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‫‪Ú‹yä‬‬

‫�‬ ‫‪ÚÓ‰†Ï€a@ÒáyÏ€a@Ô«b�fl@‚bflc@fib�bi@byb�œg@ÜỀa@aâÁ@ãÇdm‬‬ ‫ﻛﺎﻧﻮﻥ ﺍﻷﻭﻝ ‪2009‬‬

‫‪ -‬ﺍﻟﻌﺪﺩ ﺍﻟﺮﺍﺑﻊ‬

‫‪Rehla‬‬

‫‪@[ 3 ]@@@ÚÓ„b�„g@ãr◊c@�b«@›uc@Âfl@ÚÓ� íã„˛bi@Ôõ‡‰‹œ@Zµ„Ï◊bi@›ÓˆbÉÓfl@…fl@Ú‹ib‘fl‬‬

‫@‪@@[ 4-5 ]@@›j‘nèæa@Âfl@ÒäÏñ@ÂÆ‬‬

‫@@@‪[ 7 ]@@_µ��‹œ@Îc@µ€ãi@_Û‹yc@µfl@�Ìaãfl@bÌ@�Ìaãfl‬‬ ‫ﺍﻟﻨ‬

‫ﺍﻟﻔ‬

‫ﺠﺔ‬

‫ﻧﺘﻴ‬

‫ﻈﺎﻡ‬

‫ﻮﺿﻰ‬

‫ﻓﺮﺍﺷﺔ‬

‫ﺍﻟﻮﻗﺖ‬

‫ﺇﻋﺼﺎﺭ‬ ‫ﺍﻟﻘﺪﺭﺓ‬

‫ﺗﻄ‬

‫ﺗﻐﻴﻴﺮﺍﺕ‬

‫ﻮﺭﺍﺕ‬

‫ﻛﺒﻴﺮﺓ‬

‫ﺔ‬

‫ﺳﻠﺴﻠ‬ ‫ﻮ ﻗﺪ‬ ‫ﺠ‬ ‫ﻓﻲ ﺍﻟ ﻂ ﻓﻲ‬ ‫ﺻﻐﻴﺮﺓ ﻴﺮ ﺑﺴﻴ ﻫﺮﺓ‬ ‫ﻴﺮﺍﺕ ﻞ ﺗﻐﻴ ﻰ ﻇﺎ‬ ‫ﺣﻴﻬﺎ‬ ‫ﻴ‬ ‫ّﺜ‬ ‫ﺟﻨﺎ‬ ‫ﺧﻠﻖ ﺗﻐ ﺍﺷﺔ ﺗﻤ ﻮﺻﻞ ﺇﻟ ﻛﻠﻴّﴼ‪.‬‬ ‫ﺓ ﻋﻠﻰ ﺡ ﺍﻟﻔﺮ ﺍﻟﺘﻲ ﺗ ﻠﻔﺔ‬ ‫ﺕ‬ ‫ﻣﺨﺘ‬ ‫ﺎ‬ ‫ﺔ ﺍﻟﻘﺪﺭ ﺮﻛﺔ ﺟﻨ ﺘﻄﻮﺭﺍ ﻴﺠﺔ‬ ‫ﻦ ﺍﻟ ﺖ ﺍﻟﻨﺘ‬ ‫‪.‬ﺣ‬ ‫ﺷ‬ ‫ﺤﺔ ﺍﻟﻔﺮﺍ ﺙ ﺇﻋﺼﺎﺭ ﺴﻠﺔ ﻣ ﻜﺎﻧ‬ ‫ﻬﺎ ﻟ‬ ‫ﺪﻯ ﺃﺟﻨ ﻰ ﺣﺪﻭ ﻨﻬﺎ ﺳﻠ ﻨﺎﺣﻴ‬ ‫‪:‬ﻟ‬ ‫ﻑ ﺇﻟ ﺘﺞ ﻋ ﺷﺔ ﺟ‬ ‫ﻟﻔﻮﺿﻰ ﻟﻤﻄﺎ ﺎﻡ‪ ،‬ﻳﻨ ﻟﻔﺮﺍ‬ ‫ﺍ‬ ‫ّﻙ ﺍ‬ ‫ﺍ‬ ‫ﻧﻈﺮﻳﺔ ﻲ ﻧﻬﺎﻳﺔ ﻴﺔ ﻟﻠﻨﻈ ﺗﺤﺮ‬ ‫ﺍ ﻟﻢ‬ ‫ﺳﺎﺳ‬ ‫ﻱﻓ‬ ‫ﺭ‪ .‬ﺇﺫ‬ ‫ﺗﺆﺩ ﺮﻭﻑ ﺍﻷ ﻋﺼﺎ‬ ‫ﻛﺎﻹ‬ ‫ﻈ‬ ‫ﺍﻟ ﺨﻤﺔ‬ ‫ﺿ‬

‫‪Hassan Jaber - mutodori.deviantart.com - Haramoun Hamieh‬‬

‫]‪[ 3‬‬

‫ﻣﻘﺎﺑﻠﺔ ﺧﺎﺻﺔ‬ ‫ﻣﻊ ﻣﻴﺨﺎﺋﻴﻞ ﺑﺎﻛﻮﻧﻴﻦ‬

‫ﺃﺳﺮﺍﺭ ﺍﻵﻟﻬﺔ‬

‫] ‪Recy ï˝◊ [ 8‬‬

‫] ‪ [ 4-5‬ﻛﻠﻤﺔ ﺍﻟﺴﺮ‪ :‬ﺍﻟﻔﻮﺿﻰ‬

‫ﻗﻄﺐ ﺳﻴﺎﺳﻲ‬ ‫ﻛﺒﻴﺮ ﻳﺆﻟﻒ ﻗﺼﻴﺪﺓ‬ ‫ّ‬ ‫ﻓﻴﻔﻜﺮ‬ ‫ﻭ ﻳﺘﻔﺎﺟﺄ ﺑﻨﻔﺴﻪ‬ ‫ﻓﻲ ﺇﻣﺘﻬﺎﻥ ﺍﻟﺸﻌﺮ‬ ‫ﺑﺪﻝ ﺍﻟﺴﻴﺎﺳﺔ‬


‫‪Ú‹yä‬‬ ‫‪@%b»€a@äbjÇc‬‬

‫‪…fl@ÊÎb»n€bi‬‬

‫ﻣﺮﻛﺰ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺠﻴﻮﺳﺘﺮﺍﺗﻴﺠﻴﺔ‬

‫‪åb”Ï‘€a@Ùáñ‬‬

‫‪‚ÏÓ€a@Ÿ€à@@Åbjñ‬‬

‫‪@ïÏi@‚aá«g‬‬

‫‪kokeziaz ekoz‬‬

‫‪_@Ú‘Ó‘y@‚c@·‹y‬‬

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‫‪ëbèÿm@M@ãÌãzn€‬‬

‫‪a@knÿfl‬‬

‫‪@ÊbÌ@Êb‰–€a‬‬

‫‪m‬‬ ‫‪pÎ7i@@¿@Âé7‬‬

‫‪Óõ‘€a‬‬ ‫‪�aáic@Òãöby@ÚÓ‰Ó�è‹–€a@Ú‬‬ ‫‪€a@@·‹‘i‬‬ ‫»‬ ‫‘‬ ‫‪Ó‬‬ ‫‪@á‬‬ ‫‪bu‬‬ ‫‪@⁄‬‬ ‫‪é‬‬ ‫‪bj‬‬ ‫‪ä‬‬ ‫‪Î‬‬

‫ﻣﻦ ﻣﻨﺸﻮﺭﺍﺕ ﺍﻹﻧﺘﺮﺑﻮﻝ‬

‫»ﺍﻟﻌﺎﻟﻢ ﺃﺻﺒﺢ ﺃﻛﺜﺮ ﺃﻣﺎﻧﺎﹰ ﺑﻌﺪ ﻣﻮﺕ‬ ‫ﻫﺬﺍ ﺍﻹﺭﻫﺎﺑﻲ«‬

‫ﻣﺎﺗﻮﺍ ﻓﻲ ﺃﻓﻐﺎﻧﺴﺘﺎﻥ ﻭﺍﻟﻌﺮﺍﻕ ﻭ ﻟﺒﻨﺎﻥ‬ ‫ﻭﻓﻠﺴﻄﲔ ﻧﺘﻴﺠﺔ ﺍﻟﻮﺣﺸﻴﺔ ﺍﻷﻣﻴﺮﻛﻴﺔ‬ ‫ﲡﺎﻩ ﺷﻌﻮﺏ ﺍﻟﻌﺎﻟﻢ«‪.‬‬

‫ﺑﻌﺪ ﺃﻟﻒ ﻟﻴﻠﺔ ﻭ ﻟﻴﻠﺔ ﻋﻠﻰ ﺑﺪﺀ ﺍﻷﺯﻣﺔ‬ ‫ﺍﳌﺎﻟﻴﺔ ﺍﻟﻌﺎﳌﻴﺔ ﻧ ﹸ ﱢﻔﺬ ﺣﻜﻢ ﺍﻹﻋﺪﺍﻡ ﺷﻨﻘﺎ ﹰ‬ ‫ﺑﺤﻖ ﺟﻮﺭﺝ ﺑﻮﺵ ﺍﻷﺑﻦ‪ ،‬ﺍﻟﺮﺋﻴﺲ ﺍﻟﺴﺎﺑﻖ‬ ‫ﻟﻠﻮﻻﻳﺎﺕ ﺍﳌﺘﺤﺪﺓ ﺍﻷﻣﻴﺮﻛﻴﺔ‪.‬‬

‫ﻛﻤﺎ ﺣﻀﺮ ﺣﻔﻞ ﺍﻹﻋــﺪﺍﻡ ﻣﻨﺪﻭﺏ ﻣﻦ‬ ‫ﺷﺮﻛﺔ ﻧﻴﻨﻜﺲ ﻣﺼ ﹼﺮﺣﺎ ‪» :‬ﺑــﻮﺵ ﻣﻊ‬ ‫ﻧﻴﻨﻜﺲ ﻣﺎ ﻓﻲ«‪.‬‬

‫ﻭ ﻓﻲ ﺍﻟﺘﻔﺎﺻﻴﻞ ﻓﻘﺪ ﺍﺣﺘﺸﺪ ﺍﳌﻼﻳﲔ‬ ‫ﺣﻮﻝ ﻣﺰﺭﻋﺔ ﻋﺸﻴﺮﺓ ﺁﻝ ﺑﻮﺵ ﻣﻨﺬ ﺳﺎﻋﺎﺕ‬ ‫ﺍﻟﻔﺠﺮ ﺍﻷﻭﻟﻰ ﺗﻠﺒﻴﺔ ﻟﻨﺪﺍﺀ ﺃﻏﻨﻴﺔ »ﻭﻳﻦ‬ ‫ﺍﳌﻼﻳﲔ؟«‪ .‬ﻭﻛﺎﻧﺖ ﺍﳉﻤﻮﻉ ﺗﺮﺩﺩ ﻭ ﺑﺼﻮﺕ‬ ‫ﻭﺍﺣﺪ ﻭ ﻣﻦ ﺩﻭﻥ ﺗﻨﺸﻴﺰ ﺷﻌﺎﺭﺍﺕ ﻣﻌﺎﺩﻳﺔ‬ ‫ﻟﻸﻧﻜﻞ ﺳﺎﻣ ﹼﻴﺔ‪.‬‬

‫ﻭ ﻣﻦ ﺑﲔ ﺍﻟﻮﻓﻮﺩ ﺍﳌﺸﺎﺭﻛﺔ ﺃﻳﻀﺎﹰ‪ :‬ﻓﺮﻗﺔ‬ ‫ﺍﻟﺪﺑﻜﺔ ﺍﻟﺒﻌﻠﺒﻜﻴﺔ‪ ،‬ﻣﻨﺘﺠﻲ ﺍﻷﻓﻼﻡ‬ ‫ﺍﻟﻔﻴﻴﺘﻨﺎﻣﻲ‪،‬‬ ‫ﺍﻟﻬﻮﻟﻴﻮﻭﺩﻳﺔ‪ ،‬ﺍﻟﺴﻔﻴﺮ‬ ‫ﺍﳌﺒﻌﻮﺙ ﺍﳋﺎﺹ ﻟﻠﺮﺋﻴﺲ ﺍﻟﻜﻮﺭﻱ ﺍﻟﺸﻤﺎﻟﻲ‪،‬‬ ‫ﲡﻤﻊ ﻗﺒﺎﺋﻞ ﺍﻷﻣﺎﺯﻭﻥ‪ ،‬ﻭﺃﺳﺮﺓ ﲢﺮﻳﺮ ﺟﺮﻳﺪﺓ‬ ‫»ﺭﺣﻠﺔ«‪.‬‬

‫ﻭﻗــﺎﻝ ﺃﺣﺪ ﺍﳌﺸﺎﺭﻛﲔ ﻓﻲ ﺍﻟﺘﻈﺎﻫﺮﺓ‬ ‫ﳌﺮﺍﺳﻠﺘﻨﺎ ‪» :‬ﺍﻟﻴﻮﻡ ﻧﺤﻴﺎ ﻭ ﺑﻮﺵ ﳝﻮﺕ«‪.‬‬

‫ﺍﺳﺘﻨﻜﺎﺭ ﻭ ﺷﺠﺐ‬ ‫ﻭﺍﺳﺘﻨﻜﺮﺕ ﻣﻨﻈﻤﺔ ﺍﻟﻌﻔﻮ ﺍﻟﺪﻭﻟﻴﺔ‬ ‫ﻫﺬﺍ ﺍﻟﻌﻤﻞ ﻣﻌﺘﺒﺮﺓ ﺃﻧﻪ ﻻ ﻳﻮﺍﺯﻱ ﺍﻟﻌﻨﻒ‬ ‫ﺍﻟﺬﻱ ﺗﻌﺮﺽ ﻟﻪ ﺍﻟﻌﺎﻟﻢ ﺧﻼﻝ ﻭﻻﻳﺔ ﺑﻮﺵ‬ ‫ﺍﻟﺮﺋﺎﺳﻴﺔ ﻣﺨﺘﺘﻤﺔ ﺑﻴﺎﻧﻬﺎ ﺑـ »ﺗﻘﻠﻮﻟﻮ«‪.‬‬

‫ﻭ ﻗﺒﻞ ﺑﺰﻭﻍ ﺍﻟﻔﺠﺮ ﻛﺎﻧﺖ ﺃﻭﻝ ﺍﺠﻤﻟﻤﻮﻋﺎﺕ‬ ‫ﺍﻟﻐﺎﺿﺒﺔ ﻗﺪ ﺃﻟﻘﺖ ﺍﻟﻘﺒﺾ ﻋﻠﻰ ﺑﻮﺵ‬ ‫ﺍﻹﺑﻦ ﻭ ﻟﻢ ﻳﻜﻦ ﻣﺴﺘﻐﺮﺑﺎ ﹰ ﺇﺳﺘﺴﻼﻣﻪ ﻣﻦ‬ ‫ﺩﻭﻥ ﺃﻱ ﻣﻘﺎﻭﻣﺔ ﺑﻌﺪ ﲡﺮﺑﺘﻪ ﺍﻟﻄﻮﻳﻠﺔ ﻣﻊ‬ ‫ﺣﺮﻛﺎﺕ ﺍﳌﻘﺎﻭﻣﺔ ﺣﻮﻝ ﺍﻟﻌﺎﻟﻢ‪.‬‬ ‫ﻣﺸﺎﺭﻛﺔ ﻭﺍﺳﻌﺔ‬ ‫ﻭﻗــﺪ ﺗﺪﺍﻋﺖ ﻭﻓــﻮﺩ ﻣﻦ ﺍﻟﻬﻨﻮﺩ ﺍﳊﻤﺮ‬ ‫ﻳﺘﺮﺃﺳﻬﺎ ﺯﻋﻴﻢ ﻗﺒﻴﻠﺔ ﺍﻟﺸﻴﺮﻭﻛﻲ ﺁﺗﲔ‬ ‫ﻋﻠﻰ ﺃﺣﺼﻨﺔ ﺭﺑﺎﻋ ﹼﻴﺔ ﺍﻟﺪﻓﻊ‪ .‬ﻭ ﻗﺮﺃ ﺯﻋﻴﻢ‬ ‫ﺍﻟﻬﻨﻮﺩ ﺍﳊﻤﺮ ﺑﻴﺎﻧﺎ ﹰ ﻣﻦ ﻭﺣﻲ ﺍﳌﻨﺎﺳﺒﺔ‬ ‫ﻓﻬﻤﻨﺎ ﻣﻨﻪ »ﺇﻥ ﺍﻟﻴﻮﻡ ﻳﻮﻡ ﺟﻤﻴﻞ‪ ،‬ﺑﻮﺵ‬ ‫ﻳﺎ ﻧﺎﻛﺮ ﺍﳉﻤﻴﻞ‪ ،‬ﺷﻮ ﻋﻤﻠﺖ ﺑﺸﻌﺒﻨﺎ؟« ﻭ‬ ‫ﻗﺎﻡ ﻣﺮﺍﻓﻘﻴﻪ ﺑﺎﻟﺰﻟﻐﻄﺔ ﻋﺎﻟﻴﺎ ﹰ ﺑﻌﺪ ﻗﺮﺍﺀﺓ‬ ‫ﺍﻟﺒﻴﺎﻥ ﻛﺘﻌﺒﻴﺮ ﻓﻮﻟﻜﻠﻮﺭﻱ ﻋﻦ ﺳﻌﺎﺩﺗﻬﻢ‪.‬‬ ‫ﻛﻤﺎ ﺣﻀﺮﺕ ﺭﺋﻴﺴﺔ ﳉﻨﺔ ﺿﺤﺎﻳﺎ ﻗﻨﺒﻠﺔ‬ ‫ﺍﻟﺴﻴﺪﺓ ﺳﻮﺷﻲ ﻳﺎﻣﺎﻣﺎ‬ ‫ﻫﻴﺮﻭﺷﻴﻤﺎ‬ ‫ﹼ‬ ‫ﺧﺼﻴﺼﺎ ﹰ ﳊﻀﻮﺭ ﺍﻹﻋﺪﺍﻡ‪ .‬ﻭﺇﺟﺎﺑ ﹰﺔ ﻋﻠﻰ‬ ‫ﺳﺆﺍﻝ ﻋﻦ ﻋﻼﻗﺔ ﺑﻮﺵ ﺑﻘﻨﺒﻠﺔ ﻫﻴﺮﻭﺷﻴﻤﺎ‬ ‫ﺃﺟﺎﺑﺖ ﺳﻮﺷﻲ‪» :‬ﻧﺤﻦ ﻧﺘﻌﺎﻃﻒ ﻣﻊ ﻣﻦ‬

‫ﻛﻤﺎ ﺃﺳﺘﻨﻜﺮ ﺍﻟﺼﺤﺎﻓﻲ ﺍﻟﻌﺮﺍﻗﻲ ﻣﻨﺘﻈﺮ‬ ‫ﺍﻟﺰﻳﺪﻱ ﺍﳌﻌﺮﻭﻑ ﺑﻠﻘﺐ »ﻗﺎﺫﻑ ﺍﳊﺬﺍﺀ«‪.‬‬ ‫ﻭﺃﻋــﺮﺏ ﺍﻟﺰﻳﺪﻱ ﻋﻦ ﺳﺨﻄﻪ ﻷﻧﻪ ﻟﻢ‬ ‫ﻳﻌﻠﻢ ﻣﺴﺒﻘﺎ ﹰ ﺑﺎﻟﻌﻤﻠﻴﺔ ﻗﺎﺋﻼﹰ‪» :‬ﻭﻟﻮ ﻫﻴﻚ‬ ‫ﺑﺘﺮﻭﺣﻮ ﻭ ﻣﺎ ﺑﺘﺨﺒﺮﻭﻧﻲ؟«‬ ‫ﻧﻮﺭﻳﺲ ﻭ ﺩﺣﻼﻥ‬ ‫ﻭ ﻓﻲ ﺑﻴﺎﻥ ﻭﺻﻞ ﻗﺒﻞ ﺳﺎﻋﺎﺕ ﻣﻦ ﻋﻤﻠﻴﺔ‬ ‫ﺍﻹﻋﺪﺍﻡ ﺃﻋﻠﻦ ﺻﻘﻮﺭ ﺍﶈﺎﻓﻈﲔ ﺍﳉﺪﺩ ‪-‬‬ ‫ﻛﺘﺎﺋﺐ ﺍﻟﺸﻬﻴﺪ ﺟﻮﺭﺝ ﺑﻮﺵ ﺃﻥ ﺍﻟﺪﻭﻻﺭ‬ ‫ﻟﻦ ﻳﺮﺗﺎﺡ ﹼﺇﻻ ﺑﻌﺪ ﺃﻥ ﻧﺜﺄﺭ ﻟﻠﺮﺋﻴﺲ ﺑﻮﺵ‪.‬‬ ‫ﻭ ﹸﻋﻠﻢ ﺃﻥ ﺗﺸﺎﻙ ﻧﻮﺭﻳﺲ ﻭ ﻣﺤﻤﺪ ﺩﺣﻼﻥ‬ ‫ﻳﻌﻤﻼﻥ ﺳﻮ ﹼﻳﺔ ﻟﻠﻘﻴﺎﻡ ﺑﺮ ﹼﺩ ﻗﺎﺱ ﻭﻋﻨﻴﻒ‪...‬‬ ‫ﻳﺎ ﻟﻄﻴﻒ!‬ ‫ﺳ ﹺﻤ ﹶﻊ‬ ‫ﻭ ﺃﻓﺎﺩﺕ ﻣﺼﺎﺩﺭﻧﺎ ﺃﻧﻪ‪ ،‬ﻛﺎﻟﻌﺎﺩﺓ‪ ،‬ﹸ‬ ‫ﺇﻃﻼﻕ ﻧﺎﺭ ﺇﺑﺘﻬﺎﺟﺎ ﹰ ﻓﻲ ﻟﺒﻨﺎﻥ‪.‬‬ ‫)ﻭﻛﺎﻻﺕ‪ ،‬ﺻﺪﻯ ﺍﻟﻘﻮﻗﺎﺯ(‬

