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‫ﮔﺮﻭﻩ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‬

‫ﺗﺤﺮﻳﺮﻳﻪﻯ ﻣﺎﻫﻨﺎﻣﻪﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ ﺍﺯ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ‪ ،‬ﻣﺘﺮﺟﻤﺎﻥ ﻭ ﻣﺤﻘﻘﺎﻥ‬ ‫ﮔﻮﻧﻪﻯ ﺍﺩﺑﻰ ﮔﻤﺎﻧﻪﺯﻥ )ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﻓﺎﻧﺘﺰﻯ‪ ،‬ﻭﺣﺸﺖ ﻭ ﺯﻳﺮﺳﺒﻚﻫﺎﻯ ﺁﻥﻫﺎ(‬ ‫ﺩﻋﻮﺕ ﻣﻰﻛﻨﺪ ﺩﺍﺳﺘﺎﻥﻫﺎ‪ ،‬ﻣﻘﺎﻻﺕ ﻭ ﻣﻄﺎﻟﺐ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻨﻪ ﺑﻪ ﻧﺸﺎﻧﻰ‬ ‫ﭘﺴﺖ ﺍﻟﻜﺘﺮﻭﻧﻴﻚ ﻣﺎﻫﻨﺎﻣﻪ )‪ (mag@fantasy.ir‬ﺍﺭﺳﺎﻝ ﻛﻨﻨﺪ‪.‬‬

‫ﺷﺮﺍﻳﻂ ﭘﺬﻳﺮﺵ ﺁﺛﺎﺭ‪:‬‬ ‫‪ -1‬ﺧﻮﺍﻫﺸﻤﻨﺪ ﺍﺳﺖ ﻣﻄﺎﻟﺐ ﺭﺍ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻧﺮﻡﺍﻓﺰﺍﺭﻫﺎﻯ ﻭﺍژﻩﭘﺮﺩﺍﺯ‪ ،‬ﺩﺭ ﺩﻭ ﻗﺎﻟﺐ ‪ MS Word‬ﻳﺎ‬ ‫‪ Open Office‬ﺍﺭﺳﺎﻝ ﻓﺮﻣﺎﻳﻴﺪ‪.‬‬ ‫‪ -2‬ﺩﺭ ﻛﻠﻴﻪﻯ ﻣﻄﺎﻟﺐ ﺍﺭﺳﺎﻟﻰ‪ ،‬ﻗﺎﻧﻮﻥ ﺣﻤﺎﻳﺖ ﺣﻘﻮﻕ ﻣﺆﻟﻔﺎﻥ ﻭ ﻣﻨﺼﻔﺎﻥ‪ ،‬ﻣﺼﻮﺏ ‪ ،1384‬ﺑﺎﻳﺪ‬ ‫ﺭﻋﺎﻳﺖ ﺷﺪﻩ ﺑﺎﺷﺪ‪.‬‬ ‫‪ -3‬ﻣﻄﺎﻟﺐ ﺗﺮﺟﻤﻪ ﺭﺍ ﻫﻤﺮﺍﻩ ﺑﺎ ﻧﺴﺨﻪﺍﻯ ﺍﺯ ﺍﺻﻞ ﻣﻄﻠﺐ )ﺩﺭ ﻗﺎﻟﺐﻫﺎﻯ ﺍﺳﺘﺎﻧﺪﺍﺭﺩ ‪، MS Word‬‬ ‫‪ PDF ،TXT‬ﻳﺎ ‪ (Open Office‬ﺍﺭﺳﺎﻝ ﻓﺮﻣﺎﻳﻴﺪ‪.‬‬ ‫‪ -4‬ﻣﺎﻫﻨﺎﻣﻪﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ ﺩﺭ ﻭﻳﺮﺍﻳﺶ ﻭ ﺍﺻﻼﺡ ﻣﻄﺎﻟﺐ ﺁﺯﺍﺩ ﺍﺳﺖ‪.‬‬ ‫‪ -5‬ﻣﺴﺆﻭﻟﻴﺖ ﻣﺤﺘﻮﺍﻯ ﻣﻄﺎﻟﺐ ﻣﻨﺪﺭﺝ ﺩﺭ ﻣﺎﻫﻨﺎﻣﻪﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‪ ،‬ﺑﺎ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻭ‬ ‫ﻣﺘﺮﺟﻤﺎﻥ ﺁﺛﺎﺭ ﺍﺳﺖ‪.‬‬ ‫‪ -6‬ﻛﻠﻴﻪﻯ ﻣﻄﺎﻟﺐ ﺍﺭﺳﺎﻟﻰ ﺩﺭ ﺗﺤﺮﻳﺮﻳﻪﻯ ﻣﺎﻫﻨﺎﻣﻪﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ ﻣﻮﺭﺩ ﺑﺮﺭﺳﻰ ﻗﺮﺍﺭ‬ ‫ﻣﻰﮔﻴﺮﻧﺪ ﻭ ﺗﻨﻬﺎ ﺩﺭ ﺻﻮﺭﺕ ﺗﺄﻳﻴﺪ ﻣﻨﺘﺸﺮ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫‪ -7‬ﺩﺭ ﺻﻮﺭﺕ ﺍﺭﺳﺎﻝ ﻣﻌﺮﻓﻰ ﻭ ﻳﺎ ﻧﻘﺪ ﻛﺘﺎﺏ ﻭ ﻓﻴﻠﻢ‪ ،‬ﺗﺼﺎﻭﻳﺮ ﻣﻨﺎﺳﺐ ﺭﺍ ﻧﻴﺰ ﻫﻤﺮﺍﻩ ﻓﺮﻣﺎﻳﻴﺪ‪.‬‬ ‫‪ -8‬ﺑﺎﺯﻧﺸﺮ ﺁﺛﺎﺭﻯ ﻛﻪ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﺩﺭ ﺩﻳﮕﺮ ﺭﺳﺎﻧﻪﻫﺎ ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺑﺎﺷﻨﺪ‪ ،‬ﭘﺲ ﺍﺯ ﺗﺄﻳﻴﺪ ﺗﺤﺮﻳﺮﻳﻪ‪،‬‬ ‫ﻣﻨﻮﻁ ﺑﻪ ﺍﺭﺍﺋﻪﻯ ﺍﺟﺎﺯﻩﻧﺎﻣﻪﻯ ﻛﺘﺒﻰ ﺍﺯ ﺁﻥ ﻧﺸﺮﻳﻪ ﺍﺳﺖ‪.‬‬ ‫ﺍ‬


‫ژﺍﻧﺮ ﺩﺍﺩ ﻛﻪ ﺑﺎ ﺧﻮﺍﻧﺪﻥ ﺍﻳﻦ ﻛﺘﺎﺏ ﻭﻗﺖ ﺧﻮﺩ ﺭﺍ ﺗﻠﻒ ﻧﻜﺮﺩﻩ ﻭ ﺑﺎ ﺩﻧﻴﺎﻳﻰ ﻋﺠﻴﺐ ﻭ ﺗﺎﺯﻩ ﻭ ﺳﺮﺷﺎﺭ ﺍﺯ‬ ‫ﻏﺎﻓﻞﮔﻴﺮﻯﻫﺎ ﺳﺮ ﻭ ﻛﺎﺭ ﺧﻮﺍﻫﻨﺪ ﺩﺍﺷﺖ‪.‬‬ ‫ﺑﺨﺸﻰ ﺍﺯ ﻣﺘﻦ ﻛﺘﺎﺏ‬ ‫ﺳﻌﯽ ﮐﺮده ﺑﻮدﻧﺪ وﺻﯿﺖﻧﺎﻣﻪ را ﻧﺎﺑﻮد ﮐﻨﻨﺪ‪ ،‬اﻣﺎ ﻇﺎﻫﺮاً اﯾﻦ ﮐﺎر از ﺗﻮاﻧﺸﺎن ﺧﺎرج ﺑﻮد‪ .‬ﺑﻪ ﻫﻤﯿﻦ دﻟﯿﻞ آن‬ ‫را ﺑﻪ دو ﺻﻮرت ﺷﮑﺴﺘﻨﺪ‪ :‬اول از ﻧﻈﺮ ﺟﺴﻤﯽ ﮐﻪ ﮐﺎﻏﺬ ﭘﻮﺳﺘﯽ را ﭘﺎره و ﺗﮑﻪﻫﺎی آن را در ﻓﻀﺎ و زﻣﺎن‬ ‫ﭘﺨﺶ ﮐﺮدﻧﺪ؛ دوم از ﻧﻈﺮ روﺣﯽ‪ ،‬ﭼﻮن ﺣﺘﺎ ﺑﻪ ﯾﮏ ﴍط آن ﻋﻤﻞ ﻧﺸﺪ‪.‬‬ ‫ﻣﺘﻮﻟﯿﺎن ﺧﯿﺎﻧﺖﮐﺎر دوﺳﺖ ﻧﺪاﺷﺘﻨﺪ ﻫﯿﭻﯾﮏ از ﴍوط وﺻﯿﺖﻧﺎﻣﻪ ﺑﻪ اﺟﺮا درآﯾﺪ؛ ﺑﻪ ﻫﻤﯿﻦ دﻟﯿﻞ ﻫﺮ‬ ‫ﻫﻔﺖ ﺗﮑﻪی وﺻﯿﺖﻧﺎﻣﻪ را ﺑﺎ دﻗﺖ ﺑﺴﯿﺎر ﭘﻨﻬﺎن ﮐﺮدﻧﺪ‪.‬‬ ‫اوﻟﯿﻦ و ﮐﻢاﻫﻤﯿﺖﺗﺮﯾﻦ ﺗﮑﻪ را داﺧﻞ ﮐﺮﯾﺴﺘﺎل ﺻﺎف و ﺷﻔﺎﻓﯽ ﮐﻪ از اﳌﺎس ﻫﻢ ﻣﺤﮑﻢﺗﺮ ﺑﻮد‪ ،‬ﮔﺬاﺷﺘﻨﺪ‪.‬‬ ‫ﺑﻌﺪ ﮐﺮﯾﺴﺘﺎل را در داﺧﻞ ﺟﻌﺒﻪای از ﺟﻨﺲ ﺷﯿﺸﻪی ﻧﺸﮑﻦ ﻗﺮار دادﻧﺪ و ﺟﻌﺒﻪ را داﺧﻞ ﻗﻔﺴﯽ از ﻧﻘﺮه‬ ‫و ﻣﺎﻻﮐﯿﺖ ﮔﺬاﺷﺘﻨﺪ و ﻗﻔﺲ را روی ﺳﻄﺢ ﺧﻮرﺷﯿﺪی ﻣﺮده‪ ،‬در ﻧﻘﻄﻪی اﻧﺘﻬﺎﯾﯽ زﻣﺎن ﻣﯿﺦﮐﻮب ﮐﺮدﻧﺪ‪.‬‬ ‫دوازده ﻧﮕﻬﺒﺎن ﻓﻠﺰی دور ﻗﻔﺲ ﮐﺸﯿﮏ ﻣﯽدادﻧﺪ؛ ﻫﺮ ﮐﺪام روی ﯾﮑﯽ از اﻋﺪاد ﺻﻔﺤﻪ ﺳﺎﻋﺘﯽ ﮐﻪ ﺑﺎ ﻧﻮر‬ ‫اﺑﺪی روی ﺳﻄﺢ ﺗﺎرﯾﮏ ﺳﺘﺎره ﺣﮏ ﺷﺪه ﺑﻮد‪ ،‬اﯾﺴﺘﺎده ﺑﻮدﻧﺪ‪.‬‬ ‫ﻧﮕﻬﺒﺎنﻫﺎ ﴏﻓﺎً ﺟﻬﺖ ﻣﺤﺎﻓﻈﺖ از آن ﺗﮑﻪ آﻓﺮﯾﺪه ﺷﺪه ﺑﻮدﻧﺪ‪ .‬ﻇﺎﻫﺮﺷﺎن ﺗﺎ ﺣﺪودی ﺷﺒﯿﻪ اﻧﺴﺎنﻫﺎ‬ ‫ﺑﻮد‪ .‬اﻣﺎ از ﻧﻈﺮ ﻗﺪی دو ﺑﺮاﺑﺮ ﯾﮏ اﻧﺴﺎن ﻣﻌﻤﻮﻟﯽ ﺑﻮدﻧﺪ و ﭘﻮﺳﺘﺸﺎن از ﺟﻨﺲ ﻓﻮﻻدی ﺑﺮاق ﺑﻮد‪ .‬ﻣﺎﻧﻨﺪ‬ ‫ﮔﺮﺑﻪ ﺗﯿﺰﭘﺎ و اﻧﻌﻄﺎفﭘﺬﯾﺮ ﺑﻮدﻧﺪ‪ ،‬دﺳﺖ ﻧﺪاﺷﺘﻨﺪ و ﺑﻪ ﺟﺎی آن ﺗﯿﻐﻪﻫﺎﯾﯽ از ﻣﭻﻫﺎﯾﺸﺎن ﺑﯿﺮون زده ﺑﻮد‪.‬‬ ‫ﻫﺮ ﻧﮕﻬﺒﺎﻧﯽ ﻣﺴﺌﻮل ﻓﻀﺎی ﺑﯿﻦ زﻣﺎن ﺧﻮد و زﻣﺎن ﻧﮕﻬﺒﺎن ﺑﻌﺪی ﺑﻮد‪ .‬رﻫﱪﺷﺎن ﮐﻪ ﺑﯿﻦ ﺳﺎﻋﺖ دوازده‬ ‫و ﯾﮏ ﻣﯽاﯾﺴﺘﺎد‪ ،‬ﺑﺮ ﮐﺎر آنﻫﺎ ﻧﻈﺎرت ﻣﯽﮐﺮد‪.‬‬ ‫ﮔﺮوﻫﯽ از ﺑﺎزرﺳﺎن ﮐﻪ ﺑﺎ دﻗﺖ اﻧﺘﺨﺎب ﻣﯽﺷﺪﻧﺪ‪ ،‬وﻇﯿﻔﻪی ﴎﮐﺸﯽ ﺑﻪ ﻧﮕﻬﺒﺎﻧﺎن ﻓﻠﺰی را ﺑﺮ ﻋﻬﺪه‬ ‫داﺷﺘﻨﺪ؛ ﻣﻮﺟﻮدات دونﭘﺎﯾﻪای ﮐﻪ ﺟﺮأت ﻧﺪاﺷﺘﻨﺪ ﻧﺎﻗﺼﺎن وﺻﯿﺖﻧﺎﻣﻪ را زﯾﺮ ﺳﺆال ﺑﱪﻧﺪ‪ .‬اﯾﻦ ﺑﺎزرﺳﺎن‬ ‫ﻫﺮ ﯾﮑﺼﺪ ﻫﺰار ﺳﺎل ﻇﺎﻫﺮ ﻣﯽﺷﺪﻧﺪ ﺗﺎ ﻣﻄﻤﱧ ﺷﻮﻧﺪ ﻫﻤﻪﭼﯿﺰ رو ﺑﻪ راه اﺳﺖ و ﺗﮑﻪی وﺻﯿﺖﻧﺎﻣﻪ در‬ ‫ﺟﺎی اﻣﻦ ﺧﻮد ﻗﺮار دارد‪.‬‬

‫‪4. Arthur Penhaligon‬‬ ‫‪5. Old Kingdom‬‬ ‫‪6. The Seventh Tower‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫‪1. Mister Monday‬‬ ‫‪2. The Keys to the Kingdom‬‬ ‫‪3. Garth Nix‬‬


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‫ﺁﻗﺎﻯ ﺩﻭﺷﻨﺒﻪ‪ :‬ﻳﻜﻰ ﺍﺯ ﻫﻔﺖ ﻣﺘﻮﻟﻰ ﻛﻪ ﺳﻮﮔﻨﺪﺵ ﺭﺍ ﺷﻜﺴﺘﻪ ﺍﺳﺖ‪ .‬ﺍﻭ ﺍﺯ ﮔﻨﺎﻩ ﺗﻨﺒﻠﻰ ﺭﻧﺞ ﻣﻰﺑﺮﺩ‬ ‫ﻭ ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ ﻧﻤﻰﺗﻮﺍﻧﺪ ﻓﺮﻣﺎﻧﺮﻭﺍﻯ ﺧﻮﺑﻰ ﺑﺮﺍﻯ ﻋﻤﺎﺭﺕ ﭘﺎﻳﻴﻨﻰ ﺑﺎﺷﺪ‪ .‬ﺁﻗﺎﻯ ﺩﻭﺷﻨﺒﻪ‬ ‫ﻣﺎﻧﻨﺪ ﺗﻤﺎﻡ ﺭﻭﺯﻫﺎﻯ ﺩﻳﮕﺮ‪ ،‬ﺳﻪ ﺯﻳﺮ ﺩﺳﺖ ﺑﻪ ﻧﺎﻡﻫﺎﻯ »ﺳﭙﻴﺪﻩﺩﻡ«‪» ،‬ﻇﻬﺮ« ﻭ »ﻏﺮﻭﺏ« ﺩﺍﺭﺩ ﻛﻪ‬ ‫ﺍﺳﺎﺳﺎً ﺁﻥﻫﺎ ﻛﺎﺭﻫﺎﻯ ﺍﻭ ﺭﺍ ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﻨﺪ ﻭ ﺍﻭ ﺧﻮﺩﺵ ﺩﺭ ﺍﻛﺜﺮ ﺩﺍﺳﺘﺎﻥ ﻗﺪﺭﺗﻰ ﺍﺯ ﺧﻮﺩ ﻧﺸﺎﻥ‬ ‫ﻧﻤﻰﺩﻫﺪ ﻭ ﻣﺸﻐﻮﻝ ﭼﺮﺕ ﺯﺩﻥ ﺍﺳﺖ‪.‬‬ ‫‪ ‬ﻳﻜﻰ ﺍﺯ ﻭﻳﮋﮔﻰﻫﺎﻯ ﻗﺎﺑﻞ ﺫﻛﺮ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﺧﻠﻖ ﺷﺨﺼﻴﺖﻫﺎ ﻭ ﻣﻮﻗﻌﻴﺖﻫﺎﻯ ﺑﻜﺮ ﻭ ﺗﺎﺯﻩ ﺍﺳﺖ‪.‬‬ ‫ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺜﺎﻝ ﺑﺨﺸﻰ ﺍﺯ ﻭﺻﻴﺖﻧﺎﻣﻪ ﻛﻪ ﺁﺭﺗﻮﺭ ﺭﺍ ﺩﺭ ﻣﺴﻴﺮ ﺭﺳﻴﺪﻥ ﺑﻪ ﻛﻠﻴﺪ ﺍﺻﻠﻰ ﻛﻤﻚ ﻣﻰﻛﻨﺪ‪،‬‬ ‫ﺩﺭ ﻗﺎﻟﺐ ﻳﻚ ﻗﻮﺭﺑﺎﻏﻪ ﺩﺭ ﺁﻣﺪﻩ ﻛﻪ ﺻﺪﺍﻯ ﺍﻳﻦ ﻗﻮﺭﺑﺎﻏﻪ ﺩﺭ ﺍﺑﺘﺪﺍﻯ ﺩﺍﺳﺘﺎﻥ ﺍﺯ ﮔﻠﻮﻯ ﺩﺧﺘﺮﻯ ﺑﻪ ﻧﺎﻡ‬ ‫»ﺳﻮﺯﻯ« ‪-‬ﻫﻤﺮﺍﻩ ﻭ ﺭﺍﻫﻨﻤﺎﻯ ﺁﺭﺗﻮﺭ‪ -‬ﺷﻨﻴﺪﻩ ﻣﻰﺷﻮﺩ ﻭ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﺣﻤﻞ ﺟﺎﻧﻮﺭﻯ ﻣﺜﻞ ﻗﻮﺭﺑﺎﻏﻪ‬ ‫ﺩﺭ ﮔﻠﻮ‪ ،‬ﺩﺭ ﻋﻤﺎﺭﺕ ﻣﺎﻳﻪﻯ ﻣﺒﺎﻫﺎﺕ ﻭ ﺗﻔﺎﺧﺮ ﺑﺎﺷﺪ! ﻳﺎ ﻣﻮﻗﻌﻴﺖﻫﺎﻳﻰ ﻛﻪ ﺁﺭﺗﻮﺭ ﺑﺎ ﺁﻥﻫﺎ ﺑﺮﺧﻮﺭﺩ‬ ‫ﻣﻰﻛﻨﺪ‪ .‬ﺷﺎﻳﺪ ﻳﻜﻰ ﺍﺯ ﺑﻬﺘﺮﻳﻦ ﻓﺼﻮﻝ ﺍﻳﻦ ﻛﺘﺎﺏ‪ ،‬ﭘﻴﺪﺍ ﻛﺮﺩﻥ ﺭﺍﻩ ﺍﺯ ﻃﺮﻳﻖ »ﺭﺍﻩﭘﻠﻪﻫﺎﻯ ﻧﺎﻣﻤﻜﻦ«‬ ‫ﺑﺎﺷﺪ‪ .‬ﺍﻳﻦ ﺭﺍﻩﭘﻠﻪﻫﺎ ﻛﻪ ﺑﺎﻳﺪ ﺗﻨﻬﺎ ﺍﺯ ﻃﺮﻳﻖ ﺫﻫﻦ ﻭ ﺗﺨﻴﻞ ﺍﻳﺠﺎﺩ ﺷﻮﻧﺪ‪ ،‬ﺷﺎﻣﻞ ﭘﺎﮔﺮﺩﻫﺎﻳﻰ ﻫﺴﺘﻨﺪ ﻛﻪ‬ ‫ﺩﺭ ﻫﺮ ﻛﺪﺍﻡ ﺍﺯ ﺍﻳﻦ ﭘﺎﮔﺮﺩﻫﺎ‪ ،‬ﺁﺭﺗﻮﺭ ﻭ ﺳﻮﺯﻯ ﻭﺍﺭﺩ ﺩﻧﻴﺎ ﻭ ﺯﻣﺎﻧﻰ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩ ﻣﻰ ﺷﻮﻧﺪ‪ .‬ﺩﺭ ﻭﺍﻗﻊ‬ ‫ﭘﺎﮔﺮﺩﻫﺎ ﺧﻮﺩ ﺣﻜﻢ ﭼﺮﺥ ﺯﺩﻥ ﺩﺭ ﺯﻣﺎﻥ ﺭﺍ ﺩﺍﺭﻧﺪ ﻭ ﻫﻤﻴﻦ ﺑﻪ ﺟﺬﺍﺑﻴﺖ ﺑﻴﺸﺘﺮ ﺍﻳﻦ ﻓﺼﻞ ﻣﻰﺍﻓﺰﺍﻳﺪ‪.‬‬ ‫ﺍﺯ ﺩﻳﮕﺮ ﻣﻮﺿﻮﻋﺎﺕ ﺟﺎﻟﺐ ﺗﻮﺟﻬﻰ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺭﺥ ﻣﻰﺩﻫﺪ‪ ،‬ﻗﺪﺭﺗﻰ ﺍﺳﺖ ﻛﻪ ﻛﻠﻴﺪ ﺑﻪ ﺁﺭﺗﻮﺭ‬ ‫ﻣﻰﺩﻫﺪ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺑﺮﻋﻜﺲ ﺩﻧﻴﺎﻯ ﺧﻮﺩﺵ‪ ،‬ﺁﺭﺗﻮﺭ ﺩﺭ ﺍﻳﻦ ﺩﻧﻴﺎ ﺁﺳﻢ ﻧﺪﺍﺭﺩ ﻭ ﻣﻰﺗﻮﺍﻧﺪ ﺑﻪ ﺭﺍﺣﺘﻰ‬ ‫ﻧﻔﺲ ﺑﻜﺸﺪ ﻭ ﺗﺮﺳﻰ ﺍﺯ ﺣﻤﻠﻪﻫﺎﻯ ﺁﺳﻢ ﻳﺎ ﺣﺘﺎ ﺯﺧﻤﻰ ﺷﺪﻥ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﻛﻠﻴﺪ ﺍﺯ ﺍﻭ ﺩﺭ ﺑﺮﺍﺑﺮ‬ ‫ﺧﻄﺮﺍﺕ ﻣﺤﺎﻓﻈﺖ ﻣﻰﻛﻨﺪ ﻭ ﺑﻪ ﻭﺍﺳﻄﻪﻯ ﻫﻤﻴﻦ ﺍﺳﺖ ﻛﻪ ﻫﻢ ﺁﺭﺗﻮﺭ ﻭ ﻫﻢ ﺧﻮﺍﻧﻨﺪﻩ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺩﺭ‬ ‫ﺑﺪﺗﺮﻳﻦ ﻭ ﺗﺎﺭﻳﻚﺗﺮﻳﻦ ﺷﺮﺍﻳﻄﻰ ﻛﻪ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺭﻗﻢ ﻣﻰ ﺧﻮﺭﺩ‪ ،‬ﺑﻪ ﺁﻥ ﺍﻣﻴﺪ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥ ﺑﺎ ﺟﻨﮕﻴﺪﻥ ﺁﺭﺗﻮﺭ ﺑﺮﺍﻯ ﺭﺳﻴﺪﻥ ﺑﻪ ﺭﺍﻩﺣﻠﻰ ﺟﻬﺖ ﺗﻮﻗﻒ ﺑﻴﻤﺎﺭﻯ ﻻﻋﻼﺝ ﺩﻧﻴﺎﻯ ﺧﻮﺩﺵ‬ ‫ﭘﻴﺶ ﻣﻰﺭﻭﺩ ﻭ ﺗﺎ ﭘﺎﻳﺎﻥ ﺩﺍﺳﺘﺎﻥ ﺑﺎ ﻣﺸﻜﻼﺕ ﻭ ﻣﻮﻗﻌﻴﺖﻫﺎﻯ ﺭﻳﺰ ﻭ ﺩﺭﺷﺘﻰ ﺑﺮﺧﻮﺭﺩ ﻣﻰﻛﻨﻴﻢ ﻛﻪ‬ ‫ﻫﻤﻪ ﻭ ﻫﻤﻪ ﺑﺎﻋﺚ ﺑﻴﺸﺘﺮ ﺭﺍﻏﺐ ﺷﺪﻥ ﺧﻮﺍﻧﻨﺪﻩ ﺑﺮﺍﻯ ﺍﺩﺍﻣﻪﻯ ﺍﻳﻦ ﻛﺘﺎﺏ ﺍﺳﺖ‪ .‬ﻛﺘﺎﺏ ﺍﻭﻝ ﭘﺎﻳﺎﻥ ﺧﻴﻠﻰ‬ ‫ﺧﻮﺑﻰ ﺩﺍﺭﺩ ﻭ ﺷﺪﻳﺪﺍ ً ﺫﻫﻦ ﺧﻮﺍﻧﻨﺪﻩ ﺭﺍ ﺩﺭﮔﻴﺮ ﺟﻠﺪﻫﺎﻯ ﺑﻌﺪﻯ ﻭ ﺍﺩﺍﻣﻪﻯ ﺩﺍﺳﺘﺎﻥ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻛﺘﺎﺏ ﺁﻗﺎﻯ ﺩﻭﺷﻨﺒﻪ ﺷﺎﻳﺪ ﺩﺭ ﺑﻌﻀﻰ ﺍﺯ ﻗﺴﻤﺖﻫﺎ ﺑﻪ ﻛﺘﺎﺏﻫﺎ ﻭ ﺩﺍﺳﺘﺎﻥﻫﺎﻳﻰ ﺍﺯ ﺍﻳﻦ ﺩﺳﺖ ﺗﻨﻪ ﺑﺰﻧﺪ‬ ‫ﻭ ﺑﺘﻮﺍﻥ ﻧﺸﺎﻧﻪﻫﺎﻳﻰ ﺍﺯ ﺁﻥ ﺩﺍﺳﺘﺎﻥﻫﺎ ﺭﺍ ﺩﺭ ﺁﻥ ﭘﻴﺪﺍ ﻛﺮﺩ‪ ،‬ﺍﻣﺎ ﺁﻥ ﻗﺪﺭ ﻣﻮﻗﻌﻴﺖ ﻭ ﻣﺨﻠﻮﻗﺎﺕ ﺑﺪﻳﻊ ﻭ‬ ‫ﺟﺬﺍﺏ ﺩﺍﺭﺩ ﻛﻪ ﺧﻮﺍﻧﻨﺪﻩ ﺭﺍ ﻣﺘﻮﺟﻪ ﺍﻳﻦ ﺷﺒﺎﻫﺖ ﻧﻜﻨﺪ‪ .‬ﻣﻰﺗﻮﺍﻥ ﺍﻳﻦ ﺍﻃﻤﻴﻨﺎﻥ ﺭﺍ ﺑﻪ ﻋﻼﻗﻪﻣﻨﺪﺍﻥ ﺍﻳﻦ‬ ‫‪109‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


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‫ﺩﺭ ﺁﻥ ﻟﺤﻈﻪ ﻫﻢ ﺩﭼﺎﺭ ﺣﻤﻠﻪﻯ ﺁﺳﻢ ﺷﺪﻩ‪ ،‬ﺟﺬﺍﺑﻴﺖ ﺯﻳﺎﺩﻯ ﺑﻪ ﺩﺍﺳﺘﺎﻥ ﻣﻰﺩﻫﺪ ﻭ ﺍﺯ ﺁﻥﺟﺎ ﺷﺨﺼﻴﺖ‬ ‫ﺍﺻﻠﻰ ﺩﺍﺳﺘﺎﻥ ﺟﺎﻳﻰ ﺑﻴﻦ ﻣﺮگ ﻭ ﺯﻧﺪﮔﻰ ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﺩ‪ ،‬ﺧﻮﺍﻧﻨﺪﻩ ﺑﻴﺸﺘﺮ ﺭﺍﻏﺐ ﻣﻰﺷﻮﺩ ﺗﺎ ﺍﺩﺍﻣﻪﻯ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺩﻧﺒﺎﻝ ﻛﻨﺪ‪.‬‬ ‫ﻳﻜﻰ ﺍﺯ ﻣﻬﻢﺗﺮﻳﻦ ﻭﻳﮋﮔﻰﻫﺎﻯ ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﺧﻮﺏ‪ ،‬ﺷﺮﻭﻉ ﺧﻮﺏ ﻭ ﺗﺎﺛﻴﺮﮔﺬﺍﺭ ﺍﺳﺖ ﻛﻪ ﺑﺘﻮﺍﻧﻨﺪ ﺧﻮﺍﻧﻨﺪﻩ‬ ‫ﺭﺍ ﻭﺍﺩﺍﺭ ﺑﻪ ﺍﺩﺍﻣﻪ ﺩﺍﺩﻥ ﺑﻜﻨﺪ ﻭ ﺁﻗﺎﻯ ﺩﻭﺷﻨﺒﻪ ﺍﺯ ﺍﻳﻦ ﺣﻴﺚ ﻧﻤﺮﻩﻯ ﻗﺒﻮﻟﻰ ﺭﺍ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭ ﻃﻮﻝ ﻛﺘﺎﺏ‪ ،‬ﺷﺎﻳﺪ ﺑﺘﻮﺍﻥ ﺑﻪ ﺟﺮﺃﺕ ﮔﻔﺖ ﺩﺍﺳﺘﺎﻥ ﻧﻘﻄﻪﻯ ﻧﺰﻭﻟﻰ ﻧﺪﺍﺭﺩ‪ .‬ﺑﻪ ﺍﻳﻦ ﻣﻌﻨﺎ ﻛﻪ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺩﺭ ﻫﻴﭻ ﺟﺎﻯ ﻛﺘﺎﺏ ﺍﺯ ﺭﻳﺘﻢ ﻧﻤﻰﺍﻓﺘﺪ ﻭ ﺩﺭﺳﺖ ﺯﻣﺎﻧﻰ ﻛﻪ ﺧﻮﺍﻧﻨﺪﻩ ﻛﻢﻛﻢ ﮔﻤﺎﻥ ﻣﻰﻛﻨﺪ ﻫﻤﻪ ﭼﻴﺰ‬ ‫ﺁﺭﺍﻡ ﺍﺳﺖ ﻭ ﺩﺍﺳﺘﺎﻥ ﺩﻳﮕﺮ ﭼﻴﺰﻯ ﺑﺮﺍﻯ ﻋﺮﺿﻪ ﻧﺪﺍﺭﺩ‪ ،‬ﭼﺮﺧﺶ ﻭ ﭘﻴﭽﺸﻰ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺭﺥ ﻣﻰﺩﻫﺪ ﻛﻪ‬ ‫ﺑﺎﻋﺚ ﻣﻰﺷﻮﺩ ﻧﺘﻮﺍﻥ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺩﻧﺒﺎﻝ ﻧﻜﺮﺩ‪.‬‬ ‫ﺩﺭ ﻛﺘﺎﺏ ﺁﻗﺎﻯ ﺩﻭﺷﻨﺒﻪ ﺷﺎﻫﺪ ﺧﻠﻖ ﻳﻚ ﺩﻧﻴﺎﻯ ﺟﺪﻳﺪ ﻭ ﻣﻮﺍﺯﻯ ﺑﺎ ﺩﻧﻴﺎﻯ ﺧﻮﺩﻣﺎﻥ ﻫﺴﺘﻴﻢ‪ .‬ﺩﻧﻴﺎﻳﻰ‬ ‫ﻛﻪ ﻣﻄﻤﺌﻨﺎً ﺗﻔﺎﻭﺕﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺑﺎ ﺩﻧﻴﺎﻯ ﻣﺎ‪-‬ﻓﻨﺎﭘﺬﻳﺮﻫﺎ‪ -‬ﺩﺍﺭﺩ‪ .‬ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺜﺎﻝ ﻭﻗﺘﻰ ﺁﺭﺗﻮﺭ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ‬ ‫ﺑﺎﺭ ﻭﺍﺭﺩ ﺍﻳﻦ ﺩﻧﻴﺎ ﻣﻰﺷﻮﺩ‪ ،‬ﺑﻪ ﺟﺎﻯ ﻣﺸﺎﻫﺪﻩﻯ ﻣﺮﺩﻣﻰ ﺩﺭ ﺣﺎﻝ ﺩﺍﺩ ﻭ ﺳﺘﺪﻫﺎﻯ ﻣﺮﺳﻮﻡ ﺩﻧﻴﺎﻯ‬ ‫ﺧﻮﺩﺵ‪ ،‬ﻫﻤﻪ ﺭﺍ ﺳﺮﮔﺮﻡ ﻫﺮ ﻛﺎﺭﻯ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﭘﺴﺖ‪ ،‬ﻛﺎﻏﺬ ﻭ ﻧﻮﺷﺘﻦ ﻣﻰﺑﻴﻨﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺑﻌﺪﻫﺎ ﻫﻢ ﺁﺭﺗﻮﺭ‬ ‫ﻭ ﻫﻢ ﺧﻮﺍﻧﻨﺪﻩ ﻣﺘﻮﺟﻪ ﻣﻰﺷﻮﺩ ﻛﻪ ﺍﻳﻦ ﺁﺩﻡﻫﺎ ﻫﻤﻪ ﺩﺭ ﺣﺎﻝ ﻧﮕﻬﺪﺍﺭﻯ ﻭ ﻧﻮﺷﺘﻦ ﺍﻃﻼﻋﺎﺕ ﺍﻧﺴﺎﻥﻫﺎ‬ ‫ﻭ ﻣﻮﺟﻮﺩﺍﺕ ﺩﻧﻴﺎﻯ ﻣﺎ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺩﺭ ﻃﻮﻝ ﺩﺍﺳﺘﺎﻥ ﻧﺎﻡﻫﺎﻳﻰ ﺑﻪ ﻣﻴﺎﻥ ﻣﻰﺁﻳﺪ ﻛﻪ ﺷﺎﻛﻠﻪﻯ ﺩﻧﻴﺎﻯ ﺁﻗﺎﻯ ﺩﻭﺷﻨﺒﻪ ﺭﺍ ﺗﺸﻜﻴﻞ ﻣﻰﺩﻫﻨﺪ ﻭ‬ ‫ﺩﺭ ﺍﺩﺍﻣﻪ ﺑﻪ ﺁﻥﻫﺎ ﺍﺷﺎﺭﻩ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻣﻌﻤﺎﺭ‪ :‬ﻛﺴﻰ ﺍﺳﺖ ﻋﻤﺎﺭﺕ ﻳﺎ ﻫﻤﺎﻥ ﺩﻧ���ﺎﻯ ﺗﺎﺯﻩﺍﻯ ﺭﺍ ﻛﻪ ﺁﺭﺗﻮﺭ ﻭﺍﺭﺩ ﺁﻥ ﺷﺪﻩ‪ ،‬ﺍﺯ ﻫﻴﭻ ﺑﻪ ﻭﺟﻮﺩ ﺁﻭﺭﺩﻩ‬ ‫ﺍﺳﺖ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﺍﻭ ﺧﺎﻟﻖ ﻋﻤﺎﺭﺕ ﻭ ﺗﻤﺎﻡ ﺧﺪﻣﺘﻜﺎﺭﺍﻥ ﻭ ﻛﺴﺎﻧﻰ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻋﻤﺎﺭﺕ ﻣﺸﻐﻮﻝ ﺑﻪ ﻛﺎﺭ‬ ‫ﻫﺴﺘﻨﺪ‪ .‬ﺧﺪﻣﺘﻜﺎﺭﺍﻧﻰ ﻛﻪ ﺑﻪ ﻭﺟﻮﺩ ﺁﻣﺪﻩﺍﻧﺪ ﺗﺎ ﮔﻔﺘﻪﻫﺎﻯ ﻣﻌﻤﺎﺭ ﺭﺍ ﺑﻪ ﺍﻧﺠﺎﻡ ﺑﺮﺳﺎﻧﻨﺪ‪.‬‬ ‫ﻗﻠﻤﺮﻭﻫﺎﻯ ﺛﺎﻧﻮﻳﻪ‪ :‬ﻣﻌﻤﺎﺭ ﺑﻌﺪ ﺍﺯ ﺳﺎﺧﺘﻦ ﻋﻤﺎﺭﺕ‪ ،‬ﻗﻠﻤﺮﻭﻫﺎﻯ ﺛﺎﻧﻮﻳﻪ ﻳﺎ ﻫﻤﺎﻥ ﺟﻬﺎﻥ ﻓﻨﺎﭘﺬﻳﺮﻫﺎ ﺭﺍ‬ ‫ﺑﻪ ﻭﺟﻮﺩ ﺁﻭﺭﺩﻩ ﺍﺳﺖ‪ .‬ﻋﻤﺎﺭﺕ ﻭ ﺧﺪﻣﺘﻜﺎﺭﺍﻥ ﺁﻥ‪ ،‬ﺍﻳﻦ ﺍﺛﺮ ﺑﺰﺭگ ﺭﺍ ﺛﺒﺖ ﻛﺮﺩﻩ ﻭ ﺍﻃﻼﻋﺎﺕ ﻣﺮﺑﻮﻁ ﺑﻪ‬ ‫ﻣﻮﺟﻮﺩﺍﺕ ﺁﻥ ﺭﺍ ﺗﺎ ﺳﺎﻟﻴﺎﻥ ﻣﺘﻤﺎﺩﻯ ﻧﮕﻬﺪﺍﺭﻯ ﻛﺮﺩﻩﺍﻧﺪ‪.‬‬ ‫ﻭﺻﻴﺖﻧﺎﻣﻪ‪ :‬ﺑﻌﺪ ﺍﺯ ﺭﻓﺘﻦ ﻣﻌﻤﺎﺭ ﺑﺰﺭگ ﺍﺯ ﻋﻤﺎﺭﺕ‪ ،‬ﺍﻭ ﻭﺻﻴﺖﻧﺎﻣﻪﺍﻯ ﺗﻨﻈﻴﻢ ﻣﻰﻛﻨﺪ ﺗﺎ ﺩﺭ ﻧﺒﻮﺩ ﺍﻭ‬ ‫ﻛﺎﺭﻫﺎ ﺑﻪ ﺭﻭﺍﻝ ﺩﺭﺳﺖ ﺧﻮﺩ ﺍﺩﺍﻣﻪ ﭘﻴﺪﺍ ﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﻧﻤﻰﺍﻓﺘﺪ ﻭ ﻭﺻﻴﺖﻧﺎﻣﻪ ﺑﻪ ﻫﻔﺖ ﻗﺴﻤﺖ‬ ‫ﺷﻜﺴﺘﻪ ﻣﻰﺷﻮﺩ‪ .‬ﻫﺮ ﻛﺪﺍﻡ ﺍﺯ ﺍﻳﻦ ﻗﺴﻤﺖﻫﺎ ﺩﺭ ﺟﺎﻯ ﺟﺎﻯ ﻗﻠﻤﺮﻭﻫﺎﻯ ﺛﺎﻧﻮﻳﻪ ﭘﺨﺶ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺩﺭ‬ ‫ﻫﻤﻴﻦ ﺣﻴﻦ‪ ،‬ﻫﻔﺖ ﻣﺘﻮﻟﻰ ﻭﺻﻴﺖﻧﺎﻣﻪ ﺳﻮﮔﻨﺪ ﺧﻮﺩ ﺭﺍ ﻣﻰﺷﻜﻨﻨﺪ ﻭ ﺗﺼﻤﻴﻢ ﺑﻪ ﺍﺩﺍﺭﻩﻯ ﻋﻤﺎﺭﺕ ﻭ‬ ‫ﺩﺧﺎﻟﺖ ﺩﺭ ﺍﻣﻮﺭ ﻗﻠﻤﺮﻭﻫﺎﻯ ﺛﺎﻧﻮﻳﻪ ﻣﻰﮔﻴﺮﻧﺪ‪.‬‬ ‫‪107‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﺧﻂ ﺩﺍﺳﺘﺎﻧﻰ‬ ‫ﻗﺮﺍﺭ ﺑﻮﺩ ﺍﻭﻟﻴﻦ ﺭﻭﺯ ﻧﻴﻢﺳﺎﻝ ﺗﺤﺼﻴﻠﻰ ﺩﺭ ﻣﺪﺭﺳﻪﻯ ﺟﺪﻳﺪ‪ ،‬ﺁﺧﺮﻳﻦ ﺭﻭﺯ ﻋﻤﺮ »ﺁﺭﺗﻮﺭ ﭘﻨﻬﺎﻟﻴﮕﻮﻥ« ]‪[4‬‬ ‫ﺑﺎﺷﺪ؛ ﺍﻣﺎ ﺑﻪ ﺟﺎﻯ ﻣﺮﺩﻥ ﺑﻪ ﺩﻟﻴﻞ ﺣﻤﻠﻪﻯ ﺁﺳﻢ‪ ،‬ﻛﻠﻴﺪﻯ ﺑﻪ ﺩﺳﺘﺶ ﻣﻰﺭﺳﺪ ﻭ ﺑﻪ ﺳﺮﺯﻣﻴﻦ ﺩﻳﮕﺮﻯ‬ ‫ﻛﺸﺎﻧﺪﻩ ﻣﻰﺷﻮﺩ ﻛﻪ ﻣﻮﺟﻮﺩﺍﺕ ﺍﻧﺴﺎﻥﻣﺎﻧﻨﺪﻯ ﺑﻪ ﻧﺎﻡ »ﺭﻭﺯﻫﺎﻯ ﻓﺮﺩﺍ« ﺁﻥ ﺭﺍ ﺍﺩﺍﺭﻩ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩﻯ ﻧﻮﻳﺴﻨﺪﻩ‬ ‫ﮔﺎﺭﺕ ﻧﻴﻜﺲ ﻣﺘﻮﻟﺪ ‪ 19‬ﺟﻮﻻﻯ ﺳﺎﻝ ‪ 1963‬ﺩﺭ ﻣﻠﺒﻮﺭﻥ ﺍﺳﺖ‪ .‬ﺍﺯ ﻛﺘﺎﺏﻫﺎﻯ ﻣﺸﻬﻮﺭ ﺍﻭ ﻣﻰﺗﻮﺍﻥ‬ ‫ﺑﻪ ﻣﺠﻤﻮﻋﻪﻯ »ﻛﺸﻮﺭ ﻛﻬﻦ« ]‪ ،[5‬ﺷﺶﮔﺎﻧﻪﻯ »ﺑﺮﺝ ﻫﻔﺘﻢ« ]‪ [6‬ﻭ ﻫﻔﺖﮔﺎﻧﻪﻯ »ﻛﻠﻴﺪﻫﺎﻯ‬ ‫ﭘﺎﺩﺷﺎﻫﻰ« ﺍﺷﺎﺭﻩ ﻛﺮﺩ‪ .‬ﻛﻠﻴﺪﻫﺎﻯ ﭘﺎﺩﺷﺎﻫﻰ ﺑﻴﻦ ﺳﺎﻝﻫﺎﻯ ‪ 2003‬ﺗﺎ ‪ 2010‬ﺑﻪ ﭼﺎپ ﺭﺳﻴﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺑﻪ ﻏﻴﺮ ﺍﺯ ﻛﺘﺎﺏ »ﺁﻗﺎﻯ ﺩﻭﺷﻨﺒﻪ«‪ ،‬ﺷﺶ ﻛﺘﺎﺏ ﺩﻳﮕﺮ ﺍﺯ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺑﻪ ﭼﺎپ ﺭﺳﻴﺪﻩ ﻛﻪ ﻫﻨﻮﺯ ﺩﺭ‬ ‫ﺍﻳﺮﺍﻥ ﺗﺮﺟﻤﻪ ﻧﺸﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺧﻼﺻﻪﻯ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺁﻗﺎﻯ ﺩﻭﺷﻨﺒﻪ‪ ،‬ﺑﻌﺪ ﺍﺯ ﻳﻚ ﻣﻘﺪﻣﻪﻯ ﻛﻮﺗﺎﻩ ﺩﺭ ﻳﻚ ﺭﻭﺯ ﻣﺪﺭﺳﻪ ﺁﻏﺎﺯ ﻣﻰﺷﻮﺩ‪ .‬ﺟﺎﻳﻰ ﻛﻪ ﺁﺭﺗﻮﺭ‬ ‫ﺑﻪ ﺩﻟﻴﻞ ﺑﻴﻤﺎﺭﻯ ﺁﺳﻢ ﺍﺯ ﺍﺩﺍﻣﻪﻯ ﻣﺴﺎﺑﻘﻪﻯ ﺩﻭ ﺟﺎ ﻣﻰﻣﺎﻧﺪ ﻭ ﺩﺭﺳﺖ ﺩﺭ ﻫﻤﺎﻥ ﻟﺤﻈﻪ ﻛﻪ ﻣﺮگ ﺭﺍ ﺩﺭ‬ ‫ﻧﺰﺩﻳﻜﻰ ﺧﻮﺩ ﻣﻰﺑﻴﻨﺪ‪ ،‬ﺍﺗﻔﺎﻗﺎﺕ ﻋﺠﻴﺒﻰ ﺭﺍ ﻣﺸﺎﻫﺪﻩ ﻣﻰﻛﻨﺪ‪ .‬ﺑﻪ ﺟﺎﻯ ﻣﺮﺩﻥ ﺍﺯ ﺣﻤﻠﻪﻯ ﺁﺳﻢ‪ ،‬ﻛﻠﻴﺪﻯ‬ ‫ﺑﻪ ﺩﺳﺖ ﺁﺭﺗﻮﺭ ﻣﻰﺭﺳﺪ ﻛﻪ ﺗﻮﺳﻂ ﺁﻥ ﺑﻪ ﻋﻤﺎﺭﺗﻰ ﻛﺸﻴﺪﻩ ﻣﻰﺷﻮﺩ‪ .‬ﻋﻤﺎﺭﺗﻰ ﻛﻪ ﺗﻨﻬﺎ ﺍﻭ ﻗﺎﺩﺭ ﺑﻪ ﺩﻳﺪﻥ‬ ‫ﺁﻥ ﺍﺳﺖ‪ .‬ﺩﺭ ﺁﻥ ﺳﺮﺯﻣﻴﻦ‪ ،‬ﻣﻮﺟﻮﺩﺍﺕ ﺍﻧﺴﺎﻥﻣﺎﻧﻨﺪﻯ ﺑﻪ ﻧﺎﻡ ﺭﻭﺯﻫﺎﻯ ﻓﺮﺩﺍ ﺣﻜﻤﺮﺍﻧﻰ ﻣﻰﻛﻨﻨﺪ ﻭ ﻳﻜﻰ‬ ‫ﺍﺯ ﺁﻥﻫﺎ ﺑﺎ ﻧﺎﻡ ﺁﻗﺎﻯ ﺩﻭﺷﻨﺒﻪ‪ ،‬ﺩﺭ ﺻﺪﺩ ﭘﺲ ﮔﺮﻓﺘﻦ ﻛﻠﻴﺪ ﺍﺯ ﺩﺳﺖ ﺁﺭﺗﻮﺭ ﺍﺳﺖ‪ .‬ﺍﻭ ﺑﺮﺍﻯ ﺭﻫﺎﻳﻰ ﺍﺯ‬ ‫ﺩﺳﺖ ﺍﻳﻦ ﭘﺴﺮ ﻭ ﺩﺭ ﻭﺍﻗﻊ ﭘﺲ ﮔﺮﻓﺘﻦ ﻛﻠﻴﺪ‪ ،‬ﺍﻫﺎﻟﻰ ﺯﻣﻴﻦ ﺭﺍ ﺑﻪ ﻳﻚ ﺑﻴﻤﺎﺭﻯ ﺑﺎ ﻧﺎﻡ »ﻃﺎﻋﻮﻥ ﺧﻮﺍﺏ«‬ ‫ﻣﺒﺘﻼ ﻣﻰﻛﻨﺪ‪ .‬ﺁﺭﺗﻮﺭ ﻛﻪ ﻃﻰ ﺳﻔﺮﺵ ﺩﺭ ﻋﻤﺎﺭﺕ ﻭ ﺳﺮﺯﻣﻴﻦ ﺟﺪﻳﺪ ﻣﺘﻮﺟﻪ ﻣﻰﺷﻮﺩ ﻭﺍﺭﺙ ﺫﻯﺣﻖ‬ ‫ﺧﻄﺎﺏ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﭘﻰ ﻣﻰﺑﺮﺩ ﻛﻪ ﺑﺮﺍﻯ ﺑﺮﮔﺸﺖ ﺑﻪ ﺧﺎﻧﻪ ﻭ ﺍﺯ ﺑﻴﻦ ﺑﺮﺩﻥ ﺍﻳﻦ ﺑﻴﻤﺎﺭﻯ ﺑﺎﻳﺪ ﺗﻦ ﺑﻪ‬ ‫ﻣﺒﺎﺭﺯﻩ ﺑﺎ ﻫﺮ ﭼﻴﺰﻯ ﺑﺪﻫﺪ ﻛﻪ ﺗﺎ ﺑﻪ ﺁﻥ ﺭﻭﺯ ﻫﻴﭻ ﺩﺭﻛﻰ ﺍﺯ ﺁﻥﻫﺎ ﻧﺪﺍﺷﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﻧﮕﺎﻫﻰ ﺑﻪ ﻛﺘﺎﺏ‬ ‫ﺷﺮﻭﻉ ﺩﺍﺳﺘﺎﻥ ﺁﻗﺎﻯ ﺩﻭﺷﻨﺒﻪ ﺗﻘﺮﻳﺒﺎً ﺷﺮﻭﻉ ﺧﻮﺏ ﻭ ﺟﺬﺍﺑﻰ ﺍﺳﺖ‪ .‬ﺑﻪ ﺟﺰ ﻣﻘﺪﻣﻪﻯ ﭼﻨﺪ ﺻﻔﺤﻪﺍﻯ‬ ‫ﺍﻭﻝ ﻛﺘﺎﺏ‪ ،‬ﻗﺮﺍﺭ ﮔﺮﻓﺘﻦ ﺩﺭ ﻣﻴﺎﻥ ﻳﻚ ﻣﺴﺎﺑﻘﻪ ﺩﻭ ﻭ ﺁﺷﻨﺎ ﺷﺪﻥ ﺑﺎ ﻗﻬﺮﻣﺎﻥ ﺩﺍﺳﺘﺎﻧﻰ ﻛﻪ ﺁﺳﻢ ﺩﺍﺭﺩ ﻭ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﻛﺘﺎﺏ‬

‫‪1‬‬

‫ﺁﻗﺎﻯ ﺩﻭﺷﻨﺒﻪ‬

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‫ﺍﻭﻟﻴﻦ ﻛﺘﺎﺏ ﺍﺯ ﻫﻔﺖﮔﺎﻧﻪﻯ »ﻛﻠﻴﺪﻫﺎﻯ ﭘﺎﺩﺷﺎﻫﻰ«‬

‫ﻫﺪﻳﻪ ﻏﺮﺍﺕ‬

‫ﺷﻨﺎﺳﻨﺎﻣﻪ‬ ‫ﻧﺎﻡ ﻛﺘــﺎﺏ‪ :‬ﺁﻗﺎﻯ ﺩﻭﺷﻨﺒــﻪ‬ ‫ﻧﻮﻳﺴﻨــﺪﻩ‪ :‬ﮔﺎﺭﺕ ﻧﻴﻜﺲ ]‪[3‬‬ ‫ﻣﺘــﺮ ﺟـﻢ ‪ :‬ﻣﺮﻳــﻢ ﺭﻓﻴـﻌﻰ‬ ‫ﻧـﺎﺷــــﺮ‪ :‬ﻧﺸــﺮ ﺑﻬﻨـــﺎﻡ‬ ‫ﻧﻮﺑﺖ ﭼـﺎپ‪ :‬ﺍﻭﻝ ‪1 3 9 0 -‬‬


‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﻧﻘﻄﻪ ﺿﻌﻒ؟ ﻗﻄﻌﺎً ﻣﺸﻜﻼﺕ ﻛﻮﭼﻜﻰ ﺩﺭ ﺍﻳﻦ ﺑﺎﺭﻩ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻣﺜﻼ ﻣﺎﺟﺮﺍﻳﻰ ﻧﺴﺒﺘﺎً ﺗﻜﺮﺍﺭﻯ ﺩﺭ‬ ‫ﻣﻮﺭﺩ ﺍﻋﻀﺎﻯ ﺯﻥ ﮔﺮﻭﻩ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺍﻣﺎ ﺩﺍﺳﺘﺎﻥ ﺑﻪ ﻗﺪﺭﻯ ﻭﺳﻴﻊ ﺍﺳﺖ ﻛﻪ ﭼﻨﻴﻦ ﻣﺸﻜﻼﺕ ﻛﻮﭼﻜﻰ‬ ‫ﺍﺯ ﻫﻤﺎﻥ ﺍﺑﺘﺪﺍ ﻫﻢ ﺧﻴﻠﻰ ﻣﻬﻢ ﺑﻪ ﻧﻈﺮ ﻧﻤﻰﺁﻳﻨﺪ‪.‬‬ ‫ﺳﺨﻦ ﺁﺧﺮ‬ ‫ﺑﺮﺍﻯ ﺷﺨﺺ ﺧﻮﺩﻡ ﻭﺍﻥ ﭘﻴﺲ ﻟﺬﺕﺑﺨﺶﺗﺮﻳﻦ ﻣﺎﻧﮕﺎﻳﻰ ﺑﻮﺩﻩ ﻛﻪ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﺧﻮﺍﻧﺪﻩﺍﻡ‪ .‬ﻗﻄﻌﺎً‬ ‫ﺑﺨﺶﻫﺎﻳﻰ ﺿﻌﻴﻔﻰ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ‪ .‬ﺑﻪ ﺧﺼﻮﺹ ﺩﺭ ﺑﺨﺶ ﺍﺑﺘﺪﺍﻳﻰ ﻫﺮ ﺁﺭﻙ‪ ،‬ﺁﻥ ﻫﻢ ﺑﻪ ﺩﻟﻴﻞ ﺷﺮﻭﻉ‬ ‫ﻧﺴﺒﺘﺎً ﻛﻨﺪ ﺁﻥ‪ .‬ﺍﻣﺎ ﻭﻗﺘﻰ ﻛﻪ ﻣﺎﺟﺮﺍ ﻭﺍﻗﻌﺎً ﺷﺮﻭﻉ ﻣﻰﺷﻮﺩ )ﻛﻪ ﺧﻴﻠﻰ ﺳﺮﻳﻊ ﻫﻢ ﺍﺗﻔﺎﻕ ﻣﻰﺍﻓﺘﺪ( ﺩﻳﮕﺮ‬ ‫ﻧﻤﻰﺗﻮﺍﻥ ﺁﻥ ﺭﺍ ﻛﻨﺎﺭ ﮔﺬﺍﺷﺖ‪ .‬ﻣﺎﻧﮕﺎ ﺑﻪ ﻗﺪﺭﻯ ﺍﻋﺘﻴﺎﺩﺁﻭﺭ ﺍﺳﺖ ﻛﻪ ﺑﻌﻀﻰ ﺭﻭﺯﻫﺎ ﺗﻤﺎﻡ ﻣﺪﺕ ﺷﺒﺎﻧﻪﺭﻭﺯ‬ ‫ﺭﺍ ﺻﺮﻑ ﺧﻮﺍﻧﺪﺵ ﻣﻰﻛﺮﺩﻡ‪ .‬ﻫﻨﻮﺯ ﻫﻢ ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻫﻤﻪ ﻣﺪﺕ ﺧﻮﺍﻧﺪﻥ ﺩﻭﺑﺎﺭﻩﻯ ﺁﻥ ﻟﺬﺕﺑﺨﺶ ﺍﺳﺖ‪.‬‬ ‫ﻭﺍﻥ ﭘﻴﺲ ﺭﻛﻮﺭﺩﻫﺎﻯ ﻓﺮﻭﺵ ﻣﺎﻧﮕﺎ ﺩﺭ ژﺍﭘﻦ ﺭﺍ ﺷﻜﺴﺘﻪ ﻭ ﻫﺮ ﺟﻠﺪ ﺟﺪﻳﺪ ﺁﻥ ﺭﻛﻮﺭﺩ ﺟﻠﺪ ﻗﺒﻞ ﺭﺍ‬ ‫ﺑﺎ ﺍﺧﺘﻼﻑ ﺯﻳﺎﺩﻯ ﻣﻰﺷﻜﻨﺪ‪ .‬ﻫﻤﻴﻦ ﮔﻮﺍﻩ ﺧﻮﺑﻰ ﺑﺮﺍﻯ ﻧﺸﺎﻥ ﺩﺍﺩﻥ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﻣﺎﻧﮕﺎ ﭼﻘﺪﺭ‬ ‫ﺗﻮﺍﻧﺴﺘﻪ ﺩﻝ ﻣﺨﺎﻃﺒﺎﻥ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥ ﻭﺍﻥ ﭘﻴﺲ ﻳﻚ ﻣﺎﺟﺮﺍﻯ ﺑﺰﺭگ ﻭ ﺣﻤﺎﺳﻰ ﺍﺳﺖ‪ .‬ﻫﺮ ﺁﺭﻙ ﺍﺯ ﺁﺭﻙ ﻗﺒﻠﻰ ﺑﻬﺘﺮ ﺍﺳﺖ‪.‬‬ ‫ﺷﺨﺼﻴﺖﻫﺎ ﺩﻭﺳﺖﺩﺍﺷﺘﻨﻰ ﻭ ﻃﺮﺍﺣﻰﻫﺎ ﺳﻴﻨﻤﺎﻳﻰ ﻭ ﻫﻴﺠﺎﻥﺍﻧﮕﻴﺰﻧﺪ‪ .‬ﻭﺍﻥ ﭘﻴﺲ ﺑﺪﻭﻥ ﺷﻚ ﺑﻬﺘﺮﻳﻦ‬ ‫ﻣﺎﻧﮕﺎﻯ ﺷﻮﻧﻦ ﺍﺳﺖ‪ .‬ﻫﻤﻪ ﺩﻭﺳﺖ ﺩﺍﺭﻧﺪ ﺑﺪﺍﻧﻨﺪ ﺩﺭ ﭘﺎﻳﺎﻥ ﺩﺍﺳﺘﺎﻥ ﭼﻪ ﺭﺥ ﺧﻮﺍﻫﺪ ﺩﺍﺩ‪ ،‬ﺍﻣﺎ ﻫﻴﭻ ﻛﺲ‬ ‫ﺩﻭﺳﺖ ﻧﺪﺍﺭﺩ ﺍﻳﻦ ﻣﺎﻧﮕﺎ ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﺪ‪ .‬ﻭﺍﻥ ﭘﻴﺲ ﻣﺎﻧﮕﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﻫﻤﻪ ﺩﻭﺳﺖ ﺩﺍﺭﻳﻢ ﺳﺎﻟﻴﺎﻥ ﺳﺎﻝ‬ ‫ﺍﺩﺍﻣﻪ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫‪1. One Piece‬‬ ‫‪2. Eiichiro Oda‬‬ ‫‪3. Shueisha‬‬ ‫‪4. Weekly Shōnen Jump‬‬ ‫‪5. Gold Roger‬‬ ‫‪6. World Government‬‬ ‫‪7. Monkey D. Luffy‬‬ ‫‪8. Naruto‬‬ ‫‪9. Bleach‬‬ ‫‪10. Grand Line‬‬ ‫‪11. Tsubasa: Reservoir Chronicle‬‬ ‫‪12. Devil Fruits‬‬ ‫‪13. Bankai‬‬ ‫‪14. Kekki Genkai‬‬

‫‪ :Arc .15‬ﺧﻂﻫﺎﻯ ﺩﺍﺳﺘﺎﻧﻰ ﺩﺭ ﺍﻧﻴﻤﻪﻫﺎ ﻛﻪ ﻫﺮ ﻛﺪﺍﻡ ﺍﺧﺘﺼﺎﺹ‬ ‫ﺑﻪ ﻳﻚ ﻣﺎﺟﺮﺍ ﻳﺎ ﺩﺷﻤﻦ ﺧﺎﺹ ﺩﺍﺭﻧﺪ‪.‬‬ ‫‪16. Konohamaru‬‬ ‫‪17. Sasuke‬‬ ‫‪18. Enies Lobby‬‬ ‫‪19. The Eleven Supernovas‬‬ ‫‪20. Marineford‬‬

‫‪ :Cyborg .21‬ﺑﻪ ﻣﻮﺟﻮﺩﻯ ﺍﻃﻼﻕ ﻣﻰﺷﻮﺩ ﻛﻪ ﻋﻼﻭﻩ ﺑﺮ ﺍﻋﻀﺎﻯ‬ ‫ﻃﺒﻴﻌﻰ ﺑﺪﻥ‪ ،‬ﺩﺍﺭﺍﻯ ﺍﺭﮔﺎﻥﻫﺎﻯ ﻋﻤﻠﻜﺮﺩﻯ ﻣﺼﻨﻮﻋﻰ ﻫﻢ ﺑﺎﺷﺪ‪.‬‬

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‫‪22. Arlong Park‬‬ ‫‪23. Impel Down‬‬ ‫‪24. Enel‬‬ ‫‪25. Shichibukai‬‬ ‫‪26. Baroque Works‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﻭ ﭼﻪ ﺳﺎﻳﺒﻮﺭگ ]‪ ،[21‬ﻫﺮﻛﺴﻰ ﻣﻰﺗﻮﺍﻧﺪ ﻧﺎﻣﺰﺩ ﻋﻀﻮ ﺷﺪﻥ ﺩﺭ ﺍﻳﻦ ﮔﺮﻭﻩ ﺑﺎﺷﺪ‪.‬‬ ‫ﺟﺪﺍﻯ ﺍﺯ ﻃﺮﺍﺣﻰ ﺷﺨﺼﻴﺖﻫﺎ‪ ،‬ﺻﺤﻨﻪﻫﺎﻳﻰ ﻛﻪ ﺍﻭﺩﺍ ﺍﻳﺠﺎﺩ ﻣﻰﻛﻨﺪ‪ ،‬ﺳﻴﻨﻤﺎﻳﻰ ﻭ ﺑﺴﻴﺎﺭ ﻫﻴﺠﺎﻥ ﺍﻧﮕﻴﺰ‬ ‫ﻫﺴﺘﻨﺪ‪ .‬ﺑﺪﻭﻥ ﻃﺮﺍﺣﻰﻫﺎﻯ ﺍﻭﺩﺍ ﻫﻴﭻ ﮔﺎﻩ ﻣﺎﻧﮕﺎ ﺗﺎ ﺍﻳﻦ ﺍﻧﺪﺍﺯﻩ ﺑﺎﺷﻜﻮﻩ ﻭ ﺧﻴﺎﻝ ﺍﻧﮕﻴﺰ ﻧﻤﻰﺷﺪ‪ .‬ﺍﺯ‬ ‫ﺣﻤﻠﻪ ﮔﺮﻭﻩ ﺑﻪ ﺁﺭﻻﻧﮓ ﭘﺎﺭﻙ ]‪ [22‬ﺗﺎ ﻫﺠﻮﻡ ﺑﻪ ﺍﻳﻤﭙﻞ ﺩﺍﻭﻥ]‪ ،[23‬ﺍﻭﺩﺍ ﻫﻤﻴﺸﻪ ﻣﻰﺩﺍﻧﺪ ﭼﮕﻮﻧﻪ ﺑﺎ‬ ‫ﻃﺮﺍﺣﻰﻫﺎﻳﺶ ﻣﺨﺎﻃﺐ ﺭﺍ ﻣﻴﺦﻛﻮﺏ ﻛﻨﺪ‪.‬‬ ‫ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ‪ ،‬ﺍﻏﺮﺍﻕ ﺩﺭ ﻧﻤﺎﻳﺶ ﺍﺣﺴﺎﺳﺎﺕ ﮔﺎﻩ ﭼﻨﺎﻥ ﺑﺎ ﺟﻨﺒﻪ ﻃﻨﺰ ﻣﺎﻧﮕﺎ ﺩﺭ ﻫﻢ ﻣﻰﺁﻣﻴﺰﺩ ﻛﻪ ﺑﺴﻴﺎﺭ‬ ‫ﺧﻨﺪﻩﺩﺍﺭ ﻣﻰﺷﻮﺩ‪ .‬ﺑﻬﺘﺮﻳﻦ ﻧﻤﻮﻧﻪﻯ ﺍﻳﻦ ﺻﺤﻨﻪ ﺗﺼﻮﻳﺮ ﺗﻌﺠﺐﺯﺩﻩ ﺍﻧﻞ ]‪ [24‬ﺩﺭ ﻫﻨﮕﺎﻡ ﺭﻭﻳﺎﺭﻭﻳﻰ ﺑﺎ‬ ‫ﻟﻮﻓﻰ ﺍﺳﺖ‪.‬‬ ‫ﺷﺨﺼﻴﺖﻫﺎ‬ ‫ﺍﻳﻦ ﺑﺨﺸﻰ ﺍﺳﺖ ﻛﻪ ﻭﺍﻥ ﭘﻴﺲ ﺩﺭ ﺁﻥ ﻧﺴﺒﺖ ﺑﻪ ﺑﺨﺶﻫﺎﻯ ﺩﻳﮕﺮ ﻗﺪﺭﺕ ﺑﺴﻴﺎﺭ ﺑﻴﺸﺘﺮﻯ ﺍﺯ ﺧﻮﺩ‬ ‫ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ‪ .‬ﺷﺨﺼﻴﺖﻫﺎ ﺭﻧﮕﺎﺭﻧﮓ‪ ،‬ﻣﻀﺤﻚ ﻭ ﻏﻴﺮﻗﺎﺑﻞ ﭘﻴﺶﺑﻴﻨﻰ ﻫﺴﺘﻨﺪ‪ .‬ﻗﻬﺮﻣﺎﻥ ﺩﺍﺳﺘﺎﻥ ﻛﻪ‬ ‫ﭘﺴﺮﻯ ﺑﺎ ﺑﺪﻥ ﭘﻼﺳﺘﻴﻜﻰ ﺍﺳﺖ‪ ،‬ﮔﻮﺯﻥ ﭘﺰﺷﻜﻰ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺪ ﺗﻐﻴﻴﺮ ﺷﻜﻞ ﺩﻫﺪ‪ ،‬ﺳﺎﻳﺒﻮﺭﮔﻰ ﻛﻪ ﺍﺯ‬ ‫ﭘﻮﺷﻴﺪﻥ ﺷﻠﻮﺍﺭ ﺍﻣﺘﻨﺎﻉ ﻣﻰﻛﻨﺪ ﻭ ﺍﺳﻜﻠﺘﻰ ﻛﻪ ﻣﻮﺳﻴﻘﻰﺩﺍﻥ ﺍﺳﺖ‪ ،‬ﻫﻤﻪ ﻋﻀﻮ ﺩﺯﺩﺍﻥ ﺩﺭﻳﺎﻳﻰ ﻛﻼﻩ‬ ‫ﺣﺼﻴﺮﻯ ﻫﺴﺘﻨﺪ‪ .‬ﻫﺮ ﻛﺪﺍﻡ ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎ ﺑﻰﻣﺎﻧﻨﺪ ﻫﺴﺘﻨﺪ ﻭ ﻭﻗﺘﻰ ﻧﻮﻳﺴﻨﺪﻩ ﭼﻨﺪ ﻧﻔﺮ ﺍﺯ ﺁﻥﻫﺎ ﺭﺍ‬ ‫ﺩﺭ ﻣﻘﺎﺑﻞ ﻫﻢ ﻗﺮﺍﺭ ﻣﻰﺩﻫﺪ‪ ،‬ﻭﺍﻛﻨﺶ ﺁﻥﻫﺎ ﺑﻪ ﻫﻤﺪﻳﮕﺮ ﻃﻨﺰﻯ ﺗﻤﺎﺷﺎﻳﻰ ﺍﺳﺖ‪ .‬ﺍﻋﻀﺎﻯ ﮔﺮﻭﻩ ﺑﺎ ﻭﺟﻮﺩ‬ ‫ﺍﻳﻦ ﻛﻪ ﺑﻴﺸﺘﺮ ﺍﻭﻗﺎﺕ ﺩﺭ ﺣﺎﻝ ﻣﺴﺨﺮﻩﺑﺎﺯﻯ ﻫﺴﺘﻨﺪ‪ ،‬ﻫﺮ ﻛﺪﺍﻡ ﺳﺮﮔﺬﺷﺘﻰ ﺩﺍﺭﻧﺪ ﻛﻪ ﻣﻮﺟﺐ ﻣﻰﺷﻮﺩ‬ ‫ﺍﺯ ﺁﻥﭼﻪ ﺩﺭ ﻧﮕﺎﻩ ﺍﻭﻝ ﺩﻳﺪﻩ ﻣﻰﺷﻮﻧﺪ ﺟﺪﻯﺗﺮ ﻭ ﻋﻤﻴﻖﺗﺮ ﺑﻪ ﻧﻈﺮ ﺑﻴﺎﻳﻨﺪ‪.‬‬ ‫ﻏﻴﺮ ﺍﺯ ﺍﻳﻦ‪ ،‬ﺩﻭﺳﺘﺎﻥ ﻭ ﺩﺷﻤﻨﺎﻧﻰ ﻛﻪ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺍﺻﻠﻰ ﺑﺎ ﺁﻥﻫﺎ ﻣﻮﺍﺟﻪ ﻣﻰﺷﻮﻧﺪ ﻫﻤﻴﺸﻪ ﻫﻤﺮﺍﻩ‬ ‫ﺑﺎ ﺍﻳﺪﻩﻫﺎﻯ ﺑﻜﺮ ﻭ ﺟﺎﻟﺐ ﻫﺴﺘﻨﺪ ﻭ ﻫﻴﭻﮔﺎﻩ ﺧﺴﺘﻪ ﻛﻨﻨﺪﻩ ﻧﻤﻰﺷﻮﻧﺪ‪ .‬ﺷﻴﭽﻴﺒﻮﻛﺎﻯ ]‪ ،[24‬ﺳﻰﭘﻰ‪،9‬‬ ‫ﺑﺎﺭﻭﻙ ﻭﻛﺲ]‪ [25‬ﻭ ﻳﺎﺯﺩﻩ ﺍﺑﺮﻧﻮﺍﺧﺘﺮ‪ ،‬ﻫﻤﻪ ﺩﺍﺭﺍﻯ ﺷﺨﺼﻴﺖﻫﺎﻳﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﻪ ﺳﺨﺘﻰ ﻣﻰﺗﻮﺍﻥ ﺩﺭ‬ ‫ﻣﺠﻤﻮﻋﻪ ﺩﻳﮕﺮﻯ ﭘﻴﺪﺍ ﻛﺮﺩ‪.‬‬ ‫ﺭﻭﺍﺑﻂ ﺑﻴﻦ ﺷﺨﺼﻴﺖﻫﺎ ﺑﺴﻴﺎﺭ ﭘﻴﭽﻴﺪﻩ ﺍﺳﺖ ﻭ ﮔﺎﻩ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺑﺴﻴﺎﺭ ﺟﺎﻟﺐ ﺑﺎﺷﻨﺪ‪ .‬ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﺎ‬ ‫ﺷﺨﺼﻰ ﻛﻪ ﻋﺎﺩﻯ ﺑﻪ ﻧﻈﺮ ﻣﻰﺁﻳﺪ ﻣﻮﺍﺟﻪ ﺷﻮﻳﺪ ﻭ ﺑﻌﺪ ﺍﺯ ﭼﻨﺪ ﺻﺪ ﻓﺼﻞ ﻣﺘﻮﺟﻪ ﺷﻮﻳﺪ ﻛﻪ ﺍﺯ ﺩﻭﺳﺘﺎﻥ‬ ‫ﻗﺪﻳﻤﻰ ﺷﺎﻩ ﺳﺎﺑﻖ ﺩﺯﺩﺍﻥ ﺩﺭﻳﺎﻳﻰ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻛﺜﺮ ﻧﻮﻳﺴﻨﺪﻩﻫﺎ ﺍﻳﻦ ﮔﻮﻧﻪ ﺍﺭﺗﺒﺎﻁﻫﺎ ﺭﺍ ﺑﺪﻭﻥ ﻧﺸﺎﻧﻪﻫﺎﻯ‬ ‫ﻗﺒﻠﻰ ﻭﺍﺭﺩ ﺩﺍﺳﺘﺎﻥ ﻣﻰﻛﻨ���ﺪ‪ ،‬ﺍﻣﺎ ﺍﻭﺩﺍ ﺑﺮﺍﻯ ﺍﻳﻦ ﻛﺎﺭﻫﺎ ﺍﺯ ﻣﺪﺕ ﻫﺎ ﻗﺒﻞ ﺑﺮﻧﺎﻣﻪﺭﻳﺰﻯ ﻫﻮﺷﻤﻨﺪﺍﻧﻪ ﻭ‬ ‫ﭘﻴﭽﻴﺪﻩﺍﻯ ﻣﻰﻛﻨﺪ ﻭ ﺍﺯ ﻣﺨﺎﻃﺐ ﻫﻢ ﻛﺎﺭﻯ ﺟﺰ ﺗﺤﺖ ﺗﺄﺛﻴﺮ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻦ ﺳﺎﺧﺘﻪ ﻧﻴﺴﺖ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﻣﻬﻤﻰ ﺭﺥ ﺑﺪﻫﺪ‪ ،‬ﺗﺠﺮﺑﻪ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻭ ﺑﻪ ﻃﻮﺭ ﻣﺪﺍﻭﻡ ﺻﺤﻨﻪﻫﺎﻯ ﻫﻴﺠﺎﻥ ﺍﻧﮕﻴﺰ ﺍﻳﺠﺎﺩ ﻣﻰﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﺑﺎ‬ ‫ﺍﻳﻦ ﺣﺎﻝ ﻧﻪ ﺑﻪ ﻣﻴﺰﺍﻧﻰ ﻛﻪ ﻣﺨﺎﻃﺐ ﺭﺍ ﻛﻼﻓﻪ ﻭ ﺧﺴﺘﻪ ﻛﻨﺪ‪ .‬ﻓﻠﺶﺑﻚﻫﺎ ﺭﺍ ﻭﺍﺭﺩ ﺩﺍﺳﺘﺎﻥ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻓﻠﺶﺑﻚﻫﺎ ﻣﻤﻜﻦ ﺍﺳﺖ ﻃﻮﻻﻧﻰ ﺑﺎﺷﻨﺪ‪ ،‬ﺍﻣﺎ ﻋﺬﺍﺏﺁﻭﺭ ﻳﺎ ﺍﺿﺎﻓﻰ ﻧﻴﺴﺘﻨﺪ‪ .‬ﻭ ﺑﺮﺍﻯ ﺗﻮﺻﻴﻒ ﻧﺒﺮﺩﻫﺎ ﺗﻨﻬﺎ‬ ‫ﻳﻚ ﻛﻠﻤﻪ ﻛﺎﻓﻰ ﺍﺳﺖ‪ :‬ﺣﻤﺎﺳﻰ‪ .‬ﻧﻔﻮﺫ ﺑﻪ ﺍﻧﻴﺲ ﻻﺑﻰ ]‪ ،[18‬ﺟﻤﻊ ﺷﺪﻥ ﻳﺎﺯﺩﻩ ﺍﺑﺮﻧﻮﺍﺧﺘﺮ ]‪ [19‬ﻭ ﻧﺒﺮﺩ‬ ‫ﻣﺎﺭﻳﻦ ﻓﻮﺭﺩ ]‪ [20‬ﺍﺯ ﺻﺤﻨﻪﻫﺎﻳﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﺩﺭ ﻫﻴﺞ ﺟﺎﻯ ﺩﻳﮕﺮ ﭘﻴﺪﺍ ﻧﻤﻰﺷﻮﻧﺪ‪.‬‬ ‫ﺍﻳﻦ ﻋﻮﺍﻣﻞ ﺩﺭ ﻛﻨﺎﺭ ﺟﻨﺒﻪﻯ ﻃﻨﺰ ﻗﻮﻯ ﻭ ﺧﻼﻗﻴﺖ ﻓﻮﻕﺍﻟﻌﺎﺩﻩﻯ ﺍﻭﺩﺍ ﺑﺎﻋﺚ ﻣﻰﺷﻮﺩ ﺩﺭ ﺣﻴﻦ ﺧﻮﺍﻧﺪﻥ‬ ‫ﻭﺍﻥ ﭘﻴﺲ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺑﻄﻦ ﻣﺎﺟﺮﺍﻳﻰ ﺑﻰﻣﺎﻧﻨﺪ ﺑﻴﺎﺑﻴﺪ‪.‬‬ ‫ﻃﺮﺍﺣﻰ‬ ‫ﺩﻭ ﻧﻜﺘﻪﻯ ﻣﻨﻔﻰ ﺩﺭ ﻣﻮﺭﺩ ﻃﺮﺍﺣﻰﻫﺎ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺍﻭﻝ ﺷﻴﻮﻩﻯ ﻃﺮﺍﺣﻰ ﻫﺎﻯ ﺍﻭﺩﺍ ﺍﺳﺖ‪ .‬ﺷﻴﻮﻩﻯ‬ ‫ﻃﺮﺍﺣﻰ ﺍﻭ ﺩﺭ ﺍﺑﺘﺪﺍ ﺑﺴﻴﺎﺭ ﻛﻮﺩﻛﺎﻧﻪ ﻭ ﺍﺑﺘﺪﺍﻳﻰ ﺑﻪ ﻧﻈﺮ ﻣﻰﺁﻳﺪ‪ .‬ﺍﻣﺎ ﺭﻓﺘﻪﺭﻓﺘﻪ ﺑﺎ ﻣﺎﻫﺮ ﺷﺪﻥ ﺍﻭﺩﺍ‬ ‫ﻣﺸﺨﺺ ﻣﻰﺷﻮﺩ ﺍﻳﻦ ﺷﻴﻮﻩﻯ ﻃﺮﺍﺣﻰ ﻛﺎﻣ ً‬ ‫ﻼ ﻫﻢ ﻣﻨﺎﺳﺐ ﻓﻀﺎﻯ ﺩﺍﺳﺘﺎﻥ ﺍﺳﺖ ﻭ ﺗﺎ ﭼﻪ ﺣﺪ ﺣﺮﻓﻪﺍﻯ‬ ‫ﻭ ﻗﺪﺭﺗﻤﻨﺪ ﺍﺳﺖ‪ .‬ﺑﻨﺎﺑﺮﻳﻦ ﻣﻤﻜﻦ ﺍﺳﺖ ﻗﺪﺭﻯ ﻃﻮﻝ ﺑﻜﺸﺪ ﺗﺎ ﻣﺨﺎﻃﺐ ﻋﺎﺷﻖ ﻃﺮﺍﺣﻰﻫﺎ ﺷﻮﺩ! ﻣﻮﺭﺩ‬ ‫ﺩﻭﻡ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﮔﺎﻩ ﺻﺤﻨﻪﻫﺎﻯ ﺍﻛﺸﻦ ﺑﻪ ﻗﺪﺭﻯ ﺳﺮﻳﻊ ﻭ ﺑﺎ ﺟﺰﺋﻴﺎﺕ ﻣﻰﺷﻮﻧﺪ ﻛﻪ ﺻﻔﺤﺎﺕ ﺑﺴﻴﺎﺭ‬ ‫ﺷﻠﻮﻍ ﺷﺪﻩ ﻭ ﺧﻮﺍﻧﻨﺪﻩ ﺳﺮﺩﺭﮔﻢ ﻣﻰﺷﻮﺩ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﻋﻠﺖ ﺩﺭ ﺍﻳﻦ ﺻﺤﻨﻪﻫﺎ ﻣﺨﺎﻃﺐ ﺑﻪ ﻗﺪﺭﻯ ﺯﻣﺎﻥ ﻭ‬ ‫ﺗﺨﻴﻞ ﻧﻴﺎﺯ ﺩﺍﺭﺩ ﺗﺎ ﺑﺘﻮﺍﻧﺪ ﺗﺸﺨﻴﺺ ﺑﺪﻫﺪ ﻛﻪ ﻭﺍﻗﻌﺎً ﭼﻪ ﺩﺭ ﺣﺎﻝ ﺭﺥ ﺩﺍﺩﻥ ﺍﺳﺖ ﻭ ﻫﺪﻑ ﻧﻮﻳﺴﻨﺪﻩ ﺍﺯ‬ ‫ﺍﺭﺍﺋﻪ ﺍﻳﻦ ﺻﺤﻨﻪﻫﺎ ﭼﻴﺴﺖ‪ .‬ﺩﺭ ﻏﻴﺮ ﺍﻳﻦ ﺻﻮﺭﺕ ﻣﻤﻜﻦ ﺍﺳﺖ ﺻﺤﻨﻪﻫﺎﻯ ﻣﺒﺎﺭﺯﻩ ﺿﻌﻴﻒ ﻭ ﺑﻰﻛﻴﻔﻴﺖ‬ ‫ﺑﻪ ﻧﻈﺮ ﺑﻴﺎﻳﻨﺪ‪.‬‬ ‫ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺟﻨﺒﻪﻫﺎﻯ ﻣﺜﺒﺖ ﻃﺮﺍﺣﻰﻫﺎ ﺑﺴﻴﺎﺭ ﺑﻴﺸﺘﺮ ﻫﺴﺘﻨﺪ‪ .‬ﻳﻜﻰ ﺍﺯ ﺁﻥﻫﺎ ﻃﺮﺍﺣﻰﻫﺎﻯ ﺧﻼﻗﺎﻧﻪﻯ‬ ‫ﺷﺨﺼﻴﺖﻫﺎ ﺍﺳﺖ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﺍﻳﺪﻩﻫﺎﻯ ﺟﺪﻳﺪ ﺍﻭﺩﺍ ﺑﺮﺍﻯ ﻃﺮﺍﺣﻰ ﺷﺨﺼﻴﺖﻫﺎ ﻫﻴﭻ ﮔﺎﻩ ﺗﻤﺎﻡ‬ ‫ﻧﻤﻰﺷﻮﻧﺪ‪ .‬ﺣﺘﺎ ﻃﺮﺍﺣﻰ ﺷﺨﺼﻴﺖﻫﺎﻳﻰ ﻛﻪ ﻓﻘﻂ ﺑﺮﺍﻯ ﻳﻚ ﭘﻨﻞ ﺣﻀﻮﺭ ﺧﻮﺍﻫﻨﺪ ﺩﺍﺷﺖ‪ ،‬ﺑﺴﻴﺎﺭ ﻇﺮﻳﻒ‬ ‫ﻭ ﺧﻼﻗﺎﻧﻪ ﻫﺴﺘﻨﺪ‪ .‬ﻃﺮﺍﺣﻰ ﻣﻜﺎﻥﻫﺎ ﻛﺎﻣ ً‬ ‫ﻼ ﻣﻨﺎﺳﺐ ﻣﻮﻗﻌﻴﺖ ﺟﻐﺮﺍﻓﻴﺎﻳﻰ ﻭ ﺗﺎﺭﻳﺦ ﻳﻚ ﻣﻠﺖ ﺍﺳﺖ ﻭ‬ ‫ﻟﺒﺎﺱ ﻭ ﻇﺎﻫﺮ ﺷﺨﺼﻴﺖﻫﺎ ﻛﺎﻣ ً‬ ‫ﻼ ﻣﻨﺎﺳﺐ ﻓﺮﻫﻨﮓ ﺁﻥ ﺟﺎﻣﻌﻪ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻋﻮﺍﻣﻞ ﺑﺎﻋﺚ ﻣﻰﺷﻮﻧﺪ ﻛﻪ‬ ‫ﺧﻮﺍﻧﻨﺪﻩ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺭﺍﺣﺘﻰ ﺩﺭ ﺍﻳﻦ ﻓﻀﺎﻫﺎ ﺣﺲ ﻛﻨﺪ‪ .‬ﻭ ﺗﺎﺯﻩ ﺩﺭ ﺍﻳﻦﺟﺎ ﺍﺳﺖ ﻛﻪ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺍﺻﻠﻰ‬ ‫ﺑﺎ ﻃﺮﺍﺣﻰﻫﺎﻯ ﺩﻳﻮﺍﻧﻪﻭﺍﺭ ﺍﺯ ﺭﺍﻩ ﻣﻰﺭﺳﻨﺪ‪ .‬ﺍﺯ ﮔﻮﻧﻪﻫﺎﻯ ﺟﺎﻧﻮﺭﻯ ﺧﺎﺹ ﻳﻚ ﺟﺰﻳﺮﻩ ﮔﺮﻓﺘﻪ ﺗﺎ ﻇﺎﻫﺮ‬ ‫ﺍﻋﻀﺎﻯ ﮔﺮﻭﻩ ﺳﻰﭘﻰ‪ ،9‬ﺷﺨﺼﻴﺖﻫﺎ ﺑﻪ ﻗﺪﺭﻯ ﺍﺯ ﻟﺤﺎﻅ ﻇﺎﻫﺮ‪ ،‬ﺍﻧﺪﺍﺯﻩ ﻭ ﺭﻓﺘﺎﺭ ﻣﺘﻔﺎﻭﺕ ﻫﺴﺘﻨﺪ ﻛﻪ‬ ‫ﻭﺍﻗﻌﺎً ﺑﻪ ﺳﺨﺘﻰ ﻣﻰﺗﻮﺍﻥ ﺩﺭﻙ ﻛﺮﺩ ﻛﻪ ﺍﻭﺩﺍ ﭼﮕﻮﻧﻪ ﻣﻰﺗﻮﺍﻧﺪ ﺍﻳﻦ ﻫﻤﻪ ﺷﺨﺼﺖ ﻣﺘﻨﻮﻉ ﺑﻪ ﻭﺟﻮﺩ ﺁﻭﺭﺩ‪.‬‬ ‫ﺗﻨﻮﻉ ﺩﺭ ﻃﺮﺍﺣﻰ ﻛﻼﻩ ﺣﺼﻴﺮﻯﻫﺎ ﺑﻬﺘﺮﻳﻦ ﻧﻤﻮﻧﻪ ﺩﺭ ﺿﻤﻴﻨﻪﻯ ﻃﺮﺍﺣﻰ ﺍﺳﺖ‪ .‬ﭼﻪ ﺍﺳﻜﻠﺖ‪ ،‬ﭼﻪ ﮔﻮﺯﻥ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﺳﺎﺳﻮﻛﻪ ]‪ «[17‬ﭼﻴﺰ ﭼﻨﺪﺍﻥ ﺟﺎﻟﺒﻰ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥ ﻭﺍﻥ ﭘﻴﺲ ﻣﻤﻜﻦ ﺍﺳﺖ ﺳﺎﺩﻩ ﻭ ﺣﺘﺎ ﮔﺎﻫﻰ ﺍﺣﻤﻘﺎﻧﻪ ﺑﻪ ﻧﻈﺮ ﺑﻴﺎﻳﻴﺪ‪ ،‬ﺍﻣﺎ ﺍﮔﺮ ﺑﻪ ﺩﻗﺖ ﻣﺎﻧﮕﺎ‬ ‫ﺭﺍ ﺑﺨﻮﺍﻧﻴﻢ ﻣﺘﻮﺟﻪ ﻣﻰﺷﻮﻳﻢ ﻛﻪ ﺩﺍﺳﺘﺎﻥ ﺑﺴﻴﺎﺭ ﻋﻤﻴﻖﺗﺮ ﻭ ﺧﻮﺵﺳﺎﺧﺖﺗﺮ ﺍﺯ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻧﻈﺮ‬ ‫ﻣﻰﺁﻳﺪ‪ .‬ﺍﺯ ﺧﻴﺰﺵ ﻳﻚ ﺷﻮﺭﺵ ﻭ ﻛﺸﺖ ﻭ ﻛﺸﺘﺎﺭ ﺑﻪ ﺧﺎﻃﺮ ﻛﺞﻓﻬﻤﻰﻫﺎ ﺗﺎ ﺗﺮﺩﻳﺪ ﻛﺮﺩﻥ ﺑﻪ ﺣﻘّﺎﻧﻴﺖ‬ ‫ﺍﻳﺰﺩﻯ ﻧﺎﻋﺎﺩﻝ‪ .‬ﺩﺍﺳﺘﺎﻥ ﻭﺍﻥ ﭘﻴﺲ ﻣﻰﺗﻮﺍﻧﺪ ﺳﺮﺷﺎﺭ ﺍﺯ ﺷﮕﻔﺘﻰﻫﺎ ﺑﺎﺷﺪ‪ .‬ﻳﻜﻰ ﺍﺯ ﻧﻜﺎﺕ ﻣﺜﺒﺖ ﻭﺍﻥ‬ ‫ﭘﻴﺲ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻫﻤﻴﺸﻪ ﻏﻴﺮﻗﺎﺑﻞ ﭘﻴﺶﺑﻴﻨﻰ ﺍﺳﺖ‪ .‬ﻫﻴﭻ ﮔﺎﻩ ﻧﻤﻰﺗﻮﺍﻥ ﻧﺘﻴﺠﻪﻯ ﻳﻚ ﻧﺒﺮﺩ ﻳﺎ‬ ‫ﺳﺮﺍﻧﺠﺎﻡ ﻳﻚ ﺷﺨﺼﻴﺖ ﺭﺍ ﺣﺪﺱ ﺯﺩ‪ .‬ﺍﻳﻦ ﻛﻪ ﭼﻪ ﻛﺴﻰ ﺧﻮﺍﻫﺪ ﺑﺮﺩ‪ ،‬ﻣﻌﻠﻮﻡ ﻧﻴﺴﺖ ﻭ ﻫﻴﭻ ﮔﺎﻩ‬ ‫ﻧﻤﻰﺗﻮﺍﻥ ﮔﻔﺖ ﻭﺍﻗﻌﺎً ﭼﻪ ﻛﺴﻰ ﺷﺨﺺ ﺧﻮﺏ ﻳﺎ ﺑﺪ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻋﻨﺎﺻﺮ ﻣﻮﺟﺐ ﭘﻴﭽﻴﺪﻩﺗﺮ ﺷﺪﻥ‬ ‫ﺩﺍﺳﺘﺎﻥ ﻭ ﭼﻨﺪ ﺑﺮﺍﺑﺮ ﺷﺪﻥ ﻟﺬﺕ ﺧﻮﺍﻧﺪﻥ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺟﻨﺒﻪﻯ ﻣﺜﺒﺖ ﺩﻳﮕﺮ ﺩﺍﺳﺘﺎﻥ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺳﺮﮔﺬﺷﺖ ﺷﺨﺼﻴﺖﻫﺎ ﺑﻪ ﻫﻢ ﻣﺮﺑﻮﻁ ﺍﺳﺖ ﻭ ﺑﻨﺎﺑﺮﻳﻦ‬ ‫ﺍﺣﺴﺎﺱ ﻧﻤﻰﺷﻮﺩ ﺷﺨﺼﻴﺖ ﺍﺻﻠﻰ ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﻫﻢ ﻣﺘﺼﻞ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺷﺨﺼﻴﺖ ﻣﻨﻔﻰ ﻳﻚ ﺁﺭﻙ‬ ‫ﻣﻰﺗﻮﺍﻧﺪ ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎﻯ ﭘﺸﺘﻴﺒﺎﻥ ﺩﺭ ﺁﺭﻙ ﺑﻌﺪﻯ ﺑﺎﺷﺪ )ﻭ ﺑﺎﻟﻌﻜﺲ(‪ .‬ﺍﻭﺩﺍ ﻫﻴﭻ ﺗﺮﺳﻰ ﺍﺯ ﺑﺮﮔﺮﺩﺍﻧﺪﻥ‬ ‫ﺷﺨﺼﻴﺖﻫﺎﻯ ﻗﺪﻳﻤﻰ ﻧﺪﺍﺭﺩ‪ .‬ﺷﺨﺼﻴﺘﻰ ﭼﻪ ﻣﻨﻔﻰ ﻭ ﭼﻪ ﻣﺜﺒﺖ‪ ،‬ﻣﻤﻜﻦ ﺍﺳﺖ ﺍﺳﺖ ﭘﺲ ﺍﺯ ﭘﺎﻳﺎﻥ‬ ‫ﺁﺭﻙ ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺍﺻﻠﻰ ﺟﺪﺍ ﺷﻮﺩ؛ ﺍﻣﺎ ﺩﺍﺳﺘﺎﻥ ﺍﻭ ﺑﻪ ﺻﻮﺭﺕ ﺟﺪﺍﮔﺎﻧﻪﺍﻯ ﺍﺩﺍﻣﻪ ﺧﻮﺍﻫﺪ ﺩﺍﺷﺖ‪.‬‬ ‫ﻋﻼﻭﻩ ﺑﺮ ﺍﻳﻦ ﻛﻪ ﺩﺭ ﻃﻮﻝ ﺩﺍﺳﺘﺎﻥ ﮔﺎﻩ ﺍﻳﻦ ﺍﻓﺮﺍﺩ ﺭﺍ ﻣﻰ ﺑﻴﻨﻴﻢ ﻭ ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﻌﺪ ﺍﺯ ﻣﺪﺕﻫﺎﻯ‬ ‫ﻃﻮﻻﻧﻰ ﺩﻭﺑﺎﺭﻩ ﺷﺎﻫﺪ ﺑﺎﺯﮔﺸﺖ ﺁﻥﻫﺎ ﺑﺎﺷﻴﻢ‪ .‬ﺑﻨﺎﺑﺮﻳﻦ ﺧﻮﺍﻧﻨﺪﻩ ﻫﻴﭻ ﮔﺎﻩ ﺣﺲ ﻧﻤﻰﻛﻨﺪ ﻛﻪ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺗﻨﻬﺎ ﻣﺤﺪﻭﺩ ﺑﻪ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺍﺻﻠﻰ ﺍﺳﺖ‪ .‬ﺑﻠﻜﻪ ﺩﺍﺳﺘﺎﻥ ﻣﺮﺑﻮﻁ ﺑﻪ ﺗﻤﺎﻡ ﻣﺮﺩﻡ ﺟﻬﺎﻥ ﺍﺳﺖ‪ .‬ﻫﻤﻴﻦ‬ ‫ﺑﺎﻋﺚ ﭼﻨﺪ ﺑﻌﺪﻯ ﻭ ﻏﻴﺮﺧﻄﻰ ﺷﺪﻥ ﺩﺍﺳﺘﺎﻥ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺍﻣﺎ ﺩﻭ ﻋﺎﻣﻞ ﺍﺳﺖ ﻛﻪ ﺑﺎﻋﺚ ﻣﻰ ﺷﻮﺩ ﻣﻴﺰﺍﻥ ﻫﻴﺠﺎﻥ ﻭ ﺟﺬﺍﺑﻴﺖ ﻭﺍﻥ ﭘﻴﺲ ﺑﻪ ﺳﻄﺤﻰ ﺑﺮﺳﺪ ﻛﻪ‬ ‫ﺗﺎﻛﻨﻮﻥ ﻫﻴﭻ ﻣﺎﻧﮕﺎ ﻳﺎ ﺍﻧﻴﻤﻪﺍﻯ ﻧﺘﻮﺍﻧﺴﺘﻪ ﺑﻪ ﺁﻥ ﺩﺳﺖ ﭘﻴﺪﺍ ﻛﻨﺪ‪ .‬ﺍﻭﻟﻰ ﻋﻤﻖ ﺍﺣﺴﺎﺳﻰ ﻭ ﺩﻭﻣﻰ‬ ‫ﺩﺍﺳﺘﺎﻥﺳﺮﺍﻳﻰ ﺍﺳﺘﺎﺩﺍﻧﻪﻯ ﺍﻭﺩﺍ ﺍﺳﺖ‪ .‬ﻋﻤﻖ ﺍﺣﺴﺎﺳﻰ ﺑﻪ ﻗﺪﺭﻯ ﺍﺳﺖ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺪ ﻣﺨﺎﻃﺐ ﺭﺍ ﻣﺒﻬﻮﺕ‬ ‫ﻛﺮﺩﻩ ﻭ ﮔﺎﻩ ﺣﺘﺎ ﺑﻪ ﮔﺮﻳﻪ ﺑﻴﺎﻧﺪﺍﺯﺩ‪ .‬ﺟﺪﺍ ﺷﺪﻥ ﻳﻚ ﻧﻔﺮ ﺑﺮﺍﻯ ﻋﻀﻮ ﺷﺪﻥ ﺩﺭ ﮔﺮﻭﻩ ﻛﻼﻩ ﺣﺼﻴﺮﻯﻫﺎ‬ ‫ﻳﺎ ﻧﺠﺎﺕ ﻳﻚ ﺩﻭﺳﺖ ﻧﻴﺎﺯﻣﻨﺪ ﺑﻪ ﻛﻤﻚ‪ ،‬ﺍﺯ ﻟﺤﺎﻅ ﺍﺣﺴﺎﺳﻰ ﻣﺴﺎﺋﻞ ﭘﻴﭽﻴﺪﻩﺍﻯ ﻧﻴﺴﺘﻨﺪ‪ .‬ﻓﻘﻂ ﻭ ﻓﻘﻂ‬ ‫ﺍﺣﺴﺎﺳﺎﺕ ﺳﺎﺩﻩ ﻭ ﻣﻌﻤﻮﻟﻰ ﻣﺎﻧﻨﺪ ﻧﻴﺎﺯ ﺑﻪ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻪ ﺷﺪﻥ ﻳﺎ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻥ ﻳﻚ ﺩﻭﺳﺖ‪ .‬ﺍﻣﺎ ﺑﺎ‬ ‫ﺍﻳﻦ ﺣﺎﻝ ﺍﻳﻦ ﺍﺣﺴﺎﺳﺎﺕ ﺑﻪ ﻗﺪﺭﻯ ﺧﺎﻟﺺ ﻭ ﺗﺎﺛﻴﺮﮔﺬﺍﺭ ﻫﺴﺘﻨﺪ ﻛﻪ ﻛﻤﺘﺮ ﻣﺠﻤﻮﻋﻪﺍﻯ ﺗﻮﺍﻧﺴﺘﻪ ﺑﻪ ﺍﻳﻦ‬ ‫ﺳﻄﺢ ﺑﺮﺳﺪ‪ .‬ﺍﻣﺎ ﺩﻭﻣﻴﻦ ﻋﺎﻣﻞ ﺷﮕﻔﺖﺍﻧﮕﻴﺰ ﺑﻮﺩﻥ ﻭﺍﻥ ﭘﻴﺲ‪ ،‬ﺷﻴﻮﻩﻯ ﺭﻭﺍﻳﺖ ﺩﺍﺳﺘﺎﻥ ﺍﻭﺩﺍ ﺍﺳﺖ‪ .‬ﺍﻭ‬ ‫ﭼﻨﺎﻥ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﻣﻰﭘﺮﻭﺭﺍﻧﺪ ﻛﻪ ﻣﺨﺎﻃﺐ ﻫﻢ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻛﻨﺎﺭ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺩﺍﺳﺘﺎﻥ ﺣﺲ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻫﻤﺮﺍﻩ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﺍﺣﺴﺎﺳﺎﺗﻰ ﻣﺎﻧﻨﺪ ﺍﺿﻄﺮﺍﺭ ﻭ ﻧﺎﺍﻣﻴﺪﻯ ﺭﺍ ﻳﺎ ﺍﻳﻦ ﻛﻪ ﻗﺮﺍﺭ ﺍﺳﺖ ﺣﺎﺩﺛﻪﻯ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﮔﺮﻧﺪ ﻻﻳﻦ ﺩﺭﻳﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺯﻣﻴﻦ ﺭﺍ ﺑﻪ ﺩﻭ ﻧﻴﻢ ﻛﺮﻩ ﺷﻤﺎﻟﻰ ﻭ ﺟﻨﻮﺑﻰ ﺗﻘﺴﻴﻢ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﻛﻤﺮﺑﻨﺪﻯ‬ ‫ﺑﺎ ﺁﺏﻫﺎﻯ ﺁﺭﺍﻡ ﻭ ﻫﻴﻮﻻﻫﺎﻯ ﻋﻈﻴﻢﺍﻟﺠﺜﻪ ﺩﻭ ﻃﺮﻑ ﺁﻥ ﺭﺍ ﺍﺣﺎﻃﻪ ﻛﺮﺩﻩ ﻭ ﻋﺒﻮﺭ ﻛﺸﺘﻰﻫﺎ ﺭﺍ ﺗﻘﺮﻳﺒﺎً‬ ‫ﻏﻴﺮﻣﻤﻜﻦ ﻣﻰﻛﻨﺪ‪ .‬ﺑﻨﺎﺑﺮﻳﻦ ﻫﻤﻪ ﺩﺭﻳﺎﻧﻮﺭﺩﺍﻥ ﺑﺎﻳﺪ ﺍﺯ ﻭﺭﻭﺩﻯ ﺍﺻﻠﻰ ﻭﺍﺭﺩ ﮔﺮﻧﺪ ﻻﻳﻦ ﺷﻮﻧﺪ‪ .‬ﮔﺮﻧﺪ ﻻﻳﻦ‬ ‫ﻗﻮﺍﻧﻴﻦ ﻭ ﻋﻮﺍﻣﻞ ﻃﺒﻴﻌﻰ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩﻯ ﺩﺍﺭﺩ ﻭ ﺩﺭﻳﺎﻧﻮﺭﺩﺍﻥ ﻣﺤﻜﻮﻣﻨﺪ ﺟﺰﺍﻳﺮ ﺭﺍ ﻳﻚ ﺑﻪ ﻳﻚ ﭘﺸﺖ‬ ‫ﺳﺮ ﺑﮕﺬﺍﺭﻧﺪ ﺗﺎ ﺑﻪ ﺟﺰﻳﺮﻩ ﺁﺧﺮ )ﻭ ﻣﻜﺎﻥ ﺍﺣﺘﻤﺎﻟﻰ ﻭﺍﻥ ﭘﻴﺲ( ﺑﺮﺳﻨﺪ‪ .‬ﻟﻮﻓﻰ ﻭ ﻳﺎﺭﺍﻧﺶ ﺑﺮﺍﻯ ﺩﺳﺖ ﻳﺎﺑﻰ‬ ‫ﺑﻪ ﻫﺪﻑ ﺧﻮﺩ ﻣﺠﺒﻮﺭﻧﺪ ﻃﺒﻖ ﻫﻤﻴﻦ ﻗﺎﻧﻮﻥ ﺟﺰﺍﻳﺮ ﺭﺍ ﻳﻜﻰﻳﻜﻰ ﺑﺎﺯﺩﻳﺪ ﻛﻨﻨﺪ‪.‬‬ ‫ﺁﻥ ﭼﻪ ﺑﺎﻋﺚ ﺧﺎﺹ ﺑﻮﺩﻥ ﺩﺍﺳﺘﺎﻥ ﻣﻰﺷﻮﺩ‪ ،‬ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺍﻯﺍﻳﭽﻴﺮﻭ ﺍﻭﺩﺍ )ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻃﺮﺍﺡ ﻣﺎﻧﮕﺎ(‬ ‫ﺣﺘﺎ ﺍﺣﻤﻘﺎﻧﻪﺗﺮﻳﻦ ﻭ ﺳﺎﺩﻩﺗﺮﻳﻦ ﻣﻔﺎﻫﻴﻢ ﺭﺍ ﺑﻪ ﭼﻴﺰﻯ ﺧﺎﺭﻕﺍﻟﻌﺎﺩﻩ ﻭ ﻫﻴﺠﺎﻥﺍﻧﮕﻴﺰ ﺗﺒﺪﻳﻞ ﻣﻰﻛﻨﺪ‪ .‬ﺳﻔﺮ‬ ‫ﻛﺮﺩﻥ ﻣﻜﺮﺭ ﺍﺯ ﺳﺮﺯﻣﻴﻨﻰ ﺑﻪ ﺳﺮﺯﻣﻴﻨﻰ ﺩﻳﮕﺮ ﺩﺭ ﺍﺑﺘﺪﺍ ﺍﻳﺪﻩﻯ ﺟﺎﻟﺒﻰ ﺑﻪ ﻧﻈﺮ ﻧﻤﻰﺁﻳﺪ‪ .‬ﺍﻣﺎ ﺍﮔﺮ ﻫﺮ ﻛﺪﺍﻡ‬ ‫ﺍﺯ ﺍﻳﻦ ﺳﺮﺯﻣﻴﻦﻫﺎ ﭘﺮ ﺍﺯ ﺍﺷﺨﺎﺹ‪ ،‬ﻣﻮﺟﻮﺩﺍﺕ ﻭ ﺍﻣﺎﻛﻨﻰ ﺑﺎﺷﻨﺪ ﻛﻪ ﺑﻪ ﻭﺳﻴﻠﻪﻯ ﺗﺨﻴﻞ ﺑﻰﺣﺪ ﻭ ﻣﺮﺯ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﺑﻪ ﻭﺟﻮﺩ ﺁﻣﺪﻩﺍﻧﺪ‪ ،‬ﻫﻴﭻﮔﺎﻩ ﻧﻤﻰﺧﻮﺍﻫﻴﺪ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺍﺻﻠﻰ ﻣﻜﺎﻧﻰ ﺭﺍ ﻛﻪ ﺩﺭ ﺁﻥ ﺣﻀﻮﺭ‬ ‫ﺩﺍﺭﻧﺪ ﺗﺮﻙ ﻛﻨﻨﺪ ﻭ ﺑﺮ ﺧﻼﻑ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺍﺯ ﻣﺎﻧﮕﺎﻫﺎﻯ ﻣﻮﺟﻮﺩ ﺑﺎ ﻧﻮﻉ ﺩﺍﺳﺘﺎﻥﻫﺎﻳﻰ ﻣﺜﻞ »ﺳﻮﺑﺎﺳﺎ‬ ‫ﻛﺮﻭﻧﻴﻜﻠﺰ« ]‪ ،[11‬ﻫﻤﻴﺸﻪ ﺑﻪ ﺍﻳﻦ ﺍﻣﻴﺪﻭﺍﺭﻳﺪ ﺗﺎ ﻣﻜﺎﻥ ﺟﺪﻳﺪﻯ ﻛﻪ ﻣﻰﺧﻮﺍﻫﻴﺪ ﻣﻼﻗﺎﺕ ﻛﻨﻴﺪ ﺟﺎﻯ‬ ‫ﺟﺎﻟﺐﺗﺮﻯ ﺑﺎﺷﺪ ﻭ ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺑﻪ ﺧﻮﺍﻧﺪﻥ ﺍﺩﺍﻣﻪ ﻣﻰﺩﻫﻴﺪ؛ ﺍﻣﺎ ﻫﺮ ﺩﻧﻴﺎﻳﻰ ﻛﻪ ﻭﺍﺭﺩﺵ ﻣﻰ ﺷﻮﻳﺪ‬ ‫ﭘﺮ ﺍﺳﺖ ﺍﺯ ﺣﻮﺍﺩﺙ ﻭ ﺷﺨﺼﻴﺖ ﻫﺎﻯ ﺗﻜﺮﺍﺭﻯ ﻭ ﺑﺎﺯﻳﺎﻓﺖ ﺷﺪﻩ‪.‬‬ ‫ﻭﺳﻴﻠﻪﻯ ﺍﺻﻠﻰ ﻛﻪ ﺩﺭ ﻭﺍﻥ ﭘﻴﺲ ﺍﺯ ﺁﻥﻫﺎ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﺷﻮﺩ‪ ،‬ﻣﻴﻮﻩﻫﺎﻯ ﺷﻴﻄﺎﻥ ]‪ [12‬ﻫﺴﺘﻨﺪ‪ .‬ﻫﺮ‬ ‫ﻛﺲ ﻛﻪ ﻳﻜﻰ ﺍﺯ ﺍﻳﻦ ﻣﻴﻮﻩﻫﺎ ﺭﺍ ﺑﺨﻮﺭﺩ‪ ،‬ﺻﺎﺣﺐ ﻗﺪﺭﺗﻰ ﻓﺮﺍﺍﻧﺴﺎﻧﻰ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﻗﺪﺭﺕ ﺑﻬﺎﻯ‬ ‫ﮔﺰﺍﻓﻰ ﺩﺍﺭﺩ ﻭ ﺁﻥ ﻫﻢ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻥ ﺗﻮﺍﻧﺎﻳﻰ ﺷﻨﺎ ﻛﺮﺩﻥ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﻏﺮﻕ ﺷﺪﻥ ﺩﺭ ﺁﺏ ﻣﺎﻧﻨﺪ ﻟﻨﮕﺮ‬ ‫ﻛﺸﺘﻰ ﺍﺳﺖ‪ .‬ﻭ ﺍﻳﻦ ﺩﺭ ﺣﺎﻟﻰ ﺍﺳﺖ ﻛﻪ ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﻣﻮﺭﺩ ﺩﺯﺩﺍﻥ ﺩﺭﻳﺎﻳﻰ ﻭ ﺳﻔﺮ ﺩﺭ ﺩﺭﻳﺎﻫﺎﺳﺖ!‬ ‫ﻋﺎﻣﻠﻰ ﻛﻪ ﺑﺎﻋﺚ ﺟﺬﺍﺑﻴﺖ ﻣﻰﺷﻮﺩ‪ ،‬ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻫﺮ ﻛﺪﺍﻡ ﺍﺯ ﻣﻴﻮﻩﻫﺎ ﺩﺍﺭﺍﻯ ﻗﺪﺭﺕﻫﺎﻯ ﻛﺎﻣ ً‬ ‫ﻼ‬ ‫ﻣﺘﻔﺎﻭﺗﻰ ﻫﺴﺘﻨﺪ ﻭ ﻫﻴﭻ ﺩﻭ ﻣﻴﻮﻩﺍﻯ ﻗﺪﺭﺕ ﻳﻜﺴﺎﻥ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺗﺨﻴﻞ ﺑﻰ ﭘﺎﻳﺎﻥ ﺍﻭﺩﺍ ﻧﻴﺰ ﺑﺎﻋﺚ ﻣﻰﺷﻮﺩ‬ ‫ﻛﻪ ﻫﻤﻴﺸﻪ ﺷﺎﻫﺪ ﻗﺪﺭﺕﻫﺎﻯ ﻋﺠﻴﺐ ﻭ ﺟﺎﻟﺒﻰ ﺑﺎﺷﻴﻢ‪ .‬ﻣﺎﻧﻨﺪ ﺗﻮﺍﻧﺎﻳﻰ ﺷﺨﺼﻴﺖ ﺍﺻﻠﻰ ﻛﻪ ﻗﺪﺭﺕ‬ ‫ﻛﺶ ﺁﻭﺭﺩﻥ ﺍﻋﻀﺎﻯ ﺑﺪﻧﺶ ﺭﺍ ﺩﺍﺭﺩ‪ .‬ﮔﺬﺷﺘﻪ ﺍﺯ ﺍﻳﻦ‪ ،‬ﺁﻥ ﭼﻪ ﺑﺎﻋﺚ ﻣﻰﺷﻮﺩ ﺍﻳﻦ ﺗﻮﺍﻧﺎﻳﻰﻫﺎ ﺑﻬﺘﺮ ﺍﺯ‬ ‫ﻓﺮﻳﺎﺩ ﺯﺩﻥ »ﺑﺎﻧﻜﺎﻯ«]‪ [13‬ﻭ »ﻛﻜﻰ ﮔﻨﻜﺎﻯ«]‪ [14‬ﺑﺎﺷﺪ‪ ،‬ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻫﻴﭻ ﻭﻗﺖ ﻧﻤﻰﺗﻮﺍﻥ ﮔﻔﺖ‬ ‫ﻧﺘﻴﺠﻪﻯ ﺗﻘﺎﺑﻞ ﺩﻭ ﻧﻴﺮﻭ ﭼﮕﻮﻧﻪ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻗﺪﺭﺕ ﻳﻚ ﻣﻴﻮﻩﻯ ﺷﻴﻄﺎﻧﻰ ﺩﺭ ﻳﻚ ﺁﺭﻙ ]‪[15‬‬ ‫ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﺴﻴﺎﺭ ﺿﻌﻴﻒ ﺑﻪ ﻧﻈﺮ ﺑﻴﺎﻳﻴﺪ‪ ،‬ﺍﻣﺎ ﺩﺭ ﺁﺭﻙ ﺑﻌﺪﻯ ﻛﻠﻴﺪ ﺑﺮﺩﻥ ﻧﺒﺮﺩ ﺑﺎﺷﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻫﻴﭻ‬ ‫ﺷﺨﺼﻴﺘﻰ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺑﻪ ﻃﻮﺭ ﻗﻄﻌﻰ ﺷﻜﺴﺖﻧﺎﭘﺬﻳﺮ ﺑﺎﺷﺪ ﻭ ﻫﻤﻴﻦ ﺑﺎﻋﺚ ﺍﺿﺎﻓﻪ ﺷﺪﻥ ﻫﻴﺠﺎﻥ ﺑﻴﺸﺘﺮ‬ ‫ﺑﻪ ﻫﺮ ﻛﺪﺍﻡ ﺍﺯ ﻧﺒﺮﺩﻫﺎ ﻣﻰﺷﻮﺩ‪ .‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺜﺎﻝ ﻧﺒﺮﺩﻯ ﻣﺎﻧﻨﺪ »ﻛﻮﻧﻮﻫﺎﻣﺎﺭﻭ ]‪ [16‬ﻋﻠﻴﻪ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﮔﻠﺪ ﺭﺍﺟﺮ ]‪ ،[5‬ﺷﺎﻩ ﺩﺯﺩﺍﻥ ﺩﺭﻳﺎﻳﻰ‪ ،‬ﻗﻮﻯﺗﺮﻳﻦ ﻭ ﺑﺪﻧﺎﻡﺗﺮﻳﻦ ﺷﺨﺼﻰ ﺑﻮﺩﻩ ﻛﻪ ﺩﺭ ﺩﺭﻳﺎﻫﺎ ﺳﻔﺮ ﻣﻰﻛﺮﺩﻩ‬ ‫ﺍﺳﺖ‪ .‬ﺩﺳﺘﮕﻴﺮﻯ ﻭ ﺍﻋﺪﺍﻡ ﺭﺍﺟﺮ ﺗﻮﺳﻂ ﺩﻭﻟﺖ ﺟﻬﺎﻧﻰ ]‪ [6‬ﺗﻐﻴﻴﺮ ﺑﺰﺭﮔﻰ ﺩﺭ ﺗﻤﺎﻡ ﺟﻬﺎﻥ ﺍﻳﺠﺎﺩ ﻛﺮﺩ‪.‬‬ ‫ﺁﺧﺮﻳﻦ ﺟﻤﻼﺕ ﺍﻭ ﺭﺍﺯ ﻭﺟﻮﺩ »ﻭﺍﻥ ﭘﻴﺲ«‪ ،‬ﺑﺰﺭگﺗﺮﻳﻦ ﮔﻨﺞ ﺟﻬﺎﻥ ﺭﺍ ﺍﻓﺸﺎ ﻛﺮﺩ‪» .‬ﮔﻨﺞﻫﺎﻯ ﺑﻰﭘﺎﻳﺎﻥ‬ ‫ﻣﻦ ﺭﻭ ﻣﻰﺧﻮﺍﻳﻦ؟ ﻣﻤﻜﻨﻪ‪ ...‬ﻫﻤﻤﻢ‪ ...‬ﻣﻦ ﺍﻭﻧﺎ ﺭﻭ ﺑﻪ ﺍﻓﺮﺍﺩﻯ ﻣﻰﺩﻡ ﻛﻪ ﭘﻴﺪﺍﺷﻮﻥ ﺑﻜﻨﻦ‪ .‬ﻣﻦ ﻫﻤﻪ‬ ‫ﭼﻴﺰ ﺗﻮ ﺩﻧﻴﺎ ﺭﻭ ﺟﻤﻊ ﻛﺮﺩﻡ ﻭ »ﺍﻭﻥﺟﺎ« ﻗﺎﻳﻢﺷﻮﻥ ﻛﺮﺩﻡ‪ «.‬ﺑﺎ ﺍﻳﻦ ﺟﻤﻼﺕ ﺑﻮﺩ ﻛﻪ ﺟﻬﺎﻥ ﻭﺍﺭﺩ ﻋﺼﺮ‬ ‫ﺑﺰﺭگ ﺩﺯﺩﺍﻥ ﺩﺭﻳﺎﻳﻰ ﺷﺪ‪.‬‬ ‫ﻣﺎﻧﻜﻰ ﺩﻯ ﻟﻮﻓﻰ ]‪ ،[7‬ﻧﻮﺟﻮﺍﻧﻰ ‪ 17‬ﺳﺎﻟﻪ ﺍﺳﺖ ﻛﻪ ﺑﺮﺩﺍﺷﺖ ﻛﺎﻣ ً‬ ‫ﻼ ﻣﺘﻔﺎﻭﺕ ﺍﺯ ﺩﺯﺩ ﺩﺭﻳﺎﻳﻰ ﺑﻮﺩﻥ‬ ‫ﺩﺍﺭﺩ‪ .‬ﺑﺮ ﺧﻼﻑ ﺍﻓﺮﺍﺩ ﺧﺒﻴﺚ ﻭ ﺧﺸﻨﻰ ﻛﻪ ﺭﻭﺳﺘﺎﻫﺎ ﺭﺍ ﻏﺎﺭﺕ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﻫﺪﻑ ﻟﻮﻓﻰ ﺍﺯ ﺩﺯﺩ ﺩﺭﻳﺎﻳﻰ‬ ‫ﺑﻮﺩﻥ ﻣﻮﺍﺟﻪ ﺷﺪﻥ ﺑﺎ ﺣﻮﺍﺩﺙ ﻫﻴﺠﺎﻥﺍﻧﮕﻴﺰ ﻭ ﺩﻳﺪﺍﺭ ﺑﺎ ﺍﻓﺮﺍﺩ ﺟﺪﻳﺪ ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﻳﺎﻓﺘﻦ ﻭﺍﻥ ﭘﻴﺲ‬ ‫ﺍﺳﺖ‪ .‬ﻟﻮﻓﻰ ﺳﻌﻰ ﺩﺍﺭﺩ ﭘﺎ ﺟﺎﻯ ﭘﺎﻯ ﻗﻬﺮﻣﺎﻥ ﺩﻭﺭﺍﻥ ﻛﻮﺩﻛﻰﺍﺵ ﺑﮕﺬﺍﺭﺩ ﻭ ﺑﺎ ﺟﻤﻊ ﻛﺮﺩﻥ ﺧﺪﻣﻪﺍﻯ‬ ‫ﺑﻪ ﮔﺮﻧﺪ ﻻﻳﻦ‪ ،‬ﺧﻄﺮﻧﺎﻙﺗﺮﻳﻦ ﺩﺭﻳﺎﻯ ﺟﻬﺎﻥ‪ ،‬ﺳﻔﺮ ﻛﻨﺪ ﺗﺎ ﭘﺮﺩﻩ ﺍﺯ ﺭﺍﺯﻫﺎﻯ ﺗﺎﺭﻳﻚ ﺑﺮﺩﺍﺭﺩ‪ ،‬ﺑﺎ ﺩﺷﻤﻨﺎﻥ‬ ‫ﻗﺪﺭﺗﻤﻨﺪ ﻣﺒﺎﺭﺯﻩ ﻛﻨﺪ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﺑﻪ ﻭﺍﻥ ﭘﻴﺲ ﺭﺳﻴﺪﻩ ﻭ ﺷﺎﻩ ﺩﺯﺩﺍﻥ ﺩﺭﻳﺎﻳﻰ ﺑﺸﻮﺩ‪.‬‬ ‫ﺍﺯ ﻭﺍﻥ ﭘﻴﺲ ﺑﻪ ﻫﻤﺮﺍﻩ ﻧﺎﺭﻭﺗﻮ ]‪ [8‬ﻭ ﺑﻠﻴﭻ ]‪ ،[9‬ﻣﻌﻤﻮﻻً ﺑﺎ ﻋﻨﻮﺍﻥ ﺳﻪ ﺑﺰﺭگ ﺷﻮﻧﻦ ﻳﺎﺩ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺍﻳﻦ ﺩﺳﺘﻪﺑﻨﺪﻯ ﺑﺎﻋﺚ ﻣﻰﺷﻮﺩ ﻛﻪ ﺧﻮﺍﻧﻨﺪﻩ ﻧﺎﺁﺷﻨﺎ ﻓﻜﺮ ﻛﻨﺪ ﺑﺎ ﻳﻚ ﻣﺠﻤﻮﻋﻪﻯ ﺷﻮﻧﻦ ﻣﻌﻤﻮﻟﻰ ﺑﺎ‬ ‫ﺩﺍﺳﺘﺎﻧﻰ ﻏﻴﺮﺧﻼﻗﺎﻧﻪ ﻭ ﺗﻜﺮﺍﺭﻯ ﺭﻭﺑﺮﻭﺳﺖ‪ .‬ﺍﻣﺎ ﺍﮔﺮ ﺻﺎﺩﻗﺎﻧﻪ ﺑﺨﻮﺍﻫﻴﻢ ﻗﻀﺎﻭﺕ ﻛﻨﻴﻢ‪ ،‬ﻣﻘﺎﻳﺴﻪ ﻛﺮﺩﻥ‬ ‫ﻭﺍﻥ ﭘﻴﺲ ﺑﺎ ﻧﺎﺭﻭﺗﻮ‪ ،‬ﺑﻠﻴﭻ ﻳﺎ ﻫﺮ ﻋﻨﻮﺍﻥ ﺷﻮﻧﻦ ﺩﻳﮕﺮﻯ ﻣﺎﻧﻨﺪ ﻣﻘﺎﻳﺴﻪ ﻛﺮﺩﻥ ﺷﻬﺮﺑﺎﺯﻯ ﺑﺎ ﺣﻴﺎﻁ ﺑﺎﺯﻯ‬ ‫ﻣﻬﺪﻛﻮﺩﻙ ﺍﺳﺖ! ﻋﺎﻣﻞ ﻣﻮﻓﻘﻴﺖ ﻭﺍﻥ ﭘﻴﺲ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻫﺮ ﺁﻥ ﭼﻪ ﺭﺍ ﻛﻪ ﻳﻚ ﻣﺎﻧﮕﺎﻯ ﺷﻮﻧﻦ ﻻﺯﻡ‬ ‫ﺩﺍﺭﺩ‪ ،‬ﺑﻪ ﻣﺨﺎﻃﺐ ﺍﺭﺍﺋﻪ ﻣﻰﺩﻫﺪ‪ .‬ﺣﺎﺩﺛﻪ‪ ،‬ﻃﻨﺰ‪ ،‬ﺗﻮﺍﻧﺎﻳﻰﻫﺎﻯ ﺧﺎﺭﻕﺍﻟﻌﺎﺩﻩ‪ ،‬ﺷﺨﺼﻴﺖﻫﺎﻯ ﻣﻨﺤﺼﺮ ﺑﻪ‬ ‫ﻓﺮﺩ‪ ،‬ﻧﺒﺮﺩﻫﺎﻯ ﺣﻤﺎﺳﻰ‪ ،‬ﻣﻌﻨﺎﻯ ﻣﻄﻠﻖ ﺩﻭﺳﺘﻰ ﻭ ﺁﺭﺯﻭﻫﺎﻯ ﺑﺴﻴﺎﺭ ﺑﺴﻴﺎﺭ ﺑﺰﺭگ‪ .‬ﻭﺍﻥ ﭘﻴﺲ ﻫﻤﻪﻯ‬ ‫ﺍﻳﻦ ﻋﻨﺎﺻﺮ ﺭﺍ ﮔﺮﻓﺘﻪ ﻭ ﺑﻪ ﺑﺎﻻﺗﺮﻳﻦ ﺩﺭﺟﻪ ﺧﻮﺩ ﻣﻰﺭﺳﺎﻧﺪ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﻋﺼﺮ ﻃﻼﻳﻰ ﺩﺯﺩﺍﻥ ﺩﺭﻳﺎﻳﻰ ﺭﺥ ﻣﻰﺩﻫﺪ‪ .‬ﻣﺎﻧﻜﻰ ﺩﻯ ﻟﻮﻓﻰ ﺟﻮﺍﻥ ﻗﺼﺪ ﺩﺍﺭﺩ ﺧﺪﻣﻪﺍﻯ‬ ‫ﺟﻤﻊ ﻛﺮﺩﻩ ﻭ ﺑﻪ ﮔﺮﻧﺪ ﻻﻳﻦ ]‪) [10‬ﺧﻄﺮﻧﺎﻙﺗﺮﻳﻦ ﻣﻜﺎﻥ ﺟﻬﺎﻥ( ﺭﻓﺘﻪ ﻭ ﻭﺍﻥ ﭘﻴﺲ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩ‪.‬‬ ‫ﺍﻣﺎ ﺩﺭﻳﺎ ﭘﺮ ﺍﺯ ﺩﺯﺩﺍﻥ ﺩﺭﻳﺎﻳﻰ ﺧﻄﺮﻧﺎﻛﻰ ﺍﺳﺖ ﻛﻪ ﻫﺮﻛﺪﺍﻣﺸﺎﻥ ﻗﺼﺪ ﺩﺍﺭﻧﺪ ﺑﻪ ﻟﻘﺐ ﺷﺎﻩ ﺩﺯﺩﺍﻥ ﺩﺭﻳﺎﻳﻰ‬ ‫ﺩﺳﺖ ﻳﺎﺑﻨﺪ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﺁﺭﺯﻭﻯ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩﻥ ﻋﻨﻮﺍﻥ ﺷﺎﻩ ﺩﺯﺩﺍﻥ ﺩﺭﻳﺎﻳﻰ ﻫﺪﻓﻰ ﻧﺴﺒﺘﺎً ﺩﻭﺭ ﻭ ﺩﺳﺖ ﻧﻴﺎﻓﺘﻨﻰ ﺍﺳﺖ‬ ‫ﻛﻪ ﺑﺎﻋﺚ ﻣﻰﺷﻮﺩ ﻟﻮﻓﻰ ﻭ ﺩﻭﺳﺘﺎﻧﺶ ﻭﺍﺭﺩ ﺑﻮﺗﻪﻯ ﺩﺍﻍ ﻭ ﻋﻈﻴﻤﻰ ﭘﺮ ﺍﺯ ﻣﺸﻜﻼﺕ ﻭ ﺣﻮﺍﺩﺙ ﺷﻮﻧﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

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‫ﻧﮕﺎﻫﻰ ﺑﻪ ﻣﺎﻧﮕﺎﻯ ﻭﺍﻥ ﭘﻴﺲ‬

‫ﺍﺣﻤﺪ ﺑﺎﺑﺎﻳﻰ‬

‫ﺷﻨﺎﺳﻨﺎﻣﻪ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻃﺮﺍﺡ‪:‬‬ ‫ﻧـﺎﺷـــــــﺮ‪:‬‬ ‫ﺩﺳﺘﻪ ﺑﻨـــﺪﻯ‪:‬‬ ‫ژ ﺍ ﻧــــــــﺮ ‪:‬‬ ‫ﺗﺎﺭﻳﺦ ﺍﻧﺘﺸــﺎﺭ‪:‬‬

‫ﺍﻯﺍﻳﭽﻴﺮﻭ ﺍﻭﺩﺍ ]‪[2‬‬ ‫ﺷﻮﺋﻴﺸﺎ ]‪،[3‬‬ ‫ﻫﻔﺘﻪﻧﺎﻣﻪﻯ ﺷﻮﻧﻦ ﺟﺎﻣﭗ ]‪[4‬‬ ‫ﺷﻮﻧﻦ‬ ‫ﺍﻛﺸﻦ‪ ،‬ﻣﺎﺟﺮﺍﻳﻰ‪ ،‬ﻛﻤﺪﻯ‪-‬ﺩﺭﺍﻡ‬ ‫ﺍﻭﺕ ‪ 1997‬ﺗﺎﻛﻨﻮﻥ ‪ 64 -‬ﺟﻠﺪ‬


‫ﺳﻴﻨﻤﺎ‬

‫ﻣﻨﺎﺑﻊ‬ ‫‪Robert C. Hilborn, Chaos and Nonlinear Dynamics: An Introduction for Scientists and‬‬

‫‪1.‬‬

‫‪Engineers; New York, Cambridge University Press, 2000.‬‬ ‫‪Mark Rowlands, The Philosopher at the End of the Universe; Ebury, 2003.‬‬

‫‪.3‬‬ ‫‪.4‬‬ ‫‪.5‬‬ ‫‪.6‬‬ ‫‪.7‬‬ ‫‪.8‬‬ ‫‪.9‬‬ ‫‪.10‬‬ ‫‪.11‬‬ ‫‪.12‬‬ ‫‪.13‬‬ ‫‪.14‬‬ ‫‪.15‬‬

‫‪2.‬‬

‫ﻛﺮﻳﺴﺘﻮﻓﺮ ﻓﺎﻟﺰﻥ‪ ،‬ﻓﻠﺴﻔﻪ ﺑﻪ ﺭﻭﺍﻳﺖ ﺳﻴﻨﻤﺎ‪ ،‬ﺑﺮﮔﺮﺩﺍﻥ ﺑﻪ ﻓﺎﺭﺳﻰ‪ :‬ﻧﺎﺻﺮﺍﻟﺪﻳﻦﻋﻠﻰ ﺗﻘﻮﻳﺎﻥ‪ ،‬ﻧﺸﺮ ﻗﺼﻴﺪﻩﺳﺮﺍ‪ ،‬ﺗﻬﺮﺍﻥ‪،‬‬ ‫‪.1382‬‬ ‫ﺁﺩﺍﻡ ﻣﻮﺭﺗﻮﻥ‪ ،‬ﻓﻠﺴﻔﻪ ﺩﺭ ﻋﻤﻞ‪ ،‬ﺑﺮﮔﺮﺩﺍﻥ ﺑﻪ ﻓﺎﺭﺳﻰ‪ :‬ﻓﺮﻳﺒﺮﺯ ﻣﺠﻴﺪﻯ‪ ،‬ﺍﻧﺘﺸﺎﺭﺍﺕ ﻣﺎﺯﻳﺎﺭ‪ ،‬ﺗﻬﺮﺍﻥ‪.1381 ،‬‬ ‫ﺍﻓﻼﻃﻮﻥ‪ ،‬ﺟﻤﻬﻮﺭﻯ‪ ،‬ﺑﺮﮔﺮﺩﺍﻥ ﺑﻪ ﻓﺎﺭﺳﻰ‪ :‬ﻓﻮﺍﺩ ﺭﻭﺣﺎﻧﻰ‪ ،‬ﺷﺮﻛﺖ ﺍﻧﺘﺸﺎﺭﺍﺕ ﻋﻠﻤﻰ ﻭ ﻓﺮﻫﻨﮕﻰ‪ ،‬ﺗﻬﺮﺍﻥ‪.1335 ،‬‬ ‫ﻓﺼﻞﻧﺎﻣﻪﻯ ﻓﻠﺴﻔﻰ ﺍﺩﺑﻰ ﻓﺮﻫﻨﮕﻰ ﺍﺭﻏﻨﻮﻥ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ :23‬ﻧﻈﺮﻳﻪﻯ ﻓﻴﻠﻢ )ﻣﺠﻤﻮﻋﻪ ﻣﻘﺎﻻﺕ(‪ ،‬ﺳﺎﺯﻣﺎﻥ ﭼﺎپ ﻭ‬ ‫ﺍﻧﺘﺸﺎﺭﺍﺕ‪ ،‬ﺗﻬﺮﺍﻥ‪.1388 ،‬‬ ‫ﻣﺎﻳﻜﻞ ﺗﺎﻟﺒﻮﺕ‪ ،‬ﺟﻬﺎﻥ ﻫﻮﻟﻮﮔﺮﺍﻓﻴﻚ‪ ،‬ﺑﺮﮔﺮﺩﺍﻥ ﺑﻪ ﻓﺎﺭﺳﻰ‪ :‬ﺩﺍﺭﻳﻮﺵ ﻣﻬﺮﺟﻮﻳﻰ‪ ،‬ﻧﺸﺮ ﻫﺮﻣﺲ‪ ،‬ﺗﻬﺮﺍﻥ‪.1385 ،‬‬ ‫ﻓﺮﺩﺭﻳﺶ ﻧﻴﭽﻪ‪ ،‬ﻓﺮﺍﺳﻮﻯ ﻧﻴﻚ ﻭ ﺑﺪ‪ ،‬ﺑﺮﮔﺮﺩﺍﻥ ﺑﻪ ﻓﺎﺭﺳﻰ‪ :‬ﺩﺍﺭﻳﻮﺵ ﺁﺷﻮﺭﻯ‪ ،‬ﺍﻧﺘﺸﺎﺭﺍﺕ ﺧﻮﺍﺭﺯﻣﻰ‪ ،‬ﺗﻬﺮﺍﻥ‪.1362 ،‬‬ ‫ﻣﺎﻫﻨﺎﻣﻪﻯ ﺩﺍﻧﺸﻤﻨﺪ‪ ،‬ﺷﻤﺎﺭﻩﻯ ﭘﻴﺎﭘﻰ ‪ ،553‬ﺁﺑﺎﻥ ‪.1388‬‬ ‫ﻣﺎﻫﻨﺎﻣﻪﻯ ﺩﺍﻧﺸﻤﻨﺪ‪ ،‬ﺷﻤﺎﺭﻩﻯ ﭘﻴﺎﭘﻰ ‪ ،556‬ﺑﻬﻤﻦ ‪.1388‬‬ ‫ﻣﺎﻫﻨﺎﻣﻪﻯ ﺳﻴﻨﻤﺎﻳﻰ ﻓﻴﻠﻢ‪ ،‬ﺷﻤﺎﺭﻩﻯ ﭘﻴﺎﭘﻰ ‪ ،377‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪.1387‬‬ ‫ﻓﺮﺩﺭﻳﺶ ﻧﻴﭽﻪ‪ ،‬ﭼﻨﻴﻦ ﮔﻔﺖ ﺯﺭﺗﺸﺖ‪ ،‬ﺑﺮﮔﺮﺩﺍﻥ ﺑﻪ ﻓﺎﺭﺳﻰ‪ :‬ﺩﺍﺭﻳﻮﺵ ﺁﺷﻮﺭﻯ‪ ،‬ﺍﻧﺘﺸﺎﺭﺍﺕ ﺁﮔﺎﻩ‪ ،‬ﺗﻬﺮﺍﻥ‪.1349 ،‬‬ ‫ﺍﺱ‪ .‬ﺍﻯ‪ .‬ﻓﺮﺍﺳﺖ‪ ،‬ﺩﺭﺱﻫﺎﻯ ﺍﺳﺎﺳﻰ ﻓﻼﺳﻔﻪﻯ ﺑﺰﺭگ‪ ،‬ﺑﺮﮔﺮﺩﺍﻥ ﺑﻪ ﻓﺎﺭﺳﻰ‪ :‬ﻣﻨﻮﭼﻬﺮ ﺷﺎﺩﺍﻥ‪ ،‬ﺍﻧﺘﺸﺎﺭﺍﺕ ﺑﻬﺠﺖ‪،‬‬ ‫ﺗﻬﺮﺍﻥ‪.1384 ،‬‬ ‫ﺩﻛﺘﺮ ﺳﻴﺪﻣﺤﻤﺪﺭﺿﺎ ﮔﻠﭙﺎﻳﮕﺎﻧﻰ‪ ،‬ﻣﻬﻨﺪﺳﻰ ﺳﻴﺪﺍﺣﺴﺎﻥ ﺗﻬﺎﻣﻰ‪ ،‬ﻣﺒﺎﻧﻰ ﺳﻴﺴﺘﻢﻫﺎ ﻭ ﻣﻬﻨﺪﺳﻰ ﺳﺎﻳﺒﺮﻧﺘﻴﻚ‬ ‫)ﻣﻔﺎﻫﻴﻢ ﻭ ﻛﺎﺭﺑﺮﺩﻫﺎ(‪ ،‬ﺍﻧﺘﺸﺎﺭﺍﺕ ﺳﺨﻦﮔﺴﺘﺮ‪ ،‬ﻣﺸﻬﺪ‪.1386 ،‬‬ ‫ﺩﺍﻭﺩ ﻣﻌﻈﻤﻰ‪ ،‬ﻣﻘﺪﻣﺎﺕ ﻧﻮﺭﻭﺳﺎﻳﻜﻮﻟﻮژﻯ‪ ،‬ﺳﺎﺯﻣﺎﻥ ﻣﻄﺎﻟﻌﻪ ﻭ ﺗﺪﻭﻳﻦ ﻛﺘﺐ ﻋﻠﻮﻡ ﺍﻧﺴﺎﻧﻰ ﺩﺍﻧﺸﮕﺎﻩﻫﺎ )ﺳﻤﺖ(‪ ،‬ﺗﻬﺮﺍﻥ‪،‬‬ ‫‪.1384‬‬

