ﺍﳉﻨﺴﻲ‪.‬‬
‫ﺍﻟﺒﺎﺏ ﺍﳋﺎﻣﺲ‪ :‬ﺧﺎﲤﺔ‪ ،‬ﲢﺘﻮﻱ ﻋﻠﻰ ﻧﺘﺎﺋﺞ ﺍﻟﺒﺤﺚ‪ ،‬ﻭﺍﻻﻗﺘﺮﺍﺣﺎﺕ‪.‬‬
‫ﻭﺗﻠﻴﻪ ﺍﳌﺮﺍﺟﻊ ﻭﺍﳌﺼﺎﺩﺭ‪.‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱐ‬
‫ﶈﺔ ﻋﻦ ﺍﻟﺮﻭﺍﻳﺔ ﻭﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ‬

‫ﺃ‪.‬‬

‫ﺍﻟﺮﻭﺍﻳﺔ‬
‫‪.١‬‬

‫ﻣﻔﻬﻮﻡ ﺍﻟﺮﻭﺍﻳﺔ‬
‫ﺍﻟﺮﻭﺍﻳﺔ ﻟﻐﺔ ﻣﺸﺘﻘﺔ ﻣﻦ ﺭﻭﻯ‪-‬ﻳﺮﻭﻱ–ﺭﻭﺍﻳﺔ‪ ،‬ﺭﻭﺍﻳﺔ ﺍﳊﺪﻳﺚ‪ :‬ﻧﻘﻠﻪ‬

‫ﻭﺫﻛﺮﻩ‪ ١.‬ﻭﺍﻟﺮﻭﺍﻳﺔ ﺍﺻﻄﻼﺣﺎ ﻗﺼﺔ ﻃﻮﻳﻠﺔ ﻳﻌﺎﰿ ﻓﻴﻬﺎ ﺍﻟﻜﺎﺗﺐ ﻣﻮﻗﻔﻪ ﻣﻦ‬
‫ﺍﻟﻜﻮﻥ ﻭﺍﻹﻧﺴﺎﻥ ﻭﺍﳊﻴﻠﺔ ﻭﺫﻟﻚ ﻣﻦ ﺧﻼﻝ ﻣﻌﺎﳉﺘﻪ ﳌﻮﺍﻗﻒ ﺷﺨﺼﻴﺎﺕ‬
‫ﺍﻟﻘﺼﺔ ﻣﻦ ﺍﻟﺰﻣﻦ‪ ،‬ﻭﺍﻟﻘﺪﺭ‪ ،‬ﻭﺗﻔﺎﻋﻞ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻣﻊ ﺍﻟﺒﻴﺌﺔ‪ ،‬ﺿﻤﻦ ﺣﺒﻜﺔ‬
‫ﻳﺒﺪﻭ ﻓﻴﻬﺎ ﺗﺴﻠﺴﻞ ﺍﻷﺣﺪﺍﺙ ﻣﻨﻄﻘﻴﺎ ﻣﻘﻨﻌﺎ‪ ،‬ﻭﺇﻥ ﻛﺎﻥ ﺍﻟﻜﺎﺗﺐ ﺍﻟﺮﻭﺍﺋﻲ‬
‫ﻳﺘﺮﻙ ﻟﻠﻘﺎﺭﺉ ﺣﺮﻳﺔ ﺍﻟﻮﺻﻮﻝ ﺇﱃ ﻣﻐﺰﻱ ﺍﻟﺮﻭﺍﻳﺔ‪.‬‬

‫‪٢‬‬

‫‪١‬ﻟﻮﻳﺲ ﻣﻌﻠﻮﻑ‪ ،‬ﺍﳌﻨﺠﺪ ﰲ ﺍﻟﻠﻐﺔ ﻭﺍﻷﻋﻼﻡ‪ ،‬ﻁ‪) ،١٧‬ﺑﲑﻭﺕ‪ :‬ﺩﺍﺭ ﺍﳌﺸﺮﻕ‪ ،(١٩٧٣،‬ﺹ‪٢٨٩‬‬
‫‪٢‬ﳏﻤﺪ ﻋﺒﺪ ﺍﻟﻐﲏ ﺍﳌﺼﺮﻱ ﻭﳎﺪ ﳏﻤﺪ ﺍﻟﱪﺍﺯﻱ‪ ،‬ﲢﻠﻴﻞ ﺍﻟﻨﺺ ﺍﻷﺩﰊ ﺑﲔ ﺍﻟﻨﻈﺮﻳﺔ ﻭﺍﻟﺘﻄﺒﻴﻖ‪) ،‬ﻋﻤﺎﻥ‪:‬‬
‫ﻣﺆﺳﺴﺔ ﺍﻟﻮﺭﺍﻕ‪ ،(٢٠٠٢ ،‬ﺹ‪١٧١‬‬

‫‪٩‬‬

‫‪١٠‬‬

‫ﺍﻟﺮﻭﺍﻳﺔ ﻧﻮﻉ ﳐﺘﻠﻒ ﺃﻥ ﳝﻴﺰﻫﺎ ﻣﻦ ﺃﻧﻮﺍﻉ ﺍﻟﻘﺼﺔ ﺍﻷﺧﺮﻯ ﻭﻫﻲ‬
‫ﺃﻛﱪ ﺍﻷﻧﻮﺍﻉ ﺍﻟﻘﺼﺼﻴﺔ ﺣﺠﻤﺎ‪ ،‬ﻭﻫﻲ ﺗﺮﺗﺒﻂ ﺑﺎﻟﻨـﺰﻋﺔ ﺍﻟﺮﻭﻣﺎﻧﺘﻴﻜﻴﺔ‬
‫ﻭﺍﻟﻔﺮﺍﺭ‬

