‫ﳎﻠﺔ ﻣﻘﺎﻟﻴﺪ ـــــــــــــــــــــــــ ﺍﻟﻌﺪﺩ ﺍﻟﺴﺎﺩﺱ‪ /‬ﺟﻮﺍﻥ ‪2014‬‬

‫ﻁﻨﹾﻁﹸﻭ ﹺﺭ ‪‬ﻴ ﹸﺔ"؛‬

‫ﺴﺭ‪ ‬ﺩ ‪‬ﻴ ‪‬ﺘ ‪‬ﻬﺎ "ﺍﻝ ﱠ‬
‫‪‬ﺭﻀ‪ ‬ﻭﻯ‪ ‬ﻋ‪‬ﺎﺸﹸﻭﺭ ﺍﻝ ‪‬ﺭ ‪‬ﻭﺍ ِﺌ ‪‬ﻴ ﹸﺔ ‪‬ﻓﻲ‪ ‬‬
‫ﻲ؛ ‪‬ﻫﻭﻴ‪‬ﺔ ﺍﻹﻨﺴﺎﻥ – ‪‬ﻫﻭﻴ‪‬ﺔ ﺍﻝﻤﻜﺎﻥ‬
‫ﻁﻴ‪ ‬ﻨ ‪‬‬
‫ﻲ ﺍﻝ ‪‬ﻔﹶﻠﺴ‪ ‬‬
‫ﺠﻤ‪ ‬ﻌ ‪‬‬
‫ل ﺍﻝ ‪‬‬
‫ﺠﻭ‪ ‬ﺀ ‪‬ﻓﻲ‪ ‬ﺍﻝ ‪‬ﻤﺨﹾ ‪‬ﻴﺎ ِ‬
‫ﹶﺫﺍ ‪‬ﻜ ‪‬ﺭ ﹸﺓ ﺍﻝﱡﻠ ‪‬‬
‫ﻱ‬
‫ﺴﺭﺩ ‪‬‬
‫ﺴﻴ‪‬ﻤ ‪‬ﻴﺎ ِﺌ ‪‬ﻴ ﹸﺔ ﺍﻝﺨﻁﺎﺏ ﺍﻝ ‪‬‬
‫‪‬‬
‫ﺭﺿﻮﻯ ﻋﺎﺷﻮﺭ ﺍﻟﺮﻭﺍﺋﻴﺔ ﻓﻰ ﺳﺮﺩﻳﺘﻬﺎ "ﺍﻟﻄﻨﻄﻮﺭﻳة"؛ ﺫﺍﻛﺮﺓ ﺍﻟﻠﺠﻮﺀ ﻓﻰ ﺍﻟﻤﺨﻴﺎﻝ ﺍﻟﺠﻤﻌﻰ‬ ‫ﺍﻟﻌﻨﻮﺍﻥ‪:‬‬
‫ﺍﻟﻔﻠﺴﻄﻴﻨﻰ ‪ :‬ﻫﻮﻳﺔ ﺍﻹﻧﺴﺎﻥ ‪ -‬ﻫﻮﻳﺔ ﺍﻟﻤﻜﺎﻥ ﺳﻴﻤﺎﺋﻴﺔ ﺍﻟﺨﻄﺎﺏ ﺍﻟﺴﺮﺩﻯ‬
‫ﻣﺠﻠﺔ ﻣﻘﺎﻟﻴﺪ‬ ‫ﺍﻟﻤﺼﺪﺭ‪:‬‬
‫ﺩ‪ .‬ﺯﻴﻥ ﺍﻝﻌﺎﺒﺩﻴﻥ ﻤﺤﻤﻭﺩ ﺍﻝﻌﻭﺍﻭﺩﺓ‬
‫ﺟﺎﻣﻌﺔ ﻗﺎﺻﺪﻱ ﻣﺮﺑﺎﺡ ‪ -‬ﻭﺭﻗﻠﺔ‬ ‫ﺍﻟﻨﺎﺷﺮ‪:‬‬
‫ﺠﺎﻤﻌﺔ ﺒﻴﺕ ﻝﺤﻡ‪ -‬ﻓﻠﺴﻁﻴﻥ ﺍﻝﻤﺤﺘﻠﹼﺔ‬
‫ﺍﻟﻌﻮﺍﻭﺩﺓ‪ ،‬ﺯﻳﻦ ﺍﻟﻌﺎﺑﺪﻳﻦ ﻣﺤﻤﻮﺩ ﻣﺤﻤﺪ‬ ‫ﺍﻟﻤؤﻟﻒ ﺍﻟﺮﺋﻴﺴﻲ‪:‬‬
‫ﻉ‪6‬‬ ‫ﺍﻟﻤﺠﻠﺪ‪/‬ﺍﻟﻌﺪﺩ‪:‬‬
‫‪Abstract‬‬ ‫ﻧﻌﻢ‬ ‫ﻣﺤﻜﻤﺔ‪:‬‬

‫‪This study aims to reveal the intellectual–technical vision of the 2014‬‬ ‫ﺍﻟﻤﻴﻼﺩﻱ‪Egyptian novelist:‬‬
‫ﺍﻟﺘﺎﺭﻳﺦ ‪Radwa‬‬
‫‪Ashour in her new Novel "Attantoria". The controversy centered on the‬‬ ‫‪87intellectual‬‬
‫‪- 110‬‬ ‫ﺍﻟﺼﻔﺤﺎﺕ‪:‬‬
‫‪identity and the‬‬
‫‪victim question in the Palestinian collective imagination built on the narrative of the refugee memory‬‬
‫‪10.12816/0032463‬‬ ‫‪:DOI‬‬
‫‪and the reality of the sufferings of the refugees in forced exile from their homeland. This is done‬‬
‫‪through the dismantling of the relationship between the structure of the 637528‬‬ ‫ﺭﻗﻢ ‪:MD‬‬
‫‪intellectual author of the text‬‬
‫‪and structure of the narrative in a manner indicative of the significance‬‬ ‫‪of the‬‬
‫ﻭﻣﻘﺎﻻﺕ‬ ‫‪creative experience‬‬
‫ﺑﺤﻮﺙ‬ ‫‪and‬‬
‫ﺍﻟﻤﺤﺘﻮﻯ‪:‬‬ ‫ﻧﻮﻉ‬
‫‪how it relates to the writer's position on the continuing tragedy of Palestinian refugees and their‬‬
‫‪testimony on it.‬‬ ‫‪AraBase‬‬ ‫ﻗﻮﺍﻋﺪ ﺍﻟﻤﻌﻠﻮﻣﺎﺕ‪:‬‬
‫ﺍﻷﺩﻳﺒﺔ ﺍﻟﻤﺼﺮﻳﺔ ﺭﺿﻮﻯ ﻋﺎﺷﻮﺭ ‪ ،‬ﺍﻟﻤﺨﻴﺎﻝ ﺍﻟﺠﻤﻌﻰ ﺍﻟﻔﻠﺴﻄﻴﻨﻰ ‪ ،‬ﺳﻴﻤﺎﺋﻴﺔ ﺍﻟﺨﻄﺎﺏ‬ ‫ﻣﻮﺍﺿﻴﻊ‪:‬‬
‫‪Refuge‬ﺍﻟﻨﻘﺪﻳﺔ ﻭﺍﻷﺩﺑﻴﺔ‬
‫‪Keywords:The‬‬ ‫ﺍﻟﺪﺭﺍﺳﺎﺕ‬ ‫‪Palestinian‬ﻋﺎﺷﻮﺭ ‪،‬‬
‫‪Memory,‬‬ ‫ﺍﻟﻤﺼﺮﻳﺔ ﺭﺿﻮﻯ‬ ‫‪imagination,‬ﻟﻸﺩﻳﺒﺔ‬
‫‪collective‬‬ ‫ﺍﻟﺴﺮﺩﻯ ‪ ،‬ﺍﻟﻄﻨﻄﻮﺭﻳﺔ‬
‫‪The Refuge tragedy, The‬‬
‫‪Palestinian refugees, forced exile, the camp, The homeland, human identity, the identity of the place‬‬
‫‪http://search.mandumah.com/Record/637528‬‬ ‫ﺭﺍﺑﻂ‪:‬‬
‫‪,Palestine, Tantouria .‬‬
‫ﺍﻝﻤﻠﺨﺹ ‪:‬‬
‫ﺘﻬﺩﻑ ﻫﺫﻩ ﺍﻝﺩ‪‬ﺭﺍﺴﺔ ﺇﻝﻰ ﺍﻝﻜﺸﻑ ﻋﻥ ﺍﻝﺭ‪‬ﺅﻴﺔ ﺍﻝﻔﻜﺭﻴ‪‬ﺔ‪-‬ﺍﻝﻔﹼﻨﻴ‪‬ﺔ ﻝﻸﺩﻴﺒﺔ ﺍﻝﻤﺼﺭﻴ‪‬ﺔ ﺭﻀـﻭﻯ ﻋﺎﺸـﻭﺭ ﻓـﻲ ﺭﻭﺍﻴﺘﻬـﺎ ﺍﻷﺨﻴـﺭﺓ‬
‫ﻲ ﺍﻝﻤﺅﺴ‪‬ﺱ ﻋﻠﻰ ﺴﺭﺩ ﺫﺍﻜـﺭﺓ‬
‫ﻲ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﻱ ﻫﺎﺠﺱ ﺍﻝﻬ‪‬ﻭﻴ‪‬ﺔ ﺍﻝﻭﻁﻨﻴ‪‬ﺔ ﻭﺴﺅﺍل ﺍﻝﻀ‪‬ﺤﻴ‪‬ﺔ ﻓﻲ ﺍﻝﻤﺨﻴﺎل ﺍﻝﺠﻤﻌ ‪‬‬
‫"ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ"‪ .‬ﻭﻤﺤﻭﺭﻫﺎ ﺍﻝﻔﻜﺭ ‪‬‬
‫ﺍﻝﻠﹼﺠﻭﺀ ﺍﻝﻤﺤﻤ‪‬ﻠﺔ ﺒﺼﻭﺭ ﻤﻌﺎﻝﻡ ﺍﻷﻤﻜﻨﺔ ﺍﻷﻭﻝﻰ ﻭﺍﻝﺴ‪‬ﻴﺭﺓ ﺍﻝﺤﻴﺎﺘﻴ‪‬ﺔ ﻝﻼﺠﺌﻴﻥ ﻓﻲ ﺒﻠﺩﺍﻨﻬﻡ ﺍﻝﻤﺤﺘﻠﺔ ﻭﺍﻝﻤﺩﻤ‪‬ﺭﺓ‪ ،‬ﻭﺼﻭﺭ ﻋﺫﺍﺒﺎﺘﻬﻡ ﻓـﻲ ﻤﻨﻔـﺎﻫﻡ‬
‫ﺼﻴ‪‬ﺔ ﻝﻠﺴ‪‬ﺭﺩ ﺒﻐﻴﺔ ﺍﻝﺘﹼﻌﺭﻴﻑ ﺒﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺍﻝﺘﹼﺠﺭﺒﺔ ﺍﻹﺒﺩﺍﻋﻴ‪‬ـﺔ‬
‫ﻱ‪ .‬ﻭﺫﻝﻙ ﻋﺒﺭ ﺘﻔﻜﻴﻙ ﺍﻝﻌﻼﻗﺔ ﺒﻴﻥ ﺍﻝﺒﻨﻴﺔ ﺍﻝﻔﻜﺭﻴ‪‬ﺔ ﻝﻠﺫﹼﺍﺕ ﺍﻝﻜﺎﺘﺒﺔ ﻭﺍﻝﺒﻨﻴﺔ ﺍﻝﹼﻨ ‪‬‬
‫ﺍﻝﻘﺴﺭ ‪‬‬
‫ﻭﻤﺩﻯ ﺍﺭﺘﺒﺎﻁﻬﺎ ﺒﺭﻏﺒﺔ ﺍﻝﻜﺎﺘﺒﺔ ﻓﻲ ﺭﺼﺩ ﻤﺄﺴﺎﺓ ﺍﻝﻼﺠﺌﻴﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ ﺍﻝﻤﺴﺘﻤﺭ‪‬ﺓ ﻭﺘﻭﺜﻴﻕ ﺸﻬﺎﺩﺍﺘﻬﻡ ﻋﻠﻴﻬﺎ‪.‬‬

‫ﺍﻝﻜﻠﻤﺎﺕ ﻤﻔﺘﺎﺤﻴ‪‬ﺔ‪ :‬ﺫﺍﻜﺭﺓ ﺍﻝﻠﹼﺠﻭﺀ‪ ،‬ﺍﻝﻤﺨﻴﺎل ﺍﻝﺠﻤﻌ ‪‬‬

‫ﻲ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ‪ ،‬ﻤﺄﺴﺎﺓ ﺍﻝﻠﹼﺠﻭﺀ‪ ،‬ﺍﻝﻼﺠﺊ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ‪ ،‬ﻫ‪‬ﻭﻴ‪‬ﺔ ﺍﻝﻤﻜﺎﻥ‪ ،‬ﻫ‪‬ﻭﻴ‪‬ـﺔ ﺍﻹﻨﺴـﺎﻥ‪،‬‬
‫ﺍﻝﻤﻨﻔﻰ ﺍﻝﻘﺴﺭﻱ‪ ،‬ﺍﻝﻤﺨﻴ‪‬ﻡ‪ ،‬ﺍﻝﻭﻁﻥ‪ ،‬ﻓﻠﺴﻁﻴﻥ‪ ،‬ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ‪.‬‬

‫© ‪ 2023‬ﺍﻟﻤﻨﻈﻮﻣﺔ‪ .‬ﺟﻤﻴﻊ ﺍﻟﺤﻘﻮﻕ ﻣﺤﻔﻮﻇﺔ‪.‬‬

‫ﻫﺬﻩ ﺍﻟﻤﺎﺩﺓ ﻣﺘﺎﺣﺔ ﺑﻨﺎﺀ ﻋﻠﻰ ﺍﻹﺗﻔﺎﻕ ﺍﻟﻤﻮﻗﻊ ﻣﻊ ﺃﺻﺤﺎﺏ ﺣﻘﻮﻕ ﺍﻟﻨﺸﺮ‪ ،‬ﻋﻠﻤﺎ ﺃﻥ ﺟﻤﻴﻊ ﺣﻘﻮﻕ ﺍﻟﻨﺸﺮ ﻣﺤﻔﻮﻇﺔ‪ .‬ﻳﻤﻜﻨﻚ ﺗﺤﻤﻴﻞ ﺃﻭ ﻃﺒﺎﻋﺔ ﻫﺬﻩ ﺍﻟﻤﺎﺩﺓ ﻟﻼﺳﺘﺨﺪﺍﻡ‬
‫ﺍﻟﺸﺨﺼﻲ ﻓﻘﻂ‪ ،‬ﻭﻳﻤﻨﻊ ﺍﻟﻨﺴﺦ ﺃﻭ ﺍﻟﺘﺤﻮﻳﻞ ﺃﻭ ﺍﻟﻨﺸﺮ ﻋﺒﺮ ﺃﻱ ﻭﺳﻴﻠﺔ )ﻣﺜﻞ ﻣﻮﺍﻗﻊ ﺍﻻﻧﺘﺮﻧﺖ ﺃﻭ ﺍﻟﺒﺮﻳﺪ ﺍﻻﻟﻜﺘﺮﻭﻧﻲ( ﺩﻭﻥ ﺗﺼﺮﻳﺢ ﺧﻄﻲ ﻣﻦ ﺃﺻﺤﺎﺏ ﺣﻘﻮﻕ ﺍﻟﻨﺸﺮ ﺃﻭ‬
‫ﺍﻟﻤﻨﻈﻮﻣﺔ‪.‬‬

‫‪87‬‬
 ‫ﳎﻠﺔ ﻣﻘﺎﻟﻴﺪ ـــــــــــــــــــــــــ ﺍﻟﻌﺪﺩ ﺍﻟﺴﺎﺩﺱ‪ /‬ﺟﻮﺍﻥ ‪2014‬‬

‫ﻁﻨﹾﻁﹸﻭ ﹺﺭ ‪‬ﻴ ﹸﺔ"؛‬

‫ﺴﺭ‪ ‬ﺩ ‪‬ﻴ ‪‬ﺘ ‪‬ﻬﺎ "ﺍﻝ ﱠ‬
‫‪‬ﺭﻀ‪ ‬ﻭﻯ‪ ‬ﻋ‪‬ﺎﺸﹸﻭﺭ ﺍﻝ ‪‬ﺭ ‪‬ﻭﺍ ِﺌ ‪‬ﻴ ﹸﺔ ‪‬ﻓﻲ‪ ‬‬
‫ﻲ؛ ‪‬ﻫﻭﻴ‪‬ﺔ ﺍﻹﻨﺴﺎﻥ – ‪‬ﻫﻭﻴ‪‬ﺔ ﺍﻝﻤﻜﺎﻥ‬
‫ﻁﻴ‪ ‬ﻨ ‪‬‬
‫ﻲ ﺍﻝ ‪‬ﻔﹶﻠﺴ‪ ‬‬
‫ﺠﻤ‪ ‬ﻌ ‪‬‬
‫ل ﺍﻝ ‪‬‬
‫ﺠﻭ‪ ‬ﺀ ‪‬ﻓﻲ‪ ‬ﺍﻝ ‪‬ﻤﺨﹾ ‪‬ﻴﺎ ِ‬
‫ﹶﺫﺍ ‪‬ﻜ ‪‬ﺭ ﹸﺓ ﺍﻝﱡﻠ ‪‬‬
‫ﻱ‬
‫ﺴﺭﺩ ‪‬‬
‫ﺴﻴ‪‬ﻤ ‪‬ﻴﺎ ِﺌ ‪‬ﻴ ﹸﺔ ﺍﻝﺨﻁﺎﺏ ﺍﻝ ‪‬‬
‫‪‬‬
‫ﻟﻺﺳﺘﺸﻬﺎﺩ ﺑﻬﺬﺍ ﺍﻟﺒﺤﺚ ﻗﻢ ﺑﻨﺴﺦ ﺍﻟﺒﻴﺎﻧﺎﺕ ﺍﻟﺘﺎﻟﻴﺔ ﺣﺴﺐ ﺇﺳﻠﻮﺏ ﺍﻹﺳﺘﺸﻬﺎﺩ ﺍﻟﻤﻄﻠﻮﺏ‪:‬‬

‫ﺇﺳﻠﻮﺏ ‪APA‬‬
‫ﺫﺍﻛﺮﺓ‬ ‫"ﺍﻟﻄﻨﻄﻮﺭﻳة"؛‬
‫ﺍﻝﻌﻭﺍﻭﺩﺓ‬ ‫ﺳﺮﺩﻳﺘﻬﺎ‬
‫ﺍﻝﻌﺎﺒﺩﻴﻥ ﻤﺤﻤﻭﺩ‬ ‫ﻓﻰ‪ .‬ﺯﻴﻥ‬
‫ﺍﻟﻌﻮﺍﻭﺩﺓ‪ ،‬ﺯﻳﻦ ﺍﻟﻌﺎﺑﺪﻳﻦ ﻣﺤﻤﻮﺩ ﻣﺤﻤﺪ‪ .(2014) .‬ﺭﺿﻮﻯ ﻋﺎﺷﻮﺭ ﺍﻟﺮﻭﺍﺋﻴﺔ ﺩ‬
‫ﺍﻟﻠﺠﻮﺀ ﻓﻰ ﺍﻟﻤﺨﻴﺎﻝ ﺍﻟﺠﻤﻌﻰ ﺍﻟﻔﻠﺴﻄﻴﻨﻰ‪ :‬ﻫﻮﻳﺔ ﺍﻹﻧﺴﺎﻥ ‪ -‬ﻫﻮﻳﺔ ﺍﻟﻤﻜﺎﻥ ﺳﻴﻤﺎﺋﻴﺔ ﺍﻟﺨﻄﺎﺏ ﺍﻟﺴﺮﺩﻯ‪.‬ﻣﺠﻠﺔ‬
‫‪637528/Record/com.mandumah.search//:http‬ﻓﻠﺴﻁﻴﻥ ﺍﻝﻤﺤﺘﻠﹼﺔ‬
‫ﺠﺎﻤﻌﺔ ﺒﻴﺕ ﻝﺤﻡ‪-‬‬ ‫ﻣﻘﺎﻟﻴﺪ‪ ،‬ﻉ‪ .110 - 87 ،6‬ﻣﺴﺘﺮﺟﻊ ﻣﻦ‬
‫ﺇﺳﻠﻮﺏ ‪MLA‬‬
‫ﺍﻟﻌﻮﺍﻭﺩﺓ‪ ،‬ﺯﻳﻦ ﺍﻟﻌﺎﺑﺪﻳﻦ ﻣﺤﻤﻮﺩ ﻣﺤﻤﺪ‪" .‬ﺭﺿﻮﻯ ﻋﺎﺷﻮﺭ ﺍﻟﺮﻭﺍﺋﻴﺔ ﻓﻰ ﺳﺮﺩﻳﺘﻬﺎ "ﺍﻟﻄﻨﻄﻮﺭﻳة"؛ ﺫﺍﻛﺮﺓ ﺍﻟﻠﺠﻮﺀ ﻓﻰ‬
‫ﺍﻟﻤﺨﻴﺎﻝ ﺍﻟﺠﻤﻌﻰ ﺍﻟﻔﻠﺴﻄﻴﻨﻰ‪ :‬ﻫﻮﻳﺔ ﺍﻹﻧﺴﺎﻥ ‪ -‬ﻫﻮﻳﺔ ﺍﻟﻤﻜﺎﻥ ﺳﻴﻤﺎﺋﻴﺔ ﺍﻟﺨﻄﺎﺏ ﺍﻟﺴﺮﺩﻯ‪".‬ﻣﺠﻠﺔ ﻣﻘﺎﻟﻴﺪﻉ‪6‬‬
‫‪Abstract‬‬
‫)‪ .110 - 87 :(2014‬ﻣﺴﺘﺮﺟﻊ ﻣﻦ ‪637528/Record/com.mandumah.search//:http‬‬
‫‪This study aims to reveal the intellectual–technical vision of the Egyptian novelist Radwa‬‬
‫‪Ashour in her new Novel "Attantoria". The controversy centered on the intellectual identity and the‬‬
‫‪victim question in the Palestinian collective imagination built on the narrative of the refugee memory‬‬
‫‪and the reality of the sufferings of the refugees in forced exile from their homeland. This is done‬‬
‫‪through the dismantling of the relationship between the structure of the intellectual author of the text‬‬
‫‪and structure of the narrative in a manner indicative of the significance of the creative experience and‬‬
‫‪how it relates to the writer's position on the continuing tragedy of Palestinian refugees and their‬‬
‫‪testimony on it.‬‬

‫‪Keywords:The Refuge Memory, Palestinian collective imagination, The Refuge tragedy, The‬‬
‫‪Palestinian refugees, forced exile, the camp, The homeland, human identity, the identity of the place‬‬
‫‪,Palestine, Tantouria .‬‬
‫ﺍﻝﻤﻠﺨﺹ ‪:‬‬
‫ﺘﻬﺩﻑ ﻫﺫﻩ ﺍﻝﺩ‪‬ﺭﺍﺴﺔ ﺇﻝﻰ ﺍﻝﻜﺸﻑ ﻋﻥ ﺍﻝﺭ‪‬ﺅﻴﺔ ﺍﻝﻔﻜﺭﻴ‪‬ﺔ‪-‬ﺍﻝﻔﹼﻨﻴ‪‬ﺔ ﻝﻸﺩﻴﺒﺔ ﺍﻝﻤﺼﺭﻴ‪‬ﺔ ﺭﻀـﻭﻯ ﻋﺎﺸـﻭﺭ ﻓـﻲ ﺭﻭﺍﻴﺘﻬـﺎ ﺍﻷﺨﻴـﺭﺓ‬
‫ﻲ ﺍﻝﻤﺅﺴ‪‬ﺱ ﻋﻠﻰ ﺴﺭﺩ ﺫﺍﻜـﺭﺓ‬
‫ﻲ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﻱ ﻫﺎﺠﺱ ﺍﻝﻬ‪‬ﻭﻴ‪‬ﺔ ﺍﻝﻭﻁﻨﻴ‪‬ﺔ ﻭﺴﺅﺍل ﺍﻝﻀ‪‬ﺤﻴ‪‬ﺔ ﻓﻲ ﺍﻝﻤﺨﻴﺎل ﺍﻝﺠﻤﻌ ‪‬‬
‫"ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ"‪ .‬ﻭﻤﺤﻭﺭﻫﺎ ﺍﻝﻔﻜﺭ ‪‬‬
‫ﺍﻝﻠﹼﺠﻭﺀ ﺍﻝﻤﺤﻤ‪‬ﻠﺔ ﺒﺼﻭﺭ ﻤﻌﺎﻝﻡ ﺍﻷﻤﻜﻨﺔ ﺍﻷﻭﻝﻰ ﻭﺍﻝﺴ‪‬ﻴﺭﺓ ﺍﻝﺤﻴﺎﺘﻴ‪‬ﺔ ﻝﻼﺠﺌﻴﻥ ﻓﻲ ﺒﻠﺩﺍﻨﻬﻡ ﺍﻝﻤﺤﺘﻠﺔ ﻭﺍﻝﻤﺩﻤ‪‬ﺭﺓ‪ ،‬ﻭﺼﻭﺭ ﻋﺫﺍﺒﺎﺘﻬﻡ ﻓـﻲ ﻤﻨﻔـﺎﻫﻡ‬
‫ﺼﻴ‪‬ﺔ ﻝﻠﺴ‪‬ﺭﺩ ﺒﻐﻴﺔ ﺍﻝﺘﹼﻌﺭﻴﻑ ﺒﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺍﻝﺘﹼﺠﺭﺒﺔ ﺍﻹﺒﺩﺍﻋﻴ‪‬ـﺔ‬
‫ﻱ‪ .‬ﻭﺫﻝﻙ ﻋﺒﺭ ﺘﻔﻜﻴﻙ ﺍﻝﻌﻼﻗﺔ ﺒﻴﻥ ﺍﻝﺒﻨﻴﺔ ﺍﻝﻔﻜﺭﻴ‪‬ﺔ ﻝﻠﺫﹼﺍﺕ ﺍﻝﻜﺎﺘﺒﺔ ﻭﺍﻝﺒﻨﻴﺔ ﺍﻝﹼﻨ ‪‬‬
‫ﺍﻝﻘﺴﺭ ‪‬‬
‫ﻭﻤﺩﻯ ﺍﺭﺘﺒﺎﻁﻬﺎ ﺒﺭﻏﺒﺔ ﺍﻝﻜﺎﺘﺒﺔ ﻓﻲ ﺭﺼﺩ ﻤﺄﺴﺎﺓ ﺍﻝﻼﺠﺌﻴﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ ﺍﻝﻤﺴﺘﻤﺭ‪‬ﺓ ﻭﺘﻭﺜﻴﻕ ﺸﻬﺎﺩﺍﺘﻬﻡ ﻋﻠﻴﻬﺎ‪.‬‬

‫ﺍﻝﻜﻠﻤﺎﺕ ﻤﻔﺘﺎﺤﻴ‪‬ﺔ‪ :‬ﺫﺍﻜﺭﺓ ﺍﻝﻠﹼﺠﻭﺀ‪ ،‬ﺍﻝﻤﺨﻴﺎل ﺍﻝﺠﻤﻌ ‪‬‬

‫ﻲ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ‪ ،‬ﻤﺄﺴﺎﺓ ﺍﻝﻠﹼﺠﻭﺀ‪ ،‬ﺍﻝﻼﺠﺊ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ‪ ،‬ﻫ‪‬ﻭﻴ‪‬ﺔ ﺍﻝﻤﻜﺎﻥ‪ ،‬ﻫ‪‬ﻭﻴ‪‬ـﺔ ﺍﻹﻨﺴـﺎﻥ‪،‬‬
‫ﺍﻝﻤﻨﻔﻰ ﺍﻝﻘﺴﺭﻱ‪ ،‬ﺍﻝﻤﺨﻴ‪‬ﻡ‪ ،‬ﺍﻝﻭﻁﻥ‪ ،‬ﻓﻠﺴﻁﻴﻥ‪ ،‬ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ‪.‬‬

‫© ‪ 2023‬ﺍﻟﻤﻨﻈﻮﻣﺔ‪ .‬ﺟﻤﻴﻊ ﺍﻟﺤﻘﻮﻕ ﻣﺤﻔﻮﻇﺔ‪.‬‬

‫ﻫﺬﻩ ﺍﻟﻤﺎﺩﺓ ﻣﺘﺎﺣﺔ ﺑﻨﺎﺀ ﻋﻠﻰ ﺍﻹﺗﻔﺎﻕ ﺍﻟﻤﻮﻗﻊ ﻣﻊ ﺃﺻﺤﺎﺏ ﺣﻘﻮﻕ ﺍﻟﻨﺸﺮ‪ ،‬ﻋﻠﻤﺎ ﺃﻥ ﺟﻤﻴﻊ ﺣﻘﻮﻕ ﺍﻟﻨﺸﺮ ﻣﺤﻔﻮﻇﺔ‪ .‬ﻳﻤﻜﻨﻚ ﺗﺤﻤﻴﻞ ﺃﻭ ﻃﺒﺎﻋﺔ ﻫﺬﻩ ﺍﻟﻤﺎﺩﺓ ﻟﻼﺳﺘﺨﺪﺍﻡ‬
‫ﺍﻟﺸﺨﺼﻲ ﻓﻘﻂ‪ ،‬ﻭﻳﻤﻨﻊ ﺍﻟﻨﺴﺦ ﺃﻭ ﺍﻟﺘﺤﻮﻳﻞ ﺃﻭ ﺍﻟﻨﺸﺮ ﻋﺒﺮ ﺃﻱ ﻭﺳﻴﻠﺔ )ﻣﺜﻞ ﻣﻮﺍﻗﻊ ﺍﻻﻧﺘﺮﻧﺖ ﺃﻭ ﺍﻟﺒﺮﻳﺪ ﺍﻻﻟﻜﺘﺮﻭﻧﻲ( ﺩﻭﻥ ﺗﺼﺮﻳﺢ ﺧﻄﻲ ﻣﻦ ﺃﺻﺤﺎﺏ ﺣﻘﻮﻕ ﺍﻟﻨﺸﺮ ﺃﻭ‬
‫ﺍﻟﻤﻨﻈﻮﻣﺔ‪.‬‬

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 2014 ‫ ﺟﻮﺍﻥ‬/‫ﳎﻠﺔ ﻣﻘﺎﻟﻴﺪ ـــــــــــــــــــــــــ ﺍﻟﻌﺪﺩ ﺍﻟﺴﺎﺩﺱ‬

‫ﻴ ﹸﺔ"؛‬ ‫ﻁﻨﹾﻁﹸﻭ ﹺﺭ‬

‫ﻬﺎ "ﺍﻝ ﱠ‬ ‫ﺘ‬ ‫ﻴ‬ ‫ﺩ‬ ‫ﺴﺭ‬
 ‫ﻓﻲ‬ ‫ﻴ ﹸﺔ‬ ‫ﻭﺍ ِﺌ‬ ‫ﺭ‬ ‫ﺎﺸﹸﻭﺭ ﺍﻝ‬‫ ﻋ‬‫ﻭﻯ‬ ‫ﺭﻀ‬
‫ﺔ ﺍﻝﻤﻜﺎﻥ‬‫ﻫﻭﻴ‬ – ‫ﺔ ﺍﻹﻨﺴﺎﻥ‬‫ﻫﻭﻴ‬ ‫ﻲ؛‬
 ‫ﻨ‬ ‫ﻁﻴ‬
 ‫ﻔﹶﻠﺴ‬ ‫ﻲ ﺍﻝ‬
 ‫ﻌ‬ ‫ﺠﻤ‬
 ‫ل ﺍﻝ‬
ِ ‫ﻴﺎ‬ ‫ﻤﺨﹾ‬ ‫ ﺍﻝ‬‫ﻓﻲ‬ ‫ﺀ‬ ‫ﺠﻭ‬
 ‫ﺭ ﹸﺓ ﺍﻝﱡﻠ‬ ‫ﻜ‬ ‫ﹶﺫﺍ‬
‫ﻱ‬
 ‫ﺴﺭﺩ‬
 ‫ﻴ ﹸﺔ ﺍﻝﺨﻁﺎﺏ ﺍﻝ‬ ‫ﻴﺎ ِﺌ‬ ‫ﻤ‬‫ﺴﻴ‬


‫ ﺯﻴﻥ ﺍﻝﻌﺎﺒﺩﻴﻥ ﻤﺤﻤﻭﺩ ﺍﻝﻌﻭﺍﻭﺩﺓ‬.‫ﺩ‬

‫ ﻓﻠﺴﻁﻴﻥ ﺍﻝﻤﺤﺘﻠﹼﺔ‬-‫ﺠﺎﻤﻌﺔ ﺒﻴﺕ ﻝﺤﻡ‬

Abstract

This study aims to reveal the intellectual–technical vision of the Egyptian novelist Radwa
Ashour in her new Novel "Attantoria". The controversy centered on the intellectual identity and the
victim question in the Palestinian collective imagination built on the narrative of the refugee memory
and the reality of the sufferings of the refugees in forced exile from their homeland. This is done
through the dismantling of the relationship between the structure of the intellectual author of the text
and structure of the narrative in a manner indicative of the significance of the creative experience and
how it relates to the writer's position on the continuing tragedy of Palestinian refugees and their
testimony on it.

Keywords:The Refuge Memory, Palestinian collective imagination, The Refuge tragedy, The
Palestinian refugees, forced exile, the camp, The homeland, human identity, the identity of the place
,Palestine, Tantouria .
: ‫ﺍﻝﻤﻠﺨﺹ‬
‫ﺔ ﺭﻀـﻭﻯ ﻋﺎﺸـﻭﺭ ﻓـﻲ ﺭﻭﺍﻴﺘﻬـﺎ ﺍﻷﺨﻴـﺭﺓ‬‫ﺔ ﻝﻸﺩﻴﺒﺔ ﺍﻝﻤﺼﺭﻴ‬‫ﺍﻝﻔﹼﻨﻴ‬-‫ﺔ‬‫ﺅﻴﺔ ﺍﻝﻔﻜﺭﻴ‬‫ﺭﺍﺴﺔ ﺇﻝﻰ ﺍﻝﻜﺸﻑ ﻋﻥ ﺍﻝﺭ‬‫ﺘﻬﺩﻑ ﻫﺫﻩ ﺍﻝﺩ‬
‫ﺱ ﻋﻠﻰ ﺴﺭﺩ ﺫﺍﻜـﺭﺓ‬‫ﻲ ﺍﻝﻤﺅﺴ‬
 ‫ﻲ ﺍﻝﻔﻠﺴﻁﻴﻨ‬
 ‫ﺔ ﻓﻲ ﺍﻝﻤﺨﻴﺎل ﺍﻝﺠﻤﻌ‬‫ﺤﻴ‬‫ﺔ ﻭﺴﺅﺍل ﺍﻝﻀ‬‫ﺔ ﺍﻝﻭﻁﻨﻴ‬‫ﻭﻴ‬‫ﻱ ﻫﺎﺠﺱ ﺍﻝﻬ‬
 ‫ ﻭﻤﺤﻭﺭﻫﺎ ﺍﻝﻔﻜﺭ‬."‫ﺔ‬‫"ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‬
‫ ﻭﺼﻭﺭ ﻋﺫﺍﺒﺎﺘﻬﻡ ﻓـﻲ ﻤﻨﻔـﺎﻫﻡ‬،‫ﺭﺓ‬‫ﺔ ﻝﻼﺠﺌﻴﻥ ﻓﻲ ﺒﻠﺩﺍﻨﻬﻡ ﺍﻝﻤﺤﺘﻠﺔ ﻭﺍﻝﻤﺩﻤ‬‫ﻴﺭﺓ ﺍﻝﺤﻴﺎﺘﻴ‬‫ﻠﺔ ﺒﺼﻭﺭ ﻤﻌﺎﻝﻡ ﺍﻷﻤﻜﻨﺔ ﺍﻷﻭﻝﻰ ﻭﺍﻝﺴ‬‫ﺍﻝﻠﹼﺠﻭﺀ ﺍﻝﻤﺤﻤ‬
‫ـﺔ‬‫ﺔ ﺍﻝﺘﹼﺠﺭﺒﺔ ﺍﻹﺒﺩﺍﻋﻴ‬‫ﺭﺩ ﺒﻐﻴﺔ ﺍﻝﺘﹼﻌﺭﻴﻑ ﺒﺴﻴﻤﻴﺎﺌﻴ‬‫ﺔ ﻝﻠﺴ‬‫ﺼﻴ‬
 ‫ﺔ ﻝﻠﺫﹼﺍﺕ ﺍﻝﻜﺎﺘﺒﺔ ﻭﺍﻝﺒﻨﻴﺔ ﺍﻝﹼﻨ‬‫ ﻭﺫﻝﻙ ﻋﺒﺭ ﺘﻔﻜﻴﻙ ﺍﻝﻌﻼﻗﺔ ﺒﻴﻥ ﺍﻝﺒﻨﻴﺔ ﺍﻝﻔﻜﺭﻴ‬.‫ﻱ‬
 ‫ﺍﻝﻘﺴﺭ‬
.‫ﺓ ﻭﺘﻭﺜﻴﻕ ﺸﻬﺎﺩﺍﺘﻬﻡ ﻋﻠﻴﻬﺎ‬‫ﻴﻥ ﺍﻝﻤﺴﺘﻤﺭ‬‫ﻭﻤﺩﻯ ﺍﺭﺘﺒﺎﻁﻬﺎ ﺒﺭﻏﺒﺔ ﺍﻝﻜﺎﺘﺒﺔ ﻓﻲ ﺭﺼﺩ ﻤﺄﺴﺎﺓ ﺍﻝﻼﺠﺌﻴﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‬

 ‫ ﺍﻝﻤﺨﻴﺎل ﺍﻝﺠﻤﻌ‬،‫ ﺫﺍﻜﺭﺓ ﺍﻝﻠﹼﺠﻭﺀ‬:‫ﺔ‬‫ﺍﻝﻜﻠﻤﺎﺕ ﻤﻔﺘﺎﺤﻴ‬

،‫ـﺔ ﺍﻹﻨﺴـﺎﻥ‬‫ﻭﻴ‬‫ ﻫ‬،‫ﺔ ﺍﻝﻤﻜﺎﻥ‬‫ﻭﻴ‬‫ ﻫ‬،‫ ﺍﻝﻼﺠﺊ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ‬،‫ ﻤﺄﺴﺎﺓ ﺍﻝﻠﹼﺠﻭﺀ‬،‫ﻲ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ‬
.‫ﺔ‬‫ ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‬،‫ ﻓﻠﺴﻁﻴﻥ‬،‫ ﺍﻝﻭﻁﻥ‬،‫ﻡ‬‫ ﺍﻝﻤﺨﻴ‬،‫ﺍﻝﻤﻨﻔﻰ ﺍﻝﻘﺴﺭﻱ‬

87
 ‫ﳎﻠﺔ ﻣﻘﺎﻟﻴﺪ ـــــــــــــــــــــــــ ﺍﻟﻌﺪﺩ ﺍﻟﺴﺎﺩﺱ‪ /‬ﺟﻮﺍﻥ ‪2014‬‬
‫ﻤﻘﺩ‪‬ﻤﺔ‪:‬‬
‫ﻲ ﺭﻭﺍﻴﺔ "ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ" ﻝﻠﻜﺎﺘﺒﺔ ﺍﻝﻤﺼﺭﻴ‪‬ﺔ ﺭﻀﻭﻯ ﻋﺎﺸﻭﺭ ﺍﻝﺼ‪‬ﺎﺩﺭﺓ ﻋـﻥ ﺩﺍﺭ‬
‫ﺘﺘﻨﺎﻭل ﻫﺫﻩ ﺍﻝﺩ‪‬ﺭﺍﺴﺔ ﺒﺎﻝﺘﹼﺤﻠﻴل ﺍﻝﺴ‪‬ﻴﻤﻴﺎﺌ ‪‬‬
‫ﻲ‪.‬‬
‫ﻲ ﺍﻝﻔﻠﺴـﻁﻴﻨ ‪‬‬
‫ﻕ ﺍﻝﻌﻭﺩﺓ ﻓﻲ ﺍﻝﻤﺨﻴـﺎل ﺍﻝﺠﻤﻌـ ‪‬‬
‫ﺍﻝﺸﹼﺭﻭﻕ ﻓﻲ ﺍﻝﻘﺎﻫﺭﺓ ﻋﺎﻡ ‪ .2011‬ﻭﻤﻭﻀﻭﻋﻬﺎ ﻫﺎﺠﺱ ﺍﻝ ‪‬ﻬﻭﻴ‪‬ﺔ ﺍﻝﻭﻁﻨﻴ‪‬ﺔ ﻭﺤ ﹼ‬
‫ﻱ ﺍﻝﻤﺴﺘﻤ ‪‬ﺩ ﻤﻥ ﺸﻬﺎﺩﺍﺕ ﺍﻝﻼﺠﺌﻴﻥ ﻋﻠﻰ ﻨﻜﺒﺘﻬﻡ ﺍﻝﻤﺴﺘﻤﺭ‪‬ﺓ‪ .‬ﻭﻴﺄﺘﻲ ﺍﻫﺘﻤﺎﻡ ﺍﻝﻜﺎﺘﺒﺔ‬
‫ﻱ ﺍﻝﺭ‪‬ﺌﻴﺱ ﺘﺎﺭﻴﺦ ﺍﻝﻘﻀﻴ‪‬ﺔ ﺍﻝﺸﹼﻔﻭ ‪‬‬
‫ﻭﻤﺩﺍﺩﻫﺎ ﺍﻝﻔﻜﺭ ‪‬‬
‫ﺒﻬﺫﻩ ﺍﻝﻘﻀﻴ‪‬ﺔ ﻨﺼﺭﺓ ﻝﻘﻀﻴ‪‬ﺔ ﺸﻌﺏ ﻤﻅﻠﻭﻡ ﻤﺼ ‪‬ﺭ ﻋﻠﻰ ﺍﺴﺘﻌﺎﺩﺓ ﻭﻁﻨﻪ ﻭﺍﻝﻌﻭﺩﺓ ﺇﻝﻴﻪ‪ ،‬ﺭﻏﻡ ﻨﺘﺎﺌﺞ ﺍﺘﹼﻔﺎﻗﻴ‪‬ـﺔ ﺃﻭﺴـﻠﻭ ﺍﻝﻤﺘﺨﻁﹼﻴـﺔ‬
‫ﻝﺤﻘﻭﻗﻪ‪.‬‬
‫ﻭﻴﻨﺒﻨﻲ ﺯﻤﻥ ﺍﻝﺴ‪‬ﺭﺩ ﻓﻲ ﺍﻝﺭ‪‬ﻭﺍﻴﺔ ﻋﻠﻰ ﻭﻗﺎﺌﻊ ﻨﻜﺒﺔ ﻋﺎﻡ ‪ 1948‬ﻭﻤﺎ ﺘﻼﻫﺎ ﻭﺘﺭﺘﹼﺏ ﻋﻠﻴﻬﺎ ﻤﻥ ﺃﺤﺩﺍﺙ ﺠﺴﺎﻡ‪ ،‬ﻭﺼـﻭﻻ‬
‫ﻕ ﺭﻭﺍﻴﺔ ﺍﻝﺫﹼﺍﻜﺭﺓ ﺍﻝﻔﻠﺴـﻁﻴﻨﻴ‪‬ﺔ‬ ‫ﺇﻝﻰ ﺍﻝﻌﺎﻡ ‪ 2000‬ﻨﻬﺎﻴﺔ ﺯﻤﻥ ﺍﻝﺴ‪‬ﺭﺩ‪ .‬ﻭﻴﻨﻬﺽ ﺒﻨﻴﺎﻥ ﺍﻝﹼﻨ ‪‬‬
‫ﺹ ﻋﻠﻰ ﺍﺴﺘﺭﺠﺎﻉ ﺍﻝﺫﹼﺍﻜﺭﺓ ‪ ،‬ﻓﻐﺩﺍ ﺒﺤ ﹼ‬
‫ﻲ‪ .‬ﻭﺘﺅﺩ‪‬ﻱ ﻭﻅﺎﺌﻑ‬
‫ﻱ ﻤﻥ ﺍﻝﻔﻜﺭ ﺍﻹﻨﺴﺎﻨ ‪‬‬
‫ﺍﻝﻤﺸﺤﻭﻨﺔ ﺒﻬﺎﺠﺱ ﺍﻝﻌﻭﺩﺓ ﺇﻝﻰ ﺍﻝﻭﻁﻥ‪ .‬ﻓﺎﻝﺫﹼﺍﻜﺭﺓ ﻤﺴﺘﻭﺩﻉ ﺍﻷﻓﻜﺎﺭ‪ ،‬ﻭﻫﻲ ﺠﺯﺀ ﺠﻭﻫﺭ ‪‬‬
‫ﻲ ﻝﺘﺤﻴﻴﻪ‪ .‬ﻭﻭﻅﻴﻔﺔ ﻗﺎﻨﻭﻨﻴ‪‬ﺔ ﺘﺴﻌﻰ ﺇﻝـﻰ ﺍﺴﺘﺤﻀـﺎﺭ ﺃﺨﻁـﺎﺀ‬
‫ﻋﺩﻴﺩﺓ‪،‬ﺃﻫﻤ‪‬ﻬﺎ؛ ﻭﻅﻴﻔﺔ ﺘﺎﺭﻴﺨﻴ‪‬ﺔ ﺘﺭﻴﺩ ﺍﺴﺘﻌﺎﺩﺓ ﺍﻝﻤﺎﻀﻲ ﺍﻝﺘﹼﺎﺭﻴﺨ ‪‬‬
‫ﺍﻝﻤﺎﻀﻲ ﻓﻲ ﻤﺤﺎﻜﻡ ﺍﻝﻘﺎﻨﻭﻥ ﺍﻝ ‪‬ﺩﻭﻝﻴ‪‬ﺔ ﻝﺘﻨﺼﻑ ﺍﻝﺫﻴﻥ ﻅﻠﻤﻭﺍ ﺒﻬﺎ‪ .‬ﻭﺘﺅﺩ‪‬ﻱ ﻭﻅﻴﻔﺔ ﻋﻼﺠﻴ‪‬ﺔ‪ ،‬ﺘﺭﻤﻲ ﺇﻝﻰ ﺘﺨﻔﻴﻑ ﺁﻻﻡ ﻤﻥ ﻋـﺎﻨﻭﺍ‬
‫ﻤﻥ ﺍﻝﻤﺎﻀﻲ ﻓﻲ ﺍﻝﺤﺎﻀﺭ) ﺒﻴﻨﻴﺕ ﻭﺭﻓﻴﻘﺎﻩ‪ .(348-344: 2010 ،‬ﻭﻫﻭ ﻤﺎ ﺍﻀﻁﻠﻌﺕ ﺍﻝﻜﺎﺘﺒﺔ ﺒﺘﺄﺩﻴﺘﻪ ﻓﻲ ﺴﺭﺩﻴ‪‬ﺘﻬﺎ‪.‬‬
‫ﺹ‪ ،‬ﻭﻫﻭ ﺍﻝﻤﻌﺒ‪‬ﺭ ﻋـﻥ ﻤﻭﻗـﻑ ﺍﻝﻼﺠﺌـﻴﻥ ﻤـﻥ‬
‫ﻲ ﻓﻲ ﺍﻝﹼﻨ ‪‬‬
‫ﻭﻴﺴﻌﻰ ﺍﻝﺒﺎﺤﺙ ﺇﻝﻰ ﺍﺴﺘﻘﺭﺍﺀ ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺎﺕ ﺍﻝﺨﻁﺎﺏ ﺍﻝﺭ‪‬ﻭﺍﺌ ‪‬‬
‫ﻲ ﻓﻲ ﺍﻝﻭﻁﻥ ﻭﺘﺤﻘﻴﻕ ﺍﻝﻌـﻭﺩﺓ‬
‫ﻕ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﻗﻀﻴ‪‬ﺘﻬﻡ‪ ،‬ﻭﺍﻝﺒﻨﻴﺔ ﺍﻝﺴ‪‬ﺭﺩﻴ‪‬ﺔ ﻝﻪ‪ .‬ﻭﻴﺘﻤﺤﻭﺭ ﻨﻁﺎﻕ ﺍﻝﺠﺩل ﻓﻴﻪ ﺤﻭل ﺘﻤﻜﻴﻥ ﺭﻭﺍﻴﺔ ﺍﻝﺤ ﹼ‬
‫ﻲ ﻭﺤﻴﺎﺓ ﺃﻫﻠﻪ ﻓﻴﻪ‪ ،‬ﻜﻤﺎ ﻴﺘﻤـﺭﺃﻯ ﻓـﻲ ﻤﺨﻴ‪‬ﻠـﺔ‬
‫ﺇﻝﻴﻪ‪ ،‬ﻭﺭﻓﺽ ﺍﻝﺭ‪‬ﻭﺍﻴﺔ ﺍﻝﻨﹼﻘﻴﻀﺔ‪ .‬ﻭﻗﺩ ﺃﻋﺎﺩﺕ ﺍﻝﻜﺎﺘﺒﺔ ﺼﻴﺎﻏﺔ ﺍﻝﻭﻁﻥ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﺍﻝﻼﺠﺌﻴﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ ﺍﻝﺫﻴﻥ ‪‬ﻫﺠ‪‬ﺭﻭﺍ ﻤﻨﻪ ﻤﻨﺫ ﺨﻤﺴﺔ ﻭﺴﹼﺘﻴﻥ ﻋﺎﻤ‪‬ﺎ‪ ،‬ﻓﺤﻭ‪‬ﻝﺘﻪ ﺇﻝﻰ ﺃﻴﻘﻭﻨﺔ ﺒﺼﺭﻴ‪‬ﺔ‪ .‬ﻭﺍﺴﺘﻌﺎﻨﺕ ﺒﺎﻝ ﹼﺫﺍﻜﺭﺓ ﺍﻝﺠﻤﻌﻴ‪‬ـﺔ‬
‫ﻁﺭﺩﻭﺍ ﻤﻨﻪ‪.‬‬
‫ﻝﺘﺅﻜﹼﺩ ﺇﺠﻤﺎﻉ ﺍﻝﻼﺠﺌﻴﻥ ﻋﻠﻰ ﺼﻭﺭﺓ ﺃﻤﺎﻜﻥ ﺍﻝﺫﹼﺍﻜﺭﺓ ﻓﻴﻪ‪ .‬ﻭﻫﻲ ﺍﻝﻤﺤﻘﹼﻘﺔ ﻝﺼﻭﺭﺘﻪ ﺍﻷﻭﻝﻰ ﺍﻝﺘﻲ ﺘﺭﻜﻭﻩ ﻋﻠﻴﻬﺎ ﻴﻭﻡ ﹸ‬
‫ﻲ‬
‫ﻕ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ ﺍﻝﻤﻁﻠﻕ ﻓﻲ ﺍﺴـﺘﻌﺎﺩﺓ ﻭﻁـﻨﻬﻡ ﺍﻷﺼـﻠ ‪‬‬
‫ﻲ ﻓﻲ ﺴﻴﺎﻕ ﺘﺄﻜﻴﺩ ﺍﻝﻜﺎﺘﺒﺔ ﻋﻠﻰ ﺤ ﹼ‬
‫ﻁﺭﺡ ﺍﻷﺩﺒ ‪‬‬
‫ﻭﻴﻨﺩﺭﺝ ﻫﺫﺍ ﺍﻝ ﹼ‬
‫ﻁﺭﻭﺤﺎﺕ ﺍﻝﺘﻲ ﺘﺴﺎﻭﻡ ﻋﻠﻰ ﻤﺴﺘﻘﺒﻠﻬﻡ ﺃﻭ ﺘﺴﻌﻰ ﺇﻝﻰ ﺘﻀﻴﻴﻊ ﺤﻘﹼﻬﻡ ﻓﻲ ﺍﻝﻌﻭﺩﺓ ﺇﻝﻴـﻪ‪.‬‬
‫ل ﺍﻝ ﹼ‬
‫ﺍﻝﻤﺤﻔﻭﺭ ﻓﻲ ﺫﺍﻜﺭﺘﻬﻡ‪ ،‬ﻤﻊ ﺘﺨﻁﹼﻲ ﻜ ّ‬
‫ﻲ ﻜﻤـﺎ‬
‫ﻲ ﻝﺘﻨﺘﺞ ﻤﺸﺎﻫﺩ ﺩﺭﺍﻤﻴ‪‬ﺔ ﻤﻠﺤﻤﻴ‪‬ﺔ ﺘﺸﺨﹼﺹ ﻤﺤﻨﺔ ﺍﻝﻼﺠﺊ ﺍﻝﻔﻠﺴـﻁﻴﻨ ‪‬‬
‫ﻱ ﻭﺍﻝﹼﺘﺎﺭﻴﺦ ﺍﻝﺤﻘﻴﻘ ‪‬‬
‫ﻭﻫﻲ ﺘﻀﻔﹼﺭ ﺒﻴﻥ ﺍﻝ ‪‬ﻤﺘﺨﻴ‪‬ل ﺍﻝﺴ‪‬ﺭﺩ ‪‬‬
‫ﻴﻭﺍﺠﻬﻬﺎ ﻓﻲ ﻤﻨﺎﻓﻴﻪ ﺍﻝﻘﺴﺭﻴ‪‬ﺔ‪.‬‬
‫ﻁﻨﻁﻭﺭﻴ‪‬ﺔ" ﻭﺘﻘﻨﻴﺎﺕ ﺍﻷﺴﻠﻭﺏ ﺍﻝﻤﻭﻅﹼﻑ ﻓﻴﻬﺎ‪ ،‬ﺍﺭﺘﺄﻯ ﺍﻝﺒﺎﺤﺙ ﺇﺠﺭﺍﺀ‬
‫ﻱ ﺍﻝﻌﺎ ‪‬ﻡ ﻓﻲ "ﺍﻝ ﹼ‬
‫ﺴﺭﺩ ‪‬‬
‫ﻭﺍﺴﺘﻨﺎﺩ‪‬ﺍ ﺇﻝﻰ ﻁﺒﻴﻌﺔ ﺍﻝﻤﻨﺤﻰ ﺍﻝ ‪‬‬
‫ﻲ ﻝﺸﺨﺼﻴ‪‬ﺔ ﺍﻝﺭ‪‬ﺍﻭﻴﺔ ﺍﻝﺒﻁﻠﺔ‪-‬ﺍﻝ ‪‬ﺭﻭﺍﺌﻴ‪‬ﺔ؛ ﻤ‪‬ﻨﺸﺌﺔ ﺍﻝﺴ‪‬ـﺭﺩ ﻭﺒﺎﺜﹼﺘـﻪ‬
‫ﻫﺫﻩ ﺍﻝﻤﻘﺎﺭﺒﺔ ﺍﻝﹼﻨﻘﺩﻴ‪‬ﺔ ﻤﺭ ﹼﻜﺯ‪‬ﺍ ﻋﻠﻰ ﺍﺴﺘﺠﻼﺀ ﺍﻝﻭﻀﻊ ﺍﻝﺴ‪‬ﻴﻤﻴﺎﺌ ‪‬‬
‫ﻭﻋﻼﻤﺘﻪ ﺍﻝﻜﺒﺭﻯ‪ ،‬ﻭﺒﻴﺎﻥ ﺼﻠﺘﻬﺎ ﺒﺎﻝﻌﻨﺎﺼﺭ ﺍﻷﺨﺭﻯ ﺍﻝﻤﻨﺘﺠﺔ ﻝﻠﺩ‪‬ﻻﻝﺔ ﻓﻴﻪ‪.‬‬

