sesh

‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫‪ ۱۵‬ﺍﻭﺕ‪ ۲۵ ،‬ﻣﺮﺩﺍﺩ ﻣﺎﻩ ﺳﺎﻝ ‪ ،۸۳‬ﺟﻤﻬﻮﺭﻱ ﺍﺳﻼﻣﻲ‬

‫ﻋﺎﻃﻔﻪ ﺭﺟﺒﻲ‪ ،‬ﺩﺧﺘﺮﻱ ‪ ۱۶‬ﺳﺎﻟﻪ ﺭﺍ ﺑﻪ ﺟﺮﻡِ ﺍﻏﻮﺍ ﺍﻋﺪﺍﻡ‬
‫ﻛﺮﺩ‪.‬‬

‫ﺍﻳﻦ ﻛﺘﺎﺏ ﺑﻪ ﺍﻭ ﺗﻘﺪﻳﻢ ﻣﻲﺷﻮﺩ‪.‬‬

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‫ﺍﻏﻮﺍ‬

SEDUCTION 
JEAN BAUDRILLARD 

Brian Singer 
Amin ghazaei

۳ 
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﺍﻏﻮﺍ‬

‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ‪:‬‬

‫ﺍﻣﻴﻦ ﻗﻀﺎﻳﻲ‬ ‫ﻣﺘﺮﺟﻢ ‪:‬‬
‫ﻫﺪﺍ ﺯﺍﺭﻉ‬ ‫ﺁﻣﺎﺩﻩﺳﺎﺯﻱ ﺑﺮﺍﻱ ﭼﺎﭖ ‪:‬‬
‫‪www.PoetryMag.ws‬‬ ‫ﻧﺸﺮ ﺷﻌﺮ ﭘﺎﺭﻳﺲ‬ ‫ﻧﺎﺷﺮ ‪:‬‬
‫ﻓﺮﻭﺭﺩﻳﻦ ‪۱۳۸۶‬‬

‫‪٤‬‬
‫ﺍﻏﻮﺍ‬

‫ﻓﻬﺮﺳﺖ‬

‫ﭘﻴﺸﮕﻔﺘﺎﺭ ﻣﺘﺮﺟﻢ ﻓﺎﺭﺳﻲ ﺯﺑﺎﻥ ‪۷ /‬‬

‫‪۱۳‬‬ ‫ﻣﻘﺪﻣﻪ ‪/‬‬
‫ﻛﺴﻮﻑ ﺟﻨﺴﻴﺖ ‪۱۶ /‬‬ ‫ﻓﺼﻞ ﺍﻭﻝ‬
‫ﻛﺴﻮﻑ ﺟﻨﺴﻴﺖ ‪۱۷ /‬‬
‫ﻛﻨﺎﻳﻪ ﺍﺑﺪﻱ ﺍﺟﺘﻤﺎﻉ ‪۲۶ /‬‬
‫ﺍﺳﺘﺮﻳﻮ – ﭘﻮﺭﻧﻮ ‪۵۰ /‬‬
‫ﺍﻏﻮﺍ – ﺗﻮﻟﻴﺪ ‪۶۳ /‬‬

‫ﮊﺭﻓﺎﻫﺎﻱ ﺳﻄﺤﻲ ‪۸۴ /‬‬ ‫ﻓﺼﻞ ﺩﻭﻡ‬

‫ﺍﻓﻖ ﻣﻘﺪﺱ ﻧﻤﻮﺩﻫﺎ ‪۸۵ /‬‬
‫‪ Trompe l’oeil‬ﻳﺎ ﻭﺍﻧﻤﺎﻳﻲ ﺍﻓﺴﻮﻧﮕﺮ ‪۹۶ /‬‬
‫ﺁﻳﻨﻪﺍﺕ ﺧﻮﺍﻫﻢ ﺑﻮﺩ ‪۱۰۶ /‬‬
‫ﻣﺮﮒ ﺩﺭ ﺳﻤﺮﻗﻨﺪ ‪۱۱۳ /‬‬
‫ﺭﺍﺯ ﻭ ﻣﺒﺎﺭﺯﻩ ‪۱۲۴ /‬‬
‫ﺗﻤﺜﺎﻝ ﺯﻥ ﺍﻏﻮﺍﮔﺮ ‪۱۳۳ /‬‬
‫ﺍﻏﻮﺍﻱ ﺣﻴﻮﺍﻧﻲ ‪۱۳۹ /‬‬
‫ﺭﺍﻫﺒﺮﺩ ﻛﻨﺎﻳﻲ ﻣﺮﺩ ﺍﻏﻮﺍﮔﺮ ‪۱۵۱ /‬‬
‫ﺩﺭﺑﺎﺭﻩ ﻟﺬﺕ ﺭﻭﺣﺎﻧﻲ ﺍﻏﻮﺍ ‪۱۵۷ /‬‬
‫ﺗﺮﺱ ﺍﺯ ﺍﻏﻮﺍ ﺷﺪﻥ ‪۱۸۰ /‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﺗﻘﺪﻳﺮ ﺳﻴﺎﺳﻲ ﺍﻏﻮﺍ ‪۱۹۶ /‬‬ ‫ﻓﺼﻞ ﺳﻮﻡ‬

‫ﺍﺷﺘﻴﺎﻕ ﺑﻪ ﻗﻮﺍﻋﺪ ‪۱۹۷ /‬‬
‫ﺩﻭﮔﺎﻧﻪ؛ ﻗﻄﺒﻲ؛ ﺭﻗﻤﻲ ‪۲۳۰ /‬‬
‫‪ Ludic‬ﻭ ﺍﻏﻮﺍﻱ ﺳﺮﺩ ‪۲۳۴ /‬‬
‫ﻫﻠﻮﻛﺎﺳﺖ‪ ،‬ﻭﻳﮋﮔﻲ ﺗﻠﻮﻳﻮﻳﺰﻳﻮﻧﻲ ‪۲۴۰ /‬‬
‫ﺍﻏﻮﺍ ﻫﻤﭽﻮﻥ ﺗﻘﺪﻳﺮ ‪۲۶۷ /‬‬

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‫ﺍﻏﻮﺍ‬

‫ﭘﻴﺸﮕﻔﺘﺎﺭ ﻣﺘﺮﺟﻢ ﻓﺎﺭﺳﻲ ﺯﺑﺎﻥ‬

‫ﺑﻮﺩﺭﻳﺎﺭ ﺩﺭ ﺑﺮﺍﺑﺮ ﺭﻭﺍﺑﻂ ﺗﻮﻟﻴﺪ‪ ،‬ﻣﻴﻞ ﻭ ﻣﻌﻨﺎ ﻛﻪ ﺑﻪ ﺯﻋﻢ ﻓﻮﻛﻮ ﺩﺭ ﺳﺎﺧﺘﺎﺭﻫﺎﻱ ﻗﺪﺭﺕ‪،‬‬

‫ﺟﻨﺴﻴﺖ ﻭﺩﺍﻧﺶ‪ ،‬ﺗﺎﺭﻳﺦ ﺭﺍ ﺷﻜﻞ ﻣﻲﺑﺨﺸﻨﺪ ﺑﺪﻳﻠﻲ ﻗﺮﺍﺭ ﻣﻲﺩﻫﺪ‪ :‬ﺍﻏﻮﺍ‪.‬‬

‫ﺍﻏﻮﺍ ﺩﺭ ﻧﻤﻮﺩ ﻻﻧﻪ ﻣﻲﻛﻨﺪ ﻭ ﻣﻨﺘﻈﺮ ﺣﺮﻳﻒ ﺧﻮﺩ ﻣﻲﻣﺎﻧﺪ‪ .‬ﺍﻏﻮﺍ‪ ،‬ﺭﺍﺯﻱ ﺭﺍ ﻣﻲﺩﺍﻧﺪ ﻛﻪ ﺷﺮﻁ‬

‫ﭘﻴﺮﻭﺯﻱ ﻭ ﺑﺎﺯﮔﺸﺖﭘﺬﻳﺮﻱ ﺟﺎﻭﺩﺍﻧﻪ ﺍﻭﺳﺖ‪ :‬ﻓﺮﺍﺳﻮﻱ ﻧﻤﻮﺩ ﺩﺭ ﮊﺭﻓﺎ ﻫﻴﭻ ﭼﻴﺰﻱ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ ﺍﺯ‬

‫ﺁﻥﺭﻭ ﺗﻤﺎﻣﻲ ﺳﺎﺧﺘﺎﺭﻫﺎﻱ ﻗﺪﺭﺕ ﻭ ﺟﻨﺴﻴﺖ ﻭ ﺩﺍﻧﺶ ﺑﺮ ﭘﺎﻳﻪ ﺍﻣﺮ ﭘﻮﭺ ﺍﺳﺘﻮﺍﺭﻧﺪ ﻛﻪ ﻫﺮ ﺗﻮﻟﻴﺪ‪،‬‬

‫ﻣﻴﻞ ﻭ ﻣﻌﻨﺎﻳﻲ ﺑﺮﺍﻱ "ﻭﺟﻮﺩ ﺩﺍﺷﺘﻦ" ﺑﺮﺍﻱ " ﺛﺎﺑﺖ ﺷﺪﻥ" ﺑﺎﻳﺪ ﺑﻪ ﺳﻄﺢ ﻧﻤﻮﺩ‪ ،‬ﺑﻪ ﻗﺮﺍﺭﮔﺎﻩ ﺍﻏﻮﺍ‬

‫ﺑﺎﺯﮔﺮﺩﻧﺪ ﻭ ﺍﻳﻦﺟﺎ ﺑﺮﮔﺸﺖﭘﺬﻳﺮﻱ ﺭﺥ ﻣﻲﺩﻫﺪ‪ :‬ﻭﺟﻮﺩﻫﺎﻳﻲ ﻛﻪ ﻫﻤﻮﺍﺭﻩ ﺩﺭ ﮊﺭﻓﺎ ﻗﺮﺍﺭ ﺩﺍﺩﻩﻣﻲﺷﺪﻧﺪ‬

‫ﺑﻪ ﺳﻄﺢ ﻧﻤﻮﺩ ﺁﻣﺪﻩ ﻭ ﺗﻮﺳﻂ ﺍﻏﻮﺍ ﻗﺮﺑﺎﻧﻲ ﻣﻲﺷﻮﻧﺪ‪ .‬ﺍﻏﻮﺍ ﺩﺭ ﺳﻄﺢ ﻧﻤﻮﺩ ﻫﺮ ﻧﺸﺎﻧﻪﺍﻱ ﺭﺍ ﺑﻪ ﺑﺎﺯﻱ‬

‫ﻣﻲﮔﻴﺮﺩ‪ ،‬ﻫﺮ ﺗﺼﻮﻳﺮﻱ ﺍﺯ ﻓﻀﺎﻱ ﭼﺸﻢﺍﻧﺪﺍﺯﻱ ﺧﻮﺩ ﺟﺪﺍ ﮔﺸﺘﻪ ﻭ ﺩﺭ ﺳﻄﺢ ﺗﺮﻭﻣﭙﻪ ﻟﻮﻳﻠﻲ ﺍﻏﻮﺍ‪،‬‬

‫ﻗﺮﺑﺎﻧﻲ ﻣﻲﺷﻮﺩ‪ .‬ﺍﺯ ﺍﻳﻦﺭﻭ ﺍﻏﻮﺍﮔﺮﻱ ﻫﻤﻴﺸﻪ ﻗﺮﺑﺎﻧﻲ ﻛﻨﻨﺪﻩﺍﺳﺖ‪ .‬ﺁﻭﺭﺩﮔﺎﻩ ﻧﻤﻮﺩ‪ ،‬ﻗﺮﺑﺎﻧﮕﺎﻩ ﻧﺸﺎﻧﻪﻫﺎﻱ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﺍﻳﺴﺘﺎﻱ ﻣﻌﻨﺎ ﻭ ﻣﻴﻞ ﺍﺳﺖ‪ .‬ﭼﺮﺍ ﻛﻪ ﺩﺭ ﺍﻳﻨﺠﺎ ﻫﺮ ﻧﺸﺎﻧﻪﺍﻱ ﺑﺮﺍﻱ ﺯﻧﺪﻩﻣﺎﻧﺪﻥ ﺑﺎﻳﺪ ﺑﺎﺯﻱ ﻛﻨﺪ ﻫﻴﭻ‬

‫ﺍﺗﻜﺎﻳﻲ ﺑﻪ ﻗﻮﺍﻧﻴﻦ ﻧﻬﻔﺘﻪ ﺩﺭ ﮊﺭﻓﺎ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﺍﻏﻮﺍﮔﺮ ﻫﻤﻴﺸﻪ ﻣﻨﺘﻈﺮ ﺍﻳﻦ ﻟﺤﻈﻪ ﺑﺮﮔﺸﺖﭘﺬﻳﺮﻱ‬

‫ﺑﻪ ﺳﻄﺢ ﻧﻤﻮﺩ ﻣﻲﻣﺎﻧﺪ ﺷﺎﻳﺪ ﺍﻭ ﺩﺭ ﺍﻳﻦ ﺍﻧﺘﻈﺎﺭ‪ ،‬ﺳﺮﻛﻮﺏ ﺷﺪﻩ ﻭ ﻣﻨﻔﻌﻞ ﺑﻪ ﻧﻈﺮ ﺁﻳﺪ‪ .‬ﺍﻣﺎ ﺍﻭ ﺍﺯ ﻣﻌﻨﺎ‬

‫ﻭ ﻣﻴﻠﻲ ﻣﺤﺮﻭﻡ ﮔﺸﺘﻪﺍﺳﺖ ﻛﻪ ﺧﻮﺩ ﻣﻲﺩﺍﻧﺪ ﻫﺮﮔﺰ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﺍﺯ ﺍﻳﻦﺭﻭ ﺑﻮﺩﺭﻳﺎﺭ ﺑﻪ ﻳﻚ ﺩﻟﻴﻞ‬

‫ﺳﺎﺩﻩ ﻫﺮﮔﺰ ﻧﻤﻲﭘﺬﻳﺮﺩ ﻛﻪ ﺯﻧﺎﻧﮕﻲ ﺩﺭ ﻃﻮﻝ ﺗﺎﺭﻳﺦ ﻫﻤﻮﺍﺭﻩ ﻣﺮﻋﻮﺏ ﻗﺪﺭﺕ ﻭ ﻣﻴﻞ ﻣﺮﺩﺍﻧﻪ ﺑﻮﺩﻩ‬

‫ﺍﺳﺖ‪ :‬ﻋﺮﺻﻪ ﻣﺒﺎﺭﺯﻩ ﺯﻧﺎﻧﮕﻲ ﻫﺮﮔﺰ ﺳﺎﺧﺘﺎﺭﻫﺎﻱ ﻗﺪﺭﺕ ﻭ ﺟﻨﺴﻴﺖ ﻧﺒﻮﺩﻩ ﺑﻠﻜﻪ ﺯﻧﺎﻧﮕﻲ ﻣﻮﺭﺩ ﻧﻈﺮ‬

‫ﺑﻮﺩﺭﻳﺎﺭ ﺩﺭ ﺁﻭﺭﺩﮔﺎﻩ ﺍﻏﻮﺍ ﻣﺒﺎﺭﺯﻩ ﻛﺮﺩﻩ ﻭ ﺍﺯ ﻗﻀﺎ‪ ،‬ﻫﻤﻴﺸﻪ ﻧﻴﺰ ﭘﻴﺮﻭﺯ ﮔﺸﺘﻪﺍﺳﺖ‪.‬‬

‫ﺟﺎﺫﺑﻪ ﮔﺮﻡ ﻭ ﺯﻣﻴﻨﻲ ﺍﻏﻮﺍ ﻭ ﺑﺴﺘﺮ ﺯﻧﺎﻧﻪ ﻭ ﻣﻬﻠﻚ ﺍﻭ ﻭ ﺳﺮﻧﻮﺷﺖ ﮔﺮﻳﺰﻧﺎﭘﺬﻳﺮ ﻫﺮ ﺑﻠﻨﺪﭘﺮﻭﺍﺯﻱ‬

‫ﺍﻳﻜﺎﺭﻭﺳﻲ ﻣﻴﻞ ﻭ ﻗﺪﺭﺕ ﻣﺮﺩﺍﻧﻪﺍﺳﺖ‪ .‬ﺗﻌﺎﻟﻲ ﺧﻄﻲ ﻭ ﭘﻴﺸﺮﻭﻧﺪﻩ ﻣﻌﻨﺎ ﻭ ﻣﻴﻞ ﺑﻪ ﺳﻮﻱ ﺧﻮﺭﺷﻴﺪ‬

‫ﺣﻘﻴﻘﺘﺸﺎﻥ ﻣﺮﮒ ﺁﻧﻬﺎ ﺭﺍ ﺭﻗﻢ ﺧﻮﺍﻫﺪ ﺯﺩ‪ .‬ﺟﻨﺴﻴﺖ ﺑﺎ ﺁﺯﺍﺩﺳﺎﺯﻱ ﻣﻴﻞ ﻧﻬﺎﻳﺘﺎً ﺑﻪ ﻫﺮﺯﻩﻧﮕﺎﺭﻱ ﺧﺘﻢ‬

‫ﻣﻲﺷﻮﺩ ﻛﻪ ﺗﻤﺎﻣﻲ ﻧﺸﺎﻧﻪﻫﺎﻱ ﺟﻨﺴﻴﺖ ﺭﺍ ﺑﻪ ﻳﻜﺒﺎﺭﻩ ﻣﺼﺮﻑ ﻛﺮﺩﻩ ﻭ ﻣﺮﮒ ﺧﻮﺩ ﺟﻨﺴﻴﺖ ﺭﺍ ﺭﻗﻢ‬

‫ﻣﻲﺯﻧﺪ‪ .‬ﺍﻏﻮﺍﻱ ﺯﻣﻴﻦ ‪ -‬ﺷﻴﻄﺎﻥ ‪ -‬ﺯﻥ ﺩﺭ ﻣﻘﺎﺑﻞ ﺭﺍﻧﺪﮔﻲ ﺁﺳﻤﺎﻥ ‪ -‬ﺧﺪﺍ ‪ -‬ﻣﺮﺩ‪ ،‬ﺑﺴﺘﺮ ﻣﺒﺎﺭﺯﻩ‬

‫ﺍﻏﻮﺍﻱ ﺑﺮﮔﺸﺖﭘﺬﻳﺮ )ﺑﺎﺯﮔﺸﺘﻲ ﺑﻪ ﺳﺎﺩﮔﻲ ﮔﺮﻳﺰﻧﺎﭘﺬﻳﺮ ﻫﺮﺁﻧﭽﻪ ﺑﻪ ﺁﺳﻤﺎﻥ ﺭﻭﺩ( ﺑﺎ ﺣﻘﻴﻘﺖﻫﺎﻱ‬

‫ﺗﻐﻴﻴﺮﻧﺎﭘﺬﻳﺮ ﺍﺳﺖ‪ .‬ﻫﺮ ﺍﻧﺤﺮﺍﻓﻲ ﻭ ﻫﺮ ﺍﺳﺘﺜﻨﺎﻳﻲ ﺩﺭ ﭘﻴﺸﮕﺎﻩ ﺳﺎﺧﺘﺎﺭﻫﺎﻱ ﺗﻐﻴﻴﺮﻧﺎﭘﺬﻳﺮ ﺑﺎ ﺭﺍﻧﺪﮔﻲ )ﻭ‬

‫ﺍﻳﻦ ﻫﻤﺎﻥ ﺭﺍﻧﺪﮔﻲ ﻭ ﺭﺟﻢ ﺷﻴﻄﺎﻥ ﺍﺳﺖ( ﻣﻮﺍﺟﻪ ﻣﻲﺷﻮﺩ‪ .‬ﺍﺯ ﺍﻳﻦﺭﻭ ﺍﻏﻮﺍﮔﺮﻱ ﻫﻤﻮﺍﺭﻩ ﻣﻨﺘﻈﺮ‬

‫ﺍﻧﺤﺮﺍﻑ ﺳﻘﻮﻁﻫﺎ ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﺪ ﺣﺘﻲ ﺁﻧﺠﺎﻳﻲ ﻛﻪ ﮔﻤﺎﻥ ﻣﻲﺷﻮﺩ ﺍﻏﻮﺍﻳﻲ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﺑﺎ‬

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‫ﺍﻏﻮﺍ‬

‫ﻛﻮﭼﻜﺘﺮﻳﻦ ﺍﻧﺤﺮﺍﻓﻲ ﻧﺸﺎﻧﻪﻫﺎ ﺍﺯ ﺭﻭﺍﺑﻂ ﻗﻄﺒﻲ ﺧﻮﺩ ﺟﺪﺍ ﮔﺸﺘﻪ ﻭ ﺑﺎ ﺟﺎﺫﺑﻪ ﮔﺮﻡ ﻭ ﺯﻣﻴﻨﻲ ﺍﻏﻮﺍ‬

‫ﺳﻘﻮﻁ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺍﻳﻦ ﺍﺳﺎﺱ ﻣﺒﺎﺭﺯﻩ ﺍﻧﺤﺮﺍﻓﻲ ﻭ ﺟﺎﻭﺩﺍﻧﻪ ﺍﻏﻮﺍ ﺍﺳﺖ‪.‬‬

‫ﺍﮔﺮ ﺭﺍﻫﺒﺮﺩ ﻗﺪﺭﺕ ﻭ ﺩﺍﻧﺶ ﺗﺄﻛﻴﺪ ﺑﺮ ﻗﻮﺍﻧﻴﻦ ﺗﺨﻄﻲﻧﺎﭘﺬﻳﺮ ﺩﺭ ﮊﺭﻓﺎﻱ ﺳﺎﺧﺘﺎﺭﻫﺎﻳﺸﺎﻥ ﺍﺳﺖ؛‬

‫ﺭﺍﻫﺒﺮﺩ ﺍﻏﻮﺍ ﺑﻪ ﺑﺎﺯﻱ ﮔﺮﻓﺘﻦ ﻧﺸﺎﻧﻪﻫﺎ ﺩﺭ ﺳﻄﺢ ﻧﻤﻮﺩ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﺑﺎﺯﻱ ﻧﺸﺎﻧﻪﻫﺎ ﻣﺎﻧﻨﺪ ﺁﻧﭽﻪ‬

‫ﺩﻟﻮﺯ ﻣﻲﭘﻨﺪﺍﺭﺩ ﺻﺮﻓﺎً ﺁﺷﻔﺘﮕﻲ ﻧﺸﺎﻧﻪﻫﺎ ﻭ ﺭﻭﻧﺪﻫﺎﻱ ﺗﺼﺎﺩﻓﻲ ﺑﻪ ﺳﻮﻱ ﻫﺮﺝ ﻭ ﻣﺮﺟﻲ ﺑﻴﻜﺮﺍﻥ‬

‫ﻧﻴﺴﺖ‪ .‬ﺑﻠﻜﻪ ﺑﺮﻋﻜﺲ ﻫﺮ ﺑﺎﺯﻱ ﻣﺎﻧﻨﺪ ﻫﺮ ﻣﺮﺍﺳﻢ ﺁﻳﻴﻨﻲ ﺑﺮﺍﻱ ﺧﻮﺩ ﻗﻮﺍﻋﺪﻱ ﺩﺍﺭﺩ ﻛﻪ ﻣﻲﺑﺎﻳﺴﺖ‬

‫ﺑﻪ ﻃﻮﺭ ﺟﺪﻱ ﺍﺟﺮﺍ ﺷﻮﻧﺪ‪ .‬ﻗﻮﺍﻋﺪ ﺑﺮﻋﻜﺲ ﻗﻮﺍﻧﻴﻦ ﺍﻋﺘﺒﺎﺭ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺣﻘﻴﻘﺖ ﺗﺨﻄﻲ ﻧﺎﭘﺬﻳﺮﺷﺎﻥ‬

‫ﻧﻤﻲﮔﻴﺮﻧﺪ‪ .‬ﻗﻮﺍﻋﺪ ﺑﺎﺯﻱ ﺑﻪ ﺳﺎﺩﮔﻲ ﺍﺟﺮﺍ ﻣﻲﺷﻮﻧﺪ ﭼﺮﺍ ﻛﻪ ﺗﺨﻄﻲ ﺍﺯ ﻳﻚ ﻗﺎﻋﺪﻩ ﺑﺎﺯﻱ ﻫﻴﭻ‬

‫ﻣﻌﻨﺎﻳﻲ ﻧﺪﺍﺭﺩ ﻭ ﻫﺮﮔﺰ ﻳﻚ ﺳﺮﭘﻴﭽﻲ ﻣﺤﺴﻮﺏ ﻧﻤﻲﮔﺮﺩﺩ‪ .‬ﺍﺯ ﺳﺎﺩﻩﺗﺮﻳﻦ ﻗﻮﺍﻋﺪ ﺑﺎﺯﻱ ﻛﻮﺩﻛﺎﻥ ﻫﻢ‬

‫ﻧﻤﻲﺗﻮﺍﻥ ﺗﺨﻄﻲ ﻧﻤﻮﺩ ﭼﺮﺍ ﻛﻪ ﺳﺮﭘﻴﭽﻲ ﺍﺯ ﻗﺎﻋﺪﻩ ﺑﺎﺯﻱ ﺑﻪ ﺳﺎﺩﮔﻲ ﺑﺎﺯﻱ ﻧﻜﺮﺩﻥ ﻳﺎ ﺷﻜﺴﺖ‬

‫ﺧﻮﺭﺩﻥ ﺗﻠﻘﻲ ﻣﻲﺷﻮﺩ‪ .‬ﻗﻮﺍﻧﻴﻦ ﻣﻲﺧﻮﺍﻫﻨﺪ ﺑﺮ ﺗﻤﺎﻣﻲ ﺯﻧﺪﮔﻲ ﻣﺎ ﺳﺎﻳﻪ ﺍﻓﻜﻨﻨﺪ ﻭ ﺣﻘﻴﻘﺖ ﺟﻬﺎﻥ‬

‫ﺷﻤﻮﻝ ﺧﻮﺩ ﺭﺍ ﺑﺮ ﻣﺎ ﺗﺤﻤﻴﻞ ﻛﻨﻨﺪ ﻭ ﻗﻮﺍﻋﺪ ﺑﺎﺯﻱ ﺑﻪ ﺳﺎﺩﮔﻲ ﺟﺰﺋﻲ ﺍﺯ ﺧﻮﺩ ﺑﺎﺯﻱﺍﻧﺪ‪ .‬ﺁﻧﻬﺎ ﺟﻬﺎﻧﻲ‬

‫ﻣﺤﺪﻭﺩ ﻭ ﻧﻤﺎﺩﻳﻦ ﻣﻲﺳﺎﺯﻧﺪ ﺩﺭﺳﺖ ﺑﻪ ﻣﺎﻧﻨﺪ ﺟﻬﺎﻥ ﻣﺤﺪﻭﺩ ﺑﺪﻭﻳﺎﻥ ﺑﺎ ﺧﺪﺍﻳﺎﻥ ﻭ ﻣﺮﺍﺳﻢﻫﺎ ﻭ‬

‫ﺁﺭﺍﻳﺶﻫﺎ ﻭ ﻣﺒﺎﺩﻻﺕ ﻧﻤﺎﺩﻳﻨﺸﺎﻥ‪.‬‬

‫ﺑﻮﺩﺭﻳﺎﺭ ﻓﺮﺿﻲ ﺭﺍ ﭘﻴﺶ ﻣﻲﻛﺸﺪ ﻛﻪ ﺗﺎ ﺣﺪﻱ ﻏﺮﻳﺐ ﺍﺳﺖ‪ :‬ﻣﻲﺗﻮﺍﻥ ﺗﻤﺎﻣﻲ ﺭﻭﻳﺪﺍﺩﻫﺎ ﻭ‬

‫ﺗﺼﺎﺩﻓﺎﺕ ﺟﻬﺎﻥ ﻭﺍﻗﻌﻲ ﺭﺍ ﺑﻪ ﺻﺤﻨﻪ ﻳﻚ ﺑﺎﺯﻱ ﺑﺎ ﺭﻭﺍﺑﻂ ﻧﻤﺎﺩﻳﻦ ﻭ ﺍﺧﺘﻴﺎﺭﻱ ﺁﻥ ﻛﺸﺎﻧﺪ‪ .‬ﻣﻲﺗﻮﺍﻥ‬

‫ﺟﺎﻣﻌﻪﺍﻱ ﺭﺍ ﺑﻨﺎ ﻧﻤﻮﺩ ﻛﻪ ﺗﻘﺴﻴﻢ ﻣﻮﻗﻌﻴﺘﻬﺎ ﻭ ﺛﺮﻭﺗﻬﺎ ﺭﺍ ﺑﻪ ﺟﺎﻱ ﺁﻧﻜﻪ ﺑﺮ ﺍﺳﺎﺱ ﺍﺭﺯﺵ ﻣﺒﺎﺩﻟﻪ ﻭ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﻛﺎﺭ ﺑﻨﺎ ﻛﻨﺪ‪ ،‬ﺑﺮ ﺍﺳﺎﺱ ﻗﺮﻋﻪﻛﺸﻲ ﺩﺭ ﻳﻚ ﻻﺗﺎﺭﻱ ﺑﺰﺭﮒ ﺍﺳﺘﻮﺍﺭ ﮔﺮﺩﺍﻧﺪ‪ .‬ﭼﻨﻴﻦ ﻓﺮﺿﻴﻪﺍﻱ‬

‫ﺗﺼﻮﻳﺮﮔﺮ ﻧﻮﺳﺘﺎﻟﻮﮊﻳﺎﻱ ﺑﻮﺩﺭﻳﺎﺭ ﺑﺮﺍﻱ ﻣﺒﺎﺩﻻﺕ ﻧﻤﺎﺩﻳﻦ ﺟﻮﺍﻣﻊ ﮔﺬﺷﺘﻪﺍﺳﺖ ﻛﻪ ﺍﻳﻨﻚ ﺩﺭ ﺟﻬﺎﻥ‬

‫ﻣﺪﺭﻥ ﺟﺎﻱ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻣﺒﺎﺩﻻﺕ ﺍﺭﺯﺷﻬﺎ ﺩﺍﺩﻩﺍﺳﺖ‪.‬‬

‫ﺍﺯ ﺍﻳﻦ ﺭﻭ ﺍﻏﻮﺍ‪ ،‬ﻣﺒﺎﺭﺯﻩﺍﻱ ﺍﺳﺖ ﺑﺎ ﻛﻞ ﺟﻬﺎﻥ ﻭﺍﻗﻊ ﻧﻤﺎﻱ ﺍﻣﺮﻭﺯ ﻣﺎ‪ ،‬ﻣﺒﺎﺭﺯﻩﺍﻱ ﻧﻪ ﺗﻨﻬﺎ ﻣﻴﺎﻥ‬

‫ﻣﺮﺩ ﻭ ﺯﻥ‪ ،‬ﻛﻪ ﺑﻪ ﻫﻤﻴﻦﺳﺎﻥ ﻣﺒﺎﺭﺯﻩﺍﻱ ﻣﻴﺎﻥ ﺧﺪﺍﻳﺎﻥ ﻭ ﺑﻨﺪﮔﺎﻥ‪ ،‬ﻣﻴﺎﻥ ﻗﺮﺑﺎﻧﻲﻛﻨﻨﺪﻩ ﻭ ﻗﺮﺑﺎﻧﻲ­‬

‫ﺷﻮﻧﺪﻩ‪ .‬ﺍﻣﺎ ﺍﻏﻮﺍ ﭼﮕﻮﻧﻪ ﻭ ﺑﺎ ﭼﻪ ﺍﺑﺰﺍﺭﻱ ﻧﺸﺎﻧﻪﻫﺎ ﺭﺍ ﺩﺭ ﺳﻄﺢ ﻧﻤﻮﺩ ﺑﻪ ﺑﺎﺯﻱ ﻣﻲﮔﻴﺮﺩ؟ ﺁﻳﻨﻪ‪ .‬ﺗﻤﺎﻣﻲ‬

‫ﺁﻧﭽﻪ ﺭﺍ ﻛﻪ ﺁﻳﻨﻪ ﺑﺮﺍﻱ ﺍﻏﻮﺍ ﻛﺮﺩﻥ ﻣﺎ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺩﺍﺭﺩ ﺍﺯ ﺧﻮﺩ ﻣﺎ ﻣﻲﮔﻴﺮﺩ‪ .‬ﺍﻏﻮﺍ ﺑﺮﺍﻱ ﻧﺎﺑﻮﺩﻱ ﻫﺮ‬

‫ﺳﺎﺧﺘﺎﺭﻱ ﺍﺯ ﻧﺸﺎﻧﻪﻫﺎﻱ ﺧﻮﺩ ﺁﻥ ﺳﺎﺧﺘﺎﺭ ﺑﻬﺮﻩ ﻣﻲﮔﻴﺮﺩ‪ .‬ﺁﻳﻨﻪ ﻫﺮﮔﺰ ﺍﺑﮋﻩﺍﻱ ﺷﻔﺎﻑﻧﻤﺎ ﻧﻴﺴﺖ‬

‫ﻫﺮﮔﺰ ﮊﺭﻓﺎﻳﻲ ﺑﻪ ﺩﺭﻭﻥ ﺧﻮﺩ ﻧﻤﻲﮔﺸﺎﻳﺪ ﺑﻠﻜﻪ ﺳﻄﺤﻲ ﻧﻤﺎﺩﻳﻦ ﺍﺳﺖ ﻛﻪ ﻣﺎ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺁﻥ ﭼﻮﻥ‬

‫ﺩﻳﮕﺮﻱ ﺑﺎﺯ ﻣﻲﻳﺎﺑﻴﻢ ﺁﻳﻨﻪ ﺍﺯ ﺗﺼﻮﻳﺮ ﺧﻮﺩ ﻣﺎ ﺑﺮﺍﻱ ﺍﻏﻮﺍﻱ ﺧﻮﺩ ﻣﺎ ﺑﻬﺮﻩ ﻣﻲﺑﺮﺩ‪ .‬ﺍﺯ ﺍﻳﻦﺭﻭ ﺍﻏﻮﺍ‬

‫ﻫﻤﭽﻮﻥ ﺁﻳﻨﻪ ﺑﺎ ﺍﻧﻌﻜﺎﺱ ﺟﺬﺍﺑﻴﺖﻫﺎﻱ ﺣﻘﻴﻘﻲ ﻭ ﻃﺒﻴﻌﻲ ﺍﻏﻮﺍﺷﻮﻧﺪﻩ ﺩﺭ ﺳﻄﺢ ﻧﻤﻮﺩﺵ ﺍﻭ ﺭﺍ‬

‫ﺍﻓﺴﻮﻥ ﻣﻲﻛﻨﺪ‪ .‬ﺑﺖ ﻧﻴﺰ ﺑﺮﺍﻱ ﺑﺪﻭﻱ ﺁﻳﻨﻪﺍﻱ ﺍﺳﺖ ﻛﻪ ﺍﻭ ﭼﻬﺮﻩ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺩﻳﮕﺮﻳﺖﺍﺵ‪ ،‬ﺩﺭ‬

‫ﺳﻨﮕﻲ ﻣﺮﺩﻩ ﻣﻲﺑﻴﻨﺪ‪ .‬ﭼﻬﺮﻩ ﺑﺖ ﺳﻄﺤﻲ ﻧﻤﺎﺩﻳﻦ ﺍﺳﺖ ﻛﻪ ﺭﻭﻱ ﺳﻨﮓ ﻣﻲﻧﺸﻴﻨﺪ ﻭ ﺍﻏﻮﺍ ﻣﻲﻛﻨﺪ‪.‬‬

‫ﭼﻬﺮﻩ ﺑﺰﻙ ﺷﺪﻩ ﺯﻥ ﻧﻴﺰ ﺳﻄﺤﻲ ﻧﻤﺎﺩﻳﻦ ﻭ ﺍﻏﻮﺍﮔﺮ ﺍﺳﺖ ﻛﻪ ﻣﻴﺎﻥ ﭼﻬﺮﻩ ﻃﺒﻴﻌﻲ ﻭ ﺁﻳﻨﻪ ﻗﺮﺍﺭ‬

‫ﻣﻲﮔﻴﺮﺩ‪ .‬ﺯﻥ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺩﻳﮕﺮﻳﺖﺍﺵ ﺁﺭﺍﻳﺶ ﻣﻲﻛﻨﺪ ﻭ ﺑﺮ ﺭﻭﻱ ﭼﻬﺮﻩ ﺣﻘﻴﻘﻲ ﺧﻮﺩ ﺳﻄﺤﻲ‬

‫ﺍﻏﻮﺍﮔﺮﺍﻧﻪ ﻣﻲﺳﺎﺯﺩ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺗﻨﻬﺎ ﺁﻧﭽﻪ ﻛﻪ ﺩﺭ ﺳﻄﺢ ﻗﺮﺍﺭ ﺩﺍﺭﺩ ﺍﻏﻮﺍﮔﺮ ﺍﺳﺖ‪ .‬ﺍﻣﺮﻭﺯ ﺳﺘﺎﺭﮔﺎﻥ ﻭ‬

‫ﻓﻀﺎﻳﻲ ﺑﻴﻜﺮﺍﻥ ﺑﺎ ﺍﻧﺪﺍﺯﻩﻫﺎﻳﻲ ﻫﺬﻳﺎﻧﻲ ﺍﺳﺖ ﻛﻪ ﺗﻨﻬﺎ ﺑﺮ ﺭﻭﻱ ﺗﻠﺴﻜﻮﭖﻫﺎ ﮔﺸﻮﺩﻩﺍﻧﺪ‪ .‬ﺁﺳﻤﺎﻥ ﭼﻮﻥ‬

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‫ﺍﻏﻮﺍ‬

‫ﻣﺨﺰﻧﻲ ﺍﺯ ﺍﻧﺪﺍﺯﻩﻫﺎ ﻭ ﺍﺣﺠﺎﻡ‪ .‬ﭘﻴﺸﺘﺮ ﺁﺳﻤﺎﻥ ﺳﻄﺤﻲ ﺍﺯ ﺳﺘﺎﺭﮔﺎﻥ ﺭﺍ ﻣﻲﮔﺸﻮﺩ ﻛﻪ ﺍﻧﺴﺎﻥ ﺭﺍ ﺍﻏﻮﺍ‬

‫ﻣﻲﻛﺮﺩ‪ .‬ﻋﺮﺻﻪﺍﻱ ﺑﺮﺍﻱ ﻣﺒﺎﺭﺯﻩ ﺍﻧﺴﺎﻥ ﻭ ﻧﻴﺮﻭﻫﺎﻱ ﻃﺒﻴﻌﺖ‪ ،‬ﻣﻴﺎﻥ ﻓﺎﻧﻴﺎﻥ ﻭ ﺑﺎﻗﻴﺎﻥ‪ ،‬ﻣﻴﺎﻥ ﺧﺪﺍﻳﺎﻥ‬

‫ﺍﻟﻤﭗ ﻭ ﺗﻴﺘﺎﻥﻫﺎ‪.‬‬

‫ﺍﺯ ﺍﻳﻦﺭﻭ ﺍﻏﻮﺍﮔﺮ ﺷﻜﺴﺖﻧﺎﭘﺬﻳﺮ ﺍﺳﺖ ﭼﺮﺍ ﻛﻪ ﺳﻼﺡ ﺍﻭ ﻫﻤﺎﻥ ﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﺣﺮﻳﻒ ﺧﻮﺩ‬

‫ﺭﺍ ﺑﺪﺍﻥ ﻣﺠﻬﺰ ﺳﺎﺧﺘﻪ‪ ،‬ﺣﺘﻲ ﻣﻮﺟﻮﺩﻳﺖ ﻭ ﺣﻘﻴﻘﺖ ﺷﺨﺺ ﺳﻼﺣﻲ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻃﺮﻑ ﺧﻮﺩ ﺍﻭ‬

‫ﻧﺸﺎﻧﻪ ﻣﻲﺭﻭﺩ‪ .‬ﺑﺎ ﺍﻳﻦﺣﺎﻝ ﺑﺎﺯﻱ ﺍﻏﻮﺍ ﻫﺮﮔﺰ ﺑﻪ ﺳﻮﻱ ﭘﺎﻳﺎﻧﻲ ﺍﺯ ﻳﻚ ﺧﻂ ﺣﺮﻛﺖ ﻧﻤﻲﻛﻨﺪ ﺑﻪ‬

‫ﻫﻤﻴﻦﺧﺎﻃﺮ ﺍﻳﻦ ﻣﺒﺎﺭﺯﻩﺍﻱ ﺍﺳﺖ ﻧﻪ ﺑﺮ ﺳﺮ ﻏﻨﻴﻤﺖ‪ .‬ﺍﻏﻮﺍﮔﺮ ﭼﻴﺰﻱ ﺭﺍ ﺍﺯ ﺁﻥ ﺧﻮﺩ ﻧﻤﻲﻛﻨﺪ‪ .‬ﻣﺴﺌﻠﻪ‬

‫ﻫﺮﮔﺰ ﺳﻮء ﺍﺳﺘﻔﺎﺩﻩ ﺍﻏﻮﺍﮔﺮ ﺍﺯ ﺍﻏﻮﺍﺷﻮﻧﺪﻩ ﻧﻴﺴﺖ‪ ،‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺍﻏﻮﺍﮔﺮ ﺑﺮﺍﻱ ﺍﻏﻮﺍﻛﺮﺩﻥ ﺑﺎﻳﺪ ﺍﺟﺎﺯﻩ ﺩﻫﺪ‬

‫ﺗﺎ ﺧﻮﺩ ﻧﻴﺰ ﺍﻏﻮﺍ ﺷﻮﺩ ﺁﻧﭽﻪ ﺍﻫﻤﻴﺖ ﻣﻲﻳﺎﺑﺪ ﺧﻮﺩ ﺍﻏﻮﺍ ﺍﺳﺖ ﻭ ﻧﻪ ﭘﻴﺮﻭﺯﻱ ﺍﻏﻮﺍﮔﺮ ﺑﺮ ﺍﻏﻮﺍﺷﻮﻧﺪﻩ‪.‬‬

‫ﺍﻣﺎ ﺑﻪ ﺯﻋﻢ ﺑﻮﺩﺭﻳﺎﺭ ﺍﻣﺮﻭﺯ ﺍﺯ ﺍﻳﻦ ﺍﻏﻮﺍﻱ ﮔﺮﻡ ﻭ ﻣﺒﺎﺭﺯﺍﺗﻲ ﺧﺒﺮﻱ ﻧﻴﺴﺖ‪ ،‬ﺁﻧﭽﻪ ﻫﺴﺖ ﻧﻪ ﻳﻚ ﺳﻮﮊﻩ‬

‫ﻭ ﺁﻳﻨﻪ ﺑﻠﻜﻪ ﺩﻭ ﺁﻳﻨﻪ ﺳﺮﺩ ﺭﺳﺎﻧﻪﻫﺎ ﻭ ﺗﻮﺩﻩﻫﺎ ﺍﺳﺖ ﻛﻪ ﺭﻭﻳﺎﺭﻭﻱ ﻳﻜﺪﻳﮕﺮ ﻫﺮ ﻧﺸﺎﻧﻪﺍﻱ ﺭﺍ ﺗﺎ‬

‫ﺑﻴﻨﻬﺎﻳﺖ ﺗﻜﺜﻴﺮ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺍﻏﻮﺍﻱ ﺩﻭ ﺁﻳﻨﻪ ﻣﻘﺎﺑﻞ ﻳﻜﺪﻳﮕﺮ‪ ،‬ﺍﻏﻮﺍﻳﻲ ﺳﺮﺩ ﺍﺳﺖ‪ .‬ﺟﺎﺫﺑﻪ ﮔﺮﻡ ﺯﻣﻴﻨﻲ‬

‫ﺟﺎﻱ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺟﺎﺫﺑﻪ ﺳﺮﺩ ﻛﻬﺸﻜﺎﻧﻲ ﺩﺍﺩﻩﺍﺳﺖ‪ ،‬ﺟﺎﺫﺑﻪﺍﻱ ﻛﻪ ﺑﻴﺸﺘﺮ ﺍﺯ ﺁﻧﭽﻪ ﺟﺬﺏ ﻛﻨﺪ ﺩﻭﺭ‬

‫ﻣﻲﻛﻨﺪ‪ .‬ﺟﺎﺫﺑﻪ ﻛﻬﻜﺸﺎﻥﻫﺎ ﻛﻪ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺭﺍﻧﺪﮔﻲ ﺁﻧﻬﺎ ﻧﻴﺰ ﻫﺴﺖ‪.‬‬

‫"ﺍﻏﻮﺍﮔﺮﻱ ﻧﺎﺑﻮﺩﻱ ﺗﻔﺎﻭﺕ ﺍﺳﺖ ﺟﺰ ﻳﻚ ﻗﺎﻋﺪﻩ ﺑﻲﺗﻔﺎﻭﺕ ﺑﺎﺯﻱ‪ .‬ﺭﺍﻧﺪﮔﻲ‪ ،‬ﺩﻳﮕﺮﻳﺖ‬

‫ﺗﻴﺮﻩ ﻭ ﻣﻔﻘﻮﺩﻱ ﺍﺯ ﺳﻮﺑﮋﻛﺘﻴﻮﻳﺘﻪ ﺍﺳﺖ‪".‬‬
‫)ﺁﺭﺗﻮﺭ ﻛﺮﻭﻛﺮ(‬

‫‪۱۱‬‬
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﺍﻏﻮﺍﻱ ﺑﻮﺩﺭﻳﺎﺭ ﻛﺘﺎﺑﻲ ﺍﺳﺖ ﻛﻪ ﺑﺎﻳﺪ ﺁﻥ ﺭﺍ ﻫﻢ ﺭﻣﺎﻧﻲ ﺍﺯ ﺁﻳﻨﺪﻩ ﻓﻦﺁﻭﺭﺍﻧﻪ ﻭ ﻫﻢ ﺗﺎﺭﻳﺨﻲ ﺍﺯ‬

‫ﮔﺬﺷﺘﻪ ﺑﺪﻭﻱﮔﺮﺍﻳﺎﻧﻪ ﺍﻏﻮﺍ ﺩﺍﻧﺴﺖ‪ .‬ﺳﺮﻧﻮﺷﺖ ﻣﺼﻴﺒﺖﺑﺎﺭ ﻧﻈﺎﻡﻫﺎﻱ ﺗﻮﻟﻴﺪ ﻭ ﺍﻧﺒﺎﺷﺖ ﻣﺎ‪ ،‬ﺍﻏﻮﺍﻳﻲ‬

‫ﺳﺮﺩ ﺍﺳﺖ‪ .‬ﻣﺒﺎﺭﺯﻩ ﺍﻏﻮﺍ‪ ،‬ﻣﺒﺎﺭﺯﻩﺍﻱ ﺍﺳﺖ ﺑﺮ ﺳﺮ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻦ‪ .‬ﺍﺯ ﺍﻳﻦﺭﻭ ﺍﻏﻮﺍﻱ ﺳﺮﺩ ﻣﻌﻨﺎﻳﻲ ﺟﺰ‬

‫ﻣﺮﮒ ﻧﺪﺍﺭﺩ‪ .‬ﺍﻣﺎ ﺁﻳﺎ ﺍﻳﻦ ﻣﺮﮒ ﺟﺰ ﭘﻮﭼﻲ ﻓﻦﺁﻭﺭﻱ ﺍﺳﺖ؟ ﻣﺮﮒ ﺳﻮﮊﻩ ﻣﺜﻠﻪﺷﺪﻩ ﻭ ﺗﻜﺜﻴﺮﺷﺪﻩ‬

‫ﻓﻦﺁﻭﺭﻱ ﺩﺭ ﻣﻘﺎﺑﻞ ﺩﻭ ﺁﻳﻨﻪ ﺳﺮﺩ ﺭﺳﺎﻧﻪﻫﺎ ﻭ ﺗﻮﺩﻩﻫﺎ‪ .‬ﻫﻤﭽﻨﺎﻥﻛﻪ ﺷﺨﺺ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺍﺗﺎﻕ ﺁﻳﻨﻪ‬

‫ﮔﻢ ﻣﻲﻛﻨﺪ‪ ،‬ﺳﻮﮊﻩ ﻓﻦﺁﻭﺭﻱ ﻧﻴﺰ ﺑﺎ ﻭﺟﻮﺩ ﺗﻜﺜﻴﺮﻫﺎﻱ ﮊﻧﺘﻴﻜﻲ ﻭ ﺟﻬﺎﻥ ﺍﺗﺼﺎﻝﻫﺎﻱ ﺑﺪﻭﻥ ﺍﺭﺗﺒﺎﻁ‬

‫ﺩﺭ ﺷﺒﻜﻪﻫﺎ‪ ،‬ﺩﻳﮕﺮ ﺟﺎﻳﮕﺎﻩ ﻣﺴﺘﺤﻜﻢ ﺩﻭﺭﺍﻥ ﻣﺪﺭﻥ ﺧﻮﺩ ﺭﺍ ﺑﺎﺯ ﻧﺨﻮﺍﻫﺪ ﺷﻨﺎﺧﺖ‪ .‬ﺍﻏﻮﺍﻱ ﺳﺮﺩ‪،‬‬

‫ﻣﺮﮒ ﺳﻮﮊﻩﺍﻱ ﺍﺳﺖ ﻛﻪ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻓﻀﺎﻳﻲ ﺑﺎ ﺍﺑﻌﺎﺩ ﻛﺸﻬﻜﺸﺎﻧﻲ‪ ،‬ﺩﺭ ﺷﺒﻜﻪﻫﺎ‪ ،‬ﺍﻧﺪﺍﺯﻩﻫﺎ ﻭ‬

‫ﻣﺎﺗﺮﻳﻜﺴﻬﺎﻱ ﻓﻦﺁﻭﺭﻱ ﺑﻪ ﺣﺮﻛﺖ ﺩﺭ ﺁﻭﺭﺩﻩﺍﺳﺖ‪ .‬ﺍﻳﻜﺎﺭﻭﺳﻲ ﻛﻪ ﻓﺮﺟﺎﻡ ﻣﻬﻠﻚ ﺑﻠﻨﺪﭘﺮﻭﺍﺯﻱﻫﺎﻳﺶ‬

‫ﻧﻪ ﻳﻚ ﺳﻘﻮﻁ )ﻳﺎ ﺑﺎﺯﮔﺸﺖ( ﺑﻠﻜﻪ ﻭﺍﻧﻬﺎﺩﻩ ﺷﺪﻥ ﺩﺭ ﻓﻀﺎﻱ ﻣﺤﻮﻛﻨﻨﺪﻩ ﻓﻦﺁﻭﺭﻱ ﺍﺳﺖ‪.‬‬

‫ﺩﺭ ﭘﺎﻳﺎﻥ ﻻﺯﻡ ﻣﻲﺩﺍﻧﻢ ﺍﺯ ﺁﻗﺎﻱ ﻣﻬﺮﺍﻥ ﺣﺎﺗﻤﻲ ﺑﻪ ﺳﺒﺐ ﻫﻤﺮﺍﻫﻲ ﺁﻏﺎﺯﻳﻦ ﺍﻭ ﺩﺭ ﺗﺮﺟﻤﻪ ﺍﻳﻦ‬

‫ﻛﺘﺎﺏ ﻭ ﺁﻗﺎﻱ ﻋﻠﻲﺭﺿﺎ ﻣﺤﻮﻻﺗﻲ ﺑﻪ ﺧﺎﻃﺮ ﻛﻤﻚﻫﺎ ﻭ ﺭﺍﻫﻨﻤﺎﻳﻲﻫﺎﻳﺶ ﻭ ﭘﺮﻫﺎﻡ ﺷﻬﺮﺟﺮﺩﻱ ﺑﻪ‬

‫ﺳﺒﺐ ﻳﺎﺭﻱ ﺩﺭ ﻧﺸﺮ ﺍﻳﻦ ﻛﺘﺎﺏ ﻗﺪﺭﺩﺍﻧﻲ ﻧﻤﺎﻳﻢ‪.‬‬

‫ﺍﻣﻴﻦ ﻗﻀﺎﻳﻲ‬

‫‪۱۲‬‬
‫ﺍﻏﻮﺍ‬

‫ﻣﻘﺪﻣﻪ‬

‫ﺗﻘﺪﻳﺮ ﺛﺎﺑﺘﻲ ﺑﺮ ﺍﻏﻮﺍﮔﺮﻱ ﺣﻤﻞ ﻣﻲﺷﻮﺩ‪ .‬ﻧﺰﺩ ﺩﻳﻦ‪ ،‬ﺍﻏﻮﺍﮔﺮﻱ ﭼﻪ ﺩﺭ ﻧﻘﺎﺏ ﻧﻴﺮﻧﮓ‪ ،‬ﭼﻪ‬

‫ﻋﺸﻖ‪ ،‬ﺭﺍﻫﺒﺮﺩ ﺷﻴﻄﺎﻥ ﺍﺳﺖ؛ ﺍﻏﻮﺍﮔﺮﻱ ﻫﻤﻮﺍﺭﻩ ﺍﺯ ﺁﻥ ﺷﻴﻄﺎﻥ ﻳﺎ ﺩﻧﻴﺎ ﺍﺳﺖ‪ .‬ﻫﻤﺎﻥ ﺗﺰﻭﻳﺮ ﺩﻧﻴﺎ‪.‬‬

‫ﻟﻌﻦ ﺍﻏﻮﺍﮔﺮﻱ ﺩﺭ ﺍﺧﻼﻗﻴﺎﺕ ﻭ ﻓﻠﺴﻔﻪ ﺗﻐﻴﻴﺮﻧﺎﭘﺬﻳﺮ ﺑﻮﺩﻩ ﻭ ﺍﻣﺮﻭﺯ ﺩﺭ ﺭﻭﺍﻧﻜﺎﻭﻱ ﻭ »ﺁﺯﺍﺩﺳﺎﺯﻱ ﻣﻴﻞ«‬

‫ﺗﺪﺍﻭﻡ ﻳﺎﻓﺘﻪﺍﺳﺖ‪ .‬ﺑﺎ ﻭﺟﻮﺩ ﺗﺮﻭﻳﺞ ﻫﺮ ﺭﻭﺯﻩ ﺭﻭﺍﺑﻂ ﺟﻨﺴﻲ‪ ،‬ﺷﺮﺍﺭﺕ ﻭ ﺍﻧﺤﺮﺍﻑ ﺟﻨﺴﻲ ﺑﻪ ﻫﻤﺮﺍﻩ‬

‫ﺳﺘﺎﻳﺶ ﺍﺯ ﺑﺎﺯ ﺍﺣﻴﺎﻱ ﺑﺮﻧﺎﻣﻪﺭﻳﺰﻱﺷﺪﻩ ﺗﻤﺎﻣﻲ ﺁﻥ ﺍﻣﻮﺭﻱ ﻛﻪ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﻃﺮﺩ ﺷﺪﻩﺑﻮﺩﻧﺪ‪،‬‬

‫ﺗﻨﺎﻗﺾﺁﻣﻴﺰ ﺑﻪ ﻧﻈﺮ ﻣﻲﺁﻳﺪ ﻛﻪ ﺍﻏﻮﺍﮔﺮﻱ ﻫﻤﭽﻨﺎﻥ ﺩﺭ ﺳﺎﻳﻪﻫﺎ ﺑﺎﻗﻲ ﻣﺎﻧﺪﻩ ﻭ ﺣﺘﻲ ﺑﺪﺍﻥ ﺳﻴﺮ ﺛﺎﺑﺖ‬

‫ﺍﺑﺪﻱ ﺧﻮﺩ ﺑﺎﺯﮔﺸﺘﻪﺍﺳﺖ‪.‬‬

‫ﻗﺮﻥ ﻫﺠﺪﻫﻢ ﻫﻨﻮﺯ ﺍﺯ ﺍﻏﻮﺍ ﺳﺨﻦ ﻣﻲﮔﻔﺖ‪ .‬ﺑﻪ ﻫﻤﺮﺍﻩ ﺷﺠﺎﻋﺖ ﻭ ﺷﺮﺍﻓﺖ ﺍﺯ ﺩﻝﻣﺸﻐﻮﻟﻴﺎﺕ‬

‫ﻣﺤﻴﻂﻫﺎﻱ ﺍﺷﺮﺍﻓﻲ ﺑﻮﺩ‪ .‬ﺍﻧﻘﻼﺏ ﺑﻮﺭﮊﻭﺍﺯﻱ ﺑﺮ ﺍﻳﻦ ﺩﻝﻣﺸﻐﻮﻟﻲﻫﺎ ﭘﺎﻳﺎﻥ ﺩﺍﺩ‪) .‬ﻭ ﺩﻳﮕﺮ ﺍﻧﻘﻼﺑﻬﺎﻱ‬

‫ﺑﻌﺪﻱ ﺑﻪ ﮔﻮﻧﻪﺍﻱ ﺑﺮﮔﺸﺖﻧﺎﭘﺬﻳﺮ ﺍﻏﻮﺍﮔﺮﻱ ﺭﺍ ﻧﺎﺑﻮﺩ ﻛﺮﺩﻧﺪ ‪ -‬ﻫﺮ ﺍﻧﻘﻼﺑﻲ ﺩﺭ ﺁﻏﺎﺯﻫﺎﻱ ﺧﻮﺩ‪ ،‬ﺑﻪ‬

‫‪۱۳‬‬
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﺩﻧﺒﺎﻝ ﻧﺎﺑﻮﺩﻱ ﺍﻏﻮﺍﮔﺮﻱ ﻇﻮﺍﻫﺮ ﺍﺳﺖ(‪ .‬ﻋﺼﺮ ﺑﻮﺭﮊﻭﺍﺯﻱ‪ ،‬ﺧﻮﺩ ﺭﺍ ﻭﻗﻒ ﻃﺒﻴﻌﺖ ﻭ ﺗﻮﻟﻴﺪ ﻛﺮﺩ‪،‬‬

‫ﭼﻴﺰﻫﺎ ﺑﺎ ﺍﻏﻮﺍﮔﺮﻱ ﺑﻴﮕﺎﻧﻪ ﻭ ﺣﺘﻲ ﺻﺮﻳﺤﺎً ﺑﺮﺍﻱ ﺁﻥ ﻣﻬﻠﻚ ﮔﺸﺘﻨﺪ‪ .‬ﺍﺯ ﺁﻧﺠﺎﻳﻲﻛﻪ ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ‬

‫ﻫﻤﺎﻧﻄﻮﺭﻛﻪ ﻓﻮﻛﻮ ﺧﺎﻃﺮﻧﺸﺎﻥ ﺳﺎﺧﺘﻪ ﺍﺯ ﻓﺮﺁﻳﻨﺪ ﺗﻮﻟﻴﺪ )ﻳﺎ ﺍﺯ ﮔﻔﺘﻤﺎﻥ‪ ،‬ﮔﻔﺘﺎﺭ ﻳﺎ ﻣﻴﻞ( ﺑﺮ‬

‫ﻣﻲﺧﻴﺰﻧﺪ‪ ،‬ﻫﻴﭻ ﺟﺎﻱ ﺗﻌﺠﺐ ﻧﻴﺴﺖ ﻛﻪ ﺍﻏﻮﺍ ﺑﻴﺶ ﺍﺯ ﻫﻤﻴﺸﻪ ﭘﻨﻬﺎﻥ ﺑﻤﺎﻧﺪ‪ .‬ﻣﺎ ﺍﻣﺮﻭﺯ ﺩﺭ‬

‫ﭘﻴﺸﺮﻓﺖ ﻃﺒﻴﻌﺖ‪ ،‬ﻛﻪ ﻫﻤﺎﻥ ﻃﺒﻴﻌﺖ ﻧﻴﻚﺭﻭﺡ ﭘﻴﺸﻴﻦ ﺍﺳﺖ‪ ،‬ﻭ ﻃﺒﻴﻌﺖ ﻣﺎﺩﻱ ﺳﻮﺩﻣﻨﺪ ﭼﻴﺰﻫﺎ‬

‫ﻭ ﻳﺎ ﺣﺘﻲ ﻃﺒﻴﻌﺖ ﻓﻴﺰﻳﻜﻲ ﻣﻴﻞ ﺑﻪ ﺳﺮ ﻣﻲﺑﺮﻳﻢ‪ .‬ﻃﺒﻴﻌﺖ‪ ،‬ﺗﺤﻘﻖ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﻃﺮﻳﻖ ﺗﻐﻴﻴﺮ‬

‫ﻣﺎﻫﻴﺖﻫﺎﻱ ﺳﺮﻛﻮﺏ ﺷﺪﻩ ﻳﺎ ﺍﺯ ﻃﺮﻳﻖ ﺁﺯﺍﺩﺳﺎﺯﻱ ﺗﻤﺎﻣﻲ ﺍﻧﺮﮊﻱﻫﺎ‪ ،‬ﭼﻪ ﺭﻭﺍﻧﻲ‪ ،‬ﻣﺎﺩﻱ ﻳﺎ ﺍﺟﺘﻤﺎﻋﻲ‬

‫ﻣﻲﺟﻮﻳﺪ‪.‬‬

‫ﺍﻣﺎ ﺍﻏﻮﺍﮔﺮﻱ ﻫﺮﮔﺰ ﺑﻪ ﻧﻈﻢ ﻃﺒﻴﻌﺖ ﺗﻌﻠﻖ ﻧﺪﺍﺭﺩ ﺑﻠﻜﻪ ﺳﺎﺧﺘﻪ ﻧﻴﺮﻧﮓ ﺍﺳﺖ‪ .‬ﻫﺮﮔﺰ ﺑﻪ ﻧﻈﺎﻡ‬

‫ﺍﻧﺮﮊﻱ ﺩﺭ ﻧﻤﻲﺁﻳﺪ ﺑﻠﻜﻪ ﺍﺯ ﻧﺸﺎﻧﻪﻫﺎ ﻭ ﺁﻳﻴﻦﻫﺎﺳﺖ‪ .‬ﺑﻪ ﻫﻤﻴﻦﺧﺎﻃﺮ ﺍﺳﺖ ﻛﻪ ﺗﻤﺎﻣﻲ ﻧﻈﺎﻡﻫﺎﻱ‬

‫ﺑﺰﺭﮒ ﺗﻮﻟﻴﺪ ﻭ ﺗﻔﺴﻴﺮ ﻫﺮﮔﺰ ﺍﺯ ﺑﻴﺮﻭﻥ ﺭﺍﻧﺪﻥ ﺍﻏﻮﺍﮔﺮﻱ )ﺩﺭ ﻛﻤﺎﻝ ﺧﻮﺵ ﺷﺎﻧﺴﻲ( ﺍﺯ ﺯﻣﻴﻨﻪ‬

‫ﻣﻔﻬﻮﻣﻲﺷﺎﻥ‪ ،‬ﺩﺳﺖ ﻧﻜﺸﻴﺪﻩﺍﻧﺪ‪ .‬ﭼﺮﺍ ﻛﻪ ﺍﻏﻮﺍ ﻫﻤﻴﺸﻪ ﺍﺯ ﺑﻴﺮﻭﻥ ﺑﺎ ﺁﻧﻬﺎ ﺩﺭ ﻣﻲﺁﻣﻴﺰﺩ ﻭ ﺍﺯ ﺩﺭﻭﻥ‬

‫ﮊﺭﻓﺎﻱ ﺭﻫﺎ ﺷﺪﻩ ﺁﻧﻬﺎ‪ ،‬ﺍﻳﺸﺎﻥ ﺭﺍ ﺑﻪ ﻓﺮﻭﭘﺎﺷﻲ ﺗﻬﺪﻳﺪ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻏﻮﺍ ﻫﻤﻴﺸﻪ ﺑﺮﺍﻱ ﻧﺎﺑﻮﺩﻱ ﻫﺮ ﻧﻈﻢ‬

‫ﺧﺪﺍﻱﮔﻮﻧﻪ‪ ،‬ﺍﺯ ﺟﻤﻠﻪ ﻧﻈﺎﻡﻫﺎﻱ ﺗﻮﻟﻴﺪ ﻭ ﻣﻴﻞ ﺑﻪ ﺍﻧﺘﻈﺎﺭ ﻣﻲﻣﺎﻧﺪ‪ .‬ﺍﻏﻮﺍﮔﺮﻱ ﺑﺮ ﺗﻤﺎﻣﻲ ﺭﺍﺳﺖ‬

‫ﻛﻴﺸﻲﻫﺎ ﭼﻮﻧﺎﻥ ﺗﺒﺎﻫﻲ ﻭ ﺗﺰﻭﻳﺮ ﻇﺎﻫﺮ ﻣﻲﮔﺮﺩﺩ؛ ﭼﻮﻧﺎﻥ ﺟﺎﺩﻭﻱ ﺳﻴﺎﻫﻲ ﺑﺮﺍﻱ ﺍﻧﺤﺮﺍﻑ ﺗﻤﺎﻣﻲ‬

‫ﺣﻘﺎﻳﻖ‪ ،‬ﺳﺘﺎﻳﺶ ﺳﻮءﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻧﺸﺎﻧﻪﻫﺎ‪ ،‬ﺗﻮﻃﺌﻪ ﻧﺸﺎﻧﻪﻫﺎ‪ .‬ﻫﺮ ﮔﻔﺘﻤﺎﻧﻲ ﺑﺎ ﺍﻳﻦ ﺑﺮﮔﺸﺖﭘﺬﻳﺮﻱ‬

‫ﻧﺎﮔﻬﺎﻧﻲ‪ ،‬ﻓﺮﻭﺭﻭﻱ ﻧﺸﺎﻧﻪﻫﺎﻱ ﺧﻮﺩ ﺑﺪﻭﻥ ﻫﻴﭻ ﺭﺩﻱ ﺍﺯ ﻣﻌﻨﺎ‪ ،‬ﺗﻬﺪﻳﺪ ﻣﻲﺷﻮﺩ‪.‬‬

‫‪۱٤‬‬
‫ﺍﻏﻮﺍ‬

‫ﺑﻪ ﻫﻤﻴﻦ ﺳﺒﺐ ﺍﺳﺖ ﻛﻪ ﺗﻤﺎﻣﻲ ﺍﻧﻀﺒﺎﻃﺎﺕ‪ ،‬ﺑﻌﻨﻮﺍﻥ ﻳﻚ ﺍﺻﻞ ﺫﺍﺗﻲ ﻭ ﻧﻬﺎﻳﻲ ﮔﻔﺘﻤﺎﻥ­‬

‫ﻫﺎﻳﺸﺎﻥ ﺑﺎﻳﺪ ﺳﻌﻲ ﻛﻨﻨﺪ ﺍﻏﻮﺍﮔﺮﻱ ﺭﺍ ﻃﺮﺩ ﻧﻤﺎﻳﻨﺪ‪ .‬ﺍﺯ ﺍﻳﻨﺠﺎﺳﺖ ﻛﻪ ﺍﻏﻮﺍﮔﺮﻱ ﻭ ﺯﻧﺎﻧﮕﻲ ﻫﺮ ﺩﻭ‬

‫ﻧﻔﺮﻳﻦ ﻭ ﺑﻮﺍﻗﻊ‪ ،‬ﺩﺭﻫﻢ ﺁﻣﻴﺨﺘﻪ ﻣﻲﺷﻮﻧﺪ‪ .‬ﻣﺮﺩﺍﻧﮕﻲ ﻫﻤﻮﺍﺭﻩ ﺑﺎ ﺍﻳﻦ ﺑﺮﮔﺸﺖﭘﺬﻳﺮﻱ ﻧﺎﮔﻬﺎﻧﻲ ﺩﺭ‬

‫ﺟﻨﺲ ﺯﻥ ﺳﺮﻭﻛﺎﺭ ﺩﺍﺷﺘﻪﺍﺳﺖ‪ .‬ﺍﻏﻮﺍﮔﺮﻱ ﻭ ﺯﻧﺎﻧﮕﻲ ﻫﻤﭽﻮﻥ ﺭﻭﻱ ﺩﻳﮕﺮ ﺟﻨﺴﻴﺖ‪ ،‬ﻣﻌﻨﺎ ﻭ ﻗﺪﺭﺕ‬

‫ﮔﺮﻳﺰﻧﺎﭘﺬﻳﺮﻧﺪ‪.‬‬

‫ﺍﻣﺮﻭﺯﻩ‪ ،‬ﺍﻳﻦ ﻃﺮﺩ )ﺍﻏﻮﺍﮔﺮﻱ(‪ ،‬ﺧﺸﻦﺗﺮ ﻭ ﺭﻭﺷﻤﻨﺪﺗﺮ ﺷﺪﻩﺍﺳﺖ‪ ،‬ﻣﺎ ﺩﺭ ﺣﺎﻝ ﻭﺭﻭﺩ ﺑﻪ ﺩﻭﺭﻩ ﺭﺍﻩ­‬

‫ﺣﻞﻫﺎﻱ ﻧﻬﺎﻳﻲ ﺷﺪﻩﺍﻳﻢ‪ .‬ﺑﺮﺍﻱ ﻣﺜﺎﻝ‪ ،‬ﺩﻭﺭﻩ ﺍﻧﻘﻼﺏ ﺟﻨﺴﻲ‪ ،‬ﺩﻭﺭﻩ ﺗﻮﻟﻴﺪ ﻭ ﻣﺪﻳﺮﻳﺖ ﺗﻤﺎﻣﻲ ﻟﺬﺗﻬﺎﻱ‬

‫ﺁﺷﻜﺎﺭ ﻭ ﭘﻨﻬﺎﻥ‪ ،‬ﺧﺮﺩ ﭘﺮﺩﺍﺯﺷﮕﺮﻱ ﻣﻴﻞ‪ ،‬ﺑﺎ ﺯﻧﻲ ﻛﻪ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﺯﻥ ﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ‬

‫ﺟﻨﺴﻴﺖ ﺗﻮﻟﻴﺪ ﻣﻲﻛﻨﺪ‪ .‬ﺁﺧﺮﻳﻦ ﺁﻭﺍﺗﺎﺭ )ﺗﺠﻠﻲ ﺧﺪﺍﻱﮔﻮﻧﻪ(‪ .‬ﭘﺎﻳﺎﻥ ﺍﻏﻮﺍﮔﺮﻱ‪.‬‬

‫ﻭ ﻳﺎ ﭘﻴﺮﻭﺯﻱ ﻧﻮﻋﻲ ﺍﻏﻮﮔﺮﻱ ﻣﻼﻳﻢ ﻭ ﻧﺮﻡ‪ ،‬ﻣﻮﻧﺚﺳﺎﺯﻱ ﭘﺮﺍﻛﻨﺪﻩ ﻭ ﺍﺭﻭﺗﻴﺰﻩ ﻛﺮﺩﻥ ﺗﻤﺎﻣﻲ‬

‫ﺭﻭﺍﺑﻂ ﺩﺭ ﺟﻬﺎﻥ ﺍﺟﺘﻤﺎﻋﻲ ﺗﻀﻌﻴﻒ ﺷﺪﻩ‪.‬‬

‫ﻳﺎ ﻫﻴﭻﻛﺪﺍﻡ ﺍﻳﻨﻬﺎ‪ ،‬ﭼﺮﺍ ﻛﻪ ﻫﻴﭻﭼﻴﺰ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺑﺰﺭﮔﺘﺮ ﺍﺯ ﺧﻮﺩ ﺍﻏﻮﺍﮔﺮﻱ ﺑﺎﺷﺪ‪ ،‬ﺣﺘﻲ ﻧﻈﺎﻣﻲ‬

‫ﻛﻪ ﺁﻧﺮﺍ ﻧﺎﺑﻮﺩ ﻣﻲﻛﻨﺪ‪.‬‬

‫‪۱٥‬‬
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﻓﺼﻞ ﻳﻜﻢ‬
‫ﻛﺴﻮﻑ ﺟﻨﺴﻴﺖ‬

‫‪۱٦‬‬
‫ﺍﻏﻮﺍ‬

‫ﻛﺴﻮﻑ ﺟﻨﺴﻴﺖ‬

‫ﺍﻣﺮﻭﺯ ﻫﻴﭻ ﭼﻴﺰ ﻧﺎﻣﻌﻴﻦﺗﺮ ﺍﺯ ﺟﻨﺴﻴﺖ ﻧﻴﺴﺖ‪ ،‬ﺩﺭ ﭘﺲ ﺁﺯﺍﺩﻱ ﮔﻔﺘﻤﺎﻥ ﺧﻮﺩ ﺁﻥ ﻭ ﻫﻴﭻ‬

‫ﭼﻴﺰ ﻧﺎﻣﻌﻴﻦﺗﺮ ﺍﺯ ﻣﻴﻞ ﺩﺭ ﭘﺲ ﺗﻜﺜﻴﺮ ﺗﺼﺎﻭﻳﺮﺵ ﻧﻴﺴﺖ‪.‬‬

‫ﺩﺭ ﺍﻣﺮ ﺟﻨﺴﻴﺖ ﺗﻜﺜﻴﺮ ﺑﻪ ﻧﺎﺑﻮﺩﻱ ﻣﻲﺍﻧﺠﺎﻣﺪ‪ ،‬ﺭﺍﺯ ﺍﻓﺰﺍﻳﺶ ﺗﻮﻟﻴﺪ ﺟﻨﺴﻴﺖ ﻭ ﻧﺸﺎﻧﻪﻫﺎﻳﺶ ﻭ‬

‫ﺣﺎﺩ ﻭﺍﻗﻌﻲﮔﺮﺍﻳﻲ ﻟﺬﺕ ﺟﻨﺴﻲ ﺧﺼﻮﺻﺎً ﻟﺬﺕ ﺯﻧﺎﻧﻪ ﺩﺭ ﻫﻤﻴﻦ ﺍﻣﺮ ﻧﻬﻔﺘﻪﺍﺳﺖ‪ .‬ﺍﺻﻞ ﻧﺎﺣﺘﻤﻴﺖ ﺑﻪ‬

‫ﻫﻤﺎﻥ ﻣﻘﺪﺍﺭ ﻛﻪ ﺩﺭ ﻋﻘﻼﻧﻴﺖ ﺳﻴﺎﺳﻲ ﻭ ﺍﻗﺘﺼﺎﺩﻱ ﺗﺴﺮﻱ ﻳﺎﻓﺘﻪ ﺑﻪ ﻋﻘﻼﻧﻴﺖ ﺟﻨﺴﻲ ﻧﻴﺰ ﺭﺍﻩ‬

‫ﻳﺎﻓﺘﻪﺍﺳﺖ‪ .‬ﻭﺿﻌﻴﺖ ﺁﺯﺍﺩﻱ ﺟﻨﺴﻲ ﻧﻴﺰ ﺍﺯ ﻫﻤﻴﻦ ﻧﺎﺣﺘﻤﻴﺖ ﻋﻘﻼﻧﻴﺖ ﺟﻨﺴﻲ ﺍﺳﺖ‪ .‬ﻧﻪ ﺧﻮﺍﺳﺘﻪ­‬

‫ﺍﻱ‪ ،‬ﻧﻪ ﻣﻤﻨﻮﻋﻴﺘﻲ‪ ،‬ﻧﻪ ﻣﺤﺪﻭﺩﻳﺘﻲ‪ :‬ﺗﻤﺎﻣﻲ ﺍﺻﻮﻝ ﺍﺭﺟﺎﻋﻲ ﺍﺯ ﺑﻴﻦ ﺭﻓﺘﻪﺍﺳﺖ‪ .‬ﻋﻘﻼﻧﻴﺖ ﺍﻗﺘﺼﺎﺩﻱ‬

‫ﻛﻪ ﺑﻮﺍﺳﻄﻪﻱ ﻧﻴﺎﺯﻣﻨﺪﻱ ﺑﺮﭘﺎﺳﺖ‪ ،‬ﺑﺎ ﺗﺸﺨﻴﺺ ﻫﺪﻑ )ﺍﺑﮋﻛﺘﻴﻮ( ﺧﻮﺩ ﺑﺎ ﻣﺴﺌﻠﻪﺍﻱ ﻣﻮﺍﺟﻪ ﺷﺪﻩ­‬

‫ﺍﺳﺖ‪ :‬ﻓﺴﺦ ﺷﺒﺢ ﻧﻴﺎﺯﻣﻨﺪﻱ‪ .‬ﻣﻨﻄﻖ ﻣﻴﻞ ﻫﻢ ﺗﻨﻬﺎ ﺑﺎ ﺧﻮﺍﺳﺘﻪ ﺗﻘﻮﻳﺖ ﻣﻲﺷﻮﺩ‪ .‬ﻭﻗﺘﻲ ﻣﻴﻞ ﻛﺎﻣﻼً‬

‫ﺑﻪ ﺩﺭﺧﻮﺍﺳﺘﻬﺎ ﺟﻮﺍﺏ ﻣﻲﺩﻫﺪ ﻭﻗﺘﻲ ﺑﺪﻭﻥ ﻫﻴﭻ ﻣﺤﺪﻭﺩﻳﺘﻲ ﺍﺯ ﺁﻥ ﺑﻬﺮﻩﺑﺮﺩﺍﺭﻱ ﻣﻲﺷﻮﺩ‪ ،‬ﺧﻴﺎﻝﻫﺎ‬

‫ﻭ ﺗﺼﻮﺭﺍﺕ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻣﻲﺩﻫﺪ ﻭ ﺑﻨﺎﺑﺮﺍﻳﻦ ﻭﺍﻗﻌﻴﺘﺶ ﻫﻤﻪﺟﺎ ﻇﺎﻫﺮ ﻣﻲﺷﻮﺩ‪ ،‬ﺍﻣﺎ ﺩﺭ ﻳﻚ‬

‫‪۱۷‬‬
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﻭﺍﻧﻤﺎﻳﻲ ﻛﻠﻴﺖ ﻳﺎﻓﺘﻪ‪ .‬ﺍﻳﻦ ﺷﺒﺢ ﻣﻴﻞ ﺍﺳﺖ ﻛﻪ ﻫﻤﭽﻮﻥ ﻭﺍﻗﻌﻴﺖ ﻣﺮﺩﻩ ﺟﻨﺴﻴﺖ ﺩﺭ ﮔﺸﺖ ﻭ ﮔﺬﺍﺭ‬

‫ﺍﺳﺖ‪.‬‬

‫" ﺟﻨﺴﻴﺖ ﻫﻤﻪﺟﺎ ﺍﺳﺖ ﺑﻪ ﺟﺰ ﺩﺭ ﺧﻮﺩ ﺟﻨﺴﻴﺖ"‬

‫)ﺑﺎﺭﺕ(‬

‫ﺩﺭ ﺍﺳﻄﻮﺭﻩﺷﻨﺎﺳﻲ ﺟﻨﺴﻲ‪ ،‬ﮔﺬﺍﺭ ﺑﻪ ﺯﻧﺎﻧﮕﻲ‪ ،‬ﻣﻌﺎﺩﻝ ﺑﺎ ﮔﺬﺍﺭ ﺍﺯ ﺣﺘﻤﻴﺖ ﺑﻪ ﻧﺎﺣﺘﻤﻴﺘﻲ ﻛﻠﻲ‬

‫ﺍﺳﺖ‪ .‬ﺯﻧﺎﻧﮕﻲ‪ ،‬ﻣﻄﺎﺑﻖ ﺑﺮﺧﻲ ﺍﺯ ﻭﺍﮊﮔﻮﻧﮕﻲﻫﺎﻱ ﺳﺎﺧﺘﺎﺭﻱ‪ ،‬ﺟﺎﻳﮕﺰﻳﻦ ﻣﺮﺩﺍﻧﮕﻲ ﻧﺸﺪﻩﺍﺳﺖ‪ .‬ﺯﻧﺎﻧﮕﻲ‬

‫ﻫﻤﭽﻮﻥ ﭘﺎﻳﺎﻧﻲ ﺑﺮ ﺑﺎﺯﻧﻤﺎﻳﻲ ﺣﺘﻤﻲ ﺟﻨﺴﻴﺖ ﺟﺎﻳﮕﺰﻳﻦ ﺷﺪﻩﺍﺳﺖ ﻭ ﻣﻮﺟﺐ ﺳﻴﺎﻟﻴﺖ ﻗﺎﻧﻮﻧﻲ ﻣﻲ­‬

‫ﺷﻮﺩ ﻛﻪ ﺍﺧﺘﻼﻑ ﺟﻨﺴﻲ ﺭﺍ ﺗﻨﻈﻴﻢ ﻣﻲﻧﻤﺎﻳﺪ‪ .‬ﻋﺮﻭﺝ ﺯﻧﺎﻧﮕﻲ ﻫﻢ ﺑﻪ ﻣﻌﻨﺎﻱ ﺍﻭﺝ ﻟﺬﺕ ﺟﻨﺴﻲ ﻭ‬

‫ﻫﻢ ﭘﺎﻳﺎﻥ ﻓﺎﺟﻌﻪﺁﻣﻴﺰ ﺍﺻﻞ ﻭﺍﻗﻌﻴﺖ ﺟﻨﺴﻲ ﺍﺳﺖ‪.‬‬

‫ﻭ ﺍﻳﻨﭽﻨﻴﻦ ﺯﻧﺎﻧﮕﻲ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﺣﻀﻮﺭ ﻣﻬﻠﻚ ﺣﺎﺩ ﻭﺍﻗﻌﻴﺖ ﺟﻨﺴﻴﺖ‪ ،‬ﻓﺮﺍﮔﻴﺮ ﻣﻲﺷﻮﺩ‪،‬‬

‫ﻫﻤﭽﻨﺎﻥ ﻛﻪ ﺩﺭﮔﺬﺷﺘﻪ ﺩﺭ ﻛﻨﺎﻳﻪ ﻭ ﺍﻏﻮﺍﮔﺮﻱ ﻓﺮﺍﮔﻴﺮ ﺑﻮﺩﻩﺍﺳﺖ‪.‬‬

‫ﻓﺮﻭﻳﺪ ﺭﺍﺳﺖ ﻣﻲﮔﻔﺖ‪) :‬ﻓﻘﻂ( ﻳﻚ ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ‪ ،‬ﻳﻚ ﻟﻴﺒﻴﺪﻭ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻭ ﺁﻥ‬

‫ﻣﺮﺩﺍﻧﮕﻲ ﺍﺳﺖ‪ .‬ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ ﺳﺎﺧﺘﺎﺭﻱ ﺗﺒﻌﻴﺾﺁﻣﻴﺰ ﻭ ﻧﻴﺮﻭﻣﻨﺪ‪ ،‬ﺗﻤﺮﻛﺰ ﻳﺎﻓﺘﻪ ﺣﻮﻝ ﻓﺎﻟﻮﺱ‪،‬‬

‫ﻧﺎﻡ ﭘﺪﺭ‪ ،‬ﻭ ﺳﺮﻛﻮﺏ ﺩﺍﺭﺩ‪ .‬ﭼﻴﺰﺩﻳﮕﺮﻱ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﻫﻴﭻ ﺭﻭﻳﺎﻱ ﺩﻳﮕﺮﻱ ﺍﺯ ﺟﻨﺴﻴﺖ ﺑﻲﻧﺸﺎﻥ‪،‬‬

‫ﮔﺸﻮﺩﻩ ﻭ ﻏﻴﺮﻓﺎﻟﻮﺳﻲ ﻓﺎﻳﺪﻩ ﻧﺪﺍﺭﺩ‪ .‬ﺟﺴﺘﺠﻮ ﺩﺭﻭﻥ ﺍﻳﻦ ﺳﺎﺧﺘﺎﺭ ﺑﺮﺍﻱ ﺑﺪﺳﺖ ﺁﻭﺭﺩﻥ ﺯﻧﺎﻧﮕﻲ ﺑﺎ‬

‫ﻋﺒﻮﺭ ﺑﻪ ﺳﻮﻱ ﺩﻳﮕﺮ ﻫﻴﭻ ﻓﺎﻳﺪﻩﺍﻱ ﻧﺪﺍﺭﺩ‪ .‬ﻳﺎ ﺳﺎﺧﺘﺎﺭ ﺩﺳﺖ ﻧﺨﻮﺭﺩﻩ ﺑﺎﻗﻲﻣﻲﻣﺎﻧﺪ ﻭ ﻭﺟﻮﺩ ﺯﻧﺎﻧﮕﻲ‬

‫ﻛﺎﻣﻼً ﺗﻮﺳﻂ ﻣﺮﺩﺍﻧﮕﻲ ﺟﺬﺏ ﻣﻲﺷﻮﺩ ﻳﺎ ﺍﻳﻨﻜﻪ ﻛﻞ ﺳﺎﺧﺘﺎﺭ ﻓﺮﻭ ﻣﻲﭘﺎﺷﺪ ﻭ ﻣﺮﺩ ﻭ ﺯﻥ ﺩﻳﮕﺮ‬

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‫ﺍﻏﻮﺍ‬

‫ﻭﺟﻮﺩ ﻧﺨﻮﺍﻫﺪﺩﺍﺷﺖ‪ .‬ﺩﺭﺟﻪ ﺻﻔﺮ ﺳﺎﺧﺘﺎﺭ‪ ۱‬ﺍﻳﻦ ﺩﻗﻴﻘﺎً ﻫﻤﺎﻥ ﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﺍﻣﺮﻭﺯ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩﻩ­‬

‫ﺍﺳﺖ‪ :‬ﭼﻨﺪ ﻇﺮﻓﻴﺘﻲ ﺍﺭﻭﺗﻴﻚ‪ ،‬ﭘﺘﺎﻧﺴﻴﻞﻫﺎﻱ ﻧﺎﻣﺤﺪﻭﺩ ﻣﻴﻞ‪ ،‬ﺍﺭﺗﺒﺎﻃﺎﺕ ﻣﺘﻔﺎﻭﺕ ﻭ ﻣﺘﻨﻮﻉ‪،‬‬

‫ﺩﻳﻔﺮﺍﻛﺴﻴﻮﻧﻬﺎ‪ ،‬ﻧﻴﺮﻭﻣﻨﺪﻱ ﻟﻴﺒﻴﺪﻳﻨﺎﻝ ﻭ ﺗﻤﺎﻣﻲ ﺍﺷﻜﺎﻝ ﭼﻨﺪﮔﺎﻧﻪ ﺭﻭﻳﻜﺮﺩﻫﺎﻱ ﺁﺯﺍﺩﻱ ﺑﺨﺶ ﻛﻪ ﺍﺯ‬

‫ﺳﺮﺣﺪﺍﺕ ﺭﻫﺎﻳﻲ ﺭﻭﺍﻧﻜﺎﻭﺍﻧﻪ ﻓﺮﻭﻳﺪ ﻳﻌﻨﻲ ﻣﻴﻞ ﺁﺯﺍﺩ ﺭﻭﺍﻧﻜﺎﻭﻱ ﻇﺎﻫﺮ ﮔﺸﺘﻪﺍﻧﺪ‪ .‬ﺩﺭ ﭘﺸﺖ ﻫﻴﺠﺎﻥ‬

‫ﭘﺎﺭﺍﺩﺍﻳﻢ ﺟﻨﺴﻴﺖ‪ ،‬ﻫﻤﻪﭼﻴﺰ ﺑﻪ ﺳﻤﺖ ﺑﻲﺗﻔﺎﻭﺗﻲ ﺳﺎﺧﺘﺎﺭ ﻭ ﺧﻨﺜﻲﺳﺎﺯﻱ ﺑﺎﻟﻘﻮﻩ ﭘﻴﺶ ﻣﻲﺭﻭﺩ‪.‬‬

‫ﺧﻄﺮ ﺍﻧﻘﻼﺏ ﺟﻨﺴﻲ ﺑﺮﺍﻱ ﺯﻧﺎﻧﮕﻲ ﺩﺭ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺟﻨﺲ ﺯﻥ ﺩﺭ ﺳﺎﺧﺘﺎﺭﻱ ﻣﺤﺼﻮﺭ ﻣﻲ­‬

‫ﺷﻮﺩ ﻛﻪ ﻭﻗﺘﻲ ﺳﺎﺧﺘﺎﺭ ﻧﻴﺮﻭﻣﻨﺪ ﺍﺳﺖ ﺍﻭ ﺭﺍ ﺑﻪ ﺗﻔﺎﻭﺕﮔﺬﺍﺭﻱ ﻣﺤﻜﻮﻡ ﻣﻲﻛﻨﺪ ﻳﺎ ﻭﻗﺘﻲ ﺳﺎﺧﺘﺎﺭ‬

‫ﺿﻌﻴﻒ ﺷﺪﻩﺍﺳﺖ‪ ،‬ﭘﻴﺮﻭﺯﻱ ﻣﻀﺤﻜﻲ ﺭﺍ ﺑﺮﺍﻱ ﺍﻭ ﻓﺮﺍﻫﻢ ﻣﻲﺁﻭﺭﺩ‪.‬‬

‫ﺍﻣﺎ ﺯﻧﺎﻧﮕﻲ ﻫﻤﻴﺸﻪ ﺩﺭ ﺟﺎﻱ ﺩﻳﮕﺮﻱ ﺑﻮﺩﻩ ﻭ ﻫﺴﺖ‪ .‬ﺍﻳﻦ ﺭﺍﺯ ﻧﻴﺮﻭﻱ ﺍﻭﺳﺖ‪ .‬ﺩﺭﺳﺖ ﻫﻤﺎﻧﻄﻮﺭ‬

‫ﻛﻪ ﮔﻔﺘﻪﻣﻲﺷﻮﺩ ﭼﻴﺰﻱ ﺩﺍﻭﻡ ﻣﻲﺁﻭﺭﺩ ﻛﻪ ﻣﻮﺟﻮﺩﻳﺘﺶ ﺑﺮﺍﻱ ﻣﺎﻫﻴﺘﺶ ﻛﺎﻓﻲ ﻧﻴﺴﺖ‪ ،‬ﺑﺎﻳﺪ ﮔﻔﺖ‬

‫ﻛﻪ ﺯﻧﺎﻧﮕﻲ ﺍﻏﻮﺍ ﻣﻲﻛﻨﺪ ﭼﺮﺍ ﻛﻪ ﻫﺮﮔﺰ ﺁﻧﺠﺎﻳﻲ ﺗﺼﻮﺭ ﻣﻲﺷﻮﺩ ﻭ ﻳﺎ ﺟﺎﻳﻲ ﻛﻪ ﺧﻮﺩﺵ ﺗﺼﻮﺭ ﻣﻲ­‬

‫ﻛﻨﺪ‪ ،‬ﻧﻴﺴﺖ‪ .‬ﺯﻧﺎﻧﮕﻲ ﺩﺭ ﺗﺎﺭﻳﺦ ﺳﺘﻢ ﻭ ﺳﺮﻛﻮﺑﻲ ﻛﻪ ﺑﺪﺍﻥ ﻧﺴﺒﺖ ﻣﻲﺩﻫﻨﺪ‪ ،‬ﺩﻳﺪﻩﻧﻤﻲﺷﻮﺩ‪) .‬ﺑﺎ‬

‫ﻫﻤﻴﻦ ﺣﻴﻠﻪ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺁﻥ ﭘﻨﻬﺎﻥ ﻣﻲﻛﻨﺪ(‪ .‬ﺗﻨﻬﺎ ﻭﻗﺘﻲ ﻣﺘﺤﻤﻞ ﺑﻨﺪﮔﻲ ﻭ ﺍﺳﺎﺭﺕ ﻣﻲﺷﻮﺩ ﻛﻪ ﺍﻭ‬

‫ﺭﺍ ﺩﺭ ﺩﺭﻭﻥ ﭼﻨﻴﻦ ﺳﺎﺧﺘﺎﺭﻱ ﻗﻠﻤﺪﺍﺩ ﻧﻤﻮﺩﻩ ﻭ ﺳﺮﻛﻮﺏ ﻧﻤﺎﻳﻴﻢ ﻭ ﺍﻳﻦ ﻫﻤﺎﻥ ﻓﺮﺿﻲ ﺍﺳﺖ ﻛﻪ‬

‫ﺍﻧﻘﻼﺏ ﺟﻨﺴﻲ ﺑﺎ ﺁﻥ ﺑﻪ ﻃﺮﺯﻱ ﺩﺭﺍﻣﺎﺗﻴﻚﺗﺮ ﺯﻧﺎﻧﮕﻲ ﺭﺍ ﺳﺮﻛﻮﺏ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺑﺎ ﭼﻪ ﻫﻤﺪﺳﺘﻲ‬

‫ﮔﻤﺮﺍﻩ ﻛﻨﻨﺪﻩﺍﻱ ﺑﻪ ﻣﺎ ﻗﺒﻮﻻﻧﺪﻩﺍﻧﺪ ﻛﻪ ﺍﻳﻦ ﻫﻤﺎﻥ ﺗﺎﺭﻳﺦ ﺯﻧﺎﻧﮕﻲ ﺍﺳﺖ؟ )ﺗﺒﺎﻧﻲ ﺑﺎ ﭼﻪ ﭼﻴﺰﻱ؟ ﺍﮔﺮ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﺩﻗﻴﻘﺎً ﺟﻨﺲ ﻣﺮﺩ ﻧﺒﺎﺷﺪ( ﺳﺮﻛﻮﺏ ﻫﻤﻴﻦ ﺟﺎﺳﺖ ﻛﻪ ﺑﺎ ﻗﺪﺭﺕ ﻛﺎﻣﻞ ﺩﺭ ﺭﻭﺍﻳﺖ ﻧﮕﻮﻥﺑﺨﺘﻲ‬

‫ﺳﻴﺎﺳﻲ ﻭ ﺟﻨﺴﻲ ﺯﻧﺎﻥ‪ ،‬ﺯﻧﺎﻧﮕﻲ ﺭﺍ ﺍﺯ ﻫﺮ ﻧﻮﻉ ﺩﻳﮕﺮﻱ ﺍﺯ ﻗﺪﺭﺕ ﻭ ﺣﺎﻛﻤﻴﺖ ﻣﺤﺮﻭﻡ ﻣﻲﻛﻨﺪ‪.‬‬

‫ﻳﻚ ﺟﺎﻳﮕﺰﻳﻦ ﺑﺮﺍﻱ ﺟﻨﺴﻴﺖ ﻭ ﺑﺮﺍﻱ ﻗﺪﺭﺕ ﻭﺟﻮﺩﺩﺍﺭﺩ‪ ،‬ﮔﺰﻳﻨﻪﺍﻱ ﻛﻪ ﺭﻭﺍﻧﻜﺎﻭﻱ ﻧﻤﻲﺗﻮﺍﻧﺪ‬

‫ﺁﻧﺮﺍ ﺑﻔﻬﻤﺪ ﭼﺮﺍ ﻛﻪ ﺗﻤﺎﻣﻲ ﭘﻴﺶ ﺍﻧﮕﺎﺭﻩﻫﺎﻱ ﺭﻭﺍﻧﻜﺎﻭﻱ ﺟﻨﺴﻲ ﻫﺴﺘﻨﺪ‪ ،‬ﺑﻠﻪ‪ ،‬ﺍﻳﻦ ﺟﺎﻳﮕﺰﻳﻦ ﺑﺪﻭﻥ‬

‫ﺷﻚ ﺍﺯ ﻧﻈﺎﻡ ﺯﻧﺎﻧﮕﻲ ﺍﺳﺖ ﻛﻪ ﺧﺎﺭﺝ ﺍﺯ ﻫﺮﮔﻮﻧﻪ ﺩﻭﺗﺎﻳﻲ ﻣﺘﻀﺎﺩ ﺯﻥ‪ /‬ﻣﺮﺩ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﺩ‪ ،‬ﻭﺟﻮﺩ‬

‫ﺗﻀﺎﺩ ﻣﺎﻫﻴﺘﺎً ﻣﺮﺩﺍﻧﻪ ﻭ ﺟﻨﺴﻴﺖ ِ ﻋﻤﺪﻱ‪ ،‬ﻧﺎﺗﻮﺍﻥ ﺍﺯ ﻭﺍﮊﮔﻮﻥ ﺷﺪﻥ ﺑﺪﻭﻥ ﺗﻮﻗﻒ ﺑﺮﺍﻱ ﻭﺟﻮﺩ‬

‫ﺩﺍﺷﺘﻦ‪ .‬ﺍﻳﻦ ﻧﻴﺮﻭﻱ ﺯﻧﺎﻧﮕﻲ ﺍﺯ ﺍﻏﻮﺍﮔﺮﻱ ﺍﺳﺖ‪.‬‬

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‫ﺑﺎ ﻧﮕﺎﻫﻲ ﺍﺟﻤﺎﻟﻲ ﺩﻳﮕﺮ ﻣﻲﺗﻮﺍﻥ ﺑﺪﺍﻥ ﭘﻲ ﺑﺮﺩ‪ ،‬ﺟﻬﺎﻧﻲ ﺑﻪ ﻣﻮﺍﺯﺍﺕ )ﻛﻪ ﻫﺮﮔﺰ ﺑﺎ ﻫﻢ ﺗﻼﻗﻲ‬

‫ﻧﻤﻲﻛﻨﻨﺪ( ﺳﻘﻮﻁ ﺭﻭﺍﻧﻜﺎﻭﻱ ﻭ ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲﺍﺵ ﺑﻪ ﻣﺜﺎﺑﻪ ﺳﺎﺧﺘﺎﺭﻱ ﻗﺪﺭﺗﻤﻨﺪ ﻭ ﻣﺤﻮ ﺁﻧﻬﺎ ﺩﺭ‬

‫ﺟﻬﺎﻧﻲ ﻣﻮﻟﻜﻮﻟﻲ ﻭ ﺧﺮﺩ )ﻛﻪ ﻧﺘﻴﺠﻪ ﺁﺯﺍﺩﻱ ﻧﻬﺎﻳﻲ ﺁﻧﻬﺎﺳﺖ(‪ .‬ﺟﻬﺎﻧﻲ ﻛﻪ ﺩﻳﮕﺮ ﺑﺎ ﺍﺻﻄﻼﺣﺎﺕ‬

‫ﺭﻭﺍﻧﻲ ﻳﺎ ﺭﻭﺍﺑﻂ ﺭﻭﺍﻧﻜﺎﻭﺍﻧﻪ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺗﻔﺴﻴﺮ ﺷﻮﺩ‪ ،‬ﻧﻪ ﺑﺎ ﺳﺮﻛﻮﺏ ﻭ ﻧﻪ ﺑﺎ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﺑﻠﻜﻪ ﺑﺎﻳﺪ ﺑﺎ‬

‫ﺍﺻﻄﻼﺣﺎﺗﻲ ﻣﺜﻞ ﺑﺎﺯﻱ‪ ،‬ﻣﺒﺎﺭﺯﺍﺕ‪ ،‬ﺩﻭﺋﻞﻫﺎ‪ ،‬ﺳﺘﻴﺰﻩﻫﺎﻱ ﺗﻦ ﺑﻪ ﺗﻦ ﻭ ﻳﺎ ﺍﺳﺘﺮﺍﺗﮋﻱ ﻇﻮﺍﻫﺮ‪ ،‬ﻛﻪ‬

‫ﻫﻤﮕﻲ ﺍﺻﻄﻼﺣﺎﺕ ﺍﻏﻮﺍﮔﺮﻱﺍﻧﺪ‪ ،‬ﺗﻔﺴﻴﺮ ﺷﻮﺩ‪ .‬ﺟﻬﺎﻧﻲ ﻛﻪ ﺩﻳﮕﺮ ﺑﺎ ﺍﺻﻄﻼﺣﺎﺕ ﺳﺎﺧﺘﺎﺭﻱ ﻭ‬

‫ﺩﻭﺗﺎﻳﻲﻫﺎﻱ ﺗﻤﺎﻳﺰﮔﺬﺍﺭ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺗﻔﺴﻴﺮ ﺷﻮﺩ‪ ،‬ﺑﻠﻜﻪ ﺑﺮﮔﺸﺖﭘﺬﻳﺮﻱ ﺍﻏﻮﺍﮔﺮﺍﻧﻪﺍﻱ ﺑﻪ ﻛﺎﺭ ﻣﻲﺑﺮﺩ‪.‬‬

‫ﺟﻬﺎﻧﻲ ﻛﻪ ﺯﻧﺎﻧﮕﻲ ﭼﻴﺰﻱ ﺩﺭ ﻣﻘﺎﺑﻞ ﻣﺮﺩﺍﻧﮕﻲ ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﻣﺮﺩﺍﻧﮕﻲ ﺭﺍ ﺍﻏﻮﺍ ﻣﻲ­‬

‫ﻛﻨﺪ‪.‬‬

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‫ﺍﻏﻮﺍ‬

‫ﺩﺭ ﺍﻏﻮﺍﮔﺮﻱ‪ ،‬ﺯﻧﺎﻧﮕﻲ ﻧﻪ ﺍﺻﻄﻼﺣﻲ ﻧﺸﺎﻧﻪﮔﺬﺍﺭﻱ ﺷﺪﻩﺍﺳﺖ ﻭ ﻧﻪ ﻧﺸﺎﻧﻪﮔﺬﺍﺭﻱ ﻧﺸﺪﻩ‪ .‬ﺩﺭ‬

‫ﻧﻘﺎﺏ »ﺧﻮﺩﻣﺨﺘﺎﺭﻱ« ﻣﻴﻞ‪ ،‬ﻟﺬﺕ ﻳﺎ ﺑﺪﻥ‪ ،‬ﻳﺎ ﺳﺨﻦ ﻭ ﻧﻮﺷﺘﺎﺭﻱ ﻛﻪ ﻓﺮﺽ ﻣﻲﺷﻮﺩ ﺍﺯ ﺩﺳﺖ‬

‫ﺭﻓﺘﻪﺍﺳﺖ‪ ،‬ﭘﻨﻬﺎﻥ ﻧﻤﻲﺷﻮﺩ‪ ،‬ﻫﺮﮔﺰ ﻣﺪﻋﻲ ﺩﺍﺷﺘﻦ ﺣﻘﻴﻘﺘﻲ ﺑﺮﺍﻱ ﺧﻮﻳﺶ ﻧﻴﺴﺖ‪ .‬ﺯﻧﺎﻧﮕﻲ ﺍﻏﻮﺍ‬

‫ﻣﻲﻛﻨﺪ‪.‬‬

‫ﻣﻄﻤﺌﻦ ﺑﺎﺷﻴﺪ‪ ،‬ﺣﺎﻛﻤﻴﺖ ﺯﻧﺎﻧﮕﻲ ﺍﻏﻮﺍﮔﺮﻱ ﺗﻮﺳﻂ ﺁﻳﻴﻦ ﻓﺮﺍﺧﻮﺍﻧﺪﻩﻣﻲﺷﻮﺩ‪ ،‬ﻫﻤﺎﻥ ﺁﻳﻴﻨﻲ‬

‫ﻛﻪ ﻣﺪﻋﻲ ﺍﺳﺖ ﻛﻪ ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ ﺑﻨﻴﺎﺩﺍً ﻣﺮﺩﺍﻧﻪﺍﻧﺪ‪ .‬ﺍﻣﺎ ﻣﻬﻢ ﺍﻳﻦ ﻧﻜﺘﻪ ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﺷﻜﻞ‬

‫ﺣﺎﻛﻤﻴﺖ ﺯﻧﺎﻧﮕﻲ ﻫﻤﻴﺸﻪ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪﺍﺳﺖ ﺍﺯ ﻓﺎﺻﻠﻪ ﺩﻭﺭ ﺗﺮﺳﻴﻢ ﺷﺪﻩ‪ ،‬ﺯﻧﺎﻧﮕﻲ ﻫﻤﭽﻮﻥ ﭼﻴﺰﻱ‬

‫ﻛﻪ ﻫﻴﭻ ﭼﻴﺰ ﻧﻴﺴﺖ ﻳﻌﻨﻲ ﻫﺮﮔﺰ ﺗﻮﻟﻴﺪ ﻧﺸﺪﻩﺍﺳﺖ ﻭ ﻫﺮﮔﺰ ﺩﺭ ﺟﺎﻳﻲ ﻛﻪ ﺗﻮﻟﻴﺪ ﺷﺪﻩﺍﺳﺖ ﻭﺟﻮﺩ‬

‫ﻧﺪﺍﺷﺘﻪﺍﺳﺖ‪) .‬ﻭ ﺍﺯ ﺍﻳﻦ ﺭﻭ ﺍﻳﻦ ﺯﻧﺎﻧﮕﻲ ﺩﺭ ﻫﻴﭻ ﻳﻚ ﺍﺯ ﻣﻄﺎﻟﺒﺎﺕ ﺯﻧﺎﻧﮕﻲ ﻳﺎﻓﺖ ﻧﻤﻲﺷﻮﺩ( ﻭ ﺍﻳﻦ ﻧﻪ‬

‫ﺍﺯ ﺩﻳﺪﮔﺎﻩ ﺩﻭﺟﻨﺲ ﮔﺮﺍﻳﻲ ﺑﻴﻮﻟﻮﮊﻳﻜﻲ ﻭ ﻳﺎ ﺭﻭﺍﻧﻲ‪ ،‬ﺑﻠﻜﻪ ﺍﺯ ﻣﻨﻈﺮ ﻓﺮﺍﺟﻨﺴﻴﺘﻲ ﺍﻏﻮﺍﮔﺮﺍﻧﻪ ﻛﻪ ﻛﻞ‬

‫ﺳﺎﺯ ﻭ ﻛﺎﺭ ﺟﻨﺴﻴﺖ ﺭﺍ ﺭﺩ ﻣﻲﻛﻨﺪ ‪ -‬ﻫﻤﺎﻧﻄﻮﺭ ﺭﻭﺍﻧﻜﺎﻭﻱ ﻫﻢ ﺑﺎ ﺍﻳﻦ ﻓﺮﺽ ﻣﻮﺍﻓﻘﺖ ﺩﺍﺭﺩ ﻛﻪ ﻫﻴﭻ‬

‫ﺳﺎﺧﺘﺎﺭ ﺩﻳﮕﺮﻱ ﺍﺯ ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ )ﻛﻪ ﺑﺮ ﻫﻤﻴﻦ ﺍﺳﺎﺱ‪ ،‬ﻧﺎﺗﻮﺍﻧﻲ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺳﺨﻦ‬

‫ﮔﻔﺘﻦ ﺩﺭﺑﺎﺭﻩ ﻫﺮ ﭼﻴﺰ ﺩﻳﮕﺮﻱ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ(‪.‬‬

‫ﺟﻨﺒﺶ ﺯﻧﺎﻥ ﺩﺭ ﻣﺨﺎﻟﻔﺖ ﺑﺎ ﺳﺎﺧﺘﺎﺭ ﻓﺎﻟﻮﺱ ﻣﺤﻮﺭ ﭼﻴﺴﺖ؟ ﻣﻴﻞ ﻭﻟﺬﺗﻲ ﺧﻮﺩﻣﺨﺘﺎﺭ‪،‬‬

‫ﻣﺘﻤﺎﻳﺰ ﻭ ﺧﺎﺹ‪ ،‬ﺭﺍﺑﻄﻪﺍﻱ ﻣﺘﻔﺎﻭﺕ ﺑﺎ ﺑﺪﻥ‪ ،‬ﻧﻮﺷﺘﺎﺭ ﻭ ﺳﺨﻦ ﺯﻧﺎﻧﻪ‪ ،‬ﺍﻣﺎ ﻫﺮﮔﺰ ﺍﻏﻮﺍﮔﺮﻱ ﺟﺰﻭ ﺁﻧﻬﺎ‬

‫ﻧﺒﻮﺩﻩﺍﺳﺖ‪ .‬ﺁﻧﻬﺎ ﺑﻪ ﺧﺎﻃﺮ ﺍﻏﻮﺍﮔﺮﻱ ﺷﺮﻣﺴﺎﺭﻧﺪ ﻛﻪ ﺑﺮ ﻋﺮﺿﻪ ﺗﺼﻨﻌﻲ ﺑﺪﻧﺸﺎﻥ ﻭ ﻳﺎ ﺑﺮ ﺯﻧﺪﮔﻲ‬

‫ﺑﻨﺪﻩﻭﺍﺭ ﻭ ﻓﺤﺸﺎ ﺩﻻﻟﺖ ﺩﺍﺭﺩ‪ .‬ﺁﻧﻬﺎ ﻧﻤﻲﻓﻬﻤﻨﺪ ﻛﻪ ﺍﻏﻮﺍ ﻧﺸﺎﻧﻪ ﺍﺭﺑﺎﺑﻲ ﺑﺮ ﺟﻬﺎﻥ ﻧﻤﺎﺩﻳﻦ ﺍﺳﺖ ﺩﺭ‬

‫‪۲۱‬‬
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﺻﻮﺭﺗﻴﻜﻪ ﻗﺪﺭﺕ )‪ ،(power‬ﻧﺸﺎﻧﻪ ﺗﺴﻠﻂ ﺑﺮ ﺟﻬﺎﻥ ﻭﺍﻗﻌﻲ ﺍﺳﺖ‪ .‬ﺣﺎﻛﻤﻴﺖ ﺍﻏﻮﺍﮔﺮﻱ ﺗﺼﺮﻑ‬

‫ﻗﺪﺭﺕ ﺳﻴﺎﺳﻲ ﻭ ﺟﻨﺴﻲ ﻗﺎﺑﻞ ﻣﻘﺎﻳﺴﻪ ﻧﻴﺴﺖ‪.‬‬

‫ﻫﻤﺪﺳﺘﻲ ﻏﺮﻳﺐ ﻭ ﺳﺒﻌﺎﻧﻪﺍﻱ ﻣﻴﺎﻥ ﺟﻨﺒﺶ ﻓﻤﻴﻨﻴﺴﺘﻲ ﻭ ﻧﻈﺎﻡ ﺣﻘﻴﻘﺖ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪.‬‬

‫ﺍﻏﻮﺍﮔﺮﻱ ﻣﻮﺟﻮﺩﻳﺖ ﺣﻘﻴﻘﻲ ﺯﻥ ﺭﺍ ﻧﻤﻲﭘﺬﻳﺮﺩ ﻭ ﺩﺭ ﺑﺮﺍﺑﺮﺵ ﻣﻲﺍﻳﺴﺘﺪ‪ ،‬ﺣﻘﻴﻘﺘﻲ ﻛﻪ ﺩﺭ ﺁﺧﺮﻳﻦ‬

‫ﻣﻮﺭﺩ‪ ،‬ﺑﺮ ﺑﺪﻧﻬﺎ ﻭ ﻟﺬﺗﻬﺎﻱ )ﺯﻧﺎﻧﻪ( ﻧﻘﺶ ﺑﺴﺘﻪﺍﺳﺖ‪ .‬ﺑﺎ ﺍﻳﻦ ﺭﻭﻳﻪ )ﻫﻤﺪﺳﺘﻲ ﺑﺎ ﻧﻈﺎﻡﻫﺎﻱ ﺣﻘﻴﻘﺖ(‬

‫ﺑﺮﺗﺮﻱ ﺑﻲﺍﻧﺪﺍﺯﻩ ﮔﺮﺍﻧﻘﺪﺭ ﺯﻧﺎﻧﮕﻲ ﻣﺤﻮ ﻣﻲﺷﻮﺩ‪ :‬ﺑﺮﺗﺮﻱ ﻫﺮﮔﺰ ﺩﺳﺖ ﻧﻴﺎﻓﺘﻦ ﺑﻪ ﺣﻘﻴﻘﺖ ﻭ ﻣﻌﻨﺎ ﻭ‬

‫ﺍﺳﺘﺎﺩ ﻣﻄﻠﻖ ﻗﻠﻤﺮﻭ »ﻧﻤﻮﺩﻫﺎ« ﺑﺎﻗﻲ ﻣﺎﻧﺪﻥ‪ .‬ﺗﻮﺍﻧﺎﻳﻲ ﻫﻤﻴﺸﮕﻲ ﺍﻏﻮﺍﮔﺮﻱ‪ ،‬ﺍﻧﻜﺎﺭ ﺣﻘﻴﻘﺖ ﭼﻴﺰﻫﺎ ﻭ‬

‫ﻣﺒﺪﻝ ﻧﻤﻮﺩﻥ ﺁﻧﻬﺎ ﺑﻪ ﻳﻚ ﺑﺎﺯﻱ ﺍﺳﺖ‪ .‬ﺑﺎﺯﻱ ﻣﺤﺾ ﻧﻤﻮﺩﻫﺎ ﻛﻪ ﺑﺪﻳﻦ ﻃﺮﻳﻖ ﺑﻪ ﺍﺷﺎﺭﻩﺍﻱ ﺗﻤﺎﻣﻲ‬

‫ﺳﻴﺴﺘﻢﻫﺎﻱ ﻗﺪﺭﺕ ﻭ ﻣﻌﻨﺎ ﺭﺍ ﺧﻨﺜﻲ ﻣﻲﮔﺮﺩﺍﻧﺪ‪ .‬ﭼﻨﻴﻦ ﺍﺳﺖ ﺗﻮﺍﻧﺎﻳﻲ ﺭﻭﻱ ﺁﻭﺭﺩﻥ »ﻧﻤﻮﺩﻫﺎ« ﺑﻪ‬

‫ﺧﻮﺩﺷﺎﻥ‪ ،‬ﺑﺎﺯﻱ ﺑﺎ ﻇﻮﺍﻫﺮ ﺑﺪﻥ ﻭ ﻧﻪ ﺑﺎ ﺍﻋﻤﺎﻕ ﻣﻴﻞ‪ .‬ﺍﻛﻨﻮﻥ ﺗﻤﺎﻣﻲ »ﻧﻤﻮﺩﻫﺎ« ﺑﺮﮔﺸﺖﭘﺬﻳﺮﻧﺪ‪،...‬‬

‫ﺗﻨﻬﺎ ﺩﺭ ﺳﻄﺢ ﻧﻤﻮﺩﻫﺎﺳﺖ ﻛﻪ ﻧﻈﺎﻡﻫﺎ ﺷﻜﻨﻨﺪﻩ ﻭ ﺁﺳﻴﺐﭘﺬﻳﺮﻧﺪ‪ ...‬ﻣﻌﻨﺎ ﺗﻨﻬﺎ ﺑﺎ ﺍﻓﺴﻮﻥ ﺁﺳﻴﺐﭘﺬﻳﺮ‬

‫ﺍﺳﺖ‪ .‬ﺑﺎﻳﺪ ﻛﻮﺭ ﺑﻮﺩ ﺗﺎ ﭼﻨﻴﻦ ﻧﻴﺮﻭﻱ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩﻱ ﺭﺍ ﻛﻪ ﺑﺮﺗﺮ ﺍﺯ ﺗﻤﺎﻣﻲ ﻗﺪﺭﺗﻬﺎﻱ ﺩﻳﮕﺮ ﺍﺳﺖ‪،‬‬

‫ﺍﻧﻜﺎﺭ ﻧﻤﻮﺩ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺑﺎ ﻳﻚ ﺑﺎﺯﻱ ﺳﺎﺩﻩﺍﺳﺘﺮﺍﺗﮋﻱ ﻧﻤﻮﺩﻫﺎ ﺗﻤﺎﻣﻲ ﻗﺪﺭﺗﻬﺎ ﺭﺍ ﺍﺯ ﻓﺮﺍﺯ ﺑﻪ ﺯﻳﺮ ﻣﻲ­‬

‫ﻛﺸﺎﻧﺪ‪.‬‬

‫***‬
‫ﻓﺮﻭﻳﺪ ﺍﻇﻬﺎﺭ ﻧﻤﻮﺩ‪ :‬ﺁﻧﺎﺗﻮﻣﻲ ﺗﻘﺪﻳﺮ ﺍﺳﺖ‪ ،‬ﺑﺎﻳﺪ ﺗﻌﺠﺐ ﻧﻤﻮﺩ ﻛﻪ ﺟﻨﺒﺶ ﻓﻤﻴﻨﻴﺴﺘﻲ ﺍﻳﻦ‬

‫ﺗﻌﺮﻳﻒ )ﺑﺎ ﺍﻳﻦ ﺗﻌﺮﻳﻒ ﺁﻧﺎﺗﻮﻣﻲ ﺑﺮ ﺍﻣﺮ ﻓﺎﻟﻮﺳﻲ ﻣﻤﻬﻮﺭ ﻣﻲﺷﻮﺩ( ﺭﺍ ﻧﻤﻲﭘﺬﻳﺮﻧﺪ ﺗﺎ ﺟﺎﻳﮕﺰﻳﻨﻲ ﺭﺍ‬

‫ﺑﺎﺯﮔﺸﺎﻳﻨﺪ ﻛﻪ ﺑﻨﻴﺎﺩﺍً ﺑﻴﻮﻟﻮﮊﻳﻜﻲ ﻭ ﺁﻧﺎﺗﻮﻣﻴﻜﻲ ﺍﺳﺖ‪:‬‬

‫‪۲۲‬‬
‫ﺍﻏﻮﺍ‬

‫"ﺑﺮﺍﻱ ﻣﺜﺎﻝ‪ ،‬ﺑﺮﺍﺳﺘﻲ ﻟﺬﺕ ﺯﻥ ﻣﺠﺒﻮﺭ ﻧﻴﺴﺖ ﻛﻪ ﺑﻴﻦ ﻓﻌﻠﻴﺖ ﻛﻠﻴﺘﻮﺭﺍﻝ ﻭ ﺍﻧﻔﻌﺎﻝ‬
‫ﻣﻬﺒﻠﻲ ﻳﻜﻲ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻛﻨﺪ‪ ،‬ﻣﺎﻟﺶ ﻣﻬﺒﻞ ﻧﻴﺎﺯﻱ ﻧﻴﺴﺖ ﺟﺎﻱ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻣﺎﻟﺶ‬
‫ﻛﻠﻴﺘﻮﺭﻳﺴﻲ ﺑﺪﻫﺪ‪ ،‬ﺁﻧﻬﺎ ﻫﺮ ﺩﻭ ﺟﺎﻳﮕﺰﻳﻦ ﻧﺎﭘﺬﻳﺮﻧﺪ ﻭ ﺳﻬﻤﻲ ﺩﺭ ﻟﺬﺕ ﺯﻥ ﺩﺍﺭﻧﺪ‪ .‬ﺩﻳﮕﺮ‬
‫ﻣﺎﻟﺶﻫﺎ‪ ،‬ﻣﺎﻟﻴﺪﻥ ﺳﻴﻨﻪﻫﺎ ﻭ ﻟﻤﺲ ﻓﺮﺝ‪ ،‬ﺑﺎﺯﻛﺮﺩﻥ ﻟﺒﻪﻫﺎﻱ ﺁﻥ‪ ،‬ﺗﻜﺎﻥ ﺩﺍﺩﻥ ﺩﻳﻮﺍﺭﻩ ﻛﻔﻞ‬
‫ﻣﻬﺒﻞ‪ ،‬ﺣﺮﻛﺖ ﺩﻫﺎﻧﻪ ﺯﻫﺪﺍﻥ ﻭ ﻏﻴﺮﻩ ﻫﻢ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺍﻳﻨﻬﺎ ﺗﻨﻬﺎ ﻣﻌﺪﻭﺩﻱ ﺍﺯ ﻟﺬﺗﻬﺎﻱ‬
‫ﻣﻮﺛﺮ ﺯﻧﺎﻧﻪﺍﻧﺪ‪".‬‬
‫)ﻟﻮﺳﻲ ﺍﻳﺮﻳﮕﺎﺭﻱ(‬

‫ﮔﻔﺘﺎﺭ ﺯﻧﺎﻧﻪ؟ ﺍﻣﺎ ﻳﻚ ﮔﻔﺘﺎﺭ ﺁﻧﺎﺗﻮﻣﻴﻜﻲ ﻫﻤﻴﺸﻪ ﺩﺭﺑﺎﺭﻩ ﺑﺪﻥ ﺍﺳﺖ‪ .‬ﭼﻪ ﭼﻴﺰ ﺧﺎﺻﻲ ﺑﺮﺍﻱ‬

‫ﺯﻧﺎﻥ ﺩﺭ ﭘﺮﺍﻛﻨﺪﮔﻲ ﻣﻨﺎﻃﻖ ﺗﺤﺮﻳﻚ ﺑﺨﺶ ﺩﺭ ﺑﺪﻥ‪ ،‬ﺍﺭﻭﺗﻴﺴﻴﺴﻢ ﻏﻴﺮ ﻣﺘﻤﺮﻛﺰ‪ ،‬ﭼﻨﺪ ﻇﺮﻓﻴﺘﻲ‬

‫ﻟﺬﺕ ﺟﻨﺴﻲ ﻭ ﺩﮔﺮﮔﻮﻧﻲ ﻛﻞ ﺑﺪﻥ ﺑﻮﺳﻴﻠﻪ ﻣﻴﻞ ﻧﻔﻬﺘﻪﺍﺳﺖ‪ :‬ﺁﻭﺍﻱ ﺯﻧﺎﻧﮕﻲ ﻛﻪ ﺑﻪ ﺟﺴﺘﺠﻮﻱ‬

‫ﺯﻧﺎﻧﮕﻲ ﻛﺎﻣﻞ ﺍﺳﺖ ﻫﻤﻪﺍﺵ ﻫﻤﻴﻦ ﺍﺳﺖ‪ ،‬ﺍﻧﻘﻼﺏ ﺟﻨﺴﻲ‪ ،‬ﻭ ﻧﻴﺰ ﻛﻞ ﻓﺮﻫﻨﮓ ﺑﺪﻥ ﻣﺎ‪ ،‬ﺍﺯ‬

‫ﺁﻧﺎﮔﺮﺍﻡﻫﺎﻱ ﺑﻠﻤﺮ‪ ۲‬ﺗﺎ ﺍﺗﺼﺎﻻﺕ ﻣﻜﺎﻧﻴﺰﻩ ﺷﺪﻩ ﺩﻟﻮﺯ‪ .۳‬ﻫﻤﻴﺸﻪ ﺻﺤﺒﺖ ﺍﺯ ﺑﺪﻥ ﺍﺳﺖ‪ ،‬ﺍﮔﺮ ﺁﻧﺎﺗﻮﻣﻴﻜﻲ‬

‫ﻧﺒﺎﺷﺪ ﭘﺲ ﺍﺭﮔﺎﻧﻴﻜﻲ ﺍﺳﺖ‪ ،‬ﺑﺪﻧﻲ ﺷﻬﻮﺍﻧﻲ‪ ،‬ﺑﺪﻧﻲ ﻛﺎﺭﻛﺮﺩﻱ ﺣﺘﻲ ﺩﺭ ﺷﻜﻞ ﺍﺳﺘﻌﺎﺭﻩﺍﻱ ﻭ ﺗﻜﻪ­‬

‫ﺷﺪﻩ‪ ،‬ﻫﻤﻮﺍﺭﻩ ﻟﺬﺕ ﻣﻮﺿﻮﻉ ﺑﺪﻥ ﻭ ﻣﻴﻞ‪ ،‬ﺑﺎﺯﻧﻤﻮﺩ ﻃﺒﻴﻌﻲﺍﺵ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪﺷﺪﻩﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺍﻳﻨﺠﺎ‬

‫ﺑﺪﻥ ﻓﻘﻂ ﻳﻚ ﺍﺳﺘﻌﺎﺭﻩﺍﺳﺖ‪) ،‬ﻭ ﺩﺭ ﺍﻳﻦ ﺻﻮﺭﺕ ﺍﻧﻘﻼﺏ ﺟﻨﺴﻲ ﻭ ﻓﺮﻫﻨﮓ ﻣﺎ ﻛﻪ ﻓﺮﻫﻨﮓ ﺑﺪﻥ‬

‫ﺷﺪﻩﺍﺳﺖ ﺍﺯ ﭼﻪ ﭼﻴﺰﻱ ﺳﺨﻦ ﻣﻲﮔﻮﻳﺪ؟( ﻳﺎ ﺟﺰ ﺍﻳﻦ‪ ،‬ﺑﺎ ﺍﻳﻦ ﮔﻔﺘﺎﺭ ﺑﺪﻥ‪ ،‬ﺍﻳﻦ ﮔﻔﺘﺎﺭ ﺯﻧﺎﻧﻪ‪ ،‬ﻣﺎ‬

‫ﻗﻄﻌﺎً ﻭﺍﺭﺩ ﺗﻘﺪﻳﺮﻱ ﺁﻧﺎﺗﻮﻣﻴﻜﻲ ﺷﺪﻩﺍﻳﻢ‪ ،‬ﺑﻪ ﺁﻧﺎﺗﻮﻣﻲ ﺑﻪ ﻣﺜﺎﺑﻪ ﺗﻘﺪﻳﺮ‪ .‬ﺩﻳﮕﺮ ﻫﻴﭻ ﭼﻴﺰﻱ ﺍﺳﺎﺳﺎً‬

‫ﻣﺨﺎﻟﻒ ﺍﺻﻞ ﻓﺮﻭﻳﺪ ﻧﻴﺴﺖ‪.‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﻫﻴﭻ ﺟﺎ ﺳﺌﻮﺍﻟﻲ ﺍﺯ ﺍﻏﻮﺍ ﻧﻤﻲﺷﻮﺩ‪ ،‬ﺑﺪﻥ ﺑﺎ ﺗﺼﻨﻊ ﻋﻤﻞ ﻣﻲﻛﻨﺪ )ﻭ ﻧﻪ ﺑﺎ ﻣﻴﻞ( ﺑﺪﻥ ﺍﻏﻮﺍ ﻣﻲ­‬

‫ﻛﻨﺪ‪ ،‬ﺑﺪﻥ ﺍﻏﻮﺍ ﻣﻲﺷﻮﺩ‪ ،‬ﺑﺪﻥ ﺑﺎ ﻫﻮﻳﺶ ﺍﺯ ﺣﻘﻴﻘﺘﺶ ﺟﺪﺍ ﻣﻲﺷﻮﺩ‪ ،‬ﺍﺯﺣﻘﻴﻘﺖ ﺍﺧﻼﻗﻲ ﻣﻴﻠﻲ ﻛﻪ‬

‫ﻣﺎ ﺭﺍ ﺁﺯﺍﺭ ﻣﻲﺩﻫﺪ‪ .‬ﺍﻳﻦ ﺣﻘﻴﻘﺖ ﻣﺬﻫﺒﻲ ﻋﻤﻴﻘﺎً ﺟﺪﻱ ﻛﻪ ﺍﻣﺮﻭﺯ ﺩﺭ ﺑﺪﻥ ﺗﺠﺴﻢ ﻳﺎﻓﺘﻪﺍﺳﺖ ﻭ‬

‫ﺩﺭﺳﺖ ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮ ﺍﺳﺖ ﻛﻪ ﺍﻏﻮﺍﮔﺮﻱ ﻧﺰﺩ ﺩﻳﻦ ﻫﻤﻴﺸﻪ ﺷﻴﻄﺎﻧﻲ ﻭ ﻓﺮﻳﺐﺁﻣﻴﺰ ﺑﻮﺩﻩﺍﺳﺖ‪.‬‬

‫ﻫﻴﭻ ﺟﺎﻳﻲ ﺍﺯ ﺑﺪﻧﻲ ﻛﻪ ﺑﻪ ﻧﻤﻮﺩﻫﺎ ﺣﻮﺍﻟﻪ ﺷﺪﻩ ﺳﺌﻮﺍﻟﻲ ﻧﻤﻲﺷﻮﺩ‪ .‬ﺍﻛﻨﻮﻥ ﺗﻨﻬﺎ ﺍﻏﻮﺍﮔﺮﻱ ﺍﺳﺖ ﻛﻪ‬

‫ﺑﺮ ﻋﻠﻴﻪ ﺁﻧﺎﺗﻮﻣﻲ ﺑﻪ ﻋﻨﻮﺍﻥ ﺗﻘﺪﻳﺮ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﺩ‪ .‬ﺗﻨﻬﺎ ﺍﻏﻮﺍﮔﺮﻱ ﺍﺳﺖ ﻛﻪ ﺟﻨﺴﻴﺖ ﺳﺎﺯﻱﻫﺎﻱ‬

‫ﺗﻤﺎﻳﺰﮔﺬﺍﺭ ﺑﺪﻧﻬﺎ ﻭ ﺍﻗﺘﺼﺎﺩ ﻓﺎﻟﻮﺱ ﻣﺤﻮﺭ ﻣﻨﺘﺞ ﺍﺯ ﺁﻥ ﺭﺍ ﺩﺭﻫﻢ ﻣﻲﺷﻜﻨﺪ‪.‬‬

‫ﻫﺮ ﺟﻨﺒﺸﻲ ﻛﻪ ﺗﺼﻮﺭ ﻣﻲﻛﻨﺪ ﻣﻲﺗﻮﺍﻧﺪ ﻳﻚ ﻧﻈﺎﻡ ﺭﺍ ﺑﺎ ﺯﻳﺮﺳﺎﺧﺘﺎﺭﻫﺎﻳﺶ ﻭﺍﮊﮔﻮﻥ ﻧﻤﺎﻳﺪ‬

‫ﺳﺎﺩﻩ ﻟﻮﺣﺎﻧﻪﺍﺳﺖ‪ ،‬ﺍﻏﻮﺍﮔﺮﻱ ﺯﻳﺮﻛﺘﺮ ﻭ ﻇﺎﻫﺮﺍً ﻧﺎﮔﻬﺎﻧﻲﺗﺮ ﻋﻤﻞ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻏﻮﺍ ﺑﻲﺩﺭﻧﮓ ﻇﺎﻫﺮ ﻣﻲ­‬

‫ﺷﻮﺩ‪ ،‬ﻫﻴﭻ ﻧﻴﺎﺯﻱ ﻧﺪﺍﺭﺩ ﻛﻪ ﺍﺛﺒﺎﺕ ﺷﻮﺩ ﻳﺎ ﺗﺄﻳﻴﺪ ﻭ ﺗﺼﺪﻳﻖ ﮔﺮﺩﺩ‪ ،‬ﺑﻪ ﻳﻜﺒﺎﺭﻩ ﺩﺭ ﻭﺍﮊﮔﻮﻧﻲ ﺗﻤﺎﻣﻲ‬

‫ﮊﺭﻓﺎﻱ ﻣﻨﺘﺴﺐ ﺑﻪ ﻭﺍﻗﻌﻴﺖ‪ ،‬ﺭﻭﺍﻧﻜﺎﻭﻱ‪ ،‬ﺁﻧﺎﺗﻮﻣﻲ‪ ،‬ﺣﻘﻴﻘﺖ‪ ،‬ﻗﺪﺭﺕ ﻭ‪ ..‬ﺣﻀﻮﺭ ﻣﻲﻳﺎﺑﺪ‪ .‬ﻣﻲﺩﺍﻧﺪ ﻛﻪ‬

‫ﻫﻴﭻ ﺁﻧﺎﺗﻮﻣﻲ ﻭ ﻫﻴﭻ ﺭﻭﺍﻧﻜﺎﻭﻱ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪) ،‬ﻭ ﺍﻳﻦ ﺭﺍﺯ ﺍﻭﺳﺖ( ﻭ ﺗﻤﺎﻣﻲ ﻧﺸﺎﻧﻪﻫﺎ ﺑﺮﮔﺸﺖﭘﺬﻳﺮﻧﺪ‪.‬‬

‫ﺟﺰ ﻧﻤﻮﺩﻫﺎ ﻫﻴﭻ ﭼﻴﺰ ﺑﻪ ﺍﻏﻮﺍﮔﺮﻱ ﺗﻌﻠﻖ ﻧﺪﺍﺭﺩ‪ .‬ﻫﻤﻪ ﻗﺪﺭﺗﻬﺎ ﺍﺯ ﺁﻥ ﺍﺟﺘﻨﺎﺏ ﻣﻲﻛﻨﻨﺪ‪ ،‬ﺍﻣﺎ ﺍﻏﻮﺍ‬

‫ﻫﻤﻪ ﻧﺸﺎﻧﻪﻫﺎﻳﺸﺎﻥ ﺭﺍ ﺑﺮﮔﺸﺖﭘﺬﻳﺮ ﻣﻲﺳﺎﺯﺩ‪ .‬ﭼﻄﻮﺭ ﻣﻲﺗﻮﺍﻥ ﺑﺮ ﻋﻠﻴﻪ ﺍﻏﻮﺍﮔﺮﻱ ﻗﺮﺍﺭ ﮔﺮﻓﺖ؟ ﺗﻨﻬﺎ‬

‫ﭼﻴﺰﻱ ﻛﻪ ﺩﺭ ﻣﻌﺮﺽ ﺧﻄﺮ ﺍﺳﺖ ﺍﺳﺘﻴﻼﻱ ﺍﺳﺘﺮﺍﺗﮋﻱ ﻧﻤﻮﺩﻫﺎ ﺩﺭ ﺑﺮﺍﺑﺮ ﻧﻴﺮﻭﻱ ﻭﺟﻮﺩ ﻭ ﻭﺍﻗﻌﻴﺖ‬

‫ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺍﺳﺘﺮﺍﺗﮋﻱ‪ ،‬ﻫﻴﭻ ﻧﻴﺎﺯﻱ ﺑﻪ ﺑﺎﺯﻱﻛﺮﺩﻥ ﺑﺎ ﻭﺟﻮﺩ ﺑﺮ ﻋﻠﻴﻪ ﻭﺟﻮﺩ ﻭ ﺑﺎ ﺣﻘﻴﻘﺖ ﺑﺮ ﻋﻠﻴﻪ‬

‫ﺣﻘﻴﻘﺖ ﻧﻴﺴﺖ‪ ،‬ﭼﺮﺍ ﻛﻪ ﻫﻨﮕﺎﻡ ﺩﺳﺘﻜﺎﺭﻱ ﻧﻤﻮﺩﻫﺎ‪ ،‬ﺑﻨﻴﺎﺩﻫﺎ ﺑﺮﺍﻧﺪﺍﺧﺘﻪ ﻣﻲﺷﻮﻧﺪ‪.‬‬

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‫ﺍﻏﻮﺍ‬

‫ﺍﻛﻨﻮﻥ ﺯﻥ ﭼﻴﺰﻱ ﺟﺰ ﻧﻤﻮﺩ ﻧﻴﺴﺖ ﻭ ﺍﻳﻦ ﺯﻧﺎﻧﮕﻲ ﺑﻪ ﻣﺜﺎﺑﻪ ﻧﻤﻮﺩ ﺍﺳﺖ ﻛﻪ ﮊﺭﻓﺎﻱ ﻣﺮﺩﺍﻧﮕﻲ‬

‫ﺭﺍ ﺧﻨﺜﻲ ﻣﻲﻛﻨﺪ‪ .‬ﺑﻪ ﺟﺎﻱ ﺑﺮﺧﺎﺳﺘﻦ ﺑﺮﻋﻠﻴﻪ ﭼﻨﻴﻦ ﺍﻧﺪﻳﺸﻪ » ﻣﻮﻫﻦ«‪ ،‬ﺯﻧﺎﻥ ﺑﺮﺍﺣﺘﻲ ﺑﻪ ﺧﻮﺩ‬

‫ﺍﺟﺎﺯﻩ ﻣﻲﺩﻫﻨﺪ ﺗﺎ ﺑﺎ ﺣﻘﻴﻘﺖ ﺧﻮﺩ ﺁﻥ ﺍﻏﻮﺍ ﺷﻮﻧﺪ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺭﺍﺯ ﻧﻴﺮﻭﻱ ﺁﻧﻬﺎ ﺩﺭ ﻫﻤﻴﻦ ﺍﻣﺮ ﻧﻬﻔﺘﻪ­‬

‫ﺍﺳﺖ‪ ،‬ﻛﻪ ﺑﺎ ﺑﻨﺎ ﻛﺮﺩﻥ ﻋﻤﻘﻲ ﺯﻧﺎﻧﻪ ﻭ ﻣﺨﺎﻟﻒ ﺩﺭ ﺣﺎﻝ ﻣﺤﻮ ﺷﺪﻧﺪ‪.‬‬

‫ﺯﻧﺎﻧﮕﻲ ﻛﻼً ﺳﻄﺤﻲ ﻧﻴﺴﺖ ﻛﻪ ﺩﺭ ﺑﺮﺍﺑﺮ ﮊﺭﻓﺎﻱ ﻣﺮﺩﺍﻧﻪ ﻗﺮﺍﺭ ﮔﻴﺮﺩ‪ .‬ﺑﻠﻜﻪ ﺗﻤﻴﻴﺰ ﻧﺎﭘﺬﻳﺮﻱ‬

‫ﺳﻄﺢ ﻭ ﻋﻤﻖ ﺍﺳﺖ‪ .‬ﻳﺎ ﻫﻤﭽﻮﻥ ﺑﻲﻗﻴﺪﻱ ﻧﺴﺒﺖ ﺑﻪ ﺍﻣﺮ ﻣﻌﺘﺒﺮ ﻭ ﺍﻣﺮ ﺩﺭﻭﻏﻴﻦ ﻭ ﺳﺎﺧﺘﮕﻲ‪ .‬ﮊﺍﻥ‬

‫ﺭﻳﻮﺭ‪ ۴‬ﺩﺭ »ﺯﻧﺎﻧﮕﻲ ﺑﺪﻭﻥ ﻓﻜﺎﻫﻲ«‪ ،‬ﺍﺩﻋﺎﻱ ﺑﻨﻴﺎﺩﻳﻨﻲ ﻣﻲﻛﻨﺪ ﻛﻪ ﺷﺎﻣﻞ ﺗﻤﺎﻣﻲ ﺍﻏﻮﺍﮔﺮﻱ ﺍﺳﺖ‪:‬‬

‫»ﺯﻧﺎﻧﮕﻲ ﭼﻪ ﻧﺎﺏ ﺑﺎﺷﺪ ﭼﻪ ﺳﻄﺤﻲ‪ ،‬ﺑﻪ ﻃﻮﺭ ﺑﻨﻴﺎﺩﻳﻦ‪ ،‬ﻳﻚ ﭼﻴﺰ ﺍﺳﺖ«‪.‬‬

‫ﺍﻳﻦ ﺳﺨﻦ ﺗﻨﻬﺎ ﺩﺭ ﺑﺎﺏ ﺯﻧﺎﻧﮕﻲ ﻣﺼﺪﺍﻕ ﺩﺍﺭﺩ‪ ،‬ﻣﺮﺩﺍﻧﮕﻲ‪ ،‬ﺩﺭ ﻣﻘﺎﺑﻞ‪ ،‬ﻗﺪﺭﺕ ﺗﻤﺎﻡ ﻧﺸﺪﻧﻲ‬

‫ﺗﻔﺎﻭﺗﻬﺎ ﻭﺿﻮﺍﺑﻂ ﻣﻄﻠﻖ ﺭﺍ ﺑﺮﺍﻱ ﺍﺩﺍﻱ ﺣﻘﻴﻘﺖ ﺗﺼﺮﻑ ﻣﻲﻛﻨﺪ‪ .‬ﻣﺮﺩﺍﻧﮕﻲ ﻣﻌﻴﻦ ﺍﺳﺖ‪ ،‬ﺯﻧﺎﻧﮕﻲ‬

‫ﻧﺎﻣﻌﻴﻦ ﻭ ﻻﻳﻨﺤﻞ ﺍﺳﺖ‪.‬‬

‫ﺍﻛﻨﻮﻥ ﺍﻳﻦ ﻗﻀﻴﻪ ﺑﻪ ﻃﺮﺯ ﺷﮕﻔﺖﺁﻭﺭﻱ ﻛﻪ ﺩﺭ ﺯﻧﺎﻧﮕﻲ ﺗﻤﺎﻳﺰ ﻣﻌﺘﺒﺮ ﻭ ﺗﺼﻨﻌﻲ ﺍﺳﺎﺳﻲ ﻧﺪﺍﺭﺩ‪،‬‬

‫ﻓﻀﺎﻱ ﻭﺍﻧﻤﺎﻳﻲ ﺭﺍ ﻧﻴﺰ ﺗﻌﺮﻳﻒ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻳﻨﺠﺎ ﻧﻴﺰ ﻧﻤﻲﺗﻮﺍﻥ ﻣﻴﺎﻥ ﻭﺍﻗﻌﻴﺖ ﻭ ﻣﺪﻟﻬﺎﻳﺶ ﺗﻤﺎﻳﺰﻱ‬

‫ﻗﺎﺋﻞ ﺷﺪ‪ .‬ﻫﻴﭻ ﻭﺍﻗﻌﻴﺖ ﺩﻳﮕﺮﻱ ﺟﺰ ﺍﺯ ﻣﺪﻟﻬﺎﻱ ﻭﺍﻧﻤﻮﺩﻩ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ ﺩﺭﺳﺖ ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﻫﻴﭻ‬

‫ﺯﻧﺎﻧﮕﻲ ﺩﻳﮕﺮﻱ ﺟﺰ ﺍﺯ ﺳﻮﻱ ﻧﻤﻮﺩ ﻧﻴﺴﺖ‪ .‬ﻭﺍﻧﻤﺎﻳﻲ ﻧﻴﺰ ﻧﺎﻣﻌﻴﻦ ﻭ ﻻﻳﻨﺤﻞ ﺍﺳﺖ‪.‬‬

‫ﺍﻳﻦ ﺍﻧﻄﺒﺎﻕ ﻏﺮﻳﺐ )ﻣﻴﺎﻥ ﺯﻧﺎﻧﮕﻲ ﻭ ﻭﺍﻧﻤﺎﻳﻲ( ﺑﻪ ﺍﺑﻬﺎﻡ ﺯﻧﺎﻧﮕﻲ ﺍﺷﺎﺭﻩ ﺩﺍﺭﺩ‪ .‬ﻛﻪ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ‬

‫ﮔﻮﺍﻩ ﺑﻨﻴﺎﺩﻳﻨﻲ ﺑﺮ ﻭﺍﻧﻤﺎﻳﻲ ﻧﻴﺰ ﻫﺴﺖ ﻭ ﺩﻗﻴﻘﺎً ﺗﻨﻬﺎ ﺍﻣﻜﺎﻥ ﭼﻴﺮﮔﻲ ﺑﺮ ﺁﻥ ﺭﺍ ﻓﺮﺍﻫﻢ ﻣﻲﺳﺎﺯﺩ‪.‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﻛﻨﺎﻳﻪ ﺍﺑﺪﻱ ﺍﺟﺘﻤﺎﻉ‬

‫ﺍﻳﻦ ﺯﻧﺎﻧﮕﻲ‪ ،‬ﻛﻨﺎﻳﻪ ﺍﺑﺪﻱ ﺍﺟﺘﻤﺎﻉ ‪....‬‬

‫» ﻫﮕﻞ «‬
‫ﺯﻧﺎﻧﮕﻲ ﺑﻪ ﻣﺜﺎﺑﻪ ﺍﺻﻠﻲ ﻧﺎﺣﺘﻤﻴﺖ‬

‫ﻫﻤﻴﻦ ﻣﻮﺟﺐ ﻣﻲﮔﺮﺩﺩ ﺗﺎ ﻗﻄﺐﻫﺎﻱ ﺟﻨﺴﻲ ﻣﺘﺰﻟﺰﻝ ﺷﻮﻧﺪ‪) .‬ﺍﻳﻦ ﺯﻧﺎﻧﮕﻲ ﻛﻪ ﺑﻪ ﻣﺜﺎﺑﻪ ﺍﺻﻞ‬

‫ﻧﺎﺣﺘﻤﻴﺖ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪ ﻣﻲﺷﻮﺩ( ﻗﻄﺐ ﻣﺨﺎﻟﻒ ﻣﺮﺩﺍﻧﮕﻲ ﻧﻴﺴﺖ‪ .‬ﺑﻠﻜﻪ ﺩﻭﺗﺎﻳﻲ ﻣﺘﻘﺎﺑﻞ ﺭﺍ ﺑﺮ‬

‫ﻣﻲﺍﻧﺪﺍﺯﺩ ﻭ ﺍﺯ ﺍﻳﻦ ﺭﻭ‪ ،‬ﺧﻮﺩ ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ ﺑﻪ ﻃﻮﺭ ﺗﺎﺭﻳﺨﻲ ﺩﺭ ﻓﺎﻟﻮﺱ ﺳﺎﻻﺭﻱ ﻣﺮﺩﺍﻧﻪ ﺗﺠﺴﻢ‬

‫ﻳﺎﻓﺘﻪ‪ ،‬ﻫﻤﭽﻨﺎﻧﻜﻪ ﻣﻤﻜﻦ ﺍﺳﺖ ﺩﺭ ﻓﺎﻟﻮﺱ ﺳﺎﻻﺭﻱ ﺯﻧﺎﻧﻪ ﺗﺠﺴﻢ ﻳﺎﺑﺪ‪.‬‬

‫ﺍﮔﺮ ﺯﻧﺎﻧﮕﻲ ﺍﺻﻞ ﻧﺎﺣﺘﻤﻴﺖ ﺍﺳﺖ ﭘﺲ ﺧﻮﺩ ﺯﻧﺎﻧﮕﻲ ﻧﻴﺰ ﻧﺎﻣﺤﺘﻮﻡ ﺧﻮﺍﻫﺪ ﺑﻮﺩ ﻛﻪ ﺍﻳﻦ‬

‫ﺑﺰﺭﮔﺘﺮﻳﻦ ﻧﺎﺣﺘﻤﻴﺖ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ :‬ﺩﺭ ﺑﺎﺯﻱ ﺯﻧﺎﻧﮕﻲ ﻣﺒﺪﻝ ﭘﻮﺷﻲ‪ ،Transvestism ۵‬ﻧﻪ‬

‫ﻫﻤﻮﺳﻜﺴﻮﺍﻟﻬﺎ ﻳﺎ ﺗﺮﻧﺴﺴﻜﺴﻮﺍﻟﻬﺎ ﺑﻠﻜﻪ ﻣﺒﺪﻝ ﭘﻮﺷﻬﺎ ﻣﺎﻳﻠﻨﺪ ﺑﺎ ﻧﺎﺣﺘﻤﻴﺖ ﺟﻨﺴﻴﺘﻬﺎ ﺑﺎﺯﻱ ﻛﻨﻨﺪ‪ .‬ﺍﺯ‬

‫ﺍﻓﺴﻮﻧﻲ ﻛﻪ ﺁﻧﻬﺎ ﺑﺮ ﺧﻮﺩﺷﺎﻥ ﺑﻪ ﻫﻤﺎﻥ ﺍﻧﺪﺍﺯﻩ ﻛﻪ ﺑﺮ ﺩﻳﮕﺮﺍﻥ ﺑﻪ ﻛﺎﺭ ﻣﻲﺑﺮﻧﺪ‪ ،‬ﻧﻮﺳﺎﻧﺎﺕ ﺟﻨﺴﻲ‬

‫ﺍﻳﺠﺎﺩ ﻣﻲﺷﻮﺩ ﻛﻪ ﺟﺬﺍﺑﻴﺖ ﻣﺮﺳﻮﻡ ﻳﻚ ﺟﻨﺲ ﺑﻪ ﺟﻨﺲ ﺩﻳﮕﺮ ﻧﻴﺴﺖ‪ .‬ﺁﻧﻬﺎ ﻧﻪ ﻣﺮﺩﺍﻥ ﻣﺬﻛﺮ ﺭﺍ‬

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‫ﺩﻭﺳﺖ ﺩﺍﺭﻧﺪ‪ ،‬ﻧﻪ ﺯﻧﺎﻥ ﻣﻮﻧﺚ ﺭﺍ ﻭ ﻧﻪ ﺣﺘﻲ ﺁﻧﻬﺎﻳﻲ ﺭﺍ ﻛﻪ ﺯﻳﺎﺩﻱ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﻮﺟﻮﺩﺍﺕ‬

‫ﺟﻨﺴﻲ ﻣﺸﺨﺺ ﺗﻌﺮﻳﻒ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺑﻪ ﻣﻨﻈﻮﺭ ﻭﺟﻮﺩ ﺟﻨﺴﻴﺖ‪ ،‬ﻧﺸﺎﻧﻪﻫﺎ ﺑﺎﻳﺴﺘﻲ ﻫﺴﺘﻲ ﺑﻴﻮﻟﻮﮊﻳﻚ‬

‫ﺭﺍ ﺍﺯ ﻧﻮ ﺩﻭ ﺑﺮﺍﺑﺮ ﻛﻨﻨﺪ ﺍﻳﻨﺠﺎ ﻧﺸﺎﻧﻪﻫﺎ ﺍﺯ ﺑﻴﻮﻟﻮﮊﻱ ﺟﺪﺍ ﮔﺸﺘﻪ ﻭ ﺑﻪ ﺗﺒﻊ ﺳﻮﻳﻪﻫﺎﻱ ﺟﻨﺴﻲ ﻛﻪ‬

‫ﺑﺘﻮﺍﻥ ﺍﺯ ﺁﻥ ﺳﺨﻦ ﮔﻔﺖ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﺁﻧﭽﻪ ﺗﺮﻧﺴﻮﺳﺘﻴﺴﺘﻬﺎ ﺑﺪﺍﻥ ﻋﺸﻖ ﻣﻲﻭﺭﺯﻧﺪ ﺑﺎﺯﻱ‬

‫ﻧﺸﺎﻧﻪﻫﺎﺳﺖ‪ .‬ﺁﻧﭽﻪ ﺍﻳﺸﺎﻥ ﺭﺍ ﺗﺤﺮﻳﻚ ﻣﻲﻛﻨﺪ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﻧﺸﺎﻧﻪﻫﺎ ﺭﺍ ﺧﻮﺩﺷﺎﻥ ﺍﻏﻮﺍ ﻧﻤﺎﻳﻨﺪ‪ .‬ﺑﺎ‬

‫ﺁﻧﻬﺎ ﻫﺮ ﭼﻴﺰﻱ ﺳﺎﺧﺘﮕﻲ‪ ،‬ﻧﻤﺎﻳﺶ ﻭ ﺍﻏﻮﺍﺳﺖ‪ .‬ﺁﻧﻬﺎ ﻣﺸﻐﻮﻝ ﺩﺭ ﺑﺎﺯﻳﻬﺎ ﻇﺎﻫﺮ ﻣﻲﺷﻮﻧﺪ ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ‬

‫ﺩﺭ ﺍﺑﺘﺪﺍﻱ ﺍﻣﺮ ﺑﺎ ﺧﻮﺩ ﺑﺎﺯﻱ ﻣﺸﻐﻮﻟﻨﺪ‪ ۶‬ﻭ ﺍﮔﺮ ﺯﻧﺪﮔﻲﺷﺎﻥ‪ ،‬ﺟﻨﺴﻲﺗﺮ ﺍﺯ ﺯﻧﺪﮔﻲ ﻣﺎﺳﺖ‪ ،‬ﺑﺪﺍﻥ‬

‫ﺳﺒﺐ ﺍﺳﺖ ﻛﻪ ﺁﻧﻬﺎ ﺟﻨﺴﻴﺖ ﺭﺍ ﺑﻪ ﺑﺎﺯﻱ ﺍﺷﺎﺭﺕﺁﻣﻴﺰ‪ ،‬ﻧﻔﺴﺎﻧﻲ ﻭ ﺁﻳﻴﻨﻲ‪ ،‬ﻧﻴﺎﻳﺸﻲ ﻭﺍﻻﻣﺮﺗﺒﻪ ﺍﻣﺎ‬

‫ﻛﻨﺎﻳﻲ ﻣﺒﺪﻝ ﻧﻤﻮﺩﻩﺍﻧﺪ‪.‬‬

‫»ﻧﻴﻜﻮ« ﺑﻪ ﻧﻈﺮ ﺯﻳﺒﺎ ﻣﻲﺁﻣﺪ ﺗﻨﻬﺎ ﺑﻪ ﺍﻳﻦ ﺧﺎﻃﺮ ﻛﻪ ﺯﻳﺒﺎﻳﻲ ﺯﻧﺎﻧﮕﻲ ﺍﺵ ﻛﺎﻣﻼً ﭘﻮﺷﻴﺪﻩ‬

‫ﻣﻲﻣﺎﻧﺪ‪ ،‬ﺍﻭ ﺍﺯ ﭼﻴﺰﻱ ﺑﻴﺸﺘﺮ ﺍﺯ ﺯﻳﺒﺎﻳﻲ ﺑﻬﺮﻩ ﻣﻲﮔﻴﺮﺩ ﺍﺯ ﭼﻴﺰﻱ ﻭﺍﻻﺗﺮ‪ ،‬ﺍﻏﻮﺍﻳﻲ ﻣﺘﻔﺎﻭﺕ‪) .‬ﺍﺯ ﺁﻧﭽﻪ‬

‫ﻛﻪ( ﻳﻚ ﻓﺮﻳﺐ ﺑﻮﺩﻩﺍﺳﺖ‪ :‬ﺍﻭ ﻳﻚ ﻣﻠﻜﻪ ﺩﺭﻭﻏﻴﻦ ﺑﻮﺩ‪ ،‬ﺯﻧﻲ ﻭﺍﻗﻌﻲ ﻛﻪ ﻧﻘﺶ ﻣﻠﻜﻪ ﺭﺍ ﺑﺎﺯﻱ ﻣﻲﻛﺮﺩ‪.‬‬

‫ﺑﺮﺍﻱ ﻳﻚ ﺯﻥ‪ /‬ﻏﻴﺮ ﺯﻥ‪ ،‬ﺗﺎ ﺯﻧﻲ ﻭﺍﻗﻌﻲ ﻛﻪ ﺑﺎ ﺟﻨﺴﻴﺘﺶ ﻣﺸﺮﻭﻋﻴﺖ ﻳﺎﻓﺘﻪﺍﺳﺖ‪ ،‬ﺁﺳﺎﻧﺘﺮ ﺍﺳﺖ ﻣﻴﺎﻥ‬

‫ﻧﺸﺎﻧﻪﻫﺎ ﺣﺮﻛﺖ ﻛﻨﺪ ﻭ ﺍﻏﻮﺍ ﺭﺍ ﺑﻪ ﻧﻬﺎﻳﺖ ﺑﺮﺳﺎﻧﺪ‪ .‬ﺗﻨﻬﺎ ﻏﻴﺮ ﺯﻥ‪ /‬ﺯﻥ ﻣﻲﺗﻮﺍﻧﺪ ﺍﻓﺴﻮﻧﮕﺮﻱ ﺑﻲﻧﻘﺼﻲ‬

‫ﺑﻜﺎﺭﺑﺮﺩ ﭼﺮﺍ ﻛﻪ ﺍﻭ ﺍﻏﻮﺍ ﻛﻨﻨﺪﻩﺗﺮ ﺍﺯ ﻫﺮ ﺟﻨﺴﻴﺘﻲ ﺍﺳﺖ‪ .‬ﻭﻗﺘﻲ ﺟﻨﺴﻴﺖ ﻭﺍﻗﻌﻲ ﻧﺸﺎﻥ ﺩﺍﺩﻩﺷﻮﺩ‬

‫ﺍﻓﺴﻮﻧﮕﺮﻱ ﺍﺯ ﻣﻴﺎﻥ ﻣﻲﺭﻭﺩ‪ ،‬ﻣﻄﻤﺌﻦ ﺑﺎﺷﻴﺪ‪ ،‬ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﺘﻮﺍﻥ ﻣﻴﻞ ﺩﻳﮕﺮﻱ ﻳﺎﻓﺖ‪ ،‬ﺍﻣﺎ ﻛﻤﺎﻝ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫)ﺍﻓﺴﻮﻧﮕﺮﻱ( ﺗﻨﻬﺎ ﺍﺯ ﺁﻥ ﺍﻣﺮ ﺗﺼﻨﻌﻲ ﺍﺳﺖ‪ .‬ﺍﻏﻮﺍ ﻫﻤﻮﺍﺭﻩ ﺷﮕﻔﺖﺁﻭﺭﺗﺮ ﻭ ﻭﺍﻻﺗﺮ ﺍﺯ ﺟﻨﺴﻴﺖ ﺍﺳﺖ ﻭ‬

‫ﺩﺭ ﻣﻘﺎﻣﻲ ﺑﺎﻻﺗﺮ ﺣﻜﻤﺮﺍﻧﻲ ﻣﻲﻛﻨﺪ‪.‬‬

‫ﺑﻨﻴﺎﺩ ﺗﺮﻧﺴﻮﺳﺘﻴﺴﻢ ﺭﺍ ﻧﺒﺎﻳﺪ ﺩﺭ ﺩﻭﺟﻨﺲﮔﺮﺍﻳﻲ ﺟﺴﺖ‪ .‬ﭼﺮﺍ ﻛﻪ )ﺩﺭ ﺑﻴﻮﺳﻜﺴﻮﺁﻟﻴﺘﻪ(‬

‫ﺟﻨﺴﻴﺖﻫﺎ ﻭ ﺧﻮﺍﺳﺘﻬﺎﻱ ﺟﻨﺴﻲ‪ ،‬ﭼﻪ ﺩﺭ ﻫﻢ ﺁﻣﻴﺨﺘﻪ ﻭ ﻣﺒﻬﻢ ﺑﺎﺷﻨﺪ‪ ،‬ﭼﻪ ﻧﺎﻣﻌﻴﻦ ﻳﺎ ﻭﺍﮊﮔﻮﻧﻪ‬

‫ﮔﺮﺩﻧﺪ‪ ،‬ﻫﻨﻮﺯ ﻫﻢ ﻭﺍﻗﻌﻲ ﻫﺴﺘﻨﺪ‪ ،‬ﻭ ﻫﻨﻮﺯ ﻫﻢ ﺩﺭﺑﺮﺩﺍﺭﻧﺪﻩ ﻭﺍﻗﻌﻴﺖ ﻓﻴﺰﻳﻜﻲ ﺟﻨﺴﻴﺖ ﺍﻧﺪ‪ .‬ﺍﻣﺎ )ﺩﺭ‬

‫ﻣﻮﺭﺩ ﺗﺮﻧﺴﻮﺳﺘﻴﺴﻢ(‪ ،‬ﺗﻌﺎﺭﻳﻒ ﺟﻨﺴﻲ ﺩﺭ ﻛﺴﻮﻑ ﻓﺮﻭ ﻣﻲﺭﻭﻧﺪ‪ ،‬ﻧﻪ ﺍﻳﻨﻜﻪ ﺍﻳﻦ ﺑﺎﺯﻱ ﻣﻨﺤﺮﻑ ﺍﺳﺖ‪،‬‬

‫ﻣﻨﺤﺮﻑ ﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﻧﻈﻢ ﺍﺻﻄﻼﺣﺎﺕ ﺭﺍ ﻣﻨﺤﺮﻑ ﻣﻲﻛﻨﺪ؛ ﺍﻣﺎ ﺩﺭ ﺍﻳﻨﺠﺎ‪ ،‬ﺩﻳﮕﺮ ﻫﻴﭻ‬

‫ﺍﺻﻄﻼﺣﻲ ﺑﺮﺍﻱ ﻣﻨﺤﺮﻑ ﻛﺮﺩﻥ ﺍﻥ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ ﺑﻞ ﺗﻨﻬﺎ ﻧﺸﺎﻧﻪﻫﺎﻳﻲ ﺳﺖ ﺑﺮﺍﻱ ﺍﻏﻮﺍ ﻧﻤﻮﺩﻥ‪.‬‬

‫ﻫﻤﭽﻨﻴﻦ ﺑﻨﻴﺎﻥ ﺗﺮﻧﺴﻮﺳﺘﻴﺴﻢ ﺭﺍ ﻧﺒﺎﻳﺪ ﺩﺭ ﻧﺎﺧﻮﺩﺍﮔﺎﻩ ﻭ ﻳﺎ ﻫﻤﻮﺳﻜﮋﻭﺍﻟﻴﺘﻪ ﭘﻨﻬﺎﻥ ﺷﺪﻩ ﺩﺭ‬

‫ﺁﻥ ﺟﺴﺖ‪ .‬ﺍﺳﺘﺪﻻﻝ ﻛﻬﻨﻪ ﻧﺎﭘﻴﺪﺍﻳﻲ ﻭ ﺍﻣﺮ ﻣﻜﺘﻮﻡ‪ ،‬ﺧﻮﺩ ﻣﺤﺼﻮﻝ ﺗﻮﻟﻴﺪ ﺍﻧﮕﺎﺭﻩﻫﺎﻱ ﺟﻨﺴﻴﺖ­‬

‫ﮔﺮﺍﻳﺎﻧﻪ ﻃﻮﻝ ﻭ ﺍﻋﻤﺎﻕ ﺍﺳﺖ ﻭ ﺗﻨﻬﺎ ﺑﻪ ﺷﻨﺎﺳﺎﻳﻲ ﻋﻼﺋﻢ ﻭ ﺍﻣﺮﺍﺽ ﻣﻲﭘﺮﺩﺍﺯﺩ ﺗﺎ ﺍﺻﻼﺣﺸﺎﻥ ﻧﻤﺎﻳﺪ‪.‬‬

‫ﺍﻣﺎ ﻫﻴﭻ ﭼﻴﺰ ﭘﻮﺷﻴﺪﻩ ﻧﻴﺴﺖ ﻫﺮ ﭼﻴﺰﻱ ﺑﺎ ﭘﺮﺳﺶ ﺍﺯ ﺍﻳﺪﻩ ﻳﻚ ﺭﺍﺯ ﻓﺮﺍﺧﻮﺍﻧﺪﻩ ﻣﻲﺷﻮﺩ‪ ،‬ﻭ ﻧﻤﻮﻧﻪ‬

‫ﺟﻨﺴﻴﺖ ﺗﻌﻴﻴﻦ ﻣﻲﮔﺮﺩﺩ‪ ،‬ﺍﻳﺪﻩﺍﻱ ﻛﻪ ﺑﺎﺯﻱﻫﺎﻱ ﻋﻤﻴﻖ ﺧﻴﺎﻝ‪ ،‬ﺑﺎﺯﻱﻫﺎﻱ ﻧﺸﺎﻧﻪﻫﺎ ﺩﺭ ﺳﻄﺢ ﺭﺍ‬

‫ﻛﻨﺘﺮﻝ ﻣﻲﻧﻤﺎﻳﻨﺪ‪ .‬ﺑﺮﻋﻜﺲ ﻫﻤﻪ ﭼﻴﺰ ﺩﺭ ﺩ‪‬ﻭ‪‬ﺭﺍﻥ ﺍﻳﻦ ﻭﺍﮊﮔﻮﻧﮕﻲ‪ ،‬ﺍﻳﻦ ﺗﺒﺪﻳﻞ ﺟﻨﺴﻴﺖ ﺑﻪ ﻧﺸﺎﻧﻪﻫﺎ‬

‫ﻛﻪ ﺭﺍﺯ ﺗﻤﺎﻣﻲ ﺍﻏﻮﺍﺳﺖ‪ ،‬ﺑﻪ ﺑﺎﺯﻱ ﮔﺮﻓﺘﻪ ﻣﻲﺷﻮﺩ‪.‬‬

‫‪parody‬‬ ‫ﺷﺎﻳﺪ ﻗﺎﺑﻠﻴﺖ ﻣﺒﺪﻝ ﭘﻮﺷﻲ ﺑﺮﺍﻱ ﺍﻏﻮﺍﮔﺮﻱ ﻣﺴﺘﻘﻴﻤﺎ ﺍﺯ ﻧﻘﻴﻀﻪ )ﺗﻘﻠﻴﺪ ﻫﺠﻮﺁﻣﻴﺰ(‬

‫ﻣﻲﺁﻳﺪ‪ .‬ﺗﻘﻠﻴﺪ ﻫﺠﻮﺁﻣﻴﺰ ﺳﻜﺲ ﺑﺎ ﻓﺮﺍ ﺩﻻﻟﺘﻬﺎﻳﺶ‪ .‬ﻓﺤﺸﺎﻱ ﺗﺮﻧﺴﻮﺳﺘﻴﺴﺖﻫﺎ ﺍﺣﺘﻤﺎًﻻً ﻣﻌﻨﺎﻱ‬

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‫ﺍﻏﻮﺍ‬

‫ﻣﺘﻔﺎﻭﺗﻲ ﺑﺎ ﺭﻭﺳﭙﻴﮕﺮﻱﻫﺎﻱ ﻣﻌﻤﻮﻝ ﺯﻧﺎﻥ ﺩﺍﺭﺩ ﻭ ﺑﻪ ﻓﺤﺸﺎﻱ ﻣﻘﺪﺱ ﺑﺎﺳﺘﺎﻧﻴﺎﻥ ﻧﺰﺩﻳﻜﺘﺮ ﺍﺳﺖ‪.‬‬

‫)ﻣﻮﻗﻌﻴﺖ ﻣﻘﺪﺱ ﻧﺮﻣﻮﻙ )ﻫﺮﻣﺎﻓﺮﺍﺩﻳﺖ((‪ ۷‬ﺑﻴﺸﺘﺮ ﺑﻪ ﺗﺌﺎﺗﺮ ﻣﻲﻣﺎﻧﺪ ﻳﺎ ﺑﻪ ﻧﻤﺎﻳﺸﻬﺎﻱ ﺁﻳﻴﻨﻲ‪،‬‬

‫ﺳﺎﺧﺘﮕﻲ ﻭ ﻫﺠﻮﺁﻣﻴﺰ ﺳﻜﺲ ﻛﻪ ﺧﻮﺩ ﻟﺬﺕ ﻏﺎﻳﺐ ﺍﺳﺖ‪) .‬ﻭ ﻧﻘﻴﻀﻪ ﺍﺯ ﻫﻤﻴﻦﺭﻭ ﺷﻜﻞ ﻣﻲﮔﻴﺮﺩ ‪-‬‬

‫ﻣﺘﺮﺟﻢ(‬

‫ﺍﻏﻮﺍﮔﺮﻱ ﺧﻮﺩ ﺑﺎ ﺗﻘﻠﻴﺪ ﻫﺠﻮﺁﻣﻴﺰ ﭘﻴﻮﻧﺪ ﺧﻮﺭﺩﻩ ﻛﻪ ﻧﻮﻋﻲ ﺧﺼﻮﻣﺖ ﻛﻴﻨﻪﺗﻮﺯﺍﻧﻪ ﺑﺎ ﺟﻨﺴﻴﺖ‬

‫ﺯﻥ ﺍﺑﺮﺍﺯ ﻣﻲﺩﺍﺭﺩ ﻭ ﻫﻤﻴﺸﻪ ﺗﺼﺎﺣﺐ ﺗﺠﻬﻴﺰﺍﺕ ﻓﺮﻳﺐﺁﻣﻴﺰ ﺯﻧﺎﻧﻪ ﺑﻪ ﺩﺳﺖ ﻣﺮﺩﺍﻧﮕﻲ ﻗﻠﻤﺪﺍﺩ‬

‫ﻣﻲﺷﻮﺩ‪ .‬ﺗﺮﻧﺴﻮﺳﺘﻴﺴﺖﻫﺎ ﻣﻮﻗﻌﻴﺖ ﻧﺨﺴﺘﻴﻦ ﻣﺒﺎﺭﺯ ﺭﺍ ﺑﻪ ﺗﺼﻮﻳﺮ ﻣﻲﻛﺸﻨﺪ‪ .‬ﺍﻭ ﺗﻨﻬﺎ ﺍﻏﻮﺍﮔﺮﺍﻧﻪ ﺑﻮﺩ‪.‬‬

‫ﺯﻧﻲ ﺩﺭﻭﻏﻴﻦ‪) .‬ﻓﺎﺷﻴﺴﻢ ﺭﺍ ﻭ ﻧﺰﺩﻳﻜﻲﺍﺵ ﺑﻪ ﺗﺮﻧﺴﻮﻳﺴﺘﻴﺴﻢ ﺭﺍ ﺑﻪ ﺗﺼﻮﺭ ﺁﻭﺭﻳﺪ( ﭘﺲ ﺁﻳﺎ ﺍﻳﻦ‬

‫ﻓﺰﻭﻧﮕﻲ ﺟﻨﺴﻴﺘﻬﺎ )ﺩﺭ ﺗﺮﻧﺴﻮﺳﺘﻴﺴﻢ( ﭼﻴﺰﻱ ﺟﺰ ﺑﺎﻃﻞﺳﺎﺯﻱ ﺁﻧﻬﺎ ﻧﻴﺴﺖ؟ ﺁﻳﺎ ﻣﺮﺩﺍﻧﮕﻲ ﺑﺎ‬

‫ﺍﺳﺘﻬﺰﺍء ﺯﻧﺎﻧﮕﻲ‪ ،‬ﻣﻮﻗﻌﻴﺖ ﻭ ﺍﻣﺘﻴﺎﺯﺍﺗﺶ ﺭﺍ ﺑﺎ ﺗﺒﺪﻳﻞ ﺑﻪ ﻋﻨﺎﺻﺮ ﭼﻨﺪ ﺁﻭﺍﻳﻲ ﺩﺭ ﻳﻚ ﺑﺎﺯﻱ ﺁﻳﻴﻨﻲ‬

‫ﺑﺎﻃﻞ ﻧﻤﻲﺳﺎﺯﺩ؟ ﺑﻪ ﻫﺮ ﺣﺎﻝ ﺍﻳﻦ ﺗﻘﻠﻴﺪ ﻫﺠﻮﺁﻣﻴﺰ ﺯﻧﺎﻧﮕﻲ ﺁﻧﭽﻨﺎﻥ ﻛﻪ ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﻪ ﺫﻫﻦ‬

‫ﺧﻄﻮﺭ ﻛﻨﺪ‪ ،‬ﻗﺎﻃﻊ )‪ (acerbic‬ﻧﻴﺴﺖ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺗﻘﻠﻴﺪ ﭘﺎﺭﻭﺩﻱ ﺯﻧﺎﻧﮕﻲ‪ ،‬ﺍﻧﮕﺎﺭﻩ ﻣﺮﺩﺍﻧﮕﻲ ﻭ ﻣﻨﺰﻟﺖ‬

‫ﺁﻥ ﺭﺍ ﻧﻴﺰ ﺑﻪ ﺍﻣﺮ ﻣﻮﻫﻮﻡ ﻣﺒﺪﻝ ﻣﻲﻛﻨﺪ‪ .‬ﭼﻨﻴﻦ ﺯﻧﺎﻧﮕﻲ ﺍﻏﺮﺍﻕﺁﻣﻴﺰ‪ ،‬ﺳﺨﻴﻒ ﺷﺪﻩ ﻭ ﺗﻘﻠﻴﺪ ﺷﺪﻩ ﺩﺭ‬

‫ﺗﺮﻧﺴﻮﺳﺘﻴﺴﻢ )‪Drag Queen‬ﻫﺎ‪ ۸‬ﺩﺭ ﺑﺎﺭﺳﻠﻮﻧﺎ‪ ،‬ﺳﺒﻴﻠﺸﺎﻥ ﺭﺍ ﻧﮕﺎﻩ ﻣﻲﺩﺍﺭﻧﺪ ﻭ ﺳﻴﻨﻪ ﭘﺮ ﻣﻮﺷﺎﻥ‬

‫ﺭﺍ ﻧﻤﺎﻳﺶ ﻣﻲﺩﻫﻨﺪ( ﺩﻋﻮﻱ ﺁﻥ ﺩﺍﺭﺩ ﻛﻪ ﺯﻧﺎﻧﮕﻲ ﺍﺟﺘﻤﺎﻋﻲ ﻫﻴﭻ ﻧﻴﺴﺖ ﺟﺰ ﻧﺸﺎﻧﻪﻫﺎﻳﻲ ﻛﻪ ﻣﺮﺩﺍﻥ‬

‫ﺭﺍ ﻣﻲﻓﺮﻳﺒﺪ‪ .‬ﻓﺮﺍ ‪ -‬ﻭﺍﻧﻤﻮﺩﻩ ﻛﺮﺩﻥ ﺯﻧﺎﻧﮕﻲ ﺍﺷﺎﺭﻩ ﺑﺪﺍﻥ ﺩﺍﺭﺩ ﻛﻪ ﺯﻧﺎﻧﮕﻲ ﭼﻴﺰﻱ ﻧﻴﺴﺖ ﺟﺰ ﻣﺪﻝ‬

‫ﻣﺮﺩﺍﻧﻪ ﻭﺍﻧﻤﺎﻳﻲ‪) .‬ﺗﺮﻧﺴﻮﺳﺘﻴﺴﻢ( ﻣﺒﺎﺭﺯﻩﺍﻱ ﺍﺳﺖ ﻣﻴﺎﻥ ﻣﺪﻝ ﺯﻧﺎﻧﮕﻲ ﺑﺎ ﺑﺎﺯﻱ ﺯﻧﺎﻧﻪ‪ ،‬ﻣﺒﺎﺭﺯﻩﺍﻱ ﺑﺎ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﺯﻧﺎﻧﮕﻲ‪ /‬ﺯﻥ ﺑﺎ ﺯﻧﺎﻧﮕﻲ‪ /‬ﻧﺸﺎﻧﻪ‪ .‬ﻭ ﺷﺎﻳﺪ ﭼﻨﻴﻦ ﺑﺪﮔﻮﻳﻲ ﺯﻧﺪﻩ ﻭ ﺟﻌﻠﻲ ﺍﺯ ﺯﻧﺎﻧﮕﻲ ﻛﻪ ﺩﺭ ﺩﻭﺭﺍﻓﺘﺎﺩﻩ­‬

‫ﺗﺮﻳﻦ ﺳﺮﺣﺪﺍﺕ ﺗﺼﻨﻊ ﺍﺟﺮﺍ ﮔﺸﺘﻪ ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺑﺎ ﻣﻜﺎﻧﻴﺰﻣﻬﺎﻱ ﺯﻧﺎﻧﮕﻲ ﺗﺎ ﺁﺧﺮﻳﻦ ﺣﺪ ﺑﺎﺯﻱ‬

‫ﻣﻲﻛﻨﺪ‪ ،‬ﺭﺍﺩﻳﻜﺎﻝ ﺗﺮ ﻭ ﺑﺮﺗﺮ ﺍﺯ ﺍﻳﺪﻩﻫﺎﻱ ﺳﻴﺎﺳﻲ ﺯﻧﺎﻥ ﭼﻮﻧﺎﻥ ﻣﻮﺟﻮﺩﻳﺖﻫﺎﻱ ﺑﻴﮕﺎﻧﻪ ﺷﺪﻩ ﺑﺎﺷﺪ‪.‬‬

‫ﺩﺭ ﺍﻳﻨﺠﺎ ﻣﻲﺗﻮﺍﻥ ﮔﻔﺖ ﺯﻧﺎﻧﮕﻲ ﺣﺘﻲ ﻣﺠﺒﻮﺭ ﻧﻴﺴﺖ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪) ،‬ﻧﻪ ﻃﺒﻴﻌﺖ‪ ،‬ﻧﻪ‬

‫ﻧﻮﺷﺘﺎﺭﻱ ﻧﻪ ﻟﺬﺗﻲ ﺧﺎﺹ ﻳﺎ ﻫﻤﭽﻨﺎﻥ ﻛﻪ ﻓﺮﻭﻳﺪ ﻣﻲﮔﻮﻳﺪ ﻟﻴﺒﻴﺪﻭﻳﻲ ﺗﺨﺼﻴﺺ ﻳﺎﻓﺘﻪ( ﻣﺨﺎﻟﻒ‬

‫ﻫﺮﮔﻮﻧﻪ ﺟﺴﺘﺠﻮﻱ ﺯﻧﺎﻧﮕﻲ ﻣﻌﺘﺒﺮ ﻭ ﮔﻔﺘﺎﺭ ﺧﺎﺹ ﺯﻧﺎﻧﮕﻲ ﺍﺳﺖ‪ .‬ﺩﻋﻮﻱﺍﺵ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﺯﻧﺎﻧﮕﻲ‬

‫ﻫﻴﭻ ﭼﻴﺰ ﻧﻴﺴﺖ ﻭ ﻫﻤﻴﻦ ﻧﻴﺮﻭﻱ ﺍﻭﺳﺖ‪.‬‬

‫ﺍﻳﻦ ﭘﺎﺳﺨﻲ ﺯﻳﺮﻛﺎﻧﻪ ﺗﺮ ﺍﺯ ﺍﻧﻜﺎﺭﻫﺎﻱ ﻛﺎﻣﻞ ﻗﺎﻧﻮﻥ ﺍﺧﺘﮕﻲ ﺗﻮﺳﻂ ﻓﻤﻴﻨﻴﺴﺘﻬﺎ ﺍﺳﺖ‪ .‬ﭼﺮﺍ ﻛﻪ‬

‫ﺑﺮﺧﻮﺭﺩﻱ ﻧﻤﺎﺩﻳﻦ‪ ،‬ﻧﻪ ﺗﻘﺪﻳﺮﻱ ﺁﻧﺎﺗﻮﻣﻴﻜﻲ‪ ،‬ﺑﺮ ﺗﻤﺎﻣﻲ ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ ﻣﻤﻜﻦ ﺭﻭﺍ ﺩﺍﺷﺘﻪ‬

‫ﻣﻲﺷﻮﺩ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺍﺿﻤﺤﻼﻝ ﻗﺎﻧﻮﻥ‪ ،‬ﺗﻨﻬﺎ ﻣﻲﺗﻮﺍﻧﺪ ﻧﺘﻴﺠﻪ ﻋﺰﻡ ﻧﻘﻴﻀﻪ ﮔﻮﻳﺎﻧﻪ ﻭ ﻧﺸﺎﻧﻪﻫﺎﻱ ﻣﺮﻛﺰ‬

‫ﮔﺮﻳﺰ ﺯﻧﺎﻧﮕﻲ ﺑﺎﺷﺪ‪ .‬ﺑﺎﺯ ﺗﻜﺜﻴﺮ ﻧﺸﺎﻧﻪﻫﺎ ﺗﺎ ﺁﻧﺠﺎ ﻛﻪ ﻫﺮ ﺑﻴﻮﻟﻮﮊﻱ ﻻﻳﻨﺤﻞ ﻭ ﻣﺘﺎﻓﻴﺰﻳﻚ ﺟﻨﺴﻴﺖﻫﺎ‬

‫ﺭﺍ ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﺎﻧﺪ‪ .‬ﺍﻣﺮ ﺳﺎﺧﺘﮕﻲ )‪ (Makeup‬ﭼﻴﺰﻱ ﺟﺰ ﺍﻳﻦ ﻧﻴﺴﺖ‪ :‬ﻧﻘﻴﻀﻪﺍﻱ ﭘﻴﺮﻭﺯﻣﻨﺪﺍﻧﻪ‪،‬‬

‫ﺭﺍﻩﺣﻠﻲ ﺍﺯ ﻃﺮﻳﻖ ﺗﺨﻄﻲ‪ ،‬ﺳﻄﺤﻲ ﺍﺯ ﺣﺎﺩ ﻭﺍﻧﻤﺎﻳﻲ ِ ﺳﻄﺤﻲ ﺍﻳﻦ ﻭﺍﻧﻤﺎﻳﻲ ﻋﻤﻴﻖ ﻛﻪ ﺧﻮﺩ ﻗﺎﻧﻮﻥ‬

‫ﻧﻤﺎﺩﻳﻦ ﺍﺧﺘﮕﻲﺳﺖ ‪ -‬ﺩﺭ ﺑﺎﺯﻱﻫﺎﻱ ﺗﺮﻧﺴﻜﺴﻮﺁﻝ ﺍﻏﻮﺍ‪.‬‬

‫ﻛﻨﺎﻳﻪﻱ ﻛﻨﺸﻬﺎﻱ ﺗﺼﻨﻌﻲ‪ :‬ﺗﻮﺍﻧﺎﻳﻲ ﻏﺮﻳﺐ ﺯﻥ ﺁﺭﺍﻳﺶ ﻛﺮﺩﻩ ﻳﺎ ﻓﺎﺣﺸﻪﺍﻱ ﻛﻪ ﺑﺰﻙ ﻛﺮﺩﻩ‪­ ،‬‬

‫ﺁﻧﻬﺎ ﺭﺍ ﺑﻪ ﭼﻴﺰﻱ ﺑﻴﺶ ﺍﺯ ﻳﻚ ﻧﺸﺎﻧﻪ ﻣﺒﺪﻝ ﻣﻲﻛﻨﺪ ﻭ ﺑﺎ ﺍﻳﻦ ﻛﺎﺭﺑﺮﺩ‪ ،‬ﻧﻪ ﻏﻠﻂ ﺑﺮﻋﻠﻴﻪ ﺩﺭﺳﺖ‪ ،‬ﺑﻠﻜﻪ‬

‫ﻛﺎﺭﺑﺮﺩﻱ ﻧﺎﺩﺭﺳﺖﺗﺮ ﺍﺯ ﻧﺎﺩﺭﺳﺖ‪ ،‬ﺍﻭ ﺗﺠﺴﻢ ﻧﻘﻄﻪ ﺍﻭﺝ ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ ﻣﻲﮔﺮﺩﺩ ﻭ ﻫﻤﺰﻣﺎﻥ‬

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‫ﺍﻏﻮﺍ‬

‫ﻣﻮﺟﻮﺩﻳﺖﺷﺎﻥ ﺩﺭ ﻭﺍﻧﻤﺎﻳﻲﺷﺎﻥ ﻓﺮﻭ ﻣﻲﺭﻭﺩ‪) .‬ﺁﺭﺍﻳﺶ‪ ،‬ﺩﺭﺳﺖ ﻧﻤﻮﺩﻥ ﭼﻬﺮﻩ ﻃﺒﻴﻌﻲ ﻧﺎﺩﺭﺳﺖ‬

‫ﻧﻴﺴﺖ ﻭ ﻳﺎ ﺑﺮﻋﻜﺲ ﺁﺭﺍﻳﺶ ﻧﺎﺩﺭﺳﺘﻲ )ﺗﺼﻨﻌﻲ( ﺑﺮﺭﻭﻱ ﭼﻬﺮﻩﺍﻱ ﺩﺭﺳﺖ )ﻃﺒﻴﻌﻲ(ﻧﻴﺴﺖ‪ ،‬ﺑﻠﻜﻪ‬

‫ﺗﺼﻨﻌﻲﺗﺮ ﺍﺯﺗﺼﻨﻌﻲ ﻭ ﻧﺎﺩﺭﺳﺖﺗﺮ ﺍﺯ ﻧﺎﺩﺭﺳﺖ ﺍﺳﺖ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺍﺯ ﻧﻈﺮ ﺑﻮﺩﺭﻳﺎﺭ‪ ،‬ﺁﺭﺍﻳﺶ ﺻﺮﻓﺎً ﺭﻓﻊ‬

‫ﻧﻮﺍﻗﺺ ﭼﻬﺮﻩ ﻃﺒﻴﻌﻲ ﻧﻴﺴﺖ ﺑﻞ ﺍﻳﺠﺎﺩ ﻻﻳﻪﺍﻱ ﺍﺳﺖ ﻛﻪ ﺩﻳﮕﺮ ﭼﻴﺰﻱ ﺟﺰ ﻧﺸﺎﻧﻪﻫﺎﻳﻲ ﺑﺮﺍﻱ ﺍﻏﻮﺍ‬

‫ﻧﻴﺴﺘﻨﺪ( ﻛﻨﺎﻳﻪ ﻣﻨﺎﺳﺐ ﻣﻮﻗﻌﻴﺖ ﺯﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﺑﮋﻩ ﺟﻨﺴﻲ ﻳﺎ ﺑﺘﻮﺍﺭﻩ ﺷﺪﻩ‪ :‬ﺍﻭ ﺑﺎ ﻛﻤﺎﻝ ﻣﺤﺼﻮﺭﺵ‬

‫ﺑﻪ ﺳﻜﺴﻲ ﻛﻪ ﺑﻪ ﻣﺮﺩ ﺭﺟﻮﻉ ﻣﻲﻛﻨﺪ ﻭ ﺑﻪ ﺍﺭﺑﺎﺑﻲ ﻭ ﺣﺎﻛﻤﻴﺖ ﻭﺍﻗﻌﻴﺖ ﺟﻨﺴﻲ‪ ،‬ﺑﻪ ﺷﻔﺎﻑ ﻧﻤﺎﻳﻲ‬

‫ﻣﺮﺩ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺳﻮﮊﻩ ﺧﻴﺎﻟﻲ‪ ،‬ﭘﺎﻳﺎﻥ ﻣﻲﺑﺨﺸﺪ‪ .‬ﻧﻴﺮﻭﻱ ﻛﻨﺎﻳﻲ ﺍﺑﮋﻩ )ﻣﺨﺼﻮﺹ ﺯﻥ( ﻛﻪ ﺍﮔﺮ ﺯﻥ‬

‫ﺑﻪ ﻣﻘﺎﻡ ﺳﻮﮊﻩ ﺗﺮﻓﻴﻊ ﺩﺍﺩﻩ ﺷﻮﺩ‪ ،‬ﺍﺯ ﺑﻴﻦ ﻣﻲﺭﻭﺩ‪.‬‬

‫ﺗﻤﺎﻡ ﻗﺪﺭﺕ ﻣﺮﺩﺍﻧﮕﻲ‪ ،‬ﻗﺪﺭﺕ ﺗﻮﻟﻴﺪ ﻛﺮﺩﻥ ﺍﺳﺖ‪ .‬ﻫﺮ ﭼﻴﺰﻱ ﻛﻪ ﺗﻮﻟﻴﺪ ﺷﺪﻩ ﻭ )ﻧﻴﺰ( ﺗﻮﻟﻴﺪ‬

‫ﺯﻥ ﺑﻪ ﻣﺜﺎﺑﻪ ﺯﻧﺎﻧﮕﻲ‪ ،‬ﺩﺭ ﻓﻬﺮﺳﺖ ﻗﺪﺭﺕ ﻣﺮﺩﺍﻧﻪ ﺗﻨﺰﻝ ﻣﻲﻛﻨﺪ‪ .‬ﺗﻨﻬﺎ‪ ،‬ﻧﻴﺮﻭﻱ ﻏﻴﺮ ﻗﺎﺑﻞ ﻣﻘﺎﻭﻣﺖ‬

‫ﺯﻧﺎﻧﮕﻲ‪ ،‬ﻧﻴﺮﻭﻱ ﻗﺎﺑﻞ ﺑﺮﮔﺸﺖ ﺍﻏﻮﺍﮔﺮﻱ ﺍﻭﺳﺖ‪ .‬ﺗﻨﻬﺎ ﻭ ﺑﻪ ﻃﺮﺯﻱ ﻣﻘﺎﻣﺖ ﻧﺎﭘﺬﻳﺮ‪ ،‬ﻗﺪﺭﺕ ﻭﺍﮊﮔﻮﻧﻪ‬

‫ﻛﻨﻨﺪﻩ ﺍﻏﻮﺍﺳﺖ‪ .‬ﺩﺭ ﺧﻮﺩ ﻫﻴﭻ ﻧﻴﺴﺖ ﺍﻏﻮﺍ ﺩﺭ ﺩﺭﻭﻥ ﺧﻮﺩ ﻫﻴﭻ ﻗﺪﺭﺗﻲ ﻧﺪﺍﺭﺩ ﺗﻨﻬﺎ ﻗﺪﺭﺗﺶ ﺩﺭ ﻟﻐﻮ‬

‫ﻗﺪﺭﺕ ﺗﻮﻟﻴﺪ ﺍﺳﺖ‪ .‬ﻗﺪﺭﺕ ﺍﻏﻮﺍ ﻫﻤﻴﺸﻪ ﻗﺪﺭﺕ ﺗﻮﻟﻴﺪ ﺭﺍ ﻟﻐﻮ ﻣﻲﻛﻨﺪ‪ .‬ﺁﻳﺎ ﺑﺎ ﺍﻳﻦ ﻭﺟﻮﺩ‪ ،‬ﻗﺪﺭﺕ‬

‫ﻓﺎﻟﻮﺱ ﻣﺤﻮﺭﻱ ﻫﻢ ﺩﺭ ﻛﺎﺭ ﺑﻮﺩﻩﺍﺳﺖ؟ ﻛﻞ ﺗﺎﺭﻳﺦ ﺗﺴﻠﻂ ﭘﺪﺭﺷﺎﻫﻲ‪ ،‬ﺍﺯ ﻓﺎﻟﻮﺱ ﻣﺤﻮﺭﻱ ﻭ ﺑﺮﺗﺮﻱ‬

‫ﺩﻳﺮﻳﻦ ﻣﺮﺩﺍﻧﻪ‪ ،‬ﺷﺎﻳﺪ ﺗﻨﻬﺎ ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﺑﺎﺷﺪ‪ .‬ﺁﻏﺎﺯ ﻣﻌﺎﻭﺿﻪ ﺯﻧﺎﻥ ﺩﺭ ﺟﻮﺍﻣﻊ ﺍﺑﺘﺪﺍﻳﻲ ﺭﺍ ﺑﻪ ﻃﻮﺭ‬

‫ﺍﺑﻠﻬﺎﻧﻪﺍﻱ‪ ،‬ﺁﻏﺎﺯ ﺍﺑﮋﮔﻲ ﺯﻥ ﺩﺍﻧﺴﺘﻪﺍﻧﺪ‪ .‬ﻫﻤﻪ ﺁﻧﭽﻪ ﻛﻪ ﻣﺎ ﺭﺍ ﺑﺪﺍﻥ ﻗﺒﻮﻻﻧﺪﻩﺍﻧﺪ‪ ،‬ﺗﻤﺎﻣﻲ ﻣﺒﺎﺣﺚ‬

‫ﺟﻬﺎﻧﻲ ﺩﺭ ﺑﺎﺏ ﻧﺎﺑﺮﺍﺑﺮﻱ ﺟﻨﺴﻴﺘﻬﺎ‪ ،‬ﻧﺪﺍﻱ ﻣﺪﺭﻧﻴﺘﻪ ﺑﺮﺍﺑﺮﻱ ﻃﻠﺐ ﻭ ﺍﻧﻘﻼﺑﻲ‪) ،‬ﻛﻪ ﺍﻳﻦ ﺭﻭﺯﻫﺎ‪ ،‬ﺑﺎ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﺗﻤﺎﻣﻲ ﺍﻧﺮﮊﻱﻫﺎﻱ ﻳﻚ ﺍﻧﻘﻼﺏ ﺷﻜﺴﺖ ﺧﻮﺭﺩﻩ ﺗﻘﻮﻳﺖ ﺷﺪﻩﺍﺳﺖ( ﺷﺎﻳﺪ ﻳﻚ ﺑﺪﻓﻬﻤﻲ ﺑﺰﺭﮒ‬

‫ﺑﺎﺷﺪ‪ .‬ﻓﺮﺽ ﻣﺘﻘﺎﺑﻞ‪ ،‬ﺑﺎﻭﺭﻛﺮﺩﻧﻲ ﻭ ﺍﺯ ﺩﻳﺪﮔﺎﻫﻲ ﻣﻌﻴﻦ‪ ،‬ﺟﺎﻟﺐ ﺗﻮﺟﻪﺗﺮ ﺍﺳﺖ‪ :‬ﻳﻌﻨﻲ ﺯﻧﺎﻧﮕﻲ ﻫﺮﮔﺰ‬

‫ﺗﺤﺖ ﺍﺳﺘﻴﻼﻱ ﻣﺮﺩﺍﻧﮕﻲ ﻧﺒﻮﺩﻩ ﺑﻠﻜﻪ ﻫﻤﻴﺸﻪ ﺑﺮ ﺍﻥ ﻣﺴﻠﻂ ﺑﻮﺩﻩﺍﺳﺖ‪) .‬ﺩﺭ ﺍﻳﻦ ﻓﺮﺽ( ﺯﻧﺎﻧﮕﻲ‬

‫ﺩﻳﮕﺮ ﻧﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺟﻨﺲ ﺑﻠﻜﻪ ﺷﻜﻞ ﻣﺘﻘﺎﻃﻊ ﻳﺎ ﻣﻮﺭﺏ ﺍﺯ ﻫﺮ ﺟﻨﺴﻴﺘﻲ ﻭ ﻫﺮ ﻗﺪﺭﺗﻲ ﺍﺳﺖ‪،‬‬

‫ﭼﻮﻧﺎﻥ ﺷﻜﻠﻲ ﺭﺍﺯﮔﻮﻧﻪ ﻭ ﻛﻴﻨﻪ ﺟﻮ ﺩﺭ ﺭﻭﺍﺑﻂ ﺟﻨﺴﻲ‪ .‬ﺯﻧﺎﻧﮕﻲ ﺑﻪ ﻣﺜﺎﺑﻪ ﻣﺒﺎﺭﺯﻩﺍﻱ ﻧﺎﺑﻮﺩﻛﻨﻨﺪﻩ ﻛﻪ‬

‫ﺩﺭ ﺳﺮﺍﺳﺮ ﻓﻀﺎﻱ ﺭﻭﺍﺑﻂ ﺟﻨﺴﻲ ﺍﻣﺮﻭﺯ ﻣﻲﺗﻮﺍﻧﺪ ﺗﺠﺮﺑﻪ ﺷﻮﺩ‪ ،‬ﺁﻳﺎ ﺍﻳﻦ ﻣﺒﺎﺭﺯﻩ ﻭ ﻫﻤﭽﻨﻴﻦ ﺍﻳﻦ ﺍﻏﻮﺍ‬

‫ﻫﻤﻮﺍﺭﻩ ﭘﻴﺮﻭﺯ ﻧﮕﺸﺘﻪﺍﺳﺖ؟‬

‫ﺩﺭ ﺍﻳﻦ ﺣﺎﻟﺖ‪ ،‬ﻣﺮﺩﺍﻧﮕﻲ ﺟﺰ ﺍﻣﺮﻱ ﭘﺲ ﻣﺎﻧﺪﻩ‪ ،‬ﻓﺮﻋﻲ ﻭ ﺿﻌﻴﻒ ﻧﺒﻮﺩﻩ ﻛﻪ ﻣﻲﺑﺎﻳﺴﺖ ﺑﺎ‬

‫ﺍﺳﺘﺤﻜﺎﻣﺎﺕ‪ ،‬ﻧﻬﺎﺩﻫﺎ ﻭ ﺗﺰﻭﻳﺮﻫﺎ ﺍﺯ ﺁﻥ ﺩﻓﺎﻉ ﻧﻤﻮﺩ‪ .‬ﺍﺳﺘﺤﻜﺎﻣﺎﺕ ﻓﺎﻟﻮﺳﻲ ﺗﻤﺎﻣﻲ ﻧﺸﺎﻧﻪﻫﺎﻱ ﻳﻚ‬

‫ﺍﺳﺘﺤﻜﺎﻣﺎﺕ ﻧﻈﺎﻣﻲ ﺭﺍ ﺍﺭﺍﺋﻪ ﻣﻲﻛﻨﺪ ﻛﻪ ﺑﺎﻳﺪ ﺑﮕﻮﻳﻴﻢ ﻫﻤﮕﻲ ﺍﺯ ﺿﻌﻒ ﺁﻥ ﺍﺳﺖ ﭼﺮﺍ ﻛﻪ ﺗﻨﻬﺎ ﺩﺭ‬

‫ﺍﺳﺘﺤﺎﻛﺎﻣﺎﺕ ﻳﻚ ﻣﺎﻧﻴﻔﺴﺖ ﺟﻨﺴﻲ ﺩﺭ ﻗﻄﻌﻴﺘﻲ ﺟﻨﺴﻲ ﺑﺎ ﺑﺎﺯﺗﻮﻟﻴﺪ ﻣﺪﺍﻭﻡ ﺧﻮﺩ ﻳﺎ ﺩﺭ ﺍﺭﮔﺎﺳﻢ‪،‬‬

‫ﻗﺎﺩﺭ ﻣﻲﮔﺮﺩﺩ ﺍﺯ ﺧﻮﺩ ﺩﻓﺎﻉ ﻧﻤﺎﻳﺪ‪.‬‬

‫ﻣﻲﺗﻮﺍﻥ ﻓﺮﺽ ﻛﺮﺩ ﻛﻪ ﺯﻧﺎﻧﮕﻲ ﺗﻨﻬﺎ ﻳﻚ ﺟﻨﺴﻴﺖ ﺍﺳﺖ ﻭ ﻣﺮﺩﺍﻧﮕﻲ ﺗﻼﺵ ﻣﺎﻓﻮﻕ‬

‫ﺍﻧﺴﺎﻧﻴﺴﺖ ﺑﺮﺍﻱ ﺭﻫﺎ ﺷﺪﻥ ﺍﺯ ﺁﻥ‪) .‬ﺑﺎ ﻫﻤﻴﻦ ﻓﺮﺽ( ﺩﺭ ﻟﺤﻈﻪ ﻳﻚ ﮔﻴﺠﻲ ﻭ ﺣﻮﺍﺱ ﭘﺮﺗﻲ‬

‫)ﻣﺮﺩﺍﻧﮕﻲ ﺍﺯ ﻧﺮﺩﺑﺎﻥ ﺗﻌﺎﻟﻲ ﺧﻮﺩ( ﺩﺭ ﺯﻧﺎﻧﮕﻲ ﺳﻘﻮﻁ ﻣﻲﻛﻨﺪ‪ .‬ﺯﻧﺎﻧﮕﻲ ﺧﻮﺍﻫﺎﻥ ﻳﻚ ﺍﻣﺘﻴﺎﺯﻱ ﻗﻄﻌﻲ‬

‫ﺍﺳﺖ ﻭ ﻣﺮﺩﺍﻧﮕﻲ ﺧﻮﺍﻫﺎﻥ ﻳﻚ ﺁﻭﺍﻧﺲ )ﺍﻣﺘﻴﺎﺯﻱ ﻛﻪ ﺑﻪ ﻃﺮﻑ ﺿﻌﻴﻒ ﺩﺍﺩﻩ ﻣﻲﺷﻮﺩ(‪ .‬ﭘﺲ‬

‫ﻣﻲﺑﻴﻨﻴﻢ ﭼﻪ ﻗﺪﺭ ﻣﻀﺤﻚ ﺍﺳﺖ ﻛﻪ ﺑﺨﻮﺍﻫﻴﻢ ﻛﺴﻲ ﺭﺍ ﺍﺯ ﻧﻈﺎﻣﻲ ﺁﺯﺍﺩ ﻧﻤﺎﻳﻴﻢ ﻛﻪ ﺑﻪ ﺷﻜﻨﻨﺪﮔﻲ‬

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‫ﺍﻏﻮﺍ‬

‫ﻗﺪﺭﺕ ﻃﺮﻑ ﻣﻘﺎﺑﻞ ﻭ ﺑﻪ ﻭﺿﻌﻴﺖ ﻏﺮﻳﺐ‪ ،‬ﻣﺘﻨﺎﻗﺾ ﻧﻤﺎ‪ ،‬ﭘﺎﺭﺍﻧﻮﻳﺎﻳﻲ ﻭ ﻃﺎﻗﺖ ﻓﺮﺳﺎﻱ ﻣﺮﺩﺍﻧﮕﻲ‬

‫ﺭﺿﺎﻳﺖ ﺩﺍﺩﻩﺍﺳﺖ‪.‬‬

‫ﺍﻓﺴﺎﻧﻪ ﻓﺎﻟﻮﺱ ﻣﺤﻮﺭ ﻭﺍﮊﮔﻮﻧﻪ ﻣﻲﺷﻮﺩ‪ :‬ﺑﻪ ﺟﺎﻱ ﺁﻧﻜﻪ ﺯﻥ ﺍﺯ ﻣﺮﺩ ﺑﺎ ﻛﺎﻫﺶ )ﻫﻤﺎﻥ ﺍﺧﺘﮕﻲ(‬

‫ﺍﻳﺠﺎﺩ ﮔﺮﺩﺩ ﺍﻳﻦ ﻣﺮﺩ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺯﻥ ﺑﺎ ﻳﻚ ﺍﺳﺘﺜﻨﺎ ﻣﺠﺰﺍ ﻣﻲﮔﺮﺩﺩ‪ .‬ﺩﺍﺳﺘﺎﻧﻲ ﻛﻪ ﺑﻪ ﺳﺎﺩﮔﻲ ﺑﺎ‬

‫ﺗﺤﻠﻴﻠﻬﺎﻱ ﺑﺘﻠﻬﻴﻢ ﺩﺭ"ﺟﺮﺍﺣﺎﺕ ﻧﻤﺎﺩﻳﻦ"‪ ۹‬ﺗﻘﻮﻳﺖ ﻣﻲﮔﺮﺩﺩ‪ .‬ﺟﺎﻳﻲ ﻛﻪ ﻣﺮﺩﺍﻥ ﻧﻴﺮﻭﻫﺎ ﻭ ﻧﻈﺎﻡﻫﺎﻱ‬

‫ﺧﻮﺩ ﺭﺍ ﺑﺮﺍﻱ ﺧﻨﺜﻲ ﻧﻤﻮﺩﻥ ﺳﺮﻣﻨﺸﺎ ﻗﺪﺭﺕ ﻣﺎﻓﻮﻕ ﺯﻧﺎﻥ ﺑﻪ ﻛﺎﺭ ﻣﻲﮔﻴﺮﻧﺪ‪ .‬ﻧﻴﺮﻭﻱ ﺑﻪ ﭘﻴﺶ ﺑﺮﻧﺪﻩ‬

‫ﺍﻳﻦ ﺍﻓﺴﺎﻧﻪ‪ ،‬ﺁﻟﺖ ﺗﻨﺎﺳﻠﻲ ﻣﺮﺩﺍﻧﻪ ﻧﻴﺴﺖ‪ ،‬ﺑﻠﻜﻪ ﺑﺮﻋﻜﺲ ﺣﺴﺎﺩﺕ ﻣﺮﺩﺍﻥ ﺑﻪ ﺗﻮﺍﻧﺎﻳﻲ ﻟﻘﺎﺡ ﺯﻧﺎﻥ‬

‫ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺑﺮﺗﺮﻱ ﺯﻧﺎﻧﮕﻲ ﺭﺍ ﻧﻤﻲﺗﻮﺍﻥ ﺟﺒﺮﺍﻥ ﻧﻤﻮﺩ ﻣﮕﺮ ﺑﺎ ﺳﺎﺧﺖ ﻧﻈﻤﻲ ﻣﺘﻔﺎﻭﺕ ﺑﺎ ﺍﺭﺯﺷﻬﺎ‪ ,‬ﺑﺎ‬

‫ﻧﻈﻤﻲ ﺳﻴﺎﺳﻲ ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﺍﻗﺘﺼﺎﺩﻱ ﻣﺮﺩﺍﻧﻪ ﺗﺎ ﺍﻳﻦ ﺑﺮﺗﺮﻱ ﺯﻧﺎﻧﮕﻲ ﺗﻘﻠﻴﻞ ﻳﺎﺑﺪ ﺑﻨﺎﺑﺮﺍﻳﻦ ﺍﻋﻤﺎﻝ‬

‫ﺁﻳﻴﻨﻲ‪ ،‬ﻧﺸﺎﻧﻪﻫﺎﻱ ﺟﻨﺲ ﻣﺨﺎﻟﻒ ﺭﺍ ﻣﺨﺘﺺ ﺧﻮﺩ ﻣﻲﺳﺎﺯﻧﺪ‪ :‬ﺗﻴﻎ ﺯﻧﻲ‪ ،‬ﻗﻄﻊ ﻋﻀﻮ )ﺁﻟﺖ(‪،‬‬

‫ﻭﺍﮊﻳﻨﺎﺯﻳﺰﺍﺳﻴﻮﻥ ﺗﺼﻨﻌﻲ‪ ،‬ﺗﻘﻠﻴﺪ ﺍﺯ ﺯﺍﺋﻮ )‪ (۱۰(×) couvades‬ﻭ ﻏﻴﺮﻩ‪.‬‬

‫ﺗﻤﺎﻡ ﺍﻳﻨﻬﺎ ﺑﻪ ﻣﺘﻘﺎﻋﺪﻛﻨﻨﺪﮔﻲ ﻓﺮﺿﻬﺎﻱ ﻧﺎﺳﺎﺯﻩﮔﻮﻥ ﻣﻲﺑﺎﺷﻨﺪ )ﻭ ﻫﻤﻴﺸﻪ ﻫﻢ ﺟﺎﻟﺒﺘﺮ ﺍﺯ‬

‫ﺩﺍﻧﺶﻫﺎﻱ ﺣﺼﻮﻟﻲ ﺍﻧﺪ( ﺍﻣﺎ ﺩﺭ ﭘﺎﻳﺎﻥ‪ ,‬ﺗﻨﻬﺎ ﺍﺻﻄﻼﺣﺎﺕ ﺭﺍ ﻭﺍﺭﻭﻧﻪ ﻣﻲﻛﻨﺪ ﻭ ﺯﻧﺎﻧﮕﻲ ﺭﺍ ﺑﻪ ﺟﻮﻫﺮﻱ‬

‫ﺍﺻﻠﻲ‪ ،‬ﻧﻮﻋﻲ ﺯﻳﺮﺑﻨﺎﻱ ﺍﻧﺴﺎﻥ ﺷﻨﺎﺳﺎﻧﻪ ﻣﺒﺪﻝ ﻣﻲﻛﻨﺪ‪ .‬ﺗﻌﻴﻦﻫﺎﻱ ﺁﻧﺎﺗﻮﻣﻴﻜﻲ ﺭﺍ ﻭﺍﺭﻭﻧﻪ ﻣﻲﻛﻨﺪ‪ ،‬ﺍﻣﺎ‬

‫ﺍﺟﺎﺯﻩ ﻣﻲﺩﻫﺪ ﻛﻪ ﻫﻤﭽﻮﻥ ﺗﻘﺪﻳﺮ ﺑﺎﻗﻲ ﻣﺎﻧﺪ ﻭ ﻳﻜﺒﺎﺭ ﺩﻳﮕﺮ ﻛﻨﺎﻳﻪ ﺯﻧﺎﻧﮕﻲ ﺍﺯ ﺩﺳﺖ ﺑﺮﻭﺩ‪.‬‬

‫ﻭﻗﺘﻲ ﺯﻧﺎﻧﮕﻲ ﺑﻪ ﻋﻨﻮﺍﻥ ﺟﻨﺴﻴﺖ ﺑﻨﻴﺎﻥ ﻧﻬﺎﺩﻩ ﻣﻲﺷﻮﺩ ﻛﻨﺎﻳﻪ ﺍﺯ ﺩﺳﺖ ﻣﻲﺭﻭﺩ‪ ،‬ﻭ ﺑﻴﺸﺘﺮ ﺍﺯ‬

‫ﻫﻤﻪ ﺁﻥ ﻫﻨﮕﺎﻡ ﻛﻪ ﻫﻤﭽﻮﻥ ﺟﻨﺴﻴﺖ ﺗﺤﺖ ﺳﺘﻢ ﻇﺎﻫﺮ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻳﻦ ﺗﻮﻫﻢ ﻫﻤﻴﺸﮕﻲ ﺍﻧﺴﺎﻥ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﻣﺤﻮﺭﻱ ﺭﻭﺷﻨﮕﺮﻱ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺁﺭﺯﻭﻱ ﺁﺯﺍﺩﻱ ﺟﻨﺴﻴﺖ‪ ،‬ﻧﮋﺍﺩ ﻭ ﻃﺒﻘﻪ ﻓﺮﻭﺩﺳﺖ ﻭ ﺗﻤﺎﻣﻲ‬

‫ﺍﺻﻄﻼﺣﺎﺕ ﺑﻨﺪﮔﻲ ﺍﺳﺖ‪ .‬ﺯﻧﺎﻧﮕﻲ‪ ،‬ﺟﻨﺴﻲ ﻣﻲﺷﻮﺩ ﻛﻪ ﺑﺮﺍﻱ ﺧﻮﺩ ﺍﺭﺯﺷﻤﻨﺪ ﺍﺳﺖ‪ ،‬ﭼﻨﻴﻦ ﺣﺮﻓﻲ‬

‫ﺟﺰ ﺩﺭ ﻣﻔﺎﻫﻴﻢ ﺟﻨﺴﻴﺖ ﻭ ﻗﺪﺭﺕ‪ ،‬ﻛﺎﻣﻼ ﭼﺮﻧﺪ ﺍﺳﺖ‪ .‬ﺯﻧﺎﻧﮕﻲ ﺧﻮﺏ ﻣﻲﺩﺍﻧﺪ‪ ،‬ﻧﻪ ﺑﺮﺍﺑﺮﻱ ﻭﻧﻪ‬

‫ﺍﺭﺯﺷﻲ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻭ ﺍﺯ ﺍﻳﻦ ﺭﻭ ﺩﺭ ﻗﺪﺭﺕ ﺣﻞ ﺷﺪﻧﻲ ﻧﻴﺴﺖ‪ .‬ﺣﺘﻲ ﻭﻳﺮﺍﻧﮕﺮ ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﺑﺮﮔﺸﺖ‬

‫ﭘﺬﻳﺮ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺍﺯ ﻃﺮﻓﻲ‪ ،‬ﻗﺪﺭﺕ ﺩﺭ ﺑﺮﮔﺸﺖ ﭘﺬﻳﺮﻱ ﺯﻧﺎﻧﮕﻲ ﺣﻞ ﺷﺪﻧﻲ ﺍﺳﺖ‪ .‬ﺍﮔﺮ » ﻭﺍﻗﻌﻴﺎﺕ «‬

‫ﻧﻤﻲﺗﻮﺍﻧﻨﺪ ﻣﺸﺨﺺ ﻧﻤﺎﻳﻨﺪ ﻛﻪ ﻛﺪﺍﻣﻴﻚ ﺍﺯ ﻣﺮﺩﺍﻧﮕﻲ ﻭ ﺯﻧﺎﻧﮕﻲ ﺩﺭ ﻃﻮﻝ ﺩﻭﺭﺍﻥ ﻣﺴﻠﻂ ﺑﻮﺩﻩﺍﺳﺖ‪،‬‬

‫)ﻓﺮﺿﻴﻪ ﺳﺘﻢ ﺑﺮ ﺯﻧﺎﻥ ﻫﻢ ﺑﺮ ﭘﺎﻳﻪ ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻱ ﻣﺎﻧﻨﺪ ﺍﺳﻄﻮﺭﻩ ﻓﺎﻟﻮﺱ ﻣﺤﻮﺭﺍﻧﻪ ﭘﺎﻳﻪ ﺭﻳﺰﻱ‬

‫ﺷﺪﻩﺍﺳﺖ( ﺍﻣﺎ ﺩﺭ ﻋﻮﺽ‪ ,‬ﻫﻤﻮﺍﺭﻩ ﺩﺭ ﻣﻮﺿﻮﻋﺎﺕ ﺭﻭﺍﺑﻂ ﺟﻨﺴﻲ‪ ،‬ﻓﺮﻡ ﺑﺮﮔﺸﺖ ﭘﺬﻳﺮ ﺑﺮ ﻓﺮﻡ ﺧﻄﻲ‬

‫ﻏﺎﻟﺐ ﺑﻮﺩﻩﺍﺳﺖ‪ .‬ﻓﺮﻡ ﻣﺤﺮﻭﻡ ﻫﻤﻮﺍﺭﻩ ﺑﺮ ﻓﺮﻡ ﻣﺴﻠﻄﺶ ﺑﻪ ﺷﻜﻠﻲ ﺭﺍﺯﺁﻣﻴﺰ ﭼﺮﺑﺶ ﺩﺍﺭﺩ‪ .‬ﻓﺮﻡ ﺍﻏﻮﺍ‬

‫ﻛﻨﻨﺪﻩ ﺑﺮ ﻓﺮﻡ ﻣﻮﻟﺪ ﺑﺮﺗﺮ ﻱ ﺩﺍﺭﺩ‪.‬‬

‫ﺯﻧﺎﻧﮕﻲ‪ ،‬ﺩﺭ ﺍﻳﻦ ﺣﺎﻟﺘﺶ‪ ،‬ﻫﻤﻴﺸﻪ ﺩﺭ ﺟﻨﺐ ﺩﻳﻮﺍﻧﮕﻲ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﺩ ﭼﺮﺍ ﻛﻪ ﺩﻳﻮﺍﻧﮕﻲ ﻧﻴﺰ‪ ،‬ﺑﻪ‬

‫ﻃﻮﺭ ﺭﺍﺯﺁﻣﻴﺰﻱ ﺑﺮ ﺁﻧﭽﻪ ﻛﻪ ﻣﻲﺑﺎﻳﺴﺖ ﻋﺎﺩﻱ ﺗﻠﻘﻲ ﻣﻲﺷﻮﺩ ﻏﺎﻟﺐ ﻣﻲﺁﻳﺪ‪) .‬ﺩﺭ ﺍﻳﻦ ﺧﺼﻮﺹ‬

‫ﻣﻲﺑﺎﻳﺴﺖ ﺑﻴﺶ ﺍﺯ ﻫﺮﭼﻴﺰ ﺍﺯ ﻓﺮﺿﻴﻪ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﻣﺘﺸﻜﺮ ﺑﻮﺩ( ﺯﻧﺎﻧﮕﻲ ﻧﻴﺰ ﺑﺮ ﺁﻥ )ﺯﻧﺎﻧﮕﻲ( ﻛﻪ‬

‫ﻣﻲﺑﺎﻳﺪ ﻋﺎﺩﻱ ﻭ ﻣﺮﺳﻮﻡ ﺗﻠﻘﻲ ﮔﺮﺩﺩ )ﺑﻪ ﻭﻳﮋﻩ ﺩﺭ ﺁﺯﺍﺩ ﺳﺎﺯﻱ ﺟﻨﺴﻲ( ﺑﺮﺗﺮﻱ ﺩﺍﺭﺩ‪.‬‬

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‫ﻭ ﺩﺭ ﺍﺭﮔﺎﺳﻢ ﻳﺎ ﺍﻭﺝ ﻟﺬﺕ ﺟﻨﺴﻲ‪:‬‬

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‫ﺍﻏﻮﺍ‬

‫ﭼﭙﺎﻭﻝ ﺍﺭﮔﺎﺳﻢ‪ ،‬ﻏﻴﺎﺏ ﺍﻭﺝ ﻟﺬﺕ ﺟﻨﺴﻲ‪ ،‬ﺍﻏﻠﺐ ﺍﺯ ﻣﺸﺨﺼﺎﺕ ﺳﺘﻢ ﺑﺮ ﺯﻧﺎﻥ ﺍﺳﺖ‪ .‬ﺑﻲﻋﺪﺍﻟﺘﻲ‬

‫ﺁﺷﻜﺎﺭﻱ ﺑﺮﺍﻱ ﻫﺮ ﻛﺴﻲ ﻛﻪ ﺧﻮﺍﺳﺘﺎﺭ ﻟﻐﻮ ﺗﺒﻌﻴﺾﻫﺎﻱ ﺟﻨﺴﻲ ﻭ ﻧﮋﺍﺩﻱ ﺍﺳﺖ‪ ،‬ﻣﺤﺮﺯ ﺍﺳﺖ‪ .‬ﻟﺬﺕ‬

‫ﺟﻨﺴﻲ ﺣﻘﻲ ﺑﺎﻳﺴﺘﻪ ﻭ ﺑﻨﻴﺎﺩﻳﻦ ﺷﺪﻩﺍﺳﺖ‪ :‬ﺗﺎﺯﻩﺗﺮﻳﻦ ﺣﻘﻮﻕ ﺑﺸﺮﻱ‪ ،‬ﻛﻪ ﻣﻘﺎﻡ ﻳﻚ ﺿﺮﻭﺭﺕ ﻗﻄﻌﻲ‬

‫ﺭﺍ ﻳﺎﻓﺘﻪﺍﺳﺖ‪ .‬ﺍﺯ ﺍﺧﻼﻕ ﺑﻪ ﺩﻭﺭ ﺍﺳﺖ ﻛﻪ ﺑﺨﻮﺍﻫﻴﻢ ﻃﻮﺭ ﺩﻳﮕﺮﻱ ﻋﻤﻞ ﻛﻨﻴﻢ‪.‬‬

‫ﺍﻣﺎ ﺍﻳﻦ ﺍﻟﺰﺍﻡ ﺣﺘﻲ ﺍﺯ ﺍﻓﺴﻮﻥ ﻛﺎﻧﺘﻲ ﺑﻪ ﻗﻄﻌﻴﺖ ﺑﻲﭘﺎﻳﺎﻥ ﻧﻴﺰ ﺑﺮﺧﻮﺭﺩﺍﺭ ﻧﻴﺴﺖ‪ .‬ﻫﻤﻴﻦﻃﻮﺭ‬

‫ﻣﺪﻳﺮﻳﺖ ﻭ ﺧﻮﺩ ﻣﺪﻳﺮﻳﺖ ﻣﻴﻞ ﻭ ﺗﺤﻤﻴﻞ ﺁﻥ‪ ،‬ﻧﻪ ﺑﻴﺶ ﺍﺯ ﻗﺎﻧﻮﻥ‪ ،‬ﺍﺟﺎﺯﻩ ﻧﻤﻲﺩﻫﻨﺪ ﻛﻪ ﺗﺠﺎﻫﻞ )ﺍﺯ‬

‫ﻟﺬﺕ ﺟﻨﺴﻲ( ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺩﻓﺎﻉ ﺑﻪ ﻛﺎﺭ ﮔﺮﻓﺘﻪ ﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺑﻲ ﺧﺒﺮﻱ ﺍﺯ ﻟﺬﺕ ﺟﻨﺴﻲ‪ ،‬ﺑﺴﻴﺎﺭ‬

‫ﺑﺮﮔﺸﺖﭘﺬﻳﺮ ﺍﺳﺖ ﻭ ﻣﻲﺗﻮﺍﻥ ﮔﻔﺖ ﺩﺭ ﻏﻴﺎﺏ ﻭ ﺍﻧﻜﺎﺭ ﺍﺭﮔﺎﺳﻢ‪ ،‬ﻧﻴﺮﻭﻣﻨﺪﻱ ﺑﺮﺗﺮﻱ ﻣﻤﻜﻦ ﺍﺳﺖ‪.‬‬

‫ﺍﻳﻨﺠﺎ ﭘﺎﻳﺎﻥ ﺟﻨﺴﻴﺖ ﺍﺳﺖ ﻛﻪ ﺑﺎﺭ ﺩﻳﮕﺮ ﻣﻘﺪﺭ ﻣﻲﺷﻮﺩ ﻭ ﺁﻧﭽﻪ ﺭﺥ ﻣﻲﺩﻫﺪ ﻣﻲﺗﻮﺍﻧﺪ ﺍﻏﻮﺍ ﻳﺎ‬

‫ﺍﺷﺘﻴﺎﻕ ﻧﺎﻣﻴﺪﻩﺷﻮﺩ‪ .‬ﺑﻪ ﻋﻼﻭﻩ‪ ،‬ﻟﺬﺕ ﺟﻨﺴﻲ ﺗﻨﻬﺎ ﻣﻲﺗﻮﺍﻧﺪ ﺑﻬﺎﻧﻪﺍﻱ ﺑﺮﺍﻱ ﺑﺎﺯﻱ ﻣﻬﻴﺞﺗﺮ ﻭ‬

‫ﺷﻬﻮﺍﻧﻲﺗﺮ ﺑﺎﺷﺪ‪ .‬ﺍﻳﻦ ﻫﻤﺎﻥ ﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﺩﺭ » ﺍﻣﭙﺮﺍﺗﻮﺭﻱ ﺣﻮﺍﺱ«‪۱۱‬ﺭﺥ ﻣﻲﺩﻫﺪ‪ ،‬ﻛﻪ ﺩﺭ ﺁﻥ‬

‫ﻫﺪﻑ ﭘﻴﺶ ﺑﺮﺩﻥ ﻟﺬﺕ ﺟﻨﺴﻲ ﺑﻪ ﺳﻮﻳﻲ ﻓﺮﺍﺗﺮ ﺍﺳﺖ‪ ،‬ﺑﻪ ﺳﻮﻱ ﻣﺒﺎﺭﺯﻩﺍﻱ ﻛﻪ ﺑﺮ ﻛﺎﺭﻭﺭﺯﻱﻫﺎﻱ‬

‫ﻣﻴﻞ ﻣﻲﭼﺮﺑﺪ ﭼﺮﺍ ﻛﻪ ﺑﺲ ﮔﻴﺞ ﻛﻨﻨﺪﻩﺗﺮ ﺍﺳﺖ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺑﺎ ﻫﻮﺱﻫﺎ ﺳﺮ ﻭ ﻛﺎﺭ ﻣﻲﻳﺎﺑﺪ ﺩﺭ ﺣﺎﻟﻴﻪ‬

‫ﻣﻴﻞ ﺗﻨﻬﺎ ﻳﻚ ﺭﺍﻧﺶ ﺭﺍ ﺑﻪ ﻛﺎﺭ ﻣﻲﺑﺮﺩ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﺳﺮﮔﻴﺠﮕﻲ‪ ،‬ﺑﻪ ﻫﻤﺎﻥ ﺍﻧﺪﺍﺯﻩ ﺩﺭ ﺭﺩ ﻭﺍﻧﻜﺎﺭ ﻟﺬﺕ‬

‫ﺟﻨﺴﻲ ﻧﻴﺰ ﻣﻲﺗﻮﺍﻧﺪ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪﺑﺎﺷﺪ‪ .‬ﭼﻪ ﻛﺴﻲ ﺍﺳﺖ ﺍﮔﺮ ﺑﺪﺍﻧﺪ ﺯﻧﺎﻥ ﺳﻮﺍﺏ ﻣﻮﺟﻮﺩﻳﺖ ﻏﺎﺭﺕ‬

‫ﺷﺪﺷﺎﻥ‪ ،‬ﺍﺯ ﺯﻣﺎﻧﻬﺎﻱ ﺩﻭﺭ‪ ،‬ﺑﺎﺯﻱﻫﺎﻱ ﺧﻮﺩ ﺭﺍ ﭘﻴﺮﻭﺯﻣﻨﺪﺍﻧﻪ ﺩﻧﺒﺎﻝ ﻛﺮﺩﻩﺍﻧﺪ‪ ،‬ﺑﺎﺯ ﻫﻢ ﺩﻡ ﺍﺯ ﺳﻜﻮﺕ‬

‫ﺟﻨﺴﻲ ﺯﻧﺎﻥ ﺧﻮﺍﻫﺪ ﺯﺩ؟ ﺍﮔﺮ ﺯﻧﺎﻥ‪ ،‬ﺩﺭ ﺍﻋﻤﺎﻕ ﺑﻲﺣﺴﻲ ﺟﻨﺴﻲﺷﺎﻥ‪ ،‬ﺳﺮﭘﻴﭽﻲ ﻣﻲﻛﺮﺩﻧﺪ ﺁﻧﮕﺎﻩ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﺩﺭﺳﺮﭘﻴﭽﻲ ﺍﺯ ﻟﺬﺕ ﻣﺮﺩﺍﻥ‪ ،‬ﺗﻨﻬﺎ ﻟﺬﺕ ﻣﺮﺩﺍﻥ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺖ؟ ﻫﻴﭻﻛﺲ ﻧﻤﻲﺩﺍﻧﺪ ﻛﻪ ﭼﻨﻴﻦ‬

‫ﺍﻧﮕﻴﺨﺘﮕﻲ ﺗﺎ ﭼﻪ ﻋﻤﻖ ﻭﻳﺮﺍﻧﮕﺮﺍﻧﻪﺍﻱ ﻣﻲﺗﻮﺍﻧﺪ ﭘﻴﺶ ﺭﻭﺩ‪ ،‬ﻭ ﭼﻪ ﺍﻧﺪﺍﺯﻩ ﻗﺪﺭﺗﻲ ﺑﻪ ﻛﺎﺭ ﻣﻲﮔﻴﺮﺩ‪.‬‬

‫ﻣﺮﺩﺍﻥ ﻓﺮﻭﻛﺎﺳﺘﻪ ﺩﺭ ﻟﺬﺗﻬﺎﻱ ﻣﺠﺮﺩﺷﺎﻥ‪ ،‬ﮔﺮﻓﺘﺎﺭ ﺁﻣﺪﻩ ﺩﺭ ﺁﻣﺮﻳﺖ ﺍﺷﺘﻴﺎﻕ ﻭ ﭘﻴﺮﻭﺯﻱ‪ ،‬ﻫﺮﮔﺰ ﺭﺍﻩ‬

‫ﺩﻳﮕﺮﻱ ﻧﻴﺎﻓﺘﻨﺪ‪.‬‬

‫ﺑﺎ ﺍﻳﻦ ﺍﺳﺘﺮﺍﺗﮋﻱﻫﺎﻱ ﻣﺘﻔﺎﻭﺕ ﭼﻪ ﻛﺴﻲ ﺑﺎﺯﻱ ﺭﺍ ﻣﻲﺑﺮﺩ؟ ﻣﺮﺩﺍﻥ ﻇﺎﻫﺮﺍً ﭘﺎﻳﻴﻦﺗﺮ ﻫﺴﺘﻨﺪ‪.‬‬

‫ﺍﻣﺎ ﺑﻪ ﻫﻴﭻ ﻃﺮﻳﻘﻲ ﻧﻤﻲﺗﻮﺍﻧﻨﺪ ﺍﺯ ﺷﻜﺴﺖ ﺩﺭ ﺍﻳﻦ ﻧﺎﺣﻴﻪ ﺟﻠﻮﮔﻴﺮﻱ ﻧﻤﺎﻳﻨﺪ ﻭ ﻣﺘﻮﻗﻒ ﻣﻲﺷﻮﻧﺪ ﻭ‬

‫ﺩﺭ ﻧﺘﻴﺠﻪ ﺩﺭ ﻧﻮﻋﻲ ﺟﻨﮓ ﭘﻴﺶ ﺭﻭﻧﺪﻩ ﻓﺮﻭ ﺭﻓﺘﻪﺍﻧﺪ )ﻫﻤﭽﻨﺎﻥ ﻛﻪ ﺩﺭ ﭼﻨﮓ ﻗﺪﺭﺕ ﺍﺳﻴﺮﻧﺪ( ﻭ‬

‫ﻫﺮﮔﺰ ﻧﻪ ﺁﻧﻬﺎ ﺭﺍ ﺍﺯ ﺍﻣﻨﻴﺘﺸﺎﻥ ﻣﻄﻤﺌﻦ ﻣﻲﺳﺎﺯﺩ ﻭ ﻧﻪ ﺁﻧﻬﺎ ﺭﺍ ﺩﺭ ﻣﻮﺭﺩ ﻧﺎ ﺍﻣﻴﺪﻱ ﺭﺍﺯ ﺁﻟﻮﺩﺷﺎﻥ ﻛﻪ‬

‫ﺑﻪ ﺁﻥ ﭘﻨﺎﻩ ﺑﺮﺩﻩﺍﻧﺪ ﺗﺴﻠﻲ ﻣﻲﺩﻫﺪ ‪ -‬ﭼﻪ ﺩﺭ ﺳﻮﺩ ﻭ ﭼﻪ ﺩﺭ ﺣﺴﺎﺑﮕﺮﻱﻫﺎﻳﺸﺎﻥ‪ .‬ﭘﺲ ﺑﺎﻳﺪ ﺍﻳﻦ‬

‫)ﻣﺒﺎﺭﺯﻩ( ﺭﺍ ﭘﺎﻳﺎﻧﻲ ﺑﺎﺷﺪ‪ :‬ﺍﻳﻦ ﻛﻪ ﺑﭙﺬﻳﺮﻳﻢ ﺯﻧﺎﻥ ﻫﻢ ﺍﺭﮔﺎﺳﻢ ﺩﺍﺭﻧﺪ‪ ،‬ﻣﺠﺒﻮﺭﻳﻢ ﺁﻧﻬﺎ ﺭﺍ ﺁﺯﺍﺩ ﻛﻨﻴﻢ ﻭ‬

‫ﺑﻪ ﺍﻭﺝ ﺑﺮﺳﺎﻧﻴﻤﺸﺎﻥ ﻭ ﺍﻳﻨﭽﻨﻴﻦ ﺑﺪﻳﻦ ﻣﺒﺎﺭﺯﻩ ﺗﺤﻤﻞ ﻧﺎﭘﺬﻳﺮ ﭘﺎﻳﺎﻥ ﺑﺨﺸﻴﻢ‪ .‬ﻣﺒﺎﺭﺯﻩﺍﻱ ﻛﻪ ﻟﺬﺕ‬
‫‪۱۲‬‬
‫ﭼﺮﺍ ﻛﻪ ﻟﺬﺕ ﺟﻨﺴﻲ ﻫﻴﭻ‬ ‫ﺟﻨﺴﻲ ﺭﺍ ﺑﺎ ﺭﺍﻫﺒﺮﺩﻫﺎﻱ ﻋﺪﻡ ﻟﺬﺕ ﺟﻨﺴﻲ‪ ،‬ﺑﺎﻃﻞ ﻣﻲﻛﻨﺪ‬

‫ﺍﺳﺘﺮﺍﺗﮋﻱ ﻧﻤﻲﺷﻨﺎﺳﺪ‪ :‬ﺗﻨﻬﺎ ﺍﻧﺮﮊﻱ ﺍﺳﺖ ﻛﻪ ﻣﻔﺮﻱ ﺭﺍ ﻣﻲﺟﻮﻳﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻟﺬﺕ ﺟﻨﺴﻲ ﺩﺭ ﻫﺮ‬

‫ﺍﺳﺘﺮﺍﺗﮋﻱ ﻛﻪ ﺍﺯ ﺁﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺎﺩﻩ ﻛﺎﺭﺵ ﺍﺳﺘﻔﺎﺩﻩ ﻧﻤﻮﺩﻩ ﺍﻣﺮﻱ ﺣﻘﻴﺮ ﺍﺳﺖ ﻭ ﺣﺘﻲ )ﺍﻳﻦ‬

‫ﺍﺳﺘﺮﺍﺗﮋﻱ( ﺧﻮﺩ ﻣﻴﻞ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻋﻨﺼﺮ ﺗﺎﻛﺘﻴﻜﻲ ﺑﻪ ﻛﺎﺭ ﻣﻲﮔﻴﺮﺩ‪ .‬ﺍﻳﻦ ﻫﻤﺎﻥ ﻓﺮﺿﻴﻪ ﺍﺻﻠﻲ‬

‫ﺗﺎ ﻛﺎﺯﺍﻧﻮﺍ‪ ۱۴‬ﻭ ﺳﺎﺩ‪) ،۱۵‬ﻭ ﻧﻴﺰ‬ ‫‪۱۳‬‬

‫ﺍﻓﺴﺎﺭﮔﺴﻴﺨﺘﮕﻲﻫﺎﻱ ﺟﻨﺴﻲ ﻗﺮﻥ ﻫﺠﺪﻫﻢ ﺍﺳﺖ ﺍﺯ ﻻﻛﻠﺲ‬

‫ﻛﻴﺮﻛﻪ ﮔﻮﺭ ﺩﺭ ﺧﺎﻃﺮﺍﺕ ﺍﻏﻮﺍﮔﺮ(‪ .‬ﺑﺮﺍﻱ ﺁﻧﻬﺎ ﺟﻨﺴﻴﺖ ﻫﻨﻮﺯ ﻣﻨﺸﻲ‪ ،‬ﺗﺸﺮﻳﻔﺎﺗﻲ‪ ،‬ﺁﻳﻴﻨﻲ‪ ،‬ﻭ‬

‫‪۳٦‬‬
‫ﺍﻏﻮﺍ‬

‫ﺍﺳﺘﺮﺍﺗﮋﻳﻜﻲ ﺩﺍﺷﺖ ﺗﺎ ﻗﺒﻞ ﺍﺯ ﺍﻳﻨﻜﻪ ﺩﺭ ﺣﻘﻮﻕ ﺑﺸﺮ‪ ،‬ﺭﻭﺍﻧﻜﺎﻭﻱ ﻭ ﺣﻘﺎﻳﻖ ﺁﺷﻜﺎﺭ ﺷﺪﻩ ﺟﻨﺴﻴﺖ‬

‫ﻓﺮﻭ ﺭﻭﺩ‪.‬‬

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‫ﺁﻏﺎﺯ ﻣﻲﺷﻮﺩ‪،‬‬ ‫‪pill‬‬ ‫ﻭﻗﺘﻲ ﻟﺬﺕ ﺟﻨﺴﻲ ﺣﻜﻤﺮﺍﻧﻲ ﻣﻲﻛﻨﺪ ﻋﺼﺮ ﻗﺮﺻﻬﺎﻱ ﺿﺪ ﺣﺎﻣﻠﮕﻲ‬

‫ﭘﺎﻳﺎﻥ ﺣﻖ ﺧﺎﻣﻮﺷﻲ ﺟﻨﺴﻲ‪ .‬ﺯﻧﺎﻥ ﺑﺎﻳﺪ ﺑﺪﺍﻧﻨﺪ ﺍﺯ ﭼﻴﺰﻱ ﻣﺤﺮﻭﻡ ﺷﺪﻩﺍﻧﺪ‪) .‬ﺗﻤﺎﻣﻲ ﺁﻥ ﺍﺷﺒﺎﺡ‬

‫ﺍﻋﻤﺎﻝ »ﺍﺯ ﺩﺳﺖﺭﻓﺘﻪ«( ﻛﻪ ﺁﻧﻬﺎ ﺭﺍ ﻭﺍﻣﻲﺩﺍﺷﺖ ﺩﺭ ﺑﺮﺍﺑﺮ ﭘﺬﻳﺮﺵﻫﺎﻱ »ﻋﻘﻼﻧﻲ« ﻗﺮﺻﻬﺎ ﻣﻘﺎﻭﻣﺖ‬

‫ﻧﻤﺎﻳﻨﺪ‪ .‬ﻫﻤﺎﻥ ﻣﻘﺎﻭﻣﺘﻲ ﻛﻪ ﻧﺴﻠﻬﺎﻱ ﻣﺘﻤﺎﺩﻱ ﺩﺭ ﺑﺮﺍﺑﺮ ﻣﺪﺭﺳﻪ‪ ،‬ﭘﺰﺷﻜﻲ‪ ،‬ﺍﻣﻨﻴﺖ ﻭ ﻛﺎﺭ ﻧﺸﺎﻥ ﺩﺍﺩ‪.‬‬

‫ﻫﻤﺎﻥ ﺑﻴﻨﺶ ﻋﻤﻴﻖ ﻧﺴﺒﺖ ﺑﻪ ﻏﺎﺭﺗﮕﺮﻱﻫﺎﻱ ﺁﺯﺍﺩﻱ ﺭﻫﺎﺷﺪﻩ‪ ،‬ﻟﺬﺕ ﻭ ﮔﻔﺘﺎﺭ‪ .‬ﻣﺒﺎﺭﺯﻩﻃﻠﺒﻲ‪،‬‬

‫ﻣﺒﺎﺭﺯﻩﻃﻠﺒﻲ »ﺩﻳﮕﺮﻱ«‪ ،‬ﺩﻳﮕﺮ ﻣﻘﺪﻭﺭ ﻧﻴﺴﺖ‪ :‬ﺗﻤﺎﻣﻲ ﻣﻨﻄﻖﻫﺎﻱ ﻧﻤﺎﺩﻳﻦ ﺑﺎ ﺑﺮﺗﺮﻱ ﻳﻚ ﻧﻌﻮﻅ‬

‫ﺍﺑﺪﻱ ﻭ ﺗﻬﺪﻳﺪﺍﺗﺶ ﺍﺯ ﺑﻴﻦ ﺭﻓﺘﻪﺍﻧﺪ‪) .‬ﺑﺪﻭﻥ ﺁﻧﻜﻪ ﻛﺎﻫﺶ ﻋﻼﻗﻪ ﺩﺭ ﺧﻮﺩ ﻟﺬﺕ ﺟﻨﺴﻲ ﺭﺍ ﺑﻪ‬

‫ﺣﺴﺎﺏ ﺁﻭﺭﻳﻢ‪(.‬‬

‫ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ ﺯﻥ ﺳﻨﺘﻲ‪ ،‬ﻧﻪ ﺳﺮﻛﻮﺏ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﻧﻪ ﻣﻤﻨﻮﻉ‪ .‬ﺩﺭ ﻧﻘﺸﺶ‪ ،‬ﻭﻱ ﻫﻤﻮﺍﺭﻩ‬

‫ﺧﻮﺩﺵ ﺑﻮﺩﻩﺍﺳﺖ‪ .‬ﺍﻭ ﻫﻴﭻ ﺷﻜﺴﺘﻲ‪ ،‬ﻫﻴﭻ ﺍﻧﻔﻌﺎﻟﻲ ﻭ ﺣﺘﻲ ﻫﻴﭻ ﺭﻭﻳﺎﻳﻲ ﺑﺮﺍﻱ ﺁﻳﻨﺪﻩ ﺁﺯﺍﺩﺵ‬

‫ﻧﺪﺍﺷﺖ‪ .‬ﺍﻳﻦ ﺭﻭﻳﺎﻱ ﺯﻳﺒﺎﻳﻲ ﺑﻴﺶ ﻧﻴﺴﺖ ﻛﻪ ﺯﻧﺎﻥ ﺭﺍ ﺩﺭ ﮔﺬﺷﺘﻪ ﺩﻭﺭ‪ ،‬ﺍﺯ ﺧﻮﺩ ﺑﻴﮕﺎﻧﻪ ﺑﭙﻨﺪﺍﺭﻳﻢ ﻛﻪ‬

‫ﺑﻌﺪ ﺁﺯﺍﺩ ﺷﺪﻧﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻧﮕﺎﻩ ﺍﻫﺎﻧﺖ ﻋﻤﻴﻘﻲ ﻧﻬﻔﺘﻪﺍﺳﺖ‪ ،‬ﻫﻤﺎﻥ ﺍﻫﺎﻧﺖ ﺑﻪ ﺗﻮﺩﻩﻫﺎﻱ ﺑﻴﮕﺎﻧﻪ ﺷﺪﻩ‬

‫ﻛﻪ ﺁﻧﻬﺎ ﺭﺍ ﭼﻴﺰﻱ ﺟﺰ ﮔﻮﺳﻔﻨﺪﺍﻧﻲ ﻣﻨﮓ ﺑﻪ ﺣﺴﺎﺏ ﻧﻤﻲﺁﻭﺭﺩ‪.‬‬

‫‪۳۷‬‬
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﺭﺍﺣﺖ ﺍﺳﺖ ﻛﻪ ﺑﺨﻮﺍﻫﻴﻢ ﺗﺼﻮﺭﻱ ﺍﺯ ﺯﻧﺎﻥ ﺑﻴﮕﺎﻧﻪ ﺷﺪﻩ ﺩﺭ ﺩﻭﺭﺍﻥ ﮔﺬﺷﺘﻪ ﺗﺮﺳﻴﻢ ﻧﻤﺎﻳﻴﻢ ﻭ‬

‫ﺁﻧﮕﺎﻩ ﺩﺭﻫﺎﻱ ﻣﻴﻞ ﺭﺍ ﺑﻪ ﺭﻭﻱ ﺁﻧﺎﻥ ﺑﺎ ﺣﻤﺎﻳﺖ ﺍﺯ ﺍﻧﻘﻼﺏ )ﺟﻨﺴﻲ( ﻭ ﺭﻭﺍﻧﻜﺎﻭﻱ ﺑﺎﺯ ﻛﻨﻴﻢ‪ .‬ﻫﻤﻪ‬

‫ﺍﻳﻨﻬﺎ ﻫﻤﺎﻧﻘﺪﺭ ﺳﺎﺩﻩﻟﻮﺣﺎﻧﻪ ﻭ ﺩﺭ ﺳﺎﺩﻩﻟﻮﺣﺎﻧﻪ ﺑﻮﺩﻧﺶ ﺁﻧﭽﻨﺎﻥ ﻭﻗﻴﺢ ﺍﺳﺖ ﻭ ﺑﺪﺗﺮ ﺍﺯ ﻫﺮ ﭼﻴﺰﻱ‪،‬‬

‫ﺟﻮﻫﺮ ﻧﮋﺍﺩﭘﺮﺳﺘﻲ ﻭ ﺟﻨﺴﻴﺖﮔﺮﺍﻳﻲ ﺭﺍ ﺑﻪ ﻛﺎﺭ ﻣﻲﮔﻴﺮﺩ‪ :‬ﺗﺮﺣﻢ‪.‬‬

‫ﺧﻮﺷﺒﺨﺘﺎﻧﻪ ﺯﻧﺎﻧﮕﻲ ﻫﺮﮔﺰ ﺑﺎ ﺍﻳﻦ ﺗﺼﻮﻳﺮﮔﺮﻱ ﻣﻨﻄﺒﻖ ﻧﺒﻮﺩﻩﺍﺳﺖ‪ .‬ﻫﻤﻴﺸﻪﺍﺳﺘﺮﺍﺗﮋﻱ‬

‫ﺧﻮﺩﺵ ﺭﺍ ﺩﺍﺷﺘﻪﺍﺳﺖ ﺍﺳﺘﺮﺍﺗﮋﻱ ﻣﺒﺎﺭﺯﻩﺍﻱ ﻓﺮﻳﺒﻨﺪﻩ ﻭ ﻣﺼﺮﺍﻧﻪ‪) .‬ﻛﻪ ﻳﻜﻲ ﺍﺯ ﺍﺷﻜﺎﻝ ﺍﺻﻠﻲ ﺁﻥ‪،‬‬

‫ﺍﻏﻮﺍ ﺍﺳﺖ‪(.‬‬

‫ﻫﻴﭻ ﻟﺰﻭﻣﻲ ﻧﺪﺍﺭﺩ ﻛﻪ ﺑﺮﺍﻱ ﺑﻲﺍﺣﺘﺮﺍﻣﻲﻫﺎﻳﻲ ﻛﻪ ﺗﺤﻤﻞﻛﺮﺩﻩ ﺯﺍﺭﻱ ﻧﻤﺎﻳﻴﻢ ﻭ ﻳﺎ ﺣﺘﻲ‬

‫ﺑﺨﻮﺍﻫﻴﻢ ﺟﺒﺮﺍﻥ ﻛﻨﻴﻢ‪ .‬ﻫﻴﭻ ﻧﻴﺎﺯﻱ ﻧﻴﺴﺖ ﻛﻪ ﻧﻘﺶ ﻋﺎﺷﻖ ﻋﺪﺍﻟﺖ ﺭﺍ ﺑﺮﺍﻱ ﺟﻨﺲ ﺿﻌﻴﻒ ﺍﻳﻔﺎ‬

‫ﻛﻨﻴﻢ‪ .‬ﻫﻴﭻ ﻧﻴﺎﺯﻱ ﻧﻴﺴﺖ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﻣﺮﻫﻮﻥ ﺑﺮﺧﻲ ﺁﺯﺍﺩﻱﻫﺎﻱ ﺟﻨﺴﻲ ﻭ ﻣﻴﻠﻲ ﺑﺪﺍﻧﻴﻢ ﻛﻪ‬

‫ﻣﺨﻔﻲ ﺑﻮﺩﻩ ﻭ ﻣﻨﺘﻈﺮ ﻣﺎﻧﺪﻩ ﻗﺮﻥ ﺑﻴﺴﺘﻢ ﺑﻴﺎﻳﺪ ﺗﺎ ﺧﻮﺩ ﺭﺍ ﺁﺷﻜﺎﺭ ﻛﻨﺪ‪ .‬ﺩﺭ ﺗﻤﺎﻣﻲ ﻟﺤﻈﺎﺕ ﺍﻳﻦ‬

‫ﺩﺍﺳﺘﺎﻥ‪ ،‬ﻃﺮﻓﻴﻦ ﺑﺎ ﺩﺳﺖ ﻛﺎﻣﻞ ﻭ ﺑﺎ ﺗﻤﺎﻣﻲ ﺗﻚ ﺧﺎﻝﻫﺎﻳﺸﺎﻥ ﺑﺎﺯﻱ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﻭ ﻣﺮﺩﺍﻥ ﺑﺎﺯﻱ ﺭﺍ‬

‫ﻧﺒﺮﺩﻩﺍﻧﺪ‪ ،‬ﺍﺻﻼً‪ .‬ﺑﺮ ﻋﻜﺲ ﺣﺎﻻﺳﺖ ﻛﻪ ﺯﻧﺎﻥ ﺩﺍﺭﻧﺪ ﻣﻲﺑﺎﺯﻧﺪ ﺩﻗﻴﻘﺎً ﺑﺎ ﻫﻤﻴﻦ ﻧﺸﺎﻧﻪ ﻟﺬﺕ ﺟﻨﺴﻲ ‪-‬‬

‫ﺍﻣﺎ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺩﻳﮕﺮﻱ ﺍﺳﺖ‪.‬‬

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‫ﺣﻜﺎﻳﺖ ﺍﺯ ﺯﻧﺎﻧﮕﻲ ﺣﺎﻝ ﺣﺎﺿﺮ ﺍﺳﺖ‪ ،‬ﺩﺭ ﻓﺮﻫﻨﮕﻲ ﻛﻪ ﻫﻤﻪ ﭼﻴﺰ ﺩﺭ ﺁﻥ ﺗﻮﻟﻴﺪ ﻣﻲﺷﻮﺩ‪ ،‬ﺩﻭﺭ‬

‫ﻫﺮ ﺳﺨﻨﻲ‪ ،‬ﻫﺮ ﻳﺎﻭﻩﺍﻱ‪ ،‬ﻫﺮ ﺍﻧﺘﻬﺎﻳﻲ ﻣﻲﭘﻴﭽﺪ‪ .‬ﺗﺮﻭﻳﺞ ﺯﻧﺎﻧﮕﻲ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺟﻨﺲ‪ ,‬ﺣﻖ ﺍﺻﻠﻲ‬

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‫ﺍﻏﻮﺍ‬

‫ﺁﻥ ﺷﺪﻩﺍﺳﺖ )ﺣﻘﻮﻕ ﺑﺮﺍﺑﺮ‪ ،‬ﻟﺬﺍﺕ ﺑﺮﺍﺑﺮ( ﺯﻧﺎﻧﮕﻲ ﺑﻪ ﻣﺜﺎﺑﻪ ﺍﺭﺯﺵ ﺑﻪ ﻗﻴﻤﺖ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻥ ﺯﻧﺎﻧﮕﻲ‬

‫ﺑﻪ ﻣﺜﺎﺑﻪ ﺍﺻﻞ ﻧﺎﺣﺘﻤﻴﺖ‪ .‬ﺗﻤﺎﻣﻲ ﺁﺯﺍﺩﺳﺎﺯﻱﻫﺎﻱ ﺟﻨﺴﻲ ﺑﺎ ﺍﻳﻦ ﺍﺳﺘﺮﺍﺗﮋﻱ ﻋﻤﻞ ﻣﻲﻛﻨﻨﺪ‪ :‬ﺗﺤﻤﻴﻞ‬

‫ﺣﻘﻮﻕ‪ ،‬ﻣﻘﺎﻡ ﻭ ﻟﺬﺕ ﺯﻧﺎﻥ‪ .‬ﺗﺄﻛﻴﺪ ﻭ ﻧﻤﺎﻳﺶ ﻣﻔﺮﻁ ﺯﻧﺎﻧﮕﻲ ﺑﻪ ﻣﺜﺎﺑﻪ ﻳﻚ ﺟﻨﺲ ﻭ ﺍﺭﮔﺎﺳﻢ ﺑﻪ‬

‫ﻣﺜﺎﺑﻪ ﮔﻮﺍﻫﻲ ﻣﻜﺮﺭ ﺑﺮ ﺟﻨﺴﻴﺖ‪.‬‬

‫ﻫﺮﺯﻩﻧﮕﺎﺭﻱ‪ ،‬ﺍﻳﻦ ﺭﺍ ﺁﺷﻜﺎﺭﺍ ﺩﺭ ﺳﻪﮔﺎﻧﻪ‪ ،‬ﺑﺴﻂ‪ ،‬ﺷﻬﻮﺍﻧﻴﺖ ﻭ ﺩﻻﻟﺖ‪ ،‬ﺗﺸﺮﻳﺢ ﻣﻲﻛﻨﺪ‪ .‬ﻫﺮﺯﻩ­‬

‫ﻧﮕﺎﺭﻱ ﻟﺬﺕ ﺟﻨﺴﻲ ﺯﻧﺎﻧﻪ ﺭﺍ ﺑﺎ ﺁﻧﭽﻨﺎﻥ ﺭﻓﺘﺎﺭﻱ ﺍﻏﺮﺍﻕﺁﻣﻴﺰ ﺗﺮﻭﻳﺞ ﻣﻲﻛﻨﺪ ﺗﺎ ﻫﺮﭼﻪ ﺑﻬﺘﺮ ﻫﺮﮔﻮﻧﻪ‬

‫ﻧﺎﺣﺘﻤﻴﺘﻲ ﺭﺍ ﺩﺭ ﺍﻳﻦ »ﺍﻗﻴﻠﻢ ﺳﻴﺎﻩ« ﻧﺎﺑﻮﺩ ﻧﻤﺎﻳﺪ‪ .‬ﻫﻴﭻ ﭼﻴﺰﻱ ﺑﻴﺸﺘﺮ ﺍﺯ ﻫﻤﺎﻥ "ﻃﻌﻨﻪ ﺍﺑﺪﻱ‬

‫ﺟﺎﻣﻌﻪ" )ﺯﻧﺎﻧﮕﻲ( ﻧﻴﺴﺖ ﻛﻪ ﻫﮕﻞ ﺍﺯ ﺁﻥ ﺳﺨﻦ ﺭﺍﻧﺪ‪ .‬ﺍﺯ ﺍﻳﻦ ﭘﺲ ﺯﻧﺎﻥ ﺑﻪ ﺍﻭﺝ ﺧﻮﺍﻫﻨﺪ ﺭﺳﻴﺪ ﻭ‬

‫ﭼﺮﺍﻳﻲ ﺍﻳﻦ ﻣﺴﺌﻠﻪ ﺭﺍ ﺧﻮﺍﻫﻨﺪ ﺩﺍﻧﺴﺖ‪ .‬ﺯﻧﺎﻧﮕﻲ ﺑﻪ ﺗﻤﺎﻣﻲ ﻧﻤﺎﻳﺎﻥ ﺧﻮﺍﻫﺪ ﺷﺪ‪ ،‬ﺯﻧﺎﻥ ﻧﺸﺎﻧﻪ ﺍﺭﮔﺎﺳﻢ‬

‫ﻣﻲﺷﻮﻧﺪ ﻭ ﺍﺭﮔﺎﺳﻢ ﻧﺸﺎﻧﻪ ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ‪ .‬ﻫﻴﭻ ﻧﺎﺣﺘﻤﻴﺖ ﻭ ﻫﻴﭻ ﺭﺍﺯﻭﺭﺯﻱ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﺍﻳﻦ‬

‫ﻭﻗﺎﺣﺖ ﺑﻨﻴﺎﺩﻳﻨﻲ ﺍﺳﺖ ﻛﻪ ﺁﻏﺎﺯ ﻣﻲﮔﺮﺩﺩ‪.‬‬

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‫ﺳﺎﻟﻮ‪ ،‬ﻳﺎ ‪ ۱۲۰‬ﺭﻭﺯ ﺩﺭ ﺍﺳﺎﺭﺕ‪ ،‬ﻓﻴﻠﻤﻲ ﺍﺯ ﭘﺎﺯﻭﻟﻴﻨﻲ‪ ،۱۶‬ﻏﺮﻭﺏ ﻭﺍﻗﻌﻲ ﺍﻏﻮﺍ‪.‬‬

‫ﻫﻤﻪ ﺑﺮﮔﺸﺖﭘﺬﻳﺮﻱﻫﺎ ﺑﻪ ﻧﻔﻊ ﻣﻨﻄﻘﻲ ﻛﻴﻨﻪﺗﻮﺯﺍﻧﻪ ﺍﺯ ﻣﻴﺎﻥ ﺭﻓﺘﻪﺍﻧﺪ‪) .‬ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ( ﻫﺮ ﭼﻴﺰﻱ‬

‫ﺑﺮﮔﺸﺖ ﻧﺎﭘﺬﻳﺮ‪ ،‬ﻣﺮﺩﺍﻧﻪ ﻭ ﻣﺮﺩﻩ ﮔﺸﺘﻪﺍﺳﺖ‪ .‬ﺣﺘﻲ ﻫﻤﺪﺳﺘﻲ ﻭ ﺑﻲﻗﺎﻋﺪﮔﻲ ﻣﻴﺎﻥ ﺟﻼﺩﺍﻥ ﻭ‬

‫ﻗﺮﺑﺎﻧﻴﺎﻥ ﻧﻴﺰ ﻧﺎﭘﺪﻳﺪ ﺷﺪﻩﺍﺳﺖ‪ :‬ﺷﻜﻨﺠﻪ ﺭﻭﺣﻲ‪ ،‬ﺍﺭﺗﻜﺎﺏ ﻫﺮ ﻋﻤﻠﻲ ﺑﺪﻭﻥ ﺍﺣﺴﺎﺱ‪ ،‬ﻣﺎﺷﻴﻦﺳﺎﺯﻱ‬

‫ﺳﺮﺩ‪) .‬ﺩﺭ ﺍﻳﻨﺠﺎ ﺩﺭ ﻣﻲﻳﺎﺑﻴﻢ ﺧﺸﻨﻮﺩﻱ ﺟﻨﺴﻲ ﺑﻪ ﺩﺭﺳﺘﻲ ﺣﻖ ﻋﻤﺮ ﺻﻨﻌﺘﻲ ﺑﺪﻥ ﻭ ﻣﺨﺎﻟﻒ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﻫﺮﮔﻮﻧﻪ ﺍﻏﻮﺍﻳﻲ ﺍﺳﺖ‪ :‬ﻣﺤﺼﻮﻝ ﻋﺼﺎﺭﻩﮔﻴﺮﻱ )ﺍﺳﺘﺨﺮﺍﺝ ﻋﺼﺎﺭﻩ ﻟﺬﺕ ﺍﺯ ﺭﺍﺑﻄﻪ ﺟﻨﺴﻲ )ﻣﺘﺮﺟﻢ((‪،‬‬

‫ﻣﺤﺼﻮﻝ ﻓﻦ ﺍﻭﺭﺍﻧﻪ ﺑﺪﻥﻫﺎﻱ ﻣﺎﺷﻴﻨﻲ‪ ،‬ﺁﻣﺎﻳﺶﻫﺎﻱ ﻟﺬﺕ ﻛﻪ ﺻﺮﻳﺤﺎً ﺑﻪ ﺳﺮﺍﻍ ﻫﺪﻑ ﺍﺑﮋﻛﺘﻴﻮ ﺧﻮﺩ‬

‫ﻣﻲﺭﻭﻧﺪ‪ ،‬ﻭ ﺗﻨﻬﺎ ﻣﺮﺩﮔﻲ ﺍﺑﮋﻩﻫﺎﻱ ﺧﻮﺩ ﺭﺍ ﻣﻲﻳﺎﺑﻨﺪ(‬

‫ﻓﻴﻠﻢ ﺗﻮﺻﻴﻔﮕﺮ ﺣﻘﻴﻘﺘﻲ ﺩﺭ ﺳﻴﺴﺘﻢ ﻣﺴﻠﻂ ﻣﺮﺩﺍﻧﻪ ﻭ )ﻛﻼً( ﺩﺭ ﻫﺮ ﺳﻴﺴﺘﻢ ﻣﺴﻠﻂ ﺍﺳﺖ‬

‫)ﻛﻪ ﺩﺭ ﻧﺘﻴﺠﻪ ﺗﺴﻠﻄﺶ‪ ،‬ﻣﺮﺩﺍﻧﻪ ﻧﻴﺰ ﻣﻲﺷﻮﺩ(‪ .‬ﺍﻳﻦ ﺯﻧﺎﻧﮕﻲ ﺍﺳﺖ ﻛﻪ ﺑﺮﮔﺸﺖﭘﺬﻳﺮﻱ‪ ،‬ﺍﻣﻜﺎﻥ ﺑﺎﺯﻱ‬

‫ﻭ ﻣﻮﺍﺟﻬﺎﺕ ﻧﻤﺎﺩﻳﻦ ﺭﺍ ﺗﺠﺴﻢ ﻣﻲﺑﺨﺸﺪ‪ .‬ﺳﺎﻟﻮ ﺟﻬﺎﻧﻲ ﺍﺳﺖ ﻛﺎﻣﻼً ﻋﺎﺭﻱ ﺍﺯ ﺣﺪﺍﻗﻞ ﺍﻏﻮﺍﮔﺮﻱ‬

‫ﻣﻤﻜﻦ‪ ،‬ﻧﻪ ﺗﻨﻬﺎ ﺩﺭ ﺳﻜﺲ ﻛﻪ ﺩﺭ ﻫﺮ ﺭﺍﺑﻄﻪ ﺍﻱ‪ ،‬ﺍﺯﺟﻤﻠﻪ ﻣﺮﮒ ﻭ ﻣﺒﺎﺩﻟﻪ ﻣﺮﮒ‪) .‬ﺩﺭ ﺳﺎﻟﻮ ﺍﻳﻦ‬

‫ﻣﻮﺭﺩ‪ ،‬ﺑﻪ ﻣﺎﻧﻨﺪ ﺳﺎﺩ‪ ،‬ﺑﺎ ﺑﺮﺗﺮﻱ ِ ﻟﻮﺍﻁﮔﺮﻱ ﺍﺑﺮﺍﺯ ﻣﻲﺷﻮﺩ( ﺍﻳﻨﺠﺎﺳﺖ ﻛﻪ ﻣﻌﻠﻮﻡ ﻣﻲﺷﻮﺩ ﺯﻧﺎﻧﮕﻲ‬

‫ﻳﻚ ﺟﻨﺲ ﻧﻴﺴﺖ )ﻣﺘﻀﺎﺩﻱ ﺑﺮﺍﻱ ﺟﻨﺲ ﺩﻳﮕﺮ( ﺑﻠﻜﻪ ﺍﻣﺮﻱ ﺍﺳﺖ ﻣﺨﺎﻟﻒ ﺟﻨﺴﻴﺖ ﻛﻪ ﺗﻨﻬﺎ‬

‫ﺣﻘﻮﻕ ﻛﺎﻣﻞ ﻭ ﻛﺎﺭﻭﺭﺯﻱﻫﺎﻱ ﺍﻳﻦ ﺣﻘﻮﻕ ﺭﺍ ﺩﺍﺭﺩ‪ ،‬ﺟﻨﺴﻴﺖ ﻛﻪ ﺍﻧﺤﺼﺎﺭﻱ ﺍﺳﺖ ﺑﺮ ﺟﻨﺴﻴﺖ‪:‬‬

‫ﻣﺮﺩﺍﻧﮕﻲ ﺧﻮﺩ ﻫﻤﻴﺸﻪ ﺩﺭ ﻫﺮﺍﺱ ﺍﺯ ﭼﻴﺰﻱ ﺩﻳﮕﺮﻱ ﺍﺳﺖ ﺍﻣﺮﻱ ﻛﻪ ﺟﻨﺴﻴﺖ ﺗﻨﻬﺎ ﺷﻜﻞ ﺍﻓﺴﻮﻥ­‬

‫ﺯﺩﺍﻳﻲ ﺷﺪﻩ ﺁﻥ ﺍﺳﺖ‪ :‬ﺍﻏﻮﺍﮔﺮﻱ‪.‬‬

‫ﺍﻏﻮﺍ ﺑﺎﺯﻱ ﺍﺳﺖ‪ .‬ﺟﻨﺴﻴﺖ‪ ،‬ﻳﻚ ﻛﺎﺭﻛﺮﺩ ﺍﺳﺖ‪ .‬ﺍﻏﻮﺍ ﻗﺎﻋﺪﻩﺍﻱ ﺁﻳﻴﻨﻲ ﺭﺍ ﻓﺮﺽ ﻣﻲﻛﻨﺪ ﻭ ﻣﻴﻞ‬

‫ﻭ ﺟﻨﺴﻴﺖ ﻳﻚ ﻗﺎﻋﺪﻩ ﻃﺒﻴﻌﻲ ﺭﺍ‪ .‬ﺍﻳﻦ ﺩﻭ ﺷﻜﻞ ﺑﻨﻴﺎﺩﻳﻦ ﻣﺮﺩﺍﻧﮕﻲ ﻭ ﺯﻧﺎﻧﮕﻲﺍﻧﺪ ﻛﻪ ﺑﺎ ﻳﻜﺪﻳﮕﺮ‬

‫ﺭﻭﻳﺎﺭﻭﻱ ﻣﻲﺷﻮﻧﺪ ﻭ ﻧﻪ ﭼﻨﺪ ﺍﺧﺘﻼﻑ ﺑﻴﻮﻟﻮﮊﻳﻜﻲ ﻭ ﻳﺎ ﺭﻗﺎﺑﺖ ﺳﺎﺩﻩ ﻗﺪﺭﺕ‪.‬‬

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‫ﺍﻏﻮﺍ‬

‫ﺯﻧﺎﻧﮕﻲ ﺗﻨﻬﺎ ﺍﻏﻮﺍﮔﺮﻱ ﻧﻴﺴﺖ‪ ،‬ﺑﻞ ﻫﻤﭽﻨﻴﻦ ﻣﺒﺎﺭﺯﻩﺍﻱ ﺍﺳﺖ ﺑﺎ ﻣﺮﺩﺍﻧﮕﻲ ﻛﻪ ﻫﻤﺎﻥ ﺟﻨﺴﻴﺖ‬

‫ﺍﺳﺖ ﺑﺮﺍﻱ ﺍﻧﺤﺼﺎﺭ ﺭﻭﺍﺑﻂ ﻭ ﻟﺬﺕ ﺟﻨﺴﻲ‪ ،‬ﻣﺒﺎﺭﺯﻩﺍﻱ ﺑﺮﺍﻱ ﭘﻴﺶ ﺑﺮﺩﻥ ﻣﺤﺪﻭﺩﻳﺘﻬﺎﻱ ﺍﺳﺘﻴﻼ ﻭ‬

‫ﻛﻨﺶﻫﺎﻳﺸﺎﻥ ﺑﻪ ﺳﻮﻱ ﻣﺮﮒ‪ .‬ﺍﻣﺮﻭﺯ ﻓﺎﻟﻮﺱ ﻣﺤﻮﺭﻱ ﺗﺤﺖ ﻓﺸﺎﺭ ﺍﻳﻦ ﻣﺒﺎﺭﺯﻩ ﻭ ﻧﺎﺗﻮﺍﻧﻲﺍﺵ ﺍﺯ‬

‫ﺭﻭﻳﺎﺭﻭﻳﻲ ﺑﺎ ﺣﺮﻳﻒ‪ ،‬ﺩﺭ ﺣﺎﻝ ﻓﺮﻭﭘﺎﺷﻲ ﺍﺳﺖ‪) .‬ﺩﺭ ﺳﺮﺍﺳﺮ ﺗﺎﺭﻳﺦ ﻓﺮﻫﻨﮓ ﺟﻨﺴﻲ ﻣﺎ‪ (.‬ﺗﺼﻮﺭ ﻛﻠﻲ‬

‫ﻣﺎ ﺍﺯ ﺟﻨﺴﻴﺖ ﻧﻴﺰ ﻣﻲﺑﺎﻳﺪ ﻓﺮﻭ ﭘﺎﺷﺪ ﭼﺮﺍ ﻛﻪ ﺑﺮ ﭘﺎﻳﻪ ﻗﻮﺍﻋﺪ ﻓﺎﻟﻮﺱ ﻣﺤﻮﺭﺍﻧﻪ ﻭ ﺗﻌﺎﺭﻳﻒ ﻣﺜﺒﺖ ﺍﺯ‬

‫ﺟﻨﺴﻴﺖ ﺳﺎﺧﺖ ﻳﺎﻓﺘﻪﺍﻧﺪ‪ .‬ﻫﺮ ﺷﻜﻞ ﻣﺜﺒﺘﻲ ﻣﻲﺗﻮﺍﻧﺪ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﻓﺮﻡ ﻣﻨﻔﻲﺍﺵ ﻫﻤﺴﺎﺯ ﻛﻨﺪ ﺍﻣﺎ‬