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‫ﻋﻤﻠﻜﺮﺩ ﻛﺎﺭﺍﻛﺘﺮ »ﻟﺌﻮﻧﺎﺭﺩ ﺳﻠﺒﻰ« ﺑﺎ ﺑﺎﺯﻯ ﮔﺎﻯ ﭘﻴﺮﺱ ﺩﺭ ﻓﻴﻠﻢ ‪ ،Memento‬ﺑﻪ ﻧﻮﻋﻰ ﻳﺎﺩﺁﻭﺭ‬ ‫ﭘﻴﺸﻨﻬﺎﺩ ﻏﻠﺒﻪﻯ ﺫﻫﻦ ﻛﻮﺩﻙ ﻓﺮﺩﺭﻳﺶ ﻧﻴﭽﻪ ﻭ ﺗﺌﻮﺭﻯ »ﺑﺎﺯﮔﺸﺖ ﺍﺑﺪﻯ« ﺍﻭ ﺍﺳﺖ‪ .‬ﻃﺒﻖ ﺍﻳﺪﻩﻯ‬ ‫ﻧﻴﭽﻪ‪ ،‬ﭼﻮﻥ ﺩﺭ ﭼﺎﺭﭼﻮﺏ ﺯﻣﺎﻥ ﺑﻰﻛﺮﺍﻧﻪ ﺗﻤﺎﻣﻰ ﻋﻤﻠﻜﺮﺩﻫﺎﻯ ﻣﻤﻜﻦ ﭼﺎﺭﻩﺍﻯ ﺟﺰ ﺗﻜﺮﺍﺭ ﻧﺪﺍﺭﻧﺪ‪ ،‬ﺍﺯ‬ ‫ﺍﻳﻦ ﺭﻭ ﻛﻪ ﺍﻋﻤﺎﻝ ﻣﻤﻜﻦ ﻣﺤﺪﻭﺩ ﺍﺳﺖ ﻭ ﺯﻣﺎﻥ ﻧﺎﻣﺤﺪﻭﺩ‪ ،‬ﻟﺬﺍ ﭼﻮﻥ ﻗﺮﺍﺭ ﺍﺳﺖ ﺁﻥ ﭼﻪ ﺭﺍ ﻛﻪ ﺍﻧﺠﺎﻡ‬ ‫ﻣﻰﺩﻫﻴﻢ ﺑﻰﻧﻬﺎﻳﺖ ﺑﺎﺭ ﺩﻳﮕﺮ ﻫﻢ ﺗﻜﺮﺍﺭ ﺷﻮﺩ‪ ،‬ﺁﻥ ﻫﻢ ﺑﻰ ﺁﻥ ﻛﻪ ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﻳﻢ‪ ،‬ﭘﺲ ﺑﻬﺘﺮ ﺍﺳﺖ ﺑﻪ‬ ‫ﺳﺮﺍﻍ ﻋﻤﻠﻜﺮﺩﻯ ﺑﺮﻭﻳﻢ ﻛﻪ ﺍﺭﺯﺵ ﺑﻰﻧﻬﺎﻳﺖ ﺗﻜﺮﺍﺭ ﺷﺪﻥ ﺭﺍ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﺪ‪.‬‬ ‫ﻓﻴﻠﻢ ﺩﺭﺧﺸﺶ ﺍﺑﺪﻯ ﻳﻚ ﺫﻫﻦ ﭘﺎﻙ ﺑﻪ ﺷﻜﻠﻰ ﻇﺮﻳﻒ ﺍﻳﻦ ﺑﺤﺚ ﺭﺍ ﺩﺭ ﻣﻘﻴﺎﺱ ﻛﻮﭼﻜﻰ ﺍﺯ ﺯﻣﺎﻥ‬ ‫ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ‪ .‬ﺟﻮﺋﻞ ﻭ ﻛﻠﻤﻨﺘﺎﻳﻦ ﺑﻰﻧﻬﺎﻳﺖ ﺑﺎﺭ ﺩﻳﮕﺮ ﻫﻢ ﻛﻪ ﻳﻜﺪﻳﮕﺮ ﺭﺍ ﺍﺯ ﺣﺎﻓﻈﻪﻯ ﺧﻮﺩ ﭘﺎﻙ‬ ‫ﻛﻨﻨﺪ‪ ،‬ﺑﺎﺯ ﺑﻪ ﺳﻮﻯ ﻫﻢ ﺑﺮ ﻣﻰﮔﺮﺩﻧﺪ‪ .‬ﭘﺲ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻧﺼﻴﺤﺖ ﻫﻤﻮﺍﺭﻩ ﺑﺎﻳﺪ ﻃﻮﺭﻯ ﺍﻧﺪﻳﺸﻴﺪ ﻛﻪ‬ ‫ﺍﻧﺘﺨﺎﺏﻫﺎ ﺍﺑﺪﻯ ﺑﺎﺷﻨﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺍﻧﺘﺨﺎﺏﻫﺎﻯ ﺍﺣﻤﻘﺎﻧﻪ ﻭ ﺑﻰﺍﺭﺯﺵ ﺍﻳﻦ ﻣﺰﻳﺖ ﺭﺍ ﺩﺍﺭﻧﺪ ﻛﻪ ﺣﺪﺍﻗﻞ ﺑﻪ‬ ‫ﻭﺍﺳﻄﻪﻯ ﻓﺮﺍﻣﻮﺷﻰ ﺑﺸﺮﻯ ﻗﺎﺑﻞ ﺗﺤﻤﻞ ﺧﻮﺍﻫﻨﺪ ﺑﻮﺩ‪.‬‬ ‫ﺗﺠﺴﻢ ﺍﻋﻤﺎﻝ‬ ‫ﺑﻪ ﻋﻨﻮﺍﻥ ﻧﻜﺘﻪﻯ ﭘﺎﻳﺎﻧﻰ ﺩﺭ ﺑﺎﺏ ﻓﻴﻠﻢ ﺩﺭﺧﺸﺶ ﺍﺑﺪﻯ ﻳﻚ ﺫﻫﻦ ﭘﺎﻙ‪ ،‬ﻟﺬﺕﻫﺎ ﻭ ﺭﻧﺞﻫﺎﻯ ﺑﻪ ﻳﺎﺩ‬ ‫ﺁﻭﺭﺩﻥ ﺟﺎﻯ ﺑﺤﺚ ﺩﺍﺭﺩ‪ .‬ﺷﺨﺼﺎً ﺍﺣﺴﺎﺱ ﻣﻰﻛﻨﻢ ﺑﺮﺍﻯ ﭘﺎﺩﺍﺵ ﻭ ﻋﺬﺍﺏ ﻧﻴﻜﻮﻛﺎﺭﺍﻥ ﻭ ﮔﻨﺎﻫﻜﺎﺭﺍﻥ‬ ‫ﻛﺎﻓﻰ ﺍﺳﺖ ﻫﺮ ﻛﺲ ﺭﺍ ﺩﺭ ﺳﺎﻟﻦ ﻧﻤﺎﻳﺸﻰ ﻧﺸﺎﻧﺪ ﻭ ﺣﺎﻓﻈﻪﻯ ﻛﺎﻣﻞ ﺯﻧﺪﮔﻰﺍﺵ ﺭﺍ ﻣﺠﺪﺩﺍ ً ﺑﺮﺍﻳﺶ ﺑﻪ‬ ‫ﻧﻤﺎﻳﺶ ﮔﺬﺍﺷﺖ‪ .‬ﭘﺎﺩﺍﺵﻫﺎ ﻭ ﻋﺬﺍﺏﻫﺎﻯ ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﺩﻥ ﺁﻥ ﺍﻧﺪﺍﺯﻩ ﻗﺪﺭﺗﻤﻨﺪ ﻫﺴﺖ ﻛﻪ ﻧﻴﻜﻮﻛﺎﺭﺍﻥ ﻭ‬ ‫ﮔﻨﺎﻫﻜﺎﺭﺍﻥ ﺟﺰﺍﻯ ﺧﻮﺩ ﺭﺍ ﻣﻨﺼﻔﺎﻧﻪ ﺩﺭﻳﺎﻓﺖ ﻛﻨﻨﺪ‪.‬‬ ‫ﺍﺛﺮ ﺧﺎﻃﺮﺍﺕ ﺗﺎ ﺍﻧﺪﺍﺯﻩﺍﻯ ﺍﺳﺖ ﻛﻪ ﺍﻣﺮﻭﺯﻩ ﻳﻜﻰ ﺍﺯ ﺗﻜﻨﻴﻚﻫﺎﻯ ﺭﻭﺍﻥﺩﺭﻣﺎﻧﻰ ﺑﺮ ﻣﺒﻨﺎﻯ ﺑﺎﺯﻳﺎﺑﻰ ﻳﺎ ﺑﻠﻮﻛﻪ‬ ‫ﻛﺮﺩﻥ ﺧﺎﻃﺮﺍﺕ ﺩﺭ ﻓﺮﺁﻳﻨﺪ ﻫﻴﭙﻨﻮﺗﻴﺰﻡ ﺑﻨﺎ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﺛﺮ ﺑﺮﺧﻰ ﺍﺯ ﺧﺎﻃﺮﺍﺕ ﺁﺯﺍﺭ ﺩﻫﻨﺪﻩ ﺩﺭ ﺍﻧﺴﺎﻥﻫﺎ‬ ‫ﺑﻪ ﺣﺪﻯ ﺍﺳﺖ ﻛﻪ ﺑﺮﺍﻯ ﺩﺭﻣﺎﻥ ﺭﺍﻫﻰ ﺟﺰ ﺑﻠﻮﻛﻪ ﻛﺮﺩﻥ ﺁﻥ ﺧﺎﻃﺮﻩ ﺩﺭ ﺫﻫﻦ ﺗﻮﺳﻂ ﻫﻴﭙﻨﻮﺗﻴﺰﻡ ﻭﺟﻮﺩ‬ ‫ﻧﺪﺍﺭﺩ‪.‬‬ ‫ﺩﺭ ﻓﻴﻠﻢ ﺻﺤﻨﻪﻫﺎﻳﻰ ﺍﺯ ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﺩﻥ ﺣﻘﺎﺭﺕﻫﺎ‪ ،‬ﻛﺞﺭﻭﻯﻫﺎ ﻭ ﻋﺬﺍﺏ ﻭﺟﺪﺍﻥ ﻧﺎﺷﻰ ﺍﺯ ﺍﻳﻦ ﺑﻪ ﻳﺎﺩ‬ ‫ﺁﻭﺭﺩﻥ ﻭ ﻫﻤﻴﻦ ﮔﻮﻧﻪ ﺑﺎﺯﻳﺎﺑﻰ ﺩﻭﺑﺎﺭﻩﻯ ﺧﺎﻃﺮﺍﺕ ﺯﻳﺒﺎ ﻭ ﻟﺬﺕﻫﺎﻯ ﺑﺮﺁﻣﺪﻩ ﺍﺯ ﺁﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺷﺎﻳﺪ ﭘﺲ‬ ‫ﻓﺮ���ﺘﺎﺩﻥ ﻧﻮﺍﺭ ﺧﺎﻃﺮﺍﺕ ﭘﺎﻙ ﺷﺪﻩ ﺍﺯ ﺣﺎﻓﻈﻪ ﺑﺮﺍﻯ ﺍﺷﺨﺎﺹ ﺗﻮﺳﻂ »ﻣﺮﻯ« ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﻓﻴﻠﻢ‪ ،‬ﻧﻤﺎﺩﻯ‬ ‫ﺍﺯ ﺁﻏﺎﺯ ﺭﻭﺯ ﺭﺳﺘﺎﺧﻴﺰ ﺑﺎﺷﺪ‪ .‬ﺟﺎﻳﻰ ﻛﻪ ﭘﺮﺩﻩﻫﺎ ﻓﺮﻭ ﻣﻰﺍﻓﺘﺪ ﻭ ﻧﻬﺎﻥﻫﺎ ﺁﺷﻜﺎﺭ ﻣﻰﺷﻮﺩ‪.‬‬

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‫ﺳﻴﻨﻤﺎ‬

‫ﻧﻈﻴﺮ ﺻﺮﻉ ﺭﺥ ﻣﻰﺩﻫﺪ؛ ﺍﻣﺎ ﺯﻣﺎﻧﻰ ﻛﻪ ﺍﺯ ﻳﻚ ﻛﻤﺘﺮ ﺍﺳﺖ‪ ،‬ﺑﻬﻤﻦ ﻣﺮﺑﻮﻃﻪ ﺳﺮﻳﻌﺎً ﻣﺤﻮ ﺧﻮﺍﻫﺪ ﺷﺪ‪.‬‬ ‫ﺧﺎﻃﺮﺍﺕ ﻣﻤﻜﻦ ﺍﺳﺖ ﻧﺎﮔﻬﺎﻧﻰ ﺑﻪ ﺫﻫﻦ ﺑﺮﺳﻨﺪ‪ ،‬ﭼﻮﻥ ﻧﻮﺭﻭﻥﻫﺎ ﻣﻤﻜﻦ ﺍﺳﺖ ﻧﺎﮔﻬﺎﻧﻰ ﺷﻠﻴﻚ ﻛﻨﻨﺪ‪.‬‬ ‫ﺍﮔﺮ ﺣﺎﻟﺖ ﻧﻮﺭﻭﻥﻫﺎ ﺍﺯ ﻟﺒﻪﻯ ﺁﺷﻮﺏ ﻛﻤﻰ ﺑﻪ ﺳﻤﺖ ﭘﺎﻳﺪﺍﺭﻯ ﺑﻴﺸﺘﺮ ﻳﺎ ﻛﻤﻰ ﺑﻪ ﺳﻤﺖ ﺁﺷﻮﺏ ﺑﻴﺸﺘﺮ‬ ‫ﺣﺮﻛﺖ ﻛﻨﺪ‪ ،‬ﻧﺘﻴﺠﻪ ﻋﺎﺭﺿﻪﺍﻯ ﺭﻭﺍﻧﻰ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﺑﺮ ﺍﺳﺎﺱ ﺍﻳﻦ ﻓﺮﺿﻴﻪ‪ ،‬ﺑﻪ ﻃﻮﺭ ﺧﻼﺻﻪ ﺯﻧﺠﻴﺮﻩﺍﻯ‬ ‫ﺍﺯ ﺑﻬﻤﻦﻫﺎﻯ ﻋﺼﺒﻰ ﻣﻰﺗﻮﺍﻧﺪ ﻣﺎﺩﻩﻯ ﺍﺻﻠﻰ ﺣﺎﻓﻈﻪ ﺑﺎﺷﺪ‪.‬‬ ‫‪‬ﺟﺪﺍ ﺍﺯ ﺑﺤﺚ ﺳﺎﺧﺘﺎﺭ ﺗﺸﻜﻴﻞ ﺣﺎﻓﻈﻪ‪ ،‬ﺿﺎﻳﻌﺎﺕ ﺣﺎﻓﻈﻪ ﺭﺍ ﻧﻴﺰ ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﺳﻪ ﺩﺳﺘﻪ ﺗﻘﺴﻴﻢ ﻛﺮﺩ‪:‬‬ ‫ﺍﻟﻒ( »ﺿﺎﻳﻌﻪﻯ ﺣﺎﻓﻈﻪﻯ ﺑﻼﻓﺎﺻﻠﻪ« ﻛﻪ ﺩﺭ ﺁﻥ ﺻﺪﻣﺎﺕ ﻭﺍﺭﺩ ﺑﻪ ﻗﺸﺮ ﺣﺴﻰ‪ -‬ﺣﺮﻛﺘﻰ ﻣﻐﺰ ﺳﺒﺐ‬ ‫ﻣﺨﺘﻞ ﺷﺪﻥ ﻳﺎ ﺍﻧﻬﺪﺍﻡ ﺣﺎﻓﻈﻪﻯ ﺍﻭﻟﻴﻪ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺏ( »ﺿﺎﻳﻌﻪﻯ ﺣﺎﻓﻈﻪﻯ ﻧﺰﺩﻳﻚ« ﻛﻪ ﺩﺭ ﺁﻥ ﻋﻤﻠﻜﺮﺩ ﺿﺒﻂ ﺣﺎﻓﻈﻪ ﻣﺨﺘﻞ ﺷﺪﻩ ﻭ ﻟﺬﺍ ﺷﺨﺺ ﺑﺎ‬ ‫ﺁﻥ ﻛﻪ ﺣﻮﺍﺩﺙ ﮔﺬﺷﺘﻪ ﺭﺍ ﺑﻪ ﻳﺎﺩ ﺩﺍﺭﺩ‪ ،‬ﺍﻣﺎ ﺍﺯ ﺯﻣﺎﻥ ﺑﺮﻭﺯ ﺣﺎﺩﺛﻪ ﺗﻮﺍﻧﺎﻳﻰ ﺗﺸﻜﻴﻞ ﺣﺎﻓﻈﻪﺍﺵ ﻣﺨﺘﻞ‬ ‫ﻣﻰﺷﻮﺩ‪.‬‬ ‫پ( »ﺿﺎﻳﻌﻪﻯ ﺣﺎﻓﻈﻪﻯ ﺩﻭﺭ« ﻛﻪ ﺣﺎﻓﻈﻪﻯ ﺛﺎﻧﻮﻳﻪ ﺭﺍ ﻣﺨﺘﻞ ﻣﻰﻛﻨﺪ؛ ﻣﺎﻧﻨﺪ ﺑﻴﻤﺎﺭﻯ ﺁﻟﺰﺍﻳﻤﺮ ﻭ ﺑﻪ‬ ‫ﺗﻨﺎﺳﺐ ﺿﺎﻳﻌﻪ‪ ،‬ﺩﺳﺘﺮﺳﻰ ﺷﺨﺺ ﺑﻪ ﻛﻞ ﻳﺎ ﺑﺨﺸﻰ ﺍﺯ ﺧﺎﻃﺮﺍﺗﺶ ﻧﺎﻣﻤﻜﻦ ﻣﻰﺷﻮﺩ‪.‬‬ ‫‪ ‬ﺩﺭ ﻓﻴﻠﻢ ﺩﺭﺧﺸﺶ ﺍﺑﺪﻯ ﻳﻚ ﺫﻫﻦ ﭘﺎﻙ‪ ،‬ﻓﺮﺁﻳﻨﺪﻥ ﭘﺎﻙ ﻛﺮﺩﻥ ﺣﺎﻓﻈﻪ ﺗﻮﺳﻂ ﺳﻮﺯﺍﻧﺪﻥ ﻧﻘﺎﻃﻰ‬ ‫ﻧﻮﺭﺍﻧﻰ ﺩﺭ ﻣﻐﺰ ﺗﻨﻬﺎ ﺑﺎ ﭘﺬﻳﺮﺵ ﻓﺮﺿﻴﻪﻯ »ﺍﻧﻬﺪﺍﻡ ﺳﻴﻨﺎﭘﺲﻫﺎﻯ ﺯﺍﺋﺪ« ﺍﻣﻜﺎﻥﭘﺬﻳﺮ ﺍﺳﺖ؛ ﺣﺘﺎ ﺍﮔﺮ‬ ‫ﻓﺮﺿﻴﺎﺗﻰ ﻣﺎﻧﻨﺪ »ﻣﻴﺪﺍﻥ ﺷﻜﻞﺳﺎﺯ«‪» ،‬ﺣﺎﻓﻈﻪﻯ ﻫﻮﻟﻮﮔﺮﺍﻓﻴﻚ« ﻭ »ﺣﺎﻓﻈﻪﻯ ﺁﺷﻮﺑﻰ« ﺭﺍ ﺑﻴﺸﺘﺮ‬ ‫ﺗﺮﺟﻴﺢ ﺩﻫﻴﺪ‪ .‬ﺑﺮ ﻣﺒﻨﺎﻯ ﺳﻪ ﻓﺮﺿﻴﻪﻯ ﺍﺧﻴﺮ ﺣﺎﻓﻈﻪ ﻳﻚ ﻣﺘﻐﻴﺮ ﮔﻠﻮﺑﺎﻝ )‪ (global‬ﺍﺳﺖ‪ ،‬ﻳﻌﻨﻰ ﻧﻘﻄﻪ‬ ‫ﻳﺎ ﻧﻘﺎﻁ ﻣﺸﺨﺼﻰ ﺩﺭ ﻣﻐﺰ ﻳﺎ ﺑﺪﻥ ﺭﺍ ﻧﻤﻰﺗﻮﺍﻥ ﺑﺎ ﺁﻥ ﻣﺘﻨﺎﻇﺮ ﻛﺮﺩ‪.‬‬ ‫ﺑﺎﺯﮔﺸﺖ ﺍﺑﺪﻯ‬ ‫ﻛﺮﻳﺴﺘﻮﻓﺮ ﻧﻮﻻﻥ‪ ،‬ﻛﺎﺭﮔﺮﺩﺍﻥ ﻣﻌﺮﻭﻑ ﻓﻴﻠﻢ »‪ ،«Memento‬ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ ﭘﺮﻳﺸﺎﻥﺣﺎﻟﻰ ﻣﺮﺩﻯ ﺑﺎ‬ ‫ﺣﺎﻓﻈﻪﻯ ﺑﻪ ﻫﻢ ﺭﻳﺨﺘﻪ ﺭﺍ ﺑﻪ ﺗﺼﻮﻳﺮ ﻣﻰﻛﺸﺪ ﻛﻪ ﻣﺪﺍﻡ ﺍﺯ ﺗﺮﺱ ﻓﺮﺍﻣﻮﺵ ﻛﺮﺩﻥ‪ ،‬ﺑﻪ ﻧﻮﺷﺘﻦ ﺑﺮ ﻛﺎﻏﺬ‬ ‫ﻭ ﺧﺎﻟﻜﻮﺑﻰ ﻛﺮﺩﻥ ﺍﻃﻼﻋﺎﺕ ﻣﻬﻢ ﺑﺮ ﺑﺪﻧﺶ ﻣﺸﻐﻮﻝ ﺍﺳﺖ‪ .‬ﺍﻭ ﺑﺎ ﻫﻤﻴﻦ ﺭﻭﺵ ﺗﻤﺎﻡ ﺳﺮﻧﺦﻫﺎﻯ ﻗﺎﺗﻞ‬ ‫ﻫﻤﺴﺮﺵ ﺭﺍ ﻛﻪ ﺩﺭ ﺍﺯ ﺑﻴﻦ ﺭﻓﺘﻦ ﺣﺎﻓﻈﻪﻯ ﻛﻮﺗﺎﻩﻣﺪﺕ ﺍﻭ ﻫﻢ ﻧﻘﺶ ﺩﺍﺗﻪ‪ ،‬ﺩﻧﺒﺎﻝ ﻣﻰﻛﻨﺪ ﻭ ﻧﻬﺎﻳﺘﺎً ﻗﺎﺗﻞ‬ ‫ﺭﺍ ﺍﺯ ﻣﻴﺎﻥ ﻣﻰﺑﺮﺩ‪ .‬ﮔﻮﻳﺎ ﻧﻮﻻﻥ ﻫﻢ ﻣﻨﻈﻮﺭﺵ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻓﺮﺍﺗﺮ ﺍﺯ ﺣﺎﻓﻈﻪ‪ ،‬ﭼﻴﺰ ﺩﻳﮕﺮﻯ ﺑﺮﺍﻯ ﺣﻔﻆ‬ ‫ﻫﻮﻳﺖ ﺷﺨﺼﻰ ﻣﻮﺟﻮﺩ ﺍﺳﺖ‪ .‬ﻧﻴﺮﻭﻳﻰ ﻛﻪ ﺍﻳﻦ ﺁﮔﺎﻫﻰ ﺭﺍ ﺑﻪ ﻗﻬﺮﻣﺎﻥ ﻓﻴﻠﻢ ﺩﺍﺩﻩ ﻛﻪ ﺑﺪﺍﻧﺪ ﺑﺮﺍﻯ ﻣﺒﺎﺭﺯﻩ‬ ‫ﺑﺎ ﻓﺮﺍﻣﻮﺷﻰ ﭼﻪ ﺗﻜﻨﻴﻜﻰ ﺭﺍ ﺑﺎﻳﺪ ﺑﻪ ﻛﺎﺭ ﮔﻴﺮﺩ‪.‬‬ ‫‪93‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﻣﻮﺟﻮﺩ ﺩﺭ ﺳﻴﺴﺘﻢﻫﺎﻯ ﻭﺍﻗﻌﻰ ﺑﺮ ﺍﺳﺎﺱ ﻧﻈﺮﻳﻪﻯ ﺳﻴﺴﺘﻢﻫﺎ‪ ،‬ﻳﻌﻨﻰ ﺁﻥ ﭼﻪ ﺑﺎﻋﺚ ﻣﻰﺷﻮﺩ ﻳﻚ ﺟﺰء‬ ‫ﺍﻃﻼﻋﺎﺕ ﻛﻞ ﺭﺍ ﺩﺭ ﺑﺮ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﺗﻌﺒﻴﺮﻯ ﺳﻴﺴﺘﻤﺎﺗﻴﻚ ﺍﺯ ﻣﻴﺪﺍﻥ ﺷﻜﻞﺳﺎﺯ ﺑﺎﺷﺪ‪.‬‬ ‫‪ .6‬ﺣﺎﻓﻈﻪﻯ ﻫﻮﻟﻮﮔﺮﺍﻓﻴﻚ‪ :‬ﺑﺮ ﺧﻼﻑ ﺗﺼﻮﺭ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻓﻴﺰﻳﻮﻟﻮژﻳﺴﺖﻫﺎﻯ ﻧﻴﻤﻪﻯ ﺍﻭﻝ ﻗﺮﻥ ﺑﻴﺴﺘﻢ ﻛﻪ‬ ‫ﺑﻪ ﺩﻧﺒﺎﻝ ﻣﻮﻗﻌﻴﺖ ﻣﻜﺎﻧﻰ ﺣﺎﻓﻈﻪ ﺩﺭ ﻣﻐﺰ ﺑﻮﺩﻧﺪ ﻭ ﻧﺎﻡ ﭼﻨﻴﻦ ﻗﺴﻤﺘﻰ ﺩﺭ ﻣﻐﺰ ﺭﺍ ﺍﻧﮕﺮﺍﻡ )‪(Engram‬‬ ‫ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩﻧﺪ‪ ،‬ﺷﻮﺍﻫﺪ ﻭ ﺁﺯﻣﺎﻳﺸﺎﺗﻰ ﻣﺒﻨﻰ ﺑﺮ ﻋﺪﻡ ﻭﺟﻮﺩ ﭼﻨﻴﻦ ﺟﺎﻳﮕﺎﻫﻰ ﺑﻪ ﺩﺳﺖ ﺁﻣﺪ؛ ﺍﺯ ﺟﻤﻠﻪ‬ ‫ﺁﺯﻣﺎﻳﺸﺎﺗﻰ ﺑﺮ ﺣﻴﻮﺍﻧﺎﺗﻰ ﻧﻈﻴﺮ ﻣﻮﺵ ﻭ ﮔﺮﺑﻪ ﻛﻪ ﺣﺘﺎ ﺑﺎ ﺧﺎﺭﺝ ﻛﺮﺩﻥ ﺩﺭﺻﺪ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻣﻐﺰ ﺁﻥﻫﺎ ﻳﺎ‬ ‫ﺗﻐﻴﻴﺮﺍﺕ ﻓﻴﺰﻳﻜﻰ ﻗﺎﺑﻞ ﺗﻮﺟﻪ ﺩﺭ ﻣﻐﺰﺷﺎﻥ‪ ،‬ﻫﻨﻮﺯ ﻋﻤﻠﻜﺮﺩ ﺣﺎﻓﻈﻪﺷﺎﻥ ﺁﺳﻴﺐ ﭼﻨﺪﺍﻧﻰ ﻧﺪﻳﺪﻩ ﺑﻮﺩ‪ .‬ﺑﺮ‬ ‫ﺍﻳﻦ ﻣﺒﻨﺎ ﻳﻜﻰ ﺍﺯ ﺯﻳﺒﺎﺗﺮﻳﻦ ﻓﺮﺿﻴﺎﺗﻰ ﻛﻪ ﺩﺭ ﺗﻮﺟﻴﻪ ﻣﻜﺎﻧﻴﺴﻢ ﺣﺎﻓﻈﻪ ﺑﻴﺎﻥ ﺷﺪ‪ ،‬ﻓﺮﺿﻴﻪﻯ »ﺣﺎﻓﻈﻪﻯ‬ ‫ﻫﻮﻟﻮﮔﺮﺍﻓﻴﻚ« ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﻓﺮﺿﻴﻪ ﺫﺧﻴﺮﻩﻯ ﺍﻃﻼﻋﺎﺕ ﺩﺭ ﺣﺎﻓﻈﻪﻯ ﺍﻧﺴﺎﻥ ﺭﺍ ﻣﺸﺎﺑﻪ ﺫﺧﻴﺮﻩﻯ ﺗﺼﻮﻳﺮ ﺑﺮ‬ ‫ﻓﻴﻠﻢ ﻧﮕﺎﺗﻴﻮ ﻳﻚ ﻫﻮﻟﻮﮔﺮﺍﻡ ﺑﺎ ﻧﻮﺭ ﻟﻴﺰﺭ ﻣﻰﺩﺍﻧﺪ‪.‬‬ ‫ﺑﺮ ﻣﺒﻨﺎﻯ ﺍﻳﻦ ﻓﺮﺿﻴﻪ‪ ،‬ﺣﺎﻓﻈﻪﻯ ﺍﻧﺴﺎﻥ ﻧﻈﻴﺮ ﻧﮕﺎﺗﻴﻮ ﻫﻮﻟﻮﮔﺮﺍﻡ ﺧﺎﺻﻴﺖ ﺧﻮﺩﻫﻤﺎﻧﻨﺪﻯ ﺩﺍﺭﺩ‪ ،‬ﻳﻌﻨﻰ‬ ‫ﻫﻤﺎﻥ ﮔﻮﻧﻪ ﻛﻪ ﺑﺎ ﺗﻜﻪ ﻛﺮﺩﻥ ﻧﮕﺎﺗﻴﻮ ﻫﻮﻟﻮﮔﺮﺍﻡ ﺗﺼﻮﻳﺮ ﺍﺻﻠﻰ ﺩﺳﺖ ﻧﺨﻮﺭﺩﻩ ﻣﻰﻣﺎﻧﺪ ﻭ ﺗﻨﻬﺎ ﻣﻤﻜﻦ‬ ‫ﺍﺳﺖ ﻛﻤﻰ ﻣﺒﻬﻢ ﺷﻮﺩ‪ ،‬ﺍﺟﺰﺍﻯ ﻣﻐﺰ ﺍﻧﺴﺎﻥ ﻧﻴﺰ ﻫﺮ ﻛﺪﺍﻡ ﺑﻪ ﺗﻨﻬﺎﻳﻰ ﺍﻃﻼﻋﺎﺕ ﻛﻞ ﺣﺎﻓﻈﻪ ﺭﺍ ﺩﺭ ﺑﺮ‬ ‫ﺩﺍﺭﻧﺪ؛ ﻓﻘﻂ ﻛﻤﻰ ﻣﺒﻬﻢﺗﺮ‪ .‬ﻻﺯﻡ ﺑﻪ ﺫﻛﺮ ﺍﺳﺖ ﻛﻪ ﺍﺩﻋﺎ ﻣﻰﺷﻮﺩ ﺑﺎ ﺗﻐﻴﻴﺮ ﺯﺍﻭﻳﻪﻯ ﺗﺎﺑﺶ ﻧﻮﺭ ﻟﻴﺰﺭ ﺑﺮ‬ ‫ﻧﮕﺎﺗﻴﻮ ﻫﻮﻟﻮﮔﺮﺍﻡ‪ ،‬ﻣﻰﺗﻮﺍﻥ ﻣﻌﺎﺩﻝ ﭘﻨﺠﺎﻩ ﺍﻧﺠﻴﻞ ﺭﺍ ﺑﺮ ﻧﮕﺎﺗﻴﻮﻯ ﺑﻪ ﻃﻮﻝ ﻭ ﻋﺮﺽ ﻳﻚ ﺍﻳﻨﭻ ﺛﺒﺖ‬ ‫ﻛﺮﺩ‪ .‬ﺁﺯﻣﺎﻳﺸﺎﺕ ﻧﻘﺾ ﻛﻨﻨﺪﻩﻯ ﻭﺟﻮﺩ ﺍﻧﮕﺮﺍﻡ ﻭ ﻇﺮﻓﻴﺖ ﺑﺎﻻﻯ ﺫﺧﻴﺮﻩﻯ ﻧﮕﺎﺗﻴﻮ ﻫﻮﻟﻮﮔﺮﺍﻡ ﺑﻪ ﺧﻮﺑﻰ‬ ‫ﺗﻮﺍﻧﺴﺘﻪﺍﻧﺪ ﺗﻮﺟﻴﻪ ﻗﺎﺑﻞ ﭘﺬﻳﺮﺷﻰ ﺍﺯ ﻓﺮﺿﻴﻪﻯ »ﺣﺎﻓﻈﻪﻯ ﻫﻮﻟﻮﮔﺮﺍﻓﻴﻚ« ﺍﺭﺍﺋﻪ ﺩﻫﻨﺪ‪.‬ﻧﺎﮔﻔﺘﻪ ﻧﻤﺎﻧﺪ ﻛﻪ‬ ‫ﻃﺒﻖ ﻓﺮﺿﻴﻪﻯ »ﺟﻬﺎﻥ ﻫﻮﻟﻮﮔﺮﺍﻓﻴﻚ« ﺗﻤﺎﻡ ﺟﻬﺎﻥ ﻫﺴﺘﻰ ﺩﺍﺭﺍﻯ ﺳﺎﺧﺘﺎﺭ ﻭ ﻣﺎﻫﻴﺘﻰ ﻫﻮﻟﻮﮔﺮﺍﻓﻴﻚ‬ ‫ﺍﺳﺖ‪.‬‬ ‫‪ .7‬ﺣﺎﻓﻈﻪﻯ ﺁﺷﻮﺑﻰ‪ :‬ﺍﻳﻦ ﻓﺮﺿﻴﻪ ﺟﺪﻳﺪﺗﺮﻳﻦ ﻣﻮﺭﺩ ﺩﺭ ﺯﻣﻴﻨﻪﻯ ﻋﻤﻠﻜﺮﺩ ﻧﻮﺭﻭﻥﻫﺎﻯ ﻣﻐﺰﻯ ﻭ ﻓﺮﺁﻳﻨﺪ‬ ‫ﺣﺎﻓﻈﻪ ﺍﺳﺖ‪ .‬ﺑﺮ ﺍﺳﺎﺱ ﺍﻳﻦ ﻓﺮﺿﻴﻪ‪ ،‬ﻣﻐﺰ ﺑﺮ ﻟﺒﻪﻯ ﺁﺷﻮﺏ ﺣﺮﻛﺖ ﻣﻰﻛﻨﺪ؛ ﻟﺬﺍ ﺍﻣﻜﺎﻥ ﺍﻳﻦ ﺭﺍ ﺩﺍﺭﺩ‬ ‫ﻛﻪ ﻧﺎﮔﻬﺎﻥ ﺑﻪ ﺳﻮﻳﻰ ﺩﻳﮕﺮ ﺗﻐﻴﻴﺮ ﺟﻬﺖ ﺩﻫﺪ‪ .‬ﺍﺯ ﻟﺤﺎﻅ ﺗﻜﻨﻴﻜﻰ ﺳﻴﺴﺘﻢﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﻟﺒﻪﻯ ﺁﺷﻮﺏ‬ ‫ﻫﺴﺘﻨﺪ‪ ،‬ﺳﻴﺴﺘﻢﻫﺎﻳﻰ ﺑﺎ ﺣﺎﻟﺖ »ﺑﺤﺮﺍﻧﻰ ﺧﻮﺩﺳﺎﺯﻣﺎﻥ ﻳﺎﻓﺘﻪ« )‪(self-organized criticality: SOC‬‬ ‫ﻧﺎﻣﻴﺪﻩ ﻣﻰﺷﻮﻧﺪ‪ .‬ﻣﺜﺎﻝ ﺁﺷﻨﺎﻯ ﺍﻳﻦ ﻧﻮﻉ ﺳﻴﺴﺘﻢﻫﺎ ﺯﻣﻴﻦﻟﺮﺯﻩ‪ ،‬ﺑﻬﻤﻦ ﻭ ﺣﺮﻳﻖ ﺧﻮﺩﺑﺨﻮﺩﻯ ﻫﺴﺘﻨﺪ‬ ‫ﻛﻪ ﺩﺭ ﺁﻥﻫﺎ ﺳﻴﺴﺘﻢ ﺩﺭ ﻳﻚ ﺣﺎﻟﺖ ﭘﺎﻳﺪﺍﺭ ﺍﺯ ﻳﻚ ﺑﺎﺯﻩﻯ ﻧﺎﭘﺎﻳﺪﺍﺭ ﻋﺒﻮﺭ ﻛﺮﺩﻩ ﻭ ﺩﻭﺑﺎﺭﻩ ﭘﺎﻳﺪﺍﺭ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻣﻄﺎﺑﻖ ﻓﺮﺿﻴﻪﻯ ﺣﺎﻓﻈﻪﻯ ﺁﺷﻮﺑﻰ‪ ،‬ﺷﺒﻜﻪﻫﺎﻯ ﺳﻠﻮﻟﻰ ﻣﻐﺰ ﻣﻴﺎﻥ ﺑﺎﺯﻩﻫﺎﻳﻰ ﺍﺯ ﭘﺎﻳﺪﺍﺭﻯ ﻭ ﺑﺎﺯﻩﻫﺎﻳﻰ ﺍﺯ‬ ‫ﻧﺎﭘﺎﻳﺪﺍﺭﻯ ﺩﺭ ﺣﺎﻝ ﻧﻮﺳﺎﻥ ﺍﺳﺖ‪ .‬ﺗﺤﺮﻳﻚ ﻫﺮ ﻧﻮﺭﻭﻥ ﻣﻰﺗﻮﺍﻧﺪ ﺑﻪ ﻃﻮﺭ ﻣﺘﻮﺳﻂ ﺑﺎﻋﺚ ﺗﺤﺮﻳﻚ ﻧﻮﺭﻭﻥ‬ ‫ﺩﻳﮕﺮ ﺷﻮﺩ‪ .‬ﻧﺘﻴﺠﻪ ﻣﺎﻧﻨﺪ ﻳﻚ ﺑﻬﻤﻦ ﺍﺳﺖ‪ .‬ﺩﺭ ﺻﻮﺭﺗﻰ ﻛﻪ ﺍﻳﻦ ﻋﺪﺩ ﺍﺯ ﻳﻚ ﺑﻴﺸﺘﺮ ﺷﻮﺩ‪ ،‬ﭘﺪﻳﺪﻩﺍﻯ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫‪ .4‬ﻓﺮﺿﻴﻪﻯ ﻣﻮﻟﻜﻮﻟﻰ‪ :‬ﺑﺮ ﺍﺳﺎﺱ ﺍﻳﻦ ﻓﺮﺿﻴﻪ‪ ،‬ﺣﺎﻓﻈﻪ ﺑﻪ ﺻﻮﺭﺕ ﻣﻮﻟﻜﻮﻝﻫﺎﻯ ‪ RNA‬ﺩﺭ ﺳﻠﻮﻝﻫﺎﻯ‬ ‫ﻋﺼﺒﻰ ﺑﺎﻗﻰ ﻣﻰﻣﺎﻧﺪ‪ .‬ﻃﺮﻓﺪﺍﺭﺍﻥ ﺍﻳﻦ ﻓﺮﺿﻴﻪ ﻣﺤﻞ ﺍﻳﻦ ﻣﻮﻟﻜﻮﻝﻫﺎ ﺭﺍ ﺩﺭ ﻧﻮﺭﻭﻥﻫﺎ ﻳﺎ ﺳﻠﻮﻝﻫﺎﻯ ﮔﻠﻴﺎﻝ‬ ‫ﻣﻰﺩﺍﻧﻨﺪ‪.‬‬ ‫‪ .5‬ﻣﻴﺪﺍﻥ ﺷﻜﻞﺳﺎﺯ‪ :‬ﺑﺮ ﺍﺳﺎﺱ ﺍﻳﻦ ﻓﺮﺿﻴﻪ‪ ،‬ﻣﻜﺎﻧﻴﺴﻢ ﺗﺸﻜﻴﻞ ﺣﺎﻓﻈﻪ ﻳﻚ ﻓﺮﺁﻳﻨﺪ ﻓﻴﺰﻳﻜﻰ ﻳﺎ‬ ‫ﺷﻴﻤﻴﺎﻳﻰ ﻧﻴﺴﺖ ﻭ ﻣﺤﻞ ﺣﺎﻓﻈﻪ ﻧﻴﺰ ﺩﺭ ﻣﻐﺰ ﻧﻤﻰﺑﺎﺷﺪ‪ .‬ﺑﻠﻜﻪ ﺩﺭ ﻣﻴﺪﺍﻧﻰ ﺍﺳﺖ ﻛﻪ ﻣﻴﺪﺍﻥ ﺷﻜﻞﺳﺎﺯ‬ ‫)‪ (morphogenetic field‬ﻧﺎﻣﻴﺪﻩ ﻣﻰﺷﻮﺩ‪ .‬ﻛﺎﺭﺑﺮﺩﻫﺎﻯ ﻓﺮﺿﻴﻪﻯ ﻣﻴﺪﺍﻥ ﺷﻜﻞﺳﺎﺯ ﺑﺴﻴﺎﺭ ﻓﺮﺍﺗﺮ‬ ‫ﺍﺯ ﺣﺎﻓﻈﻪ ﻭ ﻣﻜﺎﻧﻴﺴﻢ ﺛﺒﺖ ﺧﺎﻃﺮﺍﺕ ﺍﺳﺖ‪ .‬ﻃﺒﻖ ﺍﻳﻦ ﻓﺮﺿﻴﻪ‪ ،‬ﺗﻤﺎﻡ ﻣﻮﺟﻮﺩﺍﺕ ﻧﻪ ﻓﻘﻂ ﺍﺯ ﻣﺎﺩﻩ ﻭ‬ ‫ﺍﻧﺮژﻯ ﺑﻠﻜﻪ ﺍﺯ ﻳﻚ ﻣﻴﺪﺍﻥ ﺳﺎﺯﻣﺎﻥﺩﻫﻨﺪﻩﻯ ﻧﺎﻣﺮﺋﻰ ﺗﺸﻜﻴﻞ ﺷﺪﻩﺍﻧﺪ ﻛﻪ ﮔﺴﺘﺮﺵ ﺗﺎﺛﻴﺮﺵ ﻧﺎﻣﺤﺪﻭﺩ‬ ‫ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻣﻴﺪﺍﻥ ﻋﻼﻭﻩ ﺑﺮ ﺷﻜﻞ‪ ،‬ﺩﺭ ﺭﻓﺘﺎﺭ ﻣﻮﺟﻮﺩﺍﺕ ﻧﻴﺰ ﻣﻮﺛﺮ ﺍﺳﺖ‪ .‬ﺍﺯ ﻣﺜﺎﻝﻫﺎﻯ ﺟﺎﻟﺒﻰ ﻛﻪ ﺩﺭ ﺍﻳﻦ‬ ‫ﻣﻮﺭﺩ ﻣﻰﺗﻮﺍﻧﺪ ﺑﻪ ﻣﻴﺎﻥ ﺁﻭﺭﺩ‪ ،‬ﻋﺒﺎﺭﺗﻨﺪ ﺍﺯ‪:‬‬ ‫• ﺳﺘﺎﺭﻩﻫﺎﻯ ﺩﺭﻳﺎﻳﻰ ﻛﻪ ﺍﮔﺮ ﺁﻥﻫﺎ ﺭﺍ ﺗﻜﻪﺗﻜﻪ ﻛﻨﻴﻢ‪ ،‬ﻫﺮ ﺗﻜﻪ ﺑﻪ ﻳﻚ ﺳﺘﺎﺭﻩﻯ ﺩﺭﻳﺎﻳﻰ ﻛﺎﻣﻞ ﺗﺒﺪﻳﻞ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﻫﺮ ﻛﺪﺍﻡ ﺍﺯ ﺗﻜﻪﻫﺎ ﻧﻘﺸﻪ ﻭ ﻃﺮﺡ ﻛﺎﻣﻞ ﺗﺒﺪﻳﻞ ﺷﺪﻥ ﺑﻪ ﻳﻚ ﺳﺘﺎﺭﻩﻯ ﺩﺭﻳﺎﻳﻰ ﻛﺎﻣﻞ ﺭﺍ‬ ‫ﺑﺪﻭﻥ ﺗﻮﺟﻴﻪ ﻭﺟﻮﺩ ﻣﻴﺪﺍﻥ ﺷﻜﻞﺳﺎﺯ ﭼﮕﻮﻧﻪ ﻣﻰﺗﻮﺍﻧﺪ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ؟‬ ‫• ﺑﺮﻭﺯ ﻫﻢﺯﻣﺎﻥ ﻳﻚ ﺍﺧﺘﺮﺍﻉ ﻳﺎ ﺍﻛﺘﺸﺎﻑ ﺩﺭ ﭼﻨﺪ ﻧﻘﻄﻪﻯ ﻣﺨﺘﻠﻒ ﺩﻧﻴﺎ‪ :‬ﭼﻪ ﭼﻴﺰﻯ ﺑﻪ ﺟﺰ ﻳﻚ‬ ‫ﻣﻴﺪﺍﻥ ﺷﻜﻞﺳﺎﺯ ﻣﻰﺗﻮﺍﻧﺪ ﻳﻚ ﻓﻜﺮ ﻣﺸﺘﺮﻙ ﺭﺍ ﺷﺒﻴﻪ ﺑﺎﺭﺍﻥ ﺩﺭ ﭼﻨﺪ ﻧﻘﻄﻪﻯ ﻣﺨﺘﻠﻒ ﺩﻧﻴﺎ ﺑﻪ‬ ‫ﺻﻮﺭﺕ ﻫﻤﺰﻣﺎﻥ ﺑﭙﺎﺷﺎﻧﺪ؟‬ ‫• ﺑﺮﻭﺯ ﺭﻓﺘﺎﺭﻫﺎﻯ ﻣﺸﺎﺑﻪ ﺩﺭ ﺍﺟﺘﻤﺎﻋﺎﺗﻰ ﺍﺯ ﻳﻚ ﻣﻮﺟﻮﺩ ﺯﻧﺪﻩ‪ ،‬ﭘﺲ ﺍﺯ ﺁﻥ ﻛﻪ ﻳﻚ ﺍﺟﺘﻤﺎﻉ ﺁﻣﻮﺯﺵ‬ ‫ﺩﺍﺩﻩ ﺷﺪ ﺑﺪﻭﻥ ﺍﻳﻦ ﻛﻪ ﺑﺎ ﺑﻘﻴﻪ ﺩﺭ ﺗﻤﺎﺱ ﺑﺎﺷﺪ‪ .‬ﻧﻤﻮﻧﻪﻯ ﺑﺎﺭﺯ ﺍﻳﻦ ﻣﺜﺎﻝ ﺍﺟﺘﻤﺎﻉ ﻣﻴﻤﻮﻥﻫﺎ ﺍﺳﺖ‪.‬‬ ‫ﺑﺮ ﻣﺒﻨﺎﻯ ﻓﺮﺿﻴﻪﻯ ﻣﻴﺪﺍﻥ ﺷﻜﻞﺳﺎﺯ ﺗﻌﺮﻳﻒ ﺟﺪﻳﺪﻯ ﺍﺯ ﻫﻮﻳﺖ ﺷﺨﺼﻰ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﺍﺭﺍﺋﻪ ﺩﺍﺩ‪:‬‬ ‫»ﭼﻮﻥ ﻣﻴﺪﺍﻥﻫﺎﻯ ﺷﻜﻞﺳﺎﺯ ﺗﺪﺍﺧﻞ ﺩﺍﺭﻧﺪ‪ ،‬ﻭ ﺍﺛﺮ ﺗﺪﺍﺧﻞ ﺩﻭ ﻣﻴﺪﺍﻥ ﺑﺴﺘﻪ ﺑﻪ ﺑﻴﺸﺘﺮ ﺑﻮﺩﻥ ﺷﺒﺎﻫﺖ‬ ‫ﺁﻥ ﺩﻭ ﺑﻴﺸﺘﺮ ﻣﻰﺷﻮﺩ‪ .‬ﭘﺲ ﺑﻴﺸﺘﺮﻳﻦ ﺗﺪﺍﺧﻞ ﻳﺎ ﺧﻮﺩﺗﺸﺪﻳﺪﻯ ﻣﺘﻌﻠﻖ ﺑﻪ ﻳﻚ ﻣﻴﺪﺍﻥ ﻭ ﺧﻮﺩﺵ ﺍﺳﺖ‬ ‫)ﺧﻮﺩ ﻫﻢﺗﻮﺍﺗﺮﻯ‪ .(self resonance :‬ﻟﺬﺍ ﺩﺭ ﻃﻮﻝ ﺯﻣﺎﻥ ﺷﺨﺺ ﻫﻮﻳﺖ ﺷﺨﺼﻰ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻗﺎﻟﺐ‬ ‫ﺧﻮﺩﺁﮔﺎﻫﻰ ﻧﺎﺷﻰ ﺍﺯ ﺧﻮﺩﻫﻢﺑﺴﺘﮕﻰ ﻣﻴﺪﺍﻥ ﺷﻜﻞﺳﺎﺯ ﺧﻮﺩ ﺣﻔﻆ ﻣﻰﻛﻨﺪ‪ .‬ﻣﻦ ﺍﺳﻢ ﺍﻳﻦ ﭘﺪﻳﺪﻩ ﺭﺍ‬ ‫ﺧﻮﺩﺗﻌﺎﻣﻠﻰ ﻳﺎ ﺗﻌﺎﻣﻞ ﺑﺎ ﺧﻮﻳﺸﺘﻦ ﻣﻰﮔﺬﺍﺭﻡ‪«.‬‬ ‫ﭘﺲ ﺍﮔﺮ ﻓﺮﺿﻴﻪﻯ ﺣﺎﻓﻈﻪﻯ ﻧﺎﺷﻰ ﺍﺯ ﻣﻴﺪﺍﻥ ﺷﻜﻞﺳﺎﺯ ﺭﺍ ﺑﭙﺬﻳﺮﻳﻢ‪ ،‬ﺁﻥ ﮔﺎﻩ ﻣﻰﺗﻮﺍﻧﻴﻢ ﻫﻮﻳﺖ ﺭﺍ ﻣﻌﺎﺩﻝ‬ ‫ﺑ��� ﺣﺎﻓﻈﻪ ﻭ ﺧﻮﺩﺁﮔﺎﻫﻰ ﺗﻮﺟﻴﻪ ﻛﻨﻴﻢ‪ .‬ﺑﺎ ﺍﻳﻦ ﺗﻮﺻﻴﻒ ﻓﺮﺁﻳﻨﺪﻯ ﺑﻪ ﻧﺎﻡ ﻓﺮﺍﻣﻮﺷﻰ ﺗﻐﻴﻴﺮﻯ ﺟﺪﻯ ﺩﺭ‬ ‫ﻫﻮﻳﺖ ﺷﺨﺺ ﺍﻳﺠﺎﺩ ﻧﻤﻰﻛﻨﺪ‪.‬‬ ‫ﺩﺭ ﻣﻮﺭﺩ ﻣﻴﺪﺍﻥ ﺷﻜﻞﺳﺎﺯ ﺍﻳﻦ ﻧﻜﺘﻪ ﺭﺍ ﻫﻢ ﺍﺿﺎﻓﻪ ﻛﻨﻢ ﻛﻪ ﺷﺎﻳﺪ ﺧﻮﺩ ﻫﻤﺎﻧﻨﺪﻯ )‪(self similarity‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﭼﻨﺪ ﺛﺎﻧﻴﻪ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺁﻥ ﭼﻪ ﺭﺍ ﺩﺭﻳﺎﻓﺖ ﻧﻤﻮﺩﻩ‪ ،‬ﻧﮕﻬﺪﺍﺭﻯ ﻛﻨﺪ‪ .‬ﺍﻳﻦ ﺣﺎﻟﺖ‪» ،‬ﺣﺎﻓﻈﻪﻯ ﺍﻭﻟﻴﻪ« ﻧﺎﻣﻴﺪﻩ‬ ‫ﻣﻰﺷﻮﺩ‪.‬‬ ‫‪ .2‬ﺿﺒﻂ‪ :‬ﮔﺬﺷﺘﻦ ﺍﺯ ﺩﺳﺘﮕﺎﻩ ﺿﺒﻂ ﻣﻐﺰ‪ .‬ﺍﻳﻦ ﻗﺴﻤﺖ ﺍﺯ ﺣﺎﻓﻈﻪ ﺭﺍ »ﺣﺎﻓﻈﻪﻯ ﻧﺰﺩﻳﻚ« ﻣﻰﻧﺎﻣﻨﺪ‪.‬‬ ‫‪ .3‬ﺫﺧﻴﺮﻩ‪ :‬ﺣﻔﻆ ﺍﻃﻼﻋﺎﺕ ﺩﺭ ﻗﺸﺮ ﺍﺭﺗﺒﺎﻃﻰ ﻣﻐﺰ‪ ،‬ﺍﻃﻼﻋﺎﺕ ﺟﺪﻳﺪ ﭘﺲ ﺍﺯ ﮔﺬﺷﺘﻦ ﺍﺯ ﻣﺮﺣﻠﻪﻯ ﺿﺒﻂ‪،‬‬ ‫ﺑﺎ ﺍﻃﻼﻋﺎﺕ ﻣﺸﺎﺑﻪ ﻗﺒﻠﻰ ﻣﻘﺎﻳﺴﻪ‪ ،‬ﻃﺒﻘﻪﺑﻨﺪﻯ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﺫﺧﻴﺮﻩ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺍﻃﻼﻋﺎﺕ ﺫﺧﻴﺮﻩ ﺷﺪﻩ‬ ‫ﺩﺭ ﺍﻳﻦ ﻣﺮﺣﻠﻪ ﺷﺎﻣﻞ ﻣﺠﻤﻮﻋﻪ ﺍﻃﻼﻋﺎﺗﻰ ﺍﺳﺖ ﻛﻪ ﺍﻧﺴﺎﻥ ﺍﺯ ﺯﻣﺎﻥ ﺗﻮﻟﺪ ﺗﺎ ﺣﺎﻝ ﺣﺎﺿﺮ ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩﻩ‬ ‫ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻗﺴﻤﺖ »ﺣﺎﻓﻈﻪﻯ ﺩﻭﺭ« ﻧﺎﻣﻴﺪﻩ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻧﺤﻮﻩﻯ ﺿﺒﻂ ﻭ ﺫﺧﻴﺮﻩﻯ ﺣﺎﻓﻈﻪ ﻫﻨﻮﺯ ﺑﻪ ﺻﻮﺭﺕ ﻛﺎﻣﻞ ﻣﺸﺨﺺ ﻧﺸﺪﻩ ﺍﺳﺖ ﻭ ﻓﺮﺿﻴﻪﻫﻴﺎ ﮔﻮﻧﺎﮔﻮﻧﻰ‬ ‫ﺩﺭ ﻣﻮﺭﺩ ﺁﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺩﺭ ﻣﻮﺭﺩ »ﺣﺎﻓﻈﻪﻯ ﺍﻭﻟﻴﻪ«‪ ،‬ﻓﺮﺿﻴﻪﺍﻯ ﺗﺤﺖ ﻋﻨﻮﺍﻥ »ﻣﺪﺍﺭ ﻧﻮﺳﺎﻧﻰ« ﺑﻴﺶ‬ ‫ﺍﺯ ﺳﺎﻳﺮ ﻓﺮﺿﻴﻪﻫﺎ ﻣﻌﺘﺒﺮ ﺍﺳﺖ‪ .‬ﺑﺮ ﺍﺳﺎﺱ ﺍﻳﻦ ﻓﺮﺿﻴﻪ‪ ،‬ﭘﺘﺎﻧﺴﻴﻞ ﻋﻤﻞ ﻋﺼﺒﻰ ﺩﺭ ﻳﻚ ﻣﺪﺍﺭ ﻋﺼﺒﻰ‬ ‫ﭼﻨﺪ ﻣﺮﺣﻠﻪﺍﻯ ﺩﻭﺭﺍﻥ ﻣﻰﻛﻨﺪ‪ .‬ﺑﺎ ﻭﺭﻭﺩ ﭘﺘﺎﻧﺴﻴﻞ ﻋﺼﺒﻰ ﺟﺪﻳﺪ ﻳﺎ ﺑﺎ ﺧﺴﺘﻪ ﺷﺪﻥ ﻣﺪﺍﺭ ﻧﻮﺳﺎﻧﻰ‪ ،‬ﺍﻳﻦ‬ ‫ﺣﺎﻓﻈﻪ ﭘﺎﻙ ﻣﻰﺷﻮﺩ‪ .‬ﻓﺮﺿﻴﻪﻯ ﺩﻳﮕﺮ ﺩﺭ ﻣﻮﺭﺩ ﺣﺎﻓﻈﻪﻯ ﺍﻭﻟﻴﻪ‪ ،‬ﻓﺮﺿﻴﻪﻯ »ﺗﻘﻮﻳﺖ ﺑﻌﺪ ﺍﺯ ﻛﺰﺍﺯﻯ«‬ ‫ﺍﺳﺖ‪ .‬ﻃﺒﻖ ﺍﻳﻦ ﻓﺮﺿﻴﻪ ﭘﺲ ﺍﺯ ﺗﺤﺮﻳﻜﺎﺕ ﭘﺸﺖ ﺳﺮ ﻫﻢ ﻳﻚ ﻣﺪﺍﺭ‪ ،‬ﻳﻚ ﻣﺮﺣﻠﻪﻯ ﭼﻨﺪ ﺛﺎﻧﻴﻪﺍﻯ‬ ‫ﺧﺴﺘﮕﻰ ﺳﻴﻨﺎﭘﺴﻰ ﻭ ﺳﭙﺲ ﻳﻚ ﻣﺮﺣﻠﻪﻯ ﺍﻓﺰﺍﻳﺶ ﺗﺤﺮﻳﻚﭘﺬﻳﺮﻯ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﺍﮔﺮ ﺩﺭ ﺍﻳﻦ ﺯﻣﺎﻥ‬ ‫ﻣﺪﺍﺭ ﺗﺤﺮﻳﻚ ﺷﻮﺩ‪ ،‬ﺷﺪﻳﺪﺗﺮ ﺍﺯ ﺣﺎﻟﺖ ﻃﺒﻴﻌﻰ ﭘﺎﺳﺦ ﻣﻰﺩﻫﺪ‪ .‬ﺍﻳﻦ ﻣﻜﺎﻧﻴﺴﻢ ﻣﻰﺗﻮﺍﻧﺪ ﻣﺒﻨﺎﻯ ﻳﻚ‬ ‫ﺣﺎﻓﻈﻪﻯ ﻛﻮﺗﺎﻩ ﻣﺪﺕ ﺑﺎﺷﺪ‪.‬‬ ‫ﺩﺭ ﻣﻮﺭﺩ ﻣﻜﺎﻧﻴﺴﻢ ﺣﺎﻓﻈﻪﻯ ﺩﻭﺭ ﻳﺎ ﺣﺎﻓﻈﻪﻯ ﺛﺎﻧﻮﻳﻪ ﻧﻴﺰ ﻓﺮﺿﻴﻪﻫﺎﻯ ﻣﺘﻔﺎﻭﺗﻰ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ‬ ‫ﻣﻬﻢﺗﺮﻳﻦ ﺁﻥﻫﺎ ﻋﺒﺎﺭﺗﻨﺪ ﺍﺯ‪:‬‬ ‫‪ .1‬ﺗﺸﻜﻴﻞ ﺳﻴﻨﺎﭘﺲﻫﺎﻯ ﺟﺪﻳﺪ‪ :‬ﻃﺒﻖ ﺍﻳﻦ ﻓﺮﺿﻴﻪ ﺗﺸﻜﻴﻞ ﻭ ﺗﺜﺒﻴﺖ ﺧﺎﻃﺮﺍﺕ ﺩﺭ ﻣﻐﺰ‪ ،‬ﻧﺎﺷﻰ ﺍﺯ‬ ‫ﺗﻐﻴﻴﺮﺍﺕ ﺗﺸﺮﻳﺤﻰ ﺩﺭ ﺳﻴﻨﺎﭘﺲﻫﺎ ﻭ ﺗﺸﻜﻴﻞ ﺩﺍﺋﻤﻰ ﻳﺎ ﻧﻴﻤﻪﺩﺍﺋﻤﻰ ﺳﻴﻨﺎﭘﺲﻫﺎﻯ ﺟﺪﻳﺪ ﺍﺳﺖ‪.‬‬ ‫‪ .2‬ﺍﻧﻬﺪﺍﻡ ﺳﻴﻨﺎﭘﺲﻫﺎﻯ ﺯﺍﺋﺪ‪ :‬ﺑﺮ ﺍﺳﺎﺱ ﺍﻳﻦ ﻓﺮﺿﻴﻪ‪ ،‬ﺍﺯ ﻫﻨﮕﺎﻡ ﺗﻮﻟﺪ ﺗﺎ ﺩﻭ ﺳﺎﻟﮕﻰ ﺗﻌﺪﺍﺩ ﺳﻴﻨﺎﭘﺲﻫﺎﻯ‬ ‫ﺑﻴﻦ ﻧﻮﺭﻭﻥﻫﺎ ﺑﺴﻴﺎﺭ ﺯﻳﺎﺩ ﺷﺪﻩ ﻭ ﺗﺎ ﻫﺸﺖ ﺑﺮﺍﺑﺮ ﺗﻌﺪﺍﺩ ﺳﻴﻨﺎﭘﺲﻫﺎﻯ ﻳﻚ ﺍﻧﺴﺎﻥ ﺑﺎﻟﻎ ﻣﻰﺭﺳﺪ‪ .‬ﺗﻌﺪﺍﺩ‬ ‫ﺍﻳﻦ ﺳﻴﻨﺎﭘﺲﻫﺎ ﺗﺎ ﺩﻩ ﺳﺎﻟﮕﻰ ﺗﻘﺮﻳﺒﺎً ﺛﺎﺑﺖ ﻣﻰﻣﺎﻧﺪ‪ ،‬ﺍﻣﺎ ﭘﺲ ﺍﺯ ﺁﻥ ﺑﻪ ﺗﺪﺭﻳﺞ ﺳﻴﻨﺎﭘﺲﻫﺎﻯ ﺑﺪﻭﻥ‬ ‫ﺍﺳﺘﻔﺎﺩﻩ ﺗﺤﻠﻴﻞ ﻣﻰﺭﻭﻧﺪ ﻭ ﺑﻘﻴﻪ ﺑﺎﻗﻰ ﻣﻰﻣﺎﻧﻨﺪ‪ .‬ﺍﻳﻦ ﻓﺮﺿﻴﻪ‪ ،‬ﻣﻜﺎﻧﻴﺴﻢ ﺣﺎﻓﻈﻪﻯ ﺛﺎﻧﻮﻳﻪ ﺭﺍ ﺷﺒﻴﻪ‬ ‫ﺍﺩﻭﺍﺕ ﺍﻟﻜﺘﺮﻭﻧﻴﻜﻰ ﺩﺍﺭﺍﻯ ﻗﺎﺑﻠﻴﺖ ﺗﻐﻴﻴﺮ ﺍﻃﻼﻋﺎﺕ ﻭ ﻗﺎﺑﻞ ﺑﺮﻧﺎﻣﻪﺭﻳﺰﻯ ﺗﻮﺻﻴﻒ ﻣﻰﻛﻨﺪ‪.‬‬ ‫‪ .3‬ﺗﻐﻴﻴﺮﺍﺕ ﻓﻴﺰﻳﻜﻰ ﻳﺎ ﺷﻴﻤﻴﺎﻳﻰ ﺩﺭ ﭘﺎﻳﺎﻧﻪﻫﺎﻯ ﭘﻴﺶﺳﻴﻨﺎﭘﺴﻰ‪ :‬ﺑﺮ ﺍﺳﺎﺱ ﺍﻳﻦ ﻓﺮﺿﻴﻪ‪ ،‬ﺗﻐﻴﻴﺮﺍﺕ‬ ‫ﻓﻴﺰﻳﻜﻰ ﻳﺎ ﺷﻴﻤﻴﺎﻳﻰ ﺩﺭ ﻏﺸﺎﻯ ﺳﻠﻮﻝﻫﺎﻯ ﻋﺼﺒﻰ ﺑﺮ ﺍﺛﺮ ﺗﺴﻬﻴﻞ ﺍﻧﺘﻘﺎﻝ ﺳﻴﻨﺎﭘﺴﻰ ﺑﻪ ﻭﺍﺳﻄﻪﻯ‬ ‫ﺗﺤﺮﻳﻚ‪ ،‬ﻋﻠﺖ ﺍﺻﻠﻰ ﺷﻜﻞﮔﻴﺮﻯ ﺣﺎﻓﻈﻪ ﺍﺳﺖ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﺍﺯ ﺟﻤﻠﻪ ﻃﺮﻓﺪﺍﺭﺍﻥ ﺍﻳﻦ ﻧﮕﺎﻩ‪ ،‬ﺗﻮﻣﺎﺱ ﻫﺎﺑﺰ ﺍﻧﮕﻠﻴﺴﻰ ﻭ ﻣﻌﺎﺻﺮ ﺩﻛﺎﺭﺕ ﺍﺳﺖ‪ .‬ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ‪ ،‬ﺟﺪﺍ ﺍﺯ‬ ‫ﻣﺰﺍﻳﺎﻯ ﻧﮕﺎﻩ ﻣﺎﺩﻯ ﺩﺭ ﺗﻮﺻﻴﻒ ﺑﺮﺧﻰ ﭘﺪﻳﺪﻩﻫﺎ‪ ،‬ﺍﻳﺮﺍﺩﺍﺗﻰ ﻫﻢ ﺑﻪ ﺍﻳﻦ ﻧﮕﺎﻩ ﻭﺍﺭﺩ ﺍﺳﺖ‪ .‬ﺍﺯ ﺟﻤﻠﻪ ﭼﮕﻮﻧﮕﻰ‬ ‫ﺗﺒﻴﻴﻦ ﭘﺪﻳﺪﻩﻫﺎﻯ ﺭﻭﺍﻧﻰ )ﻫﺮﭼﻨﺪ ﻛﻪ ﺍﻣﺮﻭﺯﻩ ﺭﻭﺍﻥﭘﺰﺷﻜﻰ ﺑﻨﺎ ﺷﺪﻩ ﺑﺮ ﺭﻭﺍﻥﺷﻨﺎﺳﻰ ﻓﻴﺰﻳﻮﻟﻮژﻳﻚ ﺩﺭ‬ ‫ﻣﺼﺎﻑ ﺑﺎ ﺭﻭﺍﻥﺷﻨﺎﺳﻰ ﺷﻨﺎﺧﺘﻰ ﺗﺎ ﺣﺪﻭﺩ ﺯﻳﺎﺩﻯ ﺍﺯ ﭘﺲ ﺍﻳﻦ ﺍﻳﺮﺍﺩﻫﺎ ﺑﺮ ﺁﻣﺪﻩ ﺍﺳﺖ(‪ .‬ﺍﻣﺎ ﺍﻳﺮﺍﺩ ﻣﻬﻢﺗﺮ‬ ‫ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻳﻚ ﺍﻧﺴﺎﻥ ﺑﻪ ﻣﺮﻭﺭ ﺯﻣﺎﻥ ﺩﭼﺎﺭ ﺩﮔﺮﺩﻳﺴﻰﻫﺎﻯ ﻣﺎﺩﻯ ﻣﻰﺷﻮﺩ‪ ،‬ﺑﻪ ﮔﻮﻧﻪﺍﻯ ﻛﻪ ﭘﺲ ﺍﺯ‬ ‫ﻣﺪﺗﻰ ﺣﺘﺎ ﻳﻚ ﺳﻠﻮﻝ ﻣﺸﺘﺮﻙ ﺑﺎ ﺧﻮﺩ ﻗﺒﻠﻴﺶ ﻧﺪﺍﺭﺩ‪ .‬ﭘﺲ ﺍﮔﺮ ﺍﻧﺴﺎﻧﻰ ﺩﺭ ﺑﻴﺴﺖ ﺳﺎﻟﮕﻰ ﺩﺳﺖ ﺑﻪ‬ ‫ﻗﺘﻞ ﺯﺩ‪ ،‬ﭼﮕﻮﻧﻪ ﻣﻰﺗﻮﺍﻥ ﺩﺭ ﺷﺼﺖ ﺳﺎﻟﮕﻰﺍﺵ ﺍﻭ ﺭﺍ ﻫﻤﺎﻥ ﺍﻧﺴﺎﻥ ﺩﺍﻧﺴﺖ ﻭ ﻣﺠﺎﺯﺍﺗﺶ ﻛﺮﺩ‪ ،‬ﺩﺭ ﺣﺎﻟﻰ‬ ‫ﻛﻪ ﻫﻴﭻ ﺟﺰء ﻣﺎﺩﻯ ﻣﺸﺘﺮﻛﻰ ﻧﺪﺍﺭﻧﺪ؟‬ ‫ﺟﺎﻥ ﻻﻙ‪ ،‬ﻓﻴﻠﺴﻮﻑ ﺍﻧﮕﻠﻴﺴﻰ ﺳﺪﻩﻯ ﻫﻔﺪﻩ‪ ،‬ﻣﻌﺘﻘﺪ ﺑﻮﺩ ﻛﻪ ﻣﻔﺎﻫﻴﻢ ﺷﺨﺺ ﻭ ﺍﻧﺴﺎﻥ ﺑﺎ ﻫﻢ ﺗﻔﺎﻭﺕ‬ ‫ﺩﺍﺭﻧﺪ‪ .‬ﺑﻪ ﻧﻈﺮ ﻻﻙ‪ ،‬ﺁﻥ ﭼﻪ ﻳﻚ ﺷﺨﺺ ﺭﺍ ﺩﺭ ﻃﻮﻝ ﺯﻣﺎﻥ ﻳﻚ ﺷﺨﺺ ﻣﻰﺳﺎﺯﺩ‪ ،‬ﻫﻤﺎﻥ ﭼﻴﺰﻯ‬ ‫ﻧﻴﺴﺖ ﻛﻪ ﻳﻚ ﺍﻧﺴﺎﻥ ﺭﺍ ﺩﺭ ﻃﻮﻝ ﺯﻣﺎﻥ ﻳﻚ ﺍﻧﺴﺎﻥ ﻣﻰﺳﺎﺯﺩ‪ .‬ﺍﻧﺴﺎﻥ ﻳﻌﻨﻰ ﻳﻚ ﺳﻴﺴﺘﻢ ﺍﺭﮔﺎﻧﻴﻚ‬ ‫ﺗﻌﺮﻳﻒ ﺷﺪﻩ ﺑﺎ ﺗﻌﺎﻣﻼﺕ ﺳﺎﻳﺒﺮﻧﺘﻴﻜﻰ ﻭ ﻧﻈﺎﻡﻣﻨﺪ ﻣﺸﺨﺺ‪ .‬ﺍﻣﺎ ﺷﺨﺺ ﻳﻌﻨﻰ ﻣﻮﺟﻮﺩﻯ ﻫﻮﺷﻤﻨﺪ ﻭ‬ ‫ﺩﺍﺭﺍﻯ ﺍﻧﺪﻳﺸﻪ ﻛﻪ ﺩﺍﺭﺍﻯ ﺳﻪ ﻋﻨﺼﺮ ﻋﻘﻞ‪ ،‬ﺁﮔﺎﻫﻰ ﻭ ﺧﻮﺩﺁﮔﺎﻫﻰ ﺍﺳﺖ‪ .‬ﺑﺎ ﺍﻳﻦ ﺗﻮﺻﻴﻒ ﻫﻮﻳﺖ ﺍﻧﺴﺎﻧﻰ‬ ‫ﻳﻌﻨﻰ ﻳﻚ ﺳﻴﺴﺘﻢ ﺧﻮﺩ ﺳﺎﺯﻣﺎﻥﺩﻩ ﺑﺎ ﺗﻌﺎﻣﻼﺕ ﺩﺭﻭﻧﻰ ﻧﻈﺎﻡﻣﻨﺪ ﻭ ﺑﻌﺪ ﻣﺎﺩﻯ ﺩﺍﺭﺍﻯ ﺗﻐﻴﻴﺮ‪ .‬ﺍﻣﺎ ﻫﻮﻳﺖ‬ ‫ﺷﺨﺼﻰ ﻳﻌﻨﻰ ﺁﮔﺎﻫﻰ ﻭ ﺣﺎﻓﻈﻪ‪ .‬ﺍﺯ ﺍﻳﻦ ﺭﻭ ﻫﺮ ﺍﻧﺴﺎﻧﻰ ﻳﻚ ﺷﺨﺺ ﻧﻴﺴﺖ )ﻣﺎﻧﻨﺪ ﺍﻧﺴﺎﻥﻫﺎﻯ ﺩﭼﺎﺭ‬ ‫ﻣﺮگ ﻣﻐﺰﻯ ﻛﻪ ﺯﻧﺪﮔﻰ ﮔﻴﺎﻫﻰ ﺩﺍﺭﻧﺪ( ﻭ ﻫﺮ ﺷﺨﺺ ﺍﻟﺰﺍﻣﺎً ﺍﻧﺴﺎﻥ ﻧﻴﺴﺖ )ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺜﺎﻝ ﺭﻭﺑﺎﺕ‬ ‫ﻣﻌﺮﻭﻑ ﻓﻴﻠﻢ »‪ :2001‬ﻳﻚ ﺍﻭﺩﻳﺴﻪﻯ ﻓﻀﺎﻳﻰ« ﺑﻪ ﻧﺎﻡ ﻫﺎﻝ ﻛﻪ ﻳﻚ ﺷﺨﺺ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺍﻧﺴﺎﻥ ﻧﻴﺴﺖ‪(.‬‬ ‫ﺍﻣﺎ ﺑﻪ ﺩﻳﺪﮔﺎﻩ ﻻﻙ ﻧﻴﺰ ﺍﻳﺮﺍﺩﺍﺗﻰ ﻭﺍﺭﺩ ﻣﻰﺷﻮﺩ ﻛﻪ ﺩﺭ ﻣﻮﺭﺩ ﺁﻥﻫﺎ ﺻﺤﺒﺖ ﺷﺪ؛ ﻧﻈﻴﺮ ﻣﻘﻮﻟﻪﻯ‬ ‫ﻓﺮﺍﻣﻮﺷﻰ‪ .‬ﺁﻳﺎ ﻓﺮﺍﻣﻮﺷﻰ ﻳﻌﻨﻰ ﺗﻐﻴﻴﺮ ﻫﻮﻳﺖ ﺷﺨﺺ؟ ﺁﻳﺎ ﻳﻚ ﻗﺎﺗﻞ ﺯﻧﺠﻴﺮﻩﺍﻯ ﺭﺍ ﻛﻪ ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﻋﻤﺮ‬ ‫ﺁﻟﺰﺍﻳﻤﺮ ﮔﺮﻓﺘﻪ ﻭ ﻫﻴﭻ ﺍﺯ ﻗﺘﻞﻫﺎﻳﺶ ﺑﻪ ﻳﺎﺩ ﻧﺪﺍﺭﺩ‪ ،‬ﻣﻰﺗﻮﺍﻥ ﺑﺮ ﺍﺳﺎﺱ ﺩﻳﺪﮔﺎﻩ ﻻﻙ ﺗﺒﺮﺋﻪ ﻛﺮﺩ؟‬ ‫ﺍﻣﺎﻧﻮﺋﻞ ﻛﺎﻧﺖ‪ ،‬ﻓﻴﻠﺴﻮﻑ ﺳﺪﻩﻯ ﻫﺠﺪﻩ‪ ،‬ﺑﺮ ﻣﺒﻨﺎﻯ ﺩﻳﺪﮔﺎﻩ ﻻﻙ ﺍﺻﻮﻟﻰ ﺍﺧﻼﻗﻰ ﺭﺍ ﻭﺿﻊ ﻣﻰﻛﻨﺪ‪ .‬ﺩﺭ‬ ‫ﺩﻳﺪﮔﺎﻩ ﻛﺎﻧﺖ‪ ،‬ﺍﺷﺨﺎﺹ )ﻭ ﻧﻪ ﺻﺮﻓﺎً ﺍﻧﺴﺎﻥﻫﺎ( ﻛﺮﺍﻣﺖ ﺩﺍﺭﻧﺪ‪ ،‬ﻳﻌﻨﻰ ﺩﺍﺭﺍﻯ ﺍﺭﺯﺷﻰ ﺩﺭﻭﻧﻰ ﻫﺴﺘﻨﺪ ﻭ‬ ‫ﻧﺒﺎﻳﺪ ﺑﺎ ﺁﻥﻫﺎ ﻣﺎﻧﻨﺪ ﺍﺷﻴﺎﻯ ﺻﺮﻑ ﺭﻓﺘﺎﺭ ﻛﺮﺩ‪ .‬ﺍﻳﻦ ﻣﻘﻮﻟﻪﺍﻯ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻓﻴﻠﻢﻫﺎﻯ »ﻣﺎﺗﺮﻳﻜﺲ« ﻭ‬ ‫»ﻧﺎﺑﻮﺩﮔﺮ« ﻧﻪ ﺗﻮﺳﻂ ﺍﻧﺴﺎﻥﻫﺎ ﺭﻋﺎﻳﺖ ﻣﻰﺷﻮﺩ ﻭ ﻧﻪ ﺗﻮﺳﻂ ﻣﺎﺷﻴﻦﻫﺎ‪.‬‬ ‫ﺗﻌﺎﻣﻼﺕ ﺳﺎﻳﺒﺮﻧﺘﻴﻜﻰ‪ ،‬ﺗﺎﻣﻼﺕ ﺁﺷﻮﺑﻜﻰ ﻭ ﺗﺎﻟﻤﺎﺕ ﻫﻮﻟﻮﮔﺮﺍﻓﻴﻜﻰ‬ ‫ﺗﺸﻜﻴﻞ ﺣﺎﻓﻈﻪﻯ ﺍﻛﺘﺴﺎﺑﻰ ﺷﺎﻣﻞ ﺳﻪ ﻣﺮﺣﻠﻪ ﺍﺳﺖ‪:‬‬ ‫‪ .1‬ﺩﺭﻳﺎﻓﺖ‪ :‬ﺭﺳﻴﺪﻥ ﺍﻃﻼﻋﺎﺕ ﺑﻪ ﻗﺸﺮ ﺣﺴﻰ‪ -‬ﺣﺮﻛﺘﻰ ﻣﻐﺰ‪ .‬ﻗﺸﺮ ﺣﺴﻰ‪ -‬ﺣﺮﻛﺘﻰ ﺑﺮﺍﻯ ﺑﻴﺸﺘﺮ ﺍﺯ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﺁﺭﺗﻮﺭ ﺷﻮﭘﻨﻬﺎﻭﺭ‪ ،‬ﻓﻴﻠﺴﻮﻑ ﺁﻟﻤﺎﻧﻰ ﺩﻳﮕﺮ‪ ،‬ﺍﺯ ﺍﺟﺰﺍﻯ ﺳﻪﮔﺎﻧﻪﻯ ﺍﻓﻼﻃﻮﻧﻰ )ﻋﻘﻞ‪ ،‬ﺍﻣﻴﺎﻝ ﻭ ﺍﺭﺍﺩﻩ(‪ ،‬ﺍﺭﺍﺩﻩ ﺭﺍ‬ ‫ﺑﺮﺗﺮ ﻣﻰﭘﻨﺪﺍﺷﺖ ﻭ ﻣﻌﺘﻘﺪ ﺑﻮﺩ ﺑﺎﻳﺪ ﺩﺭ ﻧﻔﺲ ﺍﻧﺴﺎﻥ‪ ،‬ﺍﺭﺍﺩﻩ ﺑﺮﺗﺮ ﻭ ﻣﺴﻠﻂ ﺑﺎﺷﺪ‪ .‬ﺍﻭ ﺟﻬﺎﻥ ﺭﺍ ﻧﺘﻴﺠﻪﻯ‬ ‫ﺍﺭﺍﺩﻩ ﻣﻰﺩﺍﻧﺴﺖ‪.‬‬ ‫ﺩﻛﺎﺭﺕ ﺩﺭ ﻛﺘﺎﺏ ﺗﺎﻣﻼﺕ ﺧﻮﺩ ﺩﻳﺪﮔﺎﻩ ﺛﻨﻮﻯﺍﺵ ﺭﺍ ﻣﺒﻨﻰ ﺑﺮ ﻭﺟﻮﺩ ﺍﺟﺰﺍﻯ ﺩﻭﮔﺎﻧﻪ ﺩﺭ ﺍﻧﺴﺎﻥ‪ ،‬ﺷﺎﻣﻞ‬ ‫ﺟﻮﻫﺮ ﺭﻭﺣﺎﻧﻰ ﻳﺎ ﺭﻭﺍﻥ )ﺫﻫﻦ‪ (mind :‬ﻭ ﺟﻮﻫﺮ ﺟﺴﻤﺎﻧﻰ ﻳﺎ ﻣﺎﺩﻯ )ﺑﺪﻥ‪ ( body :‬ﺑﻴﺎﻥ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﻧﺎﮔﻔﺘﻪ ﻧﻤﺎﻧﺪ ﻛﻪ ﻃﺮﻓﺪﺍﺭﺍﻥ ﻓﺮﻗﻪﻯ ﺳﺎﻳﻨﺘﻮﻟﻮژﻯ )‪ ،(Scientology‬ﺍﺟﺰﺍﻯ ﺍﻧﺴﺎﻥ ﺭﺍ ﺳﻪ ﻋﺪﺩ‬ ‫ﻣﻰﺩﺍﻧﻨﺪ‪ mind ،body :‬ﻭ ‪ .tetan‬ﺩﺭ ﺍﻳﻦ ﺗﻘﺴﻴﻢﺑﻨﺪﻯ ﺟﺴﻢ ﻫﻤﺎﻥ ﺟﺰء ﻣﺎﺩﻯ ﺍﻧﺴﺎﻥ‪ ،‬ﺗﺘﺎﻥ ﺟﺰء‬ ‫ﺭﻭﺣﺎﻧﻰ ﻭ ﺫﻫﻦ‪ ،‬ﻗﺴﻤﺖ ﺍﺭﺗﺒﺎﻃﻰ ﺟﺰء ﺭﻭﺣﺎﻧﻰ ﺑﺎ ﻣﺤﻴﻂ ﻭ ﺑﻪ ﻧﻮﻋﻰ ﺑﺎﻧﻚ ﺍﻃﻼﻋﺎﺗﻰ ﺗﺼﺎﻭﻳﺮ ﺫﻫﻨﻰ‬ ‫ﻭ ﺟﺎﻭﻯ ﺩﺍﻧﺶ ﻭ ﺗﺠﺮﺑﻪﻯ ﺟﺰء ﺭﻭﺣﺎﻧﻰ ﺍﺳﺖ‪.‬‬ ‫ﻫﻤﭽﻨﻴﻦ ﺯﺭﺗﺸﺘﻴﺎﻥ ﺍﻳﻦ ﺍﺟﺰﺍ ﺭﺍ ﭘﻨﺞ ﻋﺪﺩ ﻣﻰﺩﺍﻧﻨﺪ‪ :‬ﺗﻦ‪ ،‬ﺟﺎﻥ‪ ،‬ﺭﻭﺍﻥ‪ ،‬ﺍﺩﻭﻧﮓ ﻭ ﻓﺮﻭﻫﺮ‪ .‬ﺗﻦ ﺟﺰء‬ ‫ﻣﺎﺩﻯ‪ ،‬ﺟﺎﻥ ﭘﻴﻮﺳﺘﻪ ﺑﺎ ﺑﺎﺩ ﻭ ﻣﺎﻧﻨﺪ ﺁﻥ ﮔﺮﻳﺰﻧﺪﻩ‪ ،‬ﺭﻭﺍﻥ ﻧﻴﺮﻭﻳﻰ ﺩﺭ ﺗﻦ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺪ ﺑﺒﻴﻨﺪ ﻭ ﺑﺸﻨﻮﺩ‪،‬‬ ‫ﺍﺩﻭﻧﮓ ﺗﺼﻮﻳﺮ ﻭ ﺷﻜﻞ ﻭ ﻓﺮﻭﻫﺮ ﻧﻴﺮﻭﻳﻰ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺟﺎﻧﺐ ﺧﺪﺍ )ﺍﻭﺭﻣﺰﺩ( ﺁﻣﺪﻩ ﻭ ﺑﻪ ﺳﻮﻯ ﺍﻭ ﺑﺮ‬ ‫ﻣﻰﮔﺮﺩﺩ‪.‬‬ ‫ﺩﺭ ﺩﻳﺪﮔﺎﻩ ﺩﻛﺎﺭﺗﻰ‪ ،‬ﺟﺰء ﻣﺎﺩﻯ ﻓﻴﺰﻳﻜﻰ ﺍﺳﺖ ﻭ ﻭﺯﻥ ﻭ ﺣﺠﻢ ﺩﺍﺭﺩ ﻭ ﻧﻮﻋﻰ ﻣﺎﺷﻴﻦ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺫﻫﻦ‬ ‫ﺩﺍﺭﺍﻯ ﺫﺍﺕ ﻏﻴﺮﻓﻴﺰﻳﻜﻰ ﻭ ﺭﻭﺣﺎﻧﻰ ﺍﺳﺖ‪ .‬ﺩﺭ ﺩﻳﺪﮔﺎﻩ ﺩﻛﺎﺭﺕ‪ ،‬ﻣﻦ ﻳﻌﻨﻰ ﻫﻤﺎﻥ ﺫﻫﻦ ﻭ ﻧﻪ ﺑﺪﻥ‪ .‬ﻟﺬﺍ‬ ‫ﺩﺭ ﺻﻮﺭﺕ ﺟﺪﺍﻳﻰ ﺫﻫﻦ ﺍﺯ ﺑﺪﻥ ﻳﺎ ﺣﻠﻮﻝ ﺫﻫﻦ ﺩﺭ ﺑﺪﻥ ﺩﻳﮕﺮ‪ ،‬ﻣﻦ ﻫﻤﭽﻨﺎﻥ ﻫﻤﺎﻥ ﻣﻦ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬ ‫ﻣﻬﻢﺗﺮﻳﻦ ﺍﻳﺮﺍﺩﺍﺗﻰ ﻛﻪ ﺑﺮ ﺩﻳﺪﮔﺎﻩ ﺩﻭﮔﺎﻧﻪﺍﻧﮕﺎﺭﻯ ﺩﻛﺎﺭﺗﻰ ﻭﺍﺭﺩ ﻣﻰﺷﻮﺩ‪ ،‬ﻳﻜﻰ ﺗﻮﺿﻴﺢ ﭼﮕﻮﻧﮕﻰ ﺗﻌﺎﻣﻞ‬ ‫)‪ (interaction‬ﻣﺘﻘﺎﺑﻞ ﻳﻚ ﺟﺰء ﻏﻴﺮﻣﺎﺩﻯ ﺑﻪ ﻧﺎﻡ ﺫﻫﻦ ﻭ ﻳﻚ ﺟﺰء ﻣﺎﺩﻯ ﺑﻪ ﻧﺎﻡ ﺑﺪﻥ ﻭ ﺩﻳﮕﺮﻯ‬ ‫ﺗﺸﺨﻴﺺ ﺗﻔﺎﻭﺕ ﻫﻮﻳﺖ ﺍﺷﺨﺎﺹ ﺑﺮ ﻣﺒﻨﺎﻯ ﻣﺸﺨﺼﻪﻫﺎﻯ ﻓﻴﺰﻳﻜﻰ ﺍﺳﺖ‪ .‬ﺑﻪ ﻃﻮﺭ ﻭﺍﺿﺢﺗﺮ‪ :‬ﺍﮔﺮ ﺍﻧﺴﺎﻥ‬ ‫ﺩﺍﺭﺍﻯ ﺩﻭ ﺟﺰء ﻣﺴﺘﻘﻞ ﻣﺎﺩﻯ ﻭ ﻏﻴﺮﻣﺎﺩﻯ ﺍﺳﺖ ﻭ ﻫﻮﻳﺖ ﺍﺻﻠﻰ ﻳﻚ ﺍﻧﺴﺎﻥ ﻫﻤﺎﻥ ﺫﻫﻦ ﺍﻭﺳﺖ‪،‬‬ ‫ﭘﺲ‪ (1 :‬ﺫﻫﻦ ﻏﻴﺮﻣﺎﺩﻯ ﭼﮕﻮﻧﻪ ﺑﺮ ﺗﻦ ﻣﺎﺩﻯ ﺍﺛﺮ ﻣﻰﮔﺬﺍﺭﺩ ﻭ ﺑﺮﻋﻜﺲ؟ ‪ (2‬ﭼﮕﻮﻧﻪ ﻣﻰﺗﻮﺍﻥ ﺍﺯ ﺭﻭﻯ‬ ‫ﻣﺸﺨﺼﻪﻫﺎﻯ ﻓﻴﺰﻳﻜﻰ ﻳﻚ ﺷﺨﺺ ﻫﻮﻳﺖ ﺍﻭ ﺭﺍ ﺷﻨﺎﺧﺖ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻫﻮﻳﺖ ﻣﻌﺎﺩﻝ ﺫﻫﻦ ﺍﻭﺳﺖ‪ ،‬ﻧﻪ‬ ‫ﺗﻦ ﺍﻭ؟ ﺩﺭ ﺗﺸﺮﻳﺢ ﭘﺮﺳﺶ ﺩﻭﻡ ﻓﺮﺽ ﻛﻨﻴﺪ ﻛﻪ ﺑﻪ ﻃﺮﻳﻘﻰ ﺫﻫﻦ ﺷﺨﺼﻰ ﺑﻪ ﻧﺎﻡ ﺣﺎﻓﻈﻰﻣﻄﻠﻖ ﺍﺯ ﺗﻦ‬ ‫ﺍﻭ ﺟﺪﺍ ﺷﺪﻩ ﻭ ﺩﺭ ﻳﻚ ﺗﻦ ﺩﻳﮕﺮ ﺣﻠﻮﻝ ﻣﻰﻛﻨﺪ‪ .‬ﺣﺎﻻ ﭼﮕﻮﻧﻪ ﻣﻰﺗﻮﺍﻥ ﺗﺸﺨﻴﺺ ﺩﺍﺩ ﻛﺪﺍﻡ ﺣﺎﻓﻈﻰ‬ ‫ﻫﺴﺖ ﻭ ﻛﺪﺍﻡ ﻧﻴﺴﺖ؟ﻳﺎ ﻳﻚ ﺳﻮﺍﻝ ﻛﻠﻰﺗﺮ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺍﺷﺨﺎﺻﻰ ﻛﻪ ﻫﺮ ﺭﻭﺯ ﻣﻰﺑﻴﻨﻴﻢ‪ ،‬ﭼﮕﻮﻧﻪ‬ ‫ﻣﻄﻤﺌﻦ ﺑﺎﺷﻴﻢ ﻫﻤﺎﻥ ﺍﺷﺨﺎﺹ ﺩﻳﺮﻭﺯ ﻫﺴﺘﻨﺪ؟‬ ‫ﺩﺭ ﻣﻘﺎﺑﻞ ﻧﮕﺎﻩ ﺩﻭﮔﺎﻧﻪﺍﻧﮕﺎﺭ‪ ،‬ﻧﮕﺎﻩ ﻣﺎﺩﻯﮔﺮﺍﻳﺎﻧﻪ ﻧﻴﺰ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﺗﻤﺎﻡ ﻭﺟﻮﺩ ﻭ ﻫﻮﻳﺖ ﺍﻧﺴﺎﻥ ﺭﺍ‬ ‫ﺻﺮﻓﺎً ﻣﺎﺩﻩ ﻣﻰﭘﻨﺪﺍﺭﺩ‪ .‬ﻣﺎﺩﻯﮔﺮﺍﻳﺎﻥ ﻣﻌﺘﻘﺪﻧﺪ ﺍﻧﺴﺎﻥ ﻓﻘﻂ ﻳﻚ ﺟﺰء ﺩﺍﺭﺩ‪ :‬ﻣﺎﺩﻩ ﻭ ﻧﻪ ﻫﻴﭻ ﭼﻴﺰ ﺩﻳﮕﺮ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﻧﻤﻰﻛﻨﻢ ﺩﺭ ﺳﺎﺧﺘﺎﺭ ﻋﻼﻗﻤﻨﺪﻯﺍﺵ ﺗﻐﻴﻴﺮﻯ ﻧﺎﮔﻬﺎﻧﻰ ﺍﻳﺠﺎﺩ ﺷﻮﺩ‪ .‬ﺍﺯ ﺍﻳﻦ ﺭﻭ ﺑﺮ ﺧﻼﻑ ﭘﻞ ﻭﺭﻓﻮﻫﻦ‪،‬‬ ‫ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﻫﻮﻳﺖ ﺭﺍ ﻧﻪ ﻓﻘﻂ ﺩﺭ ﺧﺎﻃﺮﺍﺕ ﻭ ﺣﺎﻓﻈﻪ‪ ،‬ﺑﻠﻜﻪ ﺑﺎﻳﺪ ﺩﺭ ﻣﺠﻤﻮﻋﻪﺍﻯ ﺑﺰﺭﮔﺘﺮ ﻛﻪ ﺍﻟﺒﺘﻪ‬ ‫ﺑﺨﺸﻰ ﺍﺯ ﺁﻥ ﻫﻢ ﺑﻪ ﺧﺎﻃﺮﺍﺕ ﺗﻌﻠﻖ ﺩﺍﺭﺩ‪ ،‬ﺟﺴﺘﺠﻮ ﻛﺮﺩ‪.‬‬ ‫ﺩﺭﺧﺸﺶ‬ ‫ﺑﺤﺚ ﻫﻮﻳﺖ ﺷﺨﺼﻰ ﺍﺯ ﺩﻳﺮﺑﺎﺯ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻓﻴﻠﺴﻮﻓﺎﻥ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻓﻼﻃﻮﻥ ﺧﻮﺩ ﻳﺎ‬ ‫ﻧﻔﺲ ﺭﺍ ﻧﻪ ﺗﻨﻬﺎ ﻏﻴﺮﻣﺎﺩﻯ‪ ،‬ﺑﻠﻜﻪ ﻓﻨﺎﻧﺎﭘﺬﻳﺮ ﻭ ﻏﻴﺮﻗﺎﺑﻞ ﺗﺒﺎﻫﻰ ﻣﻰﺩﺍﻧﺴﺖ‪ .‬ﺍﻭ ﻣﻌﺘﻘﺪ ﺑﻮﺩ ﻛﻪ ﻧﻔﺲ ﻳﺎ‬ ‫ﺧﻮﺩ ﻣﺮﻛﺐ ﺍﺯ ﺳﻪ ﺟﺰ ﻋﻘﻞ‪ ،‬ﺷﻬﻮﺕ ﻭ ﺍﺭﺍﺩﻩ ﺍﺳﺖ ﻛﻪ ﺗﻀﺎﺩ ﺍﻳﻦ ﺍﺟﺰﺍ ﺩﻟﻴﻞ ﺍﺻﻠﻰ ﺗﻌﺎﺭﺿﺎﺕ ﺩﺭﻭﻧﻰ‬ ‫ﺍﻧﺴﺎﻥﻫﺎ ﺍﺳﺖ‪ .‬ﻋﻘﻞ ﺟﺰ ﻣﺤﺎﺳﺒﻪﮔﺮ ﻭ ﺗﺼﻤﻴﻢﮔﻴﺮﻧﺪﻩ‪ ،‬ﺷﻬﻮﺕ ﺟﺰ ﻏﻴﺮﻋﻘﻠﻰ ﻭ ﻣﺘﺸﻜﻞ ﺍﺯ ﺍﻣﻴﺎﻝ ﻭ‬ ‫ﻏﺮﺍﻳﺰ‪ ،‬ﻭ ﺍﺭﺍﺩﻩ ﺧﺎﺳﺘﮕﺎﻩ ﺟﺮﺍﺕ ﻭ ﺍﻋﺘﻤﺎﺩ ﺑﻪ ﻧﻔﺲ ﺍﺳﺖ‪ .‬ﻃﺒﻖ ﻧﻈﺮ ﺍﻓﻼﻃﻮﻥ‪ ،‬ﺳﻼﻣﺖ ﺭﻭﺣﻰ ﻳﺎ ﺭﻭﺍﻧﻰ‬ ‫ﺯﻣﺎﻧﻰ ﺑﻪ ﺩﺳﺖ ﻣﻰﺁﻳﺪ ﻛﻪ ﻫﻤﻪﻯ ﺍﻳﻦ ﺍﺟﺰﺍ ﺑﺎ ﻫﻢ ﺩﺭ ﺗﻌﺎﺩﻟﻰ ﻫﻤﺎﻫﻨﮓ ﺑﺎﺷﻨﺪ‪ .‬ﺩﻳﺪﮔﺎﻩ ﺍﻓﻼﻃﻮﻥ‬ ‫ﺑﻴﺸﺘﺮ ﺑﺮ ﭘﻴﺮﻭﻯ ﺷﻬﻮﺕ ﻭ ﺍﺭﺍﺩﻩ ﺍﺯ ﻋﻘﻞ ﺗﺎﻛﻴﺪ ﺩﺍﺭﺩ‪ .‬ﺁﻳﻴﻦ ﻣﺴﻴﺤﻴﺖ ﻧﮕﺎﻩ ﺭﻫﺒﺎﻧﻴﺖ ﻧﺎﺷﻰ ﺍﺯ ﻣﻬﺎﺭ‬ ‫ﻛﺮﺩﻥ ﺷﻬﻮﺍﺕ ﺑﺎ ﻣﺪﻳﺮﻳﺖ ﻋﻘﻠﻰ ﺭﺍ ﺍﺯ ﺩﻳﺪﮔﺎﻩ ﺍﻓﻼﻃﻮﻥ ﺑﻪ ﺍﺭﺙ ﺑﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺯﻳﮕﻤﻮﻧﺪ ﻓﺮﻭﻳﺪ ﺑﻪ ﮔﻮﻧﻪﺍﻯ ﻧﺴﺒﺘﺎً ﺷﺒﻴﻪ ﺑﻪ ﺍﻓﻼﻃﻮﻥ ﺍﺟﺰﺍ ﻧﻔﺲ ﺭﺍ ﺗﻔﺴﻴﺮ ﻣﻰﻛﻨﺪ‪ :‬ﺧﻮﺩ )‪،(ego‬‬ ‫ﻧﻬﺎﺩ )‪ (id‬ﻭ ﻓﺮﺍﻣﻦ )‪ .(super ego‬ﺧﻮﺩ ﺟﺰء ﻋﻘﻼﻧﻰ ﺑﺎ ﺩﻏﺪﻏﻪﻯ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻦ ﻭﺍﻗﻌﻴﺖ‪ ،‬ﻧﻬﺎﺩ‬ ‫ﺧﺎﺳﺘﮕﺎﻩ ﺍﻣﻴﺎﻝ ﻏﺮﻳﺰﻯ ﻭ ﻓﺮﺍﻣﻦ ﻣﺠﻤﻮﻋﻪﺍﻯ ﺍﺯ ﻗﻮﺍﻋﺪ ﺍﺧﻼﻗﻰ ﻧﻬﺎﺩﻳﻨﻪ ﺷﺪﻩ ﺗﻮﺳﻂ ﺟﺎﻣﻌﻪ ﻭ ﻭﺍﻟﺪﻳﻦ‬ ‫ﺍﺳﺖ‪ .‬ﻓﺮﻭﻳﺪ ﺑﺮ ﺧﻼﻑ ﺍﻓﻼﻃﻮﻥ ﻣﻌﺘﻘﺪ ﺑﻮﺩ ﻛﻪ ﺳﺮﻛﻮﺏ ﻧﻬﺎﺩ ﺳﺒﺐ ﺧﻮﺍﻫﺪ ﺷﺪ ﻛﻪ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﺍﻧﺴﺎﻥ‬ ‫ﻃﻐﻴﺎﻥ ﻛﻨﺪ ﻭ ﻋﺎﺭﺿﻪﺍﻯ ﺭﻭﺍﻧﻰ ﺑﻪ ﺑﺎﺭ ﺁﻭﺭﺩ ﻭ ﺑﻨﺎﺑﺮﺍﻳﻦ ﺗﻌﺎﺩﻝ ﺭﻭﺍﻧﻰ ﺩﺭ ﺩﻳﺪﮔﺎﻩ ﺍﻭ ﺑﺎ ﺗﻌﺎﺩﻝ ﺭﻭﺍﻧﻰ‬ ‫ﺍﻓﻼﻃﻮﻥ ﻭ ﻣﺴﻴﺤﻴﺖ ﺗﻔﺎﻭﺕ ﻋﻤﺪﻩﺍﻯ ﺩﺍﺷﺖ‪.‬‬ ‫ﻛﺎﺭﻝ ﮔﻮﺳﺘﺎﻭ ﻳﻮﻧﮓ ﺑﺎ ﺗﻐﻴﻴﺮﺍﺗﻰ ﺩﺭ ﺍﻳﻦ ﺗﻌﺎﺭﻳﻒ‪ ،‬ﺍﻳﻦ ﺳﻪ ﺟﺰء ﺭﺍ ﺫﻫﻦ ﺑﺎﻟﻎ‪ ،‬ﺫﻫﻦ ﻛﻮﺩﻙ ﻭ ﺫﻫﻦ‬ ‫ﻭﺍﻟﺪ ﻣﻰﻧﺎﻣﺪ‪ .‬ﻓﻴﻠﺴﻮﻑ ﺁﻟﻤﺎﻧﻰ‪ ،‬ﻓﺮﺩﺭﻳﺶ ﻧﻴﭽﻪ ﻛﻪ ﺍﺯ ﺍﻳﻦ ﺳﻪ ﺟﺰء ﺑﺎ ﺗﻤﻴﻞ ﺷﻴﺮ‪ ،‬ﻛﻮﺩﻙ ﻭ ﺷﺘﺮ ﻧﺎﻡ‬ ‫ﻣﻰﺑﺮﺩ‪ ،‬ﺑﺮ ﺧﻼﻑ ﺩﻳﺪﮔﺎﻩ ﻋﺎﻡ ﻛﻪ ﺫﻫﻦ ﺑﺎﻟﻎ )ﺷﻴﺮ( ﺭﺍ ﺑﺮﺗﺮ ﻭ ﻧﻤﺎﻳﻨﺪﻩﻯ ﺧﺮﺩ ﺍﻧﺴﺎﻥ ﺩﺭ ﻣﺼﺎﻑ ﺑﺎ ﺫﻫﻦ‬ ‫ﻭﺍﻟﺪ ﻣﻘﻠﺪ )ﺷﺘﺮ( ﻭ ﺫﻫﻦ ﻛﻮﺩﻙ )ﻛﻮﺩﻙ( ﻣﺴﺨﺮﻩﮔﻮﻧﻪ ﻣﻰﭘﻨﺪﺍﺷﺘﻨﺪ‪ ،‬ﻣﻌﺘﻘﺪ ﺑﻮﺩ ﺑﺮﺍﻯ ﺍﺑﺮﺍﻧﺴﺎﻥ‬ ‫ﺷﺪﻥ ﺑﺎﻳﺪ ﺫﻫﻦ ﻛﻮﺩﻙ ﺑﺮ ﺩﻭ ﺫﻫﻦ ﺩﻳﮕﺮ ﻣﺴﻠﻂ ﮔﺮﺩﺩ‪:‬‬ ‫»ﺳﻪ ﺩﮔﺮﺩﻳﺴﻰ ﺟﺎﻥ ﺭﺍ ﺑﻬﺮ ﺷﻤﺎ ﻧﺎﻡ ﻣﻰﺑﺮﻡ‪ :‬ﭼﮕﻮﻧﻪ ﺟﺎﻥ ﺷﺘﺮ ﻣﻰﺷﻮﺩ ﻭ ﺷﺘﺮ ﺷﻴﺮ ﻭ ﺳﺮﺍﻧﺠﺎﻡ ﺷﻴﺮ‪،‬‬ ‫ﻛﻮﺩﻙ ‪ ...‬ﭼﻴﺴﺖ ﺁﻥ ﭼﻪ ﻛﻮﺩﻙ ﺗﻮﺍﻧﺪ ﻭ ﺷﻴﺮ ﻧﺘﻮﺍﻧﺪ؟ ‪ ...‬ﻛﻮﺩﻙ ﺑﻰﮔﻨﺎﻫﻰ ﺍﺳﺖ ﻭ ﻓﺮﺍﻣﻮﺷﻰ‪ ،‬ﺁﻏﺎﺯﻯ‬ ‫ﻧﻮ‪ ،‬ﻳﻚ ﺑﺎﺯﻯ‪ ،‬ﭼﺮﺧﻰ ﺧﻮﺩﭼﺮﺥ‪ ،‬ﺟﻨﺒﺸﻰ ﻧﺨﺴﺘﻴﻦ‪ ،‬ﺁﺭﻯ ﮔﻔﺘﻨﻰ ﻣﻘﺪﺱ‪ .‬ﺁﺭﻯ ﺑﺮﺍﺩﺭﺍﻥ‪ ،‬ﺑﺮﺍﻯ ﺑﺎﺯﻯ‬ ‫ﺁﻓﺮﻳﺪﻥ ﺑﻪ ﺁﺭﻯ ﮔﻔﺘﻦ ﻣﻘﺪﺱ ﻧﻴﺎﺯ ﻫﺴﺖ‪«.‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﺣﺎﻓﻈﻪﻫﺎﻯ ﺳﺨﺖﺍﻓﺰﺍﺭﻯ ﺍﻣﺮﻭﺯﻯ ﺭﺍ ﺣﺘﺎ ﭘﺲ ﺍﺯ ﭘﺎﻙ ﺷﺪﻥ‪ ،‬ﺑﺎ ﺗﻜﻨﻴﻚﻫﺎﻳﻰ ﻣﻰﺗﻮﺍﻥ ﺑﺎﺯﻳﺎﺑﻰ ﻛﺮﺩ‪.‬‬ ‫ﺩﺭ ﻣﻮﺭﺩ ﺣﺎﻓﻈﻪﻯ ﺍﻧﺴﺎﻥ ﻫﻢ ﺍﻳﻦ ﺗﻜﻨﻴﻚﻫﺎ ﺩﺭ ﻣﻮﺍﺭﺩ ﻓﺮﺍﻣﻮﺷﻰﻫﺎﻯ ﻋﺎﺩﻯ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﻧﻤﻮﻧﻪﻯ‬ ‫ﻣﺘﺪﺍﻭﻝ ﺁﻥ‪ ،‬ﻫﻴﭙﻨﻮﺗﻴﺰﻡ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺁﻥ ﻣﻰﺗﻮﺍﻥ ﺧﺎﻃﺮﺍﺕ ﺁﺯﺍﺭﺩﻫﻨﺪﻩ ﺭﺍ ﺑﻠﻮﻛﻪ ﻛﺮﺩ ﻳﺎ ﺧﺎﻃﺮﺍﺕ‬ ‫ﺍﺯ ﻳﺎﺩ ﺭﻓﺘﻪﺍﻯ ﺭﺍ ﻣﺠﺪﺩﺍ ً ﺑﺎﺭﮔﺬﺍﺭﻯ ﻧﻤﻮﺩ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﭘﺎﻙ ﻛﺮﺩﻥ ﻏﻴﺮﻗﺎﺑﻞ ﺑﺎﺯﻳﺎﻓﺖ‬ ‫ﺣﺎﻓﻈﻪﻯ ﺍﻧﺴﺎﻥ ﺣﺪﺍﻗﻞ ﻓﻌ ً‬ ‫ﻼ ﺍﻣﻜﺎﻥﭘﺬﻳﺮ ﻧﻴﺴﺖ ﻣﮕﺮ ﺑﺎ ﻭﺍﺭﺩ ﻛﺮﺩﻥ ﺁﺳﻴﺐﻫﺎﻯ ﺳﺨﺖﺍﻓﺰﺍﺭﻯ‪ .‬ﻫﺮ‬ ‫ﭼﻨﺪ ﻛﻪ ﺷﺨﺼﺎً ﻣﻌﺘﻘﺪﻡ ﺁﺳﻴﺐﻫﺎﻯ ﺳﺨﺖﺍﻓﺰﺍﺭﻯ ﻫﻢ ﺣﺎﻓﻈﻪﻯ ﺍﻧﺴﺎﻧﻰ ﺭﺍ ﻛﻪ ﺑﻪ ﺍﻋﺘﻘﺎﺩ ﻣﻦ ﺟﻨﺒﻪﻯ‬ ‫ﻫﻮﻟﻮﮔﺮﺍﻓﻴﻚ ﻭ ﺁﺷﻮﺑﻰ ﺩﺍﺭﺩ‪ ،‬ﭘﺎﻙ ﻧﻤﻰﻛﻨﺪ؛ ﺑﻠﻜﻪ ﺗﻨﻬﺎ ﺩﺳﺘﺮﺳﻰ ﺷﺨﺺ ﺑﻪ ﺧﺎﻃﺮﺍﺗﺶ ﺭﺍ ﻣﺤﺪﻭﺩ‬ ‫ﻳﺎ ﻧﺎﻣﻤﻜﻦ ﻣﻰﺳﺎﺯﺩ‪.‬‬ ‫ﺣﺎﻻ ﺑﻴﺎﻳﻴﺪ ﭘﻴﺎﻡ ﻓﻴﻠﻢ ﺩﺭﺧﺸﺶ ﺍﺑﺪﻯ ﻳﻚ ﺫﻫﻦ ﭘﺎﻙ ﺭﺍ ﺩﺭ ﺣﻮﺯﻩﻯ ﺣﺎﻓﻈﻪ ﻭ ﻫﻮﻳﺖ ﺑﻪ ﺷﻜﻠﻰ ﺳﺎﺩﻩ‬ ‫ﺑﺎﺯﺑﻴﻨﻰ ﻛﻨﻴﻢ‪ :‬ﺩﺭ ﻧﻈﺮ ﺑﮕﻴﺮﻳﺪ ﻛﻪ ﺷﻤﺎ ﭘﺴﺮﻯ ﻫﺴﺘﻴﺪ ﻭ ﺩﺧﺘﺮﻯ ﺑﻪ ﻧﺎﻡ ﻛﻠﻤﻨﺘﺎﻳﻦ ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺭﺩ؛‬ ‫ﺑﻨﺎ ﺑﻪ ﻫﺰﺍﺭ ﻭ ﻳﻚ ﺩﻟﻴﻞ ﺍﻳﻦ ﻋﻼﻗﻪﻯ ﺷﻤﺎ ﺑﻰﻧﺘﻴﺠﻪ ﻣﻰﻣﺎﻧﺪ ﻭ ﺗﻨﻬﺎ ﺧﺎﻃﺮﺍﺕ ﺁﺯﺍﺭﺩﻫﻨﺪﻩﻯ ﻳﻚ ﻋﺸﻖ‬ ‫ﺷﻜﺴﺖ ﺧﻮﺭﺩﻩ ﺩﺭ ﺍﺩﺍﻣﻪﻯ ﺯﻧﺪﮔﻰ ﺁﺯﺍﺭﺗﺎﻥ ﻣﻰﺩﻫﺪ‪ .‬ﺷﻤﺎ ﺗﺼﻤﻴﻢ ﻣﻰﮔﻴﺮﻳﺪ ﺁﻥ ﻗﺴﻤﺖ ﺍﺯ ﺣﺎﻓﻈﻪ ﻭ‬ ‫ﺧﺎﻃﺮﺍﺗﻰ ﺭﺍ ﻛﻪ ﻣﺘﻌﻠﻖ ﺑﻪ ﻛﻠﻤﻨﺘﺎﻳﻦ ﺍﺳﺖ‪ ،‬ﻛ ً‬ ‫ﻼ ﭘﺎﻙ ﻛﻨﻴﺪ‪ .‬ﺍﺯ ﺧﻮﺩ ﺑﭙﺮﺳﻴﺪ‪ :‬ﭘﺲ ﺍﺯ ﺍﻳﻦ ﭘﺎﻛﺴﺎﺯﻯ‪،‬‬ ‫ﺍﮔﺮ ﺑﺎ ﻛﻠﻤﻨﺘﺎﻳﻦ ﻳﺎ ﺩﺧﺘﺮ ﺩﻳﮕﺮﻯ ﺑﺎ ﻣﺸﺨﺼﺎﺕ ﺍﻭ ﺭﻭﺑﺮﻭ ﺷﻮﻳﺪ‪ ،‬ﭼﻪ ﻋﻜﺲﺍﻟﻌﻤﻠﻰ ﻧﺸﺎﻥ ﺧﻮﺍﻫﻴﺪ ﺩﺍﺩ؟‬ ‫ﻗﻄﻌﺎً ﭼﻴﺰﻯ ﺍﺯ ﺍﻭ ﺑﻪ ﻳﺎﺩ ﻧﺨﻮﺍﻫﻴﺪ ﺩﺍﺷﺖ‪ ،‬ﺍﻣﺎ ﺣﺪﺱ ﻣﻦ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻗﺴﻤﺘﻰ ﺍﺯ ﺍﺑﻌﺎﺩ ﻭﺟﻮﺩﻯ ﺷﻤﺎ‬ ‫ﻛﻪ ﺟﺪﺍ ﺍﺯ ﺣﺎﻓﻈﻪ ﻭ ﺧﺎﻃﺮﺍﺗﺘﺎﻥ ﺍﺳﺖ ﻭ ﻗﺒ ً‬ ‫ﻼ ﺳﺒﺐ ﺷﺪﻩ ﺑﻪ ﺩﺧﺘﺮﻯ ﺑﺎ ﭼﻨﻴﻦ ﻣﺸﺨﺼﺎﺗﻰ ﻋﻼﻗﻤﻨﺪ‬ ‫ﺷﻮﻳﺪ‪ ،‬ﻣﺠﺪﺩﺍ ً ﺩﺭ ﺣﺮﻛﺎﺕ ﻭ ﺍﺣﺴﺎﺳﺎﺕ ﺷﻤﺎ ﺑﺎﺭﮔﺬﺍﺭﻯ ﺷﺪﻩ ﻭ ﺩﻭﺑﺎﺭﻩ ﻋﻜﺲﺍﻟﻌﻤﻠﻰ ﻧﺎﺷﻰ ﺍﺯ ﻋﻼﻗﻪ‬ ‫ﺑﻪ ﺁﻥ ﺩﺧﺘﺮ ﺩﺭ ﺷﻤﺎ ﺑﺮﻭﺯ ﻣﻰﻛﻨﺪ‪ .‬ﺍﮔﺮ ﺑﺎ ﺍﻳﻦ ﺍﻳﺪﻩ ﻣﻮﺍﻓﻖ ﻫﺴﺘﻴﺪ‪ ،‬ﭘﺲ ﺑﻪ ﺍﻳﻦ ﻧﺘﻴﺠﻪﻯ ﻣﺸﺘﺮﻙ‬ ‫ﺭﺳﻴﺪﻩﺍﻳﻢ ﻛﻪ ﻫﻮﻳﺖ ﺻﺮﻓﺎً ﻣﺘﺮﺍﺩﻑ ﺑﺎ ﺣﺎﻓﻈﻪ ﻭ ﺧﺎﻃﺮﺍﺕ ﻧﻴﺴﺖ‪.‬‬ ‫ﺑﮕﺬﺍﺭﻳﺪ ﺍﺯ ﺯﺍﻭﻳﻪﻯ ﺩﻳﮕﺮﻯ ﺳﺮﺍﻍ ﻣﻄﻠﺐ ﺑﺮﻭﻳﻢ‪ .‬ﺷﻤﺎ ﻓﺮﺩﻯ ﺑﻪ ﻧﺎﻡ ﺁﻗﺎﻯ ﺍﻳﻜﺲ ﺭﺍ ﻣﻰﺷﻨﺎﺳﻴﺪ‬ ‫ﻛﻪ ﻣﺘﻮﻟﺪ ﺳﺎﻝ ‪ 1980‬ﺍﺳﺖ ﻭ ﺩﺭ ﺩﻫﻪﻯ ‪ 80‬ﻣﻴﻼﺩﻯ ﺑﺰﺭگ ﺷﺪﻩ ﻭ ﺧﻮﺏ ﻳﺎ ﺑﺪ‪ ،‬ﺑﻪ ﺁﺛﺎﺭ ﻫﻨﺮﻯ ﻭ‬ ‫ﻣﺤﺼﻮﻻﺕ ﻓﺮﻫﻨﮕﻰ ﺩﻫﻪﻯ ‪ 80‬ﻋﻼﻗﻪﻯ ﻓﺮﺍﻭﺍﻥ ﺩﺍﺭﺩ‪ .‬ﺑﻪ ﺍﻋﺘﻘﺎﺩ ﺷﻤﺎ ﺍﻳﻦ ﻋﻼﻗﻪ ﻛﻪ ﺗﺸﻜﻴﻞ ﺩﻫﻨﺪﻩﻯ‬ ‫ﺑﺨﺸﻰ ﺍﺯ ﻫﻮﻳﺖ ﺷﺨﺼﻰ ﺁﻗﺎﻯ ﺍﻳﻜﺲ ﺍﺳﺖ‪ ،‬ﺑﺎ ﭘﺎﻙ ﺷﺪﻥ ﺣﺎﻓﻈﻪ ﻭ ﺍﺯ ﺩﺳﺖ ﺭﻓﺘﻦ ﺧﺎﻃﺮﺍﺕ ﺍﻭ‪ ،‬ﻧﺎﺑﻮﺩ‬ ‫ﻣﻰﺷﻮﺩ؟ ﺍﮔﺮ ﺣﺎﻓﻈﻪﻯ ﺁﻗﺎﻯ ﺍﻳﻜﺲ ﺭﺍ ﭘﺎﻙ ﻛﻨﻴﻢ‪ ،‬ﻣﻤﻜﻦ ﺍﺳﺖ ﺍﻭ ﺍﺯ ﻣﻮﺳﻴﻘﻰ ﺭﺍﻙ ﻳﺎ ﺍﻟﻜﺘﺮﻭﻧﻴﻚ‬ ‫ﺩﻫﻪﻯ ‪ 80‬ﺩﻝ ﺑﻜﻨﺪ ﻭ ﻧﺎﮔﻬﺎﻥ ﺑﻪ ﻣﻮﺳﻴﻘﻰ ﺭپ ﺍﻭﺍﻳﻞ ﻗﺮﻥ ﺑﻴﺴﺖ ﻭ ﻳﻜﻢ ﻋﻼﻗﻤﻨﺪ ﺷﻮﺩ؟ ﺧﻼﺻﻪ‬ ‫ﺍﻳﻦ ﻛﻪ‪ ،‬ﺁﻳﺎ ﺑﺎ ﻓﺮﻣﺖ ﻛﺮﺩﻥ ﺣﺎﻓﻈﻪﻯ ﺁﻗﺎﻯ ﺍﻳﻜﺲ ﻣﻰﺗﻮﺍﻥ ﺍﻭ ﺭﺍ ﻧﺴﺒﺖ ﺑﻪ ژﺍﻥ ﻣﻴﺸﻞ ﺟﺎﺭ ﺑﻰﺗﻔﺎﻭﺕ‬ ‫ﻭ ﻧﺴﺒﺖ ﺑﻪ ﺍﻣﻴﻨﻢ ﻋﻼﻗﻤﻨﺪ ﻛﺮﺩ؟ ﻣﻦ ﻛﻪ ﺑﻌﻴﺪ ﻣﻰﺩﺍﻧﻢ‪ .‬ﻧﻬﺎﻳﺘﺎً ﺷﻤﺎ ﻣﻤﻜﻦ ﺍﺳﺖ ﻛﺎﺭﻯ ﻛﻨﻴﺪ ﻛﻪ ﺍﻭ‬ ‫ﺍﺣﺴﺎﺱ ﻛﻨﺪ ﺁﻥ ﭼﻪ ﻗﺒ ً‬ ‫ﻼ ﺑﺮﺍﻯ ﺻﺪﻫﺎ ﺑﺎﺭ ﺷﻨﻴﺪﻩ‪ ،‬ﺣﺎﻻ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺍﺳﺖ ﻛﻪ ﻣﻰﺷﻨﻮﺩ‪ .‬ﺍﻣﺎ ﻓﻜﺮ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﺧﺎﻃﺮﺍﺕ ﺳﺎﺧﺘﮕﻰ ﻫﺴﺘﻨﺪ‪ .‬ﺁﻥﻫﺎ ﺩﺍﺭﺍﻯ ﻫﻮﻳﺘﻰ ﺑﺮ ﻣﺒﻨﺎﻯ ﺧﺎﻃﺮﺍﺕ ﻣﺼﻨﻮﻋﻰ ﺧﻮﺩ ﻫﺴﺘﻨﺪ ﻛﻪ ﻫﺮﮔﺰ‬ ‫ﻭﺟﻮﺩ ﻧﺪﺍﺷﺘﻪ ﻭ ﺧﻮﺩ ﺭﺍ ﺍﻧﺴﺎﻥ ﻣﻰﭘﻨﺪﺍﺭﻧﺪ‪ .‬ﺧﺎﻃﺮﺍﺕ ﻣﺠﺎﺯﻯ ﺳﺎﺯﻧﺪﻩﻯ ﻫﻮﻳﺖ ﺣﻘﻴﻘﻰ‪.‬‬ ‫ﻓﻴﻠﻢ ﺷﻬﺮ ﺗﺎﺭﻳﻚ ﻧﻴﺰ ﺭﻭﺍﻳﺘﮕﺮ ﺯﻧﺪﮔﻰ ﺍﻧﺴﺎﻥﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺗﻮﺳﻂ ﻳﻚ ﺗﻤﺪﻥ ﻓﻀﺎﻳﻰ ﺭﻭ ﺑﻪ ﺍﻧﻘﺮﺍﺽ‬ ‫ﺭﺑﻮﺩﻩ ﺷﺪﻩ ﻭ ﺩﺭ ﻳﻚ ﺗﺨﺘﻪ ﺳﻨﮓ ﻓﻀﺎﻳﻰ ﻛﻪ ﺑﻪ ﺧﻴﺎﻝ ﺧﻮﺩﺷﺎﻥ ﺷﻬﺮﻯ ﺑﺮ ﺭﻭﻯ ﺳﻴﺎﺭﻩﻯ ﺯﻣﻴﻦ‬ ‫ﺍﺳﺖ‪ ،‬ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺁﻥﻫﺎ ﻫﺮ ﻧﻴﻤﻪﺷﺐ ﺑﻪ ﺧﻮﺍﺑﻰ ﻣﺼﻨﻮﻋﻰ ﻣﻰﺭﻭﻧﺪ ﻭ ﺑﻪ ﻭﺳﻴﻠﻪﻯ ﻋﻮﺍﻣﻞ ﺁﻥ‬ ‫ﺗﻤﺪﻥ ﻓﻀﺎﻳﻰ ﺑﻴﮕﺎﻧﻪ‪ ،‬ﺣﺎﻓﻈﻪ ﻭ ﺧﺎﻃﺮﺍﺗﺸﺎﻥ ﺩﺳﺘﻜﺎﺭﻯ ﻣﻰﺷﻮﺩ‪ .‬ﭘﺲ ﺍﺯ ﺑﻴﺪﺍﺭﻯ‪ ،‬ﺍﻧﺴﺎﻥﻫﺎﻯ ﺷﻬﺮ‬ ‫ﻫﻮﻳﺖ ﺟﺪﻳﺪﻯ ﺩﺍﺭﻧﺪ‪ .‬ﺩﺭ ﺣﻘﻴﻘﺖ ﺩﺍﺳﺘﺎﻥ ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﻴﺎﻧﮕﺮ ﺗﻘﻼﻯ ﻳﻚ ﺗﻤﺪﻥ ﻏﻴﺮﺯﻣﻴﻨﻰ ﺩﺭ ﺣﺎﻝ‬ ‫ﺍﻧﻘﺮﺍﺽ ﺑﺮﺍﻯ ﻳﺎﻓﺘﻦ ﺭﻭﺵ ﺟﺪﻳﺪﻯ ﺑﻪ ﻣﻨﻈﻮﺭ ﺗﻤﺪﻳﺪ ﺑﻘﺎﻯ ﺧﻮﺩ ﺍﺳﺖ‪ .‬ﺁﻥﻫﺎ ﻓﻜﺮ ﻣﻰﻛﻨﻨﺪ ﻋﻠﺖ‬ ‫ﺑﻘﺎﻯ ﺍﻧﺴﺎﻥﻫﺎ ﺩﺭ ﺣﺎﻓﻈﻪ ﻭ ﺧﺎﻃﺮﺍﺗﺸﺎﻥ ﺍﺳﺖ‪ ،‬ﻟﺬﺍ ﺑﺎ ﺁﺯﻣﺎﻳﺸﺎﺗﻰ ﺑﺮ ﺣﺎﻓﻈﻪﻯ ﺍﻧﺴﺎﻥ ﺳﻌﻰ ﺩﺭ ﻳﺎﻓﺘﻦ‬ ‫ﺭﺍﻫﻰ ﺑﺮﺍﻯ ﺑﻘﺎﻯ ﺧﻮﺩ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﺍﻣﺎ ﺩﺭ ﻓﻴﻠﻢ ﺩﺭﺧﺸﺶ ﺍﺑﺪﻯ ﻳﻚ ﺫﻫﻦ ﭘﺎﻙ‪ ،‬ﭘﺎﺳﺦ ﺑﺦ ﺳﻮﺍﻝ ﭼﻴﺴﺘﻰ ﻫﻮﻳﺖ ﺍﻧﺴﺎﻥ‪ ،‬ﭼﻴﺰﻯ ﺑﻪ ﺟﺰ‬ ‫ﺧﺎﻃﺮﺍﺕ ﺍﺳﺖ‪ .‬ﺷﺨﺼﻴﺖﻫﺎﻯ ﻛﻠﻴﺪﻯ ﻓﻴﻠﻢ ﻳﻌﻨﻰ ﺟﻮﺋﻞ ﻭ ﻛﻠﻤﻨﺘﺎﻳﻦ ﻭ ﻫﻤﭽﻨﻴﻦ ﺳﺎﻳﺮﻳﻦ‪ ،‬ﺑﺮ ﺍﺛﺮ‬ ‫ﭘﺎﻙ ﺷﺪﻥ ﺧﺎﻃﺮﺍﺕ ﻫﻮﻳﺖ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻧﻤﻰﺩﻫﻨﺪ‪ .‬ﺁﻥﻫﺎ ﺩﻭﺑﺎﺭﻩ ﻋﺎﺷﻖ ﻫﻤﺎﻥ ﻛﺴﻰ ﻣﻰﺷﻮﻧﺪ‬ ‫ﻛﻪ ﺍﻧﺪﻛﻰ ﻗﺒﻞ ﺍﻭ ﺭﺍ ﺍﺯ ﺧﺎﻃﺮﻩﻯ ﺧﻮﺩ ﭘﺎﻙ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺩﻭﺑﺎﺭﻩ ﺩﺭ ﻣﺴﻴﺮﻯ ﮔﺎﻡ ﺑﺮ ﻣﻰﺩﺍﺭﻧﺪ ﻛﻪ‬ ‫ﺳﻌﻰ ﺩﺭ ﭘﺎﻙ ﻛﺮﺩﻧﺶ ﺍﺯ ﺧﺎﻃﺮﺍﺕ ﺧﻮﺩ ﺩﺍﺷﺘﻪﺍﻧﺪ‪ .‬ﺍﻳﻦ ﻓﻴﻠﻢ ﭼﻴﺰ ﺩﻳﮕﺮﻯ ﺑﻪ ﺟﺰ ﺧﺎﻃﺮﺍﺕ ﺍﻧﺴﺎﻥ ﺭﺍ‬ ‫ﻣﻌﺮﻑ ﻫﻮﻳﺖ ﺍﻭ ﻗﺮﺍﺭ ﻣﻰﺩﻫﺪ‪ .‬ﺍﻣﺎ ﺳﻌﻰ ﺩﺭ ﻣﻌﺮﻓﻰ ﺭﻭﺷﻦ ﻭ ﻭﺍﺿﺢ ﺁﻥ ﭼﻴﺰ ﻧﺪﺍﺭﺩ‪.‬‬ ‫ﻣﺤﺒﻮﺏ ﻣﻦ‪ :‬ﻛﻠﻤﻨﺘﺎﻳﻦ‬ ‫ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺳﻮﺍﻝ ﻣﻬﻢ‪ ،‬ﺍﮔﺮ ﺧﺎﻃﺮﺍﺕ ﻭ ﺑﺎ ﻣﻔﻬﻮﻡ ﻛﻠﻰﺗﺮ‪ ،‬ﻛﻞ ﻳﺎ ﺑﺨﺸﻰ ﺍﺯ ﺣﺎﻓﻈﻪﻯ ﻳﻚ ﺍﻧﺴﺎﻥ‬ ‫���ﻴﺮﻗﺎﺑﻞ ﺩﺳﺘﺮﺳﻰ ﺷﻮﺩ‪ ،‬ﭼﻪ ﺍﺗﻔﺎﻗﻰ ﺧﻮﺍﻫﺪ ﺍﻓﺘﺎﺩ؟ ﻧﻤﻮﻧﻪﺍﺵ ﺭﺍ ﺗﺎ ﺣﺪﻭﺩﻯ ﺩﺭ ﺑﻴﻤﺎﺭﺍﻥ ﺩﭼﺎﺭ ﺁﻟﺰﺍﻳﻤﺮ‬ ‫ﻣﻰﺗﻮﺍﻥ ﺩﻳﺪ‪) .‬ﺑﺮ ﺧﻼﻑ ﺗﺼﻮﺭ ﻣﺘﺪﺍﻭﻝ ﻣﺒﻨﻰ ﺑﺮ ﺑﺮﻭﺯ ﺍﺧﺘﻼﻝ ﺩﺭ ﺳﻠﻮﻝﻫﺎﻯ ﻣﻐﺰﻯ ﺑﻪ ﻋﻨﻮﺍﻥ ﻋﺎﻣﻞ‬ ‫ﺍﺻﻠﻰ ﺁﻟﺰﺍﻳﻤﺮ‪ ،‬ژﻥﻫﺎ ﻭ ﭘﺮﻭﺗﺌﻴﻦﻫﺎﻯ ﺧﻮﻧﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﻭﺿﻌﻴﺖ ﺣﺎﻓﻈﻪ ﺭﺍ ﺑﻪ ﻫﻢ ﻣﻰﺭﻳﺰﻧﺪ‪(.‬‬ ‫ﺍﻣﺎ ﻫﺪﻑ ﻣﻦ ﺑﻴﺶ ﺍﺯ ﺑﺮﺭﺳﻰ ﻳﻚ ﻋﺎﺭﺿﻪ ﻳﺎ ﺍﺧﺘﻼﻝ ﻣﻐﺰﻯ ﺍﺳﺖ‪ .‬ﭘﺮﺳﺶ ﺻﺤﻴﺢﺗﺮ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ‬ ‫ﻫﻮﻳﺖ ﺷﺨﺼﻰ ﻳﻚ ﻓﺮﺩ ﭼﻪ ﺍﻧﺪﺍﺯﻩ ﺑﺎ ﺧﺎﻃﺮﺍﺕ ﻭ ﺣﺎﻓﻈﻪﺍﺵ ﻣﺘﺮﺍﺩﻑ ﺍﺳﺖ؟‬ ‫ﺍﻟﺒﺘﻪ ﻗﺒﻞ ﺍﺯ ﺑﺮﺭﺳﻰ ﭼﻨﻴﻦ ﭘﺮﺳﺸﻰ ﻳﻚ ﺳﻮﺍﻝ ﺟﺪﻯﺗﺮ ﻣﻄﺮﺡ ﺍﺳﺖ‪ .‬ﺁﻳﺎ ﺣﺎﻓﻈﻪﻯ ﺍﻧﺴﺎﻧﻰ ﻗﺎﺑﻞ‬ ‫ﭘﺎﻙ ﺷﺪﻥ ﺑﺪﻭﻥ ﺑﺎﺯﻳﺎﻓﺖ ﺍﺳﺖ؟ ﺧﺎﻃﺮﻡ ﻫﺴﺖ ﻛﻪ ﺑﻌﻀﻰ ﺍﺯ ﺩﻭﺳﺘﺎﻥ ﺑﺎ ﺩﺍﻧﻠﻮﺩ ﺑﻌﻀﻰ ﺍﺯ ﻓﺎﻳﻞﻫﺎ‬ ‫ﺑﺮ ﻛﺎﻣﭙﻴﻮﺗﺮ ﺧﻮﺩ ﻣﺨﺎﻟﻒ ﺑﻮﺩﻧﺪ‪ .‬ﭼﻮﻥ ﺍﻋﺘﻘﺎﺩ ﺩﺍﺷﺘﻨﺪ ﺣﺘﺎ ﺩﺭ ﺻﻮﺭﺕ ﭘﺎﻙ ﺷﺪﻥ‪ ،‬ﺍﻳﻦ ﻓﺎﻳﻞﻫﺎ‬ ‫ﻗﺎﺑﻞ ﺑﺎﺯﻳﺎﻓﺖ ﺧﻮﺍﻫﻨﺪ ﺑﻮﺩ‪ .‬ﺍﻟﺒﺘﻪ ﺑﻌﺪﻫﺎ ﺩﺭﻳﺎﻓﺘﻢ ﻛﻪ ﺍﻳﻦ ﺍﻳﺪﻩ ﻛﺎﻣ ً‬ ‫ﻼ ﺻﺤﻴﺢ ﺍﺳﺖ ﻭ ﺗﻤﺎﻡ ﺍﻃﻼﻋﺎﺕ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﺳﺎﻟﮕﻰﺍﺵ ﺗﻨﺒﻴﻪ ﺷﻮﺩ؟ ﺁﻥ ﭼﻪ ﺩﺭ ﺍﻳﻦ ﮔﺬﺭ ﺯﻣﺎﻥ ﻣﺸﺘﺮﻙ ﺍﺳﺖ ﻭ ﺑﺮ ﺁﻥ ﻧﺎﻡ ﻫﻮﻳﺖ ﺭﺍ ﻣﻰﮔﺬﺍﺭﻧﺪ‪،‬‬ ‫ﭼﻴﺴﺖ ﻭ ﭼﮕﻮﻧﻪ ﺍﺳﺖ؟‬ ‫ﭘﺎﺳﺨﻰ ﻛﻪ ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﺮﺍﻯ ﺍﻳﻦ ﭘﺮﺳﺶ ﺍﺭﺍﺋﻪ ﻛﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﻣﺘﻔﺎﻭﺕ ﻭ ﺷﺎﻳﺪ ﻣﺘﻀﺎﺩ ﺑﺎ ﺑﺴﻴﺎﺭﻯ‬ ‫ﺍﺯ ﻓﻴﻠﻢﻫﺎﻯ ﻣﺮﺗﺒﻂ ﻭ ﻧﻈﺮﻳﻪﻫﺎﻯ ﻓﻠﺴﻔﻰ ﻣﺘﺪﺍﻭﻝ ﺑﺎﺷﺪ‪ .‬ﺍﮔﺮ ﺩﺭ ﻓﻴﻠﻢﻫﺎﻳﻰ ﻣﺎﻧﻨﺪ »ﺑﻠﻴﺪ ﺭﺍﻧﺮ«‬ ‫)ﺳﺎﺧﺘﻪﻯ ‪ 1982‬ﺭﻳﺪﻟﻰ ﺍﺳﻜﺎﺕ(‪» ،‬ﻳﺎﺩﺁﻭﺭﻯ ﻛﺎﻣﻞ« )ﺳﺎﺧﺘﻪﻯ ‪ 1990‬ﭘﻞ ﻭﺭﻫﻮﻓﻦ(‪» ،‬ﭘﻠﻴﺲ‬ ‫ﺁﻫﻨﻰ« )ﺳﺎﺧﺘﻪﻯ ‪ 1987‬ﭘﻞ ﻭﺭﻫﻮﻓﻦ(‪» ،‬ﺷﻬﺮ ﺗﺎﺭﻳﻚ« )ﺳﺎﺧﺘﻪﻯ ‪ 1998‬ﺁﻟﻜﺲ ﭘﺮﻭﻳﺎﺱ( ﻭ ‪...‬‬ ‫ﺟﻮﺍﺏ ﺍﻳﻦ ﭘﺮﺳﺶ ﻋﺒﺎﺭﺕ ﺍﺳﺖ ﺍﺯ »ﺧﺎﻃﺮﺍﺕ«‪ ،‬ﺩﺭ ﻓﻴﻠﻢ ﺩﺭﺧﺸﺶ ﺍﺑﺪﻯ ﻳﻚ ﺫﻫﻦ ﭘﺎﻙ ﭼﻴﺰﻯ‬ ‫ﻭﺭﺍﻯ ﺧﺎﻃﺮﺍﺕ ﺑﻪ ﻋﻨﻮﺍﻥ ﻫﻮﻳﺖ ﻓﺮﺩﻯ ﺗﻌﺮﻳﻒ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺩﺭ ﻓﻴﻠﻢ ﭘﻠﻴﺲ ﺁﻫﻨﻰ‪ ،‬ﺍﺯ ﺑﻘﺎﻳﺎﻯ ﻣﺘﻼﺷﻰ ﺷﺪﻩﻯ ﺑﺪﻥ ﻳﻚ ﭘﻠﻴﺲ ﻭﻇﻴﻔﻪﺷﻨﺎﺱ ﺑﻪ ﻧﺎﻡ ﻣﻮﺭﻓﻰ ﻛﻪ ﺑﻪ‬ ‫ﺩﺳﺖ ﺗﺒﻬﻜﺎﺭﺍﻥ ﺑﻰﺭﺣﻢ ﻭ ﺑﺎﻧﻔﻮﺫ ﺷﻬﺮ ﺩﻳﺘﺮﻭﻳﺖ ﻛﺸﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﻳﻚ ﺳﺎﻳﺒﻮﺭگ ﺗﻮﺍﻧﻤﻨﺪ ﺳﺎﺧﺘﻪ‬ ‫ﻣﻰﺷﻮﺩ ﻛﻪ ﻣﻘﺘﺪﺭﺍﻧﻪ ﺍﻣﭙﺮﺍﺗﻮﺭﻯ ﺗﺒﻬﻜﺎﺭﺍﻧﻪﻯ ﺩﻳﺘﺮﻭﻳﺖ ﺭﺍ ﺍﺯ ﺑﻴﺦ ﻭ ﺑﻦ ﺳﺮﻧﮕﻮﻥ ﻣﻰﻛﻨﺪ‪ .‬ﭘﺮﺳﺶ‬ ‫ﺍﻳﻦﺟﺎﺳﺖ ﻛﻪ ﺁﻳﺎ ﺍﻳﻦ ﺳﺎﻳﺒﻮﺭگ ﻣﻘﺘﺪﺭ ﻫﻤﺎﻥ ﭘﻠﻴﺲ ﻭﻇﻴﻔﻪﺷﻨﺎﺱ ﺍﺳﺖ؟ ﻳﺎ ﺑﺎ ﺩﻭ ﻣﻮﺟﻮﺩ ﻣﺘﻔﺎﻭﺕ‬ ‫ﺭﻭﺑﺮﻭ ﻫﺴﺘﻴﻢ؟ ﺩﺭ ﻧﮕﺎﻩ ﺍﻭﻝ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻦ ﻛﻪ ﭘﻠﻴﺴﻰ ﺑﻪ ﻧﺎﻡ ﺁﻟﻜﺲ ﻣﻮﺭﻓﻰ ﻛﺸﺘﻪ ﻭ ﺑﺪﻧﺶ ﻣﺘﻼﺷﻰ‬ ‫ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﺩﺭ ﻣﻰﻳﺎﺑﻴﻢ ﻛﻪ ﻫﻮﻳﺖ ﭘﻠﻴﺲ ﺁﻫﻨﻰ ﻧﻤﻰﺗﻮﺍﻧﺪ ﻫﻤﺎﻥ ﻫﻮﻳﺖ ﻣﻮﺭﻓﻰ ﺑﺎﺷﺪ؛ ﺯﻳﺮﺍ ﻛﻪ ﻣﻮﺭﻓﻰ‬ ‫ﻣﺮﺩﻩ ﻭ ﻣﺎ ﺑﺎ ﻳﻚ ﻣﺨﻠﻮﻕ ﺟﺪﻳﺪ ﺭﻭﺑﺮﻭ ﻫﺴﺘﻴﻢ‪ .‬ﺍﻣﺎ ﻛﺎﺭﮔﺮﺩﺍﻥ ﻫﻠﻨﺪﻯ‪ ،‬ﭘﻞ ﻭﺭﻫﻮﻓﻦ‪ ،‬ﻧﻈﺮ ﺩﻳﮕﺮﻯ ﺩﺍﺭﺩ‪.‬‬ ‫ﺍﻭ ﺍﺯ ﻣﺠﺮﺍﻯ ﺩﺭﺧﺸﺶ ﻣﺠﺪﺩ ﺧﺎﻃﺮﺍﺕ ﻣﻮﺭﻓﻰ ﺩﺭ ﺫﻫﻦ ﭘﻠﻴﺲ ﺁﻫﻨﻰ‪ ،‬ﻫﻮﻳﺖ ﺍﻳﻦ ﺩﻭ ﻣﻮﺟﻮﺩ ﺭﺍ ﺑﻪ‬ ‫ﻫﻢ ﭘﻴﻮﻧﺪ ﻣﻰﺯﻧﺪ ﻭ ﺩﺭ ﺻﺤﻨﻪﻯ ﭘﺎﻳﺎﻧﻰ ﻓﻴﻠﻢ‪ ،‬ﭘﻠﻴﺲ ﺁﻫﻨﻰ ﻛﻪ ﻭﻳﺮﺍﻧﮕﺮ ﺩﺳﺘﮕﺎﻩ ﺗﺒﻬﻜﺎﺭﻯ ﺍﺳﺖ‪ ،‬ﺧﻮﺩ‬ ‫ﺭﺍ ﺑﺎ ﻧﺎﻡ ﻣﻮﺭﻓﻰ ﻣﻌﺮﻓﻰ ﻣﻰﻛﻨﺪ‪ .‬ﺑﻪ ﻋﺒﺎﺭﺕ ﺳﺎﺩﻩﺗﺮ ﺁﻥ ﭼﻪ ﻫﻮﻳﺖ ﭘﻠﻴﺲ ﺁﻫﻨﻰ ﻭ ﺁﻟﻜﺲ ﻣﻮﺭﻓﻰ ﺭﺍ‬ ‫ﻳﻜﺴﺎﻥ ﻣﻰﻛﻨﺪ‪ ،‬ﺧﺎﻃﺮﺍﺕ ﻣﺸﺘﺮﻙ ﺁﻥ ﺩﻭ ﺍﺳﺖ‪.‬‬ ‫ﭘﻞ ﻭﺭﻫﻮﻓﻦ ﺩﺭ ﻓﻴﻠﻢ ﺩﻳﮕﺮﺵ ﺑﻪ ﻧﺎﻡ ﻳﺎﺩﺁﻭﺭﻯ ﻛﺎﻣﻞ‪ ،‬ﻳﻚ ﺍﺗﺮﻳﺸﻰ ﻫﺮﻛﻮﻝﮔﻮﻧﻪ ﺑﻪ ﻧﺎﻡ ﺁﺭﻧﻮﻟﺪ‬ ‫ﺷﻮﺍﺭﺗﺰﻧﮕﺮ ﺭﺍ ﻛﻪ ﺍﻳﻦ ﺍﻭﺍﺧﺮ ﭼﻨﺪ ﺳﺎﻟﻰ ﻫﻢ ﺑﺮ ﺻﻨﺪﻟﻰ ﻓﺮﻣﺎﻧﺪﺍﺭﻯ ﻛﺎﻟﻴﻔﺮﻧﻴﺎ ﻣﺴﺘﻘﺮ ﺷﺪﻩ‪ ،‬ﺩﺭ‬ ‫ﻧﻘﺶ ﻳﻚ ﻣﺎﻣﻮﺭ ﻣﺨﻔﻰ ﺩﺭ ﺳﺎﻝ ‪ 2084‬ﻣﻴﻼﺩﻯ ﺑﻪ ﻣﻴﺪﺍﻥ ﻣﻰﺁﻭﺭﺩ‪ .‬ﻣﺎﻣﻮﺭﻯ ﻛﻪ ﺑﺮ ﺍﺛﺮ ﭘﺎﻙ ﺷﺪﻥ‬ ‫ﺧﺎﻃﺮﺍﺗﺶ ﻭ ﺟﺎﻳﮕﺰﻳﻨﻰ ﺧﺎﻃﺮﺍﺕ ﺟﺪﻳﺪ‪ ،‬ﻫﻮﻳﺘﻰ ﻣﺘﻔﺎﻭﺕ ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ‪ .‬ﺍﺯ ﻫﻮﻳﺖ ﻳﻚ ﻣﺎﻣﻮﺭ ﻣﺨﻔﻰ‬ ‫ﺩﺳﺘﮕﺎﻩ ﺟﺎﺳﻮﺳﻰ ﺗﺒﺪﻳﻞ ﺑﻪ ﻳﻚ ﻛﺎﺭﮔﺮ ﻣﻌﺪﻥ ﺷﺪﻩ ﻭ ﺍﺯ ﺟﺎﻳﮕﺎﻩ ﻳﻚ ﻛﺎﺭﮔﺮ ﻣﻌﺪﻥ‪ ،‬ﺑﺎ ﺗﻌﻮﻳﺾ‬ ‫ﺧﺎﻃﺮﺍﺗﺶ ﻣﺒﺪﻝ ﻣﻰﺷﻮﺩ ﺑﻪ ﻳﻚ ﺷﻮﺭﺷﻰ ﺍﻧﻘﻼﺑﻰ‪ .‬ﺩﺭ ﺍﻳﻦﺟﺎ ﺧﺎﻃﺮﺍﺕ ﻳﻚ ﺑﺎﺭ ﺩﻳﮕﺮ ﺯﻳﺮﺑﻨﺎﻯ ﻫﻮﻳﺖ‬ ‫ﻣﻌﺮﻓﻰ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ ﺻﺎﺣﺐ ﻧﺎﻡ ﺩﻳﮕﺮ‪ ،‬ﺭﻳﺪﻟﻰ ﺍﺳﻜﺎﺕ ﻛﻪ ﺍﻭ ﺭﺍ ﺑﻴﺸﺘﺮ ﺑﺎ »ﮔﻼﺩﻳﺎﺗﻮﺭ« ﻣﻰﺷﻨﺎﺳﻨﺪ‪ ،‬ﺩﺭ ﺳﺎﻝ‬ ‫‪ 1982‬ﺩﺭ ﻓﻴﻠﻢ ﺑﻠﻴﺪ ﺭﺍﻧﺮ ﺩﺍﺳﺘﺎﻥ ﺍﻧﺴﺎﻥﻧﻤﺎﻫﺎﻳﻰ ﺭﺍ ﺭﻭﺍﻳﺖ ﻣﻰﻛﻨﺪ ﻛﻪ ﺩﺭ ﺣﻘﻴﻘﺖ »ﺭﻭﺑﺎﺕﻫﺎﻳﻰ« ﺑﺎ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﻳﺎ ﻋﺪﻡ ﺩﺳﺘﻴﺎﺑﻰ ﺑﻪ ﺧﺎﻃﺮﺍﺕ ﺣﻚ ﺷﺪﻩ ﺩﺭ ﺣﺎﻓﻈﻪ ﺍﺳﺖ‪ .‬ﻛﺎﺭﺍﻛﺘﺮ »ﺟﻮﺋﻞ ﺑﺮﻳﺶ« ﺑﺎ ﺑﺎﺯﻯ ﺟﻴﻢ‬ ‫ﻛﺮﻯ ﻛﻪ ﺑﺮﺍﻯ ﻋﻤﻮﻡ ﺑﻴﺸﺘﺮ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻫﻨﺮﭘﻴﺸﻪﻯ ﻃﻨﺰ ﻭ ﻛﻤﺪﻯ ﺷﻨﺎﺧﺘﻪ ﻣﻰ ﺷﻮﺩ‪ ،‬ﺁﻥ ﭼﻨﺎﻥ‬ ‫ﺷﺨﺼﻴﺖ ﺟﺪﻯ ﻭ ﺷﺎﻳﺪ ﻏﻢﺍﻧﮕﻴﺰﻯ ﺩﺍﺭﺩ ﻛﻪ ﺑﻰﺍﺧﺘﻴﺎﺭ ﺗﺼﻮﺭ ﻣﺠﺪﺩ ﻳﻚ ﻓﺮﺿﻴﻪ ﺭﺍ ﺑﻪ ﺫﻫﻦ ﺗﺪﺍﻋﻰ‬ ‫ﻣﻰﻛﻨﺪ ﻛﻪ‪» :‬ﻣﺘﻀﺎﺩﻫﺎ ﺩﺭ ﺑﻰﻧﻬﺎﻳﺖ ﻣﺘﺮﺍﺩﻑ ﻣﻰﺷﻮﻧﺪ‪«.‬‬ ‫ﺑﻪ ﻋﺒﺎﺭﺕ ﺑﻬﺘﺮ ﺷﺎﺩﻯ ﻭ ﺍﻓﺴﺮﺩﮔﻰ ﻭ ﻃﻨﺰ ﻭ ﺟﺪﻳﺖ ﺩﺭ ﺑﻰﻧﻬﺎﻳﺖ ﺑﺎ ﻫﻢ ﻳﻜﻰ ﻫﺴﺘﻨﺪ ﻳﺎ ﺑﻪ ﺷﻜﻞ‬ ‫ﺻﺤﻴﺢﺗﺮ‪ ،‬ﻧﻬﺎﻳﺖ ﺷﺎﺩﻯ ﻭ ﻏﻢ ﻳﻜﻰ ﺍﺳﺖ‪ .‬ﻧﻬﺎﻳﺖ ﻋﺸﻖ ﻭ ﻧﻔﺮﺕ ﻭ ﺯﻳﺒﺎﻳﻰ ﻭ ﺯﺷﺘﻰ ﻫﻢ‪ .‬ﻟﺬﺍ ﺗﻨﻬﺎ ﻳﻚ‬ ‫ﻛﻤﺪﻳﻦ ﺣﺮﻓﻪﺍﻯ ﻣﺎﻧﻨﺪ ﺟﻴﻢ ﻛﺮﻯ ﺗﻮﺍﻥ ﺍﻳﻔﺎﻯ ﻧﻘﺶﻫﺎﻯ ﺟﺪﻯ ﻭ ﻏﻢﺍﻧﮕﻴﺰﻯ ﻣﺎﻧﻨﺪ ﺟﻮﺋﻞ ﺑﺮﻳﺶ‬ ‫ﺩﺭ ﻓﻴﻠﻢ ﺩﺭﺧﺸﺶ ﺍﺑﺪﻯ ﻳﻚ ﺫﻫﻦ ﭘﺎﻙ ﻳﺎ »ﺗﺮﻭﻣﻦ ﺑﺮﺑﻨﻚ« ﺩﺭ ﻓﻴﻠﻢ »ﻧﻤﺎﻳﺶ ﺗﺮﻭﻣﻦ«‪ ،‬ﻳﺎ »ﻭﺍﻟﺘﺮ‬ ‫ﺍﺳﭙﺎﺭﻭ« ﺩﺭ ﻓﻴﻠﻢ »‪ «23‬ﻳﺎ »ﭘﻴﺘﺮ ﺍﭘﻠﺘﻮﻥ« ﺩﺭ ﻓﻴﻠﻢ »ﻣﺠﺴﺘﻴﻚ« ﺭﺍ ﺩﺍﺭﺩ‪.‬‬ ‫ﻫﻤﻴﻦ ﮔﻮﻧﻪ‪ ،‬ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﺩﻥ ﻭ ﻓﺮﺍﻣﻮﺵ ﻛﺮﺩﻥ ﻫﻢ ﺩﺭ ﺑﻰﻧﻬﺎﻳﺖ ﺑﺎ ﻫﻢ ﻳﻜﻰ ﻫﺴﺘﻨﺪ ﻭ ﺩﻳﻮﺍﻧﮕﺎﻥ ﻭ‬ ‫ﻧﻮﺍﺑﻎ ﻫﻢ‪.‬‬ ‫ﺍﻣﺎ ﻭﻗﺘﻰ ﺻﺤﺒﺖ ﺍﺯ ﺍﻧﺴﺎﻥﻫﺎﻳﻰ ﻋﺎﺩﻯ ﺍﺳﺖ ﻛﻪ ﻧﻪ ﻧﺎﺑﻐﻪﺍﻧﺪ ﻭ ﻧﻪ ﺩﻳﻮﺍﻧﻪ ﻭ ﺯﻣﺎﻧﻰ ﻛﻪ ﺩﺭ ﺟﺎﻳﮕﺎﻫﻰ‬ ‫ﺑﺴﻴﺎﺭ ﺩﻭﺭ ﺍﺯ ﺑﻰﻧﻬﺎﻳﺖ ﺻﺤﺒﺖ ﻣﻰﻛﻨﻴﻢ‪ ،‬ﺗﻔﺎﻭﺕ ﺍﻳﻦ ﻣﻘﻮﻟﻪﻫﺎﻯ ﻣﺘﻀﺎﺩ ﺍﺯ ﺯﻣﻴﻦ ﺍﺳﺖ ﺗﺎ ﺁﺳﻤﺎﻥ‪.‬‬ ‫ﻓﻀﺎﻯ ﻓﻴﻠﻢ ﺩﺭﺧﺸﺶ ﺍﺑﺪﻯ ﻳﻚ ﺫﻫﻦ ﭘﺎﻙ ﻫﻢ ﺩﺭ ﺣﺮﻛﺘﻰ ﺩﻭﺭﺍﻧﻰ ﺑﻴﻦ ﻣﺘﻀﺎﺩﻫﺎﻯ ﻏﻴﺮﻣﺘﺮﺍﺩﻑ‬ ‫ﺟﺮﻳﺎﻥ ﺩﺍﺭﺩ ﻛﻪ ﺍﻟﺒﺘﻪ ﺩﺭ ﻟﺤﻈﺎﺗﻰ ﺍﺯ ﻓﻴﻠﻢ ﻛﻪ ﻛﺎﺭﮔﺮﺩﺍﻥ ﮔﺮﻳﺰﻯ ﺑﻪ ﻣﺮﺯ ﺑﻰﻧﻬﺎﻳﺖ ﻣﻰﺯﻧﺪ‪ ،‬ﺧﻂ‬ ‫ﺗﻔﻜﻴﻚ ﺑﻴﻦ ﺗﻀﺎﺩﻫﺎ ﻛﻢﺭﻧﮓ ﻭ ﻛﻢﺭﻧﮓﺗﺮ ﺷﺪﻩ‪ ،‬ﺑﻪ ﮔﻮﻧﻪﺍﻯ ﻛﻪ ﻧﻬﺎﻳﺖ ﻧﻔﺮﺕ ﻣﻌﺎﺩﻝ ﻣﻰﺷﻮﺩ ﺑﺎ‬ ‫ﻧﻬﺎﻳﺖ ﻋﺸﻖ ﻭ ﺑﺮﻋﻜﺲ‪.‬‬ ‫ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﺮ ﻣﺒﻨﺎﻯ ﻳﻚ ﻧﮕﺎﻩ ﺧﺎﺹ ﺑﻪ ﺣﺎﻓﻈﻪ ﺑﻨﺎ ﺷﺪﻩ ﺍﺳﺖ‪ :‬ﻫﺮ ﺧﺎﻃﺮﻩ ﻳﻌﻨﻰ ﻳﻚ ﻧﻘﻄﻪﻯ ﻧﻮﺭﺍﻧﻰ‬ ‫ﺩﺭ ﻣﻐﺰ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺴﺎﺏ‪ ،‬ﺧﺎﻣﻮﺷﻰ ﻧﻘﻄﻪﻯ ﻧﻮﺭﺍﻧﻰ ﻳﻌﻨﻰ ﻓﺮﺍﻣﻮﺷﻰ‪.‬‬ ‫ﺍﻣﺎ ﺳﻮﺍﻝ ﻣﻬﻢ ﺍﻳﻦﺟﺎ ﺍﺳﺖ ﻛﻪ‪ :‬ﺁﻳﺎ ﺩﺭ ﻋﺎﻟﻢ ﻭﺍﻗﻌﻰ‪ ،‬ﻓﺮﺍﻣﻮﺷﻰ ﻧﻮﻋﻰ ﺧﺎﻣﻮﺷﻰ ﺍﺳﺖ؟ ﺟﺎﻟﺐ ﺍﻳﻦﺟﺎ‬ ‫ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺧﻮﺩ ﻓﻴﻠﻢ ﻫﻢ ﺷﻮﺍﻫﺪﻯ ﺑﺮ ﺭﺩ ﻓﺮﺿﻴﻪﻯ »ﻓﺮﺍﻣﻮﺷﻰ ﻣﻌﺎﺩﻝ ﺧﺎﻣﻮﺷﻰ« ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻭ‬ ‫ﻃﻰ ﺍﻳﻦ ﻣﻘﺎﻟﻪ ﻫﻢ ﺩﺭ ﺟﺎﻯ ﺧﻮﺩ ﺩﺭ ﺍﻳﻦ ﺑﺎﺭﻩ ﺑﺤﺚ ﺧﻮﺍﻫﺪ ﺷﺪ‪.‬‬ ‫ﺍﺯ ﻧﮕﺎﻩ ﺩﻳﮕﺮ ﻳﻚ ﺳﻮﺍﻝ ﺑﻨﻴﺎﺩﻳﻦ ﻓﻠﺴﻔﻪ ﺩﺭ ﻗﺎﻟﺐ ﺩﺍﺳﺘﺎﻥ ﺍﻳﻦ ﻓﻴﻠﻢ ﻣﺠﺪﺩﺍ ً ﺑﺎﺯﻧﮕﺮﻯ ﻣﻰﺷﻮﺩ‪.‬‬ ‫»ﻫﻮﻳﺖ ﻓﺮﺩﻯ ﭼﻴﺴﺖ؟« ﺑﻪ ﻋﺒﺎﺭﺕ ﺧﻮﺩﻣﺎﻧﻰﺗﺮ‪ ،‬ﭼﻪ ﭼﻴﺰﻯ ﻫﻮﻳﺖ ﺷﺨﺼﻰ ﺑﻪ ﻧﺎﻡ ﺁﻗﺎﻯ ﺍﻳﻜﺲ ﺭﺍ‬ ‫ﺍﺯ ﺍﺷﺨﺎﺹ ﺩﻳﮕﺮ ﺟﺪﺍ ﻣﻰﻛﻨﺪ؟ ﻭ ﭼﺮﺍ ﺁﻗﺎﻯ ﺍﻳﻜﺲ ﻛﻪ ﺩﺭ ﺑﺪﻭ ﺗﻮﻟﺪ ﭼﻨﻴﻦ ﻧﺎﻣﻰ ﺑﺮ ﺍﻭ ﮔﺬﺍﺭﺩﻩ ﺷﺪﻩ‬ ‫ﺍﺳﺖ‪ ،‬ﺩﺭ ﺳﻰ ﺳﺎﻟﮕﻰ ﻫﻢ ﺑﻪ ﻫﻤﺎﻥ ﻧﺎﻡ ﺷﻨﺎﺧﺘﻪ ﻣﻰﺷﻮﺩ ﻭ ﺩﺭ ﺷﺼﺖ ﺳﺎﻟﮕﻰ ﻭ ﭘﺲ ﺍﺯ ﻣﺮگ ﻫﻢ ﺑﻪ‬ ‫ﻫﻤﭽﻨﻴﻦ؟ ﺁﻳﺎ ﺁﻗﺎﻯ ﺍﻳﻜﺲ ﺳﻰ ﺳﺎﻟﻪ ﺣﺘﺎ ﻳﻚ ﺳﻠﻮﻝ ﻣﺸﺘﺮﻙ ﺑﺎ ﺁﻗﺎﻯ ﺍﻳﻜﺲ ﺩﻩ ﺳﺎﻟﻪ ﺩﺍﺭﺩ؟ ﻗﻄﻌﺎً‬ ‫ﺧﻴﺮ؟ ﭘﺲ ﭼﺮﺍ ﺩﺭ ﭘﻨﺠﺎﻩ ﺳﺎﻟﮕﻰ ﺑﺎﻳﺪ ﺑﺮﺍﻯ ﻧﻴﻜﻰﻫﺎﻯ ﺑﻴﺴﺖ ﺳﺎﻟﮕﻰﺍﺵ ﺗﻘﺪﻳﺮ ﻭ ﺑﺮﺍﻯ ﺧﻄﺎﻫﺎﻯ ﺳﻰ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﺷﻨﺎﺳﻨﺎﻣﻪ‬ ‫ﻛﺎﺭﮔـــﺮﺩﺍﻥ‪:‬‬

