Al-Qissah AL_Qossirah walil manti an-mahtun ukho li haidar qurrah dirasatin naswiyah

‫ﺍﻟﻘﺼ ﺔ ﺍﻟﻘﺼﲑﺓ " ﻭﻟﻠﻤﻮﺕ ﺃﳕﺎﻁ ﺃﺧﺮﻯ " ﳊﻴﺪﺭ ﻗﻔﺔ‬
‫) ﺩﺭﺍﺳﺔ ﻧﺴﻮﻳﺔ (‬
‫ﲝﺚ‬
‫ﻣﻘﺪﻡ ﺇﱃ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭ ﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ‬
‫ﺍﳊﻜﻮﻣﻴﺔ ﺟﺎﻛﺮﺗﺎ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺪﺭﺟﺔ ﺍﳉﺎﻣﻌﻴﺔ ﺍﻷﻭﱃ)‪(S.S.‬‬

‫ﺇﻋﺪﺍﺩ‬
‫ﺳﻮﺭﺍﱐ‬
‫ﺭﻗﻢ ﺍﻟ‪‬ﺘﺴﺠﻴﻞ‪١٠٦٠٢١٠٠٠٨٧٩ :‬‬

‫ﻗﺴﻢ ﺍﻟ ﻠﹼ ﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭ ﺁ ﺩ ﺍ ‪‬ﺎ‬
‫ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ‬
‫ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ‬
‫ﺟﺎﻛﺮﺗﺎ‬
‫‪ ٢٠١١‬ﻡ ‪ ١٤٣٢ /‬ﻫـ‬

‫ﺗﺼﺮﻳﺢ ﺍﻟﺒﺎﺣﺜﺔ‬

‫ﰲ ﻫﺬﻩ ﺍﳌﻨﺎﺳﺒﺔ ﺻﺮﺣﺖ ﺑﺄﻥ‪:‬‬
‫‪ .١‬ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻛﺘﺒﺘﻪ ﻟﺘﻜﻤﻠﺔ ﺍﻟﺸﺮﻭﻁ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺪﺭﺟﺔ ﺍﳉﺎﻣﻌﻴﺔ ﺍﻷﻭﱃ‬
‫ﲜﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﲜﺎﻛﺮﺗﺎ‪.‬‬

‫‪ .٢‬ﻛﻞ ﺍﳌﺮﺍﺟﻊ ﺍﻟﱵ ﺍﺳﺘﻌﻤﻠﺘﻬﺎ ﰲ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻗﺪ ﻭﺿـﻌﺘﻬﺎ ﺣـﺴﺐ‬
‫ﺍﻟﻘﺮﺍﺭﺍﺕ ﺍﳌﻮﺟﻮﺩﺓ ﲜﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﲜﺎﻛﺮﺗﺎ‪.‬‬
‫‪ .٣‬ﺇﺫﺍ ﻛﺎﻥ ﺍﻟﺒﺤﺚ ﻣﻦ ﻏﲑ ﺇﻋﺪﺍﺩﻱ ﻭﻳﻮﺟﺪ ﻓﻴﻪ ﺍﻧﺘﺤـﺎﻝ ﻵﺭﺍﺀ ﺍﻟﻐـﲑ ﺩﻭﻥ‬
‫ﺫﻛﺮﻩ ﻓﺄﺳﺘﻌﺪ ﺃﻥ ﺃﺳﺘﻠﻢ ﻛﻞ ﺍﻟﻌﻘﻮﺑﺎﺕ ﺍﻟﱵ ﻗﺮﺭ‪‬ﺎ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳـﺔ‬
‫ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﲜﺎﻛﺮﺗﺎ‪.‬‬

‫ﺟﺎﻛﺮﺗﺎ‪ ٢٠ ،‬ﺳﺒﺘﻤﱪ ‪٢٠١١‬ﻡ‬

‫ﺳﻮﺭﺍﱐ‬

‫ﲡﺮﻳﺪ ﺍﻟﺒﺤﺚ‬
‫ﺳﻮﺭﺍﱐ‪ :‬ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ "ﻭﻟﻠﻤﻮﺕ ﺃﳕﺎﻁ ﺃﺧﺮﻯ" ﳊﻴﺪﺭ ﻗﻔﺔ )ﺩﺭﺍﺳﺔ ﻧﺴﻮﻳﺔ(‬
‫ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ "ﻭﻟﻠﻤﻮﺕ ﺃﳕﺎﻁ ﺃﺧﺮﻯ" ﻗﺼﺔ ﻗﺼﲑﺓ ﳊﻴﺪﺭ ﻗﻔﺔ‪ ،‬ﺃﻧﻪ ﳑﻦ ﻗﺺ ﰲ ﻗﺼﺼﻪ‬
‫ﻋﻦ ﺍﻟﻘﻀﺎﻳﺎ ﺍﳉﻨﺴﻴﺔ ﺍﻟﻨﺴﻮﻳﺔ ﺍﻟﻌﺮﺑﻴﺔ‪.‬‬
‫ﻭﰲ ﲢﻠﻴﻞ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ‪ ،‬ﻗﺎﻣﺖ ﺍﻟﺒﺎﺣﺜﺔ ﺑﺎﻟﻨﻈﺮﻳﺔ ﺍﻟﻨﺴﻮﻳﺔ‪ .‬ﻭﻣﻦ ﺧﻼﻟﻪ‪ ،‬ﲢﺎﻭﻝ ﺍﻟﺒﺎﺣﺜﺔ ﺃﻥ‬
‫ﲡﻴﺐ ﻋﻦ ﺍﻷﺳﺌﻠﺔ ﺍﻵﺗﻴﺔ‪ :‬ﻣﺎ ﻫﻲ ﺻﻮﺭﺓ ﺍﳌﺮﺃﺓ ﰲ ﻫﺬﻩ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ؟ ﻭﻣﺎ ﻫﻲ ﻣﻜﺎﻧﺘﻬﺎ ﻓﻴﻬﺎ؟ ﻭﻣﺎ‬
‫ﻣﻮﻗﻒ ﺍﳌﺆﻟﻒ ﻓﻴﻬﺎ؟‬
‫ﻹﺟﺎﺑﺔ ﻋﻦ ﺍﻷﺳﺌﻠﺔ ﺍﳌﻄﺮﻭﺣﺔ ﺗﺴﺘﺨﺪﻡ ﺍﻟﺒﺎﺣﺜﺔ ﺍﻟﻄﺮﻳﻘﺔ ﺍﳌﻜﺘﺒﻴﺔ ﰲ ﲨﻊ ﻣﻮﺍﺩ ﺍﻟﺒﺤﺚ‬
‫ﻭﻣﻨﻬﺞ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ ﰲ ﺩﺭﺍﺳﺘﻬﺎ ﺍﻟﺘﺤﻠﻴﻠﻴﺔ‪ .‬ﻓﺒﻌﺪ ﲢﻠﻴﻞ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﻇﻬﺮﺕ ﻧﺘﺎﺋﺞ ﺍﻟﺒﺤﺚ ﻓﻴﻤﺎ‬
‫ﻳﻠﻲ‪ :‬ﺃﻥ ﻓﻼﻧﺔ ﻫﻲ ﺍﻟﺸﺨﺼﺔ ﺍﻟﺮﺋﻴﺴﻴﺔ ﻟﻠﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ‪ .‬ﳍﺎ ﺻﻮﺭ ﻣﺘﻨﻮﻋﺔ ﻭﻫﻲ ﻣﻔﻜﺮﺓ‪ ،‬ﻭﻫﻲ ﳏﺘﻠﺔ‬

‫ﺑﺄﻭﺍﻣﺮ ﻭﻧﻮﺍﻫﻲ ﺃﺧﻴﻬﺎ‪ ،‬ﻭﻫﻲ ﻣﻄﻴﻌﺔ ﺧﺎﻓﻴﺔ ﻭﳏﺘﺮﻣﺔ ﻷﺧﻴﻬﺎ‪.‬‬
‫ﺃﻣﺎ ﻣﻜﺎﻧﺔ ﻓﻼﻧﺔ ﰲ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﻓﺘﻨﻘﺴﻢ ﺇﱃ ﻗﺴﻤﲔ ﻭﳘﺎ ﻣﻜﺎﻧﺘﻬﺎ ﰲ ﺍﻷﺳﺮﺓ ﻭﻣﻜﺎﻧﺘﻬﺎ‬
‫ﰲ ﺍ‪‬ﺘﻤﻊ‪ .‬ﺃﻣﺎ ﻣﻜﺎﻧﺘﻬﺎ ﰲ ﺍﻷﺳﺮﺓ ﻓﻬﻲ ﺑﻨﺖ ‪‬ﺎﺏ ﺃﺧﺎﻫﺎ ﺃﻛﺜﺮ ﻣﻦ ﺃﻣﻬﺎ ﺃﻭ ﺃﺑﻴﻬﺎ ﻛﻤﺎ ﺃ‪‬ﺎ ﺃﺧﺖ‬
‫ﺿﺮ‪‬ﺎ ﺃﺧﻮﻫﺎ ﺑﺸﱴ ﺍﻷﻭﺍﻣﺮ ﻭﺍﻟﻨﻮﺍﻫﻲ ﻭﻫﻲ ﺳﺎﻣﻌﺔ ﻭﻣﻄﻴﻌﺔ ﻟﻪ‪ .‬ﻭﺃﻣﺎ ﻣﻜﺎﻧﺘﻬﺎ ﰲ ﺍ‪‬ﺘﻤﻊ ﺃ‪‬ﺎ ﻃﺎﻟﺒﺔ ﰲ‬
‫ﺟﺎﻣﻌﺔ ﻣﻦ ﺍﳉﺎﻣﻌﺎﺕ‪ ،‬ﻛﻤﺎ ﺃ‪‬ﺎ ﻣﻮﻇﻔﺔ ﰲ ﻭﺯﺍﺭﺓ ﻣﻦ ﺍﻟﻮﺯﺍﺭﺍﺕ‪ .‬ﻭﻣﻦ ﺍﻟﺘﻘﺎﻟﻴﺪ ﺃﻥ ﺗﻌﻄﻲ ﻓﻼﻧﺔ‬
‫ﻟﻮﺍﻟﺪﻳﻬﺎ ﻗﺴﻤﺎ ﻣﻦ ﺭﺍﺗﺒﻬﺎ ﻷ‪‬ﻤﺎ ﻛﺎﻧﺎ ﺭﺑﻴﺎﻫﺎ ﻭﺃﺭﺳﻼﻫﺎ ﺇﱃ ﺍﳌﺪﺍﺭﺱ ﻟﻠﺘﻌﻠﻢ‪.‬‬
‫ﻭﺑﻌﺪ ﻗﺮﺍﺀﺓ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﳊﻴﺪﺭ ﻗﻔﹼﺔ‪ ،‬ﻭﺟﺪﺕ ﺍﻟﺒﺎﺣﺜﺔ ﺃﻥ ﺍﳌﺆﻟﻒ ﻭﻗﻒ ﻋﻠﻰ ﻣﻮﻗﻒ‬
‫ﺍﻟﺘﺄﻛﻴﺪ ﻟﻠﺤﺮﻛﺔ ﺍﻟﻨﺴﻮﻳﺔ ﻭﻫﻲ ﺍﳊﺮﻛﺔ ﺍﻟﱵ ﺗﺴﻌﻰ ﻟﺮﻓﻊ ﻭﺇﻋﺎﺩﺓ ﺣﻘﻮﻕ ﺍﳌﺮﺃﺓ‪ ،‬ﻟﻘﺪ ﺻﻮ‪‬ﺭ ﺍﳌﺆﻟﻒ‬
‫ﺻﻮﺭﺓ ﻣﻦ ﺻﻮﺭ ﺍﳊﻴﺎﺓ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﺧﺎﺻﺔ ﻣﻦ ﺻﻮﺭ‪‬ﺎ ﺍﻟﻨﺴﻮﻳﺔ ﻣﻦ ﺧﻼﻝ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﻋﻦ ﻓﻼﻧﺔ‬
‫ﺗ‪‬ﺼﻮ‪‬ﺭ ﻛﺒﻨﺖ ﻭﺃﺧﺖ ﻭﻃﺎﻟﺒﺔ ﻭﻣﻮﻇﻔﺔ ﻋﺎﺷﺖ ﻋﻴﺸﺔ ﺑﺎﺋﺴﺔ‪ .‬ﻭﺗﻠﻚ ﺍﳊﺎﻟﺔ ﺍﳊﺰﻳﻨﺔ ﺗﺴﺒﺐ ﺑﺎﳌﻮﺍﻗﻒ‬
‫ﺍﻟﱵ ﻗﺪ ﺍﻋﺘﻘﺪ ﺍ‪‬ﺘﻤﻊ ﻋﻦ ﻣﻜﺎﻧﺔ ﺍﳌﺮﺃﺓ ﻣﻨﺬ ﺯﻣﻦ ﻃﻮﻳﻞ‪ .‬ﻭﻣﻨﻬﺎ ﺃﻥ ﻟﻠﻤﺮﺃﺓ ﺩﻭﺭﺍ ﻣﺘﻔﺮﻗﺎ ﻭﻣﻜﺎﻧﺔ ﳐﺘﻠﻔﺔ‬
‫ﻣﻦ ﺩﻭﺭ ﻭﻣﻜﺎﻧﺔ ﺍﻟﺮﺟﻞ‪ .‬ﻭﺗﻠﻚ ﻫﻲ ﺍﳌﻮﺍﻗﻒ ﺍﻟﱵ ﺻﻮ‪‬ﺭﻫﺎ ﺍﳌﺆﻟﻒ ﰲ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ "ﻭﻟﻠﻤﻮﺕ‬
‫ﺃﳕﺎﻁ ﺃﺧﺮﻯ"‪.‬‬

