‫ﺍﻹﻋﻼﻣﻴﺔ ـ ﺃﺑﻌﺎﺩﻫﺎ ﻭﺃﺛﺮﻫﺎ ﰲ ﺗﻠﻘﻲ ﺍﻟﻨﺺ‬

‫ﺩﺭﺍﺳﺔ ﻧﻈﺮﻳﺔ ﲢﻠﻴﻠﻴﺔ‬

‫ﺇﻋﺪﺍﺩ‬
‫ﳏﻤﺪ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﺇﺑﺮﺍﻫﻴﻢ‬

‫ﲝﺚ ﺗﻜﻤﻴﻠﻲ ﻟﻨﻴﻞ ﺩﺭﺟﺔ ﺍﻟﺪﻛﺘﻮﺭﺍﻩ ﰲ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ )ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ(‬

‫ﻛﻠﻴﺔ ﻣﻌﺎﺭﻑ ﺍﻟﻮﺣﻲ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ‬

‫ﺍﳉﺎﻣﻌﺔ ﺍﻹﺳﻼﻣﻴﺔ ﺍﻟﻌﺎﳌﻴﺔ ـ ﻣﺎﻟﻴﺰﻳﺎ‬

‫ﻳﻨﺎﻳﺮ ‪٢٠٠٧‬‬
 ‫ﻣﻠﺨﺺ ﺍﻟﺒﺤﺚ‬

‫ﻳﺴﺘﺠﻠﻲ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺃﺣﺪ ﻣﻌﺎﻳﲑ ﺍﻟﻨﺼﻴﺔ ﺍﳌﻮﺳﻮﻡ ﺑﺎﻹﻋﻼﻣﻴﺔ‪ ،‬ﻭﺫﻟﻚ ﺑﺎﻟﻮﻗﻮﻑ ﻋﻠﻰ ﺃﺑﻌـﺎﺩ‬
‫ﻫﺬﺍ ﺍﳌﻌﻴﺎﺭ‪ ،‬ﻭﺁﻟﻴﺎﺗﻪ‪ ،‬ﻭﻣﻘﺎﺻﺪﻩ‪ ،‬ﻭﺃﺛﺮﻩ ﰲ ﺗﻠﻘﻲ ﺍﻟﻨﺺ‪ ،‬ﻭﺍﻛﺘﻨﺎﻩ ﻣﺎ ﺃﺳﻬﻢ ﺑﻪ ﺍﻟﻌﻠﻤﺎﺀ ﺍﳌﺴﻠﻤﻮﻥ‬
‫ﰲ ﳎﺎﻝ ﲢﻠﻴﻞ ﺍﻟﻨﺺ‪ .‬ﻭﺗﺘﻤﺜﻞ ﺇﺷﻜﺎﻟﻴﺔ ﺍﻟﺒﺤﺚ ﰲ ﻛﻴﻔﻴﺔ ﺗﻮﺯﻳﻊ ﺷﺒﻜﺔ ﺍﳌﻌﻠﻮﻣﺎﺕ ﰲ ﺍﻟﻨﺺ‪،‬‬
‫ﻭﺍﻟﺘﻌﺎﻣﻞ ﻣﻊ ﺍﻟﻌﻨﺎﺻﺮ ﻏﲑ ﺍﳌﺘﻮﻗﻌﺔ ﺇﻧﺘﺎﺟﹰﺎ ﻭﺗﻠﻘﻴ‪‬ﺎ‪ .‬ﻭﻗﺪ ﺍﻗﺘﺮﺡ ﺍﻟﺒﺎﺣﺚ ﻣﻨﻬﺠﻴﺔ ﲢﻠﻴﻠﻴﺔ ﺗﻮﺧ‪‬ﺖ‬
‫ﺍﻹﻓﺎﺩﺓ ﻣﻦ ﺭﺅﻯ ﺍﻟﺒﺎﺣﺜﲔ ﺍﻟﻐﺮﺑﻴﲔ ﻭﺍﻟﻌﻠﻤﺎﺀ ﺍﳌﺴﻠﻤﲔ ﻭﻓﻖ ﻣـﺎ ﻭﺭﺩ ﰲ ﺍﻹﻃـﺎﺭ ﺍﻟﻨﻈـﺮﻱ‬
‫ﻟﻺﻋﻼﻣﻴﺔ‪ ،‬ﺣﻴﺚ ﻃﺒﻘﺖ ﻫﺬﻩ ﺍﳌﻨﻬﺠﻴﺔ ﻋﻠﻰ ﺛﻼﺛﺔ ﻧﺼﻮﺹ ﻣﻦ ﺳﻮﺭﺓ ﺍﻟﺒﻘﺮﺓ ﺗـﺪﻭﺭ ﺣـﻮﻝ‬
‫ﻣﻮﺿﻮﻉ ﺍﳊﻔﺎﻅ ﻋﻠﻰ ﺍﻟﻨﻔﺲ‪ ،‬ﻭﺗﻨﺎﻭﻟﺖ ﻗﺼﺔ ﺍﻟﺒﻘﺮﺓ‪ ،‬ﻭﺍﻟﻘﺼﺎﺹ‪ ،‬ﻭﺍﻟﺪﻓﺎﻉ ﻋـﻦ ﺍﻟـﻨﻔﺲ‪.‬‬
‫ﻛﻤﺎ ﻃﺒﻘﺖ ﻋﻠﻰ ﺛﻼﺙ ﻣﻘﻄﻌﺎﺕ ﻣﻦ ﻛﺎﻓﻮﺭﻳﺎﺕ ﺍﳌﺘﻨﱯ‪ ،‬ﺗﻠﺨﺺ ﺍﳌﻨﻌﻄﻔﺎﺕ ﺍﳌﻔﺼﻠﻴﺔ ﰲ ﺣﻴﺎﺓ‬
‫ﺍﻟﺸﺎﻋﺮ ﰲ ﻣﺼﺮ ﻋﻠﻰ ﺍﻟﻨﺤﻮ ﺍﻟﺬﻱ ﺍﻧﻌﻜﺲ ﻋﻠﻰ ﻓﻨﻪ ﺍﻟﺸﻌﺮﻱ‪ .‬ﻭﺧﻠﺺ ﺍﻟﺒﺎﺣﺚ ﺇﱃ ﻧﺘـﺎﺋﺞ‪،‬‬
‫ﻣﻦ ﺃﳘﻬﺎ‪ :‬ﺇﺑﺮﺍﺯ ﺩﺭﺟﺎﺕ ﺍﻹﻋﻼﻣﻴﺔ ﰲ ﺭﺅﻳﺔ ﺍﻟﻌﻠﻤﺎﺀ ﺍﳌﺴﻠﻤﲔ ﺍﻟﺬﻳﻦ ﺗﻨﺎﻭﻟﻮﻫـﺎ ﰲ ﻣﻌـﺮﺽ‬
‫ﺣﺪﻳﺜﻬﻢ ﻋﻦ ﻗﻀﻴﺔ ﺍﻟﻮﺿﻮﺡ ﻭﺍﻟﻐﻤﻮﺽ‪ ،‬ﻭﻛﺬﻟﻚ ﻣﻨﺎﻗﺸﺘﻬﻢ ﻟﻌﻤﻠﻴﺎﺕ ﺧﻔﺾ ﺍﻹﻋﻼﻣﻴﺔ ﲟـﺎ‬
‫ﻳﺘﺴﺎﻭﻕ ﻣﻊ ﻣﺎ ﺫﻫﺐ ﺇﻟﻴﻪ ﺩﻳﺒﻮﺟﺮﺍﻧﺪ ﻭﺩﺭﻳﺴﻠﺮ ﺣﺪﻳﺜﹰﺎ‪ .‬ﻭﻓﻴﻤﺎ ﻳﺘﻌﻠﻖ ﺑﺎﻵﻳﺎﺕ ﺍﻟﱵ ﰎ ﲢﻠﻴﻠﻬﺎ‪،‬‬
‫ﻓﻘﺪ ﻟﻮﺣﻆ ﺃﻥ ﺷﺒﻜﺔ ﺍﳌﻌﻠﻮﻣﺎﺕ ﻭ‪‬ﺯﻋﺖ ﻋﻠﻰ ﳓﻮ ﻣﺜﲑ ﻻﻧﺘﺒﺎﻩ ﺍﳌﺘﻠﻘﻲ‪ ،‬ﻓﻘﺪ ﺍﻋﺘﻤـﺪ ﺍﻟـﻨﺺ‬
‫ﺍﻟﻘﺮﺁﱐ ﺍﻷﻭﻝ ﻋﻠﻰ ﻣﺒﺪﺃ ﺍﻟﺘﺮﻛﻴﺰ ﻋﻠﻰ ﺍﳋﺎﲤﺔ ﲟﺎ ﻳﺘﻨﺎﻏﻢ ﻣﻊ ﺍﻟﺒﻨﻴﺔ ﺍﳊﻮﺍﺭﻳﺔ ﳍﺬﺍ ﺍﻟﻨﺺ‪ .‬ﻭﺃﻣـﺎ‬
‫ﻼ ﺑﺎﻟﺪﻋﺎﻭﻯ ﺍﻟﻘﻮﻳﺔ ﰒ ﺫﻛﺮﺕ ﺍﳌﱪﺭﺍﺕ ﺍﻟـﱵ‬ ‫ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻨﺼﲔ ﺍﻟﻘﺮﺁﻧﻴﲔ ﺍﻵﺧﺮﻳﻦ‪ ،‬ﻓﻘﺪ ﺍ ‪‬ﺳ‪‬ﺘﻬﹺ ﱠ‬
‫ﺍﻗﺘﻀﺖ ﺫﻟﻚ‪ .‬ﻭﺃﻣﺎ ﺍﳌﻘﻄﻌﺎﺕ ﺍﳌﺨﺘﺎﺭﺓ ﻣﻦ ﻛﺎﻓﻮﺭﻳﺎﺕ ﺍﳌﺘﻨﱯ‪ ،‬ﻓﻘﺪ ﻋﻜﺴﺖ ﺗﻄﻮﺭ ﺍﻟﻌﻼﻗـﺔ‬
‫ﺑﲔ ﺍﻟﺸﺎﻋﺮ ﻭﻛﺎﻓﻮﺭ‪ ،‬ﻭﺃﺳﻬﻢ ﺍﻟﺘﺤﻠﻴﻞ ﰲ ﺑﻴﺎﻥ ﺍﻵﻟﻴﺎﺕ ﺍﻟﱵ ﺗﺒﻨﺎﻫﺎ ﻣﻨـﺘﺞ ﺍﻟـﻨﺺ ﻟﺘﺤﻘﻴـﻖ‬
‫ﻣﻘﺎﺻﺪﻩ‪.‬‬

‫ﺏ‬
 ABSTRACT

The dissertation studies one of the standards of textuality which is tagged

"INFORMATIVITY", by focusing on its dimensions, techniques, instrumentality,
goals and its impact on text reception, as well as revealing the contributions of
Muslim Scholars in the field of Textual Analysis. The research question addresses the
manner in which the "information network" is distributed in the text, and how the
unexpected elements in the text are dealt with during the production of text and its
reception. The thesis suggests an analytical methodology that integrates both the
Western and Muslim scholars' approaches that form theoretical framework of
informativity. It adopts this methodology to analyse three Qur'anic texts on the subject
of protection of Human Soul, covering the story of al- baqarah, Requital verses, and
self protection. The analysis also covers selected odes from al-Mutanabbī's Kāfūriyyāt
that summed up the turning points in the poet's life during his sojourn in Egypt. The
thesis reveals the levels of Informativity in the works of the Muslim scholars who
discuss it within the concept of Clarity and Ambiguity; and also their treatment of the
processes of downgrading the informativity in line with the point of view of De
Beagrande and Dressler in modern text analysis. It is observed, with regards to the
analysed verses, that the information network is distributed in a manner that attracts
the attention of text receiver. The first Qur'anic text depends on the principle of end-
focus emphasis in agreement with the conversational structure of the text.. The two
other Qur'anic texts are prefaced with strong claims followed by the corresponding
provision of the necessary justifications. The selected texts from the Kāfūriyyāt of al-
Mutanabbī, reflected the development of the relationship between the poet and Kafur.
The analysis contributed to the exposition of the techniques that were utilized by text
producer in achieving his goals.

‫ﺝ‬
 APPROVAL PAGE

The disertation of Mohamed Abdul-rahman Ibrahim has been examined and approved by
the following:

_____________________________
Ahmad Shehu Abdussalam
Supervisor

_____________________________
Abdul Razak Abdul Rahman Al-Sa'adi
Internal Examiner

_____________________________
Nihad Yasin Al-Musa
External Examiner

_____________________________
Muhammad H. M. Bakalla
External Examiner

_____________________________
Ibrahim M. Zein
Chairman

‫ﺩ‬
 DECLARATION

I hereby declare that this dissertation is the result of my own investigation, except

where otherwise stated. I also declare that is has not been previously or concurrently

submitted as a whole for any other degrees at IIUM or other institutions.

Mohamed Abdul-rahman Ibrahim

Signature……………………… Date………………………

‫ﻩ‬
‫ﻫـ‬
 ‫ﺍﳉﺎﻣﻌﺔ ﺍﻹﺳﻼﻣﻴﺔ ﺍﻟﻌﺎﳌﻴﺔ ﻣﺎﻟﻴﺰﻳﺎ‬
‫ﺇﻗﺮﺍﺭ ﲝﻘﻮﻕ ﺍﻟﻄﺒﻊ ﻭﺇﺛﺒﺎﺕ ﻣﺸﺮﻭﻋﻴﺔ ﺍﺳﺘﺨﺪﺍﻡ ﺍﻷﲝﺎﺙ ﺍﻟﻌﻠﻤﻴﺔ ﻏﲑ ﺍﳌﻨﺸﻮﺭﺓ‬
‫ﺣﻘﻮﻕ ﺍﻟﻄﺒﻊ ‪ © ٢٠٠٧‬ﳏﻔﻮﻇﺔ ﶈﻤﺪ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﺇﺑﺮﺍﻫﻴﻢ‬
‫ﺍﻹﻋﻼﻣﻴﺔ‪ :‬ﺃﺑﻌﺎﺩﻫﺎ ﻭﺃﺛﺮﻫﺎ ﰲ ﺗﻠﻘﻲ ﺍﻟﻨﺺ – ﺩﺭﺍﺳﺔ ﻧﻈﺮﻳﺔ ﲢﻠﻴﻠﻴﺔ‬

‫ﻻ ﳚﻮﺯ ﺇﻋﺎﺩﺓ ﺇﻧﺘﺎﺝ ﺃﻭ ﺍﺳﺘﺨﺪﺍﻡ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻏﲑ ﺍﳌﻨﺸﻮﺭ ﰲ ﺃﻱ ﺷﻜﻞ ﻭﺑﺄﻳﺔ ﺻﻮﺭﺓ )ﺁﻟﻴﺔ‬
‫ﻛﺎﻧﺖ ﺃﻭ ﺇﻟﻜﺘﺮﻭﻧﻴﺔ ﺃﻭ ﻏﲑﻫﺎ( ﲟﺎ ﰲ ﺫﻟﻚ ﺍﻻﺳﺘﻨﺴﺎﺥ ﺃﻭ ﺍﻟﺘﺴﺠﻴﻞ ﻣﻦ ﺩﻭﻥ ﺇﺫﻥ ﻣﻜﺘﻮﺏ‬
‫ﻣﻦ ﺍﻟﺒﺎﺣﺚ ﺇ ﹼﻻ ﰲ ﺍﳊﺎﻻﺕ ﺍﻵﺗﻴﺔ‪:‬‬
‫‪ .١‬ﳝﻜﻦ ﻟﻶﺧﺮﻳﻦ ﺍﻗﺘﺒﺎﺱ ﺃﻳﺔ ﻣﺎﺩﺓ ﻣﻦ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻏﲑ ﺍﳌﻨﺸﻮﺭ ﰲ ﻛﺘﺎﺑﺎ‪‬ﻢ ﺑﺸﺮﻁ‬
‫ﺍﻻﻋﺘﺮﺍﻑ ﺑﻔﻀﻞ ﺻﺎﺣﺐ ﺍﻟﻨﺺ ﺍﳌﻘﺘﺒﺲ‪ ،‬ﻭﺗﻮﺛﻴﻖ ﺍﻟﻨﺺ ﺑﺼﻮﺭﺓ ﻣﻨﺎﺳﺒﺔ‪.‬‬
‫ﻳﻜﻮﻥ ﻟﻠﺠﺎﻣﻌﺔ ﺍﻹﺳﻼﻣﻴﺔ ﺍﻟﻌﺎﳌﻴﺔ – ﻣﺎﻟﻴﺰﻳﺎ‪ ،‬ﻭﻣﻜﺘﺒﺘﻬﺎ ﺣﻖ ﺍﻻﺳﺘﻨﺴﺎﺥ )ﺑﺸﻜﻞ‬ ‫‪.٢‬‬
‫ﺍﻟﻄﺒﻊ ﺃﻭ ﺑﺼﻮﺭﺓ ﺁﻟﻴﺔ( ﻷﻏﺮﺍﺽ ﻣﺆﺳﺴﺎ‪‬ﺎ ﺍﻟﺘﻌﻠﻴﻤﻴﺔ‪ ،‬ﻭﻟﻴﺲ ﻷﻏﺮﺍﺽ ﺍﻟﺒﻴﻊ‬
‫ﺍﻟﻌﺎﻡ‪.‬‬
‫ﻳﻜﻮﻥ ﳌﻜﺘﺒﺔ ﺍﳉﺎﻣﻌﺔ ﺍﻹﺳﻼﻣﻴﺔ ﺍﻟﻌﺎﳌﻴﺔ _ ﻣﺎﻟﻴﺰﻳﺎ ﺣﻖ ﺍﺳﺘﺨﺮﺍﺝ ﻧﺴﺦ ﻣﻦ ﻫﺬﺍ‬ ‫‪.٣‬‬
‫ﺍﻟﺒﺤﺚ ﻏﲑ ﺍﳌﻨﺸﻮﺭ ﺇﺫﺍ ﻃﻠﺒﺘﻬﺎ ﻣﻜﺘﺒﺎﺕ ﺍﳉﺎﻣﻌﺎﺕ‪ ،‬ﻭﻣﺮﺍﻛﺰ ﺍﻟﺒﺤﻮﺙ ﺍﻷﺧﺮﻯ‪.‬‬
‫ﺳﻴﺰﻭﺩ ﺍﻟﺒﺎﺣﺚ ﻣﻜﺘﺒﺔ ﺍﳉﺎﻣﻌﺔ ﺍﻹﺳﻼﻣﻴﺔ ﺍﻟﻌﺎﳌﻴﺔ – ﻣﺎﻟﻴﺰﻳﺎ ﺑﻌﻨﻮﺍﻧﻪ ﻣﻊ ﺇﻋﻼﻣﻬﺎ‬ ‫‪.٤‬‬
‫ﻋﻨﺪ ﺗﻐﻴﲑﻩ‪.‬‬
‫ﺳﻴﺘﻢ ﺍﻻﺗﺼﺎﻝ ﺑﺎﻟﺒﺎﺣﺚ ﻟﻐﺮﺽ ﺍﳊﺼﻮﻝ ﻋﻠﻰ ﻣﻮﺍﻓﻘﺘﻪ ﻋﻠﻰ ﺍﺳﺘﻨﺴﺎﺥ ﻫﺬﺍ ﺍﻟﺒﺤﺚ‬ ‫‪.٥‬‬
‫ﻏﲑ ﺍﳌﻨﺸﻮﺭ ﻟﻸﻓﺮﺍﺩ‪ ،‬ﻣﻦ ﺧﻼﻝ ﻋﻨﻮﺍﻧﻪ ﺍﻟﱪﻳﺪﻱ ﺃﻭ ﺍﻹﻟﻜﺘﺮﻭﱐ ﺍﳌﺘﻮﻓﺮ ﰲ ﺍﳌﻜﺘﺒﺔ‪ .‬ﻭﺇﺫﺍ‬
‫ﱂ ﻳﺴﺘﺠﺐ ﺍﻟﺒﺎﺣﺚ ﺧﻼﻝ ﻋﺸﺮﺓ ﺃﺳﺎﺑﻴﻊ ﻣﻦ ﺗﺎﺭﻳﺦ ﺍﻟﺮﺳﺎﻟﺔ ﺍﳌﻮﺟ‪‬ﻬﺔ ﺇﻟﻴﻪ‪ ،‬ﺳﺘﻘﻮﻡ‬
‫ﻣﻜﺘﺒﺔ ﺍﳉﺎﻣﻌﺔ ﺍﻹﺳﻼﻣﻴﺔ ﺍﻟﻌﺎﳌﻴﺔ – ﻣﺎﻟﻴﺰﻳﺎ ﺑﺎﺳﺘﺨﺪﺍﻡ ﺣﻘﻬﺎ ﰲ ﺗﺰﻭﻳﺪ ﺍﳌﻄﺎﻟﺒﲔ ﺑﻪ‪.‬‬
‫ﺃﻛﹼﺪ ﻫﺬﺍ ﺍﻹﻗﺮﺍﺭ‪ :‬ﳏﻤﺪ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﺇﺑﺮﺍﻫﻴﻢ‬