‫ﻣﺒﺎﺭﺯﻩ ﺑﺎ ﺷﻜﻞ ﺑﺮﮔﺸﺖﭘﺬﻳﺮ ﺭﺍ ﻣﻬﻠﻚ ﻣﻲﻳﺎﺑﺪ‪ .‬ﻫﺮ ﺳﺎﺧﺘﺎﺭﻱ ﻣﻲﺗﻮﺍﻧﺪ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﻭﺍﮊﮔﻮﻧﻲ ﻭ‬

‫ﺑﺮﮔﺮﺩﺍﻧﻲﺍﺵ ﺳﺎﺯﮔﺎﺭ ﻛﻨﺪ ﺍﻣﺎ ﻧﻪ ﺑﺎ ﻭﺍﮊﮔﻮﻧﻲ ﺍﺻﻄﻼﺣﺎﺗﺶ‪ ،‬ﺍﻏﻮﺍ ﭼﻨﻴﻦ ﺷﻜﻞ ﺑﺮﮔﺸﺖﭘﺬﻳﺮﻱ‬

‫ﺍﺳﺖ‪ .‬ﻧﻪ ﺁﻥ ﺍﻏﻮﺍﻳﻲ ﻛﻪ ﺯﻧﺎﻥ ﺑﻪ ﻃﻮﺭ ﺗﺎﺭﻳﺨﻲ ﺗﺴﻠﻴﻢ ﺁﻥ ﺷﺪﻩﺍﻧﺪ‪ :‬ﻳﻌﻨﻲ ﻓﺮﻫﻨﮓ ﻣﻨﺶ ﺯﻧﺎﻧﻪ‪،‬‬

‫ﺳﺮﺧﺎﺏ ﻣﺎﻟﻲ ﻭ ﻳﺮﺍﻕ ﺩﻭﺯﻱ‪ ،‬ﺍﻏﻮﺍﻳﻲ ﻛﻪ ﺑﺎ ﻣﺮﺣﻠﻪ ﺁﻳﻴﻨﻪ ﻭ ﺍﻧﮕﺎﺭﻩ ﺯﻧﺎﻧﻪ ﺑﺎﺯ ﺍﻧﺠﺎﻡ ﺷﺪﻩ‪) ،‬ﺍﻏﻮﺍ‬

‫ﻫﻤﭽﻮﻥ( ﺯﻣﻴﻨﻪﺍﻱ ﺑﺮﺍﻱ ﺑﺎﺯﻱﻫﺎ ﻭ ﺧﺪﻋﻪﻫﺎﻱ ﺟﻨﺴﻲ )ﺩﺭ ﻓﺮﻫﻨﮓ ﻏﺮﺑﻲ ﻣﺎ ﺗﻨﻬﺎ ﺁﻳﻴﻦﻫﺎﻱ‬

‫ﺟﺴﻤﺎﻧﻲ ﺁﻥ ﺑﺎﻗﻲﻣﺎﻧﺪﻩ ﻭ ﺑﻘﻴﻪ ﻧﺎﺑﻮﺩ ﺷﺪﻩﺍﻧﺪ ﺍﺯ ﺟﻤﻠﻪ ﻧﺰﺍﻛﺖ( ﺑﻠﻜﻪ ﺍﻏﻮﺍ ﻫﻤﭽﻮﻥ ﺷﻜﻠﻲ ﻛﻨﺎﻳﻲ ﻭ‬

‫ﺷﻘﻲ ﺩﻳﮕﺮ‪ ،‬ﻛﻪ ﺍﺭﺟﺎﻋﻴﺖ ﺟﻨﺴﻴﺖ ﺭﺍ ﺩﺭﻫﻢ ﺷﻜﺴﺘﻪ ﻭ ﻓﻀﺎﻳﻲ ﻧﻪ ﺑﺮﺍﻱ ﻣﻴﻞ ﻛﻪ ﺑﺮﺍﻱ ﺑﺎﺯﻱ ﻭ‬

‫ﻣﺒﺎﺭﺯﻩ ﺑﺎﺯ ﻣﻲﮔﺸﺎﻳﺪ‪.‬‬

‫ﺍﻳﻦ ﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﭘﻴﺶ ﭘﺎ ﺍﻓﺘﺎﺩﻩﺗﺮﻳﻦ ﺑﺎﺯﻱﻫﺎﻱ ﺍﻏﻮﺍ ﺭﺥ ﻣﻴﺪﻫﺪ‪ :‬ﻣﻦ ﺍﺯ ﺁﻥ ﺳﺮﺑﺎﺯ‬

‫ﻣﻲﺯﻧﻢ‪ ،‬ﺍﻳﻦ ﺷﻤﺎ ﻧﻴﺴﺘﻴﺪ ﻛﻪ ﻣﻲﺧﻮﺍﻫﻴﺪ ﺑﻪ ﻣﻦ ﻟﺬﺕ ﺑﺒﺨﺸﻴﺪ‪ ،‬ﺍﻳﻦ ﻣﻦ ﻫﺴﺘﻢ ﻛﻪ ﺷﻤﺎ ﺭﺍ ﺑﺎﺯﻱ‬

‫ﻣﻲﺩﻫﻢ ﻭ ﺑﺪﺍﻥ ﻭﺳﻴﻠﻪ ﺷﻤﺎ ﺭﺍ ﻟﺬﺗﺘﺎﻥ ﻣﻲﺭﺑﺎﻳﻢ‪ .‬ﺑﺎﺯﻳﻲ ﺑﺎ ﺣﺮﻛﺖ ﭘﻴﻮﺳﺘﻪ ﻛﻪ ﻧﻤﻲﺗﻮﺍﻥ ﭘﻨﺪﺍﺷﺖ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﻛﻪ ﺗﻨﻬﺎ ﺑﺎ ﺍﺳﺘﺮﺍﺗﮋﻱﻫﺎﻱ ﺟﻨﺴﻲ ﺳﺮ ﻭ ﻛﺎﺭ ﺩﺍﺭﻳﻢ‪ .‬ﺑﻠﻜﻪ ﺑﺎﻻﺗﺮ ﺍﺯ ﺍﻳﻦ ﺣﺮﻓﻬﺎ ﺍﺳﺘﺮﺍﺗﮋﻱ ﺟﺎﻧﺸﻴﻦ­‬

‫ﺳﺎﺯﻱ ﺍﺳﺖ‪ :se ­ ducere) ،‬ﺑﻪ ﻛﻨﺎﺭﻱ ﺑﺮﺩﻥ‪ ،‬ﻣﻨﺤﺮﻑ ﻛﺮﺩﻥ ﺍﺯ ﻣﺴﻴﺮ( ﻛﻪ ﺣﻘﻴﻘﺖ ﺟﻨﺴﻴﺖ‬

‫ﺭﺍ ﻣﻨﺤﺮﻑ ﻣﻲﺳﺎﺯﺩ‪ .‬ﺑﺎﺯﻱ ﻛﺮﺩﻥ‪ ،‬ﮔﺮﻓﺘﻦ ﻟﺬﺕ ﻧﻴﺴﺖ‪ .‬ﺍﻏﻮﺍﮔﺮ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻫﻮﺱ ﻭ ﻳﻚ ﺑﺎﺯﻱ‬

‫ﺩﺭ ﺳﻄﺢ ﻧﺸﺎﻧﻪ‪ ،‬ﺣﺎﻛﻤﻴﺖ ﻣﻲﻳﺎﺑﺪ‪ .‬ﺍﻳﻦ ﺍﻏﻮﺍﺳﺖ ﻛﻪ ﺩﺭ ﻣﺴﻴﺮ ﻃﻮﻻﻧﻲ ﺑﺮﺗﺮﻱ ﻣﻲﻳﺎﺑﺪ ﭼﺮﺍ ﻛﻪ‬

‫ﻗﺎﻋﺪﻩﺍﻱ ﺑﺮﮔﺸﺖﭘﺬﻳﺮ ﻭ ﻧﺎﻣﺸﺨﺼﻲ ﺭﺍ ﺑﻪ ﻛﺎﺭ ﻣﻲﮔﻴﺮﺩ‪.‬‬

‫ﺍﻓﺴﻮﻥ ﺍﻏﻮﺍ ﻛﺎﻣﻼً ﻓﺮﺍﺗﺮ ﺍﺯ ﺗﺴﻠﻲ ﻣﺴﻴﺤﻲ ﻟﺬﺗﻬﺎﻱ ﺟﺴﻤﺎﻧﻲ ﺍﺳﺖ‪ .‬ﺍﺯ ﻣﺎ ﻣﻲﺧﻮﺍﻫﻨﺪ‬

‫ﻟﺬﺗﻬﺎﻱ ﺟﺴﻤﺎﻧﻲ ﺭﺍ‪ ،‬ﻗﻄﻌﻴﺖ ﻃﺒﻴﻌﻲ ﺑﭙﻨﺪﺍﺭﻳﻢ ﻭ ﺑﺴﻴﺎﺭﻱ ﺑﻪ ﺳﺒﺐ ﻭﺍﻣﺎﻧﺪﮔﻲ ﺍﺯ ﺩﺳﺖﻳﺎﺑﻲ‬

‫ﺑﺪﺍﻥ‪ ،‬ﺩﻳﻮﺍﻧﻪ ﻣﻲﺷﻮﻧﺪ‪ .‬ﺍﻣﺎ ﺍﮔﺮ ﺍﺯ ﻣﻨﻈﺮ ﻟﻴﺒﺪﻳﻨﺎﻝ ﻓﺮﻧﮓ ﻣﻌﺎﺻﺮ ﺧﻮﺩ ﻧﻨﮕﺮﻳﻢ‪ ،‬ﻋﺸﻖ ﻫﻴﭻ ﻛﺎﺭﻱ‬

‫ﺑﺎ ﺭﺍﻧﺶﻫﺎﻱ ﺟﻨﺴﻲ ﻧﺪﺍﺭﺩ‪ .‬ﻋﺸﻖ ﻳﻚ ﻣﺒﺎﺭﺯﻩ ﻭ ﻳﻚ ﻏﻨﻴﻤﺖ ﺍﺳﺖ‪ :‬ﻣﺒﺎﺭﺯﻩﺍﻱ ﺑﺎ ﺩﻳﮕﺮﻱ ﺑﺮﺍﻱ‬

‫ﺑﺎﺯﮔﺮﺩﺍﻧﺪﻥ ﻋﺸﻖ‪ .‬ﻭ ﺍﻏﻮﺍ ﺷﺪﻥ‪ ،‬ﻣﺒﺎﺭﺯﻩﺍﻱ ﺍﺳﺖ ﺑﺎ ﺩﻳﮕﺮﻱ ﺗﺎ ﺩﺭ ﻣﻘﺎﺑﻞ ﺍﻭ ﻧﻴﺰ ﺍﻏﻮﺍ ﺷﻮﺩ‪) .‬ﻫﻴﭻ‬

‫ﺍﺳﺘﺪﻻﻟﻲ ﻣﻨﺎﺳﺒﺘﺮ ﺍﺯ ﻣﺘﻬﻢ ﻧﻤﻮﺩﻥ ﻳﻚ ﺯﻥ ﺑﻪ ﻧﺎﺗﻮﺍﻧﻲ ﺍﺯ ﺍﻏﻮﺍ ﺷﺪﻥ ﻧﻴﺴﺖ‪ (.‬ﺍﻧﺤﺮﺍﻑ‪ ،‬ﺍﺯ ﺍﻳﻦ‬

‫ﺩﻳﺪﮔﺎﻩ ﻣﻌﻨﻲ ﺗﺎ ﺣﺪﻱ ﻣﻌﻨﺎﻱ ﻣﺘﻔﺎﻭﺗﻲ ﺑﻪ ﺧﻮﺩ ﻣﻲﮔﻴﺮﺩ‪ :‬ﻭﺍﻧﻤﻮﺩ ﺑﻪ ﺍﻏﻮﺍ ﺷﺪﻥ ﺑﺪﻭﻥ ﺁﻧﻜﻪ ﺍﻏﻮﺍ‬

‫ﺷﻮﺩ ﺑﺪﻭﻥ ﺁﻧﻜﻪ ﺗﻮﺍﻧﺎﻳﻲ ﺍﻏﻮﺍ ﺷﺪﻥ ﺭﺍ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬

‫ﻗﺎﻧﻮﻥ ﺍﻏﻮﺍ ﺷﻜﻞ ﻳﻚ ﻣﻌﺎﻭﺿﻪ ﺁﻳﻴﻨﻲ ﭘﻴﻮﺳﺘﻪ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﻣﻲﮔﻴﺮﺩ ﻛﻪ ﺩﺭ ﺁﻥ ﺍﻏﻮﺍﮔﺮ ﻭ‬

‫ﺍﻏﻮﺍﺷﺪﻩ‪ ،‬ﺩﺭ ﻳﻚ ﺑﺎﺯﻱ ﺑﻲﭘﺎﻳﺎﻥ ﺑﺎﻻﺗﺮ ﺍﺯ ﺩﻳﮕﺮﻱ ﺷﺮﻁ ﻣﻲﺑﻨﺪﻧﺪ‪ .‬ﺑﺎﺯﻳﻴﻲ ﻛﻪ ﻧﻤﻲﺗﻮﺍﻧﺪ ﭘﺎﻳﺎﻥ‬

‫ﻳﺎﺑﺪ ﭼﺮﺍ ﻛﻪ ﺧﻂ ﻣﻘﺴﻤﻲ ﻛﻪ ﭘﻴﺮﻭﺯﻱ ﻳﻚ ﻃﺮﻑ ﻭ ﺷﻜﺴﺖ ﺩﻳﮕﺮﻱ ﺭﺍ ﻣﺸﺨﺺ ﻣﻲﻧﻤﺎﻳﺪ ﻭﺍﺿﺢ‬

‫ﻧﻴﺴﺖ‪ .‬ﻭ ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮ ﻫﻴﭻ ﻣﺤﺪﻭﺩﻳﺘﻲ ﺑﺮﺍﻱ ﻣﺒﺎﺭﺯﻩ‪ ،‬ﺑﺮﺍﻱ ﻋﺸﻖ ﻭﺭﺯﻳﺪﻥ ﺑﻴﺸﺘﺮ ﺍﺯ ﻋﺸﻖ‬

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‫ﺍﻏﻮﺍ‬

‫ﻭﺭﺯﻳﺪﻩ ﺷﺪﻥ ﻳﺎ ﺑﺮﺍﻱ ﻫﻤﻴﺸﻪ ﺍﻏﻮﺍ ﺷﺪﻥ‪ ،‬ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ )ﺍﻟﺒﺘﻪ( ﺍﮔﺮ ﻣﺮﮔﻲ ﺩﺭ ﻛﺎﺭ ﻧﺒﺎﺷﺪ‪ ..‬ﺩﺭ‬

‫ﻣﻘﺎﺑﻞ‪ ،‬ﺳﻜﺲ‪ ،‬ﭘﺎﻳﺎﻧﻲ ﻣﺒﺘﺬﻝ ﻭ ﺳﺮﻳﻊ ﺩﺍﺭﺩ‪ :‬ﺍﺭﮔﺎﺳﻢ؟ ﺷﻜﻞ ﺑﻲﺩﺭﻧﮓ ﺗﺤﻘﻖ ﻣﻴﻞ‪.‬‬

‫"ﻣﻲﺗﻮﺍﻥ ﺧﻄﺮﻱ ﺑﻲﻧﻬﺎﻳﺖ ﺗﻮﺳﻂ ﻣﺮﺩﻱ ﻣﺸﺎﻫﺪﻩ ﻧﻤﻮﺩ ﻛﻪ ﻣﻄﺎﻟﺒﻪ ﺯﻧﻲ ﺭﺍ ﺑﺮﺍﻱ‬
‫ﻟﺬﺕ ﺟﻨﺴﻲ ﺑﺸﻨﻮﺩ‪ .‬ﺍﮔﺮ ﺯﻧﻲ ﺍﺯ ﻃﺮﻳﻖ ﻣﻴﻠﺶ‪ ،‬ﺍﻳﻦ ﺍﻣﺮ ﻏﻴﺮﻗﺎﺑﻞ ﺗﻐﻴﻴﺮ ﺭﺍ ﻛﻪ ﻳﻚ ﻣﺮﺩ‬
‫ﺟﺰ ﺑﺎ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﮔﺮﻓﺘﻦ ﺍﻭ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺑﻪ ﻭﻱ ﻛﻤﻚ ﻛﻨﺪ‪ ،‬ﺗﻐﻴﻴﺮ ﺩﻫﺪ‪ ،‬ﺍﮔﺮ ﺍﻭ ﺧﻮﺩ‬
‫ﺩﺭﺧﻮﺍﺳﺘﻲ ﺑﻲﺩﺭﻧﮓ ﻭ ﻧﺎﻣﺤﺪﻭﺩ ﻧﻤﺎﻳﺪ‪،‬ﺍﮔﺮ ﺍﻭ ﺩﻳﮕﺮ ﺩﺍﺧﻞ ﺍﻳﻦ ﻣﺤﺼﻮﺭﻳﺖ ﺑﺎﻗﻲ ﻧﻤﺎﻧﺪ‬
‫ﻭ ﺑﺎ ﺁﻥ ﻧﮕﺎﻩﺩﺍﺷﺘﻪﻧﺸﻮﺩ‪ ،‬ﻣﺮﺩ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻭﺿﻌﻴﺘﻲ ﺍﻧﺘﺤﺎﺭﻱ ﻣﻲﻳﺎﺑﺪ‪.‬‬
‫ﻣﻄﺎﻟﺒﻪﺍﻱ ﻛﻪ ﻫﻴﭻ ﺗﺄﺧﻴﺮﻱ‪ ،‬ﻛﻪ ﻫﻴﭻ ﺑﻬﺎﻧﻪﺍﻱ ﺭﺍ ﻛﻪ ﺑﺎ ﻣﻼﺣﻈﻪ ﺑﻪ ﺷﺪﺕ ﻭ‬
‫ﻣﺪﺗﺶ‪ ،‬ﻧﺎﻣﺤﺪﻭﺩ ﺍﺳﺖ‪ ،‬ﺗﺤﻤﻞ ﻧﻤﻲﻛﻨﺪ ﻭ ﺍﺳﺘﻘﻼﻟﻲ ﺭﺍ ﻛﻪ ﺑﻮﺳﻴﻠﻪ ﺯﻥ‪ ،‬ﺑﻮﺳﻴﻠﻪ‬
‫ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ ﻭ ﺣﺘﻲ ﻟﺬﺕ ﺯﻧﺎﻧﻪ ﺑﺎﺯﻧﻤﺎﻳﻲ ﻣﻲﺷﻮﺩ ﺩﺭ ﻫﻢ ﻣﻲﺷﻜﻨﺪ‪ .‬ﻟﺬﺕ ﺟﻨﺴﻲ‬
‫ﺯﻧﺎﻧﻪ ﻫﻤﻴﺸﻪ ﻣﻲﺗﻮﺍﻧﺪ ﺑﺎﺭ ﺩﻳﮕﺮ ﺑﻪ ﻣﻘﺎﻡ ﺧﺪﺍﻳﻲ ﺭﺳﺪ ﻭ ﺑﻨﺎﺑﺮﺍﻳﻦ ﻛﻨﺘﺮﻝ ﮔﺮﺩﺩ ﻭ ﺑﻪ‬
‫ﺁﻏﻮﺷﻲ ﺳﺮﺩ ﻭ ﻣﺮﻣﺮﻳﻦ ﻛﺎﺳﺘﻪ ﺷﻮﺩ‪) .‬ﺍﻧﻜﺎﺭ ﻟﺬﺕ ﺟﻨﺴﻲ ﺯﻥ‪ ،‬ﻣﻮﺟﺐ ﺳﺘﺎﻳﺶ ﻭ‬
‫ﭘﺮﺳﺶ ﺍﻭ ﻣﻲﮔﺮﺩﺩ ﻭ ﺍﻭ ﺭﺍ ﺑﻪ ﻣﻘﺎﻡ ﺍﺳﺘﻘﻼﻟﻲ ﻭ ﺑﻲﻧﻴﺎﺯﻱ ﺧﺪﺍﻱﮔﻮﻧﻪ ﻣﻲﺭﺳﺎﻧﺪ( ﺩﺭ‬
‫ﺣﺎﻟﻴﻜﻪ ﻣﻄﺎﻟﺒﻪ ﻟﺬﺕ ﺯﻥ ﺍﺯ ﻣﺮﺩ ﻛﻪ ﺑﻪ ﺯﻥ ﻭﺍﺑﺴﺘﻪ ﮔﺸﺘﻪ ﻭ ﺗﻮﺍﻥ ﮔﺮﻳﺰﻱ ﻧﺪﺍﺭﺩ ﺳﺒﺐ‬
‫ﻣﻲﺷﻮﺩ ﻣﺮﺩ‪ ،‬ﺑﺮﺩﺑﺎﺭﻱ ﻭ ﺍﺣﺴﺎﺱ ﻛﺎﻣﻼً ﺍﺣﺘﻤﺎًﻟﻲ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺑﺪﻫﺪ‪ ...‬ﻭﻗﺘﻲ ﺗﻤﺎﻣﻲ‬
‫ﻣﻴﻠﻬﺎ ﺍﺯ ﻣﺠﺮﺍﻱ ﻣﻄﺎﻟﺒﻪ ﺑﺮﺍﻱ ﻟﺬﺕ ﻣﻲﮔﺬﺭﻧﺪ ﺟﻬﺎﻥ ﺯﻳﺮ ﻭ ﺭﻭ ﮔﺸﺘﻪ ﻭ ﺍﺯ ﻫﻢ ﻣﻲﭘﺎﺷﺪ‪.‬‬
‫ﺑﻲﺗﺮﺩﻳﺪ ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮ ﺍﺳﺖ ﻛﻪ ﻓﺮﻫﻨﮓ ﻣﺎ ﺑﻪ ﺯﻧﺎﻥ ﺁﻣﻮﺧﺘﻪﺍﺳﺖ ﻛﻪ ﭼﻴﺰﻱ ﺭﺍ‬
‫ﻣﻄﺎﻟﺒﻪ ﻧﻜﻨﻨﺪ ﻭ ﻫﻴﭻ ﻣﻴﻠﻲ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪“ .‬‬
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‫ﻓﺮﺍﻧﺴﻴﺲ ﺭﻭﺯﺗﺎﻧﮓ ‪ -‬ﺳﻠﻄﻪ ﺷﻮﻡ – ﺹ ‪۱۰۵ - ۱۰۴‬‬

‫ﻭ ﺁﻳﺎ ﺍﻳﻦ ﻣﻴﻞ‪ ،‬ﻫﻤﻪ ﺁﻥ ﭼﻴﺰﻱ ﻧﻴﺴﺖ ﻛﻪ ﺍﺯ ﻣﺠﺮﺍﻱ ﻣﻄﺎﻟﺒﻪ ﺑﺮﺍﻱ ﻟﺬﺕ ﻣﻲﮔﺬﺭﺩ؟ ﺁﻳﺎ ﺍﻳﻦ‬

‫ﺍﺻﻼً ﺍﻫﻤﻴﺘﻲ ﺑﻪ ﻣﻴﻞ ﺯﻥ ﻣﻲﺩﻫﺪ؟ ﺁﻳﺎ ﺍﻳﻦ ﺩﻳﻮﺍﻧﮕﻲ ﻧﻴﺴﺖ ﻛﻪ ﭼﻴﺰﻱ ﺑﻪ ﺍﻳﻦ ﻛﻮﭼﻜﻲ ﺑﺎ »‬

‫ﺁﺯﺍﺩﺳﺎﺯﻱ« ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﻳﻢ؟ ﭼﻴﺴﺖ ﺍﻳﻦ ﺷﻜﻞ ﺟﺪﻳﺪ ﺯﻧﺎﻧﮕﻲ ﺑﺎ ﻣﻄﺎﻟﺒﻪ ﻧﺎﻣﺤﺪﻭﺩ ﺟﻨﺴﻲ‪،‬‬

‫ﭼﻴﺴﺖ ﺍﻳﻦ ﺍﺩﻋﺎﻱ ﻧﺎﻣﺤﺪﻭﺩ ﺧﺸﻨﻮﺩﻱ ﺟﻨﺴﻲ؟ ﺩﺭ ﻧﺘﻴﺠﻪ‪ ،‬ﺍﻳﻦ ﻧﻘﻄﻪ ﭘﺎﻳﺎﻧﻲ ﻓﺮﻫﻨﮓ ﻣﺎﺳﺖ ﻛﻪ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﺍﻳﻨﻚ ﻫﺠﻮﻡ ﻣﻲﺁﻭﺭﺩ ﻭ ﺭﻭﺳﺘﺎﻧﮓ ﺣﻖ ﺩﺍﺭﺩ‪ ،‬ﺍﻳﻦ ﺷﻜﻠﻲ ﺍﺯ ﺧﺸﻮﻧﺖ ﺟﻤﻌﻲ ﺍﻧﺘﺤﺎﺭﻱ ﺭﺍ ﺩﺭ ﺧﻮﺩ‬

‫ﻧﻔﻬﺘﻪ ﺩﺍﺭﺩ‪) .‬ﺍﻧﺘﺤﺎﺭﻱ( ﻧﻪ ﻓﻘﻂ ﺑﺮﺍﻱ ﻣﺮﺩﺍﻥ‪ ،‬ﺑﺮﺍﻱ ﺯﻧﺎﻥ ﻧﻴﺰ ﻭ ﺩﺭ ﻛﻞ ﺑﺮﺍﻱ ﺟﻨﺴﻴﺖ‪.‬‬

‫"ﻣﺎ ﺑﻪ ﺁﻧﺎﻧﻲ ﻛﻪ ﺗﻨﻬﺎ ﺑﻪ ﺯﻧﺎﻥ ﻳﺎ ﺗﻨﻬﺎ ﺑﻪ ﻣﺮﺩﺍﻥ ﻋﺸﻖ ﻣﻲﻭﺭﺯﻧﺪ ﻳﺎ ﺁﻧﻬﺎﻳﻲ ﻛﻪ ﺗﻨﻬﺎ‬
‫ﺑﻪ ﻛﻮﺩﻛﺎﻥ ﻋﺸﻖ ﻣﻲﻭﺭﺯﻧﺪ )ﻭﺣﺘﻲ ﺑﻪ ﻣﺴﻨﻬﺎ‪ ،‬ﺍﻓﺴﺮﺩﮔﺎﻥ ﺑﻴﻤﺎﺭﺍﻥ‪ ،‬ﺳﮕﻬﺎ ﻭ ﮔﺮﺑﻪﻫﺎ(‬
‫»ﻧﻪ« ﻣﻲﮔﻮﻳﻴﻢ‪ .‬ﻧﺰﺍﻉ ﺟﺪﻳﺪ ﺑﺎ ﺍﮔﻮ ﻣﺤﻮﺭﻱ ﭘﺎﻟﻮﺩﻩﺍﺵ‪ ،‬ﻣﺪﻋﻲ ﺣﻘﻲ ﺑﺮﺍﻱ ﺗﺒﻌﻴﺾ­‬
‫ﮔﺮﺍﻳﻲ ﺟﻨﺴﻲ ﺧﻮﻳﺸﺘﻦ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﻣﺎ ﺑﻪ ﺗﻤﺎﻣﻲ ﺍﻳﻦ ﻓﺮﻗﻪ ﮔﺮﺍﻳﻲﻫﺎ » ﻧﻪ« ﻣﻲﮔﻮﻳﻴﻢ‪.‬‬
‫ﺍﮔﺮ ﺷﺨﺼﻲ ﺑﺮﺍﻱ ﺍﻳﻨﻜﻪ ﺑﭽﻪ ﺑﺎﺯ ﺷﻮﺩ ﺣﺘﻤﺎً ﺑﺎﻳﺪ ﺯﻥ ﮔﺮﻳﺰ ﺑﺎﺷﺪ‪ ،‬ﻳﺎ ﻣﺮﺩﮔﺮﻳﺰ ﺑﺎﺷﺪ ﺗﺎ‬
‫ﻟﺰﺑﻴﻦ ﺷﻮﺩ‪ .‬ﺍﮔﺮ ﺷﺨﺺ ﺑﺮﺍﻱ ﺍﻳﻨﻜﻪ ﺍﺯ ﺧﻮﺩﺵ ﺩﺭﺑﺮﺍﺑﺮ ﺗﺠﺎﻭﺯ ﺩﻓﺎﻉ ﻧﻤﺎﻳﺪ ﺣﺘﻤﺎً ﺑﺎﻳﺪ‬
‫ﺩﻭﺭ ﻟﺬﺗﻬﺎﻱ ﺷﺒﺎﻧﻪ‪ ،‬ﺷﺎﻧﺲ ﺭﻭﻳﺎﺭﻭﻳﻲﻫﺎ ﻭ ﺷﺮﻳﻚﻫﺎﻱ ﺟﻨﺴﻲ ﺭﺍ ﺧﻂ ﺑﻜﺸﺪ‪ ،‬ﭘﺲ‬
‫ﻣﺠﺒﻮﺭ ﻣﻲﺷﻮﻳﻢ ﺑﭙﺬﻳﺮﻳﻢ ﻛﻪ ﺑﻪ ﻧﺎﻡ ﻣﺒﺎﺭﺯﻩ ﺑﺮ ﻋﻠﻴﻪ ﻳﻚ ﻣﻤﻨﻮﻋﻴﺖ‪،‬ﺑﺎﻳﺪ ﺑﻪ ﺗﺎﺑﻮﻫﺎ‪،‬‬
‫ﻫﻨﺠﺎﺭﻫﺎ ﻭ ﺍﺧﻼﻗﻴﺎﺕ ﻭ ﭼﺸﻢ ﭘﻮﺷﻲﻫﺎﻱ ﺩﻳﮕﺮﻱ ﺑﺎﺯﮔﺸﺖ‪«.‬‬
‫ﻣﺎ ﺩﺭ ﺑﺪﻥ ﺧﻮﺩ ﻧﻪ ﻳﻚ ﺟﻨﺲ ﻧﻪ ﺩﻭ ﺟﻨﺲ‪ ،‬ﺑﻠﻜﻪ ﺟﻨﺴﻴﺘﻬﺎﻱ ﻣﺨﺘﻠﻔﻲ ﺭﺍ ﺗﺠﺮﺑﻪ‬
‫ﻣﻲﻛﻨﻴﻢ‪ .‬ﻣﺎ ﻣﺮﺩ ﻳﺎ ﺯﻧﻲ ﻧﻤﻲﺑﻴﻨﻴﻢ ﺑﻠﻜﻪ ﻣﻮﺟﻮﺩﻱ ﺍﻧﺴﺎﻧﻲ‪ ،‬ﺷﺒﻪ ﺍﻧﺴﺎﻧﻲ ﻣﻲﺑﻴﻨﻴﻢ )!(‪...‬‬
‫ﺑﺪﻥﻫﺎﻱ ﻣﺎ ﺍﺯ ﺭﻓﺘﺎﺭﻫﺎﻱ ﻗﺎﻟﺒﻲ ﺣﺼﺎﺭﻫﺎﻱ ﻓﺮﻫﻨﮕﻲ ﻭ ﺗﻤﺎﻣﻲ ﺗﺒﻌﻴﺾﻫﺎﻱ‬
‫ﻓﻴﺰﻳﻮﻟﻮﮊﻳﻜﻲ‪ ...‬ﺑﻪ ﺳﺘﻮﻩ ﺍﻣﺪﻩﺍﻧﺪ‪ .‬ﻣﺎ ﻫﻢ ﻣﻮﻧﺚ ﻫﻢ ﻣﺬﻛﺮ‪ ،‬ﻫﻢ ﺑﺎﻟﻎ ﻭ ﺑﭽﻪ‪ ،‬ﻟﺰﺑﻴﻦﻫﺎ‪،‬‬
‫ﮔﻲﻫﺎ‪،‬ﻫﻢ ﻓﺎﻋﻞ ﻛﻨﺶ ﺟﻨﺴﻲ ﻭ ﻫﻢ ﻣﻔﻌﻮﻝ ﺁﻥ‪ ،‬ﻫﻢ ﻟﻮﺍﻁ ﮔﺮ ﻭ ﻫﻢ ﻟﻮﺍﻁ ﺷﺪﻩ‬
‫ﻫﺴﺘﻴﻢ‪ .‬ﻣﺎ ﺣﺎﺿﺮ ﻧﻴﺴﺘﻴﻢ ﺗﻤﺎﻣﻲ ﺗﻨﻮﻋﺎﺕ ﺟﻨﺴﻲ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻳﻚ ﺟﻨﺲ ﺧﺎﺹ ﺗﻘﻠﻴﻞ‬
‫ﺩﻫﻴﻢ‪ .‬ﻫﻤﺠﻨﺲ ﺧﻮﺍﻫﻲ)ﻣﺨﺘﺺ ﺯﻧﺎﻥ( ﻣﺎ ﺗﻨﻬﺎ ﺑﺨﺸﻲ ﺍﺯ ﺟﻨﺴﻴﺖ ﻣﺎﺳﺖ‪ .‬ﻣﺎ ﺧﻮﺩ ﺭﺍ‬
‫ﺑﻪ ﺧﺎﻃﺮ ﻣﻄﺎﻟﺒﺎﺕ ﺍﺟﺘﻤﺎﻋﻲ ﻣﺤﺪﻭﺩ ﻧﻤﻲﻛﻨﻴﻢ‪ .‬ﻣﺎ ﻫﻢ ﺩﮔﺮﺟﻨﺲﺧﻮﺍﻩ ﻭ ﻫﻢ ﻟﺴﻴﻦ ﻭ‬
‫ﮔﻲ ﻭ ﻛﻞ ﺣﻴﻄﻪ ﻓﺮﺁﻭﺭﺩﻩﻫﺎﻱ ﺗﺮﻗﻲﺧﻮﺍﻫﺎﻧﻪ ﻫﺴﺘﻴﻢ‪ .‬ﻣﺎ ﺩﺭ ﺗﻤﺎﻣﻲ ﺍﻣﻴﺎﻟﻤﺎﻥ‬
‫ﻧﺎﺑﺨﺮﺩﻳﻢ‪".‬‬
‫ﺟﻮﺩﻳﺖ ﺑﺎﻟﻨﺪﻭﻧﺎ ﺑﺎﺭﺑﺎﺭﺍ ﭘﻨﺘﻮﻥ‪ .‬ﺟﻮﻻﻱ ‪(۱۳)۱۸۱۹۷۸‬‬

‫ﺷﻮﺭﻳﺪﮔﻲ ﺟﻨﺴﻴﺖ ﻧﺎﻣﺤﺪﻭﺩ‪ ،‬ﺗﺸﺪﻳﺪ ﻣﻴﻞ ﺑﺎ ﻣﻄﺎﻟﺒﻪ ﺧﺸﻨﻮﺩﻱ ﻭﻟﺬﺕ‪ ،‬ﺁﻳﺎ ﺍﻳﻦ ﻫﻤﺎﻥ‬

‫ﻭﺍﮊﮔﻮﻧﮕﻲ ﺍﻧﭽﻴﺰﻱ ﻧﻴﺴﺖ ﻛﻪ ﺭﻭﺯ ﺗﺎﻧﮓ ﺗﻮﺻﻴﻒ ﻣﻲﻛﻨﺪ‪ :‬ﻳﻌﻨﻲ ﺍﮔﺮ ﺯﻧﺎﻥ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﺁﻣﻮﺧﺘﻪﺍﻧﺪ‬

‫ﻛﻪ ﭼﻴﺰﻱ ﺭﺍ ﻣﻴﻞ ﻧﻜﻨﻨﺪ ﺑﻪ ﺧﺎﻃﺮ ﺍﻳﻦ ﻛﻪ ﺑﻪ ﭼﻴﺰﻱ ﻣﻴﻞ ﻧﺪﺍﺭﻧﺪ‪ ،‬ﺁﻳﺎ ﺍﻛﻨﻮﻥ ﺑﻪ ﺁﻧﻬﺎ ﻧﻤﻲﺁﻣﻮﺯﻧﺪ‬

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‫ﺍﻏﻮﺍ‬

‫ﻛﻪ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﺑﺨﻮﺍﻫﻨﺪ ﺗﺎ ﺑﻪ ﭼﻴﺰﻱ ﻣﻴﻞ ﻧﻜﻨﻨﺪ؟ ﺍﻗﻠﻴﻢ ﺗﺎﺭﻳﻚ ﺭﻣﺰﮔﺸﺎﻳﻲ ﺷﺪﻩ ﺑﻮﺳﻴﻠﻪ‬

‫ﺧﺸﻨﻮﺩﻱ ﺟﻨﺴﻲ؟‬

‫ﻣﺮﺩﺍﻧﮕﻲ ﻣﻲﺧﻮﺍﻫﺪ ﺑﻪ ﻗﺎﻧﻮﻥ ﻧﺰﺩﻳﻜﺘﺮ ﺷﻮﺩ ﻭ ﺯﻧﺎﻧﮕﻲ ﺑﻪ ﻟﺬﺕ ﺟﻨﺴﻲ‪ .‬ﺍﻣﺎ ﭼﻨﻴﻦ ﻟﺬﺗﻲ‬

‫ﺑﺪﺍﻫﺘﺎ‪ ،‬ﭘﻴﺶ ﺍﻧﮕﺎﺭﻩﻫﺎﻱ ﻳﻚ ﺟﻬﺎﻥ ﺟﻨﺴﻲ ﺭﻣﺰﮔﺸﺎﻳﻲ ﺷﺪﻩ ﻧﻴﺴﺖ‪ .‬ﺯﻧﺎﻧﮕﻲ ﻭ ﺗﻤﺎﻣﻲ ﺍﺭﺟﺎﻋﺎﺕ‬

‫ﺁﺯﺍﺩﻱ ﺳﺎﺯﻱ ﺑﺎ ﺗﻀﻌﻴﻒ ﺗﺪﺭﻳﺠﻲ »ﻗﺎﻧﻮﻥ« ﺗﻮﻟﻴﺪ ﺷﺪﻧﺪ‪» ،‬ﻗﺎﻧﻮﻥ« ﺩﺳﺘﻮﺭ ﺑﻪ ﻟﺬﺕﺟﻮﻳﻲ ﻣﻲﺷﻮﺩ‬

‫ﻛﻪ ﭘﻴﺸﺘﺮ ﻧﻬﻲ ﺁﻥ ﺑﻮﺩﻩﺍﺳﺖ‪ .‬ﺩﺭ ﻧﺘﻴﺠﻪ‪ ،‬ﻭﺍﻧﻤﺎﻳﻲ ﻭﺍﮊﮔﻮﻧﻪ ﻣﻲﺷﻮﺩ‪ :‬ﻭﻗﺘﻲ ﻟﺬﺕ ﺁﺷﻜﺎﺭﺍ ﺧﻮﺍﻫﺎﻥ‬

‫ﺍﺳﺘﻘﻼﻝ ﺑﺎﺷﺪ‪ ،‬ﺍﻳﻦ ﺩﻗﻴﻘﺎً ﺗﻮﻟﻴﺪ ﻳﻚ ﻗﺎﻧﻮﻥ ﺍﺳﺖ‪ .‬ﻳﺎ ﻛﻪ ﻗﺎﻧﻮﻥ ﻓﺮﻭﻣﻲﭘﺎﺷﺪ ﻭ ﺟﺎﻳﻴﻜﻪ ﻗﺎﻧﻮﻥ‬

‫ﻧﺎﭘﺪﻳﺪ ﮔﺮﺩﺩ ﻟﺬﺕ ﻗﺮﺍﺭﺩﺍﺩﻫﺎﻱ ﺟﺪﻳﺪ ﺧﻮﺩ ﺭﺍ ﺑﺮﭘﺎ ﻣﻲﻛﻨﺪ‪ .‬ﻣﻮﺿﻮﻉ ﺍﻳﻦ ﺍﺳﺖ‪ :‬ﻫﻴﭻ ﭼﻴﺰ ﺗﻐﻴﻴﺮ‬

‫ﻧﻜﺮﺩﻩﺍﺳﺖ‪ ،‬ﻭﺍﮊﮔﻮﻧﻲ ﻧﺸﺎﻧﻪﻫﺎ ﻧﺘﻴﺠﻪ ﻳﻚ ﺍﺳﺘﺮﺍﺗﮋﻱ ﺍﺳﺖ‪ .‬ﻣﻔﻬﻮﻡ ﺗﻐﻴﻴﺮ ﺭﻭﻳﻪ ﺣﺎﺿﺮ ﺍﻳﻦ ﺍﺳﺖ‬

‫ﻛﻪ ﺑﺮﺗﺮﻱ ﺩﻭﮔﺎﻧﻪ ﺯﻧﺎﻧﻪ ﻭ ﻟﺬﺕ ﺑﺮ ﻣﺮﺩﺍﻧﮕﻲ ﻭ ﺗﺤﺮﻳﻢﻫﺎﻳﺶ ﺩﻭﺑﺎﺭﻩ ﻋﻘﻼﻧﻴﺖ ﺟﻨﺴﻲ ﺭﺍ ﻣﺴﻠﻂ‬

‫ﻣﻲﻛﻨﻨﺪ‪ .‬ﺳﺘﺎﻳﺶ ﺯﻧﺎﻧﮕﻲ‪ ،‬ﺍﺑﺰﺍﺭﻱ ﺍﺳﺖ ﻛﺎﻣﻞ ﺑﺮﺍﻱ ﺑﺴﻂ ﺑﻲﺳﺎﺑﻘﻪ ﻭ ﺗﻮﺳﻌﻪ ﻛﻨﺘﺮﻝ ﺷﺪﻩ‬

‫ﻋﻘﻼﻧﻴﺖ ﺟﻨﺴﻲ‪.‬‬

‫ﺗﻘﺪﻳﺮﻱ ﻧﺎﻣﻨﺘﻈﺮﻩ ﻛﻪ ﺗﻤﺎﻣﻲ ﺗﻮﻫﻤﺎﺕ ﻣﻴﻞ ﻭ ﺍﺻﻮﻝ ﻋﻘﻼﻧﻲ ﺁﺯﺍﺩ ﺳﺎﺯﻱ ﺭﺍ ﺧﻼﺻﻪ ﻣﻲﻛﻨﺪ‪:‬‬

‫"ﺁﻧﭽﻪ ﺩﺭ ﺳﻴﺴﺘﻢ ﭘﺪﺭﺷﺎﻫﻲ ﺭﺥ ﺑﻪ ﻋﻨﻮﺍﻥ ﺁﻧﺘﻲ ﺗﺰ ﺯﻧﺎﻧﻪ ﺍﺭﺯﺵﻫﺎﻱ ﻣﺮﺩﺍﻧﻪ ﻇﺎﻫﺮ‬

‫ﻣﻲﺷﻮﺩ ﺩﻗﻴﻘﺎ ﺁﻟﺘﺮﻧﺎﺗﻴﻮﻱ ﺍﺯ ﻧﻈﺮ ﺳﻴﺎﺳﻲ ﻭ ﺍﺟﻤﺎﻋﻲ ﺳﺮﻛﻮﺏ ﺷﺪﻩﺍﺳﺖ ﻣﺎﻧﻨﺪ‬
‫ﺁﻟﺘﺮﻧﺎﺗﻴﻮ ﺳﻮﺳﻴﺎﻟﻴﺴﺖ‪ .‬ﺑﺮﺍﻧﺪﺍﺯﻱ ﺟﺎﻣﻌﻪ ﭘﺪﺭﺷﺎﻫﻲ‪ ،‬ﺍﻧﻜﺎﺭ ﺗﻤﺎﻣﻲ ﺧﺼﻮﺻﻴﺎﺕ ﺧﺎﺻﻲ‬
‫ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺯﻧﺎﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﺯﻧﺎﻥ‪ ،‬ﻧﺴﺒﺖ ﺩﺍﺩﻩ ﻣﻲﺷﻮﺩ ﺑﻨﺎﺑﺮﺍﻳﻦ )ﺍﻳﻦ ﻛﻴﻔﻴﺎﺕ( ﺑﻪ‬
‫ﺗﻤﺎﻣﻲ ﺑﺨﺶﻫﺎﻱ ﺯﻧﺪﮔﻲ ﺳﺮﺍﻳﺖ ﻣﻲﻛﻨﺪ ﻫﻢ ﺑﻪ ﻛﺎﺭ ﻭ ﻫﻢ ﺑﻪ ﻓﺮﺍﻏﺖ ﻭ‪....‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺁﺯﺍﺩ‬
‫ﺳﺎﺯﻱ ﺯﻧﺎﻥ ﻫﻤﺰﻣﺎﻥ ﺁﺯﺍﺩ ﺳﺎﺯﻱ ﻣﺮﺩﺍﻥ ﺭﺍ ﻧﻴﺰ ﺩﺭ ﺑﺮ ﺩﺍﺭﺩ‪" ...‬‬
‫ﻣﺎﺭﻛﻮﺯﻩ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﻓﺮﺽ ﻛﻨﻴﺪ ﺯﻧﺎﻧﮕﻲ ﺁﺯﺍﺩ ﮔﺸﺘﻪ ﻭ ﺩﺭ ﺧﺪﻣﺖ ﺍﻟﻬﻪ ﻋﺸﻖ )ﺍﺭﺱ( ﺍﺷﺘﺮﺍﻛﻲ ﺟﺪﻳﺪ ﻗﺮﺍﺭ ﮔﻴﺮﺩ‪.‬‬

‫)ﻫﻤﺎﻥ ﻫﻢ ﭘﻴﻤﺎﻧﻪ ﺭﺍﻧﻪ ﻣﺮﮒ‪ ،‬ﻛﻪ ﺩﻳﺎﻟﻜﺘﻴﻚ ﻫﻤﺮﺍﺳﺘﺎﻱ ﺍﺭﺱ ﺍﺟﺘﻤﺎﻋﻲ ﺟﺪﻳﺪ ﺍﺳﺖ( ﺍﻣﺎ ﭼﻪ‬

‫ﺭﻭﻱ ﻣﻲﺩﻫﺪ ﺍﮔﺮ ﺛﺎﺑﺖ ﺷﻮﺩ ﻛﻪ ﺯﻧﺎﻧﮕﻲ‪ ،‬ﺳﻮﺍﻱ ﻣﻮﺟﻮﺩﻳﺘﻲ ﺩﺍﺭﺍﻱ ﻣﺠﻤﻮﻋﻪ ﺍﻱ ﺍﺯ ﻛﻴﻔﻴﺎﺕ‬

‫ﺧﺎﺹ‪) ،‬ﻛﻪ ﺷﺎﻳﺪ ﻫﻨﮕﺎﻡ ﺳﺮﻛﻮﺏ ﺑﻮﺩﻩﺍﺳﺖ ﺍﻣﺎ ﻓﻘﻂ ﺁﻧﺰﻣﺎﻥ(‪ ،‬ﺁﻥ ﻫﻨﮕﺎﻡ ﻛﻪ ﺁﺯﺍﺩ ﺷﺪﻩ ﺑﺎﺷﺪ‪،‬‬

‫ﺗﺠﻠﻲ ﻳﻚ ﻧﺎﺣﺘﻤﻴﺖ ﺍﺭﻭﺗﻴﻜﻲ ﻭ ﺩﺭ ﻓﻀﺎﻱ ﺟﻨﺴﻲ ﻧﻴﺰ ﻣﺎﻧﻨﺪ ﺍﺟﺘﻤﺎﻉ‪ ،‬ﻓﺎﻗﺪ ﻫﺮﮔﻮﻧﻪ ﺧﺼﻴﺼﻪ‬

‫ﻭﻳﮋﻩﺍﻱ ﺧﻮﺍﻫﺪ ﺷﺪ؟‬

‫ﻣﻮﻗﻌﻴﺖ ﺯﻧﺎﻧﮕﻲ ﺩﺭ ﺍﻏﻮﺍ ﻛﺎﻣﻼً ﻛﻨﺎﻳﻲ ﺑﻮﺩﻩﺍﺳﺖ ﻭ ﺍﻣﺮﻭﺯ ﺗﻨﻬﺎ ﺩﺭ ﻧﺎﺣﺘﻤﻴﺖ ﻭ ﺍﻳﻬﺎﻣﺶ‬

‫ﻛﻨﺎﻳﻲ ﺍﺳﺖ‪ .‬ﺗﺮﻓﻴﻊ ﺁﻥ ﺑﻪ ﻣﺜﺎﺑﻪ ﺳﻮﮊﻩ ﺑﺎ ﺑﺎﺯﮔﺸﺘﺶ ﺑﻪ ﻣﺜﺎﺑﻪ ﺍﺑﮋﻩ‪ ،‬ﻳﻌﻨﻲ ﺑﺎﻳﺪ ﮔﻔﺖ ﺑﺎ‬

‫ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ ﺑﺴﻂ ﻳﺎﻓﺘﻪ ﻫﻤﺮﺍﻩﺍﺳﺖ‪ .‬ﺍﻧﻄﺒﺎﻗﻲ ﻏﺮﻳﺐ‪ .‬ﺟﻨﺒﺶ ﺁﺯﺍﺩ ﺳﺎﺯﻱ ﺯﻧﺎﻥ ﺗﻤﺎﻳﻞ ﺯﻳﺎﺩﻱ ﺑﺮﺍﻱ‬

‫ﻣﺨﺎﻟﻔﺖ ﺑﺎ ﭼﻨﻴﻦ ﺍﺑﮋﻩ ﺳﺎﺯﻱ ﺩﺍﺭﺩ‪ .‬ﺍﻣﺎ ﻧﺘﻴﺠﻪ ﻧﺎﺍﻣﻴﺪ ﻛﻨﻨﺪﻩﺍﺳﺖ ﭼﺮﺍ ﻛﻪ ﻣﻔﻬﻮﻡ ﺁﺯﺍﺩﺳﺎﺯﻱ‬

‫ﺯﻧﺎﻧﮕﻲ ﻛﺎﻣﻼً ﺩﺭ ﺍﻳﻬﺎﻣﻲ ﺑﻨﻴﺎﺩﻳﻦ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﺩ‪ .‬ﺣﺘﻲ ﻣﺘﻦ ﺭﻭﺳﺘﺎﻧﮓ ﻛﻪ ﻣﺎﻳﻞ ﺍﺳﺖ ﺍﺯ ﺧﺮﻭﺵ‬

‫ﻣﻄﺎﻟﺒﺎﺕ ﻭ ﺍﻣﻴﺎﻝ ﺯﻧﺎﻧﻪ ﺣﻤﺎﻳﺖ ﻧﻤﺎﻳﺪ‪ ،‬ﻧﻤﻲﺗﻮﺍﻧﺪ ﻋﺎﻗﺒﺖ ﻣﺼﻴﺒﺖ ﺑﺎﺭ ﺑﺴﻂ ﺍﻣﻴﺎﻝ ﺑﺮﺍﻱ ﻣﻄﺎﻟﺒﻪ‬

‫ﺧﺸﻨﻮﺩﻱ ﺭﺍ ﻧﺎﺩﻳﺪﻩ ﺍﻧﮕﺎﺭﺩ ﻭ ﻣﺠﺒﻮﺭ ﺍﺳﺖ ﻭﺿﻌﻴﺖ ﺍﻧﺘﺤﺎﺭﻱ ﻣﺮﺩﺍﻥ ﺭﺍ ﺗﺤﺖ ﺍﻳﻦ ﻣﻄﺎﻟﺒﻪ‪ ،‬ﭼﻮﻧﺎﻥ‬

‫ﺍﺳﺘﺪﻻﻟﻲ ﻗﺎﻃﻊ ﺑﭙﺬﻳﺮﺩ‪ ،‬ﻫﻴﭻ ﭼﻴﺰﻱ ﺑﺮﺍﻱ ﺗﻤﻴﺰ ﻣﻴﺎﻥ ﺷﺮﺍﺭﺕ ﻣﻄﺎﻟﺒﻪ ﺑﺮﺍﻱ ﺧﺸﻨﻮﺩﻱ ﺯﻧﺎﻧﻪ ﺑﺎ‬

‫ﺷﺮﺍﺭﺕ ﻣﻤﺎﻧﻌﺖﻫﺎﻱ ﻛﻠﻲ ﺩﺭ ﺳﺎﻟﻬﺎﻱ ﮔﺬﺷﺘﻪ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪.‬‬

‫ﺍﺑﻬﺎﻡ ﻣﺸﺎﺑﻬﻲ ﺭﺍ ﺩﺭ ﻣﺮﺩﺍﻧﮕﻲ ﻭ ﺿﻌﻔﺶ ﻣﻲﺗﻮﺍﻥ ﻳﺎﻓﺖ‪ .‬ﻭﺣﺸﺘﻲ ﻛﻪ ﻣﺮﺩﺍﻥ ﻭﻗﺘﻲ ﺑﺎ ﺳﻮﮊﻩ‬

‫ﺯﻧﺎﻧﮕﻲ ﺁﺯﺍﺩ ﺷﺪﻩ ﺭﻭﺑﺮﻭ ﻣﻲﺷﻮﻧﺪ ﺍﺣﺴﺎﺱ ﻣﻲﻛﻨﻨﺪ ﺩﺭﺳﺖ ﺑﻪ ﻫﻤﺎﻥ ﺍﻧﺪﺍﺯﻩ ﺷﻜﻨﻨﺪﮔﻲﺷﺎﻥ ﺩﺭ‬

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‫ﺍﻏﻮﺍ‬

‫ﺭﻭﻳﺎﺭﻭﻳﻲ ﺑﺎ ﺍﺑﮋﻩ ﺟﻨﺴﻲ ﺯﻥ ﺍﺳﺖ‪) .‬ﺍﻟﺒﺘﻪ ﭘﻴﺶ ﺍﺯ ﺷﻜﺎﻑ ﻫﺮﺯﻩ ﻧﮕﺎﺭﺍﻧﻪ ﺟﻨﺴﻴﺖ ﺍﻳﻦ ﺟﻨﺴﻴﺖ‬

‫ﺑﻴﮕﺎﻧﻪ ﺷﺪﻩ‪ ،‬ﺟﻨﺲ ﻣﻮﻧﺚ(‪ .‬ﺧﻮﺍﻩ ﺯﻥ‪ ،‬ﺧﻮﺩ ﺧﻮﺍﺳﺘﺎﺭ ﺍﺭﺿﺎﻱ ﺟﻨﺴﻲﺍﺵ ﺑﺎ ﺁﮔﺎﻫﻲ ﻭ ﻋﻘﻼﻧﻴﺖ‬

‫ﻛﺎﻣﻞ ﻧﺴﺒﺖ ﺑﻪ ﻣﻴﻠﺶ ﺑﺎﺷﺪ‪ ،‬ﺧﻮﺍﻩ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺻﻮﺭﺕ ﺭﻭﺳﭙﻴﮕﺮﻱ ﺗﻤﺎﻡ ﻋﻴﺎﺭ ﻋﺮﺿﻪ ﻛﻨﺪ ‪ -‬ﭼﻪ‬

‫ﺯﻧﺎﻧﮕﻲ ﺳﻮﮊﻩ ﻳﺎ ﺍﺑﮋﻩ ﺑﺎﺷﺪ‪ ،‬ﭼﻪ ﺁﺯﺍﺩ ﺷﻮﺩ ﭼﻪ ﺑﻪ ﻓﺮﻭﺵ ﺑﺮﺳﺪ‪ ،‬ﺟﻨﺴﻴﺖ ﺍﻭ ﺑﺎ ﻭﻟﻌﻲ ﺧﻴﺮﻩﮔﺮﺍﻧﻪ‬

‫ﺑﻠﻌﻴﺪﻩ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻳﻦ ﺗﺼﺎﺩﻓﻲ ﻧﻴﺴﺖ ﻛﻪ ﺗﻤﺎﻣﻲ ﻫﺮﺯﻩﻧﮕﺎﺭﻱﻫﺎ ﺍﻃﺮﺍﻑ ﺟﻨﺲ ﺯﻧﺎﻧﻪ ﻣﻲﭼﺮﺧﻨﺪ‪.‬‬

‫ﺍﻳﻦ ﺑﺪﻳﻦ ﺧﺎﻃﺮ ﺍﺳﺖ ﻛﻪ ﻧﻌﻮﻅﻫﺎ ﻫﺮﮔﺰ ﻣﻌﻴﻦ ﻧﻴﺴﺘﻨﺪ‪) :‬ﻫﻴﭻ ﻣﻨﻈﺮﻩﺍﻱ ﺩﺭ ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ ﻧﺎﺗﻮﺍﻥ ﻭ‬

‫ﻛﻢ ﻣﺎﻳﻪ ﻧﻴﺴﺖ‪ .‬ﺁﻧﻬﺎ ﺑﺎ ﺧﻴﺎﻝ ﻣﻨﺒﻊ ﺯﻧﺎﻧﻪ ﻧﺎﻣﺤﺪﻭﺩ ﮔﺬﺭﺍﻧﺪﻩ ﻣﻲﺷﻮﻧﺪ(‪ :۱۹‬ﺩﺭ ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ‪،‬‬

‫ﭼﻨﺎﻧﭽﻪ ﻣﻄﺎﻟﺒﺎﺕ ﻣﺪﺍﻭﻣﺎً ﺧﻮﺩ ﺭﺍ ﺍﺛﺒﺎﺕ ﻧﻤﻮﺩﻩ ﻭ ﻧﺸﺎﻥ ﺩﻫﻨﺪ‪ ،‬ﻣﻮﻗﻌﻴﺖ ﻣﺸﺨﺺ‪ ،‬ﻣﻮﻗﻌﻴﺖ‬

‫ﻣﺮﺩﺍﻧﻪ‪ ،‬ﺷﻜﻨﻨﺪﻩ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﺩﺭ ﻣﻘﺎﺑﻞ‪ ،‬ﺟﻨﺴﻴﺖ ﺯﻧﺎﻧﻪ‪ ،‬ﺑﻪ ﻋﻨﻮﺍﻥ ﭼﻴﺰﻱ ﻣﻔﻴﺪ ﺩﺭ ﺷﻜﺎﻑ ﻭ‬

‫ﺩﺭﺟﻪ ﺻﻔﺮ ﺧﻮﺩ‪ ،‬ﻫﻤﭽﻮﻥ ﺧﻮﺩﺵ‪ ،‬ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﺪ‪ .‬ﺗﺪﺍﻭﻡ ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ ﺯﻧﺎﻧﻪ‪ ،‬ﺑﺮﺧﻼﻑ‬

‫ﺗﻨﺎﻭﺏﻫﺎﻱ ﻣﺮﺩﺍﻧﻪ‪ ،‬ﻛﺎﻓﻲ ﺍﺳﺖ ﺑﺮﺗﺮﻱﺍﺵ ﺭﺍ ﺩﺭ ﺳﻄﺢ ﺑﺎﺯﻧﻤﺎﻳﻲ ﺍﺭﮔﺎﻧﻴﻜﻲ ﻟﺬﺕ ﺟﻨﺴﻲ ﻧﺸﺎﻥ‬

‫ﺩﻫﺪ ﺗﺎ ﺑﺎﺯﻧﻤﺎﻳﻲ ﺟﻨﺴﻴﺖ ﺑﻲﭘﺎﻳﺎﻥ ﺑﺮﺗﺨﻴﻼﺕ ﻣﺎ ﻣﺴﻠﻂ ﮔﺮﺩﺩ‪.‬‬

‫ﺁﺯﺍﺩﺳﺎﺯﻱ ﺟﻨﺴﻲ ﻣﺎﻧﻨﺪ ﻧﻴﺮﻭﻫﺎﻱ ﻣﻮﻟﺪ‪ ،‬ﺑﺎﻟﻘﻮﻩ ﻧﺎﻣﺤﺪﻭﺩ ﺍﺳﺖ‪ .‬ﺧﻮﺍﺳﺘﺎﺭ ﺳﺮﺷﺎﺭﻱ ﻭ‬

‫ﻓﺮﺍﻭﺍﻧﻲ ﺍﺳﺖ‪ ،‬ﺟﺎﻣﻌﻪ ﻓﺮﺍﻭﺍﻥ ﺍﺯ ﺭﻭﺍﺑﻂ ﺟﻨﺴﻲ‪ .‬ﻣﺎﻧﻨﺪ ﻛﺎﻻﻫﺎﻱ ﻣﺎﺩﻱ ﻧﻤﻲﺗﻮﺍﻧﺪ ﻛﻤﻴﺎﺑﻲ ﻛﺎﻻﻫﺎﻱ‬

‫ﺟﻨﺴﻲ ﺭﺍ ﺗﺤﻤﻞ ﻧﻤﺎﻳﺪ‪ .‬ﺍﻛﻨﻮﻥ ﺍﻳﻦ ﭘﻴﻮﺳﺘﮕﻲ ﻭ ﺳﻮﺩﻣﻨﺪﻱ ﺍﺗﻮﭘﻴﺎﻳﻲ )ﺗﻮﻟﻴﺪ ﻣﺴﺘﻤﺮ ﺟﻨﺴﻴﺖ ‪-‬‬

‫ﻣﺘﺮﺟﻢ( ﺗﻨﻬﺎ ﺑﺎ ﺟﻨﺴﻴﺖ ﺯﻧﺎﻧﮕﻲ ﻣﻲﺗﻮﺍﻧﺪ ﻣﺤﻘﻖ ﺷﻮﺩ‪ .‬ﺑﻪﻫﻤﻴﻦﺧﺎﻃﺮ ﻫﺮ ﭼﻴﺰﻱ ﺩﺭ ﺍﻳﻦ ﺟﺎﻣﻌﻪ‪:‬‬

‫ﺍﺑﮋﻩﻫﺎ‪ ،‬ﻛﺎﻻﻫﺎ‪ ،‬ﺧﺪﻣﺎﺕ‪ ،‬ﺭﻭﺍﺑﻂ ﺍﺯ ﻫﻤﻪ ﻧﻮﻉ‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﺑﺎ ﺍﺳﻠﻮﺑﻲ ﺯﻧﺎﻧﻪ‪ ،‬ﺟﻨﺴﻲ ﻭ ﻓﻤﻴﻨﻴﺰﻩ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﻣﻲﺷﻮﺩ‪ .‬ﺩﺭ ﺗﺒﻠﻐﻴﺎﺕ ﻫﻴﭻﭼﻴﺰﻱ ﺑﻪ ﺍﻧﺪﺍﺯﻩ ﺳﻜﺲ ﺍﺿﺎﻓﻪﺷﺪﻩ ﺑﻪ ﺗﺒﻠﻴﻎ ﻳﻚ ﻣﺎﺷﻴﻦ ﺭﺧﺘﺸﻮﻳﻲ‬

‫)ﭼﻴﺰﻱ ﻛﺎﻣﻼً ﭘﻮﭺ( ﺍﻫﻤﻴﺖ ﻧﺪﺍﺭﺩ‪ ،‬ﭼﻮﻧﺎﻥ ﺍﻋﻄﺎﻱ ﺍﺑﮋﻩﻫﺎﻱ ﺧﻴﺎﻝ‪ ،‬ﻛﻴﻔﻴﺖ ﺯﻧﺎﻧﻪ ﺑﺎ ﺍﺭﺍﺩﻩﺍﻱ ﺩﺭ‬

‫ﺩﺳﺘﺮﺱ ﺍﺳﺖ ﻭ ﺩﻳﮕﺮ ﻫﺮﮔﺰ ﺗﺼﺎﺩﻓﻲ ﻭ ﺟﻤﻊ ﺷﺪﻧﻲ ﻧﻴﺴﺖ‪.‬‬

‫ﺩﺭ ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ‪ ,‬ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ ﺑﺎ ﻳﻜﻨﻮﺍﺧﺘﻲ ﻛﺴﻞﻛﻨﻨﺪﻩﺍﻱ ﻓﺮﻭﻧﺸﺎﻧﺪﻩﻣﻲﺷﻮﺩ ﻭ ﺗﻬﻴﻴﺞ‬

‫ﻭ ﻋﺪﻡ ﺗﻬﻴﻴﺞ ﻣﺮﺩﺍﻥ ﺻﺮﻓﺎً ﻧﻘﺸﻲ ﺍﺳﻤﻲ ﺩﺍﺭﺩ‪ :‬ﻓﻴﻠﻢ ﭘﻮﺭﻧﻮ ﻫﻴﭻ ﭼﻴﺰﻱ ﺭﺍ ﺗﻐﻴﻴﺮ ﻧﺪﺍﺩﻩﺍﺳﺖ‪:‬‬

‫ﻣﺮﺩﺍﻧﮕﻲ ﺩﻳﮕﺮ ﺟﺬﺍﺏ ﻧﻴﺴﺖ ﭼﺮﺍ ﻛﻪ ﻣﺸﺨﺺ ﻭ ﻧﺸﺎﻧﻪﮔﺬﺍﺭﻱ ﺷﺪﻩﺍﺳﺖ ‪ -‬ﻓﺎﻟﻮﺱ ﻫﻤﭽﻮﻥ‬

‫ﺩﻻﻟﺘﮕﺮﻱ ﻣﺘﻌﺎﺭﻑ ‪ -‬ﻭ ﺍﺯ ﺍﻳﻦ ﺭﻭ ﺑﺴﻴﺎﺭ ﺷﻜﻨﻨﺪﻩ‪ .‬ﺍﻓﺴﻮﻧﮕﺮﻱ ﺑﻪ ﺳﻮﻱ ﺧﻨﺜﻲﻛﻨﻨﺪﮔﻲ ﺩﺭ ﺣﺮﻛﺖ‬

‫ﺍﺳﺖ‪ ،‬ﺑﻪ ﺳﻮﻱ ﺷﻜﺎﻓﻲ ﻧﺎﻣﻌﻴﻦ‪ ،‬ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ ﺳﻴﺎﻝ ﻭ ﭘﺮﺍﻛﻨﺪﻩ‪ .‬ﺁﻳﺎ ﺍﻳﻦ ﺍﺳﺖ ﺍﻧﺘﻘﺎﻡ ﺗﺎﺭﻳﺨﻲ‬

‫ﺯﻧﺎﻧﮕﻲ ﺑﻌﺪ ﺍﺯ ﻗﺮﻧﻬﺎ ﺳﺮﻛﻮﺏ ﻭ ﺳﺮﺩﻱ ﺟﻨﺴﻲ؟ ﺷﺎﻳﺪ ﺩﺭﺳﺘﺘﺮ‪ ،‬ﺍﻳﻦ ﻓﺮﺳﻮﺩﮔﻲ ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ‬

‫ﺍﺳﺖ‪ ،‬ﺧﻮﺍﻩ ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ ﻣﺮﺩﺍﻧﻪ ﻛﻪ ﺯﻣﺎﻧﻲ ﺗﻤﺎﻣﻲ ﻃﺮﺡﻫﺎﻱ ﻧﻌﻮﻅﻭﺍﺭﮔﻲ‪ ،‬ﻋﻤﻮﺩﻳﺖ‪ ،‬ﺍﺳﺘﻌﻼ‬

‫ﻭ ﺭﺷﺪ ﻭﺗﻮﻟﻴﺪﺵ ﺭﺍ ﺗﻘﻮﻳﺖ ﻧﻤﻮﺩ ﻭ ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ ﺩﺭ ﻭﺍﻧﻤﺎﻳﻲ ﻭﺳﻮﺍﺱﮔﻮﻧﻪﺷﺎﻥ ﺍﺯ ﺑﻴﻦ‬

‫ﺭﻓﺘﻪﺍﺳﺖ ﻭ ﺧﻮﺍﻩ ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ ﺯﻧﺎﻧﻪ‪ ،‬ﻛﻪ ﺯﻣﺎﻧﻲ ﺩﻭﺭ ﺩﺭ ﺍﻏﻮﺍ ﺗﺠﺴﻢ ﻣﻲﻳﺎﻓﺖ‪ .‬ﺍﻣﺮﻭﺯ‪ ،‬ﻭﺭﺍﻱ‬

‫ﺍﺑﮋﻩﺳﺎﺯﻱ ﻣﻜﺎﻧﻴﻜﻲ ﻧﺸﺎﻧﻪﻫﺎﻱ ﺟﻨﺴﻴﺖ‪ ،‬ﻣﺮﺩﺍﻧﮕﻲﺍﻱ ﺑﻪ ﻣﺜﺎﺑﻪ ﺷﻜﻨﻨﺪﮔﻲ ﺯﻧﺎﻧﮕﻲﺍﻱ ﺑﻪ ﻣﺜﺎﺑﻪ‬

‫ﺩﺭﺟﻪ ﺻﻔﺮ‪ ،‬ﻛﻨﺘﺮﻝ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﮔﺮﻓﺘﻪﺍﺳﺖ‪.‬‬

‫ﻣﺎ ﺍﺯ ﻟﺤﺎﻅ ﺧﺸﻮﻧﺖ ﺟﻨﺴﻲ ﺩﺭ ﻣﻮﻗﻌﻴﺖ ﺧﺎﺻﻲ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪﺍﻳﻢ‪ .‬ﺧﺸﻮﻧﺘﻲ ﻛﻪ ﺗﻮﺳﻂ‬

‫ﺷﻬﻮﺍﻧﻴﺖ ﮔﺮﺍﻳﻲ ﺯﻧﺎﻧﮕﻲ ﻟﺠﺎﻡ ﮔﺴﻴﺨﺘﻪ ﺑﺮ ﻣﺮﺩﺍﻧﮕﻲ »ﺍﻧﺘﺤﺎﺭﻱ« ﺍﻋﻤﺎﻝ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻣﺎ ﻣﻮﺿﻮﻉ ﺗﻨﻬﺎ‬

‫ﻭﺍﮊﮔﻮﻧﻲ ﺧﺸﻮﻧﺖ ﺗﺎﺭﻳﺨﻲ ﺑﻪ ﻛﺎﺭ ﺭﻓﺘﻪ ﺑﺮ ﺯﻧﺎﻥ ﺑﺎ ﻧﻴﺮﻭﻱ ﺟﻨﺴﻲ ﻣﺮﺩﺍﻧﻪ ﻧﻴﺴﺖ‪ .‬ﺧﺸﻮﻧﺖ ﺑﻪ ﻛﺎﺭ‬

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‫ﺍﻏﻮﺍ‬

‫ﺭﻓﺘﻪ ﺩﺭ ﺍﻳﻦ ﻭﺿﻌﻴﺖ‪ ،‬ﺧﻨﺜﻲ ﺳﺎﺯﻱ‪ ،‬ﺭﺧﻮﺕ ﻭ ﺗﻼﺷﻲ ﺍﺻﻄﻼﺣﺎﺕ ﻧﺸﺎﻧﻪﮔﺬﺍﺭﻱ ﺷﺪﻩ ﺑﺎ ﻓﻮﺭﺍﻥ‬

‫ﺍﺻﻄﻼﺣﺎﺕ ﻧﺸﺎﻧﻪﮔﺬﺍﺭﻱ ﻧﺸﺪﻩﺍﺳﺖ‪ .‬ﺧﺸﻮﻧﺘﻲ ﻭﺍﻗﻌﻲ ﻭ ﺟﻨﺴﻲ ﻧﻴﺴﺖ‪ ،‬ﺑﻞ ﺧﺸﻮﻧﺘﻲ ﺍﺳﺖ‬

‫ﺑﺎﺯﺩﺍﺭﻧﺪﻩ‪ ،‬ﺧﺸﻮﻧﺘﻲ ﺧﻨﺜﻲﻛﻨﻨﺪﻩ‪ ،‬ﺧﺸﻮﻧﺖ ﺩﺭﺟﻪ ﺻﻔﺮ‪.‬‬

‫ﻭ ﻧﻴﺰ ﻫﺮﺯﻩﻧﮕﺎﺭﻱ‪ :‬ﺧﺸﻮﻧﺖ ﺟﻨﺴﻴﺖ ﺧﻨﺜﻲ ﺷﺪﻩﺍﺳﺖ‪.‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﺍﺳﺘﺮﻳﻮ ‪ -‬ﭘﻮﺭﻧﻮ‬

‫"ﻣﺮﺍ ﺑﻪ ﺍﺗﺎﻗﺘﺎﻥ ﺑﺒﺮﻳﺪ ﻭ ﺑﺎ ﻣﻦ ﻧﺰﺩﻳﻜﻲ ﻛﻨﻴﺪ‪ .‬ﭼﻴﺰﻱ ﺗﻮﺻﻴﻒﻧﺎﭘﺬﻳﺮ ﺩﺭ ﻭﺍﮊﮔﺎﻥ‬

‫ﺷﻤﺎ ﭼﻴﺰﻱ ﺑﺎﻗﻲ ﻣﺎﻧﺪﻩﺍﺳﺖ‪ ،‬ﭼﻴﺰﻱ ﺑﺮﺍﻱ ﻣﻴﻞ ﺩﺍﺷﺘﻦ"‬

‫ﻓﻴﻠﻴﭗ ﺩﻳﻚ ﻭ ﺗﻮﭖ ﺷﻴﺰﻭ‬

‫"ﻫﻤﻪ ﭼﻴﺰ ﻭﺍﻗﻌﻲ ﻣﻲﺷﻮﺩ"‬

‫ﺟﻴﻤﻲ ﻛﻠﻴﻒ‬

‫‪ ۲۰ trompe l'oeil‬ﺑﻌﺪﻱ ﺍﺯ ﻓﻀﺎﻱ ﻭﺍﻗﻌﻲ ﺭﺍ ﺑﺮ ﻣﻲﺩﺍﺭﺩ )ﮊﺭﻓﺎ ﺭﺍ ﺑﺮﻣﻲﺩﺍﺭﺩ )ﻡ(( ﺗﺎ ﺑﺘﻮﺍﻧﺪ‬

‫ﺍﻏﻮﺍ ﻧﻤﺎﻳﺪ‪ ،‬ﺩﺭ ﻣﻘﺎﺑﻞ ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ ﻳﻚ ﺑﻌﺪ ﺑﻪ ﻓﻀﺎﻱ ﺟﻨﺴﻴﺖ ﺍﺿﺎﻓﻪ ﻣﻲﻛﻨﺪ ﻭ ﺍﻣﺮﻱ ﻭﺍﻗﻌﻲﺗﺮ ﺍﺯ‬

‫ﻭﺍﻗﻌﻲ ﻣﻲﮔﺮﺩﺩ ﻭ ﺍﻳﻦ ﺑﻪ ﺳﺒﺐ ﻓﻘﺪﺍﻥ ﺍﻏﻮﺍﮔﺮﻱ ﺁﻥ ﺍﺳﺖ‪ .‬ﻫﻴﭻ ﻟﺰﻭﻣﻲ ﻧﺪﺍﺭﺩ ﻗﻮﻩ ﺗﺨﻴﻞ ﺧﻮﺩ ﺭﺍ‬

‫ﺑﺮﺍﻱ ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ )ﺑﺘﻮﺍﺭﮔﻲﻫﺎ‪ ،‬ﺍﻧﺤﺮﺍﻓﺎﺕ ﺟﻨﺴﻲ‪ ،‬ﻧﻤﺎﻳﺶﻫﺎﻱ ﻗﺪﻳﻤﻲ ﻭ‪ (..‬ﺑﻜﺎﺭﮔﻴﺮﻳﻢ ﭼﺮﺍ ﻛﻪ ﺑﺎ‬

‫ﻭﺍﻗﻌﻴﺘﻲ ﺍﺿﺎﻓﻪ ﻣﺴﺪﻭﺩ ﺷﺪﻩﺍﺳﺖ‪ .‬ﺷﺎﻳﺪ ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ ﺗﻨﻬﺎ ﻋﻼﻣﺘﻲ ﺍﺳﺖ ﻳﺎ ﺑﻬﺘﺮ ﺑﮕﻮﻳﻴﻢ ﺍﺟﺒﺎﺭﻱ‬

‫ﺍﺳﺖ ﺑﺮ ﻧﺸﺎﻧﻪﻫﺎ‪ ،‬ﺍﻗﺪﺍﻣﻲ ﺍﺳﺖ ﺑﺎﺭﻭﻙ )ﺑﺎﺭﻭﻙ( ﺑﺮ ﺩﻻﻟﺖﻫﺎﻳﻲ ﻣﺘﺄﺛﺮ ﺍﺯ »ﮔﺮﻭﺗﺴﻚ« )ﻫﻨﺮ‬

‫‪٥۰‬‬
‫ﺍﻏﻮﺍ‬

‫ﺑﺎﻏﺴﺘﺎﻧﻲ ﮔﺮﻭﺗﺴﻚ‪ ،‬ﺑﻪ ﻃﺒﻴﻌﺖ ﻛﻮﻫﺴﺘﺎﻧﻲ ﺍﺿﺎﻓﻪ ﻣﻲﺷﻮﺩ ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ ﻭﺿﻮﺡ‬

‫ﺑﻴﺶ ﺍﺯﺣﺪ ﺟﺰﺋﻴﺎﺕ ﺁﻧﺎﺗﻮﻣﻲ ﺭﺍ ﺍﺿﺎﻓﻪ ﻣﻲﻧﻤﺎﻳﺪ(‬

‫ﻭﻗﺎﺣﺖ ﺧﻮﺩ ﺍﺑﮋﻩﻫﺎﻳﺶ ﺭﺍ ﺳﻮﺯﺍﻧﺪﻩ ﻭ ﻣﺼﺮﻑ ﻣﻲﻛﻨﺪ‪ .‬ﻓﺮﺩ ﺍﺯ ﻧﻤﺎﻱ ﻧﺰﺩﻳﻚ ﭼﻴﺰﻱ ﺭﺍ‬

‫ﻣﻲﺑﻴﻨﺪ ﻛﻪ ﻫﺮﮔﺰ ﻗﺒﻼ ﻧﺪﻳﺪﻩﺍﺳﺖ ﻭ ﻫﺮﮔﺰ ﻋﻤﻠﻜﺮﺩ ﺍﻧﺪﺍﻣﻬﺎﻱ ﺗﻨﺎﺳﻠﻲ ﺭﺍ ﺍﻳﻦ ﻗﺪﺭ ﻧﺰﺩﻳﻚ ﻭ ﺍﺯ‬

‫ﭼﻨﻴﻦ ﭼﺸﻢ ﺍﻧﺪﺍﺯﻱ ﻧﺪﻳﺪﻩﺍﺳﺖ‪.‬‬

‫ﻫﻤﻪ ﭼﻴﺰ ﻭﺍﺿﺢ ﺍﺳﺖ ﺁﻧﻘﺪﺭ ﻧﺰﺩﻳﻚ ﺗﺎ ﻛﺎﻣﻼً ﻭﺍﺿﺢ ﺑﺎﺷﺪ‪ ،‬ﻭ ﺁﻧﭽﻪ ﺩﺭ ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ ﺟﺬﺍﺏ‬

‫ﺍﺳﺖ ﻫﻤﻴﻦ ﻭﺍﻗﻌﻴﺖ ﺍﺿﺎﻓﻪ ﻭ ﺣﺎﺩ ﻭﺍﻗﻌﻴﺖ ﭼﻴﺰﻫﺎ ﺍﺳﺖ‪ .‬ﺗﻨﻬﺎ ﺗﺨﻴﻞ ﺩﺭ ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ‪ ،‬ﺍﮔﺮ ﺑﺎﺷﺪ‪،‬‬

‫ﻧﻪ ﺗﺨﻴﻞ ﺩﺭ ﺳﻜﺲ ﺑﻠﻜﻪ ﺍﺯ ﻭﺍﻗﻌﻴﺖ ﻭ ﺟﺬﺏ ﺁﻥ ﺩﺭ ﭼﻴﺰﻱ ﺑﻴﺶ ﺍﺯ ﻭﺍﻗﻌﻴﺖ ﻳﻌﻨﻲ ﺣﺎﺩ ﻭﺍﻗﻌﻴﺖ‬

‫ﺍﺳﺖ‪ .‬ﻧﮕﺎﻩ ﺷﻬﻮﺕﺁﻣﻴﺰ ﻫﺮﺯﻩﻧﮕﺎﺭﻱ‪ ،‬ﻧﮕﺎﻩ ﺷﻬﻮﺕﺁﻣﻴﺰ ﺟﻨﺴﻲ ﻧﻴﺴﺖ‪ ،‬ﺑﻠﻜﻪ ﻧﮕﺎﻩ ﺷﻬﻮﺕﺁﻣﻴﺰ‬

‫ﺑﺎﺯﻧﻤﺎﻳﻲ ﻭ ﺗﺒﺎﻫﻲ ﺍﺳﺖ‪ ،‬ﺳﺮﮔﻴﺠﻪﺍﻱ ﻧﺎﺷﻲ ﺍﺯ ﺑﻴﻬﻮﺩﮔﻲ ﻧﻤﺎﻳﺶ ﻭ ﻓﻮﺭﺍﻥ ﻭﻗﺎﺣﺖ‪.‬‬

‫ﻧﺘﻴﺠﻪ ﺑﺰﺭﮔﻨﻤﺎﻳﻲ ﻛﺎﻟﺒﺪﻫﺎ‪ ،‬ﺍﺯ ﺑﻴﻦ ﺭﻓﺘﻦ ﺍﺑﻌﺎﺩ ﻭﺍﻗﻌﻲ‪ ،‬ﺍﺭﺍﺋﻪ ﻓﺎﺻﻠﻪ ﮔﻴﺰ ﺩﺭ ﻳﻚ ﺁﻥ‪ ،‬ﺗﺸﺪﻳﺪ‬

‫ﺑﺎﺯﻧﻤﺎﻳﻲ‪ ،‬ﻧﻤﺎﻳﺶ ﺳﻜﺲ ﺩﺭ ﺣﺎﻟﺖ ﻣﺤﺾﺍﺵ‪ ،‬ﻭﻧﻪ ﺗﻨﻬﺎ ﺗﻬﻲ ﺷﺪﻥ ﺍﺯ ﺗﻤﺎﻣﻲ ﺍﻏﻮﺍﻫﺎ ﺑﻞ ﻧﺎﺑﻮﺩﻱ‬

‫ﺗﻤﺎﻣﻲ ﭘﺘﺎﻧﺴﻴﻞﻫﺎﻱ ﺗﺼﺎﻭﻳﺮ ﺍﺳﺖ‪ .‬ﺳﻜﺲ ﺁﻧﻘﺪﺭ ﻧﺰﺩﻳﻚ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﺑﺎﺯﻧﻤﺎﻳﻲ ﺧﻮﺩﺵ ﺩﺭ ﻫﻢ‬

‫ﺁﻣﻴﺨﺘﻪ ﻣﻲﺷﻮﺩ‪ .‬ﭘﺎﻳﺎﻥ ﻓﻀﺎﻱ ﭼﺸﻢﺍﻧﺪﺍﺯﻱ ﻭ ﺍﺯ ﺍﻳﻦ ﺭﻭ‪ ،‬ﭘﺎﻳﺎﻥﺍﻧﮕﺎﺭﻩ ﻭ ﺧﻴﺎﻝ‪ ،‬ﭘﺎﻳﺎﻥ ﻧﻤﺎﻳﺶ‪،‬‬
‫‪۲۱‬‬
‫ﭘﺎﻳﺎﻥ ﺗﻮﻫﻢ‪.‬‬

‫ﺑﺎ ﺍﻳﻦ ﻭﺟﻮﺩ‪ ،‬ﻫﺮﺯﮔﻲ‪ ،‬ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ ﻧﻴﺴﺖ‪ .‬ﻫﺮﺯﮔﻲ ﺳﻨﺘﻲ ﻫﻨﻮﺯ ﻋﻨﺼﺮﻱ ﺍﺯ ﺳﺮﭘﻴﭽﻲ‪،‬‬

‫ﺍﻧﮕﻴﺨﺘﮕﻲ ﻳﺎ ﺍﻧﺤﺮﺍﻑ ﺭﺍ ﺑﺎ ﺧﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺁﻥ ﺑﺎ ﺗﺨﻴﻼﺕ ﺧﺸﻮﻧﺖ ﺁﻣﻴﺰ‪ ،‬ﺳﺮﻛﻮﺏ ﺭﺍ ﺍﺟﺮﺍ ﻣﻲﻧﻤﺎﻳﺪ‪ .‬ﺑﺎ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﺳﺮﻛﻮﺑﮕﺮ ِ« ﻣﺎﺭﻛﻮﺯﻩ ‪repressive) ‬‬ ‫ﺁﺯﺍﺩﺳﺎﺯﻱ ﺟﻨﺴﻲ ﺍﻳﻦ ﻭﻗﺎﺣﺖ ﻧﺎﭘﺪﻳﺪ ﻣﻲﺷﻮﺩ‪» :‬ﺗﺼﻌﻴﺪﺯﺩﺍﻱ‬

‫( ﺍﺻﻄﻼﺡ ﻣﺎﺭﻛﻮﺯﻩ‪ :‬ﻳﻜﻲ ﺍﺯ ﺍﺷﻜﺎﻝ ﺳﺮﻛﻮﺏ ﺟﺎﻣﻌﻪ ﺳﺮﻣﺎﻳﻪﺩﺍﺭﻱ ﺍﺳﺖ ﺑﺮ‬ ‫‪desublimation ‬‬

‫ﻃﺒﻖ ﻧﻈﺮ ﻓﺮﻭﻳﺪ ﺗﺼﻌﻴﺪ ﺑﻪ ﻓﺮﺁﻳﻨﺪﻱ ﮔﻔﺘﻪﻣﻲﺷﻮﺩ ﻛﻪ ﺍﻧﺮﮊﻱﻫﺎﻱ ﻏﺮﻳﺰﻱ ﺍﺯ ﺑﺮﻭﺯ ﻃﺒﻴﻌﻲ ﺧﻮﺩ‬

‫ﺑﻪ ﺳﻤﺖ ﺍﺷﻜﺎﻝ ﺩﻳﮕﺮ ﺭﺿﺎﻳﺘﻤﻨﺪﻱ ﻣﻨﺤﺮﻑ ﻣﻲﺷﻮﻧﺪ ﺗﺼﻌﻴﺪ ﺯﺩﺍﻳﻲ ﻧﻈﺎﻣﻲ ﺍﺳﺖ ﻛﻪ ﺗﺎ ﺣﺪﻱ‬

‫ﺍﺑﺮﺍﺯ ﻃﺒﻴﻌﻲ ﺍﻧﺮﮊﻱﻫﺎﻱ ﻏﺮﻳﺰﻱ ﺭﺍ ﺭﻭﺍ ﻣﻲﺩﺍﺭﺩ ﺗﺎ ﻣﺎ ﺧﺸﻨﻮﺩﻱ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺍﻣﻮﺭ ﻛﻮﭼﻚ ﻭ‬

‫ﺣﻘﻴﺮﻱ ﺍﺭﺿﺎ ﺷﺪﻩ ﺑﺪﺍﻧﻴﻢ( ﻫﻤﻴﻦ ﻣﺴﻴﺮ ﺭﺍ ﺩﻧﺒﺎﻝ ﻣﻲﻛﻨﺪ‪) .‬ﻭ ﺣﺘﻲ ﺍﮔﺮ ﺑﻪ ﻋﺎﺩﺍﺕ ﻋﺎﻣﻪ ﺗﺴﺮﻱ‬

‫ﻧﻴﺎﺑﺪ ﺍﻳﻦ ﭘﻴﺮﻭﺯﻱ ﺍﺳﻄﻮﺭﻩﺍﻱ ﺁﺯﺍﺩﺳﺎﺯﻱ ﺑﻪ ﻣﺎﻧﻨﺪ ﺳﺮﻛﻮﺏ ﺩﻳﺮﻭﺯﻱ ﻓﺮﺍﮔﻴﺮ ﺍﺳﺖ( ﻭﻗﺎﺣﺖ ﺟﺪﻳﺪ‬

‫ﻣﺎﻧﻨﺪ ﻓﻠﺴﻔﻪ ﺟﺪﻳﺪ )ﻓﻠﺴﻔﻪ ‪ (lanouvelle‬ﺑﺮ ﮔﻮﺭ ﭘﻴﺸﻴﻦ ﺧﻮﺩ ﺑﺮﻣﻲﺧﻴﺰﺩ ﻭ ﻣﻌﻨﺎﻱ ﺩﻳﮕﺮﻱ‬

‫ﻣﻲﻳﺎﺑﺪ‪ .‬ﭼﻨﻴﻦ ﻭﻗﺎﺣﺘﻲ ﺑﺎ ﺧﺸﻮﻧﺖ ﺟﻨﺴﻲ ﻭ ﺑﺎ ﺷﺮﺍﻳﻂ ﻭﺍﻗﻌﻲ ﺍﺟﺮﺍ ﻧﻤﻲﺷﻮﺩ ﺑﻠﻜﻪ ﺑﺮ ﺳﻜﺲ ﺑﻪ‬

‫ﻣﺮﺍﺗﺐ ﺧﻨﺜﻲ ﺷﺪﻩﺍﻱ ﺍﺳﺘﻮﺍﺭ ﺍﺳﺖ‪ .‬ﺳﻜﺲ‪ ،‬ﻣﻜﺮﺭﺍً ﺍﺭﺍﺋﻪ ﻣﻲﮔﺮﺩﺩ ﺍﻣﺎ ﺍﺭﺍﺋﻪ ﺍﻣﺮﻱ ﺍﺳﺖ ﻛﻪ ﭘﻴﺸﺘﺮ‬

‫ﺑﺮﭼﻴﺪﻩ ﺷﺪﻩﺍﺳﺖ‪ .‬ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ ﻫﻤﻨﻬﺎﺩ ﺗﺼﻨﻌﻲ ﻭ ﻣﺮﺍﺳﻢ ﺁﻥ )ﺍﻣﺎ ﻧﻪ ﺳﺘﺎﻳﺶ ﺁﻥ( ﺍﺳﺖ‪ .‬ﭼﻴﺰﻱ‬

‫ﺟﺪﻳﺪ ﻭ ﺍﺿﺎﻓﻲ ﻣﺎﻧﻨﺪ ﻓﻀﺎﻱ ﺳﺒﺰ ﻱ ﻛﻪ ﺟﻠﻮﻩﻫﺎﻱ ﻛﻠﺮﻭﻓﻴﻠﻲ ﺧﻮﺩ ﺭﺍ ﺟﺎﻧﺸﻴﻦ ﻃﺒﻴﻌﺖ ﺍﺯ ﺩﺳﺖ‬

‫ﺭﻓﺘﻪ ﻛﺮﺩﻩﺍﻧﺪ ﻭ ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮ ﺩﺭ ﻫﻤﺎﻥ ﻭﻗﺎﺣﺖ ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ ﺷﺮﻳﻚ ﺍﺳﺖ‪ .‬ﻋﺪﻡ ﻭﺍﻗﻌﻴﺖ ﻣﺪﺭﻥ‬

‫ﺗﺨﻴﻠﻲ ﺑﻪ ﻛﺎﺭ ﻧﻤﻲﮔﻴﺮﺩ ﺑﻠﻜﻪ ﺍﺯ ﺍﺭﺟﺎﻉ‪ ،‬ﺩﻗﺖ ﻭ ﻭﺿﻮﺡ ﺑﻴﺸﺘﺮﻱ ﺑﻬﺮﻩ ﻣﻲﺑﺮﺩ ﻭ ﻫﺮ ﭼﻴﺰﻱ ﺭﺍ ﻛﻪ‬

‫ﮔﻮﺍﻫﻲ ﻣﻄﻠﻖ ﺑﺮ ﻭﺍﻗﻌﻴﺖ ﺑﺎﺷﺪ ﺗﺼﺎﺣﺐ ﻣﻲﻛﻨﺪ‪ .‬ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺩﺭ ﻧﻘﺎﺷﻲﻫﺎﻱ ﺣﺎﺩ ﻭﺍﻗﻌﻲ )ﻣﺎﻧﻨﺪ‬

‫ﻧﻘﺎﺷﻲﻫﺎﻱ ﺭﺋﺎﻟﻴﺴﺘﻬﺎﻱ ﺟﺎﺩﻭﻳﻲ( ﻣﻲﺗﻮﺍﻥ ﭘﻮﺳﺘﻪ ﺍﻱ ﻇﺎﻫﺮﻱ ﺑﺎ ﺟﺰﺋﻴﺎﺕ ﻣﻴﻜﺮﻭﺳﻜﻮﭘﻲ ﻏﻴﺮ‬

‫ﻋﺎﺩﻱ ﺭﺍ ﺗﻤﻴﺰ ﺩﺍﺩ ﻛﻪ ﻫﺮﮔﻮﻧﻪ ﺍﻓﺴﻮﻧﮕﺮﻱ ﺭﺍ ﺣﺘﻲ ﺍﺯ ﭼﻴﺰﻫﺎﻱ ﻏﻴﺮ ﻃﺒﻴﻌﻲ ﻧﻴﺰ ﻣﻲﺯﺩﺍﻳﺪ‪.‬‬

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‫ﺍﻏﻮﺍ‬

‫ﺣﺎﺩ ﺭﺋﺎﻟﻴﺴﻢ‪ ،‬ﺳﻮﺭﺭﺋﺎﻟﻴﺴﻢ ﻧﻴﺴﺖ‪ ،‬ﺑﻠﻜﻪ ﻧﮕﺮﺷﻲ ﺍﺳﺖ ﻛﻪ ﺍﻏﻮﺍﮔﺮﻱ ﺭﺍ ﺑﺎ ﺍﺩﻭﺍﺕ ﺩﻳﺪﺍﺭﻱﺍﺵ‬

‫ﺍﺯ ﻣﻴﺎﻥ ﻣﻲﺑﺮﺩ‪ .‬ﭼﻴﺰ ﺑﻴﺸﺘﺮﻱ ﺑﻪ ﺷﻤﺎ ﺩﺍﺩﻩﻣﻲﺷﻮﺩ‪ .‬ﻣﺎﻧﻨﺪ ﻭﺿﻮﺡ ﺭﻧﮓ ﻫﺎﻱ ﺗﺼﺎﻭﻳﺮ ﺳﻴﻨﻤﺎﻳﻲ ﻭ‬

‫ﺗﻠﻮﻳﺰﻳﻮﻧﻲ‪ .‬ﺑﻪ ﺷﻤﺎ ﭼﻴﺰ ﺩﺭﺧﺸﻨﺪﻩﺗﺮ‪ ،‬ﺭﻧﮕﻲﺗﺮ‪ ،‬ﺟﻨﺴﻲﺗﺮ ﻭ ﺑﺎ ﺑﻴﺸﺘﺮﻳﻦ ﻭﺿﻮﺡ ﺍﺭﺍﺋﻪ ﻣﻲﺷﻮﺩ ﻭ ﺩﺭ‬

‫ﻣﻘﺎﺑﻞ ﺍﻳﻦ ﺗﺸﺪﻳﺪﻫﺎ )ﻛﻪ ﻫﻤﺎﻥ ﺯﻧﺪﮔﻲ ﻣﺎﺳﺖ!(‪ ،‬ﺷﻤﺎ ﭼﻴﺰﻱ ﺑﺮﺍﻱ ﺍﺿﺎﻓﻪ ﻛﺮﺩﻥ )ﺑﺮﺍﻱ ﺗﺨﻴﻞ‬

‫ﻛﺮﺩﻥ( ﻳﺎ ﺑﻪ ﺑﻴﺎﻥ ﺩﻳﮕﺮ‪ ،‬ﻫﻴﭻ ﭼﻴﺰﻱ ﺑﺮﺍﻱ ﻣﺒﺎﺩﻟﻪ ﻧﺨﻮﺍﻫﻴﺪ ﺩﺍﺷﺖ‪ .‬ﺳﺮﻛﻮﺏ ﻣﻄﻠﻖ‪ :‬ﺍﺭﺍﺋﻪ ﻣﻜﺮﺭ‬

‫ﺍﻣﺮﻱ ﻛﻢﻣﺎﻳﻪ ﺗﺎ ﻫﻤﻪﭼﻴﺰ ﺭﺍ ﻓﺮﺍﮔﻴﺮﺩ‪ .‬ﺍﺯ ﺁﻧﭽﻪ ﻛﻪ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﺍﺭﺍﺋﻪ ﻣﻴﺪﻫﺪ ﺑﺮﺣﺬﺭ ﺑﺎﺷﻴﺪ‪ ،‬ﭼﺮﺍ‬

‫ﻛﻪ ﺩﺭ ﻣﻘﺎﺑﻞ ﺁﻧﭽﻪ ﺑﻪ ﺷﻤﺎ ﻣﻲﺩﻫﺪ ﭼﻴﺰﻱ ﺑﺮﺍﻱ ﺑﺎﺯﮔﺮﺩﺍﻧﺪﻥ ﻧﺨﻮﺍﻫﻴﺪ ﺩﺍﺷﺖ‪.‬‬
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‫ﺍﻣﺮﻱ ﺳﺮﮔﻴﺠﻪﺁﻭﺭ‪ ،‬ﺗﺼﻮﻳﺮﻱ ﻣﺴﺘﻬﺠﻦ‪ ،‬ﭘﺮ ﺍﺯ ﺧﻔﻘﺎﻥ ﻭ ﮔﻴﺞﻛﻨﻨﺪﻩ ﺍﺯ ﭼﻬﺎﺭ ﻓﻮﻧﻴﻜﻲﻫﺎﻱ‬

‫ﮊﺍﭘﻨﻲ‪ :‬ﺍﺗﺎﻗﻲ ﺩﺭ ﻭﺿﻌﻴﺖ ﺍﻳﺪﻩﺍﻝ‪ ،‬ﺗﻜﻨﻴﻚﻫﺎﻱ ﺧﺎﺭﻕﺍﻟﻌﺎﺩﻩ‪ ،‬ﻣﻮﺯﻳﻚ ﺩﺭ ﭼﻬﺎﺭ ﻃﺮﻑ‪ ،‬ﻧﻪ ﺗﻨﻬﺎ ﺍﺯ‬

‫ﺳﻪ ﻃﺮﻑ ﻣﺤﺼﻮﺭ ﺷﺪﻩ‪ ،‬ﺑﻠﻜﻪ ﺑﻌﺪ ﭼﻬﺎﺭﻣﻲ‪ ،‬ﺑﻌﺪﻱ ﺍﺯ ﺩﺭﻭﻥ ﺩﺭ ﻓﻀﺎﻱ ﺩﺍﺧﻠﻲ ﻧﻴﺰ ﺑﻪ ﺁﻥ ﺍﺿﺎﻓﻪ‬

‫ﻣﻲﺷﻮﺩ‪ .‬ﻫﺬﻳﺎﻧﻲ ﻓﻦﺁﻭﺭﺍﻧﻪ ﭘﺨﺶ ﺑﺎ ﻛﻴﻔﻴﺘﺘﺮﻳﻦ ﻧﺤﻮ ﻣﻮﺳﻴﻘﻲﻫﺎﻳﻲ )ﺑﺎﺥ ﻣﻮﻧﺘﻮﺭﺩﻱ‪ ،‬ﻣﻮﺗﺴﺎﺭﺕ(‬

‫ﻛﻪ ﻫﺮﮔﺰ ﺍﻳﻦ ﭼﻨﻴﻦ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺘﻪ‪ ،‬ﻫﺮﮔﺰ ﺍﻳﻦ ﭼﻨﻴﻦ ﺷﻨﻴﺪﻩ ﻧﺸﺪﻩ ﻭ ﻫﺮﮔﺰ ﺑﺮﺍﻱ ﺍﻳﻨﭽﻨﻴﻦ‬

‫ﺷﻨﻴﺪﻥ‪ ،‬ﺳﺎﺧﺘﻪ ﻧﺸﺪﻩ‪ .‬ﺑﺎ ﺗﻤﺎﻡ ﺍﻳﻨﻬﺎ‪ ،‬ﺷﺨﺺ ﻣﻮﺳﻴﻘﻲ ﺭﺍ ﻧﻤﻲﺷﻨﻮﺩ‪ ،‬ﭼﺮﺍ ﻛﻪ ﻓﺎﺻﻠﻪﺍﻱ ﻛﻪ ﺍﺟﺎﺯﻩ‬

‫ﻣﻲﺩﻫﺪ ﻓﺮﺩ ﻣﻮﺳﻴﻘﻲ ﺭﺍ ﻣﺜﻼً ﻣﺎﻧﻨﺪ ﻳﻚ ﻛﻨﺴﺮﺕ ﻳﺎ ﺟﺎﻱ ﺩﻳﮕﺮﻱ ﺑﺸﻨﻮﺩ ﺍﺯ ﺑﻴﻦ ﺭﻓﺘﻪﺍﺳﺖ‪ .‬ﺩﺭ‬

‫ﻋﻮﺽ ﻣﻮﺳﻴﻘﻲ ﺍﺯ ﺗﻤﺎﻡ ﺟﻬﺎﺕ ﺑﻪ ﮔﻮﺵ ﻣﻲﺭﺳﺪ‪ .‬ﺍﻳﻦ ﺩﻳﮕﺮ ﻓﻀﺎﻱ ﻣﻮﺯﻳﻜﺎﻝ ﻧﻴﺴﺖ‪ ،‬ﻭﺍﻧﻤﺎﻳﻲ‬

‫ﻣﺤﻴﻄﻲ ﺍﺳﺖ ﻛﺎﻣﻞ ﻛﻪ ﻣﺎ ﺭﺍ ﺣﺘﻲ ﺍﺯ ﻛﻮﭼﻜﺘﺮﻳﻦ ﺍﺩﺭﺍﻙﻫﺎﻱ ﺗﺤﻠﻴﻠﻲ ﺑﺮﺍﻱ ﻣﺤﻈﻮﻅ ﺷﺪﻥ ﺍﺯ‬

‫ﺍﻓﺴﻮﻥ ﻣﻮﺳﻴﻘﻲ ﻣﺤﺮﻭﻡ ﻣﻲﻛﻨﺪ‪.‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﮊﺍﭘﻨﻲﻫﺎ ﺍﻳﻦ ﺗﻤﺎﻳﻞ ﻭ ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﺍﻳﻤﺎﻥ ﺭﺍ ﺩﺍﺭﻧﺪ ﻛﻪ ﻭﺍﻗﻌﻴﺖ ﺭﺍ ﺑﺎ ﺑﻴﺸﺘﺮﻳﻦ ﺍﺑﻌﺎﺩ ﻣﻤﻜﻦ‬

‫ﺑﻴﺎﻣﻴﺰﻧﺪ‪ .‬ﺍﮔﺮ ﺁﻧﻬﺎ ﺍﻳﻦ ﺍﻣﻜﺎﻥ ﺭﺍ ﺩﺍﺷﺘﻨﺪ ﻛﻪ ﻓﻀﺎﻱ ﺷﺶ ﻓﻮﻧﻴﻜﻲ ﺑﺴﺎﺯﻧﺪ‪ ،‬ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﻣﻲﻛﺮﺩﻧﺪ‪.‬‬

‫ﺑﺎ ﺍﻳﻦ ﺑﻌﺪ ﭼﻬﺎﺭﻣﻲ ﻛﻪ ﺑﻪ ﻣﻮﺯﻳﻚ ﺍﺿﺎﻓﻪ ﻛﺮﺩﻩﺍﻧﺪ ﺁﻧﻬﺎ ﺷﻤﺎ ﺭﺍ ﺍﺯ ﺗﻤﺎﻣﻲ ﻟﺬﺗﻬﺎﻱ ﻣﻮﺳﻴﻘﻲ‬

‫ﻣﺤﺮﻭﻡ ﺳﺎﺧﺘﻪﺍﻧﺪ‪ .‬ﭼﻴﺰﻱ ﺟﺰ ﻣﺠﺬﻭﺏ ﻛﺮﺩﻥ )ﺍﻣﺎ ﻧﻪ ﺩﻳﮕﺮ ﺍﻏﻮﺍ ﻛﺮﺩﻥ( ﺷﻤﺎ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ :‬ﻛﻤﺎﻝ‬

‫ﺗﻜﻨﻴﻚ‪»،‬ﻭﻓﺎﺩﺍﺭﻱ ﻛﺎﻣﻞ« )ﺑﻪ ﻭﺍﻗﻌﻴﺖ( ﻛﻪ ﻣﺎﻧﻨﺪ ﺑﻘﻴﻪ ﭼﻴﺰﻫﺎ ﻋﻘﺪﻩﺍﻱ ﻭ ﭘﻴﻮﺭﻳﺘﺎﻧﻲ )ﻓﺮﻗﻪﺍﻱ ﺩﺭ‬

‫ﻣﺴﻴﺤﻴﺖ( ﻭ ﺍﺯ ﺯﻣﺮﻩ ﻭﻓﺎﺩﺍﺭﻱﻫﺎﻱ ﻧﻜﺎﺣﻲ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﺑﺎﺭ‪ ،‬ﻛﺴﻲ ﺣﺘﻲ ﻧﻤﻲﺩﺍﻧﺪ ﭼﻪ ﺍﺑﮋﻩﺍﻱ‬

‫ﻭﻓﺎﺩﺍﺭ )ﺑﻪ ﻭﺍﻗﻌﻴﺖ( ﺍﺳﺖ ﭼﺮﺍ ﻛﻪ ﻧﻪ ﻛﺴﻲ ﻣﻲﺩﺍﻧﺪ ﻭﺍﻗﻌﻴﺖ ﻛﺠﺎ ﺁﻏﺎﺯ ﻣﻲﺷﻮﺩ ﻭ ﻛﺠﺎ ﺑﻪ ﭘﺎﻳﺎﻥ‬

‫ﻣﻲﺭﺳﺪ ﻭ ﻧﻪ ﺩﺭﻛﻲ ﺍﺯ ﺁﻥ ﺩﺍﺭﺩ‪ ،‬ﺁﻧﭽﻪ ﻫﺴﺖ ﺗﻨﻬﺎ ﺗﺐ ﻛﻤﺎﻝ ﭘﺬﻳﺮﻱ ﻭ ﻫﻴﺠﺎﻥ ﺑﺮﺍﻱ ﺑﺎﺯﺗﻮﻟﻴﺪ ﺍﻣﺮ‬

‫ﻭﺍﻗﻌﻲ ﺍﺳﺖ‪.‬‬

‫ﺗﻜﻨﻴﻚ ﺩﺭ ﺍﻳﻦ ﺣﺎﻟﺖ ﮔﻮﺭ ﺧﻮﺩﺵ ﺭﺍ ﻣﻲﻛﻨﺪ‪ .‬ﺑﺮﺍﻱ ﺁﻧﻜﻪ ﺩﺭ ﻫﻤﺎﻥ ﺣﺎﻝ ﻛﻪ ﺍﺑﺰﺍﺭﻫﺎﻱ‬

‫ﺗﺮﻛﻴﺒﻲﺍﺵ ﺭﺍ ﻛﺎﻣﻞ ﻣﻲﻛﻨﺪ‪ ،‬ﺿﻮﺍﺑﻂ ﺗﺤﻠﻴﻠﻲ ﻭ ﺗﻌﺎﺭﻳﻒ ﺭﺍ ﺗﺎ ﺣﺪﻱ ﺍﺯ ﻭﻓﺎﺩﺍﺭﻱ ﺑﺎ ﻭﺍﻗﻌﻴﺖ ﺗﻌﻤﻴﻖ‬

‫ﻣﻲﻛﻨﺪ ﻛﻪ ﺟﺎﻣﻌﻴﺖ ﻭ ﺍﺣﺎﻃﻪ ﺁﻧﻬﺎ ﺑﺮ ﻭﺍﻗﻌﻴﺖ ﺑﺮﺍﻱ ﻫﻤﻴﺸﻪ ﻏﻴﺮ ﻣﻤﻜﻦ ﻣﻲﺷﻮﺩ‪) .‬ﺍﻓﺮﺍﻁ ﺩﺭ‬

‫ﻭﻓﺎﺩﺍﺭﻱ ﻛﺎﻣﻞ ﺑﻪ ﺟﺰﺋﻴﺎﺕ ﻭ ﻭﺿﻮﺡ ﺍﻣﺮﻱ ﻭﺍﻗﻌﻲ‪ ،‬ﺩﺳﺘﻴﺎﺑﻲ ﺑﻪ ﺿﻮﺍﺑﻄﻲ ﻛﻪ ﻛﻠﻴﺖ ﺁﻧﺮﺍ ﺣﻔﻆ‬

‫ﻧﻤﺎﻳﺪ ﺭﺍ ﻏﻴﺮ ﻣﻤﻜﻦ ﻣﻲﺳﺎﺯﺩ‪ ،‬ﺷﺎﻳﺪ ﺑﻬﺘﺮ ﺑﺎﺷﺪ ﺩﺭ ﺍﺻﻞ ﻧﻈﺎﻡﻫﺎﻱ ﺗﻮﻟﻴﺪﻱ ﺳﺎﺯﻧﺪﻩ ﻭﺍﻗﻌﻴﺖ‬

‫ﻣﺒﺘﻨﻲ ﺑﺮ ﺍﺻﻞ»ﻭﺿﻮﺡ ﺑﻴﺸﺘﺮ ﻭﺍﻗﻌﻴﺖ ﺑﻴﺸﺘﺮ« ﺑﺎﺯﺑﻴﻨﻲ ﻧﻤﺎﻳﻴﻢ )ﻡ(( ﻭﺍﻗﻌﻴﺖ ﻣﺒﺪﻝ ﺑﻪ ﺧﻴﺎﻟﻲ‬

‫ﻣﻲﮔﺮﺩﺩ ﺳﺮﮔﻴﺠﻪ ﺍﻭ ﺭﺍ ﺍﺯ ﺩﻗﺖ ﻭ ﻛﻤﺎﻝ ﭘﺬﻳﺮﻱ ﺗﺒﺎﻩ ﺷﺪﻩ ﺩﺭ ﺑﻲ ﻧﻬﺎﻳﺖ‪.‬‬

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‫ﺍﻏﻮﺍ‬

‫ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ‪ ،trompe l'oeil‬ﻛﻪ ﻳﻚ ﺑﻌﺪ ﺭﺍ ﺩﺭ ﺧﻮﺩ ﺍﻧﺪﻭﺧﺘﻪ ﻣﻲﻛﻨﺪ‪ ،‬ﻓﻀﺎﻱ ﻣﻌﻤﻮﻟﻲ‬

‫ﺳﻪ ﺑﻌﺪﻱ ﺑﻪ ﺧﺎﻃﺮ ﻓﺰﻭﻧﻲ ﻣﻌﺎﻧﻲﺷﺎﻥ ﺣﻘﻴﺮ ﻭ ﺑﻲﺧﺎﺻﻴﺖ ﺍﺳﺖ‪) .‬ﻫﻤﻪ ﺍﻣﻮﺭ ﻭﺍﻗﻌﻲ ﻳﺎ ﺍﻣﻮﺭﻱ ﻛﻪ‬

‫ﻣﻲﺧﻮﺍﻫﻨﺪ ﻭﺍﻗﻌﻲ ﺑﺎﺷﻨﺪ ﭼﻨﻴﻦ ﺑﻲﺧﺎﺻﻴﺘﻲ ﺭﺍ ﺩﺍﺭﻧﺪ )ﻧﻴﺮﻭﻱ ﻧﻤﻮﺩ ﺩﺭ ﻭﺍﻗﻌﻲ ﺑﻮﺩﻥ ﺑﻴﺶ ﺍﺯ ﺣﺪ‬

‫ﻧﻴﺴﺖ‪) .‬ﻡ((( ﭼﻬﺎﺭ ﻓﻮﻧﻴﻜﻲ ﻳﺎ ﺣﺎﺩ ﺍﺳﺘﺮﻳﻮ‪ ،‬ﺍﻳﻦ ﻣﻨﺰﻟﺖ ﺣﻘﻴﺮﺍﻧﻪ ﺭﺍ ﺑﻪ ﻧﻬﺎﻳﺖ ﻣﻲﺭﺳﺎﻧﺪ‪.‬‬

‫ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ‪ ،‬ﭼﻬﺎﺭﻓﻮﻧﻴﻜﻲ ﺳﻜﺲ ﺍﺳﺖ‪ :‬ﺳﻪ ﭼﻬﺎﺭ ﻟﺒﻪ ﺑﻪ ﻋﻤﻞ ﺟﻨﺴﻲ ﺍﺿﺎﻓﻪ ﻣﻲﻛﻨﺪ‪ .‬ﺗﻮﻫﻢ‬

‫ﺟﺰﺋﻴﺎﺕ ﺑﺮﺍﻥ ﺣﺎﻛﻢ ﺍﺳﺖ‪ .‬ﻋﻠﻢ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ‪ ،‬ﻣﺎ ﺭﺍ ﺑﻪ ﺍﻳﻦ ﺩﻳﺪﮔﺎﻩ ﻣﻴﻜﺮﻭﺳﻜﻮﭘﻲ‪ ،‬ﻓﺰﻭﻧﻲ ﻭﺍﻗﻌﻴﺖ‬

‫ﺩﺭ ﺟﺰﺋﻴﺎﺕ ﻣﻴﻜﺮﻭﺳﻜﻮﭘﻲ‪ ،‬ﺍﻳﻦ ﺷﻬﻮﺕ ﺑﻪ ﻛﻤﺎﻝﭘﺬﻳﺮﻱ )ﻧﻤﺎﻱ ﻧﺰﺩﻳﻚ ﺳﺎﺧﺘﺎﺭﻫﺎﻱ ﺳﻠﻮﻟﻲ‬

‫ﻧﺎﻣﺮﺋﻲ( ﻋﺎﺩﺕ ﺩﺍﺩﻩﺍﺳﺖ‪ ،‬ﭼﻨﻴﻦ ﻣﻔﻬﻮﻣﻲ ﺍﺯ ﺣﻘﻴﻘﺖ ﻧﺮﻡﻧﺎﺷﺪﻧﻲ ﻛﻪ ﻫﺮﮔﺰ ﺑﺎ ﺍﺭﺟﺎﻉ ﺑﻪ ﺑﺎﺯﻱﻫﺎﻱ‬

‫ﻧﻤﻮﺩ ﺳﻨﺠﻴﺪﻩ ﻧﻤﻲﮔﺮﺩﺩ‪ ،‬ﺗﻨﻬﺎ ﺑﺎ ﺍﺑﺰﺍﺭﻫﺎﻱ ﺗﻜﻨﻴﻜﻲ ﭘﻴﭽﻴﺪﻩ ﻗﺎﺑﻞ ﺩﺳﺘﺮﺳﻲ ﺍﺳﺖ‪ .‬ﭘﺎﻳﺎﻥ ﺭﺍﺯ‪.‬‬

‫ﭼﻪﻛﺎﺭ ﺩﻳﮕﺮﻱ ﺍﺳﺖ ﻛﻪ ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ ﺑﺎ ﻧﻤﺎﻱ ﺳﺎﺧﺘﮕﻲﺍﺵ ﻭ ﺑﺎ ﺁﺷﻜﺎﺭﺳﺎﺯﻱ ﺣﻘﻴﻘﺖ­‬

‫ﻧﻤﺎﻳﻲ ﻧﺮﻡﻧﺎﺷﺪﻧﻲ ﻭ ﻣﻴﻜﺮﻭﺳﻜﻮﭘﻲﺍﺵ ﺍﺯ ﺳﻜﺲ ﺍﻧﺠﺎﻡ ﻧﺪﺍﺩﻩﺍﺳﺖ؟ ﺍﻳﻦ ﻣﺴﺘﻘﻴﻤﺎً ﻧﺎﺷﻲ ﺍﺯ‬

‫ﻣﺘﺎﻓﻴﺰﻳﻜﻲ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺧﻴﺎﻝ ﺧﻮﺩ ﺣﻘﻴﻘﺖ ﺭﺍ ﭘﻨﻬﺎﻥ ﺷﺪﻩ ﻓﺮﺽ ﻣﻲﻛﻨﺪ ﻭ ﺑﺎﻳﺪ ﺁﻥ ﺭﺍ ﺁﺷﻜﺎﺭ‬

‫ﻧﻤﺎﻳﺪ‪ .‬ﺗﻮﻫﻤﻲ ﻫﻤﭽﻮﻥ ﺍﻧﺮﮊﻱ ﺳﺮﻛﻮﺏ ﺷﺪﻩ )ﻣﻴﻞ( ﻭ ﺗﻮﻟﻴﺪﺵ ﺑﺮ ﺭﻭﻱ ﺻﺤﻨﻪ ﻭﻗﻴﺤﺎﻧﻪﺍﻱ ﺍﺯ‬

‫ﻭﺍﻗﻌﻴﺖ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺗﻔﻜﺮ ﺭﻭﺷﻨﻔﻜﺮﻱ ﺑﻪ ﺑﻦﺑﺴﺖ ﻣﻲﺭﺳﺪ ﻛﻪ ﺁﻳﺎ ﺩﺭ ﺍﻳﻦ ﺻﻮﺭﺕ ﺑﺎﻳﺪ ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ‬

‫ﺭﺍ ﺳﺮﺯﻧﺶ ﻧﻤﻮﺩ ﻭ ﺳﺮﻛﻮﺑﮕﺮﻱ ﻣﻼﻳﻢ ﺭﺍ ﭘﺬﻳﺮﻓﺖ؟ ﻫﻴﭻ ﭘﺎﺳﺦ ﻗﺎﻃﻌﻲ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ ﭼﺮﺍ ﻛﻪ‬

‫ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ ﻫﻢ ﺩﻻﻳﻞ ﺧﻮﺩﺵ ﺭﺍ ﺩﺍﺭﺩ‪ ،‬ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ ﺑﺨﺸﻲ ﺍﺯ ﺍﻧﻬﺪﺍﻡ ﺍﻣﺮ ﻭﺍﻗﻌﻲ ﻭ ﻧﺘﻴﺠﻪ ﺗﻮﻫﻢ‬

‫ﺍﺣﻤﻘﺎﻧﻪ ﻭﺍﻗﻌﻴﺖ ﻭ ﺁﺯﺍﺩ ﺳﺎﺯﻱ ﺍﺑﮋﻛﺘﻴﻮﺵ ﺍﺳﺖ‪ .‬ﻧﻤﻲﺗﻮﺍﻥ ﻧﻴﺮﻭﻫﺎﻱ ﻣﻮﻟﺪ ﺭﺍ ﺁﺯﺍﺩ ﻧﻤﻮﺩ ﺑﻲﺁﻧﻜﻪ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﺳﻜﺲ ﺭﺍ ﺑﻪ ﻛﺎﺭﻛﺮﺩﻫﺎﻱ ﺣﻴﻮﺍﻧﻲﺍﺵ ﺁﺯﺍﺩ ﻧﻤﺎﻳﺪ‪ .‬ﻫﺮ ﺩﻭ ﺑﻪ ﻳﻚ ﺍﻧﺪﺍﺯﻩ ﻭﻗﻴﺢﺍﻧﺪ‪ .‬ﻓﺴﺎﺩ ﻭﺍﻗﻊﮔﺮﺍﻳﺎﻧﻪ‬

‫ﺳﻜﺲ‪ ،‬ﻓﺴﺎﺩ ﺗﻮﻟﻴﺪﮔﺮﺍﻳﺎﻧﻪ ﻛﺎﺭ ‪ -‬ﻫﻤﺎﻥ ﻧﺸﺎﻧﻪ‪ ،‬ﻫﻤﺎﻥ ﻣﺒﺎﺭﺯﻩ‪.‬‬

‫ﻣﻌﺎﺩﻝ ‪ ،conveyor belt‬ﻧﻤﺎﻳﺶ ﺳﻴﻜﻠﻮﺭﺍﻣﺎﻱ ﻣﻬﺒﻠﻲ ﮊﺍﭘﻨﻲ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﻫﺮ ﺑﺮﻫﻨﻪ ﻧﻤﺎﻳﻲ‬

‫ﺩﻳﮕﺮﻱ ﭘﻴﺸﻲ ﻣﻲﮔﻴﺮﺩ‪ .‬ﻓﻮﺍﺣﺶ ﭘﺎﻫﺎﻱ ﺧﻮﺩ ﺭﺍ ﺑﺎﺯﻧﻤﻮﺩﻩ ﻭ ﺑﺮ ﻟﺒﻪ ﺳﻜﻮ ﻣﻲﻧﺸﻴﻨﻨﺪ‪ .‬ﻛﺎﺭﮔﺮﺍﻥ‬

‫ﮊﺍﭘﻨﻲ ﺑﺎ ﭘﻴﺮﺍﻫﻦﻫﺎﻱ ﺁﺳﺘﻴﻦ ﺣﻠﻘﻪﺍﻱ )ﺍﻳﻦ ﻣﻨﻈﺮﻩﺍﻱ ﻋﺎﻣﻪﭘﺴﻨﺪ ﺍﺳﺖ( ﺍﺟﺎﺯﻩ ﻣﻲﻳﺎﺑﻨﺪ ﺗﺎ‬

‫ﺩﻣﺎﻏﺸﺎﻥ ﺭﺍ ﺗﺎ ﺗﺨﻢ ﭼﺸﻤﺸﺎﻥ ﺩﺭ ﺩﺍﺧﻞ ﻣﻬﺒﻞ ﺯﻧﺎﻥ ﻓﺮﻭ ﺑﺒﺮﻧﺪ ﺗﺎ ﺑﺒﻴﻨﻨﺪ‪ ،‬ﺑﻬﺘﺮ ﺑﺒﻴﻨﻨﺪ ﺍﻣﺎ ﭼﻪ‬

‫ﭼﻴﺰ ﺭﺍ؟( ﺁﻧﻬﺎ ﺍﺯ ﺳﺮ ﻭ ﻛﻮﻝ ﻳﻜﺪﻳﮕﺮ ﺑﺎﻻ ﻣﻲﺭﻭﻧﺪ ﺗﺎ ﭼﻴﺰﻱ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﻧﺪ ﻭ ﺩﺭ ﺍﻳﻦ ﺣﻴﻦ‬

‫ﻓﻮﺍﺣﺶ ﺑﺎ ﺁﻧﻬﺎ ﺑﻪ ﻧﺮﻣﻲ ﻭ ﮔﺎﻫﻲ ﺑﻪ ﺗﻨﺪﻱ ﺻﺤﺒﺖ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺑﺎﻗﻲ ﻧﻤﺎﻳﺸﻬﺎ ﻣﺎﻧﻨﺪ ﺷﻼﻕﺯﻧﻲ‪،‬‬

‫ﺍﺳﺘﻤﻨﺎﻫﺎﻱ ﺩﻭﺟﺎﻧﺒﻪ‪ ،‬ﺑﺮﻫﻨﻪﻧﻤﺎﻳﻲﻫﺎﻱ ﺳﻨﺘﻲ ﻭ‪ ..‬ﺩﺭ ﻟﺤﻈﻪ ﺍﻳﻦ ﻭﻗﺎﺣﺖ ﻣﻄﻠﻖ ﻛﻤﺮﻧﮓ ﻣﻲﺷﻮﻧﺪ‪.‬‬

‫ﺍﻳﻦ ﻟﺤﻈﻪﺍﻱ ﺍﺳﺖ ﺍﺯ ﻭﻟﻊ ﺑﺼﺮﻱ ﻛﻪ ﺍﺯ ﻫﺮ ﺗﺼﺮﻑ ﺟﻨﺴﻲ ﻓﺮﺍﺗﺮ ﻣﻲﺭﻭﺩ‪ .‬ﺑﺎﻻﺗﺮﻳﻦ ﺣﺪ‬

‫ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ‬

‫ﺍﮔﺮ ﻣﻤﻜﻦ ﺑﻮﺩ ﺍﻳﻦ ﻣﺮﺩﺍﻥ ﻛﻞ ﺑﺪﻥ ﻓﻮﺍﺣﺶ ﺭﺍ ﻣﻲﺑﻠﻌﻴﺪﻧﺪ‪ .‬ﺳﺘﺎﻳﺸﻲ ﺍﺯ ﻣﺮﮒ؟ ﺷﺎﻳﺪ‪ ،‬ﺍﻣﺎ ﺁﻧﻬﺎ ﺩﺭ‬

‫ﻫﻤﺎﻥ ﺣﺎﻝ‪ ,‬ﻣﻬﺒﻞﻫﺎ ﺭﺍ ﻣﻘﺎﻳﺴﻪ ﻣﻲﻛﻨﻨﺪ ﻭ ﺩﺭﺑﺎﺭﻩﺷﺎﻥ ﺑﺎ ﺟﺪﻳﺘﻲ ﻣﻬﻠﻚ ﺻﺤﺒﺖ ﻣﻲﻛﻨﻨﺪ ﺑﺪﻭﻥ‬

‫ﺍﻳﻨﻜﻪ ﻟﺒﺨﻨﺪ ﺑﺰﻧﻨﺪ ﻭ ﻳﺎ ﺑﻠﻨﺪ ﺑﺨﻨﺪﻧﺪ‪ ،‬ﺑﺪﻭﻥ ﺍﻳﻨﻜﻪ ﺣﺘﻲ ﺳﻌﻲ ﻛﻨﻨﺪ ﺁﻧﺮﺍ ﻟﻤﺲ ﻛﻨﻨﺪ‪ .‬ﻫﻴﭻ‬

‫ﻫﺮﺯﮔﻲ ﺩﺭ ﻛﺎﺭ ﻧﻴﺴﺖ ﻫﻤﻪ ﭼﻴﺰ ﻛﺎﻣﻼً ﺟﺪﻱ ﺍﺳﺖ‪ .‬ﻋﻤﻞ ﺑﭽﮕﺎﻧﻪ ﻣﺠﺬﻭﺏ ﺷﺪﻥ ﺑﺎ ﺁﻳﻨﻪ ﺍﻧﺪﺍﻡ‬

‫ﺯﻧﺎﻧﻪ ﻣﺎﻧﻨﺪ ﺷﻴﺪﺍﻳﻲ ﻧﺎﺭﺳﻴﺲ ﺑﻪ ﺗﺼﻮﻳﺮ ﺧﻮﺩﺵ‪ .‬ﻓﺮﺍﺳﻮﻱ ﺍﻳﺪﺋﺎﻟﻴﺴﻢ ﻗﺮﺍﺭﺩﺍﺩﻱ ﺑﺮﻫﻨﻪﻧﻤﺎﻳﻲ‪،‬‬

‫)ﺣﺘﻲ ﻣﻤﻜﻦ ﺍﺳﺖ ﺩﺭ ﺍﻳﻦ ﺑﺮﻫﻨﻪﻧﻤﺎﻳﻲﻫﺎ ﺍﻏﻮﺍﮔﺮﻳﻲ ﻫﻢ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ( ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ ﺩﺭ‬

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‫ﺍﻏﻮﺍ‬

‫ﺑﺎﻻﺗﺮﻳﻦ ﺣﺪ ﺧﻮﺩ ﺑﻪ ﻳﻚ ﻭﻗﺎﺣﺖ ﻣﻄﻠﻖ ﻣﺒﺪﻝ ﻣﻲﺷﻮﺩ‪ ،‬ﻭﻗﺎﺣﺘﻲ ﻧﺎﺏ ﺗﺮ‪ ،‬ﻋﻤﻴﻘﺘﺮ ﻭ ﺍﻧﺪﺭﻭﻧﻲﺗﺮ‪.‬‬

‫ﺍﻣﺎ ﭼﺮﺍ ﺩﺭ ﺑﺮﻫﻨﮕﻲ ﺁﻻﺕ ﺗﻨﺎﺳﻠﻲ ﺗﻮﻗﻒ ﻛﻨﻴﻢ؟ ﺍﮔﺮ ﻭﻗﺎﺣﺖ ﺩﺭﺑﺎﺭﻩ ﺑﺎﺯﻧﻤﺎﻳﻲ ﺍﺳﺖ ﻭ ﻧﻪ ﺳﻜﺲ‪،‬‬

‫ﻣﻲﺑﺎﻳﺪ ﺑﻪ ﺩﻭﺭﻥ ﺑﺪﻥ ﻭ ﺍﺣﺸﺎ ﻧﻴﺰ ﻧﻔﻮﺫ ﻧﻤﺎﻳﺪ ﻛﻴﺴﺖ ﻛﻪ ﺩﺭ ﺑﺎﺯﻧﻤﺎﻳﻲ ﺍﻧﺪﺍﻣﻬﺎﻱ ﻣﺨﺎﻃﻲ ﺑﺪﻥ‬

‫ﭘﻮﺳﺖ ﻭ ﻣﺎﺳﻜﻞﻫﺎﻱ ﻧﺮﻡ ﺁﻥ ﻟﺬﺗﻲ ﺑﻴﺎﺑﺪ؟ ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ ﻣﺎ‪ ،‬ﻫﻨﻮﺯ ﺗﻌﺮﻳﻔﻲ ﻣﺤﺼﻮﺭ ﺭﺍ ﺑﺎﻗﻲ ﻧﮕﺎﻩ­‬

‫ﺩﺍﺷﺘﻪﺍﺳﺖ‪ .‬ﻭﻗﺎﺣﺖ ﺁﻳﻨﺪﻩﺍﻱ ﻧﺎﻣﺤﺪﻭﺩ ﺩﺍﺭﺩ‪ .‬ﺑﺎﻳﺪ ﻣﺘﻮﺟﻪ ﺑﻮﺩ ﺳﺨﻦ ﺑﺮ ﺳﺮ ﺗﻌﻤﻴﻖ ﻳﻚ ﺭﺍﻧﺶ‬

‫ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﻣﺴﺌﻠﻪ ﻋﻴﺎﺷﻲ ﻭﺍﻗﻊﮔﺮﺍﻳﻲ‪ ،‬ﻋﻴﺎﺷﻲ ﺗﻮﻟﻴﺪ ﺍﺳﺖ‪ .‬ﻣﻴﻠﻲ ﻣﻔﺮﻁ )ﺷﺎﻳﺪ ﺭﺍﻧﺸﻲ ﻫﻢ‬

‫ﻭﺟﻮﺩﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﺍﻣﺎ ﺭﺍﻧﺸﻲ ﻛﻪ ﺧﻮﺩ ﺭﺍ ﺟﺎﻱ ﮔﺰﻳﻦ ﻫﺮ ﺭﺍﻧﺶ ﺩﻳﮕﺮﻱ ﻣﻲﻛﻨﺪ( ﺑﻪ ﻓﺮﺍﺧﻮﺍﻧﻲ‬

‫ﻫﻤﻪ ﭼﻴﺰ ﭘﻴﺶ ﺍﺯ ﺣﻀﻮﺭ ﺩﺭ ﻗﻠﻤﺮﻭ ﻗﺪﺭﺕ ﻧﺸﺎﻧﻪﻫﺎ‪ .‬ﺑﮕﺬﺍﺭﻳﺪ ﻫﻤﻪ ﭼﻴﺰ ﺑﺎ ﻧﺸﺎﻧﻪﻫﺎ ﺍﺭﺍﺋﻪ ﻣﻲﺷﻮﺩ‪.‬‬

‫ﺩﺭ ﻧﻮﺭ ﺍﻧﺮﮊﻱ ﻣﺮﺋﻲ‪ .‬ﺑﮕﺬﺍﺭﻳﺪ ﺗﻤﺎﻣﻲ ﺻﺤﺒﺘﻬﺎ ﺁﺯﺍﺩ ﺷﻮﺩ ﻭ ﺍﻣﻴﺎﻝ ﻋﻠﻨﻲ ﮔﺮﺩﺩ‪ .‬ﻣﺎ ﺩﺭ ﺍﻳﻦ ﺁﺯﺍﺩ­‬

‫ﺳﺎﺯﻱ ﻋﻴﺎﺷﻲ ﻣﻲﻛﻨﻴﻢ‪ ،‬ﻛﻪ ﺑﻪ ﺳﺎﺩﮔﻲ ﻧﺸﺎﻧﻪ ﺭﺷﺪ ﻭ ﭘﻴﺸﺮﻓﺖ ﻭﻗﺎﺣﺖ ﺍﺳﺖ‪ .‬ﻫﻤﻪ ﺁﻧﭽﻪ ﻛﻪ‬

‫ﭘﻨﻬﺎﻥ ﺍﺳﺖ ﻭ ﺍﺯ ﻭﺿﻌﻴﺖ ﻣﺨﻔﻲ ﺧﻮﺩ ﻟﺬﺕ ﻣﻲﺑﺮﺩ ﺁﺷﻜﺎﺭ ﺧﻮﺍﻫﺪ ﺷﺪ‪ ،‬ﺑﻪ ﺳﺨﻦ ﺩﺭ ﺧﻮﺍﻫﺪ ﺁﻣﺪ‬

‫ﻭ ﺑﻪ ﺗﻤﺎﻣﻲ ﻭﺍﻗﻌﻴﺘﻬﺎ ﺳﺮﺧﻢ ﺧﻮﺍﻫﺪ ﻧﻤﻮﺩ‪ .‬ﺍﻣﺮ ﻭﺍﻗﻌﻲ ﺑﺰﺭﮒ ﻭ ﺑﺰﺭﮔﺘﺮ ﻣﻲﺷﻮﺩ ﻭ ﻳﻚ ﺭﻭﺯ ﻛﻞ‬

‫ﺟﻬﺎﻥ‪ ،‬ﻭﺍﻗﻌﻲ ﺧﻮﺍﻫﺪﺷﺪ‪ ،‬ﻭ ﻭﻗﺘﻲ ﻭﺍﻗﻌﻴﺖ ﻫﻤﻪﺟﺎ ﺭﺍ ﻓﺮﺍﮔﻴﺮﺩ ﺁﻧﮕﺎﻩ ﻣﺮﮒ ﺁﻏﺎﺯ ﻣﻲﺷﻮﺩ‪.‬‬

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‫ﻭﺍﻧﻤﺎﻳﻲ ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ‪ :‬ﺑﺮﻫﻨﮕﻲ ﻫﺮﮔﺰ ﺟﺰ ﻳﻚ ﻧﺸﺎﻧﻪ ﺍﺿﺎﻓﻲ ﻧﻴﺴﺖ‪ .‬ﺑﺮﻫﻨﮕﻲ ﭘﻮﺷﻴﺪﻩ ﺷﺪﻩ ﺑﺎ‬

‫ﻟﺒﺎﺱ‪ ،‬ﻛﺎﺭﻛﺮﺩ ﻳﻚ ﺭﺍﺯ ﻭ ﺍﻣﺮ ﺍﺭﺟﺎﻋﻲ ﺩﻭﮔﺎﻧﻪ ﺭﺍ ﺩﺍﺭﺩ‪ .‬ﺑﺮﻫﻨﻪ‪ ،‬ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻧﺸﺎﻧﻪ ﺁﺷﻜﺎﺭ ﺷﺪﻩ ﺑﻪ‬

‫ﭼﺮﺧﺶ ﻧﺸﺎﻧﻪﻫﺎ ﺑﺎﺯ ﻣﻲﮔﺮﺩﺍﺩ‪ :‬ﻃﺮﺡ ﺑﺮﻫﻨﮕﻲ‪ .‬ﻫﻤﻴﻦ ﺣﺎﻟﺖ ﺑﺮﺍﻱ "ﻓﻴﻠﻢ ﻳﺎ ﺗﺼﻮﻳﺮ ﭘﻮﺭﻧﻮ"‪ ۲۳‬ﻭ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫"ﻓﻴﻠﻢﻫﺎﻱ ﻣﺴﺘﻬﺠﻦ"‪ ۲۴‬ﺭﻭﻱ ﻣﻴﺪﻫﺪ‪ :‬ﺍﻧﺪﺍﻣﻬﺎﻱ ﺟﻨﺴﻲ ﭼﻪ ﺩﺭ ﺣﺎﻝ ﻧﻌﻮﻅ ﻭ ﭼﻪ ﺩﺭ ﺣﺎﻝ‬

‫ﺑﺎﺯﺷﺪﮔﻲﺷﺎﻥ‪ ،‬ﺗﻨﻬﺎ ﻧﺸﺎﻧﻪ ﺩﻳﮕﺮﻱ ﺩﺭ ﺁﺭﺍﻳﺶﻫﺎﻱ ﺣﺎﺩ ﺟﻨﺴﻲﺍﻧﺪ‪ .‬ﻃﺮﺡ ﻓﺎﻟﻮﺳﻲ‪ :‬ﭘﻴﺸﺮﻭﻱ‬

‫ﺑﻴﺸﺘﺮ ﺩﺭ ﻭﺿﻮﺡ ﺍﻧﺪﺍﻣﻬﺎﻱ ﺟﻨﺴﻲ ﻭ ﺁﺷﻜﺎﺭ ﻧﻤﻮﺩﻥ ﻃﺮﺯ ﻛﺎﺭ ﺍﻧﺪﺍﻣﻬﺎ‪ ،‬ﻓﺮﻭﺭﻭﻱ ﺑﻴﺸﺘﺮ ﺩﺭ ﺍﻧﺒﺎﺷﺖ‬

‫ﻧﺸﺎﻧﻪﻫﺎ ﻭ ﻣﺤﺪﻭﺩ ﺗﺮ ﺷﺪﻥ ﺩﺭ ﻓﺮﺍ ‪ -‬ﺩﻻﻟﺖ ﺑﻲ ﭘﺎﻳﺎﻥ ﺑﻪ ﺍﻣﺮ ﻭﺍﻗﻌﻲ ﺍﺳﺖ ﻛﻪ ﺩﻳﮕﺮ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ ﻭ‬

‫ﺑﺪﻧﻲ ﻛﻪ ﻫﺮﮔﺰ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺘﻪﺍﺳﺖ‪ .‬ﻛﻞ ﻓﺮﻫﻨﮓ ﺑﺪﻥ ﻣﺎ‪ ،‬ﺑﺎ ﻭﺍﺑﺴﺘﮕﻲﺍﺵ ﺑﻪ ﺍﺑﺮﺍﺯ » ﺍﻣﻴﺎﻝ « ﺑﺪﻥ‪،‬‬

‫ﺑﻪ ﺳﺒﺐ ﺍﺳﺘﺮﻳﻮ ﻓﻮﻧﻴﻚﻫﺎﻱ ﻣﻴﻞﺍﺵ‪ ،‬ﻓﺮﻫﻨﮓ ﭘﺎﻳﺎﻥ ﻧﺎﭘﺬﻳﺮﻱ ﺷﺮﺍﺭﺕ ﻭ ﻭﻗﺎﺣﺖ ﺍﺳﺖ‪.‬‬

‫"ﺗﻨﻬﺎ ﻫﻨﮕﺎﻡ ﺳﺨﻦ ﺍﺯ ﺻﻮﺭﺕ ﺧﺎﺭﺟﻲ ﺑﺪﻥ ﺍﻧﺴﺎﻥ‪ ،‬ﻣﻲﮔﻮﻳﻴﻢ ﻛﻪ ﺗﻤﺎﻡ ﺳﻄﺢ ﺁﻥ‪،‬‬
‫ﻣﻌﺎﺩﻟﺶ ﺩﺭ ﺟﻬﺎﻥ ﺣﻴﻮﺍﻧﻲ‪ ،‬ﺣﻀﻮﺭ ﻭ ﺿﺮﺑﺎﻥ ﻗﻠﺐ ﺭﺍ ﺁﺷﻜﺎﺭ ﻣﻲﻛﻨﺪ‪ ،‬ﻣﺎ ﺍﺯ ﻫﻨﺮ ﺳﺨﻦ‬
‫ﻣﻲﮔﻮﺋﻴﻢ‪ ،‬ﻛﻪ ﺑﻪ ﭼﻨﻴﻦ ﺷﻴﻮﻩﺍﻱ ﺧﻠﻖ ﻛﻨﺪ‪ ،‬ﻛﻪ ﺩﺭ ﺗﻤﺎﻡ ﻧﻘﺎﻁ ﺳﻄﺢ ﺧﻮﺩ ‪ -‬ﭘﺪﻳﺪﺍﺭ ‪-‬‬
‫ﭘﻴﺪﺍﻳﺶ ﻣﺒﺪﻝ ﺑﻪ ﭼﺸﻢ ﺷﻮﺩ‪ ،‬ﻣﻨﺰﻟﮕﺎﻫﻲ ﺑﺮﺍﻱ ﺭﻭﺍﻥ ﺑﺎﺷﺪ ﻭ ﺧﻮﺩ ﺭﺍ ﺑﺮ ﺭﻭﺡ ﺁﺷﻜﺎﺭ‬
‫ﻛﻨﺪ‪".‬‬
‫ﻫﮕﻞ‬

‫ﭘﺲ ﺍﻳﻨﺠﺎ ﻫﺮﮔﺰ ﻫﻴﭻ ﺑﺮﻫﻨﮕﻲ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ ،‬ﻫﺮﮔﺰ ﻫﻴﭻ ﺑﺪﻥ ﺑﺮﻫﻨﻪﺍﻱ ﻛﻪ ﺑﻪ ﺳﺎﺩﮔﻲ‬

‫ﺑﺮﻫﻨﻪ ﺷﻮﺩ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﻓﺮﻫﻨﮓ ﺗﻨﻬﺎ ﻓﻘﻂ ﺑﺪﻥ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ ،‬ﻣﺎﻧﻨﺪ ﻫﻨﺪﻱ ﻛﻪ ﻭﻗﺘﻲ‬

‫ﻣﺮﺩ ﺳﻔﻴﺪ ﺍﺯ ﺍﻭ ﻣﻲﭘﺮﺳﺪ ﭼﺮﺍ ﺗﻨﻬﺎ ﻳﻚ ﻛﻼﻑ ﭘﺎﺭﭼﻪ ﺩﻭﺭ ﺑﺪﻥ ﺑﺮﻫﻨﻪﺍﺕ ﻣﻲﭘﻴﭽﻲ‪ ،‬ﭘﺎﺳﺦ‬

‫ﻣﻲﺩﻫﺪ‪» :‬ﻧﺰﺩ ﻣﻦ ﻫﻤﻪ ﺻﻮﺭﺕ ﻫﻤﻴﻦ ﺍﺳﺖ‪ «.‬ﺩﺭ ﻓﺮﻫﻨﮓ ﻏﻴﺮ ﺑﺘﻮﺍﺭﻩ‪) ،‬ﻛﻪ ﺑﺮﻫﻨﮕﻲ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ‬

‫ﺣﻘﻴﻘﺘﻲ ﺍﺑﮋﻛﺘﻴﻮ ﺑﺘﻮﺍﺭﻩ ﻧﻤﻲﻛﻨﺪ‪ (.‬ﺑﺪﻥ‪ ،‬ﭼﻴﺰﻱ ﺩﺭ ﺧﻮﺩ ﻣﺎ‪ ،‬ﻣﺘﻀﺎﺩ ﺑﺎ ﺻﻮﺭﺕ ﻭ ﻇﺎﻫﺮ ﻣﺎ ﻭ ﺑﻪ‬

‫ﻋﻨﻮﺍﻥ ﺛﺮﻭﺗﻲ ﺑﺮﺍﻱ ﻧﻤﺎﻳﺶ ﻭ ﺑﺨﺸﺸﻲ ﺑﻪ ﭼﺸﻤﺎﻥ ﺗﺼﻮﺭ ﻧﻤﻲﺷﻮﺩ‪ .‬ﺍﻳﻦ )ﺑﺪﻥ ﺑﺮﻫﻨﻪ( ﺧﻮﺩ‬

‫ﺻﻮﺭﺗﻲ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺷﻤﺎ ﻧﮕﺎﻩ ﻣﻲﻛﻨﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺩﺭ ﺍﻳﻦ ﻓﺮﻫﻨﮓ‪ ،‬ﻫﻴﭻ ﻭﻗﺎﺣﺘﻲ ﺩﺭ ﺑﺮﻫﻨﻪﺷﺪﻥ‬

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‫ﺍﻏﻮﺍ‬

‫ﻧﻴﺴﺖ‪) .‬ﻧﮕﺎﻩ ﺑﻪ ﺑﺪﻥ ﺷﻤﺎ ﻧﮕﺎﻩ ﺑﻪ ﺧﻮﺩ ﺷﻤﺎ ﺍﺳﺖ‪) .‬ﻡ(( ﭼﺮﺍ ﻛﻪ ﺑﺪﻥ ﻓﻘﻂ ﻭ ﻓﻘﻂ ﺣﺠﺎﺑﻲ‬

‫ﻧﻤﺎﺩﻳﻦ ﺍﺳﺖ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺑﺮﻫﻨﮕﻲ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺩﻳﺪﻩ ﺷﻮﺩ ﭼﺮﺍ ﻛﻪ ﭼﻴﺰﻱ ﺑﻴﺶ ﺍﺯ ﻇﺎﻫﺮﻱ ﺑﺮﺍﻱ ﻣﺎ‬

‫ﻧﻴﺴﺖ‪ .‬ﺑﺪﻥ ﺗﻨﻬﺎ ﭘﻮﺷﺸﻲ ﻧﻤﺎﺩﻳﻦ ﺍﺳﺖ ﻭ ﺍﺯ ﻃﺮﻳﻖ ﺍﻳﻦ ﺑﺎﺯﻱ ﺑﺎ ﭘﻮﺷﺶﻫﺎﺳﺖ ﻛﻪ ﺑﺪﻥ ﺭﺍ‬

‫»ﺍﻳﻨﭽﻨﻴﻦ« )ﻛﻪ ﺩﺭ ﻓﺮﻫﻨﮓ ﻣﺎﺳﺖ( ﺍﺯ ﻣﻴﺎﻥ ﺑﺮﺩﻩ ﻭ ﺍﻏﻮﺍ ﺭﻭﻱ ﻣﻲﺩﻫﺪ‪ .‬ﺩﺭ ﺍﻳﻨﺠﺎ ﺍﻏﻮﺍ ﺩﺭ ﺑﺎﺯﻱ‬

‫ﺍﺳﺖ ﻭ ﻧﻪ ﺑﻴﺮﻭﻥ ﺍﻧﺪﺍﺧﺘﻦ ﭘﻮﺷﺶ‪ ،‬ﺑﻪ ﻧﺎﻡ ﺁﺷﻜﺎﺭ ﻛﺮﺩﻥ ﺣﻘﻴﻘﺖ ﻳﺎ ﻣﻴﻞ‪ .‬ﻋﺪﻡ ﺗﻤﺎﻳﺰ ﺑﺪﻥ ﻭ‬

‫ﺻﻮﺭﺕ ﺩﺭ ﻓﺮﻫﻨﮓ ﻛﻠﻲ » ﻧﻤﻮﺩ«ﻫﺎ‪ ،‬ﺗﻤﺎﻳﺰ ﺑﻴﻦ ﺑﺪﻥ ﻭ ﺻﻮﺭﺕ ﺩﺭ ﻓﺮﻫﻨﮓ ﻣﻌﻨﺎ‪) :‬ﺑﺪﻥ ﭘﺪﻳﺪﺍﺭﻱ‬

‫ﻫﻴﻮﻻﻳﻲ ﻣﻲﮔﺮﺩﺩ ﻛﻪ ﻧﺸﺎﻧﻪﺍﻱ ﺑﺮﺍﻱ ﻫﻴﻮﻻﻱ ﺩﻳﮕﺮﻱ ﭼﻮﻥ ﻣﻴﻞ ﻣﻲﺷﻮﺩ( ﭘﺲ ﭘﻴﺮﻭﺯﻱ‬

‫ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ ﺑﺪﻥ ﻭﻗﻴﺢ‪ ،‬ﻫﺮ ﺻﻮﺭﺕ ﻭ ﻧﻤﻮﺩﻱ ﺭﺍ ﻣﺤﻮ ﻣﻲﻛﻨﺪ‪ .‬ﻣﺪﻝﻫﺎﻱ ﺍﺭﻭﺗﻴﻜﻲ‪ ،‬ﻫﻴﭻ ﻧﻤﻮﺩ ﻭ‬

‫ﺻﻮﺭﺗﻲ ﻧﺪﺍﺭﻧﺪ‪ ،‬ﻫﻨﺮﭘﻴﺸﮕﺎﻥ ﻧﻪ ﺯﻳﺒﺎ ﻧﻪ ﺯﺷﺖﺍﻧﺪ ﻭ ﻧﻪ ﮔﻮﻳﺎ‪ ،‬ﺑﺮﻫﻨﮕﻲ ﻛﺎﺭﻛﺮﺩﮔﺮﺍﻳﺎﻧﻪ‪ ،‬ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ‬

‫ﺩﺭ »ﻧﻤﺎﻳﺸﮕﺮﻱ« ﺳﻜﺲ ﺍﺯ ﺑﻴﻦ ﻣﻲﺑﺮﺩ‪ .‬ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﻓﻴﻤﻠﻬﺎ‪ ،‬ﭼﻴﺰﻱ ﺟﺰ ﺻﺪﺍﻫﺎﻱ ﺍﻧﺪﺭﻭﻧﻲ ﺑﺎ‬

‫ﻧﻤﺎﻫﺎﻱ ﻧﺰﺩﻳﻚ ﻣﻘﺎﺭﺑﺖ ﻧﻴﺴﺘﻨﺪ‪.‬‬

‫ﺣﺘﻲ ﺧﻮﺩ ﺑﺪﻥ ﺩﺭ ﻣﻴﺎﻥ ﺍﻧﺪﺍﺯﻩﻫﺎﻱ ﺑﺰﺭﮒ ﻭ ﺟﺰﺋﻴﺎﺕ ﺍﺑﮋﻩﻫﺎ ﺣﺬﻑ ﻣﻲﮔﺮﺩﺩ‪ .‬ﻫﺮ ﺁﻧﭽﻪ ﻛﻪ‬

‫ﺻﻮﺭﺕ ﺑﺎﺷﺪ‪ ،‬ﻧﺎﻣﻨﺎﺳﺐ ﺗﻠﻘﻲ ﻣﻲﺷﻮﺩ ﭼﺮﺍ ﻛﻪ ﻭﻗﺎﺣﺖ ﻭ ﺑﺎﺯﺗﻌﺮﻳﻒ ﻣﻌﻨﺎ ﺭﺍ ﺩﺭﻫﻢ ﻣﻲﺷﻜﻨﺪ ﻭ ﻫﺮ‬

‫ﭼﻴﺰﻱ ﺭﺍ ﺑﺮﻣﻲﺍﻧﮕﻴﺰﺍﻧﺪ ﺗﺎ ﺍﻳﻦ ﺍﻓﺮﺍﻁﮔﺮﻱﻫﺎﻱ ﺟﻨﺴﻲ ﻭ ﺳﺮﮔﺠﻴﮕﻲ ﭘﻮﭺﮔﺮﺍﻳﺎﻧﻪ ﺭﺍ ﺑﺮﺍﻧﺪﺍﺯﺩ‪.‬‬

‫ﺩﺭ ﻧﻬﺎﻳﺖِ ﭼﻨﻴﻦ ﻓﺮﻭﻣﺎﻳﮕﻲ ﺍﺭﻋﺎﺑﮕﺮﺍﻧﻪ‪ ،‬ﻛﻪ ﺑﺪﻥ )ﻭ ﻣﻴﻠﺶ( ﺑﺮﺍﻱ ﺑﺎﺯﺩﻫﻲ ﺩﺍﺷﺘﻦ ﻭ ﺑﺮﺍﻱ‬

‫ﻣﻼﻙ ﺑﻮﺩﻥ ﺳﺎﺧﺘﻪ ﻣﻲﺷﻮﺩ‪» ،‬ﻧﻤﻮﺩ« ﺩﻳﮕﺮ ﻫﻴﭻ ﺭﺍﺯﻱ ﻧﺪﺍﺭﺩ‪ .‬ﻓﺮﻫﻨﮓ ﺗﺼﻌﻴﺪ ﺯﺩﺍﻳﻲ ﺍﺯ ﻧﻤﻮﺩﻫﺎ‪:‬‬

‫ﻫﺮ ﭼﻴﺰﻱ ﺩﺭ ﺗﻄﺎﺑﻖ ﺑﺎ ﺩﺳﺘﻪ ﺑﻨﺪﻱﻫﺎﻱ ﺍﺑﮋﻛﺘﻮﻳﻮ‪ ،‬ﻣﺎﺗﺮﻳﺎﻟﻴﺰﻩ ﻣﻲﺷﻮﺩ‪ .‬ﺑﺮﺗﺮﻱ ﻓﺮﻫﻨﮓ ﻫﺮﺯﻩ­‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﻧﮕﺎﺭﺍﻧﻪ ﺍﻱ ﻛﻪ ﻫﻤﻴﺸﻪ ﻭ ﻫﻤﻪ ﺟﺎ ﺑﻪ ﺩﻧﺒﺎﻝ ﻛﻨﺶﻫﺎﻱ ﺍﻣﺮ ﻭﺍﻗﻌﻲ ﺍﺳﺖ‪ .‬ﻓﺮﻫﻨﮕﻲ ﻫﺮﺯﻩﻧﮕﺎﺭﺍﻧﻪ ﺑﺎ‬

‫ﺍﻳﺪﺋﻮﻟﻮﮊﻱ ﺫﺍﺗﻲﺍﺵ‪ ،‬ﺑﺎ ﺩﺳﺘﻪﺑﻨﺪﻱ ﻭ ﺳﻮﺩﻣﻨﺪﻱ‪ ،‬ﺑﺎ ﻭﺍﺑﺴﺘﮕﻲﺍﺵ ﺑﻪ ﺍﺭﺯﺵﻫﺎ ﻭ ﺯﻳﺮ ﺑﻨﺎﻱ ﻣﺎﺩﻱ‬

‫ﭼﻴﺰﻫﺎ ﻭ ﺑﺪﻥ ﭼﻮﻧﺎﻥ ﺯﻳﺮ ﺑﻨﺎﻱ ﻣﺎﺩﻱ ﻣﻴﻞ‪ .‬ﻓﺮﻫﻨﮕﻲ ﺗﻚ ﺑﻌﺪﻱ ﻛﻪ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﺩﺭ » ﺫﺍﺕ‬

‫ﺑﻮﺩﮔﻲ ﺗﻮﻟﻴﺪ« ﻳﺎ ﻟﺬﺕ ﻭ ﻛﺎﺭ ﻳﺎ ﺟﻤﺎﻉ ﻣﻜﺎﻧﻴﻜﻲ ﻧﺎﻣﺤﺪﻭﺩ‪ ،‬ﺍﺭﺯﺷﮕﺬﺍﺭﻱ ﻣﻲﻛﻨﺪ‪ .‬ﻭﻗﺎﺣﺖ ﭼﻨﻴﻦ‬

‫ﺟﻬﺎﻧﻲ ﺩﺭ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻫﻤﻪ ﭼﻴﺰ ﺍﺯ ﻧﻤﻮﺩ ﻭ ﺷﺎﻧﺲ ﺭﻭﻱ ﺑﺮﻣﻲﮔﺮﺩﺍﻧﺪ‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﻧﺸﺎﻧﻪﺍﻱ ﻣﺮﺋﻲ‬

‫ﻭ ﺿﺮﻭﺭﻱ ﻣﻲﮔﺮﺩﺩ‪ ،‬ﻣﺎﻧﻨﺪ ﻋﺮﻭﺳﻜﻬﺎﻱ ﺯﻳﺒﺎ ﻛﻪ ﺁﻻﺕ ﺗﻨﺎﺳﻠﻲ ﺩﺍﺭﻧﺪ‪ ،‬ﺣﺮﻑ ﻣﻲﺯﻧﻨﺪ‪ ،‬ﺩﺳﺘﺸﻮﻳﻲ‬

‫ﻣﻲﻛﻨﻨﺪ ﻭ ﻳﻚ ﺭﻭﺯ ﻫﻢ ﻣﻤﻜﻦ ﺍﺳﺖ ﻋﺎﺷﻖ ﺷﻮﻧﺪ‪ .‬ﻭ ﻭﺍﻛﻨﺶ ﻳﻚ ﺩﺧﺘﺮ ﻛﻮﭼﻚ‪» :‬ﺧﻮﺍﻫﺮ‬

‫ﻛﻮﭼﻜﺘﺮ ﻣﻦ ﻫﻢ ﻣﻲﺩﺍﻧﺪ ﭼﻄﻮﺭ ﺍﻳﻦ ﻛﺎﺭﻫﺎ ﺭﺍ ﺍﻧﺠﺎﻡ ﺩﻫﺪ‪ ،‬ﺁﻳﺎ ﻣﻲﺗﻮﺍﻧﻴﺪ ﺑﻪ ﻣﻦ ﻳﻚ ﭼﻴﺰ ﻭﺍﻗﻌﻲ‬

‫ﺑﺪﻫﻴﺪ؟«‬

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‫ﺍﺯ ﮔﻔﺘﻤﺎﻥ ﻛﺎﺭ ﺗﺎ ﮔﻔﺘﻤﺎﻥ ﺟﻨﺴﻴﺖ‪ ،‬ﺍﺯ ﮔﻔﺘﻤﺎﻥ ﻧﻴﺮﻭﻫﺎﻱ ﻣﻮﻟﺪ ﺗﺎ ﺭﺍﻧﺶﻫﺎ‪ ،‬ﻫﻤﻴﻦ ﻓﺮﺟﺎﻡ‬

‫ﺭ ﺍ ﻣﻲﻳﺎﺑﻴﻢ ﻛﻪ ﺗﻮﻟﻴﺪ ﺭﺍ ﺩﺭ ﻟﻔﻈﻲﺗﺮﻳﻦ ﺣﺎﻟﺘﺶ ﺩﺭﻙ ﻣﻲﻛﻨﺪ‪ .‬ﻣﻌﻨﻲ ﺍﺻﻠﻲ ﺗﻮﻟﻴﺪ ﺩﺭ ﻭﺍﻗﻊ ﻫﺮﮔﺰ‬

‫ﺟﻌﻞﻛﺮﺩﻥ ﻭ ﺳﺎﺧﺘﻦ ﻧﺒﻮﺩﻩﺍﺳﺖ ﺑﻠﻜﻪ ﭘﺪﻳﺪﺍﺭﻛﺮﺩﻥ ﻭ ﺁﺷﻜﺎﺭﻛﺮﺩﻥ ﺍﺳﺖ‪ ،‬ﺳﻜﺲ ﻣﺎﻧﻨﺪ ﺍﺭﺍﺋﻪ ﻳﻚ‬

‫ﭘﺮﻭﻧﺪﻩ ﻳﺎ ﺍﺟﺮﺍﻱ ﻋﻤﻠﻲ ﺭﻭ ﺻﺤﻨﻪ ﺗﻮﻟﻴﺪ ﻣﻲﮔﺮﺩﺩ‪ .‬ﺗﻮﻟﻴﺪﻛﺮﺩﻥ‪ ،‬ﺗﺠﺴﻢﺑﺨﺸﻴﺪﻥ ﺑﺎ ﻧﻴﺮﻭﻳﻲ‬

‫ﻣﺘﻌﻠﻖ ﺑﻪ ﻧﻈﺎﻡ ﺩﻳﮕﺮ ﻳﻌﻨﻲ ﺭﺍﺯ ﻭ ﺍﻏﻮﺍ ﺍﺳﺖ‪ .‬ﺍﻏﻮﺍﮔﺮﻱ ﻫﻤﻴﺸﻪ ﻭ ﻫﻤﻪﺟﺎ ﺑﺮ ﻋﻠﻴﻪ ﺗﻮﻟﻴﺪ ﺍﺳﺖ‪ ،‬ﺍﻏﻮﺍ‬

‫ﭼﻴﺰ ﺭﺍ ﻧﻈﺎﻡ ﻣﺮﺋﻲ‪ ،‬ﺣﺪﻑ ﻣﻲﻧﻤﺎﻳﺪ ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﺗﻮﻟﻴﺪ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﻋﻴﺎﻥ ﻣﻲﺳﺎﺯﺩ ﻭ ﺑﻪ ﻋﺪﺩ‪ ،‬ﺍﺑﮋﻩ‬

‫ﻳﺎ ﻣﻔﻬﻮﻡ ﻣﺒﺪﻝ ﻣﻲﻛﻨﺪ‪.‬‬

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‫ﺍﻏﻮﺍ‬

‫ﻫﺮ ﭼﻴﺰﻱ ﺗﻮﻟﻴﺪ ﻣﻲﺷﻮﺩ‪ ،‬ﻫﻤﻪ ﭼﻴﺰ ﺧﻮﺍﻧﺎ ﻭ ﻣﺮﺋﻲ ﺍﺳﺖ‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﻭﺍﻗﻌﻲ‪ ،‬ﻣﺮﺋﻲ ﻭ‬

‫ﭘﺎﺳﺨﮕﻮ ﻣﻲﮔﺮﺩﺩ‪ ،‬ﻫﻤﻪﭼﻴﺰ ﺩﺭ ﺭﻭﺍﺑﻂ ﻗﺪﺭﺕ‪ ،‬ﻧﻈﺎﻡ ﻣﻔﺎﻫﻴﻢ ﻳﺎ ﺍﻧﺮﮊﻱﻫﺎﻱ ﻗﺎﺑﻞ ﺳﻨﺠﺶ‪،‬‬

‫ﺭﻭﻧﻮﻳﺴﻲ ﻣﻲﺷﻮﺩ‪ ،‬ﻫﻤﻪﭼﻴﺰ ﮔﻔﺘﻪ ﻣﻲﺷﻮﺩ‪ ،‬ﺍﻧﺒﺎﺷﺖ ﻣﻲﮔﺮﺩﺩ‪ ،‬ﻓﻬﺮﺳﺖﻣﻲﺷﻮﺩ ﻭ ﺛﺒﺖﻣﻲﮔﺮﺩﺩ‪.‬‬

‫ﺍﻳﻦ ﺳﻜﺲ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﺍﻣﺎ ﻛﻠﻲﺗﺮ‪ ،‬ﺍﻳﻦ ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭﻱ ﻓﺮﻫﻨﮓ ﻣﺎﺳﺖ‬

‫ﻛﻪ ﻭﺿﻌﻴﺖ ﻃﺒﻴﻌﻲﺍﺵ ﻭﻗﺎﺣﺖ ﺍﺳﺖ‪ ،‬ﻓﺮﻫﻨﮓ ﺷﺮﺍﺭﺕ‪ ،‬ﻧﻤﺎﻳﺶ ﻭ ﺷﺮﺍﺭﺗﻲ ﻣﻮﻟﺪ‪.‬‬

‫ﻫﻴﭻ ﺍﻏﻮﺍﻳﻲ ﺩﺭ ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ ﻛﻪ ﭘﺮﺗﮕﺎﻩ ﺗﻮﻟﻴﺪ ﻛﻨﺸﻬﺎﻱ ﺟﻨﺴﻲ ﺍﺳﺖ ﻭ ﺗﻮﺣﺶ ﻟﺬﺕ ﺩﺭ‬

‫ﺑﻲﺁﻭﺭﺩﮔﻲ ﺑﻲﺩﺭﻧﮕﺶ‪ ،‬ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﻫﻴﭻﭼﻴﺰ ﺍﻏﻮﺍﮔﺮﺍﻧﻪﺍﻱ ﺩﺭ ﺍﻳﻦ ﺑﺪﻧﻬﺎﻱ ﻣﻜﻴﺪﻩﺷﺪﻩ ﺗﻮﺳﻂ‬

‫ﮔﻴﺰﻫﺎ ﺑﺎ ﺧﻼ ﺷﻔﺎﻓﻴﺖ‪ ،‬ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﺣﺘﻲ ﻛﺴﻲ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺍﺷﺎﺭﻩ ﻛﻮﭼﻜﻲ ﺑﻪ ﺍﻏﻮﺍﮔﺮﻱ ﺩﺭ ﺟﻬﺎﻥ‬

‫ﺗﻮﻟﻴﺪ ﻧﻤﺎﻳﺪ‪ .‬ﺟﻬﺎﻧﻲ ﻛﻪ ﺍﺻﻞ ﺷﻔﺎﻓﻴﺖ ﺑﺮ ﻧﻴﺮﻭﻫﺎﻱ ﻣﺘﻌﻠﻖ ﺑﻪ ﺍﻳﻦ ﺟﻬﺎﻥ ﻣﺮﺋﻲ‪ ،‬ﭘﺪﻳﺪﻩﻫﺎﻱ ﻗﺎﺑﻞ‬

‫ﻣﺤﺎﺳﺒﻪ‪ ،‬ﺍﺑﮋﻩﻫﺎ‪ ،‬ﻣﺎﺷﻴﻨﻬﺎ‪ ،‬ﺍﻋﻤﺎﻝ ﺟﻨﺴﻲ ﻭ ﺗﻮﻟﻴﺪ ﻋﻈﻴﻢ ﻣﻠﻲ‪ ،‬ﺣﻜﻮﻣﺖ ﻣﻲﻛﻨﺪ‪.‬‬

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‫ﺍﺑﻬﺎﻡ ﺣﻞﻧﺎﺷﺪﻧﻲ ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ‪ :‬ﺍﺯ ﻃﺮﻳﻖ ﺳﻜﺲ ﺑﻪ ﺗﻤﺎﻣﻲ ﺍﻏﻮﺍﮔﺮﻱﻫﺎ ﭘﺎﻳﺎﻥ ﻣﻲﺑﺨﺸﺪ‪ ،‬ﺍﻣﺎ‬

‫ﺍﺯ ﻃﺮﻓﻲ ﻫﻢ ﺑﺎ ﺟﻤﻊﺁﻭﺭﻱ ﻧﺸﺎﻧﻪﻫﺎﻱ ﺳﻜﺲ‪ ،‬ﺑﺪﺍﻥ ﭘﺎﻳﺎﻥ ﻣﻲﺑﺨﺸﺪ‪ .‬ﻫﻢ ﻧﻘﻴﻀﻪﺍﻱ ﭘﻴﺮﻭﺯﻣﻨﺪﺍﻧﻪ‬

‫ﻭ ﻫﻢ ﺩﺭﺩ ﺟﺎﻧﻔﺮﺳﺎﻳﻲ ﻭﺍﻧﻤﻮﺩﻩ ﺷﺪﻩ‪ ،‬ﺍﻳﻦ ﺍﺳﺖ ﺍﺑﻬﺎﻡ ﺁﻥ‪ .‬ﺩﺭ ﻳﻚ ﺣﺎﻟﺖ‪ ،‬ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ ﺑﺮﺣﻖ‬

‫ﺍﺳﺖ‪ :‬ﺣﻘﻴﻘﺘﺶ ﺭﺍ ﻣﺪﻳﻮﻥ ﻧﻈﺎﻡ ﺑﺎﺯﺩﺍﺭﻧﺪﻩ ﺟﻨﺴﻲ ﺑﺎ ﺧﻴﺎﻝ ﻭ ﻭﻫﻢ‪ ،‬ﺑﺎﺯﺩﺍﺭﻧﺪﮔﻲ ﻭﺍﻗﻌﻴﺖ ﺑﺎ ﺣﺎﺩ‬

‫ﻭﺍﻗﻌﻴﺖ ﻭ ﺑﺪﻥ ﺑﺎ ﺗﺠﺴﻢ ﺍﺟﺒﺎﺭﻱﺍﺵ ﺍﺳﺖ‪.‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ ﺑﻪ ﺩﻭ ﺩﻟﻴﻞ ﻣﻘﺼﺮ ﺍﺳﺖ‪ :‬ﺑﻪ ﺧﺎﻃﺮ ﺩﺳﺘﻜﺎﺭﻱ ﺩﺭ ﺳﻜﺲ ﺗﺎ ﻣﺒﺎﺭﺯﻩ ﻃﺒﻘﺎﺗﻲ ﺭﺍ‬

‫ﺟﺪﺍ ﻧﻤﺎﻳﺪ‪) ،‬ﻫﻤﺎﻥ ﺁﮔﺎﻫﻲ ﺭﻣﺰﻱ ﺷﺪﻩ ﻗﺪﻳﻤﻲ( ﻭ ﺑﻪ ﺧﺎﻃﺮ ﺗﺒﺎﻫﻲ ﺳﻜﺲ )ﺳﻜﺲ ﺧﻮﺏ ﻭ‬

‫ﺩﺭﺳﺖ‪ ،‬ﺳﻜﺴﻲ ﻛﻪ ﺁﺯﺍﺩ ﺷﺪﻩ ﻭ ﺗﺼﻮﺭ ﻣﻲﺷﻮﺩ ﺟﺰ ﺣﻘﻮﻕ ﻃﺒﻴﻌﻲ ﻣﺎﺳﺖ( ﺑﺎ ﻛﺎﻻﻳﻲ ﻛﺮﺩﻥ ﺁﻥ‪.‬‬

‫ﺑﻪ ﻫﻤﻴﻦﺩﻟﻴﻞ ﮔﻔﺘﻪ ﻣﻲﺷﻮﺩ ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ ﭘﻮﺷﺸﻲ ﺍﺳﺖ ﺑﺮﺍﻱ ﺣﻘﻴﻘﺖ ﺳﺮﻣﺎﻳﻪ ﻭ ﺯﻳﺮﺑﻨﺎﻱ ﺁﻥ ﺩﺭ‬

‫ﺟﻨﺴﻴﺖ ﻭ ﻣﻴﻞ‪ .‬ﺍﻣﺎ ﺩﺭ ﻭﺍﻗﻊ ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ‪ ،‬ﭘﻮﺷﺶ ﻫﻴﭻ ﭼﻴﺰﻱ ﻧﻴﺴﺖ‪) .‬ﺑﻠﻪ ﺑﺮﺍﺳﺘﻲ‬

‫ﻫﻤﻴﻨﻄﻮﺭﺍﺳﺖ( ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ‪ ،‬ﺍﻳﺪﺋﻮﻟﻮﮊﻱ ﻧﻴﺴﺖ‪ .‬ﺣﻘﻴﻘﺘﻲ ﺭﺍ ﭘﻨﻬﺎﻥ ﻧﻤﻲﻛﻨﺪ ﺑﻠﻜﻪ ﻳﻚ‬

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‫ﻭﺍﻧﻤﻮﺩﻩﺍﺳﺖ‪ .‬ﺟﻠﻮﻩﺍﻱ ﺣﻘﻴﻘﻲ ﺍﺳﺖ ﻛﻪ ﻋﺪﻡ ﻭﺟﻮﺩ ﺣﻘﻴﻘﺖ ﺭﺍ ﭘﻨﻬﺎﻥ ﻣﻲﻛﻨﺪ‪.‬‬

‫ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ ﻣﻲﮔﻮﻳﺪ‪ :‬ﺳﻜﺲ ﺧﻮﺏ ﺩﺭ ﺟﺎﻳﻲ ﺑﺎﻳﺪ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪﺑﺎﺷﺪ ﭼﺮﺍ ﻛﻪ ﻣﻦ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ‬

‫ﺁﻥ ﻫﺴﺘﻢ‪ .‬ﺑﺎ ﻭﻗﺎﺣﺖ ﻣﻀﺤﻜﺶ‪ ،‬ﺗﻼﺵ ﻣﻲﻛﻨﺪ ﺗﺎ ﺣﻘﻴﻘﺖ ﺳﻜﺲ ﺭﺍ ﺛﺎﺑﺖﻧﻤﺎﻳﺪ ﻭ ﻣﺪﻝﻫﺎﻱ‬

‫ﺟﻨﺴﻲ ﻗﺎﺑﻞ ﻗﺒﻮﻟﻲ ﺍﺭﺍﺋﻪ ﺩﻫﺪ‪ .‬ﺍﻛﻨﻮﻥ‪ ،‬ﻛﻞ ﻣﺴﺌﻠﻪ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﭼﻪ ﺳﻜﺲ ﺧﻮﺏ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ­‬

‫ﺑﺎﺷﺪ ﻭ ﭼﻪ ﺑﻪ ﺳﺎﺩﮔﻲ ﺳﻜﺲ ﺩﺭ ﺟﺎﻳﻲ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪﺑﺎﺷﺪ‪ ،‬ﺳﻜﺲ ﻫﻤﭽﻮﻥ ﺍﺭﺯﺵ ﻣﺼﺮﻓﻲ ﺍﻳﺪﻩ­‬

‫ﺁﻝ ﺑﺪﻥ ﻫﻤﭽﻮﻥ ﻟﺬﺗﻬﺎﻱ ﻣﻤﻜﻨﻲ ﺍﺳﺖ ﻛﻪ ﻣﻲﺗﻮﺍﻧﺪ ﻭ ﻣﻲﺑﺎﻳﺪ ﺁﺯﺍﺩ ﺷﻮﺩ‪ .‬ﺍﻳﻦ ﻫﻤﺎﻥ ﻣﺴﺌﻠﻪ ﺍﻱ‬

‫ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺍﻗﺘﺼﺎﺩﻱ ﺳﻴﺎﺳﻲ ﻣﻄﺎﻟﺒﻪ ﻣﻲﺷﻮﺩ‪ :‬ﺁﻳﺎ ﺍﺭﺯﺵ ﺧﻮﺏ‪ ،‬ﺁﻳﺎ ﺍﺭﺯﺵ ﻣﺼﺮﻓﻲ ﺍﻳﺪﻩﺁﻟﻲ ﻓﺮﺍﺗﺮ‬

‫ﺍﺯ ﺍﺭﺯﺵ ﻣﺒﺎﺩﻟﻪﺍﻱ ﻛﻪ ﻫﻤﭽﻮﻥ ﺗﺠﺮﻳﺪﻫﺎﻱ ﻏﻴﺮ ﺍﻧﺴﺎﻧﻲ ﺳﺮﻣﺎﻳﻪ ﻓﻬﻤﻴﺪﻩ ﻣﻲﺷﻮﺩ‪ ،‬ﺍﺭﺯﺵ ﺍﻳﺪﻩﺁﻝ‬

‫ﺭﻭﺍﺑﻂ ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﻛﺎﻻﻫﺎ ﻛﻪ ﻣﻲﺗﻮﺍﻧﺪ ﻭ ﻣﻲﺑﺎﻳﺪ ﺁﺯﺍﺩ ﺷﻮﺩ‪ ،‬ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ؟‬

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‫ﺍﻏﻮﺍ‬

‫ﺍﻏﻮﺍ‪ /‬ﺗﻮﻟﻴﺪ‬

‫ﺩﺭ ﻭﺍﻗﻊ‪ ،‬ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ ﺟﺰ ﻣﺤﺪﻭﺩﻳﺖ ﻣﺘﻨﺎﻗﺾﻧﻤﺎﻱ ﺭﻭﺍﺑﻂ ﺟﻨﺴﻲ ﻧﻴﺴﺖ‪ .‬ﺗﺸﺪﻳﺪ ﻭﺍﻗﻊ­‬

‫ﮔﺮﺍﻳﻲ ﻭ ﻭﺳﻮﺍﺱ ﺩﻳﻮﺍﻧﻪﻭﺍﺭ ﺑﻪ ﻭﺍﻗﻌﻴﺖ‪ .‬ﺍﻳﻦ ﺍﺯ ﻟﺤﺎﻅ ﻟﻐﻮﻱ ﻭ ﺍﺯ ﻫﺮ ﻟﺤﺎﻅ ﺩﻳﮕﺮ‪ ،‬ﻭﻗﺎﺣﺖ ﺍﺳﺖ‪.‬‬

‫ﺍﻣﺎ ﺁﻳﺎ ﺧﻮﺩ ﺭﻭﺍﺑﻂ ﺟﻨﺴﻲ ﭘﻴﺸﺘﺮ‪ ،‬ﻣﺎﺩﻱ ﻛﺮﺩﻥ ﺍﺟﺒﺎﺭﻱ ﻧﻴﺴﺖ؟ ﺁﻳﺎ ﻇﻬﻮﺭ ﺭﻭﺍﺑﻂ ﺟﻨﺴﻲ‪ ،‬ﭘﻴﺸﺘﺮ‬

‫ﺑﺨﺸﻲ ﺍﺯ ﻭﺍﻗﻊ ﮔﺮﺍﻳﻲ ﻏﺮﺑﻲ ﻭ ﺍﺟﺒﺎﺭ ﻓﺮﻫﻨﮕﻲ ﻣﺎ ﺑﺮﺍﻱ ﻣﻌﺮﻓﻲ ﻭ ﺍﺳﺘﻌﻤﺎﻝ ﻫﻤﻪ ﭼﻴﺰ ﻧﻴﺴﺖ‪.‬‬

‫ﻭﻗﺘﻲ ﺻﺤﺒﺖ ﺍﺯ ﻓﺮﻫﻨﮓﻫﺎﻱ ﺩﻳﮕﺮ ﺍﺳﺖ‪ ،‬ﻳﺎﻭﻩﮔﻮﻳﻲ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺑﺎﺏ ﺍﻳﻦ ﻓﺮﻫﻨﮕﻬﺎ ﺗﺤﺖ‬

‫ﺭﺩﻩﺑﻨﺪﻳﻬﺎﻱ ﺍﻗﺘﺼﺎﺩ‪ ،‬ﺳﻴﺎﺳﺖ‪ ،‬ﺩﻳﻦ ﻭ ﺳﻴﺴﺘﻢﻫﺎﻱ ﺣﻘﻮﻗﻲ ﺳﺨﻦ ﺑﮕﻮﻳﻴﻢ‪) .‬ﻭ ﺭﺩﻩﺑﻨﺪﻱﻫﺎﻱ‬

‫ﺍﺟﺘﻤﺎﻋﻲ ﺧﻴﺎﻟﺒﺎﻓﺎﻧﻪ ﺩﻳﮕﺮ(‪ .‬ﺑﻪ ﺳﺒﺐ ﻋﺪﻡ ﻭﺟﻮﺩ ﭼﻨﻴﻦ ﺗﻔﻜﻴﻚﻫﺎﻳﻲ )ﺩﺭ ﻓﺮﻫﻨﮓﻫﺎﻱ ﺩﻳﮕﺮ(‬

‫ﺍﻳﻦ ﻣﻔﺎﻫﻴﻢ ﻣﺎﻧﻨﺪ ﺑﻴﻤﺎﺭﻱ ﺍﺯ ﺳﻮﻱ ﻣﺎ ﻓﺮﻫﻨﮕﻬﺎﻱ ﺩﻳﮕﺮ ﺭﺍ ﺑﺮﺍﻱ ﺑﻬﺘﺮ ﻓﻬﻤﻴﺪﻥ ﺁﻧﻬﺎ ﺁﻟﻮﺩﻩ‬

‫ﻣﻲﻛﻨﺪ‪ .‬ﻫﻤﻴﻨﻄﻮﺭ‪ ،‬ﻛﺎﻣﻼً ﺑﻲﻣﻌﻨﻲ ﺍﺳﺖ ﺍﺳﺖ ﻛﻪ ﺭﻭﺍﺑﻂ ﺟﻨﺴﻲ ﺭﺍ ﺍﺯ ﺍﻳﻦ ﺍﻣﺮ ﻣﺴﺘﺜﻨﻲ ﻧﻤﺎﻳﻴﻢ ﻭ‬

‫ﺑﻪ ﺩﺍﺩﻩﺍﻱ ﻛﺎﺳﺖﻧﺎﭘﺬﻳﺮ ﺩﺭﺁﻭﺭﻳﻢ ﻛﻪ ﻧﻤﻮﻧﻪﻫﺎﻱ ﺩﻳﮕﺮ ﺭﺍ ﻣﻲﺗﻮﺍﻧﻴﻢ ﺑﺪﺍﻥ ﻛﺎﻫﺶ ﺩﻫﻴﻢ‪ .‬ﻣﺎ ﺑﻪ ﻧﻘﺪ‬

‫ﻋﻘﻼﻧﻴﺖ ﺟﻨﺴﻲ ﻧﻴﺎﺯﻣﻨﺪﻳﻢ ﻳﺎ ﺑﻠﻜﻪ ﺑﻪ ﺗﺒﺎﺭﺷﻨﺎﺳﻲ ﻋﻘﻼﻧﻴﺖ ﺟﻨﺴﻴﺖ ﻣﺸﺎﺑﻪ ﺗﺒﺎﺭﺷﻨﺎﺳﻲ ﻛﻪ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﻧﻴﭽﻪ ﺍﺯ ﺧﻴﺮ ﻭ ﺷﺮ ﺩﺭ ﺑﺎﺏ ﺍﺧﻼﻗﻴﺎﺕ ﺟﺪﻳﺪ ﻣﺎ ﺑﻪ ﻋﻤﻞ ﺁﻭﺭﺩﻩ‪ .‬ﻣﻲﺑﺎﻳﺪ ﺍﺯ ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ‬

‫ﻫﻤﺎﻧﮕﻮﻧﻪ ﺳﺨﻦ ﮔﻮﻳﻴﻢ ﻛﻪ ﺍﺯ ﻣﺮﮒ‪» :‬ﺍﻳﻦ ﻣﺨﻤﺼﻪ ﺟﺪﻳﺪﻱ ﺍﺳﺖ ﻛﻪ ﺍﮔﺎﻫﻲ ﻣﺎ ﺧﻴﻠﻲ ﻭﻗﺖ‬

‫ﻧﻴﺴﺖ ﻛﻪ ﺑﺪﺍﻥ ﺧﻮﮔﺮﻓﺘﻪﺍﺳﺖ‪«.‬‬

‫ﻭﻗﺘﻲ ﻣﺎ ﺑﺎ ﻓﺮﻫﻨﮕﻬﺎﻳﻲ ﻛﻪ ﻋﻤﻞ ﺟﻨﺴﻲ ﺩﺭ ﺍﻥ ﻫﺪﻑ ﺩﺭ ﺧﻮﺩ ﻧﻴﺴﺖ‪ ،‬ﺭﻭﺑﺮﻭ ﻣﻲﺷﻮﻳﻢ‬

‫ﺳﺮﮔﺸﺘﻪ ﻭ ﻣﺒﻬﻮﺕ ﻣﻲﻣﺎﻧﻴﻢ‪ .‬ﺟﻨﺴﻴﺖ ﻧﺰﺩ ﺍﻳﺸﺎﻥ ﻣﺎﻧﻨﺪ ﻣﺎ‪ ،‬ﺟﺪﻳﺖ ﻣﻬﻠﻚ ﺍﻧﺮﮊﻱ ﺁﺯﺍﺩ ﺷﺪﻩ‪،‬‬

‫ﺍﻧﺰﺍﻝ ﺍﺟﺒﺎﺭﻱ‪ ،‬ﺗﻮﻟﻴﺪ ﺑﻪ ﻫﺮ ﻗﻴﻤﺖ ﻭ ﺭﺳﻴﺪﮔﻲ ﺑﻬﺪﺍﺷﺘﻲ ﺑﺪﻥ ﺭﺍ ﻧﺪﺍﺭﺩ‪ .‬ﻓﺮﻫﻨﮕﻬﺎﻳﻲ ﻛﻪ ﺭﻭﻳﻪﻫﺎﻱ‬

‫ﺩﺭﺍﺯ ﻣﺪﺕ ﺍﻏﻮﺍﮔﺮﻱ ﻭ ﺷﻬﻮﺍﻧﻴﺖ ﺭﺍ ﺩﺭ ﻫﺪﻳﻪﺩﺍﺩﻥ ﻭ ﭘﻴﺶﻛﺸﻲﻫﺎﻱ ﻣﺘﻘﺎﺑﻞ ﺑﺎ ﺟﻨﺴﻴﺘﻲ ﻛﻪ ﺩﺭ‬

‫ﺧﺪﻣﺖ ﺍﻣﻮﺭ ﺩﻳﮕﺮ )ﻣﺎﻧﻨﺪ ﺁﻳﻴﻨﻬﺎﻱ ﺍﻏﻮﺍﮔﺮﺍﻧﻪ)ﻡ(( ﺍﺳﺖ ﻭ ﻋﻤﻞ ﻋﺎﺷﻘﺎﻧﻪﺍﻱ ﻛﻪ ﺗﻨﻬﺎ ﺑﺨﺶ ﭘﺎﻳﺎﻧﻲ‬

‫ﻳﻚ ﻣﺒﺎﺩﻟﻪ ﺁﻳﻴﻨﻲ ﺍﺳﺖ‪ ،‬ﺑﺎﻗﻲﻧﮕﺎﻩﺩﺍﺷﺘﻪﺍﻧﺪ‪ .‬ﭼﻴﻦ ﻛﺎﺭﻫﺎﻳﻲ ﺑﺮﺍﻱ ﻣﺎ ﺩﻳﮕﺮ ﻣﻌﻨﻲ ﻧﺪﺍﺭﺩ‪ ،‬ﺟﻨﺴﻴﺖ‬

‫ﺷﺪﻳﺪﺍً ﺗﻜﻠﻤﻲ ﻭ ﺗﺤﻘﻖ ﻣﻴﻞ ﺩﺭ ﻟﺬﺕ ﺷﺪﻩﺍﺳﺖ "ﻭ ﺟﺰ ﺍﻳﻦ ﻫﺮ ﭼﻴﺰﻱ )ﺻﺮﻓﺎً( ﺍﺩﺑﻴﺎﺕ )ﭼﻨﻴﻦ‬

‫ﺭﻭﺍﺑﻄﻲ( ﺍﺳﺖ‪ ".‬ﻫﻤﻪﭼﻴﺰ ﺣﻮﻝ ﻭ ﺣﻮﺵ ﺍﺭﮔﺎﺳﻢ ﺗﺒﻠﻮﺭ ﻳﺎﻓﺘﻪ ﻭ ﻫﺮ ﭼﻪ ﺑﻴﺸﺘﺮ ﻛﺎﺭﻛﺮﺩ ﺍﻧﺮﮊﻱ­‬

‫ﺯﺍﻳﻲ ﻣﻲﻳﺎﺑﺪ‪.‬‬

‫ﻓﺮﻫﻨﮓ ﻣﺎ ﻓﺮﻫﻨﮓ ﺍﻧﺰﺍﻝ ﺯﻭﺩﺭﺱ ﺍﺳﺖ‪) ،‬ﺑﺮﺁﻭﺭﺩﮔﻲ ﺳﺮﻳﻊ ﻣﻴﻞ ﺑﺪﻭﻥ ﻫﻴﭻ ﺑﺎﺯﻱ ﺍﻏﻮﺍﮔﺮﺍﻧﻪ ﺍﻱ‬

‫ﻭ ﻫﻴﭻ ﺗﺸﺮﻳﻔﺎﺗﻲ )ﻡ(( ﺗﻤﺎﻱ ﺍﻏﻮﺍﮔﺮﻱ ﻭ ﺭﻭﺷﻬﺎﻱ ﻓﺮﻳﺐ‪ ،‬ﻛﻪ ﻫﻤﻴﺸﻪ ﻓﺮﺁﻳﻨﺪﻫﺎﻱ ﺁﻳﻴﻨﻲ‬

‫ﻣﺤﺴﻮﺏ ﻣﻲﺷﻮﻧﺪ‪ ،‬ﺗﻮﺳﻂ ﺍﻟﺰﺍﻣﺎﺕ ﺟﻨﺴﻲ ﻃﺒﻴﻌﻲ ﺷﺪﻩ ﻭ ﺩﺭ ﭘﺸﺖ ﺗﺤﻘﻖ ﺑﻲﺩﺭﻧﮓ ﻭ ﺍﻟﺰﺍﻣﻲ‬

‫ﻣﻴﻞ ﺍﺯ ﺑﻴﻦ ﺭﻓﺘﻪﺍﻧﺪ‪ .‬ﻣﺮﻛﺰ ﺛﻘﻞﻫﺎ ﺑﻪ ﻃﺮﻑ ﺍﻗﺘﺼﺎﺩ ﻟﻴﺒﻴﺪﻭﻳﻲ ﺟﺎﺑﻪﺟﺎ ﺷﺪﻩﺍﻧﺪ ﻛﻪ ﺗﻨﻬﺎ ﺑﻪ‬

‫ﻃﺒﻴﻌﻲﻛﺮﺩﻥ ﻣﻴﻞ ﺍﻫﻤﻴﺖ ﻣﻲﺩﻫﺪ‪ .‬ﻣﻴﻠﻲ ﻛﻪ ﻣﺨﺘﺺ ﺭﺍﻧﺶﻫﺎ ﻭ ﻳﺎ ﻛﺎﺭﻛﺮﺩﻫﺎﻱ ﻣﺎﺷﻴﻦﮔﻮﻧﻪ ﻭ‬

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‫ﺍﻏﻮﺍ‬

‫ﺑﻴﺶ ﺍﺯ ﻫﻤﻪ ﮔﺮﻓﺘﺎﺭ ﺍﻧﮕﺎﺭﻩ ﺳﺮﻛﻮﺏ ﻭ ﺁﺯﺍﺩﺳﺎﺯﻱ ﺍﺳﺖ‪ .‬ﺍﺯ ﺍﻳﻦ ﭘﺲ ﻛﺴﻲ ﻧﻤﻲﮔﻮﻳﺪ »ﺷﻤﺎ‬

‫ﺭﻭﺣﻲ ﺩﺍﺭﻳﺪ ﻛﻪ ﻣﻲﺑﺎﻳﺴﺖ ﻧﺠﺎﺕ ﻳﺎﺑﺪ‪«.‬‬

‫ﺑﻠﻜﻪ ﻣﻲﮔﻮﻳﺪ‪:‬‬

‫»ﺷﻤﺎ ﺳﻜﺴﻲ ﺩﺍﺭﻳﺪ ﻛﻪ ﻣﻲﺑﺎﻳﺪ ﺍﺯ ﺁﻥ ﺧﻮﺏ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻴﺪ‪«.‬‬

‫»ﺷﻤﺎ ﻧﺎﺧﻮﺩﺍﮔﺎﻫﻲ ﺩﺍﺭﻳﺪ ﻛﻪ ﺑﺎﻳﺪ ﺍﺟﺎﺯﻩ ﺩﻫﻴﺪ ﻧﻬﺎﺩ ﺳﺨﻦ ﮔﻮﻳﺪ‪«.‬‬

‫»ﺷﻤﺎ ﺑﺪﻧﻲ ﺩﺍﺭﻳﺪ ﻛﻪ ﺑﺎﻳﺪ ﺍﺯ ﺁﻥ ﻟﺬﺕ ﺑﮕﻴﺮﻳﺪ‪«.‬‬

‫»ﺷﻤﺎ ﻟﻴﺒﻴﺪﻭﻳﻲ ﺩﺍﺭﻳﺪ ﻛﻪ ﻣﻲﺑﺎﻳﺪ ﺁﻥ ﺭﺍ ﻣﺼﺮﻑ ﻛﻨﻴﺪ‪«.‬‬

‫ﻭ ﻏﻴﺮﻩ‬

‫ﺍﻳﻦ ﻓﺸﺎﺭ ﺑﺮﺍﻱ ﮔﻔﺘﺎﺭﻫﺎﻱ ﺳﻴﺎﻝ ﻭ ﺗﺴﺮﻳﻊ ﺷﺪﻩ ﺑﺮﺍﻱ ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ ﻭ ﺑﺪﻥ ﻓﻴﺰﻳﻜﻲ ﻭ‬

‫ﺭﻭﺍﻧﻲ ﻋﻴﻨﺎً ﻧﺴﺨﻪﺍﻱ ﺍﺯ ﻫﻤﺎﻥ ﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﺍﺭﺯﺵ ﻣﺒﺎﺩﻟﻪ ﺭﺍ ﺗﻨﻈﻴﻢ ﻣﻲﻛﻨﺪ‪ :‬ﺳﺮﻣﺎﻳﻪ ﻣﻲﺑﺎﻳﺪ‬

‫ﺑﭽﺮﺧﺪ‪ .‬ﻫﻴﭻﺟﺎﻳﻲ ﺛﺎﺑﺖ ﺩﻳﮕﺮﻱ ﻧﺒﺎﻳﺪ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪﺑﺎﺷﺪ‪ ،‬ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭﻱﻫﺎ ﻣﻲﺑﺎﻳﺪ ﭘﻴﻮﺳﺘﻪ‬

‫ﺗﺠﺪﻳﺪ ﺷﻮﺩ‪ .‬ﺍﺭﺯﺷﻬﺎ ﺑﺎﻳﺪ ﺑﺪﻭﻥ ﻫﻴﭻ ﻣﻬﻠﺘﻲ ﺗﻮﺯﻳﻊ ﮔﺮﺩﻧﺪ‪ .‬ﺍﻳﻦ ﺷﻜﻞ ﺗﺤﻘﻖ ﻛﻨﻮﻧﻲ ﺍﺭﺯﺵ ﻭ‬

‫ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ‪ ،‬ﻣﺪﻝ ﺟﻨﺴﻲ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺳﺎﺩﮔﻲ ﺭﻭﺵ ﻛﺎﺭ ﺁﻥ ﺑﺮ ﺭﻭﻱ ﺑﺪﻥ ﺍﺳﺖ‪.‬‬

‫ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﻳﻚ ﻣﺪﻝ ﺟﻨﺴﻲ‪ ،‬ﺑﻪ ﺷﻜﻞ ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭﻱ ﻓﺮﺩﻱ ﺑﺮ ﺍﺳﺎﺱ ﺍﻧﺮﮊﻱ ﻃﺒﻴﻌﻲ ﺍﺳﺖ ﺩﺭ‬

‫ﻣﻲﺁﻳﺪ‪ :‬ﺑﺮ ﻫﺮ ﻣﻴﻞ ﺍﻭ ﻭ ﺷﺎﻳﺪ ﺑﺮﺧﻮﺩ ﺍﻧﺴﺎﻥ ﻣﺴﺘﻮﻟﻲ ﻣﻲﺷﻮﺩ )ﺩﺭ ﺯﻣﻴﻨﻪ ﻟﺬﺕ(‪.‬‬

‫ﺍﻳﻦ ﺷﻜﻞ ﻫﻤﺎﻥ ﺳﺮﻣﺎﻳﻪ ﺭﺍ ﺩﺍﺭﺩ ﻭ ﺑﻪ ﻫﻤﻴﻦﺧﺎﻃﺮ‪ ،‬ﺟﻨﺴﻴﺖ‪ ،‬ﻣﻴﻞ ﻭ ﻟﺬﺕ‪ ،‬ﺍﺭﺯﺷﻬﺎﻱ‬

‫ﺯﻳﺮﺩﺳﺖ ﺳﺮﻣﺎﻳﻪﺍﻧﺪ‪ .‬ﻭﻗﺘﻲ ﻧﻪ ﺧﻴﻠﻲ ﻭﻗﺖ ﭘﻴﺶ ﺑﺮﺍﻱ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺩﺭ ﺍﻓﻖ ﻓﺮﻫﻨﮓ ﻏﺮﺑﻲ ﺑﻪ ﻋﻨﻮﺍﻥ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﻧﻈﺎﻣﻲ ﺍﺭﺟﺎﻋﻲ ﻇﻬﻮﺭ ﻧﻤﻮﺩ‪ ،‬ﻧﺴﺒﺖ ﺑﻪ ﺍﺭﺯﺷﻬﺎﻱ ﺍﺷﺮﺍﻓﻲ ﺯﺍﻳﺶ‪ ،‬ﺧﻮﻥ‪ ،‬ﺷﺠﺎﻋﺖ ﻭ ﺍﻏﻮﺍﮔﺮﻱ ﻳﺎ‬

‫ﺍﺭﺯﺷﻬﺎﻱ ﺟﻤﻌﻲ ﻣﺬﻫﺒﻲ ﻭ ﻗﺮﺑﺎﻧﻲﺩﺍﺩﻥ‪ ،‬ﺍﺭﺯﺷﻲ ﺩﻭﻥ ﻭ ﭘﺲﻣﺎﻧﺪﻩ ﺑﻮﺩ ‪ -‬ﺍﻳﺪﻩﺁﻝ ﻃﺒﻘﺎﺕ‬

‫ﻓﺮﻭﺩﺳﺖ ‪ -‬ﺑﻮﺭﮊﻭﺍﺯﻱ ﻭ ﺧﺮﺩﻩ ﺑﻮﺭﮊﻭﺍﺯﻱ‪.‬‬

‫ﻋﻼﻭﻩ ﺑﺮ ﺍﻳﻦ‪ ،‬ﺑﺪﻥ‪ ،‬ﺍﻳﻦ ﻫﻤﺎﻥ ﺑﺪﻧﻲ ﺍﺳﺖ ﻛﻪ ﭘﻴﻮﺳﺘﻪ ﺑﻪ ﺁﻥ ﺍﺭﺟﺎﻉ ﻣﻲﺩﻫﻴﻢ ‪ -‬ﺩﻳﮕﺮ ﻫﻴﭻ‬

‫ﻭﺍﻗﻌﻴﺘﻲ ﺟﺰ ﭼﻴﺰﻱ ﻛﻪ ﺗﻮﺳﻂ ﻣﺪﻝ ﻣﻮﻟﺪ ﻭ ﺟﻨﺴﻲ ﺑﻜﺎﺭ ﮔﺮﻓﺘﻪﻣﻲﺷﻮﺩ‪ ،‬ﻧﺪﺍﺭﺩ‪ .‬ﺍﻳﻦ ﺳﺮﻣﺎﻳﻪﺍﺳﺖ‬

‫ﻛﻪ ﻫﻢ ﺑﺪﻥ ﻧﻴﺮﻭﻱ ﻛﺎﺭ ﻭ ﺯﺣﻤﺖ ﻭ ﻫﻢ ﺑﺪﻥ ﺭﻭﻳﺎﻫﺎﻱ ﻣﺎ ﺭﺍ ﺑﻪ ﺟﺎﻳﮕﺎﻩ ﻣﻘﺪﺱ ﺍﻣﻴﺎﻝ ﻭ ﺭﺍﻧﺶﻫﺎ‪،‬‬

‫ﺍﻧﺮﮊﻱ ﺭﻭﺍﻧﻲ ﻭ ﻧﺎﺧﻮﺩﺍﮔﺎﻩ ﻣﺒﺪﻝ ﻛﺮﺩﻩﺍﺳﺖ‪ ،‬ﺑﺪﻧﻲ ﺍﻧﮕﻴﺨﺘﻪ ﻛﻪ ﺑﺎ ﻓﺮﺁﻳﻨﺪﻫﺎﻱ ﺍﻭﻟﻴﻪ ﺩﺭ ﺁﻣﻴﺨﺘﻪ‬

‫ﻣﻲﺷﻮﺩ ‪ -‬ﺑﺪﻥ ﺧﻮﺩ ﻳﻚ ﻓﺮﺁﻳﻨﺪ ﺍﻭﻟﻴﻪ ﻣﻲﺷﻮﺩ ﻭ ﺑﺪﺍﻥ ﻃﺮﻳﻖ ﻳﻚ ﺿﺪ ﺑﺪﻥ‪ ،‬ﻳﻚ ﺍﺭﺟﺎﻉ ﺍﻧﻘﻼﺑﻲ‬

‫ﻧﻬﺎﻳﻲ ﻣﻲﮔﺮﺩﺩ‪ .‬ﺩﻭ ﺑﺪﻥ ﺑﻪ ﻃﻮﺭ ﻫﻤﺰﻣﺎﻥ ﺩﺭ ﺳﺮﻛﻮﺏ ﺗﻮﻟﻴﺪ ﻣﻲﺷﻮﻧﺪ ﻭ ﻣﺨﺎﻟﻔﺖ ﻇﺎﻫﺮﻱ ﺑﺎ ﺁﻥ‬

‫ﺟﺰ ﻧﺘﻴﺠﻪ ﺑﺎﺯ ﺗﻜﺮﺍﺭ ﺁﻧﻬﺎ ﻧﻴﺴﺖ‪ .‬ﻭﻗﺘﻲ ﻓﺮﺩ ﺟﺎﻫﺎﻱ ﻣﺤﺮﻣﺎﻧﻪ ﺑﺪﻧﺶ ﺭﺍ ﺑﺮﻫﻨﻪ ﻣﻲﻛﻨﺪ‪ ،‬ﺍﻧﺮﮊﻱ‬

‫»ﻧﺎﻣﺤﺪﻭﺩ« ﻟﻴﺒﻴﺪﻳﻨﺎﻝ ﺭﺍ ﺩﺭ ﺑﺮﺍﺑﺮ ﺍﻧﺮﮊﻱ »ﻣﺤﺪﻭﺩ« ﺑﺪﻥ ﻣﻮﻟﺪ ﻗﺮﺍﺭ ﻣﻲﺩﻫﺪ‪ ،‬ﻭﻗﺘﻲ ﻓﺮﺩ ﺩﺭ ﻣﻴﻞ‪،‬‬

‫ﺣﻘﻴﻘﺖ ﺧﻴﺎﻝﻫﺎﻱ ﺑﺪﻥ ﻭﺭﺍﻧﺶﻫﺎ ﺭﺍ ﻛﺸﻒ ﻣﻲﻛﻨﺪ‪ ،‬ﻓﻘﻂ ﺩﺭ ﺣﺎﻝ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪﻥ ﺍﺳﺘﻌﺎﺭﻩﻫﺎﻱ‬

‫ﺭﻭﺍﻧﻲ ﺳﺮﻣﺎﻳﻪﺍﺳﺖ‪.‬‬

‫ﻣﻴﻞ ﺷﻤﺎ‪ ،‬ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﺷﻤﺎ‪ ،‬ﺍﺳﺘﻌﺎﺭﻩ ﺭﻭﺍﻧﻲ ﺳﺮﻣﺎﻳﻪ ﺯﺑﺎﻟﻪ ﻱ ﺑﻲﺍﺭﺯﺵ ﺍﻗﺘﺼﺎﺩ ﺳﻴﺎﺳﻲ‬

‫ﺍﺳﺖ‪ .‬ﻭ ﻗﻠﻤﺮﻭ ﺟﻨﺴﻲ ﭼﻴﺰﻱ ﺟﺰ ﺗﻮﺳﻴﻊ ﺧﻴﺎﻟﻲ ﺍﻳﺪﻩﺁﻝ ﻣﺒﺘﺬﻝ ﻣﺎﻟﻜﻴﺖ ﺧﺼﻮﺻﻲ ﻧﻴﺴﺖ ﻛﻪ‬

‫ﺑﻪ ﻫﺮﻛﺴﻲ ﻣﻘﺪﺍﺭ ﻣﺸﺨﺼﻲ ﺳﺮﻣﺎﻳﻪ ﺑﺮﺍﻱ ﻣﺪﻳﺮﻳﺖ ﻭﺍﮔﺬﺍﺭ ﻣﻲﮔﺮﺩﺩ‪ :‬ﺳﺮﻣﺎﻳﻪﺍﻱ ﺭﻭﺍﻧﻲ‪ ،‬ﺳﺮﻣﺎﻳﻪ‬

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‫ﺍﻏﻮﺍ‬

‫ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﻭ ﺟﻨﺴﻲ‪ ،‬ﻟﻴﺒﻴﺪﻳﻨﺎﻝ‪ ،‬ﺑﻪ ﻫﻤﻴﻦ ﺳﺒﺐ ﻫﺮﻛﺴﻲ ﻣﺠﺒﻮﺭ ﺍﺳﺖ ﺑﻪ ﻃﻮﺭ ﺍﻧﻔﺮﺍﺩﻱ‬

‫ﭘﺎﺳﺨﮕﻮﻱ ﻧﻴﺎﺯﻫﺎﻱ ﺧﻮﺩﺵ ﺩﺭ ﺍﻳﻦ ﺁﺯﺍﺩﻱ ﺑﺎﺷﺪ‪.‬‬

‫ﻛﺎﻫﺶ ﺧﺎﺭﻕﺍﻟﻌﺎﺩﻩ ﺍﻏﻮﺍ‪ .‬ﺗﻤﻼﻳﺎﺕ ﺟﻨﺴﻲ ﺑﺎ ﺍﻧﻘﻼﺏ ﺟﻨﺴﻲ ﺩﮔﺮﮔﻮﻥ ﺷﺪ‪ ،‬ﺍﻳﻦ ﺭﻭﺵ ﺗﻮﻟﻴﺪ‬

‫ﻭ ﮔﺮﺩﺵ ﺟﺴﻤﺎﻧﻲ‪ ،‬ﺧﺼﻮﺻﻴﺎﺕ ﻛﻨﻮﻧﻲ ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ ﺷﺪﻩﺍﺳﺖ ﻛﻪ ﺑﺎ ﺍﺻﻄﻼﺡ » ﺭﻭﺍﺑﻂ‬

‫ﺟﻨﺴﻲ« ﺍﺯ ﺍﻥ ﺳﺨﻦ ﺭﺍﻧﺪﻩ ﻣﻲﺷﻮﺩ‪ ،‬ﻛﻪ ﻓﻘﻂ ﺑﺎ ﻓﺮﺍﻣﻮﺷﻲ ﺍﺻﻄﻼﺣﺎﺕ ﺍﻏﻮﺍﮔﺮﻱ ﻣﻤﻜﻦ ﻣﻲﺷﻮﺩ‬

‫‪ -‬ﺩﺭﺳﺖ ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﻣﻲﺗﻮﺍﻥ ﺍﺯ ﺟﺎﻣﻌﻪ ﺑﺎ ﺍﺻﻄﻼﺣﺎﺕ »ﺭﻭﺍﺑﻂ ﺍﺟﺘﻤﺎﻋﻲ« ﻭ ﻳﺎ »ﺭﻭﺍﺑﻂ« ﺳﺨﻦ‬

‫ﮔﻔﺖ ﻭ ﺍﻳﻦ ﺗﻨﻬﺎ ﭘﺲ ﺍﺯ ﻧﺎﺑﻮﺩﻱ ﭼﻴﺰﻫﺎﻱ ﻧﻤﺎﺩﻳﻦ ﻣﻤﻜﻦ ﺍﺳﺖ‪.‬‬

‫ﻫﺮ ﺟﺎ ﻛﻪ ﺳﻜﺲ ﺑﻪ ﻳﻚ ﻛﺎﺭﻛﺮﺩ ﺑﺪﻝ ﺷﺪﻩﺍﺳﺖ‪ ،‬ﺑﻪ ﻧﻤﻮﻧﻪ ﺍﻱ ﺧﻮﺩﻣﺨﺘﺎﺭ‪ ،‬ﺍﻏﻮﺍﮔﺮﻱ ﺭﺍ ﺍﺯ‬

‫ﻣﻴﺎﻥ ﺑﺮﺩﻩﺍﺳﺖ‪ .‬ﺍﻣﺮﻭﺯﻩ ﺳﻜﺲ ﺩﺭ ﺟﺎﻳﻲ ﻭ ﻓﻘﻂ ﺩﺭ ﺟﺎﻳﻲ ﺍﺗﻔﺎﻕ ﻣﻲﺍﻓﺘﺪ ﻛﻪ ﺍﻏﻮﺍﮔﺮﻱ ﻣﻮﺟﻮﺩ‬

‫ﻧﺒﺎﺷﺪ ﻳﺎ ﺍﺯ ﺁﻥ ﺗﻪﻣﺎﻧﺪﻩﺍﻱ ﻭ ﻧﻤﺎﻳﺸﻲ ﺑﻴﺶ ﺑﺎﻗﻲﻧﻤﺎﻧﺪﻩﺑﺎﺷﺪ‪ .‬ﭘﺲ ﺍﻳﻦ ﺷﻜﻞ ﻏﺎﻳﺐ ﺍﻏﻮﺍﮔﺮﻱ ﺍﺳﺖ‬

‫ﻛﻪ ﺟﻨﺴﻴﺖ ﺭﺍ ﺑﻪ ﺷﻜﻞ ﻣﻴﻞ ﻣﺘﻮﻫﻢ ﻣﻲﻛﻨﺪ‪ .‬ﻧﻈﺮﻳﻪ ﻣﺪﺭﻥ ﻣﻴﻞ‪ ،‬ﻗﺪﺭﺕ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﻧﺎﺑﻮﺩﻱ‬

‫ﺍﻏﻮﺍﮔﺮﻱ ﻣﻲﮔﻴﺮﺩ‪.‬‬

‫ﺍﺯ ﺍﻳﻦ ﭘﺲ ﺑﻪ ﺟﺎﻱ ﻳﻚ ﺷﻜﻞ ﺍﻏﻮﺍﻛﻨﻨﺪﻩ‪ ،‬ﻳﻚ ﺷﻜﻞ ﻣﻮﻟﺪ ﻭ ﺍﻗﺘﺼﺎﺩ ﺳﻜﺲ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪:‬‬

‫ﻣﻌﻄﻮﻑ ﺑﻪ ﺭﺍﻧﺶﻫﺎ‪ ،‬ﺗﻮﻫﻢ ﺫﺧﻴﺮﻩ ﺍﻧﺮﮊﻱ ﺟﻨﺴﻲ‪ ،‬ﻧﺎﺧﻮﺩﺍﮔﺎﻫﻲ ﻛﻪ ﺩﺭ ﺁﻥ ﺳﺮﻛﻮﺏ ﻣﻴﻞ ﻭ‬

‫ﺭﺍﻫﻬﺎﻳﻲ ﺑﺮﺩﺍﺷﺘﻦ ﺍﻳﻦ ﻣﻮﺍﻧﻊ ﻧﻘﺶ ﺑﺴﺘﻪﺍﺳﺖ‪ .‬ﺗﻤﺎﻣﻲ ﺍﻳﻨﻬﺎ )ﻭ ﺩﺭ ﻛﻞ ﺍﻣﺮ ﺭﻭﺍﻧﻲ( ﻧﺘﺎﻳﺞ ﺧﻮﺩ‬

‫ﻣﺨﺘﺎﺭﻱ ﺟﻨﺴﻴﺖ ﺍﺳﺖ‪ .‬ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﻃﺒﻴﻌﺖ ﻭ ﺍﻗﺘﺼﺎﺩ ﺩﺭ ﺳﺮﺍﺷﻴﺒﻲ ﺧﻮﺩﻣﺨﺘﺎﺭﻱ ﺗﻮﻟﻴﺪ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﺳﻘﻮﻁ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﻃﺒﻴﻌﺖ ﻭ ﻣﻴﻞ‪ ،‬ﻫﺮ ﺩﻭ ﺍﻳﺪﻩﺁﻟﻴﺰﻩ ﺷﺪﻩﺍﻧﺪ ﻭ ﻫﺮ ﺩﻭ ﺩﺭ ﻃﺮﺣﻬﺎﻱ ﺗﺮﻗﻲﺧﻮﺍﻫﺎﻧﻪ‬

‫ﺁﺯﺍﺩﺳﺎﺯﻱ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪﺍﻧﺪ‪ .‬ﺩﻳﺮﻭﺯ ﺁﺯﺍﺩﺳﺎﺯﻱ ﻧﻴﺮﻭﻫﺎﻱ ﻣﻮﻟﺪ ﻭ ﺍﻣﺮﻭﺯ ﺁﺯﺍﺩﻱﺳﺎﺯﻱ ﺑﺪﻥ ﻭ ﺟﻨﺴﻴﺖ‪.‬‬

‫ﻣﻲﺗﻮﺍﻥ ﺍﺯ ﺗﻮﻟﺪ ﮔﻔﺘﺎﺭ ﺟﻨﺴﻲ ﻭ ﮔﻔﺘﺎﺭ ﺳﻜﺲ ﺳﺨﻦ ﺭﺍﻧﺪ ﺩﺭﺳﺖ ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﻣﻲﺗﻮﺍﻥ ﺍﺯ‬

‫ﺗﻮﻟﺪ ﻛﻠﻴﻨﻴﻚ ﻭ ﮔﻴﺰ ﻛﻠﻴﻨﻴﻜﻲ ﺳﺨﻦ ﮔﻔﺖ‪ .‬ﭼﻴﺰﻱ ﻛﻪ ﻗﺒﻼً ﻭﺟﻮﺩ ﻧﺪﺍﺷﺘﻪ‪ ،‬ﭼﻨﺎﻧﭽﻪ ﺍﺷﻜﺎﻝ ﻏﻴﺮ‬

‫ﻗﺎﺑﻞ ﻛﻨﺘﺮﻝ‪ ،‬ﻧﺎﺍﺳﺘﻮﺍﺭ ﻧﺒﻮﺩﻩﺍﺳﺖ ﭘﺲ ﺍﺷﻜﺎﻝ ﺁﻳﻴﻨﻲ ﻭﺍﻻﻳﻲ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪﺍﺳﺖ‪ .‬ﻫﻤﭽﻨﻴﻦ ﻫﻴﭻ‬

‫ﺳﺮﻛﻮﺑﻲ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺘﻪ‪ ،‬ﺍﻳﻦ ﻣﻮﺿﻮﻋﻲ ﺍﺳﺖ ﻛﻪ ﻣﺎ ﺑﺮ ﺗﻤﺎﻣﻲ ﺟﻮﺍﻣﻊ ﭘﻴﺸﻴﻦ ﻭ ﺣﺘﻲ ﺑﻴﺶ ﺍﺯ‬

‫ﻓﺮﻫﻨﮓ ﺧﻮﺩ ﻣﺎﻥ ﺗﺤﻤﻴﻞ ﻛﺮﺩﻩﺍﻳﻢ‪ .‬ﻣﺎ ﺁﻧﻬﺎ ﺭﺍ ﺍﺯ ﺩﻳﺪﮔﺎﻫﻲ ﺗﻜﻨﻮﻟﻮﮊﻳﻜﻲ ﺑﻪ ﻋﻨﻮﺍﻥ ﺑﺪﻭﻱ ﻭ ﻋﻘﺐ‬

‫ﻣﺎﻧﺪﻩ ﻣﺤﻜﻮﻡ ﻛﺮﺩﻩﺍﻳﻢ ﻭ ﻫﻤﻴﻦﻃﻮﺭ ﺍﺯ ﺩﻳﺪﮔﺎﻩ ﺭﻭﺍﻧﻲ ﻭ ﺟﻨﺴﻲ ﺁﻧﻬﺎ ﺭﺍ ﻣﺤﻜﻮﻡ ﻛﺮﺩﻳﻢ ﭼﺮﺍ ﻛﻪ‬

‫ﺁﻧﻬﺎ ﺟﻨﺴﻴﺘﻲ ﻭ ﻧﺎﺧﻮﺩﺁﮔﺎﻫﻲ ﺑﺮﺍﻱ ﺧﻮﺩ ﻣﺘﺼﻮﺭ ﻧﻤﻲﺷﺪﻧﺪ‪ .‬ﺧﻮﺷﺒﺨﺘﺎﻧﻪ‪ ،‬ﺭﻭﺍﻧﻜﺎﻭﻱ ﺁﻣﺪﻩﺍﺳﺖ ﺗﺎ‬

‫ﺑﺎﺭ ﻣﺴﺌﻮﻟﻴﺖ ﺭﺍ ﺑﻠﻨﺪ ﻛﻨﻨﺪ ﻭ ﺁﻧﭽﻪ ﺭﺍ ﻛﻪ ﭘﻨﻬﺎﻥ ﺷﺪﻩﺍﺳﺖ ﺁﺷﻜﺎﺭ ﻛﻨﻨﺪ‪ .‬ﻧﮋﺍﺩ ﭘﺮﺳﺘﻲ ﺑﺎﻭﺭﻧﻜﺮﺩﻧﻲ‬

‫ﺣﻘﻴﻘﺖ‪ ،‬ﻧﮋﺍﺩ ﭘﺮﺳﺘﻲ ﭘﺮﻭﺗﺴﺘﺎﻧﻲ "ﻛﻠﻤﻪ" ﻭ ﺷﻴﻮﻉ ﺁﻥ‪.‬‬

‫ﺟﺎﻳﻲ ﻛﻪ ﺍﻣﺮ ﺟﻨﺴﻲ ﺧﻮﺩ ﺑﻪ ﺧﻮﺩ ﻇﺎﻫﺮ ﻧﺸﻮﺩ ﻣﺎ ﺁﻥ ﺭﺍ ﺳﺮﻛﻮﺏ ﺷﺪﻩ ﺑﻪ ﺣﺴﺎﺏ‬

‫ﻣﻲﺁﻭﺭﻳﻢ ﻭ ﻣﻲﺧﻮﺍﻫﻴﻢ ﺁﻥ ﺭﺍ ﺭﻫﺎ ﻛﻨﻴﻢ‪ .‬ﻭ ﺣﺘﻲ ﺍﺯ ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ ﺗﺼﻌﻴﺪﺷﺪﻩ ﻭ ﺳﺮﻛﻮﺏﺷﺪﻩ‬

‫ﺩﻭﺭﺍﻥ ﭘﻴﺸﻴﻦ ﻣﺎﻧﻨﺪ ﺩﻭﺭﺍﻥ ﺑﺪﻭﻳﺖ‪ ،‬ﻓﺌﻮﺩﻟﻲ ﻭ ﺟﻮﺍﻣﻊ ﺩﻳﮕﺮ ﺳﺨﻦ ﻣﻲﺭﺍﻧﻴﻢ‪ ،‬ﺩﺭ ﭼﻨﻴﻦ ﻣﻮﺍﺭﺩﻱ‬

‫ﺳﺨﻦ ﮔﻔﺘﻦ ﺍﺯ ﺟﻨﺴﻴﺖ ﻭ ﻧﺎﺧﻮﺩﺍﮔﺎﻩ ﻧﺸﺎﻧﻪﻱ ﺣﻤﺎﻗﺘﻲ ﻋﻤﻴﻖ ﺍﺳﺖ‪ .‬ﺣﺘﻲ ﻣﻌﻠﻮﻡ ﻧﻴﺴﺖ ﻛﻪ‬

‫ﭼﻨﻴﻦ ﺳﺨﻨﻲ ﻣﻲﺗﻮﺍﻧﺪ ﺭﺍﻩﮔﺸﺎﻱ ﺟﺎﻣﻌﻪ ﺧﻮﺩ ﻣﺎ ﺑﺎﺷﺪ ﻳﺎ ﺧﻴﺮ‪ .‬ﺑﺮ ﺍﻳﻦ ﺍﺳﺎﺱ‪ ،‬ﻳﻌﻨﻲ ﺑﺎ ﭘﺮﺳﺶ ﺍﺯ‬

‫ﻫﺮ ﻓﺮﺽ ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ ﻭ ﺑﻪ ﭼﺎﻟﺶ ﻛﺸﻴﺪﻥ ﺳﻜﺲ ﻭ ﻣﻴﻞ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﻮﺍﺭﺩﻱ ﺧﻮﺩ ﻣﺨﺘﺎﺭ‪،‬‬

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‫ﺍﻏﻮﺍ‬

‫ﻣﻲﺗﻮﺍﻧﻴﻢ ﺑﺎ ﮔﻔﺘﻪ ﻓﻮﻛﻮ ﻛﻪ ﺩﺭ ﻓﺮﻫﻨﮓ ﻏﺮﺑﻲ ﻫﺮﮔﺰ ﺳﺮﻛﻮﺑﻲ ﻧﻴﺴﺖ ﻭ ﻧﺒﻮﺩﻩ ﻣﻮﺍﻓﻘﺖ ﻛﻨﻴﻢ‪) .‬ﺍﻣﺎ‬

‫ﻧﻪ ﺑﻪ ﻫﻤﺎﻥ ﺩﻻﻳﻠﻲ ﻛﻪ ﺧﻮﺩ ﻓﻮﻛﻮ ﺷﺎﺭﺡ ﺁﻥ ﺍﺳﺖ‪(.‬‬

‫ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ ﺑﻪ ﻣﺜﺎﺑﻪ ﻳﻚ ﮔﻔﺘﻤﺎﻥ ﻣﺎﻧﻨﺪ ﺍﻗﺘﺼﺎﺩ ﺳﻴﺎﺳﻲ‪) ،‬ﻭ ﻫﺮ ﻧﻈﺎﻡ ﮔﻔﺘﻤﺎﻧﻲ‬

‫ﺩﻳﮕﺮﻱ( ﺗﻨﻬﺎ ﻣﻮﻧﺘﺎﮊ ﻭ ﻭﺍﻧﻤﻮﺩﻩﺍﻱ ﺍﺳﺖ ﻛﻪ ﻫﻤﻴﺸﻪ ﺑﺎ ﻋﻤﻞ ﻭﺍﻗﻌﻲ ﭘﻴﻤﻮﺩﻩﺷﺪﻩ‪ ،‬ﺑﻲﻧﺘﻴﺠﻪ ﻣﺎﻧﺪﻩ‬

‫ﻭ ﺳﭙﺲ ﭘﺸﺖ ﺳﺮ ﮔﺬﺍﺷﺘﻪﺷﺪﻩﺍﺳﺖ‪ .‬ﻣﺎﻫﻴﺖ ﻭ ﺷﻔﺎﻑﻧﻤﺎﻳﻲ ﺍﻣﺮ ﺟﻨﺴﻲ ﺍﻧﺴﺎﻥ ﻣﻮﺟﻮﺩﻳﺘﻲ ﺑﻴﺶ‬

‫ﺍﺯ ﻣﺎﻫﻴﺖ ﻭ ﺷﻔﺎﻑﻧﻤﺎﻳﻲ ﺍﻣﺮ ﺍﻗﺘﺼﺎﺩﻱ ﺍﻭ ﻧﺪﺍﺭﺩ‪.‬‬

‫ﺍﻳﻦ ﻓﺮﺍﻳﻨﺪ ﺩﺭﺍﺯ ﻣﺪﺗﻲ ﺍﺳﺖ ﻛﻪ ﻫﻢ ﺍﻣﺮ ﺭﻭﺍﻧﻲ ﻭ ﻫﻢ ﺍﻣﺮ ﺟﻨﺴﻲ ﺭﺍ ﺑﻨﻴﺎﻥ ﻣﻲﻧﻬﺪ ﻭ‬

‫»ﭼﺸﻢﺍﻧﺪﺍﺯ ﺩﻳﮕﺮﻱ« ﺭﺍ ﺍﺯ ﺧﻴﺎﻝ ﻭ ﻧﺎﺧﻮﺩﺍﮔﺎﻩ ﻭ ﺍﻧﺮﮊﻱﻫﺎﻱ ﺗﻮﻟﻴﺪ ﺷﺪﻩ ﺩﺭ ﺁﻧﺮﺍ ﺑﻨﺎ ﻣﻲﻛﻨﺪ ‪-‬‬

‫ﺍﻧﺮﮊﻱ ﺭﻭﺍﻧﻲ ﻛﻪ ﻧﺘﻴﺠﻪ ﻣﺴﺘﻘﻴﻢ ﺗﻮﻫﻢ ﺳﺮﻛﻮﺏ ﺍﺳﺖ‪ ،‬ﺍﻧﺮﮊﻱ ﻛﻪ ﺩﺭ ﺗﻮﻫﻢ ﻣﺎﻫﻴﺖ ﻭ ﺟﻮﻫﺮ ﺍﻣﺮ‬

‫ﺟﻨﺴﻲ ﺑﻪ ﺳﺮ ﻣﻲﺑﺮﺩ ﻭ ﺍﻧﮕﺎﻩ ﻣﻄﺎﺑﻖ ﺑﺎ ﻧﻤﻮﻧﻪﻫﺎﻱ ﻣﺘﻌﺪﺩ )ﻣﺤﻠﻲ‪ ،‬ﺍﻗﺘﺼﺎﺩﻱ ﻭ‪ (..‬ﻭ ﻣﻄﺎﺑﻖ ﺑﺎ‬

‫ﺗﻤﺎﻣﻲ ﺷﺮﺍﻳﻂ ﺳﺮﻛﻮﺏ ﺩﻭﻣﻴﻦ ﻭ ﺳﻮﻣﻴﻦ‪ ،‬ﺍﺳﺘﻌﺎﺭﻱ ﻭ ﻣﺠﺎﺯﻱ ﻣﻲﺷﻮﺩ‪ .‬ﺭﻭﺍﻧﻜﺎﻭﻱ‪ ،‬ﺍﻳﻦ ﺑﺎﺷﻜﻮﻩ­‬

‫ﺗﺮﻳﻦ ﻋﻤﺎﺭﺕ‪ ،‬ﺯﻳﺒﺎﺗﺮﻳﻦ ﺗﺨﻴﻞ ﺟﻬﺎﻥ ﭘﺸﺘﻲ )ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﻧﻴﭽﻪ ﻣﺎﻳﻞ ﺑﻮﺩ ﺁﻥ ﺭﺍ ﺍﻳﻨﻄﻮﺭ ﺑﻨﺎﻣﺪ(‪.‬‬

‫ﺗﺄﺛﻴﺮ ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﻣﺪﻝ ﺭﻭﺍﻧﻜﺎﻭﻱ ﺑﺮ ﻭﺍﻧﻤﺎﻳﻲ ﺻﺤﻨﻪﻫﺎ ﻭ ﺍﻧﺮﮊﻱﻫﺎ‪ ،‬ﻳﻚ ﻧﻤﺎﻳﺶ ﺗﺌﻮﺭﻳﻜﻲ ﻓﻮﻕ­‬

‫ﺍﻟﻌﺎﺩﻩ‪ ،‬ﺑﻪ ﺻﺤﻨﻪﺁﻭﺭﻱ ﺍﻣﺮ ﺭﻭﺍﻧﻲ‪ ،‬ﺍﻳﻦ ﺳﻨﺎﺭﻳﻮﻱ ﺳﻜﺲ ﺑﻪ ﻣﺜﺎﺑﻪ ﻧﻤﻮﻧﻪﺍﻱ ﻣﺠﺰﺍ ﻭ ﻓﺎﺋﻖﻧﺸﺪﻧﻲ ﺍﺯ‬

‫ﻭﺍﻗﻌﻴﺖ )ﻭﺍﺑﺴﺘﻪ ﺑﻪ ﭘﻴﺶ ﻓﺮﺿﻴﺎﺕ ﺗﻮﻟﻴﺪ(‪ .‬ﭼﻪ ﻣﻲﺷﻮﺩ ﺍﮔﺮ ﺍﻣﺮ ﺍﻗﺘﺼﺎﺩﻱ‪ ،‬ﺍﻣﺮ ﺭﻭﺍﻧﻲ ﻳﺎ‬

‫ﺑﻴﻮﻟﻮﮊﻳﻜﻲ ﺍﺭﺯﺷﻬﺎﻱ ﺍﻳﻦ ﺑﻪ ﺻﺤﻨﻪﺁﻭﺭﻱ ﻭ ﺁﻧﭽﻪ ﻛﻪ ﺑﺎ »ﺻﺤﻨﻪ« ﻳﺎ »ﺻﺤﻨﻪ ﺩﻳﮕﺮ« ﻣﺮﺗﺒﻂ ﺍﺳﺖ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﺩﺭ ﺑﺮﮔﻴﺮﻧﺪ‪ :‬ﺍﻳﻦ ﻛﻞ ﺳﻨﺎﺭﻳﻮﻱ ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ )ﻭ ﺭﻭﺍﻧﻜﺎﻭﻱ( ﺑﻪ ﻣﺜﺎﺑﻪ ﻳﻚ ﻣﺪﻝ ﻭﺍﻧﻤﺎﻳﻲ ﺍﺳﺖ‬

‫ﻛﻪ ﺑﺎﻳﺪ ﻣﻮﺭﺩ ﺗﺮﺩﻳﺪ ﻗﺮﺍﺭ ﮔﻴﺮﺩ‪.‬‬

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‫ﺩﺭﺳﺖ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻓﺮﻫﻨﮓ ﻣﺎ ﺍﻣﺮ ﺟﻨﺴﻲ ﺑﺮ ﺍﻏﻮﺍﮔﺮﻱ ﻇﻔﺮ ﻳﺎﻓﺘﻪﺍﺳﺖ ﻭ ﺁﻥ ﺭﺍ ﺗﺤﺖ‬

‫ﺳﻴﻄﺮﻩ ﺧﻮﺩ ﺩﺭﺁﻭﺭﺩﻩﺍﺳﺖ‪ .‬ﺩﻳﺪ ﺍﺑﺰﺍﺭﻱ ﻣﺎ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﻭﺍﺭﻭﻧﻪ ﺳﺎﺧﺘﻪﺍﺳﺖ‪ .‬ﭼﺮﺍ ﻛﻪ ﺩﺭ ﻧﻈﻢ‬

‫ﻧﻤﺎﺩﻳﻦ‪ ،‬ﺍﻏﻮﺍﮔﺮﻱ ﻣﻘﺪﻡ ﺍﺳﺖ ﻭ ﺟﻨﺴﻴﺖ ﺗﻨﻬﺎ ﺍﻣﺮﻱ ﺍﻟﺤﺎﻗﻲ ﺍﺳﺖ‪ .‬ﺳﻜﺲ ﺩﺭ ﺍﻳﻦ ﻧﻈﺎﻡ‪ ،‬ﻣﺎﻧﻨﺪ‬

‫ﺑﻬﺒﻮﺩﻱ ﺩﺭ ﻳﻚ ﻋﻼﺝ ﺗﺤﻠﻴﻠﻲ ﺍﺳﺖ ﻭ ﻳﺎ ﻣﺎﻧﻨﺪ ﺗﻮﻟﺪ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﻟﻮﻱ ‪ -‬ﺍﺳﺘﺮﻭﺱ ﻳﻚ ﺍﻣﺮ ﺯﺍﺋﺪ ﻭ‬

‫ﺑﺪﻭﻥ ﺭﺍﺑﻄﻪ ﻋﻠﺖ ﻭ ﻣﻌﻠﻮﻝ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺭﺍﺯ »ﺗﺄﺛﻴﺮ ﻧﻤﺎﺩﻳﻦ« ﺍﺳﺖ‪ :‬ﺳﺎﺯ ﻭ ﻛﺎﺭ ﺟﻬﺎﻥ ﻧﺘﻴﺠﻪ‬

‫ﺍﻏﻮﺍﮔﺮﻱ ﺫﻫﻨﻲ ﺍﺳﺖ‪ .‬ﺍﺯ ﺍﻳﻦ ﺭﻭ ﻗﺼﺎﺏ ﭼﺎﻧﮓ ﺗﺴﻮ‪ ،‬ﺍﻳﻦ ﺗﻮﺍﻧﺎﻳﻲ ﺭﺍ ﺩﺍﺭﺩ ﻛﻪ ﺑﺪﻭﻥ ﺣﺘﻲ ﺍﺳﺘﻔﺎﺩﻩ‬

‫ﺍﺯ ﺗﻴﻐﻪ ﭼﺎﻗﻮ ﺳﺎﺧﺘﺎﺭ ﺩﺭﻭﻧﻲ ﮔﺎﻭ ﺭﺍ ﺗﺸﺮﻳﺢ ﻛﻨﺪ‪ .‬ﻧﻮﻋﻲ ﺗﺤﻠﻴﻞ ﻧﻤﺎﺩﻳﻦ ﻛﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﻣﺮﻱ‬

‫ﺍﻟﺤﺎﻗﻲ ﻳﻚ ﻧﺘﻴﺠﻪ ﻋﻤﻠﻲ ﻫﻢ ﺩﺍﺭﺩ‪.‬‬

‫‪۲۶‬‬
‫ﺑﺎ ﺳﺎﺧﺘﺎﺭ‬ ‫ﺍﻏﻮﺍﮔﺮﻱ ﺑﻪ ﺭﻭﺵ ﻧﻤﺎﺩﻳﻦ ﻭ ﮔﻔﺘﺎﺭﻱ ﻋﻤﻞ ﻣﻲﻛﻨﺪ ﻭ ﻭﺍﺑﺴﺘﮕﻲ ﺩﻭﺋﻠﻲ‬

‫"ﺩﻳﮕﺮﻱ" ﺩﺍﺭﺩ ‪ -‬ﺭﺍﺑﻄﻪ ﺟﻨﺴﻲ ﻣﻲﺗﻮﺍﻧﺪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺿﻤﻴﻤﻪ ﻭ ﻧﻪ ﺍﻣﺮﻱ ﺍﻟﺰﺍﻣﻲ ﺍﺯ ﭘﻲ ﺁﻳﺪ‪ .‬ﺑﻪ‬

‫ﻃﻮﺭ ﻛﻠﻲﺗﺮ‪ ،‬ﺍﻏﻮﺍﮔﺮﻱ ﻣﺒﺎﺭﺯﻩﺍﻱ ﺍﺳﺖ ﺑﺎ ﻫﺮ ﭼﻴﺰ ﻣﻮﺟﻮﺩﻳﺖ ﻧﻈﺎﻡ ﺟﻨﺴﻲ‪ .‬ﻭ ﺍﮔﺮ »ﺁﺯﺍﺩﺳﺎﺯﻱ« ﻣﺎ‬

‫ﺑﻪ ﻧﻈﺮ ﻣﻲﺁﻳﺪ ﻛﻪ ﻣﻮﻓﻖﺷﺪﻩ ﺍﺻﻄﻼﺣﺎﺕ ﺭﺍ ﻭﺍﮊﮔﻮﻧﻪ ﻛﻨﺪ ﻭ ﺍﺑﺮ ﻧﻈﺎﻡ ﺍﻏﻮﺍﮔﺮﻱ ﭼﻴﺮﻩ ﮔﺮﺩﺩ‪ ،‬ﺍﻳﻦ‬

‫ﺑﺪﺍﻥ ﻣﻌﻨﺎ ﻧﻴﺴﺖ ﻛﻪ ﭘﻴﺮﻭﺯﻱﺍﺵ ﭘﻮﭺ ﻧﻴﺴﺖ‪ .‬ﭘﺮﺳﺶ ﺍﺯ ﺑﺮﺗﺮﻱ ﻧﻬﺎﻳﻲ ﻣﻨﻄﻖﻫﺎﻱ ﺁﻳﻴﻨﻲ ﻣﺒﺎﺭﺯﻩ‬

‫ﻭ ﺍﻏﻮﺍﮔﺮﻱ ﺩﺭ ﺑﺮﺍﺑﺮ ﻣﻨﻄﻖ ﺍﻗﺘﺼﺎﺩﻱ ﺟﻨﺴﻴﺖ ﻭﺗﻮﻟﻴﺪ ﻫﻨﻮﺯ ﺑﻲ ﺟﻮﺍﺏ ﺑﺎﻗﻲ ﻣﺎﻧﺪﻩﺍﺳﺖ‪.‬‬

‫‪۷۰‬‬
‫ﺍﻏﻮﺍ‬

‫ﭼﺮﺍ ﻛﻪ ﺁﺯﺍﺩﺳﺎﺯﻱﻫﺎ ﻭ ﺍﻧﻘﻼﺏﻫﺎ ﺷﻜﻨﻨﺪﻩﺍﻧﺪ ﺣﺎﻝ ﺁﻧﻜﻪ ﺍﻏﻮﺍﮔﺮﻱ ﺍﺟﺘﻨﺎﺏﻧﺎﭘﺬﻳﺮ ﺍﺳﺖ‪ .‬ﺍﻳﻦ‬

‫ﺍﻏﻮﺍﮔﺮﻱ ﺍﺳﺖ ﻛﻪ ﻣﻨﺘﻈﺮ ﺁﻧﻬﺎ ﻣﻲﻣﺎﻧﺪ ﺗﺎ ﺁﻧﻬﺎ ﺭﺍ ﺍﻏﻮﺍ ﻧﻤﺎﻳﺪ ﺻﺮﻓﻨﻈﺮ ﺍﺯ ﻫﺮ ﭼﻴﺰﻱ ﻛﻪ‬

‫ﻣﻲﺧﻮﺍﻫﻨﺪ ﺑﺎﺷﻨﺪ ﻭ ﺍﺯ ﺣﻘﻴﻘﺘﺸﺎﻥ ﺭﻭﻱ ﺑﺮﮔﺮﺩﺍﻧﻨﺪ ﻭ ﺑﺎﺯ ﺍﻳﻦ ﺍﻏﻮﺍﮔﺮﻱ ﺍﺳﺖ ﻛﻪ ﺣﺘﻲ ﺩﺭ‬

‫ﭘﻴﺮﻭﺯﻱ ﺁﻧﻬﺎ ﻧﻴﺰ ﻣﻨﺘﻈﺮ ﺁﻧﻬﺎ ﻣﻲﻣﺎﻧﺪ‪ .‬ﮔﻔﺘﻤﺎﻥ ﺟﻨﺴﻲ ﺧﻮﺩ ﭘﻴﻮﺳﺘﻪ ﺑﺎ ﮔﻔﺘﻦ ﺍﺯ ﭼﻴﺰ ﺩﻳﮕﺮ ﻭ‬

‫ﻓﺮﺽ ﺩﻳﮕﺮﻱ ﺗﻬﺪﻳﺪ ﻣﻲﺷﻮﺩ‪.‬‬

‫ﺩﺭ ﻳﻚ ﻓﻴﻠﻢ ﺁﻣﺮﻳﻜﺎﻱ ﻣﺮﺩﻛﻲ ﺯﻥ ﺧﻴﺎﺑﺎﻧﻲ ﺭﺍ ﻣﺤﺘﺎﻃﺎﻧﻪ ﺗﻌﻘﻴﺐ ﻣﻲﻛﻨﺪ‪ .‬ﺯﻥ ﭘﺮﺧﺎﺷﮕﺮﺍﻧﻪ‬

‫ﭘﺎﺳﺦ ﻣﻲﺩﻫﺪ »ﭼﻪ ﻣﻲﺧﻮﺍﻫﻲ؟ ﺁﻳﺎ ﻣﻲﺧﻮﺍﻫﻲ ﺑﻪ ﻣﻦ ﺣﻤﻠﻪ ﻛﻨﻲ؟ ﭘﺲ ﮔﻮﺭﺕ ﺭﺍ ﮔﻢ ﻛﻦ ﻭ‬

‫ﮔﺮﻧﻪ ﻣﻦ ﺑﻬﺖ ﺣﻤﻠﻪ ﻣﻲﻛﻨﻢ« ﻭ ﻣﺮﺩ ﺭﻧﺠﻴﺪﻩ‪ ،‬ﭘﺎﺳﺦ ﻣﻲﺩﻫﺪ‪» :‬ﺁﺭﻩ ﻣﻲﺧﻮﺍﻫﻢ ﺑﻬﺖ ﺣﻤﻠﻪ‬

‫ﻛﻨﻢ‪» «.‬ﭘﺲ ﺑﺮﻭ ﺑﻪ ﺧﻮﺩﺕ ﺗﺠﺎﻭﺯ ﻛﻦ«‪ .‬ﻭ ﺑﻌﺪ ﻭﻗﺘﻲ ﻣﺮﺩ ﺩﺭ ﺣﺎﻝ ﺭﺍﻧﻨﺪﮔﻲ ﺍﺳﺖ‪ ،‬ﺯﻥ ﺭﺍ ﺩﺭ‬

‫ﻣﺎﺷﻴﻨﺶ ﻣﻲﺑﻴﻨﻴﻢ ﻛﻪ ﻣﻲﮔﻮﻳﺪ‪» :‬ﻳﻚ ﻗﻬﻮﻩ ﻣﻲﺧﻮﺍﻫﻢ ﻭ ﺑﻌﺪ ﻣﻲﺗﻮﻧﻲ ﺑﻬﻢ ﺗﺠﺎﻭﺯ ﻛﻨﻲ‪ «.‬ﺩﺭ‬

‫ﻭﺍﻗﻊ ﺍﻳﻦ ﮔﻔﺖ ﻭ ﺷﻨﻮﺩ‪ ،‬ﻛﻪ ﻛﺎﻣﻼً ﺍﺑﮋﻛﺘﻴﻮ‪ ،‬ﻛﺎﺭﻛﺮﺩﻱ‪ ،‬ﺁﻧﺎﺗﻮﻣﻴﻜﻲ ﻭ ﺑﺪﻭﻥ ﻫﻴﭻ ﻇﺮﺍﻓﺘﻲ ﺍﻧﺠﺎﻡ‬

‫ﻣﻲﻳﺎﺑﺪ ﻓﻘﻂ ﻳﻚ ﺑﺎﺯﻱ ﺍﺳﺖ‪ .‬ﺑﺎﺯﻱ‪ ،‬ﻣﺒﺎﺭﺯﻩ ﻭ ﺗﺤﺮﻳﻚ ﺩﺭﺳﺖ ﺯﻳﺮ ﺳﻄﺢ ﺍﺳﺖ‪ .‬ﻭﺣﺸﻲﮔﺮﻱ‬

‫ﻓﺮﺍﻭﺍﻧﺶ ﺑﺎ ﺍﻧﺤﺮﺍﻑﻫﺎﻱ ﻋﺸﻖ ﻭ ﻫﻤﺪﺳﺘﻲ ﺗﻮﺍﻧﻤﻨﺪ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻳﻚ ﺭﻓﺘﺎﺭ ﺟﺪﻳﺪ ﺍﻏﻮﺍﮔﺮﻱ ﺍﺳﺖ‪ .‬ﻳﺎ‬

‫ﺍﻳﻦ ﮔﻔﺖ ﻭ ﺷﻨﻮﺩ ﻓﻴﻠﻢ » ﺗﻮﭖ ﺷﻴﺰﻭﻓﺮﻧﻲﻫﺎ« ﻛﺎﺭ ﻓﻴﻠﻴﭗ ﺩﻳﻚ‪: ۲۷‬‬

‫» ﻣﺮﺍ ﺑﻪ ﺍﺗﺎﻗﺘﺎﻥ ﺑﺒﺮﻳﺪ ﻭ ﺑﺎ ﻣﻦ ﻧﺰﺩﻳﻜﻲ ﻛﻨﻴﺪ‪«.‬‬

‫» ﭼﻴﺰﻱ ﺗﻮﺻﻴﻒﻧﺎﭘﺬﻳﺮ ﺩﺭ ﻭﺍﮊﮔﺎﻥ ﺷﻤﺎ ﺑﺎﻗﻲ ﻣﺎﻧﺪﻩﺍﺳﺖ‪ ،‬ﭼﻴﺰﻱ ﺑﺮﺍﻱ ﻣﻴﻞ ﺩﺍﺷﺘﻦ«‬

‫‪۷۱‬‬
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﻣﻲﺗﻮﺍﻧﻴﻢ ﺍﻳﻦ ﺭﺍ ﺍﻳﻨﮕﻮﻧﻪ ﺑﻔﻬﻤﻴﻢ ﻛﻪ ﭘﻴﺸﻨﻬﺎﺩ ﺷﻤﺎ ﭘﺬﻳﺮﻓﺘﻨﻲ ﻧﻴﺴﺖ‪ ،‬ﻓﺎﻗﺪ ﻣﻴﻠﻲ ﺷﺎﻋﺮﺍﻧﻪ‬

‫ﺍﺳﺖ‪ .‬ﺧﻴﻠﻲ ﺻﺮﻳﺢ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺩﺭ ﻣﻌﻨﺎﻳﻲ ﺩﻳﮕﺮ ﻣﺘﻦ ﺣﺮﻑ ﻛﺎﻣﻼً ﻣﺘﻔﺎﻭﺗﻲ ﻣﻲﺯﻧﺪ‪ .‬ﺍﻳﻦ ﭘﻴﺸﻨﻬﺎﺩ‬

‫ﺍﻣﺮﻱ ﻏﻴﺮﻗﺎﺑﻞ ﺗﻮﺻﻴﻒ ﺩﺍﺭﺩ ﻛﻪ ﺑﺪﻳﻦﻭﺳﻴﻠﻪ ﺭﺍﻫﻲ ﺑﻪ ﺳﻮﻱ ﻣﻴﻞ ﺑﺎﺯ ﻣﻲﻛﻨﺪ‪ .‬ﻳﻚ ﺩﻋﻮﺕ ﺟﻨﺴﻲ‬

‫ﻣﺴﺘﻘﻴﻢ ﻭ ﺻﺮﻳﺢ ﺁﻧﻘﺪﺭ ﺻﺮﻳﺢ ﺍﺳﺖ ﻛﻪ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺩﺭﺳﺖ ﺑﺎﺷﺪ ﻭ ﺑﻲ ﺩﺭﻧﮓ ﺑﻪ ﭼﻴﺰ ﺩﻳﮕﺮﻱ‬

‫ﺭﺟﻮﻉ ﻣﻲﻛﻨﺪ‪.‬‬

‫ﺍﻭﻟﻴﻦ ﺗﻔﺴﻴﺮ ﺑﺮ ﻭﻗﺎﺣﺖ ﮔﻔﺖ ﻭ ﺷﻨﻮﺩ ﺗﺄﻛﻴﺪ ﻣﻲﻛﻨﺪ‪ .‬ﺩﻭﻣﻲ ﺯﻳﺮﻛﺎﻧﻪﺗﺮ ﺍﺳﺖ؛ ﭘﻴﭻ ﻭﺗﺎﺑﻲ ﺭﺍ‬

‫ﺩﺭ ﻭﻗﺎﺣﺖ ﺁﺷﻜﺎﺭ ﻣﻲﻛﻨﺪ‪ .‬ﻭﻗﺎﺣﺖ ﺑﻪ ﻣﺜﺎﺑﻪ ﻳﻚ ﺍﻏﻮﺍﮔﺮﻱ‪ ،‬ﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﻛﻨﺎﻳﻪ ﻏﻴﺮ ﻗﺎﺑﻞ ﺗﻌﺮﻳﻔﻲ‬

‫ﺑﺮﺍﻱ ﻣﻴﻞ‪ .‬ﻭﻗﺎﺣﺘﻲ ﻛﻪ ﺑﺮﺍﻱ ﻣﻌﺒﺘﺮ ﺑﻮﺩﻥ ﺑﻴﺶ ﺍﺯ ﺣﺪ ﺷﻬﻮﺍﻧﻲ ﺍﺳﺖ‪ .‬ﺑﺮﺍﻱ ﻣﺘﻘﻠﺐ ﺑﻮﺩﻥ ﺑﻴﺶ ﺍﺯ‬

‫ﺣﺪ ﺧﺸﻦ ﺍﺳﺖ ‪ -‬ﻭﻗﺎﺣﺖ ﻫﻤﭽﻮﻥ ﻳﻚ ﻣﺒﺎﺭﺯﻩ ﻭ ﺍﺯ ﺍﻳﻦﺭﻭ ﺑﺎ ﺩﻳﮕﺮ ﻫﻤﭽﻮﻥ ﺍﻏﻮﺍﮔﺮﻱ‪.‬‬

‫ﺩﺭ ﺗﻔﺴﻴﺮ ﺩﻭﻡ‪ ،‬ﺟﻤﻠﻪ ﺟﻨﺴﻲ ﻣﺤﺾ‪ ،‬ﺗﻘﺎﺿﺎﻱ ﺻﺮﻑ ﺑﺮﺍﻱ ﺳﻜﺲ‪ ،‬ﻏﻴﺮﻣﻤﻜﻦ ﺍﺳﺖ‪ .‬ﻛﺴﻲ‬

‫ﻧﻤﻲﺗﻮﺍﻧﺪ ﺍﺯ ﺍﻏﻮﺍﮔﺮﻱ ﺁﺯﺍﺩ ﺑﺎﺷﺪ ﻭ ﮔﻔﺘﻤﺎﻥ ﺿﺪ ﺍﻏﻮﺍﮔﺮﻱ ﭼﻴﺰﻱ ﺟﺰ ﺁﺧﺮﻳﻦ ﺩﮔﺮﺩﻳﺴﻲ ﺍﻏﻮﺍﮔﺮﻱ‬

‫ﻧﻤﻲﺑﺎﺷﺪ‪ .‬ﺍﻳﻦ ﻓﻘﻂ ﻳﻚ ﮔﻔﺘﻪ ﺳﺎﺩﻩ ﻣﻄﺎﻟﺒﻪ ﺟﻨﺴﻲ ﻋﺎﺭﻱ ﺍﺯ ﭘﻴﭽﻴﺪﮔﻲﻫﺎﻱ ﻣﻮﺛﺮ ﻧﻴﺴﺖ‪ ،‬ﺁﻥ‬

‫ﻭﺍﻗﻌﺎً ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﺍﻋﺘﻘﺎﺩ ﺑﻪ ﻭﺍﻗﻌﻴﺖ ﺟﻨﺴﻲ ﻭ ﺳﺨﻦ ﮔﻔﺘﻦ ﺍﺯ ﺭﺍﺑﻄﻪ ﺟﻨﺴﻲ ﺑﺪﻭﻥ ﻫﻴﭻ ﻭﺍﺳﻄﻪ­‬

‫ﺍﻱ‪ ،‬ﺍﻏﻔﺎﻝ ﺍﺳﺖ‪ .‬ﺍﻏﻔﺎﻝ ﻫﺮ ﮔﻔﺘﻤﺎﻧﻲ ﻛﻪ ﺑﻪ ﺷﻔﺎﻑ ﻧﻤﺎﻳﻲ ﻣﻌﻘﺘﺪ ﺍﺳﺖ ﻭ ﻫﺮ ﮔﻔﺘﻤﺎﻥ ﺩﻳﮕﺮﻱ ﻛﻪ‬

‫ﻛﺎﺭﻛﺮﺩﮔﺮﺍ ﻭ ﻋﻠﻤﻲ ﻭ ﻣﺪﻋﻲ ﺣﻘﻴﻘﺖ ﺍﺳﺖ‪ .‬ﺧﻮﺷﺒﺨﺘﺎﻧﻪ ﺍﻳﻦ ﮔﻔﺘﻤﺎﻥﻫﺎ‪ ،‬ﭘﻴﻮﺳﺘﻪ‪ ،‬ﺍﺳﺘﺤﺎﻟﻪ‪،‬‬

‫ﭘﺮﺍﻛﻨﺪﻩ‪ ،‬ﺗﺒﺎﻩ ﻭ ﺣﺘﻲ ﻣﻨﺤﺮﻑ ﻭ ﺍﻏﻮﺍ ﻣﻲﺷﻮﻧﺪ‪ .‬ﭘﻨﻬﺎﻧﻲ‪ ،‬ﺁﻧﻬﺎ ﺑﻪ ﭼﻴﺰﻱ ﻋﻠﻴﻪ ﺧﻮﺩ ﺗﺒﺪﻳﻞ‬

‫ﻣﻲﺷﻮﻧﺪ‪ .‬ﭘﻨﻬﺎﻧﻲ ﺩﺭ ﺑﺎﺯﻱ ﻣﺘﻔﺎﻭﺕ‪ ،‬ﺩﺭ ﻣﺠﻤﻮﻋﻪ ﺷﺮﻁﻫﺎﻱ ﻣﻔﺘﺎﻭﺕ ﺩﻳﮕﺮﻱ‪ ،‬ﺍﺳﺘﺤﺎﻟﻪ ﻣﻲﻳﺎﺑﻨﺪ‪.‬‬

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‫ﺍﻏﻮﺍ‬

‫ﻳﻘﻴﻦ ﺑﺪﺍﻧﻴﺪ ﻛﻪ ﻧﻪ ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ ﻭ ﻧﻪ ﻣﻌﺎﻣﻼﺕ ﺟﻨﺴﻲ ﻫﻴﭻ ﺍﻏﻮﺍﮔﺮﻳﻲ ﺑﻪ ﻛﺎﺭ ﻧﻤﻲﺑﺮﻧﺪ‪.‬‬

‫ﻣﺎﻧﻨﺪ ﺑﺮﻫﻨﮕﻲ ﻭ ﻣﺎﻧﻨﺪ ﺣﻘﻴﻘﺖ ﺁﻧﻬﺎ ﻓﺮﻭﻣﺎﻳﻪﺍﻧﺪ‪ .‬ﺁﻧﻬﺎ ﺍﺷﻜﺎﻝ ﺍﻓﺴﻮﻥﺯﺩﺍﻳﻲ ﺷﺪﻩ ﺑﺪﻥ ﻫﺴﺘﻨﺪ‪.‬‬

‫ﺩﺭﺳﺖ ﻣﺎﻧﻨﺪ ﺟﻨﺴﻴﺖ ﻛﻪ ﺷﻜﻞ ﺍﻓﺴﻮﻥﺯﺩﺍﻳﻲ ﺷﺪﻩ ﻭ ﺳﺮﻛﻮﺏﺷﺪﻩ ﺍﻏﻮﺍﮔﺮﻱ ﺍﺳﺖ‪ ،‬ﺩﺭﺳﺖ ﻣﺎﻧﻨﺪ‬

‫ﺍﺭﺯﺵ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻪ ﺷﻜﻞ ﺍﻓﺴﻮﻥﺯﺩﺍﻳﻲ ﺷﺪﻩ ﺍﺑﮋﻩ ﺍﺳﺖ ﻭ ﻛﻠﻲﺗﺮ ﺍﺯ ﻫﻤﻪ‪ ،‬ﻭﺍﻗﻌﻴﺖ ﻛﻪ ﺷﻜﻞ‬

‫ﺍﻓﺴﻮﻥﺯﺩﺍﻳﻲ ﺷﺪﻩ ﺟﻬﺎﻥ ﺍﺳﺖ‪.‬‬

‫ﺑﺮﻫﻨﮕﻲ ﻫﺮﮔﺰ ﺍﻏﻮﺍﮔﺮﻱ ﺭﺍ ﺍﺯ ﺑﻴﻦ ﻧﺨﻮﺍﻫﺪ ﺑﺮﺩ‪ ،‬ﺑﺮﺍﻱ ﺁﻧﻜﻪ ﺍﻏﻮﺍﮔﺮﻱ ﺑﻼﻓﺎﺻﻠﻪ ﺑﻪ ﭼﻴﺰﻱ‬

‫ﺩﻳﮕﺮﻱ ﻣﺒﺪﻝ ﻣﻲﺷﻮﺩ‪ ،‬ﻓﺮﻳﺒﻨﺪﮔﻲﻫﺎﻱ ﻫﻴﺴﺘﺮﻳﻜﻲ ﻳﻚ ﺑﺎﺯﻱ ﻣﺘﻔﺎﻭﺕ ﻛﻪ ﻛﺴﻲ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺍﺯ ﺁﻥ‬

‫ﻓﺮﺍﺗﺮ ﺭﻭﺩ‪ .‬ﻫﻴﺞ ﺩﺭﺟﻪ ﺻﻔﺮﻱ‪ ،‬ﻫﻴﭻ ﺍﺭﺟﺎﻉ ﺍﺑﮋﻛﺘﻴﻮﻱ‪ ،‬ﻫﻴﭻ ﻧﻘﻄﻪ ﺧﻨﺜﻲ ﻭ ﺑﻲﺗﻔﺎﻭﺗﻲ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‬

‫ﺑﻞ ﻫﻤﻴﺸﻪ ﻭ ﻫﻤﻴﺸﻪ ﺷﺮﻁﻫﺎ ﺩﺭ ﻛﺎﺭ ﺍﺳﺖ‪ .‬ﺍﻣﺮﻭﺯ ﺗﻤﺎﻣﻲ ﻧﺸﺎﻧﻪﻫﺎﻱ ﻣﺎ ﺑﻪ ﻧﻘﻄﻪ ﺍﺑﮋﻛﺘﻴﻮﻳﺘﻪﺍﻱ‬

‫ﻧﻬﺎﻳﻲ‪ ،‬ﺷﻜﻞ ﺑﻲﺛﺒﺎﺕ ﻭ ﺁﻧﺘﺮﻭﭘﻴﻚ ﺍﻣﺮ ﺧﻨﺜﻲ ﻫﻤﮕﺮﺍ ﻣﻲﺷﻮﻧﺪ ‪ -‬ﻣﺎﻧﻨﺪ ﺑﺪﻥ ﺩﺭ ﺑﺮﻫﻨﮕﻲ ﻭ ﻣﻌﻨﺎ‬

‫ﺩﺭ ﺣﻘﻴﻘﺖ‪) .‬ﺷﻜﻞ ﻧﻤﻮﻧﻪ ﻭ ﺍﻳﺪﻩﺁﻝ ﺁﻥ‪ ،‬ﺑﺪﻥ ﺑﺮﻫﻨﻪ ﺟﻠﻮﻱ ﺁﻓﺘﺎﺏ ﺩﺭ ﺗﻌﻄﻴﻼﺕ ﺍﺳﺖ ﺧﻨﺜﻲ‬

‫ﺷﺪﻩ ﻭ ﻫﺎﻳﮋﻧﻴﻚ‪ ،‬ﺷﻴﻄﺎﻧﻲ ﻭ ﺗﻘﻠﻴﺪﻱ ﺍﺯ ﺷﻬﻮﺕ(‬

‫ﺍﻣﺎ ﺁﻳﺎ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﻧﺸﺎﻧﻪﻫﺎ ﺩﺭ ﻧﻘﻄﻪ ﺻﻔﺮ ﺍﻣﺮ ﻭﺍﻗﻌﻲ ﻭ ﺧﻨﺜﻲ ﺗﻮﻗﻒ ﻛﺮﺩﻩﺍﻧﺪ؟ ﺁﻳﺎ ﻫﻤﻴﺸﻪ‬

‫ﺍﻣﺮ ﺧﻨﺜﻲ ﺑﻪ ﻣﺎﺭﭘﻴﭻ ﺟﺪﻳﺪ ﺷﺮﻁﻫﺎﻱ ﺍﻏﻮﺍﮔﺮﻱ ﻭ ﻣﺮﮒ ﻭﺍﺭﻭﻧﻪ ﻧﺸﺪﻩﺍﺳﺖ؟‬

‫ﭼﻪ ﺍﻏﻮﺍﻳﻲ ﺩﺭ ﺟﻨﺴﻴﺖ ﻧﻬﻔﺘﻪﺍﺳﺖ؟ ﭼﻪ ﺍﻏﻮﺍﻱ ﻧﻮﻳﻨﻲ‪ ،‬ﭼﻪ ﻣﺒﺎﺭﺯﻩ ﺟﺪﻳﺪﻱ ﺩﺭ ﻟﻐﻮ ﺁﻧﭽﻪ ﭘﻴﺸﺘﺮ‬

‫ﺩﺭ ﮔﺮﻭ ﺳﻜﺲ ﺑﻮﺩﻩ ﻧﻔﻬﺘﻪﺍﺳﺖ؟ )ﻫﻤﻴﻦ ﺳﺌﻮﺍﻝ ﺭﺍ ﻣﻲﺗﻮﺍﻥ ﺩﺭ ﺳﻄﺢ ﺩﻳﮕﺮﻱ ﭘﺮﺳﻴﺪ‪ :‬ﭼﻪ ﻣﺒﺎﺭﺯﻩ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﻭ ﭼﻪ ﻣﻨﺒﻌﻲ ﺍﺯ ﺷﻴﺪﺍﻳﻲ ﺩﺭ ﺗﻮﺩﻩﻫﺎ ﭘﻨﻬﺎﻥ ﺷﺪﻩﺍﺳﺖ‪ ،‬ﺩﺭ ﻟﻐﻮ ﺗﻤﺎﻣﻲ ﺁﻧﭽﻪ ﻛﻪ ﺩﺭ ﮔﺮﻭ ﻣﻮﺟﻮﺩﻳﺖ‬

‫ﺍﻣﺮ ﺍﺟﺘﻤﺎﻋﻲ ﺑﻮﺩ؟(‬

‫ﺗﻤﺎﻣﻲ ﺗﻮﺻﻴﻔﺎﺕ ﺍﻳﻦ ﻧﻈﺎﻡﻫﺎﻱ ﺍﻓﺴﻮﻥﺯﺩﺍﻳﻲ ﺷﺪﻩ‪ ،‬ﻫﻤﻪ ﻓﺮﻭﺽ ﺍﻳﻦ ﻧﻈﺎﻡﻫﺎﻱ ﺍﻓﺴﻮﻥﺯﺩﺍ ‪-‬‬

‫ﺳﻴﻞ ﻭﺍﻧﻤﺎﻳﻲ ﻭ ﺑﺎﺯﺩﺍﺭﻧﺪﮔﻲ‪ ،‬ﻟﻐﻮ ﻓﺮﺁﻳﻨﺪﻫﺎﻱ ﻧﻤﺎﺩﻳﻦ‪ ،‬ﻣﺮﮒ ﻭ ﺍﺭﺟﺎﻋﺎﺕ ‪ -‬ﺷﺎﻳﺪ ﻫﻤﻪ ﻏﻠﻂ‬

‫ﺑﺎﺷﻨﺪ‪ ،‬ﺍﻣﺮ ﺧﻨﺜﻲ ﻫﺮﮔﺰ ﺧﻨﺜﻲ ﻧﺒﻮﺩﻩﺍﺳﺖ‪ ،‬ﺑﻠﻜﻪ ﺍﺑﮋﻩ ﺍﻓﺴﻮﻥ ﺷﺪﻩﺍﺳﺖ‪ .‬ﭘﺲ ﺁﻳﺎ ﺍﺑﮋﻩ ﺍﻏﻮﺍﮔﺮﻱ‬

‫ﻫﻢ ﺷﺪﻩﺍﻧﺪ؟‬

‫***‬

‫ﻣﻨﻄﻖﻫﺎﻱ ﻣﺒﺎﺭﺯﻩ‪ ،‬ﻣﻨﻄﻖﻫﺎﻱ ﺁﻳﻴﻦ ﻭ ﺍﻏﻮﺍﮔﺮﻱ‪ ،‬ﺍﺯ ﺳﻜﺲ ﻧﻴﺮﻭﻣﻨﺪﺗﺮﻧﺪ‪ .‬ﺳﻜﺲ ﻣﺎﻧﻨﺪ‬

‫ﻗﺪﺭﺕ ﻫﺮﮔﺰ ﺣﺮﻑ ﺁﺧﺮ ﻧﺒﻮﺩﻩﺍﺳﺖ‪ .‬ﺩﺭ ﻓﻴﻠﻢ »ﺍﻣﭙﺮﺍﺗﻮﺭﻱ ﻣﻌﻨﺎ«‪ ،‬ﻓﻴﻠﻤﻲ ﻛﻪ ﺳﺮﺍﺳﺮ ﺑﺎ ﻋﻤﻞ‬

‫ﺟﻨﺴﻲ ﭘﻮﺷﻴﺪﻩﺷﺪﻩﺍﺳﺖ‪ ،‬ﺩﺭ ﺁﺧﺮ ﺑﺎ ﭘﺎﻓﺸﺎﺭﻱ ﺑﺮ ﺳﻜﺲ ﺗﺴﺨﻴﺮ ﻣﻨﻄﻖ ﻧﻈﺎﻡ ﺩﻳﮕﺮﻱ ﻣﻲﺷﻮﺩ‪.‬‬

‫ﻓﻴﻠﻢ‪ ،‬ﺑﺮﺍﺳﺎﺱ ﺍﺻﻄﻼﺣﺎﺕ ﺟﻨﺴﻲ ﻏﺎﻣﺾ ﺍﺳﺖ ﭼﺮﺍ ﻛﻪ ﻟﺬﺗﻬﺎﻱ ﺟﻨﺴﻲﺍﺵ ﺑﻪ ﻫﺮ ﭼﻴﺰﻱ‬

‫ﻛﺸﻴﺪﻩﻣﻲﺷﻮﺩ ﺟﺰ ﻣﺮﮒ‪ .‬ﺍﻣﺎ ﺩﻳﻮﺍﻧﮕﻲ ﺯﻭﺝ ﺭﺍ ﺑﻪ ﺗﺼﺮﻑ ﺩﺭ ﻣﻲﺁﻭﺭﺩ ﻭ ﺁﻧﻬﺎ ﺭﺍ ﺑﻪ ﺳﻮﻱ ﺍﻓﺮﺍﻁ‬

‫ﻛﺎﺭﻱﻫﺎ ﺳﻮﻕ ﻣﻲﺩﻫﺪ‪) ،‬ﻧﺰﺩ ﻣﺎ ﺩﻳﻮﺍﻧﮕﻲ ﺍﺳﺖ ﺩﺭ ﻭﺍﻗﻊ ﻣﻨﻄﻘﻲ ﺳﺨﺘﮕﻴﺮﺍﻧﻪﺍﺳﺖ( ﺍﻳﻨﺠﺎ‪ :‬ﺩﻳﮕﺮ‬

