Riwayah ma'satu zaerab li alu ahmad Bakatsir Dirosatun naqdiyatun hiswiyatun

‫ﺭﻭﺍﻳﺔ ﻣﺄﺳﺎﺓ ﺯﻳﻨﺐ ﻟﻌﻠﻲ ﺃﲪﺪ ﺑﺎﻛﺜﲑ‬
‫ﺩﺭﺍﺳﺔ ﻧﻘﺪﻳﺔ ﻧﺴﻮﻳﺔ‬
‫ﲝﺚ‬
‫ﻣﻘﺪﻡ ﺇﱃ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ‬
‫ﺍﳊﻜﻮﻣﻴﺔ ﺟﺎﻛﺮﺗﺎ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺪﺭﺟﺔ ﺍﳉﺎﻣﻌﻴﺔ ﺍﻷﻭﱄ ) ‪(S.S‬‬

‫ﺇﻋﺪﺍﺩ‬
‫ﺧﲑﺍﻥ ﻓﺠﺮﻳﺔ‬
‫ﺭﻗﻢ ﺍﻟﺘﺴﺠﻴﻞ‪١٠٧٠٢١٠٠٣٧١٥ :‬‬

‫ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍ‪‬ﺎ‬
‫ﺑﻜﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ‬
‫ﲜﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ‬
‫ﺟﺎﻛﺮﺗﺎ‬
‫‪٢٠١٢‬ﻡ ‪١٤٣٢/‬ﻫـ‬

‫ﺭﻭﺍﻳﺔ ﻣﺄﺳﺎﺓ ﺯﻳﻨﺐ ﻟﻌﻠﻲ ﺃﲪﺪ ﺑﺎﻛﺜﲑ‬
‫ﺩﺭﺍﺳﺔ ﻧﻘﺪﻳﺔ ﻧﺴﻮﻳﺔ‬
‫ﲝﺚ‬
‫ﻣﻘﺪﻡ ﺇﱃ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ‬
‫ﺍﳊﻜﻮﻣﻴﺔ ﺟﺎﻛﺮﺗﺎ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺪﺭﺟﺔ ﺍﳉﺎﻣﻌﻴﺔ ﺍﻷﻭﱃ ) ‪( S.S‬‬

‫ﺇﻋﺪﺍﺩ‬
‫ﺧﲑﺍﻥ ﻓﺠﺮﻳﺔ‬
‫ﺭﻗﻢ ﺍﻟﺘﺴﺠﻴﻞ‪١٠٧٠٢١٠٠٣٧١٥:‬‬
‫ﲢﺖ ﺇﺷﺮﺍﻑ‬

‫) ﺳﱵ ﺃﻣﺼﺎﺭﻳﺔ ﺍﳌﺎﺟﺴﺘﲑ (‬

‫ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍ‪‬ﺎ‬
‫ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ‬
‫ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ‬
‫ﺟﺎﻛﺮﺗﺎ‬
‫‪٢٠١٢‬ﻡ ‪١٤٣٣/‬ﻫـ‬
‫ﺃ‬

‫ﺗﺼﺮﻳﺢ ﺍﻟﺒﺎﺣﺜﺔ‬
‫ﰱ ﻫﺬﻩ ﺍﳌﻨﺎﺳﺒﺔ ﺻﺮﺣﺖ ﺑﺄﻥ‪:‬‬
‫‪.١‬‬

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

‫‪.٢‬‬

‫ﻛﻞ ﺍﳌﺮﺍﺟﻊ ﺍﻟﱴ ﺍﺳﺘﻌﻤﻠﺘﻬﺎ ﰱ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻗﺪ ﻭﺿﻌﺘﻬﺎ ﺣﺴﺐ‬
‫ﺍﻟﻘﺮﺍﺭﺍﺕ ﺍﳌﻮﺟﻮﺩﺓ ﲜﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﲜﺎﻛﺮﺗﺎ‬

‫‪.٣‬‬

‫ﺇﺫﺍ ﻛﺎﻥ ﺍﻟﺒﺤﺚ ﻣﻦ ﻏﲑ ﺇﻋﺪﺍﺩﻱ ﻭﺗﻮﺟﺪ ﻓﻴﻪ ﺍﻧﺘﺤﺎﻝ ﻻﺁﺭﺍﺀ ﺍﻟﻐﲑ ﺩﻭﻥ‬
‫ﺫﻛﺮﻩ ﻓﺄﺳﺘﻌﺪ ﺃﻥ ﺃﺳﺘﻠﻢ ﻛﻞ ﺍﻟﻌﻘﻮﺑﺎﺕ ﺍﻟﱴ ﻗﺮﺭ‪‬ﺎ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ‬
‫ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﲜﺎﻛﺮﺗﺎ‪.‬‬
‫ﺟﺎﻛﺮﺗﺎ‪ ١٠،‬ﻳﻨﺎﻳﺮ ‪ ٢٠١٢‬ﻡ‬

‫ﺧﲑﺍﻥ ﻓﺠﺮﻳﺔ‬

‫ﺏ‬

‫ﺝ‬

‫ﲡﺮﻳﺪ‬

‫ﺧﲑﺍﻥ‪ ،‬ﺭﻗﻢ ﺍﻟﺘﺴﺠﻴﻞ‪ ،١٠٧٠٢١٠٠٣٧١٥ :‬ﺭﻭﺍﻳﺔ ﻣﺄﺳﺎﺓ ﺯﻳﻨﺐ ﻟﻌﻠﻲ ﺃﲪﺪ‬
‫ﺑﺎﻛﺜﲑ ) ﺩﺭﺍﺳﺔ ﻧﻘﺪﻳﺔ ﻧﺴﻮﻳﺔ (‬
‫ﺭﻭﺍﻳﺔ ﻣﺄﺳﺎﺓ ﺯﻳﻨﺐ ﻫﻲ ﺭﻭﺍﻳﺔ ﺗﺎﺭﺧﻴﺔ ﻳﻘﺺ ﻣﺼﺮ ﺍﻟﺴﻨﺔ ‪ ،١٨٠١-١٨٠٠‬ﺣﻴﺚ ﺃﻥ ﻣﺼﺮ‬
‫ﺣﻴﻨﺌﺬ ﲢﺖ ﺣﻜﻢ ﻓﺮﻧﺴﺎ‪ .‬ﻛﺎﻥ ﺍﳌﺴﺘﻌﻤﺮ ﻗﺎﻡ ﺑﺎﻟﺴﻴﺎﺳﺔ ﺍﳌﺨﺘﻠﻔﺔ ﰲ ﻫﺪﻡ ﺍﻹﺳﻼﻡ ﻭ ﺳﻴﻄﺮﺓ ﻣﺼﺮ‪.‬‬
‫ﰲ ﻫﺬﺍ ﺍﻟﺼﺪﺩ‪ ،‬ﻛﺸﻔﺖ ﺍﻟﻘﺼﺔ ﻋﻦ ﺣﺮﻛﺔ ﺍﳌﺮﺃﺓ ﰲ ﻣﺼﺮ ﻫﻲ ﺯﻳﻨﺐ ﺍﻟﱴ ﺟﺎﻫﺪﺕ ﰲ ﺩﻓﺎﻉ ﻋﻦ‬
‫ﺍﺳﺘﻘﻼﻝ ﺍﻟﺸﻌﺐ‪ .‬ﺭﻭﺍﻳﺔ ﻣﺄﺳﺎﺓ ﺯﻳﻨﺐ ﺇﺣﺪ ﻣﻦ ﺍﻷﻋﻤﺎﻝ ﺍﻷﺩﺑﻴﺔ ﻋﻠﻲ ﺃﲪﺪ ﺑﺎﻛﺜﲑ‪ ،‬ﺍﻟﱴ ﻛﺘﺒﺖ ﰲ‬
‫ﺍﻟﺴﻨﺔ ‪.١٩٦٧‬‬
‫ﰱ ﻫﺬﺍ ﺍﻟﺼﺪﺩ‪ ،‬ﺃﺭﺍﺩﺕ ﺍﻟﺒﺎﺣﺜﺔ ﺃﻥ ﺗﺒﺤﺚ ﺭﻭﺍﻳﺔ ﻣﺄﺳﺎﺓ ﺯﻳﻨﺐ ﻟﻌﻠﻲ ﺃﲪﺪ ﺑﺎﻛﺜﲑ ﺑﺎﻟﺪﺭﺍﺳﺔ‬
‫ﺍﻟﻨﻘﺪﻳﺔ ﺍﻟﻨﺴﻮﻳﺔ‪ .‬ﻣﻦ ﺧﻼﻝ ﻫﺬﺍ ﺍﻟﺒﺤﺚ‪ ،‬ﺣﺎﻭﻟﺖ ﺍﻟﺒﺎﺣﺜﺔ ﺃﻥ ﲡﻴﺐ ﺍﻟﺴﺆﻝ‪ :‬ﻛﻴﻒ ﺻﻮﺭﺓ ﺍﳌﺮﺃﺓ‬
‫ﻭﻣﻜﺎﻧﺘﻬﺎ ﰱ ﻫﺬﻩ ﺍﻟﺮﻭﺍﻳﺔ ؟ ﻭﺍﻟﻐﺮﺽ ﻣﻦ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻫﻮ ﻣﻌﺮﻓﺔ ﺻﻮﺭﺓ ﺍﳌﺮﺃﺓ ﻭ ﻣﻜﺎﻧﺘﻬﺎ ﰱ ﻫﺬﻩ‬
‫ﺍﻟﺮﻭﺍﻳﺔ‪.‬‬
‫ﺍﺳﺘﺨﺪﻣﺖ ﺍﻟﺒﺎﺣﺜﺔ ﰱ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻄﺮﻳﻘﺔ ﺍﳌﻜﺘﺒﻴﺔ‪ ،‬ﻓﻬﻲ ﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﱴ ﺗﻘﻮﻡ ﲜﻤﻊ ﺍﳌﻮﺍﺩ‬
‫ﺍﻟﱴ ﺗﺘﻌﻠﻖ ﺑﻪ‪ ،‬ﻫﺬﻩ ﺩﺭﺍﺳﺔ ﻭﺻﻔﻴﺔ ﻧﻮﻋﻴﺔ ﻭﺫﻟﻚ ﺑﺎﺳﺘﺨﺪﺍﻡ ‪‬ﺞ ﺍﻟﻨﺴﻮﻳﺔ‪ .‬ﺑﻌﺪ ﺃﻥ ﲢﻠﻞ ﺍﻟﺒﺎﺣﺜﺔ ﻫﺬﺍ‬
‫ﺍﳌﻮﺿﻮﻉ ﻇﻬﺮﺕ ﻧﺘﺎﺋﺞ ﺍﻟﺒﺤﺚ ﻛﻤﺎ ﻳﻠﻲ ‪:‬‬
‫ﺻﻮﺭﺓ ﺍﳌﺮﺃﺓ ﻭ ﻣﻜﺎﻧﺘﻬﺎ ﺗﻨﻘﺴﻢ ﺇﱃ ﻗﺴﻤﲔ‪ :‬ﺻﻮﺭﺓ ﺍﳌﺮﺃﺓ ﺍﳊﺮﻳﺔ‪ ،‬ﻭﻫﻲ ﺯﻳﻨﺐ )ﺷﺨﺼﻴﺔ‬
‫ﺭﺋﻴﺴﻴﺔ( ﰱ ﻫﺬﻩ ﺍﻟﺮﻭﺍﻳﺔ‪ .‬ﻭ ﺑﻼﻧﺶ )‪) (Bianca‬ﺷﺨﺼﻴﺔ ﺛﺎﻧﻮﻳﺔ(‪ .‬ﺗﺼﻮﺭ ﺯﻳﻨﺐ ﻣﺮﺃﺓ ﺣﺎﺯﻣﺔ‪،‬‬
‫ﺻﺎﺑﺮﺓ‪ ،‬ﺷﺠﺎﻋﺔ‪ ،‬ﻟﻄﻴﻔﺔ‪ ،‬ﺫﻛﻴﺔ‪ ،‬ﲨﻴﻠﺔ ﻭ ﺣﺮﻳﺔ ﳍﺎ ﺭﻋﺎﻳﺔ ﺍﳌﺮﺃﺓ ﻭ ﻭﻃﻨﻴﺔ ﻋﻈﻴﻤﺔ ﺇﱃ ﺷﻌﺒﻬﺎ‪ .‬ﻭﺗﺮﻳﺪ‬
‫ﺯﻳﻨﺐ ﻟﻠﻤﺮﺃﺓ ﺍﳌﺼﺮﻯ ﺍﻵﺧﺮﻯ ﻟﺘﻄﺒﻌﻬﺎ ﺣﺮﺭﻫﻦ ﻣﻦ ﺫﻝ ﺍﳊﺠﺎﺏ ﻭﻣﻬﺎﻧﺔ ﺍﳊﺮﱘ‪ .‬ﻭ ﻛﺬﻟﻚ ﺑﻼﻧﺶ‪.‬‬
‫ﻭ ﺻﻮﺭﺓ ﺍﳌﺮﺃﺓ ﻏﲑ ﺍﳊﺮﻳﺔ‪ ،‬ﻫﻲ ﺯﺑﻴﺪﺓ‪ .‬ﺗﺼﻮﺭ ﰱ ﻫﺬﻩ ﺍﻟﺮﻭﺍﻳﺔ ﺗﺘﺒﻊ ﺯﺑﻴﺪﺓ ﺍﻟﻌﺎﺩﺓ ﺍﳌﺮﻋﻴﺔ ﻣﺼﺮﻱ‬
‫ﲝﺠﺎﺏ‪ .‬ﻟﻴﺴﺖ ﳍﺎ ﺭﻋﺎﻳﺔ ﺍﳌﺮﺃﺓ ﻛﺰﻳﻨﺐ‪.‬‬