‫___________‬ ‫__________‬
‫ﺍﻟﺘﺎﺭﻳﺦ‬ ‫ﺍﻟﺘﻮﻗﻴﻊ‬

‫ﻭ‬
 ‫ﺇﱃ ﺧﲑ ﻣﻦ ﺭﺑﻴﺎﱐ ﻭﻋﻠﱠﻤﺎﱐ‪..‬ﺇﱃ ﻭﺍﻟﺪﻱ‪ ‬ﺍﳊﺒﻴﺒﲔ‬
‫ﺩﺍﻋﻴﹰﺎ ﺍﷲ ﺗﻌﺎﱃ ﺃﻥ ﻳﺴﻜﻨﻬﻤﺎ ﻓﺴﻴﺢ ﺟﻨﺎﺗﻪ‬
‫ﺇﱃ ﺯﻭﺟﱵ ﺍﻟﺼﺒﻮﺭ‪ ،‬ﻭﻭﻟﺪﻱ‪ ‬ﺇﺳﻼﻡ‪ ،‬ﻭﻋﺒﺪ ﺍﷲ‪ ،‬ﻭﺻﻐﲑﰐ ‪‬ﻣﻨ‪‬ﺔ‬
‫ﺇﱃ ﺃﺧﻲ ﺍﳊﺒﻴﺐ ﻃﻪ‪ ،‬ﻭﺃﺧﱵ ﺍﻟﻐﺎﻟﻴﺔ‬
‫ﺇﱃ ﺃﺳﺎﺗﺬﰐ ﺍﻟﻜﺮﺍﻡ ﰲ ﻛﻠﻴ‪‬ﱵ ﺍﻵﺩﺍﺏ ﻭﺍﻟﺘﺮﺑﻴﺔ ﲜﺎﻣﻌﺔ ﺍﻟﺰﻗﺎﺯﻳﻖ‪،‬‬
‫ﻭﺑﺎﳉﺎﻣﻌﺔ ﺍﻹﺳﻼﻣﻴﺔ ﺍﻟﻌﺎﳌﻴﺔ – ﻣﺎﻟﻴﺰﻳﺎ‬
‫ﺇﱃ ﺃﺻﺪﻗﺎﺀ ﺍﻟﻌﻤﺮ‪ :‬ﻣﻨﺼﻮﺭ ﻋﺒﺪ ﺍﻟﺴﻤﻴﻊ‪ ،‬ﻭﳏﻤﺪ ﺭﺟﺎﺀ ﺃﲪﺪ ﺍﻟﺴﻴﺪ‪،‬‬
‫ﻭﻋﺒﺪ ﺍﷲ ﺍﻟﺼﲑﰲ‪ ،‬ﻭﻣﺼﻄﻔﻰ ﻋﺒﺪ ﺍﻟﻜﺮﱘ‬
‫ﻣﻘﺪﺭﹰﺍ ﻛﻞ ‪‬ﻋﻮ‪‬ﻥ‪ ،‬ﺷﺎﻛﺮﹰﺍ ﻛﻞ ﺟﻬﺪ‪،‬‬
‫ﺩﺍﻋﻴﹰﺎ ﺍﷲ ﺗﻌﺎﱃ ﺃﻥ ﻳﺴﺪﺩ ﺍﳋﻄﻰ‪ ،‬ﻭﳛﻘﻖ ﺍﻵﻣﺎﻝ‪.‬‬

‫ﺯ‬
 ‫ﺷﻜﺮ ﻭﺗﻘﺪﻳﺮ‬

‫ﺍﳊﻤﺪ ﷲ ﺍﻟﺬﻱ ﺃﺳﺒﻎ ﻋﻠ ‪‬ﻲ ﻣﻦ ﺍﻟﻨﻌﻢ ﻣﺎ ﻫﻴ‪‬ﺄ ﱄ ﺇﳒﺎﺯ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﰲ ﺭﺣﺎﺏ ﺍﳉﺎﻣﻌﺔ‬
‫ﺍﻹﺳﻼﻣﻴﺔ ﺍﻟﻌﺎﳌﻴﺔ ﲟﺎﻟﻴﺰﻳﺎ‪ ،‬ﻓﻠﻪ ﺗﻌﺎﱃ ﺍﻟﻔﻀﻞ ﻭﺍﳌﻨﺔ‪.‬‬
‫ﻭﺃﻗﺪﻡ ﺧﺎﻟﺺ ﺍﻟﺸﻜﺮ‪ ،‬ﻭﺟﺰﻳﻞ ﺍﻟﺜﻨﺎﺀ ﺇﱃ ﺇﺩﺍﺭﺓ ﺍﳉﺎﻣﻌﺔ‪ ،‬ﻻ ﺳﻴﻤﺎ ﺍﻷﺳﺘﺎﺫ ﺍﳌـﺸﺎﺭﻙ‬
‫ﺍﻟﺪﻛﺘﻮﺭ ﺣﺰﻳﺰﺍﻥ ﳏﻤﺪ ﻧﻮﻥ ﻋﻤﻴﺪ ﻛﻠﻴﺔ ﻣﻌﺎﺭﻑ ﺍﻟﻮﺣﻲ ﻭﺍﻟﻌﻠـﻮﻡ ﺍﻹﻧـﺴﺎﻧﻴﺔ‪ ،‬ﻭﺍﻷﺳـﺘﺎﺫ‬
‫ﺍﻟﺪﻛﺘﻮﺭ ﺣﺴﻦ ﺃﲪﺪ ﺇﺑﺮﺍﻫﻴﻢ ﻧﺎﺋﺐ ﺍﻟﻌﻤﻴﺪ ﻟﺸﺆﻭﻥ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﻌﻠﻴﺎ‪ ،‬ﻭﺍﻷﺳـﺘﺎﺫ ﺍﳌـﺴﺎﻋﺪ‬
‫ﺍﻟﺪﻛﺘﻮﺭ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﺗﺸﻴﻚ ﺭﺋﻴﺲ ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍ‪‬ﺎ‪ ،‬ﻓﻘﺪ ﻭﻓﺮﻭﺍ ﻛﻞ ﺍﻟﺘـﺴﻬﻴﻼﺕ‬
‫ﺍﻟﱵ ﺗﻌﲔ ﺍﻟﺒﺎﺣﺜﲔ‪ ،‬ﻭﺗﺸﺪ ﻣﻦ ﺃﺯﺭﻫﻢ‪.‬‬
‫ﻭﺃﺷﻜﺮ ـ ﻋﻠﻰ ﳓﻮ ﺧﺎﺹ ـ ﻓﻀﻴﻠﺔ ﺍﻷﺳﺘﺎﺫ ﺍﻟﺪﻛﺘﻮﺭ ﺃﲪﺪ ﺷﻴﺦ ﻋﺒﺪ ﺍﻟﺴﻼﻡ ﺍﻟﺬﻱ ﱂ‬
‫ﻳﺪﺧﺮ ﺟﻬﺪ‪‬ﺍ ﰲ ﺇﺳﺪﺍﺀ ﺍﻟﻨﺼﺢ‪ ،‬ﻭﺇﺑﺪﺍﺀ ﺍﻟﺮﺃﻱ ﺍﻟﺴﺪﻳﺪ ﻃﻮﺍﻝ ﻓﺘﺮﺓ ﺇﻋﺪﺍﺩ ﻫﺬﺍ ﺍﻟﺒﺤﺚ‪.‬‬
‫ﻭﺍﻟﺸﻜﺮ ﻣﻮﺻﻮﻝ ﺇﱃ ﺍﻟﻘﺎﺋﻤﲔ ﻋﻠﻰ ﻣﺮﻛﺰ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﻌﻠﻴﺎ‪ ،‬ﺧﺎﺻﺔ ﺍﻷﺳﺘﺎﺫ ﺍﻟﺪﻛﺘﻮﺭ‬
‫ﺇﺑﺮﺍﻫﻴﻢ ﺯﻳﻦ‪ ،‬ﻭﺍﻷﺳﺘﺎﺫ ﺍﳌﺸﺎﺭﻙ ﺍﻟﺪﻛﺘﻮﺭ ﻧﺼﺮ ﺍﻟﺪﻳﻦ ﺇﺑﺮﺍﻫﻴﻢ‪ ،‬ﻭﺫﻟﻚ ﻋﻠـﻰ ﺟﻬـﻮﺩﻫﻢ‬
‫ﺍﳌﺒﺎﺭﻛﺔ ﰲ ﺗﻄﻮﻳﺮ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻲ ﺑﺎﳉﺎﻣﻌﺔ‪.‬‬
‫ﻭﻻ ﺃﻧﺴﻰ ﺃﻥ ﺃﺫﻛﺮ ﺑﺎﻟﻌﺮﻓﺎﻥ ﻛﻞ ﻣﻦ ﻣ ‪‬ﺪ ﱄ ﻳﺪ ﺍﻟﻌﻮﻥ‪ ،‬ﻭﺳﺎﻫﻢ ﰲ ﺗﻘﻮﱘ ﻫﺬﺍ ﺍﻟﺒﺤﺚ‬
‫ﻭﺇﺛﺮﺍﺋﻪ ﺑﺎﻟﺘﻮﺟﻴﻬﺎﺕ ﺍﻟﺼﺎﺋﺒﺔ‪ .‬ﻭﻣﻦ ﰒ ﻓﺈﱐ ﺃﻋﺮﺏ ﻋﻦ ﺷﻜﺮﻱ ﻭﺗﻘﺪﻳﺮﻱ ﳉﻬـﻮﺩ ﺍﻷﺳـﺘﺎﺫ‬
‫ﺍﳌﺸﺎﺭﻙ ﺍﻟﺪﻛﺘﻮﺭ ﻋﺒﺪ ﺍﻟﺮﺯﺍﻕ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﺍﻟﺴﻌﺪﻱ‪ ،‬ﻭﺍﻷﺳﺘﺎﺫ ﺍﻟـﺪﻛﺘﻮﺭ ‪‬ـﺎﺩ ﻳﺎﺳـﲔ‬
‫ﺍﳌﻮﺳﻰ‪ ،‬ﻭﺍﻷﺳﺘﺎﺫ ﺍﻟﺪﻛﺘﻮﺭ ﳏﻤﺪ ﺣﺴﻦ ﳏﻤﺪ ﺑﺎﻛﻼ‪.‬‬
‫ﻭﻳﻄﻴﺐ ﱄ ﺃﻥ ﺃﺷﻜﺮ ﻛﻞ ﻣﻦ ﺃﻣﺪﱐ ﲟﺼﺎﺩﺭ ﺍﻟﺒﺤﺚ‪ ،‬ﻭﺃﺧﺺ ﺑﺎﻟـﺬﻛﺮ ﺍﻷﺳـﺘﺎﺫ‬
‫ﺍﻟﺪﻛﺘﻮﺭ ﻣﻨﺠﺪ ﻣﺼﻄﻔﻰ ‪‬ﺠﺖ‪ ،‬ﻭﺃﺧﻲ ﺍﻷﺳﺘﺎﺫ ﺍﳌﺸﺎﺭﻙ ﺍﻟﺪﻛﺘﻮﺭ ﻣﻨﺼﻮﺭ ﻋﺒﺪ ﺍﻟـﺴﻤﻴﻊ‪،‬‬
‫ﻭﺍﻷﺳﺘﺎﺫ ﺍﳌﺴﺎﻋﺪ ﺍﻟﺪﻛﺘﻮﺭ ﻋﺎﺻﻢ ﺷﺤﺎﺩﺓ‪ ،‬ﻭﺍﻷﺳﺘﺎﺫ ﻧﺎﺻﺮ ﻳﻮﺳـﻒ‪ ،‬ﻭﲨﻴـﻊ ﺍﻟﻌـﺎﻣﻠﲔ‬
‫ﺑﺎﳌﻜﺘﺒﺔ‪ .‬ﻭﺟﺰﻯ ﺍﷲ ﺍﳉﻤﻴﻊ ﻋﲏ ﺧﲑ ﺍﳉﺰﺍﺀ‪ ،‬ﻭﺍﳊﻤﺪ ﷲ ﺍﻟﺬﻱ ﺑﻨﻌﻤﺘﻪ ﺗﺘﻢ ﺍﻟﺼﺎﳊﺎﺕ‪.‬‬

‫ﺡ‬
 ‫ﺍﶈﺘﻮﻳﺎﺕ‬

‫ﺍﻟﺼﻔﺤﺔ‬ ‫ﺍﳌﻮﺿﻮﻉ‬
‫ﻣﻠﺨﺺ ﺍﻟﺒﺤﺚ )ﻋﺮﰊ(‪ ..........................................................‬ﺏ‬
‫ﻣﻠﺨﺺ ﺍﻟﺒﺤﺚ )ﺇﳒﻠﻴﺰﻱ( ‪..........................................................‬ﺝ‬
‫ﺻﻔﺤﺔ ﺍﻟﻘﺒﻮﻝ‪ ....................................................................‬ﺩ‬
‫‪......................‬ـ‬
‫ﻫ‬ ‫ﺍﻹﻗﺮﺍﺭ‪......................................................‬‬
‫ﺣﻘﻮﻕ ﺍﻟﻄﺒﻊ‪ ......................................................................‬ﻭ‬
‫ﺇﻫﺪﺍﺀ‪ ..........................................................................‬ﺯ‬
‫ﺷﻜﺮ ﻭﺗﻘﺪﻳﺮ‪ ...................................................................‬ﺡ‬

‫ﺍﻟﻔﺼﻞ ﺍﻷﻭﻝ‪ :‬ﺍﻟﺘﻤﻬﻴﺪ‪١ ..........................................................‬‬

‫ﻣﻘﺪﻣﺔ‪٢ ....................................................................‬‬
‫ﺇﺷﻜﺎﻟﻴﺔ ﺍﻟﺒﺤﺚ‪٢ ............................................................‬‬
‫ﺃﺳﺌﻠﺔ ﺍﻟﺒﺤﺚ‪٤................................................................‬‬
‫ﺃﻫﺪﺍﻑ ﺍﻟﺒﺤﺚ‪٥ ............................................................‬‬
‫ﺃﳘﻴﺔ ﺍﻟﺒﺤﺚ‪٥ .............................................................‬‬
‫ﺣﺪﻭﺩ ﺍﻟﺒﺤﺚ‪٦ ...........................................................‬‬
‫‪............................................................‬‬
‫‪٧‬‬ ‫ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺴﺎﺑﻘﺔ‬
‫ﻣﻨﻬﺠﻴﺔ ﺍﻟﺒﺤﺚ‪١٤............................................................‬‬
‫ﻣﺼﻄﻠﺤﺎﺕ ﺍﻟﺒﺤﺚ‪١٦.........................................................‬‬

‫ﺍﻟﻔﺼﻞ ﺍﻟﺜﺎﱐ‪ :‬ﺍﻹﻋﻼﻣﻴﺔ ﰲ ﺭﺅﻳﺔ ﺍﻟﻐﺮﺑﻴﲔ ﻭﺍﻟﻌﻠﻤﺎﺀ ﺍﳌﺴﻠﻤﲔ‪٢٠ .......................‬‬

‫ﺍﳌﺒﺤﺚ ﺍﻷﻭﻝ‪ :‬ﺗﻌﺮﻳﻒ ﺍﻹﻋﻼﻣﻴﺔ‪٢١ ...........................................‬‬
‫ﺍﳌﺒﺤﺚ ﺍﻟﺜﺎﱐ‪ :‬ﻧﺸﺄﺓ ﺍﻹﻋﻼﻣﻴﺔ‪٢٥..............................................‬‬

‫ﻁ‬
‫‪٢٥‬‬
‫ﺍﳌﻄﻠﺐ ﺍﻷﻭﻝ‪ :‬ﺍﻟﺘﺤﻮ‪‬ﻝ ﺇﱃ ﺍﻟﻨﺼﻴﺔ‪..........................................‬‬
‫ﺍﳌﻄﻠﺐ ﺍﻟﺜﺎﱐ‪ :‬ﻧﻮﻋﺎ ﺍﻹﻋﻼﻣﻴﺔ‪٢٩ ..........................................‬‬
‫ﺍﳌﺒﺤﺚ ﺍﻟﺜﺎﻟﺚ‪ :‬ﻋﻨﺎﺻﺮ ﺍﻹﻋﻼﻣﻴﺔ‪٣٢ ..........................................‬‬
‫‪٣٢‬‬
‫ﺍﳌﻄﻠﺐ ﺍﻷﻭﻝ‪ :‬ﺩﺭﺟﺎﺕ ﺍﻹﻋﻼﻣﻴﺔ‪..........................................‬‬
‫ﺍﳌﻄﻠﺐ ﺍﻟﺜﺎﱐ‪ :‬ﻋﻤﻠﻴﺎﺕ ﺧﻔﺾ ﺍﻹﻋﻼﻣﻴﺔ‪٣٦...................................‬‬
‫‪٣٨‬‬
‫ﺍﳌﻄﻠﺐ ﺍﻟﺜﺎﻟﺚ‪ :‬ﻣﺼﺎﺩﺭ ﺍﻟﺘﻮﻗﻌﺎﺕ‪..........................................‬‬
‫ﺍﳌﺒﺤﺚ ﺍﻟﺮﺍﺑﻊ‪ :‬ﺃﺻﻮﻝ ﺍﻹﻋﻼﻣﻴﺔ ‪٤٠............................................‬‬
‫ﺍﳌﻄﻠﺐ ﺍﻷﻭﻝ‪ :‬ﻧﻈﺮﻳﺎﺕ ﺍﻻﺗﺼﺎﻝ‪٤٠..........................................‬‬
‫ﺍﳌﻄﻠﺐ ﺍﻟﺜﺎﱐ‪ :‬ﺍﳌﺬﺍﻫﺐ ﻭﺍﳌﻘﻮﻻﺕ ﺍﻟﻨﻘﺪﻳﺔ‪٥٠..................................‬‬
‫‪٥٢‬‬
‫ﺍﳌﻄﻠﺐ ﺍﻟﺜﺎﻟﺚ‪ :‬ﺍﻟﻨﻈﺮﻳﺎﺕ ﻭﺍﻻﲡﺎﻫﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ‪...............................‬‬
‫‪٥٦‬‬
‫ﺍﳌﺒﺤﺚ ﺍﳋﺎﻣﺲ‪ :‬ﺃﺛﺮ ﺍﻹﻋﻼﻣﻴﺔ ﰲ ﺗﻠﻘﻲ ﺍﻟﻨﺺ‪..................................‬‬

‫ﺍﻟﻔﺼﻞ ﺍﻟﺜﺎﻟﺚ‪:‬ﺁﻟﻴﺎﺕ ﺭﻓﻊ ﺍﻹﻋﻼﻣﻴﺔ ﻭﻣﻘﺎﺻﺪﻫﺎ‪......................................‬‬