‫ﻳﺎﻥ ﻳﺎﻥ‪...‬ﺑﺎﻟﺸﻮﻛﻮﻻﻃﺔ ﻭﺍﻟﻔﺮﺍﻭﻟﺔ‬ ‫ﺃﺣﻴﺎ ﺍﻟﻔﻨﺎﻥ ﻳﺎﻥ ﺗﻴﺮﺳﻦ ﺍﳌﻌﺮﻭﻑ ﻓﻲ ﺍﻷﻭﺳﺎﻁ‬ ‫ﺍﻟﺸﺒﺎﺑﻴﺔ ﺍﻟﻠﺒﻨﺎﻧﻴﺔ ﺑﻠﻘﺐ »ﻫﻴﺪﺍ ﺍﻟﻠﻲ ﻋﻤﻞ‬ ‫ﻣﻮﺳﻴﻘﻰ ﻓﻴﻠﻢ ﺃﻣﻴﻠﻲ ﺑﻮﻻﻥ« ﺣﻔﻠﺔ ﻭﺍﺣﺪﺓ‬ ‫ﻓﻲ ﺍﻟﻌﺎﺻﻤﺔ ﺑﻴﺮﻭﺕ ﺿﻤﻦ ﻓﻌﺎﻟﻴﺎﺕ ﻣﻬﺮﺟﺎﻥ‬ ‫ﺑﻴﺮﻭﺕ ﻟﻠﺮﻭﻙ ﺑﻌﺪ ﺃﻥ ﺳﻤﻊ ﺃﻏﻨﻴﺔ ﻟﻔﺮﻗﺔ ﻟﻴﺪ‬ ‫ﺯﺑﻠﲔ ﺗﻘﻮﻝ ﻛﻠﻤﺎﺗﻬﺎ »ﻫﻨﻴﺌﺎ ﹰ ﳌﻦ ﻟﻪ ﻣﺮﻗﺪ‬ ‫ﻋﻨﺰﺓ ﻓﻲ ﻟﺒﻨﺎﻥ«‪.‬‬ ‫ﻭ ﺑﺎﻟﻔﻌﻞ ﻓﻘﺪ ﺗﻌ ﹼﺮﻑ ﺍﻟﻔﻨﺎﻥ ﺍﺨﻤﻟﻀﺮﻡ ﻋﻠﻰ‬ ‫ﻛﺎﻓﺔ ﺃﻧﻮﺍﻉ ﺍﳌﺎﺷﻴﺔ ﺍﻟﻠﺒﻨﺎﻧﻴﺔ ﺍﻟﺘﻲ ﺣﻀﺮﺕ‬ ‫ﺣﻔﻠﺘﻪ ﻳﻮﻡ ﺍﻟﺴﺒﺖ ‪ 13‬ﺗﺸﺮﻳﻦ ﺍﻷﻭﻝ‪.‬‬ ‫ﺟﻤﻬﻮﺭ ﺑﺎﺏ ﺃﻭﹼﻝ‬ ‫ﻋﺠﺖ ﺍﻟﺼﺎﻟﺔ ﺑﺎﳉﻤﺎﻫﻴﺮ ﺍﻟﻐﻔﻴﺮﺓ ﺍﻟﺘﻲ‬ ‫ﻭﻗﺪ ﹼ‬ ‫ﻏﺎﺑﺖ ﻋﻨﻬﺎ ﻣﺠﻤﻮﻋﺎﺕ »ﺍﻟﻮﺯﺍﻭﺯ«‪ .‬ﻭﻗﺪ ﺃﺛﻨﻰ‬ ‫ﻣﻨﺪﻭﺏ ﺟﻤﻌﻴﺔ ﺣﻤﺎﻳﺔ ﺍﳌﺴﺘﻬﻠﻚ ﻋﻠﻰ‬ ‫ﺍﳊﺪﺙ ﻗﺎﺋﻼﹰ‪» :‬ﺧﻲ! ﺑﻌﺪ ﻣﺎ ﺷﻔﺖ ‪emos‬‬ ‫ﺃﻭ ﻭﺯﺍﻭﺯ‪ ،‬ﻛﻠﻨﺎ ﻣﻦ ﺟﺎﻣﻌﺎﺕ ﻣﺤﺘﺮﻣﺔ ﻭ ﻣﺶ‬ ‫ﻣﲔ ﻣﺎ ﻛﺎﻥ ﺑﻴﻌﺮﻑ ﻣﲔ ﻳﺎﻥ ﺗﻴﺮﺳﻦ«‪ .‬ﻭﺃﺿﺎﻑ‬ ‫ﺷﺨﺺ ﺁﺧﺮ »ﻳﺎﻥ ﺗﻴﺮﺳﻦ ﺭ ﹼﺑﺎ«‪.‬‬ ‫ﻭﺃﻇــﻬــﺮﺕ ﺍﻹﺣــﺼــﺎﺋــﺎﺕ ﻋﻠﻰ ﺍﻟﺸﺒﻜﺔ‬ ‫ﺍﻟﻌﻨﻜﺒﻮﺗﻴﺔ )ﺍﻹﻧﺘﺮﻧﺖ( ﺯﻳﺎﺩﺓ ﻓﻲ ﻛﻤﻴﺔ ﺃﻏﺎﻧﻲ‬ ‫ﺗﻴﺮﺳﻦ ﺍﳌﹸﻨﺰﹶﻟﺔ ﻣﻦ ﺍﳌﺘﺼﻔﺤﲔ ﺍﻟﻠﺒﻨﺎﻧﻴﲔ ﺇﺫ‬ ‫ﺃﻧﻪ‪ ،‬ﻭﺣﺴﺐ ﺍﻷﺻﻮﻝ ﻭﺍﻟﺘﻘﺎﻟﻴﺪ ﺍﻟﻠﺒﻨﺎﻧﻴﺔ‪،‬‬ ‫ﻣﻲ‬ ‫ﻋﻠﻰ ﻛﻞ ﺷﺨﺺ ﺃﻥ ﻳﺤﻔﻆ ﻛﺮﺟﺔ ﹼ‬ ‫ﺃﺳﻤﺎﺀ ﺃﻏﺎﻧﻲ ﺍﻟﻔﻨﺎﻥ ﻛﻲ ﻻ ﻳﻈﻬﺮ ﻛﺠﺎﻫﻞ‬ ‫ﻣﻮﺳﻴﻘﻴﺎ ﹰ ﺃﻣﺎﻡ ﺃﺻﺪﻗﺎﺋﻪ )ﺣﺘﻰ ﻟﻮ ﻣﺎ ﺑﻴﻌﺮﻑ‬ ‫ﺣﺪﺍ ﻣﻦ ﺑﻴﺖ ﺗﻴﺮﺳﻦ(‪.‬‬

‫ﻭﻗﺪ ﹼ‬ ‫ﺗﻠﻘﺖ ﺍﳉﻤﺎﻫﻴﺮ ﺍﻟﻠﺒﻨﺎﻧﻴﺔ ﺻﻔﻌﺔ ﻗﻮﻳﺔ‬ ‫ﻣﻦ ﺗﻴﺮﺳﻦ ﺑﻌﺪ ﺃﻥ ﺃ ﹼﺩﻯ ﻋﺪﺓ ﺃﻏﺎﻧﻲ ﺟﺪﻳﺪﺓ ﻏﻴﺮ‬ ‫ﻣﻌﺮﻭﻓﺔ ﻟﻪ ﻓـ ﺭﺍﺡ ﺍﻟﺘﻌﺐ ﻭﺍﻟﺪﺍﻭﻧﻠﻮﺩ ﻧﹶﺰﹶﻋﺎﻥ‪.‬‬ ‫ﻛﻤﺎ ﻋ ﹼﺒﺮ ﺍﻟﺸﻌﺐ ﺍﻟﻠﺒﻨﺎﻧﻲ ﻋﻦ ﻓﺮﺣﺘﻪ‬ ‫ﺑﺤﻀﻮﺭ ﻳﺎﻥ ﺇﻟﻰ ﻟﺒﻨﺎﻥ ﺑﺮﻣﻲ ﺍﻟﺰﺟﺎﺟﺎﺕ‬ ‫ﻟﻠﺘﺤﻀﺮ‬ ‫ﺍﻟﻔﺎﺭﻏﺔ ﻭﺍﻟﺴﺠﺎﺋﺮ ﻋﻠﻴﻪ ﻛﻤﺜﺎﻝ‬ ‫ﹼ‬ ‫ﻭﺍﻟﺬﻭﻕ ﺍﳌﻮﺳﻴﻘﻲ ﺍﻟﺮﻓﻴﻊ‪ .‬ﻛﻤﺎ ﻏﺎﺩﺭ ﻋﺪﺩ ﻣﻦ‬ ‫ﺣﺎﻣﻠﻲ ﺑﻄﺎﻗﺎﺕ ﺍﻟـ ‪ vip‬ﺑﺎﻛﺮﺍ ﹰ ﺑﻌﺪ ﺃﻥ ﺿﺮﺑﻬﻢ‬ ‫ﺍﳌﻠﻞ‪.‬‬ ‫ﻓﻠﺴﻄﲔ‬ ‫ﻭﺃ ﹼﺩﻯ ﺗﻴﺮﺳﻦ ﻣﻌﺰﻭﻓﺔ ﻳﺮﺩﺩ ﻓﻴﻬﺎ ﺃﻋﻀﺎﺀ ﺍﻟﻔﺮﻗﺔ‬ ‫ﺗﺒﺎﻋﺎ ﹰ ﺃﺣﺮﻑ ﻛﻠﻤﺔ ﻓﻠﺴﻄﲔ »‪p-a-l-e-s-t-‬‬ ‫ﹼ‬ ‫ﺑﻔﻚ ﺷﻴﻔﺮﺓ ﺍﳊﺰﹼﻭﺭﺓ‪.‬‬ ‫‪ «i-n-e‬ﻭﺑﺪﺃ ﺍﳉﻤﻬﻮﺭ‬ ‫ﻓﺎﻋﺘﻘﺪ ﺍﻟﺒﻌﺾ ﺃﻧﻪ ﻳﻘﻮﻝ »‪ «drabzine‬ﺃﻭ‬ ‫»‪ «platine‬ﺃﻭ »‪.«lapine‬‬ ‫ﲡ ﹸﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺃﻥ ﻋﺪﺩ ﻛﺒﻴﺮ ﻣﻦ ﺍﳉﻤﻬﻮﺭ ﻏ ﹼﻴﺮ‬ ‫ﻧﻈﺮﺗﻪ ﺇﻟﻰ ﺍﻟﻘﻀﻴﺔ ﺍﻟﻔﻠﺴﻄﻴﻨﻴﺔ ﺑﻌﺪ ﺃﻥ‬ ‫ﺳﻤﻌﻮﺍ ﺃﻥ ﺗﻴﺮﺳﻦ ﻳﹸﻨﺎﺻﺮ ﺍﻟﻔﻠﺴﻄﻴﻨﻴﲔ ﻭﺯﺍﺭ‬ ‫ﻏﺰﹼﺓ ﻣﻨﺬ ﺳﻨﺘﲔ ﻭﻗﺎﻝ ﻷﻃﻔﺎﻟﻬﺎ‪» :‬ﻟﻦ ﺃﻧﺴﺎﻛﻢ‬ ‫ﻭﻟﻦ ﺃﻧﺴﻰ ﺍﻟﻜﺎﺑﻮﺱ ﺍﻟﺬﻱ ﺗﻌﻴﺸﻮﻧﻪ ﻣﻨﺬ ‪60‬‬ ‫ﻋﺎﻣﺎﹰ‪ .‬ﺳﺄﺣﻂ ﻳﻮﻣﺎ ﹰ ﻣﺎ ﻓﻲ ﻣﻄﺎﺭ ﻳﹸﻜﺘﺐ ﻋﻠﻴﻪ‬ ‫»ﺃﻫﻼ ﺑﻜﻢ ﻓﻲ ﻓﻠﺴﻄﲔ«‪.‬‬ ‫)‪، R.A.F.‬ﺭﻭﻟﻴﻨﻎ ﺳﺘﻮﻥ‪ ،‬ﺭﺣﻠﺔ(‬


‫‪3‬‬ ‫‪Ô�„çÓi@›Ãu‬‬ ‫‪CÚ‹yäD@fia@∂g@·õ‰Ì@µ„Ï◊bi@›ÓˆbÉÓfl‬‬ ‫‪ÚÌ� ã®aÎ@ÒbÓ®a@›uc@Âfl@Úz‹èæa@ÚÓj»ì€a@ÚflÎb‘æa@ÔÁ@ÚÓíã„˛a‬‬ ‫»ﺍﻷﻧﺎﺭﺷﻴﺔ« ﺃﻭ »ﺍﻟﻼﺳﻠﻄﻮﻳﺔ« ﻫﻲ ﺍﲡﺎﻩ ﺳﻴﺎﺳﻲ ﻗﺎﺋﻢ ﻋﻠﻰ ﻣﺒﺎﺩﺉ ﻻ ﺳﻠﻄﻮﻳﺔ‪ ،‬ﲟﻌﻨﻰ ﺁﺧﺮ‬ ‫ﻣﺒﺎﺩﺉ ﺗﻬﺪﻑ ﻹﺯﺍﻟﺔ ﺳﻠﻄﺔ ﺍﻟﺪﻭﻟﺔ‪ ،‬ﻭﺗﻌﺘﻤﺪ ﻓﻲ ﺗﻨﻈﻴﻢ ﺃﻣﻮﺭﻫﺎ ﻋﻠﻰ ﺧﺪﻣﺎﺕ ﺍﳌﺘﻄﻮﻋﲔ ﻣﻦ‬ ‫ﻛﺎﻓﺔ ﺃﻋﻀﺎﺀ ﺍﺠﻤﻟﺘﻤﻌﺎﺕ‪.‬‬ ‫ﹼ‬ ‫ﻭﺍﳌﻨﻈﺮ ﺍﻟﻼﺳﻠﻄﻮﻱ ﺍﻟﻜﺒﻴﺮ »ﻣﻴﺨﺎﺋﻴﻞ ﺑﺎﻛﻮﻧﲔ«‬ ‫ﻧﺴﺘﻀﻴﻒ ﻓﻲ ﻋﺪﺩﻧﺎ ﺍﳌﻤﻴﹼﺰ ﻫﺬﺍ ﺍﻟﻔﻴﻠﺴﻮﻑ‬ ‫ﻟﻴﺤ ﹼﺪﺛﻨﺎ ﺑﺎﺧﺘﺼﺎﺭ ﻋﻦ ﻋﻘﻴﺪﺗﻪ ﺍﻟﺘﻲ ﹼ‬ ‫ﺷﻜﻠﺖ ﻣﺤﻄﺔ ﺗﺎﺭﻳﺨﻴﺔ ﻓﻲ ﺍﳌﺴﺎﺭ ﺍﻟﻔﻜﺮﻱ‪.‬‬

‫ ﺳﻴﹼﺪ ﺑﺎﻛﻮﻧﲔ‪ ،‬ﺃﻭﻻﹰ ﺩﻋﻨﻲ ﺃﺷﻜﺮﻙ ﻋﻠﻰ‬‫ﻣﻮﺍﻓﻘﺘﻚ ﻋﻠﻰ ﻣﻘﺎﺑﻠﺘﻚ ﻓﻲ ﺇﻃﺎﺭ ﻣﻮﺿﻮﻉ‬ ‫ﹼ‬ ‫ﻣﺠﻠﺔ »ﺭﺣﻠﺔ« ‪...‬‬ ‫ﺍﻟﻔﻮﺿﻰ ﻓﻲ‬ ‫ ﹼ‬‫ﻛﻼ‪ ،‬ﺑﻞ ﺃﻧﺎ ﺍﺷﻜﺮﻙ ﻭﺃﻧﺴﺤﺐ ﻣﻦ ﻫﺬﻩ‬ ‫ﺍﳌﻘﺎﺑﻠﺔ ﻓﺎﻟﻈﺎﻫﺮ ﺃﻧﻬﺎ ﻫﺠﻮﻣﻴﺔ ﻭﻏﻴﺮ ﻋﺎﺩﻟﺔ‬ ‫ﻣﻨﺬ ﺍﻟﺒﺪﺍﻳﺔ‪.‬‬ ‫ﻋﻔﻮﺍﹰ‪ ،‬ﻣﺎ ﺍﳋﻄﺄ ﺍﻟﺬﻱ ﺍﻗﺘﺮﻓﺘﻪ ﺑﺤﻘﻖ ﻳﺎ‬ ‫ﺑﺎﺥ؟‬ ‫ﺇﻧﻚ ﺗﻘﺘﺒﺲ ﺣﺪﻳﺜﻚ ﻣﻦ ﺇﺟﺤﺎﻓﺎﺕ ﻭﺍﻧﺘﻘﺎﺩﺍﺕ‬ ‫ﻓﻠﺴﻔﻴﺔ ﺑﺎﻟﻴﺔ ﺍﺳﺘﻬﻠﻜﺘﻬﺎ ﺍﻟﻜﺘﺐ ﻭﺍﳌﺮﺍﺟﻊ‬ ‫ﺍﳌﻨﺎﻫﻀﺔ ﻟﻨﺎ‪ .‬ﻓﻔﻲ ﺍﳊﻘﻴﻘﺔ ﺍﻟﻜﺜﻴﺮ ﻣﻦ‬ ‫ﺍﳌﻨﻈﺮﻳﻦ ﺍﻟﺴﻴﺎﺳﻴﲔ ﻳﺮﺑﻄﻮﻥ ﺍﻟﻼﺳﻠﻄﻮﻳﺔ‬ ‫ﺑﺤﺐ ﺍﻟﻔﻮﺿﻰ‬ ‫)ﺃﻭ ﺍﻟﻔﻮﺿﻮﻳﺔ ﺣﺴﺐ ﻗﻮﻟﻬﻢ(‬ ‫ﹼ‬ ‫ﻭﺍﻧﻌﺪﺍﻡ ﺍﻟﻨﻈﺎﻡ‪.‬‬ ‫ ﺇﺫﺍﹰ ﺃﻧﺎ ﺃﻗ ﹼﺪﻡ ﺍﻋﺘﺬﺍﺭﻱ ﻣﻨﻚ ﻭﻣﻦ ﻓﻠﺴﻔﺘﻚ‪،‬‬‫ﻭﺃﺭﺟﻮ ﻣﻨﻚ ﺍﳉﻠﻮﺱ ﻭﺍﻟﺪﻓﺎﻉ ﻋﻦ ﻧﻈﺮﻳﺘﻚ‬ ‫ﻭﺗﺼﺤﻴﺢ ﻫــﺬﺍ ﺍﻻﻟﺘﺒﺎﺱ ﺍﳌﺘﻌﻤﹼ ﺪ ﻣﻦ‬ ‫ﺍﻟﺒﻌﺾ‪.‬‬ ‫ ﻓﻲ ﺍﻟﺒﺪﺍﻳﺔ ﻛﻤﺎ ﺃﺷﺮﺕ ﻓﺄﻧﺎ ﺃﺭﻓﺾ ﺑﺄﺳﻒ‬‫ﺍﻓﺘﺮﺍﺀﻛﻢ ﻫﺬﺍ ﺑﻮﺻﻔﻨﺎ »ﻓﻮﺿﻮﻳﲔ«‪ .‬ﺩﻋﻨﻲ‬ ‫ﺃﺻﺤﺢ ﻣﻌﻠﻮﻣﺎﺗﻚ ﺍﻟﻐﻴﺮ ﺩﻗﻴﻘﺔ ﺑﺘﺤﺪﻳﺪ‬ ‫ﻫﻮﻳﺘﻨﺎ ﻗﺒﻞ ﲢﺪﻳﺪ ﻣﻀﻤﻮﻧﻬﺎ‪ ،‬ﻧﺤﻦ ﺣﺮﻛﺔ‬ ‫ﻋﺎﳌﻴﺔ ﺗﺆﻣﻦ ﺑﺎﻟﻼﺳﻠﻄﻮﻳﺔ ﻭﻟﺴﻨﺎ ﻣﺮﺍﺩﻓﺎ ﹰ‬ ‫ﻟﻠﻔﻮﺿﻰ ﺃﻭ ﺍﻟﻌﺪﻣﻴﺔ ﺃﻭ ﻏﻴﺮﻫﺎ ﻣﻦ ﺗﻠﻚ‬ ‫ﺍﻟﻬﺮﻃﻘﺎﺕ ﺍﻟﺘﻲ ﺗﻠﺒﺲ ﺇﻟﻴﻨﺎ‪.‬‬ ‫ ﺇﺫﺍ ﻣﺎ ﻫﻮ ﺃﺳﺎﺱ ﻧﻈﺮﻳﺘﻜﻢ؟‬‫ ﺍﻟﻼﺳﻄﻮﻳﺔ ﺃﻭ »ﺍﻷﻧﺎﺭﺷﻴﺔ« ﻟﻴﺴﺖ ﻛﻐﻴﺮﻫﺎ‬‫ﻓﺘﻤﺘﺪ ﺟﺬﻭﺭﻫﺎ‬ ‫ﻣﻦ ﺍﻻﻳﺪﻳﻮﻟﻮﺟﻴﺎﺕ ﺍﻟﺸﺎﻣﻠﺔ‪،‬‬ ‫ﹼ‬ ‫ﺑﺎﻷﺻﻞ ﺍﻟﻰ ﺃﻭﺍﺧﺮ ﺍﻟﻘﺮﻥ ﺍﻟﺘﺎﺳﻊ ﻋﺸﺮ ﺣﻴﺚ‬ ‫ﺍﻣﺘﺎﺯ ﺫﻟﻚ ﺍﻟﻌﺼﺮ ﺑﺎﻟﻔﻼﺳﻔﺔ ﺍﻟﺘﻨﻮﻳﺮﻳﲔ ﺍﻟﺬﻳﻦ‬ ‫ﲢﺪﺛﻮﺍ ﻋﻦ ﺍﻟﻌﻘﺪ ﺍﻻﺟﺘﻤﺎﻋﻲ‪ .‬ﻭﺑﻌﺪ ﺩﺭﺍﺳﺔ‬ ‫ﹼ‬ ‫ﺗﻮﺻﻠﻨﺎ ﺍﻟﻰ ﺃﻥ ﺣﺮﻳﺔ‬ ‫ﻣﻌﻤﻘﺔ ﳊﺮﻛﺔ ﺍﺠﻤﻟﺘﻤﻊ ﹼ‬ ‫ﹼ‬ ‫ﺍﻟﻔﺮﺩ ﺍﳌﻄﻠﻘﺔ ﻻ ﺗﻌﻄﻰ ﺍﻻ ﻣﻦ ﺧﻼﻝ »ﺩﻭﻟﺔ«‬ ‫ﻋﺎﺩﻟﺔ ﻻ ﺳﻠﻄﺔ ﻓﻴﻬﺎ‪.‬‬ ‫ ﻭﻟﻜﻦ ﻣﺎ ﻫﻮ ﺳﺒﺐ ﺍﻹﻧﻘﺴﺎﻣﺎﺕ ﺩﺍﺧﻞ‬‫ﺍﳊــﺮﻛــﺔ ﺍﻷﻧــﺮﺷــﻴــﺔ؟ ﳌــﺎ ﺍﳊــﺎﺟــﺔ ﻟﻌ ﹼﺪﺓ‬ ‫ﻣﺠﻤﻮﻋﺎﺕ ﻓﻜﺮﻳﺔ ﻃﺎﳌﺎ ﻟﺪﻳﻜﻢ ﻧﻔﺲ‬ ‫ﺍﻟﻘﻨﺎﻋﺎﺕ؟‬ ‫ﺃﺣﺐ ﺗﻨﺎﻭﻝ ﺍﳌﺴﺄﻟﺔ ﻭﻛﺄﻧﻪ ﻫﻨﺎﻙ ﺍﺧﺘﻼﻑ‬ ‫‪.‬ﻻ ﹼ‬ ‫ﺣﺎ ﹼﺩ ﻭﻣﺼﻴﺮﻱ! ﻓﻲ ﺍﻟﻮﺍﻗﻊ ﻫﻨﺎﻙ ﺍﻟﻼﺳﻠﻄﻮﻳﺔ‬ ‫ﺍﻟﺘﺒﺎﺩﻟﻴﺔ‪ ،‬ﺍﻟﻼﺳﻠﻄﻮﻳﺔ ﺍﳉﻤﻌﻴﺔ ﻭﺍﻟﺸﻴﻮﻋﻴﺔ‬ ‫ﺍﻟﻼﺳﻠﻄﻮﻳﺔ‪ ،‬ﻭﺍﻻﺧﺘﻼﻑ ﻣﺤﺼﻮﺭ ﺇﺟﻤﺎﻻ ﻓﻲ‬ ‫ﺍﻟﺸﻖﹼ ﺍﻻﻗﺘﺼﺎﺩﻱ؛ ﻓﺎﻷﻭﻟﻰ‪ ،‬ﻭﺍﻟﺘﻲ ﻫﻲ ﺍﳌﻄﻠﻮﺑﺔ‬ ‫ﺑﺮﺃﻳﻲ‪ ،‬ﺗﻨﻜﺮ ﻭﺟﻮﺩ ﺍﳌﻠﻜﻴﺎﺕ ﺍﳋﺎﺻﺔ ﻟﻮﺳﺎﺋﻞ‬ ‫ﺍﻹﻧﺘﺎﺝ ﻋﻠﻰ ﺃﻥ ﺗﻜﻮﻥ ﺍﳌﻠﻜﻴﺔ ﺟﻤﻌﻴﺔ‪ ،‬ﻭﺗﻨﺎﺩﻱ‬