‫ﻣﻴﺸﻞ ﮔﻮﻧﺪﺭﻯ‬

‫ﻓﻴﻠﻢ ﻧﺎﻣﻪ ﻧﻮﻳﺲ‪:‬‬

‫ﭼﺎﺭﻟﻰ ﻛﺎﻓﻤﻦ‬

‫ﺗﻬﻴــﻪ ﻛﻨﻨﺪﻩ‪:‬‬

‫ﺁﻧﺘﻮﻧﻰ ﺑﺮﮔﻤﻦ‬

‫ﻣﻮ ﺳﻴــــﻘﻰ ‪:‬‬

‫ﺟﺎﻥ ﺑﺮﺍﻳﻮﻥ‬

‫ﺗﻮﺯﻳـﻊ ﻛﻨﻨﺪﻩ‪:‬‬

‫‪Focus Features‬‬

‫ﺗﺎﺭﻳﺦ ﺍﻧﺘﺸـﺎﺭ‪:‬‬

‫‪ 19‬ﻣﺎﺭﺱ ‪2004‬‬

‫ﺑﻮ ﺩ ﺟـــــﻪ ‪:‬‬

‫‪ 20‬ﻣﻴﻠﻴﻮﻥ ﺩﻻﺭ‬

‫ﻣﻴـﺰﺍﻥ ﻓﺮﻭﺵ‪:‬‬

‫‪ 72‬ﻣﻴﻠﻴﻮﻥ ﺩﻻﺭ‬

‫ﺧﻼﺻﻪﻯ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺟﻮﺋﻞ ﺑﺮﻳﺶ ﺍﻧﺴﺎﻧﻰ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﻧﻈﺮ ﻣﻌﺎﺷﺮﺗﻰ ﭼﻨﺪﺍﻥ ﺍﺳﺘﻌﺪﺍﺩﻯ ﻧﺪﺍﺭﺩ ﻭ ﮔﺮﭼﻪ ﺑﺎ ﺩﺧﺘﺮﻫﺎﻯ‬ ‫ﺯﻳﺎﺩﻯ ﺁﺷﻨﺎﻳﻰ ﺩﺍﺷﺘﻪ‪ ،‬ﺍﻣﺎ ﺑﻪ ﻫﻴﭻ ﻛﺪﺍﻡ ﺟﺬﺏ ﻧﺸﺪﻩ ﺍﺳﺖ‪ .‬ﺗﺎ ﺍﻳﻦ ﻛﻪ ﺑﺎ ﻛﻠﻤﻨﺘﺎﻳﻦ ﺁﺷﻨﺎ ﻣﻰﺷﻮﺩ؛‬ ‫ﺩﺧﺘﺮﻯ ﻛﻪ ﻃﺒﻴﻌﻰ ﻛﺎﻣ ً‬ ‫ﻼ ﺑﺮﻋﻜﺲ ﺟﻮﺋﻞ ﺩﺍﺭﺩ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﺩﻭ ﺑﺎ ﻭﺟﻮﺩ ﻋﺪﻡ ﺍﺷﺘﺮﺍﻙ‪ ،‬ﺑﻪ ﺳﻮﻯ ﻳﻜﺪﻳﮕﺮ‬ ‫ﻛﺸﻴﺪﻩ ﻣﻰﺷﻮﻧﺪ‪ .‬ﭘﺲ ﺍﺯ ﻣﺪﺗﻰ ﺭﺍﺑﻄﻪﻯ ﺍﻳﻦ ﺩﻭ ﺑﻪ ﺗﻠﺨﻰ ﻗﻄﻊ ﻣﻰﺷﻮﺩ ﻭ ﻛﻠﻤﻨﺘﺎﻳﻦ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ‬ ‫ﺗﻜﻨﻮﻟﻮژﻯ ﺭﻭﺯ‪ ،‬ﺧﺎﻃﺮﺍﺕ ﺟﻮﺋﻞ ﺭﺍ ﺍﺯ ﺫﻫﻦ ﭘﺎﻙ ﻣﻰﻛﻨﺪ‪ .‬ﺟﻮﺋﻞ ﻫﻢ ﺑﺮﺍﻯ ﺗﻼﻓﻰ‪ ،‬ﺗﺼﻤﻴﻢ ﺑﻪ ﻫﻤﻴﻦ‬ ‫ﻛﺎﺭ ﻣﻰﮔﻴﺮﺩ‪ .‬ﺑﺨﺶ ﺍﻋﻈﻢ ﻓﻴﻠﻢ ﻧﻤﺎﻳﺶ ﻓﺮﺁﻳﻨﺪ ﭘﺎﻛﺴﺎﺯﻯ ﺫﻫﻦ ﺟﻮﺋﻞ ﻭ ﺑﺎﺯﺧﻮﺭﺩ ﺍﻭ ﺑﻪ ﺧﺎﻃﺮﺍﺕ‬ ‫ﻗﺪﻳﻤﻰﺍﺵ ﺍﺳﺖ‪ .‬ﺍﻭ ﻫﺮ ﭼﻪ ﺩﺭ ﺧﺎﻃﺮﺍﺗﺶ ﺟﻠﻮﺗﺮ ﻣﻰﺭﻭﺩ‪ ،‬ﺑﻪ ﻟﺤﻈﺎﺕ ﺷﻴﺮﻳﻨﻰ ﻛﻪ ﺑﺎ ﻛﻠﻤﻨﺘﺎﻳﻦ‬ ‫ﺩﺍﺷﺘﻪ ﺑﻴﺸﺘﺮ ﺑﺮ ﻣﻰﺧﻮﺭﺩ ﻭ ﺍﺯ ﭘﺎﻛﺴﺎﺯﻯ ﺫﻫﻨﺶ ﭘﺸﻴﻤﺎﻥ ﻣﻰﺷﻮﺩ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺟﻮﺋﻞ ﻣﻰﻛﻮﺷﺪ ﺩﺭ‬ ‫ﻣﻘﺎﺑﻞ ﻓﺮﺁﻳﻨﺪ ﭘﺎﻛﺴﺎﺯﻯ ﻣﻘﺎﻭﻣﺖ ﻛﺮﺩﻩ ﻭ ﺧﺎﻃﺮﺍﺗﻰ ﺍﺯ ﻛﻠﻤﻨﺘﺎﻳﻦ ﺭﺍ ﭘﻨﻬﺎﻧﻰ ﺩﺭ ﮔﻮﺷﻪﻫﺎﻯ ﺫﻫﻨﺶ‬ ‫ﻣﺨﻔﻰ ﻛﻨﺪ‪.‬‬ ‫ﺧﺎﻣﻮﺷﻰ ﻭ ﻓﺮﺍﻣﻮﺷﻰ‬ ‫ﻓﺮﺍﻣﻮﺵ ﻛﺮﺩﻥ ﻭ ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﺩﻥ ﻫﻨﺮﻫﺎﻳﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﺗﻨﻬﺎ ﻧﻮﺍﺑﻎ ﻭ ﺩﻳﻮﺍﻧﮕﺎﻥ ﺑﻪ ﺩﺭﺳﺘﻰ ﺍﺯ ﻋﻬﺪﻩﻯ‬ ‫ﺁﻥﻫﺎ ﺑﺮ ﻣﻰﺁﻳﻨﺪ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥ ﻛﻠﻰ ﻓﻴﻠﻢ »ﺩﺭﺧﺸﺶ ���ﺑﺪﻯ ﻳﻚ ﺫﻫﻦ ﭘﺎﻙ« ﺩﺭﺑﺎﺭﻩﻯ ﺣﺎﻓﻈﻪﻯ ﺍﻧﺴﺎﻥ ﻭ ﭼﮕﻮﻧﮕﻰ ﺩﺳﺘﻴﺎﺑﻰ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﺳﻴﻨﻤﺎ‬

‫ﻓﻴﻠﻢﺷﻨﺎﺳﻰ ﻧﻈﺮﻳﻪﻯ ﺁﺷﻮﺏ‬ ‫ﻗﺴﻤﺖ ﺳﻮﻡ‪ :‬ﺩﺭﺧﺸﺶ ﺍﺑﺪﻯ ﻳﻚ ﺫﻫﻦ ﭘﺎﻙ‬

‫ﻧﺎﺻﺮ ﺣﺎﻓﻈﻰ ﻣﻄﻠﻖ‬

‫ﻣﻘﺪﻣﻪ‬ ‫ﻗﺴﻤﺖ ﺍﻭﻝ ﻣﺠﻤﻮﻋﻪﻯ »ﻓﻴﻠﻢﺷﻨﺎﺳﻰ ﻧﻈﺮﻳﻪﻯ ﺁﺷﻮﺏ« ﺑﻪ ﻓﻴﻠﻢ »ﻋﺪﺩ ﭘﻰ« ﻭ ﻗﺴﻤﺖ ﺩﻭﻡ‬ ‫ﺁﻥ ﺑﻪ ﻓﻴﻠﻢ »ﺍﺛﺮ ﭘﺮﻭﺍﻧﻪﺍﻯ« ﺍﺧﺘﺼﺎﺹ ﺩﺍﺷﺖ‪ .‬ﺩﺭ ﺍﻳﻦﺟﺎ ﻻﺯﻡ ﻣﻰﺑﻴﻨﻢ ﺍﺯ ﺁﻗﺎﻯ ﭘﺮﻭﻓﺴﻮﺭ‬ ‫ﻣﺤﻤﺪﺭﺿﺎ ﻫﺎﺷﻤﻰ ﮔﻠﭙﺎﻳﮕﺎﻧﻰ – ﭘﺪﺭ ﻋﻠﻢ ﻣﻬﻨﺪﺳﻰ ﭘﺰﺷﻜﻰ ﺍﻳﺮﺍﻥ – ﺗﺸﻜﺮ ﻭﻳﮋﻩ ﺑﻪ ﻋﻠﻢ‬ ‫ﺑﻴﺎﻭﺭﻡ ﻛﻪ ﻫﺮ ﭼﻪ ﺍﺯ ﻋﻠﻢ ﺁﺷﻮﺏ ﺁﻣﻮﺧﺘﻢ ﻣﺮﻫﻮﻥ ﺯﺣﻤﺎﺕ ﺍﻳﺸﺎﻥ ﺍﺳﺖ‪ .‬ﺑﻪ ﻋﻼﻭﻩ ﺍﺯ ﺁﻗﺎﻳﺎﻥ‬ ‫ﺳﻴﺪﺍﺣﺴﺎﻥ ﺗﻬﺎﻣﻰ‪ ،‬ﻣﺤﻤﺪﺣﺴﻴﻦ ﺧﺎﻛﺴﺎﺭ ﻭ ﺧﺎﻧﻢ ﺁﺗﻮﺳﺎ ﻣﻘﻴﻤﻰ ﻣﺘﺸﻜﺮﻡ ﻛﻪ ﺩﺭ ﺗﻮﻟﻴﺪ ﺍﻳﻦ‬ ‫ﻣﻘﺎﻻﺕ ﻛﻤﻚﻫﺎﻯ ﻗﺎﺑﻞ ﺗﻘﺪﻳﺮﻯ ﺑﻪ ﻣﻦ ﻧﻤﻮﺩﻧﺪ‪.‬‬


‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﺩﺳﺖ ﻇﺎﻫﺮ ﺷﺪ ﻭ ﺗﺎ ﺧﻮﺍﺳﺖ ﻣﺘﻮﺟﻪ ﻣﻦ ﺷﻮﺩ‪ ،‬ﺯﺩﻣﺶ‪ .‬ﺑﺎﺯ ﺻﺪﺍﻳﻰ ﺁﻣﺪ‪ ،‬ﻛﺴﻰ ﻇﺎﻫﺮ ﺷﺪ ﻭ ﺍﻳﻦ ﺑﺎﺭ‪،‬‬ ‫ﺩﺳﺖ ﻧﮕﻪ ﺩﺍﺷﺘﻢ؛ ﺗﺎ ﺁﻥ ﺭﻭﺯ ﺑﭽﻪﻫﺎﻳﺸﺎﻥ ﺭﺍ ﻧﺪﻳﺪﻩ ﺑﻮﺩﻡ! ﻛﻮﺩﻛﻰ ﺷﻴﻮﻥﻛﻨﺎﻥ ﺭﻭﻯ ﺟﻨﺎﺯﻩ ﺍﻓﺘﺎﺩﻩ ﻭ‬ ‫ﭼﻴﺰﻫﺎﻳﻰ ﺑﻪ ﺯﺑﺎﻥ ﻏﺮﻳﺐ ﺧﻮﺩﺷﺎﻥ ﻣﻰﮔﻔﺖ‪ .‬ﺑﻰﺭﻣﻖ ﺑﻪ ﺩﻳﻮﺍﺭﻩ ﺗﻜﻴﻪ ﺩﺍﺩﻡ ﻭ ﻣﻨﺘﻈﺮ ﺭﺳﻴﺪﻥ ﺩﺷﻤﻦ‬ ‫ﺷﺪﻡ‪ .‬ﺩﺭﻣﺎﻧﺪﻩ ﻭ ﺧﺴﺘﻪ‪ ،‬ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺩﺳﺘﺎﻥ ﺑﻰﺭﺣﻢ ﺳﺮﻧﻮﺷﺖ ﺳﭙﺮﺩﻡ؛ ﺗﺼﺎﻭﻳﺮ ﺳﺮﺑﺎﺯﺍﻥ ﺳﻼﺧﻰ ﺷﺪﻩ‬ ‫ﻳﻚ ﺁﻥ ﺍﺯ ﺑﺮﺍﺑﺮ ﭼﺸﻤﺎﻧﻢ ﺩﻭﺭ ﻧﻤﻰﺷﺪ! ﺩﻗﻴﻘﻪﺍﻯ ﮔﺬﺷﺖ ﻭ ﺻﺪﺍﻯ ﭘﺎﻳﻰ ﺁﻣﺪ‪ .‬ﺑﺎﻻﻯ ﺳﺮﻡ‪ ،‬ﺟﺎﻳﻰ ﺭﺍ ﻛﻪ‬ ‫ﺍﺯ ﺁﻥ ﺳﻘﻮﻁ ﻛﺮﺩﻩ ﺑﻮﺩﻡ‪ ،‬ﻧﺸﺎﻧﻪ ﺭﻓﺘﻢ؛ ﻗﻠﺒﻢ ﮔﻮﻳﻰ ﺩﺭ ﺳﺮﻡ ﻣﻰﻛﻮﺑﻴﺪ‪ .‬ﺻﺪﺍ ﻧﺰﺩﻳﻚ ﻭ ﻧﺰﺩﻳﻚﺗﺮ ﺷﺪ‬ ‫ﻭ ﺑﺎﻻﺧﺮﻩ‪ ،‬ﺭﻭﺑﺎﺕ ﺑﻮﺩ ﻛﻪ ﻟﻨﮓﻟﻨﮕﺎﻥ ﻣﻰﺁﻣﺪ! ﭘﺎﻳﻴﻦ ﭘﺮﻳﺪ ﻭ ﮔﻔﺖ‪» :‬ﺩﻳﮕﺮ ﻛﺴﻰ ﺗﻌﻘﻴﺒﻤﺎﻥ ﻧﻤﻰﻛﻨﺪ‪،‬‬ ‫ﻣﻰﺗﻮﺍﻧﻴﻢ ﺑﺮﮔﺮ‪ «...‬ﻛﻮﺩﻙ ﺷﻴﻮﻧﻰ ﻛﺮﺩ ﻭ ﺭﻭﺑﺎﺕ ﺑﺎ ﺳﺮﻳﻊﺗﺮﻳﻦ ﻭﺍﻛﻨﺶ ﺧﻮﺩ ﺑﺮﮔﺸﺘﻪ‪ ،‬ﻫﻤﭽﻮﻥ ﻳﻚ‬ ‫ﻫﻔﺖﺗﻴﺮﻛﺶ ﺩﻭﺭﺍﻥ ﺑﺎﺳﺘﺎﻥ ﺍﻭ ﺭﺍ ﺯﺩ‪.‬‬

‫ﻗﺮﺑﺎﻧﯽ را ﮐﻪ از ﭘﺸﺖ ﺷﯿﺸﻪی ﻣﺎت ﺣامم ﺗﻨﻬﺎ ﺷﺒﺤﯽ ﻻﻏﺮ و ﮐﻮﺗﺎه ﻗﺎﻣﺖ ﺑﻮد‪ ،‬ﻫﺪف ﮔﺮﻓﺘﻢ و ﺑﻌﺪ‪ ،‬ﺑﺎ‬ ‫اﻧﮕﺸﺖ ﺗﻠﻨﮕﺮی ﺑﻪ ﺷﯿﺸﻪ زدم؛ اﻧﮕﺸﺘﯽ ﮐﻪ ﻗﺮار ﺑﻮد اﻣﻮاج از درون آن ﺷﻠﯿﮏ ﺷﻮﻧﺪ‪ .‬او ﺑﻪ ﺳﻮی ﻣﻦ‬ ‫ﺑﺮﮔﺸﺖ‪» :‬ﭘﺎﭘﺎ ﺗﻮﯾﯽ؟« و ﻣﻦ ﺷﻠﯿﮏ ﮐﺮدم‪ .‬ﻧﺎﻟﻪای ﺧﻔﯿﻒ ﮐﺮد و ﻧﻘﺶ زﻣﯿﻦ ﺷﺪ‪ .‬ﻧﺎﯾﺴﺘﺎدم؛ ﺑﻪ ﺳﺎﻋﺘﻢ‬ ‫ﻧﮕﺮﯾﺴﺘﻢ‪ :‬ﻫﻔﺖ و ﺳﯽ و دو دﻗﯿﻘﻪ و ﭘﻨﺠﺎه و ﺳﻪ ﺛﺎﻧﯿﻪ و ﭼﻬﺎرده ﻫﺰارم ﺛﺎﻧﯿﻪ را ﻧﺸﺎن ﻣﯽداد؛ درﺳﺖ‬ ‫ﴎ زﻣﺎن ﻣﻘﺮر ﮐﺎر را اﻧﺠﺎم داده ﺑﻮدم‪ .‬ﺑﺮﮔﺸﺘﻪ و در ﻫامن ﺣﺎل ﮐﻪ ﻗﻄﺮات آب ﭘﺸﺖ ﴎم روی ﺟﻨﺎزه و‬ ‫ﮐﻒ ﺣامم ﻓﺮود ﻣﯽآﻣﺪ‪ ،‬راﻫﯽ ﺑﯿﺮون ﺷﺪم‪.‬‬ ‫ﺑﺎﺭﺍﻥ ﮔﺮﻓﺘﻪ ﺑﻮﺩ ﻭ ﺑﺎﻻﻯ ﺳﺮ ﻛﻮﺩﻙ ﺑﻴﮕﺎﻧﻪ ﻭ ﻣﺎﺩﺭﺵ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩﻡ‪ .‬ﺭﻭﺑﺎﺕ ﺍﺯ ﻫﻢ ﺍﻛﻨﻮﻥ ﺭﺍﻩ ﺍﻓﺘﺎﺩﻩ‬ ‫ﺑﻮﺩ ﺗﺎ ﺑﻪ ﭘﺎﻳﮕﺎﻩ ﺑﺮﮔﺮﺩﺩ‪ .‬ﺍﻣﺎ ﻣﻦ ﺁﻥﺟﺎ ﻣﺎﺗﻢ ﺑﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺍﺳﻠﺤﻪ ﺭﻭﻯ ﺩﻭﺷﻢ ﺳﻨﮕﻴﻨﻰ ﻋﺠﻴﺒﻰ ﻣﻰﻛﺮﺩ‬ ‫ﻭ ﻫﻴﭻ ﻋﺠﻠﻪﺍﻯ ﺑﺮﺍﻯ ﺭﻓﺘﻦ ﺑﻪ ﻫﻴﭻ ﻛﺠﺎ ﺍﺣﺴﺎﺱ ﻧﻤﻰﻛﺮﺩﻡ؛ ﺣﺘﺎ ﺑﻪ ﺯﻣﻴﻦ!‪ .‬ﻣﺒﺎﺭﺯﻩﺍﻯ ﺑﻴﻦ ﻣﻦ‬ ‫ﻭ ﺧﻮﺩﻡ ﺑﺮﺍﻯ ﺭﻓﺘﻦ ﻭ ﻣﺎﻧﺪﻥ؛ ﻣﺎﻧﺪﻥ ﻭ ﺍﻧﺪﻳﺸﻴﺪﻥ ﺑﻪ ﭼﻴﺰﻯ ﻛﻪ ﻫﻤﻴﺸﻪ ﺍﺯ ﻫﻤﻪ ﭘﻨﻬﺎﻧﺶ ﻛﺮﺩﻩ‬ ‫ﺑﻮﺩﻡ‪ .‬ﺣﻘﻴﻘﺘﻰ ﻭﺭﺍﻯ ﺩﺭﻭﻍﻫﺎ ﻭ ﮔﻔﺘﻪﻫﺎﻯ ﺗﻠﻘﻴﻨﻰ؛ ﺍﺣﺴﺎﺳﻰ ﻛﻪ ﺩﻳﮕﺮ ﺣﺎﻻ ﺗﻮﺿﻴﺤﻰ ﺑﺮﺍﻳﺶ ﻧﺪﺍﺭﻡ‪.‬‬ ‫ﺍﺣﺴﺎﺳﻰ ﻛﻪ ﺩﺭ ﺁﻥ ﺳﻴﺎﺭﻩ ﻣﺘﻮﻟﺪ ﺷﺪ ﻭ ﻫﻤﺎﻥﺟﺎ ﻣﺮﺩ‪.‬‬ ‫‪ ‬ﺫﻫﻨﻢ ﮔﺎﻫﻰ ﭼﻮﻧﺎﻥ ﺭﻭﺑﺎﺕﻫﺎﻯ ﺩﻭﺭﺍﻥ ﺑﭽﮕﻰ ﻣﻰﺷﻮﺩ؛ ﺁﻥﻫﺎﻳﻰ ﻛﻪ ﺑﺮﺍﻯ ﭼﻨﺪ ﻟﺤﻈﻪ ﺩﭼﺎﺭ‬ ‫ﺁﺷﻔﺘﮕﻰ ﻣﺪﺍﺭﻯ ﻣﻰﺷﺪﻧﺪ ﻭ ﺑﻪ ﺗﻜﺮﺍﺭ ﻣﺪﺍﻭﻡ ﻳﻚ ﭼﻴﺰ ﺍﺩﺍﻣﻪ ﻣﻰﺩﺍﺩﻧﺪ‪ ،‬ﺁﻥ ﻭﻗﺖ ﺻﺪﺍﻯ ﻛﺴﻰ‬ ‫ﺑﻰﻭﻗﻔﻪ ﺩﺭﻭﻥ ﺳﺮﻡ ﺗﻜﺮﺍﺭ ﻣﻰﺷﻮﺩ ﻛﻪ‪:‬‬ ‫ﺳﻴﺴﺘﻢ ﺁﻣﺎﺩﻩﻯ ﺟﺎﻳﮕﺰﻳﻨﻰ ﺍﺳﺖ‪ ،‬ﺳﻴﺴﺘﻢ ﺁﻣﺎﺩﻩﻯ ﺟﺎﻳﮕﺰﻳﻨﻰ ﺍﺳﺖ‪ ،‬ﺳﻴﺴﺘﻢ‪...‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﺭﻭ ﺑﻪ ﻣﻦ ﻛﺮﺩﻩ‪ ،‬ﮔﻔﺖ‪» :‬ﭘﺲ ﺑﻬﺘﺮ ﺍﺳﺖ ﺑﺮﻭﻳﻢ‪«.‬‬

‫ﺳﮑﻮت ﺑﺮ راﻫﺮوﯾﯽ ﮐﻪ اﮐﻨﻮن در آن ﮔﺎم ﺑﺮ ﻣﯽداﺷﺘﻢ‪ ،‬ﺣﺎﮐﻢ ﺑﻮد‪ .‬از آﺳﺎﻧﺴﻮر ﺑﯿﺮون آﻣﺪم و ﺑﺮای ﺑﺎر آﺧﺮ‬ ‫ﺑﻪ ﻋﮑﺲ ﻗﺮﺑﺎﻧﯽ ﻧﮕﺎه ﮐﺮدم؛ ﮐﻪ ﺑﻮد؟ منﯽداﻧﻢ‪ .‬ﺑﺮای ﭼﻪ ﺑﺎﯾﺪ ﻣﯽﻣﺮد؟ منﯽداﻧﻢ؛ وﻟﯽ دﺳﺘﻮر اﯾﻦ ﺑﻮد ﮐﻪ‬ ‫مبﯿﺮد‪ .‬ﻋﮑﺲ را درون ﺟﯿﺒﻢ ﮔﺬاﺷﺘﻢ و ﮔﺎم در راﻫﺮو ﻧﻬﺎدم‪.‬‬ ‫ﺧﻮﺭﺷﻴﺪ ﺁﻥ ﺳﻴﺎﺭﻩ ﺩﻗﺎﻳﻘﻰ ﭘﻴﺶ ﻏﺮﻭﺏ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺻﺪﺍﻯ ﺣﺸﺮﺍﺕ ﺷﺐﺯﻯ‪ -‬ﻛﻪ ﺑﺮﺧﻰﺷﺎﻥ ﺩﺭ‬ ‫ﺗﺎﺭﻳﻜﻰ ﺷﺐ ﺑﺎ ﺭﮔﻪﻫﺎﻯ ﻓﺴﻔﺮﻯ ﺭﻧﮓ ﺩﺭ ﻫﻮﺍ ﻣﻰﺩﺭﺧﺸﻴﺪﻧﺪ ‪ -‬ﻭ ﺍﻟﺒﺘﻪ ﺻﺪﺍﻯ ﻧﻔﺲﻫﺎﻳﻰ ﻛﻪ ﺩﺭ‬ ‫ﺭﻳﻪﻫﺎﻯ ﻣﺼﻨﻮﻋﻰﺍﻡ ﺭﻓﺖ ﻭ ﺁﻣﺪ ﺩﺍﺷﺖ‪ ،‬ﺗﻨﻬﺎ ﺻﺪﺍﻯ ﺣﺎﻛﻢ ﺑﻮﺩ‪ .‬ﺩﺭﻭﻥ ﺳﻨﮕﺮﻫﺎﻳﻰ ﮔﻮﺩ ﺑﻪ ﻃﺮﻑ‬ ‫ﻋﻘﺐ ﻣﻰﺩﻭﻳﺪﻳﻢ‪ .‬ﺑﺪﻭﻥ ﺗﺮﺩﻳﺪ ﺣﺎﻻ ﺁﻥﻫﺎ ﺧﺎﻧﻪ ﺭﺍ ﺑﺎﺯﺭﺳﻰ ﻛﺮﺩﻩ‪ ،‬ﻭ ﺍﺯ ﭘﻰ ﻣﺎ ﺭﻭﺍﻧﻪ ﺑﻮﺩﻧﺪ‪ .‬ﺟﻠﻮ‬ ‫ﻣﻰﺩﻭﻳﺪﻡ ﻭ ﺭﻭﺑﺎﺕ ﭘﺸﺖ ﺳﺮﻡ ﺑﻮﺩ‪ .‬ﺩﻩﻫﺎ ﺑﺎﺭ ﺑﺎ ﺧﻮﺩ ﮔﻔﺘﻢ‪» :‬ﻛﺎﺵ ﻫﺮﮔﺰ ﺑﻪ ﺍﻳﻦﺟﺎ ﭘﺎ ﻧﻤﻰﮔﺬﺍﺷﺘﻢ!‬ ‫ﻛﺎﺵ‪ «...‬ﻛﺴﻰ ﺷﻠﻴﻚ ﻛﺮﺩ‪ ،‬ﻭﻟﻰ ﮔﻠﻮﻟﻪ ﺑﻪ ﻣﻦ ﻧﺨﻮﺭﺩ‪ .‬ﻟﺤﻈﻪﺍﻯ ﺑﺮﮔﺸﺘﻢ ﻭ ﺩﻳﺪﻡ ﻛﻪ ﺭﻭﺑﺎﺕ ﺍﻳﺴﺘﺎﺩﻩ‬ ‫ﻭ ﺩﺍﺭﺩ ﺑﻪ ﻋﻘﺐ ﺷﻠﻴﻚ ﻣﻰﻛﻨﺪ‪ .‬ﺑﺎﺯ ﺳﺮ ﺑﺮﮔﺮﺩﺍﻧﺪﻡ ﻭ ﺑﻪ ﺩﻭﻳﺪﻥ ﺍﺩﺍﻣﻪ ﺩﺍﺩﻡ؛ ﺑﺮﺍﻳﻢ ﻣﻬﻢ ﻧﺒﻮﺩ ﻛﻪ ﺍﻭ‬ ‫ﻧﺎﺑﻮﺩ ﻣﻰﺷﻮﺩ ﻳﺎ ﻧﻪ‪ ،‬ﻣﻬﻢ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺧﻮﺩ ﺯﻧﺪﻩ ﺑﻤﺎﻧﻢ! ﺩﺭﮔﻴﺮﻯ ﭘﺸﺖ ﺳﺮﻡ ﺑﻴﺸﺘﺮ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﻣﻦ‪،‬‬ ‫ﺑﻰﺍﻣﺎﻥ ﻣﻰ ﺩﻭﻳﺪﻡ‪ .‬ﭼﻨﺪ ﺑﺎﺭ ﺗﻴﺮﻫﺎﻳﻰ ﺻﻔﻴﺮﻛﺸﺎﻥ ﺍﺯ ﺍﻃﺮﺍﻓﻢ ﻋﺒﻮﺭ ﻛﺮﺩ ﻛﻪ ﻣﺎﻧﻌﻰ ﺑﺮﺍﻯ ﻓﺮﺍﺭﻡ ﻧﺸﺪ‪.‬‬ ‫ﭘﻴﭽﻰ ﺭﺍ ﺭﺩ ﻛﺮﺩﻩ ﺑﻮﺩﻡ ﻛﻪ ﺯﻳﺮ ﭘﺎﻳﻢ ﻧﺎﮔﻬﺎﻥ ﺧﺎﻟﻰ ﺷﺪ ﻭ ﺑﺎ ﺻﻮﺭﺕ ﺑﻪ ﻛﻒ ﺧﻴﺲ ﻭ ﺳﺮﺩ ﺳﻨﮕﺮ‬ ‫ﺑﻌﺪﻯ ﺳﻘﻮﻁ ﻛﺮﺩﻡ‪ .‬ﺩﻣﺎﻏﻢ ﻏﺮﻕ ﺧﻮﻥ ﺑﻮﺩ ﻭ ﭼﺸﻤﺎﻧﻢ ﺳﻴﺎﻫﻰ ﻣﻰﺭﻓﺖ‪ .‬ﺩﺭﺩ ﻭ ﺩﻫﺎﻧﻰ ﭘﺮ ﺍﺯ ﻟﺠﻦ‬ ‫ﻭ ﺍﺷﻚﻫﺎﻳﻰ ﻛﻪ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﺍﺯ ﭼﺸﻤﺎﻧﻢ ﺳﺮﺍﺯﻳﺮ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺩﻳﺪﻥ ﻭ ﺗﺼﻤﻴﻢ ﮔﺮﻓﺘﻦ ﺭﺍ ﺍﻣﻜﺎﻥﻧﺎﭘﺬﻳﺮ‬ ‫ﻣﻰﻛﺮﺩ‪ .‬ﻛﻮﺭﻣﺎﻝ ﻛﻮﺭﻣﺎﻝ ﺍﺳﻠﺤﻪ ﺭﺍ ﭘﻴﺪﺍ ﻛﺮﺩﻡ ﻭ ﺑﻪ ﺩﻳﻮﺍﺭﻩﻯ ﺳﻨﮕﺮ ﺗﻜﻴﻪ ﺩﺍﺩﻡ‪ .‬ﺣﺎﻟﻢ ﻣﺜﻞ ﭘﺴﺮﻛﻰ‬ ‫ﺑﻮﺩ ﻛﻪ ﺩﺭ ﻫﻨﮕﺎﻡ ﺗﺎﺭﻳﻜﻰ ﺭﺍﻩ ﺭﺍ ﺍﺷﺘﺒﺎﻩ ﻣﻰﺭﻭﺩ ﻭ ﺣﺎﻻ ﺑﻪ ﺟﺎﻯ ﺁﻥ ﻛﻪ ﺧﺎﻧﻪ ﺑﺎﺷﺪ‪ ،‬ﺩﺭ ﻣﻴﺎﻥ ﺟﺎﺩﻩﺍﻯ‬ ‫ﻣﺘﺮﻭﻙ ﺩﺭ ﺟﻨﮕﻠﻰ ﺗﺎﺭﻳﻚ ﮔﻢ ﺷﺪﻩ‪.‬‬

‫در ﺷامرهی دوﯾﺴﺖ و ﻧﻪ را ﯾﺎﻓﺘﻢ‪ .‬راﻫﺮو ﺧﺎﻟﯽ ﺑﻮد‪ .‬دورﺑﯿﻦ را روی دﯾﻮار ﮔﺬاﺷﺘﻢ و ﻣﻨﺘﻈﺮ ﻣﺎﻧﺪم ﺗﺎ‬ ‫ﻫﺮ آن ﭼﻪ را در ﺧﺎﻧﻪ ﺟﺮﯾﺎن داﺷﺖ‪ ،‬ﭘﺲ از ﺗﺠﺰﯾﻪ و ﺗﺤﻠﯿﻞ ﺑﻪ ﻣﻦ ﻧﺸﺎن دﻫﺪ‪ .‬ﻫﻤﻪ ﺟﺎی ﺧﺎﻧﻪ ﺧﺎﻟﯽ‬ ‫ﺑﻮد‪ ،‬ﺑﻪ ﺟﺰ ﺣامم‪ .‬در را ﺑﺎز ﮐﺮدم و وارد ﺷﺪم‪ .‬داﺷﺖ ﺗﻮی ﺣامم ﺑﺮای ﺧﻮدش آواز ﻣﯽﺧﻮاﻧﺪ‪ ،‬آوازش را‬ ‫ﻣﯽﺷﻨﺎﺧﺘﻢ‪ ،‬ﭘﴪ ﻣﻦ ﻫﻢ ﻫﻤﯿﻦ آﻫﻨﮓ را دوﺳﺖ داﺷﺖ‪.‬‬ ‫‪ ‬ﺑﺎ ﺧﻮﺩ ﮔﻔﺘﻢ‪» :‬ﻣﻦ ﺑﺮ ﻣﻰﮔﺮﺩﻡ ﺧﻮﻧﻪ! ﺑﺮ ﻣﻰﮔﺮﺩﻡ ﭘﻴﺶ ﺧﺎﻧﻮﺍﺩﻩﺍﻡ!« ﺻﺪﺍﻯ ﭘﺎﻳﻰ ﺍﺯ ﺳﻨﮕﺮ‬ ‫ﺭﻭﺑﺮﻭﻳﻰ ﺁﻣﺪ‪ ،‬ﺍﺳﻠﺤﻪ ﺭﺍ ﺑﺎﻻ ﺁﻭﺭﺩﻡ ﻭ ﻧﺸﺎﻧﻪ ﺭﻓﺘﻢ‪ ،‬ﭘﺸﺖ ﺳﺮﻡ ﺻﺪﺍﻫﺎ ﻣﺮﺩﻩ ﺑﻮﺩ ﻭ ﻣﻦ ﺩﺭ ﺁﻥ ﻟﺤﻈﻪ‬ ‫ﺷﻚ ﻧﺪﺍﺷﺘﻢ ﻛﻪ ﺭﻭﺑﺎﺕ ﺍﺯ ﭘﺎﻯ ﺩﺭﺁﻣﺪﻩ ﻭ ﺣﺎﻻ ﻣﺤﺎﺻﺮﻩ ﺷﺪﻩﺍﻡ! ﺩﻣﻰ ﺑﻌﺪ ﻳﻜﻰ ﺍﺯ ﺁﻥﻫﺎ ﺍﺳﻠﺤﻪ ﺑﻪ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﺳﺮ ﻭﻗﺘﻤﺎﻥ‪ .‬ﺳﺮﺑﺎﺯﻯ ﺩﺭ ﺁﺳﺘﺎﻧﻪﻯ ﻭﺭﻭﺩﻯ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﺩﺍﺷﺖ ﺑﻴﻬﻮﺩﻩ‬ ‫ﻣﻘﺪﺳﺎﺗﺶ ﺭﺍ ﺻﺪﺍ ﻣﻰﺯﺩ‪ .‬ﭼﻬﺎﺭ ﺳﺮﺑﺎﺯ ﺩﻳﮕﺮ ﻫﻤﺎﻥ ﺍﺑﺘﺪﺍ ﺍﺯ ﭘﺎ ﺩﺭﺁﻣﺪﻧﺪ‬ ‫ﻭ ﺍﻛﻨﻮﻥ ﺟﻨﺎﺯﻩﺷﺎﻥ ﺑﻴﺮﻭﻥ ﺧﺎﻧﻪ ﭘﻬﻦ ﺑﻮﺩ‪ .‬ﺟﻴﺐﻫﺎﻯ ﺭﻭﻯ ﺳﻴﻨﻪﺍﻡ ﺭﺍ‬ ‫ﺩﺳﺖﺩﺳﺖ ﻛﺮﺩﻡ ﻭ ﭘﺎﻛﺖ ﺳﻴﮕﺎﺭ ﺭﺍ ﺑﺎ ﺩﺳﺖ ﻟﺮﺯﺍﻥ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪﻡ‪ .‬ﺑﺎ‬ ‫ﻫﻤﺎﻥ ﺩﺳﺖ ﺧﻮﻧﻰ ﺳﻴﮕﺎﺭﻯ ﺩﺭﺁﻭﺭﺩﻡ ﻭ ﺑﻪ ﻟﺐ ﮔﺬﺍﺷﺘﻢ؛ ﺷﺎﻳﺪ ﺩﻭﺩﺵ‬ ‫ﺁﺭﺍﻣﻢ ﻣﻰﻛﺮﺩ‪ .‬ﻫﺮ ﻃﻮﺭ ﺑﻮﺩ ﺑﺎ ﺍﺷﺎﺭﻩ ﺑﻪ ﺭﻭﺑﺎﺕ ﻓﻬﻤﺎﻧﺪﻡ ﻛﻪ ﺁﺗﺸﺶ ﺭﺍ‬ ‫ﻣﺘﻮﻗﻒ ﻛﻨﺪ‪ .‬ﺭﺍﻫﻰ ﻧﺪﺍﺷﺘﻴﻢ‪ ،‬ﺍﮔﺮ ﻣﻬﻤﺎﺕ ﺗﻪ ﻣﻰﻛﺸﻴﺪ ﻣﻰﺁﻣﺪﻧﺪ! ﻫﻴﭻ‬ ‫ﺩﻟﻢ ﻧﻤﻰﺧﻮﺍﺳﺖ ﺯﻧﺪﻩﺯﻧﺪﻩ ﺳﻼﺧﻰﺍﻡ ﻛﻨﻨﺪ‪ .‬ﺍﮔﺮ ﻣﻰﮔﺮﻳﺨﺘﻴﻢ‪ ،‬ﺷﺎﻳﺪ ﺟﺎﻥ‬ ‫ﺫﻫﻦ ﭘﺮﻳﺸﺎﻧﻢ ﺍﻳﻦ ﻓﻜﺮ ﺷﻨﺎﻭﺭ ﺑﻮﺩ ﻛﻪ ﺍﮔﺮ‬ ‫ﺑﻪ ﺩﺭ ﻣﻰﺑﺮﺩﻳﻢ‪ .‬ﺣﺘﺎ ﺩﺭ ﺍﻋﻤﺎﻕ ِ‬ ‫ﻧﺘﻮﺍﻧﺴﺘﻴﻢ ﺑﮕﺮﻳﺰﻳﻢ‪ ،‬ﭘﻴﺶ ﺍﺯ ﺁﻥ ﻛﻪ ﺯﻧﺪﻩ ﺩﺳﺘﮕﻴﺮﻡ ﻛﻨﻨﺪ‪ ،‬ﺧﻮﺩ ﺭﺍ ﺧﻼﺹ‬ ‫ﻛﻨﻢ‪.‬‬ ‫ﭼﻨﺪ ﮔﻠﻮﻟﻪ ﺻﻔﻴﺮﻛﺸﺎﻥ ﺍﺯ ﭘﻨﺠﺮﻩﻯ ﺑﺎﻻﻯ ﺳﺮﻡ ﻭﺍﺭﺩ ﺷﺪ ﻭ ﺑﻪ ﺩﻳﻮﺍﺭ ﻣﻘﺎﺑﻞ‬ ‫ﺧﻮﺭﺩ‪ .‬ﺭﻭ ﺑﻪ ﺭﻭﺑﺎﺕ ﻓﺮﻳﺎﺩ ﺯﺩﻡ‪» :‬ﺍﮔﺮ ﺑﻤﻮﻧﻴﻢ ﻣﻬﻤﺎﺗﻤﻮﻥ ﺗﻤﻮﻡ ﻣﻰﺷﻪ! ﺑﺎﻳﺪ‬ ‫ﺍﺯ ﺍﻳﻦﺟﺎ ﺑﺰﻧﻴﻢ ﺑﻪ ﭼﺎﻙ!«‬ ‫ﻧﮕﺎﻫﻰ ﺑﻪ ﻣﻦ ﻭ ﻧﮕﺎﻫﻰ ﺑﻪ ﻭﺭﻭﺩﻯ ﻛﺮﺩ ﻭ ﺑﺎ ﺧﻮﻧﺴﺮﺩﻯ ﻧﻔﺮﺕﺍﻧﮕﻴﺰﺵ‬ ‫ﮔﻔﺖ‪» :‬ﺍﺣﺘﻤﺎﻝ ﺁﻥ ﻛﻪ ﺑﺠﻨﮕﻴﻢ ﻭ ﻧﻴﺮﻭﻯ ﻛﻤﻜﻰ ﺑﺮﺳﺪ ﺑﻴﺴﺖ ﺩﺭﺻﺪ‬ ‫ﺍﺳﺖ‪ ،‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻓﺮﺍﺭ ﺩﺭ ﭼﻨﻴﻦ ﻭﺿﻌﻰ ﻧﻮﺩ ﻭ ﭘﻨﺞ ﺩﺭﺻﺪ ﺑﺎ ﻣﺮﮔﻤﺎﻥ‬ ‫ﻫﻤﺮﺍﻩ ﺧﻮﺍﻫﺪ‪«...‬‬ ‫»ﺧﻔﻪ ﺷﻮ! ﻛﺪﻭﻡ ﻧﻴﺮﻭﻯ ﻛﻤﻜﻰ؟« ﻣﻰﺩﺍﻧﺴﺘﻢ ﺑﻪ ﺩﻟﻴﻞ ﺍﺑﺮﻫﺎﻯ ﻣﻐﻨﺎﻃﻴﺴﻰ‬ ‫ﻛﻪ ﻛﻤﻰ ﺑﻪ ﺩﻟﻴﻠﻰ ﻧﺎﻣﻌﻠﻮﻡ ﺑﻌﺪ ﺍﺯ ﺁﻏﺎﺯ ﺟﻨﮓ ﺩﺭ ﻫﻮﺍﻯ ﺁﻥ ﺳﻴﺎﺭﻩ ﺁﺯﺍﺩ ﺷﺪﻩ‬ ‫ﺑﻮﺩ‪ -‬ﺗﺎ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺗﺠﻬﻴﺰﺍﺕ ﭘﻴﺸﺮﻓﺘﻪﻯ ﻣﺎ ﻋﻤ ً‬ ‫ﻼ ﺑﻰﻣﺼﺮﻑ ﺷﻮﻧﺪ‪ ،‬ﮔﻴﺮﻧﺪﻩ‬ ‫ﻭ ﻓﺮﺳﺘﻨﺪﻩﻫﺎﻯ ﺍﻭ ﻧﻴﺰ ﺍﺯ ﻛﺎﺭ ﺍﻓﺘﺎﺩﻩ‪ .‬ﭘﺲ ﺑﻪ ﺩﺭﻭﻍ ﮔﻔﺘﻢ‪» :‬ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﻛﻪ‬ ‫ﺍﺭﺗﺒﺎﻃﻤﻮﻥ ﻗﻄﻊ ﺑﺸﻪ ﺷﻨﺪﻳﻢ ﻛﻪ ﺍﻭﻧﺎ ﻣﻰﺭﻥ ﺟﻨﻮﺏ ﺗﺎ ﮔﺮﺩﺍﻥ ﺳﻰ ﻭ ﺩﻭﻡ‬ ‫ﺭﻭ ﻛﻪ ﻣﺤﺎﺻﺮﻩ ﺷﺪﻩ ﻧﺠﺎﺕ ﺑﺪﻥ‪ ،‬ﻓﻜﺮ ﻣﻰﻛﻨﻰ ﺟﻮﻥ ﻳﻪ ﮔﺮﻭﻫﺎﻥ ﺑﻴﺴﺖ‬ ‫ﻧﻔﺮﻯ ﻛﻪ ﺑﺮﺍﻯ ﭘﺎﻛﺴﺎﺯﻯ ﺍﻭﻣﺪﻩ ﺑﻪ ﻗﺪﺭﻯ ﺑﺮﺍﺷﻮﻥ ﺍﺭﺯﺵ ﺩﺍﺭﻩ ﻛﻪ ﺑﻰﺧﻴﺎﻝ‬ ‫ﻳﻪ ﮔﺮﺩﺍﻥ ﺑﺸﻦ؟«‬ ‫ﺟﻨﺒﺸﻰ ﺩﺭ ﺑﻴﺮﻭﻥ ﺍﺣﺴﺎﺱ ﻛﺮﺩ ﻭ ﺑﻪ ﺳﻮﻯ ﺁﻥ ﺁﺗﺶ ﮔﺸﻮﺩ‪ .‬ﺳﭙﺲ ﺩﻭﺑﺎﺭﻩ‬ ‫‪77‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

‫ﺩﺳﺖﺩﺳﺖ‬ ‫ﻛﺮﺩﻡ ﻭ ﭘﺎﻛﺖ‬ ‫ﺳﻴﮕﺎﺭ ﺭﺍ ﺑﺎ‬ ‫ﺩﺳﺖ ﻟﺮﺯﺍﻥ‬ ‫ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪﻡ‪.‬‬ ‫ﺑﺎ ﻫﻤﺎﻥ‬ ‫ﺩﺳﺖ ﺧﻮﻧﻰ‬ ‫ﺳﻴﮕﺎﺭﻯ‬ ‫ﺩﺭﺁﻭﺭﺩﻡ ﻭ ﺑﻪ‬ ‫ﻟﺐ ﮔﺬﺍﺷﺘﻢ؛‬ ‫ﺷﺎﻳﺪ ﺩﻭﺩﺵ‬ ‫ﺁﺭﺍﻣﻢ ﻣﻰﻛﺮﺩ‪.‬‬


‫ﺗﻮﻯ ﺳﺮ ﺩﺭ ﺑﻪ ﺩﺭﺕ ﻭ ﺩﺭﺵ ﺭﻭ ﻫﻢ ﺳﻔﺖ ﻣﻰﺑﻨﺪﻥ ﻭ ﺷﺎﻳﺪ ﻣﺜﻞ ﭼﻬﻞ ﺩﺯﺩ ﺑﻐﺪﺍﺩ ﻳﻪ ﻭﺭﺩﻯ ﭼﻴﺰﻯ‬ ‫ﻫﻢ ﺑﻬﺶ ﺑﺨﻮﻧﻦ ﺗﺎ ﻫﻴﭻﻛﺲ ﺟﺰ ﺧﻮﺩﺷﻮﻥ ﻧﺘﻮﻧﻪ ﺑﺎﺯﺵ ﻛﻨﻪ‪ .‬ﺩﻳﮕﻪ ﺑﻌﺪ ﺍﺯ ﺍﻭﻥ ﺗﻮ ﻳﻪ ﻣﻴﻤﻮﻥ ﺁﻫﻨﻰ‬ ‫ﻣﻰﺷﻰ ﻛﻪ ﻫﺮ ﻛﺎﺭﻯ ﺍﺯﺕ ﺑﺨﻮﺍﻥ ﻣﻰﻛﻨﻰ‪ ،‬ﺣﺘﺎ ﻻﺯﻡ ﻫﻢ ﻧﻴﺴﺖ ﭼﻴﺰﻯ ﻣﺜﻞ ﻣﻴﻬﻦﭘﺮﺳﺘﻰ ﻳﺎ ﻧﺠﺎﺕ‬ ‫ﺟﻬﺎﻥ ﺭﻭ ﺑﺎ ﻳﻪ ﻣﺪﺍﻝ ﺑﭽﺴﺒﻮﻧﻦ ﺑﻪ ﺳﻴﻨﻪﺍﺕ‪ ،‬ﺗﻮ ﺍﻭﻥﻭﻗﺖ ﺩﻳﮕﻪ ﻳﻪ ﻫﻴﻮﻻﻳﻰ ﺷﺪﻯ ﺻﺪﻫﺎ ﺑﺮﺍﺑﺮ ﺑﺪﺗﺮ‬ ‫ﺍﺯ ﺍﻳﻦ ﻣﺎﺩﺭ ﻣﺮﺩﻩﻫﺎﻳﻰ ﻛﻪ ﺍﻳﻦﺟﺎ ﺑﺎﻫﺎﺷﻮﻥ ﻣﻰﺟﻨﮕﻴﻢ‪«.‬‬ ‫ﮔﻔﺘﻢ‪» :‬ﻣﻦ ﻛﻪ ﺗﺎ ﺣﺎﻻ ﻧﺸﻨﻴﺪﻡ ﻛﺴﻰ ﺍﻳﻦ ﻃﻮﺭﻯ ﺑﮕﻪ‪ .‬ﻣﻰﮔﻰ ﻛﻪ‪«...‬‬ ‫ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﻣﻰﺍﻳﺴﺘﺎﺩ ﺳﺮ ﭘﺎ ﻭ ﻟﺒﺎﺱ ﻓﺮﻣﺶ ﺭﺍ ﻣﺮﺗﺐ ﻣﻰﻛﺮﺩ‪ ،‬ﮔﻔﺖ‪» :‬ﺣﺎﻻ ﺑﺒﻴﻦ ﻛﻰ ﺑﺖ ﮔﻔﺘﻢ‪.‬‬ ‫ﺑﻌﺪ ﺍﺯ ﺍﻭﻥ ﺗﻮ ﻳﺎﺩﺕ ﻧﻤﻰﻳﺎﺩ ﻛﻰ ﻋﻮﺿﺖ ﻛﺮﺩﻥ‪ ،‬ﻭﻟﻰ ﻳﻪ ﺭﻭﺯ ﺻﺒﺢ ﻛﻪ ﺑﻠﻨﺪ ﺷﺪﻯ ﻭ ﺩﻳﺪﻯ ﺩﻟﺖ‬ ‫ﻏﻨﺞ ﻣﻴﺮﻩ ﻭﺍﺳﻪ ﻛﺸﺖ ﻭ ﻛﺸﺘﺎﺭ‪ ،‬ﺑﺪﻭﻥ ﻛﻪ ﺧﻮﺩ ﺍﺻﻠﻰ ﺭﻳﻖ ﺭﺣﻤﺖ ﺭﻭ ﺳﺮ ﻛﺸﻴﺪﻩ ﻭ ﺗﻮ ﺑﻰﺧﺒﺮﻯ!‪«.‬‬ ‫ﭘﻮﺯﺧﻨﺪ ﺯﺩﻡ‪» :‬ﺧﻮﺏ ﺍﻻﻧﻢ ﻛﻪ ﺍﺯ ﻛﺸﺘﻦ ﻟﺬﺕ ﻣﻰﺑﺮﻡ؟«‬ ‫»ﭼﻪ ﻣﻰﺩﻭﻧﻢ!« ﺳﺮﺵ ﺭﺍ ﻛﻤﻰ ﺑﺎﻻ ﺑﺮﺩ ﻭ ﺩﻛﻤﻪﺍﻯ ﺭﺍ ﻛﻪ ﺯﻳﺮ ﺳﻴﺐ ﮔﻠﻮﻳﺶ ﺑﻮﺩ ﺑﺴﺖ‪ ،‬ﺳﭙﺲ ﺑﻪ‬ ‫ﺩﻛﻤﻪﻯ ﺑﺎﻻﺗﺮ ﺍﺯ ﺁﻥ ﺍﺷﺎﺭﻩ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﺩﻳﮕﻪ ﺍﻳﻨﻮ ﻧﺒﺎﺱ ﺑﺒﻨﺪﻡ‪ ،‬ﺍﮔﺮ ﺑﺒﻨﺪﻡ ﻣﻴﺸﻢ ژﻧﺮﺍﺍﺍﺍﻝ!« ﺑﺎ‬ ‫ﺣﺎﻟﺘﻰ ﺟﺪﻯ ﻇﺮﻑ ﺍﺩﺭﺍﺭﺵ ﺭﺍ ﻛﻪ ﺧﺸﻚ ﺑﻮﺩ‪ ،‬ﺭﻭﻯ ﻛﻼﻫﺶ ﮔﺬﺍﺷﺖ ﻭ ﺭﻭ ﺑﻪ ﻣﻦ ﮔﻔﺖ‪» :‬ﺧﺪﺍﻭﻧﺪ‬ ‫ﻗﺎﺩﺭ ﺑﻪ ﻫﻤﺮﺍﻫﺘﺎﻥ ﻓﺮﺯﻧﺪﺍﻥ ﺯﻣﻴﻦ! ﺑﺮﻭﻳﺪ ﻭ ﭘﻴﺮﻭﺯﻯ ﺑﻪ ﺍﺭﻣﻐﺎﻥ ﺑﻴﺎﻭﺭﻳﺪ‪ «.‬ﺧﻨﺪﻳﺪ‪» :‬ﺷﺎﻳﺪ ﻫﻢ ﻳﻪ ﺭﻭﺯ‬ ‫ژﻧﺮﺍﻝ ﺷﺪﻡ‪ ،‬ﭼﻮﭘﺎﻥ ﺑﻪ ﺍﺯ ﮔﻮﺳﻔﻨﺪ‪«.‬‬ ‫ﮔﻔﺘﻢ‪» :‬ﭘﺲ ﻣﻮﺍﻇﺐ ﻣﻐﺰﺕ ﺑﺎﺵ‪ ،‬ﭼﻮﻥ ﻓﻜﺮ ﻧﻤﻰﻛﻨﻢ ژﻧﺮﺍﻻ ﻫﻴﭻﻭﻗﺖ ﻣﻐﺰ ﻣﺼﻨﻮﻋﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻦ‪.‬‬ ‫ﻣﻐﺰﺍﻯ ﻣﺼﻨﻮﻋﻰ ﻓﻘﻂ ﺩﺳﺘﻮﺭ ﻣﻰﮔﻴﺮﻥ‪ ،‬ﻫﻴﭻﻭﻗﺖ ﺩﺳﺘﻮﺭ ﻧﻤﻰﺩﻥ‪«.‬‬

‫درون آﺳﺎﻧﺴﻮر ﺑﻮدم و ﺑﻪ ﺳﻮی ﻃﺒﻘﻪی دوازدﻫﻢ ﻣﯽرﻓﺘﻢ‪ .‬ﻃﺒﻘﻪی ﻧﻬﻢ در ﺑﺎز ﺷﺪ و روﺑﺎﺗﯽ ﻧﻈﺎﻓﺘﭽﯽ‬ ‫ﮐﻪ ﺳﻄﻠﯽ ﺑﺎ ﺑﻮی زﻧﻨﺪه در دﺳﺖ داﺷﺖ‪ ،‬وارد ﺷﺪ‪.‬‬ ‫ﺟﻮﺍﻧﻚ ﻣﻮﻗﺮﻣﺰﻯ ﻛﻪ ﺗﺎﺯﻩ ﻳﻚ ﻣﺎﻩ ﭘﻴﺶ ﺁﻣﺪﻩ ﺑﻮﺩ‪ ،‬ﻣﺜﻞ ﺑﺎﻟﺸﻰ ﺍﺯ ﻫﻢ ﺩﺭﻳﺪﻩ ﻛﻨﺎﺭ ﻣﻦ ﭘﺨﺶ ﺷﺪﻩ‬ ‫ﺑﻮﺩ‪ .‬ﻣﻰ ﺗﻮﺍﻧﺴﺘﻢ ژﺍﻣﺒﻮﻥ ﻣﺮﻏﻰ ﺭﺍ ﻛﻪ ﻇﻬﺮ ﺑﻪ ﻋﻨﻮﺍﻥ ﻧﻬﺎﺭ ﺧﻮﺭﺩﻩ ﺑﻮﺩﻳﻢ‪ ،‬ﺩﺭﻭﻥ ﻣﻌﺪﻩﺍﺵ ﺑﺒﻴﻨﻢ ﻛﻪ‬ ‫ﻫﻨﻮﺯ ﺑﻪ ﺭﻭﺩﻩ ﻧﺮﺳﻴﺪﻩ ﺩﻓﻊ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺩﺭﻭﻥ ﻳﻚ ﭘﻨﺎﻫﮕﺎﻩ ﻧﻴﻤﻪﻭﻳﺮﺍﻥ ﮔﻴﺮ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩﻳﻢ‪ .‬ﮔﻠﻮﻟﻪﺍﻯ‬ ‫ﺁﺧﺘﻪ ﺩﺭﻭﻥ ﺷﺎﻧﻪﺍﻡ ﻛﻪ ﺑﻪ ﺗﺎﺯﮔﻰ ﺗﻌﻮﻳﻀﺶ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﻭ ﻓﻘﻂ ﻛﻤﻰ ﻣﺮﺍ ﺑﻪ ﺯﺣﻤﺖ‬ ‫ﻣﻰﺍﻧﺪﺍﺧﺖ؛ ﺍﻣﺎ ﺩﺭﺩﻯ ﺣﺲ ﻧﻤﻰﻛﺮﺩﻡ‪ .‬ﺍﺯ ﻫﺸﺖ ﺭﻭﺑﺎﺕ ﻫﻤﺮﺍﻫﻤﺎﻥ ﺗﻨﻬﺎ ﻳﻜﻰ ﺑﺎﻗﻰ ﻣﺎﻧﺪﻩ ﺑﻮﺩ ﻛﻪ‬ ‫ﺁﻥ ﻫﻢ ﻣﺴﻠﺴﻠﺶ ﺭﺍ ﺍﺯ ﭘﻨﺠﺮﻩ ﺑﻴﺮﻭﻥ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﻳﻚ ﺑﻨﺪ ﺷﻠﻴﻚ ﻣﻰﻛﺮﺩ‪ .‬ﺑﻮﻯ ﭼﻨﺪﺵﺁﻭﺭ ﻣﺮگ‬ ‫ﺩﺭﻭﻥ ﺁﻥ ﻭﻳﺮﺍﻧﻪ ﭘﻴﭽﻴﺪﻩ ﺑﻮﺩ ﻛﻪ ﺑﺎ ﺍﺳﺘﺸﻤﺎﻣﺶ ﻣﻰﺧﻮﺍﺳﺘﻢ ﺑﺎﻻ ﺑﻴﺎﻭﺭﻡ‪ .‬ﻫﻮﺍ ﺩﺍﺷﺖ ﺗﺎﺭﻳﻚ ﻣﻰﺷﺪ‬ ‫ﻭ ﺍﮔﺮ ﻧﻤﻰﺗﻮﺍﻧﺴﺘﻴﻢ ﺧﻮﺩ ﺭﺍ ﻋﻘﺐ ﺑﻜﺸﻴﻢ‪ ،‬ﺁﻥﻫﺎ ﻛﻢﻛﻢ ﻭ ﺑﺎ ﺗﻤﺎﻡ ﺷﺪﻥ ﺫﺧﻴﺮﻩﻯ ﻣﻬﻤﺎﺕ ﻣﻰﺁﻣﺪﻧﺪ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﻛﻰ ﺍﻳﻦ ﻭﺳﻂ ﺳﻮﺩ ﻣﻰﺑﺮﻩ؟ ﺗﺎ ﺣﺎﻻ ﺍﺯ ﺧﻮﺩﺕ ﭘﺮﺳﻴﺪﻯ ﺑﻌﺪ ﺍﺯ ﺟﻨﮓ ﭼﻰ‬ ‫ﺑﻪ ﻣﺎ ﻣﻰﺭﺳﻪ؟ ﻓﻜﺮ ﻛﺮﺩﻯ‪«...‬‬ ‫ﺩﻟﻢ ﻧﻤﻰﺧﻮﺍﺳﺖ ﺑﻪ ﺣﺮﻑﻫﺎﻳﺸﺎﻥ ﮔﻮﺵ ﻛﻨﻢ‪ .‬ﭼﻴﺰﻯ ﺩﺭ ﺁﻥ ﮔﻔﺘﻪﻫﺎ‬ ‫ﺑﻮﺩ؛ ﺣﻘﻴﻘﺘﻰ ﻛﻪ ﺑﺎﻳﺪ ﺩﺭ ﭘﺴﺘﻮﻫﺎﻯ ﺗﺎﺭﻳﻚ ﻣﻐﺰﻣﺎﻥ ﭘﻨﻬﺎﻧﺶ ﻣﻰﻛﺮﺩﻳﻢ ﻭ‬ ‫ﺧﻮﻳﺸﺘﻦ ﺭﺍ ﺑﻪ ﺑﺎﻭﺭ ﻛﺮﺩﻥ ﭼﻴﺰﻯ ﺩﻳﮕﺮ ﺩﻟﺨﻮﺵ‪.‬‬

‫ﺧﻮد را ﺟﻠﻮی ﺳﺎﺧﺘامن ﯾﺎﻓﺘﻢ و ﭘﺎی ﮐﻔﺶﭘﻮﺷﻢ را ﮐﻪ روی ﺳﻄﺢ ﺑﺮاق راﻫﺮوی‬ ‫ورودی ﮔﺬاﺷﺘﻢ‪ ،‬ﺻﺪای ﺟﯿﺮﺟﯿﺮ ﺧﻔﯿﻔﯽ ﮐﺮد‪.‬‬ ‫ﺟﺎﻳﻰ ﺩﺭ ﺧﺎﻃﺮﺍﺕ ﻧﻴﻤﻪﻫﻮﺷﻴﺎﺭﻡ ﺁﻥ ﺻﺪﺍ ﺭﺍ ﻣﻰﺷﻨﺎﺧﺘﻢ‪ .‬ﺑﺎﺭﻫﺎ ﻭ ﺑﺎﺭﻫﺎ‬ ‫ﻭﻗﺘﻰ ﻣﻮﺭﻓﻴﻦ ﺑﻪ ﺳﺎﻥ ﺍﻟﻪﺍﻯ ﺟﺎﺩﻭﻳﻰ ﺩﺭﻭﻥ ﺭگﻫﺎﻳﻢ ﺭﻗﺺ ﻣﻰﻛﺮﺩ ﻭ‬ ‫ﻣﻦ ﻣﺴﺦ ﺍﻭ ﺭﻭﻯ ﺑﺮﺍﻧﻜﺎﺭﺩ ﺍﺯ ﺭﺍﻫﺮﻭﻫﺎﻯ ﻧﻮﺭﺍﻧﻰ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﺻﺤﺮﺍﻳﻰ ﺭﺍﻫﻰ‬ ‫ﺍﺗﺎﻕ ﻋﻤﻞ‪ ،‬ﺷﻨﻴﺪﻩ ﺑﻮﺩﻣﺶ‪ .‬ﻭﻗﺘﻰ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺑﺮﺍﻯ ﺟﺎﻳﮕﺰﻳﻨﻰ ﺩﺳﺖ ﭼﭙﻢ‬ ‫ﻣﺮﺍ ﺑﺮﺩﻧﺪ؛ ﻭﻗﺘﻰ ﺭﻳﻪﻫﺎ ﻭ ﭘﺎﻫﺎ ﻭ ﺯﺍﻧﻮﻫﺎﻯ ﻛﻨﻮﻧﻰﺍﻡ ﺭﺍ ﺩﺭ ﺁﻥﺟﺎ ﺟﺎﻳﮕﺰﻳﻦ‬ ‫ﺍﻋﻀﺎﻯ ﺍﺯ ﻫﻢ ﭘﺎﺷﻴﺪﻩ ﻭ ﺭﻭ ﺑﻪ ﻓﺴﺎﺩ ﻛﺮﺩﻧﺪ‪ .‬ﻫﻤﻴﺸﻪ ﺍﺯ ﺍﻳﻦ ﻣﻰﺗﺮﺳﻴﺪﻡ ﻛﻪ‬ ‫ﻧﻜﻨﺪ ﺭﻭﺯﻯ ﻣﻐﺰﻡ ﺭﺍ ﻫﻢ ﺟﺎﻳﮕﺰﻳﻦ ﻛﻨﻨﺪ‪ .‬ﮔﺎﻫﻰ ﻛﺎﺑﻮﺳﺶ ﺭﺍ ﻣﻰﺩﻳﺪﻡ؛ ﺍﻛﺜﺮﺍ ً‬ ‫ﺗﺎ ﭼﻨﺪ ﺭﻭﺯ ﭘﺲ ﺍﺯ ﺟﺎﻳﮕﺰﻳﻨﻰ ﻳﻜﻰ ﺍﺯ ﺍﻋﻀﺎﻯ ﺑﺪﻧﻢ ﺑﺎ ﺍﻋﻀﺎﻯ ﻣﺼﻨﻮﻋﻰ‪.‬‬ ‫ﭘﺮﺳﺘﺎﺭﻯ ﺩﺍﺷﺖ ﺍﺯ ﺗﻮﻯ ﺭﺍﻫﺮﻭ ﻫﺎ ﻗﺪﻡ ﻣﻰﺯﺩ‪ .‬ﺳﺮﺑﺎﺯﻯ ﻛﻪ ﺭﻭﺯ ﮔﺬﺷﺘﻪ‬ ‫ﻗﻠﺒﺶ ﺭﺍ ﺗﻌﻮﻳﺾ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ ﺭﻭﻯ ﺗﺨﺖ ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﻭ ﺩﺍﺷﺖ ﺑﺮﺍﻯ ﺭﻓﺘﻦ‬ ‫ﺑﻪ ﺳﺮ ﭘﺴﺖ ﻣﻼﻝﺁﻭﺭﺵ ﺁﻣﺎﺩﻩ ﻣﻰﺷﺪ‪» :‬ﺑﻬﺖ ﻛﻪ ﮔﻔﺘﻢ‪ ،‬ﻫﺮ ﻫﻔﺘﻪ ﻳﻪ ﺑﺎﺭ‬ ‫ﺍﻃﻼﻋﺎﺕ ﻣﻐﺰﻣﻮﻥ ﺭﻭ ﺫﺧﻴﺮﻩ ﻣﻰﻛﻨﻦ‪ .‬ﻓﻜﺮ ﻣﻰﻛﻨﻰ ﭼﺮﺍ؟ ﻣﺜ ً‬ ‫ﻼ ﺑﻪ ﺧﻴﺎﻟﺖ‬ ‫ﺩﻭﺳﺖ ﺩﺍﺭﻥ ﺑﺪﻭﻧﻦ ﻭﻗﺘﻰ ﻣﻦ ﺷﺐ ﺗﻮﻯ ﺗﺨﺘﻢ ﻏﻠﺖ ﻣﻰﺧﻮﺭﻡ ﻭ ﻳﻪ ﭼﻴﺰﻳﻢ‬ ‫ﻫﺴﺖ ﻛﻪ ﺧﻮﺍﺑﻢ ﻧﻤﻰﺑﺮﻩ‪ ،‬ﺩﺍﺭﻡ ﺑﻪ ﭼﻰ ﻓﻜﺮ ﻣﻰﻛﻨﻢ؟ ﻧﻪ ﺟﻮﻥ ﻣﻦ! ﻫﻤﺶ‬ ‫ﺑﺮﺍﻯ ﺍﻭﻥ ﻣﺨﻴﻼﺗﻪ ﻣﺼﻨﻮﻋﻴﻪ‪ ،‬ﺍﻃﻼﻋﺎﺕ ﻫﺮ ﻛﺲ ﺭﻭ ﻫﺮ ﻫﻔﺘﻪ ﻣﻰﭼﭙﻮﻧﻦ‬ ‫ﺗﻮﻯ ﺳﻴﺴﺘﻢ ﻣﺨﺼﻮﺹ ﺑﻪ ﺧﻮﺩﺵ ﻭ ﻭﺍﻣﻴﺴﺘﻦ ﺗﺎ ﻳﻜﻰ ﺍﺯ ﻣﺎ ﺭﻭ ﺑﺎ ﻳﻪ‬ ‫ﺳﻮﺭﺍﺥ ﺗﻮﻯ ﺳﺮﻣﻮﻥ ﺑﺮﮔﺮﺩﻭﻧﻦ ﻋﻘﺐ‪ .‬ﺍﻭﻧﻮﺥ ﻣﻐﺰ ﻟﻪ ﺷﺪﻩﺍﺕ ﺭﻭ ﻛﻪ ﺧﻮﺩ‬ ‫ﺍﺻﻠﻴﺖ ﺩﺍﺧﻠﺸﻪ‪ ،‬ﻣﺜﻞ ژﻟﻪﻯ ﺑﻌﺪ ﺍﺯ ﻧﻬﺎﺭ ﺑﺎ ﻗﺎﺷﻖ ﺍﺯ ﺗﻮﻯ ﻛﺎﺳﻪﻯ ﺳﺮﺕ ﺩﺭ‬ ‫ﻣﻴﺎﺭﻥ ﻭ ﻣﻰﻧﺪﺍﺯﻥ ﺗﻮ ﺳﻄﻞ ﺁﺷﻐﺎﻝ ﺗﺎ ﺑﺮﻩ ﺑﺮﺍﻯ ﺧﻮﺩﺵ ﻓﺎﺳﺪ ﺑﺸﻪ‪ .‬ﺑﻌﺪ‬ ‫ﻭﻗﺖ ﭼﻴﻪ؟ ﺍﻭﻥ ﺳﻴﺴﺘﻢ ﺟﺎﻳﮕﺰﻳﻦ ﺭﻭ ﺧﻴﻠﻰ ﺧﻮﺷﮕﻞ ﻭ ﻣﺎﻣﺎﻧﻰ ﻣﻰﺫﺍﺭﻥ‬ ‫‪75‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

‫ﭼﻴﺰﻯ ﺩﺭ‬ ‫ﺁﻥ ﮔﻔﺘﻪﻫﺎ‬ ‫ﺑﻮﺩ؛ ﺣﻘﻴﻘﺘﻰ‬ ‫ﻛﻪ ﺑﺎﻳﺪ ﺩﺭ‬ ‫ﭘﺴﺘﻮﻫﺎﻯ‬ ‫ﺗﺎﺭﻳﻚ ﻣﻐﺰﻣﺎﻥ‬ ‫ﭘﻨﻬﺎﻧﺶ‬ ‫ﻣﻰﻛﺮﺩﻳﻢ ﻭ‬ ‫ﺧﻮﻳﺸﺘﻦ ﺭﺍ‬ ‫ﺑﻪ ﺑﺎﻭﺭ ﻛﺮﺩﻥ‬ ‫ﭼﻴﺰﻯ ﺩﻳﮕﺮ‬ ‫ﺩﻟﺨﻮﺵ‪.‬‬


‫»ﻣﻦ ﺍﺯ ﻫﻴﭻ ﭼﻴﺰ ﻧﻪ ﻟﺬﺕ ﻣﻰﺑﺮﻡ‪ ،‬ﻧﻪ ﻣﻰﺗﺮﺳﻢ‪ ،‬ﻧﻪ ﻏﻤﮕﻴﻦ ﻳﺎ ﺷﺎﺩ ﻣﻰﺷﻮﻡ‪ .‬ﻣﻦ‪«...‬‬ ‫»ﻣﻰﺩﻭﻧﻢ ﻛﻪ ﻳﻪ ﺭﻭﺑﺎﺗﻰ‪ ،‬ﭼﻴﻪ ﻓﻜﺮ ﻛﺮﺩﻯ ﻫﺎﻟﻮﺍَﻡ؟ ﻓﻘﻂ ﻛﻨﺠﻜﺎﻭ ﺷﺪﻡ ﺑﺪﻭﻧﻢ ﭼﺮﺍ ﻣﻰﺟﻨﮕﻰ؟«‬ ‫ﺍﺯ ﻛﺎﺭ ﻛﺮﺩﻥ ﺑﺎﺯ ﺍﻳﺴﺘﺎﺩ ﻭ ﻧﮕﺎﻩ ﺳﺮﺩ ﻭ ﺗﻬﻰﺍﺵ ﺭﺍ‪ -‬ﻛﻪ ﺑﻪ ﭘﻨﺠﺮ ﻩﺍﻯ ﺭﻭ ﺑﻪ ﻫﻴﭻ ﻛﺠﺎ ﻣﻰﻣﺎﻧﺴﺖ‪،‬‬ ‫ﻣﺘﻮﺟﻪ ﭼﺸﻤﺎﻧﻢ ﻛﺮﺩ‪» :‬ﻣﻰﺟﻨﮕﻢ ﭼﻮﻥ ﺩﺳﺘﻮﺭ ﺍﺳﺖ؛ "ﺷﻤﺎ ﺑﻪ ﺁﻟﻔﺎ ﺳﻨﺘﻮﺭﻯ ﻣﻰﺭﻭﻳﺪ ﻭ ﻫﺮ ﻣﻴﺰﻳﻮﻛﻰ‬ ‫ﺗﺮﺍﻧﺴﻤﺎﻳﻰ ﺭﺍ ﻛﻪ ﺩﻳﺪﻳﺪ ﻧﺎﺑﻮﺩ ﻣﻰﻛﻨﻴﺪ‪ ".‬ﻣﺜﻞ ﺧﻮﺩﺗﺎﻥ‪«.‬‬ ‫ﺩﻭﺑﺎﺭﻩ ﺳﺮﺵ ﺭﺍ ﭘﺎﻳﻴﻦ ﺍﻧﺪﺍﺧﺖ ﻭ ﭼﻮﻧﺎﻥ ﺟﺮﺍﺣﻰ ﺯﺑﺮﺩﺳﺖ ﻣﺸﻐﻮﻝ ﺑﺮﺭﺳﻰ ﺍﺳﻠﺤﻪﻯ ﻣﺮﮔﺒﺎﺭﺵ ﺷﺪ‪.‬‬ ‫ﻣﺴﻠﺴﻠﻰ ﺑﺎ ﻛﺎﻟﻴﺒﺮ ﺩﺭﺷﺖ ﻭ ﺍﻧﺒﻮﻫﻰ ﺍﺯ ﻧﺎﻧﻮﺫﺭﺍﺕ ﺑﺎﺭﺩﺍﺭ ﻛﻪ ﺍﮔﺮ ﺗﺤﺮﻳﻜﺸﺎﻥ ﻣﻰﻛﺮﺩﻯ‪ ،‬ﻣﻰﺗﻮﺍﻧﺴﺘﻨﺪ‬ ‫ﺑﺎ ﺳﺮﻋﺘﻰ ﺳﺮﺳﺎﻡﺁﻭﺭ ﺑﻴﺮﻭﻥ ﺑﻴﺎﻳﻨﺪ ﻭ ﺩﺭ ﺧﻂ ﻣﺴﺘﻘﻴﻢ‪ ،‬ﺳﻮﺭﺍﺧﻰ ﺑﺪﺷﻜﻞ ﺩﺭ ﻫﺮ ﭼﻴﺰ ﻭ ﻫﺮ ﻓﺮﺩﻯ‬

‫ﻛﻪ ﻣﻘﺎﺑﻠﺸﺎﻥ ﺑﻮﺩ ﺑﺎﻗﻰ ﺑﮕﺬﺍﺭﻧﺪ‪ .‬ﺳﻼﺣﯽ ﮐﻪ اﮐﻨﻮن ﻣﺪتﻫﺎﺳﺖ ﻧﻮع ﭘﯿﴩﻓﺘﻪﺗﺮش را درون ﻣﭻ دﺳﺖ‬ ‫راﺳﺖ ﻣﻦ ﮐﺎر ﮔﺬاﺷﺘﻪاﻧﺪ‪ .‬ﮐُﻠﺘﯽ ﮐﻪ ﺑﯽﴎ و ﺻﺪا اﻣﻮاج را در ﻫﺰارم ﺛﺎﻧﯿﻪ ﺑﻪ ﻗﻠﺐ ﻣﯽﻓﺮﺳﺘﺪ و ﺑﺎﻋﺚ‬ ‫ﺳﮑﺘﻪ ﻣﯽﺷﻮد؛ ﻗﺘﻠﯽ زﯾﺮﮐﺎﻧﻪ ﮐﻪ ﻫﯿﭻﮐﺲ ﻗﺎدر ﺑﻪ متﯿﺰ آن از ﯾﮏ ﺣﺎدﺛﻪی ﻃﺒﯿﻌﯽ ﻧﯿﺴﺖ‪.‬‬ ‫ﺻﺪای رادﯾﻮی ﻣﺎﺷﯿﻦ ﮐﻢ ﺑﻮد و ﺗﻨﻬﺎ ﭘﭻﭘﭽﯽ ﻓﺮو ﺧﻮرده از آن ﺑﻪ ﮔﻮﺷﻢ ﻣﯽرﺳﯿﺪ‪ .‬اﻧﮕﺎر داﺷﺖ در ﻣﻮرد‬ ‫ﺑﺮﮔﺰاری ﺑﯿﺴﺘﻤﯿﻦ دورهی اﻧﺘﺨﺎﺑﺎت ﴎاﴎی زﻣﯿﻦ ﺳﺨﻦ ﻣﯽﮔﻔﺖ‪.‬‬ ‫ﺩﺭﻭﻥ ﺳﺎﻟﻦ ﻭﺭﺯﺵ ﻧﺸﺴﺘﻪ ﺑﻮﺩﻡ ﻭ ﺩﺍﺷﺘﻢ ﺑﻪ ﻋﻜﺲ ﺯﻥ ﻭ ﺩﻭ ﻓﺮﺯﻧﺪ ﻛﻮﭼﻜﻢ ﻣﻰﻧﮕﺮﻳﺴﺘﻢ‪ .‬ﺩﻭ ﺳﺮﺑﺎﺯ‬ ‫ﻛﻤﻰ ﺁﻥﺳﻮﺗﺮ ﻣﺸﻐﻮﻝ ﭘﭻﭘﭻ ﺑﻮﺩﻧﺪ‪.‬‬ ‫»ﻓﻜﺮ ﻣﻰﻛﻨﻰ ﺗﺎ ﻛﻰ ﻃﻮﻝ ﺑﻜﺸﻪ؟«‬ ‫»ﺷﺎﻳﺪ ﻳﻚ ﻣﺎﻩ ﺩﻳﮕﻪ‪ ،‬ﻳﺎ ﻳﻚ ﺳﺎﻝ ﺩﻳﮕﻪ‪ .‬ﺍﻭﺿﺎﻉ ﺧﻮﺏ ﭘﻴﺶ ﻧﻤﻰﺭﻩ‪ ،‬ﺍﻟﺒﺘﻪ ﻫﻤﺶ ﺑﻪ ﺑﺎﻻﻳﻰﻫﺎ‬ ‫ﺑﺴﺘﮕﻰ ﺩﺍﺭﻩ‪«.‬‬ ‫»ﺍﻭﻧﺎ!؟ ﻟﻌﻨﺖ ﺑﻪ ﻫﻤﺸﻮﻥ‪ .‬ﻣﻦ ﺩﻳﮕﻪ ﺑﺮﺍﻡ ﺑﺴﻪ! ﺩﻭ ﺳﺎﻝ ﻛﺎﻓﻰ ﻧﻴﺴﺖ؟ ﺗﺎ ﺣﺎﻻ ﺑﻪ ﭼﺮﺍﻳﻴﺶ ﻓﻜﺮ‬ ‫ﻛﺮﺩﻯ؟«‬ ‫»ﻫﻴﺴﺴﺲ! ﻣﻴﮕﻦ ﻫﺮﻛﺴﻰ ﻛﻪ ﺯﺑﻮﻥ ﺩﺭﺍﺯﻯ ﻛﻨﻪ ﺳﺮﺷﻮ ﺯﻳﺮ ﺁﺏ ﻣﻰﻛﻨﻦ ﺗﺎ ﺩﺭﺱ ﻋﺒﺮﺕ ﺑﺸﻪ ﻭﺍﺳﻪ‬ ‫ﺑﻘﻴﻪ! ﻧﻤﻰ ﺧﻮﺍﻯ ﻛﻪ ﺑﺒﻨﺪﻧﺖ ﺟﻠﻮﻯ ﺯﺭﻩﭘﻮﺵ ﻭ ﺩﻭﺭﻩ ﺑﮕﺮﺩﻭﻧﻦ؟«‬ ‫»ﺗﻮ ﻓﻘﻂ ﺳﻪ ﻣﺎﻫﻪ ﻛﻪ ﺍﻭﻣﺪﻯ‪ ،‬ﻣﻦ ﺍﻳﻦ ﻣﺪﺕ ﭼﻴﺰﺍﻳﻰ ﺩﻳﺪﻡ ﻛﻪ ﻫﺰﺍﺭ ﺑﺮﺍﺑﺮ ﺑﺪﺗﺮ ﺍﺯ ﺍﻭﻥ ﻛﺎﺭﻳﻪ ﻛﻪ‬ ‫ﺷﺎﻳﺪ ﺳﺮﻫﻨﮓ ﻳﺎ ﺑﻘﻴﻪ ﺑﻪ ﺧﺎﻃﺮ ﺍﻳﻦ ﺣﺮﻓﺎ ﺳﺮﻡ ﺑﻴﺎﺭﻥ‪ .‬ﺩﻳﮕﻪ ﺑﺪﺗﺮ ﺍﺯ ﺍﻳﻨﻢ ﻣﮕﻪ ﻣﻰﺷﻪ؟ ﻫﻤﺶ ﺑﺨﺎﻃﺮ‬ ‫ﭼﻴﻪ؟ ﻫﺎ؟«‬ ‫»ﺍﻭﻧﺎ ﺑﺎﻳﺪ ﺁﺩﻡ ﺑﺸﻦ ﻭ‪«...‬‬ ‫»ﺍﻭﻥ ﮔﺎﻟﺘﻮ ﺑﺒﻨﺪ ﻟﻄﻔﺎً! ﻻﺯﻡ ﻧﻴﺴﺖ ﭼﻴﺰﻯ ﺭﻭ ﻛﻪ ﺑﻘﻴﻪ ﺩﻓﻊ ﻛﺮﺩﻥ ﺗﻮ ﻗﺮﻗﺮﻩ ﻛﻨﻰ‪ .‬ﻣﺎ ﻛﻰ ﻫﺴﺘﻴﻢ؟‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﻧﻤﻮﻧﻪﻯ ﻣﺼﻨﻮﻋﻰ ﻋﻮﺽ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﻳﺎﺩﻡ ﻫﺴﺖ ﻛﻪ ﭘﺴﺮﻙ ﺍﺯ ﺩﻳﺪﻥ ﭼﺸﻢ ﻟﻪ ﺷﺪﻩﻯ ﻣﻦ ﺣﺎﻟﺶ‬ ‫ﺑﺪ ﺷﺪﻩ ﺑﻮﺩ؛ ﮔﻤﺎﻥ ﻧﻤﻰﻛﻨﻢ ﻫﻨﻮﺯ ﺑﻴﺴﺖ ﺳﺎﻝ ﺗﻤﺎﻡ ﺭﺍ ﭘﺮ ﻛﺮﺩﻩ ﺑﻮﺩ؛ ﻋﻀﻮ ﺩﺳﺘﻪﺍﻯ ﻛﻪ ﺑﻪ ﺗﺎﺯﮔﻰ‬ ‫ﺍﺯ ﺧﺎﻧﻪ ﺁﻭﺭﺩﻩ ﺑﻮﺩﻧﺪ؛ ﺍﺯ ﺯﻣﻴﻦ!‬

‫ﭼﺮاغ ﻗﺮﻣﺰ ﺑﻮد و ﻣﺠﺒﻮر ﺷﺪم ﺗﺮﻣﺰ ﮐﻨﻢ‪ .‬ﯾﮏ اﺗﻮﺑﻮس ﻫﻮاﯾﯽ ﺑﺮ ﺑﻠﻨﺪای ﺷﻬﺮ ﻣﯽﺧﺮاﻣﯿﺪ و از ﻓﺮاز ﺑﺮجﻫﺎی‬ ‫ﺧﯿﺲ و در ﻣﯿﺎن آﺳامن ﺗﯿﺮه ﻣﯽﮔﺬﺷﺖ؛ ﺷﻬﺮ ﮔﻮﯾﯽ در ﻋﺰای ﺧﻮرﺷﯿﺪ ﻣﺎﺗﻢ ﮔﺮﻓﺘﻪ ﺑﻮد‪ .‬ﻋﮑﺲ او از درون‬ ‫ﺑﺴﺘﻪای ﮐﻪ ﴍﮐﺖ داده ﺑﻮد و ﺣﺎﻻ روی ﺻﻨﺪﻟﯽ ﮐﻨﺎریام اﻓﺘﺎده ﺑﻮد‪ ،‬اﺣﻤﻘﺎﻧﻪ ﺧﻮدمنﺎﯾﯽ ﻣﯽﮐﺮد‪ .‬ﻣﻮﻫﺎی‬ ‫ﻗﻬﻮهای داﺷﺖ و ﻋﯿﻨﮑﯽ ﺑﺮ ﭼﺸﻢ‪ .‬ﺩﺭﺳﺖ ﺷﺒﻴﻪ ﺑﻪ ﺟﻮﺍﻧﻚ ﮔﺮﻭﻩ ﭘﺰﺷﻜﻰ ﻛﻪ ﺑﺪﻥ ﭘﺎﺭﻩﭘﺎﺭﻩﺍﺵ ﺭﺍ‬ ‫ﺭﻭﻯ ﺯﺭﻩﭘﻮﺵ ﺁﻭﻳﺨﺘﻪ ﺑﻮﺩﻧﺪ‪ .‬ﻫﺮ ﺍﺯ ﭼﻨﺪﮔﺎﻫﻰ ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﺭﺥ ﻣﻰﺩﺍﺩ ﻛﻪ ﺩﺳﺘﻪﺍﻯ ﺳﻼﺧﻰ ﺷﺪﻩ ﺭﺍ‬ ‫ﻣﻰﺁﻭﺭﺩﻧﺪ ﺗﻮﻯ ﭘﺎﺩﮔﺎﻥ ﻭ ﺩﺭ ﺧﻴﺎﺑﺎﻥﻫﺎ‪ ،‬ﻛﻤﭗﻫﺎ ﻭ ﻛﻨﺎﺭ ﻫﺮ ﺁﺳﺎﻳﺸﮕﺎﻫﻰ ﻣﻰﮔﺮﺩﺍﻧﺪﻧﺪ ﺗﺎ ﺑﻪ ﺍﺻﻄﻼﺡ‬ ‫ﺧﻮﺩﺷﺎﻥ‪ ،‬ﻣﺎ ﺭﺍ ﺗﺤﺮﻳﻚ ﻛﻨﻨﺪ‪ .‬ﺳﺮﺑﺎﺯﻫﺎ ﺩﺷﻤﻦ ﺭﺍ ﺑﻪ ﺑﺎﺩ ﻓﺤﺶ ﻭ ﻧﺎﺳﺰﺍ ﮔﺮﻓﺘﻪ ﻭ ﺧﺸﻤﮕﻴﻨﺎﻧﻪ‬ ‫ﻣﺸﺖﻫﺎﻳﺸﺎﻥ ﺭﺍ ﺩﺭ ﻫﻮﺍ ﺗﺎﺏ ﻣﻰﺩﺍﺩﻧﺪ‪ .‬ﺍﻳﻦ ﻋﻤﻞ ﺧﻴﻠﻰ ﺯﻭﺩ ﻣﺎ ﺭﺍ ﺑﻪ ﻫﻴﺠﺎﻥ ﻣﻰﺁﻭﺭﺩ ﻭ ﺑﺮﺍﻯ ﻛﺸﺘﺎﺭ‬ ‫ﻣﻬﻴﺎ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺑﻪ ﭼﺮاغ ﻗﺮﻣﺰ ﮐﻪ ﺑﺮ ﺑﻠﻨﺪای ﭼﻬﺎرراه روﺑﻪروﯾﻢ ﺑﻮد ﻧﮕﺮﯾﺴﺘﻢ‪ ...‬ﺩﺭﺳﺖ ﺭﻭﺑﻪﺭﻭﻳﻢ ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﻭ ﺩﺍﺷﺖ‬ ‫ﺍﺳﻠﺤﻪﻯ ﭘﻼﺳﻤﺎﻳﻰﺍﺵ ﺭﺍ ﭼﻚ ﻣﻰﻛﺮﺩ‪ .‬ﻻﻳﻪﻫﺎﻯ ﻗﻄﻮﺭ ﻓﻠﺰ ﺿﺪﮔﻠﻮﻟﻪ ﺍﻧﺪﺍﻣﺶ ﺭﺍ ﭘﻮﺷﺎﻧﺪﻩ ﺑﻮﺩﻧﺪ ﻭ‬ ‫ﭼﺸﻢ ﺳﺮﺥ ﻧﺸﺎﻧﺪﻩ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﮔﺎﻫﻰ ﺗﻜﺎﻧﻰ‬ ‫ﺳﺮﻯ ﮔﺮﺩ ﺑﻪ ﺳﺎﻥ ﺍﻧﺴﺎﻥ ﺭﻭﻯ ﺗﻦ ﺩﺍﺷﺖ ﻛﻪ ﺩﺭ ﺁﻥ ﺩﻭ‬ ‫ِ‬ ‫ﻣﻰﺧﻮﺭﺩ ﻭ ﺻﺪﺍﻯ ﺳﺎﻳﺶ ﺧﺸﻜﻰ ﺍﺯ ﺍﻋﻀﺎﻯ ﺑﺪﻧﺶ ﺑﺮ ﻣﻰﺧﻮﺍﺳﺖ‪ .‬ﻋﺪﻩﺍﻯ ﺩﺍﺷﺘﻨﺪ ﺩﺭ ﻣﺤﻮﻃﻪﻯ‬ ‫ﻧﺰﺩﻳﻚ ﺧﻮﺍﺑﮕﺎﻩ ﺑﺴﻜﺘﺒﺎﻝ ﺑﺎﺯﻯ ﻣﻰﻛﺮﺩﻧﺪ‪ -‬ﺑﺎﺯﻯﺍﻯ ﻛﻪ ﻫﺮﮔﺰ ﺩﻭﺳﺘﺶ ﻧﺪﺍﺷﺘﻢ‪ .‬ﺳﻴﮕﺎﺭ ﺭﻭﺷﻦ ﺩﺭ‬ ‫ﺩﺳﺖ ﺭﺍﺳﺘﻢ ﺑﻮﺩ‪ -‬ﺩﺳﺘﻰ ﻛﻪ ﻫﻨﻮﺯ ﺑﻪ ﺷﻜﻞ ﻃﺒﻴﻌﻰ ﻣﺎﻝ ﺧﻮﺩﻡ ﺑﻪ ﺣﺴﺎﺏ ﻣﻰﺁﻣﺪ‪ .‬ﭘﻜﻰ ﻋﻤﻴﻖ ﺯﺩﻡ‬ ‫ﻭ ﺭﻭ ﺑﻪ ﺭﻭﺑﺎﺕ ﻛﺮﺩﻩ‪ ،‬ﭘﺮﺳﻴﺪﻡ‪» :‬ﭼﻨﺪ ﻭﻗﺘﻪ ﺍﻳﻦﺟﺎﻳﻰ؟«‬ ‫ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺑﺎ ﺍﺳﻠﺤﻪﺍﺵ ﻭﺭ ﻣﻰﺭﻓﺖ‪ ،‬ﭘﺎﺳﺦ ﺩﺍﺩ‪» :‬ﻳﻚ ﺳﺎﻝ ﻭ ﺩﻭ ﻣﺎﻩ ﻭ ﺑﻴﺴﺖ ﺭﻭﺯ ﻭ ﻫﻔﺖ ﺳﺎﻋﺖ‬ ‫ﻭ ﭼﻬﻞ ﻭ ﻧﻪ ﺩﻗﻴﻘﻪ ﻭ ﺩﻭﺍﺯﺩﻩ ﺛﺎﻧﻴﻪ‪ .‬ﻛﻪ ﻣﻰﺷﻮﺩ ﻳﻚ ﺳﺎﻝ ﻭ ﻧﻪ ﺭﻭﺯ ﻭ ﭘﻨﺞ ﺳﺎﻋﺖ ﻭ ﻳﻚ ﺩﻗﻴﻘﻪ ﻭ‬ ‫ﭘﻨﺠﺎﻩ ﺛﺎﻧﻴﻪ ﻗﺒﻞ ﺍﺯ ﻭﺭﻭ ِﺩ ﺗﻮ‪«.‬‬ ‫ﺍﺯ ﺍﻳﻦ ﻃﺮﺯ ﺣﺴﺎﺏ ﻛﺮﺩﻧﺸﺎﻥ ﺧﻮﺷﻢ ﻣﻰﺁﻣﺪ‪ .‬ﮔﻮﺷﻪﻯ ﻟﺒﺎﻧﻢ ﺑﻪ ﺧﻨﺪﻩ ﺑﺎﻻ ﺭﻓﺖ ﻭ ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ‬ ‫ﺩﻭﺩ ﺍﺯ ﺭﻳﻪﻫﺎ ﻭ ﺩﻣﺎﻏﻢ ﺑﻴﺮﻭﻥ ﻣﻰﺯﺩ‪ ،‬ﮔﻔﺘﻢ‪» :‬ﻫﻴﭻ ﺍﺯ ﺍﻳﻦ ﺳﻴﺎﺭﻩ ﺧﻮﺷﻢ ﻧﻤﻰﺁﺩ‪ .‬ﻭﻟﻰ ﺑﻪ ﻫﻴﺠﺎﻧﺶ‬ ‫ﻣﻰﺍﺭﺯﻩ‪«.‬‬ ‫ﺑﺪﻭﻥ ﺍﻳﻦ ﻛﻪ ﭼﻴﺰﻯ ﺑﮕﻮﻳﺪ ﺑﻪ ﻛﺎﺭﺵ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪ .‬ﮔﻔﺘﻢ‪» :‬ﻧﻈﺮﺕ ﺭﺍﺟﻊ ﺑﻪ ﺍﻭﻧﺎ ﭼﻴﻪ؟ ﺍﺯ ُﻛﺸﺘﻨﺸﻮﻥ‬ ‫ﻟﺬﺕ ﻣﻰﺑﺮﻯ؟«‬ ‫‪73‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﻧﻢ ﺑﺎﺭﺍﻥ‬ ‫ﺩﺍﺷﺘﻢ ﺍﺯ ﭘﺲ ﺑﺎﺭﺍﻥ ﺳﺮﺥﺭﻧﮓ ﺁﻥ ﺳﻴﺎﺭﻩﻯ ﺷﻮﻡ ﺑﻴﺮﻭﻥ ﺭﺍ ﻣﻰﻧﮕﺮﻳﺴﺘﻢ‪ .‬ﻧﻪ ﺑﻮﻯ ﺧﻮﺷﺎﻳﻨﺪ ِ‬ ‫ﻣﻰﺁﻣﺪ‪ ،‬ﻧﻪ ﺍﺯ ﺷﻮﺭ ﻭ ﺍﺷﺘﻴﺎﻕ ﺭﺍﺯﺁﻟﻮﺩﻯ ﻛﻪ ﺭﻭﻯ ﻛﺮﻩﻯ ﺧﻮﺩﻣﺎﻥ ﺑﻪ ﺁﺩﻡ ﺩﺳﺖ ﻣﻰﺩﺍﺩ؛ ﮔﻮﻳﻰ ﺗﻤﺎﻡ‬ ‫ﺁﻥ ﺟﻬﻨﻢ ﺭﺍ ﺑﺎ ﭘﻼﺳﺘﻴﻚ ﺳﺎﺧﺘﻪ ﺑﻮﺩﻧﺪ ﻭ ﻓﻠﺰ‪ .‬ﺳﺮﺑﺎﺯﻫﺎ ﭘﻮﺷﻴﺪﻩ ﺩﺭ ﺑﺎﺭﺍﻧﻰﻫﺎﻳﻰ ﻛﻪ ﺑﺪﻥ ﺭﺍ ﺗﻨﮓ ﺩﺭ‬ ‫ﺍﺻﻠﻰ ﭘﺎﺩﮔﺎﻥ ﻣﻰﺭﺳﺎﻧﺪﻧﺪ‪ .‬ﺁﻥﺟﺎ ﻛﻪ ﺯﺭﻩﭘﻮﺷﻰ ﺳﻴﺎﻩ‪،‬‬ ‫ﺧﻮﺩ ﻣﻰﮔﺮﻓﺖ‪ -‬ﺑﺎ ﻋﺠﻠﻪ‪ ،‬ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺧﻴﺎﺑﺎﻥ‬ ‫ِ‬ ‫ﺍﺯ ﺩﻳﻮﺍﺭﻩﻯ ﺍﻣﻨﻴﺘﻰ ﻋﺒﻮﺭ ﻛﺮﺩﻩ ﻭ ﺍﻛﻨﻮﻥ ﺩﺭ ﺣﺮﻳﻢ ﺣﻔﺎﻇﺖ ﺷﺪﻩ ﺑﻪ ﺳﺮ ﻣﻰﺑﺮﺩ‪ .‬ﺩﺍﺩ ﻣﻰﺯﺩﻧﺪ‪» :‬ﺍﻭﻧﺎ‬ ‫ﺭﻭ ﺁﻭﺭﺩﻥ! ﺍﻭﻧﺎ ﺭﻭ ﺁﻭﺭﺩﻥ!« ﺩﺳﺘﻪﺍﻯ ﺑﺪﺍﻗﺒﺎﻝ ﻛﻪ ﺩﺭ ﻛﻤﻴﻦﮔﺎﻫﻰ ﺑﻪ ﺩﺳﺖ ﺩﺷﻤﻦ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺩﻭﺍﻥ ﺩﻭﺍﻥ ﺍﺯ ﺍﺗﺎﻕ ﻧﻴﻤﻪﺗﺎﺭﻳﻚ ﺑﻴﺮﻭﻥ ﺯﺩﻡ؛ ﺍﺯ ﺭﺍﻫﺮﻭﻫﺎﻳﻰ ﻛﻪ ﺟﺰ ﺳﻜﻮﺕ ﻫﻴﭻﭼﻴﺰ ﻭ ﻫﻴﭻﻛﺲ‬ ‫ﺩﻳﮕﺮﻯ ﺩﺭ ﺁﻥﻫﺎ ﺣﻀﻮﺭ ﻧﺪﺍﺷﺖ ﻋﺒﻮﺭ ﻛﺮﺩﻡ؛ ﭘﻠﻪﻫﺎﻳﻰ ﺭﺍ ﻛﻪ ﮔﻮﻳﻰ ﺑﻪ ﺍﻋﻤﺎﻕ ﻧﺎﻛﺠﺎﺁﺑﺎﺩﻫﺎ ﻣﻰﺭﻓﺘﻨﺪ‪،‬‬ ‫ﺩﺭ ﻧﻮﺭﺩﻳﺪﻡ ﻭ ﻭﻗﺘﻰ ﺍﺯ ﺩﺭ ﺑﺰﺭگ ﻭ ﻓﻮﻻﺩﻳﻦ ﺁﺳﺎﻳﺸﮕﺎﻩ ﺑﻴﺮﻭﻥ ﺭﻓﺘﻢ‪ ،‬ﻗﻄﺮﺍﺕ ﺳﺮﺩ ﻭ ﻳﺄﺱﺁﻭﺭ ﺑﺎﺭﺍﻥ ﺑﺮ‬ ‫ﻣﻦ ﻫﺠﻮﻡ ﺁﻭﺭﺩ‪ .‬ﺯﺭﻩﭘﻮﺵ ﺳﺮﻋﺖ ﻛﻤﻰ ﺩﺍﺷﺖ ﻭ ﻋﺪﻩﺍﻯ ﺁﻥ ﺭﺍ ﺩﻭﺭﻩ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻣﻰﺗﻮﺍﻧﺴﺘﻢ ﭼﻬﺎﺭ‬ ‫ﻣﺮﺩ ﺭﺍ ﺑﺒﻴﻨﻢ ﻛﻪ ﺑﺮ ﺑﻠﻨﺪﺍﻯ ﺯﺭﻩﭘﻮﺵ ﻣﺜﻞ ﺍﺟﻨﺎﺳﻰ ﺑﺮﺍﻯ ﻓﺮﻭﺵ ﻧﺼﺐ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ ﻭ ﺻﺪﺍﻯ ﻛﺴﻰ‬ ‫ﺍﺯ ﺑﻠﻨﺪﮔﻮﻯ ﺁﻥ ﻣﺎﺷﻴﻦ ﭼﻨﻴﻦ ﻣﻰ ﮔﻔﺖ‪» :‬ﺍﻳﻦ ﺟﻨﺎﻳﺖ‪ ،‬ﻛﺎﺭ ﻣﻮﺟﻮﺩﺍﺗﻰ ﺍﺳﺖ ﻛﻪ ﺷﻤﺎ ﺑﺎ ﺁﻥﻫﺎ ﺭﻭ‬ ‫ﺩﺭ ﺭﻭﻳﻴﺪ‪ .‬ﺍﻳﻦﻫﺎ ﻭﺣﺸﻰ ﻫﺴﺘﻨﺪ ﻭ ﺑﻮﻳﻰ ﺍﺯ ﺗﻤﺪﻥ ﻧﺒﺮﺩﻩﺍﻧﺪ‪ .‬ﺑﻪ ﺩﻭﺳﺘﺎﻧﺘﺎﻥ ﺑﻨﮕﺮﻳﺪ‪ ،‬ﺍﻳﻨﺎﻥ ﻫﻢ ﻣﺜﻞ‬ ‫ﺷﻤﺎ ﻛﺴﺎﻧﻰ ﺭﺍ ﺑﺮ ﺭﻭﻯ ﺯﻣﻴﻦ ﺩﺍﺷﺘﻪﺍﻧﺪ ﻛﻪ ﺍﻧﺘﻈﺎﺭﺷﺎﻥ ﺭﺍ ﻣﻰﻛﺸﻴﺪﻩﺍﻧﺪ‪ .‬ﺩﺷﻤﻦ ﺑﻪ ﺷﻤﺎ‪ ،‬ﻭ ﺑﻪ ﻫﻴﭻ‬ ‫ﺍﻧﺴﺎﻧﻰ ﺭﺣﻢ ﻧﺨﻮﺍﻫﺪ ﻛﺮﺩ‪ ،‬ﭘﺲ ﺷﻤﺎ ﻧﻴﺰ ﺑﻪ ﺁﻥﻫﺎ ﺭﺣﻢ ﻧﻜﻨﻴﺪ! ﺁﻥﻫﺎ ﺩﻭﺳﺘﺎﻧﺘﺎﻥ ﺭﺍ ﻣﻰ ُﻛﺸﻨﺪ ﻭ ﺍﮔﺮ‬ ‫ﺷﻤﺎ ﻧﻴﺰ ﺑﻪ ﭼﻨﮕﺸﺎﻥ ﺑﻴﻔﺘﻴﺪ‪ ،‬ﻫﻤﻴﻦ ﺳﺮﻧﻮﺷﺖ ﺭﺍ ﺧﻮﺍﻫﻴﺪ ﺩﺍﺷﺖ؛ ﻭ ﻫﺰﺍﺭﺍﻥ ﺑﺎﺭ ﺩﺭﻭﺩ ﺑﺮ ﻣﺮگ‪ ،‬ﭼﺮﺍ‬ ‫ﻛﻪ ﺁﻧﺎﻥ ﭼﻨﺎﻥ ﺑَﺮﺑَﺮ ﻫﺴﺘﻨﺪ ﻛﻪ ﺯﺟﺮﺗﺎﻥ ﻣﻰﺩﻫﻨﺪ ﻭ ﺑﻌﺪ ﻣﻰﮔﺬﺍﺭﻧﺪ ﺗﺎ ﺍﺯ ﺩﺭﺩ ﻭ ﺭﻧﺞ ﺑﻤﻴﺮﻳﺪ‪ .‬ﺑﻪ ﺍﻳﻦﻫﺎ‬ ‫ﺑﻨﮕﺮﻳﺪ‪ «...‬ﭘﺎﻫﺎﻳﻢ ﺷَ ﻠﭗﺷﻮﻟﻮپﻛﻨﺎﻥ ﺭﻭﻯ ﺳﻨﮕﻔﺮﺵ ﺧﻴﺎﺑﺎﻥ ﺻﺪﺍ ﻣﻰﺩﺍﺩ ﻭ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺯﺭﻩﭘﻮﺵ‬ ‫ﻧﺰﺩﻳﻚﺗﺮ ﻣﻰﻛﺮﺩﻡ‪ .‬ﭼﻴﺰﻯ ﻛﻪ ﻫﻤﻪ ﺍﺯ ﺁﻥ ﺑﺪﺷﺎﻥ ﻣﻰﺁﻣﺪ‪ ،‬ﺑﺎﺭﺍﻥ ﺁﻥ ﺳﻴﺎﺭﻩ ﺑﻮﺩ؛ ﮔﻮﻳﻰ ﻫﺮ ﻗﻄﺮﻩﺍﻯ‬ ‫ﻛﻪ ﺑﻪ ﺑﺪﻧﺖ ﻣﻰﺧﻮﺭﺩ ﺍﻣﻴﺪ ﻭ ﺯﻧﺪﮔﻰ ﺭﺍ ﺍﺯ ﺩﺭﻭﻧﺖ ﻣﻰﻣﻜﻴﺪ ﻭ ﺑﺎ ﺧﻮﺩ ﺑﻪ ﺧﺎﻙ ﻧﺤﺲ ﻭ ﺑﻰﺍﺭﺯﺵ‬ ‫ﻓﺮﻭ ﻣﻰﺑﺮﺩ‪ .‬ﮔﻮﻳﻨﺪﻩ ﺩﺭﻭﻥ ﺯﺭﻩﭘﻮﺵ ﺑﻮﺩ ﻭ ﻓﻘﻂ ﺻﺪﺍﻳﺶ ﺷﻨﻴﺪﻩ ﻣﻰﺷﺪ‪ ،‬ﺍﻣﺎ ﺷﻜﻰ ﻧﺒﻮﺩ ﻛﻪ ﻳﻜﻰ ﺍﺯ‬ ‫ﺁﻥﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺍﺻﻄﻼﺡ ﺧﻮﺩﺷﺎﻥ ﻗﻠﺐ ﺗﭙﻨﺪﻩﻯ ﺟﻨﮓ ﻫﺴﺘﻨﺪ؛ ﻣﻮﻋﻈﻪﮔﺮﺍﻥ ﻧﺒﺮﺩ‪.‬‬ ‫ﺭﺳﻢ‬ ‫ﺑﻪ ﺟﻤﻌﻴﺖ ﺭﺳﻴﺪﻡ ﻭ ﻣﺜﻞ ﺑﻘﻴﻪ ﺑﻪ ﻻﺷﻪﻫﺎﻯ ﺁﻭﻳﺨﺘﻪ ﺑﺮ ﺑﻠﻨﺪﺍﻯ ﺯﺭﻩﭘﻮﺵ ﺧﻴﺮﻩ ﺷﺪﻡ‪ .‬ﻃﺒﻖ ِ‬ ‫ﭘﻴﺸﻴﻦ ﺁﻥ ﻣﻮﺟﻮﺩﺍﺕ‪ ،‬ﺯﻧﺪﻩ ﺯﻧﺪﻩ ﭘﻮﺳﺘﺸﺎﻥ ﺭﺍ ﻛﻨﺪﻩ ﺑﻮﺩﻧﺪ؛ ﺯﺑﺎﻥ ﻭ ﺩﻣﺎﻍ ﻭ ﮔﻮﺷﺸﺎﻥ ﺭﺍ ﺑﺮﻳﺪﻩ‪،‬‬ ‫ﻭ ﺍﻧﮕﺸﺖﻫﺎﻳﺸﺎﻥ ﺭﺍ ﻟﻪ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺭﻭﻯ ﮔﻮﺷﺘﺸﺎﻥ ﺟﺎﻯ ﺩﻩﻫﺎ ﺳﻮﺧﺘﮕﻰ ﺑﻮﺩ ﻭ ﺑﺨﺶﻫﺎﻳﻰ ﺍﺯ‬ ‫ﻭﺟﻮﺩﺷﺎﻥ ﺭﺍ ﺍﻧﮕﺎﺭ ﺑﻪ ﺩﻧﺪﺍﻥ ﺟﻮﻳﺪﻩ ﺑﻮﺩﻧﺪ؛ ﺍﻟﺒﺘﻪ ﺁﻥﻫﺎ ﻫﺮﮔﺰ ﺁﺩﻡ ﻧﻤﻰﺧﻮﺭﺩﻧﺪ‪ .‬ﻳﻜﻰ ﺍﺯ ﺟﻨﺎﺯﻩﻫﺎ ﺭﺍ‬ ‫ﺑﻪ ﺯﺣﻤﺖ ﺷﻨﺎﺧﺘﻢ‪ ،‬ﭘﺴﺮﻙ ﺭﺍ ﺩﺭ ﺑﻬﺪﺍﺭﻯ ﺩﻳﺪﻩ ﺑﻮﺩﻡ؛ ﻭﻗﺘﻰ ﺩﺍﺷﺘﻨﺪ ﭼﺸﻢ ﺳﻤﺖ ﺭﺍﺳﺘﻢ ﺭﺍ ﺑﺎ ﻳﻚ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﺗﻠﻨﮕﺮﻯ ﺑﺎ ﺍﻧﮕﺸﺖ ﻓﻠﺰﻯ‬ ‫ﻛﻮﺭﻭﺵ ﺷﻤﺲ‬