‫ﺃﻭ‪‬ﻻ‪ :‬ﺃﺴﻠﻭﺏ ﺍﻝﺴ‪‬ﺭﺩ ﻭﻤﻨﻬﺞ ﺍﺴﺘﻘﺭﺍﺌﻪ‪:‬‬

‫ﺍﻝﻜﺎﺘﺒﺔ ﺭﺍﻭﻴﺔ ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﻤﺤﺘﺭﻓﺔ ﺘﻘﻨﹼﻌﺕ ﺒﺸﺨﺼﻴ‪‬ﺔ ﺍﻝﺒﻁل"ﺭﻗﻴ‪‬ﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ"‪ ،‬ﻭﺠﻌﻠﺘﻬﺎ ﺸﺨﺼـﻴ‪‬ﺔ ﻭﻁﻨﻴ‪‬ـﺔ ﺃﻴﻘﻭﻨﻴ‪‬ـﺔ‪،‬‬
‫ﻱ ﻓﻲ ﺍﻝﺭ‪‬ﻭﺍﻴﺔ‪ ،‬ﻓﺤﻤ‪‬ﻠﺘﻬﺎ ﻤﻨﻅﻭﺭﻫﺎ ﺍﻝﺭ‪‬ﻭﺍﺌﻲ‪ ،‬ﻭﺒﺜﹼﺕ ﻋﺒﺭ ﻋﻨﺎﺼﺭ ﺴﺭﺩﻫﺎ ﻭﻝﻐﺔ ﺨﻁﺎﺒﻬـﺎ‬
‫ﺴﺭﺩ ‪‬‬
‫ﻭﺃﺩﺍﺭﺕ ﺒﻬﺎ ﻤﺴﺎﺭﺍﺕ ﺍﻝﻔﻌل ﺍﻝ ‪‬‬
‫ﻓﻜ ‪‬ﺭﺍ ﺇﺒﺩﺍﻋ‪‬ﻴﺎ ﺃﻨﺘﺠﺕ ﺒﻪ ﻤﺴﺘﻭﻴﺎﺕ ﻤﺨﺘﻠﻔﺔ ﻤﻥ ﺍﻝﺨﻁﺎﺏ؛ ﻫﻲ ﺃﻤﺸﺎﺝ ﻤﻥ ﺨﻁﺎﺒﺎﺕ ﺍﺠﺘﻤﺎﻋﻴ‪‬ﺔ ﻭﺘﺎﺭﻴﺨﻴ‪‬ـﺔ ﻭﺜﻘﺎﻓﻴ‪‬ـﺔ ﻭﺘﺭﺍﺜﻴ‪‬ـﺔ‬
‫ﻭﺃﻴﺩﻴﻭﻝﻭﺠﻴ‪‬ﺔ ﻭﻨﻔﺴﻴ‪‬ﺔ‪ ،‬ﻭﺴﻠﻜﺘﻬﺎ ﻓﻲ ﻨﻁﺎﻗﻴﻥ ﻫﻤﺎ‪ :‬ﺍﻝﺨﻁﺎﺏ ﺍﻝﻤﺒﺎﺸﺭ ﺍﻝﺫﻱ ﻴﻌﺭﻓﻪ ﺍﻝﻤﺘﻠﻘﻲ ﻭﻴﺘﻔﺎﻋل ﻤﻌـﻪ ﺘﻠﻘﺎﺌﻴ‪‬ـﺎ‪ ،‬ﺇﺫ ﻴﺤﻴﻠـﻪ‬
‫ﻱ ﺃﻭﺴﻊ ﻨﻁﺎﻗﹰﺎ ﻤﺤﻤ‪‬ل ﺒﺎﻝﺩ‪‬ﻻﻻﺕ‬
‫ﻤﺒﺎﺸﺭﺓ ﺇﻝﻰ ﻤﻀﻤﻭﻨﻪ ﻭﺇﻝﻰ ﻤﻀﺎﻤﻴﻥ ﺃﺨﺭﻯ ﻤﻤﺎﺜﻠﺔ ﻝﻪ‪ ،‬ﻝﻴﺘﺸﻜﹼل ﺒﻬﺎ‪ ،‬ﻤﺠﺘﻤﻌﺔ‪ ،‬ﻓﻀﺎﺀ ﺇﺸﺎﺭ ‪‬‬
‫ﺍﻝﻘﺼﺩ‪‬ﻴﺔ‪ .‬ﻭﺍﻝﺨﻁﺎﺏ ﻏﻴﺭ ﺍﻝﻤﺒﺎﺸﺭ ﺍﻝﻤ‪‬ﺭﻤ‪‬ﺯ ﺍﻝﺫﻱ ﻴﺤﺘﺎﺝ ﺇﻝﻰ ﺘﻔﻜﻴﻙ‪ ،‬ﻭﻴﺠﺭﻱ ﺘﺄﻭﻴﻠﻪ ﻋﺒﺭ ﻤﻘﺎﺭﺒﺎﺕ ﺒﻴﻥ ﻤﻌﻨﺎﻩ ﺍﻝﻤﺘﺠﻠﹼـﻲ ﻓـﻲ‬
‫ﻅﺎﻫﺭ ﺴﻴﺎﻗﺎﺘﻪ‪ ،‬ﻭﺍﻝﻤﻌﻨﻰ ﺍﻝﻤ‪‬ﻭﺭ‪‬ﻯ ﻓﻴﻬﺎ‪.‬‬

‫ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺃﺼﻠﺢ ﺍﻝﻤﻨﺎﻫﺞ ﺍﻝﻨﹼﻘﺩﻴ‪‬ﺔ ﻝﺩﺭﺍﺴﺔ ﺍﻝﻨﹼﺼﻭﺹ ﺍﻷﺩﺒﻴ‪‬ﺔ‪ ،‬ﻓﻬﻲ‪:‬ﻋﻠﻡ ﺘﻤﻔﺼل ﺍﻝﺩ‪‬ﻻﻻﺕ‪ ،‬ﻭﺫﻝﻙ ﺍﻨﻁﻼﻗﹰـﺎ‬
‫ﻝﺫﻝﻙ ﺘﻌ ‪‬ﺩ ﺍﻝ ‪‬‬
‫ل ﺸﻲﺀ‪،‬‬
‫ﺙ ﻏﻴﺭ ﻤﻨﻘﻁﻊ ﻝﻺﺸﺎﺭﺍﺕ‪ ،‬ﻓﺎﻝﻤﻌﺎﻨﻲ ﻝﺼﻴﻘﺔ ﺒﻜ ّ‬
‫ل ﺸﻲﺀ ﻤﻥ ﺤﻭﻝﻨﺎ ﻓﻲ ﺤﺎﻝﺔ ﺒ ﹼ‬
‫ﻥﻜّ‬
‫ﻤﻥ ﺍﻝﺨﻠﻔﻴ‪‬ﺔ ﺍﻝﻤﻌﺭﻓﻴ‪‬ﺔ ﺍﻝﺩ‪‬ﺍﻝﺔ ﻋﻠﻰ ﺃ ‪‬‬

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 ‫ﳎﻠﺔ ﻣﻘﺎﻟﻴﺪ ـــــــــــــــــــــــــ ﺍﻟﻌﺪﺩ ﺍﻟﺴﺎﺩﺱ‪ /‬ﺟﻮﺍﻥ ‪2014‬‬
‫ل ﺍﻝﻤﻭﺠﻭﺩﺍﺕ ﺤﻴ‪‬ﻬﺎ ﻭﺠﺎﻤﺩﻫﺎ‪ ،‬ﻭﻤﺎ ﻋﻠﻰ ﺍﻝﻤﺘﻠﻘﹼﻴﻥ ﺴﻭﻯ ﺇﺒﺩﺍﺀ ﺍﻝﹼﻨﻴ‪‬ﺔ ﻓﻲ ﺍﻝﺘﹼﻠﻘﹼﻲ‪ ،‬ﻝﻜﻲ ﻴﺸﺭﻉ ﺍﻝﻌﻘل ﻓﻲ ﻋﻤﻠﻴ‪‬ـﺔ‬
‫ﻭﻫﻲ ﻋﺎﻝﻘﺔ ﺒﻜ ّ‬
‫ﺸﺒﻜﺎﺕ ﺍﻹﺸﺎﺭﻴ‪‬ﺔ ﻝﻠﻤﻌﺎﻨﻲ ﺍﻝﻤﺤﻴﻁﺔ ﺒﻨﺎ ﻭﺍﺴﺘﻴﻌﺎﺒﻬﺎ )ﺍﻷﺤﻤﺭ‪.(8 :2010 ،‬‬
‫ﻤﻌ ﹼﻘﺩ‪‬ﺓ‪،‬ﻫﻲ ﺘﻔﻜﻴﻙ ﺍﻝ ﹼ‬
‫ﺒﺴﺒﺏ ﻤﻥ ﺫﻝﻙ ﺍﻋﺘﻤﺩﺘﻬﺎ ﻓﻲ ﺘﻔﻜﻴﻙ ﺨﻁﺎﺏ ﺸﺨﺼﻴ‪‬ﺔ ﺍﻝﺒﻁل ﺍﻝﺭ‪‬ﺍﻭﻴﺔ – ﺍﻝﺭ‪‬ﻭﺍﺌﻴ‪‬ﺔ ﻭﻋﻼﻗﺘﻪ ﺒﻌﻨﺎﺼﺭ ﺍﻝﺴ‪‬ﺭﺩ ﺍﻷﺨـﺭﻯ‪،‬‬
‫ﻲ ﺒﺩﺀ‪‬ﺍ ﻤﻥ ﺍﻻﻨﻔﻌﺎﻻﺕ ﺍﻝﺒﺴﻴﻁﺔ‬
‫ﺴﻠﻭﻙ ﺍﻹﻨﺴﺎﻨ ‪‬‬
‫ل ﻤﻅﺎﻫﺭ ﺍﻝ ‪‬‬
‫ﺹ‪ .‬ﻷﻨﹼﻬﺎ ﺃﺩﺍﺓ ﺼﺎﻝﺤﺔ " ﻝﻘﺭﺍﺀﺓ ﻜ ّ‬
‫ﻭﺒﻴﺎﻥ ﺩﻭﺭﻫﺎ ﻓﻲ ﺇﻨﺘﺎﺝ ﺭﺴﺎﻝﺔ ﺍﻝﹼﻨ ‪‬‬
‫ﻭﻤﺭﻭﺭ‪‬ﺍ ﺒﺎﻝﻁﹼﻘﻭﺱ ﺍﻻﺠﺘﻤﺎﻋﻴ‪‬ﺔ ﻭﺍﻨﺘﻬﺎﺀ ﺒﺎﻷﻨﺴﺎﻕ ﺍﻷﻴﺩﻴﻭﻝﻭﺠﻴ‪‬ﺔ ﺍﻝﻜﺒﺭﻯ )ﺒﻨﻜﺭﺍﺩ‪ .(25: 2005 ،‬ﻓﺎﻝﺴ‪‬ﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺒﺤﺙ ﻓﻲ ﺍﻝﻤﻌﻨﻰ‬
‫ﺴﻴﻤﻴﻭﺯ؛ ﻭﻫﻭ ﺍﻝﺴ‪‬ـﻴﺭﻭﺓ ﺍﻝﻤﻨﺘﺠـﺔ ﻝﻠﺩ‪‬ﻻﻝـﺔ‪.‬‬
‫ﻤﻥ ﺠﻬﺔ ﺍﻨﺒﺜﺎﻗﻪ ﻋﻥ ﻋﻤﻠﻴ‪‬ﺎﺕ ﺍﻝﹼﺘﻨﺼﻴﺹ ﺍﻝﻤﺘﻌﺩ‪‬ﺩﺓ‪ ،‬ﺃﻱ ﻫﻲ ﺒﺤﺙ ﻓﻲ ﺃﺼﻭل ﺍﻝ ‪‬‬
‫ﺴﻠﻭﻜﺎﺕ ﺍﻹﻨﺴﺎﻨﻴ‪‬ﺔ" )ﺒﻨﻜﺭﺍﺩ‪ .(12: 2005 ،‬ﻝـﺫﻝﻙ‬
‫ﺏ ﻓﻴﻪ ﺍﻝ ‪‬‬
‫ﻭﻫﻲ‪،‬ﺃﻴﻀ‪‬ﺎ‪،‬ﺒﺤﺙ ﻓﻲ ﺃﻨﻤﺎﻁ ﻭﺠﻭﺩﻫﺎ ﺒﺎﻋﺘﺒﺎﺭﻫﺎ ﺍﻝﻭﻋﺎﺀ ﺍﻝﺫﻱ ﺘﺼ ‪‬‬
‫ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺤﺩﻭﺩ ﺩﺭﺍﺴﺔ ﺍﻝﻌﻼﻤﺎﺕ ﺇﻝﻰ ﺩﺭﺍﺴﺔ ﺍﻝﹼﺘﻤﻔﺼﻼﺕ ﺍﻝﻤﻤﻜﻨﺔ ﻝﻠﻤﻌﻨﻰ‪ ،‬ﻓﻬﻲ ﻁﺭﻴﻘﺔ ﻓﻲ ﻭﺼﻑ ﺍﻝﻤﻌﻨﻰ ﻭﺘﺤﺩﻴﺩ‬
‫ﺘﺘﺠﺎﻭﺯ ﺍﻝ ‪‬‬
‫ﺹ‪) .‬ﺒﻨﻜـﺭﺍﺩ‪،53 :2005،‬ﻭﺃﺩﻫـﻡ‪.(283: 1993،‬‬
‫ل ﺃﺸﻜﺎل ﺍﻝﻌﻼﻤﺎﺕ ﺍﻝﻭﺍﺭﺩﺓ ﻓﻲ ﺍﻝﹼﻨ ‪‬‬
‫ﺒﺅﺭﻩ ﻭﻤﻅﺎﻨﹼﻪ‪ .‬ﻭﻫﻲ ﺒﻬﺫﺍ ﺘﺩﺭﺱ ﻜ ّ‬
‫ﻅﻭﺍﻫﺭ ﺍﻻﺠﺘﻤﺎﻋﻴ‪‬ﺔ ﻭﺍﻝﹼﺜﻘﺎﻓﻴ‪‬ﺔ‪ ،‬ﺒﻤﺎ ﻓﻲ ﺫﻝﻙ ﺍﻝﹼﻠﻐﺔ‪ ،‬ﺒﻭﺼﻔﻬﺎ ﺁﻝﻴ‪‬ﺎﺕ ﻭﺃﻨﺸﻁﺔ ﺘﻭﺍﺼﻠﻴ‪‬ﺔ ﺘﻌﻤـل‬
‫ﻭﻫﻲ ﻋﻠﻡ ‪‬ﻴﻌﻨﻰ ﺒﺩﺭﺍﺴﺔ ﺠﻤﻴﻊ ﺍﻝ ﹼ‬
‫ﻭﻓﻕ ﺃﻨﺴﺎﻕ ﺇﺸﺎﺭﻴ‪‬ﺔ ﻀﻤﻨﻴ‪‬ﺔ )ﻤﻴﻭﻜﻭﻓﺴﻜﻲ ﻭﺭﻓﺎﻗﻪ‪.(9 :1997،‬‬

‫ﻭﺘﺸﻴﺭ ﺍﻝﺴ‪‬ﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺇﻝﻰ ﻓﺌﺔ ﻭﺍﺴﻌﺔ ﻤﻥ ﺍﻝﻤﻭﻀﻭﻋﺎﺕ‪ ،‬ﺃﻭ ﺍﻷﺤﺩﺍﺙ‪ ،‬ﺃﻭ ﺍﻹﺸﺎﺭﺍﺕ‪ ،‬ﺍﻝﺘﻲ ﺘﺴﺘﺨﺩﻡ ﺃﻭ ﺘﺅﻭ‪‬ل ﻝﺘﻨﻘل ﻤﻌﻨﻰ‬
‫ل ﻤﺎ ﻴﻤﻜﻥ‬
‫ﻤﺎ‪ ،‬ﻭﻴﺸﻤل ﺫﻝﻙ ﺍﻝﻌﻼﻤﺎﺕ ﺍﻝﻤﻭﻀﻭﻋﺔ ﻋﻠﻰ ﻨﺤﻭ ﺼﺭﻴﺢ‪ ،‬ﻭﻜﺫﻝﻙ ﺍﻷﻋﺭﺍﺽ ﺃﻭ ﺍﻝﺤﻭﺍﺩﺙ ﺍﻝﻁﹼﺒﻴﻌﻴ‪‬ﺔ ﺍﻝﻤﺘﻜﺭ‪‬ﺭﺓ‪ .‬ﻭﻜ ّ‬
‫ل ﻋﻠﻰ ﺸﻲﺀ ﻴﺤﻴل‬ ‫ﺘﺄﻭﻴﻠﻪ ﻓﻬﻭ ﻋﻼﻤﺔ )ﺒﻴﻨﻴﺕ ﻭﺭﻓﻴﻘﺎﻩ‪ .(498: 2010 ،‬ﻭﻫﻲ ﻜﻴﺎﻥ ﻤﺎﺩ ‪‬‬
‫ﻱ ﻴﺘﻤﺘﹼﻊ ﺒﻁﺎﻗﺔ ﺇﺒﻼﻏﻴ‪‬ﺔ ﺘﻭﺍﺼﻠﻴ‪‬ﺔ‪ ،‬ﺘﺩ ّ‬
‫ﺇﻝﻰ ﺍﻝﻭﺍﻗﻊ ﺒﺘﺠﺴﻴﺩﻩ ﺘﺠﺴﻴﺩ‪‬ﺍ ﺘﻘﺭﻨﻪ ﺍﻝﻤﺸﺎﺒﻬﺔ ﺒﻤﻭﻀﻭﻋﻪ ﻋﻥ ﻁﺭﻴﻕ ﺸﻭﺍﻫﺩ ﻤﺎﺩﻴ‪‬ﺔ ﺃﻭ ﻤﺠﺎﻭﺭﺓ ﻓﻲ ﺍﻝﻤﻌﻨﻰ )ﺍﻝﺤﻠﻭﺍﻨﻲ‪2005 ،‬‬
‫‪ .(53:‬ﻭﺍﻝﺴ‪‬ﻴﻤﻴﺎﺀ؛ ﻋﻼﻤﺔ‪ ،‬ﺃﻤﺎﺭﺓ‪ ،‬ﺴﻤﺔ‪ ،‬ﻋﺭﺽ‪ ،‬ﻭﺒﺼﻔﺔ ﻋﺎﻤ‪‬ﺔ ﺸﻲﺀ ﻤـﺩﺭﻙ ﻴﻤﻜـﻥ ﺃﻥ ﻨﺴـﺘﺨﻠﺹ ﻤﻨﻬـﺎ ﺘﻭﻗﹼﻌـﺎﺕ ﺃﻭ‬
‫ﺍﺴﺘﻨﺘﺎﺠﺎﺕ ﻭﺇﺸﺎﺭﺍﺕ ﺨﺎﺼ‪‬ﺔ ﺒﺸﻲﺀ ﺁﺨﺭ ﻏﺎﺌﺏ ﻭﻤﺭﺘﺒﻁ ﺒﻪ )ﺇﻴﻜﻭ‪ .(36 : 2007 ،‬ﻭﻓـﻲ ﻀـﻭﺀ ﻫـﺫﺍ ﺍﻝﻁﹼـﺭﺡ ﺒﺤﺜـﺕ‬
‫"ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ"‪.‬‬

‫ﺜﺎﻨﻴ‪‬ﺎ‪:‬ﺃﻁﺭﻭﺤﺔ ﺍﻝﺴ‪‬ﺭﺩ ﻭﺸﺨﺼﻴ‪‬ﺔ ﺍﻝﺒﻁل‪:‬‬

‫ﺼﻬﺎ‬
‫ﻲ ﻝﻼﺠﺌﻴﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ ﻓﻲ ﺍﻝﺸﹼﺘﺎﺕ‪ ،‬ﻭﻴﺘﺄﻝﹼﻑ ﻨ ‪‬‬
‫ﻀﺤﻴ‪‬ﺔ ﻓﻲ ﺍﻝﻤﻌﺘﺭﻙ ﺍﻝﺤﻴﺎﺘ ‪‬‬
‫ﺘﺘﻨﺎﻭل ﺍﻝﺴ‪‬ﺭﺩ‪‬ﻴﺔ ﺴﺅﺍل ﺍﻝﻬ‪‬ﻭﻴ‪‬ﺔ ﻭﻭﺠﻊ ﺍﻝ ‪‬‬
‫ﻤﻥ ﺜﻤﺎﻨﻴﺔ ﻭﺨﻤﺴﻴﻥ ﻓﺼﻼ ﻤﺴﺘﺩﻋﺎﺓ ﻤﻥ ﺤﻔﺭ‪‬ﻴﺎﺕ ﺍﻝﺫﹼﺍﻜﺭﺓ ﻋﺒﺭ ﺘ‪‬ﻴﺎﺭ ﺍﻝﻭﻋﻲ ﻭﻨﺼـﻭﺹ ﺍﻝﻭﺜـﺎﺌﻕ ﺍﻝﻤﺨﺘﻠﻔـﺔ ﺫﺍﺕ ﺍﻝﺼ‪‬ـﻠﺔ‬
‫ﺒﻤﻭﻀﻭﻉ ﺍﻝﺴ‪‬ﺭﺩ‪ .‬ﻭﺘﻘﻊ ﺍﻝ ‪‬ﺭﻭﺍﻴﺔ ﻓﻲ )‪ (463‬ﺃﺭﺒﻌﻤﺌﺔ ﻭﺜﻼﺙ ﻭﺴﺘﹼﻴﻥ ﺼﻔﺤﺔ ﻤﻥ ﺍﻝﻘﻁﻊ ﺍﻝﻤﺘﻭﺴ‪‬ﻁ‪ .‬ﻭﻫﻲ ﻤﺭﻭﻴ‪‬ﺔ ﻋﻠﻰ ﻝﺴـﺎﻥ‬
‫ﺍﻝﺒﻁﻠﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ‪ .‬ﻓﻬﻲ ﺭﻭﺍﻴﺔ ﺸﺨﺼﻴ‪‬ﺔ ﺍﻝﺒﻁل ﻭﺭﻭﺍﻴﺔ ﺘﻴ‪‬ﺎﺭ ﺍﻝﻭﻋﻲ ﻓﻲ ﺁﻥ‪ .‬ﻭﻗﺩ ﺩ ‪‬ﻭﻨﺘﻬﺎ ﺍﻝﻜﺎﺘﺒﺔ ﻋﻠﻰ ﺸﻜل ﻤﺫﻜﹼﺭﺍﺕ ﻤﺘﺩﺍﺨﻠﺔ‬
‫ﺼﻬﺎ ﻤﻥ ﻤﻘﺎﻁﻊ ﺴﺭﺩﻴ‪‬ﺔ‪ ،‬ﻭﻭﺼﻔﻴ‪‬ﺔ‪ ،‬ﻭﺤﻭﺍﺭﻴ‪‬ﺔ؛ ﺼﺭﻴﺤﺔ ﻭﻤﻀﻤﺭﺓ‪.‬‬
‫ﺍﻝﺴ‪‬ﺭﺩ ﻤﻊ ﺃﻨﻭﺍﻉ ﺃﺨﺭﻯ‪ .‬ﻭﺸﻜﹼﻠﺕ ﻨ ‪‬‬
‫ﻝﺫﻝﻙ ﺘﻁﺭﺡ ﺍﻝﻜﺎﺘﺒﺔ ﺍﻝﺴ‪‬ﺅﺍل ﻋﺒﺭ ﻗﻨﺎﻋﻬﺎ ﺍﻝﺭ‪‬ﺍﻭﻱ "ﺭﻗﻴ‪‬ﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ"‪ ،‬ﺤﻭل ﺠﺩﻭﻯ ﺍﻝﻜﺘﺎﺒﺔ ﻋﻥ ﻗﻀﻴ‪‬ﺔ ﺍﻝﺴ‪‬ـﺭﺩ‪ .‬ﻜﻤـﺎ‬
‫ﻴﻔﻬﻡ ﻤﻥ ﻗﻭﻝﻬﺎ ﻻﺒﻨﻬﺎ ﺤﺴﻥ‪" :‬ﻝﻤﺎﺫﺍ ﻭﺭ‪‬ﻁﺘﻨﻲ ﻓﻲ ﻫﺫﻩ ﺍﻝﻜﺘﺎﺒﺔ ؟ ﻤﺎ ﺍﻝﻤﻨﻁﻕ ﻓﻲ ﺃﻥ ﺃﻋـﻴﺵ ﺘﻔﺎﺼـﻴل ﺍﻝﻜﺎﺭﺜـﺔ ﻤـﺭ‪‬ﺘﻴﻥ ؟ "‬
‫)ﻋﺎﺸﻭﺭ‪ .(231 :2011،‬ﻓﻬﻲ ﺸﻬﺎﺩﺓ ﺜﻘﻴﻠﺔ ﻋﻠﻰ ﻨﻔﺱ ﺍﻝﺭ‪‬ﺍﻭﻴﺔ ﻭﻋﻼﻤﺔ ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺩﺍﻝﹼﺔ ﺘﺘﹼﺼل ﺒﻘﻀﻴ‪‬ﺔ ﺍﻝﺴ‪‬ﺭﺩ ﺍﻝﻤﺄﺴﺎﻭﻴ‪‬ﺔ‪ .‬ﻓﻤـﺎ‬
‫ﺍﻝﺫﻱ ﺴﺘﻀﻴﻔﻪ ﺇﻝﻰ ﻤﺎ ﻜﺘﺒﻪ ﺍﻵﺨﺭﻭﻥ ﺤﻭﻝﻬﺎ ؟ ﻓﻬﻲ ﻜﺜﻴﺭﺓ ﺠﺩ‪‬ﺍ؛ ﻤﻨﻬﺎ ﺍﻝﻤﻭﺜﹼﻕ‪ ،‬ﻭﻤﻨﻬﺎ ﻏﻴﺭ ﺍﻝﻤﻭﺜﹼﻕ‪.‬‬

‫ﻭﻫﻲ ﻗﻀﻴ‪‬ﺔ ﻁﺎل ﻋﻠﻴﻬﺎ ﺍﻝﺯ‪‬ﻤﻥ‪ ،‬ﻭﻝﻜﻨﹼﻬﺎ ﻤﺘﺠﺫﹼﺭﺓ ﻤﺘﺠﺩ‪‬ﺩﺓ ﻓﻲ ﻤﺴﺎﺭﺡ ﺍﻝﹼﻠﺠﻭﺀ ﺍﻝﻤﺨﺘﻠﻔـﺔ ﻤﻜﺎﻨﹰـﺎ ﻭﺯﻤﺎﻨﹰـﺎ‪ .‬ﻭﺼـﻤﻭﺩ‬
‫ﺍﻝﻼﺠﺌﻴﻥ ﻓﻲ ﻤﺨﻴ‪‬ﻤﺎﺘﻬﻡ ﻫﻭ ﻤﺼﺩﺭ ﺘﺠﺩ‪‬ﺩﻫﺎ ﺒﺴﺒﺏ ﺍﺭﺘﺒﺎﻁﻬﺎ ﺍﻝﻤﺴﺘﻤﺭ ﺒﺈﺼﺭﺍﺭ ﺍﻝﻼﺠﺌﻴﻥ ﻋﻠﻰ ﺍﻝﻌﻭﺩﺓ ﺇﻝﻰ ﻭﻁﻨﻬﻡ‪ .‬ﻭﻗﺩ ﺃﻋﺎﺩﻭﺍ‬
‫ﻲ ﻓﻲ ﺍﻝﻤﻨﻔﻰ ﻜﻤﺎ ﻜﺎﻥ ﻋﻠﻴﻪ ﻓﻲ ﺍﻝﻭﻁﻥ‪ .‬ﻭﺤﺎﻝﺕ ﻤﻘﺎﻭﻤﺘﻬﻡ ﺍﻝﻤﺴﺘﻤﺭﺓ ﻝﻠ ﹼﺫﻭﺒﺎﻥ ﻓﻲ ﻤﺠﺘﻤﻌﺎﺕ‬
‫ﻲ ﻭﺍﻝﹼﺜﻘﺎﻓ ‪‬‬
‫ﺘﺸﻜﻴل ﺒﻨﻴﺎﻨﻬﻡ ﺍﻻﺠﺘﻤﺎﻋ ‪‬‬
‫ل ﻤـﻥ‬
‫ﺍﻝﻤﻨﻔﻰ ﻭﺍﺴﺘﻤﺴﺎﻜﻬﻡ ﺒﻬﻭﻴ‪‬ﺘﻬﻡ ﻭﺘﺭﺍﺜﻬﻡ ﺩﻭﻥ ﺘﻔﻜﹼﻙ ﺫﺍﻜﺭﺘﻬﻡ ﺍﻝﻭﻁﻨﻴ‪‬ﺔ‪ .‬ﻭﻴﺸﻜل ﻫﺫﺍ ﺍﻝﻤﻭﻗﻑ ﻤﺒﻌﺙ ﺨﻭﻑ ﻝـﺩﻯ ﺍﻝﻤﺤﺘـ ّ‬
‫ﺍﻨﻘﻼﺏ ﺤﺎﻝﻪ؛ ﻝﺫﻝﻙ ﻴﺤﺎﺭﺏ ﺍﻝﻼﺠﺌﻴﻥ ﻭﻴﺅﺫﻴﻬﻡ ﺒﺸﻜل ﻤﺴﺘﻤ ‪‬ﺭ‪ .‬ﻭﺃﻋﺎﻨﻪ ﻋﻠﻰ ﺫﻝﻙ ﺘﻐﺎﻓل ﺍﻝﺤﻘﻭﻗﻴ‪‬ﻴﻥ ﻭﻤﻨﻅﹼﻤﺎﺕ ﺤﻘﻭﻕ ﺍﻹﻨﺴﺎﻥ‬
‫ﻲ ﻭﻤﺅﺴ‪‬ﺴﺎﺘﻪ ﺍﻝﻘﻀﺎﺌﻴ‪‬ﺔ‪.‬‬
‫ﺤﻭل ﺍﻝﻌﺎﻝﻡ ﻝﻘﻀﻴ‪‬ﺘﻬﻡ‪ .‬ﻭﺘﻘﺼﻴﺭﻫﻡ ﻓﻲ ﻁﺭﺤﻬﺎ ﺃﻤﺎﻡ ﺍﻝﺭﺃﻱ ﺍﻝﻌﺎ ‪‬ﻡ ﺍﻝﺩ‪‬ﻭﻝ ‪‬‬

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 ‫ﳎﻠﺔ ﻣﻘﺎﻟﻴﺪ ـــــــــــــــــــــــــ ﺍﻟﻌﺪﺩ ﺍﻟﺴﺎﺩﺱ‪ /‬ﺟﻮﺍﻥ ‪2014‬‬
‫ﻭﺍﻷﻤﺭ ﻤﺜﺎﺭ ﺘﺴﺎﺅل ﺩﺍﺌﻡ ﻋﻨﺩ ﺍﻝﻜﺎﺘﺒﺔ‪ ،‬ﻜﻤﺎ ﻫﻭ ﻋﻨﺩ ﺠﻤﻬﻭﺭ ﺍﻝﻼﺠﺌﻴﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ‪ .‬ﻭﺍﻹﺸﺎﺭﺓ ﺍﻝﻌﻼﻤﻴ‪‬ﺔ ﻫﻨـﺎ ﺇﻝـﻰ‬
‫ﺍﻝﻤﺠﺎﺯﺭ ﺍﻝﺘﻲ ﺍﺭﺘﻜﺒﻬﺎ ﺍﻝﻴﻬﻭﺩ ﺍﻝﻤﺤﺘﻠﹼﻭﻥ ﻓﻲ ﻓﻠﺴﻁﻴﻥ ﻋﻠﻰ ﻤﺩﺍﺭ ﻗﺭﻥ ﻜﺎﻤل‪ .‬ﻭﻤﻨﻬﺎ ﻤﺠﺯﺭﺓ ﺍﻝﻁﹼﻨﻁﻭﺭﺓ ﺍﻝﺘـﻲ ﻭﻗﻌـﺕ ﻋـﺎﻡ‬
‫‪ .1948‬ﻭﻫﻲ ﻤﺎ ﺘﺯﺍل ﺤﻴ‪‬ﺔ ﻓﻲ ﺫﺍﻜﺭﺓ ﺍﻝﺒﻁﻠﺔ "ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ"‪ .‬ﺇﺫ ﺍﺴﺘﺸﻬﺩ ﻓﻴﻬﺎ ﺃﺒﻭﻫﺎ ﻭﺃﺨﻭﺍﻫﺎ ﺼﺎﺩﻕ ﻭﺤﺴﻥ‪ .‬ﻭﻗﺩ ﺸـﺎﻫﺩﺕ‬
‫ﺠﺜﺜﻬﻡ ﻋﻠﻰ ﻜﻭﻤﺔ ﻤﻥ ﺍﻝﺠﺜﺙ ﺍﻷﺨﺭﻯ ﻝﺸﻬﺩﺍﺀ ﺒﻠﺩﻫﺎ ﺍﻝﻤﻐﺩﻭﺭﻴﻥ‪ .‬ﺘﻘﻭل ﺭﻗﻴ‪‬ﺔ ﻓﻲ ﺤﻭﺍﺭﻫﺎ ﻤﻊ ﺍﺒﻥ ﻋﻤ‪‬ﻬﺎ ﻋ ‪‬ﺯ ﺍﻝـﺩ‪‬ﻴﻥ ﺍﻝـﺫﻱ‬
‫ﺴﺅﺍل‪-" :‬ﺃﺭﻴﺩ ﺃﻥ ﺃﺴﺄﻝﻙ‪...‬ﻫل ﺃﻨﺕ ﻤﺘﺄﻜﹼﺩﺓ ﺃﻨﹼﻙ ﺭﺃﻴﺕ ﻋﻤ‪‬ﻲ ﺃﺒﻭ ﺍﻝﺼﺎﺩﻕ ﻭﺼﺎﺩﻕ ﻭﺤﺴﻥ ﺒﻴﻥ ﺍﻝﺠﺜﺙ ﻋﻠﻰ ﺍﻝﻜﻭﻡ؟‬
‫ﺒﺎﺩﺭﻫﺎ ﺒﺎﻝ ‪‬‬
‫‪-‬ﺭﺃﻴﺘﻬﻡ‪–...‬ﻫل ﺭﺃﻴﺘﻬﻡ ﻭﺤﺩﻫﻡ ﺃﻡ ﺭﺃﻴﺕ ﺁﺨﺭﻴﻥ؟ ‪-‬ﺭﺃﻴﺘﻬﻡ ﻤﻊ ﺍﻵﺨﺭﻴﻥ" )ﻋﺎﺸﻭﺭ‪.( 70-69 :2011 ،‬‬

‫ﻭﺘﺴﺠ‪‬ل ﺍﻝﺭ‪‬ﺍﻭﻴﺔ ﺸﻬﺎﺩﺓ ﺜﺎﻨﻴﺔ ﻋﻠﻰ ﺍﻝﻤﺄﺴﺎﺓ ﺍﻷﻭﻝﻰ‪ ،‬ﺇﺫ ﺘﻘﻭل‪" :‬ﺍﺴﺘﻘﺒﻠﺘﻨﻲ ﺃ ‪‬ﻡ ﺇﺒﺭﺍﻫﻴﻡ‪ ،‬ﺨ‪‬ﺘﻴﺎﺭﺓ ﺴﺘﹼﻴﻨﻴ‪‬ﺔ ﺘﻌﻴﺵ ﻤﻊ ﺍﺒﻨﻬـﺎ‬
‫ﻭ ‪‬ﻜ ﱠﻨﺘ‪‬ﻬﺎ ﻭﺃﺤﻔﺎﺩﻫﺎ‪ .‬ﻋﺭ‪‬ﻓﺘﻬﺎ ﺒﻨﻔﺴﻲ‪ ...‬ﻗﺎﻝﺕ ﻨﺤﻥ ﻤﻥ ﺴﻌﺴﻊ‪ ،‬ﻫل ﺘﻌﺭﻓﻴﻨﻬﺎ؟‪ ...‬ﺭﺍﺤﺕ ﺘﺤﻜﻲ ﻝﻲ ﻋﻨﻬﺎ ﻭﻋـﻥ ﺍﻝﻤﺠـﺯﺭﺘﻴﻥ‬
‫ﺍﻝﹼﻠﺘﻴﻥ ﻭﻗﻌﺘﺎ ﻓﻴﻬﺎ‪.‬ﻗﺎﻝﺕ‪ :‬ﺭﺍﺡ ﻝﻲ ﺒﻨﺕ ﻓﻲ ﺍﻝﻤﺠﺯﺭﺓ ﺍﻷﻭﻝﻰ ﻓﻲ ﺸﹾﺒﺎﻁ‪ .‬ﻜﺎﻥ ﻋﻤﺭﻫﺎ ﺨﻤﺱ ﺴﻨﻴﻥ‪ .‬ﺩﻓﻨﹼﺎﻫﺎ ﻫﻨﺎﻙ ﻓﻲ ﺍﻝﺒﻠﺩ‪ .‬ﻓﻲ‬
‫ﺘﺸﺭﻴﻥ ﺃﻭ‪‬ل‪ ،‬ﺒﻌﺩ ﺃﻥ ﺃﻋﻠﻥ ﺍﻝﻴﻬﻭﺩ ﺩﻭﻝﺘﻬﻡ ﺒﺨﻤﺴﺔ ﺸﻬﻭﺭ‪،‬ﻫﺠﻤﻭﺍ ﻤﺭﺓ ﺃﺨﺭﻯ‪،‬ﻗﺎﻤﻭﺍ ﺒﻤﺠﺯﺭﺓ ﺜﺎﻨﻴﺔ ﻭﺍﺴﺘﺤﻠﹼﻭﺍ ﺍﻝﺒﻠﺩ ﻭﺃﻁﻠﻌﻭﻨـﺎ"‬
‫)ﻋﺎﺸﻭﺭ‪ .(93 :2011 ،‬ﻭﻫﻲ ﺼﻴﻐﺔ ﺩﺍﻝﹼﺔ؛ ﻷﻨﹼﻬﺎ ﺍﺴﺘﻌﺎﺩﺓ ﻷﺤﺩﺍﺙ ﺃﻝﻴﻤﺔ ﻤﺘ ﹼﻜﺭ‪‬ﺭﺓ ﺘﺠﺎﻩ ﺍﻝﻼﺠﺌﻴﻥ ﻓﻲ ﻤﺨﻴ‪‬ﻤﺎﺘﻡ‪ .‬ﻭﻫـﻡ ﺍﻝـﺫﻴﻥ‬
‫ل ﻤﺠﺎﺯﺭ ﺍﻻﺤﺘﻼل ﺍﻷﺨﺭﻯ ﻋﻠﻰ ﺍﻤﺘﺩﺍﺩ ﺘﺎﺭﻴﺨﻪ ﺍﻷﺴﻭﺩ‪.‬‬
‫ﻭﺍﺠﻬﻭﻫﺎ ﺒﺎﺩﺉ ﺍﻷﻤﺭ ﻓﻲ ﻭﻁﻨﻬﻡ‪ .‬ﻜﻤﺎ ﺘﺫﻜﹼﺭﻫﻡ ﺒﻜ ّ‬

‫ﻱ‬
‫ﻲ ﺍﻝﺫﻱ ﻴﻌﻴﺵ ﺤﺎﻝﺔ ﻗﻠﻕ ﻭﺠـﻭﺩ ‪‬‬
‫ﻲ ﺍﻝﻤﺘﺄﺼ‪‬ل ﻓﻲ ﺫﻫﻨﻴ‪‬ﺔ ﺍﻻﺤﺘﻼل ﺍﻝﺼ‪‬ﻬﻴﻭﻨ ‪‬‬
‫ﻭﻫﻲ ﻋﻼﻤﺔ ﺘﺅﺸﹼﺭ ﻋﻠﻰ ﺍﻝﻔﻜﺭ ﺍﻝﻌﺩﻭﺍﻨ ‪‬‬
‫ﻲ ﻋﻠـﻰ‬
‫ﻱ ﻝﻠﺸﹼﻌﺏ ﺍﻝﻔﻠﺴـﻁﻴﻨ ‪‬‬
‫ﻲ ﻀﺩ‪‬ﻩ‪ .‬ﻭﻴﻌﺯ‪‬ﺯﻫﺎ ﺍﻝﺤﻀﻭﺭ ﺍﻝﻘﻭ ‪‬‬
‫ﺒﺴﺒﺏ ﺨﻭﻓﻪ ﺍﻝﻤﺴﺘﻤ ‪‬ﺭ ﻤﻥ ﻨﻬﻭﺽ ﻤﻘﺎﻭﻤﺔ ﺍﻝﺸﹼﻌﺏ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﻱ ﻓﻴﻪ ﻴﺭﻓﺽ ﺘﺤﻘﻴﻕ ﺍﻝﺴ‪‬ﻼﻡ ﻤﻌﻪ ﻭﻓﻕ ﻨﺘﺎﺌﺞ ﺃﻭﺴﻠﻭ‪.‬‬
‫ﺃﺭﺽ ﻭﻁﻨﻪ‪ .‬ﻭﺒﺭﻭﺯ ﺭﺃﻱ ﻋﺎ ‪‬ﻡ ﻗﻭ ‪‬‬

‫ﻭﻴﺒﺩﻭ ﻝﻠﺒﺎﺤﺙ ﺤﺭﺹ ﺍﻝﻜﺎﺘﺒﺔ ﻋﻠﻰ ﻫﺫﻩ ﺍﻻﺴﺘﻌﺎﺩﺓ ﻭﺭﺒﻁﻬﺎ ﺒﺎﻝﻭﺍﻗﻊ ﺍﻷﻝﻴﻡ ﻝﻼﺠﺌﻴﻥ ﻝﺘﺅﻜﹼﺩ ﻋﻠﻰ ﺒﻭﺍﻋﺙ ﻤﺄﺴﺎﺓ ﺍﻹﻨﺴﺎﻥ‬
‫ﻲ ﺍﻝﻤﺘﻭﺍﺼﻠﺔ‪ .‬ﻭﻫﻲ ﻨﺘﻴﺠﺔ ﻓﺎﺩﺤﺔ ﻝﻡ ﺘﻜﻥ ﻨﺎﺠﻤﺔ ﻋﻥ ﻤﻌﺭﻜﺔ ﺒﻴﻥ ﺠﻴﺸﻴﻥ ﺨﺴﺭ ﻓﻴﻬﺎ ﺠﻴﺵ ﻓﻠﺴﻁﻴﻥ ﻭﺍﻨﺘﺼﺭ ﻓﻴﻬـﺎ‬
‫ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﺠﻴﺵ ﺍﻝﺨﺼﻡ !‬

‫ﺴﻬﻤﺔ ﺒﻌﺽ ﺍﻝﻌﺭﺏ ﻓﻲ ﺘﻌﻅﻴﻡ ﻫﻭل ﺍﻝﻨﹼﻜﺒﺔ ﻋﻠﻰ ﻨﻔﻭﺱ ﺍﻝﻼﺠﺌـﻴﻥ ﺍﻝﻤﺜﻘﻠـﺔ ﺃﺼـﻼ‬
‫ﻭﻝﻡ ﺘﻨﺱ ﺍﻝﻜﺎﺘﺒﺔ ﺍﻹﺸﺎﺭﺓ ﺇﻝﻰ ‪‬‬
‫ﻱ ﻤﻨﹼﺎ‪.‬‬
‫ﻲ ﺇﻝﻰ ﺒﻴﺭﻭﺕ ﺒﻘﻭﻝﻬﺎ‪" :‬ﻝﻴﺱ ﺒﺎﻷﻤﺭ ﺍﻝﻬﻴ‪‬ﻥ ﻋﻠﻰ ﺃ ‪‬‬
‫ﺒﺎﻝﻬﻤﻭﻡ‪ .‬ﺇﺫ ﺘﺼﻑ ﻋﻠﻰ ﻝﺴﺎﻥ ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ ﺩﺨﻭل ﺍﻻﺤﺘﻼل ﺍﻹﺴﺭﺍﺌﻴﻠ ‪‬‬
‫ل ﺍﻝﺭ‪‬ﺠﺎل ﺍﻝﺫﻴﻥ ﻜﺎﻨﻭﺍ ﻓﻲ ﻤﻠﺠﺄ ﺃﺒﻭ‬
‫ﻓﺩﻓﻌﺘﻬﺎ ﺒﻌﻴﺩ‪‬ﺍ ﻭﻗﻠﺕ‪ :‬ﺍﻝﺭ‪‬ﺠﺎل ﺍﻝﺫﻴﻥ ﻴﻘﹸﺘﻠﻭﻥ ﻴﺘﻜﻠﹼﻤﻭﻥ ﺒﺎﻝﻌﺭﺒﻴ‪‬ﺔ‪ .‬ﺇﻨﹼﻬﻡ ﻤﻥ ﺍﻝﻜﺘﺎﺌﺏ‪ .‬ﻗﺘﻠﻭﺍ ﻜ ّ‬
‫ﻴﺎﺴﺭ ﻓﻲ ﺍﻝﺤﺭﺵ‪ .‬ﻭﺭﺃﻴﺕ ﺠﺜﺜﹰﺎ ﺃﺨﺭﻯ ﺃﻤﺎﻡ ﺍﻝﺒﻴﻭﺕ‪ ،‬ﺃﻜﻭﺍﻤ‪‬ﺎ ﻤﻥ ﺍﻝﺠﺜﺙ" )ﻋﺎﺸﻭﺭ‪.(227 :2011،‬‬
‫ﻴﻤﺜﹼل ﻫﺫﺍ ﺍﻝﺴ‪‬ﻴﺎﻕ ﺼﻴﻐﺔ ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺇﺸﺎﺭﻴ‪‬ﺔ ﻓﻲ ﺘﺎﺭﻴﺦ ﺍﻝﻘﻀﻴ‪‬ﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ‪ ،‬ﺇﺫ ﻴﻜﺸـﻑ ﻋـﻥ ﺩﻭﺭ ﺒﻌـﺽ ﺍﻝﻌـﺭﺏ‬
‫ﺍﻝﻤﻌﺎﻭﻨﻴﻥ ﻝﻼﺤﺘﻼل ﻋﻠﻰ ﻗﻬﺭ ﺍﻝﻼﺠﺌﻴﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴ‪‬ﻥ ﺒﺘﻭﺠﻴﻪ ﻤﻨﻪ‪ .‬ﻓﺒﺩﻻ ﻤﻥ ﺘﻭﺠﻴﻪ ﺍﻝﺒﻨﺎﺩﻕ ﺇﻝﻰ ﺼﺩﻭﺭ ﺍﻝﻤﺤﺘﻠﹼﻴﻥ ﻴﻘﺘل ﺤﺯﺏ‬
‫ﻲ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ ﻓﻲ ﻤﺨﻴ‪‬ﻤﺎﺘﻬﻡ‪ .‬ﻓﻬﻭ ﻤﻥ ﻨﻔﹼﺫ ﻤﺠﺯﺭﺓ ﺼﺒﺭﺍ ﻭﺸﺎﺘﻴﻼ ﻭﻤﺠﺎﺯﺭ ﺃﺨﺭﻯ ﺒﺩﻡ ﺒـﺎﺭﺩ ﻓـﻲ ﺍﺠﺘﻴـﺎﺡ‬
‫ﺍﻝﻜﺘﺎﺌﺏ ﺍﻝﹼﻠﺒﻨﺎﻨ ‪‬‬
‫ل ﻭﺍﻝﻜﺘﺎﺌﺏ ﻋﻠﻰ ﻫﺩﻑ ﻭﺍﺤﺩ ﻻ ﻤﺜﻴل ﻝﻪ ﻤﻥ ﻗﺒل‪ .‬ﻭﻫﻲ ﻤﻔﺎﺭﻗﺔ ﻏﺭﻴﺒﺔ !‬
‫ﺒﻴﺭﻭﺕ ﻋﺎﻡ ‪ .1982‬ﻭﻫﻭ ﺍﻝﺘﻘﺎﺀ ﺒﻴﻥ ﺍﻝﻤﺤﺘ ّ‬

‫ﻭﺘﻀﻴﻑ ﺍﻝﺭ‪‬ﺍﻭﻴﺔ ﺇﻝﻰ ﺫﻝﻙ ﺸﻬﺎﺩﺓ ﺃﺨﺭﻯ ﺘﺼﻑ ﻓﻴﻬﺎ ﻫﻭل ﺠﺭﻴﻤﺘﻬﻡ ﺘﺠﺎﻩ ﺍﻝﻼﺠﺌﻴﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ‪":‬ﺤﻜـﻰ ﻝـﻲ ﻋـ ‪‬ﺯ‬
‫ﻤﻁﻭ‪‬ﻻ ﻋﻤ‪‬ﺎ ﻴﺤﺩﺙ ﻓﻲ ﺼﻴﺩﺍ‪ :‬ﺍﻝﺨﻁﻑ ﻭﺍﻝﻘﺘل‪ ،‬ﻭﺍﻝﺠﺜﺙ ﺍﻝﻤﺸﻭ‪‬ﻫﺔ ﺍﻝﺘﻲ ﻴﺠﺩﻭﻨﻬﺎ ﺒﺎﻝﻘﺭﺏ ﻤﻥ ﻋﻴﻥ ﺍﻝﺤﻠﻭﺓ ﻭﺍﻝﻤﻴ‪‬ﺔ ﻭﻤﻴ‪‬ﺔ‪ ،‬ﻭﻓﻲ‬
‫ﻗﻠﺏ ﻤﺩﻴﻨﺔ ﺼﻴﺩﺍ‪ ،‬ﻴﻠﻘﻭﻥ ﻤﻨﺸﻭﺭﺍﺕ ﺒﺘﻭﻗﻴﻊ "ﺜﻭ‪‬ﺍﺭ ﺍﻷﺭﺯ" ﺘﻁﺎﻝﺏ ﺍﻷﻫﺎﻝﻲ ﺒﻁﺭﺩ ﺍﻝﻐﺭﺒﺎﺀ ﺍﻹﺭﻫﺎﺒﻴ‪‬ﻴﻥ ﺍﻝـﺫﻴﻥ ﻗﻬـﺭﻭﺍ ﻝﺒﻨـﺎﻥ‬
‫ﻭﺘﺴ‪‬ﺒﺒﻭﺍ ﻓﻲ ﺨﺭﺍﺒﻪ‪".‬ﻝﻥ ﻨﺴﻤﺢ ﺒﻭﺠﻭﺩ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ ﻋﻠﻰ ﺃﺭﺽ ﻝﺒﻨﺎﻥ"‪ .‬ﻴﺴﻤ‪‬ﻭﻨﻨﺎ ﻓﻲ ﺍﻝﻤﻨﺸﻭﺭﺍﺕ ﻗﺘﻠـﺔ ﻭﺠـﺭﺍﺜﻴﻡ ﻭﻗﻤﺎﻤـﺔ‪.‬‬
‫ﻥ ﻝﺒﻨﺎﻥ ﻭﺇﺴﺭﺍﺌﻴل ﺴﻴﻜﺘﺴﺒﺎﻥ ﻗﻭﺓ ﺒﺎﻝﻌﻤل ﻤﻌ‪‬ﺎ‪ .‬ﻴﻘﻭﻝﻭﻥ ﺴﺘﺠﺘﻤﻊ ﺍﻝﺤﻀﺎﺭﺘﺎﻥ‪.‬‬
‫ﻥ ﺍﻹﺴﺭﺍﺌﻴﻠﻴ‪‬ﻴﻥ ﺠﺎﺀﻭﺍ ﻹﻨﻘﺎﺫﻫﻡ ﻤﻨﹼﺎ ﻭﺇ ‪‬‬
‫ﻴﻘﻭﻝﻭﻥ ﺇ ‪‬‬
‫ﺍﻝﻜﺘﺎﺌﺏ ﻻ ﺘﻭﻓﹼﺭ ﺃﺤﺩ‪‬ﺍ ﻭﺍﻹﺴﺭﺍﺌﻴﻠﻴ‪‬ﻭﻥ ﻴﻜﻭ‪‬ﻨﻭﻥ ﻤﻴﻠﻴﺸﻴﺎﺕ ﻤﻥ ﻋﻤﻼﺀ ﻤﺤﻠﻴ‪‬ﻴﻥ ﺒﺩﻋﻭﻯ ﺤﻔﻅ ﺍﻷﻤﻥ ﻓﻲ ﺍﻝﻘـﺭﻯ ﻻ ﻴﻘﺘﺼـﺭﻭﻥ‬
‫ﻋﻠﻰ ﻤﻴﻠﻴﺸﻴﺎﺕ ﺍﻝﻜﺘﺎﺌﺏ ﻭﺴﻌﺩ ﺤﺩ‪‬ﺍﺩ ﻭﺤﺭ‪‬ﺍﺱ ﺍﻷﺭﺯ ﺒل ﻴﻨﺸﺌﻭﻥ ﻤﻴﻠﺸﻴﺎﺕ ﺃﺨﺭﻯ"")ﻋﺎﺸﻭﺭ‪.(260 :2011،‬‬

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 ‫ﳎﻠﺔ ﻣﻘﺎﻟﻴﺪ ـــــــــــــــــــــــــ ﺍﻟﻌﺪﺩ ﺍﻟﺴﺎﺩﺱ‪ /‬ﺟﻮﺍﻥ ‪2014‬‬
‫ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﻓﻲ ﺍﻝﺴ‪‬ﻴﺎﻕ ﻋﻥ ﻨﺠﺎﺡ ﺩﻭﻝﺔ ﺍﻻﺤﺘﻼل ﻓﻲ ﺘﺤﻭﻴل ﻝﺒﻨﺎﻥ ﺇﻝﻰ ﺴﺎﺤﺔ ﺤﺭﺏ ﻀ ‪‬ﺩ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ‬
‫ﺘﻜﺸﻑ ﺍﻹﺸﺎﺭﺓ ﺍﻝ ‪‬‬
‫ﺒﺎﻝﹼﺘﻌﺎﻭﻥ ﻤﻊ ﻋﻤﻼﺌﻬﺎ ﻓﻴﻪ‪ .‬ﻭﻫﻲ ﺤﺭﺏ ﻤﻌﻘﹼﺩﺓ ﺍﺠﺘﻤﻌﺕ ﻓﻴﻬﺎ ﻤﺼﺎﻝﺢ ﺍﻷﻋﺩﺍﺀ ﻋﻠﻰ ﺍﻝﺘﹼﻨﻜﻴل ﺒﺎﻝﻼﺠﺌﻴﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ‪ .‬ﻭﻫﻭ ﻤـﺎ‬
‫ﺸﻤﺎﻝﻴ‪‬ﺔ ﺒﻐﻴﺔ ﺘﺤﻘﻴﻕ ﺍﻷﻤﻥ ﻝﻬﺎ‪ .‬ﺘﻘﻭل‬
‫ﻴﻌﻜﺱ ﺤﺭﺹ ﺍﻻﺤﺘﻼل ﻋﻠﻰ ﺇﺒﻌﺎﺩ ﺍﻝﻼﺠﺌﻴﻥ ﻭﺍﻝﺜﹼﻭﺭﺓ ﺍﻝﻔﻠﺴﻁﻴﻨ‪‬ﻴﺔ ﻋﻥ ﺤﺩﻭﺩ ﻓﻠﺴﻁﻴﻥ ﺍﻝ ﹼ‬
‫ﻕ‪ .‬ﻝﻡ ﻴﻌﺩ ﻝﻨﺎ ﺤﻴﺎﺓ ﻓﻲ ﻝﺒﻨﺎﻥ‪ .‬ﺍﺫﻫﺒﻲ ﺇﻝﻰ ﺃﺒﻭ ﻅﺒﻲ" )ﻋﺎﺸـﻭﺭ‪ .(261 :2011،‬ﻓـﻲ‬
‫ﺍﻝﺭ‪‬ﺍﻭﻴﺔ‪" :‬ﻗﺎل ﻝﻲ ﻋ ‪‬ﺯ‪:‬ﺼﺎﺩﻕ ﻋﻠﻰ ﺤ ﹼ‬
‫ﺇﺸﺎﺭﺓ ﺇﻝﻰ ﺃﺤﻭﺍل ﺍﻝﻼﺠﺌﻴﻥ ﺍﻝﻘﺎﺴﻴﺔ ﻓﻲ ﻝﺒﻨﺎﻥ ﻭﺘﻌﺩ‪‬ﺩ ﻤﻨﺎﻓﻴﻬﻡ ‪.‬‬
‫ﻭﺘﺸﻴﺭ ﻜﺫﻝﻙ ﺇﻝﻰ ﺨﻁﺄ ﺍﻝﻘﻴﺎﺩﺓ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﻓﻲ ﺇﺩﺍﺭﺓ ﺍﻝﺼ‪‬ﺭﺍﻉ ﻤﻊ ﺍﻝﻌﺩ ‪‬ﻭ ﻓﻲ ﻤﻭﺍﻗﻑ ﻋﺩﻴﺩﺓ ﻭﻓﻲ ﺃﻤـﺎﻜﻥ ﺤﻀـﻭﺭﻫﺎ‬
‫ﺍﻝﻤﺨﺘﻠﻔﺔ‪ .‬ﻭﻤﻨﻬﺎ ﻗﺭﺍﺭﻫﺎ ﺒﺎﻻﻨﺴﺤﺎﺏ ﻤﻥ ﻝﺒﻨﺎﻥ ﺒﻌﺩ ﺍﺠﺘﻴﺎﺡ ﺩﻭﻝﺔ ﺍﻻﺤﺘﻼل ﻝﻪ ﻋﺎﻡ ‪ 1982‬ﺍﻝﺫﻱ ﻨﺠﻡ ﻋﻨـﻪ ﺇﺨـﻼﺀ ﺍﻝﺴ‪‬ـﺎﺤﺔ‬
‫ﺍﻝﹼﻠﺒﻨﺎﻨﻴ‪‬ﺔ ﺃﻤﺎﻡ ﺃﻋﻭﺍﻥ ﺍﻻﺤﺘﻼل ﻝﺘﻨﻔﻴﺫ ﻤﺠﺯﺭﺓ ﺼﺒﺭﺍ ﻭﺸﺎﺘﻴﻼ ﻭﻤﺠﺎﺯﺭ ﺃﺨﺭﻯ‪ .‬ﺘﻘﻭل ﺍﻝﺭ‪‬ﺍﻭﻴﺔ ﻓﻲ ﻭﺼﻑ ﺼﺩﻤﺔ ﺍﻝﻤﻭﻗﻑ ﺍﻝﺫﻱ‬
‫ﻲ ﻴﻨﺘﻬﻲ ﺒﺎﻝﺼ‪‬ﻴﺎﺡ ﺃﻭ ﺍﻝﹼﺘﺸﺎﺒﻙ ﺒﺎﻷﻴﺩﻱ ﺒـﻴﻥ ﻤﻨﺎﺼـﺭ‬
‫ﺘﺭﺘﹼﺏ ﻋﻠﻰ ﺫﻝﻙ ﻋﻨﺩ ﺍﻝﻔﺩﺍﺌﻴ‪‬ﻴﻥ ﺍﻝﺫﻴﻥ ﻝﻡ ﻴﻐﺎﺩﺭﻭﺍ ﺒﻴﺭﻭﺕ‪" :‬ﻋﺭﺍﻙ ﻴﻭﻤ ‪‬‬
‫ﻷﺒﻭ ﻋﻤ‪‬ﺎﺭ ﻭﻗﺭﺍﺭﻩ ﻭﺤﺎﻨﻕ ﻋﻠﻰ ﺍﻝﻘﻴﺎﺩﺓ ﻭﺴﻴﺎﺴﺎﺘﻬﺎ" )ﻋﺎﺸﻭﺭ‪ .(228 :2011،‬ﻭﻫﻭ ﻗﺭﺍﺭ ﻝﻡ ﻴﻜﻥ ﻤﺘﻭ ﹼﻗﻌ‪‬ﺎ ﻤﻥ ﺍﻝﻘﻴﺎﺩﺓ ﻓﻲ ﻅ ّ‬
‫ل‬
‫ﺼﻌﺒﺔ ﺍﻝﺘﻲ ﻜﺎﻨﺕ ﺘﺤﻴﻁ ﺒﺎﻝﻼﺠﺌﻴﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ ﻓﻲ ﻝﺒﻨﺎﻥ‪ .‬ﻭﻫﻭ ﻴﻤﺜﹼل ﻋﻼﻤﺔ ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺩﺍﻝﹼﺔ ﻋﻠﻰ ﺘـﺄﺨﹼﺭ ﺇﻨﺠـﺎﺯ‬
‫ﻅﺭﻭﻑ ﺍﻝ ‪‬‬
‫ﺍﻝ ﹼ‬
‫ﺍﻷﻫﺩﺍﻑ ﺍﻝﺜﹼﻭﺭﻴ‪‬ﺔ ﻝﻬﺎ‪.‬‬