‫ﻫﻴﭻ ﻣﻌﻨﺎﻳﻲ ﺩﺭ ﻛﺎﺭ ﻧﻴﺴﺖ ﻭ ﻫﻴﭻ ﻣﻌﻨﺎﻳﻲ ﺩﺭ ﻛﻮﭼﻜﺘﺮﻳﻦ ﻫﻮﺳﺮﺍﻧﻲ ﺑﻪ ﻛﺎﺭ ﮔﺮﻓﺘﻪ ﻧﻤﻲﺷﻮﺩ‪.‬‬

‫ﻫﻴﭻ ﭼﻴﺰ ﺁﻥ ﺑﺎ ﻋﺮﻓﺎﻥ ﻭ ﻣﺘﺎﻓﻴﺰﻳﻚ ﻓﻬﻤﻴﺪﻧﻲ ﻧﻴﺴﺖ‪ .‬ﻣﻨﻄﻖ ﺁﻥ‪ ،‬ﻣﻨﻄﻖ ﻣﺒﺎﺭﺯﻩ ﺩﻭ ﺣﺮﻳﻔﻲ ﺍﺳﺖ‬

‫ﻛﻪ ﺑﺮ ﻳﻜﺪﻳﮕﺮ ﺳﺒﻘﺖ ﺟﻮﻳﻨﺪ‪ .‬ﻳﺎ ﺩﻗﻴﻘﺘﺮ‪ ،‬ﺭﻭﻳﺪﺍﺩ ﻛﻠﻴﺪﻱ‪ ،‬ﻋﺒﻮﺭ ﺍﺯ ﻣﻨﻄﻖ ﻟﺬﺕ ﺩﺭ ﺁﻏﺎﺯ‪ ،‬ﺍﺯ ﻫﻤﺎﻥ‬

‫ﻧﻘﻄﻪﺍﻱ ﻛﻪ ﻣﺮﺩ ﺑﻪ ﺑﺎﺯﻱ ﻛﺸﻴﺪﻩﻣﻲﺷﻮﺩ‪ ،‬ﺑﻪ ﻣﻨﻄﻖ ﻣﺒﺎﺭﺯﻩ ﻭ ﻣﺮﮒ ﺍﺳﺖ ﻛﻪ ﺗﺤﺖ ﻧﻴﺮﻭﻱ ﺯﻥ‬

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‫ﺍﻏﻮﺍ‬

‫ﺭﻭﻱ ﻣﻲﺩﻫﺪ‪ .‬ﻛﺴﻲ ﻛﻪ ﺑﺪﻳﻦﻃﺮﻳﻖ ﺑﺎﻧﻮﻱ ﺑﺎﺯﻱ ﻣﻲﺷﻮﺩ ﺣﺘﻲ ﺍﮔﺮ ﺩﺭ ﺍﺑﺘﺪﺍ ﺗﺼﻮﺭ ﺷﻮﺩ ﻛﻪ ﺍﻭ‬

‫ﺗﻨﻬﺎ ﻳﻚ ﺍﺑﮋﻩ ﺟﻨﺴﻲ ﺍﺳﺖ‪ .‬ﺍﺻﻞ ﺯﻧﺎﻧﮕﻲ ﺩﺭ ﻫﻤﻴﻦ ﺍﺳﺖ‪ .‬ﻭﺍﮊﮔﻮﻧﻲ ﺍﺭﺯﺵ‪ /‬ﺳﻜﺲ ﺑﻪ ﻣﻨﻄﻖ‬

‫ﻣﺒﺎﺭﺯﺍﺗﻲ ﺍﻏﻮﺍﮔﺮﻱ‪.‬‬

‫ﻫﻴﭻ ﺭﺍﻧﺶ ﻧﺎﺳﺎﻟﻢ ﻳﺎ ﺍﻧﺤﺮﺍﻓﻲ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ ،‬ﻫﻴﭻ ﺗﻔﺴﻴﺮﻱ ﺍﺯ ﺣﻮﺯﻩﻫﺎﻱ ﺭﻭﺍﻧﻲ ﺟﻨﺴﻲ‪،‬‬

‫ﺗﺮﺳﻴﻢ ﻧﻤﻲﺷﻮﺩ‪ .‬ﻣﺴﺌﻠﻪ ﺳﻜﺲ ﻳﺎ ﻧﺎﺧﻮﺩﺁﮔﺎﻫﻲ ﻧﻴﺴﺖ‪ .‬ﻋﻤﻞ ﺟﻨﺴﻲ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻛﻨﺶ‬

‫ﻣﺬﻫﺒﻲ ﻳﺎ ﺟﻨﮕﺠﻮﻳﺎﻧﻪ ﻭ ﺗﺸﺮﻳﻔﺎﺗﻲ ﻧﻤﺎﻳﺎﻧﺪﻩ ﻣﻲﺷﻮﺩ‪) .‬ﻣﺎﻧﻨﺪ ﺗﺮﺍﮊﺩﻱﻫﺎﻱ ﺑﺎﺳﺘﺎﻧﻲ ﺩﺭ ﺑﺎﺏ‬

‫ﻣﻮﺿﻮﻉ ﺯﻧﺎﻱ ﺑﺎ ﻣﺤﺎﺭﻡ( ﺑﻪ ﻫﻤﻴﻦ ﺭﻭﻱ ﻣﺮﮒ ﻧﺘﻴﺠﻪ ﺍﺟﺒﺎﺭﻱ ﺁﻥ ﺑﻪ ﻧﺸﺎﻧﻪ ﻱ ﻛﻤﺎﻝ ﻣﺒﺎﺭﺯﻩﺍﺳﺖ‪.‬‬

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‫ﺑﻨﺎﺑﺮﺍﻳﻦ‪ ،‬ﻭﻗﺎﺣﺖ ﻣﻲﺗﻮﺍﻧﺪ ﺍﻏﻮﺍ ﻧﻤﺎﻳﺪ ﻫﻤﻴﻨﻄﻮﺭ ﻟﺬﺕ ﻭ ﺳﻜﺲ‪ .‬ﺣﺘﻲ ﺿﺪ ﺍﻏﻮﺍﮔﺮﺍﻧﻪﺗﺮﻳﻦ‬

‫ﺷﺨﺼﻴﺖﻫﺎ ﻧﻴﺰ ﻣﻲﺗﻮﺍﻧﻨﺪ ﺷﺨﺼﻴﺖ ﺍﻏﻮﺍﮔﺮﻱ ﮔﺮﺩﻧﺪ‪) .‬ﺩﺭ ﻣﺒﺎﺣﺚ ﻓﻤﻴﻨﻴﺴﺘﻲ ﮔﻔﺘﻪﺷﺪﻩﺍﺳﺖ‬

‫ﻛﻪ ﺩﺭ ﭘﺸﺖ ﻏﻴﺎﺏ ﻛﻠﻲ ﺍﻏﻮﺍﮔﺮﻱ‪ ،‬ﻧﻮﻋﻲ ﺷﻴﻔﺘﮕﻲ ﻫﻤﺠﻨﺲﮔﺮﺍﻳﺎﻧﻪ ﻧﻬﻔﺘﻪﺍﺳﺖ( ﻛﺎﻓﻲ ﺍﺳﺖ ﺍﻳﻦ‬

‫ﺍﺷﻜﺎﻝ ﻭﺭﺍﻱ ﺣﻘﻴﻘﺘﺸﺎﻥ ﺣﺮﻛﺖ ﺩﺍﺩﻩﺷﻮﻧﺪ ﺗﺎ ﻣﺒﺪﻝ ﺑﻪ ﻭﺿﻌﻴﺘﻲ ﺑﺮﮔﺸﺖﭘﺬﻳﺮ ﺷﻮﻧﺪ‪ .‬ﻭﺿﻌﻴﺘﻲ‬

‫ﻛﻪ ﻣﺮﮒ ﺁﻧﻬﺎ ﻧﻴﺰ ﻣﻲﺑﺎﺷﺪ‪ .‬ﺍﻳﻦ ﺑﺮﺍﻱ ﺷﺨﺼﻴﺖ ﺿﺪﺍﻏﻮﺍﮔﺮ ﺑﺰﺭﮒ ﻳﻌﻨﻲ ﻗﺪﺭﺕ ﻧﻴﺰ ﺻﺎﺩﻕ ﺍﺳﺖ‪.‬‬

‫ﻗﺪﺭﺕ ﺍﻏﻮﺍ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻣﺎ ﻧﻪ ﺑﻪ ﻣﻌﻨﺎﻱ ﻣﺒﺘﺬﻝ ﻣﺘﻤﺎﻳﻞ ﻛﺮﺩﻥ ﺗﻮﺩﻩﻫﺎ ﺑﻪ ﻫﻤﺪﺳﺘﻲ ﺑﺎ ﺧﻮﺩ‪،‬‬

‫)ﺣﺸﻮ ﺯﺍﺋﺪ ﻛﻪ ﺩﺭ ﻧﻬﺎﻳﺖ ﺑﻪ ﺩﻧﺒﺎﻝ ﺑﻨﻴﺎﻥ ﻧﻬﺎﺩﻥ ﺍﻏﻮﺍﮔﺮﻱ ﺩﺭ ﻣﻴﻞ ﺩﻳﮕﺮﺍﻥ ﺍﺳﺖ( ﺧﻴﺮ‪ ،‬ﻗﺪﺭﺕ‬

‫ﺑﻮﺳﻴﻠﻪ ﺧﺎﺻﻴﺖ ﺑﺮﮔﺸﺖﭘﺬﻳﺮﻱ ﺁﻣﻴﺨﺘﻪ ﺑﺎ ﺁﻥ‪ ،‬ﺍﻏﻮﺍ ﻣﻲﻛﻨﺪ ﻭ ﺣﻠﻘﻪﺍﻱ ﻛﻮﭼﻚ ﺑﻨﺎ ﻣﻲﺷﻮﺩ‪ .‬ﻧﻪ‬

‫ﻣﺴﻠﻂ ﻭ ﺗﺤﺖ ﺳﻠﻄﻪ ﻭ ﻧﻪ ﻗﺮﺑﺎﻧﻲ ﻭ ﺟﻼﺩ )ﺍﻣﺎ ﺍﺳﺘﺜﻤﺎﺭﮔﺮ ﻭ ﺍﺳﺘﺜﻤﺎﺭ ﺷﺪﻩ ﻣﺸﺨﺼﺎً ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪،‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﮔﺮﭼﻪ ﻛﺎﻣﻼً ﺟﺪﺍﮔﺎﻧﻪﺍﻧﺪ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺩﺭ ﺗﻮﻟﻴﺪ ﻫﻴﭻ ﺑﺮﮔﺸﺖﭘﺬﻳﺮﻱ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ ﺑﻨﺎﺑﺮﺍﻳﻦ ﻫﻴﭻ‬

‫ﺭﻭﻳﺪﺍﺩ ﻣﺎﻫﻮﻱ ﺩﺭ ﺍﻳﻦ ﺳﻄﺢ ﺭﺥ ﻧﻤﻲﺩﻫﺪ( ﻧﻪ ﻣﻮﻗﻌﻴﺖ ﺟﺪﺍﮔﺎﻧﻪﺍﻱ‪ :‬ﻗﺪﺭﺕ ﺑﺮ ﻃﺒﻖ ﺭﺍﺑﻄﻪ ﺩﻭﺋﻠﻲ‬

‫ﺗﺤﻘﻖ ﻳﺎﻓﺘﻪ ﻭ ﺑﺪﻳﻦ ﻃﺮﻳﻖ ﻣﺒﺎﺭﺯﻩﺍﻱ ﺑﻪ ﺟﺎﻣﻌﻪ ﭘﺮﺗﺎﺏ ﻣﻲﻛﻨﺪ‪ ،‬ﻭ ﻣﻮﺟﻮﺩﻳﺖ ﺁﻥ ﺩﺭ ﻣﻘﺎﺑﻞ ﺑﻪ‬

‫ﻣﺒﺎﺭﺯﻩ ﻛﺸﻴﺪﻩ ﻣﻲﺷﻮﺩ‪ .‬ﺍﮔﺮ ﻗﺪﺭﺕ ﺑﺎ ﺍﻳﻦ ﭼﺮﺧﻪ ﻛﻮﭼﻚ ﺍﻏﻮﺍﮔﺮﻱ‪ ،‬ﻣﺒﺎﺭﺯﻩ ﻭ ﺧﺪﻋﻪ ﻧﻤﻲﺗﻮﺍﻧﺪ‬

‫ﻣﻌﺎﻭﺿﻪ ﺷﻮﺩ‪ ،‬ﭘﺲ ﺑﻪ ﺳﺎﺩﮔﻲ ﻛﺎﻣﻼً ﻧﺎﭘﺪﻳﺪ ﻣﻲﺷﻮﺩ‪.‬‬

‫ﺩﺭ ﺯﻳﺮ‪ ،‬ﻗﺪﺭﺕ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﻣﻨﺶ ﻳﻚ ﺟﺎﻧﺒﻪ ﺭﺍﺑﻄﻪ ﻧﻴﺮﻭﻫﺎ ﺑﺮ »ﺳﺎﺧﺘﺎﺭ« ﻭ » ﻭﺍﻗﻌﻴﺖ«‬

‫ﻗﺪﺭﺕ ﻭ ﺣﺮﻛﺖ ﻫﻤﻴﺸﮕﻲ ﻓﺮﺿﻲ ﺁﻥ‪ ،‬ﻭﺟﻮﺩ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺍﻳﻦ ﺭﻭﻳﺎﻱ ﻗﺪﺭﺕ ﺭﺍ ﻛﻪ ﻋﻘﻼﻧﻴﺖ ﺗﺤﻤﻴﻞ‬

‫ﻧﻤﻮﺩﻩ ﻭ ﻧﻪ ﻭﺍﻗﻌﻴﺖ‪ .‬ﻫﺮ ﭼﻴﺰﻱ ﻣﺮﮒ ﺧﻮﺩ ﺭﺍ ﺟﺴﺘﺠﻮ ﻣﻲﻛﻨﺪ ﺣﺘﻲ ﻗﺪﺭﺕ‪ .‬ﻳﺎ ﺑﻴﺸﺘﺮ‪ ،‬ﻫﺮﭼﻴﺰﻱ‬

‫ﺧﻮﺍﺳﺘﺎﺭ ﻣﻌﺎﻭﺿﻪ ﺷﺪﻥ‪ ،‬ﻭﺍﮊﮔﻮﻧﻪ ﺷﺪﻥ ﻭ ﻧﺎﺑﻮﺩ ﺷﺪﻥ ﺩﺭ ﻳﻚ ﺣﻠﻘﻪ ﺍﺳﺖ‪) .‬ﺑﻪ ﻫﻤﻴﻦﺧﺎﻃﺮ ﻧﻪ‬

‫ﺳﺮﻛﻮﺑﻲ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻭ ﻧﻪ ﻧﺎﺧﻮﺩﺁﮔﺎﻫﻲ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺑﺮﮔﺸﺖﭘﺬﻳﺮﻱ ﭘﻴﺸﺘﺮ ﺣﻀﻮﺭ ﺩﺍﺭﺩ‪ (.‬ﺗﻨﻬﺎ‬

‫ﺍﻏﻮﺍﮔﺮﻱ ﻋﻤﻴﻖ ﺍﺳﺖ‪ .‬ﻗﺪﺭﺕ ﺗﻨﻬﺎ ﻭﻗﺘﻲ ﺍﻏﻮﺍ ﻣﻲﻛﻨﺪ ﻛﻪ ﻣﺒﺎﺭﺯﻩﺍﻱ ﺑﺎ ﺧﻮﺩ ﮔﺮﺩﺩ؛ ﺩﺭ ﻏﻴﺮ ﺍﻳﻦ‬

‫ﺻﻮﺭﺕ ﻓﻘﻂ ﻣﻨﻄﻖ ﺳﻠﻄﻪ ﺟﻮﻳﺎﻧﻪ ﻋﻘﻼﻧﻴﺖ ﺭﺍ ﺍﻋﻤﺎﻝ ﻭ ﺍﺭﺿﺎ ﻣﻲﻛﻨﺪ‪.‬‬

‫ﺍﻏﻮﺍﮔﺮﻱ ﻧﻴﺮﻭﻣﻨﺪﺗﺮ ﺍﺯ ﻗﺪﺭﺕ ﺍﺳﺖ ﭼﺮﺍ ﻛﻪ ﺑﺮﮔﺸﺖﭘﺬﻳﺮ ﻭ ﻣﻬﻠﻚ ﺍﺳﺖ‪ ،‬ﺣﺎﻝ ﺁﻧﻜﻪ ﻗﺪﺭﺕ‬

‫ﺑﻪ ﻣﺎﻧﻨﺪ ﺍﺭﺯﺵ‪ ،‬ﺑﺮﮔﺸﺖﻧﺎﭘﺬﻳﺮﻱ‪ ،‬ﺍﻧﺒﺎﺷﺘﮕﻲ ﻭ ﻓﻨﺎﻧﺎﭘﺬﻳﺮﻱ ﺭﺍ ﻣﻲﻃﻠﺒﺪ‪ .‬ﻗﺪﺭﺕ ﺩﺭ ﺗﻤﺎﻣﻲ‬

‫ﺗﻮﻫﻤﺎﺕ ﺗﻮﻟﻴﺪ ﻭ ﻭﺍﻗﻌﻴﺖ ﺷﺮﻳﻚ ﻣﻲﺷﻮﺩ؛ ﻣﻲﺧﻮﺍﻫﺪ ﻭﺍﻗﻌﻲ ﺑﺎﺷﺪ‪ ،‬ﻭ ﺧﻴﺎﻻﺕ ﻭ ﺗﻮﻫﻤﺎﺕ ﺧﻮﻳﺶ‬

‫ﮔﺮﺩﺩ‪) .‬ﺑﻪ ﻛﻤﻚ ﻧﻈﺮﻳﻪﻫﺎﻳﻲ ﻛﻪ ﺁﻧﺮﺍ ﺗﺤﻠﻴﻞ ﻣﻲﻛﻨﻨﺪ ﻭ ﻧﻈﺮﻳﻪﺍﻱ ﻛﻪ ﺑﺎ ﺁﻥ ﺟﺪﻝ ﻣﻲﻧﻤﺎﻳﻨﺪ( ﺍﺯ‬

‫ﻃﺮﻑ ﺩﻳﮕﺮ ﺍﻏﻮﺍﮔﺮﻱ‪ ،‬ﺑﻪ ﻧﻈﺎﻡ ﻭﺍﻗﻌﻴﺖ ﺗﻌﻠﻖ ﻧﺪﺍﺭﺩ ﻭ ﻧﻪ ﻧﻈﺎﻡ ﻧﻴﺮﻭﺳﺖ ﻭ ﻧﻪ ﺭﻭﺍﺑﻂ ﻧﻴﺮﻭ‪ .‬ﺍﻣﺎ ﺩﻗﻴﻘﺎً‬

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‫ﺍﻏﻮﺍ‬

‫ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮ ﺗﻤﺎﻣﻲ ﻛﻨﺶﻫﺎﻱ ﻭﺍﻗﻌﻲ ﻗﺪﺭﺕ ﻭ ﻫﻤﻴﻦﻃﻮﺭ ﺗﻤﺎﻣﻲ ﻭﺍﻗﻌﻴﺖ ﺗﻮﻟﻴﺪ ﺭﺍ ﺩﺭ‬

‫ﺑﺮﮔﺸﺖﭘﺬﻳﺮﻱ ﻭ ﻋﺪﻡ ﺍﻧﺒﺎﺷﺖ‪ ،‬ﺑﺪﻭﻥ ﺩﺍﺷﺘﻦ ﻫﻴﭻ ﻗﺪﺭﺗﻲ‪ ،‬ﺍﺯ ﻣﻴﺎﻥ ﻣﻲﺑﺮﺩ‪.‬‬

‫ﺍﻳﻦ ﻧﺸﺎﻥ ﺍﺯ ﺍﻣﺮ ﺗﻬﻲ ﺩﺭ ﭘﺸﺖ ﻭ ﻗﻠﺐ ﻗﺪﺭﺕ ﻭ ﺗﻮﻟﻴﺪ ﺩﺍﺭﺩ‪ ،‬ﻫﻤﻴﻦ ﺍﻣﺮ ﺗﻬﻲ ﺍﺳﺖ ﻛﻪ ﺍﻣﺮﻭﺯ‬

‫ﺑﺪﺍﻧﻬﺎ ﻭﺍﭘﺴﻴﻦ ﻛﻮﺭﺳﻮﻱ ﻭﺍﻗﻌﻴﺖ ﺭﺍ ﻣﻲﺑﺨﺸﺪ‪ .‬ﺑﺪﻭﻥ ﻭﺍﺭﻭﻧﻪ ﺷﺪﻥ‪ ،‬ﻟﻐﻮ ﻳﺎ ﺍﻏﻮﺍ ﺷﺪﻥ‪ ،‬ﻫﺮﮔﺰ ﺑﻬﺮﻩ­‬

‫ﺍﻱ ﺍﺯ ﻭﺍﻗﻌﻴﺖ ﻧﺪﺍﺷﺘﻪﺍﻧﺪ‪.‬‬

‫ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻦ‪ ،‬ﺍﻣﺮ ﻭﺍﻗﻌﻲ‪ ،‬ﻫﺮﮔﺰ ﺑﻪ ﻫﻴﭻﭼﻴﺰ ﻋﻼﻗﻪﻣﻨﺪ ﻧﺒﻮﺩﻩﺍﺳﺖ‪ .‬ﻣﻜﺎﻥ ﺍﻓﺴﻮﻥﺯﺩﺍﻳﻲ‪،‬‬

‫ﻭﺍﻧﻤﻮﺩﻩ ﺍﻧﺒﺎﺷﺖ ﺑﺮ ﻋﻠﻴﻪ ﻣﺮﮒ ﺍﺳﺖ‪ .‬ﻭ ﻫﻴﭻ ﭼﻴﺰ ﺍﺯ ﺍﻳﻦ ﻃﺎﻗﺖﻓﺮﺳﺎﺗﺮ ﻧﻴﺴﺖ‪ .‬ﺁﻧﭽﻪ ﮔﺎﻫﻲ‬

‫ﺍﻭﻗﺎﺕ‪ ،‬ﺟﺬﺑﻪ ﻭﺍﻗﻌﻴﺖ ﺧﻮﺍﻧﺪﻩ ﻣﻲﺷﻮﺩ ‪ -‬ﻭ ﻫﻤﭽﻨﻴﻦ ﺣﻘﻴﻘﺖ ‪ -‬ﺧﻴﺎﻝ ﻓﺮﺟﺎﻡ ﻓﺎﺟﻌﻪﺁﻣﻴﺰﻱ‬

‫ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻭﺭﺍﻱ ﺁﻥ ﺑﻪ ﺍﻧﺘﻈﺎﺭ ﻧﺸﺴﺘﻪﺍﺳﺖ‪ .‬ﺁﻳﺎ ﮔﻤﺎﻥ ﻣﻲﻛﻨﻴﺪ ﻛﻪ ﻗﺪﺭﺕ‪ ،‬ﺟﻨﺴﻴﺖ‪ ،‬ﺍﻣﺮ‬

‫ﺍﻗﺘﺼﺎﺩﻱ ‪ -‬ﺗﻤﺎﻣﻲ ﺍﻳﻦ ﺍﻣﻮﺭ ﻭﺍﻗﻌﻲ ﻭ ﭼﻴﺰﻫﺎﻱ ﺑﺰﺭﮒ ﻭﺍﻗﻌﻲ ‪ -‬ﻣﻲﺗﻮﺍﻧﺴﺘﻨﺪ ﺑﺮﺍﻱ ﻳﻚ ﻟﺤﻈﻪ ﻫﻢ‬

‫ﻛﻪ ﺷﺪﻩ ﺩﺍﻭﻡ ﺁﻭﺭﻧﺪ ﺍﮔﺮ ﺑﺎ ﺍﻓﺴﻮﻥ‪ ،‬ﺍﻓﺴﻮﻧﻲ ﻛﻪ ﺩﻗﻴﻘﺎً ﺍﺯ ﺗﺼﻮﻳﺮ ﺁﻳﻨﻪﺍﻱ ﻛﻪ ﺩﺭ ﺁﻥ ﻣﻨﻌﻜﺲ‬

‫ﺷﺪﻩﺍﻧﺪ‪ ،‬ﺍﺯ ﺑﺮﮔﺸﺖ ﻣﺪﺍﻭﻣﺸﺎﻥ‪ ،‬ﺍﺯ ﻟﺬﺕ ﻣﻠﻤﻮﺱ ﻓﺎﺟﻌﻪ ﻗﺮﻳﺐ ﺍﻟﻮﻗﻮﻉﺷﺎﻥ‪ ،‬ﻧﻴﺮﻭ ﻧﻤﻲﮔﺮﻓﺘﻨﺪ؟‬

‫ﺍﻣﺮ ﻭﺍﻗﻌﻲ‪ ،‬ﺧﺼﻮﺻﺎً ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ‪ ،‬ﭼﻴﺰﻱ ﺑﻴﺶ ﺍﺯ ﺍﻧﺒﺎﺷﺖ ﻣﻮﺿﻮﻋﺎﺕ ﻣﺮﺩﻩ‪ ،‬ﺑﺪﻧﻬﺎﻱ‬

‫ﻣﺮﺩﻩ ﺯﺑﺎﻥ ﻣﺮﺩﻩ ‪ -‬ﺗﻪ ﻧﺸﺴﺖ ﭘﺲ ﻣﺎﻧﺪﻩﻫﺎ ‪ -‬ﻧﻴﺴﺖ‪ .‬ﻫﻨﻮﺯ ﻣﺎ ﺍﺣﺴﺎﺱ ﺍﻣﻨﻴﺖ ﺑﻴﺸﺘﺮﻱ ﻣﻲﻛﻨﻴﻢ‬

‫ﻭﻗﺘﻲ ﺫﺧﻴﺮﻩﺍﻱ ﺍﺯ ﺍﻣﺮ ﻭﺍﻗﻌﻲ ﺷﻨﺎﺧﺘﻪﻣﻲﺷﻮﺩ‪) .‬ﺗﻀﺮﻉﻫﺎﻱ ﺑﻮﻡﺷﻨﺎﺳﺎﻧﻪ ﺍﺯ ﺍﻧﺮﮊﻱﻫﺎﻱ ﻣﺎﺩﻱ‪ ،‬ﺍﻣﺎ‬

‫ﻧﺎﭘﺪﻳﺪﻱ ﺧﻮﺩ ﺍﻣﺮ ﻭﺍﻗﻌﻲ‪ ،‬ﻭﺍﻗﻌﻴﺖ ﺍﻣﺮ ﻭﺍﻗﻌﻲ‪ ،‬ﺍﻣﻜﺎﻥ ﻣﺪﻳﺮﻳﺖ ﺁﻥ ﺧﻮﺍﻩ ﺳﺮﻣﺎﻳﻪﺩﺍﺭﻱ‪ ،‬ﺧﻮﺍﻩ‬

‫ﺍﻧﻘﻼﺑﻲ ﺭﺍ ﭘﻨﻬﺎﻥ ﻧﮕﺎﻩ ﻣﻲﺩﺍﺭﺩ( ﺍﮔﺮ ﺍﻓﻖ ﺗﻮﻟﻴﺪ ﺭﻭ ﺑﻪ ﻧﺎﭘﺪﻳﺪﺷﺪﻥ ﺍﺳﺖ‪ ،‬ﺟﻨﺴﻴﺖ‪ ،‬ﮔﻔﺘﺎﺭ ﻭ ﻣﻴﻞ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﺣﺘﻲ ﻣﻲﺗﻮﺍﻧﻨﺪ ﮔﺴﺘﺮﺵ ﻳﺎﺑﻨﺪ‪ .‬ﺁﺯﺍﺩ ﻛﺮﺩﻥ‪ ،‬ﻟﺬﺕ ﺩﺍﺩﻥ‪ ،‬ﺳﺨﻦ ﮔﻔﺘﻦ‪ ،‬ﺳﺨﻦ ﺑﺨﺸﻴﺪﻥ ﺑﻪ‬

‫ﺩﻳﮕﺮﺍﻥ‪ :‬ﺍﻣﺮ ﻭﺍﻗﻌﻲ ﺍﻳﻦ ﺍﺳﺖ‪ ،‬ﭼﻴﺰﻱ ﻛﻪ ﺑﺎ ﻛﺎﻭﺵ ﺩﺭ ﺫﺧﻴﺮﻩﻫﺎ ﺑﻪ ﺩﺳﺖﻣﻲﺁﻳﺪ‪ ،‬ﺫﺍﺗﻲ ﺍﺳﺖ‪ .‬ﻭ‬

‫ﺑﻨﺎﺑﺮﺍﻳﻦ ﻗﺪﺭﺕ ﺍﻳﻦ ﺍﺳﺖ‪.‬‬

‫ﻣﺘﺄﺳﻔﺎﻧﻪ ﺧﻴﺮ‪ .‬ﺍﻳﻦ ﮔﻔﺘﺎﺭ ﺩﻭﺍﻣﻲ ﻧﻤﻲﻳﺎﺑﺪ‪ .‬ﺍﻳﻦ »ﻭﺍﻗﻌﻴﺖ« ﺑﻪ ﺗﺪﺭﻳﺞ ﺍﺯ ﻫﻢ ﻣﻲﭘﺎﺷﺪ‪ .‬ﻓﺮﺩ‬

‫ﺳﻜﺲ ﺭﺍ ﻣﻲﺧﻮﺍﻫﺪ ﺗﺎ ﻣﺎﻧﻨﺪ ﻗﺪﺭﺕ ﻧﻤﻮﻧﻪﺍﻱ ﺑﺮﮔﺸﺖﻧﺎﭘﺬﻳﺮ ﻭ ﻣﻴﻞ ﻳﻚ ﺍﻧﺮﮊﻱ ﺑﺮﮔﺸﺖﻧﺎﭘﺬﻳﺮ‬

‫ﮔﺮﺩﺩ )ﺫﺧﻴﺮﻩ ﺍﻧﺮﮊﻱ‪ ،‬ﻧﻴﺎﺯﻱ ﺑﻪ ﮔﻔﺘﻦ ﻧﻴﺴﺖ ﻛﻪ ﺍﻳﻦ ﻣﻴﻞ ﻫﺮﮔﺰ ﺍﺯ ﺳﺮﻣﺎﻳﻪ ﺟﺪﺍ ﻧﻴﺴﺖ( ﭼﺮﺍ ﻛﻪ‬

‫ﻣﺎ ﺗﻨﻬﺎ ﻣﻌﻨﺎ ﺭﺍ ﺑﺪﺍﻥ ﭼﻴﺰﻱ ﺍﻫﺪﺍ ﻣﻲﻛﻨﻴﻢ ﻛﻪ ﺑﺮﮔﺸﺖﻧﺎﭘﺬﻳﺮ ﺑﺎﺷﺪ‪ :‬ﺍﻧﺒﺎﺷﺖ‪ ،‬ﭘﻴﺸﺮﻓﺖ‪ ،‬ﺭﺷﺪ‪،‬‬

‫ﺗﻮﻟﻴﺪ‪ ،‬ﺍﺭﺯﺵ‪ ،‬ﺍﻧﺮﮊﻱ ﻭ ﻣﻴﻞ‪ ،‬ﻛﻪ ﻓﺮﺁﻳﻨﺪﻫﺎﻱ ﺑﺮﮔﺸﺖﻧﺎﭘﺬﻳﺮ ﺭﺍ ﺑﻜﺎﺭ ﻣﻲﮔﻴﺮﻧﺪ‪ .‬ﺍﻳﻦ ﻫﻤﺎﻥ ﻣﻌﻨﺎﻱ‬

‫ﺁﺯﺍﺩﻱ ﺁﻧﻬﺎﺳﺖ‪) .‬ﺑﺎ ﺗﺰﺭﻳﻖ ﻛﻮﭼﺘﺮﻳﻦ ﻣﻘﺪﺍﺭ ﺑﺮﮔﺸﺖﭘﺬﻳﺮﻱ ﺑﻪ ﻣﻜﺎﻧﻴﺴﻢ ﻫﺎﻱ ﺍﻗﺘﺼﺎﺩﻱ‪ ،‬ﺳﻴﺎﺳﻲ‪،‬‬

‫ﺟﻨﺴﻲ ﻳﺎ ﻋﻠﻤﻲ ﻭ‪ ..‬ﻫﻤﻪ ﻓﺮﻭ ﻣﻲﺭﻳﺰﻧﺪ(‪ .‬ﺍﻳﻦ ﻫﻤﺎﻥ ﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ ﻗﺪﺭﺕ‬

‫ﺍﻓﺴﺎﻧﻪﺍﻱﺷﺎﻥ ﺭﺍ ﺑﺮ ﺑﺪﻧﻬﺎ ﻭ ﻗﻠﺒﻬﺎﻱ ﻣﺎ ﺗﻀﻤﻴﻦ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻣﺎ ﻫﻤﭽﻨﻴﻦ ﺍﻳﻦ ﻫﻤﺎﻥ ﭼﻴﺰﻱ ﺍﺳﺖ ﺩﺭ‬

‫ﭘﺸﺖ ﺟﻨﺴﻴﺖ ﺷﻜﻨﻨﺪﮔﻲﺍﺵ ﺟﻨﺴﻴﺖ ﻭ ﻛﻞ ﻋﻤﺎﺭﺕ ﺗﻮﻟﻴﺪ ﻧﻬﻔﺘﻪﺍﺳﺖ‪.‬‬

‫ﺍﻏﻮﺍﮔﺮﻱ ﻗﻮﻳﺘﺮ ﺍﺯ ﺗﻮﻟﻴﺪ ﺍﺳﺖ‪ .‬ﻭ ﻗﻮﻳﺘﺮ ﺍﺯ ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ ﻛﻪ ﻫﺮﮔﺰ ﻧﺒﺎﻳﺪ ﺑﺎ ﺁﻥ ﺍﺷﺘﺒﺎﻩ‬

‫ﮔﺮﻓﺘﻪﺷﻮﺩ‪ .‬ﺍﻏﻮﺍﮔﺮﻱ ﺧﺼﻴﺼﻪ ﺑﺎﻃﻨﻲ ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ ﻧﻴﺴﺖ ﮔﺮﭼﻪ ﻋﻤﻮﻣﺎً ﺑﻪ ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ‬

‫ﻓﺮﻭﻛﺎﺳﺘﻪﻣﻲﺷﻮﺩ‪ .‬ﻓﺮﺁﻳﻨﺪ ﺑﺮﮔﺸﺖﭘﺬﻳﺮ ﻭ ﺣﻠﻘﻪﻭﺍﺭ ﻣﺒﺎﺭﺯﺍﺕ ﻭﺍﮊﮔﻮﻧﮕﻲ ﻭ ﻣﺮﮒ ﺍﺳﺖ‪ .‬ﺩﺭ ﻣﻘﺎﺑﻞ‪،‬‬

‫ﺟﻨﺴﻴﺖ ﺷﻜﻞ ﻧﺎﺯﻝ ﻭ ﻓﺮﻭﻣﺎﻳﻪ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﺍﺻﻄﻼﺣﺎﺕ ﺍﻧﺮﮊﻱ ﻭ ﻣﻴﻞ ﻣﺤﺪﻭﺩ ﻭ ﻣﺤﺼﻮﺭ‬

‫ﮔﺸﺘﻪﺍﺳﺖ‪.‬‬

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‫ﺍﻏﻮﺍ‬

‫ﺟﺪﺍﻝ ﺍﻏﻮﺍﮔﺮﻱ ﺑﺎ ﺗﻮﻟﻴﺪ ﻭ ﻗﺪﺭﺕ‪ ،‬ﻓﻮﺭﺍﻥ ﺣﺪﺍﻗﻞ ﺑﺮﮔﺸﺖﭘﺬﻳﺮﻱ ﺩﺭ ﻓﺮﺁﻳﻨﺪﻫﺎﻱ ﺑﺮﮔﺸﺖ­‬

‫ﻧﺎﭘﺬﻳﺮ‪ ،‬ﻃﻮﺭﻱ ﻛﻪ ﺍﻳﻦ ﻓﺮﺁﻳﻨﺪﻫﺎ ﻣﺤﺮﻣﺎﻧﻪ ﻣﺴﺘﺤﻴﻞ ﺷﻮﻧﺪ‪ ،‬ﻭ ﺩﺭ ﻫﻤﺎﻥ ﺣﺎﻝ ﺯﻧﺠﻴﺮﻩ ﻛﻤﻴﻨﻪﺍﻱ ﺍﺯ‬

‫ﻟﺬﺕ ﺭﺍ ﻧﮕﺎﻩﺩﺍﺭﻧﺪ ﺑﺪﻭﻥ ﺁﻧﻜﻪ ﺑﺨﻮﺍﻫﺪ ﭼﻴﺰﻱ ﺑﺎﺷﺪ‪ .‬ﺍﻳﻦ ﻫﻤﺎﻥ ﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﻣﻲﺑﺎﻳﺪ ﺗﺤﻠﻴﻞ‬

‫ﺷﻮﺩ‪ .‬ﺩﺭ ﻫﻤﺎﻥ ﺯﻣﺎﻥ ﻛﻪ ﺗﻮﻟﻴﺪ ﻣﺪﺍﻭﻣﺎً ﺳﻌﻲ ﻣﻲﻛﻨﺪ ﺍﻏﻮﺍﮔﺮﻱ ﺭﺍ ﺑﺎ ﺑﺮﭘﺎﻳﻲ ﺧﻮﺩ ﺑﺮ ﺭﻭﻱ‬

‫ﺍﻗﺘﺼﺎﺩﻱ ﺍﺯ ﺭﻭﺍﺑﻂ ﻧﻴﺮﻭ‪ ،‬ﺣﺬﻑ ﺳﺎﺯﺩ‪ .‬ﺳﻜﺲ ﻭ ﺗﻮﻟﻴﺪ ﺳﻜﺲ ﻫﻢ ﺑﺪﻳﻦ ﻃﺮﻳﻖ ﺗﻼﺵ ﺩﺍﺭﺩ ﺗﺎ ﺑﺎ‬

‫ﺑﺮﭘﺎﻳﻲ ﺧﻮﺩ ﺑﺮ ﺭﻭﻱ ﺍﻗﺘﺼﺎﺩﻱ ﺍﺯ ﺭﻭﺍﺑﻂ ﻣﻴﻞ‪ ،‬ﺍﻏﻮﺍﮔﺮﻱ ﺭﺍ ﻧﺎﺑﻮﺩ ﺳﺎﺯﺩ‪.‬‬

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‫ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮ ﺍﺳﺖ ﻛﻪ ﻣﻲﺑﺎﻳﺴﺖ ﺍﺯ ﺁﻧﭽﻪ ﻛﻪ ﻓﻮﻛﻮ ﺩﺭ ﺗﺎﺭﻳﺦ ﺟﻨﺴﻴﺖ )ﺟﻠﺪ ‪ (۱‬ﺑﺎﺯﮔﻮ‬

‫ﻣﻲﻛﻨﺪ ﻭ ﻫﻨﻮﺯ ﻫﻢ ﻳﻜﻲ ﺍﺯ ﭘﺬﻳﺮﻓﺘﻪﺗﺮﻳﻦ ﻓﺮﺿﻴﺎﺕ ﺍﺳﺖ‪ ،‬ﺭﻭﻱ ﺑﺮﮔﺮﺩﺍﻧﺪ‪ .‬ﻓﻮﻛﻮ ﺗﻨﻬﺎ ﺗﻮﻟﻴﺪ‬

‫ﺟﻨﺴﻴﺖ ﻭ ﺳﻜﺲ ﺭﺍ ﺑﻪ ﻣﺜﺎﺑﻪ ﮔﻔﺘﻤﺎﻥ ﻣﻲﺑﻴﻨﺪ‪ .‬ﻭﻱ ﻣﺠﺬﻭﺏ ﮔﺴﺘﺮﺵ ﺑﺮﮔﺸﺖﻧﺎﭘﺬﻳﺮ ﻭ ﺍﺷﺒﺎﻉ‬

‫ﻧﻬﺎﺩﻳﻦ ﺣﻮﺯﻩ ﮔﻔﺘﺎﺭ ﻣﻲﺷﻮﺩ ﻛﻪ ﺩﺭ ﻫﻤﺎﻥ ﺣﺎﻝ‪ ،‬ﺗﺄﺳﻴﺲ ﺣﻮﺯﻩ ﻗﺪﺭﺕ ﻧﻴﺰ ﺩﺭ ﺯﻣﻴﻨﻪ ﺷﻨﺎﺧﺘﻲ‬

‫ﻛﻪ ﻗﺪﺭﺕ ﺭﺍ ﻣﻨﻌﻜﺲ ﻣﻲﻛﻨﺪ )ﻳﺎ ﺍﺑﺪﺍﻉ ﻣﻲﻛﻨﺪ( ﺑﻪ ﺍﻭﺝ ﻣﻲﺭﺳﺪ‪ .‬ﺍﻣﺎ ﺍﺯ ﭼﻪ ﺭﻭﻱ ﻗﺪﺭﺕ ﺍﺯ‬

‫ﻛﺎﺭﻛﺮﺩ ﻭ ﺍﻳﻦ ﭘﻴﺸﻪ ﻣﻘﺎﻭﻣﺖﻧﺎﭘﺬﻳﺮ ﺍﺷﺒﺎﻉ ﺣﻮﺯﻩﻫﺎ ﻧﺎﺷﻲ ﻣﻲﺷﻮﺩ؟ ﺍﮔﺮ ﻧﻪ ﺍﻣﺮ ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﻧﻪ‬

‫ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ ﻫﻴﭽﻜﺪﺍﻡ ﺑﺪﻭﻥ ﻧﻤﺎﻳﺶ ﻭ ﺑﺎﺯﺳﺎﺯﻱ ﻗﺪﺭﺕ ﻭﺟﻮﺩ ﻧﺪﺍﺭﻧﺪ‪ ،‬ﺷﺎﻳﺪ ﻗﺪﺭﺕ ﻫﻢ ﺍﮔﺮ‬

‫ﺗﻮﺳﻂ ﺷﻨﺎﺧﺖ )ﻧﻈﺮﻳﻪ( ﺑﺎﺯﺳﺎﺯﻱ ﻭ ﻧﻤﺎﻳﺶ ﺩﺍﺩﻩ ﻧﺸﻮﺩ ﻭﺟﻮﺩ ﻧﺨﻮﺍﻫﺪ ﺩﺍﺷﺖ‪ .‬ﺩﺭ ﭼﻨﻴﻦ ﺣﺎﻟﺘﻲ‪،‬‬

‫ﻛﻠﻴﺖ ﺁﻧﻬﺎ ﺑﺎﻳﺪ ﺩﺭ ﻓﻀﺎﻳﻲ ﻭﺍﻧﻤﻮﺩﻩ ﻗﺮﺍﺭ ﺑﮕﻴﺮﺩ ﻛﻪ ﻫﻤﭽﻨﻴﻦ ﺍﻳﻦ ﺁﻳﻨﻪ ﻛﺎﻣﻞ ﻭﺍﮊﮔﻮﻧﻪ ﺷﺪﻩﺍﺳﺖ‬

‫ﺣﺘﻲ ﺍﮔﺮ ﺗﻤﺎﻣﻲ »ﺗﺄﺛﻴﺮﺍﺕ ﺣﻘﻴﻘﻲ« ﺁﻥ ﺑﻪ ﻃﻮﺭ ﺣﻴﺮﺕﺁﻭﺭﻱ ﻗﺎﺑﻞ ﺭﻣﺰﮔﺸﺎﻳﻲ ﺑﺎﺷﻨﺪ‪.‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﺑﻪ ﻋﻼﻭﻩ ﺗﻌﺎﺩﻝ ﺷﻨﺎﺧﺖ ﺑﺎ ﻗﺪﺭﺕ‪ ،‬ﺍﻳﻦ ﻫﻤﮕﺮﺍﻳﻲ ﻣﻜﺎﻧﻴﺰﻡﻫﺎﻱ ﻳﻚ ﺣﻮﺯﻩ ﺣﺎﻛﻢ ﺑﻪ­‬

‫ﻧﻈﺮﻣﻲﺭﺳﺪ ﺯﺩﻭﺩﻩ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺍﻳﻦ ﭘﻴﻮﺳﺘﮕﻲ ﻛﻪ ﺗﻮﺳﻂ ﻓﻮﻛﻮ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﻣﺮﻱ ﻣﻮﺛﺮ ﻭ ﻛﺎﻣﻞ‬

‫ﺗﻮﺻﻴﻒ ﮔﺸﺖ‪ ،‬ﺷﺎﻳﺪ ﺗﻨﻬﺎ ﺩﻣﺴﺎﺯﻱ ﺩﻭ ﺳﺘﺎﺭﻩ ﻣﺮﺩﻩﺍﻱﺍﻧﺪ ﻛﻪ ﺑﺎ ﻭﺟﻮﺩ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻥ ﺗﺎﺑﻨﺪﮔﻲ­‬

‫ﺷﺎﻥ ﻫﻤﭽﻨﺎﻥ ﺑﺎ ﺁﺧﺮﻳﻦ ﺭﻭﺷﻨﺎﻳﻲﻫﺎﻳﺸﺎﻥ ﻳﻜﺪﻳﮕﺮ ﺭﺍ ﺭﻭﺷﻦ ﻧﮕﺎﻩ ﻣﻲﺩﺍﺭﻧﺪ؟ ﺩﺭ ﻣﺮﺣﻠﻪ ﺍﺻﻴﻞ ﻭ‬

‫ﻣﻌﺘﺒﺮ ﺷﻨﺎﺧﺖ ﻭﻗﺪﺭﺕ‪ ،‬ﺁﻧﻬﺎ ﺑﺮ ﻣﻘﺎﺑﻞ ﻭ ﮔﺎﻫﻲ ﺑﻪ ﺷﺪﺕ ﺗﻤﺎﻡ ﺑﺮ ﻋﻠﻴﻪ ﻳﻜﺪﻳﮕﺮ ﻗﺮﺍﺭ ﻣﻲﮔﺮﻓﺘﻨﺪ‬

‫)ﺟﻨﺴﻴﺖ ﻭ ﻗﺪﺭﺕ ﻫﻢ ﺑﻪ ﻫﻤﻴﻦ ﺗﺮﺗﻴﺐ(‪ .‬ﺍﻣﺎ ﺍﮔﺮ ﺍﻣﺮﻭﺯ ﺁﻧﻬﺎ ﺑﺎ ﻳﻜﺪﻳﮕﺮ ﺩﺭ ﺁﻣﻴﺨﺘﻪ ﻣﻲﺷﻮﻧﺪ‪ ،‬ﺁﻳﺎ‬

‫ﺍﻳﻦ ﺣﺎﻛﻲ ﺍﺯ ﻛﺎﺳﺘﻲ ﻓﺰﺍﻳﻨﺪﻩ ﺍﺻﻞ ﻭﺍﻗﻌﻴﺖ ﺁﻧﻬﺎ‪ ،‬ﺧﺼﺎﻳﺺ ﻣﻤﺘﺎﺯﺷﺎﻥ ﻭ ﺍﻧﺮﮊﻱﻫﺎﻱ ﺧﺎﺻﺸﺎﻥ‬

‫ﻧﻴﺴﺖ؟ ﺑﻨﺎﺑﺮﺍﻳﻦ ﭘﻴﻮﺳﺘﮕﻲ ﺁﻧﻬﺎ ﻧﺸﺎﻧﻪ ﺗﺤﻜﻴﻢ ﺁﻧﻬﺎ ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﻋﺪﻡ ﻓﺎﺻﻠﻪﮔﺬﺍﺭﻱ ﺍﺳﺖ ﻛﻪ ﺩﺭ‬

‫ﻧﻬﺎﻳﺖ ﺗﻨﻬﺎ ﺍﺷﺒﺎﺡﺷﺎﻥ ﺑﺎﻗﻲ ﻣﺎﻧﺪﻩ‪ ،‬ﺧﻮﺩ ﺭﺍ ﺑﺎ ﻳﻜﺪﻳﮕﺮ ﺩﺭ ﻣﻲﺁﻣﻴﺰﻧﺪ ﻭ ﻣﺎ ﺭﺍ ﺗﺮﻙ ﻣﻲﻛﻨﻨﺪ‪.‬‬

‫ﺩﺭ ﺁﺧﺮﻳﻦ ﻟﺤﻈﻪ‪ ،‬ﺩﺭ ﭘﺸﺖ ﺍﻳﻦ ﺳﻜﻮﻥ ﺁﺷﻜﺎﺭ ﺷﻨﺎﺧﺖ ﻭ ﻗﺪﺭﺕ ﻛﻪ ﻫﻤﻪ ﺟﺎ ﺭﺍ ﻓﺮﺍ‬

‫ﻣﻲﮔﻴﺮﺩ ﺗﻨﻬﺎ ﺟﺎﺑﻪﺟﺎﻳﻲ ﻗﺪﺭﺕ ﻭ ﺗﻜﺜﻴﺮ ﺳﺮﻃﺎﻧﻲ ﻳﻚ ﺳﺎﺧﺘﺎﺭ ﻭﻳﺮﺍﻥ ﻭ ﺩﺭﻫﻢ ﺭﻳﺨﺘﻪ ﺩﺭ ﻛﺎﺭ‬

‫ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﻗﺪﺭﺕ ﺍﻣﺮﻭﺯ ﻛﻠﻲ ﻭ ﻋﺎﻡ ﺍﺳﺖ ﻭ ﻣﻲﺗﻮﺍﻧﺪ ﺩﺭ ﻫﻤﻪ ﺳﻄﻮﺡ ﻧﻤﺎﻳﺎﻥ ﺷﻮﺩ‪) ،‬ﻗﺪﺭﺕ‬

‫ﻣﻮﻟﻜﻮﻟﻲ( ﺍﮔﺮ ﺳﺮﻃﺎﻧﻲ ﺷﺪﻩﺍﺳﺖ ﻭ ﺳﻠﻮﻟﻬﺎﻱ ﺁﻥ ﺑﺪﻭﻥ ﻛﻨﺘﺮﻝ‪ ،‬ﺑﺪﻭﻥ ﻣﻼﺣﻈﻪ ﺑﻪ »ﻛﺪ ﮊﻧﺘﻴﻜﻲ«‬

‫ﺳﻴﺎﺳﺘﻬﺎﻱ ﻣﻨﺎﺳﺐ ﭘﻴﺸﻴﻦ ﺗﻜﺜﻴﺮ ﻣﻲﺷﻮﺩ‪ ،‬ﺑﺪﻳﻦ ﺧﺎﻃﺮ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺩﺭﻭﻥ ﺁﺷﻔﺘﻪ ﮔﺸﺘﻪ ﻭ ﺭﻭ ﺑﻪ‬

‫ﺗﺠﺰﻳﻪ ﻣﻲﺭﻭﺩ‪ .‬ﻳﺎ ﺷﺎﻳﺪ ﺑﺎ ﺣﺎﺩ ﻭﺍﻗﻌﻴﺖ ﺁﺷﻔﺘﻪ ﮔﺸﺘﻪ ﻭ ﺩﺭ ﺑﺤﺮﺍﻥ ﺣﺎﺩِ ﻭﺍﻧﻤﺎﻳﻲ ﻓﺮﻭ ﺭﻓﺘﻪﺍﺳﺖ‪.‬‬

‫)ﺗﻜﺜﻴﺮ ﺳﺮﻃﺎﻧﻲ ﺻﺮﻑ ﻧﺸﺎﻧﻪﻫﺎﻱ ﻗﺪﺭﺕ( ﻭ ﺍﺯ ﺍﻳﻦ ﺭﻭ ﺑﻪ ﻭﺿﻌﻴﺖ ﭘﺮﺍﻛﻨﺶ ﻭ ﺍﺷﺒﺎﻉ ﻛﻠﻲ‬

‫ﺭﺳﻴﺪﻩﺍﺳﺖ‪ .‬ﻋﻤﻠﻜﺮﺩ ﺧﻮﺍﺑﮕﺮﺩﺍﻧﻪ ﺁﻥ‪.‬‬

‫‪۸۰‬‬
‫ﺍﻏﻮﺍ‬

‫ﺑﻨﺎﺑﺮﺍﻳﻦ ﻫﻤﻴﺸﻪ ﺑﺎﻳﺪ ﺑﺮ ﺭﻭﻱ ﻭﺍﻧﻤﺎﻳﻲ ﺷﺮﻁ ﺑﺴﺖ ﻭ ﻧﺸﺎﻧﻪﻫﺎ ﺭﺍ ﺍﺯ ﻋﻘﺐ ﺑﺮﮔﺮﻓﺖ‪ .‬ﻧﺸﺎﻧﻪﻫﺎ‬

‫ﺍﮔﺮ ﺑﺎ ﺍﺭﺯﺵ ﻇﺎﻫﺮﻱ‪ ،‬ﻣﻼﺣﻈﻪ ﺷﻮﻧﺪ ﻫﻤﻴﺸﻪ ﺑﻪ ﻭﺍﻗﻌﻴﺖ ﻭ ﮔﻮﺍﻩ ﻗﺪﺭﺕ ﻣﻨﺘﻬﻲ ﻣﻲﺷﻮﻧﺪ‪ .‬ﺩﺭﺳﺖ‬

‫ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺑﻪ ﻭﺍﻗﻌﻴﺖ ﻭ ﮔﻮﺍﻩ ﺟﻨﺴﻴﺖ ﻭ ﺗﻮﻟﻴﺪ ﻣﻨﺘﻬﻲ ﺷﺪﻧﺪ‪ .‬ﺍﻳﻦ ﺣﺼﻮﻝﮔﺮﺍﻳﻲ ﺍﺳﺖ ﻛﻪ‬

‫ﻧﺒﺎﻳﺪ ﺩﺭ ﺍﺭﺯﺵ ﻇﺎﻫﺮﻱ ﻓﺮﺽ ﺷﻮﺩ ﻭ ﺍﻳﻦ ﻭﺍﮊﮔﻮﻧﻲ ﻗﺪﺭﺕ ﺩﺭ ﻭﺍﻧﻤﺎﻳﻲ ﺍﺳﺖ ﻛﻪ ﺑﺎﻳﺪ ﺗﻼﺵ ﺧﻮﺩ‬

‫ﺭﺍ ﻣﻌﻄﻮﻑ ﺁﻥ ﻧﻤﻮﺩ‪ .‬ﻗﺪﺭﺕ ﻫﺮﮔﺰ ﭼﻨﻴﻦ ﻛﺎﺭﻱ ﺑﺎ ﺧﻮﺩ ﻧﺨﻮﺍﻫﺪ ﻛﺮﺩ‪ ،‬ﻭ ﻣﺘﻦ ﻓﻮﻛﻮ ﺑﻪ ﺧﺎﻃﺮ‬

‫ﻗﺼﻮﺭ ﺩﺭ ﺍﻧﺠﺎﻡ ﭼﻨﻴﻦ ﻛﺎﺭﻱ ﻭ ﺍﺯ ﺍﻳﻦ ﺭﻭ ﺑﻪ ﺧﺎﻃﺮ ﺑﺎﺯﺍﺣﻴﺎﻱ ﺗﻮﻫﻢ ﻗﺪﺭﺕ ﺑﺎﻳﺪ ﻧﻘﺪ ﺷﻮﺩ‪.‬‬

‫ﺍﻣﺮ ﻛﻠﻲ‪ ،‬ﻛﻪ ﺩﺭ ﻭﺳﻮﺳﻪ ﺑﻴﺸﻴﻨﻪ ﻛﺮﺩﻥ ﻗﺪﺭﺕ ﻭ ﺟﻨﺴﻴﺖ ﺍﺳﺖ ﺑﺎﻳﺪ ﺑﺎ ﺍﻣﺮ ﺗﻬﻲ ﺑﻪ ﭼﺎﻟﺶ‬

‫ﻛﺸﻴﺪﻩ ﺷﻮﺩ‪ .‬ﻣﺴﻠﻤﺎً ﻭﺳﻮﺳﻪ ﺍﻣﺮﻛﻠﻲ ﺑﺎ ﻗﺪﺭﺕ ﺑﻪ ﻣﺜﺎﺑﻪ ﺑﺴﻂ ﻭ ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭﻱ ﭘﻴﻮﺳﺘﻪ‪ ،‬ﺑﺎﻳﺪ ﺑﺎ‬

‫ﻣﺴﺌﻠﻪ ﻭﺍﮊﮔﻮﻧﻲ ﻓﻀﺎﻱ ﻗﺪﺭﺕ ﻭﺍﮊﮔﻮﻧﻲ ﻓﻀﺎﻱ ﺟﻨﺴﻴﺖ ﻭ ﮔﻔﺘﺎﺭﺵ ﺑﻪ ﭼﺎﻟﺶ ﻛﺸﻴﺪﻩﺷﻮﺩ‪.‬‬

‫ﻣﺴﻠﻤﺎً ﺟﺎﺫﺑﻪ ﻭ ﺍﻓﺴﻮﻥ ﺗﻮﻟﻴﺪ ﺁﻥ ﺭﺍ ﺑﺎﻳﺪ ﺑﺎ ﻣﺴﺌﻠﻪ ﺍﻏﻮﺍﮔﺮﻱ ﺑﻪ ﭼﺎﻟﺶ ﻛﺸﺎﻧﺪ‪.‬‬

‫‪۸۱‬‬
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﭘﺎﻧﻮﺷﺖ‬

‫‪ 1‬ﺩﺭ ﺍﻳﻨﺠﺎ ﺑﻮﺩﺭﻳﺎﺭ ﺳﺎﺧﺘﺎﺭ ﺷﻜﻲ ﺳﺎﺩﻩﺍﻧﮕﺎﺭﺍﻧﻪﺍﻱ ﻛﻪ ﺭﺍ ﺗﺼﻮﺭ ﻣﻲﻛﻨﺪ ﻣﻲﺗﻮﺍﻧﺪ ﺯﻧﺎﻧﮕﻲ ﺭﺍ ﺩﺭ ﺧﻮﺩ ﺳﺎﺧﺘﺎﺭ ﻓﺎﻟﻮﺱ‬
‫ﻣﺤﻮﺭ ﺑﺎ ﺑﺮﺗﺮﻱ ﺩﺍﺩﻥ ﺑﻪ ﺳﻮﻳﻪ ﺯﻥ ﺩﺭ ﻣﻘﺎﺑﻞ ﻣﺮﺩ ﻧﺠﺎﺕ ﺩﻫﺪ ﻧﻘﺪ ﻣﻲﻛﻨﺪ‪ .‬ﻡ‪.‬ﻑ‬
‫‪ hans bellmer 2 ‬ﻫﺎﻧﺲ ﺑﻠﻤﺮ‪ ،‬ﻫﻨﺮﻣﻨﺪ ﻭ ﻃﺮﺍﺡ ﺳﻮﺭﺋﺎﻟﻴﺴﺖ ﻛﻪ ﺑﻪ ﺳﺒﺐ ﻣﺠﻤﻮﻋﻪ ﻋﺮﻭﺳﻚﻫﺎﻳﺶ ﻛﻪ ﺍﺯ ﻣﻮﺍﺩ ﻭ‬
‫ﻣﺼﺎﻟﺢ ﻣﺨﺘﻠﻒ ﺳﺎﺧﺘﻪﺷﺪﻩ ﻣﻌﺮﻭﻑ ﺍﺳﺖ‪.‬‬
‫‪3 ‬‬
‫‪Gilles Deleuze ‬‬
‫‪4 ‬‬
‫‪Joan Riviere ‬‬
‫‪ :Transvestite  5‬ﻛﺴﻲ ﻛﻪ ﺍﺯ ﺟﻨﺲ ﻣﺨﺎﻟﻒ ﺗﺒﻌﻴﺖ ﻣﻲﻛﻨﺪ‪ ،‬ﺯﻥ ﺟﺎﻣﻪ ﻡ‪.‬ﻑ‬
‫‪ 6‬ﺑﺮﺍﻱ ﺗﺮﻧﺴﻮﺳﺘﻴﺴﺖ ﺯﻧﺎﻧﻪ ﺷﺪﻥ ﺍﻫﻤﻴﺘﻲ ﻧﺪﺍﺭﺩ ﺁﻧﭽﻪ ﻣﻬﻢ ﺍﺳﺖ ﺑﺎﺯﻱ ﺑﺎ ﻧﺸﺎﻧﻪﻫﺎﻱ ﺯﻧﺎﻧﮕﻲ ﺍﺳﺖ‪.‬ﻡ‪.‬ﻑ‬
‫‪Drag Queen 7 ‬ﻫﺎ ﺟﻨﺴﻴﺘﻲ ﺁﺷﻔﺘﻪ ﺍﺯ ﺧﻮﺩ ﺑﻪ ﻧﻤﺎﻳﺶ ﻣﻲﮔﺬﺍﺭﻧﺪ ﻡ‪.‬ﻑ‬

‫ﻳﺎ ‪ :Intersexual‬ﻛﺴﻲ ﻛﻪ ﺍﺯ ﻧﻈﺮ ﺑﻴﻮﻟﻮﮊﻳﻜﻲ ﺩﺍﺭﺍﻱ ﻫﺮ ﺩﻭ ﺟﻨﺴﻴﺖ ﺍﺳﺖ‪.‬ﻡ‪.‬ﻑ‬ ‫‪Hermaphrodite‬‬

‫‪8 ‬‬

‫‪9 ‬‬
‫‪Bettleheim, Symbolic Wounds ‬‬
‫‪ - × 10‬ﺳﻨﺘﻲ ﺩﺭ ﺑﺮﺧﻲ ﻓﺮﻫﻨﮕﻬﺎ ﻛﻪ ﺩﺭ ﺁﻥ ﻭﻗﺘﻲ ﺑﭽﻪﺍﻱ ﺑﻪ ﺩﻧﻴﺎ ﻣﻲﺁﻳﺪ‪ ،‬ﭘﺪﺭ ﺑﻪ ﺗﺨﺘﺶ ﻣﻲﺭﻭﺩ‪ ،‬ﻣﺜﻞ ﺍﻳﻨﻜﻪ ﺍﻭ‬
‫ﺑﭽﻪ ﺭﺍ ﺑﻪ ﺩﻧﻴﺎ ﺁﻭﺭﺩﻩﺍﺳﺖ ﻭ ﺧﻮﺩ ﺭﺍ ﺗﺴﻠﻴﻢ ﺑﺮﺧﻲ ﺗﺎﺑﻮﻫﺎ‪ ،‬ﮔﺮﻓﺘﻦ ﺭﻭﺯﻩ ﻭ ﺗﻄﻬﻴﺮ ﻣﻲﻛﻨﺪ‪.‬‬

‫‪11 ‬‬
‫‪the Empire of the senses ‬‬
‫‪ 12‬ﭘﺬﻳﺮﺵ ﻭﺟﻮﺩ ﺍﺭﮔﺎﺳﻢ ﺑﺮﺍﻱ ﺯﻧﺎﻥ ﺍﺯ ﺳﻮﻱ ﻣﺮﺩﺍﻥ ﺭﺍﻩ ﺣﻠﻲ ﺑﺮﺍﻱ ﭘﺎﻳﺎﻥ ﺑﺨﺸﻴﺪﻥ ﺑﻪ ﺑﺎﺯﻳﻬﺎﻱ ﺍﺳﺘﺮﺍﺗﮋﻳﻚ ﺍﻏﻮﺍﮔﺮﻱ‬
‫ﺍﺳﺖ‪.‬ﻡ‪.‬ﻑ‬
‫‪13 ‬‬
‫‪Laclos ‬‬
‫‪ .Giacomo Casanova.  14 ‬ﻛﺎﺯﺍﻧﻮﺍ ﻣﺸﻬﻮﺭﺗﺮﻳﻦ ﺍﻏﻮﺍ ﮔﺮ ﺗﺎﺭﻳﺦ ﺍﺳﺖ ﺑﻪ ﻧﺪﺭﺕ ﺯﻧﻲ ﺗﻮﺍﻧﺴﺖ ﺩﺭ ﺑﺮﺍﺑﺮ ﺍﻭ ﻣﻘﺎﻭﻣﺖ‬
‫ﻭﺭﺯﺩ‪ .‬ﺍﻭ ﺑﻪ ﻋﺎﺷﻘﻲ ﺍﻳﺪﻩﺁﻝ ﺗﺒﺪﻳﻞ ﺷﺪ ﺭﻭﺵ ﺍﻭ ﺑﺮﺍﻱ ﺍﻏﻮﺍ ﺳﺎﺩﻩ ﺑﻮﺩ‪ :‬ﻫﻤﻨﺸﻴﻨﻲ ﺑﺎ ﺯﻥ‪ ،‬ﺗﻌﻤﻖ ﺩﺭ ﻣﻨﺶﻫﺎﻳﺶ ﻭ‬
‫ﻣﻄﺎﺑﻖ ﺧﻮﺍﺳﺖ ﺍﻭ ﺭﻓﺘﺎﺭ ﻛﺮﺩﻥ ﻭ ﻓﺮﺍﻫﻢ ﺁﻭﺭﺩﻥ ﻫﺮ ﺁﻧﭽﻪ ﻛﻪ ﺍﻭ ﺩﺭ ﺯﻧﺪﮔﻲﺍﺵ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻩﺍﺳﺖ‪ .‬ﻡ‪.‬ﻑ‬
‫‪ Marquis De Sade (1740 ­ 1814) 15 ‬ﻣﺎﺭﻛﻲ ﺩﻭ ﺳﺎﺩ ﻧﻮﻳﺴﻨﺪﻩ ﺍﺷﺮﺍﻓﻲ ﻓﺮﺍﻧﺴﻮﻱ ﻣﻮﻟﻒ ﺁﺛﺎﺭ ﻫﺮﺯﻩﻧﮕﺎﺭﺍﻧﻪ‪.‬ﻡ‪.‬ﻑ‬

‫‪ Salo 16 ‬ﻓﻴﻠﻤﻲ ﺍﺯ ﭘﻴﺮ ﭘﺎﺋﻮﻟﻮ ﭘﺎﺯﻭﻟﻴﻨﻲ ﺑﺮ ﺍﺳﺎﺱ ﺍﻗﺘﺒﺎﺳﻲ ﺁﺯﺍﺩ ﺍﺯ ﺩﺍﺳﺘﺎﻥ ﻣﺎﺭﻛﻲ ﺩﻭ ﺳﺎﺩ ﺷﺎﻳﺪ ﺑﺮﺁﺷﻮﺑﻨﺪﻩﺗﺮﻳﻦ ﻭ‬
‫ﺣﺘﻲ ﻣﻨﺰﺟﺮﻛﻨﻨﺪﻩﺗﺮﻳﻦ ﻓﻴﻠﻤﻲ ﺑﺎﺷﺪ ﻛﻪ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﺳﺎﺧﺘﻪ ﺷﺪﻩﺍﺳﺖ‪ .‬ﻫﻤﭽﻨﻴﻦ ﺍﻳﻦ ﻓﻴﻠﻢ ﻧﻘﺪﻱ ﺍﺳﺖ ﺑﺮ ﻓﺎﺷﻴﺴﻢ‬
‫ﻭ ﺍﻳﺪﻩﺁﻟﻴﺴﻢ‪ .‬ﻡ‪.‬ﻑ‬

‫‪17 ‬‬
‫‪Frani;ois Roustang, Dire Mastery ‬‬
‫‪18 ‬‬
‫‪Judith Belladonna Barbara Penton‬‬

‫‪۸۲‬‬
‫ﺍﻏﻮﺍ‬

‫‪ 19‬ﺩﺭ ﻭﺍﻗﻊ ﺗﻬﻴﻴﺞ ﺟﻨﺴﻲ ﺩﺭ ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ ﻫﻴﭻ ﺍﺭﺗﺒﺎﻁ ﻣﺴﺘﻘﻴﻤﻲ ﺑﺎ ﻣﻘﺪﺍﺭ ﺑﺮﻫﻨﮕﻲ ﻧﺪﺍﺭﺩ ﺑﻨﺎﺑﺮﺍﻳﻦ ﺑﺪﻥ ﺯﻧﺎﻧﻪ ﺩﺭ‬
‫ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ ﻣﻨﺒﻌﻲ ﻧﺎﻣﻌﻴﻦ ﺑﺮﺍﻱ ﻟﺬﺕ ﺍﺳﺖ )ﻡ(‬

‫‪ 20‬ﺗﻜﻨﻴﻜﻲ ﺩﺭ ﻧﻘﺎﺷﻲ ﻛﻪ ﺩﺭ ﺁﻥ ﺍﺷﻜﺎﻝ ﻭ ﺗﺼﺎﻭﻳﺮ ﺑﻪ ﮔﻮﻧﻪﺍﻱ ﺗﺮﺳﻴﻢ ﻣﻲﺷﻮﻧﺪ ﻛﻪ ﺷﻜﻠﻲ ﺳﻪ ﺑﻌﺪﻱ ﻭ ﺑﺮﺟﺴﺘﻪ‬
‫ﭘﻴﺪﺍ ﻧﻤﺎﻳﻨﺪ‪ .‬ﺑﺮﺍﻳﺎﻥ ﺳﻴﻨﮕﺮ‪ ,‬ﻣﺘﺮﺟﻢ ﺍﻧﮕﻠﻴﺴﻲ‪ ،‬ﺍﻳﻦ ﻭﺍﮊﻩ ﺭﺍ ﺗﺮﺟﻤﻪ ﻧﻜﺮﺩﻩ ﻣﻦ ﻧﻴﺰ ﻭﺍﮊﻩ ﻓﺮﺍﻧﺴﻮﻱ ﺭﺍ ﻋﻴﻨﺎً ﺩﺭ ﻣﺘﻦ ﺑﻪ‬
‫ﻛﺎﺭ ﺑﺮﺩﻩﺍﻡ‪ Trompe l'oeil . ‬ﺑﺮﺍﻱ ﺑﻮﺩﺭﻳﺎﺭ ﻣﻨﻄﻖ ﻭ ﺩﻳﺪﮔﺎﻫﻲ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺑﺮﺍﺑﺮ ﺩﻳﺪﮔﺎﻩ ﮊﺭﻓﺎ ﻧﮕﺮﺍﻧﻪ ﻭ ﭼﺸﻢﺍﻧﺪﺍﺯﻱ‬
‫ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﺩ‪ .‬ﺩﻣﻮﻛﺮﻳﺘﻮﺱ ﻣﻲﮔﻮﻳﺪ "ﺣﻘﻴﻘﺖ ﺩﺭ ﮊﺭﻓﺎ ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪ ".‬ﺑﻮﺩﺭﻳﺎﺭ ﺑﻪ ﭘﻴﺮﻭﻱ ﺍﺯ ﻧﻴﭽﻪ ﺩﺭ ﺑﺮﺍﺑﺮ ﺍﻳﻦ ﺩﻳﺪﮔﺎﻩ‬
‫ﮊﺭﻓﺎ ﻧﮕﺮﺍﻧﻪ ﻣﺘﺎﻓﻴﺰﻳﻜﻲ ﻣﻲﺍﻳﺴﺘﺪ‪ .‬ﺑﻪ ﺯﻋﻢ ﺑﻮﺩﺭﻳﺎﺭ ﺳﻄﺢ "ﻧﻤﻮﺩ" ﻭﺟﻮﺩ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﻫﻴﭻ ﺍﻣﺮ ﻣﻜﺘﻮﻡ‪ ،‬ﮊﺭﻓﻤﻨﺪ ﻭ‬
‫ﻣﻄﻠﻘﻲ ﻧﻤﻲﮔﻴﺮﺩ ﺑﻠﻜﻪ ﻭﺟﻮﺩﺵ ﺭﺍ ﻣﺪﻳﻮﻥ ﺑﺎﺯﻱ ﻧﺸﺎﻧﻪﻫﺎ ﺩﺭ ﺳﻄﺢ ﺍﺳﺖ‪.‬‬
‫‪ 21‬ﻣﻨﻈﻮﺭ ﺧﻴﺎﻝ ﺑﺎﻓﻲﻫﺎﻱ ﺟﻨﺴﻲ ﺍﺳﺖ ﺑﺎ ﻭﺟﻮﺩ ﺗﺼﺎﻭﻳﺮ ﭘﻮﺭﻧﻮ ﻛﻪ ﻫﻤﻪ ﺟﺎ ﻫﺴﺘﻨﺪ ﻓﺮﺻﺘﻲ ﺑﺮﺍﻱ ﺗﺨﻴﻞ ﻧﺨﻮﺍﻫﺪ‬
‫ﺑﻮﺩ‪ .‬ﻡ‪.‬ﻑ‬
‫‪ :quadrophonics‬ﺳﻴﺴﺘﻢ ﭼﻬﺎﺭ ﻛﺎﻧﺎﻟﻪ ﭘﺨﺶ ﻣﻮﺳﻴﻘﻲ ﻛﻪ ﺩﺭ ﺁﻥ ﻫﺮ ‪ speaker‬ﺩﺭ ﻳﻚ ﮔﻮﺷﻪ ﺳﺎﻟﻦ ﻣﺴﺘﻘﻞ‬ ‫‪22 ‬‬

‫ﺍﺯ ﻳﻜﺪﻳﮕﺮ ﻗﺮﺍﺭﺩﺍﺩﻩﻣﻲﺷﻮﺩ‪.‬‬

‫ﺷﻜﻞ ﺍﺳﺘﺜﻨﺎﻳﻲ ﻭ ﺩﺭﺷﺘﺨﻮﻳﺎﻧﻪ ﭘﺎﻧﻚ ﺭﺍﻙ‬ ‫‪hard core.‬‬

‫‪23‬‬

‫‪24 ‬‬
‫‪blue Porn ‬‬
‫‪ 25‬ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ ﭘﺎﻳﺎﻥ ﺭﺍﻩﺧﻄﻲ ﻧﻈﺎﻡ ﻣﺮﺩﺍﻧﻪ ‪ -‬ﻣﻌﻨﺎ ﺍﺳﺖ‪ .‬ﭘﺎﻳﺎﻥ ﺟﻨﺴﻴﺖ ﺩﺭ ﻭﺿﻮﺡ ﻧﻤﺎﻳﺶ ﺟﻨﺴﻲ ﺍﻳﻦ ﭘﺎﻳﺎﻥ ﻓﻘﻂ‬
‫ﺑﺪﺍﻥ ﺳﺒﺐ ﺍﺳﺖ ﻛﻪ ﮔﻤﺎﻥ ﻣﻲﺭﻭﺩ ﺟﻨﺴﻴﺖ ﻣﻌﻨﺎﻳﺶ ﺭﺍ ﻣﺪﻳﻮﻥ ﻭﺍﻗﻊﻧﻤﺎﻳﻲ ﻭ ﭘﻴﺸﺮﻭﻱ ﺧﻄﻲ ﺩﺭ" ﺍﺻﻞ ﻭﺿﻮﺡ‬
‫ﺑﻴﺸﺘﺮ ﻭﺍﻗﻌﻴﺖ ﺑﻴﺸﺘﺮ" ﺍﺳﺖ ﺍﺻﻠﻲ ﻛﻪ ﺑﻮﺩﺭﻳﺎﺭ ﺁﻥ ﺭﺍ ﺭﺩ ﻣﻲﻛﻨﺪ‪ .‬ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ ﻧﺸﺎﻧﻪﻫﺎ ﺭﺍ ﺑﺮﮔﺸﺖ ﻧﻤﻲﺩﻫﺪ ﺑﻠﻜﻪ‬
‫ﺁﻧﻬﺎ ﺭﺍ ﺻﺮﻓﺎً ﺍﻧﺒﺎﺷﺖ ﻣﻲﻛﻨﺪ ﺍﻳﻦ ﺍﻧﺒﺎﺷﺖ ﺧﻄﻲ ﻣﻨﺠﺮ ﺑﻪ ﻣﺮﮒ ﺟﻨﺴﻴﺖ ﻣﻲﺷﻮﺩ‪ .‬ﻡ‪ .‬ﻑ‬
‫‪ 26‬ﺩﺭ ﺯﺑﺎﻥ ﻓﺮﺍﻧﺴﻮﻱ ﻭﺍﮊﻩ ‪ duel‬ﻫﻢ ‪ duel‬ﻭ ﻫﻢ ‪ dual‬ﻣﻌﻨﺎ ﻣﻲﺩﻫﺪ‪ .‬ﺑﻮﺩﺭﻳﺎﺭ ﺑﺎ ﺍﻳﻦ ﻣﻌﻨﺎﻱ ﺩﻭﮔﺎﻧﻪ ﻭﺍﮊﻩﺑﺎﺯﻱ ﻣﻲﻛﻨﺪ‬
‫ﻛﻪ ﻫﻢ ﺭﻭﺍﺑﻂ ﺩﻭﮔﺎﻧﻪ ﻣﻌﻨﺎ ﻣﻲﺩﻫﺪ ﻭ ﻫﻢ ﻣﺒﺎﺭﺯﻩﺍﻱ ﺗﻦ ﺑﻪ ﺗﻦ‪ .‬ﻣﻦ ﺩﺭ ﺍﻳﻦ ﻛﺘﺎﺏ ﻭﺍﮊﻩ ﺭﺍ ﺣﺘﻲ ﺑﻪ ﺻﻮﺭﺕ ﺻﻔﺖ‪ ،‬ﺑﻪ‬
‫‪ duel‬ﺑﺮﮔﺮﺩﺍﻧﺪﻩﺍﻡ‪ .‬ﻡ‪ .‬ﺍﻧﮕﻠﻴﺴﻲ‪.‬‬
‫‪27 ‬‬
‫‪Philip Dick‬‬

‫‪۸۳ ‬‬
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﻓﺼﻞ ﺩﻭﻡ‬
‫ﮊﺭﻓﺎﻫﺎﻱ ﺳﻄﺤﻲ‬

‫‪۸٤‬‬
‫ﺍﻏﻮﺍ‬

‫ﺍﻓﻖ ﻣﻘﺪﺱ ﻧﻤﻮﺩﻫﺎ‬

‫ﺍﻏﻮﺍ ﻣﻌﻨﺎﻱ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺳﺨﻦ ﻣﻲﮔﻴﺮﺩ ﻭ ﺁﻧﺮﺍ ﺍﺯ ﺣﻘﻴﻘﺖﺍﺵ ﻣﻨﺤﺮﻑ ﻣﻲﻛﻨﺪ ﺑﺪﻳﻦﺗﺮﺗﻴﺐ‪،‬‬

‫ﺍﻳﻦ ﺍﻧﺤﺮﺍﻑ ﺑﺎ ﺗﻤﺎﻳﺰﮔﺬﺍﺭﻱ ﺭﻭﺍﻧﻜﺎﻭﺍﻧﻪ ﻣﻴﺎﻥ ﺳﺨﻦ ﺁﺷﻜﺎﺭ ﻭ ﭘﻨﻬﺎﻥ ﺩﺭ ﺗﻀﺎﺩ ﺍﺳﺖ‪ .‬ﭼﺮﺍ ﻛﻪ‬

‫ﺳﺨﻦ ﭘﻨﻬﺎﻥ‪ ،‬ﺳﺨﻦ ﺁﺷﻜﺎﺭ ﺭﺍ ﻧﻪ ﺍﺯ ﺣﻘﻴﻘﺖﺍﺵ ﺑﻠﻜﻪ ﺑﻪ ﺳﻮﻱ ﺣﻘﻴﻘﺖﺍﺵ ﻣﻨﺤﺮﻑ ﻣﻲﻛﻨﺪ‪.‬‬

‫ﺍﻳﻦ ﺍﻣﺮ ﺳﺨﻦ ﺁﺷﻜﺎﺭ ﺭﺍ ﻭﺍ ﻣﻲﺩﺍﺭﺩ ﺗﺎ ﺁﻧﭽﻪ ﺭﺍ ﻧﻤﻲﺧﻮﺍﻫﺪ ﺑﮕﻮﻳﺪ‪ ،‬ﺑﮕﻮﻳﺪ؛ ﻭ ﻣﻮﺟﺐ ﻣﻲﺷﻮﺩ ﻛﻪ‬

‫ﺣﺘﻤﻴﺖﻫﺎ ﻭ ﻋﺪﻡ ﺣﺘﻤﻴﺖﻫﺎﻱ ﻋﻤﻴﻖ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻃﻲ ﺳﺨﻦ ﺁﺷﻜﺎﺭ ﺑﻪ ﻧﻤﺎﻳﺶ ﺑﮕﺬﺍﺭﻧﺪ‪ .‬ﻋﻤﻖ‬

‫ﺍﺯ ﭘﺸﺖ ﺭﺧﻨﻪ ﻭ ﻣﻌﻨﺎ ﺍﺯ ﭘﺸﺖ ﺳﻄﺮ ﺩﺍﺋﻤﺎً ]ﻣﺎ ﺭﺍ[ ﺩﻳﺪ ﻣﻲﺯﻧﻨﺪ‪ .‬ﺳﺨﻦ ﺁﺷﻜﺎﺭ ﻭﺿﻌﻴﺖ ﻳﻚ‬

‫ﻧﻤﻮﺩ ﺭﺍ ﺩﺍﺭﺩ‪ ،‬ﻧﻤﻮﺩﻱ ﺧﺴﺘﻪ ﻭ ﻧﻤﻮﺩﻱ ﻛﻪ ﺩﺭ ﺟﺮﻳﺎﻥ ﻇﻬﻮﺭ ﻣﻌﻨﺎ ﻃﻲ ﺷﺪﻩﺍﺳﺖ‪ .‬ﺗﺄﻭﻳﻞ ﺁﻥ‬

‫ﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﻧﻤﻮﺩ ﻭ ﻧﻤﺎﻳﺶ ﺳﺨﻦ ﺁﺷﻜﺎﺭ ﺭﺍ ﺍﺯ ﻫﻢ ﻣﻲﮔﺴﻠﺪ ﻭ ﺑﺎ ﻫﻤﺮﺍﻩ ﺷﺪﻥ ﺑﺎ ﺳﺨﻦ‬

‫ﭘﻨﻬﺎﻥ‪ ،‬ﻣﻌﻨﺎﻱ ﺣﻘﻴﻘﻲ ﺭﺍ ﻣﻲﺭﺳﺎﻧﺪ‪.‬‬

‫ﺩﺭ ﺍﻏﻮﺍ‪ ،‬ﺑﺮﻋﻜﺲ ﺍﻳﻦ ﺳﺨﻦ‪ ،‬ﺁﺷﻜﺎﺭ ﺍﺳﺖ‪ -‬ﺳﺨﻦ ﺩﺭ ﺳﻄﺤﻲﺗﺮﻳﻦ ﺣﺎﻟﺖﺍﺵ‪ -‬ﻛﻪ ﺑﻪ‬

‫ﻧﻈﻤﻲ ﻋﻤﻴﻖﺗﺮ )ﭼﻪ ﺧﻮﺩﺁﮔﺎﻩ ﻭ ﭼﻪ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ( ﺑﺎﺯﻣﻲﮔﺮﺩﺩ ﺗﺎ ﺍﻳﻦ ﻧﻈﻢ ﺭﺍ ﺑﺎ ﺟﺎﻳﮕﺰﻳﻦﻛﺮﺩﻥ ِ‬

‫‪۸٥‬‬
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺟﺬﺑﻪ ﻭ ﻭﻫﻢ ﻧﻤﻮﺩﻫﺎ ﺑﻲﺍﻋﺘﺒﺎﺭ ﻛﻨﺪ‪ .‬ﺍﻳﻦ ﻧﻤﻮﺩﻫﺎ ﺣﺘﻲ ﺍﻧﺪﻛﻲ ﻫﻢ ﺑﻴﻬﻮﺩﻩ ﻧﻴﺴﺘﻨﺪ‪ .‬ﺑﻠﻜﻪ ﺍﺳﺎﺳﺎً‬

‫ﺍﺟﺰﺍﻱ ﻳﻚ ﺑﺎﺯﻱﺍﻧﺪ‪ ،‬ﺑﺎﺯﻳﻲ ﻛﻪ ﺑﻪ ﻫﻤﺮﺍﻩ ﺟﻮﺍﻳﺰﺵ ﺍﺷﺘﻴﺎﻗﻲ ﺑﻪ ﺍﻧﺤﺮﺍﻑﺍﻧﺪ‪ -‬ﺍﻏﻮﺍﻱ ﺧﻮﺩ ﻧﺸﺎﻧﻪﻫﺎ‬

‫ﺍﺯ ﻇﻬﻮﺭ ﻫﺮ ﺣﻘﻴﻘﺘﻲ ﻣﻬﻢﺗﺮ ﺍﺳﺖ‪ -‬ﺍﺷﺘﻴﺎﻗﻲ ﻛﻪ ﺗﺄﻭﻳﻞ ﺁﻧﺮﺍ ﺩﺭ ﻃﻲ ﺟﺴﺘﺠﻮﻳﺶ‪ ،‬ﺟﺴﺘﺠﻮﻳﻲ‬

‫ﺑﺮﺍﻱ ﻳﺎﻓﺘﻦ ﻣﻌﺎﻧﻲ ﭘﻨﻬﺎﻥ‪ ،‬ﻧﺎﺩﻳﺪﻩ ﻣﻲﺍﻧﮕﺎﺭﺩ ﻭ ﻧﺎﺑﻮﺩ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻳﻨﮕﻮﻧﻪ ﺍﺳﺖ ﻛﻪ ﺗﺄﻭﻳﻞ ﻫﻤﺎﻥ‬

‫ﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺗﻤﺎﻡ ﻣﻌﻨﺎ ﺑﺮ ﺿﺪ ﺍﻏﻮﺍﺳﺖ ﻭ ﻛﻤﺘﺮﻳﻦ ﺍﻏﻮﺍ ﺭﺍ ﺩﺭ ﻣﻴﺎﻥ ِ ﺩﻳﮕﺮ ﺳﺨﻦﻫﺎ ﺩﺍﺭﺩ‪.‬‬

‫ﺍﻳﻦ ﺟﺴﺘﺠﻮﻱ ﺍﻭﻟﻮﻳﺖﻳﺎﻓﺘﻪ ﻣﻌﺎﻧﻲ ﭘﻨﻬﺎﻥ ﺩﺭ ﺟﺮﻳﺎﻥ ﺗﺄﻭﻳﻞ‪ ،‬ﻧﻪ ﺗﻨﻬﺎ ﻧﻤﻮﺩﻫﺎ ﺭﺍ ﺩﺭ ﻣﻌﺮﺽ ِ‬

‫ﺁﺳﻴﺐ ﺑﻲﺍﻧﺪﺍﺯﻩﺍﻱ ﻗﺮﺍﺭ ﻣﻲﺩﻫﺪ‪ ،‬ﺑﻠﻜﻪ ﻣﻤﻜﻦ ﺍﺳﺖ ﻋﻤﻴﻘﺎً ﺩﺭ ﺍﺷﺘﺒﺎﻩ ﺑﺎﺷﺪ‪ .‬ﺯﻳﺮﺍ ﺩﺭ ﺟﺎﻳﻲ ﺩﻳﮕﺮ‪،‬‬

‫ﺗﻨﻬﺎ ﺩﺭ ﻳﻚ ‪ hinterwelt‬ﻳﺎ ﻳﻚ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﻣﻲﺗﻮﺍﻥ ﺁﻧﭽﻪ ﺭﺍ ﻛﻪ ﺳﺨﻦ ﺭﺍ ﺑﻪ ﺑﻴﺮﺍﻫﻪ ﻣﻲﻛﺸﺎﻧﺪ‪،‬‬

‫ﻳﺎﻓﺖ‪ .‬ﺁﻥﭼﻴﺰﻱ ﻛﻪ ﺳﺨﻦ ﺭﺍ ﺍﺯ ﺟﺎﻳﮕﺎﻩ ﺧﻮﺩ ﺧﺎﺭﺝ ﻣﻲﻛﻨﺪ ﻭ ﺁﻥ ﺭﺍ ﺑﻪ ﻣﻌﻨﺎﻱ ﻭﺍﻗﻌﻲ »ﺍﻏﻮﺍ‬

‫ﻣﻲﻛﻨﺪ« ﻭ ﻫﻤﭽﻨﻴﻦ ﺩﺭ ﺍﻳﻦ ﺣﻴﻦ ﺁﻥ ﺭﺍ ﺑﻪ ﻣﺜﺎﺑﻪﻱ ﺍﻏﻮﺍﮔﺮ ﺍﺭﺍﺋﻪ ﻣﻲﺩﻫﺪ‪ ،‬ﻫﻤﺎﻥ ﻧﻤﻮﺩﻱ‬

‫ﻭﺍﻗﻌﻲﺍﺵ ﺍﺳﺖ‪ ،‬ﻫﻤﺎﻥ ﻣﺸﺘﻘﺎﺗﺶ‪ ،‬ﺗﻔﺎﻭﺗﻬﺎﻱ ﺟﺰﺋﻲﺍﺵ ﻭ ﻫﻤﺎﻥ ﮔﺮﺩﺵ ﻧﺸﺎﻧﻪﻫﺎﺳﺖ ﺑﺮ ﺳﻄﺢ‬

‫ﺁﻥ‪) .‬ﭼﻪ ﮔﺮﺩﺷﻲ ﺗﺼﺎﺩﻓﻲ ﻭ ﻓﺎﻗﺪ ﻣﻌﻨﺎ ﻭ ﭼﻪ ﮔﺮﺩﺷﻲ ﺁﻳﻴﻨﻲﺷﺪﻩ ﻭ ﻣﻮﺷﻜﺎﻓﺎﻧﻪ( ﺍﻳﻦ ﺁﻥ ﭼﻴﺰﻱ‬

‫ﺍﺳﺖ ﻛﻪ ﻣﻌﻨﺎ ﺭﺍ ﻣﺤﻮ ﻣﻲﻛﻨﺪ ﻭ ﻫﻤﺎﻥ ﻛﻪ ﺍﻏﻮﺍﮔﺮ ﻧﻴﺰ ﺍﺳﺖ‪ ،‬ﺩﺭﺣﺎﻟﻴﻜﻪ ﻣﻌﻨﺎﻱ ِ ﻳﻚ ﺳﺨﻦ‬

‫ﻫﻴﭽﮕﺎﻩ ﻛﺴﻲ ﺭﺍ ﺍﻏﻮﺍ ﻧﻜﺮﺩﻩ ﺍﺳﺖ‪ .‬ﻫﺮ ﺳﺨﻦ ﺑﺎ ﻣﻌﻨﺎﻳﻲ ﺩﺭ ﭘﻲ ﭘﺎﻳﺎﻥ ﺩﺍﺩﻥ ﺑﻪ ﻧﻤﻮﺩﻫﺎﺳﺖ‪ :‬ﺍﻳﻦ‬

‫ﻫﻤﺎﻥ ﺟﺬﺑﻪ ﻭ ﺷﻴﺎﺩﻱ ِ ﺳﺨﻦ ﺍﺳﺖ‪ .‬ﻭ ﻫﻤﭽﻨﻴﻦ‪ ،‬ﺁﻥ ﺳﺨﻦ ﺗﻌﻬﺪﻱ ﻧﺎﻣﻤﻜﻦ ﻧﻴﺰ ﻫﺴﺖ‪ .‬ﺳﺨﻦ‬

‫ﺑﻪ ﮔﻮﻧﻪﺍﻱ ﺍﺟﺘﻨﺎﺏﻧﺎﭘﺬﻳﺮ‪ ،‬ﺩﺭ ﻧﻤﻮﺩﻫﺎﻳﺶ ﻭ ﻧﻴﺰ ﺩﺭ ﭘﺎﺩﺍﺷﻲ ﻛﻪ ﻣﺎ ﺑﻪ ﺍﺯﺍﻱ ﺍﻏﻮﺍﮔﺮﻱﺍﺵ ﺩﺭﻳﺎﻓﺖ‬

‫ﻛﺮﺩﻩﺍﺳﺖ‪ ،‬ﻭﺍﻣﻲﻣﺎﻧﺪ‪ .‬ﻭ ﺍﺯ ﺍﻳﻨﺮﻭ ﺩﺭ ﻧﺎﻛﺎﻣﻲ ﺧﻮﻳﺶ ﺩﺭ ﻣﻘﺎﻡ ﺳﺨﻦ‪ .‬ﺍﻣﺎ ﺍﺣﺘﻤﺎﻻً ﺳﺨﻦ ﺗﻮﺳﻂ‬

‫ﺍﻳﻦ ﻧﺎﻛﺎﻣﻲ ﻭﺳﻮﺳﻪ ﻣﻲﺷﻮﺩ‪ ،‬ﻭﺳﻮﺳﻪﺍﻱ ﻣﺘﺄﺛﺮ ﺍﺯ ﻫﻢﻣﺮﺗﺒﻪﻛﺮﺩﻥ ﻏﺎﻳﺎﺕ ﺧﻮﺩ ﻭ ﻫﻢﻣﺮﺗﺒﻪﻛﺮﺩﻥ‬

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‫ﺟﻠﻮﻩﻫﺎﻳﻲ ﺍﺯ ﺣﻘﻴﻘﺖﺍﺵ ﻛﻪ ﺩﺭ ﺳﻄﺤﻲ ﻛﻪ ﻣﻌﻨﺎ ﺭﺍ ﺩﺭ ﺧﻮﺩ ﻓﺮﻭﻣﻲﺑﺮﺩ‪ ،‬ﺟﺬﺏ ﻣﻲﺷﻮﻧﺪ‪ ،‬ﻭ ﺍﻳﻦ‬

‫ﻭﺳﻮﺳﻪ ﻫﻤﺎﻥ ﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺁﻏﺎﺯ ﻫﻨﮕﺎﻣﻲ ﻛﻪ ﺳﺨﻦ ﺧﻮﻳﺶ ﺭﺍ ﺍﻏﻮﺍ ﻣﻲﻛﻨﺪ ﺭﻭﻱ‬

‫ﻣﻲﺩﻫﺪ؛ ﻫﻤﺎﻥ ﺷﻜﻞ ﺍﺻﻠﻲﺍﻱ ﻛﻪ ﺳﺨﻦ ﺑﺎ ﺁﻥ ﺩﺭ ﺧﻮﺩﺵ ﺟﺬﺏ ﻣﻲﺷﻮﺩ ﻭ ﻫﻤﭽﻨﻴﻦ ﺑﺮﺍﻱ‬

‫ﻫﺮﭼﻪ ﺑﻬﺘﺮ ﻣﺴﺤﻮﺭ ﻛﺮﺩﻥ ِ ﺩﻳﮕﺮﺍﻥ ﺍﺯ ﺣﻘﻴﻘﺖﺍﺵ ﺗﻬﻲ ﻣﻲﺷﻮﺩ‪ :‬ﺍﻏﻮﺍﻱ ﺁﻏﺎﺯﻳﻦ ﺯﺑﺎﻥ‪.‬‬

‫ﻫﺮ ﺳﺨﻨﻲ ﺩﺭ ﺍﻳﻦ ﻭﺟﺪ ﻭ ﺩﺭ ﺍﻳﻦ ﺍﻧﺤﺮﺍﻑ ﺷﺮﻳﻚ ﺍﺳﺖ ﻭ ﺍﮔﺮ ﺧﻮﺩ‪ ،‬ﺁﻥ ﺭﺍ ﺑﻪ ﺍﺗﻤﺎﻡ ﻧﺮﺳﺎﻧﺪ‪،‬‬

‫ﺩﻳﮕﺮﺍﻥ ﭼﻨﻴﻦ ﺧﻮﺍﻫﻨﺪ ﻛﺮﺩ‪ :‬ﺑﺎﺯ ﮔﺮﺩﺍﻧﺪﻥ ﺁﻥ ﺑﻪ ﺟﺎﻱ ﺧﻮﺩ‪ .‬ﺗﻤﺎﻣﻲ ﻧﻤﻮﺩﻫﺎ ﺗﻮﻃﺌﻪ ﻣﻲﻛﻨﻨﺪ ﺗﺎ‬

‫ﻣﺒﺎﺭﺯﻩ ﻛﻨﻨﺪ ﻭ ﺑﻪ ﺍﻳﻦ ﻭﺍﺳﻄﻪ ﻣﻌﻨﺎ ﺭﺍ )ﭼﻪ ﻋﺎﻣﺪﺍﻧﻪ ﻭ ﭼﻪ ﺑﻪ ﻧﺤﻮﻱ ﺩﻳﮕﺮ( ﺍﺯ ﺑﻦ ﺑﻴﺎﻓﻜﻨﺪ ﻭ ﺁﻥ ﺭﺍ‬

‫ﺑﻪ ﻳﻚ ﺑﺎﺯﻱ ]ﻳﺎ ﺣﺪﺍﻗﻞ[ ﺑﻪ ﻗﺎﻧﻮﻥِ ﺩﻳﮕﺮﻱ ﺍﺯ ﺑﺎﺯﻱ‪ ،‬ﺍﻟﺒﺘﻪ ﻗﺎﻧﻮﻧﻲ ﻧﺎﻋﺎﺩﻻﻧﻪﺗﺮ‪ ،‬ﺑﺪﻝ ﻛﻨﻨﺪ‪ .‬ﻭ ﻳﺎ‬

‫ﺍﻳﻨﻜﻪ ﺁﻧﺮﺍ ﺑﻪ ﻳﻚ ﻣﺮﺍﺳﻢ ﭘﻴﭽﻴﺪﻩﻱ ﺩﻳﮕﺮ ﻛﻪ ﻣﺮﺍﺳﻤﻲ ﺍﺳﺖ ﭘﺮﻣﺨﺎﻃﺮﻩﺗﺮ ﻭ ﺍﻏﻮﺍﮔﺮﺗﺮ ﺍﺯ ﺳﻴﺮ‬

‫ﺧﻄﻲ ِ ﺩﺳﺘﻮﺭﻱ ﻣﻌﻨﺎ‪ ،‬ﻣﺒﺪﻝ ﺳﺎﺯﻧﺪ‪ .‬ﺁﻧﭽﻪ ﺳﺨﻦ ﺑﺎﻳﺪ ﺭﻭﺩﺭﺭﻭﻱ ﺁﻥ ﺑﻪ ﻣﺒﺎﺭﺯﻩ ﺑﺮﺧﻴﺰﺩ‪ ،‬ﻣﺜﻞ‬

‫ﮊﺭﻓﺎﻱ ﺳﻄﺤﻲ ﻧﻤﻮﺩ ﺧﻮﺩﺵ‪ ،‬ﺁﻧﻘﺪﺭﻫﺎ ﻫﻢ ﺭﺍﺯﻱ ﺍﺯ ﺟﺎﻧﺐ ﻧﺎﺧﻮﺩ ﺁﮔﺎﻩ ﻧﻴﺴﺖ ﻭ ﺍﮔﺮ ﻛﻪ ﻣﻌﻨﺎ ﺑﺎﻳﺪ‬

‫ﺑﺮ ﭼﻴﺰﻱ ﭼﻴﺮﻩ ﺷﻮﺩ‪ ،‬ﺁﻥ ﭼﻴﺰ‪ ،‬ﻫﺮﮔﺰ ﻓﺎﻧﺘﺰﻱﻫﺎ ﻭ ﺗﻮﻫﻢﻫﺎﻱ ﺍﻧﺒﺎﺷﺘﻪ ﺍﺯ ﻣﻌﻨﺎ ﻭ ﻳﺎ ﺳﻮءﺗﺄﻭﻳﻞ‬

‫ﻧﻴﺴﺖ‪ ،‬ﺑﻠﻜﻪ ﺳﻄﺢ ﺩﺭﺧﺸﺎﻥ ِﮔﺴﺘﺮﻩﺍﻱ ﺍﺯ ﺑﻲﻣﻨﻄﻘﻲ ﻭ ﺗﻤﺎﻣﻲ ﺑﺎﺯﻱﻫﺎﻳﻲﺳﺖ ﻛﻪ ﺍﻣﺮ ﺛﺎﻧﻮﻱ‬

‫ﻣﻤﻜﻦ ﻣﻲﺳﺎﺯﺩ‪.‬‬

‫ﺗﻨﻬﺎ ﻛﻤﻲ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺑﺎ ﺍﺯ ﻣﻴﺎﻥ ﺭﻓﺘﻦ ﺍﻳﻦ ﻗﻤﺎﺭ ﺍﻏﻮﺍ )ﻛﻪ ﺍﻓﻖ ﻣﻘﺪﺱ ﻧﻤﻮﺩﻫﺎ ﺭﺍ‬

‫ﺑﻪ ﻣﺜﺎﺑﻪﻱ ﺩﺍﻳﺮﻩﻱ ﻣﺮﺍﻗﺒﺖﺍﺵ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺩﺍﺭﺩ( ﺍﻳﻦ ﺗﻮﺍﻧﺎﻳﻲ ﺑﺪﺳﺖﺁﻣﺪ ﺗﺎ ﻗﻤﺎﺭﻱ »ﺩﺭﻋﻤﻖ«‪،‬‬

‫ﻗﻤﺎﺭﻱ ﺩﺭ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﻭ ﻳﺎ ﺩﺭ ﺗﺄﻭﻳﻞ‪ ،‬ﺟﺎﻳﮕﺰﻳﻦ ﺁﻥ ﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﺟﺎﻳﮕﺰﻳﻨﻲ‪ ،‬ﺁﺳﻴﺐﭘﺬﻳﺮ ﻭ‬

‫ﺯﻭﺩﮔﺬﺭ ﺍﺳﺖ‪ .‬ﻣﺸﺨﺺ ﻧﻴﺴﺖ ﺁﻳﺎ ﻣﻲﺗﻮﺍﻥ ﻣﺮﻛﺰ ﺍﺭﺟﺤﻴﺖ ﻳﺎﻓﺘﻪ ﺗﻤﺎﻣﻲ ﺗﻮﺟﻬﺎﺕ ﺑﻪ ﺳﺨﻦ‬
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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﭘﻨﻬﺎﻥ ﺭﺍ ﺩﺭ ]ﻳﻚ ﺑﺮﻫﻪ ﺍﺯ[ ﺭﻭﺍﻧﻜﺎﻭﻱ ﻳﺎﻓﺖ‪ .‬ﻭ ﻳﺎ ﺑﻪ ﻫﻤﻴﻦﺗﺮﺗﻴﺐ ﺁﻥ ﻣﻜﺎﻧﻴﺴﻤﻲ ﻛﻪ ﺑﻪ ﻭﺍﺳﻄﻪﻱ‬

‫ﺁﻥ‪ ،‬ﻛﻠﻴﺖ )ﺳﺎﺧﺘﺎﺭِ( ﺍﻏﻮﺍ ﺭﻳﺸﻪﻛﻦ ﺷﺪﻩﺍﺳﺖ )ﻳﺎ ﺩﺳﺖ ﻛﻢ ﺧﻮﺍﺳﺘﻪﺍﻳﻢ ﻛﻪ ﺭﻳﺸﻪﻛﻦ ﻛﻨﻴﻢ(‬

‫ﺧﻮﺩ ﺍﻟﮕﻮﻳﻲ ﺍﺯ ﻭﺍﻧﻤﺎﻳﻲ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ‪ -‬ﻣﻜﺎﻧﻴﺴﻤﻲ ﻧﺴﺒﺘﺎً ﺁﺳﻴﺐﭘﺬﻳﺮ ﻛﻪ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻇﺎﻫﺮﻱ‬

‫ﺷﻜﺴﺖﻧﺎﭘﺬﻳﺮ ﻣﻲﺁﺭﺍﻳﺪ ﺗﺎ ﺑﺪﻳﻦ ﻭﺍﺳﻄﻪ ﺗﻤﺎﻣﻲ ﺍﺛﺮﻫﺎﻱ ﻫﻤﺰﻣﺎﻥ ﺭﺍ ﻭ ﺧﺼﻮﺻﺎً ﺗﻤﺎﻣﻲ ِ ﺗﺄﺛﻴﺮﻫﺎﻳﻲ‬

‫ﺍﺯ ﺍﻏﻮﺍ ﺭﺍ ﻛﻪ ﺁﻏﺎﺯﻱ ﻫﺴﺘﻨﺪ ﺑﺮﺍﻱ ﺁﺳﻴﺒﻲ ﺗﺪﺭﻳﺠﻲ‪ ،‬ﻫﺮ ﭼﻪ ﺑﻬﺘﺮ ﻛﺘﻤﺎﻥ ﻛﻨﺪ‪ .‬ﺯﻳﺮﺍ ﺁﻧﭽﻪ ﻛﻪ‬

‫ﭘﻴﺶ ﺍﺯ ﻫﺮ ﭼﻴﺰ ﺩﻳﮕﺮﻱ ﺑﺮﺍﻱ ﺭﻭﺍﻧﻜﺎﻭﻱ ﺯﻳﺎﻧﺒﺎﺭ ﺍﺳﺖ‪ ،‬ﺍﺛﺒﺎﺕﺷﺪﻥ ﺍﻏﻮﺍﮔﺮﻱِ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﺍﺳﺖ‪:‬‬

‫ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﺑﺎ ﺭﻭﻳﺎﻫﺎﻱ ﺧﻮﺩ ﻭ ﺑﺎ ﻣﻔﻬﻮﻣﺶ ﺍﻏﻮﺍ ﻣﻲﻛﻨﺪ؛ ﻭ ﺑﻪ ﻣﺤﺾ ﺁﻧﻜﻪ ﻧﻬﺎﺩ )‪ (id‬ﺳﺨﻦ ﺑﮕﻮﻳﺪ‬

‫ﻳﺎ ﺑﺨﻮﺍﻫﺪ ﻛﻪ ﺳﺨﻦ ﺑﮕﻮﻳﺪ‪ ،‬ﺍﻏﻮﺍﮔﺮﻱﺍﺵ ﺭﺍ ﻣﻲﺁﻏﺎﺯﺩ‪ .‬ﺳﺎﺧﺘﺎﺭﻱ ﻣﻀﺎﻋﻒ ﻇﻬﻮﺭ ﻣﻲﻳﺎﺑﺪ‪،‬‬

‫ﺳﺎﺧﺘﺎﺭﻱ ﻣﻮﺍﺯﻱ ﺑﺮ ﭘﺎﻳﻪ ﻫﻤﺒﺴﺘﮕﻲ ﺭﻳﺎﻛﺎﺭﺍﻧﻪﻱ ﻧﺸﺎﻧﻪﻫﺎﻱ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﻭ ﺩﺍﺩ ﻭ ﺳﺘﺪﺷﺎﻥ‪،‬‬

‫ﺳﺎﺧﺘﺎﺭﻱ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﺣﻴﻦ ﺳﺎﺧﺘﺎﺭﻱ ﺩﻳﮕﺮ ﻳﻌﻨﻲ ﺳﺎﺧﺘﺎﺭ ﺧﺸﻦ ﻭ ﺑﺴﻴﻄﻲ ﻣﺘﺸﻜﻞ ﺍﺯ »ﻛﺎﺭ« ِ‬

‫ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﻭ ﺍﻧﺘﻘﺎﻝ ﻭ ﺿﺪ ﺍﻧﺘﻘﺎﻝ‪ ،‬ﺭﺍ ﻓﺮﻭ ﻣﻲﺑﻠﻌﺪ‪ .‬ﻛﻞِ ﺳﺎﺧﺘﻤﺎﻥ ﺭﻭﺍﻧﻜﺎﻭﻱ ﺗﻮﺳﻂ ﺍﻏﻮﺍﮔﺮﻱ ِ ﺧﻮﺩ‬

‫ﺭﻭﺍﻧﻜﺎﻭﻱ ﻓﺮﻭ ﻣﻲﺭﻳﺰﺩ ﻭ ﺑﻪ ﻭﺍﺳﻄﻪﻱ ﺍﻳﻦ ﺍﻣﺮ‪ ،‬ﺗﻤﺎﻣﻲ ﺳﺎﺧﺘﻤﺎﻥﻫﺎﻱ ﺩﻳﮕﺮ ﻧﻴﺰ ﻧﺎﺑﻮﺩ ﻣﻲﺷﻮﻧﺪ‪.‬‬

‫ﺑﮕﺬﺍﺭﻳﺪ ﺑﺮﺍﻱ ﻟﺤﻈﻪﺍﻱ ﺩﺭﺧﺸﺎﻥ ﻳﻚ ﺭﻭﺍﻧﻜﺎﻭ ﺑﺎﺷﻴﻢ ﻭ ﺑﮕﻮﻳﻴﻢ ﺍﻳﻦ ﺳﺮﻛﺸﻲ ﻛﻴﻨﻪﺟﻮﻳﺎﻧﻪﻱ ﺍﻣﺮ‬

‫ﺳﺮﻛﻮﺏﺷﺪﻩ ﻭ ﺳﺮﻛﻮﺏﺷﺪﮔﻲ ﺍﻏﻮﺍ‪ ،‬ﺩﺭ ﺧﻂ ﺳﻴﺮ ﺫﻫﻨﻲ ﺧﻮﺩ ﻓﺮﻭﻳﺪ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻣﺮﻛﺰ ﺳﺎﺧﺘﺎﺭ‬

‫ِ ﺭﻭﺍﻧﻜﺎﻭﻱ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﺩ ﺍﻟﺒﺘﻪ ﺭﻭﺍﻧﻜﺎﻭﻱ ﺩﺭ ﻣﻘﺎﻡ ﻳﻚ ﻋﻠﻢ‪.‬‬

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‫ﺁﺛﺎﺭ ﻓﺮﻭﻳﺪﻱ ﺩﺭ ﻓﻀﺎﻱ ﻣﺎﺑﻴﻦ ﺩﻭ ﻗﻄﺐ ﺭﻭ ﺑﻪ ﺁﺷﻜﺎﺭﮔﻲ ﻣﻲﺭﻭﻧﺪ‪ -‬ﺩﻭ ﻗﻄﺐ ﻛﻪ ﺑﻪ ﮔﻮﻧﻪﺍﻱ‬

‫ﺑﻨﻴﺎﺩﻳﻦ ﺳﺎﺧﺘﺎﺭ ﻭﺍﺳﻄﻪ ﻗﺮﺍﺭ ﺩﺍﺩﻩﺷﺪﻩ ﺭﺍ ﺯﻳﺮ ﺳﻮﺍﻝ ﻣﻲﺑﺮﻧﺪ‪ ،‬ﺍﻳﻦ ﺩﻭ ﻗﻄﺐ ﻫﻤﺎﻥ ﺍﻏﻮﺍ ﻭ ﻛﺸﺶ‬

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‫ﺍﻏﻮﺍ‬

‫ﺭﻭﺍﻧﻲ ﺑﻪ ﺳﻮﻱ ﻣﺮﮒ ﻫﺴﺘﻨﺪ‪ .‬ﻣﺎ ﻗﺒﻼً ﺩﺭ ‪ L’Ecbange symbolique et la mort‬ﺍﻣﺮ ﺛﺎﻧﻮﻱ‬

‫ﺭﺍ ﺩﺭ ﻣﻘﺎﻡ ﻭﺍﺭﻭﻧﮕﻲ ﺩﺳﺘﮕﺎﻩ ﭘﻴﺸﻴﻦ ﺭﻭﺍﻧﻜﺎﻭﻱ )ﻣﻮﺿﻌﻲ‪ ،‬ﺍﻗﺘﺼﺎﺩﻱ( ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪﺍﻳﻢ‪ .‬ﺩﺭ‬

‫ﺧﺼﻮﺹ ﺍﻣﺮ ﭘﻴﺸﻴﻨﻲ‪ ،‬ﺍﻣﺮﻱ ﻛﻪ ﭘﺲ ﺍﺯ ﺩﮔﺮﮔﻮﻧﻴﻬﺎﻳﻲ ﻣﺘﻌﺪﺩ ﺑﻪ ﻭﺍﺳﻄﻪﻱ ﺗﻀﺎﻳﻔﻲ ﻣﺤﺮﻣﺎﻧﻪ ﺑﺎ‬

‫ﻛﺸﺶ ﺭﻭﺍﻧﻲِ ﺑﻪ ﺳﻮﻱ ﻣﺮﮒ‪ ،‬ﺍﺭﺗﺒﺎﻁ ﺑﺮﻗﺮﺍﺭ ﻣﻲﻛﻨﺪ‪ ،‬ﺑﺎﻳﺪ ﮔﻔﺖ ﺍﻣﺮﻱ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻣﻘﺎﻡ ِ ﺍﺑﮋﻩﻱ‬

‫ﻓﺮﺍﻣﻮﺵ ﺷﺪﻩﻱ ﺭﻭﺍﻧﻜﺎﻭﻱ ﻧﻤﻮﺩ ﻣﻲﻳﺎﺑﺪ‪.‬‬

‫ﺍﻳﻦ ﺍﻳﺪﻩ ﻛﻪ ﺭﻫﺎ ﻛﺮﺩﻥ ِ ﻧﻈﺮﻳﻪﻱ ﺍﻏﻮﺍ ﺗﻮﺳﻂ ﻓﺮﻭﻳﺪ )‪ (۱۹۰۷‬ﮔﺎﻣﻲ ﻗﻄﻌﻲ ﺩﺭ‬
‫ﻇﻬﻮﺭ ﻧﻈﺮﻳﻪﻱ ﺭﻭﺍﻧﻜﺎﻭﻱ ﺑﻮﺩ ﻭ ﻫﻤﭽﻨﻴﻦ ﺍﻳﻨﻜﻪ ﺭﻫﺎ ﻛﺮﺩﻥ ﺍﻳﻦ ﻧﻈﺮﻳﻪ ﺗﻮﺳﻂ ﻓﺮﻭﻳﺪ ﺩﺭ‬
‫ﺣﻜﻢ ﺑﻪ ﭘﻴﺶ ﺯﻣﻴﻨﻪ ﺭﺍﻧﺪﻩﺷﺪﻥ ﺍﻳﺪﻩﻫﺎﻱ ﻓﺎﻧﺘﺰﻱ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ‪ ،‬ﻭﺍﻗﻌﻴﺖ ﻓﺮﺍﺭﻭﺍﻧﺸﻨﺎﺧﺘﻲ‪،‬‬
‫ﮔﺮﺍﻳﺶ ﺟﻨﺴﻲ ﻛﻮﺩﻛﺎﻥ ﻭ‪ .. .‬ﺍﺳﺖ ﻫﺮ ﺩﻭ‪ ،‬ﺍﻳﺪﻩﻫﺎﻳﻲ ﻣﺮﺳﻮﻡﺍﻧﺪ‪.‬‬
‫ﻻﭘﻼﻧﺶ ﻭ ﭘﻨﺘﺎﻟﻴﺲ‬

‫]ﺑﻪ ﻓﺮﺍﻧﺴﻪ‪ :‬ﻣﺘﺮﺟﻢ[ ﻭﺍﮊﮔﺎﻥ ﺭﻭﺍﻧﻜﺎﻭﻱ‬

‫ﺍﻏﻮﺍ ﺩﺭ ﺷﻤﺎﻳﻞ ﺍﺻﻠﻲﺍﺵ ﺑﻪ ﻭﺿﻌﻴﺖ »ﻓﺎﻧﺘﺰﻱ ﻧﺨﺴﺘﻴﻦ« ﻣﻮﻛﻮﻝ ﺷﺪﻩﺍﺳﺖ ﻭ ﺑﺪﻳﻦﺗﺮﺗﻴﺐ‬

‫ﺑﺮ ﭘﺎﻳﻪﻱ ﻣﻨﻄﻘﻲ ﻛﻪ ﺩﻳﮕﺮ ﺍﺯ ﺧﻮﺩﺑﻴﮕﺎﻧﻪ ﺷﺪﻩﺍﺳﺖ‪ ،‬ﻫﻤﺎﻥ ﻣﻨﻄﻖ ﻭ ﺳﺎﺧﺘﺎﺭﻱ ﻛﻪ ﺩﻳﮕﺮ ﺑﺮﺍﻱ‬

‫ﻫﻤﻴﺸﻪ ﻓﺎﺗﺢ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ ،‬ﺍﻏﻮﺍ ﺩﺭ ﻣﻘﺎﻡ ﻳﻚ ﺗﻔﺎﻟﻪ‪ ،‬ﻳﻚ ﭘﺲﻣﺎﻧﺪﻩ ﻭ ﻳﺎ ﻳﻚ ﺣﺎﺋﻞ‪ /‬ﺗﻜﻮﻳﻦ‪ ،‬ﺗﻠﻘﻲ‬

‫ﺧﻮﺍﻫﺪ ﺷﺪ‪ ،‬ﻣﻨﻄﻖ ﻭ ﺳﺎﺧﺘﺎﺭﻱ ﻣﺘﺸﻜﻞ ﺍﺯ ﻭﺍﻗﻌﻴﺖ ﻓﺮﺍﺭﻭﺍﻧﺸﻨﺎﺧﺘﻲ ﻭ ﻭﺍﻗﻌﻴﺖ ﺟﻨﺴﻲ‪ .‬ﺍﻣﺎ ﺑﻪ‬

‫ﺟﺎﻱ ﻓﺮﻭﻛﺎﻫﺶ ﺍﻏﻮﺍ ﺑﻪ ﺳﻴﺮ ﺗﻜﻮﻳﻨﻲ ﺭﻭﺍﻧﻜﺎﻭﻱ ﻣﺎ ﺑﺎﻳﺪ ﺁﻥ ﺭﺍ ﺩﺭ ﻣﻘﺎﻡ ﻧﻮﻋﻲ ﻭﻗﻮﻉ ﺳﺮﻧﻮﺷﺖﺳﺎﺯ‬

‫ﺩﺭ ﻧﻈﺮ ﺑﮕﻴﺮﻳﻢ‪ ،‬ﻭﻗﻮﻋﻲ ﺳﺮﻧﻮﺷﺖ ﺳﺎﺯ ﻭ ﺍﻧﺒﺎﺷﺘﻪ ﺍﺯ ﭘﻴﺎﻣﺪﻫﺎ‪ .‬ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﻣﻲﺩﺍﻧﻴﻢ ﺍﻏﻮﺍ ﺑﻪ‬

‫ﻭﺍﺳﻄﻪﻱ ﺳﺨﻦ ﺭﻭﺍﻧﻜﺎﻭﻱ‪ ،‬ﺗﻨﻬﺎ ﺑﺮﺍﻱ ﺍﻧﻜﻪ ﺩﻓﻊ ﺷﻮﺩﻭ ﻳﺎ ﻓﺮﺍﻣﻮﺵ ﮔﺮﺩﺩ‪ ،‬ﺩﺭ ﻫﻤﺎﻫﻨﮕﻲ ﺑﺎ ﺗﻜﺮﺍﺭﻱ‬

‫ﻣﺘﺸﻜﻞ ﺍﺯ ﻳﻚ ﻛﻨﺶ ﺑﻨﻴﺎﺩﻳﻦِ‪ ،‬ﻳﻌﻨﻲ ﺍﻧﻜﺎﺭﻱ ﺍﺯ ﺟﺎﻧﺐ ﺧﻮﺩ ﺍﻟﮕﻮ‪ ،‬ﻧﺎﭘﺪﻳﺪ ﻭ ﻳﺎ ﺑﺎﺯﻧﻤﻮﺩ ﺧﻮﺍﻫﺪ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺷﺪ‪ .‬ﺍﻳﻦ ﺩﺭ ﺣﺎﻟﻲ ﺍﺳﺖ ﻛﻪ ﺍﻏﻮﺍ ﺑﻪ ﻣﺜﺎﺑﻪﻱ ﺍﻣﺮ ﺛﺎﻧﻮﻱ ﺩﺭ ﻃﻲ ﺍﺭﺗﺒﺎﻃﺶ ﺑﺎ ﻋﻨﺎﺻﺮﻱ ﻣﺴﻠﻢﺗﺮ‬

‫ﻫﻤﭽﻮﻥ ﮔﺮﺍﻳﺶ ﺟﻨﺴﻲ ﻛﻮﺩﻛﺎﻥ‪ ،‬ﺳﺮﻛﻮﺏﺷﺪﮔﻲ‪ ،‬ﻋﻘﺪﻩﻱ ﺍﺩﻳﭗ ﻭ ﻏﻴﺮﻩ‪ ،‬ﻫﺮﮔﺰ ﺑﻪ ﺳﺎﺩﮔﻲ ﺩﺭ‬

‫ﺣﺎﺷﻴﻪ ﺭﻭ ﺑﻪ ﺯﻭﺍﻝ ﻧﺨﻮﺍﻫﺪﺭﻓﺖ؛ ﺑﻠﻜﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﺷﻤﺎﻳﻠﻲ ﺧﻄﺮﺳﺎﺯ ﺍﻧﻜﺎﺭ ﺧﻮﺍﻫﺪﺷﺪ‪ ،‬ﺷﻤﺎﻳﻠﻲ ﻛﻪ‬

‫ﮔﺴﺘﺮﺵ ﻭ ﺍﻧﺴﺠﺎﻡِ ﺑﻨﺎﻱ ﭘﻨﻬﺎﻥِ ﺍﻟﮕﻮ ﺭﺍ ﺷﺪﻳﺪﺍً ﺗﻬﺪﻳﺪ ﻣﻲﻛﻨﺪ‪.‬‬

‫ﺍﻳﻦ ﺍﻣﺮ ﺩﻗﻴﻘﺎً ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺑﺮﺍﻱ ﻓﺮﻭﻳﺪ ﺭﺥ ﻣﻲﺩﻫﺪ‪ ،‬ﺩﺭ ﻣﻮﺭﺩ ﺳﻮﺳﻮﺭ ﻧﻴﺰ ﺻﺎﺩﻕ ﺍﺳﺖ‪.‬‬

‫ﺳﻮﺳﻮﺭ ﻧﻴﺰ ﺩﺭ ﺁﻧﺎﮔﺮﺍﻡﻫﺎ ﺑﺎ ﻧﻮﻋﻲ ﺗﻮﺻﻴﻒ ﺍﺯ ﺷﻤﺎﻳﻠﻲ ﺍﺯ ﺯﺑﺎﻥ‪ ،‬ﻳﺎ ﺑﻪ ﻃﻮﺭ ﺩﻗﻴﻖﺗﺮ ﺑﺎ ﺁﻥ ﻧﻮﻉ‬

‫ﺗﻮﺻﻴﻔﻲ ﺍﺯ ﺯﺑﺎﻥ ﻛﻪ ﻣﻌﺎﺩﻝ ِ ﺑﺮﺍﻧﺪﺍﺯﻱ ﺁﻥ ﺍﺳﺖ‪ ،‬ﻣﻲﺁﻏﺎﺯﺩ‪ -‬ﺷﻤﺎﻳﻠﻲ ﺗﺸﺮﻳﻔﺎﺗﻲ ﻭ ﺩﻗﻴﻖ ﺍﺯ‬

‫ﺳﺎﺧﺘﺎﺭﺷﻜﻨﻲ ﻣﻌﻨﺎ ﻭ ﺍﺭﺯﺵ‪ .‬ﺍﻣﺎ ﭘﺲ ﺍﺯ ﺍﻳﻦ ﺍﺯ ﺗﻤﺎﻣﻲ ﺣﺮﻑﻫﺎﻳﺶ ﻣﻨﺼﺮﻑ ﻣﻲﺷﻮﺩ ﻭ ﻣﺴﻴﺮ‬

‫ﺗﻼﺵ ﺧﻮﻳﺶ ﺭﺍ ﺩﺭﺟﻬﺖ ﺑﺮﭘﺎﻛﺮﺩﻥ ﺳﺎﺧﺘﺎﺭ ﺯﺑﺎﻧﺸﻨﺎﺳﻲ ﺗﻐﻴﻴﺮ ﻣﻴﺪﻫﺪ‪ .‬ﺁﻳﺎ ﺍﻳﻦ ﺑﺎﺯﮔﺸﺖ ﺑﻪﺩﻟﻴﻞ‬

‫ﻧﺎﻛﺎﻣﻲ ﺁﺷﻜﺎﺭ ﺷﻮﺍﻫﺪﻱ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﻃﻲ ﺗﻼﺵﻫﺎﻱ ﺧﻮﺩ ﺑﻪ ﺛﺒﺖ ﺭﺳﺎﻧﺪﻩﺑﻮﺩ ﻭ ﻳﺎ ﺍﻭ ﺑﺎ ﺍﻳﻦ‬

‫ﺑﺎﺯﮔﺸﺖ ﺯﻣﻴﻨﻪﺳﺎﺯ ﻛﻨﺎﺭﻩﮔﻴﺮﻱ ﺍﺯ ﭼﺎﻟﺸﻲ ﺁﻧﺎﮔﺮﺍﻣﺎﺗﻴﻜﺎﻝ ﺷﺪ ﺗﺎ ﺑﺪﻳﻦﻭﺍﺳﻄﻪ ﮔﺴﺘﺮﺷﻲ‬

‫ﺳﺎﺧﺘﺎﺭﻱﺗﺮ‪ ،‬ﭘﺎﻳﺎﺗﺮ ﻭ ﻋﻠﻤﻲﺗﺮ ﺍﺯ ﺳﺒﻚ ﺗﻮﻟﻴﺪ ﻣﻌﻨﺎ ﺭﺍ ﺑﻪﻋﻬﺪﻩﮔﻴﺮﺩ ﻭ ﺑﺪﻳﻦﺗﺮﺗﻴﺐ ﺍﺯ ﺑﺮﺍﻧﺪﺍﺯﻱ ِ‬

‫ﺍﺣﺘﻤﺎﻟﻲ ﺁﻥ ﺟﻠﻮﮔﻴﺮﻱ ﻛﻨﺪ؟ ﺍﻣﺎ ﻣﺴﺌﻠﻪ ﺍﻳﻦ ﻧﻴﺴﺖ‪ ،‬ﻭﺍﻗﻌﻴﺖ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺯﺑﺎﻧﺸﻨﺎﺳﻲ ﺩﺭ ﻃﻲ‬

‫ﺍﻳﻦ ﺟﺎﺑﺠﺎﻳﻲ ﻏﻴﺮ ﻗﺎﺑﻞ ﺑﺎﺯﮔﺸﺖ ﻣﺘﻮﻟﺪ ﺷﺪ ﻭ ﺑﺪﻳﻦﺗﺮﺗﻴﺐ ﺑﺮﺍﻱ ﺗﻤﺎﻣﻲ ﺁﻧﻬﺎﻳﻲ ﻛﻪ ﻛﺎﺭ ﺳﻮﺳﻮﺭ‬

‫ﺭﺍ ﺍﺩﺍﻣﻪ ﻣﻲﺩﻫﻨﺪ ﺍﺻﻞ ﻣﻮﺿﻮﻋﻪ )‪ (axiom‬ﻭ ﻗﺮﺍﺭﺩﺍﺩﻱ ﺑﻨﻴﺎﺩﻳﻦ ﺷﺪ‪ .‬ﻛﺴﻲ ﺑﻪ ﺻﺤﻨﻪﻱ ﺟﻨﺎﻳﺖ‬

‫ﺑﺎﺯﻧﻤﻲﮔﺮﺩﺩ ﻭ ﻓﺮﺍﻣﻮﺵ ﻛﺮﺩﻥ ِ ﻗﺘﻞ ِ ﺍﺻﻠﻲ‪ ،‬ﺑﺨﺸﻲ ﺍﺯ ﺁﺷﻜﺎﺭﮔﻲ ﻣﻨﻄﻘﻲ ﻭ ﭘﻴﺮﻭﺯﻣﻨﺪﺍﻧﻪﻱ ﻋﻠﻢ‬

‫ﺍﺳﺖ‪ .‬ﺗﻤﺎﻣﻲ ﺍﻧﺮﮊﻱ ﺍﺑﮋﻩﻱ ﻣﺮﺩﻩ ﻭ ﺁﻳﻴﻦﻫﺎﻱ ﻧﻬﺎﻳﻲﺍﺵ ﺑﻪ ﺗﺠﺪﻳﺪ ﺣﻴﺎﺗﻲ ﻭﺍﻧﻤﻮﺩﺷﺪﻩ ﺍﺯ ﺯﻧﺪﮔﻲ‪،‬‬

‫ﺍﻧﺘﻘﺎﻝ ﻣﻲﻳﺎﺑﺪ ﺍﻣﺎ ﻫﻨﻮﺯ ﺑﺎﻳﺪ ﻣﻌﺘﺮﻑ ﺑﻮﺩ ﻛﻪ ﺳﻮﺳﻮﺭ ﺩﺭ ﺑﺎﺏ ﻏﺎﻳﺘﻲ ﻛﻪ ﺗﻬﻮﺭ ﺯﺑﺎﻧﺸﻨﺎﺳﺎﻧﻪﺍﺵ ﺩﺭ‬

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‫ﺍﻏﻮﺍ‬

‫ﺁﻥ ﻧﺎﻛﺎﻡ ﺷﺪ‪ ،‬ﺩﺳﺖ ﻛﻢ ﻧﻮﻋﻲ ﺁﮔﺎﻫﻲ ﺷﻬﻮﺩﻱ ﺩﺍﺷﺖ ﻭ ﺍﺯ ﺧﻮﺩ ﻣﻴﺮﺍﺛﻲ ﺍﺯ ﻳﻚ ﺗﺮﺩﻳﺪ ﺳﺮﮔﺮﺩﺍﻥ‬

‫ﻭ ﺗﺼﻮﺭﻱ ﺍﺯ ﻳﻚ ﻧﺎﺗﻮﺍﻧﻲ ﺭﺍ ﺑﺮﺟﺎﻱﮔﺬﺍﺷﺖ ﻭ ﻫﻤﭽﻨﻴﻦ ﺗﺼﻮﺭﻱ ﺍﺯ ﻣﻨﺸﻲ ﺍﺣﺘﻤﺎﻻً ﻭﻫﻢﺁﻣﻴﺰ ﺍﺯ‬

‫ﻣﻜﺎﻧﻴﺴﻢ ﺑﻲﺍﻧﺪﺍﺯﻩ ﺯﻳﺒﺎﻱ ﺟﺎﻧﺸﻴﻨﻲ‪ .‬ﺍﻣﺎ ﭼﻨﻴﻦ ﺗﺮﺩﻳﺪﻫﺎﻳﻲ ﺑﺎ ﻭﺍﺭﺛﺎﻧﺸﺎﻥ ﻛﺎﻣﻼً ﺑﻴﮕﺎﻧﻪ ﺧﻮﺍﻫﻨﺪ‬

‫ﺑﻮﺩ‪ ،‬ﺗﺮﺩﻳﺪﻫﺎﻳﻲ ﻛﻪ ﻣﻲﺗﻮﺍﻥ ﺩﺭ ﻃﻲ ﺁﻧﻬﺎ ﺍﻳﺪﻩﻫﺎﻳﻲ ﺩﺭ ﺑﺎﺏ ﺧﺎﻛﺴﭙﺎﺭﻱِ ﭘﻴﺶ ﺍﺯ ﻣﻮﻋﺪ ﻭ‬

‫ﻧﺎﺑﻬﻨﮕﺎﻡ ﺁﻧﺎﮔﺮﺍﻡﻫﺎ ﺭﺍ ﺟﺴﺖ ﻭ ﻭﺍﺭﺛﺎﻧﻲ ﻛﻪ ﺩﺍﺋﻤﺎً ﺑﻪ ﺑﺮﭘﺎﻛﺮﺩﻥ ﻭ ﺍﺟﺮﺍﻱ ﻗﻮﺍﻋﺪ ِ ]ﺑﺎﺯﻱ[ ﻗﺎﻧﻊ‬

‫ﺧﻮﺍﻫﻨﺪﻣﺎﻧﺪ‪ ،‬ﺑﺪﻭﻥ ﺁﻧﻜﻪ ﺣﺘﻲ ﺫﺭﻩﺍﻱ ﻣﺘﻮﺟﻪ ﺍﻳﺪﻩﻱ ﮊﺭﻓﺎﻳﻲ ﺍﺯ ﺯﺑﺎﻥ ﺷﺪﻩﺑﺎﺷﻨﺪ‪ ،‬ﮊﺭﻓﺎﻳﻲ ﺍﺯ‬

‫ﺍﻏﻮﺍﻳﻲ ﺯﺑﺎﻧﺸﻨﺎﺧﺘﻲ ﻭ ﻓﻌﺎﻟﻴﺘﻲ ﺍﺳﺎﺳﺎً ﻣﺘﻔﺎﻭﺕ ﻛﻪ ﺑﻪ ﺟﺎﻱ ﺗﻮﻟﻴﺪ ﻣﻌﻨﺎ‪ ،‬ﺁﻥ ﺭﺍ ﺟﺬﺏ ﻣﻲﻛﻨﺪ‪.‬‬

‫ﺗﺎﺑﻮﺕ ﺳﻨﮕﻲ ِ ﺯﺑﺎﻧﺸﻨﺎﺳﻲ ﻫﺮﭼﻪ ﻣﺤﻜﻢﺗﺮ ﻣﻬﺮ ﻭ ﻣﻮﻡ ﺷﺪ ﻭ ﺗﺎﺭﻳﻜﻲ ِ ﺁﻥ ﺑﺮ ﻓﺮﺍﺯ ﻫﺎﻟﻪﻱ‬

‫ﺩﺍﻝ ﻓﺮﻭﺍﻓﺘﺎﺩ‪.‬‬

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‫ﻭ ﺑﺪﻳﻦﺗﺮﺗﻴﺐ ﻫﺎﻟﻪﻱ ﺭﻭﺍﻧﻜﺎﻭﻱ ﺑﺮ ﻓﺮﺍﺯ ﺍﻏﻮﺍ ﻓﺮﻭﺍﻓﺘﺎﺩﻩ ﺍﺳﺖ‪ ،‬ﻫﺎﻟﻪﻱ ﻣﻌﻨﺎﻳﻲ ﭘﻨﻬﺎﻥ ﻭ ﺍﻓﺮﺍﻁ‬

‫ﭘﻨﻬﺎﻥ ﻣﻌﻨﺎ‪ ،‬ﻛﻪ ﻫﻤﺰﻣﺎﻥ ﺳﻄﺢ ﺟﺬﺏ ﺭﺍ ﺑﻪ ﺭﻳﺸﺨﻨﺪ ﻣﻲﮔﻴﺮﺩ ﻭ ﻫﻤﭽﻨﻴﻦ ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﮊﺭﻓﺎﻱ‬

‫ﺳﻄﺤﻲ ﻧﻤﻮﺩﻫﺎ‪ ،‬ﺳﻄﺢ ﺁﻧﻲ ﻭ ﻭﺣﺸﺖﺁﻓﺮﻳﻦ ﻣﺒﺎﺩﻟﻪ ﻭ ﺭﻗﺎﺑﺖ ﻧﺸﺎﻧﻪﻫﺎﻳﻲ ﻛﻪ ﺍﻏﻮﺍ ﭘﺎﻳﻪﺭﻳﺰﻱ‬

‫ﻛﺮﺩﻩﺍﺳﺖ ﺭﺍ ﺗﻤﺎﻣﺎً ﺣﻘﻴﺮ ﻣﻲﺍﻧﮕﺎﺭﺩ )ﻫﻴﺴﺘﺮﻱ ﭼﻴﺰﻱ ﺟﺰ ﻧﻮﻋﻲ ﺁﺷﻜﺎﺭﮔﻲ »ﺑﻴﻤﺎﺭﮔﻮﻧﻪ« ﺍﺯ ﺍﻣﺮ‬

‫ﺛﺎﻧﻮﻱ ﻧﻴﺴﺖ‪ ،‬ﺁﺷﮕﺎﺭﮔﻲﺍﻱ ﻛﻪ ﭘﻴﺸﺎﭘﻴﺶ ﺑﻪ ﻭﺍﺳﻄﻪﻱ ﻧﻈﺎﻡ ﭘﻨﻬﺎﻥ ﻧﺸﺎﻧﻪﻱ ﺑﻴﻤﺎﺭﻱ‪ ،‬ﺁﻟﻮﺩﻩ­‬

‫ﺷﺪﻩﺍﺳﺖ ﻭ ﺑﻨﺎﺑﺮﺍﻳﻦ ﺗﺎ ﺍﻳﻦ ﺍﻧﺪﺍﺯﻩ ﭘﻴﺸﺎﺭﻭﺍﻧﻜﺎﻭﺍﻧﻪ ﻭ ﻣﻨﺤﻂ ﺍﺳﺖ‪ -‬ﻛﻪ ﻗﺎﺩﺭ ﺍﺳﺖ ﺩﺭ ﻣﻘﺎﻡ ﻳﻚ‬

‫»ﻣﺎﺗﺮﻳﺲ ﺗﺒﺪﻳﻞ« ﺩﺭ ﺧﺪﻣﺖ ﺭﻭﺍﻧﻜﺎﻭﻱ ﺩﺭ ﺁﻳﺪ‪ (.‬ﻓﺮﻭﻳﺪ ﺑﻪ ﺍﻏﻮﺍ ﭘﺎﻳﺎﻥ ﺩﺍﺩ ﺗﺎ ﻣﺎﺷﻴﻦ ﺗﺄﻭﻳﻞ ﻭ‬

‫ﺳﺮﻛﻮﺏ ﺟﻨﺴﻲ ﺭﺍ ﺟﺎﻳﮕﺰﻳﻦ ﺁﻥ ﻛﻨﺪ‪ ،‬ﻣﺎﺷﻴﻨﻲ ﻛﻪ ﺗﻤﺎﻣﻲ ﻭﻳﮋﮔﻲﻫﺎﻱ ﻋﻴﻨﻴﺖ ﻭ ﻳﮕﺎﻧﮕﻲ ﺭﺍ‬
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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﭘﻴﺸﻨﻬﺎﺩ ﻣﻲﻛﻨﺪ‪ .‬ﻣﺎ ﺑﺎﻳﺪ ﻓﺮﺽﻛﻨﻴﻢ ﻛﻪ ﻣﻲﺗﻮﺍﻥ ﺗﻤﺎﻣﻲ ﺗﺸﻨﺞﻫﺎﻱ ﺩﺭﻭﻧﻲ ﺭﻭﺍﻧﻜﺎﻭﻱ ﺭﺍ ﭼﻪ‬

‫ﺷﺨﺼﻲ ﻭ ﭼﻪ ﻧﻈﺮﻱ ﻧﺎﺩﻳﺪﻩﮔﺮﻓﺖ‪ ،‬ﺗﺸﻨﺞﻫﺎﻳﻲ ﻛﻪ ﻳﮕﺎﻧﮕﻲِ ﺯﻳﺒﺎﻳﻲ ﺭﻭﺍﻧﻜﺎﻭﻱ ﺭﺍ ﻣﺨﺪﻭﺵ‬

‫ﻣﻲﻛﻨﻨﺪ‪ -‬ﺍﺯ ﺑﻴﻢ ﺁﻧﻜﻪ ﺗﻤﺎﻣﻲ ﭼﺎﻟﺶﻫﺎ ﻭ ﺍﻏﻮﺍﻫﺎﻳﻲ ﻛﻪ ﺯﻳﺮ ﺍﻧﺴﺠﺎﻡ ﺳﺨﻦ ﻣﺪﻓﻮﻥ ﺷﺪﻩﺍﻧﺪ ﺑﺮﺍﻱ‬

‫ﺑﺎﺭﻱ ﺩﻳﮕﺮ ﻫﻤﭽﻮﻥ ﻣﺮﮒِ ﺯﻧﺪﻩ ﭘﺪﻳﺪﺍﺭ ﺷﻮﻧﺪ )ﺍﻣﺎ ﺁﻳﺎ ﺍﻳﻦ ﺣﺎﻛﻲ ﺍﺯ ﺍﻳﻦ ﻧﻴﺴﺖ ﻛﻪ ﺁﻥﭼﻨﺎﻥ ﻛﻪ‬

‫ﺟﺎﻥﻫﺎﻱ ﺯﻳﺒﺎ ﺍﺳﺘﺪﻻﻝ ﻣﻲﻛﻨﻨﺪ ﺩﺭ ﻭﺍﻗﻊ ﺭﻭﺍﻧﻜﺎﻭﻱ ﻫﻨﻮﺯ ﺯﻧﺪﻩ ﺍﺳﺖ؟( ﻓﺮﻭﻳﺪ ﻣﻤﻜﻦ ﺍﺳﺖ‪.‬‬

‫ﻧﻈﺮﻳﻪﻱ ﺍﻏﻮﺍ ﺭﺍ ﺭﺩ ﻛﺮﺩﻩﺑﺎﺷﺪ ﻭ ﺟﺎﻧﺐ ﺗﺄﻭﻳﻞ ﺭﺍ ﮔﺮﻓﺘﻪﺑﺎﺷﺪ )ﺩﺳﺖﻛﻢ ﺗﺎ ﺁﺧﺮﻳﻦ ﻓﺮﺍﺭﻭﺍﻧﺸﻨﺎﺳﻲ­‬

‫ﺍﻱ ﻛﻪ ﻗﻄﻌﺎً ﺩﺭ ﻣﺴﻴﺮﻱ ﻣﺘﻔﺎﻭﺕ ﺣﺮﻛﺖ ﻣﻲﻛﻨﺪ( ﺍﻣﺎ ﻫﺮ ﺁﻧﭽﻪ ﺗﺎﻛﻨﻮﻥ ﺑﻪ ﻭﺍﺳﻄﻪﻱ ﺍﻳﻦ‬

‫ﺑﺎﺯﭼﻴﺪﻣﺎﻥِ ﺗﺤﺴﻴﻦﺑﺮﺍﻧﮕﻴﺰ‪ ،‬ﺳﺮﻛﻮﺏ ﺷﺪﻩﺑﻮﺩ‪ ،‬ﺩﺭ ﻃﻲ ﺗﻌﺎﺭﺽﻫﺎ ﻭ ﻓﺮﺍﺯ ﻭ ﻧﺸﻴﺐﻫﺎﻱ ﺗﺎﺭﻳﺦ‬

‫ﺭﻭﺍﻧﻜﺎﻭﻱ ﻭ ﺗﺎ ﺣﺪﻭﺩﻱ ﺩﺭ ﺿﻤﻦ ﻫﺮ ﻣﻌﺎﻟﺠﻪﺍﻱ ﺑﺮﺍﻱ ﺑﺎﺭﻱ ﺩﻳﮕﺮ ﭘﺪﻳﺪﺍﺭ ﺷﺪﻩﺍﺳﺖ‪) .‬ﻫﻴﭽﮕﺎﻩ‬

‫ﻛﺴﻲ ﻛﺎﺭﺵ ﺑﺎ ﻫﻴﺴﺘﺮﻱ ﺗﻤﺎﻡ ﻧﺸﺪﻩﺍﺳﺖ!( ﻭ ﺍﻳﻦ ﺳﺮﭼﺸﻤﻪﺍﻱ ﺑﻲﺍﻫﻤﻴﺖ ﺍﺯ ﻭﺟﺪ ﻧﻴﺴﺖ ﻛﻪ ﺑﻪ‬

‫ﻭﺍﺳﻄﻪﻱ ﺁﻥ ﺍﻏﻮﺍ ﺭﺍ ﻫﻤﮕﺎﻡ ﺑﺎ ﻻﻛﺎﻥ ﺩﺭ ﺷﻤﺎﻳﻠﻲ ﺍﺯ ﺁﻥ ﺩﺭﻳﺎﺑﻴﻢ ﻛﻪ ﺗﻤﺎﻣﻲ ِ ﺣﻴﻄﻪﻱ ﺭﻭﺍﻧﻜﺎﻭﻱ ﺭﺍ‬

‫ﺩﺭ ﻣﻲﻧﻮﺭﺩﺩ ﻭ ﻫﻤﭽﻨﻴﻦ ﺁﻥ ﺭﺍ ﺩﺭ ﺷﻤﺎﻳﻞ ﻭﺣﺸﺖﺯﺩﻩﻱ ﻳﻚ ﺑﺎﺯﻱ ﺍﺯ ﺩﺍﻟﻬﺎ ﺩﺭﻳﺎﺑﻴﻢ ﻛﻪ ﺭﻭﺍﻧﻜﺎﻭﻱ‬

‫‪ -‬ﺩﺭ ﻣﻴﺎﻥ ﺷﺪﺕ ﺧﻮﺍﺳﺘﻪﻫﺎ ﻭ ﺷﻤﺎﻳﻠﺶ‪ ،‬ﺩﺭ ﻫﻤﺎﻥ ﺷﻤﺎﻳﻠﻲ ﻛﻪ ﻓﺮﻭﻳﺪ ﻧﻴﺎﺯﻣﻨﺪ ﺁﻥ ﺑﻮﺩ‪ -‬ﺗﻮﺳﻂ‬

‫ﺁﻥ ﺍﺯ ﻣﻴﺎﻥ ﻣﻲﺭﻭﺩ‪ .‬ﺑﺪﻳﻦﺗﺮﺗﻴﺐ ﺍﺑﺘﺬﺍﻝِ ﺑﻨﻴﺎﺩﻳﻦِ ﺭﻭﺍﻧﻜﺎﻭﻱ‪ ،‬ﺯﻣﻴﻨﻪﺳﺎﺯ ﻣﺮﮒِ ﺁﻥ ﻣﻲﺷﻮﺩ‪ ،‬ﺍﻳﻦ‬

‫ﺍﺑﺘﺬﺍﻝ ﺗﻨﻬﺎ ﺗﺎ ﻫﻤﻴﻦ ﺍﻧﺪﺍﺯﻩ ﻳﻘﻴﻨﻲ ﺍﺳﺖ ﻭ ﻧﻪ ﺣﺘﻲ ﺫﺭﻩﺍﻱ ﺑﻴﺸﺘﺮ‪.‬‬

‫ﺍﻏﻮﺍﻱ ﻻﻛﺎﻥﮔﺮﺍﻳﺎﻧﻪ‪ ،‬ﺑﻲﺗﺮﺩﻳﺪ ﻳﻚ ﺷﻴﺎﺩﻱ ﺍﺳﺖ؛ ﺍﻣﺎ ﺩﺭ ﻣﺴﻴﺮ ﺧﻮﺩ ﺷﻴﺎﺩﻱ ﺣﻘﻴﻘﻲ ِ ﺧﻮﺩ‬

‫ﻓﺮﻭﻳﺪ ﺭﺍ ﻧﻴﺰ‪ ،‬ﺍﺻﻼﺡ‪ ،‬ﺗﺼﺤﻴﺢ ﻭ ﺟﺒﺮﺍﻥ ﻣﻲﻛﻨﺪ‪ ،‬ﺷﻴﺎﺩﻱﺍﻱ ﻛﻪ ﺍﺯ ﻓﺮﻡ‪ /‬ﺍﻏﻮﺍ ﺳﻠﺐ ﻣﺎﻟﻜﻴﺖ‬

‫ﻣﻲﻛﻨﺪ‪ ،‬ﺳﻠﺐ ﻣﺎﻟﻜﻴﺘﻲ ﺑﻪ ﺳﻮﺩ ﻋﻠﻤﻲ ﻛﻪ ﺩﺭ ﺭﺍﻩ ﺍﺳﺖ‪ .‬ﺳﺨﻦ ﻻﻛﺎﻥﮔﺮﺍ‪ ،‬ﻳﻌﻨﻲ ﻫﻤﺎﻥ ﺳﺨﻨﻲ‬

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‫ﺍﻏﻮﺍ‬

‫ﻛﻪ ﺗﺠﺮﺑﻪﻫﺎﻱ ﺍﻏﻮﺍﮔﺮﺍﻧﻪﻱ ﺭﻭﺍﻧﻜﺎﻭﻱ ﺭﺍ ﺗﻌﻤﻴﻢ ﻣﻲﺩﻫﺪ‪ ،‬ﺍﺯ ﺍﻳﻦ ﺍﻏﻮﺍﻱ ﺳﻠﺐ ﻣﺎﻟﻜﻴﺖ ﺷﺪﻩ ﺍﻧﺘﻘﺎﻡ‬

‫ﻣﻲﮔﻴﺮﺩ‪ ،‬ﺍﻣﺎ ﺑﻪ ﻫﻤﺎﻥ ﺷﻴﻮﻩﺍﻱ ﻛﻪ ﺧﻮﺩ‪ ،‬ﺗﻮﺳﻂ ﺭﻭﺍﻧﻜﺎﻭﻱ ﺁﻟﻮﺩﻩ ﺷﺪﻩﺑﻮﺩ‪ ،‬ﺑﻪ ﻋﺒﺎﺭﺗﻲ ﺩﻳﮕﺮ‬

‫ﺍﻧﺘﻘﺎﻡ‪ ،‬ﺩﺍﺋﻤﺎً ﺩﺭ ﻣﺤﺪﻭﺩﻩﻱ ﻗﺎﻧﻮﻥ )ﺍﻣﻮﺭ ﻧﻤﺎﺩﻳﻦ( ﻭﺍﻗﻊ ﻣﻲﺷﻮﺩ‪ ،‬ﻭﻗﻮﻋﻲ ﻛﻪ ﺑﻪ ﺍﻏﻮﺍﻱ ﻣﻜﺎﺭﺍﻧﻪﺍﻱ‬

‫ﻣﻨﺠﺮ ﻣﻲﺷﻮﺩ ﻛﻪ ﺗﻨﻬﺎ ﺩﺭ ﻣﺤﺪﻭﺩﻩﻱ ﻗﺎﻧﻮﻥ ﺍﻋﻤﺎﻝ ﺷﺪﻧﻲ ﺍﺳﺖ ﻭ ﻫﻤﭽﻨﻴﻦ ﺗﻨﻬﺎ ﺩﺭ ﻣﺤﺪﻭﺩﻩﻱ‬

‫)ﺑﺪﻟﻲ( ﺍﺯ ﻳﻚ ﺍﻟﮕﻮ ﻛﻪ ﺑﺎ ﻛﻼﻡ ﺑﺮ ﺗﻮﺩﻩﻫﺎﻱ ﻣﺒﺘﻼ ﺑﻪ ﻫﻴﺴﺘﺮﻱ ﺣﻜﻮﻣﺖ ﻣﻲﻛﻨﺪ‪ ،‬ﺗﻮﺩﻩﻫﺎﻳﻲ ﻛﻪ‬

‫ﺍﺯ ﻛﺴﺐ ﻟﺬﺕ ﻋﺎﺟﺰﻧﺪ‪...‬‬

‫ﺑﺎ ﺍﻳﻦ ﻭﺟﻮﺩ ﺩﺭ ﻣﺒﺎﺣﺚ ﻻﻛﺎﻥ ﺍﻳﻦ ﺍﻣﺮ ﻫﻨﻮﺯ ﻫﻢ ﻣﺴﺌﻠﻪﺍﻱ ﺍﺳﺖ ﺩﺭ ﺑﺎﺏ ﻣﺮﮒِ ﺭﻭﺍﻧﻜﺎﻭﻱ‪،‬‬

‫ﻣﺮﮔﻲ ﻛﻪ ﺑﺮﺍﻱ ﺑﺎﺯﭘﺪﻳﺪﮔﻲ ﭘﻴﺮﻭﺯﻣﻨﺪﺍﻧﻪﻱ ﺁﻧﭽﻪ ﺩﺭ ﺁﻏﺎﺯ ﺍﻧﻜﺎﺭ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺿﺮﻭﺭﻱ ﻣﻲﻧﻤﺎﻳﺪ‪ ،‬ﺍﻣﺎ‬

‫ﺁﻥ ﻧﺤﻮﻩ ﺍﺯ ﺑﺎﺯﭘﺪﻳﺪﮔﻲ ﻛﻪ ﺗﻨﻬﺎ ﭘﺲ ﺍﺯ ﻣﺮﮒ ِ ﺍﻳﻦ ﺍﻣﺮِ ﺍﻧﻜﺎﺭ ﺷﺪﻩ‪ ،‬ﺭﻭﻱﺧﻮﺍﻫﺪﺩﺍﺩ‪ .‬ﺁﻳﺎ ﺍﻳﻦ ﻭﻗﻮﻉ‬

‫ﻳﻚ ﺗﻘﺪﻳﺮ ﻧﻴﺴﺖ؟ ﺩﺳﺖﻛﻢ ]ﺑﺎ ﻻﻛﺎﻥ[ ﺭﻭﺍﻧﻜﺎﻭﻱ ﻣﺠﺎﻟﻲ ﺧﻮﺍﻫﺪﻳﺎﻓﺖ ﺗﺎ ﺑﺎ ﻳﻚ ﺷﻴﺎﺩ ﺑﺰﺭﮒ‬

‫ﭘﺎﻳﺎﻥ ﻳﺎﺑﺪ‪ ،‬ﻳﻚ ﭘﺎﻳﺎﻥ ﭘﺲ ﺍﺯ ﺁﻏﺎﺯﻱ ﺑﻪ ﻭﺍﺳﻄﻪﻱ ﻳﻚ ﺍﻧﻜﺎﺭ‪.‬‬

‫ﺯﻳﺒﺎﺗﺮﻳﻦ ﺳﺎﺧﺘﺎﺭ ﻣﻌﻨﺎ ﻭ ﺗﺄﻭﻳﻞ ﻛﻪ ﺗﺎﻛﻨﻮﻥ ﺑﺮ ﭘﺎ ﺷﺪﻩﺍﺳﺖ ﺍﻳﻨﮕﻮﻧﻪ ﺩﺭ ﺯﻳﺮ ﻭﺯﻥ ﻧﺸﺎﻧﻪﻫﺎﻱ‬

‫ﺧﻮﺩ ﻓﺮﻭ ﻣﻲﭘﺎﺷﺪ‪ ،‬ﻧﺸﺎﻧﻪﻫﺎﻳﻲ ﻛﻪ ﺯﻣﺎﻧﻲ ﺍﺻﻄﻼﺣﻬﺎﻳﻲ ﺳﻨﮕﻴﻦ ﻭ ﺳﺮﺷﺎﺭ ﺍﺯ ﻣﻌﻨﺎ ﺑﻮﺩﻩﺍﻧﺪ ﺍﻣﺎ‬

‫ﺍﻛﻨﻮﻥ ﺑﻪ ﺷﻌﺎﺭﻫﺎﻳﻲ ﺩﺭ ﻳﻚ ﺍﻏﻮﺍﻱ ﻋﻨﺎﻥ ﮔﺴﻴﺨﺘﻪ ﺑﺪﻝ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﺍﺻﻄﻼﺣﻬﺎﻳﻲ ﺩﺭ ﻣﺒﺎﺩﻟﻪﺍﻱ‬

‫ﺑﻲﺩﺭﺩﺳﺮ ﻛﻪ ﺍﺯ ﻳﻚ ﺳﻮ ﺑﺎ ﻣﻌﻨﺎ ﺷﺮﻳﻚ ﺟﺮﻡﺍﻧﺪ ﻭ ﺍﺯ ﺳﻮﻳﻲ ﺩﻳﮕﺮ ﺧﻮﺩ ﺍﺯ ﻣﻌﻨﺎ ﺗﻬﻲﺍﻧﺪ )ﻣﻌﻨﺎﻳﻲ‬

‫ﻛﻪ ﺩﺭ ﻃﻲ ﻣﻌﺎﻟﺠﻪ ﮔﻨﺠﺎﻧﺪﻩ ﻣﻲﺷﻮﺩ( ‪ -‬ﺍﻳﻦ ﻓﺮﻭﭘﺎﺷﻲ ﻣﻲﺗﻮﺍﻧﺪ ﺑﻪ ﻣﺎ ﺩﻟﺨﻮﺷﻲ ﻭ ﺩﻟﺪﺍﺭﻱ ﺩﻫﺪ‪.‬‬

‫ﺍﻳﻦ ﻳﻚ ﻧﺸﺎﻧﻪ ﺍﺳﺖ‪ ،‬ﻧﺸﺎﻧﻪﺍﻱ ﻛﻪ ﺣﻘﻴﻘﺖ‪ ،‬ﺩﺳﺖﻛﻢ )ﺣﻘﻴﻘﺘﻲ ﻛﻪ ﺷﻴﺎﺩﺍﻥ ﺑﺎ ﺁﻥ ﺣﻜﻮﻣﺖ‬

‫ﻣﻲﻛﻨﻨﺪ( ﺍﺯ ﺁﻥ ﺟﺎﻥ ﺳﺎﻟﻢ ﺑﺪﺭ ﺧﻮﺍﻫﺪ ﺑﺮﺩ‪ -‬ﻭ ﻣﺎ ﺭﺍ ﻧﻴﺰ ﺍﺯ ﺁﻥ ﻣﺤﻔﻮﻅ ﺧﻮﺍﻫﺪﺩﺍﺷﺖ‪ .‬ﻭ ﺁﻥ‬
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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﭼﻴﺰﻱ ﻛﻪ ﻣﻤﻜﻦ ﺍﺳﺖ ﺩﺭ ﻣﻘﺎﻡ ﻧﺎﻛﺎﻣﻲ ﺭﻭﺍﻧﻜﺎﻭﻱ ﻧﻤﻮﺩ ﻳﺎﺑﺪ ﭼﻴﺰﻱ ﻧﻴﺴﺖ ﺟﺰ ﻭﺳﻮﺳﻪﺍﻱ‬

‫ﻣﺸﺘﺮﻙ ﺑﺮﺍﻱ ﻫﺮ ﻧﻈﺎﻡ ِ ﺑﺰﺭﮔﻲ ﺍﺯ ﻣﻌﻨﺎ‪ ،‬ﺗﺎ ﺑﺪﻳﻦﻭﺍﺳﻄﻪ ﺩﺭ ﺗﺼﻮﻳﺮ ﺧﻮﺩ ﻓﺮﻭ ﺭﻭﺩ ﻭ ﻣﻌﻨﺎﻳﺶ ﺭﺍ ﺍﺯ‬

‫ﺩﺳﺖ ﺑﺪﻫﺪ‪ -‬ﻣﻌﻨﺎﻳﻲ ﻛﻪ ﺑﻪ ﺭﺍﺳﺘﻲ ﺍﺷﺎﺭﻩﮔﺮﻱ ﺑﺮﺍﻱ ﺑﺎﺯﮔﺸﺖ ِ ﺁﺗﺶ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ -‬ﺁﺗﺶ ِ ﺍﻏﻮﺍﻱ‬

‫ﻧﺨﺴﺘﻴﻦ ﻭ ﺍﻧﺘﻘﺎﻡ ﻧﻤﻮﺩﻫﺎ‪ .‬ﺍﻣﺎ ﺁﻧﮕﺎﻩ ﺷﻴﺎﺩﻱ ﺩﺭ ﻛﺠﺎ ﺑﺮ ﭘﺎ ﻣﻲﺷﻮﺩ؟ ﭘﺲ ﺍﺯ ﻃﺮﺩﻱ ﻛﻪ ﺍﺯ ﺁﻏﺎﺯ‬

‫ﻣﺘﻮﺟﻪ ﻓﺮﻡ‪ /‬ﺍﻏﻮﺍ ﺍﺳﺖ‪ ،‬ﺭﻭﺍﻧﻜﺎﻭﻱ‪ -‬ﺷﺎﻳﺪ ﺗﻨﻬﺎ ﻳﻚ ﻭﻫﻢ ﺑﻮﺩﻩ ﺍﺳﺖ‪ -‬ﻭﻫﻤﻲ ﺍﺯ ﺣﻘﻴﻘﺖ ﻭ ﺗﺄﻭﻳﻞ‪-‬‬

‫ﻭﻫﻤﻲ ﻛﻪ ﺍﺯ ﺁﻏﺎﺯ ﺑﻪ ﻭﺍﺳﻄﻪﻱ ﺗﻮﻫﻤﻲ ﻻﻛﺎﻥﮔﺮﺍ ﺍﺯ ﺍﻏﻮﺍ‪ ،‬ﺗﻜﺬﻳﺐ ﻳﺎ ﺧﻨﺜﻲ ﻣﻲﺷﺪ‪ .‬ﺑﺪﻳﻦﺗﺮﺗﻴﺐ‬

‫ﭼﺮﺧﻪﺍﻱ ﻛﻪ ﺷﺎﻳﺪ ﻓﺮﻡﻫﺎﻳﻲ ﺩﻳﮕﺮ ﺍﺯ ﭘﺮﺳﺶﻭﺍﺭﮔﻲ ﻭ ﺍﻏﻮﺍ ﺍﺯ ﺁﻥ ﻧﺸﺎﺕ ﻣﻲﮔﻴﺮﻧﺪ‪ ،‬ﻛﺎﻣﻞ‬

‫ﻣﻲﺷﻮﺩ‪.‬‬

‫ﺍﻳﻦ ﭼﺮﺧﻪ ﺑﺮﺍﻱ ﺧﺪﺍ ﻭ ﺍﻧﻘﻼﺏ ﻭﺿﻌﻴﺘﻲ ﻳﻜﺴﺎﻥ ﺩﺍﺷﺖ‪ .‬ﺍﺯ ﻣﻴﺎﻥ ﺑﺮﺩﻥ ِ ﺗﻤﺎﻣﻲ ﻧﻤﻮﺩﻫﺎﻳﻲ‬

‫ﻛﻪ ﺑﻪ ﻭﺍﺳﻄﻪﻱ ﺁﻧﻬﺎ ﺣﻘﻴﻘﺖ ِ ﺧﺪﺍ ﺍﻣﻜﺎﻧﻲ ﺑﺮﺍﻱ ﻭﻗﻮﻉ ﻣﻲﻳﺎﺑﺪ‪ :‬ﺍﻳﻦ ﺗﻮﻫﻢ ﺍﻧﻘﻼﺑﻲﻫﺎ ﺑﻮﺩ‪.‬‬

‫ﺍﻳﻦ ﺩﻗﻴﻘﺎً ﻳﻚ ﺗﻮﻫﻢ ﺍﺳﺖ‪ ،‬ﺯﻳﺮﺍ ﺣﻘﻴﻘﺖ ﺧﺪﺍ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ ﻭ ﺁﻧﻬﺎ ﺍﻧﮕﺎﺭ ﺑﻪ ﮔﻮﻧﻪﺍﻱ ﻣﺨﻔﻴﺎﻧﻪ‬

‫ﺑﻪ ﺍﻳﻦ ﺍﻣﺮ ﺁﮔﺎﻩﺑﻮﺩﻩﺍﻧﺪ ﻭ ﻣﻲﺩﺍﻧﺴﺘﻪﺍﻧﺪ ﺍﻳﻦ ﺍﻣﺘﺪﺍﺩﻳﺎﻓﺘﻦِ ﻧﺎﻛﺎﻣﻲﺷﺎﻥ ﺍﺯ ﻫﻤﺎﻥ ﺁﮔﺎﻫﻲ ِ ﺷﻬﻮﺩﻱ ِ‬

‫ﺩﻭﺳﺖﺩﺍﺭﺍﻥ ﺗﺼﺎﻭﻳﺮ ﻧﺸﺎﺕ ﻣﻲﮔﻴﺮﺩ‪ :‬ﺍﻧﺴﺎﻥ ﺗﻨﻬﺎ ﻣﻲﺗﻮﺍﻧﺪ ﺑﺎ ﺍﻳﺪﻩﺍﻱ ﺍﺯ ﺣﻘﻴﻘﺘﻲ ﺗﺤﺮﻳﻒﺷﺪﻩ‬

‫ﺯﻧﺪﮔﻲﻛﻨﺪ‪ .‬ﺍﻳﻦ ﺗﻨﻬﺎ ﺭﺍﻩ ﺯﻳﺴﺘﻦ ﺩﺭ ﺁﺷﺘﻲ ﺑﺎ ﺣﻘﻴﻘﺖ ﺍﺳﺖ‪ .‬ﺩﺭ ﻏﻴﺮ ﺍﻳﻦ ﺻﻮﺭﺕ ﺯﻧﺪﮔﻲ ﺗﺤﻤﻞ­‬

‫ﻧﺎﭘﺬﻳﺮ ﺧﻮﺍﻫﺪ ﺷﺪ )ﺩﻗﻴﻘﺎً ﺑﻪ ﺍﻳﻦﺩﻟﻴﻞ ﻛﻪ ﺣﻘﻴﻘﺖ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ(‪ .‬ﻫﻴﭻ ﻧﻴﺎﺯﻱ ﻧﺪﺍﺭﻳﻢ ﻛﻪ ﺑﺨﻮﺍﻫﻴﻢ‬

‫ﻧﻤﻮﺩﻫﺎ ﺭﺍ ﺍﺯ ﻣﻴﺎﻥ ﺑﺮﺩﺍﺭﻳﻢ‪ .‬ﺍﻣﺎ ﺍﮔﺮ ﺑﺨﻮﺍﻫﻴﻢ ﻛﻪ ﭼﻨﻴﻦ ﻛﻨﻴﻢ‪ ،‬ﺿﺮﻭﺭﺗﺎً ﻧﺒﺎﻳﺪ ﻣﻮﻓﻖ ﺷﻮﻳﻢ ﭼﺮﺍ ﻛﻪ‬

‫ﺩﺭ ﻏﻴﺮ ﺍﻳﻦ ﺻﻮﺭﺕ‪ ،‬ﻏﻴﺎﺏ ِ ﺣﻘﻴﻘﺖ ﺁﺷﻜﺎﺭ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﻭ ﻳﺎ ﻏﻴﺎﺏ ِﺧﺪﺍ ﻭ ﻏﻴﺎﺏ ِ ﺍﻧﻘﻼﺏ‪.‬‬

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‫ﺍﻏﻮﺍ‬

‫ﺍﻧﻘﻼﺏ ﻭ ﺑﺎﻻﺧﺺ ﺗﻘﻠﻴﺪ ﺑﻮﺯﻳﻨﻪﻭﺍﺭﺵ‪ :‬ﺍﺳﺘﺎﻟﻴﻨﻴﺴﻢ ﺗﻨﻬﺎ ﺑﺎ ﺍﻳﻦ ﺍﻳﺪﻩ ﻛﻪ ﻫﻤﻪ ﭼﻴﺰﻱ ﺑﺮ‬

‫ﻋﻠﻴﻪ ﺁﻥ ﺍﺳﺖ ﻣﻲﺗﻮﺍﻧﺪ ﺯﻧﺪﻩ ﺑﻤﺎﻧﺪ‪ .‬ﺍﺳﺘﺎﻟﻴﻨﻴﺴﻢ ﻭﻳﺮﺍﻧﻲﻧﺎﭘﺬﻳﺮ ﺍﺳﺖ ﺍﺯ ﺁﻧﺠﺎ ﻛﻪ ﺗﻨﻬﺎ ﺑﺎ ﺍﻳﻦ ﻫﺪﻑ‬

‫ﻣﻲﺗﻮﺍﻧﺪ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﻛﻪ ﺑﺎ ﻭﺟﻮﺩﺵ‪ ،‬ﻋﺪﻡ ِ ﻭﺟﻮﺩ ﺍﻧﻘﻼﺏ ﺭﺍ ﺍﺯ ﺳﻮﻳﻲ ﻭ ﻋﺪﻡ ﻭﺟﻮﺩ‬

‫ﺣﻘﻴﻘﺖ ﺍﻧﻘﻼﺏ ﺭﺍ ﺍﺯ ﺳﻮﻳﻲ ﺩﻳﮕﺮ ﺑﭙﻮﺷﺎﻧﺪ ﻭ ﺑﺪﻳﻦﺗﺮﺗﻴﺐ ﺍﻣﻴﺪ ﺍﺯ ﺩﺳﺖﺭﻓﺘﻪ ﺭﺍ ﺑﺎﺯﮔﺮﺩﺍﻧﺪ‪ .‬ﺭﻳﻮﺍﺭﻝ‬

‫ﮔﻔﺘﻪ ﺍﺳﺖ‪» :‬ﻣﺮﺩﻡ ﺍﻧﻘﻼﺏ ﻧﻤﻲﺧﻮﺍﺳﺘﻨﺪ‪ ،‬ﺁﻧﻬﺎ ﺗﻨﻬﺎ ﻧﻤﺎﻳﺸﻲ ﺍﺯ ﺁﻥ ﺭﺍ ﻣﻲﺧﻮﺍﺳﺘﻨﺪ«‪ -‬ﺯﻳﺮﺍ ﺍﻳﻦ‬

‫ﺗﻨﻬﺎ ﺭﺍﻩ ﺑﺮﺍﻱ ﻣﺤﻔﻮﻅ ﻧﮕﺎﻩﺩﺍﺷﺘﻦ ِ ﺟﺬﺍﺑﻴﺖ ﺍﻧﻘﻼﺏ ﺍﺳﺖ‪ ،‬ﻣﺤﻔﻮﻅ ﻧﮕﺎﻩﺩﺍﺷﺘﻦ ِ ﺁﻥ ﺩﺭ ﻋﻮﺽ‬

‫ﭘﺎﻳﺎﻥﺩﺍﺩﻥ ﺑﻪ ﺁﻥ‪ ،‬ﺩﺭ ﺣﻘﻴﻘﺖﺍﺵ‪.‬‬

‫»ﻣﺎ ﺍﻋﺘﻘﺎﺩ ﻧﺪﺍﺭﻳﻢ ﻛﻪ ﺣﻘﻴﻘﺖ‪ ،‬ﻫﻤﭽﻨﺎﻥ ﺣﻘﻴﻘﻲ ﺧﻮﺍﻫﺪ ﻣﺎﻧﺪ‪ ،‬ﺁﻥ ﺯﻣﺎﻧﻲ ﻛﻪ ﭘﺮﺩﻩ­‬

‫ﻫﺎ ﺑﺎﻻ ﺭﻓﺘﻪﺍﻧﺪ‪«.‬‬

‫ﻧﻴﭽﻪ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫‪ Trompe L'œil‬ﻳﺎ ﻭﺍﻧﻤﺎﻳﻲ ﺍﻓﺴﻮﻧﮕﺮ‬

‫ﻭﺍﻧﻤﺎﻳﻲ ﻧﺎﺍﻣﻴﺪ ﺷﺪﻩ‪ :‬ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻲ‪ -‬ﺣﻘﻴﻘﻲﺗﺮ ﺍﺯ ﺣﻘﻴﻘﻲ‪ -‬ﺍﺭﺗﻔﺎﻉ ﻭﺍﻧﻤﻮﺩﻩ‪.‬‬

‫ﻭﺍﻧﻤﺎﻳﻲ ﺍﻓﺴﻮﻧﮕﺮ‪ Trompe L'œil :‬ﻏﻴﺮ ﺣﻘﻴﻘﻲﺗﺮ ﺍﺯ ﻏﻴﺮﺣﻘﻴﻘﻲ‪ -‬ﺭﺍﺯ ﻧﻤﻮﺩﻫﺎ‪.‬‬

‫ﻧﻪ ﺣﻜﺎﻳﺖ‪ ،‬ﺩﺍﺳﺘﺎﻥ ﻳﺎ ﺗﺼﻨﻴﻒ‪ ،‬ﻧﻪ ﺗﺌﺎﺗﺮ‪ ،‬ﺻﺤﻨﻪ ﻳﺎ ﻋﻤﻞ‪.‬‬

‫‪ Trompe L'œil‬ﻫﻤﻪﻱ ﺍﻳﻨﻬﺎ ﺭﺍ ﺍﺯ ﻳﺎﺩ ﻣﻲﺑﺮﺩ ﻭ ﺁﻧﻬﺎ ﺭﺍ ﻣﺎ ﺑﻪ ﺍﺯﺍﻱ ﺑﺎﺯﻧﻤﺎﻳﻲ ﺳﻄﺢ ﭘﺎﻳﻴﻦ‬

‫ﺍﺷﻴﺎﻱ ﺭﺩﻩﻱ ﺩﻭﻡ ﺭﻫﺎ ﻣﻴﻜﻨﺪ‪ .‬ﺷﻜﻞِ ﺛﺎﻧﻮﻱ ِ ﺗﺼﻨﻴﻒﻫﺎﻱ ﺑﺰﺭﮒ ﺯﻣﺎﻥ‪ ،‬ﺍﻣﺎ ﺍﻳﻦ ﺗﺼﻨﻴﻒﻫﺎ ﺩﺭ‬

‫ﺍﻳﻨﺠﺎ ﺑﻪ ﺗﻨﻬﺎﻳﻲ ﻧﻤﻮﺩ ﻣﻲﻳﺎﺑﻨﺪ‪ ،‬ﺍﻧﮕﺎﺭ ﺍﺯ ﺁﻏﺎﺯ ﻧﻈﺎﻡ ﺳﺨﻦ ﺩﺭ ﺑﺎﺏ ِ ﻧﻘﺎﺷﻲ ﻣﻨﻘﺮﺽﺷﺪﻩﺑﻮﺩ‪ .‬ﺁﻧﻬﺎ‬

‫ﻧﺎﮔﻬﺎﻥ ﺯﻳﻦ ﭘﺲ ﺩﻳﮕﺮ »ﺑﺎﺯﻧﻤﻮﺩ« ﻧﻤﻲﻛﻨﻨﺪ‪ ،‬ﺯﻳﻦ ﭘﺲ ﺁﻧﻬﺎ ﺍﺑﮋﻩﻫﺎ ﻭ ﻳﺎ ﻫﻴﭻ ﭼﻴﺰ ﺩﻳﮕﺮﻱ‬

‫ﻧﻴﺴﺘﻨﺪ‪ .‬ﺁﻧﻬﺎ ﻧﺸﺎﻧﻪﻫﺎﻳﻲ ﺗﻬﻲ ﻭ ﻧﺎﻧﻮﺷﺘﻪ ﺍﺯ ﻳﻚ ﺿﺪ ﻣﺮﺍﺳﻢ ﻳﺎ ﺿﺪﺑﺎﺯﻧﻤﺎﻳﻲِ ﺍﺟﺘﻤﺎﻋﻲ‪ ،‬ﺩﻳﻨﻲ ﻳﺎ‬

‫ﻫﻨﺮﻱ ﻫﺴﺘﻨﺪ‪ .‬ﭘﺎﺭﻩﻫﺎﻳﻲ ﺍﺯ ﺯﻧﺪﮔﻲ ِ ﺍﺟﺘﻤﺎﻋﻲ‪ ،‬ﺁﻧﻬﺎ ﺍﺯ ﺍﻣﺮ ﺛﺎﻧﻮﻱ ﻗﻄﻊ ﺭﺍﺑﻄﻪ ﻣﻲﻛﻨﻨﺪ ﻭ ﻧﻤﺎﻳﺸﻲ‬

‫ﺑﻮﺩﻥ ﺁﻥ ﺭﺍ ﺗﻘﻠﻴﺪ ﻣﻲﻛﻨﻨﺪ ﻭ ﺑﻪ ﺍﻳﻦ ﺩﻟﻴﻞ ﺍﺳﺖ ﻛﻪ ﺗﺼﺎﺩﻓﻲ ﭼﻴﺪﻩ ﻣﻲﺷﻮﻧﺪ‪ .‬ﺁﻧﻬﺎ ﭘﻴﺎﻣﺪ ﺍﻳﻦ‬

‫ﮔﺰﺍﺭﻩﺍﻧﺪ‪ :‬ﺍﻳﻦ ﺍﺑﮋﻩﻫﺎ ﺍﺑﮋﻩﻫﺎ ﻧﻴﺴﺘﻨﺪ‪ .‬ﺁﻧﻬﺎ ﺑﺮﺧﻼﻑ ﻳﻚ ﻃﺒﻴﻌﺖ ﺑﻲﺟﺎﻥ‪ ،‬ﻳﻚ ﻭﺍﻗﻌﻴﺖ ﺁﺷﻨﺎ ﺭﺍ‬

‫ﺗﻮﺻﻴﻒ ﻧﻤﻲﻛﻨﻨﺪ‪ .‬ﺁﻧﻬﺎ ﻳﻚ ﺗﻬﻲ ﻭ ﻳﻚ ﻏﻴﺎﺏ ﺭﺍ ﺗﻮﺻﻴﻒ ﻣﻲﻛﻨﻨﺪ‪ ،‬ﻏﻴﺎﺏ ﻫﺮ ﺳﻠﺴﻠﻪ ﻣﺮﺍﺗﺐ‬

‫ﺑﺎﺯﻧﻤﺎﻳﺎﻧﻨﺪﻩ ﻛﻪ ﻋﻨﺎﺻﺮ ﻳﻚ ﺗﺎﺑﻠﻮ ﺭﺍ ﺳﺎﺯﻣﺎﻥ ﻣﻲﺩﻫﻨﺪ ﻭ ﻫﻢ ﭼﻨﻴﻦ ﻧﻈﺎﻣﻲ ﺳﻴﺎﺳﻲ ﺭﺍ ﻭ‪.. .‬‬
‫‪۹٦ ‬‬
‫ﺍﻏﻮﺍ‬

‫ﺍﻳﻨﻬﺎ ﺗﻨﻬﺎ ﺳﻴﺎﻫﻲ ﻟﺸﮕﺮﻫﺎﻳﻲ ﻧﻴﺴﺘﻨﺪ ﻛﻪ ﺍﺯ ﺯﻣﻴﻨﻪ ﺭﺍﻧﺪﻩﺷﺪﻩﺑﺎﺷﻨﺪ‪ ،‬ﺑﻠﻜﻪ ﺍﺭﻭﺍﺣﻲ ﻫﺴﺘﻨﺪ‬

‫ﻛﻪ ﺩﺭ ﺧﻠﻮﺕ ﺻﺤﻨﻪ ﻇﺎﻫﺮ ﻣﻲﺷﻮﻧﺪ‪ .‬ﺣﻮﺯﻩﻱ ﺁﻧﻬﺎ ﺟﺬﺑﻪﻱ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﺎﻧﻪﻱ ﻧﻘﺎﺷﻲ ﻭ ﻫﻤﺎﻧﻨﺪﻱ‬

‫ﻧﻴﺴﺖ‪ .‬ﺑﻠﻜﻪ ﺟﺬﺑﻪﻱ ﺣﺎﺩِ ﻣﺘﺎﻓﻴﺰﻳﻜﻲ ﺑﺮﺍﻧﺪﺍﺧﺘﻦ ِ ﺍﻣﺮ ﺣﻘﻴﻘﻲ ﺍﺳﺖ‪ .‬ﺍﺑﮋﻩﻫﺎﻱ ﻇﺎﻫﺮﺷﺪﻩ ﻳﺎ ﻫﻤﺎﻥ‬

‫ﺍﺑﮋﻩﻫﺎﻱ ﻣﺘﺎﻓﻴﺰﻳﻜﻲ‪ ،‬ﺩﺭ ﺑﺎﮊﮔﻮﻧﻲ ِ ﻏﻴﺮﻭﺍﻗﻌﻲﺷﺎﻥ ﺩﺭ ﻣﻘﺎﺑﻞ ﺗﻤﺎﻣﻲ ﻓﻀﺎﻱ ﺑﺎﺯﻧﻤﺎﻳﺎﻧﻨﺪﻩﻱ‬

‫ﺭﻧﺴﺎﻧﺲ ﻗﺮﺍﺭ ﺩﺍﺭﻧﺪ‪ .‬ﺍﻳﻨﺠﺎ ﺩﺭ ﻭﺍﻗﻊ ﺍﻳﻦ ﺧﻮﺩ ﻣﻬﻢ ﻧﺒﻮﺩﻧﺸﺎﻥ ﺍﺳﺖ ﻛﻪ ﺍﻫﺎﻧﺖﺁﻣﻴﺰ ﺍﺳﺖ‪ .‬ﺍﺑﮋﻩﻫﺎﻳﻲ‬

‫ﺑﺪﻭﻥ ﺍﺭﺟﺎﻉ‪ ،‬ﻋﺮﻳﺎﻥ ﺷﺪﻩ ﺍﺯ ﺩﻛﻮﺭ‪ -‬ﺭﻭﺯﻧﺎﻣﻪﻫﺎﻱ ﻗﺪﻳﻤﻲ‪ ،‬ﻛﺘﺎﺏﻫﺎ‪ ،‬ﻣﻴﺦﻫﺎ‪ ،‬ﺗﺨﺘﻪﻫﺎ ﻭ ﺗﻜﻪﻫﺎﻱ‬

‫ﻏﺬﺍ‪ -‬ﻣﻨﺰﻭﻱ‪ ،‬ﭘﻮﺳﻴﺪﻩ‪ ،‬ﺍﺑﮋﻩﻫﺎﻳﻲ ﻣﺨﻮﻑ‪ ،‬ﺭﺍﻧﺪﻩﺷﺪﻩ ﺍﺯ ﺗﻤﺎﻡ ﺭﻭﺍﻳﺖ‪ ،‬ﺁﻧﻬﺎ ﺩﺭ ﺗﻨﻬﺎﻳﻲﺷﺎﻥ ﻗﺎﺩﺭ‬

‫ﺑﻮﺩﻧﺪ ﻓﻜﺮﻱ ﻣﺸﻐﻮﻝ ﺑﻪ ﻭﺍﻗﻌﻴﺘﻲ ﮔﻢﺷﺪﻩ ﺭﺍ ﺩﻧﺒﺎﻝ ﻛﻨﻨﺪ‪ ،‬ﭼﻴﺰﻱ ﺷﺒﻴﻪ ﺯﻳﺴﺘﻦ ﭘﻴﺶ ﺍﺯ ﺳﻮﮊﻩ ﻭ‬

‫ﻛﺴﺐ ﺁﮔﺎﻫﻲ ِ ﺁﻥ‪.‬‬

‫»‪ Trompe L'œil‬ﭘﻴﻮﺳﺘﻪ ﻣﺴﺌﻠﻪﻱ ﺑﻐﺮﻧﺞ ﺣﻀﻮﺭ ﺭﺍ ﺟﺎﻳﮕﺰﻳﻦ ﺗﺼﻮﻳﺮ ﺷﻔﺎﻑ‬

‫ﺍﺷﺎﺭﻩﮔﺮﻱ ﻣﻲﻛﻨﺪ ﻛﻪ ﻫﻨﺮ ﺩﻭﺳﺖ ﺍﻧﺘﻈﺎﺭ ﺩﺍﺭﺩ‪«.‬‬
‫ﭘﻴﺮ ﺷﺎﺭﭘﻨﺘﺮﺍ‬

‫ﻭﺍﻧﻤﻮﺩﻩﻫﺎﻳﻲ ﺑﺪﻭﻥ ﭘﺮﺳﭙﻜﺘﻴﻮ‪ ،‬ﺍﺷﻜﺎﻟﻲ ﺩﺭ ‪ ،Trompe  L'œil‬ﻧﺎﮔﻬﺎﻥ ﻇﺎﻫﺮ ﻣﻲﺷﻮﻧﺪ‪ ،‬ﺑﺎ‬

‫ﺩﻗﺘﻲ ﺩﺭﺧﺸﻨﺪﻩ‪ ،‬ﺍﻧﮕﺎﺭ ﻛﻪ ﺍﺯ ﺟﻮ ﻣﻌﻨﺎ ﭘﺲ ﺯﺩﻩ ﻭ ﺩﺭ ﺍﺗﺮ ﺣﻤﺎﻡ ﺷﺪﻩﺑﺎﺷﻨﺪ‪ .‬ﻧﻤﻮﺩﻫﺎﻱ ﻣﺤﺾ‪،‬‬

‫ﺁﻧﻬﺎ ﻃﻌﻨﻪﻱ ﺍﻣﺮ ﺑﻴﺶ ﺍﺯ ﺍﻧﺪﺍﺯﻩ ﻭﺍﻗﻌﻲ ﺭﺍ ﺩﺭ ﺧﻮﺩ ﺩﺍﺭﻧﺪ‪.‬‬

‫***‬

‫ﻧﻪ ﻃﺒﻴﻌﺘﻲ ﻫﺴﺖ‪ ،‬ﻧﻪ ﻣﻨﻈﺮﻩﺍﻱ‪ ،‬ﺁﺳﻤﺎﻧﻲ‪ ،‬ﻧﻘﻄﻪ ﮔﺮﻳﺰﻱ ﻳﺎ ﻧﻮﺭﻱ‬ ‫‪Trompe  L'œil‬‬ ‫ﺩﺭ‬

‫ﻃﺒﻴﻌﻲ‪ .‬ﻧﻪ ﭼﻬﺮﻩﺍﻱ‪ ،‬ﺭﻭﺍﻧﺸﻨﺎﺳﻲﺍﻱ ﻭ ﻳﺎ ﺗﺎﺭﻳﺨﻲ ﺑﻮﺩﻧﻲ‪ .‬ﻫﻤﻪﭼﻴﺰ ﻣﺼﻨﻮﻉ ﺍﺳﺖ‪ .‬ﻳﻚ ﭘﺲ­‬

‫‪۹۷‬‬
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺯﻣﻴﻨﻪﻱ ﻋﻤﻮﺩ‪ ،‬ﺍﺑﮋﻩﻫﺎﻱ ﺟﺪﺍ ﺷﺪﻩ ﺍﺯ ﺯﻣﻴﻨﻪﻱ ﺍﺭﺟﺎﻋﻲﺷﺎﻥ ﺭﺍ ﺗﺎﺳﻄﺢ ِ ﻧﺸﺎﻧﻪﻫﺎﻳﻲ ﻣﺤﺾ ﺍﺭﺗﻘﺎ‬

‫ﻣﻲﺑﺨﺸﺪ‪.‬‬

‫ﺷﻔﺎﻓﻴﺖ‪ ،‬ﺗﻌﻠﻴﻖ‪ ،‬ﺷﻜﻨﻨﺪﮔﻲ‪ ،‬ﻣﻨﺴﻮﺥ ﺷﺪﻥ‪ -‬ﺍﺯ ﺍﻳﻦﺭﻭ ﺗﺄﻛﻴﺪ ﺭﻭﻱ ﻛﺎﻏﺬ )ﻱ ﻛﻪ ﻟﺒﻪﻫﺎﻳﺶ‬

‫ﺧﻮﺭﺩﻩﺷﺪﻩﺍﺳﺖ(‪ ،‬ﻧﺎﻣﻪ‪ ،‬ﺁﻳﻨﻪ ﻳﺎ ﺳﺎﻋﺖ‪ ،‬ﻧﺸﺎﻧﻪﻫﺎﻱ ﺭﻧﮓﺑﺎﺧﺘﻪ ﻭ ﻧﺎﺑﻬﻨﮕﺎﻡ ﻳﻚ ﻓﺮﺍﺭﻭﻱ ﻛﻪ ﺩﺭ‬

‫ﺭﻭﺯﻣﺮﮔﻲ ﻣﺤﻮ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺁﻳﻨﻪﺍﻱ ﺑﺎ ﭼﻮﺏ ﻛﻬﻨﻪﻱ ﻗﺎﺏﺍﺵ ﻛﻪ ﮔﺮﻩﻫﺎ ﻭ ﺣﻠﻘﻪﻫﺎﻱ ﺁﻥ ﺯﻣﺎﻥ ﺭﺍ‬

‫ﻣﺜﻞ ﺳﺎﻋﺘﻲ ﺑﺪﻭﻥ ﻋﻘﺮﺑﻪ ﻧﺸﺎﻥﻣﻲﺩﻫﺪ‪ ،‬ﺳﺎﻋﺘﻲ ﻛﻪ ﺷﺨﺺ ﺭﺍ ﺑﺮﺍﻱ ﺣﺪﺱﺯﺩﻥ ﺯﻣﺎﻥ ﺑﻪ ﺧﻮﺩ‬

‫ﻭﺍﻣﻲﮔﺬﺍﺭﺩ‪ :‬ﺍﻳﻨﻬﺎ ﭼﻴﺰﻫﺎﻳﻲ ﻫﺴﺘﻨﺪ ﻛﻪ ﺩﺭ ﺯﻣﺎﻧﻲ ﻛﻪ ﭘﻴﺸﺘﺮ ﺳﭙﺮﻱﺷﺪﻩ‪ ،‬ﺯﻳﺴﺘﻪﺍﻧﺪ‪ .‬ﺍﻣﺮ ﺗﺎﺭﻳﺨﻲ‬

‫ﺑﻪ ﺗﻨﻬﺎﻳﻲ ﺧﻮﺩﻧﻤﺎﻳﻲ ﻣﻲﻛﻨﺪ‪ ،‬ﺑﺎﺯﻧﻤﺎﻳﻲ ِ ﭘﻴﭽﻴﺪﻩﻱ ﺯﻣﺎﻥ ﻭ ﻣﻜﺎﻥ‪.‬‬

‫ﻧﻪ ﻣﻴﻮﻩﺍﻱ‪ ،‬ﮔﻮﺷﺘﻲ ﻳﺎ ﮔﻠﻲ ﻫﺴﺖ ﻭ ﻧﻪ ﺳﺒﺪﻱ ﻭ ﺩﺳﺘﻪ ﮔﻠﻲ ﻭ ﻧﻪ ﻫﻴﭻﭼﻴﺰ ﻟﺬﺕ ﺑﺨﺸﻲ‬

‫ﻛﻪ ﺩﺭ ﻃﺒﻴﻌﺖ )ﺑﻲﺟﺎﻥ( ﻳﺎﻓﺖﺷﻮﺩ‪ .‬ﻃﺒﻴﻌﺖ ﺷﻬﻮﺍﻧﻲ ﺍﺳﺖ ﻭ ﻃﺒﻴﻌﺖ ﺑﻲﺟﺎﻥ ﺗﺰﺗﻴﺒﻲ ﺷﻬﻮﺍﻧﻲ‬

‫ﺑﺮ ﻳﻚ ﺳﻄﺢ ﺍﻓﻘﻲ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﺯﻣﻴﻦ ﻳﺎ ﻳﻚ ﻣﻴﺰ ﻓﺮﺍﻫﻢﺷﺪﻩﺑﺎﺷﺪ‪ .‬ﺑﺎ ﺍﻳﻨﻜﻪ ﻳﻚ ﻃﺒﻴﻌﺖ ﺑﻲﺟﺎﻥ‬

‫ﮔﺎﻫﻲ ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﺎ ﺑﻲﻧﻈﻤﻲ ﻭ ﺑﺎ ﻟﺒﻪﻱ ﺑﺮﻳﺪﻩﻱ ﭼﻴﺰﻫﺎ ﻭ ﺷﻜﻨﻨﺪﮔﻲ ِ ﻛﺎﺭﺑﺮﺩﺷﺎﻥ ﺑﻪ ﻧﻤﺎﻳﺶ‬

‫ﺩﺭﺁﻳﺪ ﻫﻤﻴﺸﻪ ﺳﻨﮕﻴﻨﻲ ﭼﻴﺰﻫﺎﻱ ﻭﺍﻗﻌﻲ ﺭﺍ ﺣﻔﻆ ﻣﻲﻛﻨﻨﺪ ﺍﻧﮕﺎﺭ ﻛﻪ ﺗﻮﺳﻂ ﺍﻓﻖﻭﺍﺭﮔﻲ ﻣﻮﺭﺩ‬

‫ﺗﺄﻛﻴﺪ ﻭﺍﻗﻊ ﺷﺪﻩﺑﺎﺷﺪ‪ .‬ﺩﺭ ﺣﺎﻟﻴﻜﻪ ‪ ،Trompe L'œil‬ﺁﻥﻃﻮﺭ ﻛﻪ ﺑﺎ ﭘﺲ ﺯﻣﻴﻨﻪﻱ ﻋﻤﻮﺩﻱ ﻧﺸﺎﻥ­‬

‫ﺩﺍﺩﻩﺷﺪﻩﺍﺳﺖ‪ ،‬ﺩﺭ ﺑﻲﻭﺯﻧﻲ ﻋﻤﻞ ﻣﻲﻛﻨﺪ‪ ،‬ﻫﻤﻪﭼﻴﺰﻱ ﻣﻌﻠﻖ ﺷﺪﻩﺍﺳﺖ‪ ،‬ﺍﺑﮋﻩﻫﺎ‪ ،‬ﺯﻣﺎﻥ‪ ،‬ﺣﺘﻲ ﻧﻮﺭ ﻭ‬

‫ﭘﺮﺳﭙﻜﺘﻴﻮ‪ .‬ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﻃﺒﻴﻌﺖ ﺑﻲﺟﺎﻥ ﺍﺯ ﺍﺷﻜﺎﻟﻲ ﻛﻼﺳﻴﻚ ﻭ ﺳﺎﻳﻪﻫﺎ ﺑﻬﺮﻩ ﻣﻲﮔﻴﺮﺩ‪ ،‬ﺳﺎﻳﻪ­‬

‫ﺩﺭ ﻋﻤﻘﻲ ﻛﻪ ﺍﺯ ﺳﺮﭼﺸﻤﻪﻱ ﺭﻭﺷﻨﺎﻳﻲ ﺣﻘﻴﻘﻲ ﻧﺸﺄﺕ‬ ‫‪Trompe  L'œil‬‬ ‫ﻫﺎﻱ ﺯﺍﻳﻴﺪﻩﺷﺪﻩ ﺑﺎ‬

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‫ﻣﻲﮔﻴﺮﺩ‪ ،‬ﺑﻬﺮﻩﺍﻱ ﻧﺪﺍﺭﺩ‪ .‬ﻣﺎﻧﻨﺪ ﻣﻨﺴﻮﺥ ﺷﺪﻥ ِ ﺍﺑﮋﻩﻫﺎ ﺁﻧﻬﺎ ﻧﺸﺎﻧﻪﻱ ﻳﻚ ﺳﺮﮔﻴﺠﻪﻱ ﺧﻔﻴﻒ‬

‫ﻫﺴﺘﻨﺪ‪ ،‬ﺳﺮﮔﻴﺠﻪﻱ ﻳﻚ ﺯﻧﺪﮔﻲ ِ ﭘﻴﺸﻴﻦ ﺍﺯ ﻧﻤﻮﺩﻫﺎﻱ ﻣﻘﺪﻡ ﺑﺮ ﻭﺍﻗﻌﻴﺖ‪.‬‬

‫ﺍﻳﻦ ﻧﻮﺭ ﺍﺳﺮﺍﺭﺁﻣﻴﺰ ﺑﺪﻭﻥ ﺳﺮﭼﺸﻤﻪ ﻛﻪ ﭘﺮﺗﻮﻫﺎﻱ ﻏﻴﺮﻣﺴﺘﻘﻴﻢﺍﺵ ﺩﻳﮕﺮ ﻭﺍﻗﻌﻲ ﻧﻴﺴﺘﻨﺪ‪،‬‬

‫ﻫﻤﭽﻮﻥ ﺁﺏ ﺭﺍﻛﺪ ﺍﺳﺖ‪ ،‬ﺁﺑﻲ ﺑﺪﻭﻥ ﻋﻤﻖ‪ ،‬ﻟﻄﻴﻒ ﻫﻤﭽﻮﻥ ﻣﺮﮔﻲ ﻃﺒﻴﻌﻲ‪ .‬ﺁﻧﻬﺎ ﺩﺭ ﺍﻳﻨﺠﺎ ﺍﺯ ﺯﻣﺎﻧﻲ‬

‫ﻛﻪ ﺳﺎﻳﻪﻫﺎﻳﺸﺎﻥ )ﺟﻮﻫﺮﺷﺎﻥ( ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻩﺍﻧﺪ ﺩﻳﺮﻳﻨﻪﺍﻱ ﺩﺍﺭﻧﺪ‪ .‬ﭼﻴﺰﻱ ﺑﻴﺶ ﺍﺯ ﺁﻓﺘﺎﺏ ﺑﺮﺁﻧﻬﺎ‬

‫ﻣﻲﺗﺎﺑﺪ‪ ،‬ﺳﺘﺎﺭﻩﺍﻱ ﺭﻭﺷﻦﺗﺮ ﺑﺪﻭﻥ ِ ﺟﻮ ﻭ ﻳﺎ ﺑﺎ ﻫﻮﺍﻳﻲ ﻛﻪ ﻧﻮﺭ ﺭﺍ ﻧﻤﻲﺷﻜﻨﺪ‪ .‬ﺷﺎﻳﺪ ﻣﺴﺘﻘﻴﻤﺎً ﻣﺮﮒ‬

‫ﺑﺮ ﺍﻳﻦ ﭼﻴﺰﻫﺎ ﻣﻲﺗﺎﺑﺪ‪ ،‬ﻭ ﺍﻳﻦ ﻳﮕﺎﻧﻪ ﻣﻌﻨﺎﻳﺸﺎﻥ ﺍﺳﺖ؟ ﺍﻳﻦ ﺳﺎﻳﻪﻫﺎ ﻫﻤﺮﺍﻩ ﺑﺎ ﺁﻓﺘﺎﺏ ﺣﺮﻛﺖ‬

‫ﻧﻤﻲﻛﻨﻨﺪ؛ ﻫﻤﺮﺍﻩ ﺑﺎ ﻏﺮﻭﺏ ﺑﻠﻨﺪ ﻧﻤﻲﺷﻮﻧﺪ؛ ﺑﺪﻭﻥ ﺣﺮﻛﺖ‪ ،‬ﺁﻧﻬﺎ ﻫﻤﭽﻮﻥ ﺣﺎﺷﻴﻪﺍﻱ ﺍﺟﺘﻨﺎﺏﻧﺎﭘﺬﻳﺮ‬

‫ﺑﻪ ﻧﻈﺮ ﻣﻲﺭﺳﻨﺪ‪ .‬ﻧﻪ ﻧﺘﻴﺠﻪﻱ ﺍﺯ ﺳﺎﻳﻪ ﺭﻭﺷﻦ ﻭ ﻧﻪ ﺩﻳﺎﻟﻜﺘﻴﻚ ﺍﺳﺘﺎﺩﺍﻧﻪﻱ ﻧﻮﺭ ﻭ ﺳﺎﻳﻪ )ﭼﻮﻥ ﺍﻳﻨﻬﺎ‬

‫ﻫﻨﻮﺯ ﺟﻠﻮﻩﻫﺎﻳﻲ ﻧﻘﺎﺷﺎﻧﻪﺍﻧﺪ(‪ ،‬ﺁﻧﻬﺎ ﺷﻔﺎﻓﻴﺖ ﺍﺑﮋﻩﻫﺎ ﺭﺍ ﺑﻪ ﺁﻓﺘﺎﺑﻲ ﺗﻴﺮﻩ ﻋﺮﺿﻪﻣﻲﻛﻨﻨﺪ‪.‬‬

‫ﺷﺨﺺ ﺣﺲﻣﻲﻛﻨﺪ ﻛﻪ ﺍﻳﻦ ﺍﺑﮋﻩﻫﺎ ﺑﻪ ﺳﻴﺎﻫﭽﺎﻟﻪﺍﻱ ﻧﺰﺩﻳﻚ ﻣﻲﺷﻮﻧﺪ ﻛﻪ ﺍﺯ ﺁﻥ‪ ،‬ﻭﺍﻗﻌﺖ‬

‫ﺟﻬﺎﻥ ﻭﺍﻗﻌﻲ ﻭ ﺯﻣﺎﻥ ﻣﻌﻤﻮﻝ‪ ،‬ﺑﺮﺍﻳﻤﺎﻥ ﭘﺪﻳﺪﺍﺭ ﻣﻲﺷﻮﻧﺪ‪ .‬ﻧﻤﻮﺩ ﺍﻳﻦ ﺩﻭﺗﺎﻳﻲ ﺩﺭ ﻫﻴﺄﺕ ﺍﺷﻴﺎﻳﻲ‬

‫ﻧﺎﭼﻴﺰ‪ ،‬ﺑﻪ ﻫﻤﺮﺍﻩ ِ ﺍﻳﻦ ﺟﻠﻮﻩﻱ ﻣﺮﻛﺰﮔﺮﻳﺰ ﭘﻴﺶ ﺭﻭﻧﺪﻩ؛ ﺍﻳﻦ ﭘﻴﺸﺮﻭﻱ ﺑﻪ ﺳﻤﺖ ﺳﻮﮊﻩﻱ ﻳﻚ ﺍﺑﮋﻩ­‬

‫ﻱ ﺁﻳﻨﻪﺍﻱ ﺍﺳﺖ ﻛﻪ ﺟﻠﻮﻩﻱ ﺍﻏﻮﺍﮔﺮﻱ ﺭﺍ ﺧﻠﻖ ﻣﻲﻛﻨﺪ‪ ،‬ﻭﻳﮋﮔﻲ ِ ﺣﻴﺮﺕﺁﻭﺭ ﺗﺄﺛﺮ ‪:Trompe L'œil‬‬

‫ﺳﺮﮔﻴﺠﻪﻱ ﻟﻤﺴﻲﺍﻱ ﻛﻪ ﺗﻤﻨﺎﻱ ِ ﺍﺣﻤﻘﺎﻧﻪﻱ ﺳﻮﮊﻩ ﺭﺍ ﺑﺮﺍﻱ ﺍﺯ ﻣﻴﺎﻥ ﺑﺮﺩﻥ ِ ﺗﺼﻮﻳﺮ ﺧﻮﺩﺵ ﻭ‬

‫ﺑﺪﻳﻦﺗﺮﺗﻴﺐ ﻣﺤﻮ ﻛﺮﺩﻥ ِ ﺁﻥ‪ ،‬ﺑﺎﺯﮔﻮ ﻣﻲﻛﻨﺪ‪ .‬ﺯﻳﺮﺍ ﻭﺍﻗﻌﻴﺖ ﺗﻨﻬﺎ ﺯﻣﺎﻧﻲ ﻣﺎ ﺭﺍ ﺩﺭ ﭼﻨﮓ ﻣﻲﮔﻴﺮﺩ‬

‫ﻛﻪ ﻣﺎ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺁﻥ ﮔﻢ ﻛﺮﺩﻩﺑﺎﺷﻴﻢ ﻭ ﻳﺎ ﻫﻨﮕﺎﻣﻲ ﻛﻪ ﺩﺭ ﺷﻤﺎﻳﻞ ﻣﺮﮒ ِ ﻭﻫﻢﺁﻣﻴﺰ ﺧﻮﺩﻣﺎﻥ‬

‫ﺩﻭﺑﺎﺭﻩ ﭘﺪﻳﺪﺍﺭ ﻣﻲﺷﻮﺩ‪.‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫‪Trompe ‬‬ ‫ﻳﻚ ﺧﻮﺍﻫﺶ ﻣﺒﻬﻢ ﻓﻴﺰﻳﻜﻲ ﺍﻣﺎ ﻣﻌﻠﻖ ﺷﺪﻩ‪ ،‬ﻣﺘﺎﻓﻴﺰﻳﻜﻲ ﻣﻲﺷﻮﺩ‪ :‬ﺍﺑﮋﻩﻫﺎﻱ‬

‫‪ L'œil‬ﭼﻴﺰﻱ ﺍﺯ ﻫﻤﺎﻧﻲ ﺩﺭ ﺧﻮﺩ ﺩﺍﺭﻧﺪ‪ :‬ﻧﺸﺎﻃﻲ ﺧﻴﺎﻟﻲ ﻫﻤﭽﻮﻥ ﻟﺤﻈﻪﺍﻱ ﻛﻪ ﻛﻮﺩﻙ ﺗﺼﻮﻳﺮ ﺧﻮﺩ‬

‫ﺭﺍ ﻛﺸﻒ ﻣﻲﻛﻨﺪ‪ ،‬ﻳﻚ ﺗﻮﻫﻢ ﺑﻲﻭﺍﺳﻄﻪ ﺩﺭ ﺭﺍﺱ ﺗﺮﺗﻴﺐ ِﺍﺩﺭﺍﻛﻲ‪.‬‬

‫ﻣﻌﺠﺰﻩﺍﻱ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﺍﻳﻦ ﻣﻌﺠﺰﻩ ﺩﺭ ﻭﺍﻗﻊﺍﻧﮕﺎﺭﻱ ِ ﺑﻪ ﺍﻧﺠﺎﻡ‬ ‫‪Trompe  L'œil‬‬ ‫ﺍﮔﺮ‬

‫ﺭﺳﻴﺪﻥﺍﺵ‪ ،‬ﺭﻭﻱ ﻧﻤﻲﺩﻫﺪ‪ .‬ﻣﺜﻞ ﺍﻧﮕﻮﺭﻫﺎﻱ ﺯﺋﻮﺱ ﻛﻪ ﺁﻥﻗﺪﺭ ﻭﺍﻗﻌﻲ ﺑﻪ ﻧﻈﺮ ﺭﺳﻴﺪﻧﺪ ﻛﻪ‬

‫ﭘﺮﻧﺪﮔﺎﻥ ﺑﻪ ﺁﻧﻬﺎ ﻧﻮﻙ ﻣﻲﺯﺩﻧﺪ‪ :‬ﺍﻣﺮﻱ ﭘﻮﭺ‪ .‬ﻣﻌﺠﺰﻩﻫﺎ ﻫﻴﭻﮔﺎﻩ ﺍﺯ ﻭﺍﻗﻌﻴﺖ ﻣﻔﺮﻁ ﻣﻨﺘﺞ ﻧﻤﻲﺷﻮﻧﺪ‬

‫ﺑﻠﻜﻪ ﺑﺎﻟﻌﻜﺲ ﺍﺯ ﻭﻗﻔﻪﺍﻱ ﻧﺎﮔﻬﺎﻧﻲ ﺩﺭ ﻭﺍﻗﻌﻴﺖ ﻭ ﺳﺮﮔﻴﺠﻪﺍﻱ ﺣﺎﺻﻞ ﺍﺯ ﺍﺣﺴﺎﺱ ﺳﻘﻮﻁ ﺍﻧﺴﺎﻥ‬

‫ﻣﻲﺁﻳﻨﺪ‪ .‬ﺁﺷﻨﺎﻳﻲ ِ ﻓﺮﺍﻭﺍﻗﻌﻲ ﺍﺑﮋﻩﻫﺎ ﺍﻳﻦ ﻓﻘﺪﺍﻥ ﻭﺍﻗﻌﻴﺖ ﺭﺍ ﺗﺮﺟﻤﻪﻣﻲﻛﻨﺪ‪ .‬ﺑﺎ ﺍﺯ ﻫﻢ ﮔﺴﻴﺨﺘﮕﻲ‬

‫ﺍﻳﻦ ﺳﺎﺧﺘﺎﺭ ﺳﻠﺴﻠﻪ ﻣﺮﺍﺗﺒﻲ ﻣﻜﺎﻥ ﻛﻪ ﭼﺸﻢ ﻭ ﺑﻴﻨﺎﻳﻲ ﺭﺍ ﺩﺭ ﺍﻭﻟﻮﻳﺖ ﻗﺮﺍﺭ ﻣﻲﺩﻫﺪ ﻭ ﻧﻴﺰ ﺍﺯ ﻫﻢ‬

‫ﮔﺴﻴﺨﺘﮕﻲ ِ ﻭﺍﻧﻤﺎﻳﻲ ِ ﮊﺭﻑ ﻧﮕﺎﺭﺍﻧﻪ‪ -‬ﭼﻮﻥ ﺗﻨﻬﺎ ﻳﻚ ﻭﺍﻧﻤﻮﺩﻩ ﺍﺳﺖ‪ -‬ﭼﻴﺰﻱ ﭘﺪﻳﺪﺍﺭ ﻣﻲﺷﻮﺩ‪ ،‬ﺑﺮﺍﻱ‬

‫ﺧﻮﺍﺳﺘﻦ ﭼﻴﺰﻱ ﺑﻬﺘﺮ ﻛﻪ ﻣﺎ ﺑﺎ ﻭﺍﮊﮔﺎﻥ ﻟﻤﺲ ﻭ ﺣﺎﺩ ﺣﻀﻮﺭ ﻟﻤﺴﻲ ِ ﭼﻴﺰﻫﺎ ﺑﻴﺎﻥ ﻣﻲﻛﻨﻴﻢ ﻭ‬

‫»ﺍﻧﮕﺎﺭ ﻛﻪ ﺷﺨﺺ ﻣﻲﺗﻮﺍﻧﺴﺖ ﺁﻧﻬﺎ ﺭﺍ ﻧﮕﻪ ﺩﺍﺭﺩ‪ «:‬ﺍﻳﻦ ﻓﺎﻧﺘﺰﻱ ِ ﻟﻤﺴﻲ ﻫﻴﭻ ﺭﺑﻄﻲ ﺑﻪ ﺣﺲ‬

‫ﻻﻣﺴﻪﻱ ﻣﺎ ﻧﺪﺍﺭﺩ؛ ﺍﺳﺘﻌﺎﺭﻩﺍﻳﺴﺖ ﺑﺮﺍﻱ »ﺑﻪ ﭼﻨﮓ ﺁﻭﺭﺩﻥ« ﻛﻪ ﺍﺯ ﻧﺎﺑﻮﺩﻱ ﺻﺤﻨﻪ ﻭ ﻣﻜﺎﻥ‬

‫ﺑﺎﺯﻧﻤﺎﻳﻲ ﻣﻨﺘﺞ ﻣﻲﺷﻮﺩ‪ .‬ﻧﺎﮔﻬﺎﻥ ﺍﻳﻦ ﺑﻪﭼﻨﮓﺁﻭﺭﺩﻥ ﺑﻪ ﺳﻮﻱ ﺟﻬﺎﻥ ﻣﻨﺴﻮﺏ ﺑﻪ »ﻭﺍﻗﻌﻲ«‬

‫ﺑﺎﺯﻣﻲﮔﺮﺩﺩ ﺗﺎ ﺑﺪﻳﻦﻭﺍﺳﻄﻪ ﺍﻳﻦ »ﻭﺍﻗﻌﻴﺖ« ﺭﺍ ﺁﺷﻜﺎﺭ ﻧﻤﺎﻳﺪ ﻛﻪ ﻫﻴﭻ ﭼﻴﺰ ﻧﻴﺴﺖ ﺑﻪ ﺟﺰ ﺟﻬﺎﻧﻲ‬

‫ﺻﺤﻨﻪ ﺷﺪﻩ ﻭ ﺍﺑﮋﻩ ﺷﺪﻩ ﺩﺭ ﺭﺍﺳﺘﺎﻱ ﻗﻮﺍﻋﺪ ﭘﺮﺳﭙﻜﺘﻴﻮ‪» .‬ﻭﺍﻗﻌﻴﺖ« ﺩﺭ ﻣﻘﺎﻡ ِﻳﻚ ﺍﺻﻞ ﻧﻤﻮﺩ‬

‫ﻣﻲﻳﺎﺑﺪ‪ ،‬ﺍﺻﻠﻲ ﻛﻪ ﻧﻘﺎﺷﻲ‪ ،‬ﻣﺠﺴﻤﻪﺳﺎﺯﻱ ﻭ ﻣﻌﻤﺎﺭﻱ ِ ﺩﻭﺭﺍﻥ ﺭﺍ ﺗﻌﺮﻳﻒ ﻣﻲﻛﻨﺪ‪] ،‬ﺍﻣﺎ [ ﺑﺎ ﻫﻤﻪﻱ‬

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‫ﺍﻏﻮﺍ‬

‫ﺍﻳﻨﻬﺎ ﻳﻚ ﺍﺻﻞ ﺍﺳﺖ‪ -‬ﻳﻌﻨﻲ ﻭﺍﻧﻤﻮﺩﻩﺍﻱ ﻛﻪ ﺗﻮﺳﻂ ﺣﺎﺩ ﻭﺍﻧﻤﺎﻳﻲ ِ ﺗﺠﺮﺑﻲ )‪(Trompe  L'œil‬‬

‫ﺗﺤﻠﻴﻞ ﻣﻲﺭﻭﺩ‪.‬‬

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‫ﺳﻌﻲ ﻧﻤﻲﻛﻨﺪ ﺧﻮﺩﺵ ﺭﺍ ﺑﺎ ﺍﻣﺮ ﻭﺍﻗﻌﻲ ﺍﺷﺘﺒﺎﻩ ﺑﮕﻴﺮﺩ‪ .‬ﺩﺭﺣﺎﻟﻴﻜﻪ‬ ‫‪Trompe  L'œil‬‬

‫ﻫﺸﻴﺎﺭﺍﻧﻪ ﺑﻪ ﻭﺳﻴﻠﻪﻱ ﺑﺎﺯﻱ ﻭ ﺗﺮﻓﻨﺪ ﺗﻮﻟﻴﺪ ﺷﺪﻩﺍﺳﺖ‪ ،‬ﺧﻮﺩﺵ ﺭﺍﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻭﺍﻧﻤﻮﺩﻩ ﺑﻪ ﻧﻤﺎﻳﺶ‬

‫ﻣﻲﮔﺬﺍﺭﺩ‪.‬‬

‫ﺑﺎ ﺍﺩﺍﻱ ﺑﻌﺪ ﺳﻮﻡ ﺭﺍ ﺩﺭﺁﻭﺭﺩﻥ‪ ،‬ﻭﺍﻗﻌﻴﺖ ﺍﻳﻦ ﺑﻌﺪ ﺭﺍ ﺯﻳﺮ ﺳﺌﻮﺍﻝ ﻣﻲﺑﺮﺩ ﻭ ﺑﺎ ﺍﺩﺍ ﺩﺭ ﺁﻭﺭﺩﻥ ﻭ‬

‫ﺍﻓﺮﺍﻁ ﺩﺭ ﺟﻠﻮﻩﻫﺎﻱ ﺍﻣﺮ ﻭﺍﻗﻌﻲ ﺑﻪ ﮔﻮﻧﻪﺍﻱ ﺭﺍﺩﻳﻜﺎﻝ ﺍﺻﻞ ﻭﺍﻗﻌﻴﺖ ﺭﺍ ﺑﻪ ﭘﺮﺳﺶ ﻣﻲﻛﺸﺪ‪ .‬ﺍﻣﺮ‬

‫ﻭﺍﻗﻌﻲ ﺗﻮﺳﻂ ﻫﻤﻴﻦ ﺍﻓﺮﺍﻁ ﺩﺭ ﻧﻤﻮﺩﻫﺎﻳﺶ ﺭﻫﺎ ﺷﺪﻩﺍﺳﺖ‪ .‬ﺍﺑﮋﻩﻫﺎ ﺑﻴﺶ ﺍﺯ ﺍﻧﺪﺍﺯﻩ ﺷﺒﻴﻪ ﺧﻮﺩ‬

‫ﻫﺴﺘﻨﺪ‪ ،‬ﺍﻳﻦ ﺷﺒﺎﻫﺖ ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﻣﺜﻞ ِ ﻳﻚ ﻭﺿﻊ ِ ﺛﺎﻧﻮﻳﻪ ﺍﺳﺖ ﺑﻪ ﻭﺳﻴﻠﻪﻱ ﺍﻳﻦ ﺷﺒﺎﻫﺖ‬

‫ﺗﻤﺜﻴﻠﻲ ﻭ ﻧﻮﺭﺍﻓﺸﺎﻧﻲ ﻣﻮﺭﺏ ﺍﺑﮋﻩﻫﺎ ﺑﻪ ﻃﻌﻨﻪﻱ ﻭﺍﻗﻌﻴﺘﻲ ﺍﻓﺮﺍﻃﻲ ﺍﺷﺎﺭﻩ ﻣﻲﻛﻨﺪ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﻲﺁﻳﺪ ﻛﻪ‬

‫ﻋﻤﻖ ﺳﺮﻭﺗﻪ ﺷﺪﻩﺑﺎﺷﺪ‪ .‬ﺩﺭﺣﺎﻟﻴﻜﻪ ﺭﻧﺴﺎﻧﺲ‪ ،‬ﺗﻤﺎﻣﻲ ﻓﻀﺎ ﺭﺍ ﺩﺭ ﺭﺍﺳﺘﺎﻱ ﻧﻘﻄﻪ ﮔﺮﻳﺰﻱ ﺩﻭﺭ‬

‫ﺳﺎﺯﻣﺎﻥ ﻣﻲﺩﻫﺪ ﭘﺮﺳﭙﻜﺘﻴﻮ ﺩﺭ ‪ ،Trompe L'œil‬ﺍﺯ ﻳﻚ ﻧﻘﻄﻪ ﻧﻈﺮ‪ ،‬ﺑﺮﺁﻣﺪﻩﻣﻲﺷﻮﺩ‪ .‬ﺑﺠﺎﻱ ﮔﺮﻳﺰ‬

‫ﺍﺯ ﻣﻘﺎﺑﻞ ﺟﺮﻳﺎﻥ )‪ (sweep‬ﭼﺸﻢﺍﻧﺪﺍﺯﻱ ِ )‪ (panoramic‬ﭼﺸﻢ )ﺍﻣﺘﻴﺎﺯ ﺩﻳﺪ ِ ‪،(panoptic‬‬

‫ﺍﺑﮋﻩﻫﺎ ﺗﻮﺳﻂ ﻧﻮﻋﻲ ﻋﻤﻖ ﺩﺭﻭﻧﻲ ﭼﺸﻢ ﺭﺍ ﮔﻮﻝ ﻣﻲﺯﻧﻨﺪ )‪ -Trompe  L'œil‬ﻧﻪ ﺑﺎ ﻭﺍﺩﺍﺷﺘﻦ ِ‬

‫ﺷﺨﺺ ﺑﻪ ﺍﻋﺘﻘﺎﺩ ﺑﻪ ﺟﻬﺎﻧﻲ ﻛﻪ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ ﺑﻠﻜﻪ ﺑﺎ ﺗﻀﻌﻴﻒ ﻛﺮﺩﻥِ ﻣﻮﻗﻌﻴﺖ ﺍﻭﻟﻮﻳﺖﻳﺎﻓﺘﻪﻱ ﮔﻴﺰ‬

‫)‪ .(gaze‬ﭼﺸﻢ ﺑﻪ ﺟﺎﻱ ﺁﻧﻜﻪ ﻣﻮﻟﺪ ﻳﻚ ﻓﻀﺎﻱ ِ ﻭﺍﮔﺮﺍ ﺑﺎﺷﺪ‪ ،‬ﭼﻴﺰﻱ ﺟﺰ ﻧﻘﻄﻪ ﮔﺮﻳﺰﻱ ﺩﺭﻭﻧﻲ‬

‫ﺑﺮﺍﻱ ﺗﻼﻗﻲ ِ ﺍﺑﮋﻩﻫﺎ ﻧﻴﺴﺖ‪ .‬ﻳﻚ ﺟﻬﺎﻥ ِ ﻣﺘﻔﺎﻭﺕ ﺯﻣﻴﻨﻪ ﺭﺍ ﺍﺷﻐﺎﻝ ﻣﻲﻛﻨﺪ‪ ،‬ﺟﻬﺎﻧﻲ ﺑﺪﻭﻥ ِ ﺍﻓﻖ ﻳﺎ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺍﻓﻖﻭﺍﺭﮔﻲ‪ ،‬ﻫﻤﭽﻮﻥ ﺁﻳﻨﻪﺍﻱ ﻣﺎﺕ ﺩﺭ ﺑﺮﺍﺑﺮ ﭼﺸﻢ ﻭ ﺑﻲ ﻫﻴﭻ ﭼﻴﺰﻱ ﺩﺭ ﭘﺲ ﺁﻥ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﺍﻳﻦ‬

‫ﺣﻴﻄﻪﻱ ﻧﻤﻮﺩﻫﺎﺳﺖ‪ ،‬ﺟﺎﻳﻲ ﻛﻪ ﭼﻴﺰﻱ ﺑﺮﺍﻱ ﺩﻳﺪﻥ ﻧﻴﺴﺖ‪ ،‬ﺟﺎﻳﻲ ﻛﻪ ﭼﻴﺰﻫﺎ ﺷﻤﺎ ﺭﺍ ﻣﻲﺑﻴﻨﻨﺪ‪.‬‬

‫ﺁﻧﻬﺎ ﺍﺯ ﻣﻘﺎﺑﻞ ﮔﻴﺰ ِ ﺷﻤﺎ ﻓﺮﺍﺭ ﻧﻤﻲﻛﻨﻨﺪ ﺑﻠﻜﻪ ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﺩﺭ ﻣﻘﺎﺑﻞ ﺷﻤﺎ ﻗﺮﺍﺭ ﻣﻲﺩﻫﻨﺪ ﺑﺎ ﻧﻮﺭﻱ‬

‫ﻛﻪ ﺑﻪ ﻧﻈﺮ ﻣﻲﺁﻳﺪ ﺍﺯ ﺟﻬﺎﻧﻲ ﺩﻳﮕﺮ ﺁﻣﺪﻩ ﺑﺎﺷﺪ‪ ،‬ﺑﺎ ﺳﺎﻳﻪﻫﺎﻳﻲ ﻛﻪ ﻫﻴﭽﮕﺎﻩ ﻛﺎﻣﻼً ﺑﻪ ﺁﻧﻬﺎ ﻳﻚ ﺑﻌﺪ‬

‫ﺳﻮﻡ ﺣﻘﻴﻘﻲ ﻧﻤﻲﺩﻫﺪ‪ .‬ﺯﻳﺮﺍ ﺍﻳﻦ ﺑﻌﺪ ﻣﺮﺑﻮﻁ ﺑﻪ ﭘﺮﺳﭙﻜﺘﻴﻮﻱ ﺍﺳﺖ ﻛﻪ ﺩﺍﺋﻤﺎً ﻧﺸﺎﻧﮕﺮِ ﺗﻮﺍﻥ ِ ﻧﺎﻗﺺ ِ‬

‫ﺷﻨﺎﺳﺎﻳﻲ ِ ﻧﺸﺎﻧﻪﻱ ﻣﺮﺑﻮﻁ ﺑﻪ ﻭﺍﻗﻌﻴﺖ ﺍﺳﺖ‪ -‬ﺗﻮﺍﻥ ﺷﻨﺎﺳﺎﻳﻲ ِ ﻧﺎﻗﺼﻲ ﻛﻪ ﻫﻤﻪﻱ ﻫﻨﺮ ﻧﻘﺎﺷﻲ ﺭﺍ‬

‫ﺍﺯ ﺭﻧﺴﺎﻧﺲ ﺑﻪ ﺑﻌﺪ‪ ،‬ﺗﻀﻌﻴﻒ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬

‫ﺍﺯ ﻣﻜﺎﻥ ِ ﻣﺴﺘﻘﻞ ِ ﻟﺬﺕ ِ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﺎﻧﻪ ﻧﺸﺄ ﺕ‬ ‫ِ‪Trompe  L'œil‬‬ ‫ﺷﮕﻔﺖﺍﻧﮕﻴﺰﻱ‬

‫ﻣﻲﮔﻴﺮﺩ‪ -‬ﻛﻪ ﻫﻤﺮﺍﻩ ﺑﺎ ﺭﻧﺴﺎﻧﺲ ﻧﻮﺭ ﻋﺠﻴﺒﻲ ﺑﺮ ﺗﻤﺎﻣﻲ ِ ﺍﻳﻦ ﻭﺍﻗﻌﻴﺖ ِﻧﻮ ﻭ ﻏﺮﺑﻲ ﻛﻪ ﭘﻴﺮﻭﺯﻣﻨﺪﺍﻧﻪ‬

‫ﻇﻬﻮﺭ ﻳﺎﻓﺖ‪ ،‬ﻣﻲﺗﺎﺑﺎﻧﺪ‪ Trompe L'œil .‬ﻧﻤﻮﺩ ﻃﻌﻨﻪﺁﻣﻴﺰ ﺍﻳﻦ ﻭﺍﻗﻌﻴﺖ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻧﻘﺸﻲ ﺑﻮﺩ ﻛﻪ‬

‫ﺳﻮﺭﺋﺎﻟﻴﺴﻢ ﺩﺭ ﺍﻧﻘﻼﺏ ﻛﺎﺭﻛﺮﺩﮔﺮﺍﻳﺎﻧﻪ )‪ (functionalist‬ﺍﻭﺍﺋﻞ ﻗﺮﻥ ﺑﻴﺴﺘﻢ ﺍﻳﻔﺎ ﻛﺮﺩ‪ -‬ﺩﺭﺣﺎﻟﻴﻜﻪ‬

‫‪Trompe ‬‬ ‫ﭼﻴﺰﻱ ﺟﺰ ﺗﺼﻮﺭﻱ ﻃﻌﻨﻪﺁﻣﻴﺰ ﺍﺯ ﺍﺻﻞ ﻛﺎﺭﻛﺮﺩﮔﺮﺍﻳﻲ ﻧﺒﻮﺩ‪ .‬ﺳﻮﺭﺋﺎﻟﻴﺴﻢ ﻫﻤﭽﻮﻥ‬

‫‪ L'œil‬ﻛﺎﻣﻼً ﻗﺴﻤﺘﻲ ﺍﺯ ﻫﻨﺮ ﻳﺎ ﺗﺎﺭﻳﺦ ﻫﻨﺮ ﻧﻴﺴﺖ ﺯﻳﺮﺍ ﻣﺴﺎﺋﻞ ﺍﻳﻦ ﺣﻮﺯﻩﻫﺎ ﺩﻏﺪﻏﻪﻫﺎﻳﻲ ﻫﺴﺘﻨﺪ‬

‫ﻛﻪ ﺑﺎ ﺑﻌﺪﻱ ﻣﺘﺎﻓﻴﺰﻳﻜﻲ ﻫﻤﺮﺍﻫﻨﺪ ﻭ ﻧﻪ ﺑﺎ ﻣﺴﺎﺋﻞ ﻣﺮﺑﻮﻁ ﺑﻪ ﺳﺒﻚ‪ .‬ﺁﻧﻬﺎ ﺑﻪ ﺣﺲ ﻭﺍﻗﻌﻴﺖ ﻳﺎ‬

‫ﻋﻤﻠﮕﺮﺍﻳﻲ ِﻣﺎ ﻭ ﺑﻨﺎﺑﺮﺍﻳﻦ ﺑﻪ ﺣﺲ ِ ﻫﺸﻴﺎﺭﻱ ِ ﻣﺎ ﺣﻤﻠﻪ ﻣﻲﺑﺮﻧﺪ‪ .‬ﺁﻧﻬﺎ ﺩﺭ ﭘﻲ ﻳﺎﻓﺘﻦ ِ ﺟﻨﺒﻪﻱ ﻏﻠﻂ‬

‫ﻳﺎ ﻣﻌﻜﻮﺱ ﭼﻴﺰﻫﺎ ﻫﺴﺘﻨﺪ ﻭ ﻣﺴﺘﻨﺪ ﺑﻮﺩﻥ ِ ﻭﺍﺿﺢ ِﺟﻬﺎﻥ ﺭﺍ ﺗﻀﻌﻴﻒ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺑﻪﺍﻳﻦﺩﻟﻴﻞ ﺍﺳﺖ‬

‫ﻛﻪ ﻟﺬﺗﻲ ﻛﻪ ﺁﻧﻬﺎ ﺑﻪ ﻣﺎ ﻣﻲﺩﻫﻨﺪ ﻳﻌﻨﻲ ﻫﻤﺎﻥ ﺍﻏﻮﺍﮔﺮﻱﺷﺎﻥ‪ ،‬ﻫﺮﭼﻘﺪﺭ ﻫﻢ ﻛﻪ ﻛﻮﭼﻚ ﺑﺎﺷﺪ‪،‬‬

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‫ﺍﻏﻮﺍ‬

‫ﺭﺍﺩﻳﻜﺎﻝ ﺍﺳﺖ؛ ﺯﻳﺮﺍ ﺍﺯ ﺷﮕﻔﺘﻲ ِ ﺭﺍﺩﻳﻜﺎﻟﻲ ﻛﻪ ﺯﺍﻳﻴﺪﻩﻱ ﻧﻤﻮﺩﻫﺎﺳﺖ ﻧﺸﺄﺕ ﮔﺮﻓﺘﻪﺍﺳﺖ‪ ،‬ﺍﺯ‬

‫ﺯﻧﺪﮔﻲﺍﻱ ﻣﻘﺪﻡ ﺑﺮ ﻃﺮﻳﻘﻪﻱ ﺗﻮﻟﻴﺪ ﺟﻬﺎﻥ ِ ﻭﺍﻗﻌﻲ‪.‬‬

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‫‪ Trompe L'œil‬ﺩﻳﮕﺮ ﺗﻨﻬﺎ ﻣﻨﺤﺼﺮ ﺑﻪ ﻧﻘﺎﺷﻲ ﻧﺒﻮﺩ‪ .‬ﻭ ﺩﻳﮕﺮ ﻫﻤﭽﻮﻥ ﻫﻢ ﻋﺼﺮﺵ ﺍﺳﺘﺎﻛﻮ‬

‫)‪ ] (stucco‬ﻧﻤﺎﻱ ﺳﻴﻤﺎﻧﻲ ﺳﺎﺧﺘﻤﺎﻧﻬﺎ[ ﻣﻲﺗﻮﺍﻧﺪ ﻫﺮ ﻛﺎﺭﻱ ﺑﻜﻨﺪ ﻭ ﺍﺩﺍﻱ ﻫﺮ ﭼﻴﺰﻱ ﺭﺍ ﺩﺭ‬

‫ﺑﻴﺎﻭﺭﺩ ﺗﺎ ﺑﻪ ﻧﺨﺴﺘﻴﻦ ﻧﻤﻮﻧﻪ ﺑﺮﺍﻱ ﻛﺎﺭﺑﺮﺩ ﺑﺪﺧﻮﺍﻫﺎﻧﻪﻱ ﻧﻤﻮﺩﻫﺎ ﺗﺒﺪﻳﻞ ﺷﻮﺩ‪ .‬ﺁﻧﭽﻪ ﺩﺭ ﺁﻏﺎﺯ ﺑﻪ‬

‫ﻋﻨﻮﺍﻥ ﻳﻚ ﺑﺎﺯﻱ ﻣﻄﺮﺡ ﺷﺪ ﺩﺭ ﻗﺮﻥ ﺷﺎﻧﺰﺩﻫﻢ ﺍﺑﻌﺎﺩﻱ ﺧﻴﺎﻟﮕﻮﻧﻪ ﮔﺮﻓﺖ ﻭ ﺑﻪ ﺑﻲﻣﺮﺯﻱ ﻣﻴﺎﻥ ِ‬

‫ﻧﻘﺎﺷﻲ‪ ،‬ﻣﺠﺴﻤﻪﺳﺎﺯﻱ ﻭ ﻣﻌﻤﺎﺭﻱ ﭘﺎﻳﺎﻥ ﺩﺍﺩ‪ .‬ﺩﺭ ﻧﻘﺎﺷﻲﻫﺎﻱ ﺩﻳﻮﺍﺭﻱ ﻭ ﺳﻘﻔﻲ ِ ﺭﻧﺴﺎﻧﺲ ﻭ‬

‫ﺑﺎﺭﻭﻙ‪ ،‬ﻧﻘﺎﺷﻲ ﻭ ﻣﺠﺴﻤﻪﺳﺎﺯﻱ ﻳﻜﻲ ﻣﻲﺷﻮﻧﺪ‪ .‬ﺩﺭ ﻧﻘﺎﺷﻲﻫﺎﻱ ﺩﻳﻮﺍﺭﻱ ِ‪ Trompe L'œil‬ﻭ ﺩﺭ‬

‫ﺧﻴﺎﺑﺎﻥﻫﺎﻱ ﻟﺲﺁﻧﺠﻠﺲ ﻣﻌﻤﺎﺭﻱ ﺗﻮﺳﻂ ﺗﻮﻫﻢ ﻓﺮﻳﻔﺘﻪ ﻭ ﺑﺪ ﺷﻜﻞ ﺷﺪﻩﺍﺳﺖ‪ :‬ﺍﻏﻮﺍﻱ ِ ﻣﻜﺎﻥ ﺑﺎ‬

‫ﻧﺸﺎﻧﻪﻫﺎﻱ ﻣﻜﺎﻥ‪ .‬ﭘﺲ ﺍﺯ ﺍﻳﻦ ﻫﻤﻪ ﺍﺯ ﺗﻮﻟﻴﺪ ﻣﻜﺎﻥ ﮔﻔﺘﻦ ﺁﻳﺎ ﺯﻣﺎﻥ ﺁﻥ ﻧﻴﺴﺖ ﻛﻪ ﺍﺯ ﺍﻏﻮﺍﮔﺮﻱ ِ‬

‫ﻣﻜﺎﻥ ﺑﮕﻮﻳﻴﻢ؟‬

‫***‬

‫ﻭ ﺩﺭ ﺑﺎﺏ ﺍﻏﻮﺍﮔﺮﻱ ِ ﻣﻜﺎﻥ ِ ﺳﻴﺎﺳﻲ‪ :‬ﺑﺮﺍﻱ ﻣﺜﺎﻝ ﺍﺳﺘﻮﺩﻳﻮﻟﻮ )‪(studiolo‬ﻫﺎﻱ ﺩﻭﻙ ﺍﻭﺭﺑﻴﻨﻮ‬

‫ﻭ ﻓﺪﺭﻳﮕﻮ ﺩﺍﻣﻮﻧﺘﻪ ﻓﻠﺘﺮﻩ ﺩﺭ ﻛﺎﺥ ﺩﻭﻙ ﻧﺸﻴﻦ ﺍﻭﺭﺑﻴﻨﻮ ﻭ ﮔﻮﺑﻴﻮ‪ :‬ﻣﻨﺎﻃﻖ ﻣﻤﻨﻮﻋﻪﻱ ﻛﻮﭼﻜﻲ ﻛﻪ‬

‫ﻛﺎﻣﻼً ﺩﺭ ‪ Trompe L'œil‬ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪﺍﻧﺪ‪] ،‬ﻭ[ ﺩﺭ ﻗﻠﺐ ﻓﻀﺎﻱ ﻭﺳﻴﻊ ﻛﺎﺥ‪ .‬ﺍﻣﺮ ﺛﺎﻧﻮﻱ ﻣﺜﺎﻟﻲ ﺍﺳﺖ‬

‫ﺑﺮﺍﻱ ﭼﻴﺮﮔﻲ ِ ﭘﺮﺳﭙﻜﺘﻴﻮ ﻣﻌﻤﺎﺭﻱ ﺍﺯ ﻣﻜﺎﻧﻲ ﻣﻨﻈﻢ ﺷﺪﻩ ﺑﺮ ﻃﺒﻖ ﻗﻮﺍﻋﺪ‪ ،‬ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﺍﺳﺘﻮﺩﻳﻮﻟﻮ‬

‫ﻧﻤﻮﺩﻱ ﺍﺳﺖ ﺍﺯ ﺟﻬﺎﻥ ِ ﻛﻮﭼﻚﺷﺪﻩﺍﻱ )‪ (microcosm‬ﻛﻪ ﺑﺎﮊﮔﻮﻥ ﺷﺪﻩﺍﺳﺖ‪ .‬ﻗﻄﻊ ﺍﺭﺗﺒﺎﻁ ﺍﺯ‬
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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﻣﺎﺑﻘﻲ ِ ﺳﺎﺧﺘﺎﺭ‪ ،‬ﺑﺪﻭﻥ ِ ﭘﻨﺠﺮﻩ‪ ،‬ﺩﺭ ﻣﻌﻨﺎﻱ ﻭﺍﻗﻌﻲ ﻛﻠﻤﻪ ﺑﺪﻭﻥ ِ ﻓﻀﺎ‪ -‬ﺍﻳﻨﺠﺎ ﻓﻀﺎ ﺑﺎ ﺷﺒﻴﻪﺳﺎﺯﻱ‬

‫ﻭﺍﻗﻌﻲ ﻣﻲﺷﻮﺩ‪ .‬ﺍﮔﺮ ﻛﺎﺥ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻛﻞ‪ ،‬ﻳﻚ ﻋﻤﻞ ﻣﻌﻤﺎﺭﻱ ِ ﺗﻤﺎﻡ ﻋﻴﺎﺭ ﺭﺍ ﻭ ﻳﺎ ﻫﻤﭽﻨﻴﻦ‬

‫ﺳﺨﻦ ﺁﺷﻜﺎﺭ ﻫﻨﺮ )ﻭ ﻗﺪﺭﺕ( ﺭﺍ ﺗﺸﻜﻴﻞ ﺩﻫﺪ‪ ،‬ﺁﻧﮕﺎﻩ ﺍﺯ ﺷﺨﺺ ﺍﻧﺘﻈﺎﺭ ﻣﻲﺭﻭﺩ ﭼﻪ ﭼﻴﺰ ﺭﺍ ﺍﺯ‬

‫ﺍﺳﺘﻮﺩﻳﻮﻟﻮﻱ ﺑﺴﻴﺎﺭ ﺭﻳﺰ ﺑﺴﺎﺯﺩ‪ ،‬ﺍﺳﺘﻮﺩﻳﻮﻟﻮﻳﻲ ﻛﻪ ﺑﺎ ﻛﻠﻴﺴﺎ ﻫﻤﭽﻮﻥ ﻣﻜﺎﻥ ﻣﻘﺪﺳﻲ ﺩﻳﮕﺮ ﻫﻤﺠﻮﺍﺭ‬

‫ﻣﻲﺷﻮﺩ‪ ،‬ﺍﻣﺎ ﺑﺎ ﻫﻮﺍﻳﻲ ﺍﺯ ﺷﻴﻔﺘﮕﻲ‪ .‬ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻣﻜﺎﻥ ﻭ ﻣﺘﻌﺎﻗﺒﺎً ﺑﻪ ﻛﻞ ﻧﻈﺎﻡ ﺑﺎﺯﻧﻤﺎﻳﻲﻫﺎ ﻛﻪ ﺑﻪ‬

‫ﻛﺎﺥ ﻭ ﺟﻤﻬﻮﺭﻱ ﻧﻈﻢ ﻣﻲﺩﻫﺪ‪ ،‬ﺭﻭﺷﻦ ﻧﻴﺴﺖ ﭼﻪ ﭼﻴﺰﻱ ﺩﺭ ﺣﺎﻝ ﻭﻗﻮﻉ ﺍﺳﺖ‪.‬‬

‫ﺍﻳﻦ ﻳﻚ ﻣﻜﺎﻥ ِ ﺧﺼﻮﺻﻲﺳﺎﺯﻱ ﺷﺪﻩﺍﺳﺖ‪ ،‬ﺑﻪ ﻋﻨﻮﺍﻥ ﺣﻘﻮﻕ ﺍﻧﺤﺼﺎﺭﻱ ﺷﺎﻫﺰﺍﺩﻩ‪ ،‬ﻫﻤﭽﻮﻥ‬

‫ﺯﻧﺎﻱ ﺑﺎ ﻣﺤﺎﺭﻡ ﻭ ﻗﺎﻧﻮﻥ ﺷﻜﻨﻲ ﻛﻪ ﺯﻣﺎﻧﻲ ﺣﻘﻮﻕ ﺍﻧﺤﺼﺎﺭﻱ ﺷﺎﻫﺎﻥ ﺑﻮﺩ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﺍﻳﻨﺠﺎ ﺑﺎﮊﮔﻮﻧﻲ‬

‫‪Trompe ‬‬ ‫ﻛﺎﻣﻠﻲ ﺍﺯ ﻗﻮﺍﻧﻴﻦ ﺑﺎﺯﻱ ﻃﺮﺡﺭﻳﺰﻱ ﻣﻲﺷﻮﺩ ﻭ ﺑﺪﻳﻦﺗﺮﺗﻴﺐ ﺑﺮﺍﻱ ﻣﺎ ﺗﻮﺳﻂ ﺗﻤﺜﻴﻞ ِ‬

‫ﺍﻣﻜﺎﻧﻲ ﻣﻬﻴﺎ ﻣﻴﺸﻮﺩ ﺗﺎ ﺑﻪ ﮔﻮﻧﻪﺍﻱ ﻃﻌﻨﻪﺁﻣﻴﺰ ﺣﺪﺱ ﺑﺰﻧﻴﻢ ﻛﻪ ﺷﺎﻳﺪ ﻓﻀﺎﻱ ﺧﺎﺭﺟﻲ‬ ‫‪L'œil‬‬

‫ﻣﺘﻌﻠﻖ ﺑﻪ ﻗﻠﻌﻪ ﻭ ﻓﺮﺍﺗﺮ ﺍﺯ ﺁﻥ‪ ،‬ﺷﻬﺮ‪ ،‬ﻳﻌﻨﻲ ﻓﻀﺎﻱ ﺳﻴﺎﺳﻲ ﻭ ﻛﺎﻧﻮﻥ ِ ﻗﺪﺭﺕ‪ ،‬ﺧﻮﺩ ﺗﻨﻬﺎ ﺟﻠﻮﻩﺍﻱ ﺍﺯ‬

‫ﭘﺮﺳﭙﻜﺘﻴﻮ ﺍﺳﺖ‪ .‬ﺷﺎﻫﺰﺍﺩﻩ ﺑﺎﻳﺪ ﻳﻚ ﭼﻨﻴﻦ ﺭﺍﺯ ﺧﻄﺮﻧﺎﻙ ﻭ ﭼﻨﻴﻦ ﻓﺮﺿﻴﻪﺍﻱ ﺭﺍ ﺩﺭ ﻧﻬﺎﻳﺖ ﺭﺍﺯﺩﺍﺭﻱ‬

‫ﻧﺰﺩ ﺧﻮﺩ ﻧﮕﺎﻩ ﺩﺍﺭﺩ‪ :‬ﺯﻳﺮﺍ ﺍﻳﻦ ﻫﻤﺎﻥ ﺭﺍﺯ ﻗﺪﺭﺕ ﺍﻭﺳﺖ‪.‬‬

‫ﭼﺮﺍ ﻛﻪ ﺍﻧﮕﺎﺭ ﺳﻴﺎﺳﺘﻤﺪﺍﺭﺍﻥ ﻣﺎﻛﻴﺎﻭﻟﻴﺴﺖ ﻫﻤﻴﺸﻪ ﻣﻲﺩﺍﻧﺴﺘﻪﺍﻧﺪ ﻣﻬﺎﺭﺕ ﺩﺭ ﻓﻀﺎﻱ ﻭﺍﻧﻤﻮﺩﻩ‬

‫ﺩﺭ ﺳﺮﭼﺸﻤﻪﻱ ﻗﺪﺭﺗﺸﺎﻥ ﺍﺳﺖ ﻭ ﻣﻲﺩﺍﻧﺴﺘﻨﺪ ﻛﻪ ﺳﻴﺎﺳﺖ ﻳﻚ ﻓﻌﺎﻟﻴﺖ ﻭﺍﻗﻌﻲ ﻧﻴﺴﺖ ﺑﻠﻜﻪ‬

‫ﻧﻤﻮﻧﻪﺍﻳﺴﺖ ﺍﺯ ﻭﺍﻧﻤﺎﻳﻲ ﻛﻪ ﺍﻋﻤﺎﻝ ﺁﺷﻜﺎﺭﺵ ﭼﻴﺰﻱ ﻧﻴﺴﺘﻨﺪ ﺟﺰ ﺟﻠﻮﻩﻫﺎﻳﻲ ﻭﺍﻗﻌﻲﺷﺪﻩ‪ .‬ﻧﻘﻄﻪ ﻛﻮﺭ‬

‫ﺩﺭ ﻗﻠﻌﻪ ﺑﺎ ﺟﺪﺍ ﻣﺎﻧﺪﻥ ﺍﺯ ﻣﻌﻤﺎﺭﻱ ﻭ ﺯﻧﺪﮔﻲ ﻋﻤﻮﻣﻲ ﺑﻪ ﮔﻮﻧﻪﺍﻱ ﺧﺎﺹ ﺣﻜﻮﻣﺖ ﻣﻲﻛﻨﺪ‪ ،‬ﻧﻪ ﺑﺎ‬

‫ﺗﻌﻴﻴﻦ ﻣﺴﺘﻘﻴﻢ‪ ،‬ﺑﻠﻜﻪ ﺑﺎ ﻧﻮﻋﻲ ﺑﺎﮊﮔﻮﻧﻲ ِﺩﺭﻭﻧﻲ ﻭ ﺑﺎ ﻣﻨﺴﻮﺥ ﻛﺮﺩﻥِ ﻗﻮﺍﻧﻴﻦِ ﺩﺭ ﺧﻔﺎ ﻭﺿﻊﺷﺪﻩ‪،‬‬

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‫ﺍﻏﻮﺍ‬

‫ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺩﺭ ﻣﺮﺍﺳﻢ ﺑﺪﻭﻱ ﺑﻪ ﭼﺸﻢ ﻣﻲﺧﻮﺭﺩ‪ .‬ﺣﻔﺮﻩﺍﻱ ﺩﺭ ﻭﺍﻗﻌﻴﺖ‪ ،‬ﺗﻐﻴﻴﺮ ﺷﻜﻠﻲ ﻃﻌﻨﻪ­‬

‫ﺁﻣﻴﺰ‪ ،‬ﻭﺍﻧﻤﻮﺩﻩﺍﻱ ﺣﻘﻴﻘﻲ‪ ،‬ﭘﻨﻬﺎﻥﺷﺪﻩ ﺩﺭ ﻗﻠﺐ ﻭﺍﻗﻌﻴﺖ‪ ،‬ﺍﻳﻦ ﻫﻤﺎﻥ ﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﺍﻣﺮ ﺛﺎﻧﻮﻱ ﺑﻪ‬

‫ﺧﺎﻃﺮ ﻋﻤﻠﻜﺮﺩﺵ ﺑﻪ ﺁﻥ ﺑﺴﺘﮕﻲ ﺩﺍﺭﺩ‪ .‬ﺍﻳﻦ ﺭﺍﺯ ﻧﻤﻮﺩﻫﺎﺳﺖ‪.‬‬

‫ﺑﺪﻳﻦﺗﺮﺗﻴﺐ ﭘﺎﭖ‪ ،‬ﺑﺎﺯﭘﺮﺱ ﻏﺎﻳﻲ؛ ﻛﺸﻴﺶﻫﺎ ﻭ ﺧﺪﺍﺷﻨﺎﺳﺎﻥ ﺑﺰﺭﮒ ﻫﻤﻪ ﺩﺍﻧﺴﺘﻨﺪ ﻛﻪ ﺧﺪﺍ‬

‫ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ؛ ﺍﻳﻦ ﺭﺍﺯﺷﺎﻥ ﺑﻮﺩ ﻭ ﺭﺍﺯ ﻗﺪﺭﺕﺷﺎﻥ‪ .‬ﺑﻪ ﻃﻮﺭ ﻣﺸﺎﺑﻪ ﺍﺳﺘﻮﺩﻳﻮﻟﻮﻱ ِ ﻣﻮﻧﺘﻪ ﻓﻠﺘﺮﻩ ﺩﺭ‬

‫‪ Trompe L'œil‬ﺑﻪ ﮔﻮﻧﻪﺍﻱ ﻣﺨﻔﻴﺎﻧﻪ ﭘﻴﺸﻨﻬﺎﺩ ﻣﻲﻛﻨﺪ ﻛﻪ ﺩﺭ ﻣﺜﺎﻝ ﻏﺎﻳﻲ ﻭﺍﻗﻌﻴﺖ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪،‬‬

‫ﻭ ﻓﻀﺎﻱ ﺩﻗﻴﻘﺎً »ﻭﺍﻗﻌﻲ« ﺷﺎﻣﻞ ﻓﻀﺎﻱ ﺳﻴﺎﺳﻲ‪ ،‬ﻫﻤﻴﺸﻪ ﺑﺎﻟﻘﻮﻩ ﺑﺎﮊﮔﻮﻥ ﺷﺪﻧﻲﺍﺳﺖ‪ -‬ﺭﺍﺯﻱ ﻛﻪ ﺑﺮ‬

‫ﺳﻴﺎﺳﺖ ﺣﻜﻢ ﻣﻲﺭﺍﻧﺪ ﺍﻣﺎ ﺩﺭ ﺗﻮﻫﻢ ِ »ﻭﺍﻗﻌﻴﺖ« ِ ﺗﻮﺩﻩﻫﺎ ﮔﻢ ﺷﺪﻩﺍﺳﺖ‪.‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﺁﻳﻨﻪﺍﺕ ﺧﻮﺍﻫﻢ ﺑﻮﺩ‬

‫ﭼﻪ ﻳﻚ ﺁﻳﻨﻪ ﺑﺎﺷﺪ ﻳﺎ ﻳﻚ ﻧﻘﺎﺷﻲ‪ ،‬ﻣﺎ ﺗﻮﺳﻂ ﺳﺤﺮ ﺑﻌﺪ ﮔﻤﺸﺪﻩ‬ ‫‪Trompe  L'œil‬‬ ‫ﺩﺭ‬

‫ﻃﻠﺴﻢ ﻣﻲﺷﻮﻳﻢ‪ .‬ﺍﻳﻦ ﺍﻣﺮ ﺛﺎﻧﻮﻱ ﺍﺳﺖ ﻛﻪ ﻓﻀﺎﻱ ﺍﻏﻮﺍ ﺭﺍ ﺑﺮﭘﺎ ﻣﻲﻛﻨﺪ ﻭ ﺁﻏﺎﺯﮔﺎﻫﻲ ﺑﺮﺍﻱ ﺳﺮﮔﻴﺠﻪ‬

‫ﻣﻲﺷﻮﺩ‪ .‬ﺯﻳﺮﺍ ﺍﮔﺮ ﻣﺎﻣﻮﺭﻳﺖ ﺍﻟﻬﻲ ﻫﻤﻪﻱ ﭼﻴﺰﻫﺎ ﻳﺎﻓﺘﻦ ﻣﻌﻨﺎﻳﺸﺎﻥ ﻳﺎ ﻳﺎﻓﺘﻦ ﺳﺎﺧﺘﺎﺭﻱ ﺑﺎﺷﺪ ﻛﻪ‬

‫ﻣﻌﻨﺎﻳﺸﺎﻥ ﺑﺮ ﺁﻥ ﭘﺎﻳﻪ ﺷﻜﻞﻣﻲﮔﻴﺮﺩ‪ ،‬ﺁﻧﮕﺎﻩ ﺁﻧﻬﺎ ﺑﻪﻭﺍﺳﻄﻪﻱ ﻳﻚ ﻧﻮﺳﺘﺎﻟﮋﻳﺎﻱ ﺷﻴﻄﺎﻧﻲ ﺑﻪ ﺩﻧﺒﺎﻝ‬

‫ﮔﻢﻛﺮﺩﻥ ﺧﻮﺩﺷﺎﻥ ﺩﺭﻧﻤﻮﺩﻫﺎ ﻭ ﺩﺭ ﺍﻏﻮﺍﮔﺮﻱ ﺗﺼﻮﻳﺮﺷﺎﻥ ﻫﺴﺘﻨﺪ‪ .‬ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ‪ ،‬ﺁﻧﻬﺎ ﺩﺭ ﭘﻲ‬

‫ﻳﻜﻲﻛﺮﺩﻥ ﺁﻥ ﭼﻴﺰﻫﺎﻳﻲ ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﺎﻳﺪ ﺑﺮ ﺍﺳﺎﺱ ﺟﻠﻮﻩﻱ ﻭﺍﺣﺪﻱ ﺍﺯ ﻣﺮﮒ ﻭ ﺍﻏﻮﺍ ﺗﻔﻜﻴﻚ‬

‫ﺷﻮﻧﺪ‪ .‬ﻧﺎﺭﺳﻴﺲ‪.‬‬

‫ﺍﻏﻮﺍﮔﺮﻱ ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺑﺎﺯﻧﻤﺎﻳﺎﻧﺪﻩ ﺷﻮﺩ ﺯﻳﺮﺍ ﺩﺭ ﻓﺎﺻﻠﻪﻱ ﺑﻴﻦ ﺍﻣﺮ ﻭﺍﻗﻌﻲ ﻭ ﻫﻤﺰﺍﺩ‬

‫ﺁﻥ ﻭ ﮔﺮﺩﻳﺪﻥ ﻣﻴﺎﻥ ﻫﻤﺎﻥ ﻭ ﺩﻳﮕﺮﻱ ﺍﺯ ﺑﻴﻦ ﻣﻲﺭﻭﺩ‪ .‬ﺑﺎ ﺧﻢﺷﺪﻥ ﺭﻭﻱ ﻳﻚ ﺑﺮﻛﻪﻱ ﺁﺏ‪ ،‬ﻧﺎﺭﺳﻴﺲ‬

‫ﺗﺸﻨﮕﻲﺍﺵ ﺭﺍ ﺭﻓﻊ ﻣﻲﻛﻨﺪ‪ .‬ﺗﺼﻮﻳﺮﺵ ﺩﻳﮕﺮ »ﺩﻳﮕﺮﻱ« ﻧﻴﺴﺖ‪ ،‬ﺳﻄﺤﻲ ﺍﺳﺖ ﻛﻪ ﺍﻭ ﺭﺍ ﺟﺬﺏ ﻭ‬

‫ﺍﻏﻮﺍ ﻣﻲﻛﻨﺪ‪ ،‬ﺳﻄﺤﻲ ﻛﻪ ﺍﻭ ﻣﻲﺗﻮﺍﻧﺪ ﺑﻪ ﺁﻥ ﻧﺰﺩﻳﻚ ﺷﻮﺩ‪ ،‬ﺍﻣﺎ ﻫﺮﮔﺰ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺑﻪ ﻣﺎﻭﺭﺍﻱ ﺁﻥ ﺭﺍﻩ‬

‫‪۱۰٦‬‬
‫ﺍﻏﻮﺍ‬

‫ﻳﺎﺑﺪ‪ .‬ﺯﻳﺮﺍ ﻫﻴﭻ ﻣﺄﻭﺭﺍﻳﻲ ﻭﺟﻮﺩﻧﺪﺍﺭﺩ‪ ،‬ﺩﺭﺳﺖ ﻫﻤﺎﻧﮕﻮﻧﻪ ﻛﻪ ﻫﻴﭻ ﻓﺎﺻﻠﻪﻱ ﺍﻧﻌﻜﺎﺳﻲﺍﻱ ﻣﻴﺎﻥ ﺍﻭ ﻭ‬

‫ﺗﺼﻮﻳﺮﺵ ﻧﻴﺴﺖ‪ .‬ﺁﻳﻨﻪﻱ ﺁﺏ ﻧﻪ ﻳﻚ ﺳﻄﺢ ﺑﺎﺯﺗﺎﺑﺎﻧﻨﺪﻩ ﻛﻪ ﺳﻄﺤﻲ ﺟﺬﺏﻛﻨﻨﺪﻩ ﺍﺳﺖ‪.‬‬

‫ﺑﻪ ﺍﻳﻦﺩﻟﻴﻞ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻣﻴﺎﻥ ﻫﻤﻪ ﺷﺨﺼﻴﺘﻬﺎﻱ ﺑﺰﺭﮒ ﺍﻏﻮﺍﮔﺮﻱ ﺩﺭ ﺍﺳﻄﻮﺭﻩﺷﻨﺎﺳﻲ ﻭ‬

‫ﻫﻨﺮ‪ -‬ﻛﻪ ﺑﺎ ﻳﻚ ﻧﮕﺎﻩ‪ ،‬ﻳﻚ ﺁﻭﺍﺯ‪ ،‬ﻳﻚ ﺣﻀﻮﺭ‪ ،‬ﺑﺎ ﺳﺮﺧﺎﺏ‪ ،‬ﺑﺎ ﺯﻳﺒﺎﻳﻲ ﻳﺎ ﻫﻴﻮﻻﻳﻲ ﺑﻲﺷﺎﺥ ﻭ ﺩﻡ‪ ،‬ﺑﺎ‬

‫ﻧﻘﺎﺏﻫﺎ ﻭ ﺟﻨﻮﻥ‪ ،‬ﺑﺎ ﺷﻬﺮﺗﺸﺎﻥ ﻭ ﺣﺘﻲ ﺷﻜﺴﺖ ﻭ ﻣﺮﮔﺸﺎﻥ ﺍﻏﻮﺍﮔﺮﻱ ﻣﻲﻛﻨﻨﺪ‪ -‬ﻧﺎﺭﺳﻴﺲ ﺑﺎ‬

‫ﻧﻴﺮﻭﻳﻲ ﻭﺍﺣﺪ‪ ،‬ﻗﺪ ﻋﻠﻢ ﻣﻲﻛﻨﺪ‪.‬‬

‫ﻧﻪ ﻳﻚ ﺑﺎﺯﺗﺎﺏ‪ -‬ﺁﻳﻴﻨﻪﮔﻲ ﻛﻪ ﺩﺭ ﺁﻥ ﺳﻮﮊﻩ ﺧﻮﺩ ﺭﺍ ﺍﻧﺘﻘﺎﻝ ﻳﺎﻓﺘﻪ ﻣﻲﻳﺎﺑﺪ ]ﻭ[ ﻧﻪ ﻳﻚ‬

‫ﻣﺮﺣﻠﻪﻱ ﺁﻳﻴﻨﻪﺍﻱ ﻛﻪ ﺩﺭ ﺁﻥ ﺧﻮﺩ ﺭﺍ ﺩﺭﻭﻥ ﻣﻮﻫﻮﻣﺎﺕ ﻣﺤﻘﻖ ﺳﺎﺯﺩ‪ .‬ﺗﻤﺎﻣﻲ ﺍﻳﻨﻬﺎ ﺑﻪ ﺣﻮﺯﻩﻱ‬

‫ﺭﻭﺍﻧﺸﻨﺎﺳﻲ ﻫﻮﻳﺖ ﻭ ﺍﺯ ﺧﻮﺩ ﺑﻴﮕﺎﻧﮕﻲ ﻣﺘﻌﻠﻖ ﺍﺳﺖ ﻭ ﻧﻪ ﺑﻪ ﻗﻠﻤﺮﻭ ﺍﻏﻮﺍ‪] .‬ﺑﺪﻳﻦﺗﺮﺗﻴﺐ[ ﻫﻤﻪﻱ‬

‫ﻧﻈﺮﻳﻪﻱ ﺑﺎﺯﺗﺎﺏ ﺗﻀﻌﻴﻒ ﻣﻲﺷﻮﺩ ﺑﺎﻻﺧﺺ ]ﺑﻪ ﻭﺍﺳﻄﻪﻱ[ ﺍﻳﻦ ﺍﻳﺪﻩ ﻛﻪ ﺍﻏﻮﺍ ﺩﺭ ﻛﺸﺶ ﻋﻴﻦ ﺑﻪ‬

‫ﻋﻴﻦ ﺑﺮ ﭘﺎ ﻣﻲﺷﻮﺩ ﻭ ﺩﺭ ﻭﺟﺪ ﺍﺩﺍﺑﺎﺯﺍﻧﻪﻱ ﺷﺨﺺ ﺩﺭ ﻣﻘﺎﺑﻞ ﺗﺼﻮﻳﺮﺵ ﻭ ﻳﺎ ]ﻫﻤﭽﻨﻴﻦ[ ﺩﺭ ﺳﺮﺍﺏ‬

‫ﺍﻳﺪﻩﺁﻝ ﻫﻤﺎﻧﻨﺪﻱ‪ .‬ﺍﺯ ﺍﻳﻨﺮﻭ ﻭﻳﻨﺴﻨﺖ ﺩﻛﻮﻡ ﺩﺭ ‪ L’Inconsicient malgre lui‬ﻣﻲﻧﻮﻳﺴﺪ‪:‬‬

‫ﺁﻧﭽﻪ ﺍﻏﻮﺍ ﻣﻲﻛﻨﺪ ﺍﻳﺪﻩﺍﻱ ﺯﻧﺎﻧﻪ ﻧﻴﺴﺖ‪ ،‬ﺑﻠﻜﻪ ﺍﻳﻦ ﺍﻣﺮ ﺑﺪﻳﻬﻲ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺳﻮﻱ ﺷﻤﺎ‬
‫ﻧﺸﺎﻧﻪ ﺭﻓﺘﻪﺍﺳﺖ‪ .‬ﺍﻏﻮﺍﮔﺮﻱ ﻣﻲﻛﻨﺪ ﺗﺎ ﺍﻏﻮﺍ ﺷﻮﺩ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﺍﻏﻮﺍﺷﺪﮔﻲ ﺍﺳﺖ ﻛﻪ ﺍﻏﻮﺍﮔﺮ‬
‫ﺍﺳﺖ‪ .‬ﺑﻪ ﺑﻴﺎﻥ ﺩﻳﮕﺮ ﺍﻏﻮﺍﺷﺪﮔﻲ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺷﺨﺺ ﺍﻏﻮﺍﮔﺮ ﻣﻲﻳﺎﺑﺪ‪ .‬ﺁﻧﭽﻪ ﺷﺨﺺ ﺍﻏﻮﺍ‬
‫ﺷﺪﻩ ﺩﺭ ﺁﻥ ﻛﺴﻲ ﻛﻪ ﺍﻭ ﺭﺍ ﺍﻏﻮﺍ ﻣﻲﻛﻨﺪ‪ -‬ﺍﺑﮋﻩﻱ ﻳﻜﺘﺎﻱ ﺷﻴﻔﺘﮕﻲﺍﺵ‪ -‬ﻣﻲﺑﻴﻨﺪ‪،‬‬
‫ﺧﻮﻳﺸﺘﻦ ﺍﻏﻮﺍﮔﺮﺵ ﺍﺳﺖ‪ ،‬ﺧﻮﻳﺸﺘﻦ ﺩﻟﺮﺑﺎﻳﺶ‪ ] ،‬ﻳﻚ[ ﺧﻮﻳﺸﺘﻦ‪ -‬ﺗﺼﻮﻳﺮ ﺩﻭﺳﺖ‬
‫ﺩﺍﺷﺘﻨﻲ ‪...‬‬

‫ﺍﻳﻦ ﺍﻣﺮ ﺩﺍﺋﻤﺎً ﻣﺴﺌﻠﻪﺍﻱ ﺩﺭ ﺑﺎﺏ ﺧﻮﻳﺸﺘﻦ‪ -‬ﺍﻏﻮﺍﮔﺮﻱ ﻭ ﺩﮔﺮﮔﻮﻧﻲﻫﺎﻱ ﺭﻭﺍﻧﺸﻨﺎﺳﺎﻧﻪﺍﺵ‬

‫ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﺑﺎ ﺍﻳﻦﺣﺎﻝ ﺁﻳﻨﻪ ﺩﺭ ﺍﺳﻄﻮﺭﻩﻱ ﻧﺎﺭﺳﻴﺴﺘﻲ ﺁﻧﭽﻨﺎﻥ ﻛﻪ ﻧﺎﺭﺳﻴﺲ ﺑﺘﻮﺍﻧﺪ ﺩﺭ ﺧﻮﻳﺸﺘﻦ‬

‫‪۱۰۷‬‬
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﻣﺘﻮﺟﻪ ﺍﻳﺪﻩﺁﻝ ﺯﻧﺪﮔﻲ ﺷﻮﺩ ﻭﺟﻮﺩ ﻧﺨﻮﺍﻫﺪ ﺩﺍﺷﺖ‪ .‬ﺍﻳﻦ ﻣﺴﺌﻠﻪﺍﻱ ﺍﺳﺖ ﺍﺯ ﺁﻳﻨﻪ‪ ،‬ﺁﻳﻨﻪ ﺑﻪ ﻣﺜﺎﺑﻪﻱ‬

‫ﻏﻴﺒﺘﻲ ﺍﺯ ﻋﻤﻖ ﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﮊﺭﻓﺎﻱ ﺳﻄﺤﻲ ﻛﻪ ﺩﻳﮕﺮﺍﻥ ﺗﻨﻬﺎ ﺑﻪ ﺍﻳﻦ ﺩﻟﻴﻞ ﻛﻪ ﻫﺮﻛﺪﺍﻡ ﺍﻭﻟﻴﻦ‬

‫ﻛﺴﻲ ﻫﺴﺘﻨﺪ ﻛﻪ ﺩﺭ ﺁﻥ ﺑﻠﻌﻴﺪﻩ ﻣﻲﺷﻮﻧﺪ‪ ،‬ﺁﻥ ﺭﺍ ﺍﻏﻮﺍﮔﺮ ﻭ ﺳﺮﮔﻴﺠﻪﺁﻭﺭ ﻣﻲﻳﺎﺑﻨﺪ‪ .‬ﻛﻠﻴﺖ ﺍﻏﻮﺍ ﺩﺭ‬