‫ﺑﺘﻘﺎﺿﻲ ﺍﻟﻌﻤﺎﻝ ﺃﺟﺮﻫﻢ ﺣﺴﺐ ﺍﻟﻮﻗﺖ ﺍﻟﺬﻱ‬ ‫ﺑﺬﻟﻮﻩ ﻓﻲ ﺍﻹﻧﺘﺎﺝ‪ ،‬ﺑﻌﻜﺲ ﻣﺒﺪﺃ ﺗﻮﺯﻳﻊ ﺍﳌﻨﺘﺠﺎﺕ‬ ‫ﺣﺴﺐ ﺍﳊﺎﺟﺔ ﻓﻲ ﺍﻟﺸﻴﻮﻋﻴﺔ ﺍﻟﻼﺳﻠﻄﻮﻳﺔ‪.‬‬ ‫ﺍﻟﻌﻤﺎﻝ ﺃﺟﺮﻫﻢ‬ ‫ﹼ‬ ‫ﺃﻣﺎ ﺍﻟﺜﺎﻧﻴﺔ ﻓﺘﻘﺘﺮﺡ ﺃﻥ ﻳﺘﻘﺎﺿﻰ ﹼ‬ ‫ﺣﺴﺐ ﻗﻴﻤﺔ ﺍﻟﻌﻤﻞ ﺍﻟﺬﻱ ﺃﻧﺘﺠﻮﻩ‪.‬‬

‫ﻧﺤﻦ ﻛﺄﻧﺎﺭﺷﻴﲔ ﻟﻴﺒﻴﺮﺍﻟﻴﲔ ﻻ ﻧﺆﻣﻦ ﺑﺎﻟﺴﻠﻄﺔ‪،‬‬ ‫ﻳﺘﻀﻤﻦ ﻗﺮﺍﺭ ﺟﻤﻴﻊ ﺍﻷﻓﺮﺍﺩ‬ ‫ﻓﺎﺠﻤﻟﺘﻤﻊ ﺑﻨﻈﺮﻧﺎ‬ ‫ﹼ‬ ‫ﺑﻌﻜﺲ ﺍﻟﺸﻴﻮﻋﻴﺔ ﺣﻴﺚ ﺍﺠﻤﻟﺘﻤﻊ ﻳﺴﻴﺮ ﻋﻠﻰ‬ ‫ﻣﻮﺟﻬﺔ‪.‬‬ ‫ﺃﺳﺎﺱ ﺃﻧﻈﻤﺔ ﹼ‬ ‫ﺇﺫﺍﹰ ﻛﻴﻒ ﺗﺨﺘﻠﻒ ﺛﻮﺭﺗﻜﻢ ﻋﻦ ﺍﳌﺎﺭﻛﺴﻴﲔ؟‬ ‫ ﻟﻘﺪ ﺩﺭﺳﻨﺎ ﺍﻟﺜﻮﺭﺓ ﺁﺧﺬﻳﻦ ﺑﻌﲔ ﺍﻻﻋﺘﺒﺎﺭ ﺍﻟﻌﺎﻣﻞ‬‫ﺍﻟﻨﻔﺴﻲ ﻭﻟﻴﺲ ﻓﻘﻂ ﺍﻟﺘﻔﺎﻭﺕ ﺍﻟﻄﺒﻘﻲ‬ ‫ﺣﺴﺐ ﻣﺎﺭﻛﺲ‪ ،‬ﻭﻭﺻﻠﻨﺎ ﺍﻟﻰ ﺧﻼﺻﺔ ﺃﻧﻪ ﻣﻦ‬ ‫ﺍﻷﻧﺴﺐ ﺗﻨﻈﻴﻢ ﻣﺠﺘﻤﻊ ﺍﺷﺘﺮﺍﻛﻲ ﻣﺆ ﹼﻟﻒ‬ ‫ﻣﻦ ﻫﻴﺌﺎﺕ ﺍﺟﺘﻤﺎﻋﻴﺔ ـ ﺛﻮﺭﻳﺔ ﻭﺍﲢﺎﺩﺍﺕ ﺣ ﹼﺮﺓ‬ ‫ﺗﺘﻀﻤﻦ ﻣﻦ ﻧﻘﺎﺑﺎﺕ ﻭﻫﻴﺌﺎﺕ ﻭﺗﻨﻈﻴﻤﺎﺕ‬ ‫ﻭﻣﺎ‬ ‫ﹼ‬ ‫ﺷﻌﺒﻴﺔ ﺣ ﹼﺮﺓ ﻟﻺﺷﺮﺍﻑ ﻋﻠﻰ ﺍﳊﻴﺎﺓ ﺍﻻﻗﺘﺼﺎﺩﻳﺔ‬ ‫ﻭﺍﻻﺟﺘﻤﺎﻋﻴﺔ‪ .‬ﻫﻜﺬﺍ‪ ،‬ﻭﻣﻊ ﻏﻴﺎﺏ ﺍﻟﺴﻠﻄﺔ‬ ‫ﺍﻟﻌﻤﺎﻝ‪ ،‬ﻳﻨﺘﻬﻲ ﺍﻻﺳﺘﻐﻼﻝ‬ ‫ﺍﳌﺴﻴﻄﺮﺓ ﻋﻠﻰ‬ ‫ﹼ‬ ‫ﺍﻻﻗﺘﺼﺎﺩﻱ ﻭﺍﻻﺿﻄﻬﺎﺩ ﺍﻟﺴﻴﺎﺳﻲ‪ .‬ﻭ ﻫﺬﺍ ﻣﺎ‬ ‫ﻟﻢ ﻳﺪﺭﻛﻪ ﻣﺎﺭﻛﺲ‪.‬‬

‫‪A‬‬ ‫ﺗﻨﻀﻢ ﺍﺠﻤﻟﻤﻮﻋﺎﺕ ﺍﻟﻔﻮﺿﻮﻳﺔ‪...‬ﻏﻔﻮﺍ ﹰ‬ ‫ﻭ ﻛﻴﻒ ﹼ‬ ‫ﻋﻔﻮﺍ ﹰ ﺍﻷﻧﺮﺷﻴﹼﺔ؟‬

‫ ﺑﺎﻟﺮﻏﻢ ﻣﻦ ﺇﳝﺎﻧﻨﺎ ﺑﺎﳋﻼﻳﺎ ﻛﺘﻨﻈﻴﻢ ﺩﺍﺧﻠﻲ‬‫ﺗﻌﺪﺩ‬ ‫ﻟﻠﺤﺮﻛﺎﺕ ﺍﻟﻼﺳﻠﻄﻮﻳﺔ‪ ،‬ﻭﺑﺎﻟﺮﻏﻢ ﻣﻦ‬ ‫ﹼ‬ ‫ﺃﺷﻜﺎﻝ ﺍﻷﻧﺎﺭﺷﻴﺔ ﻓﺈ ﹼﻥ ﻫﺪﻓﻨﺎ ﺍﳌﺸﺘﺮﻙ ﻫﻮ‬ ‫ﺍﳌﺪﻣﺮﺓ‬ ‫ﺍﻟﺘﺨ ﹼﻠﺺ ﻣﻦ ﺍﻷﺧﻄﺎﺭ ﺍﻟﺴﻠﻄﻮﻳﺔ‬ ‫ﹼ‬ ‫ﻟﻠﻤﺠﺘﻤﻌﺎﺕ ﻭﻟﻺﻧﺴﺎﻥ‪ .‬ﻏﺎﻳﺘﻨﺎ ﲢﻘﻴﻖ ﺍﳊﻠﻢ‬ ‫ﺍﻟﻌﺎﳌﻲ ﺍﻷ ﹼﻭﻟﻲ ﺍﳌﺘﻤﺜﻞ ﺑﺘﻄﺒﻴﻖ ﺍﻟﻼﻣﺮﻛﺰﻳﺔ‬ ‫ﺃﻱ ﻣﺠﺘﻤﻊ‪،‬‬ ‫ﻋﻮﺿﺎ ﹰ ﻋﻦ ﺍﻟﺴﻠﻄﺔ ﺍﳌﺮﻛﺰﻳﺔ ﻓﻲ ﹼ‬ ‫ﻭﻭﺳﻴﻠﺘﻨﺎ ﻫﻲ ﺳﻠﻚ ﺍﻟﻄﺮﻳﻖ ﺍﻟﺘﻲ ﻧﺮﺍﻫﺎ‬ ‫ﺍﻷﺳﻬﻞ ﻟﺘﺤﻘﻴﻖ ﻫﺬﻩ ﺍﻟﻐﺎﻳﺔ‪.‬‬

‫ ﺣﺴﻨﺎﹰ‪ ،‬ﻣﺎﺫﺍ ﻋﻦ ﺍﳋﻼﻑ ﺑﻴﻨﻚ ﻭﺑﲔ ﻛﺎﺭﻝ‬‫ﻣﺎﺭﻛﺲ؟‬ ‫ ﺳﺒﺐ ﺍﳋﻼﻑ ﺍﻷﺳﺎﺳﻲ ﺑﻴﻨﻲ ﻭﺑﲔ ﻛﺎﺭﻝ‬‫ﻣﺎﺭﻛﺲ ﻛﺎﻥ ﻋﻠﻰ ﺃﺳﺎﺱ ﺍﻟﺴﻠﻄﺔ‪ ،‬ﺃﻭ ﺑﺎﻷﺣﺮﻯ‬ ‫ﺩﻳﻜﺘﺎﺗﻮﺭﻳﺔ ﺍﻟﺒﺮﻭﻟﻴﺘﺎﺭﻳﺎ‪ ،‬ﻓﺎﻟﺮﻛﻴﺰﺓ ﺍﻷﺳﺎﺳﻴﺔ‬ ‫ﻟﻠﻤﺎﺭﻛﺴﻴﺔ ﻫﻲ ﺩﻳﻜﺘﺎﺗﻮﺭﻳﺔ ﺍﻟﺴﻠﻄﺔ‪ ،‬ﺃﻣﺎ‬

‫ ﺍﻟﺒﻌﺾ ﻳﻘﻮﻝ ﺃﻥ ﺍﳋﻼﻑ ﺷﺨﺼﻲ ﻣﻨﺬ‬‫ﺃﻳﹼﺎﻡ ﲡﻤﹼ ﻊ ﺍﻟﻌﻤﺎﻝ ﺍﻟﺪﻭﻟﻲ‪ .‬ﻣﺎ ﺣﻘﻴﻘﺔ ﻫﺬﻩ‬ ‫ﺍﻟﻘﺼﺔ؟‬

‫‪ .‬ﻧﻌﻢ ﺍﳋﻼﻑ ﻗﺪ ﺣﺴﻢ ﺍﻟﻌﻼﻗﺔ ﺑﻴﻨﻲ ﻭﺑﲔ‬ ‫ﻣﺎﺭﻛﺲ ﻋﻠﻰ ﺍﻟﺼﻌﻴﺪﻳﻦ ﺍﻟﺸﺨﺼﻲ ﻭﺍﻟﻌﻤﻠﻲ‪.‬‬ ‫ﱞ‬ ‫ﻗﺪ ﺍﺗﺨﺬ ﻃﺮﻳﻘﺎ ﹰ ﻣﻌﺎﻛﺴﺎ ﹰ ﲤﺎﻣﺎ ﹰ ﻟﻶﺧﺮ‪.‬‬ ‫ﻓﻜﻞ ﹼ‬ ‫ﹰ‬ ‫ﻭﻫﺬﺍ ﻣﺎ ﺫﻛﺮﺗﻪ ﺳﺎﺑﻘﺎ ﻓﻲ ﺣﺪﻳﺜﻲ ﻋﻦ ﺍﻟﻔﺮﻕ‬ ‫ﺑﲔ ﺍﻟﻼﺳﻠﻄﻮﻳﺔ ﻭﺍﻟﺸﻴﻮﻋﻴﺔ ﻭﻋﻦ ﺳﻠﺒﻴﺎﺕ‬ ‫ﺍﻷﺧﻴﺮﺓ ﺍﳌﺘﻌﻠﻘﺔ ﺑﻠﺠﻮﺋﻬﺎ ﺍﻟﻰ ﺩﻳﻜﺘﺎﺗﻮﺭﻳﺔ‬ ‫ﺍﻟﺪﻭﻟﺔ‪.‬‬ ‫ﺛﻢ ﺍﻟﻰ ﺳﻠﻄﺔ ﹼ‬ ‫ﺍﻟﺒﺮﻭﻟﻴﺘﺎﺭﻳﺔ ﻭﻣﻦ ﹼ‬ ‫ﹼ‬ ‫ﻭﺗﺄﻛﺪ ﻟﻲ ﺃﻧﻨﺎ ﻟﻢ ﻧﻜﻦ ﻣﺨﻄﺌﲔ ﺑﺤﻜﻤﻨﺎ‬ ‫ﺍﻟﻐﻴﺮ ﻣﺴﺒﻖ ﻋﻠﻰ ﺍﻟﺸﻴﻮﻋﻴﺔ‪ ،‬ﻓﺄﻛﺒﺮ ﻣﺜﺎﻝ‬ ‫ﻛﺎﻥ ﻓﺮﺽ ﻣﺎﺭﻛﺲ ﻟﺴﻠﻄﺘﻪ ﻭﻋﺪﻡ ﺍﺣﺘﺮﺍﻣﻪ‬ ‫ﳊﺮﻳﺔ ﺍﻟﻔﺮﺩ ﺍﳌﻄﻠﻘﺔ ﻓﻮﻕ ﺍﳉﻤﻴﻊ‪.‬‬