‫ﺩ‬

‫ﺷﻜﺮ ﻭﺗﻘﺪﻳﺮ‬
‫ﺑﺴﻢ ﺍﷲ ﺍﻟﺮﲪﻦ ﺍﻟﺮﺣﻴﻢ‬

‫ﺍﳊﻤﺪ ﷲ ﻧﻮﺭ ﺍﳌﺆﻣﻨﲔ ﺑﻜﺘﺎﺑﺔ ﺍﳌﺒﲔ ﻭﺟﻌﻞ ﺍﻟﻘﺮﺁﻥ ﺷﻔﺎﺀ ﳌﺎ ﰱ ﺍﻟﺼﺪﻭﺭ‬
‫ﻭﻫﺪﻯ ﻭﺭﲪﺔ ﻟﻠﻤﺆﻣﻨﲔ‪ ،‬ﻭﺍﻟﺼﻼﺓ ﻭﺍﻟﺴﻼﻡ ﻋﻠﻰ ﺧﺎﰎ ﺍﻷﻧﺒﻴﺎﺀ ﻭﺃﺷﺮﻑ ﺍﳌﺮﺳﻠﲔ‬
‫ﺳﻴﺪﻧﺎ ﳏﻤﺪ ﻧﱯ ﺍﻟﻌﺮﺭﺏ ﻭﺍﻟﻌﺠﻢ ﻭﻋﻠﻰ ﺁﻟﻪ ﺍﻟﻄﻴﺒﲔ ﺍﻷﻃﻬﺎﺭ ﻭﺃﺻﺤﺎﺑﻪ ﺍﳍﺎﺩﻳﻦ‬
‫ﺍﻷﺑﺮﺍﺭ ﻭﻣﻦ ﺗﺒﻌﻬﻢ ﺑﺈﺣﺴﺎﻥ ﺇﱃ ﻳﻮﻡ ﺍﻟﺪﻳﻦ‪ .‬ﺃﻣﺎ ﺑﻌﺪ‬
‫ﻗﺪ ﲤﺖ ﻛﺘﺎﺑﺔ ﻫﺬﺍ ﺍﻟﺒﺤﺖ‪ ،‬ﻭﻟﻮ ﻻ ﻋﻨﺎﻳﺔ ﺍﷲ ﻭﺗﻮﻓﻴﻘﻪ ﻟﻜﺎﻧﺖ ﺍﻟﺒﺎﺣﺜﺔ‬
‫ﻏﲑ ﻗﺎﺩﺭﺓ ﻋﻠﻰ ﺇﲤﺎﻣﻬﺎ ﺍﻟﱴ ﺗﻜﻮﻥ ﺷﺮﻃﺎ ﻣﻦ ﺷﺮﻭﻁ ﺍﳊﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺪﺭﺟﺔ‬
‫ﺍﳉﺎﻣﻌﻴﺔ ﺍﻷﻭﱃ )‪ (s١‬ﺑﻜﻠﻴﺔ 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 ﺍﻟﻌﻠﻤﻰ‪ ،‬ﻓﻤﻦ ﻫﺆﻻﺀ‪:‬‬

‫ﻩ‬

‫‪ .١‬ﻓﻀﻴﻠﺔ ﻋﻤﻴﺪ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺍﻟﺪﻛﺘﻮﺭ ﺍﳊﺎﺝ ﻋﺒﺪ ﺍﻟﻮﺍﺣﺪ‬
‫ﻫﺎﺷﻢ ﺍﳌﺎﺟﺴﺘﲑ‪ ،‬ﻭﺭﺋﻴﺲ ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍ‪‬ﺎ ﺍﻟﺪﻛﺘﻮﺭﺍﻧﺪﻭﺱ ﺃﺩﻧﺞ‬
‫ﺃﺳﺪﺍﺭﻱ ﺍﳌﺎﺟﺴﺘﲑ‪ ،‬ﻭﺳﻜﺮﻳﺘﲑ ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍ‪‬ﺎ ﺍﻟﺪﻛﺘﻮﺭﺍﺓ ﺟﻬﻴﺎ‬
‫ﺑﻮﻭﺍﻧﺎ ﺍﳌﺎﺟﺴﺘﲑ‪ .‬ﻭﲨﻴﻊ ﺍﻷﺳﺎﺗﺬﺓ ﺍﻟﻜﺮﺍﻡ ﺍﻟﺬﻳﻦ ﺑﺬﻟﻮﺍ ﺟﻬﻮﺩﻫﻢ ﰲ ‪‬ﺬﻳﺐ‬
‫ﻭﺗﻌﻠﻴﻢ ﺍﻟﺒﺎﺣﺜﺔ ﺑﺎﻻﺭﺷﺎﺩﺍﺕ ﺍﻟﻘﻴﻤﺔ ﺣﱴ ﻳﺘﻤﻜﻦ ﻣﻦ ﺇﲤﺎﻡ ﺩﺭﺍﺳﺘﻬﺎ ﰲ ﻫﺬﻩ‬
‫ﺍﻟﻜﻠﻴﺔ‪ ،‬ﻓﻠﻬﻢ ﻣﻦ ﺍﷲ ﺗﻌﺎﱃ ﺧﲑ ﺍﳉﺰﺍﺀ‪.‬‬
‫‪ .٢‬ﻓﻀﻴﻠﺔ ﺍﻷﺳﺘﺎﺫﺓ ﺳﱵ ﺃﻣﺼﺎﺭﻳﺔ ﺍﳌﺎﺟﺴﺘﲑ ﻋﻠﻰ ﺍﻋﻄﺎﺋﻬﺎ ﻟﻠﺒﺎﺣﺜﺔ ﻋﻠﻮﻣﻬﺎ‬
‫ﻭﺧﱪﺍ‪‬ﺎ ﻭﺃﻭﻗﺎ‪‬ﺎ ﺍﻟﺜﻤﻴﻨﺔ ﰲ ﺍﻷﺷﺮﺍﻑ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ‪.‬‬
‫‪ .٣‬ﻓﻀﻴﻠﺔ ﺭﺋﻴﺴﺔ ﻣﻜﺘﺒﺔ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻒ ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﲜﺎﻛﺮﺗﺎ‪ ،‬ﻭﻣﻜﺘﺒﺔ‬
‫ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ‪ ،‬ﻭﺭﺋﻴﺴﺔ ﻣﻜﺘﺒﺔ ﻣﻌﻬﺪ ﳏﻤﺪ ﺑﻦ ﺳﻌﻮﺩ‬
‫ﻟﻠﻌﻠﻮﻡ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺍﻹﺳﻼﻣﻴﺔ ﺑﺈﻧﺪﻭﻧﻴﺴﻴﺎ )‪ ،( LIPIA‬ﻭﻣﻜﺘﺒﺔ ﺟﺎﻣﻌﺔ ﺇﻧﺪﻭﻧﻴﺴﻴﺎ‬
‫) ‪.( UI‬‬

‫ﻭﺳﺎﺋﺮ ﻣﻮﻇﻔﻴﻬﺎ ﺍﻟﺬﻳﻦ ﺃﺗﺎﺣﻮﺍ ﱃ ﻓﺮﺻﺔ ﻧﻔﺴﻴﺔ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ‬

‫ﺍﻟﻜﺘﺐ ﺍﻟﱴ ﺻﺎﺭﺕ ﻣﺮﺍﺟﻊ ﻫﺬﺍ ﺍﻟﺒﺤﺚ‪.‬‬
‫‪ .٤‬ﺍﳌﻜﺮﻡ ﺃﰊ ﺳﻮﻏﲑﻱ‪ ،‬ﻭﺍﳌﻜﺮﻣﺔ ﺃﻣﻲ ﻣﻮﺭﻳﺎﺗﻰ‪ ،‬ﺍﻟﻠﺬﺍﻥ ﺭﺑﻴﺎﱐ ﺃﺣﺴﻦ ﺗﺮﺑﻴﺔ‬
‫ﻣﻨﺪ ﺻﻐﺮﻱ ﺣﱴ ﺍﻵﻥ‪ ،‬ﻭﺯﻭﺩﺍﱐ ﺃﺣﺴﻦ ﺍﻟﺰﺍﺩ ﺣﱴ ﺍﲤﻜﻦ ﻣﻦ ﺇﲤﺎﻡ ﺩﺭﺍﺳﱴ‬

‫ﻭ‬

‫ﰲ ﻫﺬﻩ ﺍﳉﺎﻣﻌﺔ‪ ،‬ﻓﻌﺴﻰ ﺍﷲ ﺃﻥ ﳚﺰﻳﻬﻤﺎ ﺧﲑ ﺍﳉﺰﺍﺀ ﻭﻳﺒﺎﺭﻙ ﻓﻴﻬﻤﺎ‬
‫ﺑﺎﻟﺴﻼﻣﺔ ﰲ ﺍﻟﺪﻧﻴﺎ ﻭﺍﻵﺧﺮﺓ‪ .‬ﻭﻷﺧﻲ ﺍﻟﻜﺒﲑ ﺃﻟﻮﻱ ﺳﺎﻓﺘﺮﺍ ﻭﺃﺭﻟﻦ ﻭﻳﺪﺭﺗﺎ‬
‫ﻭﺃﺧﻲ ﺍﻟﺼﻐﲑﺓ ﺃﲪﺪ ﺃﻓﻮﻧﺪﻯ ﻭﺟﺎﻱ‪.‬‬
‫‪ .٥‬ﲨﻴﻊ ﺍﻹﺧﻮﺍﻥ ﻭﺍﻷﺧﻮﺍﺕ ﺍﻟﺬﻳﻦ ﻗﺪ ﺩﻓﻌﻮﱐ ﻭﻛﺬﻟﻚ ﺍﺻﺪﻗﺎﺀ ﻃﻼﺏ‬
‫ﻗﺴﻤﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍ‪‬ﺎ ﺍﻟﺬﻳﻦ ﻗﺪ ﺳﺎﻋﺪﻭﱐ ﰲ ﺍﲤﺎﻡ ﻫﺬﺍ ﺍﻟﺒﺤﺚ‬
‫ﺍﻟﻌﻠﻤﻰ ﺧﺼﻮﺻﺎ ﻣﻮﻟﺪﺍ ﺭﲪﻨﻴﺎﺭ ﺍﻟﻮﺗﲎ‪ ،‬ﻓﺎﺋﻤﺔ‪ ،‬ﻧﻮﺭﻟﻴﻠﻰ‪،‬ﻭﺗﺮﻱ‬
‫ﺳﻮﺳﻨﱵ‪،‬ﺃﻭﺗﺎﻣﻰ ﻣﻮﻟﺪﺍ‪،‬ﺃﻭﻣﻰ ﳏﻤﻮﺩﺓ ﻭ ﺃﲪﺪ ﺃﻓﻨﺪﻯ‪ ،‬ﺃﲪﺪ ﻣﻮﻟﻨﺎ‪ ،‬ﺁﺳﻴﻒ‬
‫ﴰﺲ ﺍﻟﺪﻳﻦ‪.‬‬
‫ﻭﺃﺧﲑﺍ‪ ،‬ﺗﺮﺟﻮ ﺍﷲ ﺍﻟﻜﺎﺗﺒﺔ ﺃﻥ ﳚﺰﻳﻬﻢ ﺃﺣﺴﻦ ﺍﳉﺰﺍﺀ‪ ،‬ﻭﻋﺴﻰ ﺃﻥ ﻳﻜﻮﻥ‬
‫ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻰ ﻧﺎﻓﻌﺎ ﻟﻠﺠﻤﻴﻊ‪.‬‬

‫ﺟﺎﻛﺮﺗﺎ‪ ١٠،‬ﻳﻨﺎﻳﺮ ‪٢٠١٢‬‬
‫ﺧﲑﺍﻥ ﻓﺠﺮﻳﺔ‬

‫ﺯ‬

‫ﳏﺘﻮﻳﺎﺕ ﺍﻟﺒﺤﺚ‬
‫ﻣﻮﺍﻓﻘﺔ ﺍﳌﺸﺮﻑ ‪....................................................‬‬

‫ﺃ‬

‫ﺗﺼﺮﻳﺢ ﺍﻟﺒﺎﺣﺜﺔ ‪ ....................................................‬ﺏ‬
‫ﻗﺮﺍﺭ ﳉﻨﺔ ﺍﳌﻨﺎﻗﺸﺔ ﻭﺍﳊﻜﻢ ﻋﻠﻰ ﺍﻟﺒﺤﺚ ‪...............................‬‬

‫ﺝ‬

‫ﲡﺮﻳﺪ ‪.............................................................‬‬

‫ﺩ‬

‫ﺷﻜﺮ ﻭﺗﻘﺪﻳﺮ ‪......................................................‬‬

‫ﻩ‬

‫ﳏﺘﻮﻳﺎﺕ ﺍﻟﺒﺤﺖ ‪...................................................‬‬

‫ﺡ‬

‫ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ‬

‫ﺍﳌﻘﺪﻣﺔ‬
‫ﺃ‪ .‬ﺧﻠﻔﻴﺔﺍﳌﺸﻜﻠﺔ ‪.................................................‬‬

‫‪١‬‬

‫ﺏ‪ .‬ﲢﺪﻳﺪﺍﳌﺸﻜﻠﺔ ‪.................................................‬‬

‫‪٨‬‬

‫ﺝ‪ .‬ﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ ‪............................................‬‬

‫‪٨‬‬

‫ﺩ‪ .‬ﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ ‪.................................................‬‬