‫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 ﻟﻜﺎﻧـﺖ‬
‫ﺍﻟﺒﺎﺣﺜﺔ ﻏﲑ ﻗﺎﺩﺭﺓ ﻋﻠﻰ ﺇﲤﺎﻣﻪ ﺍﻟﺬﻱ ﻳﻜﻮﻥ ﺷﺮﻃﺎ ﻣﻦ ﺍﻟﺸﺮﻭﻁ ﻟﻠﺤﺼﻮﻝ ﻋﻠـﻰ‬

‫ﺍﻟﺪﺭﺟﺔ ﺍﳉﺎﻣﻌﻴﺔ ﺍﻷﻭﱃ ﺑﻜﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﲜﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳـﺔ‬
‫ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﲜﺎﻛﺮﺗﺎ‪.‬‬
‫ﻭ‪‬ﺬﻩ ﺍﳌﻨﺎﺳﺒﺔ‪ ،‬ﺗﻘﺪﻡ ﺍﻟﺒﺎﺣﺜﺔ ﺷﻜﺮﻫﺎ ﻭﺗﻘﺪﻳﺮﻫﺎ ﺇﱃ ﻛﻞ ﻣـﻦ ﺃﺭﺷـﺪﻫﺎ‬
‫ﺑﺎﻟﺘﻮﺟﻴﻬﺎﺕ ﺍﻟﺜﻤﻴﻨﺔ‪ ،‬ﻭﺍﻟﻨﺼﺎﺋﺢ ﺫﺍﺕ ﻗﻴﻤﺔ ﻋﺎﻟﻴﺔ‪ ،‬ﻭﺃﻋﺎ‪‬ﺎ ﺑﻌﻨﺎﻳﺔ ﻛـﺒﲑﺓ ﺣـﱴ‬
‫ﺃﲤﺖ ﺍﻟﺒﺎﺣﺜﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ‪ ،‬ﻓﻤﻦ ﻫﺆﻻﺀ‪:‬‬
‫‪.١‬‬

‫ﻓﻀﻴﻠﺔ ﻋﻤﻴﺪ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ‪ ،‬ﺍﻟﺪﻛﺘﻮﺭ ﺍﳊـﺎﺝ ﻋﺒـﺪ‬
‫ﺍﻟﻮﺍﺣﺪ ﻫﺎﺷﻢ ﺍﳌﺎﺟﺴﺘﲑ ﻭﲨﻴﻊ ﻣﺴﺎﻋﺪﻳﻪ‪ ،‬ﻭﲨﻴﻊ ﺍﻷﺳﺎﺗﺬﺓ ﺍﻟﺬﻳﻦ ﺑﺬﻟﻮﺍ‬

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

‫ﻓﻀﻴﻠﺔ ﺍﻟﺪﻛﺘﻮﺭﺓ ﻳﻴﲏ ﺭﺍﺗﻨﺎ ﻳﻮﻧﻴﻨﺠﺴﻴﻪ ﺍﳌﺎﺟﺴﺘﲑ ﻋﻠﻰ ﺇﻋﻄﺎﺋﻬﺎ ﺍﻟﺒﺎﺣﺜـﺔ‬
‫ﻋﻠﻮﻣﻬﺎ ﻭﺧﱪﺍ‪‬ﺎ ﻭﺃﻭﻗﺎ‪‬ﺎ ﺍﻟﺜﻤﻴﻨﺔ ﰲ ﺍﻹﺷﺮﺍﻑ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻭﻗﻴﺎﻣﻬﺎ‬
‫ﺑﺈﺭﺷﺎﺩﺍ‪‬ﺎ ﻭﺗﻮﺟﻴﻬﺎ‪‬ﺎ ﺍﻟﻘﻴﻤﺔ ﰲ ﺩﺭﺍﺳﺔ ﻫﺬﺍ ﺍﳌﻮﺿﻮﻉ ﻭﻛﺘﺎﺑﺘﻪ‪.‬‬

‫‪.٣‬‬

‫ﻓﻀﻠﻴﺔ ﺭﺋﻴﺲ ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍ‪‬ﺎ ﺍﻟﺪﻛﺘﻮﺭﺍﻧﺪﻭﺱ ﺃﺩﺍﻧﺞ ﺃﺳـﺪﺭﻱ‬
‫ﺍﳌﺎﺟﺴﺘﲑ‪ ،‬ﻭﺳﻜﺮﺗﲑﺗﻪ ﺍﻟﺪﻛﺘﻮﺭﺓ ﺟﻬﻴﺎ ﺑﻮﺍﻧﺎ ﺍﳌﺎﺟﺴﺘﲑ ﺍﻟﻠﺬﻳﻦ ﺳـﺎﻋﺪﺍ‬
‫ﺍﻟﺒﺎﺣﺜﺔ ﰲ ﻧﻴﻞ ﺍﻹﻋﻼﻣﺎﺕ ﺍﳌﻬﻤﺔ ﻋﻦ ﺍﻟﻜﻠﻴﺔ ﻭﻛﺘﺎﺑﺔ ﺍﻟﺒﺤﺚ ﻭﺇﻗﺎﻣﺘﻪ‪.‬‬

‫‪.٤‬‬

‫ﺭﺋﻴﺲ ﻣﻜﺘﺒﺔ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴـﺔ ﲜﺎﻛﺮﺗـﺎ‬
‫ﻭﻣﻮﻇﻔﻴﻬﺎ‪ ،‬ﺍﻟﺬﻳﻦ ﺃﺗﺎﺣﻮﺍ ﳍﺎ ﻓﺮﺻﺔ ﲦﻴﻨﺔ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﻜﺘـﺐ ﺍﻟـﱵ‬
‫ﺍﺣﺘﺎﺟﺖ ﺇﻟﻴﻬﺎ ﺃﺛﻨﺎﺀ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ‪.‬‬

‫‪.٥‬‬

‫ﲣﺺ ﺍﻟﺒﺎﺣﺜﺔ ﺑﻜﻞ ﺧﻀﻮﻉ ﺧﺎﻟﺺ ﺷﻜﺮﻫﺎ ﻭﺗﻘﺪﻳﺮﻫﺎ ﻭﻋﻈﻴﻢ ﲢﻴﺘـﻬﺎ‬
‫ﻭﻏﺎﻳﺔ ﺍﺣﺘﺮﺍﻣﻬﺎ ﻷﺑﻴﻬﺎ ﺍﳊﺎﺝ ﺃﻣﺴﻮﺭ ﻭﺃﻣﻬﺎ ﺍﳊﺎﺟﺔ ﺭﺍﻋﺎﻧﻴﻪ ﺍﻟﻠﺬﻳﻦ ﻗـﺪ‬
‫ﺭﺑﻴﺎﻫﺎ ﺗﺮﺑﻴﺔ ﺇﺳﻼﻣﻴﺔ ﻭﺳﺎﻋﺪﺍﻫﺎ ﻣﺴﺎﻋﺪﺓ ﻛﺎﻣﻠﺔ ﻭﺃﻋﻄﻴﺎﻫﺎ ﻧﻔﺎﻗﺎ‪‬ﺎ ﺍﳌﺎﻟﻴﺔ‬

‫ﻣﻨﺬ ﺻﻐﺮﻫﺎ ﺇﱃ ﻳﻮﻣﻨﺎ ﻫﺬﺍ ﺣﱴ ﺗﺴﺘﻄﻴﻊ ﺃﻥ ﺗـﺘﻢ ﺩﺭﺍﺳـﺘﻬﺎ ﰲ ﻫـﺬﻩ‬
‫ﺍﳉﺎﻣﻌﺔ‪.‬‬
‫‪.٦‬‬

‫ﻭﻟﻸﺻﺪﻗﺎﺀ ﻛﻠﻬﻢ ﻃﻠﺒﺔ ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍ‪‬ﺎ ﻣـﻦ ﺟﻴـﻞ ‪٢٠٠٦‬‬
‫ﺍﻟﺬﻳﻦ ﻳﻘﺪﻣﻮﻥ ﻣﺴﺎﻋﺪ‪‬ﻢ ﻭﺍﻗﺘﺮﺍﺣﺎ‪‬ﻢ ﻭﻋﺎﻣﺔ ﺇﱃ ﲨﻴﻊ ﺍﻷﺻـﺪﻗﺎﺀ 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 ﺳﺎﻋﺪﻭﻫﺎ ﻭﺟﺰﺍﻫﻢ ﺍﷲ ﺧﲑ ﺍﳉﺰﺍﺀ‪ ،‬ﻭﺍﳊﻤﺪ ﷲ ﺭﺏ ﺍﻟﻌﺎﳌﲔ‪.‬‬

‫ﺟﺎﻛﺮﺗﺎ‪ ٢٠ ،‬ﺳﺒﺘﻤﱪ ‪٢٠١١‬ﻡ‬

‫ﺳﻮﺭﺍﱐ‬

‫ﳏﺘﻮﻳﺎﺕ ﺍﻟﺒﺤﺚ‬

‫ﻣﻮﺍﻓﻘﺔ ﺍﳌﺸﺮﻓﺔ ‪.....................................................‬ﺃ‬
‫ﺗﺼﺮﻳﺢ ﺍﻟﺒﺎﺣﺜﺔ ‪ ..................................................‬ﺏ‬
‫ﻗﺮﺍﺭ ﳉﻨﺔ ﺍﳌﻨﺎﻗﺸﺔ ﻭﺍﳊﻜﻢ ﻋﻠﻰ ﺍﻟﺒﺤﺚ ‪ .............................‬ﺝ‬
‫ﲡﺮﻳﺪ ﺍﻟﺒﺤﺚ ‪ .....................................................‬ﺩ‬
‫ﺷﻜﺮ ﻭﺗﻘﺪﻳﺮ ‪ .....................................................‬ﻩ‬

‫ﳏﺘﻮﻳﺎﺕ ﺍﻟﺒﺤﺚ ‪ .................................................‬ﺡ‬

‫ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ‪ :‬ﻣﻘﺪ‪‬ﻣﺔ‬
‫ﺃ‪ .‬ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ ‪١..............................................‬‬
‫ﺏ‪ .‬ﲢﺪﻳﺪ ﺍﳌﺸﻜﻠﺔ ‪٦...............................................‬‬
‫ﺝ‪ .‬ﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ ‪٧..........................................‬‬
‫ﺩ‪ .‬ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺴﺎﺑﻘﺔ ‪٧...........................................‬‬
‫ﻩ‪ .‬ﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ ‪٨...............................................‬‬