‫‪٦١‬‬
‫‪٦٢‬‬
‫ﺍﳌﺒﺤﺚ ﺍﻷﻭﻝ‪ :‬ﺁﻟﻴﺎﺕ ﺭﻓﻊ ﺍﻹﻋﻼﻣﻴﺔ‪..........................................‬‬
‫ﺍﳌﻄﻠﺐ ﺍﻷﻭﻝ‪ :‬ﺍﻟﺘﻘﺪﱘ ﻭﺍﻟﺘﺄﺧﲑ‪٦٢..........................................‬‬
‫ﺍﳌﻄﻠﺐ ﺍﻟﺜﺎﱐ‪ :‬ﺍﻟﻔﺠﻮﺍﺕ ﺍﻟﻨﺼﻴﺔ‪٦٣..........................................‬‬
‫‪........‬‬
‫ﺍﳌﻄﻠﺐ ﺍﻟﺜﺎﻟﺚ‪ :‬ﺍﻻﺳﺘﻌﺎﺭﺓ‪٦٥ ..........................................‬‬
‫ﺍﳌﻄﻠﺐ ﺍﻟﺮﺍﺑﻊ‪ :‬ﺍﻟﻜﻨﺎﻳﺔ‪٦٧ .................................................‬‬
‫‪٦٨‬‬
‫ﺍﳌﻄﻠﺐ ﺍﳋﺎﻣﺲ‪ :‬ﺃﺳﻠﻮﺏ ﺍﳊﻜﻴﻢ‪..........................................‬‬
‫‪٧٠‬‬
‫ﺍﳌﻄﻠﺐ ﺍﻟﺴﺎﺩﺱ‪ :‬ﺍﳌﺸﺘﺮﻙ ﺍﻟﻠﻔﻈﻲ‪..........................................‬‬
‫ﺍﳌﻄﻠﺐ ﺍﻟﺴﺎﺑﻊ‪ :‬ﺍﻟﻌﻨﻮﻧﺔ‪٧٢ .................................................‬‬
‫‪٧٤‬‬
‫ﺍﳌﻄﻠﺐ ﺍﻟﺜﺎﻣﻦ‪ :‬ﺍﻟﺘﻮﻇﻴﻒ ﺍﻷﺳﻄﻮﺭﻱ‪.......................................‬‬
‫ﺍﳌﻄﻠﺐ ﺍﻟﺘﺎﺳﻊ‪ :‬ﺍﻟﻔﻀﺎﺀ ﺍﻟﻨﺼﻲ‪٧٦ ..........................................‬‬
‫‪٧٩‬‬
‫ﺍﳌﻄﻠﺐ ﺍﻟﻌﺎﺷﺮ‪ :‬ﺍﻟﺘﺼﺤﻴﻒ ﺍﳌﻘﺼﻮﺩ‪........................................‬‬
‫ﺍﳌﺒﺤﺚ ﺍﻟﺜﺎﱐ‪ :‬ﺍﳌﻘﺎﺻﺪ ﺍﻟﻌﺎﻣﺔ ﻟﻺﻋﻼﻣﻴﺔ‪٨٠........................................‬‬

‫ﻱ‬
‫ﺍﳌﻄﻠﺐ ﺍﻷﻭﻝ‪ :‬ﺍﻹﻋﺠﺎﺯ‪٨٠..................................................‬‬
‫ﺍﳌﻄﻠﺐ ﺍﻟﺜﺎﱐ‪ :‬ﺍﻹﻣﺘﺎﻉ ﻭﺍﻟﺘﺸﻮﻳﻖ‪٨٤..........................................‬‬
‫ﺍﳌﻄﻠﺐ ﺍﻟﺜﺎﻟﺚ‪ :‬ﺍﻟﺘﺤﺪﻱ ﺍﻟﻌﻘﻠﻲ‪٨٦..........................................‬‬
‫‪٨٨‬‬
‫ﺍﳌﻄﻠﺐ ﺍﻟﺮﺍﺑﻊ‪ :‬ﺍﻹﺳﻘﺎﻁ ﺍﻟﺴﻴﺎﺳﻲ‪..........................................‬‬
‫ﺍﳌﻄﻠﺐ ﺍﳋﺎﻣﺲ‪ :‬ﺍﻟﺘﻌﺮﻳﺾ‪٩٠ ..............................................‬‬
‫‪٩٤‬‬
‫ﺍﳌﻄﻠﺐ ﺍﻟﺴﺎﺩﺱ‪ :‬ﺍﻻﺗﺼﺎﻝ ﺑﲔ ﲨﺎﻋﺎﺕ ﳏﺪﺩﺓ‪..............................‬‬

‫ﺍﻟﻔﺼﻞ ﺍﻟﺮﺍﺑﻊ‪ :‬ﲡﻠﻴﺎﺕ ﺍﻹﻋﻼﻣﻴﺔ ﰲ ﳕﺎﺫﺝ ﻣﻦ ﺳﻮﺭﺓ ﺍﻟﺒﻘﺮﺓ‪...........................‬‬

‫‪٩٦‬‬
‫ﺍﻟﻨﻤﻮﺫﺝ ﺍﻷﻭﻝ‪ :‬ﻗﺼﺔ ﺍﻟﺒﻘﺮﺓ‪٩٧................................................‬‬
‫ﺃﻭ ﹰﻻ‪ :‬ﺍﻟﻌﻨﺎﺻﺮ ﺍﳌﺘﻮﻗﻌﺔ ﻭﻏﲑ ﺍﳌﺘﻮﻗﻌﺔ ﻭﻋﻼﻗﺘﻬﺎ ﲟﺼﺎﺩﺭ ﺗﻮﻗﻌﺎﺕ ﺍﳌﺘﻠﻘﻲ‪٩٧...........‬‬
‫ﺃ‪ -‬ﺍﻟﻘﺮﺍﺀﺓ ﺍﻟﺘﺼﻮﻳﺮﻳﺔ‪٩٧.............................................‬‬
‫ﺏ‪ -‬ﺍﻟﻘﺮﺍﺀﺓ ﺍﻟﺘﺄﻭﻳﻠﻴﺔ‪٩٨ ............................................‬‬
‫ﺛﺎﻧﻴﹰﺎ‪ :‬ﻣﻘﺎﺻﺪ ﺍﻹﻋﻼﻣﻴﺔ‪١١٢ ...............................................‬‬
‫ﺃ‪ -‬ﺍﻹﻋﺠﺎﺯ‪١١٢...................................................‬‬
‫ﺏ‪ -‬ﺍﻟﺘﺸﻮﻳﻖ‪١١٣...................................................‬‬
‫ﺝ‪ -‬ﺍﻟﺘﻌﺮﻳﺾ‪١١٤ .................................................‬‬
‫ﺍﻟﻨﻤﻮﺫﺝ ﺍﻟﺜﺎﱐ‪ :‬ﺍﻟﻘﺼﺎﺹ‪١١٥....................................................‬‬
‫ﺃﻭ ﹰﻻ‪ :‬ﺍﻟﻌﻨﺎﺻﺮ ﺍﳌﺘﻮﻗﻌﺔ ﻭﻏﲑ ﺍﳌﺘﻮﻗﻌﺔ ﻭﻋﻼﻗﺘﻬﺎ ﲟﺼﺎﺩﺭ ﺗﻮﻗﻌﺎﺕ ﺍﳌﺘﻠﻘﻲ‪١١٥........‬‬
‫ﺃ‪ -‬ﺍﻟﻘﺮﺍﺀﺓ ﺍﻟﺘﺼﻮﻳﺮﻳﺔ‪١١٥ ..........................................‬‬
‫ﺏ‪ -‬ﺍﻟﻘﺮﺍﺀﺓ ﺍﻟﺘﺄﻭﻳﻠﻴﺔ‪١١٦ ..........................................‬‬
‫ﺛﺎﻧﻴﹰﺎ‪ :‬ﻣﻘﺎﺻﺪ ﺍﻹﻋﻼﻣﻴﺔ‪١٣١ ...............................................‬‬
‫ﺃ‪ -‬ﺍﻹﻋﺠﺎﺯ ﺍﻟﻠﻐﻮﻱ‪١٣١............................................‬‬
‫‪١٣٢‬‬
‫ﺏ‪ -‬ﺍﻹﻋﺠﺎﺯ ﺍﻟﺘﺸﺮﻳﻌﻲ‪..........................................‬‬
‫ﺝ‪ -‬ﺑﻴﺎﻥ ﺣﺠﻴﺔ ﺍﻟﺴﻨﺔ‪١٣٤ .......................................‬‬
‫‪١٣٥‬‬
‫ﺍﻟﻨﻤﻮﺫﺝ ﺍﻟﺜﺎﻟﺚ‪ :‬ﺍﻟﺪﻓﺎﻉ ﻋﻦ ﺍﻟﻨﻔﺲ‪..........................................‬‬

‫ﻙ‬
‫‪١٣٥‬‬
‫ﺃﻭ ﹰﻻ‪ :‬ﺍﻟﻌﻨﺎﺻﺮ ﺍﳌﺘﻮﻗﻌﺔ ﻭﻏﲑ ﺍﳌﺘﻮﻗﻌﺔ ﻭﻋﻼﻗﺘﻬﺎ ﲟﺼﺎﺩﺭ ﺗﻮﻗﻌﺎﺕ ﺍﳌﺘﻠﻘﻲ‪........‬‬
‫ﺃ‪ -‬ﺍﻟﻘﺮﺍﺀﺓ ﺍﻟﺘﺼﻮﻳﺮﻳﺔ‪١٣٥ ..........................................‬‬
‫ﺏ‪ -‬ﺍﻟﻘﺮﺍﺀﺓ ﺍﻟﺘﺄﻭﻳﻠﻴﺔ‪١٣٦ ..........................................‬‬
‫ﺛﺎﻧﻴﹰﺎ‪ :‬ﻣﻘﺎﺻﺪ ﺍﻹﻋﻼﻣﻴﺔ‪١٤٥.................................................‬‬
‫‪١٤٥‬‬
‫ﺃ‪ -‬ﺗﻘﻮﻳﺔ ﻋﺰﻡ ﺍﳌﺆﻣﻨﲔ ﻭﺗﺒﺸﲑﻫﻢ‪..................................‬‬
‫ﺏ‪ -‬ﺍﳊﻔﺎﻅ ﻋﻠﻰ ﺍﻟﻨﻔﺲ‪١٤٥........................................‬‬
‫ﺝ‪ -‬ﻣﺮﻭﻧﺔ ﺍﻟﺘﺸﺮﻳﻊ ﺍﻹﺳﻼﻣﻲ‪١٤٦....................................‬‬

‫ﺍﻟﻔﺼﻞ ﺍﳋﺎﻣﺲ‪ :‬ﲡﻠﻴﺎﺕ ﺍﻹﻋﻼﻣﻴﺔ ﰲ ﻣﻘﻄﻌﺎﺕ ﻣﻦ ﻛﺎﻓﻮﺭﻳﺎﺕ ﺍﳌﺘﻨﱯ‪١٤٧................‬‬

‫ﺍﻟﻨﻤﻮﺫﺝ ﺍﻷﻭﻝ‪ :‬ﺃﺑﻴﺎﺕ ﻣﻦ ﻣﻘﺪﻣﺔ )ﻣﻦ ﺍﳉﺂﺫﺭ( ‪١٤٨ ...........................‬‬
‫‪١٤٨‬‬
‫ﺃﻭ ﹰﻻ‪ :‬ﺍﻟﻌﻨﺎﺻﺮ ﺍﳌﺘﻮﻗﻌﺔ ﻭﻏﲑ ﺍﳌﺘﻮﻗﻌﺔ ﻭﻋﻼﻗﺘﻬﺎ ﲟﺼﺎﺩﺭ ﺗﻮﻗﻌﺎﺕ ﺍﳌﺘﻠﻘﻲ‪.........‬‬
‫ﺃ‪ -‬ﺍﻟﻘﺮﺍﺀﺓ ﺍﻟﺘﺼﻮﻳﺮﻳﺔ‪١٤٨ ..........................................‬‬
‫ﺏ‪ -‬ﺍﻟﻘﺮﺍﺀﺓ ﺍﻟﺘﺄﻭﻳﻠﻴﺔ‪١٤٩ ..........................................‬‬
‫ﺛﺎﻧﻴﹰﺎ‪ :‬ﻣﻘﺎﺻﺪ ﺍﻹﻋﻼﻣﻴﺔ‪١٥٧................................................‬‬
‫‪١٥٧‬‬
‫ﺃ‪ -‬ﺍﻹﻣﺘﺎﻉ‪......................................................‬‬
‫ﺏ‪ -‬ﺇﺛﺒﺎﺕ ﺍﻟﺬﺍﺕ‪١٥٨.............................................‬‬
‫ﺍﻟﻨﻤﻮﺫﺝ ﺍﻟﺜﺎﱐ‪ :‬ﺍﳌﺮﺍﻣﻲ ﺍﻟﺒﻌﻴﺪﺓ ﰲ ﻗﺼﻴﺪﺓ "ﺃﻏﺎﻟﺐ ﻓﻴﻚ ﺍﻟﺸﻮﻕ"‪١٦٠...............‬‬
‫ﺃﻭ ﹰﻻ‪ :‬ﺍﻟﻌﻨﺎﺻﺮ ﺍﳌﺘﻮﻗﻌﺔ ﻭﻏﲑ ﺍﳌﺘﻮﻗﻌﺔ ﻭﻋﻼﻗﺘﻬﺎ ﲟﺼﺎﺩﺭ ﺗﻮﻗﻌﺎﺕ ﺍﳌﺘﻠﻘﻲ‪١٦٠........‬‬
‫ﺃ‪ -‬ﺍﻟﻘﺮﺍﺀﺓ ﺍﻟﺘﺼﻮﻳﺮﻳﺔ‪١٦٠.............................................‬‬
‫ﺏ‪ -‬ﺍﻟﻘﺮﺍﺀﺓ ﺍﻟﺘﺄﻭﻳﻠﻴﺔ‪١٦١ ...........................................‬‬
‫ﺛﺎﻧﻴﹰﺎ‪ :‬ﻣﻘﺎﺻﺪ ﺍﻹﻋﻼﻣﻴﺔ‪١٦٨.................................................‬‬
‫‪١٦٨‬‬
‫ﺃ‪ -‬ﺍﻟﺘﻌﺮﻳﺾ‪.....................................................‬‬
‫‪١٧١‬‬
‫ﺍﻟﻨﻤﻮﺫﺝ ﺍﻟﺜﺎﻟﺚ‪ :‬ﺃﺑﻴﺎﺕ ﻣﻦ ﻗﺼﻴﺪﺓ )ﻋﻴﺪ ﺑﺄﻳﺔ ﺣﺎﻝ ﻋﺪﺕ ﻳﺎ ﻋﻴﺪ( ‪..............‬‬
‫‪١٧١‬‬
‫ﺃﻭ ﹰﻻ‪ :‬ﺍﻟﻌﻨﺎﺻﺮ ﺍﳌﺘﻮﻗﻌﺔ ﻭﻏﲑ ﺍﳌﺘﻮﻗﻌﺔ ﻭﻋﻼﻗﺘﻬﺎ ﲟﺼﺎﺩﺭ ﺗﻮﻗﻌﺎﺕ ﺍﳌﺘﻠﻘﻲ‪.........‬‬
‫ﺃ‪ -‬ﺍﻟﻘﺮﺍﺀﺓ ﺍﻟﺘﺼﻮﻳﺮﻳﺔ‪١٧١............................................‬‬

‫ﻝ‬
‫ﺏ‪ -‬ﺍﻟﻘﺮﺍﺀﺓ ﺍﻟﺘﺄﻭﻳﻠﻴﺔ‪١٧٢.............................................‬‬
‫ﺛﺎﻧﻴﹰﺎ‪ :‬ﻣﻘﺎﺻﺪ ﺍﻹﻋﻼﻣﻴﺔ‪١٧٧ ...............................................‬‬
‫ﺃ‪ -‬ﺍﳍﺠﺎﺀ‪١٧٧........................................................‬‬

‫ﺍﳋﺎﲤﺔ‪١٧٩.........................................................................‬‬
‫ﻣﻠﺨﺺ ﺍﻟﺒﺤﺚ‪١٨٠ .........................................................‬‬
‫ﻧﺘﺎﺋﺞ ﺍﻟﺒﺤﺚ‪١٨١............................................................‬‬
‫ﻣﻘﺘﺮﺣﺎﺕ ﺍﻟﺒﺤﺚ‪١٨٤ .....................................................‬‬

‫ﻗﺎﺋﻤﺔ ﺍﳌﺼﺎﺩﺭ ﻭﺍﳌﺮﺍﺟﻊ‪١٨٦ .......................................................‬‬

‫ﻣﻼﺣﻖ ﺍﻟﺒﺤﺚ‪٢١٢ ...............................................................‬‬
‫‪٢١٣‬‬ ‫ﺍﳌﻠﺤﻖ ﺍﻷﻭﻝ‪ :‬ﻗﺼﻴﺪﺓ )ﻣﻦ ﺍﳉﺂﺫﺭ(‪.......................................‬‬
‫‪٢١٥‬‬ ‫ﺍﳌﻠﺤﻖ ﺍﻟﺜﺎﱐ‪ :‬ﻗﺼﻴﺪﺓ )ﺃﻏﺎﻟﺐ ﻓﻴﻚ ﺍﻟﺸﻮﻕ(‪...............................‬‬
‫‪٢١٧‬‬ ‫ﺍﳌﻠﺤﻖ ﺍﻟﺜﺎﻟﺚ‪ :‬ﻗﺼﻴﺪﺓ )ﻋﻴﺪ ﺑﺄﻳﺔ ﺣﺎﻝ ﻋﺪﺕ(‪.............................‬‬
‫‪٢١٩‬‬ ‫ﺖ ﺑﺄﻫﻢ ﺍﳌﺼﻄﻠﺤﺎﺕ ﺍﻟﻮﺍﺭﺩﺓ ﰲ ﺍﻟﺒﺤﺚ‪...................‬‬ ‫ﺍﳌﻠﺤﻖ ﺍﻟﺮﺍﺑﻊ‪ :‬ﺛﺒ ‪‬‬