‫‪escapism‬‬

‫ﻣﻦ ﺍﻟﻮﺍﻗﻊ ﻭﺗﺼﻮﻳﺮ ﺍﻟﺒﻄﻮﻟﺔ ﺍﳋﻴﺎﻟﻴﺔ‪ .‬ﻭﻓﻴﻬﺎ ﺗﻜﻮﻥ‬

‫ﺍﻷﳘﻴﺔ ﻟﻠﻮﻗﺎﺋﻊ‪ ،‬ﺣﱴ ﺇﻥ ﺳﺎﻧﺘﺴﱪﻯ ﳝﻴﺰ ﺍﻟﺮﻭﺍﻳﺔ ﺑﺄ‪‬ﺎ ﻗﺼﺔ ﺍﻟﻮﺍﻗﻌﺔ‪ ،‬ﻋﻦ‬
‫ﺍﻟﻘﺼﺔ ‪ novel‬ﺍﻟﱵ ﻫﻲ ﻗﺼﺔ ﺍﻟﺸﺨﺼﻴﺔ ﻭﺍﻟﺪﺍﻓﻊ ‪.motivasi‬‬

‫‪٣‬‬

‫ﻭﻣﻦ ﻧﺎﺣﻴﺔ ﺃﺧﺮﻯ ﺍﻟﺮﻭﺍﻳﺔ ﺃﺳﻬﻞ ﺃﻧﻮﺍﻉ ﺍﻷﺩﺏ ﻗﺮﺍﺀﺓ‪ .‬ﻓﻼ‬
‫ﺗﺴﺘﺨﺮﺝ ﻣﻦ ﺍﻟﻘﺎﺭﺉ ﺟﻬﺪﺍ ﻛﺒﲑﺍ‪ .‬ﻭﻻ ﺗﺘﻄﻠﺐ ﺇﺟﻬﺎﺩﺍﹰ ﰲ ﺍﳋﻴﺎﻝ ﻛﻤﺎ‬
‫ﻳﺘﻄﻠﺐ ﺍﻟﺸﻌﺮ‪ ،‬ﻭﻻ ﺇﻣﻌﺎﻧﺎﹰ ﰲ ﺍﻟﺘﻔﻜﲑ ﻭﺇﺟﻬﺎﺩﺍﹰ ﻟﻠﻌﻘﻞ‪ ،‬ﻛﻤﺎ ﺗﺘﻄﻠﺐ‬
‫ﺍﳌﻘﺎﻟﺔ‪ ،‬ﻭﺇﳕﺎ ﻳﺘﻠﺬﺫﻭﻥ ﻗﺮﺍﺀﺓ ﺍﻟﻘﺼﺔ ﻛﻤﺎ ﻳﺘﻠﺬﺫﻭﻥ ﻣﻦ ﺃﻛﻠﺔ ﺷﻬﻴﺔ ﺃﻭ‬
‫ﻣﻨﻈﺮ ﲨﻴﻞ‪ ٤.‬ﻓﻬﻲ ﻧﻮﻉ ﻣﻦ ﺍﳉﻤﺎﻝ ﺍﻟﻔﲏ ﻳﺘﻘﺒﻞ ﺍﻟﻌﻘﻞ ﲢﺖ ﺗﺄﺛﲑﻩ ﻭﰲ‬
‫ﺳﻜﺮﺓ ﺍﻟﺘﻠﺬﺫ ﺑﻪ ﺍﻟﻔﻜﺮﺓ ﺍﳌﺒﺜﻮﺛﺔ ﰲ ﺛﻨﺎﻳﺎ ﺍﻟﺮﻭﺍﻳﺔ‪.‬‬

‫‪٥‬‬

‫‪٣‬ﻋﺰ ﺍﻟﺪﻳﻦ ﺇﲰﺎﻋﻴﻞ‪ ،‬ﺍﻷﺩﺏ ﻭﻓﻨﻮﻧﻪ‪ :‬ﺩﺭﺍﺳﺔ ﻭﻧﻘﺪ‪ ،‬ﻁ‪) ٤‬ﺑﲑﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻔﻜﺮ ﺍﻟﻌﺮﰊ‪،(١٩٦٨ ،‬‬
‫ﺹ‪١٩٩‬‬
‫‪٤‬ﺃﲪﺪ ﺃﻣﲔ‪ ،‬ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ‪) ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ :‬ﻣﻜﺘﺒﺔ ﺍﻟﻨﻬﻀﺔ ﺍﳌﺼﺮﻳﺔ‪ ،(١٩٧٢ ،‬ﺹ‪١٠٣‬‬
‫‪ ٥‬ﳏﻤﺪ ﻋﺒﺪ ﺍﻟﻐﲏ ﺍﳌﺼﺮﻱ ﻭﳎﺪ ﳏﻤﺪ ﺍﻟﱪﺯﻱ‪ ،‬ﲢﻠﻴﻞ ﺍﻟﻨﺺ ﺍﻷﺩﰊ ﺑﲔ ﺍﻟﻨﻈﺮﻳﺔ ﻭﺍﻟﺘﻄﺒﻴﻖ‪ ،‬ﺹ‪١٧٢‬‬