‫ﻭ‪ .‬ﺧﻄﺔ ﺍﻟﺒﺤﺚ ‪٨................................................‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﻧـﻲ‪ :‬ﶈﺔ ﻋﻦ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﻭﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ‬
‫ﺃ‪ .‬ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ‪١٠..............................................‬‬
‫‪ .١‬ﻣﻔﻬﻮﻡ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ‪١٠....................................‬‬
‫‪ .٢‬ﺃﻧﻮﺍﻉ ﺍﻟﻘﺼﺔ ‪١٣.............................................‬‬
‫ﺏ‪ .‬ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ ‪١٥...............................................‬‬
‫‪ .١‬ﻣﻔﻬﻮﻡ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ ‪١٥.....................................‬‬
‫‪ .٢‬ﺃﻧﻮﺍﻉ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ ‪١٧......................................‬‬
‫‪ .٣‬ﻛﻴﻔﻴﺔ ﺗﻄﺒﻴﻖ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ ﰲ ﳎﺎﻝ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ‪١٩..........‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﻟﺚ‪ :‬ﶈﺔ ﺳﺮﻳﻌﺔ ﻋﻦ ﺳﲑﺓ ﺣﻴﺪﺭ ﻗﻔﺔ‬
‫ﺃ‪ .‬ﻣﻮﻟﺪﻩ ﻭﻧﺸﺄﺗﻪ ‪٢٢...............................................‬‬
‫ﺏ‪ .‬ﺃﻋﻤﺎﻟﻪ ﺍﻷﺩﺑﻴﺔ ‪٢٥...............................................‬‬
‫ﺝ‪ .‬ﺁﺭﺍﺀ ﺍﻟﻨﻘﺎﺩ ﻋﻦ ﺃﻋﻤﺎﻟﻪ ﺍﻷﺩﺑﻴﺔ ‪٢٧.................................‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻟﺮﺍﺑﻊ‪ :‬ﺍﻟﺪﺭﺍﺳﺔ ﺍﻟﻨﺴﻮﻳﺔ ﻟﻠﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ "ﻭﻟﻠﻤﻮﺕ ﺃﳕﺎﻁ ﺃﺧﺮﻯ"‬
‫ﺃ‪ .‬ﺍﻻﺧﺘﺼﺎﺭ ﻟﻠﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ "ﻭﻟﻠﻤﻮﺕ ﺃﳕﺎﻁ ﺃﺧﺮﻯ" ‪٣٢..............‬‬
‫ﺏ‪ .‬ﺻﻮﺭﺓ ﺍﳌﺮﺃﺓ ﰲ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ‪٣٤................................‬‬
‫ﺝ‪ .‬ﻣﻜﺎﻧﺔ ﺍﳌﺮﺃﺓ ﰲ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ‪٤١................................‬‬
‫ﺩ‪ .‬ﻣﻮﻗﻒ ﺍﳌﺆﻟﻒ ﰲ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ‪٤٥..............................‬‬

‫ﺍﻟﺒﺎﺏ ﺍﳋﺎﻣﺲ‪ :‬ﺧﺎﲤﺔ‬
‫ﺃ‪ .‬ﻧﺘﺎﺋﺞ ﺍﻟﺒﺤﺚ ‪٤٧................................................‬‬
‫ﺏ‪ .‬ﺍﻻﻗﺘﺮﺍﺣﺎﺕ ‪٤٩................................................‬‬

‫ﺍﳌﺮﺍﺟﻊ ﻭﺍﳌﺼﺎﺩﺭ ‪٥٠ .................................................‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ‬
‫ﻣﻘﺪﻣﺔ‬

‫ﺃ‪.‬‬

‫ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ‬
‫ﺍﻷﺩﺏ ﻓﻦ ﻣﻦ ﺍﻟﻔﻨﻮﻥ ﺍﳉﻤﻴﻠﺔ ﺍﻟﱵ ﺗﺼﻮﺭ ﺍﳊﻴﺎﺓ ﻭﺃﺣﺪﺍﺛﻬﺎ ﲟﺎ ﻓﻴﻬﺎ ﻣﻦ‬

‫ﺃﻓﺮﺍﺡ ﻭﺃﺗﺮﺍﺡ‪ ،‬ﻭﺁﻣﺎﻝ ﻭﺁﻻﻡ‪ ،‬ﻣﻦ ﺧﻼﻝ ﻣﺎ ﳜﺘﻠﺞ ﰲ ﻧﻔﺲ ﺍﻷﺩﻳﺐ ﻭﳚﻴﺶ ﻓﻴﻬﺎ‬
‫ﻣﻦ ﻋﻮﺍﻃﻒ ﻭﺃﻓﻜﺎﺭ‪ ،‬ﺑﺄﺳﻠﻮﺏ ﲨﻴﻞ‪ ،‬ﻭﺻﻮﺭﺓ ﺑﺪﻳﻌﺔ‪ ،‬ﻭﺧﻴﺎﻝ ﺭﺍﺋﻊ‪.‬‬

‫‪١‬‬

‫ﻭﻳﻨﻘﺴﻢ ﺍﻷﺩﺏ ﺇﱃ ﻓﻨﲔ‪ ،‬ﳘﺎ ﻓﻦ ﺍﻟﺸﻌﺮ ﻭﻓﻦ ﺍﻟﻨﺜﺮ‪ .‬ﻭﺃﻣﺎ ﺍﻟﺸﻌﺮ ﻓﻬﻮ‬
‫ﺍﻟﻜﻼﻡ ﺍﳌﻮﺯﻭﻥ ﺍﳌﻘﻔﻰ ﺍﳌﻌﱪ ﻋﻦ ﺍﳋﻴﺎﻟﺔ ﺍﻟﺒﺪﻳﻌﺔ ﺍﳌﺆﺛﺮﺓ ﺍﻟﺒﻠﻴﻐﺔ‪ ٢.‬ﻳﻨﻘﺴﻢ ﺍﻟﺸﻌﺮ‬
‫ﺇﱃ ﺍﻟﺸﻌﺮ ﺍﳌﻠﺤﻤﻲ ﻭﺍﻟﺸﻌﺮ ﺍﻟﺘﻤﺜﻴﻠﻲ ﻭﺍﻟﺸﻌﺮ ﺍﻟﻐﻨﺎﺋﻲ‪ ٣ .‬ﻭﺃﻣﺎ ﺍﻟﻨﺜﺮ ﻓﻬﻮ ﺃﺳﻠﻮﺏ‬

‫‪ ١‬ﻋﺒﺪ ﺍﻟﻌﺰﻳﺰ ﺍﺑﻦ ﳏﻤﺪ ﺍﻟﻔﻴﺼﻞ‪ ،‬ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ ﻭﺗﺎﺭﳜﻪ‪) ،‬ﺍﻟﺮﻳﺎﺽ‪ :‬ﺟﺎﻣﻌﺔ ﺍﻹﻣﺎﻡ ﳏﻤﺪ ﺑﻦ ﺳﻌﻮﺩ‪،‬‬
‫‪١٤٠٥‬ﻫـ(‪ ،‬ﺹ‪.٥‬‬
‫‪ ٢‬ﳏﻤﺪ ﺍﻟﺘﻮﺟﻲ‪ ،‬ﺍﳌﻌﺠﻢ ﺍﳌﻔﺼﻞ ﰲ ﺍﻷﺩﺏ‪) ،‬ﺑﲑﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺐ ﺍﻟﻌﻠﻤﻴﺔ‪١٤١٣ ،‬ﻫـ(‪ ،‬ﺹ ‪.٨٣٩‬‬
‫‪٣‬‬

‫ﻧﺒﻴﻠﺔ ﻟﻮﺑﻴﺲ‪ ،‬ﺍﳌﻌﲔ ﰲ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ ﻭ ﺗﺎﺭﳜﻪ‪) ،‬ﺟﺎﻛﺮﺗﺎ‪ :‬ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺟﺎﻣﻌﺔ‬

‫ﺷﺮﻳﻒ ﻫﺪﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ‪ ،(٢٠٠٥ ،‬ﺹ ‪٥‬‬

‫‪١‬‬

‫‪٢‬‬

‫ﰲ ﺍﻟﺘﻌﺒﲑ ﻏﲑ ﻣﻮﺯﻭﻥ‪ .‬ﻳﺸﺘﻤﻞ ﺍﻟﻨﺜﺮ ﻋﻠﻰ ﺃﻧﻮﺍﻉ ﻛﺜﲑﺓ ﻣﻨﻬﺎ‪ :‬ﺍﳋﻄﺐ ﻭﺍﻟﺮﺳﺎﺋﻞ‬
‫ﻭﺍﻷﻣﺜﺎﻝ ﻭﺍﳊﻜﻢ ﻭﺍﻟﻮﺻﺎﻳﺎ ﻭﺍﳌﻘﺎﻣﺎﺕ ﻭﺍﳌﺴﺮﺣﻴﺔ ﻭﺍﻟﻘﺼﺺ‪.‬‬

‫‪٤‬‬

‫ﺍﻟﻘﺼﺔ ﻫﻲ ﻋﻤﻞ ﺃﺩﰊ ﻳﻘﻮﻡ ﺑﻪ ﻓﺮﺩ ﻭﺍﺣﺪ ﻭﻳﺘﻨﺎﻭﻝ ﻓﻴﻬﺎ ﺟﺎﻧﺒﺎ ﻣﻦ‬
‫ﺟﻮﺍﻧﺐ ﺍﳊﻴﺎﺓ‪ .‬ﻭﳜﺘﻠﻒ ﻣﻮﺿﻮﻋﻬﺎ ﺑﺎﺧﺘﻼﻑ ﺛﻘﺎﻓﺔ ﻛﺎﺗﺒﻬﺎ ﻭﻣﻴﻮﻟﻪ‪ ،‬ﻭﺇﺫﺍ ﺗﻨﺎﻭﻝ‬
‫ﺍﻟﻘﺎﺹ ﺣﺪﺛﺎ ﻣﻦ ﺃﺣﺪﺍﺙ ﺍﳊﻴﺎﺓ‪ ،‬ﺃﺧﻀﻌﻪ ﻷﺳﻠﻮﺑﻪ ﻭﻓﻜﺮﻩ‪ .‬ﻭﻣﻦ ﻫﻨﺎ ﻳﺄﰐ‬
‫ﺍﺧﺘﻼﻓﻪ ﻋﻦ ﻏﲑﻩ‪ .‬ﰒ ﻫﻮ ﻳﻨﻘﻞ ﻟﻨﺎ ﺻﻮﺭﺓ ﻣﻦ ﺻﻮﺭ ﺍﳊﻴﺎﺓ ﻧﺪﺭﻛﻬﺎ ﳑﺎ ﻧﻘﺮﺃ ﰲ‬
‫ﻗﺼﺘﻪ ﺇﺩﺭﺍﻛﺎ ﻋﻘﻠﻴﺎ‪ ،‬ﻭﻣﻦ ﻫﻨﺎ ﻳﺄﰐ ﺍﻟﻔﺮﻕ ﺑﲔ ﺍﻟﻘﺼﺔ ﻭﺍﳌﺴﺮﺣﻴﺔ‪.‬‬

‫‪٥‬‬

‫ﺍﻟﻘﺼﺔ ﻧﻮﻉ ﻣﻦ ﺃﻧﻮﺍﻉ ﺍﻟﻨﺜﺮ ﺍﻷﺩﰊ ﻓﻬﻲ ﺍﳉﻤﻠﺔ ﻭﺍﳊﺪﺙ ﻭﺍﻷﻣﺮ ﻭﺍﳋﱪ‬
‫ﻭﺍﻟﺸﺄﻥ‪ .‬ﻭﻫﻲ ﺃﻳﻀﺎ ﺣﻜﺎﻳﺔ ﻧﺜﺮﻳﺔ ﻃﻮﻳﻠﺔ ﺗﺴﺘﻤﺪ ﻣﻦ ﺍﳋﻴﺎﻝ ﺃﻭ ﺍﻟﻮﺍﻗﻊ ﺃﻭ ﻣﻨﻬﻤﺎ‬
‫ﻣﻌﺎ‪ ،‬ﻭﺗﺒﲎ ﻋﻠﻰ ﻗﻮﺍﻋﺪ ﻣﻌﻴﻨﺔ ﻣﻦ ﺍﻟﻔﻦ ﺍﻟﻜﺘﺎﰊ‪ ٦.‬ﺗﺘﻨﻮﻉ ﺍﻟﻘﺼﺔ ﺇﱃ ﺛﻼﺛﺔ ﺃﻧﻮﺍﻉ‬
‫ﻭﻫﻲ‪ (١) :‬ﺃﻗﺼﻮﺻﺔ‪ ،‬ﻭﺗ‪‬ﻜﺘﺐ ﰲ ﺻﻔﺤﺔ ﺃﻭ ﺻﻔﺤﺘﲔ ﻭﻻ ﻳﺴﻤﺢ ﻣﻴﺪﺍ‪‬ﺎ‬
‫ﺑﺘﻌﺪﺩ ﺍﻷﺣﺪﺍﺙ ﻭﺍﻟﺸﺨﺼﻴﺎﺕ‪ (٢) .‬ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ‪ ،‬ﻭﻫﻲ ﺃﻃﻮﻝ ﻣﻦ‬