‫ﻭﻴﺒﺩﻭ ﺤﺭﺹ ﺍﻝ ‪‬ﺭﻭﺍﺌﻴﺔ ﻭﺍﻀﺤ‪‬ﺎ ﻋﻠﻰ ﺘﺩﻭﻴﻥ ﺭﻭﺍﻴﺔ ﺍﻝﻤﺄﺴﺎﺓ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﻭﻓﻕ ﻓﺼﻭﻝﻬﺎ ﺍﻝﻜﺎﺭﺜﻴ‪‬ﺔ‪ .‬ﻭﻫﻭ ﻤﺎ ﺘﻌﻜﺴﻪ ﺒﻨﻴـﺔ‬
‫ﻲ‬
‫ﺹ‪ .‬ﺇﺫ ﺍﻓﺘﺘﺤﺘﻪ ﺒﻤﺸﻬﺩ "ﻁﺭﺡ ﺍﻝﺒﺤﺭ"‪ ،‬ﻓﻭﺼﻔﺕ ﻓﻴﻪ ﻗﺭﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ ﺍﻝﻭﺍﺩﻋﺔ ﻭﻤﺠﺘﻤﻌﻬﺎ ﺍﻝﺤ ‪‬‬
‫ﻓﺼﻭل ﺍﻝﺴ‪‬ﺭﺩ ﻭﺘﺘﺎﺒﻌﻬﺎ ﻓﻲ ﺍﻝﹼﻨ ‪‬‬
‫ﻲ ﻭﺘﻔﺘﹼﺤﺕ ﻓﻴﻬﺎ ﺯﻫﺭﺓ ﺼﺒﺎﻫﺎ‪ .‬ﻭﺸﺎﺭﻜﺕ ﻤﺠﺎﻴﻠﻴﻬﺎ ﻤﻥ ﺃﻁﻔﺎل‬
‫ﻁﻔﻭﻝ ‪‬‬
‫ﻋﻠﻰ ﺴﺎﺤل ﺍﻝﺒﺤﺭ ﺍﻝﻤﺘﻭﺴ‪‬ﻁ‪ .‬ﺤﻴﺙ ﺘﺸﻜﹼل ﻭﻋﻲ ﺍﻝﺒﻁﻠﺔ ﺍﻝ ﹼ‬
‫ﻗﺭﻴﺘﻬﺎ ﺃﻝﻭﺍ ﹰﻨﺎ ﻤﻥ ﺍﻷﻝﻌﺎﺏ ﺍﻝﻤﺤﺒ‪‬ﺒﺔ ﺇﻝﻴﻬﺎ‪ .‬ﻭﻜﺸﻔﺕ ﻋﻥ ﺃﺤﻼﻤﻬﺎ ﻭﻫﻭﺍﺠﺴﻬﺎ ﻓﻲ ﻤﺠﺘﻤﻌﻬﺎ ﺍﻝﻤﺴﺘﻘ ‪‬ﺭ ﺁﻨﺫﺍﻙ‪ .‬ﻭﻴﺅﺸﹼﺭ ﺍﺴـﺘﺫﻜﺎﺭﻫﺎ‬
‫ﺇﻝﻰ ﻋﺩﻡ ﺍﻨﻘﻁﺎﻋﻬﺎ ﻋﻥ ﺍﺴﺘﻌﺎﺩﺓ ﺼﻭﺭﺓ ﺒﻠﺩﺘﻬﺎ ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ‪ ،‬ﻭﺴﻴﺭﺘﻬﺎ ﻭﺴﻴﺭﺓ ﺃﻫﻠﻬﺎ ﻓﻴﻬﺎ‪ ،‬ﻭﻫﻲ ﺍﻝﺤﺎﻀﺭﺓ ﻓﻲ ﻓﺼﻭل ﺍﻝﺭ‪‬ﻭﺍﻴﺔ‬
‫ﻜﻠﹼﻬﺎ‪ .‬ﻓﻬﻲ ﺃﻴﻘﻭﻨﺔ ﺒﺼﺭﻴ‪‬ﺔ ﺤﺎﻀﺭﺓ ﻓﻲ ﺫﺍﻜﺭﺘﻬﺎ ﻭﺘﺴﺘﺩﻋﻴﻬﺎ ﺒﻭﺤﻲ ﻤﻥ ﻫﺎﺠﺱ ﺍﻝﻤﻘﺎﺭﺒﺔ ﺍﻝﻤﺴﺘﻤﺭ‪‬ﺓ ﺒﻴﻥ ﺤﺎﻝﺘﻬﺎ ﺍﻵﻤﻨﺔ ﺍﻝﻤﻁﻤﺌﻨﹼﺔ‬
‫ﻓﻲ ﻓﻠﺴﻁﻴﻥ ﻭﺤﺎﻝﺘﻬﺎ ﺍﻝﻤﺄﺴﺎﻭﻴ‪‬ﺔ ﻓﻲ ﺍﻝﻤﻨﻔﻰ‪ -‬ﺍﻝﻐﺭﺒﺔ ﻭﺍﻝﻀ‪‬ﻴﺎﻉ‪.‬‬

‫ﻭﺨﺘﻤﺕ ﺍﻝﻜﺎﺘﺒﺔ ﺭﻭﺍﻴﺘﻬﺎ ﺒﻤﺸﻬﺩ ﻋﻨﻭﻨﺘﻪ ﺒـ"ﻋﻠﻰ ﺠﺎﻨﺒﻲ ﺴﻠﻙ ﺸﺎﺌﻙ" ﻭﺼﻔﺕ ﻓﻴﻪ ﺍﻨﺘﺼﺎﺭ ﺍﻝﻤﻘﺎﻭﻤﺔ ﺍﻝﻠﹼﺒﻨﺎﻨﻴ‪‬ـﺔ ﻋﻠـﻰ‬
‫ﺠﻴﺵ ﺍﻻﺤﺘﻼل ﺍﻝﻤﻨﺩﺤﺭ ﻋﻥ ﺠﻨﻭﺏ ﻝﺒﻨﺎﻥ ﻭﺍﺤﺘﻔﺎﻝﻴ‪‬ﺔ ﺍﻝﻠﹼﺒﻨﺎﻨﻴ‪‬ﻴﻥ‪،‬ﻭﻤﻌﻬﻡ ﺍﻝﻼﺠﺌﻭﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻭﻥ‪ ،‬ﺒﺫﻝﻙ ﺍﻻﻨﺘﺼﺎﺭ ﺍﻝﺫﻱ ﻤﺜﹼل ﻓﻲ‬
‫ل‪ .‬ﻭﺒﺩﺍ ﺘﻔﺎﺅل ﺍﻝﻜﺎﺘﺒﺔ ﻜﺒﻴﺭ‪‬ﺍ ﻤﻥ ﺇﻤﻜﺎﻨﻴ‪‬ﺔ ﻋﻭﺩﺓ ﺍﻝﻼﺠﺌﻴﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ ﺍﺴﺘﺒﺸـﺎﺭ‪‬ﺍ‬
‫ﻤﻨﻅﻭﺭﻫﻡ ﺤﻘﺒﺔ ﺠﺩﻴﺩﺓ ﻓﻲ ﺍﻝﹼﺘﻌﺎﻤل ﻤﻊ ﺍﻝﻤﺤﺘ ّ‬
‫ﺒﺫﻝﻙ ﺍﻻﻨﺘﺼﺎﺭ‪ .‬ﻭﻗﺩ ﻭﻗﻊ ﺍﻝﹼﻠﻘﺎﺀ ﺍﻝﺭ‪‬ﻤﺯﻱ‪ ،‬ﻜﻤﺎ ﺃﺭﺍﺩﺘﻪ ﺍﻝﻜﺎﺘﺒﺔ‪ ،‬ﺒﻴﻥ ﺭﻗﻴ‪‬ﺔ ﺍﻝﺠﺩ‪‬ﺓ ﻭﺭﻗﻴ‪‬ﺔ ﺍﻝﺤﻔﻴﺩﺓ ﻋﻨﺩ ﺍﻝﺴ‪‬ﻠﻙ ﺍﻝﺸﹼﺎﺌﻙ ﻋﻠﻰ ﺍﻝﺤ ‪‬ﺩ‬
‫ﺍﻝﻔﺎﺼل ﺒﻴﻥ ﻓﻠﺴﻁﻴﻥ ﻭﻝﺒﻨﺎﻥ‪ .‬ﻭﻫﻭ ﻝﻘﺎﺀ ﻴﻤﺜﹼل ﻋﻼﻤﺔ ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺩﺍﻝﹼﺔ ﻋﻠﻰ ﺤﺘﻤﻴ‪‬ﺔ ﻋﻭﺩﺓ ﺍﻝﻤﻨﻔﻴ‪‬ﻴﻥ ﺇﻝﻰ ﻓﻠﺴﻁﻴﻥ ﺒﺼﻭﺭ ﺸـﺘﹼﻰ‪،‬‬
‫ل ﻤﻥ ﺠﻨﻭﺏ ﻝﺒﻨﺎﻥ ﻭﺤﻘﹼﻘـﺕ‬
‫ﻤﻨﻬﺎ ﺍﻝﺯﻭﺍﺝ ﺒﻔﻠﺴﻁﻴﻨﻴ‪‬ﺎﺕ ﻴﻌﺸﻥ ﻓﻲ ﺍﻝﻭﻁﻥ‪ .‬ﻭﻜﺫﻝﻙ ﻋﺒﺭ ﺍﻨﺘﺼﺎﺭ ﺍﻝﻤﻘﺎﻭﻤﺔ ﺍﻝﺘﻲ ﻁﺭﺩﺕ ﺍﻝﻤﺤﺘ ّ‬
‫ﻲ ﻭﺃﻫﻠﻬﻡ ﺍﻝﻤﻬﺠ‪‬ﺭﻴﻥ ﺍﻝﻤﻘﻴﻤﻴﻥ ﻓﻲ ﻤﺨﻴ‪‬ﻤﺎﺕ ﺍﻝﻠﹼﺠـﻭﺀ‬
‫ﻱ ﺒﻴﻥ ﺃﻫل ﻓﻠﺴﻁﻴﻥ ﺍﻝﻤﺭﺍﺒﻁﻴﻥ ﻓﻲ ﻤﺩﻥ ﺍﻝﺴ‪‬ﺎﺤل ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﺍﻝﻠﹼﻘﺎﺀ ﺍﻝﺭ‪‬ﻤﺯ ‪‬‬
‫ﺍﻝﻠﹼﺒﻨﺎﻨﻴ‪‬ﺔ‪ .‬ﻭﻫﻭ ﻴﻤﺜﹼل ﺼﻴﻐﺔ ﺩﺍﻝﹼﺔ ﻓﻲ ﺍﻝﺭ‪‬ﺅﻴﺔ ﺍﻝﺴ‪‬ﺭﺩﻴ‪‬ﺔ ﻝﻠﻜﺎﺘﺒﺔ ﺘﻭﺤﻲ ﺒﺤﺘﻤﻴ‪‬ﺔ ﺍﻝﻌﻭﺩﺓ ﻋﺒﺭ ﻫﺫﻩ ﺍﻝﺒﻭ‪‬ﺍﺒﺔ ﺍﻝﺘﻲ ﻓﺘﺤﺕ ﺃﻓﻘﹰﺎ ﺠﺩﻴـﺩ‪‬ﺍ‬
‫ﺴﻠﻙ ﺍﻝﺸﹼﺎﺌﻙ ﺃﻨﺎﺩﻱ ﺒﺄﻋﻠﻰ ﺍﻝﺼ‪‬ﻭﺕ‪.‬ﻫل ﻓﻘﺩﺕ ﻴـﺎ‬
‫ﺃﻤﺎﻡ ﺍﻝﻤﻨﻔﻴ‪‬ﻴﻥ ﻤﻥ ﺃﺒﻨﺎﺀ ﺸﻌﺒﻨﺎ‪ .‬ﺘﻘﻭل ﺍﻝﻜﺎﺘﺒﺔ ﻋﻠﻰ ﻝﺴﺎﻥ ﺭﻗﻴ‪‬ﺔ‪":‬ﺃﻨﺩﻓﻊ ﺇﻝﻰ ﺍﻝ ‪‬‬
‫ل ﺍﻝﻤﻴﺯﺍﻥ؟ ﺃ‪‬ﻴﺔ ﻤﻔﺎﺠﺄﺓ‪.‬ﺃﻴ‪‬ﺔ ﻤﻔﺎﺠﺄﺓ؟! ﻜﺎﻥ ﺤﺴﻥ ﻓﻲ ﺍﻝﺠﺎﻨﺏ ﺍﻵﺨﺭ" )ﻋﺎﺸﻭﺭ‪.(453 :2011،‬‬
‫ﺭﻗﻴ‪‬ﺔ ﻋﻘﻠﻙ؟ ﻫل ﺍﺨﺘ ّ‬

‫ﻭﺒﻴﻥ ﺍﻝﻔﺼﻠﻴﻥ‪ ،‬ﺁﻨﻔﻲ ﺍﻝﺫﹼﻜﺭ‪ ،‬ﻴﻤﺘ ‪‬ﺩ ﺍﻝﺴ‪‬ﺭﺩ ﻋﻠﻰ ﻤﺴﺎﺤﺔ ﺴﺘﺔ ﻭﺨﻤﺴﻴﻥ ﻓﺼﻼ ﺃﻋﺎﺩﺕ ﺍﻝﻜﺎﺘﺒﺔ ﻓﻴﻬـﺎ ﺘﺭﻜﻴـﺏ ﺍﻝﻭﻗـﺎﺌﻊ‬
‫ﺍﻝﺘﹼﺎﺭﻴﺨﻴ‪‬ﺔ ﺍﻝﻤﻔﺼﻠﻴ‪‬ﺔ ﺍﻝﺘﻲ ﻤﺭ‪‬ﺕ ﺒﻬﺎ ﻗﻀﻴ‪‬ﺔ ﻓﻠﺴﻁﻴﻥ‪ ،‬ﻤﺴﺠ‪‬ﻠﺔ ﺒﺫﻝﻙ ﻗﺭﺍﺀﺘﻬﺎ ﺍﻝﹼﺘﺎﺭﻴﺨﻴ‪‬ﺔ ﻭﺍﻝﺴ‪‬ﻴﺎﺴـﻴ‪‬ﺔ ﻝﻤﺴـﺎﺭ ﺤﻴـﺎﺓ ﺍﻝﺸﹼـﻌﺏ‬
‫ﻲ‬
‫ﻲ ﺍﻝﻌﺭﺒـ ‪‬‬
‫ﺴﻴﺎﺴـ ‪‬‬
‫ﻲ ﻭﺤﻴﺎﺓ ﻻﺠﺌﻴﻪ ﺒﺂﻻﻤﻬﺎ ﻭﺁﻤﺎﻝﻬﺎ‪ ،‬ﻭﻁﺎﺭﺤﺔ ﻝﺭﺅﻴﺔ ﺭﻭﺍﺌ‪‬ﻴﺔ ﻤﺨﺘﻠﻔﺔ ﻋﻥ ﺍﻝﺴ‪‬ـﺎﺌﺩ ﻓـﻲ ﺍﻝﻔﻌـل ﺍﻝ ‪‬‬
‫ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﻲ‪.‬‬
‫ﻭﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬

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 ‫ﳎﻠﺔ ﻣﻘﺎﻟﻴﺪ ـــــــــــــــــــــــــ ﺍﻟﻌﺪﺩ ﺍﻟﺴﺎﺩﺱ‪ /‬ﺟﻮﺍﻥ ‪2014‬‬
‫ﻭﺘﺩﻭﺭ ﻓﺼﻭل ﺍﻝﺭ‪‬ﻭﺍﻴﺔ ﺤﻭل ﺠﺩﻝﻴ‪‬ﺔ ﺍﻝﻭﻁﻥ ﻭﺍﻝﻤﻨﻔﻰ ﻭﺜﻨﺎﺌﻴ‪‬ﺔ ﺍﻝ ﹼﺫﺍﺕ ﻭﺍﻵﺨﺭ‪ .‬ﻭﺘﻁﺭﺡ ﺍﻝﻜﺎﺘﺒﺔ ﺒﻬﻤـﺎ ﻤﻌﻨـﻰ ﺍﻝﻬ‪‬ﻭﻴ‪‬ـﺔ‬
‫ﻁﻨﻁﻭﺭﻴ‪‬ﺔ ﻭﺴﻴﺭﺓ ﻋﺎﺌﻠﺘﻬﺎ ﺍﻝﻤﻨﻔﻴ‪‬ﺔ ﻓﻲ ﻤﺴﺭﺡ ﺤﻴﺎﺘﻬﺎ ﺍﻷﻭ‪‬ل‬
‫ﺴﻴﺭﺓ ﺍﻝﺫﹼﺍﺘﻴ‪‬ﺔ ﻝﻠ ‪‬ﺭﺍﻭﻴﺔ ﺍﻝﻼﺠﺌﺔ ﺭﻗﻴ‪‬ﺔ ﺍﻝ ﹼ‬
‫ﻭﺴﺅﺍل ﺍﻝﻀ‪‬ﺤﻴ‪‬ﺔ ﻓﻲ ﺫﺍﻜﺭﺓ ﺍﻝ ‪‬‬
‫"ﻤﺠﺘﻤﻊ ﺍﻝﻁﹼﻨﻁﻭﺭﺓ"‪ .‬ﻭﻜﺫﻝﻙ ﻓﻲ ﻤﺴﺎﺭﺡ ﺍﻝﻤﻨﻔﻰ ﻓﻲ ﻤﺠﺘﻤﻌﺎﺕ ﻤﺨﻴ‪‬ﻤﺎﺕ ﺍﻝﻠﹼﺠـﻭﺀ ﻓـﻲ ﻝﺒﻨـﺎﻥ‪ .‬ﻭﺍﻷﺭﺩﻥ‪‬؛ ﻤﺨـﻴ‪‬ﻡ ﺍﻝﺒﻘﻌـﺔ‪.‬‬
‫ﻭﻓﻠﺴﻁﻴﻥ؛ ﻤﺨﻴ‪‬ﻡ ﺠﻨﻴﻥ‪ .‬ﻭﻓﻲ ﻤﺠﺘﻤﻌﺎﺕ ﺃﺨﺭﻯ ﺯﺍﺭﺘﻬﺎ ﻜﺎﻝﻴﻭﻨﺎﻥ ﻭﺩﺒﻲ ﻭﺍﻝﻘﺎﻫﺭﺓ ﻭﺍﻹﺴﻜﻨﺩﺭﻴ‪‬ﺔ‪.‬‬
‫ﺸﺨﺹ ﻭﻴﻌﻴﺸﻬﺎ ﻤﺒﺎﺸـﺭﺓ ﻭﻴﺴﺘﺤﻀـﺭﻫﺎ ﻋﺒـﺭ‬
‫ﺴﻴﺭﺓ ﺍﻝﺫﹼﺍﺘﻴ‪‬ﺔ ﺇﻝﻰ ﺘﺫﻜﹼﺭ" ﺍﻷﺤﺩﺍﺙ ﺍﻝﺘﻲ ﻴﺨﺒﺭﻫﺎ ﺍﻝ ﹼ‬
‫ﻭﺘﻌﺯﻯ ﺫﺍﻜﺭﺓ ﺍﻝ ‪‬‬
‫ﺸﺎﻫﺩﺓ ﻋﻠﻰ ﺘﺤـﻭ‪‬ﻻﺕ‬
‫ﺘﻤﺜﹼﻼﺕ ﻤﺭﺘﺒﻁﺔ ﺒﺄﻤﺎﻜﻥ ﺍﻝﺫﹼﺍﻜﺭﺓ" )ﻋﺒﺩ ﺍﷲ‪ .(94-88: 2003 ،‬ﻓﻬﻲ ﺴﻴﺭﺓ ﺭﻭﺍﺌ‪‬ﻴﺔ ﻝﺸﺨﺼﻴ‪‬ﺔ ﺍﻝﺒﻁل ﺍﻝ ﹼ‬
‫ل‪ .‬ﻭﺍﻝﺭ‪‬ﺍﻭﻴﺔ ﺘﺅﻜﹼﺩ ﺫﻝﻙ ﺒﻘﻭﻝﻬﺎ‪" :‬ﻤﺎ ﺍﻝﻤﻨﻁﻕ ﻓﻲ ﺃﻥ ﺃﺭﻜـﺽ ﻭﺭﺍﺀ ﺍﻝـﺫﹼﺍﻜﺭﺓ‬
‫ﺍﻝﻭﺍﻗﻊ ﺍﻝﻤﺅﻝﻡ ﻝﺸﻌﺒﻨﺎ ﻭﻗﻀﻴ‪‬ﺘﻪ ﺍﻝﻌﺼ‪‬ﻴﺔ ﻋﻠﻰ ﺍﻝﺤ ّ‬
‫ﻭﻫﻲ ﺸﺎﺭﺩﺓ ﺘﺴﻌﻰ ﺇﻝﻰ ﺍﻝﻬﺭﻭﺏ ﻤﻥ ﻨﻔﺴﻬﺎ‪،‬ﺸﻌﺜﺎﺀ ﻤﻌﻔﹼﺭﺓ ﻤ‪‬ﺭﻭ‪‬ﻋﺔ ﻤﺴﻜﻭﻨﺔ ﺒﻬﻭل ﻤﺎ ﺭﺃﺕ ؟ ﻝﻤﺎﺫﺍ ﺃﺭﻜﺽ ﻭﺭﺍﺀﻫﺎ‪ ،‬ﻫل ﺃﺭﻴﺩ‬
‫ﺕ ﺒﻌﺩﻫﺎ")ﻋﺎﺸﻭﺭ‪.(188 :2011،‬‬
‫ﻗﺘﻠﻬﺎ ﻷﻋﻴﺵ‪ ،‬ﺃﻡ ﺃﺴﻌﻰ ﻹﺤﻴﺎﺌﻬﺎ ﻭﺇﻥ ﻤ ﹼ‬
‫ﻲ ﻫﻭ ﺍﻝﺫﹼﺍﻜﺭﺓ ﺍﻝﻤﻨﻔﺘﺤﺔ ﻋﻠﻰ ﺍﻝﻤﺎﻀﻲ‪ ،‬ﻤﺠﺘﻤﻊ ﻤﺎ ﻗﺒـل‬
‫ﻭﻫﻲ ﺒﻬﺫﻩ ﺍﻻﺴﺘﻌﺎﺩﺓ ﺭﻭﺍﻴﺔ ﺘﺄﺭﻴﺨﻴ‪‬ﺔ‪-‬ﺴﻴﺎﺴﻴ‪‬ﺔ ﻤﻌﻴﻨﻬﺎ ﺍﻝ ‪‬ﺭﻭﺍﺌ ‪‬‬
‫ﻲ ﻤﺯﺩﻫﺭ‪ ،‬ﻭﻫـﻭ ﺍﻝـﺫﻱ ﺘﻌﻴـﺩ‬
‫ﻲ ﻭﻋﻤﺭﺍﻨ ‪‬‬
‫ﺍﻝﻨﹼﻜﺒﺔ‪ ،‬ﻴﻭﻡ ﻜﺎﻨﺕ ﻓﻠﺴﻁﻴﻥ ﻤﻌﻤﻭﺭﺓ ﺒﺄﻫﻠﻬﺎ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ‪ ،‬ﻭﻴﺴﻭﺩﻫﺎ ﻨﻅﺎﻡ ﺍﺠﺘﻤﺎﻋ ‪‬‬
‫ﺍﻝ ‪‬ﺭﻭﺍﺌﻴ‪‬ﺔ ﺘﺸﻜﻴﻠﻪ ﻋﻠﻰ ﺨﺭﻴﻁﺔ ﻓﻠﺴﻁﻴﻥ ﺍﻝﹼﺘﺎﺭﻴﺨﻴ‪‬ﺔ‪ .‬ﻭﻜﺫﻝﻙ ﺍﻝﺫﹼﺍﻜﺭﺓ ﺍﻝﻤﻨﻔﺘﺤﺔ ﻋﻠﻰ ﻤﺠﺘﻤﻊ ﻤﺎ ﺒﻌﺩ ﺍﻝﻨﹼﻜﺒـﺔ ﻭﺃﻝـﻭﺍﻥ ﻋـﺫﺍﺒﺎﺕ‬
‫ﺍﻝﻼﺠﺌﻴﻥ ﻓﻴﻪ ‪.‬‬
‫ﺼﻭﺭﺓ ﺍﻝﻭﺍﻗﻌﻴ‪‬ﺔ ﻝﻠﻤﻜﺎﻥ؛ ﺍﻝﻭﻁﻥ ﺍﻝﺼﻐﻴﺭ ﺍﻝﻤﻨﻜﻭﺏ‪ ،‬ﻋﺒﺭ ﺴﺭﺩ ﺸﺒﻜﺔ ﻋﻼﻗﺎﺘـﻪ ﺍﻻﺠﺘﻤﺎﻋﻴ‪‬ـﺔ‬
‫ﻭﻫﻲ ﺘﻌﻴﺩ ﺒﺫﻝﻙ ﺭﺴﻡ ﺍﻝ ‪‬‬
‫ﻁﻨﻁﻭﺭﺓ؛ ﺒﻠﺩﺓ ﺍﻝﺒﻁﻠﺔ ﻭﻤﺠﺘﻤﻊ ﺃﻫﻠﻬـﺎ‬
‫ﻭﺍﻝﺜﹼﻘﺎﻓﻴ‪‬ﺔ ﻓﻲ ﻤﺠﺘﻤﻌﻪ‪ ،‬ﻭﺼﻠﺘﻪ ﺒﻤﺠﺘﻤﻌﺎﺕ ﺍﻝﻤﺩﻥ ﻭﺍﻝﻘﺭﻯ ﺍﻝﻤﺠﺎﻭﺭﺓ ﻝﻪ‪ .‬ﻭﺘﻤﺜﹼل ﻗﺭﻴﺔ ﺍﻝ ﹼ‬
‫ﻲ‪-‬‬
‫ﺍﻷﻭ‪‬ل ﺼﻴﻐﺔ ﺃﻴﻘﻭﻨﻴ‪‬ﺔ ﺍﺴﺘﻌﺎﺭﻴﺔ ﻭﻤﻌﺎﺩﻻ ﻤﻭﻀﻭﻋﻴ‪‬ﺎ ﻝﻤﺎ ﻴﺯﻴﺩ ﻋﻠﻰ ﺨﻤﺴﻤﺌﺔ ﻭﻋﺸﺭﻴﻥ ﻗﺭﻴﺔ ﻓﻠﺴﻁﻴﻨﻴ‪‬ﺔ ‪-‬ﻤﺠﺘﻤﻊ ﻓﻠﺴـﻁﻴﻨ ‪‬‬
‫ﻤﻬﺠ‪‬ﺭﺓ ﻭﻤﺩﻤ‪‬ﺭﺓ ﻋﻠﻰ ﻴﺩ ﺍﻻﺤﺘﻼل‪.‬‬
‫ﻭﻴﻤﺜﹼل ﺍﻝﻤﺨﻴ‪‬ﻡ= ﺍﻝﻤﻨﻔﻰ ﺃﻝﻡ ﺍﻻﻏﺘﺭﺍﺏ ﻋﻥ ﻭﻁﻨﻬﺎ ﻭﺁﻻﻡ ﺍﻝﺤﻴﺎﺓ ﻓﻴﻪ‪ .‬ﻭﺘﺴﺭﺩ ﺍﻝﻜﺎﺘﺒﺔ ﺤﻜﺎﻴﺔ ﺃﺴﺭﺓ ﻓﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﻻﺠﺌﺔ ﻓﻲ‬
‫ﻝﺒﻨﺎﻥ ﺘﻌﺎﻨﻲ ﻓﻲ ﻭﺍﻗﻌﻬﺎ ﺍﻝﺠﺩﻴﺩ ﻗﺴﻭﺓ ﺍﻝﻅﹼﺭﻭﻑ ﺍﻝﻤﻌﻴﺸﻴ‪‬ﺔ ﻭﻏﻴﺎﺏ ﺍﻝﺤﻘﻭﻕ‪ .‬ﻭﻫﻲ ﺘﻤﺜﹼل ﻓﻲ ﻭﺍﻗﻊ ﺤﺎﻝﻬﺎ ﻤﻌـﺎﺩﻻ ﻤﻭﻀـﻭﻋﻴ‪‬ﺎ‬
‫ﻝﻤﺠﺘﻤﻊ ﺍﻝﻼﺠﺌﻴﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ ﺒﻌﺎﺌﻼﺘﻪ ﺍﻝﻤﻤﺘﺩ‪‬ﺓ ﺍﻝﻤﻨﺘﺸﺭﺓ ﻓﻲ ﻤﺨﻴ‪‬ﻤﺎﺕ ﺍﻝﻠﹼﺠﻭﺀ‪ ،‬ﺩﺍﺨل ﻓﻠﺴﻁﻴﻥ ﻭﺨﺎﺭﺠﻬﺎ‪ .‬ﺘﻘﻭل ﺍﻝﺭ‪‬ﺍﻭﻴﺔ ﻋﻠﻰ‬
‫ﻝﺴﺎﻥ ﺍﺒﻨﻬﺎ ﻋﺒﺩ ﺍﻝﺭﺤﻤﻥ‪-" :‬ﺍﻝﻤﺨﻴ‪‬ﻡ ﺘﻌﻴﺵ ﻓﻴﻪ ﺃﻭ ﺨﺎﺭﺠﻪ ﻫﻭ ﺤﻜﺎﻴﺘﻙ ﻻ ﻤﻬﺭﺏ ﻝﻙ ﻤﻨﻬﺎ‪ .‬ﻭﺯﻤﻴﻠﻙ ﻓﻲ ﺍﻝﺼ‪‬ﻑ ﻴﻨﻘﻠﺏ ﻋﻠﻴﻙ‬
‫ﻥ ﻭﺠﻭﺩﻙ‪ ،‬ﻤﺠﺭ‪‬ﺩ ﺃﻨﹼﻙ ﻤﻭﺠـﻭﺩ‬
‫ﻲ ﻭﺃ ‪‬‬
‫ﻓﺠﺄﺓ ﻓﻼ ﺘﻌﺭﻑ ﻤﺎ ﺍﻝﺫﻱ ﺃﻏﻀﺒﻪ‪ ،‬ﻝﺘﻜﺘﺸﻑ ﺒﻌﺩ ﻴﻭﻡ ﺃﻭ ﻴﻭﻤﻴﻥ ﺃﻨﹼﻪ ﻋﺭﻑ ﺃﻨﹼﻙ ﻓﻠﺴﻁﻴﻨ ‪‬‬
‫ﻭﺃﻨﹼﻙ ﺃﻨﺕ ﻻ ﻏﻴﺭﻙ ﺃﻤﺭ ﻤﺴﺘﻔ ‪‬ﺯ ﻴﺜﻴﺭ ﺍﻝﻐﻀﺏ ﺃﻭ ﺍﻻﺴﺘﻴﺎﺀ ﺃﻭ ﻋﻠﻰ ﺃﻗل ﺘﻘـﺩﻴﺭ‪،‬ﺍﻝﻘﺭﻑ" )ﻋﺎﺸـﻭﺭ‪ .(77 : 2011،‬ﻭﻴﺸـﻴﺭ‬
‫ﻲ ﺨﺎﺭﺝ ﻭﻁﻨﻪ‪ ،‬ﻭﻗﺩ ﺸﻜﹼل ﻤﺨﻴ‪‬ﻡ ﺍﻝﻠﹼﺠﻭﺀ‪-‬ﺍﻝﻤﻨﻔﻰ ﻋﻼﻤﺔ ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ‬
‫ﻓﺤﻭﻯ ﺍﻝﺴ‪‬ﻴﺎﻕ ﺇﻝﻰ ﺸﺩ‪‬ﺓ ﺍﻷﻝﻡ ﺍﻝﺫﻱ ﻴﻌﺎﻨﻴﻪ ﺍﻝﻼﺠﺊ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﻓﺎﺭﻗﺔ ﻋﻠﻴﻪ ﺘﺼﺎﺤﺒﻪ ﻓﻲ ﺤﻠﹼﻪ ﻭﺘﺭﺤﺎﻝﻪ‪.‬‬
‫ﻭﺘﻌﺘﻤﺩ ﺍﻝﻜﺎﺘﺒﺔ ﻓﻲ ﺴﺭﺩ ﻤﻘﺎﺭﺒﺘﻬﺎ ﻝﻠﻭﻁﻥ ﻋﻠﻰ ﻤﺎ ﺘﻨﻀﺢ ﺒﻪ ﺍﻝ ﹼﺫﺍﻜﺭﺓ ﺍﻝﺠﻤﻌﻴ‪‬ﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﺍﻝﻤﻭﺜﹼﻘﺔ ﻝﻪ‪ ،‬ﻜﻤـﺎ ﺍﻝﺘﻘﻁﺘـﻪ‬
‫ﺸﺎﻫﺩﻴﻥ ﻋﻠﻰ ﻤﺄﺴﺎﺘﻬﻡ‪ .‬ﻭﻝﻡ ﻴﻐﻴ‪‬ﺭ ﻨﻔﻴﻬﻡ ﻋﻥ ﻭﻁـﻨﻬﻡ ﻓﻠﺴـﻁﻴﻥ ﺼـﻭﺭﺓ ﺃﻭﻁـﺎﻨﻬﻡ‬
‫ﻋﺩﺴﺎﺕ ﻋﻴﻭﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ ﺍﻝﻼﺠﺌﻴﻥ ﺍﻝ ﹼ‬
‫ﺼﻐﻴﺭﺓ ﻓﻲ ﺃﺫﻫﺎﻨﻬﻡ‪ .‬ﻭﻫﻡ ﻴﺴﺘﻌﻴﺩﻭﻨﻬﺎ ﻋﺒﺭ ﺭﺴﻡ ﺨﺭﻴﻁﺔ ﺍﻝﻤﻜﺎﻥ ﺒﺘﻔﺎﺼﻴل ﺃﻤﺎﻜﻥ ﺍﻝﺫﹼﺍﻜﺭﺓ ﻓﻴﻪ؛ ﺍﻝﻤﺩﺭﺴﺔ ﻭﺍﻝﻤﺴﺠﺩ ﻭﺒﻴـﻭﺕ‬
‫ﺍﻝ ‪‬‬
‫ﺍﻝﺒﻠﺩ ﻭﺤﺎﺭﺍﺘﻬﺎ ﺍﻝﺸﹼﻤﺎﻝ‪‬ﻴﺔ ﻭﺍﻝﺠﻨﻭﺒ‪‬ﻴﺔ ﻭﺍﻝﺸﺭﻗ‪‬ﻴﺔ ﻭﺍﻝﻐﺭﺒ‪‬ﻴﺔ ﻭﺍﻝﻤﻘﺒﺭﺓ ﻭﺴﺎﺤل ﺍﻝﺒﺤﺭ ﻭﺍﻵﺜﺎﺭ ﻭﺍﻝﻁﺭﻕ ﺍﻝﺘﻲ ﺘﺼﻠﻪ ﺒﺎﻝﻘﺭﻯ ﻭﺍﻝﻤﺩﻥ‬
‫ﻱ ﻋﺒﺭ ﻤﺸﺨﹼﺼـﺎﺕ ﺍﻝﻘﺭﻴ‪‬ـﺔ‬
‫ﻁ ﺍﻝﺤﺠﺎﺯ( ﺍﻝﺘﻲ ﺘﺭﺒﻁ ﺒﻴﻥ ﻓﻠﺴﻁﻴﻥ ﻭﺴﻭﺭﻴﺎ ﻭﺍﻝﺤﺠﺎﺯ‪ ،‬ﻭﻏﻴﺭﻫﺎ‪ .‬ﺃ ‪‬‬
‫ﺍﻝﻤﺠﺎﻭﺭﺓ ﻭﺴﻜﹼﺔ ﺍﻝﺤﺩﻴﺩ )ﺨ ﹼ‬
‫ﻱ‬
‫ﺍﻝﻌﻤﺭﺍﻨﻴ‪‬ﺔ ﻭﺍﻵﺜﺎﺭﻴ‪‬ﺔ ﻭﺍﻝﺘﹼﺭﺍﺜﻴ‪‬ﺔ‪ .‬ﻭﻋﺒﺭ ﻭﺼﻑ ﻁﻘﻭﺱ ﺍﻝﺤﻴﺎﺓ ﺍﻻﺠﺘﻤﺎﻋﻴ‪‬ﺔ ﺍﻝﻴﻭﻤﻴ‪‬ﺔ ﻓﻴـﻪ‪ ،‬ﻭﻤﻨﻬـﺎ ﺤﻔﻠـﺔ ﺍﻝﻌـﺭﺱ ﺍﻝﺘﹼﻘﻠﻴـﺩ ‪‬‬
‫ﻲ‪ .‬ﻭﻫﻭ ﻤﺎ ﻴﻌﻜﺱ ﺍﺭﺘﺒﺎﻁ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ ﺍﻝﺤﻤﻴﻡ ﺒﻭﻁﻨﻬﻡ‪.‬‬
‫ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬

‫ﻲ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﻓﻲ ﻓﻠﺴﻁﻴﻥ ﻓﻲ ﻤﻘﺎﺒل ﻨﻔﻴﻬﺎ ﻝﻠﺭ‪‬ﻭﺍﻴﺔ‬

‫ﻕ ﺍﻝﺘﹼﺎﺭﻴﺨ ‪‬‬
‫ﻭﻴﺸﻲ ﺃﺴﻠﻭﺏ ﺴﺭﺩ ﺍﻝﻜﺎﺘﺒﺔ ﺒﺄﻨﹼﻬﺎ ﺘﺒﺘﻐﻲ ﺇﺜﺒﺎﺕ ﺭﻭﺍﻴﺔ ﺍﻝﺤ ﹼ‬
‫ﺍﻹﺴﺭﺍﺌﻴﻠﻴ‪‬ﺔ ﺍﻝﺯ‪‬ﺍﺌﻔﺔ؛ "ﺃﺭﺽ ﺒﻼ ﺸﻌﺏ ﻝﺸﻌﺏ ﺒﻼ ﺃﺭﺽ"‪ .‬ﻭﻫﻲ ﺍﻝﻤﻘﻭﻝﺔ ﺍﻝﺘﻲ ﺒﻨﺕ ﻋﻠﻴﻬﺎ ﺩﻭﻝﺔ ﺍﻻﺤﺘﻼل ﺍﺩ‪‬ﻋﺎﺀﺍﺘﻬﺎ ﺃﻤﺎﻡ ﺍﻝﻌﺎﻝﻡ‬

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 ‫ﳎﻠﺔ ﻣﻘﺎﻟﻴﺪ ـــــــــــــــــــــــــ ﺍﻟﻌﺪﺩ ﺍﻟﺴﺎﺩﺱ‪ /‬ﺟﻮﺍﻥ ‪2014‬‬
‫ﻥ ﻓﻠﺴﻁﻴﻥ ﺃﺭﺽ ﺨﺎﻝﻴﺔ ﺃﺼﻼ ﻤﻥ ﺍﻝﺴ‪‬ﻜﺎﻥ‪ .‬ﻭﻫﻲ ﺃﺭﺽ ﺍﻝﻤﻴﻌﺎﺩ ﺍﻝﺘﻲ ﻭﻋﺩﻫﻡ ﺍﻝﺭ‪‬ﺏ ﺒﺎﻝﻌﻭﺩﺓ ﺇﻝﻴﻬﺎ ﺒﻌﺩ ﺜﻼﺜﺔ ﺁﻻﻑ ﻋﺎﻡ ﻤﻥ‬
‫ﺒﺄ ‪‬‬
‫ﻲ ﻤﻭﻫﻡ ﺒﻌﺩﻡ ﻗﺎﺒﻠﻴ‪‬ﺘﻪ ﻝﻠﻨﹼﻘﺽ‪.‬‬
‫ﺍﻻﻏﺘﺭﺍﺏ ! ﻭﻫﻲ ﺭﻭﺍﻴﺔ ﺃﺴﻁﻭﺭﻴ‪‬ﺔ ﻏﻠﹼﻔﺕ ﺒﺈﻁﺎﺭ ﺩﻴﻨ ‪‬‬
‫ﻲ ﺍﻝﻤﺸ ﹼﻜل ﻝﻠﺴ‪‬ﺭﺩ ﻋﻠﻰ ﺜﻼﺙ ﻨﻅﺭﻴ‪‬ﺎﺕ ﺭﺌﻴﺴﺔ ﻫﻲ‪ :‬ﻨﻅﺭﻴ‪‬ﺔ "ﺍﻝـﺫﹼﺍﻜﺭﺓ ﺍﻷﻴﻘﻭﻨﻴ‪‬ـﺔ"‪،‬‬
‫ﻭﺘﺭﺘﻜﺯ ﺍﻝﻜﺎﺘﺒﺔ ﻓﻲ ﻁﺭﺤﻬﺎ ﺍﻷﺩﺒ ‪‬‬
‫ﻭﻫﻲ ﻨﻅﺭﻴ‪‬ﺔ ﻨﻔﺴﻴ‪‬ﺔ ﺘﺭﺘﻜﺯ ﻋﻠﻰ ﺘﻤﺜﹼل ﺍﻝﻤﺜﻴﺭﺍﺕ ﺍﻝﺒﺼﺭﻴ‪‬ﺔ ﻓﻲ ﻤﻜﺎﻨﻬﺎ‪ ،‬ﻓﺎﻷﻓﺭﺍﺩ ﻴﺘﻌﺭ‪‬ﻓﻭﻥ ﺇﻝـﻰ ﺍﻝﻤﻌﻠﻭﻤـﺎﺕ ﺒﺼـﺭﻴ‪‬ﺎ ﻋﺒـﺭ‬
‫ﻤﺸﺨﹼﺼﺎﺘﻬﺎ ﻓﻲ ﺍﻝﻤﻜﺎﻥ ﺍﻝﺫﻱ ﻴﻘﻴﻤﻭﻥ ﻓﻴﻪ‪-‬ﺍﻝﻭﻁﻥ‪ ،-‬ﺒﻌﺩ ﺍﻝﹼﺘﻌﺎﻤل ﻤﻊ ﻫﺫﻩ ﺍﻝﻤﺜﻴﺭﺍﺕ ﻝﻔﺘﺭﺍﺕ ﻁﻭﻴﻠﺔ ﻤﻥ ﺍﻝ ‪‬ﺯﻤﻥ‪ .‬ﻭﻴﺴﺘﺭﺠﻌﻭﻨﻬﺎ‬
‫ﻜﻤﺎ ﺨﺯ‪‬ﻨﻭﻫﺎ ﻓﻲ ﺫﺍﻜﺭﺘﻬﻡ ﻭﻓﻕ ﻋﻤﻠﻴ‪‬ﺔ ﺍﻝﹼﺘﺭﻤﻴﺯ ﺍﻝﺘﻲ ﻗﺎﻤﻭﺍ ﺒﻬﺎ ﻓﻲ ﺃﺫﻫﺎﻨﻬﻡ‪ ،‬ﻭﺫﻝﻙ ﻋﺒﺭ ﻤﺜﻴﺭﺍﺕ ﻤﺨﺘﻠﻔﺔ ﺘﺤﻔﹼﺯ ﻋﻘﻭﻝﻬﻡ ﻋﻠـﻰ‬
‫ﺹ ﺤﻭل ﻤﻌﺎﻝﻡ ﺍﻝﻤﻜﺎﻥ ﺍﻝﻤﺴـﺘﺩﻋﺎﺓ‬
‫ﺘﺠﺴﻴﺩﻫﺎ ﻭﺇﺜﺎﺭﺓ ﺍﻝﺤﻨﻴﻥ ﺇﻝﻴﻬﺎ " )ﻋﺒﺩ ﺍﷲ‪ .(19: 2003 ،‬ﻭﻫﻭ ﻤﺎ ﻴﻁﺎﻝﻌﻪ ﺍﻝﻘﺎﺭﺉ ﻓﻲ ﺍﻝﹼﻨ ‪‬‬
‫ﺍﻝﺘﻲ ‪‬ﻴﺠﻤﻊ ﺃﻫﻠﻬﺎ ﺍﻝﻤﻨﻔﻴ‪‬ﻭﻥ ﻋﻨﻬﺎ ﻋﻠﻰ ﺭﻤﺯﻴ‪‬ﺘﻬﺎ ﺍﻝﻌﺎﻝﻴﺔ‪.‬‬

‫ﻥ ﺍﻝﻤﻘﺘﻠﻌﻴﻥ‬
‫ﻭﺜﻤ‪‬ﺔ ﻨﻅﺭ‪‬ﻴﺘﺎﻥ ﺍﺠﺘﻤﺎﻋﻴ‪‬ﺘﺎﻥ ﺃﺨﺭﻴﺎﻥ ﻤﺭﺘﺒﻁﺘﺎﻥ ﺒﻬﺎ؛ ﺃﻭﻻﻫﻤﺎ‪ :‬ﻨﻅﺭﻴ‪‬ﺔ "ﺍﻝﺫﹼﺍﻜﺭﺓ ﺍﻝﺠﻤﻌﻴ‪‬ﺔ"؛ ﻭﻫﻲ ﺘﺘﻤﺜﹼل ﻓﻲ ﺃ ‪‬‬
‫ﻲ ﻗﺩ ﺒﻨﻭﺍ ﺒﻴﻭﺘﹰﺎ ﻭﺃﻭﻁﺎﻨﹰﺎ ﻝﻬﻡ ﺨﺎﺭﺝ ﺃﻤﺎﻜﻥ ﺴﻜﻨﺎﻫﻡ ﺍﻝﺤﺎﻝﻴ‪‬ﺔ )ﺍﻝﻤﺨﻴ‪‬ﻤﺎﺕ( ﺒﻭﺴﺎﻁﺔ ﺫﻜﺭﻴﺎﺘﻬﻡ ﺍﻝﺤﺎﻓﻠﺔ ﺒﺼﻭﺭ‬
‫ﻋﻥ ﺍﻝﻤﻜﺎﻥ ﺍﻷﺼﻠ ‪‬‬
‫ﻲ‪ .‬ﻓﺎﻝﻤﻜﺎﻥ ﺍﻝﺫﻱ ﺘﻌﻴﺵ ﻓﻴﻪ ﻤﺠﻤﻭﻋﺔ ﺍﺠﺘﻤﺎﻋ‪‬ﻴﺔ ﻤﻌ‪‬ﻴﻨﺔ ﻴﻤﺜﹼـل ﻝﺤﻅـﺔ ﻓﺭﻴـﺩﺓ ﻭﺘﺎﺭﻴﺨﹰـﺎ ﺨﺎﺼ‪‬ـﺎ ﻭﺘﺠﺭﺒـﺔ‬
‫ﺍﻝﻭﻁﻥ ﺍﻷﺼﻠ ‪‬‬
‫ﺼﻨﺔ؛ ﻓﺎﻝﻤﺠﺘﻤﻌﺎﺕ ﺍﻝﺘﻲ ﺘﺤﺘﻔﻅ ﺒﺎﻝﻤﺎﻀﻲ ﻭﺤﻔﺭ‪‬ﻴﺎﺘﻪ ﻏﺎﻝﺒﹰﺎ ﻤﺎ ﺘﺭﻜﹼـﺯ ﻋﻠـﻰ‬
‫ﺍﺠﺘﻤﺎﻋ‪‬ﻴﺔ‪،‬ﻭﻴﻤﹼﺜل ﻓﻲ ﺍﻝﺤﻘﻴﻘﺔ "ﺫﺍﻜﺭﺓ ﺠﻤﻌ‪‬ﻴﺔ"ﻤﺤ ‪‬‬
‫"ﺒﻨﺎﺀﺍﺕ ﺍﻝﺫﺍﻜﺭﺓ ﺍﻻﺠﺘﻤﺎﻋ‪‬ﻴﺔ"‪ .(12،(7) 27-44: 1992، Malkki & Barry‬ﻭ))‪( 275-282 : 1996،19(3‬‬

‫ﻲ ‪) selectively represent‬ﻓﻲ ﻭﺍﺤﺩﺓ ﺃﻭ ﺃﻜﺜﺭ ﻤﻥ ﻤﻨﻅﻭﻤﺎﺕ‬

‫ﻓﺎﻝﺫﹼﺍﻜﺭﺓ ﺘﻤﺘﺎﺯ ﺒﻘﺩﺭﺘﻬﺎ ﺍﻝﻌﺎﻝﻴﺔ ﻋﻠﻰ"ﺍﻝﺘﻤﺜﹼل ﺍﻻﻨﺘﻘﺎﺌ ‪‬‬
‫ﺍﻝﺫﹼﺍﻜﺭﺓ( ﻝﻠﻤﻌﻠﻭﻤﺎﺕ ﺍﻝﺘﻲ ﺘﻤﻴ‪‬ﺯ ﺒﺸﻜل ﻓﺭﻴﺩ ﺨﺒﺭﺓ ﻤﻌﻴ‪‬ﻨﺔ‪ ،‬ﻭﺍﻻﺤﺘﻔﺎﻅ ﺒﺘﻠﻙ ﺍﻝﻤﻌﻠﻭﻤﺎﺕ ﻓﻲ ﺒﻨﻴﺔ ﺍﻝﺫﹼﺍﻜﺭﺓ ﺍﻝﺤﺎﻝ‪‬ﻴﺔ‪ ،‬ﻭﺇﻋﺎﺩﺓ ﺇﻨﺘﺎﺝ‬
‫ل ﻫﺫﻩ ﺍﻝﻤﻌﻠﻭﻤﺎﺕ ﻓﻲ ﺯﻤﻥ ﻤﻌﻴ‪‬ﻥ ﻓﻲ ﺍﻝﻤﺴﺘﻘﺒل‪،‬ﻭﺫﻝﻙ ﺘﺤﺕ ﻅﺭﻭﻑ ﺃﻭ ﺸﺭﻭﻁ ﻤﺤﺩ‪‬ﺩﺓ" )ﻋﺒﺩ ﺍﷲ‪.(16 :2003،‬‬
‫ﺒﻌﺽ ﺃﻭ ﻜ ّ‬
‫ﺸﻌﻭﺭ ﻝﺩﻴﻬﻡ ﺒﺎﺴـﺘﻤﺭﺍﺭﻴ‪‬ﺔ‬
‫ﺠﻤ‪ ‬ﻌﻴ‪‬ﺎ‪ ،‬ﻭﻫﻭ ﻤﺎ ﻴﻌﺯ‪‬ﺯ ﺍﻝ ﹼ‬
‫ﻓﺎﻝﻼﺠﺌﻭﻥ ﻋﻨﺩﻤﺎ ﻴﺘﺫ ﹼﻜﺭﻭﻥ ﻻ ﻴﺘﺫﻜﹼﺭﻭﻥ ﺘﺫ ﹼﻜﺭ‪‬ﺍ ﻓﺭﺩﻴ‪‬ﺎ ﺒل ﻴﺘﺫﻜﹼﺭﻭﻥ ﺘﺫ ﹼﻜﺭ‪‬ﺍ ‪‬‬
‫ﺍﻝﻤﺎﻀﻲ ﻓﻲ ﻨﻔﻭﺴﻬﻡ‪ .‬ﻓﺎﻝﻤﺎﻀﻲ ﻫﻭ ﺍﻝﺫﻱ ﻴﻤﻨﺤﻬﻡ ‪‬ﻫﻭﻴﺘﻬﻡ ﺍﻝﺠﻤﻌﻴ‪‬ﺔ‪.‬‬

‫ﻭﺘﺠﺭﻱ ﺍﻝﻜﺎﺘﺒﺔ ﺫﻝﻙ ﺍﻝﺘﹼﺫﻜﹼﺭ ﻋﻠﻰ ﻤﺒﺩﺃ ﺇﻋﺎﺩﺓ ﺼﻴﺎﻏﺔ ﺍﻝ ‪‬ﻬﻭﻴ‪‬ﺔ ﺍﻝﺠﻤﻌﻴ‪‬ﺔ ﻝﻼﺠﺌﻴﻥ ﻜﻤﺎ ﻴﻤﺎﺭﺴﻪ ﺍﻝﻼﺠﺌﻭﻥ ﺃﻨﻔﺴﻬﻡ ﻓﻲ ﻭﺍﻗﻊ‬
‫ﻥ ﺍﻝﻭﻁﻥ ﻴﻌﻨﻲ ﺍﻝﻜﺜﻴﺭ ﺒﺎﻝﻨﹼﺴـﺒﺔ‬
‫ﺴﺒﺏ ﻓﻲ ﺍﺴﺘﺩﻋﺎﺀ ﺍﻝﺫﹼﺍﻜﺭﺓ ﻫﻭ ﺍﻝﻌﻼﻗﺔ ﺍﻝﻘﻭﻴ‪‬ﺔ ﺒﻴﻥ ﺍﻝﹼﺘﺫ ﹼﻜﺭ ﻭﺍﻝ ‪‬ﻬﻭ‪‬ﻴﺔ‪ .‬ﺫﻝﻙ ﺃ ‪‬‬
‫ﺤﻴﺎﺘﻬﻡ ﺍﻝﻴﻭﻤﻴ‪‬ﺔ‪ .‬ﻭﺍﻝ ‪‬‬
‫ل ﻤﺎ ﻓﻴـﻪ‬
‫ﺠﺭﻭﺍ ﻤﻨﻪ‪ .‬ﻓﻬﻭ ﻝﻴﺱ ﻤﺠﺭﺩ ﺃﺒﻨﻴﺔ ﺃﻭ ﺃﻤﺎﻜﻥ ﻝﻠﺤﻴﺎﺓ ﺍﻝﻴﻭﻤ‪‬ﻴﺔ‪ ،‬ﺒل ﻫﻭ ﻤﻜﺎﻥ ﻤﻐﺭﻭﺱ ﻓﻲ ﺍﻝ ﹼﺫﺍﻜﺭﺓ ﺒﻜ ّ‬
‫ﻝﻼﺠﺌﻴﻥ ﺍﻝﺫﻴﻥ ﻫ ‪‬‬
‫ﻤﻥ ﺩﻻﻻﺕ ﻭﺭﻤﻭﺯ‪ .‬ﻓﺎﻝﻭﻁﻥ ﻫﻭ ﺍﻝﻤﻜﺎﻥ ﺍﻝﺫﻱ ﹸﺘﺜﺎﺭ ﻓﻴﻪ ﺍﻝﻌﻭﺍﻁﻑ ﺍﻝﻭﺠﺩﺍﻨ‪‬ﻴﺔ ﻭﻫﻭ ﻤﻨﺒﻊ ﺍﻝ ‪‬ﻬﻭ‪‬ﻴﺔ‪ ،‬ﻭﻫﻭ ﻋﻨـﻭﺍﻥ ﺍﺴـﺘﻤﺭﺍﺭ‪‬ﻴﺔ‬
‫ﺍﻝﻤﺎﻀﻲ ﻭﺭﻤﺯﻩ)‪.(68-72 , 2010 :Simich‬‬