‫‪١١‬‬

‫ﻭﻗﺪ ﺍﺳﺘﻌﻤﻞ ﺑﻌﺾ ﺍﻟﻨﻘﺎﺩ ﻟﻔﻈﺔ ﺍﻟﻘﺼﺔ ﲜﺎﻧﺐ ﺍﻟﺮﻭﺍﻳﺔ ﻭﺍﺗﻔﻘﻮﺍ‬
‫ﻋﻠﻰ ﺗﺴﻮﻳﺘﻬﻤﺎ ﻣﻊ ﻓﻀﻞ ﺇﺣﺪﺍﳘﺎ ﰲ ﺍﻻﺳﺘﻌﻤﺎﻝ‪ ،‬ﻭﻛﺬﻟﻚ ﻣﺎ ﻗﺎﻟﻪ‬
‫ﺇﲰﺎﻋﻴﻞ ﻣﺼﻄﻔﻰ ﺍﻟﺼﻴﻔﻲ‪" :‬ﻭﺇﻥ ﺍﻟﻘﺼﺔ ﺃﻳﻀﺎ ﲟﻌﲎ ﺍﳊﻜﺎﻳﺔ‪ ،‬ﻭﺫﻟﻚ ﻣﻦ‬
‫ﺃﻗﺪﻡ ﻣﺎ ﻋﺮﻓﻪ ﺍﻹﻧﺴﺎﻥ‪ .‬ﻭﺣﲔ ﻳﻄﻠﻖ ﻟﻔﻆ ﺍﻟﻘﺼﺔ ﻓﺈﳕﺎ ﻳﺮﺍﺩ ﺑﻪ ﺍﻟﻘﺼﺔ‬
‫ﺍﻟﻄﻮﻳﻠﺔ ﺃﻭ ﻣﺎ ﻳﺼﻄﻠﺢ ﺍﻟﺒﻌﺾ ﻋﻠﻰ ﺗﺴﻤﻴﺔ ﺍﻟﺮﻭﺍﻳﺔ"‪.‬‬

‫‪٦‬‬

‫ﻭﺫﻫﺐ ﳏﻤﻮﺩ ﺫﻫﲏ ﻳﺒﲔ ﺃﻥ ﺍﻟﺮﻭﺍﻳﺔ ﻣﻦ ﺃﻧﻮﺍﻉ ﺍﻟﻘﺼﺔ‪ .‬ﻛﻤﺎ ﻗﺴ‪‬ﻢ‬
‫ﺍﻟﻘﺼﺔ ﻋﻠﻰ ﺃﺭﺑﻌﺔ ﺃﻧﻮﺍﻉ ﻭﻫﻲ )‪ (١‬ﺍﻟﺮﻭﺍﻳﺔ ﺃﻭ ﺍﻟﻘﺼﺔ ﺍﻟﻄﻮﻳﻠﺔ‪ ،‬ﻭ)‪(٢‬‬
‫ﺍﻟﻘﺼﺔ ﺃﻭ ﺍﻟﺮﻭﺍﻳﺔ ﺍﻟﻘﺼﲑﺓ‪ ،‬ﻭ)‪ (٣‬ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ‪ ،‬ﻭ)‪ (٤‬ﺍﻷﻗﺼﻮﺻﺔ‪ ٧‬ﺃﻭ‬
‫ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﺮﻯ‪ ٨.‬ﻭﻣﻦ ﺍﻟﻨﻘﺎﺩ ﻣﻦ ﳚﻌﻞ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﻭﺍﻷﻗﺼﻮﺻﺔ‬
‫ﻗﺴﻤﺎﹰ ﻭﺍﺣﺪﺍﹰ ﻣﺎ ﺩﺍﻡ ﺍﻟﻔﺮﻕ ﺑﻴﻨﻬﻤﺎ ﻣﻦ ﺣﻴﺚ ﺍﻟﻄﻮﻝ ﻏﲑ ﳏﺪﻭﺩ‪ .‬ﻭﻋﻠﻰ‬
‫‪٦‬ﺇﲰﺎﻋﻴﻞ ﻣﺼﻄﻔﻰ ﺍﻟﺼﻴﻔﻲ ﻭﺁﺧﺮﻭﻥ‪ ،‬ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﻭﺍﻟﺒﻼﻏﺔ‪) ،‬ﺍﻟﻜﻮﻳﺖ‪ :‬ﻭﺯﺍﺭﺓ ﺍﻟﺘﺮﺑﻴﺔ‪،(١٩٧٠ ،‬‬
‫ﺹ‪٢٠٣‬‬
‫‪٧‬ﺍﻟﺮﻭﺍﻳﺔ ﻫﻲ ﺍﻟﱵ ﻛﺎﻥ ﻋﺪﺩ ﻛﻠﻤﺎ‪‬ﺎ ﺑﲔ )‪(٩٠،٠٠٠-٤٠،٠٠٠‬ﻛﻠﻤﺔ‪ ،‬ﻭﻋﺪﺩ ﺻﻔﺤﺎ‪‬ﺎ ﺑﲔ )‪-٢٥٠‬‬
‫‪ (٤٠٠‬ﺻﻔﺤﺔ‪ .‬ﻭ ﻟﻘﺼﺔ ﻫﻲ ﺍﻟﱵ ﻛﺎﻥ ﻋﺪﺩ ﻛﻠﻤﺎ‪‬ﺎ ﺑﲔ )‪(٣٠،٠٠٠-٢٠،٠٠٠‬ﻛﻠﻤﺔ‪ ،‬ﻭﻋﺪﺩ ﺻﻔﺤﺎ‪‬ﺎ ﺑﲔ‬
‫)‪ (١٥٠-١٣٠‬ﺻﻔﺤﺔ‪ .‬ﻭﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﻫﻲ ﺍﻟﱵ ﻛﺎﻥ ﻋﺪﺩ ﻛﻠﻤﺎ‪‬ﺎ ﺑﲔ )‪(١٠،٠٠٠-٣،٠٠٠‬ﻛﻠﻤﺔ‪ ،‬ﻭﻋﺪﺩ‬
‫ﺻﻔﺤﺎ‪‬ﺎ ﺑﲔ )‪ (٣٠-٢٠‬ﺻﻔﺤﺔ‪ .‬ﻭﺍﻷﻗﺼﻮﺻﺔ ﻫﻲ ﺍﻟﱵ ﻛﺎﻥ ﻋﺪﺩ ﻛﻠﻤﺎ‪‬ﺎ ﺑﲔ )‪(١،٠٠٠-٥٠٠‬ﻛﻠﻤﺔ‪ ،‬ﻭﻋﺪﺩ‬
‫ﺻﻔﺤﺎ‪‬ﺎ ﺑﲔ )‪ (٧-٤‬ﺻﻔﺤﺔ‪.‬‬
‫‪٨‬ﳏﻤﻮﺩ ﺫﻫﲏ‪ ،‬ﺗﺬﻭﻕ ﺍﻷﺩﺏ ﻃﺮﻗﺔ ﻭﻭﺳﺎﺋﻠﻪ‪) ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ :‬ﻣﻜﺘﺒﺔ ﺍﻷﳒﻠﻮ ﺍﳌﺼﺮﻳﺔ‪ ،(١٩٨٢ ،‬ﺹ‪١٢٧‬‬
‫ﻭ‪.١٣٧‬‬