‫‪٤‬ﳏﻤﺪ ﺍﻟﺘﻮﺟﻲ‪ ،‬ﺍﳌﻌﺠﻢ ﺍﳌﻔﺼﻞ ﰲ ﺍﻷﺩﺏ‪ ،‬ﺹ ‪.٨٣٩‬‬
‫‪٥‬ﻧﺒﻴﻠﺔ ﻟﻮﺑﻴﺲ‪ ،‬ﺍﳌﻌﲔ ﰲ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ ﻭ ﺗﺎﺭﳜﻪ‪ ،‬ﺹ‪٢٠٦ .‬‬
‫‪ ٦‬ﺇﺑﺮﺍﻫﻴﻢ ﻣﺼﻄﻔﻲ ﻭﺁﺧﺮﻭﻥ‪ ،‬ﺍﳌﻌﺠﻢ ﺍﻟﻮﺳﻴﻂ‪) ،‬ﻃﻬﺮﺍﻥ ‪:‬ﺍﳌﻜﺘﺒﺔ ﺍﻟﻌﻠﻤﻴﺔ‪ ،‬ﺩﺕ(‪،‬ﺝ ‪ ،٢‬ﺹ‪.٧٣‬‬

‫‪٣‬‬

‫ﺍﻷﻗﺼﻮﺻﺔ ﻭﺗ‪‬ﻜﺘﺐ ﰲ ﻓﺼﻞ ﻭﺍﺣﺪ ﻋﺎﺩﺓ‪ (٣) .‬ﺍﻟﺮﻭﺍﻳﺔ‪ ،‬ﻭﺗﺘﻌﺪﺩ ﻓﺼﻮﳍﺎ‬
‫ﻭﻳﺴﻤﺢ ﻣﻴﺪﺍ‪‬ﺎ ﺑﺘﻌﺪﺩ ﺍﻷﺣﺪﺍﺙ ﻭﺍﻟﺸﺨﺼﻴﺎﺕ ﺃﻛﺜﺮ ﻣﻦ ﺍﻟﻘﺼﺔ‪.‬‬
‫ﻭﺃﻣﺎ ﺍﻟﻘﺼﺔ ﲟﻌﲎ ﺍﳊﻜﺎﻳﺔ ﻣﻦ ﺃﻗﺪﻡ ﻣﺎ ﻋﺮﻓﻪ ﺍﻹﻧﺴﺎﻥ ﻣﻦ ﻓﻨﻮﻥ ﺍﻟﻘﻮﻝ‪ ،‬ﺇﺫ‬
‫ﺃ‪‬ﺎ ﻻﺻﻘﺔ ﺑﺎﻟﻄﺒﻌﻴﺔ ﺍﻻﻧﺴﺎﻧﻴﺔ ﺍﻟﱵ ﲤﻴﻞ ﺇﱃ ﺍﻟﺘﺨﻴﻞ‪ ،‬ﻭﺣﺐ ﺍﻻﺳﺘﻄﻼﻉ ﻭﺗﻠﻘﻰ‬
‫ﺍﳋﱪﺍﺕ ﻣﻦ ﺍﻵﺧﺮﻳﻦ‪ ،‬ﻭﻗﺪ ﺍﺳﺘﻌﻤﻠﺖ ﻗﺪﳝﺎ ﻟﻠﺘﺮﺑﻴﺔ ﺍﻷﺧﻼﻗﻴﺔ ﻭﺍﻟﺘﻌﻠﻴﻢ ﻭﺍﻟﻮﻋﻆ‬
‫ﺍﻟﺪﻳﲏ ﻭﲤﺠﻴﺪ ﺍﻷﺳﻼﻑ‪ .‬ﻭﻟﻜﻦ ﺍﻟﻘﺼﺔ ‪-‬ﺑﺄﺻﻮﳍﺎ ﺍﻟﻔﻨﻴﺔ ﺍﳌﻌﺮﻭﻓﺔ‪ -‬ﺗﻌﺘﱪ ﻓﻨﺎ‬
‫ﺣﺪﻳﺜﺎ ﻻ ﻳﺰﻳﺪ ﺗﺎﺭﳜﻪ ﰲ ﺍﻵﺩﺍﺏ ﺍﻟﻐﺮﺑﻴﺔ ﻋﻦ ﺛﻼﺛﺔ ﻗﺮﻭﻥ ﺃﻭ ﺃﻗﻞ‪ ،‬ﻭﻧﺼﻒ ﺫﻟﻚ‬
‫ﺃﻭ ﺃﻗﻞ ﰲ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ‪.‬‬

‫‪٧‬‬

‫ﻭﺃﻥ ﻣﻌﺮﻓﺔ ﺃﻳﺔ ﺛﻘﺎﻓﺔ ﻷﻱ ﳕﻂ ﻣﻦ ﺍ‪‬ﺘﻤﻊ ﻻ ﻳﻜﺘﻔﻲ ﺍﻛﺘﺸﺎﻓﻬﺎ ﻣﻦ‬
‫ﺍﻟﻜﺘﺐ ﺍﻟﻌﻠﻤﻴﺔ ﺃﻭ ﺍﻟﺪﺧﻮﻝ ﺍﳌﺒﺎﺷﺮ ﺇﱃ ﳎﺘﻤﻊ ﻣﺎ‪ ،‬ﺑﻞ ﳝﻜﻦ ﺍﻛﺘﺸﺎﻓﻬﺎ ﻣﻦ ﺧﻼﻝ‬
‫ﺍﻷﻋﻤﺎﻝ ﺍﻟﻨﺜﺮﻳﺔ ﻛﺎﻟﺮﻭﺍﻳﺎﺕ ﻭﺍﻟﻘﺼﺺ ﺍﻟﻘﺼﲑﺓ‪ .‬ﻭﺫﻟﻚ ﻷ‪‬ﺎ ﺿﻤﻨﺖ ﳎﻤﻮﻋﺔ‬
‫ﻣﻦ ﺍﳊﻮﺍﺩﺙ ﺍﳌﺨﺘﻠﻔﺔ ﰲ ﺍﳊﻴﺎﺓ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭﺍﻟﺴﻴﺎﺳﻴﺔ ﻭﺍﻷﺧﻼﻗﻴﺔ ﻭﺍﻟﺪﻳﻨﻴﺔ‬

‫‪٧‬ﺇﲰﺎﻋﻴﻞ ﻣﺼﻄﻔﻰ ﺍﻟﺼﻴﻔﻲ ﺍﻟﺼﻴﻔﻰ ﻭﺁﺧﺮﻭﻥ‪ ، ،‬ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﻭﺍﻟﺒﻼﻏﺔ‪ ،‬ﺍﻟﻜﻮﻳﺖ‪ :‬ﻭﺯﺍﺭﺓ ﺍﻟﺘﺮﺑﻴﺔ‪،‬‬
‫‪ .١٩٧٠‬ﺹ ‪٢٠٣‬‬

‫‪٤‬‬

‫ﻭﺍﻟﻔﻠﺴﻔﻴﺔ‪ ٨.‬ﻭﻣﻦ ﺍﻟﻘﻀﺎﻳﺎ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﺍﻟﱵ ﺗ‪‬ﺤﻜﻰ ﰲ ﺍﻟﻘﺼﺺ ﺍﻟﻘﺼﲑﺓ‬
‫ﻭﺍﻟﺮﻭﺍﻳﺎﺕ ﻫﻲ ﺍﻟﻘﻀﻴﺔ ﺍﳉﻨﺴﻴﺔ‪.‬‬
‫ﻭﺃﻣﺎ ﺍﳊﺪﻳﺚ ﻋﻦ ﺍﳉﻨﺴﻴﺔ‬

‫‪Gender‬‬

‫ﻫﻮ ﺍﻟﻜﻼﻡ ﻋﻦ ﻗﻀﻴﺔ ﺍﻟﻔﺮﻭﻕ ﰲ‬

‫ﺍﻟﺴﻠﻮﻙ ﻭﺍﳊﻘﻮﻕ ﻭﺍﻟﻮﺍﺟﺒﺎﺕ ﻭﺍﻷﺩﻭﺍﺭ ﻭﺍﻟﺘﻤﻴﻴﺰ ﺑﲔ ﺍﻟﺮﺟﻞ ﻭﺍﳌﺮﺃﺓ ﰲ ﺍﳊﻴﺎﺓ‬
‫ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭﺍﻟﺜﻘﺎﻓﻴﺔ‪ .‬ﻓﻘﺪ ﻇﻞ ﺍﻟﻄﺎﺑﻊ ﺍﻟﺬﻛﻮﺭﻱ ﻫﻮ ﺍﳌﺴﻴﻄﺮ ﻋﻠﻰ ﻛﺎﻓﺔ ﻧﻮﺍﺣﻲ‬
‫ﺍﳊﻴﺎﺓ ﰲ ﺍ‪‬ﺘﻤﻌﺎﺕ ﺍﻟﻌﺎﳌﻴﺔ ﲟﺎ ﰲ ﺗﻠﻚ ﺍﻟﻨﺎﺣﻴﺔ ﺍﻟﺜﻘﺎﻓﻴﺔ ﺃﻭ ﺍﻹﺑﺪﺍﻋﻴﺔ ﰲ ﺣﲔ ﺃﻥ‬
‫ﺍﻟﺮﺟﻞ ﻭﺍﳌﺮﺃﺓ ﺧﻠﻘﺎﻥ ﻣﺘﺴﺎﻭﻳﺎﻥ ﻋﻨﺪ ﺍﷲ‪ ،‬ﻭﻋﻨﺪﳘﺎ ﻣﺮﺗﺒﺔ ﺳﻮﻳﺔ ﻳﻠﺰﻣﻨﺎ‬
‫ﺍﺣﺘﺮﺍﻣﻬﺎ‪.‬‬

‫‪٩‬‬

‫ﰒ ﻛﺎﻧﺖ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻷﺩﺑﻴﺔ ﺍﻵﻥ ﺗﺸﻤﻞ ﺃﻳﻀﺎ ﻗﻀﻴﺔ ﺍﳉﻨﺴﻴﺔ ﺍﻟﻨﺴﻮﻳﺔ‬
‫ﻳﻌﲏ ﻣﺎ ﻳ‪‬ﻌﺮﻑ ﺑﺎﻷﺩﺏ ﺍﻟﻨﺴﻮﻱ ﻭﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﺍﻟﻨﺴﻮﻱ‪ .‬ﻓﻘﺎﻝ ﺍﻟﺪﻛﺘﻮﺭ ﺇﺑﺮﻫﻴﻢ‬
‫ﳏﻤﻮﺩ ﺧﻠﻴﻞ‪ :‬ﺍﻷﺩﺏ ﺍﻟﻨﺴﻮﻱ ﻫﻮ ﺍﻷﺩﺏ ﺍﻟﺬﻱ ﻳﺆﻛﺪ ﻭﺟﻮﺩ ﺇﺑﺪﺍﻉ ﻧﺴﻮﻱ‬
‫ﻭﺇﺑﺪﺍﻉ ﺫﻛﻮﺭﻱ‪ ،‬ﻭﻟﻜﻞ ﻣﻨﻬﻤﺎ ﻫﻮﻳﺘﻪ ﻭﻣﻼﳏﻪ ﺍﳋﺎﺻﺔ ﻭﻋﻼﻗﺘﻪ ﲜﺬﻭﺭ ﺛﻘﺎﻓﺔ‬

‫‪٨‬‬

‫‪Heri Aprilianto, Tokoh Utama Wanita dalam Pandangan Gender pada Novel Wajah‬‬
‫‪Sebuah Vagina Karya Naning Pranoto, (Semarang: UNNES, ٢٠٠٥), h.١‬‬
‫‪٩‬‬
‫‪Sugihastuti, Wanita Di Mata Wanita: Perspektif Sajak-Sajak Toety Heraty, (Bandung:‬‬
‫‪Yayasan Nuansa Cendekia,٢٠٠٠), Cet.ke-١, h.٣٧.‬‬