‫ ﻭ ﻣﺎ ﺍﻟﻀﺮﺭ ﻓﻲ ﺫﻟﻚ؟‬‫ﲡﻤﻊ ﺍﻟﻌﻤﺎﻝ ﺍﻟﺪﻭﻟﻲ ﻳﺎ ﺭﺟﻞ!‬ ‫ ﺇﻗﺼﺎﻧﻲ ﻣﻦ ﹼ‬‫ ﺑﻌﺪ ﺯﻭﺍﻝ ﺯﻣﻦ ﺍﻻﻳﺪﻳﻮﻟﻮﺟﻴﺎﺕ ﺣﻴﺚ ﺳﻘﻄﺖ‬‫ﺃﺣﻼﻡ ﺍﻟﺸﻴﻮﻋﻴﲔ ﻭﺃﻣﻮﺍﻝ ﺍﻟﺮﺃﺳﻤﺎﻟﻴﲔ ﻫﻞ‬ ‫ﺑﺮﺃﻳﻚ ﻣﺎ ﺯﺍﻟﺖ ﺍﻷﻧﺎﺭﺷﻴﺔ ﻋﻠﻰ ﻗﻴﺪ ﺍﳊﻴﺎﺓ؟‬ ‫ ﻻ ﺗﺰﺍﻝ ﺷﻌﻮﺏ ﺍﻟﻌﺎﻟﻢ ﺗﻨﺎﺿﻞ ﻣﻦ ﺃﺟﻞ‬‫ﺍﻟﻌﺪﺍﻟﺔ ﻭﺍﳌﺴﺎﻭﺍﺓ‪ .‬ﻭﻃﺎﳌﺎ ﺃﻥ ﺷﻌﻠﺔ ﺍﻟﺜﻮﺭﺓ‬ ‫ﺗﻨﻄﻔﻲ ﻓﺴﻴﺒﻘﻰ ﺍﻷﻣﻞ ﺑﺎﻷﻧﺮﺷﻴﺔ‪ .‬ﻟﻘﺪ‬ ‫ﻟﻢ‬ ‫ﹾ‬ ‫ﻧﺎﺿﻠﺖ ﺍﻟﺸﻌﻮﺏ ﻣﻦ ﺃﺟﻞ ﺍﻟﺸﻴﻮﻋﻴﺔ‪ ،‬ﻓﺎﻧﺘﻬﻰ‬ ‫ﺑﻬﺎ ﺍﳌﻄﺎﻑ ﺑﺎﻟﻨﻀﺎﻝ ﻣﻦ ﺃﺟﻞ ﺍﻟﺘﺤﺮﺭ ﻣﻦ‬ ‫ﺍﻟﺸﻴﻮﻋﻴﺔ ﺍﻟﺘﻲ ﻓﺮﺿﺖ ﻋﻠﻴﻬﻢ ﺩﻳﻜﺘﺎﺗﻮﺭﻳﺔ‬ ‫ﺟﺪﻳﺪﺓ‪ .‬ﺑﻌﺪ ﺯﻭﺍﻝ ﺯﻣﻦ ﺍﻹﻳﺪﻳﻮﻟﻮﺟﻴﺎﺕ ﻭ ﺛﻮﺭﺍﺕ‬ ‫ﺍﻟﻔﻮﺩﻛﺎ ﺃﺩﻋﻮ ﻋﻤﺎﻝ ﻭ ﺷﺒﺎﺏ ﺍﻟﻌﺎﻟﻢ ﻟﻠﻤﻀﻲ‬ ‫ﻗﺪﻣﺎ ﹰ ﺑﺎﻷﻧﺮﺷﻴﺔ ﻛﻮﺳﻴﻠﺔ ﻟﺘﺤﺮﻳﺮ ﺍﻟﺒﻼﺩ‬ ‫ﻭﺍﻟﻌﻘﻮﻝ‪.‬‬ ‫ ﻣﺎ ﺭﺃﻳﻜﻢ ﺑﺎﻟﻮﺍﻗﻊ ﺍﻟﺬﻱ ﻳﻌﻴﺸﻪ ﻟﺒﻨﺎﻥ؟‬‫ﻫﻞ ﺗﺮﺍﻩ ﹼ‬ ‫ﺃﻭﻝ ﺩﻭﻟﺔ ﺗﻄﺒﹼﻘﺖ ﻓﻴﻬﺎ ﻧﻈﺮﻳﺘﻚ‬ ‫ﻟﻠﻨﻈﺎﻡ؟‬ ‫ﳝﺖ‬ ‫ ﺇﻃﻼﻗﺎ ﹰ ﻻ! ﻣﺎ ﻳﺤﺼﻞ ﻓﻲ ﻫﺬﺍ ﺍﻟﺒﻠﺪ ﻻ ﹼ‬‫ﺑﺄﻱ ﺻﻠﺔ ﳌﺎ ﺍﻋﺘﻘﺪﻧﺎﻩ ﺃﻧﺎ ﻭﺃﺻﺤﺎﺏ ﺍﻟﺮﺃﻱ‬ ‫ﺍﳌﻤﺎﺛﻞ‪ ،‬ﻭﻻ ﺣﺘﹼﻰ ﻷﻱ ﻧﻮﻉ ﻣﻦ ﺍﻷﻧﻈﻤﺔ ﺍﻟﻌﺎﳌﻴﺔ‬ ‫ﺍﻟﺘﻲ ﻋﺮﻓﺘﻬﺎ ﻭﻋﺸﺘﻬﺎ ﺻﺮﺍﺣﺔ‪ .‬ﻓﻠﻴﺲ ﻣﻌﺮﻭﻑ‬ ‫ﺣﺘﻰ ﺍﻵﻥ ﻣﺎ ﺇﺫﺍ ﻫﻨﺎﻙ ﺳﻠﻄﺔ ﻓﻲ ﻟﺒﻨﺎﻥ ﺃﻭ ﱞ‬ ‫ﻛﻞ‬ ‫ﻫﻮ ﺍﻟﺴﻠﻄﺔ‪ ،‬ﻭﺑﺮﺃﻳﻲ ﻫﺬﺍ ﺍﻟﺒﻠﺪ ﻳﺘ ﹼﺒﻊ ﻣﻨﻬﺠﺎ ﹰ‬ ‫ﻓﻮﺿﻮﻳﺎ ﹰ ﻓﻲ ﺍﳊﻴﺎﺓ ﺍﻟﺴﻴﺎﺳﻴﺔ ﻭﺍﳊﻴﺎﺓ ﺍﻟﻌﺎﻣﺔ‬ ‫ﺍﻟﺼﻌﺐ ﺟﺪﺍ ﹰ‬ ‫ﺃﺻﺒﺢ ﻣﻦ ﺗﺮﺍﺛﻪ ﺍﻟﺸﻌﺒﻲ‪ ،‬ﻭﻣﻦ‬ ‫ﹼ‬ ‫ﺍﳋﺮﻭﺝ ﻣﻦ ﻫﺬﺍ ﺍﳉ ﹼﻮ ﻣﻦ ﺍﻟﻔﻮﺿﻰ ﺍﳌﺘﻐﻠﻐﻠﺔ‬ ‫ﺩﺍﺧــﻞ ﺍﻟﺒﻨﻴﺔ ﺍﻟﻠﺒﻨﺎﻧﻴﺔ ﻭﺧﺎﺭﺟﻬﺎ ﻭﻋﻠﻰ‬ ‫ﺍﳉﻮﺍﻧﺐ!‬ ‫ ﻛﻠﻤﺔ ﺃﺧﻴﺮﺓ؟‬‫ﻋﺠﺒﺖ ﺑﺎﻷﻋﺪﺍﺩ ﺍﻟﺴﺎﺑﻘﺔ ﻟـ »ﺭﺣﻠﺔ«‬ ‫ ﺍﹸ ﹺ‬‫ﻭﺃﻫﺪﻳﻜﻢ ﺍﻟﻨﺴﺨﺔ ﺍﻷﻭﻟــﻰ ﻟﺪﻳﻮﺍﻥ ﺷﻌﺮ‬ ‫ﺳﻴﺼﺪﺭ ﻟﻲ ﻗﺮﻳﺒﺎ ﹰ ﻋﻨﻮﺍﻧﻪ »ﺍﺳﺘﺮﺍﺣﺔ ﺍﶈﺎﺭﺏ«‬ ‫ﻭﺃﻋﺒﺮ ﻓﻴﻪ ﻋﻦ ﻧﻈﺮﺗﻲ ﻟﻠﺜﻮﺭﺓ ﻭﺍﳊﺮﻳﺔ ﻭﺍﳌﺮﺃﺓ‬ ‫ﻭﺣﺎﺟﺘﻲ ﻟﻠﻤﺎﻝ‪...‬ﻓﺄﻧﺼﺢ ﺍﻟﻘ ﹼﺮﺍﺀ ﺑﺸﺮﺍﺋﻪ‪...‬ﻭ‬ ‫ﻗﺮﺍﺋﺘﻪ ﺇﺫﺍ ﺃﺭﺍﺩﻭﺍ‪.‬‬

‫ﺣﺎﻭﺭﻩ‪:‬‬

‫ﺑﻮﻝ ﻣﺨﻠﻮﻑ‬ ‫ﻣﻴﻼﺩ ﺍﻟﺪﻭﻳﻬﻲ‬ ‫ﺣﺮﻣﻮﻥ ﺣﻤﻴﺔ‬


‫‪Ú‹yä‬‬

‫◊‪@@@@@@@ÛöÏ–Ä€a@@@@ãÄè€a@ÚćċÄ‬‬

‫◊‪b„7ófl@ä�㑉‹œ@Lb‰m7èfl@aÎä�ãÿÌ@¸@Ô‬‬

‫ﻓﻦ‬ ‫ﻛﻤﺎ ﻓــﻲ‬ ‫ﺍﻟﻔــﻦ ﺍﻟﺜﺎﻣــﻦ‪ ،‬ﺃﻻ ﻭﻫــﻮ ﹼ‬ ‫ﹼ‬ ‫ﺍﻟﻄﺒﺦ‪ ،‬ﻓــﺈﻥ ﺇﺿﺎﻓﺔ ﺑﻌــﺾ ﺍﳌﻜ ﹼﻮﻧﺎﺕ‬ ‫ﻛﻤﻴﺔ‬ ‫ﺍﻟﺘﻲ ﺗﺒﺪﻭ ﻏﻴﺮ ﻣﻨﺎﺳﺒﺔ ﻃﻌﻤﺎ ﹰ ﺃﻭ ﹼ‬ ‫ﻗﺪ ﺗﺬﻫﻞ ﺍﻟﺸﻴﻒ ﺍﻟﺮﻣﺰﻱ ﻭﺗﺪﻓﻌﻪ ﺍﻟﻰ‬ ‫ﺧﻠﻊ ﺧﻮﺫﺗﻪ ﺗﻘﺪﻳﺮﺍﹰ‪.‬‬ ‫ﻫﺬﻩ ﺑﻌــﺾ ﻣﻦ ﺍﻷﻣﺜﻠﺔ ﺍﻟﺘﻲ ﺗﺸــﺠﻊ‬

‫ﺍﻟﻔــﻦ ﻫﻮ ﺃﺭﺽ ﺧﺼﺒــﺔ ﻹﺛﺒﺎﺕ ﺃﻥ ﻫﺬﻩ‬ ‫ﹼ‬ ‫ﺍﳊﺎﻟﺔ ﻣــﻦ ﺍﻟﻔﻮﺿﻰ ﻟﻴﺴــﺖ ﺇﻻ ﺣﺎﻟﺔ‬ ‫ﺇﻳﺠﺎﺑﻴﺔ‪ .‬ﻓﻤﺜﻼﹰ‪ ،‬ﻣﺰﺝ ﺍﻷﻟﻮﺍﻥ ﺍﻷﺳﺎﺳﻴﺔ‬ ‫ﺍﻟﻌﺸــﻮﺍﺋﻲ ﻭ ﹼﻟﺪ ﺃﻟﻮﺍﻧــﺎ ﹰ ﺟﺪﻳﺪﺓ ﺃﻋﻄﻲ‬ ‫ﻟﻬﺎ ﺍﺳــﻤﺎﹰ‪ .‬ﻭﺑﺬﻟﻚ ﺃﻻ ﳝﻜﻨﻨﺎ ﺍﻟﻘﻮﻝ ﺃﻥ‬ ‫ﺍﻟﻔﻮﺿﻰ ﻃﺮﻳــﻖ ﲤﻬﻴﺪﻳﺔ ﻟﻠﻨﻈﺎﻡ؟ ﻭﺇﺫﺍ‬

‫ﻋﺪﺓ‬ ‫ﻣﻮﺳﻴﻘﻴﺎﹰ‪ ،‬ﺃﻻ ﻳﺄﺗﻲ ﺍﻟﺪﻭﺯﺍﻥ ﺇﻻ ﺑﻌﺪ ﹼ‬ ‫ﻣﺤﺎﻭﻻﺕ ﻋﺸﻮﺍﺋﻴﺔ ﻟﻠﺘﻮﺻﻞ ﺍﻟﻰ ﺗﺮﺗﻴﺐ‬ ‫ﻣﻨﺎﺳﺐ ﻟﻠﻨﻮﺗﺎﺕ؟ ﻛﻤﺎ ﻭﺃﻥ ﺯ ﹼﻟﺔ ﺍﻷﺻﺎﺑﻊ‬ ‫ﺃﺛﻨﺎﺀ ﺍﻟﺘﻤﺮﻳﻦ ﺃﻭ ﺍﻻﺭﲡﺎﻝ ﺑﺎﺳــﺘﻄﺎﻋﺘﻬﺎ‬ ‫ﺧﻠﻖ ﻧﻐﻤﺔ‪ ،‬ﻭﻳﻨﺘﻬﻲ ﺑﻚ ﺍﳌﻄﺎﻑ ﺑﺘﺄﻟﻴﻒ‬ ‫ﻣﻌﺰﻭﻓﺔ ﺗﺴﺠﺪ ﻟﻬﺎ ﺍﻵﺫﺍﻥ‪.‬‬

‫ﺃﺣﺪ ﺍﻷﻣﻮﺭ ﺍﳌﻌﺘﺮﻑ ﺑﻬــﺎ ﺩﻭﻟﻴﺎ ﹰ ﻭﺍﳌﺘﹼﻔﻖ‬ ‫ﻋﻠﻴﻬــﺎ ﺩﻭﻥ ﺍﻟﻠﺠﻮﺀ ﺍﻟــﻰ ﺍﻷﱈ ﺍﳌﺘﺤﺪﺓ‬ ‫ﻫــﻲ ﺃﻥ ﺍﻟﻔﻮﺿﻰ ﻧﻘﻴــﺾ ﺍﻟﻨﻈﺎﻡ‪ .‬ﻫﺬﺍ‬ ‫ﺍﻷﺧﻴــﺮ ﻟﻴــﺲ ﺑﺎﻟﻀﺮﻭﺭﺓ ﺳﻴﺎﺳــﻴﺎﹰ‪ .‬ﺃﻱ‬ ‫ﺷــﻲﺀ ﳝﻜــﻦ ﺃﻥ ﻳﻜــﻮﻥ ﹼ‬ ‫ﻣﻨﻈﻤــﺎ ﹰ ﻣﺜﻞ‬ ‫ﺩﻭﺭﺓ ﺍﻟﻜﻮﺍﻛﺐ ﺣﻮﻝ ﺍﻟﺸﻤﺲ‪ .‬ﺃﻣﺎ ﻫﻨﺎ‪،‬‬ ‫ﻓﺴــﻴﺘﻢ ﺗﻨﺎﻭﻝ ﺣﺎﻟﺔ ﻟﻠﻔﻮﺿﻰ ﺑﺤﻴﺚ‬ ‫ﺗﻜﻮﻥ ﻣﺰﻳﺠﺎ ﹰ ﻋﺸﻮﺍﺋﻴﺎ ﹰ ﻟﻸﻣﻮﺭ ﻭﻧﺘﻴﺠﺘﻬﺎ‬ ‫ﺗﺘﺨﺬ ﻃﺎﺑﻌﺎ ﹰ ﺗﻨﻈﻴﻤﻴﺎﹰ‪ .‬ﻓﺄﻛﺜﺮ ﻣﺎ ﻳﻔﻴﺪ‬ ‫ﻓﻲ ﻓﻬﻢ ﺍﻷﺷﻴﺎﺀ ﻫﻮ ﻧﻘﻴﻀﻬﺎ‪.‬‬

‫ﺭﻣﻴــﺖ ﺍﻷﻟﻮﺍﻥ ﺍﳌﻮﻟﻮﺩﺓ ﺑﺸــﻜﻞ ﻋﻔﻮﻱ‬ ‫ﻋﻠﻰ ﻗﻄﻌﺔ ﺧﺸﺐ‪ ،‬ﻗﺪ ﺗﺆﻭﻝ ﺍﻟﻰ ﻟﻮﺣﺔ‬ ‫ﻣﺜﻴﺮﺓ ﻟﻺﻫﺘﻤﺎﻡ ﻣﻊ ﺑﻌﺾ ﺍﻟﺘﻌﺪﻳﻼﺕ‪.‬‬

‫ﻛﻞ ﺣﺎﻟﺔ ﻓﻮﺿﻰ ﻓﻲ ﻟﺒﻨﺎﻥ ﻟﻢ ﺗﻜﻦ ﺇﻻ‬ ‫ﻃﺮﻳﻘﺎ ﹰ ﲤﻬﻴﺪﻳﺔ ﻟﻠﻤﺰﻳﺪ ﻣﻦ ﺍﻟﻔﻮﺿﻰ‪.‬‬ ‫ﻗﻴﺎﻡ ﺍﻟﻔﻮﺿــﻰ‪ ،‬ﻓﻲ ﺑﻌﺾ ﺍﻷﺣﻴﺎﻥ‪ ،‬ﻓﻲ‬ ‫ﺳــﺒﻴﻞ ﺍﻟﻨﻈﺎﻡ‪ .‬ﺇﻻ ﺃﻥ ﻛﻞ ﻗﺎﻋﺪﺓ ﻭﻟﻬﺎ‬ ‫ﺷــﺬﻭﺫﻫﺎ‪ ،‬ﻭﺃﺑــﺮﺯ ﻣﺎ ﳝﻜــﻦ ﺍﺣﺘﻼﻝ ﻫﺬﺍ‬ ‫ﺍﳌﻨﺼﺐ ﻫﻲ ﺍﻟﻔﻮﺿــﻰ ﻓﻲ ﻟﺒﻨﺎﻥ‪ ،‬ﺇﺫ ﺃﻥ‬ ‫ﻣﺰﻳﺞ ﻣﺒــﺎﺩﺉ ﺃﺣﺰﺍﺑﻪ ﺣــﺎﻝ ﺩﻭﻥ ﺍﻟﻌﻤﻞ‬ ‫ﺑﻬﺎ‪ ،‬ﻭﺯﻻﹼﺕ ﺃﻟﺴــﻨﺔ ﻗﻮﺍﺩﻩ ﺍﻟﺴﻴﺎﺳﻴﲔ‬ ‫ﺗﺴــﺠﺪ ﺍﻵﺫﺍﻥ ﻟــﺪﻯ ﺳــﻤﺎﻋﻬﺎ ﻃﺎﻟﺒﺔ‬ ‫ﺑﺨﺸﻮﻉ ﺃﻥ ﺗﹸﺨﺮﺱ‪.‬‬

‫‪ÙãÇc@ツ@Ú‹yä@Â‬‬ ‫‪fl‬‬ ‫‪Ô„bnÓ»ßa@kÓÁ‬‬ ‫‪Î‬‬ ‫‪original photo: friendlyfirecollective.info‬‬

‫ﻣﻦ ﺃﺟﻞ ﺭﺅﻳﺔ ﺃﻭﺿﺢ‪ ،‬ﻳﺮﺟﻰ ﻗﻠﺐ ﺍﻟﺼﻔﺤﺔ ﺭﺃﺳﺎ ﹰ ﻋﻠﻰ ﻋﻘﺐ‬

‫„‪ÛöÏœÏflbƒ‬‬

‫‪ÔËÌÎá€a@Ü˝Ófl‬‬

‫ﺭﲟﺎ ﻗﺪ ﻓﺮﺽ ﺍﻟﻮﺍﻗﻊ ﺍﻟﻠﺒﻨﺎﻧﻲ ﻓﻠﺴﻔﺔ‬ ‫ﺟﺪﻳﺪﺓ ﻣﺨﺎﻟﻔﺔ ﻟﻠﺤﺮﻛﺔ ﺍﻟﻼﺳﻠﻄﻮﻳﺔ ﺃﻭ‬ ‫ﻳﺴﻤﻴﻬﺎ ﹼ‬ ‫ﻧﻘﺎﺿﻬﺎ‪،‬‬ ‫ﻳﺤﺐ ﺃﻥ‬ ‫ﹼ‬ ‫»ﺍﻟﻔﻮﺿﻮﻳﺔ« ﻛﻤﺎ ﹼ‬ ‫ﺍﻟﻬﺪﺍﻣﺔ ﺃﻭ ﺍﻟﻔﻮﺿﻰ ﺍﳊﺮﻳﺼﺔ‬ ‫ﻭﻫﻲ ﺍﻟﻔﻮﺿﻰ‬ ‫ﹼ‬ ‫ﻋﻠﻰ ﺃﻥ ﺗﻜﻮﻥ ﺑﻌﻴﺪﺓ ﹼ‬ ‫ﻛﻞ ﺍﻟﺒﻌﺪ ﻋﻦ ﺍﻟﻔﻮﺿﻰ‬ ‫ﹼ‬ ‫ﺍﳌﻨﻈﻤﺔ‪.‬‬ ‫ﻟﺬﺍ ﳝﻜﻦ ﺍﻟﻘﻮﻝ ﺃﻥ ﺍﻟﺘﺮﻛﻴﺒﺔ ﺍﻟﻠﺒﻨﺎﻧﻴﺔ ﳑﻜﻦ‬ ‫ﺣﺠﺔ ﳌﻌﺎﺩﻳﻲ ﺍﻟﻼﺳﻠﻄﻮﻳﺔ‬ ‫ﺃﻥ ﺗﻜﻮﻥ ﺃﻛﺒﺮ ﹼ‬ ‫ﹼ‬ ‫ﺿﺪ ﻣﻨﻈﻤﺎﺗﻬﺎ‬ ‫)»ﺍﻟﻔﻮﺿﻮﻳﺔ«( ﻓﻲ ﺣﺮﺑﻬﻢ ﹼ‬ ‫ﻭﻣﺮ ﹼﻭﺟﻴﻬﺎ ﻭﺫﻟﻚ ﺑﺘﺄﻛﻴﺪﻫﻢ ﺃﻥ ﻣﻨﻄﻖ ﺭﻓﺾ‬ ‫ﺍﻟﺴﻠﻄﺔ ﻳﺆﺩﻱ ﺍﻟﻰ ﻣﺎ ﻳﺆﺩﻱ ﺍﻟﻴﻪ ﻣﻦ ﻓﻮﺿﻰ‬ ‫ﻭﺣﺮﻭﺏ ﻭﺍﺧﺘﻼﻝ ﻓﻲ ﺍﻟﺘﺮﻛﻴﺒﺘﲔ ﺍﻻﻗﺘﺼﺎﺩﻳﺔ‬ ‫ﻭﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻓﻲ ﺣﺎﻝ ﻏﻴﺎﺏ ﺍﻟﺴﻄﻠﺔ ﻛﻤﺎ‬ ‫ﹼ‬ ‫ﻳﺤﻞ ﻋﻠﻰ ﺍﻷﺭﺍﺿﻲ ﺍﻟﻠﺒﻨﺎﻧﻴﺔ‪.‬‬ ‫ﺟﺪﺍ ﹰ ﺍﻟﺘﻤﻴﻴﺰ ﺑﲔ ﺇﺫﺍ ﻛﺎﻥ‬ ‫ﺍﻟﺼﻌﺐ‬ ‫ﻣﻦ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﺗﻌﺪﺩ ﺍﻟﻄﻮﺍﺋﻒ ﻭﺗﻌﺪ ﹼﺩ ﺍﳌﺬﺍﻫﺐ ﺩﺍﺧﻠﻬﺎ‬ ‫ﹼ‬