‫ﻡ‬
 ‫ﺍﻟﻔﺼﻞ ﺍﻷﻭﻝ‬
‫ﺍﻟﺘـﻤـﻬـﻴـﺪ‬

‫‪١‬‬
 ‫ﻣﻘﺪﻣﺔ‬
‫ﺍﳊﻤﺪ ﷲ ﺭﺏ ﺍﻟﻌﺎﳌﲔ‪ ،‬ﻭﺍﻟﺼﻼﺓ ﻭﺍﻟﺴﻼﻡ ﻋﻠﻰ ﻧﺒﻴﻨﺎ ﳏﻤﺪ
‪ ،‬ﻭﻋﻠﻰ ﺁﻟﻪ‪ ،‬ﻭﺃﺻﺤﺎﺑﻪ‬
‫ﺍﻟ ‪‬ﻐ ‪‬ﺮ ﺍﳌﻴﺎﻣﲔ‪ ،‬ﻭﻣﻦ ﺗﺒﻌﻬﻢ ﺑﺈﺣﺴﺎﻥ ﺇﱃ ﻳﻮﻡ ﺍﻟﺪﻳﻦ‪ ،‬ﻭﺑﻌﺪ‪:‬‬
‫ﻳﺘﻨﺎﻭﻝ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻧﻈﺮﻳﺔ ﺍﻹﻋﻼﻣﻴﺔ ‪ Informativity‬ﺍﻟﱵ ‪‬ﺗ ‪‬ﻌ ‪‬ﺪ ﺃﺣﺪ ﻣﻌﺎﻳﲑ ﻛﻴﻨﻮﻧﺔ‬
‫ﺍﻟﻨﺺ ‪ .Textuality‬ﻭﺗﺮﻣﻲ ﻫﺬﻩ ﺍﻟﻨﻈﺮﻳﺔ ﺇﱃ ﺍﻟﻜﺸﻒ ﻋﻦ ﻣﺪﻯ ﺗﻔﺎﻋﻞ ﺍﳌﺘﻠﻘﻲ ﻣﻊ ﻋﻨﺎﺻﺮ‬
‫ﺍﻟﻨﺺ ﻏﲑ ﺍﳌﺘﻮﻗﻌﺔ‪ ،‬ﺍﻧﻄﻼﻗﹰﺎ ﻣﻦ ﺗﺼﻮﺭ ﻣﺆﺩﺍﻩ ﺃﻥ ﺍﻟﻨﺺ ﺍﳉﻴﺪ ﳛﻘﻖ ﻣﻘﺎﺻﺪ ﻣﻨﺘﺠﻪ‪ ،‬ﻭﻳﻨﺎﻝ‬
‫ﻗﺒﻮﻝ ﺍﳌﺘﻠﻘﻲ‪ ،‬ﻭﻳﺴﺘﺤﻮﺫ ﻋﻠﻰ ﺇﻋﺠﺎﺑﻪ‪ ،‬ﻭﺫﻟﻚ ﻻﺭﺗﻔﺎﻉ ﺩﺭﺟﺔ ﺍﻹﻋﻼﻣﻴﺔ ﻓﻴﻪ‪.‬‬
‫ﻭﻣﻦ ﰒ‪ ،‬ﻓﺈ ﱠﻥ ﺍﳌﺘﻠﻘﻲ ﻳﺒﺪﻱ ﺍﻫﺘﻤﺎﻣ‪‬ﺎ ﺃﻛﱪ ﺑﺎﻟﻨﺺ ﻋﻨﺪﻣﺎ ﻳ‪‬ﻮﺍﺟﻪ ﺑﻌﻨﺎﺻﺮ ﺟﺪﻳﺪﺓ ﻏﲑ‬
‫ﻣﺘﻮﻗﻌﺔ ﺗﺪﻓﻌﻪ ﺇﱃ ﺃﻥ ﻳﺴﺘﺠﻤﻊ ﻗﻮﺍﻩ‪ ،‬ﻭﻳﺴﺘﻔﺮﻍ ﺟﻬﻮﺩﻩ ﻟﻠﻮﻗﻮﻑ ﻋﻠﻰ ﻣﺎ ﻳﻜﺘﻨﻔﻬﺎ ﻣﻦ ﻃﺮﺍﻓﺔ‬
‫ﻭ ﹺﺟﺪ‪‬ﺓ ﻭﻏﻤﻮﺽ‪ .‬ﻓﻜﹼﻠﻤﺎ ﺗﻀ ‪‬ﻤﻦ ﺍﻟﻨﺺ ﻗﺪﺭﹰﺍ ﻣﻦ ﺍﻟﻌﻨﺎﺻﺮ ﻏﲑ ﺍﳌﺘﻮﻗﻌﺔ‪ ،‬ﺍﺭﺗﻔﻌﺖ ﺩﺭﺟﺔ‬
‫ﺇﻋﻼﻣﻴﺘﻪ‪ ،‬ﺩﻭﻥ ﺃﻥ ﻳﺼﻞ ﺫﻟﻚ ﺇﱃ ﺍﻹﻟﻐﺎﺯ ﺍﻟﺬﻱ ﻳﻬﺪﻡ ﺍﳉﺴﻮﺭ ﺑﲔ ﺍﻟﻨﺺ ﻭﺍﳌﺘﻠﻘﻲ‪ .‬ﻭﻗﺪ ﻛﺎﻥ‬
‫‪١‬‬
‫ﺍﳉﺮﺟﺎﱐ ﻳﺮﻯ ﺃﻥ ﺍﳌﻌﲎ ﺇﺫﺍ ﻧﻴﻞ ﺑﻌﺪ ﺟﻬﺪ ﺟﻬﻴﺪ‪ ،‬ﻛﺎﻥ ﻟﻪ ﻧﻮﻃﺔ ﰲ ﺍﻟﻘﻠﺐ‪.‬‬

‫ﺇﺷﻜﺎﻟﻴﺔ ﺍﻟﺒﺤﺚ‬
‫ﺃﻓﺎﺩﺕ ﻧﻈﺮﻳﺔ ﺍﻹﻋﻼﻣﻴﺔ ﻣﻦ ﻧﻈﺮﻳﺔ ﺍﳌﻌﻠﻮﻣﺎﺕ ‪ ٢Theory of information‬ﺍﻟﱵ ﺗﻘﻊ‬
‫ﺑﺪﻭﺭﻫﺎ ﰲ ﺇﻃﺎﺭ ﺍﻟﻌﻠﻢ ﺍﳌﺴﻤﻰ ﺍﻟﺴﻴﱪﻧﻄﻴﻘﺎ ‪ .Cybernetics‬ﻓﻤﻦ ﺃﻫﻢ ﻣﺒﺎﺩﺉ ﻧﻈﺮﻳﺔ ﺍﳌﻌﻠﻮﻣﺎﺕ‬
‫ﺃﻧﻪ ﻛﻠﻤﺎ ﹶﻗ ﱠﻞ ﺍﺣﺘﻤﺎﻝ ﺍﻹﺭﺳﺎﻝ ﻹﺷﺎﺭﺓ ﻣﻦ ﺍﻹﺷﺎﺭﺍﺕ ﹶﻗ ﱠﻞ ﺗﻮﻗﻊ ﺍﳌﺴﺘﻘﺒﻞ ﳍﺎ‪ .٣‬ﻭﻟﻘﺪ ﻭ ﱠﻇﻒ‬
‫ﺍﳌﻌﻨﻴﻮﻥ ﺑﻌﻠﻢ ﻟﻐﺔ ﺍﻟﻨﺺ ﻫﺬﺍ ﺍﳌﺒﺪﺃ ﻭﺑﻨﻮﺍ ﻋﻠﻴﻪ ﻭﺟﻌﻠﻮﺍ ﻋﻨﺎﺻﺮ ﺍﳉﺪﺓ ﻭﺍﻟﻄﺮﺍﻓﺔ ﻭﺍﻟﻐﻤﻮﺽ‬
‫)ﺍﻟﻌﻨﺎﺻﺮ ﻏﲑ ﺍﳌﺘﻮﻗﻌﺔ( ﻣﻨﺎﻁ ﺍﻫﺘﻤﺎﻡ ﺍﳌﺘﻠﻘﻲ‪.‬‬
‫ﻭﰲ ﺳﺒﻌﻴﻨﺎﺕ ﺍﻟﻘﺮﻥ ﺍﻟﻌﺸﺮﻳﻦ ﺍﻧﺒﺜﻖ ﻣﺼﻄﻠﺢ ﳓﻮ ﺍﻟﻨﺺ ‪ ،Text Grammar‬ﳏﺪﺩ‪‬ﺍ‬

‫‪ ١‬ﺍﻧﻈﺮ‪ :‬ﺍﳉﺮﺟﺎﱐ‪ ،‬ﻋﺒﺪ ﺍﻟﻘﺎﻫﺮ‪ ،‬ﺃﺳﺮﺍﺭ ﺍﻟﺒﻼﻏﺔ‪ ،‬ﺗﻌﻠﻴﻖ‪ :‬ﺍﻟﺴﻴﺪ ﳏﻤﺪ ﺭﺷﻴﺪ ﺭﺿﺎ )ﺍﻟﻘﺎﻫﺮﺓ‪ :‬ﻣﻜﺘﺒﺔ ﻭﻣﻄﺒﻌﺔ ﳏﻤﺪ ﻋﻠﻲ ﺻﺒﻴﺢ‪ ،‬ﻁ ‪،٦‬‬
‫‪١٣٧٩‬ﻫـ ‪١٩٥٩ -‬ﻡ( ﺹ ‪.١١٥‬‬
‫‪ ٢‬ﻗﺪﻡ ﺷﺎﻧﻮﻥ ﻭﻭﻳﻔﺮ ﳕﻮﺫﺟﹰﺎ ﻟﻼﺗﺼﺎﻝ ﻣﻜﻮﻧﹰﺎ ﻣﻦ ﲬﺴﺔ ﻋﻨﺎﺻﺮ‪ .‬ﻭﻗﺪ ﺍﻫﺘﻤﺎ ﺑﺪﺭﺍﺳﺔ ﺍﻟﻌﻮﺍﻣﻞ ﺍﻟﱵ ﺗﻘﻠﻞ ﻣﻦ ﻓﻘﺪﺍﻥ ﺍﳌﻌﻠﻮﻣﺎﺕ ﺑﲔ ﻃﺮﰲ‬
‫ﺍﻻﺗﺼﺎﻝ‪ .‬ﺍﻧﻈﺮ‪Robinson, W. Peter, Language In Social World. (UK: Blackwell Publishing, ١st. Impression, ٢٠٠٣) p٣-٤.:‬‬
‫‪٣‬‬
‫ﺍﻧﻈﺮ‪ :‬ﺷﺮﻑ‪ ،‬ﻋﺒﺪ ﺍﻟﻌﺰﻳﺰ‪ ،‬ﻋﻠﻢ ﺍﻹﻋﻼﻡ ﺍﻟﻠﻐﻮﻱ )ﺍﻟﻘﺎﻫﺮﺓ‪ :‬ﺍﻟﺸﺮﻛﺔ ﺍﳌﺼﺮﻳﺔ ﺍﻟﻌﺎﳌﻴﺔ ﻟﻠﻨﺸﺮ – ﻟﻮﳒﻤﺎﻥ‪ ،‬ﻁ‪٢٠٠٠ ،١‬ﻡ(‬
‫ﺹ‪.٩٩-٩٧‬‬

‫‪٢‬‬
‫ﻟﻨﻔﺴﻪ ﻋﺪﺓ ﺃﻫﺪﺍﻑ‪ ،‬ﻳﺄﰐ ﻋﻠﻰ ﺭﺃﺳﻬﺎ ﺍﻟﻮﺻﻒ ﻭﺍﻟﺪﺭﺍﺳﺔ ﺍﻟﻠﻐﻮﻳﺔ ﻟﻸﺑﻴﻨﺔ ﺍﻟﻨﺼﻴﺔ‪ ،‬ﻭﲢﻠﻴﻞ‬
‫ﺍﳌﻈﺎﻫﺮ ﺍﳌﺘﻨﻮﻋﺔ ﻷﺷﻜﺎﻝ ﺍﻻﺗﺼﺎﻝ ﺍﻟﻨﺼﻲ‪ .‬ﻭﻳﻬﺘﻢ ﻫﺬﺍ ﺍﻻﲡﺎﻩ ﺍﻟﻠﻐﻮﻱ ﺍﳉﺪﻳﺪ ﺑﺄﺭﻛﺎﻥ ﻋﻤﻠﻴﺔ‬
‫ﺍﻻﺗﺼﺎﻝ ﺍﻟﻠﻐﻮﻱ ﳑﺜﻠﺔ ﰲ ﺍﳌﺮﺳﻞ‪ ،‬ﻭﺍﻟﻨﺺ‪ ،‬ﻭﺍﳌﺘﻠﻘﻲ‪ .‬ﻭﺫﻟﻚ ﺑﺎﻻﺳﺘﻔﺎﺩﺓ ﻣﻦ ﻣﻌﻄﻴﺎﺕ ﻛﺜﲑ ﻣﻦ‬
‫‪٤‬‬
‫ﺍﻟﻌﻠﻮﻡ ﻣﺜﻞ ﻋﻠﻢ ﺍﻟﺬﻛﺎﺀ ﺍﻻﺻﻄﻨﺎﻋﻲ‪ ،‬ﻭﻋﻠﻢ ﺍﻟﻨﻔﺲ ﺍﳌﻌﺮﰲ‪ ،‬ﻭﻋﻠﻢ ﺍﻻﺟﺘﻤﺎﻉ‪.‬‬
‫ﻭﻗﺪ ﻇﻬﺮﺕ ﻧﻈﺮﻳﺔ ﺍﻹﻋﻼﻣﻴﺔ ﰲ ﺳﻴﺎﻕ ﺍﻻﻧﺘﻘﺎﻝ ﻣﻦ ﳓﻮ ﺍﳉﻤﻠﺔ ﺇﱃ ﳓﻮ ﺍﻟﻨﺺ‪.‬‬
‫ﺐ ﺍﻫﺘﻤﺎﻣﻬﺎ ﻋﻠﻰ ﺍﻟﻨﺺ ﺇﻧﺘﺎﺟﹰﺎ ﻭﺗﻠﻘﻴﺎﹰ‪ ،‬ﻓﺎﳌﺮﺳﻞ ﻳﻠﺠﺄ ﰲ ﻣﻮﺍﻗﻒ ﳏﺪﺩﺓ ﺇﱃ ﺭﻓﻊ ﺇﻋﻼﻣﻴﺔ‬
‫ﻭﻳﻨﺼ ‪‬‬
‫ﺍﻟﻨﺺ ﻭﻳﺘﺠﺴﺪ ﺫﻟﻚ ﰲ ﺍﻟﻮﻗﺎﺋﻊ ﺍﻟﻨﺼﻴﺔ‪ .‬ﻭﻻ ﻳﺄﻟﻮ ﺍﳌﺘﻠﻘﻲ ﺟﻬﺪﹰﺍ ﰲ ﺍﺳﺘﺠﻼﺀ ﻣﻮﺍﻃﻦ‬
‫ﺍﻹﻋﻼﻣﻴﺔ ﰲ ﳏﺎﻭﻟ ‪‬ﺔ ﻣﻦ ﺟﺎﻧﺒﻪ ﻹﻧﺘﺎﺝ ﺩﻻﻟﺔ ﺍﻟﻨﺺ‪.‬‬
‫ﻓﺎﻟﻘﺎﺭﺉ ﻻ ﻳﻨﻄﻠﻖ ﻋﻨﺪ ﺗﻠﻘﻲ ﺍﻟﻨﺺ ﻣﻦ ﻓﺮﺍﻍ‪ ،‬ﻭﻟﻜﻨﻪ ﻳﺴﺘﺪﻋﻲ ﻣﻦ ﺫﺍﻛﺮﺓ ﺍﻟﺘﺨﺰﻳﻦ‬
‫ﺍﻟﻨﺸﻂ ﻣﺎ ﻳﻌﻴﻨﻪ ﻋﻠﻰ ﻣﺪ ﺟﺴﻮﺭ ﺍﻟﺘﻮﺍﺻﻞ ﺑﻴﻨﻪ ﻭﺑﲔ ﺍﻟﻨﺺ‪ ،‬ﻓﻴﺴﻬﻢ ﰲ ﺇﻧﺘﺎﺝ ﺩﻻﻻﺗﻪ ﻣﻦ‬
‫ﺧﻼﻝ ﺍﻟﺘﻔﺎﻋﻞ ﺑﲔ ﺍﻟﻌﻨﺎﺻﺮ ﺍﳌﺘﻮﻗﻌﺔ ﻭﻏﲑ ﺍﳌﺘﻮﻗﻌﺔ ﺍﻟﱵ ﺗﺘﻮﺍﻓﺮ ﰲ ﺍﻟﻨﺺ ﺍﻟﺬﻱ ﺗﺮﺗﻔﻊ ﺩﺭﺟﺔ‬
‫ﺇﻋﻼﻣﻴﺘﻪ‪.‬‬
‫ﻭﺗﻘﻮﻡ ﺍﻹﻋﻼﻣﻴﺔ ﻋﻠﻰ ﺍﳌﻔﺎﺭﻗﺔ ﻭﻣﺒﺎﻏﺘﺔ ﺍﳌﺘﻠﻘﻲ ﲟﺎ ﻻ ﻳﺘﻮﻗﻊ‪ ٥ ،‬ﻭﺗﻌﻤﺪ ﺍﻟﻔﺠﻮﺍﺕ‬
‫ﺍﻟﻨﺼﻴﺔ‪ .‬ﻭﻗﺪ ﺃﺩﺭﻙ ﺍﻟﺒﻼﻏﻴﻮﻥ ﺍﳌﺴﻠﻤﻮﻥ ﻫﺬﻩ ﺍﳋﺼﻮﺻﻴﺔ‪ ،‬ﻓﺄﺷﺎﺭﻭﺍ ﺇﱃ ﻟﻄﺎﺋﻒ ﺍﻟﻘﻮﻝ‪ ،‬ﻭﺍﳌﺪﺡ‬
‫ﲟﺎ ﻳﺸﺒﻪ ﺍﻟﺬﻡ‪ ،٦‬ﻭﺍﻟﺘﻌﺮﻳﺾ‪ ،‬ﻭﻛﻞ ﻣﺎ ﻟﻪ ﺻﻠﺔ ﲟﺮﺍﻣﻲ ﺍﻟﻜﻼﻡ ﺍﻟﺒﻌﻴﺪﺓ ﺍﻟﱵ ﻳﺘﻔﺎﻭﺕ ﺍﻟﻨﺎﺱ ﰲ‬
‫ﺇﺩﺭﺍﻛﻬﺎ ﻻﺭﺗﻔﺎﻉ ﺩﺭﺟﺔ ﺍﻹﻋﻼﻣﻴﺔ ﻓﻴﻬﺎ‪.‬‬
‫ﻭﻣﻦ ﰒ‪ ،‬ﺗﺘﺠﻠﻰ ﺩﺭﺟﺔ ﺍﻹﻋﻼﻣﻴﺔ ﺍﻟﺜﺎﻟﺜﺔ ﰲ ﻫﺬﻩ ﺍﻟﻨﺼﻮﺹ ﻋﻠﻰ ﻭﺟﻪ ﺧﺎﺹ‪ ،‬ﰲ ﺣﲔ‬
‫ﺗﺘﻔﺎﻭﺕ ﺍﻟﻨﺼﻮﺹ ﺍﻷﺧﺮﻯ ﰲ ﺩﺭﺟﺔ ﺍﻹﻋﻼﻣﻴﺔ ﺗﺒﻌﹰﺎ ﳌﻘﺎﺻﺪ ﺍﳌﺘﻜﻠﻢ‪ ،‬ﻭﺳﻴﺎﻕ ﺍﳌﻮﻗﻒ‪.‬‬
‫ﻭﺗﺘﻄﻠﺐ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﻨﺼﻴﺔ ﺍﳌﻮﺳﻮﻣﺔ ﺑﺎﳉﺪﺓ ﻭﺍﻟﻐﻤﻮﺽ ﻋﻨﺎﻳﺔ ﺑﺎﻟﻐﺔ ﻣﻦ ‪‬ﻗﺒ‪‬ﻞ ﻣﻨﺘﺞ ﺍﻟﻨﺺ‬

‫‪ ٤‬ﺍﻧﻈﺮ‪ :‬ﻋﻔﻴﻔﻲ‪ ،‬ﺃﲪﺪ‪ ،‬ﳓﻮ ﺍﻟﻨﺺ – ﺍﲡﺎﻩ ﺟﺪﻳﺪ ﰲ ﺍﻟﺪﺭﺱ ﺍﻟﻨﺤﻮﻱ )ﺍﻟﻘﺎﻫﺮﺓ‪ :‬ﻣﻜﺘﺒﺔ ﺯﻫﺮﺍﺀ ﺍﻟﺸﺮﻕ‪ ،‬ﻁ ‪٢٠٠١ ،١‬ﻡ( ﺹ ‪.٣١‬‬
‫‪ ٥‬ﺍﻧﻈﺮ‪:‬‬
‫‪-‬‬ ‫‪De Beaugrande, Robert Alain and Dressler, Wolfgang Ulrich, Introduction to Text‬‬
‫‪Linguistics (London and New York: Longman ٧th impression, ١٩٩٤) p.١٣٩.‬‬
‫‪-‬‬ ‫‪De Beaugrande, Robert, Text, Discourse and Process- Toward a Multidisciplinary‬‬
‫‪Science of Texts (www.ethnologue.com), p.٦٢.‬‬
‫‪ ٦‬ﺍﻧﻈﺮ‪ :‬ﻳﻮﺳﻒ‪ ،‬ﺣﺴﲏ ﻋﺒﺪﺍﳉﻠﻴﻞ‪ ،‬ﺍﳌﻔﺎﺭﻗﺔ ﰲ ﺷﻌﺮ ﻋﺪﻱ ﺑﻦ ﺯﻳﺪ ﺍﻟﻌﺒﺎﺩﻱ – ﺩﺭﺍﺳﺔ ﻧﻈﺮﻳﺔ ﺗﻄﺒﻴﻘﻴﺔ )ﺍﻟﻘﺎﻫﺮﺓ‪ :‬ﺍﻟﺪﺍﺭ ﺍﻟﺜﻘﺎﻓﻴﺔ‬
‫ﻟﻠﻨﺸﺮ‪ ،‬ﻁ‪١٤٢١ ،١‬ﻫـ ‪٢٠٠١ -‬ﻡ(ﺹ ‪.١٢‬‬