‫ﻭﺜﺎﻨﻴﻬﻤﺎ‪ :‬ﻨﻅﺭﻴ‪‬ﺔ "ﺃﻤﺎﻜﻥ ﺍﻝﺫﹼﺍﻜﺭﺓ"؛ ﻓﺎﻝﻼﺠﺌﻭﻥ ﻴﻌﺘﻤﺩﻭﻥ ﻓﻲ ﻋﻤﻠﻴ‪‬ﺔ ﺘﺫﻜﹼﺭ ﺍﻝﻤﺎﻀﻲ ﻋﻠﻰ ﺍﺴﺘﺩﻋﺎﺀ ﻤﻭﺍﻗـﻊ ﺍﺠﺘﻤﺎﻋﻴ‪‬ـﺔ‬
‫ﻤﺨﺘﻠﻔﺔ ﻓﻲ ﺍﻝﺫﹼﺍﻜﺭﺓ ﻫﻲ ﻋﻼﻤﺎﺕ ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺜﺎﺒﺘﺔ ﻓﻲ ﻤﺨﻴ‪‬ﻠﺘﻬﻡ‪ ،‬ﻭﻤﻨﻬﺎ؛ ﺍﻝﻁﺎﺒﻭ‪ ،‬ﻭﺍﻝﻘﺼﺹ‪ ،‬ﻭﺍﻝﺼﻭﺭ ﺍﻝﹼﺘﺫﻜﺎﺭﻴ‪‬ﺔ‪ ،‬ﻭﺍﻝﻤﺴـﺎﺠﺩ‪،‬‬
‫ﻥ ﺍﻻﺤﺘﻼل ﺍﻋﺘﻤﺩ ﻓﻲ ﻤﺤﻭ ﻫﻭﻴ‪‬ﺔ ﺍﻝﻤﻜﺎﻥ ﻭﻫﻭﻴ‪‬ﺔ ﺇﻨﺴﺎﻨﻪ ﻋﻠـﻰ‬
‫ﻭﺍﻝﺒﻴﻭﺕ‪ ،‬ﻭﺍﻝﺒﺴﺎﺘﻴﻥ‪ ،‬ﻭﺍﻝﻴﻨﺎﺒﻴﻊ‪ ،‬ﻭﺍﻷﻁﻼل ﺍﻷﺜﺭﻴ‪‬ﺔ‪ .‬ﻭﺫﻝﻙ ﻷ ‪‬‬
‫ﺘﺩﻤﻴﺭ ﺍﻝﺒﻨﻰ ﺍﻝﺜﹼﻘﺎﻓﻴ‪‬ﺔ ﻭﺍﻻﺠﺘﻤﺎﻋﻴ‪‬ﺔ ﻝﻠﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ ﺤﺘﹼﻰ ﻴﺘﻼﺸﻰ ﻤﺠﺘﻤﻌﻬﻡ ﻭﺘﻨﻬﺩﻡ ﺼﻭﺭﺘﻪ ﻓﻲ ﺃﺫﻫﺎﻨﻬﻡ‪ .‬ﻓﻜﺎﻨﺕ ﺭﺩ‪‬ﺓ ﺍﻝﻔﻌل ﻋﻨـﺩ‬
‫ﻲ‪ .‬ﺇﺫ ﻴﺘﻤﺜـل‬
‫ﺍﻝﻼﺠﺌﻴﻥ ﺇﻋﺎﺩﺓ ﺒﻨﺎﺀ ﺍﻝﻭﻁﻥ ﻓﻲ ﺍﻝﺫﹼﺍﻜﺭﺓ ﻤﺴﺘﻤﺩﻴﻥ ﺫﻝﻙ ﻤﻥ ﺘﻠﻙ ﺍﻝﺤﻘﺎﺌﻕ ﺍﻝﻭﺠﻭﺩﻴ‪‬ﺔ ﺍﻝﺘﻲ ﺘﺭﺒﻁﻬﻡ ﺒﺒﻠﺩﻫﻡ ﺍﻷﺼﻠ ‪‬‬
‫ﻁﺭﻴﻕ ﺃﻤﺎﻡ ﻋﻭﺍﻤل ﺍﻝﹼﻨﺴﻴﺎﻥ‪ ،‬ﺒﻐﻴﺔ ﺨﻠﻕ ﻨﻅﺎﻡ ﻤـﻥ ﺍﻷﺸـﻴﺎﺀ‪،‬‬
‫ﺍﻝﻬﺩﻑ ﺍﻷﺴﻤﻰ ﻝﻤﻜﺎﻥ ﺍﻝ ﹼﺫﺍﻜﺭﺓ ﻓﻲ ﺇﻴﻘﺎﻑ ﺩﻭﺭﺓ ﺍﻝ ‪‬ﺯﻤﻥ‪ ،‬ﻝﺴ ‪‬ﺩ ﺍﻝ ﹼ‬
‫ﻱ ﻤﻨﻬﺎ ﺇﻝﻰ ﺃﺸﻴﺎﺀ ﻤﺎﺩ‪‬ﻴﺔ ﻤﻠﻤﻭﺴﺔ‪.‬‬
‫ﻭﺘﺤﻭﻴل ﻏﻴﺭ ﺍﻝﻤﺎﺩ ‪‬‬

‫ﻭﻴﻘﻊ ﺫﻝﻙ ﻜﹼﻠﻪ ﺒﻬﺩﻑ ﺇﻋﺎﺩﺓ ﺇﻨﺘﺎﺝ ﺒﻌﺽ ﺍﻝﻌﻼﻤﺎﺕ ﺍﻝﻤﺭﺠﻌﻴ‪‬ﺔ ﺍﻝﺘﻲ ﺘﻌﻴﺩ ﺇﺤﻴﺎﺀ ﺍﻝﺫﹼﺍﻜﺭﺓ ﺍﻝﻤﻜﺎﻨﻴ‪‬ﺔ ﻭﺘﺜ‪‬ﺒﺘﻬﺎ‪ .‬ﻭﻴﻤﻜﻥ ﺇﻋﺎﺩﺓ‬
‫ﺇﻨﺘﺎﺝ ﻤﻌﺎﻨﻲ ﺃﻤﺎﻜﻥ ﺍﻝ ﹼﺫﺍﻜﺭﺓ ﻭﺘﻁﻭﻴﺭﻫﺎ ﺩﻭﻥ ﺤﺩﻭﺩ‪ ،‬ﻭﺫﻝﻙ ﺒﻔﻀل ﺍﻻﻨﺒﺜﺎﻗﺎﺕ ﻏﻴﺭ ﺍﻝﻤﺘﻭﻗﻌﺔ ﻝﺘﻭﺍﻝﺩﻫﺎ)ﺴـﻌﺩﻱ‪.(40 :2006،‬‬

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 ‫ﳎﻠﺔ ﻣﻘﺎﻟﻴﺪ ـــــــــــــــــــــــــ ﺍﻟﻌﺪﺩ ﺍﻟﺴﺎﺩﺱ‪ /‬ﺟﻮﺍﻥ ‪2014‬‬
‫ﻭﺘﺸﻤل ﺃﻤﺎﻜﻥ ﺍﻝ ﹼﺫﺍﻜﺭﺓ ﻤﻭﺍﻗﻊ ﺠﻐﺭﺍﻓ‪‬ﻴﺔ‪ ،‬ﻭﻤﻭﺍﻗﻊ ﻤﻘ ‪‬ﺩﺴﺔ‪ ،‬ﻭﺒﻨﺎﻴﺎﺕ‪ ،‬ﻭﻨﺼ ‪‬ﺒﺎ ﻭﻤﺯﺍﺭﺍﺕ ﻭﺘﻤﺎﺜﻴل ﻭﺃﻋﻤﺎﻻ ﻓﻨﻴـﺔ‪ ،‬ﻭﺸﺨﺼـ‪‬ﻴﺎﺕ‬
‫ﻲ‬
‫ﻲ‪ ،‬ﻭﺍﻝﹼﻨﺸﻴﺩ ﺍﻝﻭﻁﻨ ‪‬‬
‫ﺘﺎﺭﻴﺨ‪‬ﻴﺔ‪،‬ﻭﺃﻴﺎ ‪‬ﻤﺎ ﺘﺫﻜﺎﺭ‪‬ﻴﺔ‪ ،‬ﻭﺍﻝﻌﻠﻡ ﺍﻝﻭﻁﻨ ‪‬‬

‫)‪ .(275-282 ،38(3) :1997، Barry‬ﻭﻫﻭ ﻤﺎ ﺃﺠﺭﺘﻪ ﺍﻝﻜﺎﺘﺒﺔ ﻓﻲ ﻨﺼ‪‬ﻬﺎ ﻝﺘﺼﻭﻍ ﺒﻪ ﺤﻜﺎﻴﺘﻪ ﺍﻝﻤﺴﻜﻭﺕ ﻋﻨﻬﺎ‪.‬‬

‫ﺜﺎﻝ ﹰﺜﺎ‪ :‬ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺍﻝﺫﹼﺍﺕ ﺍﻝﻜﺎﺘﺒﺔ ﻭﺸﺨﺼﻴ‪‬ﺔ ﺍﻝﺒﻁل‪:‬‬

‫ﻲ ‪‬ﻤﺸـﺘﺠﺭ‬
‫ﻲ‪-‬ﺴﻴﺎﺴـ ‪‬‬
‫ﻲ ﻭﺍﻝﹼﺘﻌﺒﻴﺭ ﻋﻥ ﺫﺍﺘﻬﺎ ﺍﻝﻜﺎﺘﺒﺔ ﺒﺄﺴﻠﻭﺏ ﺩﺭﺍﻤ ‪‬‬
‫ﺍﺨﺘﺎﺭﺕ ﺭﻀﻭﻯ ﻋﺎﺸﻭﺭ ﺘﺸﺨﻴﺹ ﻋﺎﻝﻤﻬﺎ ﺍﻝ ‪‬ﺭﻭﺍﺌ ‪‬‬
‫ﻱ‬
‫ﺒﺎﻝﹼﺘﺎﺭﻴﺦ ﻭﺍﻷﻴﺩﻴﻭﻝﻭﺠﻴﺎ‪ .‬ﻭﺘﻭﺍﺭﺕ ﺨﻠﻑ ﺸﺨﺼﻴ‪‬ﺔ ﺍﻝﺒﻁل ﻭﺤ ‪‬ﻤﻠﺘﻬﺎ ﺃﻓﻜﺎﺭﻫﺎ ﻭﺭﺅﺍﻫﺎ ﻭﺃﺩﺍﺭﺕ ﺒﻭﺴﺎﻁﺘﻬﺎ ﺩﻭﺍﺌﺭ ﺍﻝﻔﻌل ﺍﻝﺴ‪‬ﺭﺩ ‪‬‬
‫ﺹ ﻓﻤﺎﺭﺴﺕ ﺒﺫﻝﻙ ﻓﻌﻠﻴﻥ ﺇﺒﺩﺍﻋﻴ‪‬ﻴﻥ؛ ﻓﻌل ﺍﻝﻘﺭﺍﺀﺓ ﻭﻓﻌل ﺍﻝﻜﺘﺎﺒﺔ ﻓﻲ ﺁﻥ ﻤﻌ‪‬ﺎ‪ ،‬ﻓﻌﻜﺴﺕ ﺒﻬﻤﺎ ﺼﺩﺍﻤﻬﺎ ﻤﻊ ﻭﺍﻗﻊ ﺍﻻﺤﺘﻼل‬
‫ﻓﻲ ﺍﻝﹼﻨ ‪‬‬
‫ﻲ ﻷﺭﺽ ﻓﻠﺴﻁﻴﻥ ﻤﻥ ﺠﻬﺔ‪ ،‬ﻭﻤﻊ ﺍﻝﻭﺍﻗﻊ ﺍﻝﻤﻤﺘ ‪‬ﺩ ﻝﻤﺄﺴﺎﺓ ﺍﻝﻼﺠﺌﻴﻥ ﺍﻝﻔﻠﺴﻁﻴﻨ‪‬ﻴﻴﻥ ﻤﻥ ﺠﻬﺔ ﺜﺎﻨﻴﺔ‪،‬ﻭﻤﻊ ﻭﺍﻗﻊ ﺍﻷﻨﻅﻤـﺔ‬
‫ﺼﻬﻴﻭﻨ ‪‬‬
‫ﺍﻝ ‪‬‬
‫ﻀﻴﻡ ﻋﻥ ﺸﻌﺏ ﻓﻠﺴﻁﻴﻥ ﻭﻨﺼﺭﺘﻪ ﻤﻥ ﺠﻬﺔ ﺃﺨﺭﻯ‪.‬‬
‫ﺍﻝﻌﺭﺒ‪‬ﻴﺔ ﺍﻝﻤﺘﺨﺎﺫﻝﺔ ﻋﻥ ﺭﻓﻊ ﺍﻝ ‪‬‬

‫ﻲ ﻝﻡ ﻴـﺘﻤﻜﹼﻥ‬
‫ﻥ ﺍﻝﻨﹼﻭﻉ ﺍﻝﺭ‪‬ﻭﺍﺌ ‪‬‬
‫ﻱ ﻤﺒﺩﻉ ﻤﻬ ‪‬ﻡ ﺃﻥ ﻴﻜﻭﻥ ﺃﺩﺒﻪ ﺘﻌﺒﻴﺭ‪‬ﺍ ﻋﻥ " ﺘﺠﺭﺒﺔ ﻓﺭﺩﻴ‪‬ﺔ ﻤﺤﻀﺔ‪ ،‬ﻓﺈ ‪‬‬
‫ﻭﺒﻤﺎ ﺃﻨﹼﻪ ﻻ ﻴﻤﻜﻥ ﻷ ‪‬‬
‫ﻲ ﻴﻬﺩﻑ ﻤﺒﺎﺸﺭﺓ ﺇﻝﻰ ﺍﻝﻘﻴﻡ‬
‫ﻲ ﻝﻡ ﻴﺘﺤﻭ‪‬ل ﺇﻝﻰ ﻤﻔﺎﻫﻴﻡ‪ ،‬ﻭﺘﻁﻭ‪‬ﺭ ﺘﻁﻠﹼﻊ ﺍﻨﻔﻌﺎﻝ ‪‬‬
‫ﻤﻥ ﺍﻝﻭﻻﺩﺓ ﻭﺍﻝﺘﹼﻁﻭ‪‬ﺭ ﺇﻻ ﺒﻤﻘﺩﺍﺭ ﺘﻁﻭ‪‬ﺭ ﺴﺨﻁ ﺍﻨﻔﻌﺎﻝ ‪‬‬
‫ﺠﻨﹼﺩ ﻤﻥ ﺒﻴﻥ ﺼﻔﻭﻓﻬﺎ ﻤﻌﻅﻡ ﺍﻝـﺭ‪‬ﻭﺍﺌ‪‬ﻴﻴﻥ‬
‫ﺴﻁﺔ ﻭﺤﺩﻫﺎ ﺍﻝﺘﻲ ‪‬‬
‫ﺍﻝﻜﻴﻔﻴ‪‬ﺔ‪ ،‬ﺴﻭﺍﺀ ﺩﺍﺨل ﻤﺠﻤﻭﻉ ﺍﻝﻤﺠﺘﻤﻊ ﺃﻭ ﺭﺒ‪‬ﻤﺎ ﺒﻴﻥ ﺍﻝﻔﺌﺎﺕ ﺍﻝﻤﺘﻭ ‪‬‬
‫)ﻏﻭﻝﺩﻤﺎﻥ‪ .(28 :1993 ،‬ﻓﺼﻭﺕ ﺍﻝﺭ‪‬ﻭﺍﺌ‪‬ﻴﺔ ﻓﻲ ﻤﺠﺘﻤﻊ ﺍﻝﺴ‪‬ﺭﺩ ﺍﻝﻤﻭﺍﺯﻱ ﻝﻠﻤﺠﺘﻤﻊ ﺍﻝﻭﺍﻗﻌ ‪‬‬
‫ﻲ ﻴﻤﺜﹼل ﺃﺼﻭﺍﺕ ﺍﻝﻨﹼﺎﺱ ﻓﻲ ﺍﻝﺤﻘﻴﻘﺔ‪،‬‬
‫ﻭﻫﻭ ﻝﺫﻝﻙ ﻋﻼﻤﺔ ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺩﺍﻝﹼﺔ‪.‬‬

‫ﻲ ﻋﺒـﺭ ﻤﺭﺍﺤـل ﺤﻴﺎﺘـﻪ ﺍﻝﹼﺘﺎﺭﻴﺨﻴ‪‬ـﺔ‬

‫ﺃﻤ‪‬ﺎ ﻓﻌل ﺍﻝﻘﺭﺍﺀﺓ ﻓﻴﺘﺠﻠﹼﻰ ﻓﻲ ﺍﺴﺘﻘﺭﺍﺀ ﺍﻝﻜﺎﺘﺒﺔ ﻝﻠﻭﺍﻗﻊ ﺍﻷﻝﻴﻡ ﻝﻠﺸﻌﺏ ﺍﻝﻔﻠﺴـﻁﻴﻨ ‪‬‬
‫ﻭﻤﻨﻌﺭﺠﺎﺘﻬﺎ ﺍﻝﻤﺄﺴﺎﻭﻴ‪‬ﺔ ﺍﻝﹼﻨﺎﺠﻤﺔ ﻋﻥ ﺍﻻﺤﺘﻼل ﻭﺍﻷﻨﻅﻤﺔ ﺍﻝﻌﺭﺒﻴ‪‬ﺔ ﺍﻝﻤﺴﺘﻜﻴﻨﺔ ﻝﻪ ﻭﺍﻝﻤﺘﺨﺎﺫﻝﺔ ﻋﻥ ﺍﺴﺘﺭﺩﺍﺩ ﻓﻠﺴـﻁﻴﻥ ﻭﺇﻨﺼـﺎﻑ‬
‫ﺍﻝﻼﺠﺌﻴﻥ‪ .‬ﺘﻘﻭل ﺍﻝﺭ‪‬ﺍﻭﻴﺔ ﻓﻲ ﺴﺭﺩ ﺸﻬﺎﺩﺓ ﻋﻤ‪‬ﻬﺎ ﺃﺒﻲ ﺍﻷﻤﻴﻥ ﻋﻠﻰ ﻤﻭﻗﻑ ﺍﻝﺠﻴﻭﺵ ﺍﻝﻌﺭﺒﻴ‪‬ﺔ ﻓﻲ ﺤﺭﺏ ‪" :48‬ﻭﻜـﺎﻥ ﻝﻠﺠﻴـﻭﺵ‬
‫ﺏ ﻭﻴﻠﻌﻥ ﻭﺩﺍﺌﻤ‪‬ﺎ ﻴﺨﺘﺘﻡ‬
‫ﺍﻝﻌﺭﺒﻴ‪‬ﺔ ﻭﺍﻝﻤﻠﻭﻙ ﻭﺍﻝﺭ‪‬ﺅﺴﺎﺀ ﻭﺍﻝﻘﺎﺩﺓ ﻨﺼﻴﺏ ﻤﻥ ﺍﻝﺤﻜﺎﻴﺔ‪ .‬ﻴﺤﻜﻲ ﻭﻴﺼﻨﹼﻑ ﻭﻴﺘﹼﻬﻡ ﻭﻴﺩﻝﹼل ﺒﺎﻝﻭﻗﺎﺌﻊ‪ ،‬ﻭﻴﺴ ‪‬‬
‫ل ﻤﺭ‪‬ﺓ ﺒﺘﻔﺼﻴﻠﺔ ﺠﺩﻴﺩﺓ" )ﻋﺎﺸﻭﺭ‪2011 ،‬‬
‫ﺸﻬﺩﺍ‪ ،‬ﻋﺴﻜﺭ ﻭﻀﺒ‪‬ﺎﻁ ﻭﻤﺘﻁﻭ‪‬ﻋﻴﻥ"‪ .‬ﻴﺩﻫﺸﻨﺎ ﻜ ّ‬
‫ﺍﻝﻜﻼﻡ ﺒﺎﻝﻌﺒﺎﺭﺓ ﻨﻔﺴﻬﺎ‪" :‬ﺍﷲ ﻴﺭﺤﻡ ﺍﻝ ﹼ‬
‫‪.(87 :‬‬
‫ﻭﻜﺫﻝﻙ ﻴﺘﺠﻠﹼﻰ ﻓﻲ ﺍﺴﺘﻘﺭﺍﺀ ﺍﻷﺨﻁﺎﺀ ﺍﻝﻌﺩﻴﺩﺓ ﺍﻝﺘﻲ ﻭﻗﻌﺕ ﻓﻴﻬﺎ ﺍﻝﻘﻴﺎﺩﺓ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﻓﻲ ﺘﺎﺭﻴﺦ ﻨﻀـﺎﻝﻬﺎ ﺍﻝﻁﻭﻴـل ﻀـ ‪‬ﺩ‬
‫ﺍﻝﻤﺤﺘل‪ .‬ﺘﻘﻭل ﺍﻝﺭ‪‬ﺍﻭﻴﺔ ﻋﻠﻰ ﻝﺴﺎﻥ ﻋﺒﺩ ﺍﻝﺭ‪‬ﺤﻤﻥ ﺍﺒﻨﻬﺎ ﻓﻲ ﻓﺼل "ﺸﻬﺎﺩﺓ ﻋﺒﺩ"‪" :‬ﻭﻝﻤ‪‬ﺎ ﺍﻨﺘﻘﻠﺕ ﺍﻝﻘﻴﺎﺩﺓ ﺇﻝﻰ ﻝﺒﻨﺎﻥ ﻭﺠﺎﺀ ﺃﺒﻭ ﻋﻤ‪‬ﺎﺭ‬
‫ﺘﻐﻴ‪‬ﺭ ﺍﻝﻭﻀﻊ ﻓﻲ ﺍﻝﻤﺨﻴ‪‬ﻤﺎﺕ‪ .‬ﺠﻤﻌﺔ ﻤﺸﻤﺸﻴ‪‬ﺔ ﻋﻠﻰ ﻤﺎ ﻴﺒﺩﻭ‪ .‬ﺠﺎﺀﻭﺍ ﻭﺭﺤﻠﻭﺍ‪ .‬ﺴﺄﻝﺕ ﻨﻔﺴﻲ‪ :‬ﻫل ﻴﻌﻭﺩ ﺍﻝﻭﻀﻊ ﻜﻤﺎ ﻜﺎﻥ ؟ ﻜﻨﺕ‬
‫ل ﺨﻴﺎل‪ .‬ﻻ ﺃﻗﺼﺩ ﺍﻝﻤﺠﺯﺭﺓ ﻭﺤﺩﻫﺎ ﺒل ﻤﺎ ﺤﺩﺙ ﻓﻲ ﺼﻴﺩﺍ ﻭﻫﻨـﺎ ﻓـﻲ‬
‫ﺠﺴ‪‬ﺎ ﺃﺘﻭﻗﹼﻊ ﻜﻭﺍﺭﺙ‪ ،‬ﻭﻝﻜﻥ ﻤﺎ ﺤﺩﺙ ﻓﺎﻕ ﻜ ّ‬
‫ﺨﺎﺌﻔﹰﺎ ﻤﺘﻭ ‪‬‬
‫ﺒﻴﺭﻭﺕ ﻭﻓﻲ ﺍﻝﻤﺨ‪‬ﻴﻤﺎﺕ ﻋﻨﺩﻤﺎ ﺍﺴﺘﻠﻤﺕ ﺍﻝﻜﺘﺎﺌﺏ ﺍﻝﺤﻜﻡ‪ .‬ﺍﻝﺨﻁﻑ ﻭﺍﻝﻘﺘل ﻭﺍﻝﺘﹼﻤﺜﻴل ﺒﺎﻝﺠﺜﺙ ﻭﺍﻻﻋﺘﻘﺎﻻﺕ ﻭﺍﻝﺘﹼﻌﺫﻴﺏ ﻓﻲ ﺨﺭﻴﻑ‬
‫ﺍﻝﻌﺎﻡ ‪ 82‬ﻭﻁﻭﺍل ﺍﻝﻌﺎﻡ ﺍﻝﺘﺎﻝﻲ‪ .‬ﻓﻲ ﺍﻻﺠﺘﻴﺎﺡ ﺃﺼﺒﺢ ﺃﻜﺜﺭ ﻤﻥ ﻨﺼﻑ ﺴﻜﹼﺎﻥ ﺍﻝﻤﺨﻴ‪‬ﻤﺎﺕ ﻓﻲ ﺍﻝﺠﻨﻭﺏ ﺒﻼ ﻤﺄﻭﻯ‪.‬ﺩ ‪‬ﻤﺭ ﺍﻝﻘﺼـﻑ‬
‫ﺍﻝﺒﻴﻭﺕ" )ﻋﺎﺸﻭﺭ‪.(240 : 2011 ،‬‬

‫ﻥ ﺤﻴﺙ‬
‫ﻅﺭﻭﻑ ﺍﻝﻌﺼﻴﺒﺔ ﺍﻝﺘﹼﻲ ﺭﺍﻓﻘﺕ ﺍﻝﻘﻴﺎﺩﺓ ﻓﻲ ﺃﻤﺎﻜﻥ ﻭﺠﻭﺩﻫﺎ ﺍﻝﻤﺨﺘﻠﻔﺔ؛ ﻓﻲ ﺍﻷﺭﺩ ‪‬‬
‫ﻭﺘﺤﻴل ﺍﻝﺼ‪‬ﻴﻐﺔ ﺍﻹﺸﺎﺭ‪‬ﻴﺔ ﺇﻝﻰ ﺍﻝ ﹼ‬
‫ﻭﻗﻊ ﺃﻴﻠﻭل ﺍﻷﺴﻭﺩ ﻋﺎﻡ ‪،1970‬ﻭﻓﻲ ﺒﻴﺭﻭﺕ ﻋﺎﻡ ‪ 1975‬ﺤﻴﺙ ﻭﻗﻌﺕ ﺍﻝﺤﺭﺏ ﺍﻷﻫﻠﻴ‪‬ﺔ ﺍﻝﻠﺒﻨﺎﻨﻴ‪‬ﺔ‪ ،‬ﺜ ‪‬ﻡ ﺒﻌﺩ ﺍﻝﻌﻭﺩﺓ ﺇﻝﻰ ﺒﻴـﺭﻭﺕ‬
‫ﺍﺠﺘﺎﺤﺕ "ﺇﺴﺭﺍﺌﻴل" ﻝﺒﻨﺎﻥ ﻋﺎﻡ ‪ 1982‬ﻭﻭﻗﻌﺕ ﺍﻝﻤﺠﺎﺯﺭ ﻓﻲ ﺍﻝﻤﺨﻴ‪‬ﻤﺎﺕ‪ .‬ﻭﺒﻌﺩﻫﺎ ﻤﺒﺎﺸﺭﺓ "ﻭﻗﺒل ﺃﻥ ﻨﻠـﺘﻘﻁ ﺍﻷﻨﻔـﺎﺱ‪ ،‬ﻴﺸـﺘ ‪‬ﺩ‬
‫ﺍﻝﻨﹼﺯﺍﻉ ﺒﻴﻥ ﺃﺒﻭ ﻋﻤ‪‬ﺎﺭ ﻭﺴﻭﺭﻴﺎ ﻓﺘﺤﺎﺼﺭ ﺃﻤل ﺍﻝﻤ‪‬ﺨﻴ‪‬ﻤﺎﺕ‪ .‬ﻓﺘﺩﻓﻊ ﺍﻝﻤ‪‬ﺨﻴ‪‬ﻤﺎﺕ ﺍﻝﺜﻤﻥ‪ .‬ﻝﻴﺴﺕ ﺸﻬﻭﺭ ﺍﻝﻐﺯﻭ ﻭﺍﻝﺤﺼﺎﺭ ﻭﺤﺩﻫﺎ ﺒل‬
‫ﺴﻨﻭﺍﺕ ﻤﻥ ﺍﻝﻬﻭل ﻭﺍﻝﻔﻭﺍﺠﻊ ﺍﻝﻤﺘﹼﺼﻠﺔ" )ﻋﺎﺸﻭﺭ‪ .(240 :2011،‬ﻭﻓﻲ ﺘﻭﻨﺱ ﺍﻏﺘﺎﻝﺕ "ﺇﺴﺭﺍﺌﻴل" ﺃﺒﺭﺯ ﺍﻝﻘـﺎﺩﺓ ﺍﻝﻔﻠﺴـﻁﻴﻨﻴ‪‬ﻴﻥ‬

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 ‫ﳎﻠﺔ ﻣﻘﺎﻟﻴﺪ ـــــــــــــــــــــــــ ﺍﻟﻌﺪﺩ ﺍﻟﺴﺎﺩﺱ‪ /‬ﺟﻮﺍﻥ ‪2014‬‬
‫ﻕ ﺍﻝﻌـﻭﺩﺓ ﻝﻼﺠﺌـﻴﻥ‬
‫ﺤﻭل ﺃﺒﻲ ﻋﻤ‪‬ﺎﺭ )ﺃﺒﻭ ﺠﻬﺎﺩ ﻭﺃﺒﻭ ﺇﻴﺎﺩ(‪ .‬ﻭﺍﹼﺘﻔﺎﻗﻴ‪‬ﺔ ﺃﻭﺴﻠﻭ ﻭﺘﻭﺍﺒﻌﻬﺎ ﻭﺁﺜﺎﺭﻫﺎ ﺍﻝﺼ‪‬ﻌﺒﺔ ﻋﻠـﻰ ﻗﻀـﻴ‪‬ﺔ ﺤـ ﹼ‬
‫ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ‪،‬ﺇﺫ ﺍﺴﺘﺒﻌﺩﺕ ﻤﻥ ﺍﻝﻤﻔﺎﻭﻀﺎﺕ ﻭﻤﻥ ﺍﺘﹼﻔﺎﻗﻴ‪‬ﺔ ﺍﻝﻤﺒﺎﺩﺉ‪.‬‬

‫ﻭﻗﺩ ﺍﻋﺘﺭﻓﺕ ﻤﻨﻅﹼﻤﺔ ﺍﻝﹼﺘﺤﺭﻴﺭ ﺒﺴﻴﺎﺩﺓ ﺩﻭﻝﺔ ﺍﻻﺤﺘﻼل ﻋﻠﻰ ﺍﻝﻤﻨﺎﻁﻕ ﺍﻝﻤﺤﺘﻠﹼﺔ ﻋﺎﻡ ‪ ،1948‬ﻭﻭﻗﹼﻌﺕ ﻋﻠﻴﻪ ﻓـﻲ ﺍﻝﺒﻴـﺕ‬
‫ﺍﻷﺒﻴﺽ ﺍﻷﻤﺭﻴﻜﻲ‪ .‬ﺘﻘﻭل ﺭﻗﻴ‪‬ﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ‪" :‬ﺸﺎﻫﺩﺕ ﺃﺒﻭ ﻋﻤ‪‬ﺎﺭ ﻓﻲ ﺍﻝﺒﻴﺕ ﺍﻷﺒﻴﺽ ﻴﺼﺎﻓﺢ ﺭﺍﺒﻴﻥ ﻭﺒﻴﺭﺯ‪ .‬ﻭﻋـﻥ ﻴﺴـﺎﺭﻩ‬
‫ﻲ ﺍﻝﻤﺒﺎﺸﺭ ﻝﺤﻔـل‬
‫ﺙ ﺍﻝﺘﻠﻔﺯﻴﻭﻨ ‪‬‬
‫ﻲ‪ .‬ﻭﻗﹼﻌﻭﺍ ﺍﺘﹼﻔﺎﻗﻴ‪‬ﺔ ﺃﻭﺴﻠﻭ‪.‬ﺒﻌﺩ ﺩﻗﺎﺌﻕ ﻤﻥ ﺍﻨﺘﻬﺎﺀ ﺍﻝﺒ ﹼ‬
‫ﻤﺤﻤﻭﺩ ﻋﺒ‪‬ﺎﺱ ﻭﻓﻲ ﺍﻝﻭﺴﻁ ﺍﻝﺭﺌﻴﺱ ﺍﻷﻤﺭﻴﻜ ‪‬‬
‫ﺴﺎﺤل ﻤﻥ ﺍﻻﺘﹼﻔﺎﻕ‪ .‬ﻤـﻥ‬
‫ﻲ ﻭﺍﻝﻭﺤﻴﺩ ﺃﺴﻘﻁ ﺍﻝ ‪‬‬
‫ﺸﺭﻋ ‪‬‬
‫ﺨﺘﻴﺎﺭ؟ ﺍﻝﻤﻤﺜﹼل ﺍﻝ ﹼ‬
‫ﺍﻝﺒﻴﺕ ﺍﻷﺒﻴﺽ‪،‬ﺍﺘﹼﺼل ﺼﺎﺩﻕ ﺒﺎﻝﺘﻠﻴﻔﻭﻥ‪ .‬ﻗﺎل‪ :‬ﺸﻭ ﺴﻭ‪‬ﻯ ﺍﻝ ‪‬‬
‫ﻴﻤﺜﹼل ﺍﻝﻁﹼﻨﻁﻭﺭﺓ ﺇﺫﻥ؟ ﻤﻥ ﻴﻤﺜﹼل ﺼﻔﺩ ﻭﻁﺒﺭﻴ‪‬ﺎ ﻭﺍﻝﺠﻠﻴل ﻭﺤﻴﻔﺎ ﻭﻴﺎﻓﺎ ﻭﺍﻝﺭ‪‬ﻤﻠﺔ ﻭﺍﻝﻨﹼﻘﺏ؟ ﻤﻥ ﻴﻤﺜﹼل ﻋﻜﹼﺎ ﻭﺍﻝﻨﹼﺎﺼﺭﺓ ؟ ﻤﻥ ﻴﻤﺜﹼﻠﻨﺎ ؟‬
‫ﻜﺎﻥ ﻏﺎﻀﺒ‪‬ﺎ‪ .‬ﻭﻋﻠﹼﻕ ﺒﻤﺭﺍﺭﺓ ﻋﻠﻰ ﺤﺭﺹ ﺃﺒﻭ ﻋﻤ‪‬ﺎﺭ ﻋﻠـﻰ ﻤﺼـﺎﻓﺤﺔ ﺭﺍﺒـﻴﻥ ﻭﺒﻴـﺭﺯ‪ ،‬ﻭﺘﻤﻨﹼﻌﻬﻤـﺎ ﻜﺄﻨﹼﻬﻤـﺎ ﻴﺘﻨـﺎﺯﻻﻥ‬
‫ﺒﺎﻝﻤﺼﺎﻓﺤﺔ‪".‬ﺸﻭ ﻫﺎﻝﻤﻬﺯﻝﺔ ؟! ﺸﻭ ﺴﻤ‪‬ﺔ ﻫﺎﻝﺒﺩﻥ‪) "...‬ﻋﺎﺸﻭﺭ‪.(401 :2011،‬‬

‫ﻲ ﻴﺭﺘﻜﺯ ﺇﻝﻰ ﺍﻝﻤﻔﺎﺭﻗﺔ ﺍﻝﺼ‪‬ﺎﺭﺨﺔ ﺒﻴﻥ ﺍﻻﺴﺘﻤﺴـﺎﻙ ﺒﺎﻝﺜﹼﻭﺍﺒـﺕ‬

‫ل ﺫﻝﻙ ﺸﻜﹼل ﺼﻴﻐﺔ ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺩﺍﻝﹼﺔ ﻋﻠﻰ ﻤﻭﻗﻑ ﺴﻴﺎﺴ ‪‬‬
‫ﻜّ‬
‫ﻕ ﺍﻝﻌﻭﺩﺓ‪ .‬ﺴﺠ‪‬ﻠﺘﻪ ﺍﻝﻜﺎﺘﺒﺔ ﻋﻠﻰ ﻝﺴﺎﻥ ﺍﻝﻼﺠﺌـﻴﻥ‬
‫ﺍﻝﻭﻁﻨﻴ‪‬ﺔ ﺍﻝﻤﺠﻤﻊ ﻋﻠﻴﻬﺎ ﻓﻠﺴﻁﻴﻨﻴ‪‬ﺎ ﻭﻗﺭﺍﺭ ﺍﻝﻘﻴﺎﺩﺓ ﺒﺘﻭﻗﻴﻊ ﺃﻭﺴﻠﻭ ﻭﺍﻝﺘﹼﺨﻠﻲ ﻋﻥ ﺤ ﹼ‬
‫ﺍﻝﺭ‪‬ﺍﻓﻀﻴﻥ ﻻﺘﹼﻔﺎﻗﻴ‪‬ﺔ ﺃﻭﺴﻠﻭ ﺍﻝﺘﻲ ﻓﺭ‪‬ﻁﺕ ﺒﺤﻘﻭﻗﻬﻡ‪ .‬ﻓﻜﻴﻑ ﻴﺠﺭﻱ ﺍﻝﺘﹼﺤﻭ‪‬ل ﻤﻥ ﺍﻝﻔﻌل ﺍﻝﻤﻘﺎﻭﻡ ﺍﻝ ‪‬ﺭﺍﻓﺽ ﻝﻼﺤﺘﻼل ﻭﺍﻻﻋﺘﺭﺍﻑ ﺒﻪ‬
‫ﻲ ﻭﻏﻴﺭﻫﺎ‬
‫ﺴﺎﺤل ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﺇﻝﻰ ﺍﻻﻋﺘﺭﺍﻑ ﺒﻪ ﻜﻴﺎﻨﹰﺎ ﺸﺭﻴﻜﹰﺎ ﻓﻲ ﺍﻝﻭﻁﻥ ؟! ﻝﺘﻀﻴﻊ ﺒﺫﻝﻙ ﺤﻘﻭﻕ ﺍﻝﻼﺠﺌﻴﻥ ﻓﻲ ﺍﻝﻌﻭﺩﺓ ﺇﻝﻰ ﻤﺩﻥ ﺍﻝ ‪‬‬
‫ﺹ ﻜﻠﹼﻪ ﻴﻌﺎﻝﺞ ﻫﺫﻩ ﺍﻝﻘﻀﻴ‪‬ﺔ‪ ،‬ﺘﺤﺩﻴﺩ‪‬ﺍ‪ ،‬ﻜﻤﺎ ﻴﻌﺎﻝﺞ ﻨﻀﺎﻻﺕ ﺍﻝﻼﺠﺌـﻴﻥ‬
‫ﻲ ﻭﺍﻝﻭﺤﻴﺩ ! ﻭﺍﻝﹼﻨ ‪‬‬
‫ﺇﻝﻰ ﺍﻷﺒﺩ؛ ﻭﺫﻝﻙ ﺒﺈﻗﺭﺍﺭ ﺍﻝﻤﻤﺜﹼل ﺍﻝﺸﺭﻋ ‪‬‬
‫ﻕ ﻻ ﻴﺴﻘﻁ ﺒﺎﻝﺘﻘﺎﺩﻡ ﻭﻻ ﻴﻤﻠﻙ ﺃﺤﺩ ﺇﺴﻘﺎﻁﻪ ﻤﻬﻤﺎ ﻋﻠﺕ ﺭﺘﺒﺘﻪ ﺃﻭ ﺴﻠﻁﺘﻪ ‪.‬‬
‫ﻕ ﻋﻭﺩﺘﻬﻡ ﺇﻝﻰ ﺍﻝﻭﻁﻥ‪ .‬ﻭﻫﻭ ﺤ ﹼ‬
‫ﻓﻲ ﻤﺠﺎل ﺘﺜﺒﻴﺕ ﺤ ﹼ‬
‫ﻲ ﻝﺸﻌﺏ ﻓﻠﺴﻁﻴﻥ ﺍﻝﺤﺎﻀـﺭ ﺍﻝﻤﺴـﺘﻤ ‪‬ﺭ ﻋﻠـﻰ ﺃﺭﺽ‬
‫ﻕ ﺍﻝﺘﹼﺎﺭﻴﺨ ‪‬‬
‫ﻭﺃﻤ‪‬ﺎ ﻓﻌل ﺍﻝﻜﺘﺎﺒﺔ ﻓﻴﺘﻤﺜﹼل ﻓﻲ ﺇﻋﺎﺩﺓ ﺇﻨﺘﺎﺝ ﺭﻭﺍﻴﺔ ﺍﻝﺤ ﹼ‬
‫ﻲ ﻴﻜﺸﻑ ﻋﻥ ﺘﻌﺎﻝﻘﻬـﺎ ﻭﺘﺭﺍﺒﻁﻬـﺎ ﺒﻤﻌﻨـﻰ‬
‫ﻭﻁﻨﻪ‪ .‬ﻭﺫﻝﻙ ﻋﺒﺭ ﺇﻋﺎﺩﺓ ﺘﺭﻜﻴﺏ ﻭﻗﺎﺌﻌﻪ ﺍﻝﻤﻔﺼﻠﻴ‪‬ﺔ ﺍﻝﻤﻐﻴ‪‬ﺒﺔ ﻓﻲ ﺇﻁﺎﺭ ﻨﺴﻕ ﺃﺴﻠﻭﺒ ‪‬‬
‫ﺴﺒﺏ ﺒﺎﻝﻤﺴﺒ‪‬ﺏ‪ .‬ﻭﻤﻥ ﹶﺜ ‪‬ﻡ ﺍﺴﺘﻘﺭﺍﺌﻬﺎ ﻀﻤﻥ ﺭﺅﻴﺔ ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺠﺎﻤﻌﺔ ﻝ ﹸﺘﺸﺨﹼﺹ ﺍﻝﻜﺎﺘﺒﺔ ﺒﻭﺴـﺎﻁﺘﻬﺎ ﺒﻭﺍﻋـﺙ ﺍﻝﻬﺯﻴﻤـﺔ‬
‫ﺍﺭﺘﺒﺎﻁ ﺍﻝ ‪‬‬
‫ﻭﻨﺘﺎﺌﺠﻬﺎ ﺍﻝﻤﺴﺘﻤ ‪‬ﺭﺓ‪ ،‬ﻭﻏﻴﺎﺏ ﺍﻝﻨﹼﺼﺭ ﻋﻥ ﺃﻋﺩل ﻗﻀﻴ‪‬ﺔ ﻓﻲ ﻋﺼﺭﻨﺎ‪ .‬ﻭﻋﻭﺍﻤل ﺘﺄﺨﹼﺭ ﻋﻭﺩﺓ ﺍﻝﻼﺠﺌﻴﻥ ﺇﻝﻰ ﻭﻁﻨﻬﻡ‪ .‬ﺘﻘﻭل ﺍﻝﻜﺎﺘﺒﺔ‬
‫ل ﻤﻜﺎﻝﻤﺔ ﻴﺴـﺄل‪ .‬ﺃﺤﻴﺎﻨﹰـﺎ ﻴﺒـﺩﻭ‬
‫ﻥ ﺤﺴﻥ ﻴﺴﺄﻝﻨﻲ ﺃﻴﻥ ﻭﺼﻠﺕ‪ ،‬ﻭﻤﺎ ﺍﻝﺫﻱ ﺃﻨﺠﺯﺘﻪ‪ .‬ﻓﻲ ﻜ ّ‬
‫ﻓﻲ ﻫﺫﺍ ﺍﻝﺼﺩﺩ‪" :‬ﺃﻭﺍﺼل ﺍﻝﻜﺘﺎﺒﺔ ﻷ ‪‬‬
‫ﺍﻝﺤﻜﻲ ﻤﻴﺴﻭﺭ‪‬ﺍ‪ .‬ﻴﺄﺘﻲ ﺴﻬﻼ ﻓﻴﻨﻜﺘﺏ ﺍﻝﻜﻼﻡ ﻜﺄﻨﹼﻤﺎ ﻤﻥ ﺘﻠﻘﺎﺀ ﻨﻔﺴﻪ‪ .‬ﺃﻭ ﻴﻜﻭﻥ ﺍﻝﺤﻜﻲ ﻤﻤﺘﻌ‪‬ﺎ ﻓﺄﻋﺎﻴﺵ ﻤﺠ ‪‬ﺩﺩ‪‬ﺍ ﻝﺤﻅـﺔ ﺃﻝﻴﻔـﺔ ﺃﻭ‬
‫ﻲ ﺍﻝﺩ‪‬ﺍﺭ‪ .‬ﺜ ‪‬ﻡ ﺃﺘﻭﻗﹼﻑ‪ .‬ﺘﺼﻌﺏ ﺍﻝﻜﺘﺎﺒـﺔ‪.‬‬
‫ﻁﺭﻴﻘﺔ ﻤﻊ ﺍﻷﻭﻻﺩ ﺃﻭ ﻋﻤ‪‬ﻲ ﺃﺒﻭ ﺍﻷﻤﻴﻥ‪ .‬ﻜﺄﻨﻨﹼﻲ ﺃﺴﺘﺤﻀﺭﻫﻡ ﻓﻴﺤﻀﺭﻭﻥ ﻓﻴﻤﻸﻭﻥ ﻋﻠ ‪‬‬
‫ﺘﺜﻘل‪ .‬ﺘﺒﺩﻭ ﺤﻤﻼ ﻤﻥ ﺤﺩﻴﺩ ﺃﻀﻌﻪ ﻋﻠﻰ ﺼﺩﺭﻱ" )ﻋﺎﺸﻭﺭ‪.(402 :2011،‬‬

‫ﻲ ﻤﺸﻁﹼﺭ ﺍﻝﻭﺠﻭﺩ ﻤﻘﻤﻭﻉ‬

‫ﻓﺎﻝﻜﺘﺎﺒﺔ ﻝﻴﺴﺕ ﺴﻬﻠﺔ ﻋﻥ ﻗﻀﻴ‪‬ﺔ ﺤﺎﻓﻠﺔ ﺒﺎﻝﺘﹼﻔﺎﺼﻴل ﺍﻷﻝﻴﻤﺔ ﺍﻝﻤﺴﺘﻤﺭ‪‬ﺓ‪ .‬ﻓﻬﻲ ﺤﻜﺎﻴﺔ ﺸﻌﺏ ﻤﻨﻔ ‪‬‬
‫ﻓﻲ ﻭﻁﻨﻪ ﻭﻤﺸﺭ‪‬ﺩ ﺨﺎﺭﺠﻪ ﻓﻲ ﺒﻠﺩﺍﻥ ﺍﻝﹼﻠﺠﻭﺀ‪ ،‬ﻭﻤﺤﺭﻭﻡ ﻤﻥ ﺍﻝﻌﻭﺩﺓ ﺇﻝﻴﻪ‪ ،‬ﻭﻤﻥ ﺒﻨﺎﺀ ﻤﺠﺘﻤﻌﻪ ﺍﻝﺠﺩﻴﺩ ﻋﻠﻴﻪ‪ .‬ﻭﻫﻭ ﺼﺎﺤﺏ ﺜﻭﺭﺓ‬
‫ﻻ ﻭﻤﻘﺎﺭﻋﺔ ﻝﻠﻤﺤﺘﻠﹼﻴﻥ ﻓـﻲ ﺍﻝﺘﹼـﺎﺭﻴﺦ‬
‫ﻤﻤﺘﺩ‪‬ﺓ ﺒﺩﺃﺕ ﻓﻲ ﻤﻁﻠﻊ ﺍﻝﻘﺭﻥ ﺍﻝﻤﺎﻀﻲ ﻭﻤﺎ ﺘﺯﺍل ﻤﺴﺘﻤﺭ‪‬ﺓ‪ .‬ﻭﻫﻲ ﺒﻬﺫﺍ ﺃﻁﻭل ﺜﻭﺭﺓ ﻨﻀﺎ ﹰ‬
‫ﻲ ﺍﻝﻤﻨﻁـﻭﻱ‬
‫ﻲ ﺍﻝﻌﺭﺒ ‪‬‬
‫ﺍﻝﺤﺩﻴﺙ‪ ،‬ﻭﻝﻜﻨﹼﻬﺎ ﻝﻤ‪‬ﺎ ﺘﺤﻘﻕ ﺍﻝﻌﻭﺩﺓ ﻭﺍﻝﺩ‪‬ﻭﻝﺔ ﻝﺸﻌﺒﻬﺎ‪ .‬ﻷﺠل ﺫﻝﻙ ﺨﺎﻁﺒﺕ ﺍﻝﻜﺎﺘﺒﺔ ﺒﻨﺼ‪‬ﻬﺎ ﺍﻝﻼﺸﻌﻭﺭ ﺍﻝﺠﻤﻌ ‪‬‬
‫ﻋﻠﻰ ﻓﻌل ﺍﻝﻬﺯﻴﻤﺔ ﺍﻝﻤﺴﺘﻤﺭ‪‬ﺓ‪ ،‬ﻜﻤﺎ ﺩﺭﺠﺕ ﻋﻠﻰ ﺘﺸﺨﻴﺼﻪ ﺜﻘﺎﻓﺔ ﺍﻷﻨﻅﻤﺔ ﺍﻝﻤﺴﺘﺒﺩ‪‬ﺓ‪ .‬ﻭﻗﺩ ﺒﺩﺍ ﻋﺠﺯ ﺘﻠﻙ ﺍﻷﻨﻅﻤﺔ ﻋـﻥ ﺘﻐﻴﻴـﺭ‬
‫ﺍﻝﻭﺍﻗﻊ ﻤﻜﺸﻭﻓﹰﺎ‪ ،‬ﻭﻜﺄﻨﹼﻬﺎ ﺍﺴﺘﻤﺭﺃﺘﻪ ﻓﺘﺤﻭ‪‬ﻝﺕ ﺇﻝﻰ ﺍﻝﹼﺘﻌﺎﻴﺵ ﻤﻌﻪ‪ .‬ﻭﻤﻭﻗﻑ ﺍﻝﻜﺎﺘﺒﺔ ﺭﺍﻓﺽ ﻝﻼﻨﺴﺠﺎﻡ ﻤﻊ ﺴﻴﺎﺴﺎﺕ ﺘﻠﻙ ﺍﻷﻨﻅﻤـﺔ‬
‫ﻭﺜﻘﺎﻓﺘﻬﺎ‪ .‬ﻭﻀﺭﺒﺕ ﻝﻘﺎﺩﺓ ﺘﻠﻙ ﺍﻷﻨﻅﻤﺔ ﻨﻤﻭﺫﺠ‪‬ﺎ ﻤﻘﺎﻭﻤ‪‬ﺎ ﺩﺤﺭ ﺍﻻﺤﺘﻼل ﻋﻥ ﺠﻨﻭﺏ ﻝﺒﻨﺎﻥ‪ ،‬ﻭﻫﻭ ﻻ ﻴﻤﺘﻠﻙ ﺠﻴﺸﹰﺎ ﻋﺭﻤﺭﻤ‪‬ـﺎ ﻭﻻ‬
‫ل ﻤﺭ ‪‬ﺩ ﺫﻝﻙ ﺇﻝـﻰ ﺃﻨﹼﻬـﺎ‬
‫ﻋﺘﺎﺩ‪‬ﺍ ﻋﺴﻜﺭﻴ‪‬ﺎ ﻀﺨﻤ‪‬ﺎ‪ .‬ﻭﻗﺩ ﺃﻏﻔﻠﺕ ﺍﻝﻜﺎﺘﺒﺔ ﺍﻹﺸﺎﺭﺓ ﺇﻝﻰ ﻨﻤﻭﺫﺝ ﺍﻝﻤﻘﺎﻭﻤﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﻓﻲ ﻏﺯ‪‬ﺓ‪ .‬ﻭﻝﻌ ّ‬
‫ﻓﺭﻏﺕ ﻤﻥ ﻜﺘﺎﺒﺔ ﺍﻝﺭ‪‬ﻭﺍﻴﺔ ﻓﻲ ‪ 5‬ﺩﻴﺴﻤﺒﺭ ‪) 2009‬ﻋﺎﺸﻭﺭ‪.(459 : 2011 ،‬‬
‫ﻓﻭﺍﻗﻊ ﺍﻝﺼ‪‬ﺩﺍﻡ ﺒﻴﻥ ﺃﻨﺎ ﺍﻝﻜﺎﺘﺒﺔ ﻭﺍﻵﺨﺭ ﺍﻝﻤﺴﺘﺒﺩ ﻋﺒﺭ ﻨﻤﻭﺫﺠﻬﺎ ﺍﻝﻤﻁﺭﻭﺡ ﻓﻲ ﻨﺼ‪‬ﻬﺎ ﺍﻝﻤﻭﺍﺯﻱ ﻝﻠﻭﺍﻗﻊ ﺍﻝﻤﺭﺠـﻊ ﺍﻝـﺫﻱ‬
‫ﻴﺘﺴﻴ‪‬ﺩﻩ ﻨﻤﻭﺫﺝ ﺍﻝﺩ‪‬ﻭﻝﺔ ﺍﻝﻤﺴﺘﺒﺩ‪‬ﺓ–ﻭﻤﻨﻪ ﺩﻭﻝﺔ ﺍﻻﺤﺘﻼل‪-‬ﻴﻨﻁﻭﻱ ﻋﻠﻰ ﺭﻏﺒﺘﻬﺎ ﻓﻲ ﺘﻐﻴﻴﺭ ﻫﺫﺍ ﺍﻝﻭﺍﻗﻊ ﺍﻝﺠﺎﺌﺭ ﻝﺼﺎﻝﺢ ﺇﻗﺎﻤﺔ ﺍﻝﻌﺩل‬