‫‪٩‬‬

‫ﻫـ‪ .‬ﺧﻄﺔﺍﻟﺒﺤﺚ ‪..................................................‬‬

‫‪٩‬‬

‫ﺡ‬

‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱏ‬
‫ﺍﻟﺮﻭﺍﻳﺔ ﻭﺗﻄﻮﺭﻫﺎ ﰱ ﻋﻬﺪ ﻋﻠﻲ ﺃﲪﺪ ﺑﺎﻛﺜﲑ‬
‫ﺃ‪ .‬ﻣﻔﻬﻮﻡ ﻭﺗﻄﻮﺭﻫﺎ ﺍﻟﺮﻭﺍﻳﺔ ‪١١ .......................................‬‬
‫‪ .١‬ﻣﻔﻬﻮﻡ ﺍﻟﺮﻭﺍﻳﺔ ‪١١ ...........................................‬‬
‫‪ .٢‬ﺗﻄﻮﺭ ﺍﻟﺮﻭﺍﻳﺔ ﰱ ﻣﺼﺮ ‪١٤ ....................................‬‬
‫‪ .٣‬ﺍﳊﺮﻛﺔ ﺍﻟﻨﺴﺎﺋﻴﺔ ﰱ ﻣﺼﺮ ﻭ ﻛﺘﺎﺑﺔ ﺍﻟﺮﻭﺍﻳﺔ ﻋﻨﻬﺎ ‪١٧ ..............‬‬
‫ﺏ‪ .‬ﻛﺘﺎﺑﺔ ﺍﻟﺮﻭﺍﻳﺔ ﻋﻦ ﺍﳌﺮﺃﺓ ﻭﺣﻴﺎﺓ ﻋﻠﻲ ﺃﲪﺪ ﺑﺎﻛﺜﲑ ‪٢٣ ..................‬‬
‫‪ .١‬ﻛﺘﺎﺑﺔ ﺍﻟﺮﻭﺍﻳﺔ ﻟﻌﻠﻲ ﺃﲪﺪ ﺑﺎﻛﺜﲑ ‪٢٧ ............................‬‬
‫‪ .٢‬ﺣﻴﺎﺗﻪ ‪٣٠ ..................................................‬‬
‫‪ .٣‬ﺃﻋﻤﺎﻟﻪ ‪٣٢ ..................................................‬‬

‫ﻁ‬

‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﻟﺚ‬
‫ﶈﺔ ﻋﻦ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻯ‬
‫ﺃ‪ .‬ﻣﻔﻬﻮﻡ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻯ ‪٣٤ .........................................‬‬
‫ﺏ‪ .‬ﺃﻧﻮﺍﻉ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻯ ‪٣٨ ...........................................‬‬

‫ﺝ‪ .‬ﻛﻴﻔﻴﺔ ﺗﻄﺒﻴﻖ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻯ ﰲ ﳎﺎﻝ ﺍﻟﺮﻭﺍﻳﺔ ‪٤٠ ......................‬‬
‫ﺍﻟﺒﺎﺏ ﺍﻟﺮﺍﺑﻊ‬
‫ﺍﻟﺘﺤﻠﻴﻞ ﺍﻟﻨﻘﺪﻱ ﺍﻟﻨﺴﻮﻱ ﻟﻠﺮﻭﺍﻳﺔ "ﻣﺄﺳﺎﺓ ﺯﻳﻨﺐ"‬
‫ﺃ‪ .‬ﺍﻟﺘﺤﻠﻴﻞ ﺍﻟﻨﻘﺪﻱ ﺍﻟﻨﺴﺎﺋﻰ ‪٤١ .......................................‬‬
‫‪ .١‬ﺻﻮﺭﺓ ﺍﳌﺮﺃﺓ ﻭ ﻣﻜﺎﻧﺘﻬﺎ ﰱ ﺭﻭﺍﻳﺔ ﻣﺄﺳﺎﺓ ﺯﻳﻨﺐ‪٤٢ ...............‬‬
‫‪ .٢‬ﻣﻮﻗﻒ ﺍﻟﺮﺟﺎﻝ ﻋﻦ ﺍﳌﺮﺃﺓ ﻓﻴﻬﺎ ‪٤٩ .............................‬‬
‫‪ .٣‬ﻣﻮﻗﻒ ﺍﻟﻜﺎﺗﺐ ﻋﻦ ﺍﳌﺮﺃﺓ ﻓﻴﻬﺎ ‪٥٠ .............................‬‬
‫‪ .٤‬ﻓﻜﺮﺓ ﺍﻟﱵ ﺗﻌﺪ ﺍﻟﻌﺪﻟﺔ ﺍﻟﻨﺴﻮﻳﺔ ‪٥١ ..............................‬‬

‫ﻱ‬

‫ﺍﻟﺒﺎﺏ ﺍﳋﺎﻣﺲ‬
‫ﺧﺎﲤﺔ‬
‫ﺃ‪ .‬ﺍﳋﻼﺻﺔ ‪٥٢ .....................................................‬‬
‫ﺏ‪ .‬ﺍﻻﻗﺘﺮﺍﺣﺎﺕ ‪٥٤ ..................................................‬‬
‫ﺍﳌﺮﺍﺟﻊ ‪٥٥ ...........................................................‬‬

‫ﻙ‬

‫ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ‬

‫ﺍﳌﻘﺪﻣﺔ‬

‫ﺃ‪ .‬ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ‬
‫ﺍﻫﺘﻢ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ ﺑﻨﺸﺮ ﻋﺪﺩ ﻣﻦ ﺍﳌﺼﻄﻠﺤﺎﺕ ﺍﳉﺪﻳﺪﺓ ﻣﻦ ﻣﺜﻞ‬
‫ﻣﺼﻄﻠﺢ ﺍﳉﻨﻮﺳﺔ ‪: Gender:‬ﻭﻳﻌﲏ‪ :‬ﻭﺣﺪﺓ ﺍﻟﻨﻮﻉ ﺍﻟﺒﺸﺮﻱ ـ ﺍﻟﺮﺟﻞ ﻭﺍﳌﺮﺃﺓ ـ‬
‫ﻣﻦ ﺣﻴﺚ ﺃ‪‬ﻤﺎ ﳚﺘﻤﻌﺎﻥ ﻣﻌﺎ ﰲ ﻣﻀﻤﺎﺭ ﺛﻘﺎﰲ ﻭﺍﺣﺪ‪ ،‬ﻭﳛﻤﻼﻥ ﺳﻮﻳﺎ ﻣﺘﺎﻋﺐ‬
‫ﺍﳌﺴﺎﺭ ﺍﻟﺘﺎﺭﳜﻲ ﰲ ﺗﻄﻮﺭ ﺍﳊﻴﺎﺓ ﻭﺍﻟﺮﻗﻲ ‪‬ﺎ‪ ،‬ﻭﺫﻟﻚ ﺭﻏﻢ ﺍﺧﺘﻴﺎﺭ ﺍﳌﺮﺃﺓ ﻟﻠﻘﻴﺎﻡ‬
‫ﲟﻬﻤﺔ ﺍﻟﺘﻮﺍﺻﻞ ﺍﻟﺒﺸﺮﻱ‪ -‬ﺍﻹﳒﺎﺏ ‪-‬ﺩﻭﻥ ﺍﻟﺮﺟﻞ ‪.‬‬
‫ﻭﻳﺘﺮﺗﺐ ﻋﻠﻰ ﻫﺬﺍ‪ ،‬ﺿﺮﻭﺭﺓ ﺍﻟﺘﻔﺮﻗﺔ ﺑﲔ ﺍﳉﻨﺲ ﻭﺍﳉﻨﻮﺳﺔ ‪ ،‬ﻷﺳﺒﺎﺏ‬
‫ﺗﺎﺭﳜﻴﺔ‪ ،‬ﺗﻌﻮﺩ ﺇﱃ ﺣﻘﻴﻘﺔ ﺃﻥ ﺍﻟﺮﺟﻞ ﻫﻮ ﺍﻟﺬﻱ ﺃﻋﻄﻰ ﻣﺼﻄﻠﺢ ﺍﳉﻨﺲ ﻣﻌﻨﺎﻩ‬
‫ﺍﻟﺸﺎﺋﻊ ﺍﻵﻥ‪ :‬ﺫﻟﻚ ﺍﳌﻌﲎ ﺍﻟﺬﻱ ﳛﻤﻞ ﺩﻻﻻﺕ ﲢﻂ ﻣﻦ ﻗﻴﻤﺔ ﺍﳌﺮﺃﺓ ﻛﺈﻧﺴﺎﻥ‪،‬‬
‫‪‬ﺒﻂ ‪‬ﺎ ﺇﱃ ﻣﺴﺘﻮﻯ ﺍﻟﺒﻬﻴﻤﻴﺔ؛ ﺣﻴﺚ ﺭﻓﻀﺖ ﺍﳊﺮﻛﺔ ﺍﻟﻨﺴﻮﻳﺔ ﻫﺬﺍ ﺍﳌﺼﻄﻠﺢ‬
‫)ﺍﳉﻨﺲ )ﻣﻔﻀﻠﺔ ﻋﻠﻴﻪ ﻣﺼﻄﻠﺢ )ﺍﳉﻨﻮﺳﺔ(‪ ،‬ﺑﺎﻋﺘﺒﺎﺭ ﺃﻥ ﺍﳉﻨﻮﺳﺔ ﺃﻗﺪﻡ ﻣﻦ‬
‫ﺍﳉﻨﺲ‪ .‬ﻓﺎﳉﻨﻮﺳﺔ ‪ -‬ﺣﺴﺐ ﻫﺬﺍ ﺍﻟﻘﻮﻝ ـ ﲤﺜﻞ ﻓﻌﻞ ﺍﳊﻴﺎﺓ ﺍﻷﻭﻝ‪ ،‬ﻋﻨﺪﻣﺎ‬
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‫ﻛﺎﻧﺖ ﺍﳌﺮﺃﺓ ﻣﺴﺎﻭﻳﺔ ﻟﻠﺮﺟﻞ ﲤﺎﻣﺎ‪ ،‬ﰲ ﺍﳊﻘﻮﻕ ﻭﺍﻟﻮﺍﺟﺒﺎﺕ‪):‬ﻭﻗﻠﻨﺎ ﻳﺎ ﺁﺩﻡ ﺍﺳﻜﻦ‬
‫ﺃﻧﺖ ﻭﺯﻭﺟﻚ ﺍﳉﻨﺔ ﻭﻛﻼ ﻣﻨﻬﺎ ﺭﻏﺪﺍﹰ ﺣﻴﺚ ﺷﺌﺘﻤﺎ‪ ،‬ﻭﻻ ﺗﻘﺮﺑﺎ ﻫﺬﻩ ﺍﻟﺸﺠﺮﺓ‪،‬‬
‫ﻓﺘﻜﻮﻧﺎ ﻣﻦ ﺍﻟﻈﺎﳌﲔ‪ .‬ﻓﺄﺯﳍﻤﺎ ﺍﻟﺸﻴﻄﺎﻥ ﻋﻨﻬﺎ‪ ،‬ﻓﺄﺧﺮﺟﻬﻤﺎ ﳑﺎ ﻛﺎﻧﺎ ﻓﻴﻪ‪ ،‬ﻭﻗﻠﻨﺎ‬
‫ﺍﻫﺒﻄﻮﺍ ﺑﻌﻀﻜﻢ ﻟﺒﻌﺾ ﻋﺪﻭ‪ ،‬ﻭﻟﻜﻢ ﰲ ﺍﻷﺭﺽ ﻣﺴﺘﻘﺮ ﻭﻣﺘﺎﻉ ﺇﱃ ﺣﻴﺚ ‪.‬‬
‫ﻛﻞ ﺫﻟﻚ ﻗﺒﻞ ﺍﳍﻴﻤﻨﺔ ﺍﻷﺧﲑﺓ ﻟﻠﺮﺟﻞ‪ ،‬ﺗﻠﻚ ﺍﳍﻴﻤﻨﺔ ﺍﻟﱵ ﺣﻮﻟﺖ ﺍﳌﺮﺃﺓ ﺇﱃ‬
‫ﳎﺮﺩ ﺃﺩﺍﺓ ﻟﻠﺠﻨﺲ ﻭﻓﻌﻞ ﺍﻹﻣﺘﺎﻉ ‪.‬ﻭﻗﺪ ﺃﺩﻯ ﺍﳉﺪﻝ ﺣﻮﻝ ﺛﻨﺎﺋﻴﺔ ﺍﳉﻨﺲ‬
‫ﻭﺍﳉﻨﻮﺳﺔ‪ ،‬ﻭﻓﺎﻋﻠﻴﺘﻬﻤﺎ‪ ،‬ﰲ ﺍﻹﺑﺪﺍﻉ ﺍﻟﻨﺴﻮﻱ‪ ،‬ﺇﱃ ﺍﳋﻮﺽ ﰲ ﻏﻤﺎﺭ ﻣﻮﺿﻮﻉ‬
‫)ﺍﻻﺧﺘﻼﻑ( ﻭﻫﻮ ﻣﺼﻄﻠﺢ ﺁﺧﺮ ﺃﺭﻳﺪ ﺑﻪ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺍﺧﺘﻼﻑ ﺍﻟﻜﺘﺎﺑﺔ ﺍﻟﻨﺴﻮﻳﺔ‬
‫ﻋﻦ ﺍﻟﻜﺘﺎﺑﺔ ﺍﻟﺬﻛﻮﺭﻳﺔ‪ ،‬ﺍﻷﻣﺮ ﺍﻟﺬﻱ ﺃﺩﻯ ﺇﱃ ﻇﻬﻮﺭ ﻧﻮﻉ ﻣﻦ ﺍﻟﻜﺘﺎﺑﺔ ﺍﻟﻨﺴﻮﻳﺔ‪،‬‬
‫ﻳﻬﺘﻢ ﺑﺈﺑﺮﺍﺯ ﺍﳋﺼﻮﺻﻴﺔ ﺍﻹﺑﺪﺍﻋﻴﺔ ﻟﻠﻤﺮﺃﺓ ﻣﻦ ﺟﺎﻧﺐ‪ ،‬ﻭﺧﻠﺨﻠﺔ ﺍﳌﻔﺎﻫﻴﻢ ﺍﻟﻘﺎﺭﺓ‬
‫ﺍﻟﱵ ﺛﺒﺘﻬﺎ ﺍﻟﺮﺟﻞ ﻋﻦ ﺍﳌﺮﺃﺓ‪ ،‬ﻃﻮﺍﻝ ﺍﻟﺘﺎﺭﻳﺦ‪ ،‬ﻭﺫﻟﻚ ﻣﻦ ﺧﻼﻝ ﻛﺘﺎﺑﺔ ﻧﺴﻮﻳﺔ‬
‫ﺇﺑﺪﺍﻋﻴﺔ ﻭﺗﺎﺭﳜﻴﺔ‪.١‬‬

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‫ﻣﻦ‪-‬ﻛﺘﺎﺏ‪ -‬ﻣﺎﻟﻮﻥ‪-‬ﻧﻮﻥ‪"-‬ﻷﺩﰊ‪-‬ﺍﻟﻨﻘﺪ‪-‬ﺍﻟﺜﻘﺎﻑ" ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﺬﺓ ﰱ ‪ ١٢‬ﻳﻮﻧﻴﻮ ‪٢٠١١‬‬