‫‪٣‬‬
‫ﺸ ‪‬ﺪ ﻟﻠﻮﻗﻮﻑ ﻋﻠﻰ ﻣﻮﺍﻃﻦ ﺍﳉﻤﺎﻝ ﻓﻴﻬﺎ‪،‬‬
‫ﺤ‪‬ﺘ ‪‬‬
‫ﲟﺎ ﳛﻘﻖ ﻣﻘﺎﺻﺪﻩ‪ .‬ﻛﻤﺎ ‪‬ﻳ‪‬ﺘ ‪‬ﻌ‪‬ﻴ ‪‬ﻦ ﻋﻠﻰ ﺍﳌﺘﻠﻘﻲ ﺃﻥ ‪‬ﻳ ‪‬‬
‫ﻭﺇﺩﺭﺍﻙ ﻣﻘﺎﺻﺪ ﻣﻨﺘﺠﻬﺎ‪ .‬ﻭﻗﺪ ﺍﺳﺘﺪﻋﻰ ﺫﻟﻚ‪ ،‬ﺍﳉﻤﻊ ﺑﲔ ﺭﺅﻯ ﺍﻟﻐﺮﺑﻴﲔ ﻭﻋﻠﻤﺎﺋﻨﺎ ﺍﳌﺴﻠﻤﲔ‬
‫ﻟﻔﻬﻢ ﺁﻟﻴﺎﺕ ﻫﺬﻩ ﺍﻟﻌﻨﺎﺻﺮ ﻭﻋﻤﻠﻴﺎﺕ ﺧﻔﻀﻬﺎ ﻋﻠﻰ ﳓﻮ ﻳﺴﱪ ﺃﻏﻮﺍﺭ ﺍﻟﻨﺺ‪ ،‬ﻭﳜﺘﺼﺮ ﺟﺎﻧﺒﹰﺎ ﻣﻦ‬
‫‪٧‬‬
‫ﺍﳌﻌﺎﻳﲑ ﺍﻟﻨﺼﻴﺔ ﺍﻷﺧﺮﻯ‪.‬‬

‫ﺃﺳﺌﻠﺔ ﺍﻟﺒﺤﺚ‬
‫ﻳﻌﺎﰿ ﺍﻟﺒﺤﺚ ﻫﺬﻩ ﺍﻹﺷﻜﺎﻟﻴﺔ ﻣﻦ ﺧﻼﻝ ﺍﻹﺟﺎﺑﺔ ﻋﻦ ﺍﻷﺳﺌﻠﺔ ﺍﻵﺗﻴﺔ‪:‬‬
‫‪ -١‬ﻛﻴﻒ ﻳﺮﻓﻊ ﺍﳌﺮﺳﻞ ﺇﻋﻼﻣﻴﺔ ﺍﻟﻨﺺ؟‬
‫ﻭﻳﻨﺒﺜﻖ ﻋﻦ ﻫﺬﺍ ﺍﻟﺴﺆﺍﻝ ﺃﺳﺌﻠﺔ ﻓﺮﻋﻴﺔ ﺗﺄﰐ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﻨﺤﻮ‪:‬‬
‫ﺃ‪ .‬ﻣﺎ ﺩﺭﺟﺎﺕ ﺇﻋﻼﻣﻴﺔ ﺍﻟﻨﺺ؟‬
‫ﺏ‪ .‬ﻣﺎ ﺁﻟﻴﺎﺕ ﺭﻓﻊ ﺍﻹﻋﻼﻣﻴﺔ؟‬
‫ﺝ‪ .‬ﻣﺎ ﻣﻘﺎﺻﺪ ﺍﻹﻋﻼﻣﻴﺔ؟‬
‫‪ - ٢‬ﻛﻴﻒ ﻳﺘﻔﺎﻋﻞ ﺍﳌﺘﻠﻘﻲ ﻣﻊ ﻋﻨﺎﺻﺮ ﺍﻹﻋﻼﻣﻴﺔ؟‬
‫ﻭﻳﺘﻔﺮﻉ ﻋﻦ ﻫﺬﺍ ﺍﻟﺴﺆﺍﻝ ﺍﻷﺳﺌﻠﺔ ﺍﻵﺗﻴﺔ‪:‬‬
‫ﺃ‪ .‬ﻛﻴﻒ ﳜﻔﺾ ﺍﳌﺘﻠﻘﻲ ﻋﻨﺎﺻﺮ ﺍﻹﻋﻼﻣﻴﺔ؟‬
‫ﺏ‪ .‬ﻣﻢ ﻳﺴﺘﻤﺪ ﺍﳌﺘﻠﻘﻲ ﺗﻮﻗﻌﺎﺗﻪ؟‬
‫ﺝ‪ .‬ﻣﺎ ﺃﺛﺮ ﺍﻹﻋﻼﻣﻴﺔ ﰲ ﺗﻠﻘﻲ ﺍﻟﻨﺺ؟‬
‫‪ -٣‬ﻣﺎ ﺭﻭﺍﻓﺪ ﺍﻹﻋﻼﻣﻴﺔ؟‬

‫‪ ٧‬ﻳﺮﻯ ﺍﻟﺒﺎﺣﺚ ﺃﻥ ﲦﺔ ﻣﻠﺤﻮﻇﺎﺕ ﺗﺘﻌﻠﻖ ﺑﺎﳌﻌﺎﻳﲑ ﺍﻟﺴﺒﻌﺔ ﻟﻠﻨﺼﻴﺔ ﳝﻜﻦ ﺃﻥ ﻳﺸﺎﺭ ﺇﱃ ﺑﻌﻀﻬﺎ ﻋﻠﻰ ﺍﻟﻨﺤﻮ ﺍﻵﰐ‪:‬‬
‫‪ -١‬ﻳﻮﺟﺪ ﺗﺪﺍﺧﻞ ﺑﲔ ﻣﻌﻴﺎﺭﻱ ﺍﻹﻋﻼﻣﻴﺔ ﻭﺍﻟﺘﻨﺎﺹ‪ ،‬ﺇﺫ ﺇﻥ ﺍﻟﺘﻨﺎﺹ ﻗﺪ ﺃﻓﺮﺩ ﻟﻪ ﻣﻌﻴﺎ ‪‬ﺭ ﻣﺴﺘﻘ ﹲﻞ ﺑﻪ‪ ،‬ﰲ ﺣﲔ ﺃﻥ ﺍﳋﻔﺾ‬
‫ﺍﳋﺎﺭﺟﻲ ﻟﻺﻋﻼﻣﻴﺔ ﻳ‪‬ﻌﻮ‪‬ﻝ – ﰲ ﺟﺎﻧﺐ ﻣﻨﻪ ‪ -‬ﻋﻠﻰ ﺍﻟﺘﻨﺎﺹ‪.‬‬
‫‪ -٢‬ﻣﻦ ﺍﳌﻌﻠﻮﻡ ﺃﻥ ﻣﻌﻴﺎﺭ ﺍﻻﺗﺴﺎﻕ ﻣﻌﲏ ﺑﻈﺎﻫﺮ ﺍﻟﻨﺺ‪ ،‬ﻭﺃﻣﺎ ﻣﻌﻴﺎﺭ ﺍﻻﻧﺴﺠﺎﻡ ﻓﺈﻧﻪ ﻳﺘﻐﻴﺎ ﺑﺎﻃﻨﻪ‪ ،‬ﻓﻬﺬﺍﻥ ﺍﳌﻌﻴﺎﺭﺍﻥ ﺻـﻠﺘﻬﻤﺎ‬
‫ﻭﺛﻴﻘﺔ ﺑﺜﻨﺎﺋﻴﺔ ﺍﻟﺘﻮﻗﻊ ﻭﻋﺪﻡ ﺍﻟﺘﻮﻗﻊ ﺍﻟﻮﺍﺭﺩﺓ ﰲ ﻣﻌﻴﺎﺭ ﺍﻹﻋﻼﻣﻴﺔ‪ ،‬ﺣﻴﺚ ﻳﻜﺘﻔﻰ ﻫﻨﺎ ﺑﺎﻟﻌﻨﺎﺻﺮ ﺍﻟﻨﺼﻴﺔ ﺍﻟﱵ ﺗﺒﺪﻭ ﲟﻌـﺰﻝ‬
‫ﻋﻦ ﻣﻌﻄﻴﺎﺕ ﻫﺬﻳﻦ ﺍﳌﻌﻴﺎﺭﻳﻦ‪ ،‬ﻓﻴﻘﻮﻡ ﺍﳌﺘﻠﻘﻲ ﺑﺎﺳﺘﺠﻼﺀ ﺟﻮﺍﻧﺒﻬﺎ ﻟﻠﻮﻗﻮﻑ ﻋﻠﻰ ﺍﻟﻘﻴﻢ ﺍﻟﻔﻨﻴﺔ ﺍﻟﱵ ﺗﺘﻀﻤﻨﻬﺎ‪ ،‬ﻭﻣﻘﺎﺻﺪﻫﺎ‬
‫ﻚﰲ‬ ‫ﺸ ‪‬‬
‫ﺍﻻﺗﺼﺎﻟﻴﺔ‪ .‬ﺃﻣﺎ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﻨﺼﻴﺔ ﺍﻟﱵ ﲢﻘﻖ ﳍﺎ ﺍﻻﺗﺴﺎﻕ ﻭﺍﻻﻧﺴﺠﺎﻡ‪ ،‬ﻓﺈﻥ ﺑﻴﺎﻥ ﻃﺮﺍﺋﻖ ﺍﺗﺴﺎﻗﻬﺎ ﻭﺍﻧﺴﺠﺎﻣﻬﺎ ﺃﻣﺮ ‪‬ﻳ ‪‬‬
‫ﺟﺪﻭﺍﻩ‪.‬‬
‫‪ -٣‬ﺍﻷﺧﺬ ﲟﻌﺎﻳﲑ ﺍﻟﻨﺼﻴﺔ ﺍﻟﺴﺒﻌﺔ ﻳﺴﺘﻨﻔﺪ ﺍﳉﻬﻮﺩ ﺇﺫﺍ ﺃﺭﻳﺪ ﺍﻹﺣﺎﻃﺔ ‪‬ﺎ‪.‬‬

‫‪٤‬‬
‫‪ -٤‬ﻣﺎ ﻣﺪﻯ ﻭﻗﻮﻑ ﺍﻟﻌﻠﻤﺎﺀ ﺍﳌﺴﻠﻤﲔ ﻋﻠﻰ ﻋﻨﺎﺻﺮ ﺍﻹﻋﻼﻣﻴﺔ؟ ﻭﻣﺎ ﺻﻠﺔ ﺫﻟﻚ ﲟﺎ‬
‫ﻗﺪﻣﻪ ﺍﻟﻐﺮﺑﻴﻮﻥ؟‬
‫‪ -٥‬ﻣﺎ ﺍﳌﻨﻬﺠﻴﺔ ﺍﳌﻘﺘﺮﺣﺔ ﺍﻟﱵ ﺗﺴﺘﻮﻋﺐ ﻋﻨﺎﺻﺮ ﺍﻹﻋﻼﻣﻴﺔ ﻋﻨﺪ ﺍﻟﺘﺤﻠﻴﻞ ﺍﻟﻨﺼﻲ‬
‫ﻟﻨﻤﺎﺫﺝ ﻣﻦ ﺍﻟﻨﺺ ﺍﻟﻘﺮﺁﱐ ﺍﻟﻜﺮﱘ ﻭﺍﻟﻨﺺ ﺍﻟﺸﻌﺮﻱ؟‬

‫ﺃﻫﺪﺍﻑ ﺍﻟﺒﺤﺚ‬
‫ﻳﺮﻣﻲ ﺍﻟﺒﺤﺚ ﺇﱃ ﲢﻘﻴﻖ ﺍﻷﻫﺪﺍﻑ ﺍﻵﺗﻴﺔ‪:‬‬
‫‪ -١‬ﺍﻟﻮﻗﻮﻑ ﻋﻠﻰ ﻋﻨﺎﺻﺮ ﻧﻈﺮﻳﺔ ﺍﻹﻋﻼﻣﻴﺔ ﻟﺒﻴﺎﻥ ﺍﻟﺸﺮﻭﻁ ﺍﻟﱵ ﺗﻜﻔﻞ ﺇﳒﺎﺡ ﻋﻤﻠﻴﺔ‬
‫ﺍﻟﺘﻮﺍﺻﻞ ﺍﻟﻠﻐﻮﻱ‪.‬‬
‫‪ -٢‬ﺗﻨﺎﻭﻝ ﺁﻟﻴﺎﺕ ﺍﻹﻋﻼﻣﻴﺔ ﻭﻣﻘﺎﺻﺪﻫﺎ ﻟﻠﻜﺸﻒ ﻋﻦ ﺑﺮﺍﻋﺔ ﺍﳌﺮﺳﻞ ﰲ ﺍﺳﺘﻐﻼﻝ‬
‫ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﻠﻐﻮﻳﺔ ﻟﺘﺤﻘﻴﻖ ﻣﺮﺍﻣﻴﻪ‪ ،‬ﻭﻗﺪﺭﺓ ﺍﳌﺘﻠﻘﻲ ﻋﻠﻰ ﺇﺩﺭﺍﻛﻬﺎ‪.‬‬
‫‪ -٣‬ﺑﻴﺎﻥ ﻣﺪﻯ ﺇﺳﻬﺎﻡ ﻧﻈﺮﻳﺔ ﺍﻹﻋﻼﻣﻴﺔ ﰲ ﺍﺳﺘﺠﻼﺀ ﻏﻮﺍﻣﺾ ﺍﻟﻨﺺ ﺍﻟﺸﻌﺮﻱ‪ ،‬ﻭﺑﻴﺎﻥ‬
‫ﻃﺮﺍﻓﺘﻪ ﻭﻣﺪﻯ ﳒﺎﺣﻪ ﰲ ﻧﻘﻞ ﺍﻟﺮﺳﺎﻟﺔ ﺍﻻﺗﺼﺎﻟﻴﺔ‪.‬‬
‫‪ -٤‬ﺍﺳﺘﺠﻼﺀ ﺩﻭﺭ ﺍﳌﻔﺴﺮﻳﻦ ﰲ ﺇﺑﺮﺍﺯﻋﻨﺎﺻﺮ ﺍﻹﻋﻼﻣﻴﺔ ﰲ ﺍﻟﻨﺺ ﺍﻟﻘﺮﺁﱐ ﺍﻟﻜﺮﱘ‪.‬‬

‫ﺃﳘﻴﺔ ﺍﻟﺒﺤﺚ‬
‫ﺗﺮﺟﻊ ﺃﳘﻴﺔ ﺍﻟﺒﺤﺚ ﺇﱃ ﺍﻷﻣﻮﺭ ﺍﻵﺗﻴﺔ‪:‬‬
‫‪ -١‬ﺃﻥ ﻳﺴﻬﻢ ﰲ ﺑﻴﺎﻥ ﺟﻮﺍﻧﺐ ﻣﻦ ﺇﻋﺠﺎﺯ ﺍﻟﻘﺮﺁﻥ ﺍﻟﻜﺮﱘ‪ ،‬ﻭﻳﻜﺸﻒ ﻋﻦ ﻋﻨﺎﺻﺮ‬
‫ﺍﳉﺪﺓ ﰲ ﺍﻟﻨﺺ ﺍﻟﺸﻌﺮﻱ ﻭﺍﻟﻨﺜﺮﻱ‪.‬‬
‫‪ -٢‬ﺃﻥ ﻳﺄﺧﺬ ﺑﻴﺪ ﺍﻟﻘﺎﺭﺉ ﻋﻨﺪﻣﺎ ﻳﺘﻠﻘﻰ ﻧﺼﹰﺎ ﻣﺮﺗﻔﻊ ﺍﻹﻋﻼﻣﻴﺔ‪ ،‬ﺑﺒﻴﺎﻥ ﺍﻟﻜﻴﻔﻴﺔ ﺍﻟﱵ‬
‫ﻳﻮﺯﻉ ‪‬ﺎ ﻣﻨﺘﺞ ﺍﻟﻨﺺ ﺍﳌﻌﻠﻮﻣﺎﺕ‪ ،‬ﻭﺗﻮﺿﻴﺢ ﻣﺎ ﻳﻨﺘﻘﻴﻪ ﻣﻦ ﺁﻟﻴﺎﺕ ﺗﻌﻴﻨﻪ ﻋﻠﻰ ﺑﻠﻮﻍ‬
‫ﻣﻘﺎﺻﺪﻩ‪ .‬ﻭﻳﻨﻀﺎﻑ ﺇﱃ ﺫﻟﻚ‪ ،‬ﺭﺻﺪ ﺍﻟﻌﻤﻠﻴﺎﺕ ﺍﻟﱵ ﺗﻨﺎﻁ ﺑﺎﳌﺘﻠﻘﻲ ﳋﻔﺾ ﺇﻋﻼﻣﻴﺔ‬
‫ﺍﻟﻨﺺ‪ .‬ﻓﻴﺘﻤﺨﺾ ﻋﻦ ﺫﻟﻚ ﺻﻘﻞ ﻟﻘﺪﺭﺍﺕ ﺍﳌﺘﻠﻘﻲ ﰲ ﻫﺬﺍ ﺍﻟﺼﺪﺩ‪.‬‬
‫‪ -٣‬ﺍﻹﻓﺎﺩﺓ ﻣﻦ ﺃﺣﺪ ﻣﻌﺎﻳﲑ ﺍﻟﻨﺼﻴﺔ )ﺍﻹﻋﻼﻣﻴﺔ(‪ ،‬ﻭﺑﻴﺎﻥ ﺃﻭﺟﻪ ﺗﻼﻗﻴﻬﺎ ﻣﻊ ﺍﳌﺒﺎﺣﺚ‬
‫ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﺘﺮﺍﺛﻴﺔ ﻭﺍﻟﻌﺼﺮﻳﺔ ﲟﺎ ﻳﻮﺿﺢ ﻣﺪﻯ ﺇﺳﻬﺎﻡ ﻋﻠﻤﺎﺋﻨﺎ ﰲ ﻫﺬﺍ ﺍﳌﻀﻤﺎﺭ‪.‬‬

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‫‪ -٤‬ﲨﻊ ﺷﺘﺎﺕ ﻋﻨﺎﺻﺮ ﻧﻈﺮﻳﺔ ﺍﻹﻋﻼﻣﻴﺔ ﻣﻦ ﻣﻈﺎ‪‬ﺎ ﰲ ﺍﻟﺘﺮﺍﺙ ﺍﻟﻌﺮﰊ ﺍﻟﻠﻐﻮﻱ‬
‫ﻭﺍﻟﺒﻼﻏﻲ ﻋﻠﻰ ﻭﺟﻪ ﺍﳋﺼﻮﺹ‪ ،‬ﻭﺫﻟﻚ ﻹﺑﺮﺍﺯ ﺍﻻﺭﺗﺒﺎﻁ ﺑﲔ ﻫﺬﻩ ﺍﻟﻌﻨﺎﺻﺮ‬
‫ﺍﳌﺘﻔﺮﻗﺔ‪.‬‬
‫‪ -٥‬ﺗﻘﺪﱘ ﻣﻨﻬﺠﻴﺔ ﻣﻘﺘﺮﺣﺔ ﺗﱪﺯ ﺃﺑﻌﺎﺩ ﻧﻈﺮﻳﺔ ﺍﻹﻋﻼﻣﻴﺔ‪ ،‬ﻭﺗﻄﺒﻴﻘﻬﺎ ﻋﻠﻰ ﺍﻟﻨﺺ‬
‫ﺍﻟﻘﺮﺁﱐ ﺍﻟﻜﺮﱘ ﻭﺍﻟﻨﺺ ﺍﻟﺸﻌﺮﻱ‪.‬‬