‫‪٥‬‬

‫ﺍﳌﺒﺪﻉ ﻭﻣﻮﺭﻭﺛﻪ ﺍﻻﺟﺘﻤﺎﻋﻲ ﻭﺍﻟﺜﻘﺎﰲ‪.‬‬

‫‪١٠‬‬

‫ﻭﻗﺎﻟﺖ ﺳﻮﻏﻴﻬﺎﺳﺘﻮﰐ‪" :‬ﺍﻟﻨﺴﻮﻳﺔ‬

‫ﺗﺸﻤﻞ ﻣﻔﻬﻮﻡ ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﺍﻟﻨﺴﻮﻱ ﺇﺫ ﺃﻧﻪ ﺩﺭﺍﺳﺔ ﺃﺩﺑﻴﺔ ﺗﺘﺨﺬ ﺍﳌﺮﺃﺓ ﻛﻤﻮﺿﻮﻋﻬﺎ‬
‫ﺍﻟﺘﺤﻠﻴﻠﻲ"‪.‬‬

‫‪١١‬‬

‫ﻭﺣﻴﺪﺭ ﻗﻔﺔ ﻫﻮ ﺃﺣﺪ ﻣﻦ ﺍﻷﺩﺑﺎﺀ ﺍﻟﻌﺮﺑﻴﲔ ﺍﳌﻌﺎﺻﺮﻳﻦ ﻣﻦ ﱂ ﻳﺸﺘﻬﺮ ﺍﲰﻪ‬
‫ﻋﻨﺪﻧﺎ ﺍﻹﻧﺪﻭﻧﻴﺴﻴﲔ ﻣﻊ ﺃﻧﻪ ﳑﻦ ﻛﺘﺐ ﰲ ﺃﻋﻤﺎﻟﻪ ﺍﻷﺩﺑﻴﺔ ﺍﻟﻘﻀﺎﻳﺎ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻣﺜﻞ‬
‫ﺍﻟﻘﻀﻴﺔ ﺍﳉﻨﺴﻴﺔ ﺍﻟﻨﺴﻮﻳﺔ‪ .‬ﻭﻣﻦ ﺃﻋﻤﺎﻟﻪ ﺍﻷﺩﺑﻴﺔ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ "ﻭﻟﻠﻤﻮﺕ ﺃﳕﺎﻁ‬
‫ﺃﺧﺮﻯ" ﻭﻫﻲ ﻣﻦ ﺍﻟﻘﺼﺺ ﺍﳌﻮﺟﻮﺩﺓ ﰲ ﳎﻤﻮﻋﺔ ﺍﻟﻘﺼﺺ ﺍﻟﻘﺼﲑﺓ "ﻟﻴﻞ‬
‫ﺍﻟﻌﻮﺍﻧﺲ"‪ .‬ﻭﺗﻠﻚ ﺍ‪‬ﻤﻮﻋﺔ ﺗﻜﻮﻥ ﰲ ﻣﻮﺿﻮﻉ ﻭﺍﺣﺪ ﻭﻫﻮ ﺍﳉﻨﺴﻴﺔ ﺃﻭ ﺍﻟﻨﺴﻮﻳﺔ‬
‫ﻷ‪‬ﺎ ﻛﻠﻬﺎ ﺣﻜﺖ‪ ‬ﻋﻦ ﻣﻌﺎﻧﺎﺕ ﺍﻟﻨﺴﺎﺀ‪.‬‬
‫ﻓﻘﺪ ﺗﺮﺟﻢ ﲨﺎﻝ ﺍﻟﺪﻳﻦ ﺳﺎﻧﻮﺳﻲ ﺇﱃ ﺍﻟﻠﻐﺔ ﺍﻹﻧﺪﻭﻧﻴﺴﻴﺔ ﳎﻤﻮﻋﺔ ﺍﻟﻘﺼﺺ‬
‫ﺍﻟﻘﺼﲑﺓ "ﻟﻴﻞ ﺍﻟﻌﻮﺍﻧﺲ" ﺍﻟﱵ ﻓﻴﻬﺎ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ "ﻭﻟﻠﻤﻮﺕ ﺃﳕﺎﻁ ﺃﺧﺮﻯ"‪،‬‬
‫ﻭﻧﺸﺮ‪‬ﺎ ﻣﻄﺒﻌﺔ ﻧﺎﻓﻴﻼ‬

‫‪Navila‬‬

‫ﲢﺖ ﺍﻟﻌﻨﻮﺍﻥ‬

‫‪Malam-malam Perawan‬‬

‫ﰲ ﻳﻮﻧﻴﻮ‬

‫‪١٠‬‬

‫‪Soenardjati Djajanegara. Kritik Sastra Feminis: Sebuah Pengantar. (Jakarta: Gramedia‬‬
‫‪Pustaka Utama،٢٠٠٣) Cet. ke-٢, h.٣٧.‬‬
‫‪١١‬‬
‫‪Sugihastuti, Wanita di Mata Wanita, h.٣٧.‬‬

‫‪٦‬‬

‫‪ ٢٠٠٣‬ﰲ ﻣﺪﻳﻨﺔ ﺟﻮﻛﺠﺎﻛﺮﺗﺎ‪ .‬ﻓﻜﺎﻥ ﺑﲔ ﻳﺪﻱ ﺍﻟﺒﺎﺣﺜﺔ ﻧﺼﻬﺎ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺗﺮﲨﺘﻬﺎ‬
‫ﺍﻹﻧﺪﻭﻧﻴﺴﻴﺔ‪.‬‬
‫ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ "ﻭﻟﻠﻤﻮﺕ ﺃﳕﺎﻁ ﺃﺧﺮﻯ" ﲢﻜﻲ ﻋﻠﻴﻨﺎ ﻗﺼﺔ ﻋﻦ ﺍﻟﻌﺮﻭﺳﺔ‬
‫ﺍﳌﺴﻜﻴﻨﺔ ﺍﻟﻨﺎﺩﺑﺔ ﻟﺰﻭﺍﺟﻬﺎ ﺇﱃ ﺍﻟﺮﺟﻞ ﺍﻟﻌﺎﺟﺰ ﺟﻨﺴﻴﺎ‪ .‬ﻓﻠﻴﺲ ﻫﻨﺎﻙ ﺳﻌﺎﺩﺓ ﻭﻻ‬
‫ﻓﺮﺡ ﻭﻻ ﺳﺮﻭﺭ ﺑﻞ ﻧﺪﺏ ﻭﺃﱂ ﻣﻊ ﺃﻥ ﺍﻟﺰﻭﺍﺝ ﻳ‪‬ﻘﺼﺪ ﺑﻪ ﺟﻠﺐ‪ ‬ﺍﻟﺴﻌﺎﺩﺓ ﻭﺳﺪ‪‬‬
‫ﺍﳊﻮﺍﺋﺞ ﺍﻟﺒﻴﻮﻟﻮﺟﻴﺔ‪ .‬ﻭﻫﺬﻩ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﺗﻘﺺ ﻛﺬﻟﻚ ﻋﻦ ﺍﻣﺮﺃﺓ ﺍﲰﻬﺎ ﻓﻼﻧﺔ‪،‬‬
‫ﺗ‪‬ﺼﻮ‪‬ﺭ ﻛﺒﻨﺖ ﻭﺃﺧﺖ ﻭﻃﺎﻟﺒﺔ ﻭﻣﻮﻇﻔﺔ ﻋﺎﺷﺖ ﻋﻴﺸﺔ ﺑﺎﺋﺴﺔ‪ .‬ﻭﺗﻠﻚ ﺍﳊﺎﻟﺔ‬
‫ﺍﳊﺰﻳﻨﺔ ﺗﺸﲑ ﺇﱃ ﺍﳌﻮﺍﻗﻒ ﺍﻟﱵ ﻗﺪ ﺍﻋﺘﻘﺪ ﺍ‪‬ﺘﻤﻊ ﻋﻦ ﻣﻜﺎﻧﺔ ﺍﳌﺮﺃﺓ ﻣﻨﺬ ﺯﻣﻦ‬
‫ﻃﻮﻳﻞ‪.‬‬
‫ﻭﻟﺬﻟﻚ ﺗﻮﺩ ﺍﻟﺒﺎﺣﺜﺔ ﺃﻥ ﲢﻠﹼﻞ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ "ﻭﻟﻠﻤﻮﺕ ﺃﳕﺎﻁ ﺃﺧﺮﻯ"‬
‫ﳊﻴﺪﺭ ﻗﻔﺔ ﻣﻦ ﻧﺎﺣﻴﺔ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ ﻟﻜﺸﻒ ﺻﻮﺭﺓ ﺍﳌﺮﺃﺓ ﰲ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ‬
‫ﻭﻣﻌﺮﻓﺔ ﺩﻭﺭﻫﺎ ﻭﻣﻜﺎﻧﺘﻬﺎ ﰲ ﺍ‪‬ﺘﻤﻊ‪.‬‬

‫‪٧‬‬

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

‫ﻣﺎ ﻫﻲ ﺻﻮﺭﺓ ﺍﳌﺮﺃﺓ ﰲ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ "ﻭﻟﻠﻤﻮﺕ ﺃﳕﺎﻁ ﺃﺧﺮﻯ"؟‬

‫‪.٢‬‬

‫ﻣﺎ ﻫﻲ ﻣﻜﺎﻧﺔ ﺍﳌﺮﺃﺓ ﰲ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ؟‬

‫‪.٣‬‬

‫ﻣﺎ ﻣﻮﻗﻒ ﺍﳌﺆﻟﻒ ﰲ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ؟‬

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

‫ﻣﻌﺮﻓﺔ ﺻﻮﺭﺓ ﺍﳌﺮﺃﺓ ﰲ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ "ﻭﻟﻠﻤﻮﺕ ﺃﳕﺎﻁ ﺃﺧﺮﻯ"‪.‬‬

‫‪.٢‬‬

‫ﻣﻌﺮﻓﺔ ﻣﻜﺎﻧﺔ ﺍﳌﺮﺃﺓ ﰲ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ‪.‬‬

‫‪.٣‬‬

‫ﻣﻌﺮﻓﺔ ﻣﻮﻗﻒ ﺍﳌﺆﻟﻒ ﰲ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ‪.‬‬

‫ﺩ‪.‬‬

‫ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺴﺎﺑﻘﺔ‬
‫ﻭﺟﺪﺕ ﺍﻟﺒﺎﺣﺜﺔ ﲝﻮﺛﺎ ﻋﺪﻳﺪﺓ ﻋﻦ ﺍﻟﺮﻭﺍﻳﺎﺕ ﺍﻟﻨﺴﻮﻳﺔ ﻟﻠﺮﻭﺍﺋﻴﲔ ﺍﻟﻌﺮﺑﻴﲔ‬

‫ﻗﺎﻡ ‪‬ﺎ ﻃﻼﺏ ﻗﺴﻢ ﺍﻟﻠﹼﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺃﺩ‪‬ﺎ‪ .‬ﻭﻟﻜﻦ ﻟﻴﺲ ﻣﻨﻬﻢ ﻣﻦ ﻳﺒﺤﺚ ﻋﻦ‬

‫‪٨‬‬

‫ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ "ﻭﻟﻠﻤﻮﺕ ﺃﳕﺎﻁ ﺃﺧﺮﻯ" ﳊﻴﺪﺭ ﻗﻔﺔ ﺩﺭﺍﺳﺔ ﻧﻘﺪﻳﺔ ﻧﺴﻮﻳﺔ ﻛﺎﻧﺖ‬
‫ﺃﻭ ﺩﺭﺍﺳﺎﺕ ﺃﺧﺮﻯ‪ .‬ﻟﺬﻟﻚ‪ ،‬ﺗﺮﻳﺪ ﺍﻟﺒﺎﺣﺜﺔ ﺍﻟﺒﺤﺚ ﻋﻨﻬﺎ ﲝﺜﺎ ﻧﻘﺪﻳﺎ ﻧﺴﻮﻳﺎ‪.‬‬

‫ﻩ‪.‬‬

‫ﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ‬
‫ﺇﻥ ﺍﳌﻨﻬﺞ ﺍﻟﺬﻱ ﺗﺴﺘﺨﺪﻣﻪ ﺍﻟﺒﺎﺣﺜﺔ ﰲ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ ﻫﻮ ﻣﻨﻬﺞ‬