‫ﺩﻭﺭﺍﻥ ﺑﭽﮕﻰ ﻣﻰﺷﻮﺩ؛ ﺁﻥﻫﺎﻳﻰ ﻛﻪ ﺑﺮﺍﻯ ﭼﻨﺪ ﻟﺤﻈﻪ‬ ‫‪ ‬ﺫﻫﻨﻢ ﮔﺎﻫﻰ ﭼﻮﻧﺎﻥ ﺭﻭﺑﺎﺕﻫﺎﻯ‬ ‫ِ‬ ‫ﺩﭼﺎﺭ ﺁﺷﻔﺘﮕﻰ ﻣﺪﺍﺭﻯ ﻣﻰﺷﺪﻧﺪ ﻭ ﺑﻪ ﺗﻜﺮﺍﺭ ﻣﺪﺍﻭﻡ ﻳﻚ ﭼﻴﺰ ﺍﺩﺍﻣﻪ ﻣﻰﺩﺍﺩﻧﺪ؛ ﺁﻥ ﻭﻗﺖ ﺻﺪﺍﻯ‬ ‫ﻛﺴﻰ ﺑﻰﻭﻗﻔﻪ ﺩﺭﻭﻥ ﺳﺮﻡ ﺗﻜﺮﺍﺭ ﻣﻰﺷﻮﺩ‪...‬‬

‫‪‬داﻧﻪﻫﺎی درﺷﺖ ﺑﺎران ﺑﻪ ﴎﻋﺖ ﺑﺎ ﭘﻨﺠﺮهی ﺟﻠﻮی ﻣﺎﺷﯿﻦ ﺑﺮﺧﻮرد ﻣﯽﮐﺮدﻧﺪ و ﺑﻌﺪ از ﻟﻪ ﺷﺪن‪،‬‬ ‫ﺗﺒﺪﯾﻞ ﺑﻪ ُﴍهﻫﺎﯾﯽ ﻣﯽﮔﺸﺘﻨﺪ ﮐﻪ ﺑﺮف ﭘﺎکﮐﻦ ﻣﺎﺷﯿﻦ‪ِ ،‬ﻏﮋ و ِﻏﮋ ﮐﻨﺎن ﮐﻨﺎر ﻣﯽزدﺷﺎن ﺗﺎ ﮐﻤﯽ‬ ‫ﺑﻌﺪ در ﻣﯿﺎن ﭼﺮک و ﮐﺜﺎﻓﺖ ﺳﻄﺢ ﺧﯿﺎﺑﺎن ﺟﺎری ﺷﻮﻧﺪ‪ .‬ﻋﺎﺑﺮﯾﻦ ﺷﺘﺎﺑﺎن از ﭘﯿﺎدهروﻫﺎی ﺧﻠﻮت‬ ‫ﻣﯽدوﯾﺪﻧﺪ و آﺳامن ﺑﺮ ﴎﺷﺎن ﻣﯽﻏﺮﯾﺪ‪ .‬ﺑﺎ دﯾﺪن اﯾﻦ ﺗﺼﺎوﯾﺮ‪ ،‬ﺑﯽاﺧﺘﯿﺎر ﺧﺎﻃﺮاﺗﻢ ﺑﺮداﺷﺘﻪ و ﺑﺎ‬ ‫ﺧﻮد ﺑﻪ ﮔﺬﺷﺘﻪام ﺑﺮدﻧﺪ‪.‬‬


‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﺁﻥﻫﺎ ﻗﺮﺍﺭ ﮔﻴﺮﻳﻢ‪ .‬ﺍﺣﺘﻤﺎﻻً ﺁﻥﻫﺎ‪ ،‬ﺣﺘﺎ ﺑﺎ ﻭﺟﻮﺩ ﻣﺸﺎﻫﺪﻩﻯ ﺗﻜﻨﻮﻟﻮژﻯ ﺑﺮﺗﺮ ﻣﺎ‪ ،‬ﻧﻤﻰﺗﻮﺍﻧﻨﺪ ﻣﺘﻮﺟﻪ ﺍﻳﻦ‬ ‫ﻣﻮﺿﻮﻉ ﺷﻮﻧﺪ ﻛﻪ ﺍﻳﻦ ﻣﻘﺎﻳﺴﻪ‪ ،‬ﺣﺘﺎ ﺍﮔﺮ ﺑﻴﻦ ﺍﻓﺮﺍﺩ ﻣﺘﻮﺳﻂ ﺟﺎﻣﻌﻪ ﻣﺼﺪﺍﻕ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﺩﺭ ﺳﻄﺢ‬ ‫ﻧﺨﺒﮕﺎﻥ ﻭ ﻋﻼﻭﻩ ﺑﺮ ﺁﻥ ﺩﺭ ﻣﻘﺎﻳﺴﻪﻯ ﻛﻠﻴﺖ ﺗﻤﺪﻥﻫﺎ ﺑﻪ ﻫﻴﭻﻭﺟﻪ ﺑﺮﻗﺮﺍﺭ ﻧﻴﺴﺖ‪ .‬ﺍﻳﻦ ﻃﺮﺯ ﺗﻠﻘﻰ ﺑﺎﻋﺚ‬ ‫ﺧﻮﺍﻫﺪ ﺷﺪ ﻛﻪ ﺍﻓﺮﺍﺩ ﻣﺎ ﻣﺠﺒﻮﺭ ﺷﻮﻧﺪ ﻭﺍﺭﺩ ﻣﺴﺎﻳﻞ ﻭ ﺩﺭﮔﻴﺮﻯﻫﺎﻯ ﻧﺎﺷﻨﺎﺧﺘﻪ ﻭ ﻧﺎﺧﻮﺷﺎﻳﻨﺪﻯ ﺑﺸﻮﻧﺪ‪.‬‬ ‫ﺩﺭ ﺩﺭﺍﺯﻣﺪﺕ ﻧﻴﺰ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻦ ﻛﻪ ﺗﻮﺍﻧﺎﻳﻰ ﻣﺬﻛﻮﺭ ﻋﺎﻣﻠﻰ ﻣﻬﻢ ﺩﺭ ﺳﺮﻋﺖ ﭘﻴﺸﺮﻓﺖ ﺗﻤﺪﻥ ﺁﻥﻫﺎ‬ ‫ﺑﻪ ﺣﺴﺎﺏ ﻣﻰﺁﻳﺪ‪ ،‬ﺍﻳﻦ ﺍﺣﺘﻤﺎﻝ ﻛﻪ ﺳﻄﺢ ﺗﻤﺪﻥ ﻣﺮﺩﻡ ﺗﻴﻜﺎﺱ ﻇﺮﻑ ﺩﻭ ﺳﻪ ﻗﺮﻥ ﺑﻪ ﺳﻄﺢ ﺗﻤﺪﻧﻰ‬ ‫ﻣﺎ ﺭﺳﻴﺪﻩ ﻭ ﺍﺯ ﺁﻥ ﺳﺒﻘﺖ ﺑﮕﻴﺮﺩ‪ ،‬ﺩﻭﺭ ﺍﺯ ﺫﻫﻦ ﻧﻤﻰﺑﺎﺷﺪ‪ .‬ﺩﺭ ﭼﻨﻴﻦ ﺣﺎﻟﺘﻰ ﻧﻴﺰ ﺍﻃﻼﻉ ﺩﺍﺷﺘﻦ ﺁﻥﻫﺎ‬ ‫ﺍﺯ ﻭﺟﻮﺩ ﻭ ﻭﻳﮋﮔﻰﻫﺎﻯ ﺗﻤﺪﻥ ﻣﺎ ﻭ ﻣﻜﺎﻥ ﺁﻥ ﺩﺭ ﻛﻬﻜﺸﺎﻥ ﻣﻰﺗﻮﺍﻧﺪ ﺧﻄﺮﺍﺕ ﭘﻴﺶﺑﻴﻨﻰ ﻧﺸﺪﻩﺍﻯ ﺭﺍ‬ ‫ﻣﺘﻮﺟﻪ ﻣﺎ ﺳﺎﺯﺩ‪.‬‬ ‫ﺍﺯ ﺍﻳﻦ ﺭﻭ ﺗﺎ ﺑﺮﺭﺳﻰ ﻛﺎﻣﻞ ﺗﻤﺎﻣﻰ ﺟﻮﺍﻧﺐ ﻣﻮﺿﻮﻉ ﻭ ﺣﺘﺎ ﺑﺎ ﻭﺟﻮﺩ ﺑﺮﺗﺮﻯﻫﺎﻯ ﻣﺤﺴﻮﺱ ﻓﻌﻠﻰ ﺗﻤﺪﻥ‬ ‫ﻭ ﺗﻜﻨﻮﻟﻮژﻯ ﻭ ﻫﻤﭽﻨﻴﻦ ﺑﺮﺗﺮﻯ ﺣﻮﺍﺱ ﺩﻳﮕﺮ ﻣﺎ ﺑﺮ ﻣﺮﺩﻡ ﺗﻴﻜﺎﺱ‪ ،‬ﭘﻴﺸﻨﻬﺎﺩ ﻣﻰﺷﻮﺩ ﻣﻮﺿﻮﻉ ﺑﻪ‬ ‫ﻋﻨﻮﺍﻥ ﻳﻚ ﻫﺸﺪﺍﺭ ﺍﻣﻨﻴﺘﻰ ﻧﻮﻉ ﻳﻚ ﺗﻠﻘﻰ ﺷﺪﻩ ﻭ ﺗﻤﺎﻣﻰ ﻓﻌﺎﻟﻴﺖﻫﺎ ﻣﺘﻮﻗﻒ ﺷﻮﺩ ﻭ ﺳﻔﻴﻨﻪ ﺑﻪ ﭘﺎﻳﮕﺎﻩ‬ ‫ﻣﺮﺍﺟﻌﺖ ﻛﻨﺪ ﻭ ﺩﺭﺑﺎﺭﻩﻯ ﻓﺮﺍﺧﻮﺍﻧﻰ ﺧﻮﺩ ﭘﺎﻳﮕﺎﻩ ﺑﻪ ﺳﻴﺎﺭﻩﻣﺎﻥ ﻧﻴﺰ ﻣﺸﻮﺭﺕﻫﺎﻳﻰ ﺑﺎ ﻣﺠﻤﻊ ﻋﻤﻮﻣﻰ‬ ‫ﺳﻴﺎﺭﻩ ﺻﻮﺭﺕ ﮔﻴﺮﺩ‪.‬‬ ‫ﻣﺎ ﺩﺭ ﻧﻘﻄﻪﻯ ﺟﻬﺶ ﻣﻨﺘﻈﺮ ﺗﺼﻤﻴﻤﺎﺕ ﭘﺎﻳﮕﺎﻩ ﺧﻮﺍﻫﻴﻢ ﻣﺎﻧﺪ‪ .‬ﺩﺭ ﺿﻤﻴﻤﻪ ﻣﺘﻦﻫﺎﻳﻰ ﺧﺎﺹ ﺩﺭﺑﺎﺭﻩﻯ‬ ‫ﻣﻜﺎﻧﻴﺰﻡ ﻋﻤﻠﻜﺮﺩ ﺣﺴﮕﺮﻫﺎﻯ ﺍﻣﻮﺍﺝ ﻃﻮﻟﻰ ﺍﺯ ﻧﻈﺮ ﺯﻳﺴﺖﺷﻨﺎﺳﻰ ﻭ ﻫﻤﭽﻨﻴﻦ ﺗﺄﺛﻴﺮﺍﺕ ﻭﺳﻴﻊ ﻭ ﻣﺘﻨﻮﻉ‬ ‫ﻭﺟﻮﺩ ﺍﻳﻦ ﺣﺲ ﺩﺭ ﺯﻧﺪﮔﻰ ﺍﺟﺘﻤﺎﻋﻰ ﻭ ﺷﻜﻞﮔﻴﺮﻯ ﺗﻤﺪﻥ ﻣﺮﺩﻡ ﺗﻴﻜﺎﺱ ﺍﺭﺳﺎﻝ ﺷﺪﻩ ﺍﺳﺖ ﻛﻪ ﺑﺎ‬ ‫ﺗﻮﺟﻪ ﺑﻪ ﺿﺮﻭﺭﺕ ﺗﺼﻤﻴﻢﮔﻴﺮﻯ ﺳﺮﻳﻊ ﺩﺭ ﺑﺎﺭﻩ ﺑﺎﺯﮔﺸﺖ ﺳﻔﻴﻨﻪ ﺑﺎﻳﺪ ﺩﺭ ﺍﻭﻟﻮﻳﺖ ﺑﺮﺭﺳﻰ ﻗﺮﺍﺭ ﮔﻴﺮﺩ‪.‬‬ ‫ﺑﺮﺍﻯ ﺳﻬﻮﻟﺖ ﻋﻤﻞ ﻛﺎﺭﺷﻨﺎﺳﺎﻥ‪ ،‬ﺩﺭ ﺑﺮﺭﺳﻰ ﻣﺘﻦﻫﺎﻯ ﻣﺬﻛﻮﺭ‪ ،‬ﺫﻛﺮ ﻣﻰﺷﻮﺩ ﻛﻪ ﻣﺮﺩﻡ ﺳﻴﺎﺭﻩ ﺗﻴﻜﺎﺱ‪،‬‬ ‫ﻛﻪ ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﺑﺎ ﻫﻤﺎﻥ ﻧﺎﻣﮕﺬﺍﺭﻯ ﺧﻮﺩﺷﺎﻥ ﻳﻌﻨﻰ ﺯﻣﻴﻦ ﻧﺎﻣﻴﺪﻩ ﺧﻮﺍﻫﺪ ﺷﺪ‪ ،‬ﺍﻣﻮﺍﺝ ﻣﺬﻛﻮﺭ ﺭﺍ ﺑﺎ‬ ‫ﻭﺍژﻩﻫﺎﻳﻰ ﺍﺯ ﻗﺒﻴﻞ ﺻﺪﺍ ﻳﺎ ﺻﻮﺕ ﻭ ﻓﺮﺁﻳﻨﺪ ﺩﺭﻳﺎﻓﺖ ﺍﻳﻦ ﺍﻣﻮﺍﺝ ﺗﻮﺳﻂ ﺣﺴﮕﺮﻫﺎﻯ ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﺑﺎ ﻭﺍژﻩ‬ ‫ﺷﻨﻴﺪﻥ ﻣﺸﺨﺺ ﻣﻰﻛﻨﻨﺪ‪«.‬‬ ‫‪ ‬ﻓﺮﻣﺎﻧﺪﻩ ﻫﺸﺪﺍﺭ ﺍﻣﻨﻴ���ﻰ ﺭﺍ ﺻﺎﺩﺭ ﻛﺮﺩ‪ .‬ﺗﺮﺳﻰ ﺷﺪﻳﺪ ﺩﺭ ﺧﻮﺩ ﺣﺲ ﻣﻰﻛﺮﺩ‪.‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﺍﺑﺰﺍﺭﻫﺎﻳﻰ ﺍﺧﺘﺼﺎﺹ ﺩﺍﺭﺩ‪ .‬ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﻣﻮﺍﺝ ﺑﺎ ﻭﻳﮋﮔﻰ ﺍﺧﻴﺮ ﻣﻰﺗﻮﺍﻧﺪ ﻫﻤﺮﺍﻩ ﺑﺎ ﮔﻔﺘﺎﺭ‪ ،‬ﺑﻪ ﺷﻴﻮﻩﻯ‬ ‫ﺁﻥﻫﺎ‪ ،‬ﻳﺎ ﺑﺪﻭﻥ ﺁﻥ ﺻﻮﺭﺕ ﮔﻴﺮﺩ‪.‬‬ ‫ﻫﻤﭽﻨﻴﻦ ﺍﻳﻦ ﻣﺴﺎﻟﻪ ﺑﺎﻋﺚ ﺗﻨﻮﻉ ﺑﺴﻴﺎﺭ ﺯﻳﺎﺩ ﺩﺭ ﺳﻴﺴﺘﻢﻫﺎﻯ ﮔﻮﻳﺶ ﻭ ﻧﮕﺎﺭﺷﻰ ﺩﺭ ﺗﻴﻜﺎﺱ ﺷﺪﻩ‬ ‫ﺍﺳﺖ‪ ،‬ﺍﺣﺘﻤﺎﻻً ﻋﻠﺖ ﻋﻤﺪﻩ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺍﻳﻦﺟﺎ ﺍﺑﺘﺪﺍ ﺳﻴﺴﺘﻢﻫﺎﻯ ﮔﻔﺘﺎﺭﻯ ﺩﺭ ﺳﻄﺢ ﻛﻠﻤﻪﻫﺎ ﻭ‬ ‫ﺟﻤﻼﺕ ﺷﻜﻞ ﮔﺮﻓﺘﻪﺍﻧﺪ ﻭ ﺑﻌﺪ ﺧﻂ ﻭ ﻧﮕﺎﺭﺵ ﺍﺑﺪﺍﻉ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﻧﻜﺘﻪﻯ ﻋﺠﻴﺒﻰ ﻛﻪ ﺩﺭ ﺗﺤﻘﻴﻘﺎﺕ ﻣﺤﺪﻭﺩ ﺧﻮﺩ ﻣﺘﻮﺟﻪ ﺷﺪﻳﻢ‪ ،‬ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺳﺎﻳﺮ ﻭﻳﮋﮔﻰﻫﺎﻯ‬ ‫ﻓﻴﺰﻳﻜﻰ ﻭ ﺯﻳﺴﺖﺷﻨﺎﺳﻰ ﻣﺮﺩﻡ ﻣﺬﻛﻮﺭ ﺍﺯ ﺟﻤﻠﻪ ﺳﺎﺧﺘﻤﺎﻥ ﺣﻨﺠﺮﻩ ﻭ ﺩﻫﺎﻥ ﻭ ﺯﺑﺎﻥ ﺁﻥﻫﺎ ﺗﻔﺎﻭﺕ‬ ‫ﭼﻨﺪﺍﻧﻰ ﺑﺎ ﺧﻮﺩ ﻣﺎ ﻧﺪﺍﺭﺩ ﻛﻪ ﺍﻳﻦ ﻧﻜﺘﻪ‪ ،‬ﺩﺭ ﺻﻮﺭﺗﻰ ﻛﻪ ﺑﺮﺭﺳﻰﻫﺎﻯ ﺑﻌﺪﻯ ﺁﻥ ﺭﺍ ﺗﺎﻳﻴﺪ ﻛﻨﺪ‪ ،‬ﺍﺯ‬ ‫ﻧﻈﺮ ﻓﺮﺿﻴﻪﻫﺎﻯ ﺭﺍﻳﺞ ﺗﻜﺎﻣﻠﻰ ﻣﻰﺗﻮﺍﻧﺪ ﻣﻮﺿﻮﻋﻰ ﻣﻬﻢ ﻭ ﻏﻴﺮﻣﻌﻤﻮﻝ ﺑﻪ ﺣﺴﺎﺏ ﺁﻳﺪ‪ .‬ﻭﻟﻰ ﻣﻮﺿﻮﻉ‬ ‫ﺑﺴﻴﺎﺭ ﻣﻬﻢﺗﺮ ﻭ ﻏﻴﺮﻋﺎﺩﻯﺗﺮﻯ ﺩﺭ ﻛﺎﺭ ﺍﺳﺖ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺪ ﭘﺎﻳﻪﻫﺎﻯ ﻓﺮﺿﻴﻪﻫﺎﻯ ﺗﻜﺎﻣﻠﻰ ﺭﺍ ﻛﺎﻣ ً‬ ‫ﻼ ﺩﺭ‬ ‫ﻫﻢ ﺑﺮﻳﺰﺩ‪ .‬ﻫﻤﺎﻥ ﮔﻮﻧﻪ ﻛﻪ ﺩﺭ ﮔﺰﺍﺭﺵﻫﺎﻯ ﻗﺒﻠﻰ ﺍﺷﺎﺭﻩ ﺷﺪ‪ ،‬ﺍﻳﻦ ﺣﺲ ﻋﻼﻭﻩ ﺑﺮ ﺍﻧﺴﺎﻥﻫﺎ ﺩﺭ ﺍﻏﻠﺐ‬ ‫ﺣﻴﻮﺍﻧﺎﺕ ﺗﻴﻜﺎﺱ‪ ،‬ﻳﺎ ﺣﺪﺍﻗﻞ ﺩﺭ ﺍﻏﻠﺐ ﺣﻴﻮﺍﻧﺎﺕ ﺭﺩﻩﻫﺎﻯ ﺑﺎﻻﺗﺮ ﺗﻜﺎﻣﻠﻰ ﺍﺯ ﺟﻤﻠﻪ ﻣﻬﺮﻩﺩﺍﺭﺍﻥ‪ ،‬ﻭﺟﻮﺩ‬ ‫ﺩﺍﺭﺩ؛ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺣﻴﻮﺍﻧﺎﺕ ﻣﺎ‪ ،‬ﺣﺘﺎ ﺁﻥﻫﺎ ﻛﻪ ﺑﺴﻴﺎﺭ ﻣﺸﺎﺑﻪ ﺣﻴﻮﺍﻧﺎﺕ ﻣﺬﻛﻮﺭ ﻣﻰﺑﺎﺷﻨﺪ‪ ،‬ﻓﺎﻗﺪ ﭼﻨﻴﻦ‬ ‫ﺗﻮﺍﻧﺎﻳﻰ ﻫﺴﺘﻨﺪ‪ .‬ﺍﻳﻦ ﻭﺍﻗﻌﻴﺖ ﺍﺯ ﻳﻚ ﺳﻮ ﻣﻮﺭﺩ ﻧﻘﺾ ﺑﺰﺭﮔﻰ ﺑﺮﺍﻯ ﻓﺮﺿﻴﻪﻯ ﻣﻨﺸﺎ ﻭﺍﺣﺪ ﺍﻧﺴﺎﻥ ﺩﺭ‬ ‫ﻛﻬﻜﺸﺎﻥ ﻣﻰﺑﺎﺷﺪ ﻭ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ ﻛﻪ ﻓﺮﺁﻳﻨﺪ ﺗﻜﺎﻣﻠﻰ ﻣﻮﺟﻮﺩﺍﺕ ﻣﺎ ﻭ ﺗﻴﻜﺎﺱ ﺍﺯ ﺍﺑﺘﺪﺍ ﻳﺎ ﺣﺪﺍﻗﻞ ﺍﺯ‬ ‫ﺍﻭﺍﺳﻂ ﻣﺮﺍﺣﻞ ﺗﻜﺎﻣﻠﻰ ﺧﻮﺩ ﻣﺴﻴﺮﻫﺎﻯ ﻛﺎﻣ ً‬ ‫ﻼ ﺟﺪﺍﮔﺎﻧﻪﺍﻯ ﺭﺍ ﭘﻴﻤﻮﺩﻩﺍﻧﺪ‪ ،‬ﻭ ﺍﺯ ﺳﻮﻯ ﺩﻳﮕﺮ ﺑﺴﻴﺎﺭ ﺩﻭﺭ‬ ‫ﺍﺯ ﺫﻫﻦ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﻛﻪ ﻣﺴﻴﺮﻫﺎﻯ ﺗﻜﺎﻣﻠﻰ ﺟﺪﺍﮔﺎﻧﻪ ﺑﺘﻮﺍﻧﺪ ﺍﻧﺴﺎﻥﻫﺎﻳﻰ ﺑﺎ ﺍﻳﻦ ﺩﺭﺟﻪ ﺍﺯ ﻣﺸﺎﺑﻬﺖ‪،‬‬ ‫ﻭ ﻓﻘﻂ ﺑﺎ ﻳﻚ ﺗﻔﺎﻭﺕ ﻋﻤﺪﻩ‪ ،‬ﺍﻳﺠﺎﺩ ﻛﻨﺪ‪.‬‬ ‫ﭘﺎﺳﺦ ﺍﻳﻦ ﭘﺮﺳﺶﻫﺎ ﻧﻴﺎﺯ ﺑﻪ ﺑﺮﺭﺳﻰﻫﺎﻯ ﻛﺎﻣﻞﺗﺮﻯ ﺩﺍﺭﺩ ﻭ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺣﺠﻢ ﻓﺮﺍﻭﺍﻥ ﺍﻃﻼﻋﺎﺕ ﺧﺎﻣﻰ‬ ‫ﻛﻪ ﺫﺧﻴﺮﻩﺳﺎﺯﻯ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﺍﺣﺘﻤﺎﻻً ﺑﺮﺭﺳﻰ ﺁﻥﻫﺎ ﺣﺘﺎ ﺩﺭ ﺗﻮﺍﻥ ﻛﺎﺭﺷﻨﺎﺳﺎﻥ ﭘﺎﻳﮕﺎﻩ ﻫﻢ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ‬ ‫ﻭ ﺑﺎﻳﺪ ﺑﻪ ﺳﻴﺎﺭﻩﻯ ﺧﻮﺩﻣﺎﻥ ﻣﺨﺎﺑﺮﻩ ﻭ ﺩﺭ ﺁﻥﺟﺎ ﻣﻮﺭﺩ ﺑﺮﺭﺳﻰ ﻗﺮﺍﺭ ﮔﻴﺮﺩ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ‪ ،‬ﻭ ﻗﺒﻞ ﺍﺯ ﭼﻨﻴﻦ‬ ‫ﺑﺮﺭﺳﻰﻫﺎﻳﻰ‪ ،‬ﻣﻮﺿﻮﻉ ﺑﺎﻳﺪ ﺍﺯ ﻧﻈﺮ ﺍﻣﻨﻴﺘﻰ ﻭ ﺑﻪ ﺷﻜﻞ ﺍﺿﻄﺮﺍﺭﻯ ﺩﺭ ﭘﺎﻳﮕﺎﻩ ﺑﺮﺭﺳﻰ ﺷﻮﺩ‪.‬‬ ‫ﺍﺭﺗﺒﺎﻁ ﺳﺮﻧﺸﻴﻨﺎﻥ ﻗﺎﻳﻖ ﺑﺎ ﻣﺮﺩﻡ ﺳﻴﺎﺭﻩ ﻣﺬﻛﻮﺭ ﻣﻰﺗﻮﺍﻧﺪ ﺩﺭ ﻛﻨﺎﺭ ﻧﺘﺎﻳﺞ ﻣﻔﻴﺪ‪ ،‬ﺧﻄﺮﺍﺕ ﺑﺰﺭﮔﻰ ﻧﻴﺰ ﺑﻪ‬ ‫ﻫﻤﺮﺍﻩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺩﺭ ﻛﻮﺗﺎﻩﻣﺪﺕ‪ ،‬ﻭ ﺑﻌﺪ ﺍﺯ ﻓﺮﻭﻛﺶ ﻛﺮﺩﻥ ﻫﻴﺠﺎﻥ ﺁﺷﻨﺎﻳﻰ ﺍﻭﻟﻴﻪ‪ ،‬ﻣﻤﻜﻦ ﺍﺳﺖ ﺁﻥﻫﺎ‬ ‫ﺩﺭ ﺻﺪﺩ ﺑﺮﺁﻳﻨﺪ ﺗﻜﻨﻮﻟﻮژﻯ ﻣﺎ ﺭﺍ ﺍﻗﺘﺒﺎﺱ ﻛﻨﻨﺪ ﻭ ﺩﺭ ﺍﻳﻦ ﻣﺴﻴﺮ ﺑﺎ ﺁﮔﺎﻫﻰ ﺍﺯ ﺍﻳﻦ ﺑﺮﺗﺮﻯ ﺧﻮﺩ‪ ،‬ﻳﺎ ﺑﻪ‬ ‫ﺗﺼﻮﺭ ﺁﻥﻫﺎ ﻧﻘﺺ ﻣﺎ‪ ،‬ﺻﺮﻓﺎً ﺑﻪ ﺭﻭﺵﻫﺎﻯ ﻣﻨﺎﺳﺐ ﺑﺮﺍﻯ ﻳﻚ ﺍﺭﺗﺒﺎﻁ ﺍﺣﺘﺮﺍﻡﺁﻣﻴﺰ ﻣﺘﻘﺎﺑﻞ ﺍﻛﺘﻔﺎ ﻧﻜﻨﻨﺪ‪.‬‬ ‫ﺗﻘﺮﻳﺒﺎً ﺑﺪﻳﻬﻰ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺩﻳﺪ ﺁﻥﻫﺎ ﺧﻮﺩﺷﺎﻥ ﺩﺍﺭﺍﻯ ﻫﻮﺵ ﻭ ﻟﻴﺎﻗﺖ ﺑﺎﻻﺗﺮﻯ ﻫﺴﺘﻨﺪ ﻭ ﻣﺎ‪ ،‬ﺣﺘﺎ ﺑﺎ‬ ‫ﻭﺟﻮﺩ ﺳﻄﺢ ﺑﺮﺗﺮ ﺗﻤﺪﻥﻣﺎﻥ‪ ،‬ﻧﮋﺍﺩﻯ ﻛﻢﻫﻮﺵ ﻭ ﻣﻌﻠﻮﻝ ﺟﻠﻮﻩ ﺧﻮﺍﻫﻴﻢ ﻛﺮﺩ ﻛﻪ ﺑﺎﻳﺪ ﺗﺤﺖ ﺗﺴﻠﻂ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﺑﻮﺩﻧﺪ‪ .‬ﺷﺒﻜﻪﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﻧﻴﺰ ﻛﻪ ﻧﺤﻮﻩﻯ ﺍﺭﺗﺒﺎﻃﺎﺕ ﻛﻼﻣﻰ ﺁﻥ ﺩﺭ ﺍﺑﺘﺪﺍ ﻛﺸﻒ ﺷﺪ‪ ،‬ﺩﺭ ﺍﺻﻞ ﻭﻳﮋﻩ‬ ‫ﺍﻳﻦ ﻗﺒﻴﻞ ﺍﻓﺮﺍﺩ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﻋﻠﺖ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺍﺑﻬﺎﻣﺎﺕ ﻣﺎ ﺩﺭ ﺭﻣﺰﮔﺸﺎﻳﻰ‪ ،‬ﻭﺟﻮﺩ ﺍﻳﻦ ﺣﺲ ﻭ ﻧﺘﺎﻳﺞ ﻣﺘﻌﺪﺩ ﺁﻥ ﺩﺭ ﺯﻧﺪﮔﻰ ﻣﺮﺩﻡ‬ ‫ﺳﻴﺎﺭﻩ ﺗﻴﻜﺎﺱ ﻣﻰﺑﺎﺷﺪ‪ .‬ﻫﻤﭽﻨﻴﻦ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﺑﺎ ﻭﺟﻮﺩﻯ ﻛﻪ ﭘﻴﺪﺍﻳﺶ ﺣﻴﺎﺕ ﻳﺎ ﺣﺪﺍﻗﻞ ﺑﻮﺟﻮﺩ‬ ‫ﺁﻣﺪﻥ ﺍﻧﺴﺎﻥﻫﺎ ﺩﺭ ﺗﻴﻜﺎﺱ ﺑﺴﻴﺎﺭ ﺩﻳﺮﺗﺮ ﺍﺯ ﺳﻴﺎﺭﻩ ﻣﺎ ﺻﻮﺭﺕ ﮔﺮﻓﺘﻪ‪ ،‬ﺍﺣﺘﻤﺎﻻً ﺗﻤﺪﻥ ﺍﻳﻦ ﺳﻴﺎﺭﻩ ﻓﻘﻂ‬ ‫ﺑﻪ ﺧﺎﻃﺮ ﻭﺟﻮﺩ ﻫﻤﻴﻦ ﺗﻮﺍﻧﺎﻳﻰ‪ ،‬ﺩﺭ ﻳﻚ ﺩﻭﺭﻩ ﺯﻣﺎﻧﻰ ﺑﺴﻴﺎﺭ ﻛﻮﺗﺎﻩﺗﺮ ﻭﺍﺭﺩ ﻣﺮﺍﺣﻞ ﻛﻼﻣﻰ ﻭ ﻧﻮﺷﺘﺎﺭﻯ‬ ‫ﺷﺪﻩ ﻭ ﺑﻌﺪ ﺍﺯ ﺁﻥ ﻧﻴﺰ ﺑﺴﻴﺎﺭ ﺳﺮﻳﻊﺗﺮ ﺍﺯ ﻣﺎ ﺗﻜﺎﻣﻞ ﻳﺎﻓﺘﻪ ﺍﺳﺖ‪ .‬ﻇﺎﻫﺮﺍ ً ﺗﺎﺭﻳﺦ ﻣﻜﺘﻮﺏ ﻣﺮﺩﻡ ﺗﻴﻜﺎﺱ‬ ‫ﺣﺪﺍﻛﺜﺮ ﭼﻨﺪ ﻫﺰﺍﺭ ﺳﺎﻟﻪ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﺗﺎﺭﻳﺦ ﻣﻜﺘﻮﺏ ﻣﺎ ﻗﺎﺑﻞ ﻣﻘﺎﻳﺴﻪ ﻧﻴﺴﺖ‪.‬‬ ‫ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻓﺮﺳﺘﻨﺪﻩﻫﺎﻳﻰ ﻛﻪ ﻧﺘﻮﺍﻧﺴﺘﻪ ﺑﻮﺩﻳﻢ ﭘﻴﺎﻡﻫﺎﻳﺸﺎﻥ ﺭﺍ ﺑﻪ ﺗﺼﻮﻳﺮ ﻳﺎ ﻣﺘﻦ ﺗﺒﺪﻳﻞ ﻛﻨﻴﻢ‪،‬‬ ‫ﺩﺭ ﻭﺍﻗﻊ ﻓﺮﺳﺘﻨﺪﻩ ﺍﻣﻮﺍﺝ ﺍﻟﻜﺘﺮﻭﻣﻐﻨﺎﻃﻴﺴﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﻣﻨﺤﺼﺮﺍ ً ﺑﻪ ﺍﺭﺳﺎﻝ ﺍﻳﻦ ﭘﻴﺎﻡﻫﺎﻯ ﮔﻔﺘﺎﺭﻯ‬ ‫ﻏﻴﺮﻋﺎﺩﻯ ﺍﺧﺘﺼﺎﺹ ﺩﺍﺭﻧﺪ‪ .‬ﺳﻮﺍﺭ ﻛﺮﺩﻥ ﭘﻴﺎﻡ ﺭﻭﻯ ﺍﻳﻦ ﺍﻣﻮﺍﺝ ﺑﻪ ﻫﻤﺎﻥ ﺷﻴﻮﻩﻯ ﺭﺍﻳﺞ ﮔﻔﺘﺎﺭﻯ ﻣﺎ‪ ،‬ﻭﻟﻰ‬ ‫ﺑﺴﻴﺎﺭ ﻣﺎﻫﺮﺍﻧﻪﺗﺮ ﺍﺯ ﺭﻭﺵﻫﺎﻯ ﻣﺸﺎﺑﻬﻰ ﻛﻪ ﻣﺮﺩﻡ ﻣﺎ ﺑﺎ ﺁﻣﻮﺯﺵ ﻭ ﺗﻤﺮﻳﻦﻫﺎﻯ ﺑﺴﻴﺎﺭ ﺯﻳﺎﺩ ﻭ ﻓﻘﻂ ﺩﺭ‬ ‫ﺩﻭ ﺳﻪ ﻗﺮﻥ ﺍﺧﻴﺮ ﺑﻪ ﺗﺪﺭﻳﺞ ﻗﺎﺩﺭ ﺑﻪ ﺍﻧﺠﺎﻡ ﺁﻥ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﺻﻮﺭﺕ ﻣﻰﮔﻴﺮﺩ؛ ﻭﻟﻰ ﺍﻳﻦ ﭘﻴﺎﻡ ﺩﺭ ﻣﺮﺣﻠﻪﻯ‬ ‫ﺑﻌﺪﻯ ﻣﺴﺘﻘﻴﻤﺎً ﻭ ﺑﺪﻭﻥ ﺗﺒﺪﻳﻞ ﺑﻪ ﻣﺘﻦ ﺗﻮﺳﻂ ﺣﺴﮕﺮﻫﺎﻯ ﺍﻟﻜﺘﺮﻭﻧﻴﻚ ﺑﻪ ﺟﺮﻳﺎﻥ ﺍﻟﻜﺘﺮﻳﻜﻰ ﺗﺒﺪﻳﻞ‬ ‫ﺷﺪﻩ ﻭ ﺭﻭﻯ ﺍﻣﻮﺍﺝ ﺍﻟﻜﺘﺮﻭﻣﻐﻨﺎﻃﻴﺲ ﻣﺪﻭﻟﻪ ﻭ ﺍﺭﺳﺎﻝ ﻣﻰﺷﻮﺩ ﻭ ﺣﺘﺎ ﺩﺭ ﻣﻘﺼﺪ ﻧﻴﺰ ﭘﻴﺎﻡ ﻣﺬﻛﻮﺭ ﺑﻪ‬ ‫ﻣﺘﻦ ﺗﺒﺪﻳﻞ ﻧﻤﻰﺷﻮﺩ ﻭ ﺑﻌﺪ ﺍﺯ ﺩﻣﺪﻭﻻﺳﻴﻮﻥ ﺍﺯ ﺭﻭﻯ ﻣﻮﺝ ﺍﻟﻜﺘﺮﻭﻣﻐﻨﺎﻃﻴﺲ ﺣﺎﻣﻞ ﺁﻥ ﻭ ﺗﻘﻮﻳﺖ‪،‬‬ ‫ﻣﺴﺘﻘﻴﻤﺎً ﻭﺍﺭﺩ ﻳﻚ ﺍﺭﺗﻌﺎﺵﮔﺮ ﺍﻟﻜﺘﺮﻳﻜﻰ‪-‬ﻣﻜﺎﻧﻴﻜﻰ ﻣﻰﺷﻮﺩ ﻭ ﻣﺠﺪﺩﺍ ً ﺑﻪ ﺍﻣﻮﺍﺝ ﻃﻮﻟﻰ ﻫﻮﺍ ﺗﺒﺪﻳﻞ‬ ‫ﻣﻰ ﺷﻮﺩ ﻭ ﺍﻳﻦ ﺍﻣﻮﺍﺝ ﻭ ﭘﻴﺎﻡ ﺭﻭﻯ ﺁﻥ ﻣﺴﺘﻘﻴﻤﺎً ﺗﻮﺳﻂ ﻣﺮﺩﻡ ﺳﻴﺎﺭﻩ ﻗﺎﺑﻞ ﺩﺭﻳﺎﻓﺖ ﻭ ﺩﺭﻙ ﺍﺳﺖ‪.‬‬ ‫ﻣﺮﺩﻡ ﺗﻴﻜﺎﺱ ﭼﻨﻴﻦ ﺑﺮﻧﺎﻣﻪﻫﺎﻯ ﻋﺠﻴﺒﻰ ﺭﺍ ﺑﺮﻧﺎﻣﻪﻫﺎﻯ ﺭﺍﺩﻳﻮﻳﻰ ﻣﻰﻧﺎﻣﻨﺪ ﻭ ﻧﻜﺘﻪﻯ ﻏﻴﺮﻋﺎﺩﻯﺗﺮ ﺍﻳﻦ‬ ‫ﺍﺳﺖ ﻛﻪ ﺣﺘﺎ ﺩﺭ ﺑﺮﻧﺎﻣﻪﻫﺎﻯ ﺷﺒﻜﻪﻫﺎﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﻧﻴﺰ ﺍﻃﻼﻋﺎﺕ ﻣﺮﺑﻮﻁ ﺑﻪ ﺍﻳﻦ ﮔﻮﻧﻪ ﮔﻔﺘﺎﺭﻫﺎ‪ ،‬ﻧﻪ‬ ‫ﺑﻪ ﺻﻮﺭﺕ ﻣﺘﻦ‪ ،‬ﺑﻠﻜﻪ ﺑﻪ ﺻﻮﺭﺕ ﻫﻤﺎﻥ ﺍﻣﻮﺍﺝ ﻃﻮﻟﻰ ﻣﺪﻭﻟﻪ ﺷﺪﻩ ﻫﻤﺮﺍﻩ ﺗﺼﻮﻳﺮ ﺍﺭﺳﺎﻝ ﻣﻰﺷﻮﺩ ﻭ‬ ‫ﺑﺮﺍﻯ ﻣﺮﺩﻡ ﺍﻳﻦﺟﺎ ﺍﺳﺘﻔﺎﺩﻩﻯ ﺍﻳﻨﭽﻨﻴﻨﻰ ﺍﺯ ﭘﻴﺎﻡﻫﺎ ﺩﺭ ﻛﻨﺎﺭ ﺗﺼﻮﻳﺮ ﺁﺳﺎﻥﺗﺮ ﺍﺯ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻣﺘﻦﻫﺎﻯ‬ ‫ﻧﻮﺷﺘﺎﺭﻯ ﻫﻤﺮﺍﻩ ﺗﺼﺎﻭﻳﺮ ﻣﻰﺑﺎﺷﺪ‪ .‬ﻣﻮﺿﻮﻉ ﻋﺠﻴﺐ ﺩﻳﮕﺮﻯ ﻧﻴﺰ ﺍﺯ ﻣﺸﺎﻫﺪﺍﺕ ﺍﺳﺘﻨﺒﺎﻁ ﻣﻰﺷﻮﺩ؛‬ ‫ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﻣﻮﺍﺝ ﻃﻮﻟﻰ ﺩﺭ ﻫﻤﻪﻯ ﻣﻮﺍﺭﺩ ﻟﺰﻭﻣﺎً ﺑﻪ ﻗﺼﺪ ﺍﻧﺘﻘﺎﻝ ﺍﻃﻼﻋﺎﺕ ﺻﻮﺭﺕ ﻧﻤﻰﮔﻴﺮﺩ‪ .‬ﺑﺴﻴﺎﺭﻯ‬ ‫ﺍﺯ ﻣﺮﺩﻡ ﺗﻴﻜﺎﺱ ﺍﺯ ﺩﺭﻳﺎﻓﺖ ﺍﻳﻦ ﺍﻣﻮﺍﺝ ﻟﺬﺕ ﻣﻰﺑﺮﻧﺪ‪ .‬ﻇﺎﻫﺮﺍ ً ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺩﺭ ﻣﻮﺍﺭﺩﻯ ﺍﺳﺖ ﻛﻪ ﺭﻭﺍﺑﻂ‬ ‫ﺭﻳﺎﺿﻰ ﺧﺎﺻﻰ ﺑﻴﻦ ﺑﺴﺎﻣﺪﻫﺎﻯ ﺍﻳﻦ ﺍﻣﻮﺍﺝ ﺣﺎﻛﻢ ﺑﺎﺷﺪ‪ .‬ﺍﺑﺰﺍﺭﻫﺎﻯ ﺧﺎﺹ ﻭ ﺑﺴﻴﺎﺭ ﻣﺘﻨﻮﻋﻰ ﺑﺮﺍﻯ‬ ‫ﺳﺎﺧﺘﻦ ﺍﻣﻮﺍﺟﻰ ﺑﺎ ﺍﻳﻦ ﻭﻳﮋﮔﻰ ﺍﺑﺪﺍﻉ ﺷﺪﻩ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺗﻨﻬﺎﻳﻰ ﻳﺎ ﺩﺭ ﺗﺮﻛﻴﺐ ﺑﺎ ﻫﻤﺪﻳﮕﺮ ﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩ‬ ‫ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﺩ ﻭ ﺑﺨﺶ ﻣﻬﻤﻰ ﺍﺯ ﺑﺮﻧﺎﻣﻪﻫﺎﻯ ﺭﺍﺩﻳﻮﻳﻰ ﻭ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﺑﻪ ﭘﺨﺶ ﺍﻣﻮﺍﺝ ﺣﺎﺻﻞ ﺍﺯ ﭼﻨﻴﻦ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﺩﺭ ﺿﻤﺎﻳﻢ ﺩﺍﺧﻠﻰ ﮔﻮﺵ ﺁﻥﻫﺎ ﻭ ﺑﻪ ﺷﻜﻠﻰ ﻛﺎﻣ ً‬ ‫ﻼ ﻣﺮﺗﺒﻂ ﺑﺎ ﺳﻴﺴﺘﻢ ﺗﻌﺎﺩﻟﻰ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ﺩﺭﻭﻥ‬ ‫ﮔﻮﺵ ﺍﺳﺖ ﻭ ﺧﺮﻭﺟﻰ ﺍﻳﻦ ﺣﺴﮕﺮﻫﺎﻯ ﻃﺒﻴﻌﻰ ﻧﻴﺰ ﺑﻪ ﺻﻮﺭﺕ ﻧﻮﻋﻰ ﭘﻴﺎﻡ ﺣﺴﻰ ﺑﻪ ﻣﻐﺰ ﻣﻰﺭﻭﺩ‪.‬‬ ‫ﺩﻗﺖ ﺗﺸﺨﻴﺺ ﺁﺳﺘﺎﻧﻪ ﻭ ﺗﻮﺍﻥ ﺗﻔﻜﻴﻚ ﺑﺴﺎﻣﺪﻯ ﺍﻳﻦ ﺣﺴﮕﺮﻫﺎﻯ ﻃﺒﻴﻌﻰ‪ ،‬ﺑﺴﻴﺎﺭ ﺧﻮﺏ ﺍﺳﺖ؛ ﻭﻟﻰ‬ ‫ﺑﻪ ﻫﺮ ﺻﻮﺭﺕ ﺑﻪ ﭘﺎﻯ ﺣﺴﮕﺮﻫﺎﻯ ﺷﺨﺼﻰ ﻣﺎ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﺳﻪ ﻗﺮﻥ ﺗﻮﻟﻴﺪ‪ ،‬ﻛﻴﻔﻴﺘﻰ ﺑﺴﻴﺎﺭ ﻣﻄﻠﻮﺏ‬ ‫ﻳﺎﻓﺘﻪﺍﻧﺪ‪ ،‬ﻧﻤﻰﺭﺳﺪ‪ .‬ﺍﺑﺘﺪﺍ ﭼﻨﻴﻦ ﭘﻨﺪﺍﺷﺘﻪ ﺷﺪ ﻛﻪ ﺗﻨﻬﺎ ﻣﺰﻳﺖ ﺍﻳﻦ ﻣﺴﺎﻟﻪ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻣﺮﺩﻡ ﺳﻴﺎﺭﻩﻯ‬ ‫ﻣﺬﻛﻮﺭ ﺑﻪ ﻃﻮﺭ ﻃﺒﻴﻌﻰ ﺍﺯ ﻭﻗﻮﻉ ﺑﻌﻀﻰ ﺣﻮﺍﺩﺙ ﻛﻪ ﺧﺎﺭﺝ ﺍﺯ ﺯﺍﻭﻳﻪﻯ ﺩﻳﺪ ﺁﻥﻫﺎ ﺻﻮﺭﺕ ﻣﻰﮔﻴﺮﺩ‪،‬‬ ‫ﻧﻮﻋﻰ ﺁﮔﺎﻫﻰ ﭘﻴﺪﺍ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺑﺮ ﺧﻼﻑ ﻣﺮﺩﻡ ﻣﺎ ﻛﻪ ﺑﺎﻳﺪ ﺑﺮﺍﻯ ﻛﺴﺐ ﭼﻨﻴﻦ ﺁﮔﺎﻫﻰ ﺍﺯ ﭼﻨﻴﻦ ﺣﻮﺍﺩﺛﻰ‬ ‫ﺍﻳﻦ ﺣﺴﮕﺮﻫﺎ ﺭﺍ ﺑﻪ ﺻﻮﺭﺕ ﺟﺪﺍﮔﺎﻧﻪ ﻳﺎ ﺩﺭ ﻟﺒﺎﺱﻫﺎﻯ ﻫﻮﺷﻤﻨﺪ ﻫﻤﺮﺍﻩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ .‬ﺍﻳﻦ ﻭﻳﮋﮔﻰ‬ ‫ﻫﺮ ﭼﻨﺪ ﻣﺰﻳﺖ ﺑﺰﺭﮔﻰ ﺍﺳﺖ‪ ،‬ﻭﻟﻰ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﭘﻴﺸﺮﻓﺖﻫﺎﻯ ﺗﻜﻨﻮﻟﻮژﻯ ﻣﺎ ﺩﺭ ﭼﻨﺪ ﻗﺮﻥ ﺍﺧﻴﺮ‪ ،‬ﺩﻳﮕﺮ‬ ‫ﭼﻨﺪﺍﻥ ﻫﻢ ﺗﻌﻴﻴﻦ ﻛﻨﻨﺪﻩ ﻧﻴﺴﺖ؛ ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺩﺭ ﺁﺧﺮﻳﻦ ﻟﺤﻈﺎﺕ ﻣﺘﻮﺟﻪ ﻣﺴﺎﻟﻪ ﻣﻬﻢﺗﺮﻯ ﺷﺪﻳﻢ‪.‬‬ ‫ﻣﺴﺎﻟﻪ ﻓﻘﻂ ﻳﻚ ﺗﻮﺍﻧﺎﻳﻰ ﻓﻴﺰﻳﻜﻰ ﻧﻴﺴﺖ‪.‬‬ ‫ﺣﺘﺎ ﺩﺭ ﺑﺮﺭﺳﻰﻫﺎﻯ ﺍﻭﻟﻴﻪ ﻧﻴﺰ ﻧﻘﺶ ﺍﻣﻮﺍﺝ ﻣﺬﻛﻮﺭ ﺩﺭ ﺗﻤﺎﻡ ﺍﺑﻌﺎﺩ ﺯﻧﺪﮔﻰ ﻣﺮﺩﻡ ﺳﻴﺎﺭﻩ ﺗﻴﻜﺎﺱ‬ ‫ﺑﺴﻴﺎﺭ ﻭﺳﻴﻊ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﻭ ﺗﻤﺪﻥ ﻣﺬﻛﻮﺭ ﺑﺪﻭﻥ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﻳﻦ ﺍﻣﻮﺍﺝ ﻗﺎﺑﻞ ﺗﺼﻮﺭ ﻧﻴﺴﺖ‪ .‬ﺑﻪ‬ ‫ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﺗﻮﺍﻧﺎﻳﻰ ﺍﺳﺘﻔﺎﺩﻩﻯ ﻣﺴﺘﻘﻴﻢ ﺍﺯ ﺍﻳﻦ ﺍﻣﻮﺍﺝ ﺑﺎﻋﺚ ﻣﻰﺷﻮﺩ ﻛﻪ ﺁﻥﻫﺎ ﻭﺍﺳﻄﻪﻯ ﺑﺴﻴﺎﺭ‬ ‫ﻣﻨﺎﺳﺐﺗﺮﻯ ﺑﺮﺍﻯ ﺗﻔﻬﻴﻢ ﺍﺭﺗﺒﺎﻃﺎﺕ ﻛﻼﻣﻰ ﻧﺴﺒﺖ ﺑﻪ ﺷﻴﻮﻩﻯ ﺭﺍﻳﺞ ﺑﻴﻦ ﻣﺮﺩﻡ ﻣﺎ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺩﺍﺷﺘﻪ‬ ‫ﺑﺎﺷﻨﺪ‪.‬‬ ‫ﺗﻤﺎﻡ ﻣﺮﺩﻡ ﺗﻴﻜﺎﺱ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﻳﻦ ﺍﻣﻮﺍﺝ ﺭﺍ ﺩﺭ ﻫﻤﺎﻥ ﻛﻮﺩﻛﻰ ﺑﻪ ﺷﻜﻞ ﻃﺒﻴﻌﻰ ﻣﻰﺁﻣﻮﺯﻧﺪ ﻭ ﺑﻪ‬ ‫ﺳﺎﺩﮔﻰ ﻣﻰﺗﻮﺍﻥ ﺣﺪﺱ ﺯﺩ ﻛﻪ ﺑﻪ ﻋﻠﺖ ﻭﺟﻮﺩ ﻳﻚ ﺑﺎﺯﺧﻮﺭﺩ ﻗﻮﻯ ﻭ ﻣﺴﺘﻤﺮ‪ ،‬ﻣﻬﺎﺭﺕﻫﺎﻯ ﻣﺮﺩﻡ‬ ‫ﺗﻴﻜﺎﺱ ﺩﺭ ﺷﻜﻞﺩﻫﻰ ﺍﻳﻦ ﺍﻣﻮﺍﺝ ﺑﺴﻴﺎﺭ ﺑﻴﺸﺘﺮ ﺍﺯ ﻣﺮﺩﻡ ﻣﺎ ﻣﻰﺑﺎﺷﺪ ﻛﻪ ﺗﻮﺍﻧﺎﻳﻰ ﺩﺭﻙ ﺍﻳﻦ ﺍﻣﻮﺍﺝ ﺭﺍ‬ ‫ﺻﺮﻓﺎً ﺭﺍ ﺑ��� ﺣﺴﮕﺮﻫﺎ ﻭ ﭘﺲ ﺍﺯ ﺗﺒﺪﻳﻞ ﺑﻪ ﻋﻼﺋﻢ ﻧﻮﺭﻯ ﺩﺍﺭﺍ ﻫﺴﺘﻴﻢ ﻭ ﺗﻮﺍﻧﺎﻳﻰ ﺳﻮﺍﺭ ﻛﺮﺩﻥ ﭘﻴﺎﻡﻫﺎﻯ‬ ‫ﮔﻔﺘﺎﺭﻯ ﺭﻭﻯ ﺍﻣﻮﺍﺝ ﻣﺬﻛﻮﺭ ﺭﺍ‪ ،‬ﻓﻘﻂ ﺩﺭ ﺳﻴﺼﺪ ﺳﺎﻝ ﺍﺧﻴﺮ‪ ،‬ﻭ ﺑﻌﺪ ﺍﺯ ﺍﺑﺪﺍﻉ ﺣﺴﮕﺮﻫﺎ ﺑﻪ ﺩﺳﺖ‬ ‫ﺁﻭﺭﺩﻩﺍﻳﻢ‪ .‬ﺍﺻﻮﻻً ﺑﺮﺍﻯ ﻣﺮﺩﻡ ﺗﻴﻜﺎﺱ‪ ،‬ﺳﺨﻦ ﮔﻔﺘﻦ ﺩﺭ ﺣﻀﻮﺭ ﻫﻢ ﻣﻨﺤﺼﺮﺍ ً ﺑﻪ ﻣﻌﻨﺎﻯ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﻳﻦ‬ ‫ﺍﻣﻮﺍﺝ ﺍﺳﺖ ﻭ ﺍﺧﺘﻼﻝ ﻳﺎ ﻋﺪﻡ ﻭﺟﻮﺩ ﺍﻳﻦ ﺣﺴﮕﺮﻫﺎ ﺑﺮﺍﻯ ﻣﺮﺩﻡ ﺳﻴﺎﺭﻩ ﻣﺬﻛﻮﺭ ﻧﻮﻋﻰ ﻣﻌﻠﻮﻟﻴﺖ ﻭ ﻧﻘﺺ‬ ‫ﺑﺴﻴﺎﺭ ﺑﺰﺭگ ﺑﻪ ﺣﺴﺎﺏ ﻣﻰﺁﻳﺪ‪ .‬ﺗﺎ ﺁﻥ ﺣﺪ ﻛﻪ ﺁﻣﻮﺯﺵ ﺍﻳﻦﮔﻮﻧﻪ ﺍﻓﺮﺍﺩ ﺑﻪ ﺷﻜﻠﻰ ﺧﺎﺹ ﻭ ﺩﺭ ﻣﺮﺍﻛﺰﻯ‬ ‫ﺟﺪﺍﮔﺎﻧﻪ ﺍﻧﺠﺎﻡ ﻣﻰﮔﻴﺮﺩ‪ .‬ﻋﻠﺖ ﺍﺷﺘﺒﺎﻩ ﺍﻭﻟﻴﻪﻯ ﻛﺎﺭﺷﻨﺎﺳﺎﻥ ﻗﺎﻳﻖ ﺍﻋﺰﺍﻣﻰ ﺑﻪ ﺳﻴﺎﺭﻩ ﻧﻴﺰ ﻫﻤﻴﻦ ﻣﺴﺎﻟﻪ‬ ‫ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﮔﺮﻭﻩ ﭘﻨﺞ ﻧﻔﺮﻯ ﻛﻪ‪ ،‬ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻧﺤﻮﻩ ﺍﺭﺗﺒﺎﻁ ﻛﻼﻣﻰ ﻧﺴﺒﺘﺎً ﻣﻔﻬﻮﻡ ﺑﻴﻦ ﺧﻮﺩ‪ ،‬ﺗﻮﺳﻂ‬ ‫ﺍﻳﻦ ﻛﺎﺭﺷﻨﺎﺳﺎﻥ ﺑﺮﺍﻯ ﺑﺮﺭﺳﻰ ﺍﻧﺘﺨﺎﺏ ﺷﺪﻧﺪ‪ ،‬ﺍﺯ ﺳﻮﻯ ﻳﻜﻰ ﺍﺯ ﺍﻳﻦ ﻣﺮﺍﻛﺰ ﺑﻪ ﮔﺮﺩﺵ ﺗﻔﺮﻳﺤﻰ ﺍﻋﺰﺍﻡ‬ ‫ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﺑﻪ ﺟﺰ ﭼﻬﺎﺭﻣﻴﻦ ﻧﻔﺮ ﻣﻮﺭﺩ ﺑﺮﺭﺳﻰ ﻛﻪ ﻣﺮﺑﻰ ﮔﺮﻭﻩ ﻧﻴﺰ ﺑﻮﺩ‪ ،‬ﺑﻘﻴﻪ ﻓﺎﻗﺪ ﺍﻳﻦ ﺣﺴﮕﺮ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﺭﻭﺑﺎﺕﻫﺎ ﺗﻮﺍﻧﺴﺘﻨﺪ ﺩﺭ ﺷﻬﺮﻯ ﻛﻮﭼﻚ ﻛﻪ ﺑﺎ ﻓﺎﺻﻠﻪ ﺍﻣﻨﻰ ﺍﺯ ﺟﻨﮕﻞ ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪ ،‬ﺑﺪﻭﻥ ﻫﻴﭻ ﺭﻳﺴﻜﻰ‬ ‫ﭼﻨﺪ ﻛﺘﺎﺏ ﻛﺎﻏﺬﻯ ﺑﺰﺭگ ﺭﺍ ﺍﺯ ﻳﻚ ﻛﺘﺎﺑﺨﺎﻧﻪ ﻛﺎﻏﺬﻯ‪ ،‬ﺩﺭ ﻫﻨﮕﺎﻡ ﺗﻌﻄﻴﻞ ﺑﻮﺩﻥ ﻛﺘﺎﺑﺨﺎﻧﻪ‪ ،‬ﺑﻪ ﺩﺳﺖ‬ ‫ﺁﻭﺭﻧﺪ‪ .‬ﺍﻳﻦ ﻛﺘﺎﺏﻫﺎ ﻧﻮﻋﻰ ﺩﺍﻳﺮﻩﺍﻟﻤﻌﺎﺭﻑ ﺧﺎﺹ ﺍﺳﺖ ﻛﻪ ﺩﺭﺑﺎﺭﻩﻯ ﻣﻮﺿﻮﻋﺎﺕ ﻣﺨﺘﻠﻒ ﻭ ﻇﺎﻫﺮﺍ ً ﺩﺭ‬ ‫ﺳﻄﺢ ﺗﺨﺼﺼﻰ ﻣﺘﻮﺳﻄﻰ ﻧﮕﺎﺭﺵ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻳﻜﻰ ﺍﺯ ﺍﻳﻦ ﻛﺘﺎﺏﻫﺎ ﺷﺎﻣﻞ ﺗﻮﺿﻴﺤﺎﺕ ﻭ ﺗﺼﺎﻭﻳﺮ‬ ‫ﺑﺴﻴﺎﺭ ﻣﻔﻴﺪﻯ ﺍﺯ ﺳﺎﺧﺘﻤﺎﻥ ﺑﺪﻥ ﺍﻧﺴﺎﻥﻫﺎﻯ ﺗﻴﻜﺎﺱ ﻭ ﺗﺸﺮﻳﺢ ﺍﻋﻀﺎ ﻭ ﺳﻴﺴﺘﻢﻫﺎﻯ ﻋﻤﻠﻜﺮﺩ ﺑﺪﻥ‬ ‫ﻣﻰﺑﺎﺷﺪ ﻭ ﺍﺯ ﺍﻳﻦ ﻧﻈﺮ ﺑﺮﺍﻯ ﻣﺎ ﺑﺴﻴﺎﺭ ﻣﻔﻴﺪ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﺑﺮﺭﺳﻰ ﻣﺤﺘﻮﺍﻯ ﺁﻥ ﺁﻏﺎﺯ ﺷﺪﻩ ﻭ ﻧﺘﺎﻳﺞ ﺑﻪ‬ ‫ﺯﻭﺩﻯ ﮔﺰﺍﺭﺵ ﺧﻮﺍﻫﺪ ﺷﺪ‪«.‬‬ ‫‪ ‬ﻣﻀﻄﺮﺏ ﺑﻮﺩ‪ .‬ﻫﻤﻪ ﻣﻀﻄﺮﺏ ﺑﻮﺩﻧﺪ‪ .‬ﻛﺴﻰ ﻧﻤﻰﺩﺍﻧﺴﺖ ﭼﻪ ﺷﺪﻩ‪ .‬ﺳﻔﻴﻨﻪ ﻓﻘﻂ ﭘﻴﻐﺎﻡ ﻛﻮﺗﺎﻩ ﻗﺎﻳﻖ ﺭﺍ‬ ‫ﺑﺮﺍﻯ ﭘﺎﻳﮕﺎﻩ ﻓﺮﺳﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﺧﺒﺮﻯ ﺑﻮﺩ‪ .‬ﺍﺣﺘﻤﺎﻻً ﻧﺎﺧﻮﺷﺎﻳﻨﺪ‪.‬‬ ‫»ﭘﻴﺎﻡ ﺍﺿﻄﺮﺍﺭﻯ ﺍﺯ ﻗﺎﻳﻖ‪ :‬ﻛﺪ ﻋﻤﻠﻴﺎﺗﻰ ‪ .315‬ﺗﻜﺮﺍﺭ ﻣﻰﺷﻮﺩ‪ ،‬ﻛﺪ ﻋﻤﻠﻴﺎﺗﻰ ‪ .315‬ﻟﻄﻔﺎً ﺩﺭﻳﺎﻓﺖ ﭘﻴﺎﻡ‬ ‫ﺗﺎﻳﻴﺪ ﮔﺮﺩﺩ ﻭ ﻣﻮﺍﻓﻘﺖ ﺑﻪ ﻋﻤﻞ ﺁﻳﺪ‪«.‬‬ ‫‪ ‬ﺩﺳﺘﻮﺭ ﺍﻓﺰﺍﻳﺶ ﺩﻓﻌﺎﺕ ﺍﺭﺗﺒﺎﻁ ﺭﺍ ﺩﺍﺩ‪ .‬ﻫﻤﻪ ﻣﻨﺘﻈﺮ ﺣﺎﺩﺛﻪﺍﻯ ﺑﻮﺩﻧﺪ‪.‬‬ ‫»ﮔﺰﺍﺭﺵ ﭘﺎﻳﺎﻥ ﻋﻤﻠﻴﺎﺕ ﺍﺯ ﻗﺎﻳﻖ‪ :‬ﺧﺮﻭﺝ ﺍﺿﻄﺮﺍﺭﻯ ﺍﺯ ﺳﻄﺢ ﺳﻴﺎﺭﻩ ﺑﺎ ﻣﻮﻓﻘﻴﺖ ﺍﻧﺠﺎﻡ ﺷﺪ ﻭ ﺑﻪ ﺯﻭﺩﻯ‬ ‫ﺍﺯ ﻓﻀﺎﻯ ﻣﻨﻈﻮﻣﻪﺍﻯ ﻧﻴﺰ ﺧﺎﺭﺝ ﺧﻮﺍﻫﻴﻢ ﺷﺪ‪ .‬ﻗﺎﻳﻖ ﺭﻭﺑﺎﺗﻴﻚ ﻧﻴﺰ ﺑﺪﻭﻥ ﻫﻴﭻ ﻣﺸﻜﻠﻰ ﺍﺯ ﺳﻴﺎﺭﻩ ﺟﺪﺍ‬ ‫ﺷﺪ ﻭ ﺑﺮﺍﻯ ﺍﻟﺤﺎﻕ ﺑﻪ ﺳﻔﻴﻨﻪ ﺁﻣﺎﺩﻩ ﺍﺳﺖ‪ .‬ﻫﻴﭻ ﻭﺳﻴﻠﻪﺍﻯ ﺭﺍ ﺟﺎ ﻧﮕﺬﺍﺷﺘﻪﺍﻳﻢ‪ .‬ﺍﺭﺗﺒﺎﻃﻰ ﻧﻴﺰ ﺑﺎ ﻣﺮﺩﻡ‬ ‫ﺳﻴﺎﺭﻩ ﺗﻴﻜﺎﺱ ﺑﺮﻗﺮﺍﺭ ﻧﺸﺪ‪«.‬‬ ‫‪ ‬ﻟﻌﻨﺘﻰ! ﭼﺮﺍ ﺗﻮﺿﻴﺢ ﺑﻴﺸﺘﺮﻯ ﺩﺭ ﻛﺎﺭ ﻧﺒﻮﺩ؟ ﺑﺎﻳﺪ ﭼﻨﺪ ﺳﺎﻋﺖ ﺩﻳﮕﺮ ﻣﻨﺘﻈﺮ ﻣﻰﻣﺎﻧﺪ؟ ﺣﻮﺻﻠﻪﻯ‬ ‫ﻧﺸﺴﺘﻦ ﺩﺭ ﺍﺗﺎﻗﺶ ﺭﺍ ﻧﺪﺍﺷﺖ‪ .‬ﺗﺼﻤﻴﻢ ﮔﺮﻓﺖ ﺩﺭ ﻛﺮﻳﺪﻭﺭﻫﺎﻯ ﭘﺎﻳﮕﺎﻩ ﻗﺪﻡ ﺑﺰﻧﺪ‪ .‬ﺯﻣﺎﻥ ﺑﻪ ﻧﻈﺮﺵ ﺑﺴﻴﺎﺭ‬ ‫ﻃﻮﻻﻧﻰ ﻣﻰﮔﺬﺷﺖ‪ .‬ﻟﺮﺯﺵ ﺁﻻﺭﻡ ﺣﺴﮕﺮ ﻣﭽﻰﺍﺵ ﺭﺍ ﺣﺲ ﻛﺮﺩ ﻭ ﺑﻪ ﻋﻘﺐ ﺑﺮﮔﺸﺖ‪ .‬ﺗﻮﻣﺎ ﺑﻮﺩ ﻛﻪ ﺑﻪ‬ ‫ﺳﺮﻋﺖ ﺩﻧﺒﺎﻟﺶ ﻣﻰﺩﻭﻳﺪ‪ ،‬ﻧﻔﺲﻧﻔﺲ ﻣﻰﺯﺩ ﻭ ﮔﺰﺍﺭﺵ ﺭﺍ ﺩﺭ ﺩﺳﺖ ﺩﺍﺷﺖ‪.‬‬ ‫»ﮔﺰﺍﺭﺵ ﺍﺿﻄﺮﺍﺭﻯ ﺳﻔﻴﻨﻪﻯ ﺷﻤﺎﺭﻩ ﻳﺎﺯﺩﻩ ﺑﻪ ﭘﺎﻳﮕﺎﻩ‪ :‬ﻗﺎﻳﻖﻫﺎ ﺑﻪ ﺳﻔﻴﻨﻪ ﻣﻠﺤﻖ ﺷﺪﻧﺪ‪ .‬ﺩﺍﺭﻳﻢ ﺑﺎ ﺳﺮﻋﺖ‬ ‫ﺍﺯ ﻣﻨﻈﻮﻣﻪﻯ ﻣﺬﻛﻮﺭ ﺩﻭﺭ ﻣﻰﺷﻮﻳﻢ‪ .‬ﺳﺎﻋﺎﺗﻰ ﺩﻳﮕﺮ ﺑﻪ ﻧﻘﻄﻪ ﺟﻬﺶ ﺧﻮﺍﻫﻴﻢ ﺭﺳﻴﺪ‪ .‬ﮔﺰﺍﺭﺵﻫﺎﻯ ﻛﺎﻣﻞ‬ ‫ﺑﺮﺍﻯ ﺑﺮﺭﺳﻰﻫﺎﻯ ﺑﻌﺪﻯ ﺩﺭ ﺧﻮﺩ ﭘﺎﻳﮕﺎﻩ ﺗﻘﺪﻳﻢ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﺁﻥ ﭼﻪ ﺩﺭ ﺍﻳﻦﺟﺎ ﻣﻰﺁﻳﺪ ﻳﻚ ﮔﺰﺍﺭﺵ‬ ‫ﺍﻭﻟﻴﻪ ﻣﻰﺑﺎﺷﺪ‪.‬‬ ‫ﭘﺪﻳﺪﻩﺍﻯ ﻧﺎﺷﻨﺎﺧﺘﻪ ﻭ ﻋﺠﻴﺐ ﻣﺮﺑﻮﻁ ﺑﻪ ﺣﺴﮕﺮﻫﺎﻯ ﻃﺒﻴﻌﻰ ﺩﺭ ﻣﺮﺩﻡ ﺗﻴﻜﺎﺱ ﻛﻪ ﻗﺒ ً‬ ‫ﻼ ﻣﺸﺎﻫﺪﻩ ﺁﻥ‬ ‫ﮔﺰﺍﺭﺵ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﺑﺮﺭﺳﻰ ﺁﻥ ﻧﻴﺎﺯ ﺑﻪ ﺯﻣﺎﻥ ﻭ ﺩﻗﺖ ﺯﻳﺎﺩﻯ ﺩﺍﺭﺩ‪ .‬ﻣﻜﺎﻥ ﺍﻳﻦ ﺣﺴﮕﺮﻫﺎ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﺣﺲ ﻣﻰﻛﻨﻨﺪ ﻳﺎ ﺑﻌﻀﻰ ﺟﺎﻧﻮﺭﺍﻥ ﺩﻳﮕﺮ ﻛﻪ ﻧﻪ ﻫﻤﻪﻯ ﺍﻣﻮﺍﺝ ﻃﻮﻟﻰ‪ ،‬ﺑﻠﻜﻪ ﻓﻘﻂ ﺑﻌﻀﻰ ﺍﻧﻮﺍﻉ ﺁﻥ ﻣﺜﻞ‬ ‫ﺍﻣﻮﺍﺝ ﻗﺒﻞ ﺍﺯ ﻭﻗﻮﻉ ﺯﻟﺰﻟﻪ ﺭﺍ ﺣﺲ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻭﻟﻰ ﺩﺭ ﻣﻮﺭﺩ ﺍﻧﺴﺎﻥﻫﺎ ﻫﻨﻮﺯ ﺍﺑﻬﺎﻣﻰ ﺑﺰﺭگ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪.‬‬ ‫ﺣﺴﺎﺳﻴﺖ ﻗﺪﺭﺕ ﻻﻣﺴﻪﻯ ﺍﻳﻦ ﺷﺨﺺ ﻧﻴﺰ ﻣﻮﺭﺩ ﺁﺯﻣﺎﻳﺶ ﻗﺮﺍﺭ ﮔﺮﻓﺖ‪ .‬ﺩﺭ ﻣﻮﺭﺩ ﺳﻨﺠﺶ ﺩﻣﺎﻳﻰ‬ ‫ﻧﺘﺎﻳﺞ ﻫﻤﺎﻥ ﻣﻘﺎﺩﻳﺮ ﺁﺷﻨﺎ ﻫﺴﺘﻨﺪ‪ ،‬ﻭﻟﻰ ﺩﺭ ﺁﺯﻣﺎﻳﺶ ﻗﺪﺭﺕ ﺍﺭﺗﻌﺎﺵﺳﻨﺠﻰ ﻟﻤﺴﻰ ﻣﺸﺨﺺ ﺷﺪ ﻛﻪ‬ ‫ﺗﻮﺍﻧﺎﻳﻰ ﺁﻥﻫﺎ ﺩﺭ ﺍﻳﻦ ﺟﻨﺒﻪ ﻧﻪ ﺗﻨﻬﺎ ﺍﺯ ﻣﺎ ﺑﻴﺸﺘﺮ ﻧﻴﺴﺖ‪ ،‬ﺑﻠﻜﻪ ﺗﺎ ﺣﺪﻯ ﺿﻌﻴﻒﺗﺮ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦﺟﺎ‬ ‫ﻧﻴﺰ ﺣﺴﺎﺱﺗﺮﻳﻦ ﻗﺴﻤﺖ ﺑﺪﻥ ﺩﺭ ﺍﺭﺗﻌﺎﺵﺳﻨﺠﻰ ﻛﻒ ﺩﺳﺖ ﻭ ﻧﻮﻙ ﺍﻧﮕﺸﺘﺎﻥ ﺍﺳﺖ‪ ،‬ﻭﻟﻰ ﺣﺘﺎ ﺍﻳﻦ‬ ‫ِ‬ ‫ﭘﻮﺳﺖ ﻣﺎ ﺩﺍﺭﺩ‪.‬‬ ‫ﻗﺴﻤﺖﻫﺎ ﻧﻴﺰ ﺗﻮﺍﻥ ﻛﻤﺘﺮﻯ ﻧﺴﺒﺖ ﺑﻪ ﺑﺨﺶﻫﺎﻯ ﻣﻌﻤﻮﻟﻰ‬ ‫ﺑﺮﺍﻯ ﺁﺯﻣﺎﻳﺶ ﺑﻌﺪﻯ ﺷﺨﺼﻰ ﻛﻪ ﻣﺴﻦﺗﺮ ﻭ ﻇﺎﻫﺮﺍ ً ﻣﺮﺑﻰ ﮔﺮﻭﻩ ﻣﻰﺑﺎﺷﺪ‪ ،‬ﺭﺑﻮﺩﻩ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﺍﺣﺘﻤﺎﻻً‬ ‫ﺑﺘﻮﺍﻥ ﺍﺭﺗﺒﺎﻁ ﺑﻬﺘﺮﻯ ﺑﺎ ﺍﻭ ﺑﺮﻗﺮﺍﺭ ﻛﺮﺩ‪«.‬‬ ‫‪ ‬ﻳﻚ ﻣﺸﻮﺭﺕ ﺳﺮﻳﻊ ﺑﺎ ﻣﻌﺎﻭﻧﺎﻧﺶ ﺍﻧﺠﺎﻡ ﺩﺍﺩ‪ .‬ﺩﺳﺘﻮﺭ ﺭﺍ ﺻﺎﺩﺭ ﻛﺮﺩ ﻭ ﺑﺮﺍﻯ ﺳﻔﻴﻨﻪ ﻓﺮﺳﺘﺎﺩ‪ .‬ﺍﺭﺗﺒﺎﻁ ﺑﺎ‬ ‫ﻣﺮﺩﻡ ﺳﻴﺎﺭﻩ ﺑﺎﻳﺪ ﺑﺮﻗﺮﺍﺭ ﻣﻰﺷﺪ‪ .‬ﭘﺎﺳﺦ ﺭﺍ ﺍﻳﻦ ﺑﺎﺭ ﺳﺮﻳﻊﺗﺮ ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩ‪.‬‬ ‫»ﮔﺰﺍﺭﺵ ﻫﺸﺖ ﺍﺯ ﻗﺎﻳﻖ‪ :‬ﺩﺳﺘﻮﺭﺍﺕ ﺩﺭﻳﺎﻓﺖ ﺷﺪ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﻛﻪ ﺑﺮﺍﻯ ﺍﺟﺮﺍﻯ ﺍﺭﺗﺒﺎﻁ ﻣﺴﺘﻘﻴﻢ ﺑﺎ‬ ‫ﻣﺮﺩﻡ ﺍﻳﻦﺟﺎ ﻣﺎﻧﻊ ﺑﺰﺭﮔﻰ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﻃﺮﺡ ﺗﻔﺼﻴﻠﻰ ﻋﻤﻠﻴﺎﺕ ﺑﺮﺍﻯ ﺗﺼﻮﻳﺐ ﺍﺭﺳﺎﻝ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻳﻚ ﺭﻭﺑﺎﺕ ﺍﻧﺴﺎﻥﮔﻮﻧﻪﻯ ﻣﺠﻬﺰ ﺑﻪ ﺗﻤﺎﻡ ﻭﺳﺎﻳﻞ ﺍﺭﺗﺒﺎﻃﻰ ﺭﺍ ﺑﺮﺍﻯ ﺍﺭﺗﺒﺎﻁ ﺍﻭﻟﻴﻪ ﺑﻪ ﺷﻬﺮ ﺑﺰﺭﮔﻰ ﻛﻪ‬ ‫ﺩﺭ ﻓﺎﺻﻠﻪﺍﻯ ﺍﻣﻦ ﻭ ﺩﻭﺭ ﺍﺯ ﺟﻨﮕﻞ ﻣﺤﻞ ﺍﺳﺘﻘﺮﺍﺭ ﻗﺎﻳﻖ ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪ ،‬ﺧﻮﺍﻫﻴﻢ ﻓﺮﺳﺘﺎﺩ ﻭ ﺭﻭﺑﺎﺕ ﻣﺬﻛﻮﺭ‬ ‫ﭘﺲ ﺍﺯ ﭼﻨﺪ ﺭﻭﺯ ﺍﻗﺎﻣﺖ ﻣﻌﻤﻮﻟﻰ ﻭ ﺍﺭﺳﺎﻝ ﮔﺰﺍﺭﺵ ﻧﻬﺎﻳﻰ ﺑﺮﺍﻯ ﻣﺎ‪ ،‬ﺑﺎ ﻣﺮﺍﻛﺰ ﻋﻠﻤﻰ ﺁﻥﻫﺎ ﺗﻤﺎﺱ‬ ‫ﺧﻮﺍﻫﺪ ﮔﺮﻓﺖ‪ .‬ﺍﺣﺘﻤﺎﻝ ﺍﻳﻦ ﻛﻪ ﺳﺨﻨﺎﻧﺶ ﺭﺍ ﺑﺎﻭﺭ ﻧﻜﻨﻨﺪ‪ ،‬ﺍﻧﺪﻙ ﺍﺳﺖ‪ .‬ﻣﺮﺩﻡ ﺍﻳﻦ ﺳﻴﺎﺭﻩ ﻫﻨﻮﺯ ﺩﺍﺭﺍﻯ‬ ‫ﺗﻜﻨﻮﻟﻮژﻯ ﺳﺎﺧﺖ ﺭﻭﺑﺎﺕ ﺩﺭ ﺍﻳﻦ ﺳﻄﺢ ﻧﻴﺴﺘﻨﺪ ﻭ ﻗﻄﻌﺎً ﺑﻪ ﺍﻭ ﺗﻮﺟﻪ ﺧﻮﺍﻫﻨﺪ ﻛﺮﺩ‪ .‬ﻣﺮﺍﺣﻞ ﺑﻌﺪﻯ ﺑﺎ‬ ‫ﺗﻮﺟﻪ ﺑﻪ ﺭﻓﺘﺎﺭ ﺁﻧﺎﻥ ﭘﻴﮕﻴﺮﻯ ﺧﻮﺍﻫﺪ ﺷﺪ‪.‬‬ ‫ﺁﺯﻣﺎﻳﺶﻫﺎﻯ ﺗﻜﻤﻴﻠﻰ ﺭﻭﻯ ﺩﻭ ﻧﻔﺮ ﺩﻳﮕﺮ ﺍﻧﺠﺎﻡ ﮔﺮﻓﺖ ﻭ ﺑﻪ ﺧﺼﻮﺹ ﺩﺭ ﻣﻮﺭﺩ ﻣﺮﺑﻰ ﮔﺮﻭﻩ‪ ،‬ﺩﺍﺭﺍﻯ‬ ‫ﻧﺘﺎﻳﺠﻰ ﻣﺘﻔﺎﻭﺕ ﺑﻮﺩ‪ .‬ﺩﺭ ﻛﻤﺎﻝ ﺗﻌﺠﺐ‪ ،‬ﺍﻭ ﺁﻥ ﺣﺴﮕﺮ ﻃﺒﻴﻌﻰ ﺭﺍ ﻛﻪ ﺣﺪﺱ ﺯﺩﻩ ﺑﻮﺩﻳﻢ‪ ،‬ﺩﺍﺭﺍ ﺑﻮﺩ‪.‬‬ ‫ﺁﺯﻣﺎﻳﺶﻫﺎﻯ ﻣﺎ ﻛﻪ ﺑﺎ ﺍﻳﺠﺎﺩ ﺍﻣﻮﺍﺟﻰ ﺑﺎ ﺷﺪﺕﻫﺎ ﻭ ﺑﺴﺎﻣﺪﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺍﻧﺠﺎﻡ ﺷﺪ‪ ،‬ﻧﺸﺎﻥ ﺩﺍﺩ ﻛﻪ ﺍﻳﻦ‬ ‫ﺣﺴﮕﺮ ﻃﺒﻴﻌﻰ ﺑﺴﻴﺎﺭ ﭘﻴﺸﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﻫﺮ ﭼﻨﺪ ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﺣﺴﮕﺮﻫﺎﻯ ﺷﺨﺼﻰ ﻣﺎ‪ ،‬ﻣﺤﺪﻭﺩﻳﺖﻫﺎﻳﻰ‬ ‫ﺩﺭ ﺑﺴﺎﻣﺪﻫﺎﻯ ﺑﺴﻴﺎﺭ ﻛﻢ ﻭ ﺑﺴﻴﺎﺭ ﺯﻳﺎﺩ ﻧﺸﺎﻥ ﻣﻰﺩﺍﺩ‪ ،‬ﻭﻟﻰ ﺁﺳﺘﺎﻧﻪﻯ ﺗﺸﺨﻴﺺ ﻭ ﺗﻮﺍﻥ ﺗﻔﻜﻴﻚ ﺑﺴﻴﺎﺭ‬ ‫ﺣﺴﺎﺳﻰ ﺩﺍﺷﺖ‪ .‬ﺑﻪ ﻫﺮ ﺻﻮﺭﺕ ﺩﺍﺭﺍ ﺑﻮﺩﻥ ﺍﻳﻦ ﺣﺴﮕﺮﻫﺎﻯ ﻃﺒﻴﻌﻰ ﻣﺰﻳﺘﻰ ﺑﺮﺍﻯ ﺑﻌﻀﻰ ﺍﺯ ﻣﺮﺩﻡ ﺍﻳﻦﺟﺎ‬ ‫ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﻣﺎ ﺑﻪ ﺣﺴﺎﺏ ﻣﻰﺁﻳﺪ‪ .‬ﻫﺮ ﭼﻨﺪ ﻗﺎﻋﺪﺗﺎً ﻧﻤﻰﺗﻮﺍﻧﺪ ﺧﻄﺮﻯ ﺑﺮﺍﻯ ﻣﺎ ﺍﻳﺠﺎﺩ ﻛﻨﺪ‪ .‬ﻗﺮﻥﻫﺎ‬ ‫ﺍﺳﺖ ﻛﻪ ﻣﺮﺩﻡ ﻣﺎ ﻋﺎﺩﺕ ﻛﺮﺩﻩﺍﻧﺪ ﺣﺴﮕﺮﻫﺎ ﺭﺍ ﺩﺭ ﻟﺒﺎﺱﻫﺎﻯ ﻫﻮﺷﻤﻨﺪ ﻳﺎ ﺑﻪ ﺷﻜﻞ ﺟﺪﺍﮔﺎﻧﻪ ﻫﻤﺮﺍﻩ‬ ‫ﺧﻮﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ ﻭ ﺗﻮﻟﻴﺪ ﺍﻧﺒﻮﻩ ﺁﻥ ﺑﺮﺍﻯ ﻣﺎ ﺑﺴﻴﺎﺭ ﺳﺎﺩﻩ ﻭ ﺍﺭﺯﺍﻥ ﺍﺳﺖ‪.‬‬ ‫‪63‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﺟﻨﮕﻰ ﻣﺮﺩﻡ ﺳﻴﺎﺭﻩ ﺩﺭ ﺁﻥ ﺣﺪ ﻧﺒﻮﺩ ﻛﻪ ﺑﺘﻮﺍﻧﺪ ﺣﺘﺎ ﺩﺭ ﺑﺪﺗﺮﻳﻦ ﺣﺎﻟﺖ ﻣﺸﻜﻠﻰ ﺑﺮﺍﻯ ﺳﻔﻴﻨﻪ ﺍﻳﺠﺎﺩ‬ ‫ﻛﻨﺪ‪.‬‬ ‫»ﮔﺰﺍﺭﺵ ﻫﻔﺖ ﺍﺯ ﻗﺎﻳﻖ‪ :‬ﺗﺼﻤﻴﻢ ﺩﺭﺑﺎﺭﻩﻯ ﺳﻪ ﻣﺴﻴﺮ ﻣﺘﺼﻮﺭ ﺑﺮﺍﻯ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﺗﻤﺪﻥ ﻣﻮﺟﻮﺩ ﺩﺭ ﺍﻳﻦ‬ ‫ﺳﻴﺎﺭﻩ‪ ،‬ﺩﺭ ﺻﻼﺣﻴﺖ ﻗﺎﻳﻖ ﻧﻴﺴﺖ ﻭ ﺑﻪ ﺳﻔﻴﻨﻪ ﻳﺎ ﭘﺎﻳﮕﺎﻩ ﻣﺮﺑﻮﻁ ﻣﻰﺷﻮﺩ‪ ،‬ﻭﻟﻰ ﺟﻬﺖﮔﻴﺮﻯ ﺍﺩﺍﻣﻪﻯ‬ ‫ﺗﺤﻘﻴﻘﺎﺕ ﻣﺎ ﺗﺎ ﺣﺪﻯ ﺑﻪ ﺍﻳﻦ ﻣﺴﺎﻟﻪ ﻣﺮﺑﻮﻁ ﻣﻰﺷﻮﺩ‪ .‬ﺩﺭ ﺻﻮﺭﺕ ﺍﻧﺘﺨﺎﺏ ﺍﻭﻝ‪ ،‬ﻳﻌﻨﻰ ﺍﻧﺠﺎﻡ ﻧﺸﺪﻥ‬ ‫ﻫﻴﭻﮔﻮﻧﻪ ﺍﺭﺗﺒﺎﻁ ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ‪ ،‬ﻣﺎ ﺑﺎﻳﺪ ﺗﻼﺵ ﺧﻮﺩ ﺭﺍ ﺑﺮﺍﻯ ﺫﺧﻴﺮﻩﺳﺎﺯﻯ ﻫﺮ ﭼﻪ ﺑﻴﺸﺘﺮ ﺍﻃﻼﻋﺎﺕ‬ ‫ﻣﺮﺑﻮﻁ ﺑﻪ ﺳﻴﺎﺭﻩ ﺑﺮﺍﻯ ﺑﺮﺭﺳﻰﻫﺎﻯ ﺑﻌﺪﻯ ﻣﺘﻤﺮﻛﺰ ﺳﺎﺯﻳﻢ‪ .‬ﺩﻭﻣﻴﻦ ﺭﺍﻩ‪ ،‬ﻳﻌﻨﻰ ﺍﺭﺗﺒﺎﻁ ﻳﻚﻃﺮﻓﻪ‪،‬‬ ‫ﺑﺎ ﺧﺮﻭﺝ ﻗﺎﻳﻖ ﻭ ﺟﺎ ﮔﺬﺍﺷﺘﻦ ﺭﻭﺑﺎﺕﻫﺎﻯ ﺍﻧﺴﺎﻥﮔﻮﻧﻪﻯ ﺣﺎﻣﻞ ﭘﻴﺎﻡ ﺩﺭ ﺳﻴﺎﺭﻩ ﺍﻧﺠﺎﻡ ﺧﻮﺍﻫﺪ ﺷﺪ‪.‬‬ ‫ﺑﻨﺎﺑﺮﺍﻳﻦ ﺑﺎﻳﺪ ﺩﻗﺖ ﻭ ﻭﻗﺖ ﻛﺎﻓﻰ ﺑﻪ ﺗﻨﻈﻴﻢ ﭘﻴﺎﻡﻫﺎﻯ ﺧﻮﺩﻣﺎﻥ ﺑﺮﺍﻯ ﻣﺮﺩﻡ ﺳﻴﺎﺭﻩ ﺍﺧﺘﺼﺎﺹ ﺩﻫﻴﻢ‬ ‫ﻭ ﺭﻭﺑﺎﺕﻫﺎﻯ ﺣﺎﻣﻞ ﭘﻴﺎﻡ ﺭﺍ ﺍﺯ ﻫﺮ ﮔﻮﻧﻪ ﺍﻃﻼﻋﺎﺗﻰ ﻛﻪ ﺍﻧﺘﻘﺎﻝ ﺁﻥ ﺑﻪ ﻣﺮﺩﻡ ﺗﻴﻜﺎﺱ ﺑﺘﻮﺍﻧﺪ ﺩﺭﺩﺳﺮﻯ‬ ‫ﺑﺮﺍﻯ ﻣﺎ ﺍﻳﺠﺎﺩ ﻛﻨﺪ‪ ،‬ﺗﺨﻠﻴﻪ ﻛﻨﻴﻢ‪ .‬ﺳﻮﻣﻴﻦ ﺭﺍﻩ ﻳﻌﻨﻰ ﺍﺭﺗﺒﺎﻁ ﻣﺴﺘﻘﻴﻢ ﻛﻪ ﺍﺑﺘﺪﺍ ﺗﻮﺳﻂ ﺭﻭﺑﺎﺕﻫﺎ ﺷﺮﻭﻉ‬ ‫ﻭ ﺳﭙﺲ ﺗﻮﺳﻂ ﺳﺎﻛﻨﻴﻦ ﻗﺎﻳﻖ ﻳﺎ ﺳﻔﻴﻨﻪ ﭘﻴﮕﻴﺮﻯ ﺧﻮﺍﻫﺪ ﺷﺪ‪ ،‬ﻓﻘﻂ ﺩﺭ ﺣﺎﻟﺘﻰ ﺍﻧﺠﺎﻡ ﺧﻮﺍﻫﺪ ﺷﺪ‬ ‫ﻛﻪ ﺑﺮﺭﺳﻰﻫﺎ ﻋﺪﻡ ﻭﺟﻮﺩ ﻫﻴﭻﮔﻮﻧﻪ ﺧﻄﺮﻯ ﺍﺯ ﺳﻮﻯ ﺳﺎﻛﻨﺎﻥ ﺍﻳﻦ ﺳﻴﺎﺭﻩ ﺭﺍ ﺑﺮﺍﻯ ﻣﺎ‪ ،‬ﭼﻪ ﺍﺯ ﻧﻈﺮ‬ ‫ﺗﻜﻨﻮﻟﻮژﻳﻚ ﻭ ﭼﻪ ﺭﻓﺘﺎﺭﻫﺎﻯ ﻓﺮﺩﻯ ﻭ ﺍﺟﺘﻤﺎﻋﻰ‪ ،‬ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ ﻭ ﺩﺭ ﺁﻳﻨﺪﻩ ﻧﺰﺩﻳﻚ ﺗﺎﻳﻴﺪ ﻛﻨﺪ‪.‬‬ ‫ﻻﺯﻣﻪﻯ ﺍﻳﻦ ﺍﻧﺘﺨﺎﺏ ﺷﻨﺎﺧﺖ ﺑﻴﺸﺘﺮ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﺑﺎﺭﻩ ﻣﻨﺘﻈﺮ ﺩﺳﺘﻮﺭﺍﺕ ﻫﺴﺘﻴﻢ‪.‬‬ ‫ﺁﺯﻣﺎﻳﺶ ﺭﻭﻯ ﺍﻓﺮﺍﺩ ﻫﺪﻑ ﺩﺭ ﺣﺎﻝ ﺍﻧﺠﺎﻡ ﺍﺳﺖ‪ .‬ﺑﻌﺪ ﺍﺯ ﺍﻧﺠﺎﻡ ﺁﺯﻣﺎﻳﺶﻫﺎﻯ ﭘﺰﺷﻜﻰ ﻛﺎﻣﻞ ﺭﻭﻯ ﺩﻭ ﻧﻔﺮ‬ ‫ﺩﺭ ﺣﺎﻟﺖ ﺑﻰﻫﻮﺷﻰ‪ ،‬ﻣﻮﺭﺩ ﺳﻮﻡ ﺭﺍ ﺑﻌﺪ ﺍﺯ ﺭﺑﻮﺩﻩ ﺷﺪﻥ‪ ،‬ﺩﺭ ﻗﺎﻳﻖ ﺑﻴﺪﺍﺭ ﻛﺮﺩﻳﻢ ﻭ ﺗﻼﺵ ﺑﺮﺍﻯ ﺍﻳﺠﺎﺩ‬ ‫ﺍﺭﺗﺒﺎﻁ ﺩﺭ ﻫﺮ ﺩﻭ ﺟﻨﺒﻪﻯ ﻣﺘﻨﻰ ﻭ ﻛﻼﻣﻰ ﺍﻧﺠﺎﻡ ﺷﺪ‪ .‬ﻇﺎﻫﺮ ﺍﺗﺎﻕ ﺁﺯﻣﺎﻳﺶ ﻭ ﻟﺒﺎﺱ ﻣﺼﺎﺣﺒﻪﻛﻨﻨﺪﮔﺎﻥ‬ ‫ﺭﺍ ﻣﺎﻧﻨﺪ ﻣﺮﺩﻡ ﺳﻴﺎﺭﻩ ﺗﻨﻈﻴﻢ ﻛﺮﺩﻩ ﺑﻮﺩﻳﻢ‪ .‬ﻧﺘﺎﻳﺞ ﺗﺎ ﺣﺪ ﺯﻳﺎﺩﻯ ﻣﻮﻓﻘﻴﺖﺁﻣﻴﺰ ﺑﻮﺩ‪ .‬ﻭﻟﻰ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ‬ ‫ﺑﻬﺖﺯﺩﮔﻰ ﻭ ﻫﺮﺍﺱ ﻓﺮﺩ ﺭﺑﻮﺩﻩ ﺷﺪﻩ ﻣﺎﻧﻌﻰ ﺑﺮﺍﻯ ﺍﺭﺗﺒﺎﻁ ﻛﺎﻣﻞ ﺑﺎﺷﺪ‪ .‬ﺿﻌﻒ ﺣﻮﺍﺱ ﺑﻴﻨﺎﻳﻰ ﻭ ﺑﻮﻳﺎﻳﻰ‬ ‫ﺗﺎﻳﻴﺪ ﻣﻰﺷﻮﺩ‪ .‬ﻫﻤﭽﻨﻴﻦ ﺑﺮ ﺧﻼﻑ ﺗﺼﻮﺭﺍﺕ ﺍﻭﻟﻴﻪﻯ ﻣﺎ ﻛﻪ ﺣﺎﻛﻰ ﺍﺯ ﻭﺟﻮﺩ ﻳﻚ ﺣﺴﮕﺮ ﺍﻣﻮﺍﺝ ﻃﻮﻟﻰ‬ ‫ﺩﺭ ﺑﺪﻥ ﻣﺮﺩﻡ ﺍﻳﻦﺟﺎ ﻣﻰﺑﺎﺷﺪ‪ ،‬ﺍﻳﻦ ﺍﻓﺮﺍﺩ ﻫﻴﭻ ﺭﻓﺘﺎﺭﻯ ﻣﺒﻨﻰ ﺑﺮ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺩﺍﺷﺘﻦ ﭼﻨﻴﻦ ﺣﺴﻰ‬ ‫ﻧﺸﺎﻥ ﻧﺪﺍﺩﻧﺪ‪.‬‬ ‫ﺍﻳﻦ ﻧﺘﻴﺠﻪﮔﻴﺮﻯ ﺑﺮﺍﻳﻤﺎﻥ ﺑﺴﻴﺎﺭ ﻏﻴﺮﻣﻨﺘﻈﺮﻩ ﺑﻮﺩ‪ .‬ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻣﺸﺎﻫﺪﺍﺕ ﺯﻳﺎﺩﻯ ﻛﻪ ﻗﺒ ً‬ ‫ﻼ ﺩﺍﺷﺘﻴﻢ‬ ‫ﺗﻘﺮﻳﺒﺎً ﻣﻄﻤﺌﻦ ﺑﻮﺩﻳﻢ ﻛﻪ ﭼﻨﻴﻦ ﺣﺴﮕﺮﻫﺎﻳﻰ ﺭﺍ ﺧﻮﺍﻫﻴﻢ ﻳﺎﻓﺖ‪ .‬ﻣﺸﺎﻫﺪﺍﺕ ﺗﺼﺎﺩﻓﻰ ﻭ ﺍﻧﺪﻙ ﻣﺎ ﻧﺸﺎﻥ‬ ‫ﻣﻰﺩﻫﺪ ﻛﻪ ﭼﻨﻴﻦ ﺣﺴﮕﺮﻯ ﺑﺎﻳﺪ ﺩﺭ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺣﻴﻮﺍﻧﺎﺕ ﺍﻳﻦﺟﺎ ﻫﻢ ﻣﻮﺟﻮﺩ ﺑﺎﺷﺪ‪ .‬ﺷﺎﻳﺪ ﻫﻢ ﺭﻓﺘﺎﺭ‬ ‫ﺣﻴﻮﺍﻧﺎﺕ ﺍﻳﻦﺟﺎ ﺭﺍ ﺑﺘﻮﺍﻥ ﺑﻪ ﻭﺟﻮﺩ ﺣﺴﻰ ﻛﻢ ﻭ ﺑﻴﺶ ﺷﺒﻴﻪ ﺑﻌﻀﻰ ﺍﺯ ﺟﺎﻧﻮﺭﺍﻥ ﺧﻮﺩ ﻣﺎ ﺍﺯ ﻗﺒﻴﻞ‬ ‫ﮔﻮﻧﻪﻫﺎﻳﻰ ﺍﺯ ﻣﺎﺭﻫﺎ ﻧﺴﺒﺖ ﺩﺍﺩ ﻛﻪ ﺧﻄﺮ ﺭﺍ ﺍﺯ ﻃﺮﻳﻖ ﺍﺭﺗﻌﺎﺷﺎﺕ ﺑﺴﺘﺮ ﺳﻨﮕﻰ ﻳﺎ ﺧﺎﻛﻰ ﺯﻳﺮ ﺑﺪﻥ ﺧﻮﺩ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻦ ﻛﻪ ﺍﻳﻦ ﻋﻤﻞ ﻓﻘﻂ ﺷﺐﻫﺎ ﻫﻨﮕﺎﻡ ﺧﻮﺍﺏ ﻭ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺑﻰﻫﻮﺷﻰ ﺍﻟﻘﺎﻳﻰ ﻫﻤﺰﻣﺎﻥ ﺭﻭﻯ‬ ‫ﻫﻤﻪ ﮔﺮﻭﻩ ﺍﻧﺠﺎﻡ ﺧﻮﺍﻫﺪ ﺷﺪ‪ ،‬ﺍﻣﻜﺎﻥ ﻛﺸﻒ ﻣﺴﺎﻟﻪ ﺑﺮﺍﻯ ﺩﻳﮕﺮﺍﻥ ﺑﺴﻴﺎﺭ ﺍﻧﺪﻙ ﺍﺳﺖ ﻭ ﺧﻮﺩ ﺁﻥﻫﺎ‬ ‫ﻧﻴﺰ ﭼﻴﺰﻯ ﻣﺘﻮﺟﻪ ﻧﺨﻮﺍﻫﻨﺪ ﺷﺪ‪ .‬ﺣﺘﺎ ﺩﺭ ﺻﻮﺭﺕ ﺑﻴﺪﺍﺭ ﻛﺮﺩﻥ ﺁﻥﻫﺎ ﺑﺮﺍﻯ ﺍﻧﺠﺎﻡ ﺗﺤﻘﻴﻘﺎﺕ ﺭﻓﺘﺎﺭﻯ‪،‬‬ ‫ﻣﻰﺗﻮﺍﻧﻴﻢ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﻟﻘﺎﮔﺮﻫﺎﻯ ﺫﻫﻨﻰ ﻣﺴﺎﻟﻪ ﺭﺍ ﺑﺮﺍﻯ ﺁﻥﻫﺎ ﺑﻌﺪﺍ ً ﺗﺎ ﺣﺪ ﻳﻚ ﺧﻮﺍﺏ ﺁﺷﻔﺘﻪ‬ ‫ﺷﺒﻴﻪﺳﺎﺯﻯ ﻛﻨﻴﻢ ﻛﻪ ﺣﺘﺎ ﺩﺭ ﺻﻮﺭﺕ ﺑﺮﺭﺳﻰﻫﺎﻯ ﻛﻠﻴﻨﻴﻜﻰ ﺑﻌﺪﻯ ﻧﻴﺰ ﺧﻄﺮﻯ ﻧﺨﻮﺍﻫﺪ ﺩﺍﺷﺖ‪ .‬ﺑﻪ‬ ‫ﻧﻈﺮ ﻧﻤﻰﺭﺳﺪ ﻣﺮﺩﻡ ﺳﻴﺎﺭﻩ ﺩﺭ ﻣﻮﺭﺩ ﻛﺎﻭﺵﻫﺎ ﻭ ﻛﺎﻭﺷﮕﺮﻫﺎﻯ ﺫﻫﻨﻰ ﭘﻴﺸﺮﻓﺖ ﺯﻳﺎﺩﻯ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪«.‬‬ ‫‪ ‬ﻫﻴﺠﺎﻥ ﺩﺍﺷﺖ‪ .‬ﻧﺘﻮﺍﻧﺴﺖ ﺩﺭ ﺍﺗﺎﻗﺶ ﻣﻨﺘﻈﺮ ﺑﻤﺎﻧﺪ‪ .‬ﺑﻠﻨﺪ ﺷﺪ ﻭ ﺑﻪ ﺍﺗﺎﻕ ﻣﺨﺎﺑﺮﺍﺕ ﺭﻓﺖ‪ .‬ﮔﺰﺍﺭﺵ ﺩﺭ‬ ‫ﺣﺎﻝ ﺩﺭﻳﺎﻓﺖ ﺑﻮﺩ‪ .‬ﺍﺑﺘﺪﺍ ﮔﺰﺍﺭﺵ ﻛﻮﺗﺎﻩ ﺍﺻﻠﻰ ﻭ ﺑﻌﺪ ﺍﻧﺒﻮﻫﻰ ﺍﺯ ﺿﻤﺎﻳﻢ‪.‬‬ ‫»ﮔﺰﺍﺭﺵ ﺷﺶ ﺍﺯ ﻗﺎﻳﻖ‪ :‬ﻳﻜﻰ ﺍﺯ ﺍﻓﺮﺍﺩ ﻣﻮﺭﺩ ﻧﻈﺮ ﺭﺍ ﺭﺑﻮﺩﻩ ﻭ ﺁﺯﻣﺎﻳﺶﻫﺎﻯ ﺍﻭﻟﻴﻪ ﺭﻭﻯ ﻭﻯ ﺍﻧﺠﺎﻡ ﺷﺪ‪.‬‬ ‫ﻫﻴﭻ ﻣﺸﻜﻠﻰ ﭘﻴﺶ ﻧﻴﺎﻣﺪ‪ .‬ﺍﻳﻦ ﺷﺨﺺ ﭘﺲ ﺍﺯ ﺑﻰﻫﻮﺷﻰ ﺑﻪ ﻗﺎﻳﻖ ﻣﻨﺘﻘﻞ ﻭ ﻗﺒﻞ ﺍﺯ ﺻﺒﺢ ﺑﻪ ﭼﺎﺩﺭﺷﺎﻥ‬ ‫ﺑﺮﮔﺮﺩﺍﻧﺪﻩ ﺷﺪ‪ .‬ﺍﺳﻜﻦﻫﺎﻯ ﻣﻮﺿﻮﻋﻰ ﻛﺎﻣﻠﻰ ﺗﻬﻴﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺑﺎﻓﺖﻫﺎﻯ ﺳﻠﻮﻟﻰ ﻭ ﺗﺮﻛﻴﺐ ﺍﻋﻀﺎﻯ‬ ‫ﺑﺪﻥ‪ ،‬ﺣﺪﺍﻗﻞ ﺩﺭ ﺑﺮﺭﺳﻰﻫﺎﻯ ﺍﻭﻟﻴﻪ‪ ،‬ﻫﻤﺎﻥ ﻓﺮﻡ ﻣﻌﻤﻮﻟﻰ ﻭ ﺁﺷﻨﺎﻯ ﺍﻧﺴﺎﻧﻰ ﻣﻰﺑﺎﺷﺪ‪ .‬ﻛﺎﺭ ﺭﻭﻯ ﺗﻔﺎﻭﺕﻫﺎ‬ ‫ﻭ ﺗﻄﺎﺑﻖﻫﺎﻯ ژﻧﺘﻴﻚ ﻧﻴﺎﺯ ﺑﻪ ﺯﻣﺎﻥ ﺑﻴﺸﺘﺮﻯ ﺩﺍﺭﺩ‪ .‬ﺑﺮﺍﻯ ﺑﺮﺭﺳﻰ ﺭﻓﺘﺎﺭﻯ ﺑﺎﻳﺪ ﺑﻪ ﺯﻭﺩﻯ ﺁﺯﻣﺎﻳﺶﻫﺎﻳﻰ‬ ‫ﺩﺭ ﺣﺎﻟﺖ ﺑﻴﺪﺍﺭﻯ ﺭﻭﻯ ﺍﻳﻦ ﺍﻓﺮﺍﺩ ﺍﻧﺠﺎﻡ ﺩﻫﻴﻢ‪.‬‬ ‫ﺩﺭ ﻣﻮﺿﻮﻉ ﻛﺸﻒ ﺭﻣﺰ ﻣﺘﻦﻫﺎ ﭘﻴﺸﺮﻓﺖﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺣﺎﺻﻞ ﺷﺪﻩ‪ ،‬ﻭﻟﻰ ﻣﻮﺿﻮﻉ ﺑﻪ ﺷﻜﻞ ﻃﺒﻴﻌﻰ ﭘﻴﺶ‬ ‫ﻧﻤﻰﺭﻭﺩ ﻛﻪ ﻧﺎﺷﻰ ﺍﺯ ﻭﺟﻮﺩ ﻧﻮﻋﻰ ﮔﺮﻩ ﺑﻨﻴﺎﺩﻯ ﺩﺭ ﺍﻳﻦ ﻓﺮﺁﻳﻨﺪ ﺍﺳﺖ‪ .‬ﻋﻼﻭﻩ ﺑﺮ ﺁﻥ‪ ،‬ﻫﻨﻮﺯ ﺑﺴﻴﺎﺭﻯ‬ ‫ﺍﺯ ﺍﻣﻮﺍﺝ ﻏﻴﺮ ﺗﺼﻮﻳﺮﻯ ﺭﺍ ﻧﺘﻮﺍﻧﺴﺘﻪﺍﻳﻢ ﺑﻪ ﻣﺘﻦ ﺗﺒﺪﻳﻞ ﻛﻨﻴﻢ ﻭ ﻣﺎﻫﻴﺖ ﺁﻥﻫﺎ ﺑﺮ ﻣﺎ ﻧﺎﻣﻌﻠﻮﻡ ﺍﺳﺖ‪«.‬‬ ‫‪ ‬ﺑﻠﻪ‪ ،‬ﻳﻚ ﮔﺮﻩ ﺑﻨﻴﺎﺩﻯ ﺩﺭ ﻛﺎﺭ ﺑﻮﺩ؛ ﻭﻟﻰ ﻧﺒﺎﻳﺪ ﻛﺎﺭ ﻣﺘﻮﻗﻒ ﻣﻰﺷﺪ‪ .‬ﻣﺘﻦﻫﺎ ﺗﺮﺟﻤﻪ ﻣﻰﺷﺪﻧﺪ‪ ،‬ﻭﻟﻰ‬ ‫ﺟﺎ ﺩﺭ ﺟﺎ ﻭ ﺩﺭ ﻫﺮ ﺻﻔﺤﻪ ﺑﺨﺶﻫﺎﻳﻰ ﺑﺎ ﺭﻧﮓ ﺯﺭﺩ ﺑﻪ ﭼﺸﻢ ﻣﻰﺧﻮﺭﺩ‪ .‬ﻫﻤﺮﺍﻩ ﺑﺎ ﺷﻤﺎﺭﻩﻫﺎﻯ ﺍﺭﺟﺎﻉ‬ ‫ﺑﻪ ﺻﻔﺤﺎﺕ ﺍﻧﺘﻬﺎﻳﻰ ﻣﺘﻦ ﻭ ﺍﻇﻬﺎﺭﻧﻈﺮﻫﺎﻯ ﻣﺨﺘﻠﻒ ﻛﺎﺭﺷﻨﺎﺳﺎﻥ ﺩﺭﺑﺎﺭﻩﻯ ﺍﺣﺘﻤﺎﻻﺕ ﻣﺘﻔﺎﻭﺕ ﺩﺭ‬ ‫ﻣﻮﺭﺩ ﻣﻌﺎﻧﻰ ﺁﻥﻫﺎ‪ .‬ﺣﺘﺎ ﺩﺭ ﻣﺴﺎﻳﻞ ﻣﺸﺨﺺ‪ ،‬ﭼﻪ ﺑﺮﺳﺪ ﺑﻪ ﺭﻓﺘﺎﺭﻫﺎ ﻭ ﻋﺎﺩﺍﺕ ﻣﺮﺩﻡ ﺳﻴﺎﺭﻩ ﻛﻪ ﺩﺭ‬ ‫ﺑﻌﻀﻰ ﻣﻮﺍﺭﺩ ﻋﻤﻠﻜﺮﺩﻯ ﺑﺴﻴﺎﺭ ﻧﺎﻣﻔﻬﻮﻡ ﺩﺍﺷﺘﻨﺪ‪ ،‬ﻣﺨﺼﻮﺻﺎً ﺩﺭ ﺟﻠﺴﺎﺕ ﺳﺨﻨﺮﺍﻧﻰ ﻭ ﺟﺸﻦﻫﺎ‪ .‬ﻭﺟﻮﺩ‬ ‫ﻧﻮﺳﺎﻥﻧﮕﺎﺭﻫﺎﻳﻰ ﺑﻪ ﺁﻥ ﺑﺰﺭﮔﻰ ﺟﻠﻮﻯ ﺩﻫﺎﻥ ﺍﻓﺮﺍﺩ ﻭ ﺗﻨﻮﻉ ﺑﺴﻴﺎﺭ ﻏﻴﺮﻋﺎﺩﻯ ﺩﺳﺘﮕﺎﻩﻫﺎﻯ ﻋﺠﻴﺐ ﻭ‬ ‫ﻏﺮﻳﺐ ﺳﺎﺯﻧﺪﻩﻯ ﺍﺭﺗﻌﺎﺷﺎﺕ‪ ،‬ﻛﻪ ﻇﺎﻫﺮﺍ ً ﺍﻟﻜﺘﺮﻭﻧﻴﻜﻰ ﻫﻢ ﻧﺒﻮﺩﻧﺪ‪ ،‬ﭼﻪ ﻣﻔﻬﻮﻣﻰ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺩﺍﺷﺘﻪ‬ ‫ﺑﺎﺷﺪ؟ ﭼﮕﻮﻧﻪ ﺩﺭ ﻳﻚ ﺭﻗﺺ ﮔﺮﻭﻫﻰ ﻫﻤﺎﻫﻨﮓ ﺩﺭ ﻓﻀﺎﻯ ﺑﺎﺯ ﻭﺳﺎﻳﻞ ﺩﺭﻳﺎﻓﺖ ﺁﻻﺭﻡ ﻫﻤﺎﻫﻨﮕﻰ ﺩﻳﺪﻩ‬ ‫ﻧﻤﻰﺷﺪ؟‬ ‫ﺑﻪ ﻫﺮ ﺷﻜﻞ ﺑﻪ ﺯﻭﺩﻯ ﺍﺭﺗﺒﺎﻁ ﺑﺮﻗﺮﺍﺭ ﻣﻰﺷﺪ‪ .‬ﻣﺸﺨﺼﺎً ﺳﻄﺢ ﺗﻜﻨﻮﻟﻮژﻯ ﻭ ﺑﻪ ﺧﺼﻮﺹ ﺗﺠﻬﻴﺰﺍﺕ‬ ‫‪61‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﺁﻥﻫﺎ ﺑﻪ ﻋﻤﻞ ﺁﻣﺪ ﻭ ﻧﻤﻮﻧﻪﺑﺮﺩﺍﺭﻯﻫﺎﻯ ﺑﺴﻴﺎﺭ ﻛﻮﭼﻚ ﻭ ﻏﻴﺮﻣﺤﺴﻮﺱ ﺍﺯ ﺑﺎﻓﺖﻫﺎﻯ ﺯﻧﺪﻩ ﻭ ﺧﻮﻥ‬ ‫ﺍﻧﺠﺎﻡ ﺷﺪ‪ .‬ﺑﺎ ﻭﺟﻮﺩ ﺗﻔﺎﻭﺕﻫﺎﻯ ﺍﻧﺪﻙ ﺩﺭ ﺳﺎﺧﺘﻤﺎﻥ ﺑﺪﻧﻰ ﻭ ﺣﺎﻟﺖ ﭼﻬﺮﻩ‪ ،‬ﺑﻪ ﺧﺼﻮﺹ ﻓﺮﻡ ﭼﺸﻢﻫﺎ‬ ‫ﻭ ﮔﻮﺵﻫﺎ‪ ،‬ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﻧﺘﺎﻳﺞ ﺍﻭﻟﻴﻪ‪ ،‬ﺩﺭ ﻣﺤﺪﻭﺩﻩﻯ ﺗﻐﻴﻴﺮﺍﺕ ﻣﺤﻴﻄﻰ ﻭ ﻧﮋﺍﺩﻯ‪ ،‬ﺍﺯ ﺗﻄﺎﺑﻖ ﻣﺮﺩﻡ‬ ‫ﺳﻴﺎﺭﻩ ﺑﺎ ﻫﻤﺎﻥ ﭘﺎﺭﺍﻣﺘﺮﻫﺎﻯ ﺯﻳﺴﺘﻰ ﺧﻮﺩ ﻣﺎ‪ ،‬ﻫﻢ ﺩﺭ ﻣﻘﻴﺎﺱ ﻣﻴﻜﺮﻭﺳﻜﻮﭘﻰ ﻭ ﻋﻤﻠﻜﺮﺩ ﺳﻠﻮﻟﻰ ﻭ ﻫﻢ‬ ‫ﺩﺭ ﻣﻘﻴﺎﺱ ﺑﺰﺭگ ﻭ ﺗﺮﻛﻴﺐ ﻭ ﻋﻤﻠﻜﺮﺩ ﺍﻋﻀﺎﻯ ﺑﺪﻥ‪ ،‬ﺣﻜﺎﻳﺖ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﻛﻪ ﺗﺎﻳﻴﺪﻯ ﺑﺮ ﻧﻈﺮﻳﻪﻯ‬ ‫ﻣﻨﺸﺎ ﻭﺍﺣﺪ ﺣﻴﺎﺕ ﺩﺭ ﻛﻬﻜﺸﺎﻥ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬ ‫ﻭﺳﺎﻳﻞ ﺍﻟﻜﺘﺮﻭﻧﻴﻜﻰ ﻛﻪ ﻫﻤﺮﺍﻩ ﺍﻏﻠﺐ ﺍﻓﺮﺍﺩ ﺍﻳﻦ ﺳﻴﺎﺭﻩ ﺩﻳﺪﻩ ﻣﻰﺷﻮﺩ‪ ،‬ﻫﺮ ﭼﻨﺪ ﻣﻄﺎﺑﻖ ﺍﻧﺘﻈﺎﺭﻯ ﻛﻪ‬ ‫ﺩﺍﺷﺘﻴﻢ‪ ،‬ﺷﺎﻣﻞ ﻳﻚ ﻓﺮﺳﺘﻨﺪﻩ ﻭ ﮔﻴﺮﻧﺪﻩﻯ ﺍﻣﻮﺍﺝ ﺍﻟﻜﺘﺮﻭﻣﻐﻨﺎﻃﻴﺲ ﺑﺮﺍﻯ ﺍﺭﺳﺎﻝ ﻭ ﺩﺭﻳﺎﻓﺖ ﭘﻴﺎﻡ ﺍﺳﺖ‬ ‫ﻭ ﻫﺮﭼﻨﺪ ﻣﻄﺎﺑﻖ ﻣﻌﻤﻮﻝ ﻳﻚ ﺳﻴﺴﺘﻢ ﺳﺎﺩﻩﻯ ﺍﺭﺗﻌﺎﺵﮔﺮ ﺑﺮﺍﻯ ﺍﻃﻼﻉ ﺩﺍﺩﻥ ﺩﺭﻳﺎﻓﺖ ﭘﻴﺎﻡ ﻧﻴﺰ ﺩﺭ‬ ‫ﺁﻥﻫﺎ ﺗﻌﺒﻴﻪ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﻭﻟﻰ ﺑﺮﺧﻼﻑ ﺣﺪﺱﻫﺎﻯ ﺍﻭﻟﻴﻪ ﺷﺎﻣﻞ ﻫﻴﭻ ﺣﺴﮕﺮ ﭘﻴﺸﺮﻓﺘﻪ ﻳﺎ ﺣﺘﺎ ﻳﻚ‬ ‫ﺁﺷﻜﺎﺭﺳﺎﺯ ﺍﺑﺘﺪﺍﻳﻰ ﺍﻣﻮﺍﺝ ﻃﻮﻟﻰ ﻫﻮﺍ ﻧﻴﺴﺖ‪ .‬ﻟﺒﺎﺱﻫﺎﻯ ﻣﺮﺩﻡ ﻧﻴﺰ ﻫﻮﺷﻤﻨﺪ ﻧﻴﺴﺖ ﻭ ﻫﻴﭻ ﺣﺴﮕﺮﻯ‬ ‫ﺩﺭ ﺁﻥﻫﺎ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﻫﺮﭼﻨﺪ ﺑﻪ ﺩﻟﻴﻞ ﻣﺤﺪﻭﺩﻳﺖﻫﺎﻯ ﻣﻮﺟﻮﺩ ﺍﻣﻜﺎﻥ ﺑﺮﺭﺳﻰ ﻛﺎﻣﻞ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺖ‪،‬‬ ‫ﻭﻟﻰ ﺗﻘﺮﻳﺒﺎً ﻣﻄﻤﺌﻨﻴﻢ ﻛﻪ ﻫﻴﭻ ﻧﻮﻉ ﺣﺴﮕﺮ ﭘﻮﺳﺘﻰ ﻧﻴﺰ ﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩﻯ ﺁﻥﻫﺎ ﻗﺮﺍﺭ ﻧﻤﻰﮔﻴﺮﺩ‪.‬‬ ‫ﺑﺨﺸﻰ ﺍﺯ ﭘﻮﺳﺖ ﺻﻮﺭﺕ ﻧﻴﺰ ﻛﻪ‪ ،‬ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺷﻜﻞ ﺍﺳﺘﻔﺎﺩﻩﻯ ﻏﻴﺮﻋﺎﺩﻯ ﻣﺮﺩﻡ ﺍﻳﻦﺟﺎ ﺍﺯ ﮔﻴﺮﻧﺪﻩ‬ ‫ﻭ ﻓﺮﺳﺘﻨﺪﻩﻫﺎﻯ ﻫﻤﺮﺍﻫﺸﺎﻥ‪ ،‬ﺍﺣﺘﻤﺎﻝ ﻭﺟﻮﺩ ﺣﺴﮕﺮﻫﺎﻳﻰ ﺩﺭ ﺁﻥ ﺩﺍﺩﻩ ﻣﻰﺷﺪ‪ ،‬ﻣﻮﺭﺩ ﺑﺮﺭﺳﻰ ﺩﻗﻴﻖ‬ ‫ﻗﺮﺍﺭ ﮔﺮﻓﺖ ﻭ ﻫﻴﭻ ﺗﻔﺎﻭﺗﻰ ﺑﺎ ﭘﻮﺳﺖ ﺑﻘﻴﻪﻯ ﺻﻮﺭﺕ ﻧﺪﺍﺷﺖ‪ .‬ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻦ ﻛﻪ ﺭﻓﺘﺎﺭ ﻣﺮﺩﻡ‪ ،‬ﻫﻢ ﺩﺭ‬ ‫ﻣﺸﺎﻫﺪﺍﺕ ﻭﺍﻗﻌﻰ ﻭ ﻫﻢ ﺩﺭ ﺁﻥ ﺑﺨﺶ ﺍﺯ ﺑﺮﻧﺎﻣﻪﻫﺎﻯ ﺷﺒﻜﻪﻫﺎﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﻛﻪ ﺩﺭ ﻓﻀﺎﻯ ﺑﺎﺯ ﻭ ﺧﺎﺭﺝ‬ ‫ﺍﺯ ﻣﺤﻴﻂ ﻫﻮﺷﻤﻨﺪ ﺍﺟﺮﺍ ﻣﻰﺷﻮﺩ‪ ،‬ﻛﺎﻣ ً‬ ‫ﻼ ﺷﺒﻴﻪ ﻛﺴﺎﻧﻰ ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﺣﺴﮕﺮﻫﺎ ﺭﺍ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺩﺍﺭﻧﺪ‪،‬‬ ‫ﻧﺘﺎﻳﺞ ﺣﺎﺻﻞ ﺭﺍ ﻣﺸﻜﻮﻙ ﺗﻠﻘﻰ ﻛﺮﺩﻩﺍﻳﻢ ﻭ ﺗﺤﻘﻴﻖ ﺭﻭﻯ ﻭﺳﺎﻳﻞ ﻣﺬﻛﻮﺭ ﺍﺩﺍﻣﻪ ﺧﻮﺍﻫﺪ ﻳﺎﻓﺖ‪«.‬‬ ‫‪ ‬ﺑﻠﻪ‪ ،‬ﺭﻓﺘﺎﺭ ﻣﺮﺩﻡ ﺳﻴﺎﺭﻩ ﺷﺒﻴﻪ ﻛﺴﺎﻧﻰ ﺑﻮﺩ ﻛﻪ ﺣﺴﮕﺮﻫﺎﻯ ﺑﺴﻴﺎﺭ ﭘﻴﺸﺮﻓﺘﻪ ﺷﺨﺼﻰ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺩﺍﺭﻧﺪ‪،‬‬ ‫ﻭﻟﻰ ﻣﺸﻜﻞ ﻓﻘﻂ ﺍﻳﻦ ﻧﺒﻮﺩ‪ .‬ﺣﺠﻢ ﻋﻈﻴﻤﻰ ﺍﺯ ﻣﺠﻬﻮﻻﺕ ﻭﺟﻮﺩ ﺩﺍﺷﺖ‪ .‬ﻫﺮ ﭼﻨﺪ ﻣﻘﺪﺍﺭ ﻣﺴﺎﺋﻞ ﺣﻞ‬ ‫ﺷﺪﻩ ﻧﻴﺰ ﻛﻢ ﻧﺒﻮﺩ ﻭ ﻣﺮﺗﺒﺎً ﻧﻴﺰ ﺑﺮ ﺁﻥﻫﺎ ﺍﻓﺰﻭﺩﻩ ﻣﻰﺷﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﻇﺎﻫﺮﺍ ً ﺗﻤﺎﺱ ﺑﺎ ﻣﺮﺩﻡ ﺳﻴﺎﺭﻩ‬ ‫ﺑﻰﺧﻄﺮ ﺑﻮﺩ ﻭ ﺑﻪ ﺯﻭﺩﻯ ﺍﻭﻟﻴﻦ ﺗﻤﺎﺱ ﺑﻴﻦ ﺍﻧﺴﺎﻥﻫﺎﻳﻰ ﺍﺯ ﻧﻘﺎﻁ ﻣﺨﺘﻠﻒ ﻛﻬﻜﺸﺎﻥ ﺍﻧﺠﺎﻡ ﻣﻰﺷﺪ؛ ﻭﻟﻰ‬ ‫ﺑﺎﻳﺪ ﻗﺒﻞ ﺍﺯ ﺁﻥ ﺁﺧﺮﻳﻦ ﺑﺮﺭﺳﻰﻫﺎ ﻫﻢ ﺑﻪ ﻋﻤﻞ ﻣﻰﺁﻣﺪ‪.‬‬ ‫»ﮔﺰﺍﺭﺵ ﭘﻨﺞ ﺍﺯ ﻗﺎﻳﻖ‪ :‬ﺗﺼﻤﻴﻢ ﺑﻪ ﺑﺮﺭﺳﻰ ﻣﺴﺘﻘﻴﻢ ﻭ ﻛﺎﻣﻞ ﮔﺮﻓﺘﻪ ﺷﺪ‪ .‬ﻳﻚ ﮔﺮﻭﻩ ﭘﻨﺞ ﻧﻔﺮﻯ ﺍﺯ‬ ‫ﮔﺮﺩﺷﮕﺮﺍﻥ‪ ،‬ﻛﻪ ﺍﺭﺗﺒﺎﻃﻰ ﻛﻼﻣﻰ ﺁﻥﻫﺎ ﺑﺎ ﻫﻤﺪﻳﮕﺮ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺭﻣﺰﮔﺸﺎﻳﻰ ﻛﻼﻣﻰ ﺑﻌﻀﻰ ﺍﺯ ﺷﺒﻜﻪﻫﺎﻯ‬ ‫ﺗﻠﻮﻳﺰﻳﻮﻧﻰ‪ ،‬ﺑﻪ ﻃﻮﺭ ﻛﻠﻰ ﻣﺘﻔﺎﻭﺕ ﻭ ﺑﺮﺍﻯ ﻣﺎ ﺗﻘﺮﻳﺒﺎً ﻣﻔﻬﻮﻡ ﻣﻰﺑﺎﺷﺪ‪ ،‬ﺑﻪ ﻋﻨﻮﺍﻥ ﻫﺪﻑ ﺍﻧﺘﺨﺎﺏ ﺷﺪﻩﺍﻧﺪ‪.‬‬ ‫ﺍﻳﻦ ﺍﻓﺮﺍﺩ ﺑﻪ ﺗﺪﺭﻳﺞ ﻭ ﺑﻪ ﺻﻮﺭﺕ ﺗﻚﺗﻚ ﻭ ﺟﺪﺍﮔﺎﻧﻪ ﺭﺑﻮﺩﻩ ﺷﺪﻩ ﻭ ﺑﻪ ﻗﺎﻳﻖ ﻣﻨﺘﻘﻞ ﺧﻮﺍﻫﻨﺪ ﺷﺪ‪ .‬ﺑﺎ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﺩﻗﺖ ﺑﻴﻨﺎﻳﻰ ﻣﺮﺩﻡ ﺳﻴﺎﺭﻩ ﺑﻪ ﻃﻮﺭ ﻣﺤﺴﻮﺱ ﻛﻤﺘﺮ ﺍﺯ ﻣﺎ ﺍﺳﺖ‪ ،‬ﻋﻼﻭﻩ ﺑﺮ ﺁﻥ ﺑﺴﺎﻣﺪﻫﺎﻯ ﻣﺤﺪﻭﺩﻩ‬ ‫ﺑﻴﻨﺎﻳﻰﺷﺎﻥ ﻧﻴﺰ ﺩﺭ ﻫﺮ ﺩﻭ ﺳﻮﻯ ﻃﻴﻒ ﻧﺴﺒﺖ ﺑﻪ ﻣﺎ ﻣﺤﺪﻭﺩﺗﺮ ﺍﺳﺖ‪ .‬ﺣﺲ ﺑﻮﻳﺎﻳﻰﺷﺎﻥ ﻧﻴﺰ ﺑﺴﻴﺎﺭ‬ ‫ﺿﻌﻴﻒ ﺍﺳﺖ‪ .‬ﻫﺮ ﭼﻨﺪ ﻗﺮﺍﺭ ﺍﺳﺖ ﻭﻗﺖ ﻭ ﺗﺠﻬﻴﺰﺍﺕ ﺭﺍ ﺑﺮﺍﻯ ﺑﺮﺭﺳﻰ ﺯﻧﺪﮔﻰ ﮔﻴﺎﻫﻰ ﻭ ﺟﺎﻧﻮﺭﻯ ﺳﻴﺎﺭﻩ‬ ‫ﺍﺧﺘﺼﺎﺹ ﻧﺪﻫﻴﻢ‪ ،‬ﻭﻟﻰ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻃﻼﻋﺎﺕ ﺍﻧﺪﻙ ﻣﺎ ﻇﺎﻫﺮﺍ ً ﺑﻌﻀﻰ ﺣﻴﻮﺍﻧﺎﺕ ﺩﺭ ﺍﻳﻦﺟﺎ ﺑﻴﻨﺎﻳﻰ ﻭ‬ ‫ﺑﻮﻳﺎﻳﻰ ﺑﺴﻴﺎﺭ ﻗﻮﻯﺗﺮﻯ ﺩﺍﺭﻧﺪ‪ .‬ﻧﺘﺎﻳﺞ ﺣﺎﺻﻞ ﻫﻨﻮﺯ ﻣﺸﻜﻮﻙ ﺗﻠﻘﻰ ﺷﺪﻩ ﻭ ﺑﺎﻳﺪ ﺑﺎ ﺍﺣﺘﻴﺎﻁ ﻣﻮﺭﺩ‬ ‫ﻗﻀﺎﻭﺕ ﻗﺮﺍﺭ ﮔﻴﺮﺩ‪.‬‬ ‫ﻳﻜﻰ ﺍﺯ ﺭﻭﺑﺎﺕﻫﺎ ﺩﺭ ﺣﺎﺷﻴﻪﻯ ﺟﻨﮕﻞ ﻭ ﺩﺭ ﻳﻚ ﺭﻭﺳﺘﺎ ﻣﻜﺎﻧﻰ ﻳﺎﻓﺘﻪ ﻛﻪ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﻧﻮﻋﻰ ﻣﺪﺭﺳﻪ‬ ‫ﺑﺮﺍﻯ ﺁﻣﻮﺯﺵ ﻣﺘﻮﻥ ﺑﻪ ﻛﻮﺩﻛﺎﻥ ﺑﺎﺷﺪ‪ .‬ﺍﻳﻦ ���ﻭﺑﺎﺕ ﺗﻮﺍﻧﺴﺖ ﺗﻌﺪﺍﺩﻯ ﻛﺘﺎﺏ ﻛﺎﻏﺬﻯ ﻛﻪ ﻇﺎﻫﺮﺍ ً ﻫﻨﻮﺯ ﺩﺭ‬ ‫ﺍﻳﻦﺟﺎ ﺑﺮﺍﻯ ﺁﻣﻮﺯﺵ ﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩ ﻭﺍﻗﻊ ﻣﻰﺷﻮﺩ‪ ،‬ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩﻩ ﻭ ﺗﺼﺎﻭﻳﺮ ﺭﺍ ﺑﺮﺍﻯ ﻣﺎ ﺍﺭﺳﺎﻝ ﻛﻨﺪ‪.‬‬ ‫ﺍﻳﻦ ﻛﺘﺎﺏﻫﺎ ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﻣﻔﻴﺪ ﻭﺍﻗﻊ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻦ ﻛﻪ ﻫﻨﻮﺯ ﻋﻼﻣﺘﻰ ﺩﺍﻝ ﺑﺮ ﻛﺸﻒ ﻗﺎﻳﻖ ﻳﺎ ﺭﻭﺑﺎﺕﻫﺎ ﺗﻮﺳﻂ ﻣﺮﺩﻡ ﺍﻳﻦﺟﺎ ﺩﺭﻳﺎﻓﺖ ﻧﺸﺪﻩ‪،‬‬ ‫ﻫﻴﭻ ﺩﻟﻴﻠﻰ ﺑﺮﺍﻯ ﻋﻤﻠﻜﺮﺩ ﺷﺘﺎﺏﺯﺩﻩ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﺗﺎﻛﻨﻮﻥ ﺗﻮﺍﻧﺴﺘﻪﺍﻳﻢ ﺩﺭ ﺑﻌﻀﻰ ﺟﻨﺒﻪﻫﺎ ﺗﺼﻮﻳﺮﻯ‬ ‫ﻗﺎﺑﻞ ﻗﺒﻮﻝ ﺍﺯ ﺯﻧﺪﮔﻰ ﻣﺮﺩﻡ ﺳﻴﺎﺭﻩ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﻳﻢ‪ .‬ﺑﺮﺭﺳﻰ ﭘﺎﺭﺍﻣﺘﺮﻫﺎﻯ ﻋﻠﻤﻰ ﻣﺮﺑﻮﻁ ﺑﻪ ﺧﻮﺩ ﺳﻴﺎﺭﻩ‬ ‫ﻧﻴﺰ ﺑﺎ ﺩﻗﺖ ﺩﺭ ﺣﺎﻝ ﺍﻧﺠﺎﻡ ﺍﺳﺖ‪«.‬‬ ‫‪ ‬ﺧﺴﺘﻪ ﺑﻮﺩ‪ .‬ﺑﻠﻪ‪ ،‬ﻓﻌ ً‬ ‫ﻼ ﺑﻬﺘﺮ ﺑﻮﺩ ﺑﻪ ﺟﺎﻯ ﺍﺭﺗﺒﺎﻃﺎﺕ ﻛﻼﻣﻰ ﺍﻧﺮژﻯ ﺑﻴﺸﺘﺮﻯ ﺭﻭﻯ ﺍﺭﺗﺒﺎﻃﺎﺕ ﻧﻮﺷﺘﺎﺭﻯ‬ ‫ﻣﺮﺩﻡ ﺳﻴﺎﺭﻩ ﺍﺧﺘﺼﺎﺹ ﺩﻫﻨﺪ‪ .‬ﻣﻘﺪﺍﺭ ﺯﻳﺎﺩﻯ ﺍﺯ ﻣﺘﻦﻫﺎ ﺗﻮﺳﻂ ﻗﺎﻳﻖ ﺍﺭﺳﺎﻝ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﻛﺎﺭﺷﻨﺎﺳﺎﻥ‬ ‫ﭘﺎﻳﮕﺎﻩ ﺭﻭﻯ ﺁﻥﻫﺎ ﻛﺎﺭ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺑﺮﺭﺳﻰﻫﺎ ﻣﺸﺨﺼﺎً ﺣﺎﻛﻰ ﺍﺯ ﻳﻚ ﺳﻴﺴﺘﻢ ﻛﻼﻣﻰ ﺑﺴﻴﺎﺭ ﭘﻴﺸﺮﻓﺘﻪ‬ ‫ﺑﻮﺩ ﻭ ﺍﻳﻦ ﺩﺭﺟﻪ ﺍﺯ ﭘﻴﺸﺮﻓﺘﮕﻰ ﺗﻨﺎﺳﺒﻰ ﺑﺎ ﺳﺎﻳﺮ ﭘﺎﺭﺍﻣﺘﺮﻫﺎﻯ ﺗﻤﺪﻥ ﺳﻴﺎﺭﻩ ﻧﺪﺍﺷﺖ‪ .‬ﺣﻖ ﺑﺎ ﺳﺮﻧﺸﻴﻨﺎﻥ‬ ‫ﻗﺎﻳﻖ ﺑﻮﺩ‪ ،‬ﺗﻨﻮﻉ ﺧﻄﻮﻁ ﻭ ﻛﻠﻤﺎﺕ ﺑﺴﻴﺎﺭ ﺯﻳﺎﺩ ﺑﻮﺩ‪ .‬ﺳﻴﺴﺘﻢﻫﺎﻯ ﻛﺎﻣﭙﻴﻮﺗﺮﻯ ﻭ ﻛﺎﺭﺷﻨﺎﺳﺎﻥ ﻗﺎﻳﻖ ﺩﺭ‬ ‫ﻗﺪﻡ ﺍﻭﻝ ﻣﻮﻓﻖ ﺑﻪ ﺗﻔﻜﻴﻚ ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﺗﻼﺵ ﺧﻮﺩ ﺭﺍ ﺭﻭﻯ ﺧﻂ ﺧﺎﺻﻰ ﻛﻪ ﮔﺴﺘﺮﺵ ﺑﻴﺸﺘﺮﻯ‬ ‫ﺩﺍﺷﺖ‪ ،‬ﻣﺘﻤﺮﻛﺰ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ ﻭ ﻛﺎﺭﺷﻨﺎﺳﺎﻥ ﺳﻔﻴﻨﻪ ﻭ ﭘﺎﻳﮕﺎﻩ ﻧﻴﺰ ﺩﺍﺷﺘﻨﺪ ﺭﻭﻯ ﺁﻥ ﻛﺎﺭ ﻣﻰﻛﺮﺩﻧﺪ‪.‬‬ ‫ﻣﺎﻫﻴﺖ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺑﺮﻧﺎﻣﻪﻫﺎﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﻫﻨﻮﺯ ﻧﺎﻣﻔﻬﻮﻡ ﺑﻮﺩ‪ .‬ﺑﻌﻀﻰ ﺍﻣﻮﺍﺝ ﺍﺭﺗﺒﺎﻃﻰ ﻧﻴﺰ ﺑﺎ ﺍﻳﻦ ﻛﻪ‬ ‫ﻣﺸﺨﺼﺎً ﺍﺯ ﺟﻨﺲ ﭘﻴﺎﻡ ﺑﻮﺩﻧﺪ‪ ،‬ﻗﺎﺑﻞ ﺗﺒﺪﻳﻞ ﺑﻪ ﺗﺼﻮﻳﺮ ﻳﺎ ﻣﺘﻦ ﻧﺒﻮﺩﻧﺪ‪ .‬ﺑﻪ ﻫﺮ ﺻﻮﺭﺕ ﺭﺍﺿﻰ ﺑﻮﺩ‪.‬‬ ‫ﺩﺍﺷﺘﻨﺪ ﭘﻴﺸﺮﻓﺖ ﻣﻰﻛﺮﺩﻧﺪ‪.‬‬ ‫»ﮔﺰﺍﺭﺵ ﭼﻬﺎﺭ ﺍﺯ ﻗﺎﻳﻖ‪ :‬ﺑﻌﻀﻰ ﺍﺑﻬﺎﻣﺎﺕ ﺑﺮﻃﺮﻑ ﻭ ﺑﻌﻀﻰ ﺑﻴﺸﺘﺮ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻭﻟﻴﻦ ﺁﺯﻣﺎﻳﺶﻫﺎﻯ‬ ‫ﻣﺴﺘﻘﻴﻢ ﺗﻮﺳﻂ ﺭﻭﺑﺎﺕﻫﺎ ﻭ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺑﻰﻫﻮﺷﻰ ﺍﻟﻘﺎﻳﻰ ﻛﻮﺗﺎﻩﻣﺪﺕ ﺭﻭﻯ ﺑﻌﻀﻰ ﺍﺯ ﺳﺎﻛﻨﻴﻦ ﺭﻭﺳﺘﺎ‬ ‫ﻛﻪ ﺑﻪ ﺷﻜﻞ ﺍﻧﻔﺮﺍﺩﻯ ﺩﺭ ﻣﻨﺎﻃﻘﻰ ﺩﻭﺭﺍﻓﺘﺎﺩﻩ ﺩﺭ ﺍﻃﺮﺍﻑ ﺭﻭﺳﺘﺎ ﺩﺭ ﺣﺎﻝ ﺧﻮﺍﺏ ﺑﻮﺩﻧﺪ‪ ،‬ﺍﻧﺠﺎﻡ ﺷﺪ‪.‬‬ ‫ﺗﺼﻮﻳﺮﺑﺮﺩﺍﺭﻯﻫﺎﻯ ﻛﺎﻣﻠﻰ ﺑﺎ ﺍﻣﻮﺍﺝ ﻣﻜﺎﻧﻴﻜﻰ ﻭ ﺍﻟﻜﺘﺮﻭﻣﻐﻨﺎﻃﻴﺴﻰ ﺩﺭ ﺗﻤﺎﻡ ﻃﻴﻒ‪ ،‬ﺍﺯ ﺳﺎﺧﺘﺎﺭ ﺑﺪﻥ‬ ‫‪59‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﺩﺭ ﻣﻮﺭﺩ ﺳﺮﻋﺖ ﺍﺭﺍﻳﻪ ﺍﻃﻼﻋﺎﺕ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ ﺩﺭ ﺍﻏﻠﺐ ﻣﻮﺍﺭﺩ ﺯﻳﺮﻧﻮﻳﺲﻫﺎﻯ ﺷﺒﻜﻪﻫﺎﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ‬ ‫ﺗﻴﻜﺎﺱ‪ ،‬ﺑﺮ ﺧﻼﻑ ﺗﺼﻮﺭ ﺍﻭﻟﻴﻪ‪ ،‬ﻣﺘﻦ ﺟﻤﻼﺗﻰ ﻧﻴﺴﺖ ﻛﻪ ﮔﻮﻳﻨﺪﻩ ﺩﺭ ﻫﻤﺎﻥ ﻟﺤﻈﻪ ﺩﺭ ﺣﺎﻝ ﮔﻔﺘﻦ‬ ‫ﺁﻥ ﺍﺳﺖ‪.‬‬ ‫ﺁﻣﺎﻥ ﺭﻓﺖ‪ .‬ﺑﻪ ﺟﺎﻯ ﻛﺎﻫﺶ ﺍﺑﻬﺎﻡ ﺁﻥ ﺭﺍ ﺑﻴﺸﺘﺮ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻣﺮﻭﺭ ﻣﺠﺪﺩ ﮔﺰﺍﺭﺵ ﻛﺎﺭﺷﻨﺎﺳﺎﻥ ﻗﺎﻳﻖ ﻧﻴﺰ‬ ‫ﺍﺯ ﺍﻳﻦ ﻧﻈﺮ ﻛﻤﻜﻰ ﻧﻜﺮﺩ‪.‬‬ ‫»ﮔﺰﺍﺭﺵ ﺳﻪ ﺍﺯ ﻗﺎﻳﻖ‪ :‬ﺷﻨﺎﺳﺎﻳﻰ ﻧﺤﻮﻩﻯ ﺍﺭﺗﺒﺎﻁ ﻛﻼﻣﻰ ﺑﺴﻴﺎﺭ ﺩﺷﻮﺍﺭ ﭘﻴﺶ ﻣﻰﺭﻭﺩ‪ .‬ﺗﺎﻛﻨﻮﻥ ﻓﻘﻂ‬ ‫ﺗﻮﺍﻧﺴﺘﻪﺍﻳﻢ ﺍﺯ ﻣﻴﺎﻥ ﺻﺪﻫﺎ ﺷﺒﻜﻪﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﺑﺪﻭﻥ ﺯﻳﺮﻧﻮﻳﺲ ﻓﻘﻂ ﺩﺭ ﺩﻭ ﻣﻮﺭﺩ‪ ،‬ﺁﻥ ﻫﻢ ﺗﺎ ﻣﻴﺰﺍﻧﻰ‬ ‫ﻣﺤﺪﻭﺩ‪ ،‬ﺑﻌﻀﻰ ﻣﻔﺎﻫﻴﻢ ﻛﻼﻣﻰ ﻣﺮﺩﻡ ﺳﻴﺎﺭﻩ ﺭﺍ ﺩﺭﻙ ﻛﻨﻴﻢ‪ .‬ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺍﻣﻮﺍﺝ ﻏﻴﺮﺗﺼﻮﻳﺮﻯ ﺭﺍ ﻫﻨﻮﺯ‬ ‫ﻧﺘﻮﺍﻧﺴﺘﻪﺍﻳﻢ ﺑﻪ ﻣﺘﻦ ﺗﺒﺪﻳﻞ ﻛﻨﻴﻢ‪ .‬ﺍﺣﺘﻤﺎﻻً ﺍﻳﻦ ﭘﻴﺎﻡﻫﺎ ﺭﻣﺰﺩﺍﺭ ﺑﺎﺷﻨﺪ‪ .‬ﺑﺨﺸﻰ ﺍﺯ ﭘﻴﺎﻡﻫﺎﻳﻰ ﻧﻴﺰ ﻛﻪ‬ ‫ﻫﻤﺮﺍﻩ ﺗﺼﺎﻭﻳﺮ ﺷﺒﻜﻪﻫﺎﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﺩﺭﻳﺎﻓﺖ ﻣﻰﺷﻮﺩ‪ ،‬ﻭﺿﻌﻴﺖ ﻣﺸﺎﺑﻬﻰ ﺩﺍﺭﺩ‪.‬‬ ‫ﺗﺮﺟﻤﻪ ﻣﺘﻦﻫﺎﻯ ﻧﻮﺷﺘﺎﺭﻯ ﻧﻴﺰ ﺩﺷﻮﺍﺭ ﺍﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ ﺩﺭ ﺍﻳﻦ ﺑﺨﺶ ﻣﻮﻓﻘﻴﺖﻫﺎﻯ ﺑﺴﻴﺎﺭ ﺑﻴﺸﺘﺮﻯ‬ ‫ﺩﺍﺷﺘﻪﺍﻳﻢ‪ ،‬ﻭﻟﻰ ﻫﻨﻮﺯ ﺍﺑﻬﺎﻣﺎﺕ ﻧﻴﺰ ﺑﺴﻴﺎﺭ ﺯﻳﺎﺩ ﺍﺳﺖ‪ .‬ﺍﻏﻠﺐ ﺧﻂﻫﺎﻯ ﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩ ﻣﺮﺩﻡ ﺗﻴﻜﺎﺱ‬ ‫ﻛﺎﺭﺍﻛﺘﺮﻯ ﺍﺳﺖ‪ ،‬ﭼﻪ ﺑﻪ ﺻﻮﺭﺕ ﺟﺪﺍﮔﺎﻧﻪ ﻭ ﭼﻪ ﺑﻪ ﺻﻮﺭﺕ ﻣﺘﺼﻞ‪ .‬ﺗﻌﺪﺍﺩ ﻛﺎﺭﺍﻛﺘﺮﻫﺎ ﺗﻘﺮﻳﺒﺎً ﺩﺭ ﻫﻤﻪ‬ ‫ﻣﻮﺍﺭﺩ ﺑﻴﺸﺘﺮ ﺍﺯ ﺑﻴﺴﺖ ﺍﺳﺖ‪ .‬ﻫﺮ ﭼﻨﺪ ﻧﻤﻮﻧﻪﺑﺮﺩﺍﺭﻯ ﺍﺯ ﻣﺘﻦﻫﺎ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ ﻛﻪ ﺗﻨﻮﻉ ﻛﻠﻤﺎﺕﺷﺎﻥ‪،‬‬ ‫ﺣﺪﺍﻗﻞ ﺩﺭ ﺳﻄﻮﺡ ﻋﻤﻮﻣﻰ ﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩﻯ ﻣﺮﺩﻡ‪ ،‬ﺑﻪ ﺷﻜﻞ ﻣﺤﺴﻮﺳﻰ ﺑﻴﺸﺘﺮ ﺍﺯ ﻣﺮﺩﻡ ﻣﺎ ﺍﺳﺖ؛ ﻭﻟﻰ‬ ‫ﺑﻌﻴﺪ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﺗﻌﺪﺍﺩ ﺍﻳﻦ ﻛﻠﻤﺎﺕ ﺁﻥ ﺍﻧﺪﺍﺯﻩ ﺑﺎﺷﺪ ﻛﻪ ﺍﺯ ﺗﻤﺎﻣﻰ ﺗﺮﻛﻴﺒﺎﺕ ﻣﻤﻜﻦ ﻛﺎﺭﺍﻛﺘﺮﻫﺎ‪،‬‬ ‫ﺣﺘﺎ ﺩﺭ ﺗﺮﻛﻴﺒﺎﺕ ﻛﻮﺗﺎﻩ ﺩﻭ ﻳﺎ ﺳﻪ ﻛﺎﺭﺍﻛﺘﺮﻯ‪ ،‬ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻨﺪ ﻭ ﻣﻌﻨﺎﻯ ﺍﻳﻦ ﻛﺎﺭ ﻭﺟﻮﺩ ﻛﺎﺭﺍﻛﺘﺮﻫﺎﻯ‬ ‫ﺯﺍﻳﺪ ﻭ ﺭﺍﻧﺪﻣﺎﻥ ﻛﻢ ﺩﺭ ﺧﻂﻧﻮﻳﺴﻰ ﻭ ﺁﻣﻮﺯﺵ ﺁﻥ ﻣﻰﺑﺎﺷﻨﺪ‪ .‬ﻧﻤﻮﻧﻪﻫﺎﻯ ﺩﻳﮕﺮﻯ ﻧﻴﺰ ﺍﺯ ﺧﻂﻫﺎﻳﻰ‬ ‫ﺑﺎ ﻛﺎﺭﺍﻛﺘﺮﻫﺎﻯ ﺑﺴﻴﺎﺭ ﺯﻳﺎﺩ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ ﻛﻪ ﻇﺎﻫﺮﺍ ً ﺑﺎﻓﺖ ﻛﻠﻤﻪﺍﻯ ﺩﺍﺭﻧﺪ ﻭ ﻣﻰﺗﻮﺍﻥ ﺁﻥﻫﺎ ﺭﺍ ﻧﻮﻋﻰ‬ ‫ﺧﻂ ﺗﺼﻮﻳﺮﻯ ﺑﻪ ﺣﺴﺎﺏ ﺁﻭﺭﺩ‪ .‬ﻣﺘﻮﺟﻪ ﺷﺪﻩﺍﻳﻢ ﻛﻪ ﺩﺭ ﺑﻌﻀﻰ ﻣﻮﺍﺭﺩ ﺧﻂﻫﺎﻳﻰ ﺑﺎ ﻛﺎﺭﺍﻛﺘﺮﻫﺎﻯ ﻛﺎﻣ ً‬ ‫ﻼ‬ ‫ﻣﺸﺎﺑﻪ‪ ،‬ﻣﻔﺎﻫﻴﻢ ﻛﻼﻣﻰ ﻣﺘﻔﺎﻭﺗﻰ ﺩﺍﺭﺩ ﻛﻪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﻧﻴﺰ ﻏﻴﺮﻋﺎﺩﻯ ﺍﺳﺖ ﻭ ﺑﺎﻳﺪ ﻣﻮﺭﺩ ﺑﺮﺭﺳﻰ ﻗﺮﺍﺭ‬ ‫ﮔﻴﺮﺩ‪ .‬ﺗﺼﺎﻭﻳﺮ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺗﻮﺳﻂ ﺭﻭﺑﺎﺕﻫﺎ ﻭ ﻫﻤﭽﻨﻴﻦ ﻧﺘﺎﻳﺞ ﺣﺎﺻﻞ ﺍﺯ ﺳﻨﺠﺸﮕﺮﻫﺎ ﻫﻤﺮﺍﻩ ﺑﺎ ﻫﺮ‬ ‫ﭘﻴﺎﻡ ﺑﻪ ﺻﻮﺭﺕ ﻣﻌﻤﻮﻝ ﺍﺭﺳﺎﻝ ﻣﻰﺷﻮﺩ‪ ،‬ﻭﻟﻰ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺭﻳﺴﻚ ﺍﻧﺪﻙ ﺍﺭﺳﺎﻝ ﭘﻴﺎﻡﻫﺎﻯ ﻣﺘﻤﺮﻛﺰ‪،‬‬ ‫ﭘﻴﺸﻨﻬﺎﺩ ﻣﻰﻛﻨﻴﻢ ﻫﺮ ﺑﺎﺭ ﺣﺠﻢ ﻣﺘﻨﺎﺳﺒﻰ ﺍﺯ ﺍﻳﻦ ﻣﺘﻮﻥ ﺭﺍ ﻧﻴﺰ ﺍﺭﺳﺎﻝ ﻛﻨﻴﻢ ﺗﺎ ﺩﺭ ﺳﻔﻴﻨﻪ ﻭ ﭘﺎﻳﮕﺎﻩ‬ ‫ﻣﻮﺭﺩ ﺑﺮﺭﺳﻰ ﻗﺮﺍﺭ ﮔﻴﺮﺩ‪.‬‬ ‫ﭘﺎﺭﺍﻣﺘﺮﻫﺎﻯ ﺟﺴﻤﻰ ﻣﺮﺩﻡ ﺳﻴﺎﺭﻩ ﻧﻴﺰ ﻣﻮﺭﺩ ﺑﺮﺭﺳﻰ ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﺩ‪ .‬ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻦ ﻛﻪ ﺍﺣﺘﻤﺎﻝ ﺩﺍﺭﺩ‬ ‫ﺑﻌﺪ ﺍﺯ ﺭﺑﻮﺩﻥ ﺍﺷﺨﺎﺹ ﺑﺮﺍﻯ ﺁﺯﻣﺎﻳﺶﻫﺎﻯ ﻣﺴﺘﻘﻴﻢ ﻣﻨﻄﻘﻪ ﻣﻮﺭﺩ ﻛﺎﻭﺵ ﻗﺮﺍﺭ ﮔﻴﺮﺩ‪ ،‬ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺗﺎ ﺣﺪ‬ ‫ﺍﻣﻜﺎﻥ ﻋﻘﺐ ﻣﻰﺍﻧﺪﺍﺯﻳﻢ‪ .‬ﻧﺘﺎﻳﺞ ﻏﻴﺮﻣﺴﺘﻘﻴﻤﻰ ﻛﻪ ﺗﺎﻛﻨﻮﻥ ﺑﻪ ﺩﺳﺖ ﺁﻣﺪﻩ ﺑﻴﺎﻧﮕﺮ ﺑﻌﻀﻰ ﻣﺴﺎﺋﻞ ﺍﺳﺖ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﺛﺎﺑﺖ‪ ،‬ﻣﺴﻴﺮ ﻏﻴﺮﻋﺎﺩﻯ ﻧﮕﺎﻩﻫﺎ ﻫﻨﮕﺎﻡ ﺳﺨﻦ ﮔﻔﺘﻦ ﺑﺎ ﻫﻤﺪﻳﮕﺮ ﻭ ﺧﻴﻠﻰ ﻣﻮﺍﺭﺩ ﺩﻳﮕﺮ‪ .‬ﺷﺎﻳﺪ ﻣﻰﺷﺪ‬ ‫ﺩﺭ ﺑﺮﻧﺎﻣﻪﻫﺎﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﻛﻪ ﺩﺭ ﺍﺳﺘﻮﺩﻳﻮﻫﺎ ﺍﺟﺮﺍ ﻣﻰﺷﺪ‪ ،‬ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺭﺍ ﺑﺎ ﻣﻮﺟﻮﺩ ﺑﻮﺩﻥ ﺻﻔﺤﻪ‬ ‫ﻧﻤﺎﻳﺶ ﺭﺍﻳﺞ ﻛﻨﺎﺭ ﺩﻭﺭﺑﻴﻦﻫﺎ ﻛﻪ ﺻﺤﺒﺖ ﮔﻮﻳﻨﺪﮔﺎﻥ ﺭﺍ ﺑﺮﺍﻯ ﻫﻤﺪﻳﮕﺮ ﺑﻪ ﺻﻮﺭﺕ ﻣﺘﻦ ﺑﻪ ﻧﻤﺎﻳﺶ‬ ‫ﺩﺭ ﻣﻰﺁﻭﺭﺩ‪ ،‬ﺗﻮﺟﻴﻪ ﻛﺮﺩ؛ ﻭﻟﻰ ﺍﻳﻦ ﻣﺘﻦﻫﺎ ﺑﻪ ﺟﺰ ﻣﻮﺍﺭﺩﻯ ﺑﺴﻴﺎﺭ ﻣﻌﺪﻭﺩ‪ ،‬ﺑﺮﺍﻯ ﺑﻴﻨﻨﺪﮔﺎﻥ ﺩﺭ ﺻﻔﺤﻪ‬ ‫ﺗﻠﻮﻳﺰﻳﻮﻥ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭ ﻧﻤﻰﺁﻣﺪ‪ .‬ﺗﺎﺯﻩ ﺍﻳﻦ ﺍﺑﻬﺎﻡ ﺩﺭ ﺑﺮﻧﺎﻣﻪﻫﺎﻯ ﻧﻤﺎﻳﺸﻰ ﻭ ﻓﻴﻠﻢﻫﺎﻯ ﺩﺍﺳﺘﺎﻧﻰ ﻫﻢ‬ ‫ﺑﺎﻗﻰ ﻣﻰﻣﺎﻧﺪ ﻭ ﺩﺭ ﻣﺮﺍﺳﻢ ﻭ ﺟﺸﻦﻫﺎ ﺑﻴﺸﺘﺮ ﻫﻢ ﻣﻰﺷﺪ‪ .‬ﺑﻪ ﻫﺮ ﺻﻮﺭﺕ ﭼﻴﺰﻯ ﺩﺭ ﻛﺎﺭ ﺑﻮﺩ ﻛﻪ ﺍﻭ ﺍﺯ‬ ‫ﺁﻥ ﺳﺮ ﺩﺭ ﻧﻤﻰﺁﻭﺭﺩ‪.‬‬ ‫ﺗﺼﺎﻭﻳﺮ ﺩﻳﮕﺮﻯ ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩ‪ .‬ﺩﻭ ﻧﻔﺮ‪ ،‬ﻳﻚ ﺯﻥ ﻭ ﻳﻚ ﻣﺮﺩ‪ ،‬ﻛﻨﺎﺭ ﻫﻢ ﺭﻭﻯ ﺗﭙﻪﺍﻯ ﻣﺸﺮﻑ ﺑﺮ ﺩﺭﻳﺎ‬ ‫ﻧﺸﺴﺘﻪ ﺑﻮﺩﻧﺪ‪ .‬ﻫﺮ ﺩﻭ ﺑﻪ ﺭﻭﺑﺮﻭ‪ ،‬ﺑﻪ ﺩﺭﻳﺎ‪ ،‬ﻣﻰﻧﮕﺮﻳﺴﺘﻨﺪ ﻭ ﺑﺎ ﻫﻢ ﺳﺨﻦ ﻣﻰﮔﻔﺘﻨﺪ‪ .‬ﻧﻪ ﺑﻪ ﻫﻤﺪﻳﮕﺮ‬ ‫ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩﻧﺪ ﻭ ﻧﻪ ﺣﺴﮕﺮﻯ ﺩﺭ ﻛﺎﺭ ﺑﻮﺩ‪ .‬ﻣﺸﺨﺺ ﺑﻮﺩ ﻛﻪ ﺻﺤﻨﻪﻫﺎ ﻭﺍﻗﻌﻰ ﻧﻴﺴﺖ ﻭ ﺍﻳﻦ ﻳﻚ ﻓﻴﻠﻢ‬ ‫ﺩﺍﺳﺘﺎﻧﻰ ﺍﺳﺖ‪ .‬ﺍﺯ ﻧﻮﻉ ﻓﻴﻠﻢﺑﺮﺩﺍﺭﻯ ﻣﺸﺨﺺ ﺑﻮﺩ ﻛﻪ ﺻﺤﻨﻪﻫﺎ ﺳﺎﺧﺘﮕﻰ ﻭ ﺍﻧﺘﺨﺎﺑﻰ ﺍﺳﺖ‪ ،‬ﻭﻟﻰ ﻣﮕﺮ‬ ‫ﻧﻪ ﺍﻳﻦ ﻛﻪ ﻳﻚ ﻓﻴﻠﻢ ﺩﺍﺳﺘﺎﻧﻰ ﻫﻢ ﺑﺎﻳﺪ ﻭﺍﻗﻌﻴﺖﻫﺎ ﺭﺍ ﺑﺎﺯﺳﺎﺯﻯ ﻛﻨﺪ؟‬ ‫ﺁﻣﺎﻥ ﺭﺍ ﺍﺣﻀﺎﺭ ﻛﺮﺩ‪ .‬ﺑﻬﺘﺮﻳﻦ ﮔﻮﻳﻨﺪﻩﻯ ﭘﺎﻳﮕﺎﻩ ﺑﺎﻳﺪ ﻣﻰﺗﻮﺍﻧﺴﺖ ﻻﺍﻗﻞ ﺣﺪﺱﻫﺎﻳﻰ ﺩﺭ ﺍﻳﻦ ﺑﺎﺭﻩ ﺑﺰﻧﺪ‪.‬‬ ‫ﻭ ﻧﻪ ﻓﻘﻂ ﺑﻬﺘﺮﻳﻦ ﺩﺭ ﭘﺎﻳﮕﺎﻩ‪ ،‬ﺑﻠﻜﻪ ﻳﻜﻰ ﺍﺯ ﺩﻩ ﻧﻔﺮ ﺍﻭﻝ ﺩﺭ ﺟﺪﻭﻝ ﺟﻬﺎﻧﻰ ﮔﻮﻳﻨﺪﮔﺎﻥ‪ ،‬ﺑﺎ ﺳﺮﻋﺖ ﺑﺴﻴﺎﺭ‬ ‫ﺑﺎﻻﻯ ﮔﻔﺘﺎﺭ‪ ،‬ﻭ ﺗﻘﺮﻳﺒﺎً ﺑﺪﻭﻥ ﺍﺷﺘﺒﺎﻩ‪ .‬ﺣﺘﺎ ﻭﻗﺘﻰ ﻧﻮﺳﺎﻥﻧﮕﺎﺭﻫﺎ ﺍﺯ ﻧﻮﻉ ﻣﻌﻤﻮﻟﻰ ﻭ ﺗﺠﺎﺭﻯ ﺑﻮﺩﻧﺪ ﻭ ﺣﺘﺎ‬ ‫ﻭﻗﺘﻰ ﺑﺎ ﻓﺎﺻﻠﻪ ﺍﺯ ﺩﻫﺎﻥ ﻗﺮﺍﺭ ﻣﻰﮔﺮﻓﺖ‪ ،‬ﻣﺘﻦ ﻭﻳﺮﺍﻳﺶﻧﺸﺪﻩ ﺗﻔﺎﻭﺗﻰ ﺑﺎ ﻣﺘﻦ ﻭﻳﺮﺍﻳﺶ ﺷﺪﻩ ﻧﺪﺍﺷﺖ‪.‬‬ ‫ﺑﻠﻪ‪ ،‬ﭼﻨﻴﻦ ﺩﺭﺟﻪﺍﻯ ﺍﺯ ﻣﻬﺎﺭﺕ ﺑﺎﻳﺪ ﺩﺭ ﺍﻳﻦﺟﺎ ﺑﻪ ﺩﺭﺩﻯ ﻣﻰﺧﻮﺭﺩ‪.‬‬ ‫ﺣﺴﮕﺮ ﻋﻼﻣﺖ ﺩﺍﺩ‪ .‬ﺁﻣﺎﻥ ﺩﺭ ﻧﺰﺩﻩ ﺑﻮﺩ ﻭ ﺍﺯ ﺳﻴﺴﺘﻢ ﺷﻨﺎﺳﺎﻳﻰ ﻫﻮﺷﻤﻨﺪ ﻧﻴﺰ ﺍﺳﺘﻔﺎﺩﻩ ﻧﻜﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺭﻭﻯ‬ ‫ﻧﻤﺎﻳﺸﮕﺮ ﻣﺘﻦ ﺟﻤﻼﺕ ﺩﻳﺪﻩ ﻣﻰﺷﺪ‪» :‬ﺁﻣﺎﻥ ﻫﺴﺘﻢ‪ ،‬ﻓﺮﻣﺎﻧﺪﻩ‪ .‬ﻟﻄﻔﺎً ﺩﺭ ﺭﺍ ﺑﺎﺯ ﻛﻨﻴﺪ‪ «.‬ﺑﻠﻪ‪ ،‬ﺑﺎﻳﺪ ﻫﻢ‬ ‫ﻗﺪﺭﺕ ﮔﻮﻳﻨﺪﮔﻰﺍﺵ ﺭﺍ ﺑﻪ ﺭﺥ ﻣﻰﻛﺸﻴﺪ‪ ،‬ﺣﺘﺎ ﺑﺎ ﻭﺟﻮﺩﻯ ﻛﻪ ﻣﻰﺩﺍﻧﺴﺖ ﻧﻴﺎﺯﻯ ﺑﻪ ﻛﻠﻤﺎﺕ ﻧﻴﺴﺖ ﻭ‬ ‫ﻧﻤﺎﻳﺸﮕ ِﺮ ﺍﺗﺎﻕ ﺗﺼﻮﻳﺮ ﺍﻓﺮﺍﺩ ﺭﺍ ﺩﺭ ﭘﺸﺖ ﺩﺭ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ‪.‬‬ ‫ﺩﺭ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩ ﻭ ﺁﻣﺎﻥ ﺩﺍﺧﻞ ﺷﺪ‪ .‬ﺍﻭ ﻫﻢ ﻧﺘﻮﺍﻧﺴﺖ ﻛﻤﻚ ﭼﻨﺪﺍﻧﻰ ﺑﻜﻨﺪ‪ .‬ﻓﻘﻂ ﻫﻤﺎﻥ ﺗﻮﺻﻴﻪﻯ ﺑﺪﻳﻬﻰ‬ ‫ﻭ ﺍﺑﺘﺪﺍﻳﻰ ﺭﺍ ﺍﻧﺠﺎﻡ ﺩﺍﺩ‪ .‬ﺍﻳﻦ ﻛﻪ ﺑﻬﺘﺮ ﺍﺳﺖ ﺍﺑﺘﺪﺍ ﺍﻧﺮژﻯ ﻛﺎﺭﺷﻨﺎﺳﺎﻥ ﺭﻭﻯ ﻣﺘﻦﻫﺎﻯ ﻧﻮﺷﺘﺎﺭﻯ ﻣﺘﻤﺮﻛﺰ‬ ‫ﺷﻮﺩ ﻭ ﭘﺲ ﺍﺯ ﻣﻮﻓﻘﻴﺖ ﺩﺭ ﺗﺮﺟﻤﻪﻯ ﺁﻥ ﺑﻪ ﻣﺴﺎﺋﻞ ﻣﺮﺑﻮﻁ ﺑﻪ ﮔﻔﺘﺎﺭﻫﺎ ﭘﺮﺩﺍﺧﺘﻪ ﺷﻮﺩ‪ .‬ﻓﺮﻣﺎﻧﺪﻩ‬ ‫ﺧﺸﻤﻰ ﻣﻼﻳﻢ ﺭﺍ ﺩﺭ ﺧﻮﺩ ﺣﺲ ﻛﺮﺩ‪ .‬ﻣﺸﺨﺺ ﺑﻮﺩ ﻛﻪ ﺁﻣﺎﻥ ﭼﻴﺰﻫﺎﻳﻰ ﺭﺍ ﺣﺪﺱ ﺯﺩﻩ ﺍﺳﺖ‪ ،‬ﻭﻟﻰ‬ ‫ﻧﻤﻰﺧﻮﺍﻫﺪ ﺗﺎ ﻭﻗﺘﻰ ﻛﻪ ﻧﺘﻴﺠﻪﮔﻴﺮﻯ ﻗﻄﻌﻰ ﺭﺍ ﺍﻧﺠﺎﻡ ﻧﺪﺍﺩﻩ‪ ،‬ﺁﻥﻫﺎ ﺭﺍ ﻣﻄﺮﺡ ﻛﻨﺪ‪.‬‬ ‫ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﻇﺎﻫﺮﺍ ً ﺁﻣﺎﻥ ﻫﻢ ﺁﻧﻘﺪﺭ ﺭﻭﺍﻧﺸﻨﺎﺳﻰ ﻣﻰﺩﺍﻧﺴﺖ ﻛﻪ ﻣﺘﻮﺟﻪ ﺑﺎﺷﺪ ﺩﺭ ﻳﻚ ﻣﻼﻗﺎﺕ ﺣﻀﻮﺭﻯ‬ ‫ﻧﺒﺎﻳﺪ ﻓﺮﻣﺎﻧﺪﻩ ﭘﺎﻳﮕﺎﻩ ﺭﺍ ﻛﺎﻣ ً‬ ‫ﻼ ﺩﺳﺖﺧﺎﻟﻰ ﺭﻭﺍﻧﻪ ﻛﺮﺩ‪ .‬ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﻣﻼﻗﺎﺕ ﺍﺷﺎﺭﻩ ﻛﺮﺩ ﻛﻪ ﻣﺤﺎﺳﺒﺎﺗﺶ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨ��� ‪1390‬‬


‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﺍﺣﺘﻤﺎﻻً ﺑﻪ ﺯﻭﺩﻯ ﺑﻌﻀﻰ ﻧﻮﻳﺴﻨﺪﻩﻫﺎ ﺷﺮﻭﻉ ﺑﻪ ﺟﻤﻊﺁﻭﺭﻯ ﺗﺎﺭﻳﺨﭽﻪ ﺿﺮﺑﻪ ﺯﺩﻥ ﺑﻪ ﺩﺭ‬ ‫ﻭ ﻇﺮﺍﺋﻒ ﺁﻥ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﻭﻟﻰ ﺑﺮﺍﻯ ﻳﺎﻣﻴﺘﺎ ﺍﻳﻦ ﻋﻤﻞ ﻳﻚ ﻋﺎﺩﺕ ﺷﻐﻠﻰ ﻫﻢ ﺑﻮﺩ‪ .‬ﻳﻚ ﺑﺎﺭ ﮔﻔﺘﻪ ﺑﻮﺩ‬ ‫ﺳﺮﺁﺷﭙﺰﻯ ﻛﻪ ﺑﻪ ﺟﺎﻯ ﺩﺭ ﺯﺩﻥ ﺟﻠﻮﻯ ﺍﺳﻜﻨﺮ ﺩﺭﺏ ﺍﺗﺎﻕ ﺑﺎﻳﺴﺘﺪ‪ ،‬ﻣﻔﺖ ﻧﻤﻰﺍﺭﺯﺩ‪ .‬ﺍﻟﺒﺘﻪ ﻛﺎﺭﺵ ﺗﻮﺟﻴﻪ‬ ‫ﺩﻳﮕﺮﻯ ﻫﻢ ﺩﺍﺷﺖ‪ .‬ﺧﻮﺩﺵ ﻫﻤﻴﺸﻪ ﺍﺯ ﺣﺴﮕﺮﻫﺎﻯ ﭘﻮﺳﺘﻰ ﺭﻭﻯ ﺳﻄﺢ ﺑﺪﻥ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﺮﺩ ﻭ‬ ‫ﻋﺎﺩﺕ ﺩﺍﺷﺖ ﻛﻪ ﺁﻻﺭﻡ ﺭﺍ ﺩﺭ ﺍﺑﺘﺪﺍ ﻧﻪ ﺑﺎ ﻧﻤﻮﺩﻫﺎﻯ ﻧﻮﺭﻯ‪ ،‬ﺑﻠﻜﻪ ﺑﺎ ﺍﺭﺗﻌﺎﺵ ﺳﻄﺢ ﺷﺎﻧﻪﺍﺵ ﺣﺲ ﻛﻨﺪ ﻭ‬ ‫ﺍﺯ ﺍﻳﻦﻛﺎﺭ ﻫﻢ ﺭﺍﺿﻰ ﺑﻮﺩ‪ .‬ﻣﺸﻬﻮﺭ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﻧﻮﺩ ﺩﺭﺻﺪ ﻣﻮﺍﺭﺩ ﺑﻪ ﻫﻤﻴﻦ ﺭﻭﺵ ﺁﻻﺭﻡﻫﺎﻯ ﻋﻤﻠﻴﺎﺗﻰ ﺭﺍ‬ ‫ﺑﻪ ﺩﺭﺳﺘﻰ ﺷﻨﺎﺳﺎﻳﻰ ﻣﻰﻛﻨﺪ ﻭ ﻓﻘﻂ ﺩﺭ ﻣﻮﺍﺭﺩﻯ ﻛﻪ ﭘﻴﺎﻡ ﺷﺎﻣﻞ ﺍﻃﻼﻋﺎﺕ ﻣﺘﻨﻰ ﺑﺎﺷﺪ ﻧﻴﺎﺯ ﺑﻪ ﻧﮕﺎﻩ‬ ‫ﻛﺮﺩﻥ ﺑﻪ ﻧﻤﺎﻳﺸﮕﺮ ﻣﭽﻰ ﺧﻮﺩ ﺭﺍ ﺩﺍﺭﺩ‪.‬‬ ‫ﮔﺰﺍﺭﺵ ﻫﻢ ﻫﻤﺰﻣﺎﻥ ﺭﺳﻴﺪ‪.‬‬ ‫»ﮔﺰﺍﺭﺵ ﺩﻭ ﺍﺯ ﻗﺎﻳﻖ‪ :‬ﻣﺴﺎﺋﻞ ﺍﻣﻨﻴﺘﻰ ﺩﺭ ﺑﺎﻻﺗﺮﻳﻦ ﺳﻄﺢ ﺭﻋﺎﻳﺖ ﻣﻰﺷﻮﺩ‪ .‬ﻣﻨﻄﻘﻪ ﻛﻢﺟﻤﻌﻴﺖ ﺍﺳﺖ‬ ‫ﻭ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﺳﺎﻛﻨﺎﻥ ﺁﻥ ﻓﻘﻂ ﮔﺮﺩﺷﮕﺮﺍﻧﻰ ﺑﺎﺷﻨﺪ ﻛﻪ ﺑﺮﺍﻯ ﺍﻗﺎﻣﺖﻫﺎﻳﻰ ﭼﻨﺪ ﺭﻭﺯﻩ ﺑﻪ ﺟﻨﮕﻞ‬ ‫ﻣﻰﺁﻳﻨﺪ‪ .‬ﻗﺎﻳﻖ ﺩﺭ ﻧﻘﻄﻪﺍﻯ ﻏﻴﺮﻗﺎﺑﻞ ﺩﺳﺘﺮﺳﻰ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﻭ ﺍﺳﺘﺘﺎﺭ ﺷﺪﻩ ﻭ ﺭﻭﺑﺎﺕﻫﺎﻯ ﺗﺠﺴﺴﻰ ﻣﺎ‬ ‫ﻧﻴﺰ ﻫﻨﮕﺎﻡ ﺿﺮﻭﺭﺕ ﺑﻪ ﺻﻮﺭﺕ ﻋﻨﺎﺻﺮ ﻃﺒﻴﻌﻰ ﺍﺳﺘﺘﺎﺭ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺩﻭﺭﻯ ﺍﺯ ﻣﺮﺍﻛﺰ ﺍﺻﻠﻰ‬ ‫ﺗﺠﻤﻊ ﻭ ﺷﻬﺮﻫﺎ‪ ،‬ﺍﺣﺘﻤﺎﻝ ﻛﺸﻒ ﺭﻭﺑﺎﺕﻫﺎ ﺑﺴﻴﺎﺭ ﺍﻧﺪﻙ ﺍﺳﺖ ﻭ ﺣﺘﺎ ﺩﺭ ﺻﻮﺭﺕ ﻛﺸﻒ ﻧﻴﺰ ﻣﻨﺸﺎء‬ ‫ﺁﻥﻫﺎ ﺑﺮﺍﻯ ﻣﺮﺩﻡ ﺍﻳﻦﺟﺎ ﻣﺸﺨﺺ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﺭﻭﺑﺎﺕﻫﺎﻳﻰ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩﻩﺍﻳﻢ ﻛﻪ ﺑﻪ ﺣﺴﮕﺮﻫﺎﻯ‬ ‫ﻛﺎﻣﻞ ﺍﻣﻮﺍﺝ ﺍﻟﻜﺘﺮﻭﻣﻐﻨﺎﻃﻴﺲ ﺩﺭ ﺗﻤﺎﻣﻰ ﻃﻴﻒ ﻭ ﻫﻤﭽﻨﻴﻦ ﺑﻪ ﺣﺴﮕﺮﻫﺎﻯ ﺑﻮ ﻭ ﻧﻴﺰ ﺣﺴﮕﺮﻫﺎﻯ‬ ‫ﺑﺴﻴﺎﺭ ﺣﺴﺎﺱ ﺍﻣﻮﺍﺝ ﻣﻜﺎﻧﻴﻜﻰ ﻣﺨﺼﻮﺻﺎً ﺍﻣﻮﺍﺝ ﻃﻮﻟﻰ ﻫﻮﺍ ﻣﺠﻬﺰ ﻣﻰﺑﺎﺷﻨﺪ ﻭ ﻫﻤﻪﻯ ﻣﻮﺍﺭﺩ ﺭﺍ ﻗﺒﻞ‬ ‫ﺍﺯ ﻧﺰﺩﻳﻚ ﺷﺪﻥ ﺷﻨﺎﺳﺎﻳﻰ ﻛﺮﺩﻩ ﻭ ﻋﻜﺲﺍﻟﻌﻤﻞ ﻣﻨﺎﺳﺐ ﻧﺸﺎﻥ ﻣﻰﺩﻫﻨﺪ‪ .‬ﺗﺤﻘﻴﻘﺎﺕ ﺍﻭﻟﻴﻪ ﻧﺸﺎﻥ‬ ‫ﻣﻰﺩﻫﺪ ﻛﻪ ﺗﻮﺍﻧﺎﻳﻰ ﺗﻜﻨﻮﻟﻮژﻳﻚ ﻣﺮﺩﻡ ﺳﻴﺎﺭﻩ‪ ،‬ﭼﻪ ﺩﺭ ﺷﻨﺎﺳﺎﻳﻰ ﻭ ﭼﻪ ﺩﺭ ﺗﻬﺎﺟﻢ‪ ،‬ﺑﺴﻴﺎﺭ ﭘﺎﻳﻴﻦﺗﺮ ﺍﺯ‬ ‫ﺗﻮﺍﻧﺎﻳﻰﻫﺎﻯ ﻣﺎ ﺍﺳﺖ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺳﻼﺡﻫﺎﻯ ﻧﺎﺗﻮﺍﻥﻛﻨﻨﺪﻩ ﺭﺍ ﻫﻤﺮﺍﻩ ﺩﺍﺭﻳﻢ ﻭ ﻫﻤﻴﺸﻪ ﻧﻴﺰ ﺩﺭ ﺁﻣﺎﺩﮔﻰ‬ ‫ﻫﺴﺘﻴﻢ ﺗﺎ ﺩﺭ ﺻﻮﺭﺕ ﻟﺰﻭﻡ ﺑﻪ ﺳﺮﻋﺖ ﺳﻴﺎﺭﻩ ﺭﺍ ﺗﺮﻙ ﮔﻮﻳﻴﻢ‪ .‬ﺩﺭ ﺣﺎﻝ ﺫﺧﻴﺮﻩﺳﺎﺯﻯ ﺣﺠﻢ ﻭﺳﻴﻌﻰ ﺍﺯ‬ ‫ﺍﻃﻼﻋﺎﺕ ﺧﺎﻡ‪ ،‬ﭼﻪ ﻣﻔﻬﻮﻡ ﻭ ﭼﻪ ﻧﺎﻣﻔﻬﻮﻡ‪ ،‬ﻫﺴﺘﻴﻢ ﺗﺎ ﺩﺭ ﺳﻔﻴﻨﻪ ﻭ ﭘﺎﻳﮕﺎﻩ ﻣﻮﺭﺩ ﺑﺮﺭﺳﻰ ﻗﺮﺍﺭ ﮔﻴﺮﺩ‪«.‬‬ ‫‪ ‬ﺑﺎﺯ ﻫﻢ ﺑﻪ ﺗﺼﺎﻭﻳﺮ ﺩﺭﻳﺎﻓﺘﻰ ﺧﻴﺮﻩ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻣﺴﻠﻤﺎً ﻧﻮﻋﻰ ﺷﺒﻜﻪﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﻣﻌﻤﻮﻟﻰ ﺑﻮﺩ‪ .‬ﻭﻟﻰ ﺍﺯ‬ ‫ﮔﻔﺘﺎﺭﺷﺎﻥ ﭼﻴﺰﻯ ﻧﻤﻰﻓﻬﻤﻴﺪ‪ .‬ﻣﺴﺎﻟﻪ ﻓﻘﻂ ﺗﺮﺟﻤﻪ ﻧﺒﻮﺩ‪ .‬ﻣﻰﺩﺍﻧﺴﺖ ﻛﻪ ﺑﻪ ﺯﻭﺩﻯ ﻛﺎﺭﺷﻨﺎﺳﺎﻥ ﭘﺎﻳﮕﺎﻩ‬ ‫ﺍﺯ ﭘﺲ ﺁﻥ ﺑﺮﺧﻮﺍﻫﻨﺪ ﺁﻣﺪ‪ ،‬ﻫﻢ ﻧﻮﺷﺘﻪﻫﺎ ﻭ ﻫﻢ ﮔﻔﺘﺎﺭﻫﺎ‪ ،‬ﻭﻟﻰ ﺧﻴﻠﻰ ﭼﻴﺰﻫﺎ ﻓﺮﻕ ﺩﺍﺷﺖ‪ .‬ﺣﺮﻛﺎﺕ ﺗﻨﺪ‬ ‫ﻟﺐﻫﺎ‪ ،‬ﺳﺮﻳﻊﺗﺮ ﺍﺯ ﺗﺨﺼﺼﻰﺗﺮﻳﻦ ﻣﺴﺎﺑﻘﺎﺕ ﺳﺮﻋﺖ ﺩﺭﻙ ﮔﻔﺘﺎﺭﻯ ﺑﻮﺩ ﻛﻪ ﺍﻭ ﺗﺎﻛﻨﻮﻥ ﻣﻴﺎﻥ ﻣﺮﺩﻡ ﺧﻮﺩ‬ ‫ﺩﻳﺪﻩ ﺑﻮﺩ‪ ،‬ﺣﺘﺎ ﺑﺮﺍﻯ ﺍﻭ ﻛﻪ ﻳﻜﻰ ﺍﺯ ﺑﺎﻻﺗﺮﻳﻦ ﺍﻣﺘﻴﺎﺯﺍﺕ ﺭﺍ ﺩﺭ ﺍﻳﻦ ﺩﺭﺱ ﺩﺭ ﺁﺯﻣﻮﻥ ﻭﺭﻭﺩﻯ ﺩﺍﻧﺸﻜﺪﻩﻯ‬ ‫ﺳﺎﺯﻣﺎﻥ ﻓﻀﺎﻧﻮﺭﺩﻯ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩﻩ ﺑﻮﺩ‪ .‬ﺣﺮﻛﺎﺕ ﺑﺴﻴﺎﺭ ﻛﻢ ﺳﺮ ﻭ ﭼﺸﻢﻫﺎ ﻭ ﺩﺳﺖﻫﺎ‪ ،‬ﭼﻬﺮﻩﻯ ﺗﻘﺮﻳﺒﺎً‬ ‫‪55‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﺍﻳﻦ ﭘﻴﻐﺎﻡﻫﺎ ﺑﻪ ﺻﻮﺭﺕ ﻣﺘﻦﻫﺎﻯ ﻣﺤﺪﻭﺩ ﻭ ﺭﻣﺰﮔﺬﺍﺭﻯ ﺷﺪﻩ ﻭ ﺑﻪ ﺷﻜﻞ ﻣﺘﻤﺮﻛﺰ ﺑﻪ ﺳﻔﻴﻨﻪ ﺍﺭﺳﺎﻝ‬ ‫ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﺍﻳﻦ ﮔﺰﺍﺭﺵﻫﺎ ﻋﻴﻨﺎً ﺗﻮﺳﻂ ﺳﻔﻴﻨﻪ ﺑﻪ ﭘﺎﻳﮕﺎﻩ ﻧﻴﺰ ﻣﻨﺘﻘﻞ ﺧﻮﺍﻫﺪ ﺷﺪ‪«.‬‬ ‫‪‬ﻫﻴﺠﺎﻥ ﺯﻳﺎﺩﻯ ﺩﺭ ﺧﻮﺩ ﺣﺲ ﻣﻰﻛﺮﺩ‪ .‬ﻣﺸﺨﺼﺎً ﺍﻳﻦ ﺑﺎﺭ ﻣﻮﻓﻖ ﻣﻰﺷﺪﻧﺪ‪ .‬ﺳﻔﻴﻨﻪ ﭘﻴﺎﻡﻫﺎﻯ ﻗﺎﻳﻖ ﺭﺍ‬ ‫ﺑﻪ ﻫﻤﺮﺍﻩ ﺍﻧﺒﻮﻫﻰ ﺍﺯ ﺿﻤﺎﻳﻢ ﻭ ﺗﺼﺎﻭﻳﺮ ﺑﺮﺍﻳﺸﺎﻥ ﻓﺮﺳﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﻛﺎﺭﺷﻨﺎﺳﺎﻥ ﻗﺎﻳﻖ ﻭ ﺳﻔﻴﻨﻪ ﻫﻢ ﺩﺍﺷﺘﻨﺪ‬ ‫ﺭﻭﻯ ﺁﻥﻫﺎ ﻛﺎﺭ ﻣﻰﻛﺮﺩﻧﺪ ﻭﻟﻰ ﺍﻳﻦﺟﺎ‪ ،‬ﺩﺭ ﭘﺎﻳﮕﺎﻩ‪ ،‬ﺍﺷﺨﺎﺹ ﻭ ﺍﻣﻜﺎﻧﺎﺕ ﺑﻴﺸﺘﺮﻯ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺑﻮﺩ‪.‬‬ ‫»ﮔﺰﺍﺭﺵ ﻳﻚ ﺍﺯ ﻗﺎﻳﻖ‪ :‬ﻋﻤﻠﻴﺎﺕ ﻣﻄﺎﺑﻖ ﺑﺮﻧﺎﻣﻪ ﭘﻴﺶ ﻣﻰﺭﻭﺩ‪ .‬ﻣﺴﺘﻘﺮ ﺷﺪﻩﺍﻳﻢ‪ .‬ﻣﺮﺍﺣﻞ ﺍﻭﻟﻴﻪﻯ‬ ‫ﺷﻨﺎﺳﺎﻳﻰ ﺍﻧﺠﺎﻡ ﺷﺪ‪ .‬ﻣﻮﻓﻖ ﺷﺪﻳﻢ ﺑﻌﻀﻰ ﺍﺯ ﺍﻣﻮﺍﺝ ﻣﻮﺟﻮﺩ ﺩﺭ ﻓﻀﺎﻯ ﺳﻴﺎﺭﻩ ﺭﺍ ﺑﻪ ﺻﻮﺭﺕ ﺗﺼﻮﻳﺮ‬ ‫ﺩﺭﺁﻭﺭﻳﻢ‪ .‬ﺍﻳﻦ ﺍﻣﻮﺍﺝ ﺑﻪ ﺻﻮﺭﺕ ﻳﻚﻃﺮﻓﻪ ﺍﺯ ﻓﺮﺳﺘﻨﺪﻩﻫﺎﻯ ﻣﻮﺟﻮﺩ ﺩﺭ ﻣﺪﺍﺭﮔﺮﺩﻫﺎ ﻭ ﺳﻄﺢ ﺳﻴﺎﺭﻩ‬ ‫ﭘﺨﺶ ﻣﻰﺷﻮﺩ ﻭ ﻇﺎﻫﺮﺍ ً ﻧﻮﻋﻰ ﺷﺒﻜﻪ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﻣﻰﺑﺎﺷﺪ؛ ﻭﻟﻰ ﺗﻌﺪﺍﺩﺷﺎﻥ ﺑﺴﻴﺎﺭ ﺑﻴﺸﺘﺮ ﺍﺯ ﭼﻴﺰﻯ‬ ‫ﺍﺳﺖ ﻛﻪ ﺍﻧﺘﻈﺎﺭ ﺩﺍﺷﺘﻴﻢ‪ .‬ﺑﺎ ﺍﻳﻦ ﻭﺟﻮﺩ ﺗﻌﺪﺍﺩ ﺷﺒﻜﻪﻫﺎﻯ ﺯﻳﺮﻧﻮﻳﺲﺩﺍﺭ ﺑﺴﻴﺎﺭ ﻛﻤﺘﺮ ﺍﺯ ﺣﺪ ﻣﻮﺭﺩ ﺍﻧﺘﻈﺎﺭ‬ ‫ﺍﺳﺖ‪ ،‬ﺍﻳﻦ ﻣﺴﺌﻠﻪ ﺑﺎﻳﺪ ﻣﻮﺭﺩ ﺑﺮﺭﺳﻰ ﺩﻗﻴﻖﺗﺮﻯ ﻗﺮﺍﺭ ﮔﻴﺮﺩ‪ .‬ﺑﺨﺶﻫﺎﻳﻰ ﺍﺯ ﺑﺮﻧﺎﻣﻪﻫﺎﻯ ﺷﺒﻜﻪﻫﺎﻯ‬ ‫ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﺑﺮﺍﻯ ﻣﺎ ﻣﻔﻬﻮﻡ ﺍﺳﺖ؛ ﻭﻟﻰ ﻗﺴﻤﺖﻫﺎﻯ ﻋﻤﺪﻩﺍﻯ ﺍﺯ ﺗﺼﺎﻭﻳﺮ ﻛﻪ ﻣﺮﺑﻮﻁ ﺑﻪ ﻧﺤﻮﻩﻯ ﺍﺭﺗﺒﺎﻃﺎﺕ‬ ‫ﻛﻼﻣﻰ ﻣﺮﺩﻡ ﻣﻰﺑﺎﺷﺪ‪ ،‬ﺍﺑﻬﺎﻣﺎﺕ ﺑﺴﻴﺎﺭ ﺯﻳﺎﺩﻯ ﺩﺍﺭﺩ‪ .‬ﺗﻼﺵ ﻣﺎ ﺩﺭ ﺩﻭ ﺟﻨﺒﻪﻯ ﺍﺻﻠﻰ ﻣﺘﻤﺮﻛﺰ ﺧﻮﺍﻫﺪ‬ ‫ﺷﺪ‪ .‬ﺍﻭﻝ ﺗﺮﺟﻤﻪﻯ ﭘﻴﺎﻡﻫﺎﻯ ﻏﻴﺮﺗﺼﻮﻳﺮﻯ ﻛﻪ ﻗﺎﻋﺪﺗﺎً ﺑﺎﻳﺪ ﺩﺍﺭﺍﻯ ﺑﺎﻓﺖ ﻣﺘﻨﻰ ﺑﺎﺷﻨﺪ ﻭ ﺗﻼﺵ ﺑﺮﺍﻯ‬ ‫ﻧﻔﻮﺫ ﺩﺭ ﺷﺒﻜﻪﻫﺎﻯ ﺍﺭﺗﺒﺎﻃﻰ ﺩﻭﻃﺮﻓﻪ ﻭ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩﻥ ﺍﻃﻼﻋﺎﺕ ﻣﺘﻤﺮﻛﺰ ﻭ ﺩﺍﻳﺮﻩﺍﻟﻤﻌﺎﺭﻑﻫﺎﻯ‬ ‫ﻣﻮﺟﻮﺩ ﺩﺭ ﺍﻳﻦ ﺷﺒﻜﻪﻫﺎ‪ .‬ﺩﻭﻣﻴﻦ ﻫﺪﻑ ﺑﺮﺭﺳﻰ ﻣﺴﺘﻘﻴﻢ ﭘﺎﺭﺍﻣﺘﺮﻫﺎﻯ ﺟﺴﻤﻰ ﻭ ﺭﻓﺘﺎﺭﻯ ﻣﺮﺩﻡ ﺳﻴﺎﺭﻩ‬ ‫ﻣﻰﺑﺎﺷﺪ ﻛﻪ ﺩﺭ ﺍﺑﺘﺪﺍ ﺗﻮﺳﻂ ﺭﻭﺑﺎﺕﻫﺎﻯ ﻣﺎ ﺍﻧﺠﺎﻡ ﺧﻮﺍﻫﺪ ﺷﺪ‪«.‬‬ ‫‪‬ﺑﻰﺧﻮﺍﺑﻰ ﺩﺍﺷﺖ‪ .‬ﻛﺎﺭﺵ ﻣﻀﺤﻚ ﺑﻮﺩ‪ .‬ﻭﻗﺘﻰ ﺑﻬﺘﺮﻳﻦ ﻛﺎﺭﺷﻨﺎﺳﺎﻥ ﺍﺭﺗﺒﺎﻃﺎﺕ ﻛﻼﻣﻰ ﺭﻭﻯ ﻣﻮﺿﻮﻉ‬ ‫ﻛﺎﺭ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﻧﻴﺎﺯﻯ ﻧﺒﻮﺩ ﻓﺮﻣﺎﻧﺪﻩ ﭘﺎﻳﮕﺎﻩ ﻣﺴﺘﻘﻴﻤﺎً ﺑﻪ ﺍﻳﻦ ﻛﺎﺭ ﺑﭙﺮﺩﺍﺯﺩ‪ ،‬ﻭﻟﻰ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﺟﻠﻮﻯ‬ ‫ﺧﻮﺩﺵ ﺭﺍ ﺑﮕﻴﺮﺩ‪ .‬ﺧﻮﺷﺒﺨﺘﺎﻧﻪ ﺩﺭ ﭘﺎﻳﮕﺎﻩ ﻫﻤﻪ ﭼﻴﺰ ﻣﻄﺎﺑﻖ ﺭﻭﺍﻝ ﭘﻴﺶ ﻣﻰﺭﻓﺖ ﻭ ﻧﻴﺎﺯﻯ ﺑﻪ ﺣﻀﻮﺭ‬ ‫ﺍﻭ ﺣﺲ ﻧﻤﻰﺷﺪ‪ .‬ﺧﻤﻴﺎﺯﻩﺍﻯ ﻛﺸﻴﺪ ﻭ ﺩﺳﺘﻮﺭ ﺻﺒﺤﺎﻧﻪ ﺩﺍﺩ ﻭ ﺑﺎﺯ ﺑﻪ ﺗﺼﺎﻭﻳﺮ ﻛﺎﻧﺎﻝﻫﺎﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﻛﻪ‬ ‫ﻗﺎﻳﻖﻫﺎ ﻓﺮﺳﺘﺎﺩﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﺧﻴﺮﻩ ﺷﺪ‪ .‬ﻣﺸﺨﺺ ﺑﻮﺩ ﻛﻪ ﺳﺎﻛﻨﺎﻥ ﺳﻴﺎﺭﻩ ﻛﺎﻣ ً‬ ‫ﻼ ﺍﻧﺴﺎﻥﮔﻮﻧﻪ ﻫﺴﺘﻨﺪ‪ .‬ﺣﺘﺎ‬ ‫ﭼﻬﺮﻩﻫﺎ ﻭ ﺗﻨﺎﺳﺐ ﺍﻧﺪﺍﻣﺸﺎﻥ ﻫﻢ ﻫﻤﺎﻥ ﻓﺮﻡﻫﺎﻯ ﺁﺷﻨﺎ ﺑﻮﺩ‪.‬‬ ‫ﻻﻣﭗ ﺁﻻﺭﻡ ﺣﺴﮕﺮ ﺍﺗﺎﻕ ﻋﻼﻣﺖ ﺩﺍﺩ‪ .‬ﻧﮕﺎﻫﻰ ﺑﻪ ﻧﻤﺎﻳﺸﮕﺮ ﺍﻧﺪﺍﺧﺖ‪ .‬ﻳﺎﻣﻴﺘﺎﻯ ﺳﺮﺁﺷﭙﺰ ﺑﻮﺩ‪ .‬ﻟﺒﺎﺳﺶ‬ ‫ﻫﻮﺷﻤﻨﺪ ﺑﻮﺩ ﻭ ﻧﻤﺎﻳﺸﮕ ِﺮ ﺩﺭ ﻭﺭﻭﺩﻯ ﺷﻨﺎﺳﺎﻳﻰﺍﺵ ﻣﻰﻛﺮﺩ‪ .‬ﻭﻟﻰ ﺍﻭ ﺭﺍ ﻫﻢ ﻣﻰﺷﺪ ﺍﺯ ﺿﺮﺑﻪﻫﺎﻳﺶ‬ ‫ﺷﻨﺎﺧﺖ‪ .‬ﺍﻏﻠﺐ ﺑﻪ ﺩﺭ ﺿﺮﺑﻪ ﻣﻰﺯﺩ‪ ،‬ﺁﺭﺍﻡ ﻭ ﻣﺮﺗﺐ‪ ،‬ﺑﺎ ﺿﺮﺑﻪﻫﺎﻯ ﺷﻤﺮﺩﻩ ﻛﻪ ﺭﻭﻯ ﺻﻔﺤﻪ ﻧﻤﺎﻳﺶ‬ ‫ﺣﺴﮕﺮ ﻓﺮﻡ ﻣﻮﺯﻭﻧﻰ ﻣﻰﺳﺎﺧﺖ‪ .‬ﻓﺮﻣﺎﻧﺪﻩ ﻟﺒﺨﻨﺪﻯ ﺯﺩ‪ ،‬ﺳﻴﺼﺪ ﺳﺎﻟﻰ ﻣﻰﺷﺪ ﻛﻪ ﺣﺴﮕﺮﻫﺎ ﺍﺑﺪﺍﻉ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﺑﻪ ﺩﻳﺪﻥ ﺗﺼﻮﻳﺮ ﺭﻭﻯ ﻧﻤﺎﻳﺸﮕﺮ ﻧﺒﻮﺩ‪ .‬ﺗﻮﻣﺎ ﺑﻮﺩ‪ .‬ﻋﺎﺩﺕ ﻧﺪﺍﺷﺖ ﻟﺒﺎﺱ ﻫﻮﺷﻤﻨﺪ ﺑﭙﻮﺷﺪ ﻭ ﻫﻤﻴﺸﻪ ﻫﻢ‬ ‫ﻋﺠﻠﻪ ﺩﺍﺷﺖ‪ .‬ﺁﻥ ﻗﺪﺭ ﻛﻪ ﺑﻪ ﺟﺎﻯ ﻟﻤﺲ ﺩﻛﻤﻪﻯ ﺁﻻﺭﻡ‪ ،‬ﺍﻏﻠﺐ ﺑﻪ ﺩﺭ ﺿﺮﺑﻪ ﻣﻰﺯﺩ‪ .‬ﻣﻰﺷﺪ ﺍﺯ ﺭﻭﻯ ﺩﺭ‬ ‫ﺯﺩﻧﺶ ﺍﻭ ﺭﺍ ﺷﻨﺎﺧﺖ‪ ،‬ﺿﺮﺑﺎﺕ ﺷﺪﻳﺪ ﻭ ﺑﻰﺻﺒﺮﺍﻧﻪ‪ .‬ﺩﮔﻤﻪﻯ ﺳﺒﺰ ﺭﺍ ﻟﻤﺲ ﻛﺮﺩ‪ .‬ﺗﻮﻣﺎ ﺩﺭ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩ‬ ‫ﻭ ﻭﺍﺭﺩ ﺷﺪ‪ .‬ﮔﺰﺍﺭﺵ ﺭﺍ ﺁﻭﺭﺩﻩ ﺑﻮﺩ‪ .‬ﻫﻨﻮﺯ ﻫﻢ ﺩﻭﺳﺖ ﺩﺍﺷﺖ ﻣﻄﺎﺑﻖ ﺳﻨﺖﻫﺎﻯ ﺑﺎﺳﺘﺎﻧﻰ ﺭﻓﺘﺎﺭ ﻛﻨﺪ‪،‬‬ ‫ﺁﻭﺭﺩﻥ ﮔﺰﺍﺭﺵ ﺭﻭﻯ ﻛﺎﻏﺬ ﻭ ﺑﻪ ﻃﻮﺭ ﺩﺳﺘﻰ ﺗﻮﺳﻂ ﻣﻌﺎﻭﻥ ﻋﻤﻠﻴﺎﺗﻰ ﺑﺮﺍﻯ ﻓﺮﻣﺎﻧﺪﻩ‪.‬‬ ‫»ﮔﺰﺍﺭﺵ ﺳﻪ‪ -‬ﺳﻔﻴﻨﻪ ﻳﺎﺯﺩﻩ‪ :‬ﻗﺎﻳﻖ ﺭﻭﺑﺎﺗﻴﻚ ﺑﻪ ﺧﻮﺑﻰ ﻣﺸﻐﻮﻝ ﺍﻧﺠﺎﻡ ﻭﻇﻴﻔﻪ ﺍﺳﺖ‪ .‬ﭘﺎﺭﺍﻣﺘﺮﻫﺎﻯ ﺍﺻﻠﻰ‬ ‫ﺯﻳﺴﺖﻓﻴﺰﻳﻚ ﻭ ﺯﻳﺴﺖﺷﻴﻤﻰ ﺳﻴﺎﺭﻩ ﺗﻔﺎﻭﺕﻫﺎﻯ ﻋﺪﺩﻯ ﺍﻧﺪﻛﻰ ﺑﺎ ﺳﻴﺎﺭﻩ ﻣﺎ ﺩﺍﺭﺩ‪ .‬ﺑﻪ ﺯﻭﺩﻯ ﻗﺎﻳﻖ‬ ‫ﺍﺻﻠﻰ ﺍﺭﺳﺎﻝ ﺧﻮﺍﻫﺪ ﺷﺪ ﺗﺎ ﺑﺎ ﺑﺮﺭﺳﻰﻫﺎﻯ ﺩﻗﻴﻖﺗﺮ ﺩﺭ ﻣﻮﺭﺩ ﺗﻤﺎﺱ ﻳﺎ ﻋﺪﻡﺗﻤﺎﺱ ﺑﺎ ﻣﺮﺩﻡ ﺳﻴﺎﺭﻩ‬ ‫ﺗﺼﻤﻴﻢﮔﻴﺮﻯ ﺷﻮﺩ‪ .‬ﻣﺸﺨﺺ ﺍﺳﺖ ﻛﻪ ﺳﺎﻛﻨﻴﻦ ﺳﻴﺎﺭﻩ‪ ،‬ﻫﻤﺎﻧﻨﺪ ﺭﺍﮔﻴﻤﺎ‪ ،‬ﻛﺎﻣ ً‬ ‫ﻼ ﺍﻧﺴﺎﻥﮔﻮﻧﻪ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺩﺳﺘﻮﺭﺍﻟﻌﻤﻞﻫﺎ ﺩﺭ ﻫﺮ ﺣﺎﻝ ﺭﻋﺎﻳﺖ ﺧﻮﺍﻫﺪ ﺷﺪ‪ ،‬ﺑﺎ ﺍﻳﻦ ﻭﺟﻮﺩ ﺗﺼﻤﻴﻢﮔﻴﺮﻯ ﺩﺷﻮﺍﺭ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﺩﺭ‬ ‫ﻣﻮﺭﺩ ﻣﻨﻈﻮﻣﻪ ﺭﺍﮔﻴﻤﺎ ﺩﺭﺳﺖ ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﻣﻄﻤﺌﻦ ﺷﺪﻳﻢ ﺗﻤﺪﻥ ﺁﻥﻫﺎ ﺍﺭﺯﺵ ﺑﺮﻗﺮﺍﺭﻯ ﺍﺭﺗﺒﺎﻁ ﺭﺍ‬ ‫ﺩﺍﺭﺩ‪ ،‬ﺑﻪ ﻣﺤﺾ ﺍﺭﺳﺎﻝ ﭘﻴﺎﻡ‪ ،‬ﺧﻮﺩ ﺭﺍ ﻫﺪﻑ ﺗﻬﺎﺟﻢ ﭘﺮﺣﺠﻢ ﺳﻼﺡﻫﺎﻳﺸﺎﻥ ﻳﺎﻓﺘﻴﻢ‪ .‬ﺍﮔﺮ ﻋﻠﺖ ﺭﻓﺘﺎﺭ‬ ‫ﺧﺼﻤﺎﻧﻪﻯ ﻣﺮﺩﻡ ﻣﻨﻈﻮﻣﻪﻯ ﻣﺬﻛﻮﺭ ﻭﺟﻮﺩ ﺩﺷﻤﻨﺎﻥ ﻓﻀﺎﻳﻰ ﺩﺭ ﻣﻨﻈﻮﻣﻪﻫﺎﻯ ﺍﻃﺮﺍﻑ ﻭ ﺳﻮﺍﺑﻖ ﻧﺒﺮﺩ‬ ‫ﺑﻴﻦﺳﺘﺎﺭﻩﺍﻯ ﻓﺮﺽ ﺷﻮﺩ‪ ،‬ﺩﺭ ﺍﻳﻦﺟﺎ ﻇﺎﻫﺮﺍ ً ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﻣﺼﺪﺍﻕ ﻧﺪﺍﺭﺩ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﻫﻤﻪ ﻣﻮﺍﺭﺩ‬ ‫ﺍﺣﺘﻴﺎﻃﻰ ﺭﻋﺎﻳﺖ ﻣﻰﺷﻮﺩ‪«.‬‬ ‫‪‬ﺑﻪ ﻫﺮ ﺻﻮﺭﺕ ﺑﺎﻳﺪ ﺍﺣﺘﻴﺎﻁ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺑﻠﻪ‪ ،‬ﻗﻀﻴﻪ ﺭﺍﮔﻴﻤﺎ ﻧﺒﺎﻳﺪ ﺗﻜﺮﺍﺭ ﻣﻰﺷﺪ‪ .‬ﻟﺤﻈﻪﺍﻯ ﻛﻪ ﺧﻮﺷﺤﺎﻝ‬ ‫ﺍﺯ ﺷﻨﺎﺳﺎﻳﻰ ﺍﻭﻟﻴﻦ ﺗﻤﺪﻥ ﺩﺭ ﻛﻬﻜﺸﺎﻥ‪ ،‬ﺍﻭﻟﻴﻦ ﭘﻴﺎﻡ ﺭﺍ ﻓﺮﺳﺘﺎﺩﻧﺪ ﻭ ﺑﻌﺪ ﺍﺯ ﺩﻗﺎﻳﻘﻰ ﺩﻩﻫﺎ ﻣﻮﺷﻚ ﺍﺯ‬ ‫ﻣﺪﺍﺭﮔﺮﺩﻫﺎ ﻭ ﺳﻄﺢ ﺳﻴﺎﺭﻩ ﺑﻪ ﺳﻤﺖﺷﺎﻥ ﺷﻠﻴﻚ ﺷﺪ‪ ،‬ﺑﺎ ﺳﻼﺡﻫﺎﻯ ﺗﺸﻌﺸﻌﻰ ﻭ ﺗﻜﺎﻧﻪﺍﻯ‪ ،‬ﻭ ﭘﺸﺖ ﺳﺮ‬ ‫ﻣﻮﺷﻚﻫﺎ ﻫﺮ ﭼﻪ ﻛﻪ ﻓﻀﺎ ﺟﺎ ﺩﺍﺷﺖ‪ ،‬ﺳﻔﻴﻨﻪﻫﺎ ﻭ ﻗﺎﻳﻖﻫﺎﻯ ﺟﻨﮕﻰ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﻃﺮﻑﺷﺎﻥ ﻣﻰﺁﻣﺪ ﻭ‬ ‫ﺍﮔﺮ ﺑﺮﺗﺮﻯﻫﺎﻯ ﻛﻴﻔﻰ ﺳﻔﻴﻨﻪﻫﺎﻯ ﺧﻮﺩﻯ ﻭ ﻧﺰﺩﻳﻚ ﺑﻮﺩﻥ ﺳﻔﻴﻨﻪﻫﺎ ﺑﻪ ﭘﺎﻳﮕﺎﻩ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﺍﻣﻜﺎﻧﺎﺕ‬ ‫ﺟﻬﺶ ﻓﺮﺍﻧﻮﺭ ﻧﺒﻮﺩ‪ ،‬ﻛﻤﻴﺖ ﻓﺮﺍﻭﺍﻥ ﺳﻼﺡﻫﺎﻯ ﺁﻥﻫﺎ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺑﺎﻋﺚ ﻧﺎﺑﻮﺩﻯ ﺳﻔﺎﻳﻦ ﺷﻮﺩ‪.‬‬ ‫ﺑﺎﻳﺪ ﺻﺒﺮ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺍﻳﻦ ﺑﺎﺭ ﺗﻤﺎﺱ ﻓﻘﻂ ﻭﻗﺘﻰ ﻣﺠﺎﺯ ﺑﻮﺩ ﻛﻪ ﺑﺪﺍﻧﻨﺪ ﻣﺮﺩﻡ ﺍﻳﻦ ﺳﻴﺎﺭﻩ ﻫﻴﭻ ﺧﻄﺮﻯ‬ ‫ﻧﺪﺍﺭﻧﺪ‪ .‬ﺑﻪ ﻧﻈﺮ ﻛﻪ ﭼﻨﻴﻦ ﻣﻰﺁﻣﺪ‪ .‬ﺗﻤﺪﻥ ﻣﺮﺩﻡ ﺍﻳﻦ ﺳﻴﺎﺭﻩ‪ ،‬ﻳﺎ ﻻﺍﻗﻞ ﺗﺠﻬﻴﺰﺍﺕ ﻓﻀﺎﻳﻰﺷﺎﻥ‪ ،‬ﺣﺘﺎ ﺩﺭ‬ ‫ﺳﻄﺢ ﺭﺍﮔﻴﻤﺎ ﻫﻢ ﻧﺒﻮﺩ‪.‬‬ ‫»ﮔﺰﺍﺭﺵ ﭼﻬﺎﺭ‪ -‬ﺳﻔﻴﻨﻪ ﻳﺎﺯﺩﻩ‪ :‬ﻗﺎﻳﻘﻰ ﺑﺎ ﻫﺸﺖ ﺳﺮﻧﺸﻴﻦ ﺩﻳﺮﻭﺯ ﺑﻪ ﺳﻴﺎﺭﻩ ﺍﻋﺰﺍﻡ ﺷﺪ ﻭ ﺩﺭ ﻣﻨﻄﻘﻪﺍﻯ‬ ‫ﺟﻨﮕﻠﻰ ﺩﺭ ﻧﺰﺩﻳﻜﻰ ﻗﺎﻳﻖ ﺭﻭﺑﺎﺗﻴﻚ ﻓﺮﻭﺩ ﺁﻣﺪ‪ .‬ﻣﻜﺎﻧﻴﺰﻡ ﺍﺭﺳﺎﻝ ﻭ ﺍﺳﺘﻘﺮﺍﺭ ﻗﺎﻳﻖ ﻭ ﻧﺤﻮﻩﻯ ﺍﺭﺗﺒﺎﻃﺎﺕ‬ ‫ﺑﻌﺪﻯ ﺩﺍﺭﺍﻯ ﺑﺎﻻﺗﺮﻳﻦ ﺩﺭﺟﻪﻯ ﭘﻨﻬﺎﻥﻛﺎﺭﻯ ﺍﺳﺖ‪ .‬ﺍﺯ ﻃﺮﻑ ﺳﻔﻴﻨﻪ ﺑﻪ ﺟﺰ ﻛﺪﻫﺎﻯ ﻋﻤﻠﻴﺎﺗﻰ ﭘﻴﻐﺎﻣﻰ‬ ‫ﺑﺮﺍﻯ ﻗﺎﻳﻖ ﺍﺭﺳﺎﻝ ﻧﺨﻮﺍﻫﺪ ﺷﺪ ﻭ ﺑﺮﺍﻯ ﺟﻠﻮﮔﻴﺮﻯ ﺍﺯ ﺩﺭﻳﺎﻓﺖ ﭘﻴﻐﺎﻡﻫﺎﻯ ﻗﺎﻳﻖ ﺗﻮﺳﻂ ﺳﺎﻛﻨﺎﻥ ﺳﻴﺎﺭﻩ‪،‬‬ ‫‪53‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﻣﺮﺩﻡ ﺗﻴﻜﺎﺱ ﺩﺭ ﺍﻃﺮﺍﻑ ﻣﺴﺘﻘﺮ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﺍﻳﻦ ﮔﻮﻧﻪ ﺑﺎﺷﺪ‪ ،‬ﻣﺮﺩﻡ ﺍﻳﻦ ﺳﻴﺎﺭﻩ ﺑﻪ ﺗﻜﻨﻮﻟﻮژﻯ‬ ‫ﺳﻔﺮﻫﺎﻯ ﻣﻨﻈﻮﻣﻪﺍﻯ ﻭ ﻫﻤﭽﻨﻴﻦ ﻣﺮﺍﺣﻠﻰ ﺍﺯ ﺩﺍﻧﺶ ﺭﻭﺑﺎﺗﻴﻚ ﺩﺳﺖ ﭘﻴﺪﺍ ﻛﺮﺩﻩﺍﻧﺪ؛ ﻭﻟﻰ ﻫﻴﭽﮕﻮﻧﻪ‬ ‫ﺍﺛﺮﻯ ﺍﺯ ﺗﺠﻬﻴﺰﺍﺕ ﻋﻈﻴﻢ ﻭ ﭘﺲﻣﺎﻧﺪ ﺗﺸﻌﺸﻌﻰ ﻣﺴﻴﺮﻫﺎﻯ ﺟﻬﺶ ﺩﺭ ﻓﻀﺎﻯ ﺧﺎﺭﺝ ﻣﻨﻈﻮﻣﻪﺍﻯ ﺩﻳﺪﻩ‬ ‫ﻧﻤﻰﺷﻮﺩ ﻛﻪ ﺑﻪ ﺍﻳﻦ ﻣﻔﻬﻮﻡ ﺍﺳﺖ ﻛﻪ ﻫﻨﻮﺯ ﺗﻜﻨﻮﻟﻮژﻯ ﺟﻬﺶ ﻭ ﺳﻔﺮ ﺑﻴﻦﺳﺘﺎﺭﻩﺍﻯ ﺑﺮﺍﻯ ﺁﻥﻫﺎ‬ ‫ﻧﺎﺷﻨﺎﺱ ﺍﺳﺖ‪ .‬ﺩﺭ ﻛﻮﺗﺎﻩﻣﺪﺕ ﻭ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻦ ﻛﻪ ﻫﺮ ﮔﻮﻧﻪ ﺑﺎﺯﺗﺎﺑﻰ ﺍﺯ ﺳﻔﻴﻨﻪ ﺭﺍ ﺩﺭ ﺣﺪ ﺻﻔﺮ ﻧﮕﻪ‬ ‫ﺧﻮﺍﻫﻴﻢ ﺩﺍﺷﺖ‪ ،‬ﺧﻄﺮ ﻛﺸﻒ ﺷﺪﻥ ﻣﺎ ﺭﺍ ﺗﻬﺪﻳﺪ ﻧﻤﻰﻛﻨﺪ‪ .‬ﺑﺮﺭﺳﻰﻫﺎﻯ ﺍﻭﻟﻴﻪ ﺩﺭ ﺣﺎﻝ ﺍﻧﺠﺎﻡ ﺍﺳﺖ‪«.‬‬ ‫‪ ‬ﮔﺰﺍﺭﺵ ﺳﻔﻴﻨﻪ ﺷﻤﺎﺭﻩ ﺩﻭ ﺭﺍ ﺧﻮﺍﻧﺪ ﻭ ﺩﺳﺘﻮﺭ ﺗﺮﻙ ﻣﻨﻄﻘﻪ ﺑﻌﺪ ﺍﺯ ﻋﻼﻣﺖﮔﺬﺍﺭﻯ ﻭ ﻧﻤﻮﻧﻪﺑﺮﺩﺍﺭﻯ‬ ‫ﺍﺯ ﺣﻴﺎﺕ ﺍﻭﻟﻴﻪﻯ ﮔﻴﺎﻫﻰ ﺩﺭ ﺳﻴﺎﺭﻩﻯ ﻣﻨﻔﺮﺩ ﺭﺍ ﺻﺎﺩﺭ ﻛﺮﺩ‪ .‬ﺑﻌﺪ ﺍﺯ ﻫﻔﺖ ﻣﻮﺭﺩ ﺑﺮﺧﻮﺭﺩ ﺑﺎ ﺯﻧﺪﮔﻰﻫﺎﻯ‬ ‫ﮔﻴﺎﻫﻰ‪ ،‬ﺩﻳﮕﺮ ﺍﻳﻦ ﻳﻜﻰ ﻫﻴﭻ ﺟﺬﺍﺑﻴﺘﻰ ﻧﺪﺍﺷﺖ‪ .‬ﻭﻟﻰ ﮔﺰﺍﺭﺵﻫﺎﻯ ﺳﻔﻴﻨﻪ ﺷﻤﺎﺭﻩ ﻳﺎﺯﺩﻩ ﻫﻴﺠﺎﻥﺍﻧﮕﻴﺰ‬ ‫ﺑﻮﺩ‪.‬‬ ‫»ﮔﺰﺍﺭﺵ ﺩﻭ‪ -‬ﺳﻔﻴﻨﻪ ﻳﺎﺯﺩﻩ‪ :‬ﺑﺮﺍﻯ ﺟﻠﻮﮔﻴﺮﻯ ﺍﺯ ﺗﻜﺮﺍﺭ ﺍﺷﺘﺒﺎﻫﻰ ﻛﻪ ﺩﺭ ﻣﻨﻈﻮﻣﻪ ﺭﺍﮔﻴﻤﺎ ﭘﻴﺶ ﺁﻣﺪ‪،‬‬ ‫ﺍﻟﻜﺘﺮﻭﻣﻐﻨﺎﻃﻴﺲ ﭘﺮﺍﻛﻨﺪﻩ ﻭ ﻧﺸﺘﻰ ﺳﻴﺎﺭﻩ ﻭ ﺭﻣﺰﮔﺸﺎﻳﻰ ﺍﺯ ﺁﻥﻫﺎ‬ ‫ﺍﻳﻦ ﺑﺎﺭ ﻓﻘﻂ ﺑﻪ ﺩﺭﻳﺎﻓﺖ ﺍﻣﻮﺍﺝ‬ ‫ِ‬ ‫ﺍﺯ ﻓﺎﺻﻠﻪﻯ ﺩﻭﺭ ﺩﺭ ﺳﻔﻴﻨﻪ‪ ،‬ﺑﻪ ﺻﻮﺭﺕ ﻣﺤﺪﻭﺩ ﻭ ﻧﺎﻗﺺ‪ ،‬ﺍﻛﺘﻔﺎ ﻧﺨﻮﺍﻫﺪ ﺷﺪ ﻭ ﻗﺎﻳﻘﻰ ﺑﻪ ﻫﻤﺮﺍﻩ‬ ‫ﺁﺯﻣﺎﻳﺸﮕﺎﻩﻫﺎ ﻣﺴﺘﻘﻴﻤﺎً ﻭ ﺑﻪ ﺻﻮﺭﺕ ﭘﻨﻬﺎﻥ ﺭﻭﻯ ﺳﻴﺎﺭﻩ ﻓﺮﻭﺩ ﺧﻮﺍﻫﺪ ﺁﻣﺪ ﺗﺎ ﻋﻼﻭﻩ ﺑﺮ ﺁﺯﻣﺎﻳﺶﻫﺎﻯ‬ ‫ﭘﺎﻳﻪ ﺭﻭﻯ ﺳﺎﻛﻨﺎﻥ ﺳﻴﺎﺭﻩ‪ ،‬ﺑﻪ ﺍﻃﻼﻋﺎﺕ ﻣﺒﺎﺩﻟﻪ ﺷﺪﻩ ﺑﻴﻦ ﺁﻥﻫﺎ ﺑﻪ ﺻﻮﺭﺕ ﻭﺳﻴﻊ ﺩﺳﺘﺮﺳﻰ ﺩﺍﺷﺘﻪ‬ ‫ﺑﺎﺷﺪ‪ .‬ﻳﻚ ﻗﺎﻳﻖ ﺭﻭﺑﺎﺗﻴﻚ ﺩﻳﺮﻭﺯ ﺩﺭ ﻳﻚ ﻣﻨﻄﻘﻪﻯ ﺟﻨﮕﻠﻰ ﺳﻴﺎﺭﻩ ﻓﺮﻭﺩ ﺁﻣﺪ ﻭ ﻣﺴﺘﻘﺮ ﺷﺪ‪ .‬ﻫﺪﻑ ﺍﺯ‬ ‫ﺍﻳﻦ ﻛﺎﺭ ﺩﺭﻳﺎﻓﺖ ﻭ ﺑﺮﺭﺳﻰ ﻣﺴﺘﻘﻴﻢ ﭘﻴﺎﻡﻫﺎﻯ ﻣﺒﺎﺩﻟﻪ ﺷﺪﻩ ﺑﻴﻦ ﻣﺮﺩﻡ ﺳﻴﺎﺭﻩ ﻭ ﻫﻤﭽﻨﻴﻦ ﺁﺯﻣﻮﺩﻥ‬ ‫ﺍﻣﻨﻴﺖ ﻓﺮﻭﺩ ﭘﻨﻬﺎﻥ ﻗﺎﻳﻖ ﺍﺻﻠﻰ ﻣﻰﺑﺎﺷﺪ‪«.‬‬ ‫‪ ‬ﺍﺣﺴﺎﺱ ﺑﻰﺻﺒﺮﻯ ﻣﻰﻛﺮﺩ‪ .‬ﺳﻪ ﺭﻭﺯ ﺯﻣﺎﻥ ﺯﻳﺎﺩﻯ ﺑﻮﺩ‪ .‬ﺑﻌﻀﻰ ﻭﻗﺖﻫﺎ ﻭﺳﻮﺳﻪ ﻣﻰﺷﺪ ﻣﻮﻟﺪ‬ ‫ﺗﺸﺪﻳﺪ ﻛﺎﻧﺎﻝ ﻣﺨﺎﺑﺮﺍﺗﻰ ﻣﻴﺪﺍﻥ ﻓﺮﺍﻧﻮﺭ ﺭﺍ ﺑﺮﺍﻯ ﺩﻭﺭﻩﻫﺎﻯ ﻛﻮﺗﺎﻩﺗﺮﻯ ﺗﻨﻈﻴﻢ ﻛﻨﺪ ﺗﺎ ﺣﺪﺍﻗﻞ ﺭﻭﺯﺍﻧﻪ ﺑﻪ‬ ‫ﮔﺰﺍﺭﺵﻫﺎﻯ ﺳﻔﻴﻨﻪ ﺩﺳﺘﺮﺳﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﻭﻟﻰ ﺑﺎﻳﺪ ﺑﻪ ﻓﻜﺮ ﺍﻧﺮژﻯ ﻣﺼﺮﻓﻰ ﺳﻔﻴﻨﻪ ﻫﻢ ﻣﻰﺑﻮﺩ‪ .‬ﺑﻪ‬ ‫ﻫﺮ ﺻﻮﺭﺕ ﺟﺎﻯ ﻧﮕﺮﺍﻧﻰ ﻧﺒﻮﺩ‪ .‬ﭘﺎﻧﺘﺎﻝ‪ ،‬ﻓﺮﻣﺎﻧﺪﻩ ﺳﻔﻴﻨﻪ ﺷﻤﺎﺭﻩ ﻳﺎﺯﺩﻩ‪ ،‬ﻫﻢ ﺷﺠﺎﻋﺖ ﻻﺯﻡ ﺭﺍ ﺩﺍﺷﺖ ﻭ‬ ‫ﻫﻢ ﺩﺭﺍﻳﺘﻰ ﻣﺜﺎﻝﺯﺩﻧﻰ‪ .‬ﺍﻳﻦ ﺭﺍ ﺩﺭ ﻧﺒﺮﺩ ﺭﺍﮔﻴﻤﺎ ﺑﻪ ﺧﻮﺑﻰ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺑﻮﺩ‪ .‬ﭘﺎﻧﺘﺎﻝ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﺍﻭ ﺗﺸﺒﻴﻪ‬ ‫ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺑﻠﻪ‪ ،‬ﺟﺪﺍ ﺍﺯ ﻫﻤﻪﻯ ﻣﻮﺍﺭﺩ‪ ،‬ﺍﺯ ﻳﻚ ﻧﻈﺮ ﺩﻳﮕﺮ ﻫﻢ ﺷﺒﻴﻪ ﺧﻮﺩ ﺍﻭ ﺑﻮﺩ‪ .‬ﮔﺰﺍﺭﺵ ﺭﺍ ﺧﻴﻠﻰ‬ ‫ﻣﺨﺘﺼﺮ ﻣﻰﻧﻮﺷﺖ ﻭ ﻣﻄﺎﻟﺐ ﺍﻧﺒﻮﻩ ﺭﺍ ﺩﺭ ﺿﻤﻴﻤﻪﻫﺎ ﻣﻰﻓﺮﺳﺘﺎﺩ‪.‬‬ ‫ﺣﺴﮕﺮ ﺷﺨﺼﻰﺍﺵ ﻫﻤﺰﻣﺎﻥ ﺑﺎ ﺣﺴﮕﺮ ﺣﺴﺎﺱ ﺍﺗﺎﻕ ﻋﻼﻣﺖ ﺩﺍﺩ‪ .‬ﻣﺸﺨﺺ ﺑﻮﺩ ﻛﺴﻰ ﻛﻪ ﺑﺮ ﺩﺭ‬ ‫ﻣﻰﻛﻮﺑﺪ‪ ،‬ﺑﺎ ﺷﺪﺗﻰ ﺯﻳﺎﺩ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﻣﻰﻛﻨﺪ‪ .‬ﺑﻪ ﺻﻔﺤﻪ ﺣﺴﮕﺮﺵ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﺧﻨﺪﻩﺍﺵ ﮔﺮﻓﺖ‪ .‬ﻧﻴﺎﺯﻯ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﺳﻴﺎﺭﻩ ﻣﻰﺷﻮﺩ؛ ﻭﻟﻰ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻣﺒﺪﺍء ﻣﺘﻤﺮﻛﺰ ﺍﻧﺘﺸﺎﺭ ﺍﻣﻮﺍﺝ ﺍﻟﻜﺘﺮﻭﻣﻐﻨﺎﻃﻴﺲ ﻭ ﻭﺟﻮﺩ ﺍﻛﺴﻴﮋﻥ ﺩﺭ‬ ‫ﺟﻮ‪ ،‬ﺗﻘﺮﻳﺒﺎً ﻣﺸﺨﺺ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺍﻳﻦﺟﺎ ﻧﻴﺰ ﺳﻴﺎﺭﻩ ﺳﻮﻡ ﺩﺍﺭﺍﻯ ﺣﻴﺎﺕ ﻣﺘﻤﺪﻥ ﺍﺳﺖ‪ ،‬ﻣﺜﻞ ﻣﻨﻈﻮﻣﻪ‬ ‫ﺭﺍﮔﻴﻤﺎ ﻭ ﻣﺜﻞ ﻣﻨﻈﻮﻣﻪﻯ ﺧﻮﺩﻣﺎﻥ‪ .‬ﻣﺸﺨﺺ ﻧﻴﺴﺖ ﻛﻪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺗﺼﺎﺩﻓﻰ ﺍﺳﺖ ﻳﺎ ﺩﻻﻳﻠﻰ ﺑﺮﺍﻯ‬ ‫ﺁﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻫﻨﻮﺯ ﻧﻤﻰﺗﻮﺍﻥ ﻗﻀﺎﻭﺕ ﻛﺮﺩ ﻛﻪ ﻋﻠﺖ ﻋﺪﻡ ﺩﺭﻳﺎﻓﺖ ﺍﻳﻦ ﺍﻣﻮﺍﺝ ﺩﺭ ﺧﻮﺩ ﭘﺎﻳﮕﺎﻩ‪،‬‬ ‫ﺗﻀﻌﻴﻒ ﺁﻥﻫﺎ ﺑﻪ ﻋﻠﺖ ﻓﺎﺻﻠﻪﻯ ﺯﻳﺎﺩ ﻭ ﻋﺪﻡ ﺗﻤﺮﻛﺰ ﻛﺎﻓﻰ ﺍﻣﻮﺍﺝ ﺑﻮﺩﻩ ﻳﺎ ﺍﻳﻦ ﻛﻪ ﺗﻤﺪﻥ ﻣﺬﻛﻮﺭ ﺑﻪ‬ ‫ﺗﺎﺯﮔﻰ ﺑﻪ ﺍﻳﻦ ﻣﺮﺣﻠﻪ ﺭﺳﻴﺪﻩ ﻭ ﻫﻨﻮﺯ ﺯﻣﺎﻥ ﺑﺮﺍﻯ ﺍﻧﺘﺸﺎﺭ ﺍﻳﻦ ﺍﻣﻮﺍﺝ ﺩﺭ ﻛﻬﻜﺸﺎﻥ ﻛﺎﻓﻰ ﻧﺒﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺳﻔﻴﻨﻪﻯ ﺷﻤﺎﺭﻩ ﺩﻭ ﻛﻪ ﺑﻪ ﺳﻮﻯ ﺳﻴﺎﺭﻩﻯ ﻣﻨﻔﺮﺩ ﺍﻋﺰﺍﻡ ﺷﺪﻩ‪ ،‬ﭼﻨﻴﻦ ﺍﻣﻮﺍﺟﻰ ﺭﺍ ﺩﺭﻳﺎﻓﺖ ﻧﻤﻰﻛﻨﺪ‪.‬‬ ‫ﺍﻳﻦ ﺳﻴﺎﺭﻩ ﻧﻴﺰ ﺩﺭ ﻓﺎﺻﻠﻪﺍﻯ ﻣﻨﺎﺳﺐ ﺑﺎ ﺧﻮﺭﺷﻴﺪﺵ ﻗﺮﺍﺭ ﺩﺍﺭﺩ ﻭ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻭﺟﻮﺩ ﺍﻛﺴﻴﮋﻥ ﺁﺯﺍﺩ ﺩﺭ‬ ‫ﺟﻮ ﺁﻥ‪ ،‬ﻭﺟﻮﺩ ﺣﻴﺎﺕ ﺣﺪﺍﻗﻞ ﺩﺭ ﻓﺮﻡ ﺍﻭﻟﻴﻪﻯ ﮔﻴﺎﻫﻰ‪ ،‬ﻗﻄﻌﻰ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ‪ .‬ﻋﺪﻡ ﺗﺸﻌﺸﻊ ﺍﻣﻮﺍﺝ‬ ‫ﺍﻟﻜﺘﺮﻭﻣﻐﻨﺎﻃﻴﺲ ﺍﺯ ﺁﻥ ﺑﺪﻳﻦ ﻣﻌﻨﻰ ﺍﺳﺖ ﻛﻪ ﺍﺣﺘﻤﺎﻻً ﻳﺎ ﺣﻴﺎﺕ ﻣﺘﻤﺪﻥ ﻫﻨﻮﺯ ﺷﻜﻞ ﻧﮕﺮﻓﺘﻪ ﻳﺎ ﺍﺯ‬ ‫ﻣﺮﺍﺣﻞ ﺍﻭﻟﻴﻪﻯ ﺍﺳﺘﻔﺎﺩﻩ ﻭﺳﻴﻊ ﺍﺯ ﺍﻳﻦ ﺍﻣﻮﺍﺝ ﮔﺬﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺳﻔﻴﻨﻪﻫﺎﻯ ﺷﻤﺎﺭﻩ ﭘﻨﺞ ﻭ ﺷﺶ ﻛﻪ ﺑﻪ‬ ‫ﻃﺮﻑ ﺩﻭ ﺳﺘﺎﺭﻩﻯ ﻣﻨﻈﻮﻣﻪﺩﺍﺭ ﺩﻳﮕﺮ ﭘﺮﺗﺎﺏ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﻫﻴﭻ ﻧﺸﺎﻧﻪﺍﻯ ﺍﺯ ﺣﻴﺎﺕ ﺩﺭ ﻣﻨﻈﻮﻣﻪﻫﺎﻯ‬ ‫ﻣﻮﺭﺩ ﻧﻈﺮ ﻧﻴﺎﻓﺘﻨﺪ ﻭ ﺩﺳﺘﻮﺭ ﺍﻧﺠﺎﻡ ﺟﻬﺶ ﺑﺎﺯﮔﺸﺖ ﺑﻪ ﺁﻥﻫﺎ ﺍﺑﻼﻍ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﭘﻴﺎﻡﻫﺎﻯ ﺍﺭﺳﺎﻟﻰ‬ ‫ﺳﻔﺎﻳﻦ ﺑﻪ ﭘﺎﻳﮕﺎﻩ ﻋﻴﻨﺎً ﺍﺯ ﻃﺮﻑ ﭘﺎﻳﮕﺎﻩ ﺑﺮﺍﻯ ﺷﻤﺎ ﻧﻴﺰ ﺍﺭﺳﺎﻝ ﺧﻮﺍﻫﺪ ﺷﺪ‪«.‬‬ ‫‪ ‬ﺑﺎﻳﺪ ﺻﺒﺮ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﻫﻴﭻ ﺷﺘﺎﺑﻰ ﺩﺭ ﻛﺎﺭ ﻧﺒﻮﺩ‪ .‬ﭘﻴﺪﺍ ﻛﺮﺩﻥ ﺳﻴﺎﺭﺍﺕ ﺩﺍﺭﺍﻯ ﺣﻴﺎﺕ ﻣﺘﻤﺪﻥ ﺟﺎﻯ‬ ‫ﺧﻮﺷﺤﺎﻟﻰ ﺑﺴﻴﺎﺭ ﺩﺍﺷﺖ ﻭ ﺍﻳﻦ ﻛﻪ ﺁﻥﻫﺎ ﺗﻤﺪﻥﻫﺎﻯ ﺩﻳﮕﺮ ﺭﺍ ﻛﺸﻒ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﻭ ﻧﻪ ﺩﻳﮕﺮﺍﻥ ﺁﻥﻫﺎ‬ ‫ﺭﺍ‪ ،‬ﺑﺎﻋﺚ ﺭﺿﺎﻳﺖ ﺑﻴﺸﺘﺮﻯ ﻣﻰﺷﺪ‪ .‬ﻣﺸﺨﺼﺎً ﺗﻤﺪﻥﻫﺎﻯ ﺩﻳﮕﺮ ﻛﻬﻜﺸﺎﻥ ﺑﻪ ﭘﺎﻯ ﺁﻥﻫﺎ ﻧﺮﺳﻴﺪﻩ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺑﺎﻳﺪ ﺑﺎ ﺍﺣﺘﻴﺎﻁ ﭘﻴﺶ ﻣﻰﺭﻓﺘﻨﺪ؛ ﭼﻨﺪ ﺭﻭﺯ ﻛﻢ ﻭ ﺯﻳﺎﺩ ﻧﺒﺎﻳﺪ ﺑﺎﻋﺚ ﺧﺮﺍﺏ ﺷﺪﻥ ﻛﺎﺭ‬ ‫ﻣﻰﺷﺪ‪.‬‬ ‫ﻧﻴﺎﺯﻯ ﺑﻪ ﻧﻮﺷﺘﻦ ﮔﺰﺍﺭﺵ ﺧﺎﺹ ﻧﺒﻮﺩ‪ .‬ﮔﺰﺍﺭﺵ ﺳﻴﺴﺘﻢﻫﺎ ﺭﺍ ﺑﺮﺍﻯ ﺍﺭﺳﺎﻝ ﺍﻣﻀﺎ ﻛﺮﺩ ﻭ ﺑﺠﺎﻯ ﮔﺰﺍﺭﺵ‬ ‫ﭘﺎﻳﮕﺎﻩ‪ ،‬ﮔﺰﺍﺭﺵ ﺳﻔﻴﻨﻪ ﺷﻤﺎﺭﻩ ﻳﺎﺯﺩﻩ ﺭﺍ ﻋﻴﻨﺎً ﺍﺭﺳﺎﻝ ﻛﺮﺩ‪ .‬ﻣﺮﺩﻣﺶ ﺍﺯ ﺩﺭﻳﺎﻓﺖ ﺁﻥ ﺧﻮﺷﺤﺎﻝ ﻣﻰﺷﺪﻧﺪ‪،‬‬ ‫ﻣﺮﺩﻣﻰ ﻛﻪ ﻫﺰﻳﻨﻪ ﺑﺴﻴﺎﺭ ﺯﻳﺎﺩﻯ ﺑﺮﺍﻯ ﺍﻧﺠﺎﻡ ﺍﻳﻦ ﭘﺮﻭژﻩ ﺗﻘﺒﻞ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ ﻭ ﻣﺮﺩﻣﻰ ﻛﻪ ﺩﻳﮕﺮ ﻫﺮﭼﻨﺪ‬ ‫ﺳﻴﺎﺭﻩﺷﺎﻥ ﺗﻨﻬﺎ ﻣﻜﺎﻥ ﺣﻴﺎﺕ ﻫﻮﺷﻤﻨﺪ ﺑﻪ ﺣﺴﺎﺏ ﻧﻤﻰﺁﻣﺪ‪ ،‬ﻭﻟﻰ ﺍﺣﺘﻤﺎﻻً ﺍﺯ ﻫﻤﻪﻯ ﺗﻤﺪﻥﻫﺎ ﺑﺮﺗﺮ‬ ‫ﺑﻮﺩﻧﺪ‪.‬‬ ‫»ﮔﺰﺍﺭﺵ ﻳﻚ‪ -‬ﺳﻔﻴﻨﻪ ﻳﺎﺯﺩﻩ‪ :‬ﺧﺎﺭﺝ ﺍﺯ ﻓﻀﺎﻯ ﻣﻨﻈﻮﻣﻪﺍﻯ ﻣﺴﺘﻘﺮ ﺷﺪﻩﺍﻳﻢ‪ .‬ﻛﺎﻣ ً‬ ‫ﻼ ﻗﻄﻌﻰ ﺍﺳﺖ ﻛﻪ‬ ‫ﺣﻴﺎﺕ ﻣﺘﻤﺪﻥ ﺣﺪﺍﻗﻞ ﺩﺭ ﺳﻴﺎﺭﻩ ﺳﻮﻡ‪ ،‬ﻛﻪ ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﺩﺭ ﮔﺰﺍﺭﺵﻫﺎ ﺑﺎ ﻧﺎﻡ ﻋﻤﻠﻴﺎﺗﻰ ﺗﻴﻜﺎﺱ ﻣﺸﺨﺺ‬ ‫ﺧﻮﺍﻫﺪ ﺷﺪ‪ ،‬ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺍﻣﻮﺍﺝ ﺍﻟﻜﺘﺮﻭﻣﻐﻨﺎﻃﻴﺴﻰ ﻛﻪ ﺍﺯ ﻧﻘﺎﻁ ﺩﻳﮕﺮ ﻣﻨﻈﻮﻣﻪ ﺩﺭﻳﺎﻓﺖ ﻣﻰﺷﻮﺩ ﺩﺭ‬ ‫ﻣﻘﺎﻳﺴﻪ ﺑﺴﻴﺎﺭ ﺍﻧﺪﻙ ﺍﺳﺖ ﻭ ﺍﺣﺘﻤﺎﻝ ﺩﺍﺭﺩ ﻣﺮﺑﻮﻁ ﺑﻪ ﺍﻳﺴﺘﮕﺎﻩﻫﺎ ﻳﺎ ﺗﺠﻬﻴﺰﺍﺕ ﺩﻳﮕﺮﻯ ﺑﺎﺷﺪ ﻛﻪ ﺗﻮﺳﻂ‬ ‫‪51‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫»ﮔﺰﺍﺭﺵ ﻳﻚ‪ -‬ﺳﺮﻯ ﭘﻨﺞ‪ :‬ﺟﻬﺶ ﭘﻨﺠﻢ ﺭﺍ ﺳﺎﻋﺘﻰ ﭘﻴﺶ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻳﻢ‪ .‬ﺩﺭ ﻣﻨﻄﻘﻪ ﺷﻤﺎﺭﻩﻯ ﺳﻰ ﻭ‬ ‫ﻫﻔﺖ ﻫﺴﺘﻴﻢ‪ .‬ﺷﻌﺎﻉ ﻣﻨﻄﻘﻪﻯ ﺟﺴﺘﺠﻮ ﺩﻭﻳﺴﺖ ﻭ ﭘﻨﺠﺎﻩ ﻭﺍﺣﺪ ﺍﺳﺖ‪ .‬ﺳﺘﺎﺭﮔﺎﻥ ﺩﺭ ﺍﻳﻦ ﺷﺎﺧﻪﻯ‬ ‫ﻛﻬﻜﺸﺎﻥ ﺗﺮﺍﻛﻢ ﻛﻤﺘﺮﻯ ﺩﺍﺭﻧﺪ ﻭ ﺗﻤﺮﻛﺰ ﺭﻭﻯ ﺳﺘﺎﺭﮔﺎﻥ ﺳﻴﺎﺭﻩﺩﺍﺭ ﺁﺳﺎﻥﺗﺮ ﺍﺳﺖ‪ .‬ﺗﺼﺎﻭﻳﺮ ﺍﻭﻟﻴﻪ ﺭﺍ ﺩﺭ‬ ‫ﺗﻤﺎﻣﻰ ﺑﺴﺎﻣﺪﻫﺎﻯ ﻃﻴﻔﻰ ﺩﺭ ﺿﻤﻴﻤﻪ ﺑﺮﺍﻳﺘﺎﻥ ﺍﺭﺳﺎﻝ ﻛﺮﺩﻩﺍﻳﻢ‪ .‬ﺟﺴﺘﺠﻮ ﺩﺭ ﻣﻨﻄﻘﻪﻯ ﻗﺒﻠﻰ ﺑﻪ ﻋﻠﺖ‬ ‫ﻭﻗﻮﻉ ﺩﺭﮔﻴﺮﻯ ﻧﺎﺗﻤﺎﻡ ﻣﺎﻧﺪ‪ .‬ﺻﺤﺖ ﮔﺰﺍﺭﺵ ﻟﺤﻈﺎﺕ ﻗﺒﻞ ﺍﺯ ﺟﻬﺶ‪ ،‬ﻣﺒﻨﻰ ﺑﺮ ﻋﺪﻡ ﻭﺟﻮﺩ ﻫﻴﭽﮕﻮﻧﻪ‬ ‫ﺗﻠﻔﺎﺕ ﻳﺎ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻥ ﺗﺠﻬﻴﺰﺍﺕ‪ ،‬ﺗﺎﻳﻴﺪ ﻣﻰﺷﻮﺩ‪ .‬ﺟﺰﺋﻴﺎﺕ ﻋﻤﻠﻴﺎﺕ ﺩﺭ ﺿﻤﻴﻤﻪ ﺁﻣﺪﻩ ﺍﺳﺖ‪ .‬ﻣﺎ ﻫﻨﻮﺯ‬ ‫ﻧﻤﻰﺩﺍﻧﻴﻢ ﭼﺮﺍ ﺁﻥﻫﺎ ﺑﻪ ﻣﺎ ﺣﻤﻠﻪ ﻛﺮﺩﻧﺪ‪«.‬‬ ‫‪‬ﺑﻌﺪ ﺍﺯ ﻳﻚ ﺷﺐ ﺍﺳﺘﺮﺍﺣﺖ ﺳﺮﺣﺎﻝ ﻭ ﺷﺎﺩﺍﺏ ﺑﻮﺩ‪ .‬ﻳﻚ ﺑﺎﺭ ﺩﻳﮕﺮ ﺗﺼﺎﻭﻳﺮ ﻧﺒﺮﺩ ﺭﺍ ﺑﺮﺭﺳﻰ ﻛﺮﺩ‪ .‬ﻛﻤﻰ‬ ‫ﺑﻪ ﻫﻴﺠﺎﻥ ﺁﻣﺪﻩ ﺑﻮﺩ‪ .‬ﻳﻚ ﻟﺤﻈﻪ ﺁﺭﺯﻭ ﻛﺮﺩ ﻛﺎﺵ ﺑﻪ ﺟﺎﻯ ﺗﺮﻙ ﺻﺤﻨﻪ‪ ،‬ﻣﻰﻣﺎﻧﺪﻧﺪ ﻭ ﻣﻰﺟﻨﮕﻴﺪﻧﺪ‪.‬‬ ‫ﺑﻪ ﺧﻮﺩﺵ ﺧﻨﺪﻳﺪ ﻭ ﻓﻜﺮﺵ ﺭﺍ ﻣﺘﻮﺟﻪ ﻭﺿﻌﻴﺖ ﺟﺪﻳﺪ ﻛﺮﺩ‪.‬‬ ‫»ﮔﺰﺍﺭﺵ ﺩﻭ‪ -‬ﺳﺮﻯ ﭘﻨﺞ‪ :‬ﺑﺮﺭﺳﻰﻫﺎﻯ ﺍﻭﻟﻴﻪ ﺗﻤﺮﻛﺰ ﺭﺍ ﻓﻘﻂ ﺭﻭﻯ ﻫﻔﺪﻩ ﻣﻮﺭﺩ ﺿﺮﻭﺭﻯ ﺗﺸﺨﻴﺺ‬ ‫ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﺳﻪ ﺳﺘﺎﺭﻩ ﺩﺍﺭﺍﻯ ﻳﻚ ﺳﻴﺎﺭﻩ ﻭ ﭼﻬﺎﺭﺩﻩ ﻣﻮﺭﺩ ﺩﺍﺭﺍﻯ ﻣﻨﻈﻮﻣﻪ ﻫﺴﺘﻨﺪ‪ .‬ﻫﻨﻮﺯ ﻫﻴﭽﮕﻮﻧﻪ‬ ‫ﺍﻣﻮﺍﺝ ﺍﻟﻜﺘﺮﻭﻣﻐﻨﺎﻃﻴﺲ ﺑﺎ ﺑﺎﻓﺖ ﭘﻴﺎﻡ ﺁﺷﻜﺎﺭﺳﺎﺯﻯ ﻧﺸﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻧﺘﺨﺎﺏ ﻧﻬﺎﻳﻰ ﻓﺮﺩﺍ ﺍﻧﺠﺎﻡ ﺧﻮﺍﻫﺪ‬ ‫ﺷﺪ‪ .‬ﻓﺎﺻﻠﻪ ﺳﻴﺎﺭﺍﺕ ﻣﻮﺭﺩ ﻧﻈﺮ ﺑﻴﺸﺘﺮ ﺍ��� ﻣﺤﺪﻭﺩﻩ ﺍﻣﻜﺎﻥ ﺑﺮﺭﺳﻰ ﺩﻗﻴﻖ ﻃﻴﻒ ﺍﺳﺖ؛ ﻭﻟﻰ ﭼﻨﺪ ﻧﻔﺮ ﺍﺯ‬ ‫ﻛﺎﺭﺷﻨﺎﺳﺎﻥ‪ ،‬ﺍﺯ ﺟﻤﻠﻪ ﺗﻴﻜﺎﺱ‪ ،‬ﺑﻪ ﻭﺟﻮﺩ ﺧﻄﻮﻁ ﺍﻛﺴﻴﮋﻥ ﺩﺭ ﻃﻴﻒ ﺣﺪﺍﻗﻞ ﺳﻪ ﻣﻮﺭﺩ ﺍﻋﺘﻘﺎﺩ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﺍﻛﺜﺮ ﻛﺎﺭﺷﻨﺎﺳﺎﻥ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻦ ﻛﻪ ﺗﻔﺎﻭﺕﻫﺎ ﻫﻨﻮﺯ ﺩﺭ ﺣﺪ ﺧﻄﺎﻫﺎﻯ ﺗﺠﺮﺑﻰ ﻣﻰﺑﺎﺷﺪ‪ ،‬ﺍﺯ ﻗﻀﺎﻭﺕ‬ ‫ﺧﻮﺩﺩﺍﺭﻯ ﻣﻰﻛﻨﻨﺪ‪«.‬‬ ‫‪ ‬ﺧﻮﺷﺤﺎﻝ ﺑﻮﺩ‪ .‬ﺍﻓﺮﺍﺩ ﻫﻢ ﺧﻮﺷﺤﺎﻝ ﺑﻮﺩﻧﺪ‪ .‬ﺗﺠﺮﺑﻪ ﻗﺒﻠﻰ ﺑﺎﻋﺚ ﻧﻮﻋﻰ ﺍﺣﺘﻴﺎﻁ ﻫﻢ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﻭﻟﻰ‬ ‫ﺑﻪ ﻫﺮ ﺻﻮﺭﺕ ﺣﻴﺎﺕ ﻣﺘﻤﺪﻥ ﺩﻳﮕﺮﻯ ﻳﺎﻓﺘﻪ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻣﻴﺪﻭﺍﺭ ﺑﻮﺩ ﺍﻳﻦ ﺩﻭﻣﻰ ﺩﻳﮕﺮ ﻣﺜﻞ ﺍﻭﻟﻰ ﻣﻬﺎﺟﻢ‬ ‫ﻧﺒﺎﺷﺪ‪ .‬ﺻﺒﺤﺎﻧﻪ ﻣﻔﺼﻠﻰ ﺧﻮﺭﺩ‪ .‬ﻳﻚ ﺑﺎﺭ ﺩﻳﮕﺮ ﻣﺘﻦ ﻭ ﺿﻤﺎﻳﻢ ﮔﺰﺍﺭﺵ ﺳﻔﻴﻨﻪﻫﺎ ﺭﺍ ﺧﻮﺍﻧﺪ ﻭ ﮔﺰﺍﺭﺵ‬ ‫ﺧﻮﺩﺵ ﺭﺍ ﻫﻢ ﻧﻮﺷﺖ‪.‬‬ ‫»ﮔﺰﺍﺭﺵ ﺳﻪ‪ -‬ﺳﺮﻯ ﭘﻨﺞ‪ :‬ﺟﻬﺶ ﺳﻔﺎﻳﻦ‪ ،‬ﺭﻭﻯ ﭼﻬﺎﺭ ﻣﻮﺭﺩ ﺍﻧﺘﺨﺎﺏ ﺷﺪﻩ ﻧﻬﺎﻳﻰ‪ ،‬ﺩﻭ ﺭﻭﺯ ﻗﺒﻞ ﺍﻧﺠﺎﻡ‬ ‫ﺷﺪ‪ .‬ﺩﺭ ﺳﻪ ﻣﻮﺭﺩ ﺳﺘﺎﺭﻩﻫﺎﻯ ﻣﻨﻈﻮﻣﻪﺩﺍﺭ ﻭ ﺩﺭ ﻳﻚ ﻣﻮﺭﺩ ﺳﺘﺎﺭﻩﺍﻯ ﺗﻚﺳﻴﺎﺭﻩ ﺍﻧﺘﺨﺎﺏ ﺷﺪ‪ .‬ﺍﻭﻟﻴﻦ‬ ‫ﭘﻴﺎﻡﻫﺎﻯ ﺍﺭﺳﺎﻟﻰ ﺳﻔﺎﻳﻦ ﻭﺟﻮﺩ ﺍﻛﺴﻴﮋﻥ ﺁﺯﺍﺩ ﺭﺍ‪ ،‬ﻫﻢ ﺩﺭ ﻃﻴﻒ ﺳﻴﺎﺭﻩ ﻣﻨﻔﺮﺩ ﻭ ﻫﻢ ﺩﺭ ﻳﻜﻰ ﺍﺯ ﺳﻴﺎﺭﺍﺕ‬ ‫ﻳﻜﻰ ﺍﺯ ﻣﻨﻈﻮﻣﻪﻫﺎ‪ ،‬ﺗﺎﻳﻴﺪ ﻣﻰﻛﻨﺪ‪ .‬ﺳﻔﻴﻨﻪﻯ ﺷﻤﺎﺭﻩ ﻳﺎﺯﺩﻩ ﻧﺸﺖ ﻭﺳﻴﻊ ﺍﻣﻮﺍﺝ ﺍﻟﻜﺘﺮﻭﻣﻐﻨﺎﻃﻴﺲ ﺭﺍ‬ ‫ﻧﻴﺰ ﺍﺯ ﻣﻨﻈﻮﻣﻪﻯ ﻣﺬﻛﻮﺭ ﮔﺰﺍﺭﺵ ﻣﻰﻛﻨﺪ ﻛﻪ ﻧﺸﺎﻧﮕﺮ ﻭﺟﻮﺩ ﺣﻴﺎﺕ ﻣﺘﻤﺪﻥ ﺩﺭ ﺁﻥ ﺍﺳﺖ‪ .‬ﺩﺭ ﺑﺮﺁﻭﺭﺩ‬ ‫ﺍﻭﻟﻴﻪ‪ ،‬ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﭘﺎﺭﺍﻣﺘﺮﻫﺎﻯ ﻓﻴﺰﻳﻜﻰ ﺳﺘﺎﺭﻩﻯ ﻣﻨﻈﻮﻣﻪ ﻣﺬﻛﻮﺭ‪ ،‬ﻛﻤﺮﺑﻨﺪ ﺣﻴﺎﺕ ﺷﺎﻣﻞ ﺳﻪ ﻳﺎ ﭼﻬﺎﺭ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﻫﺸﺪﺍﺭ‬ ‫ﺣﺒﻴﺐﺍﷲ ﻛﻼﻧﺘﺮﻯ‬

‫‪ ‬ﻓﺮﻣﺎﻧﺪﻩ ﺑﻪ ﺧﻮﺩ ﺁﻣﺪ‪ .‬ﻃﺒﻖ ﻣﻌﻤﻮﻝ ﻛﻤﻰ ﻃﻮﻝ ﻣﻰﻛﺸﻴﺪ ﺗﺎ ﭘﺲ ﺍﺯ ﺟﻬﺶ ﺣﺎﻝ ﻫﻤﻪ‬ ‫ﻣﺴﺎﻋﺪ ﺷﻮﺩ‪ .‬ﺟﺎﻯ ﻧﮕﺮﺍﻧﻰ ﻧﺒﻮﺩ‪ ،‬ﺳﻴﺴﺘﻢ ﻫﺪﺍﻳﺖ ﺭﻭﺑﺎﺗﻴﻚ ﭘﺎﻳﮕﺎﻩ ﻭﻇﺎﻳﻔﺶ ﺭﺍ ﺑﻪ ﺧﻮﺑﻰ‬ ‫ﺍﻧﺠﺎﻡ ﻣﻰﺩﺍﺩ‪ .‬ﻧﺘﺮﺳﻴﺪﻩ ﺑﻮﺩ‪ .‬ﻫﻴﭻﻭﻗﺖ ﻧﻤﻰﺗﺮﺳﻴﺪ‪ ،‬ﻭﻟﻰ ﻫﻨﻮﺯ ﻣﻨﮓ ﺑﻮﺩ‪ .‬ﻧﻤﻰﺩﺍﻧﺴﺖ ﭼﺮﺍ‬ ‫ﻫﺪﻑ ﺣﻤﻠﻪ ﻭﺍﻗﻊ ﺷﺪﻧﺪ‪ .‬ﻭﻗﺎﻳﻊ ﺭﺍ ﺩﺭ ﺫﻫﻨﺶ ﻣﺮﻭﺭ ﻛﺮﺩ‪.‬‬ ‫ﭼﻬﺮﻩﻯ ﺗﻮﻣﺎ ﺭﻭﻯ ﻧﻤﺎﻳﺸﮕﺮ ﻇﺎﻫﺮ ﺷﺪ‪ .‬ﻣﺜﻞ ﻫﻤﻴﺸﻪ ﺯﻭﺩﺗﺮ ﺍﺯ ﺑﻘﻴﻪ ﻣﻌﺎﻭﻧﺎﻥ ﻛﺎﺭﺵ ﺭﺍ ﺷﺮﻭﻉ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺗﺒﺮﻳﻚ ﮔﻔﺖ ﻛﻪ ﺩﺭ ﺑﺮﺍﺑﺮ ﭼﻨﺎﻥ ﺣﻤﻠﻪﺍﻯ ﻫﻴﭻ ﺗﻠﻔﺎﺗﻰ ﻧﺪﺍﺷﺘﻪﺍﻧﺪ‪ .‬ﺍﺯ ﺷﺠﺎﻋﺖ ﻭ‬ ‫ﻛﺎﺭﺩﺍﻧﻰ ﺍﻓﺮﺍﺩ ﻭ ﻓﺮﻣﺎﻧﺪﻫﺎﻥ ﺳﻔﻴﻨﻪﻫﺎ ﺳﺘﺎﻳﺶ ﻛﺮﺩ ﻭ ﮔﺰﺍﺭﺵ ﺩﺍﺩ ﻛﻪ ﻫﻤﻪ ﭼﻴﺰ ﻋﺎﺩﻯ ﺍﺳﺖ‬ ‫ﻭ ﺳﻴﺴﺘﻢﻫﺎ ﻭ ﺍﻓﺮﺍﺩ ﻣﺸﻐﻮﻝ ﺍﻧﺠﺎﻡ ﻭﻇﺎﻳﻒﺷﺎﻥ ﻫﺴﺘﻨﺪ‪ .‬ﺗﻨﺪ ﻭ ﻧﺎﻣﻔﻬﻮﻡ ﺳﺨﻦ ﻣﻰﮔﻔﺖ‪،‬‬ ‫ﻓﺮﻣﺎﻧﺪﻩ ﻳﻜﻰ ﺩﻭ ﺑﺎﺭ ﻣﺠﺒﻮﺭ ﺷﺪ ﺍﺯ ﺍﻭ ﺑﺨﻮﺍﻫﺪ ﺻﺤﺒﺘﺶ ﺭﺍ ﺗﻜﺮﺍﺭ ﻛﻨﺪ ﺗﺎ ﻣﻔﻬﻮﻡ ﺷﻮﺩ‪.‬‬ ‫ﺑﺎﻳﺪ ﺍﺑﺘﺪﺍ ﻣﻬﻢﺗﺮﻳﻦ ﻛﺎﺭ ﺭﺍ ﺍﻧﺠﺎﻡ ﻣﻰﺩﺍﺩﻧﺪ‪ .‬ﮔﺰﺍﺭﺵ ﺍﻭﻟﻴﻪ ﺑﺎﻳﺪ ﺍﺭﺳﺎﻝ ﻣﻰﺷﺪ‪.‬‬


‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺭﻳﻴﺲ ﮔﻔﺖ‪» :‬ﻭ ﺧﻠﻞﻧﺎﭘﺬﻳﺮ!«‬ ‫ﻛﺮﺳﻰ ﻣﻄﺎﻟﻌﺎﺕ ﺑﻰﭘﺎﻳﺎﻥ ﮔﻔﺖ‪» :‬ﺍﺻ ً‬ ‫ﻼ ﻳﻚ ﻛﻤﻴﺘﻪ ﺑﻪ ﺭﺍﻩ ﻣﻰﺍﻧﺪﺍﺯﻳﻢ!«‬ ‫ﺭﻳﺪﻛﺎﻟﻰ ﮔﻔﺖ‪» :‬ﻣﻄﻤﺌﻨﻢ ﺁﻗﺎﻯ ﭘﺴﻴﻤﺎﻝ ﺍﺯ ﺷﻨﻴﺪﻥ ﺍﻳﻦ ﺣﺮﻑ ﺑﺴﻴﺎﺭ ﺧﻮﺷﺤﺎﻝ ﺧﻮﺍﻫﻨﺪ ﺷﺪ‪ .‬ﺟﻨﺎﺏ‬ ‫ﺍﺳﺘﻴﺒﻮﻧﺰ‪ ،‬ﻣﺴﺄﻟﻪ ﺭﺍ ﺑﺮﺍﻯ ﺑﺮﺭﺳﻰ ﺩﺭ ﺻﻮﺭﺕﺟﻠﺴﻪﻯ ﺳﺎﻝ ﺑﻌﺪ ﻗﺮﺍﺭ ﺩﻫﻴﺪ‪ .‬ﻧﻪ‪ ،‬ﺷﺎﻳﺪ ﺩﻭ ﺳﺎﻝ ﺩﻳﮕﺮ‬ ‫ﺑﻬﺘﺮ ﺑﺎﺷﺪ‪ .‬ﺑﻠﻪ‪ ،‬ﺍﻳﻦﻃﻮﺭﻯ ﺧﻴﻠﻰ ﺑﻬﺘﺮ ﺍﺳﺖ‪ .‬ﻣﻦ ﻛﻪ ﻫﻤﻴﺸﻪ ﮔﻔﺘﻪﺍﻡ ﺩﺭ ﻛﺎﺭﻫﺎﻯ ﺍﺳﺮﻉ ﻭﻗﺘﻰ ﻧﺒﺎﻳﺪ‬ ‫ﻋﺠﻠﻪ ﺑﻪ ﺧﺮﺝ ﺩﺍﺩ‪«.‬‬ ‫ﻭ ﺑﺎ ﺍﻳﻦ ﺣﺮﻑ‪ ،‬ﺩﺭﺳﺖ ﺍﻧﮕﺎﺭ ﺟﺎﺩﻭ ﺷﺪﻩ ﺑﺎﺷﺪ‪ ،‬ﭼﺎﻯ ﻭ ﺑﻴﺴﻜﻮﺋﻴﺖﻫﺎ ﺍﺯ ﺭﺍﻩ ﺭﺳﻴﺪﻧﺪ‪.‬‬ ‫ﻧﻜﺎﺕ‬

‫* ﮐﻨﺎر ﮔﺬاﺷنت ﯾﮏ ﻣﻮﺿﻮع و اداﻣﻪی ﺑﺤﺚ اﺻﻄﻼﺣﯽ ﺳﯿﺎﺳﯽ اﺳﺖ ﺑﻪ ﻣﻌﻨﺎی اﯾﻦ ﮐﻪ »ﻣﻦ اﺷﺘﺒﺎﻫﯽ‬ ‫ﮐﺮدهام و ﺣﺎﻻ ﮐﻪ ﺗﺤﺖ ﭘﯿﮕﺮد ﻗﺎﻧﻮﻧﯽ ﻧﯿﺴﺘﻢ‪ ،‬ﺣﺪاﻗﻞ ﺑﺎﯾﺪ ﻋﻤﯿﻘﺎً ﴍﻣﻨﺪه ﺑﺎﺷﻢ‪ .‬ﺑﻨﺎﺑﺮاﯾﻦ ﺑﻬﱰ اﺳﺖ ﺗﺎ‬ ‫ﺣﻮاس ﻣﺮدم ﺑﻪ ﻣﺴﺄﻟﻪ ﺟﻤﻊ ﻧﺸﺪه‪ ،‬آن را ﮐﻨﺎر ﺑﮕﺬارﯾﻢ و ﺑﺤﺚ را اداﻣﻪ دﻫﯿﻢ!« – ﺗﺮی ﭘﺮﭼﺖ‬ ‫** ﻇﺎﻫﺮا ً ﻗﺒﻼً داﻧﺸﮕﺎه ﻫﻔﺘﺎد درﺻﺪ داﻧﺸﺠﻮی ﺧﻨﮓ ﻣﯽﭘﺬﯾﺮﻓﺘﻪ و ﺣﺎﻻ ﺑﺎ اراﺋﻪی ﭘﯿﺸﻨﻬﺎد ﺟﺬب ﭼﻬﻞ‬ ‫درﺻﺪ از اﯾﻦ ﻗﴩ داﻧﺸﺠﻮﯾﺎن‪ ،‬آﻗﺎﯾﺎن ﻧﮕﺮان ﭘﯿﺪا ﮐﺮدن ﺷﺼﺖ درﺻﺪ داﻧﺸﺠﻮی ﺑﺎﻫﻮش ﻫﺴﺘﻨﺪ!‬ ‫*** ﻇﺎﻫﺮا ً ﻣﻨﻈﻮر آﻗﺎی ﭘﺴﯿامل ﭘﺬﯾﺮش داﻧﺸﺠﻮﯾﺎن دﺧﱰ ﺑﻮده اﺳﺖ‪ .‬از آنﺟﺎﯾﯽ ﮐﻪ ﺟﺎدوﮔﺮان داﻧﺸﮕﺎه‬ ‫ﻧﺎﻣﺮﺋﯽ ﻓﻮقاﻟﻌﺎده ﻣﺮدﺳﺎﻻر ﻫﺴﺘﻨﺪ‪ ،‬اﺣﺘامل ﭼﻨﯿﻦ ﭘﯿﺸﻨﻬﺎدی ﺣﺘﺎ ﺑﻪ ذﻫﻨﺸﺎن ﻫﻢ ﺧﻄﻮر منﯽﮐﻨﺪ‪ .‬از‬ ‫ﺳﻮﯾﯽ ﺟﺎدوی زﻧﺎن و ﻣﺮدان در ﺻﻔﺤﻪﺟﻬﺎن ﺑﺎ ﻫﻢ ﺗﻔﺎوت دارد و ﺗﺎﮐﻨﻮن ﺗﻨﻬﺎ ﯾﮏ زن ﺑﻪ ﻋﻨﻮان ﺟﺎدوﮔﺮ‬ ‫در داﻧﺸﮕﺎه ﻧﺎﻣﺮﺋﯽ ﺗﺤﺼﯿﻞ ﮐﺮده اﺳﺖ‪ .‬ﺑﺮای اﻃﻼع از ﴎﮔﺬﺷﺖ او‪ ،‬ﺑﻪ ﺟﻠﺪ ﺳﻮم از ﻣﺠﻤﻮﻋﻪ ﮐﺘﺎبﻫﺎی‬ ‫ﺻﻔﺤﻪﺟﻬﺎن رﺟﻮع ﮐﻨﯿﺪ‪.‬‬

‫‪9. Ponder Stibbons‬‬ ‫‪10. A. E. Pessimal‬‬

‫‪1. Unseen University; UU‬‬ ‫‪2. Discworld‬‬ ‫‪3. Arch Chancellor Sloman‬‬ ‫‪4. Special Theory of Slood‬‬ ‫‪5. Arch Chancellor Mustrum Ridcully‬‬ ‫‪6. Lord Vetinari‬‬ ‫‪7. Mayhap Street‬‬

‫‪ .Fruitbat .11‬ﺩﺭ ﺻﻔﺤﻪﺟﻬﺎﻥ ﻫﺮ ﻗﺮﻥ ﺭﺍ ﺑﺎ ﻧﺎﻡ ﺟﺎﻧﻮﺭﻯ‬ ‫ﻣﻰﺷﻨﺎﺳﻨﺪ‪.‬‬ ‫‪12. Braseneck College‬‬ ‫‪13. Dean Rouster‬‬