‫ﻧﻮﻉ ﻣﻦ ﺍﻟﺪﳝﻘﺮﺍﻃﻴﺔ ﺍﳌﺴﺘﺨﺪﻣﺔ ﺇﻳﺠﺎﺑﺎ ﹰ‬ ‫ﻟﺼﺎﻟﺢ ﺍﻟﺘﻨ ﹼﻮﻉ ﺃﻡ ﻫﻮ ﻧﻮﻉ ﻣﻦ ﺍﻟﻔﻮﺿﻮﻳﺔ‬ ‫ﻭﺍﻟﺪﺍﻋﻴﺔ ﺍﻟﻰ ﺍﻟﻜﻔﺮ ﻓﻲ‬ ‫ﺍﻟﺘﻲ ﻻ ﺗﻄﺎﻕ‬ ‫ﹼ‬ ‫ﻧﻬﺎﻳﺔ ﺍﳌﻄﺎﻑ‪ .‬ﻭﺍﻟﻔﻮﺿﻰ ﻻ ﺗﻘﺘﺼﺮ ﻋﻠﻰ‬ ‫ﺍﳉﺎﻧﺐ ﺍﻟﺪﻳﻨﻲ ﻓﻘﻂ‪ ،‬ﺃﻭ ﻓﻮﺿﻰ ﻓﻲ ﺃﺻﻨﺎﻑ‬ ‫ﹼ‬ ‫ﻭﻟﻜﻞ‬ ‫»ﺍﳉﹸﺒﻨﺔ«‪ ،‬ﻓﻬﻨﺎﻟﻚ ﻋﺸﺮﺍﺕ ﺍﻷﺣﺰﺍﺏ‬ ‫ﺣﺰﺏ ﺍﻧﺸﻘﺎﻗﻪ‪ ،‬ﻭﻫﻨﺎﻟﻚ ﻣﺜﻼ ﻓﻴﺪﻳﺮﺍﻟﻴﺔ ﺑﲔ‬ ‫ﺍﳌﻨﺎﻃﻖ ﺣﻮﻝ ﺍﳊﻘﻮﻕ ﻭﺍﻟﻮﺍﺟﺒﺎﺕ‪ ،‬ﻓﺒﻤﺎ ﺗﹸﻠﺨﱠ ﺺ‬ ‫ﺣﺎﻟﺔ ﺃﻥ ﻳﻌﻴﺶ ﻣﻮﺍﻃﻦ ﻓﻲ ﺍﻟﻘﺮﻥ ﺍﻟــ ‪ 21‬ﻣﻊ‬ ‫ﻣﻮﺍﻃﻦ ﻓﻲ ﺍﻟﻘﺮﻥ ﺍﻟـ‪ 18‬ﻋﻠﻰ ﺑﻌﺪ ﺑﻀﻌﺔ‬ ‫ﺍﻟﻜﻴﻠﻮﻣﺘﺮﺍﺕ؟‬ ‫ﻧﺎﻫﻴﻚ ﻋﻦ ﻓﻮﺿﻰ ﺍﳊﻀﺎﺭﺍﺕ ﺩﺍﺧﻞ ﺍﻟﺒﻠﺪ‬ ‫ﺍﻟﻮﺍﺣﺪ ﺗﺮﺍﻓﻘﻬﺎ ﻓﻮﺿﻰ ﺍﻷﺟﻴﺎﻝ‪ ،‬ﺣﻴﺚ ﺟﻴﻞ‬ ‫ﻳﻌﻴﺶ ﺍﳊﺪﺍﺛﺔ‪ ،‬ﺣﺘﻰ ﺑﺴﺨﺎﻓﺘﻬﺎ‪ ،‬ﻣﻬﺪﺩﺍ ﹰ‬ ‫ﺑﲔ ﺍﳊﲔ ﻭﺍﻵﺧﺮ ﺑﺤﺮﺏ ﺃﻫﻠﻴﺔ ﻛﺎﻥ ﺯﻋﻤﺎﺅﻩ‬ ‫ﻭﺛﺎﻥ ﻳﻌﻴﺶ ﻋﻠﻰ ﺃﻣﺠﺎﺩ ﺍﻟﺮﺍﺣﻠﲔ‬ ‫ﺃﻣﺮﺍﺋﻬﺎ‪،‬‬ ‫ﹴ‬

‫ﻭﺍﻟﺒﺎﻗﲔ )ﻓﻲ ﺍﻧﺘﻈﺎﺭ‪ (...‬ﻭﻳﺒﻜﻲ ﻋﻠﻰ ﺃﻃﻼﻝ‬ ‫ﺍﻟﻨﻬﻀﺔ ﺍﻟﻔﻜﺮﻳﺔ ﻭﺍﻟﺜﻘﺎﻓﻴﺔ‪ ،‬ﻭﺁﺧﺮ ﻧﻴﻮ‬ ‫ﻣﺎﺭﻛﺴﻲ ﻣﻌﻠﱠﻖ ﺑﺤﺒﺎﻝ ﺣﺬﺍﺋﻪ ﻭﺑﻌﺾ ﻣﺎ‬ ‫ﻳﺘﻄﻠﺒﻪ ﺍﳌﻈﻬﺮ ﺍﳋﺎﺭﺟﻲ ﻟﻠﺪ ﹼﻭﺭ‪ .‬ﻻ ﺗﺴﺘﻐﺮﺑﻮﺍ‬ ‫ﺍﻟﺮﺍﺑﻂ ﺑﲔ ﺍﻟﻔﻮﺿﻰ ﻭﺑﲔ ﺃﻥ ﺍﻟﺪﻭﻻﺭ ﻳﺴﺎﻭﻱ‬ ‫‪1500‬ﻝ‪.‬ﻝ‪ .‬ﺃﻭ ﺗﻄﺒﻴﻖ ﺍﻟﻨﻈﺎﻡ ﻟﺘﻮﻗﻴﻒ ﺻﺎﺣﺐ‬ ‫ﺇﺣﺪﻯ ﺍﻟﺪﺭﺍﺟﺎﺕ ﻓﻲ ﺇﺣﺪﻯ ﺍﻟﺸﻮﺍﺭﻉ‪ ،‬ﻭﻋﺪﻡ‬ ‫ﺗﻄﺒﻴﻘﻪ ﻓﻲ ﺍﺧﺘﻴﺎﺭ ﻧﻈﺎﻡ ﺍﻧﺘﺨﺎﺑﻲ ﻳﻨﺘﺞ‬ ‫ﻣﺠﻠﺲ ﻓﻮﺿﻮﻳﲔ‪ .‬ﻓﻮﺿﻰ ﺍﻷﺳﻌﺎﺭ‪ ،‬ﻫﺬﻩ‬ ‫ﻫﻲ ﺍﻟﻔﻮﺿﻮﻳﺔ ﻳﺎ ﻣﻦ ﻗﻠﺖ »ﺍﻟﻼﺳﻠﻄﻮﻱ ﻫﻮ‬ ‫ﺍﻟﻔﻮﺿﻮﻱ«‪ ،‬ﻭﻟﺪﺕ ﻣﻦ ﻫﻨﺎ ﻛﻤﺎ ﹼ‬ ‫ﻛﻞ ﺷﻲﺀ‬ ‫»ﻃﻠﻊ ﻣﻦ ﻋﻨﹼﺎ«‪.‬‬ ‫ﺑﺎﻟﻔﻌﻞ ﺇﻥ »ﻟﺒﻨﺎﻥ ﺍﻟﻜﺒﻴﺮ« ﻗﺪ ﹼ‬ ‫ﲤﻜﻦ ﻣﻦ ﺗﻮﺟﻴﻪ‬ ‫ﺍﳌﻮﺟﻌﺔ ﻟﺒﻨﻴﺔ ﺑﺎﻛﻮﻧﲔ‬ ‫ﻭﺍﻟﻀﺮﺑﺎﺕ‬ ‫ﺍﻟﻀﺮﺑﺎﺕ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﹺ‬ ‫ﹼ‬ ‫ﺍﳌﻨﻈﺮﻳﻦ‬ ‫ﻭﺑﺮﻭﺩﻭﻥ ﺍﻟﻔﻠﺴﻔﻴﺔ ﻭﻏﻴﺮﻫﻢ ﻣﻦ‬ ‫ﺍﻟﻼﺳﻠﻄﻮﻳﲔ‪ ،‬ﻭﺫﻟﻚ ﺑﺴﺒﺐ ﺍﻟﻔﻮﺿﻰ ﺍﻟﻐﻴﺮ‬

‫ﻣﻘﺼﻮﺩ ﺍﺗﹼﺒﺎﻋﻬﺎ ﻷﻫﺪﺍﻑ ﺑﻨﹼﺎﺀﺓ ﻭﺍﻟﻐﻴﺮ‬ ‫ﹼ‬ ‫ﻣﻨﻈﻤﺔ ﺑﺎﻟﻄﺒﻊ ﻭﺃﻳﻀﺎ ﹰ ﺍﻧﻄﻼﻕ ﺍﻟﺴﻠﻄﺔ ﻣﻨﺬ‬ ‫ﻋﻘﻮﺩ ﻧﺤﻮ ﺭﺣﻠﺔ ﺍﻟﻼﻋﻮﺩﺓ‪ .‬ﹼ‬ ‫ﻛﻞ ﻫﺬﻩ ﺍﻟﻌﻮﺍﻣﻞ‬ ‫ﻳﺨﺘﺺ‬ ‫ﻭﺟﻬﺖ ﺇﺻﺒﻊ ﺍﻻﺗﻬﺎﻡ ﻟﻼﺳﻠﻄﻮﻳﲔ ﲟﺎ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﲟﻨﺎﺩﺍﺗﻬﻢ ﻹﺳﻘﺎﻁ ﺩﻭﺭ ﺍﻟﺴﻠﻄﺔ ﻭﺇﻟﻐﺎﺋﻬﺎ‬ ‫ﹼ‬ ‫ﻣﺤﺬﺭ ﹰﺓ ﺇﻳﺎﻫﻢ ﻣﻦ ﲢ ﹼﻮﻝ ﻛﻞ ﺩﻭﻟﺔ ﺍﻟﻰ »ﻟﺒﻨﺎﻥ«‬ ‫ﺑﺴﺒﺐ ﻓﻮﺿﻮ ﹼﻳﺘﻬﻢ ﺗﻠﻚ!‬ ‫ﻭﻟﻜﻦ ﺃﻻ ﻳﺤﻖﹼ ﻟﺒﺎﻛﻮﻧﲔ ﻣﺜﻼ ﺍﻟﺪﻓﺎﻉ ﻋﻦ‬ ‫ﻓﻠﺴﻔﺘﻪ ﻭﺍﻟﺼﺮﺍﺥ ﻋﺎﻟﻴﺎ ﹰ ﻣﻦ ﺃﻋﻤﺎﻗﻪ‪ ،‬ﻭﺍﳊﺴﺮﺓ‬ ‫ﻓﻲ ﻗﻠﺒﻪ ﻓﻮﻕ ﹼ‬ ‫ﻛﻞ ﻫﺬﺍ‪ ،‬ﻣﻌﻠﻨﺎ ﹰ ﺃﻣﺎﻡ ﺍﻟﺮﺃﻱ ﺍﻟﻌﺎﻡ‬ ‫ﹼ‬ ‫ﻭﺍﻟﺘﻌﻄﺶ‬ ‫ﺍﻟﻌﺎﳌﻲ ﺑﺼﻮﺕ ﳑﺰﻭﺝ ﺑﺎﻟﻌﻨﻔﻮﺍﻥ‬ ‫ﺍﻟﻰ ﺍﻟﺒﻜﺎﺀ ﺃﻧﻪ ﻟﻢ ﻳﻘﻞ ﺃﻥ »ﻻﺳﻠﻄﺔ« ﺗﻌﻨﻲ‬ ‫ﻭﺳﻠﻄﺔ ﻭﻃﻮﺍﺋﻒ ﻭﺗﺒﻌ ﹼﻴﺔ ﻭﺣﺮﺏ‬ ‫ﺳﻠﻄﺔ ﹸ‬ ‫ﺃﻟﻒ ﹸ‬ ‫ﻭﺳﻠﹶﻄﺔ‪ ...‬ﻭﻟﺒﻨﺎﻥ؟‬ ‫ﺃﻫﻠﻴﺔ ﹶ‬


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‫◊‪ÛöÏ–Ä€a@@@@ãÄè€a@ÚćċÄ‬‬ ‫‪Ôib∞�a@bÁbz‰fl‬‬

‫‪@¿@ÛöÏ–€a‬‬

‫‪“Ï‹¨@fiÏi‬‬

‫‪«I was the foolest one in my class and the‬‬ ‫»‪smarterst one in my school‬‬ ‫ﺑﻬﺬﻩ ﺍﳉﻤﻠﺔ ﹼ‬ ‫ﳋﺺ ﺍﻟﻔﻨﺎﻥ ﺟﻴﻢ ﻣﻮﺭﻳﺴﻮﻥ ﹼ‬ ‫ﺑﻜﻞ ﺟﺮﺃﺓ‬ ‫ﻭﺻﺮﺍﺣﺔ ﻣﺴﻴﺮﺗﻪ ﺍﻷﻛﺎﺩﳝﻴﺔ ﺍﻟﺘﻲ ﻭﻗﻔﺖ ﻋﺎﺋﻘﺎ ﹰ ﺃﻣﺎﻡ‬ ‫ﻣﻮﺍﻫﺒﻪ ﻭﻃﻤﺮﺕ ﺍﻟ ﹼﺮﻛﺎﻡ ﻋﻠﻰ ﺇﺑﺪﺍﻋﻪ‪.‬‬

‫ﻭﻫﺪﻣﻮﺍ ﺍﻟﺘﻘﺎﻟﻴﺪ ﺍﳌﻮﺟﻮﺩﺓ ﻟﻴﺒﻨﻮﺍ‬ ‫ﻛﺴﺮﻭﺍ ﺍﳊﻮﺍﺟﺰ ﹼ‬ ‫ﻣﺴﺘﻘﺒﻼ ﺟﺪﻳﺪﺍ ﹰ ﺑﻌﻴﺪﺍ ﹰ ﻋﻦ ﺍﻟﺘﺠﺎﻋﻴﺪ ﺍﻟﺴﻄﺤﻴﺔ‬ ‫ﻭﻋﻦ ﺍﻷﻓﻜﺎﺭ ﺍﳌﻌ ﹼﻠﺒﺔ ﺍﳌﻨﺒﺜﻘﺔ ﻣﻦ ﺍﳌﻨﻄﻖ ﺍﻟﻘﺪﱘ‪.‬‬

‫ﻟﻢ ﻳﻜﻦ ﻫﺬﺍ ﺍﻷﺧﻴﺮ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﻮﺣﻴﺪﺓ ﺍﻟﺘﻲ ﻟﻢ‬ ‫ﺗﻨﺼﺎﻉ ﻟﻸﺳﺲ ﺍﳌﻨﻬﺠﻴﺔ ﻟﻠﺘﻌﻠﻴﻢ ﺑﻞ ﻛﺎﻥ ﺭﻗﻤﺎ ﹰ ﺁﺧﺮﺍ ﹰ‬ ‫ﻳﹸﻀﺎﻑ ﺍﻟﻰ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﻟﻌﻈﻴﻤﺔ ﺍﻟﺘﻲ ﺩﺭﺳﻨﺎﻫﺎ‪،‬‬ ‫ﺗﺄ ﹼﺛﺮﻧﺎ ﺑﻬﺎ ﻭﺃﺧﺬﻧﺎﻫﺎ ﻣﺜﺎﻻ ﺃﻋﻠﻰ ﻳﹸﺤﺘﺬﻯ ﺑﻪ‪.‬‬ ‫ﹼ‬ ‫ﻳﺸﻜﻞ ﺍﻟﻨﻈﺎﻡ ﺣﺪﻭﺩﺍ ﹰ ﻭﺧﻄﻮﻃﺎ ﹰ ﻋﺮﻳﻀﺔ‬ ‫ﻓﻌﻨﺪﻣﺎ‬ ‫ﻻ ﳝﻜﻦ ﲡﺎﻭﺯﻫﺎ ﻋﻠﻰ ﺃﺭﺽ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻓﻤﻦ ﺍﻟﻄﺒﻴﻌﻲ‬ ‫ﺃ ﹼﻥ ﺍﳊﻴﺎﺓ ﺳﺘﺼﺒﺢ ﺩ ﹼﻭﺍﻣﺔ ﲡﺮﻱ ﺑﺄﺣﺪﺍﺙ ﻣﺘﺸﺎﺑﻬﺔ‪،‬‬ ‫ﺍﻟﻀﺠﺮ‬ ‫ﻣﻦ ﻫﻨﺎ ﺃﺗﺖ ﺍﻟﻔﻮﺿﻰ ﻟﺘﻜﻮﻥ ﺣﻼ ﳌﺸﺎﻛﻞ ﹼ‬ ‫ﻭﺍﻟﺮﻭﺗﲔ ﺍﻟﻴﻮﻣﻲ‪ ،‬ﻓﻜﺎﻧﺖ ﻣﺼﺪﺭﺍ ﹰ ﻟﻺﺑﺪﺍﻉ ﻟﻬﺆﻻﺀ ﺍﻟﺬﻳﻦ‬

‫ﺗﺘﺠﺴﺪ‬ ‫ﻫﺬﺍ ﺍﻟﻨﺰﺍﻉ ﺑﲔ ﺍﻟﺮﻏﺒﺔ ﺍﺨﻤﻟﺘﺒﺄﺓ ﻣﻊ ﺍﳌﻮﺟﻮﺩﺍﺕ‬ ‫ﹼ‬ ‫ﺑﺎﻟﺮﻓﺾ ﺍﳌﺘﻤ ﹼﺜﻞ ﺑﺎﻟﺘﻤ ﹼﺮﺩ‪ ،‬ﻓﻴﻜﻮﻥ ﺧﺮﻕ ﺍﻟﻨﻈﺎﻡ‬ ‫ﻭﺍﻟﻘﻮﺍﻧﲔ ﳋﻠﻖ ﻣﺴﺎﺣﺔ ﺃﺧﺮﻯ‪ ،‬ﻓﻀﺎ ﹰﺀ ﻣﺸﺘﺮﻛﺎ ﹰ ﹼ‬ ‫ﻟﻜﻞ‬ ‫ﻓﻮﺿﻮ ﹼﻳﻲ ﺍﻟﺘﺎﺭﻳﺦ ﺍﻟﺬﻳﻦ ﻋﺒﺮﻭﺍ ﺑﺄﺟﻨﺤﺘﻬﻢ ﻋﺎﻟﻴﺎ ﹰ ﺍﻟﻰ‬ ‫ﺍﳋﺎﺹ‪.‬‬ ‫ﻋﺎﳌﻬﻢ‬ ‫ﹼ‬ ‫ﺇﻧﻬﺎ ﺍﻟ ﹼﻠﺬﺓ ﺑﺄﻥ ﺗﻜﻮﻥ ﻏﺮﻳﺒﺎ ﹰ ﺫﻭ ﻫﻮﻳﺔ ﳑﹼﻴﺰﺓ ﻭﻋﻘﻼﹰ‬ ‫ﺳﺎﻃﻌﺎﹰ‪ .‬ﻫﺬﺍ ﻣﺎ ﺗﺨﻠﻘﻪ ﺍﻟﻔﻮﺿﻰ ﻟﻺﻧﺴﺎﻥ‪ ،‬ﻭﻟﻢ‬ ‫ﻳﻌ ﹼﺒﺮ ﺃﺣﺪﺍ ﹰ ﻋﻨﻬﺎ ﻛﻤﺎ ﻋ ﹼﺒﺮ ﺍﻟﺼﺪﻳﻖ ﺍﻟﻔﻴﻠﺴﻮﻑ‬ ‫ﻓﺮﻳﺪﻱ ﻧﻴﺘﺸﻪ‪» :‬ﲢﺘﺎﺝ ﺍﻟﻰ ﻋﻘﻞ ﻓﻮﺿﻮﻱ ﻟﻨﺨﻠﻖ‬ ‫ﻓﻜﺮﺓ ﻻﻣﻌﺔ«‪.‬‬