‫ﻣﻦ‪http ://fis٢٠٢٠.maktoobllog.com.‬‬

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‫ﺍﳌﺴﺎﻭﺍﺓ ﺑﲔ ﺍﻟﺮﺟﻞ ﻭ ﺍﳌﺮﺃﺓ ﻣﺸﻜﻠﺔ ﻳﻌﺎﱐ ﻣﻨﻬﺎ ﳎﺘﻤﻌﻨﺎ ﻭ ﻛﻞ ﳎﺘﻤﻌﺎﺕ‬
‫ﺍﻟﻌﺎﱂ‪ .‬ﻓﻠﻠﻤﺮﺃﺓ ﺩﻭﺭﻫﺎ ﺍﻟﻔﻌﺎﻝ ﰲ ﳎﺘﻤﻌﻬﺎ ﻛﻤﺎ ﻟﻠﺮﺟﺎﻝ ﺃﻳﻀﺎ ﻭ ﻻ ﺃﻋﺘﻘﺪ ﻭﻻ‬
‫ﺍﺣﺒﺬ ﻫﺬﻩ ﺍﻟﻔﻜﺮﺓ ﺍﻧﻄﻼﻗﺎ ﻣﻦ ﻛﻮ‪‬ﺎ ﻣﻦ ﺟﻨﺲ ﻻ ﳝﺖ ﻟﻶﺧﺮ ﺍﻻ ﺑﺼﻠﺔ ﺍﳊﺐ‬
‫ﻭﺍﻟﻜﻔﺎﺡ ﻣﻦ ﺃﺟﻞ ﻋﺎﺋﻠﺔ ﺳﻌﻴﺪﺓ ﺗﻜﻮﻥ ﺩﻋﺎﻣﺔ ﻟﻮﻃﻦ ﻓﺮﺡ ﺳﻌﻴﺪ‪.‬‬

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‫ﺟﺎﺀ ﺍﻹﺳﻼﻡ ﺑﺎﻟﻌﺪﻝ ﻭﺍﳌﺴﺎﻭﺍﺓ ﺑﲔ ﺍﻟﺬﻛﺮ ﻭﺍﻷﻧﺜﻰ ﻭﺍﺣﺘﺮﺍﻡ ﺍﳌﺮﺃﺓ‪ ،‬ﻓﺮﻓﻊ‬
‫‪‬ﺬﺍ ﻣﻦ ﺷﺄ‪‬ﺎ‪ ،‬ﻭﻣﻨﺤﻬﺎ ﺣﻘﻮﻗﻬﺎ ﻛﺎﻣﻠﺔ‪ ،‬ﻭﻗﺪﺭ ﺇﻧﺴﺎﻧﻴﺘﻬﺎ ﻭﻓﻀﻠﻬﺎ ﻭﺻﻼﺣﻬﺎ‪،‬‬
‫ﻭﺃﻗﺮ ﻣﺸﺎﺭﻛﺘﻬﺎ ﻟﻠﺮﺟﻞ ﰲ ﲨﻴﻊ ﺍﻷﻋﻤﺎﻝ ﻭﺍﻟﺘﻜﺎﻟﻴﻒ ﺇﻻ ﻣﺎ ﻻ ﻳﺘﻔﻖ ﻭﻃﺒﻴﻌﺘﻬﺎ‬
‫ﻭﺃﻧﻮﺛﺘﻬﺎ‪ ،‬ﻓﻠﻬﺎ_ﻛﺎﻟﺮﺟﻞ_ ﺍﳌﺒﺎﻳﻌﺔ ﻋﻠﻰ ﺍﻹﺳﻼﻡ ﻭﺷﺮﺍﺋﻊ ﺍﻟﺪﻳﻦ‪ ،‬ﻭﳍﺎ ﺃﻥ ﺗﺘﻌﻠﻢ‬
‫ﻣﺎ ﲢﺘﺎﺟﻪ ﻣﻦ ﺩﻳﻨﻬﺎ‪ ،‬ﻭﳍﺎ ﺃﻥ ‪‬ﺎﺟﺮ ﺑﺪﻳﻨﻬﺎ ﻣﻦ ﺍﻻﺿﻄﻬﺎﺩ ﺍﻟﻌﺪﻭﺍﱐ‪ ،‬ﻭﳍﺎ ﺃﻥ‬
‫ﺗﺘﺰﻭﺝ ﺑﺮﺿﺎﻫﺎ ﻭﺍﺧﺘﻴﺎﺭﻫﺎ‪ ،‬ﻭﳍﺎ ﺃﻥ ﺗﻄﺎﻟﺐ ﺑﺎﻟﻨﻔﻘﺔ ﻭﺑﺎﻗﻲ ﺍﳊﻘﻮﻕ‪ ،‬ﻭﺃﻥ ﺗﻄﻠﺐ‬
‫ﺍﻟﻄﻼﻕ ﺇﺫﺍ ﺍﻧﺘﻘﺼﺖ ﺣﻘﻮﻗﻬﺎ‪ ،‬ﻭﳍﺎ ﺟﻖ ﺍﻹﺭﺙ ﻣﻦ ﺃﺑﻴﻬﺎ ﻭﺃﻣﻬﺎ ﻭﺯﻭﺟﺘﻬﺎ‬
‫ﻭﺃﺧﻮﺍ‪‬ﺎ ﻭﺑﻨﻴﻬﺎ‪ ،‬ﻭﳍﺎ ﺣﻖ ﺍﻟﻨﻔﻘﺔ ﻭﺍﻟﺴﻜﲎ ﻭﺍﻟﻠﺒﺎﺱ ﺃﻣﺎ ﻭﺯﻭﺟﺔ ﻭﺑﻨﺘﺎ ﻭﺃﺧﺘﺎ‪.‬‬
‫ﻭﳍﺎ ﺃﻥ ﺗﺒﻴﻊ ﻭﺗﺸﺘﺮﻱ ﻭﺗﻌﻤﻞ ﻟﻠﺤﺎﺟﺔ ﻭﺗﺘﺼﺪﻕ ﻭ‪‬ﺐ ﻭﺗﻮﺻﻲ ﻭﺗﺆﺍﺟﺮ‪،‬‬

‫‪ ٢‬ﻋﺒﺪ ﺍﻟﻜﺮﱘ ﺑﻦ ﲪﺪ ﺍﺑﺮﺍﻫﻴﻢ ﺍﳊﻘﻴﻞ‪ ،‬ﻣﻦ ﺃﺩﺏ ﺍﳌﺮﺃﺓ ﺍﻟﺴﻮﺩﻳﺔ ﺍﳌﻌﺎﺻﺮﺓ‪ ،‬ﺑﲑﻭﺕ ‪ :‬ﺍﻟﻄﺒﻌﺔ ﺍﻻﻭﱃ‪،‬‬
‫‪١٤٠٣‬ﻫـ‪ ،‬ﺹ ‪٨١‬‬

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‫ﻭﺃﻭﺻﻰ ﺍﷲ ﻭﺭﺳﻮﻟﻪ ﺹ‪.‬ﻡ‪ .‬ﺑﺎﻹﺣﺴﺎﻥ ﺇﻟﻴﻬﺎ ﻭﻣﻌﺎﺷﺮ‪‬ﺎ ﺑﺎﳌﻌﺮﻭﻑ ﻭﺍﻟﺼﱪ ﻋﻠﻰ‬
‫ﻣﺴﺎﺋﻬﺎ‪ ،‬ﻭﻭﻋﺪ ﻋﻠﻰ ﺫﻟﻚ ﺑﺎﻷﺟﺮ ﺍﳉﺰﻳﻞ ﻭﺍﻟﺜﻮﺍﺏ ﺍﻟﻌﻈﻴﻢ‪.‬‬

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‫ﻭﲜﺎﻧﺐ ﺫﻟﻚ‪ ،‬ﺍﳌﺴﺎﻭﺍﺓ ﺗﺘﻨﺎﻭﻝ ﺍﳌﺴﺎﻭﺍﺓ ﰲ ﺍﻷﺟﺮ‪ ،‬ﻭﻫﻮ ﻣﺒﺪﺃ ﺳﺒﻖ ﺇﻟﻴﻪ‬
‫ﺍﻹﺳﻼﻡ ﻣﻨﺬ ﺍﻟﻘﺪﱘ‪ ،‬ﻭﺍﷲ ﺗﻌﺎﱃ ﻳﻘﻮﻝ ‪) :‬ﻭﻻ ﺗﺒﺨﺴﻮﺍ ﺍﻟﻨﺎﺱ ﺃﺷﻴﺎﺀ ﻫﻢ (‪ .‬ﻓﻼ‬
‫ﻳﺘﺨﺬ ﺍﺧﺘﻼﻑ ﺍﳉﻨﺲ ﻗﺎﻋﺪﺓ ﲣﺘﻠﻒ ‪‬ﺎ ﻗﻴﻤﺔ ﺍﻟﺸﻲﺀ ﺍﻟﻮﺍﺣﺪ‪ .‬ﻭﻟﻜﻦ ﺍﳌﺴﻮﺍﺓ‬
‫ﻋﻨﺪ ﺍﻟﻘﻮﻡ ﻻ ﺗﻘﻒ ﻋﻨﺪ ﻫﺬﺍ‪ ،‬ﺑﻞ ﺗﺮﻳﺪ ﺃﻥ ﲢﻤﻞ ﺍﳌﺮﺃﺓ ﻭﺍﺟﺒﺎﺕ‪ ،‬ﺑﻞ ﺃﺛﻘﺎ ﻻ ﻣﻦ‬
‫ﺃﺛﻘﺎﻝ ﺍﳊﻴﺎﺓ ﺗﺴﺎﻭﻱ ﻣﺎ ﻳﻔﺮﺽ ﻋﻠﻰ ﺍﻟﺮﺟﻞ‪ ،‬ﺑﺎﺳﻢ ﻣﺴﺎﻭﺍﺓ ﺍﳌﺮﺃﺓ ﻣﻊ ﺍﻟﺮﺟﻞ‪،‬‬
‫ﻭﲢﺖ ﺷﻌﺎﺭ ﺣﻖ ﺍﳌﺮﺃﺓ ﰲ ﺍﻟﻌﻤﻞ ﺍﻟﺬﻯ ﻣﻮﻫﻮﺍﺑﻪ ﺣﻘﻴﻘﺔ ﺍﻟﻘﻀﻴﺔ ﻋﻨﺪﻫﻢ ‪ :‬ﻭﻫﻲ‬
‫ﺇﳉﺎﺀ ﺍﳌﺮﺃﺓ ﺇﱃ ﺍﻟﻌﻤﻞ ﺣﱴ ﺗﻜﻔﻞ ﻟﻨﻔﺴﻬﺎ ﺍﻟﻌﻴﺶ‪.‬‬

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‫ﻛﺬﻟﻚ ﺇﻗﺼﺎﺀ ﺍﻟﻌﻨﺼﺮ ﺍﳌﺬﻛﺮ‪ ،‬ﰲ ﺑﺎﺑﻨﺎ ﺍﻟﻘﺎﺩﻡ‪ ،‬ﻭﺇﻥ ﻛﺎﻥ ﺍﳌﺆﻟﻒ ﺍﻟﺬﻱ‬
‫ﻳﺼﻮﻍ ﺍﻟﻜﻼﻡ ﻳﻌﺘﱪ ﻣﻦ ﳐﻠﻔﺎﺕ ﺍﻟﺬﻛﻮﺭﺓ ‪ ،‬ﻭﻟﻜﻦ ﺍﻟﺴﻴﺎﻕ ﻛﺎﻥ ﻫﻮ ﺍﻟﻔﻴﺼﻞ‬
‫ﰲ ﻫﺬﻩ ﺍﳊﺎﻟﺔ ‪.٥‬‬

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‫ﻋﺒﺪ ﺍﷲ ﺍﻟﺘﺎﻟﻴﺪﻱ‪ ،‬ﺍﳌﺮﺃﺓ ﺍﳌﺘﱪﺟﺔ ﻭﺃﺛﺮﻫﺎ ﺍﻟﺸﻲﺀ ﰲ ﺍﻷﻣﺔ ) ﺑﲑﺕ ‪ :‬ﺩﺍﺭ ﺇﺑﻦ ﺣﺰﻡ‪١٩٩٠ ،‬ﻡ‬

‫‪١٤١١/‬ﻩ(‪ ،‬ﺹ‪.١٢-١١ .‬‬
‫‪ ٤‬ﻋﻤﺮ ﺭﺿﺎﻛﺤﺎ‪ ،‬ﺍﳌﺮﺃﺓ ﰲ ﺍﻟﻘﺪﱘ ﻭﺍﳊﺪﻳﺚ‪ ،‬ﺑﲑﻭﺕ ‪ :‬ﻣﺆﺳﺴﺔ ﺍﻟﺮﺳﺎﻟﺔ‪ ، ١٩٧٩ ،‬ﺹ ‪٢٤‬‬
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‫ﻳﺎﺳﺮ‪-‬ﺻﺎﱀ‪-‬ﺍﻟﺒﻬﻴﺠﺎﻥ"ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ ﰲ ﺍﻷﺩﺏ ﻧﺸﺄﺗﻪ ﻭﺃﺑﺮﺯ ﺃﻓﻜﺎﺭ" ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﺬﺓ ﰱ ‪١٠‬‬