‫‪١٢‬‬

‫ﻫﺬﺍ ﺗﻜﻮﻥ ﺍﻟﻘﺼﺔ ﻗﺴﻤﲔ ﻓﻘﻂ ﳘﺎ‪ (١) :‬ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﻭ)‪ (٢‬ﺍﻟﻘﺼﺔ‬
‫ﺍﻟﻄﻮﻳﻠﺔ ﺃﻭﺍﻟﺮﻭﺍﻳﺔ‪.‬‬

‫‪٩‬‬

‫ﻭﻷﻥ ﺍﻟﺮﻭﺍﻳﺔ ﻳﻘﺮﺃﻫﺎ ﺍﳌﺘﻌﻠﻢ ﻭﻏﲑ ﺍﳌﺘﻌﻠﻢ‪ ،‬ﻭﺍﳉﺎﺩ ﻭﺍﻟﻜﺴﻮﻝ‪ ،‬ﻭﻫﻲ‬
‫ﺗﺜﲑ ﻣﺸﺎﻋﺮ ﺍﻟﻨﺎﺱ ﺍﳌﺨﺘﻠﻔﺔ ﺃﻛﺜﺮ ﻣـﻤ‪‬ﺎ ﻳﺜﲑﻫﺎ ﺍﻟﺸﻌﺮ ﻭﻏﲑﻩ ﻣﻦ ﺃﻧﻮﺍﻉ‬
‫ﺍﻷﺩﺏ‪ .‬ﻭﻟﺬﻟﻚ ﺍﹸﲣﺪﺕ ﺍﻟﻘﺼﺺ ﻭﺳﻴﻠﺔﹰ ﻣﻦ ﺃﻛﺜﺮ ﺍﻟﻮﺳﺎﺋﻞ ﻟﻨﺸﺮ‬
‫ﺍﻟﻨﻈﺮﻳﺎﺕ ﺍﻻﻗﺘﺼﺎﺩﻳﺔ ﻭﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭﺍﻟﺪﻳﻨﻴﺔ‪.‬‬

‫‪١٠‬‬

‫ﻓﻨﺠﺪ ﺃ‪‬ﺎ ﻫﻲ ﺍﻟﻔﻦ‬

‫ﺍﻟﻨﺜﺮﻱ ﺍﻟﻮﺣﻴﺪ ﺍﻟﺬﻱ ﻻ ﺗﻨﻄﺒﻖ ﻋﻠﻴﻬﺎ ﺍﻟﺼﻔﺔ ﺍﻟﻌﺎﻣﺔ ﻟﻠﻨﺜﺮ‪ ،‬ﻭﻣﻦ ﺃﻥ ﳍﺎ‬
‫ﻓﺎﺋﺪﺗﲔ ‪‬ﺎﺋﻴﺘﲔ‪ ،‬ﻭﻣﻦ ﺃﻥ ﳍﺎ ﻣـﻤﻴﺰﺗﲔ ﺃﺳﺎﺳﻴﺘﲔ ﻭﳘﺎ ﺍﳌﻨﻄﻖ‬
‫ﻭﺍﻟﻮﺿﻮﺡ‪.‬‬

‫‪١١‬‬

‫‪٩‬ﺑﺪﻭﻯ ﻃﺒﺎﻧﺔ‪ ،‬ﺩﺭﺍﺳﺎﺕ ﰲ ﻧﻘﺪ ﺍﻷﺩﰊ ﺍﻟﻌﺮﰊ ﻣﻦ ﺍﳉﺎﻫﻠﻴﺔ ﺇﱃ ‪‬ﺎﻳﺔ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﻟﺚ‪) ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ :‬ﻣﻜﺘﺒﺔ‬
‫ﺍﻷﳒﻠﻮ ﺍﳌﺼﺮﻳﺔ‪ ،(١٩٦٥ ،‬ﻁ‪ ،٤‬ﺹ‪١٢٩‬‬
‫‪ ١٠‬ﺃﲪﺪ ﺃﻣﲔ‪ ،‬ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ‪ ،‬ﺹ‪١٠١‬‬
‫‪١١‬ﺃﲪﺪ ﺃﻣﲔ‪ ،‬ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ‪ ،‬ﺹ‪١٠٦‬‬