‫ﺷﻜﺮ ًﺍ ﻣﻘﻬﻰ‬ ‫‪ T-Marbouta‬ﻟﺪﻋﻤﻪ ﻫﺬﻩ ﺍﻟﻨﺸﺮﺓ‬

‫� ‚‪ÚÓíã„c@Úzèœ@Z‬‬ ‫‪b‡®a‬‬ ‫‪چϫ@ÈÓuÎä‬‬

‫ﻣﻌﻈﻢ ﺍﻟﺴﺠﺎﺋﺮ ﺍﻷﻭﻟﻰ‪ ،‬ﻛﺎﻧﺖ ﻗﺪ ﺩﹸﺧﻨﺖ‬ ‫ﺍﳊﻤﺎﻡ‪ ،‬ﺃﻛﺜﺮﻳﺔ ﺍﺠﻤﻟﻼﺕ ﺍﳉﻨﺴﻴﺔ ﻗﺪ‬ ‫ﻓﻲ‬ ‫ﹼ‬ ‫ﺍﳊﻤﺎﻡ‪ ،‬ﺃﻏﻠﺒﻴﺔ ﺍﻟﻜﺘﺐ ﺍﳌﻤﻨﻮﻋﺔ‪،‬‬ ‫ﻗـﺮﺃﺕ ﻓﻲ ﹼ‬ ‫ﹸ‬ ‫ﺍﳌﺘﻌﻠﻘﺔ ﺑﺎﳉﺴﺪ ﻭﺍﻟﺪﻳﻦ ﻭﺍﻵﻟﻬﺔ ﻭﺍﳊﺰﺏ‬ ‫ﲤﺖ‬ ‫ﺍﳊﺎﻛﻢ ﻭﺍﻟﺴﻠﻄﺔ ﺍﳌﹸﺴﺘﻐﻠﺔ‪،‬‬ ‫ﹶ‬ ‫ﺑﺎﳊﻤﺎﻡ‪.‬‬ ‫ﻣﻄﺎﻟﻌﺘﻬﺎ‬ ‫ﹼ‬ ‫ﻳﻜﺘﺸﻒ ﺍﻟﻔﺮﺩ ﺭﻏﺒﺎﺗﻪ ﻭﻏﺮﺍﺋﺰﻩ ﻭﺫﺍﺗﻪ‬ ‫ﻭﺟﺴﺪﻩ ﻓﻲ ﻫﺬﺍ ﺍﳌﻜﺎﻥ ﺍﻟﻀ ﹼﻴﻖ‪ ،‬ﺣﻴﺚ‬ ‫ﹸﳝﺎﺭﺱ ﻛﻞ ﻣﺎ ﻫﻮ ﳑﻨﻮﻉ ﻭ ﹸﻣ ﹶﺤﺮﹶﻡ ﺩﺍﺧﻞ ﺍﺠﻤﻟﺘﻤﻊ‬ ‫ﺍﳌﻤﺘﻸ ﺑﺄﻓﻜﺎﺭ ﹸﻓﺮﺿﺖ ﻣﻦ »ﻓﻮﻕ« ﻭﺃﺧﺬ‬ ‫ﺑﻬﺎ ﺍﻟـ »ﲢﺖ«‪ ،‬ﻭﻳﺘﻔﻠﺖ ﻣﻦ ﺇﻳﺪﻳﻮﻟﻮﺟﻴﺎ‬ ‫ﺍﻟﻘﻄﻴﻊ ﺍﻟﻘﺎﺑﻊ ﻓﻲ ﻏﺮﻓﺔ ﺍﳉﻠﻮﺱ‪ ،‬ﻭﻣﻦ‬ ‫ﻗﻴﻢ ﻭﺃﻋﺮﺍﻑ ﻭﺗﻘﺎﻟﻴﺪ ﺍﻟﻌ ﹼﻠـﻴﺔ‪-‬ﺍﻟﺬﺍﻛﺮﺓ‪،‬‬ ‫ﻓﻴﺘﺮﻛﻬﺎ ﺗﺘﺂﻛﻞ ﺑﻔﻌﻞ ﺍﻟﻐﺒﺎﺭ ﻭﺧﻴﻮﻁ‬ ‫ﺍﻟﻌﻨﻜﺒﻮﺕ‪.‬‬ ‫ﻳﻮﻣﺎ ﹰ ﺑﻌﺪ ﻳﻮﻡ ﺗﺘﻼﺷﻰ ﺍﻟﻌﺘﺒﺔ ﺍﻟﻔﺎﺻﻠﺔ‬ ‫ﺍﳊﻤﺎﻡ ﻭﺑﺎﻗﻲ ﺍﳌﻨﺰﻝ‪ ،‬ﻭﻛﻞ ﺍﺠﻤﻟﺘﻤﻊ‪،‬‬ ‫ﺑﲔ ﺑﺎﺏ ﹼ‬ ‫»ﺍﳊﻤﺎﻣﻲ« ﺍﻟﻰ‬ ‫ﻓﻴﺘﺤﻮﻝ ﻫﺬﺍ ﺍﻟﻔﺮﺩ‬ ‫ﹼ‬ ‫ﻛﺎﺋﻦ ﺣﺮ‪ ،‬ﻳﻘﻮﻝ ﻣﺎ ﻳﺮﻳﺪ‪ ،‬ﻭﻳﻔﻌﻞ ﻣﺎ ﲤﻠﻴﻪ‬ ‫ﻋﻠﻴﻪ ﺣﻘﻴﻘﺘﻪ ﺍﻟﺜﻮﺭﻳﺔ‪ ،‬ﻓ ﹸﻴﺸﻜﻚ ﻓﻲ‬ ‫ﻛﻞ ﺍﳌﻔﺎﻫﻴﻢ‪ ،‬ﻟﻴﺪﺣﺾ ﻛﻞ ﺭﺃﺱ ﻣﺰ ﹼﻳﻒ‪،‬‬ ‫ﻭﻳﻀﻐﻂ ﻋﻠﻰ ﺍﻟﻮﺣﺪﺓ ﺍﻹﺟﺘﻤﺎﻋﻴﺔ‬ ‫ﺍﻟﺴﻌﻴﺪﺓ‪ ،‬ﻓﻴﻨﺴﺎﺏ ﺑﻼﻧﻬﺎﺋﻴﺔ ﺛﻘﺎﻓﺘﻪ‬ ‫ـﻤــﺎﻣــﻴــﺔ« ﺍﻟــﻰ ﺍﳋـــﺎﺭﺝ ﻭﻳﻄﻠﺐ‬ ‫»ﺍﳊـ ﹼ‬ ‫ﺍﳌﺴﺘﺤﻴﻞ‪.‬‬

‫ﻓــﺈﺫﺍ ﺍﺳﺘﻌﺮﻧﺎ‪ ،‬ﻣﻦ ﻋﻨﺘﺮ »ﺳﺎﻟﻮﻣﻲ«‪،‬‬ ‫ﻓﺮﻭﻳﺪ‪ ،‬ﻧﻈﺮﻳﺘﻪ ﺍﻟﺘﺤﻠﻴﻠﻴﺔ ﺍﻟﻨﻔﺴﻴﺔ‪ ،‬ﳒﺪ‬ ‫ﺃﻥ ﺍﻟﻨﻈﺎﻡ ﺍﳌﻔﺮﻭﺽ‪ ،‬ﻣﻦ ﻗﺒﻞ ﺍﻷﻫﻞ‪ ،‬ﻣﻦ‬ ‫ﺍﻟﺼﺎﻟﻮﻥ‪ ،‬ﺍﻟﻰ ﻏﺮﻓﺔ ﺍﳉﻠﻮﺱ‪ ،‬ﻣﺮﻭﺭﺍ ﹰ ﺑﻐﺮﻓﺔ‬ ‫ﺍﻟﻨﻮﻡ‪ ،‬ﻭﺍﳌﺘﻼﻋﺐ ﺑﺬﻛﺮﻳﺎﺕ »ﺍﻟ ﹺﺘﺘﺨﻴﺘﺔ«‪،‬‬ ‫ﻳﻜﺒﺖ ﻣﻴﻮﻝ ﻭﺣﺎﺟﺎﺕ ﺍﻹﻧﺴﺎﻥ ﺍﳊﻘﻴﻘﻴﺔ‪،‬‬ ‫ﻭﻳﺠﻌﻠﻪ ﺧﺎﺋﻒ ﻣﻦ ﻓﻌﻞ ﻣﺎ ﻳﺮﻳﺪ‪ ،‬ﻓﺘﺘﺮﺍﻛﻢ‬ ‫ﺍﻟﻌﻘﺪ ﺍﻟﻨﻔﺴﻴﺔ ﺣﺘﻰ ﺗﹸﺼﺒﺢ ﺟﺰﺀ ﺟﻮﻫﺮﻱ‬ ‫ﻣﻦ ﺷﺨﺼﻴﺘﻪ‪.‬‬ ‫ﺍﳊﻤﺎﻡ‪ ،‬ﺗﻀﻴﻊ ﺍﻟﺮﻗﺎﺑﺔ‪،‬‬ ‫ﻋﻨﺪ ﺍﻟﺪﺧﻮﻝ ﺍﻟﻰ ﹼ‬ ‫ﻳﺘﺠﺴﺪ ﺍﳌﻤﻨﻮﻉ‪ ،‬ﺗﹸﻌﺎﺵ ﺍﶈﺮﻣﺎﺕ‪ ،‬ﻭﻳﺨﺮﺝ‬ ‫ﺍﳌﻜﺒﻮﺕ ﻣﻦ ﺍﻟﻼﻭﻋﻲ ﻟﻴﺘﻤﻈﻬﺮ ﻛﺤﻘﻴﻘﺔ‬ ‫ﺍﻟﻔﺮﺩ ﺍﻷﺻﻠﻴﺔ‪ ،‬ﻭﻳﺘﻌﺮﻯ ﺍﳌﻜﺴﻮ‪ ،‬ﻟﺘﺤﺘﺮﻕ‬ ‫ﺃﻗﻨﻌﺔ ﻭﻫﻮﻳﺎﺕ ﻋﺪﻳﺪﺓ‪ ،‬ﻓﻴﺒﺘﺴﻢ ﺇﻳﺮﻭﺱ‪،‬‬ ‫ﺍﳊﻤﺎﻣﺎﺕ«‪.‬‬ ‫ﻭﺗﺼﺮﺥ ﺍﻟﻠﺬﺓ ﻋﺎﻟﻴﺎﹰ‪» :‬ﺃﻋﺸﻖ ﹼ‬ ‫»ﺍﳊﻤﺎﻣﻲ«‪ ،‬ﻛﺎﺋﻦ ﺃﻧﺮﺷﻲ‪ ،‬ﻳﺮﻓﺾ‬ ‫ﺍﻟﻜﺎﺋﻦ‬ ‫ﹼ‬ ‫ﻛﻞ ﻣﺎ ﹸﻓﺮﺽ ﻋﻠﻴﻪ‪ ،‬ﻭﻳﺨﺘﺮﻉ ﻧﻔﺴﻪ ﻓﻲ‬ ‫ﻓﺴﺤﺔ ﺻﻐﻴﺮﺓ‪ ،‬ﻭﻳﺠﻌﻠﻬﺎ ﻛﺒﻴﺮﺓ ﻓﻲ ﺫﺍﺗﻪ‪،‬‬ ‫ﻟﻜﻲ ﻳﻨﻄﻠﻖ ﺑﻬﺎ ﺍﻟﻰ ﻛﻞ ﺑﻘﻊ ﺍﺠﻤﻟﺘﻤﻊ‪ ،‬ﻋﺎﳌﺎ ﹰ‬ ‫ﺑﻌﺪﻡ ﺍﻟﺮﻏﺒﺔ ﺑﻪ‪ ،‬ﻣﺪﻣﺮﺍ ﹰ ﺍﻟﻘﺎﻧﻮﻥ ﻭﺍﻟﻌﻨﻒ‬ ‫ﺑﺸﻜﻞ‬ ‫ﻭﺍﻟﺸﻤﻮﻟﻴﺔ‪ ،‬ﻷﻧﻪ ﻳﺮﻏﺐ ﻭﻳﻌﺸﻖ‪،‬‬ ‫ﹴ‬ ‫ﻏﻴﺮ ﺛﺎﺑﺖ ﻭﻏﻴﺮ ﻣﻘﻤﻮﻉ‪ ،‬ﻓ ﹸﻴﺤﺮﺭ »ﺍﻟﻌﺒﺪ‬ ‫ﺍﻟﻨﺒﻴﻞ ﺍﻟﻘﺎﺑﻊ ﻓﻴﻪ«‪.‬‬ ‫ﺍﳊﻤﺎﻡ‪ ،‬ﻏﺮﻓﺔ ﻳﺘﺤﺮﺭ ﻓﻴﻬﺎ ﺍﻟﻜﺎﺋﻦ ﻣﻦ ﻛﻞ‬ ‫ﹼ‬ ‫ﺳﻠﻄﺔ ﺗﻘﻤﻊ ﻭﺗﻀﻐﻂ ﻭﺗﺴﺘﻐﻞ‪ ،‬ﺑﺪﺀﺍ ﹰﻣﻦ‬ ‫ﺳﻠﻄﺔ ﺭﺏ ﻭﺭﺑﺔ ﺍﳌﻨﺰﻝ‪ ،‬ﺍﻟﻰ ﺳﻠﻄﺔ ﺍﺠﻤﻟﺘﻤﻊ‪،‬‬

‫ﻟﻮﻻ ﻓﺴﺤﺔ ﺍﻷﻧﺮﺷﻴﺔ‬ ‫ﺣﺘﻰ ﺳﻠﻄﺔ ﻣﺆﺳﺴﺎﺕ ﺍﳊﺪﺍﺛﺔ‪.‬‬ ‫ﺍﻷﻧﺮﺷﻴﺔ‪ ،‬ﺍﻟﺘﺤﺮﺭﻳﺔ‪ ،‬ﺍﻟﺜﻮﺭﺓ‪ ،‬ﺍﻟﺮﻓﺾ‪،‬‬ ‫ﺍﻟﺘﺪﻣﻴﺮ‪ ،‬ﺍﳊﻴﺎﺓ‪ ،‬ﳑﺎﺭﺳﺎﺕ ﻻ ﳝﻜﻦ ﺇﻻ ﺃﻥ ﲤﺮ‬ ‫ﺍﳊﻤﺎﻡ‪.‬‬ ‫ﻋﺒﺮ ﹼ‬ ‫ﺇﺫﺍ ﻛﺎﻧﺖ ﺍﻟﺸﻌﺎﺭﺍﺕ ﺍﻟﺘﻲ ﻛﺘﺒﻬﺎ ﻋﻤﺎﻝ‪-‬‬ ‫ﻃﻼﺏ ﺛﻮﺭﺓ »ﺃﻳﺎﺭ ‪ ،«68‬ﺍﻟﻔﺮﻧﺴﻴﺔ‪ ،‬ﻋﻠﻰ‬ ‫ﺍﳉﺪﺭﺍﻥ ﻭﺍﻟﻴﺎﻓﻄﺎﺕ‪ ،‬ﺗﻄﺎﻟﺐ ﺑﻔﺘﺢ ﺃﺑﻮﺍﺏ‬ ‫ﺍﻟﺴﺠﻮﻥ ﻭﻣﺴﺘﺸﻔﻴﺎﺕ ﺍﺠﻤﻟﺎﻧﲔ‪ ،‬ﻓﻼ‬

‫‪bluedolphingroup.co.uk‬‬ ‫ﺑﺪ ﻣﻦ ﺇﺿﺎﻓﺔ ﺃﺑﻮﺍﺏ ﺟﺪﻳﺪﺓ ﺃﻱ ﺃﺑﻮﺍﺏ‬ ‫ﺍﳊﻤﺎﻡ‬ ‫ﺍﳊﻤﺎﻣﺎﺕ‪ ،‬ﻭﺍﻟﺪﻋﻮﺓ ﺍﻟﻰ ﺳﻴﻄﺮﺓ ﹼ‬ ‫ﹼ‬ ‫ﻋﻠﻰ ﺍﻟﺴﻠﻄﺔ‪ ،‬ﺍﻟﻰ ﺟﺎﻧﺐ ﺍﳋﻴﺎﻝ‪.‬‬ ‫ﺍﳊﻤﺎﻡ ﻓﻲ ﻣﺠﺪﻩ ﺍﳋﺎﺹ‪ ،‬ﻳﻨﺴﻰ‬ ‫ﻳﺴﺒﺢ ﹼ‬ ‫ﻗﺎﻃﻨﻪ ﻣﺎ ﺗﻌﻠﻤﻪ ﻭﻳﺒﺪﺃ ﺑﺎﳊﻠﻢ‪ ،‬ﻣﺘﻨﺎﺳﻴﺎ ﹰ‬ ‫ﺳﻘﻮﻁ ﺟﺪﺍﺭ ﺑﺮﻟﲔ!‬


‫‪Ú‹yä‬‬ ‫‪�ã•@Î@s¢‬‬

‫‪@›j‘nèæa@Âfl@áËìfl@ÂÆ@ZÊb„ÏÓ€a@¿@ÚÓíã„˛a@Ú◊ã®a‬‬ ‫�‬ ‫‪7ÃnÌ@á”@ıÔí@›◊@NNN…‡n™@c@¿@Î@NNNbÁbzöÎ@Ú‹Ó€@µi‬‬ ‫ﻧﺸﺮﺕ ﻣﺠﻤﻮﻋﺔ ‪ Crimethink‬ﻋﻠﻰ ﻣﻮﻗﻌﻬﺎ ﺍﻹﻟﻜﺘﺮﻭﻧﻲ ﻣﻘﺎﺑﻠﺔ‬ ‫ﺧﺎﺻﺔ ﻣﻊ ﺃﺣﺪ ﺍﻟﻨﺎﺷﻄﲔ ﻓﻲ ﺍﳊﺮﻛﺔ ﺍﻷﻧﺮﺷﻴﺔ ﻓﻲ ﺍﻟﻴﻮﻧﺎﻥ‬ ‫ﻧﻘﺪﻡ‬ ‫ﻳﺘﺤﺪﺙ ﻓﻴﻬﺎ ﻋﻦ ﺍﻟﺘﺨﻄﻴﻂ ﻭﺍﻟﺘﻨﺴﻴﻖ ﻭﺗﻨﻈﻴﻢ ﺍﻟﻔﻮﺿﻰ‪ .‬ﹼ‬ ‫ﹼ‬ ‫ﻟﻜﻢ ﻣﻘﺘﻄﻔﺎﺕ ﻣﻦ ﺍﳌﻘﺎﺑﻠﺔ ﺑﻌﺪ ﺃﻥ ﺗﺮﺟﻤﻬﺎ ﺍﻟﺮﻓﺎﻕ ﻓﻲ ﻧﺸﺮﺓ‬ ‫»ﺭﺣﻠﺔ«‪ .‬ﻧ ﹼ‬ ‫ﺍﺷﺘﺪﺕ ﺍﻟﻌﺎﻡ ﺍﳌﺎﺿﻲ ﻛﺎﻥ‬ ‫ﹸﺬﻛﺮ ﺃﻥ ﺃﻋﻤﺎﻝ ﺍﻟﺸﻐﺐ ﺍﻟﺘﻲ‬ ‫ﹼ‬ ‫ﹰ‬ ‫ﺳﺒﺒﻬﺎ ﻣﻘﺘﻞ ﺍﻟﺸﺎﺏ ﺃﻟﻜﺴﻨﺪﺭﻭﺱ ﻏﺮﻳﻐﻮﺭﻭﺑﻮﻟﻮﺱ )‪ 15‬ﻋﺎﻣﺎ( ﻓﻲ‬ ‫ﺍﻟﺴﺎﺩﺱ ﻣﻦ ﻛﺎﻧﻮﻥ ﺍﻟﺜﺎﻧﻲ ﻭﺍﺳﺘﻤ ﹼﺮﺕ ﺭﻓﻀﺎ ﹰ ﻟﻠﺤﺮﺏ ﻋﻠﻰ ﻏﺰﹼﺓ‪.‬‬

‫‪k»ì€a@·ÿy‬‬ ‫ﺭﻓــﻊ ﺍﻷﻧﺮﺷــﻴﻮﻥ ﻋــﺎﻡ ‪ 2008‬ﻓﻲ ﺃﺛﻴﻨﺎ ﺷــﻌﺎﺭ »ﻧﺤﻦ‬ ‫ﻣﺸﻬﺪ ﻣﻦ ﺍﳌﺴﺘﻘﺒﻞ«‪ .‬ﺑﺎﻟﻨﺴﺒﺔ ﻟﻬﻢ‪ ،‬ﻣﺎ ﻳﺠﺮﻱ ﺍﻵﻥ‬ ‫ﺗﻌــﺪﻯ ﹼ‬ ‫ﺗﻌﺪﺕ ﻧﻄﺎﻕ‬ ‫ﺗﻮﻗﻌﺎﺗﻬــﻢ‪ ،‬ﻭﻣﻮﺟﺔ ﺍﳌﺸــﺎﺭﻛﲔ ﹼ‬ ‫ﹼ‬ ‫ﹼ‬ ‫ﻟﺘﻐﻄﻲ ﻣﺨﺘﻠﻒ ﺷﺮﺍﺋﺢ ﺍﺠﻤﻟﺘﻤﻊ‪.‬‬ ‫ﺍﻷﻧﺮﺷﻴﲔ‬ ‫ﺍﻟﻨﺤﺮﻛﺎﺕ ﻭﺃﻋﻤﺎﻝ ﺍﻟﺸﻐﺐ؟‬ ‫ﻣﻦ ﻳﺸﺎﺭﻙ ﻓﻲ‬ ‫ﹼ‬ ‫ﻧﺼــﻒ ﺍﻟﺬﻳــﻦ ﺷــﺎﺭﻛﻮﺍ ﻓــﻲ ﻋﺼﻴــﺎﻥ ‪ 2008‬ﻛﺎﻧﻮﺍ ﻣﻦ‬ ‫ﺃﺻﺤﺎﺏ ﺍﳋﺒــﺮﺍﺕ ﻓﻲ ﺍﻟﺘﻈﺎﻫــﺮ ﻭ ﻓﻦ ﺍﻟﺘﺨﺮﻳــﺐ‪ .‬ﻭﻗﺪ ﰎﹼ‬ ‫ﲡﻨﻴﺪ ﺍﻵﻻﻑ ﻣﻦ ﺍﻟﺸــﺒﺎﺏ ﻭﺍﻟﺸــﺎﺑﺎﺕ ﺧﻼﻝ ﺍﻟﺴــﻨﻮﺍﺕ‬ ‫ﺍﻟﺜﻼﺙ ﺍﻷﺧﻴﺮﺓ ﻣﻦ ﺧﻼﻝ ﺍﻹﺟﺘﻤﺎﻋﺎﺕ ﺍﻟﻄﻼﺑﻴﺔ ﻭﺍﳊﺮﻛﺎﺕ‬ ‫ﺍﻟﻌﻤﺎﻟ ﹼﻴﺔ ﻭﺍﻟﺒﻴﺌ ﹼﻴﺔ ﻭﺍﻟﺘﻮﻋﻴﺔ ﺍﻟﻨﻀﺎﻟﻴﺔ ﻣﻦ ﺃﺟﻞ ﺍﻟﻀﻤﺎﻥ‬ ‫ﹼ‬ ‫ﺍﻹﺟﺘﻤﺎﻋﻲ ﻭﺍﳋﺼﺨﺼﺔ ﻭﺍﻟﺘﻌﻠﻴﻢ ﻭﺍﻟﺒﻴﺌﺔ‪.‬‬ ‫‪ 25%‬ﻣﻦ ﺍﳌﺸــﺎﺭﻛﲔ ﻓﻲ ﲢ ﹼﺮﻛﺎﺕ ‪ 2008‬ﺑﺪﺃﻭﺍ ﻣﺴﻴﺮﺗﻬﻢ‬ ‫ﺍﻷﻧﺮﺷــﻴﺔ ﻋــﺎﻡ ‪.2007‬ﻭ ﻛﺎﻧﺖ ﺃﺣﺪﺍﺙ ‪ 2008‬ﺍﳌﺸــﺎﺭﻛﺔ‬ ‫ﺍﻷﻭﻟﻰ ﻟـ ‪ 30%‬ﻣﻦ ﺍﳌﺘﻈﺎﻫﺮﻳﻦ‪.‬‬ ‫ﺑﻌﺪ ﺃﺣﺪﺍﺙ ‪ ،1993‬ﺃﻟﻐﻴﺖ ﺍﻹﻧﻘﺴــﺎﻣﺎﺕ ﺍﻟﺜﻘﺎﻓﻴﺔ ﺩﺍﺧﻞ‬ ‫ﺍﳊﺮﻛﺔ ﺍﻷﻧﺮﺷﻴﺔ‪ .‬ﻓﻼ ﻳﻮﺟﺪ ﺍﻵﻥ ﲡﻤﻌﺎﺕ ﳌﺴﺘﻤﻌﻲ ﺍﻟﺮﻭﻙ‬ ‫ﺃﻭ ﺍﻟﺒﺎﻧــﻚ ﺃﻭ ﺍﳌﻴﺘﺎﻝ ﺃﻭ ﺃﻱ ﻫﻮﻳــﺔ ﺃﺧﺮﻯ‪ .‬ﻫﺬﺍ ﻣﺎ ﺟﻌﻞ ﻣﻦ‬ ‫ﺍﻷﻧﺮﺷــﻴﺔ ﺍﻟﻴﻮﻧﺎﻧﻴﺔ ﺣﺮﻛﺔ ﻧﺎﺟﺤﺔ‪ .‬ﳝﻜﻨﻚ ﺃﻥ ﺗﻜﻮﻥ ﻭﺃﻥ‬ ‫ﹼ‬ ‫ﺗﻔﻜﺮ ﻛﻴﻔﻤﺎ ﺗﺸﺎﺀ ﻭﺗﺴﻤﻊ ﺃﻱ ﻧﻮﻉ ﻣﻮﺳﻴﻘﻰ ﻭﺗﺮﺗﺪﻱ ﺃﻱ‬ ‫ﺛﻴﺎﺏ‪ ،‬ﻫﺬﺍ ﺧﻴﺎﺭ ﺷــﺨﺼﻲ ﻭﻟﻴﺲ ﻫﻮ ﹼﻳﺔ ﺳﻴﺎﺳﻴﺔ‪ .‬ﺍﻟﻜﻞ‬ ‫ﻳﺠﺘﻤﻊ ﺣﻮﻝ ﺍﻷﻧﺮﺷ ﹼﻴﺔ‪ .‬ﻳﺸﺎﺭﻙ ﺍﻷﳝﻮﺯ ﻭﺍﻟﻬﻴﺒﻴﲔ ﺍﻵﻥ ﻓﻲ‬ ‫ﺍﳌﻈﺎﻫــﺮﺍﺕ‪ ،‬ﻛﻤﺎ ﻣﺤ ﹼﺒﻲ ﺍﳌﻮﺳــﻴﻘﻰ ﺍﻹﻟﻜﺘﺮﻭﻧﻴﺔ ﻭﺣﺘﹼﻰ‬ ‫ﺍﻟﺸﺒﺎﺏ ﻭﺍﻟﺼﺒﺎﻳﺎ ﺍﻟـ »ﻋﺎﳌﻮﺿﺔ«‪ .‬ﺍﻟﻜﻞ ﻳﺸﺎﺭﻙ ﻣﻦ ﺃﺟﻞ‬ ‫ﹼ‬ ‫ﻣﺤﻘﺔ ﻭﻟﻴﺲ ﻣﻦ ﺃﺟﻞ »ﻣﻮﺿﺔ« ﺍﻷﻧﺮﺷﻴﺔ‪.‬‬ ‫ﻋﺎﻣﺔ ﻭ‬ ‫ﻗﻀ ﹼﻴﺔ ﹼ‬ ‫ﲟﻌﻨﻰ ﺁﺧﺮ‪ ،‬ﺇﻧﻬﻢ ﻳﺘﺒﻌﻮﻥ ﺍﻷﻧﺮﺷﻴﺔ ﻋﻦ ﻗﻨﺎﻋﺔ‪.‬‬