‫‪ :Thaum .8‬ﺫﺭﺍﺕ ﺯﻳﺮﺍﺗﻤﻰ ﺣﺎﻭﻯ ﺟﺎﺩﻭ‪ .‬ﻣﻌﺎﺩﻟﻰ ﺑﺮﺍﻯ‬ ‫ﻛﻮﺍﻧﺘﻮﻡﻫﺎ ﺩﺭ ﺟﻬﺎﻥ ﻭﺍﻗﻌﻰ‪.‬‬

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‫»ﺑﻪ ﻧﻈﺮ ﻧﻤﻰﺭﺳﺪ ﻣﻨﻈﻮﺭﺷﺎﻥ‪«...‬‬ ‫»ﺧﻴﻠﻰ ﻋﺠﻴﺐ ﺍﺳﺖ‪ .‬ﺧﻮﺏ ﻣﻰﺩﺍﻧﻢ ﭼﻪ ﻣﻰ ﺧﻮﺍﻫﺪ ﺑﮕﻮﻳﺪ‪ ،‬ﻭﻟﻰ ﻣﻰﺩﺍﻧﻴﺪ ﻛﻪ ﺟﻨﺎﺏ ﺍﺳﺘﻴﺒﻮﻧﺰ‪،‬‬ ‫ﺍﻳﻦﺟﺎ ﻳﻚ ﺩﺍﻧﺸﮕﺎﻩ ﺍﺳﺖ‪ ،‬ﻧﻪ ﻳﻚ ﻧﻮﺍﺭ ﺯﺧﻢﺑﻨﺪﻯ‪ .‬ﻣﺎ ﻛﻪ ﻧﻤﻰﺗﻮﺍﻧﻴﻢ ﭼﻮﺏﺩﺳﺘﻰﻣﺎﻥ ﺭﺍ ﺩﺭ ﻫﻮﺍ‬ ‫ﺑﭽﺮﺧﺎﻧﻴﻢ ﻭ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﺑﻬﺘﺮ ﻛﻨﻴﻢ!«‬ ‫ﺍﺳﺘﻴﺒﻮﻧﺰ ﮔﻔﺖ‪» :‬ﺭﺍﺳﺘﺶ ﻗﺮﺑﺎﻥ‪«...‬‬ ‫ﺭﻳﺪﻛﺎﻟﻰ ﺑﺎ ﺑﻰﺣﻮﺻﻠﮕﻰ ﺩﺳﺘﻰ ﺩﺭ ﻫﻮﺍ ﺗﻜﺎﻥ ﺩﺍﺩ ﻭ ﮔﻔﺖ‪» :‬ﺁﺭﻩ ﺁﺭﻩ‪ ،‬ﻣﻰﺩﺍﻧﻢ‪ ،‬ﻣﻰﺗﻮﺍﻧﻴﻢ‬ ‫ﭼﻮﺏﺩﺳﺘﻰﻫﺎﻳﻤﺎﻥ ﺭﺍ ﺗﻜﺎﻥ ﺑﺪﻫﻴﻢ ﻭ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﺑﻬﺘﺮ ﻛﻨﻴﻢ‪ .‬ﻭﻟﻰ ﺧﻮﺏ ﻫﺮ ﭼﻴﺰﻯ ﻛﻪ ﺑﺎ ﺟﺎﺩﻭ‬ ‫ﺑﻬﺘﺮ ﺷﺪﻩ ﺑﺎﺷﺪ‪ ،‬ﺍﻭﺿﺎﻉ ﺭﺍ ﺧﻴﻠﻰ ﺧﻴﻠﻰ ﺑﺪﺗﺮ ﻣﻰﻛﻨﺪ‪ .‬ﻛﺎﺭﻯ ﻛﻪ ﻣﺎ ﻣﻰﻛﻨﻴﻢ ﺁﻗﺎﻳﺎﻥ‪ ،‬ﺍﻳﻦ ﺍﺳﺖ‬ ‫ﻛﻪ ﻣﺘﻌﻬﺪﺍﻧﻪ ﺍﺯ ﺍﻧﺠﺎﻡ ﺟﺎﺩﻭ ﺧﻮﺩﺩﺍﺭﻯ ﻣﻰﻛﻨﻴﻢ‪ .‬ﻓﻘﻂ ﻓﻜﺮ ﻛﻨﻴﺪ ﭼﻪ ﻣﻰﺷﺪ ﺍﮔﺮ ﺗﻤﺎﻡ ﭼﻴﺰﻣﺎﻥ‪...‬‬ ‫ﻗﺪﺭﺕﻫﺎﻯ ﺫﻫﻦﻣﺎﻥ ﺭﺍ ﺭﻭﻯ ﻫﻢ ﻣﻰﺭﻳﺨﺘﻴﻢ ﻭ ﺁﻥ ﺭﺍ ﺑﻪ ﺳﻤﺖ ﺳﻴﺎﺳﺖ ﻧﺸﺎﻧﻪﮔﻴﺮﻯ ﻣﻰﻛﺮﺩﻳﻢ! ﺑﺮﺍﻳﻢ‬ ‫ﻋﺠﻴﺐ ﺍﺳﺖ ﻛﻪ ﺍﻳﺸﺎﻥ ﭼﻨﻴﻦ ﭼﻴﺰﻯ ﺍﺯﻣﺎﻥ ﻧﺨﻮﺍﺳﺘﻪ ﺍﺳﺖ!«‬ ‫ﺍﺳﺘﻴﺒﻮﻧﺰ ﮔﻔﺖ‪» :‬ﺗﺼﺎﺩﻓﺎً ﺍﻳﺸﺎﻥ ﭘﺮﺳﻴﺪﻩﺍﻧﺪ ﻛﻤﻴﺘﻪﻯ ﺍﺧﻼﻗﻴﺎﺕ ﺩﺍﺭﻳﻢ ﻳﺎ ﺧﻴﺮ‪«.‬‬ ‫ﺭﻳﺪﻛﺎﻟﻰ ﮔﻔﺖ‪» :‬ﺍﺯ ﺁﻥﺟﺎﻳﻰ ﻛﻪ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﻧﺪﺍﺷﺘﻪﺍﻳﻢ‪ ،‬ﻓﻜﺮ ﻧﻤﻰﻛﻨﻢ ﺍﺯ ﺍﻳﻦ ﺑﻪ ﺑﻌﺪ ﻫﻢ ﻻﺯﻡ ﺩﺍﺷﺘﻪ‬ ‫ﺑﺎﺷﻴﻢ‪«.‬‬ ‫ﺍﺳﺘﻴﺒﻮﻧﺰ ﻫﻤﭽﻨﺎﻥ ﺑﺎ ﺳﻤﺎﺟﺖ ﮔﻔﺖ‪» :‬ﺍﺣﺘﻤﺎﻻً ﻣﺮﺑﻮﻁ ﺑﻪ ﻣﺴﺄﻟﻪﻯ ﺁﺯﻣﺎﻳﺶ ﺭﻭﻯ ﺣﻴﻮﺍﻧﺎﺕ ﻣﻰﺷﻮﺩ‪«.‬‬ ‫»ﺍﻭﻙ؟«‬ ‫ﺭﻳﺪﻛﺎﻟﻰ ﮔﻔﺖ‪» :‬ﺩﻗﻴﻘﺎً! ﻭﻗﺘﻰ ﺍﻳﻦ ﻫﻤﻪ ﺩﺍﻧﺸﺠﻮ ﺍﻳﻦ ﺍﻃﺮﺍﻑ ﺭﻳﺨﺘﻪ‪ ،‬ﭼﺮﺍ ﺩﺳﺖ ﺑﻪ ﭼﻨﻴﻦ ﻛﺎﺭﻫﺎﻯ‬ ‫ﻧﺎﭘﺴﻨﺪﻯ ﺑﺰﻧﻴﻢ؟ ﺧﻮﺩ ﻣﻦ ﺩﺭ ﺳﺎﻝ ﺍﻭﻝ ﺩﺍﻧﺸﺠﻮﻳﻰﺍﻡ ﺩﺳﺖ ِ ﻛﻢ ﻫﻔﺘﻪﺍﻯ ﻳﻚ ﺑﺎﺭ ﺗﺒﺪﻳﻞ ﺑﻪ ﭼﻴﺰ‬ ‫ﻧﺎﻣﺮﺑﻮﻃﻰ ﻣﻰﺷﺪﻡ ﻭ ﻫﻴﭻ ﺿﺮﺭﻯ ﻫﻢ ﺑﺮﺍﻳﻢ ﻧﺪﺍﺷﺖ‪ .‬ﻣﺴﺄﻟﻪﻯ ﺩﻳﮕﺮﻯ ﻫﻢ ﻣﺎﻧﺪﻩ؟«‬ ‫ﺍﺳﺘﻴﺒﻮﻧﺰ ﮔﻔﺖ‪» :‬ﺧﻴﻠﻰ ﻗﺮﺑﺎﻥ‪ .‬ﺧﻴﻠﻰ ﺧﻴﻠﻰ ﺯﻳﺎﺩ‪«.‬‬ ‫ﻫﻤﻪ ﺑﺎ ﺑﻰﺣﺎﻟﻰ ﺩﺭ ﺻﻨﺪﻟﻰﻫﺎﻳﺸﺎﻥ ﻓﺮﻭ ﺭﻓﺘﻨﺪ‪.‬‬ ‫ﻣﺪﻳﺮ ﻛﻞ ﺑﺮﺍﻯ ﺷﻜﺴﺘﻦ ﺳﻜﻮﺕ ﮔﻔﺖ‪» :‬ﺧﻮﺏ ﺁﻗﺎﻳﺎﻥ‪ ،‬ﻓﻜﺮ ﻛﻨﻢ ﺑﻪ ﻧﺘﻴﺠﻪﻯ ﻣﻨﺎﺳﺒﻰ ﺑﺮﺍﻯ ﺍﻳﻦ‬ ‫ﺟﻠﺴﻪ ﺭﺳﻴﺪﻩ ﺑﺎﺷﻢ‪ .‬ﭘﻴﺸﻨﻬﺎﺩ ﻣﻰﺩﻫﻢ ﺑﻪ ﺟﻨﺎﺏ ﺑﺎﺯﺭﺱ ﺧﺒﺮ ﺩﻫﻴﻢ ﻛﻪ ﺩﺭ ﺍﺳﺮﻉ ﻭﻗﺖ ﺑﻪ ﭘﻴﺸﻨﻬﺎﺩﺍﺕ‬ ‫ﺍﻳﺸﺎﻥ ﺗﻮﺟﻪ ﻣﺒﺬﻭﻝ ﺭﺍ ﺧﻮﺍﻫﻴﻢ ﺩﺍﺷﺖ‪«.‬‬ ‫ﻫﻤﻪ ﻭﺣﺸﺖﺯﺩﻩ ﺳﺮﻫﺎﻳﺸﺎﻥ ﺭﺍ ﺑﻠﻨﺪ ﻛﺮﺩﻧﺪ ﻭ ﺑﻪ ﺭﻳﺪﻛﺎﻟﻰ ﭼﺸﻢ ﺩﻭﺧﺘﻨﺪ؛ ﺍﻣﺎ ﺍﻭ ﻓﻘﻂ ﭼﺸﻤﻜﻰ ﺯﺩ‬ ‫ﻭ ﺧﻴﺎﻝ ﻫﻤﻪ ﺭﺍ ﺭﺍﺣﺖ ﻛﺮﺩ‪.‬‬ ‫ﺍﺳﺘﺎﺩ ﻃﻠﺴﻢﻫﺎﻯ ﺟﺪﻳﺪﻩ ﮔﻔﺖ‪» :‬ﺍﻟﺒﺘﻪ! ﺗﻮﺟﻬﻰ ﻋﻤﻴﻖ!«‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻧﻤﻰﻓﻬﻤﺪ‪«.‬‬ ‫ﭘﺎﻧﺪﺭ ﺍﺳﺘﻴﺒﻮﻧﺰ ﮔﻔﺖ‪» :‬ﻗﺮﺑﺎﻥ‪ ،‬ﺑﺎﻳﺪ ﺑﮕﻮﻳﻢ ﻛﻪ ﺁﻗﺎﻯ ﭘﺴﻴﻤﺎﻝ ﭘﻴﺸﻨﻬﺎﺩ ﺩﺍﺩﻩ ﺍﺯ ﺍﻳﻦ ﺑﻪ ﺑﻌﺪ ‪ 40‬ﺩﺭﺻﺪ‬ ‫ﺍﺯ ﺩﺍﻧﺸﺠﻮﻫﺎﻯ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﻣﻴﺎﻥ ﻗﺸﺮﻫﺎﻯ ﻏﻴﺮﻣﻌﻤﻮﻝ ﺍﻧﺘﺨﺎﺏ ﻛﻨﻴﻢ‪«.‬‬ ‫ﻣﺒﺎﺣﺜﻪﮔﺮ ﺍﺭﺷﺪ ﮔﻔﺖ‪» :‬ﻣﻨﻈﻮﺭﺵ ﭼﻴﺴﺖ؟«‬ ‫ﺍﺳﺘﻴﺒﻮﻧﺰ ﺧﻮﺍﺳﺖ ﺑﮕﻮﻳﺪ‪» :‬ﺧﻮﺏ‪ ،‬ﺍﻡ‪«...‬‬ ‫ﺍﻣﺎ ﺍﻧﺠﻤﻦ ﺑﻪ ﻭﺿﻌﻴﺖ ﺣﻞ ﻣﺴﺄﻟﻪ ﺍﺯ ﻃﺮﻳﻖ ﻫﻴﺎﻫﻮ ﺭﻭﻯ ﺁﻭﺭﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﺭﻳﻴﺲ ﮔﻔﺖ‪» :‬ﻣﺎ ﻫﻤﻴﻦ ﺣﺎﻻ ﻫﻢ ﺍﺯ ﻫﻤﻪ ﻗﺸﺮﻯ ﺩﺍﻧﺸﺠﻮ ﻣﻰﭘﺬﻳﺮﻳﻢ‪«.‬‬ ‫ﻛﺮﺳﻰ ﻣﻄﺎﻟﻌﺎﺕ ﺑﻰﭘﺎﻳﺎﻥ ﮔﻔﺖ‪» :‬ﻣﻨﻈﻮﺭﺵ ﺍﻓﺮﺍﺩﻯ ﺍﺳﺖ ﻛﻪ ﺫﺍﺗﺎً ﺍﺳﺘﻌﺪﺍﺩﻯ ﺩﺭ ﺟﺎﺩﻭ ﻧﺪﺍﺭﻧﺪ؟«‬ ‫ﻣﺪﻳﺮ ﮔﻔﺖ‪» :‬ﻣﺴﺨﺮﻩ ﺍﺳﺖ! ﭼﻬﻞ ﺩﺭﺻﺪ ﺧﻨﮓ ﻭ ﮔﻮﻝ؟«‬ ‫ﺭﻳﻴﺲ ﻛﻞ ﮔﻔﺖ‪» :‬ﺩﻗﻴﻘﺎً! ﻳﻌﻨﻰ ﺣﺎﻻ ﺑﺎﻳﺪ ﺩﻭ ﺑﺮﺍﺑﺮ ﻣﻴﺰﺍﻥ ﻭﺭﻭﺩﻯﻫﺎﻳﻤﺎﻥ‪ ،‬ﺁﺩﻡﻫﺎﻯ ﺑﺎﻫﻮﺵ ﭘﻴﺪﺍ‬ ‫ﻛﻨﻴﻢ‪ .‬ﺍﺻ ً‬ ‫ﻼ ﭼﻨﻴﻦ ﭼﻴﺰﻯ ﻏﻴﺮﻣﻤﻜﻦ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﺍﻳﻦ ﺁﺩﻡﻫﺎ ﺧﻮﺩﺑﺨﻮﺩ ﺑﺎﻫﻮﺵ ﺑﺎﺷﻨﺪ‪ ،‬ﺩﻳﮕﺮ ﺩﺍﻧﺸﮕﺎﻩ‬ ‫ﺭﺍ ﻣﻰﺧﻮﺍﻫﻨﺪ ﭼﻪ ﻛﺎﺭ؟ ﻧﻪ‪ ،‬ﺑﻪ ﻧﻈﺮ ﻣﻦ ﺑﺎﻳﺪ ﺑﻪ ﻭﺭﻭﺩﻯﻫﺎﻯ ﺻﺪ ﺩﺭ ﺻﺪ ﺍﺣﻤﻖ ﻭ ﻧﺎﺩﺍﻥ ﺑﭽﺴﺒﻴﻢ‪.‬‬ ‫ﺭﻭﺵ ‪ UU‬ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺧﻨﮓ ﻭ ﮔﻮﻝ ﻗﺒﻮﻟﺸﺎﻥ ﻛﻨﻴﻢ ﻭ ﺑﺎﻫﻮﺵ ﺗﺤﻮﻳﻠﺸﺎﻥ ﺑﺪﻫﻴﻢ‪** «.‬‬ ‫ﻛﺮﺳﻰ ﻣﻄﺎﻟﻌﺎﺕ ﺑﻰﭘﺎﻳﺎﻥ ﮔﻔﺖ‪» :‬ﺍﻟﺒﺘﻪ ﺑﻌﻀﻰﻫﺎﻳﺸﺎﻥ ﻭﻗﺘﻰ ﺍﺯ ﺭﺍﻩ ﻣﻰﺭﺳﻨﺪ ﻓﻜﺮ ﻣﻰﻛﻨﻨﺪ ﺧﻮﺩﺑﻪﺧﻮﺩ‬ ‫ﺑﺎﻫﻮﺵ ﻫﺴﺘﻨﺪ‪«.‬‬ ‫ﺭﻳﻴﺲ ﺑﺎ ﺧﻮﺷﺤﺎﻟﻰ ﮔﻔﺖ‪» :‬ﺑﻠﻪ‪ ،‬ﻭﻟﻰ ﺧﻴﻠﻰ ﺯﻭﺩ ﭼﺸﻢﻫﺎﻳﺸﺎﻥ ﺭﺍ ﺑﻪ ﺭﻭﻯ ﺣﻘﻴﻘﺖ ﺑﺎﺯ ﻣﻰﻛﻨﻴﻢ‪.‬‬ ‫ﺍﮔﺮ ﺩﺍﻧﺸﮕﺎﻩ ﺑﻬﺖ ﻧﮕﻮﻳﺪ ﺗﻤﺎﻡ ���ﻴﺰﻫﺎﻳﻰ ﻛﻪ ﻣﻰﺩﺍﻧﻰ ﺍﺯ ﺑﻴﺦ ﻭ ﺑﻦ ﺍﺷﺘﺒﺎﻩ ﻫﺴﺘﻨﺪ‪ ،‬ﭘﺲ ﺩﻳﮕﺮ ﺑﻪ ﭼﻪ‬ ‫ﺩﺭﺩﻯ ﻣﻰﺧﻮﺭﺩ؟«‬ ‫ﺭﻳﺪﻛﺎﻟﻰ ﮔﻔﺖ‪» :‬ﺧﻮﺏ ﮔﻔﺘﻰ ﻣﺮﺩ! ﻛﻠﻴﺪ ﻛﺎﺭ ﺣﻤﺎﻗﺖ ﺍﺳﺖ! ﻣﺜ ً‬ ‫ﻼ ﻫﻤﻴﻦ ﺭﻳﻴﺲ ﺧﻮﺩﻣﺎﻥ ﺍﺯ ﻫﻤﻴﻦ‬ ‫ﺭﺍﻩ ﺑﻪ ﺍﻳﻦﺟﺎ ﺭﺳﻴﺪﻩ ﺍﺳﺖ!«‬ ‫ﺭﻳﻴﺲ ﺑﺎ ﻟﺤﻨﻰ ﺳﺮﺩ ﮔﻔﺖ‪» :‬ﻣﺘﺸﻜﺮﻡ ﺟﻨﺎﺏ ﻣﺪﻳﺮ‪ .‬ﺍﻳﻦ ﺣﺮﻓﺘﺎﻥ ﺭﺍ ﺑﻪ ﺣﺴﺎﺏ ﺗﻌﺮﻳﻒ ﻭ ﺗﻤﺠﻴﺪ‬ ‫ﻣﻰﮔﺬﺍﺭﻡ‪ .‬ﺣﻤﺎﻗﺘﻰ ﻛﻪ ﺑﺎ ﺩﻗﺖ ﺟﻬﺖﺩﻫﻰ ﺷﻮﺩ‪ ،‬ﻛﻠﻴﺪ ﺗﻤﺎﻣﻰ ﺩﺍﻧﺶﻫﺎ ﺍﺳﺖ‪«.‬‬ ‫ﭘﺎﻧﺪﺭ ﺑﺎ ﺳﺮﻋﺖ ﮔﻔﺖ‪» :‬ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﻣﻨﻈﻮﺭ ﺑﺎﺯﺭﺱ ﺍﻓﺮﺍﺩﻯ ﺑﺎﺷﺪ ﻛﻪ ﺑﺮ ﺣﺴﺐ ﻭﺿﻌﻴﺖ ﺗﻮﻟﺪ‪ ،‬ﺗﺮﺑﻴﺖ‪،‬‬ ‫ﭘﻴﺸﻴﻨﻪ ﻳﺎ ﺗﺤﺼﻴﻼﺕ ﺍﻭﻟﻴﻪ‪ ،‬ﺑﺎ ﺷﺮﺍﻳﻂ ﺛﺒﺖﻧﺎﻡ ﺳﺎﺯﮔﺎﺭﻯ ﻧﺪﺍﺭﻧﺪ‪*** «.‬‬ ‫ﺭﻳﺪﻛﺎﻟﻰ ﻛﻪ ﭼﺸﻤﺎﻧﺶ ﺑﺮﻕ ﻣﻰﺯﺩ‪ ،‬ﮔﻔﺖ‪» :‬ﺟﺪﺍً؟ ﺧﻮﺑﻪ! ﭘﺲ ﺣﺘﻤﺎً ﺧﻮﺩ ﺍﻳﺸﺎﻥ ﻫﻢ ﻣﻮﻗﻊ ﺍﺳﺘﺨﺪﺍﻡ‬ ‫ﻛﺎﺭﻣﻨﺪ ﺩﻓﺘﺮﻯ‪ ،‬ﺍﻓﺮﺍﺩﻯ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻣﻰﻛﻨﻨﺪ ﻛﻪ ﺣﺴﺎﺏ ﻭ ﻛﺘﺎﺏ ﺑﻠﺪ ﻧﻴﺴﺘﻨﺪ ﻭ ﻓﻜﺮ ﻣﻰﻛﻨﻨﺪ‬ ‫ﻓﺎﻳﻞﻫﺎﻯ ﻛﺸﻮﻯ "چ" ﻫﻤﮕﻰ ﻣﺮﺑﻮﻁ ﺑﻪ "ﭼﻴﺰ" ﻣﻰﺷﻮﻧﺪ!«‬ ‫‪45‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺑﺮﺍﻯ ﺗﻌﻴﻴﻦ ﺟﻮﻫﺮﻩﻯ ﻣﻴﺰﻭﻟﻮژﻯ ﺭﺍ ﺍﻧﺪﺍﺯﻩ ﺑﮕﻴﺮﺩ؟«‬ ‫ﻛﺮﺳﻰ ﻣﻄﺎﻟﻌﺎﺕ ﺑﻰﭘﺎﻳﺎﻥ ﮔﻔﺖ‪» :‬ﺩﻗﻴﻘﺎً! ﺧﻮﺩ ﻣﻦ ﺷﺨﺼﺎً ﭘﺎﻧﺰﺩﻩ ﺳﺎﻝ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻧﻈﺮﻳﻪﻯ ﻫﻤﻪ‬ ‫ﭼﻴﺰ ﻓﻜﺮ ﻣﻰﻛﻨﻢ! ﻣﻴﺰﺍﻥ ﻓﻜﺮﻯ ﻛﻪ ﺻﺮﻑ ﺍﻳﻦ ﻛﺎﺭ ﻛﺮﺩﻩﺍﻡ ﺧﺎﺭﻕﺍﻟﻌﺎﺩﻩ ﺍﺳﺖ! ﻭ ﺑﺎﻳﺪ ﺑﮕﻮﻳﻢ ‪67‬‬ ‫ﺻﻔﺤﻪﺍﻯ ﻛﻪ ﺩﺭ ﻣﻮﺭﺩﺵ ﻧﻮﺷﺘﻪﺍﻡ‪ ،‬ﺑﺎ ﻋﺮﻕ ﺟﺒﻴﻦ ﺑﻪ ﺩﺳﺖ ﺁﻣﺪﻩ ﺍﺳﺖ!«‬ ‫ﺭﻳﺪﻛﺎﻟﻰ ﮔﻔﺖ‪» :‬ﻣﻦ ﭼﻨﺪ ﺗﺎﻳﻰ ﺍﺯ ﺍﻳﻦ ﻛﺎﻏﺬﭘﺎﺭﻩﻫﺎﻯ ﺑﺮﺯﻧﻚ ﺭﺍ ﺩﻳﺪﻩﺍﻡ‪ .‬ﺗﻮﻳﺶ ﻋﻨﺎﻭﻳﻨﻰ ﻣﺜﻞ‬ ‫»ﺟﻨﺒﻪﻫﺎﻯ ﺛﺎﺋﻮﻣﺎﺗﻴﻚ ﭘﻨﻴﺮ ﺩﺭ ﻣﻮﺵ« ﻳﺎ ﺷﺎﻳﺪ ﻫﻢ ﻣﻮﺵ ﺩﺭ ﭘﻨﻴﺮ ﺩﻳﺪﻩ ﻣﻰﺷﻮﺩ‪ .‬ﺷﺎﻳﺪ ﻫﻢ ﮔﻮﺵ‬ ‫ﺩﺭ ﭘﻨﻴﺮ ﻳﺎ ﻫﻤﭽﻴﻦ ﭼﻴﺰﻯ‪«.‬‬ ‫ﺭﻳﻴﺲ ﭘﺮﺳﻴﺪ‪» :‬ﺣﺎﻻ ﺍﻳﻦ ﻣﻄﻠﺐ ﺩﺭ ﻣﻮﺭﺩ ﭼﻰ ﺑﻮﺩ؟«‬ ‫ﻣﺪﻳﺮ ﺟﻮﺍﺏ ﺩﺍﺩ‪» :‬ﺁﻩ‪ ،‬ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﻫﺪﻑ ﺍﻳﻦ ﻣﻄﺎﻟﺐ ﺧﻮﺍﻧﺪﻩ ﺷﺪﻥ ﻧﻴﺴﺖ‪ ،‬ﺑﻠﻜﻪ ﻧﻮﺷﺘﻪ ﺷﺪﻥ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭ ﻫﺮ ﺣﺎﻝ ﻫﻴﭻ ﻛﺲ ﻧﻤﻰﺩﺍﻧﺪ ﺛﺎﺋﻮﻣﺎﺗﻴﻚ ﻳﻌﻨﻰ ﭼﻰ؛ ﺷﺎﻳﺪ ﻫﻤﺎﻥ ﺟﺎﺩﻭﻳﻰ ﺑﺎﺷﺪ ﻛﻪ ﭘﻮﺳﺘﺶ ﺭﺍ‬ ‫ﻛﻨﺪﻩﺍﻯ‪ .‬ﻫﺎﻫﺎ! ﻛﺎﻟﺞ ﺑﺮﺯﻧﻚ! ﻗﺪﻳﻢﻫﺎ ﻣﺪﺭﺳﻪﻯ ﺣﻘﻪﺑﺎﺯﻯ ﻭ ﺗﺮﺩﺳﺘﻰ ﺑﺮﺯﻧﻚ ﺑﻮﺩ!«‬ ‫ﺍﺳﺘﻴﺒﻮﻧﺰ ﮔﻔﺖ‪» :‬ﺧﻮﺏ‪ ،‬ﺩﺭ ﻫﺮ ﺣﺎﻝ‪ ...‬ﺟﻨﺎﺏ ﭘﺴﻴﻤﺎﻝ ﮔﻔﺘﻪﺍﻧﺪ ﻛﻪ ﻛﺎﻟﺞ ﺑﺮﺯﻧﻚ ﺩﺍﻧﺸﺠﻮ ﺑﻪ ﺧﻮﺩ‬ ‫ﺟﺬﺏ ﻣﻰﻛﻨﺪ ﻭ ﺍﻳﻦ ﻣﺴﺄﻟﻪ ﺑﻪ ﻧﻔﻊ ﺷﻬﺮﺷﺎﻥ ﺍﺳﺖ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﺍﻳﺸﺎﻥ ﭘﻴﺸﻨﻬﺎﺩ ﺩﺍﺩﻩﺍﻧﺪ ﻛﻪ ﻣﺎ ﻫﻢ‬ ‫ﻣﺴﺄﻟﻪﻯ‪ ...‬ﺍﻡ‪ ...‬ﺗﺒﻠﻴﻎ ﺑﺮﺍﻯ ﺟﺬﺏ ﺩﺍﻧﺸﺠﻮ ﺭﺍ ﻣﺪ ﻧﻈﺮ ﻗﺮﺍﺭ ﺑﺪﻫﻴﻢ‪«.‬‬ ‫ﺍﺳﺘﻴﺒﻮﻧﺰ ﺩﺭ ﺍﻳﻦﺟﺎ ﻣﻜﺚ ﻛﺮﺩ؛ ﭼﺮﺍ ﻛﻪ ﻫﻤﻪ ﺳﺎﻛﺖ ﻭ ﺧﺸﻚ ﺷﺪﻩ ﭼﺸﻢ ﺑﻪ ﺩﻫﺎﻧﺶ ﺩﻭﺧﺘﻪ ﺑﻮﺩﻧﺪ؛‬ ‫ﺩﺭ ﻧﻬﺎﻳﺖ ﺍﻭ ﺑﺎ ﺳﺮﻋﺖ ﺗﻤﺎﻡ ﮔﻔﺖ‪» :‬ﻣﺜ ً‬ ‫ﻼ ﺟﺬﺏ ﻣﺮﺩﺍﻥ ﺟﻮﺍﻧﻰ ﻛﻪ ﺩﺭ ﺣﺎﻟﺖ ﻋﺎﺩﻯ ﺑﻪ ﺟﺎﺩﻭﮔﺮﻯ ﺑﻪ‬ ‫ﻋﻨﻮﺍﻥ ﺣﺮﻓﻪ ﻓﻜﺮ ﻧﻤﻰﻛﻨﻨﺪ‪ .‬ﺍﻳﺸﺎﻥ ﮔﻔﺘﻪﺍﻧﺪ ﻛﻪ ﻛﺎﻟﺞ ﺑﺮﺯﻧﻚ ﺑﻪ ﻫﻤﻪﻯ ﺩﺍﻧﺸﺠﻮﻫﺎﻯ ﻭﺭﻭﺩﻯ ﺟﺪﻳﺪ‬ ‫ﻳﻚ ﮔﻮﻯ ﺑﻠﻮﺭﻳﻦ ﻣﺠﺎﻧﻰ ﻭ ﻳﻚ ﺑﻦ ﺧﺮﻳﺪ ﻭﺯﻍ ﻳﺎ ﺣﻴﻮﺍﻧﻰ ﻭﺯﻍﻣﺎﻧﻨﺪ ﻣﻰﺩﻫﺪ‪«.‬‬ ‫ﺭﻳﻴﺲ ﮔﻔﺖ‪» :‬ﺧﻮﺩﻣﺎﻥ ﺭﺍ ﺑﺮﺍﻯ ﺩﺍﻧﺸﺠﻮﻫﺎ ﺟﺬﺍﺏ ﻛﻨﻴﻢ؟ ﺟﻨﺎﺏ ﺍﺳﺘﻴﺒﻮﻧﺰ‪ ،‬ﻣﻔﻬﻮﻡ ﻛﻠﻰ ﻳﻚ ﺩﺍﻧﺸﮕﺎﻩ‬ ‫ﻳﻌﻨﻰ ﭼﻴﺰﻯ ﻛﻪ ﺑﻪ ﺳﺨﺘﻰ ﻣﻰﺷﻮﺩ ﻭﺍﺭﺩﺵ ﺷﺪ‪ .‬ﻣﺪﻳﺮ ﺭﻭﺳﺘﺮ ]‪ [13‬ﺭﺍ ﻳﺎﺩﺗﺎﻥ ﻧﻴﺴﺖ؟ ﻋﺎﺩﺕ ﺩﺍﺷﺖ‬ ‫ﺳﺮ ﺭﺍﻩ ﺩﺍﻧﺸﺠﻮﻫﺎ ﺗﻠﻪ ﺑﮕﺬﺍﺭﺩ ﺗﺎ ﺑﻪ ﻛﻼﺱ ﺩﺭﺳﺶ ﻧﺮﺳﻨﺪ‪ .‬ﻫﻤﻴﺸﻪ ﻣﻰﮔﻔﺖ‪» :‬ﻣﻦ ﺍﺯ ﻫﺮ ﺟﺎﻳﻰ‬ ‫ﺍﺳﺘﻌﺪﺍﺩ ﺑﻴﺮﻭﻥ ﻣﻰﻛﺸﻢ‪ ،‬ﻭﻟﻰ ﭘﺴﺮﻛﻰ ﻛﻪ ﺳﻴﻢ ﻛﺸﻴﺪﻩ ﺷﺪﻩ ﺟﻠﻮﻯ ﭘﺎﻳﺶ ﺭﺍ ﻧﻤﻰﺑﻴﻨﺪ‪ ،‬ﺑﻪ ﺩﺭﺩ ﻣﻦ‬ ‫ﻧﻤﻰﺧﻮﺭﺩ‪ «.‬ﺑﻪ ﻧﻈﺮ ﺍﻳﺸﺎﻥ ﻫﺮ ﺩﺍﻧﺸﺠﻮﻳﻰ ﻛﻪ ﺩﺭﻫﺎ ﺭﺍ ﺍﻭﻝ ﺑﺎ ﺍﺣﺘﻴﺎﻁ ﺑﺎﺯ ﻧﻤﻰﻛﺮﺩ ﻭ ﻧﻤﻰﺩﻳﺪ ﻛﻪ ﻗﺮﺍﺭ‬ ‫ﺍﺳﺖ ﭘﺎ ﻛﺠﺎ ﺑﮕﺬﺍﺭﺩ‪ ،‬ﻣﺎﻳﻪﻯ ﺩﺭﺩﺳﺮ ﺍﻳﻦ ﺣﺮﻓﻪﻯ ﻭﺯﻳﻦ ﺑﻮﺩ‪ .‬ﻣﻰﺩﺍﻧﻴﺪ‪ ،‬ﺗﻼﺵ ﺑﺮﺍﻯ ﺻﻤﻴﻤﻰ ﺑﻮﺩﻥ‬ ‫ﺑﺎ ﺩﺍﻧﺸﺠﻮﻫﺎ ﺩﺭﺳﺖ ﻣﺜﻞ ﺍﻳﻦ ﻣﻰﻣﺎﻧﺪ ﻛﻪ ﺩﺭﺱﻫﺎﻳﻰ ﻣﺜﻞ »ﻣﻨﺒﺖﻛﺎﺭﻯ ﺗﻄﺒﻴﻘﻰ« ﺭﺍﻩ ﺑﻴﻨﺪﺍﺯﻳﻢ‬ ‫ﻭ ﺑﻪ ﻛﺴﺎﻧﻰ ﻣﺪﺭﻙ ﺑﺪﻫﻴﻢ ﻛﻪ ﻓﻜﺮ ﻣﻰﻛﻨﻨﺪ »ﺧﻴﻠﻰ ﻣﻤﻨﻮﻥ« ﺳﺮ ﺟﻤﻊ ﻳﻚ ﻛﻠﻤﻪ ﺍﺳﺖ ﻭ ﻭﻗﺘﻰ‬ ‫ﭼﺸﻤﺸﺎﻥ ﺑﻪ ﺗﺎﺑﻠﻮﻯ »ﺑﺨﺶ ﻣﻨﺎﺑﻊ ﺍﻧﺴﺎﻧﻰ« ﻣﻰﺍﻓﺘﺪ‪ ،‬ﺩﻣﺎﻏﺸﺎﻥ ﺑﻮﻯ ﺫﻏﺎﻝ ﻭ ﮔﻮﺷﺖ ﻛﺒﺎﺑﻰ ﺭﺍ‬ ‫‪43‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﻛﻰ ﺩﻟﺶ ﻣﻰﺧﻮﺍﻫﺪ ﺁﻥﻫﺎ ﻭﻗﺖ ﻭ ﺑﻰﻭﻗﺖ ﻣﺰﺍﺣﻤﺶ ﺑﺸﻮﻧﺪ؟«‬ ‫ﺍﺳﺘﺎﺩ ﻃﻠﺴﻢﻫﺎﻯ ﺟﺪﻳﺪﻩ ﮔﻔﺖ‪» :‬ﺍﺳﺘﻴﺒﻮﻧﺰ‪ ،‬ﺑﺮﺍﻯ ﺍﻳﺸﺎﻥ ﺗﻮﺿﻴﺢ ﺑﺪﻩ ﻛﻪ ﻣﺎ ﺍﻳﻦﺟﺎ ﻛﺎﺭﻯ ﺍﻧﺠﺎﻡ‬ ‫ﻧﻤﻰﺩﻫﻴﻢ‪ .‬ﻣﺎ ﺁﻛﺎﺩﻣﻴﺴﻴﻦ ﻫﺴﺘﻴﻢ‪«.‬‬ ‫ﺭﻳﺪﻛﺎﻟﻰ ﭼﺸﻤﻜﻰ ﺑﻪ ﺍﺳﺘﻴﺒﻮﻧﺰ ﺯﺩ ﻭ ﮔﻔﺖ‪» :‬ﺍﻣﺎ ﺑﻪ ﻧﻈﺮ ﻣﻦ ﻣﻮﺿﻮﻉ ﺟﺎﻟﺒﻰ ﺍﺳﺖ‪ .‬ﻣﺜ ً‬ ‫ﻼ ﺷﻤﺎ ﭼﻪ‬ ‫ﻛﺎﺭﻯ ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﻴﺪ‪ ،‬ﻣﺒﺎﺣﺜﻪﮔﺮ ﺍﺭﺷﺪ؟«‬ ‫ﺻﻮﺭﺕ ﻣﺒﺎﺣﺜﻪﮔﺮ ﺍﺭﺷﺪ ﺣﺎﻟﺘﻰ ﺗﺮﺳﻴﺪﻩ ﺑﻪ ﺧﻮﺩﺵ ﮔﺮﻓﺖ ﻭ ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﮔﻠﻮﻳﺶ ﺭﺍ ﭼﻨﺪ ﺑﺎﺭﻯ‬ ‫ﺻﺎﻑ ﻛﺮﺩ‪ ،‬ﺟﻮﺍﺏ ﺩﺍﺩ‪» :‬ﺧﻮﺏ‪ ،‬ﺍﻡ‪ ...‬ﻣﻘﺎﻡ ﻣﺒﺎﺣﺜﻪﮔﺮ ﺍﺭﺷﺪ ﺩﺭ ﺩﺍﻧﺸﮕﺎﻩ ﻧﺎﻣﺮﺋﻰ‪ ،‬ﺍﻡ‪ ...‬ﺑﻪ ﻃﺮﺯﻯ‬ ‫ﻏﻴﺮﻣﻌﻤﻮﻝ‪ ...‬ﺍﻡ‪«...‬‬ ‫»ﺑﻠﻪ‪ ،‬ﻭﻟﻰ ﭼﻪ ﻛﺎﺭﻯ ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﻴﺪ؟ ﻭ ﺁﻳﺎ ﻣﻴﺰﺍﻥ ﺍﻧﺠﺎﻡ ﺍﻳﻦ ﻛﺎﺭﺗﺎﻥ ﺩﺭ ﺷﺶ ﻣﺎﻩ ﮔﺬﺷﺘﻪ ﺑﻴﺸﺘﺮ ﺍﺯ‬ ‫ﺷﺶ ﻣﺎﻩ ﻗﺒﻞﺗﺮ ﺍﺯ ﺁﻥ ﺑﻮﺩﻩ ﺍﺳﺖ؟«‬ ‫ﺭﻳﻴﺲ ﺩﺍﻧﺸﻜﺪﻩ ﺑﺎ ﺷﻴﻄﻨﺖ ﭘﺮﺳﻴﺪ‪» :‬ﺧﻮﺏ ﺣﺎﻻ ﻛﻪ ﺑﻪ ﺍﻳﻦ ﺳﺆﺍﻝﻫﺎ ﺭﺳﻴﺪﻳﻢ‪ ،‬ﺧﻮﺩ ﺷﻤﺎ ﭼﻪ ﻛﺎﺭﻯ‬ ‫ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﻴﺪ‪ ،‬ﺟﻨﺎﺏ ﻣﺪﻳﺮ؟«‬ ‫ﺭﻳﺪﻛﺎﻟﻰ ﺑﺎ ﺍﻋﺘﻤﺎﺩ ﺑﻪ ﻧﻔﺲ ﮔﻔﺖ‪» :‬ﻣﻦ ﻣﺪﻳﺮﻳﺖ ﻣﻰﻛﻨﻢ‪ ،‬ﺟﻨﺎﺏ ﺭﻳﻴﺲ‪«.‬‬ ‫»ﭘﺲ ﻣﺎ ﻫﻢ ﺣﺘﻤﺎً ﻳﻚ ﻛﺎﺭﻯ ﻣﻰﻛﻨﻴﻢ‪ ،‬ﻭﮔﺮﻧﻪ ﭼﻴﺰﻯ ﻧﻤﻰﺑﻮﺩ ﻛﻪ ﺷﻤﺎ ﻣﺪﻳﺮﻳﺘﺶ ﻛﻨﻴﺪ‪«.‬‬ ‫»ﺍﻳﻦ ﺣﺮﻑ ﺷﻤﺎ ﺟﻨﺎﺏ ﺭﻳﻴﺲ‪ ،‬ﭼﻜﻴﺪﻩﻯ ﻗﺎﻧﻮﻥ ﺑﻮﺭﻭﻛﺮﺍﺳﻰ ﺑﻮﺩ ﻭ ﺑﻪ ﻫﻤﻴﻦ ﻣﻨﻈﻮﺭ ﻧﺪﻳﺪﻩﺍﺵ‬ ‫ﻣﻰﮔﻴﺮﻡ‪«.‬‬ ‫ﭘﺎﻧﺪﺭ ﮔﻔﺖ‪» :‬ﻣﻰﺩﺍﻧﻴﺪ‪ ،‬ﺁﻗﺎﻯ ﭘﺴﻴﻤﺎﻝ ﻣﻰﺧﻮﺍﻫﺪ ﺑﺪﺍﻧﺪ ﭼﺮﺍ ﻣﺎ ﻧﺘﺎﻳﺞ‪ ...‬ﺍﻡ‪ ...‬ﻫﻤﺎﻥ ﻛﺎﺭﻯ ﺭﺍ ﻛﻪ‬ ‫ﻣﻰﻛﻨﻴﻢ‪ ،‬ﻣﻨﺘﺸﺮ ﻧﻤﻰﻛﻨﻴﻢ‪«.‬‬ ‫ﺍﺳﺘﺎﺩ ﻃﻠﺴﻢﻫﺎﻯ ﺟﺪﻳﺪﻩ ﮔﻔﺖ‪» :‬ﻣﻨﺘﺸﺮ؟«‬ ‫ﻛﺮﺳﻰ ﻣﻄﺎﻟﻌﺎﺕ ﺑﻰﭘﺎﻳﺎﻥ ﮔﻔﺖ‪» :‬ﻧﺘﺎﻳﺞ؟«‬ ‫ﻛﺘﺎﺑﺪﺍﺭ ﮔﻔﺖ‪» :‬ﺍﻭﻙ؟«‬ ‫ﻓﻮﻕ ﺍَﺑَﺮﺧﻼﺻﻪ ﺷﺪﻩﺍﺵ ﺭﺍ‬ ‫ﺍﺳﺘﻴﺒﻮﻧﺰ ﺑﺎ ﺣﺎﻟﺘﻰ ﺗﺮﺳﻴﺪﻩ ﮔﻔﺖ‪» :‬ﻛﺎﻟﺞ ﺑﺮﺯﻧﻚ ]‪ [12‬ژﻭﺭﻧﺎﻝ ﺗﺤﻘﻴﻘﺎﺕ ِ‬ ‫ﭼﻬﺎﺭ ﺑﺎﺭ ﺩﺭ ﺳﺎﻝ ﻣﻨﺘﺸﺮ ﻣﻰﻛﻨﺪ‪«.‬‬ ‫ﺭﻳﺪﻛﺎﻟﻰ ﮔﻔﺖ‪» :‬ﺑﻠﻪ‪ ،‬ﺁﻥ ﻫﻢ ﺩﺭ ﺷﺶ ﻧﺴﺨﻪ‪«.‬‬ ‫ﺍﺳﺘﺎﺩ ﻃﻠﺴﻢﻫﺎﻯ ﺟﺪﻳﺪﻩ ﮔﻔﺖ‪» :‬ﻫﻴﭻ ﺟﺎﺩﻭﮔﺮﻯ ﻛﻪ ﺳﺮﺵ ﺑﻪ ﺗﻨﺶ ﺑﻴﺎﺭﺯﺩ‪ ،‬ﺑﻪ ﺑﻘﻴﻪﻯ ﺟﺎﺩﻭﮔﺮﻫﺎ ﻟﻮ‬ ‫ﻧﻤﻰﺩﻫﺪ ﻛﻪ ﻣﺸﻐﻮﻝ ﭼﻪ ﻛﺎﺭﻯ ﺍﺳﺖ! ﺑﻪ ﻋﻼﻭﻩ‪ ،‬ﭼﻄﻮﺭ ﻣﻰﺷﻮﺩ ﻓﻜﺮ ﻛﺮﺩﻥ ﺭﺍ ﺍﻧﺪﺍﺯﻩ ﮔﺮﻓﺖ؟ ﻣﻰﺷﻮﺩ‬ ‫ﻣﻴﺰﻫﺎﻳﻰ ﻛﻪ ﻳﻚ ﻧﺠﺎﺭ ﺳﺎﺧﺘﻪ ﺭﺍ ﺑﺸﻤﺎﺭﻯ‪ ،‬ﻭﻟﻰ ﭼﻪ ﻗﺎﻧﻮﻥ ﻭ ﻣﻌﻴﺎﺭﻯ ﻣﻰﺧﻮﺍﻫﺪ ﻣﻴﺰﺍﻥ ﺗﻔﻜﺮ ﻻﺯﻡ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺭﻳﻴﺲ ﺩﺍﻧﺸﻜﺪﻩ ﮔﻔﺖ‪» :‬ﺟﺪﻯ؟ ﺑﺎﻳﺪ ﺟﺎﻟﺐ ﺑﺎﺷﺪ‪«.‬‬ ‫ﺭﻳﺪﻛﺎﻟﻰ ﭘﺎﻛﺖ ﺭﺍ ﺑﻪ ﻃﺮﻑ ﺭﺍﺳﺘﺶ ﻫﻞ ﺩﺍﺩ ﻭ ﺍﻋﻼﻡ ﻛﺮﺩ‪» :‬ﺷﻤﺎ ﺍﺩﺍﻣﻪ‬ ‫ﺑﺪﻫﻴﺪ‪ ،‬ﺟﻨﺎﺏ ﺍﺳﺘﻴﺒﻮﻧﺰ‪«.‬‬ ‫»ﺑﻠﻪ ﺟﻨﺎﺏ ﻣﺪﻳﺮ‪ .‬ﺍﻡ‪ ...‬ﻣﻤﻨﻮﻧﻢ‪ .‬ﺧﻮﺏ ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﻣﻰﺩﺍﻧﻴﺪ‪ ،‬ﺷﻬﺮ‬ ‫ﻫﻤﻴﺸﻪ ﺍﺯ ﺩﺭﻳﺎﻓﺖ ﻣﺎﻟﻴﺎﺕ ﺩﺍﻧﺸﻜﺪﻩ ﭼﺸﻢﭘﻮﺷﻰ ﻛﺮﺩﻩ ﺍﺳﺖ‪«...‬‬ ‫ﺭﻳﻴﺲ ﺩﺍﻧﺸﻜﺪﻩ ﺑﺎ ﺣﺎﻟﺘﻰ ﺍﺯ ﺧﻮﺩ ﺭﺍﺿﻰ ﮔﻔﺖ‪» :‬ﭼﻮﻥ ﺧﻮﺩﺷﺎﻥ ﻣﻰﺩﺍﻧﻨﺪ‬ ‫ﺍﮔﺮ ﺑﺨﻮﺍﻫﻨﺪ ﺍﺯﻣﺎﻥ ﻣﺎﻟﻴﺎﺕ ﺑﮕﻴﺮﻧﺪ‪ ،‬ﭼﻪ ﻣﻰﺷﻮﺩ‪«.‬‬ ‫ﺍﺳﺘﻴﺒﻮﻧﺰ ﮔﻔﺖ‪» :‬ﺑﻠﻪ‪ ،‬ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﻧﻪ‪ .‬ﻣﺘﺄﺳﻔﺎﻧﻪ ﺩﻳﮕﺮ ﺁﻥ ﺩﻭﺭﺍﻥ ﮔﺬﺷﺖ‬ ‫ﻛﻪ ﺑﺎ ﻛﻤﻰ ﺗﻐﻴﻴﺮ ﺷﻜﻞ ﻭ ﭼﻨﺪ ﺗﺎﻳﻰ ﮔﻠﻮﻟﻪﻯ ﺁﺗﺸﻴﻦ ﻣﻰﺗﻮﺍﻧﺴﺘﻴﻢ ﺗﺮﺗﻴﺐ‬ ‫ﻛﺎﺭ ﺭﺍ ﺑﺪﻫﻴﻢ‪ .‬ﺍﻳﻦ ﺭﻭﻳﻪ ﺩﻳﮕﺮ ﺑﻪ ﺩﺭﺩ ﺭﻭﺣﻴﻪﻯ ﺩﻭﺭﺍﻥ ﻣﺪﺭﻥ ﻧﻤﻰﺧﻮﺭﺩ‪ .‬ﺑﺪ‬ ‫ﻧﻴﺴﺖ ﭘﻴﺸﻨﻬﺎﺩﺍﺕ ﺁﻗﺎﻯ ﭘﺴﻴﻤﺎﻝ ﺭﺍ ﺣﺪﺍﻗﻞ ﺑﺮﺭﺳﻰ ﺑﻜﻨﻴﻢ‪«...‬‬ ‫ﻫﻤﮕﻰ ﺷﺎﻧﻪﺍﻯ ﺑﺎﻻ ﺍﻧﺪﺍﺧﺘﻨﺪ‪ .‬ﺍﻳﻦﻃﻮﺭﻯ ﻣﻰﺗﻮﺍﻧﺴﺘﻨﺪ ﺗﺎ ﺯﻣﺎﻥ ﭼﺎﻯ ﻭ‬ ‫ﺑﻴﺴﻜﻮﺋﻴﺖ ﺳﺮ ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﮔﺮﻡ ﻛﻨﻨﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻭﺿﻌﻴﺖ ﺷﺎﻧﻪ ﺑﺎﻻ ﺍﻧﺪﺍﺧﺘﻦ‬ ‫ﻛﺘﺎﺑﺪﺍﺭ ﺑﺴﻴﺎﺭ ﺟﻠﺐ ﺗﻮﺟﻪ ﻣﻰﻛﺮﺩ ﻛﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺍﻭﺭﺍﻧﮕﻮﺗﺎﻥ‪ ،‬ﻋﻀﻼﺕ‬ ‫ﺑﻴﺸﺘﺮﻯ ﺑﺮﺍﻯ ﺷﺎﻧﻪ ﺑﺎﻻ ﺍﻧﺪﺍﺧﺘﻦ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺩﺍﺷﺖ‪.‬‬ ‫ﺍﺳﺘﻴﺒﻮﻧﺰ ﮔﻔﺖ‪» :‬ﺍﻭﻝ ﺍﺯ ﻫﻤﻪ‪ ،‬ﺁﻗﺎﻯ ﭘﺴﻴﻤﺎﻝ ﻣﺎﻳﻠﻨﺪ ﺑﺪﺍﻧﻨﺪ ﻛﻪ ﺍﻳﻦﺟﺎ ﭼﻪ‬ ‫ﻛﺎﺭ ﻣﻰﻛﻨﻴﻢ‪«.‬‬ ‫ﺭﻳﺪﻛﺎﻟﻰ ﮔﻔﺖ‪» :‬ﭼﻪ ﻛﺎﺭ ﻣﻰﻛﻨﻴﻢ؟ ﻣﺎ ﺑﺰﺭگﺗﺮﻳﻦ ﻛﺎﻟﺞ ﺟﺎﺩﻭ ﻫﺴﺘﻴﻢ!«‬ ‫»ﺑﻠﻪ‪ ،‬ﻭﻟﻰ ﺁﻳﺎ ﺑﻪ ﻋﻨﻮﺍﻥ ﺑﺰﺭگﺗﺮﻳﻦ ﻛﺎﻟﺞ ﺟﺎﺩﻭ ﺗﺪﺭﻳﺲ ﺁﻥ ﺭﺍ ﻫﻢ ﺍﻧﺠﺎﻡ‬ ‫ﻣﻰﺩﻫﻴﻢ؟«‬ ‫ﺭﻳﻴﺲ ﺟﻮﺍﺏ ﺩﺍﺩ‪» :‬ﺧﻮﺏ ﺍﮔﺮ ﺭﺍﻩ ﺩﻳﮕﺮﻯ ﻧﺒﺎﺷﺪ‪ ،‬ﻣﻌﻠﻮﻡ ﺍﺳﺖ ﻛﻪ ﺗﺪﺭﻳﺲ‬ ‫ﻣﻰﻛﻨﻴﻢ‪ .‬ﺭﺍﻩ ﻛﺘﺎﺑﺨﺎﻧﻪ ﺭﺍ ﻧﺸﺎﻥ ﺩﺍﻧﺸﺠﻮﻫﺎ ﻣﻰﺩﻫﻴﻢ‪ ،‬ﭼﻨﺪ ﺑﺎﺭﻯ ﺑﺎﻫﺎﺷﺎﻥ‬ ‫ﮔﭗ ﻭ ﮔﻔﺖ ﻣﻰﮔﺬﺍﺭﻳﻢ ﻭ ﺑﻪ ﻛﺴﺎﻧﻰ ﻛﻪ ﺟﺎﻥ ﺳﺎﻟﻢ ﺑﻪ ﺩﺭ ﺑﺒﺮﻧﺪ‪ ،‬ﻣﺪﺭﻙ‬ ‫ﻣﻰﺩﻫﻴﻢ‪ .‬ﺍﮔﺮ ﻫﻢ ﺑﻪ ﻣﺸﻜﻠﻰ ﺑﺮ ﺑﺨﻮﺭﻧﺪ‪ ،‬ﺩﺭ ﺍﺗﺎﻕ ﻣﻦ ﺍﺯ ﻧﻈﺮ ﻓﺮﺿﻰ‬ ‫ﻫﻤﻴﺸﻪ ﺑﻪ ﺭﻭﻳﺸﺎﻥ ﺑﺎﺯ ﺍﺳﺖ‪«.‬‬ ‫ﺍﺳﺘﻴﺒﻮﻧﺰ ﭘﺮﺳﻴﺪ‪» :‬ﺍﺯ ﻧﻈﺮ ﻓﺮﺿﻰ‪ ،‬ﻗﺮﺑﺎﻥ؟«‬ ‫ﺭﻳﻴﺲ ﮔﻔﺖ‪» :‬ﺑﻠﻪ‪ .‬ﻭﻟﻰ ﺧﻮﺏ ﺍﺯ ﻧﻈﺮ ﺗﻜﻨﻴﻜﻰ‪ ،‬ﺩﺭ ﻗﻔﻞ ﺍﺳﺖ‪ .‬ﺧﺪﺍﻯ ﻣﻦ‪،‬‬ ‫‪41‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

‫ﻣﻌﻠﻮﻡ ﺍﺳﺖ‬ ‫ﻛﻪ ﺗﺪﺭﻳﺲ‬ ‫ﻣﻰﻛﻨﻴﻢ‪ .‬ﺭﺍﻩ‬ ‫ﻛﺘﺎﺑﺨﺎﻧﻪ ﺭﺍ‬ ‫ﻧﺸﺎﻥ ﺩﺍﻧﺸﺠﻮﻫﺎ‬ ‫ﻣﻰﺩﻫﻴﻢ‪ ،‬ﭼﻨﺪ‬ ‫ﺑﺎﺭﻯ ﺑﺎﻫﺎﺷﺎﻥ‬ ‫ﮔﭗ ﻭ ﮔﻔﺖ‬ ‫ﻣﻰﮔﺬﺍﺭﻳﻢ ﻭ‬ ‫ﺑﻪ ﻛﺴﺎﻧﻰ ﻛﻪ‬ ‫ﺟﺎﻥ ﺳﺎﻟﻢ ﺑﻪ ﺩﺭ‬ ‫ﺑﺒﺮﻧﺪ‪ ،‬ﻣﺪﺭﻙ‬ ‫ﻣﻰﺩﻫﻴﻢ‪.‬‬


‫ﺑﺎ ﻧﺰﺩﻳﻚ ﺷﺪﻥ ﺳﺎﻋﺖ ﭼﺎﻯ ﻭ ﺑﻴﺴﻜﻮﺋﻴﺖ‪ ،‬ﻣﺪﻳﺮﻛﻞ ﺭﻳﺪﻛﺎ���ﻰ ]‪ [5‬ﺑﺎ ﺍﻧﮕﺸﺘﺎﻧﺶ ﺑﺮ ﺳﻄﺢ ﭼﺮﻣﻰ ﻭ‬ ‫ﻓﺮﺳﻮﺩﻩﻯ ﻣﻴﺰ ﺿﺮﺏ ﮔﺮﻓﺖ ﻭ ﮔﻔﺖ‪» :‬ﻓﻘﻂ ﻳﻚ ﻣﻮﺭﺩ ﺍﺯ ﻣﻮﺍﺭﺩ ﻣﺘﻔﺮﻗﻪ ﺑﺎﻗﻰ ﻣﺎﻧﺪﻩ‪ ،‬ﺁﻗﺎﻳﻮﻥ‪ .‬ﻇﺎﻫﺮﺍ ً‬ ‫ﻟﺮﺩ ﻭﺗﻴﻨﺎﺭﻯ ]‪ ،[6‬ﺣﺎﻛﻢ ﺑﺨﺸﻨﺪﻩ ﻭ ﺧﻴﺮﺧﻮﺍﻫﻤﺎﻥ‪ ،‬ﻣﻨﺎﺳﺐ ﺩﻳﺪﻩﺍﻧﺪ ﻛﻪ ﺑﺎ ﻳﻚ‪ ...‬ﺁﺯﻣﻮﻥ ﺑﺎ ﻣﺎ ﺭﻭ ﺩﺭ‬ ‫ﺭﻭ ﺷﻮﻧﺪ‪ .‬ﺍﺣﺘﻤﺎﻻً ﺑﻪ ﻃﺮﻳﻘﻰ‪ ،‬ﺑﺎ ﺍﻧﺠﺎﻡ ﺍﺷﺘﺒﺎﻫﻰ ﻟﭙﻰ ﻭ ﻛﻮﭼﻚ ﺑﺎﻋﺚ ﺭﻧﺠﺶ ﺍﻳﺸﺎﻥ ﺷﺪﻩﺍﻳﻢ ﻭ‪«...‬‬ ‫ﺭﻳﻴﺲ ﺩﺍﻧﺸﻜﺪﻩ ﻣﻴﺎﻥ ﺣﺮﻑ ﺟﻨﺎﺏ ﻣﺪﻳﺮ ﭘﺮﻳﺪ ﻭ ﮔﻔﺖ‪» :‬ﻣﺴﺄﻟﻪ ﻫﻤﺎﻥ ﺧﻴﺎﺑﺎﻥ ﻣﻰﻫﭗ ]‪ [7‬ﺍﺳﺖ‪،‬‬ ‫ﺩﺭﺳﺘﻪ؟ ﻫﻨﻮﺯ ﭘﻴﺪﺍ ﻧﺸﺪﻩ؟«‬ ‫ﺭﻳﺪﻛﺎﻟﻰ ﺑﻪ ﺗﻨﺪﻯ ﺟﻮﺍﺏ ﺩﺍﺩ‪» :‬ﺧﻴﺎﺑﺎﻥ ﻣﻰﻫﭗ ﻫﻴﭻ ﻣﺸﻜﻠﻰ ﻧﺪﺍﺭﺩ‪ ،‬ﺟﻨﺎﺏ ﺭﻳﻴﺲ‪ .‬ﻓﻘﻂ ﺑﺮﺍﻯ ﻣﺪﺕ‬ ‫ﻣﻮﻗﺘﻰ ﺟﺎﺑﻪﺟﺎ ﺷﺪﻩ ﺍﺳﺖ؛ ﻫﻤﻴﻦ ﻭ ﺑﺲ‪ .‬ﺑﻪ ﻣﻦ ﺍﻃﻤﻴﻨﺎﻥ ﺩﺍﺩﻩﺍﻧﺪ ﻛﻪ ﺑﺎﻗﻰ ﻓﻀﺎ‪-‬ﺯﻣﺎﻥ ﺗﺎ ﭘﻨﺞﺷﻨﺒﻪﻯ‬ ‫ﺁﻳﻨﺪﻩ ﺑﻬﺶ ﻣﻰﺭﺳﺪ ﻭ ﻣﺴﺄﻟﻪ ﺑﺮﻃﺮﻑ ﻣﻰﺷﻮﺩ‪ .‬ﺑﺎﻻﺧﺮﻩ ﺍﺗﻔﺎﻗﻰ ﺍﺳﺖ ﻛﻪ ﺩﻳﺮ ﻳﺎ ﺯﻭﺩ ﻣﻰﺍﻓﺘﺎﺩ‪«.‬‬ ‫ﺭﻳﻴﺲ ﻛﻪ ﺍﻧﮕﺎﺭ ﺍﺯ ﻣﺎﺟﺮﺍ ﺧﻮﺷﺶ ﺁﻣﺪﻩ ﺑﻮﺩ‪ ،‬ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺧﻮﺏ‪ ،‬ﺑﺎﻻﺧﺮﻩ ﺩﻳﺮ ﻳﺎ ﺯﻭﺩ ﺑﻪ ﺧﺎﻃﺮ ﺗﺨﻠﻴﻪﻯ‬ ‫ﺛﺎﺋﻮﻡﻫﺎﻳﻰ ]‪ [8‬ﻛﻪ ﺟﻨﺎﺑﻌﺎﻟﻰ ﻣﻰﻓﺮﻣﻮﺩﻳﺪ ﺍﺑﺪﺍ ً ﺍﺣﺘﻤﺎﻟﺶ ﻧﻴﺴﺖ‪ ،‬ﺍﺗﻔﺎﻕ ﻣﻰﺍﻓﺘﺎﺩ ﻭ‪«...‬‬ ‫ﺭﻳﺪﻛﺎﻟﻰ ﺑﺎ ﻋﺼﺒﺎﻧﻴﺖ ﮔﻔﺖ‪» :‬ﺟﻨﺎﺏ ﺭﻳﻴﺲ! ﺑﺤﺚ ﺭﺍ ﺍﺩﺍﻣﻪ ﻣﻰﺩﻫﻴﻢ ﻭ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺭﺍ ﻛﻨﺎﺭ‬ ‫ﻣﻰﮔﺬﺍﺭﻳﻢ‪* «.‬‬ ‫ﭘﺎﻧﺪﺭ ﺍﺳﺘﻴﺒﻮﻧﺰ ]‪ ،[9‬ﻛﻪ ﻣﺴﺌﻮﻝ ﺑﺨﺶ ﺟﺎﺩﻭﻫﺎﻯ ﻛﺎﺭﺑﺮﺩﻯ ﻧﻪ ﭼﻨﺪﺍﻥ ﻣﻨﺎﺳﺐ ﻭ ﻫﻤﭽﻨﻴﻦ ﺳﺨﻨﮕﻮﻯ‬ ‫ﺩﺍﻧﺸﮕﺎﻩ ﺑﻮﺩ –ﻣﻘﺎﻣﻰ ﻛﻪ ﺑﻪ ﺧﺎﻃﺮ ﻣﻼﻝﺁﻭﺭﻯ ﻭ ﻛﺴﻞﻛﻨﻨﺪﻩ ﺑﻮﺩﻥ ﺩﺭ ﺩﺍﻧﺸﮕﺎﻩ ﺷﻬﺮﺕ ﺩﺍﺷﺖ– ﺭﻭ‬ ‫ﺑﻪ ﻣﺪﻳﺮ ﮔﻔﺖ‪» :‬ﻣﻰﺑﺨﺸﻴﺪ ﺟﻨﺎﺏ ﻣﺪﻳﺮ؟«‬ ‫»ﺑﻠﻪ ﺍﺳﺘﻴﺒﻮﻧﺰ؟«‬ ‫ﺍﺳﺘﻴﺒﻮﻧﺰ ﮔﻔﺖ‪» :‬ﺑﻬﺘﺮ ﺍﺳﺖ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺍﺩﺍﻣﻪ ﺑﺪﻫﻴﻢ‪ ،‬ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺭﺍ ﻛﻨﺎﺭ ﺑﮕﺬﺍﺭﻳﻢ‪ .‬ﺍﻳﻦ ﻃﻮﺭﻯ‬ ‫ﻭﻗﺘﻰ ﻭﺍﻗﻌﺎً ﺍﺩﺍﻣﻪ ﻣﻰﺩﻫﻴﻢ‪ ،‬ﻣﻰﺑﻴﻨﻴﻢ ﻣﻮﺿﻮﻉ ﺧﻴﻠﻰ ﺧﻴﻠﻰ ﻛﻨﺎﺭ ﺍﻓﺘﺎﺩﻩ ﺍﺳﺖ‪«.‬‬ ‫ﺭﻳﺪﻛﺎﻟﻰ ﮔﻔﺖ‪» :‬ﻧﻜﺘﻪﻯ ﺧﻮﺑﻰ ﺑﻮﺩ‪ .‬ﺗﺮﺗﻴﺒﺶ ﺭﺍ ﺑﺪﻩ‪«.‬‬ ‫ﺑﻌﺪ ﺟﻨﺎﺏ ﻣﺪﻳﺮ ﺩﻭﺑﺎﺭﻩ ﺗﻮﺟﻪﺍﺵ ﺭﺍ ﺑﻪ ﻃﺮﻑ ﭘﺎﻛﺘﻰ ﻛﻪ ﺟﻠﻮﻯ ﺭﻭﻳﺶ ﻗﺮﺍﺭ ﺩﺍﺷﺖ‪ ،‬ﺑﺮﮔﺮﺩﺍﻧﺪ‪» .‬ﺩﺭ‬ ‫ﻫﺮ ﺣﺎﻝ ﺁﻗﺎﻳﺎﻥ‪ ،‬ﺳﺮﻭﺭﻣﺎﻥ ﺷﺨﺼﻰ ﺑﻪ ﻧﺎﻡ ﺁ‪ .‬ﺍﻳﻰ‪ .‬ﭘﺴﻴﻤﺎﻝ ]‪– [10‬ﻣﺮﺩﻯ ﻛﻪ ﺷﺨﺼﺎً ﭼﻴﺰ ﺯﻳﺎﺩﻯ ﺩﺭ‬ ‫ﻣﻮﺭﺩﺵ ﻧﻤﻰﺩﺍﻧﻢ– ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﺑﺎﺯﺭﺱ ﺩﺍﻧﺸﮕﺎﻩﻫﺎ ﺗﻌﻴﻴﻦ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﺷﻐﻞ ﺍﻳﺸﻮﻥ ﻫﻤﻴﻦ‬ ‫ﺑﺎﺷﻪ ﻛﻪ ﻣﺎ ﺭﺍ ﺑﺎ ﭼﻚ ﻭ ﻟﮕﺪ ﻭ ﭘﺲ ﮔﺮﺩﻧﻰ ﺑﻪ ﻗﺮﻥ ﺟﺪﻳﺪ ﺧﻔﺎﺵﻣﻴﻮﻩ ]‪ [11‬ﻭﺍﺭﺩ ﻛﻨﺪ‪«.‬‬ ‫ﺍﺳﺘﻴﺒﻮﻧﺰ ﮔﻔﺖ‪» :‬ﺭﺍﺳﺘﺶ ﺧﻔﺎﺵﻣﻴﻮﻩ ﻗﺮﻥ ﻗﺒﻠﻰ ﺑﻮﺩ‪ ،‬ﺟﻨﺎﺏ ﻣﺪﻳﺮ‪«.‬‬ ‫ﺭﻳﺪﻛﺎﻟﻰ ﮔﻔﺖ‪» :‬ﺧﻮﺏ‪ ،‬ﻣﺎ ﺩﺭ ﻣﻘﺎﺑﻞ ﭼﻚ ﻭ ﻟﮕﺪ ﻣﻘﺎﻭﻣﺖ ﺑﺎﻻﻳﻰ ﺩﺍﺭﻳﻢ‪ .‬ﺍﻳﺸﻮﻥ ﭼﻨﺪ ﺗﺎﻳﻰ‪ ...‬ﺧﻮﺏ‪...‬‬ ‫ﭘﻴﺸﻨﻬﺎﺩ ﺑﺮﺍﻯ ﺗﻮﺳﻌﻪﻯ ﻛﺎﺭ ﺑﻪ ﻣﺎ ﺩﺍﺩﻩ‪«...‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺣﻞ ﻣﺴﺎﻳﻞ ﻣﺮﺑﻮﻃﻪ‬ ‫ﺑﻪ ﺭﻭﺵ ﺩﺍﻧﺸﮕﺎﻫﻰ‬ ‫ﺗﺮﻯ ﭘﺮﭼﺖ‬ ‫ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬

‫ﺑﻌﺪﺍﺯﻇﻬﺮ ﭘﻨﺞﺷﻨﺒﻪ ﺑﻮﺩ‪ .‬ﺍﻧﺠﻤﻦ ﺁﻣﻮﺯﺷﻰ ﺩﺍﻧﺸﮕﺎﻩ ﻧﺎﻣﺮﻳﻰ ]‪ ،[1‬ﻗﺪﻳﻤﻰﺗﺮﻳﻦ ﻭ ﻣﻌﺘﺒﺮﺗﺮﻳﻦ‬ ‫ﻣﻮﺳﺴﻪﻯ ﺁﻣﻮﺯﺵ ﺟﺎﺩﻭ ﺩﺭ ﺳﺮﺗﺎﺳﺮ ﺻﻔﺤﻪﺟﻬﺎﻥ ]‪ ،[2‬ﺑﻪ ﺟﻠﺴﺎﺕ ﭘﻨﺞﺷﻨﺒﻪ ﺑﻌﺪﺍﺯﻇﻬﺮ‬ ‫ﺧﻮﺩ ﺑﺴﻴﺎﺭ ﻋﻼﻗﻤﻨﺪ ﺑﻮﺩ‪ .‬ﺍﺗﺎﻕ ﺟﻠﺴﻪ‪ ،‬ﺑﺎ ﺷﻴﺸﻪﻫﺎﻯ ﺭﻧﮕﻰ ﻛﻪ ﺗﺼﻮﻳﺮﻯ ﺍﺯ ﻣﺪﻳﺮ ﺍﺳﻠﻮﻣﺎﻥ‬ ‫]‪ [3‬ﺭﺍ ﺩﺭ ﺣﺎﻝ ﻛﺸﻒ ﺗﺌﻮﺭﻯ ﻭﻳﮋﻩﻯ ﺍﺳﻠﻮﺩ ]‪ [4‬ﻧﻤﺎﻳﺶ ﻣﻰﺩﺍﺩ‪ ،‬ﻫﻤﻴﺸﻪ ﺩﻧﺞ ﻭ ﮔﺮﻡ ﻭ ﻧﺮﻡ‬ ‫ﺑﻮﺩ ﻭ ﺩﺭ ﭘﺎﻳﺎﻥ ﺟﻠﺴﺎﺕ‪ ،‬ﺩﻭﺭﻧﻤﺎﻳﻰ ﺍﺯ ﭼﺎﻯ ﻭ ﺑﻴﺴﻜﻮﻳﻴﺖ ﺷﻜﻼﺗﻰ ﻫﻢ ﺑﻪ ﭼﺸﻢ ﻣﻰﺧﻮﺭﺩ‪.‬‬ ‫ﻛﻼﻩﻫﺎﻯ ﻧﻮﻙﺗﻴﺰ ﺗﻜﺎﻥ ﻣﻰﺧﻮﺭﺩﻧﺪ ﻭ ﺍﻧﻬﺪﺍﻡ ﺻﻮﺭﺕﺟﻠﺴﻪ ﺭﺍ ﺩﺭ ﻛﻤﺎﻝ ﺳﺮﻫﻢﺑﻨﺪﻯ ﻭ‬ ‫ﻣﺎﺳﺖﻣﺎﻟﻰ‪ ،‬ﺗﺄﻳﻴﺪ ﻣﻰﻛﺮﺩﻧﺪ‪.‬‬


‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻭ ﻳﻚ ﺳﻼﺡ ﺟﺪﻳﺪ ﺑﺴﺎﺯﻩ‪«...‬‬

‫اوﻧﺎ ﻣﯽﻓﻬﻤﻦ‪ .‬ﻣﯽﻓﻬﻤﻦ ﮐﻪ اﯾﻦ ﻣﻦ ﻧﯿﺴﺘﻢ!‬ ‫»‪ ...‬ﺍﻟﺒﺘﻪ ﻛﻪ ﺑﻪ ﻗﺪﺭﺕ ﺳﻼﺡ ﺍﻭﻟﻰ ﻧﻤﻰﺷﻪ‪ ،‬ﻭﻟﻰ ﺧﺐ ﺍﻭﻧﺎ ﻫﻢ ﻫﻴﭻﻭﻗﺖ ﭼﻴﺰﻯ ﺭﻭ ﻣﺜﻞ ﻧﺴﺨﻪﻯ‬ ‫ﺍﻭﻟﺶ ﻧﻤﻰﺳﺎﺯﻥ‪ .‬ﻭ ﻫﻴﭻﻛﺲ ﻫﻢ ﺩﻧﺒﺎﻝ ﺍﻧﺪﻫﺮﻛﺮ ﻧﻤﻰﮔﺮﺩﻩ؛ ﭼﻮﻥ ﻫﻤﻪ ﻣﻰﺩﻭﻧﻦ ﻛﻪ ﺍﻭﻥ ﻛﺠﺎﺱ‪.‬‬ ‫ﺍﻳﻦﺟﻮﺭﻯ ﺩﻳﮕﻪ ﻫﻴﭻ ﺗﺒﻠﻴﻐﻰ ﻫﻢ ﻛﻪ ﻧﺸﻮﻥ ﺑﺪﻩ ﺗﻮ ﻛﺠﺎ ﺁﺭﻭﻡ ﮔﺮﻓﺘﻰ ﻭﺟﻮﺩ ﻧﺪﺍﺭﻩ‪ .‬ﺗﻮ ﭘﮋﻣﺮﺩﻩ ﻣﻰﺷﻰ‬ ‫ﻭ ﺗﻮ ﺗﺎﺭﻳﻜﻰ ﻣﻰﻣﻴﺮﻯ ﻭ ﺩﻳﮕﻪ ﻫﺮﮔﺰ ﺭﻭﺡ ﺍﻧﺴﺎﻧﻰ ﺭﻭ ﺗﺴﺨﻴﺮ ﻧﺨﻮﺍﻫﻰ ﻛﺮﺩ‪«.‬‬

‫ﻣﻦ ﻧﺎﻣﯿﺮا ﻫﺴﺘﻢ‪.‬‬ ‫»ﺧﻮﺩﺕ ﻛﻪ ﺍﻳﻦ ﻃﻮﺭ ﻣﻰﮔﻰ‪ ،‬ﻭﻟﻰ ﻣﻦ ﻫﻴﭻﻭﻗﺖ ﺑﺎﻭﺭ ﻧﻜﺮﺩﻡ‪ .‬ﺗﻮ ﺑﺎﻳﺪ ﺑﺨﻮﺭﻯ‪ ،‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻓﻜﺮ ﻛﻨﻢ ﺍﮔﺮ‬ ‫ﺩﻳﮕﻪ ﭼﻴﺰﻯ ﻧﺨﻮﺭﻯ ﺍﺯ ﮔﺮﺳﻨﮕﻰ ﺑﻤﻴﺮﻯ‪ .‬ﺑﻪ ﻫﺮ ﺣﺎﻝ‪ ،‬ﺍﻣﺘﺤﺎﻥ ﻣﻰﻛﻨﻴﻢ‪ .‬ﻣﻦ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﭼﻨﺪ ﺻﺪ‬ ‫ﺳﺎﻝ ﺻﺒﺮ ﻣﻰﻛﻨﻢ ﺗﺎ ﺑﺒﻴﻨﻢ ﭼﻄﻮﺭ ﻣﻰﺷﻰ‪«.‬‬ ‫ﻣﻮﺭﻻﻙ ﺗﻴﻐﻪﻯ ﻣﻠﻌﻮﻧﻰ ﻛﻪ ﺍﻧﺪﻫﺮﻛﺮ ﺭﺍ ﺩﺭ ﺧﻮﺩ ﺯﻧﺪﺍﻧﻰ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺩﺭ ﺟﺎﻯ ﺩﻭﺭﺩﺳﺘﻰ ﺩﺭﻭﻥ ﻳﻚ‬ ‫ﭼﺎﻩ ﺍﻧﺪﺍﺧﺖ ﻭ ﺑﻌﺪ ﺑﺎ ﺧﺮﻭﺍﺭﻫﺎ ﺧﺮﻭﺍﺭ ﺧﺎﻙ ﺭﻭﻯ ﺁﻥ ﺭﺍ ﭘﻮﺷﺎﻧﺪ‪.‬‬ ‫ﺩﺭ ﺁﺧﺮ‪ ،‬ﺑﻪ ﺷﺪﺕ ﺑﻪ ﻧﻮﺷﻴﺪﻧﻰ ﻧﻴﺎﺯ ﭘﻴﺪﺍ ﻛﺮﺩ‪ .‬ﺩﺭﺏ ﺩﺳﺖ ﺷﻜﺴﺘﻪ ﺭﺍ ﻫﻢ ﺷﻜﺴﺖ ﻭ ﻭﺍﺭﺩ ﺷﺪ ﻭ ﺑﻪ‬ ‫ﻋﻨﻮﺍﻥ ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭ ﻭ ﺣﺎﻣﻰ ﻟﻴﻦ‪ ،‬ﺣﺎﻟﻰ ﺑﻪ ﺧﻮﺩ ﺩﺍﺩ‪ .‬ﺣﺪﺍﻗﻞ ﺍﻳﻦ ﻃﻮﺭﻯ ﻳﻚ ﭘﻴﺎﻟﻪ ﻣﺸﺮﻭﺏ ﺑﺮﺍﻯ‬ ‫ﺧﻮﺩﺵ ﺩﺳﺖ ﻭ ﭘﺎ ﻛﺮﺩ ﻭ ﭘﺸﺖ ﺑﺎﺭ ﻧﺸﺴﺖ ﻭ ﺧﻮﺩ ﺭﺍ ﺑﺮﺍﻯ ﺳﺮﻛﺸﻴﺪﻥ ﺁﻣﺎﺩﻩ ﻛﺮﺩ‪ .‬ﭼﻨﺪ ﻟﺤﻈﻪ‬ ‫ﺍﻳﺴﺘﺎﺩ ﻭ ﺍﻧﻌﻜﺎﺱ ﻛﺞ ﻭ ﻣﻌﻮﺝ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺳﻄﺢ ﺗﻴﺮﻩﻯ ﻣﺸﺮﻭﺏ ﻧﻈﺎﺭﻩ ﻛﺮﺩ‪.‬‬ ‫ﻭﻗﺘﻰ ﻣﺮﺩﻡ ﺑﻪ ﺷﻬﺮ ﺑﺎﺯﮔﺸﺘﻨﺪ‪ ،‬ﻛﺘﻴﺒﻪﺍﻯ ﺭﺍ ﻛﻪ ﺭﻭﻯ ﺳﻨﺪﺍﻥ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺑﻮﺩ ﺩﻳﺪﻧﺪ‪ .‬ﻫﻤﻴﻦ ﻃﻮﺭ‬ ‫ﺗﻜﻪﻫﺎﻯ ﺳﺮﻧﻴﺰﻩﻯ ُﺧﺮﺩ ﺷﺪﻩ ﺭﺍ‪ .‬ﻭ ﻛﻢ ﻭ ﺑﻴﺶ ﻫﻤﺎﻥ ﮔﻮﻧﻪ ﻋﻤﻞ ﻛﺮﺩﻧﺪ ﻛﻪ ﻣﻮﺭﻻﻙ ﻣﻰﺧﻮﺍﺳﺖ‪.‬‬ ‫ﻫﻤﻴﻦ ﻃﻮﺭ ﺩﺭﺏ ﺷﻜﺴﺘﻪﻯ ﺩﺳﺖ ﺷﻜﺴﺘﻪ ﺭﺍ ﻫﻢ ﺩﻳﺪﻧﺪ ﻭ ﭘﻴﺎﻟﻪﺍﻯ ﺷﺮﺍﺏ ﭘﻴﺪﺍ ﻛﺮﺩﻧﺪ ﻛﻪ ﻟﺐ ﺑﻪ ﻟﺐ‬ ‫ﭘﺮ ﺷﺪﻩ ﻭ ﺩﺳﺖﻧﺨﻮﺭﺩﻩ ﺑﻮﺩ‪ .‬ﻭﻟﻰ ﻣﻮﺭﻻﻙ ﺭﺍ ﻧﺪﻳﺪﻧﺪ‪ .‬ﻳﻌﻨﻰ ﺩﻳﮕﺮ ﻫﻴﭻﻭﻗﺖ ﺍﻭ ﺭﺍ ﻧﺪﻳﺪﻧﺪ‪.‬‬

‫‪1. Morlock Ambrosius‬‬ ‫‪2. Leen‬‬ ‫‪3. Narrow Sea‬‬ ‫‪4. Viklorn‬‬ ‫‪5. Andharkar‬‬

‫ﺯﺩﻩ ﺑﻪ ﺁﻥ ﺭﺍﻩ ﻛﻪ ﺍﺳﻢ ﻭﻳﻠﻜﻮﺭﻥ ﺭﺍ ﻧﺸﻨﻴﺪﻩ ﻭ ﻫﺮ ﻛﺴﻰ ﺍﻳﻦ ﻛﺎﺭ‬ ‫ﺭﺍ ﻛﺮﺩﻩ‪ ،‬ﻳﻚ ﺍﺣﻤﻖ ﺑﻪ ﺗﻤﺎﻡ ﻣﻌﻨﺎ ﺍﺳﺖ‪.‬‬ ‫‪7. Sarkunden‬‬ ‫‪8. Dhalion‬‬ ‫‪9. Imperial Road‬‬ ‫‪10. Ontil‬‬

‫‪ .6‬ﺩﺭ ﺍﻳﻦﺟﺎ ﻣﻮﺭﻻﻙ ﻋﺒﺎﺭﺕ ‪ moron‬ﺭﺍ ﺑﻪ ﻛﺎﺭ ﻣﻰﺑﺮﺩ ﻛﻪ ﺩﺭ‬ ‫ﺯﺑﺎﻥ ﺍﻧﮕﻠﻴﺴﻰ ﺑﺎ ﻭﻳﻠﻜﻮﺭﻥ ﻫﻢﻭﺯﻥ ﺍﺳﺖ‪ .‬ﻳﻌﻨﻰ ﻛﻪ ﺧﻮﺩﺵ ﺭﺍ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﺳﭙﺲ ﺳﺮ ﻭﻗﺖ ﻧﻌﺶ ﺑﻰﺟﺎﻥ ﻭﻳﻜﻠﻮﺭﻥ ﺑﺎﺯﮔﺸﺖ‪ .‬ﺍﺯ ﺭﻭﻯ ﺧﺸﻢ ﭼﻨﺪ ﺿﺮﺑﻪﻯ ﻣﺤﻜﻢ ﺑﻪ ﻧﻌﺸﺶ ﻧﺜﺎﺭ‬ ‫ﻛﺮﺩ ﻭ ﺑﻌﺪ ﺍﻧﺪﻫﺮﻛﺮ ﺭﺍ ﺍﺯ ﺯﺧﻤﺶ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪ‪ .‬ﮔﺬﺍﺷﺖ ﺩﺳﺖ ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﺑﻪ ﻧﻴﺰﻩ ﭼﺴﺒﻴﺪﻩ ﺑﻮﺩ‪،‬‬ ‫ﻫﻤﺎﻥﺟﺎ ﺑﻤﺎﻧﺪ ﻭ ﺧﻮﺩﺵ ﺳﺮﻧﻴﺰﻩ ﺭﺍ ﺑﺮﺩﺍﺷﺖ ﻭ ﺭﻓﺖ‪ .‬ﺍﺯ ﺑﺎﻻﻯ ﺗﭙﻪ ﺑﺮﮔﺸﺖ ﻭ ﺑﻪ ﻋﻘﺐ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﭼﻨﺪ‬ ‫ﭘﺮﻧﺪﻩﻯ ﻻﺵﺧﻮﺭ ﺩﻭﺭ ﻧﻌﺶ ﺑﺮ ﺯﻣﻴﻦ ﻣﺎﻧﺪﻩﻯ ﺩﺯﺩ ﺭﺍ ﮔﺮﻓﺘﻪ ﺑﻮﺩﻧﺪ‪.‬‬

‫ﺩﻳﻮ ﺩﻭﺑﺎﺭﻩ ﺯﻣﺰﻣﻪ ﻛﺮﺩ‪ .‬ﺑﺎﻻﺧﺮه ﻣﻦ رو ﭘﯿﺶ ﺧﻮدت ﻧﮕﻪ ﻣﯽداری و ازم اﺳﺘﻔﺎده ﻣﯽﮐﻨﯽ؟ ﻣﻦ ﺳﻼح‬ ‫ﭘﺮﻗﺪرﺗﯽام‪ .‬اﮔﻪ ﺑﺎ زﻧﺪﮔﯽ آدﻣﯿﺰاد ﺗﻐﺬﯾﻪام ﮐﻨﯽ‪ ،‬ﻣﯽﺗﻮﻧﻢ ﺑﺮات از دﺷﻤﻨﺎت اﻧﺘﻘﺎم ﺑﮕﯿﺮم‪.‬‬ ‫ﻣﻮﺭﻻﻙ ﭼﻴﺰﻯ ﻧﮕﻔﺖ ﻭ ﻓﻘﻂ ﺍﻧﺪﻫﺮﻛﺮ ﺭﺍ ﺑﻪ ﺩﻫﻜﺪﻩ ﺑﺎﺯﮔﺮﺩﺍﻧﺪ‪ ،‬ﺑﻪ ﻫﻤﺎﻥ ﺟﺎ ﻛﻪ ﺯﻣﺎﻧﻰ ﻣﻴﺨﺎﻧﻪﻯ‬ ‫ﺩﺳﺖ ﺷﻜﺴﺘﻪ ﺑﻮﺩ‪ .‬ﺷﻬﺮ ﻣﺘﺮﻭﻛﻪ ﺷﺪﻩ ﺑﻮﺩ‪ :‬ﻫﻤﻪ ﺍﺯ ﺩﺳﺖ ﻭﻳﻜﻠﻮﺭﻥ ﻭ ﺍﻧﺪﻫﺮﻛﺮ ﭘﺎ ﺑﻪ ﻓﺮﺍﺭ ﮔﺬﺍﺷﺘﻪ‬ ‫ﺑﻮﺩﻧﺪ‪ .‬ﻣﻮﺭﻻﻙ ﺩﺭﺏ ﻣﻐﺎﺯﻩﻯ ﺁﻫﻦﮔﺮﻯ ﺭﺍ ﺷﻜﺴﺖ ﻭ ﺩﺍﺧﻞ ﺷﺪ‪ .‬ﺩﺭ ﻛﻮﺭﻩ ﺁﺗﺸﻰ ﺑﻪ ﭘﺎ ﻛﺮﺩ ﻭ ﺑﺎ ﭘﺘﻚ‬ ‫ﺁﻫﻨﮕﺮﻯ ﻳﻚ ﺳﺮﻯ ﺍﺑﺰﺍﺭ ﺳﺎﺧﺖ‪.‬‬ ‫ﺩﻳﻮ ﺑﺎ ﺣﺎﻟﺘﻰ ﻣﻌﺬﺏ ﮔﻔﺖ‪» :‬ﺗﻮ منﯽﺗﻮﻧﯽ ﺑﺎ اﯾﻦ وﺳﺎﯾﻞ ﺑﺪوی زﻧﺪان ﻣﻦ رو ﻧﺎﺑﻮد ﮐﻨﯽ‪«.‬‬ ‫ﻣﻮﺭﻻﻙ ﺩﺭ ﻣﺨﺎﻟﻔﺖ ﺑﺎ ﺍﻭ ﮔﻔﺖ‪» :‬ﺗﻮ ﻧﻪ ﻣﻰﺩﻭﻧﻰ ﭼﻪ ﻛﺎﺭﺍﻳﻰ ﺍﺯ ﺩﺳﺖ ﻣﻦ ﺑﺮﻣﻴﺎﺩ ﻭ ﻧﻪ ﻣﻰﺗﻮﻧﻰ‬ ‫ﺣﺪﺱ ﺑﺰﻧﻰ ﻣﻰﺧﻮﺍﻡ ﭼﻰ ﻛﺎﺭ ﻛﻨﻢ‪«.‬‬ ‫ﺍﻭ ﺳﺮﻧﻴﺰﻩﺍﻯ ﺳﺎﺧﺖ ﻛﻪ ﺍﺯ ﻧﻈﺮ ﻇﺎﻫﺮﻯ ﺩﺭﺳﺖ ﻣﺜﻞ ﺍﻧﺪﻫﺮﻛﺮ ﺑﻮﺩ‪ .‬ﺣﺘﺎ ﺗﻮﺍﻧﺴﺖ ﻣﺎﻧﻨﺪ ﺍﻧﺪﻫﺮﻛﺮ‬ ‫ﺳﻄﺤﺶ ﺭﺍ ﺩﺭﺧﺸﺎﻥ ﻛﻨﺪ‪ .‬ﺩﺍﻏﺶ ﻛﺮﺩﻩ ﻭ ﭼﻜﺶﻛﺎﺭﻳﺶ ﻛﺮﺩ‪ .‬ﺳﭙﺲ ﮔﺬﺍﺷﺖ ﺗﺎ ﺳﺮﺩ ﺷﻮﺩ ﻭ ﺑﻌﺪ‬ ‫ﺁﻥ ﺭﺍ ﺻﻴﻘﻞ ﺩﺍﺩ‪ .‬ﺍﻧﺪﻫﺮﻛﺮ ﺭﺍ ﺍﺯ ﺩﺳﺘﻪ ﺟﺪﺍ ﻛﺮﺩ ﻭ ﺳﺮﻧﻴﺰﻩﻯ ﺟﺪﻳﺪ ﺭﺍ ﺑﻪ ﺟﺎﻯ ﺁﻥ ﮔﺬﺍﺷﺖ‪ .‬ﺗﻜﻪﻫﺎﻯ‬ ‫ﺩﺳﺖ ﻗﻄﻊ ﺷﺪﻩﻯ ﻭﻳﻜﻠﻮﺭﻥ ﻫﻢ ﻫﻨﻮﺯ ﺑﻪ ﺁﻥ ﭼﺴﺒﻴﺪﻩ ﺑﻮﺩ‪ .‬ﺑﻌﺪ ﺑﺰﺭگﺗﺮﻳﻦ ﭘﺘﻜﻰ ﻛﻪ ﺩﺭ ﻣﻐﺎﺯﻩﻯ‬ ‫ﺁﻫﻦﮔﺮﻯ ﻣﻮﺟﻮﺩ ﺑﻮﺩ ﺭﺍ ﺑﺮﺩﺍﺷﺖ ﻭ ﺁﻥ ﻗﺪﺭ ﺑﻪ ﺍﻧﺪﻫﺮﻛﺮ ﺟﺪﻳﺪ ﺯﺩ ﺗﺎ ﺩﺭ ﻫﻢ ﺷﻜﺴﺖ ﻭ ﻗﻄﻌﻪ ﻗﻄﻌﻪ‬ ‫ﺷﺪ‪.‬‬ ‫ﻣﻮﺭﻻﻙ ﻳﻚ ﺳﻮﻫﺎﻥ ﺑﺮﺩﺍﺷﺖ ﻭ ﺑﺎ ﮔﻮﺷﻪﻯ ﺁﻥ ﺑﺮ ﺭﻭﻯ ﻳﻚ ﻃﺮﻑ ﺳﻨﺪﺍﻥ ﺣﻚ ﻛﺮﺩ‪ :‬ﺩﺭ ﺍﻳﻦﺟﺎ‬ ‫ﻣﻦ‪ ،‬ﻫﻤﻮ ﻛﻪ ﺍﻧﺪﻫﺮﻛﺮ ﺭﺍ ﺳﺎﺧﺖ‪ ،‬ﻧﺎﺑﻮﺩﺵ ﻛﺮﺩ‪ ،‬ﭼﻮﻥ ﺩﻭﺳﺖ ﻣﻦ‪ ،‬ﻟﻴﻦ ﺭﺍ ﺑﻪ ﻗﺘﻞ ﺭﺳﺎﻧﺪ‪.‬‬ ‫ﻣﻦ ﺭﺍ ﺑﺒﺨﺸﻴﺪ ﻭ ﺑﻪ ﻳﺎﺩﻡ ﺑﺴﭙﺮﺍﻳﺪ‪ :‬ﻣﻮﺭﻻﻙ ﺍﻣﺒﺮﻭﺳﻴﻮﺱ‪.‬‬ ‫ﺩﻳﻮ ﺩﺭ ﺳﺮﺵ ﻓﺮﻳﺎﺩ ﺯﺩ‪»:‬ﺩﺭﻭﻍﮔﻮ!«‬ ‫ﻣﻮﺭﻻﻙ ﺷﺎﻧﻪﺍﻯ ﺑﺎﻻ ﺍﻧﺪﺍﺧﺖ ﻭ ﮔﻔﺖ‪» :‬ﺩﻧﻴﺎ ﻓﻜﺮ ﻣﻰﻛﻨﻪ ﻣﻦ ﺗﻮ ﺭﻭ ﺳﺎﺧﺘﻢ‪ ،‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺍﻳﻦ ﻳﻪ‬ ‫ﺩﺭﻭﻏﻪ‪ .‬ﻣﻦ ﻓﻘﻂ ﺗﻮ ﺭﻭ ﺯﻧﺪﺍﻧﻰ ﻛﺮﺩﻡ‪ .‬ﺍﮔﻪ ﻣﻰﺗﻮﻧﺴﺘﻢ ﺗﻮ ﺗﻒﺩﻭﻧﻰ ﻳﺎ ﭘﺎﺩﺭﻯ ﻳﺎ ﻫﺮﭼﻴﺰﻯ ﻛﻪ ﻣﺮگﺁﻭﺭ‬ ‫ﻧﺒﺎﺷﻪ ﺯﻧﺪﺍﻧﻰﺍﺕ ﻣﻰﻛﺮﺩﻡ؛ ﻭﻟﻰ ﻗﻮﺍﻋﺪ ﺟﺎﺩﻭﻳﻰ ﻛﻪ ﺑﺮﺍﻯ ﺯﻧﺪﺍﻧﻰ ﻛﺮﺩﻥ ﺩﻳﻮﻫﺎ ﻭﺿﻊ ﺷﺪﻩ ﺩﺳﺖ ﻣﻦ‬ ‫ﺭﻭ ﻣﻰﺑﻨﺪﻩ‪ .‬ﻭﻟﻰ ﻣﻦ ﻣﻰﺗﻮﻧﻢ ﻳﻪ ﺩﺭﻭﻍ ﺭﻭ ﺑﺎ ﻳﻜﻰ ﺩﻳﮕﻪ ﺩﺭﺳﺖ ﻛﻨﻢ‪ .‬ﺍﻳﻦ ﺗﻜﻪﻫﺎﻯ ﻣﻠﻌﻮﻥ ﺍﻧﺪﻫﺮﻛﺮ‬ ‫ﻫﻢ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﻣﻮﺍﻟﻰ ﮔﺮﺍﻥﺑﻬﺎ ﺍﺯ ﻧﺴﻞ ﺑﻪ ﻧﺴﻞ ﺑﻪ ﺍﺭﺙ ﻣﻰﺭﺳﻪ ﺗﺎ ﺷﺎﻳﺪ ﻳﻪ ﺭﻭﺯﻯ ﺩﻭﺑﺎﺭﻩ ﺳﺮ ﻫﻢ ﺷﻪ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺑﻮﺩ‪ ،‬ﻧﻪ ﺑﻪ ﻏﺬﺍ‪ ،‬ﻧﻪ ﺑﻪ ﺁﺏ ﻭ ﻧﻪ ﺑﻪ ﻫﻮﺍ‪ .‬ﺍﻭ ﻓﻘﻂ ﺑﻪ ﺩﻧﺒﺎﻝ ﺯﻧﺪﮔﻰ ﺍﻧﺴﺎﻥ ﺑﻮﺩ‪ .‬ﻃﻌﻢ ﺯﻥ ﻳﺎ ﻣﺮﺩ ﺩﺭ ﺣﺎﻝ‬ ‫ﻣﺮگ‪ ،‬ﺗﻤﺎﻡ ﺁﻥ ﭼﻴﺰﻯ ﺑﻮﺩ ﻛﻪ ﺑﺮﺍﻳﺶ ﺗﻘﻼ ﻣﻰﻛﺮﺩ‪ .‬ﻫﺮﭼﻨﺪ ﻫﻨﻮﺯ ﺧﻴﺲ ﺍﺯ ﺧﻮﻥ ﺗﺎﺯﻩ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﻭﺍﺿﺢ‬ ‫ﺑﻮﺩ ﻛﻪ ﻫﻨﻮﺯ ﺗﺸﻨﻪﻯ ﻣﻘﺪﺍﺭ ﺑﻴﺸﺘﺮﻯ ﺍﺳﺖ‪ .‬ﺷﺮﻭﻉ ﺑﻪ ﺧﻮﺍﻧﺪﻥ ﻛﺮﺩ‪ ،‬ﺍﻭﻝ ﺿﻌﻴﻒ ﻭ ﺳﭙﺲ ﺑﻠﻨﺪ ﻭ‬ ‫ﺑﻠﻨﺪﺗﺮ‪ .‬ﻭﻳﻜﻠﻮﺭﻥ ﺍﺯ ﺭﻭﻯ ﻫﻴﺠﺎﻥ ﻭ ﺭﺿﺎﻳﺖ ﺧﻨﺪﻩﺍﻯ ﻛﺮﺩ ﻭ ﻣﻮﺭﻻﻙ ﺯﻳﺮ ﻟﺐ ﺩﺷﻨﺎﻡ ﺩﺍﺩ‪ .‬ﺭﻳﺘﻢ ﺁﻭﺍﺯ‬ ‫ﻧﻴﺰﻩ‪ ،‬ﻓﺮﺍﺯ ﻭ ﻓﺮﻭﺩ ﺩﺍﺷﺖ‪ .‬ﻣﺜﻞ ﻳﻚ ﺳﮓ ﻫﻰ ﭘﺎﺭﺱ ﻣﻰﻛﺮﺩ ﻭ ﺑﻌﺪ ﺁﺭﺍﻡ ﻣﻰﮔﺮﻓﺖ‪ .‬ﺍﻧﺪﻫﺮﻛﺮ ﺩﻭﺑﺎﺭﻩ‬ ‫ﻣﻰﻛﺸﺖ‪ .‬ﺁﻥ ﻫﻢ ﺧﻴﻠﻰ ﺯﻭﺩ‪.‬‬ ‫ﻧﻴﺰﻩ ﺣﻤﻠﻪ ﻛﺮﺩ‪ .‬ﻣﻮﺭﻻﻙ ﺟﺎﺧﺎﻟﻰ ﺩﺍﺩ ﻭ ﻗﻄﻌﻪﻯ ﭼﻮﺑﻴﻦ ﺑﺎﻻﻯ ﺩﺳﺖ ﺑﻰﺟﺎﻥ ﻭﻳﻜﻠﻮﺭﻥ ﺭﺍ ﭼﺴﺒﻴﺪ‪.‬‬ ‫ﺷﻤﺸﻴﺮ ﺳﻴﺎﻫﺶ ﺭﺍ ﻓﺮﻭﺩ ﺁﻭﺭﺩ ﻭ ﺩﺳﺖ ﺑﻪ ﻧﻴﺰﻩ ﭘﻴﻮﻧﺪ ﺧﻮﺭﺩﻩﻯ ﻭﻳﻜﻠﻮﺭﻥ ﺭﺍ ﺍﺯ ﻣﭻ ﻗﻄﻊ ﻛﺮﺩ‪ .‬ﻣﭻ‬ ‫ﻗﻄﻊ ﺷﺪﻩ ﻫﻤﭽﻨﺎﻥ ﺑﻪ ﻧﻴﺰﻩ ﭼﺴﺒﻴﺪﻩ ﺑﻮﺩ ﻭ ﺁﻥ ﺭﺍ ﺭﻫﺎ ﻧﻤﻰﻛﺮﺩ‪ .‬ﻧﻴﺰﻩ ﻫﻨﻮﺯ ﺩﺍﺷﺖ ﺁﻭﺍﺯ ﻣﻰﺧﻮﺍﻧﺪ‪،‬‬ ‫ﺣﺎﻻ ﺑﻠﻨﺪﺗﺮ ﺍﺯ ﻫﻤﻴﺸﻪ ﻭ ﻫﺮ ﺻﺪﺍﻯ ﺩﻳﮕﺮﻯ ﺭﺍ ﺩﺭ ﺧﻮﺩ ﻣﺤﻮ ﻣﻰﻛﺮﺩ‪ .‬ﻣﻮﺭﻻﻙ ﺳﺮ ﺑﺮﻧﺪﻩﻯ ﻧﻴﺰﻩ ﺭﺍ‬ ‫ﭼﺮﺧﺎﻧﺪ‪ .‬ﻭﻳﻜﻠﻮﺭﻥ ﻫﻤﺎﻥ ﻃﻮﺭ ﺁﻥﺟﺎ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﺑﻪ ﺟﺮﻳﺎﻥ ﺧﻮﻥ ﺭﻭﺍﻥ ﺍﺯ ﺩﺳﺘﺶ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ‬ ‫ﻛﻪ ﻣﻮﺭﻻﻙ ﺳﺮﻧﻴﺰﻩﻯ ﺳﻴﺎﻩ ﺭﺍ ﺩﺭ ﮔﻠﻮﻳﺶ ﺧﻮﺍﺑﺎﻧﺪ‪ .‬ﻭﻳﻜﻠﻮﺭﻥ ﺍﺯ ﭘﺸﺖ ﺭﻭﻯ ﺯﻣﻴﻦ ﺍﻓﺘﺎﺩ ﻭ ﻧﻴﺰﻩ ﻛﻪ ﺍﺯ‬ ‫ﮔﺮﻓﺘﻦ ﺯﻧﺪﮔﻰ ﺩﻳﮕﺮﻯ ﺁﺭﺍﻡ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﺳﺎﻛﺖ ﺷﺪ‪.‬‬ ‫ﻣﻮرﻻک! ﺻﺪﺍﻯ ﺩﻳﻮ ﺩﺭﻭﻥ ﺍﻧﺪﻫﺮﻛﺮ ﺩﺭ ﺳﺮﺵ ﭘﻴﭽﻴﺪ‪ .‬ﺣﺎﻻ ﻣﻦ رو از اﯾﻦ زﻧﺪاﻧﯽ ﮐﻪ ﺑﺮام ﺳﺎﺧﺘﯽ آزاد‬

‫ﻣﯽﮐﻨﯽ؟‬ ‫ﻣﻮﺭﻻﻙ ﺧﻨﺪﻩﺍﻯ ﺧﺸﻦ ﺳﺮ ﺩﺍﺩ ﻭ ﺷﻤﺸﻴﺮ ﺳﻴﺎﻫﺶ ﺭﺍ ﺗﻤﻴﺰ ﻛﺮﺩ ﻭ ﺩﺭ ﻏﻼﻓﺶ ﮔﺬﺍﺷﺖ‪» :‬ﺍﻣﻴﺪ‬ ‫ﻫﻤﻴﺸﻪ ﺩﺭ ﻳﻚ ﻭﺟﻮﺩ ﺷﻴﻄﺎﻧﻰ ﻣﻮﺝ ﻣﻰﺯﻧﻪ‪ .‬ﻛﻤﻰ ﻫﻢ ﻧﺎﺍﻣﻴﺪﻯ ﻳﺎﺩ ﺑﮕﻴﺮ ﺍﻧﺪﻫﺮﻛﺮ‪ .‬ﻣﻦ ﺗﻮ ﺭﻭ‬ ‫ﻫﻴﭻﻭﻗﺖ ﺁﺯﺍﺩ ﻧﻤﻰﻛﻨﻢ ﺗﺎ ﺭﻭﺡ ﺍﻧﺴﺎﻥﻫﺎ ﺭﻭ ﺷﻜﺎﺭ ﻛﻨﻰ‪ .‬ﻧﻤﻰﺗﻮﻧﻢ ﺑﻔﻬﻤﻢ ﭼﻄﻮﺭ ﺍﻳﻦ ﻳﻜﻰ ﺭﻭ ﺗﻮﺭ‬ ‫ﻛﺮﺩﻯ‪ .‬ﻣﻦ ﺗﻮ ﺭﻭ ﺗﻮ ﺳﺮﻧﻴﺰﻩ ﺯﻧﺪﺍﻧﻰ ﻛﺮﺩﻡ ﻭ ﺑﻌﺪ ﻫﻢ ﺩﺭ ﺩﺧﻤﻪﺍﻯ ﭘﺮ ﺍﺯ ﺗﻠﻪ ﻭ ﺩﺍﻡ ﺩﻓﻨﺖ ﻛﺮﺩﻡ ﻭ ﺑﻌﺪ‬ ‫ﻫﻢ ﻳﻪ ﻫﺸﺪﺍﺭ ﺳﺮ ﺩﺭ ﻏﺎﺭ ﻧﻮﺷﺘﻢ‪ .‬ﭼﻪ ﺟﻮﺭﻯ ﺁﺯﺍﺩ ﺷﺪﻯ؟«‬ ‫ﺩﻳﻮ ﺩﺭﻭﻥ ﺫﻫﻨﺶ ﺯﻣﺰﻣﻪ ﻣﻰﻛﺮﺩ‪ .‬اون ﻫﺸﺪار ﺑﻮد ﯾﺎ ﺗﺒﻠﯿﻎ؟ ﻗﻬﺮﻣﺎنﻫﺎی ﺑﺴﯿﺎری در ﻃﯽ ﻗﺮون و اﻋﺼﺎر‬