‫‪١٣‬‬

‫‪.٢‬‬

‫ﺃﻧﻮﺍﻉ ﺍﻟﺮﻭﺍﻳﺔ‬
‫ﳝﻜﻦ ﺣﺼﺮ ﺍﻟﺮﻭﺍﻳﺎﺕ ﺍﻟﱵ ﻧﺸﺮ‪‬ﺎ ﳎﻠﺔ ﺍﳉﻨﺎﻥ ﰲ ﺳﺒﻌﻴﻨﻴﺎﺕ‬

‫ﺍﻟﻘﺮﻥ ﺍﳌﺎﺿﻲ ﻭﲦﺎﻧﻴﻨﻴﺎﺗﻪ ﰲ ﻧﻮﻋﲔ ﺃﺳﺎﺳﻴﲔ‪ ،‬ﳘﺎ‪ :‬ﺍﻟﺮﻭﺍﻳﺔ ﺍﳋﻴﺎﻟﻴﺔ‬
‫ﻭﺍﻟﺮﻭﺍﻳﺔ ﺍﻟﺘﺎﺭﳜﻴﺔ‪ .‬ﻛﻤﺎ ﳝﻜﻦ ﺗﻘﺴﻴﻢ ﺍﻟﺮﻭﺍﻳﺔ ﺍﳋﻴﺎﻟﻴﺔ ﺇﱃ ﻧﻮﻋﲔ ﺃﺳﺎﺳﻴﲔ‬
‫ﺃﻳﻀﺎ‪ ،‬ﳘﺎ‪ :‬ﺍﻟﺮﻭﺍﻳﺔ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‪ ،‬ﻭﺍﻟﺮﻭﺍﻳﺔ ﺍﻟﻐﺮﺍﻣﻴﺔ‪.‬‬
‫ﻭﻗﺪ ﺃﺷﺎﺭ ﺻﺮﻭﻑ ﺇﱃ ﻣﺎﲰﺎﻩ ﺍﻟﺮﻭﺍﻳﺔ ﺍﻟﻌﻠﻤﻴﺔ ﻋﻨﺪ ﺣﺪﻳﺜﻪ ﻋﻦ‬
‫ﺭﻭﺍﻳﺔ ﺍﻟﺮﺣﻠﺔ ﺍﻟﻌﻠﻤﻴﺔ ﰲ ﻗﻠﺐ ﺍﻟﻜﺮﺓ ﺍﻷﺭﺿﻴﺔ ﺳﻨﺔ ‪ .١٨٨٥‬ﻭﺇﺫﺍ ﻛﺎﻥ‬
‫ﻳﺒﺪﻭ ﺃﻧﻪ ﺗﺮﺟﻢ ﺍﳌﺼﻄﻠﺢ ﻋﻦ ﻧﻈﲑﻩ ﰲ ﺍﻹﳒﻠﻴﺰﻳﺔ ‪. Science Fiction‬‬

‫‪١٢‬‬

‫ﻭﰲ ﻣﻘﺎﻝ ﺟﺮﺟﻲ ﺯﻳﺪﺍﻥ ﺍﻟﺮﻭﺍﻳﺎﺕ ‪ ،١٩٠٢‬ﻭﺭﺩﺕ ﺍﻟﻌﺒﺎﺭﺓ‬
‫ﺍﻟﺘﺎﻟﻴﺔ ﰲ ﺧﺘﺎﻣﻪ‪ :‬ﻓﺄﺻﺒﺤﺖ ﺍﻟﺮﻭﻳﺎﺕ ﺍﻟﻴﻮﻡ ﺃﺻﻨﺎﻓﺎ ﳜﺘﻠﻒ ﻧﺴﻖ ﺗﺄﻟﻴﻔﻬﺎ‬
‫ﺑﺎﺧﺘﻼﻑ ﺍﻟﻐﺮﺽ ﺍﳌﻘﺼﻮﺩ ﻣﻨﻬﺎ ﻭﻓﻴﻬﺎ ﺍﻟﺘﻬﺬﻳﺒﻴﺔ ﻭﺍﻟﺘﺎﺭﳜﻴﺔ ﻭﺍﻟﻌﻠﻤﻴﺔ‬
‫ﻭﺍﻷﺩﺑﻴﺔ ﻭﻏﲑ ﺫﻟﻚ‪ .‬ﻭﰲ ﻣﻘﺎﻝ ﺍﳋﺎﻟﺪﻱ ﺟﺎﺀ ﺃﻥ ﺍﻟﺮﻭﻣﺎﻧﺎﺕ ﻋﻠﻰ ﺃﻗﺴﺎﻡ‬

‫‪١٢‬ﻋﻠﻰ ﺷﻠﺶ‪ ،‬ﻧﺸﺄﺓ ﺍﻟﺮﻭﺍﻳﺔ ﰱ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰉ ﺍﳊﺪﻳﺚ‪) ،‬ﺩﻡ‪ :‬ﻣﻜﺘﺒﺔ ﻏﺮﻳﺐ‪ ،‬ﺩﺕ(‪ ،‬ﺹ‪٣٨‬‬