‫ﻳﻮﻧﻴﻮ ‪ ٢٠١١‬ﻣﻦ‬

‫‪http://google.com/٩‬‬

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‫ﻭﺗﻌﺘﱪ ﻋﻔﺎﻑ ﻋﺒﺪ ﺍﳌﻌﻄﻲ ﺃﻥ ﺍﻟﻐﺎﻳﺔ ﻣﻦ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ ﻟﻴﺴﺖ ﺃﻥ ﻧﻔﺘﺢ‬
‫ﻟﻠﻨﺴﺎﺀ ﺣﻘﻼ ﳐﺼﻮﺻﺎ ﻣﻦ ﺍﻟﺪﺭﺍﺳﺎﺕ‪ ،‬ﺗﺴﻴﻄﺮﻥ ﻓﻴﻪ ﺩﻭﻥ ﻣﻌﺎﺭﺿﺔ ﺃﻱ‬
‫ﻛﺎﻥ‪،‬ﻭ‪‬ﺘﻤﻤﻦ ﻓﻴﻪ ﺧﺎﺻﺔ ﺑﻨﺼﻮﺹ ﺃﳘﻠﻬﺎ ﺍﻟﺮﺟﺎﻝ‪ ،‬ﻭﺗﺘﻜﻠﻤﻦ ﺣﺴﺐ ﺷﻔﺮﺍﺕ‬
‫ﺧﺎﺻﺔ ‪‬ﻦ‪ ،‬ﻭﻟﻜﻦ ﺃﻭﺳﻊ ﻫﺪﻑ ﻭﺃﺧﻄﺮ ﻟﻠﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ‪ ،‬ﻭﻟﻴﺲ ﻓﻘﻂ ﺇﻋﺎﺩﺓ‬
‫ﺍﻻﻋﺘﺒﺎﺭ ﻟﻺﺑﺪﺍﻉ ﺍﻟﻨﺴﺎﺋﻲ ﻭﺭﻓﻊ ﺍﳌﻈﻠﻤﺔ ﺍﻟﱵ ﺳﺒﺒﺘﻬﺎ ﻟﻪ ﻗﺮﻭﻥ ﻣﻦ ﺍﻟﺘﺎﺭﻳﺦ‪ ،‬ﻓﻬﺬﺍ‬
‫ﻋﻤﻞ ﻻﺑﺪ ﻣﻦ ﺇﳒﺎﺯﻩ‪ ،‬ﺑﻞ ﺍﻟﻐﺎﻳﺔ ﻣﻦ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻱ ﻫﻲ ﺇﺑﺮﺍﺯ ﺃﺳﻄﻮﺭﺓ ﺍﻷﻧﻮﺛﺔ‬
‫ﻭﺇﺩﺍﺭ‪‬ﺎ ﰲ ﺿﻤﲑ ﺍﳉﻤﺎﻋﺔ ﺍﻷﺩﺑﻴﺔ‪ ،‬ﻭﺑﺬﻟﻚ ﺃﺿﻴﻔﺖ ﻏﺎﻳﺔ ﻣﻬﻤﺔ ﺇﱃ ﻏﺎﻳﺔ ﺍﻟﻨﻀﺎﻝ‬
‫ﺍﻟﻨﺴﻮﻱ ﺗﺘﻤﺜﻞ ﰲ ﺍﻟﺒﺤﺚ ﻋﻦ ﺧﺼﻮﺻﻴﺔ ﺍﻷﺩﺏ ﺍﻟﻨﺴﺎﺋﻲ ﻭﻋﻼﻣﺎﺕ ﺍﻷﻧﻮﺛﺔ ﻓﻴﻪ‬
‫ﻟﺘﻤﻴﺰﻫﺎ ﻋﻦ ﻋﻼﻣﺎﺕ ﺍﻟﺬﻛﻮﺭﺓ ﺍﻟﱵ ﺗﻌﺘﱪ ﻋﻼﻣﺎﺕ ﳏﺎﻳﺪﺓ‪ ،‬ﺧﺎﺻﺔ ﻭﺃﻥ ﻫﻨﺎﻙ‬
‫ﺃﻭﺟﺎﻋﺎ ﺧﺎﺻﺔ ﺑﻮﺿﻊ ﺍﳌﺮﺃﺓ ﰲ ﺍ‪‬ﺘﻤﻊ‪ ،‬ﺍﳌﺮﺃﺓ ﺍﻟﻜﺎﺗﺒﺔ ﻓﻘﻂ ﻫﻲ ﺍﻟﱵ ﺗﺴﺘﻄﻴﻊ‬
‫ﺍﻟﺘﻌﺒﲑ ﻋﻨﻬﺎ ﻃﺒﻘﺎ ﳌﺎ ﳝﻜﻦ ﺃﻥ ﳛﺪﺙ ﻣﻦ ﲤﺎﻩ ﺧﺎﺹ ﺑﻴﻨﻬﻢ‪.٦‬‬
‫ﻭﻟﺪ ﺑﺎﻛﺜﲑ ﰲ ﺳﻮﺭﻭﺑﺎﻳﺎ ﰲ ﺃﻧﺪﻭﻧﻴﺴﻴﺎ )ﻋﺎﻡ ‪ ). ١٩١٠‬ﻭﻧﺸﺄ ﰲ‬
‫ﺣﻀﺮﻣﻮﺕ‪ ،‬ﰒ ﻏﺎﺩﺭﻫﺎ ﻋﺎﻡ ‪ ١٩٣٢‬ﺇﺛﺮ ﻭﻓﺎﺓ ﺯﻭﺟﺘﻪ ﻭﻫﻲ ﰲ ﺭﻳﻌﺎﻥ ﺍﻟﺼﺒﺎ ‪.‬‬

‫‪ "٦‬ﻣﻔﻬﻮﻡ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻯ" ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﺬﺓ ﰱ ‪ ١٠‬ﻳﻮﻧﻴﻮ ‪ ٢٠١١‬ﻣﻦ‬

‫‪http://www.google.co.id.‬‬

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‫ﻭﺗﻨﻘﻞ ﺑﲔ ﻋﺪﻥ ﻭﺍﻟﺼﻮﻣﺎﻝ ﻭﺍﳊﺒﺸﺔ ﻭﺍﺳﺘﻘﺮ ﺯﻣﻨﺎﹰ ﰲ ﺍﳊﺠﺎﺯ‪ ،‬ﰒ ﺭﺣﻞ ﺇﱃ‬
‫ﻣﺼﺮ ﻭﻋﺎﺵ ﻓﻴﻬﺎ ﺣﱴ ﺗﻮﰲ ‪‬ﺎ ﻋﺎﻡ ‪.١٩٦٩‬‬
‫ﻓﻘﺪ ﺍﻫﺘﺪﻯ ﺑﺎﻛﺜﲑ ﺇﱃ ﺗﻘﻨﻴﺎﺕ ﻣﺴﺮﺣﻴﺔ ﱂ ﻳﺴﺒﻘﻪ ﺇﻟﻴﻬﺎ ﺃﺣﺪ‪ ،‬ﻓﻘﺪ ﻛﺎﻥ‬
‫ﺃﻭﻝ ﻣﻦ ﻗﺴﻢ ﺍﳌﺴﺮﺣﻴﺔ ﺇﱃ ﻗﺴﻤﲔ ﻛﻤﺎ ﰲ ﻣﺴﺮﺣﻴﺔ |)ﺷﻴﻠﻮﻙ ﺍﳉﺪﻳﺪ( ﻭﺗﺒﻌﻪ‬
‫ﻛﺘﺎﺏ ﺍﳌﺴﺮﺡ ﺍﻟﻌﺮﺏ ﰲ ﺫﻟﻚ‪ ،‬ﻭﻛﺘﺐ ﺍﻟﺜﻼﺛﻴﺔ ﺍﳌﺴﺮﺣﻴﺔ ﻋﻦ ﻏﺰﻭ ﻧﺎﺑﻠﻴﻮﻥ‬
‫)ﺍﻟﺪﻭﺩﺓ ﻭﺍﻟﺜﻌﺒﺎﻥ _ ﺃﺣﻼﻡ ﻧﺎﺑﻠﻴﻮﻥ _ ﻣﺄﺳﺎﺓ ﺯﻳﻨﺐ( ﻭﻛﺘﺐ ﺍﳌﻠﺤﻤﺔ ﺍﳌﺴﺮﺣﻴﺔ‬
‫)ﻣﻠﺤﻤﺔ ﻋﻤﺮ )ﰲ ‪ ١٩‬ﺟﺰﺀﺍﹰ ﻭﺗﻌﺪ ﺛﺎﱐ ﺃﻃﻮﻝ ﻋﻤﻞ ﻣﺴﺮﺣﻲ ﻋﺎﳌﻴﺎﹰ ﺑﻌﺪ‬
‫)ﻣﻠﺤﻤﺔ ﺍﳊﻜﺎﻡ( ﻟﺘﻮﻣﺎﺱ ﻫﺮﺩﻱ‪ ،‬ﻛﺬﻟﻚ ﻳﻌﺪ ﺑﺎﻛﺜﲑ ﺃﻭﻝ ﻣﻦ ﻛﺘﺐ ﺍﳌﺴﺮﺣﻴﺔ‬
‫ﺍﻟﺘﺴﺠﻴﻠﻴﺔ ﰲ ﺍﻷﺩﺏ ﺍﻟﻌﺎﳌﻲ (ﺷﻴﻠﻮﻙ ﺍﳉﺪﻳﺪ _ ‪ (١٩٤٤‬ﻭﻗﺪ ﻇﻬﺮ ﺍﳌﺴﺮﺡ‬
‫ﺍﻟﺘﺴﺠﻴﻠﻲ ﰲ ﺃﻭﺭﻭﺑﺎ ﰲ ﺍﻟﺴﺘﻴﻨﺎﺕ‪.‬‬
‫"ﻣﺄﺳﺎﺓ ﺯﻳﻨﺐ" ﻣﺴﺮﺣﻴﺔ ﺗﺎﺭﳜﺔ‪ ،‬ﺍﳊﻠﻘﺔ ﺍﻟﺜﺎﻟﺜﺔ ﰲ ﺛﻼﺛﻴﺔ ﺍﳊﻤﻠﺔ ﺍﻟﻔﺮﻧﺴﻴﺔ‬
‫ﻋﻠﻰ ﻣﺼﺮ‪ ،‬ﻛﺘﺒﻬﺎ ﺑﺎﻛﺜﲑ ﻋﺎﻡ ‪١٩٦٧‬ﻡ ﻭﻧﺸﺮﺕ ﻋﺎﻡ ‪ ٧.١٩٩٠‬ﻓﻬﺬﻩ ﻫﻲ ﻗﺼﺔ‬
‫ﻣﺮﺃﺓ ﺑﺜﻼﺙ ﳏﺒﺎﺕ‪ :‬ﺣﺒﻬﺎ ﳊﺒﻴﺒﻬﺎ ﻭﺣﺒﻬﺎ ﻟﺸﻌﺒﻬﺎ ﻭﺣﺒﻬﺎ ﷲ‪ .‬ﻭﺗﻠﻚ ﺍﶈﺒﺎﺕ‬
‫ﺍﻟﺜﻼﺙ ﺗﺘﺤﺪ ﻭﺗﻌﻄﻴﻬﺎ ﻗﻮﺓ ﺭﻭﺣﻴﺔ ﻋﻈﻴﻤﺔ‪ .‬ﻗﺼﺔ ﻣﺮﺃﺓ ﻟﻄﻴﻔﺔ‪ ،‬ﺫﻛﻴﺔ‪،‬ﻭﲨﻴﻠﺔ‬
‫‪ ٧‬ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﺬﺓ ﰱ ‪ ١٠‬ﻳﻮﻧﻴﻮ ‪ ٢٠١١‬ﻣﻦ‬

‫‪http://www.aljsad.net‬‬

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‫ﲝﻴﺚ ﲡﻌﻞ ﻧﺎﺑﻠﻴﻮﻥ ﺑﻮﻧﺎﺑﺮﺕ ﳛﺒﻬﺎ ﺣﺐ ﳎﻨﻮﻥ ﻟﻠﻴﻠﻰ ﻭﺣﱴ ﻳﻜﺎﺩ ﻳﺘﺰﻭﺟﻬﺎ‪.‬‬
‫ﻭﻟﻜﻦ ﻣﺴﲑﻫﺎ ﻟﻴﺲ ﻣﺴﲑﺍ ﻣﺴﺘﻘﻴﻤﺎ ﺳﻌﻴﺪﺍ ﻛﻤﺎ ﻭﺭﺩ ﰲ ﻋﺎﱂ ﺍﻷﺳﻄﻮﺭﺓ‪ .‬ﺇﺫﺍ‬
‫ﻧﻈﺮ ﺃﻭﺭﺑﺎ ﺑﻠﺪ‪‬ﺎ ﻣﺜﻞ ﻣﺎﺋﺪﺓ ﺃﻃﻌﻤﺔ ﺷﻬﻴﺔ‪ ،‬ﺷﻌﺮﺕ ﺍﳌﺮﺃﺓ ﺑﺎﻟﻘﻠﻖ‪ ،‬ﺗﺮﻳﺪ ﺗﻨﻬﻴﺾ‬
‫ﺭﻭﺡ ﻭﻃﻨﻴﺔ ﺷﻌﺒﻪ‪ ،‬ﻭﻟﻜﻦ ﺍﻟﻔﺮﺻﺔ ﻻ ﺗﻨﻔﺘﺢ ﳍﺎ‪ .‬ﻓﻴﻠﺰﻣﻬﺎ ﺍﻟﻘﻴﺎﻡ ﺑﺈﻧﺸﺎﺀ ﻧﻔﺎﺫ ﰒ‬
‫ﻧﻔﺎﺫ ﺍﳌﻘﺎﻭﻣﺔ‪ ،‬ﺭﻏﻢ ﺃ‪‬ﺎ ﺷﺨﺼﻴﺔ ﻳﻮﳘﻬﺎ ﺍﻟﻨﺎﺱ ﳐﻄﺌﲔ‪ .‬ﲨﺎﳍﺎ ﻭﺫﻛﺎﻭﻫﺎ‬
‫ﲡﻤﻌﻬﺎ ﺍﳌﺮﺃﺓ ﰲ ﺇﻧﺸﺎﺀ ﻧﻔﺎﺫ ﰒ ﻧﻔﺎﺫ ﺍﳌﻘﺎﻭﻣﺔ‪ ،‬ﺗﻌﺘﻘﺪ ﺃﻥ ﻣﻘﺎﻭﻣﺘﻬﺎ ﻗﺎﺑﻠﺔ ﻟﻠﻨﺠﺎﺡ‪،‬‬
‫ﻭﻻ ﺳﻴﻤﺎ ﺃﻥ ﳍﺎ ﻗﺮﺓ ﻋﲔ ﺍﲰﻬﺎ ﺍﳊﺐ‪.‬‬
‫ﻫﺬﻩ ﺍﻟﺮﻭﺍﻳﺔ ﻫﻲ ﻣﺄﺳﺎﺓ ﺯﻳﻨﺐ ﻟﻌﻠﻰ ﺃﲪﺪ ﺑﺎﻛﺜﲑ‪ ،‬ﻛﺘﺐ ﺑﺎﻛﺜﲑ ﻫﺬﻩ ﺍﻟﺮﻭﺍﻳﺔ ﻋﺎﻡ‬
‫‪ ١٩٦٧‬ﻡ ﻭﻧﺸﺮﺕ ﻋﺎﻡ ‪ ١٩٩٠‬ﻡ‪ ،‬ﻭﺗﺮﲨﻬﺎ ﻫﺪﺍﻳﺔ ﺇﱃ ﺍﻟﻠﻐﺔ ﺍﻹﻧﺪﻭﻧﻴﺴﻴﺔ‬
‫ﳍﺪﺍﻳﺔ‪ ،‬ﺑﻨﺎﺷﺮ‬