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 ‫ﳎﻠﺔ ﻣﻘﺎﻟﻴﺪ ـــــــــــــــــــــــــ ﺍﻟﻌﺪﺩ ﺍﻟﺴﺎﺩﺱ‪ /‬ﺟﻮﺍﻥ ‪2014‬‬
‫ﺸﻌﻭﺏ ﺍﻝﻌﺭﺒﻴ‪‬ﺔ‪ .‬ﻭﻏﺎﻴﺔ ﺍﻝﻜﺎﺘﺒـﺔ‪-‬‬
‫ﺴﻠﻴﺏ‪ .‬ﻭﻜﺫﻝﻙ ﺘﻨﺸﺩ ﺘﺤﻘﻴﻕ ﺍﻝﺤ ‪‬ﺭﻴ‪‬ﺔ ﻝﻠ ﹼ‬
‫ﻲ ﻭﺍﺴﺘﻌﺎﺩﺓ ﻭﻁﻨﻪ ﺍﻝ ‪‬‬
‫ﻭﺭﻋﺎﻴﺔ ﺤﻘﻭﻕ ﺍﻹﻨﺴﺎﻥ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﻜﻤﺎ ﻴﺒﺩﻭ‪-‬ﻫﻲ ﺇﻋﺎﺩﺓ ﺒﻌﺙ ﺍﻝﺫﹼﺍﻜﺭﺓ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ‪-‬ﺍﻝﻌﺭﺒﻴ‪‬ﺔ ﺍﻝﻤﻜﺒﻭﺘﺔ ﻝﺘﻤﺎﺭﺱ ﺒﺫﻝﻙ ﻫﺩﻡ ﻨﻤﻭﺫﺝ ﺴﻠﻁﺔ ﺩﻭﻝﺔ ﺍﻻﺤـﺘﻼل؛ ﺍﻝﻨﹼﻅـﺎﻡ‬
‫ﺹ‪-‬ﻓﻠﺴﻁﻴﻥ ﺍﻝﺤﺭ‪‬ﺓ‪ -‬ﻭﻓﻕ ﺭﺅﻴﺘﻬﺎ ﻝﻪ‪ .‬ﻭﺘﺘﺸﺎﺭﻙ ﻓﻲ ﺫﻝﻙ ﻤـﻊ ﺭﺅﻴـﺔ‬
‫ل ﻤﺤﻠﹼﻪ ﺴﻠﻁﺔ ﺍﻝﹼﻨﻤﻭﺫﺝ ﺍﻝﻤﻁﺭﻭﺡ ﻓﻲ ﺍﻝﹼﻨ ‪‬‬
‫ﺍﻝﻤﺴﺘﺒ ‪‬ﺩ ﻝﺘﺤ ّ‬
‫ﻗﻁﺎﻉ ﻜﺒﻴﺭ ﻤﻥ ﺍﻝﻤﺘﻠﻘﹼﻴﻥ ﺍﻝﻤﺜﻘﹼﻔﻴﻥ ﻭﺠﻤﺎﻫﻴﺭ ﺍﻝﻨﹼﺎﺱ ﺍﻝﺭ‪‬ﺍﺯﺤﻴﻥ ﺘﺤﺕ ﺤﻜﻡ ﺍﻷﻨﻅﻤﺔ ﺍﻝﻤﺴﺘﺒﺩ‪‬ﺓ‪ .‬ﻓﻔﻌل ﺍﻝﻜﺘﺎﺒـﺔ ﺍﻹﺒﺩﺍﻋﻴ‪‬ـﺔ‪-‬ﻜﻤـﺎ‬
‫ﺘﺭﻯ‪-‬ﺨﻁﺎﺏ ﻴﻀﻁﻠﻊ ﺒﻭﻅﻴﻔﺔ ﺭﺌﻴﺴﺔ ﻫﻲ ﺼﻴﺎﻏﺔ ﺍﻝﻌﻼﻗﺔ ﺒﻴﻥ ﺍﻷﺩﺏ ﻭﺍﻝﻤﺠﺘﻤﻊ ﻋﻠﻰ ﺃﺴﺎﺱ ﺼﺤﻴﺢ‪.‬‬
‫ﺙ ﻝﻔﻜﺭﻫﺎ‪ ،‬ﻤﻭﻅﹼﻔﺔ ﺒﺫﻝﻙ‬
‫ﻲ ﺍﻝﺒﺎ ﹼ‬
‫ﻭﺴﺨﹼﺭﺕ ﺍﻝﻜﺎﺘﺒﺔ ﻋﻨﺎﺼﺭ ﺍﻝﺴ‪‬ﺭﺩ ﻭﺍﻝﹼﺘﻘﻨﻴﺎﺕ ﺍﻝﺘﻲ ﺼﺎﻏﺘﻪ ﺒﻬﺎ؛ ﻝﺘﻨﺘﺞ ﻝﻐﺔ ﺨﻁﺎﺒﻬﺎ ﺍﻝ ‪‬ﺭﻭﺍﺌ ‪‬‬
‫ﻲ ﻓـﻲ ﺨﻁﺎﺒﻬـﺎ‬
‫ﺹ‪ .‬ﻭﺫﻝﻙ ﻝﻠﹼﺘﺩﺍﺨل ﺍﻷﻴـﺩﻴﻭﻝﻭﺠ ‪‬‬
‫ﻲ ﺍﻝﺫﹼﺍﺘﻲ ﺍﻝﻤﺘﻭﺍﻓﻕ ﻤﻊ ﺤﺎﺠﺎﺕ ﺍﻝﻤﺘﻠﻘﹼﻴﻥ ﺍﻝﻤﺨﺎﻁﺒﻴﻥ ﺒﺎﻝﹼﻨ ‪‬‬
‫ﻤﻭﻗﻔﻬﺎ ﺍﻷﻴﺩﻴﻭﻝﻭﺠ ‪‬‬
‫ﻁﺒﻘﺎﺕ ﺍﻻﺠﺘﻤﺎﻋﻴ‪‬ﺔ ﺍﻝﻤﺴﺤﻭﻗﺔ ﻓﻲ ﻤﺠﺘﻤﻌﻨﺎ ﺍﻝﻌﺭﺒﻲ‪ ،‬ﻭﺨﺎﺼ‪‬ﺔ‪ ،‬ﺍﻝﻼﺠﺌﻴﻥ ﺍﻝﻔﻠﺴـﻁﻴﻨﻴ‪‬ﻴﻥ‪.‬‬
‫ﻲ ﺒﻴﻥ ﺭﺅﻴﺘﻬﺎ ﺍﻝﺫﺍﺘﻴ‪‬ﺔ ﻭﺭﺅﻴﺔ ﺍﻝ ﹼ‬
‫ﺍﻝ ‪‬ﺭﻭﺍﺌ ‪‬‬
‫ﻭﻫﻲ ﺘﺒﺘﻐﻲ ﺒﺫﻝﻙ ﺘﺤﻭﻴل ﺭﺅﻴﺘﻬﺎ ﺍﻝ ﹼﺫﺍﺘﻴ‪‬ﺔ ﺇﻝﻰ ﺭﺅﻴﺔ ﻋﺎﻤ‪‬ﺔ ﻴﺸﺎﺭﻜﻬﺎ ﻓﻴﻬﺎ ﺠﻤﻬﻭﺭ ﻋﺭﻴﺽ ﻤﻥ ﺍﻝﻤﺘﻠﻘﹼﻴﻥ‪ .‬ﻝﻴﻐﺩﻭ ﺨﻁﺎﺒﻬﺎ ﺒـﺫﻝﻙ‬
‫ﻲ‬
‫ﻲ ﻭﺍﻝﺴ‪‬ﻴﺎﺴـ ‪‬‬
‫ﻲ ﻭﺍﻻﺠﺘﻤـﺎﻋ ‪‬‬
‫ﺒﺅﺭﺓ ﺍﻝﺘﻘﺎﺀ ﺘﺠﺘﻤﻊ ﻓﻴﻬﺎ ﺠﻤﻠﺔ ﺍﻝ ‪‬ﺭﺅﻯ ﻭﺍﻝﻌﻼﻤﺎﺕ ﺍﻝﺘﻲ ﺃﻨﺘﺠﺘﻬﺎ ﻓﻴﻪ ﺍﻨﻁﻼﻗﹰﺎ ﻤﻥ ﻭﻀﻌﻬﺎ ﺍﻝﹼﺜﻘـﺎﻓ ‪‬‬
‫ﻲ ﻭﺭﺅﻴﺘﻬﺎ ﻝﻠﻌﺎﻝﻡ ﻤﻥ ﺤﻭﻝﻬﺎ‪ .‬ﻭﻗﺩ ﻝﻌﺒﺕ ﺤﺼﺎﻓﺘﻬﺎ ﺩﻭﺭ‪‬ﺍ ﺭﺌﻴﺴ‪‬ﺎ ﻓﻲ ﺼﻨﺎﻋﺔ ﺫﻝﻙ ﻜﻠﹼﻪ؛ ﻤﻤ‪‬ﺎ ﻭﻀﻊ ﺨﻁﺎﺒﻬﺎ ﻓﻲ ﻤﻭﺍﺠﻬﺔ‬
‫ﻭﺍﻝﻨﹼﻔﺴ ‪‬‬
‫ﺹ‬
‫ﺨﻁﺎﺏ ﺍﻵﺨﺭ ﺍﻝﹼﻨﻘﻴﺽ‪ .‬ﻭﻓﻲ ﻀﻭﺀ ﺫﻝﻙ ﻻ ﻴﻤﻜﻥ ﺘﺠﺎﻫل ﺩﻭﺭ ﺍﻝﺫﹼﺍﺕ ﺍﻝﻜﺎﺘﺒﺔ؛ ﺍﻝﻤﺭﺴﻠﺔ ﻭﺍﻝﻤﺴﺘﻘﺒﻠﺔ ﻓﻲ ﺁﻥ ﻋﻨﺩ ﻗﺭﺍﺀﺓ ﺍﻝﹼﻨ ‪‬‬
‫ﺍﻝﹼﺫﻱ ﺃﺒﺩﻋﺘﻪ‪.‬‬
‫ﻭﺍﹼﺘﺨﺫﺕ ﺍﻝﻜﺎﺘﺒﺔ ﻤﻥ ﺸﺨﺼﻴ‪‬ﺔ "ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ" ﻗﻨﺎﻋ‪‬ﺎ ﻴﺘﺤﺩ‪‬ﺙ ﺒﻠﺴﺎﻨﻬﺎ‪ ،‬ﻭﻤﻌﺎﺩﻻ ﻤﻭﻀـﻭﻋﻴ‪‬ﺎ ﻝﻼﺠـﺊ ﺍﻝﻔﻠﺴـﻁﻴﻨﻲ‪،‬ﻓﻬﻲ‬
‫ﻲ‪ .‬ﺇﺫ ﻴﺸﻜﹼل ﻤﺩﺨﻼ ﻤﻬﻤ‪‬ﺎ ﻝﺩﺭﺍﺴﺔ‬
‫ﺸﺨﺼﻴ‪‬ﺔ ﺍﺴﺘﻌﺎﺭﻴ‪‬ﺔ ﻭﻁﻨﻴ‪‬ﺔ‪ .‬ﻭﻫﻭ ﻤﻭﻗﻑ ﻴﺴﺘﺩﻋﻲ ﺩﺭﺍﺴﺘﻬﺎ ﻀﻤﻥ ﻫﺫﺍ ﺍﻝﻔﻬﻡ ﻝﺩﻭﺭﻫﺎ ﺍﻹﺒﺩﺍﻋ ‪‬‬
‫ل‪ .‬ﻭﻴﻤﻜﻥ ﺍﺴﺘﺨﻼﺹ ﺫﻝﻙ ﻤﻥ ﺘﻌﺒﻴﺭﻫﺎ ﻋﻠﻰ ﻝﺴﺎﻥ ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ ﻤﺠﻴﺒﺔ ﺍﺒﻨﻬـﺎ‬
‫ﺴﻴﺎﻗﻴ‪‬ﺔ ﺍﻝﺘﻲ ﻴﺘﺸﻜﹼل ﻤﻨﻬﺎ ﺨﻁﺎﺒﻬﺎ ﻜﻜ ّ‬
‫ﺍﻝﺒﻨﻴﺎﺕ ﺍﻝ ‪‬‬
‫ﺤﺴﻥ ﺍﻝﺫﻱ ﻁﺎﻝﺒﻬﺎ ﺒﻜﺘﺎﺒﺔ ﺸﻬﺎﺩﺘﻬﺎ ﻋﻠﻰ ﺍﻝﻨﹼﻜﺒﺔ‪" :‬ﻭﺼﻠﺘﻨﻲ ﺭﺴﺎﻝﺘﻙ ﺘﻘﻭﻝﻴﻥ ﻤﺎ ﺍﻝﻤﻨﻁﻕ ﻭﻤﺎ ﺍﻝﻔﺎﺌﺩﺓ ؟ ﺃﻗـﻭل ﺇﻨﹼﻨـﻲ ﺃﺭﺩﺕ ﺃﻥ‬
‫ﺼﻭﺕ ﻷﻨﹼﻨﺎ ﺘﺭﺒ‪‬ﻴﻨﺎ ﻋﻠﻴـﻪ‪ .‬ﻨﻌﺭﻓـﻙ‬
‫ﻴﺴﻤﻊ ﺍﻵﺨﺭﻭﻥ ﺼﻭﺘﻙ‪ .‬ﺼﻭﺕ ﺭﻗﻴ‪‬ﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ‪ .‬ﻨﺤﻥ ﺃﻭﻻﺩﻙ ﺍﻷﺭﺒﻌﺔ ﻨﻌﺭﻑ ﻫﺫﺍ ﺍﻝ ‪‬‬
‫ﻥ ﻝﺩﻴﻙ ﺍﻝﻜﺜﻴﺭ ﺍﻝﺫﻱ ﺘﻨﻘﻠﻴﻨﻪ ﻝﻠﻨﹼﺎﺱ‪.‬ﻝﻴﺴﺕ ﺍﻝﺤﻜﺎﻴﺔ ﻫﻲ ﻭﺤﺩﻫﺎ ﻤﺎ ﻴﺸﻐﻠﻨﻲ‪ ،‬ﺃﻁﻤﻊ ﻓﻲ ﺍﻝﺼ‪‬ﻭﺕ‪ ،‬ﻭﻷﻨﹼﻨﻲ ﺃﻋﺭﻑ ﻗﻴﻤﺘﻪ‬
‫ﻭﻨﻌﺭﻑ ﺃ ‪‬‬
‫ﺃﺭﻴﺩ ﺃﻥ ﻴﺘﺎﺡ ﻝﻶﺨﺭﻴﻥ ﺃﻥ ﻴﺴﻤﻌﻭﻩ" )ﻋﺎﺸﻭﺭ‪ .(234 :2011،‬ﻓﺘﺴﺠﻴل ﺸﻬﺎﺩﺓ ﺍﻝﻼﺠﺊ ﻋﻠﻰ ﺍﻝﻨﹼﻜﺒﺔ ﻴﻤﺜﹼل ﻭﺜﻴﻘﺔ ﺘﺎﺭﻴﺨﻴ‪‬ﺔ ﻤﻬﻤﺔ‬
‫ﻝﺤﻔﻅ ﺍﻝﺫﹼﺍﻜﺭﺓ ﺍﻝﺠﻤﻌﻴ‪‬ﺔ ﻤﻥ ﺠﻬﺔ‪ ،‬ﻭﻝﺘﻤﻜﻴﻥ ﺤﻀﻭﺭﻫﺎ ﺍﻝﻤﺴﺘﻤ ‪‬ﺭ ﻓﻲ ﻋﻘﻭل ﺍﻷﺠﻴﺎل ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﺍﻝﻁﺎﻝﻌﺔ‪ .‬ﻭﻫـﻲ‪ ،‬ﻤـﻥ ﺠﻬـﺔ‬
‫ﻲ ﺍﻝﺫﻱ ﺒﺎﺕ ﻴﺘﻌﺎﻁﻰ ﻤﻊ ﻗﻀﺎﻴﺎ ﺤﻘﻭﻕ ﺍﻹﻨﺴـﺎﻥ‬
‫ﺴﻠﻴﺒﺔ ﺃﻤﺎﻡ ﺍﻝﻘﻀﺎﺀ ﺍﻝﻌﺎﻝﻤ ‪‬‬
‫ﺃﺨﺭﻯ‪ ،‬ﻭﺜﻴﻘﺔ ﺼﺎﻝﺤﺔ ﻗﺎﻨﻭﻨﻴ‪‬ﺎ ﻝﻠﻤﻁﺎﻝﺒﺔ ﺒﺎﻝﺤﻘﻭﻕ ﺍﻝ ‪‬‬
‫ﻭﺍﻨﺘﻬﺎﻜﺎﺘﻬﺎ ﺒﺤﺴﺎﺴﻴ‪‬ﺔ ﻋﺎﻝﻴﺔ‪.‬‬
‫ﺙ ﺍﻝﻜﺎﺘﺒﺔ ﺍﻝﻼﺠﺌﻴﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ ﻋﻠﻰ ﻓﻌل ﺍﻝﻜﺘﺎﺒﺔ؛ ﻭﺫﻝﻙ ﺒﺘﺩﻭﻴﻥ ﺸﻬﺎﺩﺍﺘﻬﻡ ﻋﻠﻰ ﺍﻝﻨﹼﻜﺒﺔ ﻭﻤﺎ ﺘﺭﺘﹼﺏ ﻋﻠﻴﻬﺎ‪ ،‬ﻓﻲ‬
‫ﻭﺘﺴﺘﺤ ﹼ‬
‫ﺼﻴﻐﺔ ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺠﺩﻴﺩﺓ‪ ،‬ﺇﺫ ﺘﻘﻭل‪-" :‬ﺴﺄﺤﺎﻭل ﻴﺎ ﺤﺴﻥ‪ .‬ﻭﻝﻜﻥ ﻤﺎﺫﺍ ﻝﻭ ﻤﺕﹼ؟ ﺴﺘﻘﺘﻠﻨﻲ ﺍﻝﻜﺘﺎﺒﺔ‪-.‬ﻝﻥ ﺘﻘﺘﻠﻙ‪.‬ﺃﻨـﺕ ﺃﻗـﻭﻯ ﻤﻤ‪‬ـﺎ‬
‫ﺘﺘﺼﻭ‪‬ﺭﻴﻥ‪ .‬ﺍﻝﺫﹼﺍﻜﺭﺓ ﻻ ﺘﻘﺘل‪ .‬ﺘﺅﻝﻡ ﺃﻝﻤ‪‬ﺎ ﻻ ﻴﻁﺎﻕ‪ ،‬ﺭﺒﻤﺎ‪ .‬ﻭﻝﻜﻨﹼﻨﺎ ﺇﺫ ﻨﻁﻴﻘﻪ ﺘﺘﺤﻭ‪‬ل ﻤﻥ ﺩﻭ‪‬ﺍﻤﺎﺕ ﺘﺴﺤﺒﻨﺎ ﺇﻝﻰ ﻗﺎﻉ ﺍﻝﻐﺭﻕ ﺇﻝﻰ ﺒﺤﺭ‬
‫ﻨﺴﺒﺢ ﻓﻴﻪ‪.‬ﻨﻘﻁﻊ ﺍﻝﻤﺴﺎﻓﺎﺕ‪ .‬ﻨﺤﻜﻤﻪ ﻭﻨﻤﻠﻲ ﺇﺭﺍﺩﺘﻨﺎ ﻋﻠﻴﻪ" )ﻋﺎﺸﻭﺭ‪ .(235 :2011،‬ﻭﻓﻲ ﻫﺫﺍ ﺍﻝﺤﻭﺍﺭ ﺼﻴﻐﺔ ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺘﺸـﻴﺭ‬
‫ﺼﺤﻴﺢ‪،‬ﻭﻝﻡ ﺘﻭﺜﹼﻕ ﺍﻝﺘﹼﻭﺜﻴﻕ ﺍﻝﺩ‪‬ﻗﻴﻕ ﺍﻝﺫﻱ ﻴﻜﺸـﻑ‬
‫ﻲ ﻝﻡ ﺘﺼل ﺇﻝﻰ ﺍﻝﻌﺎﻝﻡ ﻤﻥ ﺤﻭﻝﻨﺎ ﻭﺼﻭﻝﻬﺎ ﺍﻝ ‪‬‬
‫ﻥ ﺤﻜﺎﻴﺔ ﺍﻝﻼﺠﺊ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﺇﻝﻰ ﺃ ‪‬‬
‫ﻕ ﺸﻌﺒﻨﺎ‪ .‬ﻭﻝﺫﻝﻙ ﻫﻲ ﻓﻲ ﺤﺎﺠﺔ ﺇﻝﻰ ﺇﻋﺎﺩﺓ ﺼﻴﺎﻏﺔ ﺘﺴﺘﻨﺩ ﺇﻝﻰ ﺸﻬﺎﺩﺍﺕ ﺍﻝﻼﺠﺌﻴﻥ‬
‫ﻋﻥ ﻫﻭﻝﻬﺎ ﻭﻋﻅﻡ ﺍﻝﺠﺭﻴﻤﺔ ﺍﻝﺘﻲ ﺍﺭﺘﻜﺒﺕ ﺒﺤ ﹼ‬
‫ﺍﻝﺤﻴ‪‬ﺔ ﻋﻠﻰ ﻨﻜﺒﺘﻬﻡ‪.‬‬
‫ﻲ ﻝﻤﺄﺴﺎﺘﻬﻡ ﻏﺎﻴﺘﻪ ﺘﻭﺼﻴل ﺼﻭﺘﻬﻡ ﻭﺤﻜﺎﻴﺘﻬﻡ ﺇﻝﻰ ﺍﻝﻌﺎﻝﻡ ﻝﻴﺘﻤ ﹼﻜﻨﻭﺍ ﻤﻥ ﺭﻓﻊ ﻗﻀـﺎﻴﺎﻫﻡ‪،‬‬
‫ﻭﻫﻭ ﻨﻭﻉ ﻤﻥ ﺍﻝﺘﹼﻭﺜﻴﻕ ﺍﻝﹼﺘﺎﺭﻴﺨ ‪‬‬
‫ﺴﻠﻴﺒﺔ ﺒﻬﺩﻑ ﺍﺴﺘﻌﺎﺩﺘﻬﺎ‪ .‬ﻭﻫﻡ ﺒﻬﺫﺍ ﺍﻝﻔﻌل ﺃﻗﻭﻯ‬
‫ﻱ ﻭﺍﻝﺠﻤﺎﻋﻲ‪ ،‬ﺃﻤﺎﻡ ﺍﻝﻤﺤﺎﻜﻡ ﺍﻝﺩ‪‬ﻭﻝﻴﺔ ﻝﻠﻤﻁﺎﻝﺒﺔ ﺒﺤﻘﻭﻗﻬﻡ ﺍﻝ ‪‬‬
‫ﻋﻠﻰ ﺍﻝﻤﺴﺘﻭﻴﻴﻥ ﺍﻝﻔﺭﺩ ‪‬‬
‫ﺤﺠﺔ ﻭﺃﺩﻋﻰ ﺇﻝﻰ ﺍﻹﻨﻔﺎﺫ ﺍﻨﺘﺼﺎﺭ‪‬ﺍ ﻝﻘﻀﻴ‪‬ﺘﻬﻡ ﺍﻝﻌﺎﺩﻝﺔ‪.‬‬
‫ﻭﻫﺫﺍ ﻤﺎ ﻜﺘﺒﺘﻪ ﺍﻝﺭ‪‬ﺍﻭﻴﺔ ﻓﻲ ﻓﺼل "ﺒﺎﻝﻘﺎﻨﻭﻥ" ﻋﻠﻰ ﻝﺴﺎﻥ ﺒﻁﻠﺘﻬﺎ ﺭﻗﻴ‪‬ﺔ ﺤﻭل ﻤﺸﺭﻭﻉ ﺍﺒﻨﻬﺎ ﻋﺒﺩ ﺍﻝﺭﺤﻤﻥ ﺍﻝﺫﻱ ﻴﺴـﻌﻰ‬
‫ﺇﻝﻰ ﺩﺭﺍﺴﺔ ﺍﻝﹼﺘﺸﺭﻴﻌﺎﺕ ﺍﻷﻭﺭﻭﺒﻴ‪‬ﺔ ﺍﻝﺘﻲ ﺘﺴﻤﺢ ﺒﺭﻓﻊ ﻗﻀﺎﻴﺎ ﻤﻥ ﻫﺫﺍ ﺍﻝﻨﹼﻭﻉ ﺃﻤﺎﻡ ﻤﺤﺎﻜﻤﻬﺎ ﻝﻴﺼﺎﺭ ﺇﻝﻰ ﺍﺴﺘﺜﻤﺎﺭﻫﺎ ﻋﻤﻠﻴ‪‬ﺎ‪ .‬ﻭﻫﻭ‬

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 ‫ﳎﻠﺔ ﻣﻘﺎﻟﻴﺪ ـــــــــــــــــــــــــ ﺍﻟﻌﺪﺩ ﺍﻟﺴﺎﺩﺱ‪ /‬ﺟﻮﺍﻥ ‪2014‬‬
‫ل‪ .‬ﻭﺩﻋﻭﺓ ﺼﺭﻴﺤﺔ ﺇﻝﻰ ﺍﻻﺴﺘﻔﺎﺩﺓ ﻤﻥ ﻫﺫﺍ ﺍﻷﺴﻠﻭﺏ ﺍﻝﺠﺩﻴـﺩ ﻓـﻲ‬
‫ﺼﻴﻐﺔ ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺩﺍﻝﹼﺔ ﻋﻠﻰ ﻭﺴﻴﻠﺔ ﻤﺨﺘﻠﻔﺔ ﻝﻤﻘﺎﺭﻋﺔ ﺍﻝﻤﺤﺘ ّ‬
‫ﻲ ﺍﻝﻤﻀﻴ‪‬ﻊ‪) .‬ﻋﺎﺸﻭﺭ‪.(353 :2011 ،‬‬
‫ﻕ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﺍﺴﺘﻌﺎﺩﺓ ﺍﻝﺤ ﹼ‬

‫ﺭﺍﺒ ‪‬ﻌﺎ‪ :‬ﺍﻝﺒﻨﻴﺔ ﺍﻝﻤ‪‬ﻨﺎﺼﻴ‪‬ﺔ ﻓﻲ ﺍﻝﺴ‪‬ﺭﺩ ﻭﺸﺨﺼﻴ‪‬ﺔ ﺍﻝﺒﻁل‪:‬‬

‫ﻲ ﺒﻤﻬﺎﺭﺓ ﻓﺤﺎﻜﺘـﻪ ﻤﺘﻭﺍﺸـﺠ‪‬ﺎ ﻤـﻊ ﺤﻘـﺎﺌﻕ ﺍﻝﺘﹼـﺎﺭﻴﺦ ﻭﺍﻝﺠﻐﺭﺍﻓﻴـﺎ‬
‫ﺤﺭﺼﺕ ﺍﻝﻜﺎﺘﺒﺔ ﻋﻠﻰ ﺼﻴﺎﻏﺔ ﻤﺘﻨﻬﺎ ﺍﻝﺭ‪‬ﻭﺍﺌ ‪‬‬
‫ﻲ ﻀﻤﻥ ﺃﻨﺴﺎﻕ ﺃﺴﻠﻭﺒﻴ‪‬ﺔ ﻤﺘﻨﻭ‪‬ﻋﺔ ﻝﺘﺤﻘﹼﻕ ﺘﺒﻠﻴﻐﻪ ﺇﻝـﻰ‬
‫ﻭﺍﻝﺩ‪‬ﻴﻤﻭﻏﺭﺍﻓﻴﺎ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﻭﻤﺸﺨﹼﺼﺎﺕ ﺍﻝﻤﻜﺎﻥ ﺍﻵﻫل ﺒﺈﻨﺴﺎﻨﻪ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﺍﻝﻤﺘﻠﻘﹼﻴﻥ ﻋﺒﺭ ﻤﻨﺎﻓﺫ ﺘﻭﺼﻴﻠﻴ‪‬ﺔ ﻋﺎﻝﻴﺔ ﺍﻻﺴﺘﻘﻁﺎﺏ ﻭﺒﺎﻝﻐﺔ ﺍﻝﺘﺄﺜﻴﺭ‪ ،‬ﻭﻤﻨﻬﺎ ﻋﻨﺎﺼﺭ ﺍﻝﻤ‪‬ﻨﺎﺼ‪‬ﺎﺕ ﺍﻝﺘﻲ ﺤﻭ‪‬ﻝﺘﻬﺎ ﺇﻝﻰ ﺃﻴﻘﻭﻨﺎﺕ ﺒﺼﺭﻴ‪‬ﺔ‪،‬‬
‫ﻭﻴﻘﻊ ﺍﺴﺘﻘﺭﺍﺅﻫﺎ ﻭﻓﻘﹰﺎ ﻝﻤﺎ ﻴﺄﺘﻲ‪:‬‬

‫ﺃ‪ -‬ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺍﻝﻌﻨﻭﺍﻥ ﺍﻝ ‪‬ﺭﺌﻴﺱ"ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ"‪ :‬ﻋﻨﻭﻨﺕ ﺍﻝﻜﺎﺘﺒﺔ ﺭﻭﺍﻴﺘﻬﺎ ﺒـ"ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ" ﻓﺠﻌﻠﺘﻪ ﻤﺩﺨﻼ ﺤﺎﻤﻼ ﻝﻠﻔﻜﺭﺓ ﺍﻝ ‪‬ﺭﺌﻴﺴـﺔ‬
‫ﺹ ﻤﻭﺍ ﹴﺯ ﻝﻠﻤﺘﻥ‪ ،‬ﻭﺒﻭ‪‬ﺍﺒﺘـﻪ ﺍﻝﺘـﻲ‬
‫ﺹ ﻭﺤﺎﻀﻨﹰﺎ ﻝﻸﻓﻜﺎﺭ ﺍﻝﻤﺤﻭﺭﻴ‪‬ﺔ ﻓﻲ ﺍﻝﻤﺘﻥ‪ .‬ﻓﻬﻭ ﻨﻭﺍﺓ ﺍﻝﺤﻜﺎﻴﺔ ﻭﺒﺅﺭﺘﻬﺎ ﺍﻝﹼﺘﺨﻴﻴﻠﻴ‪‬ﺔ‪ .‬ﻭﻫﻭ ﻨ ‪‬‬
‫ﻝﻠﹼﻨ ‪‬‬
‫ﺹ‬
‫ﻴﺩﻝﻑ ﻤﻨﻬﺎ ﺍﻝﻘﺎﺭﺉ ﻝﻠﺘﹼﻌﺭ‪‬ﻑ ﺇﻝﻰ ﻋﺎﻝﻤﻪ‪ .‬ﻭﻫﺫﺍ ﺍﻝﻭﻀﻊ ﻫﻭ ﺍﻝﺫﻱ ﺠﻌل ﻝﻠﻌﻨﻭﺍﻥ ﺤﻀﻭﺭ‪‬ﺍ ﻭﻅﻴﻔﻴ‪‬ﺎ ﻀﻤﻥ ﺍﻝﺒﻨﻴﺔ ﺍﻝﺤﻜﺎﺌﻴ‪‬ﺔ ﻝـﻨ ‪‬‬
‫ﺍﻝﺭ‪‬ﻭﺍﻴﺔ‪ .‬ﻭﻫﻭ ﺤﻀﻭﺭ ﹸﺘﻤﻅﻬﺭﻩ ﺒﻘﻴ‪‬ﺔ ﺍﻝﻤ‪‬ﻨﺎﺼ‪‬ﺎﺕ‪ .‬ﻭﻫﻜﺫﺍ ﺘﺴﺘﻌﻴﺩ ﺍﻝﻘﺼﺩﻴ‪‬ﺔ ﺍﻝﻤﻌﻨﻴ‪‬ﺔ ﻻﺨﺘﻴﺎﺭ ﻋﻨﻭﺍﻥ ﺍﻝﺭ‪‬ﻭﺍﻴـﺔ ﺼـﻴﻐﹰﺎ ﻨﺼـﻴ‪‬ﺔ‬
‫ﺹ‪ .‬ﻭﻫﻲ ﻜﺜﻴﺭﺓ ﻓﻴﻪ‪ .‬ﻓﺎﺨﺘﻴﺎﺭ ﺍﻝﻌﻨﻭﺍﻥ‬
‫ﺘﺘﻀﻤ‪‬ﻥ ﺒﻌﻀ‪‬ﺎ ﻤﻥ ﺃﺒﻌﺎﺩﻩ ﺍﻝﹼﺘﺭﻜﻴﺒﻴ‪‬ﺔ ﻓﻲ ﺍﻝﻌﺩﻴﺩ ﻤﻥ ﺍﻝﻔﻘﺭﺍﺕ ﻭﺍﻝﻤﻘﺎﻁﻊ ﺍﻝﺴ‪‬ﺭﺩﻴ‪‬ﺔ ﻓﻲ ﺍﻝﹼﻨ ‪‬‬
‫ﻻ ﻴﺨﻠﻭ ﻤﻥ ﻗﺼﺩﻴ‪‬ﺔ ﺘﻨﻔﻲ ﻤﻌﻴﺎﺭ ﺍﻻﻋﺘﺒﺎﻁﻴ‪‬ﺔ ﻓﻲ ﺍﺨﺘﻴﺎﺭ ﺍﻝﹼﺘﺴﻤﻴﺔ‪ ،‬ﻝﻴﺼﺒﺢ ﺍﻝﻌﻨﻭﺍﻥ ﻫﻭ ﺍﻝﺫﻱ ﻴﺘﻭﺍﻝﺩ ﻭﻴﺘﻨﺎﻤﻰ ﻭﻴﻌﻴﺩ ﺇﻨﺘﺎﺝ ﻨﻔﺴﻪ‬
‫ﺹ ﺒﻌﻨﻭﺍﻨﻪ )ﺍﻝﺤﺠﻤـﺭﻱ‪-18 :1996،‬‬
‫ﻭﻓﻕ ﺘﻤﺜﹼﻼﺕ ﻭﺴﻴﺎﻗﺎﺕ ﻨﺼﻴ‪‬ﺔ ﺘﺅﻜﹼﺩ ﻁﺒﻴﻌﺔ ﺍﻝﺘﹼﻌﺎﻝﻘﺎﺕ ﺍﻝﺘﻲ ﺘﺭﺒﻁ ﺍﻝﻌﻨﻭﺍﻥ ﺒﻨﺼ‪‬ﻪ ﻭﺍﻝﹼﻨ ‪‬‬
‫‪.(19‬‬
‫ﻲ ﺍﻝﻤﺘﻼﺤﻤﺘـﻴﻥ‪ ،‬ﻓﺼـﻴﻐﺔ ﺍﻝﹼﻨﺴـﺒﺔ‬
‫ﻭﻫﻭ ﻓﻲ "ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ" ﻨﻭﻉ ﻤﻥ ﺍﻝﹼﺘﺤﻘﻴﻕ ﻝ ‪‬ﻬﻭﻴ‪‬ﺔ ﺍﻹﻨﺴﺎﻥ ﻭ ‪‬ﻫﻭﻴ‪‬ﺔ ﺍﻝﻤﻜﺎﻥ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﺹ ﻤﺤﻴﻠﺔ ﺇﻝﻴﻪ ﻭﻤﻤ‪‬ﻴﺯﺓ ﻝﻪ‪.‬‬
‫ﺨﺼﺼ‪‬ﺕ ﺍﻝﻤﺴﻤ‪‬ﻰ ﻭﺤﺩ‪‬ﺩﺕ ﺍﻝﻤﻜﺎﻥ ﻓﻲ ﺁﻥ‪ .‬ﻭﻝﻭ ﻝﻡ ﺘﻜﻥ ﻜﺫﻝﻙ ﻝﻤﺎ ﻜﺎﻨﺕ ﻤﺘﹼﺴﻘﺔ ﻤﻊ ﻤﻀﻤﻭﻥ ﺍﻝﹼﻨ ‪‬‬
‫ﻲ ﺍﻏﺘﻴﺎﻝﻬﻤﺎ ﺒﻁﻤـﺱ‬
‫ﺼﻬﻴﻭﻨ ‪‬‬
‫ﻓﺼﺎﺭ ﻋﻼﻤﺔ ﺩﺍﻝﹼﺔ ﻋﻠﻴﻪ ﻴﺤﻴل ﺇﻝﻰ ﺒﻠﺩ ﻤﻨﻜﻭﺏ ﻭﺇﻝﻰ ﻗﻀﻴ‪‬ﺔ ﺇﻨﺴﺎﻥ ﻤﺸﺭ‪‬ﺩ ﻋﻨﻪ ﺃﺭﺍﺩ ﺍﻻﺤﺘﻼل ﺍﻝ ‪‬‬
‫ﺍﻝﻤﻜﺎﻥ ﻋﻥ ﺍﻝﺨﺭﻴﻁﺔ ﻤﻊ ﺘﻐﻴﻴﺏ ﺃﻫﻠﻪ‪.‬‬
‫ﻭﻴﻤﺜﹼل ﺍﻝﻌﻨﻭﺍﻥ ﺒﻤﻠﻔﻭﻅﻪ ﺍﻝﺩ‪‬ﺍل ﻭﺒﺼﻴﻐﺘﻪ ﺘﻠﻙ ﺍﺴﺘﻌﺎﺭﺓ ﻭﺃﻴﻘﻭﻨﺔ ﺘﺤﻴل ﻓﻲ ﻅﺎﻫﺭ ﺩﻻﻝﺘﻬﺎ ﺇﻝﻰ ﺍﻤﺭﺃﺓ ﻓﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﻻﺠﺌﺔ ﻝﻡ‬
‫ﺘﺴﻤ‪‬ﻬﺎ ﺒﺎﺴﻤﻬﺎ ﻓﻲ ﺍﻝﻌﻨﻭﺍﻥ ﻭﺇﻨﹼﻤﺎ ﺒﺼﻔﺘﻬﺎ "ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ"‪ ،‬ﻝﺘﺅﺸﹼﺭ ﺒﻬﺎ ﻋﻠﻰ ﺍﻨﺘﺴﺎﺏ ﺒﻁﻠﺔ ﺍﻝﺭ‪‬ﻭﺍﻴﺔ ﺇﻝﻰ ﻤﻜﺎﻨﻬﺎ ﺍﻷﻭ‪‬ل "ﺍﻝﻁﹼﻨﻁﻭﺭﺓ"‬
‫ﻲ‪ ،‬ﻭﻗﺭﻴﺘﻬﺎ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﺍﻝﻤﻬﺠ‪‬ﺭﺓ ﻭﺍﻝﻤﻨﻜﻭﺒﺔ ﻋﺎﻡ ‪ .1948‬ﻭﻫﻲ‬
‫ﺍﻝﺫﻱ ﺍﻏﺘﺭﺒﺕ ﻋﻨﻪ ﺠﺒﺭ‪‬ﺍ‪ ،‬ﻓﻬﻭ ﻤﺴﻘﻁ ﺭﺃﺴﻬﺎ ﻭﻤﻭﻁﻨﻬﺎ ﺍﻷﺼﻠ ‪‬‬
‫ﺸﺩﻴﺩﺓ ﺍﻻﻋﺘﺩﺍﺩ ﺒﻪ )ﻋﺎﺸﻭﺭ‪. (363 :2011،‬‬
‫ﺼﻔﹼﻭﺭﻴ‪‬ﺔ ﻭﺍﻝﻨﹼﺎﺒﻠﺴـﻴ‪‬ﺔ‬
‫ﻥ؛ ﺍﻝ ‪‬‬
‫ﺼﻴﻐﺔ ﻫﻭ ﻭﺼﻑ ﻻﺠﺌﺎﺕ ﺃﺨﺭﻴﺎﺕ ﻫ ‪‬‬
‫ﻥ ﻫﺩﻑ ﺍﻝﻜﺎﺘﺒﺔ ﻤﻥ ﺍﺴﺘﺨﺩﺍﻡ ﻫﺫﻩ ﺍﻝ ‪‬‬
‫ﻭﻴﺒﺩﻭ ﻝﻠﺒﺎﺤﺙ ﺃ ‪‬‬
‫ﻥ‬
‫ل ﺍﻝﻤﺠﺘﻤﻌﺎﺕ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﺍﻝﻤﺩﻤ‪‬ﺭﺓ ﺍﻝﻤﻨﻜﻭﺒﺔ ﻋﻠﻰ ﻴﺩ ﺍﻻﺤﺘﻼل‪ ،‬ﻭﻫـ ‪‬‬
‫ﻭﺍﻝﻠﹼﺩﺍﻭﻴ‪‬ﺔ‪ .‬ﻭﻴﻨﺴﺤﺏ ﺍﻝﺩ‪‬ﺍل ﻋﻠﻰ ﻤﺩﻝﻭل ﺃﻭﺴﻊ ﻝﻴﺸﻤل ﻜ ّ‬
‫ﺸﻴﺦ ﻭﺍﻝﺯ‪‬ﻴﺏ ﻭﺴﻤﺦ ﻭﺴﻌﺴﻊ ﻭﺍﻝﻠﹼـﺩ‬
‫ﺸﻘﻴﻘﺎﺕ ﻝﻘﺭﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﺓ‪ ،‬ﻤﻥ ﻤﺜل؛ ﻋﻴﻥ ﻏﺯﺍل ﻭ ‪‬ﺯﻤ‪‬ﺎﺭﻴﻥ ﻭﻗﻴﺴﺎﺭﻴﺔ ﻭﺼﻔﹼﻭﺭﻴﺔ ﻭﺒﻠﺩ ﺍﻝ ﹼ‬
‫ﻭﺍﻝﺭ‪‬ﻤﻠﺔ‪ ،‬ﻭﺍﻝﻘﺎﺌﻤﺔ ﻁﻭﻴﻠﺔ‪ .‬ﻭﻫﻲ ﺘﺤﻴل ﺇﻝﻰ ﺃﻤﺎﻜﻥ ﺍﻝﺫﹼﺍﻜﺭﺓ ﺍﻝﻤﻌﻤﻭﺭﺓ ﺒﺄﻫﻠﻬﺎ ﻓﻲ ﻤﺠﺘﻤﻊ ﻤﺎ ﻗﺒل ﺍﻝﻨﹼﻜﺒﺔ ﻭﻤﻌﺎﻝﻤﻬﺎ ﺍﻝﺒﺎﻗﻴﺔ ﻋﻠـﻰ‬
‫ﺃﺭﺍﻀﻴﻬﺎ‪ .‬ﻜﻤﺎ ﺘﺤﻴل ﺇﻝﻰ ﺫﺍﻜﺭﺓ ﺍﻝﻤﻜﺎﻥ ﺍﻝﺘﻲ ﺘﺴﺘﺩﻋﻲ ﺍﻝﹼﻨﻜﺒﺔ ﺒﻭﻗﺎﺌﻌﻬﺎ ﺍﻝﻤﺄﺴﺎﻭﻴ‪‬ﺔ‪ ،‬ﻭﺇﻝﻰ ﺃﻤﺎﻜﻥ ﺫﺍﻜـﺭﺓ ﺍﻝﹼﻠﺠـﻭﺀ ﺒﺄﺤـﺩﺍﺜﻬﺎ‬
‫ﺍﻝﻤﺄﺴﺎﻭﻴ‪‬ﺔ‪.‬‬
‫ل ﺫﻝﻙ ﺸﻜﹼل ﻋﻼﻤﺔ ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺩﺍﹼﻝﺔ‪ ،‬ﻓﻘﺩ ﺸﺨﹼﺹ ﺍﻝﻌﻨﻭﺍﻥ ﺍﻝ ﹼﺫﺍﺕ ﺍﻝﺭ‪‬ﺍﻭﻴﺔ ﻝﻠﺴ‪‬ﺭﺩ ﻭﺍﻝﻭﺍﻗﻊ ﺍﻝﻤﻌﻴﺵ ﻝﻼﺠﺌﻴﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ‬
‫ﻜّ‬
‫ﺹ ﺤﻜﺎﻴﺔ ﺍﻝﺴ‪‬ﺭﺩ ﻭﺃﻀﺎﺀﻫﺎ ﻓﻲ ﺁﻥ‪ .‬ﻭﻝﻡ ﻴﻜﻥ ﺍﺨﺘﻴﺎﺭ ﺍﻝﻜﺎﺘﺒﺔ ﻝﺒﻁﻠﺘﻬـﺎ ﺍﻷﻨﺜـﻰ‪ ،‬ﺍﻤـﺭﺃﺓ‬
‫ﺨ ‪‬‬
‫ﻲ ﻝﻘﻀﻴ‪‬ﺘﻬﻡ‪ .‬ﻭﻝ ﹼ‬
‫ﻭﺍﻝﻤﺭﺠﻊ ﺍﻝﺘﹼﺎﺭﻴﺨ ‪‬‬
‫ﻥ ﺘﻌﺎﻁﻔﻬﺎ ﻤﻊ ﺍﻝﻤﺭﺃﺓ ﺍﻝﻔﻠﺴﻁﻴﻨ‪‬ﻴﺔ ﻓﻲ ﻤﺠﺘﻤﻊ‬
‫ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﻓﻲ ﺍﺴﺘﻘﺭﺍﺀ ﻋﺘﺒﺔ ﺍﻝﻌﻨﻭﺍﻥ‪ ،‬ﺘﺸﻴﺭ ﺇﻝﻰ ﺃ ‪‬‬
‫ﻓﻠﺴﻁﻴﻨﻴ‪‬ﺔ‪ ،‬ﺍﻋﺘﺒﺎﻁﻴ‪‬ﺎ‪ ،‬ﻓﺎﻝﻌﻼﻤﺔ ﺍﻝ ‪‬‬
‫ﺍﻝﻤﺨﻴ‪‬ﻡ ﻨﺎﺠﻡ ﻋﻥ ﻜﻭﻨﻬﺎ ﺍﻷﺸ ‪‬ﺩ ﻤﻌﺎﻨﺎﺓ ﻭﺸﻘﺎﺀ ﻓﻲ ﺘﻠﻙ ﺍﻝﺒﻴﺌﺔ ﻤﻥ ﺍﻝﺭ‪‬ﺠل‪ .‬ﻓﻬﻲ ﺍﻝﺘﻲ ﺘﻭﺍﺠﻪ ﻀﻨﻙ ﺍﻝﺤﻴﺎﺓ ﻭﺁﻻﻤﻬﺎ ﺒﻌـﺩ ﻤـﻭﺕ‬
‫ﺯﻭﺠﻬﺎ ﺃﻭ ﺍﺴﺘﺸﻬﺎﺩﻩ ﺃﻭ ﻓﻘﺩﺍﻨﻪ‪ .‬ﻭﻜﻡ ﻤﻥ ﺍﻝﹼﻨﺴﺎﺀ ﺍﻝﹼﺜﻜﺎﻝﻰ ﻭﺍﻷﺭﺍﻤل ﻭﺍﻷﻴﺎﻤﻰ ﺘﻀ ‪‬ﻤﻬﺎ ﻤﺨﻴ‪‬ﻤﺎﺕ ﺍﻝﻼﺠﺌﻴﻥ ! ﻓﻬﻲ ﺃﻴﻘﻭﻨﺔ ﻝﻠﺤﻠﻘﺔ‬
‫ﺍﻷﻀﻌﻑ ﻓﻴﻬﺎ‪ ،‬ﻭﺤﺎﻝﺘﻬﺎ ﺍﻝﹼﻨﻔﺴﻴ‪‬ﺔ ﻭﺍﻻﺠﺘﻤﺎﻋﻴ‪‬ﺔ ﺘﺸﺨﹼﺹ ﻤﺄﺴﺎﺓ ﺍﻝﻠﹼﺠﻭﺀ ﻭﺍﻻﻏﺘﺭﺍﺏ ﻓﻲ ﺍﻝﻤﻨﻔﻰ‪.‬‬

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 ‫ﳎﻠﺔ ﻣﻘﺎﻟﻴﺪ ـــــــــــــــــــــــــ ﺍﻟﻌﺪﺩ ﺍﻟﺴﺎﺩﺱ‪ /‬ﺟﻮﺍﻥ ‪2014‬‬
‫ﺏ‪-‬ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺼﻭﺭﺓ ﺍﻝﻐﻼﻑ‪ :‬ﺼﺩ‪‬ﺭﺕ ﺍﻝﻜﺎﺘﺒﺔ ﻨﺼ‪‬ﻬﺎ ﺒﺼﻔﺤﺔ ﺍﻝﻌﻨﻭﺍﻥ ﻭﺠﻌﻠﺘﻬﺎ ﺃﻴﻘﻭﻨﺔ ﺒﺼﺭﻴ‪‬ﺔ ﻝﻠﻤﻜﺎﻥ‪ ،‬ﻭﻫﻲ ﻋﺒﺎﺭﺓ ﻋـﻥ‬
‫ﺼﻭﺭﺓ ﻝﻤﺸﻬﺩ ﻤﻥ ﺃﻤـﺎﻜﻥ ﺍﻝـﺫﹼﺍﻜﺭﺓ ﺍﻝﺠﻤﻌﻴ‪‬ـﺔ‬
‫ﺼﻭﺭﺓ ﻓﻭﺘﻭﻏﺭﺍﻓﻴ‪‬ﺔ ﻝﻘﺭﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﺓ ﻋﻼﻫﺎ ﻋﻨﻭﺍﻥ ﺍﻝﺭ‪‬ﻭﺍﻴﺔ‪ .‬ﻭﻗﺩ ﺍﻝﺘﻘﻁﺕ ﺍﻝ ‪‬‬
‫ﺼﻭﺭﺓ ﺒﻴـﻭﺕ‬
‫ﺸﺎﻫﺩﺓ ﻋﻠﻴﻪ‪ .‬ﻭﺘﻅﻬﺭ ﻓﻲ ﺍﻝ ‪‬‬
‫ﻓﻴﻬﺎ؛ﺇﺫ ﺘﺒﺩﻭ ﻓﻴﻪ ﺼﻭﺭﺓ ﻤﺴﺠﺩ ﺍﻝﻘﺭﻴﺔ ﺍﻝﻭﺍﻗﻊ ﻋﻠﻰ ﺴﺎﺤل ﺍﻝﺒﺤﺭ ﻭﻤﺌﺫﻨﺘﻪ ﺍﻝﻘﺎﺌﻤﺔ ﺍﻝ ﹼ‬
‫ﻱ ﺒﺎﺭﺯ ﻓﻲ ﺍﻝﻘﺭﻴﺔ‪،‬ﻭﻗﻁﻌﺔ ﺃﺭﺽ ﻤﺴﻭ‪‬ﺭﺓ ‪ ،‬ﻭﻗﻁﻊ ﻏﻴـﺭ ﻤﺴـﻭ‪‬ﺭﺓ‬
‫ل ﻋﻠﻰ ﻤﻌﻠﻡ ﺃﺜﺭ ‪‬‬
‫ﺍﻝﻘﺭﻴﺔ‪ ،‬ﺍﻝﻘﺎﺌﻡ ﻤﻨﻬﺎ ﻭﺍﻝﻤﻬﺩ‪‬ﻡ‪ ،‬ﻭﺴﺎﺤﺔ ﺘﺩ ّ‬
‫ﺼﻭﺭﺓ ﺴﺎﺤل ﺒﺤﺭ ﺍﻝﻁﹼﻨﻁﻭﺭﺓ ﺍﻝﻤﻤﺘ ‪‬ﺩ‪.‬‬
‫ﺘﻨﺎﺜﺭﺕ ﻓﻴﻬﺎ ﺍﻝﺤﺠﺎﺭﺓ‪ ،‬ﻭﻨﺨﻠﺘﺎﻥ ﺒﺎﺴﻘﺘﺎﻥ ﻓﻲ ﺃﺭﺽ ﺨﻼﺀ‪ .‬ﻭﻴﺒﺩﻭ ﻓﻲ ﺍﻝ ‪‬‬
‫ﺼﻭﺭﺓ ﺍﻝﺤﻘﻴﻘﻴ‪‬ﺔ ﻝﻠﺒﻠﺩﺓ ﺍﻝﻤﻨﻜﻭﺒﺔ ﺩﻝﻴﻼ ﻋﻠﻰ ﻭﺠﻭﺩﻫﺎ ﻭﻋﻤﺭﺍﻨﻬﺎ ﻗﺒل ﺘﺎﺭﻴﺦ ﺍﻝﹼﺘﻬﺠﻴﺭ ﻭﺒﻌـﺩﻩ‪ .‬ﻓﻬـﻲ‬
‫ﻭﺍﺘﹼﺨﺫﺕ ﺍﻝﻜﺎﺘﺒﺔ ﻤﻥ ﺍﻝ ‪‬‬
‫ﺘﺘﻨﺎﻭل ﻓﻲ ﺭﻭﺍﻴﺘﻬﺎ ﻤﻜﺎﻨﹰﺎ ﻤﻭﺠﻭﺩ‪‬ﺍ ﻋﻠﻰ ﺨﺭﻴﻁﺔ ﻓﻠﺴﻁﻴﻥ ﺍﻝﺘﹼﺎﺭﻴﺨﻴ‪‬ﺔ ﻭﻴﻤﻜﻥ ﺍﻝﻌﻭﺩﺓ ﺇﻝﻴﻪ‪ .‬ﻭﻝﻡ ﺘﻠﻎ ﺩﻭﻝﺔ ﺍﻻﺤﺘﻼل ﺤﺘﹼﻰ ﺯﻤﺎﻨﻨﺎ‬
‫ل‬
‫ﻫﺫﺍ ﺒﻌﺽ ﻤﻌﺎﻝﻤﻬﺎ؛ﺇﺫ ﺤﻭ‪‬ﻝﺘﻬﺎ ﺇﻝﻰ ﻤﺭﺍﻓﻕ ﺴﻴﺎﺤﻴ‪‬ﺔ ﻭﺘﺠﺎﺭﻴ‪‬ﺔ ﻭﻓﻨﹼﻴﺔ ﻭﺃﺤﹼﻠﺕ ﻓﻴﻬﺎ ﻤﺴﺘﻭﻁﻨﻴﻥ ﻤﺴﺘﺠﻠﺒﻴﻥ ﻤﻥ ﺒﻠﺩﺍﻥ ﻤﺨﺘﻠﻔﺔ ﻤﺤ ّ‬
‫ﺃﻫﻠﻬﺎ ﺍﻷﺼﻠﻴ‪‬ﻴﻥ‪،‬ﺃﻭ ﺨﺭ‪‬ﺒﺘﻬﺎ ﻜﻤﺎ ﺘﻔﻴـﺩ ﺍﻝﺼ‪‬ـﻭﺭ ﺍﻝﻔﻭﺘﻭﻏﺭﺍﻓﻴ‪‬ـﺔ ﺍﻷﺨـﺭﻯ ﺍﻝﺘـﻲ ﺍﺴﺘﻌﺭﻀـﺕ ﺍﻝﻜﺎﺘﺒـﺔ ﻤﺸـﺎﻫﺩﻫﺎ ﻓـﻲ‬
‫ﺹ")ﻋﺎﺸﻭﺭ‪ .(420-418 :2011،‬ﻭﻫﻭ ﻤﺸﻬﺩ ﻴﺘﻜﺭ‪‬ﺭ ﻓﻲ ﻤﺩﻥ ﻭﻗﺭﻯ ﻓﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﻤﻨﻜﻭﺒﺔ ﺃﺨﺭﻯ‪.‬‬
‫ﺍﻝﹼﻨ ‪‬‬

‫ﻲ")ﻋﺎﺸﻭﺭ‪ (3 :2011،‬ﺒﻬﺫﻩ ﺍﻝﻌﺒﺎﺭﺓ ﻗﺩ‪‬ﻤﺕ ﺍﻝﻜﺎﺘﺒﺔ ﺇﻫﺩﺍﺀﻫﺎ ﺇﻝﻰ ﺯﻭﺠﻬﺎ ﻭﺸـﺭﻴﻙ‬

‫ﺝ‪-‬ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺍﻹﻫﺩﺍﺀ‪":‬ﺇﻝﻰ ﻤﺭﻴﺩ ﺍﻝﺒﺭﻏﻭﺜ ‪‬‬
‫ﻲ ﻋﻥ ﻭﻁﻨﻪ ﺍﻝﻤﺤﺘلّ‪،‬ﻭﺍﻝﻤﻨﺘﻤﻲ ﺇﻝﻴﻪ ﺍﻝﺤﺎﻤل ﻝﻬﻤ‪‬ﻪ ﻭﺍﻝﻤﻨﺎﻓﺢ‬
‫ﻲ ﺍﻝﻤﻨﻔ ‪‬‬
‫ﻲ‪ .‬ﻭﻫﻭ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﻲ ﻤﺭﻴﺩ ﺍﻝﺒﺭﻏﻭﺜ ‪‬‬
‫ﺤﻴﺎﺘﻬﺎ ﺍﻷﺩﻴﺏ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﻋﻨﻪ ﺒﻔﻜﺭﻩ ﻭﺃﺩﺒﻪ‪ .‬ﻭﻝﻌﹼﻠﻪ ﺍﻝﻌﺎﻤل ﺍﻝ ‪‬ﺭﺌﻴﺱ ﻓﻲ ﺘﻭﺠ‪‬ﻪ ﺍﻝﻜﺎﺘﺒﺔ ﻨﺤﻭ ﺍﻻﻫﺘﻤﺎﻡ ﺒﺎﻝﻘﻀﻴ‪‬ﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ‪،‬ﻓﻬﻤﺎ ﻴﻤﹼﺜﻼﻥ ﻋﺎﺌﻠﺔ ﻓﻠﺴـﻁﻴﻨﻴ‪‬ﺔ‬
‫ﻱ ﺒﻴﻨﻬﻤـﺎ‪.‬‬
‫ﻲ ﻤﻨﻔﻴ‪‬ﺔ ﻋﻥ ﻭﻁﻨﻬﺎ ﻭﻤﺸﺘﹼﺘﺔ ﻓﻲ ﻏﻴﺭ ﺒﻠﺩ‪ .‬ﻓﻤﻥ ﻫﻨﺎ ﻭﻗﻊ ﺍﻝﹼﺘﻘﺎﻁﺏ ﺍﻝﻔﻜﺭ ‪‬‬
‫ﻥ ﻤﻌﻅﻡ ﺃﺴﺭﺓ ﺍﻷﺩﻴﺏ ﺍﻝﺒﺭﻏﻭﺜ ‪‬‬
‫ﻤﻨﻔﻴ‪‬ﺔ؛ﺒل ﺇ ‪‬‬
‫ﻭﻗﺩ ﺸﺎﺭﻜﺘﻪ ﻤﺤﻨﺔ ﺍﻝﻤﻨﻔﻰ ﻭﺍﻻﻏﺘﺭﺍﺏ ﻋﻥ ﻭﻁﻨﻪ ﻓﻲ ﻤﺼﺭ ﻭﻗﺎﺴﻤﺘﻪ ﺍﻝﻬ ‪‬ﻡ ﺤﻴﻥ ﻗﺭ‪‬ﺭﺕ ﻭﺯﺍﺭﺓ ﺍﻝﺩ‪‬ﺍﺨﻠﻴ‪‬ﺔ ﺍﻝﻤﺼﺭﻴ‪‬ﺔ ﺇﺒﻌﺎﺩﻩ ﻋﻥ‬
‫ﺴﺎﺩﺍﺕ ﻝﻤﺩﻴﻨﺔ ﺍﻝﻘﺩﺱ ﻋﺎﻡ ‪.1979‬‬
‫ﻤﺼﺭ ﻓﻲ ﺯﻤﻥ ﺯﻴﺎﺭﺓ ﺍﻝ ‪‬‬
‫ﻭﻗﺩ ﻋﺎﻴﻨﺕ ﻋﻥ ﻜﺜﺏ ﺃﻭﻀﺎﻉ ﺍﻝﻼﺠﺌﻴﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ ﻭﻋﺎﻴﺸﺘﻬﺎ ﻓﻲ ﻝﺒﻨﺎﻥ ﻭﺘﻌﺎﻁﻔﺕ ﻤﻊ ﻗﻀﻴ‪‬ﺘﻬﻡ ﺍﻹﻨﺴﺎﻨﻴ‪‬ﺔ‪ .‬ﻭﻴﺒﺩﻭ ﻝﻠﺒﺎﺤﺙ‬
‫ﻥ ﺍﻝﻤﻐﺯﻯ ﻤﻥ ﺍﻹﻫﺩﺍﺀ‪ ،‬ﻭﻫﻭ ﻴﻤﺜﹼل ﻨﻘﻁﺔ ﺍﻻﻝﺘﻘﺎﺀ ﺒﻴﻥ ﺍﻝﻬﺎﺩﻴﺔ ﻭﺍﻝﻤ‪‬ﻬﺩﻯ ﺇﻝﻴﻪ‪ ،‬ﻫﻭ ﺍﻝﹼﺘﻭﺤ‪‬ﺩ ﻋﻠﻰ ﺭﺴﺎﻝﺔ ﺍﻷﺩﺏ ﺍﻝﻤﻠﺘﺯﻡ ﺒﺎﻝﻘﻀﻴ‪‬ﺔ‬
‫ﺃ‪‬‬
‫ﻕ ﻋـﻭﺩﺓ ﺍﻝﻼﺠﺌـﻴﻥ‬
‫ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ‪ ،‬ﻭﺭﻓﻊ ﺼﻭﺕ ﺍﻝﻤﻌﺫﹼﺒﻴﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ‪ ،‬ﻓﻲ ﺯﻤﻥ ﺍﻷﺴﺭﻝﺔ ﺍﻝﺫﻱ ﻴ‪‬ﺨﺸﻰ ﻓﻴﻪ ﻤﻥ ﺇﺴـﻘﺎﻁ ﺤـ ﹼ‬
‫ل ﻋﻤﻠﻴﺔ ﺴﻼﻡ ﻓﺎﺸﻠﺔ ﺃﺴﺎﺴﻬﺎ ﺍﺘﻔﺎﻗﻴ‪‬ﺔ ﺃﻭﺴﻠﻭ‪.‬‬
‫ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ ﻓﻲ ﻅ ّ‬

‫ﺩ‪ -‬ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺨﺭﻴﻁﺔ ﻓﻠﺴﻁﻴﻥ‪ :‬ﻀﻤ‪‬ﻨﺕ ﺍﻝﻜﺎﺘﺒﺔ ﻤﻁﻠﻊ ﺭﻭﺍﻴﺘﻬﺎ ﺨﺭﻴﻁـﺔ ﻓﻠﺴـﻁﻴﻥ ﺍﻝﺘﹼﺎﺭﻴﺨﻴ‪‬ـﺔ ﺒﻌـﺩ ﺍﻹﻫـﺩﺍﺀ ﻤﺒﺎﺸـﺭﺓ‬
‫ﺴﻠﻴﺒﺔ ﻤﻨـﺫ‬
‫)ﻋﺎﺸﻭﺭ‪ ،(4 :2011،‬ﻓﺠﻌﻠﺘﻬﺎ ﺃﻴﻘﻭﻨﺔ ﺒﺼﺭﻴ‪‬ﺔ ﻝﺘﺨﻠﻕ ﺒﻬﺎ ﺍﻨﻁﺒﺎﻋ‪‬ﺎ ﻝﺩﻯ ﺍﻝﻘﺎﺭﺉ ﺒﻭﻝﻭﺝ ﻋﺎﻝﻡ ﻓﻠﺴﻁﻴﻥ ﺍﻝﹼﺘﺎﺭﻴﺨﻴ‪‬ﺔ ﺍﻝ ‪‬‬
‫ﻲ‬
‫ل ﻤﺴﺎﺤﺘﻬﺎ ﺍﻝﺠﻐﺭﺍﻓﻴ‪‬ﺔ ﻓـﻲ ﺍﻝﻌﻘـل ﺍﻝﺠﻤﻌـ ‪‬‬
‫ﻥ ﻓﻠﺴﻁﻴﻥ ﺤﺎﻀﺭﺓ ﺒﻘﻭﺓ ﺒﻜ ّ‬
‫ﺍﻝﺒﺩﺍﻴﺔ‪ .‬ﻭﻫﻭ ﺘﺤﻘﻴﻕ ﺘﺎﺭﻴﺨﻲ ﻏﺎﻴﺘﻪ ﺍﻹﺸﺎﺭﺓ ﺇﻝﻰ ﺃ ‪‬‬
‫ﻲ‪ .‬ﻭﺨﺭﻴﻁﺔ ﻓﻠﺴﻁﻴﻥ ﺍﻝﺠﺩﻴﺩﺓ ﻝﻴﺴﺕ ﻤﻨﺎﻁﻕ ﺍﻝﻀ‪‬ﻔﺔ ﺍﻝﻐﺭﺒﻴ‪‬ﺔ ﻭﻏﺯﺓ ﺍﻝﺘﻲ ﺍﺤﺘﻠﹼﺕ ﻋﺎﻡ ‪ 1967‬ﻓﻘﻁ ‪ .‬ﻜﻤـﺎ‬
‫ﻲ‪ ،‬ﻭﺍﻝﻌﺭﺒ ‪‬‬
‫ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﺽ‬
‫ﻲ ﺒﻌﺩ ﺃﻭﺴﻠﻭ ﺇﻝﻰ ﺃﺭﺍ ﹴ‬
‫ﻲ ﻝﻠﻘﻀﻴ‪‬ﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ‪ .‬ﻭﻗﺩ ﺘﺤﻭ‪‬ﻝﺕ ﻓﻲ ﺍﻝﻤﻨﻁﻕ ﺍﻻﺤﺘﻼﻝ ‪‬‬
‫ﺴﻴﺎﺴ ‪‬‬
‫ﻴﺠﺭﻱ ﺍﺨﺘﺯﺍل ﺤﺩﻭﺩﻫﺎ ﻓﻲ ﺍﻝﹼﺘﺩﺍﻭل ﺍﻝ ‪‬‬
‫ﻤﺘﻨﺎﺯﻉ ﻋﻠﻴﻬﺎ‪ .‬ﻭﺘﺤﺭﺹ ﻭﺴﺎﺌل ﺍﻹﻋﻼﻡ ﺍﻝﻐﺭﺒ‪‬ﻴﺔ ﻭﺍﻝﻌﺭﺒﻴ‪‬ﺔ ﻭﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﻋﻠﻰ ﺘﺭﺩﻴﺩ ﺫﻝﻙ ﻭﺍﻝﺘـﺭﻭﻴﺞ ﻝـﻪ‪ .‬ﻭﻴـﺩﻭ‪‬ﻥ ﺒﺩﻴﻠـﻪ‬
‫ل ﺍﻷﻁﺎﻝﺱ ﻭﺍﻝﺨﺭﺍﺌﻁ ﺍﻝﺠﻐﺭﺍﻓﻴ‪‬ﺔ ﺤﻭل ﺍﻝﻌﺎﻝﻡ‪ .‬ﻭﻫﻭ ﺃﻤﺭ ﻤﺭﻓﻭﺽ ﻋﻨـﺩ‬
‫"ﺇﺴﺭﺍﺌﻴل" ﻋﻠﻰ ﺍﻝﺨﺭﻴﻁﺔ ﺍﻝﹼﺘﺎﺭﻴﺨﻴ‪‬ﺔ ﻝﻔﻠﺴﻁﻴﻥ ﻓﻲ ﻜ ّ‬
‫ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ ﻭﻋﻨﺩ ﺃﺤﺭﺍﺭ ﺍﻝﻌﺎﻝﻡ‪.‬‬