‫‪١٤‬‬

‫ﻛﺜﲑﺓ‪ ،‬ﻣﻨﻬﺎ ﺍﻟﺮﻭﻣﺎﻥ ﺍﻟﺘﺎﺭﳜﻲ ﻭﺍﻟﻐﺮﺍﻣﻲ ﺃﻭ ﺍﻹﺣﺴﺎﺳﻲ ﺍﻟﺮﻭﺣﺎﱐ‪،‬‬
‫ﻭﺍﻟﻔﲏ‪ ،‬ﻭﺍﻟﺴﻴﺎﺳﻲ‪ ،‬ﺇﱁ‪.‬‬

‫‪١٣‬‬

‫ﻭﻟﻜﻦ ﻳﻌﻘﻮﺏ ﺳﻮﻣﺎﺭﺟﻮ ﻗﺎﻝ ﰲ ﻛﺘﺎﺑﻪ‪ :‬ﺍﻟﺮﻭﺍﻳﺔ ﺗﻨﻘﺴﻢ ﺇﱃ ﺛﻼﺛﺔ ﺃﻧﻮﺍﻉ‬
‫ﻭﻫﻲ ﺍﻟﺮﻭﺍﻳﺔ ﺍﻟﻐﺮﺍﻣﻴﺔ ﻭﺍﻟﺮﻭﺍﻳﺔ ﺍﳌﻐﺎﻣﺮﻳﺔ ﻭﺍﻟﺮﻭﺍﻳﺔ ﺍﻟﻔﺎﻧﺘﺎﺯﻳﺔ‪ ١٤.‬ﰲ ﺍﻟﺮﻭﺍﻳﺔ ﺍﻟﻐﺮﺍﻣﻴﺔ‬
‫ﻛﺎﻧﺖ ﺍﳌﺮﺃﺓ ﺃﻛﺜﺮ ﺩﻭﺭﺍ ﻣﻦ ﺍﻟﺮﺟﺎﻝ‪ ،‬ﻭﺍﻟﺮﻭﺍﻳﺔ ﺍﳌﻐﺎﻣﺮﻳﺔ ﲢﻜﻲ ﻗﺼﺺ ﺍﻟﺮﺟﺎﻝ‬
‫ﻭﺩﻧﻴﺎﻫﻢ ﺍﳌﻐﺎﻣﺮﻳﺔ‪ ،‬ﻭﺍﻟﺮﻭﺍﻳﺔ ﺍﻟﻔﺎﻧﺘﺎﺯﻳﺔ ﲢﻜﻲ ﺍﻟﻘﺼﺺ ﺍﻟﻼﻣﻌﻘﻮﻟﺔ ﺍﻟﱵ ﻻ ﺗﻮﺟﺪ‬
‫ﺣﻘﻴﻘﺘﻬﺎ ﰲ ﺍﻟﻌﺎﱂ ﺍﳊﻘﻴﻘﻲ‪.‬‬
‫ﻭﺇﺿﺎﻓﺔ ﺇﱃ ﺫﻟﻚ ﻓﻬﻨﺎﻙ ﻣﺎ ﲰﻲ ﺭﻭﺍﻳﺔﹰ ﻧﺴﻮﻳﺔ‪ ،‬ﻣﺼﻄﻠﺤﺎ ﻭﻧﻮﻋﺎ ﺃﺩﺑﻴﺎ‬
‫ﻳﻨﺘﻤﻲ ﺇﱃ ﺗﺄﺛﺮ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ ﺑﺎﻷﺩﺏ ﺍﻟﻐﺮﰊ ﻣﻦ ﺣﻴﺚ ﻗﻀﻴﺔ ﺍﳉﻨﺴﻴﺔ‪ .‬ﻓﻤﻦ‬
‫ﺃﻣﺜﺎﻝ ﺍﻟﺮﻭﺍﻳﺎﺕ ﺍﻟﻨﺴﻮﻳﺔ ﺍﻟﱵ ﻭﺟﺪ‪‬ﺎ ﺍﻟﺒﺎﺣﺜﺔ ﰲ ﳎﻠﺔ ﺃﺩﺑﻴﺔ ﳉﺎﻣﻌﺔ ﺍﻹﺳﻼﻣﻴﺔ‬
‫ﺍﳊﻜﻮﻣﻴﺔ ﻣﺎﻻﻧﺞ‪ :‬ﺭﻭﺍﻳﺔ "ﺳﻘﻮﻁ ﺍﻹﻣﺎﻡ"‪ ،‬ﻭ"ﺟﻨﺎﺕ ﻭﺇﺑﻠﻴﺲ" ﻟﻠﺪﻛﺘﻮﺭﺓ ﻧﻮﺍﻝ‬
‫ﺍﻟﺴﻌﺪﺍﻭﻱ‪ .‬ﻭﳘﺎ ﺭﻭﺍﻳﺘﺎﻥ ﻧﺎﻗﺪﺗﺎﻥ ﳍﻴﻤﻨﺔ ﺍﻟﺮﺟﺎﻝ ﻭﺳﻴﻄﺮ‪‬ﻢ ﻋﻠﻰ ﺍﳌﺮﺃﺓ‪ .‬ﻓﻔﻲ‬
‫ﺟﻨﺎﺕ ﻭﺇﺑﻠﻴﺲ‪ ،‬ﻛﺘﺒﺖ ﻧﻮﺍﻝ ﻋﻦ ﺃﻣﺲ ﲪﺎﺳﺔ ﺭﺟﺎﻝ ﺍﳊﺮﻛﺎﺕ ﺍﻹﺳﻼﻣﻴﺔ ﰲ‬
‫‪١٣‬ﻋﻠﻰ ﺷﻠﺶ‪ ،‬ﻧﺸﺄﺓ ﺍﻟﺮﻭﺍﻳﺔ ﰱ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰉ ﺍﳊﺪﻳﺚ‪ ،‬ﺹ‪٣٩‬‬
‫‪Jacob Sumardjo dan Saini KM, Apresiasi Kesusastraan, Jakarta: Gramedia, ١٩٩٧, h.٢٩-‬‬