‫ﻧﺎﻓﻼ)‪(Navila‬‬

‫‪ ،‬ﻃﺒﻌﺖ ‪ ١‬ﻣﺎﻳﻮ ‪ ٢٠٠٩‬ﺑﺎﳌﻮﺿﻮﻉ‬

‫‪“Tragedi‬‬

‫”‪.Zainab‬‬

‫ﻣﻦ ﻫﺬﻩ ﻹﺷﺎﺭﺓ ﺃﺭﺍﺩﺕ ﺍﻟﺒﺎﺣﺜﺔ ﻧﻘﺪ ﺍﻟﺮﻭﺍﻳﺔ "ﻣﺄﺳﺎﺓ ﺯﻳﻨﺐ" ﻟﻌﻠﻲ ﺃﲪﺪ‬
‫ﺑﺎﻛﺜﲑ ﻣﻦ ﻧﺎﺣﻴﺔ ﻧﺴﻮﻳﺔ ﻭ ﻫﻲ ﺣﺮﻛﺔ ﺗﺘﻄﻠﺐ ﻋﻦ ﺣﻘﻮﻕ ﺍﳌﺮﺃﺓ ﺃﻭ ﺍﳌﺴﺎﻭﺓ ﺑﲔ‬
‫ﺟﻨﺴﲔ ‪.‬‬

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‫ﺏ‪ .‬ﲢﺪﻳﺪ ﺍﳌﺸﻜﻠﺔ‬
‫ﺇﻥ ﺍﳌﻮﺿﻮﻉ ﺍﻟﺬﻯ ﺗﻘﺪﻣﻬﺎ ﺍﻟﺒﺎﺣﺜﺔ ﻭﺍﺳﻊ‪ .‬ﻓﺄﺭﺍﺩﺕ ﺍﻟﺒﺎﺟﺜﺔ ﺃﻥ ﲢﺪﻳﺪ‬
‫ﺍﻟﺒﺤﺚ ﻟﺌﻼ ﳜﺮﺝ ﻣﻦ ﺍﻟﻐﺎﻳﺔ‪ .‬ﻭ ﻳﻘﺘﺼﺮﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻋﻠﻰ ﻣﺎﻳﻠﻰ ‪:‬‬
‫‪ . ١‬ﻛﻴﻒ ﺻﻮﺭﺓ ﺍﳌﺮﺃﺓ ﻭ ﻣﻜﺎﻧﺘﻬﺎ ﰲ ﺭﻭﺍﻳﺔ "ﻣﺄﺳﺎﺓ ﺯﻳﻨﺐ" ؟‬
‫‪ . ٢‬ﻛﻴﻒ ﺭﺃﻯ ﺍﻟﺮﺟﺎﻝ ﻋﻦ ﺍﳌﺮﺃﺓ ﻓﻴﻬﺎ ؟‬
‫‪ .٣‬ﻛﻴﻒ ﻣﻮﻗﻒ ﺍﻟﻜﺎﺗﺐ ﻋﻦ ﺍﳌﺮﺃﺓ ﻓﻴﻬﺎ ؟‬
‫‪ .٤‬ﻣﺎ ﻫﻲ ﻓﻜﺮﺓ ﺍﻟﱵ ﺗﻌﺪ ﺍﻟﻌﺪﻟﺔ ﺍﻟﻨﺴﻮﻳﺔ ؟‬

‫ﺝ‪ .‬ﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺒﺤﺚ‬
‫‪ .١‬ﻣﻌﺮﻓﺔ ﺻﻮﺭﺓ ﺍﳌﺮﺃﺓ ﻭ ﻣﻜﺎﻧﺘﻬﺎ ﰲ ﺭﻭﺍﻳﺔ "ﻣﺄﺳﺎﺓ ﺯﻳﻨﺐ"‬
‫‪ .٢‬ﻣﻌﺮﻓﺔ ﺭﺃﻯ ﺍﻟﺮﺟﺎﻝ ﻋﻦ ﺍﳌﺮﺃﺓ ﻓﻴﻬﺎ‬
‫‪ .٣‬ﻣﻌﺮﻓﺔ ﻣﻮﻗﻒ ﺍﻟﻜﺎﺗﺐ ﻋﻦ ﺍﳌﺮﺃﺓ ﻓﻴﻬﺎ‬
‫‪ .٤‬ﻣﻌﺮﻓﺔ ﻓﻜﺮﺓ ﺍﳌﺮﺃﺓ ﺍﻟﱵ ﺗﻌﺪ ﺍﻟﻌﺪﺍﻟﺔ ﺍﻟﻨﺴﻮﻳﺔ‬

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‫ﺩ‪ .‬ﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ‬
‫ﺃﻣﺎ ﺍﳌﻨﻬﺞ ﺍﻟﺬﻯ ﺳﻠﻜﻪ ﺍﻟﺒﺎﺣﺜﺔ ﰲ ﻛﺘﺎﺑﺔ ﻫﺬ ﺍﻟﺒﺤﺚ ﻫﻮ ﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ‬
‫ﺍﳌﻜﺘﱯ‪،‬ﻭ ﻫﺬﻩ ﺍﻟﺪﺭﺍﺳﺔ ﻫﻲ ﺩﺭﺍﺳﺔ ﻭﺻﻔﻴﺔ ﺍﻟﻨﻮﻋﻴﺔ ﻭﺫﻟﻚ ﺑﺎﺳﺘﺨﺪﺍﻡ ‪‬ﺞ‬
‫ﺍﻟﻨﺴﻮﻳﺔ‪ ،‬ﻟﻜﺸﻒ ﺟﻮﺍﻧﺐ ﺍﳌﺮﺃﺓ ﰱ ﺍﻟﺮﻭﺍﻳﺔ ﻓﻀﻼ ﻋﻦ ﺫﻟﻚ ﺍﻟﺸﺨﺼﻴﺔ ﻋﻦ ﺍﳌﺮﺃﺓ‬
‫ﻭ ﺍﻟﻜﺎﺗﺐ‪ .‬ﻭ ﻗﺎﻣﺖ ﺍﻟﺒﺎﺣﺜﺔ ﺑﺎﺳﺘﺨﺪﺍﻡ‬

‫ﺍﻟﺘﺤﻠﻴﻞ ﺍﶈﺘﻮﻯ)‪.(content analisis‬‬

‫ﻭﺃﻣﺎ ﻃﺮﻳﻘﺔ ﺍﻟﻜﺘﺎﺑﺔ ﻓﺎﻋﺘﻤﺪ ﻋﻠﻰ ﺍﻟﺪﻟﻴﻞ ﺍﻟﺬﻯ ﺃﺻﺪﺭﺗﻪ ﺟﺎﻣﻌﺔ ﺷﺮﻳﻔﺔ‬
‫ﻫﺪﺍﻳﺔ ﺍﷲ ﺍﻹﺳﻼﻣﻴﺔ ﺍﳊﻜﻮﻣﻴﺔ ﺟﺎﻛﺮﺗﺎ ﺍﻟﻜﺘﺎﺑﺔ ﺍﻟﺒﺤﻮﺙ ﻭ ﺍﻟﺮﺳﺎﺋﻞ ﻭﻫﻮ ‪:‬‬
‫‪Pedoman Penulisan Skripsi, Tesis, Dan Disertasi UIN Syarif‬‬
‫‪Hidayatullah Jakarta‬‬

‫ﻫـ‪ .‬ﺧﻄﺔ ﺍﻟﺒﺤﺚ‬
‫ﺗﺴﻬﻴﻼ ﻟﻠﺒﺤﺚ ﻭﺍﻟﺪﺭﺍﺳﺔ ﻓﻘﺴﻤﺖ ﺟﻮﺍﻧﺐ ﺍﳌﻮﺿﻮﻉ ﻋﻠﻰ ﲬﺴﺔ‬
‫ﺃﺑﻮﺍﺏ‪ ،‬ﻭﲢﺘﻮﻯ ﻛﻞ ﻣﻨﻬﺎ ﻋﻠﻰ ﺍﺟﺬﺍﺀ ﻋﺪﻳﺪﺓ ﻭﻫﻰ ‪:‬‬
‫ﺍﻟﺒﺎﺏ ﺍﻷﻭﻝ ‪ :‬ﺍﳌﻘﺪﻣﺔ ﲢﺘﻮﻯ ﻋﻠﻰ ﺧﻠﻔﻴﺔ ﺍﳌﺸﻜﻠﺔ‪ ،‬ﻭﲢﺪﻳﺪ ﺍﳌﺸﻜﻠﺔ‪،‬ﺍﻟﻐﺮﺽ‬
‫ﻣﻦ ﺍﻟﺒﺤﺚ‪ ،‬ﻭﻣﻨﻬﺞ ﺍﻟﺒﺤﺚ‪ ،‬ﻭﺧﻄﺔ ﺍﻟﺒﺤﺚ‪.‬‬

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‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱏ ‪ :‬ﶈﺔ ﻋﻦ ﺍﻟﺮﻭﺍﻳﺔ ﻭﺗﻄﻮﺭﻫﺎ‪ ،‬ﻭ ﻳﺸﻤﻞ ﻋﻠﻰ ﻣﻔﻬﻮﻡ ﺭﻭﺍﻳﺔ‪،‬‬
‫ﺗﻄﻮﺭ ﺭﻭﺍﻳﺔ ﰱ ﻣﺼﺮ‪ ،‬ﺣﺮﻛﺔ ﺍﻟﻨﺴﺎﺋﻰ ﰱ ﻣﺼﺮ ﻭﻛﺘﺎﺑﺔ ﺭﻭﺍﻳﺔ‪.‬‬
‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﻟﺚ ‪ :‬ﶈﺔ ﻋﻦ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻯ ﻭ ﻳﺸﻤﻞ ﻋﻠﻰ ﻣﻔﻬﻮﻡ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻯ‪،‬‬
‫ﺃﻧﻮﺍﻉ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻯ‪ ،‬ﻭﻛﻴﻔﻴﺔ ﺗﻄﺒﻴﻖ ﺍﻟﻨﻘﺪ ﺍﻟﻨﺴﻮﻯ‪.‬‬
‫ﺍﻟﺒﺎﺏ ﺍﻟﺮﺍﺑﻊ ‪ :‬ﺍﻟﺘﺤﻠﻴﻞ ﺍﻟﻨﻘﺪﻱ ﺍﻟﻨﺴﻮﻱ ﻟﻠﺮﻭﺍﻳﺔ "ﻣﺄﺳﺎﺓ ﺯﻳﻨﺐ"‪ ،‬ﻭﻳﺸﻤﻞ‬
‫ﻋﻠﻰ ﺍﺧﺘﺼﺎﺭ ﺭﻭﺍﻳﺔ "ﻣﺄﺳﺎﺓ ﺯﻳﻨﺐ "‪ ،‬ﺻﻮﺭﺓ ﻭ ﻣﻜﺎﻧﺔ ﺍﳌﺮﺃﺓ‬
‫ﰱ ﺍﻟﺮﻭﺍﻳﺔ‪ ،‬ﻣﻮﻗﻒ ﺍﻟﺮﺟﺎﻝ ﻋﻦ ﺍﳌﺮﺃﺓ ﻭ ﻣﻮﻗﻒ ﺍﻟﻜﺎﺗﺐ ﻋﻦ‬
‫ﺍﻟﺮﻭﺍﻳﺔ‪ ،‬ﻭ ﻓﻜﺮﺓ ﺍﻟﱵ ﺗﻌﺪ ﺍﻟﻌﺪﺍﻟﺔ ﺍﻟﻨﺴﻮﻳﺔ‬
‫ﺍﻟﺒﺎﺏ ﺍﳋﺎﻣﺲ‪ :‬ﺧﺎﲤﺔ‪ ،‬ﺗﺸﺘﻤﻞ ﻋﻠﻰ ﺧﻼﺻﺔ ﺍﻟﺒﺤﺚ ﻭﺍﻹﻗﺘﺮﺍﺣﺎﺕ ﻭ ﻗﺎﺋﻤﺔ‬
‫ﺍﳌﺮﺍﺟﻊ‪.‬‬

‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﺎﱏ‬
‫ﶈﺔ ﻋﻦ ﺍﻟﺮﻭﺍﻳﺔ ﻭﺗﻄﻮﺭﻫﺎ ﰱ ﻋﻬﺪ ﻋﻠﻰ ﺃﲪﺪ ﺑﺎﻛﺜﲑ‬