‫در راه ﺑﻪ دﺳﺖ آوردن ﮔﻨﺠﯿﻨﻪی ﻣﻮرﻻک ﺻﻨﻌﺖﮔﺮ ﺟﻮن ﺧﻮدﺷﻮن رو ﻓﺪا ﮐﺮدن‪ .‬ﺑﺎﻻﺧﺮه ﯾﮑﯽﺷﻮن ﻣﻮﻓﻖ‬ ‫ﺷﺪ‪ .‬ﻣﺮدﻣﺶ ﮐﻠﯽ درﺑﺎرهش ﺷﻌﺮ و ﺣامﺳﻪ ﻣﯽﮔﻔنت‪ ،‬اﻟﺒﺘﻪ اﮔﻪ راﺿﯽش منﯽﮐﺮدم ﺗﺎ ﻫﻤﻪﺷﻮن رو ﺑﮑﺸﻪ‪.‬‬ ‫ﻣﻮﺭﻻﻙ ﺍﺧﻢ ﻛﺮﺩ ﻭ ﺭﻭ ﺑﺮﮔﺮﺩﺍﻧﺪ‪ .‬ﺑﺮﮔﺸﺖ ﺗﺎ ﻟﻴﻦ ﺭﺍ ﺩﻓﻦ ﻛﻨﺪ‪ .‬ﺍﻭ ﺭﺍ ﺭﻭﻯ ﺯﻣﻴﻦ ﺧﻮﺍﺑﺎﻧﺪ ﻭ ﭼﻨﺪ ﺳﻜﻪ‬ ‫ﻭ ﭼﻨﺪ ﻗﻄﻌﻪ ﻃﻼ ﻛﻨﺎﺭ ﭘﻴﻜﺮ ﻗﻄﻌﻪﻗﻄﻌﻪ ﺷﺪﻩ ﮔﺬﺍﺷﺖ ﻭ ﺑﻌﺪ ﺭﻭﻳﺶ ﺭﺍ ﭘﻮﺷﺎﻧﺪ‪ .‬ﺍﺯ ﺍﻟﻮﺍﺭ ﮔﺎﺭﻯ ﭼﻨﺪ‬ ‫ﺗﻜﻪ ﺷﻜﺴﺖ ﻭ ﻋﻼﻣﺘﻰ ﺳﺎﺧﺖ ﺗﺎ ﺭﻭﻯ ﻗﺒﺮ ﻣﻴﻬﻤﺎﻥﺧﺎﻧﻪﺩﺍﺭ ﻣﺮﺩﻩ ﺑﮕﺬﺍﺭﺩ‪ .‬ﺑﻪ ﺗﺼﻮﺭﺵ‪ ،‬ﻣﺮﺩﻣﻰ ﻛﻪ‬ ‫ﻟﻴﻦ ﺑﺮﺍﻯ ﻣﺤﺎﻓﻈﺖ ﺍﺯ ﺁﻥﻫﺎ ﺟﺎﻧﺶ ﺭﺍ ﻓﺪﺍ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺑﺎﻻﺧﺮﻩ ﻣﻮﻗﻌﻰ ﺑﺎﺯﻣﻰﮔﺸﺘﻨﺪ‪ .‬ﭘﺲ ﻳﺎﺩﺩﺍﺷﺘﻰ‬ ‫ﺑﺎ ﺣﺮﻭﻓﻰ ﺩﺭﺷﺖ ﺑﺮﺍﻳﺸﺎﻥ ﺭﻭﻯ ﻗﺒﺮ ﻧﻮﺷﺖ‪ :‬ﻟﻴﻦ ﺍﻳﻦﺟﺎ ﻣﺮﺩ‪ ،‬ﺷﻤﺎ ﻛﺠﺎ ﺑﻮﺩﻳﺪ؟‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﺟﺪﻳﺪ ﺑﺮﺍﺕ ﻣﻰﺳﺎﺯﻡ‪ ،‬ﻓﻘﻂ ﻣﺜﻞ ﺳﮓ ﺩﺭ ﺭﻭ!«‬ ‫ﺍﻣﺎ ﻟﻴﻦ ﻓﺮﺍﺭ ﻧﻜﺮﺩ‪ .‬ﺍﻭ ﭼﺮﺧﻴﺪ ﺗﺎ ﺑﺎ ﻭﻳﻜﻠﻮﺭﻥ ﻗﺎﺗﻞ ﺭﻭﺑﻪﺭﻭ ﺷﻮﺩ‪ ،‬ﺗﻜﻪ ﭼﻮﺑﻰ ﺩﺭ ﺩﺳﺖ ﺩﺍﺷﺖ ﻭ ﺍﻣﻴﺪﻯ‬ ‫ﺑﺮ ﭼﻬﺮﻩ ﻧﺪﺍﺷﺖ‪ .‬ﺩﺭ ﻣﻘﺎﺑﻞ ﻭﻳﻠﻜﻮﺭﻥ‪ ،‬ﺑﻪ ﻗﻠﻪﻯ ﻛﻮﺗﺎﻩ ﺧﻤﻴﺪﻩﺍﻯ ﻣﻰﻣﺎﻧﺪ ﻛﻪ ﺑﺮ ﭼﻬﺮﻩﻯ ﻃﻼﻳﻰ‬ ‫ﻣﺎﻫﻰ ﺩﺭ ﺣﺎﻝ ﻃﻠﻮﻉ‪ ،‬ﺳﺎﻳﻪ ﺑﻴﻨﺪﺍﺯﺩ‪ .‬ﺑﻪ ﻧﻈﺮ ﻧﻤﻰﺭﺳﻴﺪ ﺻﺪﺍﻯ ﻣﻮﺭﻻﻙ ﺭﺍ ﺷﻨﻴﺪﻩ ﺑﺎﺷﺪ‪ .‬ﻭ ﻫﻤﻴﻦ ﻛﻪ‬ ‫ﻣﻮﺭﻻﻙ ﻧﺰﺩﻳﻚﺗﺮ ﺷﺪ‪ ،‬ﺻﺪﺍﻳﻰ ﺭﺍ ﺷﻨﻴﺪ ﻛﻪ ﻗﺎﻋﺪﺗﺎً ﻟﻴﻦ ﻗﺒﻞ ﺍﺯ ﺍﻭ ﺷﻨﻴﺪﻩ ﺑﻮﺩ‪ .‬ﻧﻮﺍﻯ ﺩﻟﻨﺸﻴﻦ ﻧﻴﺰﻩﻯ‬ ‫ﺁﻭﺍﺯﺧﻮﺍﻥ ﻛﻪ ﺑﻢﺗﺮ ﻭ ﻗﻮﻯﺗﺮ ﻣﻰﺷﺪ ﻭ ﻟﺤﻈﻪﻯ ﻣﻘﺪﺭ ﻣﺮگ ﻓﺮﺍ ﻣﻰﺭﺳﻴﺪ‪.‬‬ ‫ﻣﻮﺭﻻﻙ ﻓﻬﻤﻴﺪ ﻛﻪ ﻟﻴﻦ ﺍﺯ ﻗﺼﺪ ﻣﺎﻧﺪﻩ ﺗﺎ ﺑﺎ ﻭﻳﻜﻠﻮﺭﻥ ﺭﻭﺑﻪﺭﻭ ﺷﻮﺩ‪ .‬ﺑﺎ ﺍﻳﻦ ﻛﻪ ﻣﻰﺩﺍﻧﺴﺖ ﻛﺸﺘﻪ‬ ‫ﻣﻰﺷﻮﺩ‪ ،‬ﺍﻣﺎ ﺑﻪ ﺑﻘﻴﻪ ﺍﻳﻦ ﻓﺮﺻﺖ ﺭﺍ ﻣﻰﺩﺍﺩ ﺗﺎ ﺑﺮﺍﻯ ﺣﻔﻆ ﺟﺎﻧﺸﺎﻥ ﻓﺮﺍﺭ ﻛﻨﻨﺪ‪ .‬ﻟﻴﻦ ﺑﺎ ﭼﻤﺎﻕ‬ ‫ﺩﺳﺖﺳﺎﺯﺵ ﺑﻪ ﻭﻳﻠﻜﻮﺭﻥ ﺣﻤﻠﻪ ﺑﺮﺩ‪ .‬ﻗﺎﺗﻞ ﺑﻪ ﺭﺍﺣﺘﻰ ﺍﺯ ﺣﻤﻠﻪﺍﺵ ﺟﺎﺧﺎﻟﻰ ﺩﺍﺩ ﻭ ﺍﻧﺪﻫﺮﻛﺮ ﺑﺎ ﺩﻭ‬ ‫ﺿﺮﺑﻪ ﺍﻭ ﺭﺍ ﺳﻪ ﻗﺴﻤﺖ ﻛﺮﺩ ﻭ ﺑﻪ ﺯﻣﻴﻦ ﺍﻧﺪﺍﺧﺖ‪ .‬ﻭﻳﻜﻠﻮﺭﻥ ﺑﺎ ﺻﺪﺍﻯ ﺑﻠﻨﺪ ﺧﻨﺪﻳﺪ‪ .‬ﺧﻨﺪﻩﺍﻯ ﺧﺴﺘﻪ ﻭ‬ ‫ﻫﻴﺴﺘﺮﻳﻚ‪ .‬ﻭ ﺍﻳﻦ ﮔﻮﻧﻪ ﻟﻴﻦ ﻣﺮﺩ‪ .‬ﻣﺮﺩﻯ ﺯﻳﺮﻙ ﻭ ﺷﺠﺎﻉ ﻛﻪ ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﺻﻔﺎﺕ ﻫﻢ ﺟﺎﻧﺶ ﺭﺍ ﺣﻔﻆ‬ ‫ﻧﻜﺮﺩ‪.‬‬ ‫ﻣﻮﺭﻻﻙ ﻛﻪ ﺍﺷﻚ ﭼﺸﻤﺎﻧﺶ ﺭﺍ ﻣﻰﺳﻮﺯﺍﻧﺪ‪ ،‬ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﺍﻯ ﻧﻤﻚ ﺑﻪ ﺣﺮﻭﻡ! ﺗﻮ ﻣﺸﺮﻭﺏﺑﻴﺎﺭ ﻣﻦ ﺭﻭ‬ ‫ﻛﺸﺘﻰ!«‬ ‫ﻭﻳﻜﻠﻮﺭﻥ ﺭﻭ ﺑﻪ ﺍﻭ ﻛﺮﺩ‪ .‬ﭼﺸﻤﺎﻧﺶ ﻣﺜﻞ ﺧﻮﻥ ﻗﺮﻣﺰ ﺑﻮﺩ‪ ،‬ﺑﻪ ﻗﺮﻣﺰﻯ ﻫﻤﺎﻥ ﺧﻮﻥ ﺗﺎﺯﻩﺍﻯ ﻛﻪ ﺍﺯ ﻧﻴﺰﻩ‬ ‫ﻣﻰﭼﻜﻴﺪ‪ .‬ﺑﺎ ﻧﻴﺰﻩﺍﺵ ﺑﻪ ﻣﻮﺭﻻﻙ ﺍﺷﺎﺭﻩ ﻛﺮﺩ ﻭ ﻟﺒﺨﻨﺪ ﺯﺩ‪ .‬ﻧﻴﺰﻩﺍﻯ ﺑﺎ ﺗﻴﻐﻪﻯ ﺩﺭﺧﺸﺎﻥ ﺳﻴﺎﻩ ﻭ ﻧﺸﻜﻨﻰ‬ ‫ﻛﻪ ﺗﻮﺳﻂ ﺑﺰﺭگﺗﺮﻳﻦ ﺟﺎﺩﻭﮔﺮ ﺻﻨﻌﺖﮔﺮ ﻛﻪ ﺩﻧﻴﺎ ﺑﻪ ﺧﻮﺩ ﺩﻳﺪ‪ ،‬ﻗﻮﺍﻡ ﻳﺎﻓﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﻣﻮﺭﻻﻙ ﺧﻮﺭﺟﻴﻨﺶ ﺭﺍ ﺭﻭﻯ ﺟﺎﺩﻩﻯ ﭘﺸﺖ ﺳﺮﺵ ﺍﻧﺪﺍﺧﺖ ﻭ ﺷﻤﺸﻴﺮﺵ ﺭﺍ ﻛﺸﻴﺪ‪ .‬ﻫﻤﻴﻦ ﻛﻪ‬ ‫ﻭﻳﻜﻠﻮﺭﻥ ﺗﻴﻐﻪﻯ ﺷﻤﺸﻴﺮ ﻣﻮﺭﻻﻙ ﺭﺍ ﺩﻳﺪ‪ ،‬ﺧﻨﺪﻩﺍﺵ ﻣﺤﻮ ﺷﺪ‪ .‬ﺗﻴﻐﻪﺍﻯ ﺍﺯ ﺟﻨﺲ ﺳﺮﻧﻴﺰﻩﻯ ﺧﻮﺩﺵ؛‬ ‫ﺳﻴﺎﻩ‪ ،‬ﺍﺯ ﺟﻨﺲ ﺩﺭﺧﺸﺎﻥ ﻭ ﻧﺸﻜﻦ‪ .‬ﻣﻮﺭﻻﻙ ﺍﻳﻦ ﺣﻘﻴﻘﺖ ﺭﺍ ﺑﺎ ﺿﺮﺑﻪﺍﻯ ﺑﻪ ﺳﺘﻮﻥ ﭼﻮﺑﻰ ﻛﻨﺎﺭ ﺟﺎﺩﻩ‬ ‫ﺍﻋﻼﻡ ﻛﺮﺩ ﻭ ﭼﻮﺏ ﺩﺭ ﻛﻤﺎﻝ ﻓﺮﻣﺎﻧﺒﺮﻯ ﺗﻜﻪﺗﻜﻪ ﺷﺪ ﻭ ﮔﺮﺩ ﻭ ﺧﺎﻛﻰ ﺑﻪ ﭘﺎ ﻛﺮﺩ‪ .‬ﻣﻮﺭﻻﻙ ﺍﺯ ﻣﻴﺎﻥ ﮔﺮﺩ‬ ‫ﻭ ﻏﺒﺎﺭ ﺟﻠﻮ ﭘﺮﻳﺪ ﻭ ﺑﻪ ﻭﻳﻜﻠﻮﺭﻥ ﻫﺠﻮﻡ ﺑﺮﺩ‪.‬‬ ‫ﺍﮔﺮ ﻧﺒﺮﺩ ﺑﻴﻦ ﻣﻮﺭﻻﻙ ﻭ ﻭﻳﻜﻠﻮﺭﻥ ﺑﻮﺩ‪ ،‬ﻣﻮﺭﻻﻙ ﺑﻪ ﺭﺍﺣﺘﻰ ﭘﻴﺮﻭﺯ ﻣﻰﺷﺪ‪ .‬ﺍﻳﻦ ﺩﺭﺳﺖ ﻛﻪ ﻣﻮﺭﻻﻙ‬ ‫ﺩﺍﺋﻢﺍﻟﺨﻤﺮﻯ ﺑﻮﺩ ﻛﻪ ﺑﺪﺟﻮﺭ ﻣﺤﺘﺎﺝ ﺷﺮﺍﺏ ﺑﻮﺩ ﻭ ﺑﻪ ﻫﻴﭻ ﻋﻨﻮﺍﻥ ﻫﻤﺎﻥ ﻣﺮﺩ ﺳﺎﺑﻘﺶ ﻧﺒﻮﺩ‪ ،‬ﺍﻣﺎ‬ ‫ﻭﻳﻜﻠﻮﺭﻥ ﻫﻢ ﺣﺎﻝ ﻭ ﺭﻭﺯ ﺧﻮﺷﻰ ﻧﺪﺍﺷﺖ‪ :‬ﺻﻮﺭﺗﺶ ﺻﻮﺭﺕ ﻣﺮﺩﻯ ﺩﺭ ﺣﺎﻝ ﻣﺮگ ﺑﻮﺩ‪ .‬ﻓﻘﻂ ﺧﺪﺍ‬ ‫ﻣﻰﺩﺍﻧﺴﺖ ﺁﺧﺮﻳﻦ ﺑﺎﺭ ﻛﻰ ﺧﻮﺍﺑﻴﺪﻩ ﻳﺎ ﺩﺭ ﺍﻳﻦ ﻣﺪﺕ ﺍﺻ ً‬ ‫ﻼ ﭼﻴﺰﻯ ﺧﻮﺭﺩﻩ ﻳﺎ ﻧﻪ‪.‬‬ ‫ﺩﺭ ﻭﺍﻗﻊ ﻧﺒﺮﺩ ﺍﺻﻠﻰ ﺑﻴﻦ ﻣﻮﺭﻻﻙ ﻭ ﺍﻧﺪﻫﺮﻛﺮ ﺑﻮﺩ‪ .‬ﻭﻳﻠﻜﻮﺭﻥ ﺑﺎ ﻋﻼﻗﻪ‪ ،‬ﺗﻴﻐﻪﻯ ﺳﻴﺎﻩ ﺷﻤﺸﻴﺮ ﺭﺍ ﻧﮕﺎﻩ‬ ‫ﻛﺮﺩ ﻛﻪ ﺣﺮﻛﺘﻰ ﻓﺮﻳﺒﻨﺪﻩ ﺍﻧﺠﺎﻡ ﺩﺍﺩ ﻭ ﺑﻪ ﺳﻮﻯ ﺳﺎﺯﻧﺪﻩﺍﺵ ﻳﻮﺭﺵ ﺑﺮﺩ‪ .‬ﺍﻧﺪﻫﺮﻛﺮ ﻧﻪ ﺑﻪ ﺧﻮﺍﺏ ﻣﺤﺘﺎﺝ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺑﻠﻨﺪ ﺷﺪ ﻭ ﻧﺸﺴﺖ‪ .‬ﺑﺎ ﺧﻮﺩ ﻓﻜﺮ ﻛﺮﺩ ﻛﻪ ﺍﻳﻦ ﺧﻴﻠﻰ ﺑﺪ ﺍﺳﺖ‪ .‬ﻫﺰﺍﺭ ﺳﺎﻝ ﺩﻳﮕﺮ ﻫﻢ ﺍﻣﻜﺎﻥ ﻧﺪﺍﺷﺖ ﺑﻪ‬ ‫ﺍﺭﺍﺩﻩﻯ ﺧﻮﺩﺵ ﺑﺎ ﻛﺴﻰ ﺑﺠﻨﮕﺪ ﻛﻪ ﻣﺴﻠﺢ ﺑﻪ ﺍﻧﺪﻫﺮﻛﺮ ﺍﺳﺖ‪ .‬ﺷﺎﻳﺪ ﺑﻪ ﻣﻌﻨﺎﻯ ﻭﺍﻗﻌﻰ ﺷﺠﺎﻉ ﻧﺒﻮﺩ )ﺍﻳﻦ‬ ‫ﺟﻤﻠﻪ ﺭﺍ ﺩﺭ ﻫﻨﮕﺎﻡ ﻫﻮﺷﻴﺎﺭﻯ ﺑﻪ ﻭﺍژﻩﻯ »ﺑﺰﺩﻝ« ﺗﺮﺟﻴﺢ ﻣﻰﺩﺍﺩ( ﺍﻣﺎ ﺧﻨﮓ ﻫﻢ ﻧﺒﻮﺩ‪ .‬ﺑﻨﺎ ﺑﻪ ﺭﻭﻳﺎﻳﺶ‪،‬‬ ‫ﺍﻭ ﺑﺎ ﻭﻳﻜﻠﻮﺭﻥ ﻣﻰﺟﻨﮕﻴﺪ‪ .‬ﺍﮔﺮ ﻗﺮﺍﺭ ﺑﻮﺩ ﺍﻳﻦ ﻣﻮﺍﺟﻬﻪ ﺑﻪ ﺍﺭﺍﺩﻩﻯ ﺧﻮﺩﺵ ﺑﺎﺷﺪ‪ ،‬ﺑﺎﻳﺪ ﻓﺮﺯﺗﺮ ﻣﻰﺑﻮﺩ‪.‬‬ ‫ﺑﺎ ﻛﻼﻏﻰ ﺁﺷﻨﺎ ﺩﺭ ﻫﻤﺴﺎﻳﮕﻰﺍﺵ ﻫﻤﻔﻜﺮﻯ ﻛﺮﺩ‪ .‬ﻛﻼﻍ ﻫﻢ ﺑﻪ ﺍﻭ ﻗﻮﻝ ﺩﺍﺩ ﺗﺎ ﺟﺎﻯ ﻭﻳﻜﻠﻮﺭﻥ ﺭﺍ ﺑﻪ ﺍﻭ‬ ‫ﺑﮕﻮﻳﺪ‪ .‬ﺁﻥ ﺭﻭﺯ ﻭ ﺭﻭﺯ ﺑﻌﺪ ﺭﺍ ﺑﻪ ﺗﻤﺮﻳﻦ ﻭ ﻧﺮﻣﺶ ﮔﺬﺭﺍﻧﺪ ﺗﺎ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﭼﺎﻻﻛﻰ ﻭ ﺗﺮ ﻭ ﻓﺮﺯﻯ ﻗﺪﻳﻤﺶ‬ ‫ﻧﺰﺩﻳﻚﺗﺮ ﺷﻮﺩ‪.‬‬ ‫ﻛﻼﻍ ﺁﻣﺪ ﻭ ﮔﻔﺖ ﻭﻳﻜﻠﻮﺭﻥ ﺩﺭ ﺩﺍﻟﻴﻮﻥ ]‪ [8‬ﺍﺳﺖ‪ ،‬ﺟﺎﻳﻰ ﺩﺭ ﺷﻤﺎﻝ ﻏﺮﺏ ﻛﻪ ﻳﻚ ﺭﻭﺯ ﺗﺎ ﺁﻥﺟﺎ ﻓﺎﺻﻠﻪ‬ ‫ﺩﺍﺷﺖ‪ .‬ﻣﻮﺭﻻﻙ ﺍﺯ ﺍﻭ ﺗﺸﻜﺮ ﻛﺮﺩ ﻭ ﻣﻘﺪﺍﺭﻯ ﺩﺍﻧﻪ ﺑﻪ ﺍﻭ ﺩﺍﺩ‪ .‬ﺑﻌﺪ ﺧﺮﺟﻴﻨﺶ ﺭﺍ ﺑﺮ ﮔﺮﺩﻩ ﺍﻧﺪﺍﺧﺖ‪،‬‬ ‫ﺷﻤﺸﻴﺮﺵ ﺭﺍ ﺑﻪ ﻛﻤﺮ ﺑﺴﺖ ﻭ ﺧﺮﺍﻣﺎﻥ ﺧﺮﺍﻣﺎﻥ‪ ،‬ﺑﺎ ﮔﺎﻡﻫﺎﻯ ﺑﻠﻨﺪ ﺩﺭ ﺟﺎﺩﻩﻯ ﺳﻄﻠﻨﺘﻰ ]‪ [9‬ﺑﺎﺳﺘﺎﻧﻰ‬ ‫ﺑﻪ ﺳﻮﻯ ﺷﻤﺎﻝﻏﺮﺏ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ‪ .‬ﺍﮔﺮ ﺷﺎﻧﺲ ﻣﻰﺁﻭﺭﺩ‪ ،‬ﻭﻗﺘﻰ ﻭﻳﻜﻠﻮﺭﻥ ﺍﺯ ﺩﺭﻳﺎﻯ ﺑﺎﺭﻳﻚ ﺑﻪ ﺳﻤﺖ‬ ‫ﺷﺮﻕ ﻣﻰﺭﻓﺖ‪ ،‬ﺑﻪ ﺍﻭ ﻫﺠﻮﻡ ﻣﻰﺑﺮﺩ‪.‬‬ ‫ﺟﺎﺩﻩ ﻭﺿﻊ ﺧﺮﺍﺑﻰ ﺩﺍﺷﺖ‪ .‬ﺍﻣﭙﺮﺍﻃﻮﺭﻯ ﻛﻬﻦ ﺁﻧﺘﻴﻞ ]‪ [10‬ﻗﺮﻥﻫﺎ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﺩﻭﺭ ﺭﻭﻧﻖ ﺍﻓﺘﺎﺩﻩ ﻭ‬ ‫ﺟﺎﺩﻩﺍﺵ ﻫﻢ ﺩﺍﺷﺖ ﺑﻪ ﺩﺍﻣﺎﻥ ﻃﺒﺒﻴﻌﺖ ﺑﺎﺯ ﻣﻰﮔﺸﺖ‪ .‬ﮔﺎﻫﻰ ﺍﺯ ﺳﻨﮓﻓﺮﺵ ﺟﺎﺩﻩ ﺣﺮﻛﺖ ﻣﻰﻛﺮﺩ ﻛﻪ‬ ‫ﺳﻨﮓﻫﺎﻳﺶ ﺩﺭ ﻫﻢ ﺷﻜﺴﺘﻪ ﻭ ﭘُﺮ ﺍﺯ ﺭﻳﺸﻪﻫﺎﻯ ﺍﺯ ﺧﺎﻙ ﺩﺭﺁﻣﺪﻩﻯ ﺩﺭﺧﺘﺎﻥ ﻋﻈﻴﻢ ﺍﻃﺮﺍﻑ ﺑﻮﺩ‪ .‬ﺑﺎ ﺍﻳﻦ‬ ‫ﻣﻘﺪﺭﺵ ﺑﺎ ﻭﻳﻜﻠﻮﺭﻥ‬ ‫ﺣﺎﻝ ﺑﺎ ﭘﻴﺎﺩﻩﺭﻭﻯ ﺍﻭﻗﺎﺕ ﺧﻮﺷﻰ ﺭﺍ ﮔﺬﺭﺍﻧﺪ‪ .‬ﺍﺯ ﺍﻳﻦ ﻛﻪ ﻣﺴﺘﻘﻴﻢ ﺑﻪ ﺳﻮﻯ ﺩﻳﺪﺍﺭ ّ‬ ‫ﻣﻰﺭﻓﺖ‪ ،‬ﺑﺴﻴﺎﺭ ﺍﺣﺴﺎﺱ ﻧﺎﺭﺍﺣﺘﻰ ﺩﺍﺷﺖ ﻭ ﺍﺯ ﻗﻀﺎ ﺑﻌﺪﺍ ً ﻣﻌﻠﻮﻡ ﺷﺪ ﻛﻪ ﺍﺣﺴﺎﺳﺶ ﺩﺭﺳﺖ ﻫﻢ ﺑﻮﺩﻩ‪.‬‬ ‫ﺍﻳﻦ ﮔﻮﻧﻪ ﺷﺪ‪ .‬ﻣﻮﺭﻻﻙ ﺑﻪ ﺑﺎﻻﻯ ﺗﭙﻪﺍﻯ ﺭﻓﺖ ﻭ ﺑﻪ ﭘﺎﻳﻴﻦ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﻳﻚ ﮔﺎﺭﻯ ﺩﺭ ﻛﻨﺎﺭ ﺟﺎﺩﻩ ﭼﭗ‬ ‫ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﺍﻟﺒﺘﻪ ﻏﻴﺮﻋﺎﺩﻯ ﻫﻢ ﻧﺒﻮﺩ‪ .‬ﺍﻳﻦ ﺟﺎﺩﻩ ﺗﻨﻬﺎ ﺭﺍﻫﻰ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﻣﻴﺎﻥ ﺍﻳﻦ ﺳﺮﺯﻣﻴﻦ ﺑﻰﺻﺎﺣﺐ‬ ‫ﻣﻰﮔﺬﺷﺖ ﻭ ﺍﻟﺒﺘﻪ ﺑﺮﺍﻯ ﺗﺠﺎﺭﺕ ﻭ ﺣﻤﻞ ﻭ ﻧﻘﻞ ﻛﺎﻻ ﻭﺣﺸﺘﻨﺎﻙ ﺑﻮﺩ‪ .‬ﻣﻮﺭﻻﻙ ﻧﺎﮔﻬﺎﻥ ﺑﺎ ﺗﻌﺠﺐ‬ ‫ﻣﺘﻮﺟﻪ ﺷﺪ ﻣﺮﺩﻯ ﺭﺍ ﻛﻪ ﻛﻨﺎﺭ ﮔﺎﺭﻯ ﺍﻳﺴﺘﺎﺩﻩ‪ ،‬ﻣﻰﺷﻨﺎﺳﺪ‪ .‬ﺍﻭ ﻟﻴﻦ ﺑﻮﺩ‪ .‬ﻟﻴﻦ ﺣﺪﺍﻗﻞ ﺳﻪ ﺭﻭﺯ ﺯﻭﺩﺗﺮ ﺍﺯ‬ ‫ﻣﻮﺭﻻﻙ ﺩﺭ ﺍﻳﻦ ﻣﺴﻴﺮ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﻳﺤﺘﻤﻞ ﻣﺎﻳﻤﻠﻜﺶ ﭘﺎﺑﻨﺪﺵ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻣﻮﺭﻻﻙ ﺁﺩﻡﻫﺎﻳﻰ‬ ‫ﺭﺍ ﺩﻳﺪ ﻛﻪ ﺍﺯ ﺍﻃﺮﺍﻑ ﮔﺎﺭﻯ ﺑﻪ ﺳﻤﺖ ﺑﺎﻻﻯ ﺟﺎﺩﻩ ���ﻰﺩﻭﻳﺪﻧﺪ‪ .‬ﺷﺎﻳﺪ ﻣﻰﺭﻓﺘﻨﺪ ﻛﻤﻚ ﺑﻴﺎﻭﺭﻧﺪ‪ ،‬ﮔﺮﭼﻪ‬ ‫ﺩﺭ ﺍﻳﻦ ﺟﺎﺩﻩ ﻛﻤﻚ ﭼﻨﺪﺍﻧﻰ ﭘﻴﺪﺍ ﻧﻤﻰﺷﺪ‪ .‬ﺑﻌﺪ ﻣﻮﺭﻻﻙ ﻣﺮﺩﻯ ﺭﺍ ﺩﻳﺪ ﻛﻪ ﺑﻪ ﻟﻴﻦ ﻧﺰﺩﻳﻚ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺍﺯ ﻗﻀﺎ ﺁﻥ ﻳﻜﻰ ﻣﺮﺩ ﺭﺍ ﻫﻢ ﻣﻰﺷﻨﺎﺧﺖ‪ ،‬ﺍﻣﺎ ﺷﻨﺎﺧﺘﺶ ﺍﺯ ﺭﻭﻯ ﻣﻼﻗﺎﺕ ﺩﺭ ﺯﻧﺪﮔﻰ ﻋﺎﺩﻯﺍﺵ ﻧﺒﻮﺩ‪.‬‬ ‫ﺍﻳﻦ ﻣﺮﺩ ﻫﻤﺎﻥ ﻏﻮﻝ ﻣﻮﻃﻼﻳﻰ ﺧﻮﺍﺑﺶ ﺑﻮﺩ‪ ،‬ﻫﻤﺎﻧﻰ ﻛﻪ ﺍﻧﺪﻫﺮﻛﺮ ﺭﺍ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺩﺍﺷﺖ‪ .‬ﻭﻳﻜﻠﻮﺭﻥ ﻗﺎﺗﻞ‪.‬‬ ‫ﻣﻮﺭﻻﻙ ﻛﻪ ﭘﺎﻫﺎﻳﺶ ﻣﺜﻞ ﺳﺮﺏ ﺳﻨﮕﻴﻦ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺍﺯ ﺑﺎﻻﻯ ﺗﭙﻪ ﺑﻪ ﭘﺎﻳﻴﻦ ﺳﺮﺍﺯﻳﺮ ﺷﺪ ﻭ ﻓﺮﻳﺎﺩ ﺯﺩ‪:‬‬ ‫»ﻟﻴﻦ! ﻓﺮﺍﺭ ﻛﻦ ﺍﺣﻤﻖ! ﺑﻨﺪ ﻭ ﺑﺴﺎﻃﺖ ﺭﻭ ﻭﻝ ﻛﻦ! ﻣﻦ ﻳﻜﻰ ﻧﻮﺵ ﺭﻭ ﺑﺮﺍﺕ ﻣﻰﺳﺎﺯﻡ! ﻳﻪ ﺷﺮﺍﺏﺳﺎﺯ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫»ﻣﻮﺭﻻﻙ؟«‬ ‫»ﭼﻴﻪ ﻟﻴﻦ؟«‬ ‫»ﻣﻮﺭﻻﻙ‪ ،‬ﺑﻪ ﻧﻈﺮﺕ ﺩﺭ ﻣﻮﺭﺩ ﻣﺎﺟﺮﺍﻯ ﻭﻳﻜﻠﻮﺭﻥ ﻭ ﺍﻧﺪﻫﺮﻛﺮ ﭼﻪ ﻛﺎﺭﻯ ﺍﺯ ﺩﺳﺖﺍﺕ ﺑﺮﻣﻴﺎﺩ؟«‬ ‫ﻭ ﻣﻮﺭﻻﻙ ﺣﻖ ﺑﻪ ﺟﺎﻧﺐ )ﺍﻟﺒﺘﻪ ﻧﻪ ﭼﻨﺪﺍﻥ( ﮔﻔﺖ‪» :‬ﻟﻴﻦ‪ ،‬ﺑﻪ ﻧﻈﺮﺕ ﺩﺭ ﻣﻮﺭﺩ ﻣﺎﺟﺮﺍﻯ ﻭﻳﻜﻠﻮﺭﻥ ﻭ‬ ‫ﺍﻧﺪﻫﺮﻛﺮ ﭼﻪ ﻛﺎﺭﻯ ﺍﺯ ﺩﺳﺘﻢ ﺑﺮﻣﻴﺎﺩ؟«‬ ‫ﻟﻴﻦ ﺑﻠﻨﺪ ﺷﺪ ﻭ ﺭﻓﺖ‪ .‬ﺻﻮﺭﺕﻫﺎﻳﻰ ﻛﻪ ﺍﻳﻦ ﺳﻮ ﻭ ﺁﻥ ﺳﻮﻯ ﺑﺎﺭ ﻧﺸﺴﺘﻪ ﺑﻮﺩﻧﺪ‪ ،‬ﻛﻪ ﺍﻟﺒﺘﻪ ﻫﻴﭻﻭﻗﺖ ﻫﻢ‬ ‫ﺩﻭﺳﺘﺎﻧﻪ ﻧﺒﻮﺩﻧﺪ‪ ،‬ﺑﺎ ﺑﻴﺰﺍﺭﻯ ﺧﺎﺻﻰ ﺑﻪ ﺳﻮﻯ ﻣﻮﺭﻻﻙ ﺑﺮﮔﺸﺘﻨﺪ‪ .‬ﻣﻮﺭﻻﻙ ﻛﻪ ﻫﻴﭻﻭﻗﺖ ﻧﺴﺒﺖ ﺑﻪ ﺍﻳﻦ‬ ‫ﭼﻴﺰﻫﺎ ﺣﺴﺎﺱ ﻧﺒﻮﺩ‪ ،‬ﺁﻥ ﻗﺪﺭ ﻧﺎﺭﺍﺣﺖ ﺷﺪ ﻛﻪ ﺑﻠﻨﺪ ﺷﺪ ﻭ ﺁﻥﺟﺎ ﺭﺍ ﺗﺮﻙ ﻛﺮﺩ‪ ،‬ﺁﻥ ﻫﻢ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ‬ ‫ﻫﻨﻮﺯ ﻫﻮﺷﻴﺎﺭ ﺑﻮﺩ‪ .‬ﻛﻪ ﺍﻳﻦ ﺧﻮﺩﺵ ﺍﺗﻔﺎﻕ ﻏﻴﺮﻣﻌﻤﻮﻟﻰ ﺑﻮﺩ‪.‬‬ ‫ﻓﺮﺩﺍﻯ ﺁﻥ ﺭﻭﺯ‪ ،‬ﻣﻮﺭﻻﻙ ﺳﺮ ﻭﻗﺖ ﻫﻤﻴﺸﮕﻰﺍﺵ ﺑﻪ ﺩﺳﺖ ﺷﻜﺴﺘﻪ ﺭﻓﺖ‪ ،‬ﺍﻣﺎ ﻣﻴﺨﺎﻧﻪ ﺑﺴﺘﻪ ﺑﻮﺩ‪ .‬ﺑﺮﺍﻯ‬ ‫ﻫﻤﻴﺸﻪ ﻫﻢ ﺑﺴﺘﻪ ﺑﻮﺩ‪ :‬ﺗﻤﺎﻡ ﺩﺭ ﻭ ﭘﻨﺠﺮﻩﻫﺎ ﻫﻢ ﺑﺴﺘﻪ ﺑﻮﺩﻧﺪ‪ .‬ﺍﺯ ﻳﻚ ﺯﻥ ﺭﻫﮕﺬﺭ ﭘﺮﺱ ﻭ ﺟﻮ ﻛﺮﺩ ﻭ ﺍﻭ‬ ‫ﻫﻢ ﮔﻔﺖ ﻟﻴﻦ ﺷﺐ ﮔﺬﺷﺘﻪ ﺍﺳﺒﺎﺑﺶ ﺭﺍ ﺟﻤﻊ ﻛﺮﺩﻩ‪.‬‬ ‫»ﻣﺮﺩﻡ ﻣﻰﮔﻦ ﺭﻓﺘﻪ ﺷﻤﺎﻝ‪ ،‬ﺳﻤﺖ ﺳﺎﺭﻛﻮﺩﻥ ]‪ .[7‬ﺧﻮﺩ ﻣﻦ ﻫﻢ ﺩﺍﺭﻡ ﻣﻰﺭﻡ ﺟﻨﻮﺏ‪ .‬ﻣﻰﮔﻦ ﻭﻳﻜﻠﻮﺭﻥ‬ ‫ﻗﺒ ً‬ ‫ﻼ ﺍﺯ ﺍﻭﻥﺟﺎ ﺭﺩ ﺷﺪﻩ‪ ،‬ﺧﺐ ﭼﺮﺍ ﺑﺎﻳﺪ ﺑﺮﮔﺮﺩﻩ؟«‬ ‫ﻣﻮﺭﻻﻙ ﻣﺮﺩﻡ ﻭ ﺩﻏﺪﻏﻪﻫﺎﻳﺸﺎﻥ ﺭﺍ ﻛﻨﺎﺭﻯ ﮔﺬﺍﺷﺖ ﻭ ﺑﻪ ﺍﺻﻞ ﻣﻄﻠﺐ ﭼﺴﺒﻴﺪ ﻭ ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﻟﻴﻦ‬ ‫ﺭﻓﺘﻪ ﺳﺎﺭﻛﻮﺩﻥ؟ ﺷﻮﻧﺼﺪ ﻛﻴﻠﻮﻣﺘﺮ ﺍﻭﻥﻭﺭﺗﺮ؟ ﻋﻘﻞ ﺍﺯ ﺳﺮﺵ ﭘﺮﻳﺪﻩ؟ ﭘﺲ ﺣﺎﻻ ﻣﻦ ﺑﺎﻳﺪ ﭼﻰ ﺑﺨﻮﺭﻡ؟«‬ ‫ﺯﻥ ﭘﻴﺸﻨﻬﺎﺩﻯ ﺩﺍﺩ‪ .‬ﻣﻮﺭﻻﻙ ﻧﭙﺬﻳﺮﻓﺖ )ﻧﻮﺷﻴﺪﻧﻰ ﻛﻪ ﺯﻥ ﭘﻴﺸﻨﻬﺎﺩ ﻛﺮﺩ‪ ،‬ﻣﺴﻜﺮ ﻧﺒﻮﺩ( ﻭ ﺑﻪ ﻏﺎﺭﺵ‬ ‫ﺑﺮﮔﺸﺖ‪.‬‬ ‫ﻳﻚ ﺭﻭﺯ ﻳﺎ ﺑﻴﺸﺘﺮ‪ ،‬ﻣﻮﺭﻻﻙ ﺩﺭ ﻫﭙﺮﻭﺗﻰ ﺳﺮ ﻛﺮﺩ ﻛﻪ ﭘﺲ ﺍﺯ ﻳﻚ ﻣﻴﮕﺴﺎﺭﻯ ﭘﻴﺶ ﻣﻰﺁﻳﺪ‪ .‬ﺩﺭ ﺁﺧﺮ‬ ‫ﻫﻢ ﺑﻪ ﺧﻮﺍﺏ ﺭﻓﺖ ﻭ ﺩﺭ ﺧﻮﺍﺏ‪ ،‬ﺭﻭﻳﺎﻯ ﺻﺎﺩﻗﻪﺍﻯ ﺩﻳﺪ )ﺩﺭ ﻣﻴﺎﻥ ﺍﺳﺘﻌﺪﺍﺩﻫﺎﻯ ﺣﺮﺍﻡ ﺷﺪﻩﺍﺵ‪ ،‬ﺗﻮﺍﻧﺎﻳﻰ‬ ‫ﭘﻴﺸﮕﻮﻳﻰ ﻫﻢ ﺩﺍﺷﺖ(‪.‬‬ ‫ﺩﺭ ﺧﻮﺍﺏ ﺧﻮﺩﺵ ﺭﺍ ﺩﻳﺪ ﻛﻪ ﺑﺎ ﻭﻳﻜﻠﻮﺭﻥ ﻭ ﺍﻧﺪﻫﺮﻛﺮ ﺭﻭﺑﻪﺭﻭ ﻣﻰﺷﻮﺩ‪ .‬ﻭﻳﻜﻠﻮﺭﻥ ﺩﺯﺩﻯ ﻗﺪﺑﻠﻨﺪ ﺑﻮﺩ ﻛﻪ‬ ‫ﭼﺸﻤﺎﻧﻰ ﺑﻪ ﻗﺮﻣﺰﻯ ﺧﻮﻥ ﺩﺍﺷﺖ‪ .‬ﺑﺎﻻﭘﻮﺵ ﻛﺜﻴﻒ‪ ،‬ﺭﻧﮓﭘﺮﻳﺪﻩ ﻭ ﺁﻓﺘﺎﺏﻧﺪﻳﺪﻩﻯ ﭼﺮﻣﻰ ﺑﻪ ﺗﻦ ﺩﺍﺷﺖ‬ ‫ﻭ ﻳﻚ ﺷﺎﻧﻪﻯ ﻃﻼ ﻫﻢ ﻣﻮﻫﺎﻯ ﺑﻠﻨﺪ ﻃﻼﻳﻰ ژﻭﻟﻴﺪﻩﺍﺵ ﺭﺍ ﺍﺯ ﺗﻮﻯ ﺻﻮﺭﺗﺶ ﺟﻤﻊ ﻣﻰﻛﺮﺩ‪ .‬ﺍﻭ ﻫﻴﭻ‬ ‫ﻧﮕﻔﺖ ﻭ ﺁﻥﻫﺎ ﺩﺭ ﺳﻜﻮﺕ ﻣﺒﺎﺭﺯﻩ ﻛﺮﺩﻧﺪ ﻭ ﻓﻘﻂ ﺻﺪﺍﻯ ﺑﺮﺧﻮﺭﺩﻫﺎﻯ ﭘﻰﺩﺭﭘﻰ ﺍﻧﺪﻫﺮﻛﺮ ﺑﻮﺩ ﻛﻪ ﺑﺮ ﺭﻭﻯ‬ ‫ﺷﻤﺸﻴﺮ ﻣﻮﺭﻻﻙ ﻓﺮﻭﺩ ﻣﻰﺁﻣﺪ‪ .‬ﻗﻄﺮﻩﻫﺎﻯ ﺧﻮﻥ ﺑﺮ ﺭﻭﻯ ﺍﻧﺪﻫﺮﻛﺮ ﻣﻰﺭﻳﺨﺖ‪ ،‬ﺍﻣﺎ ﺍﻭ ﻫﻨﻮﺯ ﺗﺸﻨﻪﻯ‬ ‫ﺯﻧﺪﮔﻰ ﺑﻮﺩ ﻭ ﺧﻴﻠﻰ ﺯﻭﺩ ﺷﺮﻭﻉ ﺑﻪ ﺧﻮﺍﻧﺪﻥ ﻛﺮﺩ‪ .‬ﺍﻭﻝ ﺿﻌﻴﻒ ﻭ ﺳﭙﺲ ﺑﻠﻨﺪ ﻭ ﺑﻠﻨﺪﺗﺮ‪ .‬ﻭﻳﻜﻠﻮﺭﻥ ﺍﺯ‬ ‫ﺳﺮﻭﺭ ﻭ ﺭﺿﺎﻳﺖ ﺧﻨﺪﻩﺍﻯ ﺳﺮ ﺩﺍﺩ ﻭ ﻣﻮﺭﻻﻙ ﺩﺷﻨﺎﻡﮔﻮﻳﺎﻥ ﺍﺯ ﺧﻮﺍﺏ ﭘﺮﻳﺪ‪.‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﻭﻳﻜﻠﻮﺭﻥ ﺑﻰﺻﺪﺍ ﺩﺭ ﺗﺎﺭﻳﻜﻰ ﺑﺎ ﻣﺮﺩﻯ ﻛﻪ ﺳﻮﺩﺍﻯ ﻛﺸﺘﻨﺶ ﺩﺭ ﺳﺮ ﺩﺍﺷﺖ‪ ،‬ﻣﺒﺎﺭﺯﻩ ﻛﺮﺩ ﺗﺎ ﺯﻣﺎﻧﻰ‬ ‫ﻛﻪ ﺻﺪﺍﻯ ﻧﻴﺰﻩ ﺭﺍ ﺷﻨﻴﺪﻧﺪ ﻛﻪ ﺷﺮﻭﻉ ﺑﻪ ﺧﻮﺍﻧﺪﻥ ﻛﺮﺩ‪ ،‬ﺍﺑﺘﺪﺍ ﺿﻌﻴﻒ ﻭ ﺯﻳﺮ ﻭ ﺳﭙﺲ ﻗﻮﻯﺗﺮ‪ ،‬ﺑﻢﺗﺮ ﻭ‬ ‫ﺑﻠﻨﺪﺗﺮ‪ ،‬ﻭ ﻫﺮ ﺩﻭ ﻧﺎﻟﻪ ﺳﺮ ﺩﺍﺩﻧﺪ‪ ،‬ﻳﻜﻰ ﺍﺯ ﺗﺮﺱ ﻭ ﺩﻳﮕﺮﻯ ﺍﺯ ﺍﻧﺘﻈﺎﺭ‪ .‬ﺧﻴﻠﻰ ﺯﻭﺩ ﺍﻧﺪﻫﺮﻛﺮ ﺑﺎﻻﭘﻮﺵ ﻣﺮﺩ‬ ‫ﺭﺍ ﺩﺭﻳﺪ ﻭ ﺩﺭﻭﻥ ﺑﺪﻥ ﺍﻭ ﺁﺭﺍﻡ ﮔﺮﻓﺖ‪ .‬ﻭﻳﻜﻠﻮﺭﻥ ﺟﺴﺪ ﻣﺮﺩ ﺭﺍ ﻫﻤﺎﻥﻃﻮﺭ ﺭﻫﺎ ﻛﺮﺩ ﻭ ﻛﻨﺎﺭ ﺍﺳﺘﺨﺮ ﺧﻮﻧﻰ‬ ‫ﻛﻪ ﺩﺭﺳﺖ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﺮ ﺭﻭﻯ ﺗﺨﺖ ﺳﻔﺮﻳﺶ ﺩﺭﺍﺯ ﻛﺸﻴﺪ‪ .‬ﺑﺪﻳﻦ ﮔﻮﻧﻪ ﻣﺮﺩﻯ ﻛﻪ ﻣﻮﺭﻻﻙ ﺍﻭ ﺭﺍ ﻛﻤﻚ‬ ‫ﻧﻜﺮﺩ‪ ،‬ﻣﺮﺩ‪ .‬ﻣﺮﺩﻯ ﺷﺠﺎﻉ ﺍﻣﺎ ﻧﻪ ﭼﻨﺪﺍﻥ ﺯﻳﺮﻙ‪ .‬ﻛﺴﻰ ﻧﺎﻡ ﺍﻭ ﺭﺍ ﺑﻪ ﺧﺎﻃﺮ ﻧﻤﻰﺳﭙﺎﺭﺩ‪.‬‬ ‫ﻣﻮﺭﻻﻙ ﺩﺭ ﻣﻮﺍﻗﻊ ﻟﺰﻭﻡ ﺁﺩﻡ ﺯﻳﺮﻛﻰ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﻫﻴﭻﻭﻗﺖ ﺧﻮﺩﺵ ﺭﺍ ﺁﺩﻡ ﺷﺠﺎﻋﻰ ﺑﻪ ﺣﺴﺎﺏ ﻧﻤﻰﺁﻭﺭﺩ‪.‬‬ ‫ﺷﺎﻳﺪ ﺑﻌﻀﻰ ﻣﺴﺖﻫﺎ ﺷﺠﺎﻋﺖ ﻧﺸﺎﻥ ﺑﺪﻫﻨﺪ‪ ،‬ﻭﻟﻰ ﻣﻮﺭﻻﻙ ﺍﺯ ﺁﻥﻫﺎﻳﺶ ﻧﺒﻮﺩ‪ .‬ﺍﻭ ﻣﻰﻧﻮﺷﻴﺪ ﭼﻮﻥ‬ ‫ﻣﻰﺗﺮﺳﻴﺪ‪ ،‬ﺍﺯ ﺯﻧﺪﮔﻰ‪ ،‬ﺍﺯ ﻣﺮگ‪ .‬ﺍﻟﺒﺘﻪ ﻫﻤﻴﺸﻪ ﻛﻪ ﺍﻳﻦ ﻃﻮﺭ ﻧﺒﻮﺩ‪ .‬ﺯﻣﺎﻧﻰ ﻣﻮﺭﻻﻙ ﻳﻚ ﻗﻬﺮﻣﺎﻥ ﺑﻮﺩ‪،‬‬ ‫ﺣﺪﺍﻗﻞ ﺩﺭ ﭼﺸﻢ ﺑﻌﻀﻰﻫﺎ‪ .‬ﺑﻪ ﻫﺮ ﺗﺮﺗﻴﺐ‪ ،‬ﺁﻥ ﻣﻮﻗﻊ ﺁﺩﻡ ﺑﻪ ﺩﺭﺩ ﺑﺨﻮﺭﺗﺮﻯ ﺑﻮﺩ ﺗﺎ ﺍﻻﻥ‪ .‬ﺍﻣﺎ ﺁﻥ ﺑﺨﺶ‬ ‫ﺍﺯ ﺭﻭﺣﺶ ﺩﻳﮕﺮ ﺭﻓﺘﻪ ﺑﻮﺩ‪ .‬ﺣﺎﻻ ﺑﻪ ﺧﻮﺩﺵ ﻃﻌﻨﻪ ﻣﻰﺯﺩ‪ :‬ﻓﻘﻂ ﻳﻚ ﺑﺰﺩﻝ ﻫﺴﺘﻰ ﻛﻪ ﺍﺯ ﺗﺮﺱ ﺩﺭﺩﻯ‬ ‫ﻛﻪ ﺯﻧﺪﮔﻰ ﺑﺎ ﺧﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﻫﻰ ﻣﻰﻧﻮﺷﺪ‪.‬‬ ‫ﻭﻳﻜﻠﻮﺭﻥ ﻫﻤﻴﻦﻃﻮﺭ ﺩﺭ ﺁﻥ ﻣﻨﻄﻘﻪ ﺑﻪ ﺩﺯﺩﻯ ﻭ ﻏﺎﺭﺕ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪ .‬ﻣﺠﺒﻮﺭﻳﺪ ﻛﺎﺭﺵ ﺭﺍ ﻏﺎﺭﺕ ﺑﻨﺎﻣﻴﺪ‪،‬‬ ‫ﭼﻮﻥ ﻫﺮ ﺁﻥ ﭼﻪ ﻣﻰﺗﻮﺍﻧﺴﺖ ﻣﻰﺑﺮﺩ ﻭ ﻫﺮ ﺁﻥ ﭼﻪ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﻧﺎﺑﻮﺩ ﻣﻰﻛﺮﺩ‪ .‬ﺍﻣﺎ ﺍﻏﻠﺐ ﺁﻥ ﭼﻪ ﺭﺍ ﻛﻪ‬ ‫ﺑﺮﺩﺍﺷﺘﻪ ﺑﻮﺩ‪ ،‬ﻛﻨﺎﺭ ﺭﻭﺩ ﻳﺎ ﺩﺭ ﻓﻀﺎﻯ ﺑﺎﺯ ﻭﻝ ﻣﻰﻛﺮﺩ‪ .‬ﺍﻭ ﻣﻰﺩﺯﺩﻳﺪ‪ ،‬ﭼﻮﻥ ﻗﺴﻤﺘﻰ ﺍﺯ ﻭﺟﻮﺩﺵ ﻫﻨﻮﺯ‬ ‫ﻭﻳﻜﻠﻮﺭﻥ ﺑﻮﺩ‪ ،‬ﻳﻚ ﺩﺯﺩ‪ .‬ﺍﻣﺎ ﺁﻥﻗﺪﺭﻯ ﻧﺒﻮﺩ ﻛﻪ ﻳﺎﺩﺵ ﻣﺎﻧﺪﻩ ﺑﺎﺷﺪ ﺍﺻ ً‬ ‫ﻼ ﺩﺯﺩﻫﺎ ﺑﺮﺍﻯ ﭼﻪ ﻣﻰﺩﺯﺩﻧﺪ؟ ﺍﺯ‬ ‫ﭼﻴﺰﻫﺎﻳﻰ ﻛﻪ ﻣﻰﺩﺯﺩﻳﺪﻧﺪ ﭼﻪ ﺍﺳﺘﻔﺎﺩﻩﺍﻯ ﻣﻰﻛﺮﺩﻧﺪ؟ ﺍﻭ ﻓﻘﻂ ﻫﻰ ﺑﻴﺶ ﺍﺯ ﮔﺬﺷﺘﻪ ﻣﻰﻛﺸﺖ ﻭ ﻫﺮ‬ ‫ﺁﻥ ﭼﻪ ﺭﺍ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﺑﺎ ﺍﻧﺪﻫﺮﻛﺮ ﺑﻜﺸﺪ‪ ،‬ﺑﻪ ﺁﺗﺶ ﻣﻰﻛﺸﻴﺪ‪.‬‬ ‫ﻳﻚ ﺷﺐ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﻣﻮﺭﻻﻙ ﺁﻥ ﻗﺪﺭ ﻣﺴﺖ ﻛﻨﺪ ﻛﻪ ﻧﺘﻮﺍﻧﺪ ﺟﻮﺍﺏ ﺩﻫﺪ‪ ،‬ﺻﺎﺣﺐ ﻣﻴﺨﺎﻧﻪ ﺍﺯ ﺍﻭ‬ ‫ﭘﺮﺳﻴﺪ‪» :‬ﻭﺍﺳﻪ ﭼﻰ ﺍﻭﻥ ﻧﻴﺰﻩﻯ ﻟﻌﻨﺘﻰ ﺭﻭ ﺩﺭﺳﺖ ﻛﺮﺩﻯ؟«‬ ‫ﻣﻮﺭﻻﻙ ﻫﻢ ﺑﺎ ﺣﺎﻟﺘﻰ ﺣﻖ ﺑﻪ ﺟﺎﻧﺐ ﺟﻮﺍﺏ ﺩﺍﺩ‪» :‬ﻣﻦ ﻫﻢ ﺩﻻﻳﻞ ﺧﻮﺩﻡ ﺭﻭ ﺩﺍﺷﺘﻢ‪«.‬‬ ‫ﺁﻥ ﺷﺐ‪ ،‬ﺻﺎﺣﺐ ﻣﻴﺨﺎﻧﻪﻯ ﺩﺳﺖ ﺷﻜﺴﺘﻪ ﻭ ﻫﻤﺎﻥ ﻛﺴﻰ ﻛﻪ ﻣﻮﺭﻻﻙ ﺑﻪ ﺍﻭ ﺍﻋﺘﻤﺎﺩ ﻛﺮﺩﻩ ﻭ ﺩﺳﺘﮕﺎﻩ‬ ‫ﺗﻘﻄﻴﺮﺵ ﺭﺍ ﺑﻪ ﺍﻭ ﺩﺍﺩﻩ ﺑﻮﺩ‪ ،‬ﭘﻴﺶ ﺍﻭ ﻧﺸﺴﺖ‪ .‬ﺣﺎﻻ ﻛﻪ ﻟﻴﻦ ﺛﺮﻭﺗﻤﻨﺪ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺩﻳﮕﺮ ﻫﺮﮔﺰ ﺧﻮﺩﺵ‬ ‫ﭘﺸﺖ ﺑﺎﺭ ﻧﻤﻰﺍﻳﺴﺘﺎﺩ‪ .‬ﺑﻪ ﻗﺪﺭﻯ ﻛﻮﺗﺎﻩ ﻗﺎﻣﺖ ﺑﻮﺩ ﻛﻪ ﺑﺮﺍﻯ ﺩﻳﺪﻥ ﺁﻥ ﻃﺮﻑ ﺑﺎﺭ ﻣﺸﻜﻞ ﺩﺍﺷﺖ‪ .‬ﺩﺭ‬ ‫ﮔﺬﺷﺘﻪ‪ ،‬ﺩﻭﺭﺍﻧﻰ ﻛﻪ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﻛﺎﺭﮔﺮﻯ ﺍﺳﺘﺨﺪﺍﻡ ﻛﻨﺪ‪ ،‬ﻳﻚ ﺳﺮﻯ ﺟﻌﺒﻪ ﭘﺸﺖ ﺑﺎﺭ ﻣﻰﮔﺬﺍﺷﺖ ﻭ‬ ‫ﺑﺎ ﻣﻬﺎﺭﺕ ﺍﺯ ﺭﻭﻯ ﺍﻳﻦ ﺟﻌﺒﻪ ﺑﻪ ﺁﻥ ﺟﻌﺒﻪ ﭘﺮﻳﺪﻧﺶ‪ُ ،‬ﻛﻠﻰ ﺧﻨﺪﻩﺩﺍﺭ ﺑﻮﺩ‪ .‬ﺍﮔﺮ ﻣﻮﻗﻌﻰ ﻻﺯﻡ ﻣﻰﺷﺪ ﺗﺎ ﺍﺯ‬ ‫ﺑﺎﺭ ﺑﺎﻻ ﺑﻴﺎﻳﺪ ﻛﻪ ﻳﻚ ﻣﺸﺘﺮﻯ ﻳﺎﻏﻰ ﺭﺍ ﺍﺩﺏ ﻛﻨﺪ‪ ،‬ﻛﺎﺭﻯ ﻣﻰﻛﺮﺩ ﻛﻪ ﻃﺮﻑ ﺩﻳﮕﺮ ﻛ ً‬ ‫ﻼ ﻣﺸﻜﻞ ﺩﺭﺳﺖ‬ ‫ﻧﻜﻨﺪ‪ .‬ﻣﻮﺭﻻﻙ ﺩﻭﺳﺘﺶ ﺩﺍﺷﺖ‪ ،‬ﻫﺮ ﭼﻨﺪ ﻣﻰﺩﺍﻧﺴﺖ ﺩﺭ ﭼﺸﻢ ﺍﻭ ﺳﺎﺩﻩﻟﻮﺣﻰ ﻣﺴﺖ ﺑﻴﺸﺘﺮ ﻧﻴﺴﺖ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺳﺎﺣﻞ ﺩﺭﻳﺎﻯ ﺑﺎﺭﻳﻚ ﺭﻭ ﻏﺎﺭﺕ ﻛﺮﺩﻩ‪ .‬ﻭ ﺗﺎﺯﻩ ﻣﻰﮔﻦ ﻫﻤﻪﻯ ﺧﺪﻣﻪﺍﺵ ﺭﻭ ﻫﻢ ﻛﺸﺘﻪ ﻭ ﺩﺍﺭﻩ ﺑﺎ‬ ‫ﺍﻧﺪﻫﺮﻛﺮ ]‪ [5‬ﻭﺍﺭﺩ ﻣﻨﻄﻘﻪ ﻣﻰﺷﻪ‪«.‬‬ ‫»ﻳﻪ ﻟﺤﻈﻪ ﺻﺒﺮ ﻛﻦ ﺑﺒﻴﻨﻢ‪«...‬‬ ‫»ﻭ ﺗﻮ ﻧﺸﺴﺘﻰ ﺍﻭﻥﺟﺎ ﻭ ﻓﻘﻂ ﺯﻫﺮﻣﺎﺭﻯ ﻛﻮﻓﺖ ﻣﻰﻛﻨﻰ!«‬ ‫»ﺗﻮ ﺩﺍﺭﻯ ﺑﻪ ﻣﻦ ﻣﻰﮔﻰ ﺍﻳﻦ ﻧﻴﺰﻩﻯ ﺁﻭﺍﺯﺧﻮﺍﻥ ﻫﻤﻮﻥ ﺳﻼﺣﻴﻪ ﻛﻪ ﺑﻬﺶ ﻣﻰﮔﻦ ﺍﻧﺪﻫﺮﻛﺮ؟«‬ ‫»ﺁﺭﻩ ﻭ ﺍﮔﻪ ﺗﻮ‪«...‬‬ ‫»ﻓﻘﻂ ﺍﻳﻨﻮ ﺑﮕﻮ ﺑﺒﻴﻨﻢ‪ ،‬ﻛﻰ ﺍﻳﻦ ﻗﺪﺭ ﺍﺣﻤﻖ ﺑﻮﺩﻩ ﻛﻪ ﺍﻭﻥ ﻧﻴﺰﻩ ﺭﻭ ﻭﺭ ﺩﺍﺭﻩ ﻭ ﺑﺎﻫﺎﺵ ﺭﺍﻩ ﺑﻴﺎﻓﺘﻪ ﺑﺮﻩ‬ ‫ﺍﻳﻦ ﻭﺭ ﻭ ﺍﻭﻥ ﻭﺭ؟«‬ ‫ﺩﻳﮕﺮﻯ ﺑﺎ ﻧﮕﺎﻫﻰ ﺗﺮﺣﻢﺑﺮﺍﻧﮕﻴﺰ ﺑﻪ ﻣﻮﺭﻻﻙ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﻭﻳﻜﻠﻮﺭﻥ‪ .‬ﻳﻪ ﺩﺯ ِﺩ ﻏﺎﺭﺗﮕﺮ‪«.‬‬ ‫»ﻣﻨﻈﻮﺭﺕ ﺩﺍﻏﻮﻥ ﺑﻮﺩ ﺩﻳﮕﻪ ]‪[6‬؟ ﺧﺐ ﺍﻳﻦ ﺩﻳﮕﻪ ﺩﺳﺖﭘﺨﺖ ﻣﻦ ﻧﻴﺴﺖ‪«.‬‬ ‫»ﻣﻨﻈﻮﺭﺕ ﺍﻳﻨﻪ ﻛﻤﻚ ﻧﻤﻰﻛﻨﻰ؟«‬ ‫»ﻣﻰﺩﻭﻧﺴﺘﻢ ﺁﺧﺮﺵ ﺧﻮﺩﺕ ﺟﺮﻳﺎﻥ ﺭﻭ ﻣﻰﮔﻴﺮﻯ‪ .‬ﺣﺎﻻ ﻳﻪ ﭘﻴﺎﻟﻪ ﻣﻰﺯﻧﻰ؟ ﻧﻤﻰﺯﻧﻰ؟! ﺍﺷﻜﺎﻝ ﺩﺍﺭﻩ‬ ‫ﺍﮔﻪ ﻣﻦ ﺑﺮﻡ ﺑﺎﻻ؟«‬ ‫»ﺗﻮ ﺍﻭﻥ ﺁﺷﻐﺎﻝ ﺭﻭ ﺩﺭﺳﺖ ﻛﺮﺩﻯ! ﻭﻇﻴﻔﻪﻯ ﺗﻮﺋﻪ ﻛﻪ ﻳﻪ ﻛﺎﺭﻳﺶ ﺑﻜﻨﻰ!«‬ ‫»ﻣﻦ ﺳﻼﺣﻰ ﺑﻪ ﻧﺎﻡ ﺍﻧﺪﻫﺮﻛﺮ ﺳﺎﺧﺘﻢ؛ ﺑﻪ ﻋﻼﻭﻩ ﻧﻔﺮﻳﻨﺶ ﻫﻢ ﻛﺮﺩﻡ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﻣﻦ ﻭﻳﻜﻠﻮﺭﻥ ﺭﻭ‬ ‫ﻧﺴﺎﺧﺘﻢ‪ .‬ﺷﺎﻳﺪ ﺍﮔﻪ ﺑﺎ ﺳﺎﺯﻧﺪﻩﻯ ﺍﻭﻥ ﺻﺤﺒﺖ ﻛﻨﻰ ﺗﻮﻓﻴﻖ ﺑﻴﺸﺘﺮﻯ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻰ‪«.‬‬ ‫ﻃﺮﻑ ﻣﺪﺗﻰ ﻫﻤﻴﻦ ﻃﻮﺭ ﺑﻪ ﻣﻮﺭﻻﻙ ﺧﻴﺮﻩ ﺷﺪ ﻭ ﺳﭙﺲ ﺑﺮﺧﺎﺳﺖ ﻭ ﺑﻰ ﺁﻥ ﻛﻪ ﺣﺮﻓﻰ ﺑﺰﻧﺪ‪ ،‬ﺭﻓﺖ‪ .‬ﺁﻥ‬ ‫ﺷﺐ ﺑﻪ ﺳﻮﻯ ﻏﺮﺏ ﺗﺎﺧﺖ ﺗﺎ ﺑﺎ ﻭﻳﻜﻠﻮﺭﻥ ﺑﺠﻨﮕﺪ‪ .‬ﻭ ﺍﻟﺒﺘﻪ ﺑﺎ ﺳﻼﺣﻰ ﺑﻪ ﻧﺎﻡ ﺍﻧﺪﻫﺮﻛﺮ ﻛﺸﺘﻪ ﺷﺪ‪ .‬ﺳﻼﺡ‬ ‫ﺑﻪ ﺍﻳﻦ ﺧﺎﻃﺮ ﺑﻪ »ﻧﻴﺰﻩﻯ ﺁﻭﺍﺯﺧﻮﺍﻥ« ﻣﻌﺮﻭﻑ ﺷﺪﻩ ﺑﻮﺩ ﭼﻮﻥ ﻗﺒﻞ ﺍﺯ ﻛﺸﺘﻦ ﻛﺴﻰ‪ ،‬ﻧﻮﺍﻯ ﺁﻫﻨﮕﻴﻦ‬ ‫ﺿﻌﻴﻔﻰ ﺳﺮ ﻣﻰﺩﺍﺩ ﻛﻪ ﭘﻴﻮﺳﺘﻪ ﺑﻠﻨﺪ ﻭ ﺑﻠﻨﺪﺗﺮ ﻭ ﻫﻤﭽﻨﻴﻦ ﻋﻤﻴﻖﺗﺮ ﻣﻰﺷﺪ ﺗﺎ ﺍﻳﻦ ﻛﻪ ﺑﻪ ﺩﺭﻭﻥ ﺑﺪﻥ‬ ‫ﺍﻧﺴﺎﻥ ﻓﺮﻭ ﻣﻰﺭﻓﺖ ﻭ ﺑﺎ ﺧﻮﻥ ﻭ ﺯﻧﺪﮔﻰ ﻣﻘﺘﻮﻝ ﺍﺭﺿﺎ ﻣﻰﺷﺪ‪.‬‬ ‫ﺳﺮﻧﻮﺷﺖ ﺁﻥ ﺷﺨﺺ ﺳﻮﺍﻝ ﻛﻨﻨﺪﻩ‪ ،‬ﺑﺪﻳﻦ ﮔﻮﻧﻪ ﺑﻮﺩ‪ .‬ﺁﻥ ﺷﺐ ﺑﺎ ﺍﻣﻴﺪ ﺑﻪ ﺍﻳﻦ ﻛﻪ ﻭﻳﻜﻠﻮﺭﻥ ﺭﺍ ﻏﺎﻓﻠﮕﻴﺮ‬ ‫ﻣﻰﻛﻨﺪ ﺑﻪ ﺍﻭ ﺭﺳﻴﺪ‪ .‬ﺍﻣﺎ ﻭﻳﻜﻠﻮﺭﻥ ﺧﻮﺍﺏ ﻧﺒﻮﺩ‪ ،‬ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﺑﺨﻮﺍﺑﺪ‪ .‬ﺑﺎ ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﺩﻥ ﻛﺎﺭﻫﺎﻳﻰ ﻛﻪ‬ ‫ﻛﺮﺩﻩ ﻭ ﭼﻴﺰﻫﺎﻳﻰ ﻛﻪ ﺩﻳﺪﻩ ﺑﻮﺩ ﻭ ﺑﺎ ﺩﻳﺪﻥ ﺗﺼﺎﻭﻳﺮﻯ ﻛﻪ ﺍﻧﺪﻫﺮﻛﺮ ﺩﺭ ﺫﻫﻦ ﺍﻭ ﻧﻤﺎﻳﺶ ﻣﻰﺩﺍﺩ‪،‬‬ ‫ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﺑﺨﻮﺍﺑﺪ‪ .‬ﺻﺪﺍﻯ ﺁﻫﺴﺘﻪﻯ ﻧﺰﺩﻳﻚ ﺷﺪﻥ ﻣﺮﺩ ﺭﻭﻯ ﻋﻠﻒﺯﺍﺭ ﺭﺍ ﺷﻨﻴﺪ ﻭ ﺍﺯ ﺟﺎﻯ ﭘﺮﻳﺪ‪.‬‬ ‫ﺍﻧﺪﻫﺮﻛﺮ‪ ،‬ﻧﻴﺰﻩﻯ ﺁﻭﺍﺯﺧﻮﺍﻥ ﺩﺭ ﺩﺳﺘﺶ ﺁﻣﺎﺩﻩ ﺑﻮﺩ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﺩﻳﮕﺮ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﺁﻥ ﺭﺍ ﺭﻫﺎ ﻛﻨﺪ‪ .‬ﺑﻪ‬ ‫ﻭﺍﺳﻄﻪﻯ ﺟﺎﺩﻭﻯ ﺍﻧﺪﻫﺮﻛﺮ‪ ،‬ﺍﻧﮕﺸﺘﺎﻧﺶ ﭼﻮﻥ ﭼﻮﺏ ﺑﻠﻮﻁ ﺳﻔﺖ ﺷﺪﻩ ﻭ ﺩﺭ ﺩﺳﺘﻪﻯ ﭼﻮﺑﻰ ﻧﻴﺰﻩ ﻓﺮﻭ‬ ‫ﺭﻓﺘﻪ ﺑﻮﺩﻧﺪ ﻭ ﺑﻪ ﻃﺮﺯﻯ ﻧﺎﮔﺴﺴﺘﻨﻰ ﺑﻪ ﺳﻼﺡ ﻧﻔﺮﻳﻦ ﺷﺪﻩﺍﻯ ﻛﻪ ﺧﻮﺩ ﺑﺮﮔﺰﻳﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﻨﺪ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪.‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﺑﻪ ﺩﺳﺘﻮﺭ ﺍﻭ‪ ،‬ﻭﻗﺘﻰ ﻣﻮﺭﻻﻙ ﺩﺭ ﺩﺳﺖ ﺷﻜﺴﺘﻪ ﺑﻮﺩ ﭘﻴﺎﻟﻪﺍﺵ ﻫﻴﭻﮔﺎﻩ ﻧﺒﺎﻳﺪ ﺧﺎﻟﻰ ﻣﻰﻣﺎﻧﺪ‪ .‬ﺍﺯ ﺁﻥ ﺑﻪ‬ ‫ﺑﻌﺪ ﻣﻮﺭﻻﻙ ﻫﺮ ﺭﻭﺯ ﺑﻪ ﻣﻴﺨﺎﻧﻪ ﻣﻰﺭﻓﺖ ﻭ ﺁﻥ ﻗﺪﺭ ﻣﻰﻣﺎﻧﺪ ﺗﺎ ﭘﻴﺸﺨﺪﻣﺖﻫﺎ ﻧﻌﺶ ﺧﺮﺧﺮﻛﻨﺎﻥ ﺍﻭ ﺭﺍ‬ ‫ﺑﻴﺮﻭﻥ ﺑﻴﻨﺪﺍﺯﻧﺪ‪ .‬ﺩﺭ ﺯﻣﺎﻥ ﺩﻳﮕﺮ ﻭ ﻣﻜﺎﻥ ﺩﻳﮕﺮ‪ ،‬ﻣﻤﻜﻦ ﺑﻮﺩ ﻣﻮﺭﻻﻙ ﺭﺍ ﺍﻟﻜﻠﻰ ﺑﻨﺎﻣﻨﺪ؛ ﺍﻣﺎ ﺩﺭ ﻣﻨﻄﻘﻪﻯ‬ ‫ﺑﻰﺻﺎﺣﺒﻰ ﺩﺭ ﺷﺮﻕ ﺩﺭﻳﺎﻯ ﺑﺎﺭﻳﻚ ]‪ ،[3‬ﺍﻭ ﻓﻘﻂ ﻣﺮﺩﻯ ﺑﻮﺩ ﻛﻪ ﺩﺍﺷﺖ ﺑﺎ ﻧﻮﺷﻴﺪﻥ ﺧﻮﺩﺵ ﺭﺍ ﺧﻔﻪ‬ ‫ﻣﻰﻛﺮﺩ ﻭ ﺗﺎﺯﻩ ﺁﻥ ﻫﻢ ﻧﻪ ﭼﻨﺪﺍﻥ ﺳﺮﻳﻊ؛ ﺍﺯ ﻧﻈﺮ ﻣﻌﺪﻭﺩ ﺁﺩﻡﻫﺎﻳﻰ ﻛﻪ ﻣﺠﺒﻮﺭ ﺑﻮﺩﻧﺪ ﺑﺎ ﺍﻭ ﻛﻨﺎﺭ ﺑﻴﺎﻳﻨﺪ‬ ‫ﻛﻪ ﺍﻳﻦ ﻃﻮﺭ ﺑﻮﺩ‪.‬‬ ‫ﻳﻚ ﺑﻌﺪﺍﺯﻇﻬﺮ‪ ،‬ﻫﻤﻴﻦ ﻛﻪ ﻣﻮﺭﻻﻙ ﺧﻮﺍﺳﺖ ﺑﻪ ﻛﺎﺭﺵ ﺑﺮﺳﺪ‪ ،‬ﻣﺮﺩﻯ ﭘﻴﺶ ﺍﻭ ﺁﻣﺪ ﻭ ﭘﺮﺳﻴﺪ‪» :‬ﺩﺭﺳﺘﻪ‬ ‫ﻛﻪ ﺗﻮ ﻣﻮﺭﻻﻙ ﺻﻨﻌﺘﮕﺮ ﻫﺴﺘﻰ؟«‬ ‫ﺍﮔﺮ ﻣﻮﺭﻻﻙ ﻓﻘﻂ ﺫﺭﻩﺍﻯ ﻫﺸﻴﺎﺭﺗﺮ ﻣﻰﺑﻮﺩ‪ ،‬ﺑﻪ ﺳﺮﻋﺖ ﺗﻜﺬﻳﺐ ﻣﻰﻛﺮﺩ‪ .‬ﺍﮔﺮ ﻓﻘﻂ ﻗﺪﺭﻯ ﻣﺴﺖﺗﺮ‬ ‫ﻣﻰﺑﻮﺩ‪ ،‬ﭼﻨﺎﻥ ﺩﺭﻭﻍﻫﺎﻯ ﺍﺳﺘﺎﺩﺍﻧﻪﺍﻯ ﺑﻪ ﻫﻢ ﻣﻰﺑﺎﻓﺖ ﻛﻪ ﻃﺮﻑ ﻓﻜﺮ ﻛﻨﺪ ﺍﺻ ً‬ ‫ﻼ ﺧﻮﺩﺵ ﻣﻮﺭﻻﻙ‬ ‫ﺻﻨﻌﺘﮕﺮ ﺍﺳﺖ‪ .‬ﻭ ﺍﮔﺮ ﻫﻢ ﺧﻴﻠﻰ ﻣﺴﺖﺗﺮ ﻣﻰﺑﻮﺩ ﻫﻢ ﻛﻪ ﻛ ً‬ ‫ﻼ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﺟﻮﺍﺏ ﺑﺪﻫﺪ‪ .‬ﺍﻣﺎ ﺩﺳﺖ ﺑﺮ‬ ‫ﻗﻀﺎ ﺍﻭ ﺩﻗﻴﻘﺎً ﺑﻪ ﺍﻧﺪﺍﺯﻩﺍﻯ ﻣﺴﺖ ﺑﻮﺩ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺣﻘﻴﻘﺖ ﺭﺍ ﺗﺸﺨﻴﺺ ﺩﻫﺪ ﻭ ﺍﻫﻤﻴﺘﻰ ﻧﺪﻫﺪ‪ .‬ﻭ‬ ‫ﻓﺎﺭﻍ ﺍﺯ ﻓﺮﺍﻣﻮﺷﻰ ﺑﻌﺪﺵ‪ ،‬ﺍﻳﻦ ﺣﺎﻟﺘﻰ ﺑﻮﺩ ﻛﻪ ﻣﻮﺭﻻﻙ ﺑﻴﺸﺘﺮ ﺍﺯ ﻫﻤﻪ ﺩﻭﺳﺖ ﺩﺍﺷﺖ‪.‬‬ ‫ﺷﺎﻧﻪﻫﺎﻯ ﺍﻓﺘﺎﺩﻩﺍﺵ ﺭﺍ ﻛﻤﻰ ﺑﺎﻻ ﺁﻭﺭﺩ ﻭ ﮔﻔﺖ‪» :‬ﻣﻦ ﻣﻮﺭﻻﻛﻢ‪ .‬ﺗﻮ ﭼﻪ ﺯﻫﺮﻣﺎﺭﻯ ﻣﻰﻧﻮﺷﻰ؟ ﺍﮔﻪ ﺑﺎ ﻣﻦ‬ ‫ﺑﺎﺷﻰ‪ ،‬ﺍﻭﻧﺎ ﺑﺎﻳﺪ ﻣﺠﺎﻧﻰ ﺍﺯﺕ ﭘﺬﻳﺮﺍﻳﻰ ﻛﻨﻦ‪ .‬ﺑﺎ ﻣﻦ ﺑﺸﻴﻦ ﻭ ﺑﻨﻮﺵ‪ .‬ﻣﺜﻞ ﺷﻌﺮ ﺷﺪ ﻧﻪ؟«‬ ‫ﺳﺆﺍﻝ ﻛﻨﻨﺪﻩ ﭘﺸﺖ ﻣﻴﺰ ﻛﻨﺎﺭ ﻣﻮﻻﻙ ﻧﺸﺴﺖ ﻭ ﺩﺭ ﻫﻤﻴﻦ ﺣﻴﻦ ﮔﻔﺖ‪» :‬ﻣﻦ ﺍﻫﻞ ﻧﻮﺷﻴﺪﻧﻰ ﻧﻴﺴﺘﻢ‪.‬‬ ‫ﻣﻦ ﻛﻤﻚ ﻣﻰﺧﻮﺍﻡ‪«.‬‬ ‫»ﻣﻦ ﺗﻮ ﻛﺎﺭ ﻛﻤﻚﻛﺮﺩﻥ ﻧﻴﺴﺘﻢ‪ .‬ﻣﻦ ﻓﻌ ً‬ ‫ﻼ ﺗﻮ ﻛﺎﺭ ﺳﺮ ﻛﺸﻴﺪﻧﻢ‪«.‬‬ ‫»ﺍﻭﻥ ﻛﻪ ﻛﺎﺭ ﻧﻴﺴﺖ‪«.‬‬ ‫»ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﻧﺰ‪...‬ﻧﺰ‪...‬ﻧﺰﺍﺭ ﺗﻮ‪ ،‬ﻧﻪ‪ ،‬ﻧﻴﺴﺖ‪ .‬ﻭﻟﻰ ﻣﻦ ﺍﻳﻦ ﻛﺎﺭﺍ ﺭﻭ ﺧﻴﻠﻰ ﺟﺪﻯ ﻣﻰﮔﻴﺮﻡ‪«.‬‬ ‫ﻫﻤﻴﻦ ﻃﻮﺭ ﻛﻪ ﻣﻮﺭﻻﻙ ﭼﻨﺪ ﭘﻴﺎﻟﻪ ﺳﺮ ﻣﻰﻛﺸﻴﺪ‪ ،‬ﻃﺮﻑ ﻫﻢ ﺩﺍﺳﺘﺎﻧﻰ ﺑﻠﻨﺪ ﻭ ﭘﺮﭘﻴﭻ ﻭ ﺧﻢ ﺗﻌﺮﻳﻒ‬ ‫ﻛﺮﺩ ﻭ ﺩﺭ ﺁﺧﺮ ﻧﺘﻴﺠﻪ ﮔﺮﻓﺖ‪» :‬ﺣﺎﻻ ﺩﻳﺪﻯ ﻛﻪ ﺑﺎﻳﺪ ﻛﻤﻚ ﻛﻨﻰ؟«‬ ‫»ﺍﮔﺮ ﮔﻮﺵ ﻣﻰﻛﺮﺩﻡ ﺷﺎﻳﺪ ﻣﻰﺩﻳﺪﻡ‪ ،‬ﻭﻟﻰ ﺷﻜﺮ ﺧﺪﺍ ﻛﻪ ﺍﻳﻦ ﻛﺎﺭ ﺭﻭ ﻧﻤﻰﻛﺮﺩﻡ‪«.‬‬ ‫ﺩﻳﮕﺮﻯ ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﺍﻯ ﺑﺒﻮﻯ ﺳﻴﺐﺯﻣﻴﻨﻰ! ﻧﺸﻨﻴﺪﻯ ﮔﻔﺘﻢ ﻭﻳﻜﻠﻮﺭﻥ ]‪ [4‬ﻧﻴﺰﻩﻯ ﺁﻭﺍﺯﺧﻮﺍﻥ ﺭﻭ ﺩﺍﺭﻩ؟«‬ ‫ﻣﻮﺭﻻﻙ ﺟﻮﺍﺏ ﺩﺍﺩ‪» :‬ﺍﻭﻥﺟﺎﺵ ﺭﻭ ﺷﻨﻴﺪﻡ‪ .‬ﺍﻳﻦ ﻭﻳﻜﻠﻮﺭﻥ ﻛﻴﻪ؟ ﻳﻪ ﺑﻨﺪﺑﺎﺯﻩ؟ ﻳﺎ ﺩﻟﻘﻚ ﺳﻴﺮﻙ؟«‬ ‫ﻣﻮﺭﻻﻙ ﻣﻰﺩﺍﻧﺴﺖ ﻛﻪ ﻳﻚ ﻧﻴﺰﻩﻯ ﺁﻭﺍﺯﺧﻮﺍﻥ ﭼﻘﺪﺭ ﺑﻪ ﺩﺭﺩ ﻛﺎﺭﻫﺎﻯ ﺳﻴﺮﻙ ﻣﻰﺧﻮﺭﺩ‪ .‬ﻭ ﺑﻪ ﻃﻮﺭ‬ ‫ﻏﺮﻕ ﺍﻳﻦ ﺧﻴﺎﻝ ﺷﺪ ﻛﻪ ﭼﻄﻮﺭ ﻣﻰﺷﻮﺩ ﻳﻚ ﻧﻴﺰﻩ ﺭﺍ ﺑﻪ ﺁﻭﺍﺯ ﺧﻮﺍﻧﺪﻥ ﺩﺭ ﻧﻤﺎﻳﺶ ﻭﺍ ﺩﺍﺷﺖ‪.‬‬ ‫ﻧﺎﺧﻮﺍﺳﺘﻪ ِ‬ ‫ﺩﻳﮕﺮﻯ ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﻭﻳﻜﻠﻮﺭﻥ! ﺍﻭﻥ ﺩﺯﺩ ﻏﺎﺭﺗﮕﺮ! ﺍﻭﻥ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻧﻴﺰﻩﻯ ﺁﻭﺍﺯﺧﻮﺍﻥ ﻛﻞ ﺣﺎﺷﻴﻪﻯ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻧﻴﺰﻩﻯ ﺁﻭﺍﺯﻩﺧﻮﺍﻥ‬ ‫ﺟﻴﻤــﺰ ﺍﻧـــﮋ‬ ‫ﻣﺤﻤﺪﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻬﻰ ﺛﺎﺑﺖ‬

‫ﺍﻳﻦ ﻛﻪ ﺁﻥ ﻗﺪﺭ ﺑﻨﻮﺷﻰ ﺗﺎ ﺁﺧﺮ ﺑﺎﻻ ﺑﻴﺎﻭﺭﻯ ﻭ ﺑﻌﺪ ﺑﺎﺯ ﺩﻭﺑﺎﺭﻩ ﻫﻰ ﺑﻨﻮﺷﻰ‪ ،‬ﻛﺎﺭ ﻣﺴﺨﺮﻩﺍﻯ‬ ‫ﺍﺳﺖ‪ .‬ﻧﻪ ﻫﻴﭻ ﺍﺳﺘﻌﺪﺍﺩﻯ ﻣﻰﺧﻮﺍﻫﺪ ﻭ ﻧﻪ ﺁﻳﻨﺪﻩ ﻭ ﺷﻬﺮﺗﻰ ﺑﺮﺍﻳﺖ ﺑﻪ ﻫﻤﺮﺍﻩ ﺩﺍﺭﺩ‪ .‬ﺍﻟﺒﺘﻪ ﺍﻳﻦ‬ ‫ﻛﺎﺭ ﻣﻌﻤﻮﻻً ﺧﻠﺴﻪﺍﻯ ﻋﻤﻴﻖ ﻭ ﺗﺎﺭﻳﻚ ﺩﺭ ﭘﻰ ﺩﺍﺭﺩ‪ ،‬ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﻫﻢ ﻣﺸﻐﻮﻟﻴﺖ ﻣﻮﺭﺩ‬ ‫ﻋﻼﻗﻪﻯ ﻣﻮﺭﻻﻙ ﺍﻣﺒﺮﻭﺳﻴﻮﺱ ]‪ [1‬ﺷﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺩﺭ ﻳﻜﻰ ﺍﺯ ﺯﻣﺎﻥﻫﺎﻯ ﻫﻮﺷﻴﺎﺭﻯ ﺣﻴﻦ ﻣﺴﺘﻰﻫﺎﻯ ﻣﺰﻣﻨﺶ‪ ،‬ﻭﺳﻠﻴﻪﺍﻯ ﺍﺧﺘﺮﺍﻉ ﻛﺮﺩﻩ ﺑﻮﺩ ﻛﻪ‬ ‫ﺗﻮﺍﻥ ﺳﻜﺮﺁﻭﺭ ﺷﺮﺍﺏ ﺭﺍ ﺑﻪ ﻣﺮﺍﺗﺐ ﺍﻓﺰﺍﻳﺶ ﻣﻰﺩﺍﺩ‪ .‬ﭼﻮﻥ ﺑﻪ ﻃﻼ ﻫﻢ ﻧﻴﺎﺯﻯ ﻧﺪﺍﺷﺖ )ﺍﮔﺮ‬ ‫ﻣﻰﺧﻮﺍﺳﺖ ﻣﻰﺗﻮﺍﻧﺴﺖ ﻳﻚ ﻛﻮﻩ ﺍﺯ ﺁﻥ ﺑﺮﺍﻯ ﺧﻮﺩﺵ ﺩﺭﺳﺖ ﻛﻨﺪ(‪ ،‬ﺍﺧﺘﺮﺍﻋﺶ ﺭﺍ ﺑﻪ ﻟﻴﻦ‬ ‫]‪ ،[2‬ﺻﺎﺣﺐ ﻣﻴﺨﺎﻧﻪﻯ »ﺩﺳﺖ ﺷﻜﺴﺘﻪ« ﺩﺍﺩ‪ .‬ﺩﺭ ﻋﻮﺽ ﻟﻴﻦ ﺑﺎ ﺭﻭﺷﻰ ﭘﻴﺶ ﭘﺎ ﺍﻓﺘﺎﺩﻩ‪ ،‬ﻳﻌﻨﻰ‬ ‫ﻣﻰﻓﺮﻭﺷﻰ‪ ،‬ﺍﻗﺪﺍﻡ ﺑﻪ ﭘﻮﻝ ﭘﺎﺭﻭ ﻛﺮﺩﻥ ﻛﺮﺩ‪.‬‬


‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺧﺎﻧﻪﻯ ﻏﺮﻕ ﺩﺭ ﺳﻜﻮﺕ ﺭﺍ ﺩﻳﺪﻡ ﻣﺘﻮﺟﻪ ﺷﺪﻡ ﻛﻪ ﺧﻴﻠﻰ ﺩﻳﺮ ﺭﺳﻴﺪﻩﺍﻡ‪ .‬ﺍﺗﻔﺎﻗﻰ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﻛﺮﻳﺴﺘﻴﻦ‬ ‫ﻫﻤﻴﺸﻪ ﻣﺸﻐﻮﻝ ﻭﺭﺍﺟﻰ ﺑﻮﺩ‪ .‬ﺣﺘﺎ ﺍﮔﺮ ﺷﻨﻮﻧﺪﻩﺍﺵ ﻳﻚ ﺑﻮﺯﻳﻨﻪ ﺑﺎﺷﺪ‪ .‬ﺑﺮﺍﻯ ﺍﻭ ﺳﻜﻮﺕ ﻫﻤﺎﻥﻗﺪﺭ ﻏﻴﺮ‬ ‫ﻣﻤﻜﻦ ﺑﻮﺩ ﻛﻪ ﻳﻚ ﺑﻮﻡ ﻧﻘﺎﺷﻰ ﺧﺎﻟﻰ‪ .‬ﺑﺎﻳﺪ ﺑﻪ ﻃﻨﻴﻦ ﻣﻮﺟﻮﺩﻳﺖ ﺍﻭ ﺁﻏﺸﺘﻪ ﻣﻰﺷﺪ‪.‬‬ ‫ﺧﺎﻧﻪ ﻣﺜﻞ ﻗﺒﺮ ﺳﺎﻛﻦ ﺑﻮﺩ ﻭ ﻫﻴﭻ ﺍﺛﺮﻯ ﺍﺯ ﺣﻴﺎﺕ ﺑﻪ ﭼﺸﻢ ﻧﻤﻰﺧﻮﺭﺩ‪ .‬ﺑﺎ ﻫﻮﺷﻴﺎﺭﻯ ﻓﺰﺍﻳﻨﺪﻩﺍﻯ‪ ،‬ﻧﻮﻙ‬ ‫ﭘﺎ ﻧﻮﻙ ﭘﺎ‪ ،‬ﺍﺯ ﺍﺗﺎﻕ ﭘﺬﻳﺮﺍﻳﻰ ﺑﻪ ﺍﺗﺎﻕ ﻧﻘﺎﺷﻰ ﺭﻓﺘﻢ ﻭ ﺍﺯ ﺁﻥﺟﺎ ﺑﻪ ﺁﺷﭙﺰﺧﺎﻧﻪ ﻭ ﻧﻬﺎﻳﺘﺎً ﺑﻪ ﻃﺮﻑ ﺣﻴﺎﻁ‬ ‫ﭘﺸﺘﻰ ﺭﻭﺍﻥ ﺷﺪﻡ‪ .‬ﺩﺭ ﮔﺎﺭﺍژ ﺑﺎﺯ ﺑﻮﺩ‪ .‬ﺑﺎ ﺍﺣﺘﻴﺎﻁ ﺑﻪ ﺩﺭﻭﻥ ﺁﻥ ﺳﺮﻙ ﻛﺸﻴﺪﻡ‪.‬‬ ‫ﻟﺤﻈﻪﻯ ﺗﻠﺦ ﺁﺷﻜﺎﺭ ﺷﺪﻥ ﺣﻘﻴﻘﺖ ﻓﺮﺍ ﺭﺳﻴﺪﻩ ﺑﻮﺩ‪ .‬ﺭﻫﺎ ﺍﺯ ﻓﺸﺎﺭﻫﺎﻯ ﻣﻦ‪ ،‬ﺩﻭﺭﻛﺎﺱ ﺑﻪ ﺳﺒﻚ ﺧﻮﺩﺵ‬ ‫ﻣﺸﻐﻮﻝ ﺁﻓﺮﻳﻨﺶ ﻫﻨﺮﻯ ﺑﻮﺩ‪ .‬ﺍﻭ ﺑﻪ ﻧﺮﻣﻰ ﻭ ﺍﻋﺘﻤﺎﺩ ﺑﻪ ﻧﻔﺲ ﻣﺸﻐﻮﻝ ﻧﻘﺎﺷﻰ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﻧﻪ ﺑﻪ ﺭﻭﺷﻰ ﻛﻪ‬ ‫ﻣﻦ ﺑﺎ ﻭﺳﻮﺍﺱ ﺗﻤﺎﻡ ﺑﻪ ﺍﻭ ﺁﻣﻮﺯﺵ ﺩﺍﺩﻩ ﺑﻮﺩﻡ‪ .‬ﻭ ﺍﻣﺎ ﺍﺯ ﻣﻮﺿﻮﻉ ﻧﻘﺎﺷﻰﺍﺵ ﺑﺮﺍﻳﺘﺎﻥ ﺑﮕﻮﻳﻢ‪...‬‬ ‫ﺑﺎﻳﺪ ﺑﮕﻮﻳﻢ ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻯ ﻛﻪ ﻣﺸﺨﺼﺎً ﻣﺎﻳﻪﻯ ﺳﺮﺧﻮﺷﻰ ﻛﺮﻳﺴﺘﻴﻦ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺍﻭﻗﺎﺕ ﻣﺮﺍ ﻋﻤﻴﻘﺎً ﺗﻠﺦ‬ ‫ﻛﺮﺩ‪ .‬ﺑﻌﺪ ﺍﺯ ﺁﻥ ﻫﻤﻪ ﺧﻮﺑﻰ ﻛﻪ ﺩﺭ ﺣﻖ ﺩﻭﺭﻛﺎﺱ ﻛﺮﺩﻩ ﺑﻮﺩﻡ‪ ،‬ﺁﻥ ﭼﻪ ﺷﺎﻫﺪﺵ ﺑﻮﺩﻡ ﻗﺪﺭﻧﺸﻨﺎﺳﻰ ﺗﻤﺎﻡ‬ ‫ﺑﻮﺩ‪ .‬ﺍﻟﺒﺘﻪ ﺣﺎﻻ ﻣﻰﺩﺍﻧﻢ ﻛﻪ ﺍﻳﻦ ﻛﺎﺭﺵ ﺍﺯ ﺳﺮ ﺑﺪﺟﻨﺴﻰ ﻧﺒﻮﺩﻩ ﻭ ﺍﻭ ﺻﺮﻓﺎً ﺩﺭ ﺣﺎﻝ ﺑﻴﺎﻥ ﺍﺣﺴﺎﺳﺎﺗﺶ‬ ‫ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﻣﻨﺘﻘﺪﺍﻥ ﻫﻨﺮﻯ ﻭ ﺭﻭﺍﻥﺷﻨﺎﺳﺎﻧﻰ ﻛﻪ ﺁﻥ ﻣﻘﺎﻻﺕ ﺑﻰﺧﻮﺩ ﺭﺍ ﺩﺭ ﻣﻮﺭﺩ ﻧﻤﺎﻳﺸﮕﺎﻩ ﺁﺛﺎﺭ ﻫﻨﺮﻯ‬ ‫ﺍﻭ ﺩﺭ ﮔﻮﮔﻦﻫﺎﻳﻢ ]‪ [9‬ﻧﻮﺷﺘﻨﺪ‪ ،‬ﻣﻌﺘﻘﺪﻧﺪ ﻛﻪ ﭘﺮﺗﺮﻩﻫﺎﻯ ﺍﻭ ﺣﻘﻴﻘﺖ ﺭﻭﺍﺑﻂ ﺍﻧﺴﺎﻥ ﺑﺎ ﺣﻴﻮﺍﻥ ﺭﺍ ﺁﺷﻜﺎﺭ‬ ‫ﻣﻰﻛﻨﻨﺪ ﻭ ﺑﻪ ﻣﺎ ﺍﺟﺎﺯﻩ ﻣﻰﺩﻫﻨﺪ ﻛﻪ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺑﻪ ﻧﮋﺍﺩ ﺍﻧﺴﺎﻥ ﺍﺯ ﺧﺎﺭﺝ ﺑﻨﮕﺮﻳﻢ‪ .‬ﺍﻣﺎ ﻭﻗﺘﻰ ﺑﻪ‬ ‫ﺩﻭﺭﻛﺎﺱ ﻓﺮﻣﺎﻥ ﻣﻰﺩﺍﺩﻡ ﻛﻪ ﺑﻪ ﺁﺷﭙﺰﺧﺎﻧﻪ ﺑﺮﮔﺮﺩﺩ‪ ،‬ﺩﻳﺪﻡ ﺑﻪ ﻣﺎﺟﺮﺍ ﺍﺻﻼ ًﺍﻳﻦ ﮔﻮﻧﻪ ﻧﺒﻮﺩ‪.‬‬ ‫ﻣﻮﺿﻮﻉ ﻧﻘﺎﺷﻰ ﺁﻥﻗﺪﺭ ﻧﺎﺭﺍﺣﺘﻢ ﻧﻜﺮﺩﻩ ﺑﻮﺩ ﻛﻪ ﺯﻣﺎﻧﻰ ﻛﻪ ﺑﺮﺍﻯ ﺁﻣﻮﺯﺵ ﻭ ﺳﺮ ﻭ ﺳﺎﻣﺎﻥ ﺩﺍﺩﻥ‬ ‫ﺗﻜﻨﻴﻚﻫﺎﻯ ﻫﻨﺮﻯ ﻭ ﻧﺰﺍﻛﺘﺶ ﺻﺮﻑ ﻛﺮﺩﻩ ﺑﻮﺩﻡ‪ .‬ﺍﻭ ﻫﻤﻪﻯ ﺗﺬﻛﺮﺍﺕ ﻣﺮﺍ ﭘﺸﺖ ﮔﻮﺵ ﺍﻧﺪﺍﺧﺘﻪ ﺑﻮﺩ ﻭ‬ ‫ﺩﺳﺖ ﺑﻪ ﺳﻴﻨﻪ ﺭﻭﺑﻪﺭﻭﻯ ﺳﻪﭘﺎﻳﻪﻯ ﻧﻘﺎﺷﻰ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﺩﻭﺭﻛﺎﺱ ﺩﺭ ﻫﻤﺎﻥ ﻧﻘﻄﻪﻯ ﺷﺮﻭﻉ ﺣﻴﺎﺕ ﻫﻨﺮﻯﺍﺵ ﻣﺸﺨﺺ ﻛﺮﺩﻩ ﺑﻮﺩ ﻛﻪ ﺍﺳﺘﻌﺪﺍﺩ ﻫﻨﺮﻯ ﻳﻚ ﭘﺎﻯ‬ ‫ﺍﻭ ﺍﺯ ﻫﺮ ﺩﻭ ﺩﺳﺖ ﻣﻦ ﺑﻴﺶﺗﺮ ﺍﺳﺖ‪.‬‬

‫‪1. Dorcas‬‬ ‫‪2. Pan Sapien‬‬ ‫‪3. Susan‬‬ ‫‪4. Johnny‬‬ ‫‪5. Mardie Gross‬‬

‫‪6. Eric‬‬ ‫‪7. Port Godarth‬‬ ‫‪8. Kristine Swanson‬‬ ‫‪9. Guggenheim‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﻭﻗﺘﻰ ﺑﺎﻻﺧﺮﻩ ﻛﺮﻳﺴﺘﻴﻦ ﺑﺎ ﺣﺎﻟﺘﻰ ﻧﻤﺎﻳﺸﻰ ﻭ ﻣﺜ ً‬ ‫ﻼ ﺍﺯ ﻫﻤﻪ ﺟﺎ ﺑﻰﺧﺒﺮ ﺑﻪ ﺧﺎﻧﻪﺍﻡ ﺁﻣﺪ ﺗﺎ ﺑﻪ ﻗﻮﻝ‬ ‫ﺧﻮﺩﺵ »ﻣﺜﻞ ﺩﻭ ﺗﺎ ﺁﺩﻡ ﻋﺎﻗﻞ ﻭ ﺑﺎﻟﻎ« ﺍﺧﺘﻼﻓﺎﺕﻣﺎﻥ ﺭﺍ ﺣﻞ ﻛﻨﻴﻢ‪ ،‬ﺧﻮﺏ ﻣﻰﺩﺍﻧﺴﺘﻢ ﺑﻪ ﭼﻪ‬ ‫ﻣﻨﻈﻮﺭﻯ ﺳﺮ ﻭ ﻛﻠﻪﺍﺵ ﭘﻴﺪﺍ ﺷﺪﻩ‪ .‬ﺩﺭ ﺍﺗﺎﻕ ﻧﻘﺎﺷﻰ ﺯﻳﺮ ﻳﻜﻰ ﺍﺯ ﺗﺎﺑﻠﻮﻫﺎﻯ ﻓﻮﻕﺍﻟﻌﺎﺩﻩﻯ ﺩﻭﺭﺍﻛﺲ ﭼﺎﻯ‬ ‫ﻧﻮﺷﻴﺪﻳﻢ‪ .‬ﺗﺎﺑﻠﻮ ﻣﻨﻈﺮﻩﺍﻯ ﺍﺯ ﻣﺎﻩ ﺩﺭ ﺣﺎﻝ ﻃﻠﻮﻉ ﺑﺮ ﻓﺮﺍﺯ ﻣﺮﺩﺍﺏ ﺑﻮﺩ‪ .‬ﺁﺑﻰ ﻭ ﺳﻴﺎﻩ ﻭ ﺭﻣﺰﺁﻟﻮﺩ ﺑﻮﺩ ﻭ‬ ‫ﺣﻘﻴﻘﺘﺎً ﻣﺎﻳﻪﻯ ﺍﻓﺘﺨﺎﺭ ﺑﻮﺩ‪ .‬ﻳﻚ ﻛﻠﻤﻪ ﺍﺯ ﺩﻭﺭﻛﺎﺱ ﻭ ﻧﻘﺎﺷﻰﻫﺎ ﺣﺮﻓﻰ ﺑﻪ ﻣﻴﺎﻥ ﻧﻴﺎﻣﺪ‪ .‬ﻭﻟﻰ ﭼﺸﻤﺎﻧﺶ‬ ‫ﻫﺮ ﺁﻥﭼﻪ ﺭﺍ ﻛﻪ ﻧﻴﺎﺯ ﺩﺍﺷﺘﻢ‪ ،‬ﺑﻪ ﻣﻦ ﻣﻰﮔﻔﺘﻨﺪ‪ .‬ﻫﻔﺘﻪﻯ ﺑﻌﺪﺵ ﻧﻤﺎﻳﺸﮕﺎﻩ ﻫﻨﺮﻯﺍﻯ ﻛﻪ ﻗﺮﺍﺭ ﺑﻮﺩ‬ ‫ﺑﺮﮔﺰﺍﺭ ﻛﻨﺪ ﺑﻰﺳﺮ ﻭ ﺻﺪﺍ ﻣﻨﺘﻔﻰ ﺷﺪ‪.‬‬ ‫ﻗﻤﺎﺭﺑﺎﺯﻫﺎ ﻫﻤﻴﺸﻪ ﮔﻔﺘﻪﺍﻧﺪ ﻛﻪ ﻭﻗﺘﻰ ﺩﺭ ﺑﺎﺯﻯ ﺟﻠﻮ ﺍﻓﺘﺎﺩﻯ‪ ،‬ﺁﻥ ﻣﻮﻗﻊ ﺍﺳﺖ ﻛﻪ ﺑﺎﻳﺪ ﺧﻮﺩﺕ ﺭﺍ ﺑﻴﺮﻭﻥ‬ ‫ﺑﻜﺸﻰ‪ .‬ﺍﮔﺮ ﻛﻤﻰ ﺣﺴﺎﺏ ﺷﺪﻩﺗﺮ ﻋﻤﻞ ﻛﺮﺩﻩ ﺑﻮﺩﻡ‪ ،‬ﺑﺎﻳﺪ ﻣﻰﻓﻬﻤﻴﺪﻡ ﻛﻪ ﻛﺮﻳﺴﺘﻴﻦ ﻧﻤﻰﮔﺬﺍﺭﺩ ﻣﺴﺄﻟﻪ‬ ‫ﻫﻤﺎﻥ ﺟﺎ ﺧﺘﻢ ﺷﻮﺩ ﻭ ﺩﻳﺮ ﻳﺎ ﺯﻭﺩ ﺿﺪﺣﻤﻠﻪ ﺭﺍ ﺷﺮﻭﻉ ﺧﻮﺍﻫﺪ ﻛﺮﺩ‪.‬‬ ‫ﺯﻣﺎﻥﺑﻨﺪﻯﺍﺵ ﻗﺎﺑﻞ ﺗﺤﺴﻴﻦ ﺑﻮﺩ‪ .‬ﻭﻗﺘﻰ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩﻩ ﺑﻮﺩ ﻛﻪ ﺑﭽﻪﻫﺎ ﻣﺪﺭﺳﻪ ﺑﻮﺩﻧﺪ ﻭ ﻣﺎﺩﺭﺑﺰﺭگ‬ ‫ﺳﻔﺮ ﺑﻮﺩ ﻭ ﻣﻦ ﻫﻢ ﺁﻥ ﻃﺮﻑ ﺷﻬﺮ ﺩﺭ ﻳﻚ ﻣﺮﻛﺰ ﺧﺮﻳﺪ ﻣﺸﻐﻮﻝ ﺑﻮﺩﻡ‪ .‬ﺍﺣﺘﻤﺎﻻً ﺍﻭﻝ ﺗﻠﻔﻦ ﺯﺩﻩ ﺑﻮﺩ ﺗﺎ‬ ‫ﻣﻄﻤﺌﻦ ﺷﻮﺩ ﻛﺴﻰ ﺧﺎﻧﻪ ﻧﻴﺴﺖ‪ .‬ﻳﺎ ﺩﺭ ﻭﺍﻗﻊ ﻣﻄﻤﺌﻦ ﺷﻮﺩ ﻫﻴﭻ ﺍﻧﺴﺎﻧﻰ ﺧﺎﻧﻪ ﻧﻴﺴﺖ‪ .‬ﻣﺎ ﺑﻪ ﺩﻭﺭﻛﺎﺱ‬ ‫ﮔﻮﺷﺰﺩ ﻛﺮﺩﻩ ﺑﻮﺩﻳﻢ ﻛﻪ ﻭﻗﺘﻰ ﻛﺴﻰ ﺧﺎﻧﻪ ﻧﻴﺴﺖ ﺑﻪ ﺗﻠﻔﻦﻫﺎ ﺟﻮﺍﺏ ﻧﺪﻫﺪ‪ .‬ﻫﺮ ﭼﻨﺪ ﺍﻭﺍﻳﻞ ﺑﻪ ﺗﻠﻔﻦﻫﺎ‬ ‫ﺟﻮﺍﺏ ﻣﻰﺩﺍﺩ‪ ،‬ﻭﻟﻰ ﻧﺘﻴﺠﻪﺍﺵ ﺧﻴﻠﻰ ﺧﻮﺏ ﻧﺒﻮﺩ‪ .‬ﻳﻚ ﺍﺑﺮﺷﺎﻣﭙﺎﻧﺰﻩ ﭘﺸﺖ ﺗﻠﻔﻦ ﺑﺎ ﻳﻚ ﺁﺩﻡ ﻣﺴﺖ‬ ‫ﺗﻔﺎﻭﺕ ﭼﻨﺪﺍﻧﻰ ﻧﺪﺍﺭﺩ ﻭ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﻣﻰﺗﻮﺍﻧﺪ ﻫﺰﺍﺭ ﺟﻮﺭ ���ﺮﻑ ﻭ ﺣﺪﻳﺚ ﺍﻳﺠﺎﺩ ﻛﻨﺪ‪.‬‬ ‫ﻣﻰﺗﻮﺍﻧﻢ ﻛﻞ ﻣﺎﺟﺮﺍ ﺭﺍ ﺩﺭ ﺫﻫﻨﻢ ﺑﺎﺯﺳﺎﺯﻯ ﻛﻨﻢ‪ .‬ﻛﺮﻳﺴﺘﻴﻦ ﺑﺎ ﻣﺎﺷﻴﻨﺶ ﺑﻪ ﺧﺎﻧﻪﻯ ﻣﺎ ﺁﻣﺪﻩ ﻭ ﺍﺯ ﻏﻴﺒﺖ‬ ‫ﻣﻦ ﺍﻇﻬﺎﺭ ﺗﺄﺳﻒ ﻛﺮﺩﻩ ﻭ ﺑﻌﺪﺵ ﻫﻢ ﺧﻮﺩﺵ ﺭﺍ ﺑﻪ ﺩﺍﺧﻞ ﺩﻋﻮﺕ ﻛﺮﺩﻩ‪ .‬ﺑﻼﻓﺎﺻﻠﻪ ﻣﻐﺰ ﺩﻭﺭﻛﺎﺱ ﺭﺍ ﻛﺎﺭ‬ ‫ﮔﺮﻓﺘﻪ‪ .‬ﺧﻮﺷﺒﺨﺘﺎﻧﻪ ﻣﻦ ﺣﺴﺎﺑﻰ ﺭﻭﻯ ﺷﺮﻳﻚ ﺟﺮﻡ ﺍﻧﺴﺎﻥﮔﻮﻧﻪﺍﻡ ﻛﺎﺭ ﻛﺮﺩﻩ ﺑﻮﺩﻡ ﻭ ﻫﺮ ﺑﺎﺭ ﻛﻪ ﻳﻜﻰ ﺍﺯ‬ ‫ﻧﻘﺎﺷﻰﻫﺎ ﺑﻪ ﭘﺎﻳﺎﻥ ﻣﻰﺭﺳﻴﺪ‪ ،‬ﻣﺮﺗﺐ ﺗﻜﺮﺍﺭ ﻣﻰﻛﺮﺩﻡ‪» :‬ﻛﺎﺭ ﺩﻭﺭﻛﺎﺱ‪ ...‬ﻛﺎﺭ ﺧﺎﻧﻮﻡ ﻧﻪ‪ ...‬ﻛﺎﺭ ﺩﻭﺭﻛﺎﺱ‪«.‬‬ ‫ﺁﺧﺮ ﺳﺮ ﻫﻢ ﻓﻜﺮ ﻛﻨﻢ ﺧﻮﺩ ﺩﻭﺭﻛﺎﺱ ﻫﻢ ﺑﺎﻭﺭﺵ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﻫﺮﭼﻨﺪ ﺍﮔﺮ ﻫﻢ ﺷﺴﺖ ﻭ ﺷﻮﻯ ﻣﻐﺰﻯ ﻣﻦ ﻭ ﭘﻨﺠﺎﻩ ﻛﻠﻤﻪﻯ ﺩﻭﺭﻛﺎﺱ ﻛﺮﻳﺴﺘﻴﻦ ﺭﺍ ﮔﻴﺞ ﻭ ﮔﻤﺮﺍﻩ‬ ‫ﻛﺮﺩﻩ ﺑﺎﺷﺪ‪ ،‬ﺍﻭﺿﺎﻉ ﻣﺪﺕ ﺯﻳﺎﺩﻯ ﺑﺮ ﻫﻤﺎﻥ ﻣﻨﻮﺍﻝ ﻧﻤﺎﻧﺪ‪ .‬ﻛﺮﻳﺴﺘﻴﻦ ﺯﻧﻰ ﻋﻤﻞﮔﺮﺍ ﺑﻮﺩ ﻭ ﺩﻭﺭﻛﺎﺱ ﻫﻢ‬ ‫ﺣﻴﻮﺍﻧﻰ ﺭﺍﻡ ﻭ ﺣﺮﻑﺷﻨﻮ‪ .‬ﺩﻭﺭﻛﺎﺱ ﺑﺪﻭﻥ ﺍﻳﻦ ﻛﻪ ﺭﻭﺣﺶ ﻫﻢ ﺧﺒﺮﺩﺍﺭ ﺷﺪﻩ ﺑﺎﺷﺪ ﻛﻪ ﺍﻭﺿﺎﻉ ﺍﺯ ﭼﻪ‬ ‫ﻗﺮﺍﺭ ﺍﺳﺖ‪ ،‬ﺍﻭ ﺭﺍ ﺑﻪ ﮔﺎﺭﺍژ ﺭﺍﻫﻨﻤﺎﻳﻰ ﻛﺮﺩﻩ ﻭ ﻛﺮﻳﺴﺘﻴﻦ ﻫﻢ ﺧﻮﺷﺤﺎﻝ ﺷﺪﻩ ﻭ ﻫﻢ ﻣﺘﻌﺠﺐ‪.‬‬ ‫ﻣﻦ ﻧﻴﻢ ﺳﺎﻋﺖ ﺑﻌﺪ ﺍﺯ ﻭﺭﻭﺩ ﻛﺮﻳﺴﺘﻴﻦ ﺭﺳﻴﺪﻡ ﻭ ﺑﻪ ﻣﺤﻀﻰ ﻛﻪ ﻣﺎﺷﻴﻨﺶ ﺭﺍ ﺩﺭ ﺑﺮﺍﺑﺮ ﻭﺭﻭﺩﻯ ﺧﺎﻧﻪ‬ ‫ﺩﻳﺪﻡ‪ ،‬ﻓﻬﻤﻴﺪﻡ ﻛﺎﺳﻪﺍﻯ ﺯﻳﺮ ﻧﻴﻢﻛﺎﺳﻪ ﺍﺳﺖ‪ .‬ﺍﻣﻴﺪﻭﺍﺭ ﺑﻮﺩﻡ ﻛﻪ ﺑﻪ ﻣﻮﻗﻊ ﺭﺳﻴﺪﻩ ﺑﺎﺷﻢ‪ ،‬ﻭﻟﻰ ﻭﻗﺘﻰ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺧﻴﻠﻰ ﺯﻭﺩ ﺭﻭﺵ ﻛﺎﺭ ﺑﺎ ﻣﺎﻟﻪ ﻭ ﻗﻠﻤﻮ ﺭﺍ ﻳﺎﺩ ﮔﺮﻓﺖ‪ ،‬ﺩﺭ ﻋﻤﻞ ﻛﺎﺭﺵ ﺍﻓﺘﻀﺎﺡ ﺑﻮﺩ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ‬ ‫ﻧﻤﻰﺗﻮﺍﻧﺪ ﺗﺼﻤﻴﻤﺶ ﺭﺍ ﺑﮕﻴﺮﺩ ﻭ ﻣﺪﺍﻡ ﻗﻠﻤﻮ ﺭﺍ ﺍﺯ ﺍﻳﻦ ﺩﺳﺖ ﺑﻪ ﺩﺳﺖ ﺩﻳﮕﺮ ﻣﻰﺩﺍﺩ‪ .‬ﺁﺧﺮ ﺳﺮ ﻣﻦ‬ ‫ﻣﺠﺒﻮﺭ ﺷﺪﻡ ﺧﻮﺩﻡ ﻛﻞ ﻛﺎﺭ ﺭﺍ ﺍﻧﺠﺎﻡ ﺩﻫﻢ ﻭ ﺍﻭ ﺗﻨﻬﺎ ﭼﻨﺪ ﻟﻜﻪ ﺭﻧﮓ ﺑﻪ ﻫﺮ ﺍﺛﺮ ﺍﺿﺎﻓﻪ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺑﻪ ﻫﺮ ﺣﺎﻝ ﺍﻧﺘﻈﺎﺭ ﻫﻢ ﻧﺪﺍﺷﺘﻢ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﺩﻭ ﺟﻠﺴﻪ ﺍﺳﺘﺎﺩ ﻧﻘﺎﺷﻰ ﺷﻮﺩ ﻭ ﺧﻴﻠﻰ ﻫﻢ ﺍﻫﻤﻴﺘﻰ ﻧﺪﺍﺷﺖ‪.‬‬ ‫ﺣﺘﺎ ﺍﮔﺮ ﺩﻭﺭﻛﺎﺱ ﻛﻢﺗﺮﻳﻦ ﺍﺳﺘﻌﺪﺍﺩ ﻫﻨﺮﻯ ﻫﻢ ﻧﺪﺍﺷﺖ‪ ،‬ﻣﻦ ﺻﺮﻓﺎً ﺑﺎﻳﺪ ﺣﻘﻴﻘﺖ ﺭﺍ ﻛﻤﻰ ﺑﻴﺶﺗﺮ‬ ‫ﻛﺶ ﻣﻰﺩﺍﺩﻡ‪.‬‬ ‫ﻋﺠﻠﻪﺍﻯ ﻫﻢ ﻧﺪﺍﺷﺘﻢ‪ .‬ﺍﻳﻦ ﺍﺯ ﺁﻥﻫﺎ ﻛﺎﺭﻫﺎﻳﻰ ﻧﺒﻮﺩ ﻛﻪ ﺑﺸﻮﺩ ﻋﺠﻠﻪﺍﻯ ﺍﻧﺠﺎﻣﺶ ﺩﺍﺩ‪ .‬ﺗﺎ ﭘﺎﻳﺎﻥ ﻣﺎﻩ‪ ،‬ﻣﻜﺘﺐ‬ ‫ﺩﻭﺭﻛﺎﺱ ﺻﺎﺣﺐ ﻳﻚ ﺩﻭﺟﻴﻦ ﺍﺛﺮ ﺗﺎﺯﻩ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﻫﻤﻪﺷﺎﻥ ﻣﻮﺿﻮﻋﺎﺗﻰ ﺩﺍﺷﺘﻨﺪ ﻛﻪ ﺑﺮﺍﻯ ﻳﻚ‬ ‫ﺍﺑﺮﺷﺎﻣﭙﺎﻧﺰﻩ ﻣﻘﻴﻢ ﭘﻮﺭﺕ ﮔﻮﺩﺍﺭﺕ ﺁﺷﻨﺎ ﻣﻰﻧﻤﻮﺩ‪ .‬ﻳﻚ ﺗﺼﻮﻳﺮ ﺍﺯ ﻳﻚ ﻣﺮﺩﺍﺏ‪ ،‬ﻳﻜﻰ ﺍﺯ ﺧﺎﻧﻪﻣﺎﻥ‪ ،‬ﻳﻚ‬ ‫ﺗﺼﻮﻳﺮ ﺍﻣﭙﺮﺳﻴﻮﻧﻴﺴﺘﻰ ﺍﺯ ﭘﺮﺗﺎﺏ ﺷﺎﺗﻠﻰ ﺷﺒﺎﻧﻪ )ﻛﻪ ﺩﺭ ﻭﺍﻗﻊ ﺻﺮﻓﺎً ﺍﻧﻔﺠﺎﺭﺍﺕ ﻧﻮﺭ ﺑﻮﺩ(‪ ،‬ﻳﻚ ﺻﺤﻨﻪﻯ‬ ‫ﻣﺎﻫﻴﮕﻴﺮﻯ ﻭ ﻳﻚ ﻧﺨﻠﺴﺘﺎﻥ‪ .‬ﺑﻼﺍﺳﺘﺜﻨﺎ ﻫﻤﮕﻰ ﻛﻠﻴﺸﻪﺍﻯ ﺑﻮﺩﻧﺪ‪ ،‬ﻭﻟﻰ ﻫﺮ ﭼﻴﺰ ﺩﻳﮕﺮﻯ ﺷﻚﺑﺮﺍﻧﮕﻴﺰ‬ ‫ﻣﻰﺑﻮﺩ‪ .‬ﻓﻜﺮ ﻧﻤﻰﻛﺮﺩﻡ ﺩﻭﺭﻛﺎﺱ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦﻛﻪ ﭘﻴﺶ ﻣﺎ ﺑﻴﺎﻳﺪ ﺩﻧﻴﺎﻯ ﺧﺎﺭﺝ ﺍﺯ ﺁﺯﻣﺎﻳﺸﮕﺎﻫﻰ ﺭﺍ ﻛﻪ‬ ‫ﺩﺭ ﺁﻥ ﺁﻣﻮﺯﺵ ﺩﻳﺪﻩ ﺑﻮﺩ‪ ،‬ﺩﻳﺪﻩ ﺑﺎﺷﺪ‪.‬‬ ‫ﺑﻬﺘﺮﻳﻦ ﺍﻳﻦ ﺗﺼﺎﻭﻳﺮ ﺭﺍ )ﻭ ﺑﻌﻀﻰﻫﺎﺷﺎﻥ ﻭﺍﻗﻌﺎً ﻫﻢ ﺧﻮﺏ ﺑﻮﺩﻧﺪ‪ .‬ﺧﻮﺩﻡ ﻛﻪ ﺩﻳﮕﺮ ﺑﺎﻳﺪ ﺑﺪﺍﻧﻢ!( ﺩﺭ‬ ‫ﺟﺎﻫﺎﻳﻰ ﺑﻪ ﺩﻳﻮﺍﺭ ﺁﻭﻳﺨﺘﻢ ﻛﻪ ﺣﺴﺎﺑﻰ ﺑﻪ ﭼﺸﻢ ﺑﻴﺎﻳﻨﺪ‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﺩﺍﺷﺖ ﺩﻗﻴﻘﺎً ﻃﺒﻖ ﻧﻘﺸﻪ ﭘﻴﺶ‬ ‫ﻣﻰﺭﻓﺖ‪ .‬ﻣﺮﺩﻡ ﻧﻘﺎﺷﻰﻫﺎ ﺭﺍ ﺗﺤﺴﻴﻦ ﻣﻰﻛﺮﺩﻧﺪ ﻭ ﻭﻗﺘﻰ ﻣﻦ ﺻﺮﻳﺤﺎً ﺍﻋﻼﻡ ﻛﺮﺩﻡ ﻛﻪ ﻫﻴﭻ ﺩﺧﺎﻟﺘﻰ ﺩﺭ‬ ‫ﺁﻓﺮﻳﻨﺶﺷﺎﻥ ﻧﺪﺍﺷﺘﻢ‪ ،‬ﻧﺎﻟﻪ ﻭ ﻓﻐﺎﻥ ﻧﺎﺑﺎﻭﺭﻯ ﻫﻤﻪ ﺑﺎﻻ ﮔﺮﻓﺖ‪ .‬ﭼﻨﺪ ﻧﻔﺮﻯ ﻣﺸﻜﻮﻙ ﺷﺪﻧﺪ‪ ،‬ﺍﻣﺎ ﺧﻴﻠﻰ‬ ‫ﺯﻭﺩ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﻫﻢ ﻭﻗﺘﻰ ﺑﻪ ﭼﻨﺪ ﻧﻔﺮ ﺍﺯ ﺩﻭﺳﺘﺎﻥ ﺑﺮﮔﺰﻳﺪﻩﺍﻡ ﺩﻭﺭﻛﺎﺱ ﺭﺍ ﺩﺭ ﺣﺎﻝ ﻫﻨﺮﺁﻓﺮﻳﻨﻰ ﻧﺸﺎﻥ‬ ‫ﺩﺍﺩﻡ‪ ،‬ﺑﺮﻃﺮﻑ ﺷﺪ‪ .‬ﺷﺎﻫﺪﺍﻥ ﺭﺍ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻛﺞ ﻓﻬﻤﻰ ﻳﺎ ﺑﻌﻀﺎً ﻧﺎﻓﻬﻤﻰ ﻫﻨﺮﻯﺷﺎﻥ ﺍﻧﺘﺨﺎﺏ ﻣﻰﻛﺮﺩﻡ‬ ‫ﻭ ﺁﺛﺎﺭﻯ ﻛﻪ ﺑﻪ ﻧﻤﺎﻳﺶ ﮔﺬﺍﺷﺘﻪ ﻣﻰﺷﺪﻧﺪ ﻫﻢ ﻋﻤﻮﻣﺎً ﺁﺑﺴﺘﺮﻩﻫﺎﻳﻰ ﺑﻪ ﺭﻧﮓ ﻃﻼﻳﻰ ﻭ ﺳﺮﺥ ﻭ ﺳﻴﺎﻩ‬ ‫ﺑﻮﺩﻧﺪ ﻭ ﻛﺴﻰ ﺟﺮﺍﺕ ﺍﻧﺘﻘﺎﺩ ﻛﺮﺩﻥ ﺍﺯ ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﻧﻤﻰﺩﺍﺩ‪ .‬ﺗﺎ ﺁﻥ ﻭﻗﺖ ﻫﻢ ﺩﻭﺭﻛﺎﺱ ﺩﻳﮕﺮ ﻛﺎﺭﺵ‬ ‫ﺭﺍ ﻳﺎﺩ ﮔﺮﻓﺘﻪ ﺑﻮﺩ ﻭ ﻣﺜﻞ ﻳﻚ ﺑﺎﺯﻳﮕﺮ ﻛﻪ ﺍﺩﺍﻯ ﻧﻮﺍﺧﺘﻦ ﻣﻮﺳﻴﻘﻰ ﺭﺍ ﺩﺭﺑﻴﺎﻭﺭﺩ‪ ،‬ژﺳﺖﻫﺎﻯ ﻫﻨﺮﻣﻨﺪﺍﻧﻪ‬ ‫ﺑﻪ ﺧﻮﺩ ﻣﻰﮔﺮﻓﺖ‪.‬‬ ‫ﺑﺮﺍﻯ ﭘﺨﺶ ﻛﺮﺩﻥ ﻫﺮ ﭼﻪ ﺑﻬﺘﺮ ﺧﺒﺮ‪ ،‬ﺑﻌﻀﻰ ﺍﺯ ﺁﺛﺎﺭ ﺭﺍ ﺑﻪ ﺩﻭﺳﺘﺎﻧﻢ ﺍﻫﺪﺍ ﻣﻰﻛﺮﺩﻡ ﻭ ﺩﺭ ﺿﻤﻦ ﺍﻋﻼﻡ‬ ‫ﻣﻰﻛﺮﺩﻡ‪» :‬ﻣﻦ ﺩﻭﺭﻛﺎﺱ ﺭﺍ ﺑﺮﺍﻯ ﺧﺎﻧﻪﺩﺍﺭﻯ ﺍﺳﺘﺨﺪﺍﻡ ﻛﺮﺩﻡ‪ ،‬ﻧﻪ ﺑﺮﺍﻯ ﺑﻪ ﺭﺍﻩ ﺍﻧﺪﺍﺧﺘﻦ ﻣﻮﺯﻩﻯ ﻫﻨﺮﻫﺎﻯ‬ ‫ﻣﺪﺭﻥ‪ «.‬ﻭ ﺧﻴﻠﻰ ﻫﻢ ﻣﺮﺍﻗﺐ ﺑﻮﺩﻡ ﻛﻪ ﻛﻮﭼﻚﺗﺮﻳﻦ ﻣﻘﺎﻳﺴﻪﺍﻯ ﺑﻴﻦ ﺍﻳﻦ ﺁﺛﺎﺭ ﻭ ﺁﺛﺎﺭ ﻛﺮﻳﺴﺘﻴﻦ ﺍﻧﺠﺎﻡ‬ ‫ﻧﺪﻫﻢ‪ .‬ﺩﻭﺳﺘﺎﻥ ﻣﺸﺘﺮﻙﻣﺎﻥ ﺧﻮﺩﺷﺎﻥ ﻣﻰﺗﻮﺍﻧﺴﺘﻨﺪ ﻛﻼﻩﺷﺎﻥ ﺭﺍ ﻗﺎﺿﻰ ﻛﻨﻨﺪ‪.‬‬ ‫‪23‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﭘﻨﻬﺎﻧﻰ ﺑﻪ ﺍﺭﻳﻚ ﮔﻔﺘﻢ‪» :‬ﺍﺭﻳﻚ‪ ،‬ﺣﺎﺿﺮﻡ ﺷﺮﻁ ﺑﺒﻨﺪﻡ ﻛﻪ ﻣﻰﺗﻮﻧﻢ ﺑﻪ ﺩﻭﺭﻛﺎﺱ ﻳﺎﺩ ﺑﺪﻡ ﺑﻬﺘﺮ ﺍﺯ ﺍﻳﻦ‬ ‫ﻧﻘﺎﺷﻰ ﻛﻨﻪ‪«.‬‬ ‫ﺧﻨﺪﻳﺪ ﻭ ﺟﻮﺍﺏ ﺩﺍﺩ‪» :‬ﻓﻜﺮ ﺑﺪﻯ ﻫﻢ ﻧﻴﺴﺖ‪ .‬ﺩﻓﻌﻪﻯ ﺑﻌﺪﻯ ﻛﻪ ﻛﺮﻳﺴﺘﻴﻦ ﺯﻳﺎﺩﻩﺭﻭﻯ ﻛﺮﺩ‪ ،‬ﻫﻤﻴﻦ ﻛﺎﺭ‬ ‫ﺭﻭ ﺑﻜﻦ‪ «.‬ﺑﻌﺪ ﻣﻦ ﻣﺎﺟﺮﺍ ﺭﺍ ﻓﺮﺍﻣﻮﺵ ﻛﺮﺩﻡ ﺗﺎ ﻳﻚ ﻣﺎﻩ ﺑﻌﺪ ﻛﻪ ﺍﺭﻳﻚ ﺑﻪ ﻓﻀﺎ ﺑﺮﮔﺸﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﺩﻟﻴﻠﺶ ﺍﺻ ً‬ ‫ﻼ ﻣﻬﻢ ﻧﻴﺴﺖ‪ .‬ﻣﺎﺟﺮﺍ ﺍﺯ ﺁﻥﺟﺎ ﺁﻏﺎﺯ ﺷﺪ ﻛﻪ ﺩﺭ ﻳﻜﻰ ﺍﺯ ﻛﺎﺭﻫﺎﻯ ﺧﻴﺮﻳﻪ‪ ،‬ﻣﻦ ﻭ ﻛﺮﻳﺴﺘﻴﻦ‬ ‫ﺩﺭ ﺟﺒﻬﻪﻯ ﻣﻘﺎﺑﻞ ﻳﻜﺪﻳﮕﺮ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻴﻢ‪ .‬ﺍﻭ ﻣﺜﻞ ﻫﻤﻴﺸﻪ ﺣﺮﻓﺶ ﺭﺍ ﺑﻪ ﻛﺮﺳﻰ ﻧﺸﺎﻧﺪ ﻭ ﻣﻦ ﻫﻢ ﺑﺎ‬ ‫ﺧﺸﻤﻰ ﺁﺗﺸﻴﻦ ﺟﻠﺴﻪ ﺭﺍ ﺗﺮﻙ ﻛﺮﺩﻡ‪ .‬ﻭﻗﺘﻰ ﺑﻪ ﺧﺎﻧﻪ ﺭﺳﻴﺪﻡ‪ ،‬ﺍﻭﻟﻴﻦ ﭼﻴﺰﻯ ﻛﻪ ﺩﻳﺪﻡ ﺩﻭﺭﻛﺎﺱ ﺑﻮﺩ‬ ‫ﻛﻪ ﻣﺸﻐﻮﻝ ﺗﻤﺎﺷﺎﻯ ﺗﺼﺎﻭﻳﺮ ﺭﻧﮕﻰ ﻳﻜﻰ ﺍﺯ ﻣﺠﻼﺕ ﻫﻔﺘﮕﻰ ﺑﻮﺩ‪ .‬ﻫﻤﺎﻥ ﻣﻮﻗﻊ ﺑﻮﺩ ﻛﻪ ﺣﺮﻑﻫﺎﻯ‬ ‫ﺍﺭﻳﻚ ﻳﺎﺩﻡ ﺍﻓﺘﺎﺩ‪.‬‬ ‫ﻛﻴﻒ ﺩﺳﺘﻰﺍﻡ ﺭﺍ ﻛﻨﺎﺭﻯ ﮔﺬﺍﺷﺘﻢ ﻭ ﻛﻼﻫﻢ ﺭﺍ ﺍﺯ ﺳﺮﻡ ﺑﺮﺩﺍﺷﺘﻢ ﻭ ﻓﺮﻣﺎﻥ ﺩﺍﺩﻡ‪» :‬ﺩﻭﺭﻛﺎﺱ‪ ...‬ﺑﻴﺎ‬ ‫ﮔﺎﺭﺍژ‪«.‬‬ ‫ﻛﻤﻰ ﻃﻮﻝ ﻛﺸﻴﺪ ﺗﺎ ﺑﻼﺧﺮﻩ ﺭﻧﮓﻫﺎﻯ ﺭﻭﻏﻦ ﻭ ﺳﻪﭘﺎﻳﻪﺍﻡ ﺭﺍ ﺍﺯ ﺯﻳﺮ ﺍﺳﺒﺎﺏﺑﺎﺯﻯﻫﺎ ﻭ ﺗﺰﻳﻴﻨﺎﺕ ﻗﺪﻳﻤﻰ‬ ‫ﻛﺮﻳﺴﻤﺲ ﻭ ﻭﺳﺎﻳﻞ ﻏﻮﺍﺻﻰ ﻭ ﺟﻌﺒﻪﻫﺎﻯ ﺧﺎﻟﻰ ﻭ ﺍﺳﺒﺎﺏ ﻭ ﺍﺛﺎﺛﻴﻪﻯ ﺷﻜﺴﺘﻪ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪﻡ‪ .‬ﺍﺭﻳﻚ‬ ‫ﺩﻳﮕﺮ ﻭﻗﺖ ﻧﺪﺍﺷﺖ ﺍﻳﻦﺟﺎ ﺭﺍ ﻣﺮﺗﺐ ﻛﻨﺪ‪ .‬ﭼﻨﺪ ﺗﺎﺑﻠﻮﻯ ﻧﺎﻛﺎﻣﻞ ﺭﺍ ﺯﻳﺮ ﺧﺮﺩﻩ ﺭﻳﺰﻩﻫﺎﻯ ﺍﻧﺒﺎﺭ ﭘﻴﺪﺍ‬ ‫ﻛﺮﺩﻡ ﻛﻪ ﺷﺮﻭﻉ ﻣﻨﺎﺳﺒﻰ ﺑﻮﺩ‪ .‬ﻣﻨﻈﺮﻩﺍﻯ ﺷﺎﻣﻞ ﻳﻚ ﺩﺭﺧﺖ ﻧﺎﺯﻙ ﻗﻨﺎﺱ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩﻡ ﻭ ﮔﻔﺘﻢ‪:‬‬ ‫»ﺩﻭﺭﻛﺎﺱ‪ ،‬ﻣﻰﺧﻮﺍﻡ ﺑﻬﺖ ﻧﻘﺎﺷﻰ ﻛﺮﺩﻥ ﻳﺎﺩ ﺑﺪﻡ‪«.‬‬ ‫ﻧﻘﺸﻪﺍﻡ ﺳﺎﺩﻩ ﺑﻮﺩ‪ ،‬ﻭ ﺳﺮ ﺟﻤﻊ ﺧﻴﻠﻰ ﻫﻢ ﺷﺮﺍﻓﺘﻤﻨﺪﺍﻧﻪ ﻧﺒﻮﺩ‪ .‬ﺩﺭﺳﺖ ﺍﺳﺖ ﻛﻪ ﺑﻮﺯﻳﻨﻪﻫﺎ ﭘﻴﺶ ﺍﺯ ﺁﻥ‬ ‫ﺭﻧﮓ ﺭﻭﻯ ﺑﻮﻡ ﭘﺎﺷﻴﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﻭﻟﻰ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﻫﻴﭻ ﺑﻮﺯﻳﻨﻪﺍﻯ ﻳﻚ ﺍﺛﺮ ﻫﻨﺮﻯ ﺣﻘﻴﻘﻰ ﺧﻠﻖ ﻧﻜﺮﺩﻩ‬ ‫ﺑﻮﺩ‪ .‬ﺩﻭﺭﻛﺎﺱ ﻫﻢ ﺍﺯ ﺍﻳﻦ ﻗﺎﻋﺪﻩ ﻣﺴﺘﺜﻨﻰ ﻧﺒﻮﺩ‪ .‬ﺍﻣﺎ ﻧﻴﺎﺯﻯ ﻧﺒﻮﺩ ﻛﺴﻰ ﺑﻔﻬﻤﺪ ﻣﻦ ﺩﺳﺘﺶ ﺭﺍ ﮔﺮﻓﺘﻪﺍﻡ‪.‬‬ ‫ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ ﺑﻪ ﻣﻦ ﻣﺮﺑﻮﻁ ﺑﻮﺩ‪ ،‬ﺍﻭ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺗﻤﺎﻡ ﺍﻓﺘﺨﺎﺭﺍﺕ ﺭﺍ ﻧﺼﻴﺐ ﺧﻮﺩﺵ ﻛﻨﺪ‪.‬‬ ‫ﺍﻣﺎ ﻣﺴﺘﻘﻴﻤﺎً ﻫﻢ ﺑﻪ ﻛﺴﻰ ﺩﺭﻭﻍ ﻧﻤﻰﮔﻔﺘﻢ‪ .‬ﻫﺮ ﭼﻨﺪ ﻃﺮﺍﺣﻰ ﺍﻭﻟﻴﻪ ﺑﺎ ﻣﻦ ﺑﻮﺩ ﻭ ﺭﻧﮓﻫﺎ ﺭﺍ ﻣﻦ‬ ‫ﻣﺨﻠﻮﻁ ﻣﻰﻛﺮﺩﻡ ﻭ ﺑﻴﺶﺗﺮ ﻛﺎﺭﻫﺎ ﺭﺍ ﺧﻮﺩﻡ ﺍﻧﺠﺎﻡ ﻣﻰﺩﺍﺩﻡ‪ ،‬ﺑﻪ ﺍﻭ ﺍﺟﺎﺯﻩ ﻣﻰ ﺩﺍﺩﻡ ﺳﺒﻚ ﺧﻮﺩﺵ ﺭﺍ‬ ‫ﻭﺍﺭﺩ ﻧﻘﺎﺷﻰﻫﺎ ﻛﻨﺪ‪ .‬ﺍﻣﻴﺪﻭﺍﺭ ﺑﻮﺩﻡ ﺧﻮﺩﺵ ﺑﺨﺶﻫﺎﻯ ﺗﻚﺭﻧﮓ ﺭﺍ ﭘﺮ ﻛﻨﺪ ﻭ ﻗﻠﻤﺶ ﺭﺍ ﺑﻪ ﺷﻴﻮﻩﺍﻯ‬ ‫ﻭﺍﺿﺢ ﺩﺭ ﺁﺛﺎﺭﺵ ﺑﻪ ﻛﺎﺭ ﺑﮕﻴﺮﺩ‪ .‬ﺁﻥ ﻭﻗﺖ ﻣﻰﺗﻮﺍﻧﺴﺘﻢ ﺑﺎ ﻭﺟﺪﺍﻧﻰ ﺭﺍﺣﺖ ﻣﺪﻋﻰ ﺷﻮﻡ ﻛﻪ ﺧﻮﺩﺵ ﺑﻪ‬ ‫ﺗﻨﻬﺎﻳﻰ ﻫﻤﻪﻯ ﻛﺎﺭﻫﺎ ﺭﺍ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻩ‪ .‬ﻣﮕﺮ ﻟﺌﻮﻧﺎﺭﺩﻭ ﻭ ﻣﻴﻜﻼﻧﮋ ﺁﺛﺎﺭ ﺷﺎﮔﺮﺩﺍﻧﺸﺎﻥ ﺭﺍ ﺑﻪ ﻧﺎﻡ ﺧﻮﺩﺷﺎﻥ‬ ‫ﺍﻣﻀﺎ ﻧﻤﻰﻛﺮﺩﻧﺪ؟ ﺧﻮﺏ ﻣﻦ ﻫﻢ ﺷﺎﮔﺮﺩ ﺩﻭﺭﻛﺎﺱ‪.‬‬ ‫ﺑﺎﻳﺪ ﺍﻋﺘﺮﺍﻑ ﻛﻨﻢ ﻛﻪ ﻛﻤﻰ ﻧﺎﺍﻣﻴﺪ ﺷﺪﻡ‪ .‬ﻫﺮﭼﻨﺪ ﺩﻭﺭﻛﺎﺱ ﺧﻴﻠﻰ ﺯﻭﺩ ﺍﻳﺪﻩﻯ ﻛﻠﻰ ﺩﺳﺘﺶ ﺁﻣﺪ ﻭ‬ ‫‪21‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﻗﺒ ً‬ ‫ﻼ ﻏﻴﺮ ﻣﻤﻜﻦ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪﻧﺪ‪ .‬ﺣﺎﻻ ﻛﻪ ﺩﻭﺭﻛﺎﺱ ﺍﺯ ﺑﭽﻪﻫﺎ ﻣﻮﺍﻇﺒﺖ ﻣﻰﻛﺮﺩ‪ ،‬ﻣﻦ ﻣﻰﺗﻮﺍﻧﺴﺘﻢ‬ ‫ﺯﻧﺪﮔﻰ ﺍﺟﺘﻤﺎﻋﻰ ﺧﻮﺩﻡ ﺭﺍ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻢ‪.‬‬ ‫ﭼﻮﻥ ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻦ ﻛﻪ ﭘﻮﺭﺕ ﮔﻮﺩﺍﺭﺕ ]‪ [7‬ﻭﺳﻂ ﺍﻗﻴﺎﻧﻮﺱ ﺁﺭﺍﻡ ﻭﺍﻗﻊ ﺷﺪﻩ )ﺑﻌﺪ ﺍﺯ ﺍﺗﻔﺎﻗﻰ ﻛﻪ ﺩﺭ‬ ‫ﻣﻴﺎﻣﻰ ﺍﻓﺘﺎﺩ‪ ،‬ﻣﺮﺍﻛﺰ ﭘﺮﺗﺎﺏ ﻣﻮﺷﻚ ﺭﺍ ﺍﺯ ﻣﺮﺍﻛﺰ ﺷﻬﺮﻯ ﺩﻭﺭ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ( ﺯﻧﺪﮔﻰ ﺍﺟﺘﻤﺎﻋﻰ ﺩﺭ ﺁﻥﺟﺎ‬ ‫ﺩﺭ ﺟﺮﻳﺎﻥ ﺍﺳﺖ‪ .‬ﺑﺎﺯﺩﻳﺪﻛﻨﻨﺪﻩﻫﺎﻯ ﻣﻬﻤﻰ ﺍﺯ ﻫﻤﻪﻯ ﻧﻘﺎﻁ ﺯﻣﻴﻦ ﻭ ﺣﺘﺎ ﺩﻭﺭﺗﺮ ﺍﺯ ﺁﻥ‪ ،‬ﺗﻘﺮﻳﺒﺎً ﺩﺭ ﺗﻤﺎﻡ‬ ‫ﻃﻮﻝ ﺳﺎﻝ ﺑﻪ ﺍﻳﻦﺟﺎ ﻣﻰﺁﻳﻨﺪ‪.‬‬ ‫ﺩﺭ ﻫﺮ ﺍﺟﺘﻤﺎﻋﻰ ﻫﻤﻮﺍﺭﻩ ﻳﻚ ﺯﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﻃﻼﻳﻪﺩﺍﺭ ﻓﺮﻫﻨﮓ ﻭ ﻫﻨﺮ ﻭ ﻣﺪ ﺍﺳﺖ‪ .‬ﻛﺴﻰ ﻛﻪ‬ ‫ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﻫﻢ ﻣﻮﺭﺩ ﻧﻔﺮﺕ ﺭﻗﺒﺎﻳﺶ ﺍﺳﺖ ﻭ ﻫﻢ ﺑﻰﻛﻢ ﻭ ﻛﺎﺳﺖ ﺗﻮﺳﻂ ﺍﻳﺸﺎﻥ ﻣﻮﺭﺩ ﺗﻘﻠﻴﺪ ﻗﺮﺍﺭ‬ ‫ﻣﻰﮔﻴﺮﺩ‪ .‬ﺷﻬﻴﺮﻩﻯ ﭘﻮﺭﺕ ﮔﻮﺩﺍﺭﺕ ﺍﻣﺎ ﻛﺮﻳﺴﺘﻴﻦ ﺳﻮﺍﻧﺴﻮﻥ ]‪ [8‬ﺑﻮﺩ‪ .‬ﺷﻮﻫﺮﺵ ﺍﻓﺴﺮ ﻓﺮﻣﺎﻧﺪﻩ ﻧﻴﺮﻭﻯ‬ ‫ﻓﻀﺎﻳﻰ ﺑﻮﺩ ﻭ ﻛﺮﻳﺴﺘﻴﻦ ﺗﻤﺎﻡ ﻣﺪﺕ ﺩﺍﺷﺖ ﺩﺭ ﺍﻳﻦ ﻣﻮﺭﺩ ﭘﺰ ﻣﻰﺩﺍﺩ‪ .‬ﻫﻤﻴﻦ ﻛﻪ ﺳﻔﻴﻨﻪﺍﻯ ﻓﺮﻭﺩ‬ ‫ﻣﻰﺁﻣﺪ‪ ،‬ﺍﻭ ﺗﻤﺎﻣﻰ ﺍﻓﺴﺮﺍﻥ ﻭ ﻫﻤﺴﺮﺍﻧﺸﺎﻥ ﺭﺍ ﺑﻪ ﺧﺎﻧﻪﻯ ﺁﻧﺘﻴﻚ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻤﻰﺍﺵ ﺩﻋﻮﺕ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺭﺩ ﻛﺮﺩﻥ ﺍﻳﻦ ﺩﻋﻮﺕ ﺑﺪﻭﻥ ﻳﻚ ﺩﻟﻴﻞ ﺩﺭﺳﺖ ﻭ ﺣﺴﺎﺑﻰ‪ ،‬ﻛﺎﺭ ﺧﻄﺮﻧﺎﻛﻰ ﺑﻮﺩ‪ .‬ﺣﺘﺎ ﺍﮔﺮ ﺭﻓﺘﻦ ﻣﺴﺎﻭﻯ‬ ‫ﺗﻤﺎﺷﺎﻯ ﺗﺎﺑﻠﻮﻫﺎﻯ ﻧﻘﺎﺷﻰ ﻛﺮﻳﺴﺘﻴﻦ ﺑﻮﺩ‪ .‬ﺍﺯ ﻧﻈﺮ ﺧﻮﺩﺵ ﻫﻨﺮﻣﻨﺪ ﺑﻮﺩ ﻭ ﺩﻳﻮﺍﺭﻫﺎ ﺍﺯ ﺭﻧﮕﭙﺎﺷﻰﻫﺎﻯ‬ ‫ﻧﺎﺷﻴﺎﻧﻪﺍﺵ ﭘﻮﺷﻴﺪﻩ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻳﻜﻰ ﺍﺯ ﭼﺎﻟﺶﻫﺎﻯ ﺑﺰﺭگ ﻣﻬﻤﺎﻧﻰﻫﺎﻯ ﻛﺮﻳﺴﺘﻴﻦ‪ ،‬���ﻈﺮ ﺩﺍﺩﻥ‬ ‫ﺩﺭﺑﺎﻩﻯ ﻧﻘﺎﺷﻰﻫﺎﻯ ﺍﻭ ﺑﻮﺩ‪ .‬ﭼﺎﻟﺶ ﺩﻳﮕﺮ ﭼﻮﺏ ﺳﻴﮕﺎﺭ ﻳﻚ ﻣﺘﺮﻯﺍﺵ ﺑﻮﺩ‪.‬‬ ‫ﺍﺯ ﺩﻓﻌﻪﻯ ﺁﺧﺮﻯ ﻛﻪ ﺑﺎ ﺍﺭﻳﻚ ﺁﻣﺪﻩ ﺑﻮﺩﻡ‪ ،‬ﺗﺎﺑﻠﻮﻫﺎ ﻋﻮﺽ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻛﺮﻳﺴﺘﻴﻦ ﻭﺍﺭﺩ ﺩﻭﺭﺍﻥ ﻣﺮﺑﻊ‬ ‫ﻛﺸﻰﺍﺵ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻭ ﺗﻮﺿﻴﺢ ﺩﺍﺩ‪» :‬ﻋﺰﻳﺰﻡ ﺟﻮﻧﻢ‪ ،‬ﺍﻭﻥ ﻧﻘﺎﺷﻰﻫﺎﻯ ﻗﻨﺎﺱ ﻗﺪﻳﻤﻰ ﻭﺍﻗﻌﺎً ﺍﺯ ﻣﺪ ﺍﻓﺘﺎﺩﻩ‬ ‫ﺷﺪﻥ‪ .‬ﻧﺎﺳﻼﻣﺘﻰ ﺍﻻﻥ ﺗﻮﻯ ﻋﺼﺮ ﻓﻀﺎ ﻫﺴﺘﻴﻢ‪ .‬ﺗﻮﻯ ﻓﻀﺎ ﻫﻢ ﻛﺞ ﻭ ﺭﺍﺳﺖ ﻭ ﺍﻓﻘﻰ ﻭ ﻋﻤﻮﺩﻯ ﻫﻴﭻ‬ ‫ﻣﻔﻬﻮﻣﻰ ﻧﺪﺍﺭﻩ‪ .‬ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﻫﻢ ﻫﻴﭻ ﻧﻘﺎﺷﻰ ﻣﺪﺭﻧﻰ ﻧﺒﺎﻳﺪ ﻳﻚ ﻃﺮﻓﺶ ﻧﺴﺒﺖ ﺑﻪ ﻃﺮﻑ ﺩﻳﮕﺶ ﻓﺮﻕ‬ ‫ﻛﻨﻪ‪ .‬ﺍﻳﺪﻩﺁﻝﺗﺮﻳﻦ ﺣﺎﻟﺘﺶ ﺍﻳﻨﻪ ﻛﻪ ﺗﺎﺑﻠﻮﻫﺎ ﺭﻭ ﺍﺯ ﻫﺮ ﻃﺮﻑ ﻛﻪ ﺁﻭﻳﺰﻭﻥ ﻛﻨﻰ‪ ،‬ﻓﺮﻗﻰ ﻧﻜﻨﻪ‪ .‬ﻓﻌ ً‬ ‫ﻼ ﻫﻢ‬ ‫ﺩﺍﺭﻡ ﺭﻭﻯ ﻫﻤﻴﻦ ﻣﻮﺿﻮﻉ ﻛﺎﺭ ﻣﻰﻛﻨﻢ‪«.‬‬ ‫ﺍﺭﻳﻚ ﺑﺎ ﻧﺰﺍﻛﺖ ﺗﻤﺎﻡ ﺍﻇﻬﺎﺭ ﻛﺮﺩ‪» :‬ﺣﺮﻓﺘﻮﻥ ﻛﺎﻣ ً‬ ‫ﻼ ﻣﻨﻄﻘﻴﻪ‪) «.‬ﺑﻪ ﻫﺮ ﺣﺎﻝ ﻧﺎﺧﺪﺍ ﺳﻮﺍﻧﺴﻮﻥ ﺭﺋﻴﺴﺶ‬ ‫ﺑﻮﺩ‪ (.‬ﻭﻟﻰ ﻫﻤﻴﻦ ﻛﻪ ﻣﻴﺰﺑﺎﻥﻣﺎﻥ ﺍﺯ ﺻﺪﺍﺭﺳﺶ ﺩﻭﺭ ﺷﺪ‪ ،‬ﺍﺿﺎﻓﻪ ﻛﺮﺩ‪» :‬ﻣﻄﻤﺌﻦ ﻧﻴﺴﺘﻢ ﻛﻪ ﺗﺎﺑﻠﻮﻫﺎﻯ‬ ‫ﻛﺮﻳﺴﺘﻴﻦ ﺳﺮ ﻭ ﺗﻪ ﻧﺒﺎﺷﻦ‪ ،‬ﻭﻟﻰ ﺣﺎﺿﺮﻡ ﻗﺴﻢ ﺑﺨﻮﺭﻡ ﭘﺸﺖ ﻭ ﺭﻭ ﺁﻭﻳﺰﻭﻥ ﺷﺪﻥ‪«.‬‬ ‫ﻣﻦ ﻣﻮﺍﻓﻘﺘﻢ ﺭﺍ ﺍﻋﻼﻡ ﻛﺮﺩﻡ‪ .‬ﻗﺒﻞ ﺍﺯ ﺍﺯﺩﻭﺍﺝ ﺑﺎ ﺍﺭﻳﻚ‪ ،‬ﭼﻨﺪ ﺳﺎﻟﻰ ﺭﺍ ﺩﺭ ﻣﺪﺭﺳﻪﻯ ﻫﻨﺮ ﮔﺬﺭﺍﻧﺪﻩ ﺑﻮﺩﻡ‬ ‫ﻭ ﺍﺯ ﻧﻈﺮ ﺧﻮﺩﻡ ﺩﺭﻙ ﻫﻨﺮﻯ ﻻﺯﻡ ﺭﺍ ﺩﺍﺷﺘﻢ‪ .‬ﺍﮔﺮ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻛﺮﻳﺴﺘﻴﻦ ﺑﻰﺷﺮﻡ ﺑﻮﺩﻡ ﻣﻰﺗﻮﺍﻧﺴﺘﻢ ﺑﺎ‬ ‫ﻧﻤﺎﻳﺶ ﺗﺎﺑﻠﻮﻫﺎﻯ ﺧﻮﺩﻡ‪ ،‬ﻛﻪ ﺩﺭ ﮔﺎﺭﺍژ ﻣﺸﻐﻮﻝ ﺧﺎﻙ ﺧﻮﺭﺩﻥ ﺑﻮﺩﻧﺪ‪ ،‬ﻛﻠﻰ ﭘﺰ ﺑﺪﻫﻢ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺑﺮ ﻧﻴﺎﻳﺪ‪ .‬ﺍﺯ ﺁﻣﺎﺩﻩ ﻛﺮﺩﻥ ﻣﻴﺰ ﺷﺎﻡ ﮔﺮﻓﺘﻪ ﺗﺎ ﻋﻮﺽ ﻛﺮﺩﻥ ﻟﺒﺎﺱﻫﺎﻯ ﺑﭽﻪﻫﺎ‪.‬‬ ‫ﺍﻭﺍﻳﻞ ﻋﺎﺩﺕ ﻗﺒﻴﺤﻰ ﺩﺍﺷﺖ ﻛﻪ ﻭﺳﺎﻳﻞ ﺭﺍ ﺑﺎ ﭘﺎﻫﺎﻳﺶ ﺟﺎﺑﻪﺟﺎ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﻣﺪﺕﻫﺎ ﻃﻮﻝ ﻛﺸﻴﺪ ﺗﺎ ﺍﻳﻦ ﻋﺎﺩﺕ ﺭﺍ ﺍﺯ ﺳﺮﺵ ﺑﻴﻨﺪﺍﺯﻡ‪ .‬ﻭﻟﻰ ﺑﺎﻻﺧﺮﻩ ﻳﻜﻰ‬ ‫ﺍﺯ ﺗﻪ ﺳﻴﮕﺎﺭﻫﺎﻯ ﻣﺎﺩﺭﺑﺰﺭگ ﻛﺎﺭ ﺧﻮﺩﺵ ﺭﺍ ﻛﺮﺩ‪.‬‬ ‫ﺧﻮﺵﺑﺮﺧﻮﺭﺩ ﻭ ﺑﺎﻭﺟﺪﺍﻥ ﺑﻮﺩ ﻭ ﻫﻴﭻﻭﻗﺖ ﺗﻮﻯ ﺭﻭﻯ ﻛﺴﻰ ﻧﻤﻰﺍﻳﺴﺘﺎﺩ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﺧﻴﻠﻰ ﺑﺎﻫﻮﺵ ﻧﺒﻮﺩ ﻭ ﺑﻌﻀﻰ ﻛﺎﺭﻫﺎ ﺭﺍ ﺑﺎﻳﺪ ﭼﻨﺪﻳﻦ ﺑﺎﺭ ﺑﻪ ﺍﻭ ﺗﻮﺿﻴﺢ‬ ‫ﻣﻰﺩﺍﺩﻳﻢ ﺗﺎ ﺩﺳﺖ ﺁﺧﺮ ﻳﺎﺩ ﺑﮕﻴﺮﺩ ﺩﻗﻴﻘﺎً ﺑﺎﻳﺪ ﭼﻜﺎﺭ ﻛﻨﺪ‪ .‬ﭼﻨﺪﻳﻦ ﻫﻔﺘﻪ‬ ‫ﻃﻮﻝ ﻛﺸﻴﺪ ﺗﺎ ﻣﺤﺪﻭﺩﻳﺖﻫﺎﻳﺶ ﺩﻗﻴﻘﺎً ﺩﺳﺘﻢ ﺁﻣﺪ‪ .‬ﺍﻭﻟﺶ ﻣﺘﻮﺟﻪ ﻧﺒﻮﺩﻡ‬ ‫ﻛﻪ ﺍﻭ ﺍﻧﺴﺎﻥ ﻧﻴﺴﺖ ﻭ ﻓﺎﻳﺪﻩﺍﻯ ﻧﺪﺍﺭﺩ ﻛﻪ ﺑﺎ ﺍﻭ ﻭﺍﺭﺩ ﻣﻜﺎﻟﻤﻪﻫﺎﻳﻰ ﺷﻮﻡ ﻛﻪ‬ ‫ﻣﺎ ﺯﻥﻫﺎ ﻭﻗﺘﻰ ﺑﻪ ﻫﻢ ﻣﻰﺭﺳﻴﻢ‪ ،‬ﺷﺮﻭﻉ ﻣﻰﻛﻨﻴﻢ‪ .‬ﺍﻟﺒﺘﻪ ﺑﻪ ﻟﺒﺎﺱ ﻋﻼﻗﻪﻯ‬ ‫ﺯﻳﺎﺩﻯ ﺩﺍﺷﺖ ﻭ ﺍﺯ ﺭﻧﮓﻫﺎﻯ ﻣﺨﺘﻠﻒ ﻫﻢ ﻟﺬﺕ ﻣﻰﺑﺮﺩ‪ .‬ﺍﮔﺮ ﺑﻬﺶ ﺍﺟﺎﺯﻩ‬ ‫ﻣﻰﺩﺍﺩﻡ‪ ،‬ﻣﺜﻞ ﻣﻬﺎﺟﺮﺍﻥ ﻣﺎﺭﺩﻯ ﮔﺮﺍﺱ ]‪ [5‬ﺧﻮﺩﺵ ﺭﺍ ﺩﺭﺳﺖ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺧﻮﺷﺒﺨﺘﺎﻧﻪ ﺑﭽﻪﻫﺎ ﻋﺎﺷﻘﺶ ﺷﺪﻧﺪ‪ .‬ﺧﺒﺮ ﺩﺍﺭﻡ ﻛﻪ ﻣﺮﺩﻡ ﺩﺭﺑﺎﺭﻩﻯ ﺟﺎﻧﻰ ﻭ‬ ‫ﺳﻮ ﭼﻪ ﻣﻰﮔﻮﻳﻨﺪ ﻭ ﺍﻧﻜﺎﺭ ﻫﻢ ﻧﻤﻰﻛﻨﻢ ﻛﻪ ﺑﻌﻀﻰﻫﺎﺷﺎﻥ ﻛﺎﻣ ً‬ ‫ﻼ ﻫﻢ ﺧﺎﻟﻰ‬ ‫ﺍﺯ ﻭﺍﻗﻌﻴﺖ ﻧﻴﺴﺘﻨﺪ‪ .‬ﺗﺮﺑﻴﺖ ﻛﺮﺩﻥ ﺩﺳﺖ ﺗﻨﻬﺎﻯ ﺩﻭ ﺗﺎ ﺑﭽﻪ‪ ،‬ﻭﻗﺘﻰ ﭘﺪﺭﺷﺎﻥ‬ ‫ﺑﻴﺶﺗﺮ ﻭﻗﺖﻫﺎ ﻣﺄﻣﻮﺭﻳﺖ ﺍﺳﺖ‪ ،‬ﻛﺎﺭ ﺁﺳﺎﻧﻰ ﻧﻴﺴﺖ‪ .‬ﺗﺎﺯﻩ ﻣﺎﺩﺭﺑﺰﺭگﺷﺎﻥ ﻫﻢ‬ ‫ﺗﺎ ﻣﻦ ﺭﻭﻳﻢ ﺭﺍ ﺑﺮﻣﻰﮔﺮﺩﺍﻧﻢ‪ ،‬ﻟﻮﺱﺷﺎﻥ ﻣﻰﻛﻨﺪ‪ .‬ﺍﺭﻳﻚ ]‪ [6‬ﻫﻢ ﻫﺮ ﻭﻗﺖ‬ ‫ﺳﻔﻴﻨﻪﺍﺵ ﺑﻪ ﺯﻣﻴﻦ ﺑﺮﻣﻰﮔﺮﺩﺩ‪ ،‬ﺍﻟﻜﻰ ﻧﺎﺯﺷﺎﻥ ﺭﺍ ﻣﻰﻛﺸﺪ‪ .‬ﺁﻥﻭﻗﺖ ﻣﻦ‬ ‫ﻣﻰﻣﺎﻧﻢ ﻭ ﻛﺞﺧﻠﻘﻰﻫﺎﻯ ﺩﻭ ﺗﺎ ﺑﭽﻪ‪ .‬ﺗﺎ ﻣﻰﺗﻮﺍﻧﻴﺪ ﺍﺯ ﺍﺯﺩﻭﺍﺝ ﺑﺎ ﻳﻚ ﻓﻀﺎﻧﻮﺭﺩ‬ ‫ﭘﺮﻫﻴﺰ ﻛﻨﻴﺪ‪ .‬ﺣﻘﻮﻗﺶ ﺧﻮﺏ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺣﺎﻟﺖ ﺭﻭﻳﺎﮔﻮﻧﻪﺍﺵ ﺧﻴﻠﻰ ﺯﻭﺩ ﺍﺯ‬ ‫ﺳﺮﺗﺎﻥ ﻣﻰﺍﻓﺘﺪ‪.‬‬ ‫ﺧﻼﺻﻪ ﻭﻗﺘﻰ ﺍﺭﻳﻚ ﺍﺯ ﻣﺎﻣﻮﺭﻳﺖ ﺯﺣﻠﺶ ﺑﺮﮔﺸﺘﻪ ﺑﻮﺩ ﻭ ﺗﺎ ﻣﺎﻣﻮﺭﻳﺖ‬ ‫ﺑﻌﺪﻯﺍﺵ ﺳﻪ ﻫﻔﺘﻪ ﻭﻗﺖ ﺩﺍﺷﺖ‪ ،‬ﭘﻴﺸﺨﺪﻣﺖ ﺟﺪﻳﺪﻣﺎﻥ ﺩﻳﮕﺮ ﺟﺰﺋﻰ ﺍﺯ‬ ‫ﺧﺎﻧﻮﺩﺍﻩ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺍﺭﻳﻚ ﺧﻴﻠﻰ ﺭﺍﺣﺖ ﺑﺎ ﺍﻭ ﻛﻨﺎﺭ ﺁﻣﺪ‪ .‬ﺟﺎﻧﻮﺭﺍﻥ ﺧﻴﻠﻰ‬ ‫ﻏﺮﻳﺐﺗﺮﻯ ﺭﺍ ﺩﺭ ﺳﻴﺎﺭﺍﺕ ﺩﻳﮕﺮ ﺩﻳﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻟﺒﺘﻪ ﻛﻪ ﺳﺮ ﻫﺰﻳﻨﻪﻫﺎ ﻏﺮ ﺯﺩ‪ ،‬ﻭﻟﻰ‬ ‫ﻣﻦ ﻫﻢ ﺑﻪ ﺍﻭ ﻳﺎﺩﺁﻭﺭﻯ ﻛﺮﺩﻡ ﺣﺎﻻ ﻛﻪ ﻛﺎﺭﻫﺎﻯ ﺧﺎﻧﻪ ﺍﺯ ﺭﻭﻯ ﺩﻭﺷﻢ ﺑﺮﺩﺍﺷﺘﻪ‬ ‫ﺷﺪﻩ‪ ،‬ﻭﻗﺖ ﺁﺯﺍﺩ ﺑﻴﺸﺘﺮﻯ ﺩﺍﺭﻡ ﺗﺎ ﺑﺎ ﻫﻢ ﺑﺎﺷﻴﻢ ﻳﺎ ﺑﻪ ﻛﺎﺭﻫﺎﻳﻰ ﺑﭙﺮﺩﺍﺯﻳﻢ ﻛﻪ‬ ‫‪19‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

‫ﺗﺎ ﻣﻰﺗﻮﺍﻧﻴﺪ‬ ‫ﺍﺯ ﺍﺯﺩﻭﺍﺝ ﺑﺎ‬ ‫ﻳﻚ ﻓﻀﺎﻧﻮﺭﺩ‬ ‫ﭘﺮﻫﻴﺰ ﻛﻨﻴﺪ‪.‬‬ ‫ﺣﻘﻮﻗﺶ‬ ‫ﺧﻮﺏ ﺍﺳﺖ‪،‬‬ ‫ﺍﻣﺎ ﺣﺎﻟﺖ‬ ‫ﺭﻭﻳﺎﮔﻮﻧﻪﺍﺵ‬ ‫ﺧﻴﻠﻰ ﺯﻭﺩ ﺍﺯ‬ ‫ﺳﺮﺗﺎﻥ‬ ‫ﻣﻰﺍﻓﺘﺪ‪.‬‬