‫ﺍﻳﻦ ﻣﻔﻬﻮﻡ ﻧﺎﺭﺳﻴﺴﺘﻲ ﺍﺳﺖ ﻭ ﺭﺍﺯﻭﺍﺭﮔﻲﺍﺵ ﺑﻪ ﻭﺍﺳﻄﻪﻱ ﺍﻳﻦ ﺟﺬﺑﻪﻱ ﻣﻬﻠﻚ ﻭﺍﻗﻊ ﻣﻲﺷﻮﺩ‪.‬‬

‫ﺑﺪﻳﻦﺗﺮﺗﻴﺐ ﺯﻧﺎﻥ ﻛﻪ ﺑﻪ ﺍﻳﻦ ﺁﻳﻨﻪﻱ ﺩﻳﮕﺮ ﻭ ﭘﻮﺷﻴﺪﻩ )ﻛﻪ ﺑﺎ ﺁﻥ ﺗﺼﻮﻳﺮ ﻭ ﺑﺪﻥ ﺧﻮﺩ ﺭﺍ‬

‫ﻣﻲﭘﻮﺷﺎﻧﻨﺪ( ﻧﺰﺩﻳﻚﺗﺮﻧﺪ‪ ،‬ﺑﻪ ﺟﻠﻮﻩﻱ ﺍﻏﻮﺍﮔﺮﻱ ﻧﻴﺰ ﻧﺰﺩﻳﻚﺗﺮﻧﺪ‪ .‬ﻣﺮﺩﺍﻥ‪ ،‬ﺩﺭ ﻣﻘﺎﺑﻞ‪ ،‬ﻋﻤﻖ ﺩﺍﺭﻧﺪ‪،‬‬

‫ﺍﻣﺎ ﻫﻴﭻ ﺭﺍﺯﻱ ﻧﺪﺍﺭﻧﺪ؛ ﺗﻮﺍﻥ ﻭ ﺷﻜﻨﻨﺪﮔﻲﺷﺎﻥ ﻧﻴﺰ ﺑﺪﻳﻦﺩﻟﻴﻞ ﺍﺳﺖ‪.‬‬

‫ﺍﮔﺮ ﺍﻏﻮﺍﮔﺮﻱ ﺍﺯ ﺳﺮﺍﺏ ﺍﻳﺪﻩﺁﻟﻲ ﺍﺯ ﺳﻮﮊﻩ ﻧﺸﺄﺕﻧﮕﻴﺮﺩ‪ ،‬ﺍﺯ ﺍﻳﺪﻩﺁﻝ ﺁﻳﻨﻪﻭﺍﺭ ﻣﺮﮒ ﻧﻴﺰ ﻣﻨﺘﺞ‬

‫ﻧﺨﻮﺍﻫﺪ ﺷﺪ‪ .‬ﺩﺭ ﻧﺴﺨﻪﻱ ‪:Pausanias‬‬

‫ﻧﺎﺭﻛﻴﺴﻮﺱ ﺧﻮﺍﻫﺮﻱ ﺩﻭﻗﻠﻮ ﺩﺍﺷﺖ‪ ،‬ﺁﻧﻬﺎ ﺩﻗﻴﻘﺎً ﺷﺒﻴﻪ ﻳﻜﺪﻳﮕﺮ ﺑﻮﺩﻧﺪ‪ ،‬ﺑﺎ ﺁﺭﺍﻳﺶ ﻣﻮ ﻭ‬
‫ﻟﺒﺎﺱﻫﺎﻱ ﻛﺎﻣﻼً ﻫﻤﺎﻧﻨﺪ‪ ،‬ﻭ ﺑﺎ ﻫﻢ ﺑﻪ ﺷﻜﺎﺭ ﻫﻢ ﻣﻲﺭﻓﺘﻨﺪ‪ .‬ﻧﺎﺭﻛﻴﺴﻮﺱ ﻋﺎﺷﻖ ﺧﻮﺍﻫﺮﺵ‬
‫ﺑﻮﺩ‪ .‬ﻭ ﻭﻗﺘﻲ ﺧﻮﺍﻫﺮﺵ ﻣﺮﺩ ﺑﻪ ﻣﻼﻗﺎﺕ ﺑﻬﺎﺭ ﻣﻲﺭﻓﺖ؛ ﺍﻭ ﻣﻲﺩﺍﻧﺴﺖ ﻛﻪ ﺁﻧﭽﻪ ﻣﻲﺑﻴﻨﺪ‬
‫ﺍﻧﻌﻜﺎﺳﻲ ﺍﺯ ﺧﻮﺩﺵ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺑﺎ ﺍﻇﻬﺎﺭ ﺑﻪ ﺍﻳﻦ ﻛﻪ ﺍﻳﻦ ﺗﺼﻮﻳﺮ ﻣﺘﻌﻠﻖ ﺑﻪ‬
‫ﺧﻮﺍﻫﺮﺵ ﺍﺳﺖ ﺑﻪ ﻧﺤﻮﻱ ﺗﺴﻜﻴﻦ ﻣﻲﻳﺎﻓﺖ‪.‬‬

‫ﺑﻪ ﻗﻮﻝ ‪ ،H.­P Jeudy‬ﻛﻪ ﺍﻳﻦ ﻧﺴﺨﻪ ﺭﺍ ﻣﻲﭘﺬﻳﺮﺩ؛ ﻧﺎﺭﺳﻴﺲ ﺧﻮﻳﺸﺘﻦ ﺭﺍ ﺍﻏﻮﺍ ﻣﻲﻛﻨﺪ ﻭ‬

‫ﺗﻨﻬﺎ ﺑﻪ ﻭﺍﺳﻄﻪﻱ ﺩﺭ ﺁﻏﻮﺵﮔﺮﻓﺘﻦ ِ ﻧﻤﺎﻳﺸﻲ ِ ﺗﺼﻮﻳﺮ ﮔﻤﺸﺪﻩﺍﻱ ﻛﻪ ﺗﻮﺳﻂ ﭼﻬﺮﻩﻱ ﺧﻮﺩﺵ‬

‫ﺑﺎﺯﺗﺎﺏ ﻣﻲﺷﻮﺩ ]ﻳﺎ ﻫﻤﺎﻥ ﺗﺼﻮﻳﺮﻱ ﻛﻪ[ ﺑﻪ ﺧﻮﺍﻫﺮ ﺩﻭﻗﻠﻮﻱ ﻓﻮﺕﺷﺪﻩﺍﺵ ﺗﻌﻠﻖ ﺩﺍﺭﺩ‪ ،‬ﺑﺮ ﻗﺪﺭﺕ‬

‫ﺍﻏﻮﺍﮔﺮﻱﺍﺵ ﭼﻴﺮﻩﻣﻲﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺁﻳﺎ ﭘﺮﺩﺍﺧﺘﻦ ﺑﻪ ﺍﺭﺗﺒﺎﻃﻲ ﻧﻤﺎﻳﺸﻲ ﺑﺎ ﺗﺼﻮﻳﺮ ﻣﺮﺩﻩ‪ ،‬ﻭﺍﻗﻌﺎً ﺑﺮﺍﻱ‬

‫ﺑﺮﺭﺳﻲ ﺳﺮﮔﻴﺠﻪﻱ ﻧﺎﺭﺳﻴﺴﺘﻲ ﻻﺯﻡ ﺍﺳﺖ؟ ﺩﺭ ﺣﻘﻴﻘﺖ‪ ،‬ﺍﻣﺮ ﺛﺎﻧﻮﻱ ﻫﻴﭻ ﻧﻴﺎﺯﻱ ﺑﻪ ﻳﻚ ﺍﻧﻜﺴﺎﺭ‬

‫ﺩﻭﻗﻠﻮ ﻧﺪﺍﺭﺩ‪ .‬ﺗﻮﻫﻢ ﺧﻮﺩﺵ ﻛﺎﻓﻲ ﺍﺳﺖ‪ -‬ﺗﺎ ﺷﺎﻳﺪ ﺗﻮﻫﻤﻲ ﺑﺎﺷﺪ ﺍﺯ ﻣﺮﮒ ﺧﻮﺩﺵ‪ .‬ﺷﺎﻳﺪ ﻣﺮﮒ‬
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‫ﺍﻏﻮﺍ‬

‫ﻫﻤﻴﺸﻪ ﺯﻧﺎﻛﺎﺭﺍﻧﻪ ﺑﺎﺷﺪ‪ -‬ﻭ ﺍﻳﻦ ﺣﻘﻴﻘﺘﻲ ﺍﺳﺖ ﻛﻪ ﺗﻨﻬﺎ ﺑﻪ ﺍﻓﺴﻮﻥﺍﺵ ﺍﻓﺰﻭﺩﻩﻣﻲﺷﻮﺩ‪» .‬ﺧﻮﺍﻫﺮ‬

‫ﺫﻫﻨﻲ« ﻧﺴﺨﻪﻱ ﺭﻭﺣﻲﺷﺪﻩﻱ ﺁﻥ ﺍﺳﺖ‪ .‬ﺩﺍﺳﺘﺎﻥﻫﺎﻱ ﻋﻈﻴﻢ ﺍﻏﻮﺍ ﻛﻪ ﺑﻪ ﻓﺎﺩﺭﺍ ﻭ ﺁﻳﺴﻮﻟﺪ ﺗﻌﻠﻖ‬

‫ﺩﺍﺭﻧﺪ‪ ،‬ﺩﺍﺳﺘﺎﻧﻬﺎﻱ ﺯﻧﺎﻱ ﺑﺎ ﻣﺤﺎﺭﻡﺍﻧﺪ ﻭ ﺩﺍﺋﻤﺎً ﺑﻪ ﻣﺮﮒ ﺧﺘﻢ ﻣﻲﺷﻮﻧﺪ‪ .‬ﭼﻪ ﻧﺘﻴﺠﻪﺍﻱ ﺑﺎﻳﺪ ﺑﮕﻴﺮﻳﻢ‬

‫ﺑﻪ ﺟﺰ ﺍﻳﻦ ﻛﻪ ﺩﺭ ﻭﺳﻮﺳﻪﻱ ﺩﻳﺮﻳﻦ ﺯﻧﺎ ﺧﻮﺩ ﻣﺮﮒ ﺩﺭ ﻛﻤﻴﻦ ﻣﺎﺳﺖ ﻭ ﺑﻪ ﻫﻤﻴﻦﺗﺮﺗﻴﺐ ﻣﺎ ﺩﺭ‬

‫ﺍﺭﺗﺒﺎﻁ ﺯﻧﺎﻛﺎﺭﺍﻧﻪ ﻫﻤﺮﺍﻩ ﺑﺎ ﺗﺼﻮﻳﺮ ﺧﻮﺩﻣﺎﻥ ﺍﻣﺘﺪﺍﺩ ﻣﻲﻳﺎﺑﻴﻢ‪ .‬ﻣﺎ ﺗﻮﺳﻂ ﺍﻣﺮ ﺛﺎﻧﻮﻱ ﺍﻏﻮﺍ ﻣﻲﺷﻮﻳﻢ‬

‫ﭼﺮﺍ ﻛﻪ ﻣﺎ ﺭﺍ ﺑﺎ ﻣﺮﮒ ﻗﺮﻳﺐﺍﻟﻮﻗﻮﻉ ﻫﺴﺘﻲ ِﺍﻫﺎﻧﺖﺁﻣﻴﺰﻣﺎﻥ ﺗﺴﻜﻴﻦ ﻣﻲﺩﻫﺪ‪ .‬ﺟﺬﺑﻪﻱ ﻣﻬﻠﻚ‬

‫ﺧﻮﻳﺸﺘﻨﻤﺎﻥ ﺑﻪ ﻫﻤﺮﺍﻩ ﺗﺼﻮﻳﺮﻣﺎﻥ‪ ،‬ﻣﺎ ﺭﺍ ﺑﻪ ﺧﺎﻃﺮ ﺍﻳﻦ ﺍﻣﺮ ﻛﻪ ]ﺑﻪﮔﻮﻧﻪﺍﻱ ﭘﻴﺸﻴﻨﻲ[ ﻣﺘﻮﻟﺪ‬

‫ﺷﺪﻩﺍﻳﻢ ﻭ ﺑﻪ ﺧﺎﻃﺮ ﺍﺟﺒﺎﺭﻣﺎﻥ ﺩﺭ ﺗﻮﻟﻴﺪ ﻣﺜﻞ‪ ،‬ﺗﺴﻠﻲ ﻣﻲﺑﺨﺸﺪ‪ .‬ﺑﻪ ﻭﺍﺳﻄﻪﻱ ﺍﻳﻦ ﻣﺒﺎﺩﻟﻪﻱ‬

‫ﺷﻬﻮﺍﻧﻲ ﻭ ﺯﻧﺎﻛﺎﺭﺍﻧﻪ ﺑﺎ ﺗﺼﻮﻳﺮﻣﺎﻥ‪ ،‬ﻫﻤﺰﺍﺩﻣﺎﻥ ﻭ ﻣﺮﮒﻣﺎﻥ ﺍﺳﺖ ﻛﻪ ﻣﺎ ﺗﻮﺍﻥ ﺍﻏﻮﺍﮔﺮﻱ ﺭﺍ ﺑﻪ ﺩﺳﺖ‬

‫ﻣﻲﺁﻭﺭﻳﻢ‪.‬‬

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‫»ﺁﻳﻨﻪﺍﺕ ﺧﻮﺍﻫﻢﺑﻮﺩ« ﺑﻪ ﻣﻌﻨﺎﻱ »ﺑﺎﺯﺗﺎﺏ ﺗﻮ ﺧﻮﺍﻫﻢ ﺑﻮﺩ« ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﺑﻪ »ﻓﺮﻳﺐ ﺗﻮ‬

‫ﺧﻮﺍﻫﻢﺑﻮﺩ« ﺩﻻﻟﺖ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻏﻮﺍﮔﺮﻱ‪ ،‬ﻣﺮﺩﻥ ﺩﺭ ﻣﻘﺎﻡ ﻭﺍﻗﻌﻴﺖ ﻭ ]ﺳﭙﺲ[ ﺑﺎﺯﺳﺎﺯﻱ ِ ﺧﻮﻳﺶ ﺍﺳﺖ‬

‫ﺩﺭ ﺷﻤﺎﻳﻞ ﻭﻫﻢ‪ .‬ﺍﻳﻦ ﺩﺯﺩﻳﺪﻩﺷﺪﻥ ﺍﺳﺖ ]ﺩﺭ‪ ،‬ﻳﺎ[ ﺗﻮﺳﻂ ﺗﻮﻫﻢ ﺧﻮﻳﺸﺘﻦ ﺷﺨﺺ ﻭﮔﺸﻮﺩﮔﻲ‬

‫ﺍﺳﺖ ﺑﻪ ﺟﻬﺎﻧﻲ ﺍﻓﺴﻮﻥﺷﺪﻩ‪ .‬ﺍﻳﻦ ﻗﺪﺭﺕ ﺯﻥ ﺍﻏﻮﺍﮔﺮﻱ ﺍﺳﺖ ﻛﻪ ﺧﻮﻳﺸﺘﻦﺍﺵ ﺭﺍ ﺑﺮﺍﻱ ﻏﺮﻳﺰﻩﻱ‬

‫ﺧﻮﺩﺵ ﻣﻲﻓﺮﻳﺒﺪ ﻭ ﺍﺯ ﻓﺮﻳﺐﺩﺍﺩﻥ ﺧﻮﺩ ﻟﺬﺕ ﻣﻲﺑﺮﺩ‪ ،‬ﻓﺮﻳﺒﻲ ﻛﻪ ﺩﻳﮕﺮﺍﻥ ﻧﻴﺰ ﺑﻪ ﻧﻮﺑﻪﻱ ﺧﻮﺩ ﺩﺭ‬

‫ﺁﻥ ﮔﺮﻓﺘﺎﺭ ﻣﻲﺷﻮﻧﺪ‪ .‬ﻧﺎﺭﺳﻴﺲ ﻧﻴﺰ ﺧﻮﻳﺶ ﺭﺍ ﺩﺭ ﺗﺼﻮﻳﺮ ﻭﻫﻢﺁﻟﻮﺩ ﺧﻮﺩﺵ ﮔﻢ ﻣﻲﻛﻨﺪ؛ ﺍﻭ ﺍﻳﻨﮕﻮﻧﻪ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺍﺯ ﺣﻘﻴﻘﺖ ﺧﻮﺩ ﺭﻭﻳﮕﺮﺩﺍﻥ ﻣﻲﺷﻮﺩ ﻭ ﺑﻪ ﻭﺍﺳﻄﻪﻱ ﺍﻟﮕﻮﻳﺶ‪ ،‬ﺩﻳﮕﺮﺍﻥ ﺭﺍ ﻧﻴﺰ ﺍﺯ ﺣﻘﻴﻘﺖﺷﺎﻥ‬

‫ﺭﻭﻳﮕﺮﺩﺍﻥ ﻣﻲﻛﻨﺪ ﻭ ﺑﺪﻳﻦﺗﺮﺗﻴﺐ ﺑﻪ ﻣﺪﻟﻲ ﺑﺮﺍﻱ ﻋﺸﻖ ﺑﺪﻝ ﻣﻲﺷﻮﺩ‪.‬‬

‫ﺍﺳﺘﺮﺍﺗﮋﻱ ﺍﻏﻮﺍ‪ ،‬ﺍﺳﺘﺮﺍﺗﮋﻱ ﻓﺮﻳﺐ ﻧﻴﺰ ﻫﺴﺖ‪ .‬ﺍﻳﻦ ﺍﻣﺮ ﺩﺭ ﻣﻌﻄﻮﻑ ﺷﺪﻥ ﺑﻪ ﻫﺮ ﺁﻧﭽﻴﺰﻱﻛﻪ ﺑﻪ‬

‫ﺧﻠﻂ ﻣﻴﺎﻥ ِﺧﻮﺩﺵ ﻭ ﻭﺍﻗﻌﻴﺖﺍﺵ ﺑﻴﺎﻧﺠﺎﻣﺪ‪ ،‬ﻣﺤﻘﻖ ﻣﻲﺷﻮﺩ‪ .‬ﻭ ﺍﻳﻦ ﺑﮕﻮﻧﻪﺍﻱ ﺑﺎﻻﻗﻮﻩ ﺳﺮﭼﺸﻤﻪﺍﻱ‬

‫ﺍﺳﺖ ﺍﺯ ﻗﺪﺭﺗﻲ ﺧﺎﺭﻕﺍﻟﻌﺎﺩﻩ‪ .‬ﺯﻳﺮﺍ ﺍﮔﺮ ﺗﻮﻟﻴﺪ ﺗﻨﻬﺎ ﻣﻲﺗﻮﺍﻧﺪ ﻧﺸﺎﻧﻪﻫﺎﻳﻲ ﻭﺍﻗﻌﻲ ﻳﺎ ﺍﺑﮋﻩﻫﺎ ﺭﺍ ﺗﻮﻟﻴﺪ‬

‫ﻛﻨﺪ ﻭ ﺍﺯ ﺍﻳﻦ ﻃﺮﻳﻖ ﺗﺎ ﺣﺪﻭﺩﻱ ﻧﻴﺮﻭﻳﻲ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﺑﻴﺎﻭﺭﺩ ﺍﻏﻮﺍ ﺗﻨﻬﺎ ﺑﺎ ﺗﻮﻟﻴﺪ ﻣﻮﻫﻮﻣﺎﺕ ﺗﻤﺎﻣﻲ‬

‫ﻧﻴﺮﻭﻫﺎﻱ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﭼﻨﮓ ﻣﻲﺁﻭﺭﺩ‪ ،‬ﺍﺯ ﺟﻤﻠﻪ ﺗﻮﺍﻧﻲ ﺑﺮﺍﻱ ﺑﺎﺭﮔﺮﺩﺍﻧﺪﻥ ﺗﻮﻟﻴﺪ ﻭ ﻭﺍﻗﻌﻴﺖ ﺑﻪ ﻭﻫﻢ‬

‫ﺁﻏﺎﺯﻳﻨﺸﺎﻥ‪ .‬ﺍﻳﻦ ﺍﻣﺮ ﺣﺘﻲ ﺩﺭ ﺍﻧﮕﻴﺰﺵ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﻭ ﻏﺮﻳﺰﻩ ﻧﻴﺰ ﺑﺎ ﮔﺮﺩﺍﻧﺪﻥ ﺁﻧﻬﺎ ] ﺍﺯﺧﻮﺩﺷﺎﻥ[ ﺑﻪ‬

‫ﺳﻤﺖ ﺁﻳﻨﻪﺍﻱ ﺍﺯ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﻭ ﻏﺮﻳﺰﻩ ﻣﺤﻘﻖ ﻣﻲﺷﻮﺩ‪ .‬ﺯﻳﺮﺍ ﺍﻣﺮ ﺛﺎﻧﻮﻱ ﺑﺎ ﻛﺸﺶﻫﺎﻱ ﺭﻭﺍﻧﻲ ﻭ‬

‫ﺍﺭﺿﺎﻱ ﺁﻧﻬﺎ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺍﺳﺖ؛ ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﺍﻓﺴﻮﻧﮕﺮﻱ ﺗﻨﻬﺎ ﭘﺲ ﺍﺯ ﺁﻥ ﻛﻪ ﻛﺴﻲ ﺗﻮﺳﻂ ﻏﺮﻳﺰﻩﺍﺵ‬

‫ﻓﺮﻳﻔﺘﻪﺷﺪ ﺁﻏﺎﺯ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻳﻦ ﻫﻤﺎﻥ ﺗﻮﻫﻢ ﺍﺳﺖ ﻛﻪ ﺧﻮﺷﺒﺨﺘﺎﻧﻪ ﻣﺎ ﺭﺍ ﺍﺯ »ﻭﺍﻗﻌﻴﺖ ﺭﻭﺍﻧﻲ«‬

‫ﻣﻲﺭﻫﺎﻧﺪ‪ .‬ﺍﻳﻦ ﺗﻮﻫﻢ ﺭﻭﺍﻧﻜﺎﻭﻱ ﺍﺳﺖ ﻛﻪ ﺑﺮﺍﻱ ]ﻋﻤﻞ[ ﺭﻭﺍﻧﻜﺎﻭﻱ ﺧﻮﺩﺵ ﺭﺍ ﺑﺎ ﻏﺮﻳﺰﻩﻱ ﺧﻮﻳﺶ‬

‫ﺧﻠﻂ ﻣﻲﻛﻨﺪ ﻭ ﺍﺯ ﺍﻳﻦ ﻃﺮﻳﻖ ﻭﺍﺭﺩ ﻗﻠﻤﺮﻭ ﺍﻏﻮﺍﮔﺮﻱ ﻭ ﺧﻮﺩﺍﻏﻮﺍﮔﺮﻱ ﻣﻲﺷﻮﺩ‪ ،‬ﺩﺭﺣﺎﻟﻴﻜﻪ‬

‫]ﻫﻤﺰﻣﺎﻥ[ ﻗﺪﺭﺕ ﺍﻣﺮ ﺛﺎﻧﻮﻱ ﺭﺍ ﺑﺮﺍﻱ ﻏﺎﻳﺖﻫﺎﻱ ﺧﻮﻳﺸﺘﻦﺍﺵ‪ ،‬ﻣﻨﻜﺴﺮ ﻣﻲﻛﻨﺪ‪ .‬ﺑﺪﻳﻦﺗﺮﺗﻴﺐ‬

‫ﺗﻤﺎﻣﻲ ]ﻓﻀﺎﻫﺎﻱ[ ﻋﻠﻢ‪ ،‬ﻭﺍﻗﻌﻴﺖ ﻭ ﺗﻮﻟﻴﺪ‪ ،‬ﺗﻨﻬﺎ‪ ،‬ﻣﻮﻋﺪ ﻣﻘﺮﺭ ﺍﻏﻮﺍ ﺭﺍ ﺑﻪ ﺗﻌﻮﻳﻖ ﻣﻲﺍﻧﺪﺍﺯﻧﺪ‪ ،‬ﺍﻏﻮﺍﻳﻲ‬

‫ﻛﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﻣﺮ ﺑﻲﻣﻌﻨﺎ‪ ،‬ﺑﻪ ﻋﻨﻮﺍﻥ ﺷﻤﺎﻳﻠﻲ ﺷﻬﻮﺍﻧﻲ ﻭ ﻭﺍﺿﺢ ﺍﺯ ﺍﻣﺮ ﺑﻲﻣﻌﻨﺎ‪ ،‬ﺩﺭ ﮔﺴﺘﺮﻩﻱ‬

‫ﻏﺮﻳﺰﻩﻱ ﺁﻧﻬﺎ ﺟﻠﻮﻩﮔﺮ ﻣﻲﺷﻮﺩ‪.‬‬

‫ﺍﻳﻦ ﺑﺮﻫﺎﻥ ﻭﺟﻮﺩﻱ ﺍﺳﺖ ﺍﺯ ﺟﺎﻧﺐ ﻓﺮﻳﻔﺘﻦ‬

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‫ﺍﻏﻮﺍ‬

‫ﺁﻳﺎ ﺍﻳﻦ ﺍﻣﺮ ﻫﻤﭽﻮﻥ ﺗﻮﻫﻤﻲ ﻛﻪ ﺷﺎﻫﻴﻦ ﺭﺍ ﺑﻪ ﺳﻤﺖ ﺗﻜﻪﺍﻱ ﭼﺮﻡ ﻗﺮﻣﺰ ﻛﻪ ﺑﻪ‬
‫ﺷﻤﺎﻳﻞ ﻳﻚ ﭘﺮﻧﺪﻩ ﺩﺭ ﺁﻣﺪﻩ ﺍﺳﺖ ﻣﻲﻛﺸﺎﻧﺪ‪ ،‬ﻫﻤﺎﻥ ﻭﻫﻤﻲ ﻧﻴﺴﺖ ﻛﻪ ﺩﺭ ﻃﻲ ﺗﻜﺮﺍﺭ‪،‬‬
‫ﻭﺍﻗﻌﻴﺘﻲ ﻣﻄﻠﻖ ﺭﺍ ﺑﻪ ﺍﺑﮋﻩﺍﻱ ﻛﻪ ﭘﻴﺮﻭﺯ ﻣﻲﺷﻮﺩ‪ ،‬ﺍﻋﻄﺎ ﻣﻲﻛﻨﺪ؟ ﻓﺮﺍﺗﺮ ﺍﺯ ﺗﻤﺎﻣﻲ‬
‫ﭘﺮﺳﺶﻫﺎﻱ ﺩﺭ ﺑﺎﺏ ﺗﺼﻮﺭ‪ ،‬ﻣﻮﺟﻪ ﻳﺎ ﻏﻴﺮ ﻣﻮﺟﻪ‪ ،‬ﻓﺮﻳﺐ ﺩﺭ ﻳﻚ ﻣﻌﻨﺎ‪ ،‬ﺑﺎﺯﺷﻨﺎﺳﻲ ﺗﻮﺍﻥ‬
‫ﺑﻲﺍﻧﺘﻬﺎﻱ ﺍﻏﻮﺍﮔﺮﻱ ﺍﺳﺖ‪ .‬ﻧﺎﺭﺳﻴﺲ ﻛﻪ ﺧﻮﺍﻫﺮ ﺩﻭﻗﻠﻮﻳﺶ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻩﺍﺳﺖ ﺑﺎ‬
‫ﺑﺎﺯﺳﺎﺯﻱ ﭼﻬﺮﻩﻱ ﺧﻮﺩ ﺩﺭ ﻳﻚ ﺟﺬﺑﻪﻱ ﻭﻫﻢ ﺁﻣﻴﺰ‪ ،‬ﺑﻪ ﺳﻮﮒ ﻓﻘﺪﺍﻥ ﺧﻮﺍﻫﺮﺵ‬
‫ﻣﻲﻧﺸﻴﻨﺪ‪ .‬ﻧﻪ ﺧﻮﺩﺁﮔﺎﻩ ﻭ ﻧﻪ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ‪ ،‬ﺍﻏﻔﺎﻝ ﺗﻤﺎﻣﺎً ﺍﻣﺘﺪﺍﺩ ﻣﻲﻳﺎﺑﺪ ﻭ ﺍﻳﻦ ﺍﻣﺘﺪﺍﺩ ﺧﻮﺩ‬
‫ﺑﺮﺍﻱ ﺧﻮﺩ ﺑﺴﻨﺪﻩ ﺍﺳﺖ‪.‬‬
‫‪H. I Jeudy‬‬

‫ﻓﺮﻳﺐ ﺭﺍ ﻣﻲﺗﻮﺍﻥ ﺑﺮ ﺁﺳﻤﺎﻥ ﺣﻚﻛﺮﺩ؛ ﻧﻴﺮﻭﻳﺶ ﺑﻪ ﺯﻭﺍﻝ ﻧﺨﻮﺍﻫﺪ ﺍﻧﺠﺎﻣﻴﺪ‪ .‬ﻫﺮﻛﺪﺍﻡ ﺍﺯ‬

‫ﻧﺸﺎﻧﻪﻫﺎﻱ ﺑﺮﺝﻫﺎﻱ ﺩﻭﺍﺯﺩﻩﮔﺎﻧﻪ ﺷﻜﻞ ﺍﻏﻮﺍﻱ ﺧﻮﺩ ﺭﺍ ﺩﺍﺭﻧﺪ‪ .‬ﭼﺮﺍ ﻛﻪ ﻫﻤﻪﻱ ﻣﺎ ﺩﺭ ﺟﺴﺘﺠﻮﻱ‬

‫ﺣﻤﺎﻳﺖ ﺳﺮﻧﻮﺷﺘﻲ ﺑﻲﻣﻌﻨﺎ ﻫﺴﺘﻴﻢ ﻭ ﺍﻣﻴﺪﻫﺎﻳﻤﺎﻥ ﺭﺍ ﺩﺭ ﺍﻓﺴﻮﻧﻲ ﺟﺎﻱ ﻣﻲﺩﻫﻴﻢ ﻛﻪ ]ﺑﻪ ﺳﺎﺩﮔﻲ[‬

‫ﻣﻤﻜﻦ ﺍﺳﺖ ﺍﺯ ﺗﺮﻛﻴﺒﻲ ﻛﺎﻣﻼً ﻏﻴﺮ ﻋﻘﻼﻧﻲ ﻣﻨﺘﺞ ﺷﺪﻩﺑﺎﺷﺪ‪ -‬ﺍﻳﻨﺠﺎﺳﺖ ﻛﻪ ﻗﺪﺭﺕ ﻃﺎﻟﻊ ﻭ‬

‫ﺑﺮﺝﻫﺎﻱ ﺩﻭﺍﺯﺩﻩﮔﺎﻧﻪ ﻣﺤﻘﻖ ﻣﻲﺷﻮﺩ‪ .‬ﻫﻴﭻ ﻛﺲ ﻧﺒﺎﻳﺪ ﺑﻪ ﻃﺎﻟﻊﺑﻴﻨﻲ ﺑﺨﻨﺪﺩ ﺯﻳﺮﺍ ﺣﺘﻲ ﺁﻥﻛﺲ ﻛﻪ‬

‫ﺯﻣﺎﻥ ﺩﺭﺍﺯﻱ ﻧﻴﺴﺖ ﻛﻪ ﺩﺭ ﭘﻲ ﺍﻏﻮﺍﻱ ﺳﺘﺎﺭﮔﺎﻥ ﺍﺳﺖ‪ ،‬ﻫﻤﭽﻨﺎﻥ ﺑﺮﺍﻱ ﻃﺎﻟﻊﺑﻴﻨﻲ ﻭ ﻧﻘﺼﺎﻧﻲ ﺩﺭ‬

‫ﻃﺎﻟﻊﺍﺵ ﻏﻤﮕﻴﻦ ﺍﺳﺖ‪ .‬ﺩﺭﺣﻘﻴﻘﺖ‪ ،‬ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﺑﺪﺍﻗﺒﺎﻟﻲﻫﺎﻱ ﻳﻚ ﺷﺨﺺ ﺍﺯ ﻧﺪﺍﺷﺘﻦ ﻳﻚﺟﺎ ﺩﺭ‬

‫ﺁﺳﻤﺎﻥ ﺩﺭ ﻣﺤﺪﻭﺩﻩﺍﻱ ﺍﺯ ﻃﺎﻟﻊﻫﺎﻳﻲ ﻛﻪ ﺑﺎ ﺁﻧﻬﺎ ﻣﻄﺎﺑﻘﺖ ﻛﻨﻨﺪ ﻧﺸﺄﺕ ﻣﻲﮔﻴﺮﺩ‪ ،‬ﺑﻪ ﻋﺒﺎﺭﺕﺩﻳﮕﺮ‬

‫ﺩﺭ ﺍﻳﻦ ﻣﻮﺭﺩ ﺁﺧﺮ ﺑﺪﺍﻗﺒﺎﻟﻲﻫﺎ ﺍﺯ ﺍﻏﻮﺍﻧﺸﺪﮔﻲ ِﺁﻧﻬﺎ ﺗﻮﺳﻂ ﺗﺎﺭﻳﺦ ﺗﻮﻟﺪ ﻭ ﺻﻮﺭﺕ ﻓﻠﻜﻲ ِﻣﺮﺑﻮﻁ ﺑﻪ‬

‫ﺁﻥ ﻧﺸﺄﺕ ﻣﻲﮔﻴﺮﺩ‪ .‬ﺁﻧﻬﺎ ﺍﻳﻦ ﺳﺮﻧﻮﺷﺖ ﺭﺍ ﺑﺮﺍﻱ ﺯﻧﺪﮔﻲ ﺗﺎﺏﻣﻲﺁﻭﺭﻧﺪ ﻭ ﻫﻤﭽﻨﻴﻦ ﺑﺮﺍﻱ ﺧﻮﺩِ‬

‫ﻣﺮﮒﺷﺎﻥ ﻛﻪ ﺩﺭ ﻣﻮﻋﺪﻱ ﻧﺎﺑﻬﻨﮕﺎﻡ ﻓﺮﺍﺧﻮﺍﻫﺪﺭﺳﻴﺪ‪ .‬ﺑﺮﺍﻱ ﺍﻧﺴﺎﻥ ﻧﺎﺗﻮﺍﻧﻲ ﺍﺯ ﺍﻏﻮﺍﺷﺪﻥ ﺑﻪ ﻭﺍﺳﻄﻪﻱ‬

‫‪۱۱۱‬‬
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﻃﺎﻟﻊﺍﺵ ﺑﺴﻴﺎﺭ ﺟﺪﻱﺗﺮ ﺍﺳﺖ ﺍﺯ ﻧﺎﻛﺎﻣﻲ ﺩﺭ ﮔﺮﻓﺘﻦ ﭘﺎﺩﺍﺵ ﺷﺎﻳﺴﺘﮕﻲﻫﺎ ﻳﺎ ﺍﺭﺿﺎﺷﺪﮔﻲ‬

‫ﻏﺮﻳﺰﻩﺍﺵ‪.‬‬

‫ﻳﻚ ﺭﺳﻮﺍﻳﻲ )‪ (discredit‬ﻧﻤﺎﺩﻳﻦ ﻫﻤﻴﺸﻪ ﺍﺯ ﻳﻚ ﻧﻘﺼﺎﻥ ﻳﺎ ﺑﺪﺍﻗﺒﺎﻟﻲ ﻭﺍﻗﻌﻲ ﺟﺪﻱﺗﺮ ﺍﺳﺖ‪.‬‬

‫ﺍﺯ ﺍﻳﻦﺭﻭ ﺩﻗﻴﻘﺎً ﻫﻤﺎﻥﻃﻮﺭﻛﻪ ﻇﺎﻫﺮ ﻓﻴﺰﻳﻜﻲ ﻳﻚ ﺷﺨﺺ ﻣﻲﺗﻮﺍﻧﺪ ﺑﺎ ﺟﺮﺍﺣﻲ ﭘﻼﺳﺘﻴﻚ ﺍﺻﻼﺡ‬

‫) ‪Institute  of ‬‬ ‫ﺷﻮﺩ‪ ،‬ﺍﻳﺪﻩﻱ ﺧﻴﺮﺧﻮﺍﻫﺎﻧﻪﻱ ﺗﺄﺳﻴﺲ ﻣﻮﺳﺴﻪﻱ ﺳﻤﻴﻮﺭﺟﻲ × ِﻃﺎﻟﻊﺑﻴﻨﻲ‬

‫‪ (Zodiacal  Semiurgy‬ﻫﻢ ﻣﻲﺗﻮﺍﻧﺪ ﺑﻲﻋﺪﺍﻟﺘﻲﻫﺎﻱ ﻃﺎﻟﻊ ﺭﺍ ﺗﺼﺤﻴﺢ ﻛﻨﺪ ﻭ ﺑﺪﻳﻦﺗﺮﺗﻴﺐ‬

‫ﻳﺘﻴﻢﻫﺎﻱ ﻃﺎﻟﻊﺑﻴﻨﻲ ﻧﻴﺰ ﺑﺎﻻﺧﺮﻩ ﻃﺎﻟﻊ ﮔﺰﻳﻨﺶ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﻣﻲﺁﻭﺭﻧﺪ‪ ،‬ﺑﻪ ﮔﻮﻧﻪﺍﻱ ﻛﻪ ﻣﻤﻜﻦ‬

‫ﺍﺳﺖ ﺁﻧﻬﺎ ﺑﺮﺍﻱ ﺑﺎﺭﻱ ﺩﻳﮕﺮ ﺑﺎ ﺧﻮﻳﺸﺘﻦﺷﺎﻥ ﺁﺷﺘﻲ ﻛﻨﻨﺪ‪ .‬ﺍﻳﻦ ﻣﻮﻓﻘﻴﺘﻲ ﻋﻈﻴﻢ ﺧﻮﺍﻫﺪﺑﻮﺩ‬

‫ﺩﺳﺖﻛﻢ ﺑﺮﺍﺑﺮ ﻣﻮﻓﻘﻴﺖ ﻣﺘﻞﻫﺎﻱ ﺧﻮﺩﻛﺸﻲ ﻛﻪ ﺩﺭ ﺁﻧﻬﺎ ﻣﺮﺩﻡ ﺑﺮﭘﺎﻳﻪﻱ ﻧﺤﻮﻩﻱ ﺩﻟﺨﻮﺍﻫﻲ ﻛﻪ‬

‫ﺑﺮﮔﺰﻳﺪﻩﺍﻧﺪ‪ ،‬ﺧﻮﺍﻫﻨﺪ ﻣﺮﺩ‪.‬‬

‫‪۱۱۲‬‬
‫ﺍﻏﻮﺍ‬

‫ﻣﺮﮒ ﺩﺭ ﺳﻤﺮﻗﻨﺪ‬

‫ﻳﻚ ﺣﺬﻑ ﻧﺸﺎﻧﻪ‪ ،‬ﻛﺴﻮﻑ ﻣﻌﻨﺎ‪ :‬ﻳﻚ ﻭﻫﻢ‪ .‬ﺩﻳﻮﺍﻧﮕﻲ ﻛﺸﻨﺪﻩﺍﻱ ﻛﻪ ﻳﻚ ﻧﺸﺎﻧﻪ ﺧﺎﺹ ﺩﺭ ﺁﻧﺎ‬

‫ﺍﻳﺠﺎﺩ ﻣﻲﻛﻨﺪ‪ .‬ﺩﺍﺳﺘﺎﻥ ﺁﻥ ﺳﺮﺑﺎﺯﻱ ﺭﺍ ﺩﺭ ﻧﻈﺮ ﺑﮕﻴﺮﻳﺪ ﻛﻪ ﺩﺭ ﺣﺎﻝ ﻋﺒﻮﺭ ﺍﺯ ﺑﺎﺯﺍﺭ ﺑﺎ ﻣﺮﮒ ﻣﻮﺍﺟﻪ‬

‫ﻣﻲﺷﻮﺩ ﻭ ﺍﻭ ﺩﺭ ﻃﻲ ﺍﻳﻦ ﻣﻮﺍﺟﻬﻪ ﻣﻲﭘﻨﺪﺍﺭﺩ ﻛﻪ ﻣﺮﮒ ﺑﻪ ﺳﻮﻱ ﺍﻭ ﺍﺷﺎﺭﺍﺗﻲ ﺗﻬﺪﻳﺪﺁﻣﻴﺰ‬

‫ﺩﺍﺷﺘﻪﺍﺳﺖ‪ .‬ﺍﻭ ﺷﺘﺎﺑﺎﻥ ﺑﻪ ﻛﺎﺥ ﭘﺎﺩﺷﺎﻩ ﻣﻲﺭﻭﺩ ﻭ ﺍﺯ ﭘﺎﺩﺷﺎﻩ ﺑﻬﺘﺮﻳﻦ ﺍﺳﺒﺶ ﺭﺍ ﺩﺭﺧﻮﺍﺳﺖﻣﻲﻛﻨﺪ‬

‫ﺗﺎ ﺷﺒﺎﻧﻪ ﺍﺯ ﭼﻨﮕﺎﻝ ﻣﺮﮒ ﺑﻪ ﺩﻭﺭﺩﺳﺘﻬﺎ ﺑﮕﺮﻳﺰﺩ ﺑﻪ ﺟﺎﻳﻲ ﻣﺜﻞ ﺳﻤﺮﻗﻨﺪ‪ .‬ﭘﺲ ﺍﺯ ﻣﺪﺗﻲ ﺷﺎﻩ ﻣﺮﮒ‬

‫ﺭﺍ ﺑﻪ ﻛﺎﺥ ﻓﺮﺍﻣﻲﺧﻮﺍﻧﺪ ﻭ ﺍﻭ ﺭﺍ ﺑﺮﺍﻱ ﺍﻳﻨﻜﻪ ﻳﻜﻲ ﺍﺯ ﺑﻬﺘﺮﻳﻦ ﺧﺎﺩﻣﺎﻧﺶ ﺭﺍ ﺗﺮﺳﺎﻧﺪﻩﺍﺳﺖ ﻣﻮﺭﺩ‬

‫ﺳﺮﺯﻧﺶ ﻗﺮﺍﺭﻣﻲﺩﻫﺪ‪ .‬ﺍﻣﺎ ﻣﺮﮒ ﺣﻴﺮﺕﺯﺩﻩ ﭘﺎﺳﺦ ﻣﻲﺩﻫﺪ‪" :‬ﻗﺼﺪ ﻣﻦ ﺗﺮﺳﺎﻧﺪﻥ ﺍﻭ ﻧﺒﻮﺩ ﺗﻨﻬﺎ ﺍﺯ‬

‫ﺍﻳﻨﻜﻪ ﺍﻳﻦ ﺳﺮﺑﺎﺯ ﺭﺍ ﺍﻳﻨﺠﺎ ﺩﻳﺪﻡ ﺗﻌﺠﺐ ﻛﺮﺩﻡ ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﻓﺮﺩﺍﻱ )ﺁﻥ ﺭﻭﺯ( ﺩﺭ ﺳﻤﺮﻗﻨﺪ ﻗﺮﺍﺭ‬

‫ﻣﻼﻗﺎﺕ ﺩﺍﺷﺘﻴﻢ‪".‬‬

‫ﺁﺭﻱ‪ ،‬ﺁﻥﻛﻪ ﺑﺎ ﻳﻘﻴﻨﻲ ﻫﺮ ﭼﻪ ﺑﻴﺸﺘﺮ ﺩﺭ ﺻﺪﺩ ﮔﺮﻳﺰ ﺍﺯ ﺳﺮﻧﻮﺷﺖ ﺧﻮﺩ ﺑﺮﺁﻣﺪﻩ ﺍﺳﺖ‬

‫)ﺩﺭﺣﻘﻴﻘﺖ( ﺑﻪ ﺳﻮﻱ ﺳﺮﻧﻮﺷﺖ ﺧﻮﺩ ﻣﻲﮔﺮﻳﺰﺩ‪ .‬ﺁﺭﻱ ﻫﺮ ﻛﺴﻲ ﻣﺮﮒ ﺧﻮﻳﺶ ﺭﺍ ﻣﻲﺟﻮﻳﺪ ﻭ )ﺩﺭ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺍﻳﻦ ﺟﺴﺘﺠﻮ( ﻛﻨﺶﻫﺎﻱ ﻋﺎﺟﺰﺍﻧﻪ ﻛﺎﻣﻼً ﻧﺘﻴﺠﻪﺑﺨﺶﺍﻧﺪ‪ .‬ﺁﺭﻱ ﻧﺸﺎﻧﻪﻫﺎ ﺑﺎ ﻳﻚ ﺟﺮﻳﺎﻥ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ‬

‫ﻫﻤﺮﺍﻩ ﻣﻲﺷﻮﻧﺪ‪ .‬ﺍﻣﺎ ﻫﻤﻪ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﻧﺒﺎﻳﺪ ﺑﻪ ﺣﻘﻴﻘﺖ ﻗﺮﺍﺭ ﻣﻼﻗﺎﺗﻲ ﺩﺭ ﺳﻤﺮﻗﻨﺪ ﻣﺮﺗﺒﻂ ﺩﺍﻧﺴﺖ‬

‫ﭼﺮﺍ ﻛﻪ ﺍﻏﻮﺍﻱ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺩﻓﺎﻋﻴﻪﺍﻱ ﺍﺯ ﺣﻘﻴﻘﺖ ﺑﺎﺷﺪ‪.‬‬

‫ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺍﺯ ﺍﻥ ﻟﺤﺎﻅ ﺑﻬﺖﺁﻭﺭ ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﻗﺮﺍﺭ ﻣﻼﻗﺎﺕ ﻏﻴﺮﻗﺎﺑﻞ ﺍﺟﺘﻨﺎﺏ ﻇﺎﻫﺮﺍً ﻫﻴﭻ‬

‫ﻧﻴﺎﺯﻱ ﻫﻢ ﺑﻪ ﺭﺥ ﺩﺍﺩﻥ ﻧﺪﺍﺭﺩ‪.‬‬

‫ﻫﻴﭻ ﭼﻴﺰ ﺑﺪﻭﻥ ﻫﻤﻴﻦ ﻣﻮﺍﺟﻬﻪ ﺗﺼﺎﺩﻓﻲ ﻭ ﺑﺪ ﺍﻗﺒﺎﻟﻲ ﻛﻪ ﻣﻮﺟﺐ ﻣﻲﮔﺮﺩﺩ ﺍﺷﺎﺭﺍﺕ ﺳﺎﺩﻩ‬

‫"ﻣﺮﮒ" ﺑﻪ ﻣﺎﻧﻨﺪ ﻛﻴﻦﺧﻮﺍﻫﻲ ﺍﻏﻮﺍﮔﺮﺍﻧﻪ ﻋﻤﻞ ﻧﻤﺎﻳﺪ‪ ،‬ﻧﻤﻲﺗﻮﺍﻧﺪ ﺗﻀﻤﻴﻦﻛﻨﻨﺪﻩ ﺍﻳﻦ ﺑﺎﺷﺪ ﻛﻪ‬

‫ﺳﺮﺑﺎﺯ ﻓﺮﺩﺍ ﺩﺭ ﺳﻤﺮﻗﻨﺪ ﺧﻮﺍﻫﺪﺑﻮﺩ‪ .‬ﻣﺮﮒ ﺑﻪ ﺍﻳﻦ ﻛﻪ ﺳﺮﺑﺎﺯ ﺭﺍ ﺑﺮﺍﻱ ﺍﺟﺮﺍﻱ ﺣﻜﻢ ﻓﺮﺍﻣﻲﺧﻮﺍﻧﺪ‬

‫ﻗﺎﻧﻊ ﺑﻮﺩ ﭼﺮﺍ ﻛﻪ ﺩﺍﺳﺘﺎﻥ ﺑﺎﻳﺪ ﺍﻓﺴﻮﻥ ﺧﻮﺩ ﺭﺍ ﻣﺤﻮﻛﻨﺪ‪.‬‬

‫ﺍﻳﻨﺠﺎ ﻫﻤﻪ ﭼﻴﺰ ﺑﻪ ﻳﻚ ﻧﺸﺎﻧﻪ ﻳﻜﻪ ﻭ ﺑﻲﺍﺧﺘﻴﺎﺭ ﻭﺍﺑﺴﺘﻪ ﻣﻲﮔﺮﺩﺩ‪ .‬ﺍﺷﺎﺭﻩ ﺑﻪ ﻋﻨﻮﺍﻥ ﺑﺨﺸﻲ ﺍﺯ‬

‫ﻳﻚ ﺍﺳﺘﺮﺍﺗﮋﻱ ﻭ ﻳﺎ ﺣﺘﻲ ﺣﻴﻠﻪﺍﻱ ﻧﺎﺧﻮﺁﮔﺎﻫﺎﻧﻪ ﻇﺎﻫﺮ ﻧﻤﻲﺷﻮﺩ ﺑﻠﻜﻪ ﭼﻮﻥ ﻋﻤﻖ ﺍﻏﻮﺍ ﺑﻪ ﺷﻜﻠﻲ‬

‫ﺟﺎﻧﺒﻲ ﺑﻪ ﺣﺮﻛﺖ ﺩﺭ ﻣﻲﺁﻳﺪ‪ ،‬ﻧﺸﺎﻧﻪﺍﻱ ﺑﺪﻭﻥ ﺁﮔﺎﻫﻲ ﻗﻬﺮﻣﺎﻥ )ﺍﻳﻦ ﻧﺸﺎﻧﻪ ﺑﺮﺍﻱ "ﻣﺮﮒ" ﻫﻢ ﺑﻪ‬

‫ﻫﻤﺎﻥ ﺍﻧﺪﺍﺯﻩ ﺳﺮﺑﺎﺯ ﻧﺎﺁﺷﻨﺎ ﺍﺳﺖ‪ (.‬ﻧﺸﺎﻧﻪﺍﻱ ﻛﻪ ﺣﻜﻤﻲ ﻣﺮﮒ ﺑﺎﺭ ﺭﺍ ﺍﺟﺮﺍ ﻣﻲﻛﻨﺪ‪ .‬ﻧﺸﺎﻧﻪﺍﻱ‬

‫ﺗﺼﺎﺩﻓﻲ ﻛﻪ ﺩﺭ ﭘﺸﺖ ﺗﻘﺎﺭﻧﻲ ﺣﻴﺮﺕﺁﻭﺭ ﻭ ﻣﻨﺤﻮﺱ ﺩﻳﮕﺮ ﻭﺿﻊ ﻣﻲﮔﺮﺩﺩ‪ .‬ﺗﻘﺎﺭﻧﻲ ﻛﻪ ﺑﻪ ﺧﻂ‬

‫ﺳﻴﺮ ﻧﺸﺎﻧﻪ ﺟﻨﺒﻪﺍﻱ ﺑﺬﻟﻪﮔﻮﻳﺎﻧﻪ ﻣﻲﺩﻫﺪ‪.‬‬

‫ﻫﻴﭻ ﺷﺨﺼﻴﺘﻲ ﺩﺭ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﭼﻴﺰﻱ ﺑﺮﺍﻱ ﺳﺮﺯﻧﺶﺷﺪﻥ ﻭ ﻳﺎ ﻫﺮ ﭼﻴﺰ ﺩﻳﮕﺮ ﻛﻪ ﻣﺘﻮﺟﻪ‬

‫ﺍﻭ ﺑﺎﺷﺪ ﺣﺘﻲ ﭘﺎﺩﺷﺎﻫﻲ ﻛﻪ ﺍﺳﺒﺶ ﺭﺍ ﺑﻪ ﺳﺮﺑﺎﺯ ﻋﺎﺭﻳﻪ ﺩﺍﺩﻩﺑﻮﺩ‪ ،‬ﻧﺪﺍﺭﺩ ﻭ )ﻫﻴﭻ ﺿﺮﻭﺭﺗﻲ ﻧﺪﺍﺭﺩ(‬

‫ﻛﺴﻲ ﺩﺭ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﻣﻘﺎﻡ ﻳﻚ ﻣﺠﺮﻡ ﻭ ﻳﺎ ﻫﺮ ﻛﺲ ﺩﻳﮕﺮﻱ ﻇﺎﻫﺮ ﺷﻮﺩ‪ .‬ﺩﺭ ﭘﺲ ﺁﺯﺍﺩﻱ‬

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‫ﺍﻏﻮﺍ‬

‫ﻇﺎﻫﺮﻱ‪ ،‬ﺩﻭ ﺷﺨﺼﻴﺖ ﺍﺻﻠﻲ )ﻣﺮﮒ ﺁﺯﺍﺩ ﺍﺳﺖ ﻛﻪ ﺍﺷﺎﺭﻩ ﻛﻨﺪ ﻭ ﺳﺮﺑﺎﺯ ﺑﺮﺍﻱ ﺍﻳﻨﻜﻪ ﺑﮕﺮﻳﺰﺩ( ﻫﺮ ﺩﻭ‬
‫‪۲۸‬‬
‫ﺍﺯ ﻗﺎﻋﺪﻩﺍﻱ ﭘﻴﺮﻭﻱ ﻣﻲﻛﻨﻨﺪ ﻛﻪ ﻫﻴﭻﻛﺪﺍﻡ ﺍﺯ ﺁﻥ ﺁﮔﺎﻩ ﻧﻴﺴﺘﻨﺪ‪.‬‬

‫ﻗﺎﻋﺪﻩ ﺍﻳﻦ ﺑﺎﺯﻱ ﻛﻪ ﻫﻤﭽﻮﻥ ﻫﺮ ﻗﺎﻋﺪﻩﺍﻱ ﺑﻨﻴﺎﺩﻳﻨﻲ ﺑﺎﻳﺪ ﺩﺭ ﻣﻘﺎﻡ ﻳﻚ ﺭﺍﺯ ﺑﺎﻗﻲ ﺑﻤﺎﻧﺪ ﺍﻳﻦ‬

‫ﺍﺳﺖ ﻛﻪ ﻣﺮﮒ ﻳﻚ ﺣﺎﺩﺛﻪﻱ ﺯﻳﺎﻧﺒﺎﺭ ﻧﻴﺴﺖ‪ .‬ﺑﻠﻜﻪ ﺗﻨﻬﺎ ﺩﺭ ﻣﻴﺎﻥ ﺍﻏﻮﺍ ﺭﻭﻱ ﻣﻲﺩﻫﺪ‪ .‬ﻛﻪ ﺍﻳﻦ ﻭﻗﻮﻉ‬

‫ﺍﺯ ﻃﺮﻳﻖ ﻳﻚ ﻫﻤﺪﺳﺘﻲ ﺁﻧﻲ ﻭ ﻏﻴﺮ ﻗﺎﺑﻞ ﺭﺍﺯﮔﺸﺎﻳﻲ )ﺍﻣﻜﺎﻥ ﭘﺬﻳﺮ ﻣﻲﺷﻮﺩ( ﻳﻚ ﻫﻤﺪﺳﺘﻲ ﺗﻮﺳﻂ‬

‫ﻳﻚ ﻧﺸﺎﻧﻪ ﻳﺎ ﻧﺸﺎﻧﻪﻫﺎﻳﻲ ﻛﻪ ﺩﺭ ﺟﺮﻳﺎﻥ ﺯﻣﺎﻥ ﺭﺍﺯ ﮔﺸﺎﻳﻲ ﻧﺨﻮﺍﻫﻨﺪ ﺷﺪ‪.‬‬

‫ﻣﺮﮒ ﻳﻚ ﻗﺮﺍﺭ ﻣﻼﻗﺎﺕ ﺍﺳﺖ ﻧﻬﻴﻚ ﺗﻘﺪﻳﺮ )ﺳﺮﻧﻮﺷﺖ( ﺍﺑﮋﻛﺘﻴﻮ‪) .‬ﺷﺨﺼﻴﺖ( ﻣﺮﮒ‬

‫ﻧﻤﻲﺗﻮﺍﻧﺪ ﺑﭙﺬﻳﺮﺩ ﻛﻪ ﺗﺎﻛﻨﻮﻥ ﭼﻴﺰﻱ ﺟﺰ ﺍﻳﻦ ﻗﺮﺍﺭﻣﻼﻗﺎﺕ ﻧﺒﻮﺩﻩﺍﺳﺖ ﻗﺮﺍﺭﻣﻼﻗﺎﺗﻲ ﻛﻪ ﻋﻄﻔﻲ‬

‫ﺗﻠﻤﻴﺤﻲ )ﻃﻨﺰﺁﻟﻮﺩ( ﺍﺯ ﻧﺸﺎﻧﻪﻫﺎ ﻭ ﻗﻮﺍﻋﺪﻱ ﺍﺳﺖ ﻛﻪ ﺑﺎﺯﻱ ﺭﺍ ﺳﺎﺯﻣﺎﻥﺩﻫﻲ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺍﻳﻦ‬

‫ﻫﻤﺎﻥﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺩﺍﺳﺘﺎﻥ ﺭﺍﺯ ﻃﻌﻨﻪﺁﻣﻴﺰﺵ ﺭﺍ ﺍﻋﻄﺎ ﻣﻲﻛﻨﺪ ﺭﺍﺯﻱ ﻛﻪ ﻗﺼﺪﻳﺖﺍﺵ‬

‫ﻫﻤﭽﻮﻥ ﻫﺠﻮﻣﻲ ﺍﺯ ﺍﺩﺭﺍﻙ ﻧﻤﻮﺩ ﻣﻲﻳﺎﺑﺪ )ﺍﺛﺮﻱ ﺍﺯ ﺟﺎﻧﺐ ﺭﻭﺡ( ﻭ ﺑﺎ ﭼﻨﺎﻥ ﻟﺬﺕ ﻣﺎ ﻓﻮﻕ‬

‫ﺍﻧﺴﺎﻧﻲﺍﻱ ﻣﺎ ﺭﺍ ﻗﺎﻧﻊ ﻣﻲﻛﻨﺪ ﻭ ﺁﻧﺮﺍ ﺍﺯ ﺭﻭﺍﻳﺘﻲ ﺍﺧﻼﻗﻲ ﻳﺎ ﺩﺍﺳﺘﺎﻧﻲ ﻋﺎﻣﻴﺎﻧﻪ ﺩﺭ ﺑﺎﺏ ﻏﺮﻳﺰﻩ ﻣﺮﮒ‬

‫ﺗﻤﻴﺰ ﻣﻲﺩﻫﺪ‪.‬‬

‫ﺷﺨﺼﻴﺘﻲ ﺭﻭﺣﺎﻧﻲ ﺷﺨﺼﻴﺖ ﺭﻭﺣﺎﻧﻲﺷﺪﻩﻱ ﺍﺷﺎﺭﻩﻱ ﻣﺮﮒ ﺭﺍ ﺍﻣﺘﺪﺍﺩ ﻣﻲﺩﻫﺪ )ﺑﺴﻂ‬

‫ﻣﻲﺩﻫﺪ( ﻭ ﺩﻭ )ﻧﺤﻮﻩ ﺍﺯ( ﺍﻏﻮﺍ ﺍﻏﻮﺍﻱ ﻣﺮﮒ ﻭ ﺍﻏﻮﺍﻱ ﺩﺍﺳﺘﺎﻥ ﺑﺎ ﻫﻢ ﺗﺮﻛﻴﺐ ﻣﻲﺷﻮﻧﺪ‪.‬‬

‫ﺍﻋﺠﺎﺏ ﻣﺮﮒ ﻟﺬﺕﺑﺨﺶ ﺍﺳﺖ ﺍﻋﺠﺎﺑﻲ ﺑﺮﻓﺮﺍﺯ ﺑﻲﻣﻌﻨﺎﻳﻲ ﻳﻚ ﺗﺮﺗﻴﺐ ﺟﺎﻳﻲ ﻛﻪ ﭼﻴﺰﻫﺎ ﺑﺮ‬

‫ﺍﺳﺎﺱ ﺷﺎﻧﺲ ﺑﻪ ﭘﻴﺶ ﻣﻲﺭﻭﻧﺪ‪" :‬ﺍﻣﺎ ﺳﺮﺑﺎﺯ ﺑﺎﻳﺪ ﻣﻲﺩﺍﻧﺴﺖ ﻛﻪ ﻓﺮﺩﺍ ﺩﺭ ﺳﻤﺮ ﻗﻨﺪ ﺩﺭ ﺍﻧﺘﻈﺎﺭ ﺍﻭ‬

‫ﻫﺴﺘﻨﺪ ﻭ )ﺩﺭ ﻭﺍﻗﻊ( ﺍﻭ ﺍﻳﻦ ﺯﻣﺎﻥ ﺭﺍ ﺻﺮﻑﻧﻈﺮ ﻛﺮﺩﻩﺍﺳﺖ ﺗﺎ ﺑﻪ ﺍﻳﻨﺠﺎ )ﻣﺤﻞ ﻗﺮﺍﺭ( ﺑﺮﺳﺪ ‪ "...‬ﺍﻣﺎ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﻣﺮﮒ ﺗﻨﻬﺎ ﺍﻋﺠﺎﺏﺍﺵ ﺭﺍ ﺑﻪ ﻧﻤﺎﻳﺶ ﻣﻲﮔﺬﺍﺭﺩ ﮔﻮﻳﻲ ﻭﺟﻮﺩ ﺍﻭ ﻭ ﻫﻤﺎﻧﻄﻮﺭ ﻭﺟﻮﺩ ﺳﺮﺑﺎﺯ ﺑﻪ ﺍﻳﻦ‬

‫ﻭﺍﻗﻌﻴﺖ ﺑﺴﺘﮕﻲ ﻧﺪﺍﺷﺖ ﻛﻪ ﺁﻧﻬﺎ ﺑﺎﻳﺪ ﻳﻜﺪﻳﮕﺮ ﺭﺍ ﺩﺭ ﺳﻤﺮﻗﻨﺪ ﻣﻼﻗﺎﺕ ﻣﻲﻛﺮﺩﻧﺪ‪.‬‬

‫ﺷﺎﻳﺪ ﻣﺮﮒ ﺑﻪ ﭼﻴﺰﻫﺎ ﺍﻣﻜﺎﻥ ﻭﻗﻮﻉ ﺷﺎﻥ ﺭﺍ ﻣﻲﺩﻫﺪ ﻭ ﺍﻳﻦ ﻫﻤﺎﻥ ﻓﻘﺪﺍﻥ ﺗﺼﺎﺩﻑ ﺍﻭﺳﺖ‬

‫ﻫﻤﺎﻥ ﻛﻪ ﺟﺎﺫﺑﻪﺍﺵ ﺭﺍ ﺑﻪ ﺍﻭ ﺍﻋﻄﺎ ﻣﻲﻛﻨﺪ‪ -‬ﺑﻪ ﺍﻳﻦﺩﻟﻴﻞ ﺍﺳﺖ ﻛﻪ ﺳﺮﺑﺎﺯ ﺑﺮﺍﻱ ﭘﻴﻮﺳﺘﻦ ﺑﻪ ﺍﻭ‬

‫ﻣﻲﺷﺘﺎﺑﺪ‪.‬‬

‫ﻫﻴﭻﻳﻚ ﺍﺯ ﺍﻳﻦ ﺍﻟﺰﺍﻣﺎﺕ ﻧﻪ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﻧﻪ ﺍﻣﻮﺭ ﻣﺘﺎﻓﻴﺰﻳﻜﻲ ﻳﺎ ﺭﻭﺍﻧﺸﻨﺎﺳﺎﻧﻪ )ﺿﺮﻭﺭﺗﻲ ﻧﺪﺍﺭﻧﺪ(‬

‫ﻭ ﻳﺎ ﺣﺘﻲ ﺍﺳﺘﺮﺍﺗﮋﻱ‪ .‬ﻣﺮﮒ ﻫﻴﭻ ﻧﻘﺸﻪﺍﻱ ﻧﺪﺍﺭﺩ‪ .‬ﺍﻭ ﺑﻪ ﻭﺍﺳﻄﻪﻱ ﻳﻚ ﺍﺷﺎﺭﻩ ﺷﺎﻧﺴﻲ‪ ،‬ﺷﺎﻧﺲ ﺭﺍ‬

‫ﺩﻭﺑﺎﺭﻩ ﺑﺮ ﭘﺎ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻳﻦ ﻧﻮﻋﻲ ﺟﺎﺑﻪﺟﺎﺳﺎﺯﻱ ﺍﺳﺖ ﻛﻪ ﺍﻭ ﻣﻨﺠﺮ ﻣﻲ ﺷﻮﺩ ﻛﻪ ﺑﺎ ﻭﺟﻮﺩ ﺁﻥ ﻫﻨﻮﺯ‬

‫ﻫﺮ ﭼﻴﺰﻱ ﺑﻪ ﻭﻗﻮﻉ ﻣﻲﭘﻴﻮﻧﺪﺩ ﻫﻴﭻ ﭼﻴﺰﻱ ﻛﻪ ﺍﻣﻜﺎﻥ ﻭﻗﻮﻉ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﺪ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ ﻭ ﺑﺎ ﻭﺟﻮﺩ‬

‫ﺍﻳﻦ ﻫﻨﻮﺯ ﻫﺮ ﭼﻴﺰﻱ ﺭﻭﺷﻨﮕﺮﻱ ﺭﺍ ﺍﺯ ﺷﺎﻧﺲ ﻣﺤﺎﻓﻈﺖ ﻣﻲﻛﻨﺪ ﻭ ﻫﺮ ﭼﻴﺰﻱ ﺁﻥ ﺭﺍ ﺍﺯ ﻳﻚ ﺍﺷﺎﺭﻩ‬

‫ﭘﻨﻬﺎﻧﻲ ﻣﻲﺭﻫﺎﻧﺪ )ﻭ ﻫﻤﭽﻨﻴﻦ( ﺍﺯ ﻳﻚ ﻣﻮﺍﺟﻬﻪﻱ ﺗﺼﺎﺩﻓﻲ ﻳﺎ ﺍﺯ ﻳﻚ ﻧﺸﺎﻧﻪﻱ ﻧﺎﺧﻮﺍﻧﺎ‪ .‬ﺍﻳﻦ ﻧﺤﻮﻩ‬

‫ﻫﻤﺮﺍﻫﻲﺍﺵ ﺑﺎ ﺍﻏﻮﺍ ﺍﺳﺖ‪.‬‬

‫ﺑﻪ ﻋﻼﻭﻩ ﺳﺮﺑﺎﺯ )ﺩﺭ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ( ﺑﻪ ﻣﻼﻗﺎﺕ ﻣﺮﮒ ﻣﻲﺭﻭﺩ ﭼﺮﺍ ﻛﻪ ﺍﻭ ﺑﻪ ﻳﻚ ﺍﺷﺎﺭﻩ ﺑﻲﻣﻌﻨﺎ‬

‫ﻣﻌﻨﺎ ﻣﻲﺑﺨﺸﺪ ﻭ ﺍﺷﺎﺭﻩﺍﻱ ﻛﻪ ﻫﻴﭽﮕﺎﻩ ﻣﺘﻮﺟﻪ ﺍﻭ ﻧﺒﻮﺩﻩﺍﺳﺖ‪ .‬ﺍﻭ ﺑﻪﮔﻮﻧﻪﺍﻱ ﺷﺨﺼﻲ ﺍﺯ ﺁﻥ ﺍﺷﺎﺭﻩ‬

‫ﺗﺄﻭﻳﻞ ﻣﻲﻛﻨﺪ ﺍﺷﺎﺭﻩﺍﻱ ﻛﻪ ﻣﺨﺎﻃﺐﺍﺵ ﺍﻭ ﻧﺒﻮﺩﻩﺍﺳﺖ‪ .‬ﻫﻤﭽﻮﻥ ﺷﺨﺼﻲ ﻛﻪ ﻣﻤﻜﻦ ﺍﺳﺖ‬

‫ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﻳﻚ ﻟﺒﺨﻨﺪ ﺭﺍ ﻣﻌﻨﺎ ﻛﺮﺩﻩﺍﺳﺖ ﺑﺮﺍﻱ ﺩﻳﮕﺮﻱ ﻧﻴﺰ ﭼﻨﻴﻦ ﻛﻨﺪ )ﺑﺎ ﻫﻤﺎﻥ ﻣﻌﻨﺎ(‪ .‬ﺍﺭﺗﻔﺎﻉ‬

‫ﺍﻏﻮﺍﮔﺮﻱ ﻓﻘﺪﺍﻥ ﺍﻏﻮﺍﺳﺖ‪ .‬ﻣﺮﺩ ﺍﻏﻮﺍﺷﺪﻩ ﺩﺭ ﻛﻴﻨﻪﻱ ﺧﻮﺩ ﮔﺮﻓﺘﺎﺭ ﺷﺪﻩﺍﺳﺖ ﺩﺭ ﻳﻚ ﺭﺷﺘﻪ‬

‫ﻧﺸﺎﻧﻪﻫﺎﻱ ﺳﺮﮔﺮﺩﺍﻥ‪.‬‬

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‫ﺍﻏﻮﺍ‬

‫ﻭ ﺍﻳﻨﻜﻪ ﺍﻏﻮﺍﮔﺮﻱ ﺍﺯ ﺟﺎﻧﺐ ﺧﻮﺩ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺍﺳﺖ ﻫﻤﺎﻥ ﺩﻟﻴﻠﻲ ﺍﺳﺖ ﻛﻪ ﻣﻨﺠﺮ ﻣﻲﺷﻮﺩ‬

‫ﻧﺸﺎﻧﻪ ﺍﺯ ﻣﻌﻨﺎ ﺑﺎﺯﮔﺮﺩﺍﻧﺪﻩ ﺷﻮﺩ ﻭ ﻳﺎ "ﺍﻏﻮﺍ ﺷﻮﺩ" ﻭ ﺍﻳﻦ ﺩﺭ ﺣﺎﻟﻲ ﺍﺳﺖ ﻛﻪ ﻧﺸﺎﻧﻪﻫﺎ ﺍﺯ ﺁﻥ ﺑﺎﺑﺖ ﻛﻪ‬

‫ﺧﻮﺩ ﺍﻏﻮﺍﮔﺮﻧﺪ ﺍﻏﻮﺍ ﺷﺪﻩﺍﻧﺪ‪.‬‬

‫***‬

‫ﺗﻨﻬﺎ ﻧﺸﺎﻧﻪﻫﺎ ﺑﺪﻭﻥ ﺍﻣﻮﺭ ﺍﺭﺟﺎﻋﻲ ﺗﻬﻲ ﺑﻲﻣﻌﻨﺎ ﻧﺸﺎﻧﻪﻫﺎﻱ ﭘﻮﭺ ﻭ ﻓﺸﺮﺩﻩﺍﻧﺪ ﻛﻪ ﻣﺎ ﺭﺍ ﺟﺬﺏ‬

‫ﻣﻲﻛﻨﻨﺪ‪.‬‬

‫ﭘﺴﺮﻱ ﻛﻮﭼﻚ ﻳﻚ ﭘﺮﻱ ﺭﺍ ﻓﺮﺍﻣﻲﺧﻮﺍﻧﺪ ﺗﺎ ﺁﺭﺯﻭﻳﺶ ﺭﺍ ﺑﺮ ﺁﻭﺭﺩﻩﺳﺎﺯﺩ‪ .‬ﭘﺮﻱ ﺍﻳﻦ ﺭﺍ ﺑﻪ ﻳﻚ‬

‫ﺷﺮﻁ ﻣﻲﭘﺬﻳﺮﺩ ﻭ ﺁﻥ ﻫﻢ ﺍﻳﻦ ﻛﻪ ﺍﻭ ﻫﺮﮔﺰ ﺑﻪ ﺭﻧﮓ ﻗﺮﻣﺰ ﺩﻡ ﺭﻭﺑﺎﻩ ﻓﻜﺮ ﻧﻜﻨﺪ‪ .‬ﭘﺴﺮ ﻛﻮﭘﻚ ﺑﺪﻭﻥ‬

‫ﻫﻴﭻ ﻣﻄﺎﻟﻌﻪﺍﻱ ﺟﻮﺍﺏ ﻣﻲﺩﻫﺪ‪" :‬ﻫﻤﻪﺍﺵ ﻫﻤﻴﻦ!" ﻭ ﺍﻭ ﻳﻘﻴﻨﺎً ﻣﻲﭘﻨﺪﺍﺭﺩ ﻛﻪ ﺧﻮﺷﺒﺨﺘﻲ ﺭﺍ‬

‫ﻳﺎﻓﺘﻪﺍﺳﺖ‪ .‬ﺍﻣﺎ ﭼﻪ ﺭﻭﻱ ﻣﻲﺩﻫﺪ؟ ﺍﻭ ﻧﺘﻮﺍﻧﺴﺖ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺩﻡ ﺭﻭﺑﺎﻩ ﺑﺮﻫﺎﻧﺪ‪ ،‬ﺩﻡ ﺭﻭﺑﺎﻩ )ﺩﺍﺋﻤﺎً( ﻭﺍﺭﺩ‬

‫ﺗﺼﻮﺭﺵ ﻣﻲﺷﻮﺩ ﺍﻭ ﺑﻼﻓﺎﺻﻠﻪ )ﻋﻬﺪﺵ( ﺭﺍ ﻓﺮﺍﻣﻮﺵ ﻛﺮﺩﻩﺑﻮﺩ‪ .‬ﺍﻭ ﺩﻳﮕﺮ ﺁﻥ ﺭﺍ ﻫﺮ ﺟﺎﻳﻲ ﻣﻲﺩﻳﺪ ﺑﺎ‬

‫ﺁﻥ ﺭﻧﮓ ﻗﺮﻣﺰﺵ ﺩﺭ ﺍﻧﻜﺎﺭﺵ ﻭ ﺩﺭ ﺧﻮﺍﺏﻫﺎﻳﺶ‪ .‬ﻋﻠﻲﺭﻏﻢ ﺗﻤﺎﻣﻲ ﺗﻼﺵﺍﺵ ﺍﻭ ﻧﺘﻮﺍﻧﺴﺖ ﺁﻥ ﺭﺍ )ﺍﺯ‬

‫ﺍﻓﻜﺎﺭﺵ( ﻣﺤﻮ ﻛﻨﺪ‪ .‬ﺍﻭ ﺗﻮﺳﻂ ﺍﻳﻦ ﺗﺼﻮﻳﺮ ﭘﻮﭺ ﺑﻲﺍﻫﻤﻴﺖ ﺍﻣﺎ ﺳﻤﺞ ﺳﺮﺷﺎﺭ ﺷﺪ ﺩﺭﺣﺎﻟﻴﻜﻪ ﺗﻮﺳﻂ‬

‫ﺗﻤﺎﻡ ﻛﻴﻨﻪﺍﻱ ﻛﻪ ﺍﺯ ﻧﺎﺗﻮﺍﻧﻲ ﺭﻫﺎﻧﻴﺪﻥ ﺧﻮﺩ ﺍﺯ ﺁﻥ )ﺗﺼﻮﻳﺮ( ﺭﻳﺸﻪ ﻣﻲﮔﻴﺮﺩ‪ .‬ﺍﺷﺒﺎﻉ ﺷﺪﻩﺑﻮﺩ‪ .‬ﻧﻪ‬

‫ﺗﻨﻬﺎ ﻋﻬﺪﻱ ﻛﻪ ﺑﺎ ﭘﺮﻱ ﻣﻘﺮﺭ ﻛﺮﺩﻩﺑﻮﺩ ﺩﺭﺳﺖ ﺍﻧﺠﺎﻡ ﻧﺪﺍﺩ ﺑﻠﻜﻪ ﻣﻴﻞﺍﺵ ﺭﺍ ﺑﻪ ﺯﻧﺪﮔﻲ ﺍﺯ ﺩﺳﺖ‬

‫ﺩﺍﺩ‪) .‬ﺑﺪﻳﻦﺗﺮﺗﻴﺐ( ﺍﻭ ﺷﺎﻳﺪ ﻫﻤﻴﻦﻃﻮﺭ ﺑﻲﺁﻧﻜﻪ ﺑﺎﻻﺧﺮﻩ ﺑﺘﻮﺍﻧﺪ )ﺍﻓﻜﺎﺭﺵ ﺭﺍ( ﺍﺯ ﺁﻥ ﺗﺼﻮﻳﺮ ﭘﺎﻙ‬

‫ﻛﻨﺪ ﺑﻤﻴﺮﺩ‪ .‬ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﭘﻮﭺ ﺍﻣﺎ ﻛﺎﻣﻼً ﺣﻖ ﺑﻪ ﺟﺎﻧﺐ ﭼﺮﺍ ﻛﻪ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﻗﺪﺭﺕ ﻣﺪﻟﻮﻟﻲ‬

‫ﺑﻲﺍﻫﻤﻴﺖ ﺭﺍ ﺍﻳﺠﺎﺏ ﻣﻲﻛﻨﺪ ﻗﺪﺭﺕ ﻳﻚ ﻣﺪﻟﻮﻝ ﺑﻲﻣﻌﻨﺎ‪.‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﭘﺮﻱ ﻣﻮﺫﻱ ﺑﻮﺩ )ﺍﻭ ﻳﻚ ﭘﺮﻱ ﺧﻮﺏ ﻧﺒﻮﺩ( ﺍﻭ ﻣﻲﺩﺍﻧﺴﺖ ﻛﻪ ﺫﻫﻦ ﺑﻪ ﮔﻮﻧﻪﺍﻱ ﻣﻘﺎﻭﻣﺖﻧﺎﭘﺬﻳﺮ‬

‫ﺑﻪ ﺳﻤﺖ ﻳﻚ ﻣﻜﺎﻥ ﻋﺎﺭﻱ ﺍﺯ ﻣﻌﻨﺎ ﻛﺸﻴﺪﻩﻣﻲﺷﻮﺩ‪ .‬ﺍﻳﻨﺠﺎ ﻇﺎﻫﺮﺍً ﻏﻴﺎﺏ ﺗﻮﺳﻂ ﺑﻲﻣﻌﻨﺎﻳﻲ ﺭﻧﮓ‬

‫ﻗﺮﻣﺰ ﺩﻡ ﻳﻚ ﺭﻭﺑﺎﻩ )ﻫﻤﺎﻥ ﺑﻲﻣﻌﻨﺎﻳﻲﺍﻱ ﻛﻪ ﻣﻨﺠﺮ ﻣﻲﺷﻮﺩ ﻛﻮﺩﻙ ﺑﻪ ﻋﻬﺪ ﺧﻮﺩ ﻭﻓﺎ ﻧﻜﻨﺪ(‬

‫ﺗﺤﺮﻳﻚ ﺷﺪﻩﺍﺳﺖ‪ .‬ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ ﻛﻠﻤﺎﺕ ﻭ ﺗﻬﺪﻳﺪﻫﺎ ﺗﻮﺳﻂ ﺗﻜﺮﺍﺭ ﻭ ﺗﻘﻄﻴﻌﻲ ﺧﺴﺘﮕﻲﻧﺎﭘﺬﻳﺮ ﺍﺯ‬

‫ﻣﻌﻨﺎﻫﺎﻳﺸﺎﻥ ﺗﻬﻲ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺳﺎﻳﻴﺪﮔﻲ ﻣﻌﻨﺎ ﻭ ﺧﺴﺘﮕﻲﺍﺵ ﺧﺴﺘﮕﻲ ﻛﻪ ﺯﻣﻴﻨﻪﺳﺎﺯ ﺁﺯﺍﺩﻱ ﺍﻏﻮﺍﻱ‬

‫ﻣﺤﺾ ﻣﺪﻟﻮﻟﻲ ﭘﻮﭺ ﻭ ﻳﺎ ﻭﺍﮊﻩﺍﻱ ﺗﻬﻲ ﻣﻲﺷﻮﺩ ﻭ ﺍﻳﻦ )ﻣﺘﻀﻤﻦ( ﻣﺎﻧﺪﮔﺎﺭﻱ ﺟﺎﺩﻭ ﻭ ﻭﺭﺩﻫﺎﻱ‬

‫ﺁﻳﻴﻨﻲ ﺍﺳﺖ‪.‬‬

‫ﺍﻣﺎ ﺍﻳﻦ ﺍﻣﺮ ﻣﻲﺗﻮﺍﻧﺪ ﺗﻨﻬﺎ ﺑﺎ ﺟﺬﺑﻪ ﺑﻲﻭﺍﺳﻄﻪ ﺍﺯ ﺟﺎﻧﺐ ﻧﻴﺴﺘﻲ ﻫﻤﺘﺮﺍﺯ ﺑﺎﺷﺪ ﻭ ﻳﺎ ﻫﻤﺘﺮﺍﺯ‬

‫ﻭﺿﻌﻴﺘﻲ ﻛﻪ ﺩﺭﻭﻥ ﺳﺮﮔﻴﺠﻪﻱ ﻓﻴﺰﻳﻜﻲ ﻳﻚ ﺷﻜﺎﻑ ﻳﺎﻓﺖﻣﻲﺷﻮﺩ ﻭ ﻳﺎ ﺳﺮﮔﻴﺠﻪﺍﻱ ﺍﺳﺘﻌﺎﺭﻱ‬

‫ﻧﺎﺷﻲ ﺍﺯ )ﻣﻮﺍﺟﻪﺷﺪﻥ ﺑﺎ( ﺩﺭﻱ ﻛﻪ ﺑﻪ ﺳﻮﻱ ﻧﻴﺴﺘﻲ ﻣﻲﮔﺸﺎﻳﺪ‪ .‬ﺍﮔﺮ ﻛﺴﻲ ﺑﺎ ﺁﻧﭽﻪ ﺭﻭﻱ ﺁﺳﺘﺎﻧﻪ‬

‫ﺩﺭ ﻧﻮﺷﺘﻪﺍﺳﺖ ﻣﻮﺍﺟﻪ ﺷﻮﺩ‪" .‬ﺍﻳﻦ ﺩﺭ ﺑﻪ ﻧﻴﺴﺘﻲ ﻣﻲﮔﺸﺎﻳﺪ‪ - ".‬ﺁﻳﺎ ﻫﻨﻮﺯ ﻫﻢ ﺍﻧﮕﻴﺰﻩﺍﻱ ﺑﺮﺍﻱ‬

‫ﮔﺸﻮﺩﻥ ﺁﻥ ﻧﺨﻮﺍﻫﺪ ﺩﺍﺷﺖ‪ .‬ﺁﻥ ﭼﻴﺰﻱ ﻛﻪ ﺑﻪ ﻫﻴﭻ ﭼﻴﺰﻱ ﺷﺒﺎﻫﺖ ﻧﺪﺍﺭﺩ ﺩﻻﻳﻞ ﺯﻳﺎﺩﻱ ﺑﺮﺍﻱ‬

‫ﮔﺸﻮﺩﻥ ﺧﻮﺍﻫﺪﺩﺍﺷﺖ‪ .‬ﺁﻥﭼﻪ ﻛﻪ ﻫﻴﭻ ﭼﻴﺰﻱ ﻧﻤﻲﮔﻮﻳﺪ ﺩﻻﻳﻞ ﺯﻳﺎﺩﻱ ﺑﺮﺍﻱ ﺍﻳﻨﻜﻪ ﻫﺮﮔﺰ‬

‫ﻓﺮﺍﻣﻮﺵ ﻧﺸﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺁﻥﭼﻪ ﻛﻪ ﺍﺧﺘﻴﺎﺭﻱ ﺍﺳﺖ )ﺑﻪ ﮔﻮﻧﻪﺍﻱ ﻫﻤﺰﻣﺎﻥ( ﺍﺯ ﺟﺎﻧﺐ ﻳﻚ ﺿﺮﻭﺭﺕ ﺗﺎﻡ‬

‫ﺍﻋﻄﺎ ﺷﺪﻩﺍﺳﺖ‪.‬‬

‫ﺳﺮﻧﻮﺷﺖ ﻧﺸﺎﻧﻪﺍﻱ ﺗﻬﻲ ﻧﻴﺴﺘﻲ ﺳﺮﮔﻴﺠﻪﺍﻱ ﺣﺎﺻﻞ ﺍﺯ ﻳﻚ ﻓﻘﺪﺍﻥ ﻓﻘﺪﺍﻥ ﺗﻌﻬﺪ ﺭﻭﺡ‬

‫ﻫﻴﺠﺎﻧﻲ )ﺿﺮﻭﺭﻱ( ﺑﺮﺍﻱ ﺿﺮﻭﺭﺕ‪ .‬ﺍﻳﻨﺠﺎ ﭼﻴﺰﻫﺎﻳﻲ ﺩﺭ ﺑﺎﺏ ﺭﺍﺯ ﺟﺎﺩﻭ ﺁﺷﻜﺎﺭ ﻣﻲﺷﻮﻧﺪ‪) .‬ﭼﻴﺰﻫﺎﻳﻲ‬

‫ﻣﺜﻞ ﺍﻳﻨﻜﻪ ﭘﺮﻱ ﻳﻚ ﺟﺎﺩﻭﮔﺮ ﺑﻮﺩ‪ (.‬ﻗﺪﺭﺕ ﻛﻠﻤﺎﺕ ﻭ ﺗﺄﺛﻴﺮ ﻧﻤﺎﺩﻳﻦﺷﺎﻥ ﺁﻥ ﻫﻨﮕﺎﻡ ﻛﻪ ﺩﺭ ﻳﻚ‬

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‫ﺍﻏﻮﺍ‬

‫ﻧﻴﺴﺘﻲ ﺍﺩﺍ ﺷﻮﻧﺪ ﻋﻈﻴﻢﺗﺮ ﻣﻲﺷﻮﺩ‪ .‬ﺁﻥ ﻫﻨﮕﺎﻡ ﻛﻪ ﺁﻧﻬﺎ ﻧﻪ ﺯﻣﻴﻨﻪﺍﻱ ﺩﺍﺭﻧﺪ ﻭ ﻧﻪ ﻭﺟﻬﻪﺍﻱ‬

‫ﺍﺭﺟﺎﻉﻛﻨﻨﺪﻩ‪ ،‬ﺁﻧﻬﺎ ﻣﻲﺗﻮﺍﻧﻨﺪ ﻗﺪﺭﺕ ﻳﻚ )ﻧﻮﻉ( ﭘﻴﺸﮕﻮﻳﻲ ﺧﻮﺩ‪ -‬ﺍﺭﺿﺎﻛﻨﻨﺪﻩ )ﻳﺎ ﺧﻮﺩ ﺍﻟﻐﺎﮔﺮ( ﺭﺍ‬

‫ﺑﻪ ﭼﻨﮓ ﺁﻭﺭﻧﺪ‪ .‬ﻣﺜﻞ ﺭﻧﮓ ﻗﺮﻣﺰ ﺩﻡ ﺭﻭﺑﺎﻩ‪ .‬ﻭ ﺍﻳﻦ ﺑﻪﮔﻮﻧﻪﺍﻱ ﻏﻴﺮ ﻭﺍﻗﻌﻲ ﻭ ﻭﺍﻫﻲ ﻭ ﺑﻪ ﺍﻳﻦ ﺧﺎﻃﺮ‬

‫ﻛﻪ ﺑﻲﺍﻋﺘﺒﺎﺭ ﺍﺳﺖ ﺑﻪﮔﻮﻧﻪﺍﻱ ﺟﺎﻟﺐ ﺗﻮﺟﻪ ﻧﻤﺎﻳﺎﻥ ﻣﻲﺷﻮﺩ‪ .‬ﺍﮔﺮ ﭘﺮﻱ ﻛﻮﺩﻙ ﺭﺍ ﺍﺯ ﺍﻧﺠﺎﻡ ﺑﻌﻀﻲ‬

‫ﻛﺎﺭﻫﺎﻱ ﺟﺪﻱ ﻭ ﭘﺮﺍﻫﻤﻴﺖ ﻣﻨﻊ ﻛﺮﺩﻩﺑﻮﺩ ﻛﻮﺩﻙ ﻋﻮﺽ ﺁﻧﻜﻪ ﺩﺭ ﺑﺮﺍﺑﺮ ﺍﺭﺍﺩﻩﺍﺵ ﺍﻏﻮﺍ ﺷﻮﺩ‬

‫ﻣﻲﺗﻮﺍﻧﺴﺖ ﺑﻪ ﺁﺳﺎﻧﻲ ﻭ ﺑﻲﻫﻴﭻ ﺩﺭﺩﺳﺮﻱ ﺁﻧﻬﺎ ﺭﺍ ﺑﻪ ﺍﻧﺠﺎﻡ ﺭﺳﺎﻧﺪ‪ .‬ﭼﺮﺍ ﻛﻪ ﺁﻥ ﻭﺿﻌﻴﺖ ﻳﻚ‬

‫ﻣﻤﻨﻮﻋﻴﺖ ﻧﺒﻮﺩ ﺍﻣﺎ ﺑﻲﻣﻌﻨﺎﻳﻲﺍﺵ ﺑﻮﺩ ﻛﻪ ﻛﻮﺩﻙ ﺭﺍ ﺍﻏﻮﺍ ﻣﻲﻛﺮﺩ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺩﺭ ﺑﺮﺍﺑﺮ ﺗﻤﺎﻡ ﻧﻈﺎﻡ‬

‫ﻣﻨﻄﻖ ﺍﻳﻦ ﭘﻴﺸﮕﻮﻳﻲﻫﺎﻱ ﻧﺎﻣﻌﻘﻮﻝﺍﻧﺪ ﻛﻪ ﺑﻪ ﺣﻘﻴﻘﺖ ﻣﻲﭘﻴﻮﻧﺪﻧﺪ‪ .‬ﻫﻤﻪﻱ ﺁﻥﭼﻴﺰﻫﺎﻳﻲ ﻛﻪ )ﺩﺭ‬

‫ﺍﻳﻦ ﭘﻴﺸﮕﻮﻳﻲﻫﺎ( ﻧﻴﺎﺯ ﺍﺳﺖ )ﻫﻴﭽﮕﺎﻩ( ﻣﻌﻨﺎﻱ ﺯﻳﺎﺩﻱ ﺭﺍ ﺍﻓﺎﺩﻩ ﻧﻤﻲﻛﻨﻨﺪ‪ .‬ﺍﺯ ﺳﻮﻳﻲ ﺩﻳﮕﺮ ﺍﻳﻦ‬

‫ﭘﻴﺸﮕﻮﻳﻲﻫﺎ ﻧﻤﻲﺗﻮﺍﻧﻨﺪ ﭘﻴﺸﮕﻮﻳﻲ ﺑﺎﺷﻨﺪ‪ ،‬ﺁﻧﻬﺎ ﺍﻓﺴﻮﻥﮔﺮﻱ ﻛﻼﻣﻲ ﺟﺎﺩﻭﻳﻲ ﻫﺴﺘﻨﺪ‪ ،‬ﺁﻧﻬﺎ ﺳﺤﺮ‬

‫ﺍﻏﻮﺍﮔﺮﻱﺍﻧﺪ‪.‬‬

‫ﺑﻪ ﺍﻳﻦ ﺩﻟﻴﻞ ﺍﺳﺖ ﻛﻪ ﻧﻪ ﺟﺎﺩﻭ ﻧﻪ ﺍﻏﻮﺍ ﻫﻴﭽﻜﺪﺍﻡ )ﺍﻧﺮﮊﻱﺷﺎﻥ( ﺑﻪ ﺗﺼﻮﻳﺮ ﻭ ﻳﺎ ﺗﻮﻟﻴﺪ ﺗﺼﻮﺭ‬

‫ﻣﻌﻄﻮﻑ ﻧﻤﻲﺷﻮﻧﺪ ﭼﺮﺍ ﻛﻪ ﺁﻧﻬﺎ ﻧﺸﺎﻧﻪﻫﺎ ﺭﺍ ﺑﺎ ﻧﺎﺑﺎﻭﺭﻱ ﺗﻤﺎﻡ ﻭ ﺑﺪﻭﻥ ﻫﻴﭻ ﺍﺷﺎﺭﻩ ﻭ ﻭﺟﻬﻪﺍﻱ‬

‫ﺍﺭﺟﺎﻉﻛﻨﻨﺪﻩ ﺑﻪ ﺍﺳﺘﺨﺪﺍﻡ ﺧﻮﺩ ﻣﻲﺁﻭﺭﻧﺪ‪ .‬ﻣﻨﻄﻖ ﺁﻧﻬﺎ ﺭﺍ ﻧﻤﻲﺗﻮﺍﻥ ﻧﻤﻮﻧﻪﺍﻱ ﺍﺯ ﻧﻮﻉ ﻭﺳﺎﻃﺖﻣﻨﺪ‬

‫ﺩﺍﻧﺴﺖ ﺍﻣﺎ ﺩﺭ ﻋﻮﺽ ﻣﻲﺗﻮﺍﻥ ﺁﻧﺮﺍ ﻧﻤﻮﻧﻪﺍﻱ ﺍﺯ ﺑﻲﻭﺍﺳﻄﮕﻲ ﻓﺮﺽ ﻛﺮﺩ ﻧﻤﻮﻧﻪﺍﻱ ﻓﺎﻗﺪ ﻧﺸﺎﻧﻪ‪.‬‬

‫ﺍﺛﺒﺎﺕ ﻏﻴﺮ ﺿﺮﻭﺭﻱ ﺍﺳﺖ‪ .‬ﻫﺮﻛﺴﻲ ﻣﻲﺩﺍﻧﺪ ﻛﻪ ﻃﻠﺴﻢﺍﺵ ﺗﻮﺳﻂ ﺑﺎﺯﺁﻭﺍﻳﻲ ﺑﻲﻭﺍﺳﻄﻪﺍﻱ ﺍﺯ‬

‫ﻧﺸﺎﻧﻪﻫﺎ ﺣﻤﻞ ﻣﻲﺷﻮﺩ‪ .‬ﻫﻴﭻ ﺯﻣﺎﻥ ﺭﺳﻤﻲ ﻭ ﻭﺍﺳﻄﻪﺍﻱ ﺑﺮﺍﻱ ﻧﺸﺎﻧﻪ ﻭ ﺭﺍﺯﮔﺸﺎﻳﻲ ﺁﻥ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪.‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺍﻳﻦ ﻣﺴﺌﻠﻪﺍﻱ ﺩﺭ ﺑﺎﺏ ﺗﺼﻮﺭ ﻭﻗﻮﻉ ﺧﻮﺍﺳﺖ ﻭ ﻳﺎ ﺩﺍﻧﺎﻳﻲ ﻧﻴﺴﺖ‪ .‬ﺟﺬﺑﻪﺷﺎﻥ ﺑﺮﺍﻱ ﻓﺮﻣﻬﺎﻱ ﺳﺨﻦ ﺑﻪ‬

‫ﻫﻤﺎﻥ ﺍﻧﺪﺍﺯﻩ ﺑﻴﮕﺎﻧﻪ ﺍﺳﺖ ﻛﻪ ﻣﻨﻄﻖ ﺍﺧﺘﺼﺎﺻﻲ ﮔﻔﺘﻪ ﻭ ﮔﺰﺍﺭﻩ‪.‬‬

‫ﻃﻠﺴﻢﺷﺎﻥ ﺟﺰء ﺩﺳﺘﻪﻱ ﺧﻄﺎﺑﻪ ﻭ ﭘﻴﺸﮕﻮﻳﻲ ﺍﺳﺖ ﺳﺨﻨﻲ ﻛﻪ ﺑﻲﺗﺄﺛﻴﺮﻱ ﻧﻤﺎﺩﻳﻦﺍﺵ ﻧﻪ ﺑﻪ‬

‫ﺭﺍﺯﮔﺸﺎﻳﻲ ﻧﻴﺎﺯ ﺩﺍﺭﺩ ﻭ ﻧﻪ ﺑﻪ ﺗﺼﻮﺭ‪.‬‬

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‫ﺟﺬﺑﻪ ﺑﻲﻭﺍﺳﻄﻪ ﻳﻚ ﺗﺮﺍﻧﻪ ﻳﻚ ﺻﺪﺍ ﻳﺎ ﻳﻚ ﺑﻮ‪ .‬ﺟﺎﺫﺑﻪﻱ ﺑﻮﻱ ﭘﻠﻨﮓ ﺩﺭ ﻋﻬﺪ ﺑﺎﺳﺘﺎﻥ‪ .‬ﭘﻠﻨﮓ‬

‫ﺗﻨﻬﺎ ﺣﻴﻮﺍﻧﻲ ﺍﺳﺖ ﻛﻪ ﺑﻮﻱ ﺧﻮﺵ ﻣﻨﺘﺸﺮ ﻣﻲﻛﻨﺪ‪ .‬ﺑﻮﻳﻲ ﻛﻪ ﺍﺯ ﺁﻥ ﺑﺮﺍﻱ ﺍﺳﻴﺮﻛﺮﺩﻥ ﻗﺮﺑﺎﻧﻲﻫﺎﻳﺶ‬

‫ﺳﻮﺩ ﻣﻲﺟﻮﻳﺪ‪ .‬ﭘﻠﻨﮓ ﺑﺎﻳﺪ ﭘﻨﻬﺎﻥ ﺷﻮﺩ )ﻇﺎﻫﺮﺵ ﻭﺣﺸﺖﺁﻓﺮﻳﻦ ﺍﺳﺖ( ﻭ ﻗﺮﺑﺎﻧﻲﻫﺎﻳﺶ ﺗﻮﺳﻂ‬

‫ﺑﻮﻱ ﺍﻭ ﺍﻓﺴﻮﻥ ﻣﻲﺷﻮﻧﺪ ﻳﻚ ﺩﺍﻡ ﻧﺎﻣﺮﺋﻲ ﺑﺮﺍﻱ ﺍﻳﻨﻜﻪ ﺁﻧﻬﺎ ﺭﺍ ﺑﻪ ﭼﻨﮓ ﺁﻭﺭﺩ‪.‬‬

‫ﺍﻣﺎ ﺍﻳﻦ ﻗﺪﺭﺕ ﺍﻏﻮﺍﮔﺮﻱ ﻣﻲﺗﻮﺍﻧﺪ ﺑﻪ ﺳﻮﻱ ﺧﻮﺩ ﭘﻠﻨﮓ ﺑﺎﺯﮔﺮﺩﺩ‪ :‬ﻳﻚ ﺍﻧﺴﺎﻥ ﻣﻲﺗﻮﺍﻧﺪ‬

‫ﻫﻤﭽﻮﻥ ﻳﻚ ﻃﻌﻤﻪ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺑﻮﻫﺎﻱ ﺧﻮﺷﻲ ﻣﺜﻞ ﺑﻮﻱ ﺍﺩﻭﻳﻪ ﻭ ﻳﺎ ﺑﻮﻱ ﮔﻴﺎﻫﺎﻥ )ﻛﻪ ﻣﺸﺎﺑﻪ‬

‫ﺑﻮﻱ ﭘﻠﻨﮓ ﺍﺳﺖ( ﺭﺩ ﺍﻭ ﺭﺍ ﺑﮕﻴﺮﺩ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﻛﻪ ﻣﻲﮔﻮﻳﻴﻢ ﭘﻠﻨﮓ ﺑﺎ ﺑﻮﻱ ﺧﻮﺩ ﺍﻏﻮﺍ ﻣﻲﺷﻮﺩ ﭼﻪ‬

‫ﻣﻌﻨﺎﻳﻲ ﻣﻲﺗﻮﺍﻧﺪ ﺩﺍﺷﺘﻪﺑﺎﺷﺪ؟ ﭼﺮﺍ ﺑﻮﻱ ﺧﻮﺩ ﭘﻠﻨﮓ ﭘﻠﻨﮓ ﺭﺍ ﺍﻏﻮﺍ ﻣﻲﻛﻨﺪ؟ ﻭ ﭼﺮﺍ ﺧﻮﺩ ﺍﻳﻦ‬

‫ﺍﻓﺴﺎﻧﻪ ﺍﻏﻮﺍﮔﺮﻱ ﺍﺳﺖ؟ ﭘﻠﻨﮓ ﭼﻪ ﻧﻮﻋﻲ ﺍﺯ ﺑﻮ ﺭﺍ ﻣﻨﺘﺸﺮ ﻣﻲﻛﻨﺪ؟‬

‫ﭼﻪ ﺩﻟﻴﻠﻲ ﺑﺮﺍﻱ ﺍﻏﻮﺍﮔﺮﻱ ﺗﺮﺍﻧﻪﻱ ﺳﺎﻳﺮﻥﻫﺎ ﻭ ﺯﻳﺒﺎﻳﻲ ﻳﻚ ﭼﻬﺮﻩ ﺍﻋﻤﺎﻕ ﻳﻚ ﺷﻜﺎﻑ ﻭ ﻳﺎ‬

‫ﺑﻲﻭﺍﺳﻄﮕﻲ ﻳﻚ ﻓﺎﺟﻌﻪ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻭ ﺑﻪ ﻋﻼﻭﻩ ﭼﻪ ﺩﻟﻴﻠﻲ ﺑﺮﺍﻱ ﺍﻭﻏﺎﮔﺮﻱ ﺑﻮﻱ ﻳﻚ ﭘﻠﻨﮓ ﻳﺎ‬

‫ﺩﺭﻱ ﻛﻪ ﺑﻪ ﺳﻮﻱ ﻧﻴﺴﺘﻲ ﻣﻲﮔﺸﺎﻳﺪ ﻣﻲﺗﻮﺍﻥ ﻳﺎﻓﺖ؟ ﺁﻳﺎ ﻣﺴﺦ ﻛﺮﺩﻥ ﻧﺸﺎﻧﻪﻫﺎ ﻣﻘﺎﻡ ﻣﻲﻳﺎﺑﺪ‪ .‬ﻓﺴﺦ‬

‫ﻣﻌﻨﺎﻱ ﻧﺸﺎﻧﻪﻫﺎ ﻣﻌﻨﺎﻳﺸﺎﻥ ﺩﺭ ﮔﻴﺰ ﻣﺼﺮﻑ ﺷﺪﻩﺍﺳﺖ ﻣﺎﻧﻨﺪ ﭼﻬﺮﻩﺍﻱ ﻛﻪ ﺗﻮﺳﻂ ﺁﺭﺍﻳﺶﺍﺵ ﺩﺭ‬

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‫ﺍﻏﻮﺍ‬

‫ﻇﺎﻫﺮ ﺧﻮﺩ ﺑﻪ ﮔﻮﻧﻪﺍﻱ ﺻﻮﺭﻱ ﻣﺼﺮﻑ ﺷﺪﻩﺍﺳﺖ‪ .‬ﺳﺨﺘﻲ ﻳﻚ ﻛﺎﺭ ﺑﻲﺭﻭﺡ‪ .‬ﺑﺎﻻﺗﺮ ﺍﺯ ﻫﻤﻪ ﺍﻏﻮﺍ ﻧﻪ‬

‫ﻳﻚ ﻏﺮﻳﺰﻩ )ﻣﻴﻞ( ﻓﺎﺵﺷﺪﻩ ﻛﻪ ﺯﻳﺒﺎﻳﻲ ﻛﻲ ﺍﺳﺘﺎﺩﻱ ﺭﺍ ﻓﺮﺽ ﻣﻲﮔﻴﺮﺩ‪ .‬ﺑﻮﻱ ﭘﻠﻨﮓ ﺩﺍﺋﻤﺎً ﻳﻚ‬

‫ﭘﻴﺎﻡ ﺑﻲﺭﻭﺡ ﺍﺳﺖ‪ -‬ﻭ ﺩﺭ ﻣﻴﺎﻥ ﺍﻳﻦ ﭘﻴﺎﻡ ﺧﻮﺩ ﭘﻠﻨﮓ ﻧﺎﺩﻳﺪﻩﻣﻲﻣﺎﻧﺪ‪ .‬ﻫﻤﺎﻧﻨﺪ ﺯﻧﻲ ﺩﺭ ﺯﻳﺮ‬

‫ﺁﺭﺍﻳﺶﺍﺵ‪) .‬ﻫﻤﺎﻧﮕﻮﻧﻪ ﻛﻪ( ﺳﺎﻳﺮﻥﻫﺎ ﻫﻢ ﻧﺎﺩﻳﺪﻩ ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﻨﺪ‪ .‬ﺳﺤﺮ ﺑﻪ ﻭﺍﺳﻄﻪﻱ ﭼﮕﻮﻧﮕﻲ‬

‫ﻣﻘﺎﻡ ﻳﺎﻓﺘﻦ ﺩﺭ ﺧﻔﺎ ﺷﻜﻞ ﻣﻲﮔﻴﺮﺩ‪.‬‬

‫ﺍﻏﻮﺍﮔﺮﻱ ﭼﺸﻤﻬﺎ‪ .‬ﻣﺤﺾﺗﺮﻳﻦ ﻓﺮﻡ ﻛﺎﻣﻼً ﺑﻲﻭﺍﺳﻄﻪ ﺍﻏﻮﺍﮔﺮﻱ ﻫﻤﺎﻥ ﻛﻪ ﻣﺎ ﺑﻪ ﺍﺯﺍء ﻛﻠﻤﺎﺕ‬

‫ﻣﺤﻮ ﻣﻲﺷﻮﺩ‪ .‬ﺩﺭ ﻣﺤﻠﻲ ﻛﻪ ﺑﻪ ﻧﻈﺮ ﻣﻲﺭﺳﺪ ﺗﻨﻬﺎ ﺑﻪ ﻳﻚ ﺩﻭﺋﻞ ﻣﻲﭘﻴﻮﻧﺪﺩ‪ .‬ﻳﻚ ﭘﻴﭽﻴﺪﮔﻲ‬

‫ﺑﻲﻭﺍﺳﻄﻪ‪ .‬ﺍﻣﺮﻱ ﻛﻪ ﺑﺮﺍﻱ ﺩﻳﮕﺮﺍﻥ ﻭ ﺳﺨﻦﻫﺎﻳﺸﺎﻥ ﻣﺠﻬﻮﻝ ﺍﺳﺖ‪ :‬ﺍﻓﺴﻮﻥ ﺩﻟﺨﻮﺍﻩ ﻳﻚ ﺍﺭﮔﺎﺳﻢ‬

‫ﺳﺎﻛﺖ ﻭ ﺑﻲﺣﺮﻛﺖ‪.‬‬

‫ﻳﻚ ﻣﺮﺗﺒﻪ ﺍﻭﺝ ﻟﺬﺕﺑﺨﺶ ﮔﻴﺰﻫﺎ ﺭﺍﻫﮕﺸﺎﻱ ﻛﻠﻤﺎﺕ ﻭ ﻳﺎ ﻫﻤﭽﻨﻴﻦ ﺭﺍﻫﮕﺸﺎﻱ ﺍﺷﺎﺭﻩﻫﺎﻱ‬

‫ﺩﻭﺳﺖﺩﺍﺷﺘﻨﻲ ﻭ ﺍﻭﺝ ﻧﻘﺼﺎﻥﻫﺎ ﻣﻲﺷﻮﺩ‪ .‬ﻳﻚ ﻗﺪﺭﺕ ﻻﻣﺴﻪ ﻛﻪ ﺍﺯ ﮔﻴﺰﻫﺎ ﻧﺸﺄﺕ ﻣﻲﮔﻴﺮﺩ‬

‫ﭘﺘﺎﻧﺴﻴﻞﻫﺎﻱ ﻛﺎﻣﻞ ﺑﺪﻧﻬﺎ )ﻭ ﺁﻳﺎ ﺍﻳﻦ ﻫﻤﺎﻥ ﻣﻴﻠﻬﺎﻱ ﺁﻧﻬﺎﺳﺖ؟( ﺭﺍ ﺩﺭ ﻳﻚ ﻟﺤﻈﻪ ﻳﻜﻪ ﻭ ﺩﻗﻴﻖ‬

‫ﺟﻤﻊ ﻣﻲﻛﻨﺪ‪ .‬ﺁﻥﭼﻨﺎﻥ ﻛﻪ ﺩﺭ ﻫﺠﻮﻡ ﺁﮔﺎﻫﻲ ﺭﻭﻱ ﻣﻲﺩﻫﺪ‪ .‬ﻳﻚ ﺩﻭﺋﻞ ﻛﻪ ﻇﺎﻫﺮﺍً ﺷﻬﻮﺍﻧﻲ ﻭ‬

‫ﺣﺘﻲ ﺷﮕﻔﺖﺍﻧﮕﻴﺰ ﺍﺳﺖ ﺍﻣﺎ ﺗﺠﺴﻢﻧﻴﺎﻓﺘﻪ‪ -‬ﻳﻚ ﺍﺷﺮﺍﻑ ﻛﺎﻣﻞ ﻛﻪ ﺳﺮﮔﻴﺠﻪ ﺍﻏﻮﺍ ﻣﻨﺠﺮ ﺑﻪ ﺁﻥ‬

‫ﻣﻲﺷﻮﺩ ﺍﺷﺮﺍﻓﻲ ﻛﻪ ﻟﺬﺗﻬﺎﻱ ﺟﺴﻤﺎﻧﻲ ﺑﺴﻴﺎﺭﻱ ﻛﻪ ﺩﺭ ﭘﻲ ﺩﺍﺭﺩ )ﻫﻤﺘﺮﺍﺯ ﻭ( ﻳﻜﺴﺎﻥ ﻧﺨﻮﺍﻫﻨﺪ ﺑﻮﺩ‪.‬‬

‫ﺁﻧﭽﻪ ﻛﻪ ﺍﻳﻦ ﭼﺸﻤﻬﺎ ﻣﺸﺎﻫﺪﻩ ﻣﻲﻛﻨﻨﺪ ﺗﺼﺎﺩﻓﻲ ﺍﺳﺖ ﺍﻣﺎ ﺍﻳﻦ ﺁﻧﭽﻨﺎﻥ ﺍﺳﺖ ﻛﻪ ﮔﻮﻳﻲ‬

‫ﺗﺎﻛﻨﻮﻥ ﺁﻧﻬﺎ ﺑﺮﺍﻱ ﻫﻤﻴﺸﻪ ﺑﺮ ﻫﺮ ﭼﻴﺰ ﺩﻳﮕﺮﻱ ﻧﻴﺰ ﺩﻗﻴﻖ ﺷﺪﻩ ﺑﻮﺩﻩﺍﻧﺪ‪ .‬ﺗﻬﻲ ﺍﺯ ﻣﻌﻨﺎ ﺁﻧﭽﻪ ﻛﻪ‬

‫ﻣﺒﺎﺩﻟﻪ ﻣﻲﺷﻮﺩ ﮔﻴﺰﻫﺎ ﻧﻴﺴﺘﻨﺪ‪ .‬ﺍﻳﻨﺠﺎ ﻫﻴﭻ ﻏﺮﻳﺰﻩﺍﻱ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ ﭼﺮﺍ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﻫﻨﮕﺎﻡ ﻛﻪ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﭼﺸﻤﻬﺎ ﻫﻤﭽﻮﻥ ﻧﻤﻮﺩﻫﺎﻳﻲ ﺗﺼﺎﺩﻓﻲ ﻃﻠﺴﻤﻲﺗﺮﻛﻴﺐ ﺷﺪﻩ ﺍﺯ ﻧﺸﺎﻧﻪﻫﺎﻱ ﻣﺤﺾ ﻭ ﻧﺸﺎﻧﻪﻫﺎﻱ‬

‫ﺩﻭﺋﻞ ﺭﺍ ﻃﺮﺡﺭﻳﺰﻱ ﻣﻲﻛﻨﻨﺪ ﻃﺮﺣﻲ ﺑﺪﻭﻥ ﻫﻴﭻ ﻋﻤﻘﻲ ﻭ ﻫﻴﭻ ﻭﺿﻌﻴﺖ ﻣﻮﻗﺘﻲ‪.‬‬

‫***‬

‫ﻫﺮ ﺳﻴﺴﺘﻤﻲ ﻛﻪ ﺗﻤﺎﻣﺎً ﺑﻪ ﻧﺤﻮﻱ ﺩﺭ ﻣﺠﺬﻭﺏﺳﺎﺯﻱ ﺧﻮﺩﺵ ﺑﻪ ﮔﻮﻧﻪﺍﻱ ﻛﻪ ﻧﺸﺎﻧﻪﻫﺎ ﻣﻮﻗﺘﺎً‬

‫ﺩﻳﮕﺮ ﻣﻌﻨﺎﻱ ﺭﺍ ﻧﺪﻋﺎﻱ ﻣﻲﻛﻨﻨﺪ ﺑﻲﺷﻚ ﻫﺮ ﻗﺪﺭﺗﻲ ﻛﻪ ﺍﺯ ﻣﺠﺬﻭﺏﻛﺮﺩﻥ ﺭﻳﺸﻪﻣﻲﮔﻴﺮﺩ ﺭﺍ ﺍﻋﻤﺎﻝ‬

‫ﺧﻮﺍﻫﺪ ﻛﺮﺩ‪ .‬ﻣﺠﺬﻭﺑﻴﺖ ﻫﺮ ﭼﻴﺰﻱ ﺗﻮﺳﻂ ﺧﻮﺩﺑﺴﻨﺪﮔﻲ ﭼﻴﺰﻫﺎ ﻭ ﺧﻮﺩ ﺗﺨﺮﻳﺐﮔﺮﻱﺷﺎﻥ ﻛﻪ ﺩﺭ‬

‫ﻭﺍﻗﻊ ﻣﺠﺬﻭﺑﻴﻦ ﺭﺍ ﺁﺷﻜﺎﺭ ﻣﻲﻛﻨﺪ ﻭﺍﻗﻌﻴﺖ ﻣﻲﻳﺎﺑﺪ‪ .‬ﺩﺭ ﻣﻮﺍﺟﻬﻪ ﺑﺎ ﻳﻚ ﻧﻈﺎﻡ ﺍﻧﺪﻳﺸﻪ ﻳﻚ ﻣﻜﺎﻧﻴﺴﻢ‬

‫ﺧﻮﺩﻛﺎﺭ ﻳﻚ ﺍﺑﮋﻩﻱ ﻛﺎﻣﻞ ﻭ ﻛﺎﻣﻼً ﺑﻼ ﺍﺳﺘﻔﺎﺩﻩ ﻳﻚ ﺻﺤﺮﺍﻱ ﭘﺮ ﺍﺯ ﺳﻨﮓ ﻳﻚ ﺯﻥ ﻳﺎ ﻳﻚ ﺭﻗﺎﺹ‬

‫ﺍﺳﺘﺮﻳﭗﺗﻴﺰ )ﻛﻪ ﺑﺎﻳﺪ ﺍﺯ ﺧﻮﺩﺵ ﺑﻪ ﺧﺎﻃﺮ ﺍﻓﺴﻮﻥ ﮔﺮﻱ ﻭ ﺍﻋﻤﺎﻝ ﻗﺪﺭﺕﺍﺵ ﻣﺤﺎﻓﻈﺖ ﻧﻤﺎﻳﺪ( ﻳﺎ‬

‫ﺑﻪﻃﻮﺭﻗﻄﻊ ﺧﺪﺍ ﻛﻪ ﺑﺎﻳﺪ ﻗﻄﻌﻪﺍﻱ ﻳﺎ ﺑﻴﺸﺘﺮ ﺯﻳﺒﺎﻳﻲ ﺍﺯ ﺩﺳﺘﮕﺎﻫﻲ ﺧﺎﺹ ﭘﺴﻨﺪ ﺑﺎﺷﺪ‪ .‬ﻳﺎ ﻳﻚ ﺯﻥ ﺑﺎ‬

‫ﺁﺭﺍﻳﺶﺍﺵ ﻛﺴﻲ ﻛﻪ ﺑﺮﺍﻱ ﺧﻮﺩﺵ ﻏﺎﻳﺐ ﺍﺳﺖ ﻏﻴﺎﺏ ﻳﻚ ﻣﻨﻈﺮﻩ ﺩﻗﻴﻖﺷﺪﻩ ﻏﻴﺎﺏ ﻳﻚ ﭼﻬﺮﻩ‪-‬‬

‫ﭼﮕﻮﻧﻪ ﻳﻚ ﺷﺨﺺ ﻣﻲﺗﻮﺍﻧﺪ ﺩﺭ ﺍﻳﻦ ﻣﻮﺍﺟﻪﺷﺪﻥﻫﺎ ﺩﺭ ﺁﻧﻬﺎ ﺑﻠﻌﻴﺪﻩ ﻧﺸﻮﺩ؟‬

‫ﻳﻚ ﺯﻥ ﺯﻳﺒﺎ ﻛﺴﻲ ﺍﺳﺖ ﻛﻪ ﺯﻳﺒﺎﻳﻴﺶ‪ ،‬ﺧﻮﺩﺵ ﺭﺍ ﻣﻨﺴﻮﺥ ﻣﻲﻛﻨﺪ ﻭ ﺑﻪ ﺩﻳﻦ ﺗﺮﺗﻴﺐ‬

‫ﭼﺎﻟﺸﻲ ﺭﺍ ﺗﺸﻜﻴﻞ ﻣﻲﺩﻫﺪ ﺩﺭ ﺍﻳﻦ ﺻﻮﺭﺗﻬﺎ ﺗﻨﻬﺎ ﺑﺎ ﺧﻴﺮﻩﺷﺪﻥ ﺑﻪ ﻓﻘﺪﺍﻥ ﭼﻪ ﭼﻴﺰﻱ ﺍﺩﺍﻣﻪ ﺩﻫﻴﻢ؟‬

‫)ﺑﻪ ﺧﻴﺮﮔﻲ ﺑﻪ( ﺁﻧﭽﻪ ﻛﻪ ﺯﻳﺒﺎ ﻧﻴﺴﺖ‪ .‬ﺯﻥ ﺯﻳﺒﺎﻳﻲ ﻛﻪ ﺗﻮﺳﻂ ﺟﻠﺐﺗﻮﺟﻪﻫﺎﻳﻲ ﻛﻪ ﺯﻳﺒﺎﻳﻲﺍﺵ‬

‫ﺍﻳﺠﺎﺏ ﻣﻲﻛﻨﺪ ﺟﺬﺏ ﻣﻲﺷﻮﺩ ﺑﻪﮔﻮﻧﻪﺍﻱ ﺑﻲﻭﺍﺳﻄﻪ ﻣﺴﺮﻱ ﺍﺳﺖ ﭼﺮﺍ ﻛﻪ ﺩﺭ ﺍﻓﺮﺍﻁ‬

‫ﻧﺎﺭﺳﻴﺴﺘﻲﺍﺵ ﺍﻭ ﺍﺯ ﺧﻮﻳﺸﺘﻦﺍﺵ ﻣﻨﺤﺮﻑ ﻣﻲﺷﻮﺩ ﻭ ﺍﺯ ﺳﻮﻳﻲ ﻫﻤﻪ ﺁﻥﭼﻴﺰﻫﺎ ﻛﻪ ﺍﺯ‬

‫ﺧﻮﻳﺸﺘﻦﺷﺎﻥ ﻣﻨﺤﺮﻑ ﺷﺪﻩﺍﻧﺪ ﺩﺭ ﺧﻔﺎ ﻓﺮﻭ ﻣﻲﺭﻭﻧﺪ ﻭ ﺑﺪﻳﻦﺗﺮﺗﻴﺐ ﺍﻭ )ﺑﺎ ﺍﻳﻦ ﺩﺭ ﺧﻔﺎ ﺑﻮﺩﮔﻲ(‬

‫‪۱۲۲‬‬
‫ﺍﻏﻮﺍ‬

‫ﺗﻤﺎﻣﻲ ﺍﻃﺮﺍﻑ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﺟﻠﺐ ﻣﻲﻛﻨﺪ‪ .‬ﺟﺎﺫﺑﻪ ﻧﻴﺴﺘﻲ ﺩﺭ ﺑﺴﺘﺮﻱ ﭘﺎﻳﻪﺍﻱ ﺍﺯ ﺍﻏﻮﺍ ﻣﻘﺎﻡ‬

‫ﻣﻲﻳﺎﺑﺪ‪ :‬ﻧﻪ ﺩﺭ ﺍﺟﺘﻤﺎﻉ ﻧﺸﺎﻧﻪﻫﺎ ﻭ ﻧﻪ ﺩﺭ ﭘﻴﺎﻡﻫﺎﻱ ﻏﺮﻳﺰﻩ ﺑﻠﻜﻪ ﺩﺭ ﻳﻚ ﻫﻤﺪﺳﺘﻲ ﺧﺎﺹ ﭘﺴﻨﺪﺍﻧﻪ‬

‫ﺑﺎ ﺟﺬﺑﻪ ﻧﺸﺎﻧﻪﻫﺎ‪ .‬ﺍﻏﻮﺍ ﺩﺭ ﺧﻔﺎ ﺁﻏﺎﺯ ﻣﻲﺷﻮﺩ‪ .‬ﺩﺭ ﻭﺍﻣﺎﻧﺪﮔﻲ ﻛﻨﺪ ﻭ ﺑﻲﺭﺣﻤﻲ ﺍﺯ ﻣﻌﻨﺎ ﻛﻪ ﺩﺭ ﻣﻴﺎﻥ‬

‫ﻧﺸﺎﻧﻪﻫﺎ ﻳﻚ ﻫﻤﺪﺳﺘﻲ ﺭﺍ ﺑﺮ ﭘﺎ ﻣﻲﻛﻨﺪ ﻫﻤﺪﺳﺘﻲ ﻛﻪ ﺍﻳﻨﺠﺎ ﺑﻴﺸﺘﺮ ﺩﺭ ﻳﻚ ﻫﺴﺘﻲ ﻓﻴﺰﻳﻜﻲ ﻳﺎ ﺩﺭ‬

‫ﻛﻴﻔﻴﺖ ﻳﻚ ﻏﺮﻳﺰﻩ ﻛﻪ ﺍﻏﻮﺍ ﺁﻧﺮﺍ ﺟﻌﻞ ﻛﺮﺩﻩﺍﺳﺖ ﺑﺮ ﭘﺎ ﺷﺪﻩﺍﺳﺖ‪ .‬ﻭ ﺍﻳﻦ ﻫﻤﺎﻥ ﺳﺮﭼﺸﻤﻪﻫﺎﻱ‬

‫ﺍﻓﺴﻮﻧﮕﺮﻱ ﺍﺳﺖ ﺍﻓﺴﻮﻧﮕﻲ ﻗﻮﺍﻋﺪ ﺑﺎﺯﻱ‪.‬‬

‫‪۱۲۳‬‬
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﺭﺍﺯ ﻭ ﻣﺒﺎﺭﺯﻩ‬

‫ﺭﺍﺯ‪:‬‬

‫ﺍﻏﻮﺍﻛﻨﻨﺪﮔﻲ‪ ،‬ﺩﺭ ﻭﻫﻠﻪﻱ ﺍﻭﻝ ﺧﺼﻴﺼﻪ ﺍﺳﺖ ﻛﻪ ﻧﺒﺎﻳﺪ ﺍﺯ ﺁﻥ ﺳﺨﻨﻲ ﮔﻔﺖ ﭼﺮﺍ ﻛﻪ ﻫﻴﭻ‬

‫ﻣﻌﻨﺎﻳﻲ ﻧﺪﺍﺭﺩ ﻭ ﮔﻔﺘﻪ ﻧﻤﻲﺷﻮﺩ ﺣﺘﻲ ﺍﮔﺮ ﺑﺪﺍﻥ ﺗﺮﻏﻴﺐ ﺷﻮﺩ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻣﻦ ﺭﺍﺯ "ﺩﻳﮕﺮﻱ" ﺭﺍ‬

‫ﻣﻲﺩﺍﻧﻢ ﺍﻣﺎ ﺁﻧﺮﺍ ﻓﺎﺵ ﻧﻤﻲﻛﻨﻢ ﻭ ﺍﻭ ﻣﻲﺩﺍﻧﺪ ﻛﻪ ﻣﻦ ﭼﻨﻴﻦ ﺭﺍﺯﻱ ﺭﺍ ﻣﻲﺩﺍﻧﻢ ﺍﻣﺎ ﺁﻥ ﺭﺍ ﺗﺼﺪﻳﻖ‬

‫ﻧﻤﻲﻛﻨﺪ‪ .‬ﻧﻴﺮﻭﻱ ﻣﻴﺎﻥ ﻣﺎ ﺑﻪ ﺳﺎﺩﮔﻲ ﺍﻳﻦ ﺭﺍﺯ ﺩﺭﺑﺎﺭﻩ ﺭﺍﺯ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻫﻤﺪﺳﺘﻲ ﻫﻴﭻﻛﺎﺭﻱ ﺑﺎ ﺧﻮﺩ‬
‫‪۲۹‬‬
‫ﻭﺍﻧﮕﻬﻲ ﺣﺘﻲ ﺍﮔﺮ ﻫﻢ ﺑﺨﻮﺍﻫﻴﻢ ﺭﺍﺯ ﺭﺍ ﻓﺎﺵ ﻧﻤﺎﻳﻴﻢ‪،‬‬ ‫ﺧﺒﺮﻱ ﻛﻪ ﭘﻨﻬﺎﻥ ﺷﺪﻩﺍﺳﺖ‪ ،‬ﻧﺪﺍﺭﺩ‪.‬‬

‫ﻧﻤﻲﺗﻮﺍﻧﻴﻢ ﭼﻮﻥ ﻫﻴﭻ ﭼﻴﺰﻱ ﺑﺮﺍﻱ ﮔﻔﺘﻦ ﻧﺪﺍﺭﻳﻢ‪ ...‬ﻫﺮ ﺁﻧﭽﻪ ﺑﺘﻮﺍﻧﺪ ﻓﺎﺵ ﺷﻮﺩ ﺑﻴﺮﻭﻥ ﺍﺯ ﺭﺍﺯ ﺍﺳﺖ‪.‬‬

‫ﺭﺍﺯ ﻧﻪ ﻣﺪﻟﻮﻟﻲ ﭘﻨﻬﺎﻥ ﺍﺳﺖ ﻧﻪ ﻛﻠﻴﺪﻱ ﺑﺮﺍﻱ ﮔﺸﻮﺩﻥ ﭼﻴﺰﻱ‪ ،‬ﺗﻨﻬﺎ ﮔﺮﺩﺵ ﻭ ﭘﻴﻤﺎﻳﺸﻲ ﺣﻮﻝ‬

‫ﻫﺮﺁﻥﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﻣﻲﺗﻮﺍﻧﺪ ﺑﻴﺎﻥ ﺷﻮﺩ‪ ،‬ﺩﺭﺳﺖ ﻣﺎﻧﻨﺪ ﺍﻏﻮﺍﮔﺮﻱ ﻛﻪ ﺩﺭ ﺯﻳﺮ ﻭﻗﺎﺣﺖ ﺳﺨﻦ‪،‬‬

‫ﺟﺮﻳﺎﻥ ﻣﻲﻳﺎﺑﺪ‪ .‬ﺭﺍﺯ ﻛﺎﻣﻼً ﺑﺮﻋﻜﺲ ﺍﺭﺗﺒﺎﻃﺎﺕ ﺍﺳﺖ ﻭ ﺩﺭ ﺣﻴﻦ ﺣﺎﻝ ﻣﻲﺗﻮﺍﻧﺪ ﺩﺭ ﺍﺭﺗﺒﺎﻃﺎﺕ ﺳﻬﻴﻢ‬

‫ﺷﻮﺩ‪ .‬ﺭﺍﺯ ﻗﺪﺭﺕﺍﺵ ﺭﺍ ﺗﻨﻬﺎ ﺩﺭ ﺑﺎﻗﻲﮔﺬﺍﺭﺩﻥ ﻧﺎﮔﻔﺘﻪﻫﺎ ﺑﺪﺳﺖﻣﻲﺁﻭﺭﺩ ﺩﺭﺳﺖ ﻣﺎﻧﻨﺪ ﺍﻏﻮﺍ ﻛﻪ ﺗﻨﻬﺎ‬

‫ﺑﺪﻳﻦ ﺧﺎﻃﺮ ﻣﻮﺛﺮ ﺍﺳﺖ ﻛﻪ ﻧﻪ ﻫﺮﮔﺰ ﺍﺯ ﺍﻏﻮﺍ ﺳﺨﻨﻲ ﺑﻪ ﻣﻴﺎﻥ ﺁﻭﺭﺩﻩ ﻧﻤﻲﺷﻮﺩ‪.‬‬

‫‪۱۲٤‬‬
‫ﺍﻏﻮﺍ‬

‫ﺍﻣﺮ ﻣﻜﺘﻮﻡ ﻳﺎ ﺍﻣﺮ ﺳﺮﻛﻮﺏ ﺷﺪﻩ ﺗﻤﺎﻳﻞ ﺩﺍﺭﻧﺪ ﺧﻮﺩ ﺭﺍ ﺁﺷﻜﺎﺭ ﺳﺎﺯﺩ ﺍﻣﺎ ﺭﺍﺯ ﺧﻴﺮ‪ .‬ﺭﺍﺯ ﺷﻜﻠﻲ‬

‫ﻣﻘﺪﻣﺎﺗﻲ ﻭ ﺍﻧﻔﺠﺎﺭﻱ ﺩﺍﺭﺩ‪ :‬ﻓﺮﺩ ﺑﻪ ﺭﺍﺯ ﻭﺍﺭﺩ ﻣﻲﮔﺮﺩﺩ ﺍﻣﺎ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺧﺎﺭﺝ ﮔﺮﺩﺩ‪ .‬ﺭﺍﺯ ﻫﺮﮔﺰ ﺁﺷﻜﺎﺭ‬

‫ﻧﻤﻲﮔﺮﺩﺩ‪ ،‬ﻫﺮﮔﺰ ﻣﻜﺎﻟﻤﻪ ﻧﻤﻲﺷﻮﺩ‪ ،‬ﻫﺮﮔﺰ ﺣﺘﻲ ﭘﻨﻬﺎﻧﻜﺎﺭﻱ ﻫﻢ ﻧﻤﻲﻛﻨﺪ )ﭼﺮﺍ ﻛﻪ ﭼﻴﺰﻱ ﻭﺟﻮﺩ‬

‫ﻧﺪﺍﺭﺩ ﻛﻪ ﭘﻨﻬﺎﻥ ﺷﻮﺩ‪ .(.‬ﺍﺯ ﻫﻤﻴﻦ ﺭﻭﻱ ﻧﻴﺮﻭﻳﺶ‪ ،‬ﻳﻚ ﻣﺒﺎﺩﻟﻪ ﺁﻳﻴﻨﻲ ﻭ ﻛﻨﺎﻳﻲ ﺍﺳﺖ‪.‬‬

‫ﺑﻨﺎﺑﺮﺍﻳﻦ ﺩﺭ "ﺩﻓﺘﺮ ﺧﺎﻃﺮﺍﺕ ﺍﻏﻮﺍﮔﺮ"‪ ،۳۰‬ﻛﻴﺮﻛﻪ ﮔﻮﺭ‪ ،‬ﺍﻏﻮﺍ ﺷﻜﻞ ﻣﻌﻤﺎﻳﻲ ﺭﺍ ﺑﻪ ﺧﻮﺩ‬

‫ﻣﻲﮔﻴﺮﺩ ﻛﻪ ﺑﺎﻳﺪ ﺣﻞ ﺷﻮﺩ‪ .‬ﺩﺧﺘﺮ ﻳﻚ ﻣﻌﻤﺎ ﺍﺳﺖ ﻭ ﺑﺮﺍﻱ ﺍﻏﻮﺍ ﻛﺮﺩﻥ ﺍﻭ ﻓﺮﺩ ﺑﺎﻳﺪ ﺑﺮﺍﻱ ﺩﺧﺘﺮ‬

‫ﻳﻚ ﻣﻌﻤﺎ ﺑﺸﻮﺩ‪ .‬ﺍﻳﻦ ﻳﻚ ﺩﻭﺋﻞ ﻣﻌﻤﺎﻳﻲ ﺍﺳﺖ ﻛﻪ ﺍﻏﻮﺍ ﺁﻥ ﺭﺍ ﺣﻞ ﻣﻲﻛﻨﺪ ﺍﻣﺎ ﺑﻲﺁﻧﻜﻪ ﺭﺍﺯ ﺭﺍ ﻓﺎﺵ‬

‫ﻧﻤﺎﻳﺪ‪ .‬ﺍﮔﺮ ﺭﺍﺯ ﻓﺎﺵ ﺷﻮﺩ ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ ﺑﺮﻣﻼ ﻣﻲﺷﻮﻧﺪ‪ .‬ﻣﻌﻨﺎﻱ ﺩﺭﺳﺖ ﺩﺍﺳﺘﺎﻥ )ﺍﮔﺮ ﭼﻨﻴﻦ‬

‫ﭼﻴﺰﻱ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪﺑﺎﺷﺪ( ﺩﺭﺑﺎﺭﻩ ﺳﻜﺲ ﺍﺳﺖ ﺍﻣﺎ ﺩﺭ ﺣﻘﻴﻘﺖ ﻓﺎﻗﺪ ﺁﻥ ﺍﺳﺖ‪ .‬ﺩﺭ ﺟﺎﻳﻲ ﻛﻪ ﻣﻌﻨﺎ‬

‫ﻣﻲﺑﺎﻳﺴﺖ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪﺑﺎﺷﺪ‪ ،‬ﺟﺎﻳﻲ ﻛﻪ ﺳﻜﺲ ﻣﻲﺑﺎﻳﺴﺖ ﺭﺥ ﺩﻫﺪ ﺟﺎﻳﻲ ﻛﻪ ﻭﺍﮊﮔﺎﻥ ﺑﺪﻳﻦ‬

‫ﻣﻮﺿﻮﻉ ﻣﻲﭘﺮﺩﺍﺯﻧﺪ ﻭ ﺩﻳﮕﺮﺍﻥ ﺑﺎﻳﺪ ﺗﺼﻮﺭ ﻛﻨﻨﺪ ﻛﻪ ﭼﻨﻴﻦ ﺑﻮﺩﻩ‪ -‬ﻫﻴﭻ ﭼﻴﺰﻱ ﻭﺟﻮﺩﻧﺪﺍﺭﺩ‪ .‬ﻭ ﺍﻳﻦ‬

‫ﻧﻴﺴﺘﻲ‪ /‬ﺭﺍﺯ‪ ،‬ﺍﻳﻦ ﺟﺮﻳﺎﻥ ﺍﻏﻮﺍﮔﺮﻱ ﺩﻻﻟﺖ ﻧﺸﺪﻩ ﺩﺭ ﺯﻳﺮ ﻛﻠﻤﺎﺕ ﻭ ﻭﺍﮊﮔﺎﻥ ﻭ ﻣﻌﻨﺎﻳﺸﺎﻥ ﺍﺳﺖ ﻛﻪ‬

‫ﺣﺘﻲ ﺍﺯ ﻣﻌﻨﺎﻫﺎ ﺳﺮﻳﻌﺘﺮ ﺣﺮﻛﺖ ﻣﻲﻛﻨﺪ ﺷﻤﺎ ﺍﻭﻝ ﺁﻧﺮﺍ ﻟﻤﺲ ﻣﻲﻛﻨﻴﺪ ﭘﻴﺶ ﺍﺯ ﺁﻧﻜﻪ ﺟﻤﻠﻪ ﺑﺘﻮﺍﻧﺪ‬

‫ﻣﻌﻨﺎﻳﻲ ﺍﻋﺎﺩﻩ ﻛﻨﺪ ﻭ ﻫﻨﮕﺎﻡ ﻓﺮﺍﺭﺳﻴﺪﻥ ﻣﻌﻨﺎﻱ ﺩﻻﻟﺘﻲ ﻭﺍﮊﮔﺎﻥ ﻣﺤﻮ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻏﻮﺍﮔﺮﻳﻲ ﺯﻳﺮ‬

‫ﮔﻔﺘﻤﺎﻥ‪ ،‬ﺍﻏﻮﺍﻳﻲ ﻧﺎﻣﺮﺋﻲ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﻧﺸﺎﻧﻪﺍﻱ ﺑﻪ ﻧﺸﺎﻧﻪ ﺩﻳﮕﺮ ﺣﺮﻛﺖ ﻣﻲﻛﻨﺪ‪ -‬ﮔﺮﺩﺵ ﺭﺍﺯ‪.‬‬

‫ﺍﻳﻦ ﺩﻗﻴﻘﺎً ﻣﺨﺎﻟﻒ ﺭﺍﺑﻄﻪﻱ ﺭﻭﺍﻧﻜﺎﻭﺍﻧﻪ ﺍﺳﺖ‪ :‬ﺳﻬﻴﻢﺷﺪﻥ ﺩﺭ ﺭﺍﺯﻫﺎﻱ ﻛﺴﻲ‪ ،‬ﺳﻬﻴﻢﺷﺪﻥ ﺩﺭ‬

‫ﺍﻣﻴﺎﻝ ﻭ ﺧﻴﺎﻻﺕ ﺍﻭ ﻧﻴﺴﺖ‪ ،‬ﺳﻴﻬﻢ ﺷﺪﻥ ﺩﺭ ﺳﺨﻦ ﻧﺎﮔﻔﺘﻪ ﻣﺎﻧﺪﻩ ﻧﻴﺴﺖ‪ .‬ﻭﻗﺘﻲ ﻧﻬﺎﺩ ﺳﺨﻦ‬

‫ﻣﻲﮔﻮﻳﺪ‪ ،‬ﺍﻏﻮﺍﮔﺮ ﻧﻴﺴﺖ‪ .‬ﺗﻤﺎﻣﻲ ﺁﻥ ﭼﻴﺰﻫﺎﻳﻲ ﻛﻪ ﮔﺮﻓﺘﺎﺭ ﺳﺮﻛﻮﺏ‪ ،‬ﺍﻧﺮﮊﻱﻫﺎﻱ ﭘﺮﻣﻌﻨﻲ‪،‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﻧﺎﺧﻮﺩﺁﮔﺎﻩﺍﻧﺪ ﻳﺎ ﻫﺮﭼﻪ ﻛﻪ ﻣﺎﻳﻠﻴﻢ ﺳﺨﻦ ﺑﮕﻮﻳﺪ ﻭ ﻫﺮ ﺟﺎﻳﻲ ﻛﻪ ﺍﮔﻮ ﺑﺎﻳﺪ ﺁﺷﻜﺎﺭ ﺷﻮﺩ‪ ،‬ﻫﻤﮕﻲ ﺑﻪ‬

‫ﻧﻈﺎﻡ ﻫﻤﮕﺎﻧﻲ ﺗﻌﻠﻖ ﺩﺍﺭﻧﺪ ﻛﻪ ﻛﺎﻣﻼً ﻣﻐﺎﻳﺮ ﺑﺎ ﺷﻜﻞ ﺩﺭﻭﻧﻲ ﺭﺍﺯﻭﺭﺯﻱ ﻭ ﺍﻏﻮﺍﮔﺮﻱﺍﻧﺪ‪.‬‬

‫ﺣﺘﻲ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ‪ ،‬ﺳﺮﮔﺬﺷﺘﻬﺎﻱ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﻫﻢ‪ ،‬ﻫﻤﭽﻮﻥ ﺁﺧﺮﻳﻦ ﻭ ﺑﺰﺭﮔﺘﺮﻳﻦ ﺗﻼﺷﻬﺎ ﺑﺮﺍﻱ‬

‫ﺑﺎﺯﺳﺎﺯﻱ ﺭﺍﺯﻭﺭﺯﻱ ﺩﺭ ﺟﺎﻣﻌﻪﺍﻱ ﺑﺪﻭﻥ ﺭﺍﺯﺍﻧﺪ‪ .‬ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﭼﻮﻧﺎﻥ ﺭﺍﺯِ ﻣﺎ ﻇﺎﻫﺮ ﻣﻲﮔﺮﺩﺩ‪ .‬ﭼﻮﻧﺎﻥ ﺭﺍﺯ‬

‫ﺷﺨﺼﻲ ﻣﺎ ﺩﺭ ﺟﺎﻣﻌﻪﺍﻱ ﺍﻋﺘﺮﺍﻑﮔﻴﺮ ﻭ ﺷﻔﺎﻑﻧﻤﺎ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﻭﺍﻗﻌﺎً ﻳﻚ ﺭﺍﺯ ﻧﻴﺴﺖ ﭼﺮﺍ ﻛﻪ ﻣﻨﺤﺼﺮﺍً‬

‫ﺭﻭﺍﻧﻜﺎﻭﺍﻧﻪ ﺍﺳﺖ‪ .‬ﭼﻨﻴﻦ ﺭﺍﺯﻱ ﻫﻴﭻ ﻣﻮﺟﻮﺩﻳﺖ ﺑﺮﺍﻱ ﺧﻮﺩﺵ ﻧﺪﺍﺭﺩ‪ ،‬ﭼﺮﺍ ﻛﻪ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﺩﺭ ﻫﻤﺎﻥ‬

‫ﺯﻣﺎﻥ ﻛﻪ ﻫﻤﭽﻮﻥ ﺗﺤﻠﻴﻞ ﺭﻭﺍﻧﻜﺎﻭﻱ ﺍﻳﺠﺎﺩ ﻣﻲﺷﻮﺩ‪ ،‬ﺑﺎﻳﺪ ﮔﻔﺖ ﻛﻪ ﺩﺭ ﻫﻤﺎﻥ ﺯﻣﺎﻥ ﻧﻴﺰ ﻫﻤﭽﻮﻥ‬

‫ﺭﻭﻳﻪﻫﺎﻱ ﺟﺬﺏ‪ ،‬ﺗﻜﻨﻴﻜﻬﺎﻱ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪﻥ ﺭﺍﺯﻫﺎﻳﻲ ﻛﻪ ﺩﺭ ﺳﺎﺧﺘﺎﺭﻫﺎﻱ ﮊﺭﻑﺍﺵ ﺟﺎﻱ‬

‫ﮔﺮﻓﺘﻪﺍﻧﺪ‪ ،‬ﺍﻳﺠﺎﺩ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻣﺎ ﭼﻴﺴﺖ ﺁﻧﭽﻪ ﻛﻪ ﺍﻧﺘﻘﺎﻣﺶ ﺭﺍ ﺍﺯ ﺗﻤﺎﻣﻲﺗﻔﺎﺳﻴﺮ ﺑﮕﻴﺮﺩ ﻭ ﺑﻪ ﺭﻭﺷﻲ‬

‫ﺯﻳﺮﻛﺎﻧﻪ ﻣﺎﻧﻊ ﭘﻴﺸﺮﻭﻱ ﻭ ﺑﺴﻂ ﺗﻔﺎﺳﻴﺮ ﺷﻮﺩ؟ ﭼﻴﺰﻱ ﻛﻪ ﻗﻄﻌﺎً ﻧﻤﻲﺧﻮﺍﻫﺪ ﺑﻪ ﺳﺨﻦ ﺩﺭﺁﻳﺪ ﻭ‬

‫ﭼﻮﻥ ﻣﻌﻤﺎﻳﻲ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻃﻮﺭ ﻣﻌﻤﺎﮔﻮﻧﻪ ﻧﺘﺎﻳﺞ ﺧﻮﺩ ﺭﺍ ﺗﺴﺨﻴﺮ ﻣﻲﻛﻨﺪ ﻭ ﻣﺸﺘﺎﻕ ﺁﻧﺴﺖ ﻛﻪ‬

‫ﻫﻤﭽﻮﻥ ﺭﺍﺯ ﺩﺭ ﺳﺮﺧﻮﺷﻲ ﺭﺍﺯﻭﺭﺯﻱ ﺑﺎﻗﻲ ﻣﺎﻧﺪ‪ .‬ﺑﺎ ﻭﺟﻮﺩ ﺗﻤﺎﻣﻲﺗﻼﺷﻬﺎ ﺑﺮﺍﻱ ﺁﺷﻜﺎﺭ ﻧﻤﻮﺩﻥ ﻭ‬

‫ﻭﺍﺩﺍﺭ ﺳﺎﺧﺘﻦ ﺯﺑﺎﻥ ﺑﻪ ﺩﻻﻟﺖ‪ ،‬ﺯﺑﺎﻥ ﺑﻪ ﺍﻏﻮﺍﮔﺮﻱ ﺭﺍﺯﻭﺭﺯﺍﻧﻪﺍﺵ ﺑﺎﺯﻣﻲﮔﺮﺩﺩ ﻭ ﺩﺭ ﺍﻳﻦ ﺣﺎﻝ ﻣﺎ )ﻧﻴﺰ(‬

‫ﺑﻪ ﻟﺬﺗﻬﺎﻱ ﺣﻞﻧﺎﭘﺬﻳﺮ ﺧﻮﺩ ﺑﺎﺯﻣﻲﮔﺮﺩﻳﻢ‪.‬‬

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‫ﻧﻪ ﺍﻏﻮﺍﮔﺮﻱ ﺯﻣﺎﻥ ﺧﺎﺻﻲ ﺩﺍﺭﺩ ﻭ ﻧﻪ ﺯﻣﺎﻧﻲ ﺑﺮﺍﻱ ﺍﻏﻮﺍﮔﺮﻱ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﺑﻠﻜﻪ ﺍﻏﻮﺍ ﺿﺮﺑﺎﻫﻨﮓ‬

‫ﺿﺮﻭﺭﻱ ﺧﻮﺩ ﺭﺍ ﺩﺍﺭﺍﺳﺖ‪ .‬ﺑﺮﺍﺧﻼﻑ ﺭﺍﻫﺒﺮﺩﻫﺎﻱ ﺍﺑﺰﺍﺭﻱ ﻛﻪ ﺑﺎ ﻣﺮﺍﺣﻞ ﻭﺍﺳﻂ ﻗﺪﻡ ﺑﻪ ﻗﺪﻡ ﺑﻪ ﭘﻴﺶ‬

‫ﻣﻲﺭﻭﻧﺪ ﺍﻏﻮﺍﮔﺮﻱ ﺩﺭ ﭘﺎﻳﺎﻥ ﺧﻮﺩ ﻫﻤﻴﺸﻪ ﺑﺎ ﻳﻚ ﺣﺮﻛﺖ ﺁﻧﻲ ﻭ ﻣﺠﺰﺍ ﻋﻤﻞ ﻣﻲﻛﻨﺪ‪.‬‬

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‫ﺍﻏﻮﺍ‬

‫ﭼﺮﺧﻪ ﺍﻏﻮﺍﮔﺮﻱ ﻧﻤﻲﺗﻮﺍﻧﺪ ﻣﺘﻮﻗﻒ ﺷﻮﺩ‪ .‬ﻣﻲﺗﻮﺍﻥ ﻛﺴﻲ ﺭﺍ ﺑﺮﺍﻱ ﺍﻏﻮﺍﻛﺮﺩﻥ ﺷﺨﺼﻲ ﺩﻳﮕﺮﻱ‬

‫ﺍﻏﻮﺍ ﻧﻤﻮﺩ ﺍﻣﺎ ﻫﻤﭽﻨﻴﻦ ﻣﻲﺗﻮﺍﻥ ﺑﺮﺍﻱ ﻟﺬﺕ ﺧﻮﺩ‪ ،‬ﻛﺲ ﺩﻳﮕﺮﻱ ﺭﺍ ﺍﻏﻮﺍ ﻧﻤﻮﺩ‪ .‬ﻭﻫﻤﻲ ﻛﻪ ﺍﺯ ﻳﻜﻲ‬

‫ﺑﻪ ﺩﻳﮕﺮﻱ ﻣﻨﺘﻬﻲ ﻣﻲﺷﻮﺩ ﺯﻳﺮﻛﺎﻧﻪ ﺍﺳﺖ‪ .‬ﺍﻏﻮﺍﻛﺮﺩﻥ ﻳﺎ ﺍﻏﻮﺍﺷﺪﻥ ﻛﺪﺍﻣﻴﻚ ﺍﻏﻮﺍﮔﺮﺍﻧﻪ ﺍﺳﺖ؟ ﺍﻣﺎ‬

‫ﺍﻏﻮﺍﺷﺪﻥ ﺑﻬﺘﺮﻳﻦ ﺭﻭﺵ ﺑﺮﺍﻱ ﺍﻏﻮﺍﻛﺮﺩﻥ ﺍﺳﺖ‪ .‬ﺑﺮﮔﺮﺩﺍﻧﻲ ﺑﻲﭘﺎﻳﺎﻥ‪ .‬ﻫﻴﭻ ﻃﺮﻳﻘﻪ ﻓﻌﺎﻝ ﻳﺎ ﻣﻨﻔﻌﻠﻲ‬

‫ﺩﺭ ﺍﻏﻮﺍﮔﺮﻱ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﻧﻪ ﺳﻮﮊﻩ ﻧﻪ ﺍﺑﮋﻩﺍﻱ ﻧﻪ ﺍﻣﺮ ﺩﺭﻭﻧﻲ ﻳﺎ ﺑﺮﻭﻧﻲ‪ :‬ﺍﻏﻮﺍ ﺑﺎ ﻫﺮ ﺩﻭ ﺳﻮﻳﻪ ﺑﺎﺯﻱ‬

‫ﻣﻲﻛﻨﺪ ﻭ ﻫﻴﭻ ﻣﺮﺯﻱ ﺳﻮﻳﻪﻫﺎ ﺭﺍ ﺍﺯ ﻳﻜﺪﻳﮕﺮ ﺟﺪﺍ ﻧﻤﻲﻛﻨﺪ‪ .‬ﻛﺴﻲ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺩﻳﮕﺮﺍﻥ ﺭﺍ ﺍﻏﻮﺍ ﻛﻨﺪ‬

‫ﺍﮔﺮ ﺧﻮﺩﺵ ﺍﻏﻮﺍ ﻧﺸﺪﻩﺑﺎﺷﺪ‪ .‬ﭼﺮﺍ ﻛﻪ ﺍﻏﻮﺍ ﻫﺮﮔﺰ ﺩﺭ ﺣﻘﻴﻘﺖ ﻧﺸﺎﻧﻪﻫﺎ ﻣﺘﻮﻗﻒ ﻧﻤﻲﺷﻮﺩ ﺑﻠﻜﻪ ﺑﺎ‬

‫ﻓﺮﻳﺐ ﻭ ﺭﺍﺯﺩﺍﺭﻱ ﻋﻤﻞ ﻣﻲﻛﻨﺪ‪ ،‬ﮔﺮﺩﺷﻲ ﺭﺍ ﺑﻪ ﺭﺍﻩ ﻣﻲﺍﻧﺪﺍﺯﺩ ﻛﻪ ﻣﺮﻣﻮﺯ ﻭ ﺁﻳﻴﻨﻲ ﺍﺳﺖ‪ ،‬ﻧﻮﻋﻲ ﺁﻏﺎﺯ‬

‫ﺑﻲﺩﺭﻧﮓ ﻛﻪ ﺑﺎ ﻗﻮﺍﻋﺪ ﺧﻮﺩ ﺑﺎﺯﻱ ﻣﻲﻛﻨﺪ‪.‬‬

‫ﺍﻏﻮﺍﺷﺪﻥ ﺭﻭﻳﮕﺮﺩﺍﻧﻲ ﺍﺯ ﺣﻘﻴﻘﺖ ﺧﻮﻳﺶ ﺍﺳﺖ‪ .‬ﺍﻏﻮﺍ ﻛﺮﺩﻥ ﺭﻫﻨﻤﻮﻥﻛﺮﺩﻥ ﺩﻳﮕﺮﻱ ﺑﻪ‬

‫ﺣﻘﻴﻘﺖ ﺧﻮﻳﺶ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺣﻘﻴﻘﺖ ﻳﻚ ﺭﺍﺯ ﻣﻲﺷﻮﺩ ﻭ ﺍﺯ ﺩﺳﺘﺎﻥ ﺍﻭ ﻣﻲﮔﺮﻳﺰﺩ‪.‬‬

‫ﺍﻏﻮﺍﮔﺮﻱ ﺑﻲﺩﺭﻧﮓ ﺑﺮﮔﺸﺖﭘﺬﻳﺮ ﺍﺳﺖ ﻭ ﺑﺮﮔﺸﺖﭘﺬﻳﺮﻱﺍﺵ ﺑﺎ ﻣﺒﺎﺭﺯﻩﺍﻱ ﻛﻪ ﺑﻜﺎﺭ ﻣﻲﮔﻴﺮﺩ ﻭ‬

‫ﺭﺍﺯﻱ ﻛﻪ ﺩﺭ ﺁﻥ ﺟﺬﺏ ﻣﻲﺷﻮﺩ ﻋﻤﻠﻲ ﺍﺳﺖ‪.‬‬

‫ﺍﻳﻦ ﻗﺪﺭﺕ ﻛﺸﺶ ﻭ ﺳﺮﮔﻴﺠﮕﻲ‪ ،‬ﺟﺬﺏ ﻭ ﺍﻓﺴﻮﻧﮕﺮﻱ ﺍﺳﺖ ﻗﺪﺭﺗﻲ ﻛﻪ ﻧﻪ ﺗﻨﻬﺎ ﺟﻨﺴﻴﺖ‬

‫ﺑﻠﻜﻪ ﻛﻞ ﻭﺍﻗﻌﻴﺖ ﺭﺍ ﻓﺮﻭ ﻣﻲﭘﺎﺷﺎﻧﺪ‪ .‬ﻗﺪﺭﺕ ﻣﺒﺎﺭﺯﻩ ﻃﻠﺒﻲ‪ .‬ﺍﻏﻮﺍ‪ ،‬ﻫﺮﮔﺰ ﺍﻗﺘﺼﺎﺩ ﺟﻨﺴﻴﺖ ﻭ ﻳﺎ ﺳﺨﻦ‬

‫ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﺑﺴﻂ ﺧﺸﻮﻧﺖ ﻭ ﻓﺮﻳﺒﺎﻳﻲ ﺍﺳﺖ‪ ،‬ﺍﺷﺘﻴﺎﻗﻲ ﺁﻧﻲ ﻛﻪ ﻣﻲﺗﻮﺍﻧﺪ ﺩﺭ ﺭﻭﺍﺑﻂ ﺟﻨﺴﻲ ﺣﺎﺻﻞ‬

‫ﺁﻳﺪ ﺍﻣﺎ ﺑﻪ ﻫﻤﺎﻥ ﺍﻧﺪﺍﺯﻩ ﻫﻢ ﻣﻲﺗﻮﺍﻧﺪ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺷﻜﻞ ﻓﺮﺁﻳﻨﺪ ﻣﺒﺎﺭﺯﻩ ﻃﻠﺒﻲ ﻭ ﻣﺮﮒ ﺑﻨﻤﺎﻳﺎﻧﺪ‪.‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺍﻏﻮﺍ‪ ،‬ﻧﺎﺣﺘﻤﻴﺖ ﺑﻨﻴﺎﺩﻳﻨﻲ ﺭﺍ ﺑﻪ ﻛﺎﺭ ﻣﻲﮔﻴﺮﺩ ﻛﻪ ﺁﻧﺮﺍ ﺍﺯ ﻳﻚ ﺭﺍﻧﺶ ﻣﺘﻤﺎﻳﺰ ﻣﻲﺳﺎﺯﺩ‪ .‬ﺭﺍﻧﺶﻫﺎ‬

‫ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ ﺍﺑﮋﻩﻫﺎﻳﺸﺎﻥ ﻧﺎﺣﺘﻤﻴﺖ ﺩﺍﺭﻧﺪ ﺍﻣﺎ ﭼﻮﻥ ﻧﻴﺮﻭ ﻭ ﺧﺎﺳﺘﮕﺎﻩ ﺗﻌﺮﻳﻒ ﻭ ﻣﺘﻌﻴﻦ ﻣﻲﺷﻮﻧﺪ‪ .‬ﺩﺭ‬

‫ﺣﺎﻟﻴﻜﻪ ﺍﺷﺘﻴﺎﻕ ﻭ ﻫﻮﺱ ﺍﻏﻮﺍﮔﺮﻱ ﻧﻪ ﺟﻮﻫﺮﻱ ﺩﺍﺭﺩ ﻭ ﻧﻪ ﺧﺎﺳﺘﮕﺎﻫﻲ‪.‬‬

‫ﺷﻜﻠﻲ ﺍﺯ ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭﻱ ﻟﻴﺒﻴﺪﻳﻨﺎﻝ ﻧﻴﺴﺖ ﻳﺎ ﺍﻧﺮﮊﻱ ﻣﻴﻞ ﺗﺎ ﻧﻴﺮﻭﻳﺶ ﺭﺍ ﺍﺯ ﺁﻥ ﺍﺧﺬ ﻧﻤﺎﻳﺪ‬

‫ﺑﻠﻜﻪ ﺍﺯ ﻗﻤﺎﺭ ﺑﻪ ﺻﻮﺭﺕ ﻣﺤﻀﺶ ﻭ ﺑﻠﻮﻑﺯﺩﻥ ﺩﺭ ﺷﻜﻞ ﻣﻨﺤﺼﺮﺍً ﺻﻮﺭﻱﺍﺵ ﺣﺎﺻﻞ ﻣﻲﺷﻮﺩ‪.‬‬

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‫ﺑﻪ ﻫﻤﭽﻨﻴﻦ ﻣﺒﺎﺭﺯﻩ‪ .‬ﺷﻜﻠﻲ ﺩﻭﺋﻠﻲ ﻭ ﺗﻦ ﺑﻪ ﺗﻨﻲ ﺩﺍﺭﺩ ﻛﻪ ﻫﺮﮔﺰ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﮔﺬﺷﺖ ﺯﻣﺎﻥ‬

‫ﻓﺮﺳﻮﺩﻩﻧﻤﻲﺳﺎﺯﺩ ﺑﻠﻜﻪ ﻧﻴﺮﻭ ﻭ ﺷﺪﺕ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﻳﻚ ﻟﺤﻈﻪ ﺑﺮﮔﺸﺘﮕﻲ ﺁﻧﻲ ﻣﻲﮔﻴﺮﺩ‪ .‬ﺑﺴﻴﺎﺭ‬

‫ﻣﺴﺤﻮﺭ ﻛﻨﻨﺪﻩ ﺍﺳﺖ ﻣﺎﻧﻨﺪ ﺳﺨﻨﻲ ﺑﻲﻣﻌﻨﺎ ﻛﻪ ﺑﻪ ﺧﺎﻃﺮ ﭘﻮﭼﻲﺍﺵ ﻫﻴﭻ ﭘﺎﺳﺦ ﻣﻌﻘﻮﻟﻲ ﻧﻤﻲﺗﻮﺍﻥ‬

‫ﺑﺪﺍﻥ ﺩﺍﺩ‪ .‬ﭼﺮﺍ ﻫﻴﭻ ﭘﺎﺳﺨﻲ ﺑﻪ ﻣﺒﺎﺭﺯﻩ ﺩﺍﺩﻩ ﻧﻤﻲﺷﻮﺩ؟ ﻭ ﭘﺮﺳﺸﻲ ﺑﻪ ﻫﻤﺎﻥ ﺍﻧﺪﺍﺯﻩﺍﺳﺮﺍﺭﺁﻣﻴﺰ‪:‬‬

‫ﭼﺴﺖ ﻛﻪ ﺍﻏﻮﺍ ﻣﻲﻛﻨﺪ؟ ﭼﻪﭼﻴﺰﻱ ﻣﻲﺗﻮﺍﻧﺪ ﺍﻏﻮﺍﻛﻨﻨﺪﻩﺗﺮ ﺍﺯ ﻣﺒﺎﺭﺯﻩ ﺑﺎﺷﺪ؟ ﺍﻏﻮﺍﮔﺮﻱ ﻭ ﻣﺒﺎﺭﺯﻩ‬

‫ﻫﻤﻴﺸﻪ ﺍﺯ ﺟﻨﻮﻥ ﻣﻲﺁﻳﻨﺪ ﺍﻟﺒﺘﻪ ﺑﺎ ﻳﻚ ﺳﺮﮔﻴﺠﮕﻲ ﺩﻭﺟﺎﻧﺒﻪ‪ .‬ﺟﻨﻮﻧﻲ ﻛﻪ ﺍﺯ ﻏﻴﺎﺏ ﺳﺮﮔﻴﺠﻪﺁﻭﺭ‬

‫ﺯﺍﺩﻩﻣﻲﺷﻮﺩ ﻭ ﺑﺎ ﻓﺮﺍﮔﻴﺮﻱ ﺩﻭ ﺟﺎﻧﺒﻪ ﺁﻧﻬﺎ‪ ،‬ﺍﻏﻮﺍ ﻭ ﻣﺒﺎﺭﺯﻩ ﺭﺍ ﺑﻪ ﻳﻜﺪﻳﮕﺮ ﭘﻴﻮﻧﺪ ﻣﻲﺩﻫﺪ‪ .‬ﺍﻳﻦ ﭼﻨﻴﻦ‬

‫ﻣﺒﺎﺭﺯﻩ ﭼﺎﺭﻩﻧﺎﭘﺬﻳﺮ ﺍﺳﺖ ﻭ ﺑﻪ ﻫﻤﻴﻦﺧﺎﻃﺮ ﻧﻤﻲﺗﻮﺍﻥ ﺑﺪﺍﻥ ﭘﺎﺳﺦ ﺩﺍﺩ‪ .‬ﭼﺮﺍ ﻛﻪ ﻳﻚ ﺭﺍﺑﻄﻪ ﺩﻳﻮﺍﻧﻪﻭﺍﺭ‬

‫ﺑﺮﺍﻩ ﻣﻲﺍﻧﺪﺍﺯﺩ ﻛﺎﻣﻼ ﺑﺮﺧﻼﻑ ﺍﺭﺗﺒﺎﻃﺎﺕ ﻳﺎ ﻣﺒﺎﺩﻟﻪ‪ :‬ﺭﺍﺑﻄﻪﺍﻱ ﺩﻭﺋﻠﻲ ﻛﻪ ﻧﺸﺎﻧﻪﻫﺎﻱ ﺑﻲﻣﻌﻨﺎ ﺭﺍ‬

‫ﻣﺒﺎﺩﻟﻪ ﻣﻲﻛﻨﺪ ﺍﻣﺎ ﺑﺎ ﺣﻔﻆ ﻗﺎﻋﺪﻩﺍﻱ ﺑﻨﻴﺎﺩﻳﻦ ﻭ ﺭﻋﺎﻳﺖ ﻣﺤﺮﻣﺎﻧﻪ ﺁﻥ ﻗﺎﻋﺪﻩ‪ .‬ﻣﺒﺎﺭﺯﻩ ﺗﻤﺎﻣﻲ‬

‫ﻗﺮﺍﺭﺩﺍﺩﻫﺎ ﻭ ﻣﺒﺎﺩﻻﺗﻲ ﻛﻪ ﺑﺎ ﻗﺎﻧﻮﻥ ﺗﻨﻈﻴﻢ ﺷﺪﻩ ﻧﺎﺑﻮﺩﻛﺮﺩﻩ )ﻗﺎﻧﻮﻥ ﻃﺒﻴﻌﺖ ﻳﺎ ﺍﺭﺯﺵ ﻓﺮﻗﻲ‬

‫ﻧﻤﻲﻛﻨﺪ( ﻭ ﺑﺎ ﻳﻚ ﺗﻌﻬﺪ ﺁﻳﻴﻨﻲ ﻭ ﻗﺮﺍﺭﺩﺍﺩﻱ ﺑﺎ ﺍﻟﺘﺰﺍﻣﻲ ﭘﺎﻳﺎﻥﻧﺎﭘﺬﻳﺮ ﺑﻪ ﻛﻨﺶ ﻭ ﻭﺍﻛﻨﺶ ﻣﺘﻘﺎﺑﻞ‬

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‫ﺍﻏﻮﺍ‬

‫ﺟﺎﻳﮕﺰﻳﻦ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻟﺘﺰﺍﻣﻲ ﻛﻪ ﺑﺎ ﻗﺎﻋﺪﻩ ﺑﻨﻴﺎﺩﻳﻦ ﺑﺎﺯﻱ ﺍﺟﺮﺍ ﻣﻲﺷﻮﺩ ﻭ ﺣﺎﺻﻞ ﺭﻳﺘﻢﻫﺎﻱ ﺧﻮﺩﺵ‬

‫ﻣﻲﺑﺎﺷﺪ‪ :‬ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﺁﻥ‪ ،‬ﻗﺎﻧﻮﻥ ﻫﻤﻴﺸﻪ ﺩﺭ ﺳﻨﮓ ﻭ ﺁﺳﻤﺎﻥ ﻳﺎ ﺩﺭ ﻗﻠﺐﻫﺎ ﻧﻘﺶ ﻣﻲﺑﻨﺪﺩ ﺍﻣﺎ‬

‫ﺍﻳﻦ ﻗﺎﻋﺪﻩ ﺑﻨﻴﺎﺩﻳﻦ ﻫﺮﮔﺰ ﻧﻴﺎﺯﻱ ﺑﻪ ﺗﻮﺿﻴﺢ ﺩﺍﺩﻥ ﻧﺪﺍﺭﺩ ﻭ ﻭﺍﻗﻌﺎً ﻧﺒﺎﻳﺪ ﻫﺮﮔﺰ ﺗﻮﺿﻴﺢ ﺩﺍﺩﻩﺷﻮﺩ‪.‬‬

‫ﻗﺎﻋﺪﻩ‪ ،‬ﺁﻧﻲ‪ ،‬ﻣﺎﻧﺪﮔﺎﺭ ﻭ ﭼﺎﺭﻩﻧﺎﭘﺬﻳﺮ ﺍﺳﺖ‪) .‬ﺩﺭﺣﺎﻟﻴﻜﻪ ﻗﺎﻧﻮﻥ ﺍﺳﺘﻌﻼﻳﻲ ﻭ ﺁﺷﻜﺎﺭ ﺍﺳﺖ‪(.‬‬

‫ﺑﺎ ﻗﺮﺍﺭﺩﺍﺩ )‪ (cantact‬ﻫﺮﮔﺰ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺍﻏﻮﺍﮔﺮﻱ ﻳﺎ ﻣﺒﺎﺭﺯﻩﺍﻱ ﺍﻳﺠﺎﺩ ﻧﻤﻮﺩ‪ .‬ﺑﺮﺍﻱ ﺁﻧﻜﻪ ﻳﻚ‬

‫ﻣﺒﺎﺭﺯﻩ ﻳﺎ ﺍﻏﻮﺍﮔﺮﻱ ﺑﻪ ﻭﺟﻮﺩﺁﻳﺪ ﺑﺎﻳﺪ ﻫﻤﻪ ﺭﻭﺍﺑﻂ ﻗﺮﺍﺭﺩﺍﺩﻱ ﺩﺭ ﺣﻀﻮﺭ ﺭﺍﺑﻄﻪ ﺩﻭﺋﻠﻲ ﺍﺯ ﺑﻴﻦ ﺑﺮﻭﻧﺪ‪.‬‬

‫ﺭﺍﺑﻄﻪﺍﻱ ﺗﺮﻛﻴﺐ ﺷﺪﻩ ﺍﺯ ﻧﺸﺎﻧﻪﻫﺎﻱ ﻣﺤﺮﻣﺎﻧﻪ ﻛﻪ ﺍﺯ ﻣﺒﺎﺩﻟﻪ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪﻩﻣﻲﺷﻮﻧﺪ ﻭ ﻧﻴﺮﻭﻱ ﺧﻮﺩ‬

‫ﺭﺍ ﺍﺯ ﺗﻘﺴﻴﻢﻫﺎﻱ ﺻﻮﺭﻱ ﻭ ﻃﻨﻴﻦﻫﺎﻱ ﺁﻧﻲ ﺑﺪﺳﺖﻣﻲﺁﻭﺭﻧﺪ‪ .‬ﺑﻪ ﻫﻤﻴﻦﺧﺎﻃﺮ‪ ،‬ﺍﻓﺴﻮﻥ ﺍﻏﻮﺍﮔﺮﻱ‪،‬‬

‫ﭘﺎﻳﺎﻧﻲ ﺍﺳﺖ ﺑﺮ ﺍﻗﺘﺼﺎﺩ ﻟﻴﺒﻴﺪﻳﻨﺎﻝ ﻭ ﻫﺮ ﻗﺮﺍﺭﺩﺍﺩ ﺟﻨﺴﻲ ﻳﺎ ﺭﻭﺍﻧﻜﺎﻭﺍﻧﻪ ﻭ ﺁﻧﻬﺎ ﺭﺍ ﺑﺎ ﻛﻨﺶ ﻭ‬

‫ﻭﺍﻛﻨﺶﻫﺎﻱ ﺳﺮﮔﻴﺠﻪﺁﻭﺭ ﻣﺎﺭﻳﭙﭽﻲ ﺟﺎﻳﮕﺰﻳﻦ ﻣﻲﻛﻨﺪ‪ .‬ﭼﻨﻴﻦ ﭼﻴﺰﻱ ﻫﺮﮔﺰ ﻳﻚ ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭﻱ‬

‫ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﻣﺨﺎﻃﺮﻩ ﺍﺳﺖ‪ ،‬ﻧﻪ ﻗﺮﺍﺭﺩﺍﺩ ﻛﻪ ﭘﻴﻤﺎﻥ ﻭ ﺗﻌﻬﺪ ﺍﺳﺖ‪ ،‬ﻫﺮﮔﺰ ﻓﺮﺩﻱ ﻧﻴﺴﺖ‪ ،‬ﺩﻭﮔﺎﻧﻪ ﻭ‬

‫ﺗﻦ ﺑﻪ ﺗﻨﻲ ﺍﺳﺖ‪ ،‬ﺭﻭﺍﻧﻜﺎﻭﺍﻧﻪ ﻧﻴﺴﺖ ﺑﻞ ﺁﻳﻴﻨﻲ ﺍﺳﺖ‪ .‬ﻫﺮﮔﺰ ﻃﺒﻴﻌﻲ ﻧﻴﺴﺖ ﺑﻞ ﺗﺼﻨﻌﻲ ﺍﺳﺖ‪.‬‬

‫ﺍﺳﺘﺮﺍﺗﮋﻱ ﺷﺨﺼﻲ ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﺗﻘﺪﻳﺮ ﺍﺳﺖ‪.‬‬

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‫ﻣﺒﺎﺭﺯﻩ ﻭ ﺍﻏﻮﺍ ﻛﺎﻣﻼً ﻣﺸﺎﺑﻪ ﻳﻜﺪﻳﮕﺮﻧﺪ‪ .‬ﺍﻣﺎ ﺍﺧﺘﻼﻓﻲ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ :‬ﺩﺭ ﻣﺒﺎﺭﺯﻩ ﻓﺮﺩ ﺩﻳﮕﺮﻱ ﺭﺍ ﺑﻪ‬

‫ﻣﻴﺪﺍﻥ ﻗﺪﺭﺕ ﺧﻮﺩﺵ ﻣﻲﻛﺸﺎﻧﺪ ﻛﻪ ﺍﺯ ﻧﮕﺎﻩ ﺑﺎﻟﻘﻮﻩ ﺑﺮﺍﻱ ﺟﺮﻳﺎﻥ ﻧﺎﻣﺤﺪﻭﺩ‪ ،‬ﻣﻨﻄﻘﻪ ﻗﺪﺭﺕ ﻃﺮﻑ‬

‫ﻣﻘﺎﺑﻞ ﻧﻴﺰ ﻫﺴﺖ‪ .‬ﺍﻣﺎ ﺩﺭ ﺭﺍﻫﺒﺮﺩ ﺍﻏﻮﺍﮔﺮﻱ‪ ،‬ﻓﺮﺩ ﺩﻳﮕﺮﻱ ﺭﺍ ﺑﻪ ﻃﺮﻑ ﻣﻨﻄﻘﻪ ﺿﻌﻒ ﺧﻮﺩ ﻣﻲﻛﺸﺎﻧﺪ‬

‫ﻛﻪ ﻣﻴﺪﺍﻥ ﺿﻌﻒ ﺩﻳﮕﺮﻱ ﻧﻴﺰ ﻫﺴﺖ‪ .‬ﺿﻌﻔﻲ ﺣﺴﺎﺏﺷﺪﻩ‪ ،‬ﺿﻌﻔﻲ ﻏﻴﺮﻗﺎﺑﻞ ﻣﺤﺎﺳﺒﻪ‪ :‬ﻓﺮﺩ ﺑﺎ‬

‫‪۱۲۹‬‬
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺩﻳﮕﺮﻱ ﻣﺒﺎﺭﺯﻩ ﻣﻲﻛﻨﺪ ﺗﺎ ﺑﻪ ﺩﺍﻡ ﺍﻭ ﺑﻴﺎﻓﺘﺪ‪ .‬ﻳﻚ ﺿﻌﻒ ﻳﺎ ﺷﻜﺴﺖ‪ :‬ﺁﻳﺎ ﺑﻮﻱ ﺧﻮﺵ ﭘﻠﻨﮓ‪ ،‬ﻣﻐﺎﻛﻲ‬

‫ﻛﻪ ﺩﻳﮕﺮ ﺣﻴﻮﺍﻧﺎﺕ ﺭﺍ ﻣﻨﮓ ﺧﻮﺩ ﻣﻲﻛﻨﺪ ﺧﻮﺩ ﻳﻚ ﺿﻌﻒ ﻧﻴﺴﺖ؟ ﺩﺭ ﺣﻘﻴﻘﺖ‪ ،‬ﭘﻠﻨﮓ ﺍﻳﻦ ﺭﺍﻳﺤﻪ‬

‫ﺍﻓﺴﺎﻧﻪﺍﻱ‪ ،‬ﭼﻮﻥ ﻣﺮﻛﺰ ﻭﻗﻮﻉ ﻣﺮﮒ ﺍﺳﺖ ﻭ ﺍﺯ ﺍﻳﻦ ﺿﻌﻒ ﺯﻳﺮﻛﺎﻧﻪ ﺍﺳﺖ ﻛﻪ ﺑﻮﻱ ﺧﻮﺵ ﭘﺪﻳﺪﺍﺭ‬

‫ﻣﻲﺷﻮﺩ‪.‬‬

‫ﺍﻏﻮﺍ ﻛﺮﺩﻥ ﻇﺎﻫﺮﺍً ﻧﻤﻮﺩﻥ ﺿﻌﻒ ﺍﺳﺖ‪ .‬ﺍﻏﻮﺍﻛﺮﺩﻥ ﺍﺭﺍﺋﻪ ﺿﻌﻒ ﺍﺳﺖ‪ .‬ﻣﺎ ﺑﺎ ﺿﻌﻒ ﺧﻮﺩ ﺍﻏﻮﺍ‬

‫ﻣﻲﻛﻨﻴﻢ ﻧﻪ ﺑﺎ ﻧﺸﺎﻧﻪﻫﺎﻱ ﻗﺪﺭﺕ‪ .‬ﺩﺭ ﺍﻏﻮﺍﮔﺮﻱ ﺑﺮ ﺍﻳﻦ ﺿﻌﻒ ﺻﺤﻪ ﻣﻲ ﮔﺬﺍﺭﻳﻢ ﻭ ﻫﻤﻴﻦ ﺍﺳﺖ ﻛﻪ‬

‫ﺑﻪ ﺍﻏﻮﺍﮔﺮﻱ ﻧﻴﺮﻭ ﻣﻲﺩﻫﺪ‪.‬‬

‫ﻣﺎ ﺑﺎ ﻣﺮﮒ ﺧﻮﺩ ﺑﺎ ﺁﺳﻴﺐﭘﺬﻳﺮﻱ ﺧﻮﺩ ﻭ ﺑﺎ ﺑﻲﺍﻋﺘﺒﺎﺭﻱ ﻛﻪ ﺩﺭ ﻣﺎ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﺍﻏﻮﺍ ﻣﻲﻛﻨﻴﻢ ‪.‬‬

‫ﺭﺍﺯ ﺩﺍﻧﺴﺘﻦ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﭼﮕﻮﻧﻪ ﺑﺎ ﻣﺮﮒ ﺩﺭ ﻏﻴﺎﺏ ﮔﻴﺰ ﻳﺎ ﺍﺷﺎﺭﻩ‪ ،‬ﺩﺭ ﻏﻴﺎﺏ ﺷﻨﺎﺧﺖ ﻳﺎ ﻣﻌﻨﺎ ﺑﺎﺯﻱ‬

‫ﻛﻨﻴﻢ‪.‬‬

‫ﺭﻭﺍﻧﻜﺎﻭﺍﻥ ﺷﻜﻨﻨﺪﮔﻲ ﻭ ﺍﻧﻔﻌﺎﻝ ﻣﺎ ﺭﺍ ﺑﺮ ﻣﺎ ﺁﺷﻜﺎﺭ ﻣﻲﺳﺎﺯﻧﺪ ﺍﻣﺎ ﺗﻘﺮﻳﺒﺎً ﺑﻪ ﻣﺎﻧﻨﺪ ﻣﺬﻫﺐ ﺁﻧﻬﺎ‬

‫ﺭﺍ ﺑﻪ ﺍﺷﻜﺎﻟﻲ ﺑﺮﺍﻱ ﺗﺴﻠﻴﻢ ﻭ ﭘﺬﻳﺮﺵ ﻣﺎ ﻣﺒﺪﻝ ﻣﻲﻛﻨﻨﺪ ﺗﺎ ﺗﻌﺎﺩﻝ ﺭﻭﺍﻧﻲ ﺭﺍ ﺗﺠﻮﻳﺰ ﻧﻤﺎﻳﻨﺪ‪.‬‬

‫ﺍﻏﻮﺍﮔﺮﻱ ﺑﺮﻋﻜﺲ ﺑﺎ ﺿﻌﻒ ﭘﻴﺮﻭﺯﻣﻨﺪﺍﻧﻪ ﺑﺎﺯﻱ ﻣﻲﻛﻨﺪ‪ ،‬ﺍﺯ ﺁﻥ ﻳﻚ ﺑﺎﺯﻱ ﻣﻲﺳﺎﺯﺩ ﺑﺎﺯﻱ ﺑﺎ ﻗﻮﺍﻋﺪ‬

‫ﺧﻮﺩﺵ‪.‬‬

‫***‬

‫ﻫﻤﻪﭼﻴﺰ ﺍﻏﻮﺍﮔﺮﻱ ﺍﺳﺖ ﻭ ﻫﻴﭻ ﭼﻴﺰﻱ ﺟﺰ ﺍﻏﻮﺍﮔﺮﻱ ﻧﻴﺴﺖ‪ .‬ﻣﻲﺧﻮﺍﻫﻨﺪ ﻣﺎ ﺭﺍ ﻣﺘﻘﺎﻋﺪ‬

‫ﺳﺎﺯﻧﺪ ﻛﻪ ﻫﻤﻪﭼﻴﺰ ﺗﻮﻟﻴﺪ ﺍﺳﺖ‪ .‬ﻧﻐﻤﻪ ﺩﮔﺮﮔﻮﻥﻛﺮﺩﻥ ﺟﻬﺎﻥ‪ :‬ﺑﺎﺯﻱ ﻧﻴﺮﻭﻫﺎﻱ ﺗﻮﻟﻴﺪﻱ ﺍﺳﺖ ﻛﻪ‬

‫ﻣﺴﻴﺮ ﭼﻴﺰﻫﺎ ﺭﺍ ﻣﺸﺨﺺ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻏﻮﺍ ﺻﺮﻓﺎً ﺭﻭﻳﻪﺍﻱ ﻏﻴﺮ ﺍﺧﻼﻗﻲ‪ ،‬ﺳﺒﻜﺴﺮﺍﻧﻪ‪ ،‬ﻇﺎﻫﺮﻱ ﻭ ﺯﺍﺋﺪ‬

‫‪۱۳۰‬‬
‫ﺍﻏﻮﺍ‬

‫ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻗﻠﻤﺮﻭ ﻧﺸﺎﻧﻪﻫﺎ ﻭ ﻇﻮﺍﻫﺮ ﻣﺤﺾ ﻣﺤﺪﻭﺩ ﮔﺸﺘﻪﺍﺳﺖ ﻛﻪ ﻣﺼﺮﻭﻑ ﻟﺬﺕ ﺑﺮﺩﻥ ﻭ‬

‫ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺑﺪﻧﻬﺎﻱ ﺑﻲﻓﺎﻳﺪﻩ ﺷﺪﻩﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺍﮔﺮ ﻫﻤﻪﭼﻴﺰ ﺑﺮﻋﻜﺲ ﻇﻮﺍﻫﺮ ﻭ ﺩﺭ ﻭﺍﻗﻊ ﻣﻄﺎﺑﻖ ﻗﺎﻋﺪﻩ‬

‫ﻣﺤﺮﻣﺎﻧﻪ ﻇﻮﺍﻫﺮ‪) ،‬ﻳﻌﻨﻲ( ﺑﺎ ﺍﻏﻮﺍﮔﺮﻱ ﺑﻜﺎﺭ ﮔﺮﻓﺘﻪﺷﻮﺩ ﭼﻪ؟‬

‫ﻟﺤﻈﻪ ﺍﻏﻮﺍﮔﺮﻱ‬

‫ﺗﻮﻗﻒ ﺍﻏﻮﺍﮔﺮﻱ‬

‫ﻣﺨﺎﻃﺮﻩ ﺍﻏﻮﺍﮔﺮﻱ‬

‫ﺣﺎﺩﺛﻪ ﺍﻏﻮﺍﮔﺮﻱ‬

‫ﻫﺬﻳﺎﻥ ﺍﻏﻮﺍﮔﺮﻱ‬

‫ﺩﺭﻧﮓ ﺍﻏﻮﺍﮔﺮﻱ‬

‫ﺗﻮﻟﻴﺪ ﺗﻨﻬﺎ ﺍﻧﺒﺎﺷﺖ ﻣﻲﻛﻨﺪ ﺑﺪﻭﻥ ﺁﻧﻜﻪ ﺍﺯ ﻣﺴﻴﺮ ﭘﺎﻳﺎﻧﻲ ﺧﻮﺩ ﻣﻨﺤﺮﻑ ﺷﻮﺩ‪ .‬ﺗﻮﻟﻴﺪ ﻫﻤﻪ‬

‫ﻭﻫﻢﻫﺎ ﺭﺍ ﻓﻘﻂ ﺑﺎ ﻳﻜﻲ ﻳﻌﻨﻲ ﺑﺎ ﺧﻮﺩﺵ ﻛﻪ ﺍﺻﻞ ﻭﺍﻗﻌﻴﺖ ﺍﺳﺖ ﺟﺎﻳﮕﺰﻳﻦ ﻣﻲﻛﻨﺪ‪ .‬ﺗﻮﻟﻴﺪ ﻣﺎﻧﻨﺪ‬

‫ﺍﻧﻘﻼﺏ ﭘﺎﻳﺎﻧﻲ ﺍﺳﺖ ﺑﺮ ﻓﺮﺍﮔﻴﺮﻱ ﻇﻮﺍﻫﺮ‪ .‬ﺍﻣﺎ ﺍﻏﻮﺍﮔﺮﻱ ﭼﺎﺭﻩﻧﺎﭘﺬﻳﺮ ﺍﺳﺖ ﻫﻴﭻ ﻣﻮﺟﻮﺩ ﺯﻧﺪﻩﺍﻱ‬

‫ﻧﻤﻲﺗﻮﺍﻧﺪ ﺍﺯ ﺩﺳﺖ ﺁﻥ ﻓﺮﺍﺭ ﻛﻨﺪ‪ .‬ﺣﺘﻲ ﻣﺮﺩﮔﺎﻥ‪ .‬ﻣﺮﺩﮔﺎﻥ ﺗﻨﻬﺎ ﻣﺮﺩﮔﺎﻥﺍﻧﺪ ﺍﮔﺮ ﻫﻴﭻ ﭘﮋﻭﺍﻛﻲ ﺍﺯ‬

‫ﺍﻳﻦ ﺟﻬﺎﻥ ﺑﺮﺍﻱ ﺍﻏﻮﺍ ﻛﺮﺩﻥ ﺁﻧﻬﺎ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺘﻪﺑﺎﺷﺪ ﻭ ﻫﻴﭻ ﻣﺮﺍﺳﻤﻲ ﺑﺮﺍﻱ ﻣﺒﺎﺭﺯﻩ ﺑﺮ ﺳﺮ ﻭﺟﻮﺩ‬

‫ﺩﺍﺷﺘﻦ‪ .‬ﻧﺰﺩ ﻣﺎ‪ ،‬ﺗﻨﻬﺎ ﺁﻧﻬﺎ ﻛﻪ ﻧﻤﻲﺗﻮﺍﻧﻨﺪ ﺗﻮﻟﻴﺪ ﻛﻨﻨﺪ ﻣﺮﺩﻩﺍﻧﺪ‪ .‬ﺍﻣﺎ ﺩﺭ ﻭﺍﻗﻊ ﺗﻨﻬﺎ ﺁﻧﻬﺎﻳﻲ ﻛﻪ ﺁﺭﺯﻭ‬

‫ﺩﺍﺭﻧﺪ ﺍﻏﻮﺍ ﻧﻜﻨﻨﺪ ﻭ ﺍﻏﻮﺍ ﻧﺸﻮﻧﺪ ﻣﺮﺩﻩﺍﻧﺪ‪ .‬ﺍﻣﺎ ﺍﻏﻮﺍﮔﺮﻱ ﺗﻤﺎﻣﻲ ﺩﺳﺘﺎﻭﺭﺩﻫﺎ ﺭﺍ ﻛﺴﺐ ﻧﻤﻮﺩﻩ ﺩﺭﺳﺖ‬

‫ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺗﻤﺎﻣﻲ ﺩﺳﺘﺎﻭﺭﺩﻫﺎﻱ ﺗﻮﻟﻴﺪ ﺭﺍ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﮔﺮﻓﺘﻪ ﺗﺎ ﺁﻧﻬﺎ ﺭﺍ ﻧﺎﺑﻮﺩ ﻛﻨﺪ‪ .‬ﭼﺮﺍ ﻛﻪ ﺍﻣﺮ‬

‫‪۱۳۱‬‬
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺑﺎﻃﻞ‪ -‬ﺣﻔﺮﻩﺍﻱ ﻛﻪ ﺩﺭ ﻫﺮ ﺣﺎﻟﺖ ﺑﺎ ﺑﺎﺯﮔﺸﺖ ﺷﻌﻠﻪﻱ ﻫﺮ ﻧﺸﺎﻧﻪﺍﻱ ﻣﻲﺳﻮﺯﺩ‪ -‬ﺑﻲﻣﻌﻨﺎﻳﻲ ﻛﻪ‬

‫ﺍﻓﺴﻮﻥ ﻏﻴﺮﻣﻨﺘﻈﺮﻩ ﺍﻏﻮﺍﮔﺮﻱ ﺭﺍ ﻣﻲﺳﺎﺯﺩ‪ -‬ﺑﺪﻭﻥ ﻫﻴﭻ ﻓﺮﻳﺒﻲ ﺑﻪ ﺍﻧﺘﻈﺎﺭ ﺗﻮﻟﻴﺪ ﻣﻲﻣﺎﻧﺪ ﺗﺎ‬

‫ﻣﺤﺪﻭﺩﻳﺘﺶ ﻓﺮﺍ ﺑﺮﺳﺪ‪ .‬ﻫﻤﻪﭼﻴﺰ ﺑﻪ ﺍﻣﺮ ﺑﺎﻃﻞ ﺧﻮﺩ ﺑﺎﺯﻣﻲﮔﺮﺩﺩ ﺣﺘﻲ ﻭﺍﮊﻩﻫﺎ ﻭ ﺍﺷﺎﺭﺍﺕ ﻣﺎ‪ .‬ﺍﻣﺎ‬

‫ﭘﻴﺶ ﺍﺯ ﻧﺎﭘﺪﻳﺪﻱ‪ ،‬ﻛﻠﻤﺎﺕ ﺧﺎﺹ‪ ،‬ﻭ ﺍﺷﺎﺭﺍﺕ‪ ،‬ﺑﺎ ﭘﻴﺶﺑﻴﻨﻲ ﻧﺎﺑﻮﺩﻱﺷﺎﻥ‪ ،‬ﻗﺎﺩﺭﻧﺪ ﺍﻏﻮﺍﻳﻲ ﺭﺍ ﺑﻜﺎﺭ‬

‫ﺑﺮﻧﺪ ﻛﻪ ﺩﻳﮕﺮﺍﻥ ﻫﺮﮔﺰ ﻧﻤﻲﺩﺍﻧﻨﺪ ﻛﻪ ﺭﺍﺯ ﺍﻏﻮﺍﮔﺮﻱ ﺩﺭ ﺍﻳﻦ ﺍﺣﺎﻟﻪ ﻭ ﻓﺴﺦ ﺩﻳﮕﺮﻱ ﻧﻔﻬﺘﻪﺍﺳﺖ ﺑﺎ‬

‫ﺣﺮﻛﺘﻲ ﺁﻫﺴﺘﻪ ﻭ ﺗﻌﻠﻴﻘﻲ ﺷﺎﻋﺮﺍﻧﻪ‪ ،‬ﭼﻮﻧﺎﻥ ﺣﺮﻛﺖ ﺁﻫﺴﺘﻪ ﻳﻚ ﻓﻴﻠﻢ ﺍﺯ ﻳﻚ ﺍﻧﻔﺠﺎﺭ‪ .‬ﭼﺮﺍ ﻛﻪ ﻫﺮ‬

‫ﭼﻴﺰﻱ ﭘﻴﺶ ﺍﺯ ﻧﺎﺑﻮﺩﻱﺍﺵ ﻓﺮﺻﺘﻲ ﺩﺍﺭﺩ ﺗﺎ ﻏﻴﺎﺑﺶ ﺍﺣﺴﺎﺱ ﺷﻮﺩ‪ .‬ﻭ ﺍﮔﺮ ﺍﻳﻨﮕﻮﻧﻪ ﺑﺎﺷﺪ‪ ،‬ﺍﻳﻦ ﻛﻤﺎﻝ‬

‫»ﻣﻴﻞ« ﺍﺳﺖ‪.‬‬

‫‪۱۳۲‬‬
‫ﺍﻏﻮﺍ‬

‫ﺗﻤﺜﺎﻝ ﺯﻥ ﺍﻏﻮﺍﮔﺮ‬

‫ﺗﺄﺛﻴﺮ ﻣﻨﺸﻮﺭﻱ ﺍﻏﻮﺍﮔﺮﻱ ﻓﻀﺎﻱ ﺩﻳﮕﺮﻱ ﺍﺯ ﺍﻧﻜﺴﺎﺭ ﺭﺍ ﻓﺮﺍﻫﻢ ﻣﻲﺁﻭﺭﺩ‪ .‬ﺍﻏﻮﺍﮔﺮﻱ ﻧﻪ ﻇﺎﻫﺮﻱ‬

‫ﺳﺎﺩﻩ ﺍﺳﺖ ﻭ ﻧﻪ ﻏﻴﺎﺑﻲ ﻣﺤﺾ‪ ،‬ﺑﻠﻜﻪ ﻛﺴﻮﻑ ﻳﻚ ﺣﻀﻮﺭ ﺍﺳﺖ‪ .‬ﺭﺍﻫﺒﺮﺩ ﻳﮕﺎﻧﻪﺍﺵ ﻫﻢ ﺍﻳﻨﺠﺎﻳﻲ‪ /‬ﻧﻪ‬

‫ﺍﻳﻨﺠﺎﻳﻲ ﺍﺳﺖ ﻭ ﺍﺯ ﺍﻳﻦ ﻃﺮﻳﻖ ﻧﻮﻋﻲ ﺳﻮﺳﻮ ﺯﺩﻥ‪ ،‬ﻣﻜﺎﻧﻴﺰﻳﻤﻲ ﻫﻴﭙﻨﻮﺗﻴﺴﻤﻲ ﭘﺪﻳﺪﻣﻲﺁﻭﺭﺩ ﻛﻪ‬

‫ﺧﺎﺭﺝ ﺍﺯ ﻫﺮ ﺍﺭﺗﺒﺎﻃﻲ ﺑﺎ ﻣﻌﻨﺎ ﺗﻮﺟﻪ ﺭﺍ ﺟﻠﺐ ﻣﻲﻛﻨﺪ‪ .‬ﻏﻴﺎﺏ‪ ،‬ﺣﻀﻮﺭ ﺭﺍ ﺍﻏﻮﺍ ﻣﻲﻛﻨﺪ‪ .‬ﻗﺪﺭﺕ ﺯﻥ‬

‫ﺍﻏﻮﺍﮔﺮ‪ ،‬ﺍﺯ ﺗﻮﺍﻧﺎﻳﻲ ﺍﻭ ﺑﺮﺍﻱ ﺑﻪ ﻛﺴﻮﻑ ﺑﺮﺩﻥ ﻫﺮ ﺍﺭﺍﺩﻩ ﻭ ﻣﻔﻬﻮﻣﻲ ﺣﺎﺻﻞ ﻣﻲﺁﻳﺪ‪ .‬ﺍﻭ ﻧﻤﻲﺗﻮﺍﻧﺪ‬

‫ﺍﺟﺎﺯﻩﺩﻫﺪ ﻛﻪ ﺭﻭﺍﺑﻄﺶ ﺑﺎ ﺩﻳﮕﺮﺍﻥ ﺑﻨﻴﺎﻥ ﻧﻬﺎﺩﻩﺷﻮﺩ‪ -‬ﺣﺘﻲ ﻣﺤﺮﻣﺎﻧﻪﺗﺮﻳﻦ‪ ،‬ﺻﻤﻴﻤﺎﻧﻪﺗﺮﻳﻦ ﻭ‬

‫ﻋﺎﺷﻘﺎﻧﻪﺗﺮﻳﻦ ﻳﺎ ﺟﻨﺴﻲﺗﺮﻳﻦ ﺭﻭﺍﺑﻂ )ﺑﻪ ﺧﺼﻮﺹ ﻣﻮﺭﺩ ﺁﺧﺮ(‪ -‬ﺑﻲﺁﻧﻜﻪ ﺍﻳﻦ ﺭﻭﺍﺑﻂ ﺭﺍ ﺑﺸﻜﻨﺪ‪ ،‬ﻳﺎ‬

‫ﺁﻧﻬﺎ ﺭﺍ ﺑﺎ ﺍﻓﺴﻮﻧﻲ ﻧﻴﺮﻭﻣﻨﺪ ﺗﻼﻓﻲ ﻧﻜﻨﺪ‪ .‬ﻭﻱ ﭘﻴﻮﺳﺘﻪ ﺍﺯ ﻫﺮ ﻧﻮﻉ ﺭﻭﺍﺑﻄﻲ ﻛﻪ ﺩﺭ ﺁﻥ ﮔﺎﻫﻲ ﺍﺯ‬

‫ﺣﻘﻴﻘﺖ ﺳﺌﻮﺍﻝ ﻣﻲﺷﻮﺩ‪ ،‬ﻃﻔﺮﻩﻣﻲﺭﻭﺩ‪ .‬ﺁﻧﻬﺎ ﺭﺍ ﺑﺎ ﮔﺴﺘﺎﺧﻲ ﺧﻨﺜﻲ ﻣﻲﻛﻨﺪ‪ ،‬ﻧﻪ ﺁﻧﻜﻪ ﺍﻧﻜﺎﺭ ﻛﻨﺪ ﻳﺎ‬

‫ﻧﺎﺑﻮﺩ ﻧﻤﺎﻳﺪ‪ ،‬ﺑﻠﻜﻪ ﺣﻘﺎﻳﻖ ﺭﺍ ﻟﺮﺯﺍﻥ ﻭ ﻣﺮﺗﻌﺶ ﻣﻲﺳﺎﺯﺩ‪ .‬ﺭﺍﺯ ﺍﻭ ﺩﺭ ﻫﻤﻴﻦ ﺍﻣﺮ ﻧﻬﻔﺘﻪ ﺍﺳﺖ‪ :‬ﺩﺭ‬

‫ﺳﻮﺳﻮ ﺯﺩﻥ ﻳﻚ ﺣﻀﻮﺭ‪ .‬ﺍﻭ ﻫﺮﮔﺰ ﺁﻧﺠﺎﻳﻲ ﻧﻴﺴﺖ ﻛﻪ ﺍﻧﺘﻈﺎﺭﺵ ﺭﺍ ﺩﺍﺭﻳﻢ ﻭ ﻫﺮﮔﺰ ﺁﻧﺠﺎﻳﻲ ﻛﻪ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﻧﻴﺴﺖ ﻛﻪ ﻛﺴﻲ ﺍﻭ ﺭﺍ ﺁﻧﺠﺎ ﻃﻠﺒﻴﺪﻩﺑﺎﺷﺪ‪ .‬ﺍﻏﻮﺍﮔﺮﻱ ﻫﻤﺎﻥﭼﻴﺰﻱ ﺭﺍ ﺩﺭﻧﻈﺮﻣﻲﮔﻴﺮﺩ ﻛﻪ ﻭﻳﺮﻳﻠﻴﻮ‬

‫ﻣﺎﻳﻞ ﺍﺳﺖ ﺁﻥ ﺭﺍ "ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﻲ ﻧﺎﭘﺪﻳﺪﻱ"‪ ۳۱‬ﺑﺨﻮﺍﻧﺪ‪.‬‬

‫ﺯﻥ ﺍﻏﻮﺍﮔﺮ ﻣﻴﻞ ﺧﻮﻳﺶ ﺭﺍ ﺑﻪ ﺩﺍﻡ ﻭ ﻓﺮﻳﺒﻲ ﻣﺒﺪﻝ ﻣﻲﻛﻨﺪ‪ .‬ﭼﺮﺍ ﻛﻪ ﺍﻭ ﺑﺮﺍﻱ ﻣﻴﻞ ﻳﺎ ﺑﺪﻥ‬

‫ﺣﻘﻴﻘﺘﻲ ﺑﻴﺸﺘﺮ ﺍﺯ ﭼﻴﺰﻫﺎ ﺩﻳﮕﺮ ﻗﺎﺋﻞ ﻧﻴﺴﺖ‪ .‬ﺧﻮﺩ ﻋﺸﻖ ﻭ ﻛﻨﺶ ﺟﻨﺴﻲ ﻣﻲﺗﻮﺍﻧﻨﺪ ﻟﺤﻈﻪﺍﻱ ﺍﺯ‬

‫ﺍﻏﻮﺍﮔﺮﻱ ﺑﺎﺷﻨﺪ ﺍﮔﺮﻛﻪ ﺍﺯ ﺷﻜﻞ ﻛﺴﻮﻑ ﻣﺎﻧﻨﺪ ﭘﺪﻳﺪﺍﺭﻱ‪ /‬ﻧﺎﭘﺪﻳﺪﺍﺭﻱ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺑﺎﺷﻨﺪ ﻛﻪ ﺑﺎﻳﺪ‬

‫ﮔﻔﺖ‬

‫ﺷﻜﻞ ﻧﺎﭘﻴﻮﺳﺘﻪﺍﻱ ﺍﺳﺖ ﻛﻪ ﻫﺮ ﺍﺣﺴﺎﺱ‪ ،‬ﻟﺬﺕ ﻭ ﺭﺍﺑﻄﻪﺍﻱ ﺑﺎ ﻫﺮ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﻲ ﻣﺘﻌﺎﻟﻲ ﻭﺍﺑﺴﺘﻪ‬

‫ﺑﻪ ﺍﺧﻼﻗﻴﺎﺕ ﺍﺑﺪﻱ ﻟﺬﺕ ﻭ ﻣﻴﻞ ﻛﻪ ﻣﻲﺧﻮﺍﻫﺪ ﺍﺯ ﺧﻮﺩ ﺍﻏﻮﺍﮔﺮﻱ ﻓﺮﺍﺗﺮ ﺭﻭﺩ ﺭﺍ ﺍﺯ ﻫﻢ ﻣﻲﮔﺴﻼﻧﺪ‪.‬‬

‫ﻋﺸﻖ ﻭ ﻋﻤﻞ ﺷﻬﻮﺍﻧﻲ ﺗﻨﻬﺎ ﺯﻳﻮﺭﺁﻻﺕ ﺍﻏﻮﺍﮔﺮﺍﻧﻪﺍﻧﺪ‪ .‬ﭘﺎﻟﻮﺩﻩﺗﺮﻳﻦ ﻭ ﺯﻳﺮﻛﺎﻧﻪﺗﺮﻳﻦ ﭼﻴﺰﻱ ﻛﻪ ﺗﻮﺳﻂ‬

‫ﺯﻧﺎﻥ ﺑﺮﺍﻱ ﺍﻏﻮﺍﻱ ﻣﺮﺩﺍﻥ ﺍﺑﺪﺍﻉ ﺷﺪﻩﺍﺳﺖ‪ .‬ﺍﻣﺎ ﻋﻔﺖ ﻭ ﻧﭙﺬﻳﺮﻓﺘﻦ ﻧﻴﺰ ﻣﻲﺗﻮﺍﻧﺪ ﻫﻤﻴﻦ ﻧﻘﺶ ﺭﺍ ﺍﻳﻔﺎ‬

‫ﻛﻨﺪ‪ .‬ﺑﺪﻳﻦﻣﻌﻨﺎ‪ ،‬ﻫﺮﭼﻴﺰﻱ ﺯﻳﻮﺭ ﻭ ﺁﺭﺍﻳﺸﻲ ﺍﺳﺖ ﻛﻪ ﺗﻨﻬﺎ ﺑﻪ ﻧﺒﻮﻍ ﻇﺎﻫﺮ‪ ،‬ﻣﺘﻌﻠﻖﺍﻧﺪ‪" :‬ﻣﻦ‬

‫ﻧﻤﻲﺧﻮﺍﻫﻢ ﺑﻪ ﺷﻤﺎ ﻋﺸﻖ ﺑﻮﺭﺯﻡ‪ ،‬ﺷﻤﺎ ﺭﺍ ﺗﻜﺮﻳﻢ ﻛﻨﻢ ﻳﺎ ﺑﻪ ﺷﻤﺎ ﻟﺬﺕ ﺑﺒﺨﺸﻢ ﺑﻠﻜﻪ ﺷﻤﺎ ﺭﺍ ﺍﻏﻮﺍ‬

‫ﻣﻲﻛﻨﻢ‪ --‬ﻭ ﺗﻨﻬﺎ ﻧﮕﺮﺍﻧﻲ ﻣﻦ ﺍﻳﻦ ﻧﻴﺴﺖ ﻛﻪ ﺷﻤﺎ ﻋﺸﻖ ﺑﻮﺭﺯﻳﺪ ﻳﺎ ﺑﻪ ﻣﻦ ﻟﺬﺕ ﺑﺪﻫﻴﺪ ﺑﻠﻜﻪ ﺍﻳﻦ‬

‫ﺍﺳﺖ ﻛﻪ ﺷﻤﺎ ﺍﻏﻮﺍ ﺑﺸﻮﻳﺪ"‪ .‬ﺑﺎﺯﻱ ﺯﻥ ﺍﻏﻮﺍﮔﺮ ﺑﻲﺭﺣﻤﻲ ﺫﻫﻨﻲ ﺧﺎﺻﻲ ﺩﺍﺭﺩ ﻛﻪ ﺑﺮ ﺧﻮﺩ ﻭ ﻧﻴﺰ ﺑﺮ‬

‫ﺩﻳﮕﺮﺍﻥ ﺭﻭﺍﺩﺍﺷﺘﻪﻣﻲﺷﻮﺩ‪.‬‬

‫ﻫﺮ ﻣﻬﺮﺑﺎﻧﻲ ﺩﺭ ﻭﺟﻮﺩ ﺍﻭ ﺑﺨﺸﻲ ﺍﺯ ﺿﻌﻒ ﻭﻱ ﺩﺭ ﺍﻟﺘﺰﺍﻣﺎﺕ ﺁﻳﻴﻨﻲ ﺍﺳﺖ‪ .‬ﻧﺒﺎﻳﺪ ﻫﻴﭻ‬

‫ﻛﻮﺁﺭﺗﺮﻱ ﺭﺍ ﺩﺭ ﻳﻚ ﻣﺒﺎﺭﺯﻩ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩ‪ ،‬ﺟﺎﻳﻲ ﻛﻪ ﻋﺸﻖ ﻭ ﻟﺬﺕ ﻣﻨﺤﻞ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﻫﻴﭻ ﻣﻬﻠﺘﻲ‬

‫ﻧﻴﺴﺖ‪ ،‬ﻣﺒﺎﺩﺍ ﺍﻳﻦ ﺍﻓﺴﻮﻧﮕﺮﻱ ﻧﻴﺴﺖ ﺷﻮﺩ‪ .‬ﺯﻥ ﺍﻏﻮﺍﮔﺮ ﺭﺍﺳﺘﻴﻦ ﺗﻨﻬﺎ ﻣﻲ ﺗﻮﺍﻧﺪ ﺩﺭ ﺣﺎﻟﺖ ﺍﻏﻮﺍﮔﺮﻱ‬

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‫ﺍﻏﻮﺍ‬

‫ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪﺑﺎﺷﺪ‪ .‬ﺧﺎﺭﺝ ﺍﺯ ﺍﻳﻦ ﺣﺎﻟﺖ ﺍﻭ ﭼﻴﺰﻱ ﺟﺰ ﻳﻚ ﺯﻥ‪ ،‬ﻳﻚ ﺍﺑﮋﻩ‪ ،‬ﻳﻚ ﺳﻮﮊﻩ ﻣﻴﻞ‪ ،‬ﺑﻲﺷﻜﻞ‬

‫ﻭ ﻏﻴﺮ ﺟﺬﺍﺏ ﻧﻴﺴﺖ‪ -.‬ﭼﺮﺍ ﻛﻪ ﺍﻭ ﺑﺎ ﻫﻮﺳﻲ ﺗﻤﺎﻣﺎً ﻣﺼﺮﻑﺷﺪﻧﻲ ﺑﻪ ﺩﻧﻴﺎ ﺁﻣﺪﻩﺍﺳﺖ‪.‬‬

‫ﺍﻏﻮﺍﮔﺮﻱ ﻣﻘﺘﺪﺭ ﺍﺳﺖ‪ -‬ﺗﻨﻬﺎ ﺍﻣﺮﻱ ﺁﻳﻴﻨﻲ ﻫﻤﻪﭼﻴﺰ ﺭﺍ ﺩﺭ ﻛﺴﻮﻑ ﺧﻮﺩ ﻓﺮﻭ ﻣﻲﺑﺮﺩ‪ -‬ﺍﻣﺎ ﺍﻳﻦ‬

‫ﺍﻗﺘﺪﺍﺭ ﺑﻲﺭﺣﻢ ﺍﺳﺖ ﻭ ﺑﻪ ﺑﻬﺎﻱ ﮔﺮﺍﻧﻲ ﺗﻤﺎﻡ ﻣﻲﺷﻮﺩ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻫﻨﮕﺎﻡ ﺍﻏﻮﺍ ﻧﻤﻮﺩﻥ‪ ،‬ﺑﺪﻥ ﻳﺎ ﺍﻣﻴﺎﻝ‬

‫ﺍﻭ ﺩﻳﮕﺮ ﺑﻪ ﺧﻮﺩ ﺯﻥ ﺍﻏﻮﺍﮔﺮ ﺗﻌﻠﻖ ﻧﺪﺍﺭﻧﺪ‪ .‬ﭘﺲ ﺍﻳﻦ ﺑﺪﻥ ﻳﺎ ﺍﻳﻦ ﺍﻣﻴﺎﻝ ﭼﻴﺴﺖ؟ ﺍﻭ ﻫﻴﭻ ﺍﻋﺘﻘﺎﺩﻱ‬

‫ﺑﻪ ﺁﻧﻬﺎ ﻧﺪﺍﺭﺩ ﺍﺯ ﺍﻳﻦﺭﻭ ﺁﻧﻬﺎ ﺭﺍ ﺑﻪ ﺑﺎﺯﻱ ﻣﻲﮔﻴﺮﺩ‪ .‬ﺑﺪﻭﻥ ﺑﺪﻧﺶ‪ ،‬ﺍﻭ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻧﻤﻮﺩﻱ ﻣﺤﺾ ﻣﺒﺪﻝ‬

‫ﻣﻲﻛﻨﺪ‪ ،‬ﺑﻪ ﺳﺎﺧﺘﻪﺍﻱ ﺗﺼﻨﻌﻲ ﺑﺮﺍﻱ ﺑﻪ ﺩﺍﻡ ﺍﻧﺪﺍﺧﺘﻦ ﺍﻣﻴﺎﻝ ﺩﻳﮕﺮﺍﻥ‪ .‬ﺍﻏﻮﺍﮔﺮﻱ ﻋﺒﺎﺭﺕ ﺍﺯ‬

‫ﺍﺟﺎﺯﻩﺩﺍﺩﻥ ﺑﻪ ﺩﻳﮕﺮﺍﻥ ﺗﺎ ﮔﻤﺎﻥ ﻛﻨﻨﺪ ﻛﻪ ﺧﻮﺩﺷﺎﻥ ﺳﻮﮊﻩﻱ ﻣﻴﻞ ﺧﻮﻳﺸﺘﻦﺍﻧﺪ ﺑﻲﺁﻧﻜﻪ ﺩﺭ ﺍﻳﻦ ﺩﺍﻡ‬

‫ﮔﺮﻓﺘﺎﺭ ﺷﺪﻩﺑﺎﺷﻨﺪ‪ .‬ﻫﻤﭽﻨﻴﻦ ﻋﺒﺎﺭﺕ ﺍﺯ ﻳﻚ ﺍﺑﮋﻩ »ﺳﻜﺲ« »ﺍﻏﻮﺍﮔﺮ« ﺷﺪﻥ ﺍﺳﺖ ﺍﮔﺮ ﻛﻪ »‬

‫ﻣﻴﻞ« ﻣﺮﺩ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪﺑﺎﺷﺪ‪ .‬ﻃﻠﺴﻢ ﺍﻏﻮﺍﮔﺮﻱ ﺍﺯ ﻃﺮﻳﻖ ﺟﺎﺫﺑﻪ ﺟﻨﺴﻲ ﺍﺛﺮ ﻣﻲﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﺍﺯ ﺍﻳﻦ‬

‫ﻃﺮﻳﻖ ﭘﻴﺶ ﻣﻲﺭﻭﺩ ﺗﺎ ﺍﺯ ﺁﻥ ﻓﺮﺍﺗﺮ ﺭﻭﺩ‪" :‬ﻣﻦ ﺟﺬﺍﺑﻢ ﭘﺲ ﺷﻤﺎﻳﻴﺪ ﻛﻪ ﺍﺳﻴﺮ ﻭ ﺷﻴﻔﺘﻪ ﻣﻲﺷﻮﻳﺪ‪" ‬‬

‫"ﺯﻧﺪﮔﻲ ﺟﺬﺍﺑﺖﻫﺎﻳﺶ ﺭﺍ ﺩﺍﺭﺩ ﺍﻣﺎ ﻣﺮﮒ ﺍﺳﺖ ﻛﻪ ﺍﻧﺴﺎﻥ ﺭﺍ ﺩﺭ ﺍﻓﺴﻮﻥ ﻭ ﻃﻠﺴﻢ ﺭﻫﺎ ﻣﻲﻛﻨﺪ"‪.‬‬

‫ﻧﺰﺩ ﺍﻏﻮﺍﮔﺮﻱ ﻣﻴﻞ ﺍﻧﺘﻬﺎﻱ ﻛﺎﺭ ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﻳﻚ ﻏﻨﻴﻤﺖ ﻓﺮﺿﻲ ﺍﺳﺖ‪ .‬ﺑﻪ ﻃﻮﺭ ﺩﻗﻴﻘﺘﺮ‪ ،‬ﻫﺪﻑ‪،‬‬

‫ﺗﺤﺮﻳﻚ ﻭ ﻓﺮﻳﻔﺘﻦ ﻣﻴﻞ ﺍﺳﺖ ﻛﻪ ﺗﻨﻬﺎ ﺑﺮﺍﻱ ﻟﺤﻈﻪﺍﻱ ﺷﻌﻠﻪﻭﺭ ﺷﺪﻥ ﻭ ﺁﻧﮕﺎﻩ ﻧﺎﻛﺎﻡﺷﺪﻥ ﻭﺟﻮﺩ‬

‫ﺩﺍﺭﺩ‪ .‬ﻣﻴﻞ ﻫﻤﺎﻧﻨﺪ ﻗﺪﺭﺕﺍﺵ ﺍﻏﻔﺎﻝ ﻣﻲﺷﻮﺩ ﻭ ﻓﻘﻂ ﺑﺮﺍﻱ ﻓﺮﻭﻧﺸﺎﻧﺪﻩ ﺷﺪﻥ ﻣﻮﺟﻮﺩﻳﺖ ﻣﻲﻳﺎﺑﺪ‪.‬‬

‫ﻓﺮﺩ ﺣﺘﻲ ﻣﻤﻜﻦ ﺍﺳﺖ ﻧﻔﻬﻤﺪ ﭼﻪ ﺭﺥ ﺩﺍﺩﻩﺍﺳﺖ‪ .‬ﻣﻤﻜﻦ ﺍﺳﺖ ﻓﺮﺩ ﺍﻏﻮﺍﻛﻨﻨﺪﻩ ﺑﻪ ﺭﺍﺳﺘﻲ ﺑﻪ ﻓﺮﺩ‬

‫ﺍﻏﻮﺍ ﺷﺪﻩ ﻣﻴﻞ ﻭ ﻳﺎ ﻋﺸﻖ ﺑﻮﺭﺯﺩ‪ ،‬ﺍﻣﺎ ﺩﺭ ﺳﻄﺤﻲ ﻋﻤﻴﻖﺗﺮ )ﻳﺎ ﺍﮔﺮ ﻣﺎﻳﻞ ﺑﺎﺷﺪ ﺳﻄﺤﻲ ﻇﺎﻫﺮﻱﺗﺮ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺩﺭ ﻣﻐﺎﻙ ﻇﺎﻫﺮﻱ ﻧﻤﻮﺩﻫﺎ( ﺑﺎﺯﻱ ﺩﻳﮕﺮﻱ ﺍﺟﺮﺍ ﻣﻲﺷﻮﺩ ﻛﻪ ﻧﺎﺩﺍﻧﺴﺘﻪ ﻫﺮ ﺩﻭ ﻃﺮﻑ ﺍﺻﻠﻲ ﺍﻏﻮﺍﮔﺮﻱ‪،‬‬

‫ﻋﺮﻭﺳﻚﻫﺎﻱ ﺩﺳﺖﻧﺸﺎﻧﺪﻩ ﭼﻨﻴﻦ ﺑﺎﺯﻱﺍﻧﺪ‪.‬‬

‫ﺑﺮﺍﻱ ﺍﻏﻮﺍﮔﺮﻱ ﻣﻴﻞ ﺍﻓﺴﺎﻧﻪﺍﻱ ﺑﻴﺶ ﻧﻴﺴﺖ‪ .‬ﺍﮔﺮ ﻣﻴﻞ ﺍﺭﺍﺩﻩ ﻗﺪﺭﺕ ﻭ ﺗﺼﺮﻑ ﺍﺳﺖ‪ ،‬ﺍﻏﻮﺍﮔﺮﻱ‬

‫ﺩﺭ ﺑﺮﺍﺑﺮ ﺁﻥ ﺍﺭﺍﺩﻩﺍﻱ ﻫﻤﺘﺮﺍﺯ ﺑﺎ ﻗﺪﺭﺕ ﻭﺍﻧﻤﺎﻳﻲ ﻗﺮﺍﺭ ﻣﻲﺩﻫﺪ‪ .‬ﺑﺎ ﺷﻜﻞﮔﻴﺮﻱ ﺷﺒﻜﻪﺍﻱ ﺍﺯ ﻧﻤﻮﺩﻫﺎﻱ‬

‫ﺍﻏﻮﺍﮔﺮﻱ ﻫﻢ ﺍﻳﻦ ﻗﺪﺭﺕ ﻓﺮﺿﻲ ﻣﻴﻞ ﺭﺍ ﺗﻘﻮﻳﺖ ﻛﺮﺩﻩ ﻭ ﻫﻢ ﺁﻥ ﺭﺍ ﺑﻴﺮﻭﻥ ﻣﻲﺭﺍﻧﺪ‪ .‬ﺩﺭﺳﺖ‬

‫ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺑﺮﺍﻱ ﺍﻏﻮﺍﮔﺮ ﻛﻴﺮﻛﻪ ﮔﻮﺭ‪ ،‬ﺟﺬﺍﺑﻴﺖ ﺳﺎﺩﻩ ﻭ ﺧﺎﻡ ﺩﺧﺘﺮ ﻭ ﻧﻴﺮﻭﻱ ﺷﻬﻮﺍﻧﻲ ﺧﻮﺩﺍﻧﮕﻴﺰ‬

‫ﺍﻭ‪ ،‬ﺍﻓﺴﺎﻧﻪﺍﻱ ﺑﻴﺶ ﻧﻴﺴﺖ‪ ،‬ﺍﻓﺴﺎﻧﻪﺍﻱ ﻛﻪ ﺗﻘﻮﻳﺖ ﻣﻲﺷﻮﺩ ﺗﺎ ﻧﺎﺑﻮﺩ ﮔﺮﺩﺩ )ﺷﺎﻳﺪ ﺍﻭ ﻭﺍﻗﻌﺎً ﻋﺎﺷﻖ‬

‫ﺩﺧﺘﺮ ﺑﺎﺷﺪ ﺍﻣﺎ ﺩﺭ ﻗﻠﻤﺮﻭ ﻇﺎﻫﺮ ﺍﻏﻮﺍﮔﺮﻱ ﻛﻪ ﻓﺮﺍﺗﺮ ﺍﺯ ﻫﻮﺳﺮﺍﻧﻲ ﻣﺤﺾ ﺍﺳﺖ‪ ،‬ﺩﺧﺘﺮ ﭼﻴﺰﻱ ﺟﺰ‬

‫ﺷﺨﺼﻴﺘﻲ ﺍﺳﻄﻮﺭﻩﺍﻱ ﺑﺮﺍﻱ ﻗﺮﺑﺎﻧﻲﺷﺪﻥ ﻧﻴﺴﺖ( ﻫﻤﻴﻨﻄﻮﺭ‪ ،‬ﺑﺮﺍﻱ ﺯﻥ ﺍﻏﻮﺍﮔﺮ ﻧﻴﺰ ﻗﺪﺭﺕ ﻣﻴﻞ ﻣﺮﺩ‬

‫ﺍﻓﺴﺎﻧﻪﺍﻱ ﺍﺳﺖ ﻛﻪ ﻫﻢ ﺁﻥ ﺭﺍ ﺗﺤﺮﻳﻚ ﻧﻤﻮﺩﻩ ﻭ ﻫﻢ ﻧﺎﺑﻮﺩ ﻣﻲﺳﺎﺯﺩ‪ .‬ﺗﺰﻭﻳﺮ ﻣﺮﺩ ﺍﻏﻮﺍﮔﺮ ﻛﻪ ﺑﻪ‬

‫ﺳﻤﺖ ﺟﺬﺍﺑﻴﺖ ﻃﺒﻴﻌﻲ ﺩﺧﺘﺮ ﻫﺪﺍﻳﺖ ﻣﻲﺷﻮﺩ‪ ،‬ﻛﺎﻣﻼً ﻣﻌﺎﺩﻝ ﺁﺭﺍﻳﺶﻫﺎﻱ ﺗﺼﻨﻌﻲ ﺑﺪﻥ ﺯﻥ ﺍﻏﻮﺍﮔﺮ‬

‫ﺍﺳﺖ ﻛﻪ ﻣﻌﻄﻮﻑ ﺑﻪ ﻣﻴﻞ ﺍﺳﻄﻮﺭﻩﺍﻱ ﻣﺮﺩ ﻣﻲﺷﻮﺩ‪ .‬ﺩﺭ ﻫﺮ ﺩﻭ ﺣﺎﻟﺖ ﻗﺪﺭﺕ ﺍﻓﺴﺎﻧﻪﺍﻱ‪ ،‬ﺧﻮﺍﻩ‬

‫ﻗﺪﺭﺕ ﺟﺬﺍﺑﻴﺖ )ﺩﺧﺘﺮ( ﻳﺎ ﻣﻴﻞ ﻣﺮﺩ ﺑﻪ ﻫﻴﭻ ﺗﻘﻠﻴﻞ ﻣﻲﻳﺎﺑﻨﺪ‪ .‬ﺍﻏﻮﺍ ﻫﻤﻮﺍﺭﻩ ﺑﻪ ﺩﻧﺒﺎﻝ ﻭﺍﮊﮔﻮﻧﻲ ﻭ‬

‫ﻧﺎﺑﻮﺩﻱ ﻗﺪﺭﺕ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﺍﻏﻮﺍ ﺗﺼﻨﻌﻲ ﺍﺳﺖ‪ ،‬ﻗﺮﺑﺎﻧﻲﻛﻨﻨﺪﻩ ﻧﻴﺰ ﻫﺴﺖ‪ .‬ﻛﺴﻲ ﻛﻪ ﺩﺭ ﺣﺎﻝ ﺑﺎﺯﻱ ﺑﺎ‬

‫ﻣﺮﮒ ﺍﺳﺖ‪ ،‬ﻫﻤﻴﺸﻪ ﻣﺴﺌﻠﻪ ﺑﺮ ﺳﺮ ﺗﺴﺨﻴﺮ ﻳﺎ ﻗﺮﺑﺎﻧﻲﻛﺮﺩﻥ ﻣﻴﻞ ﺩﻳﮕﺮﻱ ﺍﺳﺖ‪.‬‬

‫ﺍﻏﻮﺍﮔﺮﻱ ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺟﺎﻭﻳﺪﺍﻥ ﺍﺳﺖ‪ .‬ﺯﻥ ﺍﻏﻮﺍﮔﺮ ﺑﻪ ﻣﺎﻧﻨﺪ ﻳﻚ ﺑﻴﻤﺎﺭ ﻫﻴﺴﺘﺮﻳﻜﻲ‪ ،‬ﻣﻲﺧﻮﺍﻫﺪ‬

‫ﺩﺭ ﺣﻀﻮﺭﻱ ﺍﺑﺪﻱ‪ ،‬ﺟﺎﻭﺩﺍﻧﻪ ﺑﺎﺷﺪ‪ -‬ﺩﺭ ﻧﻬﺎﻳﺖ ﺷﮕﻔﺘﻲ ﻫﻤﮕﺎﻥ‪ ،‬ﺑﺎ ﻗﺮﺍﺭﮔﺮﻓﺘﻦ ﺩﺭ ﻣﻴﺪﺍﻥ ﻓﺮﻳﺐ ﻭ‬

‫ﻧﺎﺍﻣﻴﺪﻱ ﻛﻪ ﺍﻭ ﺩﺭ ﺁﻥ ﺣﺮﻛﺖ ﻣﻲﻛﻨﺪ ﻭ ﺑﺎ ﺑﻲﺭﺣﻤﻲ ﺑﺎﺯﻱﺍﺵ‪ -‬ﺍﻣﺎ ﺍﻳﻨﺠﺎ ﺍﻭ ﺯﻧﺪﻩﻣﻲﻣﺎﻧﺪ ﺑﻪ‬

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‫ﺍﻏﻮﺍ‬

‫ﺧﺎﻃﺮ ﺍﻳﻨﻜﻪ ﺑﻴﺮﻭﻥ ﺍﺯ ﺩﺍﻳﺮﻩ ﺭﻭﺍﻧﻜﺎﻭﻱ ﻣﻌﻨﺎ ﻳﺎ ﻣﻴﻞ ﺍﺳﺖ‪ .‬ﺁﻧﭽﻪ ﺍﻧﺴﺎﻥ ﺭﺍ ﻧﺎﺑﻮﺩ ﻣﻲﺳﺎﺯﺩ ﻭ‬

‫ﻓﺮﻭﻣﻲﻧﺸﺎﻧﺪ ﻣﻌﻨﺎﻳﻲ ﺍﺳﺖ ﻛﻪ ﺁﻧﻬﺎ ﺑﻪ ﺍﻋﻤﺎﻝ ﺧﻮﺩ ﻣﻲﺑﺨﺸﻨﺪ‪ .‬ﺍﻣﺎ ﺯﻥ ﺍﻏﻮﺍﮔﺮ ﻫﻴﭻ ﻣﻌﻨﺎﻳﻲ ﺭﺍ ﺑﻪ‬

‫ﺁﻧﭽﻪ ﺍﻧﺠﺎﻡ ﻣﻴﺪﻫﺪ ﺍﻟﺼﺎﻕ ﻧﻤﻲﻛﻨﺪ ﻭ ﺯﻳﺮ ﺑﺎﺭ ﻫﻴﭻ ﻣﻴﻠﻲ ﻧﻤﻲﺭﻭﺩ‪ .‬ﺣﺘﻲ ﺍﮔﺮ ﺍﺯ ﺩﻻﻳﻞ ﻳﺎ ﺍﻧﮕﻴﺰﻩﻫﺎ‬

‫ﺳﺨﻦ ﺑﺮﺍﻧﺪ ﺑﺪﮔﻤﺎﻥ ﻭ ﮔﻨﺎﻩﻛﺎﺭ ﮔﻮﻧﻪﺍﻧﺪ‪ ،‬ﺍﻳﻦ ﻳﻚ ﺩﺍﻡ ﺍﺳﺖ‪ .‬ﻭ ﺩﺍﻡ ﻧﻬﺎﻳﻲ ﺍﻭ ﺍﻳﻦ ﺗﻘﺎﺿﺎ ﺍﺳﺖ‪:‬‬

‫"ﺑﮕﻮ ﻛﻪ ﻣﻦ ﻛﻲ ﻫﺴﺘﻢ‪ ".‬ﺩﺭ ﺁﻥ ﻫﻨﮕﺎﻡ ﻛﻪ ﺍﻭ ﻧﺴﺒﺖ ﺑﻪ ﺁﻧﭽﻪ ﻛﻪ ﻫﺴﺖ ﺑﻲﺗﻔﺎﻭﺕ ﺍﺳﺖ‪ ،‬ﻭﻗﺘﻲ‬

‫ﺍﻭ ﭘﻮﭺ ﺍﺳﺖ‪ ،‬ﻧﻪ ﻋﻤﺮﻱ ﻭ ﻧﻪ ﺗﺎﺭﻳﺨﻲ ﺩﺍﺭﺩ‪ .‬ﻗﺪﺭﺕ ﺍﻭ ﺩﺭ ﻛﻨﺎﻳﻪ ﻭ ﮔﺮﻳﺰ ﺍﺯ ﺣﻀﻮﺭ ﻧﻬﻔﺘﻪ ﺍﺳﺖ‪ .‬ﺍﻭ‬

‫ﻣﻤﻜﻦ ﺍﺳﺖ ﻧﺴﺒﺖ ﺑﻪ ﭼﻨﻴﻦ ﻣﻮﺟﻮﺩﻳﺖ ﺧﻮﺩﺵ ﻧﺎﺁﮔﺎﻩ ﺑﺎﺷﺪ ﺍﻣﺎ ﺍﺯ ﺗﻤﺎﻣﻲ ﻣﻜﺎﻧﻴﺰﻣﻬﺎﻱ ﺧﺮﺩ ﻭ‬

‫ﺣﻘﻴﻘﺘﻲ ﻛﻪ ﺩﻳﮕﺮﺍﻥ ﺑﺮﺍﻱ ﺣﻤﺎﻳﺖ ﺍﺯ ﺧﻮﺩﺷﺎﻥ ﺩﺭ ﺑﺮﺍﺑﺮ ﺍﻏﻮﺍﮔﺮﻱ ﺑﻪ ﻛﺎﺭ ﻣﻲﺑﺮﻧﺪ ﻧﻴﻚ ﺁﮔﺎﻩ‬

‫ﺍﺳﺖ‪ .‬ﺍﻭ ﻣﻲﺩﺍﻧﺪ ﻛﻪ ﺩﺭ ﭘﺸﺖ ﻭ ﭘﻨﺎﻫﮕﺎﻩ ﺍﻳﻦ ﻣﻜﺎﻧﻴﺰﻡﻫﺎ ﻫﻴﭻ ﭼﻴﺰ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ ﻭ ﺍﮔﺮ ﻛﺎﺭﻫﺎ‬

‫ﺧﻮﺏ ﭘﻴﺶ ﻣﻲﺭﻭﺩ ﻣﻲﮔﺬﺍﺭﺩ ﺁﻧﻬﺎ ﺧﻮﺩﺷﺎﻥ ﺍﻏﻮﺍ ﺷﻮﻧﺪ‪.‬‬

‫"ﻣﻦ ﺟﺎﻭﺩﺍﻧﻪﺍﻡ" ﺑﻪ ﺑﻴﺎﻥ ﺩﻳﮕﺮ‪ ،‬ﺑﻲﺭﺣﻤﺎﻧﻪ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻳﻌﻨﻲ ﺍﻳﻨﻜﻪ ﺑﺎﺯﻱ ﻫﺮﮔﺰ ﻧﺒﺎﻳﺪ‬

‫ﻣﺘﻮﻗﻒ ﺷﻮﺩ ﻭ ﺍﻳﻦ ﻳﻜﻲ ﺍﺯ ﻗﻮﺍﻋﺪ ﺑﻨﻴﺎﺩﻱ ﺑﺎﺯﻱ ﺍﺳﺖ‪ .‬ﺑﻪ ﻫﻤﻴﻦﺧﺎﻃﺮ ﻫﻴﭻ ﺑﺎﺯﻳﮕﺮﻱ ﻧﻤﻲﺗﻮﺍﻧﺪ‬

‫ﺑﺰﺭﮔﺘﺮ ﺍﺯ ﺧﻮﺩ ﺑﺎﺯﻱ ﺑﺎﺷﺪ‪ ،‬ﺍﺯ ﺍﻳﻦﺭﻭ ﻫﻴﭻ ﺯﻥ ﺍﻏﻮﺍﮔﺮﻱ ﻫﻢ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺑﺰﺭﮔﺘﺮ ﺍﺯ ﺍﻏﻮﺍﮔﺮﻱ ﺑﺎﺷﺪ‪.‬‬

‫ﻫﻴﭻﻛﺪﺍﻡ ﺍﺯ ﻓﺮﺍﺯ ﻭ ﻧﺸﻴﺐﻫﺎﻱ ﻋﺸﻖ ﻭ ﻣﻴﻞ ﺍﺟﺎﺯﻩ ﻧﻤﻲﻳﺎﺑﻨﺪ ﻛﻪ ﺍﻳﻦ ﻗﺎﻋﺪﻩ ﺭﺍ ﺑﺸﻜﻨﻨﺪ‪ .‬ﺑﺮﺍﻱ ﺍﻏﻮﺍ‬

‫ﻛﺮﺩﻥ ﺑﺎﻳﺪ ﻋﺎﺷﻖ ﺷﻮﺩ ﻭ ﻧﻪ ﺑﺮﻋﻜﺲ‪ .‬ﺍﻏﻮﺍﮔﺮﻱ ﻋﺒﺎﺭﺕ ﺍﺯ ﺯﻳﻮﺭﻫﺎﻳﻲ‪ ،‬ﻛﻪ ﻇﻮﺍﻫﺮ ﺭﺍ ﻫﻢ ﻣﻲﺑﺎﻓﺪ ﻭ‬

‫ﻫﻢ ﻭﺍﻣﻲﺑﺎﻓﺪ ﺩﺭﺳﺖ ﻣﺎﻧﻨﺪ ﭘﻨﻪ ﻟﻮﭘﻪ ﻛﻪ ﻗﺎﻟﻴﭽﻪﺍﺵ ﺭﺍ ﻫﻢ ﻣﻲﺑﺎﻓﺖ ﻭ ﻫﻢ ﻭﺍﻣﻲﺑﺎﻓﺖ‪ ۳۲.‬ﻣﻴﻞ ﻧﻴﺰ‬

‫ﺩﺭ ﺯﻳﺮ ﺩﺳﺘﺎﻥ ﺯﻥ ﺍﻏﻮﺍﮔﺮ ﺑﺎﻓﺘﻪ ﻭ ﻭﺍﺑﺎﻓﺘﻪ ﻣﻲﺷﻮﺩ‪ .‬ﭼﺮﺍ ﻛﻪ ﺁﻥ ﻧﻤﻮﺩﻫﺎ ﻭ ﺍﺭﺑﺎﺏ ﻧﻤﻮﺩﻫﺎﺳﺖ ﻳﻌﻨﻲ‬

‫ﻗﺎﻋﺪﻩ‪.‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﻫﻴﭻ ﻛﺲ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﺍﺯ ﻗﺪﺭﺕ ﺍﻏﻮﺍ ﻭ ﻗﻮﺍﻋﺪﺵ‪ ،‬ﺍﺯ ﺍﻳﻦ ﺷﻜﻞ ﺑﻨﻴﺎﺩﻳﻦ‪ ،‬ﻣﺤﺮﻭﻡ ﻧﮕﺸﺘﻪﺍﺳﺖ‪.‬‬

‫ﺑﻠﻪ ﺯﻧﺎﻥ ﺍﺯ ﺑﺪﻧﻬﺎﻳﺸﺎﻥ‪ ،‬ﺍﺯ ﺍﻣﻴﺎﻟﺸﺎﻥ‪ ،‬ﺍﺯ ﺷﺎﺩﻱﻫﺎﻳﺸﺎﻥ ﻭ ﺍﺯ ﺣﻘﻮﻗﺸﺎﻥ ﻣﺤﺮﻭﻡ ﺑﻮﺩﻩﺍﻧﺪ‪ .‬ﺍﻣﺎ ﻫﻤﻴﺸﻪ‬

‫ﺑﺎﻧﻮﻱ ﺍﻳﻦ ﺍﻣﻜﺎﻥ ﻛﺴﻮﻑ ﺑﺮﺩﻥ ﻭ ﻧﺎﭘﺪﻳﺪﻱ ﺍﻏﻮﺍﮔﺮﺍﻧﻪ ﻭ ﻓﺮﺍ ﺷﻬﻮﺕ‪ ،‬ﺑﺎﻗﻲ ﻣﺎﻧﺪﻩﺍﻧﺪ ﻭ ﺍﻳﻦﭼﻨﻴﻦ‬

‫ﻫﻤﻴﺸﻪ ﺍﻳﻦ ﺗﻮﺍﻧﺎﻳﻲ ﺭﺍ ﺩﺍﺷﺘﻪﺍﻧﺪ ﻛﻪ ﻗﺪﺭﺕ ﺍﺭﺑﺎﺑﺎﻧﺸﺎﻥ ﺭﺍ ﺩﺭ ﻛﺴﻮﻑ ﺍﻏﻮﺍ ﻓﺮﻭ ﺑﺮﻧﺪ‪.‬‬

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‫ﺍﻣﺎ ﺁﻳﺎ ﺍﻏﻮﺍﮔﺮﻱ ﺷﻜﻠﻲ ﺯﻧﺎﻧﻪ ﺍﺳﺖ ﻳﺎ ﺍﻳﻨﻜﻪ ﺷﻜﻞ ﻣﺮﺩﺍﻧﻪﺍﻱ ﻫﻢ ﺩﺍﺭﺩ؟ ﻭ ﻳﺎ ﺍﻳﻨﻜﻪ ﺷﻜﻠﻲ‬

‫ﺍﺳﺖ ﻣﺘﻐﻴﺮ ﻛﻪ ﻣﻲﺗﻮﺍﻧﺪ ﺣﻮﻝ ﻳﻚ ﺟﻨﺲ ﻳﺎ ﺟﻨﺲ ﺩﻳﮕﺮ ﻣﺘﺒﻠﻮﺭ ﺷﻮﺩ؟ ﺍﻏﻮﺍﮔﺮﻱ ﻣﻴﺎﻥ ﺩﻭ ﻗﻄﺐ‬

‫ﺩﺭ ﻧﻮﺳﺎﻥ ﺍﺳﺖ ﻳﻚ ﻗﻄﺐ ﺭﺍﻫﺒﺮﺩﻱ ﻭ ﻗﻄﺒﻲ ﺣﻴﻮﺍﻧﻲ‪) .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺍﺯ ﺯﻳﺮﻛﺎﻧﻪﺗﺮﻳﻦ ﻧﮕﺮﺵﻫﺎ ﺗﺎ‬

‫ﺣﻴﻮﺍﻧﻲﺗﺮﻳﻦ ﺷﻜﻞﻫﺎﻱ ﻓﻴﺰﻳﻜﻲ ﺭﺍ ﺩﺭﺑﺮﻣﻲﮔﻴﺮﺩ( ﻛﻪ ﺑﻪ ﺗﺮﺗﻴﺐ ﺑﺎ ﺷﻜﻞ ﻣﺮﺩ ﺍﻏﻮﺍﮔﺮ ﻭ ﺯﻥ ﺍﻏﻮﺍﮔﺮ‬

‫ﻣﺮﺗﺒﻂ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺁﻳﺎ ﺍﻳﻦ ﺗﻘﺴﻴﻢﺑﻨﺪﻱ ﻧﻘﺎﺑﻲ ﺑﺮﺍﻱ ﺷﻜﻠﻲ ﻣﺠﺮﺩ ﻭ ﺍﻏﻮﺍﻳﻲ ﺗﻘﺴﻴﻢﻧﺎﭘﺬﻳﺮ ﻧﻴﺴﺖ؟‬

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‫‪۱۳۸‬‬
‫ﺍﻏﻮﺍ‬

‫ﺍﻏﻮﺍﻱ ﺣﻴﻮﺍﻧﻲ‬

‫ﺑﺎ ﺣﻴﻮﺍﻧﺎﺕ‪ ،‬ﺍﻏﻮﺍ ﺑﻪ ﺷﻜﻞ ﺧﺎﻟﺼﺶ ﺩﺳﺖ ﻣﻲﻳﺎﺑﺪ ﻛﻪ ﺩﺭ ﺁﻥ ﻧﻤﺎﻳﺶ ﺍﻏﻮﺍﮔﺮﻱ ﻏﺮﻳﺰﻱ‬

‫ﺑﻲﺩﺭﻧﮓ ﺩﺭ ﺑﺎﺯﺗﺎﺑﻲ ﺍﺯ ﺭﻓﺘﺎﺭﻫﺎ ﻭ ﺯﻳﻮﺭﻫﺎﻱ ﺫﺍﺗﻲ ﻇﺎﻫﺮ ﻣﻲﮔﺮﺩﺩ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺍﻏﻮﺍﻱ ﺣﻴﻮﺍﻧﺎﺕ ﻛﺎﻣﻼً‬

‫ﺁﻳﻴﻨﻲ ﻧﻴﺴﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﺣﺎﻟﺖ‪ ،‬ﺣﻴﻮﺍﻧﺎﺕ ﺣﺪﺍﻗﻞ ﻣﻮﺟﻮﺩﺍﺗﻲ ﻃﺒﻴﻌﻲﺍﻧﺪ ﻭ ﺑﺮﺍﻱ ﺁﻧﻬﺎ ﺗﺼﻨﻊ‪ -‬ﺍﺛﺮﺍﺕ‬

‫ﺯﻳﻮﺭ ﻭ ﺁﺭﺍﻳﺶ ﭼﻬﺮﻩ‪ -‬ﺩﺭ ﺳﺎﺩﻩﺗﺮﻳﻦ ﺣﺎﻟﺘﺶ ﭘﺪﻳﺪﺍﺭ ﻣﻲﺷﻮﺩ‪.‬‬

‫ﺩﺭ ﻗﻠﺐ ﺍﻳﻦ ﺗﻨﺎﻗﺾ‪ ،‬ﺗﻤﺎﻳﺰ ﻣﻴﺎﻥ ﻃﺒﻴﻌﺖ ﻭ ﻓﺮﻫﻨﮓ ﺩﺭ ﻣﻔﻬﻮﻡ ﺁﺭﺍﻳﺶ ﺍﺯ ﻣﻴﺎﻥ ﺭﻓﺘﻪﺍﺳﺖ‬

‫ﻛﻪ ﺑﺮ ﻫﺮ ﻗﻴﺎﺳﻲ ﻣﻴﺎﻥ ﺣﻴﻮﺍﻧﻴﺖ ﻭ ﺯﻧﺎﻧﮕﻲ ﭘﺎﻳﺎﻥ ﻣﻲﺩﻫﺪ‪ .‬ﺍﮔﺮ ﺣﻴﻮﺍﻧﺎﺕ ﺍﻏﻮﺍﮔﺮﻧﺪ ﺁﻳﺎ ﺑﻪ ﺍﻳﻦﺧﺎﻃﺮ‬

‫ﻧﻴﺴﺖ ﻛﻪ ﺁﻧﻬﺎ ﻋﻨﺎﺻﺮ ﺭﺍﻫﺒﺮﺩﻱ ﺑﺮﺍﻱ ﺗﻤﺴﺨﺮ ﻭﺍﻧﻤﻮﺩﻫﺎﻱ ﻣﺎ ﺑﻪ ﺍﻧﺴﺎﻧﻴﺖﺍﻧﺪ؟ ﺍﮔﺮ ﺯﻧﺎﻧﮕﻲ‬

‫ﺍﻏﻮﺍﮔﺮﺍﻧﻪ ﺍﺳﺖ ﺁﻳﺎ ﺑﻪ ﺍﻳﻦ ﺧﺎﻃﺮ ﻧﻴﺴﺖ ﻛﻪ ﺩﻋﻮﻳﺎﺕ ﻣﺎ ﺑﺮ ﻋﻤﻴﻖ ﺑﻮﺩﻥ ﻭ ﮊﺭﻑ ﻧﮕﺮﻱ ﺭﺍ ﺑﺎﻃﻞ‬

‫ﻣﻲﺳﺎﺯﺩ؟ ﭘﻮﭼﻲ ﻭ ﺳﺒﻜﺴﺮﻱ ﻗﺪﺭﺗﻲ ﺍﻏﻮﺍﮔﺮﺍﻧﻪ ﺩﺍﺭﺩ ﻛﻪ ﺑﺎ ﺣﻴﻮﺍﻧﻴﺖ ﻫﻤﺴﺎﺯ ﺍﺳﺖ‪.‬‬

‫ﺍﻏﻮﺍﮔﺮﻱ ﻛﻪ ﺩﺭ ﺣﻴﻮﺍﻧﺎﺕ ﻣﻲﻳﺎﺑﻴﻢ ﺍﺯ ﻭﺣﺸﻴﮕﺮﻱ ﻃﺒﻴﻌﻲ ﺷﺎﻥ ﻧﻴﺴﺖ‪ .‬ﺁﻳﺎ ﺣﻴﻮﺍﻧﺎﺕ‬

‫ﺑﺮﺍﺳﺘﻲ ﻭﺣﺸﻴﮕﺮﻳﺸﺎﻥ ﻧﺸﺎﻥ ﺍﺯ ﺩﺭﺟﻪ ﺑﺎﻻﻳﻲ ﺍﺯ ﻛﺎﺭﻫﺎﻱ ﺗﺼﺎﺩﻓﻲ ﺩﻣﺪﻣﻲ ﺑﻲﻓﻜﺮﻱ ﺩﺍﺭﺩ ﻳﺎ‬
‫‪۱۳۹‬‬
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺑﺮﻋﻜﺲ ﻧﺸﺎﻥ ﻣﺮﺗﺒﻪ ﺑﺎﻻﻳﻲ ﺍﺯ ﺭﻓﺘﺎﺭﻱ ﺁﻳﻴﻨﻲ ﺍﺳﺖ؟ ﻫﻤﻴﻦ ﺳﺌﻮﺍﻝ ﻧﻴﺰ ﻣﻲﺗﻮﺍﻧﺪ ﺩﺭ ﻣﻮﺭﺩ ﺟﻮﺍﻣﻊ‬

‫ﺑﺪﻭﻱ ﺷﻮﺩ‪ .‬ﺟﻮﺍﻣﻊ ﺑﺪﻭﻱ ﺭﺍ ﻣﺤﺼﻮﺭ ﺩﺭ ﻗﻠﻤﺮﻭ ﺣﻴﻮﺍﻧﻲ ﺷﺎﻥ ﻣﻲﻳﺎﺑﻴﻢ‪ .‬ﻭ ﺑﺮﺍﺳﺘﻲ ﻫﻢ ﭼﻨﻴﻦ‬

‫ﺍﺳﺖ‪ :‬ﭼﺮﺍ ﻛﻪ ﺍﻧﻬﺎ ﻫﻤﮕﻲ ﺑﻪ ﻗﺎﻧﻮﻥ ﺑﻲﺍﻋﺘﻨﺎﺍﻧﺪ ﻭ ﻫﻤﻮﺍﺭﻩ ﺍﺷﻜﺎﻝ )ﺳﻨﺘﻲ( ﺛﺎﺑﺘﻲ ﺭﺍ ﺭﻋﺎﻳﺖ‬

‫ﻣﻲﻛﻨﻨﺪ ﺧﻮﺍﻩ ﺩﺭ ﺭﻭﺍﺑﻄﺸﺎﻥ ﺑﺎ ﻣﺮﺩﻡ ﺳﺮﺯﻣﻴﻦ ﺷﺎﻥ ﺧﻮﺍﻩ ﺑﺎ ﺩﻳﮕﺮ ﺣﻴﻮﺍﻧﺎﺕ ﻭ ﺍﻧﺴﺎﻧﻬﺎ‪.‬‬

‫ﺣﺘﻲ ﺩﺭ ﺭﻗﺺﻫﺎ ﻭ ﺁﺭﺍﻳﺶﻫﺎﻱ ﺑﺪﻧﻬﺎﻳﺸﺎﻥ ﺟﺬﺍﺑﻴﺖ ﺣﻴﻮﺍﻧﻲ ﺷﺎﻥ ﻓﺮﺍﻭﺭﺩﻩ ﻳﻚ ﺳﺮﻱ ﺍﺯ‬

‫ﺭﻋﺎﻳﺖ ﺁﻳﻴﻨﻬﺎ ﻭ ﻗﻮﺍﻋﺪ ﻭ ﻫﻤﺎﻧﻨﺪﻱﻫﺎﺳﺖ ﻛﻪ ﻛﺎﻣﻼ ﺍﻥ ﺭﺍ ﺩﺭ ﺑﺮﺍﺑﺮ ﺷﺎﻧﺲ ﻃﺒﻴﻌﻲ ﻗﺮﺍﺭ ﻣﻲﺩﻫﺪ‪.‬‬

‫ﺗﻤﺎﻣﻲ ﺧﺼﺎﻳﺺ ﻣﻌﺘﺒﺮﺷﺎﻥ ﻣﺮﺗﺒﻂ ﺑﺎ ﺣﻴﻮﺍﻧﺎﺕ ﻭ ﻭﻳﮋﮔﻲﻫﺎﻱ ﺁﻳﻴﻨﻲ ﺍﺳﺖ‪ .‬ﺁﺭﺍﻳﺶ ﻃﺒﻴﻌﻲ‬

‫ﺣﻴﻮﺍﻧﺎﺕ ﻣﺸﺎﺑﻪ ﺑﺎ ﺁﺭﺍﻳﺶ ﺗﺼﻨﻌﻲ ﺍﻧﺴﺎﻧﻬﺎ ﺍﺳﺖ ﻛﻪ ﺑﺎﻳﺪ ﺍﺿﺎﻓﻪ ﻛﺮﺩ‪ ،‬ﻫﻤﻮﺍﺭﻩ ﻣﻲﺧﻮﺍﻫﺪ‬

‫ﺁﺭﺍﻳﺶﻫﺎﻱ ﺣﻴﻮﺍﻧﻲ ﺭﺍ ﺩﺭ ﻣﺮﺍﺳﻢ ﺁﻳﻴﻨﻲ ﺷﺎﻥ ﺑﻪ ﻛﺎﺭ ﺑﺮﻧﺪ‪ .‬ﺍﮔﺮ ﻧﻘﺎﺏﻫﺎﻱ ﺣﻴﻮﺍﻧﻲ ﺗﺮﺟﻴﺢ ﺩﺍﺩﻩ‬

‫ﻣﻲﺷﻮﺩ ﺑﻪ ﺍﻳﻦ ﺧﺎﻃﺮ ﺍﺳﺖ ﻛﻪ ﺣﻴﻮﺍﻧﻬﺎ ﺑﻲﺩﺭﻧﮓ ﭼﻮﻥ ﻧﻘﺎﺏﻫﺎﻱ ﺁﻳﻴﻨﻲ ﻇﺎﻫﺮ ﻣﻲﺷﻮﻧﺪ ﭼﻮﻥ‬

‫ﺑﺎﺯﻱ ﻧﺸﺎﻧﻪﻫﺎ ﻭ ﺭﺍﻫﺒﺮﺩﻫﺎﻱ ﺁﺭﺍﻳﺶ ﺩﺭﺳﺖ ﻣﺎﻧﻨﺪ ﺭﻓﺘﺎﺭﻫﺎﻱ ﺁﻳﻴﻨﻲ ﺍﻧﺴﺎﻧﻬﺎ‪ .‬ﺭﻳﺨﺖ ﺷﻨﺎﺳﻲ‬

‫ﺁﻳﻴﻨﻬﺎﻱ ﺑﺪﻭﻳﺎﻥ ﺟﺎﻣﻪﻫﺎﻳﺸﺎﻥ ﭘﻮﺳﺘﻴﻦﻫﺎ ﻭ ﺁﺭﺍﻳﺶﻫﺎ‪ ،‬ﺍﺷﺎﺭﺍﺕ ﻭ ﺭﻗﺼﻬﺎ‪ ،‬ﻫﻤﮕﻲ ﻧﻤﻮﻧﻪﺍﻱ ﺍﺯ‬

‫ﺗﺄﺛﻴﺮﺍﺕ ﺁﻳﻴﻨﻲﺍﻧﺪ‪ .‬ﺁﻧﻬﺎ ﻫﺮﮔﺰ ﻧﻈﺎﻣﻲ ﻛﺎﺭﻛﺮﺩﻱ )ﺑﺎﺯﺗﻮﻟﻴﺪ ﺟﻨﺴﻲ ﺍﻗﺘﺼﺎﺩﻱ ﻭ ﺑﻮﻡﺷﻨﺎﺳﻲ ﻭ‬

‫ﺗﻘﻠﻴﺪﻱ ﻭ ﻓﺮﻭﺽ ﺑﻲﺧﺎﺻﻴﺖ ﻗﻮﻡﺷﻨﺎﺳﻲ ﻛﻪ ﺑﺎ ﻛﺎﺭﻛﺮﺩﮔﺮﺍﻳﻲ ﻃﺮﺡﺭﻳﺰﻱ ﺷﺪﻩﺍﻧﺪ( ﺗﺸﻜﻴﻞ‬

‫ﻧﻤﻲﺩﻫﻨﺪ ﺑﻠﻜﻪ ﻣﺮﺍﺳﻤﻲ ﺧﻮﺩﻧﻤﺎﻳﺎﻧﻪ ﺑﺎ ﻧﺸﺎﻧﻪﻫﺎﻳﻲ ﻣﺴﻠﻂ ﺑﺎ ﺣﻠﻘﻪﺍﻱ ﺑﺮﺍﻱ ﻣﻌﺎﻧﻲ ﺍﻏﻮﺍﻛﻨﻨﺪﻩ‬

‫ﺗﺸﻜﻴﻞ ﻣﻲﺩﻫﻨﺪ ﻛﻪ ﻧﺸﺎﻧﻪﻫﺎ ﺭﺍ ﺑﻪ ﮔﻮﻧﻪﺍﻱ ﻣﻘﺎﻭﻣﺖﻧﺎﭘﺬﻳﺮ ﺑﻪ ﻃﺮﻑ ﻳﻜﺪﻳﮕﺮ ﺟﺬﺏ ﻣﻲﻛﻨﺪ ﺗﺎ‬

‫ﺧﻮﺩ ﺭﺍ ﺑﺎﺯﺗﻮﻟﻴﺪ ﻧﻤﺎﻳﻨﺪ‪ ،‬ﮔﻮﻳﻲ ﺑﺎﺯﮔﺸﺘﻲ ﻣﻐﻨﺎﻃﻴﺴﻲ‪ ،‬ﭘﻴﺎﻣﺪ ﺳﺮﮔﻴﺠﮕﻲ ﻭ ﻓﻘﺪﺍﻥ ﻣﻌﻨﺎ ﻭ‬

‫ﺗﻀﻤﻴﻨﻲ ﻫﺴﺘﻨﺪﻥ ﺑﺮﺍﻱ ﺗﻌﻬﺪ ﺍﺯ ﻣﻴﺎﻥ ﻧﺮﻓﺘﻨﻲ ﻣﻴﺎﻥ ﺷﺮﻛﺖ ﻛﻨﻨﺪﮔﺎﻥ ﺁﻳﻴﻦ‪.‬‬

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‫ﺍﻏﻮﺍ‬

‫ﺑﻪﻃﻮﺭﻛﻠﻲ ﺑﺎﻳﺪ ﮔﻔﺖ ﻛﻪ ﺍﻣﺮ ﺁﻳﻴﻨﻲ ﺍﺯ ﺍﻣﺮ ﺍﺟﺘﻤﺎﻋﻲ ﺑﺮﺗﺮ ﺍﺳﺖ‪ .‬ﺍﻣﺮ ﺍﺟﺘﻤﺎﻋﻲ ﺗﻨﻬﺎ ﻳﻚ‬

‫ﭘﺪﻳﺪﻩ ﻧﻮ ﻇﻬﻮﺭ ﺍﺳﺖ ﺷﻜﻠﻲ ﺍﺯ ﺳﺎﺯﻣﺎﻧﺪﻫﻲ ﻭ ﻣﺒﺎﺩﻻﺕ ﻛﻪ ﭼﻨﺪﺍﻥ ﺍﻏﻮﺍﮔﺮﺍﻧﻪ ﻧﻴﺴﺖ ﻭ ﺑﻪ ﺩﺳﺖ‬

‫ﺍﻧﺴﺎﻥ ﻭ ﺑﺮﺍﻱ ﺍﻧﺴﺎﻥ ﺍﺑﺪﺍﻉ ﺷﺪﻩﺍﺳﺖ‪ .‬ﺍﻣﺮ ﺁﻳﻴﻨﻲ ﻧﻈﺎﻣﻲ ﺑﺰﺭﮔﺘﺮ ﺍﺳﺖ ﻛﻪ ﻛﻞ ﺯﻧﺪﮔﻲ ﻭ ﻣﺮﮒ‬

‫ﺍﻧﺴﺎﻥ ﻭ ﺣﻴﻮﺍﻥ ﺭﺍ ﺍﺣﺎﻃﻪ ﻛﺮﺩﻩﺍﺳﺖ ﻭ ﻧﻴﺰ ﻃﺒﻴﻌﺖ ﺭﺍ ﻛﻪ ﺣﺮﻛﺘﻬﺎﻱ ﺗﻨﺎﻭﺑﻲ‪ ،‬ﺑﺎﺯﺭﺧﺪﺍﺩﻫﺎ‪ ،‬ﻭ‬

‫ﺑﻼﻫﺎﻱ ﻧﺎﮔﻬﺎﻧﻲ ﻇﺎﻫﺮﺍً ﺑﻪ ﺧﻮﺩﻱ ﺧﻮﺩ ﺩﺭ ﺧﺪﻣﺖ ﻧﺸﺎﻧﻪﻫﺎﻱ ﺁﻳﻴﻨﻲ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﻧﺪ‪ .‬ﺩﺭ ﻣﻘﺎﻳﺴﻪ‪،‬‬

‫ﺍﻣﺮ ﺍﺟﺘﻤﺎﻋﻲ ﺗﻬﻲﻣﺎﻳﻪﺗﺮ ﺍﺳﺖ ﻭ ﺗﺤﺖ ﻧﻈﺮ ﻗﺎﻧﻮﻥ ﺗﻨﻬﺎ ﻗﺎﺩﺭ ﺍﺳﺖ ﻳﻚ ﮔﻮﻧﻪ )ﻭ ﺣﺘﻲ‪ (...‬ﺭﺍ ﮔﺮﺩ‬

‫ﻫﻢ ﺟﻤﻊ ﻛﻨﺪ‪ .‬ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺍﻣﺮ ﺁﻳﻴﻨﻲ ﺩﺭ ﺍﺑﻘﺎﻱ ﻫﻤﮕﺎﻥ ﻣﻮﻓﻖﺗﺮ ﻋﻤﻞ ﻣﻲﻛﻨﺪ ﻧﻪ ﺑﺎ ﻗﺎﻧﻮﻥ ﺑﻠﻜﻪ‬

‫ﺑﺎ ﻗﻮﺍﻋﺪ ﻭ ﺑﺎﺯﻱﻫﺎﻱ ﭘﺎﻳﺎﻥﻧﺎﭘﺬﻳﺮ ﻭ ﻫﻤﺎﻧﻨﺪﻱﻫﺎ‪ .‬ﺷﻜﻠﻲ ﭼﺮﺧﺸﻲ ﻭ ﻣﺒﺎﺩﻟﻪﺍﻱ ﻓﺮﺍﮔﻴﺮ ﻛﻪ ﻗﺎﻧﻮﻥ ﻭ‬

‫ﺍﻣﺮ ﺍﺟﺘﻤﺎﻋﻲ ﺍﺯ ﺍﻧﺠﺎﻣﺶ ﻧﺎﺗﻮﺍﻥﺍﻧﺪ‪.‬‬

‫ﺍﮔﺮ ﺣﻴﻮﺍﻧﺎﺕ ﺭﺍ ﺍﻏﻮﺍﮔﺮ ﻭ ﺟﺬﺍﺏ ﻣﻲﻳﺎﺑﻴﻢ ﺑﻪ ﺍﻳﻦ ﺳﺒﺐ ﺍﺳﺖ ﻛﻪ ﺁﻧﻬﺎ ﺑﺮﺍﻱ ﻣﺎ ﻳﺎﺩﺁﻭﺭ ﺍﻳﻦ‬

‫ﺗﺮﺗﻴﺒﺎﺕ ﺁﻳﻴﻨﻲ ﻫﺴﺘﻨﺪ‪ .‬ﺍﻟﺒﺘﻪ ﻧﻪ ﺍﻳﻨﻜﻪ ﻧﻮﺳﺘﺎﻟﻮﮊﻱ ﺷﻜﻞ ﺯﻧﺪﮔﻲ ﻭﺣﺸﻲ ﭘﻴﺸﻴﻦ ﻣﺎ ﺭﺍ ﺩﺭ ﻣﺎ‬

‫ﺑﻴﺪﺍﺭ ﻧﻤﺎﻳﻨﺪ ﺑﻠﻜﻪ ﮔﺮﺑﻪ ﺻﻔﺘﺎﻧﻪ ﻧﻮﺳﺘﺎﻟﻮﮊﻳﺎﻱ ﻧﻤﺎﻳﺸﻲ ﺭﺍ ﺑﺮﺍﻱ ﺁﺭﺍﻳﺶ‪ ،‬ﺑﺮﺍﻱ ﺍﻏﻮﺍ ﻭ ﺭﺍﻫﺒﺮﺩﻫﺎﻱ‬

‫ﺁﻳﻴﻨﻲ ﻛﻪ ﻓﺮﺍﺗﺮ ﺍﺯ ﺍﻣﺮ ﺍﺟﺘﻤﺎﻋﻲﺍﻧﺪ ﺭﺍ ﺩﺭ ﻣﺎ ﺗﻘﻮﻳﺖ ﻣﻲﻛﻨﻨﺪ ﻭ ﺑﺪﺍﻥ ﻃﺮﻳﻖ ﻣﺎ ﺭﺍ ﺍﻓﺴﻮﻥ‬

‫ﻣﻲﻛﻨﻨﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﺣﺎﻟﺖ ﻣﻤﻜﻦ ﺍﺳﺖ ﻛﺴﻲ ﺑﮕﻮﻳﺪ ﻛﻪ ﺑﺎ ﺍﻳﻦ ﺍﻏﻮﺍ "ﻓﺮﺩ ﺑﻪ ﺣﻴﻮﺍﻥ ﻣﺒﺪﻝ‬

‫ﻣﻲﺷﻮﺩ‪ ".‬ﻳﺎ ﺍﻏﻮﺍﻱ ﺯﻧﺎﻧﻪ ﺷﻜﻠﻲ ﺣﻴﻮﺍﻥ ﮔﻮﻧﻪ ﺩﺍﺭﺩ ﺑﻲﺁﻧﻜﻪ ﻃﺒﻴﻌﺘﻲ ﻏﺮﻳﺰﻱ ﺭﺍ ﺑﻪ ﻛﺎﺭ ﺑﺮﺩ‪ .‬ﭼﺮﺍ‬

‫ﻛﻪ ﺍﻏﻮﺍ ﻋﻤﻴﻘﺎً ﺑﺎ ﺁﻳﻴﻦﻫﺎﻱ ﺑﺪﻥ ﻣﺮﺗﺒﻂ ﺍﺳﺖ ﻭ ﻣﺎﻧﻨﺪ ﺩﻳﮕﺮ ﺁﻳﻴﻨﻬﺎ ﺑﺮﺍﻱ ﺁﺷﻜﺎﺭﻛﺮﺩﻥ ﺍﻣﺮ ﻃﺒﻴﻌﻲ‬

‫ﻭ ﻗﻮﺍﻧﻴﻦﺍﺵ ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﻧﻤﻮﺩﻫﺎ ﻭ ﭼﺮﺧﺶﻫﺎﻱ ﺁﻥ ﺭﺍ ﺑﺮﻗﺮﺍﺭ ﻣﻲﻧﻤﺎﻳﺪ‪ .‬ﺍﻏﻮﺍﮔﺮﻱ ﺯﻧﺎﻧﻪ ﺍﺯ ﻧﻈﺮ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺍﺧﻼﻗﻲ ﻓﺮﻭﻣﺎﻳﻪ ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﺑﺮﻋﻜﺲ ﺍﺯ ﻟﺤﺎﻅ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﻲ ﺑﺮﺗﺮ ﺍﺳﺖ ﺁﻥ ﺭﺍﻫﺒﺮﺩ‬

‫ﺁﺭﺍﻳﺶﻫﺎﺳﺖ‪.‬‬

‫ﺑﻪ ﻋﻼﻭﻩ ﻣﺮﺩﺍﻥ ﻧﻪ ﺑﺎ ﺯﻳﺒﺎﻳﻲ ﻃﺒﻴﻌﻲ ﺑﻠﻜﻪ ﺑﺎ ﺯﻳﺒﺎﻳﻲ ﺁﻳﻴﻨﻲ ﻭ ﺗﺼﻨﻌﻲ ﺍﻏﻮﺍ ﻣﻲﺷﻮﻧﺪ‪ .‬ﭼﺮﺍ‬

‫ﻛﻪ ﺯﻳﺒﺎﻳﻲ ﺁﻳﻴﻨﻲ ﻣﺤﺮﻣﺎﻧﻪ ﻭ ﺍﺑﺘﻜﺎﺭﻱ ﺍﺳﺖ ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﺍﻭﻟﻴﻦ ﺻﺮﻓﺎً ﺑﻴﺎﻧﻲ ﺍﺳﺖ‪ .‬ﻭ ﺑﻪ‬

‫ﻫﻤﻴﻦﺧﺎﻃﺮ ﺍﻏﻮﺍ ﺩﺭ ﻧﺸﺌﻪ ﭘﻮﺷﻴﺪﮔﻲ ﻧﺸﺎﻧﻪﻫﺎﻱ ﺗﺼﻨﻌﻲ ﻧﻬﻔﺘﻪ ﺍﺳﺖ ﻭ ﻧﻪ ﺩﺭ ﺍﻗﺘﺼﺎﺩ ﻃﺒﻴﻌﻲ‬

‫ﻣﻌﻨﺎ ﻣﻴﻞ ﻭ ﺯﻳﺒﺎﻳﻲ‬

‫ﺍﻳﻦ ﺩﻋﻮﻱ ﻛﻪ ﺁﻧﺎﺗﻮﻣﻲ ﻳﺎ ﺑﺪﻥ ﺗﻘﺪﻳﺮ ﻧﻴﺴﺖ‪ ،‬ﭼﻴﺰ ﺗﺎﺯﻩﺍﻱ ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﺍﺯ ﺯﻣﺎﻥ ﺟﻮﺍﻣﻊ ﭘﻴﺸﻴﻦ ﺗﺎ‬

‫ﺯﻣﺎﻥ ﺧﻮﺩﻣﺎﻥ ﺳﺎﺑﻘﻪ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺁﻳﻴﻦﻫﺎ ﺗﺸﺮﻳﻔﺎﺕ ﺟﺎﻣﻪﻫﺎ ﻧﻘﺎﺏﻫﺎ‪ ،‬ﻃﺮﺡﻫﺎ‪ ،‬ﺷﻜﻨﺠﻪﻫﺎ ﻭ ﻗﻄﻊ‬