‫ل‬
‫ﻲ ﻤﺤﻴﻁ ﺒﻬـﺎ ﻤـﻥ ﻜـ ّ‬
‫ﻲ ﻜﺒﻴﺭ ﻜﺒﺤﺭ ﻝﺠ ‪‬‬
‫ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺍﻷﺨﺭﻯ ﺘﺘﻤﺜﹼل ﻓﻲ ﻭﻗﻭﻉ ﻓﻠﺴﻁﻴﻥ ﻭﺴﻁ ﻤﺠﺘﻤﻊ ﻋﺭﺒ ‪‬‬
‫ﻭﺍﻝ ‪‬ﺩﻻﻝﺔ ﺍﻝ ‪‬‬
‫ﻲ ﻭﺘﺅﻜﹼﺩﻩ ﺍﻝﺨﺭﺍﺌﻁ ﻜﻠﹼﻬﺎ‪ .‬ﻓﻜﻴﻑ ﺍﻨﻘﻠـﺏ ﺍﻝﺘﹼـﺎﺭﻴﺦ ﻭﺘﺤﻭ‪‬ﻝـﺕ ﺍﻝﺠﻐﺭﺍﻓﻴـﺎ‬
‫ﻲ ﻭﺍﻝﺩ‪‬ﻴﻤﻭﻏﺭﺍﻓ ‪‬‬
‫ﺠﺎﻨﺏ‪ ،‬ﻜﻤﺎ ﻴﺸﻴﺭ ﺍﻝﻭﺍﻗﻊ ﺍﻝﺠﻐﺭﺍﻓ ‪‬‬
‫ﻭﺍﻝﺩﻴﻤﻭﻏﺭﺍﻓﻴﺎ ﺇﻝﻰ"ﺇﺴﺭﺍﺌﻴل" ﺍﻝﺩ‪‬ﻭﻝﺔ ﻏﺭﻴﺒﺔ ﺍﻝﻭﺠﻪ ﻭﺍﻝﻴﺩ ﻭﺍﻝﹼﻠﺴﺎﻥ ﻋﻥ ﻓﻠﺴﻁﻴﻥ ﻭﻋﻥ ﺍﻝﻭﺍﻗﻊ ﺍﻝﻤﺤﻴﻁ ﺒﻬـﺎ ؟ ﺇﻨﹼﻬـﺎ ﺃﺴـﻁﻭﺭﺓ‬
‫ﻲ‬
‫ﻲ ﻝﻠﺒﻼﺩ ﻭﻝﺴﻜﹼﺎﻨﻬﺎ ﺍﻷﺼﻠﻴ‪‬ﻴﻥ؛ ﻝﺘﻐﺩﻭ ﺃﻜﺒﺭ ﻤﺴﺘﻭﻁﻨﺔ ﻏﺭﺒﻴ‪‬ﺔ ﻓﻲ ﻗﻠﺏ ﺍﻝﻭﻁﻥ ﺍﻝﻌﺭﺒـ ‪‬‬
‫ﺘﺎﺭﻴﺨﻴ‪‬ﺔ ﻭﻭﺠﻭﺩﻴ‪‬ﺔ ﺯﻴ‪‬ﻔﺕ ﺍﻝﻭﺍﻗﻊ ﺍﻝﺤﻘﻴﻘ ‪‬‬
‫ﻓﻲ ﺍﻝﹼﺘﺎﺭﻴﺦ ﺍﻝﺤﺩﻴﺙ‪ ،‬ﻭﻴﺠﺭﻱ ﺘﺜﺒﻴﺕ ﻭﺠﻭﺩﻫﺎ ﻭﺍﻝﻤﺤﺎﻓﻅﺔ ﻋﻠﻴﻪ ﺒﺸﺘﹼﻰ ﺍﻝﻭﺴﺎﺌل‪ ،‬ﺤﺘﹼﻰ ﻻ ﺘﻘﻭﻡ ﻝﻠﻌﺭﺏ ﻗﺎﺌﻤﺔ‪ .‬ﻭﺴﺎﻋﺩﻫﺎ ﻋﻠـﻰ‬
‫ﺫﻝﻙ ﺍﺴﺘﺭﺍﺘﻴﺠ‪‬ﻴﺔ ﺍﻝﻤﺼﺎﻝﺢ ﺍﻝﻐﺭﺒﻴ‪‬ﺔ ﺍﻝﻤﺸﺘﺭﻜﺔ ﻤﻌﻬﺎ ﻓﻲ ﺍﻝﻤﻨﻁﻘﺔ ﺍﻝﻌﺭﺒﻴ‪‬ﺔ‪.‬‬

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 ‫ﳎﻠﺔ ﻣﻘﺎﻟﻴﺪ ـــــــــــــــــــــــــ ﺍﻟﻌﺪﺩ ﺍﻟﺴﺎﺩﺱ‪ /‬ﺟﻮﺍﻥ ‪2014‬‬
‫ﻭﻗﺩ ﺨﻁﹼﺕ ﺍﻝﺭ‪‬ﻭﺍﺌﻴﺔ ﺒﻴﺩ ﻗﻨﺎﻋﻬﺎ ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ ﺃﺴﻤﺎﺀ ﺍﻝﻤﺩﻥ ﻭﺍﻝﻘﺭﻯ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﺍﻝ ‪‬ﺭﺌﻴﺴﺔ ﻋﻠﻰ ﺨﺭﻴﻁﺔ ﻓﻠﺴـﻁﻴﻥ‪،‬ﻭﻤﻨﻬﺎ‬
‫ل ﺍﻷﺴﻤﺎﺀ ﺍﻻﺤﺘﻼﻝﻴ‪‬ـﺔ‬
‫ﻗﺭﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﺓ‪ ،‬ﻜﻤﺎ ﻀﻤ‪‬ﻨﺘﻬﺎ ﺃﺴﻤﺎﺀ ﺍﻝ ‪‬ﺩﻭل ﺍﻝﻌﺭﺒﻴ‪‬ﺔ ﺍﻝﻤﺠﺎﻭﺭﺓ ﻝﻔﻠﺴﻁﻴﻥ ﻭﺍﺴﺘﺒﻌﺩﺕ ﻓﻴﻬﺎ ‪ ،‬ﻗﺼﺩ‪‬ﺍ‪ ،‬ﻜ ّ‬
‫ﻁﻴ‪‬ﺎ ﻝﻠﻭﺍﻗﻊ ﺍﻝﻤﺯﻴ‪‬ﻑ ﻭﺘﻭﺜﻴﻘﹰﺎ ﺠﺩﻴﺩ‪‬ﺍ ﻝﻸﺼل ﺍﻝﻤﻐﻴ‪‬ﺏ‪.‬‬
‫ﺍﻝﻤﺯﻭ‪‬ﺭﺓ ﻝﻠﻤﻜﺎﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ‪،‬ﻭﺸ ﹼﻜل ﺫﻝﻙ ﺘﺨ ﹼ‬
‫ﻭﺘﺸﻴﺭ ﺍﻝﻜﺎﺘﺒﺔ ﺒﺫﻝﻙ ﺇﻝﻰ ﺃﻫﻤﻴ‪‬ﺔ ﺘﺭﺴﻴﺦ ﺨﺭﻴﻁﺔ ﻓﻠﺴﻁﻴﻥ ﻓﻲ ﺃﺫﻫﺎﻥ ﺍﻷﺠﻴﺎل ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﺍﻝﹼﻨﺎﺸﺌﺔ‪ .‬ﻭﻫﻲ ﻫﻨـﺎ ﺼـﻴﻐﺔ‬
‫ﻁﺒﻴﻌﻴ‪‬ﺔ ﺴﻴﺒﻘﻴﻬﺎ ﻗﻀﻴ‪‬ﺔ ﺤﻴ‪‬ـﺔ ﻓـﻲ ﻨﻔﻭﺴـﻬﻡ‬
‫ﻥ ﺤﻔﻅ ﺭﺴﻤﻬﺎ ﻭﺘﺤﺩﻴﺩ ﻤﻭﺍﻗﻊ ﻤﺩﻨﻬﺎ ﻭﻗﺭﺍﻫﺎ ﻭﻤﻌﺭﻓﺔ ﺘﻀﺎﺭﻴﺴﻬﺎ ﺍﻝ ﹼ‬
‫ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ؛ ﻷ ‪‬‬
‫ﻭﺴﻴﻌﺯ‪‬ﺯ ﺍﻨﺘﻤﺎﺀﻫﻡ ﻝﻭﻁﻨﻬﻡ ﻭﺴﻴﺼﻠﻬﻡ ﺒﻪ ﺒﺸﻜل ﻤﺴﺘﻤ ‪‬ﺭ‪ .‬ﺃﻜﹼﺩﺕ ﺍﻝﻜﺎﺘﺒﺔ ﻫﺫﺍ ﻓﻲ ﻗﻭل ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ ﻭﺍﺼﻔﺔ ﻨﺸﺎﻁ ﻋﻤ‪‬ﻬـﺎ ﺃﺒـﻲ‬
‫ﻲ ﻓﻲ ﺘﻌﺯﻴﺯ ﺍﻨﺘﻤﺎﺀ ﺍﻷﺸﺒﺎل ﻓﻲ ﺍﻝﻤﺨﻴ‪‬ﻤﺎﺕ ﺇﻝﻰ ﻭﻁﻨﻬﻡ‪":‬ﻴﺼﻁﺤﺏ ﻋﻤ‪‬ﻲ ﺼﺎﺩﻕ ﻭﻴﻠﺤﻘﻪ ﺒﻔﺭﻴﻕ ﺍﻷﺸﺒﺎل‪ ،‬ﻴﺤﻤل‬
‫ﺍﻷﻤﻴﻥ ﺍﻝﻭﻁﻨ ‪‬‬
‫ﻝﺤﺴﻥ ﻭﺭﻗﹰﺎ ﺃﺒﻴﺽ ﻤﻘﻭ‪‬ﻯ ﻴﺒﺴﻁﻪ ﺃﻤﺎﻤﻪ ﻭﻫﻭ ﻴﻘﻭل‪:‬ﺍﺭﺴﻡ ﺍﻝﺨﺭﻴﻁﺔ ﻴﺎ ﻭﻝﺩ‪،‬ﺍﺭﺴﻤﻬﺎ ﻜﺒﻴﺭﺓ ﻭﺒـﺎﻷﻝﻭﺍﻥ‪) .‬ﻋﺎﺸـﻭﺭ‪:2011 ،‬‬
‫‪.(120-119‬‬
‫ﻭﺘﻠﻌﺏ ﺫﺍﻜﺭﺓ ﺍﻝﻤ‪‬ﻌﺎﻴﺸﺔ ﻝﻤﺠﺘﻤﻌﺎﺕ ﺍﻝﻤﺩﻥ ﻭﺍﻝﻘﺭﻯ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﻋﻨﺩ ﺃﺒﻲ ﺍﻷﻤﻴﻥ ﺍﻝﻼﺠﺊ ﺩﻭﺭ‪‬ﺍ ﺭﺌﻴﺴ‪‬ﺎ ﻓﻲ ﺘﺤﺩﻴﺩ ﻤﻭﺍﻗﻌﻬﺎ‬
‫ﻋﻠﻰ ﺍﻝﺨﺭﻴﻁﺔ‪ .‬ﻓﻬﻭ ‪‬ﻴﻌﻴ‪‬ﻨﻬﺎ ﻤﺴﺘﻬﺩﻴ‪‬ﺎ ﺒﺯﻤﻥ ﺘﻁﻭﺍﻓﻪ ﺒﻬﺎ ﻭﻋﻼﻗﺘﻪ ﺒﺎﻝﺜﻭ‪‬ﺍﺭ ﻤﻥ ﺃﻫﻠﻬﺎ‪ .‬ﻭﻝﻡ ﻴﻘﻑ ﻋﻨﺩ ﺍﻷﻤﺎﻜﻥ ﺍﻝﻤﺸـﻬﻭﺭﺓ ﺒـل‬
‫ﺘﻌﺩ‪‬ﺍﻫﺎ ﺇﻝﻰ ﻤﻭﺍﻗﻊ ﻓﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﻤﻐﻤﻭﺭﺓ ﻋﺩﻴﺩﺓ‪ .‬ﻓﻬﻭ ﻴﺤﻔﻅﻬﺎ ﻭﻴﻌﺭﻑ ﺃﺴﻤﺎﺀ ﺭﺠﺎﻝﻬﺎ ﺍﻝﻤﻘﺎﻭﻤﻴﻥ‪ .‬ﻭﺘﺴﺘﺩﻋﻲ ﺍﻝﻜﺎﺘﺒﺔ ﻓﻲ ﻋﺭﻭﺽ‬
‫ﻲ ﻗﺒل ﺍﻝﻨﹼﻜﺒﺔ‪،‬ﻭﻫﻤﺎ‪:‬ﻗﺼﻴﺩﺓ "ﺍﻝﺸﹼﻬﻴﺩ" ﻝﻠﺸﹼﺎﻋﺭ ﺍﻝﺸﹼﻬﻴﺩ ﻋﺒﺩ ﺍﻝـﺭ‪‬ﺤﻴﻡ‬
‫ﻲ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﺸﻌﺭ ﺍﻝﻭﻁﻨ ‪‬‬
‫ﺴﺭﺩﻫﺎ ﻗﺼﻴﺩﺘﻴﻥ ﻤﺸﻬﻭﺭﺘﻴﻥ ﻤﻥ ﺍﻝ ﹼ‬
‫ﺙ ﺒﻬﻤﺎ ﺍﻝﺭ‪‬ﻭﺡ ﺍﻝﻭﻁﻨﻴ‪‬ﺔ ﺍﻝﺘﹼﻲ ﻴﺘﺸـﻜﹼل‬
‫ﻤﺤﻤﻭﺩ‪ .‬ﻭﻨﺸﻴﺩ "ﻤﻭﻁﻨﻲ" ﻹﺒﺭﺍﻫﻴﻡ ﻁﻭﻗﺎﻥ )ﻋﺎﺸﻭﺭ‪ 122 :2011،‬ﻭ‪ .(121‬ﻭﺫﻝﻙ ﻝﺘﺒ ﹼ‬
‫ﺒﺘﺄﺜﻴﺭ ﻤﻨﻬﺎ ﻤﻌﻨﻰ ﺍﻻﻨﺘﻤﺎﺀ ﺇﻝﻰ ﺍﻝﻭﻁﻥ ﺍﻝﺴ‪‬ﻠﻴﺏ ﻓﻲ ﻨﻔﻭﺱ ﺍﻝﻼﺠﺌﻴﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ ﻓﻬﻡ ﺃﺸ ‪‬ﺩ ﺍﻝﻨﹼﺎﺱ ﺘﻌﹼﻠﻘﹰﺎ ﺒﻪ ﻭﺘﻭ ﹰﻗﺎ ﻝﻠﻌﻭﺩﺓ ﺇﻝﻴﻪ‪.‬‬
‫ﺸﻬﻴﺩ" ﻭ"ﻤﻭﻁﻨﻲ" ﺼﻴﻐﺔ ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺇﺸﺎﺭﻴ‪‬ﺔ‪ ،‬ﻓﺎﻝﻐﺎﻴﺔ ﻤﻨﻪ ﺘﻜـﺭﻴﺱ‬
‫ﻭﻓﻲ ﻫﺫﺍ ﺍﻻﺴﺘﺩﻋﺎﺀ ﻝﺨﺭﻴﻁﺔ ﻓﻠﺴﻁﻴﻥ ﻭﻗﺼﻴﺩﺘﻲ "ﺍﻝ ﹼ‬
‫ﺍﻝﺘﹼﺭﺒﻴﺔ ﺍﻝﻭﻁﻨﻴ‪‬ﺔ ﻋﻨﺩ ﺃﺸﺒﺎل ﺍﻝﻤﺨﻴ‪‬ﻤﺎﺕ ﻝﺭﺒﻁﻬﻡ ﺒﻭﻁﻨﻬﻡ ﻭﺘﻤﻜﻴﻥ ﺍﻨﺘﻤﺎﺌﻬﻡ ﺇﻝﻴﻪ‪ ،‬ﺒﻬﺩﻑ ﺘﻭﺭﻴﺜﻬﻡ ﺇﻴ‪‬ﺎﻩ‪ ،‬ﻝﻴﺘﻭﺍﺼـﻠﻭﺍ ﺒـﻪ ﻋﻠـﻰ‬
‫ﻲ‬
‫ﻲ؛ ﺍﻝﺘﹼـﺎﺭﻴﺨ ‪‬‬
‫ﻲ ﺍﻝﻔﻠﺴـﻁﻴﻨ ‪‬‬
‫ﺍﻝﺩ‪‬ﻭﺍﻡ‪ ،‬ﻭﻝﻴﻨﻬﻀﻭﺍ ﺒﻤﺴـﺅﻭﻝﻴﺔ ﺘﺤﺭﻴـﺭﻩ‪ .‬ﻭﺘﻜﺜـﺭ ﺍﻝﻜﺎﺘﺒـﺔ ﻤـﻥ ﺍﺴـﺘﻠﻬﺎﻡ ﺍﻝﺘﹼـﺭﺍﺙ ﺍﻝـﻭﻁﻨ ‪‬‬
‫ﺸﻌﺭ ﺍﻝﻭﻁﻨﻲ‪ ،‬ﻭﺍﻝﻘﺼ‪‬ﺔ ﺍﻝﻘﺼﻴﺭﺓ ﻭﺍﻝﺭ‪‬ﻭﺍﻴـﺔ‪ ،‬ﻭﺍﻷﻏﻨﻴـﺔ‬
‫ﺹ ﻤﻌﻪ ﻓﻲ ﺭﻭﺍﻴﺘﻬﺎ‪ ،‬ﻤﺜل؛ﺍﻝ ﹼ‬
‫ﻱ ﻭﺍﻝﺘﹼﻨﺎ ‪‬‬
‫ﻱ" ﻭﺍﻝﺴ‪‬ﺭﺩ ‪‬‬
‫ﻲ"ﺍﻝﻔﻠﻭﻜﻠﻭﺭ ‪‬‬
‫ﻭﺍﻝﺸﹼﻌﺒ ‪‬‬
‫ﻲ ﺼـﺎﺤﺏ ﺍﻝﺘﹼـﺭﺍﺙ‬
‫ﻱ‪ ،‬ﻭﻏﻴﺭﻫﺎ‪ .‬ﻤﻥ ﺃﺠل ﺍﻝﹼﺘﺄﻜﻴﺩ ﻋﻠﻰ ﻫﻭﻴ‪‬ﺔ ﺍﻹﻨﺴﺎﻥ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﺸﻌﺒﻴ‪‬ﺔ‪ ،‬ﻭﺍﻝﺯ‪‬ﻏﺭﻭﺩﺓ‪ ،‬ﻭﺍﻝﺭ‪‬ﺴﻡ ﺍﻝﻜﺎﺭﻴﻜﺎﺘﻭﺭ ‪‬‬
‫ﺍﻝ ﹼ‬
‫ﺴﻨﻴﻥ‪ .‬ﻭﺘﻠﻙ ﻋﻼﻤﺔ ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﻭﺤﺠ‪‬ﺔ ﺩﺍﻤﻐﺔ ﺘﺴﻭﻗﻬﺎ ﺍﻝﻜﺎﺘﺒـﺔ ﻝﺒﻴـﺎﻥ ﺍﺴـﺘﻤﺭﺍﺭﻴ‪‬ﺔ‬
‫ﺍﻝﻌﺭﻴﻕ ﺍﻝﺫﻱ ﺸﻜﹼﻠﻪ ﻓﻲ ﻭﻁﻨﻪ ﻋﺒﺭ ﺁﻻﻑ ﺍﻝ ‪‬‬
‫ﻲ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ‪.‬‬
‫ﻕ ﺍﻝﺘﹼﺎﺭﻴﺨ ‪‬‬
‫ﻲ ﻋﻠﻰ ﺃﺭﻀﻪ ﺩﻭﻥ ﺍﻨﻘﻁﺎﻉ‪ ،‬ﻭﺫﻝﻙ ﻝﺘﻭﺜﻴﻕ ﺭﻭﺍﻴﺔ ﺍﻝﺤ ﹼ‬
‫ﺍﻝﻭﺠﻭﺩ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬

‫ﻁﺎ ﻫﻴﻜﻠ‪‬ﻴﺎ ﻝﻘﺭﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﺓ ﺍﻷﻴﻘﻭﻨﺔ‪ ،‬ﻝﺘﺜﺒﺕ ﻭﺠﻭﺩﻫﺎ ﻋﻠـﻰ‬

‫ﻁﹰ‬
‫ﻁ ﻗﺭﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﺓ‪ :‬ﺭﺴﻤﺕ ﺍﻝﻜﺎﺘﺒﺔ ﻤﺨ ﹼ‬
‫ﻫـ‪-‬ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﻤﺨﻁ ﹼ‬
‫ﺍﻷﺭﺽ ﺒﺘﻔﺎﺼﻴﻠﻬﺎ ﺍﻝﻌﻤﺭﺍﻨﻴ‪‬ﺔ ﺍﻝﻤﻭﺜﹼﻘﺔ ﻷﻤﺎﻜﻥ ﺍﻝﺫﹼﺍﻜﺭﺓ ﻓﻴﻬﺎ)ﻋﺎﺸﻭﺭ‪ .(5 :2011،‬ﻭﻗﺩ ﻏﺩﺕ ﺒﺫﻝﻙ ﺼﻴﻐﺔ ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺇﺸﺎﺭﻴ‪‬ﺔ‪ ،‬ﺇﺫ‬
‫ﻲ ﻭﻨﻔﻲ ﺭﻭﺍﻴﺔ ﺍﻵﺨﺭ ﺍﻝﺯ‪‬ﺍﺌﻔـﺔ ﻋﻨـﻪ‪ .‬ﻭﻴﻅﻬـﺭ‬
‫ﺘﻌﻴﺩ ﺘﺸﻜﻴﻠﻬﺎ ﻭﺒﻨﺎﺀ ﻫﻴﺎﻜﻠﻬﺎ ﺍﻝﻌﻤﺭﺍﻨﻴ‪‬ﺔ ﺒﻬﺩﻑ ﺘﻤﻜﻴﻥ ﻫﻭﻴ‪‬ﺔ ﺍﻝﻤﻜﺎﻥ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﻁ ﻴﺩﻫﺎ‪،‬ﻭﺤﺩ‪‬ﺩﺕ ﻓﻴﻪ ﻤﻭﻗﻌﻬﺎ ﺍﻝﻤﺘﻭﺴ‪‬ﻁ ﺒﻴﻥ ﻤﺩﻴﻨﺘﻲ ﺤﻴﻔﺎ ﺍﻝﺘـﻲ‬
‫ﺍﻝﻤﺨﻁﹼﻁ ﻤﺴﻘﻁﹰﺎ ﻋﻠﻭﻴ‪‬ﺎ ﻝﻠﺒﻠﺩ ﻜﻤﺎ ﺭﺴﻤﺘﻪ ﺭﻗﻴ‪‬ﺔ ﺍﻝﻁﻨﻁﻭﺭﻴ‪‬ﺔ ﺒﺨ ﹼ‬
‫ﺸﺭﻕ ﺘﺤﺩ‪‬ﻫﺎ ﺘﻠﺩﺍ ﻭﺯﻤ‪‬ﺎﺭﻴﻥ ﻭﻗﺭﻯ ﺃﺨﺭﻯ‪ ،‬ﻭﻤـﻥ ﺍﻝﻐـﺭﺏ‬
‫ﺸﻤﺎل ﻭﻤﺩﻴﻨﺔ ﻴﺎﻓﺎ ﺍﻝﺘﻲ ﺘﺤﺩ‪‬ﻫﺎ ﻤﻥ ﺍﻝﺠﻨﻭﺏ‪ ،‬ﻭﻤﻥ ﺍﻝ ﹼ‬
‫ﺘﺤﺩ‪‬ﻫﺎ ﻤﻥ ﺍﻝ ﹼ‬
‫ﺸﻤﺎل ﺇﻝﻰ ﺍﻝﺠﻨﻭﺏ ﺘﻘﻊ ﺒﻤﺤﺎﺫﺍﺓ ﺴﺎﺤل ﺍﻝﻁﹼﻨﻁﻭﺭﺓ‪.‬‬
‫ﺍﻝﺒﺤﺭ ﺍﻝﻤﺘﻭﺴ‪‬ﻁ ﺍﻝﺫﻱ ﻴﻀ ‪‬ﻡ ﺨﻤﺱ ﺠﺯﺭ ﺼﺨﺭﻴ‪‬ﺔ ﺼﻐﻴﺭﺓ ﻤﺘﺘﺎﺒﻌﺔ ﻤﻥ ﺍﻝ ﹼ‬
‫ﺸﻤﺎﻝﻴ‪‬ﺔ ﻭﺍﻝﺤﺎﺭﺓ‬
‫ﺜ ‪‬ﻡ ﺘﺭﺴﻡ ﻋﻠﻰ ﺍﻝﻤﺨﻁﹼﻁ ﺒﻴﻭﺕ ﺍﻝﺒﻠﺩ‪ ،‬ﻭﻫﻲ ﻤﻨﺘﺸﺭﺓ ﻋﻠﻰ ﺭﻗﻌﺔ ﻭﺍﺴﻌﺔ ﻤﻥ ﺍﻷﺭﺽ‪ ،‬ﻭﺘﺘﺄﹼﻝﻑ ﻤﻥ ﺍﻝﺤﺎﺭﺓ ﺍﻝ ﹼ‬
‫ﺴﺎﺤل ﺸﻤﺎل ﺍﻝﻘﺭﻴﺔ‪ ،‬ﻭﻤﺠﻠﺱ ﺍﻝﻌﺭﺴـﺎﻥ ﺍﻝـﺫﻱ ﻴﺤﺎﺫﻴﻬـﺎ‪،‬‬
‫ﺍﻝﺠﻨﻭﺒﻴ‪‬ﺔ‪ .‬ﻭ ﹸﺘﺤﺩ‪‬ﺩ ﻋﻠﻴﻬﺎ ﻤﻭﻗﻊ ﺩﺍﺭﻫﺎ‪ ،‬ﻭﻤﻭﻗﻊ ﺒﺌﺭ ﺍﻝﺴ‪‬ﻜﺭ ﻋﻠﻰ ﺍﻝ ‪‬‬
‫ﻭﻤﻴﻨﺎﺀ ﺍﻝﺒﺭﺝ ﻓﻴﻬﺎ‪ ،‬ﻭﺍﻝﻭﺭﺸﺔ‪ ،‬ﻭﺍﻝﻤﻘﺒﺭﺓ‪ ،‬ﻭﺴﺎﺤﺔ ﺍﻝﺒﻠﺩ )ﺍﻝﻤﺭﺍﺡ(‪ ،‬ﻭﺍﻝﺠﺎﻤﻊ‪ ،‬ﻭﻤﺩﺭﺴﺔ ﺍﻝﺒﻨﺎﺕ‪ ،‬ﻭﻤﺩﺭﺴﺔ ﺍﻝﺒﻨـﻴﻥ‪ ،‬ﻭﺍﻝﺒﺴـﺘﺎﻥ‪،‬‬
‫ﻁ ﺴﻜﹼﺔ ﺍﻝﺤﺩﻴﺩ‪ ،‬ﻭﻤﺤﻁﹼـﺔ ﺘﻠـﺩﺍ‪ ،‬ﻭﻤﺤﻁﹼـﺔ‬
‫ﻭﺤﺎﻜﻭﺭﺓ ﺍﻝ ‪‬ﺯﻴﺘﻭﻥ‪ ،‬ﻭﻨﺨﻼﺕ ﺃﺒﻲ ﺼﻔﻴ‪‬ﺔ‪ ،‬ﻭﺍﻷﺭﺍﻀﻲ ﺍﻝ ‪‬ﺯﺭﺍﻋﻴ‪‬ﺔ‪ ،‬ﻭﺍﻝﺒﻴﺎﺩﺭ‪ ،‬ﻭﺨ ﹼ‬
‫ﻲ ﺒﻴﻥ ﻤﺩﻴﻨﺘﻲ ﺤﻴﻔﺎ ﻭﻴﺎﻓﺎ ﻭﻴﻜﺸﻑ ﻋـﻥ‬
‫ﻲ ﻝﻘﺭﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﺓ ﻴﺒﻴ‪‬ﻥ ﻤﻭﻗﻌﻬﺎ ﺍﻻﺴﺘﺭﺍﺘﻴﺠ ‪‬‬
‫‪‬ﺯﻤ‪‬ﺎﺭﻴﻥ ﻭﺍﻝﻜﺭﺍﻜﻭﻥ‪ .‬ﻭﻫﻭ ﻤﺨﻁﹼﻁ ﺤﻘﻴﻘ ‪‬‬
‫ﻲ؛ ﻝـﺫﻝﻙ ﺼـ ‪‬ﻤﻡ ﺍﻻﺤـﺘﻼل ﻋﻠـﻰ‬
‫ﺴﺎﺤل ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﻤﺭﻜﺯﻴ‪‬ﺘﻬﺎ ﺒﻴﻥ ﺍﻝﻘﺭﻯ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﺍﻷﺨﺭﻯ‪ ،‬ﻓﻬﻲ ﺃﻜﺒﺭﻫﺎ ﻭﺃﻫﻤ‪‬ﻬﺎ ﻋﻠﻰ ﺍﻝ ‪‬‬
‫ﺍﺤﺘﻼﻝﻬﺎ‪ ،‬ﻭﻨﻔﹼﺫ ﻓﻴﻬﺎ ﻤﺠﺯﺭﺓ ﻜﺒﺭﻯ ﺭﺍﺡ ﻀﺤﻴ‪‬ﺘﻬﺎ ﺃﺯﻴﺩ ﻤﻥ ﻤﺌﺘﻲ ﺸﺨﺹ ﻤﻥ ﺃﻫﻠﻬﺎ‪.‬‬

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 ‫ﳎﻠﺔ ﻣﻘﺎﻟﻴﺪ ـــــــــــــــــــــــــ ﺍﻟﻌﺪﺩ ﺍﻟﺴﺎﺩﺱ‪ /‬ﺟﻮﺍﻥ ‪2014‬‬
‫ﻭ‪ -‬ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺸﺠﺭﺓ ﻋﺎﺌﻠﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ‪ :‬ﺤﺭﺼﺕ ﺍﻝﻜﺎﺘﺒﺔ ﻋﻠﻰ ﺭﺴﻡ ﺸﺠﺭﺓ ﻋﺎﺌﻠﺔ ﺭﻗﻴ‪‬ﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ ﺒﻁﻠﺘﻬـﺎ ﻭﺍﻝﺘﹼﻌﺭﻴـﻑ‬
‫ﻲ‬
‫ﻲ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﻲ ﻭﺍﻻﺠﺘﻤﺎﻋ ‪‬‬
‫ﺒﺄﺴﻤﺎﺀ ﺸﺨﺼ‪‬ﻴﺎﺘﻬﺎ ﺍﻝ ‪‬ﺭﺌﻴﺴﺔ)ﻋﺎﺸﻭﺭ‪ .(6 :2011،‬ﻭﺫﻝﻙ ﻝﺘﺠﻌﻠﻬﺎ ﺃﻴﻘﻭﻨﺔ ﺒﺼﺭﻴ‪‬ﺔ ﺘﻤﺜﹼل ﺍﻝﺒﻨﻴﺎﻥ ﺍﻝﻌﺎﺌﻠ ‪‬‬
‫ﺍﻝﻤﺘﻤﺎﺴﻙ ﺍﻝﺫﻱ ﻴﺸﻲ ﺒﺤﻘﻴﻘﺔ ﺘﻭﺍﺼل ﻨﺴﺒﻪ ﻭﺍﺘﹼﺼﺎﻝﻪ ﻋﺒﺭ ﺴﻠﺴﻠﺔ ﺃﺠﻴﺎل ﻀﺎﺭﺒﺔ ﻓﻲ ﺍﻝﺘﹼﺎﺭﻴﺦ ﻋﻠﻰ ﺃﺭﺽ ﻓﻠﺴـﻁﻴﻥ‪ .‬ﻭﻷﻨﹼﻬـﺎ‬
‫ﻲ ﻝﺩﻭﺍﺌﺭ ﺍﻝﻔﻌل ﻓﻴﻪ‪ ،‬ﻭﻫﻲ ﻜﺫﻝﻙ ﻓﻲ ﻤﺠﺘﻤﻊ ﺍﻝﹼﻠﺠﻭﺀ‪ .‬ﻭﺍﺨﺘـﺎﺭﺕ‬
‫ﺹ ﻭﺍﻝﻤﺤﺭ‪‬ﻙ ﺍﻝﻤﻔﺼﻠ ‪‬‬
‫ﻲ ﺍﻝﺤﺎﻤل ﻷﻓﻜﺎﺭ ﺍﻝﹼﻨ ‪‬‬
‫ﺍﻝﻌﻨﺼﺭ ﺍﻷﺴﺎﺴ ‪‬‬
‫ﺸﻬﺩﺍﺀ‪ ،‬ﺍﺒﺘﺩﺍﺀ‬
‫ﺍﻝﻜﺎﺘﺒﺔ ﺸﺨﺼ‪‬ﻴﺎﺘﻬﺎ ﺒﻌﻨﺎﻴﺔ‪ ،‬ﻓﻬﻲ ﻋﺎﺌﻠﺔ ﻭﻁﻨﻴ‪‬ﺔ ﻭﻤﻨﺘﻤﻴﺔ ﺇﻝﻰ ﺘﺭﺍﺏ ﻭﻁﻨﻬﺎ‪ ،‬ﺃﻓﺭﺍﺩﻫﺎ ﻤﻨﺎﻀﻠﻭﻥ ﺸﺭﻓﺎﺀ‪ ،‬ﻭﻤﻨﻬﻡ ﺍﻝ ﹼ‬
‫ﻤﻥ ﺍﻷﺠﺩﺍﺩ ﻭﺍﻨﺘﻬﺎﺀ ﺒﺎﻷﺤﻔﺎﺩ‪ .‬ﻭﻫﻲ ﻨﻤﻭﺫﺝ ﻤﻘﺎﻭﻡ )ﺃﻴﻘﻭﻨﺔ( ﻝﻠﻌﺎﺌﻠﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﺍﻝﻼﺠﺌﺔ‪ .‬ﻭﻫﻲ ﺼﻔﺔ ﺘﻨﺴﺤﺏ ﻋﻠﻰ ﻜﺜﻴﺭ ﻤـﻥ‬
‫ﺍﻝﻼﺠﺌﻴﻥ ﺍﻝﻔﻠﺴﻁﻴﻨ‪‬ﻴﻴﻥ؛ ﻭﻴﻌﻭﺩ ﺫﻝﻙ ﺇﻝﻰ ﻁﺒﻴﻌﺔ ﺤﻴﺎﺘﻬﻡ ﺍﻝﻘﺎﺴﻴﺔ ﻭﺍﻝﺤﺭﻤﺎﻥ ﺍﻝﺫﻱ ﻴﻌﻴﺸﻭﻨﻪ ﺒﺴﺒﺏ ﺍﻻﺤـﺘﻼل‪ ،‬ﺩﺍﺨـل ﺍﻝـﻭﻁﻥ‬
‫ل ﻭﻓﻲ ﺍﻝﻤﻨﻔﻰ‪ .‬ﻭﺍﺴﺘﺒﻌﺩﺕ ﺍﻝﻜﺎﺘﺒﺔ ﻓﻲ ﺭﻭﺍﻴﺘﻬﺎ ﺫﻜﺭ ﺸﺨﺼﻴ‪‬ﺎﺕ ﺘﻤﺜﹼل ﺍﻵﺨﺭ ﺍﻝﻤﺤﺘلّ‪ ،‬ﻭﻝﻜﻨﹼﻬﺎ ﺘﺫﻜﺭﻩ‪ ،‬ﻋـﺎﺩﺓ‪ ،‬ﺒﺼـﻴﻐﺔ‬
‫ﺍﻝﻤﺤﺘ ّ‬
‫ﺍﻝﺠﻤﻊ ﺍﻝﻐﺎﺌﺏ‪ ،‬ﻝﺘﺼﻑ ﻨﺘﺎﺌﺞ ﺩﻭﺭﻩ ﺍﻝﻤﺩﻤ‪‬ﺭ ﻋﻠﻰ ﺸﻌﺒﻨﺎ‪ ،‬ﻭﻷﻨﹼﻪ ﻏﺭﻴﺏ ﻭﻻ ﻤﺤﺎﻝﺔ ﺯﺍﺌل‪.‬‬
‫ﺸﺨﺼﻴ‪‬ﺎﺕ ﺍﻝﻤﺤﻭﺭﻴ‪‬ﺔ ﻓﻲ ﺍﻝﺴ‪‬ﺭﺩ ﻤﻥ ﻋﺎﺌﻠﺘﻲ ﺍﻝﺠﺩ‪‬ﻴﻥ"ﺃﺒﻭ ﺍﻝﺼﺎﺩﻕ" ﻭ"ﺃﺒﻭ ﺍﻷﻤﻴﻥ" ﻭﻫﻤـﺎ‬
‫ﻭﺘﺘﺄﻝﹼﻑ ﺸﺠﺭﺓ ﺍﻝﻌﺎﺌﻠﺔ ﻤﻥ ﺍﻝ ﹼ‬
‫ل ﺍﻝﻌـﺎﺌﻼﺕ‬
‫ﻲ ﻝﻜـ ّ‬
‫ﺸﻘﻴﻘﺎﻥ‪ ،‬ﻭﻤﻥ ﻨﺴﻠﻴﻬﻤﺎ ﺍﻨﺤﺩﺭ ﺍﻝﺠﻴل ﺍﻝﹼﺜﺎﻨﻲ ﻭﺍﻝﹼﺜﺎﻝﺙ ﻭﺍﻝ ‪‬ﺭﺍﺒﻊ‪ .‬ﻭﺍﻝﻌﺎﺌﻠﺔ ﺒﻬﺫﺍ ﺍﻝﺘﹼﺼﻨﻴﻑ ﻤﻌﺎﺩل ﻤﻭﻀـﻭﻋ ‪‬‬
‫ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﺍﻝﻤﻬﺠ‪‬ﺭﺓ ‪.‬‬
‫ﻭﺘﺴﺭﺩ ﺍﻝﺭ‪‬ﺍﻭﻴﺔ ﺘﺠﺭﺒﺘﻬﺎ ﻤﻊ ﺍﻝﻤﻨﻔﻰ ﺍﻝﺫﻱ ﺘﺤﻴﺎﻩ ﻤﻊ ﻋﺎﺌﻠﺘﻬﺎ ﺍﻝﻼﺠﺌﺔ ﺒﺘﻘﻠﹼﺒﺎﺘﻪ ﺍﻝﻤﺨﺘﻠﻔﺔ ﻭﺘﺼﻑ ﺍﻏﺘﺭﺍﺒﻬﺎ ﻓﻴﻪ‪ .‬ﻭﺘﻨﺴـﺞ‬
‫ﺨﻴﻭﻁ ﺤﻜﺎﻴﺘﻬﺎ ﻝﺘﻌﻴﺩ ﺘﺸﻜﻴل ﺼﻭﺭﺓ ﺍﻝﻭﻁﻥ ﺍﻝﺤﺎﻀﺭ ﻓﻲ ﺫﺍﻜﺭﺘﻬﺎ ﻓﻲ ﺴﻴﺎﻕ ﻤﻥ ﺍﻝﻔﻜﺭ ﺍﻝﻤﻘﺎﻭﻡ ﻝﻨﺴﻴﺎﻨﻪ ﺃﻭ ﺍﻝﹼﺘﺴﻠﻴﻡ ﺒﺄﻨﹼﻪ ﺒـﺎﺕ‬
‫ﻲ ﻤﻥ ﺴﺭﺩ ﺤﻜﺎﻴﺘﻬﺎ ﺒﻘﻭﻝﻬﺎ‪":‬‬
‫ﻲ‪ .‬ﻭﻋﺒ‪‬ﺭﺕ ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ ﻋﻥ ﻤﻭﻗﻔﻬﺎ ﺍﻝ ‪‬ﺭﻭﺍﺌ ‪‬‬
‫ل ﻤﺎ ﻫﻭ ﻓﻠﺴﻁﻴﻨ ‪‬‬
‫ل ﺍﻝﻤﺘﻐﻭ‪‬ل ﻋﻠﻰ ﻜ ّ‬
‫ﻓﻲ ﻗﺒﻀﺔ ﺍﻝﻤﺤﺘ ّ‬
‫ل ﺘﻔﺎﺼـﻴﻠﻬﺎ ؟ ﻗـﺩ‬
‫ﻫل ﺃﺤﻜﻲ ﺤﻴﺎﺘﻲ ﺤﻘ‪‬ﺎ ﺃﻡ ﺃﻗﻔﺯ ﻋﻨﻬﺎ ؟ ﻭﻫل ﻴﻤﻜﻥ ﺃﻥ ﻴﺤﻜﻲ ﺸﺨﺹ ﻤﺎ ﺤﻴﺎﺘﻪ ﻓﻴﺘﻤﻜﹼﻥ ﻤﻥ ﺍﺴﺘﺤﻀﺎﺭ ﻜ ّ‬
‫ﻴﻜﻭﻥ ﺍﻷﻤﺭ ﺃﻗﺭﺏ ﺇﻝﻰ ﺍﻝﻬﺒﻭﻁ ﺇﻝﻰ ﻤﻨﺠﻡ ﻓﻲ ﺒﺎﻁﻥ ﺍﻷﺭﺽ‪ ،‬ﻤﻨﺠﻡ ﻻ ﺒ ‪‬ﺩ ﻤﻥ ﺤﻔﺭﻩ ﺃﻭﻻ ﻗﺒل ﺍﻝﺘﹼﻤﻜﹼﻥ ﻤﻥ ﺍﻝﻨﹼﺯﻭل ﺇﻝﻴﻪ‪ .‬ﻭﻫل‬
‫ﺒﻤﻘﺩﻭﺭ ﻓﺭﺩ ﻤﻬﻤﺎ ﺒﻠﻎ ﻤﻥ ﻗﻭ‪‬ﺓ ﻭﻨﺸﺎﻁ ﺃﻥ ﻴﺤﻔﺭ ﺒﻴﺩﻴﻪ ﺍﻝﻤﻔﺭﺩﺘﻴﻥ ﻤﻨﺠﻤ‪‬ﺎ ؟! ﺍﻝﻤﻬﻤ‪‬ﺔ ﺸﺎﻗﹼﺔ ")ﻋﺎﺸﻭﺭ‪.(84 :2011،‬‬
‫ﻭﻫﺫﺍ ﺍﻝﻤﻘﻁﻊ ﻴﻤﺜﹼل ﻋﻼﻤﺔ ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺩﺍﻝﹼﺔ ﻋﻠﻰ ﻋﻤﻕ ﺤﻔﺭﻴ‪‬ﺎﺕ ﺍﻝﺫﹼﺍﻜﺭﺓ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ‪ ،‬ﻓﻬﻲ ﺤﺎﻓﻠﺔ ﺒﻤﺸﺎﻫﺩ ﻤﺄﺴﺎﺓ ﺍﻹﻨﺴﺎﻥ‬
‫ﻲ‪ ،‬ﺒﻤﺎ ﺘﺘﻀﻤ‪‬ﻨﻪ ﻤﻥ ﻭﻗﺎﺌﻊ ﺠﺴﻴﻤﺔ‪ .‬ﻭﺫﻝﻙ ﻝﹸﺘﺩﺨل ﺍﻝﻘﺎﺭﺉ ﻤﻨﺫ ﺍﻝﺒﺩﺍﻴﺔ ﺇﻝﻰ ﻋﺎﻝﻡ ﺤﻜﺎﻴﺔ ﺍﻝﺴ‪‬ﺭﺩ ﺍﻝﻘﺭﻴﺒﺔ ﻤﻥ ﺤﺩﻭﺩ ﺍﻝﻭﺍﻗﻊ‬
‫ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﺠﺎ ﺇﻨﺴﺎﻨﻴ‪‬ﺎ ﻝﺤﻴﺎﺓ ﺍﻝﻌﺎﺌﻠﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﺍﻝﻼﺠﺌﺔ ﻓﻲ ﻤﺠﺘﻤﻌﻬﺎ‪ .‬ﻭﺤﺎﻓﻅﺕ ﻋﻠﻰ ﻫﻭﻴ‪‬ﺘﻬﺎ ﺍﻝﻭﻁﻨﻴ‪‬ﺔ‬
‫ﺍﻝﻤﻭﺍﺯﻱ ﻝﻬﺎ‪ .‬ﻓﻘﺩ ﺸﻜﹼﻠﺕ ﺒﻬﺎ ﻨﻤﻭﺫ ‪‬‬
‫ﻲ ﻻ ﻴﺘﻘﺒ‪‬ـل ﻭﺠﻭﺩﻫـﺎ ﻓﻴـﻪ‬
‫ﻭﻋﻠﻰ ﺘﻤﺎﺴﻜﻬﺎ ﺭﻏﻡ ﻫﻭل ﻤﺄﺴﺎﺓ ﺍﻷﺤﺩﺍﺙ ﺍﻝﺘﻲ ﻋﺎﻴﺸﺘﻬﺎ ﻭﻤﺎ ﺘﺯﺍل ﺘﻌﻴﺸﻬﺎ ﻓﻲ ﻤﺠﺘﻤﻊ ﻋﺭﺒـ ‪‬‬
‫ﻲ‪.‬‬
‫ﺒﺎﻝﹼﺘﺭﺤﺎﺏ‪ ،‬ﻭﻴﺫﻜﹼﺭﻫﺎ ﺩﺍﺌﻤ‪‬ﺎ ﺒﺎﻏﺘﺭﺍﺒﻬﺎ ﻭﺒﺄﺴﺒﺎﺏ ﺘﻬﺠﻴﺭﻫﺎ ﻤﻥ ﻭﻁﻨﻬﺎ ﺍﻷﺼﻠ ‪‬‬

‫ﺴﺎ‪ :‬ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺍﻝﺒﻨﻴﺔ ﺍﻝﺘﹼﻜﻭﻴﻨﻴ‪‬ﺔ ﻝﻤﺠﺘﻤﻊ ﺍﻝﺴ‪‬ﺭﺩ ‪:‬‬

‫ﺨﺎﻤ ‪‬‬
‫ﻲ ﻤﺘﻨﻭ‪‬ﻉ ﺍﻝﺼ‪‬ﻴﻎ؛ ﻤﻤ‪‬ﺎ ﺃﻀﻔﻰ ﻋﻠﻴﻪ ﺼﺒﻐﺔ ﺴـﺭﺩﻴ‪‬ﺔ ﺨﺎﺼ‪‬ـﺔ‬
‫ﻱ ﻤﻠﺤﻤ ‪‬‬
‫ﺸﻜﹼﻠﺕ ﺍﻝﻜﺎﺘﺒﺔ ﻤﺠﺘﻤﻊ ﺴﺭﺩﻫﺎ ﻭﻓﻕ ﺇﻁﺎﺭ ﺒﻨﻴﻭ ‪‬‬
‫ﺘﻜﺸﻑ ﻋﻨﻬﺎ ﺍﻷﻁﺭ ﺍﻝﺴ‪‬ﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺍﻵﺘﻴﺔ‪:‬‬

‫ﻲ ﻝﻠﺴ‪‬ﺭﺩ‪ :‬ﺍﺨﺘﺎﺭﺕ ﺍﻝﻜﺎﺘﺒﺔ ﺸﺨﺼﻴ‪‬ﺔ ﺍﻝﺒﻁﻠﺔ "ﺭﻗﻴ‪‬ﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ـﺔ" ﺍﻝﻼﺠﺌـﺔ ﺍﻝﻔﻠﺴـﻁﻴﻨﻴ‪‬ﺔ‬

‫ﺸﺨﺼﻴﺔ ﻭﺍﻝﺒﻨﺎﺀ ﺍﻝﻔﻨ ‪‬‬
‫ﺃ‪ -‬ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺍﻝ ﹼ‬
‫ﺸﺎﻫﺩﺓ ﻋﻠﻰ ﺍﻝﻨﹼﻜﺒﺔ ﻭﻤﺂﻻﺘﻬﺎ‪ ،‬ﻭﺍﻝﻤﺤ ‪‬ﻤﻠﺔ ﺒﺄﻓﻜﺎﺭ ﺍﻝﻜﺎﺘﺒﺔ ﻭﺁﺭﺍﺌﻬﺎ ﻭﺒﻬﻤﻭﻡ ﺍﻝﻼﺠﺌﻴﻥ‪ ،‬ﻭﺍﻝﻤﻌﺎﻴﺸـﺔ‬
‫ﺴﺒﻌﻴﻨﻴ‪‬ﺔ ﻤﺘﻭﺴ‪‬ﻁﺔ ﺍﻝﹼﺜﻘﺎﻓﺔ‪ ،‬ﻭﺍﻝ ﹼ‬
‫ﺍﻝ ‪‬‬
‫ل ﺘﻔﺎﺼﻴﻠﻬﺎ‪ .‬ﻓﻘﺩ ﻝﻌﺒﺕ‬
‫ﻝﺘﻔﺎﺼﻴل ﺤﻴﺎﺘﻬﻡ‪ ،‬ﻭﺍﻷﻴﻘﻭﻨﺔ ﺍﻝﹼﻨﺎﻁﻘﺔ ﺒﻠﺴﺎﻨﻬﻡ‪ .‬ﻭﻫﻲ ﺒﻬﺫﺍ ﺼﻴﻐﺔ ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺩﺍﻝﹼﺔ ﻋﻠﻰ ﻗﻀﻴ‪‬ﺔ ﺍﻝﻼﺠﺌﻴﻥ ﺒﻜ ّ‬
‫ﺸﺨﺼﻴ‪‬ﺔ ﺍﻝ ‪‬ﺭﺌﻴﺴﺔ ﺍﻝﺤﺎﻤﻠـﺔ ﻝﻤﻀـﻤﻭﻨﻪ ﻭﺒﺎﺜﹼﺘـﻪ‪ .‬ﻭﻫـﻲ‬
‫ﻲ‪ .‬ﻓﻬﻲ ﺍﻝ ﹼ‬
‫ﺩﻭﺭ‪‬ﺍ ﻤﺭﻜﺯﻴ‪‬ﺎ ﻓﻲ ﺭﻭﺍﻴﺔ ﺍﻝﺴ‪‬ﺭﺩ ﻭﻓﻲ ﺘﺸﻜﻴل ﻤﻌﻤﺎﺭﻩ ﺍﻝﻔﻨ ‪‬‬
‫ﻲ ﻭﺍﻝﻤﺴﺘﺩﻋﻴﺔ ﻝﺸﺨﺼﻴ‪‬ﺎﺘﻪ ﺍﻷﺨﺭﻯ ﻭﻓﻕ ﻤﺎ ﺍﻗﺘﻀﺘﻪ ﺤﺎﻝﺔ ﺍﻻﺴﺘﺫﻜﺎﺭ ﻝﺩﻴﻬﺎ‪ ،‬ﻭﻭﻓﻕ ﺭﺅﻴﺔ ﺍﻝﻜﺎﺘﺒﺔ ﺍﻝﺘﻲ‬
‫ﺍﻝﻤﻭﺠ‪‬ﻬﺔ ﻝﻤﺴﺎﺭﻩ ﺍﻝﺩ‪‬ﺭﺍﻤ ‪‬‬
‫ﻲ‬
‫ل‪ .‬ﻭﻝﻜﹼﻨﻬﺎ ﻤﺘﺘﺎﺒﻌﺔ ﻀﻤﻥ ﻨﺴﻕ ﻤﻭﻀﻭﻋ ‪‬‬
‫ل ﻤﻨﻬﺎ ﻋﻨﻭﺍﻨﻪ ﺍﻝﻤﺴﺘﻘ ّ‬
‫ﺹ ﺒﻨﺎﺀ ﻤﺭ ﹼﻜﺒ‪‬ﺎ ﻤﻥ ﺴﻠﺴﻠﺔ ﺤﻜﺎﻴﺎﺕ ﻝﻜ ّ‬
‫ﺘﻘﻨﹼﻌﺕ ﺒﻬﺎ؛ ﻝﻴﺘﺸﻜﹼل ﺍﻝﹼﻨ ‪‬‬
‫ﻋﺎﻡ ﻭﺍﺤﺩ‪.‬‬

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 ‫ﳎﻠﺔ ﻣﻘﺎﻟﻴﺪ ـــــــــــــــــــــــــ ﺍﻟﻌﺪﺩ ﺍﻟﺴﺎﺩﺱ‪ /‬ﺟﻮﺍﻥ ‪2014‬‬
‫ﺴﺭﺩ ﺇﻻ ﺃﻨﹼﻬﺎ ﻝﻡ ﺘﻜﻥ ﻤﺘﺸﺎﺒﻜﺔ‪ ،‬ﻓﺎﻻﺴﺘﺭﺠﺎﻉ ﻭﺍﻝﻭﻗﻔـﺔ‬
‫ﻭﺭﻏﻡ ﺘﻌﺩ‪‬ﺩ ﻤﺴﺎﺭﺡ ﺍﻷﺤﺩﺍﺙ "ﺃﻤﺎﻜﻥ ﺍﻝﺫﹼﺍﻜﺭﺓ" ﻭﺃﺯﻤﻨﺘﻬﺎ ﻓﻲ ﺍﻝ ‪‬‬
‫ﻲ ﻓﻲ ﺴﺭﺩ ﺍﻷﺤﺩﺍﺙ ﺇﻝﻰ ﺤـ ‪‬ﺩ‬
‫ﻲ‪ .‬ﻓﻘﺩ ﺘﺠﺎﻭﺯﺕ ﺍﻝﻜﺎﺘﺒﺔ ﺤ ‪‬ﺩ ﺍﻝﹼﺘﻌﺎﻗﺏ ﺍﻝ ‪‬ﺯﻤﻨ ‪‬‬
‫ﺠﻬ‪‬ﺎ ﻝﻤﺴﺎﺭ ﺍﻝﺴ‪‬ﺭﺩ ﺍﻝ ‪‬ﺯﻤﻨ ‪‬‬
‫ﻭﺍﻝﹼﺘﻠﺨﻴﺹ ﻝﻌﺒﺕ ﺩﻭﺭ‪‬ﺍ ﻤﻭ ّﹺ‬
‫ﺍﻻﺴﺘﺘﺒﺎﻉ؛ ﺃﻱ ﺠﻌﻠﺕ ﺍﻝﻌﻼﻗﺔ ﺒﻴﻥ ﻤﺎ ﺤﺩﺙ ﻝﻠﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ ﻓﻲ ﻓﻠﺴﻁﻴﻥ ﻭﻁﻨﻬﻡ ﺍﻷ ‪‬ﻡ ﻭﻤﺎ ﺤﺩﺙ ﻝﻬﻡ ﻓﻲ ﺍﻝﻤﻨﻔﻰ ﻋﻼﻗـﺔ ﺍﻷﺜـﺭ‬
‫ل ﻤﺤﺎﻭﺭ ﺍﻝﺴ‪‬ﺭﺩ ﻤﺘﺸﺎﺒﻜﺔ ﻓﻲ ﺇﻁﺎﺭ ﻭﺍﺤـﺩ‪.‬‬
‫ﺴﺒﺏ ﺍﻷﻭل‪ ،‬ﻭﻫﻭ ﺍﻝﹼﻨﻜﺒﺔ ﺜ ‪‬ﻡ ﺍﻝﻨﹼﻜﺴﺔ‪ .‬ﻓﻜ ّ‬
‫ﺒﺎﻝﺴﺒﺏ‪ .‬ﻓﻤﺎ ﻴﻘﻊ ﻝﻬﻡ ﺍﻝﻴﻭﻡ ﻴﺭﺠﻊ ﺇﻝﻰ ﺍﻝ ‪‬‬
‫ﺴﺭﺩ‪ ،‬ﻭﻓﻕ ﻋﻤﻠﻴ‪‬ﺘﻲ ﺍﻻﺴﺘﺩﻋﺎﺀ ﻭﺍﻝﹼﺘﻭﺜﻴﻕ ﺍﻝﺘﻲ ﻤﺎﺭﺴﺘﻬﺎ ﻭﺩﻭ‪‬ﻨﺕ ﺤﻜﺎﻴﺘﻬﺎ ﺒﻬﺎ ﻋﺒﺭ ﺴـﺭﺩ‬
‫ﻭﻋﺎﺼﻤﻬﺎ ﺍﻝﺭ‪‬ﺍﻭﻴﺔ ﺍﻝﻤﻬﻴﻤﻨﺔ ﻋﻠﻰ ﺍﻝ ‪‬‬
‫ﺍﻝﻤﺫﻜﹼﺭﺍﺕ ﻭﺃﺸﻜﺎل ﺘﻌﺒﻴﺭﻴ‪‬ﺔ ﺃﺨﺭﻯ‪.‬‬