‫ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ ﻭﺃﻣﺎ ﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﱵ ﺗﺴﺘﺨﺪﻣﻬﺎ ﻭﺗﻌﺘﻤﺪ ﻋﻠﻰ ﺍﻟﺒﺤﺚ ﺍﳌﻜﺘﱯ ﺃﻱ‬
‫ﻃﺮﻳﻘﺔ ﲨﻊ ﺍﳌﻌﻠﻮﻣﺎﺕ ﻋﻠﻰ ﻣﺎ ﻳﺘﻌﻠﻖ ﺑﺎﳌﻮﺿﻮﻉ ﻣﻦ ﺍﻟﻜﺘﺐ ﻭﺍ‪‬ﻼﺕ ﻭﺍﳉﺮﺍﺋﺪ‬
‫ﻭﺍﻟﺮﺳﺎﺋﻞ‪.‬‬
‫ﻭﺗﻌﺘﻤﺪ ﺍﻟﺒﺎﺣﺜﺔ ﰲ ﺇﺟﺮﺍﺀ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ ﻋﻠﻰ ﻛﺘﺎﺏ ﺍﻟﺪﻟﻴﻞ‬
‫ﺍﻟﺬﻱ ﺃﺻﺪﺭﺗﻪ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﲜﺎﻛﺮﺗﺎ ﺑﻌﻨﻮﺍﻥ‪:‬‬
‫‪“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:‬‬

‫‪٩‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ‪ :‬ﻣﻘﺪﻣﺔ‪ ،‬ﲢﺘﻮﻱ ﻋﻠﻰ ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ‪ ،‬ﻭﲢﺪﻳﺪ ﺍﳌﺸﻜﻠﺔ‪ ،‬ﻭﺍﻟﻐﺮﺽ‬
‫ﻣﻦ ﺍﻟﺒﺤﺚ‪ ،‬ﻭﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺴﺎﺑﻘﺔ‪ ،‬ﻭﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ‪ ،‬ﻭﺧﻄﺔ‬
‫ﺍﻟﺒﺤﺚ‪.‬‬
‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱐ‪ :‬ﶈﺔ ﻋﻦ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﻭﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻯ‪ ،‬ﲢﺘﻮﻱ ﻋﻠﻰ ﻣﻔﻬﻮﻡ‬
‫ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ‪ ،‬ﻭﺃﻧﻮﺍﻉ ﺍﻟﻘﺼﺔ‪ ،‬ﻭﺗﻌﺮﻳﻒ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ‪،‬‬
‫ﻭﺃﻧﻮﺍﻉ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ‪.‬‬
‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﻟﺚ‪ :‬ﶈﺔ ﺳﺮﻳﻌﺔ ﻋﻦ ﺳﲑﺓ ﺣﻴﺪﺭ ﻗﻔﺔ‪ ،‬ﲢﺘﻮﻱ ﻋﻠﻰ ﻣﻮﻟﺪﻩ ﻭﻧﺸﺄﺗﻪ‪،‬‬
‫ﻭﺃﻋﻤﺎﻟﻪ ﺍﻷﺩﺑﻴﺔ‪.‬‬
‫ﺍﻟﺒﺎﺏ ﺍﻟﺮﺍﺑﻊ‪ :‬ﺍﻟﺪﺭﺍﺳﺔ ﺍﻟﻨﺴﻮﻳﺔ ﻟﻠﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ "ﻭﻟﻠﻤﻮﺕ ﺃﳕﺎﻁ ﺃﺧﺮﻯ"‪،‬‬
‫ﻭﲢﺘﻮﻱ ﻋﻠﻰ ﺍﺧﺘﺼﺎﺭ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ‪ ،‬ﻭﺻﻮﺭﺓ ﺍﳌﺮﺃﺓ ﻓﻴﻬﺎ‪،‬‬
‫ﻭﻣﻜﺎﻧﺔ ﺍﳌﺮﺃﺓ ﻓﻴﻬﺎ‪ ،‬ﻭﻣﻮﻗﻒ ﺍﳌﺆﻟﻒ ﻓﻴﻬﺎ‪.‬‬
‫ﺍﻟﺒﺎﺏ ﺍﳋﺎﻣﺲ‪ :‬ﺧﺎﲤﺔ‪ ،‬ﲢﺘﻮﻱ ﻋﻠﻰ ﻧﺘﺎﺋﺞ ﺍﻟﺒﺤﺚ‪ ،‬ﻭﺍﻻﻗﺘﺮﺍﺣﺎﺕ‪.‬‬
‫ﻭﺗﻠﻴﻬﺎ ﺍﳌﺮﺍﺟﻊ ﻭﺍﳌﺼﺎﺩﺭ‪.‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱐ‬
‫ﶈﺔ ﻋﻦ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﻭﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ‬

‫ﺃ‪.‬‬

‫ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ‬

‫‪.١‬‬

‫ﻣﻔﻬﻮﻡ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ‬
‫ﳚﺮﻱ ﺍﻟﻌﺮﻑ ﺑﲔ ﺍﻷﺩﺑﺎﺀ ﻋﻠﻰ ﺃﻥ ﺍﻟﻘﺼﺔ ﻫﻲ ﻣﺎ ﻳﺴﻤﻰ ﰲ ﺍﻷﺩﺏ‬

‫ﺍﻷﻭﺭﻭﰊ ﺑـ‬

‫”‪“Novelle‬‬

‫ﻭﻫﻢ ﻳﺮﻳﺪﻭﻥ ﺑﺬﻟﻚ ﺃﻥ ﺍﻟﻘﺼﺔ ﻫﻲ ﺍﳊﺪ ﺍﻟﻮﺳﻂ ﺑﲔ‬

‫ﺍﻷﻗﺼﻮﺻﺔ ﻭﺍﻟﺮﻭﺍﻳﺔ ﻭﻣﻘﻴﺎﺳﻬﻢ ﰲ ﺫﻟﻚ ﺍﻟﻄﻮﻝ ﻭﺍﻟﻘﺼﺮ‪.‬‬

‫‪١‬‬

‫ﻭﺍﻟﻘﺼﺔ ﻟﻐﺔ ﻣﻦ ﻗﺼﺺ ﺍﳋﱪ ﺃﻭ ﺍﳊﺪﺙ ﺇﺫﺍ ﺳﺎﻗﻪ ﻭﺃﻭﺭﺍﺩﻩ ﲝﺴﺐ‬
‫ﻭﻗﻮﻋﻪ‪ ٢.‬ﻭﻟﻜﻦ ﺍﻟﻘﺼﺔ ﻟﻴﺴﺖ ﳎﺮﺩ ﺍﻷﺣﺪﺍﺙ ﺃﻭ ﺍﻟﺸﺨﺼﻴﺎﺕ‪ ،‬ﺇﳕﺎ ﻫﻲ‬
‫ﺍﻷﺳﻠﻮﺏ ﺍﻟﻔﲏ ﺃﻭ ﻃﺮﻳﻘﺔ ﺍﻟﻌﺮﺽ ﺍﻟﱵ ﺗﺮﺗﺐ ﺍﳊﻮﺍﺩﺙ ﰲ ﻣﻮﺍﺿﻌﻬﺎ‪ ،‬ﻭﲢﺮﻙ‬

‫‪١‬ﳘﺪﺍﱐ ﻋﻠﻲ‪ ،‬ﺭﻭﺍﻳﺎﺕ ﺟﺮﺟﻰ ﺯﻳﺪﺍﻥ ﺍﻟﺘﺎﺭﺧﻴﺔ ﻭﺩﻭﺭﻫﺎ ﰲ ﺍﻟﺮﻭﺍﻳﺔ ﺍﳌﺼﺮﻳﺔ‪) ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ :‬ﻛﻠﻴﺔ ﺍﻷﺩﺏ‬
‫ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﲜﺎﻣﻌﺔ ﺍﻟﻘﺎﻫﺮﺓ‪ ،(١٩٦١ ،‬ﺹ‪.٦‬‬
‫‪٢‬ﺣﻨﺎ ﺍﻟﻔﺎﺧﻮﺭﻱ‪ ،‬ﺍﳉﺪﻳﺪ ﰲ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ‪) ،‬ﺑﲑﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻜﺘﺐ ﺍﻟﻌﺮﺑﻴﺔ‪ ،(١٩٨٤ ،‬ﺹ‪.١٠٥‬‬

‫‪١٠‬‬

‫‪١١‬‬

‫ﺍﻟﺸﺨﺼﻴﺎﺕ ﰲ ﳎﺎﳍﺎ ﲝﺚ ﻳﺸﻌﺮ ﺍﻟﻘﺎﺭﺉ ﺃﻥ ﻫﺬﻩ ﺣﻴﺎﺓ ﺣﻘﻴﻘﺔ ﲡﺮﻱ‪،‬‬
‫ﻭﺣﻮﺍﺩﺙ ﺣﻘﻴﻘﺔ ﺗﻘﻊ‪ ،‬ﻭﺷﺨﺼﻴﺎﺕ ﺣﻘﻴﻘﺔ ﺗﻌﻴﺶ‪.‬‬

‫‪٣‬‬

‫ﺍﻟﻘﺼﺔ ﻗﺪ ﺗﻜﻮﻥ ﻗﺼﲑﺓ ﻭﻗﺪ ﺗﻜﻮﻥ ﻃﻮﻳﻠﺔ ﻃﻮﻻ ﻣ‪‬ﺴﺮﻓﺎ‪ .‬ﻭﺍﻟﻘﺼﺔ‬
‫ﺣﻮﺍﺩﺙ ﳜﺘﺮﻋﻬﺎ ﺍﳋﻴﺎﻝ‪ ،‬ﻭﻫﻲ ‪‬ﺬﺍ ﻋﺮﺽ ﻟﻨﺎ ﺍﻟﻮﺍﻗﻊ ﻛﻤﺎ ﺗﻌﺮﺿﻪ ﺍﻟﻜﺎﺗﺐ ﺍﻟﺬﻱ‬
‫ﻳﺘﺠﻪ ﺍﲡﺎﻫﺎ ﻭﺍﻗﻌﻴﺎ ﰲ ﻗﺼﺘﻪ ﺃﻥ ﻳﻌﺮﺽ ﻟﻨﺎ ﻣﺎ ﺳﺒﻖ ﻭﻗﻮﻋﻪ ﻣﻦ ﺍﳊﻮﺍﺩﺙ ﻓﻌﻼﹰ‪،‬‬
‫ﺃﻭ ﻣﺎ ﺛﺒﺘﺖ ﺻﺤﺘﻪ ﺑﺎﻟﻮﺛﺎﺋﻖ ﻭﺍﳌﺴﺘﻨﺪﺍﺕ‪ ،‬ﻭﻻ ﻣﻦ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻣﺎ ﻟﻪ ﺫﻛﺮ‪ ‬ﰲ‬
‫ﺳِﺠﻼﺕ ﺍﳌﻮﺍﻟﻴﺪ ﻭﺍﻟﻮﻓﻴﺎﺕ‪ ،‬ﻭﻟﻜﻦ ﻋﻠﻴﻪ ﺃﻥ ﻳﻘﻔﻌﻨﺎ ﺑﺈﻣﻜﺎﻥ ﺣﺪﻭﺙ ﻣﺜﻞ ﻫﺬﻩ‬
‫ﺍﳊﻮﺍﺩﺙ ﻭﻭﺟﻮﺩ ﻣﺜﻞ ﻫﺬﻩ ﺍﻟﺸﺨﺼﻴﺎﺕ ﰲ ﺍﳊﻴﺎﺓ ﺍﻟﱵ ﳓﻴﺎﻫﺎ ﻭﻧﻌﺮﻓﻬﺎ‪.‬‬

‫‪٤‬‬

‫ﻗﺎﻝ ﺳﻴﺪ ﻗﻄﺐ‪ :‬ﻫﻨﺎﻙ ﺷﻲﺀ ﺍﲰﻪ ﻗﺼﺔ ﻭﺷﻲﺀ ﺍﲰﻪ ﺭﻭﺍﻳﺔ ﻭﺷﻲﺀ ﺍﲰﻪ‬
‫ﺃﻗﺼﻮﺻﺔ‪ .‬ﻭﺍﻷﻗﺼﻮﺻﺔ ﻗﺼﺔ ﻗﺼﲑﺓ ﺗﺪﻭﺭ ﻋﻠﻰ ﳏﻮﺭ ﻭﺍﺣﺪ ﰲ ﺧﻂ ﺳﲑ ﻭﺍﺣﺪ‬
‫ﺃﻭ ﺣﺎﻟﺔ ﴰﻮﺭﻳﺔ ﻣﻌﻴﻨﺔ ﻭﻻ ﺗﻘﺒﻞ ﺍﻟﺘﺸﻌﺐ ﻭﺍﻻﺳﺘﻄﺮﺍﺩ ﺇﱃ ﻣﻼﺑﺴﺎﺕ ﻛﻞ ﺣﺎﺩﺙ‬
‫ﻭﻇﺮﻭﻑ ﻛﻞ ﺷﺨﺼﻴﺔ ﺇﺫﺍ ﻛﺎﻥ ﺫﻟﻚ ﻳﻮﺟﻪ ﺍﻟﻨﻈﺎﺭ ﺑﻌﻴﺪﺍ ﻋﻦ ﺍﻟﺸﺨﺼﻴﺔ‬