‫ﻋﻀﻮﻫﺎ‪ -‬ﻫﻤﮕﻲ ﻗﻮﺍﻋﺪﻱ ﺑﺮﺍﻱ ﺍﻏﻮﺍﻱ ﺧﺪﺍﻳﺎﻥ ﻣﺮﺩﮔﺎﻥ ﻭ ﺍﺭﻭﺍﺡﺍﻧﺪ‪ -‬ﺑﺪﻥ ﺍﻭﻟﻴﻦ ﻭﺳﻴﻠﻪ ﺑﺮﺍﻱ ﺍﻧﺠﺎﻡ‬

‫ﺍﻳﻦ ﻣﺴﺌﻮﻟﻴﺖ ﺑﺰﺭﮒ ﺑﻮﺩﻩﺍﺳﺖ‪ .‬ﺑﺮﺍﻱ ﻣﺎ ﺗﻨﻬﺎ ﻣﻨﺸﻲ ﺯﻳﻨﺘﻲ ﻭ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﺎﻧﻪ ﺩﺍﺭﺩ‪) .‬ﻛﻪ‬

‫ﺧﺼﻴﺼﻪ ﺩﺭﺳﺘﺶ ﺑﺪﺍﻥ ﻃﺮﻳﻖ ﺍﻧﻜﺎﺭ ﻣﻲﺷﻮﺩ‪ :‬ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﺍﻳﺪﻩﻫﺎﻱ ﺗﺰﺋﻴﻴﻨﺎﺕ ﻭ ﺩﻛﻮﺭﺍﺳﻴﻮﻥ ﺑﻪ‬

‫ﺗﻜﺬﻳﺐ ﺍﺧﻼﻗﻲ ﺍﻓﺴﻮﻧﮕﺮﻱﻫﺎﻱ ﺑﺪﻥ ﺩﺳﺖ ﻣﻲﺯﻧﻨﺪ‪ .‬ﺑﺮﺍﻱ ﻭﺣﺸﻴﺎﻥ ﻭ ﺣﻴﻮﺍﻧﺎﺕ ﻧﻪ ﺩﻛﻮﺭﺍﺳﻴﻮﻥ ﻭ‬

‫ﺗﺰﺋﻴﻴﻨﻲ ﺑﻠﻜﻪ ﺁﺭﺍﻳﺶ ﺍﻫﻤﻴﺖ ﻣﻲﻳﺎﺑﺪ‪ .‬ﻭ ﻳﻚ ﻗﺎﻋﺪﻩ ﻓﺮﺍﮔﻴﺮ"ﻛﺎﺩﻭﺋﻮ‪ ۳۳‬ﻣﻲﮔﻮﻳﺪ ﻛﺴﻲ ﻛﻪ ﺁﺭﺍﻳﺶ‬

‫ﻧﻜﻨﺪ ﺍﺣﻤﻖ ﺍﺳﺖ‪(".‬‬

‫ﻣﻤﻜﻦ ﺍﺳﺖ ﺍﺷﻜﺎﻝ ﻣﻨﺰﺟﺮﻛﻨﻨﺪﻩﺍﻱ ﺭﺍ ﺑﻴﺎﺑﻴﻢ‪ :‬ﭘﻮﺷﺎﻧﺪﻥ ﺑﺪﻥ ﺑﺎ ﻟﺠﻦ‪ ،‬ﺍﺯ ﺭﻳﺨﺖ ﺍﻧﺪﺍﺧﺘﻦ‬

‫ﻛﺎﺳﻪ ﺳﺮ ﻭ ﻳﺎ ﺗﻴﺰﻛﺮﺩﻥ ﺩﻧﺪﺍﻧﻬﺎ ﺩﺭ ﻣﻜﺰﻳﻜﻮ ﺍﺯ ﺗﻐﻴﻴﺮ ﺩﺍﺩﻥ ﺷﻜﻞ ﭘﺎﻫﺎ ﺩﺭ ﭼﻴﻦ‪ ،‬ﺩﺭﺍﺯﻛﺮﺩﻥ‬

‫ﮔﺮﺩﻥ ﻭ ﻳﺎ ﺷﻜﺎﻑﺍﻧﺪﺍﺧﺘﻦ ﺑﺮ ﺻﻮﺭﺕ ﻭ ﻧﻴﺰ ﻧﻘﺎﺏﻫﺎ‪ ،‬ﻣﺎﺳﻚﻫﺎ‪ ،‬ﺧﺎﻟﻜﻮﺑﻲﻫﺎ‪ ،‬ﺟﻮﺍﻫﺮﺍﺕ‪ ،‬ﺟﺎﻣﻪﻫﺎﻱ‬

‫ﻓﺎﺧﺮ‪ ،‬ﻧﻘﺎﺷﻲﻫﺎﻱ ﺁﻳﻴﻨﻲ ﻭ ﺣﺘﻲ ﺍﻟﻨﮕﻮﻫﺎﻳﻲ ﻛﻪ ﺍﻣﺮﻭﺯ ﻧﻴﺰ ﺩﺭ ﭘﻠﻲﻧﺰﻱ ﺍﺯ ﺣﻠﺒﻲ ﻣﻲﺳﺎﺯﻧﺪ‪ .‬ﺑﺪﻥ ﺑﺎ‬

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‫ﺍﻏﻮﺍ‬

‫ﺩﻻﻟﺖﻫﺎ ﺗﺼﻨﻌﻲ ﻣﻲﺷﻮﺩ ﺍﻣﺎ ﺑﺎ ﻧﺸﺎﻧﻪﻫﺎﻳﻲ ﻛﻪ ﺳﺨﻦ ﻣﻲﮔﻮﻳﻨﺪ ﺍﻣﺎ ﻫﻴﭻ ﻣﻌﻨﺎﻳﻲ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺗﻤﺎﻣﻲ‬

‫ﻫﻤﺎﻧﻨﺪﻱﻫﺎ ﻧﺎﭘﺪﻳﺪ ﻣﻲﺷﻮﻧﺪ ﺗﻤﺎﻣﻲ ﺑﺎﺯﻧﻤﺎﻳﻲﻫﺎﻱ ﻣﻔﻘﻮﺩ ﻣﻲﺷﻮﻧﺪ‪ .‬ﺑﺪﻥ ﺑﺎ ﻧﻤﻮﺩﻫﺎ ﺗﻮﻫﻤﺎﺕ ﻭ ﺑﺎ‬

‫ﺗﻘﻠﻴﺪﻫﺎﻱ ﺣﻴﻮﺍﻧﻲ ﻭ ﻭﺍﻧﻤﺎﻳﻲﻫﺎﻱ ﻗﺮﺑﺎﻧﻲﻛﻨﻨﺪﻩ ﭘﻮﺷﺎﻧﺪﻩﻣﻲﺷﻮﺩ ﻧﻪ ﺑﺮﺍﻱ ﭘﻨﻬﺎﻥ ﻛﺮﺩﻥ ﻳﺎ ﺁﺷﻜﺎﺭ‬

‫ﻛﺮﺩﻥ )ﻣﺎﻧﻨﺪ ﺁﻧﭽﻪ ﺩﺭﺑﺎﺭﻩ ﻣﻴﻞ ﻭ ﺭﺍﻧﺶ ﻣﻲﮔﻮﻳﻴﻢ( ﻭ ﻧﻪ ﺣﺘﻲ ﺑﺮﺍﻱ ﺳﺮﮔﺮﻣﻲ )ﺑﻴﺎﻥﻫﺎﻱ‬

‫ﺑﻲﺍﺧﺘﻴﺎﺭ ﻛﻮﺩﻛﺎﻥ ﻭ ﺑﺪﻭﻱﻫﺎ( ﺁﻧﭽﻪ ﻫﺴﺖ ﺑﻜﺎﺭﮔﻴﺮﻱ ﻫﻤﺎﻥ ﺗﻌﻬﺪﻱ ﺍﺳﺖ ﻛﻪ ﺁﺭﺗﻮ ﺁﻧﺮﺍ‬

‫ﻣﺘﺎﻓﻴﺰﻳﻜﻲ ﺧﻮﺍﻧﺪﻩﺍﺳﺖ‪ :‬ﻣﺒﺎﺭﺯﻩ ﻗﺮﺑﺎﻧﻲﻛﻨﻨﺪﻩ ﺑﺎ ﺟﻬﺎﻥ ﺑﺮﺍﻱ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻦ‪ .‬ﻫﻴﭻ ﭼﻴﺰﻱ ﺑﻪ ﻃﻮﺭ‬

‫ﻃﺒﻴﻌﻲ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ ،‬ﭼﻴﺰﻫﺎ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ ﭼﺮﺍ ﻛﻪ ﻣﺒﺎﺭﺯﻩ ﻣﻲﻛﻨﻨﺪ‪ .‬ﻭ ﺑﻪﻫﻤﻴﻦﺧﺎﻃﺮ ﻣﺎ ﺭﺍ ﻓﺮﺍ‬

‫ﻣﻲﺧﻮﺍﻧﻨﺪ ﺗﺎ ﺑﻪ ﻣﺒﺎﺭﺯﻩﺷﺎﻥ ﭘﺎﺳﺦ ﺩﻫﻴﻢ‪ .‬ﻣﻮﺟﻮﺩﻱ ﻛﻪ ﻣﺒﺎﺭﺯﻩ ﻣﻲﻛﻨﺪ ﻗﺪﺭﺕ ﺟﻬﺎﻥ ﻭ ﺧﺪﺍﻳﺎﻥ ﺭﺍ‬

‫ﺑﺮﻣﻲﺍﻧﮕﻴﺰﺍﻧﺪ ﺑﺎ ﻣﺒﺎﺭﺯﻩ ﺍﻳﻦ ﻗﺪﺭﺗﻬﺎﺳﺖ ﻛﻪ ﺁﻧﻬﺎ ﻧﺎﺑﻮﺩﺷﺪﻩ ﺍﻏﻮﺍ ﮔﺸﺘﻪ ﻭ ﺗﺴﺨﻴﺮ ﻣﻲﮔﺮﺩﻧﺪ‪ .‬ﺑﺎ‬

‫ﻣﺒﺎﺭﺯﻩ ﺍﺳﺖ ﻛﻪ ﺑﺎﺯﻱ ﻭ ﻗﻮﺍﻋﺪﺵ ﺍﺣﻴﺎ ﻣﻲﺷﻮﻧﺪ‪ .‬ﺗﻤﺎﻣﻲ ﺍﻳﻦ ﺍﻣﻮﺭ‪ ،‬ﺍﻟﺰﺍﻣﺎﺕ ﺑﻠﻮﻓﻲ ﺗﺼﻨﻌﻲ ﺍﺳﺖ‬

‫ﻛﻪ ﺑﺎﻳﺪ ﮔﻔﺖ‪ ،‬ﻭﺍﻧﻤﺎﻳﻲ ﺭﻭﺵﻣﻨﺪ ﺍﺳﺖ ﻛﻪ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻫﻴﭻﻳﻚ ﺍﺯ ﺑﻨﻴﺎﺩﻫﺎﻱ ﺗﺄﺳﻴﺲ ﺷﺪﻩ ﺍﺯ‬

‫ﺟﻬﺎﻥ ﻭ ﺁﻧﺎﺗﻮﻣﻲﻫﺎﻱ ﺑﺪﻥ ﺍﺳﻴﺮ ﻧﻤﻲﻛﻨﺪ‪ .‬ﻣﺘﺎﻓﻴﺰﻳﻚ ﺑﻨﻴﺎﺩﻳﻦ ﻭﺍﻧﻤﺎﻳﻲ ﺣﺘﻲ ﻧﻴﺎﺯﻱ ﺑﻪ ﺍﺭﺗﺒﺎﻁ ﺑﺎ‬

‫ﻫﺎﺭﻣﻮﻧﻲ ﺍﻣﺮ ﻃﺒﻴﻌﻲ ﻧﺪﺍﺭﺩ‪ .‬ﺩﺭ ﻧﻘﺎﺷﻲﻫﺎﻱ ﺻﻮﺭﺕ ﻛﺎﺩﻭﺋﻮ‪ ،‬ﺳﻴﻤﺎ ﭼﻬﺮﻩﻫﺎ ﭼﻨﺪﺍﻥ ﻣﺸﺨﺺ‬

‫ﻧﻴﺴﺘﻨﺪ ﺷﻜﻞﻫﺎﻱ ﻫﻨﺪﺳﻲ ﻭ ﺗﻘﺎﺭﻥﻫﺎ ﺍﺯ ﭼﻬﺮﻩﺍﻱ ﺑﻪ ﭼﻬﺮﻩ ﺩﻳﮕﺮ ﮔﺬﺭ ﻣﻲﻛﻨﻨﺪ‪) .‬ﺩﺭ ﻋﻮﺽ ﻣﺎ‬

‫ﺑﺮﺍﻱ ﺍﺭﺍﺋﻪ ﺑﺪﻥ ﻫﻤﭽﻮﻥ ﻳﻚ ﻧﻈﺎﻡ ﺍﺭﺟﺎﻋﻲ ﺑﺮ ﺭﻳﺨﺖﻫﺎ ﻭ ﺳﺎﻳﻪ ﺭﻭﺷﻦ ﻫﺎ ﺗﺄﻛﻴﺪ ﻣﻲﻛﻨﻴﻢ‪ .‬ﺍﻣﺎ ﺁﻳﺎ‬

‫ﺍﻳﻦ ﻣﻌﻨﻲ ﺑﺪﺍﻥ ﻣﻌﻨﺎ ﻧﻴﺴﺖ ﻛﻪ ﺑﺪﻥ ﻣﺎ ﻛﺎﻣﻼً ﻣﺤﺼﻮﺭ ﺩﺭ ﻃﺒﻴﻌﺖ ﻳﺎ ﻣﻴﻞ ﮔﺸﺘﻪﺍﺳﺖ؟ ﻫﻴﭻ‬

‫ﭼﻴﺰ ﺍﺯ ﺍﻳﻦ ﻭﺍﺿﺢﺗﺮ ﻧﻴﺴﺖ(‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﭼﻴﺰﻱ ﺍﺯ ﺍﻳﻦ ﻣﺘﺎﻓﻴﺰﻳﻚ ﺑﻨﻴﺎﺩﻳﻦ ﻧﻤﻮﺩ‪ ،‬ﺍﻳﻦ ﻣﺒﺎﺭﺯﻩ ﺑﺎ ﻭﺍﻧﻤﺎﻳﻲ ﻫﻨﻮﺯ ﺩﺭ ﻫﻨﺮﻫﺎﻱ ﺁﺭﺍﻳﺸﻲ ﻭ‬

‫ﺟﺬﺍﺑﻴﺖﻫﺎﻱ ﻣﺪﻫﺎﻱ ﻣﺪﺭﻥ ﺑﺎﻗﻲ ﻣﺎﻧﺪﻩﺍﺳﺖ‪ .‬ﭘﺪﺭﺍﻥ ﻛﻠﻴﺴﺎ ﺍﺯ ﺍﻳﻦ ﺍﻣﺮ ﺑﻪ ﺧﻮﺑﻲ ﺁﮔﺎﻩﺍﻧﺪ ﻭ ﺁﻥ ﺭﺍ‬

‫ﭼﻮﻥ ﺍﻣﺮﻱ ﺷﻴﻄﺎﻧﻲ ﺗﻘﺒﻴﺢ ﻣﻲﻛﻨﻨﺪ‪" .‬ﻣﻮﺍﻇﺐ ﺑﺎﺷﻴﺪ ﻛﻪ ﺗﻮﺟﻪ ﻣﻔﺮﻁ ﺑﻪ ﺑﺪﻥ ﺑﺎﺷﻴﺪ ﺭﻧﮓﻛﺮﺩﻥ‬

‫ﺁﻥ ﻫﻤﭽﺸﻤﻲ ﺑﺎ ﺧﺪﺍ ﻭ ﻧﺰﺍﻉ ﺑﺎ ﺁﻓﺮﻳﻨﺶ ﺍﻭﺳﺖ‪ ".‬ﺍﻳﻦ ﺑﺪﮔﻮﻳﻲ ﺗﺎ ﺍﻳﻦ ﺯﻣﺎﻥ ﺍﺩﺍﻣﻪﻳﺎﻓﺘﻪ ﺍﻣﺎ ﺣﺎﻻ‬

‫ﺩﺭ ﻣﺬﺍﻫﺐ ﺩﻳﮕﺮﻱ ﻧﻴﺰ ﻣﻨﻌﻜﺲ ﺷﺪﻩﺍﺳﺖ ﻣﺬﺍﻫﺒﻲ ﭼﻮﻥ ﺁﺯﺍﺩﺳﺎﺯﻱ ﺳﻮﮊﻩ ﻭ ﺍﻣﻴﺎﻝ ﺟﻮﻫﺮﻱﺍﺵ‪.‬‬

‫ﺍﺧﻼﻗﻴﺎﺕ ﻣﺎ ﺳﺎﺧﺘﺎﺭ ﺯﻧﺎﻧﻪ ﺭﺍ ﭼﻮﻥ ﺍﺑﮋﻩ ﺳﻜﺲ ﺑﺎ ﻫﻨﺮﻫﺎﻱ ﺁﺭﺍﻳﺶ ﺑﺪﻥ ﻭ ﺻﻮﺭﺕ ﻣﺤﻜﻮﻡ‬

‫ﻣﻲﻛﻨﺪ‪ .‬ﺗﻘﺒﻴﺢ ﺯﻧﺎﻧﮕﻲ ﺩﻳﮕﺮ ﻧﻪ ﺗﻨﻬﺎ ﺑﺎ ﺩﺍﻭﺭﻱ ﺍﻟﻬﻲ ﺑﻠﻜﻪ ﺑﺎ ﺩﻳﻜﺘﻪﻛﺮﺩﻥ ﺍﻳﺪﺋﻮﻟﻮﮊﻱ ﻣﺪﺭﻥ ﺑﺎ‬

‫ﻓﺎﺣﺸﻪﻛﺮﺩﻥ ﺯﻧﺎﻧﮕﻲ ﺩﺭ ﻓﺮﻫﻨﮓ ﻣﺼﺮﻓﻲ ﻭ ﻫﺪﻑ ﻗﺮﺍﺭﺩﺍﺩﻥ ﺑﺪﻧﻬﺎﻳﺸﺎﻥ ﺑﺮﺍﻱ ﺑﺎﺯﺗﻮﻟﻴﺪ ﺳﺮﻣﺎﻳﻪ ﺑﻪ‬

‫ﺍﻧﺠﺎﻡ ﻣﻲﺭﺳﺪ‪" .‬ﺯﻧﺎﻧﮕﻲ ﻣﻮﺟﻮﺩﻳﺖ ﺑﻴﮕﺎﻧﻪ ﺯﻥ ﺍﺳﺖ‪ ".‬ﺯﻧﺎﻧﮕﻲ ﺧﻮﺩ ﺭﺍ ﭼﻮﻥ ﻛﻠﻴﺘﻲ ﺍﻧﺘﺰﺍﻋﻲ‬

‫ﺑﺎﺯﻧﻤﻮﺩ ﻣﻲﻛﻨﺪ‪ .‬ﻋﺎﺭﻱ ﺍﺯ ﻫﺮ ﻭﺍﻗﻌﻴﺘﻲ ﻛﻪ ﺑﺘﻮﺍﻧﺪ ﺑﻪ ﺧﻮﺩ ﻧﺴﺒﺖ ﺩﻫﺪ‪ .‬ﻣﺤﺼﻮﻝ ﮔﻔﺘﻤﺎﻥ ﻭ ﺑﻼﻏﺖ‬

‫ﺗﺒﻠﻴﻐﺎﺕ‪ " .‬ﺯﻧﻲ ﭘﻮﺷﻴﺪﻩ ﺩﺭ ﻧﻘﺎﺏﻫﺎﻱ ﺯﻳﺒﺎﻳﻲ ﺑﺎ ﻟﺒﺎﻧﻲ ﻫﻤﻴﺸﻪ ﺁﺭﺍﻳﺶﺷﺪﻩ ﺩﻳﮕﺮ ﺯﻧﺪﮔﻲ‬

‫ﻭﺍﻗﻌﻲﺍﺵ ﺭﺍ ﻧﻤﻲﻛﻨﺪ‪ ".‬ﻭ ﻏﻴﺮﻩ ﻭ ﻏﻴﺮﻩ‪.‬‬

‫ﺩﺭ ﺑﺮﺍﺑﺮ ﺗﻤﺎﻣﻲ ﺍﻳﻦ ﮔﻔﺘﺎﺭﻫﺎﻱ ﭘﺎﺭﺳﺎﻳﺎﻧﻪ ﺑﺎﻳﺪ ﺍﺑﮋﻩ ﺟﻨﺴﻲ ﺭﺍ ﺍﺯ ﻧﻮ ﺳﺘﺎﻳﺶ ﻧﻤﺎﻳﻴﻢ ﺑﻪ ﺧﺎﻃﺮ‬

‫ﺩﻟﻔﺮﻳﺒﻲ ﻧﻤﻮﺩﻫﺎﻳﺶ‪ ،‬ﻛﻪ ﭼﻴﺰﻱ ﺍﺯ ﻣﺒﺎﺭﺯﻩ ﺑﺎ ﺳﺎﻣﺎﻧﻬﺎﻱ ﺳﺎﺩﻩ ﺟﻬﺎﻥ ﻭ ﺳﻜﺲ ﺭﺍ ﺩﺭ ﺧﻮﺩ ﺩﺍﺭﺩ ﻭ‬

‫ﺁﻥ ﻭ ﺗﻨﻬﺎ ﺍﻥ ﻣﻲﺗﻮﺍﻧﺪ ﺍﺯ ﻗﻠﻤﺮﻭ ﺗﻮﻟﻴﺪ ﺑﮕﺮﻳﺰﺩ ﻭ ﺑﻪ ﺍﻏﻮﺍﮔﺮﻱ ﺑﺎﺯﮔﺮﺩﺩ )ﺍﮔﺮﭼﻪ ﻓﺮﺩ ﻣﻤﻜﻦ ﺍﺳﺖ‬

‫ﺑﺨﻮﺍﻫﺪ ﺳﻮﮊﻩ ﺗﻮﻟﻴﺪ ﺷﻮﺩ( ﺩﺭ ﻧﺎﻭﺍﻗﻌﻴﺘﺶ‪ ،‬ﺩﺭ ﻣﺒﺎﺭﺯﻩﻃﻠﺒﻲ ﻏﻴﺮ ﻭﺍﻗﻌﻲ ﻓﺤﺸﺎﻱ ﻧﺸﺎﻧﻪﻫﺎﻳﺶ‪ ،‬ﺍﺑﮋﻩ‬

‫ﺟﻨﺴﻲ ﺍﺯ ﺟﻨﺴﻴﺖ ﻓﺮﺍﺗﺮ ﻣﻲﺭﻭﺩ ﻭ ﺑﻪ ﺍﻏﻮﺍ ﺩﺳﺖﻣﻲﻳﺎﺑﺪ‪ .‬ﺩﻭﺑﺎﺭﻩ ﺁﻳﻴﻨﻲ ﻣﻲﺷﻮﺩ‪ -.‬ﺯﻧﺎﻧﮕﻲ‬

‫ﻫﻤﻴﺸﻪ ﺗﻤﺜﺎﻟﻲ ﺍﺯ ﺍﻳﻦ ﺁﻳﻴﻦﻫﺎ ﺑﻮﺩﻩﺍﺳﺖ ﻭ ﻫﻤﻴﺸﻪ ﻫﻢ ﺁﺷﻔﺘﮕﻲ ﻭﺣﺸﺘﻨﺎﻛﻲ ﺩﺭ ﻣﺒﺪﻝ ﻛﺮﺩﻥ ﺍﻭ‬

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‫ﺍﻏﻮﺍ‬

‫ﺍﺯ ﺍﺑﮋﻩ ﺁﻳﻴﻦﻫﺎ ﺑﻪ ﺳﻮﮊﻩ ﺗﻮﻟﻴﺪ ﺍﻳﺠﺎﺩ ﻣﻲﮔﺮﺩﺩ ﻭ ﻳﺎ ﺩﺭ ﺭﻫﺎﻛﺮﺩﻥ ﻭﻱ ﺍﺯ ﺗﺼﻨﻌﺎﺗﺶ ﺑﺮﺍﻱ‬

‫ﺑﺎﺯﮔﺮﺩﺍﻧﺪﻥ ﺍﻭ ﺑﻪ ﺍﻣﻴﺎﻝ ﻃﺒﻴﻌﻲﺍﺵ‪:‬‬

‫"ﺯﻥ ﺣﻘﻮﻕ ﺧﻮﺩ ﺭﺍ ﺧﻮﺏ ﻣﻲﺷﻨﺎﺳﻨﺪ ﻭ ﺑﺮﺍﺳﺘﻲ ﺍﺳﺘﺎﺩﻱ ﺩﺭ ﻇﻮﺍﻫﺮ ﺟﺎﻭﺩﻳﻲ ﻭ‬

‫ﻏﻴﺮﻃﺒﻴﻌﻲ ﺷﻜﻞ ﻳﻚ ﻭﻇﻴﻔﻪ ﺭﺍ ﺑﺮﺍﻱ ﺍﻭ ﺑﻪ ﺧﻮﺩ ﮔﺮﻓﺘﻪﺍﺳﺖ‪ .‬ﻻﺯﻡ ﺍﺳﺖ ﻛﻪ ﭼﻮﻥ ﻳﻚ ﺑﺖ‬
‫ﺑﻔﺮﻳﺒﺪ ﻭ ﺍﻓﺴﻮﻥ ﻧﻤﺎﻳﺪ‪ .‬ﺍﻭ ﺑﺎﻳﺪ ﺯﺭﺍﻧﺪﻭﺩ ﮔﺮﺩﺩ ﻭ ﭘﺮﺳﺘﻴﺪﻩﺷﻮﺩ‪ .‬ﺑﻪ ﻫﻤﻴﻦﺳﺒﺐ ﺑﺎﻳﺪ ﺍﺯ‬
‫ﺗﻤﺎﻣﻲ ﻫﻨﺮﻫﺎ ﭼﻮﻥ ﺍﺑﺰﺍﺭﻱ ﺑﺮﺍﻱ ﺗﺮﻓﻴﻊ ﺧﻮﻳﺶ ﺭﺍ ﺑﺮ ﻃﺒﻴﻌﺖ ﺑﻬﺮﻩﺑﺮﺩ ﺗﺎ ﺑﻬﺘﺮ ﺭﻭﺡ ﺭﺍ‬
‫ﻣﻨﻜﻮﺏ ﺧﻮﺩ ﻛﻨﺪ ﻭ ﻗﻠﺒﻬﺎ ﺭﺍ ﺑﻪ ﺗﭙﺶ ﻭﺍﺩﺍﺭﺩ‪ .‬ﭼﻨﺪﺍﻥ ﻫﻢ ﺍﻫﻤﻴﺘﻲ ﻧﺪﺍﺭﺩ ﻛﻪ ﺧﺪﻋﻪ ﻭ‬
‫ﺗﺼﻨﻊ ﺍﻭ ﺑﺮ ﻫﻤﮕﺎﻥ ﺁﺷﻜﺎﺭ ﺷﻮﺩ ﭼﺮﺍ ﻛﻪ ﻣﻮﻓﻘﻴﺘﺶ ﺣﺘﻤﻲ ﻭ ﺗﺄﺛﻴﺮﺵ ﻫﻤﻴﺸﻪ‬
‫ﺍﺟﺘﻨﺎﺏﻧﺎﭘﺬﻳﺮ ﺍﺳﺖ‪ .‬ﭼﻨﻴﻦ ﻣﻼﺣﻈﺎﺗﻲ ﻓﻴﻠﺴﻮﻓﻲ‪ -‬ﻫﻨﺮﻣﻨﺪ ﻻﺯﻡ ﺍﺳﺖ ﺗﺎ ﺑﺮ ﺗﻤﺎﻣﻲ‬
‫ﺍﻋﻤﺎﻟﻲ ﻛﻪ ﺗﻮﺳﻂ ﺯﻧﺎﻥ ﺩﺭ ﻫﺮ ﺩﻭﺭﻩ ﺑﻜﺎﺭﻣﻲﺭﻭﺩ ﺗﻌﻤﻖ ﻧﻤﺎﻳﺪ ﻭ ﺑﻪ ﻣﺎﻫﻴﺖ ﺳﺨﻨﻬﺎ ﻭ‬
‫ﺍﻟﻮﻫﻴﺖ ﺯﻳﺒﺎﻳﻲ ﻟﻄﻴﻔﺸﺎﻥ ﭘﻲﺑﺮﺩ‪.‬‬
‫ﺳﺮﺷﻤﺎﺭﻱ ﺗﻚﺗﻚ ﺍﻳﻦ ﺍﻋﻤﺎﻝ ﺗﻤﺎﻡﻧﺸﺪﻧﻲ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺁﻧﭽﻪ ﻛﻪ ﻣﻌﺎﺻﺮﻳﻦ‬
‫ﻋﻮﺍﻡ "ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻟﻮﺍﺯﻡ ﺁﺭﺍﻳﺶ" ﻣﻲﺧﻮﺍﻧﻨﺪ ﻣﺤﺪﻭﺩ ﻣﻲﻛﻨﻴﻢ‪ .‬ﻛﻴﺴﺖ ﻛﻪ ﻧﺘﻮﺍﻧﺪ ﺑﺒﻴﻨﺪ‬
‫ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﭘﻮﺩﺭﻫﺎ )ﻛﻪ ﻫﻤﻴﺸﻪ ﻫﻢ ﻓﻴﻠﺴﻮﻑﻫﺎﻱ ﻣﺎ ﺑﻪ ﻃﺮﺯ ﺍﺣﻤﻘﺎﻧﻪﺍﻱ ﺁﻥ ﺭﺍ ﻟﻌﻦ‬
‫ﻛﺮﺩﻩﺍﻧﺪ( ﻫﺪﻓﻲ ﺩﺍﺭﺩ ﻭ ﻧﺘﻴﺠﻪﺍﺵ ﺩﻭﺭ ﻛﺮﺩﻥ ﺯﺭﺩﻱ ﻭ ﻟﻜﻪﻫﺎﻳﻲ ﺍﺳﺖ ﻛﻪ ﻃﺒﻴﻌﺖ ﺷﻠﺨﺘﻪ‬
‫ﺗﺤﻤﻴﻞ ﻛﺮﺩﻩ ﻭ ﻣﺒﺪﻝﻛﺮﺩﻥ ﺁﻥ ﺑﻪ ﻭﺣﺪﺗﻲ ﺍﻧﺘﺰﺍﻋﻲ ﺍﺯ ﺑﺎﻓﺖ ﻭ ﺭﻧﮓ ﻭ ﭘﻮﺳﺖ ﺍﺳﺖ ﻣﺎﻧﻨﺪ‬
‫ﻳﮕﺎﻧﮕﻲ ﻛﻪ ﺗﻮﺳﻂ ﺗﻴﺸﻪ ﭘﻴﻜﺮﺗﺮﺍﺵ ﺗﻮﻟﻴﺪ ﻣﻲﺷﻮﺩ ﻭ ﻭﺟﻮﺩ ﺍﻧﺴﺎﻧﻲ ﺭﺍ ﺑﻪ ﺗﻤﺜﺎﻝﻫﺎ ﻧﺰﺩﻳﻜﺘﺮ‬
‫ﻣﻲﺳﺎﺯﺩ ﻭ ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ ﺑﻪ ﻭﺟﻮﺩﻱ ﺍﻟﻬﻲ ﻭ ﻣﺎﻓﻮﻕ ﻃﺒﻴﻌﺖ؟ ﺧﻂﻫﺎﻱ ﺳﻴﺎﻩ ﺩﻭﺭ ﭼﺸﻢ‬
‫ﻭ ﺳﺮﺧﺎﺏﻫﺎﻳﻲ ﻛﻪ ﻗﺴﻤﺘﻬﺎﻱ ﺑﺎﻻﻳﻲ ﮔﻮﻧﻪ ﺭﺍ ﺟﻠﻮﻩ ﻣﻲﺩﻫﻨﺪ ﻧﺘﻴﺠﻪ ﺗﻤﺎﻣﻲ ﺍﻳﻨﻬﺎ‪ -‬ﺍﮔﺮ ﭼﻪ‬
‫ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺁﻧﻬﺎ ﺍﺯ ﺍﺻﻞ ﺳﺎﺩﻩ ﻧﻴﺎﺯ ﺑﻪ ﻓﺮﺍﺭﻭﻱ ﺍﺯ ﻃﺒﻴﻌﺖ ﻣﺎﻳﻪ ﻣﻲﮔﻴﺮﺩ‪ -‬ﺭﺍﺿﻲﻧﻤﻮﺩﻥ‬
‫ﻧﻴﺎﺯﻱ ﻭﺍﺭﻭﻧﻪ ﺍﺳﺖ‪ .‬ﺳﺮﺧﻲ ﻭ ﺳﻴﺎﻫﻲ ﻧﻤﺎﻳﺸﮕﺮ ﺯﻧﺪﮔﻲﺍﻧﺪ‪ -‬ﺯﻧﺪﮔﻲ ﻛﻪ ﺍﺯ ﻃﺒﻴﻌﺖ ﭘﻴﺸﻲ‬
‫ﻣﻲﮔﻴﺮﺩ‪ .‬ﻗﺎﺏ ﺳﻴﺎﻩ ﺩﻭﺭ ﭼﺸﻢ ﻧﮕﺎﻩ ﺭﺍ ﻏﺮﻳﺐﺗﺮ ﻭ ﻧﺎﻓﺬﺗﺮ ﻣﻲﻛﻨﺪ‪ ،‬ﭼﺸﻢ ﺭﺍ ﭼﻮﻧﺎﻥ‬
‫ﭘﻨﺠﺮﻩﺍﻱ ﺟﻠﻮﻩﻣﻲﺩﻫﺪ ﻛﻪ ﮔﻮﻳﻲ ﺑﻪ ﺭﻭﻱ ﺳﺮﻣﺪﻳﺖ ﺑﺎﺯﺷﺪﻩﺍﺳﺖ‪ .‬ﺷﻌﻠﻪﻫﺎﻱ ﺳﺮﺥ ﮔﻮﻧﻪ ﺑﺮ‬
‫ﺩﺭﺧﺸﺶ ﭼﺸﻢﻫﺎ ﻣﻲﺍﻓﺰﺍﻳﻨﺪ ﺻﻮﺭﺕ ﺩﻟﭙﺬﻳﺮ ﺯﻥ ﺭﺍ ﺑﻪ ﻫﻮﺳﻬﺎﻱ ﺍﺳﺮﺍﺭﺁﻣﻴﺰ ﻳﻚ ﻛﺎﻫﻨﻪ‬
‫ﻣﺎﻧﻨﺪ ﻣﻲﻛﻨﺪ‪".‬‬
‫ﭼﺎﺭﻟﺰ ﺑﻮﺩﻟﺮ ‪ ۳۴‬ﺩﺭ ﺳﺘﺎﻳﺶ ﺁﺭﺍﻳﺶ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺍﮔﺮ ﻣﻴﻞ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ‪ -‬ﻓﺮﺽ ﻣﺪﺭﻧﻴﺘﻪ‪ -‬ﭘﺲ ﻫﻴﭻ ﭼﻴﺰﻱ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺑﺮ ﻫﺎﺭﻣﻮﻧﻲ ﻃﺒﻴﻌﻲﺍﺵ‬

‫ﭼﻴﺮﻩﮔﺮﺩﺩ ﻭ ﺁﺭﺍﻳﺶﻫﺎ ﺭﻳﺎﻛﺎﺭﺍﻧﻪﺍﻧﺪ‪ .‬ﺍﻣﺎ ﺍﮔﺮ ﻣﻴﻞ ﺍﺳﻄﻮﺭﻩ ﺍﺳﺖ‪ -‬ﻓﺮﺽ ﺍﻏﻮﺍﮔﺮﻱ‪ -‬ﭘﺲ ﻫﻴﭻ ﭼﻴﺰ‬

‫ﻧﻤﻲﺗﻮﺍﻧﺪ ﺑﺎ ﻣﺤﺪﻭﺩﻳﺘﻬﺎﻱ ﻃﺒﻴﻌﻲ‪ ،‬ﻣﺎﻧﻊ ﺑﻬﺮﻩﮔﻴﺮﻱ ﺁﻥ ﺍﺯ ﻧﺸﺎﻧﻪﻫﺎ ﺷﻮﺩ‪ .‬ﻗﺪﺭﺕ ﻧﺸﺎﻧﻪﻫﺎ ﺩﺭ ﻧﻤﻮﺩ‬

‫ﻭ ﻧﺎﭘﺪﻳﺪﻱﺷﺎﻥ ﻧﻬﻔﺘﻪ ﺍﺳﺖ ﻛﻪ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ ﭼﻄﻮﺭ ﺟﻬﺎﻥ ﺭﺍ ﻣﺤﻮ ﻣﻲﺳﺎﺯﻧﺪ‪ .‬ﺁﺭﺍﻳﺶﻫﺎ ﺍﺑﺰﺍﺭ‬

‫ﺳﺘﺮﺩﻥ ﺻﻮﺭﺕﺍﻧﺪ‪ .‬ﺳﺘﺮﺩﻥ ﭼﺸﻢﻫﺎ ﺩﺭ ﭘﺸﺖ ﭼﺸﻢﻫﺎﻳﻲ ﺯﻳﺒﺎ ﻧﺎﺑﻮﺩﻱ ﮔﻮﻧﻪﻫﺎ ﺩﺭ ﭘﺸﺖ‬

‫ﮔﻮﻧﻪﻫﺎﻳﻲ ﭘﺮ ﺷﻜﻮﻩ‪ .‬ﺍﻳﻦ ﻭﺣﺪﺕ ﺍﻧﺘﺰﺍﻋﻲ ﻭﺟﻮﺩ ﺍﻧﺴﺎﻧﻲ ﺭﺍ ﺑﻪ ﻭﺟﻮﺩ ﻳﺰﺩﺍﻧﻲ ﻧﺰﺩﻳﻚﺗﺮ ﻣﻲﺳﺎﺯﺩ‪.‬‬

‫ﺍﻳﻦ "ﺯﻧﺪﮔﻲ ﭘﻴﺸﻲ ﮔﺮﻓﺘﻪ ﺍﺯ ﻃﺒﻴﻌﺖ" ﻛﻪ ﺑﻮﺩﻟﺮ ﺍﺯ ﺁﻥ ﺳﺨﻦ ﻣﻲﺭﺍﻧﺪ ﻧﺘﻴﺠﻪ ﺿﺮﺑﺘﻲ ﺗﺼﻨﻌﻲ‬

‫ﺳﺎﺩﻩﺍﻱ ﺍﺳﺖ ﻛﻪ ﺗﻤﺎﻣﻲ ﺳﻴﻤﺎﻫﺎ ﺭﺍ ﻣﻨﻜﻮﺏ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻣﺮ ﺗﺼﻨﻌﻲ‪ ،‬ﺳﻮﮊﻩ ﺭﺍ ﺑﻴﮕﺎﻧﻪ ﻧﻤﻲﺳﺎﺯﺩ ﺑﻠﻜﻪ‬

‫ﺑﻪ ﻃﺮﺯ ﺍﺳﺮﺍﺭ ﺍﻣﻴﺰﻱ ﺍﻭ )ﻣﺮﺩ ﻳﺎ ﺯﻥ( ﺭﺍ ﺗﻐﻴﻴﺮ ﻣﻲﺩﻫﺪ‪ .‬ﺯﻧﺎﻥ ﺁﻥ ﻫﻨﮕﺎﻡ ﻛﻪ ﺟﻠﻮﻱ ﺁﻳﻨﻪ ﻗﺮﺍﺭ‬

‫ﻣﻲﮔﻴﺮﻧﺪ ﺍﺯ ﺍﻳﻦ ﺩﮔﺮﺳﺎﺯﻱ ﺁﮔﺎﻩﺍﻧﺪ ﺁﻧﻬﺎ ﺑﺎﻳﺪ ﺧﻮﺩ ﺭﺍ ﻣﺤﻮ ﻛﻨﻨﺪ ﺗﺎ ﭼﻴﺰﻱ ﺳﺎﺧﺘﮕﻲ ﺑﺮﺁﻭﺭﻧﺪ‪ .‬ﻭ‬

‫ﺑﺎ ﺍﻳﻦ ﺻﻮﺭﺕ ﺳﺎﺧﺘﮕﻲ ﺁﻧﻬﺎ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻧﻤﻮﺩ ﻣﺤﺾ ﻋﺎﺭﻱ ﺍﺯ ﻣﻌﻨﺎ ﻣﺒﺪﻝ ﻣﻲﻛﻨﻨﺪ‪ .‬ﭼﻪ ﻛﺴﻲ‬

‫ﻣﻲﺗﻮﺍﻧﺪ ﺑﻪ ﺍﻳﻦ ﻓﺮﺍﺭﻭﻱ ﺍﺯ ﻃﺒﻴﻌﺖ ﻋﻨﻮﺍﻥ ﻋﻮﺍﻣﺎﻧﻪ ﭘﻨﻬﺎﻥﻛﺮﺩﻥ ﺣﻘﻴﻘﺖ ﺭﺍ ﺑﺪﻫﺪ؟ ﺗﻨﻬﺎ ﻛﺬﺏﻫﺎ ﻭ‬

‫ﻧﺎﺩﺭﺳﺘﻲﻫﺎ ﻣﻲﺗﻮﺍﻧﻨﺪ ﺣﻘﻴﻘﺖ ﺭﺍ ﺑﻴﮕﺎﻧﻪ ﻧﻤﺎﻳﻨﺪ ﺍﻣﺎ ﺍﻣﺮ ﺳﺎﺧﺘﮕﻲ ﻧﺎﺩﺭﺳﺖ ﻧﻴﺴﺖ ﻭ ﻳﺎ )ﻣﺎﻧﻨﺪ‬

‫ﺑﺎﺯﻱ ﺗﺮﻧﺴﻮﺳﺘﻴﺴﺖﻫﺎ( ﻧﺎﺩﺭﺳﺘﺘﺮ ﺍﺯ ﻧﺎﺩﺭﺳﺖ ﺍﺳﺖ ﻛﻪ ﻛﻪ ﻧﻮﻋﻲ ﻣﻌﺼﻮﻣﻴﺖ ﻳﺎ ﺷﻔﺎﻑﻧﻤﺎﻳﻲ ﺑﺮﺗﺮ‬

‫ﺭﺍ ﺑﻪ ﺩﺳﺖ ﻣﻲﺁﻭﺭﻧﺪ‪ .‬ﺁﺭﺍﻳﺶ ﺗﻤﺎﻣﻲ ﺳﻴﻤﺎﻫﺎ ﺭﺍ ﺟﺬﺏ ﺳﻄﺢ ﺧﻮﺩ ﻣﻲﻧﻤﺎﻳﺪ ﺑﻲﺁﻧﻜﻪ ﺭﺩﻱ ﺍﺯ‬

‫ﺧﻮﻥ ﻳﺎ ﻣﻌﻨﺎ ﺑﺎﻗﻲ ﮔﺬﺍﺭﺩ‪ .‬ﻣﺸﺨﺼﺎً ﺍﻭ ﺩﺍﺭﺩ ﻣﺒﺎﺭﺯﻩﻣﻲﻛﻨﺪ ﻣﺒﺎﺭﺯﻩﺍﻱ ﺑﻲﺭﺣﻤﺎﻧﻪ ﺍﻣﺎ ﭼﻪ ﻛﺴﻲ‬

‫ﺑﻴﮕﺎﻧﻪ ﻣﻲﺷﻮﺩ؟ ﺗﻨﻬﺎ ﻛﺴﺎﻧﻲ ﻛﻪ ﻧﻤﻲﺗﻮﺍﻧﻨﺪ ﭼﻨﻴﻦ ﻛﻤﺎﻝ ﺑﻲﺭﺣﻤﺎﻧﻪﺍﻱ ﺭﺍ ﺗﺎﺏ ﺁﻭﺭﻧﺪ ﻭ‬

‫ﻧﻤﻲﺗﻮﺍﻧﻨﺪ ﺍﺯ ﺧﻮﺩ ﺟﺰ ﺑﺎ ﻋﻘﺐﺯﻧﻲﻫﺎﻱ ﺍﺧﻼﻗﻲ ﺩﻓﺎﻉ ﻧﻤﺎﻳﻨﺪ‪ .‬ﻭ ﺁﻧﻬﺎ ﺩﺭ ﺍﺷﺘﺒﺎﻩﺍﻧﺪ‪.‬‬

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‫ﺍﻏﻮﺍ‬

‫ﭼﮕﻮﻧﻪ ﻣﻲﺗﻮﺍﻥ ﺑﻪ ﻧﻤﻮﺩ ﻣﺤﺾ ﭘﺎﺳﺦ ﮔﻔﺖ‪ ،‬ﺧﻮﺍﻩ ﺳﺎﻛﻦ ﻳﺎ ﭘﻮﻳﺎ‪ ،‬ﺍﮔﺮ ﺍﻭﻝ ﺍﻗﺘﺪﺍﺭ ﺁﻧﺮﺍ‬

‫ﺗﺸﺨﻴﺺ ﻧﺪﻫﻴﻢ؟ ﺑﺎ ﺧﻴﺰﺵ ﺍﺯ ﺍﻣﺮ ﺳﺎﺧﺘﮕﻲ ﭘﺮﺩﻩﺩﺭﻱ ﺍﺯ ﻧﻘﺎﺏﻫﺎﻱ ﻳﺎ ﺍﻣﺮ ﺑﻪ ﻧﺎﺑﻮﺩ ﻛﺮﺩﻥ‬

‫ﻧﻤﻮﺩﻫﺎ؟ ﭼﻘﺪﺭ ﻣﻀﺤﻚ! ﺍﺗﻮﭘﻴﺎﻳﻲ ﺍﺯ ﻳﻚ ﺑﺖﺷﻜﻦ‪ .‬ﻫﻴﭻ ﺧﺪﺍﻳﻲ ﻭ ﻫﻴﭻ ﭼﻴﺰ ﺩﻳﮕﺮﻱ ﺩﺭ ﭘﺸﺖ‬

‫ﺍﻳﻦ ﺗﺼﺎﻭﻳﺮ ﻧﻴﺴﺖ ﺁﻧﻬﺎ )ﺧﺪﺍﻳﺎﻥ ﻭ ﺍﻣﻮﺭ ﭘﻨﻬﺎﻥ( ﻧﻤﻲﺗﻮﺍﻧﻨﺪ ﭘﻨﻬﺎﻥ ﺷﻮﻧﺪ ﻣﮕﺮ ﺁﻧﻜﻪ ﻳﻚ ﺭﺍﺯ ﺑﺎﻗﻲ‬

‫ﺑﻤﺎﻧﻨﺪ‪ .‬ﺍﻏﻮﺍ‪ ،‬ﺍﻓﺴﻮﻥ ﻭ ﺟﺎﺫﺑﻪ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﻲ ﺗﻤﺎﻣﻲ ﺍﻧﮕﺎﺷﺖﻫﺎﻱ ﺑﺰﺭﮒ ﺩﺭ ﻫﻤﻴﻦ ﺍﻣﺮ ﻧﻬﻔﺘﻪ‬

‫ﺍﺳﺖ‪ :‬ﺩﺭ ﺯﺩﻭﺩﻥ ﻫﺮ ﻧﻤﺎﻳﻲ ﻛﻪ ﻫﻤﺎﻥ ﭼﻬﺮﻩ ﺍﺳﺖ ﻭ ﻫﺮ ﻣﺎﻫﻴﺘﻲ ﻛﻪ ﻫﻤﺎﻡ ﻣﻴﻞ ﺍﺳﺖ ﺩﺭ ﻛﻤﺎﻝ‬

‫ﺗﺼﻨﻌﻲ ﻧﺸﺎﻧﻪ‪.‬‬

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‫ﺑﻲﺷﻚ‪ ،‬ﺑﻬﺘﺮﻳﻦ ﻣﺜﺎﻝ ﺭﺍ ﻣﻲﺗﻮﺍﻥ ﺩﺭ ﻛﻬﺸﻜﺎﻥ ﺍﻏﻮﺍﻫﺎﻱ ﺟﻤﻌﻲ ﻛﻪ ﺩﺭ ﺯﻣﺎﻧﻪ ﻣﺪﺭﻥ ﻣﺎ‬

‫ﺗﻮﺳﻂ ﺳﺘﺎﺭﮔﺎﻥ ﻓﻴﻠﻢ ﻭ ﺑﺖﻫﺎﻱ ﺳﻴﻨﻤﺎﻳﻲ ﺍﻳﺠﺎﺩ ﻣﻲﺷﻮﺩ‪ ،‬ﻳﺎﻓﺖ‪ .‬ﺍﻛﻨﻮﻥ "ﺳﺘﺎﺭﻩ ﺳﻴﻨﻤﺎ" ﺣﺘﻲ‬

‫ﺍﮔﺮ ﻣﺮﺩ ﺑﺎﺷﺪ ﺯﻧﺎﻧﻪ ﺍﺳﺖ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺍﮔﺮ ﺧﺪﺍ ﻣﺮﺩ ﺍﺳﺖ ﺑﺖﻫﺎ ﻫﻤﻴﺸﻪ ﺯﻧﺎﻧﻪﺍﻧﺪ‪ .‬ﻭ ﺩﺭ ﻭﺍﻗﻊ‬

‫ﺑﺰﺭﮔﺘﺮﻳﻦ ﺳﺘﺎﺭﮔﺎﻥ ﻫﻤﻴﺸﻪ ﺯﻥﺍﻧﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﻭﺟﻮﺩ ﺁﻧﻬﺎ ﻣﻮﺟﻮﺩﺍﺗﻲ ﺷﻬﻮﺍﻧﻲ ﻭ ﺑﺮﺍﻱ ﻛﺎﻣﻴﺎﺑﻲ ﻣﻴﻞ‬

‫ﻧﻴﺴﺘﻨﺪ ﺑﻠﻜﻪ ﻣﻮﺟﻮﺩﺍﺗﻲ ﻓﺮﺍﺟﻨﺴﻲ ﻭ ﻓﺮﺍﺷﻬﻮﺍﻧﻲﺍﻧﺪ ﻛﻪ ﺩﻭﺭ ﻭ ﺑﺮ ﺁﻧﻬﺎ ﺭﺍ ﻫﻤﻴﺸﻪ ﻣﺮﺍﺳﻤﻲ‬

‫ﺳﺨﺘﮕﻴﺮﺍﻧﻪ ﻭ ﻓﺮﺍﻭﺍﻧﻲﻫﺎ ﻭ ﻭﻟﺨﺮﺟﻲﻫﺎ ﺍﺣﺎﻃﻪﻛﺮﺩﻩ ﻛﻪ ﺍﻳﺸﺎﻥ ﺭﺍ ﻣﺒﺪﻝ ﺑﻪ ﻫﻴﻮﻻﻫﺎﻳﻲ ﻣﻘﺪﺱ‬

‫ﻣﻲﻛﻨﺪ‪ .‬ﻣﻮﻫﺒﺘﻲ ﻛﻪ ﻗﺪﺭﺕ ﺟﺬﺍﺑﻴﺖ ﺑﺪﺍﻧﻬﺎ ﺑﺨﺸﻴﺪﻩ ﻫﻤﺎﻭﺭﺩ ﻭ ﺭﻗﻴﺐ ﻗﺪﺭﺗﻬﺎﻱ ﺟﻬﺎﻥ ﻭﺍﻗﻌﻲ‬

‫ﺗﻮﻟﻴﺪ ﺍﺳﺖ‪ .‬ﺁﻧﻬﺎ ﺗﻨﻬﺎ ﺍﺳﻄﻮﺭﻩﻫﺎﻱ ﻣﺎ ﺑﺮﺍﻱ ﺩﻭﺭﻩﺍﻱﺍﻧﺪ ﻛﻪ ﺍﺯ ﺍﻳﺠﺎﺩ ﺍﺳﻄﻮﺭﻩﻫﺎ ﻭﺷﺨﺼﻴﺘﻬﺎﻱ‬

‫ﺍﻏﻮﺍﮔﺮﺍﻧﻪ ﺑﺰﺭﮒ ﺍﺳﺎﻃﻴﺮﻱ ﻧﺎﺗﻮﺍﻥ ﺍﺳﺖ‪.‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﻗﺪﺭﺕ ﺳﻴﻨﻤﺎ ﺩﺭ ﺍﺳﻄﻮﺭﻩﺍﺵ ﻧﻬﻔﺘﻪﺍﺳﺖ‪ .‬ﺭﻭﺍﻳﺖﻫﺎﻳﺶ‪ ،‬ﭘﺮﺗﺮﻩﻫﺎﻱ ﺭﻭﺍﻧﻜﺎﻭﺍﻧﻪﺍﺵ‪ ،‬ﺧﻴﺎﻝ‬

‫ﭘﺮﺩﺍﺯﻱﻫﺎ ﻭ ﻳﺎ ﻭﺍﻗﻊﮔﺮﺍﻳﻲﻫﺎﻳﺶ ﺗﺄﺛﻴﺮﺍﺕ ﻣﻔﻬﻮﻣﻲ ﻛﻪ ﺑﺮﺟﺎﻱﻣﻲﮔﺬﺍﺭﺩ ﻫﻤﮕﻲ ﺍﻣﺮﻱ ﻓﺮﻋﻲﺍﻧﺪ‪.‬‬

‫ﺗﻨﻬﺎ ﺍﺳﻄﻮﺭﻩﺍﺵ ﻧﻴﺮﻭﻣﻨﺪ ﺍﺳﺖ ﻭ ﺩﺭ ﻗﻠﺐ ﺍﺳﻄﻮﺭﻩ ﺳﻴﻨﻤﺎ ﺍﻏﻮﺍﻳﻲ ﻧﻬﻔﺘﻪﺍﺳﺖ‪ .‬ﺍﻏﻮﺍﻳﻲ ﺩﺭ ﺷﻬﺮﺕ‬

‫ﺷﺨﺼﻴﺖﻫﺎﻱ ﺍﻏﻮﺍﮔﺮﺍﻧﻪ ﻳﻚ ﺯﻥ ﻳﺎ ﻣﺮﺩ )ﺍﻣﺎ ﺑﻴﺸﺘﺮ ﺯﻧﺎﻥ( ﻛﻪ ﺑﺎ ﺟﺬﺍﺑﻴﺖﻫﺎﻱ ﺧﻮﺩ ﺗﺼﺎﻭﻳﺮ‬

‫ﺳﻴﻨﻤﺎﻳﻲ ﭘﻴﻮﻧﺪ ﻣﻲﺧﻮﺭﺩ‪ .‬ﭘﻴﻮﻧﺪﻱ ﻣﻌﺠﺰﻩ ﺁﺳﺎ‪.‬‬

‫ﺳﺘﺎﺭﻩ ﺳﻴﻨﻤﺎ ﺑﻪ ﻫﻴﭻ ﻃﺮﻳﻘﻲ ﺍﻳﺪﻩﺍﻝ ﻭ ﻣﻮﺟﻮﺩﻱ ﺑﻠﻨﺪ ﭘﺎﻳﻪ ﻣﺤﺴﻮﺏ ﻧﻤﻲﮔﺮﺩﺩ‪ .‬ﺍﻭ )ﺯﻥ (‬

‫ﺗﺼﻨﻌﻲ ﺍﺳﺖ‪ .‬ﻫﻴﭻ ﻧﻴﺎﺯﻱ ﻧﺪﺍﺭﺩ ﻫﻨﺮﭘﻴﺸﻪﺍﻱ ﺑﺎ ﺣﺴﻲ ﺭﻭﺍﻧﻜﺎﻧﻪ ﺑﺎﺷﺪ‪ .‬ﺻﻮﺭﺕ ﺍﻭ ﻫﺮﮔﺰ ﺍﻧﻌﻜﺎﺳﻲ‬

‫ﺍﺯ ﻳﻚ ﺭﻭﺡ ﻳﺎ ﺣﺴﺎﺳﻴﺖ ﻧﻴﺴﺖ‪ .‬ﺑﺮﻋﻜﺲ ﺣﻀﻮﺭ ﺍﻭ ﺑﻪ ﭘﻮﺷﺎﻧﺪﻥ ﺗﻤﺎﻣﻲ ﺣﺲﻫﺎ ﻭ ﺳﻴﻤﺎﻫﺎ ﺗﺤﺖ‬

‫ﺟﺬﺑﻪﺍﻱ ﺁﻳﻴﻨﻲ ﺑﺎ ﺍﻣﺮ ﺑﺎﻃﻞ ﺑﺎ ﺧﻠﺴﻪ ﮔﻴﺰﺵ ﻭ ﭘﻮﭼﻲ ﺗﺒﺴﻤﺶ ﻳﺎﺭﻱ ﻣﻲﺭﺳﺎﻧﺪ‪ .‬ﺑﻪﻫﻤﻴﻦﺧﺎﻃﺮ‬

‫ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻣﻮﻗﻌﻴﺘﻲ ﺍﺳﻄﻮﺭﻩﺍﻱ ﺩﺳﺖﻣﻲﻳﺎﺑﺪ ﻭ ﺑﻪ ﻣﻮﺿﻮﻉ ﺁﻳﻴﻦﻫﺎﻱ ﺍﺷﺘﺮﺍﻛﻲ ﺳﺘﺎﻳﺸﻲ ﻗﺮﺑﺎﻧﻲ‬

‫ﻛﻨﻨﺪﻩ ﻣﺒﺪﻝ ﻣﻲﺷﻮﺩ‪.‬‬

‫ﻣﻌﺮﺍﺝ ﺑﺖﻫﺎﻱ ﺳﻴﻨﻤﺎ‪ ،‬ﺍﻳﻦ ﺧﺪﺍﻳﺎﻥ ﺗﻮﺩﻩﻫﺎ‪ ،‬ﻧﻘﻞ ﺍﺻﻠﻲ ﺯﻣﺎﻧﻪ ﻣﺪﺭﻥ ﻣﺎ ﻫﺴﺖ ﻭ ﺑﺎﻗﻲ‬

‫ﺧﻮﺍﻫﺪﻣﺎﻧﺪ‪ - .‬ﻫﻨﻮﺯ ﻭﺯﻧﻪﺍﻱ ﺑﺮﺍﻱ ﺣﻮﺍﺩﺙ ﺳﻴﺎﺳﻲ ﻭ ﺍﺟﺘﻤﺎﻋﻲﺍﻧﺪ‪ .‬ﻫﻴﭻ ﺣﺮﻓﻲ ﺍﺯ ﺑﺮﭼﻴﺪﻥ‬

‫ﺑﺴﺎﻃﺸﺎﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﺭﻭﻳﺎﻫﺎﻱ ﺗﻮﺩﻩﻫﺎﻱ ﺭﻣﺰﻱﺷﺪﻩ ﺑﻪ ﻣﻴﺎﻥ ﻧﻤﻲﺁﻳﺪ‪ .‬ﺍﻳﻦ ﺭﺧﺪﺍﺩﻱ ﺍﻏﻮﺍﮔﺮﺍﻧﻪ‬

‫ﻣﺎﻧﻨﺪ‪The ‬‬ ‫ﺍﺳﺖ ﻛﻪ ﻫﺮ ﺭﻭﻳﺪﺍﺩ ﺗﻮﻟﻴﺪﻱ ﺭﺍ ﺧﻨﺜﻲ ﻣﻲﻛﻨﺪ‪ .‬ﻳﻘﻴﻦ ﺑﺪﺍﻧﻴﺪ ﻛﻪ ﺍﻏﻮﺍ ﺩﺭ ﻋﺼﺮ ﺗﻮﺩﻩﻫﺎ‬

‫‪ ،Princess  of  Cleves‬ﺗﻤﺎﺱﻫﺎﻱ ﻣﺨﺎﻃﺮﻩﺁﻣﻴﺰ ﻳﺎ "ﺧﺎﻃﺮﺍﺕ ﺍﻏﻮﺍﮔﺮ" ﻳﺎ ﺣﺘﻲ ﻣﺎﻧﻨﺪ‬

‫ﺷﺨﺼﻴﺘﻬﺎﻱ ﺍﺳﺎﻃﻴﺮ ﻳﻮﻧﺎﻧﻲ ﻧﻴﺴﺘﻨﺪ ﺍﻳﻨﻬﺎ ﺣﺎﻭﻱ ﺩﺍﺳﺘﺎﻧﻬﺎﻱ ﺗﻮﺍﻧﻤﻨﺪﻱ ﺩﺭ ﺍﻏﻮﺍﮔﺮﻱ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻳﻦ‬

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‫ﺍﻏﻮﺍ‬

‫ﺍﻏﻮﺍﻫﺎ ﮔﺮﻡﺍﻧﺪ ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﺑﺘﻬﺎﻱ ﺯﻣﺎﻧﻪ ﻣﺪﺭﻥ ﻣﺎ ﺳﺮﺩﺍﻧﺪ‪ .‬ﻣﻮﺟﻮﺩﺍﺗﻲ ﺩﺭ ﺗﻘﺎﻃﻊ ﺩﻭ ﻭﺍﺳﻄﻪ ﺳﺮﺩ‪:‬‬

‫ﺗﺼﺎﻭﻳﺮ ﻭ ﺗﻮﺩﻩﻫﺎ‪.‬‬

‫ﺍﻏﻮﺍﻱ ﺳﺮﺩ ﻛﻨﻮﻧﻲ‪ ،‬ﺳﻔﻴﺪﻱ ﻃﻴﻔﻲ ﺳﺘﺎﺭﮔﺎﻥ ﺁﺳﻤﺎﻥ ﺭﺍ ﺩﺍﺭﺩ ﻭ ﻣﺎﻧﻨﺪ ﺁﻧﻬﺎ ﻧﻴﺰ ﺑﻄﻮﺭ‬

‫ﺯﻳﺒﻨﺪﻩﺍﻱ ﻧﺎﻡﮔﺬﺍﺭﻱ ﻣﻲﺷﻮﻧﺪ‪ .‬ﺗﻮﺩﻩﻫﺎ ﺩﺭ ﺩﻭﺭﺍﻥ ﻣﺪﺭﻥ ﺗﻨﻬﺎ ﺑﺎ ﺩﻭ ﺭﻭﻳﺪﺍﺩ ﺑﺰﺭﮒ ﺍﻏﻮﺍ ﻣﻲﺷﻮﻧﺪ‪:‬‬

‫ﻧﻮﺭ ﺳﻔﻴﺪ ﺳﺘﺎﺭﮔﺎﻥ ﻭ ﺳﻴﺎﻫﻲ ﺗﺮﻭﺭﻳﺴﻢ‪ .‬ﺍﻳﻦ ﺩﻭ ﭘﺪﻳﺪﺍﺭ ﺍﺷﺘﺮﺍﻛﺎﺕ ﺑﺴﻴﺎﺭﻱ ﺩﺍﺭﻧﺪ‪ .‬ﺍﻋﻤﺎﻝ‬

‫ﺗﺮﻭﺭﻳﺴﺘﻲ ﻣﺎﻧﻨﺪ ﺳﺘﺎﺭﮔﺎﻥ ﺳﻮﺳﻮ ﻣﻲﺯﻧﻨﺪ‪ :‬ﺁﻧﻬﺎ ﻗﺼﺪ ﻫﻴﭻ ﺁﮔﺎﻫﻲﺭﺳﺎﻧﻲ‪ ،‬ﻗﺼﺪ ﻫﻴﭻ ﺗﺪﺍﻭﻣﻲ ﻭ‬

‫ﭘﺮﺗﻮﺍﻓﻜﻨﻲ ﻣﺪﺍﻭﻣﻲ ﺭﺍ ﻧﺪﺍﺭﻧﺪ ﻧﻮﺭﻱ ﺳﻔﻴﺪ ﺍﻣﺎ ﻣﺘﻨﺎﻭﺏ‪ ،‬ﻧﻮﺭﻱ ﺳﺮﺩ‪ .‬ﺣﺘﻲ ﺁﻧﻬﺎﻳﻲ ﺭﺍ ﻛﻪ ﺗﺮﻭﺭﻳﺴﻢ‬

‫ﺗﻤﺠﻴﺪ ﻣﻲﻧﻤﺎﻳﻨﺪ ﺭﺍ ﻧﻴﺰ ﻣﺎﻳﻮﺱ ﻣﻲﻛﻨﺪ‪ .‬ﺁﻧﻬﺎ ﺑﺎ ﻧﺎﮔﻬﺎﻧﻲ ﻧﻤﻮﺩﺷﺎﻥ‪ ،‬ﻧﺎﭘﺪﻳﺪ ﺷﺪﻥ‬

‫ﻗﺮﻳﺐﺍﻟﻮﻗﻮﻉﺷﺎﻥ‪ ،‬ﻣﺠﺬﻭﺏ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺁﻧﻬﺎ ﻣﺪﺍﻡ ﺩﺭ ﻛﺴﻮﻑ ﻳﻜﺪﻳﮕﺮ ﻓﺮﻭ ﻣﻲﺭﻭﻧﺪ ﭼﺮﺍﻛﻪ ﻫﺮﻛﺪﺍﻡ‬

‫ﺳﻌﻲ ﻣﻲﻛﻨﻨﺪ ﺩﻳﮕﺮﻱ ﺭﺍ ﺷﻜﺴﺖ ﺩﻫﺪ‪.‬‬

‫ﺳﺘﺎﺭﮔﺎﻥ ﺑﺰﺭﮒ ﻭ ﺯﻧﺎﻥ ﺍﻏﻮﺍﮔﺮ ﻫﺮﮔﺰ ﺭﻭﺷﻨﻲ )ﺛﺎﺑﺖ( ﻭ ﺧﻴﺮﻩﻛﻨﻨﺪﻩﺍﻱ ﻧﺪﺍﺭﻧﺪ ﭼﺮﺍ ﻛﻪ‬

‫ﻫﻮﺷﻴﺎﺭ ﻳﺎ ﺍﺳﺘﻌﺪﺍﺩﺷﺎﻥ ﺁﻧﻬﺎ ﺑﻪ ﺧﺎﻃﺮ ﻏﻴﺎﺑﺸﺎﻥ ﺍﺳﺖ‪ .‬ﺁﻧﻬﺎ ﺗﺎﺑﺶ ﺧﻴﺮﻩﻛﻨﻨﺪﻩ ﺍﺯ ﭘﻮﭼﻲﺷﺎﻥ ﻭ ﺩﺭ‬

‫ﺳﺮﺩﻳﺸﺎﻥﺍﻧﺪ )ﺳﺮﺩﻱ ﺳﺎﺧﺘﮕﻲ ﻭ ﺳﻠﺴﻠﻪ ﻣﺮﺍﺗﺐ ﺁﻳﻴﻨﻲﺷﺎﻥ( )ﺑﺮ ﻃﺒﻖ ﻧﻈﺮ ﻣﻚ ﻟﻮﻫﺎﻥ ﺁﻳﻴﻨﻬﺎ‬

‫ﺳﺮﺩﻧﺪ( ﺍﺳﺘﻌﺎﺭﻩ ﻣﻨﺎﺳﺐ ﺑﺮﺍﻳﺸﺎﻥ ﺩﻭﺭﺍﻥ ﻳﺦﺑﻨﺪﺍﻥ ﺑﻲﺍﻧﺪﺍﺯﻩ ﺳﺮﺩﻱ ﺍﺳﺖ ﻛﻪ ﺗﻤﺎﻣﻲ ﺟﻬﺎﻥ‬

‫ﻣﻌﻨﺎﻫﺎﻱ ﻣﺎ ﺭﺍ ﺩﺭ ﺷﺒﻜﻪﻫﺎﻱ ﻟﺮﺯﺍﻥ )ﺳﻮﺳﻮ ﺯﻧﻨﺪﻩ( ﺗﺼﺎﻭﻳﺮ ﻭ ﻧﺸﺎﻧﻪﻫﺎ ﻓﺮﻭ ﻣﻲﺑﺮﻧﺪ‪ .‬ﺍﻣﺎ ﻫﻤﺰﻣﺎﻥ‬

‫ﺩﺭ ﺗﻘﺎﺭﻧﻲ ﺗﺎﺭﻳﺨﻲ ﻛﻪ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺑﺎﺯﺗﻮﻟﻴﺪ ﮔﺮﺩﺩ ﺁﻧﻬﺎ ﺑﻪ ﻧﻤﻮﺩﻫﺎﻳﻲ ﺍﺯ ﺍﻏﻮﺍ ﻣﺒﺪﻝ ﻣﻲﺷﻮﻧﺪ‪.‬‬

‫ﺳﺘﺎﺭﮔﺎﻥ ﺳﻴﻨﻤﺎ ﺟﺰ ﺍﻏﻮﺍﻱ ﻣﺤﺾ ﻫﻴﭻ ﺑﺎ ﺍﺭﺗﻌﺎﺷﻲ ﻣﺤﺾ ﻭ ﺑﻲﻣﻔﻬﻮﻡ ﻫﻴﭻ ﺩﺭﺧﺸﺸﻲ ﻧﺪﺍﺭﻧﺪ‬

‫)ﺍﺭﺗﻌﺎﺵ ﮔﺮﻡ ﺑﻪ ﺗﻤﺎﻣﻲ ﺯﻳﺒﺎﺗﺮ ﺍﺳﺖ ﺗﺎ ﺍﻳﻨﻜﻪ ﺳﺮﺩﻱ ﺑﺎﺷﺪ‪ (.‬ﺗﺼﻨﻊ ﻭ ﺑﻲﺣﺴﻲ )‪،(non  sens‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﻧﻤﺎﻱ ﻣﺒﻬﻢ ﺑﺖﻫﺎ ﻭ ﻧﻘﺎﺏﻫﺎﻳﺸﺎﻥ ﺍﺳﺖ‪ .‬ﺍﻏﻮﺍﮔﺮﻱ ﻳﻚ ﺻﻮﺭﺕ ﺗﻤﺎﻣﻲ ﺳﻴﻤﺎﻫﺎ ﺭﺍ ﻣﺤﻮ ﻣﻲﻛﻨﺪ‬

‫ﺟﺰ ﺗﺒﺴﻤﻲ ﺁﻳﻴﻨﻲ ﻭ ﺯﻳﺒﺎﻳﻲ ﻗﺮﺍﺭﺩﺍﺩﻱ‪ .‬ﺻﻮﺭﺗﻲ ﺳﻔﻴﺪ ﺑﺎ ﺳﻔﻴﺪﻱ ﻧﺸﺎﻧﻪﻫﺎﻳﻲ ﻣﺨﺘﺺ ﻧﻤﻮﺩﻫﺎﻱ‬

‫ﺁﻳﻴﻨﻲ ﺩﻳﮕﺮ ﺳﻮﮊﻩﺍﻱ ﺑﺮﺍﻱ ﻗﻮﺍﻧﻴﻦ ﻋﻤﻴﻖ ﻭ ﺩﻻﻟﺖﻫﺎ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﺳﺘﺮﻭﻧﻲ ﺑﺘﻬﺎ ﻣﺸﻬﻮﺩ ﺍﺳﺖ‬

‫ﺁﻧﻬﺎ ﻫﻴﭻ ﺑﺎﺯﺗﻮﻟﻴﺪﻱ ﻧﺪﺍﺭﻧﺪ ﺻﺮﻓﺎً ﻣﺎﻧﻨﺪ ﺳﻴﻤﺮﻍ ﺍﺯ ﺧﺎﻛﺴﺘﺮﻫﺎ ﻳﺎ ﻣﺎﻧﻨﺪ ﺯﻥ ﺍﻏﻮﺍﮔﺮ ﺍﺯ ﺁﻳﻴﻨﻪﺍﺵ ﺑﺮ‬

‫ﻣﻲﺧﻴﺰﻧﺪ‪.‬‬

‫ﺍﻳﻦ ﺗﻤﺜﺎﻝﻫﺎﻱ ﺑﺰﺭﮒ ﺍﻏﻮﺍﮔﺮﻱ‪ ،‬ﻧﻘﺎﺏﻫﺎﻱ ﻣﺎ ﺗﻨﺪﻳﺲﻫﺎﻱ ﻋﻴﺪ ﭘﺎﻙ ﻣﺎ ﻫﺴﺘﻨﺪ‪ .‬ﺍﻣﺎ ﻧﺒﺎﻳﺪ‬

‫ﺍﺷﺘﺒﺎﻩ ﻛﺮﺩ‪ :‬ﺍﮔﺮ ﺍﺯ ﻟﺤﺎﻅ ﺗﺎﺭﻳﺨﻲ ﺟﺎﻣﻌﻪ ﺍﻧﺴﺎﻧﻲ ﻫﻤﻴﺸﻪ ﺑﺎ ﺳﺘﺎﻳﺶ ﺍﺷﺘﻴﺎﻗﻬﺎﻱ ﻣﺬﻫﺒﻲ‪ ،‬ﺷﻮﺭﺵ‬

‫ﻭ ﻗﺮﺑﺎﻧﻲﻛﺮﺩﻥ ﮔﺮﻡ ﺷﺪﻩﺍﺳﺖ ﺍﻛﻨﻮﻥ ﺗﻮﺩﻩﻫﺎ ﺑﺎ ﺍﻏﻮﺍ ﻭ ﺍﻓﺴﻮﻥ ﺳﺮﺩ ﻣﻲﺷﻮﻧﺪ‪ .‬ﺗﻤﺜﺎﻝ ﺁﻧﻬﺎ‬

‫ﺳﻴﻨﻤﺎﻳﻲ ﺍﺳﺖ ﻭ ﻣﺮﺍﺳﻢ ﻗﺮﺑﺎﻧﻲﻛﻨﻨﺪﻩ ﻣﺘﻔﺎﻭﺗﻲ ﺭﺍ ﺑﻪ ﻛﺎﺭ ﻣﻲﮔﻴﺮﺩ‪.‬‬

‫ﻣﺮﮒ ﺳﺘﺎﺭﮔﺎﻥ ﺻﺮﻓﺎً ﻣﺠﺎﺯﺍﺗﻲ ﺍﺳﺖ ﺑﺮﺍﻱ ﺑﺖﭘﺮﺳﺘﻲ ﺁﻳﻴﻨﻲ ﺷﺪﻩ ﺁﻧﻬﺎ‪ .‬ﺁﻧﻬﺎ ﻣﻲﺑﺎﻳﺴﺖ‬

‫ﺑﻤﻴﺮﻧﺪ؛ ﻣﻲﺑﺎﻳﺴﺖ ﺍﺯ ﭘﻴﺶ ﻣﺮﺩﻩ ﺑﺎﺷﻨﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻣﻲﺗﻮﺍﻧﻨﺪ ﻛﺎﻣﻞ ﻭ ﺳﻄﺤﻲ ﺑﺎﺷﻨﺪ ﭼﻪ‬

‫ﺳﺎﺧﺘﻪﺷﻮﻧﺪ ﭼﻪ ﻧﺸﻮﻧﺪ‪ .‬ﺍﻣﺎ ﻣﺮﮒ ﺁﻧﻬﺎ ﺭﺍ ﻧﺒﺎﻳﺪ ﺍﻧﻔﻌﺎﻟﻲ ﺳﻠﺒﻲ ﺗﺼﻮﺭ ﻧﻤﺎﻳﻴﻢ‪ .‬ﻣﺎﻭﺭﺍﻱ ﺁﻥ ﺷﻜﻠﻲ ﺍﺯ‬

‫ﺍﺑﺪﻳﺖ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻳﻌﻨﻲ ﻫﻤﺎﻥ ﺗﺼﻨﻊ ﻛﻪ ﺩﺭ ﺳﺘﺎﺭﮔﺎﻥ ﺳﻴﻨﻤﺎ ﺟﺴﻤﻴﺖ ﻳﺎﻓﺘﻪ ﺍﺳﺖ ﻛﻪ ﻣﺮﮒ‬

‫ﺧﻮﺩ ﺑﺎ ﻏﻴﺎﺑﺶ ﻣﻲﺩﺭﺧﺸﺪ ﻭ ﻣﺮﮒ ﻣﻲﺗﻮﺍﻧﺪ ﺑﻪ ﻧﻤﻮﺩﻱ ﺳﻄﺤﻲ ﻭ ﺩﺭﺧﺸﺎﻥ ﻣﺒﺪﻝ ﮔﺮﺩﺩ ﻛﻪ‬

‫ﺧﻮﺩ ﺳﻄﺤﻲ ﺍﻏﻮﺍﮔﺮﺍﻧﻪ ﺍﺳﺖ‪....‬‬

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‫ﺍﻏﻮﺍ‬

‫ﺭﺍﻫﺒﺮﺩ ﻛﻨﺎﻳﻲ ﻣﺮﺩ ﺍﻏﻮﺍﮔﺮ‬

‫ﺍﮔﺮ ﻣﺸﺨﺼﻪ ﺯﻥ ﺍﻏﻮﺍﮔﺮ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻧﻤﻮﺩﻱ ﻣﺒﺪﻝ ﻣﻲﻧﻤﺎﻳﺪ ﺗﺎ ﻧﻤﻮﺩﻫﺎ ﺭﺍ‬

‫ﺑﺮﺁﺷﻮﺑﺪ ﻣﺸﺨﺼﻪ ﺷﺨﺼﻴﺖ ﺩﻳﮕﺮ ﻳﻌﻨﻲ ﻣﺮﺩ ﺍﻏﻮﺍﮔﺮ ﭼﻴﺴﺖ؟‬

‫ﺍﻭ ﻧﻴﺰ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻳﻚ ﺗﻮﻫﻢ ﻣﺒﺪﻝ ﻣﻲﻛﻨﺪ ﺗﺎ ﺳﺒﺐ ﺁﺷﻔﺘﮕﻲ ﮔﺮﺩﺩ ﺍﻣﺎ ﺑﻪ ﮔﻮﻧﻪﺍﻱ ﻏﺮﻳﺐ‪،‬‬

‫ﺍﻳﻦ ﺗﻮﻫﻢ ﺑﺨﺸﻲ ﺍﺯ ﻳﻚ ﺣﺴﺎﺑﮕﺮﻱ ﺑﺎ ﺁﺭﺍﻳﺸﻲ ﻛﻪ ﺭﻭﺵ ﻳﻚ ﺍﺳﺘﺮﺍﺗﮋﻱ ﺍﺳﺖ‪ .‬ﺍﻛﻨﻮﻥ ﺍﮔﺮ ﺁﺭﺍﻳﺶ‬

‫ﺯﻥ ﭼﻨﻴﻦ ﺍﺳﺘﺮﺍﺗﮋﻳﻚ ﻭ ﻧﻤﺎﻳﺸﻲ ﺣﺴﺎﺏﺷﺪﻩﺍﺳﺖ‪ ،‬ﺁﻳﺎ ﺍﺳﺘﺮﺍﺗﮋﻱ ﻣﺮﺩ ﺍﻏﻮﺍﮔﺮ ﻧﻤﺎﻳﺶ ﺣﺴﺎﺑﮕﺮﻱ‬

‫ﻧﻴﺴﺖ ﻛﻪ ﺑﺎ ﺁﻥ ﺍﺯ ﺧﻮﺩ ﺩﺭ ﺑﺮﺍﺑﺮ ﻧﻴﺮﻭﻱ ﺣﺮﻳﻒ ﺩﻓﺎﻉ ﻣﻲﻛﻨﺪ؟ ﺭﺍﻫﺒﺮﺩ ﺁﺭﺍﻳﺶ ﺩﺭ ﻣﻘﺎﺑﻞ ﺁﺭﺍﻳﺶ‬

‫ﺭﺍﻫﺒﺮﺩ‪ ....‬ﮔﻔﺘﻤﺎﻥﻫﺎ ﻧﻴﺰ ﺍﺯ ﺧﻮﺩ ﻣﻄﻤﺌﻦﺍﻧﺪ‪ -‬ﺍﻣﺎ ﺭﺍﻫﺒﺮﺩﻫﺎﻱ ﻋﺸﻖ ﺑﺎﻳﺪ ﺑﻪ ﻃﺮﻳﻖ ﺩﻳﮕﺮ‬

‫ﻓﻬﻤﻴﺪﻩﺷﻮﻧﺪ‪ .‬ﮔﺮﭼﻪ ﻛﺎﻣﻼً "ﻋﻘﻼﻧﻲ"ﺍﻧﺪ ﺻﺮﻓﺎً ﺍﺑﺰﺍﺭﻫﺎﻱ ﺗﻘﺪﻳﺮ ﺑﺰﺭﮔﺘﺮﻱ ﻫﺴﺘﻨﺪ ﻛﻪ ﺭﺍﻫﺒﺮﺍﻥ‬

‫)ﺍﻳﻦ ﺗﻘﺪﻳﺮ( ﻗﺮﺑﺎﻧﻲ ﺁﻥ ﻫﺴﺘﻨﺪ‪ .‬ﺁﻳﺎ ﻣﺮﺩ ﺍﻏﻮﺍﮔﺮ ﺧﻮﻳﺸﺘﻦ ﺭﺍ ﺩﺭ ﺍﺳﺘﺮﺍﺗﮋﻱ ﺧﻮﺩﺵ‪ ،‬ﺩﺭ ﭘﻴﭻ ﻭ‬

‫ﺧﻤﻲ ﻋﺎﻃﻔﻲ ﺍﺯ ﺩﺳﺖ ﻧﻤﻲﺩﻫﺪ؟ ﺁﻳﺎ ﺍﻭ ﺍﺳﺘﺮﺍﺗﮋﻱ ﺭﺍ ﺑﺮﻣﻲﮔﺰﻳﻨﺪ ﺗﺎ ﺧﻮﺩﺵ ﺭﺍ ﺩﺭ ﺁﻥ ﻓﺪﺍ ﻛﻨﺪ؟‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﻭ ﺍﻭ ﻛﺴﻲ ﺍﺳﺖ ﻛﻪ ﻣﻌﻘﺘﺪ ﺍﺳﺖ ﺧﻮﺩ ﺍﺳﺘﺎﺩ ﺑﺎﺯﻱ ﺍﺳﺖ ﺁﻳﺎ ﺍﻭ ﺧﻮﺩ ﺍﻭﻟﻴﻦ ﻗﺮﺑﺎﻧﻲ ﺍﺳﻄﻮﺭﻩ‬

‫ﺗﺮﺍﮊﻳﻚ ﺍﺳﺘﺮﺍﺗﮋﻱ ﻧﻴﺴﺖ؟‬

‫***‬

‫ﻭﺳﻮﺍﺱ ﻣﺮﺩ ﺍﻏﻮﺍﮔﺮ ﺩﺭ ﻣﻮﺭﺩ ﺩﺧﺘﺮ ﺭﺍ ﺩﺭ "ﺧﺎﻃﺮﺍﺕ ﺍﻏﻮﺍﮔﺮ " ﻛﻴﺮﻛﻪﮔﻮﺭﺩﺭ ﻧﻈﺮ ﺑﮕﻴﺮﻳﺪ‪.‬‬

‫ﻭﺳﻮﺍﺳﻲ ﺑﺎ ﺣﺎﻟﺘﻲ ﻛﻪ ﻫﻨﻮﺯ ﻏﻴﺮ ﺟﻨﺴﻲ ﺑﺪﻭﻥ ﺗﺠﺎﻭﺯﮔﺮﻱ ﻭ ﺩﺭ ﻣﻮﻗﻌﻴﺖ ﺷﻔﺘﮕﻲ ﺑﻪ ﺟﺬﺍﺑﻴﺖ‬

‫)ﺩﺧﺘﺮ( ﺍﺳﺖ‪ .‬ﻭ ﭼﻮﻥ ﺩﺧﺘﺮ ﺟﺬﺍﺏ ﺍﺳﺖ‪ ،‬ﺍﻭ ﺑﺎﻳﺪ ﺟﺬﺍﺑﻴﺖ ﺭﺍ ﺍﻭﻝ ﺩﺭ ﭼﺸﻤﺎﻧﺶ ﺑﻴﺎﺑﺪ ﭼﺮﺍ ﻛﻪ‬

‫ﻣﺎﻧﻨﺪ ﺧﺪﺍ‪ ،‬ﺩﺧﺘﺮ ﺑﺮﺗﺮﻱ ﺑﻲﻫﻤﺘﺎﻳﻲ ﺭﺍ ﺗﺴﺨﻴﺮ ﻣﻲﻛﻨﺪ‪ .‬ﺩﺭ ﻧﺘﻴﺠﻪ‪ ،‬ﭼﻮﻥ )ﺩﺧﺘﺮ( ﻃﺒﻴﻌﺘﺎً ﺍﺯ‬

‫ﻣﻮﻫﺒﺖ ﺗﻤﺎﻣﻲ ﺍﻏﻮﺍﻫﺎ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺍﺳﺖ ﻫﺪﻑ ﻣﺒﺎﺭﺯﻩﺍﻱ ﻭﺣﺸﻴﺎﻧﻪ ﻣﻲﺷﻮﺩ ﻭ ﺑﺎﻳﺪ ﻧﺎﺑﻮﺩ ﮔﺮﺩﺩ‪.‬‬

‫ﺧﻮﺍﺳﺖ ﻣﺮﺩ ﺍﻏﻮﺍﮔﺮ ﺑﺮﺍﻧﺪﺍﺯﻱ ﻗﺪﺭﺕ ﻃﺒﻴﻌﻲ ﺩﺧﺘﺮ ﺑﺎ ﻗﺪﺭﺕ ﺗﺼﻨﻌﻲ ﺧﻮﻳﺸﺘﻦ ﺍﺳﺖ‪ .‬ﺍﻭ‬

‫ﺗﻌﻤﺪﺍً ﺑﺮﺗﺮﻱ ﻗﺪﺭﺕ ﻃﺒﻴﻌﻲ ﺩﺧﺘﺮ ﺭﺍ ﻣﻲﭘﺬﻳﺮﺩ ﻛﻪ ﺩﺭ ﻣﻘﺎﺑﻞ ﺑﻪ ﺍﻭ ﻇﺎﻫﺮﻱ ﭼﻮﻥ ﺍﻏﻮﺍﮔﺮ‬

‫ﻣﻲﺩﻫﺪ‪ .‬ﺍﻭ )ﻣﺮﺩ ﺍﻏﻮﺍﮔﺮ( ﺍﺯ ﻫﻤﺎﻥ ﺁﻏﺎﺯ ﺗﺴﻠﻴﻢ ﺷﺪﻩﺑﻮﺩ‪ .‬ﺍﺳﺘﺮﺍﺗﮋﻱ ﺍﻭ‪ ،‬ﻣﻘﺼﻮﺩ ﺍﻭ ﻭ ﺳﺮﻧﻮﺷﺖ ﺍﻭ‬

‫ﭘﺎﺳﺨﻲ ﺑﻪ ﺟﺬﺍﺑﻴﺖ ﺩﺧﺘﺮ ﺟﻮﺍﻥ ﻭ ﺍﻏﻮﺍﮔﺮﻱ ﺍﻭﺳﺖ ﻭ ﭘﻴﺶ ﺑﺮﺩﻥ ﺳﺮﻧﻮﺷﺘﻲ ﻛﻪ ﺑﻪ ﺗﻤﺎﻣﻲ‬

‫ﻧﻴﺮﻭﻣﻨﺪﺗﺮ ﺍﺳﺖ ﭼﺮﺍ ﻛﻪ ﻧﺎﺧﻮﺩﺁﮔﺎﻫﺎﻧﻪ ﺍﺳﺖ ﻭ ﻣﻲﺑﺎﻳﺪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻧﺘﻴﺠﻪ ﻛﺎﺭ ﺗﻌﻴﻴﻦ ﻳﺎﺑﺪ‪ .‬ﺣﺮﻑ‬

‫ﺁﺧﺮ ﻧﺒﺎﻳﺪ ﺑﻪ ﻃﺒﻴﻌﺖ ﻭﺍﮔﺬﺍﺭ ﺷﻮﺩ‪ :‬ﺍﻳﻦ ﺍﺳﺎﺳﺎً ﻫﻤﺎﻥ ﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﭘﻴﺶ ﻣﻲﺁﻳﺪ‪ .‬ﺟﺬﺍﺑﻴﺖ‬

‫ﺍﺳﺘﺜﻨﺎﻳﻲ ﻭ ﺫﺍﺗﻲ ﺩﺧﺘﺮ )ﻛﻪ ﻣﺎﻧﻨﺪ ﻳﻚ ﺍﻣﺮ ﻧﻔﺮﻳﻦﺷﺪﻩ‪ ،‬ﻏﻴﺮﺍﺧﻼﻗﻲ ﺍﺳﺖ( ﻣﻲﺑﺎﻳﺪ ﺑﻮﺳﻴﻠﻪ ﻣﺮﺩ‬

‫ﺍﻏﻮﺍﮔﺮ ﻗﺮﺑﺎﻧﻲ ﺷﻮﺩ ﻛﻪ ﺗﻤﺎﻣﻲ ﻣﻬﺎﺭﺗﺶ ﺭﺍ ﺑﺮﺍﻱ ﺭﺳﺎﻧﺪﻥ ﺩﺧﺘﺮ ﺑﻪ ﻣﺮﺣﻠﻪ ﺗﺴﻠﻴﻤﻲ ﺷﻬﻮﺍﻧﻲ‬

‫ﺑﻜﺎﺭﻣﻲﮔﻴﺮﺩ‪ ،‬ﻣﺮﺣﻠﻪﺍﻱ ﻛﻪ ﺩﺧﺘﺮ ﺩﻳﮕﺮ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺍﻏﻮﺍﻛﻨﻨﺪﻩ ﻭ ﻗﺪﺭﺗﻲ ﺧﻄﺮﻧﺎﻙ ﺑﺎﺷﺪ‪.‬‬

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‫ﺍﻏﻮﺍ‬

‫ﻣﺮﺩ ﺍﻏﻮﺍﮔﺮ ﺑﻪ ﺗﻨﻬﺎﻳﻲ ﻫﻴﭻ ﻧﻴﺴﺖ‪ .‬ﺍﻏﻮﺍ ﻛﺎﻣﻼً ﺍﺯ ﺩﺧﺘﺮ ﻣﻨﺸﺄ ﻣﻲﮔﻴﺮﺩ‪ .‬ﺑﻪﻫﻤﻴﻦﺧﺎﻃﺮ‬

‫ﻳﻮﻫﺎﻧﺲ ﻣﺪﻋﻲ ﺍﺳﺖ ﻫﻤﻪﭼﻴﺰ ﺭﺍ ﺍﺯ ﻛﻮﺭﺩﻟﻴﺎ ﺁﻣﻮﺧﺘﻪ ﺍﺳﺖ‪ .‬ﺍﻭ )ﻳﻮﻫﺎﻧﺲ( ﺭﻳﺎﻛﺎﺭ ﻧﻴﺴﺖ‪ .‬ﺍﻏﻮﺍﻱ‬

‫ﺣﺴﺎﺑﮕﺮﺍﻧﻪ ﺍﻭ‪ ،‬ﺍﻏﻮﺍﻱ ﻃﺒﻴﻌﻲ ﺩﺧﺘﺮ ﺭﺍ ﻣﻨﻌﻜﺲ ﻣﻲﻛﻨﺪ ﻭ ﺍﺯ ﺍﻏﻮﺍﻱ ﻃﺒﻴﻌﻲ ﺩﺧﺘﺮ ﺑﻪ ﻋﻨﻮﺍﻥ‬

‫ﻣﻨﺒﻊ ﺧﻮﺩ ﺑﻬﺮﻩﻣﻲﮔﻴﺮﺩ ﺍﻣﺎ ﺑﻬﺘﺮ ﻋﻤﻞ ﻧﻤﻮﺩﻩ ﻭ ﺍﻏﻮﺍﻱ ﺩﺧﺘﺮ ﺭﺍ ﻧﺎﺑﻮﺩ ﻣﻲﻛﻨﺪ‪.‬‬

‫ﺑﻪ ﻫﻤﻴﻦﺧﺎﻃﺮ ﺍﺳﺖ ﻛﻪ ﻣﺮﺩ ﺍﻏﻮﺍﮔﺮ ﻫﻴﭻ ﭼﻴﺰ ﺭﺍ ﺑﻪ ﺷﺎﻧﺲ ﻭﺍﮔﺬﺍﺭ ﻧﻤﻲﻛﻨﺪ‪ ،‬ﺩﺧﺘﺮ ﺍﺯ‬

‫ﺍﺑﺘﻜﺎﺭ ﻋﻤﻞ ﻣﺤﺮﻭﻡ ﻣﻲﺷﻮﺩ ﻭ ﺑﻪ ﺍﺑﮋﻩﺍﻱ ﻇﺎﻫﺮﻱ ﻭ ﺑﻲﺩﻓﺎﻉ ﺩﺭ ﺑﺎﺯﻱ ﺍﻏﻮﺍﮔﺮﻱ ﻣﺒﺪﻝ ﻣﻲﺷﻮﺩ‪.‬‬

‫ﺩﺧﺘﺮ ﺩﺳﺖ ﺧﻮﺩ ﺭﺍ ﺭﻭ ﻛﺮﺩﻩﺍﺳﺖ ﭘﻴﺶ ﺍﺯ ﺁﻧﻜﻪ ﻣﺮﺩ ﺍﻏﻮﺍﮔﺮ ﺩﺳﺖ ﺍﻭ ﺭﺍ ﺭﻭ ﻛﺮﺩﻩﺑﺎﺷﺪ( ﻫﻤﻪﭼﻴﺰ‬

‫ﭘﻴﺸﺘﺮ ﺭﺥ ﺩﺍﺩﻩﺍﺳﺖ؛ ﺍﻏﻮﺍ ﺑﻪ ﺳﺎﺩﮔﻲ ﺑﺎ ﺑﺮﭘﺎﻳﻲ ﻣﺒﺎﺭﺯﻩﺍﻱ ﭘﻴﺸﻴﻨﻲ ﺑﺎ ﺟﺬﺍﺑﻴﺖ ﻭ ﺯﻳﺒﺎﻳﻲ ﻃﺒﻴﻌﻲ‬

‫ﺩﺧﺘﺮ‪ ،‬ﻳﻚ ﻋﺪﻡ ﺗﻌﺎﺩﻝ ﻃﺒﻴﻌﻲ ﺍﻳﺠﺎﺩ ﻣﻲﻛﻨﺪ‪.‬‬

‫ﺍﻏﻮﺍ ﺍﻛﻨﻮﻥ ﻣﻌﻨﻲ ﺁﻥ ﺭﺍ ﺗﻐﻴﻴﺮ ﻣﻲﺩﻫﺪ‪ .‬ﺑﻪ ﺟﺎﻱ ﻋﻤﻠﻲ ﻏﻴﺮﺍﺧﻼﻓﻲ ﻭ ﻫﺮﺯﻩ‪ ،‬ﻓﺮﻳﺒﻲ‬

‫‪ cynical‬ﺩﺍﻭﻃﻠﺒﺎﻧﻪ ﺑﺮﺍﻱ ﺩﺳﺘﻴﺎﺑﻲ ﺑﻪ ﭘﺎﻳﺎﻥ ﺟﻨﺴﻲ )ﻭ ﺑﻨﺎﺑﺮﺍﻳﻦ ﺑﺪﻭﻥ ﻫﻴﭻ ﺑﻬﺮﻩ ﻣﻨﺪﻱ ﺑﺰﺭﮔﻲ(‪،‬‬

‫ﺍﺳﻄﻮﺭﻩﺍﻱ ﻣﻲﮔﺮﺩﺩ ﻭ ﺑﻌﺪﻱ ﻗﺮﺑﺎﻧﻲﻛﻨﻨﺪﻩ ﺣﺎﺻﻞ ﻣﻲﻛﻨﺪ‪ .‬ﺑﻪﻫﻤﻴﻦﺧﺎﻃﺮ ﺍﺳﺖ ﻛﻪ ﺭﺿﺎﻳﺖ‬

‫»ﻗﺮﺑﺎﻧﻲ« ﺑﻪ ﺁﺳﺎﻧﻲ ﺑﺪﺳﺖﻣﻲﺁﻳﺪ‪ .‬ﺩﺭ ﺗﺴﻠﻴﻢ ﺩﺧﺘﺮ‪ ،‬ﺍﻭ‪ ،‬ﺩﺭ ﻣﻔﻬﻮﻣﻲ ﺧﺎﺹ‪ ،‬ﻓﺮﻣﺎﻧﺒﺮﺩﺍﺭ ﺍﻟﻮﻫﻴﺘﻲ‬

‫ﺍﺳﺖ ﻛﻪ ﻣﻲﺧﻮﺍﻫﺪ ﻫﺮ ﻗﺪﺭﺗﻲ ﺭﺍ ﺑﺮﺍﻧﺪﺍﺯﺩ ﻭ ﻗﺮﺑﺎﻧﻲ ﻧﻤﺎﻳﺪ ﻳﻌﻨﻲ ﻗﺪﺭﺕ ﻭ ﺍﻏﻮﺍﮔﺮﻱ ﻃﺒﻴﻌﻲ ﺩﺧﺘﺮ‬

‫ﺭﺍ ﻭ ﺑﻪﻫﻤﻴﻦﺧﺎﻃﺮ ﺗﻤﺎﻣﻲ ﻗﺪﺭﺗﻬﺎ ﻭ ﺑﻪ ﻭﻳﮋﻩ ﻗﺪﺭﺗﻬﺎﻱ ﺯﻳﺒﺎﻳﻲ‪ ،‬ﺑﻲﺣﺮﻣﺘﻲ ﺑﻪ ﻣﻘﺪﺳﺎﻥ ﺍﻳﻦ‬

‫ﺍﻟﻮﻫﻴﺖ ﺍﺳﺖ‪ .‬ﻛﺎﺭﺩﻟﻴﺎ ﻣﻘﺘﺪﺭ ﺍﺳﺖ ﻭ ﺍﻭ ﻗﺮﺑﺎﻧﻲ ﻫﻤﻴﻦ ﺍﻗﺘﺪﺍﺭﺵ ﻣﻲﺷﻮﺩ‪ .‬ﺑﺮﮔﺸﺖﭘﺬﻳﺮﻱ ﻋﻤﻞ‬

‫ﻗﺮﺑﺎﻧﻲ‪ ،‬ﺷﻜﻞ ﻛﺸﻨﺪﻩﺍﻱ ﺍﺯ ﻣﺒﺎﺩﻟﻪﺍﻱ ﻧﻤﺎﺩﻳﻦ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﻫﻴﭻ ﭼﻴﺰﻱ ﺩﺭﻳﻎ ﻧﻤﻲﻛﻨﺪ ﺣﺘﻲ ﺍﺯ‬

‫ﺟﺎﻥ ﺧﻮﺩﺵ‪ ،‬ﺣﺘﻲ ﺍﺯ ﺯﻳﺒﺎﻳﻲ ﻭ ﺍﻏﻮﺍﮔﺮﻱ ﻛﻪ ﺧﻄﺮﻧﺎﻙﺗﺮﻳﻦ ﺷﻜﻞ ﺯﻳﺒﺎﻳﻲ ﺍﺳﺖ ﺩﺭ ﺍﻳﻦ ﺣﺎﻟﺖ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﻣﺮﺩ ﺍﻏﻮﺍﮔﺮ ﻧﻤﻲﺗﻮﺍﻧﺪ ﻣﺪﻋﻲ ﺷﻮﺩ ﻛﻪ ﺍﻭ ﻗﻬﺮﻣﺎﻥ ﻳﻚ ﻧﻘﺸﻪ ﺍﺳﺘﺎﺩﺍﻧﻪ ﺍﺭﻭﺗﻴﻜﻲ ﺍﺳﺖ‪ ،‬ﺍﻭ ﺗﻨﻬﺎ‬

‫ﻣﺄﻣﻮﺭ ﻋﻤﻠﻴﺎﺗﻲ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺧﻮﺩ ﺍﻭ ﻓﺮﺍﺗﺮ ﻣﻲﺭﻭﺩ‪ .‬ﻗﺮﺑﺎﻧﻲ ﻛﺎﻣﻼً ﺑﻲﮔﻨﺎﻩ ﻧﻴﺴﺖ ﭼﺮﺍ ﻛﻪ ﺑﻪ ﻋﻨﻮﺍﻥ‬

‫ﺑﺎﻛﺮﻩﺍﻱ ﺯﻳﺒﺎ ﻭ ﺍﻏﻮﺍﻛﻨﻨﺪﻩ‪ ،‬ﺍﻭ ﺩﺭ ﺧﻮﺩ‪ ،‬ﭼﺎﻟﺸﻲ ﺍﺳﺖ ﻛﻪ ﺗﻨﻬﺎ ﺑﺎ ﻣﺮﮔﺶ ﻣﻲﺗﻮﺍﻧﺪ ﻣﻮﺍﺟﻪ ﺷﻮﺩ‪) .‬ﻳﺎ‬

‫ﺍﻏﻮﺍﻱﺍﺵ ﻛﻪ ﻣﻌﺎﺩﻝ ﻗﺎﺗﻞ ﺍﻭﺳﺖ(‬

‫"ﺩﻓﺘﺮ ﺧﺎﻃﺮﺍﺕ ﺍﻏﻮﺍﮔﺮ" ﻣﺘﻨﻲ ﺍﺳﺖ ﺍﺯ ﻳﻚ ﺟﻨﺎﻳﺖ ﻛﺎﻣﻞ‪ .‬ﻫﻴﺞﻛﺪﺍﻡ ﺍﺯ ﻣﺤﺎﺳﺒﺎﺕ ﺍﻏﻮﺍﮔﺮ ﻭ‬

‫ﻣﺎﻧﻮﺭﻫﺎﻳﺶ ﺷﻜﺴﺖ ﻧﻤﻲﺧﻮﺭﻧﺪ‪ .‬ﺑﻪ ﺗﻤﺎﻣﻲ ﺭﻭﻧﺪﻱ ﺍﺳﺖ ﺍﺷﺘﺒﺎﻩﻧﺎﭘﺬﻳﺮﻱ ﻛﻪ ﻧﻪ ﻭﺍﻗﻌﻲ ﺍﺳﺖ ﻭ ﻧﻪ‬

‫ﺭﻭﺍﻧﻜﺎﻭﺍﻧﻪ‪ ،‬ﺑﻠﻜﻪ ﺍﺳﻄﻮﺭﻩﺍﻱ ﺍﺳﺖ‪ .‬ﻛﻤﺎﻝ ﻧﻴﺮﻧﮓ‪ ،‬ﺍﺟﺘﻨﺎﺏﻧﺎﭘﺬﻳﺮﻱ ﺁﺷﻜﺎﺭﻱ ﻛﻪ ﺍﻏﻮﺍﮔﺮ ﺭﺍ ﺩﺭ‬

‫ﻛﺎﺭﻫﺎﻳﺶ ﺭﺍﻫﻨﻤﺎﻳﻲ ﻣﻲﻛﻨﺪ ﺑﻪ ﺳﺎﺩﮔﻲ ﻫﻤﭽﻮﻥ ﻳﻚ ﺁﻳﻨﻪ‪ ،‬ﺍﻧﻌﻜﺎﺳﻲ ﺍﺳﺖ ﺍﺯ ﻛﻤﺎﻝ ﺟﺬﺍﺑﻴﺖ‬

‫ﺩﺭﻭﻧﻲ ﺩﺧﺘﺮ ﻭ ﺿﺮﻭﺭﺕ ﺳﻨﮕﺪﻻﻧﻪ ﻗﺮﺑﺎﻧﻲﺷﺪﻥ ﺍﻭ‪ .‬ﺍﻳﻦ ﺍﺯ ﻫﻴﭻ ﺍﺳﺘﺮﺍﺗﮋﻱ ﺷﺨﺼﻲ ﺧﺎﺻﻲ ﻧﺎﺷﻲ‬

‫ﻧﻤﻲﺷﻮﺩ‪ .‬ﺍﻳﻦ ﺗﻘﺪﻳﺮ ﺍﺳﺖ‪ ،‬ﻳﻮﻫﺎﻧﺲ ﺗﻨﻬﺎ ﺍﺯ ﺁﻧﺮﻭ ﻛﻪ ﺍﺑﺰﺍﺭ ﭼﻨﻴﻦ ﺗﻘﺪﻳﺮﻱ ﺍﺳﺖ‪ ،‬ﺧﻄﺎﻧﺎﭘﺬﻳﺮ ﺍﺳﺖ‪.‬‬

‫ﺩﺭ ﻫﺮ ﻓﺮﺁﻳﻨﺪ ﺍﻏﻮﺍﮔﺮﻱ‪ ،‬ﺍﻣﺮﻱ ﻏﻴﺮ ﺷﺨﺼﻲ ﺭﺥ ﻣﻴﺪﻫﺪ ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺩﺭ ﻫﺮ ﺟﻨﺎﻳﺘﻲ‪ ،‬ﺍﻣﺮﻱ‬

‫ﺁﻳﻴﻨﻲ‪ ،‬ﭼﻴﺰﻱ ﻓﺮﺍﺳﻮﺑﮋﻛﺘﻴﻮ ﻭ ﻓﺮﺍﻧﻔﺴﺎﻧﻲ ﺭﺥ ﻣﻲﺩﻫﺪ‪ ،‬ﻫﺮ ﺗﺠﺮﺑﻪﺍﻱ‪ ،‬ﺧﻮﺍﻩ ﺍﻏﻮﺍﮔﺮ ﻭ ﻗﺮﺑﺎﻧﻲﺍﺵ‬

‫ﺗﻨﻬﺎ ﺑﺎﺯﺗﺎﺏ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﺁﻥ ﺍﺳﺖ‪ .‬ﺩﺭﺍﻣﺎﺗﻮﺭﮊﻱ ﺑﺪﻭﻥ ﺳﻮﮊﻩ‪ .‬ﺍﻧﺠﺎﻡ ﺁﻳﻴﻨﻲ ﻓﺮﻣﻲ ﻛﻪ ﺳﻮﮊﻩﻫﺎﻳﺶ ﺭﺍ‬

‫ﻣﺼﺮﻑ ﻣﻲﻛﻨﺪ‪ .‬ﺑﻪﻫﻤﻴﻦﺧﺎﻃﺮ ﺍﺳﺖ ﻛﻪ ﭼﻨﻴﻦ ﺍﻳﻦ ﻗﻄﻌﻪ ﻫﻢ ﺷﻜﻞ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﻲ ﻳﻚ ﺍﺛﺮ‬

‫ﻫﻨﺮﻱ ﺭﺍ ﺩﺍﺭﺩ ﻭ ﻫﻢ ﺷﻜﻞ ﺁﻳﻴﻨﻲ ﻳﻚ ﺟﻨﺎﻳﺖ ﺭﺍ‪.‬‬

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‫ﺩﺭ ﭘﺎﻳﺎﻥ ﻛﻮﺭﺩﻟﻴﺎ ﺍﻏﻮﺍ ﻣﻲﺷﻮﺩ‪ .‬ﻟﺬﺕﻫﺎﻱ ﺷﻬﻮﺍﻧﻲﺍﺵ ﺭﺍ ﺩﺭ ﻳﻚ ﺷﺐ ﺑﺮﻭﺯ ﻣﻲﺩﻫﺪ ﻭ ﺁﻧﮕﺎﻩ‬

‫ﺗﺴﻠﻴﻢ ﻣﻲﺷﻮﺩ‪ .‬ﻧﺒﺎﻳﺪ ﺍﺯ ﺍﻳﻦ ﺗﻌﺠﺐ ﻛﺮﺩ ﻭ ﺷﺨﺼﻴﺖ ﻳﻮﻫﺎﻧﺲ ﺭﺍ ﺑﺎ ﺭﻭﻳﻪ ﺭﻭﺍﻧﻜﺎﻭﻱ ﺑﻮﺭﮊﻭﺍﺯﻱ‪،‬‬

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‫ﺍﻏﻮﺍ‬

‫ﻓﺮﺩﻱ ﻣﻨﻔﻮﺭ ﺑﻪ ﺣﺴﺎﺏ ﺁﻭﺭﺩ‪ .‬ﺍﻏﻮﺍﮔﺮﻱ ﻓﺮﺁﻳﻨﺪﻱ ﻗﺮﺑﺎﻧﻲﻛﻨﻨﺪﻩ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﻳﻚ ﻗﺘﻞ )ﺍﺯﺍﻟﻪ‬

‫ﺑﻜﺎﺭﺕ( ﺑﻪ ﭘﺎﻳﺎﻥ ﻣﻲﺭﺳﺪ ﮔﺮﭼﻪ ﻧﻴﺎﺯﻱ ﻧﻴﺴﺖ ﻗﺘﻞ ﺍﻟﺰﺍﻣﺎً ﺭﺥ ﺩﻫﺪ‪ .‬ﭼﺮﺍ ﻛﻪ ﻳﻮﻫﺎﻧﺲ ﭘﻴﺮﻭﺯﻱﺍﺵ‬

‫ﺣﺘﻤﻲ ﺍﺳﺖ ﻭ ﻛﻮﺭﺩﻟﻴﺎ ﺑﺮﺍﻱ ﺍﻭ ﻣﺮﺩﻩﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺍﻏﻮﺍﻳﻲ ﻧﺎﺧﺎﻟﺼﻲ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻋﺸﻖ ﻭ ﻟﺬﺕ‬

‫ﺧﺎﺗﻤﻪ ﻣﻲﻳﺎﺑﺪ ﻭ ﺑﻨﺎﺑﺮﺍﻳﻦ ﺩﺭ ﭼﻨﻴﻦ ﺍﻏﻮﺍﻳﻲ‪ ،‬ﺩﻳﮕﺮ ﻗﺮﺑﺎﻧﻲﻛﺮﺩﻧﻲ ﺩﺭ ﻛﺎﺭ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﺗﻤﺎﻳﻼﺕ‬

‫ﺟﻨﺴﻲ ﺑﺎﻳﺪ ﺑﻪ ﻋﻨﻮﺍﻥ ﺗﻪﻣﺎﻧﺪﻩﺍﻱ ﺍﻗﺘﺼﺎﺩﻱ ﻓﺮﺁﻳﻨﺪ ﻗﺮﺑﺎﻧﻲﮔﺮﺍﻧﻪ ﺍﻏﻮﺍ ﻗﻠﻤﺪﺍﺩ ﺷﻮﺩ ﻛﻪ ﺑﻲﺷﺒﺎﻫﺖ‬

‫ﺑﻪ ﺑﺨﺶ ﭘﺲﻣﺎﻧﺪﻩ ﻣﺮﺍﺳﻢ ﻗﺮﺑﺎﻧﮕﺮﻱﻫﺎﻱ ﺑﺎﺳﺘﺎﻧﻲ ﻧﺒﻮﺩﻩ ﻛﻪ ﺍﻳﻨﻚ ﺩﺭ ﺍﻗﺘﺼﺎﺩ ﺑﻪ ﮔﺮﺩﺵ ﺩﺭ‬

‫ﻣﻲﺁﻳﺪ‪ .‬ﺳﻜﺲ ﻣﻨﺤﺼﺮﺍ ﻣﺮﺣﻠﻪ ﻧﺎﺯﻝ ﻭ ﺗﺘﻤﻪﺍﻱ ﺍﺳﺖ ﺑﺮﺍﻱ ﻓﺮﺁﻳﻨﺪﻱ ﺑﻨﻴﺎﺩﻱﺗﺮ ﻳﻌﻨﻲ ﺟﻨﺎﻳﺖ ﻳﺎ‬

‫ﻗﺮﺑﺎﻧﮕﺮﻱ ﻛﻪ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺑﻪ ﺑﺮﮔﺸﺖﭘﺬﻳﺮﻱ ﻛﺎﻣﻞ ﺑﺮﺳﺪ‪ .‬ﺧﺪﺍﻳﺎﻥ ﺁﻧﻬﺎ ﺭﺍ ﺍﺯ ﻳﻜﺪﻳﮕﺮ ﺟﺪﺍ ﻧﻤﻮﺩﻧﺪ‬

‫)ﺳﻜﺲ ﻭ ﻗﺮﺑﺎﻧﮕﺮﻱ )ﻡ(( ﺳﻬﻢ ﺍﻧﺴﺎﻧﻬﺎ ﺁﻧﭽﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﺭﻫﺎ ﺷﺪﻩﺍﺳﺖ‪.‬‬

‫ﺍﻏﻮﺍﮔﺮﻱ ﻧﺎﺧﺎﻟﺺ ﺩﻭﻥﺧﻮﺍﻥ‪ ۳۵‬ﻳﺎ ﻛﺎﺯﺍﻧﻮﺍ ﺧﻮﺩ ﺭﺍ ﻭﻗﻒ ﺍﻧﺒﺎﺷﺖ ﺍﻳﻦ ﺗﻪﻣﺎﻧﺪﮔﻲﻫﺎ ﻣﻲﻛﻨﺪ‪ .‬ﺍﺯ‬

‫ﻳﻚ ﭘﻴﺮﻭﺯﻱ ﺟﻨﺴﻲ ﺑﻪ ﺩﻳﮕﺮﻱ ﮔﺬﺭ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺁﻧﻬﺎ ﺑﺮﺍﻱ ﻟﺬﺕ ﺍﻏﻮﺍ ﻣﻲﻛﻨﻨﺪ ﺑﻲﺁﻧﻜﻪ ﺑﺨﻮﺍﻫﻨﺪ ﺑﻪ‬

‫ﺁﻧﭽﻪ ﻛﻪ ﻛﻴﺮﻛﻪﮔﻮﺭﺑﻌﺪ "ﺭﻭﺣﺎﻧﻲ" ﺍﻏﻮﺍ ﻣﻲﻧﺎﻣﺪ‪ ،‬ﺩﺳﺖﻳﺎﺯﻧﺪ ﻛﻪ ﺩﺭ ﺁﻥ ﻣﺒﺎﺭﺯﻩ‪ ،‬ﻣﻨﺎﺑﻊ ﻭ‬

‫ﻗﺪﺭﺕﻫﺎﻱ ﺍﻏﻮﺍﮔﺮﺍﻧﻪ ﺯﻥ ﺭﺍ ﻣﺤﺪﻭﺩ ﻧﻤﻮﺩﻩ ﻭ ﺑﺎ ﺑﺮﻧﺎﻣﻪﺍﻱ ﺑﻪ ﺩﻗﺖ ﻃﺮﺍﺣﻲﺷﺪﻩ‪ ،‬ﻗﺪﺭﺗﺸﺎﻥ ﺭﺍ ﺑﺮ‬

‫ﻋﻠﻴﻪ ﺧﻮﺩﺷﺎﻥ ﺑﻜﺎﺭﻣﻲﮔﻴﺮﺩ‪ .‬ﺩﺳﻴﺴﻪﺍﻱ ﻛﻪ ﻛﺎﺭﺩﻟﻴﺎ ﺭﺍ ﺑﻪ ﺗﺪﺭﻳﺞ ﺍﺯ ﻗﺪﺭﺗﺶ ﻣﺤﺮﻭﻡ ﻣﻲﻛﻨﺪ‬

‫ﻳﺎﺩﺁﻭﺭ ﻣﺮﺍﺳﻢ ﺑﻲﺷﻤﺎﺭﻱ ﺍﺳﺖ ﻛﻪ ﺑﺮﺍﻱ ﻃﺮﺩ ﻗﺪﺭﺕ ﺯﻧﺎﻧﻪ ﺩﺭ ﺳﺮﺍﺳﺮ ﺟﻮﺍﻣﻊ ﺑﺪﻭﻱ ﻳﺎﻓﺖ‬

‫ﻣﻲﺷﻮﺩ )ﺑﺘﻠﻬﻴﻢ(‪ .‬ﻣﻘﺎﺑﻠﻪ ﺑﺎ ﻗﺪﺭﺕ ﺑﺎﺭﻭﺭﻱ ﺯﻧﺎﻥ‪ ،‬ﺗﺴﻠﻂ ﻭ ﻣﺤﺪﻭﺩ ﻛﺮﺩﻥ ﺁﻥ ﻭ ﺳﺮﺍﻧﺠﺎﻡ ﻭﺍﻧﻤﻮﺩ ﻭ‬

‫ﻣﺨﺘﺺ ﻧﻤﻮﺩﻥ ﺁﻥ ﺑﻪ ﺧﻮﺩ‪ ،‬ﻫﺪﻓﻲ ﺍﺳﺖ ﻛﻪ ﺯﺧﻤﻲﻛﺮﺩﻥﻫﺎﻱ ﻣﺼﻨﻮﻋﻲ ﭘﻮﺳﺖﺗﺮﺍﺷﻲﻫﺎ ﻭ‬

‫ﺩﺍﻍﻛﺮﺩﻥﻫﺎ ﻭ ﻫﺮ ﻧﻮﻉ ﺟﺮﺍﺣﺎﺕ ﻧﻤﺎﺩﻳﻦ ﺩﻧﺒﺎﻝ ﻣﻲﻛﻨﻨﺪ )ﻭ ﻫﻤﭽﻨﻴﻦ ﺑﻨﻴﺎﻥ ﻭ ﻧﻬﺎﺩ ﻗﺪﺭﺗﻲ ﺟﺪﻳﺪ‪:‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﻗﺪﺭﺕ ﺳﻴﺎﺳﻲ( ﻫﻤﻪ ﺍﻳﻨﻬﺎ ﺑﺮﺍﻱ ﻣﻨﻜﻮﺏﻛﺮﺩﻥ ﺍﻣﺘﻴﺎﺯ ﻃﺒﻴﻌﻲ ﺑﻲﻧﻈﻴﺮ ﺯﻧﺎﻥ ﺍﺳﺖ‪ .‬ﻫﻤﭽﻨﻴﻦ ﺑﺎﻳﺪ‬

‫ﺗﺼﻮﺭﺍﺕ ﭼﻴﻨﻴﺎﻥ ﺑﺎﺳﺘﺎﻥ ﺩﺭ ﺑﺎﺏ ﺭﻭﺍﺑﻂ ﺟﻨﺴﻲ ﺭﺍ ﻣﻼﺣﻈﻪ ﻧﻤﻮﺩ ﻛﻪ ﻣﺮﺩ ﺑﺎ ﺑﺎﻗﻲ ﻧﮕﺎﻩﺩﺍﺷﺘﻦ‬

‫ﺍﺭﮔﺎﺳﻢ ﺩﺭ ﺣﺎﻟﺖ ﺗﻌﻠﻴﻖ‪ ،‬ﻗﺪﺭﺕ ﻳﺎﻧﮓ‪ ۳۶‬ﺯﻧﺎﻧﻪ ﺭﺍ ﻧﻴﺰ ﺑﻪ ﺳﻮﻱ ﺧﻮﺩ ﻣﻲﻛﺸﺎﻧﺪ‪.‬‬

‫ﺩﺭ ﻫﺮ ﺻﻮﺭﺕ‪ ،‬ﭼﻴﺰﻱ ﺑﻪ ﺯﻧﺎﻥ ﺩﺍﺩﻩﺷﺪﻩﺍﺳﺖ ﻛﻪ ﻣﻲﺑﺎﻳﺪ ﺑﻪ ﻃﺮﻳﻘﻲ ﺑﺎ ﻣﺒﺎﺭﺯﻩﺍﻱ ﺳﻨﺠﻴﺪﻩ‪،‬‬

‫ﻗﺪﺭﺕ ﺁﻥ ﭼﻴﺰ ﺭﺍ ﺍﺯ ﺁﻧﺎﻥ ﮔﺮﻓﺖ‪ .‬ﻭ ﺍﺯ ﺍﻳﻦ ﺩﻳﺪﮔﺎﻩ "ﻗﺮﺑﺎﻧﻲ ﻛﻨﻨﺪﻩ"‪ ،‬ﻫﻴﭻ ﺗﻔﺎﻭﺗﻲ ﺑﻴﻦ ﺍﻏﻮﺍﻱ‬

‫ﺯﻧﺎﻥ ﻭ ﺍﺳﺘﺮﺍﺗﮋﻱ ﻣﺮﺩ ﺍﻏﻮﺍﮔﺮ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ :‬ﺁﻧﻬﺎ ﻫﺮ ﺩﻭ ﺧﻮﺍﻫﺎﻥ ﻣﺮﮒ ﻭ ﺗﺒﺎﻫﻲ ﺫﻫﻨﻲ ﺩﻳﮕﺮﻱﺍﻧﺪ‪.‬‬

‫ﺭﺑﻮﺩﻥ ﺩﻳﮕﺮﻱ ﻭ ﺭﺑﻮﺩﻥ ﻗﺪﺭﺗﺶ‪ .‬ﻗﻀﻴﻪ ﻫﻤﻴﺸﻪ ﻛﺸﺘﻦ ﻳﺎ ﺑﻬﺘﺮ ﺑﮕﻮﻳﻴﻢ ﻗﺮﺑﺎﻧﻲﻛﺮﺩﻥ‬

‫ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﺎﻧﻪ ﻭ ﺟﺎﻧﺒﺎﺯﺍﻧﻪﺍﻱ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺯﻋﻢ ﻛﻴﺮﻛﻪﮔﻮﺭﻫﻤﻴﺸﻪ ﺩﺭ ﺳﻄﺤﻲ ﺭﻭﺣﺎﻧﻲ ﺭﺥ‬

‫ﻣﻲﺩﻫﺪ‪.‬‬

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‫ﺍﻏﻮﺍ‬

‫ﺩﺭﺑﺎﺭﻩ ﻟﺬﺕ ﺭﻭﺣﺎﻧﻲ ﺍﻏﻮﺍ‬

‫ﺑﺮﻃﺒﻖ ﻧﻈﺮ ﻛﻴﺮﻛﻪﮔﻮﺭ ﺳﻨﺎﺭﻳﻮ ﺍﻏﻮﺍ‪" ،‬ﺭﻭﺣﺎﻧﻲ" ﺍﺳﺖ‪ .‬ﺩﺭﺧﻮﺍﺳﺖ ﺭﻭﺣﻲ ﺍﺳﺖ ﻛﻪ ﺑﺎﻳﺪ‬

‫ﮔﻔﺖ ﺩﺭ ﻣﻌﻨﺎﻱ ﻗﺮﻥ ﻫﺠﺪﻫﻤﻲﺍﺵ‪ ،‬ﺯﻳﺮﻛﻲ‪ ،‬ﺍﻓﺴﻮﻥ ﻭ ﭘﺎﻟﻮﺩﮔﻲ ﺍﺳﺖ ﺍﻣﺎ ﺩﺭ ﻣﻌﻨﺎﻱ ﻣﺪﺭﻥﺍﺵ‬

‫‪" ،witz‬ﺿﺮﺑﻪﻱ ﻫﻮﺵ"‪ ۳۷‬ﺍﺳﺖ‪ .‬ﺍﻏﻮﺍ ﻫﺮﮔﺰ ﺑﺎ ﺍﻣﻴﺎﻝ ﺩﻳﮕﺮ ﻭ ﻳﺎ ﺗﻤﺎﻳﻼﺕ ﻋﺎﺷﻘﺎﻧﻪ ﺑﺎﺯﻱ ﻧﻤﻲﻛﻨﺪ‪،‬‬

‫ﺍﻳﻦ ﭼﻴﺰﻱ ﻣﺒﺘﺬﻝ‪ ،‬ﺷﻬﻮﺍﻧﻲ‪ ،‬ﻣﻜﺎﻧﻴﻜﻲ ﻭ ﺧﻼﺻﻪ ﻧﺎﭘﺴﻨﺪ ﺍﺳﺖ‪ .‬ﻫﻤﻪﭼﻴﺰ ﺑﺎﻳﺪ ﺑﺎ ﻛﻨﺎﻳﻪﺍﻱ ﺯﻳﺮﻛﺎﻧﻪ‬

‫ﭘﺎﺳﺦ ﺩﺍﺩﻩﺷﻮﺩ‪ .‬ﺑﺎ ﺗﻤﺎﻣﻲ ﻧﺸﺎﻧﻪﻫﺎﻳﻲ ﻛﻪ ﺩﺍﻣﻲ ﺭﺍ ﭘﻬﻦ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺗﺰﻭﻳﺮﻫﺎﻱ ﻣﺮﺩ ﺍﻏﻮﺍﮔﺮ‬

‫ﺑﺎﺯﺗﺎﺑﻲ ﺍﺳﺖ ﺍﺯ ﻃﺒﻴﻌﺖ ﺍﻏﻮﺍﮔﺮﺍﻧﻪ ﺩﺧﺘﺮ ﻭ )ﮔﺮﭼﻪ ﺍﻏﻮﺍﮔﺮﻱ ﻃﺒﻴﻌﻲ ﺩﺧﺘﺮ ﻧﻴﺰ ﺧﻮﺩ ﺑﺨﺸﻲ ﺍﺯ‬

‫ﻣﺮﺣﻠﻪ ﻛﻨﺎﻳﻲ ﺗﻮﻟﻴﺪ ﺍﺳﺖ(‪ ،‬ﻓﺮﻳﺒﻲ ﺳﻨﺠﻴﺪﻩ ﻛﻪ ﺩﺧﺘﺮ ﺭﺍ ﺑﺪﻭﻥ ﺗﻘﻼ ﺑﻪ ﭼﻨﮓ ﺧﻮﺩ ﻣﻲﺁﻭﺭﺩ‪.‬‬

‫ﺑﻨﺎﺑﺮﺍﻳﻦ ﺍﻳﻦ ﻓﺮﻳﺐ ﺣﻤﻠﻪ ﺑﻪ ﺟﻠﻮ ﻧﻴﺴﺖ ﺑﻞ ﺍﻏﻮﺍﻳﻲ ﻗﻄﺮﻱ ﺍﺳﺖ ﻛﻪ ﻣﺎﻧﻨﺪ ﻳﻚ ﺿﺮﺑﻪ )ﻱ ﻗﻠﻢ‬

‫ﻣﻮ؟( )ﻭ ﭼﻪ ﭼﻴﺰﻱ ﺍﻏﻮﺍﮔﺮﺍﻧﻪﺗﺮ ﺍﺯ ﺿﺮﺑﻪ ﻫﻮﺵ ﺍﺳﺖ( ﺑﺎ ﭼﺎﻻﻛﻲ ﻭ ﺻﺮﻓﻪﺟﻮﻳﻲ ﺧﺎﺻﻲ ﻭ ﺑﻪ ﺑﻴﺎﻥ‬

‫ﻓﺮﻭﻳﺪﻱ‪ ،‬ﺑﺎ ﺑﻬﺮﻩﮔﻴﺮﻱ ﺍﺯ ﻣﻮﺍﺩ )ﺣﺮﻳﻒ ﺧﻮﺩ‪ -‬ﻣﺘﺮﺟﻢ( ﻋﻤﻞ ﻣﻲﻛﻨﺪ‪ .‬ﺳﻼﺡﻫﺎﻱ ﻣﺮﺩ ﺍﻏﻮﺍﮔﺮ‬

‫ﻫﻤﺎﻥ ﭼﻴﺰﻫﺎﻳﻲ ﺍﺳﺖ ﻛﻪ ﺩﺧﺘﺮ ﺩﺍﺭﺩ ﻭ ﻣﺮﺩ ﺑﺮ ﻋﻠﻴﻪ ﺧﻮﺩ ﺩﺧﺘﺮ ﺑﻪ ﻛﺎﺭ ﻣﻲﺑﺮﺩ ﻭ ﻫﻤﻴﻦ‬

‫ﺑﺮﮔﺸﺖﭘﺬﻳﺮﻱ‪ ،‬ﺍﺳﺘﺮﺍﺗﮋﻱ ﺩﺭﺧﻮﺍﺳﺖ "ﺭﻭﺣﺎﻧﻲ" ﺍﻭﺳﺖ‪.‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﮔﻔﺘﻪﺷﺪﻩ ﻭ ﺗﺼﺪﻳﻖﺷﺪﻩ ﻛﻪ ﺁﻳﻨﻪﻫﺎ ﺭﻭﺣﺎﻧﻲﺍﻧﺪ‪ .‬ﺑﺎﺯﺗﺎﺏ ﺧﻮﺩ ﺿﺮﺑﻪﺍﻱ ﺑﺮ ﻫﻮﺵ ﺍﺳﺖ ﭼﺮﺍ‬

‫ﻛﻪ ﺟﺎﺩﻭﻱ ﺁﻳﻨﻪﻫﺎ ﺩﺭ ﺍﻳﻦ ﻧﻴﺴﺖ ﻛﻪ ﻭﺍﻗﻌﻴﺖ‪ ،‬ﺧﻮﻳﺸﺘﻦ ﺭﺍ ﺩﺭ ﺁﻥ ﺗﺸﺨﻴﺺ ﻣﻲﺩﻫﺪ )ﺩﺭ ﺧﻮﺩ‬

‫ﺍﻧﻄﺒﺎﻗﻲ ﻧﺴﺒﺘﺎً ﻣﺨﻮﻑ ﺩﺍﺭﻧﺪ( ﺑﻠﻜﻪ ﺩﺭ ﺿﺮﺑﻪ ﻛﻨﺎﻳﻲ ﻭ ﺍﺳﺮﺍﺭﺁﻣﻴﺰﻱ ﭼﻨﻴﻦ ﺗﻜﺜﻴﺮﻱ ﺍﺳﺖ‪.‬‬

‫ﺍﺳﺘﺮﺍﺗﮋﻱ ﻣﺮﺩ ﺍﻏﻮﺍﮔﺮ ﺩﻗﻴﻘﺎً ﺍﺯ ﺁﻳﻨﻪ ﻣﻲﺁﻳﺪ‪ .‬ﺍﺯ ﺁﻧﺠﺎ ﻛﻪ ﺍﻭ ﺩﺭ ﻧﻬﺎﻳﺖ‪ ،‬ﻛﺴﻲ ﺭﺍ ﻓﺮﻳﺐ ﻧﻤﻲﺩﻫﺪ‬

‫ﻫﺮﮔﺰ ﺧﻮﺩﺵ ﺭﺍ ﻧﻴﺰ ﻓﺮﻳﺐ ﻧﻤﻲﺩﻫﺪ‪ :‬ﭼﺮﺍ ﻛﻪ ﺁﻳﻨﻪ ﺧﻄﺎﻧﺎﭘﺬﻳﺮ ﺍﺳﺖ‪) .‬ﺍﮔﺮ ﻣﺎﻧﻮﺭﻫﺎ ﻭ ﺩﺍﻡﻫﺎﻱ ﺍﻭ ﺍﺯ‬

‫ﺑﻴﺮﻭﻥ ﺍﺧﺬ ﻣﻲﺷﺪ ﺑﺪﻭﻥ ﺷﻚ ﻣﺮﺗﻜﺐ ﺧﻄﺎﻳﻲ ﻣﻲﮔﺸﺖ(‬

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‫ﺍﻏﻮﺍﻱ ﺩﻳﮕﺮﻱ ﺍﺯ ﺍﻳﻦ ﻧﻮﻉ ﺭﺍ ﻛﻪ ﺍﺭﺯﺵ ﺑﻮﺩﻥ ﺩﺭ ﺳﺎﻟﻨﺎﻣﻪﻱ ﺍﻏﻮﺍ ﺭﺍ ﺩﺍﺷﺘﻪﺑﺎﺷﺪ ﺩﺭ ﻧﻈﺮ‬

‫ﺑﮕﻴﺮﻳﺪ‪ :‬ﻧﺎﻣﻪﺍﻱ ﻳﻜﺴﺎﻥ ﻧﻮﺷﺘﻪﻱ ﺩﻭ ﺯﻥ ﻣﺨﺘﻠﻒ ﻭ ﻧﻮﺷﺘﻪﺷﺪﻩ ﻧﻪ ﺟﺪﺍ ﺍﺯ ﺷﺮﺍﺭﺕ‪ ،‬ﺑﻠﻜﻪ ﺟﺪﺍ ﺍﺯ‬

‫ﺷﻔﺎﻓﻴﺖ ﻗﻠﺐ ﻭ ﺭﻭﺡ ﻫﺮ ﺩﻭ ﻧﺎﻣﻪ ﺳﺮﺷﺎﺭ ﺍﺯ ﺍﺣﺴﺎﺳﺎﺕ ﻋﺎﺷﻘﺎﻧﻪ ﻫﻤﺴﺎﻧﻲﺍﻧﺪ ﺍﻳﻦ ﺍﺣﺴﺎﺳﺎﺕ‬

‫ﻭﺍﻗﻌﻲﺍﻧﺪ ﻭ ﻫﺮﻛﺪﺍﻡ ﻛﻴﻔﻴﺖ ﺧﺎﺹ ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﺩﺍﺭﻧﺪ‪ .‬ﺍﻣﺎ ﻧﺒﺎﻳﺪ ﺍﻳﻦ ﻛﻴﻔﻴﺎﺕ ﺭﺍ ﺑﺎ ﻟﺬﺍﺕ‬

‫"ﺭﻭﺣﺎﻧﻲ" ﻛﻪ ﺍﺯ ﺗﺄﺛﻴﺮ ﺍﻧﻌﻜﺎﺳﻲ ﺑﻮﺳﻴﻠﻪ ﺩﻭ ﻧﺎﻣﻪ ﻭ ﺑﻴﻦ ﺩﻭ ﺯﻥ ﺍﻳﺠﺎﺩ ﻣﻲﺷﻮﺩ ﻳﻌﻨﻲ ﺑﻪ ﺑﻬﺘﺮﻳﻦ‬

‫ﺷﻜﻞ ﻛﻠﻤﻪ ﺍﺯ ﻟﺬﺕ ﺍﻏﻮﺍﮔﺮﻱ ﺍﺷﺘﺒﺎﻩ ﮔﺮﻓﺖ‪ .‬ﺍﻳﻦ ﻟﺬﺕ "ﺭﻭﺣﺎﻧﻲ"‪ ،‬ﻛﺎﻣﻼً ﻣﺘﻔﺎﻭﺕ ﻭ ﺳﺮﺯﻧﺪﻩﺗﺮ ﻭ‬

‫ﺯﻳﺮﻛﺎﻧﻪﺗﺮ ﺍﺯ ﻋﺸﻖ ﺍﺳﺖ‪ .‬ﺍﺣﺴﺎﺳﺎﺗﻲ ﻛﻪ ﺍﺯ ﻣﻴﻞ ﺳﺮﭼﺸﻤﻪ ﻣﻲﮔﻴﺮﻧﺪ‪ ،‬ﻫﺮﮔﺰ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺑﺎ ﺣﻆ‬

‫ﺭﺍﺯﻭﺭﺯﺍﻧﻪ ﻭ ﺳﺮﺷﺎﺭﻱ ﻛﻪ ﻓﺮﺩ ﺩﺭ ﺑﺎﺯﻱﻛﺮﺩﻥ ﺑﺎ ﻣﻴﻠﺶ ﺗﺠﺮﺑﻪ ﻣﻲﻛﻨﺪ‪ ،‬ﻳﻜﻲ ﺩﺍﻧﺴﺖ‪ .‬ﻣﻴﻞ ﺑﻪ‬

‫ﺳﺎﺩﮔﻲ ﻣﺎﻧﻨﺪ ﻫﺮ ﭼﻴﺰ ﺩﻳﮕﺮﻱ ﺍﻣﺮﻱ ﺍﺭﺟﺎﻋﻲ ﺍﺳﺖ‪ ،‬ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﺍﻏﻮﺍﮔﺮﻱ ﺑﺎ ﺧﺎﺻﻴﺖ‬

‫»ﺭﻭﺣﺎﻧﻲ«ﺍﺵ ﺑﺮﺗﺮ ﻭ ﻓﺮﺍﺗﺮ ﺍﺳﺖ‪ .‬ﺍﻏﻮﺍ ﻳﻚ ﺿﺮﺑﻪ ﺍﺳﺖ‪ :‬ﺍﺗﺼﺎﻝ ﻛﻮﺗﺎﻩ ﺩﻭ ﮔﻴﺮﻧﺪﻩ ﺩﺭ ﻳﻚ ﻧﻮﻉ‬

‫ﺍﻧﻄﺒﺎﻕ ﻭ ﺭﻭﻱ ﻫﻢ ﺍﻓﺘﺎﺩﮔﻲ ﺧﻴﺎﻟﻲ ﻛﻪ ﺩﺭ ﺁﻥ ﻣﻴﻞ ﻣﻐﺸﻮﺵ ﻣﻲﮔﺮﺩﺩ‪ .‬ﺩﺭ ﻫﺮ ﺣﺎﻟﺖ ﺍﻳﻦ ﺗﻤﺎﺱ‬

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‫ﺍﻏﻮﺍ‬

‫ﻣﻴﻞ ﺭﺍ ﺳﺮﺩﺭﮔﻢ ﻭ ﮔﻨﮓ ﻭ ﻧﺎﻣﻌﻠﻮﻡ ﻣﻲﻛﻨﺪ ﻭ ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﺳﺮﮔﻴﺠﻪ ﺍ ﻱ ﺿﻌﻴﻒ ﺗﻮﻟﻴﺪ ﻣﻲﻛﻨﺪ‬

‫ﻛﻪ ﺍﺯ ﻳﻚ ﻋﺪﻡ ﻭﺟﻮﺩ ﺗﻔﺎﻭﺕ ﻣﺘﻌﺎﻟﻲ ﻭ ﺍﺯ ﺧﻨﺪﻩﺍﻱ ﻛﻪ ﺩﺭ ﮔﻴﺮﻱ ِ ﻫﻨﻮﺯ ﺟﺪﻱ ﺁﻧﺮﺍ ﻣﺘﺰﻟﺰﻝ‬

‫ﻣﻲﺳﺎﺯﺩ ﻧﺸﺎﺕ ﻣﻲﮔﻴﺮﺩ ﭘﺲ ﺍﻏﻮﺍ ﻛﺮﺩﻥ ﻫﻢ ﺳﺎﺧﺘﻦ ﻓﻴﮕﻮﺭﻫﺎ ﻭ ﻫﻢ ﻧﺸﺎﻧﻪﻫﺎ ﺍﺳﺖ )ﻧﺸﺎﻧﻪﻫﺎ‬

‫ﺑﻮﺳﻴﻠﻪ ﻓﺮﻳﺒﻬﺎﻳﺶ ﺣﻔﻆ ﻣﻲﺷﻮﺩ‪ (.‬ﻛﻪ ﺑﺎ ﺧﻮﻳﺸﺘﻦ ﺑﺎﺯﻱ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺍﻏﻮﺍ ﻫﺮﮔﺰ ﻧﺘﻴﺠﻪ ﺟﺎﺫﺑﻪﺍﻱ‬

‫ﻓﻴﺰﻳﻜﻲ ﻳﺎ ﭘﻴﻮﺳﺘﮕﻲ ﺍﺣﺴﺎﺳﺎﺕ ﻭ ﺍﻗﺘﺼﺎﺩ ﻣﻴﻞ ﻧﻴﺴﺖ‪ .‬ﻧﺰﺩ ﺍﻏﻮﺍ ﺑﺮﺍﻱ ﺍﻳﺠﺎﺩ ﻳﻚ ﺗﻮﻫﻢ ﺑﺎﻳﺪ‬

‫ﺗﺼﺎﻭﻳﺮ ﺭﺍ ﺩﺭ ﻫﻢ ﺁﻣﻴﺨﺖ‪ ،‬ﺿﺮﺑﻪﺍﻱ ﻛﻪ ﻣﺎﻧﻨﺪ ﺭﻭﻳﺎ ﭼﻴﺰﻫﺎﻱ ﻣﻨﻔﺼﻞ ﺭﺍ ﺑﺎ ﻳﻜﺪﻳﮕﺮ ﺩﺭ ﻫﻢ‬

‫ﻣﻲﺁﻣﻴﺰﺩ ﻳﺎ ﻧﺎﮔﻬﺎﻥ ﭼﻴﺰﻫﺎﻱ ﻏﻴﺮ ﻗﺎﺑﻞ ﺗﻘﺴﻴﻢ ﺭﺍ ﺍﺯ ﻫﻢ ﻣﻲﮔﺴﻼﻧﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺩﻭﻣﻴﻦ ﺯﻥ ﺑﻪ ﻃﺮﺯ‬

‫ﻣﻘﺎﻣﺖﻧﺎﭘﺬﻳﺮﻱ ﻭﺳﻮﺳﻪ ﺷﺪ ﻛﻪ ﻧﺎﻣﻪ ﺍﻭﻝ ﺭﺍ ﺑﺎﺯﻧﻮﻳﺴﻲ ﻛﻨﺪ ﮔﻮﻳﻲ ﻳﻚ ﻭﺳﻮﺳﻪ ﻣﻲﺗﻮﺍﻧﺴﺖ ﺑﻪ‬

‫ﻃﻮﺭ ﻣﺴﺘﻘﻞ ﻭ ﻛﻨﺎﻳﻲ ﻋﻤﻞ ﻛﻨﺪ ﻭ ﮔﻮﻳﻲ ﻛﻪ ﺧﻮﺩ ﺍﻳﺪﻩ ﻣﻲﺗﻮﺍﻧﺴﺖ ﺍﻏﻮﺍﮔﺮﺍﻧﻪ ﺑﺎﺷﺪ‪ .‬ﺑﺎﺯﻳﻲ ﺑﺪﻭﻥ‬

‫ﭘﺎﻳﺎﻥ ﻛﻪ ﻧﺸﺎﻧﻪﻫﺎ ﮔﻮﻳﻲ ﺍﺯ ﻳﻚ ﻣﻌﻨﺎﻱ ﻣﺘﺪﺍﻭﻡ ﻛﻨﺎﻳﻪ‪ ،‬ﺑﻲﺍﺧﺘﻴﺎﺭ ﺷﺮﻳﻚ ﻳﻜﺪﻳﮕﺮ ﻣﻲﺷﻮﻧﺪ‪ .‬ﺷﺎﻳﺪ‬

‫ﺍﻳﻦ ﻧﺸﺎﻧﻪﻫﺎ ﻫﺴﺘﻨﺪ ﻛﻪ ﻣﻲﺧﻮﺍﻫﻨﺪ ﺍﻏﻮﺍ ﺷﻮﻧﺪ‪ .‬ﺷﺎﻳﺪ ﺁﻧﻬﺎ ﺣﺘﻲ ﺑﻴﺸﺘﺮ ﺍﺯ ﺍﻧﺴﺎﻧﻬﺎ ﺗﻤﺎﻳﻞ ﺩﺍﺭﻧﺪ‬

‫ﻛﻪ ﺍﻏﻮﺍ ﻛﻨﻨﺪ ﻭ ﺍﻏﻮﺍ ﺷﻮﻧﺪ‪.‬‬

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‫ﺷﺎﻳﺪ ﻧﺸﺎﻧﻪﻫﺎ ﺑﺮﺍﻱ ﺍﻳﻦ ﻃﺮﺡ ﻧﺸﺪﻩﺍﻧﺪ ﻛﻪ ﺩﺭ ﺗﻘﺎﺑﻠﻬﺎﻱ ﺛﺎﺑﺖ ﺑﺮﺍﻱ ﺍﻳﺠﺎﺩ ﻣﻌﻨﺎ ﺑﻜﺎﺭ‬

‫ﮔﺮﻓﺘﻪﺷﻮﻧﺪ ﻭ ﺍﻳﻦ ﻓﻘﻂ ﺳﺮﻧﻮﺷﺖ ﺣﺎﻝ ﺣﺎﺿﺮﺷﺎﻥ ﺍﺳﺖ‪ .‬ﺳﺮﻧﻮﺷﺖ ﻭﺍﻗﻌﻲ ﺁﻧﻬﺎ ﺷﺎﻳﺪ ﺑﻜﻠﻲ‬

‫ﻣﺘﻔﺎﻭﺕ ﺑﺎﺷﺪ‪ :‬ﺍﻏﻮﺍﻛﺮﺩﻥ ﻳﻜﺪﻳﮕﺮ ﻭ ﺑﺪﺍﻥ ﻃﺮﻳﻖ ﺍﻏﻮﺍﻛﺮﺩﻥ ﻣﺎ‪ .‬ﺍﮔﺮ ﭼﻨﻴﻦ ﺑﺎﺷﺪ‪ ،‬ﻣﻨﻄﻘﻲ ﺑﻜﻠﻲ‬

‫ﻣﺘﻔﺎﻭﺕ ﺩﺭ ﭘﺸﺖ ﮔﺮﺩﺵ ﺭﺍﺯﮔﻮﻧﻪ ﺁﻧﻬﺎ ﻧﻬﻔﺘﻪ ﺍﺳﺖ‪ .‬ﺁﻳﺎ ﻣﻲﺗﻮﺍﻧﻴﻢ ﻧﻈﺮﻳﻪﺍﻱ ﺭﺍ ﻣﺘﺼﻮﺭ ﺷﻮﻳﻢ ﻛﻪ‬

‫ﻧﺸﺎﻧﻪﻫﺎ ﺭﺍ ﺑﻪ ﺟﺎﻱ ﺗﺒﺎﻳﻦﻫﺎ ﻭ ﺗﻘﺎﺑﻞﻫﺎﻳﺸﺎﻥ ﺑﺎ ﺟﺎﺫﺑﻪ ﺍﻏﻮﺍﮔﺮﺍﻧﻪﺷﺎﻥ ﺑﻜﺎﺭﮔﻴﺮﺩ؟ ﻧﻈﺮﻳﻪﺍﻱ ﻛﻪ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﻃﺒﻴﻌﺖ ﺑﺎﺯﺗﺎﺑﻨﺪﻩ ﻧﺸﺎﻧﻪ ﻭ ﺩﺳﺖ ﻭﭘﺎ ﮔﻴﺮﻱ ﺍﻣﺮ ﺍﺭﺟﺎﻋﻲ ﺭﺍ ﺩﺭ ﻫﻢ ﺷﻜﻨﺪ؟ ﻭ ﺩﺭ ﺍﻥ ﺍﺻﻄﻼﺣﺎﺕ‬

‫ﻣﻴﺎﻥ ﺧﻮﺩ ﺩﺭ ﭼﺎﺭﭼﻮﺏ ﺭﻭﺍﺑﻂ ﺩﻭﺋﻠﻲ ﻣﻌﻤﺎﻭﺍﺭ ﻭ ﺑﺮﮔﺸﺖﭘﺬﻳﺮﻱﻫﺎﻱ ﺗﺴﻠﻴﻢﻧﺎﭘﺬﻳﺮ ﺑﺎﺯﻱ ﻛﻨﻨﺪ؟‬

‫ﻓﺮﺽ ﻛﻨﻴﺪ ﺗﻤﺎﻣﻲﺗﻘﺎﺑﻞﻫﺎﻱ ﺗﻔﻜﻴﻚﺩﻫﻨﺪﻩ ﻭ ﺍﺻﻠﻲ ﻛﻪ ﺑﺎ ﺁﻥ ﺟﻬﺎﻧﻤﺎﻥ ﺭﺍ ﺳﺎﻣﺎﻥ‬

‫ﺑﺨﺸﻴﺪﻩﺍﻳﻢ ﺑﺎ ﺍﻏﻮﺍﮔﺮﻱ ﺍﺯ ﻫﻢ ﺑﭙﺎﺷﺪ ﻭ ﺟﺎﻱ ﺗﻘﺎﺑﻞﻫﺎ ﻭ ﺗﻀﺎﺩﻫﺎ ﺭﺍ ﺑﮕﻴﺮﺩ‪ .‬ﺗﺼﻮﺭ ﻛﻨﻴﺪ ﻛﻪ ﻧﻪ ﺗﻨﻬﺎ‬

‫ﺯﻧﺎﻧﮕﻲ‪ ،‬ﻣﺮﺩﺍﻧﮕﻲ ﺭﺍ ﺍﻏﻮﺍ ﻛﻨﺪ ﺑﻠﻜﻪ ﻏﻴﺎﺏ ﻧﻴﺰ ﺣﻀﻮﺭ ﺭﺍ ﺍﻏﻮﺍ ﻧﻤﺎﻳﺪ‪ ،‬ﺳﺮﺩﻱ ﮔﺮﻣﻲ ﺭﺍ ﺳﻮﮊﻩ‪ ،‬ﺍﺑﮋﻩ ﺭﺍ‬

‫ﻭ ﻣﻄﺌﻤﻦ ﺑﺎﺷﻴﺪ ﻛﻪ )ﺍﻳﻦ ﺍﻏﻮﺍﻫﺎ( ﻭﺍﮊﮔﻮﻧﻪ ﻣﻲﺷﻮﻧﺪ‪ .‬ﭼﺮﺍ ﻛﻪ ﺍﻏﻮﺍﮔﺮﻱ ﻣﻲﺩﺍﻧﺪ ﻛﻮﭼﻜﺘﺮﻳﻦ‬

‫ﺑﺮﮔﺸﺖﭘﺬﻳﺮﻱ ﺑﺮ ﻫﺮ ﺗﻘﺎﺑﻠﻲ ﻭ ﻫﻨﺮ ﻧﺸﺎﻧﻪﺷﻨﺎﺳﻲ ﻗﺮﺍﺭﺩﺍﺩﻱ ﭘﺎﻳﺎﻥ ﻣﻲﺑﺨﺸﺪ‪ .‬ﻳﻌﻨﻲ ﺑﻪ ﻃﺮﻑ ﻳﻚ‬

‫ﻧﺸﺎﻧﻪﺷﻨﺎﺳﻲ ﻣﻌﻜﻮﺱ؟‬

‫ﻓﺮﺽ ﻛﻨﻴﺪ ﻛﻪ )ﻭ ﺍﺻﻼً ﭼﺮﺍ ﻓﺮﺽ ﻛﻨﻴﻢ ﻭﻗﺘﻲ ﺩﺭ ﻳﻮﻧﺎﻥ ﺑﺎﺳﺘﺎﻥ ﭼﻨﻴﻦ ﻓﺮﺿﻲ ﺭﺥ‬

‫ﺩﺍﺩﻩﺍﺳﺖ( ﻛﻪ ﺧﺪﺍﻳﺎﻥ ﻭ ﻓﺎﻧﻴﺎﻥ ﺩﺭ ﻋﻮﺽ ﺍﻳﻨﻜﻪ ﺑﺎ ﻣﻐﺎﻛﻬﺎﻱ ﺍﺧﻼﻗﻲ ﺩﻳﻦ ﺍﺯ ﻳﻜﺪﻳﮕﺮ ﻣﺠﺰﺍ ﺷﻮﻧﺪ‬

‫ﺩﺭ ﭘﻲ ﺍﻏﻮﺍ ﻧﻤﻮﺩﻥ ﻳﻜﺪﻳﮕﺮ ﺑﺮﺁﻳﻨﺪ ﻭ ﺑﺮﺍﺳﺘﻲ ﺩﻳﮕﺮ ﻫﻴﭻ ﺩﻳﻨﻲ ﺟﺰ ﺍﻏﻮﺍﮔﺮﻱ ﺑﺎﻗﻲ ﻧﻤﻲﻣﺎﻧﺪ‪.‬‬

‫ﻋﻼﻭﻩ ﺑﺮ ﺍﻳﻦ‪ ،‬ﺷﺎﻳﺪ ﺗﻤﺎﻣﻲﺗﻤﺎﻳﺰﺍﺕ ﺍﺻﻠﻲ ﻛﻪ ﺑﺮﺍﻱ ﻛﺸﻒ ﺭﻣﺰ ﺟﻬﺎﻥ ﻣﺤﺪﻭﺩ ﻧﻤﻮﺩﻥ ﺁﻥ ﺩﺭ‬

‫ﺍﺳﺎﺭﺕ ﻣﻌﻨﺎ ﺑﻜﺎﺭ ﻣﻲﺑﺮﻳﻢ‪ ،‬ﻣﻴﺎﻥ ﺁﻧﻬﺎ ﺑﺮﺍﻱ ﻣﺜﺎﻝ ﺧﺪﺍ ﻭ ﺷﻴﻄﺎﻥ ﺩﺭﺳﺖ ﻭ ﻏﻠﻂ‪ -‬ﻭ ﺗﻤﺎﻣﻲ‬

‫ﻋﺒﺎﺭﺍﺗﻲ ﻛﻪ ﺑﺎ ﺩﻗﺖ ﺍﺯ ﻳﻜﺪﻳﮕﺮ ﺑﺎ ﻣﻘﺪﻳﺮ ﻋﻈﻴﻢ ﺍﻧﺮﮊﻱ ﻣﺠﺰﺍ ﺷﺪﻩﺍﻧﺪ‪ -‬ﻣﻮﻓﻖ ﺑﻪ ﭼﻨﻴﻦ ﺗﻤﺎﻳﺰﻱ‬

‫ﻧﺸﺪﻩﺍﻧﺪ‪ .‬ﻓﺎﺟﻌﻪ ﻭﺍﻗﻌﻲ‪ ،‬ﺍﻧﻘﻼﺏﻫﺎﻱ ﻭﺍﻗﻌﻲ ﻫﻤﻴﺸﻪ ﺩﺭ ﻓﺮﻭﭘﺎﺷﻲ ﻭ ﺍﻧﻔﺠﺎﺭ ﻳﻜﻲ ﺍﺯ ﺳﻴﺴﺘﻢﻫﺎﻱ‬

‫ﺩﻭﺗﺎﻳﻲ ﺍﺳﺖ‪ .‬ﻳﻚ ﺟﻬﺎﻥ ﻳﺎ ﺑﺨﺸﻲ ﺍﺯ ﺟﻬﺎﻥ ﺑﻪ ﺍﻧﺘﻬﺎﻱ ﺧﻮﺩ ﻣﻲﺭﺳﺪ‪ ،‬ﺍﮔﺮﭼﻪ ﻣﻌﻤﻮﻻً ﺍﻳﻦ ﺍﻧﻔﺠﺎﺭ‬

‫ﺑﻪ ﺁﻫﺴﺘﮕﻲ ﺭﺥ ﻣﻲﺩﻫﺪ ﻭ ﺩﻭﺗﺎﻳﻲﻫﺎ ﺑﻪ ﺗﺪﺭﻳﺞ ﺍﺯ ﻫﻢ ﻣﻲﭘﺎﺷﻨﺪ‪ .‬ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ ﻣﺎ ﺷﺎﻫﺪ‬

‫ﻓﺮﺳﺎﻳﺶ ﺁﻫﺴﺘﻪ ﻭ ﻫﻤﺰﻣﺎﻥ ﺳﺎﺧﺘﺎﺭﻫﺎﻱ ﻗﻄﺒﻲ ﺧﻮﺩ ﻫﺴﺘﻴﻢ ﻭ ﺑﻪ ﺳﻤﺖ ﺟﻬﺎﻧﻲ ﺩﺭ ﺣﺮﻛﺘﻴﻢ ﻛﻪ‬

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‫ﺍﻏﻮﺍ‬

‫ﻫﺮ ﺑﻌﺪ ﻣﻌﻨﺎﻳﻲ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻣﻲﺩﻫﺪ‪ .‬ﻋﺪﻡ ﺳﺮﻣﺎﻳﻪ ﮔﺬﺍﺭﻱ‪ ،‬ﻋﺪﻡ ﻓﺮﻳﻔﺘﮕﻲ ﻭ ﺳﺮﺩﻱ ﭘﺎﻳﺎﻥ ﺟﻬﺎﻥ؛‬

‫ﭘﺎﻳﺎﻥ ﺟﻬﺎﻥ ﺑﻪ ﻣﺜﺎﺑﻪ ﺍﺭﺍﺩﻩ ﻭ ﺑﺎﺯﻧﻤﻮﺩ‪) .‬ﺍﺷﺎﺭﻩ ﺑﻪ ﻛﺘﺎﺏ ﺷﻮﭘﻦ ﻫﺎﻭﺭ‪ -‬ﻣﺘﺮﺟﻢ(‬

‫ﺍﻣﺎ ﺍﻳﻦ ﺧﻨﺜﻲﺳﺎﺯﻱ ﺍﻏﻮﺍﮔﺮﺍﻧﻪ ﻧﻴﺴﺖ‪ .‬ﺍﻏﻮﺍﮔﺮﻱ ﺳﻮﻳﻪﻫﺎﻱ ﺩﻭﺗﺎﻳﻲ ﺭﺍ ﺑﻪ ﺳﻤﺖ ﻳﻜﺪﻳﮕﺮ‬

‫ﻣﻲﻛﺸﺎﻧﺪ ﻭ ﺩﺭ ﻧﻘﻄﻪ ﺑﻴﺸﻴﻨﻪ ﺍﻧﺮﮊﻱ ﻭ ﺍﻓﺴﻮﻥ ﺑﺎ ﻳﻜﺪﻳﮕﺮ ﻣﺘﺤﺪ ﻣﻲﻛﻨﺪ ﻭ ﺁﻧﻬﺎ ﺭﺍ ﺩﺭ ﺣﺎﻟﺖ‬

‫ﺣﺪﺍﻗﻞ ﺗﺮﺍﻛﻢ‪ ،‬ﻣﺤﻮ ﻧﻤﻲﻛﻨﺪ‪.‬‬

‫ﺣﺎﻝ ﻓﺮﺽ ﻛﻨﻴﺪ ﻫﺮﺟﺎﻳﻲ ﻛﻪ ﺭﻭﺍﺑﻂ ﻣﺘﻘﺎﺑﻞ ﻓﻌﻠﻲ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪﺑﺎﺷﺪ ﺭﻭﺍﺑﻂ ﺍﻏﻮﺍﮔﺮﻱ ﺑﻪ‬

‫ﺑﺎﺯﻱ ﮔﺮﻓﺘﻪﺷﻮﺩ‪ .‬ﺗﺼﻮﺭ ﻛﻨﻴﺪ ﺗﻸﻟﻮﺋﻲ ﺍﺯ ﺍﻏﻮﺍﮔﺮﻱ ﻣﺪﺍﺭﻫﺎﻱ ﻗﻄﺒﻲ ﻳﺎ ﺗﻔﺎﺿﻠﻲ ﻭ ﺗﺮﺍﻧﺰﻳﺴﺘﻮﺭﻱ‬

‫ﻣﻌﻨﺎ ﺭﺍ ﺩﺭ ﺧﻮﺩ ﺫﻭﺏ ﻛﻨﺪ‪ .‬ﻧﻤﻮﻧﻪﻫﺎﻳﻲ ﺍﺯ ﻳﻚ ﻧﺸﺎﻧﻪﺷﻨﺎﺳﻲ ﺗﻔﻜﻴﻚ ﻧﺎﺷﺪﻩ )ﻛﻪ ﺑﻪ ﺁﻥ ﺑﺎﻳﺪ‪ -‬ﻏﻴﺮ‬

‫ﻧﺸﺎﻧﻪﺷﻨﺎﺳﻲ ﮔﻔﺖ( ﻭﺟﺪ ﺩﺍﺭﺩ‪ .‬ﺑﺮﺍﻱ ﻣﺜﺎﻝ ﻋﻨﺎﺻﺮ ﻛﻴﻬﺎﻥﺷﻨﺎﺳﻲ ﺑﺎﺳﺘﺎﻧﻲ ﻭﺍﺭﺩ ﺭﻭﺍﺑﻂ ﺳﺎﺧﺘﺎﺭﻱ‬

‫ﻃﺒﻘﻪﺑﻨﺪﻱﺷﺪﻩ ﻧﻤﻲﺷﻮﻧﺪ )ﺁﺏ‪ /‬ﺁﺗﺶ ﻫﻮﺍ‪ /‬ﺯﻣﻴﻦ ﻭ‪ (...‬ﺁﻧﻬﺎ ﻋﻨﺎﺻﺮﻱ ﻣﺠﺰﺍ ﻧﺒﻮﺩﻧﺪ ﺑﻠﻜﻪ ﻋﻨﺎﺻﺮ‬

‫"ﺟﺬﺏﻛﻨﻨﺪﻩ " ﺑﻮﺩﻧﺪ ﻛﻪ ﻳﻜﺪﻳﮕﺮ ﺭﺍ ﺍﻏﻮﺍ ﻣﻲﻛﺮﺩﻧﺪ‪ .‬ﺁﺏ ﺁﺗﺶ ﺭﺍ ﺍﻏﻮﺍ ﻣﻲﻛﺮﺩ ﻭ ﺁﺗﺶ ﺁﺏ ﺭﺍ‪.‬‬

‫ﭼﻨﻴﻦ ﺍﻏﻮﺍﮔﺮﻱ ﻫﻨﻮﺯ ﻗﻮﻳﺎً ﺩﺭ ﺩﻭﺋﻞﻫﺎ‪ ،‬ﺭﻭﺍﺑﻂ ﻃﺒﻘﺎﺕ ﻭﺳﻠﺴﻠﻪ ﻣﺮﺍﺗﺐﻫﺎﻱ ﻏﻴﺮﻓﺮﺩﻱ ﻭ ﺩﺭ‬

‫ﻧﻈﺎﻡﻫﺎﻱ ﻗﻴﺎﺳﻲ ﺍﺳﺒﻖ ﺑﺮ ﻧﻈﺎﻣﻬﺎﻱ ﻣﻨﻄﻘﻲ ﺗﻤﺎﻳﺰﮔﺬﺍﺭ ﻣﺎ‪ ،‬ﺑﺎﻗﻲﻣﺎﻧﺪﻩﺍﺳﺖ‪ .‬ﻭ ﻫﻴﭻ ﺷﻜﻲ ﻧﻴﺴﺖ‬

‫ﻛﻪ ﺗﻮﺍﻟﻲﻫﺎﻱ ﻣﻨﻄﻘﻲ ﻣﻌﻨﺎ ﻫﻨﻮﺯ ﺑﺮ ﺗﻮﺍﻟﻲﻫﺎﻱ ﻗﻴﺎﺳﻲ ﺍﻏﻮﺍﮔﺮﻱ ﻣﺘﻜﻲﺍﻧﺪ‪ .‬ﻣﺎﻧﻨﺪ ﺩﺭﺧﺸﺶ‬

‫ﻧﺎﮔﻬﺎﻧﻲ ﻳﻚ ﺍﻟﻬﺎﻡ ﺩﺭ ﻳﻚ ﺿﺮﺑﻪﺍﻱ ﻳﮕﺎﻧﻪ ﻛﻪ ﺗﻘﺎﺑﻞﻫﺎ ﺭﺍ ﺑﻪ ﻳﻜﺪﻳﮕﺮ ﻣﻲﺭﺳﺎﻧﺪ‪ .‬ﺩﺭ ﺯﻳﺮ ﻣﻌﻨﺎ‬

‫ﮔﺮﺩﺵ ﺭﺍﺯﮔﻮﻧﻪ ﻗﻴﺎﺳﻬﺎﻱ ﺍﻏﻮﺍﮔﺮﺍﻧﻪ ﻧﻬﻔﺘﻪ ﺍﺳﺖ‪.‬‬

‫ﺑﺎ ﺍﻳﻦ ﻭﺟﻮﺩ‪ ،‬ﻣﺎ ﺑﺎ ﮔﻮﻧﻪﺍﻱ ﺟﺪﻳﺪ ﺍﺯ ﺟﺎﺫﺑﻪ ﺟﻬﺎﻧﺸﻤﻮﻝ ﺳﺮ ﻭ ﻛﺎﺭ ﻧﺪﺍﺭﻳﻢ‪ .‬ﺣﺮﻛﺖﻫﺎﻱ‬

‫ﻗﻄﺮﻱ ﻭ ﭘﻴﻤﺎﻳﺶﻫﺎﻱ ﺍﻏﻮﺍﮔﺮﻱ ﻣﻤﻜﻦ ﺍﺳﺖ ﺳﻮﻳﻪﻫﺎﻱ ﺗﻘﺎﺑﻞ ﺭﺍ ﺑﺸﻜﻨﺪ ﺍﻣﺎ ﺁﻧﻬﺎ ﺭﺍ ﺩﺭ ﺭﻭﺍﺑﻂ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺩﺭﻫﻢﺁﻣﻴﺨﺘﻪ ﻭ ﻣﻐﺸﻮﺵ ﻗﺮﺍﺭ ﻧﻤﻲﺩﻫﺪ )ﻛﻪ ﺍﻳﻦ ﻫﻤﺎﻥ ﺭﺍﺯﻭﺭﺯﻱ ﻭ ﻋﺮﻓﺎﻥ ﺍﺳﺖ( ﺑﻠﻜﻪ ﺩﺭ ﺭﻭﺍﺑﻄﻲ‬

‫ﺩﻭﮔﺎﻧﻪ ﻭ ﺩﻭﺋﻠﻲ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﻧﺪ‪ .‬ﺑﺤﺚ ﺍﻣﺘﺰﺍﺝ ﺑﺎﻃﻨﻲ )ﻭ ﻋﺮﻓﺎﻧﻲ)ﻡ(( ﺳﻮﮊﻩ ﻭ ﺍﺑﮋﻩ‪ ،‬ﺩﺍﻝ ﻭ ﻣﺪﻟﻮﻝ‪،‬‬

‫ﻣﺮﺩﺍﻧﮕﻲ ﻭ ﺯﻧﺎﻧﮕﻲ ﻭ ﻏﻴﺮﻩ ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﻣﺴﺌﻠﻪ ﺍﻏﻮﺍﮔﺮﻱ ﺍﺳﺖ ﻳﻌﻨﻲ ﺭﺍﺑﻄﻪﺍﻱ ﺩﻭﮔﺎﻧﻪ ﻭ ﻣﺒﺎﺭﺯﺍﺗﻲ‪.‬‬

‫"ﺁﻳﻨﻪﺍﻱ ﺩﺭ ﺩﻳﻮﺍﺭ ﻣﻘﺎﺑﻞ ﺁﻭﻳﺰﺍﻥ ﺍﺳﺖ ﺍﻭ )ﺩﺧﺘﺮ( ﺑﻪ ﺍﻧﻌﻜﺎﺱ ﺧﻮﺩ ﻣﻼﺣﻈﻪﺍﻱ‬

‫ﻧﺪﺍﺭﺩ ﺍﻭ )ﺩﺧﺘﺮ( ﺩﺭ ﺁﻥ ﺑﺎﺯﻧﻤﺎﻳﻲ ﻧﻤﻲﺷﻮﺩ ﺍﻣﺎ ﺁﻳﻨﻪ ﺍﻭ ﺭﺍ ﻣﻨﻌﻜﺲ ﻣﻲﻛﻨﺪ‪".‬‬
‫ﺧﺎﻃﺮﺍﺕ ﺍﻏﻮﺍﮔﺮ‬

‫ﺍﺳﺘﺮﺍﺗﮋﻱ ﺍﻏﻮﺍﮔﺮ ﺭﻭﺵ ﺁﻳﻨﻪﺍﻱ ﺩﺭ ﺩﻳﻮﺍﺭ ﻣﻘﺎﺑﻞ ﺍﺳﺖ ﻛﻪ ﺩﺧﺘﺮ ﺩﺭ ﺁﻥ ﻣﻨﻌﻜﺲ ﻣﻲﺷﻮﺩ ‪.‬‬

‫ﺩﺧﺘﺮ ﭼﻨﻴﻦ ﻗﺼﺪﻱ ﻧﺪﺍﺭﺩ ﺍﻣﺎ ﺁﻳﻨﻪ ﺍﻭ ﺭﺍ ﻣﻨﻌﻜﺲ ﻣﻲﻛﻨﺪ‪.‬‬

‫ﺑﺎﻳﺪ ﺑﻪ ﻓﺮﻭﺗﻨﻲ ﺁﻳﻨﻪﻫﺎ ﺑﺪﮔﻤﺎﻥ ﺑﻮﺩ‪ .‬ﺧﺎﺩﻣﺎﻥ ﻣﺘﻮﺍﺿﻊ ﻧﻤﻮﺩ‪ ،‬ﺗﻨﻬﺎ ﺍﺑﮋﻩ ﻫﺎﻳﻲ ﺭﺍ ﻣﻲﺗﻮﺍﻧﻨﺪ ﺑﺎﺯﺗﺎﺏ‬

‫ﺩﻫﻨﺪ ﻛﻪ ﺭﻭﻳﺎﺭﻭﻱ ﺁﻧﻬﺎ ﺷﻮﻧﺪ ﺑﺪﻭﻥ ﺁﻧﻜﻪ ﺍﺑﮋﻩﻫﺎ ﻗﺎﺩﺭ ﺷﻮﻧﺪ ﺧﻮﺩ ﺭﺍ ﭘﻨﻬﺎﻥ ﻛﻨﻨﺪ‪ .‬ﻛﻞ ﺟﻬﺎﻥ‬

‫ﻣﺪﻳﻮﻥ ﺁﻧﻬﺎﺳﺖ )ﺟﺰ ﺩﺭ ﻣﺮﮒ ﺑﻪﻫﻤﻴﻦﺧﺎﻃﺮ ﻫﻨﮕﺎﻡ ﻣﺮﮒ ﺁﻳﻨﻪﻫﺎ ﺭﺍ ﻣﻲﭘﻮﺷﺎﻧﻨﺪ( ﺁﻧﻬﺎ )ﺁﻳﻨﻪﻫﺎ(‬

‫ﺳﮕﺎﻥ ﻧﮕﻬﺒﺎﻥ ﻋﺮﺻﻪ "ﻧﻤﻮﺩ"ﺍﻧﺪ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﻭﻓﺎﺩﺍﺭﻱ ﺁﻳﻨﻪﻫﺎ ﻛﺎﻣﻼً ﻇﺎﻫﺮﻱ ﺍﺳﺖ ﭼﺮﺍ ﻛﻪ ﺁﻧﻬﺎ‬

‫ﻣﻨﺘﻈﺮ ﻛﺴﻲﺍﻧﺪ ﻛﻪ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺍﻳﻦ ﺍﻧﻌﻜﺎﺱﻫﺎ ﺑﺎﺯﻳﺎﺑﺪ‪ .‬ﻛﺴﻲ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺑﻪ ﺳﺎﺩﮔﻲ ﮔﻴﺰ ﺟﺎﻧﺒﻲ‬

‫ﺁﻧﻬﺎ ﺭﺍ ﻓﺮﺍﻣﻮﺵ ﻧﻤﺎﻳﺪ‪ .‬ﺁﻧﻬﺎ ﺷﻤﺎ ﺭﺍ ﺗﺸﺨﻴﺺ ﻣﻲﺩﻫﻨﺪ ﻭ ﻭﻗﺘﻲ ﺷﻤﺎ ﺭﺍ ﻏﺎﻓﻠﮕﻴﺮ ﻣﻲﻛﻨﻨﺪ ﺩﺭ‬

‫ﺣﺎﻟﻴﻜﻪ ﺍﻧﺘﻈﺎﺭ ﺁﻧﺮﺍ ﻧﺪﺍﺭﻳﺪ ﺁﻧﮕﺎﻩ ﺯﻣﺎﻥ ﺷﻤﺎ ﻓﺮﺍﺭﺳﻴﺪﻩﺍﺳﺖ‪ .‬ﭼﻨﻴﻦ ﺍﺳﺖ ﺭﺍﻫﺒﺮﺩ ﺍﻏﻮﺍﮔﺮ‪ :‬ﺍﻭ ﺑﻪ‬

‫ﺧﻮﺩ ﺗﻮﺍﺿﻊ ﻳﻚ ﺁﻳﻨﻪ ﺭﺍ ﻣﻲﺩﻫﺪ‪ .‬ﺍﻣﺎ ﺁﻳﻨﻪﺍﻱ ﻣﺎﻫﺮ‪ .‬ﻣﺎﻧﻨﺪ ﺳﭙﺮ ﭘﺮﺳﺌﻮﺱ )ﺳﭙﺮﻱ ﻛﻪ ﺑﺎ ﺁﻥ‬

‫ﻣﺪﻭﺳﺎ ﺭﺍ ﺷﻜﺴﺖ ﺩﺍﺩ( ﻛﻪ ﺩﺭ ﺁﻥ ﻣﺪﻭﺳﺎ ﭼﻬﺮﻩ ﺳﻨﮓﺷﺪﻩ ﺧﻮﺩ ﺭﺍ ﻣﻲﻳﺎﺑﺪ‪ .‬ﺩﺧﺘﺮ ﺍﺳﻴﺮ ﻭ‬

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‫ﺍﻏﻮﺍ‬

‫ﺷﻴﻔﺘﻪﻱ ﺁﻳﻨﻪﺍﻱ ﻣﻲﺷﻮﺩ ﻛﻪ ﺑﺪﻭﻥ ﺁﻧﻜﻪ ﺩﺧﺘﺮ ﺑﻔﻬﻤﺪ‪ ،‬ﺍﻭ ﺭﺍ ﺑﺎﺯﺗﺎﺏ ﻣﻲﺩﻫﺪ ﻭ ﺍﻭ ﺭﺍ ﺗﺤﻠﻴﻞ‬

‫ﻣﻲﻛﻨﺪ‪.‬‬

‫»ﻳﻚ ﺩﺧﺘﺮ ﺩﻳﺪﻥ ﻫﻤﻪﭼﻴﺰ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻣﻲﺩﻫﺪ‪ ،‬ﻣﺮﺩ ﻧﻤﻲﺩﺍﻧﺪ ﭼﻄﻮﺭ ﺧﻮﺩ ﺭﺍ ﺩﺭ‬
‫ﺍﺣﺴﺎﺱ ﻳﻚ ﺩﺧﺘﺮ ﺷﺎﻋﺮﺍﻧﻪ ﻛﻨﺪ‪ ،‬ﻫﻤﻪﭼﻴﺰ ﺍﺯ ﺍﻭ )ﺩﺧﺘﺮ( ﻧﺎﺷﻲ ﺷﻮﺩ‪ ،‬ﺁﻧﻄﻮﺭ ﻛﻪ ﻣﺮﺩ‬
‫ﻣﻲﺧﻮﺍﻫﺪ‪ ،‬ﺑﻪﻫﻤﻴﻦﺧﺎﻃﺮ ﺍﻭ )ﻣﺮﺩ( ﻳﻚ ﺁﺩﻡ ﻧﺎﺷﻲ‪ ،‬ﻳﻚ ﺧﺎﻡ ﺩﺳﺖ ﺑﺎﻗﻲﻣﻲﻣﺎﻧﺪ‪.‬‬
‫ﻣﻦ ﺍﻳﻦ ﻟﺬﺕ ﺭﺍ ﺍﺯ ﺍﻭ ﻣﻀﺎﻳﻘﻪ ﻧﻤﻲﻛﻨﻢ‪ .‬ﺍﻭ ﻳﻚ ﺍﺷﺘﺒﺎﻩ ﻛﺎﺭ ﻫﺴﺖ ﻭ ﺑﺎﻗﻲﻣﻲﻣﺎﻧﺪ‬
‫ﻳﻚ ﺍﻏﻮﺍﮔﺮ‪ ،‬ﭼﻴﺰﻱ ﻛﻪ ﺑﻪ ﻫﻴﭻﺭﻭﻱ ﻧﻤﻲﺗﻮﺍﻧﻢ ﺗﻮﺻﻴﻒ ﻛﻨﻢ‪ .‬ﻣﻦ )ﺍﺷﺘﺒﺎﻩ ﻛﺎﺭ( ﻳﻚ‬
‫ﺟﻤﺎﻝﭘﺮﺳﺖ‪ ،‬ﻳﻚ ﺷﻬﻮﺍﻧﻲﺍﻡ ﻛﺴﻲ ﻛﻪ ﻃﺒﻴﻌﺖ ﻭ ﻣﻌﻨﺎﻱ ﻋﺸﻖ ﺭﺍ ﻣﻲﻓﻬﻤﺪ؛ ﻛﺴﻲ ﻛﻪ ﺑﻪ‬
‫ﻋﺸﻖ ﻣﻌﻘﺘﺪ ﺍﺳﺖ ﻭ ﻣﻲﺩﺍﻧﺪ ﺍﺯ ﻛﺠﺎ ﻧﺎﺷﻲ ﻣﻲﺷﻮﺩ‪ ....‬ﻫﻤﭽﻨﻴﻦ ﻣﻲﺩﺍﻧﻢ ﻛﻪ ﻭﺍﻻﺗﺮﻳﻦ‬
‫ﺧﻮﺷﻲﻫﺎﻱ ﺗﺼﻮﺭﻧﺎﭘﺬﻳﺮ ﺩﺭ ﻋﺸﻖﻭﺭﺯﻱ ﻧﻬﻔﺘﻪﺍﺳﺖ‪ ... .‬ﺷﺎﻋﺮﺍﻧﻪ ﻛﺮﺩﻥ ﺧﻮﺩ ﺩﺭ ﺍﺣﺴﺎﺱ‬
‫ﻳﻚ ﺩﺧﺘﺮ ﺟﻮﺍﻥ ﻳﻚ ﻫﻨﺮ ﺍﺳﺖ‪) .‬ﺍﻣﺎ( ﺷﺎﻋﺮﺍﻧﻪ ﻛﺮﺩﻥ ﺧﻮﻳﺸﺘﻦ‪ ،‬ﺑﻴﺮﻭﻥ ﺍﺯ ﺁﻥ ﻳﻚ ﺷﺎﻫﻜﺎﺭ‬
‫ﺍﺳﺖ‪«.‬‬
‫ﺧﺎﻃﺮﺍﺕ ﺍﻏﻮﺍﮔﺮ)ﺹ ‪(۳۶۴-۳۶۳‬‬
‫ﺍﻏﻮﺍﮔﺮﻱ ﻫﺮﮔﺰ ﺧﻄﻲ ﻧﻴﺴﺖ ﻭ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﻧﻘﺎﺏ ﻧﻤﻲﭘﻮﺷﺎﻧﺪ‪) .‬ﺍﻳﻦ ﺍﻏﻮﺍﻳﻲ ﻋﻮﺍﻣﺎﻧﻪ ﻭ ﻣﺒﺘﺬﻝ‬

‫ﺍﺳﺖ( ﺑﻠﻜﻪ ﺍﺭﻳﺐ ﻭ ﻣﻨﺤﺮﻑ ﺍﺳﺖ‪.‬‬

‫"ﭼﻪ ﺟﻨﮓﺍﻓﺰﺍﺭﻱ ﺩﺭ ﻋﻤﻞ ﭼﻨﻴﻦ ﺗﻴﺰ‪ ،‬ﭼﻨﻴﻦ ﻧﺎﻓﺬ ﻭ ﺟﻬﻨﺪﻩ ﺍﺳﺖ ﻭ ﺍﺯ ﺍﻳﻨﺮﻭ‬
‫ﺍﻳﻨﭽﻨﻴﻦ ﺑﻪ ﻣﺎﻧﻨﺪ ﭼﺸﻢ ﻓﺮﻳﺒﻨﺪﻩ؟ ﺑﻪ ﻗﻮﻝ ﺷﻤﺸﻴﺮ ﺑﺎﺯﺍﻥ ﻳﻚ ﻛﻮﺍﺭﺕ ﻭﺍﻧﻤﻮﺩ ﻣﻲﻛﻨﻴﺪ ﻭ‬
‫ﺩﻓﻌﻪ ﺩﻭﻡ ﺣﻤﻠﻪ ﻣﻲﻛﻨﻴﺪ ‪ ...‬ﻟﺤﻈﻪﻱ ﻭﺍﻧﻤﻮﺩ ﻧﺎﻣﻌﻠﻮﻡ ﺍﺳﺖ‪ .‬ﺣﺮﻳﻒ ﺿﺮﺑﻪﻱ ﺳﺮﻳﻌﻲ ﺭﺍ‬
‫ﺣﺲ ﻣﻲﻛﻨﺪ ﺍﻭ ﺿﺮﺑﻪ ﺧﻮﺭﺩﻩ ﺍﺳﺖ! ﺁﺭﻱ! ﺍﻣﺎ ﺟﺎﻱ ﺩﻳﮕﺮﻱ ﺟﺰ ﺁﻧﺠﺎﻳﻲ ﻛﻪ ﺍﻭ ﮔﻤﺎﻥ‬
‫ﻣﻲﺑﺮﺩ‪".‬‬
‫ﺧﺎﻃﺮﺍﺕ ﺍﻏﻮﺍﮔﺮ )ﺹ ‪(۳۱۴‬‬

‫"ﻣﻦ ﺍﻭ ﺭﺍ ﻣﻼﻗﺎﺕ ﻧﻤﻲﻛﻨﻢ‪ ،‬ﺗﻨﻬﺎ ﭘﻴﺮﺍﻣﻮﻥ ﻭﺟﻮﺩ ﺍﻭ ﺭﺍ ﻟﻤﺲ ﻣﻲﻛﻨﻢ‪ ،‬ﺗﺮﺟﻴﺢ‬

‫ﻣﻲﺩﻫﻢ ﻛﻤﻲ ﺯﻭﺩﺗﺮ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺟﺎﻳﻲ ﻛﻪ ﺍﻭ ﻣﻲﺧﻮﺍﻫﺪ ﺑﺮﻭﺩ ﺑﺮﺳﺎﻧﻢ ﻭ ﺳﭙﺲ ﺍﻭ ﺭﺍ ﻣﻼﻗﺎﺕ‬
‫ﻛﻨﻢ‪ .‬ﺍﮔﺮ ﻣﻤﻜﻦ ﺷﻮﺩ ﺩﺭ ﺭﺍﻫﺮﻭ ﻫﻨﮕﺎﻣﻲ ﻛﻪ ﺍﻭ ﻣﻲﺁﻳﺪ ﻣﻦ ﺑﺎ ﺧﻮﻧﺴﺮﺩﻱ ﻭ ﺑﻲﻗﻴﺪﻱ ﺍﺯ‬
‫ﻛﻨﺎﺭ ﺍﻭ ﺭﺩ ﺷﻮﻡ‪ .‬ﺍﻳﻦ ﺍﻭﻟﻴﻦ ﺩﺍﻣﻲ ﺍﺳﺖ ﻛﻪ ﺍﻭ ﺑﺎﻳﺪ ﺩﺭ ﺁﻥ ﮔﺮﻓﺘﺎﺭ ﺷﻮﺩ‪ .‬ﻣﻦ ﻫﺮﮔﺰ ﺟﻠﻮﻱ ﺍﻭ‬
‫ﺭﺍ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﻧﻤﻲﮔﻴﺮﻡ‪ .‬ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﻪ ﺍﻭ ﺗﻌﻈﻴﻤﻲ ﻛﻨﻢ ﺍﻣﺎ ﻫﺮﮔﺰ ﻧﻤﻲﺁﻳﻢ ﺑﻪ ﺍﻭ ﻧﺰﺩﻳﻚ‬
‫ﺷﻮﻡ ﺑﻠﻜﻪ ﻫﻤﻴﺸﻪ ﻓﺎﺻﻠﻪﺍﻡ ﺭﺍ ﺑﺎ ﺍﻭ ﺣﻔﻆ ﻣﻲﻛﻨﻢ‪ .‬ﻣﻮﺍﺟﻬﺎﺕ ﭘﻴﻮﺳﺘﻪ ﻣﺎ ﺣﺘﻤﺎً ﺑﺮﺍﻱ ﺍﻭ‬

‫‪۱٦۳‬‬
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﻗﺎﺑﻞ ﺗﻮﺟﻪ ﺍﺳﺖ ﺍﻭ ﺑﺮﺍﺳﺘﻲ ﻣﻲﻓﻬﻤﺪ ﻛﻪ ﺷﺨﺺ ﺟﺪﻳﺪﻱ ﺩﺭ ﺩﻳﺪﻩ ﺍﻭ ﻇﺎﻫﺮ ﺷﺪﻩﺍﺳﺖ ﻛﻪ‬
‫ﺑﺎ ﺭﻓﺘﺎﺭﻱ ﺁﺭﺍﻡ ﻭ ﻏﺮﻳﺐ ﺧﺎﻃﺮ ﺍﻭ ﺭﺍ ﻣﺸﻮﺵ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺍﻭ ﻫﻴﭻ ﺩﺭﻛﻲ ﺍﺯ ﻗﻮﺍﻧﻴﻦ ﭼﻨﻴﻦ‬
‫ﺣﺮﻛﺘﻲ ﻧﺪﺍﺭﺩ‪ .‬ﺍﻭ )ﺩﺧﺘﺮ( ﻧﺴﺒﺘﺎً ﻣﺎﻳﻞ ﺍﺳﺖ ﺑﺒﻴﻨﺪ ﺁﻳﺎ ﻣﻲﺗﻮﺍﻧﺪ ﻧﻘﻄﻪﺍﻱ ﻛﻪ )ﺣﺮﻛﺖ( ﺭﺍ‬
‫ﻛﻨﺘﺮﻝ ﻣﻲﻛﻨﺪ ﻛﺸﻒ ﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﻏﺎﻓﻞ ﺍﺯ ﺍﻳﻨﻜﻪ ﻣﺜﻞ ﻳﻚ ﭼﻴﻨﻲ ﺧﻮﺩ‪ ،‬ﻣﺮﻛﺰ ﺍﻳﻦ ﺣﺮﻛﺖ‬
‫ﺑﻮﺩﻩ ﺍﺳﺖ‪".‬‬
‫ﻫﻤﺎﻥ )ﺹ‪(۳۳۶-۳۳۷‬‬

‫ﻧﻮﻉ ﺩﻳﮕﺮﻱ ﺍﺯ ﭘﮋﻭﺍﻙ ﻏﻴﺮ ﻣﺴﺘﻘﻴﻢ ﻧﻴﺰ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ :‬ﻫﻴﭙﻨﻮﺗﻴﺰﻡ‪ .‬ﻧﻮﻋﻲ ﺁﻳﻨﻪﻱ ﺭﻭﺍﻧﻲ ﻛﻪ ﺑﺎﺭ‬

‫ﺩﻳﮕﺮ ﺩﺧﺘﺮ ﻧﺎﺁﮔﺎﻫﺎﻧﻪ‪ ،‬ﺗﺤﺖ ﮔﻴﺰ ﺩﻳﮕﺮﻱ‪ ،‬ﺑﺎﺯﺗﺎﺏ ﻣﻲﻳﺎﺑﺪ‪:‬‬

‫"ﺍﻣﺮﻭﺯ ﭼﺸﻤﺎﻥ ﻣﻦ ﺑﺮﺍﻱ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺍﻭ ﺭﺍ ﻧﻈﺎﺭﻩ ﻧﺸﺴﺘﻨﺪ‪ .‬ﻛﺴﻲ ﮔﻔﺘﻪ ﻛﻪ ﺧﻮﺍﺏ‬
‫ﻣﻲﺗﻮﺍﻧﺪ ﭘﻠﻚﻫﺎ ﺭﺍ ﺁﻧﭽﻨﺎﻥ ﺳﻨﮕﻴﻦ ﻛﻨﺪ ﻛﻪ ﺧﻮﺩ ﺑﻪ ﺧﻮﺩ ﺑﺴﺘﻪ ﺷﻮﻧﺪ‪ .‬ﺷﺎﻳﺪ ﻧﮕﺎﻩ ﻣﻦ‬
‫ﻫﻤﻴﻦ ﺗﺄﺛﻴﺮ ﺭﺍ ﺑﺮ ﻛﻮﺭﺩﻟﻴﺎ ﻣﻲﮔﺬﺍﺭﺩ‪ ،‬ﺩﺭ ﺍﻳﻨﺠﺎ ﻧﻴﺰ ﭼﺸﻤﻬﺎ ﺑﺴﺘﻪ ﻣﻲﺷﻮﻧﺪ ﻭ ﻫﻨﻮﺯ ﻧﻴﺮﻭﻱ‬
‫ﻣﺒﻬﻤﻲ ﺩﺭ ﺍﻭ ﺗﺄﺛﻴﺮ ﻣﻲﮔﺬﺍﺭﺩ‪ .‬ﺍﻭ ﻧﻤﻲﺑﻴﻨﺪ ﻛﻪ ﻣﻦ ﺑﻪ ﺍﻭ ﻧﮕﺎﻩ ﻣﻲﻛﻨﻢ‪ ،‬ﺁﻥ ﺭﺍ ﺍﺣﺴﺎﺱ‬
‫ﻣﻲﻛﻨﺪ ﺑﺎ ﺗﻤﺎﻣﻲ ﺑﺪﻧﺶ ﺁﻧﺮﺍ ﺣﺲ ﻣﻲﻛﻨﺪ‪ .‬ﭼﺸﻤﺎﻥ ﺍﻭ ﺑﺴﺘﻪ ﻣﻲﺷﻮﺩ‪ ،‬ﺷﺐ ﺍﺳﺖ ﺍﻣﺎ‬
‫ﺩﺭﻭﻥ ﺍﻭ ﻓﺮﺯﻭﻧﺪﮔﻲ ﺭﻭﺯ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪".‬‬
‫ﻫﻤﺎﻥ )ﺹ‪(۳۶۰-۳۶۱‬‬

‫ﺍﻳﻦ ﺍﻧﺤﺮﺍﻑ ﺍﻏﻮﺍﮔﺮﻱ ﺭﻳﺎﻛﺎﺭﺍﻧﻪ ﻧﻴﺴﺖ‪ .‬ﺁﻧﮕﺎﻩ ﻛﻪ ﻳﻚ ﺣﺮﻛﺖ ﺧﻄﻲ ﺑﻪ ﺩﻳﻮﺍﺭ ﺁﮔﺎﻫﻲ ﺑﺮ‬

‫ﻣﻲﺧﻮﺭﺩ ﻭ ﺗﻨﻬﺎ ﻣﻨﻔﻌﺘﻲ ﻧﺎﭼﻴﺰ ﺑﻪ ﺩﺳﺖ ﻣﻲﺁﻭﺭﺩ‪ ،‬ﺍﻏﻮﺍﮔﺮﻱ‪ ،‬ﺍﻧﺤﺮﺍﻑ ﻳﻚ ﻋﻨﺼﺮ ﺭﻭﻳﺎﻳﻲ ﻭ ﻳﺎ‬

‫ﺿﺮﺑﻪ ﻫﻮﺵ ﺭﺍ ﺩﺍﺭﺩ ﻭ ﺍﻳﻨﭽﻨﻴﻦ ﺟﻬﺎﻥ ﺭﻭﺍﻧﻲ ﻭ ﺳﻄﻮﺡ ﻣﺘﻔﺎﻭﺗﺶ ﺭﺍ ﺑﺎ ﺣﺮﻛﺘﻲ ﻗﻄﺮﻱ ﺩﺭ‬

‫ﻣﻲﻧﻮﺭﺩﺩ ﺗﺎ ﺩﺭ ﺟﺎﻳﻲ ﺩﻭﺭﺗﺮ‪ ،‬ﺑﺎ ﻧﻘﻄﻪ ﻛﻮﺭ ﻧﺎ ﺷﻨﺎﺧﺘﻪ‪ ،‬ﺭﺍﺯﻱ ﻣﻤﻬﻮﺭ‪ ،‬ﻣﻌﻤﺎﻳﻲ ﻛﻪ ﺩﺧﺘﺮ ﺭﺍ ﻧﺴﺒﺖ‬

‫ﺑﻪ ﺧﻮﺩ ﺍﻭ ﺷﻜﻞ ﻣﻲﺩﻫﺪ‪ ،‬ﺗﻤﺎﺱ ﺣﺎﺻﻞ ﻛﻨﺪ‪.‬‬

‫ﺍﻏﻮﺍ ﺩﻭ ﻟﺤﻈﻪ ﻫﻤﺰﻣﺎﻥ ﺩﺍﺭﺩ ﻳﺎ ﺩﻭ ﺁﻥ ﺍﺯ ﻳﻚ ﻟﺤﻈﻪ ﻳﮕﺎﻧﻪ‪ .‬ﻛﻞ ﺷﺨﺼﻴﺖ ﺩﺧﺘﺮ‪ ،‬ﺗﻤﺎﻣﻲ‬

‫ﻣﻨﺎﺑﻊ ﺯﻧﺎﻧﮕﻲ ﺍﻭ ﻣﻲﺑﺎﻳﺴﺖ ﺗﺤﺮﻳﻚ ﺷﻮﺩ ﻭ ﻫﻤﺰﻣﺎﻥ ﻣﻌﻠﻖ ﺑﺎﻗﻲ ﺑﻤﺎﻧﺪ‪ .‬ﻣﺴﺌﻠﻪ ﺷﮕﻔﺖﺯﺩﻩﻛﺮﺩﻥ‬

‫ﺍﻭ ﺩﺭ ﻭﺿﻌﻴﺖ ﺍﻧﻔﻌﺎﻟﻲ ﺍﺯ ﻣﻌﺼﻮﻣﻴﺘﺶ ﻧﻴﺴﺖ‪ .‬ﺁﺯﺍﺩﻱ ﻋﻤﻞ ﺍﻭ ﻣﻲﺑﺎﻳﺴﺖ ﺩﺭ ﺑﺎﺯﻱ ﻭﺟﻮﺩ‬

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‫ﺍﻏﻮﺍ‬

‫ﺩﺍﺷﺘﻪﺑﺎﺷﺪ‪ .‬ﭼﺮﺍ ﻛﻪ ﺑﺎ ﺁﺯﺍﺩﻱ ﺍﻭ ﻭ ﺑﺎ ﺣﺮﻛﺖ ﺍﻭ‪ ،‬ﻭ ﺑﺎ ﭘﻴﭻ ﻭ ﺗﺎﺏﻫﺎ ﻭ ﻣﻨﺤﻨﻲﻫﺎﻱ ﻧﺎﮔﻬﺎﻧﻲ ﻛﻪ‬

‫ﺍﻏﻮﺍﮔﺮﻱ ﺑﺪﺍﻥ ﺍﺿﺎﻓﻪ ﻣﻲﻛﻨﺪ‪ ،‬ﺩﺧﺘﺮ ﻣﻲﺑﺎﻳﺴﺖ ﻇﺎﻫﺮﺍً ﺧﻮﺩﺑﻪﺧﻮﺩ ﻧﺎﺩﺍﻧﺴﺘﻪ ﺑﻪ ﺟﺎﻳﻲ ﺑﺮﺳﺪ ﻛﻪ‬

‫ﺧﻮﺩ ﺭﺍ ﺗﺴﻠﻴﻢ ﻛﻨﺪ‪ .‬ﺍﻏﻮﺍﮔﺮﻱ ﺗﻘﺪﻳﺮﻱ ﺭﺍ ﺑﻜﺎﺭ ﻣﻲﮔﻤﺎﺭﺩ ﻛﻪ ﺑﺮﺍﻱ ﺗﺤﻘﻖ ﺁﻥ‪ ،‬ﺩﺧﺘﺮ ﻣﻲﺑﺎﻳﺴﺖ‬

‫ﺟﺰ ﺩﺭ ﺁﺯﺍﺩﻱﺍﺵ ﻛﺎﻣﻼً ﺁﺯﺍﺩ ﺑﺎﺷﺪ‪ .‬ﺍﻭ ﻣﻲﺑﺎﻳﺪ ﺑﺎ ﭘﺎﻱ ﺧﻮﺩ ﻫﻤﭽﻮﻥ ﺧﻮﺍﺑﮕﺮﺩﻱ‪ ،‬ﺑﻪ ﺳﻮﻱ ﺳﻘﻮﻁ‬

‫ﺧﻮﻳﺶ ﺣﺮﻛﺖ ﻧﻤﺎﻳﺪ‪ .‬ﺩﺧﺘﺮ ﻣﻲﺑﺎﻳﺴﺖ ﺩﺭ ﺍﻳﻦ ﻭﺿﻌﻴﺖ ﺩﻭﻣﻲ )ﺗﺴﻠﻴﻢ( ﻓﺮﻭ ﺑﺮﻭﺩ ﻛﻪ ﺣﺎﻟﺖ ﺍﻭﻝ‬

‫ﺁﻥ ﻳﻌﻨﻲ ﺟﺬﺍﺑﻴﺖ ﻭ ﺍﻗﺘﺪﺍﺭﺵ ﺭﺍ ﺩﻭﭼﻨﺪﺍﻥ ﻣﻲﻛﻨﺪ‪ .‬ﻭ ﺍﻳﻦ ﺩﻭﻣﻲ‪ ،‬ﺍﻳﻦ ﻭﺿﻌﻴﺖ ﺧﻮﺍﺑﮕﺮﺩﻱﺍﺵ‬

‫ﻣﻲﺑﺎﻳﺪ ﺗﻘﻮﻳﺖ ﺷﻮﺩ ﺗﺎ ﺁﻧﭽﻨﺎﻥ ﺍﺷﺘﻴﺎﻗﻲ ﺍﻳﺠﺎﺩ ﺷﻮﺩ ﻛﻪ ﺑﻴﺪﺍﺭ ﺷﺪﻩ ﻭ ﺍﺯ ﺧﻮﺩ ﺑﻲﺧﻮﺩ ﺷﺪﻩ‪ ،‬ﺑﻪ‬

‫ﺩﺍﻡ ﺗﻘﺪﻳﺮﻱ ﻛﻪ ﺑﺮﺍﻳﺶ ﻣﻬﻴﺎ ﺷﺪﻩ ﮔﺮﻓﺘﺎﺭ ﺁﻳﺪ‪".‬ﭼﺸﻤﺎﻥ ﺍﻭ ﺑﺴﺘﻪ ﺍﺳﺖ‪ .‬ﺷﺐ ﺍﺳﺖ ﺍﻣﺎ ﺩﺭﻭﻥ ﺍﻭ‬

‫ﻓﺮﻭﺯﻧﺪﮔﻲ ﺭﻭﺯ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪".‬‬

‫ﻏﻔﻠﺖﻫﺎ‪ ،‬ﺍﻧﻜﺎﺭﻫﺎ‪ ،‬ﺍﻧﻜﺴﺎﺭﻫﺎ‪ ،‬ﻓﺮﻳﺐﻫﺎ‪ ،‬ﺍﻧﺤﺮﺍﻑﻫﺎ ﻭ ﺗﻮﺍﺿﻊﻫﺎ ﻫﻤﮕﻲ ﺑﺎ ﻫﺪﻑ ﺑﺮﺍﻧﮕﻴﺨﺘﻦ‬

‫ﻭﺿﻌﻴﺖ ﺩﻭﻣﻴﻦ ﺩﺧﺘﺮ‪ ،‬ﺭﺍﺯ ﺍﻏﻮﺍﮔﺮﻱ ﺭﺍﺳﺘﻴﻦ‪ ،‬ﺑﻪ ﻛﺎﺭ ﻣﻲﺭﻭﻧﺪ‪ .‬ﺍﻏﻮﺍﮔﺮﻱ ﻣﺒﺘﺬﻝ ﺑﺎ ﺍﺻﺮﺍﺭ ﭘﻴﺶ‬

‫ﻣﻲﺭﻭﺩ‪ ،‬ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﺍﻏﻮﺍﮔﺮﻱ ﺭﺍﺳﺘﻴﻦ ﺑﺎ ﻏﻴﺎﺏ ﺑﻪ ﭘﻴﺶ ﻣﻲﺭﻭﺩ ﺑﺎ ﺑﻪ ﻋﺒﺎﺭﺕ ﺑﻬﺘﺮ ﻧﻮﻋﻲ ﻓﻀﺎﻱ‬

‫ﻣﻨﺤﻨﻲﻭﺍﺭ ﺍﺑﺪﺍﻉ ﻣﻲﻛﻨﺪ ﻛﻪ ﺩﺭ ﺁﻥ ﻧﺸﺎﻧﻪﻫﺎ ﺍﺯ ﻣﺴﻴﺮﻫﺎﻱ ﺧﻮﺩ ﻣﻨﺤﺮﻑ ﻣﻲﺷﻮﻧﺪ ﻭ ﺑﻪ ﻣﻨﺒﻊ ﺧﻮﺩ‬

‫ﺑﺎﺯ ﻣﻲﮔﺮﺩﻧﺪ‪ .‬ﺍﻳﻦ ﻭﺿﻴﻌﺖ ﺗﻌﻠﻴﻖ ﺿﺮﻭﺭﻱ ﺍﺳﺖ‪ :‬ﺍﻳﻦ ﻟﺤﻈﻪ ﺁﺷﻔﺘﮕﻲ ﺩﺧﺘﺮ ﭘﻴﺶ ﺍﺯ ﺗﻘﺪﻳﺮﻱ‬

‫ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺍﻧﺘﻈﺎﺭ ﺍﻭﺳﺖ ﺣﺘﻲ ﺍﮔﺮ ﺑﺪﺍﻧﺪ‪ -‬ﻛﻪ ﭼﻴﺰﻱ ﺟﺪﻳﺪ ﻭ ﺗﻘﺮﻳﺒﺎ ﻣﻬﻠﻚ‪ -‬ﺩﺭ ﺍﻧﺘﻈﺎﺭ ﺍﻭﺳﺖ‪.‬‬

‫ﻟﺤﻈﻪﺍﻱ ﺑﺲ ﻧﻴﺮﻭﻣﻨﺪ ﻟﺤﻈﻪﺍﻱ "ﺭﻭﺣﺎﻧﻲ" )ﺩﺭ ﻣﻔﻬﻮﻡ ﻛﻴﺮﻛﻪ ﮔﻮﺭﻱ( ﻣﺸﺎﺑﻪ ﻟﺤﻈﻪﺍﻱ ﺩﺭ‬

‫ﺑﺎﺯﻱﻫﺎﻱ ﺷﺎﻧﺲ ﺩﺭ ﻓﺎﺻﻠﻪ ﭘﺮﺗﺎﺏ ﺗﺎﺱ ﻭ ﻏﻠﺘﻴﺪﻥ ﺁﻥ‪.‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺍﺯ ﺍﻳﻨﺮﻭ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﻛﻪ ﺩﺧﺘﺮ ﺑﻪ ﺍﻭ ﻧﺸﺎﻧﻲﺍﺵ ﺭﺍ ﻣﻲﺩﻫﺪ ﻣﺮﺩ ﺍﺯ ﺑﻪ ﺧﺎﻃﺮ ﺳﭙﺮﺩﻧﺶ ﺳﺮﺑﺎﺯ‬

‫ﻣﻲﺯﻧﺪ‪.‬‬

‫"ﺑﻪ ﺁﻥ ﮔﻮﺵ ﻧﺨﻮﺍﻫﻢ ﻛﺮﺩ‪ .‬ﺩﻭﺳﺖ ﻧﺪﺍﺭﻡ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﻟﺬﺕ ﻏﺎﻓﻠﮕﻴﺮ ﺷﺪﻥ )ﻳﻚ‬
‫ﻣﻼﻗﺎﺕ ﻧﺎﺑﻬﻨﮕﺎﻡ)ﻡ(( ﻣﺤﺮﻭﻡ ﻛﻨﻢ‪ .‬ﻣﺸﺨﺼﺎً ﻣﻲﺧﻮﺍﻫﻢ ﺍﻭ ﺭﺍ ﺑﺎﺭ ﺩﻳﮕﺮ ﺩﺭ ﺯﻧﺪﮔﻲﺍﻡ ﺑﺒﻴﻨﻢ‪،‬‬
‫ﺍﻭ ﺭﺍ ﺑﺎﺯﺧﻮﺍﻫﻢﺷﻨﺎﺧﺖ ﻭ ﺷﺎﻳﺪ ﺍﻭ ﻫﻢ ﻣﺮﺍ ﺑﺎﺯﺷﻨﺎﺳﺪ‪ .. .‬ﺍﮔﺮ ﺍﻭ ﻣﺮﺍ ﺑﺎﺯﻧﺸﻨﺎﺳﺪ‪ ،‬ﺍﮔﺮ ﻧﮕﺎﻩ ﺍﻭ‬
‫ﺍﻳﻦ ﻧﺸﺎﻥ ﻧﺪﻫﺪ ﻛﻪ ﻣﺮﺍ ﺷﻨﺎﺧﺘﻪﺍﺳﺖ‪ ،‬ﻳﻘﻴﻨﺎً ﻓﺮﺻﺘﻲ ﺧﻮﺍﻫﻢﻳﺎﻓﺖ ﻛﻪ ﺍﺯ ﻛﻨﺎﺭ ﺑﻪ ﺍﻭ ﻧﮕﺎﻩ‬
‫ﻛﻨﻢ‪) .‬ﺩﺭﺳﺖ ﻣﺎﻧﻨﺪ ﺁﻳﻨﻪ ﻛﻪ ﭘﻴﺸﺘﺮ ﺫﻛﺮ ﺁﻥ ﺭﻓﺖ‪ -‬ﻣﺘﺮﺟﻢ( ﻗﻮﻝﻣﻲﺩﻫﻢ ﻛﻪ ﺍﻭ ﺍﻳﻦ‬
‫ﻣﻮﻗﻌﻴﺖ ﺭﺍ ﺑﻪ ﺧﺎﻃﺮ ﺧﻮﺍﻫﺪﺁﻭﺭﺩ‪ .‬ﻧﻪ ﺑﺎﻳﺪ ﺑﻲﺣﻮﺻﻠﻪ ﻭ ﺣﺮﻳﺺ ﻋﻤﻞﻛﺮﺩ ﺍﺯ ﻫﻤﻪﭼﻴﺰ ﺑﺎﻳﺪ‬
‫ﺑﺎ ﻓﺮﺍﻏﺖ ﺗﻤﺎﻡ ﻟﺬﺕ ﺑﺮﺩ‪ .‬ﺍﻭ ﻧﺸﺎﻧﻪﮔﺬﺍﺭﻱ ﺷﺪﻩ ﻭ ﺑﻪ ﭼﻨﮓ ﺁﻭﺭﺩﻩﺧﻮﺍﻫﺪ ﺷﺪ‪".‬‬
‫ﻫﻤﺎﻥ )ﺹ‪(۳۱۲‬‬

‫ﺍﻏﻮﺍﮔﺮ ﺑﺎ ﺧﻮﺩﺵ ﺑﺎﺯﻱ ﻣﻲﻛﻨﺪ ﺩﺭ ﺍﻳﻦ ﻣﻮﻗﻊ‪ ،‬ﺣﺘﻲ ﺣﻴﻠﻪﺍﻱ ﻫﻢ ﻧﺪﺍﺭﺩ ﺑﺎ ﺍﻏﻮﺍﮔﺮ ﺑﻮﺩﻥ ﻓﺮﺩ‬

‫ﺩﺭ ﺑﻪ ﺗﻌﻮﻳﻖ ﺍﻧﺪﺍﺧﺘﻦ ﺍﻏﻮﺍ ﻣﺤﻈﻮﻅ ﻣﻲﮔﺮﺩﺩ‪ .‬ﺍﻳﻦ ﻟﺬﺕ ﻧﺰﺩﻳﻚﺷﺪﻥ‪ ،‬ﻧﺒﺎﻳﺪ ﺑﻲﺍﻫﻤﻴﺖ‬

‫ﺍﻧﮕﺎﺷﺘﻪﺷﻮﺩ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺑﻪ ﺍﻭ ﻓﺮﺻﺘﻲ ﻣﻲﺩﻫﺪ ﺗﺎ ﭼﺎﻫﻲ ﺭﺍ ﺑﺮﺍﻱ ﺳﻘﻮﻁ ﺩﺧﺘﺮ ﺣﻔﺮ ﻛﻨﺪ‪ .‬ﺍﻳﻦ ﻣﺎﻧﻨﺪ‬

‫ﺷﻤﺸﻴﺮﺑﺎﺯﻱ ﺍﺳﺖ‪ :‬ﻓﺮﺩ ﺑﻪ ﻣﻴﺪﺍﻧﻲ ﺑﺮﺍﻱ ﺗﻈﺎﻫﺮ ﻧﻴﺎﺯ ﺩﺍﺭﺩ‪ .‬ﺗﻤﺎﻡ ﺍﻳﻦ ﻣﺪﺕ‪ ،‬ﺍﻏﻮﺍﮔﺮ ﺍﺯ ﻧﺰﺩﻳﻚ‬

‫ﺷﺪﻥ ﺑﻪ ﺩﺧﺘﺮ ﺍﺟﺘﻨﺎﺏ ﻣﻲﻛﻨﺪ ﻭ ﺑﺎ ﺗﻤﻬﻴﺪﺍﺕ ﻣﺨﺘﻠﻔﻲ ﻓﺎﺻﻠﻪﺍﺵ ﺭﺍ ﺍﺯ ﻭﻱ ﺣﻔﻆ ﻣﻲﻛﻨﺪ‪.‬‬

‫ﻣﺴﺘﻘﻴﻤﺎً ﺑﺎ ﺍﻭ ﺻﺤﺒﺖ ﻧﻤﻲﻛﻨﺪ ﺑﻠﻜﻪ ﺗﻨﻬﺎ ﺑﺎ ﻋﻤﻪﺍﺵ ﺣﺮﻑ ﻣﻲﺯﻧﺪ ﻭ ﺩﺭﺑﺎﺭﻩ ﻣﻮﺿﻮﻋﺎﺕ ﺍﺣﻤﻘﺎﻧﻪ‬

‫ﻭ ﺑﻲﺍﻫﻤﻴﺖ ﺻﺤﺒﺖ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻭ ﺑﺎ ﻛﻨﺎﻳﻪ ﻭ ﻓﻀﻞﻓﺮﻭﺷﻲ ﻣﺼﻨﻮﻋﻲﺍﺵ ﻫﺮ ﭼﻴﺰﻱ ﺭﺍ ﺧﻨﺜﻲ‬

‫ﻣﻲﻛﻨﺪ‪ .‬ﺍﺯ ﭘﺎﺳﺦ ﺑﻪ ﻫﺮ ﺣﺮﻛﺖ ﺯﻧﺎﻧﻪ ﻭ ﺍﺭﻭﺗﻴﻜﻲ ﺩﺭ ﻣﻲﻣﺎﻧﺪ ﻭ ﺣﺘﻲ ﺑﺮﺍﻱ ﺩﺧﺘﺮ ﻳﻚ‬

‫ﺧﻮﺍﺳﺘﮕﺎﺭﻱ ﺳﺮﻳﺎﻝ ﻛﻤﺪﻱ ﭘﻴﺪﺍ ﻣﻲﻛﻨﺪ ﺗﺎ ﺍﻭ ﺭﺍ ﺍﺯ ﻋﺸﻘﺶ ﺩﻟﺰﺩﻩ ﻭ ﻣﺄﻳﻮﺱ ﻧﻤﺎﻳﺪ‪ .‬ﺣﻔﻆ ﻓﺎﺻﻠﻪ‬

‫ﺍﺯ ﺩﺧﺘﺮ‪ ،‬ﻣﻌﻮﻕ ﻧﮕﺎﻩﺩﺍﺷﺘﻦ ﺍﻭ‪ ،‬ﺑﺮﺍﻱ ﺭﻓﻊ ﺷﻴﻔﺘﮕﻲ ﺍﻭ ﻭ ﻓﺮﻳﻔﺘﻦ ﺍﻭﺳﺖ ﺗﺎ ﺍﻳﻨﻜﻪ ﻧﻬﺎﻳﺘﺎً ﺩﺧﺘﺮ‬

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‫ﺍﻏﻮﺍ‬

‫ﺧﻮﺩ ﭘﻴﺸﻘﺪﻡ ﺷﻮﺩ ﻭ ﻧﺎﻣﺰﺩﻱﺍﺵ )ﺑﺎ ﺷﺨﺺ ﺩﻳﮕﺮﻱ( ﺭﺍ ﻣﻲﺷﻜﻨﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺍﻏﻮﺍﮔﺮﻱ ﺑﻪ ﻛﻤﺎﻝ‬

‫ﺧﻮﺩ ﻣﻲﺭﺳﺪ ﻭ ﻣﻮﻗﻴﻌﺘﻲ ﺍﻳﺪﻩﺁﻝ ﺑﺮﺍﻱ ﺗﺴﻠﻴﻢ ﻧﻬﺎﻳﻲ ﺩﺧﺘﺮ ﻓﺮﺍﻫﻢ ﻣﻲﺁﻳﺪ‪.‬‬

‫ﺍﻏﻮﺍﮔﺮ ﻣﻲﺩﺍﻧﺪ ﭼﮕﻮﻧﻪ ﻧﺸﺎﻧﻪﻫﺎ ﺭﺍ ﻣﻌﻮﻕ ﺑﺎﻗﻲ ﮔﺬﺍﺭﺩ‪ .‬ﺍﻭ ﻣﻲﺩﺍﻧﺪ ﻧﺸﺎﻧﻪﻫﺎ ﺗﻨﻬﺎ ﻭﻗﺘﻲ‬

‫ﻣﻄﻠﻮﺏﺍﻧﺪ ﻛﻪ ﻣﻌﻠﻖ ﺷﻮﻧﺪ ﻭ ﺁﻧﮕﺎﻩ ﺧﻮﺩ ﺑﻪ ﺳﻮﻱ ﺳﺮﻧﻮﺷﺖ ﻣﻘﺪﺭﺷﺎﻥ ﺣﺮﻛﺖ ﺧﻮﺍﻫﻨﺪﻧﻤﻮﺩ‪ .‬ﺍﻭ‬

‫ﺗﻤﺎﻣﻲ ﻧﺸﺎﻧﻪﻫﺎ ﺭﺍ ﺑﻪ ﻳﻜﺒﺎﺭﻩ ﺑﻜﺎﺭ ﻧﻤﻲﮔﻴﺮﺩ ﺑﻠﻜﻪ ﻣﻨﺘﻈﺮ ﻟﺤﻈﻪﺍﻱ ﻣﻲﻣﺎﻧﺪ ﻛﻪ ﺁﻧﻬﺎ ﭘﺎﺳﺨﻲ‬

‫ﻣﻲﺩﻫﻨﺪ ﺁﻧﮕﺎﻩ ﻳﻜﻲ ﺑﻌﺪ ﺍﺯ ﺩﻳﮕﺮﻱ ﺍﺗﺼﺎﻟﻲ ﻭﺍﺣﺪ ﺍﺯ ﺳﺮﮔﻴﺠﮕﻲ ﻭ ﻓﺮﻭﭘﺎﺷﻲ ﻣﻲﺁﻓﺮﻳﻨﻨﺪ‪.‬‬

‫"ﻭﻗﺘﻲ ﺍﻭ ﺩﺭ ﺷﺮﻛﺖ »ﺳﻪ ﻳﺎﻧﺴﻦ« ﺍﺳﺖ ﺧﻴﻠﻲ ﻛﻢ ﺻﺤﺒﺖ ﻣﻲﻛﻨﺪ ﺍﺯ ﻗﺮﺍﺭ ﻣﻌﻠﻮﻡ‬
‫ﭘﭻﭘﭻﻫﺎﻱ ﺁﻧﻬﺎ ﺍﻭ ﺭﺍ ﺧﺴﺘﻪﻣﻲﻛﻨﺪ ﻭ ﻇﺎﻫﺮﺍً ﻟﺒﺨﻨﺪﻱ ﻛﻪ ﺑﺮ ﻟﺐ ﺩﺍﺭﺩ ﻫﻤﻴﻦ ﺭﺍ ﻧﺸﺎﻥ‬
‫ﻣﻲﺩﻫﺪ‪ .‬ﻣﻦ ﺑﻪ ﺍﻳﻦ ﺗﺒﺴﻢ ﺍﻋﺘﻤﺎﺩ ﻣﻲﻛﻨﻢ‪.‬‬
‫ﺍﻣﺮﻭﺯ ﻣﻦ ﺑﻪ ﭘﻴﺶ ﺧﺎﻧﻢ ﻳﺎﻧﺴﻦ ﺭﻓﺘﻢ ﺑﻲﺳﺮ ﻭ ﺻﺪﺍ ﺩﺭ ﺭﺍ ﺗﺎ ﻧﻴﻤﻪ ﺑﺎﺯﻛﺮﺩﻡ‪ ...‬ﺍﻭ‬
‫ﺩﺭﺗﻨﻬﺎﻳﻲ ﭘﻴﺎﻧﻮ ﻣﻲﻧﻮﺍﺧﺖ‪ ... .‬ﻣﻦ ﻣﻲﺗﻮﺍﻧﺴﺘﻢ ﺟﻠﻮ ﺑﭙﺮﻡ ﻭ ﺍﻳﻦ ﻟﺤﻈﻪ ﺭﺍ ﺑﻪﭼﻨﮓﺁﻭﺭﻡ‪- .‬‬
‫ﻛﻪ ﻛﺎﺭ ﺍﺣﻤﻘﺎﻧﻪﺍﻱ ﺍﺳﺖ‪ ...‬ﺍﺯ ﻗﺮﺍﺭ ﻣﻌﻠﻮﻡ ﭘﻴﺎﻧﻮ ﺯﺩﻧﺶ ﺭﺍ ﺍﺯ ﻣﻦ ﭘﻨﻬﺎﻥ ﻣﻲﻛﻨﺪ‪ . .‬ﻫﻨﮕﺎﻣﻲ‬
‫ﻛﻪ ﺑﺘﻮﺍﻧﻢ ﺑﺎ ﺍﻭ ﻣﺤﺮﻣﺎﻧﻪﺗﺮ ﺻﺤﺒﺖ ﻛﻨﻢ‪ ،‬ﻣﻮﺫﻳﺎﻧﻪ ﺑﻪ ﺍﻳﻦ ﻗﻀﻴﻪ ﺍﺷﺎﺭﻩ ﻣﻲﻛﻨﻢ ﻭ ﻣﻲﮔﺬﺍﺭﻡ‬
‫ﻛﻪ ﺍﻭ ﺑﻪ ﺩﺍﻡ ﺑﻴﺎﻓﺘﺪ‪" .‬‬
‫ﻫﻤﺎﻥ )ﺹ ‪(۳۳۸-۳۳۹‬‬
‫ﺍﻭ ﺑﻪ ﺳﺮﮔﺮﻣﻲﻫﺎﻱ ﻣﺒﺘﺬﻝ‪ ،‬ﺑﻪ ﻋﻴﺎﺷﻲ ﻭ ﺍﻓﺴﺎﺭ ﮔﺴﻴﺨﺘﮕﻲ‪ ،‬ﻫﻮﺳﻬﺎﻱ ﺷﻬﻮﺍﻧﻲ‬

‫ﺩﺳﺖﻧﻴﺎﻓﺘﻪﺍﺳﺖ )ﺑﺨﺶ ﺍﻋﻈﻤﻲ ﺍﺯ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺣﺘﻲ ﺑﻪ ﺳﺨﺘﻲ ﺑﺎ ﻛﻮﺭﺩﻟﻴﺎ ﺭﻭﺑﺮﻭ ﻣﻲﺷﻮﺩ ﺑﻪ ﺟﺰ‬

‫ﺩﺭ ﺧﻴﺎﻝ ﭘﺮﺩﺍﺯﻱﻫﺎﻱ ﻋﻴﺎﺷﺎﻧﻪﺍﺵ‪ :‬ﻳﻚ ﻧﻔﺮ ﺭﺍ ﺑﻪ ﺗﻨﻬﺎﻳﻲ ﺩﻭﺳﺖﺩﺍﺷﺘﻦ ﺑﺴﻴﺎﺭ ﻛﻮﭼﻚ ﺍﺳﺖ؛‬

‫ﻋﺸﻖ ﻭﺭﺯﻳﺪﻥ ﺑﻪ ﺗﻤﺎﻡ ﺁﻧﺎﻥ ﺳﺒﻜﺒﺎﻟﻲ ﻳﻚ ﺷﺨﺼﻴﺖ ﺳﻄﺤﻲ ﺭﺍ ﺑﻴﺎﻥ ﻣﻲﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﻋﺸﻖﻭﺭﺯﻱ ﺗﺎ‬

‫ﺳﺮ ﺣﺪ ﻣﻤﻜﻦ‪ .. .‬ﭼﻘﺪﺭ ﻟﺬﺕﺑﺨﺶ! ﻋﺠﺐ ﺯﻧﺪﮔﻴﻲ!( ﺍﻭ ﺑﻪ ﺍﻏﻮﺍﻳﻲ ﻣﺒﺘﺬﻝ ﻧﺎﺋﻞ ﻧﺸﺪﻩﺍﺳﺖ ﻛﻪ‬

‫ﻫﺮﮔﺰ ﺑﺨﺸﻲ ﺍﺯ "ﺑﺎﺯﻱ ﻭﺍﻻﻱ" ﺍﻏﻮﺍﮔﺮﻱ ﺑﺎ ﻓﻠﺴﻔﻪ ﺍﻧﺤﺮﺍﻑ ﻭ ﻛﺠﺮﺍﻫﻲ ﻧﻴﺴﺖ‪ .‬ﺍﻏﻮﺍﮔﺮﻱ »ﻭﺍﻻ«‬

‫ﻣﺤﺮﻣﺎﻧﻪ ﺍﺯ ﻫﻤﺎﻥ ﻣﺴﻴﺮﻱ ﻣﻲﺭﻭﺩ ﻛﻪ ﺩﺭ ﺍﻏﻮﺍﮔﺮﻱ ﻣﺒﺘﺬﻝ ﺩﻳﺪﻩﻣﻲﺷﻮﺩ ﺍﻣﺎ ﺁﻧﻬﺎ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ‬

‫‪۱٦۷‬‬
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺗﻌﻠﻴﻖ ﻭ ﻧﻘﻴﻀﻪ ﺍﺟﺮﺍ ﺧﻮﺍﻫﺪﻧﻤﻮﺩ‪ .‬ﺍﺧﺘﻼﻁ ﺍﻳﻦ ﺩﻭ ﻣﻤﻜﻦ ﻧﻴﺴﺖ‪ :‬ﻳﻜﻲ ﺑﺎﺯﻱ ﻋﺸﻖ ﺍﺳﺖ‪ ،‬ﺩﻳﮕﺮﻱ‬

‫ﺩﻭﺋﻠﻲ "ﺭﻭﺣﺎﻧﻲ"‪ .‬ﺗﻤﺎﻣﻲ ﻣﻴﺎﻥ ﭘﺮﺩﻩﻫﺎ ﺗﻨﻬﺎ ﻣﻮﻛﺪ ﺭﻳﺘﻢ ﺗﺪﺭﻳﺠﻲ‪ ،‬ﺣﺴﺎﺏﺷﺪﻩ ﻭ ﭼﺎﺭﻩﻧﺎﭘﺬﻳﺮ‬

‫ﺍﻏﻮﺍﮔﺮﻱ ﻭﺍﻻ ﺍﺳﺖ‪ .‬ﺁﻳﻨﻪ ﻫﻨﻮﺯ ﺩﺭ ﺩﻳﻮﺍﺭ ﻣﻘﺎﺑﻞ ﺁﻭﻳﺨﺘﻪ ﺍﺳﺖ ﺣﺘﻲ ﺍﮔﺮ ﺩﻳﮕﺮ ﺑﻪ ﺁﻥ ﺗﻮﺟﻬﻲ‬

‫ﻧﻜﻨﻴﻢ ﻭ ﺯﻣﺎﻥ ﺩﺭ ﻗﻠﺐ ﻛﺎﺭﺩﻟﻴﺎ ﭼﻮﻥ ﺑﻪ ﭘﻴﺶ ﻣﻲﺭﻭﺩ‪.‬‬

‫ﺍﻳﻦ ﻓﺮﺁﻳﻨﺪ )ﺍﻏﻮﺍ( ﺑﻪ ﻧﻈﺮ ﻣﻲﺭﺳﺪ ﻛﻪ ﺑﺎ ﻧﺎﻣﺰﺩﻱ ﺍﻏﻮﺍﮔﺮ ﺑﻪ ﭘﺎﻳﻴﻦﺗﺮﻳﻦ ﺳﻄﺢ ﺧﻮﺩ ﻣﻲﺭﺳﺪ‪.‬‬

‫ﺩﺭ ﻧﺎﻣﺰﺩﻱ ﺍﺣﺴﺎﺱ ﻣﻲﺷﻮﺩ ﻛﻪ ﺑﻪ ﻧﻘﻄﻪ ﺑﻲﺍﻧﺪﺍﺯﻩ ﻛﺮﺧﻲ ﻭ ﺑﻲﺣﺴﻲ ﺭﺳﻴﺪﻩﺍﻳﻢ‪ ،‬ﺟﺎﻳﻲ ﻛﻪ‬

‫ﺍﻏﻮﺍﮔﺮ ﺍﻓﺴﻮﻥﺯﺩﺍﻳﻲ ﻭ ﺩﻟﺴﺮﺩﺳﺎﺯﻱ ﺗﺎ ﺣﺪ ﺭﻳﺎﺿﺖ ﺑﻪ ﭘﻴﺶ ﻣﻲﺑﺮﺩ‪ .‬ﺍﻳﻦ ﺍﺣﺴﺎﺱ ﺑﻪ ﻋﻨﻮﺍﻥ‬

‫ﻧﺘﻴﺠﻪ ﺩﺳﺖ ﻣﻲﺩﻫﺪ ﻛﻪ ﺩﻝ ﻛﻮﺭﺩﻟﻴﺎ ﺷﻜﺴﺘﻪﺍﺳﺖ ﻭ ﻧﻴﺮﻭﻱ ﺯﻧﺎﻧﮕﻲ ﺍﺵ ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﻴﺪﻩﺍﺳﺖ ﻭ‬

‫ﺑﺎ ﻓﺮﻳﺐﻫﺎﻳﻲ ﻛﻪ ﺍﻭ ﺭﺍ ﺩﺭﺑﺮﮔﺮﻓﺘﻪﺍﻧﺪ ﺧﻨﺜﻲ ﮔﺸﺘﻪﺍﺳﺖ‪" .‬ﻟﺤﻈﻪ ﻧﺎﻣﺰﺩﻱ ﺁﻧﭽﻨﺎﻥ ﻟﺤﻈﻪ ﻣﻬﻤﻲ‬

‫ﺑﺮﺍﻱ ﻳﻚ ﺩﺧﺘﺮ ﺟﻮﺍﻥ ﻣﺤﺴﻮﺏ ﻣﻲﺷﻮﺩ ﻛﻪ ﻣﻲﺗﻮﺍﻧﺪ ﺗﻤﺎﻣﻲ ﺭﻭﺡ ﺧﻮﺩ ﺭﺍ ﻣﺘﻮﺟﻪ ﺁﻥ ﻛﻨﺪ ﺑﻪ‬

‫ﻣﺎﻧﻨﺪ ﻣﺮﺩ ﺩﺭ ﺣﺎﻝ ﻧﺰﺍﻉ ﺑﺎ ﺁﺧﺮﻳﻦ ﺧﻮﺍﺳﺘﻬﺎﻳﺶ‪ ".‬ﺍﺯ ﺍﻳﻦ ﻟﺤﻈﻪ ﻛﻮﺭﺩﻟﻴﺎ ﺑﺪﻭﻥ ﻓﻬﻢ ﺧﻮﺍﻫﺪ‬

‫ﺯﻳﺴﺖ ﺑﻲﺳﺮ ﻭﺻﺪﺍ‪ ،‬ﻣﻬﺎﺭ ﮔﺸﺘﻪ ﻭ ﺑﻪ ﺩﺍﻡ ﺍﻓﺘﺎﺩﻩﺍﺳﺖ‪.‬‬

‫"ﻳﻚ ﻭﺍﮊﻩ ﺗﺎ ﺍﻭ ﺑﻪ ﻣﻦ ﺑﺨﻨﺪﺩ‪ ،‬ﻳﻚ ﻛﻠﻤﻪ ﺗﺎ ﺍﻭ ﺣﺮﻛﺘﻲ ﻧﻤﺎﻳﺪ‪ ،‬ﻳﻚ ﻛﻠﻤﻪ ﺗﺎ ﺍﻭ ﺍﺯ‬
‫ﻣﻦ ﺑﮕﺮﻳﺰﺩ‪ ،‬ﺍﻣﺎ ﻫﻴﭻ ﻭﺍﮊﻩﺍﻱ ﺍﺯ ﻟﺒﺎﻧﻢ ﺧﺎﺭﺝ ﻧﻤﻲﺷﻮﺩ‪ .‬ﻣﻦ ﺑﻲﻋﺎﻃﻔﻪ ﻭ ﺟﺪﻱ ﺑﺎﻗﻲ ﻣﺎﻧﻢ‬
‫ﻭﻛﺎﻣﻼً ﺗﺸﺮﻳﻔﺎﺗﻲ ﺭﻓﺘﺎﺭ ﻣﻲﻛﻨﻢ‪ .‬ﺩﺭ ﺩﻭﺭﻩ ﻧﺎﻣﺰﺩﻱﺍﻡ ﺍﺯ ﺷﺎﻋﺮﺍﻧﻪ ﺑﻮﺩﻥ ﺍﻳﻦ ﺩﻭﺭﻩ ﺭﺟﺰﺧﻮﺍﻧﻲ‬
‫ﻧﻤﻲﻛﻨﻢ ﺍﻳﻦ ﺭﻭﺵ ﺑﻲﻓﺮﻫﻨﮓﻫﺎ ﻭ ﺑﻮﺭﮊﻭﺍﺯﻱ ﺍﺳﺖ‪ .‬ﭘﺲ ﺣﺎﻻ ﻣﻦ ﻧﺎﻣﺰﺩﺷﺪﻩﺍﻡ‪ ،‬ﻧﺎﻣﺰﺩ‬
‫ﻛﻮﺭﺩﻟﻴﺎ )ﻛﻮﺭﺩﻟﻴﺎ ﻫﻢ ﻫﻤﻴﻨﻄﻮﺭ!( ﻭ ﺍﻳﻦ ﺗﻤﺎﻣﻲ ﺁﻥﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﺍﻭ ﺍﺯ ﻛﻞ ﻗﻀﻴﻪ‬
‫ﻣﻲﺩﺍﻧﺪ‪".‬‬
‫)ﺹ ‪(۳۷۱-۳۷۰‬‬

‫"ﺗﻤﺎﻣﻲ ﺍﻳﻨﻬﺎ ﻣﺜﻞ ﺁﺯﻣﻮﻥﻫﺎﻱ ﻭﺭﻭﺩﻱ ﻧﻮﻋﻲ ﺍﻣﺘﺤﺎﻥ ﺳﺨﺖ ﺍﺳﺖ‪ .‬ﺩﺭ ﺁﻏﺎﺯ ﺑﺎﻳﺪ ﺍﺯ‬
‫ﻣﺮﺣﻠﻪﺍﻱ ﮔﺬﺭ ﻧﻤﻮﺩ ﻛﻪ ﻧﺸﺎﻥ ﺍﺯ ﻣﺮﮒ ﺍﻭ ﻳﺎ ﺩﺧﺘﺮ ﺩﺍﺭﺩ‪ ،‬ﻣﺮﮔﻲ ﻧﻪ ﭼﻮﻧﺎﻥ ﺭﻧﺠﻲ ﺭﻗﺖﺍﻧﮕﻴﺰ‬

‫‪۱٦۸‬‬
‫ﺍﻏﻮﺍ‬

‫ﺑﻠﻜﻪ ﻫﻤﭽﻮﻥ ﻳﻚ ﻧﻴﺴﺘﻲ ﻳﺎ ﺍﻣﺮﻱ ﺗﻬﻲ‪ .‬ﻟﺤﻈﻪﺍﻱ ﻧﻬﺎﻳﻲ ﭘﻴﺶ ﺍﺯ ﺁﺷﻜﺎﺭﮔﻲ ﻫﻮﺱ ﻭ‬
‫ﺗﺴﻠﻴﻢ ﺷﻬﻮﺍﻧﻲ‪ .‬ﺑﺪﻳﻦ ﻣﻌﻨﻲ ﺍﻏﻮﺍﮔﺮ ﻟﺤﻈﻪﺍﻱ ﺭﻳﺎﺿﺖﻛﺸﺎﻧﻪ ﺭﺍ ﻧﻴﺰ ﺑﻪ ﺍﻳﻦ ﺣﺮﻛﺖ‬
‫ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﺎﻧﻪ ﻣﻲﺍﻓﺰﺍﻳﺪ‪.‬‬
‫ﺩﺭ ﻛﻞ ﻣﻲﺗﻮﺍﻧﻢ ﺍﻃﻤﻴﻨﺎﻥ ﺩﻫﻢ ﻛﻪ ﻫﺮ ﺩﺧﺘﺮﻱ ﻛﻪ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻣﻦ ﺩﺭ ﻛﻤﺎﻝ‬
‫ﺭﻓﺘﺎﺭﻱ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﺎﻧﻪ ﺗﺴﻠﻴﻢ ﻣﻲﻛﻨﺪ‪ :‬ﺩﺭ ﭘﺎﻳﺎﻥ ﺗﻨﻬﺎ ﺧﻮﺩ ﺭﺍ ﻓﺮﻳﻔﺘﻪﺍﺳﺖ ‪"...‬‬
‫ﻫﻤﺎﻥ )ﺹ ‪(۳۷۵‬‬

‫ﺩﺭ ﺍﻳﻦ ﺣﻘﻴﻘﺖ ﻛﻪ ﻧﺎﻣﺰﺩﻱ ﺑﺎ ﻧﺎﭘﺪﻳﺪﻱ ﻇﺎﻫﺮﻱ ﺗﻤﺎﻡ ﺁﻧﭽﻪ ﺩﺭ ﺍﻏﻮﺍ ﺩﺭ ﻣﻌﺮﺽ ﺧﻄﺮ ﺑﻮﺩ‬

‫ﺳﺎﺯﮔﺎﺭ ﺍﺳﺖ‪ .‬ﺁﻧﭽﻪ ﺩﺭ ﺩﻳﺪﮔﺎﻩ ﺑﻮﺭﮊﻭﺍﺯﻱ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ ﻳﻚ ﭘﺮﻟﻮﺩ )ﻳﻜﻲ ﺍﺯ ﻓﺮﻡﻫﺎﻱ ﻣﻮﺳﻴﻘﻲ(‬

‫ﻟﺬﺕﺑﺨﺶ ﻭ ﺳﺮﺧﻮﺵﺁﻭﺭ ﺭﺍ ﺑﺮﺍﻱ ﺍﺯﺩﻭﺍﺝ ﺷﻜﻞ ﻣﻲﺩﻫﺪ‪ ،‬ﺍﻳﻨﺠﺎ ﻳﻚ ﺷﺮﻭﻉ ﺧﺸﻚ ﺩﺭ ﻓﺮﺟﺎﻣﻬﺎﻱ‬

‫ﺭﻓﻴﻊ ﻋﺸﻖ ﺍﺳﺖ ﺑﺎ ﺧﻮﺍﺑﮕﺮﺩﻱ ﺍﺯ ﺑﻴﺎﺑﺎﻧﻬﺎﻱ ﻧﺎﻣﺰﺩﻱ( )ﻛﻪ ﺩﺭ ﻫﻤﺎﻥ ﺣﺎﻝ ﭘﺎﻳﺎﻥ ﺣﺴﺎﺏﺷﺪﻩ‬

‫ﺍﻏﻮﺍﮔﺮﻱ ﻧﻴﺰ ﻫﺴﺖ(‬

‫)ﻓﺮﺍﻣﻮﺵ ﻧﻜﻨﻴﺪ ﻛﻪ ﻧﺎﻣﺰﺩﻱ ﻟﺤﻈﻪﺍﻱ ﺑﺤﺮﺍﻧﻲ ﺩﺭ ﺯﻧﺪﮔﻲ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﺭﻭﻣﺎﻧﺘﻴﻚﻫﺎ‬

‫ﺑﻮﺩﻩﺍﺳﺖ ﺍﺯ ﺟﻤﻠﻪ ﺑﺮﺍﻱ ﻛﻴﺮﻛﻪﮔﻮﺭﻭ ﺣﺘﻲ ﺩﺭﺍﻣﺎﺗﻴﻚﺗﺮ ﺑﺮﺍﻱ ﻛﻼﻳﺴﺖ‪ ،‬ﻫﻮﻟﺪﺭﻟﻴﻦ‪ ،‬ﻧﻮﻭﺍﻟﻴﺲ ﻭ‬

‫ﻛﺎﻓﻜﺎ‪ .‬ﻟﺤﻈﻪﺍﻱ ﺩﺭﺩﻧﺎﻙ ﺍﺯ ﺳﺮﺧﻮﺭﺩﮔﻲ ﻇﺎﻫﺮﺍً ﺑﻲﭘﺎﻳﺎﻥ؛ ﺗﻘﺮﻳﺒﺎ ﻫﻮﺳﻬﺎﻳﻲ ﭘﻨﻬﺎﻧﻲ ﻛﻪ ﺑﺎ ﻧﺎﻣﺰﺩﻱ‬

‫ﺗﻘﻮﻳﺖ ﻣﻲﺷﻮﺩ ﮔﻮﻳﺎ )ﺑﮕﺬﺍﺭﻳﺪ ﺗﻤﺎﻣﻲ ﺣﺮﻑ ﻭ ﺳﺨﻦﻫﺎ ﺭﺍ ﺩﺭ ﻣﻮﺭﺩ ﺿﻌﻒ ﺟﻨﺴﻲ ﻓﺮﺍﻣﻮﺵ‬

‫ﻛﻨﻴﻢ( ﻣﻮﺿﻮﻉ ﺗﻌﻠﻴﻖ ﻭﺍﻓﺴﻮﻧﻲ ﻣﻌﻮﻕ ﺑﻮﺩﻩﺍﺳﺖ ﻛﻪ ﺑﺎ ﺗﺮﺱ ﺍﺯ ﺳﺮﺧﻮﺭﺩﮔﻲ ﺟﻨﺴﻲ ﻳﺎ ﺯﻧﺎﺷﻮﻳﻲ‬

‫ﺩﺭ ﺁﻣﻴﺨﺘﻪﺍﺳﺖ(‬

‫ﺑﺎ ﺍﻳﻦ ﻭﺟﻮﺩ‪ ،‬ﻳﻮﻫﺎﻧﺲ ﺭﻗﺼﻬﺎﻱ ﻧﺎﻣﺮﺋﻲ ﺍﻏﻮﺍﮔﺮﻱ ﺭﺍ ﺯﻧﺪﻩ ﻧﮕﺎﻩ ﻣﻲﺩﺍﺭﺩ‪ .‬ﺣﺘﻲ ﻭﻗﺘﻲ ﺣﺎﻟﺖ‬

‫ﺍﺑﮋﻛﺘﻴﻮ ﻭ ﺣﻀﻮﺭ ﺍﻏﻮﺍﮔﺮﻱ ﺭﻭ ﺑﻪ ﻣﺤﻮ ﺷﺪﻥ ﻣﻲﮔﺮﺍﻳﻨﺪ‪ .‬ﺑﺮﺍﺳﺘﻲ ﺍﻭ ﻫﺮﮔﺰ ﺷﺪﻳﺪﺗﺮ ﺍﺯ ﺍﻳﻦ‬

‫ﻧﻤﻲﺗﻮﺍﻧﺪ ﺍﻏﻮﺍﮔﺮﻱ ﺭﺍ ﺍﺣﻴﺎ ﻧﻤﺎﻳﺪ ﭼﺮﺍ ﻛﻪ ﺩﺭ ﺍﻳﻨﺠﺎ ﺩﺭ ﭘﻮﭼﻲ‪ ،‬ﺩﺭ ﻏﻴﺎﺏ ﻭ ﺩﺭ ﺻﻮﺭﺕ ﺁﻳﻨﻪﺍﻱ ﻭ‬

‫‪۱٦۹‬‬
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺍﻧﻌﻜﺎﺳﻲ ﺍﺳﺖ ﻛﻪ ﭘﻴﺮﻭﺯﻱ ﺍﻏﻮﺍﮔﺮﻱ ﺗﻀﻤﻴﻦ ﺷﺪﻩﺍﺳﺖ‪ :‬ﺩﺧﺘﺮ ﻧﻤﻲﺗﻮﺍﻧﺪ ﻛﺎﺭﻱ ﺟﺰ ﺷﻜﺴﺘﻦ‬

‫ﻧﺎﻣﺰﺩﻱ ﭘﻴﺸﻴﻦﺍﺵ ﻭ ﺍﻧﺪﺍﺧﺘﻦ ﺧﻮﺩ ﺩﺭ ﺁﻏﻮﺵ ﺍﻭ ﺍﻧﺠﺎﻡ ﺩﻫﺪ‪ .‬ﻫﻤﻪ ﺁﺗﺶ ﻫﻮﺳﻬﺎﻱ ﭘﻨﻬﺎﻥ ﺩﺧﺘﺮ‬

‫ﺁﺷﻜﺎﺭ ﻣﻲﺷﻮﻧﺪ‪ ،‬ﺩﺭﺳﺖ ﺯﻳﺮ ﺳﻄﺢ ﻭ ﺩﺭ ﺷﻔﺎﻓﻴﺘﺶ‪ .‬ﻣﺮﺩ ﻫﺮﮔﺰ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺟﺰ ﺩﺭ ﺍﻳﻦ ﭘﻴﺶ‬

‫ﺁﮔﺎﻫﻲ ﺍﻭ ﺭﺍ ﺑﻪ ﺍﻳﻦ ﺯﻳﺒﺎﻳﻲ ﺑﺒﻴﻨﺪ ﭼﺮﺍ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﻟﺤﻈﻪ ﺩﺧﺘﺮ ﻫﻨﻮﺯ ﺗﺤﺖ ﺗﻘﺪﻳﺮ ﺧﻮﺩ ﺑﺎﻗﻲ‬

‫ﻣﻲﻣﺎﻧﺪ‪ ،‬ﻭ ﺩﻳﮕﺮ ﻫﻴﭻﻣﻮﺭﺩﻱ ﻣﺜﻞ ﺍﻳﻦ ﭘﻴﺪﺍ ﻧﺨﻮﺍﻫﺪ ﺷﺪ‪ ،‬ﺍﻳﻦ ﻟﺤﻈﻪ ﺗﻤﺎﻡ ﺍﺳﺖ‪.‬‬

‫ﺍﻛﻨﻮﻥ ﺳﺮﮔﻴﺠﮕﻲ ﺍﻏﻮﺍ‪ ،‬ﻫﻤﭽﻮﻥ ﻫﺮ ﻫﻮﺳﻲ‪ ،‬ﻭﺭﺍﻱ ﺗﻤﺎﻣﻲﺗﻘﺪﻳﺮﻫﺎﻳﺶ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﺩ‪ .‬ﺍﻳﻦ‬

‫ﺍﻣﺮ ﺑﻪ ﺗﻨﻬﺎﻳﻲ ﺁﻥ ﻛﻴﻔﻴﺖ ﻛﺸﻨﺪﻩ ﺭﺍ ﺑﺮ ﺍﺳﺎﺱ ﺗﻤﺎﻡ ﻟﺬﺕ ﻓﺮﺍﻫﻢ ﻣﻲﻛﻨﺪ‪ -‬ﺿﺮﺑﺘﻲ ﺑﺮ ﻫﻮﺵ‪،‬‬

‫ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺑﻮﺩ‪ ،‬ﻛﻪ‪ ،‬ﮔﻮﻳﻲ ﺍﺯ ﭘﻴﺶ‪ ،‬ﺣﺮﻛﺖ ﺭﻭﺡ ﺭﺍ ﺑﻪ ﺳﻮﻱ ﺗﻘﺪﻳﺮ ﻭ ﻣﺮﮔﺶ ﻣﻲﺑﻨﺪﺩ ﭘﻴﺮﻭﺯﻱ‬

‫ﺍﻏﻮﺍﮔﺮ ﺩﺭ ﺍﻳﻨﺠﺎ ﻧﻔﻬﺘﻪﺍﺳﺖ‪ .‬ﺍﻳﻨﺠﺎ ﺩﺭ ﺭﻗﺺ ﻧﺎﻣﺮﺋﻲ ﻧﺎﻣﺰﺩﻱ ﺍﺳﺖ ﻛﻪ ﺷﻨﺎﺧﺖ ﺍﻏﻮﺍﮔﺮ ﺍﺯ ﺍﻏﻮﺍ‪ ،‬ﺍﺯ‬

‫ﺍﻏﻮﺍﻱ ﺭﺍﺳﺘﻴﻦ ﺍﺯ ﻳﻚ ﺍﻗﺘﺼﺎﺩ ﻣﺎﺭﭘﻴﭽﻲ ﺭﺍ ﻣﻲﺗﻮﺍﻥ ﻣﺸﺎﻫﺪﻩ ﻧﻤﻮﺩ‪.‬‬

‫"ﺭﺍﺑﻄﻪﻱ ﻣﻦ ﺑﺎ ﺍﻭ )ﺩﺧﺘﺮ( ﻣﺜﻞ ﻳﻚ ﻫﻤﺮﺍﻩ ﻧﺎﺁﺷﻨﺎ ﺩﺭ ﺭﻗﺼﻴﺴﺖ ﻛﻪ ﺑﺎ ﺍﻭ ﻣﻲﺭﻗﺼﻢ‪.‬‬

‫ﻓﻘﻂ ﻳﻚ ﻧﻔﺮ‪ ،‬ﻫﻨﮕﺎﻣﻲ ﻛﻪ ﺑﺎﻳﺪ ﻭﺍﻗﻌﺎً ﺩﻭ ﻧﻔﺮ ﺑﺮﺍﻱ ﺭﻗﺺ ﺣﻀﻮﺭ ﺩﺍﺷﺘﻪﺑﺎﺷﻨﺪ‪ .‬ﺍﻭ ﺣﺮﻛﺖ‬
‫ﻣﻲﻛﻨﺪ ﻣﺜﻞ ﺍﻳﻨﻜﻪ ﺩﺭ ﺭﻭﻳﺎﺳﺖ‪ ،‬ﻭ ﻫﻨﻮﺯ ﺑﺎ ﻳﻜﻲ ﺩﻳﮕﺮ ﻣﻲﺭﻗﺼﺪ‪ ،‬ﻭ ﺍﻳﻦ ﺩﻳﮕﺮﻱ ﺧﻮﺩ ﻣﻦ‬
‫ﺍﺳﺖ‪ ،‬ﻛﻪ‪ ،‬ﻣﺎﺩﺍﻣﻲ ﻛﻪ ﻣﻦ ﺍﺯ ﻟﺤﺎﻅ ﺭﻭءﻳﺘﻲ ﺣﻀﻮﺭ ﺩﺍﺭﻡ‪ ،‬ﻧﺎﻣﺮﺋﻲ ﻫﺴﺘﻢ‪ ،‬ﻭ ﻣﺎﺩﺍﻣﻲ ﻛﻪ‬
‫ﻧﺎﻣﺮﺋﻲ ﻫﺴﺘﻢ‪ ،‬ﻣﺮﺋﻲﺍﻡ‪.‬ﺣﺮﻛﺎﺕ ﺭﻗﺺ ﻧﻴﺎﺯ ﺑﻪ ﻳﻚ ﻫﻤﺮﺍﻩ ﺩﺍﺭﻧﺪ‪ ،‬ﺍﻭ )ﺩﺧﺘﺮ( ﺗﺴﻠﻴﻢ ﻣﺮﺩ‬
‫ﻣﻲﺷﻮﺩ‪ ،‬ﺩﺳﺘﺶ ﺭﺍ ﻣﻲﮔﻴﺮﺩ‪ ،‬ﺍﻭ )ﺩﺧﺘﺮ( ﻓﺮﺍﺭﻣﻲﻛﻨﺪ‪ ،‬ﻭ ﺩﻭﺑﺎﺭﻩ ﻧﺰﺩﻳﻚ ﺍﻭ )ﻣﺮﺩ(‬
‫ﻛﺸﻴﺪﻩﻣﻲﺷﻮﺩ‪ ..‬ﻣﻦ ﺩﺳﺘﺎﻥ ﺍﻭ ﺭﺍ ﻣﻲﮔﻴﺮﻡ‪ ،‬ﻣﻦ ﺍﻧﺪﻳﺸﻪ ﺍﻭ ﺭﺍ ﻛﻤﺎﻝ ﻣﻲﺑﺨﺸﻢ ﺍﮔﺮ ﺩﺭ ﺧﻮﺩ‬
‫ﻛﺎﻣﻞ ﺑﺎﺷﺪ‪ .‬ﺍﻭ )ﺩﺧﺘﺮ( ﺑﺎ ﻣﻠﻮﺩﻱ ﺩﻭﺭﻧﻲ ﺭﻭﺡ ﺧﻮﺩ ﻣﻲﺭﻗﺼﺪ ﻣﻦ ﺗﻨﻬﺎ ﻣﻮﻗﻌﻴﺘﻲ ﺑﺮﺍﻱ‬
‫ﺣﺮﻛﺖ ﺍﻭ ﻫﺴﺘﻢ؟ ﻣﻦ ﻋﺎﺷﻘﻲ ﻧﻴﺴﺘﻢ ﻛﻪ ﻣﻲﺧﻮﺍﻫﻢ ﺍﻭ ﺭﺍ ﺑﻴﺪﺍﺭ ﻛﻨﻢ‪ .‬ﻣﻦ ﻣﻼﻳﻢ‪ ،‬ﻣﺜﻤﺮ‬
‫ﺛﻤﺮ ﻭ ﻏﻴﺮ ﺷﺨﺼﻲﺍﻡ ﺩﺭﺳﺖ ﻣﺎﻧﻨﺪ ﻳﻚ ﻣﺸﺮﺏ‪".‬‬
‫ﻫﻤﺎﻥ )ﺹ ‪(۳۷۶‬‬
‫ﺑﻨﺎﺑﺮﺍﻳﻦ ﺍﻏﻮﺍﮔﺮﻱ ﺩﺭ ﺣﺮﻛﺘﻲ ﻳﮕﺎﻧﻪ ﺍﺭﺍﺋﻪ ﻣﻲﺷﻮﺩ ﭼﻮﻧﺎﻥ‪:‬‬

‫‪ -‬ﻳﻚ ﺩﺳﻴﺴﻪ ﻗﺪﺭﺕ‪ -‬ﺷﻜﻠﻲ ﻗﺮﺑﺎﻧﻲﻛﻨﻨﺪﻩ‬

‫‪۱۷۰‬‬
‫ﺍﻏﻮﺍ‬

‫‪ -‬ﻳﻚ ﻗﺘﻞ ﻭ ﻧﻬﺎﻳﺘﺎ ﺟﻨﺎﻳﺘﻲ ﻛﺎﻣﻞ‬

‫‪ -‬ﻳﻚ ﺍﺛﺮ ﻫﻨﺮﻱ‪ -‬ﺍﻏﻮﺍﮔﺮﻱ ﻣﺎﻧﻨﺪ ﻳﻚ ﻫﻨﺮ ﻇﺮﻳﻒ ﻃﺮﺍﺣﻲ ﻣﻲﺷﻮﺩ‪) .‬ﻣﺎﻧﻨﺪ ﺟﻨﺎﻳﺖ ﻣﻄﺌﻤﻦ‬

‫ﺑﺎﺷﻴﺪ‪(.‬‬

‫‪ -‬ﺿﺮﺑﺘﻲ ﺑﺮ ﻫﻮﺵ ﻳﺎ ﺟﺮﻗﻪﻱ ﺍﻟﻬﺎﻡ‪ .‬ﺍﻗﺘﺼﺎﺩﻱ"ﺭﻭﺣﺎﻧﻲ"‬

‫ﺑﺎ ﺭﻗﺎﺑﺖ ﺩﻭﺋﻠﻲ ﻫﻤﭽﻮﻥ ﺿﺮﺑﻪﺍﻱ ﺑﺮ ﻫﻮﺵ‪ ،‬ﺩﺭ ﺍﻳﻨﺠﺎ ﻫﻤﻪﭼﻴﺰ ﺑﻪ ﺷﻜﻞ ﻛﻨﺎﻳﻲ ﻣﺒﺎﺩﻟﻪ‬

‫ﻣﻲﺷﻮﺩ ﺑﺪﻭﻥ ﻫﻴﭻ ﺗﻌﻴﻴﻦ ﺍﺭﺯﺷﻲ‪ ،‬ﻫﻤﺎﻧﻨﺪ ﻛﻨﺎﻳﻪﻫﺎ ﻭ ﻣﺒﺎﺩﻟﻪ ﺁﻳﻴﻨﻲ‪ ،‬ﻳﻚ ﺭﺍﺯ‪.‬‬

‫‪ -‬ﺷﻜﻠﻲ ﺭﻳﺎﺿﺖ ﻛﺸﺎﻧﻪ "ﺭﻭﺣﺎﻧﻲ" ﺍﻣﺎ ﻫﻤﭽﻮﻥ ﺁﺯﻣﻮﻧﻲ ﺁﻣﻮﺯﺷﻲ‪ :‬ﻧﻮﻋﻲ ﻣﻜﺘﺐ ﻫﻮﺱ‪ ،‬ﺩﺍﻧﺸﻲ‬

‫ﻫﻢ ﻛﻨﺎﻳﻲ ﻭ ﻫﻢ ﺷﻬﻮﺍﻧﻲ‪:‬‬

‫"ﻣﻦ ﻫﻤﻴﺸﻪ ﺩﺧﺘﺮﺍﻥ ﺟﻮﺍﻥ ﺭﺍ ﺁﻣﻮﺯﮔﺎﺭﺍﻧﻲ ﻣﺎﺩﺭﺯﺍﺩ ﺩﺍﻧﺴﺘﻪﺍﻡ ﺍﺯ ﻓﺎﺣﺸﻪ ﻣﻲﺗﻮﺍﻥ‬

‫ﻫﻤﻴﺸﻪ ﭼﻴﺰﻱ ﺁﻣﻮﺧﺖ ﻭ ﺑﻴﺶ ﺍﺯ ﻫﺮ ﭼﻴﺰﻱ ﻓﺮﻳﻔﺘﻦ ﺧﻮﺩ ﺍﻭ ﺭﺍ‪ .‬ﺑﻬﺘﺮﻳﻦ ﺷﻜﻞ ﺍﻳﻦ‬
‫ﺍﻏﻔﺎﻟﻬﺎ ﺭﺍ ﺍﺯ ﺧﻮﺩ ﺩﺧﺘﺮﺍﻥ ﺑﺎﻳﺪ ﺁﻣﻮﺧﺖ‪".‬‬
‫ﻫﻤﺎﻥ )ﺹ ‪(۳۸۳-۳۸۲‬‬

‫"ﻫﺮ ﺩﺧﺘﺮ ﺟﻮﺍﻧﻲ ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ ﭘﻴﭽﺸﻬﺎﻱ ﻗﻠﺒﺶ ﻳﻚ ﺁﺭﻳﺎﺩﻧﻪ ‪ ۳۸‬ﺍﺳﺖ ﺍﻭ ﺭﻳﺴﻤﺎﻥ ﺭﺍ‬
‫ﻧﮕﺎﻩ ﻣﻲﺩﺍﺭﺩ ﺗﺎ ﻓﺮﺩ ﺭﺍﻫﺶ ﺭﺍ ﭘﻴﺪﺍ ﻧﻤﺎﻳﺪ ﺍﻣﺎ ﺧﻮﺩ ﺩﺧﺘﺮ ﻧﻤﻲﺩﺍﻧﺪ ﭼﮕﻮﻧﻪ ﺍﺯ ﺁﻥ ﺍﺳﺘﻔﺎﺩﻩ‬
‫ﻧﻤﺎﻳﺪ‪".‬‬
‫ﻫﻤﺎﻥ )ﺹ ‪(۳۹۶‬‬

‫‪ -‬ﺷﻜﻞ ﺩﻭﺋﻞ ﻳﺎ ﺟﻨﮓ‪ ،‬ﺷﻜﻠﻲ ﺍﻟﺘﻬﺎﺑﻲ‪ .‬ﻛﻪ ﻫﺮﮔﺰ ﺷﻜﻠﻲ ﺧﺸﻦ ﻭ ﻳﺎ ﻣﺮﺑﻮﻁ ﺑﻪ ﺭﻭﺍﺑﻂ ﻧﻴﺮﻭ‬

‫ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﺑﺎﺯﻱ ﺟﻨﮕﻲ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺁﻥ ﻓﺮﺩ ﺩﻭ ﺣﺮﻛﺖ ﻫﻤﺰﻣﺎﻥ ﺍﻏﻮﺍﮔﺮﻱ ﻫﻤﭽﻮﻥ ﻫﺮ ﺭﺍﻫﺒﺮﺩ‬

‫ﺩﻳﮕﺮﻱ‪ ،‬ﻛﺸﻒ ﻣﻲﻛﻨﺪ‪.‬‬

‫"ﭘﺲ ﺍﻛﻨﻮﻥ ﺍﻭﻟﻴﻦ ﺟﻨﮓ ﺑﺎ ﻛﻮﺭﺩﻟﻴﺎ ﺁﻏﺎﺯ ﻣﻲﺷﻮﺩ‪ ،‬ﻭ ﺑﺪﻳﻦﻭﺳﻴﻠﻪ ﺑﻪ ﺍﻭ ﻣﻲﺁﻣﻮﺯﻡ‬
‫ﺩﺭ ﺩﻧﺒﺎﻝﻛﺮﺩﻥ ﻣﻦ ﭘﻴﺮﻭﺯ ﺷﻮﺩ‪ .‬ﻣﺪﺍﻭﻣﺎً ﭘﻴﺶ ﺍﺯ ﺍﻭ‪ ،‬ﻋﻘﺐﻧﺸﻴﻨﻲ ﻣﻲﻛﻨﻢ ﻭ ﺑﺎ ﺍﻳﻦ ﺭﻓﺘﺎﺭ‪ ،‬ﺑﻪ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺍﻭ ﻗﺪﺭﺕ ﻋﺸﻖ‪ ،‬ﺩﻟﻤﺸﻐﻮﻟﻲﻫﺎﻱ ﭘﺮ ﻫﻴﺎﻫﻮ ﻭ ﻫﻮﺳﻬﺎﻱ ﺁﻧﺮﺍ‪ ،‬ﻭ ﺁﻧﭽﻪ ﺍﺷﺘﻴﺎﻕ ﻭ ﺍﻣﻴﺪ ﻭ‬
‫ﺍﻧﺘﻈﺎﺭ ﺑﻲﺻﺒﺮﺍﻧﻪ ﺍﺳﺖ ﺭﺍ ﻣﻲﺁﻣﻮﺯﺍﻧﻢ ‪ ...‬ﺍﻭ ﺷﺠﺎﻋﺖ ﺑﺎﻭﺭ ﺩﺍﺷﺘﻦ ﺑﻪ ﻋﺸﻖ ﺭﺍ ﺑﻪ ﺩﺳﺖ‬
‫ﺧﻮﺍﻫﺪﺁﻭﺭﺩ ‪...‬‬
‫ﺍﻭ ﻫﺮﮔﺰ ﻧﺒﺎﻳﺪ ﮔﻤﺎﻥ ﻛﻨﺪ ﻛﻪ ﺍﻳﻦ ﺁﺯﺍﺩﻱ ﺭﺍ ﻣﺪﻳﻮﻥ ﻣﻦ ﺍﺳﺖ‪ .‬ﻫﻨﮕﺎﻣﻲ ﻛﻪ ﺍﻭ ﺩﺭ‬
‫ﭘﺎﻳﺎﻥ ﺍﺣﺴﺎﺱ ﺁﺯﺍﺩﻱ ﻣﻲﻛﻨﺪ ﺁﻥ ﺁﺯﺍﺩﻱ ﻛﻪ ﺍﻭ ﺭﺍ ﻭﺳﻮﺳﻪ ﻣﻲﻛﻨﺪ ﺗﺎ ﺍﺯ ﺩﻭﺳﺘﻲ ﺑﺎ ﻣﻦ‬
‫ﺩﺳﺖ ﻛﺸﺪ‪ ،‬ﭘﺲ ﺁﻧﮕﺎﻩ ﺩﻭﻣﻴﻦ ﻧﺒﺮﺩ ﺁﻏﺎﺯ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻛﻨﻮﻥ ﻛﻪ ﺍﻭ ﻗﺪﺭﺕ ﻭ ﻫﻮﺱ ﺩﺍﺭﺩ‪ ،‬ﺍﻳﻦ‬
‫ﻣﺒﺎﺭﺯﻩ ﺭﺍ ﺑﺮﺍﻱ ﻣﻦ ﺍﺭﺯﺷﻤﻨﺪ ﻣﻲﺳﺎﺯﺩ‪ .‬ﻣﻲﮔﺬﺍﺭﻡ ﺍﻭ ﻣﺮﺍ ﺭﻫﺎ ﻛﻨﺪ‪ ،‬ﺩﻭﻣﻴﻦ ﺟﻨﮓ ﺩﺭ ﺣﺎﻝ‬
‫ﺁﻏﺎﺯ ﺷﺪﻥ ﺍﺳﺖ‪ .‬ﺍﻭﻟﻴﻦ ﺟﻨﮓ‪ ،‬ﺟﻨﮓ ﺁﺯﺍﺩ ﻛﺮﺩﻥ ﺍﺳﺖ ﻛﻪ ﺑﺎﺯﻱ ﺑﻴﺶ ﻧﺒﻮﺩﻩﺍﺳﺖ‪ .‬ﺩﻭﻣﻴﻦ‬
‫ﺟﻨﮓ ﺑﺮﺍﻱ ﻏﻠﺒﻪ ﺍﺳﺖ‪ ،‬ﺑﺎﺯﻳﻲ ﺑﺮ ﺳﺮ ﻣﺮﮒ ﻭ ﺯﻧﺪﮔﻲ‪".‬‬
‫ﻫﻤﺎﻥ )ﺹ ‪(۳۸۰-۳۷۹‬‬
‫ﺷﺮﻁﻫﺎ ﻫﻤﮕﻲ ﺣﻮﻝ ﺩﺧﺘﺮ ﻛﻪ ﺷﺨﺼﻴﺘﻲ ﺍﺳﻄﻮﺭﻩﺍﻱ ﺍﺳﺖ ﺳﺎﻣﺎﻥ ﻣﻲﻳﺎﺑﻨﺪ‪ .‬ﺍﻭ ﺩﺭ ﺍﻳﻦ‬

‫ﺩﻭﺋﻞ ﭼﻨﺪﮔﺎﻧﻪ ﻫﻢ ﺣﺮﻳﻒ ﺍﺳﺖ ﻭ ﻫﻢ ﻣﻘﺼﻮﺩ‪ .‬ﺍﺯ ﺍﻳﻨﺮﻭ ﺩﺧﺘﺮ ﻧﻪ ﻳﻚ ﺍﺑﮋﻩ ﺟﻨﺴﻲ ﺍﺳﺖ ﻭ ﻧﻪ‬

‫ﻓﻴﮕﻮﺭﻱ ﺍﺯ ﺯﻧﺎﻧﮕﻲ ﺟﺎﻭﺩﺍﻧﻪ‪ .‬ﺍﻳﻦ ﺩﻭ ﺍﺭﺟﺎﻉ ﺑﺰﺭﮒ ﻏﺮﺑﻲ ﺍﺯ ﺯﻥ ﺑﺮﺍﻱ ﺍﻏﻮﺍﮔﺮﻱ ﺑﻪ ﻳﻚ ﺍﻧﺪﺍﺯﻩ‬

‫ﺑﻴﮕﺎﻧﻪ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻏﻮﺍ ﭼﻴﺰﻱ ﻗﺮﺑﺎﻧﻲ ﺍﻳﺪﻩﺁﻝ ﻳﺎ ﺳﻮﮊﻩ ﺍﻳﺪﻩﺁﻝﺗﺮﻱ ﺍﺯ )ﻳﻌﻨﻲ ﺑﻪ ﺗﺮﺗﻴﺐ ﺩﺧﺘﺮ ﻭ‬

‫ﺍﻏﻮﺍﮔﺮ ﺍﻭ( ﻳﻚ ﺟﻼﺩ ﻭ ﻳﻚ ﻗﺮﺑﺎﻧﻲ ﺩﺭ ﻋﻤﻞ ﻗﺮﺑﺎﻧﻲ ﻛﺮﺩﻥ ﻭﺟﻮﺩﻧﺪﺍﺭﺩ‪ .‬ﺷﻴﺪﺍﻳﻲ ﻛﻪ ﺩﺧﺘﺮ‬

‫ﺑﻜﺎﺭﻣﻲﮔﻴﺮﺩ ﺑﺮﺁﻣﺪﻩ ﺍﺯ ﻓﻴﮕﻮﺭﻱ ﺍﺳﻄﻮﺭﻩﺍﻱ‪ ،‬ﺷﺮﻳﻜﻲ ﻣﻌﻤﺎﮔﻮﻧﻪ ﻭ ﻗﻬﺮﻣﺎﻥ ﻫﻤﺘﺎﻱ ﺍﻏﻮﺍﮔﺮ ﺩﺭ ﺍﻳﻦ‬