‫ﻭﻫﻲ ﺘﺭﺘﺒﻁ ﺒﻭﻗﺎﺌﻊ ﺫﻭﺍﺕ ﺘﻭﺍﺭﻴﺦ ﻤﻔﺼﻠﻴ‪‬ﺔ ﻓﻲ ﻤﺴﺎﺭ ﺍﻝﻘﻀﻴ‪‬ﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﻭﻓﻲ ﺤﻴﺎﺓ ﺍﻝﻼﺠﺌﻴﻥ‪،‬ﻤﻥ ﻤﺜل؛"ﻁﺭﺡ ﺍﻝﺒﺤﺭ"‬
‫ﻭﻴﺸﻴﺭ ﺇﻝﻰ ﺯﻤﻥ ﺍﻝﺤﻴﺎﺓ ﺍﻝﻜﺭﻴﻤﺔ ﻓﻲ ﺍﻝﻭﻁﻥ‪ .‬ﻭ"ﺸﺒﺎﻁ ﺍﻝﺨﺒ‪‬ﺎﻁ"؛ ﻋﺎﻡ ‪ 1948‬ﺯﻤﻥ ﺍﺴﺘﻴﻼﺀ ﺍﻝﻌﺼﺎﺒﺎﺕ ﺍﻝ ‪‬‬
‫ﺼﻬﻴﻭﻨﻴ‪‬ﺔ ﻋﻠﻰ ﻗـﺭﻯ‬
‫ﻲ ﻭﺘﻬﺩﻴﺩﻫﺎ ﻝﻠﻤﺩﻥ ﺍﻝﻜﺒﺭﻯ‪ .‬ﻭ"ﻋﻤ‪‬ﻲ ﻭﺃﺒﻲ" ﻴﺸﻴﺭ ﺇﻝﻰ ﺍﻝﻌﺎﺌﻠﺔ ﺍﻝﻔﻠﺴـﻁﻴﻨﻴ‪‬ﺔ ﺍﻝﻤﻘﺎﻭﻤـﺔ ﺍﻝﻤﻤﺘـﺩﺓ ﺍﻝﻤﺘﻤﺎﺴـﻜﺔ‬
‫ﺴﺎﺤل ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﺍﻝ ‪‬‬
‫ﺴﺒﺕ ﻹﻋﻼﻥ ﻗﻴﺎﻡ ﺩﻭﻝﺔ ﺍﻻﺤﺘﻼل ﻝﺩﻻﻝﺘﻪ ﺍﻝ ‪‬ﺩﻴﻨﻴ‪‬ﺔ‬
‫ﺍﺠﺘﻤﺎﻋﻴ‪‬ﺎ‪ .‬ﻭ"ﺍﻝﺴﺒﺕ ‪"5/15‬؛ ﻴﻭﻡ ﺍﻝﻨﹼﻜﺒﺔ ﺍﻝﻤﺸﺅﻭﻡ ﻋﺎﻡ ‪ .1948‬ﻭﺍﺨﺘﻴﺭ ﻴﻭﻡ ﺍﻝ ‪‬‬
‫ﻋﻨﺩ ﻴﻬﻭﺩ‪ .‬ﻭ"ﺍﻝﻤﻜﺎﻥ ‪"1975‬؛ ﻓﻲ ﻝﺒﻨﺎﻥ‪ ،‬ﺯﻤﻥ ﺍﻨﺩﻻﻉ ﺍﻝﺤﺭﺏ ﺍﻷﻫﻠﻴ‪‬ﺔ ﺍﻝﻠﹼﺒﻨﺎﻨﻴ‪‬ﺔ ﺍﻝﺘﻲ ﺍﻤﺘﺩ‪‬ﺕ ﺨﻤﺴﺔ ﻋﺸﺭ ﻋﺎﻤ‪‬ﺎ‪ .‬ﻭ"ﺒﻴـﺭﻭﺕ"‬
‫ﻋﺎﺼﻤﺔ ﻝﺒﻨﺎﻥ ﻭﺤﺎﻀﻨﺔ ﺍﻝﻼﺠﺌﻴﻥ ﻭﺍﻝﻤﻘﺎﻭﻤﺔ‪ .‬ﻭ"‪"1982‬؛ ﻋﺎﻡ ﺍﺠﺘﻴﺎﺡ ﺩﻭﻝﺔ ﺍﻻﺤﺘﻼل ﻝﻠﺒﻨﺎﻥ ﻭﺍﺤﺘﻼﻝﻬﺎ ﺒﻴـﺭﻭﺕ ﺍﻝﻌﺎﺼـﻤﺔ‬
‫ﻭﻭﻗﻭﻉ ﻤﺠﺯﺭﺓ ﺼﺒﺭﺍ ﻭﺸﺎﺘﻴﻼ‪ .‬ﻭﻏﻴﺭﻫﺎ ﻜﺜﻴﺭ ﻜﻤﺎ ﻴﻅﻬﺭ ﻓﻲ ﻋﻨﻭﺍﻨﺎﺕ ﻓﺼﻭل ﺍﻝﺭ‪‬ﻭﺍﻴﺔ‪.‬‬

‫ﻭﻫﻭ ﻨﻬﺞ ﻴﻜﺸﻑ ﻋﻥ ﺤﺭﺹ ﺍﻝﻜﺎﺘﺒﺔ ﻋﻠﻰ ﺘﻨﻭﻴﻊ ﺃﺸﻜﺎل ﺍﻝﺴ‪‬ﺭﺩ ﻓﻲ ﻨﺼ‪‬ﻬﺎ ﺍﻝﻤﺴﺘﻤ ‪‬ﺩ ﻤﻥ ﻭﺍﻗﻊ ﺤﻴﺎﺓ ﺍﻝﻼﺠﺌﻴﻥ‪ ،‬ﻝﺘﻐﻨﻴـﻪ‬
‫ﻱ ﻭﺘﺒﺭﺯ ﺃﺴﺒﺎﺒﻬﺎ ﻭﺼﻭﺭﻫﺎ ﺍﻷﻝﻴﻤـﺔ ﻓـﻲ‬
‫ﻱ ﻝﻼﺠﺌﻴﻥ ﻭﻋﺫﺍﺒﺎﺘﻬﻡ ﻓﻲ ﺍﻝﻤﻨﻔﻰ ﺍﻝﻘﺴﺭ ‪‬‬
‫ﺒﺄﻝﻭﺍﻥ ﻤﺨﺘﻠﻔﺔ ﻤﻥ ﺍﻝﺘﹼﻭﺜﻴﻕ ﻝﻠﻭﺍﻗﻊ ﺍﻝﻤﺄﺴﺎﻭ ‪‬‬
‫ل‪.‬‬
‫ﻲ ﻋﻠﻰ ﺍﻝﺤ ّ‬
‫ﻲ ﺍﻝﻤﺴﺘﻤ ‪‬ﺭ ﺍﻝﻌﺼ ‪‬‬
‫ﺫﺍﻜﺭﺘﻬﻡ ﺍﻝﻤﺘﻭﺍﺸﺠﺔ ﻤﻊ ﻭﺍﻗﻌﻬﻡ ﺍﻝﻔﺠﻴﻌ ‪‬‬

‫ﻭﻴﺴﻴﻁﺭ ﻀﻤﻴﺭ ﺍﻷﻨﺎ؛ ﺃﻨﺎ ﺍﻝﺭ‪‬ﺍﻭﻴﺔ‪-‬ﺍﻝ ‪‬ﺭﻭﺍﺌﻴ‪‬ﺔ ﺒﻘﻭ‪‬ﺓ ﻋﻠﻰ ﺍﻝﺴ‪‬ﺭﺩ‪ .‬ﻭﻫﻭ ﺍﻝﻤﻌﺒ‪‬ﺭ ﻋﻥ ﺜﻘﺎﻓﺔ ﺍﻝﻜﺎﺘﺒﺔ ﻭﺁﺭﺍﺌﻬﺎ ﻭﻤﻭﺍﻗﻔﻬﺎ ﺘﺠﺎﻩ‬
‫ﺴﺒﻌﻴﻨﻴ‪‬ﺔ ﺍﻝﺘﻲ ﻝﻡ ﺘﻨل ﺤﻅﹰﺎ ﺫﺍ ﺸـﺄﻥ‬
‫ﺍﻝﻘﻀﻴ‪‬ﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ‪ .‬ﻓﺈﺫﺍ ﻤﺎ ﺃﺠﺭﻴﻨﺎ ﻤﻘﺎﺭﺒﺔ ﻴﺴﻴﺭﺓ ﺒﻴﻥ ﺸﺨﺼﻴ‪‬ﺔ ﺭﻗﻴ‪‬ﺔ ﺍﻝ ‪‬ﺭﺍﻭﻴﺔ ﻭﺍﻝﻼﺠﺌﺔ ﺍﻝ ‪‬‬
‫ﻤﻥ ﺍﻝﹼﺘﻌﻠﻴﻡ‪ ،‬ﻭﻤﺴﺘﻭﻴﺎﺕ ﺍﻝﹼﺘﻠﻔﹼﻅ ﺍﻝﻤﻌ‪‬ﺒﺭﺓ ﻋﻨﻬﺎ ﺴﻨﻜﺘﺸﻑ ﺃﻨﹼﻬﺎ ﺘﻤﺜﹼل ﺩﻭﺭ ﺍﻝﻜﺎﺘﺒﺔ )ﻋﺎﺸﻭﺭ‪ .(146 :2011 ،‬ﻭﻗـﺩ ﺍﻀـﻁﻠﻌﺕ‬
‫ﺒﺩﻭﺭ ﺍﻝ ‪‬ﺭﺍﻭﻱ ﺍﻝﻌﻠﻴﻡ‪ ،‬ﻭﻨﻬﺽ ﺒﻨﻴﺎﻥ ﺍﻝﺴ‪‬ﺭﺩ ﻋﻠﻰ ﻝﺴﺎﻨﻬﺎ ﻤﺘﺠﻠﻴ‪‬ﺎ ﻓﻲ ﻤﺴﺎﺭﻴﻥ ﺭﻭﺍﺌﻴ‪‬ﻴﻥ ﻫﻤﺎ؛ ﻤﺴﺎﺭ ﺍﻝ ‪‬ﺭﻭﺍﻴﺔ ﻤﻥ ﺍﻝﺨﻠﻑ‪ ،‬ﺤـﻴﻥ‬
‫ﺍﻋﺘﻤﺩﺕ ﻋﻠﻰ ﺍﻻﺴﺘﺫﻜﺎﺭ ﻋﺒﺭ ﺘﻴ‪‬ﺎﺭ ﺍﻝﻭﻋﻲ ﺍﻝﻤﺘﺨﻡ ﺒﺎﻝﻘﺼﺹ ﻭﺍﻝﺤﻜﺎﻴﺎﺕ ﻭﺍﻝﻤﺫ ﹼﻜﺭﺍﺕ ﻭﺍﻝﹼﺘﻘﺎﺭﻴﺭ ﻭﺍﻷﺤﻼﻡ ﻭﻏﻴﺭﻫـﺎ‪ ،‬ﻭﺍﻝﺘـﻲ‬
‫ﻲ ﻭﺤﻴﺎﺓ ﺍﻝﺴ‪‬ﺎﺭﺩﺓ‪ .‬ﻭﻤﺴﺎﺭ"ﺍﻝ ‪‬ﺭﻭﺍﻴﺔ ﻤﻊ"‪ ،‬ﺤﻴﻥ ﺘﺯﺍﻤﻥ ﺴﺭﺩﻫﺎ ﻤﻊ ﺍﻝﹼﺘﻌﺒﻴـﺭ‬
‫ﺘﺅ ‪‬ﺭﺥ ﻝﺤﻘﺏ ﺘﺎﺭﻴﺨﻴ‪‬ﺔ ﻤﺨﺘﻠﻔﺔ ﻤﻥ ﺤﻴﺎﺓ ﺸﻌﺒﻨﺎ ﺍﻝﻤﻨﻔ ‪‬‬
‫ﻋﻥ ﻤﻭﺍﻗﻔﻬﺎ ﻤﻥ ﺍﻷﺤﺩﺍﺙ ﺍﻝﺘﻲ ﻋﺎﻴﺸﺘﻬﺎ ﻓﻲ ﻏﺭﺒﺔ ﺍﻝﻠﹼﺠﻭﺀ ﻭﺍﻝﺘﹼﺭﺤﺎل‪ .‬ﻭﻝﻡ ‪‬ﻴ ﹸﻔﺘﹾﻬﺎ ﺍﺴﺘﺸﺭﺍﻑ ﺍﻝﻤﺴﺘﻘﺒل‪ ،‬ﺤﻴﻥ ﺘﻨﺒ‪‬ﺄﺕ ﺒـﺎﻗﺘﺭﺍﺏ‬
‫ﻲ ﻭﻭﺍﻗـﻊ‬
‫ﻲ ﻭﺍﻝﻭﺍﻗـﻊ ﺍﻝﻔﻠﺴـﻁﻴﻨ ‪‬‬
‫ل ﺘﺒﺩ‪‬ل ﺍﻝﻭﺍﻗﻊ ﺍﻝﻌﺭﺒـ ‪‬‬
‫ﺯﻤﻥ ﺍﻝﻌﻭﺩﺓ ﺇﻝﻰ ﺍﻝﻭﻁﻥ‪ ،‬ﻓﺎﻝﻌﻭﺩﺓ ﻓﻲ ﻤﻨﻅﻭﺭﻫﺎ ﺒﺎﺘﺕ ﻤﻤﻜﻨﺔ ﻓﻲ ﻅ ّ‬
‫ﺍﻻﺤﺘﻼل ﺃﻴﻀ‪‬ﺎ‪.‬‬

‫ﺸﺨﺼﻴ‪‬ﺔ ﻭﻭﻗﺎﺌﻊ ﻓﺼﻭل ﺍﻝﺴ‪‬ﺭﺩ‪ :‬ﺴﺭﺩﺕ ﺍﻝﻜﺎﺘﺒﺔ ﺭﻭﺍﻴﺘﻬﺎ ﻓﻲ ﺜﻤﺎﻨﻴﺔ ﻭﺨﻤﺴﻴﻥ ﻓﺼﻼ ﺘﻔﺎﻭﺘﺕ ﻤﺘﻭﻨﻬﺎ ﻁـﻭﻻ‬
‫ﺏ‪ -‬ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺍﻝ ﹼ‬
‫ﻥ ﺍﻝﻌﻼﻤـﺔ‬
‫ﺹ ﻓﻲ ﻭﻋﻲ ﺍﻝﻜﺎﺘﺒﺔ ﻭﺜﻘﺎﻓﺘﻬﺎ‪ ،‬ﻜﻤﺎ ﻫﻲ ﻓﻲ ﺍﻝﺫﹼﺍﻜﺭﺓ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﻭﺍﻝﻌﺭﺒﻴ‪‬ﺔ‪ .‬ﻭﻴﺒـﺩﻭ ﺃ ‪‬‬
‫ﻭﻗﺼ ‪‬ﺭﺍ‪ ،‬ﻝﻬﺎ ﺤﻀﻭﺭﻫﺎ ﺍﻝﺨﺎ ‪‬‬
‫ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﻝﻌﺩﺩ ﺍﻝﻔﺼﻭل)‪ (58‬ﺘﺸﻴﺭ ﺇﻝﻰ ﻋﺩﺩ ﺍﻝﻭﻗﺎﺌﻊ ﺍﻝﻤﻔﺼﻠﻴ‪‬ﺔ ﻓﻲ ﺘﺎﺭﻴﺦ ﺍﻝﻘﻀﻴ‪‬ﺔ‪ .‬ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺍﻝﻌﺎﻡ ‪ 1958‬ﺍﻝﺫﻱ ﺘﻤﻜﹼﻨـﺕ‬
‫ﺍﻝ ‪‬‬
‫ﻓﻴﻪ ﺩﻭﻝﺔ ﺍﻻﺤﺘﻼل ﻤﻥ ﻓﺭﺽ ﻭﺠﻭﺩﻫﺎ ﻋﻠﻰ ﺃﺭﺽ ﻓﻠﺴﻁﻴﻥ ﺒﻌﺩ ﻋﺸﺭ ﺴﻨﻴﻥ ﻋﻠﻰ ﻗﻴﺎﻤﻬﺎ‪ .‬ﻭﻫﻭ ﺯﻤﻥ ﺍﻨﻜﺸﺎﻑ ﺯﻴﻑ ﺍﻝﻭﻋﻭﺩ‬
‫ﺍﻝﻌﺭﺒﻴ‪‬ﺔ ﺒﺘﺤﺭﻴﺭ ﻓﻠﺴﻁﻴﻥ‪.‬‬
‫ﻭﺘﻤﺜﹼل ﻋﻨﻭﺍﻨﺎﺕ ﻓﺼﻭل ﺍﻝﺭ‪‬ﻭﺍﻴﺔ ﺼﻴ ﹰﻐﺎ ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﻤﻠﺨﹼﺼﺔ ﻝﻭﻗﺎﺌﻊ ﻜﺒﺭﻯ؛ ﻓﻬﻲ ﺘﺴﺘﺩﻋﻲ ﻀﻤﻨﹰﺎ ﺘﻔﺎﺼﻴل ﺃﺨـﺭﻯ ﻓـﻲ‬
‫ﻲ ﺭﺤﺏ ﻴﻭﺜﹼﻕ‬
‫ﺃﺫﻫﺎﻥ ﺍﻝﻤﺘﻠﻘﻴﻥ ﺍﻝﺸﹼﺎﻫﺩﻴﻥ ﻋﻠﻴﻬﺎ ﻭﺍﻝﻤﺘﺎﺒﻌﻴﻥ ﻝﻬﺎ ﺘﺘﻌﺩ‪‬ﻯ ﺤﺩﻭﺩ ﺍﻝﻔﺼل ﺍﻝﺫﻱ ﻋﻨﻭﻨﺕ ﺒﻪ‪ ،‬ﻝﺘﻨﺘﻘل ﺇﻝﻰ ﻓﻀﺎﺀ ﺩﻻﻝ ‪‬‬
‫ﺭﻭﺍﻴﺔ ﺍﻝﺤﻕ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﻭﻴﺩﻋﻭ ﺇﻝﻰ ﺇﻨﺼﺎﻑ ﺃﻫﻠﻬﺎ ﺍﻝﻤﻘﻬﻭﺭﻴﻥ‪ .‬ﻭﺠﻌﻠﺘﻬﺎ ﺤﻠﻘﺎﺕ ﻤﺘﺭﺍﺒﻁﺔ ﻭﻜﺭ‪‬ﺭﺕ ﺒﻌﻀﻬﺎ ﺘﻜﺭﺍ ‪‬ﺭﺍ ﻤﻘﺼﻭ ‪‬ﺩﺍ‪.‬‬

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 ‫ﳎﻠﺔ ﻣﻘﺎﻟﻴﺪ ـــــــــــــــــــــــــ ﺍﻟﻌﺪﺩ ﺍﻟﺴﺎﺩﺱ‪ /‬ﺟﻮﺍﻥ ‪2014‬‬
‫ﻭﻗﺩ ﺍﺸﺘﻐل ﺫﻜﺎﺀ ﺍﻝﻜﺎﺘﺒﺔ ﻓﻲ ﺍﺨﺘﻴﺎﺭ ﻤﻌﻅﻤﻬﺎ ﻤﻥ ﺍﻝﻌﺒﺎﺭﺍﺕ ﺍﻝﺩ‪‬ﺍﻝﺔ ﻋﻠﻰ ﺍﻝﺯ‪‬ﻤﺎﻥ ﻭﺍﻝﻤﻜﺎﻥ ﻭﺍﻷﺤﺩﺍﺙ ﺍﻝﻜﺒﺭﻯ ﺍﻝﺘﻲ ﻝﻬﺎ ﺤﻀﻭﺭ‬
‫ﻱ ﻓﻲ ﻭﺍﻗﻊ ﺤﻴﺎﺓ ﺍﻝﻌﺭﺏ ﻭﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ ﺨﺎﺼ‪‬ﺔ‪ ،‬ﻭﻓﻲ ﺘﻭﺠﻴﻬﻬﺎ ﻭﺘﻜﺜﻴﻑ ﻋﻼﻤﻴ‪‬ﺘﻬﺎ ﻋﻠﻰ ﻨﺤﻭ ﺩﻗﻴﻕ‪.‬‬
‫ﻗﻭ ‪‬‬

‫ﻭﻫﻲ ﺘﺘﻤﺜﹼل ﻓﻲ ﺍﻝﻌﺒﺎﺭﺍﺕ ﺍﻵﺘﻴﺔ‪":‬ﻁﺭﺡ ﺍﻝﺒﺤـﺭ"‪،‬ﻭ"ﻋـﺎﻤﻭﺭﺓ ﺍﻝﻠﹼﻴـل"‪ ،‬ﻭ"ﺸـﺒﺎﻁ ﺍﻝﺨﺒ‪‬ـﺎﻁ"‪ ،‬ﻭ"ﻜﻴـﻑ؟"‪ ،‬ﻭ"ﻋﻤ‪‬ـﻲ‬
‫ﻭﺃﺒﻲ"‪،‬ﻭ"ﺍﻝﺴﺒﺕ ‪ ،"5/15‬ﻭ"ﺤﻴﻥ ﺍﺤﺘﻠﻭﺍ ﺍﻝﺒﻠﺩ"‪ ،‬ﻭ"ﻭﻝﺩ ﻭﺒﻨﺕ"‪ ،‬ﻭ"ﻤﺤﺎﻜﻤﺔ ﺍﻷﻭﻻﺩ"‪،‬ﻭ"ﺍﻝﻘﻔﺯ‪..‬ﻫل ﻴﺼﻨﻊ ﺤﻜﻴ‪‬ﺎ؟"‪ ،‬ﻭ"ﺍﻝﺸﹼﺎﺏ ﺍﻝﺫﻱ‬
‫ﻴﻀﺤﻙ"‪،‬ﻭ"ﺍﻝﺼ‪‬ﻔﻭﺭﻴ‪‬ﺔ ﺘﺩﺨل ﺍﻝﺤﻜﺎﻴﺔ"‪،‬ﻭ"ﻤﻘﺎل ﻋﻥ ﺍﻻﻨﺘﻅـﺎﺭ"‪،‬ﻭ"ﻋﺒـﺩ ﻗﻴﺴـﺎﺭﻴﺔ"‪ ،‬ﻭ"ﻭﺼـﺎل"‪ ،‬ﻭ"ﺒﻴـﺭﻭﺕ)‪،"(1‬ﻭ"ﺸـﺠﺭ‬
‫ﺸﺎﺘﻴﻼ"‪،‬ﻭ"ﻤﺸﺎﻏل ﻋﺎﺌﻠﻴ‪‬ﺔ"‪،‬ﻭ"ﺍﻝﻤﻜﺎﻥ ‪،"1975‬ﻭ"ﺍﻝﺯ‪‬ﻤﺒﺭﻙ"‪،‬ﻭ"ﻫﺩﻴ‪‬ﺔ ﺃﻤﻴﻥ"‪ ،‬ﻭ"‪ ،"1982‬ﻭ"ﺍﻝﺫﹼﺒﺎﺏ"‪ ،‬ﻭ"ﻨﺎﺒﻠﺴﻴ‪‬ﺔ ﺘـﺩﺨل ﺍﻝﻌﺎﺌﻠـﺔ"‪،‬‬
‫ﻕ ﻤﺠﺭﻯ"‪،‬‬
‫ﻭ"ﻭﺼﺎل )‪ ،"(2‬ﻭ"ﺃﻴﻥ ﻨﺤﻥ ﻴﺎ ﻤﺭﻴﻡ؟"‪،‬ﻭ"ﻤﻠﺠﺄ ﺃﺒﻭ ﻴﺎﺴﺭ"‪،‬ﻭ"ﺭﺴﺎﻝﺔ ﺇﻝﻰ ﺤﺴﻥ"‪ ،‬ﻭ"ﺸﻬﺎﺩﺓ ﻋﺒﺩ"‪ ،‬ﻭ"ﺘﻘﺭﻴﺭ"‪،‬ﻭ"ﺃﻥ ﺘﺸ ﹼ‬
‫ﻭ"ﺍﻝﻤﺭﻜﺯ)‪ ،"(1‬ﻭ"ﻋﻥ ﺍﻋﺘﻘﺎل ﻋﺒﺩ"‪ ،‬ﻭ"‪...‬ﻋﻠﻰ ﺍﻝﺨﻠﻴﺞ"‪ ،‬ﻭ"ﺴﻭﻤﺎﻨﺎ"‪ ،‬ﻭ"ﺩﺭﺱ ﻓﻲ ﺍﻷﺨﻼﻕ"‪ ،‬ﻭ"ﺃﺒﻭ ﻤﺤﻤ‪‬ﺩ"‪ ،‬ﻭ"ﺤﺩﻴﺙ ﺍﻝﻤﻌﺘﻘل"‪،‬‬
‫ﻭ"ﻓﺭﺡ"‪ ،‬ﻭ"ﻭﺍﻗﻌﺔ ﺍﻝﺜﹼﻭﺏ ﻭ"ﺸﻭ ﺒﺩ‪‬ﻱ ﺃﺤﻜﻲ ﺘﺎﺤﻜﻲ""‪ ،‬ﻭ"ﻤﺭﻴﻡ ﺍﻝﻤﻔﺎﺠﺂﺕ"‪ ،‬ﻭ"ﺍﺒﻥ ﺍﻝﺸﺠﺭﺓ"‪ ،‬ﻭ"ﺯﻤـﻥ ﺁﺨـﺭ"‪ ،‬ﻭ"ﺍﻝﻤﺸـﺭﻭﻉ"‪،‬‬
‫ﻭ"ﺒﺎﻝﻘﺎﻨﻭﻥ"‪ ،‬ﻭ"ﺍﻝﺴﻠﺴﺎل"‪ ،‬ﻭ"ﻤﺭﻜﺯ ﺍﻷﺒﺤﺎﺙ )‪ ،"(2‬ﻭ"ﺨﺭ‪‬ﺍﻁ ﺍﻝﺒﻨﺎﺕ"‪ ،‬ﻭ"ﺒﻴﺭﻭﺕ)‪ ،"(3‬ﻭ"ﻤﺼﺭ ﺍﻝﺘﹼﻲ‪،"...‬ﻭ"ﺠﻨـﺎﺌﻥ ﻤﻨﺯﻝﻴ‪‬ـﺔ"‪،‬‬
‫ﻭ"ﻨﻴﻭﺠﻴﺭﺴﻲ"‪ ،‬ﻭ"ﺍﻝﺯ‪‬ﻴﺎﺭﺓ"‪ ،‬ﻭ"ﻋﻠﻰ ﺤﻤﺎﺭ"‪،‬ﻭ"ﺍﻝﻌﻭﺩﺓ ﺇﻝﻰ ﻝﺒﻨﺎﻥ"‪ ،‬ﻭ"ﺍﻝﺒﺎﺏ"‪ ،‬ﻭ"ﻤﺘﺘﺎﻝﻴﺎﺕ"‪ ،‬ﻭ"ﻋﻠﻰ ﺠﺎﻨﺒﻲ ﺴﻠﻙ ﺸﺎﺌﻙ"‪.‬‬

‫ﻭﺍﺴﺘﺩﻋﺕ ﺍﻝﻜﺎﺘﺒﺔ ﻓﺼﻭل ﺍﻝﺴ‪‬ﺭﺩ ﻋﺒﺭ ﺫﺍﻜﺭﺓ ﺍﻝﺒﻁﻠﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ ﺍﻝﻼﺠﺌﺔ ﺒﺄﺴﻠﻭﺏ ﺍﻨﺘﻘﺎﺌﻲ ﻤﺘﻘﻁﹼﻊ ﺍﻝـﺯﻤﻥ‪ .‬ﻭﻀـﻤﻥ‬
‫ﺃﺸﻜﺎل ﺴﺭﺩﻴ‪‬ﺔ ﻤﺨﺘﻠﻔﺔ‪ .‬ﻭﺫﻝﻙ ﻝﺘﻨﻔﻲ ﺍﻝﻤﻠل ﻋﻥ ﺍﻝﻘﺎﺭﺉ ﺍﻝﻤﻌﺎﻴﺵ ﻝﻔﺼﻭل ﺍﻝﻤﺄﺴﺎﺓ ﺍﻝﻤﺘﺠﺩ‪‬ﺩﺓ‪ ،‬ﻭﺘﻌﻴﺩ ﺼﻴﺎﻏﺔ ﺍﻷﺤﺩﺍﺙ ﺍﻝﻤﻔﺼﻠﻴ‪‬ﺔ‬
‫ﻲ‬
‫ﻓﻲ ﺘﺎﺭﻴﺦ ﺍﻝﻘﻀﻴ‪‬ﺔ‪ ،‬ﻻﻓﺘﺔ ﺍﻝﻨﹼﻅﺭ ﺇﻝﻰ ﺩﻭﺍﻋﻲ ﺍﻹﺨﻔﺎﻕ ﻭﺍﻝﻔﺸل ﻓﻲ ﺘﺤﻘﻴﻕ ﺍﻷﻫﺩﺍﻑ ﺍﻝﻭﻁﻨﻴ‪‬ﺔ‪ .‬ﻭﻝﺘﺯﺍﻭﺝ ﺒﻴﻥ ﺍﻝﺴ‪‬ﺭﺩ ﺍﻝﺭ‪‬ﻭﺍﺌـ ‪‬‬
‫ﻲ ﻤﻤﻴ‪‬ﺯ ﻓﻲ ﺍﻝﺭ‪‬ﻭﺍﻴﺔ ﺍﻝﻌﺭﺒﻴ‪‬ﺔ ﻭﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ‪ .‬ﻭﻫﻭ ﻤﺎ ﺃﻜﺴﺏ ﻨﺼ‪‬ﻬﺎ‬
‫ﻲ ﺃﺩﺒ ‪‬‬
‫ﻲ ﻝﺸﻬﺎﺩﺍﺕ ﺍﻝﻼﺠﺌﻴﻥ‪ .‬ﻭﻫﻭ ﻨﻬﺞ ﻜﺘﺎﺒ ‪‬‬
‫ﻭﺍﻝﺘﹼﻭﺜﻴﻕ ﺍﻝﺘﹼﺎﺭﻴﺨ ‪‬‬
‫ﻲ ﺼﻔﺔ ﺍﻝﻭﺜﻴﻘﺔ ﺍﻝﺘﹼﺎﺭﻴﺨﻴ‪‬ﺔ‪.‬‬
‫ﺍﻷﺩﺒ ‪‬‬

‫ل ﻤﻨﻬﺎ ﻴﺩﻭﺭ ﺤﻭل ﻭﺍﻗﻌﺔ ﺍﺨﺘﺎﺭﺘﻬﺎ ﺍﻝﻜﺎﺘﺒﺔ ﺒﻌﻨﺎﻴﺔ ﻭﺍﺴﺘﻤﺩﺕ ﺤﻴﺜﻴ‪‬ﺎﺘﻬﺎ ﻤﻥ‬
‫ﻥ ﻤﻀﻤﻭﻥ ﻜ ّ‬
‫ﻭﻴﺒﺩﻭ ﻤﻥ ﺍﻝﻌﻨﻭﺍﻨﺎﺕ ﺍﻝﺴ‪‬ﺎﺒﻘﺔ ﺃ ‪‬‬
‫ﻱ ﺍﻝﻭﺍﺼﻑ ﻝﻭﺍﻗﻊ ﺤﻴﺎﺓ ﺍﻝﺒﻁﻠﺔ ﺭﻗﻴ‪‬ﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ ﺍﻝﻼﺠﺌﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﻓﻲ ﺤﻠﹼﻬـﺎ ﻭﺘﺭﺤﺎﻝﻬـﺎ‪.‬‬
‫ﺍﻝﺘﹼﺎﺭﻴﺦ ﺍﻝﻤﺩﻭ‪‬ﻥ ﻭﺍﻝﺘﹼﺎﺭﻴﺦ ﺍﻝﺸﹼﻔﻭ ‪‬‬
‫ل ﻤﻨﻬﺎ ﺤﻜﺎﻴﺔ ﺘﻤﺜﹼل ﺤﻠﻘﺔ ﻤﺘﹼﺼﻠﺔ ﻤﻥ ﺴﻠﺴﻠﺔ ﺤﻠﻘـﺎﺕ ﻤﺘﺸـﺎﺒﻜﺔ ﺴـﻠﹼﻁﺕ‬
‫ﻭﻫﻲ ﻓﻲ ﻤﺠﻤﻠﻬﺎ ﺸﻬﺎﺩﺍﺕ ﻋﻠﻰ ﻭﻗﺎﺌﻊ ﺤﻘﻴﻘﻴ‪‬ﺔ‪ ،‬ﻭﻜ ّ‬
‫ﺍﻝﻜﺎﺘﺒﺔ ﺍﻝﻀﻭﺀ ﻋﻠﻴﻬﺎ‪ ،‬ﻭﺼﺎﻏﺕ ﺒﻬﺎ ﻤﺩ ‪‬ﻭﻨﺘﻬﺎ‪ .‬ﻓﻌﻠﻰ ﺴﺒﻴل ﺍﻝﹼﺘﻤﺜﻴل ﺸﻜﹼل ﺍﻝﻔﺼل ﺍﻷﻭ‪‬ل؛ "ﻁﺭﺡ ﺍﻝﺒﺤﺭ" ﺍﻝﻤﺩﺨل ﺍﻝ ‪‬ﺭﺌﻴﺱ ﺇﻝـﻰ‬
‫ل ﺍﻝﻭﺍﻗﻊ ﺍﻝﻤﺴﺘﻘ ‪‬ﺭ ﻜﻠﹼﻪ ﺨﻴﺭ‪ ،‬ﻓﻬـﻭ‬
‫ﻋﺎﻝﻡ ﺍﻝﺭ‪‬ﻭﺍﻴﺔ‪ ،‬ﻭﻤﺘﻨﻪ ﺴﺭﺩ ﻤﺫ ﹼﻜﺭﺓ‪ ،‬ﻭﻴﺤﻤل ﺩﻻﻝﺔ ﺨﻴﺭﻴ‪‬ﺔ‪ .‬ﻓﻤﺎ ﻴﻬﺒﻪ ﺍﻝﺒﺤﺭ ﺇﻝﻰ ﺃﻫﻠﻪ ﻓﻲ ﻅ ّ‬
‫ﻲ ﺍﻝﻭﺍﺩﻉ ﻝﻠﺭ‪‬ﺍﻭﻴﺔ ﻭﻝﻁﺒﻴﻌﺔ ﺍﻝﺤﻴﺎﺓ ﺍﻝﺠﻤﻴﻠﺔ ﻓﻴﻪ‪ ،‬ﻭﻫﻭ ﺍﻝﻤﺴﺘﺩﻋﻰ ﺒﺼﻭﺭﺘﻪ ﺍﻝﺤﻴ‪‬ﺔ ﻓـﻲ‬
‫ﻭﺼﻑ ﻝﻠﻤﻜﺎﻥ "ﺍﻝﻁﹼﻨﻁﻭﺭﺓ" ﺍﻝﺒﻠﺩ ﺍﻷﺼﻠ ‪‬‬
‫ﺫﻫﻥ ﺍﻝﺭ‪‬ﺍﻭﻴﺔ ﺩﺍﺌﻤ‪‬ﺎ‪ ،‬ﻋﺒﺭ ﺘﻴ‪‬ﺎﺭ ﺍﻝﻭﻋﻲ‪ ،‬ﻜﻤﺎ ﺘﺸ ﹼﻜﻠﺕ ﻓﻲ ﺫﺍﻜﺭﺘﻬﺎ ﻭﻫﻲ ﻁﻔﻠﺔ ﻓﻲ ﻤﺴﺭﺡ ﺤﻴﺎﺘﻬﺎ ﺍﻷﻭ‪‬ل )ﻋﺎﺸﻭﺭ‪.(12 :2011،‬‬
‫ل ﻭﺃﻨﺸﺄ ﻋﻠـﻰ‬
‫ﻲ ﺍﻝﻤﺘﺸﺎﺒﻙ ﺍﻝﻤﺼﺎﻝﺢ ﻓﻲ ﻤﺠﺘﻤﻊ ﻤﺎ ﻗﺒل ﺍﻝﻨﹼﻜﺒﺔ ﺍﻝﺫﻱ ﺩﻤ‪‬ﺭﻩ ﺍﻝﻤﺤﺘ ّ‬
‫ﻲ ﺍﻝﺤ ‪‬‬
‫ﺴﻴﺎﻕ ﺒﺤﻘﻴﻘﺔ ﺍﻝﻭﺍﻗﻊ ﺍﻻﺠﺘﻤﺎﻋ ‪‬‬
‫ﻭﻴﺸﻲ ﺍﻝ ‪‬‬
‫ﺃﻨﻘﺎﻀﻪ ﻤﺠﺘﻤ ‪‬ﻌﺎ ﺍﺤﺘﻼﻝ‪‬ﻴﺎ ‪‬ﻤﻠﻐﻴ‪‬ﺎ ﻝﻪ‪.‬‬

‫ل ﺴﻴﻤﻴﺎﺀ ﻋﻨﻭﺍﻨﻪ ﻋﻠﻰ ﺃﻨﹼﻪ ﻤﺴﺘﻭﺤﻰ ﻤﻥ ﺃﺴـﻁﻭﺭﺓ‬

‫ﻭﻓﻲ ﺍﻝﻔﺼل ﺍﻝﹼﺜﺎﻨﻲ"ﻋﺎﻤﻭﺭﺓ ﺍﻝﹼﻠﻴل" ﻭﻫﻭ ﺴﺭﺩ ﻤﺫﻜﹼﺭﺓ ﺃﻴﻀ‪‬ﺎ‪ .‬ﻭﻴﺩ ّ‬
‫ﻓﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﻫﻲ ﻋﺒﺎﺭﺓ ﻋﻥ ﻗﺼ‪‬ﺔ ﻝﻭﺤﺵ ﻤﺭﻋﺏ‪ ،‬ﺘﺤﻜﻰ ﻝﻸﻁﻔﺎل ﻝﺘﺨﻭ‪‬ﻓﻬﻡ ﻤﻥ ﻤﻐﺎﺩﺭﺓ ﺒﻴﻭﺘﻬﻡ ﻝﻴﻼ ﺃﻭ ﻝﺘﺨﻀﻌﻬﻡ ﻷﻭﺍﻤﺭ ﺁﺒﺎﺌﻬﻡ‬
‫ﻅﺭﻑ ﺍﻝﺫﻱ ﺘﺴﺘﺤﻀﺭ ﻓﻴﻪ‪ .‬ﻭﺍﺴﺘﺩﻋﺘﻬﺎ ﺍﻝﻜﺎﺘﺒﺔ ﻝﺘﺼﻨﻊ ﺒﻬﺎ ﺍﻝﻤﻔﺎﺭﻗﺔ ﺒﻴﻥ ﻤﻨﺤﻰ ﺍﻝﹼﺘﻔﻜﻴﺭ ﺍﻝﺫﻱ ﻜﺎﻥ ﻤﺴﻴﻁﺭ‪‬ﺍ ﻋﻠﻰ ﻋﻘل‬
‫ﻭﻓﻕ ﺍﻝ ﹼ‬
‫ﺃﻤ‪‬ﻬﺎ ﻓﻲ ﻤﻭﻀﻭﻋﺔ ﺯﻭﺍﺠﻬﺎ ﻤﻥ ﺸﺎﺏ ﻴﺴﻜﻥ ﺨﺎﺭﺝ ﺒﻠﺩﻫﺎ ﻭﻤﺎ ﺁل ﺇﻝﻴﻪ ﺍﻷﻤﺭ ﺒﻌﺩ ﺘﻬﺠﻴﺭﻫﻡ ﺇﻝﻰ ﻝﺒﻨﺎﻥ‪ ،‬ﺇﺫ ﺘﺯﻭ‪‬ﺠﺕ ﺒﺎﺒﻥ ﻋﻤ‪‬ﻬﺎ‬
‫ﻱ ‪،‬ﻭﻤﺎ ﺃﺒﻌﺩ ﺍﻝﻤﻨﻔﻰ ﻋﻥ ﺍﻝﻭﻁﻥ! ‪ .‬ﻓﻬﻲ ﺘﺼﻑ ﻜﻴﻑ ﻜﺎﻥ ﻗﻠﻕ ﺃﻤ‪‬ﻬﺎ ﻜﺒﻴـﺭ‪‬ﺍ‬
‫ﺃﻤﻴﻥ ﺍﻝﺫﻱ ﻴﻜﺒﺭﻫﺎ ﺴﻨﹼﺎ ﻓﻲ ﻝﺒﻨﺎﻥ‪-‬ﺍﻝﻤﻨﻔﻰ ﺍﻝﻘﺴﺭ ‪‬‬
‫ﻋﻠﻴﻬﺎ ﻤﻥ ﺍﻏﺘﺭﺍﺒﻬﺎ ﻝﺘﺴﻜﻥ ﻓﻲ ﺤﻴﻔﺎ ﺃﻭ ﺍﻝﻠﹼﺩ ﺇﺫﺍ ﺘﺯ ‪‬ﻭﺠﻬﺎ ﻴﺤﻴﻰ ﺍﺒﻥ ﻋﻴﻥ ﻏﺯﺍل‪ .‬ﻭﻜﻴﻑ ﺴﺘﺼل ﺇﻝﻴﻬﺎ ﻋﻠﻰ ﻗـﺭﺏ ﺍﻝﻤﻜـﺎﻥ‪،‬‬
‫ﻲ‬
‫ل ﺠﻨـﻭﺩ‪‬ﺍ ﻤـﻥ ﺠـﻴﺵ ﺍﻻﺤـﺘﻼل ﺍﻝﺒﺭﻴﻁـﺎﻨ ‪‬‬
‫ﻥ ﺍﻝﻘﻁﺎﺭ ﺍﻝﻤﺘﹼﺠﻪ ﺇﻝﻰ ﺤﻴﻔﺎ ﻭﺍﻝﻤﺎ ‪‬ﺭ ﺒﺎﻝﻘﺭﻴﺔ ﻴﻘ ّ‬
‫ﻓﺎﻝﻤﺴﺎﻓﺔ ﻝﻴﺴﺕ ﺒﺎﻝﺒﻌﻴﺩﺓ‪ ،‬ﻭﻝﻜ ‪‬‬
‫ﻭﻤﺴﺘﻭﻁﻨﻴﻥ ﻴﻬﻭﺩ‪‬ﺍ )ﻋﺎﺸﻭﺭ‪ .(15 : 2011 ،‬ﻭﻫﻭ ﺃﻤﺭ ﻤﻘﻠﻕ ﻝﻬﺎ‪ .‬ﺘﻘﻭل‪" :‬ﻗﻠﺕ‪ :‬ﻭﻝﻭ ﻗﻁﻊ ﺍﻝﻴﻬﻭﺩ ﻋﻠﻴﻨﺎ ﺍﻝﻁﺭﻴـﻕ ؟ ﻓـﺎﺤﻤ ‪‬ﺭ‬
‫ﻭﺠﻬﻪ ﻭﺍﻜﻔﻬ ‪‬ﺭ ﻭﻗﺎل‪ :‬ﻓﺎل ﺍﷲ ﻭﻻ ﻓﺎﻝﻙ‪ .‬ﺃﻨﻬﻰ ﺍﻝﻜﻼﻡ ﻨﺤﻥ ﻨﺸﺘﺭﻱ ﺍﻝﺭ‪‬ﺠل ﻻ ﻤﻭﻗﻊ ﻋﻤﻠﻪ" )ﻋﺎﺸﻭﺭ‪ .(13 :2011 ،‬ﻭﺍﻓﻘـﺕ‬

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 ‫ﳎﻠﺔ ﻣﻘﺎﻟﻴﺪ ـــــــــــــــــــــــــ ﺍﻟﻌﺪﺩ ﺍﻟﺴﺎﺩﺱ‪ /‬ﺟﻮﺍﻥ ‪2014‬‬
‫ﻲ ﺍﻝﺴﺎﺌﺩ ﻓﻲ ﻓﻠﺴﻁﻴﻥ ﻓﻲ ﻁﻘﻭﺱ ﺍﻝﺨﻁﺒﺔ ﻤﻥ ﻗﺩﻭﻡ ﺍﻝﺠﺎﻫﺔ ﻭﺫﺒﺢ‬
‫ﺭ‪‬ﻗﻴ‪‬ﺔ ﺒﻌﺩ ﺃﻥ ﺴﺄﻝﺘﻬﺎ ﺃﻤ‪‬ﻬﺎ‪ .‬ﻭﺘﺼﻑ ﻝﻠﻘﺎﺭﺉ ﺍﻝﻌﺭﻑ ﺍﻻﺠﺘﻤﺎﻋ ‪‬‬
‫ﺍﻝﺨﺭﺍﻑ ﻹﻋﺩﺍﺩ ﺍﻝﻭﻝﻴﻤﺔ ﺜ ‪‬ﻡ ﺤﻔﻠﺔ ﺍﻝﻨﹼﺴﺎﺀ ﻭﺍﻝﻐﻨﺎﺀ ﺍﻝﺫﻱ ﻴﺅﺩﻯ ﻓﻲ ﻫﻜﺫﺍ ﻤﻨﺎﺴﺒﺔ )ﻋﺎﺸﻭﺭ‪.(14 :2011،‬‬
‫ﻭﻴﺅﺸﹼﺭ ﻫﺫﺍ ﻜﻠﹼﻪ ﺇﻝﻰ ﺍﻝﺒﻨﻴﺔ ﺍﻝﹼﺜﻘﺎﻓﻴ‪‬ﺔ‪-‬ﺍﻻﺠﺘﻤﺎﻋﻴ‪‬ﺔ ﺍﻝﺘﻲ ﻜﺎﻨﺕ ﻗﺎﺌﻤﺔ ﻭﻤﺯﺩﻫﺭﺓ ﻓﻲ ﺘﻠﻙ ﺍﻝﻤﺠﺘﻤﻌﺎﺕ ﺍﻝ ‪‬ﺭﻴﻔﻴ‪‬ﺔ‪ ،‬ﻭﺇﻝﻰ ﻁﺒﻴﻌﺔ‬
‫ﺍﻝﺨﻁﻁ ﺍﻝﻤﺴﺘﻘﺒﻠﻴ‪‬ﺔ ﻭﺍﻵﻤﺎل ﺍﻝﻤﺭﺘﺒﻁﺔ ﺒﺎﻝﻅﺭﻭﻑ ﺍﻝﺴ‪‬ﺎﺌﺩﺓ‪ ،‬ﻭﺇﻝﻰ ﺍﻷﺤﻭﺍل ﺍﻝﺘﻲ ﻜﺎﻨﺕ ﺘﺤﻴﻁ ﺒﺤﻴﺎﺓ ﺍﻝﻤﺭﺃﺓ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ‪ ،‬ﻭﻤﻨﻬـﺎ‬
‫ل ﺍﻻﺤﺘﻼل ﻭﻋـﺩﻭﺍﻥ‬
‫ﺍﻝﺯ‪‬ﻭﺍﺝ ﺍﻝﻤﺒﻜﹼﺭ ﺍﻝﻤﻨﺘﺸﺭ‪ ،‬ﻭﺍﻝﻘﻠﻕ ﺍﻝﺫﻱ ﻜﺎﻥ ﻴﻨﺘﺎﺏ ﺍﻷﺒﻭﻴﻥ ﺠﺭ‪‬ﺍﺀ ﻓﻜﺭﺓ ﺘﻐﺭﻴﺏ ﺍﻝﺒﻨﺕ ﻋﻥ ﺒﻠﺩﻫﺎ ﻓﻲ ﻅ ّ‬
‫ﻲ ﻭﻗـﺭﺍﻩ ﺍﻝﻤﺨﺘﻠﻔـﺔ‪.‬‬
‫ﺍﻝﻤﺴﺘﻭﻁﻨﻴﻥ ﺍﻝﻴﻬﻭﺩ‪ .‬ﻜﻤﺎ ﺘﺅﺸﹼﺭ ﺇﻝﻰ ﺸﺒﻜﺔ ﺍﻝﻌﻼﻗﺎﺕ ﺍﻻﺠﺘﻤﺎﻋﻴ‪‬ﺔ ﺍﻝﻤﻔﺘﻭﺤﺔ ﺒﻴﻥ ﻤﺩﻥ ﺍﻝﺴ‪‬ﺎﺤل ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﻭﺘﺅﺸﹼﺭ ﺃﺨﻴ ‪‬ﺭﺍ ﺇﻝﻰ ﺍﻨﻬﻴﺎﺭ ﺍﻷﺤﻼﻡ ﻭﺍﻨﻬﺩﺍﻡ ﺍﻝﻤﺠﺘﻤﻊ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻓﻴﻬﺎ‪.‬ﺇﺫ ﺘﻘﻭل‪ ":‬ﻻ ﺃﺩﺭﻱ ﺇﻥ ﻜﺎﻥ ﻫﺫﺍ ﺍﻝﻘﻠﻕ ﺍﻝﺫﻱ ﺘﻤﻜﹼﻥ ﻤـﻥ‬
‫ل ﻤﺎ‬
‫ﺃﻤ‪‬ﻲ ﻗﻠﻘﹰﺎ ﻋﺎﺩﻴ‪‬ﺎ ﻻﻤﺭﺃﺓ ﻝﻡ ﺘﻐﺎﺩﺭ ﻗﺭﻴﺘﻬﺎ‪،‬ﺃﻡ ﺘﺩﺨﱠل ﻓﻴﻪ ﻭﻋﻤ‪‬ﻘﻪ ﻭﺍﻗﻊ‪ ‬ﻤﺜﻘلٌ ﺒﺎﻝﻤﺨﺎﻭﻑ ﺠﻌﻠﻬﺎ ﻜﻤﺎ ﺠﻌل ﻏﻴﺭﻫﺎ‪ ،‬ﺘﺤﺘﻤﻲ ﺒﻜ ّ‬
‫ﻫﻭ ﺃﻝﻴﻑﹲ ﻭﻴﺨﺼ‪‬ﻬﺎ‪ ...‬ﺴﻴﺭﺤﻤﻬﺎ ﺍﷲ ﻤﻥ ﺭﺤﻠﺔ ﺤﻴﻔﺎ‪ ،‬ﻭﻝﻥ ﺘﺴﻜﻥ ﺍﺒﻨﺘﻬﺎ ﻓﻴﻬـﺎ‪ .‬ﺴـﺘﻌﻴﺵ ﺃﻤ‪‬ـﻲ ﻭﺘﻤـﻭﺕ ﺩﻭﻥ ﺃﻥ ﺘﺭﻜـﺏ‬
‫ﺍﻝﻘﻁﺎﺭ‪.‬ﻝﻥ ﺘﺯﻭﺭ ﺤﻴﻔﺎ ﺃﺒﺩ‪‬ﺍ ﻭﻝﻥ ﺘﺤﻤﻠﻬﺎ ﻻ ﺩﺍﺒ‪‬ﺔ ﻭﻻ ﺴﻴ‪‬ﺎﺭﺓ ﺇﻝﻰ ﻋﻴﻥ ﻏﺯﺍل ﻭﻻ ﺇﻝﻰ ﻏﻴﺭﻫﺎ ﻤﻥ ﺍﻝﻘﺭﻯ ﺍﻝﻤﺠﺎﻭﺭﺓ ﺍﻝﻠﻬـ ‪‬ﻡ ﺇﻻ‬
‫ﻲ‬
‫ﻱ(" )ﻋﺎﺸﻭﺭ‪ .(16 :2011 ،‬ﻭﻫﻲ ﻋﻼﻤﺔ ﺇﺸﺎﺭﻴ‪‬ﺔ ﺘﺼﻑ ﺍﻨﻬﻴﺎﺭ ﺍﻝﻤﺠﺘﻤـﻊ ﺍﻝﻔﻠﺴـﻁﻴﻨ ‪‬‬
‫ﺍﻝﻔﺭﻴﺩﻴﺱ)ﺒﻭ‪‬ﺍﺒﺘﻬﺎ ﺇﻝﻰ ﺍﻝﻤﻨﻔﻰ ﺍﻝﻘﺴﺭ ‪‬‬
‫ل‪.‬‬
‫ﺍﻝﻤﺴﺎﻝﻡ ﻋﻠﻰ ﻴﺩ ﺍﻝﻤﺤﺘ ّ‬

‫ﺸﻬﺭ ﺍﻝﹼﺜﺎﻨﻲ ﻤﻥ ﻋﺎﻡ ‪ .1948‬ﻭﻫﻭ‬

‫ﻭﺍﻝﻔﺼل ﺍﻝﹼﺜﺎﻝﺙ ﻭﻋﻨﻭﺍﻨﻪ؛ "ﺸﺒﺎﻁ ﺍﻝﺨﺒ‪‬ﺎﻁ"‪ ،‬ﻭﻫﻭ ﺴﺭﺩ ‪‬ﻤﺫﻜﹼﺭﺓ ﻜﺫﻝﻙ‪ ،‬ﻭﻴﺤﻴل ﺇﻝﻰ ﺍﻝ ﹼ‬
‫ﻲ؛"ﺸﹾﺒ‪‬ﺎﻁ ﻤﺎ ﻋﻠﻴﻪ ﺭ‪‬ﺒﺎﻁ" ﻭ"ﺸﹾﺒ‪‬ﺎﻁ ﺍﻝﺨﺒ‪‬ﺎﻁ ﻴﺸﺒ‪‬ﻁ ﻭﻴﺨﺒ‪‬ﻁ ﻭﺭﻴﺤﺔ ﺍﻝﺼ‪‬ﻴﻑ ﻓﻴﻪ"‪ .‬ﻭﻴﺅﺸﹼـﺭ‬
‫ﻲ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﺸﻌﺒ ‪‬‬
‫ﻤﺴﺘﻭﺤﻰ ﻤﻥ ﺍﻝﻤﺜل ﺍﻝ ﹼ‬
‫ﻫﺫﺍ ﻋﻠﻰ ﺘﻘﻠﹼﺏ ﺤﺎﻝﺔ ﺍﻝﻁﹼﻘﺱ ﻓﻴﻪ ﺒﻴﻥ ﺒﺭﺩ ﻗﺎﺭﺱ ﻭﺍﻋﺘﺩﺍل‪.‬ﻭﻫﻭ ﺃﻭل ﺸﻬﺭ ﻴﻨﺒﺕ ﻓﻴﻪ ﺍﻝﺭ‪‬ﺒﻴﻊ ﻭﺘﺒﺫﺭ ﻓﻴﻪ ﺍﻝﺒﺫﻭﺭ ﻭﺘﺒﺭﻋﻡ ﻓﻴـﻪ‬
‫ﻲ ﻭﺘﻘﻠﹼﺏ ﺃﺤﻭﺍل ﺍﻝﺒﻠﺩ ﻓـﻲ‬
‫ﺼﻬﻴﻭﻨﻴ‪‬ﺔ ﻋﻠﻰ ﺸﻌﺒﻨﺎ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﻥ ﺍﻹﺸﺎﺭﺓ ﻫﻨﺎ ﺇﻝﻰ ﺒﺩﺀ ﺍﺸﺘﺩﺍﺩ ﻋﺩﻭﺍﻥ ﺍﻝﻌﺼﺎﺒﺎﺕ ﺍﻝ ‪‬‬
‫ﺍﻷﺸﺠﺎﺭ‪ .‬ﻭﻝﻜ ‪‬‬
‫ﻲ ﺍﻝﻭﻓﻴﺭ ﻓﻲ ﻓﻠﺴﻁﻴﻥ ﻝﻴﻘﻊ ﺍﻻﺴﺘﻴﻼﺀ ﻋﻠﻴﻬﺎ ﻭﺍﻻﺴﺘﻔﺎﺩﺓ ﻤﻨﻬﺎ‪ .‬ﺘﻘﻭل ﺍﻝﺭ‪‬ﺍﻭﻴﺔ‪ ":‬ﻓﻠﻤﺎﺫﺍ ﺍﺨﺘﺎﺭﻭﺍ ﻫﺫﻩ‬
‫ﺯﻤﻥ ﺸﻬﻭﺭ ﺍﻹﻨﺘﺎﺝ ﺍﻝﺯ‪‬ﺭﺍﻋ ‪‬‬
‫ﻀﺭﺏ ﻭﻗﺘل ﻤﺎ ﻻ ﻴﺤﺼﻰ ﻤﻥ ﻋﺒﺎﺩ ؟" )ﻋﺎﺸـﻭﺭ‪.(24 :2011،‬‬
‫ﺍﻝﺸﻬﻭﺭ ﺍﻷﺭﺒﻌﺔ )ﺸﺒﺎﻁ ﻭﺁﺫﺍﺭ ﻭﻨﻴﺴﺎﻥ ﻭﺃﻴ‪‬ﺎﺭ( ﻝﻠﺤﺭﺏ ﻭﺍﻝ ‪‬‬
‫ﺴﺎﺒﻕ‪ .‬ﻓﻌﺩﻭﺍﻨﻬﻡ ﻋﻠﻰ ﺸﻌﺒﻨﺎ ﺍﻷﻋﺯل ﻤﺩﺭﻭﺱ‪ ،‬ﻓﻬﻭ ﺸﻌﺏ ﻝﻴﺱ ﻝﺩﻴﻪ ﺠﻴﺵ‬
‫ﺴﻴﺎﻕ ﺍﻝ ‪‬‬
‫ﺴﺅﺍل ﻓﻲ ﺍﻝ ‪‬‬
‫ﻭﻫﺫﺍ ﻤﺎ ﺘﺤﻤﻠﻪ ﺩﻻﻝﺔ ﺠﻤﻠﺔ ﺍﻝ ‪‬‬
‫ﺼﻬﻴﻭﻨﻴ‪‬ﺔ ﺍﻝﻤﻨﻅﹼﻤـﺔ‪،‬‬
‫ﻲ ﻭﺍﻝﻌﺼﺎﺒﺎﺕ ﺍﻝ ‪‬‬
‫ﺃﻭ ﺴﻠﻁﺔ ﺘﺤﻤﻴﻪ‪ .‬ﻭﻫﻭ ﻭﺍﻗﻊ ﺒﻴﻥ ﻋﺩﻭﺍﻨﻴﻥ ﻤﻥ ﻋﺩﻭ‪‬ﻴﻥ ﻝﺩﻭﺩﻴﻥ ﻫﻤﺎ ﺍﻻﺤﺘﻼل ﺍﻝﺒﺭﻴﻁﺎﻨ ‪‬‬
‫ل ﺸﻲﺀ‪.‬ﻭﻗﺩ ﻭﺭ‪‬ﺙ ﺍﻷﻭ‪‬ل ﺍﻝﹼﺜﺎﻨﻲ ﺍﻻﺤﺘﻼل ﻭﻤﻤﺎﺭﺴﺎﺘﻪ ﺍﻝﻌﻨﺼﺭﻴ‪‬ﺔ ﻀ ‪‬ﺩ ﺸﻌﺒﻨﺎ )ﻋﺎﺸﻭﺭ‪.(32-27 :2011 ،‬‬
‫ﻭﻫﻤﺎ ﻴﻤﻠﻜﺎﻥ ﻜ ّ‬