‫ﺣﺪﻭﺩ ﺍﻟﺒﺤﺚ‬
‫ﻳﺘﻨﺎﻭﻝ ﺍﻟﺒﺤﺚ ﻧﻈﺮﻳﺔ ﺍﻹﻋﻼﻣﻴﺔ ﺑﺎﻟﻮﻗﻮﻑ ﻋﻠﻰ ﺇﻃﺎﺭﻫﺎ ﺍﻟﻨﻈﺮﻱ ﰲ ﺭﺅﻳﺔ ﺍﻟﻐﺮﺑﻴﲔ‪،‬‬
‫ﻼ ﻋﻦ ﺗﻄﺒﻴﻖ‬
‫ﻭﺑﻴﺎﻥ ﻣﺪﻯ ﺇﺳﻬﺎﻡ ﺍﻟﻌﻠﻤﺎﺀ ﺍﳌﺴﻠﻤﲔ ﺍﻟﻘﺪﻣﺎﺀ ﻭﺍﳌﻌﺎﺻﺮﻳﻦ ﰲ ﻫﺬﺍ ﺍﳌﻀﻤﺎﺭ‪ .‬ﻓﻀ ﹰ‬
‫ﻣﻌﻄﻴﺎﺕ ﻣﻌﻴﺎﺭ ﺍﻹﻋﻼﻣﻴﺔ ﻋﻠﻰ ﳕﺎﺫﺝ ﻣﻦ ﺍﻟﻨﺺ ﺍﻟﻘﺮﺁﱐ ﻭﺍﻟﺸﻌﺮﻱ‪ ،‬ﻭﻓﻖ ﻣﻨﻬﺠﻴﺔ ﺗﺮﺻﺪ ﺃﻭﺟﻪ‬
‫ﺗﻔﺎﻋﻞ ﺍﳌﺘﻠﻘﻲ ﻣﻊ ﺍﻟﻌﻨﺎﺻﺮ ﺍﳌﺘﻮﻗﻌﺔ ﻭﻏﲑ ﺍﳌﺘﻮﻗﻌﺔ ﰲ ﺍﻟﻨﺺ ﰲ ﳏﺎﻭﻟﺔ ﻣﻦ ﺟﺎﻧﺒﻪ ﻹﻧﺘﺎﺝ ﺩﻻﻟﺔ‬
‫ﺍﻟﻨﺺ‪.‬‬
‫ﺑﺎﻟﻨﺴﺒﺔ ﳌﻌﺎﻳﲑ ﺍﺧﺘﻴﺎﺭ ﺍﻟﻨﻤﺎﺫﺝ ﺍﻟﺘﺤﻠﻴﻠﻴﺔ ﻟﻠﻨﺺ ﺍﻟﻘﺮﺁﱐ ﺍﻟﻜﺮﱘ‪ ،‬ﻓﻘﺪ ﻭﻗﻊ ﺍﻻﺧﺘﻴﺎﺭ ﻋﻠﻰ‬
‫ﻼ ﰲ ﺍﳊﻔﺎﻅ ﻋﻠﻰ ﺍﻟﻨﻔﺲ‬
‫ﺁﻳﺎﺕ ﻣﻦ ﺳﻮﺭﺓ ﺍﻟﺒﻘﺮﺓ ﺗﺘﻨﺎﻭﻝ ﺃﺣﺪ ﻣﻘﺎﺻﺪ ﺍﻟﺸﺮﻳﻌﺔ ﺍﻹﺳﻼﻣﻴﺔ ﳑﺜ ﹰ‬
‫ﻹﺑﺮﺍﺯ ﻫﺬﺍ ﺍﻟﻘﺼﺪ‪ ،‬ﻭﺍﺳﺘﺠﻼﺀ ﺃﺑﻌﺎﺩﻩ ﻭﻣﺮﺍﻣﻴﻪ ﻭﻣﻮﺍﻃﻦ ﺇﻋﺠﺎﺯﻩ‪.‬‬
‫ﻭﻳﺘﻤﺜﻞ ﺍﻟﻨﻤﻮﺫﺝ ﺍﻷﻭﻝ ﰲ ﻗﺼﺔ ﺍﻟﺒﻘﺮﺓ )ﺍﻵﻳﺎﺕ ‪ (٧٣ – ٦٧‬ﻷ‪‬ﺎ ﺍﻵﻳﺎﺕ ﺍﻷﻭﱃ ﺍﻟﱵ‬
‫ﺗﻄﺮﻗﺖ ﺇﱃ ﻣﻮﺿﻮﻉ ﺍﳊﻔﺎﻅ ﻋﻠﻰ ﺍﻟﻨﻔﺲ‪ ،‬ﻭﻟﺒﻴﺎﻥ ﻋﻼﻗﺘﻬﺎ ﺑﺄﺧﻮﺍ‪‬ﺎ ﰲ ﺍﻟﻨﻤﻮﺫﺟﲔ ﺍﻵﺧﺮﻳﻦ‪.‬‬
‫ﺃﻣﺎ ﺍﻟﻨﻤﻮﺫﺝ ﺍﻟﺜﺎﱐ‪ ،‬ﻓﻴﺘﻨﺎﻭﻝ ﻣﻮﺿﻮﻉ ﺍﻟﻘﺼﺎﺹ ) ﺍﻵﻳﺘﲔ ‪ ( ١٧٩ – ١٧٨‬ﻟﺒﻴﺎﻥ‬
‫ﺣﻜﻤﺔ ﺍﻟﺸﺎﺭﻉ ﺍﳊﻜﻴﻢ ﰲ ﺗﺸﺮﻳﻌﻪ ﺍﻟﻘﺼﺎﺹ‪ .‬ﻭﻳﻌﺮﺽ ﺍﻟﻨﻤﻮﺫﺝ ﺍﻟﺜﺎﻟﺚ )ﺍﻵﻳﺎﺕ ‪– ١٨٩‬‬
‫‪ (١٩٥‬ﺣﻴﺚ ﺗﺘﻨﺎﻭﻝ ﺍﻟﺪﻓﺎﻉ ﻋﻦ ﺍﻟﻨﻔﺲ ﻟﺒﻴﺎﻥ ﺣﻴﺜﻴﺎﺗﻪ ﻭﺿﻮﺍﺑﻄﻪ‪.‬‬
‫ﻭﻓﻴﻤﺎ ﻳﺘﻌﻠﻖ ﺑﻜﺎﻓﻮﺭﻳﺎﺕ ﺍﳌﺘﻨﱯ‪ ،‬ﻓﻘﺪ ﺍﺧﺘﲑﺕ ﻣﻘﻄﻌﺎﺕ ﻣﻦ ﺛﻼﺙ ﻗﺼﺎﺋﺪ ﺗﺸﻜﻞ‬
‫ﺍﻧﻌﻄﺎﻓﺎﺕ ‪‬ﻣﻔﹾﺼﻠﻴﺔ ﰲ ﻋﻼﻗﺔ ﺍﳌﺘﻨﱯ ﺑﻜﺎﻓﻮﺭ ﺍﻹﺧﺸﻴﺪﻱ‪ .‬ﺣﻴﺚ ﲤﺜﻞ ﺍﳌﻘﻄﻌﺔ ﺍﻷﻭﱃ ﺗﻮﻫ‪‬ﺞ‬
‫ﺍﻷﻣﻞ ﻟﺪﻯ ﺍﳌﺘﻨﱯ ﰲ ﺃﻥ ﻳﻜﻮﻥ ﻭﺍﻟﻴﹰﺎ‪ .‬ﺃﻣﺎ ﺍﳌﻘﻄﻌﺔ ﺍﻟﺜﺎﻧﻴﺔ‪ ،‬ﻓﻴﺘﺠﻠﻰ ﻓﻴﻬﺎ ‪‬ﺧﻔﻮﺕ ﻫﺬﺍ ﺍﻷﻣﻞ‪.‬‬
‫ﻭﺗﺄﰐ ﺍﳌﻘﻄﻌﺔ ﺍﻷﺧﲑﺓ ﻋﻠﻰ ﳓﻮ ﻳﺒﲔ ﺍﻻﻧﻘﻼﺏ ﻋﻠﻰ ﻛﺎﻓﻮﺭ‪.‬‬

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 ‫ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺴﺎﺑﻘﺔ‬
‫ﺗﻨﺎﻭﻝ ﺩﻳﺒﻮﺟﺮﺍﻧﺪ ﻭﺩﺭﻳﺴﻠﺮ ﰲ ﺩﺭﺍﺳﺔ ﳍﻤﺎ ﺳﺒﻌﺔ ﻣﻌﺎﻳﲑ ﺭﺃﻳﺎ ﺃ‪‬ﺎ ﲢﻘﻖ ﻛﻴﻨﻮﻧﺔ ﺍﻟﻨﺺ‪،‬‬
‫ﻭﻫﺬﻩ ﺍﳌﻌﺎﻳﲑ ﻫﻲ‪ :‬ﺍﻻﺗﺴﺎﻕ ‪ ،Cohesion‬ﻭﺍﻻﻧﺴﺠﺎﻡ ‪ ،Coherence‬ﻭﺍﻟﻘﺼﺪﻳﺔ ‪،Intentionality‬‬
‫ﻭﺍﻟﺘﻘﺒﻠﻴﺔ ‪ ،Acceptability‬ﻭﺍﳌﻮﻗﻔﻴﺔ ‪ ،Situationality‬ﻭﺍﻹﻋﻼﻣﻴﺔ ‪ ،Informativity‬ﻭﺍﻟﺘﻨﺎﺹ‬
‫‪ ٨.Intertextuality‬ﻭﻗﺪ ﺍﺳﺘﻬﻼ ﺣﺪﻳﺜﻬﻤﺎ ﺑﺘﻌﺮﻳﻒ ﺍﻹﻋﻼﻣﻴﺔ ﰒ ﻋ ‪‬ﺮ ‪‬ﺟﺎ ﻋﻠﻰ ﻧﻘﺪ ﻧﻈﺮﻳﺔ‬
‫ﺍﻹﻋﻼﻣﻴﺔ ﻟﺪﻯ ﻛﻠﻮﺩ ﺷﺎﻧﻮﻥ ﻭﻭﺍﺭﻥ ﻭﻳﻔﺮ ﺣﻴﺚ ﻋﻮ‪‬ﻻ ﻋﻠﻰ ﻓﻜﺮﺓ ﺍﻻﺣﺘﻤﺎﻝ ﺍﻹﺣﺼﺎﺋﻲ‬
‫ﺫﺍﻫﺒﲔ ﺇﱃ ﺃﻧﻪ ﻛﻠﻤﺎ ﺯﺍﺩ ﻋﺪﺩ ﺍﻟﺒﺪﺍﺋﻞ ﺍﳌﻤﻜﻨﺔ ﰲ ﻭﻗﺖ ﻣﺎ‪ ،‬ﻓﺈﻥ ﺍﻟﻘﻴﻤﺔ ﺍﻹﻋﻼﻣﻴﺔ ﻻﺳﺘﻌﻤﺎﻝ‬
‫ﺃﺣﺪ ﻫﺬﻩ ﺍﻟﺒﺪﺍﺋﻞ ﺗﺮﺗﻔﻊ‪ ٩.‬ﻭﺗﺒﲎ ﺩﻳﺒﻮﺟﺮﺍﻧﺪ ﻭﺩﺭﻳﺴﻠﺮ ﻓﻜﺮﺓ ﺍﻻﺣﺘﻤﺎﻝ ﺍﻟﺴﻴﺎﻗﻲ ﺑﺪ ﹰﻻ ﻣﻦ‬
‫ﺍﻻﺣﺘﻤﺎﻝ ﺍﻹﺣﺼﺎﺋﻲ ﳌﻨﺎﺳﺒﺔ ﺫﻟﻚ ﻟﻼﺗﺼﺎﻝ ﻣﻦ ﺧﻼﻝ ﺍﻟﻠﻐﺎﺕ ﺍﻟﻄﺒﻴﻌﻴﺔ‪ .‬ﻭﺗﻨﺎﻭﻻ ﺩﺭﺟﺎﺕ‬
‫ﺍﻹﻋﻼﻣﻴﺔ ﺍﻟﺜﻼﺙ ﻭﻋﻤﻠﻴﺎﺕ ﺧﻔﻀﻬﺎ‪ ،‬ﻭﺗﺼﻨﻴﻒ ﺍﻟﺘﻮﻗﻌﺎﺕ‪ ،‬ﻭﻃﺒﻘﺎ ﻣﻌﻴﺎﺭ ﺍﻹﻋﻼﻣﻴﺔ ﻋﻠﻰ ﻣﻘﺎﻝ‬
‫ﺻﺤﻔﻲ ﻭﻗﺼﻴﺪﺓ ﻳ‪‬ﻄﻠﻖ ﻋﻠﻴﻬﺎ ﻣﺴﻤﻰ )ﺳﻮﻧﻴﺖ(‪.‬‬
‫ﻭﻣﻦ ﻧﺎﺣﻴﺔ ﺃﺧﺮﻯ‪ ،‬ﻗ ‪‬ﺪﻡ ﺩﻳﺒﻮﺟﺮﺍﻧﺪ ﺩﺭﺍﺳﺔ ﻋﻦ ﺍﻹﻋﻼﻣﻴﺔ ﰲ ﻛﺘﺎﺏ ﻟﻪ ﻋﻦ ﺍﻟﻨﺺ‬
‫ﻭﺍﳋﻄﺎﺏ ﻭﺍﻹﺟﺮﺍﺀ‪ ،١٠‬ﻭﻻ ﳜﺘﻠﻒ ﻣﺎ ﺟﺎﺀ ﺑﻪ ﰲ ﻫﺬﻩ ﺍﻟﺪﺭﺍﺳﺔ – ﰲ ﳎﻤﻠﻬﺎ – ﻋﻤﺎ ﺳﺒﻖ ﺃﻥ‬
‫ﻗﺪﻣﻪ ﰲ ﺩﺭﺍﺳﺘﻪ ﺍﳌﺸﺘﺮﻛﺔ ﻣﻊ ﺩﺭﻳﺴﻠﺮ‪ .‬ﻭﺍﳉﺪﻳﺪ ﻓﻴﻬﺎ ﺍﻫﺘﻤﺎﻣﻪ ﺑﺈﻋﻼﻣﻴﺔ ﺍﻟﻮﻋﻲ ﺍﻻﺳﺘﺒﻄﺎﱐ‬
‫‪ Apperceptual Informativity‬ﻭﺍﻹﻋﻼﻣﻴﺔ ﰲ ﻧﻄﺎﻕ ﺍﳉﻤﻠﺔ‪.‬‬
‫ﻭﻗﺪ ﺗﻨﺎﻭﻝ ﺩﻳﺒﻮﺟﺮﺍﻧﺪ ﰲ ﻫﺬﻩ ﺍﻟﺪﺭﺍﺳﺔ ﺍﳌﺆﺛﺮﺍﺕ ﺍﻟﱵ ﲢﺪﺩ ﺩﺭﺟﺔ ﺍﻟﺘﻮﻗﻊ ﻟﺪﻯ‬
‫ﺍﳌﺘﻠﻘﻲ‪ ،‬ﻭﻣﻦ ﺫﻟﻚ ﺍﻟﻄﺒﻴﻌﺔ ﺍﻟﺬﺍﺗﻴﺔ ﻟﻠﻤﺎﺩﺓ ﻭﻣﺮﺗﻜﺰﺍﺕ ﺻﻴﺎﻏﺔ ﺍﻟﺘﺮﺍﺑﻂ ﺍﻹﺩﺭﺍﻛﻲ‪ ١١.‬ﻛﻤﺎ‬
‫ﺗﻨﺎﻭﻝ ﺩﻳﺒﻮﺟﺮﺍﻧﺪ ﺍﻟﻄﺮﻕ ﺍﻟﺘﺒﺎﺩﻟﻴﺔ ﻟﻠﻨﻈﺮ ﰲ ﺍﻹﻋﻼﻣﻴﺔ ﰲ ﺍﻟﻠﻐﻮﻳﺎﺕ ﺍﳌﺒﻨﻴﺔ ﻋﻠﻰ ﺍﳌﻨﻄﻖ ﻋﻠﻰ‬
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‫ﺍﻟﻨﺤﻮ ﺍﳌﻮﺟﻮﺩ ﻟﺪﻯ ﺗﺸﻮﻣﺴﻜﻰ‪.‬‬

‫‪ ٨‬ﺍﻧﻈﺮ‪:‬‬
‫‪De Beaugrande, Robert and Dressler, Wolfgang, ١٩٩٤, Introduction to Text Linguistics, p١٣٩-١٦٢.‬‬
‫‪ ٩‬ﺍﻧﻈﺮ‪ :‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ‪.١٤٠‬‬
‫‪ ١٠‬ﻧﻈﺮ‪:‬‬
‫‪De Beaugrande, Robert, Text, Discourse and Process- Toward a Multidisciplinary Science of Texts‬‬
‫‪(www.ethnologue.com), p.٦٠-٧٤.‬‬
‫‪ ١١‬ﺍﻧﻈﺮ‪ :‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ‪.٦٨‬‬
‫‪ ١٢‬ﺍﻧﻈﺮ‪ :‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ ‪.٧٤-٧٠‬‬