‫ﻗﻠﻤﺮﻭ ﻧﺴﺒﺘﺎً ﺯﺍﻫﺪﺍﻧﻪﻱ ﭼﺎﻟﺶ ﻭ ﺩﻭﺋﻞ ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪.‬‬

‫ﻣﺨﺎﻃﺮﻩﺁﻣﻴﺰ‪les  liaisions  "  " ‬‬ ‫ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﺗﻔﺎﻭﺕ ﻓﺎﺣﺸﻲ ﺑﺎ ﺩﺍﺳﺘﺎﻥ "ﺗﻤﺎﺱﻫﺎﻱ‬

‫‪ ،‬ﺯﻧﻲ ﺑﺮﺍﻱ ﺍﻏﻮﺍ ﺷﺪﻥ ﻫﻤﭽﻮﻥ ﺩﮊﻱ ﺑﻪ ﺗﺼﻮﻳﺮ‬ ‫‪Laclos‬‬ ‫‪ "Dengereuses! ‬ﺩﺍﺭﺩ ﻧﺰﺩ ﻻﻛﻠﻮ‬

‫ﻛﺸﻴﺪﻩﻣﻲﺷﻮﺩ ﻛﻪ ﺑﺎ ﺍﺳﺘﺮﺍﺗﮋﻱﻫﺎﻱ ﺟﻨﮕﻲ ﻣﻲﺑﺎﻳﺪ ﺗﺴﺨﻴﺮ ﺷﻮﺩ‪ -‬ﺍﺳﺘﺮﺍﺗﮋﻱ ﻣﻤﻜﻦ ﺍﺳﺖ ﻛﻤﺘﺮ‬

‫ﺍﺯ ﭘﻴﺶ ﺍﻳﺴﺘﺎ ﺑﺎﺷﺪ ﺍﻣﺎ ﻫﺪﻑ ﻫﻤﺎﻥ ﺍﺳﺖ ﻳﻌﻨﻲ ﺗﺴﻠﻴﻢﻛﺮﺩﻥ ﺣﺮﻳﻒ‪ "Presidente "  .‬ﺩﮊﻱ‬

‫ﺍﺳﺖ ﻛﻪ ﻣﻲﺑﺎﻳﺪ ﻣﺤﺎﺻﺮﻩﺷﻮﺩ ﻭ ﺍﻭ ﺑﺎﻳﺪ ﺍﺯ ﭘﺎﻱ ﺩﺭ ﺁﻳﺪ‪ .‬ﻫﻴﭻ ﺍﻏﻮﺍﮔﺮﻱ ﺩﺭ ﺍﻳﻦ ﺍﻣﺮ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‬

‫ﺁﻧﭽﻪ ﻫﺴﺖ ﺗﻨﻬﺎ ﭘﻬﻠﻮﺍﻧﻲ ﺍﺳﺖ‪ .‬ﺁﻧﺠﺎﻳﻲ ﻛﻪ ﺍﻏﻮﺍﮔﺮﻱ ﺩﺭ ﻛﺎﺭ ﺍﺳﺖ ﻫﻴﭻ ﺭﺍﺑﻄﻪﺍﻱ ﻣﻴﺎﻥ ﺍﻏﻮﺍﮔﺮ ﻭ‬
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‫ﺍﻏﻮﺍ‬

‫ﻗﺮﺑﺎﻧﻲ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ ﺑﻠﻜﻪ ﺑﻴﻦ ﺍﻏﻮﺍﮔﺮﺍﻥ ﺩﻭ ﻭﻟﻤﻮﻥ ﻭ ﻣﺮﺗﻮﻱ ﺩﺭ ﺗﻮﻃﺌﻪﺍﻱ ﺟﻨﺎﻳﻲ ﺑﺎ ﻣﻴﺎﻧﺠﻲ‬

‫ﻗﺮﺑﺎﻧﻴﺎﻥ ﺳﻬﻴﻢ ﻣﻲﺷﻮﻧﺪ ﻫﻤﻴﻨﻄﻮﺭ ﻧﺰﺩ "ﻣﺎﺭﻛﻲ ﺩﻭ ﺳﺎﺩ"‪ ،‬ﺗﻨﻬﺎ ﺟﺎﻣﻌﻪﺍﻱ ﺭﺍﺯﻭﺭﺯﺍﻧﻪ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‬

‫ﻛﻪ ﺑﻪ ﺗﻜﺮﻳﻢ ﺟﻨﺎﻳﺘﻬﺎﻳﺶ ﻣﻲﭘﺮﺩﺍﺯﺩ ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﻗﺮﺑﺎﻧﻴﺎﻥ ﭘﻮﭺ ﻭ ﺑﻲﺍﻋﺘﺒﺎﺭﺍﻧﺪ‪.‬‬

‫ﻫﻴﭻﻛﺪﺍﻡ ﺍﺯ ﻫﻨﺮﻫﺎﻱ ﻣﺎﻫﺮﺍﻧﻪ ﭼﺮﺧﺶ ﻫﻨﺮ ﺟﻨﮓ ﺳﺎﻥﺗﺴﻮ ﻳﺎ ﻓﻠﺴﻔﻪ ﺫﻥ ﻭ ﻫﻨﺮﻫﺎﻱ ﺭﺯﻣﻲ‬

‫ﺷﺮﻗﻲ ﺩﺭ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺑﻪ ﭼﺸﻢ ﻧﻤﻲﺧﻮﺭﺩ‪ .‬ﺩﺭ ﺍﻳﻨﺠﺎ ﻓﺰﻭﻧﻲ ﻫﻮﺱ ﻭ ﺁﺯﺍﺩﻱ ﺩﺧﺘﺮ ﺑﺨﺸﻲ ﺍﺯ‬

‫ﺭﺍﻫﺒﺮﺩﻱ ﺍﺳﺖ ﻛﻪ ﺭﻓﺘﻪﺭﻓﺘﻪ ﺁﺷﻜﺎﺭ ﻣﻲﺷﻮﺩ‪" .‬ﺍﻭ ﻣﻌﻤﺎﻳﻲ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﻃﻮﺭ ﻣﻌﻤﺎﮔﻮﻧﻪﺍﻱ ﺑﺎ‬

‫ﺗﺼﻤﻴﻤﺎﺕ ﺧﻮﺩﺵ ﺗﺴﺨﻴﺮ ﻣﻲﺷﻮﺩ‪".‬‬

‫ﺩﺭ ﺍﻳﻦ ﺩﻭﺋﻞ ﻫﺮ ﺍﻣﺮﻱ ﺍﺧﻼﻗﻲ ﺑﻪ ﺳﻤﺖ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﻲ ﺭﻭﻱ ﻣﻲﺁﻭﺭﺩ ﺍﺯ ﻳﻚ ﻣﻮﻗﻌﻴﺖ‬

‫ﺧﺎﻡ ﻭ ﻧﺎﺁﮔﺎﻫﺎﻧﻪ ﺑﻪ ﻣﻮﻗﻌﻴﺘﻲ ﻫﻮﺷﻴﺎﺭﺍﻧﻪ‪:‬‬

‫»ﺍﺯ ﺍﻳﻦ ﺟﻬﺖ ﻣﻦ ﺑﺎﻳﺪ ﻫﻮﺱ ﺍﻭ ﺭﺍ ﻫﻮﺳﻲ ﺧﺎﻡ ﺑﻨﺎﻣﻢ‪ .‬ﻭﻗﺘﻲ ﺗﻐﻴﻴﺮﻱ ﺭﺥ ﻣﻲﺩﻫﺪ ﻣﻦ ﺑﺎ‬

‫ﺟﺪﻳﺖ ﺗﻤﺎﻡ ﺍﺯ ﺧﻮﺩ ﺑﻲﻣﻴﻠﻲ ﻧﺸﺎﻥ ﻣﻲﺩﻫﻢ ﭘﺲ ﺍﻭ ﺗﻤﺎﻣﻲﺗﻮﺍﻧﺶ ﺭﺍ ﺑﻪ ﻛﺎﺭ ﻣﻲﮔﻴﺮﺩ ﺗﺎ ﻣﺮﺍ‬

‫ﺩﻭﺑﺎﺭﻩ ﺷﻴﻔﺘﻪ ﺧﻮﺩ ﻛﻨﺪ‪ .‬ﺍﻭ ﺭﺍﻫﻲ ﺑﺮﺍﻱ ﺍﻳﻦ ﻛﺎﺭ ﺟﺰ ﺑﺎ ﺍﺑﺰﺍﺭﻫﺎﻱ ﺷﻬﻮﺍﻧﻲ ﻧﺪﺍﺭﺩ ﺍﻣﺎ ﺍﻳﻦ ﺑﺎﺭ ﺩﺭ‬

‫ﻣﻘﻴﺎﺳﻲ ﻛﺎﻣﻼ ﻣﺘﻔﺎﻭﺕ ﻇﺎﻫﺮ ﻣﻲﺷﻮﺩ‪ ،‬ﻳﻌﻨﻲ ﺗﺒﺪﻳﻞ ﺑﻪ ﺍﺳﻠﺤﻪﺍﻱ ﺩﺭ ﺩﺳﺘﺎﻥ ﺍﻭ ﻣﻲﺷﻮﺩ ﻛﻪ ﺩﺭ‬

‫ﻣﻘﺎﺑﻞ ﻣﻦ ﺑﻜﺎﺭ ﻣﻲﮔﻴﺮﺩ‪ .‬ﭘﺲ ﻣﻦ ﻫﻮﺳﻲ ﺍﻧﻌﻜﺎﺱ ﻳﺎﻓﺘﻪ ﺩﺍﺭﻡ‪ .‬ﺍﻭ ﺑﺮﺍﻱ ﺍﻫﺪﺍﻑ ﺧﻮﺩ ﻣﻲﺟﻨﮕﺪ‬

‫ﭼﺮﺍ ﻛﻪ ﻣﻲﺩﺍﻧﺪ ﻣﻦ ﺷﻬﻮﺍﻧﻴﺖ ﺭﺍ ﺗﺼﺮﻑ ﻣﻲﻛﻨﻢ‪ .‬ﺍﻭ ﺑﺮﺍﻱ ﺍﻫﺪﺍﻑ ﺧﻮﺩ ﻣﻲﺟﻨﮕﺪ ﺗﺎ ﺑﺮ ﻣﻦ ﻏﻠﺒﻪ‬

‫ﻧﻤﺎﻳﺪ‪ .‬ﺍﻭ ﺩﺭ ﺧﻮﺩ ﺷﻜﻞ ﻋﺎﻟﻲﺗﺮﻱ ﺍﺯ ﺷﻬﻮﺍﻧﻴﺖ ﺭﺍ ﭘﺮﻭﺭﺵ ﻣﻲﺩﻫﺪ ﺁﻧﭽﻪ ﻣﻦ ﺍﺯ ﺍﻭ ﺁﻣﻮﺧﺘﻪﺍﻡ‬

‫ﺗﺮﺩﻳﺪ ﺑﻪ ﺍﻭ ﺑﺎ ﻋﺼﺒﺎﻧﻲﻛﺮﺩﻥ ﺍﻭ ﺳﺖ‪ ،‬ﺳﺮﺩﻱ ﻣﻦ ﺑﻪ ﺍﻭ ﻣﻲﺁﻣﻮﺯﺍﻧﺪ ﻛﻪ ﺁﻧﺮﺍ ﺑﻔﻬﻤﺪ ﺍﻣﺎ ﺍﻭ ﻓﻜﺮ‬

‫ﻣﻲﻛﻨﺪ ﺧﻮﺩ ﺁﻥ ﺭﺍ ﺁﻣﻮﺧﺘﻪﺍﺳﺖ‪ .‬ﺍﻭ ﺳﻌﻲ ﻣﻲﻛﻨﺪ ﻣﺮﺍ ﻣﺘﻌﺠﺐ ﺳﺎﺯﺩ‪ ،‬ﻣﻌﻘﺘﺪ ﺍﺳﺖ ﻛﻪ ﺟﺴﺎﺭﺗﺶ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺍﺯ ﻣﻦ ﭘﻴﺸﻲ ﻣﻲﮔﻴﺮﺩ ﻭﺑﺪﺍﻥ ﻃﺮﻳﻖ ﻣﺮﺍ ﺑﻪ ﭼﻨﮓ ﻣﻲﺁﻭﺭﺩ‪ .‬ﭘﺲ ﻫﻮﺱ ﻭ ﺍﺷﺘﻴﺎﻕ ﺍﻭ‪ ،‬ﺑﻮﺳﻪ ﻭ‬

‫ﺁﻏﻮﺵﺍﺵ‪ ،‬ﺻﺮﻳﺢ‪ ،‬ﭘﺮﺍﻧﺮﮊﻱ‪ ،‬ﻗﺎﻃﻊ ﻭ ﻣﻨﻄﻘﻲ ﻣﻲﺷﻮﺩ‪«.‬‬

‫ﺍﺧﻼﻗﻴﺎﺕ ﺳﺎﺩﻩ ﻭ ﺧﻨﺜﻲ ﺷﻜﻞﮔﺮﻓﺘﻪﺍﻧﺪ )ﺑﻪ ﻫﻤﺎﻥ ﺳﺎﺩﮔﻲ ﻣﻴﻞ( ﻛﻪ ﺟﺬﺍﺑﻴﺖ ﺳﺎﺩﻩ ﻭ‬

‫ﺧﻮﺩﺑﻪ ﺧﻮﺩﻱ ﺩﺧﺘﺮ ﺑﺨﺸﻲ ﺍﺯ ﺁﻥ ﺍﺳﺖ‪ .‬ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﻲ ﺍﺯ ﺗﺼﻨﻊ ﺷﻜﻞ ﻣﻲﮔﻴﺮﺩ‪ ،‬ﺑﺎﺯﻱ ﻧﺸﺎﻧﻪﻫﺎ‬

‫ﻭ ﺍﻳﻦ ﺍﻏﻮﺍﮔﺮﻱ ﺍﺳﺖ‪ .‬ﻫﺮ ﺍﺧﻼﻗﻴﺎﺗﻲ ﻣﻲﺑﺎﻳﺪ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻳﻚ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﻲ ﻣﺒﺪﻝ ﻧﻤﺎﻳﺪ‪ .‬ﻧﺰﺩ‬

‫ﺍﻏﻮﺍﮔﺮ ﻛﻴﺮﻛﻪﮔﻮﺭ ﻫﻤﭽﻮﻥ ﺷﻴﻠﺮ‪ ،‬ﻫﻮﻟﺪﺭﻟﻴﻦ ﻭ ﺣﺘﻲ ﻣﺎﺭﻛﻮﺯﻩ‪ ،‬ﮔﺬﺍﺭ ﺑﻪ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﻲ ﻭﺍﻻﺗﺮﻳﻦ‬

‫ﻛﻨﺸﻲ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺍﻧﺴﺎﻥ ﺍﻋﻄﺎ ﺷﺪﻩﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﻲ ﺍﻏﻮﺍﮔﺮ ﻛﺎﻣﻼً ﻣﺘﻔﺎﻭﺕ ﺍﺳﺖ‪ :‬ﺍﻟﻬﻲ ﻭ‬

‫ﺍﺳﺘﻌﻼﻳﻲ ﻧﻴﺴﺖ‪ ،‬ﺑﻠﻜﻪ ﻛﻨﺎﻳﻲ ﻭ ﺷﻴﻄﺎﻧﻲ ﺍﺳﺖ‪ .‬ﺷﻜﻞ ﻳﻚ ﺍﻣﺮ ﺍﻳﺪﻩﺁﻝ ﺭﺍ ﻧﺪﺍﺭﺩ‪ ،‬ﺑﻠﻜﻪ ﺿﺮﺑﻪ‬

‫ﻫﻮﺵ ﺍﺳﺖ‪ .‬ﻧﻤﻲﺧﻮﺍﻫﺪ ﺍﺯ ﺍﺧﻼﻗﻴﺎﺕ ﻓﺮﺍﺗﺮ ﺭﻭﺩ‪ ،‬ﺑﻠﻜﻪ ﺷﻜﺴﺖ‪ ،‬ﻛﮋﻱ‪ ،‬ﺍﻏﻮﺍ ﻭ ﺗﻐﻴﻴﺮ ﺷﻜﻞ ﺍﺳﺖ‬

‫ﻛﻪ ﺑﺎ ﺁﻳﻨﻪ ﻓﺮﻳﺐ ﺗﺤﻘﻖ ﻣﻲﻳﺎﺑﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﻭﺟﻮﺩ ﻧﺒﺎﻳﺪ ﮔﻔﺖ ﻛﻪ ﺍﺳﺘﺮﺍﺗﮋﻱ ﺍﻏﻮﺍﮔﺮ ﮔﻤﺮﺍﻫﻲ ﻭ‬

‫ﻫﺮﺯﮔﻲ ﺍﺳﺖ ﺑﻠﻜﻪ ﺑﺨﺸﻲ ﺍﺯ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﻲ ﻛﻨﺎﻳﻲ ﺍﺳﺖ ﻛﻪ ﺷﻬﻮﺍﻧﻴﺖ ﻣﺒﺘﺬﻝ ﻭ ﻓﻴﺰﻳﻜﻲ ﺭﺍ ﺑﻪ‬

‫ﻳﻚ ﻫﻮﺱ ﻭ ﺿﺮﺑﻪ ﻫﻮﺵ ﺗﻐﻴﻴﺮ ﻣﻲﺩﻫﺪ‪.‬‬

‫"ﻫﻤﻴﺸﻪ ﻣﺘﻮﺟﻪ ﺑﻮﺩﻡ ﻛﻪ ﻭﻗﺘﻲ ﺑﻪ ﻣﻦ ﻧﺎﻣﻪ ﻣﻲﻧﻮﻳﺴﺪ ﺍﻭ ﻣﺮﺍ ﻣﺘﻌﻠﻖ ﺑﻪ ﺧﻮﺩ‬

‫ﻣﻲﺧﻮﺍﻧﺪ‪ .‬ﺍﻣﺎ ﺟﺮﺍﺕ ﻧﺪﺍﺭﺩ ﺍﻳﻦ ﺭﺍ ﺑﻪ ﻣﻦ ﮔﻮﻳﺪ‪ .‬ﺍﻣﺮﻭﺯ ﺍﺯ ﺍﻭ ﺧﻮﺍﺳﺘﻢ ﺑﺎ ﺯﻳﺮﻛﻲ ﻭ ﮔﺮﻣﻲ‬
‫ﺷﻬﻮﺍﻧﻲ ﻫﺮ ﭼﻪ ﺗﻤﺎﻣﺘﺮ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺑﻜﻨﺪ‪ .‬ﺍﻭ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﻛﺮﺩ‪ ،‬ﻳﻚ ﻧﮕﺎﻩ ﻛﻨﺎﻳﻲ ﺑﻪ ﻃﺮﺯﻱ‬
‫ﺗﻮﺻﻴﻒﻧﺸﺪﻧﻲ ﻣﺨﺘﺼﺮ ﻭ ﺳﺮﻳﻊ ﻛﺎﻓﻲ ﺑﻮﺩ ﺗﺎ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺑﺮﺍﻱ ﺍﻭ ﻏﻴﺮ ﻣﻤﻜﻦ ﺳﺎﺯﺩ ﮔﺮﭼﻪ‬
‫ﺯﺑﺎﻧﻢ ﺑﺎ ﺍﺻﺮﺍﺭ ﺗﻤﺎﻡ ﺍﻭ ﺭﺍ ﺑﻪ ﺍﻳﻦ ﻛﺎﺭ ﻭﺍﻣﻲﺩﺍﺷﺖ‪ .‬ﺍﻳﻦ ﺣﺎﻟﺖ ﻛﺎﻣﻼً ﻋﺎﺩﻱ ﺍﺳﺖ‪".‬‬
‫ﻫﻤﺎﻥ )ﺹ ‪(۴۱۹‬‬

‫"ﺍﺯ ﻧﻈﺮ ﺍﺭﻭﺗﻴﻜﻲ‪ ،‬ﺍﻭ ﺑﺮﺍﻱ ﻣﺒﺎﺭﺯﻩ ﻛﺎﻣﻼً ﻣﺠﻬﺰ ﺍﺳﺖ‪ .‬ﺑﺎ ﭘﻴﻜﺎﻥ ﻧﮕﺎﻫﺶ ﻣﻲﺟﻨﮕﺪ ﺑﺎ‬
‫ﻓﺮﻣﺎﻥ ﺍﺑﺮﻭﻫﺎﻳﺶ‪ ،‬ﺑﺎ ﺭﺍﺯﮔﻮﻧﮕﻲ ﭘﻴﺸﺎﻧﻲﺍﺵ‪ ،‬ﺑﺎ ﺷﻴﻮﺍﻳﻲ ﺁﻏﻮﺷﺶ‪ ،‬ﺑﺎ ﺗﻄﻤﻴﻊ ﺧﻄﺮﻧﺎﻙ‬
‫ﺁﻏﻮﺵﮔﺮﻓﺘﻨﺶ‪ .‬ﺑﺎ ﺗﻘﺎﺿﺎﻱ ﻟﺒﺎﻧﺶ‪ ،‬ﺑﺎ ﺗﺒﺴﻢ ﭼﻬﺮﻩﺍﺵ‪ ،‬ﺑﺎ ﺗﻤﺎﻣﻲ ﺍﺷﺘﻴﺎﻕﻫﺎﻱ ﺷﻴﺮﻳﻦ ﻛﻞ‬
‫ﻭﺟﻮﺩﺵ‪ .‬ﻗﺪﺭﺗﻲ ﺩﺭ ﺍﻭﺳﺖ ﻳﻚ ﺍﻧﺮﮊﻱ ﺑﺴﺎﻥ ﻭﺍﻟﻜﺎﺭﻱﻫﺎ ‪) ۳۹ valkyrie‬ﻧﺪﻳﻤﻪﻫﺎﻱ‬

‫‪۱۷٤‬‬
‫ﺍﻏﻮﺍ‬

‫ﺍﻭﺩﻳﻦ‪ (odin‬ﺍﻣﺎ ﺍﻳﻦ ﻧﻴﺮﻭﻱ ﺷﻬﻮﺍﻧﻴﺖ ﺍﻭ ﺑﺎ ﺿﻌﻒ ﺧﺎﺻﻲ ﺩﺭﺁﻣﻴﺨﺘﻪ ﺷﺪﻩﺍﺳﺖ ﻛﻪ ﺍﺯ‬
‫ﻭﺟﻮﺩ ﺍﻭ ﻧﺸﺄﺕ ﻣﻲﮔﻴﺮﺩ‪ ،‬ﺍﻭ ﻧﻤﻲﺑﺎﻳﺴﺖ ﺧﻴﻠﻲ ﺩﺭ ﺍﻳﻦ ﺍﻭﺝ ﺑﻤﺎﻧﺪ‪" .‬‬
‫ﻫﻤﺎﻥ )ﺹ ‪(۴۱۹‬‬
‫ﻛﻨﺎﻳﻪ ﻫﻤﻮﺍﺭﻩ ﻣﺎﻧﻊ ﻧﻤﺎﻳﺶﻫﺎﻱ ﻋﺎﻃﻔﻲ ﺯﻭﺩﮔﺬﺭﻱ ﻣﻲﺷﻮﺩ ﻛﻪ ﭘﺎﻳﺎﻥ ﺑﺎﺯﻱ ﺭﺍ ﭘﻴﺶﺑﻴﻨﻲ‬

‫ﻛﺮﺩﻩ ﻭ ﺍﻣﻜﺎﻧﻬﺎﻱ ﻧﺎﺁﺯﻣﻮﺩﻩ ﺑﺎﺯﻳﮕﺮﺍﻥ ﺭﺍ ﺍﺯ ﺑﻴﻦ ﻣﻲﺑﺮﺩ‪ .‬ﺍﻏﻮﺍ ﺗﻨﻬﺎ ﻣﻲﺗﻮﺍﻧﺪ ﺍﻳﻦ ﻧﻤﺎﻳﺸﻬﺎ ﺭﺍ ﻣﺴﺘﻘﺮ‬

‫ﻛﻨﺪ ﺍﻟﺒﺘﻪ ﺑﺎ ﻣﻌﻠﻖ ﺑﺎﻗﻲ ﻧﮕﺎﻩﺩﺍﺷﺘﻦ ﭼﻴﺰﻫﺎ‪ ،‬ﺑﺎ ﻳﻚ ﻛﻠﻴﻨﺎﻣﻦ ﻛﻨﺎﻳﻲ ﻭ ﺑﻮﺳﻴﻠﻪﻱ ﺁﻥ ﺳﺮﺧﻮﺭﺩﮔﻴﻲ‬

‫ﻛﻪ ﺯﻣﻴﻨﻪﻱ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﺎﻧﻪ ﺭﺍ ﺑﺎﺯ ﻣﻲﮔﺬﺍﺭﺩ‪.‬‬

‫ﮔﺎﻫﻲ ﺍﻭﻗﺎﺕ ﻣﺮﺩ ﺍﻏﻮﺍﮔﺮ ﺍﻳﻦ ﺿﻌﻒ ﺭﺍ ﺩﺍﺭﺩ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﭘﻴﺶ ﻣﻲﺁﻳﺪ ﻛﻪ ﺍﻏﻮﺍﮔﺮ ﺩﺭ‬

‫ﺍﺣﺴﺎﺳﺎﺗﺶ ﺯﻳﺎﺩﻩﺭﻭﻱ ﻛﻨﺪ ﻭ ﺩﺭ ﺑﻲﺛﺒﺎﺗﻲﻫﺎﻱ ﺷﻬﻮﺍﻧﻲ ﻟﺤﻈﻪﺍﻱ ﺑﻲﺍﻧﺪﺍﺯﻩ ﻧﺎﻣﻌﻠﻮﻡ‪ ،‬ﺑﻪ ﺳﺘﺎﻳﺶ ﺍﺯ‬

‫ﺯﻳﺒﺎﻳﻲ ﺯﻧﺎﻧﻪ ﺑﭙﺮﺩﺍﺯﺩ ﻛﻪ ﻧﺎﺷﻲ ﺍﺯ ﺑﻲﺛﺒﺎﺗﻲﻫﺎﻱ ﺷﻬﻮﺍﻧﻲ ﺧﻮﺩﺵ ﻣﻲ ﺑﺎﺷﺪ‪) .‬ﺹ‪ (۴۲۴-۴۲۳‬ﻭ‬

‫ﺁﻧﮕﺎﻩ ﺑﻪ ﺻﻮﺭﺕ ﺷﺨﺼﻴﺘﻲ ﺗﻨﻬﺎ ﺩﺭ ﺗﺨﻴﻞ ِ ﭘﺮ ﺣﺮﺍﺭﺕ ِﻳﻚ ﻣﻴﻞ ﻣﻠﺘﻬﺐ ﺩﺭ ﻣﻲﺁﻳﺪ‪ .‬ﺭﻭﻳﺎﻱ ﺧﺪﺍ‬

‫ﺍﻣﺎ ﺑﻲﺩﺭﻧﮓ ﺑﺮﺧﺎﺳﺘﻪ ﻭ ﺑﻪ ﺗﺼﻮﺭﻱ ﺍﺯ ﺷﻴﻄﺎﻥ ﺭﻭﻱ ﻣﻲﮔﺮﺩﺍﻧﺪ‪ ،‬ﺑﻪ ﺧﻴﺎﻝ ﺳﺮﺩ ﻧﻤﻮﺩﻫﺎ‪ .‬ﺯﻥ‬

‫ﺭﻭﻳﺎﻱ ﻣﺮﺩ ِﺧﺪﺍﺳﺖ ﻋﻼﻭﻩ ﺑﺮ ﺍﻳﻦ‪ ،‬ﺍﻭ )ﺯﻥ( ﺭﺍ ﺍﺯ ﻣﺮﺩ ﺑﻴﺮﻭﻥ ﻣﻲﻛﺸﺪ ﻫﻨﮕﺎﻣﻲ ﻛﻪ ﺩﺭ ﺧﻮﺍﺑﺴﺖ‪.‬‬

‫ﺑﻨﺎﺑﺮﺍﻳﻦ ﺯﻥ ﺗﻤﺎﻡ ﺧﺼﻮﺻﻴﺎﺕ ﻳﻚ ﺭﻭﻳﺎ ﺭﺍ ﺩﺍﺭﺍﺳﺖ‪ ،‬ﻭ ﺩﺭ ﺍﻭ‪ ،‬ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﺍﺣﺘﻤﺎﻝ ﺍﺳﺖ‪ ،‬ﺗﻪﻣﺎﻧﻪﻫﺎﻱ‬

‫ﺭﻭﺯﻣﺮﻩﻱ ﺍﻣﺮ ﻭﺍﻗﻌﻲ ﺗﺮﻛﻴﺐ ﻣﻲﺷﻮﻧﺪ ﺗﺎ ﻳﻚ ﺗﻮﻫﻢ )ﺳﺮﺍﺏ( ﺭﺍ ﺷﻜﻞ ﺑﺪﻫﻨﺪ‪.‬‬

‫"ﺍﻭ ﺍﺑﺘﺪﺍ ﺗﺤﺖ ﺗﺄﺛﻴﺮ ﻋﺸﻖ ﺑﻴﺪﺍﺭ ﻣﻲﺷﻮﺩ‪ .‬ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﺍﻭ ﻳﻚ ﺭﻭﻳﺎﺳﺖ‪ .‬ﺣﺘﻲ ﺩﺭ‬
‫ﺯﻧﺪﮔﻲ ﺭﻭﻳﺎﻳﻲﺍﺵ‪ ،‬ﺩﻭ ﻣﺮﺣﻠﻪ ﺭﺍ ﻣﻲﺗﻮﺍﻥ ﺍﺯ ﻫﻢ ﺗﻤﻴﻴﺰ ﺩﺍﺩ‪ :‬ﺩﺭ ﺍﻭﻟﻴﻦ ﻣﺮﺣﻠﻪ ﻋﺸﻖ ﺭﻭﻳﺎﻱ‬
‫ﺍﻭ ﺭﺍ ﻣﻲﺑﻴﻨﺪ ﻭ ﺩﺭ ﺩﻭﻣﻲ ﺍﻭ ﺭﻭﻳﺎﻱ ﻋﺸﻖ ﺭﺍ ﻣﻲﺑﻴﻨﺪ‪".‬‬
‫ﻫﻤﺎﻥ )ﺹ ‪(۴۲۵‬‬

‫‪۱۷٥‬‬
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﭘﺎﻳﺎﻥ ﻭﻗﺘﻲ ﻓﺮﺍ ﻣﻲﺭﺳﺪ ﻛﻪ ﺍﻭ ﺧﻮﺩﺵ ﺭﺍ ﺑﻪ ﻃﻮﺭ ﻛﺎﻣﻞ ﺍﺭﺍﺋﻪ ﻣﻲﺩﻫﺪ‪ .‬ﺍﻭ ﻣﺮﺩﻩﺍﺳﺖ ‪.‬‬

‫ﺟﺬﺍﺑﻴﺖ ﻧﻤﻮﺩﺵ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻣﻲﺩﻫﺪ ﻭ ﺑﻪ ﺳﻜﺲ ﺧﻮﺩﺵ ﻣﺒﺪﻝ ﻣﻲﺷﻮﺩ؛ ﺍﻭ ﻳﻚ ﺯﻥ ﻣﻲﺷﻮﺩ‪.‬‬

‫ﺑﺮﺍﻱ ﺁﺧﺮﻳﻦ ﻟﺤﻈﻪ‬

‫»ﻫﻨﮕﺎﻣﻲ ﻛﻪ ﺍﻭ ﻣﺜﻞ ﻳﻚ ﻋﺮﻭﺱ ﺁﺭﺍﺳﺘﻪ ﻣﻲﺷﻮﺩ‪ ،‬ﻭ ﺗﻤﺎﻡ ﺷﻜﻮﻫﺶ ﺩﺭ ﻣﻘﺎﺑﻞ‬

‫ﺯﻳﺒﺎﻳﻲﺍﺵ ﺭﻧﮓ ﻣﻲﺑﺎﺯﺩ‪«.‬‬
‫ﻫﻤﺎﻥ )ﺹ ‪(۴۳۱‬‬
‫ﺧﻮﺩ ﺍﻭ ﻧﻴﺰ ﺭﻧﮓ ﻣﻲﺑﺎﺯﺩ‪ .‬ﺍﻭ ﻫﻨﻮﺯ ﺷﻜﻮﻩ ﭘﺪﻳﺪﺍﺭﻫﺎ ﺭﺍ ﺩﺍﺭﺩ‪ -‬ﺍﻣﺎ ﺑﺰﻭﺩﻱ ﺩﻳﮕﺮ ﺧﻴﻠﻲ ﺩﻳﺮ‬

‫ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪(.‬‬

‫ﭼﻨﻴﻦ ﭼﻴﺰﻱ ﺗﻘﺪﻳﺮ ﻣﺘﺎﻓﻴﺰﻳﻜﻲ ﻣﺮﺩ ﺍﻏﻮﺍﮔﺮ ﺍﺳﺖ‪ .‬ﺯﻳﺒﺎﻳﻲ‪ ،‬ﻣﻌﻨﺎ‪ ،‬ﺟﻮﻫﺮ ﻭ ﺑﺎﻻﺗﺮ ﺍﺯ ﻫﺮ ﭼﻴﺰ‬

‫ﺩﻳﮕﺮ ﺧﺪﺍ ﺑﻪ ﻃﻮﺭ ﺍﺧﻼﻗﻲ ﺑﺮ ﺧﻮﺩ ﺁﻧﻬﺎ ﺭﺷﻚ ﻣﻲﺑﺮﻧﺪ‪ .‬ﺍﻏﻠﺐ ﭼﻴﺰﻫﺎ ﺑﻪ ﻃﻮﺭ ﺍﺧﻼﻗﻲ ﺗﺼﺮﻑ‬

‫ﮔﺮﺍﻧﺪ‪ .‬ﺍﻧﻬﺎ ﺭﺍﺯﻫﺎﻱ ﺧﻮﺩ ﺭﺍ ﻧﮕﺎﻩ ﻣﻲﺩﺍﺭﻧﺪ ﻭ ﻣﻌﻨﻲﻫﺎﻳﺸﺎﻥ ﺭﺍ ﻣﻲﭘﺎﻳﻨﺪ‪ .‬ﺍﻏﻮﺍ ﻛﻪ ﺩﺭ ﻃﺮﻑ ﻧﻤﻮﺩ ﻭ‬

‫ﺷﻴﻄﺎﻥ ﺍﺳﺖ‪ ،‬ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﺎﻧﻪ ﺍﻧﺤﺼﺎﺭ ﻃﻠﺐ ﺍﺳﺖ‪.‬‬

‫ﭘﺲ ﺍﺯ ﺗﺴﻠﻴﻢ ﻧﻬﺎﻳﻲ )ﻛﻮﺭﺩﻟﻴﺎ ﺧﻮﺩ ﺭﺍ ﻭﺍﻣﻲﻧﻬﺪ ﺍﻭ ﺑﻲﺩﺭﻧﮓ ﺗﺴﻠﻴﻢ ﺷﺪﻩﺍﺳﺖ( ﻳﻮﻫﺎﻧﺲ ﺍﺯ‬

‫ﺧﻮﺩ ﻣﻲﭘﺮﺳﺪ‪:‬‬

‫"ﺁﻳﺎ ﻣﻦ ﻫﻤﻴﺸﻪ ﺑﻪ ﻋﻬﺪ ﺧﻮﺩﻡ ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ ﻛﻮﺭﺩﻟﻴﺎ ﻭﻓﺎﺩﺍﺭ ﺑﻮﺩﻩﺍﻡ؟ ﻳﻌﻨﻲ ﺍﻳﻨﻜﻪ‬
‫ﺗﻌﻬﺪ ﻣﻦ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﺎﻧﻪ ﺍﺳﺖ‪ .‬ﭼﺮﺍ ﻛﻪ ﺍﻳﻨﺴﺖ ﻛﻪ ﻣﻦ ﺭﺍ ﻗﻮﻱ ﻣﻲﺳﺎﺯﺩ‪ ،‬ﻭ ﺍﻳﻨﻜﻪ ﻣﻦ‬
‫ﻫﻤﻴﺸﻪ ﺑﻪ ﺩﻧﺒﺎﻝ ﺟﺎﻧﺒﺪﺍﺭﻱ ﺍﺯ ﺧﻮﺩﻡ ﻫﺴﺘﻢ(‪ ...‬ﺁﻳﺎ ﺍﻳﻦ ﻋﻼﻗﻪ ﻫﻤﻴﺸﻪ ﺣﻔﻆ ﺷﺪﻩﺍﺳﺖ؟"‬
‫ﻫﻤﺎﻥ )ﺹ ‪(۴۳۲‬‬

‫ﺍﻏﻮﺍﻛﺮﺩﻥ ﺩﺭ ﺩﺭﺟﻪ ﺍﻭﻝ ﺻﺮﻓﺎً ﻋﻼﻗﻪﻣﻨﺪﻱ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﻣﻮﺿﻮﻉ ﻣﻮﺭﺩ ﻋﻼﻗﻪ ﺩﺭ ﺩﺭﺟﻪ ﺩﻭﻡ‬

‫ﺍﻫﻤﻴﺖ ﻗﺮﺍﺭﺩﺍﺭﺩ‪ .‬ﺍﻳﻦ ﺩﻭﮔﺎﻧﮕﻲ ﺭﺍﺯ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﻲ ﺍﺳﺖ‪ .‬ﺗﻨﻬﺎ ﻋﻼﻗﻪ ﺑﻪ ﻋﻼﻗﻪ ﺩﺍﺷﺘﻦ ﺍﺯ ﻧﻴﺮﻭﻱ‬

‫ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﺎﻧﻪ ﺍﻏﻮﺍﮔﺮﻱ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺍﺳﺖ‪ .‬ﺑﺪﻳﻦ ﻣﻌﻨﻲ‪ ،‬ﺍﻏﻮﺍﮔﺮ ﻣﻲﻛﻮﺷﺪ ﻛﻪ ﺍﻓﺴﻮﻥﻫﺎﻱ ﻃﺒﻴﻌﻲ‬

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‫ﺍﻏﻮﺍ‬

‫ﺩﺧﺘﺮ ﺭﺍ ﺑﻪ ﭼﻨﮓ ﺁﻭﺭﺩ ﻭ ﺩﺭ ﺟﻬﺎﻥ ﻧﻤﻮﺩ ﻣﺤﺾ‪ ،‬ﺩﺭ ﺍﺗﻤﺴﻔﺮ ﺍﻏﻮﺍ‪ ،‬ﺑﺪﺭﺧﺸﺎﻧﺪ ﻭ ﺑﺪﺍﻥ ﻃﺮﻳﻖ ﺁﻧﺮﺍ‬

‫ﻧﺎﺑﻮﺩ ﻧﻤﺎﻳﺪ‪ .‬ﺍﻓﺴﻮﺱ ﻛﻪ ﺍﻏﻠﺐ ﭼﻴﺰﻫﺎ ﮊﺭﻓﺎ ﻭ ﻣﻌﻨﺎ ﺩﺍﺭﻧﺪ ﺍﻣﺎ ﺗﻨﻬﺎ ﺑﺮﺧﻲ ﺍﺯ ﺁﻧﻬﺎ ﺑﻪ ﺳﻄﺢ ﻧﻤﻮﺩ ﺑﺮ‬

‫ﻣﻲﺧﻴﺰﻧﺪ ﻭ ﺗﻨﻬﺎ ﺁﻧﻬﺎ ﻣﻲﺗﻮﺍﻧﻨﺪ ﻭﺍﻗﻌﺎً ﺍﻏﻮﺍﮔﺮﺍﻧﻪ ﺑﺎﺷﻨﺪ‪ .‬ﺍﻏﻮﺍﮔﺮﻱ‪ ،‬ﺩﮔﺮﮔﻮﻥ ﻧﻤﻮﺩﻥ ﭼﻴﺰﻫﺎ ﺑﻪ‬

‫ﻧﻤﻮﺩ ﻣﺤﻀﺸﺎﻥ ﺍﺳﺖ‪.‬‬

‫ﺍﻳﻨﭽﻨﻴﻦ ﺍﻏﻮﺍ ﺩﺭ ﺳﺮﮔﻴﺠﮕﻲ ﻧﻤﻮﺩﻫﺎ ﭼﻮﻥ ﺍﺳﻄﻮﺭﻩ ﺩﺭﺳﺖ ﭘﻴﺶ ﺍﺯ ﻣﺘﻌﻬﺪ ﺷﺪﻥ ﺑﻪ‬

‫"ﻭﺍﻗﻌﻴﺖ"‪ ،‬ﺗﺤﻘﻖ ﻣﻲﻳﺎﺑﺪ‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﻧﻤﺎﺩ ﺍﺳﺖ؛‬

‫"ﻣﻦ ﺧﻮﺩﻡ ﺍﺳﻄﻮﺭﻩﺍﻱ ﻫﺴﺘﻢ ﺩﺭﺑﺎﺭﻩ ﺧﻮﺩﻡ ﺁﻳﺎ ﺍﻳﻦ ﻣﺜﻞ ﺍﺳﻄﻮﺭﻩﺍﻱ ﻧﻴﺴﺖ ﻛﻪ ﻣﻦ‬
‫ﺑﻪ ﺳﻮﻱ ﺍﻳﻦ ﻣﻼﻗﺎﺕ ﻣﻲﺷﺘﺎﺑﻢ؟‪ .. .‬ﺑﺮﺍﻱ ﺯﻧﺪﮔﻲ ﻣﺤﺒﻮﺏ ﻋﺰﻳﺰ ﺑﺮﺍﻧﻴﺪ‪ ،‬ﺣﺘﻲ ﺍﮔﺮ ﺍﺳﺒﻬﺎ ﺍﺯ‬
‫ﭘﺎﻱ ﺩﺭ ﺁﻳﻨﺪ‪ ،‬ﻓﻘﻂ ﻳﻚ ﺑﺎﺭ ﺩﻭﻡ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ ﺗﺎ ﻣﺎ ﺑﻪ ﻣﻘﺼﺪ ﺑﺮﺳﻴﻢ‪".‬‬
‫ﻫﻤﺎﻥ )ﺹ ‪(۴۳۹‬‬

‫ﺷﺒﻲ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩ‪ ،‬ﻭ ﻫﻤﻪﭼﻴﺰ ﺑﻪ ﭘﺎﻳﺎﻥ ﻣﻲﺭﺳﺪ‪" .‬ﺍﻣﻴﺪﻭﺍﺭﻡ ﺩﻳﮕﺮ ﻫﺮﮔﺰ ﺍﻭ )ﺩﺧﺘﺮ( ﺭﺍ‬

‫ﻧﺒﻴﻨﻢ"‪ .‬ﺍﻭ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﻭﺍﮔﺬﺍﺭ ﻧﻤﻮﺩﻩ ﻭ ﺳﻘﻮﻁ ﻣﻲﻛﻨﺪ‪ .‬ﻣﺎﻧﻨﺪ ﻫﻤﻪ ﺑﺎﻛﺮﻩﻫﺎﻱ ﺍﺳﻄﻮﺭﻩﻫﺎﻱ‬

‫ﻳﻮﻧﺎﻧﻲ ﻛﻪ ﺑﻪ ﮔﻞ ﻣﺒﺪﻝ ﻣﻲﺷﻮﻧﺪ ﻭ ﺍﻳﻦﮔﻮﻧﻪ ﺭﻭﻳﻨﺪﮔﻲ ﻭ ﺟﺬﺍﺑﻴﺖ ﺣﺰﻥﺍﻧﮕﻴﺰﻱ ﺭﺍ ﺣﺎﺻﻞ‬

‫ﻣﻲﻛﻨﻨﺪ ﻛﻪ ﭘﮋﻭﺍﻛﻲ ﺍﺯ ﺟﺬﺍﺑﻴﺖ ﺍﻏﻮﺍﮔﺮﺍﻧﻪ ﺯﻧﺪﮔﻲ ﭘﻴﺸﻴﻦ ﺧﻮﺩﺷﺎﻥ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﻣﺮﺩ ﺍﻏﻮﺍﮔﺮ‬

‫ﻛﻴﺮﻛﻪﮔﻮﺭ ﺑﻲﺭﺣﻤﺎﻧﻪ ﻣﻲﺍﻓﺰﺍﻳﺪ‪:‬‬

‫"ﺯﻣﺎﻥ ﺁﻥ ﮔﺬﺷﺘﻪﺍﺳﺖ ﻛﻪ ﺩﺧﺘﺮﻱ ﻛﻪ ﺩﺭﺩ ﺑﻲﻭﻓﺎﻳﻲ ﻋﺸﻖ ﺭﺍ ﻣﻲﭼﺸﻨﺪ ﺑﻪ ﮔﻞ‬

‫ﺁﻓﺘﺎﺏﮔﺮﺩﺍﻥ ﻣﺒﺪﻝ ﺷﻮﺩ‪".‬‬
‫ﻫﻤﺎﻥ )ﺹ ‪(۴۳۹‬‬

‫ﻭ ﺣﺘﻲ ﺭﻓﺘﺎﺭﻱ ﻏﻴﺮ ﻣﻨﺘﻈﺮﻩﺗﺮ ﻭ ﺑﻲﺭﺣﻤﺘﺮ‪:‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫"ﺍﮔﺮ ﻣﻦ ﺧﺪﺍ ﺑﻮﺩﻡ ﺑﺮﺍﻱ ﺍﻭ ﻫﻤﺎﻥ ﻛﺎﺭﻱ ﺭﺍ ﻣﻲﻛﺮﺩﻡ ﻛﻪ ﻧﭙﺘﻮﻥ ﺑﺮﺍﻱ ﻳﻚ ﺣﻮﺭﻱ‬
‫ﻛﺮﺩ‪ :‬ﺍﻭ ﺭﺍ ﺑﻪ ﻳﻚ ﻣﺮﺩ ﻣﺒﺪﻝ ﻣﻲﻛﺮﺩﻡ‪".‬‬
‫ﻫﻤﺎﻥ )ﺹ ‪(۴۴۰‬‬

‫ﺩﺭ ﻳﻚ ﻛﻠﻤﻪ‪ ،‬ﺯﻥ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﺁﻧﭽﻪ ﻫﺴﺖ ﺗﻨﻬﺎ ﺩﺧﺘﺮﻱ ﺑﺎ ﻃﺒﻴﻌﺖ ﻭﺍﻻﻳﺶ ﻭ ﻣﺮﺩﻱ‬

‫ﺍﺳﺖ ﺑﺎ ﻗﺪﺭﺗﻲ ﺑﺮﺍﻱ ﻧﺎﺑﻮﺩ ﻛﺮﺩﻥ ﺩﺧﺘﺮ‪.‬‬

‫ﺍﻣﺎ ﻫﻮﺱ ﺍﺳﻄﻮﺭﻩﺍﻱ ﺍﻏﻮﺍﮔﺮﻱ ﺍﺯ ﻛﻨﺎﻳﻲ ﺑﻮﺩﻥ ﺩﺳﺖ ﻧﻤﻲﻛﺸﺪ‪ .‬ﺑﺎ ﺁﺧﺮﻳﻦ ﺿﺮﺑﻪ‬

‫ﻣﺎﻟﻴﺨﻮﻟﻴﺎﻳﻲ ﻛﺎﺭ ﺧﻮﺩ ﺭﺍ ﻛﺎﻣﻞ ﻣﻲﻛﻨﺪ‪ :‬ﺗﻬﻴﻪ ﺟﺎﻳﮕﺎﻫﻲ ﻛﻪ ﻗﺮﺍﺭﮔﺎﻩ ﺗﺴﻠﻴﻢ ﺷﺪﻥ ﻋﺸﺎﻕ ﺧﻮﺍﻫﺪ‬

‫ﺑﻮﺩ‪ .‬ﺁﺧﺮﻳﻦ ﻟﺤﻈﻪ ﺗﻌﻠﻴﻖ ﻛﻪ ﺍﻏﻮﺍﮔﺮ ﺗﻤﺎﻣﻲ ﺧﻄﻮﻁ ﻣﺘﻔﺮﻕ ﺭﺍﻫﺒﺮﺩ ﺭﺍ ﺑﻪ ﻳﻚﺟﺎ ﮔﺮﺩ ﻣﻲﺁﻭﺭﺩ ﻭ‬

‫ﺁﻧﻬﺎ ﺭﺍ ﭘﻴﺶ ﺍﺯ ﻣﺮﮒ ﺑﺎﺯﺍﻧﺪﻳﺸﻲ ﻣﻲﻛﻨﺪ‪ .‬ﺁﻧﭽﻪ ﻛﻪ ﺑﺎﻳﺪ ﻗﺮﺍﺭﮔﺎﻩ ﭘﻴﺮﻭﺯﻱ ﺍﻏﻮﺍﮔﺮﻱ ﺑﺎﺷﺪ ﭼﻴﺰﻱ‬

‫ﺑﻴﺸﺘﺮ ﺍﺯ ﺟﺎﻳﮕﺎﻩ ﺣﺰﻥ ﺍﻧﮕﻴﺰ ﺩﺍﺳﺘﺎﻥ ﺗﻤﺎﻡﺷﺪﻩ ﻧﻴﺴﺖ‪ .‬ﻫﻤﻪﭼﻴﺰ ﺩﺭ ﺍﻳﻦ ﺧﺎﻧﻪ ﺳﺮﻫﻢﺑﻨﺪﻱ‬

‫ﻣﻲﺷﻮﺩ ﺗﺎ ﺍﻳﻨﻜﻪ ﺧﻴﺎﻝ ﻛﻮﺭﺩﻟﻴﺎ ﺭﺍ ﺩﺭ ﻭﺍﭘﺴﻴﻦ ﻟﺤﻈﻪ ﻭﺍﮊﮔﻮﻥ ﺷﺪﻥ ﺍﻭ‪ ،‬ﺑﺎ ﻳﻚ ﺿﺮﺑﻪ ﺗﺼﺮﻑ ﻛﻨﺪ‪.‬‬

‫ﺍﻳﻨﺠﺎ ﺍﺗﺎﻗﻲ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺍﻥ ﺁﻧﻬﺎ ﻳﻜﺪﻳﮕﺮ ﺭﺍ ﻣﻼﻗﺎﺕ ﻣﻲﻛﻨﺪ ﺑﺎ ﻫﻤﺎﻥ ﻧﻴﻤﻜﺖ‪ ،‬ﻫﻤﺎﻥ ﭼﺮﺍﻍ ﻭ‬

‫ﻫﻤﺎﻥ ﻣﻴﺰ ﭼﺎﻱ"ﻫﻤﻪ ﺁﻧﭽﻪ ﻛﻪ ﺩﻳﺮﻭﺯ ﺑﻮﺩ ﺍﻣﺮﻭﺯ ﺑﺎ ﻫﻤﺎﻥ ﺷﺒﺎﻫﺖ ﺑﻪ ﭼﺸﻢ ﻣﻲﺧﻮﺭﺩ‪ ".‬ﻳﻚ‬

‫ﭘﻴﺎﻧﻮﻱ ﺑﺎﺯ‪ ،‬ﻣﻮﺳﻴﻘﻲ ﺑﺎ ﻣﻠﻮﺩﻱ ﺁﺭﺍﻡ ﺳﻮﺋﺪﻱ‪ .‬ﻛﻮﺭﺩﻟﻴﺎ ﺍﺯ ﺩﺭ ﻋﻘﺐ ﻭﺍﺭﺩ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﻫﻤﻪﭼﻴﺰ‬

‫ﭘﻴﺶﺑﻴﻨﻲ ﺷﺪﻩﺍﺳﺖ‪ :‬ﺍﻭ ﺗﻤﺎﻣﻲ ﺻﺤﻨﻪﻫﺎﻳﻲ ﺭﺍ ﻛﻪ ﺑﺎ ﻳﻜﺪﻳﮕﺮ ﺑﻮﺩﻧﺪ ﺩﺭ ﺫﻫﻦ ﻣﺮﻭﺭ ﺧﻮﺍﻫﺪ ﻛﺮﺩ‪.‬‬

‫ﻓﺮﻳﺐ ﻛﺎﻣﻞ ﺍﺳﺖ ﺩﺭ ﻭﺍﻗﻊ ﺑﺎﺯﻱ ﺑﻪ ﭘﺎﻳﺎﻥ ﻣﻲﺭﺳﺪ‪ .‬ﺍﻣﺎ ﺍﻏﻮﺍﮔﺮ ﺑﻪ ﻗﻠﻪﻫﺎﻱ ﺟﺪﻳﺪ ﻛﻨﺎﻳﻪ ﻣﻲﺭﺳﺪ‪،‬‬

‫ﺑﺎ ﮔﺮﺩ ﻫﻢ ﺁﻭﺭﺩﻥ ﺗﻤﺎﻣﻲ ﺭﻳﺴﻤﺎﻧﻬﺎﻳﻲ ﻛﻪ ﺍﺯ ﺯﻣﺎﻥ ﺷﺮﻭﻉ ﺩﺭ ﺁﺧﺮﻳﻦ ﻧﻤﺎﻳﺶ ﺁﺗﺶ ﺑﺎﺯﻱﻫﺎ ﺑﺎﻓﺘﻪ‬

‫ﺍﺳﺖ‪ ،‬ﻛﻪ ﻫﻤﺰﻣﺎﻥ‪ ،‬ﻧﻄﻖ ﺗﺸﻴﻴﻊ ﭘﺎﺭﻭﺩﻳﻚ )ﻣﻀﺤﻚ( ﺑﺮﺍﻱ ﻋﺸﻖ ﭘﺎﻳﺎﻥ ﻳﺎﻓﺘﻪﻱ ﺁﻧﻬﺎ ﻧﻴﺰ ﻫﺴﺖ‬

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‫ﺍﻏﻮﺍ‬

‫ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻛﻮﺭﺩﻟﻴﺎ ﺩﻳﮕﺮ ﻇﺎﻫﺮ ﻧﺨﻮﺍﻫﺪ ﺷﺪ ﺟﺰ ﺩﺭ ﭼﻨﺪ ﻧﺎﻣﻪ ﻧﺎﺍﻣﻴﺪﺍﻧﻪ ﻛﻪ ﺩﺍﺳﺘﺎﻥ ﺭﺍ‬

‫ﺑﺎﺯﻣﻲﻛﻨﺪ ﻭ ﺣﺘﻲ ﻧﺎﺍﻣﻴﺪﻱ ﺍﻭ ﺑﻴﮕﺎﻧﻪ ﺍﺳﺖ‪ .‬ﺍﻭ ﻭﺍﻗﻌﺎً ﺍﻏﻔﺎﻝ ﻭ ﻣﺤﺮﻭﻡ ﻧﺸﺪﻩﺍﺳﺖ‪ .‬ﺑﻠﻜﻪ ﺍﺯ ﻟﺤﺎﻅ‬

‫ﻣﻌﻨﻮﻱ ﺑﺎ ﺑﺎﺯﻱ ﻭ ﻗﻮﺍﻋﺪﻱ ﻛﻪ ﻫﺮﮔﺰ ﺍﺯ ﺁﻥ ﺁﮔﺎﻩ ﻧﺒﻮﺩﻩ ﺍﺯ ﺭﺍﻩ ﺑﺪﺭ ﺷﺪﻩﺍﺳﺖ‪ .‬ﺑﺎ ﺍﻭ ﭼﻮﻧﺎﻥ ﺑﺎﺯﻱ‬

‫ﺷﺪﻩﺍﺳﺖ ﻛﻪ ﮔﻮﻳﻲ ﺗﺤﺖ ﻃﻠﺴﻤﻲ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻭ ﺍﺣﺴﺎﺱ ﻣﻲﻛﻨﺪ‪ ،‬ﺑﺪﻭﻥ ﺗﺸﺨﻴﺺ‪ ،‬ﻧﺸﺎﻥ‬

‫ﺍﻓﺘﺨﺎﺭ ﺑﻮﺩﻩﺍﺳﺖ؛ ﺍﺑﮋﻩﻱ ﻳﻚ ﺁﺩﻡﺭﺑﺎﻳﻲ ﺭﻭﺣﺎﻧﻲ‪ ،‬ﺩﺭ ﻳﻚ ﻃﺮﺡ ﺩﺍﺳﺘﺎﻧﻲ ﻭﻳﺮﺍﻧﮕﺮ ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ‬

‫ﻣﺤﺮﻣﺎﻧﻪ ﺩﺭ ﻧﺘﻴﺠﻪ ﺍﺯ ﺍﻏﻮﺍﮔﺮﻱ ﺍﻭ ﻏﺎﺭﺕ ﺷﺪﻩﺍﺳﺖ ﻭ ﺑﺮ ﻋﻠﻴﻪ ﺧﻮﺩ ﺍﻭ ﺑﻜﺎﺭ ﺭﻓﺘﻪﺍﺳﺖ‪ .‬ﺍﻳﻦ‬

‫ﺳﺮﻧﻮﺷﺘﻲ ﺍﺳﺖ ﺑﻲﻧﺎﻡ ﻭ ﮔﻴﺠﻲ ﻛﻪ ﻧﺘﻴﺠﻪﺍﻱ ﻣﺘﻔﺎﻭﺕ ﺍﺯ ﻧﺎﺍﻣﻴﺪﻱ ﻣﺤﺾ ﺩﺍﺭﺩ‪:‬‬

‫"ﭼﻨﻴﻦ ﻗﺮﺑﺎﻧﻴﺎﻧﻲ ﺍﺯ ﻃﺒﻴﻌﺖ ﻛﺎﻣﻼً ﻣﺸﺨﺼﻲ ﺑﻮﺩﻧﺪ‪ ...‬ﻫﻴﭻ ﺗﻐﻴﻴﺮﻱ ﻣﺸﻬﻮﺩﻱ ﺩﺭ‬
‫ﻇﺎﻫﺮﺷﺎﻥ ﻧﺪﺍﺷﺘﻪﺍﻧﺪ ﺍﻧﻬﺎ ﺭﻭﺍﺑﻂ ﻋﺎﺩﻱ ﺧﻮﺩ ﺭﺍ ﺣﻔﻆ ﻛﺮﺩﻩﺍﻧﺪ ﻛﻪ ﻣﺜﻞ ﻫﻤﻴﺸﻪ ﻣﺤﺘﺮﻣﺎﻧﻪ‬
‫ﺑﻮﺩﻩﺍﻧﺪ ﻭ ﺣﺘﻲ ﺁﻧﻬﺎﻳﻲ ﻛﻪ ﺑﻪ ﺷﻜﻠﻲ ﺗﻮﺻﻴﻒﻧﺎﭘﺬﻳﺮ ﻧﺴﺒﺖ ﺑﻪ ﺧﻮﺩ ﺗﻐﻴﻴﺮ ﺩﺍﺩﻩﺷﺪﻩﺍﻧﺪ‪.‬‬
‫ﺯﻧﺪﮔﻲ ﺁﻧﻬﺎ ﻣﺎﻧﻨﺪ ﺍﺯﭘﺎﺍﻓﺘﺎﺩﮔﺎﻥ ﻳﺎ ﺷﻜﺴﺖﺧﻮﺭﺩﮔﺎﻥ ﻧﺒﻮﺩ‪ ،‬ﺑﻠﻜﻪ ﺧﻮﻳﺸﺘﻦﻧﮕﺮ ﺷﺪﻩﺍﻧﺪ؛‬
‫ﺑﺮﺍﻱ ﺩﻳﮕﺮﺍﻥ ﮔﻢﺷﺪﮔﺎﻥ‪ ،‬ﻭ ﺑﻴﻬﻮﺩﻩ ﺩﺭ ﺟﺴﺘﺠﻮﻱ ﺧﻮﻳﺸﺘﻨﻨﺪ‪".‬‬
‫ﻫﻤﺎﻥ )ﺹ‪(۳۰۳‬‬

‫‪۱۷۹‬‬
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﺗﺮﺱ ﺍﺯ ﺍﻏﻮﺍ ﺷﺪﻥ‬

‫ﺍﮔﺮﭼﻪ ﺍﻏﻮﺍﮔﺮﻱ ﻫﻮﺱ ﻳﺎ ﺗﻘﺪﻳﺮ ﺍﺳﺖ ﺍﻣﺎ ﻣﻌﻤﻮﻻً ﻣﺨﺎﻟﻒ ﺁﻥ ﻫﻮﺳﻲ ﺍﺳﺖ ﻛﻪ ﻣﻲﺧﻮﺍﻫﺪ‬

‫ﺑﺮ ﻭﺟﻮﺩ ﺍﻏﻮﺍ ﺷﺪﻩ ﺍﺳﺘﻴﻼ ﻳﺎﺑﺪ‪ .‬ﻣﺎ ﻣﻲﻛﻮﺷﻴﻢ ﺗﺎ ﺧﻮﺩﻣﺎﻥ ﺭﺍ ﺑﺎ ﺣﻘﻴﻘﺘﻤﺎﻥ ﺗﺼﺪﻳﻖ ﻧﻤﺎﻳﻴﻢ‪ .‬ﻣﺎ ﺑﺮ‬

‫ﻋﻠﻴﻪ ﺁﻧﭽﻪ ﻣﻲﺧﻮﺍﻫﺪ ﻣﺎ ﺭﺍ ﺍﻏﻮﺍ ﻛﻨﺪ ﻣﺒﺎﺭﺯﻩ ﻣﻲﻛﻨﻴﻢ‪.‬‬

‫ﺩﺭ ﺍﻳﻦ ﻣﺒﺎﺭﺯﻩ ﺍﻋﻤﺎﻝ ﻫﺮ ﻭﺳﻴﻠﻪﺍﻱ‪ ،‬ﭘﺬﻳﺮﻓﺘﻨﻲ ﺍﺳﺖ‪ ،‬ﺍﺯ ﺑﻲﺭﺣﻤﺎﻧﻪﺗﺮﻳﻦ ﻗﻮﺍﻋﺪ ﺍﻏﻮﺍﮔﺮﻱ ﺗﺎ‬

‫ﺧﻮﺩ ﺍﻏﻮﺍ ﻧﺸﻮﺩ ﺗﺎ ﻭﺍﻧﻤﻮﺩ ﺑﻪ ﺍﻏﻮﺍ ﺷﺪﻥ ﺑﺮﺍﻱ ﻛﻮﺗﺎﻩ ﻧﻤﻮﺩﻥ ﺩﺳﺖ ﺗﻤﺎﻣﻲ ﺍﻏﻮﺍﻫﺎ ﺍﺯ ﺧﻮﻳﺸﺘﻦ‪.‬‬

‫ﻫﻴﺴﺘﺮﻳﻚ ﻫﻮﺱ ﺍﻏﻮﺍﮔﺮﻱ ﺭﺍ ﺑﺎ ﻭﺍﻧﻤﻮﺩ ﻛﺮﺩﻥ ﺑﻪ ﺁﻥ‪ ،‬ﺩﺭﻫﻢ ﻣﻲﺁﻣﻴﺰﺩ‪ .‬ﺍﻭ )ﺯﻥ ﻫﻴﺴﺘﺮﻳﻜﻲ( ﺑﺎ‬

‫ﺍﺭﺍﺋﻪ ﺍﺣﻤﻘﺎﻧﻪ ﻧﺸﺎﻧﻪﻫﺎﻳﻲ ﺁﻧﭽﻨﺎﻥ ﺍﻏﺮﺍﻕﺁﻣﻴﺰ ﻛﻪ ﻫﻴﭻﻛﺲ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺁﻧﻬﺎ ﺭﺍ ﺑﺎﻭﺭ ﻧﻤﺎﻳﺪ‪ ،‬ﺍﺯ‬

‫ﺧﻮﻳﺸﺘﻦ ﺩﺭ ﺑﺮﺍﺑﺮ ﺍﻏﻮﺍ ﻣﺤﺎﻓﻈﺖ ﻣﻲﻧﻤﺎﻳﺪ‪ .‬ﺗﺮﺩﻳﺪ‪ ،‬ﻧﺪﺍﻣﺖ ﻣﻔﺮﻁ‪ ،‬ﺯﻳﺎﺩﻩﺭﻭﻱﻫﺎﻱ ﺭﻗﺖﺍﻧﮕﻴﺰ ﻭ‬

‫ﺍﻟﺘﻤﺎﺱﻫﺎﻱ ﺑﻲﺣﺪ‪ ،‬ﺭﻭﺵ ﺍﻭ ﺑﺮﺍﻱ ﺩﺭﻫﻢ ﺗﻨﻴﺪﻥ ﺭﻭﻳﺪﺍﺩﻫﺎ ﺍﺳﺖ ﺗﺎ ﺁﻧﻬﺎ ﺭﺍ ﻓﺴﺦ ﻧﻤﻮﺩﻩ ﻭ ﺧﻮﺩ‬

‫ﺑﺘﻮﺍﻧﺪ ﻃﻔﺮﻩ ﺭﻭﺩ‪ ،‬ﺳﺮﮔﻴﺠﮕﻲ ﻛﻪ ﺍﻭ ﺑﺮ ﺩﻳﮕﺮﺍﻥ ﺗﺤﻤﻴﻞ ﻣﻲﻛﻨﺪ ﺑﻪ ﺗﻤﺎﻣﻲ‪ ،‬ﺑﺎﺯﺩﺍﺭﻧﺪﮔﻲ ﺍﻏﻮﺍﮔﺮﻱ‬

‫ﺍﺳﺖ ﻫﺪﻑ ﻣﺒﻬﻤﺶ ﺑﻴﺸﺘﺮ ﺍﺯ ﺁﻧﻜﻪ ﺍﻏﻮﺍ ﻛﻨﺪ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺍﻏﻮﺍ ﻧﺸﻮﺩ‪.‬‬

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‫ﺍﻏﻮﺍ‬

‫ﻫﻴﺴﺘﺮﻳﻚ ﻫﻴﭻ ﺧﺼﻮﺻﻴﺘﻲ‪ ،‬ﻫﻴﭻ ﺍﺣﺴﺎﺳﺎﺗﻲ ﻭ ﻫﻴﭻ ﺭﺍﺯﻱ ﻧﺪﺍﺭﺩ‪ .‬ﺍﻭ ﻛﺎﻣﻼً ﺗﻬﺪﻳﺪﻱ‬

‫ﺧﺎﺭﺟﻲ ﺍﺳﺖ‪ ،‬ﮔﺮﭼﻪ ﺯﻭﺩﮔﺬﺭ ﺍﺳﺖ ﺍﻣﺎ ﺧﺼﻴﺼﻪ ﻛﻠﻲ ﺑﻴﻤﺎﺭﻱ ﺍﻭ ﻧﻴﺎﺯ ﻣﻄﻠﻖ ﺑﺮﺍﻱ ﺑﺎﻭﺭ ﺷﺪﻥ‬

‫ﺍﺳﺖ )ﻣﺎﻧﻨﺪ ﺟﻨﻮﻥ ﻭ ﻣﺎﻧﻴﺎﻱ ﺩﺭﻭﻍﮔﻮﻳﻲ ﺑﺎ ﺩﺍﺳﺘﺎﻧﻬﺎﻳﺶ( ﻛﻪ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﻫﺮ ﺑﺎﻭﺭﻱ ﺭﺍ ﻫﻢ ﺍﺯ‬

‫ﺑﻴﻦ ﻣﻲﺑﺮﺩ‪ -‬ﻭ ﺍﻳﻦ ﻋﺎﺭﻱ ﺍﺯ ﻫﺮ ﺟﺬﺍﺑﻴﺘﻲ ﺍﺳﺖ ﺗﺎ ﻛﺴﻲ ﺩﺭ ﺍﻳﻦ ﺍﻏﻔﺎﻝ ﺷﺮﻳﻚ ﺷﻮﺩ‪ .‬ﺗﻘﺎﺿﺎﻳﻲ‬

‫ﺗﺴﻠﻴﻢﻧﺸﺪﻧﻲ ﺍﺳﺖ ﺍﻣﺎ ﺑﻲﺣﺲﺗﺮ ﺍﺯ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﺑﺘﻮﺍﻥ ﺑﺪﺍﻥ ﭘﺎﺳﺦ ﮔﻔﺖ‪ .‬ﺗﻘﺎﺿﺎﻳﻲ ﻛﻪ ﺑﺎ‬

‫ﺭﻗﺺﺁﺭﺍﻳﻲﻫﺎﻳﺶ ﻭ ﺑﺎ ﺗﺄﺛﻴﺮ ﻧﺸﺎﻧﻪﻫﺎﻳﺶ‪ ،‬ﻫﻤﻴﺸﻪ ﻣﻮﺭﺩ ﺗﺮﺩﻳﺪ ﺍﺳﺖ‪ .‬ﺍﻏﻮﺍ ﻧﻴﺰ ﻧﺸﺎﻧﻪﻫﺎﻱ ﺣﻘﻴﻘﺖ‬

‫ﺭﺍ ﺗﻘﻠﻴﺪ ﻣﻲﻛﻨﺪ ﺍﻣﺎ ﺁﻧﻬﺎ ﺭﺍ ﺑﻪ ﺳﻄﺢ ﻧﻤﻮﺩ ﺑﺎﺯﮔﺸﺖﭘﺬﻳﺮ ﻣﻲﺳﺎﺯﺩ‪ .‬ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﻫﻴﺴﺘﺮﻳﻚ ﺑﺎ‬

‫ﻧﺸﺎﻧﻪﻫﺎ ﺑﺎﺯﻱ ﻣﻲﻛﻨﺪ ﺑﻲﺁﻧﻜﻪ ﺁﻧﻬﺎ ﺭﺍ ﺩﺭ ﻛﺎﺭ ﺧﻮﺩ ﺳﻬﻴﻢ ﻛﻨﺪ‪ .‬ﮔﻮﻳﻲ ﺍﻭ ﺗﻤﺎﻣﻲ ﻣﺮﺍﺣﻞ ﺍﻏﻮﺍ ﺭﺍ‬

‫ﻣﺨﺘﺺ ﺧﻮﺩ ﺳﺎﺧﺘﻪﺍﺳﺖ ﺍﻭ ﻓﻘﻂ ﺧﻮﺩ ﺭﺍ ﭘﻴﺸﻨﻬﺎﺩ ﻣﻲﻛﻨﺪ ﻭ ﺩﻳﮕﺮﻱ ﺭﺍ ﺗﻨﻬﺎ ﺑﺎ ﻳﻚ ﭘﻴﺸﻨﻬﺎﺩ‬

‫ﻫﻴﺴﺘﺮﻳﻜﻲ ﺷﺪﻥ ﺭﻫﺎ ﻣﻲﻛﻨﺪ ﺑﻲﺁﻧﻜﻪ ﺍﻣﻜﺎﻥ ﭘﺎﺳﺦ ﻣﺘﻘﺎﺑﻠﻲ ﺭﺍ ﺑﻪ ﻭﻱ ﺑﺪﻫﺪ‪ .‬ﻫﻴﺴﺘﺮﻳﻚ ﺑﺪﻥ‬

‫ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻣﺎﻧﻌﻲ ﺑﺮﺍﻱ ﺍﻏﻮﺍ ﻣﺒﺪﻝ ﻣﻲﻛﻨﺪ‪ :‬ﺯﻧﻲ ﺍﻏﻮﺍﮔﺮ ﻛﻪ ﺑﺎ ﺑﺪﻧﺶ ﻣﺴﺦ ﻧﻤﻮﺩﻩ ﻭ ﺑﺎ‬

‫ﻧﺸﺎﻧﻪﻫﺎﻳﺶ‪ ،‬ﺩﻳﮕﺮﻱ ﺭﺍ ﻣﺠﺬﻭﺏ ﺧﻮﺩ ﻣﻲﻧﻤﺎﻳﺪ‪ .‬ﺍﻭ ﺑﺎ ﻃﻔﺮﻩﺭﻭﻱ ﻛﻪ ﺑﻪ ﺩﻧﺒﺎﻝ ﻛﺎﺳﺘﻦ ﺍﺯ‬

‫ﺑﺪﮔﻤﺎﻧﻲﻫﺎﺳﺖ ﻣﻲﺧﻮﺍﻫﺪ ﺩﻳﮕﺮﺍﻥ ﺭﺍ ﻣﺒﻬﻮﺕ ﺧﻮﺩ ﻧﻤﺎﻳﺪ ﺍﻣﺎ ﺍﻳﻦ ﻓﻘﻂ ﻳﻚ ﻧﻤﺎﻳﺶ ﺍﺣﺴﺎﺳﺎﺗﻲ‬

‫ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﺪ‪ .‬ﺍﮔﺮ ﺍﻏﻮﺍ ﻣﺒﺎﺭﺯﻩ ﺍﺳﺖ‪ ،‬ﻫﻴﺴﺘﺮﻱ ﺗﻬﺪﻳﺪ ﺍﺳﺖ )ﺗﻬﺪﻳﺪ ﺑﺮﺍﻱ ﻃﻠﺐ ﭼﻴﺰﻱ(‬

‫ﺍﻏﻠﺐ ﻧﺸﺎﻧﻪﻫﺎ ﻭ ﭘﻴﺎﻡﻫﺎﻱ ﺍﻣﺮﻭﺯﻱ ﺑﺎ ﻫﻤﻴﻦ ﺭﻭﺵ ﻫﻴﺴﺘﺮﻳﻜﻲ ﺍﺯ ﻣﺎ ﺩﺭﺧﻮﺍﺳﺖ ﭼﻴﺰﻱ ﺭﺍ‬

‫ﻣﻲﻛﻨﻨﺪ‪ .‬ﺁﻧﻬﺎ ﺑﺎ ﺑﺎﺯﺩﺍﺭﻧﺪﮔﻲ ﻭ ﺩﻟﺴﺮﺩﺳﺎﺯﻱ ﻣﻲﺧﻮﺍﻫﻨﺪ ﻣﺎ ﺭﺍ ﻣﻌﺘﻘﺪ ﻛﻨﻨﺪ‪ ،‬ﻣﺎ ﺳﺨﻦ ﺑﮕﻮﻳﻴﻢ ﻭ‬

‫ﻣﺎ ﺭﺍ ﻫﻤﺮﺍﻩ ﺧﻮﺩ ﺳﺎﺯﻧﺪ‪ .‬ﺁﻧﻬﺎ ﺑﺎ ﻣﻌﺎﻣﻠﻪﺍﻱ ﻛﻮﺭﻛﻮﺭﺍﻧﻪ‪ ،‬ﺑﺎ ﻣﺤﺮﻙﻫﺎﻱ ﻓﻜﺮﻱ‪ ،‬ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ‬

‫ﻧﺸﺎﻧﻪﻫﺎﻳﻲ ﻋﺎﺭﻱ ﺍﺯ ﻣﻌﻨﺎ ﻛﻪ ﺑﻪ ﺩﻗﺖ ﺗﻜﺜﻴﺮﻭ ﺑﺴﻂ ﻣﻲﻳﺎﺑﻨﺪ )ﭼﺮﺍ ﻛﻪ ﺩﻳﮕﺮ ﻧﻪ ﺭﺍﺯﻱ ﺩﺍﺭﻧﺪ ﻧﻪ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺑﺎﻭﺭﻛﺮﺩﻧﻲﺍﻧﺪ( ﻣﺎ ﺭﺍ ﺗﻬﺪﻳﺪ ﻣﻲﻛﻨﻨﺪ‪ .‬ﻧﺸﺎﻧﻪﻫﺎﻱ ﺑﺪﻭﻥ ﺍﻳﻤﺎﻥ ﺑﺪﻭﻥ ﺍﺣﺴﺎﺱ ﻳﺎ ﺗﺎﺭﻳﺦ‪ ،‬ﻧﺸﺎﻧﻪﻫﺎﻳﻲ‬

‫ﻭﺣﺸﺖﺯﺩﻩ ﺍﺯ ﺍﻳﻨﻜﻪ ﺑﻪ ﭼﻴﺰﻱ ﺩﻻﻟﺖ ﻛﻨﻨﺪ‪ ،‬ﺩﺭﺳﺖ ﻣﺎﻧﻨﺪ ﻫﻴﺴﺘﺮﻳﻜﻲ ﻛﻪ ﺍﺯ ﺗﺼﻮﺭ ﺍﻏﻮﺍ ﺷﺪﻥ‬

‫ﻭﺣﺸﺖﺯﺩﻩ ﻣﻲﺷﻮﺩ‪.‬‬

‫ﺩﺭ ﻭﺍﻗﻊ‪ ،‬ﻏﻴﺎﺏ ﺩﺭﻭﻧﻲ ﻛﻪ ﺫﺍﺗﻲ ﺧﻮﻳﺸﺘﻦ ﺍﺳﺖ‪ ،‬ﻫﻴﺴﺘﺮﻳﻚ ﺭﺍ ﻭﺣﺸﺖﺯﺩﻩ ﻣﻲﺳﺎﺯﺩ‪ .‬ﺍﻭ‬

‫ﻣﻲﺑﺎﻳﺪ ﺑﺎ ﺑﺎﺯﻱ ﻣﺪﺍﻭﻣﺶ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺍﻳﻦ ﻏﻴﺎﺏ‪ ،‬ﺑﺎ ﺭﺍﺯﺩﺍﺭﻱ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﻛﻪ ﺍﻭ ﻣﻲﺗﻮﺍﻧﺪ ﻋﺎﺷﻖ‬

‫ﺷﻮﺩ ﻭ ﻣﻲﺗﻮﺍﻧﺪ ﻋﺎﺷﻖ ﺧﻮﺩ ﺷﻮﺩ‪ ،‬ﻣﺤﻔﻮﻅ ﺩﺍﺭﺩ‪ .‬ﺑﺎ ﺍﻳﻦ ﺭﻭﺵ ﺍﻭ ﺁﻳﻨﻪﺍﻱ )ﻣﺎﻧﻨﺪ ﺍﻧﺘﺤﺎﺭ‪ ،‬ﺍﻣﺎ ﺍﻧﺘﺤﺎﺭ‬

‫ﺭﺍ ﻣﺜﻞ ﻫﺮ ﭼﻴﺰﻱ ﺩﻳﮕﺮﻱ‪ ،‬ﺑﻪ ﻓﺮﺍﻳﻨﺪ ﭘﺮﺩﺭﺩ ﺳﺮ ﻭ ﻧﻤﺎﻳﺸﻲ ﺍﻏﻮﺍﮔﺮﻱ ﻣﺒﺪﻝ ﻣﻲﻛﻨﺪ( ﺭﺍ ﺷﻜﻞ‬

‫ﻣﻲﺩﻫﺪ ﺗﺎ ﺩﺭ ﭘﺸﺖ ﺁﻥ ﺩﺭ ﻗﻠﻤﺮﻭ " ﻧﻤﺎﻳﺸﮕﺮﻱ"ﺍﺵ ﺍﺑﺪﻱ ﺑﻤﺎﻧﺪ‪.‬‬

‫ﻫﻤﺎﻥ ﺭﻭﻳﻪ ﺍﻣﺎ ﺷﻜﻞ ﻭﺍﮊﮔﻮﻥ ﺁﻧﺮﺍ ﺭﺍ ﻣﻲﺗﻮﺍﻥ ﺩﺭ ﺑﻲﻣﻴﻠﻲ‪ ،‬ﺳﺮﺩﻱ ﻭ ﺿﻌﻒ ﺟﻨﺴﻲ ﻳﺎﻓﺖ‪.‬‬

‫ﺩﺭ ﺍﻳﻦ ﺣﺎﻟﺖ ﺑﺪﻥ ﻓﺮﺩ ﺑﺎ ﻏﻴﺮ ﺟﻨﺴﻲ ﺷﺪﻥ ﻭ ﺍﻓﺴﻮﻥﺯﺩﺍﻳﻲ ﺁﻥ ﺑﻪ ﺁﻳﻨﻪ ﻣﺒﺪﻝ ﻣﻲﺷﻮﺩ‪ -‬ﺍﻣﺎ‬

‫ﺁﻳﻨﻪﺍﻱ ﻛﻪ ﺭﻭﻱ ﺑﻪ ﺩﻳﻮﺍﺭ ﻛﺮﺩﻩﺍﺳﺖ ﻛﻪ ﺗﻤﺎﻣﻲ ﺍﻣﻜﺎﻧﻬﺎﻱ ﺍﻏﻮﺍﮔﺮﺍﻧﻪ ﺑﺪﻥ ﻓﺮﺩ ﺭﺍ ﻣﻲﺯﺩﺍﻳﺪ‪ -‬ﺩﺭ‬

‫ﺍﻳﻨﺠﺎ ﻧﻴﺰ ﻓﺮﺩ ﺑﻪ ﺗﻬﺪﻳﺪ ﻭ ﺍﻭﻟﺘﻴﻤﺎﺗﻮﻡ ﻣﺘﻮﺳﻞ ﻣﻲﺷﻮﺩ‪" :‬ﺷﻤﺎ ﻣﺮﺍ ﺍﻏﻮﺍ ﻧﺨﻮﺍﻫﻴﺪﻛﺮﺩ ﺍﮔﺮ‬

‫ﻣﻲﺧﻮﺍﻫﻲ ﺳﻌﻲﻛﻦ ﻣﻦ ﺟﺮﺃﺕ ﺁﻥ ﺭﺍ ﺩﺍﺭﻡ"‪ .‬ﺑﺎ ﺍﻳﻦ ﻭﺟﻮﺩ ﺍﻏﻮﺍﮔﺮﻱ ﺷﻜﻠﻲ ﻛﺎﻣﻼً ﺳﻠﺒﻲ ﺑﻪ ﺧﻮﺩ‬

‫ﻣﻲﮔﻴﺮﺩ ﺍﺯ ﺍﻳﻨﺮﻭ ﺷﻬﺎﻣﺖ ﻳﻜﻲ ﺍﺯ ﺍﺷﻜﺎﻝ ﺑﻨﻴﺎﺩﻱ ﺍﻥ ﺍﺳﺖ‪ .‬ﻣﺒﺎﺭﺯﻩ ﺑﺎﻳﺪ ﺑﺎ ﭘﺎﺳﺦ ﺻﻮﺭﺕ ﮔﻴﺮﺩ‬

‫)ﺍﮔﺮ ﻧﮕﺬﺍﺭﻳﻢ( ﺩﺭ ﻣﺒﺎﺭﺯﻩ ﺧﻮﺩﻣﺎﻥ ﻫﻢ ﺍﻏﻮﺍ ﺷﻮﻳﻢ ﺑﺎﺯﻱ ﻣﺴﺪﻭﺩ ﻣﻲﺷﻮﺩ‪ .‬ﻭ ﺗﻤﺎﻣﻲ ﻣﺤﺪﻭﺩﻳﺘﻬﺎ‬

‫ﺑﺮﺍﻱ ﺑﺎﺯﻱ ﺑﺎ ﺗﺄﻛﻴﺪ ﺑﺮ ﺑﺪﻥ ﻭ ﻧﻤﺎﻳﺶ ﺳﺮﭘﻴﭽﻲ ﺁﻥ ﺍﺯ ﺍﻏﻮﺍ ﺣﺎﺻﻞ ﻣﻲﺷﻮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﺣﺎﻟﺖ ﻓﺮﺩ‬

‫ﻫﻴﺴﺘﺮﻳﻜﻲ ﺑﺎﺯﻱ ﺭﺍ ﺑﺎ ﻧﻤﺎﻳﺶ ﻭ ﻣﻄﺎﻟﺒﻪ ﺍﻏﻮﺍ؛ ﻣﺴﺪﻭﺩ ﻣﻲﻛﻨﺪ‪ .‬ﺩﺭ ﻫﺮ ﺩﻭ ﺣﺎﻟﺖ )ﻫﻴﺴﺘﺮﻳﻚ ﻭ‬

‫ﺳﺮﺩﻣﺰﺍﺟﻲ ﺟﻨﺴﻲ( ﺍﻏﻮﺍﮔﺮﻱ‪ ،‬ﺧﻮﺍﻩ ﺍﻏﻮﺍﮔﺮ ﻭ ﺧﻮﺍﻩ ﺍﻏﻮﺍ ﺷﺪﻩ ﺍﻧﻜﺎﺭ ﻣﻲ ﺷﻮﺩ‪.‬‬

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‫ﺍﻏﻮﺍ‬

‫ﺍﺯ ﺍﻳﻦ ﺭﻭ ﻣﺸﻜﻞ )ﺍﻳﻦ ﺑﻴﻤﺎﺭﻱﻫﺎ( ﺿﻌﻒ ﺟﻨﺴﻲ ﺑﺎ ﺳﻠﺴﻠﻪ ﺍﺳﺘﺪﻻﻟﻬﺎﻱ ﻭ ﻏﻴﺮ ﺍﺳﺘﺪﻻﻟﻬﺎﻱ‬

‫ﺭﻭﺍﻧﻜﺎﻭﺍﻧﻪﺍﺵ ﻧﻴﺴﺖ‪ .‬ﺑﻠﻜﻪ ﺍﺯ ﺿﻌﻒ ﺩﺭ ﺍﻏﻮﺍﮔﺮﻱ ﻧﺸﺄﺕ ﻣﻲﮔﻴﺮﺩ‪ .‬ﺑﻲﻣﻴﻠﻲ‪ ،‬ﺍﺧﺘﻼﻝ ﺭﻭﺍﻧﻲ‪،‬‬

‫ﺍﺿﻄﺮﺍﺏ ﻭ ﻧﺎﺍﻣﻴﺪﻱ ﻛﻪ ﺗﺤﻠﻴﻞﻫﺎﻱ ﺭﻭﺍﻧﻜﺎﻭﻱ ﻣﻮﺭﺩ ﺑﺮﺭﺳﻲ ﻗﺮﺍﺭﻣﻲﮔﻴﺮﻧﺪ ﻫﻴﭻ ﺷﻜﻲ ﺑﺎﻗﻲ‬

‫ﻧﻤﻲﮔﺬﺍﺭﻧﺪ ﻛﻪ ﭼﻨﻴﻦ ﻓﺮﺩﻱ ﻣﻮﺟﻮﺩﻱ ﺍﺳﺖ ﻧﺎﺗﻮﺍﻥ ﺍﺯ ﻋﺸﻖﻭﺭﺯﻳﺪﻥ ﻭ ﺩﻭﺳﺖﺩﺍﺷﺘﻪﺷﺪﻥ‪،‬‬

‫ﻣﻮﺟﻮﺩﻱ ﻋﺎﺟﺰ ﺍﺯ ﮔﺮﻓﺘﻦ ﻭ ﺩﺍﺩﻥ ﻟﺬﺕ‪ ،‬ﺍﻣﺎ ﺍﻓﺴﻮﻥﺯﺩﺍﻳﻲ ﺑﻨﻴﺎﺩﻳﻨﺶ ﺍﺯ ﺍﻏﻮﺍﮔﺮﻱ ﻭ ﻧﺎﺗﻮﺍﻧﻲ ﺩﺭ‬

‫ﺍﻏﻮﺍﮔﺮﻱ ﺣﺎﺻﻞ ﻣﻲﺷﻮﺩ‪ .‬ﺗﻨﻬﺎ ﺁﻧﻬﺎﻳﻲ ﻛﻪ ﺑﻪ ﺍﻏﻮﺍ ﺗﻦ ﻧﻤﻲﺩﻫﻨﺪ ﺑﻴﻤﺎﺭﻧﺪ ﺣﺘﻲ ﺍﮔﺮ ﺩﺭ ﻋﺸﻖ‬

‫ﻭﺭﺯﻳﺪﻥ ﻛﺎﻣﻼً ﺗﻮﺍﻧﻤﻨﺪ ﺑﺎﺷﻨﺪ‪ .‬ﺗﺤﻠﻴﻞﻫﺎﻱ ﺭﻭﺍﻧﻜﺎﻭﻱ ﺁﻧﺮﺍ ﺍﺯ ﺍﺧﺘﻼﻝ ﺩﺭ ﺟﻨﺴﻴﺖ ﻭ ﻣﻴﻞ ﻣﻲﺩﺍﻧﻨﺪ‬

‫ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﺁﻥ ﺑﻪ ﺧﺎﻃﺮ ﺍﺧﺘﻼﻝ ﺩﺭ ﺍﻏﻮﺍﮔﺮﻱ ﺍﺳﺖ‪) .‬ﺑﻪ ﺑﻴﻤﺎﺭ ﻛﻤﻚ ﻣﻲﺷﻮﺩ ﺗﺎ ﺍﺯ ﺍﻏﻮﺍ ﺑﻴﺮﻭﻥ‬

‫ﺑﻤﺎﻧﻨﺪ ﻭ ﺑﺪﻳﻦﺗﺮﺗﻴﺐ ﺁﻧﻬﺎ ﺭﺍ ﮔﺮﻓﺘﺎﺭ ﻣﻌﻤﺎﻫﺎﻱ ﺟﻨﺴﻲ ﻣﻲﻛﻨﻨﺪ( ﺟﺪﻱ ﺗﺮﻳﻦ ﻧﻘﺺﻫﺎ ﻫﻤﻴﺸﻪ ﺑﻪ‬

‫ﺍﻓﺴﻮﻥ ﻭ ﻧﻪ ﺑﻪ ﻟﺬﺕ‪ ،‬ﺑﻪ ﺍﻓﺴﻮﻧﮕﺮﻱ ﻭ ﻧﻪ ﺍﺭﺿﺎﻫﺎﻱ ﺿﺮﻭﺭﻱ ﺟﻨﺴﻲ ﺑﺎﺯﻱ )ﻗﻮﺍﻋﺪ( ﻧﻪ ﻗﻮﺍﻧﻴﻦ‬

‫)ﻧﻤﺎﺩﻳﻦ( ﻣﺮﺗﺒﻂﺍﻧﺪ‪ .‬ﻣﺤﺮﻭﻣﻴﺖ ﺍﺯ ﺍﻏﻮﺍ ﺗﻨﻬﺎ ﺷﻜﻞ ﺭﺍﺳﺘﻴﻦ ﺍﺧﺘﮕﻲ ﺍﺳﺖ‪.‬‬

‫ﺧﻮﺷﺒﺨﺘﺎﻧﻪ ﺿﻌﻒ ﺟﻨﺴﻲ ﻫﻤﻴﺸﻪ ﺷﻜﺴﺖ ﻣﻲﺧﻮﺭﺩ‪ .‬ﺍﻏﻮﺍ ﻫﻤﻴﺸﻪ ﭼﻮﻥ ﻋﻨﻘﺎ‬
‫ﺍﺯ ﺧﺎﻛﺴﺘﺮ ﺧﻮﺩ ﺑﺮﻣﻲﺧﻴﺰﺩ ﻭ ﭼﻨﻴﻦ ﺳﻮﮊﻩﺍﻱ ﻗﺎﺩﺭ ﻧﻴﺴﺖ ﻣﺎﻧﻊ ﺟﺮﻳﺎﻥ ﺩﻭﺑﺎﺭﻩ ﺁﻥ‬
‫ﮔﺮﺩﺩ‪ .‬ﺑﻲﻋﻼﻗﮕﻲ ﻭ ﺿﻌﻒ ﺟﻨﺴﻲ ﺁﺧﺮﻳﻦ ﺗﻼﺵ ﻧﺎﺍﻣﻴﺪﺍﻧﻪ ﺑﺮﺍﻱ ﺍﻏﻮﺍﮔﺮﻱ ﻭ ﻧﺪﺍﺷﺘﻦ‬
‫ﺷﻬﺎﻣﺖ ﻣﺒﺎﺭﺯﻩ ﺩﻭﺑﺎﺭﻩ ﺍﺳﺖ‪ .‬ﺷﺎﻳﺪ ﻫﻢ ﺩﺭ ﺍﻓﺮﺍﻃﻲﺗﺮﻳﻦ ﺍﺷﻜﺎﻝ ﺧﻮﺩ ﺍﻧﻜﺎﺭﻱ ﺟﻨﺴﻲ‬
‫ﺍﻳﻦ ﺍﻏﻮﺍ ﺍﺳﺖ ﻛﻪ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻧﺎﺏﺗﺮﻳﻦ ﺷﻜﻞ ﻣﺤﻀﺶ ﻧﻤﺎﻳﺶ ﻣﻲﺩﻫﺪ ﺍﻧﮕﺎﻩ ﻛﻪ ﺍﺯ‬
‫ﺩﻳﮕﺮﻱ ﺗﻘﺎﺿﺎ ﻣﻲﺷﻮﺩ‪" :‬ﺑﻪ ﻣﻦ ﻧﺸﺎﻥ ﺑﺪﻩ ﻛﻪ ﻣﻮﺿﻮﻉ ﻓﻘﻂ ﺍﻳﻦ ﻧﻴﺴﺖ‪".‬‬

‫ﻫﻮﺱﻫﺎﻱ ﺩﻳﮕﺮﻱ ﻧﻴﺰ ﺑﺮ ﻋﻠﻴﻪ ﺍﻏﻮﺍ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﺧﻮﺷﺒﺨﺘﺎﻧﻪ ﺁﻧﮕﺎﻩ ﻛﻪ ﺑﻪ ﺣﺪ‬
‫ﺍﻋﻠﻲ ﺧﻮﺩ ﻣﻲﺭﺳﻨﺪ‪ ،‬ﻧﺎﻛﺎﻡ ﻣﻲﻣﺎﻧﻨﺪ‪ .‬ﻫﻮﺱ ﻭ ﺍﺷﺘﻴﺎﻕ ﺑﻪ ﺟﻤﻊﺁﻭﺭﻱ‪ .‬ﺑﺮﺍﻱ ﻣﺜﺎﻝ ﺩﺭ‬
‫ﺑﺘﻮﺍﺭﮔﻲ ﻳﻚ ﻣﺠﻤﻮﻋﻪﺩﺍﺭ‬
‫)ﻛﻠﻜﺴﻴﻮﻧﺮ(‬
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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﺍﺭﺗﺒﺎﻁ ﺧﺼﻤﺎﻧﻪ ﻣﺠﻤﻮﻋﻪ ﺩﺍﺭﺍﻥ ﺑﺎ ﺍﻏﻮﺍﮔﺮﻱ ﺷﺪﻳﺪ ﺍﺳﺖ‪ .‬ﮔﻮﻳﻲ ﺁﻧﭽﻨﺎﻥ ﺩﺭ ﻗﻮﺍﻋﺪ ﺑﺎﺯﻱ‬

‫ﮔﺮﻓﺘﺎﺭ ﺁﻣﺪﻩﺍﻧﺪ ﻛﻪ ﺑﻪ ﺳﺨﺘﻲ ﻣﻲﺗﻮﺍﻧﻨﺪ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﻗﻮﺍﻋﺪ ﺑﺎﺯﻱﻫﺎﻱ ﺩﻳﮕﺮ ﺗﻄﺒﻴﻖ ﺩﻫﺪ‪ .‬ﺑﺮﺍﻱ‬

‫ﻫﻤﻴﻦ ﺁﻧﭽﻨﺎﻥ ﺍﺷﺘﻴﺎﻗﻲ ﺑﺮﺍﻱ ﺗﺠﺮﻳﺪ ﺩﺍﺭﻧﺪ ﻛﻪ ﻫﺮ ﮔﻮﻧﻪ ﻗﺎﻧﻮﻥ ﺍﺧﻼﻗﻲ ﺭﺍ ﺑﻪ ﻣﺒﺎﺭﺯﻩ ﻣﻲﻃﻠﺒﺪ‪.‬‬

‫ﺍﺷﺘﻴﺎﻕ ﻭﺍﻓﺮ ﺑﻪ ﻧﮕﺎﻩﺩﺍﺭﻱ ﻣﺤﻜﻢ ﺍﺯ ﺁﻳﻴﻨﻬﺎﻱ ﺟﻬﺎﻧﻲ ﺑﺴﺘﻪ‪ ،‬ﺳﻮﮊﻩ ﺭﺍ ﻣﺤﺼﻮﺭ ﺧﻮﺩ ﻣﻲﻛﻨﺪ‪.‬‬

‫ﻣﺠﻤﻮﻋﻪﺩﺍﺭ‪ ،‬ﺗﺼﺮﻓﮕﺮ ﺍﺳﺖ‪ .‬ﺍﻭ ﺑﻪ ﺩﻧﺒﺎﻝ ﺣﻘﻮﻕ ﺍﻧﺤﺼﺎﺭﻱ ﺑﺮ ﺍﺑﮋﻩﻫﺎﻱ ﻣﺮﺩﻩﺍﺳﺖ ﺗﺎ ﺑﺎ ﺁﻥ‬

‫ﻫﻮﺱ ﺑﺖﻭﺍﺭﮔﻲﺍﺵ ﺭﺍ ﺍﺭﺿﺎ ﻧﻤﺎﻳﺪ‪ .‬ﻣﻨﺰﻭﻱ ﻭ ﺯﻧﺪﺍﻧﻲ‪ :‬ﻓﺮﺍﺗﺮ ﺍﺯ ﺩﻳﮕﺮ ﭼﻴﺰﻫﺎ ﺍﻭ ﺧﻮﺩ ﺭﺍ ﺟﻤﻊﺁﻭﺭﻱ‬

‫ﻣﻲﻛﻨﺪ ﺟﻨﻮﻥ ﺍﻭ ﺭﺍ ﺁﺷﻔﺘﻪ ﻧﻤﻲﺳﺎﺯﺩ ﻣﮕﺮ ﺗﺎ ﺯﻣﺎﻧﻴﻜﻪ ﻋﺸﻖ ﺑﻪ ﺍﺑﮋﻩﻫﺎ‪ ،‬ﻭ ﺭﺍﻫﺒﺮﺩﻫﺎﻱ ﺷﻴﻔﺘﮕﻲ‬

‫ﻛﻪ ﺍﻭ ﺭﺍ ﻓﺮﺍ ﮔﺮﻓﺘﻪﺍﻧﺪ‪ ،‬ﺗﺮﺱ ﻭ ﻭﺣﺸﺖ ﺍﻭ ﺍﺯ ﺍﻏﻮﺍﮔﺮﻱ ﺭﺍ ﻧﻤﺎﻳﺶ ﺩﻫﻨﺪ‪ :.‬ﻧﻪ ﺗﻨﻬﺎ ﺍﻏﻮﺍﮔﺮﻱ ﺍﺑﮋﻩﻫﺎ‬

‫ﺑﻠﻜﻪ ﻫﺮ ﺍﻏﻮﺍﻳﻲ ﺭﺍ ﻛﻪ ﺍﺯ ﺧﻮﺩﺵ ﻫﻢ ﺳﺮﭼﺸﻤﻪ ﮔﻴﺮﺩ ﻃﺮﺩ ﻣﻲﻛﻨﺪ‪.‬‬

‫"ﻣﺠﻤﻮﻋﻪﺩﺍﺭ" ﻓﻴﻠﻢ ﻭ ﺭﻣﺎﻧﻲ ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﺟﻨﻮﻥ ﺭﺍ ﺑﻪ ﺧﻮﺑﻲ ﻧﻤﺎﻳﺶ ﻣﻲﺩﻫﺪ‪ :‬ﻗﻬﺮﻣﺎﻥ‬

‫ﺩﺍﺳﺘﺎﻥ ﻗﺎﺩﺭ ﻧﻴﺴﺖ ﻛﺴﻲ ﺭﺍ ﺍﻏﻮﺍ ﻧﻤﻮﺩﻩ ﻭ ﻳﺎ ﻣﺠﺬﺏ ﺧﻮﺩ ﮔﺮﺩﺍﻧﺪ )ﺍﻣﺎ ﺁﻳﺎ ﺍﻭ ﺍﻏﻮﺍ ﻭ ﺑﻲﺍﺧﺘﻴﺎﺭﻱ‬

‫ﻋﺸﻖ ﺭﺍ ﻣﻲﺧﻮﺍﻫﺪ؟ ﻣﺴﻠﻤﺎ ﻧﻪ‪ ،‬ﺍﻭ ﻣﻲﺧﻮﺍﻫﺪ ﺑﻪ ﺯﻭﺭ ﺍﻏﻮﺍ ﻧﻤﺎﻳﺪ ﻣﻲﺧﻮﺍﻫﺪ ﻛﻪ ﺑﻪ ﺯﻭﺭ ﻋﺸﻖ‬

‫ﺑﻮﺭﺯﺩ( ﭘﺲ ﺯﻧﻲ ﺟﻮﺍﻥ ﺭﺍ ﻣﻲﺩﺯﺩﺩ ﻭ ﺍﻭ ﺭﺍ ﺩﺭ ﺯﻳﺮﺯﻣﻴﻦ ﺧﺎﻧﻪ ﻳﻴﻼﻗﻲﺍﺵ ﻛﻪ ﺑﺮﺍﻱ ﭼﻨﻴﻦ ﻛﺎﺭﻱ‬

‫ﻣﺠﻬﺰ ﮔﺸﺘﻪﺷﺪﻩ‪ ،‬ﻣﺤﺒﻮﺱ ﻣﻲﻧﻤﺎﻳﺪ‪ .‬ﺍﻭ ﺍﺯ ﺯﻥ ﻣﺮﺍﻗﺒﺖ ﻣﻲﻧﻤﺎﻳﺪ ﺑﺎ ﻣﻬﺮﺑﺎﻧﻲ ﻭ ﺍﺩﺏ ﺑﺎ ﻭﻱ ﺭﻓﺘﺎﺭ‬

‫ﻣﻲﻛﻨﺪ ﺍﻣﺎ ﻛﺎﻣﻼً ﻣﺮﺍﻗﺐ ﺍﺳﺖ ﺗﺎ ﺯﻥ ﻓﺮﺍﺭ ﻧﻜﻨﺪ ﻭ ﺩﺭ ﻫﺮ ﺣﻠﻴﻪ ﺯﻥ‪ ،‬ﻣﭽﺶ ﺭﺍ ﻣﻲﮔﻴﺮﺩ‪ .‬ﺩﺭ‬

‫ﺻﻮﺭﺗﻴﻜﻪ ﺯﻥ ﺑﭙﺬﻳﺮﺩ ﻛﻪ ﺷﻜﺴﺖﺧﻮﺭﺩﻩﺍﺳﺖ ﻭ ﺍﻏﻮﺍﺷﺪﻩﺍﺳﺖ ﺍﺯ ﺳﺮ ﺗﻘﺼﻴﺮﺵ ﻣﻲﮔﺬﺭﺩ‪ .‬ﻭ ﺗﻨﻬﺎ‬

‫ﺩﺭ ﭘﺎﻳﺎﻥ ﺯﻥ ﺑﻲﺍﺧﺘﻴﺎﺭ ﻋﺎﺷﻖ ﺍﻭ ﻣﻲﺷﻮﺩ‪ .‬ﻭ ﺑﺎ ﻭﺟﻮﺩ ﺍﺳﺎﺭﺕ ﺍﺟﺒﺎﺭﻱ‪ ،‬ﻭﻓﺎﻗﻲ ﺁﺷﻔﺘﻪ ﻭ ﺗﺮﺩﻳﺪﺁﻣﻴﺰ‬

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‫ﻣﻴﺎﻥ ﺁﻧﻬﺎ ﺍﻳﺠﺎﺩ ﻣﻲﺷﻮﺩ ﻭ ﻳﻚ ﺭﻭﺯ ﻋﺼﺮ ﻣﺮﺩ‪ ،‬ﺯﻥ ﺭﺍ ﺑﺮﺍﻱ ﺻﺮﻑ ﺷﺎﻡ ﺑﺎ ﺍﺣﺘﻴﺎﻁ ﻻﺯﻡ ﺍﺯ ﺯﻳﺮ‬

‫ﺯﻣﻴﻦ ﺑﻴﺮﻭﻥ ﺁﻭﺭﺩﻩ ﻭ ﺑﻪ ﺧﺎﻧﻪ ﻣﻲﺑﺮﺩ‪ .‬ﺍﻣﺎ ﭼﻪ ﺍﺗﻔﺎﻗﻲ ﻣﻲﺍﻓﺘﺪ؟ ﺯﻥ ﺳﻌﻲ ﻣﻲﻛﻨﺪ ﺍﻭ ﺭﺍ ﺍﻏﻮﺍ ﻧﻤﺎﻳﺪ‬

‫ﻭ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺍﻭ ﭘﻴﺸﻨﻬﺎﺩ ﻛﻨﺪ‪ .‬ﺷﺎﻳﺪ ﺩﺭ ﺁﻥ ﻟﺤﻈﻪ ﺑﺮﺍﺳﺘﻲ ﻋﺎﺷﻖ ﺍﻭ ﺷﺪﻩ ﻳﺎ ﺷﺎﻳﺪ ﻫﻢ ﻓﻘﻂ‬

‫ﻣﻲﺧﻮﺍﺳﺘﻪ ﻣﺮﺩ ﺭﺍ ﺧﻠﻊ ﺳﻼﺡ ﻛﻨﺪ ﺑﻲﺷﻚ ﻫﺮﺩﻭ‪ .‬ﺍﻣﺎ ﺩﺭﻫﺮ ﺣﺎﻟﺖ ﺭﻓﺘﺎﺭ ﺍﻭ ﺑﺎ ﻭﺍﻛﻨﺶ‬

‫ﺧﺸﻤﮕﻴﻨﺎﻧﻪ ﻣﺮﺩ ﺭﻭﺑﺮﻭ ﻣﻲﺷﻮﺩ ﺍﻭ ﺯﻥ ﺭﺍ ﻣﻲﺯﻧﺪ‪ ،‬ﺑﻪ ﻭﻱ ﺗﻮﻫﻴﻦ ﻛﺮﺩﻩ ﻭ ﺩﻭﺑﺎﺭﻩ ﺩﺭ ﺯﻳﺮ ﺯﻣﻴﻦ‬

‫ﻣﺤﺒﻮﺱ ﻣﻲﻧﻤﺎﻳﺪ‪ .‬ﺩﻳﮕﺮ ﻫﻴﭻ ﺍﺣﺘﺮﺍﻣﻲ ﺑﻪ ﻭﻱ ﻧﻤﻲﮔﺬﺍﺭﺩ‪ ،‬ﺯﻥ ﺭﺍ ﻋﺮﻳﺎﻥ ﻣﻲﻛﻨﺪ ﻭ ﺍﺯ ﻭﻱ ﺗﺼﺎﻭﻳﺮ‬

‫ﺷﻬﻮﺕﺍﻧﮕﻴﺰ ﻣﻲﮔﻴﺮﺩ ﻭ ﺩﺭ ﺁﻟﺒﻮﻡ ﻋﻜﺴﺶ ﺟﻤﻊ ﻣﻲﻛﻨﺪ‪) .‬ﺍﻭ ﭘﺮﻭﺍﻧﻪ ﺟﻤﻊ ﻣﻲﻛﻨﺪ ﻭ ﻣﺠﻤﻮﻋﻪﺍﺵ‬

‫ﺭﺍ ﺑﺎ ﻓﺨﺮ ﺑﻪ ﺯﻥ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ( ﺯﻥ ﺑﻴﻤﺎﺭ ﻣﻲﺷﻮﺩ ﻭ ﻣﺪﻫﻮﺵ ﻣﻲﮔﺮﺩﺩ ﺍﻣﺎ ﻣﺮﺩ ﻫﻴﭻ ﻣﺮﺍﻗﺒﺘﻲ‬

‫ﻧﻤﻲﻛﻨﺪ‪ ،‬ﺯﻥ ﻣﻲﻣﻴﺮﺩ ﻭ ﻣﺮﺩ ﺍﻭ ﺭﺍ ﺩﺭ ﺣﻴﺎﻁ ﺧﺎﻧﻪﺍﺵ ﺩﻓﻦ ﻣﻲﻛﻨﺪ‪ .‬ﺩﺭ ﺻﺤﻨﻪ ﭘﺎﻳﺎﻧﻲ ﻣﺮﺩ ﺭﺍ‬

‫ﻣﻲﺑﻴﻨﻴﻢ ﻛﻪ ﺩﺭ ﺟﺴﺘﺠﻮﻱ ﺯﻧﻲ ﺩﻳﮕﺮ ﺍﺳﺖ ﺗﺎ ﺍﻭ ﺭﺍ ﺩﺯﻳﺪﻩ ﻭ ﺑﻪ ﻫﺮ ﻗﻴﻤﺘﻲ ﺍﻏﻮﺍ ﻧﻤﺎﻳﺪ‬

‫ﻧﻴﺎﺯ ﺑﻪ ﻋﺸﻖﻭﺭﺯﻳﺪﻩﺷﺪﻥ ﺍﻣﺎ ﻧﺎﺗﻮﺍﻥ ﺍﺯ ﺍﻏﻮﺍ ﺷﺪﻥ‪ .‬ﻫﻨﮕﺎﻣﻲ ﻛﻪ ﺩﺭ ﭘﺎﻳﺎﻥ ﺯﻥ ﺍﻏﻮﺍ ﻣﻲﺷﻮﺩ‬

‫)ﻛﺎﻓﻲ ﺍﺳﺖ ﻛﻪ ﺯﻥ ﺑﺨﻮﺍﻫﺪ ﺍﻭ ﺭﺍ ﺍﻏﻮﺍ ﻛﻨﺪ‪ (.‬ﻣﺮﺩ ﻧﻤﻲﺗﻮﺍﻧﺪ ﭘﻴﺮﻭﺯﻱ ﺍﺵ ﺭﺍ ﺑﭙﺬﻳﺮﺩ‪ :‬ﻭﻱ ﺗﺮﺟﻴﺢ‬

‫ﻣﻲﺩﻫﺪ ﺍﻳﻦ ﺍﻏﻮﺍ ﺷﺪﻥ‪ ،‬ﺭﺍ ﭼﻮﻥ ﻟﻌﻨﻲ ﺟﻨﺴﻲ ﺑﺒﻴﻨﺪ ﻭ ﺯﻥ ﺭﺍ ﺗﻨﺒﻴﻪ ﻧﻤﺎﻳﺪ‪ .‬ﻣﺴﺌﻠﻪ ﺿﻌﻒ ﺟﻨﺴﻲ‬

‫ﻧﻴﺴﺖ‪) .‬ﻫﺮﮔﺰ ﻣﺴﺌﻠﻪ ﺿﻌﻒ ﺟﻨﺴﻲ ﻧﺒﻮﺩﻩ ﺍﺳﺖ‪ (.‬ﺍﻭ ﺗﺮﺟﻴﺢ ﻣﻲﺩﻫﺪ ﺑﺎ ﺣﺎﻟﺘﻲ ﺗﺼﺮﻑﮔﺮﺍﻧﻪ‬

‫ﻫﻤﭽﻮﻥ ﻣﺠﻤﻮﻋﻪﺍﻱ ﺍﺯ ﺍﺑﮋﻩﻫﺎﻱ ﻣﺮﺩﻩ‪ ،‬ﻣﺎﻟﻚ ﺟﺬﺍﺑﻴﺖ ﺑﺎﺷﺪ‪ -‬ﺍﺑﮋﻩ ﺟﻨﺴﻲ ﻣﺮﺩﻩ ﺑﻪ ﺯﻳﺒﺎﻳﻲ ﻳﻚ‬

‫ﭘﺮﻭﺍﻧﻪ ﺑﺎ ﺑﺎﻟﻬﺎﻳﻲ ﺭﻧﮕﺎﺭﻧﮓ‪ -‬ﺑﺮﺍﻱ ﺍﻏﻮﺍﻱ ﻣﻮﺟﻮﺩﻱ ﺯﻧﺪﻩ ﺍﻭ ﻧﻴﺎﺯﻣﻨﺪ ﭘﺎﺳﺦ ﻋﺸﻖ ﻃﺮﻑ ﻣﻘﺎﺑﻞ‬

‫ﺍﺳﺖ‪ .‬ﺍﻭ ﺟﺬﺑﻪ ﻳﻜﻨﻮﺍﺧﺖ ﻣﺠﻤﻮﻋﻪﻫﺎ ﺭﺍ ﺗﺮﺟﻴﺢ ﻣﻲﺩﻫﺪ‪ .‬ﺑﺮﺍﻱ ﺍﻭ ﺟﺬﺑﻪ ﺍﺧﺘﻼﻓﻬﺎﻱ ﻣﺮﺩﻩ‪ ،‬ﺍﻳﻦ‬

‫ﻭﺳﻮﺍﺱ ﺑﻪ ﻫﻤﺴﺎﻧﻲ‪ ،‬ﺑﺮ ﺍﻏﻮﺍ ﻛﺮﺩﻥ ﺩﻳﮕﺮﻱ ﻣﻘﺪﻡ ﺍﺳﺖ‪ .‬ﺑﻪﻫﻤﻴﻦﺧﺎﻃﺮ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺍﻭﻝ ﻫﻢ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺍﺣﺴﺎﺱ ﻣﻲﺷﻮﺩ ﻛﻪ ﺯﻥ ﺩﺭ ﭘﺎﻳﺎﻥ ﺧﻮﺍﻫﺪ ﻣﺮﺩ ﻧﻪ ﺑﻪ ﺍﻳﻦ ﺳﺒﺐ ﻛﻪ ﻣﺮﺩ ﺍﺩﻡ ﺧﻄﺮﻧﺎﻛﻲ ﺑﻪ ﻧﻈﺮ‬

‫ﻣﻲﺭﺳﺪ ﺑﻠﻜﻪ ﺑﻪ ﺍﻳﻦ ﺧﺎﻃﺮ ﻛﻪ ﺍﻭ ﺍﺯ ﻣﻨﻄﻘﻲ ﺑﺮﮔﺸﺖﻧﺎﭘﺬﻳﺮ ﺗﺒﻌﻴﺖ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻏﻮﺍ ﻛﺮﺩﻥ ﺑﺪﻭﻥ‬

‫ﺍﻏﻮﺍ ﺷﺪﻥ‪ -‬ﺑﺪﻭﻥ ﺑﺮﮔﺸﺖﭘﺬﻳﺮﻱ‪.‬‬

‫ﺩﺭ ﺍﻳﻦ ﺣﺎﻟﺖ ﻳﻜﻲ ﺍﺯ ﺍﺯ ﺁﻥﺩﻭ )ﺍﻏﻮﺍﮔﺮ ﻭ ﻣﺠﻤﻮﻋﻪ ﺩﺍﺭ( ﻣﻲﺑﺎﻳﺪ ﺑﻴﻤﺮﻧﺪ ﻭ ﺍﻳﻦ ﻫﻤﻴﺸﻪ‬

‫ﻫﻤﺎﻥ ﻛﺴﻲ ﺍﺳﺖ ﻛﻪ ﺩﻳﮕﺮﻱﺍﺵ ﭘﻴﺸﺘﺮ ﻣﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﻫﺮﺍﻧﺤﺮﺍﻓﻲ‪ ،‬ﺩﻳﮕﺮﻱ ﺟﺎﻭﺩﺍﻥ ﻭ ﻓﻨﺎﻧﺎﭘﺬﻳﺮ‬

‫ﺍﺳﺖ‪ .‬ﺩﺭ ﻓﻴﻠﻢ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺑﺎ ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﻴﺪﻥ ﻓﻴﻠﻢ ﺍﺯ ﺟﺎﻳﻲ ﻛﻪ ﺁﻏﺎﺯ ﺷﺪﻩﺑﻮﺩ‪ ،‬ﺭﻭﺷﻦ ﻣﻲﺷﻮﺩ‪.‬‬

‫)ﻭ ﻧﻪ ﺑﺪﻭﻥ ﺧﻮﺷﻲ‪ -‬ﺍﻓﺮﺍﺩ ﺗﺼﺮﻑﮔﺮ ﻣﺎﻧﻨﺪ ﻫﺮ ﻣﻨﺤﺮﻓﻲ ﺧﺎﺭﺝ ﺍﺯ ﻓﻀﺎﻱ ﻭﺳﻮﺍﺳﺸﺎﻥ ﻫﻤﻴﺸﻪ‬

‫ﺧﻮﺵ ﺑﻪ ﻧﻈﺮ ﻣﻲﺭﺳﻨﺪ ﺑﻪ ﺧﺼﻮﺹ ﺩﺭ ﺟﺰﺋﻴﺎﺕ ﺍﻗﺪﺍﻣﺎﺗﺸﺎﻥ‪ (.‬ﺩﺭ ﻫﺮ ﺣﺎﻟﺖ ﻣﺠﻤﻮﻋﻪ ﺩﺍﺭ ﺧﻮﺩ ﺭﺍ‬

‫ﺩﺭ ﻣﻨﻄﻘﻲ ﺣﻞﻧﺎﺷﺪﻧﻲ ﮔﺮﻓﺘﺎﺭ ﻛﺮﺩﻩﺍﺳﺖ‪ :‬ﺗﻤﺎﻣﻲ ﻧﺸﺎﻧﻪﻫﺎﻱ ﻋﺸﻘﻲ ﻛﻪ ﺯﻥ ﻣﻲﺗﻮﺍﻧﺪ ﺑﻪ ﺍﻭ ﺑﺪﻫﺪ‪،‬‬

‫ﻭﺍﮊﮔﻮﻧﻪ ﺗﻔﺴﻴﺮ ﻣﻲﺷﻮﻧﺪ ﻭ ﻟﻄﻴﻒﺗﺮﻳﻦ ﺍﺣﺴﺎﺳﺎﺕ‪ ،‬ﻣﺸﻜﻮﻙﺗﺮﻳﻦ ﺁﻧﻬﺎ ﻗﻠﻤﺪﺍﺩ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﺷﺎﻳﺪ‬

‫ﺑﺘﻮﺍﻧﺪ ﺑﺎ ﻧﺸﺎﻧﻪﻫﺎﻱ ﻣﺨﺘﺺ ﺧﻮﺩ ﺧﺸﻨﻮﺩ ﮔﺮﺩﺩ ﺍﻣﺎ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺍﻏﻮﺍ ﻭ ﻓﺮﻳﺐﻫﺎﻱ ﺍﺻﻴﻞ ﻋﺸﻖ ﺭﺍ‬

‫ﺗﺤﻤﻞ ﻛﻨﺪ‪ .‬ﺩﺭ ﻣﻨﻄﻖ ﺍﻭ‪ ،‬ﺯﻥ )ﺑﺎ ﺍﻏﻮﺍ ﻛﺮﺩﻥ( ﺳﻨﺪ ﻣﺮﮒ ﺧﻮﺩﺵ ﺭﺍ ﺍﻣﻀﺎ ﻛﺮﺩﻩﺍﺳﺖ‪.‬‬

‫ﺍﻳﻦ ﺩﺍﺳﺘﺎﻧﻲ ﺩﺭﺑﺎﺭﻩ ﺳﺎﺩﻳﺴﻢ ﻧﻴﺴﺖ‪ .‬ﺑﻞ ﺑﺴﻴﺎﺭ ﺗﻜﺎﻥﺩﻫﻨﺪﻩﺗﺮ ﺍﺳﺖ‪ .‬ﭼﻪ ﻛﺴﻲ ﮔﻔﺘﻪ‬

‫ﺑﻬﺘﺮﻳﻦ ﮔﻮﺍﻩ ﻋﺸﻖ ﺍﺣﺘﺮﺍﻡ ﺑﻪ ﺩﻳﮕﺮﻱ ﻭ ﺍﻣﻴﺎﻟﺶ ﺍﺳﺖ؟ ﮔﻮﻳﺎ ﺑﻬﺎﻳﻲ ﻛﻪ ﺑﺎ ﺯﻳﺒﺎﻳﻲ ﻭ ﺍﻏﻮﺍ‬

‫ﭘﺮﺩﺍﺧﺘﻪﻣﻲﺷﻮﺩ ﺑﺎﻳﺪ ﺑﻪ ﻣﺮﮒ ﺧﺘﻢ ﺷﻮﺩ ﭼﺮﺍ ﻛﻪ ﺁﻧﻬﺎ ﺑﺴﻴﺎﺭ ﺧﻄﺮﻧﺎﻛﻨﺪ ﻭ ﺑﻪﻫﻤﻴﻦﺧﺎﻃﺮ ﻓﺮﺩ‬

‫ﻫﺮﮔﺰ ﻗﺎﺩﺭ ﻧﻴﺴﺖ ﺁﻧﭽﻪ ﻛﻪ ﺍﻭ ﺩﺍﺩﻩ ﺑﭙﺬﻳﺮﺩ‪ .‬ﭘﺲ ﺗﻨﻬﺎ ﻣﻲﺗﻮﺍﻧﺪ ﺍﻭ ﺭﺍ ﺑﺎ ﻣﺮﮔﺶ ﭘﺎﺩﺍﺵ ﺩﻫﺪ‪ .‬ﺩﺭ‬

‫ﺍﻳﻦ ﺣﺎﻟﺖ‪ ،‬ﺩﺧﺘﺮ ﻣﺘﻮﺟﻪ ﻣﻲﺷﻮﺩ ﭘﺎﺳﺦ ﺍﻏﻮﺍﻱ ﻭﺍﻻﻳﺶ‪ ،‬ﻫﻤﺎﻥ ﺍﺳﺘﻌﺎﺭﻩ ﺍﺳﺎﺭﺕ ﺧﻮﺩ ﺍﻭﺳﺖ‪.‬‬

‫ﻭﺍﻛﻨﺶ ﺩﺧﺘﺮ‪ ،‬ﺗﻨﻬﺎ ﺗﺴﻠﻴﻢ ﺟﻨﺴﻲ ﻧﻴﺴﺖ ﻛﻪ ﺍﻳﻦ ﺩﺭ ﺑﺮﺍﺑﺮ ﻣﺒﺎﺭﺯﻩﺍﻱ ﻛﻪ ﺍﻭ ﺑﺎ ﺯﻳﺒﺎﻳﻲﺍﺵ ﺑﻪ‬

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‫ﺍﻧﺠﺎﻡ ﻣﻲﺭﺳﺎﻧﺪ ﻧﺎﭼﻴﺰ ﺍﺳﺖ‪ .‬ﻟﺬﺕ ﺟﻨﺴﻲ ﻫﺮﮔﺰ ﺍﺯ ﻧﻴﺎﺯ ﺑﻪ ﺍﻏﻮﺍ ﺑﻲﻧﻴﺎﺯ ﻧﺨﻮﺍﻫﺪ ﺷﺪ‪ .‬ﭘﻴﺸﺘﺮ ﻫﻤﻪ‬

‫ﻓﺎﻧﻴﺎﻥ ﻣﺘﻌﻬﺪ ﺑﻪ ﺑﺎﺯﺧﺮﻳﺪ ﺑﺪﻧﻬﺎﻱ ﺯﻧﺪﻩﺷﺎﻥ ﺑﺎ ﻗﺮﺑﺎﻧﻲﻛﺮﺩﻥ ﺑﻮﺩﻧﺪ‪ ،‬ﺍﻣﺮﻭﺯ ﺗﻤﺎﻣﻲ ﺍﺷﻜﺎﻝ‬

‫ﺍﻏﻮﺍﮔﺮﺍﻧﻪ‪ ،‬ﺷﺎﻳﺪ ﻫﻢ ﺗﻤﺎﻣﻲ ﺍﺷﻜﺎﻝ ﺯﻧﺪﻩ‪ ،‬ﻣﺠﺒﻮﺭﺍﻧﺪ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﻣﺮﮔﺸﺎﻥ ﺑﺎﺯﺧﺮﻳﺪ ﻧﻤﺎﻳﻨﺪ‪ .‬ﺍﻳﻦ‬

‫ﻗﺎﻧﻮﻳﻦ ﻧﻤﺎﺩﻳﻦ ﻭ ﻧﻪ ﻳﻚ ﻗﺎﻧﻮﻥ ﺑﻞ ﻗﺎﻋﺪﻩﺍﻱ ﺍﺟﺘﻨﺎﺏﻧﺎﭘﺬﻳﺮ ﺍﺳﺖ ﻳﻌﻨﻲ ﻗﺎﻋﺪﻩﺍﻱ ﺍﺳﺖ ﻛﻪ ﻣﺎ ﺑﻪ‬

‫ﺁﻥ ﺑﻲﻫﻴﭻ ﺑﻨﻴﺎﺩﻱ‪ ،‬ﻭﻓﺎﺩﺍﺭﻳﻢ‪ .‬ﺍﻣﺮﻱ ﺁﺷﻜﺎﺭﺍ ﺍﺧﺘﻴﺎﺭﻱ ﻧﻪ ﺑﺮ ﻃﺒﻖ ﺍﺻﻮﻟﻲ ﺍﺳﺘﻌﻼﻳﻲ‪.‬‬

‫ﺁﻳﺎ ﺑﺎﻳﺪ ﻧﺘﻴﺠﻪ ﮔﺮﻓﺖ ﻛﻪ ﻫﺮ ﺗﻼﺷﻲ ﺑﺮﺍﻱ ﺍﻏﻮﺍ ﺑﺎ ﻗﺘﻞ ﺍﺑﮋﻩ ﭘﺎﻳﺎﻥ ﻣﻲﻳﺎﺑﺪ ﻳﺎ ﻫﻤﻴﺸﻪ )ﻭ ﺍﻳﻦ‬

‫ﮔﻮﻧﻪ ﺩﻳﮕﺮﻱ ﺍﺯ ﻫﻤﻴﻦ ﻣﻮﺿﻮﻉ ﺍﺳﺖ( ﺗﻼﺷﻲ ﺍﺳﺖ ﺑﺮﺍﻱ ﭘﻴﺶﺑﺮﺩﻥ ﻃﺮﻑ ﻣﻘﺎﺑﻞ ﺑﻪ ﺟﻨﻮﻥ؟ ﺁﻳﺎ‬

‫ﺍﻓﺴﻮﻧﻲ ﻛﻪ ﻓﺮﺩ ﺑﺮ ﻋﻠﻴﻪ ﺩﻳﮕﺮﻱ ﺑﻪ ﻛﺎﺭ ﻣﻲﺑﺮﺩ ﻫﻤﻴﺸﻪ ﻣﻀﺮ ﺍﺳﺖ؟ ﺁﻳﺎ ﺍﻧﺘﻘﺎﻡ ﺗﻨﻬﺎ ﻛﺎﺭﻱ ﺍﺳﺖ‬

‫ﻛﻪ ﻣﻲﺗﻮﺍﻥ ﺩﺭ ﺑﺮﺍﺑﺮ ﺍﻓﺴﻮﻥ ﺩﻳﮕﺮﻱ ﺍﻧﺠﺎﻡ ﺩﺍﺩ؟ ﺁﻳﺎ ﺑﺎﺯﻱﻫﺎ‪ :‬ﺑﺮ ﺳﺮ ﺯﻧﺪﮔﻲ ﻭ ﻣﺮﮒ ﻳﺎ ﺣﺪﺍﻗﻞ‬

‫ﻧﺰﺩﻳﻜﺘﺮ ﺑﻪ ﻣﺮﮒﺍﻧﺪ ﺗﺎ ﻣﺒﺎﺩﻟﻪﺍﻱ ﺁﺭﺍﻡ ﺑﺮﺍﻱ ﻟﺬﺕ ﺟﻨﺴﻲ(؟ ﺍﻏﻮﺍ ﻛﺮﺩﻥ ﺑﻪ ﻣﻌﻨﺎﻱ ﺁﻥ ﺍﺳﺖ ﻛﻪ‬

‫ﺩﻳﮕﺮﻱ ﺑﺎﻳﺪ ﺑﻬﺎﻱ ﺣﻘﻴﻘﺖ ﻭﺟﻮﺩ ﺍﻏﻮﺍ ﺷﺪﻩ ﺭﺍ ﺑﭙﺮﺩﺍﺯﺩ ﻛﻪ ﺁﻥ ﺩﺭﻳﺪﻥ ﺧﻮﻳﺸﺘﻦ ﻭ ﻣﺒﺪﻝ ﻛﺮﺩﻥ‬

‫ﺧﻮﺩ ﺑﻪ ﺍﺑﮋﻩ ﺍﻓﺴﻮﻧﮕﺮﻱ ﺍﺳﺖ‪ .‬ﺍﻳﻨﺠﺎ ﻫﻤﻪﭼﻴﺰ ﺍﺯ ﻗﻮﺍﻋﺪ ﻧﻤﺎﺩﻳﻦ ﺗﺴﻬﻴﻤﻲ ﺁﻧﻲ ﺗﺒﻌﻴﺖ ﻣﻲﻛﻨﺪ ﻛﻪ‬

‫ﺑﺮ ﺭﻭﺍﺑﻂ ﻗﺮﺑﺎﻧﻲﻛﻨﻨﺪﻩ ﻣﻴﺎﻥ ﺍﻧﺴﺎﻧﻬﺎ ﻭ ﺧﺪﺍﻳﺎﻧﺸﺎﻥ ﺩﺭ ﻓﺮﻫﻨﮓﻫﺎﻱ ﻇﺎﻟﻤﺎﻧﻪ ﻳﻌﻨﻲ ﺭﻭﺍﺑﻂ ﺷﻨﺎﺧﺖ‬

‫ﻭ ﺗﻮﺯﻳﻊ ﺧﺸﻮﻧﺖ ﻧﺎﻣﺤﺪﻭﺩ‪ ،‬ﺣﺎﻛﻢ ﺍﺳﺖ‪ .‬ﺍﻛﻨﻮﻥ‪ ،‬ﺍﻏﻮﺍ ﺩﻳﮕﺮ ﺑﻪ ﻓﺮﻫﻨﮓﻫﺎﻱ ﻇﺎﻟﻤﺎﻧﻪ ﺗﻌﻠﻖ ﺩﺍﺭﺩ ﻭ‬

‫ﺍﺷﻜﺎﻝ ﺁﻳﻴﻨﻲ ﺁﺧﺮﻳﻦ ﺑﻘﺎﻳﺎﻱ ﺑﺠﺎﻣﺎﻧﺪﻩ ﺍﺳﺖ ﻛﻪ ﺭﻓﺘﻪﺭﻓﺘﻪ ﻣﻨﺴﻮﺥ ﻣﻲﮔﺮﺩﺩ‪ .‬ﺍﻏﻮﺍ ﻣﺎ ﺭﺍ ﻣﺘﻮﺟﻪ‬

‫ﻣﺮﮒ ﻣﻲﺳﺎﺯﺩ‪ .‬ﻣﺮﮔﻲ ﻧﻪ ﺑﻪ ﺷﻜﻞ ﺗﺼﺎﺩﻓﻲ ﻭﺍﺭﮔﺎﻧﻴﻜﻲ‪ ،‬ﺑﻠﻜﻪ ﺷﻜﻠﻲ ﺿﺮﻭﺭﻱ‪ ،‬ﺳﺨﺖ ﻭ ﻧﺘﻴﺠﻪﻱ‬

‫ﻧﺎﮔﺰﻳﺮ ﻗﻮﺍﻋﺪ ﺑﺎﺯﻱ‪ .‬ﻣﺮﮒ ﻣﺨﺎﻃﺮﻩ ﻧﻬﺎﻳﻲ ﺩﺭ ﻫﺮ ﻣﻴﺜﺎﻕ ﻧﻤﺎﺩﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﻳﻚ ﻣﺒﺎﺭﺯﻩ ﻳﻚ ﺍﻏﻮﺍ‬

‫ﻳﻚ ﺭﺍﺯ ﻳﺎ ﻳﻚ ﺍﻧﺤﺮﺍﻑ ﺗﺼﻮﻳﺮ ﻣﻲﺷﻮﺩ‪.‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺍﻏﻮﺍ ﻭ ﺍﻧﺤﺮﺍﻑ ﺣﺎﻣﻲ ﺭﻭﺍﺑﻂ ﺯﻳﺮﻛﺎﻧﻪﺍﻧﺪ‪ .‬ﺁﻳﺎ ﺍﻏﻮﺍ ﻧﻮﻋﻲ ﺍﻧﺤﺮﺍﻑ ﺍﺯ ﻗﻮﺍﻋﺪ ﺟﻬﺎﻥ ﺭﺍ ﺑﻪ ﻛﺎﺭ‬

‫ﻧﻤﻲﺑﺮﺩ؟ ﻭ ﺣﺘﻲ ﺍﺯ ﺗﻤﺎﻣﻲ ﻫﻮﺱﻫﺎ‪ ،‬ﺍﺯ ﺗﻤﺎﻣﻲ ﺍﻧﮕﻴﺰﺵﻫﺎﻱ ﺭﻭﺍﻥ‪ ،‬ﺭﺍﺑﻄﻪ ﺍﻧﺤﺮﺍﻑ ﺑﺎ ﺍﻏﻮﺍ ﺍﺯ ﻫﻤﻪ‬

‫ﺧﺼﻤﺎﻧﻪﺗﺮ ﺍﺳﺖ‪ .‬ﻫﺮ ﺩﻭﻱ ﺁﻧﻬﺎ ﻧﺴﺒﺖ ﺑﻪ ﺭﻭﺍﺑﻂ ﺟﻨﺴﻲ ﺑﻲﺭﺣﻢ ﻭ ﺑﻲﺗﻔﺎﻭﺕﺍﻧﺪ‪ .‬ﺍﻏﻮﺍ ﭼﻴﺰﻱ ﺍﺳﺖ‬

‫ﻛﻪ ﺗﻤﺎﻣﻲ ﻟﺬﺗﻬﺎ‪ ،‬ﺍﺣﺴﺎﺳﺎﺕ ﻭ ﺑﺎﺯﻧﻤﺎﻳﻲﻫﺎ ﺭﺍ ﺍﺯ ﺁﻥ ﺧﻮﺩ ﻣﻲﻛﻨﺪ ﻭ ﺑﺎ ﺭﻭﻳﺎﻫﺎﻱ ﺧﻮﺩﺷﺎﻥ ﺍﺯ ﻣﺴﻴﺮ‬

‫ﺍﺻﻠﻲﺷﺎﻥ ﺑﻪ ﺳﻤﺖ ﺑﺎﺯﻱ ﺯﻳﺮﻛﺎﻧﻪﺗﺮ ﻭ ﺩﻏﻞﺁﻣﻴﺰﺗﺮ ﻣﻨﺤﺮﻑ ﻣﻲﻛﻨﺪ ﺑﺎﺯﻱ ﻛﻪ ﺩﺭ ﮔﺮﻭ ﻫﻴﭻ ﭘﺎﻳﺎﻥ‬

‫ﻭ ﺁﻏﺎﺯﻱ‪ ،‬ﻫﻴﭻ ﺭﺍﻧﺶ ﻭ ﻣﻴﻠﻲ ﻧﻴﺴﺖ‪.‬‬

‫ﺍﮔﺮ ﺟﻨﺲ‪ ،‬ﻳﻚ ﻗﺎﻧﻮﻧﻲ ﻃﺒﻴﻌﻲ ﻭ ﻳﻚ ﺍﺻﻞ ﻟﺬﺕ ﺩﺍﺭﺩ ﭘﺲ ﺍﻏﻮﺍ ﺍﻧﻜﺎﺭ ﺁﻥ ﺍﺻﻞ ﺍﺳﺖ ﻭ ﺁﻧﺮﺍ‬

‫ﺑﺎ ﻗﺎﻋﺪﻩﻱ ﺍﺧﺘﻴﺎﺭﻱ ﻳﻚ ﺑﺎﺯﻱ ﺟﺎﻳﮕﺰﻳﻦ ﻣﻲﻛﻨﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﻭﺻﻒ‪ ،‬ﺍﻏﻮﺍ ﺍﻧﺤﺮﺍﻑ ﺍﺳﺖ‪ .‬ﻏﻴﺮ ﺍﺧﻼﻗﻲ‬

‫ﺑﻮﺩﻥ ﺍﻧﺤﺮﺍﻑ‪ ،‬ﺑﻪ ﻣﺎﻧﻨﺪ ﺍﻏﻮﺍ‪ ،‬ﺑﻪ ﺳﺒﺐ ﻭﺍﮔﺬﺍﺭﻱ ﺧﻮﺩ ﺑﻪ ﻟﺬﺕﻫﺎﻱ ﺟﻨﺴﻲ ﺑﺮ ﻋﻠﻴﻪ ﺍﺧﻼﻗﻴﺎﺕ‬

‫ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﻧﺘﻴﺠﻪ ﺍﻣﺮﻱ ﺟﺪﻱﺗﺮ ﻭ ﺯﻳﺮﻛﺎﻧﻪﺗﺮ ﺍﺳﺖ‪ .‬ﺍﻧﺤﺮﺍﻑ ﺟﻨﺴﻴﺖ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﻣﺮﻱ ﺍﺭﺟﺎﻋﻲ‬

‫ﻭ ﺍﺧﻼﻗﻲ ﺣﺘﻲ ﺩﺭ ﻟﺬﺗﻬﺎﻳﺶ ﺭﻫﺎ ﻣﻲﻛﻨﺪ‪.‬‬

‫ﺑﺎﺯﻱ ﻛﺮﺩﻥ ﻟﺬﺗﻲ ﺣﺴﻲ ﻧﻴﺴﺖ‪ .‬ﻣﻨﺤﺮﻑ ﻭﻗﺘﻲ ﻭﺍﺭﺩ ﺭﻭﺍﺑﻂ ﺟﻨﺴﻲ ﻣﻲﺷﻮﺩ ﻛﺎﻣﻼً ﺳﺮﺩ‬

‫ﻣﻲﺷﻮﺩ‪ .‬ﺍﻭ ﺟﻨﺴﻴﺖ ﻭ ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ ﺭﺍ ﺑﻪ ﻭﻇﻴﻔﻪﺍﻱ ﺁﻳﻴﻨﻲ‪ ،‬ﺗﺠﺮﻳﺪﻱ ﻭ ﺗﺸﺮﻳﻔﺎﺗﻲ ﻣﺒﺪﻝ‬

‫ﻣﻲﻛﻨﺪ ﺍﺭﺗﺒﺎﻃﻲ ﺷﻬﻮﺍﻧﻲ ﺑﺎ ﻧﺸﺎﻧﻪﻫﺎ ﺍﺳﺖ ﺗﺎ ﻣﺒﺎﺩﻟﻪﻱ ﺍﻣﻴﺎﻝ‪ .‬ﺑﺎ ﺍﻧﺤﺮﺍﻑ‪ ،‬ﺗﻤﺎﻣﻲ ﻧﻴﺮﻭﻫﺎﻱ ﺭﻭﺍﺑﻂ‬

‫ﺟﻨﺴﻲ ﺑﻪ ﻧﺸﺎﻧﻪﻫﺎ ﻭ ﭘﻲﺭﻓﺖﻫﺎﻳﺶ ﺟﺎﻳﮕﺰﻳﻦ ﻣﻲﺷﻮﺩ ﺩﺭﺳﺖ ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺑﺮﺍﻱ ﺁﺭﺗﻮ‪ ۴۰‬ﺍﻳﻦ‬

‫ﻧﻴﺮﻭ ﺑﺎ ﺍﻓﺸﺎﮔﺮﻱﻫﺎﻱ ﻧﻤﺎﻳﺸﻲ ﺟﺎﻳﮕﺰﻳﻦ ﻣﻲﺷﻮﺩ‪) .‬ﻓﻮﺭﺍﻥ ﻭﺣﺸﻴﺎﻧﻪ ﻧﺸﺎﻧﻪﻫﺎ ﺩﺭ ﻭﺍﻗﻌﻴﺖ(‪.‬‬

‫ﺧﺸﻮﻧﺖ ﻧﺸﺎﻧﻪﻫﺎ‪ ،‬ﺁﻳﻴﻨﻲ ﺍﺳﺖ ﺑﻲﻫﻴﭻ ﻏﺮﻳﺰﻩﺍﻱ‪ ،‬ﺗﻨﻬﺎ ﺁﻳﻴﻦ ﺍﺳﺖ‪ ،‬ﻛﻪ ﺧﺸﻦ ﺍﺳﺖ‪ ،‬ﺗﻨﻬﺎ ﻗﻮﺍﻋﺪ‬

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‫ﺍﻏﻮﺍ‬

‫ﺑﺎﺯﻱ ﻗﺎﻫﺮﺍﻧﻪﺍﻧﺪ ﭼﺮﺍ ﻛﻪ ﺁﻧﻬﺎ ﺑﺮ ﻧﻈﺎﻡﻫﺎﻱ ﺷﻜﻞﻳﺎﻓﺘﻪ ﻭﺍﻗﻌﻴﺖ‪ ،‬ﭘﺎﻳﺎﻥ ﻣﻲﺑﺨﺸﻨﺪ‪ .‬ﺍﻳﻦ ﻛﺎﻣﻼً‬

‫ﺑﻲﺭﺣﻤﻲ ﻛﻪ ﻫﻴﭻﻛﺎﺭﻱ ﺑﺎ ﺧﻮﻧﺨﻮﺍﺭﻱ ﻭ ﻋﺼﺒﻴﺖ ﻧﺪﺍﺭﺩ‪ .‬ﺑﺎ ﺍﻳﻦ ﻭﺻﻒ‪ ،‬ﺍﻧﺤﺮﺍﻑ ﺑﻲﺭﺣﻤﻲﺍﺳﺖ‪.‬‬

‫ﻗﺪﺭﺕ ﺍﻧﺤﺮﺍﻑ ﺍﻓﺴﻮﻥ ﺍﺯ ﻣﺮﺍﺳﻢ ﺁﻳﻴﻨﻲ ﺑﺮ ﭘﺎﻳﻪ ﻗﻮﺍﻋﺪ ﻧﺸﺄﺕ ﻣﻲﮔﻴﺮﺩ‪ .‬ﻣﻨﺤﺮﻑ ﻛﺴﻲ‬

‫ﻧﻴﺴﺖ ﻛﻪ ﺍﺯ ﻗﺎﻧﻮﻥ ﺳﺮﭘﻴﭽﻲ ﻣﻲﻛﻨﺪ ﺑﻠﻜﻪ ﻛﺴﻲ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﻗﺎﻧﻮﻥ ﻃﻔﺮﻩ ﻣﻲﺭﻭﺩ ﺗﺎ ﺧﻮﺩ ﺭﺍ‬

‫ﻭﻗﻒ ﻗﻮﺍﻋﺪ ﻧﻤﺎﻳﺪ‪ .‬ﻛﺴﻲ ﻛﻪ ﻧﻪ ﺗﻨﻬﺎ ﺍﺯ ﻓﺮﺟﺎﻣﻬﺎﻱ ﻗﻮﺍﻋﺪ ﺟﻨﺴﻲ ﻣﺎﻧﻨﺪ ﺗﻮﻟﻴﺪ ﻣﺜﻞ‪ ،‬ﻃﻔﺮﻩ ﻣﻲﺭﻭﺩ‬

‫ﺑﻠﻜﻪ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻗﺎﻧﻮﻧﻲ ﻧﻤﺎﺩﻳﻦ ﻭﺍﺑﺴﺘﻪ ﻣﻲﺳﺎﺯﺩ ﺗﺎ ﺑﺎ ﺷﻜﻠﻲ ﺗﺸﺮﻳﻔﺎﺗﻲ ﻭ ﺁﻳﻴﻨﻲ ﻣﺮﺗﺒﻂ ﮔﺮﺩﺩ‪.‬‬

‫ﺍﻧﺤﺮﺍﻑ ﻗﺮﺍﺭﺩﺍﺩﻱ ﺭﺍ ﻓﺮﺽ ﻣﻲﻧﻤﺎﻳﺪ ﻛﻪ ﻳﻚ ﻗﺮﺍﺭﺩﺍﺩ ﻧﻴﺴﺖ ﻳﻌﻨﻲ ﻣﻌﺎﻣﻠﻪﺍﻱ ﻣﻴﺎﻥ ﺩﻭ ﻋﺎﻣﻞ‬

‫ﺁﺯﺍﺩ ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﺗﻌﻬﺪﻱ ﺍﺳﺖ ﺑﻪ ﭘﻴﺮﻭﺯﻱ ﺍﺯ ﻳﻚ ﻗﺎﻋﺪﻩ‪ .‬ﭼﻨﻴﻦ ﻗﺮﺍﺭﺩﺍﻱ ﻳﻚ ﺭﺍﺑﻄﻪ ﺗﻦ ﺑﻪ ﺗﻨﻲ‬

‫)ﻣﺎﻧﻨﺪ ﻳﻚ ﻣﺒﺎﺭﺯﻩ( ﺭﺍ ﺑﻨﺎ ﻣﻲﻧﻬﺪ ﻛﻪ ﻫﻴﭻﻃﺮﻑ ﺳﻮﻣﻲ ﺩﺭ ﻛﺎﺭ ﻧﻴﺴﺖ )ﺑﺮ ﺧﻼﻑ ﻗﺮﺍﺭﺩﺍﺩ( ﻭ‬

‫ﻧﻤﻲﺗﻮﺍﻧﺪ ﺑﻪ ﺳﻮﻳﻪﻫﺎﻱ ﻓﺮﺩﻱﺍﺵ ﻣﺠﺰﺍ ﮔﺮﺩﺩ‪ .‬ﺍﻳﻦ ﻣﻌﺎﻫﺪﻩ‪ ،‬ﺍﻳﻦ ﺭﺍﺑﻄﻪ ﺗﻦﺑﻪﺗﻨﻲ ﻭ ﺷﺒﻜﻪ‬

‫ﺍﻟﺰﺍﻣﺎﺗﺶ ﺑﺎ ﻗﺎﻧﻮﻥ ﺑﻴﮕﺎﻧﻪ ﺍﺳﺖ‪ .‬ﺍﻧﺤﺮﺍﻓﻲ ﺷﻜﺴﺖﻧﺎﭘﺬﻳﺮ ﺑﺮ ﺟﻬﺎﻥ ﺧﺎﺭﺟﻲ ﺍﻋﻤﺎﻝ ﻣﻲﻛﻨﺪ‪ ،‬ﺍﻣﺮﻱ‬

‫ﻏﻴﺮﻗﺎﺑﻞﻧﻔﻮﺫ ﺑﺮﺍﻱ ﺗﺤﻠﻴﻠﻬﺎﻳﻲ ﻣﺒﺘﻨﻲ ﺑﺮ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﻓﺮﺩﻱ ﻭ ﺑﻨﺎﺑﺮﺍﻳﻦ ﺑﺮﺍﻱ ﺭﻭﺍﻧﻜﺎﻭﻱ ﺍﺳﺖ‪ .‬ﺩﺭ‬

‫ﻗﻠﻤﺮﻭ ﻗﻮﺍﻋﺪ ﻫﻴﭻﺟﺎﻳﻲ ﺑﺮﺍﻱ ﻗﻠﻤﺮﻭ ﻗﺪﺭﺕ ﺭﻭﺍﻧﻜﺎﻭﻱ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ )ﭼﺮﺍ ﻛﻪ ﺻﺮﻓﺎً ﺑﺎ ﻗﻮﺍﻧﻴﻦ‬

‫ﻣﺮﺗﺒﻂ ﺍﺳﺖ(‪ .‬ﺍﻧﺤﺮﺍﻑ ﺑﻪ ﺟﻬﺎﻧﻲ ﻣﺘﻔﺎﻭﺕ ﺗﻌﻠﻖ ﺩﺍﺭﺩ‪.‬‬

‫ﺭﻭﺍﺑﻂ ﺗﻦ ﺑﻪ ﺗﻨﻲ‪ ،‬ﻗﺎﻧﻮﻥ ﻣﺒﺎﺩﻟﻪ ﺭﺍ ﻣﻨﺴﻮﺥ ﻣﻲﻛﻨﻨﺪ‪ .‬ﻗﻮﺍﻋﺪ ﺍﻧﺤﺮﺍﻑ ﻗﻮﺍﻧﻴﻦ ﻃﺒﻴﻌﻲ‬

‫ﺟﻨﺴﻴﺖ ﺭﺍ ﻣﻠﻐﻲ ﻣﻲﻛﻨﻨﺪ‪ .‬ﻣﻔﺎﺩ ﺩﻟﺒﺨﻮﺍﻫﻲ ﻣﺎﻧﻨﺪ ﻗﻮﺍﻋﺪ ﻳﻚ ﺑﺎﺯﻱ ﺍﺯ ﻧﻈﺮ ﻣﺤﺘﻮﺍ ﻧﺘﺎﻳﺞ ﻛﻮﭼﻚ‬

‫ﻭ ﺑﻲﺍﻫﻤﻴﺘﻲ ﺩﺍﺭﻧﺪ ﺁﻧﭽﻪ ﺑﺮﺍﻱ ﺑﺎﺯﻱ ﺑﻨﻴﺎﺩﻱ ﺍﺳﺖ ﺗﺤﻤﻴﻞ ﻳﻚ ﻧﺸﺎﻧﻪ ﻳﺎ ﻗﺎﻋﺪﻩ ﻳﺎ ﺳﻴﺴﺘﻢ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫‪۴۱‬‬
‫ﻧﺸﺎﻧﻪﻫﺎﺳﺖ ﻛﻪ ﺍﺯ ﺳﺎﻣﺎﻧﻪﻫﺎﻱ ﺟﻨﺴﻲ ﻣﻨﺘﺰﻉ ﻣﻲﺷﻮﺩ‪) .‬ﻣﺎﻧﻨﺪ ﺁﻧﭽﻪ ﻛﻪ ﻛﻠﻮﺳﻮﻓﺴﻜﻲ )‪(۲‬‬

‫ﺧﺎﻃﺮﻧﺸﺎﻥ ﻛﺮﺩﻩﺍﺳﺖ ﺑﻲﺗﻮﺟﻬﻲ ﺑﻪ ﻗﻮﺍﻧﻴﻦ ﻣﺒﺎﺩﻟﻪ‪ ،‬ﺷﺮﺍﻳﻂ ﺁﻳﻴﻨﻲ ﺍﻧﺤﺮﺍﻑ ﺭﺍ ﻓﺮﺍﻫﻢ ﻣﻲﺁﻭﺭﺩ‪(.‬‬

‫ﺍﺯ ﺍﻳﻦ ﺭﻭ ﻧﻮﻋﻲ ﭘﻴﻮﺳﺘﮕﻲ ﻣﻴﺎﻥ ﻣﻌﺎﺑﺪ‪ ،‬ﺟﻮﺍﻣﻊ ﺭﺍﺯﻭﺭﺯﺍﻧﻪ‪ ،‬ﻛﺎﺧﻬﺎﻱ‪ ۴۲‬ﺳﺎﺩ ﻭ ﻋﺎﻟﻢ ﺍﻧﺤﺮﺍﻑ‬

‫ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﭘﻴﻤﺎﻥﻫﺎ‪ ،‬ﻣﺮﺍﺳﻢ‪ ،‬ﭘﻴﻮﻧﺪﻧﺎﻣﻪﻫﺎﻱ ﭘﺎﻳﺎﻥﻧﺎﭘﺬﻳﺮ ﺳﺎﺩﻱ‪ .( sadian) ‬ﺁﻧﭽﻪ ﺁﻧﻬﺎ ﺭﺍ ﺑﻪ‬

‫ﻳﻜﺪﻳﮕﺮ ﻣﺮﺗﺒﻂ ﻣﻲﻛﻨﺪ ﭘﻴﺮﻭﻱ ﺍﺯ ﻳﻚ ﻗﺎﻋﺪﻩ ﺍﺳﺖ ﻭ ﻧﻪ ﺩﺭ ﻓﻘﺪﺍﻥ ﻫﺮﺯﮔﻲ ﻭ ﺍﻓﺴﺎﺭﮔﺴﻴﺨﺘﮕﻲ ﺩﺭ‬

‫ﺍﻧﻬﺎ‪ .‬ﻭ ﺩﺭ ﺍﻳﻦ ﻗﻮﺍﻋﺪ ﺯﻭﺝ ﻣﻨﺤﺮﻑ ﻛﻨﻨﺪﻩ ﻭ ﻣﻨﺤﺮﻑ ﺷﻮﻧﺪﻩ ﻣﻲﺗﻮﺍﻧﻨﺪ ﺑﺪﻭﻥ ﻫﻴﭻ ﻣﺸﻜﻠﻲ‬

‫ﻓﺸﺎﺭﻫﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﺳﺮﭘﻴﭽﻲ ﺍﺯ ﺍﻧﺮﺍ ﺑﭙﺬﻳﺮﻧﺪ ﭼﺮﺍ ﻛﻪ ﺍﻳﻦ ﺳﺮﭘﻴﭽﻲ ﺗﻨﻬﺎ ﺍﺯ ﻗﺎﻧﻮﻥ ﻣﻤﻜﻦ ﺍﺳﺖ‪.‬‬

‫)ﺍﺯ ﺍﻳﻦ ﺭﻭ ﺑﺮ ﻃﺒﻖ ﻧﻈﺮ ﮔﺎﺑﻠﺖ ﺩﺭ ﻃﺒﻘﻪ ﺑﻮﺭﮊﻭﺍﺯﻱ ﻫﺮ ﻛﺎﺭﻱ ﻛﻪ ﻣﺸﺮﻭﻁ ﺑﻪ ﻗﺎﻋﺪﻩ ﻃﺒﻘﻪ ﺑﺎﺷﺪ‬

‫ﺍﻧﺠﺎﻡ ﭘﺬﻳﺮ ﺍﺳﺖ ﻳﻌﻨﻲ ﻧﻈﺎﻣﻲ ﺍﺯ ﻧﺸﺎﻧﻪﻫﺎﻱ ﺍﺧﺘﻴﺎﺭﻱ ﻛﻪ ﺑﻮﺭﮊﻭﺍﺯﻱ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻃﺒﻘﻪ‬

‫ﺗﻌﺮﻳﻒ ﻣﻲﻛﻨﺪ ﺍﺯ ﮔﺰﻧﺪ ﻣﺼﻮﻥ ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﺪ( ﺗﻤﺎﻣﻲ ﺳﺮﭘﻴﭽﻲﻫﺎ ﻣﻤﻜﻦﺍﻧﺪ ﺍﻣﺎ ﻫﻴﭻ ﺗﺨﻠﻔﻲ ﺍﺯ‬

‫ﻗﺎﻋﺪﻩ ﻣﻤﻜﻦ ﻧﻴﺴﺖ‪.‬‬

‫ﺑﻨﺎﺑﺮﺍﻳﻦ ﺩﺭ ﻣﺒﺎﺭﺯﻩ ﺑﺎ ﺳﺎﻣﺎﻥﻫﺎﻱ ﻃﺒﻴﻌﻲ‪ ،‬ﺍﻧﺤﺮﺍﻑ ﻭ ﺍﻏﻮﺍ ﻫﺮ ﺩﻭ ﻣﺎﻧﻨﺪ ﻳﻜﺪﻳﮕﺮ ﻋﻤﻞ‬

‫ﻣﻲﻛﻨﻨﺪ‪ .‬ﺍﻣﺎ ﺩﺭ ﻣﻮﺍﻗﻊ ﺑﻲﺷﻤﺎﺭﻱ ﺁﻧﻬﺎ ﻛﺎﻣﻼ ﺑﺮ ﻋﻠﻴﻪ ﻳﻜﺪﻳﮕﺮﺍﻧﺪ ﻣﺎﻧﻨﺪ ﺩﺍﺳﺘﺎﻥ " ﻣﺠﻤﻮﻋﻪﺩﺍﺭ"‬

‫ﻛﻪ ﺩﺭ ﺍﻥ ﻣﻨﺤﺮﻑ ﺑﺎ ﻫﻮﺱ ﺗﺼﺮﻓﮕﺮﺍﻧﻪﺍﺵ ﺑﺮ ﺍﻏﻮﺍ ﭼﻴﺮﻩ ﻣﻲﺷﻮﺩ‪ .‬ﻳﺎ ﺩﺭ ﺩﺍﺳﺘﺎﻥ "ﺭﻗﺼﻨﺪﻩ"‬

‫ﻣﻨﺴﻮﺏ ﺑﻪ ﻟﺌﻮ ﺷﻴﺮ‪ : ۴۳‬ﻳﻜﻲ ﺍﺯ ﻧﻴﺮﻭﻫﺎﻱ ﻣﺤﺎﻓﻆ ﺍﺭﺩﻭﮔﺎﻩ )ﻳﻬﻮﺩﻳﺎﻥ( ﺯﻥ ﻳﻬﻮﺩﻱ ﺟﻮﺍﻧﻲ ﺭﺍ ﻭﺍﺩﺍﺭ‬

‫ﻣﻲﻛﻨﺪ ﻛﻪ ﭘﻴﺶ ﺍﺯ ﻛﺸﺘﻦ ﺷﺪﻧﺶ ﺑﺮﺍﻱ ﺍﻭ ﺑﺮﻗﺼﺪ‪ .‬ﺯﻥ ﺑﺎ ﺭﻗﺼﺶ ﺍﻭ ﺭﺍ ﺷﻴﻔﺘﻪ ﺧﻮﺩ ﻣﻲﻛﻨﺪ‬

‫ﻗﺎﺩﺭ ﻣﻲﺷﻮﺩ ﺑﻪ ﻭﻱ ﻧﺰﺩﻳﻚ ﺷﻮﺩ ﺳﻼﺣﺶ ﺭﺍ ﻣﻲﺩﺯﺩﺩ ﻭ ﺍﻭ ﺭﺍ ﻣﻲﻛﺸﺪ‪ .‬ﺍﺯ ﺩﻭ ﺟﻬﺎﻥ‪ ،‬ﻳﻜﻲ ﺍﺯ‬

‫ﺍﺱ‪.‬ﺍﺱ ﻧﺸﺎﻧﻪ ﻗﺪﺭﺗﻲ ﻣﻨﺤﺮﻑ‪ ،‬ﻟﺠﺎﻡﮔﺴﻴﺨﺘﻪ ﻭ ﭘﺮﺟﺬﺑﻪ )ﻛﻪ ﺩﺭ ﺍﻗﺘﺪﺍﺭ ﻣﺮﺩﻱ ﻛﻪ ﺯﻧﺪﮔﻲ‬

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‫ﺍﻏﻮﺍ‬

‫ﺩﻳﮕﺮﻱ ﺭﺍ ﺩﺭ ﺩﺳﺘﺎﻧﺶ ﮔﺮﻓﺘﻪﺍﺳﺖ ﺗﺠﺴﻢﻳﺎﻓﺘﻪ( ﻭ ﻋﺎﻟﻢ ﺍﻏﻮﺍﮔﺮﻱ ﺩﺧﺘﺮ ﻛﻪ ﺑﺎ ﺭﻗﺺ ﺧﻮﺩ ﺍﻏﻮﺍ‬

‫ﻣﻲﻛﻨﺪ‪ ،‬ﺍﻳﻦ ﺍﻏﻮﺍﮔﺮﻱ ﺍﺳﺖ ﻛﻪ ﭘﻴﺮﻭﺯ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻏﻮﺍ ﺑﺮ ﻧﻈﻢ ﺍﻳﻦ ﺟﺬﺑﻪ ﻳﻮﺭﺵ ﻣﻲﺑﺮﺩ ﻭ ﺁﻥﺭﺍ‬

‫ﺩﮔﺮﮔﻮﻥ ﻣﻲﻛﻨﺪ‪) .‬ﺍﮔﺮﭼﻪ ﺍﻏﻠﺐ ﺍﻭﻗﺎﺕ ﺷﺎﻧﺴﻲ ﻫﻢ ﺑﺮﺍﻱ ﺍﻳﻦ ﺍﻏﻮﺍﻛﺮﺩﻥ ﺩﺍﺩﻩﻧﻤﻲﺷﻮﺩ( ﺁﻧﭽﻪ‬

‫ﻣﺴﻠﻢ ﺍﺳﺖ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﺩﻭ ﻣﻨﻄﻖ ﻳﻜﺪﻳﮕﺮ ﺭﺍ ﺍﺯ ﺑﻴﻦ ﻣﻲﺑﺮﻧﺪ ﻭ ﻫﺮ ﻛﺪﺍﻡ ﺑﺮﺍﻱ ﺩﻳﮕﺮﻱ‬

‫ﺧﻄﺮﻱ ﻣﻬﻠﻚ ﺑﻪ ﺣﺴﺎﺏ ﻣﻲﺁﻳﻨﺪ‪.‬‬

‫ﺍﻣﺎ ﺁﻳﺎ ﻣﻴﺎﻥ ﺁﻥ ﺩﻭ ﭼﺮﺧﻪﺍﻱ ﺍﺯ ﻭﺍﮊﮔﻮﻧﮕﻲ ﺩﺭ ﺟﺮﻳﺎﻥ ﺍﺳﺖ؟ ﺍﺷﺘﻴﺎﻕ ﻣﺠﻤﻮﻋﻪ ﺩﺍﺭ ﺩﺭ‬

‫ﻧﻬﺎﻳﺖ ﻧﻮﻋﻲ ﺍﻏﻮﺍﮔﺮﻱ ﺩﺧﺘﺮ ﺍﺳﺖ‪) .‬ﻳﺎ ﺷﺎﻳﺪ ﺍﻳﻨﻬﻢ ﻓﻘﻂ ﻳﻚ ﺍﻓﺴﻮﻧﮕﺮﻱ ﺍﺳﺖ ﺍﻣﺎ ﺗﻔﺎﻭﺕ ﺩﺭ‬

‫ﻛﺠﺎﺳﺖ؟( ﻧﺘﻴﺠﻪ ﺍﻳﻦ ﺳﺮﮔﻴﺠﮕﻲ‪ ،‬ﺗﻼﺵ ﻧﺎﺍﻣﻴﺪﺍﻧﻪ ﺯﻥ ﺑﺮﺍﻱ ﺩﻭﺭ ﭼﺮﺧﻴﺪﻥ ﺩﺭ ﺟﻬﺎﻧﻲ ﻣﺴﺪﻭﺩ ﻭ‬

‫ﺑﺪﻭﻥ ﺑﺮﮔﺸﺖﭘﺬﻳﺮﻱ )ﻣﺠﻤﻮﻋﻪﺩﺍﺭ( ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻫﻤﺎﻥ ﺣﺎﻝ ﺯﻥ ﭘﻮﭼﻲ ﻭ ﺗﻬﻲ ﺑﻮﺩﻥ ﺟﺎﺫﺑﻪﺍﻱ ﺭﺍ‬

‫ﻛﻪ ﻣﺠﻤﻮﻋﻪﺩﺍﺭ ﺑﻜﺎﺭﮔﺮﻓﺘﻪ )ﺑﺎ ﺿﺪ ﺍﻏﻮﺍﻱ ﺯﻥ( ﺩﺭ ﻣﻲﻳﺎﺑﺪ‪ .‬ﻧﻮﻉ ﻣﻌﻴﻨﻲ ﺍﺯ ﺍﻏﻮﺍ ﺍﻧﺤﺮﺍﻑ ﺍﺳﺖ‪:‬‬

‫ﻫﻴﺴﺘﺮﻳﺎ ﻛﻪ ﺍﺯ ﺍﻏﻮﺍ ﺑﺮﺍﻱ ﺣﻤﺎﻳﺖ ﺍﺯ ﺧﻮﻳﺸﺘﻦ ﺩﺭ ﺑﺮﺍﺑﺮ ﺍﻏﻮﺍﺷﺪﻥ ﺍﺳﺘﻔﺎﺩﻩﻣﻲﻛﻨﺪ‪ .‬ﺍﻣﺎ ﻧﻮﻉ ﻣﻌﻴﻨﻲ‬

‫ﺍﺯ ﺍﻧﺤﺮﺍﻑ ﻧﻴﺰ ﺍﻏﻮﺍﻛﻨﻨﺪﻩ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺍﻧﺤﺮﺍﻑ ﺍﺯ ﺍﻧﺤﺮﺍﻑ ﺭﺍ ﺑﺮﺍﻱ ﺍﻏﻮﺍ ﻛﺮﺩﻥ ﺑﻪ ﻛﺎﺭ ﻣﻲﮔﻴﺮﺩ‪.‬‬

‫ﺍﻏﻮﺍ ﺗﻮﺳﻂ ﻫﻴﺴﺘﺮﻳﺎ ﻣﺒﺪﻝ ﺑﻪ ﻭﻗﺎﺣﺖ ﻣﻲﺷﻮﺩ ﺍﻣﺎ ﺩﺭ ﺑﺮﺧﻲ ﺍﺷﻜﺎﻝ ﻫﺮﺯﻩ ﻧﮕﺎﺭﻱ‪ ،‬ﻭﻗﺎﺣﺖ‬

‫ﻣﻲﺗﻮﺍﻧﺪ ﺩﻭﺑﺎﺭﻩ ﺍﻏﻮﺍﮔﺮﺍﻧﻪ ﺷﻮﺩ‪ .‬ﺧﺸﻮﻧﺖ ﻣﻲﺗﻮﺍﻧﺪ ﺍﻏﻮﺍ ﻧﻤﺎﻳﺪ ﻭ ﺣﺘﻲ ﺗﺠﺎﻭﺯ ﻛﻨﺪ‪ .‬ﺍﻣﺮ ﻧﻔﺮﺕ ﺍﻧﮕﻴﺰ‬

‫ﻭ ﻓﺮﻭﻣﺎﻳﻪ ﻧﻴﺰ ﻣﻲﺗﻮﺍﻧﺪ ﺍﻏﻮﺍ ﻧﻤﺎﻳﺪ‪ .‬ﺍﻣﺎ ﺗﺎ ﻛﺠﺎ ﺍﻳﻦ ﺍﻧﺤﺮﺍﻑﻫﺎﻱ ﺍﻏﻮﺍ ﻣﺘﻮﻗﻒ ﻣﻲﺷﻮﺩ؟ ﺩﺭ ﻛﺠﺎ‬

‫ﺣﻠﻘﻪ ﺑﻪ ﺍﻧﺘﻬﺎ ﻣﻲﺭﺳﺪ ﻭ ﺑﺎﻳﺪ ﻣﺘﻮﻗﻒ ﺷﻮﺩ؟ ﻫﺮﭼﻨﺪ ﺗﻤﺎﻳﺰﻱ ﻋﻤﻴﻖ )ﻣﻴﺎﻥ ﺍﻏﻮﺍ ﻭ ﺍﻧﺤﺮﺍﻑ( ﺑﺎﻗﻲ‬

‫ﻣﻲﻣﺎﻧﺪ‪ :‬ﻣﻨﺤﺮﻑ ﺷﺪﻳﺪﺍً ﺑﻪ ﺍﻏﻮﺍ ﺑﺪﮔﻤﺎﻥ ﺍﺳﺖ ﻭ ﺳﻌﻲ ﻣﻲﻛﻨﺪ ﺁﻧﺮﺍ ﺭﻣﺰﮔﺬﺍﺭﻱ ﻧﻤﺎﻳﺪ‪ .‬ﻭﻱ ﺳﻌﻲ‬

‫ﻣﻲﻛﻨﺪ ﻗﻮﺍﻋﺪ ﺍﻏﻮﺍ ﺭﺍ ﺛﺎﺑﺖ ﻭ ﻣﺴﺘﺤﻜﻢ ﻧﻤﺎﻳﺪ ﻭ ﺁﻧﻬﺎ ﺭﺍ ﺩﺭ ﻣﺘﻨﻲ ﻓﺮﻣﻮﻟﻴﺰﻩ ﻛﻨﺪ ﻭ ﻳﺎ ﺑﺎ ﻳﻚ ﺗﻌﻬﺪ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺁﻧﻬﺎ ﺭﺍ ﺑﻴﺎﻥ ﻧﻤﺎﻳﺪ‪ .‬ﺑﺎ ﭼﻨﻴﻦ ﻛﺎﺭﻱ ﻭﻱ ﻗﺎﻋﺪﻩ ﺍﺻﻠﻲ ﺭﺍ ﺩﺭﻫﻢ ﻣﻲﺷﻜﻨﺪ ﻳﻌﻨﻲ ﺭﺍﺯ ﺭﺍ‪ .‬ﺩﺭ ﻋﻮﺽ‬

‫ﺑﻜﺎﺭﮔﻴﺮﻱ ﺍﻏﻮﺍﻳﻲ ﺁﻳﻴﻨﻲ ﻭ ﻣﻨﻌﻄﻒ‪ ،‬ﻣﻨﺤﺮﻑ ﻳﻚ ﺁﻳﻴﻦ ﺛﺎﺑﺖ ﻭ ﻳﻚ ﺭﺍﺑﻄﻪ ﺗﻦ ﺑﻪ ﺗﻨﻲ ﺍﻳﺴﺘﺎ‬

‫ﻃﻠﺐ ﻣﻲﻛﻨﺪ‪ .‬ﺑﺎ ﺗﺒﺪﻳﻞ ﻗﺎﻋﺪﻩ ﺑﻪ ﺍﻣﺮﻱ ﻣﻘﺪﺱ ﻭ ﻭﻗﻴﺢ‪ ،‬ﺑﺎ ﺑﻪ ﺍﻧﺘﻬﺎ ﺭﺳﺎﻧﺪﻥ ﺁﻥ‪ ،‬ﻳﻌﻨﻲ ﻛﻪ ﺁﻥ ﺭﺍ‬

‫ﭼﻮﻥ ﻗﺎﻧﻮﻥ ﺑﺪﺍﻧﻴﻢ‪ ،‬ﺍﻭ ﺑﻪ ﻳﻚ ﺗﺪﺍﻓﻨﺪ ﻣﺼﺎﻟﺤﻪﻧﺎﭘﺬﻳﺮ ﺩﺳﺖ ﻣﻲﺯﻧﺪ ﺍﻧﺤﺮﺍﻑ‪ ،‬ﻧﻤﺎﻳﺶ ﻗﺎﻋﺪﻩ ﻭ‬

‫ﻫﻴﺴﺘﺮﻳﺎ ﻧﻤﺎﻳﺶ ﺑﺪﻥ ﺑﺮﺍﻱ ﻛﺴﺐ ﺍﺳﺘﻴﻼ ﺍﺳﺖ‪ .‬ﺑﻪ ﻃﻮﺭ ﻛﻠﻲﺗﺮ ﺗﻤﺎﻣﻲ ﺍﺷﻜﺎﻝ ﺍﻧﺤﺮﺍﻓﻲ ﺍﻏﻮﺍ ﺩﺭ‬

‫ﻳﻚ ﭼﻴﺰ ﻣﺸﺘﺮﻛﻨﺪ‪ :‬ﺁﻧﻬﺎ ﺑﻪ ﺭﺍﺯ ﻭ ﻗﺎﻋﺪﻩ ﺑﻨﻴﺎﺩﻳﻨﺂﺷﺎﻥ ﺧﻴﺎﻧﺖ ﻣﻲﻛﻨﻨﺪ‪ :‬ﻳﻌﻨﻲ ﺍﻳﻦ ﻗﺎﻋﺪﻩ ﻛﻪ ﺍﺯ‬

‫ﻗﺎﻋﺪﻩ ﻫﺮﮔﺰ ﻧﺒﺎﻳﺪ ﺳﺨﻨﻲ ﮔﻔﺖ‪.‬‬

‫ﺑﺎ ﺍﻳﻦ ﻭﺻﻒ ﺍﻏﻮﺍﮔﺮ ﺧﻮﺩ ﻣﻨﺤﺮﻑ ﺍﺳﺖ )ﺍﮔﺮ ﻫﺪﻑ ﺍﻏﻮﺍ ﭘﻴﺮﻭﺯﻱ ﺍﻏﻮﺍﮔﺮ ﺑﺎﺷﺪ(ﭼﺮﺍ ﻛﻪ ﺍﻭ‬

‫ﺗﻌﻤﺪﺍً ﺍﻏﻮﺍ ﺭﺍ ﺍﺯ ﺭﺍﺯﻭﺭﺯﻱﺍﺵ ﻣﻨﺤﺮﻑ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻭ ﺑﻪ ﻫﻤﺎﻥ ﺩﻟﻴﻠﻲ ﺍﻏﻮﺍ ﻣﻲﻛﻨﺪ ﻛﻪ ﻣﺘﻘﻠﺐ ﺑﻪ‬

‫ﺧﺎﻃﺮﺵ ﺑﺎﺯﻱ ﻣﻲﻛﻨﺪ‪ .‬ﺍﮔﺮ ﻫﺪﻑ ﺑﺎﺯﻱ ﺑﺮﺩﻥ ﺍﺳﺖ ﭘﺲ ﻣﺘﻘﻠﺐ ﺗﻨﻬﺎ ﺷﻜﻞ ﺩﺭﺳﺖ ﻳﻚ ﺑﺎﺯﻳﮕﺮ‬

‫ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﺍﻏﻮﺍ ﻫﺪﻓﻲ ﺍﺑﮋﻛﺘﻴﻮ ﺩﺍﺷﺘﻪﺑﺎﺷﺪ ﭘﺲ ﺍﻏﻮﺍ ﻓﻴﮕﻮﺭ ﺍﻳﺪﻩﺁﻝ ﺁﻥ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﻧﻪ ﺍﻏﻮﺍ ﻭ ﻧﻪ ﺑﺎﺯﻱ‬

‫ﻧﻤﻲﺗﻮﺍﻧﻨﺪ ﺍﻳﻨﮕﻮﻧﻪ ﺗﻮﺻﻴﻒ ﺷﻮﻧﺪ‪ .‬ﺷﺎﻧﺲ ﺧﻮﺏ ﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﻛﺎﺭﻫﺎﻱ ﻣﺘﻘﻠﺐ‪ ،‬ﻭ ﺗﻤﺎﻣﻲ‬

‫ﺭﺍﻫﺒﺮﺩﻫﺎﻳﺶ ﺑﺮﺍﻱ ﺑﺮﺩﻥ ﺑﻪ ﻫﺮ ﻗﻤﻴﺘﻲ ﺭﺍ )ﺍﻳﻦ ﻧﺸﺎﻧﻪ ﻛﻴﻨﻪﺗﻮﺯﻱ ﻣﺘﻘﻠﺐ ﺍﺯ ﺑﺎﺯﻱ ﻭ ﻧﭙﺬﻳﺮﻓﺘﻦ‬

‫ﺍﻏﻮﺍﻱ ﺑﺎﺯﻱ( ﻣﺤﺪﻭﺩ ﻣﻲﻛﻨﺪ‪ .‬ﺷﺎﻧﺲ ﺧﻮﺏ ﺭﻓﺘﺎﺭ ﻣﺘﻘﻠﺐ ﺭﺍ ﺩﺭ ﺑﺎﺯﻱ ﻭ ﺗﺮﺱ ﺍﺯ ﺍﻏﻮﺍ ﺷﺪﻥ ﻭ‬

‫ﺭﻭﻳﺎﺭﻭﻳﻲ ﻭ ﻣﺒﺎﺭﺯﻩ ﺑﺎ ﺣﻘﻴﻘﺘﺶ ﺭﺍ ﺗﻌﻴﻴﻦ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻳﻦ ﻫﻤﺎﻥ ﻣﻮﻗﻌﻲ ﺍﺳﺖ ﻛﻪ ﺍﻭﻟﻴﻦ ﭘﻴﺮﻭﺯﻱ‬

‫ﺟﻨﺴﻲﺍﺵ ﺍﻭ ﺭﺍ ﺑﻪ ﻭﺭﻃﻪ ﻧﺘﺎﻳﺞ ﺑﻲﺷﻤﺎﺭ ﻱ ﻣﻲﻛﺸﺎﻧﺪ ﻛﻪ ﻧﻬﺎﻳﺘﺎً ﺍﺳﺘﺮﺍﺗﮋﻱ ﺍﻭ ﺭﺍ ﻃﻠﺴﻢ ﻧﻤﺎﻳﺪ‪.‬‬

‫)ﺑﺎﺯﻱ ﺑﺎ ﺷﺎﻧﺲ ﺧﻮﺏ ﻣﺘﻘﻠﺐ ﺭﺍ ﺍﻏﻮﺍ ﻧﻤﻮﺩﻩ ﻭ ﺑﻪ ﻭﺭﻃﻪ ﺗﻘﺪﻳﺮ ﻭ ﺷﺎﻧﺲ ﻣﻲﻛﺸﺎﻧﺪ)ﻡ((‬

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‫ﺍﻏﻮﺍ‬

‫ﻣﻨﺤﺮﻑ ﻫﻤﻴﺸﻪ ﺩﺭﮔﻴﺮ ﺟﻬﺎﻥ ﺟﻨﻮﻥﺁﻣﻴﺰ ﺳﻠﻄﻪ ﻭ ﻗﺎﻧﻮﻥ ﺍﺳﺖ‪ .‬ﺍﻭ ﺧﻮﺍﻫﺎﻥ ﭘﻴﺮﻭﺯﻱ ﺑﺮ‬

‫ﻗﻮﺍﻋﺪ ﺑﺘﻮﺍﺭﻩﺷﺪﻩ ﻭ ﻣﺤﺪﻭﺩﻳﺘﻬﺎﻱ ﺁﻳﻴﻨﻲ ﻣﻄﻠﻖ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺩﻳﮕﺮ ﺑﺎﺯﻳﮕﻮﺷﺎﻧﻪ ﻧﻴﺴﺖ ﺩﻳﮕﺮ ﺭﻭﺣﻲ‬

‫ﻧﺪﺍﺭﺩ‪ .‬ﻣﺮﺩﻩ ﺍﺳﺖ ﻭ ﺩﻳﮕﺮ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺟﺰ ﻣﺮﮔﺶ ﭼﻴﺰﻱ ﺭﺍ ﻭﺍﺭﺩ ﺑﺎﺯﻱ ﻧﻤﺎﻳﺪ‪ .‬ﺑﺖﻭﺍﺭﮔﻲ‪ ،‬ﺍﻏﻮﺍﮔﺮﻱ‬

‫ﻣﺮﮒ ﺍﺳﺖ ﻭ ﻧﻴﺰ ﻣﺮﮒ ﻗﺎﻋﺪﻩ ﺩﺭ ﺍﻧﺤﺮﺍﻑ‪ .‬ﺍﻧﺤﺮﺍﻑ ﻣﺒﺎﺭﺯﻩﺍﻱ ﻳﺦ ﺯﺩﻩﺍﺳﺖ ﺍﻏﻮﺍ ﻣﺒﺎﺭﺯﻩﺍﻱ ﺯﻧﺪﻩ‬

‫ﺍﺳﺖ‪ .‬ﺍﻏﻮﺍ ﺗﻐﻴﻴﺮﻛﻨﻨﺪﻩ ﻭ ﺯﻭﺩﮔﺬﺭ ﺍﺳﺖ‪ .‬ﺍﻧﺤﺮﺍﻑ ﻳﻜﻨﻮﺍﺧﺖ ﻭ ﭘﺎﻳﺎﻥﻧﺎﭘﺬﻳﺮ ﺍﺳﺖ‪ .‬ﺍﻧﺤﺮﺍﻑ ﻧﻤﺎﻳﺸﻲ‬

‫ﻭ ﻣﺠﺮﻣﺎﻧﻪ ﺍﺳﺖ ﺍﻏﻮﺍ ﺭﺍﺯﮔﻮﻧﻪ ﻭ ﺑﺮﮔﺸﺖﭘﺬﻳﺮ ﺍﺳﺖ‪.‬‬

‫***‬

‫ﻧﻈﺎﻡﻫﺎﻳﻲ ﻛﻪ ﺑﺎ ﻧﻈﺎﻡﻣﻨﺪﻱ ﺧﻮﺩ ﺻﺪﻣﻪ ﻣﻲﺑﻴﻨﻨﺪ ﻣﺠﺬﻭﺏﻛﻨﻨﺪﻩﺍﻧﺪ‪ .‬ﺁﻧﻬﺎ ﺩﺭ ﺗﻮﻥ ﻣﺮﮒ‪،‬‬

‫ﺍﻧﺮﮊﻱﻫﺎﻱ ﺍﻓﺴﻮﻧﮕﺮﻱ ﻣﻲﺩﻣﻨﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻫﻮﺱ ﻣﺠﻤﻮﻋﻪﺩﺍﺭ ﺗﻼﺵ ﺩﺍﺭﺩ ﺗﺎ ﺍﻏﻮﺍ ﺭﺍ ﭘﻴﺶ ﺍﺯ ﺗﺒﺪﻳﻞ‬

‫ﺷﺪﻥ ﺑﻪ ﺍﻧﺮﮊﻱ ﻣﺮﮒ‪ ،‬ﻣﺤﺪﻭﺩ ﻭ ﺑﻲﺣﺮﻛﺖ ﻧﻤﺎﻳﺪ‪ .‬ﺍﺯ ﺍﻳﻦ ﺭﻭ ﺁﺳﻴﺐﻫﺎﻱ ﭼﻨﻴﻦ ﻧﻈﺎﻡﻫﺎﻳﻲ ﺍﺳﺖ‬

‫ﻛﻪ ﺍﻏﻮﺍﮔﺮﺍﻧﻪ ﻣﻲﺷﻮﻧﺪ‪ .‬ﺗﺮﻭﺭ ﺑﺎ ﻛﻨﺎﻳﻪ ﭘﺮﺍﻛﻨﺪﻩﻣﻲﺷﻮﺩ‪ .‬ﺍﻏﻮﺍ ﺩﺭ ﺍﻧﺘﻈﺎﺭ ﻓﺮﺍ ﺭﺳﻴﺪﻥ ﻧﻈﺎﻡﻫﺎ ﺑﻪ ﻧﻘﻄﻪ‬

‫ﺳﻜﻮﻥﺷﺎﻥ ﺑﺎﻗﻲﻣﻲﻣﺎﻧﺪ‪ .‬ﺟﺎﻳﻲ ﻛﻪ ﻧﻈﺎﻡﻫﺎ ﺗﻮﻗﻒ ﻣﻲﻛﻨﻨﺪ ﻭ ﻫﻴﭻ ﻓﺮﺍﺳﻮﻳﻲ ﻫﻴﭻ ﺍﻣﻜﺎﻥ ﺑﺎﺯﻧﻤﺎﻳﻲ‬

‫ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ ﻧﻘﻄﻪﺍﻱ ﻛﻪ ﻫﻴﭻ ﺑﺎﺯﮔﺸﺘﻲ ﻧﺪﺍﺭﺩ ﻭ ﺧﻂ ﺳﻴﺮﻫﺎ ﻛﻨﺪ ﺷﺪﻩ ﻭ ﺍﺑﮋﻩ ﺩﺭ ﻧﻴﺮﻭﻫﺎﻱ‬

‫ﺍﻳﺴﺘﺎﺩﮔﻲ ﻭ ﺗﻘﺪﻳﺮ ﺗﺤﻠﻴﻞ ﻣﻲﺭﻭﺩ‪ .‬ﭼﻪ ﺍﺗﻔﺎﻗﻲ ﺩﺭ ﺣﻮﻝ ﺍﻳﻦ ﺳﻜﻮﻥ ﻣﻲﺍﻓﺘﺪ؟ ﺍﺑﮋﻩ ﻣﻌﻮﺝ ﻣﻲﺷﻮﺩ‬

‫ﻣﺎﻧﻨﺪ ﺧﻮﺭﺷﻴﺪﻱ ﻛﻪ ﺩﺭ ﻻﻳﻪﻫﺎﻱ ﻣﺨﺘﻠﻒ ﺍﻓﻖ ﻣﻨﻜﺴﺮ ﻣﻲﺷﻮﺩ ﺑﺎ ﺣﺠﻢ ﻭ ﺗﻮﺩﻩ ﺧﻮﺩﺵ ﺩﺭﻫﻢ‬

‫ﺷﻜﺴﺘﻪﻣﻲﺷﻮﺩ ﻭ ﺩﻳﮕﺮ ﺍﺯ ﻗﻮﺍﻧﻴﻦ ﺧﻮﺩﺵ ﺍﻃﺎﻋﺖ ﻧﻤﻲﻛﻨﺪ‪ .‬ﻣﺎ ﺗﻘﺮﻳﺒﺎ ﻫﻴﭻ ﭼﻴﺰ ﺩﺭﺑﺎﺭﻩ ﺍﻳﻦ‬

‫ﻓﺮﺁﻳﻨﺪﻫﺎﻱ ﺳﻜﻮﻥ ﻧﻤﻲﺩﺍﻧﻴﻢ‪ .‬ﺟﺰ ﺩﺭ ﻟﺒﻪ ﺍﻳﻦ ﺣﻔﺮﻩ ﺳﻴﺎﻩ ﺑﺪﻭﻥ ﺑﺎﺯﮔﺸﺖ‪ ،‬ﻳﻚ ﺑﺮﮔﺸﺖﭘﺬﻳﺮﻱ‬

‫‪۱۹۳‬‬
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﻛﺎﻣﻞ ﻭ ﻓﺎﺟﻌﻪﺁﻣﻴﺰ ﺭﻭﻱ ﻣﻲﺩﻫﺪ ﻛﻪ ﻣﺮﮒ ﺭﺍ ﺑﻪ ﺩﺭﻭﻥ ﻛﺸﻴﺪﻩ ﻭ ﺩﺭ ﻧﻤﻮﺩ ﺍﻏﻮﺍﻳﻲ ﺟﺪﻳﺪ ﺭﻫﺎ‬

‫ﻣﻲﻛﻨﺪ‪.‬‬

‫ﭘﺎﻧﻮﺷﺖ‬

‫ﺍﻏﻮﺍ ﺑﺎ ﺗﺤﻤﻴﻞ ﻳﻚ ﻗﺎﻧﻮﻥ ﺳﺮﻧﻮﺷﺖ ﺭﺍ ﺑﻪ ﭘﻴﺶ ﻧﻤﻲﺑﺮﺩ ﺑﻠﻜﻪ ﻫﺮ ﻧﺸﺎﻧﻪﺍﻱ ﺭﺍ ﺑﺮ ﻃﺒﻖ ﻗﺎﻋﺪﻩ ﻳﻚ ﺑﺎﺯﻱ ﺑﻪ‬ ‫‪28‬‬

‫ﺟﺮﻳﺎﻥ ﺩﺭ ﻣﻲﺁﻭﺭﺩ ﺑﻨﺎﺑﺮﺍﻳﻦ ﺍﻏﻮﺍ ﺑﺎ ﻫﻤﺎﻥ ﺁﺯﺍﺩﻱ ﻋﻤﻞ ﻓﺮﺩ ﺍﻏﻮﺍﺷﺪﻩ ﺍﻭ ﺭﺍ ﺍﻏﻮﺍ ﻣﻲﻛﻨﺪ ﻫﻤﭽﻨﺎﻥ ﻛﻪ ﺩﺭ ﺍﻳﻨﺠﺎ ﺳﺮﺑﺎﺯ‬

‫ﺧﻮﺩ ﺁﺯﺍﺩﺍﻧﻪ ﺑﻪ ﺳﻮﻱ ﻣﺮﮒ ﻣﻲﺷﺘﺎﺑﺪ‪ .‬ﺑﻮﺩﺭﻳﺎﺭ ﺩﺭ ﺑﺨﺶ "ﺍﺳﺘﺮﺍﺗﮋﻱ ﻣﺮﺩ ﺍﻏﻮﺍﮔﺮ" ﺍﻳﻦ ﻣﺴﺌﻠﻪ ﺭﺍ ﻣﻔﺼﻞﺗﺮ ﺗﻮﺿﻴﺢ‬

‫ﻣﻴﺪﻫﺪ‪ .‬ﻡ‪.‬ﻑ‬

‫‪ 29‬ﺭﺍﺯ ﺑﻪ ﺳﺎﺩﮔﻲ ﺍﻃﻼﻋﺎﺗﻲ ﻣﺨﻔﻲ ﺷﺪﻩ ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﺑﻴﺸﺘﺮ ﺟﺎﺫﺑﻪﺍﻱ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﭼﻨﻴﻦ ﭘﻨﻬﺎﻥﻛﺎﺭﻱ ﺑﺪﺳﺖ‬
‫ﻣﻲﺁﻳﺪ‪.‬ﻡ‪.‬ﻑ‬
‫‪30 ‬‬
‫‪Diary of the seducer ‬‬

‫‪ 31‬ﻭﻳﺮﻳﻠﻴﻮ‪ :‬ﻓﻴﻠﺴﻮﻑ ﻭ ﺍﻭﺭﺑﺎﻧﻴﺴﺖ ﻣﻌﺮﻭﻑ ﻓﺮﺍﻧﺴﻮﻱ ﺑﻪ ﻣﺎﻧﻨﺪ ﺑﻮﺩﺭﻳﺎﺭ ﺩﺭ ﺭﺩﻳﻒ ﺍﻧﺪﻳﺸﻤﻨﺪﺍﻥ ﭘﺴﺖ ﻣﺪﺭﻥ‬
‫ﻓﺮﺍﻧﺴﻮﻱ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﻣﻲﺷﻮﺩ ﻭﻳﺮﻳﻠﻴﻮ ﻛﺘﺎﺑﻲ ﺑﺎ ﻫﻤﻴﻦ ﻧﺎﻡ ﺩﺍﺭﺩ‪ .‬ﻡ‪.‬ﻑ‬

‫‪ 32‬ﭘﻨﻬﻪ ﻟﻮﭘﻪ ﺍﺧﺮﻳﻦ ﻣﻬﻠﺖ ﺑﺮﺍﻱ ﺟﻮﺍﺏ ﺑﻪ ﺧﻮﺍﺳﺘﮕﺎﺭﺍﻧﺶ ﻭ ﺩﺳﺖ ﻛﺸﻴﺪﻥ ﺍﺯ ﺍﻧﺘﻈﺎﺭ ﺑﺮﺍﻱ ﺑﺎﺯﮔﺸﺖ‬
‫ﻫﻤﺴﺮﺵ‪،‬ﺍﻭﺩﻳﺴﻪ‪ ،‬ﺭﺍ ﻣﻨﻮﻁ ﺑﻪ ﺍﺗﻤﺎﻡ ﺑﺎﻓﺖ ﻳﻚ ﻗﺎﻟﻴﭽﻪ ﺩﺍﻧﺴﺖ ﺑﻪﻫﻤﻴﻦﺧﺎﻃﺮ ﺍﻭ ﻣﻲﺑﺎﻓﺖ ﻭ ﺑﺎﺯ ﮔﺮﻩﻫﺎ ﺭﺍ ﻣﻲﮔﺸﻮﺩ‪.‬‬
‫ﻡ‪.‬ﻑ‬
‫‪33 ‬‬
‫‪Caduveo ‬‬
‫‪34 ‬‬
‫‪Charles boudelaire ‬‬

‫‪35 ‬‬
‫‪ Don Juan‬ﻣﺮﺩ ﺍﻓﺴﺎﻧﻪﺍﻱ ﺍﻫﻞ ﺍﺳﭙﺎﻧﻴﺎ ﻛﻪ ﺑﻪ ﺧﺎﻃﺮ ﺍﻏﻮﺍﻱ ﺯﻧﺎﻥ ﺗﺒﺪﻳﻞ ﺑﻪ ﻳﻚ ﺿﺮﺏﺍﻟﻤﺜﻞ ﮔﺸﺘﻪﺍﺳﺖ‬

‫‪36 ‬‬
‫‪ :Yang‬ﻗﺎﻧﻮﻥ ﻓﻌﺎﻝ ﻣﺮﺩﺍﻧﻪ ﺩﺭ ﻃﺒﻴﻌﺖ ﻛﻪ ﺩﺭ ﺟﻬﺎﻥﺑﻴﻨﻲ ﭼﻴﻨﻲ ﺩﺭ ﻧﻮﺭ‪ ،‬ﮔﺮﻣﺎ‪ ،‬ﻳﺎ ﺧﺸﻜﻲ ﺑﻪ ﻧﻤﺎﻳﺶ‬
‫ﮔﺬﺍﺷﺘﻪﻣﻲﺷﻮﺩ ﻭ ﺑﺎ ﻳﻴﻦ ﺗﺮﻛﻴﺐ ﻣﻲﺷﻮﺩ ﺗﺎ ﻫﺮ ﭼﻴﺰﻱ ﺭﺍ ﻛﻪ ﺑﻮﺟﻮﺩ ﻣﻲﺁﻳﺪ ﺗﻮﻟﻴﺪ ﻛﻨﺪ‪.‬‬

‫‪۱۹٤‬‬
‫ﺍﻏﻮﺍ‬

‫‪37 ‬‬
‫‪stroke of wit ‬‬

‫‪38 ‬‬
‫‪ :ariadne‬ﺩﺧﺘﺮ ﻣﻴﻨﻮﺱ ﭘﺎﺩﺷﺎﻩ ﻛﺮﺕ ﻛﻪ ﺑﻪ ﺗﺴﻮﺱ ﻛﻤﻚ ﻧﻤﻮﺩ ﺗﺎ ﺍﺯ ﭘﻴﭻ ﻭﺧﻢﻫﺎ ﺑﮕﺬﺭﺩ‪ .‬ﺍﻭ ﺩﺭ ﻋﻮﺽ ﺍﻳﻦ‬
‫ﺧﺪﻣﺖ ﺍﺯ ﺗﺴﻮﺱ ﺧﻮﺍﺳﺖ ﺗﺎ ﺍﻭ ﺭﺍ ﺑﻪ ﺯﻧﻲ ﮔﺮﻓﺘﻪ ﻭ ﺑﻪ ﺁﺗﻦ ﺑﺒﺮﺩ ﺍﻣﺎ ﺗﺴﻮﺱ ﺍﻭ ﺭﺍ ﺩﺭ ﻧﺎﻛﺴﻮﺱ ﺭﻫﺎ ﻧﻤﻮﺩ‪ .‬ﺩﺭ ﺍﻳﻨﺠﺎ‬
‫ﻛﻴﺮﻛﻪﮔﻮﺭ ﺑﻴﺎﻥ ﻣﻲﻛﻨﺪ ﻛﻪ ﺭﺍﻩ ﺑﺪﺳﺖ ﺁﻭﺭﺩﻥ ﻗﻠﺐ ﻫﺮ ﺩﺧﺘﺮﻱ ﺍﺯ ﭘﻴﭻ ﻭ ﺧﻢﻫﺎﻳﻲ ﺍﻏﻮﺍ ﻣﻲﮔﺬﺭﺩ ﻛﻪ ﺧﻮﺩ ﺁﻥ ﺩﺧﺘﺮ‬
‫ﺑﻪ ﻣﺎﻧﻨﺪ ﺁﺭﻳﺎﺩﻧﻪ ﺭﺍﻩ ﺭﺍ ﻧﻴﺰ ﻧﺸﺎﻥ ﺧﻮﺍﻫﺪﺩﺍﺩ‪.‬‬

‫‪ Valkyrie‬ﻧﺪﻳﻤﻪﻫﺎﻱ ﺍﻭﺩﻳﻦ‪odin ‬‬
‫‪39 ‬‬

‫‪40 ‬‬
‫‪Araud ‬‬
‫‪41 ‬‬
‫‪Klossowski ‬‬
‫‪42 ‬‬
‫‪chateaux ‬‬
‫‪43 ‬‬
‫‪leo Scheer‬‬

‫‪۱۹٥ ‬‬
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﻓﺼﻞ ﺳﻮﻡ‬
‫ﺗﻘﺪﻳﺮ ﺳﻴﺎﺳﻲ ﺍﻏﻮﺍﮔﺮﻱ‬

‫‪۱۹٦‬‬
‫ﺍﻏﻮﺍ‬

‫ﺍﺷﺘﻴﺎﻕ ﺑﻪ ﻗﻮﺍﻋﺪ‬

‫ﻫﻴﭻ ﺑﺎﺯﻳﮕﺮﻱ ﻧﺒﺎﻳﺪ ﺑﺰﺭﮔﺘﺮ ﺍﺯ ﺧﻮﺩ ﺑﺎﺯﻱ ﺑﺎﺷﺪ‪.‬‬

‫ﺭﻭﻟﺮ ﺑﺎﻝ‬

‫"ﺧﺎﻃﺮﺍﺕ ﺍﻏﻮﺍﮔﺮ" ﻣﺪﻋﻲ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺍﻏﻮﺍﮔﺮﻱ ﺳﻮﮊﻩ ﺍﻏﻮﺍﮔﺮﻱ ﻫﺮﮔﺰ ﺍﺳﺘﺎﺩ ﻣﺴﻠﻂ ﺑﺮ‬

‫ﻃﺮﺡ ﺍﺳﺘﺎﺩﺍﻧﻪﺍﺵ ﻧﻴﺴﺖ‪ .‬ﻭ ﺣﺘﻲ ﺍﮔﺮ ﺑﺎ ﺁﮔﺎﻫﻲ ﻛﺎﻣﻞ ﺁﻥ ﺭﺍ ﺍﻧﺠﺎﻡ ﺩﻫﺪ ﻫﻨﻮﺯ ﻫﻢ ﺗﺴﻠﻴﻢ ﻗﻮﺍﻋﺪ‬

‫ﺑﺎﺯﻱ ﺧﻮﺍﻫﺪ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﺍﻭ ﻓﺮﺍﺗﺮ ﻣﻲﺭﻭﺩ‪ .‬ﺁﻳﻴﻨﻲ ﺗﺸﺮﻳﻔﺎﺗﻲ ﻓﺮﺍﺗﺮ ﺍﺯ ﻗﺎﻧﻮﻥ ﺍﻏﻮﺍﮔﺮﻱ ﻫﻢ ﺑﺎﺯﻱ ﺍﺳﺖ‬

‫ﻭ ﻫﻢ ﺗﻘﺪﻳﺮ ﺍﺳﺖ ﻭ ﺑﺎﺯﻳﮕﺮﺍﻥ ﺭﺍ ﺑﻪ ﺳﻮﻱ ﭘﺎﻳﺎﻧﻲ ﺗﻘﺪﻳﺮﻧﺎﭘﺬﻳﺮ ﻣﻲﻛﺸﺎﻧﺪ ﺑﻲﺁﻧﻜﻪ ﺗﺨﻄﻲ ﺍﺯ‬

‫ﻗﺎﻋﺪﻩﺍﻱ ﺻﻮﺭﺕ ﮔﻴﺮﺩ ‪ -‬ﻗﺎﻋﺪﻩﺍﻱ ﺍﺳﺖ ﻛﻪ ﺁﻥ ﺭﺍ ﺍﺳﻴﺮ ﺧﻮﺩ ﻣﻲﺳﺎﺯﺩ‪ .‬ﻭ ﺣﻜﻢ ﺍﺻﻠﻲ ﺑﺎﺯﻱ ﺁﻥ‬

‫ﺍﺳﺖ ﻛﻪ ﺑﺎﺯﻱ ﺑﺎﻳﺪ ﺑﻪ ﻫﺮ ﻗﻴﻤﺘﻲ ﺍﺩﺍﻣﻪ ﻳﺎﺑﺪ‪ .‬ﭘﺲ ﺍﻳﻨﺠﺎ ﻧﻮﻋﻲ ﺍﺷﺘﻴﺎﻕ ﺩﺭ ﺑﺎﺯﻳﮕﺮ ﺑﻪ ﻗﻮﺍﻋﺪ ﺑﺎﺯﻱ‬

‫ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﺁﻥ ﺩﻭ ﺭﺍ ﺑﻪ ﻳﻜﺪﻳﮕﺮ ﻣﺘﻌﻬﺪ ﻣﻲﻛﻨﺪ ﻭ ﺑﺪﻭﻥ ﺍﻳﻦ ﺑﺎﺯﻱ ﻏﻴﺮﻣﻤﻜﻦ ﺍﺳﺖ‪.‬‬

‫ﻣﻌﻤﻮﻻً ﻣﺎ ﺩﺭ ﺣﻴﻄﻪ ﻗﺎﻧﻮﻥ ﺯﻧﺪﮔﻲ ﻣﻲﻛﻨﻴﻢ‪ ،‬ﺣﺘﻲ ﻭﻗﺘﻲ ﻛﻪ ﺧﻴﺎﻝ ﻟﻐﻮﻛﺮﺩﻥ ﺁﻧﺮﺍ ﺩﺍﺭﻳﻢ‪.‬‬

‫ﻓﺮﺍﺗﺮ ﺍﺯ ﻗﺎﻧﻮﻥ ﺗﻨﻬﺎ ﺗﺨﻠﻒ ﻳﺎ ﺍﺭﺯﺷﮕﺬﺍﺭﻱ ﻳﻚ ﻣﻤﻨﻮﻋﻴﺖ ﺭﺍ ﻣﻲﺗﻮﺍﻥ ﻣﺸﺎﻫﺪﻩﻧﻤﻮﺩ‪ .‬ﻭﺍﮊﮔﻮﻧﮕﻲ‬

‫‪۱۹۷‬‬
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﮔﻔﺘﻤﺎﻥ ﻗﺎﻧﻮﻥ ﻭ ﻣﻤﻨﻮﻋﻴﺖ ﮔﻔﺘﻤﺎﻥ ﺳﺮﭘﻴﭽﻲ ﻭ ﺁﺯﺍﺩﺳﺎﺯﻱ ﺍﺳﺖ‪ .‬ﻣﻌﻬﺬﺍ ﺍﻳﻦ )ﺗﺨﻠﻒ( ﻏﻴﺎﺏ‬

‫ﻗﺎﻧﻮﻥ ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﻣﺘﻀﺎﺩ ﺁﻥ ﺍﺳﺖ ﺍﻣﺎ ﻗﺎﻋﺪﻩ )ﺑﺎﺯﻱ( ﺍﻣﺮﻱ ﺩﻳﮕﺮ ﺍﺳﺖ‪.‬‬

‫ﻗﺎﻋﺪﻩ ﺑﺎﺯﻱ ﺑﺎ ﺗﻮﺍﻟﻲ ﻳﻚ ﺳﺮﻱ ﻧﺸﺎﻧﻪﻫﺎﻱ ﻗﺮﺍﺭﺩﺍﺩﻱ ﺍﺟﺮﺍ ﻣﻲﺷﻮﺩ ﺩﺭ ﺻﻮﺭﺗﻴﻜﻪ ﻗﺎﻧﻮﻥ ﺑﺮ‬

‫ﺗﻮﺍﻟﻲ ﺍﺳﺘﻌﻼﻳﻲ ﻧﺸﺎﻧﻪﻫﺎﻱ ﺿﺮﻭﺭﻱ ﺍﺳﺘﻮﺍﺭ ﺍﺳﺖ‪ .‬ﺩﺭ ﻗﺎﻋﺪﻩ‪ ،‬ﺑﺎ ﭼﺮﺧﻪﻫﺎ ﻭ ﺍﺟﺮﺍﻱ ﺩﻭﺑﺎﺭﻩ‬

‫ﺭﻭﻳﻪﻫﺎﻱ ﻗﺮﺍﺭﺩﺍﺩﻱ ﺳﺮ ﻭ ﻛﺎﺭ ﺩﺍﺭﻳﻢ ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﻗﺎﻧﻮﻥ ﺑﺮ ﻳﻚ ﭘﻴﻮﺳﺘﮕﻲ ﺑﺮﮔﺸﺖﻧﺎﭘﺬﻳﺮ ﺑﻨﺎ‬

‫ﺷﺪﻩﺍﺳﺖ‪ .‬ﺩﺭ ﻗﺎﻋﺪﻩ‪ ،‬ﻓﺮﺩ ﺩﺭﮔﻴﺮ ﻭﻇﺎﻳﻒ ﻭ ﺗﻌﻬﺪﺍﺕ ﻣﻲﺷﻮﺩ ﻭ ﺩﺭ ﻗﺎﻧﻮﻥ ﻓﺮﺩ ﻣﻘﻴﺪ ﺑﻪ ﺍﺟﺒﺎﺭﻫﺎ ﻭ‬

‫ﻣﻤﻨﻮﻋﻴﺖﻫﺎ ﺍﺳﺖ‪ .‬ﭼﺮﺍ ﻛﻪ ﻗﺎﻧﻮﻥ ﺧﻄﻲ ﺭﺍ ﺍﻳﺠﺎﺩ ﻣﻲﻛﻨﺪ ﻛﻪ ﻣﻲﺗﻮﺍﻥ ﺍﺯ ﺁﻥ ﺗﺨﻠﻒ ﻛﺮﺩ‪ .‬ﺩﺭ‬

‫ﻣﻘﺎﺑﻞ ﺗﺨﻄﻲ ﺍﺯ ﻗﺎﻋﺪﻩ ﻳﻚ ﺑﺎﺯﻱ ﻫﻴﭻ ﻣﻌﻨﺎﻳﻲ ﻧﺪﺍﺭﺩ‪ .‬ﺩﺭ ﺑﺎﺯ ﺍﻧﺠﺎﻡ ﻳﻚ ﭼﺮﺧﻪ ﻫﻴﭻ ﺧﻄﻲ ﻭﺟﻮﺩ‬

‫ﻧﺪﺍﺭﺩ ﻛﻪ ﺑﺘﻮﺍﻥ ﺍﺯ ﺁﻥ ﺑﻴﺮﻭﻥ ﺟﻬﻴﺪ‪) .‬ﺩﺭ ﻋﻮﺽ ﻓﺮﺩ ﺑﻪ ﺳﺎﺩﮔﻲ ﺑﺎﺯﻱ ﺭﺍ ﺗﺮﻙ ﻣﻲﻛﻨﺪ‪ (.‬ﺍﺯ ﺁﻧﺠﺎ‬

‫ﻛﻪ ﻗﺎﻧﻮﻥ ‪ -‬ﭼﻪ ﺩﺍﻝ‪ ،‬ﭼﻪ ﺍﺧﺘﻪﮔﻲ ﻭ ﻳﺎ ﻳﻚ ﻣﻤﻨﻮﻋﻴﺖ ﺍﺟﺘﻤﺎﻋﻲ ‪ -‬ﻣﺪﻋﻲ ﻧﺸﺎﻧﻪﺍﻱ ﺍﺳﺘﺪﻻﻟﻲ ﺍﺯ‬

‫ﻣﻮﺭﺩﻱ ﻣﺸﺮﻭﻉ ﻭ ﺣﻘﻴﻘﺘﻲ ﭘﻨﻬﺎﻥ ﺍﺳﺖ‪ ،‬ﺳﺮﻛﻮﺏ ﻭ ﻣﻤﻨﻮﻋﻴﺖ ﺭﺍ ﺑﻪ ﺩﻧﺒﺎﻝ ﻣﻲﺁﻭﺭﺩ ﻭ ﺑﻨﺎﺑﺮﺍﻳﻦ ﺑﻪ‬

‫ﻳﻚ ﺑﺎﺯﻧﻤﻮﺩ ﻭ ﻳﻚ ﮔﻔﺘﻤﺎﻥ ﻣﻜﺘﻮﻡ ﺗﻘﺴﻴﻢ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻣﺎ ﻗﺎﻋﺪﻩ ﻛﻪ ﻋﺮﻓﻲ ﻭ ﺍﺧﺘﻴﺎﺭﻱ ﺍﺳﺖ ﻭ ﻫﻴﭻ‬

‫ﺣﻘﻴﻘﺖ ﭘﻨﻬﺎﻧﻲ ﻫﻢ ﻧﺪﺍﺭﺩ‪ ،‬ﻧﻪ ﺳﺮﻛﻮﺑﻲ ﺩﺍﺭﺩ ﻭ ﻧﻪ ﺗﻤﺎﻳﺰﻱ ﻣﻴﺎﻥ ﺑﺎﺯﻧﻤﻮﺩ ﻭ ﺍﻣﺮ ﻣﻜﺘﻮﻡ‪ .‬ﻫﻴﭻ‬

‫ﻣﻌﻨﺎﻳﻲ ﺭﺍ ﺣﻤﻞ ﻧﻤﻲﻛﻨﺪ‪ ،‬ﺑﻪ ﻫﻴﭻﺟﺎﻳﻲ ﻣﻨﺘﻬﻲ ﻧﻤﻲﺷﻮﺩ ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﺩﺭ ﻣﻘﺎﺑﻞ ﻗﺎﻧﻮﻥ ﻳﻚ ﭘﺎﻳﺎﻥ‬

‫ﻣﻌﻴﻦ ﺩﺍﺭﺩ‪ .‬ﭼﺮﺧﻪ ﺑﻲﭘﺎﻳﺎﻥ ﻭ ﺑﺎﺯﮔﺸﺖﭘﺬﻳﺮ ﻗﺎﻋﺪﻩ ﺩﺭ ﺑﺮﺍﺑﺮ ﺧﻄﻲ ﺑﻮﺩﻥ ﻭ ﭘﺎﻳﺎﻥ ﻭ ﺗﺼﺎﻋﺪ ﻗﺎﻧﻮﻥ‬

‫ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﺩ‪.‬‬

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‫‪۱۹۸‬‬
‫ﺍﻏﻮﺍ‬

‫ﺑﺮﺍﻱ ﺩﺭﻙ ﻗﺪﺭﺕ ﺍﺷﻜﺎﻝ ﺁﻳﻴﻨﻲ ﺑﺎﻳﺪ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺍﻳﺪﻩﺍﻱ ﻛﻪ ﺗﻤﺎﻣﻲ ﺷﺎﺩﻣﺎﻧﻲﻫﺎ ﺭﺍ ﺍﺯ‬

‫ﺳﻮﻱ ﻃﺒﻴﻌﺖ ﻣﻲﺩﺍﻧﺪ ﻭ ﻭ ﺗﻤﺎﻣﻲ ﻟﺬﺕﻫﺎ ﺭﺍ ﺩﺭ ﺍﺭﺿﺎﻱ ﻣﻴﻞ ﻣﻲﺑﻴﻨﺪ‪ ،‬ﺭﻫﺎ ﻛﺮﺩ‪ .‬ﺑﺮﻋﻜﺲ‪ ،‬ﺑﺎﺯﻳﻬﺎ‪،‬‬

‫ﺍﺗﻤﺴﻔﺮ ﺑﺎﺯﻱ‪ ،‬ﺍﺷﺘﻴﺎﻕ ﺑﻪ ﻗﻮﺍﻋﺪ ﺑﺎﺯﻱ‪ ،‬ﺳﺮﮔﻴﺠﮕﻲ ﻧﺎﺷﻲ ﺍﺯ ﻗﻮﺍﻋﺪ ﻭ ﻧﻴﺮﻭﻳﻲ ﻛﻪ ﺍﺯ ﻣﺮﺍﺳﻢ ﻭ ﻧﻪ ﺍﺯ‬

‫ﻣﻴﻞ ﻧﺸﺄﺕ ﻣﻲﮔﻴﺮﺩ ﺭﺍ ﺁﺷﻜﺎﺭ ﻣﻲﺳﺎﺯﻧﺪ‪.‬‬

‫ﺁﻳﺎ ﺣﻈﻲ ﺭﺍ ﻛﻪ ﻓﺮﺩ ﺍﺯ ﺑﺎﺯﻱ ﺗﺠﺮﺑﻪ ﻣﻲﻛﻨﺪ ﺍﺯ ﻣﻮﻗﻌﻴﺘﻲ ﺭﻭﻳﺎﮔﻮﻧﻪ ﻧﺸﺄﺕ ﻣﻲﮔﻴﺮﺩ ﺟﺎﻳﻲ‬

‫ﻛﻪ ﻓﺮﺩ ﺩﺭ ﺭﻫﺎﻳﻲ ﺍﺯ ﻭﺍﻗﻌﻴﺖ ﺳﺮ ﻣﻲﻛﻨﺪ ﻭ ﻫﺮ ﻭﻗﺖ ﻫﻢ ﻛﻪ ﺑﺨﻮﺍﻫﺪ ﻣﻲﺗﻮﺍﻧﺪ ﺍﺯ ﺍﻳﻦ ﺧﻴﺎﻻﺗﺶ‬

‫ﺑﺮﻭﻥ ﺁﻳﺪ؟ ﻧﻪ ﺍﺻﻼً‪ .‬ﺑﺎﺯﻱﻫﺎ ﺑﺮ ﺧﻼﻑ ﺭﻭﻳﺎﻫﺎ ﻣﻮﺿﻮﻋﻲ ﺑﺮﺍﻱ ﻗﻮﺍﻋﺪﻧﺪ ﻭ ﻓﺮﺩ ﺑﺎﺯﻱ ﺭﺍ ﺗﺮﻙ‬

‫ﻧﻤﻲﻛﻨﺪ‪ .‬ﺑﺎﺯﻱ ﻫﻤﺎﻥ ﺍﻟﺘﺰﺍﻡ ﻭ ﺗﻌﻬﺪ ﻣﺒﺎﺭﺯﺍﺕ ﺭﺍ ﺍﻳﺠﺎﺩ ﻣﻲﻛﻨﺪ‪ .‬ﺗﺮﻙ ﺑﺎﺯﻱ ﻧﺎﺟﻮﺍﻧﻤﺮﺩﺍﻧﻪ ﺍﺳﺖ‪.‬‬

‫ﺍﻳﻦ ﻭﺍﻗﻌﻴﺖ ﻛﻪ ﻓﺮﺩ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺍﺯ ﺑﺎﺯﻱ ﻛﻪ ﺩﺭ ﺁﻥ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺳﺮﺑﺎﺯ ﺯﻧﺪ ‪ -‬ﻛﻪ ﺍﻓﺴﻮﻧﮕﺮﻱ ﻭ‬

‫ﺗﻔﺎﻭﺕ ﺁﻧﺮﺍ ﺍﺯ "ﺍﻣﺮ ﻭﺍﻗﻌﻲ" ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ ‪ -‬ﺗﻌﻬﺪﻱ ﻧﻤﺎﺩﻳﻦ ﺭﺍ ﺑﺮﻗﺮﺍﺭ ﻣﻲﻛﻨﺪ ﻛﻪ ﻓﺮﺩ ﺭﺍ ﻭﺍﺩﺍﺭ‬

‫ﻣﻲﻛﻨﺪ ﻗﻮﺍﻋﺪ ﺭﺍ ﺑﻲﻣﺪﺍﺭﺍ ﺭﻋﺎﻳﺖ ﻧﻤﻮﺩﻩ ﻭ ﺑﺎﺯﻱ ﺭﺍ ﺗﺎ ﺑﻪ ﺍﻧﺘﻬﺎ ﭘﻴﺶ ﺑﺮﺩ ﻫﻤﭽﻨﺎﻥ ﻛﻪ ﻓﺮﺩ ﻣﺒﺎﺭﺯﻩ‬

‫ﺭﺍ ﺗﺎ ﺑﻪ ﺁﺧﺮ ﺩﻧﺒﺎﻝ ﻣﻲﻛﻨﺪ‪ .‬ﻧﻈﻤﻲ ﻛﻪ ﺗﻮﺳﻂ ﺑﺎﺯﻱ ﺍﻳﺠﺎﺩ ﻣﻲﺷﻮﺩ ﻗﺮﺍﺭﺩﺍﺩﻱ ﺍﺳﺖ ﻭ ﺑﺎ ﻧﻈﻢ‬

‫ﺿﺮﻭﺭﻱ ﺟﻬﺎﻥ ﻭﺍﻗﻌﻲ ﻏﻴﺮ ﻗﺎﺑﻞ ﻣﻘﺎﻳﺴﻪ ﺍﺳﺖ‪ .‬ﻧﻪ ﺍﺧﻼﻗﻲ ﺍﺳﺖ ﻭ ﻧﻪ ﺭﻭﺍﻧﻜﺎﻭﺍﻧﻪ ﻭ ﭘﺬﻳﺮﺵ ﺁﻥ‬

‫)ﭘﺬﻳﺮﺵ ﻗﻮﺍﻋﺪ( ﻧﻪ ﺑﻪ ﻣﻌﻨﺎﻱ ﺗﺴﻠﻴﻢ ﺍﺳﺖ ﻭ ﻧﻪ ﺍﺟﺒﺎﺭ‪ .‬ﺍﻳﻨﭽﻨﻴﻦ ﺩﺭ ﺑﺎﺯﻳﻬﺎ‪ ،‬ﻫﻴﭻ ﺁﺯﺍﺩﻱ ﺑﻪ ﻣﻌﻨﺎﻱ‬

‫ﺍﺧﻼﻗﻲ ﻭ ﻓﺮﺩﻱ ﺍﻳﻦ ﺍﺻﻄﻼﺡ‪ ،‬ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﺩﺭ ﺍﻳﻨﺠﺎ ﻫﻴﭻﭼﻴﺰﻱ ﻧﻤﻲﺗﻮﺍﻧﺪ ﻣﻌﺎﺩﻝ ﺁﺯﺍﺩﻱ‬

‫ﭘﻨﺪﺍﺷﺘﻪﺷﻮﺩ‪ .‬ﺑﺎﺯﻳﻬﺎ ﺍﺯ ﺩﻳﺎﻟﻜﺘﻴﻚ ﺍﺭﺍﺩﻩ ﺁﺯﺍﺩ ﻛﻪ ﺩﻳﺎﻟﻜﺘﻴﻚ ﻓﺮﺿﻲ ﻓﻀﺎﻱ ﻭﺍﻗﻌﻴﺖ ﻭ ﻗﺎﻧﻮﻥ ﺍﺳﺖ‪،‬‬

‫ﺗﺒﻌﻴﺖ ﻧﻤﻲﻛﻨﻨﺪ‪ .‬ﻭﺭﻭﺩ ﺑﻪ ﻳﻚ ﺑﺎﺯﻱ ﻭﺭﻭﺩ ﺑﻪ ﻧﻈﺎﻡ ﺍﻟﺘﺰﺍﻣﺎﺕ ﺁﻳﻴﻨﻲ ﺍﺳﺖ‪ .‬ﻗﺪﺭﺕ ﺁﻥ ﺍﺯ ﺷﻜﻞ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺩﺍﺧﻠﻲ ﺑﺎﺯﻱ ﮔﺮﻓﺘﻪﻣﻲﺷﻮﺩ ﻭ ﻧﻪ ﺍﺯ ﺁﺯﺍﺩﻱ ﻣﺎ‪ ،‬ﻭ ﺁﻧﮕﻮﻧﻪ ﻛﻪ ﻣﺎﻳﻠﻴﻢ ﻓﻜﺮ ﻛﻨﻴﻢ‪ ،‬ﺑﺎ ﭘﻴﺮﻭﻱ ﺍﺯ ﻳﻚ‬

‫ﺍﻳﺪﺋﻮﻟﻮﮊﻱ ﻛﻪ ﻣﻨﺒﻊ ﻃﺒﻴﻌﻲ ﺷﺎﺩﻱ ﻭ ﻟﺬﺕ ﺑﺎﺷﺪ‪.‬‬

‫ﺍﺻﻞ ﻣﻨﺤﺼﺮﺑﻪ ﻓﺮﺩ ﺑﺎﺯﻱ ﮔﺮﭼﻪ ﻫﺮﮔﺰ ﻫﻤﭽﻮﻥ ﺍﺻﻠﻲ ﺟﻬﺎﻧﺸﻤﻮﻝ ﻃﺮﺡ ﻧﻤﻲﺷﻮﺩ‪ ،‬ﺍﻳﻦ‬

‫ﺍﺳﺖ ﻛﻪ ﺑﺎ ﺍﻧﺘﺨﺎﺏ ﻗﺎﻋﺪﻩ ﻓﺮﺩ ﺍﺯ ﻗﺎﻧﻮﻥ ﺭﻫﺎ ﻣﻲﺷﻮﺩ‪ .‬ﺑﻲﻫﻴﭻ ﺑﻨﻴﺎﺩﻱ ﺭﻭﺍﻧﻜﺎﻭﺍﻧﻪ ﻭ ﻣﺘﺎﻓﻴﺰﻳﻜﻲ‬

‫ﻗﺎﻋﺪﻩ ﺩﺭ ﻫﻴﭻ ﻋﻘﻴﺪﻩﺍﻱ ﺭﻳﺸﻪ ﻧﺪﺍﺭﺩ‪ .‬ﻓﺮﺩ ﻧﻪ ﺑﻪ ﻗﺎﻋﺪﻩ ﺍﻋﻘﺘﺎﺩ ﻣﻲﺍﻭﺭﺩ ﻧﻪ ﺁﻧﺮﺍ ﺩﺭﻭﻍ ﻣﻲﭘﻨﺪﺍﺭﺩ ‪-‬‬

‫)ﻓﻘﻂ( ﺁﻧﺮﺍ ﺭﻋﺎﻳﺖ ﻣﻲﻛﻨﺪ‪ .‬ﻓﻀﺎﻳﻲ ﭘﺮﺍﻛﻨﺪﻩ ﻋﻘﻴﺪﻩ‪ ،‬ﻧﻴﺎﺯ ﺑﻪ ﺍﻋﺘﺒﺎﺭﻱ ﻛﻪ ﻣﺸﻤﻮﻝ ﺍﻣﺮ ﻭﺍﻗﻌﻲ ﺷﻮﺩ‪،‬‬

‫ﺩﺭ ﺑﺎﺯﻱ ﺍﺯ ﺑﻴﻦ ﻣﻲﺭﻭﺩ‪ .‬ﺍﺯ ﺍﻳﻦ ﺭﻭ ﻧﺎﺍﺧﻼﻗﻴﺖ ﺑﺎﺯﻳﻬﺎ ﺷﻜﻞ ﻣﻲﮔﻴﺮﺩ‪ :‬ﻳﻌﻨﻲ ﭘﻴﺶ ﺑﺮﺩﻥ ﺑﺎﺯﻱ‬

‫ﺑﺪﻭﻥ ﺩﺍﺷﺘﻦ ﻋﻘﻴﺪﻩ ﺑﺪﺍﻥ ﻭ ﺗﻀﻤﻴﻦ ﺍﻓﺴﻮﻧﮕﺮﻱ ﺑﺎ ﻧﺸﺎﻧﻪﻫﺎﻱ ﻗﺮﺍﺭﺩﺍﺩﻱ ﻭ ﻗﻮﺍﻋﺪ ﺑﻲﺑﻨﻴﺎﺩ‪.‬‬

‫ﻭﺍﻣﺪﺍﺭﻱﻫﺎ ﻫﻤﻪ ﻟﻐﻮ ﻣﻲﺷﻮﻧﺪ‪ .‬ﻫﻴﭻ ﺑﺎﺯ ﭘﺮﺩﺍﺧﺘﻲ ﺩﺭ ﺑﺎﺯﻳﻬﺎ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ ،‬ﺑﺎ ﮔﺬﺷﺘﻪ ﻫﻴﭻ‬

‫ﺗﺴﻮﻳﻪﺣﺴﺎﺑﻲ ﻧﻤﻲﺷﻮﺩ ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮ ﺑﺎﺯﻳﻬﺎ ﺍﺯ ﺩﻳﺎﻟﻜﺘﻴﻚ ﻣﻤﻜﻦ ﻭ ﻏﻴﺮ ﻣﻤﻜﻦ ﻧﺎﺍﮔﺎﻩ ﺍﻧﺪ ﻭ‬

‫ﻫﻴﭻ ﺗﺴﻮﻳﻪ ﺣﺴﺎﺑﻲ ﺑﺎ ﺁﻳﻨﺪﻩ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺍﺯ ﺁﻧﺠﺎ ﻛﻪ ﻫﻤﻪﭼﻴﺰ ﺑﻪ ﺑﺎﺯﻱ ﮔﺮﻓﺘﻪﻣﻲﺷﻮﺩ ﻫﻴﭻ ﺍﻣﺮ‬

‫»ﻣﻤﻜﻨﻲ« ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ ،‬ﻫﻤﻪﭼﻴﺰ ﺑﺪﻭﻥ ﻫﻴﭻ ﭼﺸﻢ ﺩﺍﺷﺖ ﻭ ﺟﺎﻳﮕﺰﻳﻨﻲ ﺑﺮ ﻃﺒﻖ ﻣﻨﻄﻘﻲ ﺑﻲﺭﺣﻢ‬

‫ﻭ ﺑﻼﻭﺍﺳﻄﻪ ﻣﺸﺨﺺ ﮔﺸﺘﻪﺍﺳﺖ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺍﺳﺖ ﻛﻪ ﻫﻴﭻ ﺧﻨﺪﻩﺍﻱ ﺩﻭﺭ ﻭ ﺑﺮ ﻣﻴﺰ ﭘﻮﻛﺮ‬

‫ﻧﻴﺴﺖ ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮ ﻣﻨﻄﻖ ﺁﻥ ﺳﺮﺩ ﺍﺳﺖ )ﺍﻣﺎ ﻧﻪ ﻏﻴﺮ ﻣﻨﺘﻈﺮﻩ( ﻭ ﺑﺎﺯﻱ ﺑﺪﻭﻥ ﻫﻴﭻ‬

‫ﭼﺸﻤﺪﺍﺷﺘﻲ‪ ،‬ﻧﻪ ﻭﻗﻴﺢ ﺍﺳﺖ ﻭ ﻧﻪ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺧﻨﺪﻩ ﻭﺍﻣﻲﻧﻬﺪ‪ .‬ﺑﺎﺯﻳﻬﺎ ﺟﺪﻱﺍﻧﺪ‪ ،‬ﺟﺪﻱﺗﺮ ﺍﺯ ﺯﻧﺪﮔﻲ‬

‫ﻫﻤﭽﻨﺎﻥ ﻛﻪ ﺩﺭ ﺑﺎﺯﻱ ﻛﻪ ﺑﺮ ﺭﻭﻱ ﺯﻧﺪﮔﻲ ﺷﺮﻁﺑﻨﺪﻱ ﻣﻲﺷﻮﻧﺪ ﺍﻳﻦ ﻭﺍﻗﻌﻴﺖ ﻣﺘﻨﺎﻗﺾﻧﻤﺎ ﺑﻪ ﭼﺸﻢ‬

‫ﻣﻲﺧﻮﺭﺩ‪ .‬ﭘﺲ ﺑﺎﺯﻳﻬﺎ ﻧﻪ ﺑﺮ ﺍﺳﺎﺱ ﺍﺻﻞ ﻟﺬﺕ ﺷﺪﻩﺍﻧﺪ ﻭ ﻧﻪ ﺑﺮ ﺍﺳﺎﺱ ﺍﺻﻞ ﻭﺍﻗﻌﻴﺖ‪ .‬ﺁﻧﻬﺎ ﺍﻓﺴﻮﻥ‬

‫ﻗﺎﻋﺪﻩ ﻭ ﺍﺗﻤﺴﻔﺮﻱ ﻛﻪ ﻗﺎﻋﺪﻩ ﺗﻮﺻﻴﻔﮕﺮ ﺁﻧﺴﺖ ﺭﺍ ﺩﺭ ﻧﻈﺮ ﻣﻲﮔﻴﺮﻧﺪ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﻓﻀﺎﻱ ﻗﺎﻋﺪﻩ‪ ،‬ﻓﻀﺎﻱ‬

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‫ﺍﻏﻮﺍ‬

‫ﻭﻫﻢ ﻳﺎ ﺳﺮﮔﺮﻣﻲ ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﻣﺴﺘﻠﺰﻡ ﻣﻨﻄﻖ ﺩﻳﮕﺮﻱ ﺍﺳﺖ‪ :‬ﻣﻨﻄﻘﻲ ﺁﻏﺎﺯﻳﻦ‪ ،‬ﺗﺼﻨﻌﻲ‪ ،‬ﻛﻪ ﺩﺭ ﺁﻥ‬

‫ﺍﻣﺮ ﻃﺒﻴﻌﻲ ﻛﻪ ﺯﻧﺪﮔﻲ ﻭ ﻣﺮﮒ ﺭﺍ ﺗﻌﻴﻴﻦ ﻣﻲﻛﻨﺪ‪ ،‬ﺑﺮ ﺍﻧﺪﺍﺧﺘﻪﻣﻲﺷﻮﺩ‪ .‬ﺍﻳﻦ ﻣﻨﻄﻘﻲ ﺍﺳﺖ ﻛﻪ‬

‫ﺷﺎﻣﻞ ﺧﺼﻮﺻﻴﺎﺕ ﺑﺎﺯﻳﻬﺎ ﻭ ﺷﺮﻁﺑﻨﺪﻳﻬﺎ ﻣﻲﺷﻮﺩ‪ .‬ﺑﻪ ﻫﻴﭻ ﻧﻮﻋﻲ ﻧﻤﻲﺗﻮﺍﻥ ﺁﻧﻬﺎ ﺭﺍ ﺑﻪ ﻣﻨﻄﻖ‬

‫ﺍﻗﺘﺼﺎﺩﻱ ﻛﻪ ﺍﺯ ﻳﻚ ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭﻱ ﺁﮔﺎﻫﺎﻧﻪ ﺳﺨﻦ ﻣﻲﺭﺍﻧﺪ ﻭ ﻳﺎ ﺑﻪ ﻣﻨﻄﻖ ﻣﻴﻞ ﻛﻪ ﺍﺯ ﺍﻧﮕﻴﺰﺷﻬﺎﻱ‬

‫ﻧﺎ ﺧﻮﺩﺁﮔﺎﻩ ﺳﺨﻦ ﻣﻲﺭﺍﻧﺪ‪ ،‬ﻓﺮﻭﻛﺎﺳﺖ‪ .‬ﺧﻮﺩﺁﮔﺎﻩ ﻳﺎ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﺍﻳﻦ ﺗﻌﻴﻦ ﺩﻭﮔﺎﻧﻪ‪ ،‬ﺑﺮﺍﻱ ﻓﻀﺎﻱ‬

‫ﻣﻌﻨﺎ ﻭ ﻗﺎﻧﻮﻥ ﺷﺎﻳﺪ ﻣﻌﺘﺒﺮ ﺑﺎﺷﺪ ﺍﻣﺎ ﺑﺮﺍﻱ ﻓﻀﺎﻱ ﻗﻮﺍﻋﺪ ﻭ ﺑﺎﺯﻳﻬﺎ ﺧﻴﺮ‪.‬‬

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‫ﻗﺎﻧﻮﻥ ﺑﻪ ﻃﻮﺭ ﺑﺎﻟﻘﻮﻩ ﻧﻈﺎﻡ ﺟﻬﺎﻧﺸﻤﻮﻝ ﻣﻌﻨﺎ ﻭ ﺍﺭﺯﺵ ﺭﺍ ﺗﻮﺻﻴﻒ ﻣﻲﻛﻨﺪ ﻫﺪﻓﺶ ﺷﻨﺎﺧﺖ‬

‫ﺍﺑﮋﻛﺘﻴﻮ ﺍﺳﺖ ﺑﻨﺎ ﺑﺮ ﺍﺳﺘﻌﻼﻱ ﺍﺻﻮﻟﻲ ﺍﺵ‪ ،‬ﻗﺎﻧﻮﻥ ﺧﻮﺩ ﺭﺍ ﻧﻤﻮﻧﻪﺍﻱ ﺍﺯ ﻛﻠﻴﺖ ﺍﻣﺮ ﻭﺍﻗﻌﻲ ﻣﻲﺳﺎﺯﺩ‬

‫ﺑﺎ ﺗﻤﺎﻣﻲ ﺍﻧﻘﻼﺑﻬﺎ ﻭ ﺳﺮﭘﻴﭽﻲﻫﺎﻳﻲ ﻛﻪ ﺭﺍﻫﻲ ﺑﻪ ﺳﻮﻱ ﻋﻤﻮﻣﻴﺖ ﺑﺨﺸﻲ ﻗﺎﻧﻮﻥ ﻣﻲﮔﺸﺎﻳﻨﺪ‪ .‬ﺩﺭ‬

‫ﻣﻘﺎﺑﻞ‪ ،‬ﻗﺎﻋﺪﻩ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻧﻈﺎﻣﻲ ﻣﺤﺼﻮﺭ ﻭ ﻣﺤﺪﻭﺩ ﻣﺎﻧﺪﮔﺎﺭ ﻣﻲﻛﻨﺪ ﻛﻪ ﺁﻧﺮﺍ ﺑﺪﻭﻥ ﻫﻴﭻ ﺗﻌﺎﻟﻲﺍﻱ‪،‬‬

‫ﺗﻮﺻﻴﻒ ﻧﻤﻮﺩﻩ ﻭ ﺩﺭ ﺁﻥ ﭘﺎﺑﺮﺟﺎ ﻣﻲﻣﺎﻧﺪ‪ .‬ﻗﺎﻋﺪﻩ ﺑﻪ ﻣﻌﻨﺎﻱ ﻭﺍﻗﻌﻲ ﻛﻠﻤﻪ‪ ،‬ﺳﻮﺩﺍﻱ ﺟﻬﺎﻧﺸﻤﻮﻟﻲ ﺩﺭ‬

‫ﺳﺮ ﻧﺪﺍﺭﺩ‪ ،‬ﺍﺯ ﺁﻧﺠﺎ ﻛﻪ ﻫﻴﭻ ﺷﻜﺎﻓﻲ ﺭﺍ ﺍﺯ ﺩﺭﻭﻥ ﺑﻪ ﻭﺟﻮﺩ ﻧﻤﻲﺁﻭﺭﺩ‪ ،‬ﻋﺎﺭﻱ ﺍﺯ ﻫﺮ ﮔﻮﻧﻪ ﺗﺠﺴﻢ‬

‫ﺧﺎﺭﺟﻴﺴﺖ ﺍﺳﺘﻌﻼﻱ ﻗﺎﻧﻮﻥ ﺍﺳﺖ ﻛﻪ ﺑﺮﮔﺸﺖﻧﺎﭘﺬﻳﺮﻱ ﻣﻌﻨﺎ ﻭ ﺍﺭﺯﺵ ﺭﺍ ﻣﻮﺟﺐ ﻣﻲﺷﻮﺩ‪ .‬ﻭ ﻣﻨﺶ‬

‫ﻣﺤﺪﻭﺩ‪ ،‬ﻣﺎﻧﺪﮔﺎﺭ ﻭ ﻗﺮﺍﺭﺩﺍﺩﻱ ﻗﺎﻋﺪﻩ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺑﺮﮔﺸﺖﭘﺬﻳﺮﻱ ﻣﻌﻨﺎ ﻭ ﻭﺍﮊﮔﻮﻧﻲ ﻗﺎﻧﻮﻥ‬

‫ﻣﻲﺍﻧﺠﺎﻣﺪ‪.‬‬

‫ﺛﺒﺖ ﻗﻮﺍﻋﺪ ﺩﺭ ﻓﻀﺎﻳﻲ ﺑﺪﻭﻥ ﻣﺮﺯ )ﺩﻳﮕﺮ ﺍﻣﺮ ﺟﻬﺎﻥ ﺷﻤﻮﻟﻲ ﺩﺭ ﺑﺎﺯﻱ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ ﭼﺮﺍ ﻛﻪ‬

‫ﻫﻴﭻ ﻋﻼﻗﻪﺍﻱ ﺑﻪ ﺟﻬﺎﻧﺸﻤﻮﻝ ﺑﻮﺩﻥ ﻭﺟﻮﺩﻧﺪﺍﺭﺩ‪ (.‬ﺑﻪ ﺩﺷﻮﺍﺭﻱ ﺩﺭﻙ ﺍﻳﺪﻩ ﺟﻬﺎﻥ ﻣﺤﺪﻭﺩ ﺍﺳﺖ‪.‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﻣﺮﺯ ﺑﺪﻭﻥ ﺍﻳﻨﻜﻪ ﭼﻴﺰﻱ ﻓﺮﺍﺗﺮ ﺍﺯ ﺁﻥ ﺑﺎﺷﺪ ﻗﺎﺑﻞ ﺗﺼﻮﺭ ﻧﻴﺴﺖ‪ .‬ﺑﻪ ﻫﻤﻴﻦﺧﺎﻃﺮ ﺑﺮﺍﻱ ﻣﺎ ﻧﻬﺎﻳﺖ‬

‫ﻫﻤﻮﺍﺭﻩ ﺑﺮ ﻋﻠﻴﻪ ﺑﻲﻧﻬﺎﻳﺖ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﺩ ﺍﻣﺎ ﺍﺗﻤﺴﻔﺮ ﺑﺎﺯﻳﻬﺎ ﻧﻪ ﻣﺘﻨﺎﻫﻲ ﺍﺳﺖ ﻭ ﻧﻪ ﻧﺎﻣﺘﻨﺎﻫﻲ ‪-‬‬

‫ﺷﺎﻳﺪ ﻓﺮﺍﻧﻬﺎﻳﺖ ﺑﺎﺷﺪ‪ .‬ﺑﺎﺯﻱ ﻣﺮﺯﻫﺎﻱ ﻣﺘﻨﺎﻫﻲ ﺧﻮﺩ ﺭﺍ ﺩﺍﺭﺩ ﻛﻪ ﺩﺭ ﺑﺮﺍﺑﺮ ﻓﻀﺎﻱ ﺗﺤﻠﻴﻠﻲ ﺑﻲﻧﻬﺎﻳﺖ‬

‫ﻣﺨﺎﻟﻔﺖ ﻣﻲﻭﺭﺯﻧﺪ‪ .‬ﺟﻌﻞ ﻳﻚ ﻗﺎﻋﺪﻩ‪ ،‬ﻣﺨﺎﻟﻔﺘﻲ ﺍﺳﺖ ﺩﺭ ﺑﺮﺍﺑﺮ ﺑﻲﻧﻬﺎﻳﺖ ﺧﻄﻲ ﻳﻚ ﻓﻀﺎﻱ‬

‫ﺗﺤﻠﻴﻠﻲ ﺗﺎ ﺑﺘﻮﺍﻥ ﻓﻀﺎﻱ ﺑﺮﮔﺸﺖﭘﺬﻳﺮﻱ ﺭﺍ ﺍﻳﺠﺎﺩ ﻧﻤﻮﺩ‪ .‬ﺑﻪ ﻫﻤﻴﻦﺧﺎﻃﺮ ﻳﻚ ﻗﺎﻋﺪﻩ ﺗﻜﺎﻣﻞ ﺧﻮﺩﺵ‬

‫ﺭﺍ ﺩﺍﺭﺩ ﻛﻪ ﺑﻪ ﻣﻌﻨﺎﻱ ﺗﺤﺖ ﺍﻟﻔﻈﻲ ﻛﻠﻤﻪ‪ :‬ﺍﻧﺘﻘﺎﻝ ﺣﻮﻝ ﻳﻚ ﻧﻘﻄﻪ ﻣﺮﻛﺰﻱ ﻭ ﺑﺮﮔﺸﺖ ﺩﺭ ﺣﻠﻘﻪ )ﻭ‬

‫ﺍﻳﻨﮕﻮﻧﻪ ﻗﻮﺍﻋﺪ ﺁﻳﻴﻨﻲ ﺩﺭ ﺟﻬﺎﻧﻲ ﺩﻭﺍﺭ ﻋﻤﻞ ﻣﻲﻛﻨﻨﺪ‪ (.‬ﺍﻣﺮﻱ ﻣﺴﺘﻘﻞ ﺍﺯ ﻫﺮ ﻣﻨﻄﻖ ﻋﻠﻲ ﻭ ﻣﻌﻠﻮﻟﻲ‬

‫ﻭ ﺧﺎﺳﺘﮕﺎﻩ ﻭ ﭘﺎﻳﺎﻥ‪.‬‬

‫ﺍﻳﻦ ﻧﺸﺎﻧﮕﺮ ﭘﺎﻳﺎﻥ ﺑﻌﺪ ﮔﺮﻳﺰ ﺍﺯ ﻣﺮﻛﺰ ﺍﺳﺖ‪ .‬ﺟﺎﺫﺑﻪ ﺷﺪﻳﺪ ﻭ ﻧﺎﮔﻬﺎﻧﻲ ﻓﻀﺎ ﻭ ﺣﺬﻑ ﺯﻣﺎﻥ ﻛﻪ‬

‫ﺑﺎ ﻳﻚ ﺟﺮﻗﻪ ﻧﺎﮔﻬﺎﻧﻲ ﺍﺯ ﺩﺭﻭﻥ ﻣﻨﻔﺠﺮ ﮔﺸﺘﻪ ﻭ ﺑﻪ ﺗﻮﺩﻩﺍﻱ ﺍﻧﺒﻮﻩ ﻣﺒﺪﻝ ﻣﻲﺷﻮﺩ ﻛﻪ ﺩﻳﮕﺮ ﺍﺯ‬

‫ﻗﻮﺍﻧﻴﻦ ﻓﻴﺰﻳﻚ ﻛﻼﺳﻴﻚ ﺗﺒﻌﻴﺖ ﻧﻤﻲﻛﻨﻨﺪ ﻭ ﺑﺎ ﺣﺮﻛﺘﻲ ﻣﺎﺭﭘﻴﭽﻲ ﺑﻪ ﺳﻤﺖ ﻣﺮﻛﺰ ﺧﻮﺩ ﻛﻪ ﺩﺭ‬

‫ﻣﺘﺮﺍﻛﻤﺘﺮﻳﻦ ﺣﺎﻟﺖ ﺍﺳﺖ‪ ،‬ﺭﻭﺍﻥ ﻣﻲﺷﻮﻧﺪ )ﻣﺎﻧﻨﺪ ﺳﻴﺎﻩ ﭼﺎﻟﻪ )ﻡ((‪ .‬ﺍﻳﻦ ﻫﻤﺎﻥ ﺍﻓﺴﻮﻧﮕﺮﻱ ﺑﺎﺯﻱ‬

‫ﺍﺳﺖ‪ ،‬ﺍﺷﺘﻴﺎﻗﻲ ﺑﻠﻮﺭﻳﻦ ﻛﻪ ﺭﺩﻫﺎﻱ ﺣﺎﻓﻈﻪ ﺗﺮﺍﺷﻴﺪﻩ ﻭ ﻣﻌﻨﺎ ﺍﺯ ﺑﻴﻦ ﻣﻲﺑﺮﺩ‪ .‬ﺗﻤﺎﻣﻲ ﺍﺷﺘﻴﺎﻗﻬﺎ ﻭ‬

‫ﻫﻮﺳﻬﺎ ﺷﻜﻞ ﺑﺴﺘﻪﺍﻱ ﻣﻲﻳﺎﺑﻨﺪ ﺍﻣﺎ ﺍﺷﺘﻴﺎﻕ ﺑﺮﺍﻱ ﺑﺎﺯﻱ ﻧﺎﺏﺗﺮﻳﻦ ﺷﻜﻞ ﺁﻥ ﺍﺳﺖ‪.‬‬

‫ﺑﻬﺘﺮﻳﻦ ﻗﻴﺎﺱ ﺑﺎﺯﻱ ﺑﺎ ﻓﺮﻫﻨﮕﻬﺎﻱ ﺑﺪﻭﻱ ﺍﺳﺖ ﻛﻪ ﻛﺎﻣﻼً ﺩﺭ ﻣﺤﻴﻂ ﺧﻮﺩ ﻣﺤﺼﻮﺭ ﺑﻮﺩﻩ ﻭ‬

‫ﻫﻴﭻ ﺗﺼﻮﺭﻱ ﺍﺯ ﺑﺎﻗﻲ ﺟﻬﺎﻥ ﻧﺪﺍﺷﺘﻨﺪ‪ .‬ﺍﻣﺎ ﺩﺭ ﺟﺎﻣﻌﻪ ﻣﺎ ﺑﺎﻗﻲ ﺟﻬﺎﻥ ﻓﻘﻂ ﺑﺮﺍﻱ ﻣﺎ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪.‬‬

‫ﻣﺤﺼﻮﺭﻳﺖ ﺑﺪﻭﻳﺎﻥ ﺟﺪﺍ ﺍﺯ ﻋﻮﺍﻣﻞ ﻣﺤﺪﻭﺩﻛﻨﻨﺪﻩ‪ ،‬ﻧﺎﺷﻲ ﺍﺯ ﻣﻨﻄﻖ ﻣﺘﻔﺎﻭﺗﻲ ﺍﺳﺖ ﻛﻪ ﭼﻮﻥ ﻣﺎ ﺩﺭ‬

‫‪۲۰۲‬‬
‫ﺍﻏﻮﺍ‬

‫ﺩﺍﻡ ﺗﺼﻮﺭ ﺍﻣﺮ ﺟﻬﺎﻧﺸﻤﻮﻝ ﮔﺮﻓﺘﺎﺭ ﺁﻣﺪﻩﺍﻳﻢ ﻧﻤﻲﺗﻮﺍﻧﻴﻢ ﺟﺰ ﺩﺭﻛﻲ ﺗﺤﻘﻴﺮﺁﻣﻴﺰ ﺍﺯ ﺍﻳﻦ ﻣﺤﺪﻭﺩﻳﺖ‬

‫ﺗﺼﻮﺭﺩﻳﮕﺮﻱ ﺩﺍﺷﺘﻪﺑﺎﺷﻴﻢ‪.‬‬

‫ﻓﻀﺎﻱ ﻧﻤﺎﺩﻳﻦ ﺍﻳﻦ ﻓﺮﻫﻨﮕﻬﺎ ﻫﻴﭻ ﺑﺎﻗﻲﻣﺎﻧﺪﻩﺍﻱ‪ ،‬ﻧﻤﻲﺷﻨﺎﺳﺪ‪ .‬ﺩﺭ ﺑﺎﺯﻳﻬﺎ ﻧﻴﺰ ﺑﺮﺧﻼﻑ ﺍﻣﺮ‬

‫ﻭﺍﻗﻌﻲ‪ ،‬ﻫﻴﭻﭼﻴﺰﻱ ﺑﺎﻗﻲ ﻧﻤﻲﻣﺎﻧﺪ ﭼﺮﺍ ﻛﻪ ﻧﻪ ﺗﺎﺭﻳﺦ‪ ،‬ﻧﻪ ﺣﺎﻓﻈﻪ ﻭ ﻧﻪ ﺩﺭ ﺧﻮﺩ ﺍﻧﺒﺎﺷﺘﻲ ﺩﺍﺭﻧﺪ‪.‬‬

‫)ﺷﺮﻁﺑﻨﺪﻱﻫﺎﻱ ﺑﻪ ﻃﻮﺭ ﺛﺎﺑﺘﻲ ﻣﺼﺮﻑ ﻣﻲﺷﻮﻧﺪ ﻭ ﺩﻭﺑﺎﺭﻩ ﺑﺮﮔﺸﺖ ﺩﺍﺩﻩﻣﻲﺷﻮﻧﺪ‪ ،‬ﺍﻳﻦ ﻳﻚ ﻗﺎﻋﺪﻩ‬

‫ﻧﺎﮔﻔﺘﻪﺍﺳﺖ‪ ،‬ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﺑﺎﺯﻱ ﺑﻪ ﭘﻴﺶ ﻣﻲﺭﻭﺩ‪ ،‬ﻓﺮﺩ ﻧﻤﻲﺗﻮﺍﻧﺪ ﭼﻴﺰﻱ ﺭﺍ ﺑﻪ ﺻﻮﺭﺕ ﻣﻨﻔﻌﺖ ﻳﺎ‬

‫ﭼﻮﻥ ﺍﺭﺯﺵ ﺍﺿﺎﻓﻲ ﺍﺯ ﺁﻥ ﺑﺎﺯﮔﻴﺮﺩ‪ (.‬ﺁﻧﻬﺎ ﻫﻴﭻ ﭘﺲﻣﺎﻧﺪﻩﺍﻱ ﺭﺍ ﺑﺎﻗﻲ ﻧﻤﻲﮔﺬﺍﺭﻧﺪ‪ .‬ﻫﻴﭻﭼﻴﺰ ﺑﻴﺮﻭﻥ‬

‫ﺍﺯ ﺑﺎﺯﻱ ﺑﺎﻗﻲ ﻧﻤﻲﻣﺎﻧﺪ‪" .‬ﺑﺎﻗﻲﻣﺎﻧﺪﻩ" ﭼﻮﻥ ﻣﻌﺎﺩﻟﻪﺍﻱ ﺣﻞﻧﺸﺪﻩ ﻳﺎ ﺳﺮﻧﻮﺷﺖ ﺗﺤﻘﻖﻧﻴﺎﻓﺘﻪ ﻭ ﻳﺎ‬

‫ﺍﻣﺮﻱ ﺳﺮﻛﻮﺏﺷﺪﻩ ﻭ ﺗﻔﺮﻳﻖﺷﺪﻩ ﺗﺼﻮﺭ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻣﺎ ﻣﻌﺎﺩﻟﻪ ﺑﺎﺯﻱ ﻫﻤﻴﺸﻪ ﻛﺎﻣﻼً ﻣﺘﻌﺎﺩﻝ ﺍﺳﺖ ﻭ‬

‫ﺳﺮﻧﻮﺷﺖ ﺑﺎﺯﻱ ﺑﻪ ﺗﻤﺎﻣﻲ ﺍﻧﺠﺎﻡ ﻣﻲﻳﺎﺑﺪ ﺑﺪﻭﻥ ﺍﻳﻨﻜﻪ ﭼﻴﺰﻱ ﺑﻪ ﺟﺎﻱ ﻣﺎﻧﺪ‪) .‬ﺍﻣﺮﻱ ﻛﻪ ﺁﻧﺮﺍ ﺍﺯ‬

‫ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﻣﺘﻤﺎﻳﺰ ﻣﻲﻛﻨﺪ‪ (.‬ﻧﻈﺮﻳﻪ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﻓﺮﺽ ﻣﻲﻛﻨﺪ ﻛﻪ ﺍﺣﺴﺎﺳﺎﺕ ﺻﺤﻨﻪﻫﺎ ﻳﺎ ﺩﺍﻝﻫﺎﻱ‬

‫ﻣﺸﺨﺼﻲ ﻧﻤﻲﺗﻮﺍﻧﻨﺪ ﺑﻪ ﺑﺎﺯﻱ ﮔﺮﻓﺘﻪﺷﻮﻧﺪ‪ ،‬ﻣﺤﺮﻭﻡﺷﺪﻩ ﻭ ﺑﻴﺮﻭﻥ ﺍﺯ ﺑﺎﺯﻱ ﺑﺎﻗﻲﻣﻲﻣﺎﻧﻨﺪ‪ .‬ﺍﺯ ﻃﺮﻑ‬

‫ﺩﻳﮕﺮ ﺑﺎﺯﻱ ﺑﺮ ﺍﻳﻦ ﻓﺮﺽ ﺍﺳﺘﻮﺍﺭ ﺷﺪﻩﺍﺳﺖ ﻛﻪ ﻫﻤﻪﭼﻴﺰ ﻣﻲﺗﻮﺍﻧﺪ ﺑﻪ ﺑﺎﺯﻱ ﮔﺮﻓﺘﻪﺷﻮﺩ‪ .‬ﺩﺭ ﻏﻴﺮ ﺍﻳﻦ‬

‫ﺻﻮﺭﺕ‪ ،‬ﺑﺎﺯﻱ ﻣﺠﺒﻮﺭ ﻣﻲﺷﻮﺩ ﺑﭙﺬﻳﺮﺩ ﻛﺴﻲ ﻛﻪ ﺑﺎﺯﻱ ﻣﻲﻛﻨﺪ ﭘﻴﺸﺘﺮ ﺑﺎﺧﺘﻪﺍﺳﺖ ﻭ ﺑﺎﺯﻱﻛﺮﺩﻥ ﺑﻪ‬

‫ﻣﻌﻨﺎﻱ ﻫﻤﻴﺸﻪ ﺑﺎﺧﺘﻦ ﺍﺳﺖ‪ .‬ﺩﺭ ﺑﺎﺯﻱ ﺍﺯ ﺍﻳﻦﺭﻭ ﺍﺑﮋﻩﻫﺎ ﺗﻠﻒ ﻧﻤﻲﺷﻮﻧﺪ‪ .‬ﻫﻴﭻ ﺍﻣﺮ‬

‫ﻓﺮﻭﻛﺎﺳﺖﻧﺎﭘﺬﻳﺮﻱ ﺩﺭ ﺑﺎﺯﻱ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ ﻛﻪ ﻣﻘﺪﻡ ﺑﺮ ﺧﻮﺩ ﺑﺎﺯﻱ ﺑﺎﺷﺪ ﻭ ﺑﻪ ﺧﺼﻮﺹ ﻫﻴﺞ‬

‫ﻭﺍﻣﺪﺍﺭﻱ ﭘﻴﺸﻴﻨﻲ‪ .‬ﺍﮔﺮ ﺩﺭ ﺑﺎﺯﻱ ﭼﻴﺰﻱ ﻃﺮﺩ ﺷﻮﺩ ﺁﻥ ﺩﻳﻨﻲ ﻧﻴﺴﺖ ﻛﻪ ﺍﺯ ﻃﺮﻳﻖ ﻗﺎﻧﻮﻧﻲ ﻣﻨﻘﺒﺾ‬

‫ﺷﺪﻩ ﺑﺎﺷﺪ‪ .‬ﺍﻳﻦ ﺧﻮﺩ ﻗﺎﻧﻮﻥ ﺍﺳﺖ ﻛﻪ ﭼﻮﻥ ﮔﻨﺎﻫﻲ ﻧﺎﺑﺨﺸﻮﺩﻩ ﻃﺮﺩ ﻣﻲﺷﻮﺩ ﻫﻢ ﭼﻮﻥ ﺍﺻﻠﻲ‬

‫‪۲۰۳‬‬
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﻣﺘﻌﺎﻟﻲ ﺗﺒﻌﻴﺾﺁﻣﻴﺰ ﻭ ﻭﻓﻖﻧﺎﭘﺬﻳﺮ ﺩﺭ ﻭﺍﻗﻌﻴﺖ‪ .‬ﻭ ﺳﺮﭘﻴﭽﻲ ﺍﺯ ﻗﺎﻧﻮﻥ ﻧﻴﺰ ﺗﻨﻬﺎ ﮔﻨﺎﻩ ﺟﺪﻳﺪﻱ ﺭﺍ ﺑﻪ‬

‫ﺁﻥ ﻗﺎﻧﻮﻥ ﺍﺿﺎﻓﻪ ﻣﻲﻛﻨﺪ ﻭ ﻭﺍﻡﻫﺎ ﻭ ﺍﻧﺪﻭﻩﻫﺎﻱ ﺟﺪﻳﺪ ﺭﺍ ﻧﻴﺰ‪.‬‬

‫ﻗﺎﻧﻮﻥ ﺑﺮﺍﺑﺮﻱ ﺭﺍ ﭼﻮﻧﺎﻥ ﺍﺻﻠﻲ ﺑﺮﻗﺮﺍﺭ ﻣﻲﻧﻤﺎﻳﺪ‪ :‬ﺩﺭ ﺍﻳﻦ ﺍﺻﻞ ﻫﻤﻪ ﺩﺭ ﭘﻴﺸﮕﺎﻩ ﻗﺎﻧﻮﻥ ﺑﺮﺍﺑﺮﻧﺪ‪.‬‬

‫ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﺁﻥ ﻫﻴﭻ ﺑﺮﺍﺑﺮﻱ ﺑﺮﺍﻱ ﺑﺎﺯﻱ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ ﺑﺮﺍﻱ ﺍﻳﻨﻜﻪ ﺑﺎﺯﻱ ﻫﻴﭻ ﻗﻀﺎﻭﺗﻲ ﺑﺮ ﺍﺻﻮﻝ‬

‫ﺧﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﻋﻼﻭﻩ ﺑﺮ ﺍﻳﻦ‪ ،‬ﺑﺮﺍﻱ ﺍﻳﻦ ﻛﻪ ﻫﻤﻪ ﺑﺮﺍﺑﺮ ﺑﺎﺷﻨﺪ ﺑﺎﻳﺪ ﺍﺯ ﻳﻜﺪﻳﮕﺮ ﺗﻔﻜﻴﻚ ﻳﺎﺑﻨﺪ‪ .‬ﺍﻣﺎ‬

‫ﺑﺎﺯﻳﮕﺮﺍﻥ ﺗﻔﻜﻴﻚ ﻭ ﻣﻨﻔﺮﺩ ﻧﻤﻲﺷﻮﻧﺪ‪ :‬ﺁﻧﻬﺎ ﻣﻴﺎﻥ ﺧﻮﺩ ﺭﺍﺑﻄﻪﺍﻱ ﻣﺒﺎﺭﺯﺍﺗﻲ ﻭ ﺗﻦ ﺑﻪ ﺗﻨﻲ ﺑﺮﻗﺮﺍﺭ‬

‫ﻣﻲﻛﻨﻨﺪ‪ .‬ﺣﺘﻲ ﺍﺗﺤﺎﺩﻱ ﻫﻢ ﻣﻴﺎﻥ ﺁﻧﻬﺎ ﺑﺮﻗﺮﺍﺭ ﻧﻴﺴﺖ ‪ -‬ﻣﺮﺍﺩ ﺁﻥ ﺍﺗﺤﺎﺩﻱ ﺍﺳﺖ ﻛﻪ ﻣﻔﻬﻮﻡ ﺻﻮﺭﻱ‬

‫ﺍﻣﺮ ﺍﺟﺘﻤﺎﻋﻲ ﺗﺼﻮﺭ ﻣﻲﺷﻮﺩ ﻳﻌﻨﻲ ﺍﻳﺪﻩﺁﻝ ﺍﺧﻼﻗﻲ ﻳﻚ ﮔﺮﻭﻩ ﺩﺭ ﺭﻗﺎﺑﺖ‪ .‬ﺑﺎﺯﻳﮕﺮﺍﻥ ﺑﻪ ﻳﻜﺪﻳﮕﺮ‬

‫ﻭﺍﺑﺴﺘﻪﺍﻧﺪ ﺑﺮﺍﺑﺮﻱ ﺁﻧﻬﺎ ﺻﺮﻓﺎً ﺑﻪ ﺳﺒﺐ ﺍﻟﺘﺰﺍﻡ ﻭ ﺗﻌﻬﺪﻱ ﺍﺳﺖ ﻛﻪ ﻧﻴﺎﺯﻱ ﺑﻪ ﺍﺗﺤﺎﺩ ﻧﺪﺍﺭﺩ ﺣﺪﺍﻗﻞ ﻧﻪ‬

‫ﺑﻪ ﻋﻨﻮﺍﻥ ﭼﻴﺰﻱ ﻛﻪ ﻧﻴﺎﺯ ﺑﻪ ﻣﻔﻬﻮﻡﭘﺮﺩﺍﺯﻱ ﻭ ﺩﺭﻭﻧﻲﺷﺪﻥ ﺩﺍﺷﺘﻪﺑﺎﺷﺪ‪.‬‬

‫ﻗﺎﻋﺪﻩ ﺑﺮﺍﻱ ﻋﻤﻞ ﺧﻮﺩ ﻫﻴﭻ ﻧﻴﺎﺯﻱ ﺑﻪ ﺳﺎﺧﺘﺎﺭ ﺻﻮﺭﻱ ﻳﺎ ﺭﻭﺑﻨﺎﻳﻲ ‪ -‬ﺧﻮﺍﻩ ﺍﺧﻼﻗﻲ ﻳﺎ‬

‫ﺭﻭﺍﻧﻜﺎﻭﺍﻧﻪ ‪ -‬ﻧﺪﺍﺭﻧﺪ‪ .‬ﺩﻗﻴﻘﺎً ﺑﻪ ﺧﺎﻃﺮ ﺍﻳﻨﻜﻪ ﻗﻮﺍﻋﺪ ﻗﺮﺍﺭﺩﺍﺩﻱ ﻭ ﺑﻲﺑﻨﻴﺎﺩﻧﺪ ﻭ ﻫﻴﭻ ﻧﻴﺎﺯﻱ ﺑﻪ ﺍﺭﺟﺎﻉ‬

‫ﺑﻪ ﭼﻴﺰﻱ ﻧﺪﺍﺭﻧﺪ ﻧﻪ ﺑﻪ ﻣﺴﺌﻮﻟﻴﺘﻲ ﻫﻤﮕﺎﻧﻲ ﻧﻴﺎﺯﻣﻨﺪﻧﺪ ﻭ ﻧﻪ ﺑﻪ ﺍﺭﺍﺩﻩ ﻳﺎ ﺣﻘﻴﻘﺘﻲ ﺟﻤﻌﻲ‪ .‬ﻗﻮﺍﻋﺪ‬

‫ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ ﻫﻤﻪﺍﺵ ﻫﻤﻴﻦ ﺍﺳﺖ‪ .‬ﺁﻧﻬﺎ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ ﺗﻨﻬﺎ ﻭﻗﺘﻲ ﻛﻪ ﺩﺭ ﺑﺎﺯﻱ ﺳﻬﻴﻢ ﺷﻮﻧﺪ‪ ،‬ﺩﺭ‬

‫ﺣﺎﻟﻴﻜﻪ ﻗﺎﻧﻮﻥ ﺑﺮ ﻓﺮﺍﺯ ﺍﻓﺮﺍﺩ ﭘﺮﺍﻛﻨﺪﻩ ﻭ ﻣﺘﻔﺮﻕ ﺷﻨﺎﻭﺭ ﻣﻲﻣﺎﻧﺪ‪ .‬ﻣﻨﻄﻖ ﺁﻧﻬﺎ ﺑﺎ ﺍﻧﭽﻪ ﻛﻪ ﮔﻮﺑﻠﻮ‪ ۴۴‬ﺩﺭ‬

‫»ﻣﺎﻧﻊ ﻭﺳﻄﺢ« ﻗﺎﻋﺪﻩ ﻓﺮﻫﻨﮕﻲ ﻃﺒﻘﺎﺕ ﻣﻲﻧﺎﻣﺪ ﺗﻮﺿﻴﺢ ﺩﺍﺩﻩ ﻣﻲﺷﻮﺩ‪) :‬ﺑﺮﺍﻱ ﻃﺒﻘﻪ ﺑﻮﺭﮊﻭﺍﺯﻱ ﻧﻴﺰ‬

‫ﺑﻪ ﻫﻤﭽﻨﻴﻦ(‬

‫‪۲۰٤‬‬
‫ﺍﻏﻮﺍ‬

‫‪ - ۱‬ﺑﺮﺍﺑﺮﻱ ﻛﻠﻲ ﺩﺭ ﻣﻴﺎﻥ ﺑﺎﺯﻳﻜﻨﺎﻥ ﺩﺍﺧﻞ ﻓﻀﺎﻳﻲ ﻛﻪ ﺑﻮﺳﻴﻠﻪ ﻗﺎﻋﺪﻩ ﺗﻌﺮﻳﻒ ﻣﻲﺷﻮﺩ‪ ،‬ﺍﻳﻦ ﺭﺍ‬

‫»ﺳﻄﺢ« ﻣﻲﺧﻮﺍﻧﻴﻢ‪.‬‬

‫‪ - ۲‬ﻓﺮﺍﺳﻮﻱ ﺍﻳﻦ ﻗﺎﻋﺪﻩ ﺑﺎﻗﻲ ﺟﻬﺎﻥ ﺍﺳﺖ ﻛﻪ ﺁﻥ ﺭﺍ »ﻣﺎﻧﻊ« ﻣﻲﻧﺎﻣﻴﻢ‪.‬‬

‫ﺩﺭ ﺩﺍﺧﻞ ﻗﻠﻤﺮﻭ ﺧﻮﺩ ﺑﻮﺩﻥ‪ ،‬ﻓﺮﺍ ﻗﻠﻤﺮﻭﻳﻲ‪ ،‬ﺍﻟﺰﺍﻣﺎﺕ ﻭ ﺍﻣﺘﻴﺎﺯﺍﺕ‪ ،‬ﺍﻋﻤﺎﻝ ﻣﺘﻘﺎﺑﻞ ﺑﻪ ﻣﺜﻞ‬

‫ﻣﻄﻠﻖ‪ :‬ﺑﺎﺯﻳﻬﺎ ﺍﻳﻦ ﻣﻨﻄﻖ ﺭﺍ ﺩﺭ ﺣﺎﻟﺖ ﻧﺎﺏ ﺧﻮﺩ ﺍﻋﺎﺩﻩ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺭﻭﺍﺑﻂ ﺟﺪﻟﻲ ﺑﻴﻦ ﺑﺎﺯﻳﻜﻨﺎﻥ‬