‫ﺃ‪ .‬ﻣﻔﻬﻮﻡ ﻭﺗﻄﻮﺭﻫﺎ ﺍﻟﺮﻭﺍﻳﺔ‬
‫‪ .١‬ﻣﻔﻬﻮﻡ ﺍﻟﺮﻭﺍﻳﺔ‬
‫ﺍﻟﻘﺼﺔ ‪ :‬ﺣﻜﺎﻳﺔ ﺗﻌﺘﻤﺪ ﻋﻠﻰ ﺍﻟﺴﺮﺩ ﻭﺍﻟﻮﺻﻒ ﻭﺻﺮﺍﻉ ﺍﻟﺸﺨﺼﻴﺎﺕ ﲟﺎ‬
‫ﻳﻨﻄﻮﻯ ﻋﻠﻴﻪ ﺫﻟﻚ ﻣﻦ ﲣﻠﻞ ﻋﻨﺼﺮ ﺍﳊﻮﺍﺭ ﳍﺬﺍ ﺍﳉﺪﻝ ﺍﻟﺪﺍﺋﺮ ﺑﲔ ﺍﻷﺷﺨﺎﺹ‬
‫ﻭﺍﻷﺣﺪﺍﺙ‪ .‬ﻭﻗﺪ ﻛﺎﻧﺖ ﺍﻟﻘﺼﺔ ﺃﻗﻞ ﺍﻷﺟﻨﺎﺱ ﺍﻷﺩﺑﻴﺔ ﺧﻀﻮﻋﺎ ﻟﻠﺘﻘﺎﻟﻴﺪ ﺍﻟﻔﻨﻴﺔ‬
‫ﻭﺍﻟﻘﻮﺍﻋﺪ ﺍﳌﺬﺍﻫﺒﻴﺔ ﻭﻗﺪ ﺳﺎﻋﺪﻫﺎ ﺫﻟﻚ ﻋﻠﻰ ﺍﻟﺘﻌﺒﲑ ﺍﳊﺮ ﻋﻦ ﻣﻀﺎﻣﲔ ﺍﳊﻴﺎﺓ‬
‫ﻭﺍﻹﻧﺴﺎﻥ ﻭﻋﻦ ﺇﺑﻘﺎﻉ ﻋﺼﺮﻫﺎ ﺑﻼﻗﺼﻮﺭ‪.‬‬

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‫ﻫﻨﺎﻙ ﺃﺷﻴﺎﺀ ﳐﺘﻠﻔﺔ ﳛﺴﻦ ﺃﻥ ﲤﻴﺰ ﺑﻴﻨﻬﺎ‪ ،‬ﻓﻬﻨﺎﻙ ﺍﻟﻘﺼﺔ ﻭﺍﻟﺮﻭﺍﻳﺔ‬
‫ﻭﺍﳌﺴﺮﺣﻴﺔ ﻓﻠﻤﺼﻄﻠﺢ ﻋﻠﻰ ﺃﻥ ﻧﺴﻤﻲ ﺍﻟﻘﺼﺔ ﻣﺎﻛﺎﻧﺖ ﻗﺼﲑﺓ‪ ،‬ﻭﺍﻟﺮﻭﺍﻳﺔ‬
‫ﻣﺎﻛﺎﻧﺖ ﻃﻮﻳﻠﺔ‪ ،‬ﻭﺍﳌﺴﺮﺣﻴﺔ ﻣﺎﻛﺎﻧﺖ ﺭﻭﺍﻳﺔ ﲤﺜﻴﻠﻴﺔ‪ .‬ﻓﻤﻦ ﺍﻟﻨﺎﺣﻴﺔ ﺍﻟﺘﺎﺭﺧﻴﺔ ﻛﺎﻧﺖ‬
‫‪٨‬‬

‫ﺩﻛﺘﻮﺭ ﳏﻤﺪ ﺍﲪﺪ ﺍﻟﻐﺮﺏ‪ ،‬ﻋﻦ ﺍﻟﻠﻐﺔ ﻭﺍﻷﺩﺏ ﻭﺍﻟﻨﻘﺪ)ﺭﺅﻳﺔ ﺗﺎﺭﳜﻴﺔ – ﻭﺭﺅﻳﺔ ﻓﻨﻴﺔ(‪ ،‬ﻁ ‪١‬‬

‫)ﺍﻟﻘﺎﻫﺮﺓ‪ :‬ﺩﺍﺭ ﺍﳌﻌﺎﺭﻑ‪ ، (١٩٨٠ ،‬ﺹ ‪.١٧٧‬‬

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‫‪١٢‬‬

‫ﺍﳌﺴﺮﺣﻴﺔ ﺗﺴﺒﻖ ﺍﻟﺮﻭﺍﻳﺔ ﻷ‪‬ﺎ ﻧﺸﺄﺕ ﻗﺒﻠﻬﺎ‪ ،‬ﻭﻟﻜﻨﻨﺎ ﻫﻨﺎ ﺳﻨﻤﻜﺲ ﺍﻟﺘﺮﺗﺒﺐ ﻭﺍﻟﺰﻣﻦ‬
‫ﻓﻨﺪﺭﺱ ﺍﻟﺮﻭﺍﻳﺔ ﺃﻭﻻ‪ ،‬ﻭﻭﺍﺿﺢ ﺃﻥ ﺍﳌﺴﺮﺣﻴﺔ ﻭﺍﻟﺮﻭﺍﻳﺔ ﺗﺘﻜﻮﻧﺎﻥ ﻣﻦ ﻋﻨﺎﺻﺮ‬
‫ﻭﺍﺣﺪﺓ‪.‬‬
‫ﻭﺍﻟﺮﻭﺍﻳﺔ ﻣﺪﻳﻨﺔ ﺑﻮﺟﻮﺩﻫﺎ ﻻﻫﺘﻤﺎﻡ ﺍﻟﺮﺟﺎﻝ ﻭﺍﻟﻨﺴﺎﺀ ﰱ ﻛﻞ ﻣﻜﺎﻥ ﻭﺯﻣﺎﻥ‬
‫ﺑﺎﻟﺮﺟﺎﻝ ﻭﺍﻟﻨﺴﺎﺀ ﻭﺑﺎﻟﻌﻮﺍﻃﻒ ﺍﻹﻧﺴﺎﻧﻴﺔ ﻭﺍﻟﺴﻠﻮﻙ ﺍﻹﻧﺴﺎﱏ‪ ،‬ﻭﻗﺪ ﻛﺎﻥ ﻫﺬﺍ‬
‫ﺍﻻﻫﺘﻤﺎﻡ ﻣﻦ ﺃﻛﱪ ﺍﻟﺪﻭﺍﻓﻊ ﻟﻸﺩﺏ‪ ،‬ﻭﺍﳌﺴﺮﺣﻴﺔ ﻟﻴﺴﺖ ﺃﺩﺑﺎ ﺧﺎﻟﺼﺎ‪ ،‬ﺑﻞ ﻫﻰ ﻓﻦ‬
‫ﻣﺮﻛﺐ ﻳﺘﻜﻮﻥ ﻣﻦ ﺍﻟﻔﻦ ﺍﻷﺩﰉ ﻭﺍﻹﺧﺮﺍﺝ ﺍﳌﺴﺮﺣﻰ ﻭﺍﻷﺩﺍﺀ ﺍﻟﺘﻤﺜﻴﻠﻰ ﻭ‪‬ﺬﺍ‬
‫ﲣﺘﻠﻒ ﻋﻦ ﺍﻟﺮﻭﺍﻳﺔ ﻷ‪‬ﺎ ﻣﺴﺘﻘﻠﺔ ﻣﻦ ﻫﺬﻩ ﺍﻟﻔﻨﻮﻥ ﺍﻷﺧﺮﻯ‪.‬‬

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‫ﻭﺍﻟﺮﻭﺍﻳﺔ ﻫﻰ ﺃﻛﱪ ﺍﻷﻧﻮﺍﻉ ﺍﻟﻘﺼﺼﻴﺔ ﻣﻦ ﺣﻴﺚ ﺍﳊﺠﻢ‪ ،‬ﻭﻫﻰ ﺗﺮﺗﺒﻂ‬
‫ﺑﺎﻟﱰﻋﺔ ﺍﻟﺮﻭﻣﻨﺘﻴﻜﻴﺔ ﻭﺍﻟﻔﺮﺍﺭ ﻣﻦ ﺍﻟﻮﺍﻗﻊ ﻭﺗﺼﻮﻳﺮ ﺍﻟﺒﻄﻮﻟﺔ ﺍﳋﻴﺎﻟﻴﺔ‪ .‬ﻭﻓﻴﻬﺎ ﺗﻜﻮﻥ‬
‫ﺍﻷﳘﻴﺔ ﻟﻠﻮﻗﺎﺋﻊ‪ ،‬ﺣﱴ ﺇﻥ )ﺳﺎﻧﺘﺴﱪﻯ( ﳝﻴﺰ ﺍﻟﺮﻭﺍﻳﺔ ﺑﺄ‪‬ﺎ ﻗﺼﺔ ﺍﻟﻮﺍﻗﻌﺔ‪ ،‬ﻋﻦ ﺍﻟﻘﺼﺔ‬
‫ﺍﻟﱴ ﻫﻲ ﻗﺼﺔ ﺍﻟﺸﺨﺼﻴﺔ ﻭﺍﻟﺪﺍﻓﻊ‪.‬‬

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‫‪ ٩‬ﺃﲪﺪ ﺃﻣﲔ‪ ،‬ﺍﻟﻨﻘﺪ ﺍﻷﺩﰉ‪ ،‬ﻁ ‪) ٤‬ﺍﻟﻘﺎﻫﺮﺓ‪ :‬ﻣﻜﺘﺒﺔ ﺍﻟﻨﺤﻀﺔ ﺍﳌﺼﺮﻳﺔ‪ ،(١٩٧٢ ،‬ﺹ ‪.١١٦‬‬
‫‪ ١٠‬ﺍﻟﺪﻛﺘﻮﺭ ﻋﺰﺍﻟﺪﻳﻦ ﺍﲰﺎﻋﻴﻞ‪ ،‬ﺍﻷﺩﺏ ﻭﻓﻨﻮﻧﻪ ﺩﺭﺍﺳﺔ ﻭﻧﻘﺪ‪ ،‬ﻁ ‪ ) ٤‬ﺩﺍﺭ ﺍﻟﻔﻜﺮ ﺍﻟﻌﺮﰉ‪ ،(١٩٦٧،‬ﺹ‬
‫‪.١٩٩‬‬

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‫ﻭﺍﻟﺘﺎﺭﻳﺦ ﻧﺸﺎﻁ ﺫﻫﲏ ﻳﻐﺬﻱ ﺍﻟﺮﻏﺒﺔ ﰲ ﺍﳌﻌﺮﻓﺔ‪ ،‬ﻛﻤﺎ ﺗﻐﺬﻳﻪ ﺍﻟﺮﻏﺒﺔ ﰲ‬
‫ﺍﳌﻌﺮﻓﺔ‪ .‬ﻭﻟﻠﻤﻌﺮﻓﺔ ‪‬ﺎﻳﺘﻬﺎ ﺍﳋﺎﺻﺔ ﺍﻟﱵ ﻻﺗﺘﺼﻞ ﺑﺎﻟﻘﻴﻢ ﺑﺎﻟﻀﺮﻭﺭﺓ‪ ،‬ﻓﺎﳌﺆﺭﺥ‬
‫ﻻﻳﺴﻌﻲ ﻟﻼﺣﺘﻔﺎﺀ ﺑﺎﻟﺘﺎﺭﻳﺦ‪ ،‬ﻭﻻﻳﺴﻌﻲ ﻹ‪‬ﺎﺭ ﺍﳉﻤﻬﻮﺭ‪ ،‬ﻷﻥ ﺫﻟﻚ ﻟﻴﺲ ﻣﻦ ﺑﲔ‬
‫ﺃﻫﺪﺍﻓﻪ ﺍﻟﺮﺋﻴﺴﻴﺔ‪ .‬ﺻﺤﻴﺢ ﺃﻥ ﻟﻠﺘﺎﺭﻳﺦ ﻃﺎﺑﻌﺎ ﻗﺼﺼﻴﺎ ﻛﻤﺎ ﺍﺗﻔﻘﻨﺎ‪ ،‬ﻣﺜﻠﻪ ﻣﺜﻞ‬
‫ﺍﻟﺮﻭﺍﻳﺔ ﳛﻘﻖ ﺍﻹﻣﺘﺎﻉ‪ ،‬ﻭﻟﻜﻦ ﻳﺒﻘﻲ ﺃﻥ ﻫﺪﻑ ﺍﳌﺆﺭﺥ ﺍﻟﺮﺋﻴﺴﻲ ﻫﻮ ﺍﳊﻘﻴﻘﺔ‪،‬‬
‫ﻭﺑﻴﻨﻤﺎ ﻳﻜﻮﻥ ﻫﺬﺍ ﻫﻮ ﻫﺪﻑ ﺍﳌﺆﺭﺥ‪ ،‬ﻓﺈﻧﻪ ﻳﻌﻤﻞ ﺑﺎﻟﻀﺮﻭﺭﺓ ﰲ ﺇﻃﺎﺭ ﻣﻨﻬﺞ‬
‫ﻳﻜﻮﻥ ﻫﻮ ﺍﳌﺮﺷﺪ ﻟﻪ‪ ،‬ﺃﻣﺎ ﺍﻟﺮﻭﺍﺋﻲ ﻓﻴﻌﻤﻞ ﲝﺮﻳﺔ ﻻﻳﺘﻤﺘﻊ ‪‬ﺎ ﺍﳌﺆﺭﺥ‪ ،‬ﻓﻌﻠﻲ ﻋﻜﺲ‬
‫ﺍﻟﺘﺎﺭﻳﺦ ﺍﻟﺬﻱ ﻳﺒﲏ ﻋﻠﻲ ﺍﳊﻘﺎﺋﻖ ﻭﺣﺪﻫﺎ‪ ،‬ﻳﺴﺘﻄﻴﻊ ﺍﻟﺮﻭﺍﺋﻲ ﺇﺿﻔﺎﺀ ﺭﺅﻳﺘﻪ ﺍﳋﺎﺻﺔ‬
‫ﺑﺘﻮﺳﻊ ﰲ ﺍﲡﺎﻫﺎﺕ ﳐﺘﻠﻔﺔ‪ ،‬ﻣﺴﺘﺨﺪﻣﺎ ﰲ ﺫﻟﻚ ﻛﻞ ﺍﻟﻮﺳﺎﺋﻂ ﺍﳌﻤﻜﻨﺔ ﳉﺬﺏ‬
‫ﺍﻟﻘﺎﺭﻱﺀ‪ ،‬ﻓﻴﻀﻔﻲ ﻋﻠﻲ ﻋﻤﻠﻪ ﻣﺎﻻ ﺗﺴﺘﻄﻴﻊ ﺍﳊﻘﻴﻘﺔ ﻭﺣﺪﻫﺎ ﺃﻥ ﺗﻘﺪﻣﻪ‪ ،‬ﻭﻫﺬﺍ‬
‫ﻣﺎﻗﺪﻣﻪ ﻳﻮﺳﻒ ﺯﻳﺪﺍﻥ ﰲ ﻋﺰﺍﺯﻳﻞ‪.‬‬
‫ﻳﻌﺮ‪‬ﻑ ﺟﻮﺭﺝ ﻟﻮﻛﺎﺗﺶ ﺍﻟﺮﻭﺍﻳﺔ ﺍﻟﺘﺎﺭﳜﻴﺔ ﺑﺄﻧ‪‬ﻬﺎ "ﺭﻭﺍﻳﺔ ﺗﺎﺭﳜﻴﺔ ﺣﻘﻴﻘﻴﺔ ‪،‬‬
‫ﺃﻱ ﺭﻭﺍﻳﺔ ﺗﺜﲑ ﺍﳊﺎﺿﺮ‪،‬ﻭﻳﻌﻴﺸﻬﺎ ﺍﳌﻌﺎﺻﺮﻭﻥ ﺑﻮﺻﻔﻬﺎ ﺗﺎﺭﳜﻬﻢ ﺍﻟﺴﺎﺑﻖ ﻟﻠﺬﺍﺕ‬
‫‪".‬ﻓﻬﻲ ﺑﺎﻟﺘﺎﱄ "ﻋﻤﻞ ﻓﻨ‪‬ﻲ ﻳﺘﺨﺬ ﻣﻦ ﺍﻟﺘﺎﺭﻳﺦ ﻣﺎﺩﺓ ﻟﻪ‪،‬ﻭﻟﻜﻨ‪‬ﻬﺎ ﻻ ﺗﻨﻘﻞ ﺍﻟﺘﺎﺭﻳﺦ‬