‫ﺛﻢ ﻗﻠﺐ ﺳ ﹼﻴﺎﺭﺓ‪ ...‬ﺛﻢ ﻗﻠﺐ ﺍﻟﻨﻈﺎﻡ )ﺃﺛﻴﻨﺎ ‪(2008‬‬ ‫ﻗﻠﺐ ﹼ‬ ‫ﹲ‬ ‫ﻗﻮﻱ‪ ...‬ﹼ‬

‫‪ÛöÏ–€a@·Óƒ‰m‬‬

‫‪@üa6«�a‬‬

‫ﻳﺘﻢ ﺍﻟﺘﻨﺴﻴﻖ ﺑﲔ ﺍﺠﻤﻟﻤﻮﻋﺎﺕ؟‬ ‫ﻛﻴﻒ ﹼ‬

‫ﻣﺎ ﺍﻟﺬﻱ ﻳﺜﻴﺮ ﻏﻀﺐ ﺍﻟﺸﻌﺐ ﻏﻴﺮ ﺍﻟﺸﺮﻃﺔ ﻭﺍﻟﻮﺿﻊ‬ ‫ﺍﻹﻗﺘﺼﺎﺩﻱ؟‬ ‫ﺍﳊﺎﺟﺔ ﺍﻟﻔﺮﺩﻳﺔ ﻭﺍﳉﻤﺎﻋﻴﺔ ﻟﻠﻤﻐﺎﻣﺮﺓ‪ .‬ﺍﳊﺎﺟﺔ ﻟﻠﻤﺸﺎﺭﻛﺔ‬ ‫ﻓﻲ ﺻﻨﻊ ﺍﻟﺘﺎﺭﻳﺦ‪ .‬ﺍﻟﺮﻓﺾ ﺍﻟﻔﻮﺿﻮﻱ ﻟﻠﺴﻴﺎﺳﺎﺕ ﻭﺍﻷﺣﺰﺍﺏ‬ ‫ﻭﺍﻹﻳﺪﻳﻮﻟﻮﺟﻴﺎﺕ‪.‬ﺍﻟﻔﺮﺍﻍ ﺍﻟﺜﻘﺎﻓﻲ ﻭﺭﻓﺾ ﺃﻱ ﳒﻢ ﺗﻠﻔﺰﻳﻮﻧﻲ‬ ‫ﺃﻭ ﺧﺒﻴﺮ ﺃﻭ ﻋﺎﻟﻢ ﺇﺟﺘﻤﺎﻉ ﻳﺤ ﹼﻠﻠﻨﺎ ﻛﻤﺸﻜﻠﺔ ﺇﺟﺘﻤﺎﻋﻴﺔ‪.‬‬ ‫ﺍﻟﻨﺰﻭﻝ ﺇﻟﻰ ﺍﻟﺸﺎﺭﻉ ﻫﻮ ﺗﻌﺒﻴﺮ ﻋﻦ ﺍﳊﺎﺟﺔ ﻷﻥ ﺗﻜﻮﻥ‬ ‫ﹸﺴﻤﻊ ﺻﻮﺗﻚ ﻛﻤﺎ ﻫﻮ‪ ،‬ﺍﳊﻤﺎﺱ ﻟﻠﻘﺘﺎﻝ ﺿﺪ‬ ‫ﻣﻮﺟﻮﺩﺍ ﹰ ﻭﺃﻥ ﺗ ﹺ‬ ‫ﺍﻟﺴﻠﻄﺔ ﺍﻟﻔﺎﺳﺪﺓ‪ ،‬ﺍﻟﻘ ﹼﻮﺓ ﻓﻲ ﺍﻟﻘﻠﺐ ﻭﺍﻟﻨﹼﺎﺭ ﻓﻲ ﺍﻟﻴﺪ‪.‬‬ ‫ﹼ‬ ‫ﻳﺘﻠﺨﺺ ﺑﺘﺠﺮﺑﺔ ﺭﻣﻲ ﺍﳌﻮﻟﻮﺗﻮﻑ ﺃﻣﺎﻡ ﺍﻟﺒﺮﳌﺎﻥ ﺃﻭ‬ ‫ﻛﻞ ﺫﻟﻚ ﹼ‬ ‫ﺍﻷﺳﻮﺍﻕ ﺍﻟﻔﺨﻤﺔ ﺃﻭ ﻓﻲ ﻗﺮﻳﺘﻚ ﺍﻟﻬﺎﺩﺋﺔ‪.‬‬

‫ﺃﳊﺮﻛــﺔ ﺍﻷﻧﺮﺷــﻴﺔ ﻓــﻲ ﺍﻟﻴﻮﻧــﺎﻥ ﹼ‬ ‫ﻣﻨﻈﻤﺔ ﻋﻠﻰ ﺷــﻜﻞ‬ ‫ﻣﺠﻤﻮﻋﺎﺕ ﺻﻐﻴﺮﺓ ﻣﺒﻨ ﹼﻴﺔ ﻋﻠﻰ ﺃﺳﺎﺱ ﺍﻟﺼﺪﺍﻗﺔ ﻭﺍﻟﺜﻘﺔ‬ ‫ﺍﻟﺘﹼﺎﻣــﺔ ﺑﲔ ﺃﻷﻋﻀﺎﺀ‪ ،‬ﺃﻭ ﻣﻦ ﺧــﻼﻝ ﻣﺠﻤﻮﻋﺎﺕ ﺃﻛﺒﺮ ﲢﺘﻞ‬ ‫ﻣﻨﺬ ﺳــﻨﲔ ﺃﺑﻨﻴــﺔ ﻭﻗﺼﻮﺭ ﻣﻬﺠﻮﺭﺓ ﻗﻘﻮﺍﻋــﺪ ﺗﻨﻈﻴﻤﻴﺔ‬ ‫ﺇﻧﻄﻼﻗــﺎ ﹰ ﻣــﻦ ﻣﺒــﺪﺃ ﺃﻥ ﺍﻷﺭﺽ ﻫــﻲ ﻣﻠﻚ ﻣــﻦ ﻳﻔﻠﺤﻬﺎ‪،‬‬ ‫ﻭﺍﳌﻬﺠــﻮﺭ ﻣﻠــﻚ ﻣﻦ ﻳﺤﺘﻠﱡــﻪ‪ .‬ﻭﺗﻌﻤﻞ ﺍﻟﺸــﺒﻜﺎﺕ ﺿﻤﻦ‬ ‫ﺍﻟﺘﻮﺍﺻــﻞ ﺍﻟﺸــﺨﺼﻲ ﻭﺍﻟﻬﺎﺗــﻒ ﻭﺍﻟﺒﺮﻳــﺪ ﺍﻹﻟﻜﺘﺮﻭﻧــﻲ‪.‬‬ ‫ﻛﻤــﺎ ﺗﺴــﺘﻌﻤﻞ ﺍﳊﺮﻛﺔ ﻣﻮﻗــﻊ ‪ Indymedia‬ﻛﺴــﻼﺡ‬ ‫ﺍﺳﺘﺮﺍﺗﻴﺠﻲ ﳉﻤﻊ ﻭﻣﺸــﺎﺭﻛﺔ ﺍﳌﻌﻠﻮﻣﺎﺕ ﺩﻗﻴﻘﺔ ﺑﺪﻗﻴﻘﺔ‬ ‫ﻭﻧﺸﺮ ﺍﻟﺒﻴﺎﻧﺎﺕ ﻭﺍﻹﻋﻼﻧﺎﺕ ﻟﻠﺘﺤﺮﻛﺎﺕ‪.‬‬ ‫‪http://www.crimethinc.com‬‬ ‫ﺗﺮﺟﻤﺔ‪ :‬ﻋﺒﺪ ﺍﻟﺒﺎﺳﻂ ﺑﺎﺑﺎﺩﻭﺑﻮﻟﻮﺱ‬

‫ﺩﺑﻠﻴﻮ ﺩﺑﻠﻴﻮ ﺩﺑﻠﻴﻮ‬ ‫ﺃﻫﻼ ﺑﻜﻢ ﻋﻠﻰ ﺍﳌﻮﻗﻊ ﺍﻹﻟﻜﺘﺮﻭﻧﻲ ﻟﺒﻠﺪﻳﺔ‬ ‫ﺑﻴﺮﻭﺕ ﺍﻟﺘﻲ ﺍﻧﺘﻘﻠﺖ ﻣﻦ ﺍﳋﻨﺎﺩﻕ ﻓﻲ ﺯﻣﻦ‬ ‫ﺍﳊﺮﺏ ﺇﻟﻰ ﺍﳌﻮﺍﻗﻊ ﺍﻹﻟﻜﺘﺮﻭﻧﻴﺔ ﻓﻲ ﺯﻣﻦ ﺍﻟـ‬ ‫‪.google‬‬ ‫ﺍﳌﻠﻔﺖ ﻟﻠﻨﻈﺮ ﻓﻲ ﻫﺬﺍ ﺍﳌﻮﻗﻊ ﺃﻧﻪ ﳝﻜﻦ‬ ‫ﹼ‬ ‫ﺗﺼﻔﺤﻪ ﺑﺜﻼﺙ ﻟﻐﺎﺕ )ﻋﺮﺑﻲ‪ ،‬ﻓﺮﻧﺴﻲ‪،‬‬ ‫ﺇﻧﻜﻠﻴﺰﻱ( ‪ .‬ﻭﻣﻊ ﺃﻥ ﺍﻟﺼﻔﺤﺎﺕ ﺍﻟﻌﺮﺑﻴﺔ‬ ‫ﻣﻘﺒﻮﻟﺔ ﻟﻐﻮ ﹼﻳﺎﹰ‪ ،‬ﻓﺈﻥ ﺍﻟﺼﻔﺤﺎﺕ ﺍﻟﻔﺮﻧﺴﻴﺔ‬ ‫ﻭﺍﻹﻧﻜﻠﻴﺰﻳﺔ ﰎﹼ ﺗﺮﺟﻤﺘﻬﺎ ﺑﻄﺮﻳﻘﺔ ﺗﺘﻤﺎﺷﻰ‬ ‫ﻣﻊ ﻋﺼﺮ ﺍﳌﻌﻠﻮﻣﺎﺗﻴﺔ ﻭﺍﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ‪.‬‬ ‫ﻓﺎﺳﺘﻌﻤﻞ ﺍﻟﻘ ﹼﻴﻤﻮﻥ ﻋﻠﻰ ﺍﳌﻮﻗﻊ ﺧﺪﻣﺔ‬ ‫»‪ «google translate‬ﺍﺠﻤﻟﹼﺎﻧﻴﺔ ﻟﺘﺮﺟﻤﺔ ﺗﺎﺭﻳﺦ‬ ‫ﺑﻴﺮﻭﺕ ﺍﻟﻌﺮﻳﻖ ﻭﺗﺸﺠﻴﻊ ﺍﻟﺴ ﹼﻮﺍﺡ ﺍﻷﺟﺎﻧﺐ‬ ‫ﻋﻠﻰ ﺯﻳﺎﺭﺓ ﻟﺒﻨﺎﻥ‪ .‬ﻭ ﻛﺎﻧﺖ ﻧﺘﻴﺠﺔ ﺍﻟﺘﺮﺟﻤﺔ‬

‫‪WWW.BEIRUT.GOV.LB‬‬

‫ﺍﻹﻟﻜﺘﺮﻭ‪-‬ﻓﻮﺭﻳﺔ ﻋﻠﻰ ﺍﻟﺸﻜﻞ ﺍﻟﺘﺎﻟﻲ‪ .‬ﻋﻠﻰ‬ ‫ﺍﻟﺼﻔﺤﺔ ﺍﻹﻧﻜﻠﻴﺰﻳﺔ‪:‬‬ ‫‪« Beirut city falls on the eastern‬‬ ‫‪beach from the Mediterranean Sea,‬‬ ‫‪borders it a west the sea, and south‬‬ ‫‪its suburbs and the region of its‬‬ ‫‪immortality an extension to a hunt and‬‬ ‫» ‪its neighborhood, Wsh.‬‬ ‫ﺇﺫﺍ ﹰ ﻋﻠﻰ ﺍﻟﺴﻮﺍﺡ ﺃﻥ ﻳﻌﻠﻤﻮﺍ ﺃﻥ ﹸ‬ ‫»ﲡﹶﻨﱢﺐ‬ ‫ﺿﺎﺣﻴﺘﻬﺎ‪ ،‬ﻭ ﻣﻨﻄﻘﺔ ﺧﻠﻮﺩﻫﺎ ﺇﻣﺘﺪﺍﺩ ﻟﺼﻴﺪ‬ ‫ﻭ ﺟﻴﺮﺗﻬﺎ‪ ،‬ﻭﺷﺸﺸﺸﺸﺶ«‪.‬‬ ‫ﻧﻌﻢ‪ ،‬ﻫﺬﺍ ﺻﺤﻴﺢ ﻳﺎ ﻋﺰﻳﺰﻱ ﺍﻟﺴﺎﺋﺢ‬ ‫ﺍﻷﻣﻴﺮﻛﻲ‪ .‬ﺍﳌﻮﻗﻊ ﳝﺘﺎﺯ ﺑﺎﻟـ »ﻭﺵ« ﺑﺴﺒﺐ‬ ‫ﺃﻋﻤﺎﻝ ﺍﳊﻔﺮﻳﺎﺕ‪.‬‬

‫ﺃﻣﺎ ﻟﻠﻨﺎﻃﻘﲔ ﺑﺎﻟﻠﻐﺔ ﺍﻟﻔﺮﻧﺴﻴﺔ ﺍﳌﻬﺘﻤﲔ‬ ‫ﺑﺒﻴﺮﻭﺕ ﻓـ »‪ ،«google translate‬ﺃﻗﺼﺪ‬ ‫ﺑﻠﺪﻳﺔ ﺑﻴﺮﻭﺕ ﺗﻌﻠﻦ ﺃﻥ‪:‬‬ ‫‪« Beyrouth dans une région modérée‬‬ ‫‪qui est distinguée par la qualité du‬‬ ‫‪temps et de la rectitude dans le climat‬‬ ‫»‪et une beauté dans la vue.‬‬ ‫ﻋﺰﻳﺰﻱ ﺍﻟﺴﺎﺋﺢ ﺍﻟﻔﺮﻧﺴﻲ ﺍﳌﻬﺘﻢ ﺑﺤﻀﺎﺭﺗﻨﺎ‪،‬‬ ‫ﺇﻋﻠﻢ ﺃﻥ »ﺑﻴﺮﻭﺕ ﲤﺘﺎﺯ ﺑﻨﻮﻋﻴﺔ ﺍﻟﻮﻗﺖ ﻭ ﺻﺮﺍﺣﺔ‬ ‫ﺍﳌﻨﺎﺥ ﻭﺟﻤﺎﻝ ﻓﻲ ﺍﻟﻨﻈﺮ«‪.‬‬ ‫ﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺃﻥ ﻫﺬﺍ ﺍﳌﻮﻗﻊ ﻭﻏﻴﺮﻫﺎ ﻣﻦ ﺍﳌﻮﺍﻗﻊ‬ ‫ﺍﻹﻟﻜﺘﺮﻭﻧﻴﺔ ﻟﺒﻠﺪﺍﺕ ﻟﺒﻨﺎﻧﻴﺔ ﻫﻲ ﻣﻦ ﲤﻮﻳﻞ ﺍﻟـ‬ ‫‪ US AID‬ﲢﺖ ﺷﻌﺎﺭ »ﺍﻹﺩﺍﺭﺓ ﺍﻟﺼﺤﻴﺤﺔ«‪.‬‬ ‫‪ - www.beirut.gov.lb‬ﺍﻟﺼﻔﺤﺔ ﺍﻹﻧﻜﻠﻴﺰﻳﺔ‬


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‫‪>Ìaãfl@bÌ@@@@NNN>Ìaãfl‬‬

‫ﻣﻦ ﺷﺮﻋﺔ ﺣﻘﻮﻕ ﺍﻹﻧﺴﺎﻥ »ﺣﻖ ﺍﻟﺘﺤﺮﺭ ﻣﻦ ﺍﻟﺘﺪﺧﻞ‬ ‫ﺍﻟﺘﻌﺴﻔﻲ ﻓﻲ ﺣﻴﺎﺗﻪ ﺍﻟﺨﺎﺻﺔ ﺃﻭ ﺷﺆﻭﻥ ﺃﺳﺮﺗﻪ ﺃﻭ ﻣﺴﻜﻨﻪ‬ ‫ﺃﻭ ﻣﺮﺍﺳﻼﺗﻪ‪ ،‬ﻭﺣﺮﻳﺔ ﺍﻟﺘﻨﻘﻞ ﻭﺍﻹﻗﺎﻣﺔ ﻭﺣﻖ ﺍﻟﻠﺠﻮﺀ ﻭﺣﻖ‬ ‫ﺍﻟﺘﻤﺘﻊ ﺑﺠﻨﺴﻴﺔ«‪.‬‬

‫ﻗﻠﻨﺪﻳﺔ ‪ -‬ﻓﻠﺴﻄﻴﻦ‬

‫ﺑﺮﻟﻴﻦ ‪ -‬ﺃﻟﻤﺎﻧﻴﺎ‬

‫‪9-11-2009‬‬

‫‪9-11-1989‬‬

‫ُﻳﻌﺘﺒﺮ ﺳﻘﻮﻁ ِﺟﺪﺍﺭ ﺑﺮﻟﻴﻦ ﺇﻧﺘﺼﺎﺭﴽ ﻟﻠﻌﺎﻟﻢ ﺍﻟﺤﺮ‬ ‫ﻭﻟﻠﺪﻳﻤﻘﺮﺍﻃﻴﺔ ﻭ ﺣﻘﻮﻕ ﺍﻹﻧﺴﺎﻥ ﺇﻟﺦ ﺇﻟﺦ‪ .‬ﺃﻣﺎ ﺟﺪﺍﺭ‬ ‫ﺍﻟﻔﺼﻞ ﺍﻟﻌﻨﺼﺮﻱ ﻓﻲ ﻓﻠﺴﻄﻴﻦ ﻓﻤﻮﺿﻮﻉ ﺁﺧﺮ‪.‬‬