‫ﻫﺮﮔﺰ ﻭﺿﻌﻴﺖ ﻣﻤﺘﺎﺯ ﻭ ﺩﻭﺟﺎﻧﺒﻪﺍﻱ ﺭﺍ ﺑﻪ ﺧﻄﺮ ﻧﻤﻲﺍﻧﺪﺍﺯﺩ‪ .‬ﺑﺎﺯﻱ ﺣﺘﻲ ﺍﮔﺮ ﺑﻲﺍﺭﺯﺵ ﺷﻮﺩ ﻭ‬

‫ﺷﺮﻁﺑﻨﺪﻱﻫﺎﻳﺶ ﺍﺯ ﺩﺳﺖ ﺑﺮﻭﺩ ‪ -‬ﺍﻓﺴﻮﻧﮕﺮﻱ ﺩﻭﺟﺎﻧﺒﻪﺍﺵ‪ ،‬ﺍﺧﺘﻴﺎﺭﻱ ﺑﻮﺩﻥ ﻗﻮﺍﻋﺪﺵ ﺩﺭ ﻣﻨﺸﺄ‬

‫ﺁﻥ ﺁﻥ ﺑﺎﻳﺪ ﺣﻔﻆ ﺷﻮﺩ‪.‬‬

‫ﺑﻪ ﻫﻤﻴﻦﺧﺎﻃﺮ ﺭﻭﺍﺑﻂ ﺩﻭﮔﺎﻧﻪ ﻭ ﺗﻦﺑﻪﺗﻨﻲ ﻗﺎﺩﺭﻧﺪ ﺗﻤﺎﻣﻲ ﻛﻮﺷﺸﻬﺎ‪ ،‬ﺷﺎﻳﺴﺘﮕﻲﻫﺎ ﻭ ﻛﻴﻔﻴﺎﺕ‬

‫ﺷﺨﺼﻲ ﺭﺍ ﺑﻲﺍﺛﺮ ﺳﺎﺯﻧﺪ‪) .‬ﺑﻴﺶ ﺍﺯ ﻫﻤﻪ ﺩﺭ ﺷﻜﻞ ﻧﺎﺏ ﺑﺎﺯﻳﻬﺎﻱ ﺷﺎﻧﺴﻲ( ﺧﺼﺎﻳﺺ ﺷﺨﺼﻲ ﺗﻨﻬﺎ‬

‫ﺑﻪ ﻋﻨﻮﺍﻥ ﻧﻮﻋﻲ ﻣﺴﺎﻋﺪﺕ ﻳﺎ ﻓﺮﻳﺐ ﭘﺬﻳﺮﻓﺘﻪﻣﻲﺷﻮﻧﺪ ﻭ ﻫﻴﭻ ﻧﻮﻉ ﺍﺭﺯﺵ ﺭﻭﺍﻧﻜﺎﻭﺍﻧﻪﺍﻱ ﻧﺪﺍﺭﻧﺪ‬

‫ﺍﻳﻨﮕﻮﻧﻪ ﺍﺳﺖ ﻛﻪ ﺑﺎﺯﻳﻬﺎ‪ ،‬ﺁﻧﻄﻮﺭ ﻛﻪ ﻣﻮﺭﺩ ﺗﻘﺎﺿﺎﻱ ﺷﻔﺎﻓﻴﺖ ﺍﻻﻫﻲ ﻗﺎﻧﻮﻥ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪﺍﻧﺪ‪ ،‬ﺍﺟﺮﺍ‬

‫ﻣﻲﺷﻮﻧﺪ‬

‫ﺩﺭ ﻓﻀﺎﻳﻲ ﻣﺘﻨﺎﻫﻲ ﻓﺮﺩ ﺍﺯ ﺍﻣﺮ ﺟﻬﺎﻧﺸﻤﻮﻝ ﺧﻼﺻﻲ ﻣﻲﻳﺎﺑﺪ‪ ،‬ﺑﺎ ﺭﻭﺍﺑﻂ ﺩﻭﮔﺎﻧﻪ ﻭ ﺟﺪﻟﻲ ﺍﺯ ﺑﺮﺍﺑﺮﻱ‬

‫ﻭ ﻳﻜﺴﺎﻧﻲ ﺧﻼﺹ ﻣﻲﺷﻮﺩ‪ ،‬ﺑﺎ ﺍﻟﺘﺰﺍﻣﺎﺗﻲ ﻛﻪ ﺑﺮﻋﻬﺪﻩﻣﻲﮔﻴﺮﺩ ﺍﺯ ﺁﺯﺍﺩﻱ ﺧﻼﺻﻲ ﻣﻲﻳﺎﺑﺪ‪ ،‬ﺑﺎ ﻗﻮﺍﻋﺪ‬

‫ﺍﺧﺘﻴﺎﺭﻱ ﻭ ﺁﻳﻴﻦﻫﺎﻳﺶ‪ ،‬ﺍﺯ ﺩﺳﺖ ﻗﺎﻧﻮﻥ ﺭﻫﺎ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻳﻨﭽﻨﻴﻦ ﺍﻓﺴﻮﻥ ﺑﺎﺯﻳﻬﺎ ﺷﻜﻞ ﻣﻲﮔﻴﺮﺩ‪.‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺑﺪﻳﻦ ﻣﻌﻨﻲ‪ ،‬ﻣﺎ ﺑﺮﺍﺑﺮﻱ ﺑﻴﺸﺘﺮﻱ ﺩﺭ ﺁﻳﻴﻦﻫﺎ ﺩﺍﺭﻳﻢ ﺗﺎ ﺩﺭ ﭘﻴﺸﮕﺎﻩ ﻗﺎﻧﻮﻥ‪) .‬ﺷﺎﻳﺪ ﺍﻳﻦ ﺍﻣﺮ‬

‫ﭘﺎﻓﺸﺎﺭﻱ ﺑﺮ ﺍﺩﺏ‪ ،‬ﻭ ﺳﺎﺯﮔﺎﺭﻱ ﺑﺎ ﺁﻳﻴﻨﻬﺎ ﺭﺍ ﺑﻪ ﺧﺼﻮﺹ ﺩﺭ ﻃﺒﻘﺎﺕ ﺭﺷﺪﻧﻴﺎﻓﺘﻪﺗﺮ ﺗﻮﺟﻴﻪ ﻣﻲﻛﻨﺪ‪،‬‬

‫ﺁﺳﺎﻧﺘﺮ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﻧﺸﺎﻧﻪﻫﺎﺗﻲ ﻗﺮﺍﺭﺩﺍﺩﻱ ﺑﻬﺮﻩﺍﻱ ﺑﺒﺮﻳﻢ ﺗﺎ ﺁﻧﻬﺎﻳﻲ ﻛﻪ ﺑﺎ ﻣﻌﻨﺎ ﭘﺮ ﺷﺪﻩﺍﻧﺪ ﻳﺎ ﺑﺎ‬

‫ﺁﮔﺎﻫﻲ(‪ .‬ﻫﻤﭽﻨﻴﻦ ﻣﺎ ﺩﺭ ﺑﺎﺯﻳﻬﺎ ﺑﻴﺸﺘﺮ ﺍﺯ ﻫﺮ ﺟﺎﻱ ﺩﻳﮕﺮ‪ ،‬ﺍﺯ ﺁﺯﺍﺩﻱ ﺑﺮﺧﻮﺭﺩﺍﺭﻳﻢ‪ ،‬ﭼﺮﺍ ﻛﻪ ﻫﻴﭻ‬

‫ﻧﻴﺎﺯﻱ ﻧﺪﺍﺭﻳﻢ ﺗﺎ ﻗﻮﺍﻋﺪ ﺭﺍ ﺩﺭﻭﻧﻲ ﻛﻨﻴﻢ ﺩﻳﻨﻲ ﻛﻪ ﻣﺎ ﺑﻪ ﻗﻮﺍﻋﺪ ﺩﺍﺭﻡ ﺗﻨﻬﺎ ﻧﺸﺎﻧﻪ ﻭﻓﺎﺩﺍﺭﻱ ﺍﺳﺖ ﻭ‬

‫ﺑﺮﺧﻼﻑ ﻣﻮﺭﺩ ﻗﺎﻧﻮﻥ‪ ،‬ﺍﻳﻦ ﺍﺣﺴﺎﺱ ﺭﺍ ﻧﺪﺍﺭﻳﻢ ﻛﻪ ﺑﺎﻳﺪ ﺍﺯ ﻗﻮﺍﻋﺪ ﺳﺮﭘﻴﭽﻲ ﻛﻨﻴﻢ‪ .‬ﺑﺎ ﻗﺎﻋﺪﻩ ﻣﺎ ﺍﺯ‬

‫ﺩﺳﺖ ﻗﺎﻧﻮﻥ ﺭﻫﺎ ﻣﻲﺷﻮﻳﻢ ﻭ ﻧﻴﺰ ﺍﺯ ﺩﺳﺖ ﺗﻤﺎﻣﻲ ﻗﻴﻮﺩ ﺍﻧﺘﺨﺎﺏ‪ ،‬ﺁﺯﺍﺩﻱ‪ ،‬ﻣﺴﺌﻮﻟﻴﺖ ﻭ ﻣﻌﻨﺎ!‪..‬‬

‫ﺗﺮﻭﺭﻳﺴﻢ ﻣﻌﻨﺎ ﺗﻨﻬﺎ ﺗﻮﺳﻂ ﻧﺸﺎﻧﻪﻫﺎﻱ ﻗﺮﺍﺭﺩﺍﺩﻱ ﻣﻲﺗﻮﺍﻧﺪ ﻣﻨﻬﺪﻡ ﮔﺮﺩﺩ‪.‬‬

‫ﺑﺎ ﺍﻳﻦ ﻭﺟﻮﺩ ﺩﺭﺑﺎﺭﻩ ﺁﻥ ﺍﺷﺘﺒﺎﻩ ﻧﻜﻨﻴﺪ‪ :‬ﻧﺸﺎﻧﻪﻫﺎﻱ ﻗﺮﺍﺭﺩﺍﺩﻱ ﻭ ﺁﻳﻴﻨﻲ ﺧﻮﺩ ﺩﺭ ﺍﻧﻘﻴﺎﺩ‬

‫ﻳﻜﺪﻳﮕﺮﻧﺪ‪ .‬ﻓﺮﺩ ﺁﺯﺍﺩ ﻧﻴﺴﺖ ﻛﻪ ﺑﻪ ﻃﻮﺭ ﻣﺠﺰﺍ ﺩﻻﻟﺖ ﻛﻨﺪ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﺻﻮﺭﺕ ﻫﻨﻮﺯ ﺭﺍﺑﻄﻪﺍﻱ ﺫﺍﺗﻲ‬

‫ﺑﺎ ﻃﺒﻴﻌﺖ ﻭ ﻭﺍﻗﻌﻴﺖ ﺭﺍ ﺑﺎﻗﻲ ﻧﮕﺎﻩﺩﺍﺷﺘﻪﺍﺳﺖ‪ .‬ﺁﺯﺍﺩﻱ ﻣﻮﺭﺩ ﻣﻄﺎﻟﺒﻪ ﻧﺸﺎﻧﻪﻫﺎﻱ ﻣﺪﺭﻥ ﻣﺎﻧﻨﺪ‬

‫ﻓﺮﺩﻳﺘﻬﺎﻱ ﻣﺪﺭﻥ‪ ،‬ﻛﻪ ﺧﻮﺩ ﺭﺍ ﺑﺮ ﺍﺳﺎﺱ ﺗﺄﺛﻴﺮﺍﺕ ﻳﺎ ﻣﻴﻞ ﺧﻮﺩﺷﺎﻥ)ﺑﻪﺧﺎﻃﺮ ﻣﻌﻨﺎ( ﺑﻴﺎﻥ ﻣﻲﻛﻨﻨﺪ‬

‫ﻫﺮﮔﺰ ﺑﺮﺍﻱ ﻧﺸﺎﻧﻪﻫﺎﻱ ﻗﺮﺍﺭﺩﺍﺩﻱ ﻭﺟﻮﺩ ﻧﺪﺍﺭﻧﺪ‪ .‬ﻗﻮﺍﻋﺪ ﺑﺎ ﺍﺭﺟﺎﻉ ﺧﻮﺩ ﻭ ﻳﺎ ﺗﻮﺩﻩﺍﻱ ﺗﻠﻨﺒﺎﺭ ﺷﺪﻩ ﺍﺯ‬

‫ﻣﻌﻨﺎ ﺑﻲﺍﺭﺍﺩﮔﻲ ﺭﺍ ﻧﻤﺎﻳﺶ ﺩﻫﻨﺪ‪ .‬ﻧﺸﺎﻧﻪﻫﺎﻱ ﻗﺮﺍﺭﺩﺍﺩﻱ ﻧﻤﻲﺗﻮﺍﻧﻨﺪ ﺑﻲﻫﺪﻑ‪ ،‬ﺑﺎ ﺍﺭﺟﺎﻋﺎﺕ ﻳﺎ‬

‫ﺗﻪﻣﺎﻧﺪﻩﻫﺎﻱ ﻣﻌﻨﺎﻳﻲ ﺧﻮﺩ ﭼﻮﻧﺎﻥ ﺷﻦﻫﺎﻱ ﺭﻭﺍﻥ‪ ،‬ﺑﻪ ﺣﺮﻛﺖ ﺩﺭﺁﻳﻨﺪ ﻫﺮ ﻧﺸﺎﻧﻪﺍﻱ ﺑﻪ ﻧﺸﺎﻧﻪ ﺩﻳﮕﺮ‬

‫ﻣﻘﻴﺪ ﺍﺳﺖ ﻧﻪ ﺩﺭ ﺳﺎﺧﺘﺎﺭ ﺍﻧﺘﺰﺍﻋﻲ ﺯﺑﺎﻥ ﺑﻠﻜﻪ ﺩﺭ ﮔﺸﺎﻳﺶ ﺑﻲﻣﻌﻨﺎﻱ ﻳﻚ ﻣﺮﺍﺳﻢ‪ ،‬ﺁﻧﻬﺎ ﭘﮋﻭﺍﻙ‬

‫ﻳﻜﺪﻳﮕﺮﻧﺪ ﻭ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺩﻳﮕﺮ ﻧﺸﺎﻧﻪﻫﺎﻱ ﻗﺮﺍﺭﺩﺍﺩﻱ ﺗﻜﺜﻴﺮ ﻣﻲﻛﻨﻨﺪ‪.‬‬

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‫ﺍﻏﻮﺍ‬

‫ﻧﺸﺎﻧﻪ ﺁﻳﻴﻨﻲ‪ ،‬ﻧﺸﺎﻧﻪﺍﻱ ﺑﺎﺯﻧﻤﻮﺩ ﻛﻨﻨﺪﻩ ﻧﻴﺴﺖ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺍﺭﺯﺷﻲ ﺑﺮﺍﻱ ﻓﻬﻢ ﻭ ﺍﺩﺭﺍﻙ ﻧﺪﺍﺭﺩ‪.‬‬

‫ﺩﺭ ﻋﻮﺽ ﻣﺎ ﺭﺍ ﺍﺯ ﻣﻌﻨﺎ ﺭﻫﺎ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺳﺒﺐ ﺍﺳﺖ ﻛﻪ ﻣﺎ ﻣﺘﻌﻬﺪ ﺑﻪ ﭼﻨﻴﻦ ﻧﺸﺎﻧﻪﻫﺎﻳﻲ‬

‫ﻫﺴﺘﻴﻢ‪ .‬ﺩﻳﻦ )ﻭﺍﻣﺪﺍﺭﻱ( ﺑﺎﺯﻱ‪ ،‬ﺩﻳﻦ ﺍﻓﺘﺨﺎﺭ ﺍﺳﺖ‪ .‬ﻫﺮ ﭼﻴﺰﻱ ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ ﺑﺎﺯﻱ ﻣﻘﺪﺱ ﺍﺳﺖ ﭼﺮﺍ‬

‫ﻛﻪ ﻗﺮﺍﺭﺩﺍﺩﻱ ﺍﺳﺖ‪.‬‬

‫ﺩﺭ "ﺳﺨﻦ ﻳﻚ ﻋﺎﺷﻖ" ﺭﻭﻻﻥ ﺑﺎﺭﺕ ﺍﻧﺘﺨﺎﺏ ﻳﻚ ﻧﻈﻢ ﺍﻟﻔﺒﺎﻳﻲ ﺭﺍ ﺑﺎ ﻋﺒﺎﺭﺍﺕ ﺯﻳﺮ ﺗﻮﺟﻴﻪ‬

‫ﻣﻲﻛﻨﺪ‪" :‬ﺑﺮﺍﻱ ﺳﺴﺖ ﻧﻤﻮﺩﻥ ﻭﺳﻮﺳﻪ ﻣﻌﻨﺎ ﻻﺯﻡ ﺁﻣﺪ ﻛﻪ ﺍﻧﺘﺨﺎﺑﻲ ﺍﻧﺠﺎﻡ ﺷﻮﺩ‪ :‬ﻳﻚ ﻧﻈﻢ ﻣﻄﻠﻘﺎً‬

‫ﺑﻲﺍﻫﻤﻴﺖ" ﻛﻪ ﺑﺎﻳﺪ ﮔﻔﺖ ﻧﻪ ﻧﻈﻤﻲ ﻫﺪﻓﻤﻨﺪ ﺍﺳﺖ ﻭ ﻧﻪ ﺗﺼﺎﺩﻑ ﻣﺤﺾ ﺑﻠﻜﻪ ﻧﻈﻤﻲ ﻛﺎﻣﻼً‬

‫ﻗﺮﺍﺭﺩﺍﺩﻱ ﺍﺳﺖ‪ .‬ﺍﻭ ﻣﻲﻧﻮﻳﺴﺪ‪" :‬ﭼﺮﺍ ﻛﻪ ﻣﺎ ﻧﺒﺎﻳﺪ ﺑﻪ ﻣﺎﻧﻨﺪ ﻳﻚ ﺭﻳﺎﺿﻲﺩﺍﻥ‪ ،‬ﻗﺪﺭﺕ ﺷﺎﻧﺲ ﺭﺍ ﺑﺮﺍﻱ‬

‫ﺗﻮﻟﻴﺪ ﻫﻴﻮﻻﻫﺎ ﻳﻌﻨﻲ "ﺗﻮﺍﻟﻲﻫﺎﻱ ﻣﻨﻄﻘﻲ ‪ -‬ﻣﻌﻨﺎ‪ ،‬ﻧﺎﺩﻳﺪﻩ ﺑﮕﻴﺮﻳﻢ‪.‬‬

‫ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ‪ ،‬ﺁﺯﺍﺩﻱ ﻣﻄﻠﻖ ﻳﺎ ﻧﺎﻣﻌﻠﻮﻣﻲ ﻣﻄﻠﻖ ﻣﺨﺎﻟﻒ ﻣﻌﻨﺎ ﻧﻴﺴﺖ‪ .‬ﻣﻌﻨﺎ ﺭﺍ ﻣﻲﺗﻮﺍﻥ ﺑﻪ‬

‫ﺳﺎﺩﮔﻲ ﺑﺎ ﺑﺎﺯﻱ ﺑﺎ ﺷﺎﻧﺲ ﻭ ﺑﻲﻧﻈﻤﻲ ﺗﻮﻟﻴﺪ ﻧﻤﻮﺩ‪ .‬ﻗﻄﺮﻫﺎ ﻳﺎ ﺣﻠﻘﻪﻫﺎﻱ ﺟﺪﻳﺪ ﻣﻌﻨﺎ ﺗﻮﺍﻟﻲﻫﺎﻱ‬

‫ﺟﺪﻳﺪ ﺍﺯ ﺳﻴﻞ ﺧﺮﻭﺷﺎﻥ ﺟﺮﻳﺎﻥ ﻣﻴﻞ ﻣﻲﺗﻮﺍﻧﺪ ﺍﻳﺠﺎﺩ ﮔﺮﺩﺩ ‪ -‬ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺩﺭ ﺑﺮﺧﻲ ﻓﻠﺴﻔﻪﻫﺎﻱ‬

‫ﻣﺪﺭﻥ‪ ،‬ﻓﻠﺴﻔﻪﻫﺎﻱ ﻣﻮﻟﻜﻮﻟﻲ ﻭ ﺍﻓﺮﺍﻃﻲ‪ ،‬ﻛﻪ ﺍﺩﻋﺎ ﻣﻲﻛﻨﻨﺪ ﻣﻌﻨﺎ ﺭﺍ ﺑﺎ ﭘﺮﺍﻛﻨﺶ‪ ،‬ﺷﺒﻜﻪﻫﺎ ﻭ‬

‫ﺣﺮﻛﺘﻬﺎﻱ ﺑﺮﺍﻭﻧﻲ ِ ﻣﻴﻞ ﻣﺘﺰﻟﺰﻝ ﻣﻲﺳﺎﺯﻧﺪ )ﺗﺤﻠﻴﻞ ﻣﻲﺑﺮﻧﺪ(‪ .‬ﺑﺎ ﻭﺟﻮﺩ ﺷﺎﻧﺲ‪ ،‬ﻧﺒﺎﻳﺪ ﻗﺪﺭﺕ ﻣﻴﻞ‬

‫ﺭﺍ ﺩﺭ ﺗﻮﻟﻴﺪ ﻫﻴﻮﻻﻫﺎ ﺩﺳﺖﻛﻢ ﺑﮕﻴﺮﻳﻢ‪.‬‬

‫ﺑﺎ ﭘﺮﺍﻛﻨﺪﮔﻲ ﻭ ﮔﺴﺴﺘﮕﻲ ﻭ ﻳﺎ ﻓﺮﺍﺗﺮﻱ ﺭﻓﺘﻦ ﻧﻤﻲﺗﻮﺍﻥ ﺍﺯ ﺩﺳﺖ ﻣﻌﻨﺎ ﮔﺮﻳﺨﺖ‪ .‬ﻣﻌﻨﺎ ﺭﺍ ﺑﺎﻳﺪ‬

‫ﺑﺎ ﻭﺍﻧﻤﻮﺩﻩ ﺑﻨﻴﺎﺩﻱﺗﺮﻱ ﺟﺎﻳﮕﺰﻳﻦ ﻧﻤﻮﺩ ﻧﻈﻤﻲ ﻗﺮﺍﺭﺩﺍﺩﻱﺗﺮ ﻣﺎﻧﻨﺪ ﻧﻈﻢ ﺍﻟﻔﺒﺎﻳﻲ ﺑﺎﺭﺕ ﻳﺎ ﻗﻮﺍﻋﺪ ﻳﻚ‬

‫ﺑﺎﺯﻱ ﻳﺎ ﺁﻳﻴﻨﻬﺎﻱ ﺑﻲﺣﺪ ﻭ ﺣﺼﺮ ﺯﻧﺪﮔﻲ ﺭﻭﺯﻣﺮﻩ ﻛﻪ ﺗﻤﺎﻣﻲ ﻧﻈﻢ ﻣﻌﻨﺎﻳﻲ )ﺗﺎﺭﻳﺨﻲ‪ ،‬ﺳﻴﺎﺳﻲ ﻳﺎ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺍﺟﺘﻤﺎﻋﻲ( ﻭ ﺑﻲﻧﻈﻤﻲ )ﺷﺎﻧﺲ( ﺑﺎﻃﻞ ﻧﻤﻮﺩﻩ ﻭ ﺑﺮ ﺁﻧﻬﺎ ﺗﺤﻤﻴﻞ ﻧﻤﻮﺩ‪ .‬ﻧﺎﻣﻌﻠﻮﻣﻲ‪ ،‬ﮔﺴﺴﺘﮕﻲ ﻳﺎ‬

‫ﺗﻜﺜﻴﺮ ﺑﻪ ﺷﻜﻞ ﺳﺘﺎﺭﻩ ﻳﺎ ﺭﻳﺰﻭﻡ ﺗﻨﻬﺎ ﻓﻀﺎﻱ ﻧﻔﻮﺫ ﻣﻌﻨﺎ ﺭﺍ ﺑﻪ ﻓﻀﺎﻱ ﻣﻄﻠﻖ ﺑﻲﻣﻌﻨﺎﻳﻲ ﺗﺼﺮﻱ‬

‫ﻣﻲﺩﻫﺪ‪ .‬ﻳﻌﻨﻲ ﺍﻳﻦ ﮔﺴﺴﺘﮕﻲﻫﺎ ﺻﺮﻓﺎً ﺷﻜﻞ ﻣﺤﺾ ﻣﻌﻨﺎ ﺭﺍ ﻋﻤﻮﻣﻴﺖ ﻣﻲﺑﺨﺸﻨﺪ‪ ،‬ﻧﻬﺎﻳﺘﻲ‬

‫ﺍﻧﺘﺰﺍﻋﻲ ﺑﻲﻫﻴﭻ ﭘﺎﻳﺎﻥ ﻣﻌﻴﻦ ﻭ ﻣﺤﺘﻮﺍﻳﻲ‪ .‬ﺗﻨﻬﺎ ﺁﻳﻴﻨﻬﺎ ﻣﻌﻨﺎ ﺭﺍ ﺍﺯ ﻣﻴﺎﻥ ﻣﻲﺑﺮﻧﺪ‪.‬‬

‫ﺑﻪ ﻫﻤﻴﻦﺧﺎﻃﺮ ﺍﺳﻦ ﻛﻪ ﭼﻴﺰﻱ ﺑﻪ ﻧﺎﻡ "ﺁﻳﻴﻦ ﺳﺮﭘﻴﭽﻲ" ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﺧﻴﻠﻲ ﺍﺯ ﻋﺒﺎﺭﺍﺕ‬

‫)ﺁﻳﻴﻨﻬﺎ( ﺑﻪ ﺧﺼﻮﺹ ﻭﻗﺘﻲ ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩﻫﺎ ﺑﻪ ﻛﺎﺭ ﻣﻲﺭﻭﻧﺪ ﻫﻴﭻ ﻣﻌﻨﺎﻱ ﺧﺎﺻﻲ ﺭﺍ ﺍﻓﺎﺩﻩ‬

‫ﻧﻤﻲﻛﻨﻨﺪ‪ .‬ﻓﺴﺘﻴﻮﺍﻟﻬﺎ ﻣﺴﺌﻠﻪ ﻏﺎﻣﻀﻲ ﺭﺍ ﺑﺮﺍﻱ ﺍﻧﻘﻼﺑﻲﻫﺎﻱ ﻣﺎ ﺑﻪ ﻭﺟﻮﺩ ﻣﻲﺁﻭﺭﺩ‪ :‬ﺁﻳﺎ ﺟﺸﻨﻮﺍﺭﻩﻫﺎ‬

‫ﺳﺮﭘﻴﭽﻲ ﺍﺯ ﻗﺎﻧﻮﻧﻨﺪ ﻳﺎ ﺁﻧﺮﺍ ﺭﺍ ﺑﺎﺯﺗﻮﻟﻴﺪ ﻣﻲﻛﻨﻨﺪ؟ ﺳﺌﻮﺍﻟﻲ ﻳﺎﻭﻩ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺁﻳﻴﻨﻬﺎ ﺍﺯ ﺟﻤﻠﻪ ﺁﺩﺍﺏ‬

‫ﺁﻳﻴﻨﻲ ﺟﺸﻨﻮﺍﺭﻩ‪ ،‬ﻧﻪ ﺑﻪ ﺣﻮﺯﻩﻱ ﻗﺎﻧﻮﻥ ﺗﻌﻠﻖ ﺩﺍﺭﺩ ﻭ ﻧﻪ ﺳﺮﭘﻴﭽﻲ ﺍﺯ ﻗﺎﻧﻮﻥ ﻣﺤﺴﻮﺏ ﻣﻲﺷﻮﺩ ﺑﻠﻜﻪ‬

‫ﺑﻪ ﺣﻮﺯﻩ ﻗﺎﻋﺪﻩ ﺗﻌﻠﻖ ﺩﺍﺭﻧﺪ‪.‬‬

‫ﻫﻤﻴﻦ ﺍﻣﺮ ﺩﺭ ﻣﻮﺭﺩ ﺳﺤﺮ ﻣﺼﺪﺍﻕ ﺩﺍﺭﺩ‪ .‬ﻣﺎ ﻣﺪﺍﻭﻣﺎً ﺁﻧﭽﻪ ﺭﺍ ﻛﻪ ﺗﺤﺖ ﻗﺎﻋﺪﻩ ﺑﻜﺎﺭﻣﻲﺭﻭﺩ ﺑﺎ‬

‫ﺍﺻﻄﻼﺣﺎﺕ ﻗﺎﻧﻮﻥ ﺗﻔﺴﻴﺮ ﻣﻲﻛﻨﻴﻢ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺳﺤﺮ ﻫﻤﭽﻮﻥ ﻭﺳﻴﻠﻪﺍﻱ ﺑﺮﺍﻱ ﻓﺮﻳﻔﺘﻦ ﻗﺎﻧﻮﻥ ﺗﻮﻟﻴﺪ‬

‫ﻭ ﻛﺎﺭ ﺳﺨﺖ ﺗﻌﺮﻳﻒ ﻣﻲﺷﻮﺩ‪ .‬ﺑﺪﻭﻳﺎﻥ ﻧﻴﺰ ﻣﺎﻧﻨﺪ ﻣﺎ ﻓﺮﺟﺎﻡﻫﺎﻱ ﺳﻮﺩﻣﻨﺪﮔﺮﺍﻳﺎﻧﻪﺍﻱ ﺑﺮﺍﻱ ﺳﺤﺮ‬

‫ﻗﺎﺋﻞ ﺑﻮﺩﻧﺪ ﺍﻣﺎ ﻧﻪ ﺑﺎ ﺗﺤﻘﻖ ﺁﻧﻬﺎ‪ ،‬ﺍﻧﻬﺎ ﺍﺯ ﻫﺮ ﺗﻼﺵ ﻣﻨﻄﻘﻲ ﺭﻭﻳﮕﺮﺩﺍﻥ ﺑﻮﺩﻧﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺳﺤﺮ ﺍﻣﺮ‬

‫ﻛﺎﻣﻼً ﻣﺘﻔﺎﻭﺗﻲ ﺍﺳﺖ‪ :‬ﺁﻳﻴﻨﻲ ﺍﺳﺖ ﺑﺮﺍﻱ ﻧﮕﺎﻫﺪﺍﺭﻱ ﺟﻬﺎﻥ ﭼﻮﻧﺎﻥ ﺑﺎﺯﻱ ﺭﻭﺍﺑﻂ ﻗﻴﺎﺳﻲ‪ .‬ﺗﺼﺎﻋﺪﻱ‬

‫ﺣﻠﻘﻪﻭﺍﺭ ﻛﻪ ﻫﻤﻪﭼﻴﺰ ﺭﺍ ﺑﺎ ﻧﺸﺎﻧﻪﻫﺎﻳﺸﺎﻥ ﺑﻪ ﻳﻜﺪﻳﮕﺮ ﻣﺮﺗﺒﻂ ﻣﻲﻛﻨﺪ‪ .‬ﻳﻚ ﺑﺎﺯﻱ ﺑﻲﻛﺮﺍﻥ‪ .‬ﻗﺎﻋﺪﻩ‬

‫ﺑﺮ ﺳﺤﺮ ﺣﻜﻮﻣﺖ ﻣﻲﻛﻨﺪ‪ ،‬ﻭ ﻣﺴﺌﻠﻪ ﺍﺻﻠﻲ ﺗﻨﻬﺎ ﺗﻀﻤﻴﻦ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻫﻤﻪﭼﻴﺰ ﺑﺎ ﺍﻣﺮ ﺁﻳﻴﻨﻲ ﺑﺎ‬

‫ﺭﻭﺍﺑﻂ ﻗﻴﺎﺳﻲ ﻭ ﺧﻴﺰﺵ ﺍﻏﻮﺍ ﺑﻪ ﺑﺎﺯﻱ ﺍﺩﺍﻣﻪ ﺩﻫﺪ‪ .‬ﻫﻴﭻﺟﺎﻱ ﺑﺮﺍﻱ ﺭﻭﺍﺑﻂ ﺧﻄﻲ ﻋﻠﻲ ﻭ ﻣﻌﻠﻮﻟﻲ‬

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‫ﺍﻏﻮﺍ‬

‫ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﺍﻳﻦ ﺗﺒﻴﻴﻦ ﻋﻠﻲ ‪ -‬ﺭﻭﺵ ﻣﺎ ﺑﺮﺍﻱ ﻓﻬﻢ ﺟﻬﺎﻥ ‪ -‬ﺍﺑﮋﻛﺘﻴﻮ ﺍﻣﺎ ﺁﺷﻔﺘﻪ ﺍﺳﺖ‪ .‬ﺑﺮﺍﻱ ﺍﻳﻦ‬

‫ﺗﺒﻴﻴﻦ ﻋﻠﻲ ﻗﺎﻋﺪﻩ ﺷﻜﺴﺘﻪ ﺷﺪﻩﺍﺳﺖ‪ .‬ﺳﺤﺮ ﻧﻤﻲﻛﻮﺷﺪ ﺗﺎ ﻗﺎﻧﻮﻥ ﺭﺍ ﺑﻪ ﺳﺨﺮﻩ ﮔﻴﺮﺩ‪ ،‬ﺗﻘﻠﺐ‬

‫ﻧﻤﻲﻛﻨﺪﻭ ﺁﻧﺮﺍ ﭘﻮﭺ ﻭ ﻳﺎﻭﻩ ﻧﻤﻲﺩﺍﻧﺪ‪ .‬ﭼﺮﺍ ﻛﻪ ﺩﺭ ﻣﻘﺎﺑﻞ ﻣﻲﺗﻮﺍﻥ ﺍﺧﺘﻴﺎﺭﻱ ﺑﻮﺩﻥ ﻗﻮﺍﻋﺪ ﺑﺎﺯﻱ ﺭﺍ ﺑﺎ‬

‫ﺍﺻﻄﻼﺣﺎﺕ ﺍﺑﮋﻛﺘﻴﻮ ﻣﻔﺮﻭﺿﺎﺕ »ﺍﻣﺮ ﻃﺒﻴﻌﻲ« ﺍﻧﻜﺎﺭ ﻧﻤﻮﺩ‪.‬‬

‫ﺩﺭ ﻗﻤﺎﺭﺑﺎﺯﻱ ﻧﻴﺰ ﻫﻤﻴﻦ ﺑﺪﻓﻬﻤﻲ ﺳﺎﺩﻩﺍﻧﮕﺎﺭﺍﻧﻪ ﻭ ﺍﺑﮋﻛﺘﻴﻮ ﺭﺥ ﻣﻲﺩﻫﺪ‪ .‬ﺩﺭ ﺍﻳﻨﺠﺎ ﺍﻣﺮ ﺍﺑﮋﻛﺘﻴﻮ‬

‫ﻣﻲﺧﻮﺍﻫﺪ ﺍﻗﺘﺼﺎﺩﻱ ﺑﺎﺷﺪ‪ :‬ﺛﺮﻭﺗﻤﻨﺪﺷﺪﻥ ﺑﺪﻭﻥ ﺗﻼﺵ ﺷﺨﺼﻲ‪ .‬ﺩﺭ ﺳﺤﺮ ﻧﻴﺰ ﺍﺯ ﻫﻤﻴﻦ ﺗﻼﺵ‬

‫ﻓﺮﺩﻱ ﺩﻭﺭﻱ ﻣﻲﺷﻮﺩ‪ .‬ﻫﻤﻪ ﺁﻧﻬﺎ ﺳﺮﭘﻴﭽﻲ ﺍﺯ ﺍﺻﻞ ﺗﻌﺎﺩﻝ ﻭ ﻛﺎﺭ ﺳﺨﺘﻲ ﺍﺳﺖ ﻛﻪ ﺑﺮ ﺟﻬﺎﻥ ﻭﺍﻗﻌﻲ‬

‫ﺣﻜﻢ ﻣﻲﺭﺍﻧﺪ‪ .‬ﭘﺲ ﺍﺩﻋﺎ ﻣﻲﺷﻮﺩ ﻛﻪ ﻫﺪﻑ ﻗﻤﺎﺭﺑﺎﺯﻱ‪ ،‬ﺣﻘﻪﺯﺩﻥ ﺑﺎ ﺑﺎﺯﻱ ﻛﺮﺩﻥ ﺑﺎ ﺍﺭﺯﺵ ﺍﺳﺖ‪.‬‬

‫ﺑﺎ ﺍﻳﻦ ﻭﺟﻮﺩ ﺩﺭ ﺍﻳﻨﺠﺎ ﻗﺪﺭﺕ ﺑﺎﺯﻱ ﺍﻏﻮﺍ ﺑﻪ ﺩﺳﺖ ﻓﺮﺍﻣﻮﺷﻲ ﺳﭙﺮﺩﻩﻣﻲﺷﻮﺩ‪ .‬ﻧﻪ ﺗﻨﻬﺎ ﺁﻥ‬

‫ﻗﺪﺭﺗﻲ ﻛﻪ ﺷﺨﺺ ﻫﻨﮕﺎﻣﻲ ﻛﻪ ﻣﻮﻗﺘﺎً ﺍﺯ ﺧﻮﺩ ﺑﻴﺨﻮﺩ ﻣﻲﺷﻮﺩ‪ ،‬ﺗﺠﺮﺑﻪ ﻣﻲﻛﻨﺪ‪ ،‬ﺑﻠﻜﻪ ﺁﻧﺮﺍ ﻛﻪ‬

‫ﻣﺎﻫﻴﺖ ﺍﺭﺯﺷﻬﺎﻳﻲ ﺭﺍ ﻛﻪ ﺑﺎ ﻗﺎﻧﻮﻥ ﻣﻲﺁﻳﻨﺪ ﺩﮔﺮﮔﻮﻥ ﻣﻲﻛﻨﺪ‪ ۴۵‬ﺩﺭ ﻗﻤﺎﺭﺑﺎﺯﻱ ﭘﻮﻝ ﺍﻏﻮﺍ ﻣﻲﺷﻮﺩ ﻭ‬

‫ﺍﺯ ﺣﻘﻴﻘﺘﺶ ﻣﻨﺤﺮﻑ ﻣﻲﮔﺮﺩﺩ‪ .‬ﺑﺎ ﺑﺮﻳﺪﻩ ﺷﺪﻥ ﺍﺯ ﻗﺎﻧﻮﻥ ﺗﻌﺎﺩﻝ )ﻛﻪ ﺍﺯ ﺑﻴﻦ ﻣﻲﺭﻭﺩ( ﻭ ﻗﺎﻧﻮﻥ‬

‫ﺑﺎﺯﻧﻤﺎﻳﻲ‪ ،‬ﭘﻮﻝ ﺩﻳﮕﺮ ﭼﻴﺰﻱ ﺟﺰ ﻧﺸﺎﻧﻪ ﻳﺎ ﻧﻤﺎﻳﻨﺪﻩﺍﻱ ﻧﻴﺴﺖ ﻛﻪ ﺑﻪ ﮔﺮﻭ ﮔﺬﺍﺭﺩﻩﻣﻲﺷﻮﺩ‪ .‬ﻭ‬

‫ﺷﺮﻁﺑﻨﺪﻱ ﻛﺮﺩﻥ ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭﻱ ﻧﻴﺴﺖ‪ .‬ﭘﻮﻝ ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭﻱ ﺷﺪﻩ ﺷﻜﻞ ﺳﺮﻣﺎﻳﻪ ﺭﺍ ﺑﻪ ﺧﻮﺩ‬

‫ﻣﻲﮔﻴﺮﺩ ﺍﻣﺎ ﺑﻪ ﻋﻨﻮﺍﻥ ﭘﻮﻝ ﺷﺮﻁﺑﻨﺪﻱ ﺑﻪ ﺷﻜﻞ ﻳﻚ ﻣﺒﺎﺭﺯﻩ ﻇﺎﻫﺮ ﻣﻲﺷﻮﺩ‪ .‬ﺷﺮﻁﺑﻨﺪﻱ ﻛﺮﺩﻥ‬

‫ﺍﺭﺗﺒﺎﻁ ﻛﻤﻲ ﺑﺎ ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭﻱ ﻛﺮﺩﻥ ﺩﺍﺭﺩ ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭﻱ ﻟﻴﺒﻴﺪﻳﻨﺎﻝ ﺑﺎ‬

‫ﺷﺮﻁﺑﻨﺪﻱﻫﺎﻱ ﺍﻏﻮﺍﮔﺮﻱ‪.‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭﻱ ﻭ ﺑﺎﺯﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭﻱ ﺑﻪ ﺍﻗﺘﺼﺎﺩ ﺭﻭﺍﻧﻲ ﺭﺍﻧﺶﻫﺎ ﻭ ﺟﻨﺴﻴﺖﻫﺎ ﺗﻌﻠﻖ ﺩﺍﺭﻧﺪ‪.‬‬

‫ﺑﺎﺯﻳﻬﺎ‪ ،‬ﺷﺮﻁﺑﻨﺪﻱﻫﺎ ﻭ ﻣﺒﺎﺭﺯﺍﺕ ﺍﺷﻜﺎﻝ ﺍﺷﺘﻴﺎﻕ ﻭ ﺍﻏﻮﺍﮔﺮﻱ ﺍﻧﺪ‪ .‬ﺑﻪ ﻃﻮﺭ ﻛﻠﻲﺗﺮ‪ ،‬ﺗﻤﺎﻣﻲ ﭼﻴﺰﻫﺎﻳﻲ‬

‫ﻣﺎﻧﻨﺪ ﭘﻮﻝ‪ ،‬ﺯﺑﺎﻥ‪ ،‬ﺟﻨﺴﻴﺖ ﻭ ﺍﺣﺴﺎﺳﺎﺕ‪ ،‬ﺑﺴﺘﻪ ﺑﻪ ﺍﻳﻨﻜﻪ ﺩﺭ ﻳﻚ ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭﻱ ﺑﻪ ﻛﺎﺭ ﺭﻭﻧﺪ ﻳﺎ ﺩﺭ‬

‫ﺷﺮﻁﺑﻨﺪﻱ ﻣﺘﺤﻤﻞ ﺗﻐﻴﻴﺮﺍﺕ ﻛﺎﻣﻞ ﻣﻌﻨﺎﻳﻲ ﻣﻲﺷﻮﻧﺪ‪ .‬ﺍﻳﻦ ﺩﻭ ﺑﻪ ﻳﻜﺪﻳﮕﺮ ﻛﺎﺳﺖ ﻧﺎﭘﺬﻳﺮﻧﺪ‪.‬‬

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‫ﺍﮔﺮ ﺑﺎﺯﻳﻬﺎ ﻏﺎﻳﺘﻲ ﺩﺍﺷﺘﻨﺪ‪ ،‬ﺗﻨﻬﺎ ﺑﺎﺯﻳﮕﺮ ﻣﻨﺎﺳﺐ "ﻣﺘﻘﻠﺐ" ﺑﻮﺩ‪ .‬ﺍﮔﺮ ﺩﺭ ﺍﻳﻦ ﺯﻣﺎﻧﻪ ﻣﻘﺪﺍﺭ‬

‫ﻣﺸﺨﺼﻲ ﺍﻋﺘﺒﺎﺭ ﺑﺎ ﺳﺮﭘﻴﭽﻲ ﺍﺯ ﻗﺎﻧﻮﻥ ﺑﻪ ﺩﺳﺖ ﻣﻲﺁﻳﺪ ﺩﺭ ﺗﻘﻠﺐ ﻳﺎ ﺳﺮﭘﻴﭽﻲ ﺍﺯ ﻳﻚ ﻗﺎﻋﺪﻩ ﺑﺎﺯﻱ‬

‫ﻫﻴﭻ ﺍﻋﺘﺒﺎﺭﻱ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﺩﺭ ﺣﻘﻴﻘﺖ ﺍﺯ ﺁﻧﺠﺎﻳﻲ ﻛﻪ ﺑﺎﺯﻱ ﺳﻴﺴﺘﻢ ﻧﻬﻲ ﻭ ﻣﻤﻨﻮﻋﻴﺖﻫﺎ ﻧﻴﺴﺖ ﻭ‬

‫ﻫﻴﭻ ﺧﻄﻮﻃﻲ ﻧﺪﺍﺭﺩ ﻛﻪ ﺑﺘﻮﺍﻥ ﺁﻧﺮﺍ ﺷﻜﺴﺖ‪ ،‬ﻓﺮﺩ ﻣﺘﻘﻠﺐ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺍﺯ ﻗﺎﻋﺪﻩ ﺳﺮﭘﻴﭽﻲ ﻛﻨﺪ‪ .‬ﺍﻭ‬

‫ﻧﻤﻲﺗﻮﺍﻧﺪ ﺍﺯ ﻗﺎﻋﺪﻩ ﺳﺮﭘﻴﭽﻲ ﻛﻨﺪ ﺑﻠﻜﻪ ﻓﻘﻂ ﻣﻲﺗﻮﺍﻧﺪ ﺁﻧﻬﺎ ﺭﺍ ﺭﻋﺎﻳﺖ ﻧﻜﻨﺪ‪ .‬ﻭ ﺍﻳﻦ ﻋﺪﻡ ﺭﻋﺎﻳﺖ ﺑﻪ‬

‫ﺳﺮﭘﻴﭽﻲ ﻣﻨﺠﺮ ﻧﻤﻲﺷﻮﺩ ﺑﻠﻜﻪ ﻓﺮﺩ ﺭﺍ ﺑﻪ ﺣﻮﺯﻩ ﻗﺎﻧﻮﻥ ﻋﻘﺐ ﻣﻲﺭﺍﻧﺪ‪.‬‬

‫ﻣﺘﻘﻠﺐ‪ ،‬ﻛﻪ ﺗﺸﺮﻳﻔﺎﺗﻲ ﺑﺎﺯﻱ ﺭﺍ ﺑﻪ ﺩﻻﻳﻞ ﺍﻗﺘﺼﺎﺩﻱ ﺍﻧﻜﺎﺭ ﻭ ﻳﺎ ﺣﺘﻲ ﺑﻲﺣﺮﻣﺘﻲ ﻛﻨﺪ )ﻳﺎ‬

‫ﺩﻻﻳﻞ ﺭﻭﺍﻧﻲ ﺍﮔﺮ ﻣﺘﻘﻠﺐ ﻓﻘﻂ ﺩﻧﺒﺎﻝ ﻟﺬﺕ ﺑﺮﺩ ﺑﺎﺷﺪ(‪ ،‬ﺑﺪﻳﻦ ﻃﺮﻳﻖ ﻗﻮﺍﻧﻴﻦ ﺟﻬﺎﻥ ﻭﺍﻗﻌﻲ ﺭﺍ ﺍﻋﺎﺩﻩ‬

‫ﻣﻲﻧﻤﺎﻳﺪ‪ .‬ﺑﺎ ﻧﻤﺎﻳﺶ ﻋﻮﺍﻣﻞ ﻃﺒﻴﻌﺖ ﻓﺮﺩﻱ‪ ،‬ﻭﻱ ﺍﻓﺴﻮﻥ "ﺩﻭﺋﻞ" ﺑﺎﺯﻱ ﺭﺍ ﻧﺎﺑﻮﺩ ﻣﻲﻛﻨﺪ‪ .‬ﺍﮔﺮ‬

‫ﭘﻴﺸﺘﺮ ﺗﻘﻠﺐ ﺑﺎ ﻣﺮﮒ ﻳﺎ ﻣﻜﺎﻓﺎﺗﻲ ﺷﺪﻳﺪ ﻣﺎﻧﻨﺪ ﻳﻚ ﮔﻨﺎﻩ ﻣﺠﺎﺯﺍﺕ ﻣﻲﺷﺪ ﺑﻪ ﺧﺎﻃﺮ ﺷﺒﺎﻫﺘﺶ ﺑﺎ‬

‫ﺯﻧﺎﻱ ﺑﺎ ﻣﺤﺎﺭﻡ ﺍﺳﺖ‪ :‬ﻗﻮﺍﻋﺪ ﻓﺮﻫﻨﮕﻲ ﺑﻪ ﻧﻔﻊ ﻗﻮﺍﻧﻴﻦ ﻃﺒﻴﻌﺖ ﺷﻜﺴﺘﻪﺷﺪﻩﺍﻧﺪ‪.‬‬

‫ﻧﺰﺩ ﻣﺘﻘﻠﺐ‪ ،‬ﻫﻴﭻﭼﻴﺰﻱ ﺩﻳﮕﺮﻱ ﺩﺭ ﺷﺮﻁﺑﻨﺪﻱ ﺍﻫﻤﻴﺖ ﻧﺪﺍﺭﺩ‪ .‬ﺍﻭ ﺷﺮﻁﺑﻨﺪﻱ ﺭﺍ ﺑﺎ‬

‫ﺍﺭﺯﺵﻫﺎﻱ ﺍﺿﺎﻓﻲ ﺍﺷﺘﺒﺎﻩ ﻣﻲﮔﻴﺮﺩ‪ .‬ﺍﻣﺎ ﺷﺮﻁﺑﻨﺪﻱﻫﺎ )ﺗﻨﻬﺎ( ﻓﺮﺩ ﺭﺍ ﻗﺎﺩﺭ ﻣﻲﺳﺎﺯﻧﺪ ﺗﺎ ﺑﺎﺯﻱ ﻛﻨﺪ‬

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‫ﺍﻏﻮﺍ‬

‫ﺍﻣﺎ ﻣﺒﺪﻝ ﻛﺮﺩﻥ ﭼﻴﺰﻱ ﻛﻪ ﺭﻭﻱ ﺁﻥ ﺷﺮﻁﺑﻨﺪﻱ ﻣﻲﺷﻮﺩ ﺑﻪ ﻫﺪﻑ ﺑﺎﺯﻱ ﺳﻮءﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﻋﺘﻤﺎﺩ‬

‫ﻃﺮﻑ ﻣﻘﺎﺑﻞ ﺍﺳﺖ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺭﻭﺵ‪ ،‬ﻗﻮﺍﻋﺪ ﺍﺣﺘﻤﺎﻻﺕ ﺑﺴﻴﺎﺭﻱ ﺭﺍ ﺑﺮﺍﻱ ﺑﺎﺯﻱ ﻓﺮﺍﻫﻢ ﻛﺮﺩﻩ ﻭ‬

‫ﻓﻀﺎﻳﻲ ﺭﺍ ﺍﻳﺠﺎﺩ ﻣﻲﻛﻨﻨﺪ ﻛﻪ ﺩﺭ ﺁﻥ ﻃﺮﻓﻴﻦ ﺑﺎﺯﻱ ﻣﻘﺎﺑﻞ ﻳﻜﺪﻳﮕﺮ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﻧﺪ‪ .‬ﺭﻓﺘﺎﺭ ﻛﺮﺩﻥ ﺑﺎ‬

‫ﻗﻮﺍﻋﺪ ﺑﺴﺎﻥ ﻳﻚ ﻓﺮﺟﺎﻡ )ﻳﺎ ﻫﻤﭽﻮﻥ ﺣﻘﻴﻘﺖ ﻭ ﻳﺎ ﻗﻮﺍﻧﻴﻦ( ﻫﻢ ﻧﺎﺑﻮﺩﻱ ﺑﺎﺯﻱ ﺍﺳﺖ ﻭ ﻫﻢ ﻧﺎﺑﻮﺩﻱ‬

‫ﺷﺮﻁﺑﻨﺪﻱﻫﺎﻳﺶ‪ .‬ﻗﻮﺍﻋﺪ ﻫﻴﭻ ﺍﺳﺘﻘﻼﻟﻲ ﻧﺪﺍﺭﻧﺪ ﻳﻌﻨﻲ ﺁﻥ ﻛﻴﻔﻴﺘﻲ ﻛﻪ ﺑﺮ ﻃﺒﻖ ﻧﻈﺮ ﻣﺎﺭﻛﺲ‬

‫ﻛﺎﻻﻫﺎ ﺭﺍ ﻫﻢ ﺑﻪ ﻃﻮﺭ ﺟﺰﺋﻲ ﻭ ﻛﻠﻲ ﺍﺭﺯﺵﮔﺬﺍﺭﻱ ﻛﻨﺪ ﻭ ﺍﺭﺯﺵ ﻣﻘﺪﺱ ﺣﻮﺯﻩ ﺍﻗﺘﺼﺎﺩﻱ ﻣﺤﺴﻮﺏ‬

‫ﻣﻲﺷﻮﺩ‪ .‬ﻣﺘﻘﻠﺐ ﺑﺴﻴﺎﺭ ﺧﻮﺩ ﻣﺨﺘﺎﺭ ﻭ ﻣﺴﺘﻘﻞ ﺍﺳﺖ ﺍﻭ ﻳﻚ ﻗﺎﻧﻮﻥ ﺑﻨﺎ ﻣﻲﻛﻨﺪ‪ ،‬ﻗﺎﻧﻮﻥ ﺧﻮﺩﺵ‪،‬‬

‫ﻗﺎﻧﻮﻧﻲ ﺑﺮ ﻋﻠﻴﻪ ﺁﻳﻴﻨﻬﺎﻱ ﻗﺮﺍﺭﺩﺍﺩﻱ ﺑﺎﺯﻱ ﺍﻳﻦ ﻫﻤﺎﻥ ﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺍﻭ ﺻﻠﺐ ﺻﻼﺣﻴﺖ‬

‫ﻣﻲﺷﻮﺩ‪ .‬ﻭ ﺍﻭ ﺁﺯﺍﺩ ﺍﺳﺖ ‪ -‬ﻭ ﻫﻤﻴﻦ ﺳﻘﻮﻁ ﺍﻭ ﺭﺍ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﻭﺟﻮﺩ ﺗﺎ ﺣﺪﻱ ﻫﻢ ﺩﻟﺘﻨﮓ‬

‫ﺍﺳﺖ ﭼﺮﺍ ﻛﻪ ﺩﻳﮕﺮ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺧﻮﺩﺵ ﺭﺍ ﺭﻭﻳﺎﺭﻭﻱ ﺍﻏﻮﺍﮔﺮﻱ ﺑﺎﺯﻱ ﻗﺮﺍﺭ ﺩﻫﺪ ﭼﺮﺍ ﻛﻪ ﻭﻱ ﺧﻮﺩ ﺭﺍ‬

‫ﺍﺯ ﺳﺮﮔﻴﺠﻲ ﺧﺎﺹ ﺍﻏﻮﺍﮔﺮﻱ ﻣﺤﺮﻭﻡ ﺳﺎﺧﺘﻪﺍﺳﺖ‪ .‬ﺑﺎ ﺍﻳﻦ ﻓﺮﺽ‪ ،‬ﺑﺎﻳﺪ ﮔﻔﺖ ﻛﻪ ﺍﻣﺘﻴﺎﺯﺍﺕ ﻓﺮﺩﻱ‬

‫ﻓﻘﻂ ﻳﻚ ﺑﻬﺎﻧﻪ ﺍﺳﺖ ﺩﺭ ﻭﺍﻗﻊ ﻭﻱ ﺑﻪ ﺧﺎﻃﺮ ﻓﺮﺍﺭ ﺍﺯ ﺍﻏﻮﺍﮔﺮﻱ ﺗﻘﻠﺐ ﻣﻲﻛﻨﺪ‪ .‬ﻭﻱ ﺗﻘﻠﺐ ﻣﻲﻛﻨﺪ‬

‫ﭼﺮﺍ ﻛﻪ ﺍﺯ ﺍﻏﻮﺍﺷﺪﻥ ﻣﻲﻫﺮﺍﺳﺪ‪.‬‬

‫ﻣﺒﺎﺭﺯﻩ ﻳﻚ ﺑﺎﺯﻱ ﺑﺴﻴﺎﺭ ﻣﺘﻔﺎﻭﺕ ﺍﺳﺖ ﻭ ﺑﺎﺯﻳﻬﺎ ﻫﻤﻮﺍﺭﻩ ﻣﺒﺎﺭﺯﻩ ﺍﻧﺪ ‪ -‬ﺣﺘﻲ ﻧﻪ ﺗﻨﻬﺎ ﻭﻗﺘﻲ ﻛﻪ‬

‫ﺩﻭﺭ ﻳﻚ ﻣﻴﺰ ﺑﺎﺯﻱ ﻣﻲﺷﻮﺩ‪ .‬ﺁﻣﺮﻳﻜﺎﻳﻲ ﺭﺍ ﺗﺼﻮﺭ ﻛﻨﻴﺪ ﻛﻪ ﻳﻚ ﺳﺮﻱ ﺗﺒﻠﻴﻐﺎﺗﻲ ﺭﺍ ﺩﺭ ﺭﻭﺯﻧﺎﻣﻪﻫﺎ ﺑﺎ‬

‫ﺍﻳﻦ ﻣﻀﻤﻮﻥ ﭼﺎﭖ ﺷﺪﻩﺍﺳﺖ ﺗﻌﻘﻴﺐ ﻣﻲﻛﻨﺪ‪" :‬ﻳﻚ ﺩﻻﺭ ﺑﻔﺮﺳﺘﻴﺪ ! ﺩﻩ ﻫﺰﺍﺭ ﺩﻻﺭ ﺟﺎﻳﺰﻩ‬

‫ﺑﮕﻴﺮﻳﺪ‪ ".‬ﭼﻴﺰﻱ ﺭﺍ ﻗﻮﻝ ﻧﻤﻲﺩﻫﺪ ﻭ ﻧﻤﻲﺧﻮﺍﻫﺪ ﮔﻮﺵ ﺑﺮﻱ ﻛﻨﺪ‪ .‬ﺍﻭ ﻧﻤﻲﮔﻮﻳﺪ ﻣﻦ ﻳﻚ ﺩﻻﺭ ﻧﻴﺎﺯ‬

‫ﺩﺍﺭﻡ‪ .‬ﺑﺎ ﺍﻳﻦ ﻛﺎﺭ ﺣﺘﻲ ﻳﻚ ﺩﻻﺭ ﻫﻢ ﺑﺮﺍﻱ ﻭﻱ ﻧﻤﻲﻓﺮﺳﺘﻨﺪ‪ .‬ﺩﺭ ﺍﻳﻨﺠﺎ ﻭﻱ ﺷﺎﻧﺲ ﻳﻚ ﻣﻌﺎﻭﺿﻪ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﻣﻌﺠﺰﻩﺁﺳﺎ ﺭﺍ ﺑﻪ ﺗﻌﻠﻴﻖ ﻣﻲﮔﺬﺍﺭﺩ‪ .‬ﺍﻳﻦ ﭼﻴﺰﻱ ﺑﻴﺶ ﺍﺯ ﺗﻌﺎﺩﻝ ﺍﺳﺖ‪ .‬ﻳﻚ ﺑﻠﻮﻑ‪ .‬ﻭﻱ ﻋﻤﻮﻡ ﺭﺍ ﺑﻪ‬

‫ﻳﻚ ﻣﻌﺎﻭﺿﻪ ﺩﻋﻮﺕ ﻣﻲﻛﻨﺪ‪ ....‬ﺍﻳﻦ ﭼﻪ ﻧﻮﻉ ﻣﻌﺎﻭﺿﻪﺍﻱ ﺍﺳﺖ ﻛﻪ ﻣﺮﺩﻡ ﺩﺭ ﻋﻮﺽ ﺧﺮﻳﺪ ﻳﻚ‬

‫ﺑﺴﺘﻨﻲ ﺑﺎ ﻳﻚ ﺩﻻﺭ ﭘﻮﻝ ﺧﻮﺩ ﺭﺍ ﺑﺮﺍﻱ ﺁﻧﻬﺎ ﻣﻲﻓﺮﺳﺘﻨﺪ؟ ﻫﻴﭻﻛﺲ ﻭﺍﻗﻌﺎً ﺍﻋﺘﻘﺎﺩﻱ ﻧﺪﺍﺭﺩ ﻛﻪ ﺑﺎ‬

‫ﻓﺮﺳﺘﺎﺩﻥ ﺍﻳﻦ ﭘﻮﻝ ﺩﻩ ﻫﺰﺍﺭ ﺩﻻﺭ ﺩﺭﻳﺎﻓﺖ ﻣﻲﻛﻨﺪ‪ ،‬ﺩﺭ ﺣﻘﻴﻘﺖ ﺁﻧﻬﺎ ﺑﻪ ﺭﻭﺵ ﺧﻮﺩﺷﺎﻥ ﻭﺍﺭﺩ ﻧﻮﻋﻲ‬

‫ﻣﺒﺎﺭﺯﻩ ﻣﻲﺷﻮﻧﺪ ﻛﻪ ﺑﻪ ﻣﺎﻧﻨﺪ ﻫﺮ ﻣﻌﺎﻭﺿﻪ ﺩﻳﮕﺮﻱ ﻣﻌﺒﺘﺮ ﺍﺳﺖ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺑﻪ ﺁﻧﻬﺎ ﺍﺳﺘﺨﻮﺍﻥ ﺟﻨﺎﻗﻲ‬

‫ﭘﻴﺸﻨﻬﺎﺩ ﺷﺪﻩﺍﺳﺖ ﻛﻪ ﺩﺭ ﻫﺮ ﺩﻭ ﺻﻮﺭﺕ ﺑﺮﻧﺪﻫﺎﻧﺪ‪.‬‬

‫ﻛﺴﻲ ﭼﻪ ﻣﻲﺩﺍﻧﺪ ﺷﺎﻳﺪ ﻣﻮﺛﺮ ﻭﺍﻗﻊ ﺷﻮﺩ‪) .‬ﺩﻩ ﻫﺰﺍﺭ ﺩﻻﺭ ﺩﺭ ﺻﻨﺪﻭﻕ ﭘﺴﺖ( ﺩﺭ ﭼﻨﻴﻦ‬

‫ﺣﺎﻟﺘﻲ ﻓﺮﺩ ﻋﻼﻣﺘﻲ ﺍﺯ ﺍﻟﻄﺎﻑ ﺍﻟﻬﻲ ﺩﺭﻳﺎﻓﺖ ﺩﺍﺷﺘﻪﺍﺳﺖ‪) .‬ﻛﺪﺍﻡ ﺧﺪﺍ؟ ﻫﻤﺎﻧﻲ ﻛﻪ ﺍﻳﻦ ﺁﮔﻬﻲ ﺭﺍ‬

‫ﭼﺎﭖ ﻛﺮﺩﻩﺍﺳﺖ(‬

‫ﺍﮔﺮ ﻋﻤﻞ ﻧﻜﻨﺪ‪ ،‬ﺑﻪ ﺧﺎﻃﺮ ﺍﻳﻨﺴﺖ ﻛﻪ ﻧﻤﻮﻧﻪﻱ ﻣﺒﻬﻤﻲ ﻛﻪ ﻧﺸﺎﻧﻪ ﺭﺍ ﺑﻪ ﻣﻦ ﺩﺍﺩ‪ ،‬ﻣﺒﺎﺭﺯﻩﺍﻡ ﺭﺍ‬

‫ﺍﺩﺍﻣﻪ ﻧﺪﺍﺩ ﻛﻪ ﭼﻪ ﺑﻬﺘﺮ ﺍﺯ ﻧﻈﺮ ﺭﻭﺍﻧﻜﺎﻭﻱ ﻣﻦ ﺧﺪﺍﻳﺎﻥ ﺭﺍ ﻣﻐﻠﻮﺏ ﻛﺮﺩﻩﺍﻡ‪.‬‬

‫ﻣﺒﺎﺭﺯﻩﺍﻱ ﺩﻭﮔﺎﻧﻪ‪ :‬ﺍﮔﺮ ﺗﻮﺳﻂ ﺗﻘﺪﻳﺮ ﺷﻜﺴﺖ ﺑﺨﻮﺭﺩ ﺍﻭ ﺗﺒﺮﺋﻪ ﺷﺪﻩﺍﺳﺖ‪ .‬ﻫﻤﻴﺸﻪ ﻣﻲﺗﻮﺍﻥ ﺩﺭ‬

‫ﺭﻭﺷﻬﺎﻱ ﻃﺮﺩ ﺷﺪﻥ ﻧﻮﻋﻲ ﻗﺎﺑﻠﻴﺖ ﻣﺠﺎﺯﺍﺕ ﻳﺎﻓﺖ‪ .‬ﺍﻣﺎ ﺩﺭ ﻭﺍﻗﻊ ﻣﺴﺌﻠﻪ ﮔﻨﺎﻩ ﻣﻄﺮﺡ ﻧﻴﺴﺖ‪.‬‬

‫ﻓﺮﺳﺘﺎﺩﻥ ﻳﻚ ﺩﻻﺭ ﺩﺭ ﭘﺎﺳﺦ ﺑﻪ ﺭﻗﺎﺑﺖ ﭘﻮﭺ ﻳﻚ ﺍﮔﻬﻲ ﭘﺎﺳﺨﻲ ﻓﺪﺍﻛﺎﺭﺍﻧﻪ ﺑﺮﺍﻱ ﺍﻣﺮﻱ ﺷﮕﺮﻑ‬

‫ﺍﺳﺖ‪ .‬ﺁﻥ ﻣﻲﺗﻮﺍﻧﺪ ﺍﻳﻨﮕﻮﻧﻪ ﻣﺤﺴﻮﺏ ﺷﻮﺩ‪" :‬ﺑﺎﻳﺪ ﭼﻴﺰﻱ ﭘﺸﺖ ﺍﻳﻦ ﺑﺎﺷﺪ‪ ".‬ﻣﻦ ﺧﺪﺍﻳﺎﻥ ﺭﺍ ﺑﻪ‬

‫ﭘﺎﺳﺨﮕﻮﻳﻲ ﻓﺮﺍﻣﻲﺧﻮﺍﻧﻢ ﻭ ﺍﮔﺮ ﭘﺎﺳﺨﻲ ﻧﺸﻨﻴﺪﻡ ﺁﻧﻬﺎ ﺭﺍ ﻧﺎﺑﻮﺩ ﻛﺮﺩﻩﺍﻡ‪ .‬ﻭ ﺗﻘﻠﻴﻞ ﺧﺪﺍﻳﺎﻥ ﺑﻪ ﻫﻴﭻ‬

‫ﻫﻤﻴﺸﻪ ﻣﻨﺒﻌﻲ ﺍﺯ ﻟﺬﺕ ﺍﺳﺖ‪.‬‬

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‫ﺍﻏﻮﺍ‬

‫ﺷﺮﻁﺑﻨﺪﻱﻫﺎ ﻭ ﻣﺒﺎﺭﺯﺍﺕ ﻓﺮﺍﺧﻮﺍﻧﻲ ﺣﺮﻳﻒ ﻭ ﺑﻠﻮﻑﺯﺩﻥ ﺍﺳﺖ‪ .‬ﺩﺭ ﺗﻤﺎﻡ ﺍﻳﻦ ﺭﻭﻳﻪ ﻫﻴﭻ‬

‫ﺍﻋﺘﻘﺎﺩﻱ ﺩﺭ ﻛﺎﺭ ﻧﻴﺴﺖ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻓﺮﺩ ﻫﺮﮔﺰ ﺑﻪ ﭼﻴﺰﻱ ﺍﻋﺘﻘﺎﺩ ﻧﻤﻲﺁﻭﺭﺩ‪ .‬ﻫﺮﮔﺰ ﻣﺴﺌﻠﻪ ﺍﻋﺘﻘﺎﺩ ﻳﺎ‬

‫ﻋﺪﻡ ﺍﻋﺘﻘﺎﺩ ﺩﺭ ﻣﻴﺎﻥ ﻧﻴﺴﺖ ﻧﻪ ﺑﻴﺸﺘﺮ ﺍﺯ ﺁﻧﭽﻪ ﺑﺮﺍﻱ ﺳﺎﻧﺘﺎ ﻛﻠﻮﺱ ﺑﻮﺩ‪ .‬ﺍﻋﺘﻘﺎﺩ ﻳﻚ ﻣﻔﻬﻮﻡ ﭘﻮﭺ‬

‫ﺍﺳﺖ ﺍﺯ ﻧﻮﻉ ﭼﻴﺰﻫﺎﻳﻲ ﻣﺎﻧﻨﺪ ﺍﻧﮕﻴﺰﺵ‪ ،‬ﻧﻴﺎﺯ‪ ،‬ﻏﺮﻳﺰﻩ‪ ،‬ﺭﺍﻧﺶ‪ ،‬ﻣﻴﻞ ﻭ ﺧﺪﺍﻳﺎﻧﻲ ﻛﻪ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ‬

‫ﻣﻲﺩﺍﻧﻨﺪ ﻫﻤﺎﻧﮕﻮﻳﻲﻫﺎﻳﻲ ﻛﻪ ﺍﺯ ﻣﺎ ﺍﻳﻦ ﺣﻘﻴﻘﺖ ﺭﺍ ﭘﻨﻬﺎﻥ ﻣﻲﺳﺎﺯﻧﺪ ﻛﻪ ﻫﺮﮔﺰ ﭼﻴﺰﻱ ﺑﻪ ﻃﻮﺭ‬

‫ﺭﻭﺍﻧﻜﺎﻭﺍﻧﻪ ﺑﺮ ﺑﻨﻴﺎﻥ ﺍﻋﺘﻘﺎﺩ ﺑﻨﺎ ﻧﺸﺪﻩﺍﺳﺖ ﺑﻠﻜﻪ ﺑﺮ ﭘﺎﻳﻪ ﺷﺮﻁﺑﻨﺪﻱﻫﺎ ﻭ ﻣﺒﺎﺭﺯﺍﺕ ﺑﻨﺎ ﺷﺪﻩﺍﺳﺖ‪.‬‬

‫ﺗﻌﻤﻖ ﻣﺴﺘﺪﻝ ﺩﻗﻴﻖ ﺑﺮ ﻫﺴﺘﻲ ﻫﺮﮔﺰ ﺍﻫﻤﻴﺘﻲ ﻧﺪﺍﺭﺩ )ﻭﺟﻮﺩ ﺧﺪﺍ ﻳﺎ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻥ ﻳﻚ ﺩﻻﺭ(‬

‫ﺑﻠﻜﻪ ﻣﻬﻢ ﺗﺤﺮﻳﻚ ﻣﺘﺪﺍﻭﻡ ﻳﻚ ﺑﺎﺯﻱ ﺍﺳﺖ‪ .‬ﻓﺮﺩ ﻫﻴﭻ ﺍﻋﺘﻘﺎﺩﻱ ﺑﻪ ﺧﺪﺍ ﻧﺪﺍﺭﺩ ﺩﺭﺳﺖ ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ‬

‫ﻫﻴﭻ ﺍﻋﺘﻘﺎﺩﻱ ﺑﻪ ﺷﺎﻧﺲ ﻧﺪﺍﺭﺩ ‪ -‬ﺟﺰ ﺩﺭ ﻣﺒﺎﺣﺚ ﻣﺒﺘﺬﻝ ﺭﻭﺍﻧﻜﺎﻭﻱ ﻭ ﺩﻳﻨﻲ‪ .‬ﻓﺮﺩ ﺑﺎ ﺁﻧﻬﺎ ﻣﺒﺎﺭﺯﻩ‬

‫ﻣﻲﻛﻨﺪ ﻭ ﺁﻧﻬﺎ ﻧﻴﺰ ﺑﺎ ﺍﻭ‪ .‬ﺑﺎ ﺁﻧﻬﺎ ﺑﺎﺯﻱ ﻣﻲﻛﻨﺪ ﻭ ﺁﻧﻬﺎ ﻧﻴﺰ ﺑﺎ ﺍﻭ ﺑﺎﺯﻱ ﻣﻲﻛﻨﻨﺪ‪ :‬ﺑﻪ ﻫﻤﻴﻦﺧﺎﻃﺮ ﻓﺮﺩ‬

‫ﻧﻴﺎﺯﻱ ﺑﻪ ﺍﻋﺘﻘﺎﺩ ﺩﺍﺷﺘﻦ ﺑﻪ ﺁﻧﻬﺎ ﻧﺪﺍﺭﺩ‪.‬‬

‫ﺍﺯ ﺍﻳﻦ ﺭﻭ‪ ،‬ﺍﻳﻤﺎﻥ ﺩﺭ ﻓﻀﺎﻱ ﺩﻳﻨﻲ ﺑﻪ ﻣﺎﻧﻨﺪ ﺍﻏﻮﺍﮔﺮﻱ ﺩﺭ ﺑﺎﺯﻱ ﻋﺸﻖ ﺍﺳﺖ‪ .‬ﺍﻋﺘﻘﺎﺩ ﺑﻪ ﻭﺟﻮﺩ‬

‫ﺧﺪﺍ ﺭﻭﻱ ﻣﻲﺁﻭﺭﺩ ﻭ ﺑﺎ ﺍﻳﻦ ﺍﻋﺘﻘﺎﺩ‪ ،‬ﻭﺟﻮﺩ )ﺧﺪﺍ( ﻭﺿﻌﻴﺘﻲ ﺑﻲﺧﺎﺻﻴﺖ‪ ،‬ﺑﻲﻧﻴﺮﻭ ﻭ ﺗﻪﻣﺎﻧﺪﻩ ﺑﻪ ﺧﻮﺩ‬

‫ﻣﻲﮔﻴﺮﺩ ﻭﺟﻮﺩ ﺍﺯ ﺑﻴﻦ ﻣﻲﺭﻭﺩ ﻭﻗﺘﻲ ﺩﻳﮕﺮ ﻭﺟﻮﺩﻫﺎ ﺑﺮﭼﻴﺪﻩﺷﻮﻧﺪ‪ .‬ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﺍﻳﻤﺎﻥ ﻣﺒﺎﺭﺯﻩ ﺑﺮ‬

‫ﺳﺮ ﻭﺟﻮﺩ ﺧﺪﺍ ﺍﺳﺖ‪ .‬ﻣﺒﺎﺭﺯﻩﺍﻱ ﺑﺎ ﺧﺪﺍ ﺑﺮﺍﻱ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻦ ﻭ ﺩﺭ ﻣﻘﺎﺑﻞ‪ ،‬ﺑﺮﺍﻱ ﻣﺮﺩﻥ‪ .‬ﻓﺮﺩ ﺧﺪﺍ ﺭﺍ‬

‫ﺑﺎ ﺍﻳﻤﺎﻥ ﺑﻪ ﺍﻭ ﺍﻏﻮﺍ ﻣﻲﻛﻨﺪ ﭘﺲ ﺧﺪﺍ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺟﺰ ﭘﺎﺳﺦ ﺑﻪ ﺍﻭ ﻛﺎﺭ ﺩﻳﮕﺮﻱ ﻛﻨﺪ‪ ،‬ﭼﺮﺍ ﻛﻪ‬

‫ﺍﻏﻮﺍﮔﺮﻱ ﻣﺎﻧﻨﺪ ﻣﺒﺎﺭﺯﻩ ﻳﻚ ﺷﻜﻞ ﺑﺮﮔﺸﺖﭘﺬﻳﺮ ﺍﺳﺖ‪ .‬ﻭ ﺧﺪﺍ ﺑﺎ ﻣﺮﺣﻤﺘﺶ ﺻﺪ ﺑﺎﺭ ﺑﻴﺸﺘﺮ ﺑﻪ ﺍﻳﻦ‬

‫ﻣﺒﺎﺭﺯﻩ ﺍﻳﻤﺎﻥ ﭘﺎﺳﺦ ﻣﻲﮔﻮﻳﺪ‪ .‬ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺩﺭ ﺗﻤﺎﻣﻲ ﻣﻌﺎﻭﺿﺎﺕ ﺁﻳﻴﻨﻲ‪ ،‬ﻛﻞ ﺍﺷﻜﺎﻝ ﻳﻚ ﻧﻈﺎﻡ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺗﻌﻬﺪﺍﺕ‪ ،‬ﺑﺎ ﻭﺟﻮﺩ ﺧﺪﺍ ﻣﺘﻌﻬﺪ ﻭ ﺣﺘﻲ ﻣﺠﺒﻮﺭ ﺑﻪ ﭘﺎﺳﺨﮕﻮﻳﻲ ﻣﻲﺷﻮﻧﺪ‪ .‬ﺣﺘﻲ ﺍﮔﺮ ﺧﺪﺍ ﻣﺠﺒﻮﺭ‬

‫ﻧﺒﺎﺷﺪ ﻛﻪ ﻧﺸﺎﻥ ﺩﻫﺪ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺍﻋﺘﻘﺎﺩ‪ ،‬ﺑﺎ ﭘﺮﺳﺶ ﺍﺯ ﻭﺟﻮﺩ ﺧﺪﺍ ﻭ ﺗﻌﻬﺪ ﺑﻪ ﻣﻮﺟﻮﺩﻳﺖ ﺟﻬﺎﻥ‬

‫ﺍﺷﺒﺎﻉ ﻣﻲﺷﻮﺩ‪ .‬ﺷﻜﻞ ﻛﺎﻣﻼً ﺍﻓﺴﻮﻥ ﺯﺩﺍﻳﻲ ﺷﺪﻩ ﻭ ﻗﺮﺍﺭﺩﺍﺩﻱ )‪ (Contractual‬ﺩﺍﺭﺩ‪ .‬ﺍﻣﺎ ﺍﻳﻤﺎﻥ ﺑﺎ‬

‫ﺷﺮﻁﺑﻨﺪﻱ ﺑﻪ ﺧﺪﺍ ﺭﻭﻱ ﻣﻲﺁﻭﺭﺩ‪ :‬ﺧﺪﺍ ﺑﺎ ﺍﻧﺴﺎﻥ ﺑﺮ ﺳﺮ ﻭﺟﻮﺩ ﻣﺒﺎﺭﺯﻩ ﻣﻲﻛﻨﺪ )ﻭ ﺍﻧﺴﺎﻥ ﻣﻲﺗﻮﺍﻧﺪ‬

‫ﺑﻪ ﺍﻳﻦ ﻣﺒﺎﺭﺯﻩ ﺑﺎ ﻣﺮﮔﺶ ﭘﺎﺳﺦ ﺩﻫﺪ(‪ ۴۶‬ﻭ ﺍﻧﺴﺎﻥ ﺑﺎ ﻗﺮﺑﺎﻧﻲ ﻛﺮﺩﻥ ﺑﺮﺍﻱ ﺍﻭ ﺑﻪ ﺍﻳﻦ ﻣﺒﺎﺭﺯﻩ ﭘﺎﺳﺦ‬

‫ﻣﻴﺪﻫﺪ ﻳﻌﻨﻲ ﺩﺭ ﻣﻘﺎﺑﻞ ﺑﺎ ﻧﺎﺑﻮﺩ ﻛﺮﺩﻥ ﺍﻭ‪) .‬ﺍﺯ ﻗﺮﺑﺎﻧﻲ ﻛﺮﺩﻥ ﻳﻚ ﺳﻜﻪ ﺩﺭ ﻣﺜﺎﻝ ﻓﻮﻕﺍﻟﺬﻛﺮ ﻭ ﺣﺘﻲ‬

‫ﻗﺮﺑﺎﻧﻲ ﻛﺮﺩﻥ ﺍﻧﺴﺎﻧﻬﺎ ﻧﺰﺩ ﺑﺪﻭﻳﺎﻥ ﻫﻤﮕﻲ ﭘﺎﺳﺨﻲ ﺑﻪ ﺍﻳﻦ ﻣﺒﺎﺭﺯﻩ ﺍﺳﺖ )ﻡ ((‪ .‬ﻓﺮﺩ ﻫﻤﻴﺸﻪ ﺁﺭﺯﻭ‬

‫ﺩﺍﺭﺩ ﭼﻴﺰﻱ ﺑﻴﺶ ﺍﺯ ﻳﻚ ﻭﺟﻮﺩ ﻣﺤﺾ ﻭ ﭼﻴﺰﻱ ﺑﻴﺸﺘﺮ ﺍﺯ ﻳﻚ ﺍﺭﺯﺵ ﻣﻌﺎﺩﻝ ﺑﺎﺷﺪ‪ .‬ﻭ ﺍﻳﻦ ﭼﻴﺰ‬

‫ﺑﻴﺸﺘﺮ‪ ،‬ﺯﻳﺎﺩﻩﺭﻭﻱﻫﺎﻱ ﻣﺒﺎﺭﺯﻩ ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﻗﺮﺍﺭﺩﺍﺩ ﻭ ﺯﻳﺎﺩﻩ ﺧﻮﺍﻫﻲﻫﺎﻱ ﺁﻥ ﺩﺭ ﻣﻘﺎﺑﻞ ﺗﻌﺎﺩﻝ‬

‫ﻋﻠﻲ ﻭ ﻣﻌﻠﻮﻟﻲ‪ ،‬ﺁﺷﻜﺎﺭﺍ ﻧﺘﻴﺠﻪ ﺍﻏﻮﺍﮔﺮﻱ ﺩﺭ ﺑﺎﺯﻱ ﻭ ﺟﺎﺩﻭ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﻣﺎ ﺍﻳﻦ ﺭﺍ ﺩﺭ ﺍﻏﻮﺍﮔﺮﻱ‬

‫ﻋﺎﺷﻘﺎﻧﻪ ﺗﺠﺮﺑﻪ ﻛﺮﺩﻩﺍﻳﻢ ﭼﺮﺍ ﺁﻥ ﺭﺍ ﺩﺭ ﺭﻭﺍﺑﻂﻣﺎﻥ ﺑﺎ ﺟﻬﺎﻥ ﺗﺠﺮﺑﻪ ﻧﻜﻨﻴﻢ؟ ﺗﺄﺛﻴﺮ ﻧﻤﺎﺩﻳﻦ ﻣﻔﻬﻮﻣﻲ‬

‫ﭘﻮﭺ ﻭ ﻋﺒﺚ ﻧﻴﺴﺖ‪ .‬ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩ ﺷﻜﻞ ﺩﻳﮕﺮﻱ ﺍﺯ ﭼﺮﺧﻪ ﻛﺎﻻﻫﺎ ﻭ ﻧﺸﺎﻧﻪﻫﺎﺳﺖ ﺷﻜﻠﻲ ﻣﻮﺛﺮﺗﺮ ﻭ‬

‫ﻧﻴﺮﻭﻣﻨﺪﺗﺮ ﺍﺯ ﭼﺮﺧﻪ ﺍﻗﺘﺼﺎﺩﻱ‪ .‬ﺁﻧﭽﻪ ﺑﺮﺍﻱ ﺷﺨﺺ ﺩﺭ ﺑﺮﺩﻥﻫﺎﻱ ﻣﻌﺠﺰﻩﺁﺳﺎ ﺭ ﻗﻤﺎﺭﺑﺎﺯﻱ‬

‫ﻣﺠﺬﻭﺏﻛﻨﻨﺪﻩ ﺍﺳﺖ‪ ،‬ﭘﻮﻝ ﻧﻴﺴﺖ‪ .‬ﺑﻠﻜﻪ ﺍﺯ ﺳﺮﮔﻴﺮﻱ ﺍﻟﺘﺰﺍﻡ ﺑﻪ ﺍﻳﻦ ﺣﻮﺯﻩ ﻧﻤﺎﺩﻳﻦ ﻓﺮﻣﺎﻳﺸﻬﺎﻱ‬

‫ﺯﻳﺎﺩﻩﺧﻮﺍﻫﺎﻧﻪ ﻭ ﺑﻲﻭﺍﺳﻄﻪ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﺍﻏﻮﺍﮔﺮﻱ ﻗﻮﺍﻋﺪ ﭼﻴﺰﻫﺎ ﺍﺭﺗﺒﺎﻁ ﺩﺍﺭﺩ‪.‬‬

‫ﺩﺭ ﻧﺘﻴﺠﻪ‪ ،‬ﻫﻴﭻﭼﻴﺰﻱ ﻧﻤﻲﺗﻮﺍﻧﺪ ﻣﺎﻧﻊ ﺍﻏﻮﺍ ﺷﺪﻥ ﭼﻴﺰﻫﺎ ﮔﺮﺩﺩ ‪ -‬ﻓﺮﺩ ﺑﻪ ﺳﺎﺩﮔﻲ ﻣﺠﺒﻮﺭ‬

‫ﺍﺳﺖ ﻗﻮﺍﻋﺪ ﺑﺎﺯﻱ ﺭﺍ ﺑﻴﺎﺑﺪ‪.‬‬

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‫ﺍﻏﻮﺍ‬

‫ﻛﻞ ﻣﺴﺌﻠﻪ ﺷﺎﻧﺲ ﺍﻳﻨﺠﺎ ﻣﺸﺨﺺ ﻣﻲﺷﻮﺩ‪ .‬ﺟﺎﺩﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺷﺮﻁﺑﻨﺪﻱ ﻛﻨﻨﺪﻩ ﻣﺸﺎﺑﻪ‬

‫ﺑﺎﺯﻳﻬﺎﻱ ﺷﺎﻧﺴﻲ ﻣﺎ ﺍﺳﺖ‪ .‬ﺁﻧﭽﻪ ﺑﺮ ﺭﻭﻱ ﺁﻥ ﺷﺮﻁﺑﻨﺪﻱ ﻣﻲﺷﻮﻧﺪ‪ ،‬ﺧﺮﺩﻩ ﺍﺭﺯﺷﻲ ﻛﻪ ﻓﺪﺍﻱ ﺷﺎﻧﺲ‬

‫ﻣﻲﺷﻮﺩ‪ ،‬ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻧﻤﻮﻧﻪ ﻣﺘﻌﺎﻟﻲ ﺗﺼﻮﺭ ﻣﻲﺷﻮﺩ ﻧﻪ ﺑﺮﺍﻱ ﺑﺮﺩﻥ ﺁﻥ‪ ،‬ﺑﻠﻜﻪ ﺑﺮﺍﻱ ﺍﺯ ﺩﺳﺖﺩﺍﺩﻥ‬

‫ﺗﻌﺎﻟﻲ ﻭ ﺗﺠﺮﻳﺪﺵ ﻭ ﺗﺒﺪﻳﻞ ﺁﻥ ﺑﻪ ﻳﻚ ﺷﺮﻳﻚ ﻳﺎ ﺣﺮﻳﻒ‪ .‬ﺷﺮﻁﺑﻨﺪﻱ ﻳﻚ ﺩﻋﻮﺕ ﺍﺳﺖ‪ ،‬ﺑﺎﺯﻱ‬

‫ﻳﻚ ﺩﻭﺋﻞ‪ .‬ﺷﺎﻧﺲ ﺑﻪ ﭘﺎﺳﺨﮕﻮﻳﻲ ﻓﺮﺍﺧﻮﺍﻧﺪﻩ ﻣﻲﺷﻮﺩ ﺑﺎ ﺷﺮﻁﺑﻨﺪﻱ ﺑﺎﺯﻳﻜﻦ‪ ،‬ﺷﺎﻧﺲ ﻣﻠﺰﻡ ﻣﻲﺷﻮﺩ‬

‫ﻛﻪ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺻﻮﺭﺕ ﻳﻚ ﻫﻤﺮﺍﻩ ﻳﺎ ﻳﻚ ﻣﺘﺨﺎﺻﻢ ﻧﺸﺎﻥ ﺩﻫﺪ‪ .‬ﺷﺎﻧﺲ ﻫﺮﮔﺰ ﺑﻲﺗﻔﺎﻭﺕ ﻧﻴﺴﺖ‪.‬‬

‫ﺑﺎﺯﻱ ﺁﻥ ﺭﺍ ﺑﻪ ﺑﺎﺯﻳﮕﺮ ﻭ ﻃﺮﻑ ﺩﻳﮕﺮ ﻣﺠﺎﺩﻟﻪ ﺍﻧﺘﻘﺎﻝ ﻣﻲﺩﻫﺪ‪ .‬ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ ﺑﺎﻳﺪ ﮔﻔﺖ ﻓﺮﺽ‬

‫ﺍﺳﺎﺳﻲ ﭘﺸﺖ ﺑﺎﺯﻱ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺷﺎﻧﺴﻲ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪.‬‬

‫ﺷﺎﻧﺲ ﺩﺭ ﻣﻌﻨﺎﻱ ﻣﺪﺭﻥ ﻭ ﻣﻨﻄﻘﻲﺍﺵ‪ ،‬ﻫﺮﺝ ﻭ ﻣﺮﺝ ﻭ ﻣﻜﺎﻧﻴﺴﻤﻲ ﺗﺼﺎﺩﻓﻲ ﺍﺳﺖ‪ ،‬ﺍﺣﺘﻤﺎﻝ‬

‫ﻣﺤﺾ ﻛﻪ ﻣﻮﺿﻮﻉ ﻗﻮﺍﻧﻴﻦ ﺍﺣﺘﻤﺎﻝ )ﻭ ﻧﻪ ﻗﻮﺍﻋﺪ ﺑﺎﺯﻱ( ﺍﺳﺖ ﻧﻮﻋﻲ ﺗﺼﺎﺩﻑ ﺧﻨﺜﻲ ﺑﺰﺭﮒ ﺍﺳﺖ‪.‬‬

‫)‪ (GNA‬ﺧﻼﺻﻪﺍﻱ ﺍﺯ ﺟﻬﺎﻥ ﺑﻲﺛﺒﺎﺕ ﺗﺤﺖ ﺳﻠﻄﻪ ﺍﻧﺘﺰﺍﻋﻴﺎﺕ ﺁﻣﺎﺭﻱ ﺍﺳﺖ‪ .‬ﺍﻟﻮﻫﻴﺘﻲ ﻧﺎﻣﺤﺪﻭﺩ‬

‫ﺩﻧﻴﻮﻱ ﺷﺪﻩ ﻭ ﺍﻓﺴﻮﻥﺯﺩﺍﻳﻲ ﺷﺪﻩ‪ .‬ﭼﻨﻴﻦ ﺷﺎﻧﺴﻲ ﺩﺭ ﺑﺎﺯﻳﻬﺎ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﺑﺎﺯﻳﻬﺎﻱ ﭼﻨﻴﻦ ﺷﺎﻧﺴﻲ‬

‫ﺭﺍ ﺍﺯ ﺧﻮﺩ ﺩﻭﺭ ﻧﮕﺎﻩ ﻣﻲﺩﺍﺭﻧﺪ‪ .‬ﺑﺎﺯﻱ ﺷﺎﻧﺴﻲ ﺍﻧﻜﺎﺭ ﻣﻲﻛﻨﺪ ﻛﻪ ﺩﻧﻴﺎ ﺗﺼﺎﺩﻓﻲ ﭼﻴﺪﻩ ﺷﺪﻩﺍﺳﺖ‪.‬‬

‫ﺑﺮﻋﻜﺲ ﺩﺭ ﺗﻼﺷﻨﺪ ﺗﺎ ﭼﻨﻴﻦ ﻧﻈﻢ ﺧﻨﺘﻲ ﺭﺍ ﺑﺮﭼﻴﻨﻨﺪ ﻭ ﻧﻈﻢ ﺁﻳﻴﻨﻲ ﺍﻟﺘﺰﺍﻣﺎﺕ ﺭﺍ ﺑﺎﺯﺳﺎﺯﻱ ﻧﻤﺎﻳﻨﺪ‬

‫ﻛﻪ ﺟﻬﺎﻥ ﺁﺯﺍﺩ ﺗﻌﺎﺩﻝﻫﺎ ﺭﺍ ﺍﺯ ﺑﻴﻦ ﻣﻲﺑﺮﺩ‪ .‬ﺑﺪﻳﻦﻃﺮﻳﻖ‪ ،‬ﺑﺎﺯﻳﻬﺎ ﺑﻨﻴﺎﺩﺍً ﺩﺭ ﺑﺮﺍﺑﺮ ﺍﻗﺘﺼﺎﺩ ﻭ ﻗﺎﻧﻮﻥ ﻗﺮﺍﺭ‬

‫ﻣﻲﮔﻴﺮﻧﺪ‪ .‬ﺑﺎﺯﻳﻬﺎ ﻭﺍﻗﻌﻴﺖ ﺷﺎﻧﺲ ﺭﺍ ﭼﻮﻥ ﻳﻚ ﻗﺎﻧﻮﻥ ﺍﺑﮋﻛﺘﻴﻮ ﺑﻪ ﭼﺎﻟﺶ ﻣﻲﻛﺸﺎﻧﻨﺪ ﻭ ﺁﻧﺮﺍ ﺑﺎ‬

‫ﺟﻬﺎﻧﻲ ﻣﺤﺼﻮﺭ‪ ،‬ﺧﻮﺵ ﻳﻤﻦ‪ ،‬ﺩﻭﺋﻠﻲ‪ ،‬ﺭﻗﺎﺑﺘﻲ ﻭ ﻏﻴﺮ ﺗﺼﺎﺩﻓﻲ ﺟﺎﻳﮕﺰﻳﻦ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺟﻬﺎﻧﻲ‬

‫ﺍﻓﺴﻮﻥﺷﺪﻩ )ﺍﻓﺴﻮﻥﺷﺪﻩ ﺑﻪ ﻣﻌﻨﺎﻱ ﻭﺍﻗﻌﻲ ﻛﻠﻤﻪ (‪ .‬ﺟﻬﺎﻥ ﺍﻏﻮﺍﮔﺮﻱ‪.‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺑﻨﺎﺑﺮﺍﻳﻦ ﺩﺳﺘﻜﺎﺭﻱﻫﺎﻱ ﻣﻮﻫﻮﻡ‪ ،‬ﺑﺎﺯﻳﻬﺎ ﺭﺍ ﺍﺣﺎﻃﻪ ﻧﻤﻮﺩﻩﺍﺳﺖ ﻛﻪ ﺑﺴﻴﺎﺭﻱ ﺑﻪ ﺩﻳﺪ‬

‫ﺣﻘﺎﺭﺕﺁﻣﻴﺰﻱ ﺑﺪﺍﻥ ﻣﻲﻧﮕﺮﻧﺪ‪ .‬ﻣﺎﻣﻦ ﺍﻋﻤﺎﻝ ﺟﺎﺩﻭﻳﻲ ﺍﺯ ﺑﺎﺯﻱ ﺗﺎﺭﻳﺦ ﺗﻮﻟﺪ ﻓﺮﺩ ﺗﺎ ﺟﺴﺘﺠﻮ ﺑﺮﺍﻱ‬

‫ﺳﺮﻱﻫﺎ ﺑﺮﮔﺮﺩﻧﺪﻩ‪) ،‬ﻳﺎﺯﺩﻩ ﺍﺯ ﻳﺎﺯﺩﻩ ﺑﺎﺭ ﺩﻭﻳﺪﻥ ﺩﺭ ﻣﻮﻧﺖ ﻛﺎﺭﻟﻮ ﺑﻠﻨﺪ ﻣﻲﺷﻮﺩ( ﺍﺯ ﺯﻳﺮﻛﺎﻧﻪﺗﺮﻳﻦ‬

‫ﻓﻮﺭﻣﻮﻝﻫﺎﻱ ﺑﺮﺩﻥ‪ ،‬ﺗﺎ ﭘﺎﻱ ﺧﺮﮔﻮﺵ ﺩﺭ ﺟﻴﺐ ﻛﺖ‪ ،‬ﺁﻧﻬﺎ ﻫﻤﮕﻲ ﺍﻳﻦ ﺍﻳﺪﻩ ﺭﺍ ﻣﻲﭘﺮﻭﺭﺍﻧﻨﺪ ﻛﻪ‬

‫ﺷﺎﻧﺲ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ ،‬ﺟﻬﺎﻥ ﺍﺯ ﺷﺒﻜﻪﻫﺎﻱ ﺭﻭﺍﺑﻂ ﻧﻤﺎﺩﻳﻦ ﺳﺎﺧﺘﻪ ﺷﺪﻩﺍﺳﺖ‪ .‬ﻫﻴﭻ ﺍﺗﺼﺎﻻﺕ‬

‫ﺗﺼﺎﺩﻓﻲ ﺩﺭﻛﺎﺭ ﻧﻴﺴﺖ‪ ،‬ﺑﻠﻜﻪ ﺑﺎﻓﺘﻬﺎﻱ ﺍﺯ ﺍﻟﺘﺰﺍﻡﻫﺎ‪ ،‬ﺑﺎﻓﺖﻫﺎﻱ ﺍﻏﻮﺍﮔﺮﻱ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻛﻪ ﻓﺮﺩ ﻓﻘﻂ‬

‫ﺑﺎﻳﺪ ﺧﻮﺏ ﺑﺎﺯﻱ ﻛﻨﺪ‪...‬‬

‫ﻛﺴﻲ ﻛﻪ ﺷﺮﻁ ﻣﻲﺑﻨﺪﺩ ﺩﺭ ﺑﺮﺍﺑﺮ ﺗﻤﺎﻣﻲ ﺍﺭﺯﺷﻬﺎﻱ ﺟﻬﺎﻥ ﺑﻲﺗﻔﺎﻭﺕ ﻛﻪ ﺷﺎﻧﺲ ﺍﺑﮋﻛﺘﻴﻮ‬

‫ﺑﺨﺸﻲ ﺍﺯ ﺁﻥ ﺍﺳﺖ‪ ،‬ﺍﺯ ﺧﻮﺩ ﺩﻓﺎﻉ ﻣﻲﻛﻨﺪ‪ .‬ﻛﺴﻲ ﻛﻪ ﺷﺮﻁ ﻣﻲﺑﻨﺪﺩ ﻣﺪﻋﻲ ﺍﺳﺖ ﻛﻪ ﻫﻤﻪﭼﻴﺰ‬

‫ﻣﻲﺗﻮﺍﻧﺪ ﺍﻏﻮﺍﺷﻮﺩ‪ :‬ﺍﻋﺪﺍﺩ‪ ،‬ﺣﺮﻭﻑ ﻭ ﻳﺎ ﻗﻮﺍﻧﻴﻨﻲ ﻛﻪ ﺑﺮ ﺗﻮﺯﻳﻊ ﺁﻧﻬﺎ ﺣﺎﻛﻢ ﺍﺳﺖ‪ .‬ﺍﻭ ﻣﻲﺧﻮﺍﻫﺪ ﺧﻮﺩ‬

‫ﻗﺎﻧﻮﻥ ﺭﺍ ﻫﻢ ﺍﻏﻮﺍ ﻛﻨﺪ‪ .‬ﻛﻮﭼﻜﺘﺮﻳﻦ ﻧﺸﺎﻧﻪ‪ ،‬ﻛﻮﭼﻜﺘﺮﻳﻦ ﺍﺷﺎﺭﻩ‪ ،‬ﻣﻌﻨﺎﻳﻲ ﺩﺍﺭﺩ‪ ،‬ﺍﻣﺎ ﻧﻪ ﺍﻳﻨﻜﻪ ﺑﺨﺸﻲ‬

‫ﺍﺯ ﻳﻚ ﺭﻭﻧﺪ ﻣﻨﻄﻘﻲ ﺍﺳﺖ‪ ،‬ﺑﻠﻜﻪ ﻫﺮ ﻧﺸﺎﻧﻪﺍﻱ ﺁﺳﻴﺐﭘﺬﻳﺮ ﺍﺳﺖ ﻭ ﻣﻲﺗﻮﺍﻧﺪ ﺑﺎ ﻧﺸﺎﻧﻪﻫﺎﻱ ﺩﻳﮕﺮ ﺍﻏﻮﺍ‬

‫ﺷﻮﺩ‪ .‬ﺟﻬﺎﻥ ﺑﺎ ﺯﻧﺠﻴﺮﻩﻫﺎﻳﻲ ﮔﺴﺴﺖﻧﺎﭘﺬﻳﺮ ﻧﮕﺎﻩﺩﺍﺷﺘﻪ ﺷﺪﻩﺍﺳﺖ ﺍﻣﺎ ﺍﻳﻦ ﺯﻧﺠﻴﺮﻩﻫﺎ ﻗﺎﻧﻮﻥ‬

‫ﻧﻴﺴﺘﻨﺪ‪.‬‬

‫ﻏﻴﺮ ﺍﺧﻼﻗﻲ ﺑﻮﺩﻥ ﺑﺎﺯﻱ ﺩﺭ ﺍﻳﻨﺠﺎ ﻧﻬﻔﺘﻪﺍﺳﺖ ﻛﻪ ﺍﻏﻠﺐ ﺑﻪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﻧﺴﺒﺖ ﺩﺍﺩﻩﻣﻲﺷﻮﺩ‬

‫ﻛﻪ ﺑﺎﺯﻱ ﺍﺯ ﻓﺮﺩ ﻣﻲﺧﻮﺍﻫﺪ ﺑﺴﻴﺎﺭ ﺯﻳﺎﺩ ﻭ ﺑﺴﻴﺎﺭ ﺳﺮﻳﻊ ﺑﺮﻧﺪﻩ ﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﺑﻪ ﺑﺎﺯﻱ ﺑﺮﻋﻜﺲ ﺍﻋﺘﺒﺎﺭ‬

‫ﺯﻳﺎﺩﻱ ﻫﻢ ﻣﻲﺑﺨﺸﺪ‪ .‬ﺑﺎﺯﻳﻬﺎ ﻏﻴﺮ ﺍﺧﻼﻗﻲﺗﺮ ﺍﺯ ﺍﻳﻦ ﺣﺮﻓﻬﺎ ﻫﺴﺘﻨﺪ‪ .‬ﺁﻧﻬﺎ ﻏﻴﺮ ﺍﺧﻼﻗﻲﺍﻧﺪ ﭼﺮﺍ ﻛﻪ‬

‫ﻧﻈﺎﻡ ﺍﻏﻮﺍﮔﺮﻱ ﺭﺍ ﺑﻪ ﺟﺎﻱ ﻧﻈﺎﻡ ﺗﻮﻟﻴﺪ ﻣﻲﻧﺸﺎﻧﻨﺪ‪.‬‬

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‫ﺍﻏﻮﺍ‬

‫ﺍﮔﺮ ﺑﺎﺯﻱ ﻣﺨﺎﻃﺮﻩﺍﻱ ﺑﺮﺍﻱ ﺍﻏﻮﺍﮔﺮﻱ ﺷﺎﻧﺲ ﺍﺳﺖ ﻛﻪ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺁﻣﻴﺰﺵ ﻧﺸﺎﻧﻪﻫﺎ ﻭﺍﺑﺴﺘﻪ‬

‫ﻣﻲﺳﺎﺯﺩ )ﺍﻣﺎ ﻧﻪ ﻧﺸﺎﻧﻪﻫﺎﻳﻲ ﻋﻠﻲ ﻭ ﻣﻌﻠﻮﻟﻲ ﻭ ﻧﻪ ﻣﺠﻤﻮﻋﻪﻫﺎﻱ ﺗﺼﺎﺩﻓﻲ( ﻭ ﺍﮔﺮ ﺑﺎﺯﻳﻬﺎ ﻣﻲﺧﻮﺍﻫﺪ‬

‫ﺑﻲﺗﻔﺎﻭﺗﻲ ﻭ ﺑﻲﻃﺮﻓﻲ ﺍﺑﮋﻛﺘﻴﻮ ﺷﺎﻧﺲ ﺭﺍ ﻭ ﺁﺯﺍﺩﻱ ﺁﻣﺎﺭﻱ ﺁﻧﻬﺎ ﺭﺍ ﺣﺬﻑ ﻧﻤﺎﻳﻨﺪ ﻭ ﺑﻪ ﺷﻜﻞ ﺩﻭﺋﻞ‬

‫ﻣﺒﺎﺭﺯﻩ‪ ،‬ﻭ ﺩﻋﻮﺕﻫﺎ ﻣﺒﺪﻝ ﻧﻤﺎﻳﻨﺪ ﭘﺲ ﺑﻲﻣﻌﻨﻲ ﺍﺳﺖ ﻛﻪ ﻣﺎﻧﻨﺪ ﮊﻳﻠﻮ ﺩﻟﻮﺯ ﺩﺭ ﻣﻨﻄﻖ ﻣﻌﻨﺎ ﺗﺼﻮﺭ‬

‫ﻛﻨﻴﻢ ﻛﻪ ﻳﻚ ﺑﺎﺯﻱ ﺍﻳﺪﻩﺁﻝ ﻫﻴﺠﺎﻥ ﺍﺣﺘﻤﺎﻻﺕ ﻭ ﺍﺯ ﺍﻳﻦ ﺭﻭ ﺑﻨﻴﺎﺩﺍً ﺍﻓﺰﺍﻳﺶ ﻧﺎﻣﻌﻠﻮﻣﻲ ﺍﺳﺖ ﻛﻪ ﺍﺯ‬

‫ﺑﺎﺯﻱ ﻫﻤﺰﻣﺎﻥ ﺳﺮﻱﻫﺎ ﻭ ﺑﻴﺎﻥ ﺭﺍﺩﻳﻜﺎﻝ» ﺷﺪﻥ« ﻭ ﻣﻴﻞ ﻧﺎﺷﻲ ﻣﻲﺷﻮﺩ‪.‬‬

‫ﺍﻳﻨﻜﻪ ﺩﻭ ﭘﻲﺭﻓﺖ )ﺩﺭ ﺑﺎﺯﻱ( ﻫﺮﮔﺰ ‪ -‬ﻭ ﻳﺎ ﺑﻪ ﺳﺨﺘﻲ ‪ -‬ﻳﻜﺪﻳﮕﺮ ﺭﺍ ﻗﻄﻊ ﻣﻲﻛﻨﻨﺪ ﺍﻣﻜﺎﻥ‬

‫ﺑﺎﺯﻱ ﺭﺍ ﺍﺯ ﺑﻴﻦ ﻣﻲﺑﺮﻧﺪ‪) .‬ﺍﮔﺮ ﭘﻲﺭﻓﺖﻫﺎ ﻫﺮﮔﺰ ﻳﻜﺪﻳﮕﺮ ﺭﺍ ﻗﻄﻊ ﻧﻜﻨﻨﺪ ﺣﺘﻲ ﻧﻤﻲﺗﻮﺍﻥ ﺍﺯ ﺷﺎﻧﺲ‬

‫ﺻﺤﺒﺘﻲ ﺑﻪ ﻣﻴﺎﻥ ﺁﻭﺭﺩ‪ (.‬ﺍﻣﺎ ﭘﺲ ﻣﺤﺘﻤﻞ ﺍﺳﺖ ﻛﻪ ﺗﻌﺪﺍﺩ ﻧﺎﻣﺤﺪﻭﺩﻱ ﺍﺯ ﭘﻲﺭﻓﺘﻬﺎ ﻳﻜﺪﻳﮕﺮ ﺭﺍ ﺩﺭ‬

‫ﻳﻚ ﻟﺤﻈﻪ ﻣﻔﺮﻭﺽ ﻗﻄﻊ ﻛﻨﻨﺪ‪ .‬ﺑﺮﺍﻱ ﺑﺎﺯﻳﻬﺎ ﺗﻨﻬﺎ ﭼﻨﺪ ﻧﻘﻄﻪ ﺍﺗﺼﺎﻝ ﺣﺎﺻﻞ ﺍﺯ ﺗﻌﺪﺍﺩ ﻣﻌﺪﻭﺩﻱ‬

‫ﭘﻲﺭﻓﺖ ﻣﻔﺮﻭﺽ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻳﻚ ﭼﻬﺎﺭﭼﻮﺏ ﺯﻣﺎﻧﻲ ‪ -‬ﻣﻜﺎﻧﻲ ﺗﻮﺳﻂ ﻗﻮﺍﻋﺪ ﻣﺤﺪﻭﺩ ﺷﺪﻩﺍﻧﺪ‪.‬‬

‫ﺑﺮﺍﺳﺘﻲ ﺩﺭ ﺍﻳﻦ ﻭﺿﻌﻴﺖ ﺩﻭﻣﻲ ﺍﺳﺖ ﻛﻪ ﺷﺎﻧﺲ ﺗﻮﻟﻴﺪ ﻣﻲﺷﻮﺩ‪ .‬ﻗﻮﺍﻋﺪ‪ ،‬ﺁﺯﺍﺩﻱ ﻳﻚ ﺷﺎﻧﺲ‬

‫»ﻣﻄﻠﻖ« ﺭﺍ ﻣﺤﺪﻭﺩ ﻧﻤﻲﻛﻨﻨﺪ ﺍﻣﺎ ﺁﻧﺮﺍ ﺑﻪ ﺭﻭﺵﻫﺎﻱ ﻇﺎﻫﺮ ﻳﻚ ﺑﺎﺯﻱ ﻣﺒﺪﻝ ﻣﻲﻛﻨﻨﺪ‪.‬‬

‫ﺍﻳﻦ ﻃﻮﺭ ﻧﻴﺴﺖ ﻛﻪ ﻫﺮﭼﻪ ﺷﺎﻧﺲ ﺑﻴﺸﺘﺮ ﺷﻮﺩ ﺑﺎﺯﻱ ﻗﻮﻱﺗﺮ ﺷﻮﺩ‪ .‬ﺍﻳﻦ ﺗﺼﻮﺭ ﻧﺎﺷﻲ ﺍﺯ ﺁﻥ‬

‫ﺍﺳﺖ ﻛﻪ ﺑﺎﺯﻱ ﻭ ﺷﺎﻧﺲ ﺭﺍ ﻧﻮﻋﻲ ﺁﺯﺍﺩﻱ ﺗﺮﻛﻴﺐ‪ ،‬ﺭﺍﻧﺪﮔﻲ ﻫﻤﻴﺸﮕﻲ ﻭ ﺍﻓﺘﺮﺍﻕﻫﺎﻱ ﺛﺎﺑﺖ ﻧﻈﺎﻡﻫﺎ ﻭ‬

‫ﭘﻲﺭﻓﺖ ﺑﺪﺍﻧﻴﻢ؛ ﺗﻌﺒﻴﻪ ﻟﺠﺎﻡﮔﺴﻴﺨﺘﻪﻱ ﻣﻴﻞ‪ ،‬ﻧﻮﻋﻲ ﺩﺍﻳﻤﻮﻥ )ﺧﺪﺍﻭﻧﺪ ﻧﻴﺮﻭﻣﻨﺪ ﺍﺳﺎﻃﻴﺮ ﻳﻮﻧﺎﻥ‬

‫ﺑﺎﺳﺘﺎﻥ )ﻡ(( ﻛﻪ ﺍﺯ ﻫﻤﻪ ﺳﻮ ﻣﻲﻭﺯﺩ‪ ،‬ﺩﻣﻴﺪﻥ ﺍﻧﺪﻛﻲ ﻧﺎﻗﻄﻌﻴﺖ ﻭ ﺗﺼﺎﺩﻓﻲ ﺍﺿﺎﻓﻲ ﺩﺭ ﺍﻗﺘﺼﺎﺩ‬

‫ﻣﻨﻀﺒﻂ ﺟﻬﺎﻥ‪.‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺍﻣﺎ ﻫﻤﻪﻱ ﺍﻳﻨﻬﺎ ﭼﺮﻧﺪ ﺍﺳﺖ‪».‬ﺷﺪﻥ« ﻣﺴﺌﻠﻪﻱ ﻛﻤﺘﺮ ﻳﺎ ﺑﻴﺸﺘﺮ ﻧﻴﺴﺖ‪ .‬ﻫﻴﭻ ﻛﻢ ﻭ ﺯﻳﺎﺩﻱ‬

‫ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﻳﺎ ﺟﻬﺎﻥ ﺩﺭ ﭼﺮﺧﻪﺍﻱ ﺍﺯ ﺷﺪﻥ ﻗﺮﺍﺭﮔﺮﻓﺘﻪ ﻭ ﻫﻤﻴﺸﻪ ﻫﻢ ﺍﻳﻨﮕﻮﻧﻪ ﺑﻮﺩﻩ ﻭ ﻳﺎ ﺍﻳﻨﻜﻪ‬

‫ﺧﻴﺮ‪ .‬ﺩﺭ ﻫﺮ ﺣﺎﻟﺖ ﺟﺎﻧﺒﺪﺍﺭﻱ ﺍﺯ "ﺷﺪﻥ" ﻫﻴﭻ ﻣﻌﻨﺎﻳﻲ ﻧﺪﺍﺭﺩ ﻭ ﺩﻋﻮﻱ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻨﺶ ﺑﻴﺸﺘﺮ ﺍﺯ‬

‫ﺷﺎﻧﺲ ﻳﺎ ﻣﻴﻞ ﻧﻴﺴﺖ‪ .‬ﺑﺮﺍﻱ ﻛﺴﻲ ﻛﻪ ﻫﻴﭻ ﺍﻧﺘﺨﺎﺑﻲ ﻧﺪﺍﺭﺩ‪" :‬ﺟﺎﻧﺐﮔﻴﺮﻱ ﻓﺮﺍﻳﻨﺪﻫﺎﻱ ﺍﻭﻟﻴﻪ ﻫﻨﻮﺯ‬

‫ﻧﺘﻴﺠﻪ ﻓﺮﺁﻳﻨﺪﻫﺎﻱ ﺛﺎﻧﻮﻱ ﺍﺳﺖ‪) ".‬ﻟﻴﻮﺗﺎﺭ( ﺍﻳﻦ ﺍﻳﺪﻩ ﻛﻪ ﺑﺎﺯﻳﻬﺎﻱ ﻣﻲﺗﻮﺍﻧﻨﺪ ﺑﺎ ﺍﻓﺰﺍﻳﺶ ﻋﺎﻣﻞ‬

‫ﺷﺎﻧﺲ ﻧﻴﺮﻭﻣﻨﺪﺗﺮ ﺷﻮﻧﺪ )ﮔﻮﻳﻲ ﻛﻪ ﺩﺍﺭﻳﻢ ﺍﺯ ﻣﻘﺪﺍﺭ ﻣﺤﺘﻮﺍﻱ ﺍﺳﻴﺪﻱ ﻳﻚ ﻣﺤﻠﻮﻝ ﺷﻴﻤﻴﺎﻳﻲ‬

‫ﺻﺤﺒﺖ ﻣﻲﻛﻨﻴﻢ( ﺍﻳﺪﻩﺍﻱ ﻛﻪ »ﺷﺪﻥ« ﺑﻪ ﻃﻮﺭ ﺗﺸﺮﻳﺤﻲ ﺑﺴﻂ ﻣﻲﻳﺎﺑﺪ‪ ،‬ﺷﺎﻧﺲ ﺭﺍ ﺑﻪ ﻛﺎﺭﻛﺮﺩﻱ‬

‫ﺍﻧﺮﮊﻱ ﺑﺨﺶ ﻣﺒﺪﻝ ﻣﻲﻛﻨﺪ ﻭ ﺑﻲﺩﺭﻧﮓ ﺁﻧﺮﺍ ﺑﺎ ﻣﻔﻬﻮﻡ ﻣﻴﻞ ﻣﻐﺸﻮﺵ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺷﺎﻧﺲ ﺍﻳﻦ‬

‫ﻧﻴﺴﺖ‪ .‬ﺣﺘﻲ ﻓﺮﺩ ﺑﺎﻳﺪ ﻣﺎﻧﻨﺪ ﻛﺴﻲ ﻛﻪ ﺷﺮﻁ ﻣﻲﺑﻨﺪﺩ ﻣﺤﺮﻣﺎﻧﻪ ﭘﻴﺶ ﺧﻮﺩ ﻓﺮﺽ ﻛﻨﺪ ﻛﻪ‬

‫ﺷﺎﻧﺴﻲ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﻛﻤﺎﺍﻳﻨﻜﻪ ﺑﺮﺧﻲ ﻓﺮﻫﻨﮕﻬﺎ ﻧﻪ ﭼﻨﻴﻦ ﻭﺍﮊﻩﺍﻱ ﺩﺍﺭﻧﺪ ﻭ ﻧﻪ ﭼﻨﻴﻦ ﻣﻔﻬﻮﻣﻲ ﭼﺮﺍ‬

‫ﻛﻪ ﻫﺮﮔﺰ ﺑﻪ ﻫﻴﭻﭼﻴﺰ ﭼﻮﻥ ﺍﻣﺮﻱ ﺗﺼﺎﺩﻓﻲ ﻭ ﺣﺘﻲ ﺑﺎ ﺍﺻﻄﻼﺡ ﺍﺣﺘﻤﺎﻝ ﻧﻨﮕﺮﻳﺴﺘﻪ ﺍﻧﺪ‪ .‬ﺗﻨﻬﺎ‬

‫ﻓﺮﻫﻨﮓ ﻣﺎ ﺍﺣﺘﻤﺎﻝ ﻳﻚ ﻭﺍﻛﻨﺶ ﺁﻣﺎﺭﻱ‪ ،‬ﻏﻴﺮ ﺍﺭﮔﺎﻧﻴﻜﻲ ﺍﺑﮋﻛﺘﻴﻮ ﻭ ﺑﻲﺛﺒﺎﺕ‪ ،‬ﻭﺍﻛﻨﺶ ﺑﻲﺭﻭﺡ ﺑﻪ‬

‫ﻧﺎﻣﻌﻠﻮﻣﻲ ﻭ ﻧﺎﺍﺳﺘﻮﺍﺭﻱ ﺍﺑﮋﻛﺘﻴﻮ ﭘﺪﻳﺪﺍﺭ ﺭﺍ ﺍﺑﺪﺍﻉ ﻧﻤﻮﺩﻩﺍﺳﺖ‪ .‬ﻭﻗﺘﻲ ﻛﺴﻲ ﺑﺪﺍﻥ ﺑﻴﺎﻧﺪﻳﺸﺪ‪ ،‬ﻓﺮﺽ‬

‫ﻭﺟﻮﺩ ﺟﻬﺎﻧﻲ ﺗﺼﺎﺩﻓﻲ ﻛﻪ ﺍﺯ ﺗﻤﺎﻣﻲ ﺍﻟﺘﺰﺍﻣﺎﺕ ﻭ ﻫﺮ ﺷﻜﻞ ﻧﻤﺎﺩﻳﻦ ﻳﺎ ﻗﺎﻋﺪﻩ ﺻﻮﺭﻱ ﻋﺎﺭﻱ ﺍﺳﺖ‪،‬‬

‫ﺍﻳﺪﻩﺍﻱ ﻛﻪ ﺟﻬﺎﻥ ﭼﻴﺰﻫﺎ ﺭﺍ ﺩﺭ ﺑﻲﻧﻈﻤﻲ ﺍﺑﮋﻛﺘﻴﻮ ﻭ ﻣﻮﻟﻜﻮﻟﻲ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﺩ ‪ -‬ﺍﺯ ﻫﻤﺎﻥ ﻧﻮﻉ‬

‫ﺑﻲﻧﻈﻤﻲ ﻛﻪ ﺩﺭ ﺩﻳﺪﮔﺎﻩ ﻣﻮﻟﻜﻮﻟﻲ ﺍﻳﺪﻩﺁﻟﻴﺰﻩ ﻭ ﺳﺘﺎﻳﺶ ﻣﻲﺷﻮﺩ ‪ -‬ﻓﺮﺿﻲ ﺍﺣﻤﻘﺎﻧﻪ ﺍﺳﺖ‪ .‬ﺑﻪ‬

‫ﻧﺪﺭﺕ ﺍﺣﻤﻘﺎﻧﻪﺗﺮ ﺍﺯ ﺍﻳﺪﻩ ﻗﻮﺍﻧﻴﻦ ﺍﺑﮋﻛﺘﻴﻮ ﻭ ﺯﻧﺠﻴﺮﻩ ﺷﻜﺴﺖﻧﺎﭘﺬﻳﺮ ﻋﻠﻲ ﻭ ﻣﻌﻠﻮﻟﻲ ﺍﺳﺖ ﻛﻪ ﺑﻪ‬

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‫ﺍﻏﻮﺍ‬

‫ﺭﻭﺯﻫﺎﻱ ﭘﺮﺷﻜﻮﻩ ﺧﺮﺩ ﻛﻼﺳﻴﻚ ﺗﻌﻠﻖ ﺩﺍﺭﺩ ﻭ ﺑﻪ ﻋﻼﻭﻩ ﺍﻳﻦ ﻓﺮﺽ ﺑﻲﻧﻈﻤﻲ ﺍﺯ ﻣﻨﻄﻖ ﭘﺲ‬

‫ﻣﺎﻧﺪﻩﻫﺎ ﻧﺸﺄﺕ ﻣﻲﮔﻴﺮﺩ‪.‬‬

‫ﺍﻳﺪﻩ ﺷﺎﻧﺲ ﺍﺑﺘﺪﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﭘﺲﻣﺎﻧﺪﻩ ﻧﻈﻢ ﻣﻨﻄﻘﻲ ﺟﺒﺮﻱ ﭘﺪﻳﺪﺍﺭ ﺷﺪ‪ .‬ﺍﻣﺎ ﺑﻌﺪ ﺑﻪ ﺷﻜﻞ ﻳﻚ‬

‫ﻣﺘﻐﻴﺮ ﺍﻧﻘﻼﺑﻲ ﺩﺭ ﺁﻣﺪ ﻛﻪ ﻫﻨﻮﺯ ﺗﺼﻮﻳﺮ ﺑﺎﺯﺗﺎﺏﻳﺎﻓﺘﻪ ﺍﺻﻞ ﻋﻠﻴﺖ ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﺪ‪ .‬ﻋﻤﻮﻣﻴﺘﺶ‪ ،‬ﺁﺯﺍﺩﻱ‬

‫ﺑﻼﺷﺮﻃﺶ ﻫﭽﻨﺎﻥ ﻛﻪ ﺩﺭ "ﺑﺎﺯﻱ ﺍﻳﺪﻩﺁﻝ" ﺩﻟﻮﺯ ﺑﻪ ﭼﺸﻢ ﻣﻲﺧﻮﺭﺩ ﺑﺨﺸﻲ ﺍﺯ ﻫﻤﺎﻥ ﺍﻗﺘﺼﺎﺩ‬

‫ﺳﻴﺎﺳﻲ ﻭ ﺍﺳﺘﻌﺎﺭﻱ ﭘﺲ ﻣﺎﻧﺪﻩﻫﺎﻳﻲ ﺍﺳﺖ ﻛﻪ ﺍﻣﺮﻭﺯﻩ ﻫﻤﻪ ﺟﺎ ﺑﺎ ﻭﺍﮊﮔﻮﻧﮕﻲ ﺳﺎﺧﺘﺎﺭﻱ ﺿﻌﻴﻒ ﺑﻪ‬

‫ﻗﺪﺭﺕ ﻋﻤﻞ ﻣﻲﻛﻨﺪ‪ .‬ﺷﺎﻧﺲ ﻛﻪ ﺍﻣﺮﻱ ﻧﺎﭼﻴﺰ ﻭ ﻭﻗﻴﺤﺎﻧﻪ ﻓﻬﻤﻴﺪﻩ ﻣﻲﺷﻮﺩ ﺩﺭ ﻫﻤﺎﻥ ﻧﺎﭼﻴﺰﻱﺍﺵ‬

‫ﺑﺎﺯ ﺍﺣﻴﺎ ﺷﺪﻩ ﻭ ﺷﻌﺎﺭ ﺍﻗﺘﺼﺎﺩﻱ ﻧﻮﻣﺎﺩﻳﻚ )ﺍﻳﻠﻴﺎﺗﻲ( ﻣﻴﻞ ﻣﻲﺷﻮﺩ‪.‬‬

‫ﺑﺎﺯﻳﻬﺎ ﺑﺎ "ﺷﺪﻥ" ﺁﻣﻴﺨﺘﻪﻧﻤﻲﺷﻮﻧﺪ‪ .‬ﺁﻧﻬﺎ ﻧﻮﺩﻣﺎﺩﻳﻚ ﻧﻴﺴﺘﻨﺪ ﻭ ﺑﻪ ﻗﻠﻤﺮﻭ ﻣﻴﻞ ﺗﻌﻠﻖ ﻧﺪﺍﺭﻧﺪ‪.‬‬

‫ﻣﺸﺨﺼﻪ ﺑﺎﺯﻳﻬﺎ ‪ -‬ﺣﺘﻲ ﺑﺎﺯﻳﻬﺎﻱ ﺷﺎﻧﺴﻲ ‪ -‬ﺩﺭ ﺗﻮﺍﻧﺎﻳﻲ ﺑﺎﺯﺳﺎﺯﻱ ﻣﺠﻤﻮﻋﻪﻫﺎﻱ ﺍﺧﺘﻴﺎﺭﻱ ﺩﺭ‬

‫ﺑﻲﻧﻬﺎﻳﺖ ﻣﺮﺗﺒﻪ ﺍﺳﺖ‪ .‬ﺷﻜﻞ ﺻﺤﻴﺢ ﺁﻧﻬﺎ ﺑﺮﮔﺸﺖﻛﻨﻨﺪﻩ ﻭ ﺣﻠﻘﻪﺍﻱ ﺍﺳﺖ‪ .‬ﻫﻤﻨﭽﻨﻴﻦ ﺑﺎﺯﻱ ﻭ ﺗﻨﻬﺎ‬

‫ﺑﺎﺯﻳﻬﺎ ﻫﺴﺘﻨﺪ ﻛﻪ ﻋﻠﻴﺖ ﻭ ﺍﺻﻮﻟﺶ ﺭﺍ ﺍﺯ ﺑﻴﻦ ﻣﻲﺑﺮﻧﺪ‪ ،‬ﻧﻪ ﺑﺎ ﺍﺑﺪﺍﻉ ﺳﺮﻳﻬﺎﻱ ﻋﻈﻴﻢ ﺗﺼﺎﺩﻓﻲ )ﻛﻪ‬

‫ﺗﻨﻬﺎ ﻧﺘﻴﺠﻪ ﭘﺮﺍﻛﻨﺪﮔﻲ ﻋﻠﻴﺖ ﻭ ﺗﻘﻠﻴﻞ ﺁﻥ ﺑﻪ ﺗﻜﻪﻫﺎﻱ ﭘﺮﺍﻛﻨﺪﻩ ﺍﺳﺖ ﻭ ﻧﻪ ﺑﻪ ﻣﻌﻨﺎﻱ ﻏﻠﺒﻪ ﻳﺎﻓﺘﻦ‬

‫ﺑﺮ ﻋﻠﻴﺖ( ﺑﻠﻜﻪ ﺩﺭ ﺑﺎﺯﮔﺸﺖﻫﺎﻱ ﺑﺎﻟﻘﻮﻩ ﺑﻪ ﻣﻮﻗﻌﻴﺖﻫﺎﻱ ﻣﻨﻈﻢ ﻗﺮﺍﺭﺩﺍﺩﻱ )ﺍﮔﺮ ﺑﺨﻮﺍﻫﻴﺪ ﺑﺎﺯﮔﺸﺖ‬

‫ﺟﺎﻭﺩﺍﻧﻪ(‬

‫)ﺑﺎﺯﻳﻬﺎ( ﻧﻪ ﺯﻭﺩﮔﺬﺭﻱ ﻣﻴﻞ ﻭ ﺁﺯﺍﺩﻱ ﺁﻥ ﻭ ﻧﻪ ﭘﻴﺸﺮﻓﺖ ﻭ ﺗﻜﺎﻣﻠﻲ ﻃﺒﻴﻌﻲ ﺍﺳﺖ )ﻫﻤﭽﻮﻥ‬

‫ﺑﺎﺯﻱ ﻛﻮﺩﻛﺎﻥ ﻳﺎ ﺑﺎﺯﻱﺍﻱ ﺟﻬﺎﻧﻲ ﻛﻪ ﺗﻮﺳﻂ ﻫﺮﺍﻛﻠﻴﺘﻮﺱ ﺗﻮﺻﻴﻒ ﻣﻲ ﺷﻮﺩ( ﺑﻠﻜﻪ ﺑﺎﺯﮔﺸﺖ ﺩﺭﻭﻧﻲ‬

‫‪۲۱۹‬‬
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﻳﻚ ﺷﻜﻞ ﺁﻳﻴﻨﻲ ﻭ ﺍﺭﺍﺩﻩ ﺍﻳﻦ ﭼﻨﻴﻨﻲ ﺍﺳﺖ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻫﺮ ﭘﻲﺭﻓﺖ ﺑﺎﺯﻱ ﻣﺎ ﺭﺍ ﺍﺯ ﺣﺎﻟﺖ ﺧﻄﻲ‬

‫ﺯﻧﺪﮔﻲ ﻭ ﻣﺮﮒ ﺭﻫﺎﻳﻲ ﻣﻲﺑﺨﺸﺪ‪.‬‬

‫ﺩﻭ ﻧﻮﻉ ﺑﺎﺯﮔﺸﺖ ﺟﺎﻭﺩﺍﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻧﻮﻉ ﺁﻣﺎﺭﻱ‪ ،‬ﺧﻨﺜﻲ ﻭ ﺑﻲﺗﻔﺎﻭﺕ‪ ،‬ﺍﺑﮋﻛﺘﻴﻮ ﻭ ﺑﻲﺭﻭﺡ ‪-‬‬

‫ﻛﻪ ﺗﺮﻛﻴﺐﻫﺎﻱ ﺑﺎ ﻭﺟﻮﺩ ﻓﺮﺍﻭﺍﻧﻲﺷﺎﻥ ﺩﺭ ﻧﻈﺎﻣﻲ ﻣﺤﺪﻭﺩ‪ ،‬ﻧﻤﻲﺗﻮﺍﻧﻨﺪ ﻧﺎﻣﺤﺪﻭﺩ ﺑﺎﺷﺪ‪ ،‬ﺍﺣﺘﻤﺎﻻﺕ‬

‫ﺳﺮﺍﻧﺠﺎﻡ ﺩﺭ ﻫﻤﺎﻥ ﺗﺮﺗﻴﺒﺎﺗﻲ ﻛﻪ ﭘﻴﺸﺘﺮ ﺩﺍﺷﺘﻪ ﺩﺭ ﻳﻚ ﭼﺮﺧﻪ ﺑﺰﺭﮒ ﺑﺎﺯﺧﻮﺍﻫﻨﺪ ﮔﺸﺖ‪.‬‬

‫ﻣﺘﺎﻓﻴﺰﻳﻜﻲ ﻇﺮﻳﻒ‪ :‬ﺍﻳﻦ ﺑﺎﺯﮔﺸﺖ ﺟﺎﻭﺩﺍﻥ ﺑﺮ ﻃﺒﻖ ﻋﻠﻴﺘﻲ ﺁﻣﺎﺭﻱ ﻭ ﻃﺒﻴﻌﻲ ﺍﺳﺖ‪ .‬ﺩﻳﺪﮔﺎﻩ ﺩﻳﮕﺮ‬

‫ﺩﺭ ﺑﺎﺏ ﺑﺎﺯﮔﺸﺖ ﺟﺎﻭﺩﺍﻥ‪ ،‬ﺗﺮﺍﮊﻳﻚ ﻭ ﺁﻳﻴﻨﻲ ﺍﺳﺖ‪ :‬ﺍﺭﺍﺩﻩ ﺑﺎﺯﮔﺸﺖ ﻣﺎﻧﻨﺪ ﺁﻧﭽﻪ ﺩﺭ ﺑﺎﺯﻱ ﺭﺥ‬

‫ﻣﻲﺩﻫﺪ ﭘﻴﻜﺮﺑﻨﺪﻱ ﻏﻴﺮ ﻋﻠﻲ ﻭ ﻗﺮﺍﺭﺩﺍﺩﻱ ﻧﺸﺎﻧﻪﻫﺎ ﻛﻪ ﻫﺮ ﻧﺸﺎﻧﻪﺍﻱ ﻧﺸﺎﻧﻪ ﺩﻳﮕﺮ ﺭﺍ ﻫﻤﭽﻮﻥ‬

‫ﻣﺴﻴﺮﻱ ﺁﻳﻴﻨﻲ ﺑﻲﺭﺣﻤﺎﻧﻪ ﺍﺯ ﭘﻲ ﺩﻳﮕﺮﻱ ﻣﻲﺁﻳﺪ‪ .‬ﺍﻳﻦ ﺑﺎﺯﮔﺸﺖ ﺟﺎﻭﺩﺍﻧﻲ ﺍﺳﺖ ﺑﺮ ﻃﺒﻖ ﻗﻮﺍﻋﺪ‪ ،‬ﺩﺭ‬

‫ﺗﻮﺍﻟﻲ ﺍﺟﺒﺎﺭﻱ ﭘﺮﺗﺎﺏ ﺗﺎﺱﻫﺎ ﻭ ﺷﺮﻁﺑﻨﺪﻱﻫﺎ‪ .‬ﻫﻴﭻ ﻓﺮﻗﻲ ﻧﺪﺍﺭﺩ ﻛﻪ ﺁﻳﺎ ﺁﻧﻬﺎ ﻗﻮﺍﻋﺪ ﺑﺎﺯﻱ ﺧﻮﺩ‬

‫ﺟﻬﺎﻧﻨﺪ ﻳﺎ ﺧﻴﺮ‪ .‬ﻫﻴﭻ ﻣﺘﺎﻓﻴﺰﻳﻜﻲ ﺩﺭ ﺍﻓﻖ ﺣﻠﻘﻪ ﺑﺮﮔﺸﺖﭘﺬﻳﺮﻱ ﺑﺎﺯﻱ ﭘﺪﻳﺪﺍﺭ ﻧﻤﻲﺷﻮﺩ ﻭ ﻣﻄﻤﺌﻨﺎً‬

‫ﻫﻴﭻ ﻣﺘﺎﻓﻴﺰﻳﻚ ﻣﻴﻠﻲ ﻫﻢ ﺩﺭ ﻛﺎﺭ ﻧﻴﺴﺖ‪ .‬ﻣﻴﻠﻲ ﻛﻪ ﻫﻨﻮﺯ ﺑﻪ ﻧﻈﻢ ﺟﻬﺎﻥ ﻃﺒﻴﻌﻲ ﻳﺎ ﺑﻲﻧﻈﻤﻲ‬

‫ﻃﺒﻴﻌﻲ ﻭﺍﺑﺴﺘﻪ ﺍﺳﺖ‪.‬‬

‫ﻣﻴﻞ ﻣﻲﺗﻮﺍﻧﺪ ﺑﻪ ﺩﺭﺳﺘﻲ ﻗﺎﻧﻮﻥ ﺟﻬﺎﻥ ﺑﺎﺷﺪ‪ .‬ﺍﻣﺎ )ﺩﺭ ﺍﻳﻦ ﺻﻮﺭﺕ ( ﺑﺎﺯﮔﺸﺖ ﺟﺎﻭﺩﺍﻥ ﻗﺎﻋﺪﻩ‬

‫ﺟﻬﺎﻥ ﺍﺳﺖ‪ ،‬ﺧﻮﺷﺒﺨﺘﺎﻧﻪ ﻧﺰﺩ ﻣﺎ ﺍﮔﺮ ﻃﻮﺭ ﺩﻳﮕﺮﻱ ﺑﻮﺩ ﻛﺠﺎ ﻣﻲﺗﻮﺍﻧﺴﺘﻴﻢ ﺍﺯ ﺑﺎﺯﻱ ﻛﺮﺩﻥ ﻟﺬﺕ‬

‫ﺑﺮﻳﻢ‪.‬‬

‫ﺑﺎﺯﻱ ﻧﻬﺎﻳﺖ ﺳﺮﮔﻴﺠﮕﻲ ﺭﺍ ﺣﺎﺻﻞ ﻣﻲﻛﻨﺪ‪ :‬ﻭﻗﺘﻲ ﺗﺎﺳﻲ ﺑﻪ ﺑﺎﻻ ﭘﺮﺗﺎﺏ ﻣﻲﺷﻮﺩ ﻭﻗﺘﻲ ﺑﺮﺍﻱ‬

‫ﻣﺜﺎﻝ ﻫﻤﺎﻥ ﺷﻤﺎﺭﻩ ﺑﺮﺍﻱ ﭼﻨﺪ ﺑﺎﺭ ﺍﻧﺪﺍﺧﺘﻦ ﻣﻲﺁﻳﺪ ﺷﺎﻧﺲ ﺣﺬﻑ ﻣﻲﮔﺮﺩﺩ‪ .‬ﺗﺨﻴﻞ ﻏﺎﻳﻲ ﻳﻚ‬

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‫ﺍﻏﻮﺍ‬

‫ﺑﺎﺯﻱ‪ ،‬ﻭﺟﺪ ﻣﻘﺎﺑﻠﻪ ﺑﺎ ﺷﺎﻧﺲ ‪ -‬ﻭﻗﺘﻲ ﺩﺭﮔﻴﺮ ﻭ ﺩﺍﺭ ﻳﻚ ﻣﺒﺎﺭﺯﻩ‪ ،‬ﻫﻤﺎﻥ ﭘﺮﺗﺎﺏ ﺗﻜﺮﺍﺭ ﻣﻲﺷﻮﺩ‪ ،‬ﺍﺳﻴﺮ‬

‫ﺗﻮﺍﻟﻲ ﺑﺮﮔﺸﺖﻛﻨﻨﺪﻩ ﻣﻲﺷﻮﻳﻢ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﻗﺎﻧﻮﻥ ﻭ ﺷﺎﻧﺲ ﻣﻨﺴﻮﺥ ﻣﻲﮔﺮﺩﻧﺪ‪ ..‬ﻓﺮﺩ ﺩﺭ ﺍﻧﺘﻈﺎﺭ‬

‫ﺍﻳﻦ ﺣﺮﻛﺖ ﻓﺮﺍﺧﻄﻲ ﻧﻤﺎﺩﻳﻦ ﻳﻌﻨﻲ ﺩﺭ ﺍﻧﺘﻈﺎﺭ ﺭﻭﻳﺪﺍﺩﻱ ﻛﻪ ﭘﺎﻳﺎﻧﻲ ﺍﺳﺖ ﺑﺮ ﻓﺮﺁﻳﻨﺪﻫﺎﻱ ﺗﺼﺎﺩﻓﻲ‪،‬‬

‫ﺑﺎﺯﻱ ﻣﻲﻛﻨﺪ ﺑﻲﺁﻧﻜﻪ ﺑﻪ ﻭﺭﻃﻪ ﻗﺎﻧﻮﻥ ﺍﺑﮋﻛﺘﻴﻮ ﺩﺭ ﺍﻓﺘﺪ‪ .‬ﻫﺮ ﭘﺮﺗﺎﺏ ﺑﻪ ﺗﻨﻬﺎﻳﻲ )ﺗﺎﺱ( ﻓﻘﻂ‬

‫ﺳﺮﮔﻴﺠﮕﻲ ﻣﻼﻳﻤﻲ ﺭﺍ ﺍﻳﺠﺎﺩ ﻣﻲﻛﻨﺪ ﺍﻣﺎ ﻭﻗﺘﻲ ﻛﻪ ﺗﻘﺪﻳﺮ ﺭﺥ ﻣﻲﻧﻤﺎﻳﺪ ‪ -‬ﻧﺸﺎﻧﻪﺍﻱ ﻛﻬﺪﺭ ﺑﺎﺯﻱ ﺑﻪ‬

‫ﭼﻨﮓ ﺁﻭﺭﺩﻩ ﻣﻲﺷﻮﺩ ‪ -‬ﻭﻗﺘﻲ ﺗﻘﺪﻳﺮ ﺑﻪ ﻧﻈﺮ ﻣﻲﺁﻳﺪ ﻛﻪ ﺧﻮﺩ ﭘﺮﺗﺎﺏ ﻣﻲﻛﻨﺪ ﻭ ﺑﺎ ﻧﻈﺎﻡ ﻃﺒﻴﻌﻲ‬

‫ﭼﻴﺰﻫﺎ ﻣﺒﺎﺭﺯﻩ ﻣﻲﻛﻨﺪ ﻭ ﺩﺭ ﺳﺮﮔﻴﺠﮕﻲ ﺷﻮﺭﻳﺪﻩ ﻭ ﺁﻳﻴﻨﻲ ﻓﺮﻭ ﻣﻲﺭﻭﺩ‪ ،‬ﭘﺲ ﺁﻧﮕﺎﻩ ﻫﻮﺱﻫﺎ ﻭ‬

‫ﺍﺷﺘﻴﺎﻕﻫﺎ ﺁﺷﻜﺎﺭ ﺷﺪﻩ ﻭ ﺟﺎﻥﻫﺎ ﺭﺍ ﺍﻓﺴﻮﻥ ﻣﻬﻠﻜﻲ ﺗﺴﺨﻴﺮ ﻣﻲﻛﻨﺪ‪.‬‬

‫ﻫﻴﭻ ﺧﻴﺎﻻﺗﻲ ﺩﺭ ﺍﻳﻦ ﺑﺎﺭﻩ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ ﺑﻞ ﺿﺮﻭﺭﺗﻲ ﺁﻣﺮﺍﻧﻪ ﺍﺳﺖ ﻛﻪ ﺑﺎﺯﻱ ﻃﺒﻴﻌﻲ‬

‫ﺍﺧﺘﻼﻑﻫﺎ ﻭ ﻧﻴﺰ ﺗﻮﺳﻌﻪ ﺗﺎﺭﻳﺨﻲ ﻗﺎﻧﻮﻥ ﺭﺍ ﻣﺘﻮﻗﻒ ﻣﻲﻛﻨﺪ‪ .‬ﻫﻴﭻ ﻟﺤﻈﻪﺍﻱ ﺍﺯ ﺍﻳﻦ ﺑﺰﺭﮔﺘﺮ ﻧﻴﺴﺖ‪.‬‬

‫ﺗﻨﻬﺎ ﺭﺍﻩ ﺑﺮﺍﻱ ﭘﺎﺳﺨﮕﻮﻳﻲ ﺑﻪ ﭘﻴﺸﺮﻭﻱﻫﺎﻱ ﻃﺒﻴﻌﻲ ﻣﻴﻞ ﺍﻏﻮﺍﮔﺮﻱ ﻭ ﺑﺎﺯﻳﻬﺎﺳﺖ‪ ،‬ﺗﻨﻬﺎ ﺭﺍﻩ ﺑﺮﺍﻱ‬

‫ﭘﺎﺳﺦ ﺑﻪ ﭘﻴﺸﻨﻬﺎﺩﺍﺕ ﻗﺮﺍﺭﺩﺍﺩﻱ ﻗﺎﻧﻮﻥ‪ ،‬ﺳﺮﮔﻴﺠﮕﻲ ﺻﻮﺭﻱ ﻗﻮﺍﻋﺪ ﺍﺳﺖ‪ .‬ﺍﺷﺘﻴﺎﻗﻲ ﻣﺘﺒﻠﻮﺭ ﺑﺪﻭﻥ‬

‫ﻭﺟﻮﺩ ﺫﺭﻩﺍﻱ ﺗﻌﺎﺩﻝ‪.‬‬

‫ﺑﺎﺯﻳﻬﺎ ﺑﻪ ﻗﻠﻤﺮﻭ ﺗﺨﻴﻞ )‪ (fantasy‬ﺗﻌﻠﻖ ﻧﺪﺍﺭﻧﺪ ﻭ ﺑﺎﺯﺭﺧﺪﺍﺩ ﺁﻧﻬﺎ ﺗﺠﺪﻳﺪ ﺗﺨﻴﻼﺕ‬

‫)‪ (phantasy‬ﻧﻴﺴﺖ‪ .‬ﺗﺨﻴﻞ ﻣﺤﺼﻮﻝ ﭼﺸﻢﺍﻧﺪﺍﺯ"ﺩﻳﮕﺮﻱ" ﻭ ﺷﻜﻠﻲ ﺍﺯ ﻣﺮﮒ ﺍﺳﺖ‪ .‬ﺑﺎﺯﺭﺧﺪﺍﺩ‬

‫ﺑﺎﺯﻱ ﻣﺤﺼﻮﻝ ﻗﺎﻋﺪﻩ ﺍﺳﺖ ﻭ ﺷﻜﻠﻲ ﺍﺯ ﺍﻏﻮﺍﮔﺮﻱ ﻭ ﻟﺬﺕ ﺍﺳﺖ‪ .‬ﻫﺮ ﺷﻜﻠﻲ ﺍﺯ ﺑﺎﺯﺗﻜﺮﺍﺭ ﻣﻌﻨﺎ‪ ،‬ﺧﻮﺍﻩ‬

‫ﻣﺤﺴﻮﺱ ﻳﺎ ﺑﺎﺯﻧﻤﻮﺩ ﺷﻜﻠﻲ ﺍﺯ ﻣﺮﮒ ﺍﺳﺖ‪ .‬ﻟﺬﺕ ﺗﻨﻬﺎ ﺑﺎ ﻳﻚ ﺑﺎﺯﺗﻜﺮﺍﺭ ﺑﻲﻣﻌﻨﺎ ﺭﻫﺎ ﻣﻲﺷﻮﺩ ﻛﻪ ﻧﻪ‬

‫‪۲۲۱‬‬
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺣﺎﺻﻞ ﻧﻈﻤﻲ ﺁﮔﺎﻫﺎﻧﻪ ﻭ ﻧﻪ ﺑﻲﻧﻈﻤﻲ ﻧﺎ ﺧﻮﺩﺁﮔﺎﻫﺎﻧﻪ ﺍﺳﺖ ﺑﻠﻜﻪ ﻧﺘﻴﺠﻪ ﺑﺎﺯﮔﺸﺖ ﻭ ﺑﺎﺯﺗﻜﺮﺍﺭ ﺷﻜﻞ‬

‫ﻣﺤﻀﻲ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﻗﺎﻧﻮﻥ ﻭ ﻣﺤﺘﻮﺍﻱ ﺍﻧﺒﺎﺷﺖ ﺷﺪﻩ ﺁﻥ ﻣﺒﺎﺭﺯﻩ ﻧﻤﻮﺩ ﻭ ﺁﻧﺮﺍ ﺷﻜﺴﺖ ﻣﻲﺩﻫﺪ‪.‬‬

‫ﺑﺎﺯﺭﺧﺪﺍﺩ ﺑﺎﺯﻱ ﻣﺴﺘﻘﻴﻤﺎً ﺍﺯ ﺗﻘﺪﻳﺮ ﻣﻲﺁﻳﺪ ﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﺗﻘﺪﻳﺮ ﻣﻮﺟﻮﺩﻳﺖ ﻣﻲﻳﺎﺑﺪ‪ .‬ﺭﺍﻧﻪ ﻣﺮﮒ‬

‫ﻳﺎ ﻓﺮﻭﻛﺎﺳﺖ ﺩﺭﺟﻪ ﺗﻤﺎﻳﺰﺍﺕ ﻳﺎ ﻧﺘﻴﺠﻪ ﺗﻌﻠﻴﻖ ﺁﻧﺘﺮﻭﭘﻴﻜﻲ ﻧﻈﺎﻡﻫﺎﻱ ﻣﻌﻨﺎ ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﭼﻮﻧﺎﻥ‬

‫ﺷﻜﻠﻲ ﺍﺯ ﺍﻓﺴﻮﻧﮕﺮﻱ ﺁﻳﻴﻨﻲ ﻭ ﺷﻜﻠﻲ ﺍﺯ ﻣﺮﺍﺳﻤﻲ ﺍﺳﺖ ﻛﻪ ﻧﺸﺎﻧﻪﻫﺎ ﺍﺯ ﺁﻧﺠﺎ ﻛﻪ ﺑﻪ ﺷﺪﺕ ﺟﺬﺏ‬

‫ﻳﻜﺪﻳﮕﺮ ﻣﻲﺷﻮﻧﺪ‪ ،‬ﺩﻳﮕﺮ ﻫﻴﭻ ﺟﺎﻳﻲ ﺭﺍ ﺑﺮﺍﻱ ﻣﻌﻨﺎ ﻧﺨﻮﺍﻫﻨﺪ ﺩﺍﺷﺖ ﻭ ﺗﻨﻬﺎ ﻣﻲﺗﻮﺍﻧﻨﺪ ﺧﻮﺩ ﺭﺍ ﺗﻜﺜﻴﺮ‬

‫ﻛﻨﻨﺪ‪ .‬ﺩﺭ ﺍﻳﻨﺠﺎ ﻧﻴﺰ ﻓﺮﺩ ﺳﺮﮔﻴﺠﻪﻱ ﺍﻏﻮﺍﮔﺮﺍﻧﻪﺍﻱ ﻣﻲﻳﺎﺑﺪ‪ ،‬ﺳﺮﮔﻴﺠﮕﻲ ﺣﺎﺻﻞ ﺍﺯ ﺟﺬﺏ ﺩﺭ‬

‫ﺗﻘﺪﻳﺮﻱ ﺑﺎﺯﮔﺸﺖﻛﻨﻨﺪﻩ‪ .‬ﺑﻪ ﺟﺰ ﻣﺎ ﺗﻤﺎﻣﻲ ﺟﻮﺍﻣﻊ ﺑﺎ ﭼﻨﻴﻦ ﺗﺌﺎﺗﺮﻫﺎﻱ ﺁﻳﻴﻨﻲ ﺁﺷﻨﺎ ﻫﺴﺘﻨﺪ‪ ،‬ﻛﻪ‬

‫ﻫﻤﭽﻨﻴﻦ ﻧﻤﺎﻳﺸﻲ ﺍﺳﺖ ﺑﻲﺭﺣﻤﺎﻧﻪ‪ .‬ﺑﺎﺯﻳﻬﺎ ﭼﻴﺰﻱ ﺍﺯ ﺍﻳﻦ ﺑﻲﺭﺣﻤﻲ ﺭﺍ ﺍﺯ ﺧﻮﺩ ﻧﺸﺎﻥ ﻣﻲﺩﻫﻨﺪ‪ .‬ﺩﺭ‬

‫ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﺑﺎﺯﻳﻬﺎ‪ ،‬ﻫﺮ ﺍﻣﺮ ﻭﺍﻗﻌﻲ‪ ،‬ﺍﺣﺴﺎﺳﺎﺗﻲ ﺍﺳﺖ‪ .‬ﺣﻘﻴﻘﺖ ﻭ ﻗﺎﻧﻮﻥ ﺍﺣﺴﺎﺳﺎﺗﻲ ﻧﺴﺒﺖ ﺑﻪ ﺍﺷﻜﺎﻝ‬

‫ﻣﺤﺾ ﺗﻜﺮﺍﺭﻧﺪ‪ .‬ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﺁﺯﺍﺩﻱ ﻣﺘﻀﺎﺩ ﻗﺎﻧﻮﻥ ﻧﻴﺴﺖ ﻗﺎﻋﺪﻩ ﻧﻴﺰ ﻫﺮﺝ ﻭ ﻣﺮﺟﻲ ﻣﺘﻀﺎﺩ‬

‫ﻋﻠﻴﺖ ﻧﻴﺴﺖ؛ ﺑﻠﻜﻪ ﺍﻟﺘﺰﺍﻡ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻟﺘﺰﺍﻡ ﻧﻪ ﺯﻧﺠﻴﺮﻩ ﺧﻄﻲ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻭ ﻧﻪ ﮔﺴﺴﺖ ﻛﺎﻣﻞ‬

‫ﺯﻧﺠﻴﺮﻫﺎ ) ﻛﻪ ﺻﺮﻓﺎً ﺭﻭﻣﺎﻧﺘﻴﺴﻴﺴﻢ ﻋﻠﻴﺘﻲ ﺁﺷﻔﺘﻪ ﺍﺳﺖ ( ﺑﻠﻜﻪ ﺯﻧﺠﻴﺮﻩﺍﻱ ﺑﺮﮔﺸﺖﭘﺬﻳﺮ ﺷﻜﻞ‬

‫ﻣﻲﺩﻫﺪ ﻛﻪ ﺍﺯ ﻧﺸﺎﻧﻪﺍﻱ ﺑﺎ ﻧﺸﺎﻧﻪ ﺩﻳﮕﺮ ﺣﺮﻛﺖ ﻣﻲﻛﻨﺪ ﻭ ﺣﻠﻘﻪﻫﺎﻳﺶ ﺑﻲﺭﺣﻤﺎﻧﻪ ﻛﺎﻣﻞ ﻣﻲﺷﻮﻧﺪ‬

‫ﻭ ﺳﺮﺁﻏﺎﺯ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺍﺑﻬﺎﻡ ﻓﺮﻭ ﻣﻲﺑﺮﺩ ﻭ ﺩﺭ ﭘﺎﻳﺎﻧﻬﺎ ﺻﺮﻓﻪﺟﻮﻳﻲ ﻣﻲﻛﻨﺪ ﻣﺎﻧﻨﺪ ﺣﻠﻘﻪﻫﺎ ﻭ‬

‫ﺍﻟﻨﮕﻮﻫﺎﻳﻲ ﺩﺭ ﻣﺒﺎﺩﻻﺕ ﭘﻠﻲﻧﺰﻱﻫﺎ‪ .‬ﺣﻠﻘﻪ ﺍﻟﺘﺰﺍﻣﺎﺕ ﻳﻚ ﻛﺪ ﻧﻴﺴﺖ‪ .‬ﻣﺎ ﺍﻟﺘﺰﺍﻡ ﺭﺍ ﺑﺎ ﻣﻔﻬﻮﻡ ﺯﻭﺭ‪،‬‬

‫ﻣﻔﻬﻮﻡ ﺁﻳﻴﻦ ﺭﺍ ﺑﺎ ﻗﻮﺍﻧﻴﻦ ﻭ ﻛﺪﻫﺎ ﻭ ﻗﻴﻮﺩ ﻫﻤﻪﺟﺎﻳﻲﺍﺵ ﺭﺍ ﺑﺎ ﭼﻴﺰﻱ ﻛﻪ ﺑﻪ ﻧﺸﺎﻧﻪ ﻣﺨﺎﻟﻔﺖ ﺑﺎ‬

‫ﺁﺯﺍﺩﻱ ﺑﺮﻣﺎ ﺣﻜﻢ ﻣﻲﺭﺍﻧﺪ‪ ،‬ﺍﺷﺘﺒﺎﻩ ﮔﺮﻓﺘﻪﺍﻳﻢ‪.‬‬

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‫ﺍﻏﻮﺍ‬

‫ﺩﺭ ﺷﺎﻧﺲ ﻧﻮﻣﺎﺩﻳﻚ ﻭ ﻣﺤﺾ ﺩﻟﻮﺯ ﺩﺭ "ﺑﺎﺯﻱ ﺍﻳﺪﻩﺁﻟﺶ"‪ ۴۷‬ﺗﻨﻬﺎ ﺍﻧﻔﺼﺎﻝ ﻭ ﭘﺮﺍﻛﻨﺪﮔﻲ‬

‫ﻋﻠﻴﺖ ﺑﻪ ﭼﺸﻢ ﻣﻲﺧﻮﺭﺩ‪ .‬ﺗﻨﻬﺎ ﺧﻄﺎﻳﻲ ﻣﻔﻬﻮﻣﻲ ﺑﺎﻋﺚ ﻣﻲﺷﻮﺩ ﻛﺴﻲ ﺑﺘﻮﺍﻧﺪ ﺑﺎﺯﻱ ﺭﺍ ﺍﺯ ﻗﻮﺍﻋﺪﺵ‬

‫ﺟﺪﺍ ﻧﻤﺎﻳﺪ ﻭ ﺁﻧﺮﺍ ﺑﻪ ﺷﻜﻠﻲ ﺍﺗﻮﭘﻴﺎﻳﻲﺍﺵ ﺭﺍﺩﻳﻜﺎﻟﻴﺰﻩ ﻧﻤﺎﻳﺪ‪ .‬ﻫﻤﻴﻦ ﺯﻳﺎﺩﻩﺭﻭﻱ ﻭ ﺳﻬﻞﺍﻧﮕﺎﺭﻱ ﺍﺳﺖ‬

‫ﻛﻪ ﻣﻮﺟﺐ ﻣﻲﺷﻮﺩ ﻭﻱ ﺑﺘﻮﺍﻧﺪ ﺷﺎﻧﺲ ﺭﺍ ﺍﺯ ﺁﻧﭽﻪ ﺁﻥ ﺭﺍ ﺗﻌﺮﻳﻒ ﻣﻲﻛﻨﺪ ﺟﺪﺍﻛﺮﺩﻩ ‪ -‬ﻣﺤﺎﺳﺒﺎﺕ‬

‫ﺍﺑﮋﻛﺘﻴﻮ ﻣﺠﻤﻮﻋﻪﻫﺎ ﻭ ﺍﺣﺘﻤﺎﻻﺕ ‪ -‬ﻭ ﺁﻧﺮﺍ ﻣﺒﺪﻝ ﺑﻪ ﻛﻤﺎﻝ ﻧﺎﻣﻌﻠﻮﻣﻲ ﻭ ﺑﻲﺗﻜﻠﻴﻔﻲ ﻭ ﻣﻴﻞ ﺍﻳﺪﻩﺁﻝ‬

‫ﺑﻲﭘﺎﻳﺎﻥ ﻧﻤﺎﻳﺪ‪.‬‬

‫ﺭﺧﺪﺍﺩ ﺳﺮﻳﻬﺎﻱ ﺑﻲﺷﻤﺎﺭ‪ .‬ﺍﻣﺎ ﭼﺮﺍ ﺳﺮﻳﻬﺎﻱ ﺑﻴﺸﺘﺮ؟ ﭼﺮﺍ ﻳﻚ ﺣﺮﻛﺖ ﺑﺮﺍﻭﻧﻲ ﻣﺤﺾ ﻧﺒﺎﺷﺪ؟‬

‫ﺍﻳﻦ ﻣﻮﺭﺩ ﺑﻪ ﻧﻈﺮ ﻣﻲﺭﺳﺪ ﻛﻪ ﻳﻚ ﻣﺪﻝ ﻓﻴﺰﻳﻜﻲ ﺑﺮﺍﻱ ﻣﻴﻞ ﺭﺍﺩﻳﻜﺎﻝ ﺑﺎﺷﺪ ﻛﻪ ﻗﺎﻧﻮﻧﻬﺎﻱ ﺧﻮﺩﺵ‬

‫ﺭﺍ ﺩﺍﺭﺩ ﻭ )ﺍﻟﺒﺘﻪ( ﺑﺎﺯﻱ ﻧﻴﺴﺖ‪.‬‬

‫ﺗﻌﻤﻴﻢ ﺷﺎﻧﺲ ﺩﺭ ﺷﻜﻞ ﻳﻚ »ﺑﺎﺯﻱ ﺍﻳﺪﻩﺁﻝ« ﺑﻲﺁﻧﻜﻪ ﻫﻤﺰﻣﺎﻥ ﺑﺨﻮﺍﻫﻴﻢ ﻗﻮﺍﻋﺪ ﺑﺎﺯﻱ ﺭﺍ ﻫﻢ‬

‫ﺗﻌﻤﻴﻢ ﺩﻫﻴﻢ ﻣﺸﺎﺑﻪ ﺗﺨﻴﻞﻫﺎﻱ ﻣﺎ ﺍﺯ ﻣﻴﻠﻲ ﺭﺍﺩﻳﻜﺎﻟﻴﺰﻩ ﺷﺪﻩﺍﺳﺖ ﻛﻪ ﻣﻲﺧﻮﺍﻫﺪ ﺍﺯ ﻫﺮ ﻗﺎﻧﻮﻧﻲ ﻭ‬

‫ﻫﺮ ﻧﻘﺼﻲ ﺭﻫﺎ ﺷﻮﺩ‪ .‬ﺍﻳﺪﻩﺁﻟﻴﺴﻢ ﺍﺑﮋﻛﺘﻴﻮ " ﺑﺎﺯﻱ ﺍﻳﺪﻩﺁﻝ" ﻭ ﺍﻳﺪﻩﺁﻟﻴﺴﻢ ﺳﻮﺑﮋﻛﺘﻴﻮ ﻣﻴﻞ‪.‬‬

‫ﻳﻚ ﺑﺎﺯﻱ ﻧﻈﺎﻣﻲ ﺭﺍ ﺷﻜﻞ ﻣﻲﺩﻫﺪ ﻛﻪ ﻧﻪ ﺗﻨﺎﻗﻀﻲ ﺩﺍﺭﺩ ﻭ ﻧﻪ ﺳﻠﺒﻴﺖ ﺩﻭﺭﻧﻲ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮ‬

‫ﺍﺳﺖ ﻛﻪ ﻧﻤﻲﺗﻮﺍﻥ ﺑﻪ ﺁﻥ ﺧﻨﺪﻳﺪ‪ .‬ﻭ ﺍﮔﺮ ﻧﻤﻲﺗﻮﺍﻥ ﺁﻧﺮﺍ ﺑﻪ ﺷﻜﻞ ﻫﺠﻮ ﺩﺭ ﺁﻭﺭﺩ ﺑﻪ ﺍﻳﻦ ﺧﺎﻃﺮ ﺍﺳﺖ‬

‫ﻛﻪ ﺍﺻﻼً ﻛﻞ ﺳﺎﺯﻣﺎﻥﺩﻫﻲ ﺁﻥ ﻧﻘﻴﻀﻪﺍﻱ ﺍﺳﺖ‪ .‬ﻗﺎﻋﺪﻩ ﻫﻢ ﭼﻮﻥ ﻭﺍﻧﻤﻮﺩﮔﻲ ﻧﻘﻴﻀﻪﺍﻱ ﻗﺎﻧﻮﻥ ﻋﻤﻞ‬

‫ﻣﻲﻛﻨﺪ‪ .‬ﻭﺍﮊﮔﻮﻧﮕﻲ ﻭ ﺗﺨﺮﻳﺐ ﻗﺎﻧﻮﻥ ﻧﻴﺴﺘﻨﺪ ﺑﻠﻜﻪ ﺑﺮﮔﺸﺖ ﺩﺭ ﻭﺍﻧﻤﺎﻳﻲ ﺍﺳﺖ‪ .‬ﻟﺬﺕ ﺑﺎﺯﻱ ﺩﻭ ﺑﺮﺍﺑﺮ‬

‫ﺍﺳﺖ‪ :‬ﺑﺎﻃﻞﺳﺎﺯﻱ ﺯﻣﺎﻥ ﻭ ﻓﻀﺎ ﺩﺭ ﻓﻀﺎﻳﻲ ﺍﻓﺴﻮﻧﮕﺮﺍﻧﻪ ﺩﺭ ﺷﻜﻞ ﻓﻨﺎﻧﺎﭘﺬﻳﺮ ﻛﻨﺶ ﻭ ﻭﺍﻛﻨﺸﻲ‬

‫‪ -‬ﺍﻏﻮﺍﮔﺮﻱ ﻣﺤﺾ ‪ -‬ﻭ ﻧﻘﻴﻀﻪ ﻛﺮﺩﻥ ﻭﺍﻗﻌﻴﺖ ﻭ ﺭﻭﻱ ﺩﺳﺖ ﻗﻴﻮﺩ ﻗﺎﻧﻮﻥ ﺑﻠﻨﺪ ﺷﺪﻥ ﺍﺳﺖ‪ .‬ﺁﻳﺎ ﺟﺰ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺑﺎ ﻣﻄﻴﻊ ﻛﺮﺩﻥ ﺧﻮﺩ ﺑﻪ ﺗﻤﺎﻣﻲ ﺳﺨﺘﮕﻴﺮﻱﻫﺎﻱ ﺗﻘﻮﺍﮔﻮﻧﻪ ﻭ ﭘﻴﺎﻣﺪﻫﺎﻱ ﺷﺎﻧﺲ ﻭ ﭘﻮﭼﻲ ﻳﻚ ﻗﺎﻋﺪﻩ‬

‫ﻣﻲﺗﻮﺍﻧﻴﻢ ﻧﻘﻴﻀﻪﺍﻱ ﺑﻬﺘﺮ ﺑﺮﺍﻱ ﺍﺭﺯﺵ ﺍﺧﻼﻗﻲ ﺍﻳﺠﺎﺩ ﻧﻤﺎﻳﻴﻢ؟ ﺁﻳﺎ ﻓﺮﺩ ﻣﻲﺗﻮﺍﻧﺪ ﻧﻘﻴﻀﻪﺍﻱ ﻣﻨﺎﺳﺒﺘﺮ‬

‫ﺑﺮﺍﻱ ﻛﺎﺭ ﺍﻗﺘﺼﺎﺩ ﺗﻮﻟﻴﺪ ﻭ ﺣﺴﺎﺑﮕﺮﻱ ﻭ ﺩﺳﺘﻤﺰﺩﻫﺎ ﺑﺎ ﻣﺒﺎﺭﺯﻩ ﻭ ﺷﺮﻁﺑﻨﺪﻱ ﻭ ﻋﺪﻡ ﺗﻌﺎﺩﻝ ﺑﻴﻦ‬

‫ﺍﺭﺯﺷﻲ ﻛﻪ ﺑﺮﺍﻱ ﺷﺮﻁ ﺧﺮﺝ ﻣﻲﻛﻨﺪ ﻭ ﺁﻥ ﺍﺭﺯﺷﻲ ﻛﻪ ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﺮﻧﺪﻩﺷﻮﺩ )ﻳﺎ ﺍﺯ ﺩﺳﺖ ﺑﺪﻫﺪ‬

‫ﺩﺭ ﻫﺮ ﺩﻭ ﺣﺎﻟﺖ ﺗﻌﺎﺩﻟﻲ ﻏﻴﺮ ﺍﺧﻼﻗﻲ ﺑﺮﻗﺮﺍﺭ ﺍﺳﺖ( ﭘﻴﺪﺍ ﻧﻤﺎﻳﺪ؟ ﭼﻪ ﭼﻴﺰﻱ ﺑﻬﺘﺮ ﺍﺯ ﺳﺘﺎﻳﺶ ﺑﺨﺖ‬

‫)ﺧﻮﺏ ﻳﺎ ﺑﺪ( ﻭ ﺑﺎﺯﻱ ﺑﺎ ﺗﻘﺪﻳﺮ ﺑﻪ ﻣﺜﺎﺑﻪ ﻳﻚ ﺗﻌﺎﺩﻝ ﺑﺮﺍﻱ ﺍﻧﻜﺎﺭ ﺍﺭﺯﺵ ﺍﺭﺍﺩﻩ‪ ،‬ﻣﺴﺌﻮﻟﻴﺖ‪ ،‬ﺑﺮﺍﺑﺮﻱ ﻭ‬

‫ﻋﺪﺍﻟﺖ؟ ﺁﻳﺎ ﺑﺮﺍﻱ ﺍﻳﺪﺋﻮﻟﻮﮊﻱ ﺁﺯﺍﺩﻱ ﻣﺎ ﻧﻘﻴﻀﻪﺍﻱ ﺯﻳﺒﺎﺗﺮ ﺍﺯ ﺍﺷﺘﻴﺎﻕ ﺑﻪ ﻗﻮﺍﻋﺪ ﻣﻲﺗﻮﺍﻧﺪ ﺑﺎﺷﺪ؟‬

‫ﺁﻳﺎ ﺑﺮﺍﻱ " ﺍﻣﺮ ﺍﺟﺘﻤﺎﻋﻲ" ﻧﻘﻴﻀﻪﺍﻱ ﺑﻬﺘﺮ ﺍﺯ ﺩﺍﺳﺘﺎﻥ ﺑﻮﺭﺧﺲ ﻳﻌﻨﻲ "ﻻﺗﺎﺭﻱ ﺩﺭ ﺑﺎﺑﻞ"‪ ۴۸‬ﺑﺎ‬

‫ﺁﻥ ﻣﻨﻄﻖ ﺷﻮﻡ ﻭ ﮔﺮﻳﺰ ﻧﺎﭘﺬﻳﺮ ﻭ ﻭﺍﻧﻤﺎﻳﻲ ﺍﻣﺮ ﺍﺟﺘﻤﺎﻋﻲ ﺑﺎ ﺑﺎﺯﻱ‪ ،‬ﻣﻲﺗﻮﺍﻥ ﭘﻴﺪﺍ ﻧﻤﻮﺩ؟‬

‫"ﻣﻦ ﺍﺯ ﺳﺮﺯﻣﻴﻨﻲ ﺳﺮﮔﻴﺠﻪﺁﻭﺭ ﻣﻲﺁﻳﻢ ﻛﻪ ﺩﺭ ﺁﻥ ﺑﺨﺖﺁﺯﻣﺎﻳﻲ ﺍﺳﺎﺱ ﻭﺍﻗﻌﻴﺖ ﺍﺳﺖ‪".‬‬

‫ﺑﻨﺎﺑﺮﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺑﺎ ﻃﺮﺡ ﺟﺎﻣﻌﻪﺍﻱ ﺁﻏﺎﺯ ﻣﻲﺷﻮﺩ ﻛﻪ ﺑﺨﺖﺁﺯﻣﺎﻳﻲ ﺗﻤﺎﻣﻲ ﻧﻬﺎﺩﻫﺎﻱ )ﺍﺟﺘﻤﺎﻋﻲ(‬

‫ﺩﻳﮕﺮ ﺭﺍ ﺩﺭ ﺧﻮﺩ ﻓﺮﻭ ﺑﻠﻌﻴﺪﻩﺍﺳﺖ‪ .‬ﺩﺭ ﺁﻏﺎﺯ ﺑﺨﺖﺁﺯﻣﺎﻳﻲ ﺗﻨﻬﺎ ﻳﻚ ﺑﺎﺯﻱ ﺧﺸﻦ ﺗﻮﺩﻩﺍﻱ ﺑﻮﺩ ﻛﻪ‬

‫ﺻﺮﻓﺎً ﺑﺮﺍﻱ ﺑﺮﺩﻥ ﺍﻧﺠﺎﻡ ﻣﻲﺷﺪ‪ .‬ﺍﻣﺎ ﺑﻌﺪﺍً "ﺑﺨﺖﺁﺯﻣﺎﻳﻲﻫﺎ" ﺳﺮ ﺑﺮ ﻣﻲﺁﻭﺭﺩﻧﺪ ﻭ ﺗﺎ ﺍﻳﻨﻜﻪ ﺩﻳﮕﺮ ﻧﻪ‬

‫ﺑﻪ ﺗﻮﺍﻧﺎﻳﻲﻫﺎﻱ ﺍﻧﺴﺎﻧﻲ ﺑﻠﻜﻪ ﺑﻪ ﺍﻣﻴﺪ ﺁﻧﻬﺎ ﻣﻌﻄﻮﻑ ﺷﺪ‪ «.‬ﺳﭙﺲ ﺑﻪ ﻳﻚ ﺭﻓﺮﻡ‪ :‬ﮔﺬﺍﺭﺩﻥ ﭼﻨﺪ ﺑﻠﻴﻂ‬

‫ﺑﺎﻃﻞ ﺩﺭ ﻟﻴﺴﺖ ﺷﻤﺎﺭﻩﻫﺎﻱ ﻣﻌﺒﺘﺮ« ﻛﻪ ﻗﺮﻋﻪﻛﺸﻲ ﺁﻥ ﺑﻠﻴﻂﻫﺎ ﺗﺎﻭﺍﻧﻲ ﺳﻨﮕﻴﻦ ﺑﺮﺍﻱ ﻓﺮﺩ‬

‫ﺩﺭﭘﻲﺩﺍﺷﺖ‪ .‬ﺍﻳﻦ ﺗﻐﻴﻴﺮﻱ ﺑﻨﻴﺎﺩﻱ ﺑﻮﺩ‪ :‬ﻫﺮﮔﻮﻧﻪ ﺗﻮﻫﻢ ﻫﺪﻑ ﺍﻗﺘﺼﺎﺩﻱ ﺩﺭ ﺑﺎﺯﻱ ﺍﺯ ﺑﻴﻦ ﺭﻓﺖ‪.‬‬

‫ﺍﺯ ﺍﻳﻦ ﭘﺲ ﻓﺮﺩ ﻭﺍﺭﺩ ﻳﻚ ﺑﺎﺯﻱ ﻣﺤﺾ ﻣﻲﺷﻮﺩ‪ .‬ﻭ ﺳﺮﮔﻴﺠﮕﻲ ﺑﻪ ﺟﺎﻣﻌﻪ ﺑﺎﺑﻠﻲ ﺳﺮﺍﻳﺖ‬

‫ﻣﻲﻛﻨﺪ ﻛﻪ ﻫﻴﭻ ﻣﺤﺪﻭﺩﻳﺘﻲ ﺭﺍ ﻧﻤﻲﺷﻨﺎﺳﺪ‪ .‬ﻫﻤﻪﭼﻴﺰ ﻣﻲﺗﻮﺍﻧﺪ ﺗﻮﺳﻂ ﻃﺮﺍﺣﻲﻫﺎ ﺭﺥ ﺩﻫﺪ‪.‬‬

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‫ﺍﻏﻮﺍ‬

‫ﺑﺨﺖﺁﺯﻣﺎﻳﻲ "ﻣﺤﺮﻣﺎﻧﻪ‪ ،‬ﺁﺯﺍﺩﺍﻧﻪ ﻭ ﻫﻤﮕﺎﻧﻲ" ﻣﻲﺷﻮﺩ‪ .‬ﻫﺮ ﻓﺮﺩ ﻣﺴﺘﻘﻠﻲ ﺧﻮﺩﺑﺨﻮﺩ ﺩﺭ ﻃﺮﺍﺣﻲﻫﺎﻱ‬

‫ﻣﻘﺪﺳﻲ ﻛﻪ ﻫﺮ ﺷﺼﺖ ﺷﺐ ﻛﺸﻴﺪﻩ ﻣﻲﺩﻫﺪ ﺷﺮﻳﻚ ﻣﻲﺷﻮﺩ ﻭ ﺗﻘﺪﻳﺮﺵ ﺭﺍ ﺗﺎ ﻃﺮﺍﺣﻲ ﺑﻌﺪﻱ‬

‫ﺗﻌﻴﻴﻦ ﻣﻲﻛﻨﺪ‪ .‬ﻳﻚ ﻃﺮﺍﺣﻲ ﺧﻮﺏ ﻣﻲﺗﻮﺍﻧﺪ ﺍﻭ ﺭﺍ ﻓﺮﺩ ﺛﺮﻭﺗﻤﻨﺪ ﺑﺴﺎﺯﺩ ﻭ ﻳﺎ ﻳﻚ ﻣﺠﻮﺳﻲ ﻭ ﻳﺎ ﺯﻧﻲ‬

‫ﺭﺍ ﻛﻪ ﺩﻭﺳﺖ ﺩﺍﺭﺩ ﺑﻪ ﺍﻭ ﺑﺪﻫﺪ ﻭ ﻳﻚ ﻃﺮﺍﺣﻲ ﺑﺎﻃﻞ ﺑﺮﺍﻱ ﻭﻱ ﻗﻄﻊ ﻋﻀﻮ ﻳﺎ ﻣﺮﮒ ﺭﺍ ﺑﻪ ﺩﻧﺒﺎﻝ‬

‫ﻣﻲﺁﻭﺭﺩ‪.‬‬

‫ﺧﻼﺻﻪ‪ ،‬ﺷﺎﻧﺴﻲﻛﺮﺩﻥ ﺗﻤﺎﻣﻲ ﻧﻈﺎﻡ ﺍﺟﺘﻤﺎﻋﻲ ﻭ "ﺩﺭ ﻧﻈﺎﻡ ﺟﻬﺎﻥ‪ ".‬ﺻﻮﺭﺕ ﻣﻲﮔﻴﺮﺩ‪.‬‬

‫ﺗﻤﺎﻣﻲ ﺧﻄﺎﻫﺎﻱ ﺑﺨﺖﺁﺯﻣﺎﻳﻲ ﻣﻌﺒﺘﺮ ﺑﻮﺩﻧﺪ ﭼﺮﺍ ﻛﻪ ﻣﻨﻄﻖ ﺁﻧﻬﺎ ﺭﺍ ﺗﺸﺪﻳﺪ ﻣﻲﻛﺮﺩﻧﺪ‪ .‬ﺣﻴﻠﻪ ﻣﻜﺮ ﻭ‬

‫ﺩﺳﺘﻜﺎﺭﻱ ﻣﻲﺗﻮﺍﻧﺪ ﻛﺎﻣﻼً ﺩﺭ ﻧﻈﺎﻡ ﺑﺨﺖﺁﺯﻣﺎﻳﻲ ﻭﺍﺭﺩ ﺷﻮﺩ‪ :‬ﭼﻪ ﻛﺴﻲ ﻣﻲﺗﻮﺍﻧﺪ ﺑﮕﻮﻳﺪﻛﻪ ﺍﻳﻦ‬

‫ﺗﻘﺪﻳﺮﻫﺎ ﻭﺍﻗﻌﻲﺍﻧﺪ ﺍﮔﺮ ﻧﺘﻴﺠﻪ ﻋﻠﻴﺘﻲ ﻣﻨﻄﻘﻲ ﻭ ﻃﺒﻴﻌﻲ ﺑﺎﺷﻨﺪ ﻳﺎ ﻧﺘﻴﺠﻪ ﺷﺎﻧﺴﻲ ﻛﻪ ﺗﻮﺳﻂ‬

‫ﺑﺨﺖﺁﺯﻣﺎﻳﻲ ﺗﻌﻴﻴﻦ ﻣﻲﺷﻮﺩ؟ ﺩﺭ ﺍﺻﻞ ﻫﻴﭽﻜﺪﺍﻡ ﺍﺯ ﺍﻳﻦ ﺣﺎﻟﺘﻬﺎ‪ .‬ﺳﺮﻧﻮﺷﺖ ﻫﻤﻪﺟﺎ ﺭﺍ ﺍﺣﺎﻃﻪ ﻛﺮﺩ‪،‬‬

‫ﺗﺄﺛﻴﺮﺍﺕ ﻻﺗﺎﺭﻱ ﺟﻬﺎﻧﻲ ﺑﻮﺩﻧﺪ‪ .‬ﺑﺨﺖﺁﺯﻣﺎﻳﻲ ﻭ ﺷﺮﻛﺖ ﻣﺴﺌﻮﻝ ﺁﻥ ﻣﻲﺗﻮﺍﻧﺴﺘﻨﺪ ﻛﺎﺭﺷﺎﻥ ﺭﺍ‬

‫ﻣﺘﻮﻗﻒ ﻛﻨﻨﺪ ﺍﻣﺎ ﻛﺎﺭﻛﺮﺩ ﺧﺎﻣﻮﺵ ﺁﻧﻬﺎ ﺩﺭ ﻳﻚ ﻣﻴﺪﺍﻥ ﻭﺍﻧﻤﺎﻳﻲ ﻛﻠﻲ ﺑﻪ ﻛﺎﺭ ﺭﻓﺘﻪﺑﺎﺷﺪ‪ .‬ﺗﻤﺎﻣﻲ‬

‫"ﺍﻣﺮ ﻭﺍﻗﻌﻲ" ﻭﺍﺭﺩ ﺗﺼﻤﻴﻤﺎﺕ ﻣﺤﺮﻣﺎﻧﻪ ﻳﻚ ﺷﺮﻛﺖ ﺷﺪﻩﺑﻮﺩ ﻛﻪ ﺑﻪ ﺗﻤﺎﻣﻲ ﺗﺼﺎﺩﻓﻲ ﺑﻮﺩﻧﺪ ﻭ ﻫﻴﭻ‬

‫ﺍﺧﺘﻼﻓﻲ ﻣﻴﺎﻥ ﻭﺍﻗﻌﻴﺖ ﺍﻣﺮ ﻭﺍﻗﻌﻲ ﻭ ﻭﺍﻗﻌﻴﺖ ﺗﺼﺎﺩﻓﻲ ﻧﺒﻮﺩ‪.‬‬

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‫ﺑﺮﺍﺳﺘﻲ ﻣﻤﻜﻦ ﺍﺳﺖ ﺷﺮﻛﺘﻲ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺘﻪﺑﺎﺷﺪ ﻭ ﻧﻈﺎﻡ ﺟﻬﺎﻥ ﻫﻤﺎﻧﻄﻮﺭ ﺑﻪ ﺻﻮﺭﺕ‬

‫ﺑﺨﺖﺁﺯﻣﺎﻳﻲ ﺑﺎﻗﻲ ﺑﻤﺎﻧﺪ ﺍﻣﺎ ﻓﺮﺽ ﻭﺟﻮﺩ ﭼﻨﻴﻦ ﺟﻬﺎﻧﻲ ﺧﻮﺩ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﺗﻐﻴﻴﺮ ﻣﻲﺩﻫﺪ‪ .‬ﻓﺮﺽ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺑﻪ ﺗﻨﻬﺎﻳﻲ ﺑﺮﺍﻱ ﺗﻐﻴﻴﺮ ﻭﺍﻗﻌﻴﺖ ﺑﻪ ﻭﺍﻧﻤﻮﺩﻩﺍﻱ ﺑﻲﻛﺮﺍﻥ ﻛﺎﻓﻲ ﺍﺳﺖ ﻛﻪ ﺍﻟﺒﺘﻪ ﻫﻤﻴﻦﮔﻮﻧﻪ ﺍﺳﺖ ﻭ‬

‫ﻧﻤﻲﺗﻮﺍﻧﺪ ﻃﻮﺭ ﺩﻳﮕﺮﻱ ﺑﺎﺷﺪ‪ .‬ﻭﺍﻗﻌﻴﺖ ﭼﻴﺰﻱ ﺑﻴﺶ ﺍﺯ ﻭﺍﻧﻤﺎﻳﻲ ﺧﻮﺩﺵ ﻧﻴﺴﺖ‪.‬‬

‫ﺩﺭ ﺟﻮﺍﻣﻊ ﻭﺍﻗﻊﮔﺮﺍﻱ ﻣﺎ ﺷﺮﻛﺖ )ﺩﺍﺳﺘﺎﻥ ﺑﻮﺭﺧﺲ( ﻣﻮﺟﻮﺩﻳﺘﺶ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻩﺍﺳﺖ‪.‬‬

‫ﺟﺎﻣﻌﻪ ﻣﺎ ﺑﻲﺗﻮﺟﻪ ﺑﺪﺍﻥ ﺑﺮ ﻭﻳﺮﺍﻧﻪﻫﺎﻱ ﺍﻳﻦ ﻭﺍﻧﻤﺎﻳﻲ ﻛﺎﻣﻞ ﺳﺎﺧﺘﻪ ﺷﺪﻩﺍﻧﺪ‪ .‬ﻣﺎ ﺩﻳﮕﺮ ﺍﺯ ﺍﻳﻦ ﻣﺎﺭﭘﻴﭻ‬

‫ﻭﺍﻧﻤﺎﻳﻲ ﻛﻪ ﺍﺯ ﻭﺍﻗﻌﻴﺖ ﻓﺮﺍﺗﺮ ﺭﻭﺩ ﺍﮔﺎﻩ ﻧﻴﺴﺘﻴﻢ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﺭﺍ ﺑﺎﻳﺪ ﺩﺭ ﻫﻤﻴﻦﺟﺎ ﺟﺴﺖ‪:‬‬

‫ﺩﺭ ﻋﺪﻡ ﺩﺭﻙ ﻣﺎ ﺍﺯ ﺳﺮﮔﻴﺠﻪﻫﺎﻱ ﻧﺎﻗﻄﻌﻴﺖ ﻭ ﻭﺍﻧﻤﺎﻳﻲ ﺣﺎﻛﻢ ﺑﺮ ﺑﻲﻧﻈﻤﻲ ﺧﺎﺹ ﺯﻧﺪﮔﻲ ﻣﺎ‬

‫)ﻧﺎﺧﻮﺩﺁﮔﺎﻫﻲ(‪ .‬ﻧﻪ ﺩﺭ ﺳﺮﻛﻮﺏ ﭼﻨﺪ ﺍﺣﺴﺎﺳﺎﺕ ﻭ ﺑﺎﺯﻧﻤﺎﻳﻲﻫﺎ ‪ -‬ﺗﺼﻮﺭ ﺑﻲﺭﻭﺡ ﻣﺎ ﺍﺯ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ‪-‬‬

‫ﺑﻠﻜﻪ ﺩﺭ ﻛﻮﺭﻱ ﻣﺎ ﭘﻴﺶ ﺍﺯ "ﺑﺎﺯﻱ ﺑﺰﺭﮒ" ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﺣﻘﻴﻘﺖ ﻛﻪ ﺗﻘﺪﻳﺮ"ﻭﺍﻗﻌﻲ" ﻣﺎ ﺑﺎ ﺗﻤﺎﻣﻲ‬

‫ﻭﻗﺎﻳﻊ "ﻭﺍﻗﻌﻲ" ﺍﺵ ﭘﻴﺸﺘﺮ ﺭﺥ ﺩﺍﺩﻩﺍﻧﺪ ﺍﻟﺒﺘﻪ ﻧﻪ ﻫﻤﭽﻮﻥ ﺯﻧﺪﮔﻲ ﻗﺪﺍﻣﻲ )ﮔﺮﭼﻪ ﺧﻮﺩ ﺍﻳﻦ ﻓﺮﺿﻴﻪ‬

‫ﻓﺮﺍﺗﺮ ﺍﺯ ﻣﺘﺎﻓﻴﺰﻳﻚ ﻋﻠﺘﻬﺎﻱ ﺍﺑﮋﻛﺘﻴﻮ ﻣﺎﺳﺖ( ﺑﻠﻜﻪ ﻫﻤﭽﻮﻥ ﺣﻠﻘﻪ ﻧﺎﻗﻄﻌﻴﺖ‪ ،‬ﺣﻠﻘﻪ ﺑﺎﺯﻱ ﻛﻪ ﻫﻢ‬

‫ﺍﺧﺘﻴﺎﺭﻱ ﻭ ﻫﻢ ﺛﺎﺑﺖ ﺍﺳﺖ‪ .‬ﻻﺗﺎﺭﻱ ﺩﺍﺳﺘﺎﻥ ﺑﻮﺭﺧﺲ ﺗﺠﺴﻢ ﻧﻤﺎﺩﻳﻦ ﺍﻳﻦ ﺑﺎﺯﻱ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺗﻘﺪﻳﺮ‬

‫ﻣﺎ ﭼﻨﺎﻥ ﻛﻴﻔﻴﺖ ﻭﻫﻢﺍﻧﮕﻴﺰﻱ ﻣﻲﺑﺨﺸﺪ ﻛﻪ ﺁﻧﺮﺍ ﺣﻘﻴﻘﺘﺶ ﻓﺮﺽ ﻣﻲﻛﻨﻴﻢ‪ .‬ﻣﻨﻄﻖ ﺍﺯ ﺩﺳﺖ ﻣﺎ‬

‫ﻣﻲﮔﺮﻳﺰﺩ ﮔﺮﭼﻪ ﺁﮔﺎﻫﻲ ﻣﺎ ﺍﺯ ﻭﺍﻗﻌﻴﺖ ﺑﺮ ﺍﺳﺎﺱ ﻧﺎﺧﻮﺩﺁﮔﺎﻫﻲ ﻣﺎ ﻧﺴﺒﺖ ﺑﻪ ﻭﺍﻧﻤﺎﻳﻲ‪ ،‬ﺑﻨﻴﺎﻥ ﻧﻬﺎﺩﻩ‬

‫ﺷﺪﻩﺍﺳﺖ‪.‬‬

‫ﻻﺗﺎﺭﻱ ﺑﺎﺑﻠﻴﺎﻥ ﺭﺍ ﺩﺭ ﻧﻈﺮ ﺑﮕﻴﺮﻳﺪ‪ .‬ﺧﻮﺍﻩ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﻳﺎ ﻛﻪ ﺧﻴﺮ‪ ،‬ﻭﺟﻮﺩ ﭘﺮﺩﻩ ﻧﺎﻗﻄﻌﻴﺘﻲ‬

‫ﻛﻪ ﺁﻥ ﺯﻧﺪﮔﻲ ﻣﺎ ﺍﻓﻜﻨﺪﻩ ﺣﺘﻤﻲ ﺍﺳﺖ‪ .‬ﻗﻮﺍﻋﺪ ﺍﺧﺘﻴﺎﺭﻱ ﺁﻥ ﺑﺮ ﺗﻤﺎﻣﻲ ﺟﺰﺋﻴﺎﺕ ﺯﻧﺪﮔﻲ ﻣﺎ‬

‫ﺣﻜﻤﺮﺍﻧﻲ ﻣﻲﻛﻨﺪ‪ .‬ﻣﺎ ﺣﺘﻲ ﺍﺯ ﺯﻳﺮﺑﻨﺎﻳﻴﻲ ﭘﻨﻬﺎﻥ ﺳﺨﻦ ﻧﻤﻲﮔﻮﻳﻴﻢ ﭼﺮﺍ ﻛﻪ ﺩﺭ ﻧﻬﺎﻳﺖ ﭼﻮﻧﺎﻥ‬

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‫ﺣﻘﻴﻘﺖ ﺑﺮ ﻣﺎ ﻇﺎﻫﺮ ﺧﻮﺍﻫﺪﺷﺪ‪ .‬ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﺍﻳﻨﺠﺎ ﻣﺴﺌﻠﻪ ﺗﻘﺪﻳﺮ ﺍﺳﺖ ﻳﻌﻨﻲ ﺑﺎﺯﻱ ﻛﻪ ﻫﻤﻴﺸﻪ‬

‫ﭘﻴﺸﺘﺮ ﺭﺥ ﺩﺍﺩﻩ ﻭ ﺣﺘﻲ ﺑﺮﺍﻱ ﻫﻤﻴﺸﻪ ﻧﺎﻣﻜﺸﻮﻑ ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﺪ‪.‬‬

‫ﺍﺑﺘﻜﺎﺭ ﺑﻮﺭﺧﺲ ﺗﻌﻤﻴﻢ ﺍﻳﻦ ﺑﺎﺯﻱ ﺑﻪ ﻛﻞ ﺳﺎﺧﺘﺎﺭ ﺍﺟﺘﻤﺎﻋﻲ ﺍﺳﺖ‪ .‬ﻣﺎ ﺑﺎﺯﻳﻬﺎ ﺭﺍ ﭼﻮﻥ ﺭﻭﺑﻨﺎ‬

‫ﻣﻲﺑﻴﻨﻴﻢ ﭼﻴﺰﻱ ﻧﺴﺒﺘﺎ ﺳﻄﺤﻲ ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﺯﻳﺮﺑﻨﺎﻫﺎﻱ ﻣﻨﺎﺳﺐ ﻭ ﺍﺳﺘﻮﺍﺭ ﺭﻭﺍﺑﻂ ﺍﺟﺘﻤﺎﻋﻲ‪ .‬ﺍﻭ‬

‫ﺍﻳﻦ ﻗﻀﻴﻪ ﺭﺍ ﻭﺍﮊﮔﻮﻧﻪ ﻛﺮﺩﻩﺍﺳﺖ‪ ..‬ﻛﻞ ﺷﺎﻟﻮﺩﻩ ﺯﻳﺮ ﻭ ﺭﻭ ﺷﺪﻩ ﻭ ﻧﺎﻗﻌﻄﻴﺖ ﺑﻪ ﻧﻤﻮﻧﻪﺍﻱ ﻗﻌﻄﻲ‬

‫ﻣﺒﺪﻝ ﻣﻲﺷﻮﺩ‪ .‬ﻧﻪ ﻋﻘﻼﻧﻴﺖ ﺍﻗﺘﺼﺎﺩﻱ‪ ،‬ﺗﺎﺭﻳﺦ ﻭ ﻛﺎﺭ ﻭ ﻧﻪ ﺟﺒﺮﮔﺮﺍﻳﻲ ﻋﻠﻤﻲ ﻣﺒﺎﺩﻻﺕ ﻛﻪ‬

‫ﺳﺎﺧﺘﺎﺭﻫﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﺳﺮﻧﻮﺷﺖ ﺍﻓﺮﺍﺩ ﺭﺍ ﺗﻌﻴﻴﻦ ﻧﻤﺎﻳﺪ‪ ،‬ﺑﻠﻜﻪ ﺗﻨﻬﺎ ﻧﺎﻗﻄﻌﻴﺖ ﻓﺮﺍﮔﻴﺮ ﺑﺎﺯﻱ ﻭ‬

‫ﺷﺎﻧﺲ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺳﺮﻧﻮﺷﺖ ﺑﺎ ﺗﺤﺮﻛﻲ ﻛﺎﻣﻞ ﻭ ﻧﻈﺎﻣﻲ ﻗﺮﺍﺭﺩﺍﺩﻱ ﺑﺎ ﺑﻨﻴﺎﺩﻱﺗﺮﻳﻦ ﺩﻣﻮﻛﺮﺍﺳﻲ ﺭﺥ‬

‫ﻣﻲﺩﻫﺪ )ﻣﻌﺎﻭﺿﻪ ﺁﻧﻲ ﺗﻤﺎﻣﻲ ﻣﻮﻗﻌﻴﺘﻬﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ ﻛﻪ ﺍﺷﺘﻴﺎﻕ ﺑﺮﺍﻱ ﺯﻧﺪﮔﻲ ﻣﺘﻨﻮﻉ ﺭﺍ ﺍﺭﺿﺎ‬

‫ﻣﻲﻛﻨﺪ( ﺍﻳﻦ ﻭﺍﮊﮔﻮﻥﺳﺎﺯﻱ )ﻣﻮﻗﻌﻴﺖﻫﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ( ﻧﺴﺒﺖ ﺑﻪ ﻫﺮ ﻗﺮﺍﺭﺩﺍﺩﻱ ﻭ ﺭﻩ ﺑﻨﻴﺎﻥ ﻣﻨﻄﻘﻲ‬

‫ﺍﺟﺘﻤﺎﻋﻲ ﺑﻪ ﺷﺪﺕ ﻛﻨﺎﻳﻲ ﺍﺳﺖ‪ .‬ﺗﻌﻬﺪﺍﺕ ﻣﺮﺗﺒﻂ ﺑﺎ ﻗﻮﺍﻋﺪ ﻭ ﺍﻣﻮﺭ ﺍﺧﺘﻴﺎﺭﻱ )ﻻﺗﺎﺭﻱ( ﺍﻣﺮ‬

‫ﺍﺟﺘﻤﺎﻋﻲ ﻛﻪ ﻣﺎ ﻣﻲﻓﻬﻤﻴﻢ ﺭﺍ ﺑﺮﻣﻲﺍﻧﺪﺍﺯﻧﺪ ﺩﺭﺳﺖ ﻫﻤﺎﻧﮕﻮﻧﻪ ﻛﻪ ﺁﻳﻴﻨﻬﺎ ﺑﺮ ﻗﺎﻧﻮﻥ ﺭﺍ ﻣﻀﻤﺤﻞ‬

‫ﻣﻲﻛﻨﻨﺪ‪.‬‬

‫ﺩﺭ ﺟﻮﺍﻣﻊ ﺭﺍﺯﻭﺭﺯﺍﻧﻪ ﻫﺮﮔﺰ ﻃﻮﺭ ﺩﻳﮕﺮﻱ ﻧﺒﻮﺩﻩﺍﺳﺖ‪ .‬ﺩﺭ )ﺩﻭﺭﺍﻥ( ﺷﻜﻮﻓﺎﻳﻲ ﺁﻧﻬﺎ ﻣﻲﺗﻮﺍﻥ‬

‫ﻣﻘﺎﻭﻣﺘﻲ ﺭﺍ ﺑﺮ ﻋﻠﻴﻪ ﺍﻣﺮ ﺍﺟﺘﻤﺎﻋﻲ ﻣﺸﺎﻫﺪﻩ ﻧﻤﻮﺩ‪.‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﻧﻮﺳﺘﺎﻟﻮﮊﻳﺎ ﺑﺮﺍﻱ ﺟﻮﺍﻣﻊ ﺗﺼﺎﺩﻓﻲ ﺁﻳﻴﻨﻲ ﻭ ﻣﻴﺜﺎﻗﻲ ﻭ ﺁﺭﺯﻭﻱ ﺭﻫﺎﻳﻲ ﺍﺯ ﻗﺮﺍﺭﺩﺍﺩﻫﺎ ﻭ ﺭﺍﺑﻄﻪ‬

‫ﺍﺟﺘﻤﺎﻋﻲ‪ ،‬ﺍﺷﺘﻴﺎﻕ ﺑﻪ ﺳﺘﻤﺮﮔﻲ ﺑﻴﺸﺘﺮ ﭼﻨﺎﻧﭽﻪ ﺗﻘﺪﻳﺮ ﺟﺬﺍﺑﺘﺮﻱ ﺩﺭ ﻣﺒﺎﺩﻟﻪ ﺑﺎﺷﺪ‪ ،‬ﻋﻤﻴﻘﺘﺮ ﺍﺯ‬

‫ﺩﺳﺘﻮﺭﺍﺕ ﻣﻨﻄﻘﻲ ﺍﺟﺘﻤﺎﻋﻲ ﺍﺳﺖ ﻛﻪ ﺍﻳﻨﻚ ﻣﺎ ﺩﺭ ﺁﻥ ﻏﻮﻃﻪ ﻭﺭﻳﻢ‪ .‬ﻛﺎﺭ ﺑﻮﺭﺧﺲ ﺷﺎﻳﺪ ﻧﻪ ﻳﻚ‬

‫ﺩﺍﺳﺘﺎﻥ ﺑﻠﻜﻪ ﺗﻮﺻﻴﻔﮕﺮ ﻧﺰﺩﻳﻜﺘﺮﻳﻦ ﺭﻭﻳﺎﻫﺎﻱ ﭘﻴﺸﻴﻦ ﻣﺎ ﻭ ﺑﺎﻳﺪ ﮔﻔﺖ ﻫﻤﭽﻨﻴﻦ ﺁﻳﻨﺪﻩ ﻣﺎﺳﺖ‪.‬‬

‫ﺩﺭ ﺑﻴﺰﺍﻧﺲ ﺯﻧﺪﮔﻲ ﺍﺟﺘﻤﺎﻋﻲ‪ ,‬ﻧﻈﺎﻡ ﺳﻴﺎﺳﻲ‪ ,‬ﻭ ﺳﻠﺴﻠﻪ ﻣﺮﺍﺗﺐ ﻭ ﻫﺰﻳﻨﻪﻫﺎ ﻫﻤﮕﻲ ﺑﺎ‬

‫ﻣﺴﺎﺑﻘﺎﺕ ﺍﺳﺐ ﺩﻭﺍﻧﻲ ﺗﻨﻈﻴﻢ ﻣﻲﺷﺪﻧﺪ‪ .‬ﺍﻣﺮﻭﺯﻩ ﻫﻨﻮﺯ ﺑﺮ ﺭﻭﻱ ﺍﺳﺒﻬﺎ ﺷﺮﻁﺑﻨﺪﻱ ﻣﻲﻛﻨﻨﺪ ﺍﻣﺎ ﺁﻳﻨﻪ‬

‫ﺩﻣﻮﻛﺮﺍﺳﻲ‪ ،‬ﺍﻧﻌﻜﺎﺱ ﺿﻌﻴﻔﻲ ﺩﺍﺭﺩ‪ .‬ﻣﻘﺎﺩﻳﺮ ﭘﻮﻝ ﻫﻨﮕﻔﺘﻲ ﻛﻪ ﺩﺭ ﺷﺮﻁﺑﻨﺪﻱﻫﺎﻱ ﺭﺩ ﻭ ﺑﺪﻝ‬

‫ﻣﻲﺷﻮﺩ ﺩﺭ ﻣﻘﺎﺑﻞ ﺍﻓﺮﺍﻁﻛﺎﺭﻱﻫﺎﻱ ﺑﻴﺰﺍﻧﺴﻲ ﻫﻴﭻ ﺍﺳﺖ ﻛﻪ ﺗﻤﺎﻣﻲ ﺯﻧﺪﮔﻲ ﻋﻤﻮﻡ ﻣﺮﺩﻡ ﻭﺍﺑﺴﺘﻪ ﺑﻪ‬

‫ﻣﺴﺎﺑﻘﺎﺕ ﺍﺳﺐﺩﻭﺍﻧﻲ ﺍﺳﺖ‪ .‬ﻫﻨﻮﺯ ﻋﻼﺋﻤﻲ ﺍﺯ ﺍﻫﻤﻴﺖ ﺑﺎﺯﻱ ﺩﺭ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﻓﻌﺎﻟﻴﺘﻬﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ ﻣﺎ‬

‫ﻭ ﺗﺴﺮﻳﻊ ﮔﺮﺩﺵ ﻛﺎﻻﻫﺎ ﻭ ﺩﺭ ﭼﺮﺧﺶ ﺳﺮﻳﻊ ﻛﺎﻻﻫﺎ ﻭ ﻣﻮﻗﻌﻴﺘﻬﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ ﻣﺎ ﻣﻮﺟﻮﺩ ﺍﺳﺖ‪ .‬ﺩﺭ‬

‫‪ ۴۹‬ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ :‬ﺷﺮﻁﺑﻨﺪﻱﻫﺎ‪ ،‬ﺑﺨﺖﺁﺯﻣﺎﻳﻲﻫﺎ‪ ،‬ﻭ ﺍﻧﻮﺍﻉ‬ ‫‪jogo de bicho‬‬ ‫ﺑﺮﺯﻳﻞ ﺟﺎﮔﻮ ﺩﻱ ﺑﻴﺠﻮ‬

‫ﺑﺎﺯﻳﻬﺎ ﺑﺨﺶ ﺍﻋﻈﻤﻲ ﺍﺯ ﻣﺮﺩﻡ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﻣﺸﻐﻮﻝ ﺩﺍﺷﺘﻪ ﻭ ﺳﺮﻣﺎﻳﻪ ﺯﻧﺪﮔﻲ ﻭ ﻣﻮﻗﻌﻴﺖ ﺍﺟﺘﻤﺎﻋﻲ‬

‫ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺁﻥ ﺑﻪ ﺧﻄﺮ ﻣﻲﺍﻧﺪﺍﺯﻧﺪ‪ .‬ﺑﺎﻳﺪ ﮔﻔﺖ ﺟﻨﻮﻥ ﻋﻘﺐﻣﺎﻧﺪﮔﻲ‪ ،‬ﺣﺘﻲ ﺩﺭ ﻧﺴﺨﻪ ﺿﻌﻴﻒ ﻣﺪﺭﻥ‬

‫ﺁﻥ‪ ،‬ﭘﮋﻭﺍﻛﻲ ﺍﺯ ﻓﺮﻫﻨﮕﻬﺎﻳﻲ ﺍﺳﺖ ﻛﻪ ﻛﻨﺶﻫﺎﻱ ﻟﻮﺩﻳﻚ ﻭ ﭘﺮﻫﺰﻳﻨﻪ ﻓﺮﻣﻬﺎﻱ ﺍﺻﻠﻲ ﻭ ﺳﺎﺧﺘﺎﺭﻫﺎﻱ‬

‫ﻣﺒﺎﺩﻻﺕ ﺭﺍ ﺗﻮﻟﻴﺪ ﻣﻲﻛﻨﻨﺪ‪ ،‬ﺍﻟﮕﻮﻳﻲ ﻛﻪ ﻛﺎﻣﻼً ﻣﻐﺎﻳﺮ ﺑﺎ ﻣﺸﺮﺏ ﻓﺮﻫﻨﮓ ﺧﻮﺩ ﻣﺎ ﻭ ﺑﻴﺶ ﺍﺯ ﻫﻤﻪ ﺑﺎ‬

‫ﺩﻳﺪﮔﺎﻩ ﻣﺎﺭﻛﺴﻴﺴﺘﻲ ﺍﺳﺖ‪ .‬ﻋﻘﺐﻣﺎﻧﺪﮔﻲ؟ ﺗﻨﻬﺎ ﺍﻓﺮﺍﺩ ﻣﻤﺘﺎﺯ‪ ،‬ﺁﻧﻬﺎﻳﻲ ﻛﻪ ﺑﻮﺳﻴﻠﻪ ﻗﺮﺍﺭﺩﺍﺩﻱ‬

‫ﺍﺟﺘﻤﺎﻋﻲ ﻳﺎ ﺑﻮﺳﻴﻠﻪ ﻭﺿﻌﻴﺘﻬﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ ﺗﺮﻓﻴﻊ ﻳﺎﻓﺘﻪﺍﻧﺪ‪ - ،‬ﻛﻪ ﺧﻮﺩ ﺗﻨﻬﺎ ﻳﻚ ﻭﺍﻧﻤﻮﺩﻩ ﻭ ﺑﺪﻭﻥ‬

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‫ﺍﻏﻮﺍ‬

‫ﺣﺘﻲ ﺍﺭﺯﺵ ﺗﻘﺪﻳﺮ ﺍﺳﺖ ‪ -‬ﭼﻨﻴﻦ ﺍﻋﻤﺎﻝ ﺑﺨﺖﺁﺯﻣﺎﻳﻲ ﺭﺍ ﭼﻴﺰﻱ ﺑﻲﺍﺭﺯﺵ ﻣﻲﺧﻮﺍﻧﻨﺪ ﻛﻪ ﻓﺮﺍﺗﺮ ﺍﺯ‬

‫ﺧﻮﺩﺷﺎﻥ ﺍﺳﺖ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮ ﺍﻳﻨﭽﻨﻴﻦ ﺑﺎ ﺍﻣﺮ ﺍﺟﺘﻤﺎﻋﻲ ﻫﻤﻴﻨﻄﻮﺭ ﺑﺎ ﺷﺎﻧﺲ ﻣﺒﺎﺭﺯﻩ ﻣﻲﺷﻮﺩ‬

‫ﻛﻪ ﺣﺎﻛﻲ ﺍﺯ ﺁﺭﺯﻭﻱ ﺟﻬﺎﻧﻲ ﭘﺮﻣﺨﺎﻃﺮﻩﺗﺮ ﺍﺳﺖ ﺗﺎ ﺩﺭ ﺁﻥ ﺑﻲﭘﺮﻭﺍﺗﺮ ﺑﺎ ﺍﺭﺯﺷﻬﺎ ﺑﺎﺯﻱ ﻧﻤﻮﺩ‪.‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﺩﻭﮔﺎﻧﻪ؛ ﻗﻄﺒﻲ‪ ،‬ﺭﻗﻤﻲ‬

‫ﺑﺨﺖﺁﺯﻣﺎﻳﻲ ﻳﻚ ﻭﺍﻧﻤﻮﺩﻩﺍﺳﺖ‪ .‬ﻫﻴﭻ ﭼﻴﺰﻱ ﺗﺼﻨﻌﻲﺗﺮ ﺍﺯ ﺗﻌﻴﻴﻦ ﻣﺴﻴﺮ ﺭﻭﻳﺪﺍﺩﻫﺎ ﺑﺎ ﺍﺣﻜﺎﻡ‬

‫ﭘﻮﭺ ﺷﺎﻧﺲ ﻧﻴﺴﺖ‪ .‬ﺍﻣﺎ ﻧﺒﺎﻳﺪ ﻓﺮﺍﻣﻮﺵ ﻛﻨﻴﻢ ﻛﻪ ﺍﻳﻦ ﻫﻤﺎﻥ ﻛﺎﺭﻱ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺭﻭﺯﮔﺎﺭ ﻛﻬﻦ ﺑﺎ‬

‫ﻫﻨﺮﻫﺎﻱ ﻏﻴﺒﮕﻮﻳﻲ؟ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﻣﺤﺎ ﻭ ﺍﺣﺸﺎ ﺟﻮﺟﻪﻫﺎ ﻭ ﭘﺮﻭﺍﺯ ﭘﺮﻧﺪﮔﺎﻥ ﺍﻧﺠﺎﻡ ﻣﻲﺩﺍﺩ ﻭ ﺁﻳﺎ ﺍﻳﻦ‬

‫ﻫﻤﺎﻥ ﻛﺎﺭﻱ ﻧﻴﺴﺖ ﻛﻪ ﻫﻨﺮ ﻣﺪﺭﻥ ﺗﻔﺴﻴﺮ ﻫﺮﭼﻨﺪ ﺩﺭ ﺯﻣﻴﻨﻬﺎﻱ ﻣﺤﺪﻭﺩﺗﺮ ﺍﻧﺠﺎﻡ ﻣﻲﺩﻫﺪ؟ ﻫﻤﻪ‬

‫ﺍﻳﻨﻬﺎ ﻭﺍﻧﻤﻮﺩﻩﺍﻧﺪ‪ .‬ﺗﻔﺎﻭﺕ ﺩﺭ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻗﻮﺍﻋﺪ ﺑﺎﺯﻱ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺑﻮﺭﺧﺲ ﺑﻪ ﻃﻮﺭ ﻛﺎﻣﻞ‬

‫ﺟﺎﻳﮕﺰﻳﻦ ﻗﻮﺍﻧﻴﻦ ﺷﺪﻩﺍﻧﺪ ﻭ ﺑﺎﺯﻱ ﺗﻘﺪﻳﺮ ﻓﺮﺩ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﮔﺮﻓﺘﻪﺍﺳﺖ ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﺑﺎﺯﻳﻬﺎﻱ ﺟﺎﻣﻌﻪ‬

‫ﻣﺎ ﺣﺎﺷﻴﻪﺍﻱ ﻭ ﺻﺮﻓﺎ ﺗﻔﺮﻳﺤﺎﺗﻲ ﭘﻮﭺﺍﻧﺪ‪.‬‬

‫ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﺟﺎﻣﻌﻪ ﺩﺍﺳﺘﺎﻧﻲ ﺑﻮﺭﺧﺲ ﻛﻪ ﺑﺮ ﺍﺳﺎﺱ ﺣﻜﻤﺮﺍﻧﻲ ﺷﺎﻧﺲ ﻭ ﻧﻮﻋﻲ ﺗﻌﻴﻴﻦ‬

‫ﺳﺮﻧﻮﺷﺖ ﺑﻮﺳﻴﻠﻪ ﺑﺎﺯﻱ ﺑﻨﻴﺎﻥ ﻧﻬﺎﺩﻩ ﺷﺪﻩﺍﺳﺖ ﻧﺴﺒﺖ ﺑﻪ ﺍﻳﻦ ﻧﻈﺎﻡ ﺑﻲﺭﺣﻤﻲ ﻛﻪ ﺧﻄﺮﻫﺎ ﺩﺭ ﺁﻥ‬

‫ﻫﺮﮔﺰ ﺑﻪ ﭘﺎﻳﺎﻥ ﻧﻤﻲﺭﺳﻨﺪ ﻭ ﻫﻤﻪﭼﻴﺰ ﺩﺭ ﮔﺮﻭ ﺷﺮﻁﺑﻨﺪﻱ ﺍﺳﺖ؛ ﻣﺎ ﺩﺭ ﺟﺎﻣﻌﻪﺍﻱ ﺑﺎ ﺣﺪﺍﻗﻞ‬

‫ﺷﺮﻁﺑﻨﺪﻱ ﻭ ﻣﺨﺎﻃﺮﺍﺕ ﺯﻧﺪﮔﻲ ﻣﻲﻛﻨﻴﻢ‪ .‬ﺍﮔﺮ ﺍﻳﻦ ﻋﺒﺎﺭﺕ ﺑﺘﻮﺍﻧﺪ ﺩﺭﺳﺖ ﺗﻌﺒﻴﺮ ﺷﻮﺩ ﻣﻲﺗﻮﺍﻧﻴﻢ‬

‫ﺑﮕﻮﻳﻴﻢ ﻛﻪ ﺍﻣﻨﻴﺖ ﺳﺮﻧﻮﺷﺖ ﻣﺎ ﺷﺪﻩﺍﺳﺖ‪ .‬ﻋﻼﻭﻩ ﺑﺮ ﺍﻳﻦ ﺑﺎﻳﺪ ﮔﻔﺖ ﻛﻪ ﭼﻨﻴﻦ ﺍﻣﻨﻴﺘﻲ ﺑﺮﺍﻱ‬

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‫ﺍﻏﻮﺍ‬

‫ﺟﺎﻣﻌﻪ ﻣﺎ ﻣﻬﻠﻚ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﻣﺮﮒﮔﻮﻧﻪﻫﺎﻱ ﺟﺎﻧﻮﺭﻱ ﺗﺤﺖ ﺣﻤﺎﻳﺖ ﻭ ﺗﺤﺖ ﻳﻚ ﺯﻧﺪﮔﻲ ﺭﺍﻡ‬

‫ﺷﺪﻩ‪ ،‬ﻧﻴﺰ ﺍﺯ ﺍﻣﻨﻴﺖ ﺩﺭ ﺣﺎﻝ ﻣﺮﮒﺍﻧﺪ‪.‬‬

‫ﺣﺎﻝ ﺍﮔﺮ ﺑﺎﺑﻠﻲﻫﺎﻱ ﺑﻪ ﺳﺮﮔﻴﺠﮕﻲ ﺑﺨﺖﺁﺯﻣﺎﻳﻲ ﺗﺴﻠﻴﻢ ﺷﺪﻧﺪ ﺑﻪ ﺍﻳﻦﺧﺎﻃﺮ ﺑﻮﺩﻩﺍﺳﺖ ﻛﻪ‬

‫ﭼﻴﺰﻱ ﺩﺭ ﺑﺨﺖﺁﺯﻣﺎﻳﻲ ﻫﺴﺖ ﻛﻪ ﺁﻧﻬﺎ ﺭﺍ ﺍﻏﻮﺍ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻣﺮﻱ ﻛﻪ ﺁﻧﻬﺎ ﺭﺍ ﻗﺎﺩﺭ ﻣﻲﺳﺎﺯﺩ ﺑﺎ ﻫﺮ‬

‫ﺍﺭﺯﺵ ﻣﻮﺟﻮﺩ‪ ،‬ﻣﺒﺎﺭﺯﻩ ﻛﻨﻨﺪ ﺣﺘﻲ ﻭﺟﻮﺩ ﻭ ﻣﺮﮒ ﺧﻮﺩﺷﺎﻥ‪ .‬ﺩﺭ ﻣﻘﺎﻳﺴﻪ‪ ،‬ﺑﺮﺍﻱ ﻣﺎ ﺩﺭ ﺍﻣﺮ ﺍﺟﺘﻤﺎﻋﻲ‬

‫ﻫﻴﭻ ﺍﻏﻮﺍﮔﺮﻱ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﺍﺯ ﺍﻳﺪﻩ ﺍﻣﺮ ﺍﺟﺘﻤﺎﻋﻲ ﭼﻪ ﭼﻴﺰ ﻛﻤﺘﺮ ﺍﻏﻮﺍﮔﺮﺍﻧﻪ ﺍﺳﺖ؟ ﺩﺭﺟﻪ ﺻﻔﺮ‬

‫ﺍﻏﻮﺍﮔﺮﻱ‪ .‬ﺣﺘﻲ ﺧﺪﺍ ﻧﻴﺰ ﻫﺮﮔﺰ ﺑﻪ ﭼﻨﻴﻦ ﺗﻨﺰﻟﻲ ﻓﺮﻭﻛﺎﺳﺘﻪ ﻧﺸﺪﻩﺑﻮﺩ‪ .‬ﻧﺴﺒﺖ ﺑﻪ ﺧﻄﺮﺍﺕ ﺍﻏﻮﺍﮔﺮﻱ‬

‫ﻛﻪ ﺩﺭ ﺟﻬﺎﻥ ﺑﺎﺯﻱ ﻭ ﺁﻳﻴﻨﻬﺎ ﺩﺭ ﮔﺸﺖﻭﮔﺬﺍﺭ ﺍﺳﺖ ﺟﺎﻣﻌﻪ ﻣﺎ ﻭ ﺍﺷﻜﺎﻝ ﺍﺭﺗﺒﺎﻃﺎﺕ ﻭ ﻣﺒﺎﺩﻻﺕ ﺁﻥ‪،‬‬

‫ﻛﻪ ﻧﺴﺒﺖ ﻣﺴﺘﻘﻴﻢ ﺑﺎ ﺳﻜﻮﻻﺭﻳﺰﻩ ﺷﺪﻥ ﺗﻮﺳﻂ ﻗﺎﻧﻮﻥ ﺩﺍﺭﺩ‪ ،‬ﺑﻪ ﺷﺪﺕ ﺑﻲﺧﺎﺻﻴﺖ‪ ،‬ﻣﺒﺘﺬﻝ ﻭ‬

‫ﺍﻧﺘﺰﺍﻋﻲﺍﻧﺪ‪.‬‬

‫ﺍﻣﺎ ﺍﻳﻦ ﺩﻭﺭﻩ ﻫﻨﻮﺯ ﻳﻚ ﺩﻭﺭﻩ ﮔﺬﺍﺭ ﺍﺳﺖ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺩﻭﺭﻩ ﻗﺎﻧﻮﻥ ﻭ ﺑﺎ ﺁﻥ ﻗﺮﺍﺭﺩﺍﺩﻫﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ‬

‫ﺑﻪ ﺳﺮ ﺁﻣﺪﻩﺍﺳﺖ‪ .‬ﻧﻪ ﻓﻘﻂ ﺩﺭ ﺩﻭﺭﻩ ﻗﻮﺍﻋﺪ ﻭ ﺁﻳﻴﻨﻬﺎ ﺯﻧﺪﮔﻲ ﻧﻤﻲﻛﻨﻴﻢ ﺑﻠﻜﻪ ﺩﻳﮕﺮ ﺩﺭ ﺩﻭﺭﻩ ﻗﻮﺍﻧﻴﻦ‬

‫ﻭ ﻗﺮﺍﺭﺩﺍﺩﻫﺎ ﻫﻢ ﺑﻪ ﺳﺮ ﻧﻤﻲﺑﺮﻳﻢ ﺍﻣﺮﻭﺯ ﺑﺮ ﻃﺒﻖ ﻣﺪﻟﻬﺎ ﻭ ﻫﻨﺠﺎﺭﻫﺎ ﺯﻧﺪﮔﻲ ﻣﻲﻛﻨﻴﻢ ﻭ ﺣﺘﻲ‬

‫ﺍﺻﻄﻼﺣﻲ ﻫﻢ ﺑﺮﺍﻱ ﻣﺸﺨﺺ ﻛﺮﺩﻥ ﺁﻥ ﺍﺯ ﺟﺎﻣﻌﻪ ﻭ ﺍﻣﺮ ﺍﺟﺘﻤﺎﻋﻲ ﻧﺪﺍﺭﻳﻢ‪:‬‬

‫ﻫﻨﺠﺎﺭ)ﻧﺮﻡ(‬ ‫ﻗﺎﻧﻮﻥ‬ ‫ﻗﺎﻋﺪﻩ‬

‫؟؟؟‬ ‫ﺍﻣﺮ ﺍﺟﺘﻤﺎﻋﻲ‬ ‫ﺍﻣﺮ ﺁﻳﻴﻨﻲ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﻣﺎ ﺑﺰﻭﺩﻱ ﺩﺭ ﺣﺪﺍﻗﻞ ﻭﺍﻗﻌﻴﺖ ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﺣﺪﺍﻛﺜﺮ ﻭﺍﻧﻤﺎﻳﻲ ﺑﻪ ﺳﺮ ﺧﻮﺍﻫﻴﻢ ﺑﺮﺩ‪ .‬ﻭﺍﻧﻤﺎﻳﻲ‪،‬‬

‫ﻗﻄﺒﻬﺎﻳﻲ ﺭﺍ ﻛﻪ ﻓﻀﺎﻱ ﭼﺸﻢ ﺍﻧﺪﺍﺯﻱ ﻭﺍﻗﻌﻴﺖ ﻭ ﻗﺎﻧﻮﻥ ﺭﺍ ﺳﺎﺯﻣﺎﻧﺪﻫﻲ ﻣﻲﻛﻨﻨﺪ ﺑﻲﺍﺛﺮ ﻣﻲﺳﺎﺯﻧﺪ‪،‬‬

‫ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﺍﻧﺮﮊﻱ ﭘﺘﺎﻧﺴﻴﻠﻲ ﻓﻀﺎﻱ ﻗﺎﻧﻮﻥ ﻭ ﺍﻣﺮ ﺍﺟﺘﻤﺎﻋﻲ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﺟﺬﺏ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺩﺭ ﻋﺼﺮ‬

‫ﻣﺪﻟﻬﺎ ‪ ,‬ﺑﺎﻳﺪ ﺍﺯ ﺑﺎﺯﺩﺍﺭﻱ ﻭ ﻣﻨﻊ ﺍﺳﺘﺮﺍﺗﮋﻱﻫﺎﻱ ﺧﺼﻮﻣﺖﺁﻣﻴﺰﻱ ﺳﺨﻦ ﮔﻔﺖ ﻛﻪ ﺷﺮﻭﻁ‬

‫ﺷﻜﻞﮔﻴﺮﻱ ﻗﺎﻧﻮﻥ ﻭ ﺍﻣﺮ ﺍﺟﺘﻤﺎﻋﻲﺍﻧﺪ ‪ -‬ﻫﻤﭽﻨﻴﻦ ﺷﺮﻭﻁ ﻓﺮﺍﺭﻭﻱ ﺍﺯ ﺁﻧﻬﺎ ﺭﺍ‪ .‬ﻧﻪ ﺳﺮﭘﻴﭽﻲ ﻭ ﻧﻪ‬

‫ﻭﺭﺍﺭﻭﻱ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻣﺎ ﺩﻳﮕﺮ ﺩﺭ ﺣﻀﻮﺭ ﻫﻤﻪ ﺟﺎﻧﺒﻪ ﺗﺮﺍﮊﻳﻚ ﻗﻮﺍﻋﺪ ﻭ ﺁﻳﻴﻨﻬﺎ ﺑﻪ ﺳﺮ ﻧﻤﻲﺑﺮﻳﻢ‪،‬‬

‫ﺑﻠﻜﻪ ﺩﺭ ﺣﻀﻮﺭ ﻓﺮﺍﮔﻴﺮ ﺳﺮﺩ ﻣﺪﻟﻬﺎ ﻭ ﻧﺮﻡﻫﺎ ﺯﻧﺪﮔﻲ ﻣﻲﻛﻨﻴﻢ‪ .‬ﺑﺎﺯﺩﺍﺭﻧﺪﮔﻲ‪ ،‬ﺗﻨﻈﻴﻤﺎﺕ‪ ،‬ﺑﺎﺯﺧﻮﺭﺩﻫﺎ‪،‬‬

‫ﭘﻲﺭﻓﺘﻬﺎﻱ ﻋﻨﺎﺻﺮ ﺗﺎﻛﺘﻴﻜﻲ ﺩﺭ ﻓﻀﺎﻳﻲ ﻏﻴﺮ ﺍﺭﺟﺎﻋﻲ‪ ...‬ﺍﻣﺎ ﺑﻴﺶ ﺍﺯ ﻫﻤﻪ‪ ،‬ﺩﺭﺍﻳﻦ ﺩﻭﺭﻩ ﻣﺪﻟﻬﺎ‪،‬‬

‫ﺭﻗﻤﻲﺷﺪﻥ ﻋﻼﻣﺘﻬﺎ )ﺩﻳﺠﻴﺘﺎﻟﻲ ﺷﺪﻥ( ﺟﺎﻳﮕﺰﻳﻦ ﻗﻄﺒﻴﺖ ﻧﺸﺎﻧﻪ ﻣﻲﺷﻮﺩ‪.‬‬

‫ﺍﻳﻦ ﺳﻪ ﻣﻨﻄﻖ ﺍﻧﺘﺼﺎﺭﻱ ﻳﻜﺪﻳﮕﺮﻧﺪ‪:‬‬

‫ﺭﺍﺑﻄﻪ ﺩﻭﮔﺎﻧﻪ ﻣﺴﻠﻂ ﺑﺮ ﺑﺎﺯﻳﻬﺎ ﺁﻳﻴﻨﻬﺎ ﻭ ﻛﻞ ﻓﻀﺎﻱ ﻗﺎﻋﺪﻩ‪.‬‬

‫ﺭﺍﺑﻄﻪ ﻗﻄﺒﻲ ﻳﺎ ﺭﺍﺑﻄﻪ ﺩﻳﺎﻟﻜﺘﻴﻜﻲ ﻭ ﻣﺘﻀﺎﺩ ﻛﻪ ﺟﻬﺎﻥ ﻗﺎﻧﻮﻥ‪ ،‬ﺍﻣﺮ ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﻣﻌﻨﺎ ﺭﺍ‬

‫ﺳﺎﺯﻣﺎﻧﺪﻫﻲ ﻣﻲﻛﻨﺪ‪.‬‬

‫ﺭﺍﺑﻄﻪ ﺩﻳﺠﻴﺘﺎﻟﻲ ﻳﺎ ﺭﻗﻤﻲ )ﺍﻣﺎ ﺍﻳﻦ ﺩﻳﮕﺮ ﻳﻚ ﺭﺍﺑﻄﻪ ﻧﻴﺴﺖ ‪ -‬ﺑﻬﺘﺮ ﺍﺳﺖ ﺩﺭ ﻋﻮﺽ ﻋﺒﺎﺭﺕ ﺍﺗﺼﺎﻝ‬

‫ﺩﻳﺠﻴﺘﺎﻟﻲ ﺭﺍ ﺑﻪ ﻛﺎﺭ ﮔﻴﺮﻳﻢ( ﻛﻪ ﻓﻀﺎﻱ ﻧﺮﻡﻫﺎ ﻭ ﻣﺪﻟﻬﺎ ﺭﺍ ﺑﻪ ﻭﺟﻮﺩ ﻣﻲﺁﻭﺭﺩ‪.‬‬

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‫ﺍﻏﻮﺍ‬

‫ﺩﺭ ﺗﻘﺎﻃﻊ ﺍﻳﻦ ﺳﻪ ﻣﻨﻄﻖ‪ ،‬ﻣﻔﻬﻮﻡ ﺍﻏﻮﺍﮔﺮﻱ ﺩﺭ ﺣﺎﻟﺖ ﺑﻨﻴﺎﺩﻳﻨﺶ )ﺗﻦﺑﻪﺗﻨﻲ‪ ،‬ﺁﻳﻴﻨﻲ ﻭ‬

‫ﺟﻨﮕﺠﻮﻳﺎﻧﻪ ﺑﺎ ﺑﻴﺸﻴﻨﻪ ﺷﺮﻁﺑﻨﺪﻱ ﻣﻤﻜﻦ ( ﺑﺎ ﺍﻏﻮﺍﮔﺮﻱ "ﻧﺮﻡ" ﺍﻏﻮﺍﮔﺮﻱ ﻳﻚ »ﻣﺤﻴﻂ« ﻭ‬

‫ﺍﺭﻭﺗﻴﻜﻲ ﻛﺮﺩﻥ ﺑﺎﺯﻳﮕﻮﺷﺎﻧﻪ ﺟﻬﺎﻥ ﺑﺪﻭﻥ ﺷﺮﻁﺑﻨﺪﻱ‪ ،‬ﺟﺎﻳﮕﺰﻳﻦ ﻣﻲﺷﻮﺩ‪.‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫‪ " Ludic "  ‬ﻭ ﺍﻏﻮﺍﻱ ﺳﺮﺩ‬

‫ﺍﺯ ﺁﻧﺠﺎ ﻛﻪ ﺩﻭﺭ ﺍﺯ ﺍﻏﻮﺍﮔﺮﻱ ﺯﻧﺪﮔﻲ ﻣﻲﻛﻨﻴﻢ ﺩﺭ ﺷﻴﻔﺘﮕﻲ ﺧﻮﺍﻫﻴﻢ ﻣﺮﺩ‪.‬‬

‫ﺑﺎﺯﻱ ﻣﺪﻟﻬﺎ ﺑﺎ ﺗﺮﻛﻴﺒﻬﺎﻱ ﻫﻤﻴﺸﻪ ﺩﺭ ﺣﺎﻝ ﺗﻐﻴﻴﺮﺷﺎﻥ‪ ،‬ﻣﺸﺨﺼﻪ ﺟﻬﺎﻧﻲ ‪ ۵۰ Ludic‬ﺍﺳﺖ ﻛﻪ‬

‫ﻫﻤﻪﭼﻴﺰ ﺩﺭ ﻭﺍﻧﻤﺎﻳﻲﺗﺮﻳﻦ ﺣﺪ ﻣﻤﻜﻦ ﺑﻪ ﺳﺮ ﻣﻲﺑﺮﺩ‪ ،‬ﻫﻤﻪﭼﻴﺰ ﺩﺭ ﻏﻴﺎﺏ ﺧﺪﺍﻭﻧﺪﻱ ﺑﺮﺍﻱ ﺗﺼﺪﻳﻖ‬

‫ﺁﻓﺮﻳﺪﻩﻫﺎﻳﺶ‪ ،‬ﻣﻲﺗﻮﺍﻧﺪ ﻫﻤﭽﻮﻥ ﺍﻣﺮﻱ ﺿﺪ ‪ -‬ﻣﻼﻙ ﻋﻤﻞ ﻛﻨﺪ‪ .‬ﺍﺭﺯﺷﻬﺎﻱ ﻭﻳﺮﺍﻧﮕﺮ ﺧﻮﺩ ﺑﺎﻳﺪ ﺑﻪ‬

‫ﺍﻧﺘﻈﺎﺭ ﻭﺍﮊﮔﻮﻧﻲﺷﺎﻥ ﺑﻤﺎﻧﻨﺪ ﻭ ﺣﺘﻲ ﺧﺸﻮﻧﺖ ﻭ ﻧﻘﺪ ﻧﻴﺰ ﺧﻮﺩ ﭼﻮﻥ ﻣﺪﻝ ﻇﺎﻫﺮ ﻣﻲﺷﻮﻧﺪ‪ .‬ﻣﺎ ﺩﺭ‬

‫ﺟﻬﺎﻧﻲ ﻛﻮﮊ‪ ،‬ﺧﻤﻴﺪﻩ ﻭ ﻧﺮﻡ ﺯﻧﺪﮔﻲ ﻣﻲﻛﻨﻴﻢ ﻛﻪ ﺩﻳﮕﺮ ﻫﻴﭻ ﻧﻘﺎﻁ ﭘﻨﻬﺎﻧﻲ ﻧﺪﺍﺭﺩ‪ .‬ﭘﻴﺸﺘﺮ‪ ،‬ﺍﺻﻞ‬

‫ﻭﺍﻗﻌﻴﺖ ﺑﺎ ﺍﺻﻄﻼﺣﺎﺗﻲ ﻫﻤﭽﻮﻥ ﺟﻮﻫﺮ ﺍﺑﮋﻩﻫﺎ ﻭ ﻓﻮﺍﻳﺪﺷﺎﻥ‪ ،‬ﻛﺎﺭﻛﺮﺩﻫﺎ ﻭ ﻧﻬﺎﺩﻫﺎﻳﺸﺎﻥ‪ ،‬ﭼﻴﺰﻫﺎ ﻭ‬

‫ﺗﻌﻴﻴﻦﻫﺎﻱ ﺍﺑﮋﻛﺘﻮﻳﺸﺎﻥ ﺗﻌﺮﻳﻒ ﻣﻲﺷﺪ‪ .‬ﺍﻣﺮﻭﺯ ﺍﺻﻞ ﻟﺬﺕ ﺑﺎ ﺍﺻﻄﻼﺣﺎﺕ ﺍﺗﺼﺎﻝ ﺍﻣﻴﺎﻝ ﻭ ﻣﺪﻟﻬﺎ )ﻱ‬

‫ﻳﻚ ﺩﺭﺧﻮﺍﺳﺖ ﻭ ﺍﻧﺘﻈﺎﺭﺵ ﺑﺮﺍﻱ ﭘﺎﺳﺨﻲ ﻭﺍﻧﻤﺎﻳﻲ ﺷﺪﻩ( ﺗﻌﺮﻳﻒ ﺷﺪﻩﺍﺳﺖ‪.‬‬

‫ﺍﺯ "ﺑﺎﺯﻱ" ﻣﺪﻝ ﺑﺎ ﺩﺭﺧﻮﺍﺳﺖ ﺷﻜﻞ ﮔﺮﻓﺘﻪﺍﺳﺖ‪ .‬ﺍﻣﺎ ﻣﺸﺨﺼﺎً ﺩﺭﺧﻮﺍﺳﺖ ﺑﺎ ﻣﺪﻝ‬ ‫‪Ludic‬‬

‫ﺑﺮﺍﻧﮕﻴﺨﺘﻪ ﻣﻲﺷﻮﺩ ﻭ ﺗﻘﺪﻡ ﻣﺪﻝ ﻗﻄﻌﻲ ﺍﺳﺖ )ﭘﺲ( ﻣﺒﺎﺭﺯﺍﺕ ﺍﻣﻜﺎﻥﻧﺎﭘﺬﻳﺮ ﺍﺳﺖ‪ .‬ﻣﻬﻤﺘﺮﻳﻦ‬

‫ﻣﺒﺎﺩﻻﺕ ﻣﺎ ﺑﺎ ﺍﺳﺘﺮﺍﺗﮋﻱﻫﺎﻱ ﺑﺎﺯﻱ ﻫﺪﺍﻳﺖ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺍﻳﻦ )ﺑﺎﺯﻱ( ﺑﺎ ﺗﻮﺍﻧﺎﻳﻲ ﻭ ﻇﺮﻓﻴﺖ‬

‫ﭘﻴﺶﺑﻴﻨﻲ ﺣﺮﻛﺖﻫﺎﻱ ﺣﺮﻳﻒ ﻭ ﻛﻨﺘﺮﻝ ﺁﻧﻬﺎ ﺍﺯ ﭘﻴﺶ‪ ،‬ﺗﻌﺮﻳﻒ ﻣﻲﺷﻮﺩ ﻭ ﺍﻳﻦ ﺗﻤﺎﻡ ﺷﺮﻁﺑﻨﺪﻱﻫﺎ‬

‫ﺭﺍ ﻧﺎﻣﻤﻜﻦ ﻣﻲﺳﺎﺯﺩ‪.‬‬

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‫ﺍﻏﻮﺍ‬

‫ﺟﻬﺎﻧﻲ ﺭﺍ ﺗﻮﺻﻴﻒ ﻣﻲﻛﻨﺪ ﻛﻪ ﺑﻪ ﻃﻮﺭ ﻣﺘﻨﺎﻗﺾﻧﻤﺎ‬ ‫‪Ludic‬‬ ‫"ﻧﻈﺮﻳﻪ ﺑﺎﺯﻱ" ﻣﻨﺶ‬

‫ﻫﻴﭻﭼﻴﺰﻱ ﺑﺮﺍﻱ ﺷﺮﻁﺑﻨﺪﻱ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪.‬‬

‫ﺗﺒﻠﻴﻐﺎﺕ‪ ،‬ﺩﺭ ﺧﻮﺍﺳﺖ ﺁﮔﻬﻲﻫﺎ ﻭ ﻧﻈﺮﺳﻨﺠﻲﻫﺎ‪ ،‬ﺗﻤﺎﻣﻲ ﻣﺪﻟﻬﺎﻱ ﺭﺳﺎﻧﻪ ﻫﺎ ﻭ ﺳﻴﺎﺳﺘﻬﺎ ﺩﻳﮕﺮ‬

‫ﺑﻪ ﺩﻧﺒﺎﻝ ﺟﻠﺐ ﺍﻋﺘﻤﺎﺩ ﻧﻴﺴﺘﻨﺪ‪ ،‬ﺗﻨﻬﺎ ﻣﻲﺧﻮﺍﻫﻨﺪ ﻗﺎﺑﻞ ﻗﺒﻮﻝ ﺑﻨﻈﺮ ﺁﻳﻨﺪ‪ .‬ﺩﻳﮕﺮ ﺍﺑﮋﻩﻫﺎﻱ‬

‫ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭﻱ ﻟﻴﺒﻴﺪﻳﻨﺎﻝ ﻧﻴﺴﺘﻨﺪ؛ ﭼﺮﺍ ﻛﻪ ﺩﺭ ﺩﺍﻣﻨﻪﺍﻱ ﺍﺯ ﮔﺰﻳﻨﺶﻫﺎ ﻓﺮﺍﻫﻢ ﺁﻣﺪﻩﺍﻧﺪ ﻛﻪ ﺑﻪ ﻭﻗﺖ‬

‫ﻣﻨﺎﺳﺐ ﺧﻮﺩ ﺑﺴﺘﻪ ﺑﻪ ﻛﺎﺭﺷﺎﻥ ﻇﺎﻫﺮ ﻣﻲﮔﺮﺩﻧﺪ ﺩﺭﺳﺖ ﻣﺎﻧﻨﺪ ﻛﺎﻧﺎﻝ ﺩﻳﮕﺮﻱ ﺑﺮ ﺭﻭﻱ ﺻﻔﺤﻪ‬

‫ﺗﻠﻮﻳﺰﻳﻮﻥ )ﻭ ﺑﻪ ﻣﺠﺮﺩ ﺁﻥ ﺳﻮﻣﻴﻦ ﻭ ﭼﻬﺎﺭﻣﻴﻦ ﻛﺎﻧﺎﻝ ﻫﻢ ﻇﺎﻫﺮ ﺧﻮﺍﻫﺪ ﺷﺪ؟( ﺗﻠﻮﻳﺰﻳﻮﻥ ﺁﻣﺮﻳﻜﺎﻳﻲ‬

‫ﺍﺳﺖ‪ .‬ﺷﺨﺺ ﺩﻳﮕﺮ‬ ‫‪Ludic‬‬ ‫ﺑﺎ ﻫﺸﺘﺎﺩ ﻭ ﺳﻪ ﻛﺎﻧﺎﻟﻲ ﻛﻪ ﻣﻲﺗﻮﺍﻥ ﺑﺪﺍﻥ ﺍﻓﺰﻭﺩ ﺗﺠﺴﻢ ﺯﻧﺪﻩ‬

‫ﻧﻤﻲﺗﻮﺍﻧﺪ ﻛﺎﺭﻱ ﺟﺰ ﺑﺎﺯﻱ ﻋﻮﺽ ﻛﺮﺩﻥ ﻛﺎﻧﺎﻟﻬﺎ‪ ،‬ﺩﺭ ﻫﻢ ﺁﻣﻴﺨﺘﻦ ﺑﺮﻧﺎﻣﻪﻫﺎ ﻭ ﺧﻠﻖ ﻣﻮﻧﺘﺎﮊﻱ ﺍﺯ‬

‫ﺗﺼﺎﻭﻳﺮ ﺍﻧﺠﺎﻡ ﺩﻫﺪ )ﺍﻗﺒﺎﻝ ﻋﻤﻮﻣﻲ ﺑﺎﺯﻳﻬﺎﻱ ﺗﻲﻭﻱﮔﻴﻢ‪ ،‬ﺩﺭ ﺳﻄﺢ ﻣﺤﺘﻮﺍ‪ ،‬ﺻﺮﻓﺎً ﭘﮋﻭﺍﻛﻲ ﺍﺳﺖ ﺍﺯ‬

‫ﭼﻨﻴﻦ ﺑﻜﺎﺭﮔﻴﺮﻱ ‪ Ludic‬ﺍﺯ ﺭﺳﺎﻧﻪ( ﻭ ﻣﺎﻧﻨﺪ ﻫﺮ ﭼﻴﺰ ﺗﺮﻛﻴﺒﻲ‪ ،‬ﻣﻨﺒﻌﻲ ﺍﺯ ﺷﻴﻔﺘﮕﻲ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺩﻳﮕﺮ‬

‫ﺁﻏﺎﺯ‬ ‫ﺷﻴﻔﺘﮕﻲ‪fascination‬‬ ‫ﻧﻤﻲﺗﻮﺍﻥ ﺍﺯ ﻓﻀﺎﻱ ﺟﺎﺩﻭ ﻳﺎ ﺍﻏﻮﺍﮔﺮﻱ ﺳﺨﻦ ﺭﺍﻧﺪ‪ .‬ﺩﺭ ﻋﻮﺽ ﺩﻭﺭﻩ‬

‫ﺷﺪﻩﺍﺳﺖ‪.‬‬

‫ﺁﺷﻜﺎﺭ ﺍﺳﺖ ﻛﻪ ‪ Ludic‬ﻧﻤﻲﺗﻮﺍﻧﺪ ﻣﻌﺎﺩﻝ ﺳﺮﮔﺮﻡ ﺑﻮﺩﻥ ﺩﺍﻧﺴﺘﻪ ﺷﻮﺩ‪ Ludic .‬ﺑﺎ ﺭﻏﺒﺘﻲ ﻛﻪ‬

‫ﺑﻪ ﺑﺮﻗﺮﺍﺭﻱ ﺍﺗﺼﺎﻻﺕ ﺩﺍﺭﺩ ﺑﻴﺸﺘﺮ ﻭﺍﺑﺴﺘﻪ ﺑﻪ ﻛﺎﺭ ِ ﻛﺎﺭﮔﺎﻫﻲ ﺍﺳﺖ‪ .‬ﺑﻪ ﻃﻮﺭ ﻛﻠﻲ‪ ،‬ﺑﺮ ﺷﺒﻜﻪﻫﺎ ﻭ‬

‫ﺭﻭﺵ ﻛﺎﺭﺷﺎﻥ‪ ،‬ﺍﺷﻜﺎﻝ ﻧﻔﻮﺫ ﻭ ﺩﺳﺘﻜﺎﺭﻱﺷﺎﻥ ﺩﻻﻟﺖ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻣﺮ ‪ Ludic‬ﺷﺎﻣﻞ ﺗﻤﺎﻣﻲ ﺭﻭﺷﻬﺎﻱ‬

‫ﻣﺘﻔﺎﻭﺗﻲ ﺍﺳﺖ ﻛﻪ ﻣﻲﺗﻮﺍﻥ ﺑﺎ ﺷﺒﻜﻪﻫﺎ ﺑﺎﺯﻱ ﻛﺮﺩ ﻧﻪ ﺑﺮﺍﻱ ﺍﻳﺠﺎﺩ ﺁﻟﺘﺮﻧﺎﺗﻴﻮﻫﺎ ﻛﻪ ﺑﺮﺍﻱ ﻛﺸﻒ‬

‫ﺣﺎﻟﺖ ﻛﺎﺭﻛﺮﺩ ﺑﻬﻴﻨﻪ ﺁﻧﻬﺎ‪.‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﻣﺎ ﭘﻴﺸﺘﺮ ﺷﺎﻫﺪ ﻓﺮﻭﻛﺎﺳﺖ ﺑﺎﺯﻱ ﺑﻪ ﺳﻄﺢ ﻛﺎﺭﻛﺮﺩ ﺑﻮﺩﻩﺍﻳﻢ ‪ -‬ﺑﺎﺯﻱ ِ ﺩﺭﻣﺎﻥ‪ ،‬ﺑﺎﺯﻱِ ﺑﺮﺍﻱ‬

‫ﺁﻣﻮﺯﺵ‪ ،‬ﺑﺎﺯﻱ ﺑﻪ ﻣﺜﺎﺑﻪ ﺗﻄﻬﻴﺮ ﺭﻭﺍﻥ‪ ،‬ﺑﺎﺯﻱ ﺑﻪ ﻣﺜﺎﺑﻪ ﺧﻼﻗﻴﺖ‪ .‬ﺳﺮﺗﺎﺳﺮ ﺯﻣﻴﻨﻪﻫﺎﻱ ﺁﻣﻮﺯﺵ ﻭ‬

‫ﺭﻭﺍﻧﺸﻨﺎﺳﻲ ﻛﻮﺩﻙ‪ ،‬ﺑﺎﺯﻱ ﻣﺒﺪﻝ ﺑﻪ "ﻛﺎﺭﻛﺮﺩﻱ ﺿﺮﻭﺭﻱ" ﻳﺎ ﻣﺮﺣﻠﻪﺍﻱ ﺿﺮﻭﺭﻱ ﺑﺮﺍﻱ ﺭﺷﺪ ﻭ‬

‫ﭘﻴﺸﺮﻓﺖ ﺷﺪﻩﺍﺳﺖ‪ .‬ﻳﺎ ﺑﻪ ﺟﺰ ﺍﻳﻦ‪ ،‬ﺑﺎﺯﻱ ﺑﺎ ﺍﺻﻞ ﻟﺬﺕ ﭘﻴﻮﻧﺪ ﺧﻮﺭﺩﻩﺍﺳﺖ ﻭ ﮔﺰﻳﻨﻪﺍﻱ ﺍﻧﻘﻼﺑﻲ‬

‫ﺷﺪﻩﺍﺳﺖ‪ :‬ﭼﻴﺮﮔﻲ ﺩﻳﺎﻟﻜﺘﻴﻜﻲ ﺍﺻﻞ ﻭﺍﻗﻌﻴﺖ ﻧﺰﺩ ﻣﺎﺭﻛﻮﺯﻩ ﻭ ﺍﻳﺪﺋﻮﻟﻮﮊﻱ ﺑﺎﺯﻱ ﻭ ﺟﺸﻨﻮﺍﺭﻩ ﺑﺮﺍﻱ‬

‫ﺩﻳﮕﺮﺍﻥ‪ .‬ﺍﻣﺎ ﺑﺎﺯﻱ ﺣﺘﻲ ﺑﻪ ﻋﻨﻮﺍﻥ ﺳﺮﭘﻴﭽﻲ‪ ،‬ﺍﻣﺮﻱ ﺧﻮﺩﺑﻪ ﺧﻮﺩﻱ ﻳﺎ ﺑﻲﻏﺮﺿﻲ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﺎﻧﻪ‪،‬‬

‫ﺻﺮﻓﺎً ﺷﻜﻞ ﺗﺼﻌﻴﺪ ﺷﺪﻩ ﻗﺪﻳﻤﻲ‪ ،‬ﻓﻦ ﺁﻣﻮﺯﺷﻲ ﺁﻣﺮﺍﻧﻪ ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﺪ ﻛﻪ ﺑﻪ ﺑﺎﺯﻱ ﻣﻌﻨﺎ ﺩﺍﺩﻩ ﻭ ﺁﻥ‬

‫ﺭﺍ ﺑﻪ ﺍﻧﺘﻬﺎ ﻣﻲﺭﺳﺎﻧﺪ ﻭ ﺍﻳﻨﭽﻨﻴﻦ ﺑﺎﺯﻱ ﺭﺍ ﺍﺯ ﻗﺪﺭﺕ ﺍﻏﻮﺍﻳﺶ ﺗﻬﻲ ﻣﻲﺳﺎﺯﺩ‪ .‬ﺑﺎﺯﻱ ﭼﻮﻥ ﺭﻭﻳﺎ‪،‬‬

‫ﻭﺭﺯﺵ‪ ،‬ﺣﺮﻓﻪ‪ ،‬ﺍﺳﺘﺮﺍﺣﺖ ﻳﺎ ﻫﻤﭽﻮﻥ ﺍﺑﮋﻩﺍﻱ ﺍﻧﺘﻘﺎﻟﻲ‪ ،‬ﻭ ﻳﺎ ﻫﻤﭽﻮﻥ ﺑﻬﺪﺍﺷﺖ ﺭﻭﺍﻧﻲ ﺑﺮﺍﻱ ﺗﻌﺎﺩﻝ‬

‫ﺭﻭﺍﻧﺸﻨﺎﺳﺎﻧﻪ ﻳﺎ ﺑﺮﺍﻱ ﺗﻨﻈﻴﻢ ﻭ ﺗﻜﺎﻣﻞ ﻳﻚ ﻧﻈﺎﻡ‪ .‬ﺍﻳﻦ ﺑﺎ ﺍﺷﺘﻴﺎﻕ ﺑﻪ ﻭﻫﻤﻲ ﻛﻪ ﻣﺸﺨﺼﻪ ﺑﺎﺯﻱ‬

‫ﺍﺳﺖ ﺩﺭ ﺗﻀﺎﺩ ﻛﺎﻣﻞ ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪.‬‬

‫ﻣﺎ ﻫﻨﻮﺯ ﺍﺯ ﺗﻼﺷﻬﺎﻳﻲ ﻛﺎﺭﻛﺮﺩﻱ ﺳﺨﻦ ﻣﻲﺭﺍﻧﻴﻢ ﺗﺎ ﺑﺎﺯﻱ ﺭﺍ ﺯﻳﺮ ﻣﻮﺿﻮﻉ ﻗﺎﻧﻮﻥ ﺍﺭﺯﺵ ﺳﺎﺯﻳﻢ‬

‫‪Ludic‬‬ ‫ﺁﻧﭽﻪ ﻣﻬﻤﺘﺮ ﺍﺳﺖ‪ ،‬ﺟﺬﺏ ﺳﺎﻳﺒﺮﻧﺘﻴﻜﻲ )ﻓﺮﻣﺎﻥﺷﻨﺎﺳﺎﻧﻪ( ﺑﺎﺯﻱ ﺩﺭ ﺗﻘﺴﻴﻢﺑﻨﺪﻱﻫﺎﻱ ﻛﻠﻲ‬

‫ﺍﺳﺖ‪.‬‬

‫***‬

‫ﺗﻜﺎﻣﻞ ﻛﻠﻲ ﺑﺎﺯﻳﻬﺎ ﺭﻭ ﺑﻪ ﺁﺷﻜﺎﺭ ﺷﺪﻥ ﺍﺳﺖ‪ :‬ﺍﺯ ﺑﺎﺯﻳﻬﺎﻱ ﺭﻗﺎﺑﺘﻲ‪ ،‬ﻭﺭﺯﺷﻬﺎﻱ ﺗﻴﻤﻲ‪،‬‬

‫ﻭﺭﻕﺑﺎﺯﻳﻬﺎﻱ ﻣﺪﻝ ﻗﺪﻳﻤﻲ ﻭ ﻳﺎ ﺣﺘﻲ ﻣﻴﺰ ﻓﻮﺗﺒﺎﻝ ﺩﺳﺘﻲ ﮔﺮﻓﺘﻪ ﺗﺎ ﻧﺴﻞ ﻣﺎﺷﻴﻦﻫﺎﻱ ﭘﻴﻦﺑﺎﻝ )ﻛﻪ‬

‫ﺻﺤﻨﻪﻫﺎ ﻫﻨﻮﺯ ﺻﺤﻨﻪﻫﺎﻱ ﺩﻭﺭﺑﺮﺩﻱ )ﺗﻠﻮﻳﺰﻩ ﺷﺪﻩ( ﻧﻴﺴﺘﻨﺪ ﺑﻠﻜﻪ ﺁﻣﻴﺰﻩﺍﻱ ﺍﺯ ﻣﻬﺎﺭﺗﻬﺎﻱ ﺩﺳﺘﻲ ﻭ‬

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‫ﺍﻏﻮﺍ‬

‫ﺍﻟﻜﺘﺮﻭﻧﻴﻜﻲﺍﻧﺪ( ﺍﻳﻨﻚ ﺗﻮﺳﻂ ﺗﻨﻴﺲ ﺍﻟﻜﺘﺮﻭﻧﻴﻜﻲ ﻭ ﺩﻳﮕﺮ ﺑﺎﺯﻳﻬﺎﻱ ﻛﺎﻣﭙﻴﻮﺗﺮﻱ )ﻛﻪ ﺻﺤﻨﻪﻫﺎﻳﺸﺎﻥ‬

‫ﺑﺎ ﺣﺮﻛﺖ ﺳﺮﻳﻊ ﻣﻮﻟﻜﻮﻟﻲ ﺑﻪ ﺳﺮﻋﺖ ﺑﻪ ﺣﺮﻛﺖ ﺩﺭ ﻣﻲﺁﻳﺪ( ﻣﻨﺴﻮﺥ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺍﻳﻦ ﺩﺳﺘﻜﺎﺭﻱﻫﺎﻱ‬

‫ﺍﺗﻤﻴﻜﻲ ﻣﻮﺭﺩ ﻟﺰﻭﻡ ﺑﺎﺯﻳﻬﺎﻱ ﺍﺧﻴﺮ‪ ،‬ﺗﻔﺎﻭﺕ ﭼﻨﺪﺍﻧﻲ ﺑﺎ ﻋﻤﻠﻴﺎﺕ ﻛﻨﺘﺮﻝ ﺍﻃﻼﻋﺎﺕ ﺩﺭ "ﻓﺮﺁﻳﻨﺪ‬

‫ﻛﺎﺭﻱ" ﻭ ﻳﺎ ﺑﻪ ﻛﺎﺭﮔﻴﺮﻱ ﺁﺗﻲ ﻛﺎﻣﭙﻴﻮﺗﺮﻫﺎ ﺩﺭ ﻣﺤﻴﻂ ﺧﺎﻧﻪﻫﺎ ﻧﺪﺍﺭﺩ ﻛﻪ ﭘﻴﺸﺘﺮ ﻫﻢ ﺗﻠﻮﻳﺰﻳﻮﻥ ﻭ‬

‫ﺩﻳﮕﺮ ﻭﺳﺎﻳﻞ ﺳﻤﻌﻲ ﺑﺼﺮﻱ‪ ،‬ﻭﺍﺭﺩ ﺧﺎﻧﻪﻫﺎ ﺷﺪﻩ ﺑﻮﺩ‪ Ludic .‬ﻫﻤﻪﺟﺎ ﻫﺴﺖ ﺣﺘﻲ ﺩﺭ ﺍﻧﺘﺨﺎﺏ ﻳﻚ‬

‫ﭘﻮﺩﺭ ﺭﺧﺘﺸﻮﻳﻲ ﺩﺭ ﻓﺮﻭﺷﮕﺎﻩ‪ .‬ﺑﻲﻫﻴﭻ ﺗﻼﺷﻲ ﻣﻲﺗﻮﺍﻥ ﻣﺸﺎﺑﻬﺖﻫﺎﻱ ﺁﻥ ﺭﺍ ﺑﺎ ﺩﺍﺭﻭﻫﺎﻱ ﺭﻭﺍﻥ‬

‫ﺩﺭﻣﺎﻧﻲ ﻳﺎﻓﺖ‪ .‬ﭼﺮﺍ ﻛﻪ ﻣﻮﺭﺩ ﺍﺧﻴﺮ ﺑﺴﻴﺎﺭ ‪ Ludic‬ﺍﺳﺖ‪ :‬ﭼﻴﺰﻱ ﺟﺰ ﺩﺳﺘﻜﺎﺭﻱ ﺻﻔﺤﻪ ﻛﻠﻴﺪ ﺣﺴﻲ‬

‫ﻭ ﭘﻨﻞ ﺍﺑﺰﺍﺭ ﻋﺼﺒﻲ ﻧﻴﺴﺖ‪ .‬ﺑﺎﺯﻳﻬﺎﻱ ﺍﻟﻜﺘﺮﻭﻧﻴﻜﻲ ﻧﻴﺰ ﻣﺨﺪﺭﻫﺎﻳﻲ ﻣﻼﻳﻢﺍﻧﺪ ﻛﻪ ﻓﺮﺩ ﺑﺎ ﻫﻤﺎﻥ ﺣﺲ‬

‫ﻓﻘﺪﺍﻥ ﺧﻮﺍﺏﺁﻟﻮﺩﮔﻲ ﻭ ﻫﻤﺎﻥ ﺭﺿﺎﻳﺘﻨﺪﻱ ﻣﻠﻤﻮﺱ )ﺩﺍﺭﻭﻫﺎ( ﺑﺎ ﺁﻧﻬﺎ ﺑﺎﺯﻱ ﻣﻲﻛﻨﺪ‪.‬‬

‫ﺣﺘﻲ ﻛﺪ ﮊﻧﺘﻴﻚ ﻧﻴﺰ ﺑﻪ ﺻﻮﺭﺕ ﺻﻔﺤﻪ ﻛﻠﻴﺪﻫﺎﻱ ﻓﺮﻣﺎﻥ ﺑﺮﺍﻱ ﻣﻮﺟﻮﺩ ﺯﻧﺪﻩ ﺩﺭ ﺁﻣﺪﻩﺍﻧﺪ ﻛﻪ‬

‫ﺑﺎ ﺗﺮﻛﻴﺒﺎﺕ ﻭ ﻣﺘﻐﻴﺮﻫﺎﻱ ﺑﻲﺍﻧﺪﺍﺯﻩ ﺧﺮﺩ‪ ،‬ﺳﺮﻧﻮﺷﺖ ﻣﻮﺟﻮﺩ ﺯﻧﺪﻩ ﺭﺍ ﺗﻌﻴﻴﻦ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺗﻘﺪﻳﺮﻱ ﺗﻠﻪ‬

‫ﺍﻭﻧﻮﻣﻴﻚ ﻛﻪ ﺩﺭ ﺻﻔﺤﻪ ﻣﻮﻟﻜﻮﻟﻲ ﻛﺪ‪ ،‬ﺁﺷﻜﺎﺭ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻏﻠﺐ ﺩﺭ ﺑﺎﺭﻩ ﺍﺑﮋﻛﺘﻴﻮﻳﺘﻪ ﻛﺪ ﮊﻧﺘﻴﻚ‬

‫ﺳﺨﻦ ﺑﻪ ﻣﻴﺎﻥ ﻣﻲﺁﻳﺪ ﻛﻪ ﭼﻮﻥ ﺍﻟﮕﻮﻱ ﺑﻴﻮﻟﻮﮊﻳﻜﻲ ﺩﺭ ﺁﻳﻨﺪﻩ ﺑﻪ ﻛﻞ ﺟﻬﺎﻥ ﺧﺪﻣﺖ ﻣﻲﻛﻨﻨﺪ‪ ،‬ﺍﺯ‬

‫ﻫﻢ ﺍﻛﻨﻮﻥ ﻧﻴﺰ ﺍﻳﻦ ﺟﻬﺎﻥ ﺗﺮﻛﻴﺒﻲ‪ ،‬ﺗﺼﺎﺩﻓﻲ ﻭ ‪ Ludic‬ﻛﻪ ﻣﺎ ﺭﺍ ﺍﺣﺎﻃﻪ ﻛﺮﺩﻩﺍﺳﺖ‪.‬‬

‫ﺳﻮﺍﻱ ﺍﻳﻦ ﺑﻴﻮﻟﻮﮊﻱ ﭼﻴﺴﺖ؟ ﭼﻪ ﺣﻘﻴﻘﺘﻲ ﺭﺍ ﺩﺭ ﺑﺮ ﻣﻲﮔﻴﺮﺩ؟ ﻳﺎ ﺁﻧﻜﻪ ﺗﻨﻬﺎ ﺍﻳﻦ ﺣﻘﻴﻘﺖ ﺭﺍ‬

‫ﺩﺭ ﺑﺮ ﻣﻲﮔﻴﺮﺩ ﻛﻪ‪ ...‬ﺗﻘﺪﻳﺮ ﺑﻪ ﭘﻨﻞ ﺍﺑﺰﺍﺭﻱ ﻗﺎﺑﻞ ﺍﺳﺘﻔﺎﺩﻩﺍﻱ ﻣﺒﺪﻝ ﻣﻲﺷﻮﺩ‪ .‬ﻭﺭﺍﻱ ﺻﺤﻨﻪ ﻛﻨﺘﺮﻝ‬

‫ﺍﺯ ﺭﺍﻩ ﺩﻭﺭ ﺑﻴﻮﻟﻮﮊﻳﻜﻲ‪ ،‬ﻫﻴﭻ ﺑﺎﺯﻱ ﺩﺭ ﻛﺎﺭ ﻧﻴﺴﺖ‪ ،‬ﻧﻪ ﺷﺮﻁﺑﻨﺪﻳﻲ‪ ،‬ﻧﻪ ﺗﻮﻫﻤﻲ ﻳﺎ ﺑﺎﺯﻧﻤﺎﻳﻲ‪ .‬ﻗﻀﻴﻪ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺑﻪ ﺳﺎﺩﮔﻲ ﺗﻠﻔﻴﻖ ﻛﺪﻫﺎ ﻭ ﺑﺎﺯﻱ ﺑﺎ ﺁﻧﻬﺎ ﺍﺳﺖ ﺩﺭﺳﺖ ﻫﻤﺎﻧﻄﻮﺭﻱ ﻛﻪ ﭼﮕﻮﻧﮕﻲ ﺻﺪﺍ ﺭﺍ ﺩﺭ‬

‫ﺳﻴﺴﺘﻤﻬﺎﻱ ﺍﺳﺘﺮﻳﻮ ﻓﻮﻧﻴﻚ ﺗﻨﻈﻴﻢ ﻣﻲﻛﻨﻨﺪ‪.‬‬

‫ﺳﻴﺴﺘﻢﻫﺎﻱ ﺍﺳﺘﺮﻳﻮﻓﻮﻧﻴﻚ ﻣﺜﺎﻝ ﺧﻮﺑﻲ ﺑﺮﺍﻱ ‪ Ludic‬ﺍﺳﺖ‪ .‬ﻫﻨﮕﺎﻡ ﺩﺳﺘﻜﺎﺭﻱ ﻛﻨﺘﺮﻝﻫﺎﻱ‬

‫ﺍﺳﺘﺮﻳﻮ ﻓﺮﺩ ﺩﻳﮕﺮ ﻧﻪ ﺑﺎ ﻣﻮﺳﻴﻘﻲ ﻛﻪ ﺑﺎ ﻓﻦﺁﻭﺭﻱ ﺍﺭﺗﺒﺎﻁ ﻣﻲﻳﺎﺑﺪ‪ .‬ﻧﻮﺳﺎﻥ ﺑﻬﻴﻨﻪﺍﻱ ﺍﺯ ﺩﺍﻣﻨﻪﻱ‬

‫ﺳﻴﺴﺘﻢ‪ .‬ﺑﺎ ﺟﺎﺩﻭﻱ ﭘﻨﻞ ﺍﺑﺰﺍﺭﻱ‪ ،‬ﺩﺳﺘﻜﺎﺭﻱ ﺭﺳﺎﻧﻪ‪ ،‬ﻣﺴﻠﻂ ﻣﻲﺷﻮﺩ‪.‬‬

‫ﺑﺎﺯﻱ ﺷﻄﺮﻧﺞ ﻛﺎﻣﭙﻴﻮﺗﺮﻱ ﺭﺍ ﺩﺭ ﻧﻈﺮ ﺑﮕﻴﺮﻳﺪ‪ .‬ﻛﺠﺎﺳﺖ ﺁﻥ ﻗﺪﺭﺕ ﺑﺎﺯﻱ ﺷﻄﺮﻧﺞ ﻭ ﻳﺎ ﻟﺬﺕ‬

‫ﻣﻄﺒﻮﻉ ﺑﺮﺍﻱ ﻛﺎﻣﭙﻴﻮﺗﺮﻫﺎ؟ ﻓﺮﺩ ﺩﺭﮔﻴﺮ ﺑﺎﺯﻱ ﻣﻲﺷﻮﺩ ﻭ ﺩﻳﮕﺮﻱ ﺩﺭﮔﻴﺮ ‪ .Ludic‬ﻫﻤﻴﻦ ﺍﻣﺮ ﺩﺭ‬

‫ﻣﻮﺭﺩ ﭘﺨﺶ ﻣﺴﺎﺑﻘﻪ ﻓﻮﺗﺒﺎﻝ ﺍﺯ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺻﺎﺩﻕ ﺍﺳﺖ‪ .‬ﻓﻜﺮ ﻧﻜﻨﻴﺪ ﺍﻳﻦ ﻫﻤﺎﻥ ﻣﺴﺎﺑﻘﻪ ﺍﺳﺖ‪.‬‬

‫)ﻣﺴﺎﺑﻘﻪ ﻓﻮﺗﺒﺎﻝ ﺍﺯ ﻧﺰﺩﻳﻚ ﻭ ﻣﺴﺎﺑﻘﻪ ﭘﺨﺶﺷﺪﻩ ﺍﺯ ﻃﺮﻳﻖ ﺗﻠﻮﻳﺰﻳﻮﻥ ‪ -‬ﻣﺘﺮﺟﻢ( ﻳﻜﻲ ﺩﺍﻍ ﺍﺳﺖ‬

‫ﺩﻳﮕﺮﻱ ﺳﺮﺩ ﺍﺳﺖ‪ .‬ﻳﻜﻲ ﺩﺭﮔﻴﺮ ﺑﺎﺯﻱ ﻭ ﺷﺎﺭﮊ ﺍﺣﺴﺎﺳﻲ ﺁﻥ ﻻﻑﺯﻧﻴﻬﺎ ﻭ ﺷﺎﺩﻣﺎﻧﻲﻫﺎﻳﺶ ﺍﺳﺖ‪.‬‬

‫ﺩﻳﮕﺮﻱ ﻻﻣﺴﻪﺍﻱ ﻭ ﺗﻠﻔﻴﻖ ﺷﺪﻩﺍﺳﺖ‪) .‬ﺻﺤﻨﻪﻫﺎﻱ ﻗﺒﻠﻲ‪ ،‬ﻧﻤﺎﻫﺎﻱ ﻧﺰﺩﻳﻚ‪ ،‬ﻣﻴﺪﺍﻥ ﺩﻳﺪ ﻭﺳﻴﻊ‪،‬‬