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‫ﲝﺮﻓﻴﺘﻪ ‪،‬ﺑﻘﺪﺭ ﻣﺎ ﺗﺼﻮ‪‬ﺭ ﺭﺅﻳﺔ ﺍﻟﻔﻨ‪‬ﺎﻥ ﻟﻪ ﻭﺗﻮﻇﻴﻔﻪ ﳍﺬﻩ ﺍﻟﺮﺅﻳﺔ ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﲡﺮﺑﺔ‬
‫ﻣﻦ ﲡﺎﺭﺑﻪ ‪،‬ﺃﻭﻣﻮﻗﻒ ﻣﻦ ﳎﺘﻤﻌﻪ ﻳﺘﺨﺬ ﻣﻦ ﺍﻟﺘﺎﺭﻳﺦ ﺫﺭﻳﻌﺔ ﻟﻪ"‪.‬‬
‫ﻭﻣﻦ ﻫﻨﺎ ﻓﺈﻥ ﺍﻟﺘﺎﺭﻳﺦ ﻭﺍﻷﺩﺏ ﻛﻠﻴﻬﻤﺎ ﻧﺘﺎﺝ ﺑﲏ ﻋﻠﻲ ﺍﻻﻋﺘﺒﺎﺭﺍﺕ ﺍﳌﺘﺮﺳﺒﺔ‬
‫ﰲ ﺍﻟﺬﺍﻛﺮﺓ ﺍﻟﻔﺮﺩﻳﺔ ﻭﺍﻟﺬﺍﻛﺮﺓ ﺍﳉﻤﻌﻴﺔ ﻟﻠﺠﻤﻬﻮﺭ‪ .‬ﻟﻜﻦ ﺍﻟﺮﻭﺍﻳﺔ ﺍﻟﺘﺎﺭﳜﻴﺔ ﺗﺘﺠﻨﺐ‬
‫ﺗﻜﺮﺍﺭ ﺳﺮﺩ ﺍﳊﺪﺙ ﺍﻟﺘﺎﺭﳜﻲ‪ ،‬ﺃﻭ ﺍﻻﻋﺘﻤﺎﺩ ﻋﻠﻲ ﺗﻘﺪﱘ ﺍﳊﻘﺎﺋﻖ ﻓﻘﻂ‪ ،‬ﺃﻭ ﻋﻠﻲ‬
‫ﺍﻷﻗﻞ ﻻﺗﻠﺘﺰﻡ ﺑﺬﻟﻚ ﺣﺮﻓﻴﺎ‪ ،‬ﻭﺇﳕﺎ ﺗﻌﻤﻞ ﻋﻠﻲ ﺇﺿﻔﺎﺀ ﻛﻞ ﻣﺎ ﻟﻪ ﻗﺪﺭﺓ ﻋﻠﻲ ﲢﻔﻴﺰ‬
‫ﺍﳋﻴﺎﻝ ﺇﻟﻴﻬﺎ‪ .‬ﻭﻣﻬﻤﺎ ﻳﻜﻦ ﻣﻦ ﺃﻣﺮ‪ ،‬ﻓﺈﻥ ﻟﻠﺮﻭﺍﻳﺔ ﺍﻟﺘﺎﺭﳜﻴﺔ ﻋﻼﻗﺔ ﻭﺛﻴﻘﺔ ﺑﺎﻟﺘﺎﺭﻳﺦ‪،‬‬
‫ﻟﻜﻦ ﻫﺬﻩ ﺍﻟﻌﻼﻗﺔ ﻗﺪ ﺗﻜﻮﻥ ﻣﺒﻬﻤﺔ ﺃﺣﻴﺎﻧﺎ‪ ،‬ﻓﻴﺤﺪﺙ ﺍﳋﻠﻂ ﺑﻴﻨﻬﻤﺎ‪ ،‬ﻭﺗﻌﻠﻮ‬
‫ﺍﻷﺻﻮﺍﺕ ﺩﻓﺎﻋﺎ ﻋﻦ ﺍﳊﻘﻴﻘﺔ ﺍﻟﱵ ﻫﻲ ﺟﺰﺀ ﻣﻦ ﺍﻟﻮﺍﻗﻊ‪.‬‬

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‫‪ .٢‬ﺗﻄﻮﺭ ﺍﻟﺮﻭﺍﻳﺔ ﰱ ﻣﺼﺮ‬
‫ﻛﺎﻥ ﺍﻟﻄﻮﺭ ﺍﻷﻭﻝ ﻣﻦ ﺃﻃﻮﺍﺭ ﺍﻟﻘﺼﺔ ﺍﳊﺪﻳﺜﺔ ﻃﻮﺭ ﺗﺮﲨﺔ ﻭﺍﻗﺘﺒﺎﺱ ﻭﳏﺎﻭﻟﺔ‬
‫ﲢﺮﺭ ﻣﻦ ﺍﻟﻘﺎﻟﺐ ﺍﻟﻌﺮﰉ ﺍﻟﻘﺪﱘ‪ ،‬ﻭﳑﺎ ﳝﺜﻞ ﻣﻄﻠﻊ ﻫﺬﺍ ﺍﻟﻌﻬﺪ ) ﺣﺪﻳﺚ ﻋﻴﺴﻰ ﺑﻦ‬
‫ﻫﺸﺎﻡ ( ﻟﻠﻤﻮﻳﻠﺤﻰ ) ‪ ،( ١٩٣٠-١٨٥٨‬ﻭ ) ﻟﻴﻠﻰ ﺳﻄﻴﺢ ( ﳊﺎﻓﻆ ﺇﺑﺮﺍﻫﻴﻢ‪ ،‬ﻭ‬
‫‪١١‬ﲨﺎﻝ ﳏﻤﻮﺩ ﺣﺠﺮ‪"،‬ﺑﲔ ﺍﻟﺮﻭﺍﻳﺔ ﺍﻟﺘﺎﺭﳜﻴﺔ ﻭﺭﻭﺍﻳﺔ ﺍﻟﺘﺎﺭﻳﺦ" ﻣﺎﺩﺓ ﻋﻠﻤﻴﺔ ﻣﺄﺧﺬﺓ ﰱ ‪ ٨‬ﻳﻨﺎﻳﺮ ‪ ٢٠١٢‬ﻣﻦ‬
‫‪http://forum.egypt.com/arforu‬‬

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‫)ﻟﻴﻠﻰ ﺍﻟﺮﻭﺡ ﺍﳊﺎﺋﺮ( ﶈﻤﺪ ﻟﻄﻔﻰ ﲨﻌﺔ‪ .‬ﻭﺍﻷﺳﻠﻮﺏ ﻓﻴﻬﺎ ﺃﺳﻠﻮﺏ ﺍﳌﻘﺎﻣﺖ ﻣﻊ‬
‫ﺟﺪﺓ ﰱ ﻋﺮﺽ ﺍﳊﻮﺍﺩﺙ ﻭﺭﺳﻢ ﺍﻟﺼﻮﺭ ﻭﺍﻟﻜﺸﻒ ﻋﻦ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﳌﺼﺮﻳﺔ‪،‬‬
‫ﻭﺗﺄﺛﲑ ﻇﺎﻫﺮ ﺑﺎﻟﺜﻘﺎﻓﺔ ﺍﻟﻐﺮﺑﻴﺔ‪ .‬ﻭﻛﺎﻥ ﺍﻟﻠﺒﻨﺎﻧﻴﻮﻥ ﻗﺪ ﺳﺒﻘﻮﺍ ﺍﳌﺼﺮﻳﲔ ﰱ ﻫﺬﺍ‬
‫ﺍﳌﻀﻤﺎﺭ ﻓﻮﺿﻊ ﺳﻠﻴﻢ ﺍﻟﺒﺴﺘﺎﱏ ) ‪ ( ١٨٨٤-١٨٤٨‬ﻋﺪﺓ ﺭﻭﺍﻳﺎﺕ ﻭﻭﺿﻊ ﻏﲑﻩ‬
‫ﺭﻭﺍﻳﺎﺕ ﺃﺧﺮﻯ ﻭﻗﺪ ﻛﺎﻧﺖ ﺃﻛﺜﺮ ﲢﺮﺭﺍ ﻣﻦ ﺍﻷﺳﻠﻮﺏ ﺍﻟﻌﺮﰉ ﺍﻟﻘﺪﱘ ﻭﺃﺷﺪ ﺗﺄﺛﲑﺍ‬
‫ﺑﺎ ﻟﺜﻘﺎﻓﺔ ﺍﻟﻐﺮﺑﻴﺔ‬
‫ﻭﻛﺎﻥ ﺍﻟﻄﻮﺭ ﺍﻟﺜﺎﱏ ﻣﻦ ﺃﻃﻮﺍﺭ ﺍﻟﻘﺼﺔ ﻃﻮﺭ ﺍﻧﺘﻬﺎﺝ ﻟﻠﻨﻬﺞ ﺍﻟﻐﺮﰉ ﺍﳊﺪﻳﺚ‪،‬‬
‫ﳑﺎ ﳝﺜﻞ ﻣﻄﻠﻊ ﻫﺬﺍ ﺍﻟﻄﻮﺭ ﺭﻭﺍﻳﺔ )ﺯﻳﻨﺐ( ﶈﻤﺪ ﺣﺴﲔ ﺣﻴﻜﻞ )‪-١٨٨٨‬‬
‫‪ (١٩٥٧‬ﻭﻫﻰ ﻣﻦ ﺍﻵﺛﺎﺭ ﺍﻷﻭﻝ ﺍﻟﱴ ﺗﻮﺍﻓﺮﺕ ﳍﺎ ﻋﻨﺎﺻﺮ ﺍﻟﻘﺼﺔ ﺍﻟﻔﻨﻴﺔ‪ .‬ﻭﺭﺍﺣﺖ‬
‫ﺍﻟﻘﺼﺔ ﰱ ﺗﻄﻮﺭﻫﺎ ﺍﻟﺴﺮﻳﻊ ﲣﻄﻮ ﺧﻄﻰ ﻭﺍﺳﻌﺔ ﺓﲢﺎﻭﻝ ﺍﻟﺘﻤﺸﻰ ﻋﻠﻰ ﻗﻮﺍﻧﲔ ﺍﻟﻔﻦ‬
‫ﺍﻟﺼﺤﻴﺢ ﺇﻻ ﺃ‪‬ﺎ ﱂ ﺗﺒﻠﻎ ﺑﻌﺪ ﺍﳌﺴﺘﻮﻯ ﺍﻟﺮﻓﻴﻊ ﺍﻟﺬﻯ ﺗﺴﻌﻰ ﺇﻟﻴﻪ‪ ،‬ﻭﱂ ﻳﺮﺍﻉ ﻓﻴﻬﺎ‬
‫ﺍﻟﻘﺎﺹ ﻣﺎ ﻫﻨﺎﻟﻚ ﻣﻦ ﻓﺮﻕ ﺑﲔ ﺍﻷﻗﺼﻮﺻﺔ ﺍﻟﱴ ﻫﻰ ﺻﻔﺤﺔ ﻣﻦ ﺣﻴﺎﺓ‪ ،‬ﻭﺍﻟﺮﻭﺍﻳﺔ‬
‫ﺍﻟﱴ ﻫﻰ ﰱ ﺍﻷﻏﻠﺐ ﻣﻮﺿﻮﻉ ﻛﺎﻣﻞ ﳊﻴﺎﺓ ﺃﻭ ﺣﻴﻮﺍﺕ ﺗﺎﻣﺔ‪ ،‬ﻭﻗﺪ ﻏﻠﺐ ﻓﻴﻬﺎ‬
‫ﺍﻟﺴﺮﺩ ﻋﻠﻰ ﺍﻟﺘﺤﻠﻴﻞ ﻭﺭﺳﻢ ﺍﻟﺸﺨﺼﻴﺎﺕ‪.‬‬

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‫‪ ١٢‬ﺍﻷﺳﺎﺗﺬﺓ ﺑﺎﻷﻗﻄﺎﺭ ﺍﻟﻌﺮﺑﻴ