‫‪ãœbèæa@›Ó€Ü‬‬ ‫◊‪lbn‬‬ ‫ﺃﺛﻴﻨﺎ ﺍﻟﺴﻮﺩﺍﺀ )‪ (Black Athens‬ﻛﺘﺎﺏ ﻣﻦ ﺛﻼﺙ‬ ‫ﺃﺟﺰﺍﺀ ﳌﺆﻟﻔﻪ ﻣﺎﺭﺗﺎﻥ ﺑﺮﻧﺎﺭ ﻳﻜﺸﻒ ﻓﻴﻪ ﺃﻥ ﺍﳊﻀﺎﺭﺓ‬ ‫ﺍﻟﻴﻮﻧﺎﻧﻴﺔ ﻟﻴﺴﺖ ﻧﺴﻴﺞ ﻧﻔﺴﻬﺎ ﺣﻴﺚ ﻳﺬﻛﺮ ﺃﻥ ‪85‬‬ ‫‪ ٪‬ﻣﻦ ﺍﻷﺣﺮﻑ ﺍﻟﻴﻮﻧﺎﻧﻴﺔ ﻫﻲ ﺁﺳﻴﻮﻳﺔ ﻭ ﺃﻓﺮﻳﻘﻴﺔ‪.‬‬

‫‪Û‘ÓéÏfl‬‬ ‫ﻛﺎﺗﻲ ﻣﻴﻠﻮﺍ ‪ Katie Melua‬ﺣﻘﻘﺖ ﺃﻋﻠﻰ ﻧﺴﺒﺔ‬ ‫ﻣﺒﻴﻌﺎﺕ ﻓﻲ ﺑﺮﻳﻄﺎﻧﻴﺎ ﻭ ﺃﻭﺭﻭﺑﺎ ﻋﺎﻡ ‪ .2006‬ﻛﺎﺗﻲ‬ ‫ﺗﻘﺪﻡ ﺧﻠﻴﻂ‬ ‫ﺍﻟﻨﺼﻒ ﺟﻮﺭﺟﻴﺔ ﻧﺼﻒ ﺇﻳﺮﻟﻨﺪﻳﺔ ﹼ‬ ‫ﻣﻦ ﺍﻟـ‪ blues‬ﻭﺍﻟـ‪ jazz‬ﻭﺍﻟـ‪.folk-pop‬‬

‫‪ã«bí‬‬ ‫ﻫﻨﺮﻱ ﻣﻴﺸﻮ )‪ (Henri Michaux‬ﺷﺎﻋﺮ ﺳﻮﺭﻳﺎﻟﻲ‬ ‫ﻭﻟﺪ ﻋﺎﻡ ‪ 1899‬ﻓﻲ ﺑﻠﺠﻴﻜﺎ‪ .‬ﻛﺘﺐ ﻓﻲ ﺍﻟﺸﻌﺮ‬ ‫ﻭﺃﺩﺏ ﺍﻟﺘﺮﺣﺎﻝ ﻭﺍﻟﻨﻘﺪ ﺍﻟﻔﻨﻲ‪ .‬ﻣﻦ ﺃﻫﻢ ﺃﻋﻤﺎﻟﻪ‪:‬‬ ‫»ﺍﻷﻋﺠﻮﺑﺔ ﺍﻟﺒﺎﺋﺴﺔ« )‪(le miracle miserable‬‬ ‫‪www.tinyurl.com/michaux5‬‬

‫‪·‹Óœ‬‬ ‫»‪ «Into The Wild‬ﻓﻴﻠــﻢ ﻣﻘﺘﺒــﺲ ﻋــﻦ‬ ‫ﻗﺼــﺔ ﺣﻘﻴﻘﻴــﺔ‪ .‬ﺃﻟﻜﺴــﻨﺪﺭ ﹼ‬ ‫ﻳﻠﻘــﺐ ﻧﻔﺴــﻪ ﺑـ‬ ‫ﹼ‬ ‫»‪ «supertramp‬ﻭﻳﺒﺪﺃ ﺭﺣﻠﺔ ﺑﺈﲡﺎﻩ ﺍﻻﺳــﻜﺎ ﺳﻴﺮﺍ ﹰ‬ ‫ﻋﻠــﻰ ﺍﻷﻗﺪﺍﻡ‪ ،‬ﻫﺮﺑﺎ ﹰ ﻣﻦ ﺍﻟﻨﻤﻂ ﻓــﻲ ﺍﳊﻴﺎﺓ ‪ ،‬ﻭﺑﺤﺜﺎ ﹰ‬ ‫ﻋﻦ ﺍﳊﺮﻳﺔ ﻭﺍﻷﺣﻼﻡ‪.‬‬

‫ﻓﻲ ﺍﻷﺳﺎﺱ‬

‫‪ÚiÏjfl@pb„˝«g‬‬ ‫ﻏﺮﻓﺔ ﻣﻊ ﻣﻨﺘﻔﻌﺎﺗﻬﺎ ‪ -‬ﻗﺮﺏ ﺍﻟﺴﻔﺎﺭﺓ‬ ‫ﺍﻟﺴﻮﻓﻴﺎﺗﻴﺔ ‪ -‬ﺗﺼﻠﺢ ﻟﻘ ﹼﻨﺎﺹ ﺃﻭ‬ ‫ﺩﺑﻠﻮﻣﺎﺳﻲ ﺃﻭ ﻧﺎﻃﻮﺭ ‪07775000‬‬ ‫ﺁﻧﺴﺔ ﻃﻴﹼﻮﺑﺔ ﺑﲔ ﺍﻟـ ‪ 18‬ﻭ ‪ 25‬ﺳﻨﺔ‬ ‫ﻟﻠﻌﻤﻞ ﻓﻲ ﺍﳋﻠﻴﺞ ﻓﻲ ﺍﺠﻤﻟﺎﻝ ﺍﻟﻔ ﹼﻨﻲ‪.‬‬ ‫ﻋﻤﻞ ﺷﺮﻋﻲ ﻭ ﻗﺎﻧﻮﻧﻲ ﻭ ﺭﺍﺗﺐ ﻣﺮﺗﹼﺐ‬ ‫ﻣﻊ ﺑﺮﹼﺍﻧﻲ‪023023556 .‬‬ ‫ﺑﺪﺍﻋﻲ ﺍﻟﺜﻤﻞ‪ :‬ﻣﻔﻘﻮﺩ ﺯﺟﺎﺟﺔ‬ ‫ﻋﺮﻕ ﻏﻨﻄﻮﺱ ﺃﺑﻮ ﺭﻋﺪ ﹼ‬ ‫ﻣﺘﻠﺖ ﺑﻠﺪﻱ‬ ‫ﺃﺻﻴﻞ‪ .‬ﳌﻦ ﻳﺠﺪﻫﺎ ﺃﺭﺟﻮ ﺍﻹﺗﺼﺎﻝ‬ ‫ﻋﻠﻰ ﺍﻟﺮﻗﻢ‪070472487 :‬‬ ‫ﻋﺸﺮﺍﺕ ﻣﻼﻳﲔ »ﻓــﺮﺹ« ﺍﻟﻌﻤﻞ‬ ‫ﺑﺎﻧﺘﻈﺎﺭﻙ ﻋﻠﻰ ﻣﻮﻗﻊ ‪foras.com‬‬ ‫)ﻻ ﻧﻜﻔﻞ ﳒﺎﺡ ﺍﻟﻔﺮﺻﺔ(‬ ‫ﺇﺭﺑـــﺢ ‪ 10‬ﻣــﻼﻳــﲔ ﺩﻭﻻﺭ ﻣﻘﺎﺑﻞ‬ ‫ﻣﻌﻠﻮﻣﺎﺕ ﻋﻦ ﺍﻟﻔﺮﺩﺓ ﺍﻟﻴﻤﲔ ﳊﺬﺍﺀ‬ ‫ﺍﻟﻄﻴﺎﺭ ﺭﻭﻥ ﺍﻟﺒﺮﹼﺍﺩ‬ ‫ﺗﻌﻠﻦ ﺷﺮﻛﺔ ﺩﻭﻥ ﻛﻮﺭﻟﻴﻮﻧﻲ ﻭﺃﻭﻻﺩﻩ‬ ‫ﻋﻦ ﺗﻘﺪﱘ ﻋﺮﺽ ﻟﻦ ﺗﺴﺘﻄﻴﻌﻮﺍ‬ ‫ﺭﻓﻀﻪ ﻋﻠﻰ ﺗﻨﻜﺔ ﺯﻳــﺖ ﺍﻟﺰﻳﺘﻮﻥ‬ ‫ﺍﻷﺻﻠﻲ‪ .‬ﺍﻟﺘﻮﺻﻴﻞ ﻣﺠﺎﻧﻲ ‪ -‬ﻣﻜﻔﻮﻝ‬ ‫ﻣﻦ ﻋﺎﺋﻼﺕ ﺍﳌﺎﻓﻴﺎ ﺍﳋﻤﺲ‪ .‬ﻣﻊ‬ ‫ﲢﻴﺎﺕ‪...‬ﺍﻟﻌﺮﹼﺍﺏ‬ ‫ﺇﻣﺮﺃﺓ ﻓﻲ ﺍﻟﻌﺸﺮﻳﻨﺎﺕ ﻣﻦ ﺍﻟﻌﻤﺮ‪،‬‬ ‫ﺟﻤﻴﻠﺔ ﻭ ﻃﻤﻮﺣﺔ‪ ،‬ﺗﺒﺤﺚ ﻋﻦ‬ ‫ﻋﺮﻳﺲ ﻓﻲ ﺍﻟﺜﻤﺎﻧﻴﻨﺎﺕ ﻣﻦ ﻋﻤﺮﻩ‬ ‫ﻭﻣﻴﺴﻮﺭ ﻣﺎﺩﻳﹼﺎﹰ‪024511450 .‬‬

‫ﻧﺸﺮﺓ‪ ،‬ﻣﻄﺒﻮﻋﺔ‪ ،‬ﻣﻨﻘﻮﻋﺔ‪ ،‬ﺑﺮﻭﺡ ﺍﻟﻨﻌﻨﺎﻉ‪ ،‬ﻻ ﺗﺘﻮﺧﻰ ﺍﻟﺮﺑﺢ ﺍﻟﻤﺎﺩﻱ‪ ،‬ﺗﺨﻀﻊ ﻟﻠﻌﺎﺩﺓ ﻓﻲ ﺍﻟﻤﻀﻤﻮﻥ ﺍﻟﻤﻮﺍﺩ ﺍﻟﻮﺍﺭﺩﺓ ﻓﻲ ﻫﺬﻩ ﺍﻟﻨﺸﺮﺓ‬ ‫ﻫــﻲ ﻣــﻦ ﻣﺤﺾ ﺧــﻴــﺎﻝ ﺃﺳــﺮﺓ‬ ‫ﺍﻟﺸﻬﺮﻳﺔ ﺣﺘﻰ ﻓﻲ ﺳﻨﻮﺍﺕ ﺍﻟﻜﺒﻴﺲ‪ .‬ﺗﻌﻨﻰ ﺑﻬﻤﻮﻡ ﺍﻟﺸﺒﺎﺏ ﺍﻟﻤﺜﻘﻒ‪ .‬ﻏﻨ ّﻴﺔ‬ ‫ﺍﻟﺘﺤﺮﻳﺮ‪.‬‬ ‫ﺑﺎﻟﻔﻴﺘﺎﻣﻴﻨﺎﺕ ﻭﺍﻷﻟﻴﺎﻑ‪ .‬ﺗُﺤﻔﻆ ﻓﻲ ﻣﻜﺎﻥ ﺟﺎﻑ ﻭ ﺑﺎﺭﺩ‪ .‬ﺗﺼﺪﺭ ﻋﻦ ﺩﺍﺭ ﺍﻟﻤﻮﺗﻴﺮ‪.‬‬

‫‪http://rehla.a7lashi.com‬‬ ‫‪rehlamag@gmail.com‬‬ ‫‪December 2009‬‬


‫‪Ò�ã®a@Ò�ã1a@∂g@Òã‡nèfl@Ú‹yã€aÎ@NNN‬‬

‫◊˝‪Recy ï‬‬ ‫‪’¢‬‬ ‫ﻓﻲ‬

‫‪ÚÓ‰Áâ€a@ÒÏ쉀a‬‬ ‫@@‪@ëd◊@Î@á«b‘fl@Úq˝qä‬‬

‫@@¿@‪ÚrÌá®a@Ú‰flå˛a‬‬

‫@‪ÊÏÿé‬‬

‫ﺑﻮﻝ ﺑﻮ ﻫﺎﺭﻭﻥ‬

‫ﺑﻮﻝ ﻣﺨﻠﻮﻑ‬

‫ﺣﺮﻣﻮﻥ ﺣﻤﻴﺔ‬

‫ﻫﻞ ﺳﺒﻖ ﻟﻚ ﻭﺟﻠﺴﺖ ﻋﻠﻰ ﺍﳌﺸﺮﺏ ﻭﺣﻴﺪﺍﹰ؟‬ ‫ﺃﺭﺑﻌﺔ ﻛﺆﻭﺱ ﺗﺴﺒﺢ ﺑﲔ ﺧﻼﻳﺎ ﺩﻣﺎﻏﻚ‬ ‫ﻛﺄﺱ ﻓﻲ ﻳﺪﻙ‬ ‫ﺩﺧﺎ ﹲﻥ ﺣﻮﻝ ﺭﺃﺳﻚ‬ ‫ﻋﻠﻰ ﺑﻌﺪ ﺛﻼﺛﺔ ﻣﻘﺎﻋﺪ ﺇﻣﺮﺃﺓ‬ ‫ﻭﺣﻴﺪﺓ ﻭﻣﺤﺎﻃﺔ‬ ‫ﻭﺗﻘﺘﺮﺏ ﻣﻨﻚ‬ ‫ﺗﺮﻣﻘﻬﺎ ﺑﻨﻈﺮﺍﺕ ﺍﻟﻮﺣﻴﺪ ﻭﺍﳌﺴﺘﻐﻨﻲ‬ ‫ﻓﺘﺴﺄﻟﻚ‪ :‬ﻣﻦ ﻫﻮ ﺻﺪﻳﻘﻚ ﺍﳌﻔﻀﻞ؟‬ ‫ﻓﺘﺠﻴﺐ ﺑﺴﺮﻋ ﹴﺔ ﻣﺨﻴﻔﺔ‪ :‬ﻻ ﺃﺣﺪ‪ ،‬ﺍﻟﻜﻞ‪ ،‬ﻓﺘﺎﺕ ‪...‬‬

‫ﻓﻲ ﺍﻷﺯﻣﻨﺔ ﺍﳊﺪﻳﺜﺔ‬ ‫ﺭﺟﺎﻝ ﻓﺎﺭﻏﲔ‬ ‫ﻳﺴﻴﻞ ﻟﻌﺎﺑﻬﻢ ﻋﻠﻰ ﺃﻭﺭﺍﻕ ﻣﺮ ﹼﻗﻤﺔ‬ ‫ﻭ ﻋﻘﻮﻝ ﻻ ﺗﺰﺍﻝ ‪...‬‬ ‫ﺗﻌﺒﺪ ﺃﺻﻨﺎﻣﺎ ﹰ ﺑﺎﻟﻴﺔ‪،‬‬ ‫ﻓﻜﻨﹼﺎ ﻏﺮﺑﺎﺀ ﻓﻲ ﺍﳌﺪﻳﻨﺔ‬ ‫ﻭ ﺍﺳﺘﺠﺒﻨﺎ ﻟﻨﺪﺍﺀ ﺭﻓﺸﻨﺎ‬ ‫ﻓﺪﺧﻠﻨﺎ ﻣﻨﺎﻃﻖ ﺧﻄﻴﺮﺓ‬ ‫ﻣﻐﻠﻘﺔ ﺑﺎﻟﺸﻤﻊ ﺍﻷﺣﻤﺮ‪.‬‬ ‫ﻟﻜﻨﻨﺎ ﻻ ﻧﺨﺸﻰ ﺍﳌﻮﺕ‬ ‫ﻭ ﺃﺿﻮﺍﺋﻨﺎ ﻻ ﺗﻨﻄﻔﺊ‬ ‫ﻓﻨﺤﻦ ﻧﻼﺣﻖ ﺍﻟﺸﻤﺲ‪،‬‬ ‫ﻭ ﻧﻄﻠﻖ ﺍﻟﻌﻨﺎﻥ ﻟﻠﺮﻳﺎﺡ‬ ‫ﻟﻨﻠﺘﻘﻲ ﻓﻲ ﻣﺪﻥ ﺧﻴﺎﻟﻨﺎ‬ ‫ﻭ ﻟﻨﺮﻭﻱ ﻗﺼﺼﻨﺎ ﻟﻠﻜﺎﺋﻨﺎﺕ ﺍﻟﻔﻀﺎﺋﻴﺔ‬ ‫ﻓﻜﻠﻤﺎﺗﻨﺎ ﺻﺪﺍ ﹰ ﳉﻨﻮﻧﻨﺎ‪،‬‬ ‫ﻭ ﻧﻔﺴﻨﺎ ﻳﺒﺪﺃ ﻋﻨﺪ ﻓﻘﺪﺍﻥ ﺍﻟﺴﻴﻄﺮﺓ‬ ‫ﻷﻥ ﻋﺎﳌﻨﺎ ﻫﻮ ﻟﻠﺮﺍﺷﺪﻳﻦ ﻓﻘﻂ‪.‬‬

‫ﺃﹸﻻﺣﻖ ﺍﻟﺼﺪﻯ‪ ...‬ﺃﻡ ﻳﻼﺣﻘﻨﻲ‬ ‫ﻭﺑﺎﻗﻲ ﺍﻷﺻﺪﺍﺀ‪ ...‬ﻣﺘﻰ ﺗﺘﺮﻛﻨﻲ‬ ‫ﺍﻟﻜﻞ ﺃﺷﺒﺎﺡ ﻣﻦ ﺣﻮﻟﻲ‬ ‫ﲢﺪﺛﻨﻲ‬ ‫ﻭﺣﺪﻫﺎ ﺍﻷﺻﺪﺍﻑ ﹼ‬ ‫ﺑﻠﻐﺔ ﺍﻟﺼﺪﻯ‬

‫ﻗﺎﻟﺖ ﻣﺒﺘﺴﻤﺔ‪ :‬ﻫﻨﺎﻙ ﺩﺍﺋﻤﺎ ﹰ ﻓﺘﺎﺕ‬ ‫ﺯﺍﻟﺖ ﻧﻈﺮﺍﺕ ﺍﻟﻮﺣﺪﺓ ﻭﲢﻮﻟﺖ ﺇﻟﻰ ﻏﺮﺍﺑﺔ‬ ‫ﻭﻟﺒﺮﻫﺔ ﳌﻌﺖ ﻓﻜﺮ ﹲﺓ ﺑﺮﺃﺳﻚ ﺃﻥ ﻛﻞ ﻣﺎ ﻫﻮ ﻏﺮﻳﺐ ﺟﻤﻴﻞ‬ ‫ﻭﺍﳌﺮﺃﺓ ﻏﺮﻳﺒﺔ‬ ‫ﻭﺍﻟﻜﺤﻮﻝ ﻟﻢ ﺗﺴﻤﺢ ﲟﺰﻳ ﹴﺪ ﻣﻦ ﺍﻟﺘﻔﻜﻴﺮ‬ ‫ﻓﺠﻠﺴﻨﺎ ﺑﺎﳌﻘﻌﺪ ﺍﳋﻠﻔﻲ‬ ‫ﺑﺪﺃ ﺧﻄﻲ ﹼ‬ ‫ﻳﺮﰋ‬ ‫ﻋﺬﺭﺍ ﹰ ﻋﻠﻰ ﺍﳌﻘﺎﻃﻌﺔ‬ ‫ﺑﺪﺃﺕ ﺍﻟﺮﺣﻠﺔ‬

‫ﺃﻛﺘﺐ ﻋﻠﻰ ﻧﻌﺸﻲ ﺃﺣﺠﻴﺔ‬ ‫ﻋﻦ ﻣﻮﺕ ﺍﻷﻣﻮﺍﺝ‬ ‫ﻋﻠﻰ ﺷﻄﺂﻥ ﺍﻟﻌﺰﻟﺔ‬ ‫ﺑﺤﺮ ﻣﻦ ﺍﳌﺪﻯ‪..‬ﻭﺇﻟﻴﻪ‬ ‫ﺃﹲ ﹺ‬ ‫ﻣﺎ ﻋﺎﺩﺕ ﺃﻳﺎﻣﻲ‬ ‫ﺳﻮﻯ ﺭﺣﻠﺔ ﻓﻲ ﻭﺩﻳﺎﻥ ﺍﻟﻨﺴﻴﺎﻥ‬ ‫ﻭ ﻣﺤﻴﻂ ﺍﻟﻼﻋﻮﺩﺓ‬ ‫ﺗﺴﺄﻟﻨﻲ ﻋﻦ ﺍﻟﺴﺒﺐ‬ ‫ﺃﺟﻴﺐ‪ ،‬ﻣﻠﻠﺖ ﻧﻔﺴﻲ‬ ‫ﻣﺎ ﻋﺪﺕ ﻣﺎ ﻛﻨﺖ‬ ‫ﻟﻦ ﻳﺒﻘﻰ ﻣﻨﻲ ﺳﻮﻯ‬ ‫ﺳﻜﻮﻥ‬

‫ﺗﻠﺰﻳﻖ ‪ :‬ﻣﻴﻼﺩ ﺍﻟﺪﻭﻳﻬﻲ‬

‫‪Ú‹yã‹€‬‬

Rehla  

December 09

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