‫ﺣﺮﻛﺘﻬﺎﻱ ﺁﻫﺴﺘﻪ‪ ،‬ﺯﺍﻭﻳﻪﻫﺎﻱ ﻣﺨﺘﻠﻒ ﺩﻳﺪ ﻭ‪ ( ..‬ﻣﺴﺎﺑﻘﻪ ﺗﻠﻮﻳﺰﻩﺷﺪﻩ‪ ،‬ﺑﻴﺶ ﺍﺯ ﻫﺮ ﭼﻴﺰ‪ ،‬ﺭﻭﻳﺪﺍﺩﻱ‬

‫ﺗﻠﻮﻳﺰﻩ ﺷﺪﻩﺍﺳﺖ ﻣﺎﻧﻨﺪ ﻫﺎﻟﻮﻛﺎﺳﺖ‪) ۵۱‬ﻗﺘﻞ ﻋﺎﻡ( ﻳﺎ ﺟﻨﮓ ﺩﺭ ﻭﻳﺘﻨﺎﻡ ﻭ ﻛﻪ ﺁﺷﻜﺎﺭﺍ ﺍﺯ ﺧﻮﺩ ﺍﻳﻦ‬

‫ﺭﻭﻳﺪﺍﺩﻫﺎ ﻣﺘﻤﺎﻳﺰ ﺍﺳﺖ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻭﺭﻭﺩ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺭﻧﮕﻲ ﺩﺭ ﺍﻳﺎﻻﺕ ﻣﺘﺤﺪﻩ ﻛﻪ ﺑﻪ ﺳﺨﺘﻲ ﻭ‬

‫ﺁﻫﺴﺘﮕﻲ ﺍﻧﺠﺎﻡ ﺷﺪﻩ ﺗﻨﻬﺎ ﻭﻗﺘﻲ ﺻﻮﺭﺕ ﮔﺮﻓﺖ ﻛﻪ ﻳﻜﻲ ﺍﺯ ﺷﺒﻜﻪﻫﺎﻱ ﺑﺰﺭﮒ ﺗﺼﻤﻴﻢ ﮔﺮﻓﺖ ﺭﻧﮓ‬

‫ﺭﺍ ﺩﺭ ﮊﻭﺭﻧﺎﻟﻴﺴﻢ ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ﻭﺍﺭﺩ ﻧﻤﺎﻳﺪ‪ .‬ﺍﻳﻦ ﻫﻤﺰﻣﺎﻥ ﺑﺎ ﺩﻭﺭﻩ ﺟﻨﮓ ﻭﻳﺘﻨﺎﻡ ﺑﻮﺩﻩ ﻭ ﻣﻄﺎﻟﻌﺎﺕ‬

‫ﻧﺸﺎﻥ ﺩﺍﺩﻩﺍﻧﺪ ﻛﻪ ﺑﺎﺯﻱ ﺭﻧﮓﻫﺎ ﻭ ﻣﻬﺎﺭﺕﻫﺎﻱ ﻓﻨﻲ ﺍﻳﻦ ﻧﻮﺁﻭﺭﻱ‪ ،‬ﺗﺼﺎﻭﻳﺮ ﺟﻨﮓ ﺭﺍ ﺩﺭ ﻧﺰﺩ ﻋﻤﻮﻡ‪،‬‬

‫ﻗﺎﺑﻞ ﺗﺤﻤﻠﺘﺮ ﺳﺎﺧﺖ‪ .‬ﺣﻘﻴﻘﺖ "ﺑﻴﺸﺘﺮ"‪ ،‬ﻓﺎﺻﻠﻪ ‪ Ludic‬ﺑﻴﺸﺘﺮﻱ ﺍﺯ ﺭﻭﻳﺪﺍﺩ‪.‬‬

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‫ﺍﻏﻮﺍ‬

‫ﻫﻠﻮﻛﺎﺳﺖ‪ ،‬ﻭﻳﮋﮔﻲ ﺗﻠﻮﻳﻮﻳﺰﻳﻮﻧﻲ‬

‫ﻳﻬﻮﺩﻳﻬﺎ ﺩﻳﮕﺮ ﺑﻪ ﺍﺗﺎﻕ ﮔﺎﺯ ﻭ ﻳﺎ ﻛﻮﺭﻩﻫﺎﻱ ﺁﺩﻡﺳﻮﺯﻱ ﺍﻧﺪﺍﺧﺘﻪ ﻧﻤﻲﺷﻮﻧﺪ ﺑﻠﻜﻪ ﺑﻪ ﺷﻴﺎﺭﻫﺎﻱ‬

‫ﺻﺪﺍ ﻭ ﺑﺎﺭﻳﻜﻪ ﺗﺼﺎﻭﻳﺮ‪ ،‬ﺑﻪ ﺻﺤﻨﻪﺍﻱ ﻛﺎﺗﻮﺩﻳﻚ ﻭ ﺭﻳﺰﭘﺮﺩﺍﺯﻧﺪﻩﻫﺎ ﺳﭙﺮﺩﻩ ﻣﻲﺷﻮﻧﺪ‪ .‬ﺑﻲﺣﺎﻓﻈﻪﮔﻲ‪،‬‬

‫ﻓﺮﺍﻣﻮﺷﻲ‪ ،‬ﺑﺪﻳﻦﻃﺮﻳﻖ ﻧﻬﺎﻳﺘﺎً ﺑﻌﺪﻱ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﺎﻧﻪ ﺭﺍ ﺣﺎﺻﻞ ﻣﻲﻛﻨﻨﺪ ‪ -‬ﻛﻪ ﺩﺭ ﻣﺪﻫﺎﻱ‬

‫ﺑﺮﮔﺸﺖﭘﺬﻳﺮ )ﺑﺎﺯﮔﺸﺖ ﺩﻭﺑﺎﺭﻩ ﻣﺪﻫﺎﻱ ﻗﺪﻳﻤﻲ ‪ -‬ﻣﺘﺮﺟﻢ( ﺑﻪ ﺣﺪ ﻛﻤﺎﻝ ﺭﺳﻴﺪﻩ ﻭ ﺑﻪ ﺍﺑﻌﺎﺩ ﺗﻮﺩﻩﻫﺎ‬

‫ﺑﺮﺟﺴﺘﻪ ﻣﻲﺷﻮﺩ‪ .‬ﺗﻠﻮﻳﺰﻳﻮﻥ ﻫﻤﭽﻮﻥ ﺭﺍﻩ ﺣﻞ ﻧﻬﺎﻳﻲ« ﺭﺍﺳﺘﻴﻦ ﺭﺧﺪﺍﺩ‪.‬‬

‫ﺑﻌﺪ ﺗﺎﺭﻳﺦ ﻛﻪ ﭘﻴﺸﺘﺮ ﺩﺭ ﺳﺎﻳﻪﻫﺎ ﻫﻤﭽﻮﻥ ﮔﻨﺎﻩ ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﺪ‪ ،‬ﺩﻳﮕﺮ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪) .‬ﺍﺷﺎﺭﻩ ﺑﻪ‬

‫ﻣﻔﻬﻮﻡ ﮔﻨﺎﻩ ﺩﺭ ﻣﺴﻴﺤﻴﺖ ‪ -‬ﻣﺘﺮﺟﻢ( ﺍﺯ ﺍﻳﻦ ﺯﻣﺎﻥ ﺑﻪ ﺑﻌﺪ "ﻛﻞ ﺟﻬﺎﻥ ﺍﺯ ﻫﻤﻪﭼﻴﺰ ﺧﺒﺮﺩﺍﺭ‬

‫ﻣﻲﺷﻮﺩ‪ ".‬ﻛﻞ ﺟﻬﺎﻥ ﺑﻪ ﻟﺮﺯﻩ ﺩﺭ ﺁﻣﺪﻩﺍﺳﺖ ‪ -‬ﻳﻚ ﻧﺸﺎﻧﻪ ﻣﺤﺾ ﻛﻪ »ﺁﻥ« ﻫﺮﮔﺰ ﺩﻭﺑﺎﺭﻩ ﺍﺗﻔﺎﻕ‬

‫ﻧﺨﻮﺍﻫﺪ ﺍﻓﺘﺎﺩ‪ .‬ﺩﺭ ﻧﺘﻴﺠﻪ‪ ،‬ﭼﻴﺰﻱ ﻛﻪ ﺑﻪ ﻗﻴﻤﺖ ﭼﻨﺪ ﺍﺷﻚ ﺩﻓﻊ ﻣﻲﮔﺮﺩﺩ ﺩﻳﮕﺮ ﺭﺥ ﻧﺨﻮﺍﻫﺪ ﺩﺍﺩ‬

‫ﭼﺮﺍ ﻛﻪ ﺑﻪ ﺷﻜﻞ ﺑﺪﮔﻮﻳﻲ ﺑﻪ ﺷﻜﻞ ﺭﺳﺎﻧﻪﻱ ﻃﺮﺩﻛﻨﻨﺪﻩﻱ ﺁﻥ ﺑﺎﺯﻣﻲﮔﺮﺩﺩ‪ .‬ﻫﻤﺎﻥ ﻓﺮﺍﻣﻮﺷﻲ‪،‬‬

‫ﻫﻤﺎﻥ ﺑﺮﺍﻧﺪﺍﺯﻱ‪ ،‬ﻫﻤﺎﻥ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﻧﺎﺑﻮﺩﻱ ﻭ ﺣﺘﻲ ﻧﺎﺑﻮﺩﻱ ﺣﺎﻓﻈﻪ ﻭ ﺗﺎﺭﻳﺦ ‪ -‬ﻫﻤﺎﻥ ﭘﺮﺗﻮﺍﻓﻜﻨﻲ ﺑﺎﺯﮔﺸﺖﻛﻨﻨﺪﻩ‪ ،‬ﻫﻤﺎﻥ ﺟﺬﺏ‬

‫ﺑﺪﻭﻥ ﭘﮋﻭﺍﻙ‪ .‬ﻫﻤﺎﻥ ﺣﻔﺮﻩ ﺳﻴﺎﻩ ﻫﻤﭽﻮﻥ ﺁﺷﻮﻳﺘﺲ‪.‬‬

‫ﻭ ﻣﻲﺧﻮﺍﻫﻨﺪ ﻣﺎ ﺭﺍ ﻣﺘﻘﺎﻋﺪ ﻧﻤﺎﻳﻨﺪ ﻛﻪ ﺗﻠﻮﻳﺰﻳﻮﻥ ﻗﺼﺪ ﺩﺍﺭﺩ ﻣﺎ ﺭﺍ ﺍﺯ ﺑﺎﺭ ﺳﻨﮕﻴﻦ ﺁﺷﻮﻳﺘﺰ ﺑﺎ‬

‫ﭘﺮﻭﺭﺍﻧﺪﻥ ﺁﮔﺎﻫﻲ ﺟﻤﻌﻲ ﺑﺮﻫﺎﻧﺪ‪ ،‬ﻫﻨﮕﺎﻣﻲ ﻛﻪ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺁﻧﺮﺍ ﺑﻪ ﻃﺮﻳﻖ ﺩﻳﮕﺮﻱ ﻧﻪ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ‬

‫ﻣﻜﺎﻥ ﻧﺎﺑﻮﺩﻱ ﻛﻪ ﺑﺎ ﺭﺳﺎﻧﻪﺍﻱ ﺑﺎﺯﺩﺍﺭﻧﺪﻩ ﺟﺎﻭﺩﺍﻧﻪ ﻣﻲﺳﺎﺯﺩ‪.‬‬

‫ﻫﻮﻟﻮﻛﺎﺳﺖ‪ ،‬ﭘﻴﺶ ﺍﺯ ﻫﺮ ﭼﻴﺰ‪ ،‬ﺭﻭﻳﺪﺍﺩﻱ ﺗﻠﻮﻳﺰﻩ ﺷﺪﻩﺍﺳﺖ‪) .‬ﻧﺒﺎﻳﺪ ﻗﺎﻋﺪﻩ ﺍﺻﻠﻲ ﻣﻚﻟﻮﻫﺎﻥ‬

‫ﺭﺍ ﻓﺮﺍﻣﻮﺵ ﻛﺮﺩ( ﻳﻌﻨﻲ ﺗﻼﺷﻲ ﺍﺳﺖ ﺑﺮﺍﻱ ﮔﺮﻣﻲ ﺑﺨﺸﻴﺪﻥ ﺑﻪ ﺍﻣﺮﻱ ﺗﺮﺍﮊﻳﻚ ﺍﻣﺎ )ﺧﻮﺩ( ﺭﻭﻳﺪﺍﺩ‬

‫ﺗﺎﺭﻳﺨﻲ ﺳﺮﺩ ﺍﺳﺖ‪ ،‬ﺍﻭﻟﻴﻦ ﺭﻭﻳﺪﺍﺩ ﺑﺰﺭﮒ ﺳﻴﺴﺘﻤﻬﺎﻱ ﺳﺮﺩ‪ ،‬ﺳﻴﺴﺘﻤﻬﺎﻱ ﺳﺮﺩﻛﻨﻨﺪﻩ‪،‬‬

‫ﺳﻴﺴﺘﻤﻬﺎﻳﻲ ﺑﺎﺯﺩﺍﺭﻧﺪﻩ ﻭ ﻧﺎﺑﻮﺩﻛﻨﻨﺪﻩ‪ ،‬ﻛﻪ ﻣﻲﺧﻮﺍﻫﻨﺪ ﺩﺭ ﺍﺷﻜﺎﻝ ﺩﻳﮕﺮ ﺑﺴﻂ ﻳﺎﺑﻨﺪ‪) .‬ﺷﺎﻣﻞ ﺟﻨﮓ‬

‫ﺳﺮﺩ ﻭ‪ (...‬ﻭ ﺭﻭﻳﺪﺍﺩﻱ ﻛﻪ ﺑﺎ ﺗﻮﺩﻩﻫﺎﻱ ﺳﺮﺩ ﻣﺮﺗﺒﻂ ﺍﺳﺖ‪) .‬ﻳﻬﻮﺩﻱ ﻫﺎ ﺩﻳﮕﺮ ﺑﻪ ﻛﺎﺭﻱ ﻣﻠﺘﺰﻡ‬

‫ﻧﻤﻲﺷﻮﻧﺪ ﺑﻠﻜﻪ ﺩﺭ ﻧﻬﺎﻳﺖ ﻣﺠﺒﻮﺭ ﻣﻲﺷﻮﻧﺪ ﻛﻪ ﻣﺮﮒ ﺧﻮﺩ ﺭﺍ ﻣﺪﻳﺮﻳﺖ ﻧﻤﺎﻳﻨﺪ‪ .‬ﺗﻮﺩﻩﻫﺎ ﺩﻳﮕﺮ‬

‫ﺳﺮﻛﺶ ﻧﻴﺴﺘﻨﺪ ﺑﻠﻜﻪ ﺑﺎ ﻣﺮﮒ ﻭ ﺗﺤﺖ ﻣﺮﮒ ﺩﻟﺴﺮﺩ ﻣﻲﺷﻮﻧﺪ( ﺑﻪ ﺭﻭﻳﺪﺍﺩﻱ ﺳﺮﺩ ﺑﺎ ﺭﺳﺎﻧﻪﺍﻱ‬

‫ﺳﺮﺩ ﺑﺮﺍﻱ ﺗﻮﺩﻩﻫﺎﻳﻲ ﻛﻪ ﺧﻮﺩ ﻧﻴﺰ ﺳﺮﺩﻧﺪ‪ ،‬ﺣﺮﺍﺭﺕ ﺩﺍﺩﻩﻣﻲﺷﻮﺩ‪ ،‬ﺗﻮﺩﻩﻫﺎﻳﻲ ﻛﻪ ﺗﻨﻬﺎ ﻣﺎﻳﻠﻨﺪ‬

‫ﺍﺣﺴﺎﺱ ﺑﻌﺪ ﺍﺯ ﻣﺮﮒ ﺭﺍ ﺗﺠﺮﺑﻪ ﻧﻤﺎﻳﻨﺪ‪ ،‬ﺍﺭﺗﻌﺎﺷﻲ ﺑﺎﺯﺩﺍﺭﻧﺪﻩ ﻭ ﻻﻣﺴﻪﺍﻱ ﻛﻪ ﺑﻪ ﺁﻧﻬﺎ ﺍﻳﻦ ﺍﺟﺎﺯﻩ ﺭﺍ‬

‫ﻣﻲﺩﻫﺪ ﻛﻪ ﻭﺍﻗﻌﻪ ﺭﺍ ﺑﺎ ﻧﻮﻋﻲ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﻲ ﻭﺟﺪﺍﻥ ﺧﻮﺏ ﺑﻪ ﻓﺮﺍﻣﻮﺷﻲ ﺳﭙﺎﺭﻧﺪ‪.‬‬

‫ﺑﻪ ﻣﻨﻈﻮﺭ ﺑﺎﺯﮔﺮﻣﺎ ﺑﺨﺸﻴﺪﻥ ﺑﺪﺍﻧﻬﺎ‪ ،‬ﺗﻨﻈﻴﻤﺎﺕ ﺳﻴﺎﺳﻲ ﻭ ﺍﻣﻮﺯﺷﻲ ﺗﻼﺵ ﺩﺍﺭﻧﺪ ﺑﻪ ﺭﻭﻳﺪﺍﺩﻫﺎ‬

‫)ﻱ ﺗﻠﻮﻳﺰﻳﻮﻧﻪﺷﺪﻩ( ﻣﻌﻨﺎﻳﻲ ﺭﺍ ﻛﻪ ﻓﺎﻗﺪ ﺁﻧﻨﺪ ﺑﺪﻫﻨﺪ‪ .‬ﻧﺘﺎﻳﺞ ﻣﻤﻜﻦ ﺑﺮﻧﺎﻣﻪﻫﺎﻱ ﺳﻴﻨﻤﺎﻱ ﻭﺣﺸﺖ‬

‫ﺑﺮ ﺭﻭﻱ ﺫﻫﻦ ﻛﻮﺩﻛﺎﻥ‪ ،‬ﺗﻤﺎﻣﻲ ﻋﺎﻣﻼﻥ ﺍﻣﺮ ﺍﺟﺘﻤﺎﻋﻲ ﺑﺴﻴﺞ ﺷﺪﻧﺪ ﺗﺎ ﻣﺎﻧﻊ ﺁﻥ ﺷﻮﻧﺪ ﮔﻮﻳﻲ ﺍﻳﻦ‬

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‫ﺍﻏﻮﺍ‬

‫ﻗﻴﺎﻡ ﺳﺎﺧﺘﮕﻲ ﺍﺯ ﺧﻄﺮﻱ ﻭﺍﮔﻴﺮﺩﺍﺭ ﻣﻤﻨﺎﻋﺖ ﻛﺮﺩ‪ ،‬ﺍﻣﺎ ﺩﺭ ﺣﻘﻴﻘﺖ ﺧﻄﺮ ﻛﺎﻣﻼً ﺑﺮﻋﻜﺲ ﺑﻮﺩ‪ :‬ﺧﻄﺮ‬

‫ﺩﺭ ﻧﺘﺎﻳﺞ ﺳﻜﻮﻥ ﺍﺟﺘﻤﺎﻋﻲ ﺍﻳﻦ ﺭﺳﺎﻧﻪﻫﺎﻱ ﺳﺮﺩ ﺍﺳﺖ‪ .‬ﻓﺮﺁﻭﺭﺩﻩ ﺳﺮﺩ ﺣﺎﺻﻞ ﺍﺯ ﺳﺮﺩﻱ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ‬

‫ﻛﻞ ﺟﻬﺎﻥ ﺑﺎﻳﺪ ﺑﺴﻴﺞ ﮔﺮﺩﺩ ﺗﺎ )ﮔﺮﻣﻲ( ﺍﻣﺮ ﺍﺟﺘﻤﺎﻋﻲ ﺍﺭﺗﺒﺎﻃﺎﺕ ﺧﺎﺭﺝ ﺍﺯ ﻫﻴﻮﻻﻱ ﺳﺮﺩ ﻧﺎﺑﻮﺩﻱ‪،‬‬

‫ﺑﺎﺯﺳﺎﺯﻱ ﻧﻤﺎﻳﺪ‪ .‬ﺑﺮﻧﺎﻣﻪ ﺩﺭ ﺧﺪﻣﺖ ﺍﻳﺠﺎﺩ ﺣﺮﺍﺭﺗﻲ ﺳﺎﺧﺘﮕﻲ ﺍﺯ ﺭﻭﻳﺪﺍﺩﻫﺎﻳﻲ ﻣﺮﺩﻩ ﺑﺮﺍﻱ ﺑﺎﺯﮔﺮﻣﻲ‬

‫ﺑﺨﺸﻴﺪﻥ ﺑﻪ ﺑﺪﻧﻬﺎﻱ ﻣﺮﺩﻩ ﺍﻣﺮ ﺍﺟﺘﻤﺎﻋﻲ )ﺗﻮﺩﻩﻫﺎ( ﺍﺳﺖ‪ .‬ﺍﺯ ﺍﻳﻦ ﺭﻭ ﻛﻤﻚﻫﺎﻱ ﺗﻜﻤﻴﻠﻲ‬

‫ﺭﺳﺎﻧﻪﻫﺎﻱ ﺩﻳﮕﺮ )ﺑﻪ ﺟﺰ ﺗﻠﻮﻳﺰﻳﻮﻥ( ﺗﻼﺵ ﺑﺮﺍﻱ ﺑﺴﻂ ﺗﺄﺛﻴﺮﺍﺕ ﺑﺮﻧﺎﻣﻪ ﺑﺎ ﺑﺎﺯﺧﻮﺭﺩﻫﺎﺳﺖ‪:‬‬

‫ﻧﻈﺮﺳﻨﺠﻲﻫﺎﻱ ﻫﻤﺰﻣﺎﻥ ﺑﻪ ﭘﺸﺘﻴﺒﺎﻧﻲ ﺍﺯ ﻫﻨﮕﻔﺘﻲ ﺑﺮﻧﺎﻣﻪ ﻭ ﺗﺄﺛﻴﺮﺍﺕ ﺍﺟﺘﻤﺎﻋﻲﺍﺵ ﻣﻲﭘﺮﺩﺍﺯﺩ‪،‬‬

‫ﻻﺯﻡ ﺑﻪ ﺫﻛﺮ ﻧﻴﺴﺖ ﻛﻪ ﺍﻳﻦ ﻧﻈﺮﺳﻨﺠﻲﻫﺎ ﺗﻨﻬﺎ ﺑﺮ ﺭﻭﻱ ﻣﻮﻓﻘﻴﺖ ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ﺧﻮﺩ ﺭﺳﺎﻧﻪ ﺗﺤﻘﻴﻖ‬

‫ﻣﻲﻛﻨﻨﺪ‪.‬‬

‫***‬

‫ﺑﺎﻳﺪ ﺍﺯ ﻧﻮﺭ ﺳﺮﺩ ﺗﻠﻮﻳﺰﻳﻮﻥ ﮔﻔﺖ ﻭ ﺍﻳﻨﻜﻪ ﭼﺮﺍ ﺑﺮﺍﻱ ﺗﺼﻮﺭﺍﺕ ﻣﺎ ﺑﻲﺿﺮﺭ ﺍﺳﺖ‪) .‬ﺍﺯ ﺟﻤﻠﻪ‬

‫ﺗﺼﻮﺭﺍﺕ ﻛﻮﺩﻛﺎﻥ( ﺑﻲﺿﺮﺭ ﺍﺳﺖ ﺑﺮﺍﻱ ﺍﻳﻨﻜﻪ ﻫﻴﭻ ﺗﺨﻴﻠﻲ ﺭﺍ )ﺑﻪ ﻣﺨﺎﻃﺐ ‪ -‬ﻣﺘﺮﺟﻢ( ﻣﻨﺘﻘﻞ‬

‫ﻧﻤﻲﻛﻨﺪ ﺑﻪ ﺍﻳﻦ ﺩﻟﻴﻞ ﺳﺎﺩﻩ ﻛﻪ ﺍﻳﻦ ﺩﻳﮕﺮ ﻳﻚ ﺗﺼﻮﻳﺮ ﻧﻴﺴﺖ‪ .‬ﺩﺭ ﺍﻳﻨﺠﺎ ﺑﺎﻳﺪ ﺁﻥ ﺭﺍ ﺑﺎ ﺳﻴﻨﻤﺎ‬

‫ﻣﻘﺎﻳﺴﻪ ﻧﻤﻮﺩ )ﮔﺮﭼﻪ ﻫﺮ ﺭﻭﺯ ﺑﻪ ﻃﻮﺭ ﻓﺰﺍﻳﻨﺪﻩﺍﻱ ﺗﻮﺳﻂ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺁﻟﻮﺩﻩﻣﻲﺷﻮﺩ‪ (.‬ﻛﻪ ﻫﻨﻮﺯ ﺍﺯ‬

‫ﻣﻮﻫﺒﺖ ﺍﻧﮕﺎﺭﻩﺍﻱ ﻧﻴﺮﻭﻣﻨﺪ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺍﺳﺖ ‪ -‬ﭼﺮﺍ ﻛﻪ ﻳﻚ ﺗﺼﻮﻳﺮ ﺍﺳﺖ‪ .‬ﺑﻪ ﺳﺎﺩﮔﻲ ﺻﺤﺒﺖ ﺍﺯ‬

‫ﻓﻴﻠﻢ ﻫﻤﭽﻮﻥ ﻳﻚ ﭘﺮﺩﻩ ﻣﺤﺾ ﻳﺎ ﺷﻜﻞ ﺑﺼﺮﻱ ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﭼﻮﻥ ﺍﺳﻄﻮﺭﻩﺍﻱ ﺍﺳﺖ ﻛﻪ ﻫﻨﻮﺯ‬

‫ﺗﺸﺎﺑﻪﺍﻱ ﺑﺎ ﻳﻚ ﺍﻣﺮ ﻣﺘﻀﺎﻳﻒ‪ ،‬ﻳﻚ ﺁﻳﻨﻪ‪ ،‬ﻳﻚ ﺗﺨﻴﻞ ﻭ ﻳﻚ ﺭﻭﻳﺎ ﻭ ﻏﻴﺮﻩ ﺭﺍ ﺩﺍﺭﺩ‪ .‬ﻫﻴﭻﻛﺪﺍﻡ ﺍﺯ ﺍﻳﻨﻬﺎ‬

‫ﺩﺭ ﺗﺼﻮﻳﺮ ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﺁﻥ ﺑﻪ ﭼﻴﺰﻱ ﺍﺷﺎﺭﻩ ﻧﻤﻲﻛﻨﺪ ﺑﻠﻜﻪ ﻫﻴﭙﻨﻮﺗﻴﺰﻡ ﻣﻲﻛﻨﺪ‪ .‬ﻓﻘﻂ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﻳﻚ ﭘﺮﺩﻩ ﺍﺳﺖ ﻳﺎ ﺑﻬﺘﺮ ﭘﺎﻳﺎﻧﻪﺍﻱ ﻛﻮﭼﻚ ﺷﺪﻩ ﻛﻪ ﺑﻲﺩﺭﻧﮓ ﺩﺭ ﻣﻐﺰ ﺷﻤﺎ ﻇﺎﻫﺮ ﻣﻲﺷﻮﺩ‪) .‬ﺷﻤﺎ‬

‫ﭘﺮﺩﻩﺍﻳﺪ ﻭ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺍﺳﺖ ﻛﻪ ﺷﻤﺎ ﺭﺍ ﺗﻤﺎﺷﺎ ﻣﻲﻛﻨﺪ( ﻫﻤﻪ ﻋﺼﺒﻬﺎﻱ ﺷﻤﺎ ﺭﺍ ﺗﺮﺍﻧﺰﻳﺴﺘﻮﺭﻱ ﻧﻤﻮﺩﻩ‬

‫ﻭ ﺍﺯ ﺁﻥ ﻋﺒﻮﺭ ﻣﻲﻛﻨﺪ ﭼﺮﺍ ﻛﻪ ﻳﻚ ﻧﻮﺍﺭ ﻣﻐﻨﺎﻃﻴﺴﻲ ﺍﺳﺖ‪ .‬ﻳﻚ ﻧﻮﺍﺭ ﻧﻪ ﻳﻚ ﺗﺼﻮﻳﺮ‪.‬‬

‫ﺗﻤﺎﻣﻲ ﺍﻳﻦ ﺍﻣﻮﺭ ﺑﻪ ﻗﻠﻤﺮﻭ ‪ Ludic‬ﺗﻌﻠﻖ ﺩﺍﺭﻧﺪ ﻛﻪ ﻓﺮﺩ ﺩﺭ ﺁﻥ ﺭﻭﻳﺎﺭﻭﻱ ﺍﻏﻮﺍﻱ ﺳﺮﺩ ﻣﻲﺷﻮﺩ‪.‬‬

‫ﺟﺎﺩﻭﻱ " ﻧﺎﺭﺳﻴﺴﻲ" ﺳﻴﺴﺘﻤﻬﺎﻱ ﺍﻟﻜﺘﺮﻭﻧﻴﻜﻲ ﻭ ﺍﻃﻼﻋﺎﺗﻲ‪ .‬ﺟﺎﺫﺑﻪ ﺳﺮﺩ ﭘﺎﻳﺎﻧﻪﻫﺎ ﻭ ﺭﺳﺎﻧﻪﻫﺎ ﻛﻪ‬

‫ﺑﺎ ﺩﺳﺘﻜﺎﺭﻱ ﺍﻧﻬﺎ‪ ،‬ﻭ ﺩﺭ ﻣﺤﺎﺻﺮﻩ ﺍﺩﻭﺍﺗﺸﺎﻥ‪ ،‬ﺍﻏﻮﺍ ﻭ ﻣﻨﺰﻭﻱ ﮔﺸﺘﻪﺍﻳﻢ‪ .‬ﺍﻣﻜﺎﻥ ﺗﻐﻴﻴﺮﺍﺕ ﻭ ﻧﻮﺳﺎﻧﻬﺎ ﺩﺭ‬

‫ﺟﻬﺎﻧﻲ ﺑﺪﻭﻥ ﺗﻐﻴﻴﺮ ﻭ ﺑﺎﺯﻱ ﺑﺎ ﻣﺠﻤﻮﻋﻪﻫﺎﻱ ﻣﺘﻐﻴﺮ ﻋﻨﺎﺻﺮ‪ ،‬ﻫﺮﮔﺰ ﺑﺪﻭﻥ ﺍﻓﺴﻮﻧﮕﺮﻱ ﻧﻴﺴﺖ‪ .‬ﺣﺘﻲ‬

‫ﻭ ﺟﻬﺶ ﻣﺘﺪﺍﺧﻞ ﻟﻴﺒﻴﻨﺎﻝ ﺩﺭ ﻫﺪﺍﻳﺖ ﺳﻴﺴﺘﻤﻬﺎﻱ ﺗﺼﺎﺩﻓﻲ ﺑﻪ‬ ‫‪Ludic‬‬ ‫ﻛﺎﻣﻼ ﻣﻤﻜﻦ ﺍﺳﺖ ﻛﻪ‬

‫ﺟﺎﻳﻲ ﺑﺮﺳﺪ ﻛﻪ ﻳﻚ ﻣﻴﻞ ﺩﻳﮕﺮ ﺑﻪ ﺳﻮﻱ ﺗﺨﻠﻔﺎﺕ ﺩﺭ ﻣﻔﻬﻮﻡ ﻗﺎﻧﻮﻧﻲ ﺍﺵ ﻣﻨﺘﻬﻲ ﻧﻤﻲﺷﻮﺩ ﺑﻠﻜﻪ‬

‫ﻣﺴﺘﻠﺰﻡ ﭘﺮﺍﻛﻨﺶ ﺩﺭ ﺗﻤﺎﻣﻲ ﺣﻮﺍﺱ ﺩﺭ ﺟﻬﺎﻧﻲ ﺍﺳﺖ ﻛﻪ ﺩﻳﮕﺮ ﺍﺯ ﻫﻴﭻ ﻓﻀﺎﻱ ﻗﺎﻧﻮﻧﻲ ﺑﺮﺧﻮﺭﺩﺍﺭ‬

‫ﻧﻴﺴﺖ‪ .‬ﻫﻤﭽﻨﻴﻦ ﺍﻳﻦ ﻣﻴﻞ ﻣﺘﻌﻠﻖ ﺑﻪ ﻗﻠﻤﺮﻭ ‪ Ludic‬ﺑﺎ ﻣﻜﺎﻥﺳﻨﺠﻲ ﺳﻴﺴﺘﻢﻫﺎﻱ ﻣﺘﻐﻴﺮ ﻭ ﻣﻨﺒﻊ‬

‫ﺍﻓﺰﻭﺩﻩﻱ ﻟﺬﺕ )ﻭ ﻳﺎ ﺍﻧﺪﻭﻩ( ﺑﺮﺍﻱ ﻫﺮ ﺟﺰء ﻣﺤﺮﻙ ﺩﺭ ﺷﺒﻜﻪﻫﺎﺳﺖ‪ .‬ﻣﺎ ﻫﻤﮕﻲ ﺑﺎ ﺍﻳﻦ ﻭﺿﻌﻴﺖ‬

‫ﺳﺎﺯﮔﺎﺭ ﺷﺪﻩﺍﻳﻢ‪ ،‬ﺳﺮﮔﻴﺠﮕﻲ ﻣﺤﺮﻛﺎﺕ ﺫﻫﻨﻲ ﻛﻪ ﻧﺘﻴﺠﻪ ﺍﺗﺼﺎﻻﺕ ﻭ ﮔﺴﺴﺘﻬﺎﻱ ﻣﺘﻮﺍﻟﻲ ﻭ‬

‫ﭼﻨﺪﮔﺎﻧﻪ ﺍﺳﺖ‪ .‬ﻣﺎ ﻫﻤﮕﻲ ﺑﻪ »ﺳﻴﺴﺘﻤﻬﺎﻱ ﺑﺎﺯﻱ« ﻣﻴﻨﻴﺎﺗﻮﺭﻱ ﺷﺪﻩ ﺩﻋﻮﺕ ﺷﺪﻩﺍﻳﻢ‪ .‬ﺧﺮﺩ‬

‫ﺳﻴﺴﺘﻢﻫﺎﻳﻲ ﺑﺎ ﺍﻣﻜﺎﻧﺎﺗﻲ ﺑﺮﺍﻱ ﺗﻨﻈﻴﻤﺎﺕ ﻛﺎﺭﻛﺮﺩﻫﺎﻱ ﺗﺼﺎﺩﻓﻲﺷﺎﻥ‪.‬‬

‫ﺍﺳﺖ ﻛﻪ ﺑﺮ ﺗﺮﻛﻴﺐﻫﺎﻱ ﭼﻨﺪ ﻇﺮﻓﻴﺘﻲ ﻭ ﻧﺮﻡ‬ ‫‪Ludic‬‬ ‫ﺍﻳﻦ ﻣﻌﻨﺎﻱ ﻣﺪﺭﻥ ﺑﺎﺯﻱ‪ ،‬ﻭ ﻣﻔﻬﻮﻡ‬

‫ﺩﻻﻟﺖ ﻣﻲﻛﻨﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻔﻬﻮﻡ‪ ،‬ﺑﺎﺯﻱ ﺭﺍ ﺑﺎ ﺍﺣﺘﻤﺎﻟﻬﺎﻱ ﻓﺮﺍﻭﺍﻧﺶ ﺑﺮ ﺍﺳﺎﺱ ﺳﻴﺴﺘﻤﻬﺎﻱ ﺑﻲﺛﺎﺑﺖ‪،‬‬

‫ﺑﺎﻳﺪ ﻓﻬﻤﻴﺪ‪ .‬ﺍﻳﻦ ﺑﺎﺯﻱ ﻫﻴﭻ ﺍﺭﺗﺒﺎﻃﻲ ﺑﺎ ﺑﺎﺯﻱ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺩﻭﺋﻞ ﻭ ﻳﻚ ﺭﺍﺑﻄﻪ ﻣﺒﺎﺭﺯﺍﺗﻲ ﻧﺪﺍﺭﺩ‪.‬‬

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‫ﺍﻏﻮﺍ‬

‫ﺍﻳﻦ ﺍﻏﻮﺍﮔﺮﻱ ﺳﺮﺩﻱ ﺍﺳﺖ ﻛﻪ ﺑﺮ ﻓﻀﺎﻱ ﺍﻃﻼﻋﺎﺕ ﻭ ﺍﺭﺗﺒﺎﻃﺎﺕ ﺣﻜﻮﻣﺖ ﻣﻲﻛﻨﺪ‪ .‬ﻭ ﺩﺭ ﺍﻳﻦ‬

‫ﺍﻏﻮﺍﮔﺮﻱ ﺳﺮﺩ ﺍﺳﺖ ﻛﻪ ﺍﻣﺮ ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﺑﺎﺯﻧﻤﻮﺩﻫﺎﻳﺶ ﻫﺮ ﻟﺤﻈﻪ ﻛﻤﺮﻧﮓﺗﺮ ﻣﻲﺷﻮﻧﺪ‪.‬‬

‫ﻣﺎ ﺑﺎ ﺍﻳﻦ ﻓﺮﺁﻳﻨﺪﻫﺎﻱ ﺑﻲﺍﻧﺪﺍﺯﻩ ﻭﺍﻧﻤﺎﻳﻲ ﻛﺎﻣﻼً ﺁﺷﻨﺎﻳﻴﻢ‪ .‬ﻣﺼﺎﺣﺒﺎﺕ‪ ،‬ﺑﺮﻧﺎﻣﻪﻫﺎﻱ ﺗﻠﻔﻨﻲ‪،‬‬

‫ﻣﺸﺎﺭﻛﺖﻫﺎﻱ ﻫﻤﮕﺎﻧﻲ‪ ،‬ﺯﻳﺎﺩﻩﮔﻮﻳﻲﻫﺎ )ﺑﺪﻭﻥ ﻣﺸﺎﺭﻛﺘﻲ(‪":‬ﺍﻳﻦ ﺑﻪ ﺷﻤﺎ ﻣﺮﺑﻮﻁ ﺍﺳﺖ‪ ،‬ﺷﻤﺎ‬

‫ﺍﻛﺜﺮﻳﺖ ﻫﺴﺘﻴﺪ‪ ،‬ﺷﻤﺎ ﻫﻤﺎﻥ ﭼﻴﺰﻱ ﻫﺴﺘﻴﺪ ﻛﻪ ﺭﺥ ﻣﻲﺩﻫﺪ‪ ".‬ﻭ ﻛﺎﻭﺵ ﻋﻘﺎﻳﺪ‪ ،‬ﻗﻠﺐﻫﺎ‪ ،‬ﺍﺫﻫﺎﻥ ﻭ‬

‫ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﻛﻪ ﻧﺸﺎﻥ ﺩﻫﺪ ﺗﺎ ﭼﻪ ﺣﺪ »ﺁﻥ« ﺳﺨﻦ ﻣﻲﮔﻮﻳﺪ‪ .‬ﺍﺧﺒﺎﺭ ﺑﺎ ﺍﻳﻦ ﻣﺤﺘﻮﺍﻱ ﺧﻴﺎﻟﻲ‪ ،‬ﺑﺎ ﺍﻳﻦ‬

‫ﭘﻴﻮﻧﺪ ﻫﻮﻣﻮﻓﺎﺗﻴﻚ‪ ،۵۲‬ﺍﻳﻦ ﺭﻭﻳﺎﻱ ﻫﻤﻴﺸﻪ ﺑﻴﺪﺍﺭ ﺍﺭﺗﺒﺎﻃﺎﺕ‪ ،‬ﻣﻮﺭﺩ ﻫﺠﻮﻡ ﻭﺍﻗﻊ ﻣﻲﺷﻮﺩ‪ .‬ﺳﺎﺧﺘﻤﺎﻧﻲ‬

‫ﻣﺪﻭﺭ ﻛﻪ ﻓﺮﺩ ﺩﺭ ﺁﻥ ﻣﺴﺘﻌﻤﻌﻴﻦ ﺭﺍ ﺑﺮﺍﻱ ﺁﻧﭽﻪ ﻣﻲﺧﻮﺍﻫﺪ ﺑﮕﻮﻳﺪ ﻓﺮﺍﻣﻲﺧﻮﺍﻧﺪ‪ ،‬ﺣﻮﺯﻩ ﻛﺎﻣﻞ‬

‫ﺩﺭﺧﻮﺍﺳﺘﻲ ﻣﺪﺍﻭﻡ‪ .‬ﺍﻧﺮﮊﻱﻫﺎﻱ ﺑﻲﺍﻧﺪﺍﺯﻩﺍﻱ ﺧﺮﺝ ﻧﮕﺎﻫﺪﺍﺭﻱ ﺍﻳﻦ ﻭﺍﻧﻤﻮﺩﻩ ﻣﻲﺷﻮﻧﺪ ﺗﺎ ﺍﺯ‬

‫ﻭﺍﻧﻤﺎﻳﻲﺯﺩﺍﻳﻲ ﻭﺣﺸﻴﺎﻧﻪﺍﻱ ﻛﻪ ﻣﻴﺨﻮﺍﻫﺪ ﻭﺍﻗﻌﻴﺖ ﻓﻘﺪﺍﻥ ﺑﻨﻴﺎﺩﻳﻦ ﻣﻌﻨﺎ ﺭﺍ ﺁﺷﻜﺎﺭ ﻛﻨﺪ‪ ،‬ﻣﻤﺎﻧﻌﺖ‬

‫ﻧﻤﺎﻳﺪ‪.‬‬

‫ﺍﻏﻮﺍﮔﺮﻱ‪ /‬ﻭﺍﻧﻤﺎﻳﻲ‪ :‬ﺍﺭﺗﺒﺎﻃﺎﺕ ﻫﻤﭽﻮﻥ ﻛﺎﺭﻛﺮﺩ ﺍﻣﺮ ﺍﺟﺘﻤﺎﻋﻲ ﺩﺭ ﻓﻀﺎﻳﻲ ﺑﺴﺘﻪ ﻛﻪ ﺩﺭ ﺁﻥ‬

‫ﻧﺸﺎﻧﻪﻫﺎ ﻭﺍﻗﻌﻴﺘﻲ ﻛﺸﻒﻧﺎﭘﺬﻳﺮ ﺭﺍ ﺗﻜﺜﻴﺮ ﻣﻲﻛﻨﻨﺪ‪ .‬ﻗﺮﺍﺭﺩﺍﺩﻫﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ ﺗﻮﺳﻂ ﺭﺳﺎﻧﻪﻫﺎ ﻭ ﺍﺧﺒﺎﺭ‬

‫ﺑﻪ "ﭘﻴﻤﺎﻥ ﻭﺍﻧﻤﺎﻳﻲ" ﻣﺒﺪﻝ ﺷﺪﻩﺍﺳﺖ‪ .‬ﻭ ﺑﺎﻳﺪ ﺍﻓﺰﻭﺩ ﻛﻪ ﻫﻴﭻ ﻛﺲ ﺑﻪ ﻃﻮﺭ ﻛﺎﻣﻞ ﺁﻧﺮﺍ ﻧﻤﻲﭘﺬﻳﺮﺩ‪.‬‬

‫ﺍﺧﺒﺎﺭ ﻣﺎﻧﻨﺪ ﻳﻚ ﻣﺤﻴﻂ‪ ,‬ﻳﻚ ﺧﺪﻣﺖ ﻭ ﻳﻚ ﻫﻮﻟﻮﮔﺮﺍﻡ ﺍﻣﺮ ﺍﺟﺘﻤﺎﻋﻲ ﺗﺠﺮﺑﻪ ﻣﻲﺷﻮﺩ‪ .‬ﺗﻮﺩﻩﻫﺎ ﺑﻪ‬

‫ﺍﻳﻦ ﻭﺍﻧﻤﺎﻳﻲ ﻣﻌﻨﺎ ﺑﺎ ﻧﻮﻋﻲ ﻭﺍﻧﻤﺎﻳﻲ ﻣﻌﻜﻮﺱ ﭘﺎﺳﺦ ﻣﻲﺩﻫﻨﺪ‪ .‬ﺁﻧﻬﺎ ﺑﺎ ﺩﻟﺴﺮﺩ ﺳﺎﺯﻱ ﺑﺎ ﺑﻲﻣﻴﻠﻲ‬

‫ﺧﻮﺩ ﻭ ﺑﺎ ﻓﺮﻳﺐ ﺩﺍﺩﻥ ﺑﺎ ﺍﻋﺘﻘﺎﺩﻱ ﻣﺒﻬﻢ‪ ،‬ﭘﺎﺳﺦ ﻣﻲﺩﻫﻨﺪ‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﺩﺭ ﺗﺤﺮﻙ ﺍﺳﺖ ﻭ ﻗﺎﺩﺭ ﺍﺳﺖ‬

‫ﺍﻏﻮﺍﻳﻲ ﻣﻮﺛﺮ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﺍﻏﻮﺍ ﻣﻌﻨﺎﻳﻲ ﺑﻴﺶ ﺍﺯ ﭼﻴﺰﻫﺎﻱ ﺩﻳﮕﺮ ﻧﺪﺍﺭﺩ‪ ،‬ﭼﻨﻴﻦ ﺍﻏﻮﺍﻳﻲ ﺗﻨﻬﺎ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺑﺮ ﻧﻮﻋﻲ ﺍﻟﺤﺎﻕﻫﺎﻱ ‪ Ludic‬ﺗﻜﻪﻫﺎﻱ ﻭﺍﻧﻤﻮﺩﻩ ﺷﺪﻩ ﺍﻃﻼﻋﺎﺕ ﺩﻻﻟﺖ ﺩﺍﺭﺩ‪ ،‬ﻧﻮﻋﻲ ﺟﺎﺫﺑﻪ ﻻﻣﺴﻪﺍﻱ‬

‫ﻛﻪ ﺑﻮﺳﻴﻠﻪ ﻣﺪﻟﻬﺎ ﺣﻔﻆ ﻣﻲﮔﺮﺩﺩ‪.‬‬

‫ﺗﻠﻪ ﭘﺎﺗﻴﻚﻫﺎ‪" :‬ﺭﺍﺟﺮﺯ ‪ -‬ﺷﻤﺎ ﺭﺍ ﺭﻭﻱ ﭘﻨﺞ ﺭﻭ ﭘﻨﺞ ﺩﺭﻳﺎﻓﺖ ﻣﻲﻛﻨﻢ‪ ".‬ﺻﺪﺍﻱ ﻣﺮﺍ‬

‫ﻣﻲﺷﻨﻮﻳﺪ؟ "ﺑﻠﻪ ﺻﺪﺍﺗﻮﻧﻮ ﺩﺍﺭﻡ‪ ".‬ﺑﻔﺮﻣﺎﺋﻴﺪ ﺻﺪﺍﻱ ﺷﻤﺎ ﺭﺍ ﺩﺍﺭﻳﻢ‪" .‬ﺑﻠﻪ‪ ،‬ﻣﺎ ﺩﺍﺭﻳﻢ ﺻﺤﺒﺖ‬

‫ﻣﻲﻛﻨﻴﻢ‪ ".‬ﺍﻳﻦ ﻣﻨﺎﺟﺎﺕ ﺑﺎﻧﺪﻫﺎﻱ ﺭﺍﺩﻳﻮﻳﻲ ﺍﺳﺖ ﺧﺼﻮﺻﺎً ﺍﻳﺴﺘﮕﺎﻩﻫﺎﻱ ﻓﺮﻋﻲ ﻭ ﻏﻴﺮ ﻣﺠﺎﺯ‪ .‬ﻓﺮﺩ‬

‫ﺑﺎﺯﻱ ﺻﺤﺒﺖ ﻛﺮﺩﻥ ﻭ ﮔﻮﺵ ﻛﺮﺩﻥ ﺭﺍ ﺍﻧﺠﺎﻡ ﻣﻲﺩﻫﺪ؛ ﺍﻭ ﺩﺭ ﺍﺭﺗﺒﺎﻃﺎﺕ ﺑﺎ ﭘﻴﭽﻴﺪﻩﺗﺮﻳﻦ ﻓﻦﺁﻭﺭﻱ‬

‫ﺑﺮﺍﻱ ﺍﻳﻦ ﺻﺤﻨﻪﺳﺎﺯﻱ ﺑﺎﺯﻱ ﻣﻲﻛﻨﺪ‪ .‬ﻛﺎﺭﻛﺮﺩ ﭘﺎﺗﻴﻚ ﺯﺑﺎﻥ ﺑﺮﺍﻱ ﺍﻳﺠﺎﺩ ﺗﻤﺎﺱ ﻭ ﺑﻌﺪ ﺻﻮﺭﻱ‬

‫ﮔﻔﺘﺎﺭ ﺑﻪ ﻛﺎﺭ ﻣﻲﺭﻭﺩ‪ :‬ﺍﻳﻦ ﻛﺎﺭﻛﺮﺩ ﻛﻪ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺑﻮﺳﻴﻠﻪ ﻣﺎﻟﻴﻨﻮﻓﺴﻜﻲ‪ ۵۳‬ﺑﺎ ﺭﺟﻮﻉ ﺑﻪ ﻣﻼﻧﺰﻳﻦﻫﺎ ﻭ‬

‫ﺑﻌﺪ ﺗﻮﺳﻂ ﻳﺎﻛﻮﺑﺴﻦ ﻭ ﺷﺒﻜﻪ ﻛﺎﺭﻛﺮﺩﻫﺎﻱ ﺯﺑﺎﻧﻲﺍﺵ ﺗﻮﺻﻴﻒ ﻭ ﺗﺸﺮﻳﺢ ﺷﺪﻩﺍﺳﺖ ﺍﻳﻨﻚ ﺩﺭ ﺑﻌﺪ‬

‫ﺭﺍﻩ ﺩﻭﺭ ِﺷﺒﻜﻪﻫﺎﻱ ﺍﺭﺗﺒﺎﻃﺎﺕ ﺑﺴﻂ ﻳﺎﻓﺘﻪﺍﺳﺖ‪ .‬ﺗﻤﺎﺱ ﺑﻪ ﻣﻨﻈﻮﺭ ﺗﻤﺎﺱ ﺷﻜﻠﻲ ﺗﻬﻲ ﺩﺭ ﺯﺑﺎﻥ ﺁﻥ‬

‫ﻫﻨﮕﺎﻡ ﻛﻪ ﺣﺮﻓﻲ ﺑﺮﺍﻱ ﮔﻔﺘﻦ ﻧﺪﺍﺭﺩ‪ ،‬ﺧﻮﻳﺸﺘﻦ ﺭﺍ ﺍﻏﻮﺍ ﻣﻲﻛﻨﺪ‪.‬‬

‫ﺍﻳﻦ ﻣﻮﺭﺩ ﻣﺮﺑﻮﻁ ﺑﻪ ﻓﺮﻫﻨﮓ ﺧﻮﺩ ﻣﺎﺳﺖ‪ .‬ﺁﻧﭽﻪ ﻣﺎﻟﻴﻨﻮﻓﺴﻜﻲ ﺗﻮﺻﻴﻒ ﻛﺮﺩ ﭼﻴﺰﻱ ﻛﺎﻣﻼً‬

‫ﻣﺘﻔﺎﻭﺕ ﺑﻮﺩ‪ :‬ﻣﺠﺎﺩﻟﻪ ﻧﻤﺎﺩﻳﻦ ﻭ ﻳﺎ ﺩﻭﺋﻞ ﻛﻠﻤﺎﺕ‪ .‬ﺑﺎ ﺍﻳﻦ ﻣﻜﺎﻟﻤﺎﺕ ﺁﻳﻴﻨﻲ ﻭ ﺣﺮﺍﻓﻲﻫﺎﻱ ﺑﻲﻣﺤﺘﻮﺍ‪،‬‬

‫ﺑﻮﻣﻴﺎﻥ )ﻣﻼﻧﺰﻱ( ﻣﺒﺎﺭﺯﻩ ﻭ ﭘﻴﺸﻜﺶ ﻫﺪﻳﻪ ﺭﺍ ﺩﺭ ﻳﻚ ﺁﻳﻴﻦ ﻣﺤﺾ ﺍﺭﺍﺋﻪ ﻣﻲﻧﻤﻮﺩﻧﺪ‪ .‬ﺯﺑﺎﻥ ﺩﻳﮕﺮ‬

‫ﻧﻴﺎﺯﻱ ﺑﻪ »ﺗﻤﺎﺱ« ﻧﺪﺍﺭﺩ‪ :‬ﺍﻳﻦ ﻣﺎ ﻫﺴﺘﻴﻢ ﻛﻪ ﻧﻴﺎﺯ ﺑﻪ ﺍﺭﺗﺒﺎﻃﺎﺕ ﺑﺮﺍﻱ ﻛﺎﺭﻛﺮﺩ ﺗﻤﺎﺳﻲ ﻭﻳﮋﻩ ﺩﺍﺭﻳﻢ‬

‫ﺩﺭﺳﺖ ﺑﻪ ﺍﻳﻦ ﺳﺒﺐ ﻛﻪ ﺁﻥ )ﺍﺭﺗﺒﺎﻃﺎﺕ( ﺍﺯ ﻣﺎ ﺩﻭﺭﻱ ﻣﻲﻛﻨﺪ‪.‬‬

‫ﺑﻪ ﻫﻤﻴﻦ ﻋﻠﺖ ﻳﺎﻛﻮﺑﺴﻦ ﻗﺎﺩﺭ ﺑﻮﺩ ﺗﻤﺎﺱ ﺭﺍ ﺩﺭ ﺗﺤﻠﻴﻠﻬﺎﻱ ﺯﺑﺎﻧﻲ ﺍﺵ ﺍﻳﺰﻭﻟﻪ ﻧﻤﺎﻳﺪ ﺩﺭ‬

‫ﺣﺎﻟﻴﻜﻪ ﻫﻢ ﻣﻔﻬﻮﻡ ﻭ ﻫﻢ ﻋﺒﺎﺭﺍﺗﻲ ﻛﻪ ﻣﻔﺎﻫﻴﻢ ﺭﺍ ﺑﻴﺎﻥ ﻣﻲﻛﻨﻨﺪ ﺩﺭ ﺩﻳﮕﺮ ﻓﺮﻫﻨﮕﻬﺎ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪.‬‬

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‫ﺍﻏﻮﺍ‬

‫ﺷﺒﻜﻪ ﻳﺎﻛﻮﺑﺴﻨﻲ ﻭ ﭘﻴﺶ ﺍﻧﮕﺎﺭﻩﻫﺎﻱ ﺍﻭ ﺍﺯ ﺍﺭﺗﺒﺎﻃﺎﺕ‪ ،‬ﻫﻤﺪﻭﺭﻩ ﺑﺎ ﺗﻐﻴﻴﺮﺍﺗﻲ ﺑﻮﺩﻧﺪ ﻛﻪ ﺑﺮ ﺯﺑﺎﻥ ﺭﻭﻱ‬

‫ﺩﺍﺩ‪ .‬ﺁﻏﺎﺯﻱ ﺑﺮﺍﻱ ﺩﻭﺭﻩﺍﻱ ﻛﻪ ﺩﻳﮕﺮ ﮔﻔﺘﮕﻮﻱ ﺩﺭﺑﺎﺭﻩ ﻣﻮﺿﻮﻋﻲ ﺩﺭ ﻛﺎﺭ ﻧﻴﺴﺖ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺁﻧﭽﻪ‬

‫ﺿﺮﻭﺭﺕ ﺗﺤﻠﻴﻞ ﻳﺎﻓﺘﻪﺍﺳﺖ ﺑﺮﺭﺳﻲ ﺍﻣﻜﺎﻧﺎﺕ ﻛﺎﺭﻛﺮﺩﻱ ﺍﺭﺗﺒﺎﻃﺎﺕ ﺍﺳﺖ ﻭ ﺑﻮﻳﮋﻩ ﻛﺎﺭﻛﺮﺩ "ﭘﺎﺗﻴﻚ"‬

‫ﻛﻪ ﺑﺎ ﺍﺻﻄﻼﺣﺎﺕ ﻣﻨﻄﻘﻲ‪ ،‬ﺍﺑﺘﺬﺍﻟﻲ ﺧﺎﻡ ﺍﺳﺖ‪ ".‬ﺍﮔﺮ ﺻﺤﺒﺖ ﻣﻲﻛﻨﺪ ﭘﺲ ﺻﺤﺒﺖ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻣﺎ‬

‫ﺩﺭ ﻧﺘﻴﺠﻪ ﺩﻳﮕﺮ ﻛﺴﻲ ﺻﺤﺒﺖ ﻧﻤﻲﻛﻨﺪ ﻭ ﻛﺸﻒ ﻛﺎﺭﻛﺮﺩ ﭘﺎﺗﻴﻚ ﻧﺸﺎﻧﻪ ﻧﻴﺎﺯ ﺑﻪ ﺗﺰﺭﻳﻖ ﺗﻤﺎﺱ‪،‬‬

‫ﺗﺄﺳﻴﺲ ﺍﺗﺼﺎﻻﺕ ﻭ ﺻﺤﺒﺖ ﻛﺮﺩﻥ ﺧﺴﺘﮕﻲﻧﺎﭘﺬﻳﺮﻱ ﺍﺳﺖ ﺗﺎ ﺑﻪ ﺳﺎﺩﮔﻲ ﺍﻣﻜﺎﻥ ﺯﺑﺎﻥ ﺭﺍ ﺍﻋﺎﺩﻩ‬

‫ﻧﻤﺎﻳﺪ‪ .‬ﻣﻮﻗﻌﻴﺖ ﻧﺎﺍﻣﻴﺪﻛﻨﻨﺪﻩﺍﻱ ﻛﻪ ﺣﺘﻲ ﺗﻤﺎﺱ ﺳﺎﺩﻩ ﻧﻴﺰ ﺷﮕﻔﺖﺁﻭﺭ ﺑﻪ ﻧﻈﺮ ﻣﻲﺭﺳﺪ‪.‬‬

‫ﺍﮔﺮ ﭘﺎﺗﻴﻚ ﺩﺭ ﺳﻴﺴﺘﻤﻬﺎﻱ ﺍﺭﺗﺒﺎﻃﺎﺕ ﻣﺎ ﺗﻮﺭﻡ ﻳﺎﻓﺘﻪﺍﺳﺖ )ﺩﺭ ﺭﺳﺎﻧﻪﻫﺎ ﻭ ﺳﻴﺴﺘﻢﻫﺎﻱ‬

‫ﭘﺮﺩﺍﺯﺵ ﺍﻃﻼﻋﺎﺕ( ﺑﻪ ﺍﻳﻦ ﺧﺎﻃﺮ ﺍﺳﺖ ﻛﻪ ﻓﻮﺍﺻﻞ ﺭﺍﻩ ﺩﻭﺭ ﻣﺎ ﺭﺍ ﻣﻄﻤﺌﻦ ﺳﺎﺧﺘﻪ ﻛﻪ ﺩﻳﮕﺮ ﮔﻔﺘﺎﺭ‬

‫ﺗﺤﺖ ﺍﻟﻔﻈﻲ ﻫﻴﭻ ﻣﻌﻨﺎﻳﻲ ﻧﺪﺍﺭﺩ‪ .‬ﻓﺮﺩ ﻣﻲﮔﻮﻳﺪ ﻛﻪ ﺩﺍﺭﺩ ﺻﺤﺒﺖ ﻣﻲﻛﻨﺪ ﺍﻣﺎ ﺍﻳﻦ ﺻﺤﺒﺖ ﻛﺮﺩﻥ‬

‫ﺗﻨﻬﺎ ﺑﺎﺯﺑﻴﻨﻲ ﺷﺒﻜﻪ ﻭ ﺍﻳﻦ ﻭﺍﻗﻌﻴﺖ ﺍﺳﺖ ﻛﻪ ﺍﺭﺗﺒﺎﻁ ﺑﺮﻗﺮﺍﺭ ﺷﺪﻩﺍﺳﺖ‪ .‬ﺍﻳﻨﺠﺎ ﺣﺘﻲ ﻳﻚ "ﺩﻳﮕﺮﻱ"‬

‫ﺩﺭ ﺍﻧﺘﻬﺎﻱ ﺩﻳﮕﺮ ﻫﻢ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ ﭼﺮﺍ ﻛﻪ ﺩﺭ ﻋﻤﻞ ﻣﺘﻘﺎﺑﻞ ﻋﻼﺋﻢ ﺷﻨﺎﺳﺎﻳﻲ ﻫﻴﭻ ﻓﺮﺳﺘﻨﺪﻩ ﻭ‬

‫ﮔﻴﺮﻧﺪﻩ ﻗﺎﺑﻞ ﺗﻌﺮﻳﻔﻲ ﺩﺭ ﻛﺎﺭ ﻧﻴﺴﺖ‪ ،‬ﺁﻧﭽﻪ ﻫﺴﺖ ﺑﻪ ﺳﺎﺩﮔﻲ ﺩﻭ ﭘﺎﻳﺎﻧﻪ ﺍﺳﺖ‪ .‬ﻋﻼﻣﺖ ﻳﻚ ﭘﺎﻳﺎﻧﻪ‬

‫ﺑﺮﺍﻱ ﺩﻳﮕﺮﻱ ﺻﺮﻓﺎ ﻧﺸﺎﻧﻪ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﭼﻴﺰﻱ ﺩﺭ ﺣﺎﻝ ﻋﺒﻮﺭ ﺍﺳﺖ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﻫﻴﭻ ﭼﻴﺰﻱ ﺭﺥ‬

‫ﻧﻤﻲﺩﻫﺪ‪ .‬ﺑﺎﺯﺩﺍﺭﻧﺪﮔﻲ ﻛﺎﻣﻞ‪ ) .‬ﺹ‪( ۱۶۵‬‬

‫ﺩﻭ ﭘﺎﻳﺎﻧﻪ ﺩﻭ ﻣﺘﻜﻠﻢ ﺭﺍ ﺍﻳﺠﺎﺩ ﻧﻤﻲﻛﻨﻨﺪ‪ .‬ﺩﺭ ﻓﻀﺎﻱ ﺍﺭﺗﺒﺎﻃﺎﺕ ﺭﺍﻩ ﺩﻭﺭ‪) ،‬ﻛﻪ ﺩﺭ ﻣﻮﺭﺩ‬

‫ﺗﻠﻮﻳﺰﻳﻮﻥ ﻫﻢ ﻣﺼﺪﺍﻕ ﺩﺍﺭﺩ( ﺩﻳﮕﺮ ﻫﻴﭻ ﻣﻮﻗﻌﻴﺖ ﻭ ﻋﺒﺎﺭﺍﺕ ﻣﻌﻴﻨﻲ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﺗﻨﻬﺎ ﭘﺎﻳﺎﻧﻪﻫﺎ ﺩﺭ‬

‫ﺩﻭ ﺳﻮﻱ ﺍﻧﺘﻬﺎﻳﻲ ِ ﭘﺎﻳﺎﻥ ﻳﺎﺑﻲ ﻗﺮﺍﺭ ﺩﺍﺭﻧﺪ‪ .‬ﻋﻼﻭﻩ ﺑﺮﺍﻳﻦ ﺩﺭ ﺍﻳﻨﺠﺎ‪ ،‬ﻛﻞ ﺷﺒﻜﻪ ﻳﺎﻛﻮﺑﺲ ﺍﺯ ﻫﻢ ﺟﺪﺍ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﮔﺸﺘﻪ ﻭ ﺍﻋﺘﺒﺎﺭﺵ ﺑﻪ ﻫﻤﺎﻥ ﭘﻴﻜﺮﺩﺑﻨﺪﻱﻫﺎﻱ ﻛﻼﺳﻴﻚ ﮔﻔﺘﻤﺎﻥ ﻭ ﺍﺭﺗﺒﺎﻃﺎﺕ ﻣﺤﺪﻭﺩ ﻣﻲﮔﺮﺩﺩ‪.‬‬

‫ﺷﺒﻜﻪ )‪ (grid‬ﻫﻨﮕﺎﻣﻲ ﻛﻪ ﺩﺭ ﺷﺒﻜﻪﻫﺎ )‪ ،(networks‬ﺩﺭ ﻗﻠﻤﺮﻭ ﺣﻜﻮﻣﺖ »ﺩﻳﺠﻴﺘﺎﻟﻴﺘﻪ« ﺑﻪ ﻛﺎﺭ‬

‫ﮔﺮﻓﺘﻪﻣﻲﺷﻮﺩ‪ ،‬ﻣﻌﻨﺎﻳﺶ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻣﻲﺩﻫﺪ‪ .‬ﺩﺭ ﮔﻔﺘﻤﺎﻥ ﻫﻨﻮﺯ ﺍﺻﻄﻼﺣﺎﺕ ﻗﻄﺒﻲﺷﺪﻩ‪ ،‬ﺗﻘﺎﺑﻠﻬﺎﻱ‬

‫ﻣﺘﻤﺎﻳﺰ ﻛﻪ ﻇﻬﻮﺭ ﻣﻌﻨﺎ ﺭﺍ ﻣﻮﺟﺐ ﻣﻲﺷﻮﻧﺪ‪ ،‬ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻳﻚ ﺳﺎﺧﺘﺎﺭ‪ ،‬ﻧﺤﻮ ﻭ ﻓﻀﺎﻱ ﺗﻤﺎﻳﺰﻫﺎ‪،‬‬

‫ﺩﻳﺎﻟﻮﮒ ﺭﺍ ﺗﻨﻈﻴﻢ ﻧﻤﻮﺩﻩ ﻭ ﻧﺸﺎﻧﻪ )ﺩﺍﻝ ﻭ ﻣﺪﻟﻮﻝ( ﻭ ﭘﻴﺎﻡ )ﮔﻴﺮﻧﺪﻩ ﻭ ﻓﺮﺳﺘﻨﺪﻩ( ﻭ ﻏﻴﺮﻩ ﺑﻪ ﻛﺎﺭ‬

‫ﮔﺮﻓﺘﻪﻣﻲﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺩﻭﺗﺎﻳﻲ ‪ ۱/۰‬ﻭ ﻧﻈﺎﻡ ﺩﻳﺠﻴﺘﺎﻟﻲ ﺩﻳﮕﺮ ﻫﻴﭻ ﺗﻘﺎﺑﻞ ﻣﺘﻤﺎﻳﺰ ﻭ ﺗﻤﺎﻳﺰﻱ ﻧﺪﺍﺭﺩ‪ .‬ﺗﻨﻬﺎ‬

‫ﻳﻚ "ﺑﻴﺖ" ﻛﻮﭼﻜﺘﺮﻳﻦ ﻭﺍﺣﺪ ﻳﻚ ﺍﻧﮕﻴﺰﺵ ﺍﻟﻜﺘﺮﻭﻧﻴﻜﻲ ﺍﺳﺖ‪ .‬ﻧﻪ ﻳﻚ ﻭﺍﺣﺪ ﻣﻌﻨﻲ ﺑﻠﻜﻪ ﻳﻚ‬

‫ﭘﺎﻟﺲ ﻣﺸﺨﺺ ﻛﻨﻨﺪﻩﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺩﻳﮕﺮ ﻧﻪ ﺯﺑﺎﻥ ﻛﻪ ﺑﺎﺯﺩﺍﺭﻧﺪﮔﻲ ﺑﻨﻴﺎﺩﻳﻦ ﺁﻧﺴﺖ‪ .‬ﻫﻤﺎﻥ ﭼﻴﺰﻱ ﻛﻪ‬

‫ﻣﺎﺗﺮﻳﻜﺲ ﺍﻃﻼﻋﺎﺕ ﻭ ﺍﺭﺗﺒﺎﻃﺎﺕ ﻭ ﻧﺤﻮﻩ ﻛﺎﺭ ﺷﺒﻜﻪﻫﺎ ﺍﺳﺖ‪ .‬ﻧﻴﺎﺯ ﺑﻪ ﺑﺮﻗﺮﺍﺭﻱ ﺗﻤﺎﺱ‬

‫ﺑﻲﺭﺣﻤﺎﻧﻪﺗﺮﻳﻦ ﺍﺣﺴﺎﺱ ﺁﻧﺴﺖ ﭼﺮﺍ ﻛﻪ ﻧﻪ ﺗﻨﻬﺎ ﺭﺍﺑﻄﻪ ﻣﺘﻘﺎﺑﻞ ﺩﻭﺋﻠﻲ ﻣﺎﻧﻨﺪ ﺯﺑﺎﻧﺸﻨﺎﺳﻲ ﻣﻠﻮﻧﺰﻱ‬

‫ﺭﺍ ﺍﺯ ﺑﻴﻦ ﻣﻲﺑﺮﺩ ﺑﻠﻜﻪ ﺣﺘﻲ ﻣﻨﻄﻖ ﺩﺭﻭﻥ ﻓﺮﺩﻱ ﻣﻌﺎﻭﺿﻪ ﺩﺭ ﺯﺑﺎﻥ ﻛﻼﺳﻴﻚ )ﻳﺎﻛﻮﺑﺴﻦ( ﻧﻴﺰ ﺩﺭ‬

‫ﺁﻥ ﻳﺎﻓﺖ ﻧﻤﻲﺷﻮﺩ‪ .‬ﺍﺯ ﺩﻭﮔﺎﻧﮕﻲ ﻭ ﻗﻄﺒﻴﺖ ﺍﺳﺘﺪﻻﻟﻲ ﺗﺎ ﺩﻳﺠﻴﺘﺎﻟﻴﺘﻪ ﭘﺮﺩﺍﺯﺵ ﺩﺍﺩﻩﻫﺎ‪ .‬ﺍﺳﺘﻴﻼﻱ‬

‫ﻛﺎﻣﻞ ﺭﺳﺎﻧﻪ ﻭ ﺷﺒﻜﻪﻫﺎ‪ .‬ﺗﺮﻓﻴﻊ ﺳﺮﺩ ﺭﺳﺎﻧﻪ )‪(media‬ﻫﺎﻱ ﺍﻟﻜﺘﺮﻭﻧﻴﻜﻲ ﻭ ﺗﻮﺩﻩﻫﺎﻳﻲ ﻛﻪ ﺧﻮﺩ ﻧﻴﺰ‬

‫ﺭﺳﺎﻧﻪ )‪(medium‬ﺍﻧﺪ‪.‬‬

‫ﺗﻠﻪ‪ :‬ﺩﻳﮕﺮ ﭼﻴﺰﻱ ﺟﺰ ﺗﺮﻣﻴﻨﺎﻝﻫﺎ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪" .‬ﺍﺗﻮ"‪ :‬ﻫﺮ ﻛﺴﻲ ﺗﺮﻣﻴﻨﺎﻝ ﺧﻮﺩﺵ ﺍﺳﺖ‪) .‬ﺗﻠﻪ‬

‫ﻭ ﺍﺗﻮ ﺧﻮﺩ ﻣﻲﺗﻮﺍﻧﻨﺪ ﺍﺟﺮﺍﻱ ﻛﺎﺭﻱ ﻭ ﻣﺘﻐﻴﺮﻱ ﺑﺎﺷﻨﺪ ﻛﻪ ﺑﻪ ﻛﻠﻤﺎﺕ ﻣﺘﺼﻞ ﻣﻲﺷﻮﻧﺪ )ﺑﺮﺍﺣﺘﻲ‬

‫ﭘﻴﺸﻮﻧﺪ ﻭﺍﮊﻩﻫﺎ ﻣﻲﺷﻮﻧﺪ )ﻡ(( ﻫﻤﭽﻮﻥ ﻭﻳﺪﺋﻮﻳﻲ ﻛﻪ ﺑﻪ ﻳﻚ ﮔﺮﻭﻩ ﻣﺮﺗﺒﻂ ﻣﻲﺷﻮﺩ ﻭ ﻳﺎ ﺗﻠﻮﻳﺰﻳﻮﻧﻲ‬

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‫ﺍﻏﻮﺍ‬

‫ﻛﻪ ﺁﻧﺮﺍ ﺗﻤﺎﺷﺎ ﻣﻲﻛﻨﻨﺪ‪ (.‬ﻳﻚ ﮔﺮﻭﻩ ﺑﺎ ﻳﻚ ﺩﻭﺭﺑﻴﻦ ﻭﻳﺪﺋﻮﻳﻲ ﺑﺮﺍﻱ ﺧﻮﺩﺵ ﻳﻚ ﭘﺎﻳﺎﻧﻪ ﺍﺳﺖ‪.‬‬

‫ﺧﻮﺩﺵ ﺑﻪ ﻃﻮﺭ ﺍﻟﻜﺘﺮﻭﻧﻴﻜﻲ ﺿﺒﻂ ﻛﺮﺩﻩ ﺗﻨﻈﻴﻢ ﻧﻤﻮﺩﻩ ﻭ ﻣﺪﻳﺮﻳﺖ ﻣﻲﻛﻨﺪ‪.‬‬

‫ﺑﻪ ﺧﻮﺩﺵ ﺭﻭﻱ ﺁﻭﺭﺩﻩ‪ ،‬ﺧﻮﺩﺵ ﺭﺍ ﺍﻏﻮﺍ ﻣﻲﻛﻨﺪ‪ .‬ﮔﺮﻭﻩ ﺑﺎ ﮔﺰﺍﺭﺵﻫﺎﻱ ﻟﺤﻈﻪﺍﻱ ﻛﻪ ﺍﺯ ﺧﻮﺩ‬

‫ﻣﻲﮔﻴﺮﺩ ﺍﻏﻮﺍ ﻭ ﺣﺘﻲ ﺗﺤﺮﻳﻚ ﻣﻲﺷﻮﺩ‪ .‬ﺑﻪ ﺯﻭﺩﻱ ﺧﻮﺩ ‪ -‬ﻣﺪﻳﺮﻳﺖ ﻋﺎﻟﻤﮕﻴﺮ ﺧﻮﺍﻫﺪ ﮔﺸﺖ‪ .‬ﺍﻳﺎﻟﺖ‬

‫ﻫﺮ ﻛﺴﻲ ﮔﺮﻭﻩ ﻭ ﭘﺎﻳﺎﻧﻪﺍﺵ ﺍﺳﺖ‪ .‬ﺧﻮﺩ ﺍﻏﻮﺍﮔﺮﻱ ﻫﻨﺠﺎﺭ ﺗﻤﺎﻣﻲ ﺍﺟﺰﺍﻱ ﮔﻤﺎﺷﺘﻪ ﺷﺪﻩ ﺩﺭ ﺷﺒﻜﻪﻫﺎ‬

‫ﻭ ﺳﻴﺴﺘﻢﻫﺎ ﺧﻮﺍﻫﺪ ﺷﺪ‪.‬‬

‫ﺑﺪﻥ ﺧﻮﺩ ﻛﻪ ﺑﺎ ﻛﻨﺘﺮﻝ ﺍﺯ ﺭﺍﻩ ﺩﻭﺭ ﻛﺪﻫﺎﻱ ﮊﻧﺘﻴﻚ ﺍﺩﺍﺭﻩ ﻣﻲﺷﻮﺩ ﺩﻳﮕﺮ ﭼﻴﺰﻱ ﺟﺰ ﭘﺎﻳﺎﻧﻪ‬

‫ﺧﻮﺩﺵ ﻧﻴﺴﺖ ﺩﻳﮕﺮ ﻫﻴﭻ ﺍﻫﻤﻴﺘﻲ ﺟﺰ ﺧﻮﺩ ﻣﺪﻳﺮﻳﺖ ﺑﻬﻴﻨﻪ ﺑﺎﻧﻚﻫﺎﻱ ﺣﺎﻓﻈﻪﺍﺵ ﻧﺪﺍﺭﺩ‪.‬‬

‫ﻣﻐﻨﺎﻃﻴﺴﻲ ﺷﺪﻥ ﻣﺤﺾ ‪ -‬ﭘﺎﺳﺦ ﺑﺎ ﺳﺌﻮﺍﻝﻫﺎ‪ ،‬ﻭﺍﻗﻌﻴﺖ ﺑﺎ ﻣﺪﻝﻫﺎ‪ ،‬ﺻﻔﺮ ﺑﺎ ﻳﻚ‪ ،‬ﺷﺒﻜﻪ ﺑﺎ‬

‫ﻣﻮﺟﻮﺩﻳﺖ ﻋﻈﻴﻤﺶ‪ ،‬ﻭ ﮔﻮﻳﻨﺪﮔﺎﻥ ﺑﺎ ﺍﺗﺼﺎﻻﺕ ﻣﺤﺾﺷﺎﻥ‪ ،‬ﺑﺴﺎﻭﺍﻳﻲ ﻣﺤﺾ ﻋﻼﺋﻢ‪ ،‬ﺗﻤﺎﺱ ﻣﺤﺾ‪،‬‬

‫ﻭﺍﺑﺴﺘﮕﻲ ﺗﺎﻡ ﻳﻚ ﺗﺮﻣﻴﻨﺎﻝ ﺑﻪ ﺗﺮﻣﻴﻨﺎﻝ ﺩﻳﮕﺮ‪ :‬ﺍﻳﻦ ﺗﺼﻮﻳﺮ ﺍﻏﻮﺍ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺗﻤﺎﻣﻲ ﺳﻴﺴﺘﻤﻬﺎﻱ‬

‫ﻛﻨﻮﻧﻲ ﻣﺎ ﭘﺨﺶ ﻭ ﭘﺮﺍﻛﻨﺪﻩ ﮔﺸﺘﻪﺍﺳﺖ‪ .‬ﺧﻮﺩ ﺍﻏﻮﺍﮔﺮﻱ ‪ /‬ﺧﻮﺩ ﻣﺪﻳﺮﻳﺖ ﺑﻪ ﺳﺎﺩﮔﻲ‪ ،‬ﺷﺒﻜﻪﻫﺎ‪،‬‬

‫ﭼﺮﺧﺶﻫﺎ ﻭ ﺧﺮﺩ ﭼﺮﺧﺶﻫﺎﻱ ﺍﺗﻢﻫﺎ ﻭ ﺍﺟﺰﺍﺋﺸﺎﻥ ﺭﺍ ﻣﻮﺟﺐ ﻣﻲﮔﺮﺩﺩ‪) .‬ﺑﺮﺧﻲ ﺍﺯ ﻧﺎﺭﺳﻴﺴﻴﺴﻢ‬

‫ﺳﺨﻦ ﻣﻲﺭﺍﻧﻨﺪ ﻭ ﭼﺮﺍ ﻛﻪ ﻧﻪ؟ ﻓﻘﻂ ﺍﮔﺮ ﺍﺯ ﺍﺻﻄﻼﺣﺎﺗﻲ ﻣﺎﻧﻨﺪ ﻧﺎﺭﺳﻴﺴﻴﺴﻢ ﻭ ﺍﻏﻮﺍﮔﺮﻱ ﺑﺮﺍﻱ‬

‫ﺍﻧﻄﺒﺎﻕ ﺩﺍﺩﻥ ﺑﺎ ﺁﻧﭽﻪ ﻛﻪ ﺍﺭﺗﺒﺎﻃﻲ ﺑﺎ ﺁﻧﻬﺎ ﻧﺪﺍﺭﺩ ﻳﻌﻨﻲ ﻭﺍﻧﻤﺎﻳﻲ ﺍﺳﺘﻔﺎﺩﻩ ﻧﺸﻮﺩ‪(.‬‬

‫ﺑﻨﺎﺑﺮﺍﻳﻦ ﺑﺮ ﻃﺒﻖ ﻧﻈﺮ ﮊﺍﻥ ﻛﻮﺋﺮﺯﻭﻻ‪ ۵۴‬ﺩﺭ ‪ :"le  silicium  fleur  de  peau " ‬ﻓﻦﺁﻭﺭﻱ‬

‫ﺭﻭﺍﻧﻜﺎﻭﺍﻧﻪ ‪ -‬ﺗﻤﺎﻣﻲ ﻣﺼﻨﻮﻋﺎﺕ ﻛﺎﻣﭙﻴﻮﺗﺮﻱ ﻭ ﺷﺒﻜﻪﻫﺎﻱ ﺧﻮﺩ ‪ -‬ﺗﻨﻈﻴﻢ ﺍﻟﻜﺘﺮﻭﻧﻴﻜﻲ ﻣﺎ ﺭﺍ ﺗﺴﺨﻴﺮ‬

‫ﻛﺮﺩﻩﺍﻧﺪ ‪ -‬ﻧﻮﻋﻲ ﺁﻳﻨﻪ ﺑﻴﻮﺍﻟﻜﺘﺮﻭﻧﻴﻚ ﻏﺮﻳﺐ ﺑﺮﺍﻱ ﻣﺎ ﻓﺮﺍﻫﻢ ﻧﻤﻮﺩﻩ ﺍﻧﺪ ﻛﻪ ﺩﺭ ﺁﻥ ﻫﺮ ﻓﺮﺩﻱ ﻣﺎﻧﻨﺪ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﻳﻚ ﻧﺎﺭﺳﻴﺲ ﺩﻳﺠﻴﺘﺎﻟﻲ ﺑﻪ ﺳﻤﺖ ﺧﻂ ﺳﻴﺮ ﺭﺍﻧﺶﻫﺎﻱ ﻣﺮﮒ ﻟﻐﺰﻳﺪﻩ ﻭ ﺩﺭ ﺗﺼﻮﻳﺮ ﺧﻮﺩ‬

‫ﻓﺮﻭﻣﻲﺭﻭﺩ‪ .‬ﻧﺎﺭﺳﻴﺲ ‪ -‬ﻧﺎﺭﻛﻮﺳﻴﺲ )ﺑﻲﺣﺴﻲ ( )ﻣﻚ ﻟﻮﻫﺎﻥ ﺗﻘﺮﻳﺒﺎً ﭘﻴﺸﺘﺮ ﺍﺯ ﺍﻳﻦ ﺍﺗﺼﺎﻝ ﺳﺨﻦ‬

‫ﺭﺍﻧﺪﻩﺍﺳﺖ (‪:‬‬

‫"ﺑﻲﺣﺴﻲ ﺍﻟﻜﺘﺮﻭﻧﻴﻜﻲ‪ :‬ﺍﻳﻦ ﻭﺍﭘﺴﻴﻦ ﺧﻄﺮ ﻭﺍﻧﻤﺎﻳﻲ ﺩﻳﺠﻴﺘﺎﻟﻲ ﺍﺳﺖ‪ ...‬ﻣﺎ ﺍﺯ ﺍﻭﺩﻳﭗ‬
‫ﺑﻪ ﻧﺎﺭﺳﻴﺲ ﻣﻲﺭﺳﻴﻢ‪ ...‬ﻓﺮﺟﺎﻡ ﺧﻮﺩ ﻣﺪﻳﺮﻳﺖ ﺑﺪﻧﻬﺎ ﻭ ﻟﺬﺗﻬﺎﻳﻤﺎﻥ‪ ،‬ﺑﻲﺣﺴﻲ ﻧﺎﺭﺳﻴﺴﻲ‬
‫ﺗﺪﺭﻳﺠﻲ ﺍﺳﺖ‪ .‬ﺩﺭ ﻳﻚ ﻛﻼﻡ‪ ،‬ﺑﺎ ﻭﺟﻮﺩ ﺳﻴﻠﻴﻜﻮﻥ‪ ،‬ﭼﻪ ﺍﺗﻔﺎﻗﻲ ﺑﺮﺍﻱ ﺍﺻﻞ ﻭﺍﻗﻌﻴﺖ‬
‫ﻣﻲﺍﻓﺘﺪ؟ ﻣﻦ ﻧﻤﻲﮔﻮﻳﻢ ﻛﻪ ﺩﻳﺠﻴﺘﺎﻟﻲ ﺷﺪﻥ ﺟﻬﺎﻥ ﺑﺰﻭﺩﻱ ﭘﺎﻳﺎﻧﻲ ﺑﺮ ﺍﻭﺩﻳﭗ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬
‫ﺩﺍﺭﻡ ﺧﺎﻃﺮﻧﺸﺎﻥ ﻣﻲﺳﺎﺯﻡ ﻛﻪ ﭘﻴﺸﺮﻓﺖ ﺯﻳﺴﺖﺷﻨﺎﺳﻲ ﻭ ﻓﻦﺁﻭﺭﻱ ﺍﻃﻼﻋﺎﺕ ﺑﺎ ﺗﺠﺰﻳﻪ‬
‫ﺳﺎﺧﺘﺎﺭﻫﺎﻱ ﻫﻮﻳﺘﻲ ﻫﻤﺮﺍﻩ ﺍﺳﺖ ﻛﻪ ﻣﺎ ﺁﻧﺮﺍ ﺍﻭﺩﻳﭙﻲ ﻣﻲﻧﺎﻣﻴﻢ‪ .‬ﺍﺯ ﻫﻢ ﭘﺎﺷﻲ ﺍﻳﻦ‬
‫ﺳﺎﺧﺘﺎﺭﻫﺎ ﻓﻀﺎﻱ ﺩﻳﮕﺮﻱ ﺭﺍ ﺑﺎﺯ ﻣﻲﮔﺸﺎﻳﺪ ﻛﻪ ﺩﺭ ﺁﻥ ﭘﺪﺭ ﻏﺎﻳﺐ ﺍﺳﺖ‪ :‬ﺁﻥ ﺑﺎ ﻣﺎﺩﺭﺍﻧﮕﻲ‪،‬‬
‫ﺑﺎ ﺍﺣﺴﺎﺱ ﺍﻗﻴﺎﻧﻮﺳﻲ ﻭ ﺭﺍﻧﺶ ﻣﺮﮒ ﺳﺮ ﻭ ﻛﺎﺭ ﺩﺍﺭﺩ‪ .‬ﺍﻳﻦ ﺍﺧﺘﻼﻝ ﺭﻭﺍﻧﻲ ﻧﻴﺴﺖ ﻛﻪ‬
‫ﺗﻬﺪﻳﺪﺑﺮﺍﻧﮕﻴﺰ ﺍﺳﺖ ﺑﻠﻜﻪ ﭼﻴﺰﻱ ﺍﺯ ﺯﻣﺮﻩ ﺟﻨﻮﻥ ﺍﺳﺖ‪ .‬ﻧﺎﺭﺳﻴﺴﻤﻲ ﺁﺳﻴﺐﺷﻨﺎﺳﺎﻧﻪ‪ ...‬ﻣﺎ‬
‫ﻣﻌﺘﻘﺪﻳﻢ ﻛﻪ ﺍﺷﻜﺎﻝ ﻗﻴﻮﺩ ﺍﺟﺘﻤﺎﻋﻲ ﺭﺍ ﻃﺒﻖ )ﺍﻓﺴﺎﻧﻪ( ﺍﻭﺩﻳﭗ ﺩﺭﻙ ﻣﻲﻛﻨﻴﻢ‪ .‬ﺍﻣﺎ ﻭﻗﺘﻲ‬
‫ﺩﻳﮕﺮ ﻛﺎﺭﻛﺮﺩﻱ ﻧﺪﺍﺷﺘﻪﺑﺎﺷﻨﺪ ﭼﻪ ﻗﺪﺭﺗﻲ ﺩﺭ ﻛﺎﺭ ﺧﻮﺍﻫﺪ ﺑﻮﺩ؟ ﺑﻌﺪ ﺍﺯ ﺍﻭﺗﻮﺭﻳﺘﻪ ﺁﻳﺎ ﻧﻮﺑﺖ‬
‫ﺍﻏﻮﺍﮔﺮﻱ ﺍﺳﺖ؟"‬

‫ﻣﻨﺎﺳﺐﺗﺮﻳﻦ ﻣﺜﺎﻝ ﺍﻳﻦ "ﺁﻳﻨﻪ ﺯﻳﺴﺘﻲ"‪ ۵۵‬ﻭ "ﺑﻲﺣﺴﻲ ﻧﺎﺭﺳﻴﺴﻲ"‪ ،‬ﺗﻜﺜﻴﺮ ﺍﺳﺖ‪ .‬ﺷﻜﻞ‬

‫ﻧﻬﺎﻳﻲ ﺧﻮﺩ ﺍﻏﻮﺍﮔﺮﻱ‪ :‬ﺍﺯ ﻳﻜﻲ ﺑﻪ ﻫﻤﺎﻥ ﺧﻮﻳﺸﺘﻦ ﺑﺪﻭﻥ ﻭﺍﺳﻄﻪ "ﺩﻳﮕﺮﻱ"‪ .‬ﺩﺭ ﺍﻳﺎﻻﺕ ﻣﺘﺤﺪﻩ ﻳﻚ‬

‫ﻛﻮﺩﻙ ﺑﻪ ﻫﻤﺎﻥ ﺻﻮﺭﺗﻲ ﺑﻪ ﺩﻧﻴﺎ ﺁﻣﺪ ﻛﻪ ﻳﻚ ﺷﻤﻌﺪﺍﻧﻲ ﺑﺎ ﻗﻠﻤﻪ ﺯﺩﻥ‪ .‬ﺍﻭﻟﻴﻦ ﻓﺮﺯﻧﺪ ﺍﻧﺴﺎﻥ ﺗﻜﺜﻴﺮ‬

‫ﺷﺪﻩ‪ ،‬ﺗﺒﺎﺭﺷﻨﺎﺳﻲ ﺑﺎ ﺗﻜﺜﻴﺮ ﮔﻴﺎﻫﻲ‪ .‬ﺍﻭﻟﻴﻦ ﻛﻮﺩﻙ ﻣﺘﻮﻟﺪ ﺷﺪﻩ ﺍﺯ ﺳﻠﻮﻝ ﻣﻨﻔﺮﺩ ﭘﺪﺭ‪،‬ﻛﻮﺩﻙ‬

‫ﺭﻭﻧﻮﺷﺖ ﻛﺎﻣﻠﻲ ﻟﺰ ﻳﮕﺎﻧﻪ ﻭﺍﻟﺪ ﺧﻮﺩ ﻭ ﻫﻤﺰﺍﺩ ﻭ ﺟﻔﺖ ﺩﻳﮕﺮ ﻭﺍﻟﺪﺵ ﺧﻮﺍﻫﺪ ﺷﺪ‪).‬ﺩﻛﺘﺮ ﺭﻭﺭﻭﻳﻚ‪،۵۶‬‬

‫ﺗﺼﻮﻳﺮﻱ ﺍﺯ ﻳﻚ ﭘﺴﺮﺑﭽﻪ‪ ("la copy dun homme "  :‬ﺗﻜﺜﻴﺮ ﺑﻲﻧﻬﺎﻳﺖ ﺍﻧﺴﺎﻥ ﺑﺎ ﻗﻠﻤﻪ ﺯﺩﻥ ﺑﺎ‬

‫ﻫﺮ ﺳﻠﻮﻟﻲ ﺍﺯ ﻳﻚ ﻓﺮﺩ ﺧﺎﺹ ﻛﻪ ﻣﻲﺗﻮﺍﻧﺪ ﻣﺎﺗﺮﻳﻜﺴﻲ ﺍﺯ ﻫﻮﻳﺖ ﻭﻳﮋﻩ ﺁﻥ ﻓﺮﺩ ﺑﺎﺷﺪ‪.‬‬

‫‪۲٤۸‬‬
‫ﺍﻏﻮﺍ‬

‫"ﻭﻗﺘﻲ ﻛﻪ ﻳﻚ ﻳﺎﺧﺘﻪ ﻣﻨﻔﺮﺩ ﻧﺮ ﺑﺎ ﺗﺨﻤﺪﺍﻥ ﻣﻨﻔﺮﺩ ﺩﻳﮕﺮﻱ ﺗﻤﺎﺱ ﻳﺎﺑﺪ ﻭﺭﺍﺛﺖ‬

‫ﮊﻧﺘﻴﻜﻲ ﻣﻦ ﻳﻜﺒﺎﺭ ﻭ ﺑﺮﺍﻱ ﻫﻤﻴﺸﻪ ﻣﻨﺤﺼﺮ ﺑﻪ ﻣﻦ ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﺪ‪ .‬ﺍﻳﻦ ﻭﺭﺍﺛﺖ ﺣﺎﻭﻱ‬
‫ﻓﺮﻣﻮﻟﻲ ﺍﺳﺖ ﺑﺮﺍﻱ ﺗﻤﺎﻣﻲ ﻓﺮﺁﻳﻨﺪﻫﺎﻱ ﺑﻴﻮﻟﻮﮊﻳﻜﻲ ﻛﻪ ﻣﻦ ﻭ ﻛﺎﺭﻛﺮﺩﻫﺎﻱ ﻣﺮﺍ ﺍﻳﺠﺎﺩ‬
‫ﻧﻤﻮﺩﻩﺍﺳﺖ‪ .‬ﻳﻚ ﻧﺴﺨﻪ ﺍﺯ ﺍﻳﻦ ﻓﺮﻣﻮﻝ ﺩﺭ ﻫﺮ ﺩﻫﻬﺎ ﺑﻴﻠﻴﻮﻥ ﺳﻠﻮﻟﻲ ﻛﻪ ﻣﺮﺍ ﺗﺸﻜﻴﻞ‬
‫ﻣﻲﺩﻫﺪ ﻧﻘﺶ ﺑﺴﺘﻪﺍﺳﺖ‪ .‬ﻫﺮ ﻛﺪﺍﻡ ﺍﺯ ﺁﻧﻬﺎ ﻣﺨﺘﺺ ﻣﻦﺍﻧﺪ ﻭ ﻭ ﭘﻴﺶ ﺍﺯ ﺁﻧﻜﻪ ﺳﻠﻮﻝ‬
‫ﺧﻮﻥ ﻭ ﻳﺎ ﺟﮕﺮ ﻣﻦ ﺑﺎﺷﻨﺪ ﺳﻠﻮﻝ ﻣﻦ ﻫﺴﺘﻨﺪ )ﻳﻌﻨﻲ ﺷﻨﺎﺳﻪﺍﻱ ﺑﺮﺍﻱ ﻣﻦﺍﻧﺪ‪ -‬ﻣﺘﺮﺟﻢ (‬
‫ﺑﻨﺎﺑﺮﺍﻳﻦ ﺍﺯ ﻧﻈﺮ ﺗﺌﻮﺭﻳﻜﻲ ﻣﻤﻜﻦ ﺍﺳﺖ ﻛﻪ ﺑﺘﻮﺍﻥ ﻓﺮﺩﻱ ﻳﻜﺴﺎﻥ ﺑﺎ ﺧﻮﺩﻡ ﺍﺯ ﻫﺮ ﻳﻚ ﺍﺯ‬
‫ﺁﻧﻬﺎ ﺗﻮﻟﻴﺪ ﻧﻤﻮﺩ‪".‬‬
‫)ﭘﺮﻭﻓﺴﻮﺭ ﺍﻱ‪ .‬ﮊﺍﻛﻮﺭ(‬

‫ﻭ‬ ‫‪D.N.A‬‬ ‫ﻃﺮﺡﺍﻓﻜﻨﻲ ﻭ ﻧﮕﺎﻫﺪﺍﺭﻱ ﺩﺭ ﺁﻳﻨﻪ ﻛﺪ ﮊﻧﺘﻴﻚ‪ .‬ﻫﻴﭻ ﭼﻴﺰ ﺗﺼﻨﻌﻲﺗﺮ ﺍﺯ‬

‫ﻧﺎﺭﺳﻴﺴﻲﺗﺮ ﺍﺯ ﺗﺼﻮﻳﺮ ﺟﺪﻳﺪﻱ ﻛﻪ ﺑﻪ ﻣﻮﺟﻮﺩﺍﺕ ﻣﺪﺭﻥ ﺩﺭ ﺟﺎﻳﮕﺎﻩ ﺗﺼﻮﻳﺮ ﻃﺒﻲﺷﺎﻥ ﺑﺨﺸﻮﺩﻩ‬

‫ﺷﺪﻩﺍﺳﺖ‪ ،‬ﻳﻌﻨﻲ ﻓﺮﻣﻮﻝﻫﺎﻱ ﻣﻮﻟﻜﻮﻟﻲﺷﺎﻥ‪ ،‬ﻧﺨﻮﺍﻫﻴﻢ ﻳﺎﻓﺖ‪ .‬ﺍﻳﻨﺠﺎ ﺟﺎﻱ ﺍﺳﺖ ﻛﻪ ﻓﺮﺩ ﺣﻘﻴﻘﺖ‬

‫ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺁﻥ ﺧﻮﺍﻫﺪ ﻳﺎﻓﺖ ‪ -‬ﺩﺭ ﺗﺠﺪﻳﺪ ﺑﻲﻧﻬﺎﻳﺖ ﻭﺟﻮﺩ ﺑﻴﻮﻟﻮﮊﻳﻜﻲ ﻭ "ﻭﺍﻗﻌﻴﺖ" ﻓﺮﺩ‪ .‬ﺍﻳﻦ‬

‫ﻧﺎﺭﺳﻴﺴﻴﺴﻢ ﻛﻪ ﻣﻨﺒﻊ ﺧﻮﺩ ﺭﺍ ﺩﻳﮕﺮ ﻧﻪ ﺩﺭ ﺁﻳﻨﻪ ﺑﻠﻜﻪ ﺩﺭ ﻓﺮﻣﻮﻝ ﻳﺎﻓﺘﻪﺍﺳﺖ‪ ،‬ﻫﻴﻮﻻﻳﻲ ﻣﺴﺨﺮﻩﺍﻱ‬

‫ﺍﺯ ﺍﺳﻄﻮﺭﻩ ﻧﺎﺭﺳﻴﺲ ﺍﺳﺖ‪ .‬ﻧﺎﺭﺳﻴﺴﻴﺴﻤﻲ ﺳﺮﺩ‪ .‬ﺧﻮﺩ ﺍﻏﻮﺍﮔﺮﻱ ﺳﺮﺩ‪ .‬ﺑﻲﺁﻧﻜﻪ ﺣﺘﻲ ﺣﺪﺍﻗﻞ ﻓﺎﺻﻠﻪ‬

‫ﺿﺮﻭﺭﻱ ﺑﺮﺍﻱ ﺗﺠﺮﺑﻪ ﺗﺼﻮﻳﺮ ﺧﻮﻳﺸﺘﻦ ﺑﺮﺍﻱ ﻭﻫﻢ ﻭ ﺧﻴﺎﻝ‪ ,‬ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪﺑﺎﺷﺪ‪ .‬ﻣﺎﺩﻱ ﻛﺮﺩﻥ ﺍﻣﺮ‬

‫ﻭﺍﻗﻌﻲ‪ ،‬ﻫﻤﺰﺍﺩ ﺑﻴﻮﻟﻮﮊﻳﻜﻲ ﺩﺭ ﻓﺮﺁﻳﻨﺪ ﺗﻜﺜﻴﺮ ﻛﻪ ﺍﻣﻜﺎﻥ ﺑﺎﺯﻱ ﻓﺮﺩ ﺑﺎ ﺗﺼﻮﻳﺮ ﺧﻮﻳﺸﺘﻦ ﻭ ﺑﺪﺍﻥ‬

‫ﻃﺮﻳﻖ ﺑﺎﺯﻱ ﺑﺎ ﻣﺮﮒ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺑﻴﻦ ﻣﻲﺑﺮﺩ‪.‬‬

‫ﻫﻤﺰﺍﺩ ﺗﺼﻮﻳﺮﻱ ﺧﻴﺎﻟﻲ ﺍﺳﺖ ﻣﺎﻧﻨﺪ ﺭﻭﺡ ﻳﺎ ﺳﺎﻳﻪ ﺍﻧﺴﺎﻥ ﻳﺎ ﺗﺼﻮﻳﺮ ﻓﺮﺩ ﺩﺭ ﺁﻳﻨﻪ‪ ،‬ﻛﻪ ﺳﻮﮊﻩ ﺭﺍ‬

‫ﺑﺎ ﻣﺮﮔﻲ ﺿﻌﻴﻒ ﻛﻪ ﻣﺪﺍﻭﻣﺎً ﻧﮕﺎﻫﺒﺎﻥ ﺍﻭﺳﺖ ﺭﻭﻳﺎﺭﻭﻱ ﻣﻲﻛﻨﺪ‪ .‬ﺍﮔﺮ ﻫﻤﺰﺍﺩ ﺗﺠﺴﻢ ﻳﺎﺑﺪ‪ ،‬ﻣﺮﮒ‬

‫ﻗﺮﻳﺐﺍﻟﻮﻗﻊ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺗﺨﻴﻠﻲ ﺍﻛﻨﻮﻥ ﺑﻪ ﮔﻮﻧﻪﺍﻱ ﺗﺤﺖﺍﻟﻠﻔﻈﻲ ﺩﺭ ﻓﺮﺁﻳﻨﺪ ﺗﻜﺜﻴﺮ ﺻﻮﺭﺕ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﻭﺍﻗﻊ ﺑﻪ ﺧﻮﺩ ﮔﺮﻓﺘﻪﺍﺳﺖ‪ .‬ﺗﻜﺜﻴﺮ ﺗﺼﻮﻳﺮﻱ ﺍﺯ ﻣﺮﮒ ﺍﺳﺖ ﺍﻣﺎ ﺑﺪﻭﻥ ﺗﻮﻫﻤﻲ ﻧﻤﺎﺩﻳﻦ ﺗﺎ ﻓﺮﺩ ﺷﻴﻔﺘﻪ‬

‫ﺁﻥ ﮔﺮﺩﺩ‪.‬‬

‫ﭼﻴﺰﻱ ﺍﺯ ﺭﺍﺑﻄﻪ ﻣﺤﺮﻣﺎﻧﻪ ﺳﻮﮊﻩ ﺑﺎ ﺧﻮﺩﺵ ﺩﺭ ﻏﻴﺮ ﻣﺎﺩﻱ ﺑﻮﺩﻥ ﻫﻤﺰﺍﺩ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﺩﺭ‬

‫ﻭﺍﻗﻊ ﻫﻤﺰﺍﺩ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﺍﻣﺎ ﭼﻮﻥ ﺗﺨﻴﻞ ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﺪ‪ .‬ﻓﺮﺩ ﻣﻲﺗﻮﺍﻧﺪ ﻭ ﻣﻲﺑﺎﻳﺴﺖ ﺩﺭ ﺳﺮﺍﺳﺮ‬

‫ﺯﻧﺪﮔﻲﺍﺵ‪ ،‬ﺭﻭﻳﺎﻱ ﺗﻜﺮﺍﺭ ﻭ ﺗﻜﺜﻴﺮ ﻭﺟﻮﺩ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺳﺮ ﺑﭙﺮﻭﺭﺍﻧﺪ‪ ،‬ﺍﻣﺎ ﭼﻮﻥ ﺭﻭﻳﺎ ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﺪ‪ .‬ﻭ‬

‫ﺧﻮﺩ ﻓﺮﺩ ﺍﮔﺮ ﺳﻌﻲ ﻛﻨﺪ ﺁﻥ ﺭﺍ ﻭﺍﻗﻌﻴﺖ ﺑﺨﺸﺪ‪ ،‬ﻧﺎﺑﻮﺩ ﻣﻲﺷﻮﺩ‪ .‬ﻫﻤﺴﺎﻧﻲ ﻫﻤﻴﺸﻪ ﻧﺰﺩ ﺻﺤﻨﻪﻫﺎﻱ‬

‫ﺑﺪﻭﻱ ﻭ ﻳﺎ ﺩﺭ ﺍﻏﻮﺍ ﺣﻔﻆ ﮔﺸﺘﻪﺍﺳﺖ‪ :‬ﻫﻤﺴﺎﻧﻲ ﻓﻘﻂ ﻭﻗﺘﻲ ﻣﻮﺛﺮ ﺍﺳﺖ ﻛﻪ ﻓﺮﺍﺧﻮﺍﻧﻲ ﻭ ﺗﺨﻴﻞ ﺷﻮﺩ‬

‫ﻭﻧﻪ ﻭﻗﺘﻲ ﻭﺍﻗﻌﻲ ﺑﺎﺷﺪ‪ .‬ﺗﺎ ﻛﻨﻮﻥ ﺗﻨﻬﺎ ﻣﺎ ﻫﺴﺘﻴﻢ ﻛﻪ ﺳﻌﻲ ﻛﺮﺩﻩﺍﻳﻢ ﺍﻳﻦ ﺗﺨﻴﻞ ﺧﻮﺩ ﺭﺍ ﺗﺠﺴﻢ‬

‫ﺑﺨﺸﻴﻢ ﻭ ﻣﺎﻧﻨﺪ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﭼﻴﺰﻫﺎﻱ ﺩﻳﮕﺮ ﺑﺎ ﺍﻳﻦ ﺭﻭﺵ ﻛﻼ ﻣﻐﺸﻮﺵ ﺧﻮﺩ‪ ,‬ﺑﺎﺯﻱ ﻓﺮﺩ ﺑﺎ‬

‫ﻫﻤﺰﺍﺩﺵ ﺭﺍ ﺍﺯ ﻳﻚ ﻣﺒﺎﺩﻟﻪ ﺯﻳﺮﻛﺎﻧﻪ ﺑﺎ ﻣﺮﮒ ﻭ "ﺩﻳﮕﺮﻱ " ﺑﻪ ﻫﻤﺴﺎﻧﻲ ﺟﺎﻭﺩﺍﻧﻪ ﺗﺒﺪﻳﻞ ﻛﺮﺩﻩﺍﻳﻢ‪.‬‬

‫ﺭﻭﻳﺎﻱ ﻫﻤﺰﺍﺩﻫﺎﻱ ﺍﺑﺪﻱ ﺑﻪ ﻣﺜﺎﺑﻪ ﺟﺎﻧﺸﻴﻨﻲ ﺑﺮﺍﻱ ﺗﻮﻟﻴﺪ ﻣﺜﻞ ﺟﻨﺴﻲ‪ .‬ﺭﻭﻳﺎﻱ ﺗﻮﻟﻴﺪ ﻣﺜﻞ‬

‫ﺳﻠﻮﻟﻲ ﺑﻮﺳﻴﻠﻪ ﺷﻜﺎﻑ ﺧﻮﺭﺩﻥ‪ .‬ﺍﺳﺘﻮﺍﺭﺗﺮﻳﻦ ﺷﻜﻞ ﭘﺪﺭﺍﻧﮕﻲ‪ ،‬ﻛﻪ ﻧﻬﺎﻳﺘﺎ ﺑﻪ ﻓﺮﺩ ﺍﺟﺎﺯ ﻣﻲﺩﻫﺪ ﺗﺎ ﺍﺯ‬

‫ﺩﺳﺖ "ﺩﻳﮕﺮﻱ" ﺭﻫﺎﻳﻲ ﻳﺎﻓﺘﻪ ﻭ ﺍﺯ ﺧﻮﺩ ﺑﻪ ﺧﻮﻳﺸﺘﻦ ﺑﺮﻭﺩ‪) .‬ﻫﻨﻮﺯ ﺑﻪ ﻳﻚ ﺯﻫﺪﺍﻥ ﺯﻥ ﻭ ﻳﻚ‬

‫ﺗﺨﻤﻚ ﺧﺎﻟﻲ ﻧﻴﺎﺯ ﺍﺳﺖ ﺍﻣﺎ ﺍﻳﻦ ﻛﻤﻚ ﺭﺳﺎﻧﻲ ﺯﻫﺪﺍﻥ ﻣﻮﻗﺘﻲ ﻭ ﺑﻲﻫﻮﻳﺖ ﺍﺳﺖ‪ ،‬ﻫﺮ ﻣﺼﻨﻮﻋﻲ ﺍﺯ‬

‫ﺯﻧﺎﻧﮕﻲ ﻗﺎﺩﺭ ﺍﺳﺖ ﺁﻥ ﺭﺍ ﺍﻧﺠﺎﻡ ﺩﻫﺪ‪ (.‬ﺍﺗﻮﭘﻴﺎﻱ ﺗﻚ ﺳﻠﻮﻟﻲ ﺑﻪ ﻛﻤﻚ ﺭﻭﺵﻫﺎﻱ ﮊﻧﺘﻴﻜﻲ ﻗﺎﺩﺭ‬

‫ﺧﻮﺍﻫﺪ ﺑﻮﺩ ﺍﺯ ﺳﺮﻧﻮﺷﺖ ﻳﻚ ﺗﻚ ﻳﺎﺧﺘﻪ ﻣﻮﺟﻮﺩﺍﺗﻲ ﭘﻴﭽﻴﺪﻩ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩ‪.‬‬

‫ﺁﻳﺎ ﺭﺍﻧﻪ ﻣﺮﮒ‪ ،‬ﻣﻮﺟﻮﺩﺍﺕ ﺟﻨﺴﻴﺖﻣﻨﺪ ﺭﺍ ﺑﻪ ﺳﻮﻱ ﺍﻳﻦ ﻧﻮﻉ ﺗﻮﻟﻴﺪ ﻣﺜﻞ ﻗﺪﺍﻣﻲ ﺑﺮﺍﻱ‬

‫ﺍﻛﺘﺴﺎﺏ ﻫﻮﻳﺘﻬﺎﻱ ﺟﻨﺴﻲﺷﺎﻥ ﻣﻲﻛﺸﺎﻧﺪ )ﻋﻼﻭﻩ ﺑﺮ ﺍﻳﻦ ﺁﻳﺎ ﺍﻳﻦ ﺷﻜﻞ ﺗﻘﺴﻴﻢ ﺳﻠﻮﻟﻲ ﻭ ﺍﻳﻦ‬

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‫ﺍﻏﻮﺍ‬

‫ﺗﻜﺜﻴﺮ ﺑﺎ ﺗﻤﺎﺱ ﻛﻪ ﻣﺮﮒ ﺭﺍ ﺩﺭ ﻭﺍﭘﺲﺗﺮﻳﻦ ﺟﺎﻳﮕﺎﻩ ﺗﺼﻮﺭﺍﺕ ﻣﺎ ﻇﺎﻫﺮ ﻣﻲﻛﻨﺪ ‪ -‬ﻫﻤﭽﻮﻥ ﺍﻣﺮﻱ‬

‫ﻛﻪ ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ ﺭﺍ ﺍﻧﻜﺎﺭ ﻣﻲﻛﻨﺪ ﻭ ﻗﺼﺪ ﻧﺎﺑﻮﺩﻱ ﺁﻧﺮﺍ ﺩﺍﺭﺩ‪ ،‬ﺁﻳﺎ ﺍﻳﻦ ﻣﻮﺟﻮﺩ ﺣﺎﻣﻞ ﺯﻧﺪﮔﻲ‬

‫ﺷﻜﻞ ﺑﺤﺮﺍﻧﻲ ﻭ ﻣﻬﻠﻚ ﺗﻮﻟﻴﺪ ﻣﺜﻞ ﻧﻴﺴﺖ؟( ﻭ ﺩﺭ ﻫﻤﺎﻥ ﺣﺎﻝ ﺁﻧﻬﺎ ﺭﺍ ﻭﺍ ﻣﻲﺩﺍﺭﺩ ﺗﺎ ﺗﻤﺎﻣﻲ‬

‫ﺩﮔﺮﻭﺍﺭﮔﻲﻫﺎ ﺭﺍ ﺍﻧﻜﺎﺭ ﻧﻤﺎﻳﻨﺪ ﺗﺎ ﺩﻳﮕﺮ ﻧﻴﺎﺯﻱ ﺑﻪ ﻫﻴﭻ ﻛﻮﺷﺸﻲ ﺟﺰ ﺑﻘﺎﻱ ﻳﻚ ﻫﻮﻳﺖ‬

‫ﻧﺪﺍﺷﺘﻪﺑﺎﺷﻨﺪ؟ ﺷﻔﺎﻑ ﻧﻤﺎﻳﻲﻫﺎﻱ ﻛﺪ ﮊﻧﺘﻴﻚ ﺑﻪ ﺗﻤﺎﻣﻲ ﻭﻗﻒ ﺍﻳﻦ ﺯﺍﻳﺶ ﮔﺸﺘﻪﺍﻧﺪ؟‬

‫ﺑﮕﺬﺍﺭﻳﺪ ﺭﺍﻧﺶﻫﺎﻱ ﻣﺮﮒ ﺭﺍ ﺭﻫﺎ ﻛﻨﻴﻢ‪ .‬ﺷﺎﻳﺪ ﻣﺎ ﺑﺎ ﺧﻴﺎﻝ ﺧﻮﺩﺯﺍﻳﻲ ﺳﺮ ﻭ ﻛﺎﺭ ﺩﺍﺭﻳﻢ؟ ﺍﻣﺎ ﻧﻪ‪.‬‬

‫ﺳﻮﮊﻩ ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﺘﻮﺍﻧﺪ ﺣﺬﻑ ﺳﻮﮊﻩ ﻭﺍﻟﺪﻳﻦ ﺭﺍ ﺩﺭ ﺳﺮ ﺑﭙﺮﻭﺭﺍﻧﺪ ﻭ ﺣﺘﻲ ﺑﺨﻮﺍﻫﺪ ﺧﻮﺩ ﺭﺍ‬

‫ﺟﺎﻳﮕﺰﻳﻦ ﺁﻧﻬﺎ ﺳﺎﺯﺩ‪ ،‬ﺍﻣﺎ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺳﺎﺧﺘﺎﺭ ﻧﻤﺎﺩﻳﻦ ﺯﺍﻳﺶ ﺭﺍ ﺣﺬﻑ ﻧﻤﺎﻳﺪ‪ :‬ﻭﻗﺘﻲ ﻓﺮﺩ ﻓﺮﺯﻧﺪ‬

‫ﺧﻮﺩﺵ ﻣﻲﺷﻮﺩ ﻫﻨﻮﺯ ﻓﺮﺯﻧﺪ ﻛﺲ ﺩﻳﮕﺮﻱ ﺍﺳﺖ‪ .‬ﺗﻜﺜﻴﺮ ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﺍﻳﻦ ﺍﻣﺮ ﻧﻪ ﺗﻨﻬﺎ ﻣﺎﺩﺭ ﺭﺍ ﺍﺯ‬

‫ﺑﻴﻦ ﻣﻲﺑﺮﺩ ﺑﻠﻜﻪ ﭘﺪﺭ‪ ،‬ﺁﻣﻴﺰﺵ ﮊﻥﻫﺎ‪ ،‬ﺍﺧﺘﻼﻁ ﺗﻔﺎﻭﺕﻫﺎ‪ ،‬ﻭ ﺑﻴﺶ ﺍﺯ ﻫﻤﻪ ﻛﻨﺶﻫﺎﻱ ﺩﻭﺋﻠﻲ ﻣﺪﻧﻈﺮ‬

‫ﺁﺑﺴﺘﻦ ﺷﺪﻥ ﺭﺍ ﻧﻴﺰ ﻣﻨﺴﻮﺥ ﻣﻲﻧﻤﺎﻳﺪ‪ .‬ﻓﺮﺩ ﺗﻜﺜﻴﺮ ﺷﺪﻩ ﺧﻮﺩ ﺭﺍ ﺁﺑﺴﺘﻦ ﻧﻤﻲﻛﻨﺪ ﺑﻠﻜﻪ ﺍﺯ ﻳﻚ ﺗﻜﻪ‬

‫ﺟﻮﺍﻧﻪ ﻣﻲﺯﻧﺪ‪ .‬ﺑﺎﻳﺪ ﺩﺍﻧﺴﺖ ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻦ ﺗﻮﺍﻧﺎﻳﻲ ﻗﺪﺭﺗﻤﻨﺪ ﻗﻠﻤﻪﺯﻧﻲ ﺧﻮﺩ ﻫﻤﭽﻮﻥ ﺷﺎﺧﻪﻫﺎﻱ‬

‫ﮔﻴﺎﻫﺎﻥ‪ ،‬ﺟﻨﺴﻴﺖ ﺍﻭﺩﻳﭙﻲ ﺩﺭ ﺟﻨﺴﻴﺘﻲ ﻏﻴﺮ ﺍﻧﺴﺎﻧﻲ ﻣﻨﺤﻞ ﻣﻲﺷﻮﺩ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﻫﻢ ﭘﺪﺭ ﻭ ﻫﻢ ﻣﺎﺩﺭ‬

‫ﻧﺎﭘﺪﻳﺪ ﺷﺪﻩﺍﻧﺪ ﻭ ﺑﻪ ﻛﺪ‪ /‬ﻣﺎﺗﺮﻳﺲ )ﻣﺎﺗﺮﻳﺲ ﻫﻢ ﺑﻪ ﻣﻌﻨﺎﻱ ﻣﺎﺗﺮﻳﻜﺲ ﺍﺳﺖ ﻭ ﻫﻢ ﺑﻪ ﻣﻌﻨﺎﻱ‬

‫"ﺯﻫﺪﺍﻥ"( ﻣﺒﺪﻝ ﮔﺸﺘﻪﺍﻧﺪ‪ .‬ﻫﻴﭻ ﻣﺎﺩﺭﻱ ﺩﺭ ﻛﺎﺭ ﻧﻴﺴﺖ ﺗﻨﻬﺎ ﻳﻚ ﻣﺎﺗﺮﻳﻜﺲ‪ .‬ﻭ ﺍﺯ ﺍﻳﻦ ﭘﺲ ﺗﻨﻬﺎ‬

‫ﻣﺎﺗﺮﻳﻜﺲ ِ ﻛﺪ ﮊﻧﺘﻴﻚ ﺍﺳﺖ ﻛﻪ ﺗﺎ ﺑﻲﻧﻬﺎﻳﺖ ﺧﻮﺍﻫﺪ ﺯﺍﻳﻴﺪ ﻭ ﻫﺮ ﺟﻨﺴﻴﺖ ﺗﺼﺎﺩﻓﻲ ﺭﺍ ﺍﺯ ﺍﻳﻦ‬

‫ﺯﺍﻳﺶ ﺗﺼﻔﻴﻪ ﺧﻮﺍﻫﺪﻧﻤﻮﺩ‪.‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺯﻣﺎﻧﻲ ﻛﻪ ﺑﺎﺯﺗﻜﺜﻴﺮ ﻫﻮﻳﺖﻫﺎ ﺗﻤﺎﻣﻲ ﺗﻘﺴﻴﻤﺎﺕ ﺳﻮﮊﻩﻫﺎ ﺭﺍ ﻣﻨﺴﻮﺥ ﻧﻤﺎﻳﻨﺪ‪ ،‬ﺩﻳﮕﺮ ﻫﻴﭻﻛﺲ‬

‫ﻧﻤﻲﺗﻮﺍﻥ ﺍﺯ ﺳﻮﮊﻩ ﺳﺨﻦ ﮔﻮﻳﺪ‪ .‬ﻣﺮﺣﻠﻪ ﺁﻳﻨﻪﺍﻱ ﺑﺮﺍﻧﺪﺍﺧﺘﻪ ﻣﻲﺷﻮﺩ ﻭ ﺣﺘﻲ ﺑﻪ ﺍﺳﻠﻮﺏ ﻫﻴﻮﻻﻫﺎ‬

‫)ﻛﻪ ﺑﺎ ﺗﻜﺜﻴﺮ ﺑﻪ ﻭﺟﻮﺩ ﺧﻮﺍﻫﻨﺪ ﺁﻣﺪ( ﺑﻪ ﺗﻘﻠﻴﺪ ﻭ ﻣﻀﺤﻜﻪ ﻛﺸﻴﺪﻩﻣﻲﺷﻮﺩ‪ .‬ﭘﺎﻳﺎﻧﻲ ﺑﺮ ﺭﻭﻳﺎﻱ ﻛﻬﻦ‬

‫ﻃﺮﺡ ﺍﻓﻜﻨﻲ ﻧﺎﺭﺳﻴﺴﻲ ﺳﻮﮊﻩ‪ .‬ﺩﺭ ﻃﺮﺡ ﺍﻓﻜﻨﻲ ﻧﺎﺭﺳﻴﺴﺘﻲ ﻫﻨﻮﺯ ﻭﺟﻮﺩ ﻳﻚ ﺁﻳﻨﻪ ﻓﺮﺽ ﻣﻲﺷﻮﺩ‬

‫ﺁﻳﻨﻪﺍﻱ ﻛﻪ ﺩﺭ ﺁﻥ ﺳﻮﮊﻩ ﺑﺎ ﻳﺎﻓﺘﻦ ﺧﻮﺩ ﭼﻮﻥ ﺩﻳﮕﺮﻱ ﺍﺯ ﺧﻮﺩ ﺑﻴﮕﺎﻧﻪ ﻣﻲﺷﻮﺩ ﻭ ﺩﺭ ﺧﻮﺩ ﺧﻴﺮﻩ‬

‫ﻣﻲﻣﺎﻧﺪ ﺗﺎ ﻣﺮﮒ ﺧﻮﺩﺵ ﺭﺍ ﺑﺒﻴﻨﺪ‪ .‬ﺍﻣﺎ ﺍﻳﻨﺠﺎ ﺩﻳﮕﺮ ﻫﻴﭻ ﺁﻳﻨﻪﺍﻱ ﻧﻴﺴﺖ‪) :‬ﺗﻨﻬﺎ( ﺍﺑﮋﻩﺍﻱ ﺻﻨﻌﺘﻲ ﺩﺭ‬

‫ﻣﺠﻤﻮﻋﻪﻫﺎﻳﻲ ﻛﻪ ﻫﻴﭻ ﺑﺎﺯﺗﺎﺑﻲ ﺍﺯ ﺍﺑﮋﻩ ﻫﻤﺴﺎﻥ ﺑﻌﺪﻱ ﺧﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﻫﻴﭻﻛﺲ ﻫﺮﮔﺰ ﻳﻚ ﺧﻴﺎﻝ ﻳﺎ‬

‫ﺍﻳﺪﻩﺁﻝ ﻭ ﺧﻄﺮﻱ ﺑﺮﺍﻱ ﺩﻳﮕﺮﻱ ﻧﻴﺴﺖ‪ .‬ﺻﺮﻓﺎ ﺍﺑﮋﻩﻫﺎﻳﻲ ﻛﻪ ﻣﺮﺗﺐ ﺍﺿﺎﻓﻪ ﻣﻲﺷﻮﻧﺪ ﭼﺮﺍ ﻛﻪ ﻧﻪ‬

‫ﺟﻨﺴﻴﺖ ﺁﺑﺴﺘﻦ ﺷﺪﻩﺍﻱ ﺩﺍﺭﻧﺪ ﻭ ﻧﻪ ﺁﮔﺎﻫﻲ ﺍﺯ ﻣﺮﮒ‪.‬‬

‫ﻳﻚ ﻗﻄﻌﻪ ﺗﻜﺜﻴﺮﺷﺪﻩ ﺑﺮﺍﻱ ﺑﺎﺯﺗﻮﻟﻴﺪ ﺧﻮﺩﺵ ﻫﺮﮔﺰ ﻧﻴﺎﺯﻱ ﺑﻪ ﻭﺳﺎﻃﺖ ﺧﻴﺎﻝ ﻭ ﺗﺼﻮﺭ ﻧﺪﺍﺭﺩ‪.‬‬

‫ﭼﻴﺰﻱ ﺑﻴﺶ ﺍﺯ ﻳﻚ ﻛﺮﻡ ﺧﺎﻛﻲ ﻧﻴﺴﺖ‪ .‬ﻫﺮ ﻗﻄﻌﻪﺍﻱ ﺍﺯ ﻛﺮﻡ ﻣﺴﺘﻘﻴﻤﺎ ﭼﻮﻥ ﻳﻚ ﻛﺮﻡ ﻛﺎﻣﻞ‬

‫ﺑﺎﺯﺗﻮﻟﻴﺪ ﻣﻲﺷﻮﺩ‪ .‬ﻫﺮ ﺳﻠﻮﻟﻲ ﺍﺯ ﺻﻨﻌﺖ ﮔﺮﺍﻱ ﺁﻣﺮﻳﻜﺎﻳﻲ ﻣﻲﺗﻮﺍﻧﺪ ﻳﻚ ﺻﻨﻌﺘﮕﺮﺍﻱ ﺟﺪﻳﺪ ﺩﻳﮕﺮ ﺭﺍ‬

‫ﺍﻳﺠﺎﺩ ﻧﻤﺎﻳﺪ‪ .‬ﺩﺭﺳﺖ ﻣﺜﻞ ﻫﺮ ﺗﻜﻪﺍﻱ ﺍﺯ ﻳﻚ ﻫﻮﻟﻮﮔﺮﺍﻡ ﻛﻪ ﻣﻲﺗﻮﺍﻧﺪ ﻣﺎﺗﺮﻳﻜﺴﻲ ﺍﺯ ﺍﺯ ﻳﻚ‬

‫ﻫﻮﻟﻮﮔﺮﺍﻡ ﻛﺎﻣﻞ ﺩﻳﮕﺮ ﺷﻮﺩ‪ .‬ﺗﻤﺎﻣﻲ ﺍﻃﻼﻋﺎﺕ ﺩﺭ ﻫﺮ ﻳﻚ ﺍﺯ ﺗﻜﻪﻫﺎﻱ ﻣﻨﻘﺴﻢ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪.‬‬

‫ﻣﻨﻄﻖ ﻫﻤﺴﺎﻧﻲ ﻧﺸﺎﻥ ﺍﺯ ﭘﺎﻳﺎﻥ ﻣﻔﻬﻮﻡ ﻛﻠﻴﺖ ﺩﺍﺭﺩ‪ .‬ﺍﮔﺮ ﺗﻤﺎﻣﻲ ﺍﻃﻼﻋﺎﺕ ﻣﻲﺗﻮﺍﻧﻨﺪ ﺩﺭ ﻫﺮ‬

‫ﻗﺴﻤﺖ ﻳﺎﻓﺖ ﺷﻮﻧﺪ‪" ،‬ﻛﻞ" ﻣﻌﻨﺎﻱ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻣﻲﺩﻫﺪ‪ .‬ﺑﻪ ﻫﻤﭽﻨﻴﻦ ﻧﺸﺎﻧﻪﻱ ﭘﺎﻳﺎﻥ ﺑﺪﻥ‪،‬‬

‫ﭘﺎﻳﺎﻥ ﺍﻳﻦ ﻭﺟﻮﺩ ﻣﻨﻔﺮﺩﻱ ﺍﺳﺖ ﻛﻪ ﺑﺪﻥ ﻣﻲﺧﻮﺍﻧﻴﻢ‪ ،‬ﭘﺎﻳﺎﻥ ﭘﻴﻜﺮﺑﻨﺪﻱ ﻣﻨﻔﺮﺩﻱ ﻛﻪ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺑﻪ‬

‫ﺳﻠﻮﻟﻬﺎﻳﺶ ﺗﻘﺴﻴﻢ ﮔﺮﺩﺩ‪ ،‬ﭘﺎﻳﺎﻥ ﺑﺪﻥ‪ ،‬ﺍﻳﻦ ﮔﻮﺍﻩ ﺣﻘﻴﻘﺖ ﺟﻨﺴﻴﺖ‪ .‬ﺑﻪ ﻃﻮﺭ ﻣﺘﻨﺎﻗﺾﻧﻤﺎ‪ ،‬ﻓﺮﺁﻳﻨﺪ‬

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‫ﺍﻏﻮﺍ‬

‫ﺗﻜﺜﻴﺮ‪ ،‬ﻣﻮﺟﻮﺩﺍﺕ ﺟﻨﺴﻲ ﺭﺍ ﺟﻌﻞ ﻣﻲﻛﻨﺪ ﺍﻣﺎ ﺗﻨﻬﺎ ﺷﺒﻴﻪ ﻣﺪﻟﻬﺎﻳﺸﺎﻥ ﻫﺴﺘﻨﺪ‪ ،‬ﺣﺘﻲ ﺍﺭﮔﺎﻧﻬﺎﻱ‬

‫ﺟﻨﺴﻲ ﻛﺎﺭﻛﺮﺩ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻣﻲﺩﻫﻨﺪ‪ .‬ﺍﻣﺎ ﭘﺲ ﺟﻨﺴﻴﺖ ﻳﻚ ﻛﺎﺭﻛﺮﺩ ﻧﻴﺴﺖ ﭼﺮﺍ ﻛﻪ ﺍﺯ‬

‫ﺍﺟﺰﺍﻱ ﺑﺪﻥ ﻭ ﻛﺎﺭﻛﺮﺩﻫﺎﻳﺶ ﻓﺮﺍﺗﺮ ﻣﻲﺭﻭﺩ‪ .‬ﺑﺮﺍﺳﺘﻲ ﺟﻨﺴﻴﺖ ﭼﻴﺰﻱ ﺑﻴﺶ ﺍﺯ ﺩﺍﺩﻩﻫﺎﻳﻲ ﺍﺳﺖ ﻛﻪ‬

‫ﻣﻲﺗﻮﺍﻥ ﺍﺯ ﺑﺪﻥ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩ‪ .‬ﺩﺍﺩﻩﻫﺎﻳﻲ ﻛﻪ ﻛﺪ ﮊﻧﺘﻴﻚ ﻣﺪﻋﻲ ﮔﺮﺩ ﺁﻭﺭﻱ ﺍﻧﻬﺎ ﺍﺳﺖ‪ .‬ﺑﻪ ﻫﻤﻴﻦ‬

‫ﺧﺎﻃﺮ ﻛﺪ ﮊﻧﺘﻴﻚ ﺗﻨﻬﺎ ﻣﻲﺗﻮﺍﻧﺪ ﺭﻭﺷﻲ ﺭﺍ ﺑﺮﺍﻱ ﻧﻮﻋﻲ ﺗﻮﻟﻴﺪ ﻣﺜﻞ ﻣﺴﺘﻘﻞ ﺍﺯ ﺟﻨﺴﻴﺖ ﻭ ﻣﺮﮒ‬

‫ﻓﺮﺍﻫﻢ ﺁﻭﺭﺩ‪.‬‬

‫ﻋﻠﻮﻡ ﺯﻳﺴﺘﻲ ‪ -‬ﻓﻴﺰﻳﻮﻟﻮﮊﻳﻜﻲ ﻭ ﺁﻧﺎﺗﻮﻣﻴﻜﻲ‪ ،‬ﭘﻴﺸﺘﺮ ﺑﺎ ﻛﺎﻟﺒﺪ ﺷﻜﺎﻓﻲ ﺍﺭﮔﺎﻧﻬﺎ ﻭ‬

‫ﻛﺎﺭﻛﺮﺩﻫﺎﻳﺸﺎﻥ ﺗﺠﺰﻳﻪ ﺗﺤﻠﻴﻠﻲ ﺑﺪﻥ ﺭﺍ ﺁﻏﺎﺯ ﻧﻤﻮﺩﻧﺪ‪ .‬ﻋﻠﻮﻡ ﮊﻧﺘﻴﻚ ﺧﺮﺩ ﻣﻮﻟﻜﻮﻟﻲ ﺩﺳﺘﺎﻭﺭﺩ‬

‫ﻣﻨﻄﻘﻲ ﭼﻨﻴﻦ ﺗﺤﻠﻴﻠﻬﺎﻳﻲ ﺩﺭ ﺳﻄﺢ ﺑﺎﻻﺗﺮ ﺗﺠﺮﻳﺪ ﻭ ﻭﺍﻧﻤﺎﻳﻲ ﺍﺳﺖ‪ :‬ﺳﻄﺢ ﻫﺴﺘﻪﺍﻱ ﺳﻠﻮﻝ‬

‫ﻓﺮﻣﺎﻧﺪﻫﻨﺪﻩ‪ ،‬ﺳﻄﺢ ﻫﺪﺍﻳﺘﮕﺮ ﻛﺪ ﮊﻧﺘﻴﻚ ﻛﻪ ﻛﻞ ﺍﻳﻦ ﺧﻴﺎﻝ ﭘﺮﺩﺍﺯﻱﻫﺎ ﺭﺍ ﺳﺎﻣﺎﻥ ﺩﺍﺩﻩﺍﺳﺖ‪.‬‬

‫ﺍﺯ ﺩﻳﺪﮔﺎﻩ ﻣﻜﺎﻧﻴﻜﻲ ﻣﺎ ﻫﻨﻮﺯ ﻣﻲﺗﻮﺍﻧﻴﻢ ﺍﺯ ﻭﺍﻧﻤﺎﻳﻲ ﺳﻨﺘﻲ ﺳﺨﻦ ﺑﺮﺍﻧﻴﻢ‪ :‬ﻫﺮ ﻭﺟﻮﺩ ﺍﺭﮔﺎﻧﻴﻜﻲ‪،‬‬

‫ﺗﻨﻬﺎ ﻳﻚ ﺗﺼﻨﻊ ﺟﺰﺋﻲ ﻭ ﻣﺸﺘﻖﺷﺪﻩ )ﺍﺯ ﻛﻞ( ﺍﺳﺖ‪) .‬ﺍﻣﺎ( ﺍﺯ ﺩﻳﺪﮔﺎﻩ ﺑﻴﻮ ‪ -‬ﺳﺎﻳﺒﺮﻧﺘﻴﻚ‬

‫ﻛﻮﭼﻜﺘﺮﻳﻦ ﻋﻨﺼﺮ ﻣﺸﺘﻖﻧﺸﺪﻩ ﺍﺯ ﻛﻞ ﻫﻢ‪ ،‬ﺧﻮﺩ ﻣﺼﻨﻮﻉ ﺟﻨﻴﻨﻲ ﻭ ﺍﻭﻟﻴﻪﺍﻱ ﺍﺯ ﻛﻞ ﺑﺪﻥ ﺍﺳﺖ‪.‬‬

‫ﻓﺮﻣﻮﻟﻲ ﻛﻪ ﺩﺭ ﻫﺮ ﺳﻠﻮﻝ ﻧﻘﺶ ﺑﺴﺘﻪ ﺍﺳﺖ ﻣﺼﻨﻮﻉ ﻣﺪﺭﻥ ﻛﻞ ﺑﺪﻥ ﻣﻲﺷﻮﺩ‪ .‬ﭼﺮﺍ ﻛﻪ ﺍﮔﺮ ﻳﻚ‬

‫ﻣﺼﻨﻮﻉ ﺑﺮﺍﻱ ﺟﺎﻳﮕﺰﻳﻨﻲ ﺑﺎ ﺍﻧﺪﺍﻣﻪ ﺁﺳﻴﺐﺩﻳﺪﻩ ﻭ ﻳﺎ ﻓﺮﺳﻮﺩﻩ ﻣﺤﺴﻮﺏ ﺷﻮﺩ ﭘﺲ ﻣﻮﻟﻜﻮﻝ ﺩﻱ‪ .‬ﺍﻥ‪.‬‬

‫ﺍﻱ ﻛﻪ ﺣﺎﻭﻱ ﺗﻤﺎﻣﻲ ﺩﺍﺩﻩﻫﺎﻱ ﻣﻮﺟﻮﺩ ﺯﻧﺪﻩ ﺍﺳﺖ ﻣﺼﻨﻮﻋﻲ ﻓﻮﻕ ﺍﻟﻌﺎﺩﻩ ﺍﺳﺖ ﻛﻪ ﺍﺟﺎﺯﻩ ﺧﻮﺍﻫﺪ‬

‫ﺩﺍﺩ ﻣﻮﺟﻮﺩ ﺗﺎ ﺍﺑﺪ ﺑﻪ ﺣﻴﺎﺕ ﺧﻮﺩ ﺍﺩﺍﻣﻪﺩﻫﺪ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﺁﻥ ﭼﻴﺰﻱ ﺟﺰ ﻣﺠﻤﻮﻋﻪﻫﺎﻱ ﺑﻲﻧﻬﺎﻳﺖ ﺍﺯ‬
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‫ﺳﺎﻳﺒﺮﻧﺘﻴﻜﺶ ﻧﻴﺴﺖ‪.‬‬ ‫ﺗﺠﻠﻲ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺳﺨﻦ ﺍﺯ ﺗﺼﻨﻌﻲ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﻫﺮ ﻣﺼﻨﻮﻋﻲ ﻣﻜﺎﻧﻴﻜﻲ ﺗﺼﻨﻌﻲﺗﺮ ﺍﺳﺖ‪ .‬ﭼﺮﺍ ﻛﻪ ﻛﺪ ﮊﻧﺘﻴﻚ‬

‫"ﻃﺒﻴﻌﻲ" ﻧﻴﺴﺖ‪ .‬ﻫﺮ ﺟﺰﺋﻲ ﺷﻜﻠﻲ ﻣﻨﺘﺰﻉﺷﺪﻩ ﺍﺯ ﻛﻞ ﺍﺳﺖ ﻭ ﻣﻲﺗﻮﺍﻧﺪ ﻣﺴﺘﻘﻞ ﺑﺎﺷﺪ ﻭ ﻛﻞ ﺭﺍ‬

‫ﺑﺎ ﺟﺎﻧﺸﻴﻦ ﻛﺮﺩﻥ ﺧﻮﺩ ﺑﺎ ﺁﻥ ﺗﻐﻴﻴﺮ ﺩﻫﺪ‪) .‬ﻣﻌﻨﺎﻱ ﻟﻐﻮﻱ ﺗﺼﻨﻌﻲ ﻫﻤﻴﻦ ﺍﺳﺖ‪ (.‬ﺩﺭ ﺍﻳﻦ ﺣﺎﻟﺖ‬

‫ﻣﻲﺗﻮﺍﻥ ﻛﺪ ﮊﻧﺘﻴﻚ ﺭﺍ ﺗﺮﺍﻛﻤﻲ ﺍﺯ ﻛﻞ ﻣﻮﺟﻮﺩ ﺯﻧﺪﻩ ﺩﺍﻧﺴﺖ ﭼﺮﺍ ﻛﻪ ﺣﺎﻭﻱ ﺗﻤﺎﻣﻲ ﺩﺍﺩﻩﻫﺎﻱ ﺑﺪﻥ‬

‫ﻣﻮﺟﻮﺩ ﺯﻧﺪﻩ ﺍﺳﺖ ﻛﻪ )ﻭﺍﻧﻤﺎﻳﻲ ﻭ ﺷﺒﻴﻪﺳﺎﺯﻱ ﻛﺪ ﺯﻧﺘﻴﻚ ﺑﻪ ﻃﻮﺭ ﻏﻴﺮ ﻗﺎﺑﻞ ﺑﺎﻭﺭﻱ ﺷﺪﻳﺪ ﺍﺳﺖ‪(.‬‬

‫ﺗﺼﻨﻌﻲﺳﺖ ﻣﺤﺾ‪ ،‬ﻣﺎﺗﺮﻳﻜﺴﻲ ﺗﺼﻨﻌﻲ‪ ،‬ﻣﺎﺗﺮﻳﻜﺴﻲ ﻭﺍﻧﻤﻮﺩﻩ ﻛﻪ ﺩﻳﮕﺮ ﻧﻪ ﺑﺎ ﺗﻮﻟﻴﺪ ﻣﺜﻞ ﺑﻠﻜﻪ ﺑﺎ‬

‫ﺗﻜﺮﺍﺭ ﺳﺎﺩﻩ ﻭ ﻣﺤﺾ‪ ،‬ﻣﻮﺟﻮﺩﺍﺕ ﻫﻤﺴﺎﻥ ﺑﺎ ﺩﺳﺘﻮﺭﺍﻟﻌﻤﻞﻫﺎﻳﻲ ﻫﻤﺴﺎﻥ ﺍﻳﺠﺎﺩ ﺧﻮﺍﻫﺪ ﻧﻤﻮﺩ‪.‬‬

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‫ﺍﺯ ﺍﻳﻦ ﺭﻭ‪ ،‬ﺗﻜﺜﻴﺮ‪ ،‬ﻣﺮﺣﻠﻪ ﻧﻬﺎﻳﻲ ﻭﺍﻧﻤﺎﻳﻲ ﻭ ﺷﺒﻴﻪﺳﺎﺯﻱ ﺑﺪﻥ ﺍﺳﺖ ﻛﻪ ﻓﺮﺩ ﺑﻪ ﻳﻚ ﻓﺮﻣﻮﻝ‬

‫ﮊﻧﺘﻴﻜﻲ ﺍﻧﺘﺰﺍﻋﻲ ﻓﺮﻭ ﻛﺎﺳﺘﻪ ﻣﻲﺷﻮﺩ ﻭ ﺳﺮﻧﻮﺷﺘﻲ ﺟﺰ ﺗﻜﺜﻴﺮﻫﺎﻱ ﭘﻲﺩﺭﭘﻲ ﻧﺨﻮﺍﻫﺪ ﺩﺍﺷﺖ‪ .‬ﻭﺍﻟﺘﺮ‬

‫ﺑﻨﻴﺎﻣﻴﻦ ﮔﻔﺘﻪﺍﺳﺖ ﻛﻪ ﺩﺭ ﻋﺼﺮ ﺗﻜﺜﻴﺮ ﻣﻜﺎﻧﻴﻜﻲ‪ ،‬ﺁﺛﺎﺭ ﻫﻨﺮﻱ "ﺗﺠﻠﻲ"‪ ،‬ﻛﻴﻔﻴﺖ ﻳﮕﺎﻧﻪ "ﺍﻳﻨﺠﺎﻳﻲ"‬

‫ﻭ "ﺍﻛﻨﻮﻧﻲ" ﻭ ﺷﻜﻞ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﺎﻧﻪﺷﺎﻥ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻣﻲﺩﻫﻨﺪ‪ :‬ﺍﻳﻦ ﺩﻳﮕﺮ ﻧﻪ ﺗﻘﺪﻳﺮ ﺍﻏﻮﺍﮔﺮﻱ‬

‫ﺑﻠﻜﻪ ﺳﺮﻧﻮﺷﺖ ﺗﻮﻟﻴﺪ ﻣﺜﻞ ﻭ ﺑﺎﺯﺗﻮﻟﻴﺪ ﺍﺳﺖ ﻭ ﺩﺭ ﺍﻳﻦ ﺳﺮﻧﻮﺷﺖ ﺟﺪﻳﺪ‪ ،‬ﺷﻜﻠﻲ ﻏﻴﺮ ﺳﻴﺎﺳﻲ ﺑﻪ‬

‫ﺧﻮﺩ ﻣﻲﮔﻴﺮﺩ‪ .‬ﺍﻣﺮ" ﺍﺻﻴﻞ" ﺍﺯ ﺩﺳﺖ ﻣﻲﺭﻭﺩ ﻭ ﺗﻨﻬﺎ ﻧﻮﺳﺘﺎﻟﻮﮊﻳﺎ ﻗﺎﺩﺭ ﻣﻲﮔﺮﺩﺩ ﺁﻥ ﺭﺍ ﺍﻋﺎﺩﻩ ﻧﻤﺎﻳﺪ‪.‬‬

‫ﻧﻬﺎﻳﺖ ﺍﻳﻦ ﻓﺮﺁﻳﻨﺪ ﺩﺭ ﺭﺳﺎﻧﻪ ﺗﻮﺩﻩﺍﻱ ﻣﻌﺎﺻﺮ ﻣﺎ ﺑﻪ ﭼﺸﻢ ﻣﻲﺧﻮﺭﺩ‪ ،‬ﺟﺎﻳﻲ ﻛﻪ ﻫﻴﭻ ﺍﻣﺮ ﺍﺻﻴﻠﻲ‬

‫ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﭼﻴﺰﻫﺎ ﺍﺯ ﻫﻤﺎﻥ ﺁﻏﺎﺯ ﺑﺎ ﻗﺎﺑﻠﻴﺖ ﺑﺎﺯﺗﻮﻟﻴﺪ ﻧﺎﻣﺤﺪﻭﺩﺷﺎﻥ ﺗﺼﻮﺭ ﻣﻲﺷﻮﻧﺪ‪ .‬ﺍﻳﻦ ﻋﻴﻨﺎً‬

‫ﻫﻤﺎﻥ ﺍﺗﻔﺎﻗﻲ ﺍﺳﺖ ﻛﻪ ﺑﻮﺳﻴﻠﻪ ﺗﻜﺜﻴﺮ ﺑﺮﺍﻱ ﻭﺟﻮﺩ ﺍﻧﺴﺎﻥ ﺭﺥ ﺧﻮﺍﻫﺪ ﺩﺍﺩ‪ .‬ﺍﻳﻦ ﻋﻴﻦ ﻫﻤﺎﻥ ﺍﺗﻔﺎﻗﻲ‬

‫ﺍﺳﺖ ﻛﻪ ﺑﺮﺍﻱ ﺑﺪﻧﻬﺎﻳﻲ ﺭﺥ ﺧﻮﺍﻫﺪ ﺩﺍﺩ ﻛﻪ ﻫﻤﭽﻮﻥ ﻭﺍﺣﺪﻫﺎﻱ ﺫﺧﻴﺮﻩ ﻫﺎﻱ ﺍﻃﻼﻋﺎﺗﻲ ﻳﺎ ﺩﺍﺩﻩﺍﻱ‬

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‫ﺍﻏﻮﺍ‬

‫ﭘﺮﺩﺍﺯﺵ ﺷﺪﻩ ﺍﻧﺪ‪ .‬ﺍﺯ ﺍﻳﻦ ﭘﺲ ﻫﻴﭻ ﭼﻴﺰ ﻧﻤﻲﺗﻮﺍﻧﺪ ﻣﺎﻧﻊ ﺑﺎﺯﺗﻮﻟﻴﺪ ﻣﺘﻮﺍﻟﻲ )ﺑﺪﻧﻬﺎ( ﺷﻮﺩ ﻛﻪ‬

‫ﺑﻨﻴﺎﻣﻴﻦ ﺩﺭﺑﺎﺭﻩ ﺍﺑﮋﻩﻫﺎ ﻭ ﺗﺼﺎﻭﻳﺮ ﺻﻨﻌﺘﻲ ﺳﺨﻦ ﻣﻲﺭﺍﻧﺪ‪ .‬ﻣﺪﻝ ﮊﻧﺘﻴﻜﻲ ﺑﺮ ﺗﻤﺎﻣﻲ ﺍﻣﻜﺎﻧﻬﺎﻱ ﺑﺪﻥ‬

‫ﭘﻴﺸﻲ ﮔﺮﻓﺘﻪﺍﺳﺖ‪.‬‬

‫ﺩﺭ ﭘﺸﺖ ﺍﻳﻦ ﻭﺍﺯﮔﻮﻧﮕﻲ‪ ،‬ﻳﻮﺭﺵ ﻓﻦﺁﻭﺭﻱ ﻧﻬﻔﺘﻪﺍﺳﺖ ﻛﻪ ﺑﻨﻴﺎﻣﻴﻦ ﺁﻧﺮﺍ ﻫﻢ ﭼﻮﻥ ﺭﺳﺎﻧﻪﺍﻱ‬

‫ﺗﺎﻡ ﺗﻮﺻﻴﻒ ﻧﻤﻮﺩﻩﺍﺳﺖ ﻣﺼﻨﻮﻋﻲ ﻋﻈﻴﻢ ﺑﺮﺍﻱ ﺗﻮﻟﻴﺪ ﺍﺑﮋﻩﻫﺎ ﻭ ﺗﺼﺎﻭﻳﺮ ﻫﻤﺴﺎﻥ ﻭ ﺗﻤﻴﺰﻧﺎﭘﺬﻳﺮ؛ ﺍﻣﺎ‬

‫ﺑﺪﻭﻥ ﺁﻧﻜﻪ ﺣﺘﻲ ﻧﻴﺎﺯﻱ ﺑﺎﺷﺪ ﮊﺭﻓﺎﻱ ﭼﻨﻴﻦ ﻓﻦﺁﻭﺭﻱ ﺭﺍ ﻛﻪ ﺍﻣﻜﺎﻥ ﺗﻮﻟﻴﺪ ﻣﻮﺟﻮﺩﺍﺕ ﻫﻤﺴﺎﻥ ﺭﺍ‬

‫ﺍﻳﺠﺎﺩ ﻧﻤﻮﺩﻩ ﺑﻜﺎﻭﻳﻢ‪) ،‬ﭘﺮﻭﺍﺿﺢ ﺍﺳﺖ ﻛﻪ( ﻫﻴﭻ ﺍﻣﻜﺎﻧﻲ ﺑﺮﺍﻱ ﺑﺎﺯﮔﺸﺖ ﺑﻪ ﺍﻣﺮ ﺍﺻﻴﻞ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪.‬‬

‫ﻣﺼﻨﻮﻉ ﺩﻭﺭﻩ ﺻﻨﻌﺘﻲ ﻫﻨﻮﺯ ﺧﺎﺭﺟﻲ ﻭ ﺑﺮﻭﻥ ﻓﻨﻲ ﻳﺎ ﺍﮔﺰﻭﺗﻜﻨﻴﻜﺎﻝ ﺑﻮﺩ ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﺁﻧﭽﻪ ﻣﺎ‬

‫ﺭﻭﻳﺎﺭﻭﻱ ﺁﻧﻴﻢ‪ ،‬ﺭﺷﺪﻳﺎﻓﺘﻪ ﻭ ﺩﺭﻭﻧﻲ ﺷﺪﻩﺍﺳﺖ‪ :‬ﺍﻳﺰﻭ ﺗﻜﻨﻴﻜﺎﻝ‪.‬‬

‫ﻣﺎ ﺩﺭ ﺩﻭﺭﻩ ﻓﻦﺁﻭﺭﻱﻫﺎﻱ ﻧﺮﻡ ﺯﻧﺪﮔﻲ ﻣﻲﻛﻨﻴﻢ‪ .‬ﻧﺮﻡ ﺍﻓﺰﺍﺭﻱﻫﺎﻱ ﺫﻫﻨﻲ ﻭ ﮊﻧﺘﻴﻜﻲ‪.‬‬

‫ﻣﺼﻨﻮﻋﺎﺕ ﺩﻭﺭﻩ ﺻﻨﻌﺘﻲ ﻭ ﻣﺎﺷﻴﻦﻫﺎﻳﺶ ﻫﻨﻮﺯ ﺑﻪ ﺑﺪﻥ ﺑﺮﺍﻱ ﺍﺻﻼﺡ ﺗﺼﺎﻭﻳﺮﺷﺎﻥ ﻧﻴﺎﺯ ﻣﻨﺪ ﺑﻮﺩﻧﺪ ﻭ‬

‫ﺧﻮﺩ ﺩﺭ ﻳﻚ ﺗﺼﻮﻳﺮ ﻣﺘﺎﺑﻮﻟﻴﺰﻩ )ﺩﮔﺮﮔﻮﻥ( ﻣﻲﺷﺪﻧﺪ‪ ،‬ﺍﻳﻦ ﺩﮔﺮﮔﻮﻧﻲ ﻭ ﻣﺘﺎﺑﻮﻟﻴﺴﻢ ﺑﺨﺸﻲ ﺍﺯ ﺗﺼﻮﻳﺮ‬

‫ﺑﺪﻥ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﻫﻨﮕﺎﻣﻲ ﻛﻪ ﻭﺍﻧﻤﺎﻳﻲ ﺑﻪ ﻧﻘﻄﻪ ﻏﻴﺮ ﻗﺎﺑﻞ ﺑﺎﺯﮔﺸﺘﺶ ﺭﺳﻴﺪ‪ ،‬ﻭﻗﺘﻲ ﻣﺼﻨﻮﻋﺎﺕ ﺑﺮ‬

‫ﻫﺴﺘﻪ ﺧﺮﺩ ﻣﻮﻟﻜﻮﻟﻲ ﺑﺪﻥ ﻧﻔﻮﺫ ﻧﻤﻮﺩﻧﺪ ﻭ ﺧﻮﺩ ﺭﺍ ﺑﺮ ﺑﺪﻥ ﭼﻮﻥ ﻣﺎﺗﺮﻳﻜﺴﻬﺎﻱ ﺑﺪﻥ ﺗﺤﻤﻴﻞ‬

‫ﻧﻤﻮﺩﻧﺪ ﻭ ﺗﻤﺎﻣﻲ ﺟﺮﻳﺎﻥﻫﺎﻱ ﻧﻤﺎﺩﻳﻦ ﺑﺪﻥ ﺭﺍ ﺍﺯ ﺑﻴﻦ ﺑﺮﺩﻧﺪ ﺁﻧﭽﻨﺎﻥ ﻛﻪ ﺑﺪﻥﻫﺎﻱ ﺁﻳﻨﺪﻩ ﺗﻨﻬﺎ‬

‫ﺗﻜﺮﺍﺭﻫﺎﻳﻲ ﺗﻐﻴﻴﺮﻧﺎﭘﺬﻳﺮ ﮔﺸﺖ‪ ،‬ﭘﺲ ﺁﻧﮕﺎﻩ ﺑﺪﻥ ﻭ ﺗﺎﺭﻳﺦ ﺑﻪ ﭘﺎﻳﺎﻥ ﻣﻲﺭﺳﺪ‪ .‬ﻣﻮﺟﻮﺩﻳﺖ ﻓﺮﺩﻱ ﺩﻳﮕﺮ‬

‫ﭼﻴﺰﻱ ﺟﺰ ﻳﻮﺭﺵ ﺳﺮﻃﺎﻧﻲ ﻓﺮﻣﻮﻝﻫﺎﻱ ﺑﻨﻴﺎﺩﻳﻨﺶ )ﻭ ﮊﻧﺘﻴﻜﻲﺍﺵ( ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺁﻳﺎ ﺗﻜﺜﻴﺮ ﺍﻓﺮﺍﺩ ﺍﺯ ﻓﺮﺩ "ﺍﻟﻒ" ﻣﺸﺎﺑﻪ ﺗﻜﺜﻴﺮ ﻳﻚ ﺳﻠﻮﻝ ﻣﻨﻔﺮﺩ ﺩﺭ ﺳﺮﻃﺎﻥ ﻧﻴﺴﺖ؟ ﺭﺍﺑﻄﻪ‬

‫ﻧﺰﺩﻳﻜﻲ ﺑﻴﻦ ﻣﻔﻬﻮﻡ ﻛﺪ ﮊﻧﺘﻴﻚ ﻭ ﺁﺳﻴﺐﺷﻨﺎﺳﻲ ﺳﺮﻃﺎﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻛﺪ ﺣﺎﻭﻱ ﻓﺮﻣﻮﻟﻲ ﻛﻤﻴﻨﻪ‬

‫ﺍﺳﺖ ﻛﻪ ﻓﺮﺩ ﺭﺍ ﺑﺪﺍﻥ ﻛﺎﻫﺶ ﻣﻲﻳﺎﺑﺪ ﺗﺎ ﻓﺮﺩ ﺑﺘﻮﺍﻧﺪ )ﻭﺗﻨﻬﺎ ﺑﺘﻮﺍﻧﺪ( ﺗﻜﺜﻴﺮ ﺷﻮﺩ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﻃﺮﻳﻖ‬

‫ﺩﺭ ﺳﺮﻃﺎﻥ ﻧﻴﺰ ﻳﻚ ﻧﻮﻉ ﺳﻠﻮﻝ‪ ،‬ﺑﺪﻭﻥ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﻗﻮﺍﻧﻴﻦ ﺍﺭﮔﺎﻧﻴﻜﻲ ﻛﻞ ﺑﺪﻥ ﺗﻜﺜﻴﺮ ﻣﻲﺷﻮﺩ‪.‬‬

‫ﺑﻨﺎﺑﺮﺍﻳﻦ ﺑﺎ ﺗﻜﺜﻴﺮ ﺷﺎﻫﺪ ﺗﻜﺮﺍﺭ ﻫﻤﺴﺎﻧﻲ ﺧﻮﺍﻫﻴﻢ ﺑﻮﺩ‪ ،‬ﺗﻜﺜﻴﺮ ﻳﻚ ﻣﺎﺗﺮﻳﻜﺲ ﻣﻨﻔﺮﺩ‪ .‬ﭘﻴﺸﺘﺮ ﺗﻮﻟﻴﺪ‬

‫ﺟﻨﺴﻲ ﻣﺎﻧﻊ ﭼﻨﻴﻦ ﺍﻣﺮﻱ ﻣﻲﮔﺸﺖ ﺍﻣﺎ ﺍﻣﺮﻭﺯ ﻣﻲﺗﻮﺍﻥ ﻣﺎﺗﺮﻳﻜﺲ ﮊﻧﺘﻴﻜﻲ ﻫﻮﻳﺖ ﺭﺍ ﺟﺪﺍ ﻧﻤﻮﺩ ﻭ‬

‫ﺑﻪ ﺗﻤﺎﻣﻲ ﺩﮔﺮﮔﻮﻧﻲﻫﺎﻳﻲ ﻛﻪ ﺑﻪ ﺍﻓﺮﺍﺩ ﺷﻴﻔﺘﮕﻲ ﺗﺼﺎﺩﻓﻲ ﻳﺎ ﺍﻏﻮﺍﮔﺮﻱ ﻫﺎﻳﺸﺎﻥ ﺭﺍ ﻣﻲﺑﺨﺸﻴﺪ ‪,‬‬

‫ﭘﺎﻳﺎﻥ ﺩﺍﺩ‪.‬‬

‫ﺑﻴﻤﺎﺭﻳﻲ ﻛﻪ ﺑﺎ ﺍﺑﮋﻩﻫﺎﻱ ﺻﻨﻌﺘﻲ ﺁﻏﺎﺯ ﺷﺪ ﺩﺭ ﺳﺎﺯﻣﺎﻧﺪﻫﻲ ﺳﻠﻮﻟﻲ ﭘﺎﻳﺎﻥ ﻣﻲﻳﺎﺑﺪ‪ .‬ﺳﺮﻃﺎﻥ ‪،‬‬

‫ﺑﻴﻤﺎﺭﻱ ﻣﺴﻠﻂ ﺁﺳﻴﺐﺷﻨﺎﺳﻲ ﻣﻌﺎﺻﺮ ﻣﺎﺳﺖ‪ .‬ﭼﺮﺍ ﻛﻪ ﺷﻜﻠﻲ ﺍﺯ ﺧﺼﻮﻣﺖ ﻭ ﻭﺍﮔﻴﺮﻱ ﻛﺪﻫﺎ ﺍﺳﺖ‪:‬‬

‫ﺗﺸﺪﻳﺪ ﻭ ﺍﻓﺰﻭﻧﮕﻲ ﺳﻠﻮﻟﻬﺎﻱ ﻫﻤﺴﺎﻥ ﻳﺎ ﻋﻼﺋﻢ ﻫﻤﺴﺎﻥ‪.‬‬

‫»ﻓﺮﺁﻳﻨﺪ ﺗﻜﺜﻴﺮ ﺁﺑﺸﺨﻮﺭ ﺗﻤﺎﻳﻼﺕ ﺗﻐﻴﻴﺮﻧﺎﭘﺬﻳﺮ ﺑﺮﺍﻱ ﺑﺴﻂ ﻭ ﺗﻌﻤﻴﻖ ﺷﻔﺎﻑﻧﻤﺎﻳﻲ‬

‫ﺩﺭﻭﻧﻲ ﺳﻴﺴﺘﻤﻬﺎ ﺑﺎ ﺍﻓﺰﺍﻳﺶ ﺍﻣﻜﺎﻧﺎﺕ ﺧﻮﺩ ﺗﻨﻈﻴﻢﺳﺎﺯﻱ ﻭ ﺍﺻﻼﺡ ﺍﻗﺘﺼﺎﺩ ﺍﻃﻼﻋﺎﺗﻲ‬
‫ﺳﻴﺴﺘﻤﻬﺎﺳﺖ‪«.‬‬
‫)ﻛﻮﺋﺮﺯﻭﻻ(‬

‫ﺗﻤﺎﻣﻲ ﺭﺍﻧﺶﻫﺎ ﺍﺯ ﻣﻴﺎﻥ ﺧﻮﺍﻫﻨﺪ ﺭﻓﺖ‪ .‬ﺗﻤﺎﻣﻲ ﺍﻣﻮﺭ ﺩﺭﻭﻧﻲ )ﺷﺒﻜﻪﻫﺎ‪ ،‬ﻛﺎﺭﻛﺮﺩﻫﺎ‪ ،‬ﺍﺭﮔﺎﻧﻬﺎ‪،‬‬

‫ﺣﻮﺯﻩﻫﺎﻱ ﺁﮔﺎﻫﻲ ﻳﺎ ﻧﺎﺧﻮﺩﺁﮔﺎﻫﻲ( ﺗﻮﺳﻂ ﻣﺼﻨﻮﻋﺎﺗﻲ ﻛﻪ ﺩﺭ ﻳﻚ ﻣﺠﻤﻮﻋﻪ ﺍﻳﺪﻩﺁﻝ ﺣﻮﻝ ﺑﺪﻥ‬

‫ﻣﻲﭼﺮﺧﻨﺪ‪ ،‬ﻭﺟﻮﺩ ﺧﺎﺭﺟﻲ ﻣﻲﻳﺎﺑﻨﺪ ﺍﻣﺎ ﺑﺪﻥ ﻫﻢ ﺧﻮﺩ ﺩﻳﮕﺮ ﻣﺎﻫﻮﺍﺭﻩﻱ ﺧﻮﻳﺸﺘﻦ ﺍﺳﺖ‪ .‬ﻫﺮ‬

‫ﻫﺴﺘﻪﺍﻱ ﺑﻴﺮﻭﻥ ﺧﻮﺍﻫﺪ ﺁﻣﺪ ﻭ ﺩﺭ ﻣﺪﺍﺭﻱ ﻓﻀﺎﻳﻲ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﺩ‪.‬‬

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‫ﺍﻏﻮﺍ‬

‫ﺗﻜﺜﻴﺮ ﺗﺠﺴﻢ ﻓﺮﻣﻮﻟﻬﺎﻱ ﮊﻧﺘﻴﻚ ﺩﺭ ﺷﻜﻞ ﺍﻧﺴﺎﻧﻲ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﻗﻀﻴﻪ ﺑﻪ ﻫﻤﻴﻦ ﺟﺎ ﺧﺘﻢ‬

‫ﻧﺨﻮﺍﻫﺪﺷﺪ‪ .‬ﻫﻤﻪ ﺭﺍﺯﻫﺎﻱ ﺑﺪﻥ‪ ،‬ﺟﻨﺴﻴﺖﻫﺎ‪ ،‬ﻏﻢ ﻭ ﺍﻧﺪﻭﻩ ﻭ ﺣﺘﻲ ﻇﺮﻳﻔﺘﺮﻳﻦ ﻟﺬﺍﺕ ﺑﺮﺁﻣﺪﻩ ﺍﺯ‬

‫ﻭﺟﻮﺩﺗﺎﻥ ‪ -‬ﻫﺮ ﭼﻴﺰﻱ ﻏﻴﺮ ﺍﺭﺍﺩﻱ‪ ،‬ﺗﻤﺎﻡ ﭼﻴﺰﻫﺎﻳﻲ ﻛﻪ ﻧﻤﻲﺧﻮﺍﻫﻴﺪ ﺩﺭﺑﺎﺭﻩ ﺧﻮﺩﺗﺎﻥ ﺑﺪﺍﻧﻴﺪ ﺑﻪ ﻳﻚ‬

‫ﺑﺎﺯﺧﻮﺭﺩ ﺯﻳﺴﺘﻲ ﻣﺒﺪﻝ ﺧﻮﺍﻫﺪ ﻧﻤﻮﺩ ﻭ ﺩﺭ ﺷﻜﻞ ﺍﻃﻼﻋﺎﺕ ﺩﻳﺠﻴﺘﺎﻟﻲ ﺑﻪ ﺷﻤﺎ ﺑﺮﺧﻮﺍﻫﺪ ﮔﺮﺩﺍﻧﺪ‪.‬‬

‫"ﺍﻳﻦ ﻣﺮﺣﻠﻪ ﺁﻳﻨﻪﺍﻱ ﺯﻳﺴﺘﻲ ﺍﺳﺖ‪".‬‬

‫)ﻛﻮﺭ ﺯﻭﻻ(‬

‫ﻧﺎﺭﺳﻴﺲ ﺩﻳﺠﻴﺘﺎﻟﻲ ﺑﻪ ﺟﺎﻱ ﺍﺩﻳﭗ ﺳﻪﮔﺎﻧﻪ‪ .‬ﺑﺎ ﻭﺟﻮﺩ ﻳﻚ ﻫﻤﺰﺍﺩ ﻣﺼﻨﻮﻋﻲ‪ ،‬ﺗﻜﺜﻴﺮ ﻓﺮﺷﺘﻪ‬

‫ﻧﮕﻬﺒﺎﻥ ﺷﻤﺎ‪ ،‬ﺷﻜﻞ ﻣﺮﺋﻲ ﻧﺎﺧﻮﺩﺁﮔﺎﻫﻲ ﻭ ﮔﻮﺷﺖ ﮔﻮﺷﺘﺘﺎﻥ )ﻧﻪ ﺍﺳﺘﻌﺎﺭﻱ ﺑﻠﻜﻪ ﺑﻪ ﻣﻌﻨﺎﻱ ﺩﻗﻴﻘﺎً‬

‫ﻛﻠﻤﻪ( ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﻣﺨﻠﻮﻗﺎﺗﻲ ﺍﺯ ﺷﻤﺎ ﺍﺯ ﺍﻳﻦ ﭘﺲ ﺑﺎ ﺷﺒﺎﻫﺘﻲ ﻭﻫﻢﺍﻧﮕﻴﺰ ﺑﺎ ﺷﻤﺎ‪ ،‬ﺗﻜﺜﻴﺮ‬

‫ﺧﻮﺍﻫﻨﺪﺷﺪ ﺁﻧﭽﻨﺎﻥ ﻛﻪ ﺩﻳﮕﺮ ﺗﻨﻬﺎ ﻧﺨﻮﺍﻫﻴﺪﻣﺎﻧﺪ ﻭ ﻫﻴﭻ ﺭﺍﺯﻱ ﻧﺨﻮﺍﻫﻴﺪﺩﺍﺷﺖ‪" .‬ﺑﻪ ﻫﻤﺴﺎﻳﻪﺗﺎﻥ‬

‫ﻣﺎﻧﻨﺪ ﺧﻮﺩﺗﺎﻥ ﻋﺸﻖ ﺑﻮﺭﺯﻳﺪ‪ ".‬ﺩﺷﻮﺍﺭﻱﻫﺎﻱ ﺯﻧﺪﮔﻲ ﺑﺮ ﻃﺒﻖ ﺗﻮﺻﻴﻪ ﺍﻧﺠﻴﻞ ﺭﻓﻊ ﺧﻮﺍﻫﺪ ﺷﺪ‪.‬‬

‫ﻫﻤﺴﺎﻳﻪ ﺷﻤﺎ ﺧﻮﺩ ﺷﻤﺎ ﻫﺴﺘﻴﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻋﺸﻖ ﻛﻠﻲ ﺍﺳﺖ‪ .‬ﺧﻮﺩ ﺍﻏﻮﺍﮔﺮﻱ ﻛﻠﻲ‪.‬‬

‫ﺗﻮﺩﻩﻫﺎ ﺧﻮﺩ ﺍﺩﻭﺍﺕ ﺗﻜﺜﻴﺮ ﻣﺎﻧﻨﺪﻱ ﺭﺍ ﺷﻜﻞ ﺩﺍﺩﻩﺍﻧﺪ ﻛﻪ ﺑﺪﻭﻥ ﻫﻴﭻ ﻭﺳﺎﻃﺘﻲ ﺑﺎ ﺩﻳﮕﺮﻱ‬

‫ﻋﻤﻞ ﻣﻲﻛﻨﺪ‪ .‬ﺩﺭ ﻭﺍﭘﺴﻴﻦ ﻣﻨﻈﺮ‪ ،‬ﺗﻮﺩﻩﻫﺎ ﺑﻪ ﺳﺎﺩﮔﻲ ﻣﺠﻤﻮﻋﻪ ﭘﺎﻳﺎﻧﻪﻫﺎﻱ ﺳﻴﺴﺘﻤﻬﺎﻱ ﻳﻚ‬

‫ﺷﺒﻜﻪﺍﻧﺪ ﻛﻪ ﺑﺎ ﻣﺤﺮﻙﻫﺎﻱ ﺩﻳﺠﻴﺘﺎﻟﻲ ﺑﺮﺍﻧﮕﻴﺨﺘﻪ ﻣﻲﺷﻮﻧﺪ‪) .‬ﺍﻳﻦ ﻫﻤﺎﻥ ﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﻳﻚ‬

‫ﺗﻮﺩﻩ ﺭﺍ ﺷﻜﻞ ﻣﻲﺩﻫﺪ‪ (.‬ﺑﺪﻭﻥ ﺗﻮﺟﻪ ﺑﻪ ﺑﺎﺯﺩﺍﺭﻧﺪﮔﻲﻫﺎﻱ ﺑﻴﺮﻭﻧﻲ‪ ،‬ﺗﻮﺩﻩﻫﺎ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻣﺪﺍﺭﻱ‬

‫ﻣﺨﺘﻠﻄﻲ ﺟﺎﻱ ﺩﺍﺩﻩﺍﻧﺪ ﻛﻪ ﺧﻮﺩ ﺭﺍ ﺩﺳﺘﻜﺎﺭﻱ ﻭ ﺗﻨﻈﻴﻢ )ﺧﻮﺩ ﺗﻨﻈﻴﻢ ﺳﺎﺯﻱ( ﻭ ﺍﻏﻮﺍ ﻣﻲﻛﻨﻨﺪ‬
‫‪۵۸‬‬
‫)ﺧﻮﺩ ﺍﻏﻮﺍﮔﺮﻱ(×‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺩﺭ ﺣﻘﻴﻘﺖ ﻫﻴﭻﻛﺲ ﺩﻳﮕﺮ ﻧﻤﻲﺩﺍﻧﺪ ﻛﻪ ﭼﮕﻮﻧﻪ ﺍﺩﻭﺍﺕ ﺑﺎﺯﻧﻤﺎﻳﻨﺪﻩ ﻋﻤﻞ ﻣﻲﻛﻨﻨﺪ ﻭ ﻳﺎ ﺣﺘﻲ‬

‫ﺁﻧﻬﺎ ﺁﻳﺎ ﻫﻨﻮﺯ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ ﻳﺎ ﺧﻴﺮ‪ .‬ﻫﻨﻮﺯ ﺑﻪ ﻃﻮﺭ ﻣﺒﺮﻣﻲ ﻧﻴﺎﺯ ﺍﺳﺖ ﻛﻪ ﭘﻴﺸﺎﻣﺪﻫﺎﻱ ﺭﺥ ﺩﺍﺩﻩ ﺩﺭ‬

‫ﺟﻬﺎﻥ ﻭﺍﻧﻤﺎﻳﻲ ﺭﺍ ﻋﻘﻼﻧﻲ ﻧﺸﺎﻥ ﺩﻫﻴﻢ‪ .‬ﭼﻪ ﺍﺗﻔﺎﻗﻲ ﻣﻴﺎﻥ ﻗﻄﺐ ﻏﺎﻳﺐ ﻭ ﻓﺮﺿﻲ ﻗﺪﺭﺕ ﻭ ﻗﻄﺐ‬

‫ﺧﻨﺜﻲ ﻭ ﺑﻲﺗﻔﺎﻭﺕ ﺗﻮﺩﻩﻫﺎ ﺭﺥ ﻣﻲﺩﻫﺪ؟ ﺟﻮﺍﺏ ﺍﻏﻮﺍﮔﺮﻱ ﺍﺳﺖ‪ .‬ﭼﻴﺰﻫﺎ ﺑﺎ ﺍﻏﻮﺍﮔﺮﻱ ﻋﻤﻞ ﻣﻲﻛﻨﻨﺪ‪.‬‬

‫ﺍﻣﺎ ﭼﻨﻴﻦ ﺍﻏﻮﺍﻳﻲ ﺑﻪ ﺭﻭﺵ ﻛﺎﺭ ﺟﻬﺎﻧﻲ ﺍﺟﺘﻤﺎﻋﻲ ﺍﺷﺎﺭﻩ ﺩﺍﺭﻧﺪ ﻛﻪ ﻣﺎ ﺩﻳﮕﺮ ﺁﻥ ﺭﺍ ﺩﺭﻙ‬

‫ﻧﻤﻲﻛﻨﻴﻢ ﻭ )ﻧﻴﺰ( ﺟﻬﺎﻧﻲ ﺳﻴﺎﺳﻲ ﻛﻪ ﺳﺎﺧﺘﺎﺭﻫﺎﻳﺶ ﺍﺯ ﺑﻴﻦ ﺭﻓﺘﻪﺍﻧﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﺮﺗﺒﻪ‪ ،‬ﺍﻏﻮﺍ ﺑﺎﻋﺚ‬

‫ﻣﻲﺷﻮﺩ ﺗﺎ ﻓﻀﺎﻳﻲ ﺑﻲﻧﻬﺎﻳﺖ ﺗﻬﻲ ﺩﺭ ﺟﺮﻳﺎﻥﻫﺎﻱ ﺳﺴﺖ ﮔﻔﺘﺎﺭ ﭘﻴﻤﻮﺩﻩﺷﻮﺩ ﻳﺎ ﺷﺒﻜﻪﺍﻱ ﻣﻨﻌﻄﻒ‬

‫ﺑﺎ ﺑﺮﺍﻧﮕﻴﺰﺵﻫﺎﻱ ﻣﻐﻨﺎﻃﻴﺴﻲ ﺭﻭﺍﻥ ﮔﺮﺩﺩ‪ .‬ﺟﻬﺎﻧﻲ ﻛﻪ ﺩﻳﮕﺮ ﻧﻪ ﺑﺎ ﻗﺪﺭﺕ ﻛﻪ ﺑﺎ ﺍﻓﺴﻮﻥ‪ ،‬ﻧﻪ ﺑﺎ ﺗﻮﻟﻴﺪ‬

‫ﻛﻪ ﺑﺎ ﺍﻏﻮﺍ ﺑﻪ ﭘﻴﺶ ﻣﻲﺭﻭﺩ‪ .‬ﺍﻣﺎ ﭼﻨﻴﻦ ﺍﻏﻮﺍﻳﻲ ﭼﻴﺰﻱ ﺟﺰ ﺑﻴﺎﻧﻲ ﺗﻬﻲ ﺷﻜﻞﮔﺮﻓﺘﻪ ﺍﺯ ﻣﻔﺎﻫﻴﻢ‬

‫ﻭﺍﻧﻤﻮﺩﻩ ﺷﺪﻩ ﻧﻴﺴﺖ‪ .‬ﮔﻔﺘﻤﺎﻥﻫﺎﻳﻲ ﻛﻪ ﺗﻮﺳﻂ ﺍﺳﺘﺮﺍﺗﮋﻳﺴﺖﻫﺎﻱ ﻣﻴﻞ ﺗﻮﺩﻩﻫﺎ )ﺳﻴﺎﺳﺘﻤﺪﺍﺭﺍﻥ‪،‬‬

‫ﻣﺒﻠﻐﻴﻦ‪ ،‬ﻣﻮﺳﺴﺎﻥ‪ ،‬ﻣﻬﻨﺪﺳﺎﻥ ﺭﻭﺡ ﻭ ﺫﻫﻦ ﻭ‪ (...‬ﻭ ﺗﺤﻠﻴﻠﮕﺮﺍﻥ ﭼﻨﻴﻦ ﺍﺳﺘﺮﺍﺗﮋﻱﻫﺎﻳﻲ ﻧﮕﺎﻩ‬

‫ﺩﺍﺷﺘﻪﻣﻲﺷﻮﻧﺪ‪ ،‬ﺍﻳﻦ ﮔﻔﺘﻤﺎﻧﻬﺎ ﻛﻪ ﻛﺎﺭﻛﺮﺩﻫﺎﻱ ﺍﻣﺮ ﺳﻴﺎﺳﻲ ﻳﺎ ﺍﺟﺘﻤﺎﻋﻲ ﻳﺎ ﺁﻧﭽﻪ ﺍﺯ ﺁﻥ ﺑﺎﻗﻲ‬

‫ﻣﻲﻣﺎﻧﺪ ﺭﺍ ﺗﻮﺻﻴﻒ ﻣﻲﻛﻨﻨﺪ ﺩﺭ ﺍﺻﻄﻼﺣﺎﺕ ﺍﻏﻮﺍﮔﺮﻱ‪ ،‬ﺑﻪ ﻫﻤﺎﻥ ﭘﻮﭼﻲ ﺧﻮﺩ ﻓﻀﺎﻱ ﺳﻴﺎﺳﻲﺍﻧﺪ‪.‬‬

‫ﺑﺮﺍﺣﺘﻲ "ﺗﻬﻲﺑﻮﺩﮔﻲ" ﺁﻧﭽﻪ ﺍﺯ ﺁﻥ ﺳﺨﻦ ﻣﻲﮔﻮﻳﻨﺪ ﺭﺍ ﻣﻨﻌﻜﺲ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺭﺳﺎﻧﻪ ﺗﻮﺩﻩﻫﺎ ﺭﺍ ﺍﻏﻮﺍ‬

‫ﻣﻲﻛﻨﺪ‪":‬ﺗﻮﺩﻩﻫﺎ ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﺍﻏﻮﺍ ﻣﻲﻛﻨﻨﺪ‪ ".‬ﻭﺍﮊﻩ ﺍﻏﻮﺍ ﺩﺭ ﺍﻳﻨﺠﺎ ﻛﺎﺭﺑﺮﺩﻱ ﺳﻄﺤﻲ ﻭ ﻣﺒﺘﺬﻝ ﺩﺍﺭﺩ‪.‬‬

‫ﻣﻌﻨﺎﻱ ﺗﺤﺖ ﺍﻟﻔﻈﻲﺍﺵ ﻳﻌﻨﻲ ﺷﻴﻔﺘﮕﻲ ﻭ ﺍﻓﺴﻮﻧﮕﺮﻱ ﻛﺸﻨﺪﻩ ﺗﺒﺎﻩ ﺷﺪﻩ ﻭ ﺑﺮ ﺿﺮﻭﺭﺕ ﺭﻭﻏﻦﻛﺎﺭﻱ‬

‫ﻧﺮﻡ‪ ،‬ﻳﻚ ﻓﻦﺁﻭﺭﻱ‬ ‫‪semiurgy‬‬ ‫ﺗﻜﻨﻴﻜﻲ ﻭ ﺍﺟﺘﻤﺎﻋﻲ ﺭﻭﺍﺑﻂ ﻫﻤﻮﺍﺭ ﻭ ﻧﺮﻡ ﺩﻻﻟﺖ ﻣﻲﻛﻨﺪ‪ .‬ﻳﻚ‬

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‫ﺍﻏﻮﺍ‬

‫ﻧﺮﻡ‪ .‬ﺍﻳﻦ ﺍﺻﻄﻼﺡ ﻧﺮﻡ )ﺳﺎﻓﺖ(‪ ،‬ﻣﻌﻨﺎﻳﻲ ﺑﻮﻡﺷﻨﺎﺳﺎﻧﻪ ﺩﺍﺭﺩ ﻭ ﻧﺸﺎﻥﺩﻫﻨﺪﻩ ﻋﺒﻮﺭ ﺍﺯ ﺍﻧﺮﮊﻱﻫﺎﻱ‬

‫ﺳﺨﺖ ﺑﻪ ﻧﺮﻡ ﺍﺳﺖ‪ .‬ﺍﻧﺮﮊﻱ ﻧﺮﻡ‪ .‬ﺍﻏﻮﺍﮔﺮﻱ ﻧﺮﻡ‪ .‬ﺍﻣﺮ ﺍﺟﺘﻤﺎﻋﻲ ﺩﻳﮕﺮ ﺑﻪ ﭼﺸﻢ ﻧﻤﻲﺁﻳﺪ‪.‬‬

‫ﺑﺎ ﺍﻳﻦ ﻧﻮﻉ ﺍﻏﻮﺍﮔﺮﻱ ﭘﺮﺍﻛﻨﺪﻩ ﻭ ﻣﻨﺒﺴﻂ‪ ،‬ﺩﻳﮕﺮ ﻧﻤﻲﺗﻮﺍﻥ ﺍﺯ ﺍﻏﻮﺍﮔﺮﻱ ﺍﺷﺮﺍﻓﻲ ﺭﻭﺍﺑﻂ ﺗﻦ ﺑﻪ‬

‫ﺗﻨﻲ ﺩﻡ ﺯﺩ‪ .‬ﺑﺎﻳﺪ ﺍﺯ ﺍﻏﻮﺍﻳﻲ ﺳﺨﻦ ﺭﺍﻧﺪ ﻛﻪ ﺑﺎ ﺍﻳﺪﺋﻮﻟﻮﮊﻱ ﻣﻴﻞ ﺑﺎﺯﻧﮕﺮﻱ ﻭ ﺗﺠﺪﻳﺪ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻏﻮﺍﻳﻲ‬

‫ﺭﻭﺍﻧﻜﺎﻭﺍﻧﻪ ﻛﻪ ﺑﺎ ﺧﻴﺰﺵ ﻓﻴﮕﻮﺭ ﺧﻴﺎﻟﻲ ﻣﻴﻞ ﺩﺭ ﻏﺮﺏ ﺷﻜﻠﻲ ﻋﻮﺍﻡﭘﺴﻨﺪﺍﻧﻪ ﺑﻪ ﺧﻮﺩ ﻣﻲﮔﻴﺮﺩ‪ .‬ﺍﻳﻦ‬

‫ﺷﻜﻞ ﺍﻏﻮﺍﮔﺮﻱ ﻣﺘﻌﻠﻖ ﺑﻪ ﺍﺭﺑﺎﺑﺎﻥ ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﺑﻪ ﻃﻮﺭ ﺗﺎﺭﻳﺨﻲ ﺗﻮﺳﻂ ﺳﺘﻤﺪﻳﺪﮔﺎﻥ ﺑﻪ ﻋﻨﻮﺍﻥ‬

‫ﻧﺸﺎﻧﻪﺍﻱ ﺑﺮﺍﻱ ﺁﺯﺍﺩﻱﺷﺎﻥ ﺗﻮﻟﻴﺪ ﺷﺪﻩ ﻭ ﺑﺎ ﺷﻜﺴﺖ ﺍﻧﻘﻼﺑﻬﺎﻱ ﻣﺘﻮﺍﻟﻲﺷﺎﻥ ﺗﻌﻤﻴﻖ ﻳﺎﻓﺘﻪﺍﺳﺖ‪ .‬ﺑﻪ‬

‫ﻋﻨﻮﺍﻥ ﻳﻚ ﺷﻜﻞ‪ ،‬ﻣﻴﻞ ﻫﻤﻮﺍﺭﻩ ﺍﺯ ﻭﺿﻌﺘﻴﺶ ﺍﺑﮋﻩﻫﺎﻳﺶ ﺑﻪ ﺳﻮﮊﻩ ﮔﺬﺭ ﻣﻲﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﺍﻳﻦ ﮔﺬﺍﺭﻱ‬

‫ﺧﻮﺩ ﺻﺮﻓﺎً ﺟﺎﻭﺩﺍﻧﻪﻛﺮﺩﻥ ﺩﺭﻭﻧﻲ ﺷﺪﻩ ﻭ ﭘﺎﻟﻮﺩﻩ ﺷﺪﻩ ﺑﻨﺪﮔﻲﺍﺵ ﺍﺳﺖ‪ .‬ﺍﻭﻟﻴﻦ ﻃﻠﻮﻉ ﺳﻮﺑﮋﻛﺘﻴﻮﻳﺘﻪ‬

‫ﺗﻮﺩﻩﻫﺎ ﺩﺭ ﺳﭙﻴﺪﻩ ﺩﻡ ﺩﻭﺭﺍﻥ ﻣﺪﺭﻥ ﻭ ﺯﻣﺎﻧﻪ ﺍﻧﻘﻼﺏﻫﺎ‪ ،‬ﺍﻭﻟﻴﻦ ﺭﻭﺷﻨﺎﻳﻲ ﺍﻳﻦ ﺣﻘﻴﻘﺖ ﺍﺳﺖ ﻛﻪ‬

‫ﺗﻮﺩﻩﻫﺎ ﺳﻮﮊﻩ ﺑﻮﺩﻧﺪ ﻭ ﻣﻲﺗﻮﺍﻧﺴﺘﻨﺪ ﺑﻨﺪﮔﻲ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﻣﻴﻞ ﺧﻮﺩ ﻣﺪﻳﺮﻳﺖ ﻧﻤﺎﻳﻨﺪ! ﺍﻛﻨﻮﻥ ﺍﻏﻮﺍ ﺩﺭ‬

‫ﻣﻘﻴﺎﺳﻲ ﻋﻈﻴﻢ ﺁﻏﺎﺯ ﻣﻲﺷﻮﺩ‪ .‬ﭼﺮﺍ ﻛﻪ ﺍﮔﺮ ﺑﺮ ﺍﺑﮋﻩ ﺑﺘﻮﺍﻥ ﺑﻪ ﺭﺍﺣﺘﻲ ﺗﺴﻠﻂ ﻳﺎﻓﺖ ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺳﻮﮊﻩ‬

‫ﻣﻴﻞ ﻣﺠﺒﻮﺭ ﺍﺳﺖ ﻛﻪ ﺍﻏﻮﺍ ﺷﻮﺩ‪.‬‬

‫ﺍﻳﻦ ﺍﺳﺘﺮﺍﺗﮋﻱ ﻧﺮﻡ ﺍﺯ ﻧﻈﺮ ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﺗﺎﺭﻳﺨﻲ ﮔﺴﺘﺮﺵ ﻳﺎﻓﺘﻪﺍﺳﺖ‪ .‬ﺗﻮﺩﻩﻫﺎ ﺭﻭﺍﻧﻜﺎﻭﻱ‬

‫ﻣﻲﺷﻮﻧﺪ ﺗﺎ ﺍﻏﻮﺍ ﺷﻮﻧﺪ‪ .‬ﺁﻧﻬﺎ ﺑﺎ ﺍﻣﻴﺎﻝ ﺗﺠﻴﻬﺰ ﻣﻲﺷﻮﻧﺪ ﺗﺎ ﺁﺷﻔﺘﻪ ﮔﺮﺩﻧﺪ‪ .‬ﺩﻳﺮﻭﺯ ﺁﻧﻬﺎ ﺁﮔﺎﻫﻲ ﺭﻣﺰﻱ‬

‫ﺷﺪﻩ ﻭ ﺑﻴﮕﺎﻧﻪ ﺷﺪﻩﺩﺍﺷﺘﻨﺪ‪ ،‬ﺍﻣﺮﻭﺯ ﺁﻧﻬﺎ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﻭﻣﻴﻠﻲ )ﺳﺮﻛﻮﺏ ﺷﺪﻩ ﻭ ﺗﺒﺎﻩﺷﺪﻩ( ﻭ ﺍﻏﻮﺍﺷﺪﻩ‬

‫ﺩﺍﺭﻧﺪ‪ .‬ﺩﻳﺮﻭﺯ ﺁﻧﻬﺎ ﻣﻌﻄﻮﻑ ﺑﻪ ﺣﻘﻴﻘﺖ )ﺍﻧﻘﻼﺑﻲ( ﺗﺎﺭﻳﺦ ﺑﻮﺩﻧﺪ‪ ,‬ﺍﻣﺮﻭﺯ ﻣﻌﻄﻮﻑ ﺑﻪ ﺣﻘﻴﻘﺖ ﺍﻣﻴﺎﻝ‬

‫‪۲٥۹‬‬
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺧﻮﺩ ﻫﺴﺘﻨﺪ‪ .‬ﺗﻮﺩﻩﻫﺎﻱ ﻓﻘﻴﺮ ﺍﻏﻮﺍﺷﺪﻩ ﻭ ﺩﺳﺘﻜﺎﺭﻱ ﺷﺪﻩ! ﺳﻠﻄﻪﺍﻱ ﺭﺍ ﻛﻪ ﺑﺎ ﺯﻭﺭ ﻭ ﺭﻓﺘﺎﺭ‬

‫ﺧﺸﻮﻧﺖﺁﻣﻴﺰ ﺗﺤﻤﻞ ﻣﻲﻛﺮﺩﻳﺪ ﺍﻣﺮﻭﺯ ﺑﺎﻳﺪ ﺑﺎ ﺯﻭﺭ ﺍﻏﻮﺍﮔﺮﻱ ﺑﭙﺬﻳﺮﻳﺪ‪.‬‬

‫ﺑﻪ ﻃﻮﺭ ﻛﻠﻲﺗﺮ‪ ،‬ﺧﻴﺎﻝﭘﺮﺩﺍﺯﻱﻫﺎﻱ ﻧﻈﺮﻱ ﻣﻴﻞ ﺑﺎ ﺭﻭﺍﻧﺸﻨﺎﺳﻲ ﭘﺮﺍﻛﻨﺪﻩ ﻟﻴﺒﻴﺪﻳﻨﺎﻟﺶ ﺩﺭ‬

‫ﭘﺸﺖ ﭘﺮﺩﻩ ﺩﺭ ﺧﺪﻣﺖ ﻭﺍﻧﻤﻮﺩﻩ ﺍﻏﻮﺍﮔﺮﻱ ﺍﺳﺖ ﻛﻪ ﺣﺎﻻ ﻫﻤﻪﺟﺎ ﻣﻲ ﺗﻮﺍﻥ ﺁﻥ ﺭﺍ ﻳﺎﻓﺖ‪ .‬ﺟﻬﺎﻥ‬

‫ﻧﻈﺎﺭﺕ )ﺑﺤﺚ ﻓﻮﻛﻮ ‪ -‬ﻣﺘﺮﺟﻢ( ﺟﺎﻱ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺁﺳﻴﺐﭘﺬﻳﺮﻱ ﺍﻓﺮﺍﺩ ﻭ ﺗﻮﺩﻩﻫﺎ ﺩﺭ ﺑﺮﺍﺑﺮ‬

‫ﺑﺎﺯﺩﺍﺭﻧﺪﮔﻲﻫﺎﻱ ﻧﺮﻡ ﻣﻲﺩﻫﺪ‪ .‬ﻋﺼﺎﺭﻩ ﻫﻤﻮﻓﺎﺗﻴﻚ‪ ۵۹‬ﺑﻪ ﺗﻤﺎﻣﻲ ﺭﻭﺍﺑﻂ ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﻓﺮﺩﻱ ﺧﻮﺭﺍﻧﺪﻩ‬

‫ﺷﺪﻩﺍﺳﺖ‪ .‬ﺳﺎﻳﻪﻱ ﺍﻏﻮﺍﮔﺮﺍﻧﻪ ﺍﻳﻦ ﮔﻔﺘﻤﺎﻥ‪ ،‬ﺍﻣﺮﻭﺯ‪ ،‬ﺑﻴﺎﺑﺎﻥ ﺭﻭﺍﺑﻂ ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﺧﻮﺩ ﻗﺪﺭﺕ ﺭﺍ ﻓﺮﻭ‬

‫ﭘﻮﺷﺎﻧﺪﻩﺍﺳﺖ‪.‬‬

‫ﺑﺎ ﺍﻳﻦ ﻭﺿﻊ‪ ،‬ﻣﺎ ﺑﺮﺍﺳﺘﻲ ﺩﺭ ﺩﻭﺭﻩ ﺍﻏﻮﺍ ﺯﻧﺪﮔﻲ ﻣﻲﻛﻨﻴﻢ‪ .‬ﺍﻣﺎ ﻧﻤﻲﺗﻮﺍﻧﻴﻢ ﺍﺯ ﺷﻜﻞ ﻓﺮﺍﮔﻴﺮ‬

‫ﺟﺬﺍﺏ ﻭ ﭘﺘﺎﻧﺴﻴﻠﻲ ﺁﻥ ﺳﺨﻦ ﺑﺮﺍﻧﻴﻢ‪) ،‬ﺑﻞ( ﮔﻴﺠﻲ ﺷﻮﻣﻲ ﺍﺳﺖ ﻛﻪ ﻧﻪ ﻛﺴﻲ ﻭ ﻧﻪ ﻭﺍﻗﻌﻴﺘﻲ ﺗﺎ ﺑﻪ‬

‫ﺣﺎﻝ ﺍﺯ ﺩﺳﺖ ﺁﻥ ﺍﻳﻤﻦ ﻧﺒﻮﺩﻩﺍﺳﺖ )ﮔﻮﻳﺎ ﻫﻴﭻﭼﻴﺰ ﺁﻧﻘﺪﺭ ﻭﺍﻗﻌﻲ ﻧﻴﺴﺖ ﺗﺎ ﻣﻨﺤﺮﻑ ﺷﻮﺩ‪ ،‬ﻫﻴﭻ‬

‫ﺣﻘﻴﻘﺘﻲ ﻧﻴﺴﺖ ﺗﺎ ﻭﺍﮊﮔﻮﻥ ﮔﺮﺩﺩ‪ (.‬ﻧﻪ ﺣﺘﻲ ﺗﺒﺎﻫﻲ ﻣﻌﺼﻮﻣﻴﺖ ﻭ ﺗﻘﻮﺍ )ﻧﻪ ﺩﻳﮕﺮ ﺍﺧﻼﻗﻴﺎﺕ‬

‫ﺑﺴﻨﺪﻩﺍﻱ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻭ ﻧﻪ ﺍﻧﺤﺮﺍﻑ ﺍﺯ ﺁﻥ( ﻫﺮ ﺁﻧﭽﻪ ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﺪ ﺁﻳﺎ ﺍﻏﻮﺍ ﻛﺮﺩﻥ ﻓﻘﻂ ﺑﺮﺍﻱ ﺍﻏﻮﺍ‬

‫ﻛﺮﺩﻥ ﻧﻴﺴﺖ؟ "ﻣﺮﺍ ﺍﻏﻮﺍ ﻛﻨﻴﺪ‪" " .‬ﺑﮕﺬﺍﺭﻳﺪ ﺍﻏﻮﺍﻳﺖ ﻛﻨﻢ‪ ".‬ﺍﻳﻦ ﺍﻏﻮﺍ ﺍﺳﺖ ﻛﻪ ﻭﻗﺘﻲ ﻫﻤﻪ‬

‫ﺷﺮﻁﺑﻨﺪﻱﻫﺎ ﺍﺯ ﺑﻴﻦ ﺑﺮﻭﻧﺪ‪ ،‬ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﺪ‪ .‬ﻣﺎ ﺩﻳﮕﺮ ﺍﺯ ﺧﺸﻮﻧﺖ ﺑﺮ ﻋﻠﻴﻪ ﻣﻌﻨﺎ ﻭ ﺑﺮﺍﻧﺪﺍﺯﻱ‬

‫ﻧﺎﺑﻮﺩﻛﻨﻨﺪﺓ ﺁﻥ ﺳﺨﻦ ﻧﻤﻲﮔﻮﻳﻴﻢ ﺑﻠﻜﻪ ﺳﺨﻦ ﺍﺯ ﺁﻥ ﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺯﺑﺎﻥ ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﺪ ﺁﻥ‬

‫ﻫﻨﮕﺎﻡ ﻛﻪ ﭼﻴﺰﻱ ﺑﺮﺍﻱ ﺳﺨﻦ ﮔﻔﺘﻦ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﻫﻴﭻ ﭼﻴﺰﻱ ﺟﺰ ﻓﻘﺪﺍﻥ ﺳﺮﮔﻴﺠﻪ ﺁﻭﺭ ﻭﺟﻮﺩ‬

‫‪۲٦۰‬‬
‫ﺍﻏﻮﺍ‬

‫ﻧﺪﺍﺭﺩ‪ ،‬ﺟﺰ ﺷﻜﻞ ﺣﺪﺍﻗﻠﻲ ﺧﺸﻨﻮﺩﻱ ﺩﻭ ﻃﺮﻓﻪ ﻣﻮﺟﻮﺩﺍﺗﻲ ﺯﺑﺎﻧﺸﻨﺎﺳﺎﻧﻪ ﺩﺭ ﻳﻚ ﺭﺍﺑﻄﻪ ﺍﺟﺘﻤﺎﻋﻲ‬

‫ﺑﻲﺍﺛﺮ‪" .‬ﻣﺮﺍ ﺍﻏﻮﺍ ﻛﻨﻴﺪ‪" " .‬ﺑﮕﺬﺍﺭ ﺍﻏﻮﺍﻳﺖ ﻛﻨﻢ‪".‬‬

‫ﺑﺪﻳﻦ ﻣﻌﻨﻲ ﺍﻏﻮﺍﮔﺮﻱ ﻫﻤﻪﺟﺎ ﻫﺴﺖ‪ .‬ﻧﻬﺎﻧﻲ ﻳﺎ ﺁﺷﻜﺎﺭﺍ‪ ،‬ﺁﻣﻴﺰﻩﺍﻱ ﺩﺭ ﻣﺤﻴﻂ‪ ،‬ﺩﺭﺧﻮﺍﺳﺘﻬﺎﻱ‬

‫ﺛﺎﺑﺖ ﺑﺎ ﻣﻌﺎﻭﺿﻪﺍﻱ ﻣﺤﺾ ﻭ ﺳﺎﺩﻩ‪ .‬ﺍﻳﻦ ﻫﻤﺎﻥ ﺍﻏﻮﺍﮔﺮﻱ ﺷﺎﮔﺮﺩ ﻭ ﻣﻌﻠﻢ ﺍﺳﺖ )ﻣﻦ ﺷﻤﺎ ﺭﺍ ﺍﻏﻮﺍ‬

‫ﻣﻲﻛﻨﻢ ﻭ ﺷﻤﺎ ﻫﻢ ﺩﺍﺭﻳﺪ ﻣﺮﺍ ﺍﻏﻮﺍ ﻣﻲﻛﻨﻴﺪ ﺟﺰ ﺍﻳﻦ ﻫﻴﭻ ﻛﺎﺭ ﺩﻳﮕﺮﻱ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ (.‬ﻳﺎ ﺭﺍﺑﻄﻪ‬

‫ﺳﻴﺎﺳﺘﻤﺪﺍﺭ ﻭ ﻋﻤﻮﻡ‪ ،‬ﻳﺎ ﺍﻏﻮﺍﻱ ﻗﺪﺭﺕ )ﺁﻩ‪ ،‬ﺍﻏﻮﺍﻱ ﻗﺪﺭﺕ ﻭ ﻗﺪﺭﺕ ﺍﻏﻮﺍ!( ﻳﺎ ﺗﺤﻠﻴﻠﮕﺮ ﻭ ﻣﻮﺿﻮﻉ‬

‫ﺗﺤﻠﻴﻞ ﻭ‪...‬‬

‫ﻳﺴﻮﻋﻴﺎﻥ ﭘﻴﺸﺘﺮ ﺑﻪ ﺧﺎﻃﺮ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﻏﻮﺍ ﺩﺭ ﻇﺎﻫﺮﻱ ﻣﺬﻫﺒﻲ ﻭ ﺑﺎﺯﮔﺮﺩﺍﻧﺪﻥ ﻣﺮﺩﻡ ﺑﻪ‬

‫ﺁﻏﻮﺵ ﻛﻠﻴﺴﺎﻱ ﻛﺎﺗﻮﻟﻴﻚ ﺑﺎ ﺍﻏﻮﺍﮔﺮﻱﻫﺎﻱ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﺎﻧﻪ ﻭ ﺍﻳﻦ ﺟﻬﺎﻧﻲ ﺑﺎﺭﻭﻙ‪ ،‬ﺷﻬﺮﺕ ﺩﺍﺭﻧﺪ‪:‬‬

‫ﺑﺎﺯ ﭘﺲ ﮔﺮﻓﺘﻦ ﻭﺟﺪﺍﻥ ﻧﻴﺮﻭﻣﻨﺪ ﺑﻪ ﺍﻗﺘﻀﺎﻱ ﺍﻣﻮﺍﻝ ﺗﺠﻤﻠﻲ ﻭ ﺯﻧﺎﻥ ﻫﻮﺱﺍﻧﮕﻴﺰ‪ .‬ﺩﺭ ﻧﺘﻴﺠﻪ ﻛﺎﺭ‬

‫ﻳﺴﻮﻋﻴﺎﻥ ﺍﻭﻟﻴﻦ ﻧﻤﻮﻧﻪ ﻣﺪﺭﻥ ﭘﻴﭽﻴﺪﮔﻲ ﺍﺳﺘﺮﺍﺗﮋﻱ ﻣﻴﻞ ﺗﻮﺩﻩﻫﺎ ﻭ ﺍﻧﺠﻤﻦ ﺍﻏﻮﺍﻱ ﺗﻮﺩﻩﺍﻱ ﺍﺳﺖ‪ .‬ﻭ‬

‫ﻧﺴﺒﺘﺎً ﻫﻢ ﻣﻮﻓﻖ ﺑﻮﺩﻧﺪ‪ .‬ﻛﺎﻣﻼً ﻣﻤﻜﻦ ﺍﺳﺖ ﻛﻪ ﻓﺮﻳﺒﻨﺪﮔﻲﻫﺎﻱ ﺭﻳﺎﺿﺖﻛﺸﺎﻧﻪ ﺍﻗﺘﺼﺎﺩ ﺳﻴﺎﺳﻲ ﻭ‬

‫ﺳﺮﻣﺎﻳﻪﺩﺍﺭﻱ ﺗﻮﻟﻴﺪﻱ ‪ -‬ﺣﻠﻘﻪ ﭘﻮﺭﻳﺘﺎﻧﻲ ﺳﺮﻣﺎﻳﻪﺩﺍﺭﻱ ‪ -‬ﺑﺎ ﺁﻏﺎﺯ ﺩﻭﺭﻩﺍﻱ ﻛﺎﺗﻮﻟﻴﻜﻲ ﻭ ﻳﺴﻮﻋﻲ‬

‫ﻣﺎﻧﻨﺪ‪ ،‬ﺑﺎ ﺗﻜﻨﻮﻟﻮﮊﻱ ﻧﺮﻡ ﺍﻏﻮﺍ ﻭ ‪ semiurgy‬ﻧﺮﻡ ﻭ ﻟﻄﻴﻒ ﺍﺯ ﻣﻴﺎﻥ ﺑﺮﻭﺩ‪.‬‬

‫ﺩﻳﮕﺮ ﻣﻮﺿﻮﻉ ﺍﻏﻮﺍﮔﺮﻱ ﭼﻮﻧﺎﻥ ﻫﻮﺱ ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﻣﺴﺌﻠﻪ ﻣﻄﺎﻟﺒﻪﺍﻱ ﺑﺮﺍﻱ ﺍﻏﻮﺍﮔﺮﻱ ﺍﺳﺖ‪.‬‬

‫ﻣﺴﺌﻠﻪﻱ ﻣﻄﺎﻟﺒﻪ ﻣﻴﻞ ﻭ ﺗﺤﻘﻖ ﺁﻥ ﺩﺭ ﺭﻭﺍﺑﻂ ﻣﺘﺰﻟﺰﻝ ﻗﺪﺭﺕ ﻭ ﺷﻨﺎﺧﺖ‪ ،‬ﻛﻪ ﺩﺭ ﻋﺸﻖ ﻭ ﻭﺍﮔﺬﺍﺭﻱ‬

‫ﺫﺍﺗﻲ ﻣﻲﮔﺮﺩﺩ‪ .‬ﺑﺮﺍﻱ ﺩﻳﺎﻟﻜﺘﻴﻚ ﺍﺭﺑﺎﺏ ﻭ ﺑﻨﺪﻩ ﭼﻪ ﺭﺥ ﺧﻮﺍﻫﺪ ﺩﺍﺩ ﻭﻗﺘﻲ ﺍﺭﺑﺎﺑﺎﻥ ﺗﻮﺳﻂ ﺑﻨﺪﮔﺎﻥ ﻭ‬

‫ﺑﻨﺪﮔﺎﻥ ﺗﻮﺳﻂ ﺍﺭﺑﺎﺑﺎﻥ ﺍﻏﻮﺍ ﺷﻮﻧﺪ؟ ﺍﻏﻮﺍ ﺩﻳﮕﺮ ﺟﺰ ﻓﻮﺭﺍﻥ ﺗﻤﺎﻳﺰﻫﺎ ﻳﺎ ﺑﺮﻫﻨﻪﻧﻤﺎﻳﻲ ﺷﻬﻮﺍﻧﻲ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﮔﻔﺘﻤﺎﻥﻫﺎ ﻧﻴﺴﺖ‪ .‬ﺑﺎ ﻭﺟﻮﺩ ﺍﻏﺘﺸﺎﺵ ﻣﻴﺎﻥ ﻣﻨﺒﻊ ﻟﺬﺕ ﻭ ﻣﻄﺎﻟﺒﻪ ﺑﺮﺍﻱ ﺁﻥ‪ ،‬ﺍﻏﻮﺍ ﭼﻴﺰﻱ ﺑﻴﺸﺘﺮ ﺍﺯ‬

‫ﻳﻚ ﺍﺭﺯﺵ ﻣﻌﺎﻭﺿﻪ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﺧﺪﻣﺖ ﮔﺮﺩﺵ ﻣﺒﺎﺩﻻﺕ ﻭ ﺭﻭﻏﻦﻛﺎﺭﻱ ﺭﻭﺍﺑﻂ ﺍﺟﺘﻤﺎﻋﻲ‬

‫ﺍﺳﺖ‪.‬‬

‫ﺍﺯ ﺍﻓﺴﻮﻧﮕﺮﻱ ﺳﺎﺧﺘﺎﺭﻫﺎﻱ ﭘﺮ ﭘﻴﭻ ﻭ ﺧﻢ ﻛﻪ ﻓﺮﺩ ﺩﺭ ﺁﻥ ﺧﻮﺩ ﺭﺍ ﮔﻢ ﻣﻲﻛﻨﺪ‪ ،‬ﭼﻪ ﺑﺎﻗﻲ‬

‫ﻣﺎﻧﺪﻩﺍﺳﺖ؟ ﺍﺯ ﻃﺮﺍﺭﻱﻫﺎﻱ ﺍﻏﻮﺍ ﭼﻪ ﺑﺮ ﺟﺎﻱ ﻣﺎﻧﺪﻩﺍﺳﺖ؟ »ﺍﻳﻦ ﻧﻮﻉ ﺩﻳﮕﺮﻱ ﺍﺯ ﺧﺸﻮﻧﺖ ﺍﺳﺖ ﻛﻪ‬

‫ﻧﻪ ﺩﺭ ﺍﺳﻤﺶ ﻭ ﻧﻪ ﺩﺭ ﻇﺎﻫﺮ ﺑﻴﺮﻭﻧﻲﺍﺵ ﻧﻤﺎﻳﺎﻥ ﻧﻴﺴﺖ ﺍﻣﺎ ﻛﻤﺘﺮ ﺍﺯ ﺧﺸﻮﻧﺖﻫﺎﻱ ﺩﻳﮕﺮ ﺧﻄﺮﻧﺎﻙ‬

‫ﻧﻴﺴﺖ‪ .‬ﻣﻦ ﺍﺯ ﺍﻏﻮﺍﮔﺮﻱ ﺳﺨﻦ ﻣﻲﮔﻮﻳﻢ‪) «.‬ﺭﻭﻟﻴﻦ(‪ .‬ﺑﻪ ﻃﻮﺭ ﺳﻨﺘﻲ‪ ،‬ﺍﻏﻮﺍﮔﺮ ﻃﺮﺍﺭﻱ ﺍﺳﺖ ﻛﻪ‬

‫ﺍﺧﺘﻔﺎ ﻭ ﺷﺮﺍﺭﺗﺶ ﺭﺍ ﺑﺮﺍﻱ ﭘﻴﺶ ﺑﺮﺩﻥ ﻣﻘﺎﺻﺪ ﻧﻬﺎﻳﻲﺍﺵ ﺑﻪ ﻛﺎﺭ ﻣﻲﮔﻴﺮﺩ ﻭ ﻳﺎ ﺣﺪﺍﻗﻞ ﻣﻌﺘﻘﺪ ﺍﺳﺖ‬

‫ﻛﻪ ﺁﻧﻬﺎ ﺭﺍ ﺑﻪ ﻛﺎﺭ ﻣﻲﺑﺮﺩ‪ .‬ﺍﻣﺎ ﺩﺭ ﺍﻳﻦ ﻧﻮﻉ ﺟﺪﻳﺪ ﺍﻏﻮﺍ‪ ،‬ﺷﺨﺺ ﺑﺎ ﺍﺟﺎﺯﻩﺩﺍﺩﻥ ﺑﻪ ﺍﻏﻮﺍ ﻭ ﺗﺴﻠﻴﻢ‬

‫ﻃﺮﺍﺭﻱ ﺷﺪﻥ‪ ،‬ﺍﻏﻠﺐ ﻃﺮﺍﺭﻱ ﺭﺍ ﺑﺎﻃﻞ ﻧﻤﻮﺩﻩ ﻭ ﻛﻨﺘﺮﻝ ﺍﻣﻮﺭ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺍﻏﻮﺍﮔﺮ ﺧﺎﺭﺝ ﻣﻲﺳﺎﺯﺩ‪ .‬ﺩﺭ‬

‫ﻧﺘﻴﺠﻪ ﺍﻏﻮﺍﮔﺮ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻗﺪﺭﺕ ﺑﺮﮔﺸﺖﭘﺬﻳﺮ ﺍﻏﻮﺍ‪ ،‬ﺑﻪ ﺩﺍﻡ ﺧﻮﺩ ﻣﻲﺍﻓﺘﺪ‪.‬‬

‫ﻣﻮﺭﺩ ﺫﻳﻞ ﻫﻤﻴﺸﻪ ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﺪ‪ :‬ﻛﺴﻲ ﻛﻪ ﺑﻪ ﺩﻧﺒﺎﻝ ﻟﺬﺕ ﺑﺮﺩﻥ ﺍﺯ ﺩﻳﮕﺮﻱ ﺍﺳﺖ ﭘﻴﺶﺗﺮ‬

‫ﺗﺴﻠﻴﻢ ﺍﻓﺴﻮﻥﻫﺎﻱ ﺩﻳﮕﺮﻱ ﺷﺪﻩﺍﺳﺖ‪ .‬ﺑﺮﺍﻳﻦ ﺍﺳﺎﺱ‪ ،‬ﻛﻞ ﻳﻚ ﻓﺮﻫﻨﮓ ﻳﺎ ﺩﻳﻦ ﻣﻲﺗﻮﺍﻧﺪ ﺣﻮﻝ‬

‫ﺭﻭﺍﺑﻂ ﺍﻏﻮﺍ ﺳﺎﺯﻣﺎﻧﺪﻫﻲ ﺷﻮﺩ‪) .‬ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﻣﺮﻱ ﻣﺘﻀﺎﺩ ﺭﻭﺍﺑﻂ ﺗﻮﻟﻴﺪ( ﺑﻨﺎﺑﺮﺍﻳﻦ ﺧﺪﺍﻳﺎﻥ ﻳﻮﻧﺎﻧﻲ‪-‬‬

‫ﺍﻏﻮﺍﮔﺮﺍﻥ‪ /‬ﻃﺮﺍﺭﺍﻥ ‪ -‬ﻗﺪﺭﺕ ﺧﻮﺩ ﺭﺍ ﺑﺮﺍﻱ ﺍﻏﻮﺍﻛﺮﺩﻥ ﺍﻧﺴﺎﻧﻬﺎ ﺑﻪ ﻛﺎﺭ ﻣﻲﮔﻴﺮﻧﺪ ﺍﻣﺎ ﺩﺭ ﺑﺎﺯﮔﺸﺖ‬

‫ﺩﻳﮕﺮ ﺧﻮﺩ ﺍﻏﻮﺍ ﻣﻲﺷﻮﻧﺪ ﻭ ﺑﺮﺍﺳﺘﻲ ﻧﻴﺰ ﺍﻏﻠﺐ ﻣﻮﺍﺭﺩ ﺍﻏﻮﺍﻛﺮﺩﻥ ﺍﻧﺴﺎﻧﻬﺎ ﻭﻇﻴﻔﻪ ﺍﺻﻠﻲ ﺁﻧﻬﺎ ﺑﻮﺩ‪.‬‬

‫ﺑﻨﺎﺑﺮﺍﻳﻦ ﺧﺪﺍﻳﺎﻥ ﺗﺼﻮﻳﺮﻱ ﺍﺯ ﺟﻬﺎﻥ ﺗﺮﺳﻴﻢ ﻣﻲﻧﻤﻮﺩﻧﺪ ﻛﻪ ﻧﻪ ﺑﺎ ﻗﺎﻧﻮﻥ‪ ،‬ﻣﺎﻧﻨﺪ ﺟﻬﺎﻥ ﻣﺴﻴﺤﻲ ﻭ‬

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‫ﺍﻏﻮﺍ‬

‫ﻳﺎ ﺍﻗﺘﺼﺎﺩ ﺳﻴﺎﺳﻲ‪ ،‬ﺑﻠﻜﻪ ﺑﺎ ﺍﻏﻮﺍﮔﺮﻱ ﺩﻭ ﻃﺮﻓﻪ ﺩﺭ ﻣﻮﺍﺯﻧﻪ ﻧﻤﺎﺩﻳﻦ ﺍﻧﺴﺎﻥﻫﺎ ﻭ ﺧﺪﺍﻳﺎﻥ‪ ،‬ﺣﻜﻤﺮﺍﻧﻲ‬

‫ﻣﻲﺷﺪ‪.‬‬

‫ﺍﺯ ﺍﻳﻦ ﺧﺸﻮﻧﺖ ﺩﺭ ﺍﻓﺘﺎﺩﻩ ﺑﻪ ﺩﺍﻡ ﻧﻴﺮﻧﮓﻫﺎﻱ ﺧﻮﺩ ﭼﻪ ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﺪ؟ ﺟﻬﺎﻧﻲ ﻛﻪ ﺧﺪﺍﻳﺎﻥ ﻭ‬

‫ﺍﻧﺴﺎﻧﻬﺎ ﺍﺯ ﻳﻜﺪﻳﮕﺮ ﻟﺬﺕ ﺭﺍ ﻣﻲﺟﻮﻳﻨﺪ ‪ -‬ﺣﺘﻲ ﺑﺎ ﺧﺸﻮﻧﺖ ﺍﻏﻮﺍﮔﺮﺍﻧﻪ ﻗﺮﺑﺎﻧﻲ ﻛﺮﺩﻥ ﻭ ﻗﺮﺑﺎﻧﻲ ﺷﺪﻥ‬

‫‪ -‬ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﻴﺪﻩﺍﺳﺖ‪ .‬ﻫﻤﭽﻨﻴﻦ ﻧﻴﺰ‪ ،‬ﺩﺭﻙ ﺭﺍﺯﻭﺭﺯﺍﻧﻪ ﻧﺸﺎﻧﻪﻫﺎ ﻭ ﻗﻴﺎﺳﻬﺎﻳﻲ ﻛﻪ ﺑﺎ ﻗﺪﺭﺕ‬

‫ﺍﻓﺴﻮﻧﺸﺎﻥ ﺟﺎﺩﻭ ﻣﻲﻛﺮﺩﻧﺪ‪ .‬ﻭ ﺑﺎ ﺁﻥ‪ ،‬ﻧﺎﺑﻮﺩﻱ ﺍﻳﻦ ﻓﺮﺿﻴﻪ ﻛﻪ ﻛﻞ ﺟﻬﺎﻥ ﻗﺎﺑﻞ ﻓﺮﻭﺭﻓﺘﻦ ﺩﺭ ﺍﻏﻮﺍ ﻭ‬

‫ﺑﺮﮔﺸﺖﭘﺬﻳﺮﻱ ﻧﺸﺎﻧﻪﻫﺎﺳﺖ؛ ﻧﻪ ﻓﻘﻂ ﺧﺪﺍﻳﺎﻥ ﺑﻠﻜﻪ ﭼﻴﺰﻫﺎ ﻭ ﻣﻮﺟﻮﺩﺍﺕ ﺑﻲﺭﻭﺡ ﻭ ﻣﺮﺩﻩ ﻛﻪ‬

‫ﻫﻤﻴﺸﻪ ﺑﺎ ﻛﻤﻚ ﻧﺸﺎﻧﻪﻫﺎ ﻭ ﺁﻳﻴﻨﻬﺎ ﻱ ﺑﻲﺷﻤﺎﺭ ﺑﺮﺍﻱ ﺩﻭﺭﻱ ﺍﺯ ﮔﺰﻧﺪ ﺁﻧﻬﺎ‪ ،‬ﺍﻏﻮﺍ ﻭ ﻓﺮﻳﻔﺘﻪ ﺷﺪﻩﺍﻧﺪ‪.‬‬

‫ﺍﻣﺮﻭﺯ ﻓﺮﺩ ﻣﺠﺒﻮﺭ ﺍﺳﺖ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺑﺎ ﺳﻮﮔﻮﺍﺭﻱ ﺧﻮﺩﺵ ﺑﻪ ﺍﻧﺠﺎﻡ ﺑﺮﺳﺎﻧﺪ‪ ،‬ﻭﻇﻴﻔﻪ ﻓﺮﺩﻱ ﻭ‬

‫ﻭﻫﻢﺁﻭﺭ ﺟﻬﺖﻳﺎﺑﻲ ﻭ ﻧﻘﻞ ﻭ ﺍﻧﺘﻘﺎﻝ‪ .‬ﻣﺎ ﺍﻛﻨﻮﻥ ﺩﺭ ﺟﻬﺎﻥ ﻧﻴﺮﻭﻫﺎ ﻭ ﺭﻭﺍﺑﻂ ﻧﻴﺮﻭ ﺑﻪ ﺳﺮ ﻣﻲﺑﺮﻳﻢ‪.‬‬

‫ﺟﻬﺎﻧﻲ ﻛﻪ ﺩﺭ ﺍﻣﺮﻱ ﭘﻮﭺ‪ ،‬ﺍﺑﮋﻩﺍﻱ ﺳﻠﻄﻪ ﻭ ﻧﻪ ﺍﻏﻮﺍ ﻣﺎﺗﺮﻳﺎﻟﻴﺰﻩ ﺷﺪﻩﺍﺳﺖ‪ .‬ﺟﻬﺎﻥ ﺗﻮﻟﻴﺪ‬

‫ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭﻱ ﻭ ﺑﺎﺯ ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭﻱ ﻭ ﺁﺯﺍﺩﻱ ﺍﻧﺮﮊﻱﻫﺎ‪ ،‬ﺟﻬﺎﻥ ﻗﺎﻧﻮﻥ ﻭ ﻗﻮﺍﻧﻴﻦ ﺍﺑﮋﻛﺘﻴﻮ‪ ،‬ﺟﻬﺎﻥ‬

‫ﺩﻳﺎﻟﻜﺘﻴﻚ ﺧﺪﺍﻳﺎﻥ ﻭﺑﻨﺪﮔﺎﻥ‪.‬‬

‫ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ‪ ،‬ﺩﺭ ﭼﻨﻴﻦ ﺟﻬﺎﻧﻲ‪ ،‬ﺑﺴﺎﻥ ﻳﻜﻲ ﺍﺯ ﻛﺎﺭﻛﺮﺩﻫﺎﻱ ﺍﺑﮋﻛﺘﻴﻮﺵ ﺭﺥ ﻣﻲﺩﻫﺪ ﻭ‬

‫ﺍﻛﻨﻮﻥ ﺗﻤﺎﻳﻞ ﺩﺍﺭﺩ ﺑﺮ ﺩﻳﮕﺮ ﭼﻴﺰﻫﺎ ﻧﻴﺰ ﻣﺴﻠﻂ ﺷﺪﻩ ﻭ ﺧﻮﺩ ﺭﺍ ﭼﻮﻥ ﺍﻟﺘﺮﻧﺎﺗﻴﻮ ﻧﻬﺎﻳﻲ ﺗﻤﺎﻣﻲ ﺍﻣﻮﺭ‬

‫ﻣﺮﺩﻩ ﻭ ﻳﺎ ﺩﺭ ﺣﺎﻝ ﻣﺮﮒ ﺟﺎﻱ ﺑﺰﻧﺪ‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﺟﻨﺴﻲ ﺷﺪﻩﺍﺳﺖ ﻭ ﺍﺯ ﺍﻳﻦ ﺭﺍﻩ ﺯﻣﻴﻨﻪﺍﻱ ﺑﺮﺍﻱ‬

‫ﺑﺎﺯﻱ ﻭ ﻣﺨﺎﻃﺮﻩ ﻓﺮﺍﻫﻢ ﻣﻲﺁﻳﺪ‪ .‬ﺩﺭ ﻫﻤﻪ ﺟﺎ ﺷﻨﺎﺳﻪ )ﺍﻱ‪ .‬ﺩﻱ( ﺳﺨﻦ ﻣﻲﺭﺍﻧﺪ‪ .‬ﻫﺮ ﮔﻔﺘﻤﺎﻧﻲ ﭼﻮﻥ‬

‫ﺗﻔﺴﻴﺮ ﺍﺑﺪﻱ ﺟﻨﺴﻴﺖ ﻭ ﻣﻴﻞ ﻇﺎﻫﺮ ﻣﻲﺷﻮﺩ‪.‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﺩﺭ ﺍﻳﻦ ﻭﺿﻌﻴﺖ ﺑﺎﻳﺪ ﮔﻔﺖ ﻛﻪ ﻫﻤﻪ ﮔﻔﺘﻤﺎﻧﻬﺎ‪ ،‬ﮔﻔﺘﻤﺎﻧﻬﺎﻱ ﺍﻏﻮﺍ ﻭ ﻭ ﺧﻮﺍﺳﺘﺎﺭﻫﺎﻱ ﺻﺮﻳﺢ‬

‫ﺑﺮﺍﻱ ﺍﻏﻮﺍﮔﺮﻱ ﺷﺪﻩ ﺍﻧﺪ‪ .‬ﺍﻣﺎ ﺍﻏﻮﺍﮔﺮﻳﻲ ﻧﺮﻡ‪ .‬ﻛﻪ ﻣﺎﻧﻨﺪ ﺑﺴﻴﺎﺭﻱ ﭼﻴﺰﻫﺎ ﺩﻳﮕﺮ ﺍﻳﻦ ﺟﺎﻣﻌﻪ ﺳﺴﺖ ﻭ‬

‫ﻛﻢﺭﻣﻖ ﺍﺳﺖ‪ :‬ﺗﺰﺋﻴﻴﻦ‪ ،‬ﺩﺳﺘﻜﺎﺭﻱ‪ ،‬ﺗﺤﺮﻳﻚ‪ ،‬ﺧﺸﻨﻮﺩﻱ‪ ،‬ﺍﺳﺘﺮﺍﺗﮋﻱﻫﺎﻱ ﻣﻴﻞ‪ ،‬ﺟﺬﺑﻪ ﺭﻭﺍﺑﻂ‬

‫ﺷﺨﺼﻲ‪ ،‬ﺍﻗﺘﺼﺎﺩ ﻟﻴﺒﻴﺪﻳﻨﺎﻝ ﻭ ﻫﻤﻮﺍﺭﺳﺎﺯﻱ ﺭﻭﺍﺑﻂ ﻭﺍﮔﺬﺍﺭﻱ ﻛﻪ ﺍﻗﺘﺼﺎﺩ ﺭﻗﺎﺑﺘﻲ ﻭ ﺭﻭﺍﺑﻂ‬

‫ﻧﻴﺮﻭﻫﺎﻳﺶ ﺭﺍ ﺗﻘﻮﻳﺖ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻳﻦ ﺍﻏﻮﺍ ﻛﻪ ﺑﺮ ﻛﻞ ﻓﻀﺎﻱ ﭘﻬﻨﺎﻭﺭ ﺯﺑﺎﻥ ﻧﻔﻮﺫ ﻣﻲﻛﻨﺪ ﻣﺎﺩﻩ ﻭ‬

‫ﻣﻔﻬﻮﻣﻲ ﺟﺰ ﻗﺪﺭﺗﻲ ﻛﻪ ﺑﻪ ﻣﻨﺎﻓﺬ ﺷﺒﻜﻪﻫﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ ﻧﻔﻮﺫ ﻣﻲﻛﻨﺪ‪ ،‬ﻧﺪﺍﺭﺩ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮ‬

‫ﺍﺳﺖ ﻛﻪ ﺑﺮﺍﺣﺘﻲ ﻗﺎﺩﺭﻧﺪ ﮔﻔﺘﻤﺎﻧﻬﺎﻳﺸﺎﻥ ﺭﺍ ﺑﺎ ﻫﻢ ﺗﺮﻛﻴﺐ ﻧﻤﺎﻳﻨﺪ‪ .‬ﻓﻮﻕ ﺯﺑﺎﻥ ﻣﻨﺤﻂ ﺍﻳﻦ ﺍﻏﻮﺍﮔﺮﻱ‬

‫ﺑﺎ ﻓﻮﻕ ﺯﺑﺎﻥ ﻣﻨﺤﻂ ﺳﻴﺎﺳﺘﻬﺎ‪ ،‬ﻫﻤﻪﺟﺎ ﻣﻮﺛﺮ ﺍﺳﺖ‪) .‬ﻭ ﭼﻨﺎﻧﭽﻪ ﻣﺎﻳﻠﻴﺪ ﻣﻲﺗﻮﺍﻥ ﮔﻔﺖ ﻛﺎﻣﻼً ﻏﻴﺮ‬

‫ﻣﻮﺛﺮ ﺍﺳﺖ‪ (.‬ﻛﺎﻓﻲ ﺍﺳﺖ ﻛﻪ ﺩﺭﺑﺎﺭﻩ ﻣﺪﻝ ﻭﺍﻧﻤﺎﻳﻲ ﺍﻏﻮﺍﮔﺮﻱ ﺗﻮﺍﻓﻖ ﻋﻤﻮﻣﻲ ﺻﻮﺭﺕ ﮔﻴﺮﺩ‪ ،‬ﭘﺨﺶ‬

‫ﺟﺮﻳﺎﻥ ﻭ ﺳﺨﻦ ﻭ ﻣﻴﻞ ﺭﻭﻱ ﻣﻲﺩﻫﺪ ﺩﺭﺳﺖ ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﻓﺮﺍﺯﺑﺎﻥ ﺗﻴﺮﻩ ﻣﺸﺎﺭﻛﺖ )ﻋﻤﻮﻣﻲ( ﺑﺮﺍﻱ‬

‫ﺣﺮﺍﺳﺖ ﺍﺯ ﻇﺎﻫﺮ ﺍﻣﺮ ﺍﺟﺘﻤﺎﻋﻲ ﺑﺴﻨﺪﻩ ﺍﺳﺖ‪.‬‬

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‫ﮔﻔﺘﻤﺎﻥ ﻭﺍﻧﻤﺎﻳﻲ‪ ،‬ﻃﺮﺍﺭﻱ ﻧﻴﺴﺖ‪ .‬ﺗﻨﻬﺎ ﻋﻤﻞ ﺍﻏﻮﺍ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻭﺍﻧﻤﻮﺩﻩ ﻧﺘﻴﺠﻪ‪ ،‬ﻣﻴﻞ ﻳﺎ‬

‫ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭﻱ ﻟﻴﺒﻴﺪﻳﻨﺎﻝ‪ ،‬ﺩﺭ ﺟﻬﺎﻧﻲ ﻛﻪ ﻧﻴﺎﺯ ﺑﺪﺍﻥ ﺷﺪﻳﺪﺍً ﺍﺣﺴﺎﺱ ﻣﻲﺷﻮﺩ‪ ،‬ﺑﻪ ﻛﺎﺭ ﻣﻲﺑﺮﺩ‪ .‬ﺑﺎ‬

‫ﺍﻳﻦ ﻭﺟﻮﺩ ﺩﺭﺳﺖ ﻣﺎﻧﻨﺪ ﺭﻭﺍﺑﻂ ﻧﻴﺮﻭﻫﺎ‪ ،‬ﻫﺮﮔﺰ ﻧﻤﻲﺗﻮﺍﻧﻴﻢ ﻓﺮﺍﺯ ﻭ ﻧﺸﻴﺐﻫﺎﻱ ﻗﺪﺭﺕ ﺭﺍ ﺩﺭ ﻋﺼﺮ‬

‫ﭘﺎﻥﺍﭘﺘﻴﻚ ﺷﺮﺡ ﺩﻫﻴﻢ ‪ -‬ﺑﻪ ﺍﺳﺘﺜﻨﺎﻱ ﺍﻳﺪﻩﺁﻟﻴﺴﻢ ﻣﺎﺭﻛﺴﻲ ‪ -‬ﻫﻤﻴﻦ ﻃﻮﺭ ﺍﻏﻮﺍ ﻳﺎ ﺭﻭﺍﺑﻂ ﺍﻏﻮﺍﮔﺮﺍﻧﻪ‬

‫ﻧﻴﺰ ﻧﻤﻲﺗﻮﺍﻧﺪ ﺣﻮﺍﺩﺙ ﺳﻴﺎﺳﻲ ﻣﻌﺎﺻﺮ ﺭﺍ ﺑﺮﺍﻭﺭﺩ ﻧﻤﺎﻳﺪ‪ .‬ﺍﮔﺮ ﻫﻤﻪ ﭼﻴﺰ ﺗﺤﺖ ﻓﺮﻣﺎﻥ ﺍﻏﻮﺍﮔﺮﻱ‬

‫ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﻧﻪ ﺑﺎ ﺍﻳﻦ ﺍﻏﻮﺍﮔﺮﻱ ﻧﺮﻡ ﻛﻪ ﺑﺎ ﺍﻳﺪﺋﻮﻟﻮﮊﻱ ﻣﻴﻞ ﺑﺎﺯﻧﮕﺮﻱ ﺷﺪﻩ‪ ،‬ﺑﻠﻜﻪ ﺑﺎ ﺍﻏﻮﺍﻳﻲ ﻣﺒﺎﺭﺯﻩﺍﻱ‪،‬‬

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‫ﺍﻏﻮﺍ‬

‫ﺗﻦ ﺑﻪ ﺗﻨﻲ ﻭ ﺧﺼﻮﻣﺖﺁﻣﻴﺰ‪ ،‬ﺑﺎ ﺷﺮﻁﺑﻨﺪﻱﻫﺎﻱ ﺑﻴﺸﻴﻨﻪ ﻭ ﺍﺯ ﺟﻤﻠﻪ ﺁﻧﻬﺎﻳﻲ ﻛﻪ ﺭﺍﺯﮔﻮﻧﻪﺍﻧﺪ‪ .‬ﺍﻏﻮﺍﻳﻲ‬

‫ﻧﻪ ﺑﺎ ﺍﺳﺘﺮﺍﺗﮋﻱ ﺑﺎﺯﻱ‪ ،‬ﺑﻠﻜﻪ ﺍﻏﻮﺍﻳﻲ ﺍﺳﻄﻮﺭﻩﺍﻱ‪ ،‬ﻧﻪ ﺍﻏﻮﺍﻳﻲ ﻣﻮﺛﺮ ﻭ ﺭﻭﺍﻧﻜﺎﻭﺍﻧﻪ‪ ،‬ﻧﻪ ﺍﻏﻮﺍﻳﻲ ﺳﺮﺩ ﻭ‬

‫ﻛﻤﻴﻨﻪ‪.‬‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫ﺍﻏﻮﺍ ﻫﻤﭽﻮﻥ ﺗﻘﺪﻳﺮ‬

‫ﺁﻳﺎ ﻣﺎ ﮔﻤﺎﻥ ﻣﻲﻛﻨﻴﻢ ﻛﻪ ﺍﻳﻦ ﺍﻏﻮﺍﻱ ﭘﺮﺍﻛﻨﺪﻩ ﻛﻪ ﻧﻪ ﺟﺬﺍﺏ ﺍﺳﺖ ﻭ ﻧﻪ ﭘﺮﻣﺨﺎﻃﺮﻩ‪ ،‬ﺍﻳﻦ‬

‫ﺷﺒﺢ ﺍﻏﻮﺍ ﻛﻪ ﺩﺭ ﻣﺪﺍﺭﻫﺎﻱ ﺑﺪﻭﻥ ﺭﺍﺯ ﻣﺎ‪ ،‬ﺗﺨﻴﻼﺕ ﺑﺪﻭﻥ ﺍﺛﺮ ﻣﺎ ﻭ ﺷﺒﻜﻪﻫﺎﻱ ﺗﻤﺎﺱ ﺑﺪﻭﻥ ﺗﻤﺎﺱ‬

‫ﻣﺎ‪ ،‬ﺩﺭ ﮔﺸﺖﻭﮔﺬﺍﺭ ﺍﺳﺖ‪ ،‬ﺷﻜﻞ ﻧﺎﺏ ﺍﻏﻮﺍﺳﺖ؟ ﺑﻪ ﻫﻤﭽﻨﻴﻦ ﺁﻳﺎ ﺭﻭﻳﺪﺍﺩﻫﺎﻱ ﻣﺪﺭﻥ ﺑﺎ ﻣﺸﺎﺭﻛﺖﻫﺎ‬

‫ﻭ ﺑﻴﺎﻥﻫﺎﻳﺶ ﻛﻪ ﺻﺤﻨﻪ ﻭ ﺟﺎﺩﻭﻫﺎﻳﺶ ﻧﺎﺑﻮﺩ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﻧﻤﺎﻳﺶ ﺷﻜﻞ ﻧﺎﺏ ﺍﻏﻮﺍ ﺍﺳﺖ؟ ﻳﺎ ﺁﻳﺎ ﺩﺭ‬

‫ﺭﻭﺵ ﺣﺎﺩﻭﺍﻗﻌﻲ ﻭ ﻓﺮﺿﻲ ﻣﺪﺍﺧﻠﻪ ﺩﺭ ﻭﺍﻗﻌﻴﺖ ‪ -‬ﺩﺭ ﺗﺼﺎﻭﻳﺮ ﻓﻌﺎﻝ‪ ،‬ﻫﻨﺮ ﺑﺪﻥ ﻫﻨﺮ ﻭ ﻃﺒﻴﻌﺖ‬

‫ﺑﻲﺟﺎﻥ ‪ -‬ﺟﺎﻳﻲ ﻛﻪ ﺍﺑﮋﻩ‪ ،‬ﭼﺎﺭﭼﻮﺏ ﻭ ﻧﻤﺎﻳﺶ ﻓﺮﻳﺐﻫﺎ ﺭﺍ ﻧﺎﺑﻮﺩ ﻛﺮﺩﻩﺍﻧﺪ‪ ،‬ﺁﻳﺎ ﻣﻲﺗﻮﺍﻧﻨﺪ ﺷﻜﻞ‬

‫ﻣﺤﺾ ﻧﻘﺎﺷﻲ ﻭ ﻫﻨﺮ ﺑﺎﺷﻨﺪ؟‬

‫ﻣﺎ ﺩﺭ ﻧﺘﻴﺠﻪ‪ ،‬ﻣﻴﺎﻥ ﺍﺷﻜﺎﻝ ﻣﺤﺾ‪ ،‬ﺩﺭ ﻭﻗﺎﺣﺘﻲ ﺭﺍﺩﻳﻜﺎﻝ ﻛﻪ ﺑﺎﻳﺪ ﮔﻔﺖ ﺩﺭ ﻭﻗﺎﺣﺘﻲ ﻣﺮﺋﻲ ﻭ‬

‫ﺑﻲﺗﻔﺎﻭﺕ ﺍﺷﻜﺎﻟﻲ ﻛﻪ ﭘﻴﺸﺘﺮ ﺭﺍﺯﺁﻣﻴﺰ ﻭ ﮔﺴﺴﺘﻪ ﺑﻮﺩﻧﺪ‪ ،‬ﺑﻪ ﺳﺮ ﻣﻲﺑﺮﻳﻢ‪ .‬ﻫﻤﺴﺎﻧﻲ ﺷﻜﻞ ﺭﺍﺳﺘﻴﻦ‬

‫ﺍﻣﺮ ﺍﺟﺘﻤﺎﻋﻲ ﺷﺪﻩﺍﺳﺖ ﻛﻪ ﺍﻣﺮﻭﺯ ﺩﺭ ﺷﻜﻞ ﻣﺤﺾ‪ ،‬ﭘﻮﭺ ﻭ ﻭﻗﻴﺢﺍﺵ ﺣﻜﻤﺮﺍﻧﻲ ﻣﻲﻛﻨﺪ‪ .‬ﻫﻤﺴﺎﻧﻲ‬

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‫ﺍﻏﻮﺍ‬

‫ﺑﺮﺍﻱ ﺍﻏﻮﺍ‪ ،‬ﺍﻏﻮﺍ ﺩﺭ ﺷﻜﻞ ﻛﻨﻮﻧﻲﺍﺵ‪ ،‬ﻋﻨﺎﺻﺮ ﻣﺨﺎﻃﺮﻩ‪ ،‬ﺗﻌﻠﻴﻖ ﻭ ﺟﺎﺩﻭﻳﻲ ﺍﻏﻮﺍ ﺭﺍ ﻣﻲﺯﺩﺍﻳﺪ ﻭ‬

‫ﻭﻗﺎﺣﺘﻲ ﺑﻲﺗﻔﺎﻭﺕ ﻭ ﺿﻌﻴﻒ ﺑﺪﺍﻥ ﻣﻲﺑﺨﺸﺪ‪.‬‬

‫ﺁﻳﺎ ﻣﺎ ﺑﺎﻳﺪ ﺑﻪ ﺗﺒﺎﺭﺷﻨﺎﺳﻲ ﻭﺍﻟﺘﺮ ﺑﻨﻴﺎﻣﻴﻦ ﺍﺯ ﺍﺛﺮ ﻫﻨﺮﻱ )ﺩﺭ ﺩﻭﺭﻩ ﺻﻨﻌﺘﻲ( ﻭ ﺳﺮﻧﻮﺷﺖ ﺁﻥ‬

‫ﺭﺟﻮﻉ ﻛﻨﻴﻢ؟ ﺩﺭ ﺍﺑﺘﺪﺍ ﺍﺛﺮ ﻫﻨﺮﻱ ﺍﺑﮋﻩﺍﻱ ﺁﻳﻴﻨﻲ ﻭ ﻣﺮﺗﺒﻂ ﺑﺎ ﺷﻜﻞ ﻧﻴﺎﻳﻲ ﺁﻳﻴﻦ ﺑﻮﺩﻩﺍﺳﺖ‪ .‬ﺳﭙﺲ‬

‫ﺷﻜﻠﻲ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﺎﻧﻪ ﻳﺎ ﻓﺮﻫﻨﮕﻲ ﺩﺭ ﻧﻈﺎﻣﻲ ﺑﺎ ﻭﻇﺎﻳﻔﻲ ﻛﻤﺘﺮ ﺑﻪ ﺧﻮﺩ ﻣﻲﮔﻴﺮﺩ ﻛﻪ ﻫﻨﻮﺯ ﻣﻨﺶ‬

‫ﻳﻜﺘﺎﻳﻲ ﺧﻮﺩ ﺭﺍ ﺑﺎﻗﻲ ﻧﮕﺎﻩ ﺩﺍﺷﺘﻪﺍﺳﺖ ﮔﺮﭼﻪ ﺩﻳﮕﺮ ﺑﻪ ﻣﺎﻧﺪﮔﺎﺭﻱ ﺍﺑﮋﻩﻫﺎﻱ ﺁﻳﻴﻨﻲ ﻧﻴﺴﺖ ﺍﻣﺎ‬

‫ﻣﺘﻌﺎﻟﻲ ﻭ ﻳﮕﺎﻧﻪ ﺍﺳﺖ‪ .‬ﻧﻬﺎﻳﺘﺎً ﺷﻜﻞ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﻲ ﺑﻪ ﺷﻜﻠﻲ ﺳﻴﺎﺳﻲ ﻣﺒﺪﻝ ﻣﻲﺷﻮﺩ ﻛﻪ ﺩﺭ ﺁﻥ‬

‫ﺍﺛﺮ ﻫﻨﺮﻱ ﭘﻴﺶ ﺍﺯ ﻓﺮﺍﻳﻨﺪ ﭼﺎﺭﻩﻧﺎﭘﺬﻳﺮ ﺗﻜﺜﻴﺮ ﻣﻜﺎﻧﻴﻜﻲ ﻧﺎﭘﺪﻳﺪ ﻣﻲﺷﻮﺩ‪ .‬ﺍﮔﺮ ﺩﺭ ﺷﻜﻞ ﺁﻳﻴﻨﻲ ﻫﻴﭻ‬

‫ﺍﻣﺮ ﺍﺻﻴﻠﻲ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺖ‪) .‬ﺍﺻﺎﻟﺖ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﺎﻧﻪ ﺍﺑﮋﻩﻫﺎﻱ ﺁﻳﻴﻨﻲ ﺩﺭ ﺩﺍﺷﺘﻦ ﻛﻤﺘﺮﻳﻦ ﺍﺭﺗﺒﺎﻁ ﺑﺎ‬

‫ﻣﻘﺪﺳﺎﺕ ﺍﺳﺖ‪ (.‬ﺍﻣﺮ ﺍﺻﻴﻞ‪ ،‬ﺩﺭ ﺷﻜﻞ ﺳﻴﺎﺳﻲﺍﺵ ﺩﻭﺑﺎﺭﻩ ﺍﺯ ﺑﻴﻦ ﻣﻲﺭﻭﺩ‪ .‬ﺩﺭ ﺍﻳﻨﺠﺎ‪ ،‬ﺩﻳﮕﺮ ﺗﻨﻬﺎ‬

‫ﺗﻜﺜﻴﺮ ﺍﺑﮋﻩﻫﺎ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺷﻜﻠﻲ ﺳﻴﺎﺳﻲ ﻣﺘﻨﺎﻇﺮ ﺑﺎ ﺑﻴﺸﺘﺮﻳﻦ ﮔﺮﺩﺵ ﻭ ﻛﻤﺘﺮﻳﻦ ﺷﺪﺕ ﺍﺑﮋﻩ‪.‬‬

‫ﺍﻏﻮﺍ ﻧﻴﺰ ﻣﺮﺍﺣﻞ ﺁﻳﻴﻨﻲ )ﺗﻦ ﺑﻪ ﺗﻨﻲ ﺟﺎﺩﻭﻳﻲ‪ ،‬ﻣﺒﺎﺭﺯﻩﺍﻱ( ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﺎﻧﻪ )ﻛﻪ ﺩﺭ ﺍﺳﺘﺮﺍﺗﮋﻱ‬

‫ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﺎﻧﻪ ﺍﻏﻮﺍﮔﺮ ﺍﻧﻌﻜﺎﺱ ﻳﺎﻓﺘﻪﺍﺳﺖ ﺑﺎ ﻗﻠﻤﺮﻭﻳﻲ ﺍﺯ ﺯﻧﺎﻧﮕﻲ ﻭ ﺗﻤﺎﻳﻼﺕ ﺟﻨﺴﻲ‪ ،‬ﻛﻨﺎﻳﻪﺍﻱ ﻭ‬

‫ﺷﻴﻄﺎﻧﻲ‪ .‬ﭘﺲ ﺍﻏﻮﺍ ﻫﻤﻴﻦ ﻣﻌﻨﺎ ﺭﺍ ﺑﺮﺍﻱ ﻣﺎ ﺩﺍﺭﺩ‪ :‬ﺷﺎﻳﺪ ﺳﺮﮔﻴﺠﻪ ﻧﻔﺮﻳﻦﺷﺪﻩ ﻧﻤﻮﺩﻫﺎ‪ ،‬ﺍﺳﺘﺮﺍﺗﮋﻱﻫﺎ‬

‫ﻭ ﺑﺎﺯﻳﻬﺎﻳﺶ( ﻭ ﻧﻬﺎﻳﺘﺎً ﺳﻴﺎﺳﻲ ﺩﺍﺷﺘﻪﺍﺳﺖ‪) .‬ﺍﺻﻄﻼﺡ ﺑﻨﻴﺎﻣﻴﻦ‪ ،‬ﺩﺭ ﺍﻳﻨﺠﺎ ﺗﺎ ﺣﺪﻱ ﻣﺒﻬﻢ ﻣﻲﺷﻮﺩ(‬

‫ﺩﺭ ﺍﻳﻦ ﻣﺮﺣﻠﻪ ﻭﺍﭘﺴﻴﻦ‪ ،‬ﺷﻜﻞ ﺍﺻﻴﻞ ﺍﻏﻮﺍ‪ ،‬ﺷﻜﻞ ﺯﻳﺒﺎﻳﻲﺷﻨﺎﺳﺎﻧﻪ ﻭ ﺁﻳﻴﻨﻲﺍﺵ‪ ،‬ﻧﺎﭘﺪﻳﺪ ﻣﻲﺷﻮﺩ ﻭ‬

‫ﺍﻏﻮﺍ ﺷﻜﻞ ﺍﻃﻼﻋﺎﺗﻲ ﺳﻴﺎﺳﺘﻬﺎ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﻣﻲﮔﻴﺮﺩ‪ ،‬ﭼﻬﺎﺭﭼﻮﺑﻲ ﺑﺮﺍﻱ ﺳﻴﺎﺳﺘﻬﺎﻳﻲ ﻓﺮﺍﺭ ﻛﻪ ﻣﺸﺘﺎﻕ‬

‫ﺑﺎﺯﺗﻮﻟﻴﺪ ﺑﻲﺣﺪ ﻭ ﺣﺼﺮ ﺷﻜﻠﻬﺎﻱ ﺑﺪﻭﻥ ﻣﺤﺘﻮﻱ ﺍﻧﺪ‪) .‬ﺍﻳﻦ ﺷﻜﻞ ﺍﻃﻼﻋﺎﺗﻲ ﺍﺯ ﻃﺒﻴﻌﺖ ﻓﻨﻲﺍﺵ‬

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 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬
‫ﻳﻌﻨﻲ ﺷﺒﻜﻪﻫﺎ ﺟﺪﺍﻧﺸﺪﻧﻲ ﺍﺳﺖ‪ ،‬ﺩﺭﺳﺖ ﻣﺎﻧﻨﺪ ﺷﻜﻞ ﺳﻴﺎﺳﻲ ﺍﺑﮋﻩ ﻛﻪ ﺍﺯ ﺗﻜﻨﻴﻚﻫﺎﻱ ﺑﺎﺯﺗﻮﻟﻴﺪ‬

‫ﻣﺘﻮﺍﻟﻲ ﺟﺪﺍ ﻧﺸﺪﻧﻲ ﺍﺳﺖ‪ (.‬ﺩﺭ ﻣﻮﺭﺩ ﺍﺑﮋﻩ‪ ،‬ﺍﻳﻦ ﺷﻜﻞ ﺳﻴﺎﺳﻲ ﺑﻪ ﺑﻴﺸﻴﻨﻪ ﭘﺮﺍﻛﻨﺪﮔﻲ ﺍﻏﻮﺍﮔﺮﻱ ﻭ‬

‫ﺣﺪﺍﻗﻞ ﺷﺪﺕ ﺁﻥ ﺗﻌﻠﻖ ﺩﺍﺭﺩ‪ .‬ﺁﻳﺎ ﺍﻳﻦ ﺍﺳﺖ ﺗﻘﺪﻳﺮ ﺍﻏﻮﺍﮔﺮﻱ؟ ﻳﺎ ﻣﻲﺗﻮﺍﻥ ﺑﺮ ﻋﻠﻴﻪ ﺍﻳﻦ ﺗﻘﺪﻳﺮ‬

‫ﺍﻳﺴﺘﺎﺩ ﻭ ﺑﺮ ﺍﻏﻮﺍ ﻫﻢ ﭼﻮﻥ ﺗﻘﺪﻳﺮ ﺷﺮﻁﺑﻨﺪﻱ ﻧﻤﻮﺩ؟ ﺗﻮﻟﻴﺪ ﻫﻢ ﭼﻮﻥ ﺗﻘﺪﻳﺮ ﻳﺎ ﺍﻏﻮﺍ ﻫﻤﭽﻮﻥ‬

‫ﺗﻘﺪﻳﺮ؟ ﺑﺮ ﻋﻠﻴﻪ ﺳﺎﺧﺘﺎﺭﻫﺎ ﮊﺭﻓﻤﻨﺪ ﺣﻘﻴﻘﺘﺸﺎﻥ ﺑﻪ ﻧﻔﻊ ﻧﻤﻮﺩﻫﺎ ﻭ ﺗﻘﺪﻳﺮﺷﺎﻥ؟ ﻣﺎ ﺍﻣﺮﻭﺯ ﺩﺭ‬

‫ﺑﻲﺣﺴﻲ ﺑﻪ ﺳﺮ ﻣﻲﺑﺮﻳﻢ ﻭ ﺍﮔﺮ ﻭﺍﻧﻤﺎﻳﻲ ﺷﻜﻞ ﺍﻓﺴﻮﻥﺯﺩﺍﻳﻲ ﺷﺪﻩ ﺍﻳﻦ ﺑﻲﺣﺴﻲ ﺍﺳﺖ ﻭ ﺍﻏﻮﺍ ﺷﻜﻞ‬

‫ﺷﻴﻔﺘﻪﻛﻨﻨﺪﻩ ﺁﻥ ﺍﺳﺖ‪ .‬ﺁﻧﺎﺗﻮﻣﻲ ﻧﻪ ﺗﻘﺪﻳﺮ ﺍﺳﺖ ﻭ ﻧﻪ ﺳﻴﺎﺳﺖ‪ :‬ﺍﻏﻮﺍ ﺗﻘﺪﻳﺮ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺁﻥ ﭼﻴﺰﻱ‬

‫ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺟﻬﺎﻧﻲ ﺷﻮﻡ ﻭ ﺟﺎﺩﻭﻳﻲ‪ ،‬ﺟﻬﺎﻧﻲ ﭘﺮﻣﺨﺎﻃﺮﻩ‪ ،‬ﺳﺮﮔﻴﺠﻪﺁﻭﺭ ﻭ ﻗﺎﺑﻞ ﭘﻴﺶﺑﻴﻨﻲ ﺑﺎﻗﻲ‬

‫ﻣﻲﻣﺎﻧﺪ‪ ،‬ﺍﻳﻦ ﺁﻥ ﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ )ﻫﻢ( ﺩﺭ ﺟﻬﺎﻧﻲ ﻣﺮﺋﻲ ﺑﻲﺣﺲ ﻭ ﻛﺎﺭﺁﻣﺪ‪ ،‬ﺧﺎﻣﻮﺵ ﻭ ﻣﻮﺛﺮ‬

‫ﺑﺎﻗﻲ ﻣﻲﻣﺎﻧﺪ‪.‬‬

‫ﺟﻬﺎﻥ ﻋﺮﻳﺎﻥ ﮔﺸﺘﻪﺍﺳﺖ‪ .‬ﭘﺎﺩﺷﺎﻩ ﻋﺮﻳﺎﻥ ﮔﺸﺘﻪ ﻭ ﻫﻤﻪ ﭼﻴﺰ ﺁﺷﻜﺎﺭ ﺍﺳﺖ‪ .‬ﺗﻤﺎﻣﻲ ﺗﻮﻟﻴﺪ ﻭ‬

‫ﺧﻮﺩ ﺣﻘﻴﻘﺖ‪ ،‬ﺑﻪ ﺳﻮﻱ ﺑﻲﭘﺮﺩﻩﮔﻮﻳﻲ ﻭ »ﺣﻘﻴﻘﺖ« ﺗﺤﻤﻞﻧﺎﭘﺬﻳﺮ ﻭﺟﻮﺩ ﺳﻜﺲ ﺟﺰ ﺗﺎﺯﻩﺗﺮﻳﻦ‬

‫ﺩﺳﺘﺎﻭﺭﺩﺵ ﻫﺪﺍﻳﺖ ﺷﺪﻩﺍﺳﺖ‪ .‬ﺧﻮﺷﺒﺨﺘﺎﻧﻪ ﺩﺭ ﭘﺎﻳﺎﻥ ﻫﻴﭻ ﭼﻴﺰﻱ ﺑﺮﺍﻱ ﺁﻥ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﻭ ﺍﻏﻮﺍ‬

‫ﻫﻨﻮﺯ ﺭﻭﻳﺎﺭﻭﻱ ﺣﻘﻴﻘﺖ‪ ،‬ﺩﺭ ﺍﻟﻬﺎﻡﺗﺮﻳﻦ ﺷﻜﻞ ﭘﺎﺳﺦ ﺑﺎﻗﻲ ﻣﺎﻧﺪﻩﺍﺳﺖ‪" :‬ﺷﺎﻳﺪ ﻣﺎ ﺁﺭﺯﻭ ﺩﺍﺭﻳﻢ‬

‫ﺣﻘﻴﻘﺖ ﺭﺍ ﺁﺷﻜﺎﺭ ﻛﻨﻴﻢ ﭼﺮﺍ ﺁﻧﻜﻪ ﺩﺷﻮﺍﺭ ﺍﺳﺖ ﺁﻧﺮﺍ ﻋﺮﻳﺎﻥ ﺷﺪﻩ ﺗﺼﻮﺭ ﻛﻨﻴﻢ‪".‬‬

‫‪۲٦۸‬‬
‫ﺍﻏﻮﺍ‬

‫ﭘﺎﻧﻮﺷﺖ‬

‫‪44 ‬‬
‫‪Goblot ‬‬
‫‪ 45‬ﻗﺎﻋﺪﻩ ﻗﻤﺎﺭﺑﺎﺯﻱ ﻳﻚ ﺗﻮﺍﻓﻖ ﻛﺎﻣﻼً ﻗﺮﺍﺭﺩﺍﺩﻱ ﻣﻴﺎﻥ ﻃﺮﻓﻴﻦ ﺩﺭ ﻗﻤﺎﺭﺑﺎﺯﻱ ﺗﻤﺎﻣﻲ ﺍﺭﺯﺵ ﻣﺒﺎﺩﻻﺕ ﺍﻗﺘﺼﺎﺩﻱ‬
‫ﺳﺮﻧﻮﺷﺖ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻗﻮﺍﻋﺪ ﺑﺎﺯﻱ ﺧﻮﺍﻫﻨﺪ ﺟﺴﺖ‪ .‬ﻡ‪.‬ﻑ‬
‫‪ 46‬ﻗﺮﺑﺎﻧﻲﺷﺪﻥ ﺑﺮﺍﻱ ﻭﺟﻮﺩ ﺧﺪﺍﻭﻧﺪ ﻣﺎﻧﻨﺪ ﺑﺨﺖﺁﺯﻣﺎﻳﻲ ﺍﺳﺖ ﻛﻪ ﻓﺮﺩ ﻭﺟﻮﺩ ﺣﻘﻴﺮ ﺧﻮﺩ ﺭﺍ ﻓﺪﺍﻱ ﺗﻌﺎﻟﻲ ﻳﺎﻓﺘﻦ ﺑﺎ‬
‫ﻭﺟﻮﺩﻱ ﻛﻠﻲ ﻭ ﻭﺍﻻ ﻣﻲﺷﻮﺩ ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺩﺭ ﺑﺨﺖﺁﺯﻣﺎﻳﻲ ﻓﺮﺩ ﻳﻚ ﺩﻻﺭ ﺭﺍ ﺑﺮﺍﻱ ﺷﺎﻧﺲ ﺭﻭﻳﺎﺭﻭﻳﻲ ﺑﺎ ﺩﻩ ﻫﺰﺍﺭ ﺩﻻﺭ‬
‫ﻗﺮﺑﺎﻧﻲ ﻣﻲﻛﻨﺪ‪.‬ﻡ‪.‬ﻑ‬
‫‪47 ‬‬
‫‪ideal game ‬‬
‫‪48 ‬‬
‫‪The Lottery in Babylon ‬‬
‫‪49 ‬‬
‫‪Jogo de Bicho ‬‬
‫‪ 50‬ﺍﻣﺮ ﻣﻀﺤﻚ ﻭ ﭘﻮﭺ ‪ ,‬ﺑﻮﺩﺭﻳﺎﺭ ﺟﻬﺎﻧﻲ ﻓﻦﺁﻭﺭﻱ ﻛﻨﻮﻧﻲ ﺭﺍ ﺟﻬﺎﻧﻲ ﺍﺯ ﺷﺒﻜﻪﻫﺎ‪ ,‬ﻣﺎﺗﺮﻳﻜﺲﻫﺎ ﻭ ﺍﺗﺼﺎﻻﺕ ﻭ ﺗﻜﺜﻴﺮ‬
‫ﺑﻲﺭﻭﻳﻪ ﻧﺸﺎﻧﻪﻫﺎ ﻣﻲﺩﺍﻧﺪ ﻛﻪ ﺑﺎ ﻭﺟﻮﺩ ﺷﻴﻔﺘﮕﻲ ﺁﻥ ‪ ,‬ﻫﻴﭻ ﺍﻏﻮﺍ ﻭ ﻣﺒﺎﺭﺯﻩﺍﻱ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪.‬‬
‫‪ Holocaust 51 ‬ﺍﺻﻄﻼﺣﺎً ﺑﻪ ﺩﻭﺭﻩ ﺷﻜﻨﺠﻪﻫﺎ ﻭ ﻛﺸﺘﺎﺭ ﻳﻬﻮﺩﻳﺎﻥ ﺍﺭﻭﭘﺎﻳﻲ ﺑﻪ ﺩﺳﺖ ﻧﺎﺯﻱﻫﺎﻱ ﺁﻟﻤﺎﻧﻲ ﮔﻔﺘﻪ ﻣﻲﺷﻮﺩ‪.‬‬
‫ﺍﮔﺮﭼﻪ ﮔﺮﺍﻳﺸﺎﺕ ﺿﺪ ﻳﻬﻮﺩﻱ ﺩﺭ ﺍﺭﻭﭘﺎ ﺳﺎﺑﻘﻪﺍﻱ ﻃﻮﻻﻧﻲ ﺩﺍﺭﺩ ﺍﻣﺎ ﻣﻮﺝ ﻋﻈﻴﻢ ﺍﻥ ﺑﺎ ﻗﺪﺭﺕ ﮔﻴﺮﻱ ﻫﻴﺘﻠﺮ ﺩﺭ ﺳﺎﻝ‬
‫‪ ۱۹۳۳‬ﺁﻏﺎﺯ ﮔﺸﺖ‪ .‬ﺑﻪ ﻣﺤﻼﺕ ﻳﻬﻮﺩﻳﺎﻥ ﺣﻤﻠﻪ ﻣﻲﺷﺪ ﺍﻣﻮﺍﻟﺸﺎﻥ ﺭﺍ ﻏﺎﺭﺕ ﻣﻲﻛﺮﺩﻧﺪ ﻭ ﻧﻬﺎﻳﺘﺎً ﺑﻪ ﺍﺭﺩﻭﮔﺎﻫﻬﺎﻱ ﺟﻤﻌﻲ‬
‫ﻓﺮﺳﺘﺎﺩﻩ ﺷﺪﻧﺪ‪ .‬ﺩﺭ ﻫﻨﮕﺎﻡ ﺟﻨﮓ ﺟﻬﺎﻧﻲ ﺩﻭﻡ ﻫﻴﺘﻠﺮ ﻣﺨﻔﻴﺎﻧﻪ ﺍﺭﺩﻭﮔﺎﻫﻬﺎﻱ ﻣﺮﮒ ﺭﺍ ﺗﺎﺳﻴﺲ ﻧﻤﻮﺩ ﻛﻪ "ﺭﺍﻩ ﺣﻞ‬
‫ﻧﻬﺎﻳﻲ ﻣﺴﺌﻠﻪ ﻳﻬﻮﺩ" ﺧﻮﺍﻧﺪﻩ ﻣﻲﺷﺪ‪ .‬ﺗﻨﻬﺎ ﺩﺭ ﻳﻚ ﻛﺸﺘﺎﺭ ﺳﻴﺼﺪ ﻫﺰﺍﺭ ﻳﻬﻮﺩﻱ ﺩﺭ ﺍﺭﺩﻭﮔﺎﻫﻲ ﻧﺰﺩﻳﻚ ﻛﻴﻒ‬
‫ﻛﺸﺘﻪﺷﺪﻧﺪ‪ .‬ﺗﺎ ﭘﺎﻳﺎﻥ ﺟﻨﮓ ﺍﻣﺎﺭ ﺍﻳﻦ ﻛﺸﺘﺎﺭ ﺑﻪ ﺷﺶ ﻣﻴﻠﻴﻮﻥ ﺭﺳﻴﺪ‪.‬‬
‫‪ Homeophatic 52 ‬ﺭﻭﺷﻲ ﺑﺮﺍﻱ ﺩﺭﻣﺎﻥ ﺑﻴﻤﺎﺭﻱﻫﺎ ﺑﺎ ﺗﺠﻮﻳﺰ ﻭ ﻣﺪﻳﺮﻳﺖ ﺩﺍﺭﻭﻫﺎﻳﻲ ﻛﻪ ﻋﻼﺋﻢ ﻫﻤﺎﻥ ﺑﻴﻤﺎﺭﻱ ﺭﺍ ﺩﺭ‬
‫ﺑﻴﻤﺎﺭ ﺍﻳﺠﺎﺩ ﻣﻲﻛﻨﺪ‪.‬‬
‫‪53 ‬‬
‫‪Malinowski ‬‬
‫‪54 ‬‬
‫‪Jean Querzola ‬‬
‫‪55 ‬‬
‫‪bionic Mirror ‬‬
‫‪56 ‬‬
‫‪Dr Rorvik ‬‬
‫‪57 ‬‬
‫‪Pr.A.Jacpuard ‬‬
‫‪58‬‬
‫× ﻣﺪﺍﺭ ﻣﺨﺘﻠﻂ ﺑﻪ ﻳﻚ ﭼﻴﭗ ﻳﺎ ﻣﻴﻜﺮﻭ ﭼﻴﭗ ﮔﻔﺘﻪ ﻣﻲﺷﻮﺩ‪ ،‬ﻣﺪﺍﺭ ﻣﺨﺘﻠﻂ ﺷﺎﻣﻞ ﻧﻴﻤﻪ ﺭﺳﺎﻧﺎﻫﺎ‪ ،‬ﻫﺰﺍﺭﺍﻥ ﻭﻳﺎ‬
‫ﻣﻴﻠﻴﻮﻥﻫﺎ ﻣﻘﺎﻭﻣﺖ‪ ،‬ﺧﺎﺯﻥ ﻭ ﺗﺮﺍﻧﺰﻳﺴﺘﻮﺭ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻳﻚ ﻣﺪﺍﺭ ﺳﺎﺧﺘﻪ ﻣﻲﺷﻮﻧﺪ‪.‬‬
‫‪call  ­  in  shows,  all  ­  out ‬‬ ‫ﻣﺼﺎﺣﺒﺎﺕ ﻫﺪﺍﻳﺖ ﻧﺸﺪﻩ ﺑﺮﻧﺎﻣﻪﻫﺎﻱ ﺗﻠﻔﻨﻲ‬ ‫‪Non  ­  directive  interviews,‬‬
‫‪participation‬‬

‫‪۲٦۹‬‬
 ‫ﮊﺍﻥ ﺑﻮﺩﺭﻳﺎﺭ‬

‫‪ the extortion of speech -‬ﻣﺸﺎﺭﻛﺖ ﻫﻤﮕﺎﻧﻲ‬

‫‪semiurgy ‬‬

‫‪ :avatar  59 ‬ﺗﺠﻠﻲ ﻭ ﺗﺠﺴﻢ ﺧﺪﺍﻳﻲ ﭘﻨﻬﺎﻥ ﺩﺭ ﺷﻜﻞ ﺍﻧﺴﺎﻥ ﻳﺎ ﺣﻴﻮﺍﻥ ﻳﺎ ﺑﺎﺯﻧﻤﻮﺩﻱ ﻛﻴﻔﻲ ﻭ ﻣﻔﻬﻮﻣﻲ ﻳﺎ ﺗﺠﻠﻲ‬
‫ﻣﻮﻗﺘﻲ ﻳﻚ ﺟﻮﻫﺮ‪ .‬ﺩﺭ ﺍﻳﻨﺠﺎ ﻣﺮﺍﺩ ﺑﻮﺩﺭﻳﺎﺭ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ‪ D.N.A‬ﺗﺠﻠﻲ ﺳﺎﻳﺒﺮﻧﺘﻴﻜﻲ ﻛﻠﻴﺖ ﻭ ﺟﻮﻫﺮ ﺍﻧﺴﺎﻥ ﺍﺳﺖ‪.‬‬

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‫ﺍﻏﻮﺍ‬

‫‪۲۷۱‬‬