‫ﺩﻓﺘﺮﭼﻪﻯ ﺭﺍﻫﻨﻤﺎﻯ ﺷﺮﻛﺖ ﺯﻳﺴﺖﻓﻨﺎﻭﺭﻯ ﺭﺍ ﻭﺭﻕ ﺯﺩﻡ‪ .‬ﺑﺎﻻﺧﺮﻩ ﮔﻔﺘﻢ‪» :‬ﺍﻳﻦﺟﺎ ﺭﻭ ﮔﻮﺵ ﻛﻦ‬ ‫ﻣﺎﻣﺎﻥﺑﺰﺭگ‪ .‬ﺍﺑﺮﺷﺎﻣﭙﺎﻧﺰﻩ )ﻧﺎﻡ ﺗﺠﺎﺭﻯ ﺛﺒﺖ ﺷﺪﻩ( »ﭘﻦ ﺳﺎﭘﻴﻦ« ]‪ [2‬ﺍﻧﺴﺎﻥﮔﻮﻧﻪﺍﻯ ﻫﻮﺷﻤﻨﺪ ﺍﺳﺖ‬ ‫ﻛﻪ ﺑﺎ ﺍﻧﺘﺨﺎﺏ ﻣﺼﻨﻮﻋﻰ ﺍﺯ ﮔﻮﻧﻪﻯ ﻋﺎﺩﻯ ﺷﺎﻣﭙﺎﻧﺰﻩ ﺑﻪ ﺩﺳﺖ ﺁﻣﺪﻩ‪«...‬‬ ‫»ﺁﻫﺎ! ﭼﻰ ﺑﻬﺖ ﮔﻔﺘﻢ! ﻣﻴﻤﻮﻧﻪ ﺣﻀﺮﺕ ﺧﺎﻧﻢ‪ .‬ﻣﻴﻤﻮﻥ!«‬ ‫»ﻭ ﺩﺍﻳﺮﻩﻯ ﻟﻐﺎﺕ ﺍﻭ ﺑﻪ ﺣﺪﻯ ﺍﺳﺖ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺪ ﺩﺳﺘﻮﺭﺍﺕ ﺳﺎﺩﻩ ﺭﺍ ﺍﺟﺮﺍ ﻛﻨﺪ‪ .‬ﻣﻰﺗﻮﺍﻥ ﺍﻭ ﺭﺍ ﺑﺮﺍﻯ‬ ‫ﺍﺟﺮﺍﻯ ﺗﻤﺎﻣﻰ ﻛﺎﺭﻫﺎﻯ ﺧﺎﻧﻪ ﺁﻣﻮﺯﺵ ﺩﺍﺩ‪ .‬ﺭﺍﻡ ﻭ ﺳﺮ ﺑﻪ ﺭﺍﻩ ﺍﺳﺖ ﻭ ﺑﺎ ﻛﻮﺩﻛﺎﻥ ﻧﻴﺰ ﺑﺴﻴﺎﺭ ﻣﻬﺮﺑﺎﻥ‬ ‫ﺍﺳﺖ‪«.‬‬ ‫»ﻛﻮﺩﻛﺎﻥ! ﻣﻰﺧﻮﺍﻯ ﺳﻮﺯﺍﻥ ]‪ [3‬ﻭ ﺟﺎﻧﻰ ]‪ [4‬ﺭﻭ ﺑﺎ ﻳﻪ‪ ..‬ﻳﻪ ﮔﻮﺭﻳﻞ ﺗﻮ ﺧﻮﻧﻪ ﻭﻝ ﻛﻨﻰ ﺑﻪ ﺍﻣﺎﻥ ﺧﺪﺍ؟!«‬ ‫ﺁﻫﻰ ﻛﺸﻴﺪﻡ ﻭ ﺩﻓﺘﺮﭼﻪﻯ ﺭﺍﻫﻨﻤﺎ ﺭﺍ ﭘﺎﻳﻴﻦ ﺁﻭﺭﺩﻡ‪.‬‬ ‫»ﺭﺍﺳﺖ ﻣﻰﮔﻰ‪ .‬ﺑﺎﻻﺵ ﺩﺍﺭﻡ ﻛﻠﻰ ﭘﻮﻝ ﻣﻰﺩﻡ‪ .‬ﺍﮔﺮ ﺍﻭﻥ ﻫﻴﻮﻻﻫﺎﻯ ﻛﻮﭼﻮﻟﻮ ﺑﺨﻮﺍﻥ ﻣﺪﺍﻡ ﺍﺯ ﺳﺮ ﻭ‬ ‫ﻛﻠﻪﺍﺵ ﺑﺎﻻ ﺑﺮﻥ‪«...‬‬ ‫ﻫﻤﺎﻥ ﻟﺤﻈﻪ ﺻﺪﺍﻯ ﺯﻧﮓ ﻣﻦ ﺭﺍ ﺍﺯ ﺷﺮ ﻣﺎﺩﺭﺑﺰﺭگ ﺧﻼﺹ ﻛﺮﺩ‪ .‬ﻣﺮﺩ ﭘﺸﺖ ﺩﺭ ﮔﻔﺖ‪» :‬ﻟﻄﻔﺎً ﺍﻳﻦﺟﺎ‬ ‫ﺭﻭ ﺍﻣﻀﺎ ﻛﻨﻴﺪ‪ «.‬ﻭ ﺑﻌﺪ ﺩﻭﺭﻛﺎﺱ ﻭﺍﺭﺩ ﺯﻧﺪﮔﻰ ﻣﺎ ﺷﺪ‪.‬‬ ‫ﮔﻔﺘﻢ‪» :‬ﺳﻼﻡ ﺩﻭﺭﻛﺎﺱ‪ .‬ﺍﻣﻴﺪﻭﺍﺭﻡ ﺍﻳﻦﺟﺎ ﺑﻬﺖ ﺧﻮﺵ ﺑﮕﺬﺭﻩ‪«.‬‬ ‫ﭼﺸﻤﺎﻥ ﻏﻤﺰﺩﻩﻯ ﻋﻈﻴﻤﺶ ﺍﺯ ﺯﻳﺮ ﭘﻴﺸﺎﻧﻰ ﺟﻠﻮ ﺁﻣﺪﻩﺍﺵ ﺑﻪ ﻣﻦ ﺧﻴﺮﻩ ﺷﺪﻧﺪ‪ .‬ﻣﻦ ﺁﺩﻡﻫﺎﻯ ﺑﺪﻗﻴﺎﻓﻪﺗﺮﻯ‬ ‫ﺩﻳﺪﻩ ﺑﻮﺩﻡ‪ ،‬ﺍﻣﺎ ﺍﻭ ﺗﺮﻛﻴﺐ ﺑﺪﻧﻰ ﻏﺮﻳﺒﻰ ﺩﺍﺷﺖ‪ .‬ﺑﻴﺸﺘﺮ ﺍﺯ ﭼﻬﺎﺭ ﻓﻮﺕ ﻗﺪﺵ ﻧﺒﻮﺩ ﻭ ﭘﻬﻨﺎﻳﺶ ﻫﻢ‬ ‫ﻫﻤﺎﻥﻗﺪﺭ ﺑﻮﺩ‪ .‬ﺑﺎ ﺁﻥ ﻳﻮﻧﻴﻔﻮﺭﻡ ﺗﻤﻴﺰﻯ ﻛﻪ ﺑﻪ ﺗﻦ ﺩﺍﺷﺖ‪ ،‬ﻓﺮﻕ ﭼﻨﺪﺍﻧﻰ ﺑﺎ ﭘﻴﺸﺨﺪﻣﺖﻫﺎﻯ ﻓﻴﻠﻢﻫﺎﻯ‬ ‫ﻗﺮﻥ ﺑﻴﺴﺘﻤﻰ ﻧﺪﺍﺷﺖ‪ .‬ﭘﺎﻫﺎﻳﺶ ﺍﻣﺎ ﺑﺮﻫﻨﻪ ﺑﻮﺩﻧﺪ ﻭ ﺑﺴﻴﺎﺭ ﻋﺮﻳﺾ‪.‬‬ ‫ﺍﻭ ﺑﺎ ﺣﺎﻟﺘﻰ ﻣﺒﻬﻢ ﺍﻣﺎ ﺑﻪ ﺯﺑﺎﻥ ﺍﻧﮕﻠﻴﺴﻰ ﭘﺎﺳﺦ ﺩﺍﺩ‪» :‬ﺻﺒﺢ ﺑﺨﻴﺮ ﺧﺎﻧﻮﻡ‪«.‬‬ ‫ﻣﺎﺩﺭﺑﺰﺭگ ﺟﻴﻎ ﺯﺩ‪» :‬ﺧﺪﺍ ﺑﻪ ﺩﻭﺭ! ﺩﺍﺭﻩ ﺣﺮﻑ ﻣﻰﺯﻧﻪ!«‬ ‫ﭘﺎﺳﺦ ﺩﺍﺩﻡ‪» :‬ﻣﻌﻠﻮﻣﻪ ﻛﻪ ﺩﺍﺭﻩ ﺣﺮﻑ ﻣﻰﺯﻧﻪ‪ .‬ﭘﻨﺠﺎﻩ ﻛﻠﻤﻪ ﺭﻭ ﺑﻠﺪﻩ ﺗﻠﻔﻆ ﻛﻨﻪ ﻭ ﺑﻴﺶﺗﺮ ﺍﺯ ﺩﻭﻳﺴﺖ‬ ‫ﻛﻠﻤﻪ ﺭﻭ ﻫﻢ ﻣﺘﻮﺟﻪ ﻣﻰﺷﻪ‪ .‬ﻫﺮﭼﻘﺪﺭ ﺳﻨﺶ ﺑﺎﻻﺗﺮ ﺑﺮﻩ ﻣﻰﺗﻮﻧﻪ‪ ،‬ﻛﻠﻤﺎﺕ ﺑﻴﺶﺗﺮﻯ ﺭﻭ ﻫﻢ ﻳﺎﺩ ﺑﮕﻴﺮﻩ‪.‬‬ ‫ﻭﻟﻰ ﻓﻌ ً‬ ‫ﻼ ﺑﻬﺘﺮﻩ ﺭﻭﻯ ﻛﻠﻤﺎﺕ ﺻﻔﺤﺎﺕ ﭼﻬﻞ ﻭ ﺩﻭ ﻭ ﭼﻬﻞ ﺳﻪﻯ ﻛﺘﺎﺏ ﺭﺍﻫﻨﻤﺎ ﺗﻤﺮﻛﺰ ﻛﻨﻴﻢ‪ «.‬ﻛﺘﺎﺏ‬ ‫ﺭﺍﻫﻨﻤﺎ ﺭﺍ ﺩﺭ ﺩﺳﺘﺎﻥ ﻣﺎﺩﺭﺑﺰﺭگ ﺍﻧﺪﺍﺧﺘﻢ ﻛﻪ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺩﺭ ﺗﻤﺎﻡ ﺯﻧﺪﮔﻰﺍﺵ ﺣﺘﺎ ﻳﻚ ﻛﻠﻤﻪ ﻫﻢ‬ ‫ﺩﺭ ﭘﺎﺳﺦ ﻧﮕﻔﺖ‪.‬‬ ‫ﺩﻭﺭﻛﺎﺱ ﺧﻴﻠﻰ ﺯﻭﺩ ﺑﺎ ﺯﻧﺪﮔﻰ ﺟﺪﻳﺪﺵ ﻭﻗﻒ ﭘﻴﺪﺍ ﻛﺮﺩ‪ .‬ﻭﻇﺎﻳﻒ ﻋﺎﺩﻯﺍﺵ‪ ،‬ﻳﻌﻨﻰ ﻛﺎﺭﻫﺎﻯ ﺧﺎﻧﻪ ﻭ‬ ‫ﻣﻮﺍﻇﺒﺖ ﺍﺯ ﻛﻮﺩﻛﺎﻥ ﺭﺍ ﺑﻪ ﺧﻮﺑﻰ ﺍﻧﺠﺎﻡ ﻣﻰﺩﺍﺩ‪ .‬ﻳﻚ ﻣﺎﻩ ﻧﺸﺪﻩ ﻛﺎﺭﻯ ﺩﺭ ﺧﺎﻧﻪ ﻧﻤﺎﻧﺪﻩ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﭘﺴﺶ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺑﻮﺯﻳﻨﻪﻯ ﺧﺎﻧﻪﺩﺍﺭ‬ ‫ﺁﺭﺗﻮﺭ ﺳﻰ‪ .‬ﻛﻼﺭﻙ‬ ‫ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‬

‫ﻧﻈﺮ ﻣﺎﺩﺭﺑﺰﺭگ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺍﻳﺪﻩﻯ ﺧﻴﻠﻰ ﺍﺣﻤﻘﺎﻧﻪ ﻭ ﺣﺘﺎ ﻭﺣﺸﺘﻨﺎﻛﻰ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﭼﻪ ﻣﻰﺷﻮﺩ‬ ‫ﻛﺮﺩ‪ .‬ﺍﻭ ﻫﻨﻮﺯ ﺍﻓﻜﺎﺭ ﻗﺪﻳﻤﻰ ﺧﻮﺩﺵ ﺭﺍ ﺩﺍﺷﺖ ﻭ ﺧﺎﻃﺮﻩﻯ ﺭﻭﺯﻫﺎﻳﻰ ﻛﻪ ﻣﺴﺘﺨﺪﻣﻴﻦ ﺍﻧﺴﺎﻥ‬ ‫ﻫﻨﻮﺯ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻨﺪ‪ ،‬ﺩﺭ ﺫﻫﻨﺶ ﺗﺎﺯﻩ ﺑﻮﺩ‪.‬‬ ‫ﺍﻭ ﺑﺎ ﻟﺤﻦ ﺗﻤﺴﺨﺮﺁﻣﻴﺰﻯ ﮔﻔﺖ‪» :‬ﺍﮔﺮ ﻓﻜﺮ ﻛﺮﺩﻯ ﺣﺎﻇﺮﻡ ﺧﻮﻧﻪﺍﻡ ﺭﻭ ﺑﺎ ﻳﻪ ﻣﻴﻤﻮﻥ ﺷﺮﻳﻚ‬ ‫ﺑﺸﻢ‪ ،‬ﻛﻮﺭ ﺧﻮﻧﺪﻯ!«‬ ‫ﻣﻦ ﺩﺭ ﺟﻮﺍﺏ ﮔﻔﺘﻢ‪» :‬ﺍﻳﻦ ﺍﻓﻜﺎﺭ ﻗﺪﻳﻤﻰ ﺭﻭ ﻛﻨﺎﺭ ﺑﺬﺍﺭ ﻣﺎﺩﺭﺟﻮﻥ‪ .‬ﺩﺭ ﻫﺮ ﺣﺎﻝ ﺩﻭﺭﻛﺎﺱ ]‪[1‬‬ ‫ﻣﻴﻤﻮﻥ ﻧﻴﺴﺖ‪«.‬‬ ‫»ﭘﺲ ﭼﻰ ﭼﻴﻪ؟«‬


‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺳﻔﻴﻨﻪ ﻭﺍﺭﺩ ﺟﻮ ﺁﺭﻛﺎﺩﻯ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﻣﻦ ﻧﺎﮔﻬﺎﻥ ﺑﻪ ﻳﺎﺩ ﺗﺼﺎﻭﻳﺮ ﻣﺴﺘﻬﺠﻨﻢ ﺍﻓﺘﺎﺩﻡ ﻭ ﻣﺠﺒﻮﺭ ﺷﺪﻡ‬ ‫ﻳﻚ ﺧﺎﻧﻪﺗﻜﺎﻧﻰ ﺑﻬﺎﺭﻩﻯ ﺩﺭﺳﺖ ﻭ ﺣﺴﺎﺑﻰ ﺭﺍﻩ ﺑﻴﻨﺪﺍﺯﻡ ) ﺍﻟﺒﺘﻪ ﻳﻜﻰ ﺍﺯ ﺷﺎﻫﻜﺎﺭﻫﺎﻳﻢ ﭘﺸﺖ ﻳﻜﻰ ﺍﺯ‬ ‫ﻗﻔﺴﻪﻫﺎ ﺍﻓﺘﺎﺩ ﻭ ﺑﻌﺪﺍ ً ﺟﻠﻮﻯ ﺗﻴﻢ ﻧﻈﺎﻓﺖ ﺳﻔﻴﻨﻪ ﻛﻠﻰ ﻣﺎﻳﻪﻯ ﺧﺠﺎﻟﺘﻢ ﺷﺪ(‪ .‬ﻭﻗﺘﻰ ﺑﻪ ﺍﺗﺎﻕ ﻧﺎﻭﺑﺮﻯ‬ ‫ﺳﻔﻴﻨﻪ ﺑﺮﮔﺸﺘﻢ‪ ،‬ﺻﻔﺤﻪﻯ ﻧﻤﺎﻳﺸﮕﺮ ﺩﺷﺖ ﺧﺎﻟﻰ ﺭﻭﺑﻪﺭﻭﻳﻢ ﺭﺍ ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺸﻴﺪ ﻛﻪ ﻻﻳﺎﻻ ﺩﺭ ﺁﻥ‬ ‫ﻣﻨﺘﻈﺮ ﻣﻦ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﺗﺎ ﺩﻭ ﺩﻗﻴﻘﻪﻯ ﺩﻳﮕﺮ ﺑﻪ ﻧﻮﺷﻴﺪﻥ ﻋﻄﺮ ﻣﻮﻫﺎﻳﺶ ﻣﺸﻐﻮﻝ ﺑﻮﺩﻡ ﻭ ﺗﻨﺶ ﺭﺍ ﺩﺭ‬ ‫ﺩﺳﺘﺎﻧﻢ ﺣﺲ ﻣﻰﻛﺮﺩﻡ ﻛﻪ ﺑﻪ ﻫﻢ ﻣﻰﭘﻴﭽﻴﺪ‪...‬‬ ‫ﺳﺎﻣﺎﻧﺪﻫﻰ ﻓﺮﻭﺩ ﺭﺍ ﺑﻪ ﻣﻜﺲ ﺳﭙﺮﺩﻡ ﻭ ﺧﻮﺩﻡ ﻧﻈﺎﺭﺗﻰ ﺭﻭﻯ ﺁﻥ ﻧﻜﺮﺩﻡ‪ .‬ﻣﻰﺩﺍﻧﺴﺘﻢ ﻣﻜﺲ ﻛﺎﺭﺵ‬ ‫ﺭﺍ ﺑﺪﻭﻥ ﻛﻢﺗﺮﻳﻦ ﺍﺷﺘﺒﺎﻫﻰ ﺑﻪ ﺍﻧﺠﺎﻡ ﺧﻮﺍﻫﺪ ﺭﺳﺎﻧﺪ‪ .‬ﺩﺭ ﻋﻮﺽ ﺑﺎ ﻋﺠﻠﻪ ﺑﻪ ﺍﺗﺎﻕ ﺗﺨﻴﻠﻪ ﻫﻮﺍ ﺭﻓﺘﻢ ﻭ‬ ‫ﺑﻰﺻﺒﺮﺍﻧﻪ ﻣﻨﺘﻈﺮ ﺑﺎﺯ ﺷﺪﻥ ﺩﺭﻫﺎﻳﻰ ﺷﺪﻡ ﻛﻪ ﺑﻴﻦ ﻣﻦ ﻭ ﻻﻳﺎﻻ ﻓﺎﺻﻠﻪ ﺍﻧﺪﺍﺧﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﻳﻚ ﻋﻤﺮ ﻃﻮﻝ ﻛﺸﻴﺪ ﺗﺎ ﻣﻜﺲ ﻋﻼﻣﺖ ﺑﺎﺯ ﺷﺪﻥ ﺩﺭﻫﺎﻯ ﺧﺮﻭﺟﻰ ﺭﺍ ﺭﻭﺷﻦ ﻛﺮﺩ‪ .‬ﺣﺘﺎ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ‬ ‫ﻛﻪ ﺻﻔﺤﻪﻯ ﻓﻠﺰﻯ ﺩﺭ ﺑﻪ ﻃﻮﺭ ﻛﺎﻣﻞ ﺑﺎﺯ ﺷﻮﺩ‪ ،‬ﻣﻦ ﺍﺯ ﺳﻔﻴﻨﻪ ﺑﻴﺮﻭﻥ ﭘﺮﻳﺪﻡ ﻭ ﺧﺎﻙ ﭘﺮﺑﺎﺭ ﺁﺭﻛﺎﺩﻳﺎ ﺭﺍ‬ ‫ﺯﻳﺮ ﻗﺪﻡﻫﺎﻳﻢ ﺣﺲ ﻛﺮﺩﻡ‪.‬‬ ‫ﺑﻪ ﻳﺎﺩﻡ ﺍﻓﺘﺎﺩ ﻛﻪ ﺍﻳﻦﺟﺎ ﻓﻘﻂ ﺑﻴﺴﺖ ﻛﻴﻠﻮ ﻭﺯﻥ ﺩﺍﺭﻡ‪ .‬ﭘﺲ ﺑﺎ ﻭﺟﻮﺩ ﺍﺷﺘﻴﺎﻕ ﺟﺎﻥﻓﺰﺍﻳﻢ ﺳﻌﻰ ﻛﺮﺩﻡ‬ ‫ﺑﺎ ﺍﺣﺘﻴﺎﻁ ﮔﺎﻡ ﺑﺮﺩﺍﺭﻡ‪ .‬ﺁﻥﻗﺪﺭ ﻏﺮﻕ ﺭﻭﻳﺎﭘﺮﺩﺍﺯﻯﻫﺎﻯ ﻛﻮﺩﻛﺎﻧﻪﻯ ﺧﻮﺩﻡ ﺑﻮﺩﻡ ﻛﻪ ﻓﺮﺍﻣﻮﺵ ﻛﺮﺩﻩ ﺑﻮﺩﻡ‬ ‫ﺟﺎﺫﺑﻪﻯ ﻛﻤﺘﺮ ﺍﺯ ﺟﺎﺫﺑﻪﻯ ﺯﻣﻴﻦ‪ ،‬ﺩﺭ ﻃﻰ ﺩﻭﻳﺴﺖ ﻧﺴﻞ ﻣﻰﺗﻮﺍﻧﺪ ﻓﺎﺟﻌﻪ ﺑﺎﺭ ﺑﺎﺷﺪ‪ .‬ﺩﺭ ﺳﻴﺎﺭﻩﺍﻯ‬ ‫ﻛﻮﭼﻚ ﺗﻜﺎﻣﻞ ﻣﻰﺗﻮﺍﻧﺪ ﺩﺭ ﻃﻰ ﺯﻣﺎﻧﻰ ﻛﻮﺗﺎﻩ ﺧﻴﻠﻰ ﻣﺴﺎﺋﻞ ﺭﺍ ﺗﻐﻴﻴﺮ ﺩﻫﺪ‪.‬‬ ‫ﻻﻳﺎﻻ ﻣﻨﺘﻈﺮﻡ ﺑﻮﺩ ﻭ ﺯﻳﺒﺎﻳﻰﺍﺵ ﻫﻤﭽﻮﻥ ﺗﺼﻮﻳﺮﺵ ﻣﺜﺎﻝﺯﺩﻧﻰ ﺑﻮﺩ‪ .‬ﺗﻨﻬﺎ ﻳﻚ ﻣﺴﺌﻠﻪﻯ ﺟﺰﺋﻰ ﻭﺟﻮﺩ‬ ‫ﺩﺍﺷﺖ ﻛﻪ ﺻﻔﺤﻪﻯ ﻧﻤﺎﻳﺸﮕﺮ ﺍﺯ ﻗﻠﻢ ﺍﻧﺪﺍﺧﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﻫﻴﭻﻭﻗﺖ ﺍﺯ ﺩﺧﺘﺮﻫﺎﻯ ﻗﺪ ﺑﻠﻨﺪ ﺧﻮﺷﻢ ﻧﻤﻰﺁﻣﺪ‪ .‬ﺣﺎﻻ ﻛﻪ ﺩﻳﮕﺮ ﺍﺻ ً‬ ‫ﻼ ﺩﻭﺳﺖﺷﺎﻥ ﻧﺪﺍﺭﻡ‪ .‬ﻓﻜﺮ ﻛﻨﻢ‬ ‫ﻫﻨﻮﺯ ﻫﻢ ﻣﻰﺗﻮﺍﻧﺴﺘﻢ ﻻﻳﺎﻻ ﺭﺍ ﺑﻐﻞ ﻛﻨﻢ‪ ،‬ﺍﮔﺮ ﺗﻤﺎﻳﻠﻰ ﺑﺮﺍﻯ ﺍﻳﻦ ﻛﺎﺭ ﺩﺭ ﻣﻦ ﺑﺎﻗﻰ ﻣﺎﻧﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻣﺎ‬ ‫ﻣﻄﻤﺌﻨﺎً ﻇﺎﻫﺮ ﺍﺣﻤﻘﺎﻧﻪﺍﻯ ﭘﻴﺪﺍ ﻣﻰﻛﺮﺩﻡ ﻭ ﻣﺠﺒﻮﺭ ﺑﻮﺩﻡ ﺧﻮﺩﻡ ﺭﺍ ﻛﻠﻰ ﻛﺶ ﺑﺪﻫﻢ ﺗﺎ ﺩﺳﺘﺎﻧﻢ ﺭﺍ ﺩﻭﺭ‬ ‫ﺯﺍﻧﻮﻫﺎﻳﺶ ﺣﻠﻘﻪ ﻛﻨﻢ‪.‬‬ ‫‪1. Max‬‬ ‫‪2. Diadne V‬‬ ‫‪3. Helene‬‬ ‫‪4. Iris‬‬ ‫‪5. John Donne‬‬ ‫‪6. Natalie‬‬ ‫‪7. Ruth‬‬

‫‪8. Key‬‬ ‫‪9. Cynthia‬‬ ‫‪10. Joe‬‬ ‫‪11. Liala‬‬ ‫‪12. Arcady‬‬ ‫‪13. Star Drive‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﺟﺎﻣﻌﻰ ﺩﺭﺑﺎﺭﻩﻯ ﺗﻤﺪﻥﺷﺎﻥ ﻛﺴﺐ ﻛﺮﺩﻡ‪ .‬ﻫﺮ ﭼﻴﺰﻯ ﺭﺍ ﻛﻪ ﻣﻦ ﺍﺯ ﻗﻠﻢ ﻣﻰﺍﻧﺪﺍﺧﺘﻢ‪ ،‬ﻣﻜﺲ ﺩﺭ‬ ‫ﺣﺎﻓﻈﻪﺍﺵ ﺫﺧﻴﺮﻩ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺁﺭﻛﺎﺩﻯ ]‪) [12‬ﻛﻪ ﺍﺳﻢ ﺳﻴﺎﺭﻩﺷﺎﻥ ﺑﺎﺷﺪ(‪ ،‬ﺍﺯ ﺟﻤﻠﻪ ﺍﻭﻟﻴﻦ ﻣﻬﺎﺟﺮﻧﺸﻴﻦﻫﺎ ﺩﺭ ﺟﺮﻳﺎﻥ ﺍﻛﺘﺸﺎﻑ ﻓﻀﺎ‬ ‫ﺑﻮﺩ‪ .‬ﻭﻗﺘﻰ ﺍﻣﭙﺮﺍﻃﻮﺭﻯ ﺳﻘﻮﻁ ﻛﺮﺩ‪ ،‬ﺁﻥﻫﺎ ﻛﺎﻣ ً‬ ‫ﻼ ﺑﻪ ﺣﺎﻝ ﺧﻮﺩﺷﺎﻥ ﺭﻫﺎ ﺷﺪﻧﺪ‪ .‬ﺩﺭ ﺟﺮﻳﺎﻥ ﻧﺰﺍﻉ ﺑﺮﺍﻯ‬ ‫ﺑﻘﺎ‪ ،‬ﺁﺭﻛﺎﺩﻳﺎﻳﻰﻫﺎ ﺧﻴﻠﻰ ﺍﺯ ﺍﻃﻼﻋﺎﺕ ﻭ ﻓﻦﺁﻭﺭﻯﻫﺎﻯ ﭘﻴﺸﻴﻦﺷﺎﻥ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺍﺯ ﺟﻤﻠﻪ‬ ‫ﻓﻦﺁﻭﺭﻯ ﺳﺘﺎﺭﻩﭘﻴﻤﺎﻳﻰ ]‪ [13‬ﺭﺍ‪ .‬ﺭﺍﻫﻰ ﺑﺮﺍﻯ ﺧﺎﺭﺝ ﺷﺪﻥ ﺍﺯ ﻣﻨﻈﻮﻣﻪﺷﺎﻥ ﻧﺪﺍﺷﺘﻨﺪ ﻭ ﺩﺭ ﺿﻤﻦ‬ ‫ﻋﻼﻗﻪﺍﻯ ﻫﻢ ﺑﻪ ﺍﻳﻦ ﻛﺎﺭ ﻧﺪﺍﺷﺘﻨﺪ‪ .‬ﺳﻴﺎﺭﻩﻯ ﺁﺭﻛﺎﺩﻯ ﺧﺎﻛﻰ ﻏﻨﻰ ﺩﺍﺷﺖ ﻭ ﺟﺎﺫﺑﻪﺍﺵ ﻛﻪ ﻳﻚ ﭼﻬﺎﺭﻡ‬ ‫ﺟﺎﺫﺑﻪﻯ ﺯﻣﻴﻦ ﺑﻮﺩ‪ ،‬ﺑﻪ ﺳﺎﻛﻨﺎﻧﺶ ﺗﻮﺍﻥ ﺑﺪﻧﻰ ﻣﻀﺎﻋﻔﻰ ﻣﻰﺩﺍﺩ‪ .‬ﺣﺘﺎ ﺑﺪﻭﻥ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻦ ﻻﻳﺎﻻ ﻫﻢ‬ ‫ﺟﺎﻯ ﺟﺬﺍﺑﻰ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ‪.‬‬ ‫ﺳﺘﺎﺭﻩ ﻯ ﺯﺭﺩ ﺭﻧﮓ ﺁﺭﻛﺎﺩﻯ ﺳﻴﺎﺭﻩ ﺭﺍ ﺑﺮ ﻣﻦ ﻫﻮﻳﺪﺍ ﻛﺮﺩﻩ ﺑﻮﺩ ﻛﻪ ﻧﺎﮔﻬﺎﻥ ﻓﻜﺮﻯ ﺑﻪ ﺫﻫﻨﻢ ﺧﻄﻮﺭ ﻛﺮﺩ‪.‬‬ ‫ﻫﻴﺎﺕ ﺍﺳﺘﻘﺒﺎﻝ ﻋﻤﻴﻘﺎً ﻧﮕﺮﺍﻧﻢ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﺑﺮﺍﻯ ﺩﻭﺭ ﺯﺩﻧﺸﺎﻥ ﻧﻘﺸﻪﺍﻯ ﻛﺸﻴﺪﻡ‪ .‬ﻧﻘﺸﻪﺍﻡ ﻣﻨﻮﻁ ﺑﻪ‬ ‫ﻫﻤﻜﺎﺭﻯ ﻻﻳﺎﻻ ﺑﻮﺩ‪ ،‬ﻛﻪ ﺍﻟﺒﺘﻪ ﺩﺭ ﺍﻳﻦ ﻣﻘﻄﻊ ﺍﺯ ﻫﻤﻜﺎﺭﻯﺍﺵ ﺍﻃﻤﻴﻨﺎﻥ ﺣﺎﺻﻞ ﻛﺮﺩﻩ ﺑﻮﺩﻡ‪ .‬ﺍﮔﺮ ﺣﻤﻞ‬ ‫ﺑﺮ ﺷﻜﺴﺘﻪ ﻧﻔﺴﻰ ﻧﺸﻮﺩ‪ ،‬ﻫﻤﻴﺸﻪ ﺭگ ﺧﻮﺍﺏ ﺯﻥﻫﺎ ﺭﺍ ﺧﻮﺏ ﺑﻠﺪ ﺑﻮﺩﻡ ﻭ ﺍﻳﻦ ﻫﻢ ﺍﻭﻟﻴﻦ ﺑﺎﺭﻯ ﻧﺒﻮﺩ ﻛﻪ‬ ‫ﺍﺯ ﻃﺮﻳﻖ ﻳﻚ ﺻﻔﺤﻪﻯ ﻧﻤﺎﻳﺸﮕﺮ ﺑﺎ ﻛﺴﻰ ﺳﺎﺧﺖ ﻭ ﭘﺎﺧﺖ ﻣﻰﻛﺮﺩﻡ‪.‬‬ ‫ﺩﻭ ﺳﺎﻋﺖ ﻗﺒﻞ ﺍﺯ ﻓﺮﻭﺩﻡ ﺑﻪ ﺁﺭﻛﺎﺩﻯﻫﺎ ﻓﻬﻤﺎﻧﺪﻡ ﻛﻪ ﻣﻜﺘﺸﻒﻫﺎﻯ ﻧﻘﺸﻪﺑﺮﺩﺍﺭ ﺍﺻﻮﻻً ﻣﻮﺟﻮﺩﺍﺕ ﺧﺠﻮﻝ‬ ‫ﻭ ﺷﻜﺎﻛﻰ ﻫﺴﺘﻨﺪ‪ .‬ﺍﺯ ﺁﻥﺟﺎﻳﻰ ﻛﻪ ﺩﺭ ﺑﺮﺧﻮﺭﺩ ﺑﺎ ﺗﻤﺪﻥﻫﺎﻯ ﻧﻪ ﭼﻨﺪﺍﻥ ﺩﻭﺳﺘﺎﻧﻪﻯ ﻗﺒﻠﻰ ﺧﺎﻃﺮﺍﺕ‬ ‫ﺑﺪﻯ ﺩﺍﺷﺘﻪﺍﻡ‪ ،‬ﺣﺎﺿﺮ ﻧﻴﺴﺘﻢ ﻳﻚ ﺳﺮﻩ ﻣﺜﻞ ﻣﮕﺲ ﻭﺍﺭﺩ ﺗﻮﺭ ﻋﻨﻜﺒﻮﺕ ﻫﻴﺄﺕ ﺧﻮﺵﺁﻣﺪﮔﻮﻳﻰﺷﺎﻥ‬ ‫ﺑﺸﻮﻡ ﻭ ﺗﺮﺟﻴﺢ ﻣﻰﺩﻫﻢ ﻳﻚ ﻧﻔﺮ ﺍﺯ ﺁﻥﻫﺎ ﺩﺭ ﻣﻜﺎﻧﻰ ﻏﻴﺮ ﻣﺴﻜﻮﻧﻰ ﻭ ﺩﻭﺭ ﺍﻓﺘﺎﺩﻩ ﺑﺎ ﻣﻦ ﻣﻼﻗﺎﺕ ﻛﻨﺪ‬ ‫ﻭ ﺍﮔﺮ ﻧﺘﺎﻳﺞ ﺁﻥ ﻣﺬﺍﻛﺮﻩ ﺑﻪ ﺧﻮﺑﻰ ﭘﻴﺶ ﺭﻓﺖ‪ ،‬ﻭﺍﺭﺩ ﭘﺎﻳﺘﺨﺘﺸﺎﻥ ﻣﻰﺷﻮﻡ‪ .‬ﺍﮔﺮ ﻧﻪ ﻛﻪ ﺍﺯ ﻫﻤﺎﻥ ﺭﺍﻫﻰ‬ ‫ﻛﻪ ﺁﻣﺪﻩ ﺑﻮﺩﻡ ﺑﺮ ﻣﻰﮔﺸﺘﻢ‪ .‬ﺍﻣﻴﺪﻭﺍﺭ ﺑﻮﺩﻡ ﺍﻳﻦ ﺭﻓﺘﺎﺭﻡ ﺍﺯ ﻧﻈﺮﺷﺎﻥ ﺑﻰﺍﺣﺘﺮﺍﻣﻰ ﻧﺒﺎﺷﺪ‪ .‬ﺍﻣﺎ ﺍﺯ ﺣﻖ ﻛﻪ‬ ‫ﻧﮕﺬﺭﻳﻢ‪ ،‬ﻣﻦ ﻳﻚ ﻣﺴﺎﻓﺮ ﺗﻨﻬﺎ ﺑﻮﺩﻡ ﻭ ﺑﺎ ﺧﺎﻧﻪﺍﻡ ﻫﻢ ﻓﺎﺻﻠﻪﻯ ﺯﻳﺎﺩﻯ ﺩﺍﺷﺘﻢ ﻭ ﺍﻣﻴﺪﻭﺍﺭ ﺑﻮﺩﻡ ﻣﻨﻄﻘﻰ‬ ‫ﺑﻪ ﻗﻀﻴﻪ ﻧﮕﺎﻩ ﻛﻨﻨﺪ ﻭ ﺩﺭﺧﻮﺍﺳﺘﻢ ﺭﺍ ﺭﺩ ﻧﻜﻨﻨﺪ‪.‬‬ ‫ﻗﺒﻮﻝ ﻫﻢ ﻛﺮﺩﻧﺪ ﻭ ﺳﻔﻴﺮ ﭘﻴﺸﻨﻬﺎﺩﻯﺷﺎﻥ ﻫﻢ ﻻﻳﺎﻻ ﺑﻮﺩ‪ .‬ﺍﻭ ﺑﻼﻓﺎﺻﻠﻪ ﺩﺭ ﻣﻴﺎﻥ ﻣﺮﺩﻣﺶ ﺑﻪ ﻗﻬﺮﻣﺎﻧﻰ‬ ‫ﺗﺒﺪﻳﻞ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﺗﻚ ﻭ ﺗﻨﻬﺎ ﻭ ﺩﺍﻭﻃﻠﺒﺎﻧﻪ ﺑﻪ ﻣﻼﻗﺎﺕ ﻫﻴﻮﻻﻯ ﻓﻀﺎﻳﻰ ﻣﻰﺭﻓﺖ‪ .‬ﺑﻪ ﺩﻭﺳﺘﺎﻥ ﻧﮕﺮﺍﻧﺶ‬ ‫ﺍﻃﻤﻴﻨﺎﻥ ﺩﺍﺩﻩ ﺑﻮﺩ ﻛﻪ ﻳﻚ ﺳﺎﻋﺖ ﺑﻌﺪ ﺍﺯ ﻭﺭﻭﺩ ﺑﻪ ﻛﺸﺘﻰ ﻣﻦ ﺑﺎ ﺁﻥﻫﺎ ﺗﻤﺎﺱ ﺧﻮﺍﻫﺪ ﮔﺮﻓﺖ‪ .‬ﻣﻦ‬ ‫ﺳﻌﻰ ﻛﺮﺩﻡ ﺑﻪ ﺩﻭ ﺳﺎﻋﺖ ﺭﺍﺿﻰﺍﺵ ﻛﻨﻢ‪ ،‬ﺍﻣﺎ ﺍﻭ ﻣﻌﺘﻘﺪ ﺑﻮﺩ ﻛﻪ ﺩﻳﮕﺮ ﺯﻳﺎﺩﻩﺭﻭﻯ ﺍﺳﺖ ﻭ ﺩﺭ ﺩﻫﻦ‬ ‫ﻣﺮﺩﻡ ﺭﺍ ﻫﻢ ﻧﻤﻰﺷﻮﺩ ﺑﺴﺖ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻛﺬﺍ ﻳﻚ ﭘﻴﺮ ﻓﺲ ﻓﺴﻮﻯ ﻓﺴﻴﻞ ﺑﺎﺷﺪ‪ .‬ﻛﻪ ﻧﺒﻮﺩ‪.‬‬ ‫ﻫﻤﻴﻦﻃﻮﺭ ﻛﻪ ﺳﺎﻋﺖﻫﺎ ﻣﻰﮔﺬﺷﺘﻨﺪ ﻭ ﺧﻮﺭﺷﻴﺪ ﺯﺭﺩ ﺭﻧﮓ ﻣﻨﻈﻮﻣﻪﺍﺵ ﺑﻪ ﻣﻦ ﻧﺰﺩﻳﻚﺗﺮ ﻣﻰﺷﺪ‪ ،‬ﻣﻦ‬ ‫ﻭ ﻻﻳﺎﻻ ﺣﺴﺎﺑﻰ ﺑﺎ ﻫﻢ ﺭﻓﻴﻖ ﺷﺪﻳﻢ‪ .‬ﭼﻮﻥ ﺯﻣﺎﻥ ﻣﺤﺪﻭﺩ ﺑﻮﺩ‪ ،‬ﺑﺎﻳﺪ ﺧﻴﻠﻰ ﺳﺮﻳﻊﺗﺮ ﺍﺯ ﻣﻌﻤﻮﻝ ﻋﻤﻞ‬ ‫ﻣﻰﻛﺮﺩﻡ‪ .‬ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﻛﻪ ﻫﻴﭻ ﻛﺲ ﺟﺰ ﺧﻮﺩﻣﺎﻥ ﺩﻭ ﻧﻔﺮ ﺣﺮﻑﻫﺎﻳﻤﺎﻥ ﺭﺍ ﻧﻤﻰﻓﻬﻤﻴﺪ‪ ،‬ﺧﻠﻮﺕﻣﺎﻥ ﺭﺍ‬ ‫ﺗﻀﻤﻴﻦ ﻣﻰﻛﺮﺩ‪ .‬ﺩﺍﻧﺶ ﻧﺎﻗﺺ ﻻﻳﺎﻻ ﺍﺯ ﺍﻧﮕﻠﻴﺴﻰ ﻧﻴﺰ ﺧﻴﻠﻰ ﻣﻔﻴﺪ ﻭﺍﻗﻊ ﻣﻰﺷﺪ‪ ،‬ﭼﻮﻥ ﺑﻪ ﻣﻦ ﺍﺟﺎﺯﻩ‬ ‫ﻣﻰﺩﺍﺩ ﻫﺮ ﺍﻇﻬﺎﺭ ﻧﻈﺮ ﺑﻰﺷﺮﻣﺎﻧﻪﺍﻯ ﺭﺍ ﻛﻪ ﻣﻴﻠﻢ ﻣﻰﻛﺸﺪ‪ ،‬ﻋﻨﻮﺍﻥ ﻛﻨﻢ‪ .‬ﻫﻤﻴﺸﻪ ﻭﻗﺘﻰ ﻃﺮﻑ ﺣﺴﺎﺑﺖ‬ ‫ﺩﺧﺘﺮﻯ ﺍﺳﺖ ﻛﻪ ﺯﺑﺎﻧﺖ ﺭﺍ ﺩﺭﺳﺖ ﻭ ﺣﺴﺎﺑﻰ ﻧﻤﻰﻓﻬﻤﺪ‪ ،‬ﺍﻳﻦ ﻣﺰﻳﺖ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﺍﻭ ﻧﺴﺒﺖ ﺑﻪ‬ ‫ﻣﻜﻨﻮﻧﺎﺕ ﻗﻠﺒﻰﺍﺕ ﺷﻚ ﻛﻨﺪ ﻭ ﺑﺎ ﺧﻮﺩﺵ ﺑﮕﻮﻳﺪ ﺍﻣﻜﺎﻥ ﻧﺪﺍﺭﺩ ﻣﻨﻈﻮﺭﺵ ﺍﻳﻦ ﺑﻮﺩﻩ ﺑﺎﺷﺪ‪.‬‬ ‫ﻧﻴﺎﺯﻯ ﻧﻴﺴﺖ ﻛﻪ ﺑﻴﺎﻥ ﻛﻨﻢ ﭼﻘﺪﺭ ﺧﻮﺷﺤﺎﻝ ﺷﺪﻩ ﺑﻮﺩﻡ‪ .‬ﻣﻨﺎﻓﻊ ﺷﺨﺼﻰ ﻭ ﺷﻐﻠﻰ ﺩﺍﺷﺘﻨﺪ ﺑﺎ ﻫﻢ ﺩﺭ‬ ‫ﻳﻚ ﺭﺍﺳﺘﺎ ﺑﻪ ﭘﻴﺶ ﻣﻰﺭﻓﺘﻨﺪ‪ .‬ﺗﻨﻬﺎ ﻳﻚ ﻣﺴﺄﻟﻪ ﺁﺯﺍﺭﻡ ﻣﻰﺩﺍﺩ‪ .‬ﻫﻨﻮﺯ ﭼﻬﺮﻩﻯ ﻻﻳﺎﻻ ﺭﺍ ﻧﺪﻳﺪﻩ ﺑﻮﺩﻡ‪ .‬ﺍﮔﺮ‬ ‫ﺣﺴﺎﺑﻰ ﺯﺷﺖ ﻭ ﻛﺮﻳﻪ ﺑﻮﺩ ﭼﻪ؟‬ ‫ﻓﺮﺻﺘﻰ ﺑﺮﺍﻯ ﺭﻓﻊ ﺍﻳﻦ ﻣﺴﺄﻟﻪﻯ ﺁﺯﺍﺭ ﺩﻫﻨﺪﻩ ﺷﺶ ﺳﺎﻋﺖ ﭘﻴﺶ ﺍﺯ ﻓﺮﻭﺩﻡ ﺑﺮ ﺭﻭﻯ ﺳﻴﺎﺭﻩ ﺩﺳﺖ‬ ‫ﺩﺍﺩ‪ .‬ﺩﺭ ﻓﺎﺻﻠﻪﺍﻯ ﺑﻮﺩﻡ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺴﺘﻢ ﭘﻴﺎﻡﻫﺎﻯ ﻭﻳﺪﺋﻮﻳﻰ ﺭﺍ ﺩﺭﻳﺎﻓﺖ ﻛﻨﻢ‪ .‬ﭼﻨﺪ ﺛﺎﻧﻴﻪ ﺑﻴﺸﺘﺮ ﺑﺮﺍﻯ‬ ‫ﻣﻜﺲ ﻃﻮﻝ ﻧﻜﺸﻴﺪ ﺗﺎ ﺗﻮﺍﻧﺴﺖ ﭘﻴﺎﻡﻫﺎ ﺭﺍ ﺁﻧﺎﻟﻴﺰ ﻛﻨﺪ ﻭ ﮔﻴﺮﻧﺪﻩﻫﺎ ﺭﺍ ﺑﻪ ﺩﺭﺳﺘﻰ ﺗﻨﻈﻴﻢ ﻛﻨﺪ‪ .‬ﺑﺎﻻﺧﺮﻩ‬ ‫ﻣﻰﺗﻮﺍﻧﺴﺘﻢ ﺍﻭﻟﻴﻦ ﺗﺼﺎﻭﻳﺮ ﺍﺯ ﺳﻴﺎﺭﻩﻯ ﺭﻭﺑﻪﺭﻭﻳﻢ ﻭ ﻻﻳﺎﻻ ﺭﺍ ﺩﺭﻳﺎﻓﺖ ﻛﻨﻢ‪.‬‬ ‫ﻻﻳﺎﻻ ﺗﻘﺮﻳﺒﺎ ﺑﻪ ﺯﻳﺒﺎﻳﻰ ﺻﺪﺍﻳﺶ ﺑﻮﺩ‪ .‬ﻣﻦ ﻛﻪ ﻣﺎﺗﻢ ﺑﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﻟﺤﻈﺎﺗﻰ ﺍﺑﺪﻯ ﺭﺍ ﺑﺪﻭﻥ ﻛﻼﻡ ﺑﻪ ﺻﻔﺤﻪﻯ‬ ‫ﻧﻤﺎﻳﺸﮕﺮ ﺧﻴﺮﻩ ﻣﺎﻧﺪﻡ‪ .‬ﻻﻳﺎﻻ ﺑﻼﺧﺮﻩ ﺳﻜﻮﺕ ﺭﺍ ﺷﻜﺴﺖ‪» :‬ﭼﻰ ﺷﺪﻩ؟ ﻣﮕﻪ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﺩﺧﺘﺮ ﻧﺪﻳﺪﻯ؟«‬ ‫ﺑﺎﻳﺪ ﺍﻋﺘﺮﺍﻑ ﻛﻨﻢ ﻛﻪ ﺩﺭ ﻃﻮﻝ ﺗﺠﺮﺑﻴﺎﺗﻢ ﭼﻨﺪﺗﺎﻳﻰ ﺩﺧﺘﺮ ﺧﺪﺍﺧﻮﺏﻛﺮﺩﻩ ﺩﻳﺪﻩ ﺑﻮﺩﻡ‪ .‬ﻭﻟﻰ ﻫﺮﮔﺰ‬ ‫ﺩﺧﺘﺮﻯ ﻣﺎﻧﻨﺪ ﺍﻭ ﻧﺪﻳﺪﻩ ﺑﻮﺩﻡ‪ .‬ﺍﺯ ﺳﻮﻳﻰ ﺍﻭ ﻫﻢ ﻧﺴﺒﺖ ﺑﻪ ﻣﻦ ﻧﻈﺮ ﻣﺴﺎﻋﺪﻯ ﺩﺍﺷﺖ‪ ،‬ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﺩﻳﮕﺮ‬ ‫ﻫﻴﭻ ﻣﺎﻧﻌﻰ ﺑﺮ ﺳﺮ ﺭﺍﻩ ﺳﻌﺎﺩﺕﻣﺎﻥ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺖ‪ .‬ﺍﻟﺒﺘﻪ ﺍﮔﺮ ﻣﻰﺗﻮﺍﻧﺴﺘﻢ ﺍﺯ ﺩﺳﺖ ﻟﺸﻜﺮ ﺩﺍﻧﺸﻤﻨﺪﺍﻥ‬ ‫ﻭ ﺳﻴﺎﺳﺖﻣﺪﺍﺭﺍﻧﻰ ﻛﻪ ﺑﻼﻓﺎﺻﻠﻪ ﺑﻌﺪ ﺍﺯ ﻓﺮﻭﺩ ﺩﻭﺭﻩﺍﻡ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﺩﺭ ﺑﺮﻭﻡ‪ .‬ﺷﺎﻧﺴﻤﺎﻥ ﺑﺮﺍﻯ ﺗﻨﻬﺎ ﺑﻮﺩﻥ‬ ‫ﺑﺎ ﻫﻢ ﺧﻴﻠﻰ ﺍﻧﺪﻙ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ‪ .‬ﻣﺴﺄﻟﻪ ﺑﻪ ﻗﺪﺭﻯ ﺑﻐﺮﻧﺞ ﺑﻮﺩ ﻛﻪ ﺩﺍﺷﺘﻢ ﺧﻮﺩﻡ ﺭﺍ ﺭﺍﺿﻰ ﻣﻰﻛﺮﺩﻡ‬ ‫ﻛﻪ ﻳﻜﻰ ﺍﺯ ﺧﻂ ﻗﺮﻣﺰﻫﺎﻯ ﺍﺻﻠﻰﺍﻡ ﺭﺍ ﻫﻢ ﺑﺸﻜﻨﻢ‪ .‬ﺣﺎﺿﺮ ﺑﻮﺩﻡ ﺣﺘﺎ ﺑﺎ ﺍﻭ ﺍﺯﺩﻭﺍﺝ ﻛﻨﻢ‪ ،‬ﺍﮔﺮ ﺭﺍﻩ ﺩﻳﮕﺮﻯ‬ ‫ﺑﺮﺍﻯ ﺟﻮﺭ ﻛﺮﺩﻥ ﻣﻮﻗﻌﻴﺖ ﺑﺎﻗﻰ ﻧﻤﻰﻣﺎﻧﺪ‪ .‬ﻣﺘﺄﺳﻔﺎﻧﻪ ﺁﻥ ﺩﻭ ﻣﺎﻫﻰ ﻛﻪ ﺩﺭ ﻓﻀﺎ ﮔﺬﺭﺍﻧﺪﻩ ﺑﻮﺩﻡ‪ ،‬ﻓﺸﺎﺭ‬ ‫ﺭﺍ ﺑﻪ ﺣﺪ ﻧﻬﺎﻳﺖ ﺭﺳﺎﻧﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﭘﻨﺞ ﻫﺰﺍﺭ ﺳﺎﻝ ﺗﺎﺭﻳﺦ ‪-‬ﺩﺭ ﻭﺍﻗﻊ ﺩﻩ ﻫﺰﺍﺭ ﺳﺎﻝ ﺍﮔﺮ ﺗﺎﺭﻳﺦ ﻣﻮﺍﺯﻯ ﺗﻤﺪﻥ ﻣﺮﺍ ﻫﻢ ﺣﺴﺎﺏ ﻛﻨﻴﻢ‪ -‬ﺭﺍ‬ ‫ﻧﻤﻰﺗﻮﺍﻥ ﺩﺭ ﻋﺮﺽ ﭼﻨﺪ ﺳﺎﻋﺖ ﭘﻴﭽﺎﻧﺪ‪ .‬ﺍﻣﺎ ﭼﻮﻥ ﻣﻌﻠﻤﻰ ﻣﺸﺘﺎﻕ ﺩﺍﺷﺘﻢ‪ ،‬ﺧﻴﻠﻰ ﺳﺮﻳﻊ ﺍﻃﻼﻋﺎﺕ‬ ‫‪13‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺑﻰﺷﻚ ﮔﻮﻧﻪﺍﻯ ﺍﺯ ﺍﻧﮕﻠﻴﺴﻰ ﺑﻮﺩ‪ .‬ﺍﺯ ﻫﺮ ﺩﻩ ﻛﻠﻤﻪ ﻳﻜﻰ ﺭﺍ ﻣﻰﻓﻬﻤﻴﺪﻡ‪ .‬ﺑﻘﻴﻪ ﻳﺎ ﻛ ً‬ ‫ﻼ ﻧﺎﻣﻔﻬﻮﻡ ﺑﻮﺩ ﻳﺎ ﺑﻪ‬ ‫ﻗﺪﺭﻯ ﻣﺴﺦ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﻗﺎﺑﻞ ﺗﺸﺨﻴﺺ ﻧﺒﻮﺩ‪.‬‬ ‫ﻭﻗﺘﻰ ﺍﻭﻟﻴﻦ ﻛﻠﻤﺎﺕ ﺍﺯ ﺑﻠﻨﺪﮔﻮﻫﺎ ﭘﺨﺶ ﺷﺪ‪ ،‬ﺣﻘﻴﻘﺖ ﻣﺎﺟﺮﺍ ﺭﺍ ﺣﺪﺱ ﺯﺩﻡ‪ .‬ﻣﻦ ﺑﺎ ﻳﻚ ﻧﮋﺍﺩ ﺑﻴﮕﺎﻧﻪ‬ ‫ﻃﺮﻑ ﻧﺒﻮﺩﻡ‪ .‬ﺑﺎ ﭼﻴﺰﻯ ﺑﻪ ﻫﻤﺎﻥ ﺍﻧﺪﺍﺯﻩ ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺍﻣﻦﺗﺮ ﺭﻭﺑﻪﺭﻭ ﺑﻮﺩﻡ )ﺍﻣﻦﺗﺮ ﺑﺮﺍﻯ‬ ‫ﻳﻚ ﻣﻜﺘﺸﻒ ﺗﻚ ﻭ ﺗﻨﻬﺎ ﺗﻮﻯ ﻓﻀﺎﻯ ﺑﻰﺍﻧﺘﻬﺎ(‪ .‬ﻣﻦ ﺗﻮﺍﻧﺴﺘﻪ ﺑﻮﺩﻡ ﺑﺎ ﻳﻜﻰ ﺍﺯ ﻣﻬﺎﺟﺮﻧﺸﻴﻦﻫﺎﻯ‬ ‫ﮔﻤﺸﺪﻩﻯ ﺩﻭﺭﺍﻥ ﺍﻣﭙﺮﺍﻃﻮﺭﻯ ﺍﻭﻝ ﺍﺭﺗﺒﺎﻁ ﺑﺮﻗﺮﺍﺭ ﻛﻨﻢ‪ .‬ﭘﻴﺸﺘﺎﺯﺍﻧﻰ ﻛﻪ ﺩﺭ ﺩﻭﺭﺍﻥ ﺍﻭﻝ ﺍﻛﺘﺸﺎﻑ ﻓﻀﺎ‪،‬‬ ‫ﻳﻌﻨﻰ ﭘﻨﺞ ﻫﺰﺍﺭ ﺳﺎﻝ ﭘﻴﺶ‪ ،‬ﺯﻣﻴﻦ ﺭﺍ ﺗﺮﻙ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻭﻗﺘﻰ ﺍﻣﭙﺮﺍﻃﻮﺭﻯ ﺳﻘﻮﻁ ﻛﺮﺩ‪ ،‬ﺧﻴﻠﻰ ﺍﺯ‬ ‫ﻣﻬﺎﺟﺮﻧﺸﻴﻦﻫﺎ ﺍﺯ ﺑﻴﻦ ﺭﻓﺘﻨﺪ ﻳﺎ ﺑﻪ ﺑﺮﺑﺮﻳﺖ ﻛﺸﻴﺪﻩ ﺷﺪﻧﺪ‪ .‬ﺍﻳﻦ ﻳﻜﻰ ﺍﻣﺎ ﻇﺎﻫﺮﺍ ً ﺟﺎﻥ ﺳﺎﻟﻢ ﺑﻪ ﺩﺭ ﺑﺮﺩﻩ‬ ‫ﺑﻮﺩ‪.‬‬ ‫ﺑﺎ ﺳﺎﺩﻩﺗﺮﻳﻦ ﻛﻠﻤﺎﺕ ﻣﻤﻜﻦ ﻭ ﺑﺎ ﻛﻨﺪﺗﺮﻳﻦ ﻟﺤﻦ ﺑﺮﺍﻳﺸﺎﻥ ﭘﻴﺎﻣﻰ ﻓﺮﺳﺘﺎﺩﻡ‪ ،‬ﺍﻣﺎ ﭘﻨﺞ ﻫﺰﺍﺭ ﺳﺎﻝ ﺯﻣﺎﻥ‬ ‫ﺯﻳﺎﺩﻯ ﺑﺮﺍﻯ ﻫﺮ ﺯﺑﺎﻧﻰ ﺍﺳﺖ ﻭ ﺍﺭﺗﺒﺎﻁ ﻋﻤ ً‬ ‫ﻼ ﻏﻴﺮ ﻣﻤﻜﻦ ﻣﻰﻧﻤﻮﺩ‪ .‬ﻣﺸﺨﺺ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﺑﺮﻗﺮﺍﺭﻯ ﺍﺭﺗﺒﺎﻁ‬ ‫ﺧﻴﻠﻰ ﻫﻴﺠﺎﻥﺯﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻟﺒﺘﻪ ﻫﻴﺠﺎﻥﺯﺩﻩ ﺍﺯ ﻧﻮﻉ ﺧﻮﺑﺶ‪ .‬ﭼﻮﻥ ﺧﻴﻠﻰ ﻭﻗﺖﻫﺎ ﻗﻀﻴﻪ ﺑﺮ ﻫﻤﻴﻦ‬ ‫ﻣﻨﻮﺍﻝ ﻧﻴﺴﺖ‪ .‬ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺗﻤﺪﻥﻫﺎﻯ ﺑﺎﻗﻰﻣﺎﻧﺪﻩ ﺍﺯ ﺩﻭﺭﺍﻥ ﺍﻣﭙﺮﺍﻃﻮﺭﻯ ﺍﻭﻝ‪ ،‬ﺑﻴﮕﺎﻧﻪﺗﺮﺳﻰ ﺩﺍﺭﻧﺪ ﻭ‬ ‫ﻋﻜﺲﺍﻟﻌﻤﻠﺸﺎﻥ ﺑﻪ ﺍﻳﻦ ﻭﺍﻗﻌﻴﺖ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﻓﻀﺎﻯ ﺑﻰﻛﺮﺍﻥ ﺗﻨﻬﺎ ﻧﻴﺴﺘﻨﺪ‪ ،‬ﺑﻪ ﻏﺎﻳﺖ ﺧﺸﻮﻧﺖﺁﻣﻴﺰ‬ ‫ﺍﺳﺖ‪.‬‬ ‫ﺗﻼﺵﻣﺎﻥ ﺑﺮﺍﻯ ﺑﺮﻗﺮﺍﺭﻯ ﺍﺭﺗﺒﺎﻁ ﺑﻰﻧﺘﻴﺠﻪ ﺑﻮﺩ ﻭ ﭘﻴﺸﺮﻓﺖ ﭼﻨﺪﺍﻧﻰ ﻧﻜﺮﺩﻩ ﺑﻮﺩﻳﻢ ﻛﻪ ﻧﺎﮔﻬﺎﻥ ﻋﺎﻣﻠﻰ‬ ‫ﺩﻳﮕﺮ ﻭﺍﺭﺩ ﻣﻌﺎﺩﻟﻪ ﺷﺪ‪ .‬ﻋﺎﻣﻠﻰ ﻛﻪ ﺩﻳﺪ ﻣﺮﺍ ﺑﻪ ﻣﺎﺟﺮﺍ ﺑﻼﻓﺎﺻﻠﻪ ﺗﻐﻴﻴﺮ ﺩﺍﺩ‪ .‬ﺻﺪﺍﻳﻰ ﺯﻧﺎﻧﻪ ﺍﺯ ﺑﻠﻨﺪﮔﻮ‬ ‫ﭘﺨﺶ ﺷﺪ‪.‬‬ ‫ﺯﻳﺒﺎﺗﺮﻳﻦ ﺻﺪﺍﻯ ﺯﻧﺎﻧﻪﺍﻯ ﺑﻮﺩ ﻛﻪ ﺗﺎ ﺁﻥ ﺯﻣﺎﻥ ﺷﻨﻴﺪﻩ ﺑﻮﺩﻡ‪ ،‬ﺑﻪ ﻧﺤﻮﻯ ﻛﻪ ﺣﺘﺎ ﺍﮔﺮ ﺁﻥ ﻫﻤﻪ ﻫﻔﺘﻪ ﺭﺍ‬ ‫ﺗﻚ ﻭ ﺗﻨﻬﺎ ﺩﺭ ﻓﻀﺎ ﺳﺮ ﻧﻜﺮﺩﻩ ﺑﻮﺩﻡ ﻫﻢ‪ ،‬ﺑﻼﻓﺎﺻﻠﻪ ﻋﺎﺷﻘﺶ ﻣﻰﺷﺪﻡ‪ .‬ﺻﺪﺍ ﺑﺴﻴﺎﺭ ﻋﻤﻴﻖ ﻭ ﺩﺭ ﻋﻴﻦ‬ ‫ﺣﺎﻝ ﻛﺎﻣ ً‬ ‫ﻼ ﺯﻧﺎﻧﻪ ﺑﻮﺩ‪ .‬ﮔﺮﻡ ﺑﻮﺩ ﻭ ﻧﻮﺍﺯﺵﮔﺮ ﻭ ﺗﻤﺎﻡ ﺣﻮﺍﺱ ﻣﺮﺍ ﻣﺴﺤﻮﺭ ﺧﻮﺩ ﻣﻰﻛﺮﺩ‪ .‬ﭼﻨﺎﻥ ﻣﺤﻮ ﺻﺪﺍ‬ ‫ﺷﺪﻩ ﺑﻮﺩﻡ ﻛﻪ ﭼﻨﺪﻳﻦ ﺩﻗﻴﻘﻪ ﻃﻮﻝ ﻛﺸﻴﺪ ﺗﺎ ﻓﻬﻤﻴﺪﻡ ﺳﺎﺣﺮﻩﻯ ﻧﺎﭘﻴﺪﺍﻯ ﻣﻦ ﺑﻪ ﮔﻮﻧﻪﺍﻯ ﺻﺤﺒﺖ‬ ‫ﻣﻰﻛﻨﺪ ﻛﻪ ﺗﻘﺮﻳﺒﺎً ﺑﺮﺍﻳﻢ ﻗﺎﺑﻞ ﺩﺭﻙ ﺍﺳﺖ‪ .‬ﺑﻪ ﮔﻮﻧﻪﺍﻯ ﺍﺯ ﺍﻧﮕﻠﻴﺴﻰ ﺻﺤﺒﺖ ﻣﻰﻛﺮﺩ ﻛﻪ ﻧﻴﻤﻰ ﺍﺯ ﺁﻥ‬ ‫ﺭﺍ ﻣﻰﻓﻬﻤﻴﺪﻡ‪.‬‬ ‫ﺍﻟﻘﺼﻪ ﻛﻤﻰ ﺑﻌﺪ ﻣﻌﻠﻮﻡ ﺷﺪ ﺍﺳﻤﺶ ﻻﻳﺎﻻ ]‪ [11‬ﺍﺳﺖ ﻭ ﺗﻨﻬﺎ ﺯﺑﺎﻥﺷﻨﺎﺱ ﺳﻴﺎﺭﻩﺍﺵ ﺍﺳﺖ ﻛﻪ‬ ‫ﻣﺘﺨﺼﺺ ﺍﻧﮕﻠﻴﺴﻰ ﺑﺪﻭﻯ ﺍﺳﺖ‪ .‬ﺑﻼﻓﺎﺻﻠﻪ ﺑﻌﺪ ﺍﺯ ﺑﺮﻗﺮﺍﺭﻯ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﺳﻔﻴﻨﻪﻯ ﻣﻦ‪ ،‬ﺍﺣﻀﺎﺭ ﺷﺪﻩ ﺑﻮﺩ‬ ‫ﺗﺎ ﻛﺎﺭ ﺗﺮﺟﻤﻪ ﺭﺍ ﺍﻧﺠﺎﻡ ﺩﻫﺪ‪ .‬ﺍﺯ ﻗﺮﺍﺭ ﺑﺨﺖ ﺑﺎ ﻣﻦ ﻳﺎﺭ ﺑﻮﺩ‪ ،‬ﭼﻮﻥ ﺑﻪ ﺭﺍﺣﺘﻰ ﻣﻤﻜﻦ ﺑﻮﺩ ﻛﻪ ﺯﺑﺎﻥﺷﻨﺎﺱ‬ ‫‪11‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﻛﻤﻰ ﺩﺍﺷﺘﻨﺪ‪ .‬ﻣﻌﻠﻮﻡ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﻳﻚ ﻓﺮﺳﺘﻨﺪﻩﻯ ﺭﺍﻫﻨﻤﺎ ﺳﺎﻃﻊ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺍﻣﺎ ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ ﻣﻦ ﺍﻃﻼﻉ‬ ‫ﺩﺍﺷﺘﻢ‪ ،‬ﻫﻴﭻ ﻳﻚ ﺍﺯ ﺳﻔﻴﻨﻪﻫﺎﻯ ﻣﺎ ﻫﺮﮔﺰ ﺑﻪ ﺍﻳﻦ ﺑﺨﺶ ﺩﻭﺭ ﺍﻓﺘﺎﺩﻩ ﺍﺯ ﻓﻀﺎ ﻧﻴﺎﻣﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻓﺮﺽ ﺑﺮ ﺍﻳﻦ‬ ‫ﺑﻮﺩ ﻛﻪ ﻣﻦ ﺍﻭﻟﻴﻦ ﻛﺴﻰ ﻫﺴﺘﻢ ﻛﻪ ﺩﺳﺖ ﺑﻪ ﺍﻛﺘﺸﺎﻑ ﺍﻳﻦ ﺑﺨﺶ ﺍﺯ ﻓﻀﺎ ﻣﻰﺯﻧﻢ‪.‬‬ ‫ﺑﺨﺖ ﺑﻪ ﻣﻦ ﺭﻭ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺑﺎﻻﺧﺮﻩ ﺁﻥ ﻫﻤﻪ ﺳﺎﻝ ﺗﻨﻬﺎ ﺳﺮ ﻛﺮﺩﻥ ﺩﺭ ﻓﻀﺎﻯ ﺗﺎﺭﻳﻚ ﻧﺘﻴﺠﻪ ﺩﺍﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﺩﺭ ﻓﺎﺻﻠﻪﺍﻯ ﺍﻧﺪﻙ ﺩﺭ ﺑﺮﺍﺑﺮﻡ ﺗﻤﺪﻧﻰ ﺩﻳﮕﺮ ﻭﺟﻮﺩ ﺩﺍﺷﺖ‪ .‬ﺗﻤﺪﻧﻰ ﻛﻪ ﺑﻪ ﻗﺪﺭﻯ ﭘﻴﺸﺮﻓﺘﻪ ﺑﻮﺩ ﻛﻪ ﺍﺯ‬ ‫ﻓﻨﺎﻭﺭﻯ ﻫﺎﻳﭙﺮ‪-‬ﺭﺍﺩﻳﻮ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺑﻮﺩ‪.‬‬ ‫ﻛﺎﻣ ً‬ ‫ﻼ ﻣﻰﺩﺍﻧﺴﺘﻢ ﭼﻪ ﻛﺎﺭ ﺑﺎﻳﺪ ﺑﻜﻨﻢ‪ .‬ﺑﻪ ﻣﺤﺾ ﺍﻳﻦ ﻛﻪ ﻣﻜﺲ ﺑﺮﺩﺍﺷﺖﻫﺎﻯ ﻣﺮﺍ ﺗﺄﻳﻴﺪ ﻛﺮﺩ ﻭ‬ ‫ﺁﻧﺎﻟﻴﺰﻫﺎﻯ ﺍﻭﻟﻴﻪﺍﺵ ﺭﺍ ﺍﻧﺠﺎﻡ ﺩﺍﺩ‪ ،‬ﻳﻚ ﭘﻴﻐﺎﻡﺭﺳﺎﻥ ﺑﻪ ﺳﻤﺖ ﻣﺮﻛﺰ ﺍﺭﺳﺎﻝ ﻛﺮﺩﻡ‪ .‬ﺍﮔﺮ ﺍﺗﻔﺎﻗﻰ ﺑﺮﺍﻳﻢ‬ ‫ﻣﻰﺍﻓﺘﺎﺩ‪ ،‬ﺳﺎﺯﻣﺎﻥ ﻧﻘﺸﻪﺑﺮﺩﺍﺭﻯ ﺑﻴﻦ ﻛﻬﻜﺸﺎﻧﻰ ﻣﻰﺩﺍﻧﺴﺖ ﻛﺠﺎ ﭘﻴﺪﺍﻳﻢ ﻛﻨﺪ ﻭ ﻣﺘﻮﺟﻪ ﻣﻰﺷﺪ ﭼﻪ‬ ‫ﺑﻼﻳﻰ ﺳﺮﻡ ﺁﻣﺪﻩ‪ .‬ﻫﻤﻴﻦ ﻗﺪﺭ ﻛﻪ ﺑﺪﺍﻧﻢ ﺍﮔﺮ ﺳﺮ ﺯﻣﺎﻥﺑﻨﺪﻯ ﺑﻪ ﻣﺮﻛﺰ ﺑﺮﻧﮕﺮﺩﻡ‪ ،‬ﺭﻓﻘﺎ ﻓﻰﺍﻟﻔﻮﺭ ﺑﺮﺍﻯ‬ ‫ﺟﻤﻊ ﻛﺮﺩﻥ ﺧﺮﺩﻩﺭﻳﺰﻩﻫﺎﻳﻢ ﻣﻰﺁﻳﻨﺪ‪ ،‬ﻣﺎﻳﻪﻯ ﺩﻟﮕﺮﻣﻰ ﺍﺳﺖ‪.‬‬ ‫ﻛﻤﻰ ﺑﻌﺪ ﺩﻳﮕﺮ ﺷﻜﻰ ﺑﺎﻗﻰ ﻧﻤﺎﻧﺪﻩ ﺑﻮﺩ ﻛﻪ ﺳﻴﮕﻨﺎﻝﻫﺎ ﺩﺍﺭﺩ ﺍﺯ ﻃﺮﻑ ﺳﺘﺎﺭﻩﻯ ﺯﺭﺩﻯ ﻣﻰﺁﻳﺪ ﻛﻪ ﺩﺭ‬ ‫ﺍﻣﺘﺪﺍﺩ ﺟﺮﻳﺎﻥ ﺳﻴﮕﻨﺎﻝﻫﺎ ﻗﺮﺍﺭ ﺩﺍﺷﺖ ﻭ ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﻣﺴﻴﺮﻡ ﺭﺍ ﺑﻪ ﺳﻤﺖ ﺁﻥ ﺗﻨﻈﻴﻢ ﻛﺮﺩﻡ‪ .‬ﺑﺎ ﺧﻮﺩﻡ‬ ‫ﮔﻔﺘﻢ‪ ،‬ﻣﻮﺟﻮﺩﺍﺗﻰ ﻛﻪ ﭼﻨﻴﻦ ﺳﻴﮕﻨﺎﻝﻫﺎﻯ ﻗﺪﺭﺗﻤﻨﺪﻯ ﺑﻪ ﻓﻀﺎ ﻣﻰﻓﺮﺳﺘﻨﺪ‪ ،‬ﺑﺪﻭﻥ ﺷﻚ ﻓﻦﺁﻭﺭﻯ‬ ‫ﺳﻔﺮﻫﺎﻯ ﻓﻀﺎﻳﻰ ﺭﺍ ﻫﻢ ﺩﺍﺭﻧﺪ‪ .‬ﺍﻳﻦ ﻳﻌﻨﻰ ﻣﻦ ﺑﺎ ﺗﻤﺪﻧﻰ ﺍﺭﺗﺒﺎﻁ ﺑﺮﻗﺮﺍﺭ ﻛﺮﺩﻩ ﺑﻮﺩﻡ ﻛﻪ ﺍﺣﺘﻤﺎﻻً ﺑﻪ‬ ‫ﭘﻴﺸﺮﻓﺘﮕﻰ ﺗﻤﺪﻥ ﺧﻮﺩﻡ ﺑﻮﺩ‪.‬‬ ‫ﻫﻨﻮﺯ ﻓﺎﺻﻠﻪﻯ ﺯﻳﺎﺩﻯ ﺑﺎ ﻣﺒﺪﺍ ﺳﻴﮕﻨﺎﻝﻫﺎ ﺩﺍﺷﺘﻢ ﻛﻪ ﺑﺎ ﻓﺮﺳﺘﻨﺪﻩﻯ ﺧﻮﺩﻡ ﺷﺮﻭﻉ ﻛﺮﺩﻡ ﺑﻪ ﭘﻴﺎﻡ‬ ‫ﻓﺮﺳﺘﺎﺩﻥ‪ .‬ﻣﺨﺎﺑﺮﻩﻯ ﺑﻼﻓﺎﺻﻠﻪﻯ ﭘﺎﺳﺦ ﻏﺎﻓﻠﮕﻴﺮﻡ ﻛﺮﺩ‪ .‬ﺳﻴﮕﻨﺎﻝﻫﺎﻯ ﻗﺒﻠﻰ ﺑﺎ ﭘﺎﻟﺲﻫﺎﻯ ﭘﺸﺖ ﺳﺮ ﻫﻢ‬ ‫ﻛﻪ ﻣﺪﺍﻡ ﺗﻜﺮﺍﺭ ﻣﻰﺷﺪﻧﺪ‪ ،‬ﺟﺎﻳﮕﺰﻳﻦ ﺷﺪ‪ .‬ﺣﺘﺎ ﻣﻜﺲ ﻫﻢ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﭘﻴﺎﻡ ﺭﺍ ﺗﺮﺟﻤﻪ ﻛﻨﺪ‪ .‬ﺍﺣﺘﻤﺎﻻً‬ ‫ﻣﻀﻤﻮﻥ ﻛﻠﻰﺍﺵ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ‪» :‬ﺗﻮ ﺩﻳﮕﻪ ﻛﻰ ﻫﺴﺘﻰ؟« ﻛﻪ ﺣﺘﺎ ﺑﺮﺍﻯ ﺑﺎﻫﻮﺵﺗﺮﻳﻦ ﻣﺎﺷﻴﻦﻫﺎﻯ‬ ‫ﺗﺮﺟﻤﻪ ﻫﻢ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻛﺎﻓﻰ ﻟﻘﻤﻪﻯ ﭼﺮﺏ ﻭ ﻧﺮﻣﻰ ﻧﺒﻮﺩ‪.‬‬ ‫ﺳﺎﻋﺖ ﺑﻪ ﺳﺎﻋﺖ ﭘﻴﺎﻡﻫﺎ ﻗﺪﺭﺗﻤﻨﺪﺗﺮ ﻣﻰﺷﺪﻧﺪ ﻭ ﻣﻦ ﻫﻢ ﺑﺮﺍﻯ ﺍﻳﻦ ﻛﻪ ﺑﻪ ﻓﺮﺳﺘﻨﺪﻩ ﺍﻃﻤﻴﻨﺎﻥ ﺑﺪﻫﻢ‬ ‫ﻫﻨﻮﺯ ﻫﻤﺎﻥ ﺟﺎ ﻫﺴﺘﻢ‪ ،‬ﮔﺎﻫﻰ ﺍﻭﻗﺎﺕ ﻫﻤﺎﻥ ﭘﻴﺎﻡ ﺭﺍ ﺑﻪ ﺳﻤﺖ ﻣﺒﺪﺍ ﻣﺨﺎﺑﺮﻩ ﻣﻰﻛﺮﺩﻡ‪ .‬ﻛﻤﻰ ﺑﻌﺪ ﺑﺮﺍﻯ‬ ‫ﺩﻭﻣﻴﻦ ﺑﺎﺭ ﻏﺎﻓﻠﮕﻴﺮ ﺷﺪﻡ‪.‬‬ ‫ﺍﻧﺘﻈﺎﺭ ﺩﺍﺷﺘﻢ ﻛﻪ ﺑﻪ ﻣﺤﺾ ﺍﻳﻦ ﻛﻪ ﻣﻦ ﺑﻪ ﻣﺤﺪﻭﺩﻩﻯ ﻣﻨﺎﺳﺐ ﺑﺮﺳﻢ‪ ،‬ﺁﻥﻫﺎ ﻓﺮﺳﺘﺎﺩﻥ ﭘﻴﺎﻡ ﺻﻮﺗﻰ‬ ‫ﺭﺍ ﺷﺮﻭﻉ ﻛﻨﻨﺪ‪ .‬ﻛﻪ ﺩﻗﻴﻘﺎً ﻫﻤﺎﻥ ﻛﺎﺭﻯ ﺑﻮﺩ ﻛﻪ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻧﺪ‪ .‬ﭼﻴﺰﻯ ﻛﻪ ﺍﻧﺘﻈﺎﺭﺵ ﺭﺍ ﻧﺪﺍﺷﺘﻢ ﺍﻳﻦ ﺑﻮﺩ‬ ‫ﻛﻪ ﭘﻴﺎﻡ ﺑﻪ ﺯﺑﺎﻥ ﺍﻧﺴﺎﻥﻫﺎ ﺑﺎﺷﺪ‪ .‬ﺁﻥ ﻫﻢ ﺍﻧﮕﻠﻴﺴﻰ‪ .‬ﻛﻪ ﺍﻟﺒﺘﻪ ﺍﺯ ﻧﻈﺮ ﻣﻦ ﻫﻴﭻ ﻣﻔﻬﻮﻣﻰ ﻧﺪﺍﺷﺖ‪ ،‬ﺍﻣﺎ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺑﺎ ﺧﻮﺩﻡ ﮔﻔﺘﻢ ﺻﺪ ﺍﻟﺒﺘﻪ‪ ،‬ﻭ ﻟﺒﺎﺱ ﻓﻀﺎﻧﻮﺭﺩﻯﺍﻡ ﺭﺍ ﺗﻨﻢ ﻛﺮﺩﻡ ﻭ ﺭﺍﻫﻰ ﺳﺎﺣﻞ ﺗﻨﻬﺎ ﺩﺭﻳﺎﻯ ﺩﺍﻳﺎﺩﻧﻪ ﻭﻯ‬ ‫ﺷﺪﻡ‪ .‬ﺻﺪ ﻣﺘﺮ ﺑﻴﺶﺗﺮ ﻧﺮﻓﺘﻪ ﺑﻮﺩﻡ ﻛﻪ ﺩﻩ ﺩﻭﺍﺯﺩﻩ ﺗﺎ ﭘﺮﻭژﻩﻯ ﻛﺎﺭ ﺩﺭﺳﺖ ﺳﺮ ﻭ ﻛﻠﻪﺷﺎﻥ ﭘﻴﺪﺍ ﺷﺪ‪.‬‬ ‫ﻧﻬﺎﻳﺘﺎً ﻣﺠﺒﻮﺭ ﺷﺪﻡ ﺧﻴﻠﻰ ﺍﺯ ﺩﺍﻭﻃﻠﺒﺎﻥ ﺭﺍ ﺩﺭ ﻛﻤﺎﻝ ﺗﺎﺳﻒ ﺭﺩ ﻛﻨﻢ ﻭ ﻧﺎﺗﺎﻟﻰ ]‪ [6‬ﺭﺍ ﺑﺮﮔﺰﻳﻨﻢ‪.‬‬ ‫ﻣﺪﺗﻰ ﺧﻮﺵ ﺑﻮﺩﻳﻢ ﺗﺎ ﺍﻳﻦ ﻛﻪ ﺍﻋﺘﺮﺍﺽﻫﺎﻯ ﻧﺎﺗﺎﻟﻰ ﻧﺴﺒﺖ ﺑﻪ ﺭﺍﺑﻄﻪﻯ ﻣﻮﺍﺯﻯ ﻣﻦ ﺑﺎ ﺭﻭﺙ ]‪) [7‬ﻳﺎ‬ ‫ﺷﺎﻳﺪ ﻫﻢ ﻛﻰ]‪ ([8‬ﺑﺎﻻ ﮔﺮﻓﺖ‪ .‬ﻣﻦ ﻫﻢ ﺍﺯ ﺩﺧﺘﺮﻫﺎﻳﻰ ﻛﻪ ﻓﻜﺮ ﻣﻰﻛﻨﻨﺪ ﺑﺎ ﻫﺮ ﻣﺮﺩﻯ ﻛﻪ ﻣﻰﺧﻮﺍﺑﻨﺪ‬ ‫ﺻﺎﺣﺒﺶ ﻫﺴﺘﻨﺪ‪ ،‬ﺣﺴﺎﺑﻰ ﺑﻴﺰﺍﺭﻡ‪ .‬ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﻫﻤﻪ ﭼﻴﺰ ﻣﺎﻟﻴﺪﻩ ﺷﺪ‪ .‬ﺁﻥ ﻫﻢ ﭼﻪ ﻣﺎﻟﻴﺪﻩ ﺷﺪﻧﻰ‪.‬‬ ‫ﺣﻴﻒ ﺁﻥ ﻫﻤﻪ ﻇﺮﻭﻑ ﺳﻔﺎﻟﻰ ﮔﺮﺍﻥ ﻗﻴﻤﺘﻰ ﻛﻪ ﺧﻮﺭﺩ ﻭ ﺧﺎﻛﺸﻴﺮ ﺷﺪ‪ .‬ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺑﺎﻋﺚ ﺷﺪ ﻛﻪ ﺗﺎ‬ ‫ﺩﻭ ﺭﻭﺯ ﺑﻰﻛﺲ ﻭ ﻛﺎﺭ ﻗﻞ ﺑﺨﻮﺭﻡ‪ .‬ﺍﻣﺎ ﺑﺎﻻﺧﺮﻩ ﺳﻴﻨﺘﻴﺎ ]‪ [9‬ﺑﻪ ﺩﺍﺩﻡ ﺭﺳﻴﺪ ﻭ‪ ...‬ﺩﻳﮕﺮ ﺗﺎ ﺣﺎﻻ ﺣﺴﺎﺏ‬ ‫ﻛﺎﺭ ﺩﺳﺘﺘﺎﻥ ﺁﻣﺪﻩ ﻭ ﻧﻴﺎﺯﻯ ﻧﻴﺴﺖ ﺑﺎ ﺗﻌﺮﻳﻒ ﺟﺰﻳﻴﺎﺕ ﺣﻮﺻﻠﻪﺗﺎﻥ ﺭﺍ ﺳﺮ ﺑﺒﺮﻡ‪.‬‬ ‫ﺩﺭ ﺍﻳﻦ ﺳﻔﺮ ﺑﻪ ﺧﺼﻮﺹ ﻋﻜﺲﻫﺎﻯ ﻣﺴﺘﻬﺠﻨﻢ ﺭﺍ ﺍﺯ ﻗﺼﺪ ﺑﺎ ﺧﻮﺩﻡ ﻧﻴﺎﻭﺭﺩﻩ ﺑﻮﺩﻡ‪ ،‬ﭼﻮﻥ ﻣﻰﺩﺍﻧﺴﺘﻢ‬ ‫ﺍﻭﺿﺎﻉ ﺭﺍ ﺑﺮﺍﻳﻢ ﺳﺨﺖﺗﺮ ﺧﻮﺍﻫﻨﺪ ﻛﺮﺩ‪ .‬ﺍﻣﺎ ﻋﻤﻴﻘﺎً ﺩﺭ ﺍﺷﺘﺒﺎﻩ ﺑﻮﺩﻡ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺍﺯ ﺁﻥﺟﺎﻳﻰ ﻛﻪ ﺧﻮﺩﻡ‬ ‫ﻳﻚ ﭘﺎ ﻫﻨﺮﻣﻨﺪ ﺑﻮﺩﻡ‪ ،‬ﺧﻮﺩﻡ ﺑﺮﺍﻯ ﺧﻮﺩﻡ ﺗﺼﺎﻭﻳﺮ ﻣﺴﺘﻬﺠﻦ ﻛﺸﻴﺪﻡ ﻭ ﻃﻮﻟﻰ ﻧﻜﺸﻴﺪ ﻛﻪ ﺻﺎﺣﺐ‬ ‫ﻣﺠﻤﻮﻋﻪﺍﻯ ﺷﺪﻡ ﻛﻪ ﻧﻈﻴﺮﺵ ﺩﺭ ﻫﻴﭻ ﺳﻴﺎﺭﻩﻯ ﺁﺑﺮﻭﻣﻨﺪﻯ ﭘﻴﺪﺍ ﻧﻤﻰﺷﺪ‪.‬‬ ‫ﺍﺻ ً‬ ‫ﻼ ﺩﻭﺳﺖ ﻧﺪﺍﺭﻡ ﻛﻪ ﻓﻜﺮ ﻛﻨﻴﺪ ﺍﻳﻦ ﻗﺒﻴﻞ ﻣﺸﻐﻮﻟﻴﺎﺕ‪ ،‬ﺫﺭﻩﺍﻯ ﺑﺎﺯﺩﻩ ﻛﺎﺭﻯ ﻣﺮﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻜﻰ‬ ‫ﺍﺯ ﻛﺎﺭﻛﻨﺎﻥ ﺳﺎﺯﻣﺎﻥ ﻧﻘﺸﻪﺑﺮﺩﺍﺭﻯ ﺑﻴﻦﻛﻬﻜﺸﺎﻧﻰ ﻛﺎﻫﺶ ﻣﻰﺩﺍﺩ‪ .‬ﻓﻘﻂ ﺩﺭ ﻓﺎﺻﻠﻪﻯ ﺑﻰﭘﺎﻳﺎﻥ ﺑﻴﻦ‬ ‫ﺳﺘﺎﺭﻩﻫﺎ ﻛﻪ ﻫﻴﭻ ﻫﻤﺪﻣﻰ ﺟﺰ ﻛﺎﻣﭙﻴﻮﺗﺮ ﺳﻔﻴﻨﻪ ﻧﺪﺍﺷﺘﻢ‪ ،‬ﺑﻴﻀﻪﻫﺎﻳﻢ ﺑﺮ ﻣﻦ ﭘﻴﺮﻭﺯ ﻣﻰﺷﺪﻧﺪ‪ .‬ﻣﻜﺲ‪،‬‬ ‫ﻫﻤﻜﺎﺭ ﺍﻟﻜﺘﺮﻭﻧﻴﻜﻰﺍﻡ‪ ،‬ﺩﺭ ﺣﺎﻟﺖ ﻣﻌﻤﻮﻝ ﻫﻢﺻﺤﺒﺖ ﺧﻮﺑﻰ ﺑﻮﺩ‪ .‬ﺍﻣﺎ ﻣﺴﺎﺋﻠﻰ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ ﻛﻪ ﺍﺯ ﻓﻬﻢ‬ ‫ﻭ ﺩﺭﻙ ﻳﻚ ﻣﺎﺷﻴﻦ ﺧﺎﺭﺝ ﺍﺳﺖ ﻭ ﺍﻧﺘﻈﺎﺭﻯ ﻫﻢ ﺍﺯﺷﺎﻥ ﻧﻤﻰﺭﻭﺩ‪ .‬ﭼﻨﺪﻳﻦ ﺑﺎﺭ ﻭﻗﺘﻰ ﺣﺎﻝ ﺧﻮﺷﻰ‬ ‫ﻧﺪﺍﺷﺘﻢ ﻭ ﻇﺎﻫﺮﺍ ً ﺑﻰﺧﻮﺩ ﻭ ﺑﻰﺟﻬﺖ ﺍﺯ ﻛﻮﺭﻩ ﺩﺭ ﺭﻓﺘﻢ‪ ،‬ﺣﺴﺎﺑﻰ ﺧﺎﻃﺮﺵ ﺭﺍ ﺭﻧﺠﺎﻧﺪﻡ‪ .‬ﻣﻰﭘﺮﺳﻴﺪ‪:‬‬ ‫»ﭼﻰ ﺷﺪﻩ ﺟﻮ ]‪[10‬؟ ﻧﻜﻨﻪ ﺍﺯ ﺍﻳﻦ ﻧﺎﺭﺍﺣﺘﻰ ﻛﻪ ﺩﺭ ﺷﻄﺮﻧﺞ ﺷﻜﺴﺖﺍﺕ ﺩﺍﺩﻡ؟ ﻣﻦ ﻛﻪ ﻫﻤﻮﻥ ﺍﻭﻝ‬ ‫ﺑﻬﺖ ﻫﺸﺪﺍﺭ ﺩﺍﺩﻡ ﻛﻪ ﺷﻜﺴﺖﺍﺕ ﻣﻰﺩﻡ‪«.‬‬ ‫ﻣﻦ ﻫﻢ ﻧﻌﺮﻩ ﻣﻰﻛﺸﻴﺪﻡ‪» :‬ﺑﺮﻭ ﺑﻪ ﺟﻬﻨﻢ ﺑﺎﺑﺎ!« ﻭ ﺑﻌﺪ ﻣﺠﺒﻮﺭ ﻣﻰﺷﺪﻡ ﭘﻨﺞ ﺩﻗﻴﻘﻪﻯ ﺗﻤﺎﻡ ﺭﺍ ﺑﺎ ﺳﻴﺴﺘﻢ‬ ‫ﻧﺎﻭﺑﺮﻯ ﺳﻔﻴﻨﻪ ﺳﺮ ﻭ ﻛﻠﻪ ﺑﺰﻧﻢ ﻛﻪ ﺩﺭ ﺩﺭﻙ ﺍﺳﺘﻌﺎﺭﻩ ﻋﺎﺟﺰ ﺑﻮﺩ‪.‬‬ ‫ﺩﻭ ﻣﺎﻩ ﺍﺯ ﺷﺮﻭﻉ ﻣﺄﻣﻮﺭﻳﺘﻢ ﮔﺬﺷﺘﻪ ﺑﻮﺩ ﻭ ﺳﻰ ﺳﺘﺎﺭﻩ ﻭ ﭼﻬﺎﺭ ﻣﻨﻈﻮﻣﻪ ﺭﺍ ﻃﺒﻘﻪﺑﻨﺪﻯ ﻛﺮﺩﻩ ﺑﻮﺩﻡ ﻛﻪ‬ ‫ﺍﺗﻔﺎﻗﻰ ﺍﻓﺘﺎﺩ ﻭ ﺑﺎﻋﺚ ﺷﺪ ﺗﻤﺎﻡ ﻣﺸﻜﻼﺕ ﺷﺨﺼﻰﺍﻡ ﺍﺯ ﺳﺮﻡ ﺑﻴﻔﺘﺪ‪ .‬ﻧﻤﺎﻳﺸﮕﺮ ﺩﻭﺭﺑﺮﺩ ﺷﺮﻭﻉ ﺑﻪ ﺑﻮﻕ‬ ‫ﺯﺩﻥ ﻛﺮﺩ‪ .‬ﺳﻴﮕﻨﺎﻝﻫﺎﻯ ﺿﻌﻴﻔﻰ ﺍﺯ ﺟﺎﻳﻰ ﻧﺎﻣﻌﻠﻮﻡ ﺍﺯ ﻓﻀﺎﻯ ﺭﻭﺑﻪﺭﻭﻳﻢ ﺩﺭﻳﺎﻓﺖ ﻣﻰﺷﺪ‪ .‬ﮔﻴﺮﻧﺪﻩﺍﻡ‬ ‫ﺭﺍ ﺭﻭﻯ ﺩﻗﻴﻖﺗﺮﻳﻦ ﺑﺴﺎﻣﺪ ﻣﻤﻜﻦ ﺗﻨﻈﻴﻢ ﻛﺮﺩﻡ‪ .‬ﺍﻣﻮﺍﺝ ﺍﺭﺳﺎﻟﻰ‪ ،‬ﺗﻨﻈﻴﻢ ﻧﺸﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﭘﻬﻨﺎﻯ ﺑﺎﻧﺪ‬ ‫‪9‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﻧﻮﺑﺖ ﺟﺴﺖ ﻭ ﺟﻮ ﺑﺮﺍﻯ ﺳﻴﺎﺭﻩﻫﺎﻳﺶ ﻣﻰﺭﺳﻴﺪ ﻭ ﻭﻗﺘﻰ ﺍﻳﻦ ﻛﺎﺭ ﻫﻢ ﺗﻤﺎﻡ ﻣﻰﺷﺪ‪ ،‬ﺳﺮﺍﻍ ﺳﺘﺎﺭﻩﻯ‬ ‫ﺑﻌﺪﻯ ﻣﻰﺭﻓﺘﻢ‪ .‬ﺍﮔﺮ ﻫﻢ ﺑﻪ ﺍﺣﺘﻤﺎﻝ ﻳﻚ ﺑﻪ ﺩﻩ ﺳﻴﺎﺭﻩﺍﻯ ﭘﻴﺪﺍ ﻣﻰﺷﺪ‪ ،‬ﺣﺴﺎﺑﻰ ﺳﺮﻡ ﺷﻠﻮﻍ ﻣﻰﺷﺪ؛‬ ‫ﭼﻮﻥ ﺑﺎﻳﺪ ﻣﻄﻤﺌﻦ ﻣﻰﺷﺪﻡ ﻛﻪ ﻣﻜﺲ ]‪ ،[1‬ﻛﺎﻣﭙﻴﻮﺗﺮ ﺍﻟﻜﺘﺮﻭﻧﻴﻜﻰ ﺳﻔﻴﻨﻪ‪ ،‬ﻫﻤﻪﻯ ﺍﻃﻼﻋﺎﺕ ﺭﺍ ﻣﻮ ﺑﻪ‬ ‫ﻣﻮ ﺩﺭ ﻧﻮﺍﺭﻫﺎﻯ ﻣﻐﻨﺎﻃﻴﺴﻰﺍﺵ ﺛﺒﺖ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺍﻣﺎ ﺣﺎﻻ ﺩﻳﮕﺮ ﺁﻥ ﻣﻨﻄﻘﻪﻯ ﺷﻠﻮﻍ ﺭﺍ ﭘﺸﺖ ﺳﺮ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩﻡ ﻭ ﺑﻪ ﻣﻨﺎﻃﻘﻰ ﺧﺎﻟﻰ ﺭﺳﻴﺪﻩ ﺑﻮﺩﻡ‬ ‫ﻛﻪ ﻓﺎﺻﻠﻪﻯ ﻫﺮ ﺳﺘﺎﺭﻩ ﺑﺎ ﺳﺘﺎﺭﻩﻯ ﺑﻌﺪﻯ‪ ،‬ﺑﻪ ﺳﻪ ﺭﻭﺯ ﻫﻢ ﻣﻰﻛﺸﻴﺪ‪ .‬ﻧﻴﺎﺯ ﺟﻨﺴﻰ ﻣﺜﻞ ﻳﻚ ﺷﺨﺺ‬ ‫ﺣﻘﻴﻘﻰ ﺩﺍﺷﺖ ﺩﺭ ﺳﻔﻴﻨﻪﺍﻡ ﺟﻮﻻﻥ ﻣﻰﺩﺍﺩ ﻭ ﺧﺎﻃﺮﻩﻯ ﺁﺧﺮﻳﻦ ﺷﺒﻰ ﻛﻪ ﺑﺎ ﺯﻧﻰ ﺧﻮﺍﺑﻴﺪﻩ ﺑﻮﺩﻡ‪،‬‬ ‫ﻣﺎﻩﻫﺎﻯ ﭘﻴﺶ ﺭﻭﻳﻢ ﺭﺍ ﺣﺴﺎﺑﻰ ﻛﺴﺎﻟﺖ ﺑﺎﺭ ﻭ ﭘﻮچ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺷﺎﻳﺪ ﺩﺭ »ﺩﺍﻳﺎﺩﻧﻪ ﻭﻯ« ]‪ [2‬ﻛﻪ ﺳﻔﻴﻨﻪﺍﻡ ﻣﺸﻐﻮﻝ ﺳﻮﺧﺖﮔﻴﺮﻯ ﺑﻮﺩ ﻭ ﻗﺮﺍﺭ ﺑﻮﺩ ﺑﻴﻦ ﻣﺎﻣﻮﺭﻳﺖﻫﺎ‬ ‫ﺍﺳﺘﺮﺍﺣﺖ ﻛﻨﻢ‪ ،‬ﺯﻳﺎﺩﻩﺭﻭﻯ ﻛﺮﺩﻩ ﺑﻮﺩﻡ‪ .‬ﺍﻣﺎ ﻣﻦ ﻳﻚ ﻣﻜﺘﺸﻒ ﻓﻀﺎﻳﻰ ﻫﺴﺘﻢ ﻭ ﻳﻚ ﻣﻜﺘﺸﻒ ﻓﻀﺎﻳﻰ‬ ‫ﻫﻢ ﻫﺸﺘﺎﺩ ﺩﺭﺻﺪ ﺯﻧﺪﮔﻰﺍﺵ ﺭﺍ ﺗﻚ ﻭ ﺗﻨﻬﺎ ﺩﺭ ﻓﻀﺎ ﺳﻴﺮ ﻣﻰﻛﻨﺪ ﻭ ﻃﺒﻊ ﺑﺸﺮ ﻫﻢ ﻛﻪ ﻫﻤﻪ ﻣﻰﺩﺍﻧﻴﻢ‬ ‫ﭼﻄﻮﺭﻯ ﺍﺳﺖ‪ .‬ﺑﺎﻳﺪ ﺟﺒﺮﺍﻥ ﻣﺎﻓﺎﺕ ﻣﻰﺷﺪ‪ .‬ﻣﻦ ﻫﻢ ﻧﻪ ﺗﻨﻬﺎ ﻣﻮﻗﻌﻴﺖﻫﺎﻯ ﺍﺯ ﺩﺳﺖ ﺭﻓﺘﻪ ﺭﺍ ﺟﺒﺮﺍﻥ‬ ‫ﻛﺮﺩﻡ‪ ،‬ﻛﻪ ﭘﺲﺍﻧﺪﺍﺯ ﻫﻢ ﻛﺮﺩﻡ‪ .‬ﺍﻣﺎ ﺁﻥ ﻃﻮﺭ ﻛﻪ ﺑﻌﺪﺍ ً ﻓﻬﻤﻴﺪ���‪ ،‬ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻛﺎﻓﻰ ﭘﺲﺍﻧﺪﺍﺯ ﻧﻜﺮﺩﻩ ﺑﻮﺩﻡ‬ ‫ﻛﻪ ﺑﺮﺍﻯ ﺍﻳﻦ ﺳﻔﺮ ﻫﻢ ﻛﺎﻓﻰ ﺑﺎﺷﺪ‪.‬‬ ‫ﺧﻼﺻﻪ ﻫﻤﻴﻦﻃﻮﺭ ﻛﻪ ﺩﺭ ﻓﻀﺎﻯ ﺧﺎﻟﻰ ﭘﻴﺶ ﻣﻰﺭﻓﺘﻢ‪ ،‬ﺫﻫﻨﻢ ﻣﺘﻮﺟﻪ ﮔﺬﺷﺘﻪ ﺑﻮﺩ‪ .‬ﺍﻭﻟﻴﻦ ﻛﺴﻰ ﻛﻪ‬ ‫ﻳﺎﺩ ﻭ ﺧﺎﻃﺮﻩﺍﺵ ﺩﺭ ﺫﻫﻨﻢ ﻧﻘﺶ ﺑﺴﺖ ﻭ ﺑﺎ ﺩﻟﻰ ﺣﺴﺮﺗﻤﻨﺪ ﺑﻪ ﻳﺎﺩﺵ ﺍﻓﺘﺎﺩﻡ‪ ،‬ﻫﻠﻴﻦ ]‪ [3‬ﺑﻮﺩ‪ .‬ﺑﻠﻮﻧﺪ ﻭ‬ ‫ﺗﻮ ﺩﻝ ﺑﺮﻭ ﻛﻪ ﻫﻤﻪﻯ ﺧﻮﺍﺳﺘﻪﻫﺎﻳﺖ ﺭﺍ ﻫﻢ ﺑﺮﺁﻭﺭﺩﻩ ﻣﻰﻛﺮﺩ‪ ،‬ﻭﻟﻰ ﺍﺑﺘﻜﺎﺭ ﻋﻤﻠﺶ ﺧﻴﻠﻰ ﺿﻌﻴﻒ ﺑﻮﺩ‪.‬‬ ‫ﺑﺎ ﻫﻢ ﺩﻭﺭﺍﻥ ﺧﻴﻠﻰ ﺧﻮﺑﻰ ﺭﺍ ﮔﺬﺭﺍﻧﺪﻳﻢ ﺗﺎ ﺍﻳﻦ ﻛﻪ ﺷﻮﻫﺮﺵ ﺍﺯ ﻣﺎﻣﻮﺭﻳﺖ ﺑﺮﮔﺸﺖ‪ .‬ﺑﺎ ﻣﻮﺿﻮﻉ ﺧﻴﻠﻰ‬ ‫ﻣﻨﻄﻘﻰ ﺑﺮﺧﻮﺭﺩ ﻛﺮﺩ‪ ،‬ﺍﻣﺎ ﺩﺭ ﺿﻤﻦ ﻳﺎﺩﺁﻭﺭ ﺷﺪ ﻛﻪ ﻫﻠﻴﻦ ﺩﻳﮕﺮ ﻭﻗﺘﺶ ﭘﺮ ﺍﺳﺖ ﻭ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺩﺭﮔﻴﺮ‬ ‫ﻓﻌﺎﻟﻴﺖﻫﺎﻯ ﺟﻨﺒﻰ ﺷﻮﺩ‪ .‬ﻫﻤﺎﻥ ﻣﻮﻗﻊﻫﺎ ﺑﻮﺩ ﻛﻪ ﺑﺎ ﺁﻳﺮﻳﺲ ]‪ [4‬ﺁﺷﻨﺎ ﺷﺪﻡ ﻭ ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﺩﺍﻍ ﺟﺪﺍﻳﻰ‬ ‫ﺑﺮﺍﻳﻢ ﺧﻴﻠﻰ ﺳﻨﮕﻴﻦ ﻧﺒﻮﺩ‪.‬‬ ‫ﻋﺠﺐ ﺩﺧﺘﺮﻯ ﺑﻮﺩ ﺍﻳﻦ ﺁﻳﺮﻳﺲ‪ .‬ﻫﻤﻴﻦ ﺣﺎﻻ ﻫﻢ ﻛﻪ ﺩﺍﺭﻡ ﻓﻜﺮﺵ ﺭﺍ ﻣﻰﻛﻨﻢ‪ ،‬ﺩﻟﻢ ﻏﻨﺞ ﻣﻰﺭﻭﺩ‪ .‬ﻭﻗﺘﻰ‬ ‫ﺑﺎ ﻫﻢ ﺑﻪ ﻫﻢ ﺯﺩﻳﻢ )ﺳﺮ ﺍﻳﻦ ﻗﻀﻴﻪ ﻛﻪ ﺑﺎﻻﺧﺮﻩ ﻳﻚ ﻣﺮﺩ ﮔﺎﻫﻰ ﺑﻪ ﺧﻮﺍﺑﻴﺪﻥ ﻫﻢ ﻧﻴﺎﺯ ﺩﺍﺭﺩ(‪ ،‬ﻗﺴﻢ‬ ‫ﺧﻮﺭﺩﻡ ﺗﺎ ﻳﻚ ﻫﻔﺘﻪﻯ ﺗﻤﺎﻡ ﺳﺮﺍﻍ ﻫﻴﭻ ﺯﻧﻰ ﻧﺮﻭﻡ‪ .‬ﺍﻣﺎ ﺑﻪ ﺷﻌﺮﻯ ﺍﺯ ﻳﻜﻰ ﺍﺯ ﺷﻌﺮﺍﻯ ﻗﺪﻳﻢ ﺯﻣﻴﻨﻰ‬ ‫ﺑﺮﺧﻮﺭﺩﻡ ﺑﻪ ﻧﺎﻡ ﺟﺎﻥ ﺩﻭﻥ ]‪ [5‬ﻛﻪ ﺍﮔﺮ ﺍﻫﻞ ﺷﻌﺮﺧﻮﺍﻧﻰ ﺁﻥ ﻫﻢ ﺑﻪ ﺯﺑﺎﻥ ﺍﻧﮕﻠﻴﺴﻰ ﺑﺪﻭﻯ ﻫﺴﺘﻴﺪ‪،‬‬ ‫ﺍﺭﺯﺵ ﺩﻧﺒﺎﻟﺶ ﺭﻓﺘﻦ ﺭﺍ ﺩﺍﺭﺩ‪ .‬ﻣﻀﻤﻮﻥ ﻛﻠﻰ ﺷﻌﺮ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺯﻣﺎﻥ ﺍﺯ ﺩﺳﺖ ﺭﻓﺘﻪ ﻫﺮﮔﺰ ﺩﻭﺑﺎﺭﻩ ﺑﻪ‬ ‫ﺩﺳﺖ ﻧﻤﻰﺁﻳﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻛﺎﺯﺍﻧﻮﺍﻯ ﻛﻴﻬﺎﻧﻰ‬ ‫ﺁﺭﺗﻮﺭ ﺳﻰ‪ .‬ﻛﻼﺭﻙ‬ ‫ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‬

‫ﺍﻳﻦ ﺑﺎﺭ ﭘﻨﺞ ﻫﻔﺘﻪ ﺍﺯ ﺳﻴﺎﺭﻩﻯ ﻣﺮﻛﺰﻯ ﺩﻭﺭ ﺷﺪﻩ ﺑﻮﺩﻡ ﻛﻪ ﻋﻼﺋﻢ ﺁﺷﻜﺎﺭ ﺷﺪﻧﺪ‪ .‬ﺩﺭ ﺳﻔﺮ‬ ‫ﻗﺒﻠﻰﺍﻡ ﺗﻨﻬﺎ ﻳﻚ ﻣﺎﻩ ﻃﻮﻝ ﻛﺸﻴﺪﻩ ﺑﻮﺩ‪ .‬ﻣﻄﻤﺌﻦ ﻧﺒﻮﺩﻡ ﻛﻪ ﺍﻳﻦ ﺗﻔﺎﻭﺕ ﻳﻚ ﻫﻔﺘﻪﺍﻯ ﺑﻪ ﺧﺎﻃﺮ‬ ‫ﺑﺎﻻ ﺭﻓﺘﻦ ﺳﻦ ﺑﻮﺩ ﻳﺎ ﭼﻴﺰﻫﺎﻳﻰ ﻛﻪ ﺍﺣﺘﻤﺎﻻً ﻛﺎﺭﺷﻨﺎﺳﺎﻥ ﻏﺬﺍ ﺩﺭ ﻛﭙﺴﻮﻝﻫﺎﻯ ﻏﺬﺍﻳﻢ ﺭﻳﺨﺘﻪ‬ ‫ﺑﻮﺩﻧﺪ‪ .‬ﻳﺎ ﺷﺎﻳﺪ ﻫﻢ ﺻﺮﻓﺎً ﺑﻪ ﺧﺎﻃﺮ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﻫﻤﻴﺸﻪ ﺳﺮﻡ ﺷﻠﻮﻍﺗﺮ ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﺑﺨﺶ ﺍﺯ‬ ‫ﻛﻬﻜﺸﺎﻥ ﻛﻪ ﺩﺭ ﺣﺎﻝ ﺍﻛﺘﺸﺎﻓﺶ ﺑﻮﺩﻡ‪ ،‬ﭘﺮ ﺍﺯ ﺳﺘﺎﺭﮔﺎﻧﻰ ﺑﻮﺩ ﻛﻪ ﺗﻨﻬﺎ ﭼﻨﺪ ﺳﺎﻝ ﻧﻮﺭﻯ ﺑﺎ ﻫﻢ‬ ‫ﻓﺎﺻﻠﻪ ﺩﺍﺷﺘﻨﺪ‪ .‬ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﻫﻢ ﺑﺮﺍﻯ ﻓﻜﺮ ﻛﺮﺩﻥ ﺑﻪ ﺩﺧﺘﺮﻫﺎﻳﻰ ﻛﻪ ﭘﺸﺖ ﺳﺮ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩﻡ‪،‬‬ ‫ﺯﻣﺎﻥ ﺯﻳﺎﺩﻯ ﻧﺪﺍﺷﺘﻢ‪ .‬ﺑﻪ ﻣﺤﺾ ﺍﻳﻦ ﻛﻪ ﻛﺎﺭ ﻃﺒﻘﻪﺑﻨﺪﻯ ﻳﻚ ﺳﺘﺎﺭﻩ ﺑﻪ ﭘﺎﻳﺎﻥ ﻣﻰﺭﺳﻴﺪ‪،‬‬


‫ﺭﺍﺟﺮ ﺯﻻﺯﻧﻰ )ﺧﺮﺩﺍﺩ ‪ ،(1390‬ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ )ﺷﻬﺮﻳﻮﺭ‪-‬ﻣﻬﺮ ‪ ،(1390‬ﻭﻳﮋﻩﻧﺎﻣﻪﻯ‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺭﻭﺑﺎﺗﻰ ﺑﻪ ﻣﻨﺎﺳﺒﺖ ﻧﺨﺴﺘﻴﻦ ﺳﺎﻟﮕﺮﺩ ﺍﻧﺘﺸﺎﺭ ﺷﮕﻔﺖﺯﺍﺭ )ﺩﻯ ‪ ،(1390‬ﻭ ﺣﺎﻻ‬ ‫ﻗﺮﺍﺭ ﺍﺳﺖ ﺑﺮﺍﻯ ﺷﻤﺎﺭﻩ ﺁﻳﻨﺪﻩ‪ ،‬ﺩﺭ ﺍﻭﻟﻴﻦ »ﺷﮕﻔﺖﺯﺍﺭ« ﺳﺎﻝ ﻧﻮ‪ ،‬ﺩﻭﻣﻴﻦ ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺩﺍﺳﺘﺎﻧﻰ‬ ‫ﺷﮕﻔﺖﺯﺍﺭ ﺭﺍ ﺑﺮﺍﻯ ﻧﻮﺭﻭﺯ ‪ 1391‬ﺑﺎ ﺷﻤﺎ ﺷﺮﻳﻚ ﺷﻮﻳﻢ‪.‬‬ ‫ﺭﻭﺯﻯ ﺭﺍ ﺑﻪ ﺧﺎﻃﺮ ﻣﻰﺁﻭﺭﻡ ﻛﻪ ﺗﺤﺮﻳﺮﻳﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ ﺩﺭ ﻛﻨﺎﺭ ﺩﺑﻴﺮ ﺷﻮﺭﺍﻯ ﺳﻴﺎﺳﺖﮔﺬﺍﺭﻯ‬ ‫ﻭ ﻫﻤﻜﺎﺭﺍﻥ ﺑﺨﺶ ﻣﻌﺮﻓﻰ ﻛﺘﺎﺏ ﻭ ﺩﺍﺳﺘﺎﻥ ﻧﮕﺎﺭﺵ‪ ،‬ﺩﻭﺭ ﻳﻚ ﻣﻴﺰ ﻧﺸﺴﺘﻪ ﺑﻮﺩﻳﻢ ﻭ ﺳﺎﻋﺘﻰ ﺭﺍ‬ ‫ﻓﺎﺭﻍ ﺍﺯ ﺑﺤﺚ ﻭ ﺟﺪﻝﻫﺎﻯ ﺩﻳﮕﺮﺍﻥ ﺑﺮ ﺳﺮ ﺑﺎﻻ ﺭﻓﺘﻦ ﻗﻴﻤﺖ ﺍﺭﺯ ﻭ ﺳﻜﻪ‪ ،‬ﻫﻤﺎﻫﻨﮕﻰﻫﺎﻯ ﺍﻭﻟﻴﻪ‬ ‫ﺍﻳﻦ ﻭﻳﮋﻩﻧﺎﻣﻪ ﺭﺍ ﺍﻧﺠﺎﻡ ﻣﻰﺩﺍﺩﻳﻢ ﻭ ﺣﺲ ﻣﻰﻛﺮﺩﻳﻢ ﻫﻨﻮﺯ ﺯﻧﺪﻩﺍﻳﻢ‪.‬‬ ‫ﺣﺎﻻ ﺍﺯ ﺗﻤﺎﻡ ﺷﻤﺎ ﺩﻭﺳﺘﺎﻧﻰ ﻛﻪ ﻫﻤﭽﻮﻥ ﺗﺤﺮﻳﺮﻳﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ ﻋﻼﻗﻪ ﺩﺍﺭﻧﺪ ﻭﻳﮋﻩﻧﺎﻣﻪﺍﻯ‬ ‫ﭘﺮﺑﺎﺭﺗﺮ ﺑﺮﺍﻯ ﻧﻮﺭﻭﺯ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ ،‬ﺩﻋﻮﺕ ﻣﻰﻛﻨﻴﻢ ﺗﺎ ‪ 20‬ﺍﺳﻔﻨﺪ‪ ،‬ﺗﺮﺟﻤﻪﻫﺎ ﻭ ﻧﮕﺎﺭﺵﻫﺎﻯ‬ ‫ﺩﺍﺳﺘﺎﻧﻰ ﺧﻮﺩﺗﺎﻥ ﺭﺍ ﺑﺮﺍﻯ ﻣﺎ ﺑﻔﺮﺳﺘﻴﺪ‪ .‬ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﺩﺭ ﺳﺨﻦ ﻣﺎﻩ ﭘﻴﺶﺷﻤﺎﺭﻩﻯ ﺩﻭﻡ ﻣﺠﻠﻪ‬ ‫ﻫﻢ ﺍﺯ ﻫﻤﻪﺗﺎﻥ ﺩﻋﻮﺕ ﻛﺮﺩﻩ ﺑﻮﺩﻳﻢ‪ ،‬ﺗﺄﻛﻴﺪ ﻣﻰﻛﻨﻢ »ﺷﮕﻔﺖﺯﺍﺭ« ﺭﺍ ﺑﺮﺍﻯ ﺗﻤﺎﻣﻰ ﺩﻭﺳﺘﺎﻥ‬ ‫ﻋﻼﻗﻤﻨﺪﺗﺎﻥ ﺑﻪ ﮔﻮﻧﻪﻯ ﺍﺩﺑﻰ ﮔﻤﺎﻧﻪﺯﻥ )ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﻓﺎﻧﺘﺰﻯ‪ ،‬ﻭﺣﺸﺖ ﻭ ﺯﻳﺮﺳﺒﻚﻫﺎﻯ‬ ‫ﺁﻥﻫﺎ( ﺑﻔﺮﺳﺘﻴﺪ‪ ،‬ﻳﺎ ﻧﺸﺎﻧﻰ ﺁﻥ ﺭﺍ ﺩﺭ ﺍﺧﺘﻴﺎﺭﺷﺎﻥ ﺑﮕﺬﺍﺭﻳﺪ ﻛﻪ ﺁﻥ ﺭﺍ ﺩﺭﻳﺎﻓﺖ ﻛﻨﻨﺪ‪ ،‬ﻭ ﻓﺮﺍﻣﻮﺵ‬ ‫ﻧﻜﻨﻴﺪ ﺑﮕﻮﻳﻴﺪ ﺍﮔﺮ ﻣﻄﻠﺒﻰ ﺩﺍﺷﺖ‪ ،‬ﺑﺮﺍﻳﻤﺎﻥ ﺑﻔﺮﺳﺘﺪ‪ .‬ﺷﺮﺍﻳﻂ ﺍﺭﺳﺎﻝ ﺁﺛﺎﺭ ﺭﺍ ﺩﺭ ﺑﺮﮔﺮﺩﺍﻥ ﭘﺸﺖ‬ ‫ﺟﻠﺪ ﻫﻤﻴﻦ ﺷﻤﺎﺭﻩ‪ ،‬ﺑﻪ ﻣﺎﻧﻨﺪ ﺑﺴﻴﺎﺭﻯ ﺩﻳﮕﺮ ﺍﺯ ﺷﻤﺎﺭﻩﻫﺎﻯ ﺷﮕﻔﺖﺯﺍﺭ ﭘﻴﺪﺍ ﺧﻮﺍﻫﻴﺪ ﻛﺮﺩ‪.‬‬ ‫ﻣﻨﺘﻈﺮ ﺁﺛﺎﺭ ﺷﻤﺎ ﻫﺴﺘﻴﻢ‪.‬‬ ‫ﻣﺤﻤﺪ ﺣﺎﺝ ﺯﻣﺎﻥ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


‫ﺳﺨﻦ ﻣﺎﻩ‬

‫ﻧﻮﺯﺩﻩ ﺍﺭﺩﻳﺒﻬﺸﺖ ﻫﺸﺘﺎﺩ ﻭ ﻧﻪ‪ .‬ﺩﻭﺭ ﻣﻴﺰﻯ ﻛﻪ ﺁﺧﺮ ﻛﺎﺭ‪ ،‬ﺑﻪ ﻋﻜﺴﻰ ﺧﺘﻢ ﻣﻰﺷﻮﺩ ﻛﻪ ﺑﻪ ﻗﻮﻝ‬ ‫ﺩﺑﻴﺮ ﺷﻮﺭﺍﻯ ﺳﻴﺎﺳﺖﮔﺬﺍﺭﻯﻣﺎﻥ »ﺯﻳﺮ ﺁﻥ ﺑﺎ ﺩﺳﺖﺧﻄﻰ ﻛﻪ ﻭﻗﺖ ﺧﻮﺍﺏ ﻫﻢ ﺑﺎ ﺭﺳﻢﺍﻟﺨﻂ‬ ‫ﻣﻰﺧﻮﺍﻧﺪ ﻧﻮﺷﺘﻪ ﺑﻮﺩ‪ :‬ﻋﻬﺪ ﻭ ﭘﻴﻤﺎﻥ ﺭﺍﻩ ﺍﻧﺪﺍﺧﺘﻦ ﻣﺠﻠﻪ‪«.‬‬ ‫ﺳﺨﻦ ﻣﺎﻩ ﻧﺨﺴﺘﻴﻦ ﺳﺎﻟﮕﺮﺩ ﺍﻧﺘﺸﺎﺭ »ﺷﮕﻔﺖﺯﺍﺭ« ﺭﺍ ﻳﺎﺩﺗﺎﻥ ﺑﻴﺎﻭﺭﻳﺪ ﻭ ﺍﮔﺮ ﻫﻢ ﺩﺭ ﻣﻴﺎﻥ‬ ‫ﮔﺮﻓﺘﺎﺭﻫﺎﻯ ﺫﻫﻨﻰ ﺭﻭﺯﺍﻧﻪﺗﺎﻥ ﻛﻤﻰ ﻏﺒﺎﺭ ﮔﺮﻓﺘﻪ‪ ،‬ﺑﻪ ﻫﻤﺎﻥ ﺷﻤﺎﺭﻩﻯ ﺩﻯ ‪ 1390‬ﻧﮕﺎﻫﻰ‬ ‫ﺑﻴﺎﻧﺪﺍﺯﻳﺪ ﻭ ﺍﻳﻦ ﻗﺴﻤﺘﺶ ﺭﺍ ﺩﻭﺑﺎﺭﻩ ﺑﺨﻮﺍﻧﻴﺪ ﻛﻪ ﻣﻬﺪﻯ ﺑﻨﻮﺍﺭﻯ ﻋﺰﻳﺰ ﮔﻔﺘﻪ ﺑﻮﺩ‪» :‬ﻳﻜﻰ ﺍﺯ‬ ‫ﻣﻬﻢﺗﺮﻳﻦ ﺩﺭﺱﻫﺎﻳﻰ ﻛﻪ ﺍﺯ ﺑﺴﺘﻪ ﺷﺪﻥ “ﺑﻌﺪ ﻫﻔﺘﻢ” ﻋﺰﻳﺰﻣﺎﻥ ﮔﺮﻓﺘﻴﻢ‪ ،‬ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﻫﻴﭻ ﻭﻗﺖ‬ ‫ﺑﻪ ﺍﻭﻟﻴﻦ ﺑﻮﺩﻥ ﻏﺮﻩ ﻧﺸﻮﻳﻢ؛ ﺑﻠﻜﻪ ﺑﻪ ﺩﻧﺒﺎﻝ ﭘﺎﻳﺪﺍﺭﻯ ﺑﺎﺷﻴﻢ‪ «.‬ﻭ ﺑﺎ ﺗﻤﺎﻡ ﺧﺴﺘﮕﻰﻫﺎ‪ ،‬ﺳﺨﺘﻰﻫﺎ‬ ‫ﻭ ﺑﺎﻻ ﻭ ﭘﺎﻳﻴﻦﻫﺎﻯ ﺍﻳﻦ ﺭﺍﻩ‪ ،‬ﺗﺤﺮﻳﺮﻳﻪﻯ »ﺷﮕﻔﺖﺯﺍﺭ« ﻫﻤﺮﺍﻩ ﻫﻢ ﺑﺮ ﺍﻳﻦ ﺍﻣﺮ ﭘﺎﻯ ﻓﺸﺮﺩﻩﺍﻧﺪ‪،‬‬ ‫ﺑﺎ ﻫﻤﺮﺍﻫﻰ ﺗﻤﺎﻡ ﻛﺴﺎﻧﻰ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﻣﺪﺕ ﺑﺎ ﺍﺭﺳﺎﻝ ﻣﻄﺎﻟﺐ ﺧﻮﺍﻧﺪﻧﻰﺷﺎﻥ‪ ،‬ﺩﺭ ﺧﻮﺍﻧﺪﻧﻰﺗﺮ‬ ‫ﺷﺪﻥ ﻣﺠﻠﻪ ﺳﻬﻴﻢ ﺑﻮﺩﻩﺍﻧﺪ‪ .‬ﺭﺍﻩ ﺁﻣﺪﻩ ﺭﺍ ﻛﻪ ﻧﮕﺎﻩ ﻣﻰﺍﻧﺪﺍﺯﻡ‪ ،‬ﺑﻪ ﻳﻚ ﺑﺎﺭﻩ ﻣﻰﺑﻴﻨﻢ ﭘﺲ ﺍﺯ‬ ‫ﺳﻪ ﭘﻴﺶ ﺷﻤﺎﺭﻩ ﻭ ﭘﺎﻧﺰﺩﻩ ﺷﻤﺎﺭﻩ ﭘﻰﺩﺭﭘﻰ‪ ،‬ﺭﺳﻴﺪﻩﺍﻳﻢ ﺑﻪ ﺁﺧﺮﻳﻦ ﺷﻤﺎﺭﻩﻯ »ﺷﮕﻔﺖﺯﺍﺭ« ﺩﺭ‬ ‫ﺳﺎﻝ ‪ 1390‬ﺧﻮﺭﺷﻴﺪﻯ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ‪ ،‬ﻫﺮ ﭼﻨﺪ ﻭﻗﺖ ﻳﻚﺑﺎﺭ ﺑﺎ ﻭﻳﮋﻩﻧﺎﻣﻪﻫﺎﻳﻰ ﻣﻬﻤﺎﻥ ﺷﻤﺎ‬ ‫ﺑﻮﺩﻩﺍﻳﻢ؛ ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺩﺍﺳﺘﺎﻧﻰ ﻛﻪ ﺭﻭﻯ ﺟﻠﺪ ﺁﻥ ﻋﻜﺲ ﻫﻔﺖ ﺳﻴﻦ ﺳﺎﻝ ‪ 90‬ﺑﻮﺩ‪ ،‬ﻭﻳﮋﻩﻧﺎﻣﻪﻯ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

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‫ﻓﻬﺮﺳﺖ‬ ‫‪4‬‬

‫ﺳﺨﻦ ﻣﺎﻩ‬

‫ﺑﺨﺶ ﺍﻭﻝ‪ :‬ﺩﺍﺳﺘﺎﻥ‬ ‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﻛﺎﺯﺍﻧﻮﺍﻯ ﻛﻴﻬﺎﻧﻰ‬

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‫ﺁﺭﺗﻮﺭ ﺳﻰ‪ .‬ﻛﻼﺭﻙ ‪ /‬ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‬

‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﻣﻴﻤﻮﻥ ﺧﺎﻧﻪﺩﺍﺭ‬

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‫ﺁﺭﺗﻮﺭ ﺳﻰ‪ .‬ﻛﻼﺭﻙ ‪ /‬ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‬

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‫ﻓﺎﻧﺘﺰﻯ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﻧﻴﺰﻩﻯ ﺁﻭﺍﺯﻩﺧﻮﺍﻥ‬ ‫ﺟﻴﻤﺰ ﺍِﻧﮋ ‪ /‬ﻣﺤﻤﺪﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻬﻰ ﺛﺎﺑﺖ‬

‫ﻓﺎﻧﺘﺰﻯ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﺣﻞ ﻣﺴﺎﺋﻞ ﻣﺮﺑﻮﻃﻪ ﺑﻪ ﺭﻭﺵ ﺩﺍﻧﺸﮕﺎﻫﻰ‬

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‫ﺗﺮﻯ ﭘﺮﭼﺖ ‪ /‬ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬

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‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﻧﮕﺎﺭﺵ‪ :‬ﻫﺸﺪﺍﺭ‬ ‫ﺣﺒﻴﺐ ﺍﷲ ﻛﻼﻧﺘﺮﻯ‬

‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﻧﮕﺎﺭﺵ‪ :‬ﺗﻠﻨﮕﺮﻯ ﺑﺎ ﺍﻧﮕﺸﺖ ﻓﻠﺰﻯ‬

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‫ﻛﻮﺭﻭﺵ ﺷﻤﺲ‬

‫ﺑﺨﺶ ﺩﻭﻡ‪ :‬ﭘﺮﻭﻧﺪﻩ‬ ‫ﺳﻴﻨﻤﺎ‪ :‬ﻓﻴﻠﻢﺷﻨﺎﺳﻰ ﻧﻈﺮﻳﻪﻯ ﺁﺷﻮﺏ‬

‫)ﻗﺴﻤﺖ ﺳﻮﻡ(‬

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‫ﻧﺎﺻﺮ ﺣﺎﻓﻈﻰ ﻣﻄﻠﻖ‬

‫ﺗﻠﻮﻳﺰﻳﻮﻥ‪ :‬ﻧﮕﺎﻫﻰ ﺑﻪ ﻣﺎﻧﮕﺎﻯ ﻭﺍﻥ ﭘﻴﺲ‬

‫‪96‬‬

‫ﺍﺣﻤﺪ ﺑﺎﺑﺎﻳﻰ‬

‫ﻛﺘﺎﺏ‪ :‬ﺁﻗﺎﻯ ﺩﻭﺷﻨﺒﻪ‬ ‫ﻫﺪﻳﻪ ﻏﺮﺍﺕ‬

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‫ﻣﺎﻫﻨﺎﻣﻪﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‬ ‫ﺳﺎﻝ ﺩﻭﻡ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ، 15‬ﺍﺳﻔﻨﺪ ‪1390‬‬

‫ﮔﺮﻭﻩ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‬

‫ﺩﺑﻴﺮ ﺷﻮﺭﺍﻯ ﺳﻴﺎﺳﺖﮔﺬﺍﺭﻯ‪ :‬ﻣﻬﺪﻯ ﺑﻨﻮﺍﺭﻯ‬ ‫ﺳﺮﺩﺑﻴـــــﺮ ﻣﺠﻠـــــﻪ‪ :‬ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬ ‫ﻫﻴــــﺄﺕ ﺗﺤﺮﻳﺮﻳـــــﻪ‪ :‬ﻣﺤﻤﺪ ﺣﺎﺝ ﺯﻣﺎﻥ‪ ،‬ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‪ ،‬ﺳﻤﻴﻪ ﻛﺮﻣﻰ‬ ‫ﻫﻤﻜــﺎﺭﺍﻥ ﺍﻳـﻦ ﺷــﻤﺎﺭﻩ‪ :‬ﺍﺣﻤﺪ‬

‫ﺑﺎﺑﺎﻳﻰ‪،‬‬

‫ﻧﺎﺻﺮ‬

‫ﺣﺎﻓﻈﻰ‬

‫ﻣﻄﻠﻖ‪،‬‬

‫ﻛﻮﺭﻭﺵ‬

‫ﺷﻤﺲ‪،‬‬

‫ﻣﺤﻤﺪﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻬﻰ ﺛﺎﺑﺖ‪ ،‬ﻫﺪﻳﻪ ﻏﺮﺍﺕ‪ ،‬ﺣﺒﻴﺐ ﺍﷲ ﻛﻼﻧﺘﺮﻯ‬ ‫ﺻﻔﺤــــــﻪ ﺁ ﺭ ﺍ ﻳـــــﻰ ‪ :‬ﻣﺤﻤﺪ ﺣﺎﺝ ﺯﻣﺎﻥ‬ ‫ﻧﺸـــــــﺎﻧﻰ ﻭﺑــــﮕﺎﻩ‪:‬‬

‫‪www.fantasy.ir‬‬

‫ﭘـــﺴﺖ ﺍﻟﻜﺘﺮﻭﻧﻴــــﻚ‪:‬‬

‫‪mag@fantasy.ir‬‬

‫ﻃــــــﺮﺡ‬

‫ﺟﻠــــــﺪ‪:‬‬

‫ﻧﺎﺗﺎﻧﺌﻴﻞ ﺑﺎﺭﻧﺰ )‪ ،(Nathaniel Barnes‬ﻋﺸﺎﻕ ﺩﺭ ﺯﻧﺠﻴﺮ ﺍﺷﻚ‬

‫»ﻛﺎﺯﺍﻧﻮﺍﻯ ﻛﻴﻬﺎﻧﻰ«‬

‫ﺗﻜﺬﻳﺐﻧﺎﻣﻪ‪ :‬ﻛﻠﻴﻪﻯ ﻣﻄﺎﻟﺐ ﻣﺠﻠﻪ ﺩﺭ ﻗﺎﻟﺐ ﺗﺤﻘﻴﻘﺎﺗﻰ ﻭ ﺑﺮﺍﻯ ﺁﺷﻨﺎﻳﻰ ﻣﺨﺎﻃﺐ ﻋﻼﻗﻤﻨﺪ ﺑﺎ ﻣﺒﺎﺣﺚ‬ ‫ﻣﻮﺟﻮﺩ ﺩﺭ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ ﻭ ﺁﺛﺎﺭ ﺷﺎﺧﺺ ﺍﻳﻦ ژﺍﻧﺮ ﻣﻨﺘﺸﺮ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻭﻳﮋﮔﻰﻫﺎﻯ ژﺍﻧﺮ‪،‬‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﻫﻤﮕﻰ ﺧﻴﺎﻝﭘﺮﺩﺍﺯﺍﻧﻪ ﺑﻮﺩﻩ ﻭ ﻣﺒﻠﻎ ﺍﻋﺘﻘﺎﺩ ﺧﺎﺻﻰ ﻧﻴﺴﺘﻨﺪ‪.‬‬ ‫ﺣﻖ ﻧﺸﺮ‪ :‬ﻛﻠﻴﻪﻯ ﺣﻘﻮﻕ ﻧﺸﺮ ﻣﻄﺎﻟﺐ ﻣﺠﻠﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ ﻣﺤﻔﻮﻅ ﺑﻮﺩﻩ ﻭ ﻧﺸﺮ ﻣﺠﺪﺩ ﻣﺤﺘﻮﺍﻯ ﻧﮕﺎﺭﺵ‬ ‫ﻭ ﺑﺮﮔﺮﺩﺍﻥ‪ ،‬ﺗﻨﻬﺎ ﺑﺎ ﺍﺟﺎﺯﻩﻯ ﻛﺘﺒﻰ ﻭ ﻳﺎ ﺑﺮ ﺍﺳﺎﺱ ﺍﺟﺎﺯﻩﻧﺎﻣﻪﻫﺎ ﻭ ﻣﺠﻮﺯﻫﺎﻯ ﻣﺬﻛﻮﺭ ﺩﺭ ﻭﺏﮔﺎﻩ ﺁﻛﺎﺩﻣﻰ‬ ‫ﻓﺎﻧﺘﺰﻯ ﻣﺠﺎﺯ ﺍﺳﺖ‪ .‬ﻧﺎﺩﻳﺪﻩ ﮔﺮﻓﺘﻦ ﺍﻳﻦ ﺣﻘﻮﻕ ﻣﺎﻟﻜﻴﺖ ﻣﻌﻨﻮﻯ ﺑﺮ ﺍﺳﺎﺱ ﻗﻮﺍﻧﻴﻦ ﻣﺆﻟﻔﻴﻦ ﻭ ﻣﺼﻨﻔﻴﻦ‬ ‫ﻗﺎﺑﻞ ﭘﻴﮕﺮﺩ ﻗﺎﻧﻮﻧﻰ ﺍﺳﺖ‪.‬‬ ‫ﭘﺨﺶ‪ :‬ﺍﻧﺘﺸﺎﺭ ﺍﻟﻜﺘﺮﻭﻧﻴﻜﻰ‪ ،‬ﺑﺎﺭﮔﺬﺍﺭﻯ ﻣﺠﺪﺩ‪ ،‬ﺍﺭﺳﺎﻝ ﺑﺮﺍﻯ ﺩﻳﮕﺮﺍﻥ‪ ،‬ﭼﺎپ ﺑﺮﺍﻯ ﺍﺳﺘﻔﺎﺩﻩﻯ ﺷﺨﺼﻰ ﻭ‬ ‫ﻳﺎ ﻋﻤﻮﻣﻰ ﺑﻪ ﺻﻮﺭﺕ ﻏﻴﺮ ﺍﻧﺘﻔﺎﻋﻰ؛ ﻣﻮﺭﺩ ﺗﺸﻮﻳﻖ ﻭ ﺗﺄﻳﻴﺪ ﮔﺮﻭﻩ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ ﺍﺳﺖ‪.‬‬


‫ﻣﺎﻫﻨﺎﻣﻪﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‬ ‫ﺳﺎﻝ ﺩﻭﻡ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ، 15‬ﺍﺳﻔﻨﺪ ‪1390‬‬


wonderland-vol02-no15-Esfand90-fantasy-ir