‫‪ ٣‬ﺳﻴﺪ ﻗﻄﺐ‪ ،‬ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ‪ :‬ﺃﺻﻮﻟﻪ ﻭﻣﻨﺎﻫﺠﻪ‪) ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ :‬ﺩﺍﺭ ﺍﻟﺸﺮﻭﻕ‪ ،(١٩٥٩ ،‬ﻁ‪ ، ٣‬ﺹ‪.٧٨‬‬
‫‪ ٤‬ﳏﻤﺪ ﻳﻮﺳﻒ ﳒﻢ‪ ،‬ﻓﻦ ﺍﻟﻘﺼﺔ‪) ،‬ﺑﲑﺕ‪ :‬ﺩﺍﺭ ﺍﻟﺜﻘﺎﻓﺔ‪ ،‬ﺩﺕ(‪ ،‬ﺹ‪.٩‬‬

‫‪١٢‬‬

‫ﺍﻷﺳﺎﺳﻴﺔ ﻭﺍﳊﺎﻟﺔ ﺍﻷﺳﺎﺳﻴﺔ‪ ،‬ﻭﻟﻴﺲ ﺷﺮﻃﺎ ﻋﻨﺪﻩ ﺃﻥ ﺗﻜﻮﻥ ﺍﻷﻗﺼﻮﺻﺔ ﺑﺪﺀ‬
‫ﻭ‪‬ﺎﻳﺔ ﻟﻠﺤﻮﺍﺩﺙ ﻭﻫﻮ ﻳﻔﺮﻕ ﺑﺬﻟﻚ ﺑﲔ ﻣﺎ ﻳﺴﻤﻰ ﺃﻗﺼﻮﺻﺔ ﻭﻣﺎ ﻳﺴﻤﻰ ﺍﻟﻘﺼﺔ‬
‫ﺍﻟﻘﺼﲑﺓ‪.‬‬

‫‪٥‬‬

‫ﻗﺪ ﺗﻌﲎ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﺑﺘﺼﻮﻳﺮ ﺃﻭ ﲢﻠﻴﻞ ﺟﺎﻧﺐ ﻟﺸﺨﺺ‪ ،‬ﺃﻭ ﺗﺼﻮﻳﺮ‬
‫ﻣﻮﻓﻖ ﺃﻭ ﺣﺎﺩﺛﺔ‪ .‬ﻭﻫﺬﺍ ﺍﻟﻨﻮﻉ ﺍﻷﺧﲑ ﻳﻌﺘﻤﺪ ﻋﻠﻰ ﻣﻔﺎﺟﺄﺓ ﺍﻟﻨﻬﺎﻳﺔ‪ ،‬ﻭﻣﻦ ﺍﳋﻄﺮ‬
‫ﺃﻥ ﺗﺄﰐ ﺍﻟﻨﻬﺎﻳﺔ ﻣﻔﺮﻭﺿﺔ ﻣﺘﻌﺴﻔﺔ‪ ،‬ﻛﻤﺎ ﺃﻧﻪ ﻣﻦ ﺍﳋﻄﺮ ﺃﻥ ﻳﻌﺮﻑ ﺍﻟﻘﺎﺭﺉ ‪‬ﺎﻳﺔ‬
‫ﺍﻟﻘﺼﺔ ﻗﺒﻞ ﺑﻠﻮﻏﻬﺎ‪.‬‬

‫‪٦‬‬

‫ﻭﺗﻨﺘﻬﻲ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﻋﺎﺩﺓ ﲟﺎ ﻳﻌﺮﻑ ﺑﻨﻘﻄﺔ ﺍﻟﺘﻨﻮﻳﺮ‪ ،‬ﻭﻫﻲ ﺍﻟﻠﺤﻈﺔ ﺍﻟﱵ‬
‫ﻳﻜﺘﻤﻞ ‪‬ﺎ ﺍﳌﻌﲎ ﺍﶈﺪﺩ ﺍﻟﺬﻯ ﻳﺮﻳﺪ ﺍﻟﻜﺎﺗﺐ ﺍﻹﺑﺎﻧﺔ ﻋﻨﻪ‪ .‬ﻓﻨﻘﻄﺔ ﺍﻟﺘﻨﻮﻳﺮ ﻫﻲ‬
‫ﺍﻟﻘﺎﺩﺭﺓ ﻋﻠﻰ ﺇﻛﻤﺎﻝ ﺍﳌﻌﲎ ﻭﺇﻋﻄﺎﺀ ﺍﻟﻘﺼﺔ ﻣﻐﺰﺍﻫﺎ ﺍﻟﻨﻬﺎﺋﻲ‪.‬‬

‫‪٧‬‬

‫‪ ٥‬ﳘﺪﺍﱐ ﻋﻠﻲ‪ ،‬ﺭﻭﺍﻳﺎﺕ ﺟﺮﺟﻰ ﺯﻳﺪﺍﻥ ﺍﻟﺘﺎﺭﺧﻴﺔ ﻭﺩﻭﺭﻫﺎ ﰲ ﺍﻟﺮﻭﺍﻳﺔ ﺍﳌﺼﺮﻳﺔ‪ ،‬ﺹ ‪.٦‬‬
‫‪ ٦‬ﳏﻤﺪ ﺣﺴﻦ ﻋﺒﺪ ﺍﷲ‪ ،‬ﻣﻘﺪﻣﺔ ﰲ ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ‪) ،‬ﺍﻟﻜﻮﻳﺖ‪ :‬ﺩﺍﺭ ﺍﻟﺒﺤﻮﺙ ﺍﻟﻌﻠﻤﻴﺔ‪ ،(١٩٧٥ ،‬ﺹ‪٢١٧‬‬
‫‪ ٧‬ﳏﻤﺪ ﺣﺴﻦ ﻋﺒﺪ ﺍﷲ‪ ،‬ﻣﻘﺪﻣﺔ ﰲ ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ‪ ،‬ﺹ‪٢١٧‬‬

‫‪١٣‬‬

‫‪.٢‬‬

‫ﺃﻧﻮﺍﻉ ﺍﻟﻘﺼﺔ‬
‫ﻭﺫﻫﺐ ﺑﻌﺾ ﺍﻟﻨﻘﺎﺩ ﺇﱃ ﺃﻥ ﺍﻟﺮﻭﺍﻳﺔ ﻣﻦ ﺃﻧﻮﺍﻉ ﺍﻟﻘﺼﺔ‪ .‬ﻛﻤﺎ ﻗﺴﻢ ﳏﻤﻮﺩ‬

‫ﺫﻫﲏ ﺍﻟﻘﺼﺔ ﰲ ﻛﺘﺎﺑﻪ ﻋﻠﻰ ﺃﺭﺑﻌﺔ ﺃﻧﻮﺍﻉ ‪:‬‬
‫ﺃ(‬

‫ﺍﻟﺮﻭﺍﻳﺔ ﺃﻭ ﺍﻟﻘﺼﺔ ﺍﻟﻄﻮﻳﻠﺔ )‪ ،(Novel-Long story‬ﻋﺪﺩ ﺍﻟﻜﻠﻤﺔ ﻓﻴﻬﺎ ﻳﻜﻮﻥ‬
‫ﺑﲔ ‪ ٤٠،٠٠٠‬ﺇﱃ ‪ ٩٠،٠٠٠‬ﻛﻠﻤﺔ ‪ ،‬ﻭﻋﺪﺩ ﺍﻟﺼﻔﺤﺎﺕ ﻓﻴﻬﺎ ﺑﲔ ‪٢٥٠‬‬
‫ﺇﱃ ‪ ٤٠٠‬ﺻﻔﺤﺔ‪.‬‬

‫ﺏ( ﺍﻟﻘﺼﺔ ﺃﻭ ﺍﻟﺮﻭﺍﻳﺔ ﺍﻟﻘﺼﲑﺓ )‪ ،(Story Novelette‬ﻋﺪﺩ ﺍﻟﻜﻠﻤﺔ ﻓﻴﻬﺎ ﻳﻜﻮﻥ‬
‫ﺑﲔ ‪ ٢٠،٠٠٠‬ﺇﱃ ‪ ٣٠،٠٠٠‬ﻛﻠﻤﺔ ﻭﻋﺪﺩ ﺍﻟﺼﻔﺤﺎﺕ ﻓﻴﻬﺎ ﺑﲔ ‪١٣٠‬‬
‫ﺇﱃ ‪ ١٥٠‬ﺻﻔﺤﺔ‪.‬‬
‫ﺝ( ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ )‪ ،(Short Story‬ﻋﺪﺩ ﺍﻟﻜﻠﻤﺔ ﻓﻴﻬﺎ ﻳﻜﻮﻥ ﺑﲔ ‪٣،٠٠٠‬‬
‫ﺇﱃ ‪ ١٠،٠٠٠‬ﻛﻠﻤﺔ ﻭﻋﺪﺩ ﺍﻟﺼﻔﺤﺎﺕ ﻓﻴﻬﺎ ﺑﲔ ‪ ٢٠‬ﺇﱃ ‪ ٣٠‬ﺻﻔﺤﺔ‪.‬‬

‫‪١٤‬‬

‫ﺩ(‬

‫ﺍﻷﻗﺼﻮﺻﺔ ﺃﻭ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ‪ /‬ﺍﻟﻘﺼﺮﻯ )‪ ،(Storiette-Short story‬ﻋﺪﺩ‬
‫ﺍﻟﻜﻠﻤﺔ ﻓﻴﻬﺎ ﻳﻜﻮﻥ ﺑﲔ ‪ ٥٠٠‬ﺇﱃ ‪ ١،٠٠٠‬ﻛﻠﻤﺔ ﻭﻋﺪﺩ ﺍﻟﺼﻔﺤﺎﺕ ﻓﻴﻬﺎ‬
‫ﺑﲔ ‪ ٤‬ﺇﱃ ‪ ٧‬ﺻﻔﺤﺎﺕ‪.‬‬

‫‪٨‬‬

‫ﻭﻣﻦ ﺍﻟﻨﻘﺎﺩ ﻣﻦ ﳚﻌﻞ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﻭﺍﻷﻗﺼﻮﺻﺔ ﻗﺴﻤﺎ ﻭﺍﺣﺪﺍ ﻣﺎﺩﺍﻡ‬
‫ﺍﻟﻔﺮﻕ ﺑﻴﻨﻬﻤﺎ ﻣﻦ ﺣﻴﺚ ﺍﻟﻄﻮﻝ ﻏﲑ ﳏﺪﻭﺩ‪ .‬ﻭﻋﻠﻰ ﻫﺬﺍ ﺗﻜﻮﻥ ﺍﻟﻘﺼﺔ ﻗﺴﻤﲔ‬
‫ﻓﻘﻂ ﳘﺎ‪ :‬ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﻭﺍﻟﻘﺼﺔ ﺍﻟﻄﻮﻳﻠﺔ ﺃﻭﺍﻟﺮﻭﺍﻳﺔ‪.‬‬

‫‪٩‬‬

‫ﻭﺗﻌﺪ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﲑﺓ ﺃﻛﺜﺮ ﺍﻷﻧﻮﺍﻉ ﺍﻷﺩﺑﻴﺔ ﺭﻭﺍﺟﺎ‪ ،‬ﻭﻫﻲ ‪‬ﺪﻑ ﺇﱃ‬
‫ﺗﺼﻮﻳﺮ ﺃﻥ ﺗﻜﻮﻥ ﻟﻪ ﺑﺪﺍﻳﺔ ﻭﻭﺳﻂ ﻭ‪‬ﺎﻳﺔ ﲝﺚ ﺗﻘﻮﻡ ﺑﻴﻨﻬﺎ ﻋﻼﻗﺔ ﻋﻀﻮﻳﺔ‪ ،‬ﻭﲤﺘﺎﺯ‬
‫ﺑﻘﺼﺮ ﺑﻴﺌﺘﻴﻬﺎ ﺍﳌﻜﺎﻧﻴﺔ ﻭﺍﻟﺰﻣﺎﻧﻴﺔ‪ ،‬ﻭﺷﺪﺓ ﺗﺮﻛﻴﺰﻫﺎ‪.‬‬