‫‪١٤‬‬

‫‪٣٠.‬‬

‫‪١٥‬‬

‫ﺍﻧﺘﻔﺎﻉ ﺷﺮﺍﺋﻊ ﺍﻟﺪﻳﻦ ﳉﻠﺐ ﻣﺼﺎﳊﻬﻢ ﻭﺍﻟﺴﻴﻄﺮﺓ ﻋﻠﻰ ﺍﻟﻨﺴﺎﺀ‪ .‬ﻭﺍﻟﺮﺍﻭﻳﺔ ﺍﻷﺧﺮﻯ‬
‫ﻫﻲ ﺑﻨﺖ ﺍﳍﺪﻯ "ﺃﻣﻴﻨﺔ ﺻﺪﺭ" ﺍﻟﱵ ﻛﺎﻧﺖ ﺗﺸﺘﺮﻙ ﺑﻔﻌﺎﻟﺔ ﰲ ﺣﺮﻛﺔ ﺍﻟﺘﺠﺪﻳﺪ‬
‫ﺍﻹﺳﻼﻣﻲ ﺑﺎﻟﻨﺠﻒ ﺍﻷﺷﺮﻑ ﺧﻼﻝ ﺍﳊﻜﻮﻣﺔ ﺍﻟﺸﻴﻮﻋﻴﺔ ﺍﻟﺒﻌﺜﻴﺔ ﺑﺎﻟﻌﺮﺍﻕ‪ .‬ﻛﺘﺒﺖ‬
‫ﺑﻨﺖ ﺍﳍﺪﻯ ﺭﻭﺍﻳﺎﺕ ﻣﻨﻬﺎ "ﻟﻘﺎﺀ ﰲ ﺍﳌﺴﺘﺸﻔﻰ"‪ ،‬ﻗﺼﺔ ﻗﺼﲑﺓ ﻭﻗﺼﻴﺪﺓ ﺗﻘﺪ‪‬ﻡ‬
‫ﻟﻠﻘﺮﺍﺀ "ﺍﳌﺜﻞ ﺍﻷﻋﻠﻰ" ﻟﻠﻤﺮﺃﺓ ﺍﳌﺴﻠﻤﺔ‪ :‬ﻛﺎﺭﻫﺔ ﻟﻠﻐﺮﺏ‪ ،‬ﻣﺮﺗﻜﺰﺓ ﻟﻸﺳﺮﺓ‪ ،‬ﳏﺠ‪‬ﺒﺔ‪،‬‬
‫ﻻ ﺗﻄﻴﻊ ﺍﻟﺰﻭﺝ ﺑﻄﺎﻋﺔ ﻋ‪‬ﻤﻴ‪‬ﺎ‪ ،‬ﻣﺴﻤﻮﺣﺔ ﻟﻠﻌﻤﻞ ﰲ ﺍﻷﻧﺸﻄﺔ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻃﺎﳌﺎ ﻻ‬
‫ﲡﺎﻭﺯ ﺍﳊﺪﻭﺩ ﺍﻟﺪﻳﻨﻴﺔ‪ ،‬ﺑﻞ ﻣﺴﻤﻮﺣﺔ ﰲ ﺭﻓﻊ ﺍﻷﺳﻠﺤﺔ ﺇﺫﺍ ﺃﺭﺍﺩ‪‬ﺎ ﺍﳌﺼﻠﺤﺎﺕ‬
‫ﺍﻟﺪﻳﻨﻴﺔ‪.‬‬

‫‪١٥‬‬

‫ﺏ‪ .‬ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ‬
‫‪.١‬‬

‫ﻣﻔﻬﻮﻡ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ‬
‫ﻣﺼﻄﻠﺢ ﺍﻟﻨﺴﻮﻳﺔ ﻣﻌﺮ‪‬ﺏ ﻣﻦ ﻟﻔﻈﺔ ‪ Feminisme‬ﺍﻹﳒﻠﻴﺰﻳﺔ ﺍﻟﱵ ﻳﺮﺍﺩ‬

‫‪‬ﺎ ﺍﳊﺮﻛﺔ ﺍﻟﱵ ﺗﺴﻌﻰ ﻟﺮﻓﻊ ﻭﺇﻋﺎﺩﺓ ﺣﻘﻮﻕ ﺍﳌﺮﺃﺓ ﻛﺈﻧﺴﺎﻧﺔ ﻣﺜﻞ ﺍﻟﺬﻛﺮ‪.‬‬
‫‪١٥‬‬

‫‪Sukron Kamil, Sejarah Prosa Imaginatif (Novel) Arab dari Klasik Hingga‬‬
‫‪Kontemporer, artikel ilmiah yang diambil dari Jurnal Lingua UIN Malang (Malang: Fakultas‬‬
‫‪Humaniora dan Budaya UIN Malang, ٢٠٠٨), Volume ٤ Nomor ١, Januari-Juni ٢٠٠٨, hlm ٢١-٢٢.‬‬