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‫ﻭﲦﺔ ﺩﺭﺍﺳﺘﺎﻥ ﻋﺮﺑﻴﺘﺎﻥ ﺃﻳﻀﹰﺎ ﺗﻨﺎﻭﻟﺘﺎ ﲨﻴﻊ ﻋﻨﺎﺻﺮ ﺍﻟﻨﺼﻴﺔ‪ ،‬ﺟﺎﺀﺕ ﺃﻭﻻﳘﺎ ﲢﺖ ﻋﻨﻮﺍﻥ‪:‬‬
‫)ﻣﺪﺧﻞ ﺇﱃ ﻋﻠﻢ ﻟﻐﺔ ﺍﻟﻨﺺ ‪ -‬ﺗﻄﺒﻴﻘﺎﺕ ﻟﻨﻈﺮﻳﺔ ﺭﻭﺑﺮﺕ ﺩﻳﺒﻮﺟﺮﺍﻧﺪ ﻭﻭﻟﻔﺠﺎﻧﺞ ﺩﺭﻳﺴﻠﺮ(‪.١٣‬‬
‫ﻭﻣﺎ ﻳﻬﻤﻨﺎ ﰲ ﻫﺬﺍ ﺍﻟﺴﻴﺎﻕ ﻫﻮ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺍﻫﺘﻤﺎﻡ ﺍﻟﺒﺎﺣﺜﲔ ﺑﺘﻌﺮﻳﻒ ﺍﻹﻋﻼﻣﻴﺔ ﻭﻋﻼﻗﺘﻬﺎ‬
‫ﺑﺎﻻﺣﺘﻤﺎﻝ ﺍﻹﺣﺼﺎﺋﻲ‪ ،‬ﻭﺍﻻﺣﺘﻤﺎﻝ ﺍﻟﺴﻴﺎﻗﻲ‪ ،‬ﻭﺗﻨﺎﻭﳍﻤﺎ ﻣﺮﺍﺗﺐ ﺍﻹﻋﻼﻣﻴﺔ‪ ،‬ﻭﻋﻼﻗﺔ ﺍﳌﻌﺮﻓﺔ‬
‫ﺍﻟﺘﻌﻴﻴﻨﻴﺔ ﻭﺍﻟﻨﻤﻄﻴﺔ‪ ،‬ﻭﺍﻟﻌﺮﺿﻴﺔ ﺑﺎﳌﺮﺗﺒﺔ ﺍﻟﺜﺎﻟﺜﺔ ﻟﻺﻋﻼﻣﻴﺔ‪ ،‬ﻭﺩﺭﺍﺳﺘﻬﻤﺎ ﻣﺼﺎﺩﺭ ﺗﻮﻗﻌﺎﺕ ﺍﳌﺘﻠﻘﻲ‪،‬‬
‫ﻭﺍﻟﻌﻮﺍﻣﻞ ﺍﳌﺴﺎﻋﺪﺓ ﰲ ﻓﺮﺯ ﻓﻴﺾ ﻫﺬﻩ ﺍﻟﺘﻮﻗﻌﺎﺕ‪ .‬ﻭﲤﺘﺎﺯ ﻫﺬﻩ ﺍﻟﺪﺭﺍﺳﺔ ﺑﻮﺿﻮﺡ ﺍﻷﺳﻠﻮﺏ‪،‬‬
‫ﻭﻛﺜﺮﺓ ﺍﻟﺘﻄﺒﻴﻘﺎﺕ ﺍﻟﱵ ﺍﺳﺘﺨﺪﻣﺖ ﻓﻴﻬﺎ ﻧﺼﻮﺹ ﻋﺮﺑﻴﺔ ﰲ ﺍﻟﻐﺎﻟﺐ‪ ،‬ﺍﻷﻣﺮ ﺍﻟﺬﻱ ﺟﻌﻠﻬﺎ ﰲ‬
‫ﻣﻘﺪﻣﺔ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﱵ ﺗﻨﺎﻭﻟﺖ ﻣﻌﻴﺎﺭ ﺍﻹﻋﻼﻣﻴﺔ‪ .‬ﻭﻗﺪ ﺃﻓﺎﺩ ﺍﻟﺒﺎﺣﺚ ﻣﻦ ﳕﺎﺫﺟﻬﺎ ﺍﻟﺘﻄﺒﻴﻘﻴﺔ‪.‬‬
‫ﺃﻣﺎ ﺍﻟﺪﺭﺍﺳﺔ ﺍﻟﺜﺎﻧﻴﺔ ﻓﻘﺪ ﻗﺪﻣﻬﺎ ﳏﻤﺪ ﺃﺷﺮﻑ ﻋﺒﺪ ﺍﻟﻌﺎﻝ ﺍﻟﺸﺎﻣﻲ ﺑﻌﻨﻮﺍﻥ )ﻣﻌﺎﻳﲑ ﺍﻟﻨﺼﻴﺔ‬
‫‪ -‬ﺩﺭﺍﺳﺔ ﰲ ﳓﻮ ﺍﻟﻨﺺ(‪ ١٤.‬ﻭﻋﺮﺽ ﻓﻴﻬﺎ ﻣﻌﻴﺎﺭ ﺍﻹﻋﻼﻣﻴﺔ‪ ١٥‬ﻣﺘﻨﺎﻭ ﹰﻻ ﻣﻌﻨﺎﻫﺎ‪ ،‬ﻭﺃﳘﻴﺘﻬﺎ‪ ،‬ﻭﻣﺎ‬
‫ﺃﺣﺪﺛﻪ )ﻛﻠﻮﺩ ﺷﺎﻧﻮﻥ( ﻭ)ﻭﺍﺭﻥ ﻭﻳﻔﺮ( ﻣﻦ ﺗﻌﺪﻳﻞ ﳋﺼﺎﺋﺺ ﻫﺬﻩ ﺍﻟﻨﻈﺮﻳﺔ‪ ،‬ﰒ ﻋﺮﺽ ﳌﺮﺍﺗﺐ‬
‫ﺍﻹﻋﻼﻣﻴﺔ‪ ،‬ﻛﻤﺎ ﻋﺮﺽ –ﺑﺈﳚﺎﺯ‪ -‬ﻟﻠﻐﻤﻮﺽ ﻋﻨﺪ )ﺍﳒﺎﺭﺩﻳﻦ( ﻭﻋﺒﺪ ﺍﻟﻘﺎﻫﺮ ﺍﳉﺮﺟﺎﱐ‪ ،‬ﻭﺗﻨﺎﻭﻝ‬
‫ﺑﺈﳚﺎﺯ ﺇﺷﺎﺭﺓ ﺍﻟﻌﻠﻤﺎﺀ ﺍﳌﺴﻠﻤﲔ ﻟﺒﻌﺾ ﻋﻨﺎﺻﺮ ﺍﻹﻋﻼﻣﻴﺔ ﰲ ﺍﻟﻨﺺ‪.‬‬
‫ﻭﻣﺎ ﳝﻴﺰ ﻫﺬﻩ ﺍﻟﺪﺭﺍﺳﺔ ﺣﺪﻳﺚ ﺍﻟﺒﺎﺣﺚ ﻋﻦ ﺃﳘﻴﺔ ﺍﻹﻋﻼﻣﻴﺔ‪ ،‬ﻭﺗﻘﺪﱘ ﺃﻣﺜﻠﺔ ﲢﻤﻞ ﺩﺭﺟ ﹰﺔ‬
‫ﻋﺎﻟﻴ ﹰﺔ ﻣﻦ ﺍﻹﻋﻼﻣﻴﺔ ﻓﻀﻼ ﻋﻦ ﺇﺷﺎﺭﺗﻪ ﻷﺣﺪ ﺟﻮﺍﻧﺐ ﺍﻫﺘﻤﺎﻡ ﺍﻟﻌﻠﻤﺎﺀ ﺍﳌﺴﻠﻤﲔ ‪‬ﺬﺍ ﺍﳌﻌﻴﺎﺭ‪.‬‬
‫ﻭﻟﻠﺒﺎﺣﺚ ﺍﻟﻔﺮﻧﺴﻲ ﻣﻴﺸﻴﻞ ﺃﻭﺗﺎﻥ ‪ Michel Otten‬ﺩﺭﺍﺳﺔ ﺑﻌﻨﻮﺍﻥ )ﻣﺪﺧﻞ ﺇﱃ‬
‫ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻷﺩﺑﻴﺔ – ﻣﻨﺎﻫﺞ ﺍﻟﻨﺺ(‪ ١٦.‬ﺗﻨﺎﻭﻝ ﺳﻴﻤﻴﺎﺋﻴﺔ ﺍﻟﻘﺮﺍﺀﺓ ‪.Semiologie De La Lecture‬‬
‫ﻭﲦﺔ ﻋﻨﺎﺻﺮ ﺍﻟﺘﻘﺎﺀ ﺑﲔ ﲰﻴﺎﺋﻴﺔ ﺍﻟﻘﺮﺍﺀﺓ ﻭﺑﲔ ﻧﻈﺮﻳﺔ ﺍﻹﻋﻼﻣﻴﺔ ﺗﺘﻤﺜﻞ ﰲ ﺍﻟﻨﻘﺎﻁ ﺍﻵﺗﻴﺔ‪:‬‬
‫‪ -١‬ﺇﺑﺮﺍﺯ ﺩﻭﺭ ﺍﻟﻘﺎﺭﺉ ﺑﺎﻋﺘﺒﺎﺭ ﺃﻥ ﺍﻟﻘﺮﺍﺀﺓ ﻧﺘﻴﺠﺔ ﺍﻟﻠﻘﺎﺀ ﺑﲔ ﻧﺼﲔ‪ :‬ﺍﻟﻨﺺ ﺍﳌﻘﺮﻭﺀ‬

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‫ﺃﺑﻮ ﻏﺰﺍﻟﺔ‪ ،‬ﺇﳍﺎﻡ ﻭﲪﺪ‪ ،‬ﻋﻠﻲ ﺧﻠﻴﻞ‪ ،‬ﻣﺪﺧﻞ ﺇﱃ ﻋﻠﻢ ﻟﻐﺔ ﺍﻟﻨﺺ – ﺗﻄﺒﻴﻘﺎﺕ ﻟﻨﻈﺮﻳﺔ ﺭﻭﺑﺮﺕ ﺩﻳﺒﻮﺟﺮﺍﻧﺪ ﻭﻭﻟﻔﺠﺎﻧﺞ‬
‫ﺩﺭﻳﺴﻠﺮ )ﺍﻟﻘﺎﻫﺮﺓ‪ :‬ﺍﳍﻴﺌﺔ ﺍﳌﺼﺮﻳﺔ ﺍﻟﻌﺎﻣﺔ ﻟﻠﻜﺘﺎﺏ‪ ،‬ﻁ‪١٩٩٩ ،٢‬ﻡ( ﺹ‪.٢٠٨-١٨٤‬‬
‫‪ ١٤‬ﺍﻧﻈﺮ‪ :‬ﺍﻟﺸﺎﻣﻲ‪ ،‬ﳏﻤﺪ ﺃﺷﺮﻑ ﻋﺒﺪ ﺍﻟﻌﺎﻝ‪ ،‬ﻣﻌﺎﻳﲑ ﺍﻟﻨﺼﻴﺔ – ﺩﺭﺍﺳﺔ ﰲ ﳓﻮ ﺍﻟﻨﺺ )ﲝﺚ ﻏﲑ ﻣﻨﺸﻮﺭ( ﺭﺳﺎﻟﺔ ﻣﺎﺟﺴﺘﲑ‪ ،‬ﻛﻠﻴﺔ‬
‫ﺩﺍﺭ ﺍﻟﻌﻠﻮﻡ‪ ،‬ﺟﺎﻣﻌﺔ ﺍﻟﻘﺎﻫﺮﺓ‪١٤٢٤ ،‬ﻫـ ‪٢٠٠٣ -‬ﻡ‪.‬‬
‫‪ ١٥‬ﺍﻧﻈﺮ‪ :‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ ‪.٤٠٤-٣٥٣‬‬
‫‪ ١٦‬ﺍﻧﻈﺮ‪ :‬ﺃﻭﺗﺎﻥ‪ ،‬ﻣﻴﺸﻴﻞ‪ ،‬ﺳﻴﻤﻴﺎﺋﻴﺔ ﺍﻟﻘﺮﺍﺀﺓ‪ ،‬ﺿﻤﻦ ﻛﺘﺎﺏ‪ْ :‬ﺁﻓﺎﻕ ﺍﻟﺘﻨﺎﺻﻴﺔ – ﺍﳌﻔﻬﻮﻡ ﻭﺍﳌﻨﻈﻮﺭ‪ ،‬ﳏﻤﺪ ﺧﲑ ﺍﻟﺒﻘﺎﻋﻲ )ﺍﻟﻘﺎﻫﺮﺓ‪:‬‬
‫ﺍﳍﻴﺌﺔ ﺍﳌﺼﺮﻳﺔ ﺍﻟﻌﺎﻣﺔ ﻟﻠﻜﺘﺎﺏ‪ ،‬ﺩ‪.‬ﻁ‪١٩٩٨ ،.‬ﻡ( ﺹ ‪.١٧٥-١٥٤‬‬

‫‪٨‬‬
 ‫‪١٧‬‬
‫ﻭﻧﺺ ﺍﻟﻘﺎﺭﺉ‪.‬‬
‫‪ -٢‬ﺍﻻﻫﺘﻤﺎﻡ ﺑﺂﻟﻴﺔ ﺍﻟﺘﺄﻭﻳﻞ‪.‬‬
‫‪ -٣‬ﺍﻻﺗﻔﺎﻕ ﻋﻠﻰ ﺃﻥ ﺍﻟﻨﺺ ﻳﺪﻭﺭ ﺣﻮﻝ ﻗﻄﺒﲔ ﺃﻃﻠﻖ ﻋﻠﻴﻬﻤﺎ ﺃﺻﺤﺎﺏ‬
‫ﻧﻈﺮﻳﺔ ﺍﻹﻋﻼﻣﻴﺔ )ﺍﻟﻌﻨﺎﺻﺮ ﺍﳌﺘﻮﻗﻌﺔ ﻭﺍﻟﻌﻨﺎﺻﺮ ﻏﲑ ﺍﳌﺘﻮﻗﻌﺔ( ﰲ ﺣﲔ ﺍﺧﺘﺎﺭ‬
‫ﻣﻴﺸﻴﻞ ﺃﻭﺗﺎﻥ ﻣﺼﻄﻠﺤﻲ ﻣﻮﺍﺿﻊ ﺍﻟﻴﻘﲔ ) ‪ ( Les Lieux De Certitude‬ﻭﻣﻮﺍﺿﻊ‬
‫‪١٨‬‬
‫ﺍﻟﺸﻚ )‪. (Les Lieux d’incertitude‬‬
‫ﻭﺃﻭﺿﺢ ﻣﻴﺸﻴﻞ ﺃﻭﺗﺎﻥ ﺃﻥ "ﻣﻮﺍﺿﻊ ﺍﻟﻴﻘﲔ ﻫﻲ ﺃﻛﺜﺮ ﺍﻷﻣﻜﻨﺔ ﻭﺿﻮﺣﺎﹰ‪ ،‬ﻭﺃﻛﺜﺮﻫﺎ ﺟﻼ ًﺀ‬
‫ﰲ ﺍﻟﻨﺺ‪ ،‬ﻭﻫﻲ ﺍﻟﱵ ﻧﻨﻄﻠﻖ ﻣﻨﻬﺎ ﻟﺒﻨﺎﺀ ﺍﻟﺘﺄﻭﻳﻞ‪ .‬ﺃﻣﺎ ﻣﻮﺍﺿﻊ ﺍﻟﺸﻚ ﺍﻟﱵ ﳝﻜﻦ ﺃﻥ ﺗﺒﺪﺃ ﻣﻦ‬
‫ﺍﻟﻐﻤﻮﺽ ﺍﳋﻔﻴﻒ ﺇﱃ ﺃﻛﺜﺮ ﺍﻟﻔﻘﺮﺍﺕ ﺍﺳﺘﻐﻼﻗﺎﹰ‪ ،‬ﻓﺈ‪‬ﺎ ﺗﻀﻊ ﺍﻟﻘﺎﺭﺉ ﰲ ﻣﻮﻗﻒ ﺣﺮﺝ‪ ،‬ﻭﻣﻦ ﰒ‪،‬‬
‫‪١٩‬‬
‫ﻓﺎﻟﻘﺎﺭﺉ ﳚﺪ ﻧﻔﺴﻪ ﳎﱪﹰﺍ ﻋﻠﻰ ﺍﻟﺘﺪﺧﻞ ﻭﺍﻗﺘﺮﺍﺡ ﺍﻟﻔﺮﺿﻴﺎﺕ‪".‬‬
‫ﻭﰲ ﺩﺭﺍﺳﺔ ﻟﻮﺍﻡ ﻛﺎﺭﺗﱰ ‪ Wam Cartens‬ﺑﻌﻨﻮﺍﻥ ﻟﺴﺎﻧﻴﺎﺕ ﺍﻟﻨﺺ ﻭﺍﻟﺘﺪﻗﻴﻖ ﺍﻟﻠﻐﻮﻱ‬
‫ﻟﻠﻨﺺ )‪ ٢٠(Text linguistics and Text Editing‬ﺗﻨﺎﻭﻝ ﺍﻟﻌﻼﻗﺔ ﺑﲔ ﻫﺬﻳﻦ ﺍﳌﻨﺤﻴﲔ‪ .‬ﻭﺍﳌﻨﻄﻠﻖ‬
‫ﺍﻟﻨﻈﺮﻱ ﳍﺬﻩ ﺍﻟﺪﺭﺍﺳﺔ ﻳﺘﻤﺜﻞ ﰲ ﳏﺎﻭﻟﺔ ﺍﻟﻮﻗﻮﻑ ﻋﻠﻰ ﻧﻘﺎﻁ ﺍﻻﻟﺘﻘﺎﺀ ﺑﲔ ﻟﺴﺎﻧﻴﺎﺕ ﺍﻟﻨﺺ‬
‫ﻭﺍﻟﺘﺪﻗﻴﻖ ﺍﻟﻠﻐﻮﻱ ﻟﻠﻨﺺ‪.‬‬
‫ﻭﺍﺳﺘﻬﻞ ﺍﻟﺒﺎﺣﺚ ﺩﺭﺍﺳﺘﻪ ﺑﺈﻟﻘﺎﺀ ﺍﻟﻀﻮﺀ ﻋﻠﻰ ﻣﻔﻬﻮﻡ ﻟﺴﺎﻧﻴﺎﺕ ﺍﻟﻨﺺ ﻭﻣﺎ ﺻﺎﺣﺐ‬
‫ﺫﻟﻚ ﻣﻦ ﲢﻮﻝ ﺇﱃ ﺩﺭﺍﺳﺔ ﺍﻟﻨﺺ ﺑﺪ ﹰﻻ ﻣﻦ ﺍﳉﻤﻠﺔ‪ .‬ﰒ ﻋﺮ‪‬ﺝ ﻋﻠﻰ ﻣﻌﺎﻳﲑ ﺍﻟﻨﺼﻴﺔ‪ ،‬ﻭﺃﻭﺿﺢ‬
‫ﻋﻼﻗﺔ ﻫﺬﻩ ﺍﳌﻌﺎﻳﲑ ﺑﺎﻟﺘﺪﻗﻴﻖ ﺍﻟﻠﻐﻮﻱ ﻟﻠﻨﺺ‪ .‬ﻭﻣﺎ ﻳﻬﻤﻨﺎ ﰲ ﻫﺬﺍ ﺍﳌﻘﺎﻡ‪ ،‬ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﻋﻼﻗﺔ‬
‫ﺍﻹﻋﻼﻣﻴﺔ ﺑﺎﻟﺘﺪﻗﻴﻖ ﺍﻟﻠﻐﻮﻱ ﻟﻠﻨﺺ‪ .‬ﻓﻘﺪ ﺃﻭﺿﺢ ﺃﻥ ﺍﻹﻋﻼﻣﻴﺔ ﺗﺸﲑ ﺇﱃ ﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﱵ ﺗﺴﺨﺪﻡ‬
‫ﻓﻴﻬﺎ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﻠﻐﻮﻳﺔ ﻟﺘﻘﺪﱘ ﺍﳌﻌﻠﻮﻣﺎﺕ ﰲ ﺍﻟﻨﺺ‪ .‬ﻓﻤﻦ ﺍﳌﺘﻌﺎﺭﻑ ﻋﻠﻴﻪ ﺃﻥ ﻛﻞ ﺃﻧﻮﺍﻉ‬
‫ﺍﳌﻌﻠﻮﻣﺎﺕ ﻻ ﻳﺘﻮﺍﻓﺮ ﻓﻴﻬﺎ ﺍﻟﻘﺪﺭ ﻧﻔﺴﻪ ﻣﻦ ﺍﻹﻋﻼﻣﻴﺔ‪ .‬ﻭﻣﻦ ﰒ ﻳﻘﻊ ﺍﻟﻌﺐﺀ ﻋﻠﻰ ﺍﳌﺪﻗﻖ ﺍﻟﻠﻐﻮﻱ‬
‫ﲝﻴﺚ ﻳﺘﻮﱃ ﻋﻤﻠﻴﺔ ﺍﻟﻨﻘﻞ ﺍﻟﻔﺎﻋﻞ ﻟﻠﻤﻌﻠﻮﻣﺎﺕ ﰲ ﺍﻟﻨﺺ‪ ،‬ﻭﺫﻟﻚ ﲞﻠﻖ ﺗﻮﺍﺯﻥ ﺑﲔ ﺍﳌﻌﻠﻮﻣﺎﺕ‬

‫‪ ١٧‬ﺍﻧﻈﺮ‪ :‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ ‪.١٥٩‬‬

‫‪ ١٨‬ﺍﻧﻈﺮ‪ :‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ ‪.١٦٠‬‬
‫‪ ١٩‬ﺍﻧﻈﺮ‪ :‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ ‪. ١٦١‬‬
‫‪٢٠‬‬
‫ﺍﻧﻈﺮ‪Cartens, Wam, Text linguistics and Text Editing, (http://www.webhost.ua.ac.be) p ١٩-٢٩. :‬‬