‫‪٨‬ﳏﻤﻮﺩ ﺫﻫﲏ‪ ،‬ﺗﺬﻭﻕ ﺍﻷﺩﺏ‪ :‬ﻃﺮﻗﻪ ﻭﻭﺳﺎﺋﻠﻪ‪) ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ :‬ﻣﻜﺘﺒﺔ ﺍﻷﳒﻠﻮ ﺍﳌﺼﺮﻳﺔ‪ ،(١٩٨٢ ،‬ﺹ‪١٢٧‬‬
‫ﻭ‪.١٣٧‬‬
‫‪ ٩‬ﺑﺪﻭﻱ ﻃﺒﺎﻧﺔ‪ ،‬ﺩﺭﺍﺳﺎﺕ ﰲ ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﺍﻟﻌﺮﰊ ﻣﻦ ﺍﳉﺎﻫﻠﻴﺔ ﺇﱃ ‪‬ﺎﻳﺔ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﻟﺚ‪) ،‬ﺍﻟﻘﺎﻫﺮﺓ‪:‬‬
‫ﻣﻜﺘﺒﺔ ﺍﻷﳒﻠﻮ ﺍﳌﺼﺮﻳﺔ‪ ،(١٩٦٥ ،‬ﻁ‪ ،٤‬ﺹ ‪.١٢٩‬‬

‫‪١٥‬‬

‫ﺏ‪ .‬ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ‬
‫‪.١‬‬

‫ﺗﻌﺮﻳﻒ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ‬
‫ﻣﺼﻄﻠﺢ ﺍﻟﻨﺴﻮﻳﺔ ﻣﻌﺮ‪‬ﺏ ﳌﺼﻄﻠﺢ‬

‫‪Feminisme‬‬

‫ﰲ ﺍﻹﳒﻠﻴﺰﻳﺔ ﺍﻟﱵ ﻳﺮﺍﺩ ﺑﻪ‬

‫ﺍﳊﺮﻛﺔ ﺍﻟﱵ ﺗﺴﻌﻰ ﻟﺮﻓﻊ ﻭﺇﻋﺎﺩﺓ ﺣﻘﻮﻕ ﺍﳌﺮﺃﺓ‪ .‬ﻭﺍﳍﺪﻑ ﺍﳊﻘﻴﻘﻲ ﻣﻦ ﻫﺬﻩ‬
‫ﺍﳊﺮﻛﺔ ﻫﻮ ﺍﻟﺘﻮﺍﺯﻥ ﺑﲔ ﺍﳉﻨﺴﲔ ﰲ ﺍﳌﻌﺎﻣﻠﺔ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‪ .‬ﻭﰲ ﻣﻌﻨﺎﻫﺎ ﺍﻷﻭﺳﻊ ﺇﻥ‬
‫ﺍﻟﻨﺴﻮﻳﺔ ﻫﻲ 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.‬‬
‫ﺇﻥ ﺍﻟﻨﺴﻮﻳﺔ –ﻛﻤﺎ ﻗﺎﻟﺘﻪ ﺳﻮﻏﻴﻬﺎﺳﺘﻮﰐ‪" -‬ﺗﺸﻤﻞ ﻣﻔﻬﻮﻡ ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ‬
‫ﺍﻟﻨﺴﻮﻱ ﺇﺫ ﺃﻧﻪ ﺩﺭﺍﺳﺔ ﺃﺩﺑﻴﺔ ﺗﺘﺨﺬ ﺍﳌﺮﺃﺓ ﻛﻤﻮﺿﻮﻋﻬﺎ ﺍﻟﺘﺤﻠﻴﻠﻲ"‪.‬‬
‫ﻛﻮﻟﻮﺩﱐ‬

‫‪Kolodny‬‬

‫‪١٠‬‬

‫ﻭﻟﻜﻦ‬

‫ﺣﺪ‪‬ﺩﻩ ﺑﺄﻥ ﺍﳍﺪﻑ ﺍﻷﺳﺎﺳﻲ ﻣﻦ ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﺍﻟﻨﺴﻮﻱ ﻫﻮ‬

‫ﻣﺴﺎﻋﺪﺓ ﺍﻟﻘﺮ‪‬ﺍﺀ ﰲ ﻓﻬﻢ ﻭﺗﻔﺴﲑ ﻭﺗﻘﻮﱘ ﺍﻟﻘﺼﺺ ﺍﳌﺮﻭﻳﺔ ﻟﻠﻜﺎﺗﺒﺎﺕ‪.‬‬

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‫‪١٠‬‬

‫‪Sugihastuti, Wanita di Mata Wanita: Perspektif Sajak-Sajak Toety Heraty, (Bandung:‬‬
‫‪Yayasan Nuansa Cendekia, ٢٠٠٠), Cet.ke-١, h.٣٧.‬‬
‫‪١١‬‬
‫‪Soenardjati Djajanegara, Kritik Sastra Feminis: Sebuah Pengantar, (Jakarta: Gramedia‬‬
‫‪Pustaka Utama, ٢٠٠٣) Cet. ke-٢, h.٢٣‬‬

‫‪١٦‬‬

‫ﻭﻣﻊ ﻫﺬﺍ ﻓﺈﻥ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ ﻟﻴﺲ ﺑﺎﻟﻨﻘﺪ ﻟﻠﻨﺴﺎﺀ ﺃﻭ ﺍﻟﻨﻘﺪ ﻋﻦ ﺍﻟﻨﺴﺎﺀ ﺃﻭ‬
‫ﺍﻟﻨﻘﺪ ﻋﻦ ﻣﺆﻟﻔﺎﺕ ﺍﻟﻜﻮﺍﺗﺐ ﻓﺤﺴﺐ‪ ،‬ﻭﻟﻜﻨﻨﺎ ﻧﺴﺘﻄﻴﻊ ﺃﻥ ﻧﻘﻮﻝ ﺃﻥ ﺍﻟﻨﻘﺪ‬
‫ﺍﻟﻨﺴﻮﻱ ﻫﻮ ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﺑﺎﻟﻮﻋﻲ ﺍﳋﺎﺹ ﻭﺃﻥ ﺍﳉﻨﺲ ﺍﻟﻨﺴﻮﻱ ﺫﻭ ﻋﻼﻗﺔ ﻭﺛﻴﻘﺔ‬
‫ﺑﺎﻟﺜﻘﺎﻓﺔ ﻭﺍﻷﺩﺏ ﻭﺍﳊﻴﺎﺓ‪.‬‬

‫‪١٢‬‬

‫ﻗﺎﻝ ﺍﻟﺪﻛﺘﻮﺭ ﺇﺑﺮﺍﻫﻴﻢ ﳏﻤﻮﺩ ﺧﻠﻴﻞ‪ :‬ﺍﻷﺩﺏ ﺍﻟﻨﺴﻮﻱ ﻫﻮ ﺍﻷﺩﺏ ﺍﻟﺬﻱ‬
‫ﻳﺆﻛﺪ ﻭﺟﻮﺩ ﺇﺑﺪﺍﻉ ﺃﻧﻮﺛﻲ ﻭﺁﺧﺮ ﺫﻛﻮﺭﻱ ﻟﻜﻞ ﻣﻨﻬﻤﺎ ﻫﻮﻳﺘﻪ ﻭﻣﻼﳏﻪ ﺍﳋﺎﺻﺔ‬
‫ﻭﻋﻼﻗﺘﻪ ﲜﺬﻭﺭ ﺛﻘﺎﻓﺔ ﺍﳌﺒﺪﻉ ﻭﻣﻮﺭﻭﺛﻪ ﺍﻻﺟﺘﻤﺎﻋﻲ ﻭﺍﻟﺜﻘﺎﰲ‪ .‬ﻓﺎﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ ﻫﻮ‬
‫ﻛﻞ ﻧﻘﺪ ﻳﻬﺘﻢ ﺑﺪﺭﺍﺳﺔ ﺗﺎﺭﻳﺦ ﺍﳌﺮﺃﺓ ﻭﳝﻴﻞ ﻫﺬﺍ ﺍﻟﻨﻘﺪ ﺇﱃ ﺍﻟﺘﺮﻛﻴﺰ ﻋﻠﻰ ﻋﺎﱂ ﺍﳌﺮﺃﺓ‬
‫ﺍﻟﺪﺍﺧﻠﻲ ﲟﺎ ﻓﻴﻪ ﻣﻦ ﺍﻷﻣﻮﺭ ﺍﻟﺸﺨﺼﻴﺔ‪ ،‬ﻭﺍﻟﻌﺎﻃﻔﻴﺔ‪ ،‬ﻭﲡﻠﻴﺔ ﻫﺬﺍ ﺍﳉﺎﻧﺐ ﻣﻦ‬
‫ﺧﻼﻝ ﺍﻟﻘﺮﺍﺀﺓ ﺍﻟﻨﻘﺪﻳﺔ ﻷﻋﻤﺎﻝ ﺍﳌﺮﺃﺓ ﰲ ﺍﻟﺮﻭﺍﻳﺔ‪ ،‬ﻭﺍﻟﻘﺼﺔ ﺧﺎﺻﺔ‪.‬‬

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‫ﻧﻈﺮﺍ ﻟﻠﺒﻴﺎﻥ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﺇﻥ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ ﻳ‪‬ﺒﲎ ﻋﻠﻰ ﺃﺳﺎﺱ ﺍﳊﺮﻛﺎﺕ‬
‫ﺍﻟﻨﺴﻮﻳﺔ‪ ،‬ﻭﻳ‪‬ﺘ‪‬ﺠﻪ ﺇﱃ ﺍﻟﻘﺮﺍﺀﺓ ﻣﺜﻞ ﻗﺮﺍﺀﺓ ﺍﳌﺮﺃﺓ "‪ ." reading as a woman‬ﻓﻼﺑﺪ ﻟﻨﺎﻗﺪٍ‬

‫‪Sugihastuti dan Suharto, Kritik Sastra Feminis; Teori dan Aplikasinya, h.٥‬‬

‫‪١٢‬‬

‫‪ ١٣‬ﺩ‪.‬ﺇﺑﺮﺍﻫﻴﻢ ﳏﻤﻮﺩ ﺧﻠﻴﻞ‪ ،‬ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﺍﳊﺪﻳﺚ‪ :‬ﻣﻦ ﺍﶈﺎﻛﺎﺓ ﺇﱃ ﺍﻟﺘﻔﻜﻴﻚ‪ ،‬ﺹ ‪١٣٧- ١٢٤‬‬

‫‪١٧‬‬

‫ﻧﺴﻮﻱ ﺃﻥ ﻳﻔﻬﻢ ﺍﻷﻋﻤﺎﻝ ﺍﻷﺩﺑﻴﺔ ﺧﺎﺻﺔ ﻋﻠﻰ ﺃﻥ ﺍﳉﻨﺲ ﻟﻪ ﻋﻼﻗﺔ ﻣﺒﺎﺷﺮﺓ ﺑﻘﻀﻴﺔ‬
‫ﺍﻟﻨﻘﺪ ﻭﺍﻷﻳﺪﻳﻮﻟﻮﺟﻴﺎ ﻭﺍﳋﱪﺓ‪ ،‬ﻷﻥ ﺍﻟﻔﺮﻕ ﺍﳉﻨﺴﻲ ﻳﺄﺛﺮ ﰲ ﺍﻟﻜﺘﺎﺑﺔ ﺃﻭ ﺍﻟﻘﺼﺔ‪.‬‬

‫‪.٢‬‬

‫‪١٤‬‬

‫ﺃﻧﻮﺍﻉ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ‬
‫ﻳﻨﻘﺴﻢ ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﺍﻟﻨﺴﻮﻱ ﺇﱃ ﺳﺘﺔ ﺃﻧﻮﺍﻉ‪ ،‬ﻭﻫﻲ‪:‬‬

‫ﺃ(‬

‫ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﺍﻟﻨﺴﻮﻱ ﺍﻷﻳﺪﻳﻮﻟﻮﺟﻲ ‪.Kritik Sastra Feminis-Ideologis‬‬
‫ﻫﺬﺍ 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 ﲡﻌﻞ ﺍﳌﺮﺃﺓ ‪-‬ﻛﺜﲑﺍ‪-‬‬
‫ﻣﻬﻤﻠﺔ ﰲ ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ‪.‬‬

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‫ﺏ( ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ﺍﻟﻨﺴﻮﻱ ﺍﻟﻨﻮﻋﻲ ‪ .Kritik Sastra Feminis-Ginokritis‬ﺇﻥ ﻫﺬﺍ‬
‫ﺍﻟﻨﻘﺪ ﻳﻘﻮﻡ ﺑﺎﻟﺪﺭﺍﺳ