‫‪١٦‬‬

‫ﻭﺍﳍﺪﻑ ﺍﳊﻘﻴﻘﻲ ﻣﻦ ﻫﺬﻩ ﺍﳊﺮﻛﺔ ﻫﻮ ﺍﻟﺘﻮﺍﺯﻥ ﺑﲔ ﺍﳉﻨﺴﲔ ﰲ ﺍﳌﻌﺎﻣﻠﺔ‬
‫ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‪ .‬ﻭﰲ ﻣﻌﻨﺎﻫﺎ ﺍﻷﻭﺳﻊ ﺇﻥ ﺍﻟﻨﺴﻮﻳﺔ ﺣﺮﻛﺔ ﺍﻟﻨﺴﺎﺀ ﻣﻦ ﺃﺟﻞ‬
‫ﺭﻓﺾ ﻛﻞ ﻣﺎ ﺃﺻﺎ‪‬ﺎ ﻣﻦ ﲣﻔﻴﺾ ﻭﺍﺣﺘﻘﺎﺭ ﻭﺇﻫﺎﻧﺔ ﻓﻌﻠﻬﺎ ﺍﻟﺮﺟﺎﻝ ﻭﺍ‪‬ﺘﻤﻊ‬
‫ﺍﻷﺑﻮﻱ ﻭﺍﻟﺘﻘﺎﻟﻴﺪ ﺍﻟﺴﺎﺋﺪﺓ‪ ،‬ﺳﻮﺍﺀ ﰲ ﺍﳊﻴﺎﺓ ﺍﻟﺴﻴﺎﺳﻴﺔ ﺃﻭ ﺍﻻﻗﺘﺼﺎﺩﻳﺔ ﺃﻭ‬
‫ﻏﲑﻫﺎ ﻣﻦ ﳎﺎﻻﺕ ﺍﳊﻴﺎﺓ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‪.‬‬
‫ﻗﺎﻟﺖ ﺳﻮﻏﻴﻬﺎﺳﺘﻮﰐ‪" :‬ﺇﻥ ﺍﻟﻨﺴﻮﻳﺔ ﺗﺸﻤﻞ ﻣﻔﻬﻮﻡ ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ‬
‫ﺍﻟﻨﺴﻮﻱ ﺇﺫ ﺃﻧﻪ ﺩﺭﺍﺳﺔ ﺃﺩﺑﻴﺔ ﺗﺘﺨﺬ ﺍﳌﺮﺃﺓ ﻛﻤﻮﺿﻮﻋﻬﺎ ﺍﻟﺘﺤﻠﻴﻠﻲ"‪.‬‬
‫ﻭﻟﻜﻦ ﻛﻮﻟﻮﺩﱐ‬

‫‪Kolodny‬‬

‫‪١٦‬‬

‫ﻛﻤﺎ ﻧﻘﻠﺘﻪ ﺳﻮﻧﺎﺭﺟﺎﰐ ﳛﺪﺩ ﺑﺄﻥ ﺍﳍﺪﻑ‬

‫ﺍﻷﺳﺎﺳﻲ ﻣﻦ ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﺍﻟﻨﺴﻮﻱ ﻫﻮ ﻣﺴﺎﻋﺪﺓ ﺍﻟﻘﺮﺍﺀ ﰲ ﻓﻬﻢ ﻭﺗﻔﺴﲑ‬
‫ﻭﺗﻘﻮﱘ ﺍﻟﻘﺼﺺ ﺍﳌﺮﻭﻳﺔ ﻟﻠﻜﺎﺗﺒﺎﺕ‪.‬‬

‫‪١٧‬‬

‫‪١٦‬‬

‫‪.Sugihastuti, Wanita di Mata Wanita: Perspektif Sajak-Sajak Toety Heraty, (Bandung:‬‬
‫‪Yayasan Nuansa Cendekia, ٢٠٠٠) Cet. ke-١, h.٣٧‬‬
‫‪.Soenardjati Djajanegara, Kritik Sastra Feminis: Sebuah Pengantar, (Jakarta: Gramedia‬‬

‫‪١٧‬‬

‫‪Pustaka Utama, ٢٠٠٣) Cet. ke-٢, h.٢٣‬‬

‫‪١٧‬‬

‫‪.٢‬‬

‫ﺃﻧﻮﺍﻉ ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﺍﻟﻨﺴﻮﻱ‬

‫ﺃ(‬

‫ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﺍﻟﻨﺴﻮﻱ ﺍﻷﻳﺪﻳﻮﻟﻮﺟﻲ ‪ .Ideology‬ﻫﺬﺍ ﺍﻟﻨﻘﺪ ﺃﺷﺮﻙ‬
‫ﺍﻟﻨﺴﺎﺀ‪ ،‬ﻭﺧﺼﻮﺻﺎ ﺍﻟﻨﺴﻮﻳﺎﺕ ﻛﻘﺎﺭﺋﺎﺗﻪ‪ .‬ﻭﺍﻟﺬﻱ ﻳﻬﻢ ﺍﻟﻘﺎﺭﺋﺎﺕ‬
‫ﻫﻮ ﺻﻮﺭﺓ ﺍﻟﻨﺴﺎﺀ ﺍﻟﺴﻴﺌﺔ ﺿﻤﻦ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ‪ .‬ﻭﺩﺭﺱ ﻫﺬﺍ ﺍﻟﻨﻘﺪ‬
‫ﺳﻮﺀ ﻓﻬﻢ ﺍ‪‬ﺘﻤﻊ ﻋﻦ ﺍﻟﻨﺴﺎﺀ‪ ،‬ﻭﺍﻷﺳﺒﺎﺏ ﺍﻟﱵ ﲡ