‫‪٩‬‬
‫ﺍﳌﻌﺮﻭﻓﺔ ﺳﻠﻔﹰﺎ ﻭﺍﳌﻌﻠﻮﻣﺎﺕ ﺍﳉﺪﻳﺪﺓ‪ ،‬ﺍﻷﻣﺮ ﺍﻟﺬﻱ ﳛﻘﻖ ﻣﻘﺮﻭﺋﻴﺔ ﺍﻟﻨﺺ ﻭﳚﻌﻠﻪ ﳑﺘﻌﹰﺎ‪ .‬ﻓﺈﺫﺍ ﺟ‪‬ﻮﺑﻪ‬
‫ﺍﳌﺪﻗﻖ ﺍﻟﻠﻐﻮﻱ ﺑﻨﺺ ﻳﻔﺘﻘﺮ ﺇﱃ ﺍﻹﻋﻼﻣﻴﺔ‪ ،‬ﻓﻌﻠﻴﻪ ﺃﻥ ﳚﱪ ﻛﺴﺮﻩ ﺩﻭﻥ ﺍﳌﺴﺎﺱ ﲜﻮﻫﺮﻩ‪ .‬ﻭﻣﻦ‬
‫ﺍﳌﻌﺮﻭﻑ ﺃﻥ ﺍﻟﻨﺺ ﺍﻟﻌﺎﻃﻞ ﻣﻦ ﻋﻨﺎﺻﺮ ﺍﳉﺪﺓ ﺗﻨﺨﻔﺾ ﺩﺭﺟﺔ ﺇﻋﻼﻣﻴﺘﻪ ﻭﻻ ﳛﻈﻰ ﺑﺎﻫﺘﻤﺎﻡ‬
‫ﺍﳌﺘﻠﻘﻲ‪.‬‬
‫ﻭﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃ ﹼﻥ ﺍﻟﺒﺎﺣﺚ ﻣﻮﺳﻰ ﺭﺑﺎﺑﻌﺔ ﻗﺪﻡ ﺩﺭﺍﺳﺔ ﻣﻌﻨﻮﻧﺔ ﺑـ )ﲨﺎﻟﻴﺎﺕ‬
‫ﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﺘﻠﻘﻲ(‪ ٢١‬ﺃﻭﺿﺢ ﻓﻴﻬﺎ ﺍﻟﺒﺎﺣﺚ ﺃﻥ "ﺍﻟﻘﺎﺭﺉ ﻳﺼﻄﺪﻡ ﻭﻫﻮ ﻳﺘﺎﺑﻊ ﺍﳉﻤﻞ‬
‫ﻭﺍﻟﺼﻔﺤﺎﺕ ﺍﻟﱵ ﻳﻘﺮﺅﻫﺎ ﺑﻌﻨﺎﺻﺮ ﻏﲑ ﻣﺘﻮﻗﻌﺔ‪ ،‬ﻭﻳﺮﺳﻢ ﺍﻟﻘﺎﺭﺉ ﺣﺪﻭﺩ ﺍﳌﺘﻮﻗﻊ ﻭﺍﻟﻼﻣﺘﻮﻗﻊ ﻣﻦ‬
‫ﺧﻼﻝ ﻣﻌﺮﻓﺘﻪ ﻭﺧﱪﺗﻪ‪ ،‬ﻭﻟﻜﻦ ﺍﻟﺬﻱ ﻳﺜﲑﻩ ﻫﻮ ﺃﻥ ﻳﺘﺼﺎﺩﻡ ﻣﻊ ﺗﺮﻛﻴﺐ ﺃﻭ ﻋﺒﺎﺭﺓ ﺃﻭ ﻓﻜﺮﺓ ﺃﻭ‬
‫ﻭﺯﻥ ﺃﻭ ﻓﻀﺎﺀ ﻧﺼﻲ ﻻ ﻳﺘﻄﺎﺑﻖ ﻣﻊ ﻣﻌﺮﻓﺘﻪ ﺍﻷﻭﻟﻴﺔ‪ ،‬ﻭﻟﺬﻟﻚ ﻓﺈﻥ ﻫﻨﺎﻙ ﺇﺷﺎﺭﺍﺕ ﻳﺘﻌﺮﺽ ﳍﺎ‬
‫ﻭﻋﻲ ﺍﻟﻘﺎﺭﺉ‪ ،‬ﻭﺇﻥ ﻫﺬﻩ ﺍﻹﺷﺎﺭﺍﺕ ﻫﻲ ﺍﻟﱵ ﺗﺴﺘﻄﻴﻊ ﺃﻥ ﺗﻔﺘﺢ ﺃﻣﺎﻣﻪ ﺁﻓﺎﻗﹰﺎ ﻟﻠﺘﻔﺴﲑ‪ ٢٢".‬ﻭﻟﻘﺪ‬
‫ﺍﺧﺘﺎﺭ ﺍﻟﺒﺎﺣﺚ ﺃﺭﺑﻌﺔ ﻋﻨﺎﺻﺮ ﻳﺘﺠﻠﻰ ﻓﻴﻬﺎ ﺍﻟﺘﻔﺎﻋﻞ ﺑﲔ ﺍﻟﻘﺎﺭﺉ ﻭﺍﻟﻨﺺ ﻣﻦ ﻣﻨﻈﻮﺭ ﺍﻟﻌﻼﻗﺔ ﺑﲔ‬
‫ﺍﳌﺘﻮﻗﻊ ﻭﻏﲑ ﺍﳌﺘﻮﻗﻊ‪ ،‬ﻭﺗﺄﰐ ﻫﺬﻩ ﺍﻟﻌﻨﺎﺻﺮ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﻨﺤﻮ‪:٢٣‬‬
‫‪ -١‬ﺍﻟﺘﻨﺎﺹ‪.‬‬
‫‪ -٢‬ﺍﳊﺬﻑ‪.‬‬
‫‪ -٣‬ﺇﳛﺎﺋﻴﺔ ﺍﻟﻠﻐﺔ‪.‬‬
‫‪ -٤‬ﻟﻐﺔ ﺍﳊﻴﺎﺓ ﺍﻟﻴﻮﻣﻴﺔ‪.‬‬
‫ﻭﺗﺄﺳﻴﺴﹰﺎ ﻋﻠﻰ ﺃﻥ ﺍﻟﻌﻨﺎﺻﺮ ﻏﲑ ﺍﳌﺘﻮﻗﻌﺔ ﰲ ﺍﻟﻨﺺ ﻫﻲ ﻣﻨﺎﻁ ﺍﻫﺘﻤﺎﻡ ﺍﻟﻘﺎﺭﺉ‪ ،‬ﻗ ‪‬ﺪ ‪‬ﻡ ﻋﺒﺪ‬
‫ﻼ ﻣﺼﻄﻠﺤﻲ )ﺍﻷﻟﻔﺔ ‪ /‬ﺍﻟﻐﺮﺍﺑﺔ(‬ ‫ﺍﻟﻔﺘﺎﺡ ﻛﻴﻠﻴﻄﻮ ﺩﺭﺍﺳﺔ ﻋﻨﻮﺍ‪‬ﺎ )ﺍﻷﺩﺏ ﻭﺍﻟﻐﺮﺍﺑﺔ( ‪ ٢٤‬ﻣﺴﺘﻌﻤ ﹰ‬
‫ﺇﺷﺎﺭﺓ ﺇﱃ ﻣﺎ ﺃﻃﻠﻖ ﻋﻠﻴﻪ ﺩﻳﺒﻮﺟﺮﺍﻧﺪ ﻭﺩﺭﻳﺴﻠﺮ )ﺍﻟﻌﻨﺎﺻﺮ ﺍﳌﺘﻮﻗﻌﺔ ‪ /‬ﻭﺍﻟﻌﻨﺎﺻﺮ ﻏﲑ ﺍﳌﺘﻮﻗﻌﺔ(‪،‬‬
‫ﻭﻣﺎ ﺃﻃﻠﻖ ﻋﻠﻴﻪ ﻣﻴﺸﻴﻞ ﺃﻭﺗﺎﻥ )ﻋﻨﺎﺻﺮ ﺍﻟﻴﻘﲔ‪ /‬ﻋﻨﺎﺻﺮ ﺍﻟﺸﻚ(‪ .‬ﻭﺫﻫﺐ ﻛﻴﻠﻴﻄﻮ ﺇﱃ ﺃ ﱠﻥ‬
‫ﺍﻟﺸﻌﻮﺭ ﺑﺎﻟﻐﺮﺍﺑﺔ ﻫﻮ ﻋﻠﺔ ﺍﻟﺘﺄﺛﲑ ﺍﻟﺬﻱ ﻳﻨﺘﺎﺏ ﺍﳌﺘﻠﻘﻲ‪ ،‬ﻭﻻ ﺗﻈﻬﺮ ﺍﻟﻐﺮﺍﺑﺔ ﺇﻻ ﰲ ﺇﻃﺎﺭ ﻣﺎ ﻫﻮ‬

‫‪ ٢١‬ﺍﻧﻈﺮ‪ :‬ﺭﺑﺎﺑﻌﺔ‪ ،‬ﻣﻮﺳﻰ‪ ،‬ﲨﺎﻟﻴﺎﺕ ﺍﻷﺳﻠﻮﺏ ﻭﺍﻟﺘﻠﻘﻲ )ﺍﻷﺭﺩﻥ‪ :‬ﻣﺆﺳﺴﺔ ﲪﺎﺩﺓ ﻟﻠﺪﺭﺍﺳﺎﺕ ﺍﳉﺎﻣﻌﻴﺔ ﻭﺍﻟﻨﺸﺮ ﻭﺍﻟﺘﻮﺯﻳﻊ‪ ،‬ﻁ‪،١‬‬
‫‪٢٠٠٠‬ﻡ( ﺹ ‪.١٢٠-٨٥‬‬
‫‪ ٢٢‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ ‪.٨٨‬‬
‫‪ ٢٣‬ﺍﻧﻈﺮ‪ :‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ ‪.١١٦-٩٥‬‬
‫‪ ٢٤‬ﺍﻧﻈﺮ‪ :‬ﻛﻴﻠﻴﻄﻮ‪ ،‬ﻋﺒﺪ ﺍﻟﻔﺘﺎﺡ‪ ،‬ﺍﻷﺩﺏ ﻭﺍﻟﻐﺮﺍﺑﺔ )ﺑﲑﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻟﻄﻠﻴﻌﺔ‪ ،‬ﻁ ‪١٩٩٧ ،٣‬ﻡ( ﺹ‪.٦٥-٥٤‬‬

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‫ﻣﺄﻟﻮﻑ‪ ،‬ﻓﺎﻟﺸﻲﺀ ﺍﻟﻐﺮﻳﺐ ﻫﻮ ﻣﺎ ﻳﺄﰐ ﻣﻦ ﻣﻨﻄﻘﺔ ﺧﺎﺭﺝ ﻣﻨﻄﻘﺔ ﺍﻷﻟﻔﺔ ﻭﻳﺴﺘﺮﻋﻲ ﺍﻟﻨﻈﺮ‬
‫ﺑﻮﺟﻮﺩﻩ ﺧﺎﺭﺝ ﻣﻘﺮﻩ‪ .‬ﻭﻣﻦ ﰒ‪ ،‬ﻓﻬﻨﺎﻙ ﻋﻼﻗﺔ ﺟﺪﻟﻴﺔ ﺑﲔ ﺍﻷﻟﻔﺔ ﻭﺍﻟﻐﺮﺍﺑﺔ‪ ،‬ﻭﰲ ﻫﺬﻩ ﺍﻟﻌﻼﻗﺔ‬
‫ﻳﻜﻤﻦ ﺳﺮ ﺍﻟﺘﺄﺛﲑ ﺍﻟﺬﻱ ﳛﺪﺛﻪ ﺍﳋﻄﺎﺏ ﺍﻟﺸﻌﺮﻱ‪ .‬ﻭﻗﺪ ﺃﺷﺎﺭ ﺍﻟﺒﺎﺣﺚ ﺇﱃ ﺍﻻﺗﻔﺎﻕ ﺑﲔ ﻭﺟﻬﱴ‬
‫ﻧﻈﺮ ﺃﺭﺳﻄﻮ ﻭﺍﳉﺮﺟﺎﱐ ﺇﺯﺍﺀ ﻫﺬﺍ ﺍﻷﻣﺮ ﺍﻟﺬﻱ ﻳﻌﺪ ﻣﻦ ﺃﻟﺼﻖ ﺍﳋﺼﺎﺋﺺ ﺑﺎﻟﻨﺺ ﺍﻟﺸﻌﺮﻱ‬
‫ﺧﺎﺻ ﹰﺔ‪.‬‬
‫ﻭﰲ ﻣﻌﺮﺽ ﺣﺪﻳﺜﺔ ﻋﻦ ﺍﻻﻧﺰﻳﺎﺡ ‪ Deviation‬ﺃﻭﺿﺢ ﺃﲪﺪ ﳏﻤﺪ ﻭﻳﺲ ﰲ ﲝﺚ ﻟﻪ‬
‫ﺑﻌﻨﻮﺍﻥ )ﳓﻮ ﻣﻌﻴﺎﺭ ﻟﻼﻧﺰﻳﺎﺡ( ﺃﻥ ﺍﻻﻧﺰﻳﺎﺡ ﻫﻮ ﺃﺑﺮﺯ ﻣﺎ ﰲ ﺍﻷﺳﻠﻮﺏ ﻣﻦ ﺧﺼﺎﺋﺺ‪ .‬ﻭﻣﻦ ﰒ‪،‬‬
‫ﺣﺎﻭﻝ ﺍﻟﻜﺸﻒ ﻋﻦ ﻣﻌﻴﺎﺭ ﻟﻪ‪ ،‬ﻓﺄﺷﺎﺭ ﰲ ﺛﻨﺎﻳﺎ ﲝﺜﻪ ﺇﱃ ﺃﻥ ﻋﻠﻤﺎﺀ ﺍﻷﺳﻠﻮﺏ ﻗﺪ ﺃﻓﺎﺩﻭﺍ ﻣﻦ‬
‫ﻧﻈﺮﻳﺔ ﺍﻹﻋﻼﻡ ﺍﻟﱵ ﺍﻧﺒﺜﻘﺖ ﰲ ﲬﺴﻴﻨﻴﺎﺕ ﺍﻟﻘﺮﻥ ﺍﻟﻌﺸﺮﻳﻦ‪ ،‬ﻭﻭﺟﺪ ﻋﻠﻤﺎﺀ ﺍﻷﺳﻠﻮﺏ ﻓﻴﻬﺎ ﻣﺎ‬
‫ﳝﻜﻦ ﺃﻥ ﻳﺴﺎﻋﺪ ﻋﻠﻰ ﲢﺪﻳﺪ ﺍﻻﻧﺰﻳﺎﺡ‪ ،‬ﻭﺫﻟﻚ ﰲ ﺿﻮﺀ ﻣﻔﻬﻮﻡ ﺍﳊﺸﻮ ‪ Redundancy‬ﺍﻟﺬﻱ‬
‫ﺍﺳﺘﻌﺎﺭﺗﻪ ﻫﺬﻩ ﺍﻟﻨﻈﺮﻳﺔ ﻣﻦ ﺍﻟﺒﻼﻏﺔ – ﻛﻤﺎ ﺫﻛﺮﻩ ﻛﻮﻫﻦ ‪ -‬ﻭﻟﻜﻨﻬﺎ ﻋﻨﺪﻣﺎ ﺍﺳﺘﻌﺎﺭﺗﻪ ﻭﲰﺘﻪ‬
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‫ﺑﺎﻻﺑﺘﺬﺍﻝ‪.‬‬
‫ﻭﺧﻠﺺ ﺍﻟﺒﺎﺣﺚ – ﰲ ﻫﺬﺍ ﺍﻟﺼﺪﺩ ‪ -‬ﺇﱃ "ﺃ ﱠﻥ ﲦﺔ ﻋﻼﻗﺔ ﻋﻜﺴﻴﺔ –ﺇﻥ ﺻﺢ ﺍﻟﺘﻌﺒﲑ‪-‬‬
‫ﺑﲔ ﺍﻟﺘﻮﻗﻊ ﻣﻦ ﺟﻬﺔ‪ ،‬ﻭﺑﲔ ﺍﳌﻔﺎﺟﺄﺓ ﺍﻟﱵ ﳛﺪﺛﻬﺎ ﻣﺎ ﻫﻮ ﻏﲑ ﻣﺘﻮﻗﻊ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ‪ ،‬ﻓﺈﺫﺍ‬
‫ﺖ ﻧﺴﺒﺔ ﺍﳌﻔﺎﺟﺄﺓ ﻭﻣﻦ ﰒ ﻧﺴﺒﺔ ﺍﻻﻧﺘﺒﺎﻩ‪ .‬ﻭﻫﺬﻩ ﻧﺘﻴﺠﺔ ﻭﺛﻴﻘﺔ ﺍﻟﺼﻠﺔ‬ ‫ﺯﺍﺩﺕ ﻧﺴﺒﺔ ﺍﻟﺘﻮﻗﻊ ﻗﱠﻠ ‪‬‬
‫ﺑﺎﻻﻧﺰﻳﺎﺡ‪ ،‬ﻷﻥ ﻛﻞ ﺍﻧﺰﻳﺎﺡ ﻓﺈﳕﺎ ﻫﻮ ﺍﻧﺰﻳﺎﺡ ﲟﺎ ﳛﻘﻘﻪ ﻣﻦ ﻣﻔﺎﺟﺄﺓ‪ ٢٦"...‬ﺗﺴﺘﻮﻗﻒ ﺍﳌﺘﻠﻘﻲ‬
‫ﻭﺗﺜﲑ ﻓﻀﻮﻟﻪ ﻭﺗﺴﺘﺤﺜﻪ ﻋﻠﻰ ﺍﻟﻮﻗﻮﻑ ﻋﻠﻰ ﺍﻟﻘﻴﻢ ﺍﳉﻤﺎﻟﻴﺔ ﻟﻼﻧﺰﻳﺎﺡ ﻭﺭﺑﻂ ﺫﻟﻚ ﲟﻘﺼﻮﺩ ﻣﻨﺘﺞ‬
‫ﺍﻟﻨﺺ‪.‬‬
‫ﻭﻓﻴﻤﺎ ﻳﺘﻌﻠﻖ ﺑﺎﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﺘﺮﺍﺛﻴﺔ‪ ،‬ﻓﺈﻧﻪ ﻳﺄﰐ ﰲ ﻣﻘﺪﻣﺘﻬﺎ ﻛﺘﺎﺑﺎ ﻋﺒﺪ ﺍﻟﻘﺎﻫﺮ‬
‫ﺍﳉﺮﺟﺎﱐ )ﺃﺳﺮﺍﺭ ﺍﻟﺒﻼﻏﺔ( ﻭ)ﺩﻻﺋﻞ ﺍﻹﻋﺠﺎﺯ( ﺣﻴﺚ ﺃﺑﺮﺯ ﺍﳉﻮﺍﻧﺐ ﺍﻟﺪﻻﻟﻴﺔ ﻟﻠﻨﺺ ﳑﺜﻠ ﹰﺔ ﰲ‬
‫ﺍﻟﺘﻤﺜﻴﻞ ﻭﺍﻟﺘﺸﺒﻴﻪ ﻭﺍﻻﺳﺘﻌﺎﺭﺓ‪ ،‬ﻭﺫﻟﻚ ﰲ ﻛﺘﺎﺑﻪ )ﺃﺳﺮﺍﺭ ﺍﻟﺒﻼﻏﺔ( ﺍﻟﺬﻱ ﺃﺭﺩﻓﻪ ﺑـ )ﺩﻻﺋﻞ ﺍﻹﻋﺠﺎﺯ(‬
‫ﻣﻬﺘﻤﹰﺎ ﻓﻴﻪ ﺑﺎﳉﻮﺍﻧﺐ ﺍﻟﺘﺪﺍﻭﻟﻴﺔ ﺍﳌﻼﺑﺴﺔ ﻟﻠﻨﺺ‪.‬‬

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‫ﻭﻳﺲ‪ ،‬ﺃﲪﺪ ﳏﻤﺪ‪ ،‬ﳓﻮ ﻣﻌﻴﺎﺭ ﻟﻼﻧﺰﻳﺎﺡ‪ ،‬ﳎﻠﺔ ﺍﳌﻮﻗﻒ ﺍﻷﺩﰊ‪ ،‬ﺩﻣﺸﻖ‪ ،‬ﻉ ‪ ،٣٥٤‬ﺍﻟﺴﻨﺔ ‪١٤٢١ ،٣٠‬ﻫـ‪٢٠٠٠ -‬ﻡ‪،‬‬
‫ﺹ‪.٧٢-٥٩‬‬
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‫ﺍﻧﻈﺮ‪ :‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ‪.٦٨ -٦٧‬‬

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