‫ﻭﺍﻝﻔﺼل ﺍﻝ ‪‬ﺭﺍﺒﻊ ﻋﻨﻭﻨﺘﻪ ﺍﻝﻜﺎﺘﺒﺔ ﺒﺎﻝﺴ‪‬ﺅﺍل‪":‬ﻜﻴﻑ؟" ﻭﻫﻭ ﺴﺭﺩ ﻤﺫ ﹼﻜﺭﺓ ﺃﻴﻀ‪‬ﺎ‪ ،‬ﻭﻫﻭ ﺴﺅﺍل ﻴﺤﻴل ﺇﻝـﻰ ﺤﻴـﺭﺓ ﺍﻝﻜﺎﺘﺒـﺔ‬
‫ﺴﻘﻭﻁ ﺍﻝﺴ‪‬ﺭﻴﻊ ﻝﻤﺩﻴﻨﺔ ﺤﻴﻔﺎ ﻋﺎﺼﻤﺔ ﺍﻝﻘﻀﺎﺀ ﻭﻝﻠﻤـﺩﻥ ﻭﺍﻝﻘـﺭﻯ‬
‫ﻭﺼﺩﻤﺘﻬﺎ ﻭﺤﻴﺭﺓ ﻜﺜﻴﺭ ﻤﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻥ ﻭﺍﻝﻌﺭﺏ ﻤﻥ ﻜﻴﻔﻴ‪‬ﺔ ﺍﻝ ‪‬‬
‫ﺍﻝﺴ‪‬ﺎﺤﻠﻴ‪‬ﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﺍﻝﻜﺒﺭﻯ ﺍﻵﻫﻠﺔ ﺒﺴ‪‬ﻜﺎﻨﻬﺎ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ ﻓﻲ ﻏﻀﻭﻥ ﺃﻴ‪‬ﺎﻡ ﻗﻼﺌل‪ .‬ﺘﻘﻭل ﺍﻝﻜﺎﺘﺒﺔ‪ ":‬ﻜﻴﻑ ﺴﻘﻁﺕ ﺤﻴﻔﺎ ؟ ﺴﻴﺘﺭﺩ‪‬ﺩ‬
‫ﺍﻝﺴ‪‬ﺅﺍل ﻓﻲ ﻁﻭل ﺍﻝﺒﻠﺩ ﻭﻋﺭﻀﻪ‪ .‬ﺴﻠﹼﻤﻬﺎ ﺍﻹﻨﺠﻠﻴﺯ ﻝﻠﻴﻬﻭﺩ ؟ ﻜﻴﻑ ؟ ﻤﺎﺫﺍ ﺤﺩﺙ ﻝﻠﺤﺎﻤﻴﺔ؟ ﻤﺎ ﺍﻝﺫﻱ ﺠﺭﻯ ﻝﻴﺨﺭﺝ ﺍﻝﻨﹼﺎﺱ ﺠﻤﺎﻋﻴ‪‬ﺎ‬
‫ﻥ ﺍﻝﻜﺎﺘﺒﺔ ﺘﻔﺴ‪‬ﺭ ﻜﻴﻑ ﺘﻭﺍﻁﺄ ﺍﻹﻨﺠﻠﻴﺯ ﻤﻊ ﺍﻝﻴﻬـﻭﺩ‬
‫ﺴﻴﺎﻕ ﺃ ‪‬‬
‫ﺇﻝﻰ ﺍﻝﻤﻴﻨﺎﺀ ﻝﻤﻐﺎﺩﺭﺓ ﺍﻝﻤﺩﻴﻨﺔ؟" )ﻋﺎﺸﻭﺭ‪ .(37 :2011،‬ﻭﺍﻀﺢ ﻤﻥ ﺍﻝ ‪‬‬
‫ﻱ ﻝﺘﻤﻜﹼﻨﻬﻡ ﻤﻥ ﺒﺴﻁ ﺴﻴﻁﺭﺘﻬﻡ ﻋﻠﻰ ﻓﻠﺴﻁﻴﻥ‪.‬‬
‫ل ﻤﺤﺘﻭﻴﺎﺘﻬﺎ ﻤﻥ ﺍﻷﺴﻠﺤﺔ ﻭﻋﺘﺎﺩﻫﺎ ﺍﻝﻌﺴﻜﺭ ‪‬‬
‫ﻓﻲ ﺘﺴﻠﻴﻤﻬﻡ ﺍﻝﺤﺎﻤﻴﺎﺕ ﺍﻝﻌﺴﻜﺭﻴ‪‬ﺔ ﺒﻜ ّ‬
‫ﺴﺒﺏ ﻨﻔﺴﻪ ﺍﻝﺫﻱ ﺃﻋﻁﻰ ﻝﻠﻌﺼﺎﺒﺎﺕ ﺍﻝﺼ‪‬ﻬﻴﻭﻨﻴ‪‬ﺔ ﺍﻝﻐﻠﺒﺔ ﻋﻠﻰ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ ﺍﻝ ‪‬ﻌﺯ‪‬ل ﻭﻤﻨﺤﻬﻡ ﺘﻨﻔﻴﺫ ﺃﺒﺸـﻊ ﺠﺭﻴﻤـﺔ‬
‫ﻭﻫﻭ ﺍﻝ ‪‬‬
‫ﺘﻁﻬﻴﺭ ﻋﺭﻗﻲ ﻓﻲ ﺍﻝﻘﺭﻥ ﺍﻝﻌﺸﺭﻴﻥ‪ .‬ﺘﻘﻭل ﺍﻝﻜﺎﺘﺒﺔ ﻋﻠﻰ ﻝﺴﺎﻥ ﺒﻁﻠﺘﻬﺎ‪" :‬ﺴﻘﻁﺕ ﺤﻴﻔﺎ‪ ،‬ﻭﺒﻌﺩﻫﺎ ﺒﺄﺴﺒﻭﻋﻴﻥ ﺍﺴﺘﺸﻬﺩ ﻋﺒﺩ ﺍﻝﻘـﺎﺩﺭ‬
‫ﻥ ﺠﻨﺎﺯﺓ ﻋﺒﺩ ﺍﻝﻘﺎﺩﺭ ﺍﻝﺤﺴﻴﻨﻲ ﺍﻝﺫﻱ ﻝﻥ ﺃﺘﺨﻴ‪‬ﻠﻪ ﻭﻝﻥ‬
‫ﻲ ﻓﺒﺩﺍ ﺍﻝﺒﻠﺩ‪-‬ﻻ ﺍﻝﻤﻀﺎﻓﺔ ﻭﺤﺩﻫﺎ‪-‬ﺒﻴﺘﹰﺎ ﻤﻔﺘﻭﺤ‪‬ﺎ ﻝﻠﻌﺯﺍﺀ‪.‬ﻋﺯﺍﺀ ﻤﻤﺘ ‪‬ﺩ ﻷ ‪‬‬
‫ﺍﻝﺤﺴﻴﻨ ‪‬‬
‫ﺃﺭﻯ ﺼﻭﺭﺘﻪ ﺇﻻ ﺒﻌﺩ ﺴﻨﻴﻥ‪ ،‬ﺴﺘﺸﻴ‪‬ﻊ ﻓﻲ ﺍﻝﻘﺩﺱ ﻭﻗﺩ ﻭﺼﻠﺕ ﺍﻝﻤﺸﻴﻌﻴﻥ ﺘﻔﺎﺼل ﻤﺠﺯﺭﺓ ﺩﻴـﺭ ﻴﺎﺴـﻴﻥ‪ .‬ﺴـﻘﻁﺕ ﺍﻝﻘﺴـﻁل‬
‫ﻭﺍﺴﺘﺸﻬﺩ ﻋﺒﺩ ﺍﻝﻘﺎﺩﺭ ﻭﻫﻭ ﻴﺩﺍﻓﻊ ﻋﻨﻬﺎ‪،‬ﻭﻓﻲ ﻓﺠﺭ ﺍﻝﻴﻭﻡ ﺍﻝﹼﺘﺎﻝﻲ ﻫﺎﺠﻤﻭﺍ ﺩﻴﺭ ﻴﺎﺴﻴﻥ ﺍﻝﻤﺠﺎﻭﺭﺓ ﻝﻠﻘﺴﻁل ﻭﺫﺒﺤﻭﺍ ﻤﻥ ﺫﺒﺤﻭﺍ ﻤـﻥ‬
‫ﺃﻫﻠﻬﺎ‪.‬ﺒﻌﺩ ﺜﻼﺜﺔ ﺃﻴ‪‬ﺎﻡ ﺴﻘﻁﺕ ﺼﻔﺩ‪.‬ﻭﺜﻼﺜﺔ ﺃﻴ‪‬ﺎﻡ ﺃﺨﺭﻯ ﻭﺴﻘﻁﺕ ﻴﺎﻓﺎ‪ .‬ﻭﺒﻌﺩ ﺴﻘﻭﻁ ﻴﺎﻓﺎ ﺒﺜﻼﺜﺔ ﺃﻴ‪‬ﺎﻡ ﺴﻘﻁﺕ ﻋﻜﹼﺎ‪ .‬ﻤﺎ ﺍﻝﺫﻱ ﺤﺩﺙ‬
‫ﻝﺘﺴﻘﻁ ﺼﻔﺩ ﻓﻲ ﻝﻴﻠﺔ ﻭﺍﺤﺩﺓ ؟ ﺴﻜﹼﺎﻨﻬﺎ ﺃﻀﻌﺎﻑ ﺃﻀﻌﺎﻓﻨﺎ‪ ،‬ﻭﺒﻠﺩﻫﻡ‪،‬ﻴﻘﻭل ﺃﻫل ﺒﻠﺩﻨﺎ‪ ،‬ﻤﻨﻴﻊ ﻴﻘﻊ ﻋﻠﻰ ﺃﺭﺒﻌـﺔ ﺠﺒـﺎل‪ ،‬ﻭﻜـﺎﻨﻭﺍ‬
‫ﺼﺎﻤﺩﻴﻥ‪ ،‬ﻤﺎ ﺍﻝﺫﻱ ﺤﺩﺙ ﻝﺘﺴﻘﻁ ﺼﻔﺩ ﻓﻲ ﻝﻴﻠﺔ ﻭﺍﺤﺩﺓ ؟ ﻝﻤﺎﺫﺍ ﺍﻨﺴﺤﺒﺕ ﻤﻨﻬﺎ ﺍﻝﺤﺎﻤﻴﺔ ؟ ﻝﻤﺎﺫﺍ ﺍﻨﺴﺤﺒﺕ ﺍﻝﺴ‪‬ـﺭﻴ‪‬ﺔ ﺍﻷﺭﺩﻨﻴ‪‬ـﺔ ؟‬

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 ‫ﳎﻠﺔ ﻣﻘﺎﻟﻴﺪ ـــــــــــــــــــــــــ ﺍﻟﻌﺪﺩ ﺍﻟﺴﺎﺩﺱ‪ /‬ﺟﻮﺍﻥ ‪2014‬‬
‫ﻭﺍﻝﺴ‪‬ﺭﻴ‪‬ﺔ ﺍﻝﺴ‪‬ﻭﺭﻴ‪‬ﺔ ﻝﻤﺎﺫﺍ ﺍﻨﺴﺤﺒﺕ؟ ﺃﻴﻥ ﺫﻫﺏ ﺠﻴﺵ ﺍﻹﻨﻘﺎﺫ ؟ ﻤﺎ ﺍﻝﺫﻱ ﺃﺨﺭﺝ ﺍﻷﻫﺎﻝﻲ ﻤﻥ ﺩﻭﺭﻫﻡ ؟ ﻭﻫل ﻴﻤﻜﻥ ﺃﻥ ﺘﺴﻘﻁ ﻋﻜﹼﺎ‬
‫؟ ﻜﻴﻑ ﺘﺴﻘﻁ ﻋﻜﹼﺎ ﻭﻫﻲ ﻋﻜﹼﺎ ؟" )ﻋﺎﺸﻭﺭ‪.(38 :2011،‬‬
‫ﺘﻠﻙ ﺘﺴﺎﺅﻻﺕ ﺃﻫل ﺍﻝﺒﻼﺩ ﺍﻝﻤﻨﻜﻭﺒﺔ ﻜﻠﹼﻬﻡ ﻓﻲ ﺯﻤﻥ ﺍﻝﹼﻨﻜﺒﺔ ﻭﺒﻌﺩﻩ ﺤﺘﹼﻰ ﻴﻭﻤﻨﺎ ﻫﺫﺍ‪ .‬ﻓﻼ ﻴﻌﻘل ﺃﻥ ﻴﻘﻊ ﻤـﺎ ﻭﻗـﻊ ﻷﻫـل‬
‫ﻱ ﻤﻨﻅﹼﻡ ﻝﻌﺒﺕ ﻓﻴﻪ ﺒﺭﻴﻁﺎﻨﻴﺎ ﺍﻝﻤﺤﺘﻠﹼﺔ ﻤﻊ ﺍﻝﻌﺼﺎﺒﺎﺕ ﺍﻝﺼﻬﻴﻭﻨﻴ‪‬ﺔ ﻭﺍﻝﺤﻠﻔـﺎﺀ ﻓـﻲ ﺍﻝﻐـﺭﺏ‬
‫ﻓﻠﺴﻁﻴﻥ ﺇﻻ ﺒﻔﻌل ﺘﺨﻁﻴﻁ ﺍﺴﺘﻌﻤﺎﺭ ‪‬‬
‫ﻲ ﻋﻠﻰ ﺃﺭﺽ ﻓﻠﺴﻁﻴﻥ ﺍﻝﺘﹼﺎﺭﻴﺨﻴ‪‬ﺔ‪ .‬ﻭﻻ ﻴﻤﻜـﻥ‬
‫ﻲ ﺩﻭﺭ‪‬ﺍ ﻜﺒﻴﺭ‪‬ﺍ ﻓﻲ ﺘﻨﻔﻴﺫﻩ ﻝﻴﻐﺩﻭ ﻝﻠﻴﻬﻭﺩ ﻭﻁﻥ ﻗﻭﻤ ‪‬‬
‫ﻭﺍﻨﺴﺤﺎﺏ ﺠﻴﺵ ﺍﻹﻨﻘﺎﺫ ﺍﻝﻌﺭﺒ ‪‬‬
‫ﻲ ﻭﺍﻷﺭﺽ ﺍﻝﻤﺤﺭﻭﻗﺔ‪ ،‬ﻜﻤﺎ ﻫﻲ ﻭﻗﺎﺌﻊ ﺘـﺎﺭﻴﺦ ﺍﻝﻤﺎﻀـﻲ ﻭﺘـﺎﺭﻴﺦ‬
‫ﺃﻥ ﻴﺘﺤﻘﹼﻕ ﻝﻠﻴﻬﻭﺩ ﻤﺎ ﺘﺤﻘﹼﻕ ﻝﻬﻡ ﺇﻻ ﻋﺒﺭ ﺍﻝﹼﺘﻁﻬﻴﺭ ﺍﻝﻌﺭﻗ ‪‬‬
‫ﺍﻝﺤﺎﻀﺭ‪ .‬ﻭﻋﻠﻰ ﻫﺫﺍ ﺍﻝﻨﹼﺴﻕ ﺘﺴﺭﺩ ﺍﻝﻜﺎﺘﺒﺔ ﻓﺼﻭل ﺭﻭﺍﻴﺘﻬﺎ ﻭﺘﺤﺎﻭل ﺍﻝ ‪‬ﺭﺒﻁ ﺒﻴﻨﻬﺎ ﻋﺒﺭ ﻭﻗﺎﺌﻊ ﺍﻝﺯ‪‬ﻤﺎﻥ ﻭﺍﻝﻤﻜﺎﻥ ﺍﻝﺘﻲ ﺩﺍﺭﺕ ﻓﻴﻬﺎ‬
‫ﺸﻬﺎﺩﺍﺕ ﺍﻝﻤﺴﺘﺩﻋﺎﺓ ﻓﻲ ﺍﻝﺴ‪‬ﺭﺩ‪ ،‬ﻭﻜﻤﺎ ﺘﻌﻜﺴﻪ ﺍﻝﺭ‪‬ﺅﻴﺔ ﺍﻝﺭ‪‬ﻭﺍﺌﻴ‪‬ﺔ ﻝﻠﻜﺎﺘﺒﺔ‪.‬‬
‫ﻜﻤﺎ ﺘﻤﺜﹼﻠﻪ ﺍﻝ ﹼ‬

‫ﺸﺨﺼﻴ‪‬ﺔ ﻭﺯﻤﻜﺎﻨﻴ‪‬ﺔ ﺍﻝﺴ‪‬ﺭﺩ‪ :‬ﺘﻌﺩ‪‬ﺩﺕ ﺃﻤﺎﻜﻥ ﺍﻝﺫﹼﺍﻜﺭﺓ ﺍﻝﺠﻤﻌﻴ‪‬ﺔ ﻭﺃﺯﻤﻨﺘﻬﺎ ﻓﻲ ﺍﻝﺭ‪‬ﻭﺍﻴﺔ ﺘﺒﻌ‪‬ﺎ ﻝﺘﻌﺩ‪‬ﺩ ﻤﺠﺎﻻﺕ ﺴـﺭﺩ‬
‫ﺝ‪ -‬ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺍﻝ ﹼ‬
‫ﺍﻝﺘﹼﺫﻜﹼﺭ ﻝﺩﻴﻬﺎ ﻭﺘﻨﻭ‪‬ﻉ ﺃﻤﺎﻜﻥ ﺍﻝﺫﹼﺍﻜﺭﺓ ﺍﻝﺘﻲ ﺘﺤﻴل ﺇﻝﻴﻬﺎ ﻓﻲ ﻤﺠﺘﻤﻊ ﻤﺎ ﻗﺒل ﺍﻝﻨﻜﺒﺔ ﻓﻲ ﺒﻠﺩﻫﺎ ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ ﻭﻤﺠﺘﻤﻌﺎﺕ ﻤﺎ ﺒﻌﺩﻫﺎ ﻓﻲ‬
‫ﺍﻝﻤﻨﻔﻰ‪ .‬ﻤﻊ ﺍﻹﺸﺎﺭﺓ ﺇﻝﻰ ﺍﻝﹼﺘﺩﺍﺨل ﺍﻝﻭﺍﻀﺢ ﻓﻲ ﺍﻝﺴ‪‬ﺭﺩ ﺒﻴﻥ ﺍﻝﺯ‪‬ﻤﺎﻥ ﻭﺍﻝﻤﻜﺎﻥ"ﺍﻝﺯ‪‬ﻤﻜﺎﻥ"‪ ،‬ﻭﻫﻭ ﺃﻤﺭ ﻓﺭﻀـﺘﻪ ﻭﻗـﺎﺌﻊ ﺍﻝﺘﹼـﺎﺭﻴﺦ‬
‫ﻲ ﺒﺄﺤﺩﺍﺜﻪ ﺍﻝﺠﺴﻴﻤﺔ‪ ،‬ﻭﺍﻻﻨﺘﻘﺎﺌﻴ‪‬ﺔ ﺍﻝﺘﻲ ﻤﺎﺭﺴﺘﻬﺎ ﺍﻝﻜﺎﺘﺒﺔ ﻝﻠﻭﻗﺎﺌﻊ ‪ ،‬ﺜ ‪‬ﻡ ﺘﻨﻭ‪‬ﻉ ﺃﺴﺎﻝﻴﺏ ﺍﻝﺴ‪‬ﺭﺩ‪ .‬ﻭﺍﻝﺭ‪‬ﻭﺍﻴﺔ ﻓﻲ ﺍﻷﺼل ﺭﻭﺍﻴﺔ‬
‫ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﺘﺄﺭﻴﺨﻴ‪‬ﺔ ﻤﺭﺘﺒﻁﺔ ﺒﺄﺯﻤﻨﺔ ﻭﺃﻤﻜﻨﺔ ﻭﺃﺤﺩﺍﺙ ﻤﺤﺩ‪‬ﺩﺓ ﺤﻘﻴﻘﻴ‪‬ﺔ ﺃﻭﺠﺒﺘﻬﺎ ﺘﻔﺎﺼﻴل ﺍﻝﻤﻭﻀﻭﻉ ﺍﻝﻤﻁﺭﻭﺡ ﻓﻴﻬﺎ‪ .‬ﻭﻗﺩ ﺫﻜﺭﺕ ﺍﻝﻜﺎﺘﺒﺔ ﻫﺫﺍ‬
‫ﺼﺭﺍﺤﺔ ﻓﻲ ﻨﻬﺎﻴﺔ ﺭﻭﺍﻴﺘﻬﺎ ﺘﺤﺕ ﻋﻨﻭﺍﻥ ﺇﺸﺎﺭﺍﺕ ﺇﺫ ﺘﻘﻭل‪" :‬ﺍﻝﻁﹼﻨﻁﻭﺭ‪‬ﺓ ﻭﻗﻴﺴﺎﺭﻴ‪‬ﺔ ﻭﺼﻔﱡﻭﺭ ‪‬ﻴﺔ ﻭﻋﻴﻥ ﻏـﺯﺍل ﻭﺒﻠـﺩ ﺍﻝﺸـﻴﺦ‬
‫ﻭﻏﻴﺭﻫﺎ ﻤﻥ ﺍﻝﻘﺭﻯ ﻭﺍﻝﻤﺩﻥ ﺍﻝﻤﺫﻜﻭﺭﺓ ﻓﻲ ﻫﺫﻩ ﺍﻝﺭ‪‬ﻭﺍﻴﺔ ﺤﻘﻴﻘﻴ‪‬ﺔ‪ ،‬ﻴﻤﻜﻥ ﺍﻝﻜﺸﻑ ﻋﻨﻬﺎ ﻓﻲ ﺃﻴ‪‬ﺔ ﺨﺭﻴﻁﺔ‪ ،‬ﻓﻬﻲ ﺠﺯﺀ ﻤﻥ ﺠﻐﺭﺍﻓﻴﺎ‬
‫ﻓﻠﺴﻁﻴﻥ ﻭﺘﺎﺭﻴﺨﻬﺎ‪ .‬ﺍﻝﻤﺠﺎﺯﺭ ﺍﻝﺘﹼﻲ ﺘﻨﺎﻭﻝﺘﻬﺎ ﺍﻝﺭ‪‬ﻭﺍﻴﺔ ﻭﻗﺎﺌﻊ ﻤﻭﺜﹼﻘﺔ‪ :‬ﻤﺠﺯﺭﺓ ﺍﻝﻁﹼﻨﻁﻭﺭﺓ‪ ،‬ﻤﺠﺯﺭﺓ ﺼﺒﺭﺍ ﻭﺸﺎﺘﻴﻼ‪ ،‬ﻤﻠﺠﺄ ﻤﺩﺭﺴﺔ‬
‫ﺍﻷﻁﻔﺎل ﻓﻲ ﺼﻴﺩﺍ‪ ،‬ﻋﻤﺎﺭﺓ ﺠﺎﺩ ﻭﻏﻴﺭﻫﺎ" )ﻋﺎﺸﻭﺭ‪ .(460 :2011،‬ﻫﺫﺍ ﻤﺎ ﺘﺸﻴﺭ ﺇﻝﻴﻪ ﻋﻨﻭﺍﻨﺎﺕ ﻓﺼﻭل ﺍﻝﺭ‪‬ﻭﺍﻴﺔ‪ ،‬ﻜﻤﺎ ﺃﺴﻠﻔﺕ‪.‬‬
‫ﻭﻻ ﻴﻘﻊ ﺍﻝﻔﺼل ﺒﻴﻨﻬﺎ‪ ،‬ﻭﺇﻥ ﺘﺠﺎﻭﺯﺕ ﺍﻝﻜﺎﺘﺒﺔ ﺍﻝﺘﹼﺭﺍﺘﺒﻴ‪‬ﺔ ﺍﻝﺯ‪‬ﻤﺎﻨﻴ‪‬ﺔ ﻓﻲ ﺍﻝﻁﺭﺡ‪ .‬ﺇﺫ ﺒﺩﺍ ﺍﻝ ‪‬ﺯﻤﻥ ﻓﻲ ﺍﻝﺴ‪‬ﺭﺩ ﺩﺍﺌﺭﻴ‪‬ﺎ‪.‬‬

‫ﺸﺨﺼﻴ‪‬ﺔ ﻭﺃﺴﺎﻝﻴﺏ ﺍﻝﺴ‪‬ﺭﺩ‪ :‬ﺘﻨﻭ‪‬ﻋﺕ ﺃﺴﺎﻝﻴﺏ ﺍﻝﺴ‪‬ﺭﺩ ﻓﻲ ﺍﻝﺭ‪‬ﻭﺍﻴﺔ ﺘﺒﻌ‪‬ﺎ ﻝﻁﺒﻴﻌـﺔ ﺍﻷﻓﻜـﺎﺭ ﺍﻝﻤﻁﺭﻭﺤـﺔ ﻓـﻲ‬
‫ﺩ‪ -‬ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺍﻝ ﹼ‬
‫ﻲ‬
‫ﺍﻝﻤﻀﻤﻭﻥ ﺍﻝﻤﺴﺭﻭﺩ ﻭﺩﻭﺍﻋﻲ ﺍﺴﺘﺩﻋﺎﺌﻬﺎ ﻭﺍﻝﺤﺎﻝﺔ ﺍﻝﻨﻔﺴﻴ‪‬ﺔ ﻝﻠﺴ‪‬ﺎﺭﺩﺓ‪ .‬ﻭﻗﺩ ﺸﻜﹼﻠﺕ ﺍﻝﻜﺎﺘﺒﺔ ﻨﺴﻴﺞ ﻤﺘﻨﻬﺎ ﻋﺒﺭ ﺍﻝﹼﺘﻨﻭﻴـﻊ ﺍﻷﺴـﻠﻭﺒ ‪‬‬
‫ﻲ ﻝﻤﺠﺭﻴﺎﺕ ﺍﻷﺤﺩﺍﺙ ﻓﻲ ﺤﻴﺎﺓ ﺍﻝﻼﺠﺌﻴﻥ ﻋﻠﻰ ﻨﺤﻭ ﺠﻌﻠﻪ ﻤﻭﺍﻜﺒ‪‬ـﺎ ﻝﻤﺄﺴـﺎﺘﻬﻡ‬
‫ﺍﻝﺫﻱ ﻭﻅﹼﻔﺘﻪ ﻓﻴﻪ ﻭﺭﺒﻁﺘﻪ ﺒﺴﻴﺎﻕ ﺍﻝﻭﺍﻗﻊ ﺍﻝﺤﻘﻴﻘ ‪‬‬
‫ﻲ‪ .‬ﻭﺒﺭﺯ ﻤﻨﻬﺎ‪ :‬ﺃﺴﻠﻭﺏ ﺴﺭﺩ ﺍﻝﻤﺫﻜﹼﺭﺍﺕ‪ :‬ﻭﻫﻭ ﻴﺴﺘﻨﺩ ﺇﻝﻰ ﺴﺭﺩ ﺍﻝﻴﻭﻤﻴ‪‬ﺎﺕ ﻜﻴـﻑ‬
‫ﻭﻁﺎﺭﺤ‪‬ﺎ ﻝﻘﻀﻴﺘﻬﻡ ﺃﻤﺎﻡ ﺍﻝﺭﺃﻱ ﺍﻝﻌﺎ ‪‬ﻡ ﺍﻹﻨﺴﺎﻨ ‪‬‬
‫ﺴﺎﺩﺱ‪،‬ﻤﺜﻼ‪" ،‬ﺍﻝﺴ‪‬ﺒﺕ ‪ "5/15‬ﺴﺭﺩ ﻤﺫﻜﹼﺭﺓ ﻝﻴﻭﻡ ﺍﻝﻨﹼﻜﺒﺔ ﻭﺸﻬﺎﺩﺓ ﻋﻠـﻰ ﻤـﺎ‬
‫ﺃﻓﺼﺤﺕ ﺍﻝﻜﺎﺘﺒﺔ ﻋﻨﻪ ﻓﻲ ﻤﺘﻨﻬﺎ‪ ،‬ﻓﻌﻨﻭﺍﻥ ﺍﻝﻔﺼل ﺍﻝ ‪‬‬
‫ﺠﺭﻯ ﻓﻴﻪ ﻤﻥ ﺇﻋﻼﻥ ﻝﻘﻴﺎﻡ ﺩﻭﻝﺔ ﺍﻻﺤﺘﻼل ﻋﻠﻰ ﺃﺭﺽ ﻓﻠﺴﻁﻴﻥ ﺍﻝﺘﻲ ﻻ ﻴﻤﻠﻜﻬﺎ ﺍﻝﻴﻬﻭﺩ ﻓﻲ ﺍﻷﺼل‪ ،‬ﻭﻻ ﻋﺎﺸـﻭﺍ ﻓﻴﻬـﺎ ﻓـﻲ‬
‫ل‪ -‬ﻋﻠﻰ ﺃﺭﺽ ﻓﻠﺴـﻁﻴﻥ ﺍﻝﺘﹼﺎﺭﻴﺨﻴ‪‬ـﺔ‪ .‬ﻭﻻ‬
‫ﻲ ‪ -‬ﻤﺠﺘﻤﻊ ﻤﺴﺘﻘ ّ‬
‫ل ﻝﻬﻡ‪ ،‬ﻭﻝﻡ ﻴﻜﻥ ﻝﻬﻡ ﺤﻀﻭﺭ ﺴﻜﹼﺎﻨ ‪‬‬
‫ﺍﻝﻤﺎﻀﻲ ﻀﻤﻥ ﻜﻴﺎﻥ ﻤﺴﺘﻘ ّ‬
‫ﺤﺘﹼﻰ ﻓﻲ ﺯﻤﻥ ﺇﻋﻼﻥ ﺩﻭﻝﺘﻬﻡ‪ .‬ﻓﻬﻡ ﻤﺴﺘﻭﻁﻨﻭﻥ ﻤﺴﺘﺠﻠﺒﻭﻥ ﻤﻥ ﺒﻠﺩﺍﻥ ﻜﺜﻴﺭﺓ ﻝﻴﺒﻨﻭﺍ ﺩﻭﻝﺔ ﺍﻻﺤﺘﻼل‪ .‬ﻭﻷﻭ‪‬ل ﻤﺭﺓ ﻓﻲ ﺍﻝﺘﹼـﺎﺭﻴﺦ‬
‫ﻱ ﺘﻘﺎﻡ ﺩﻭﻝﺔ ﻝﻬﻡ ﻋﻠﻰ ﺃﺭﺽ ﻝﻴﺴﺕ ﻝﻬﻡ‪ .‬ﻓﺸﻌﺏ ﻓﻠﺴﻁﻴﻥ ﻝﻡ ﻴﻐﺏ ﻋﻥ ﺃﺭﺽ ﻭﻁﻨﻪ ﺃﺒﺩ‪‬ﺍ ﻤﺫ ﻭﺠﺩﺕ ﻓﻠﺴﻁﻴﻥ‪ .‬ﻭﻫـﻲ‬
‫ﺍﻝﻴﻬﻭﺩ ‪‬‬
‫ﻤﻔﺎﺭﻗﺔ ﻋﺠﻴﺒﺔ ﻻ ﻴﻘﺎﺒﻠﻬﺎ ﺸﺒﻴﻪ ﻓﻲ ﺍﻝﹼﺘﺎﺭﻴﺦ ‪،‬ﺇﻻ ﻤﺎ ﻓﻌﻠﻪ ﺍﻝﻐﺭﺒﻴ‪‬ﻭﻥ ﺤﻴﻥ ﻏﺯﻭ ﺍﻷﻨﺩﻝﺱ ﻭﺃﻤﺭﻴﻜﺎ ﺍﻝﺸﹼﻤﺎﻝﻴ‪‬ﺔ ﻭﺃﺴﺘﺭﺍﻝﻴﺎ ﻭﺠﻨـﻭﺏ‬
‫ﺃﻓﺭﻴﻘﻴﺎ ﻭﻏﻴﺭﻫﺎ ﻤﻥ ﺒﻼﺩ ﺍﻝﻤﺴﺘﻀﻌﻔﻴﻥ ﻓﻲ ﺍﻷﺭﺽ‪ .‬ﻓﻜﻴﻑ ﺠﺭﻯ ﺍﻝﺘﹼﺤﻭ‪‬ل ﻭﺍﻻﻨﻘﻼﺏ ﻓﻲ ﺍﻝﺴﻜﹼﺎﻥ ﻭﻓﻲ ﺍﻝﺘﺎﺭﻴﺦ ﻭﻓﻲ ﺍﺴﻡ ﺍﻝﺒﻠﺩ‬
‫؟‬
‫ﺘﻁﺭﺡ ﺍﻝﻜﺎﺘﺒﺔ ﻋﻠﻰ ﻝﺴﺎﻥ ﺭﺍﻭﻴﺘﻬﺎ ﺘﻠﻙ ﺍﻝﻤﻔﺎﺭﻗﺔ ﺍﻝﻌﻼﻤﻴ‪‬ﺔ ﺍﻝﺩ‪‬ﺍﻝﹼﺔ ﻋﻠﻰ ﻤﺸﻬﺩ ﻴﻭﻡ ﺍﻝﻨﹼﻜﺒﺔ ﺍﻝﺫﻱ ﻗﻠﺏ ﻓﻴﻪ ﺍﻝﺤﺎل ﻓﺠﺄﺓ ﺩﻭﻥ‬
‫ﻤﺴﻭ‪‬ﻏﺎﺕ ﻭﺫﻝﻙ ﺒﺈﻋﻼﻥ ﻗﻴﺎﻡ ﺩﻭﻝﺔ ﺍﻻﺤﺘﻼل ﻋﻠﻰ ﺃﺭﺽ ﻓﻠﺴﻁﻴﻥ‪ ،‬ﻭﻫﻭ ﻴﻭﻡ ﺍﻻﺴﺘﻘﻼل ﻋﻨﺩﻫﻡ ! ﻓﻜﻴﻑ ﺴﻭ‪‬ﻏﻭﺍ ﻷﻨﻔﺴﻬﻡ ﻓﻌل‬
‫ﺫﻝﻙ ؟ ﻭﻜﻴﻑ ﺍﺭﺘﻀﺎﻩ ﺍﻝﻌﺎﻝﻡ ﻭﺍﻋﺘﺭﻑ ﺒﻪ ؟ ﺘﻘﻭل ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ ‪":‬ﻓﻲ ﺍﻝﻤﺴﺎﺀ ﺴﻴﺘﺄﻜﹼﺩ ﺍﻝﺨﺒﺭ‪ .‬ﻝﻡ ﻴﻌﺩ ﺍﻷﻤﺭ ﻫﻭﺍﺠﺱ ﺃﻭ ﺘﻭﻗﹼﻌﺎﺕ‬
‫ﺒل ﺒﻴﺎﻥ ﻤﻜﺘﻭﺏ ﻭﻗﹼﻌﻪ ﺯﻋﻤﺎﺀ ﺍﻝﻴﻬﻭﺩ ﻭﺃﻋﻠﻨﻪ ﺒﻥ ﻏﻭﺭﻴﻭﻥ ﻓﻲ ﺘﻤﺎﻡ ﺍﻝﺭ‪‬ﺍﺒﻌﺔ ﻤﺴﺎ ‪‬ﺀ ﻭﺴﻁ ﺤﻔـل ﻓـﻲ ﺘـل ﺃﺒﻴـﺏ ﺼـﻭ‪‬ﺭﻩ‬
‫ﻥ ﺍﻝﺒﻴﺎﻥ ﻴﻜﻭﻥ ﻨﺎﻓﺫﹰﺍ ﺒـﺩﺀ‪‬ﺍ ﻤـﻥ‬
‫ﺍﻝﻤﺼﻭ‪‬ﺭﻭﻥ ﻭﺃﺫﺍﻋﺘﻪ ﺇﺫﺍﻋﺔ ﺍﻝﻬﺎﺠﺎﻨﺎﻩ ﻭﺍﺴﺘﻘﺒﻠﻪ ﺍﻝﻤﺴﺘﻭﻁﻨﻭﻥ ﺒﺎﻝﺭ‪‬ﻗﺹ ﻓﻲ ﺍﻝﺸﻭﺍﺭﻉ‪ .‬ﻗﻴل ﺇ ‪‬‬

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 ‫ﳎﻠﺔ ﻣﻘﺎﻟﻴﺪ ـــــــــــــــــــــــــ ﺍﻟﻌﺪﺩ ﺍﻟﺴﺎﺩﺱ‪ /‬ﺟﻮﺍﻥ ‪2014‬‬
‫ﻲ ﻓﻴﺤﻠﹼﻭﻥ ﻤﺤﻠﹼﻪ ﻓﻲ ﺤﻜﻡ ﻓﻠﺴﻁﻴﻥ‪.‬ﻴﻐﺩﻭ ﺍﻝﺒﻠﺩ ﺩﻭﻝﺔ ﻝﻠﻴﻬـﻭﺩ‬
‫ﺍﻝﺩ‪‬ﻗﻴﻘﺔ ﺍﻷﻭﻝﻰ ﺒﻌﺩ ﻤﻨﺘﺼﻑ ﺍﻝﻠﹼﻴل ﺤﻴﺙ ﻴﻨﺘﻬﻲ ﺍﻻﻨﺘﺩﺍﺏ ﺍﻝﺒﺭﻴﻁﺎﻨ ‪‬‬
‫ﻭﻴﺼﻴﺭ ﺍﺴﻤﻬﺎ ﺇﺴﺭﺍﺌﻴل")ﻋﺎﺸﻭﺭ‪ .(48 :2011،‬ﻭﺘﻨﺩﺭﺝ ﻓﺼﻭل ﻋﺩﻴﺩﺓ ﻓﻲ ﺇﻁﺎﺭ ﺴﺭﺩ ﺍﻝﻤﺫﻜﹼﺭﺍﺕ ﻭﻜﺜﻴﺭ‪‬ﺍ ﻤﺎ ﺘﺴﺘﺨﺩﻡ ﺍﻝﹼﻠﻐـﺔ‬
‫ﺍﻝﻬﺠﻴﻥ ﻓﻲ ﺴﺭﺩﻫﺎ‪،‬ﻭﻫﻭ ﻨﻭﻉ ﻤﻥ ﺍﻝﹼﺘﻭﺜﻴﻕ ﻝﹼﻠﻐﺔ ﺍﻝﻌﺎﻤﻴ‪‬ﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﺍﻝﻤﺘﺩﺍﺨﻠﺔ ﻤﻊ ﺍﻝﻔﺼﻴﺤﺔ‪ .‬ﻭﻗﺩ ﺃﻓﺭﺩﺕ ﻓﻲ ﻨﻬﺎﻴﺔ ﺭﻭﺍﻴﺘﻬـﺎ‬
‫ﻗﺎﺌﻤﺔ ﺒﺒﻌﺽ ﺍﻝﻜﻠﻤﺎﺕ ﻭﺍﻝﻌﺒﺎﺭﺍﺕ ﺍﻝﻭﺍﺭﺩﺓ ﺒﺎﻝﺩ‪‬ﺍﺭﺠﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ )ﻋﺎﺸﻭﺭ‪.(463-461 :2011،‬‬

‫ﻅﺭﻭﻑ ﺍﻝﺘﻲ ﻋﺎﻴﺸﻬﺎ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻭﻥ ﺍﻝﻌﺯ‪‬ل ﻓـﻲ‬

‫ﻭﻤﻥ ﺃﻤﺜﻠﺔ ﻓﺼﻭل ﺍﻝﻤﺫﻜﹼﺭﺍﺕ؛ "ﺤﻴﻥ ﺍﺤﺘﻠﹼﻭﺍ ﺍﻝﺒﻠﺩ"‪ ،‬ﻭﻫﻭ ﻴﺸﻴﺭ ﺇﻝﻰ ﺍﻝ ﹼ‬
‫ﺼﺩﻤﺔ ﺍﻝﻤﻤﺯﻭﺠﺔ ﺒﺎﻝﻘﻠﻕ ﻋﻠﻰ ﺍﻷﺒﻨﺎﺀ ﻭﺍﻷﻤﻼﻙ ﻭﺍﻝﻤﺴﺘﺒﻌﺩﺓ ﻝﺤﺎﻝﺔ ﺍﻝﹼﻠﺠﻭﺀ ﻭﺍﻝﻼﻋﻭﺩﺓ‪ ،‬ﺘﻘﻭل ﺍﻝﺭﺍﻭﻴﺔ‪ ":‬ﻝﻡ‬
‫ﺯﻤﻥ ﺍﻝﻨﹼﻜﺒﺔ ﻭﺤﺎﻝﺔ ﺍﻝ ‪‬‬
‫ﻋﺒﹺﺩ‪ .‬ﺤﻁﹼـﻲ ﻋﻠـﻑ ﻝﻠﻤﻭﺍﺸـﻲ‬
‫ﺃﺴﻤﻊ ﺍﻷﺼﻭﺍﺕ‪.‬ﻜﻨﺕ ﻨﺎﺌﻤﺔ‪ .‬ﻭﻋﻨﺩﻤﺎ ﺃﻴﻘﻅﺘﻨﻲ ﺃﻤ‪‬ﻲ ﺴﻤﻌﺕ ﻓﺴﺄﻝﺕ‪ .‬ﻗﺎﻝﺕ‪ :‬ﺼﺤ‪‬ﻲ ﻭﹺﺼﺎل ﻭ ‪‬‬
‫ﻴﻜﻴﻔﻬﺎ ﺃﺴﺒﻭﻋﻴﻥ ﺃﻭ ﺜﻼﺜﺔ‪ .‬ﻭﻤﺎ ‪‬ﺀ ﻜﺜﻴﺭ‪‬ﺍ‪ .‬ﻭﺍﻨﺜﺭﻱ ﺤﺒ‪‬ﺎ ﻝﻠﺩ‪‬ﺠﺎﺝ‪ .‬ﻜﺜﹼﺭﻱ‪ .‬ﻭﺍﻝﺤﺼﺎﻥ‪ ،‬ﻻ ﺘﻨﺴﻲ ﺍﻝﺤﺼﺎﻥ‪ .‬ﻭﺍﺭﻓﻌﻲ ﺘﻨﻜﺎﺕ ﺍﻝﺯ‪‬ﻴﺕ‬
‫ل ﺘﻨﻜﺔ ﺯﻴﺕ‪ .‬ﺍﺭﺘﺩﻱ ﺜﻼﺜﺔ ﺃﺜﻭﺍﺏ‪ ،‬ﻭﻭﺼـﺎل ﺃﻴﻀ‪‬ـﺎ‪،‬‬
‫ﻋﻥ ﺍﻷﺭﺽ ﻝﻜﻲ ﻻ ﺘﺼﻴﺒﻬﺎ ﺍﻝﺭ‪‬ﻁﻭﺒﺔ‪ ،‬ﻀﻌﻲ ﻤﺨﺩ‪‬ﺓ ﺒﻴﻥ ﺍﻝﺤﺎﺌﻁ ﻭﻜ ّ‬
‫ﻭﺍﻝﻭﻝﺩ‪ ...‬ﻏﺎﺩﺭﻨﺎ ﺍﻝﺒﻴﺕ‪ .‬ﻁﺒﻘﺕ ﺃﻤ‪‬ﻲ ﺍﻝﺒﻭ‪‬ﺍﺒﺔ ﺃﻏﻠﻘﺘﻬﺎ ﺒﺎﻝﻤﻔﺘﺎﺡ ﺍﻝﻜﺒﻴﺭ‪ .‬ﺍﺴﺘﻐﺭﺒﺕ ﻓﻠﻡ ﺃﺭ ﺒﺎﺏ ﺒﻴﺘﻨﺎ ﻤﻐﻠﻘﹰـﺎ ﺃﺒـﺩ‪‬ﺍ‪ ،‬ﻭﻻ ﺭﺃﻴـﺕ‬
‫ﺍﻝﻤﻔﺘﺎﺡ‪ :‬ﻜﺎﻥ ﺤﺩﻴﺩﻴ‪‬ﺎ ﻜﺒﻴﺭ‪‬ﺍ ﺃﺩﺍﺭﺘﻪ ﺃﻤ‪‬ﻲ ﻓﻲ ﺍﻝﻘﻔل ﺴﺒﻊ ﻤﺭﺍﺕ‪ .‬ﻭﻀﻌﺘﻪ ﻓﻲ ﺼﺩﺭﻫﺎ" )ﻋﺎﺸﻭﺭ‪ .(58 :2011،‬ﺜ ‪‬ﻡ ﺘﺘﺎﺒﻊ ﻭﺼﻑ‬
‫ﻥ ﻭﺍﻝﻁﻌﺎﻡ ﺍﻝﺫﻱ ﻴﺤﻤﻠﻨﻪ‪ .‬ﻜﻤـﺎ ﺘﺼـﻑ‬
‫ﻤﺎ ﻓﻌﻠﻪ ﺍﻝﻴﻬﻭﺩ ﺒﻬﻡ ﺨﻼل ﻋﻤﻠﻴ‪‬ﺔ ﺍﻝﹼﺘﺭﺤﻴل‪ ،‬ﻭﻜﻴﻑ ﺍﺴﺘﻭﻝﻭﺍ ﻋﻠﻰ ﺫﻫﺏ ﺍﻝﻨﺴﺎﺀ ﻭﻤﺎﻝﻬ ‪‬‬
‫ﻤﺸﺎﻫﺩ ﺍﻝﻤﻌﺎﻨﺎﺓ ﻤﻥ ﺍﻝﹼﺘﻬﺠﻴﺭ ﻭﺍﻻﻨﺘﻘﺎل ﻤﻥ ﺒﻠﺩ ﺇﻝﻰ ﺁﺨﺭ ﻭﺤﺎﻝﺔ ﺍﻝﺨﻭﻑ ﻭﺍﻝﺠﻭﻉ ﻭﺍﻝﻘﻠﻕ ﺍﻝﺘﻲ ﺍﻨﺘﺎﺒﺕ ﺍﻝﻼﺠﺌﻴﻥ ﻤﻤ‪‬ـﺎ ﺴـﻴﺅﻭل‬
‫ﺇﻝﻴﻪ ﺤﺎﻝﻬﻡ‪.‬‬
‫ﻭﺍﺴﺘﺨﺩﻤﺕ ﺍﻝﻜﺎﺘﺒﺔ ﺃﺴﻠﻭﺏ ﺍﻝﻤﺫﻜﹼﺭﺍﺕ ﻓﻲ ﺴﺭﺩ ﻨﺼ‪‬ﻬﺎ ﻭﺃﻨﻭﺍﻋ‪‬ﺎ ﺃﺨﺭﻯ ﻤﻥ ﺍﻝﺴ‪‬ﺭﺩ‪ ،‬ﻤﻥ ﻤﺜل؛ ﺍﻝﻤﻘـﺎل‪ ،‬ﻭﺍﻝﺭ‪‬ﺴـﺎﺌل‪،‬‬
‫ﻭﺍﻝﺸﹼﻬﺎﺩﺍﺕ‪ ،‬ﻭﺍﻝﺘﹼﻘﺎﺭﻴﺭ‪ ،‬ﻭﺍﻷﺨﺒﺎﺭ ﺍﻝﺼ‪‬ﺤﻔﻴ‪‬ﺔ‪ ،‬ﻭﻤﺤﺘﻭﻯ ﺍﻝﻜﺎﺭﻴﻜﺎﺘﻭﺭ‪ ،‬ﻭﺍﻝﺤﻜﺎﻴﺔ‪ ،‬ﻭﺍﻷﻏﻨﻴﺔ ﺍﻝﺸﹼﻌﺒﻴ‪‬ﺔ ﺍﻝﻤﺼﺎﺤﺒﺔ ﻝﻠﺭ‪‬ﻗﺹ ﺘـﺎﺭﺓ‬
‫ﻭﺍﻝﻤﺼﺎﺤﺒﺔ ﻝﻠﺩ‪‬ﺒﻜﺔ ﺍﻝﺸﹼﻌﺒﻴ‪‬ﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﺘﺎﺭﺓ ﺃﺨﺭﻯ‪ ،‬ﻭﺍﻝﺯ‪‬ﻏﺭﻭﺩﺓ‪ ،‬ﻭﺍﻷﻏﻨﻴﺔ ﺍﻝﻌﺎﻤﻴ‪‬ﺔ ﺍﻝﻤﻠﺤ‪‬ﻨﺔ‪ ،‬ﻭﺍﻝﺤﻠـﻡ ﻭﺍﻝﻤﺜـل ﺍﻝﺸﹼـﻌﺒﻲ‪،‬‬
‫ﻲ ﻭﺍﺴﺘﻠﻬﺎﻡ ﺍﻝﻨﹼﺼﻭﺹ ﺍﻝﺴ‪‬ﺭﺩﻴ‪‬ﺔ ﺍﻝﻔﻠﺴـﻁﻴﻨﻴ‪‬ﺔ )ﻋﺎﺸـﻭﺭ‪ 7 : 2011،‬ﻭ‪15‬ﻭ‪23‬‬
‫ﻱ ﺍﻝﺸﹼﻌﺒ ‪‬‬
‫ﻭﻤﺤﺘﻭﻯ ﺍﻝﺼ‪‬ﻭﺭ ﺍﻝﻔﺘﻭﻏﺭﺍﻓﻴ‪‬ﺔ‪ ،‬ﻭﺍﻝ ‪‬ﺯ ‪‬‬
‫ﻭ‪ 33‬ﻭ‪ 41‬ﻭ‪ 113‬ﻭ‪ 231‬ﻭ‪ 238‬ﻭ‪ 300‬ﻭ‪ 334‬ﻭ‪ 368‬ﻭ‪ 327‬ﻭ‪ 321‬ﻭ‪ 415‬ﻭ‪ 318‬ﻭ‪ 378‬ﻭ‪ 380‬ﻭ‪ 23‬ﻭ‪ 286‬ﻭ‪(418‬‬
‫ﻭﺍﻝﻤ‪‬ﻠﺨﹼﺼﺎﺕ‪ ،‬ﻤﻥ ﻤﺜل؛ ﻤﻠﺨﹼﺹ ﻜﺘﺎﺏ ﻝﺤﺴﻥ ﻋﻥ ﺩﻭﺭ ﺍﻝﺒﺎﺭﺠﺔ ﺍﻷﻤﺭﻴﻜﻴ‪‬ﺔ "ﻨﻴﻭﺠﻴﺭﺴﻲ" ﻓﻲ ﺤﺭﻭﺏ ﺃﻤﺭﻴﻜﺎ ﺍﻝﻤﺨﺘﻠﻔﺔ ﺯﻤﺎﻨﹰـﺎ‬
‫ﻭﻤﻜﺎﻨﹰﺎ ﺤﻭل ﺍﻝﻌﺎﻝﻡ ﻤﻨﺫ ﺍﻝﺤﺭﺏ ﺍﻝﻌﺎﻝﻤﻴ‪‬ﺔ ﺍﻝﺜﹼﺎﻨﻴﺔ ﻭﺤﺘﹼﻰ ﺤﺭﺏ ﻝﺒﻨﺎﻥ ﻋﺎﻡ ‪) 1982‬ﻋﺎﺸﻭﺭ‪ .(409-404 :2011،‬ﻓﻲ ﺇﺸـﺎﺭﺓ‬
‫ﻲ ﻓﻲ ﺩﻋﻡ ﺍﻻﺤﺘﻼل ﻭﺤﻤﺎﻴﺔ ﻤﺼﺎﻝﺤﻬﺎ ﺍﻝﻤﺸﺘﺭﻜﺔ ﻤﻌﻪ‪.‬‬
‫ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺇﻝﻰ ﺩﻭﺭ ﺃﻤﺭﻴﻜﺎ ﺍﻻﺴﺘﺭﺍﺘﻴﺠ ‪‬‬

‫ﺴﺎﺩﺴ‪‬ﺎ‪ :‬ﺍﻝﺒﻨﻴﺔ ﺍﻝﺩ‪‬ﻻﻝﻴ‪‬ﺔ ﻝﻠﺴ‪‬ﺭﺩ ﻭﺘﺸﻤل‪:‬‬

‫ﺏ ﺍﻝـﺭﻴﺢ‬
‫ﺹ ﺤﻭل ﻗﻀﻴ‪‬ﺔ ﺍﻝﻼﺠﺌﻴﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ ﺍﻝﺘﻲ ﺒﺎﺘﺕ ﻓﻲ ﻤﻬ ‪‬‬
‫ﺃ‪ -‬ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﻤﻭﻀﻭﻉ ﺍﻝﺴ‪‬ﺭﺩ‪ :‬ﺇﺫ ﻴﺘﻤﺤﻭﺭ ﻤﻭﻀﻭﻉ ﺍﻝﹼﻨ ‪‬‬
‫ﺴﺭﺩ ﺒﺸﺨﺼﻴ‪‬ﺔ ﺍﻝﺒﻁل ﺍﻻﺴـﺘﻌﺎﺭﺓ ﺃﻭ‬
‫ﺒﻌﺩ ﺃﻭﺴﻠﻭ‪ .‬ﻓﻬﻲ ﺍﻝﺤﺩﺙ ﺍﻷﻜﺒﺭ ﺍﻝﺫﻱ ﻴﻨﺒﻨﻲ ﻋﻠﻴﻪ ﺍﻝﻤﻀﻤﻭﻥ‪ .‬ﻭﺭﺒﻁﺕ ﺍﻝﻜﺎﺘﺒﺔ ﺤﻜﺎﻴﺔ ﺍﻝ ‪‬‬
‫ﺍﻷﻴﻘﻭﻨﺔ‪ ،‬ﺒﺘﻤﻅﻬﺭﺍﺘﻬﺎ ﺍﻝﻤﻭﻀﻭﻋﻴ‪‬ﺔ ﻭﺍﻝﻨﹼﻔﺴﻴ‪‬ﺔ ﻭﺍﻝﻤﻜﺎﻨﻴ‪‬ﺔ ﻭﺍﻝ ‪‬ﺯﻤﺎﻨﻴ‪‬ﺔ ﻭﺃﻨﺴﺎﻗﻬﺎ ﺍﻝﹼﺘﻌﺒﻴﺭﻴ‪‬ﺔ ﺍﻝﻤﺨﺘﻠﻔـﺔ‪ ،‬ﻓﻌﺒـﺭﺕ ﺒﻭﺴـﺎﻁﺘﻬﺎ ﻋـﻥ‬
‫ﻲ ﻋﻠﻰ ﺍﻝﺫﹼﺍﻜﺭﺓ ﺍﻷﻴﻘﻭﻨﻴ‪‬ﺔ ﺍﻝﺤﺎﻀﻨﺔ ﻝـ"ﻫ‪‬ﻭﻴ‪‬ﺔ ﺍﻝﻤﻜـﺎﻥ ﻭﻫ‪‬ﻭﻴ‪‬ـﺔ‬
‫ﻱ‪ .‬ﻭﺭﻜﹼﺯﺕ ﻓﻲ ﻁﺭﺤﻬﺎ ﺍﻷﺩﺒ ‪‬‬
‫ﺴﺭﺩ ‪‬‬
‫ﺃﻴﺩﻴﻭﻝﻭﺠﻴ‪‬ﺘﻬﺎ ﻭﻤﻨﻅﻭﺭﻫﺎ ﺍﻝ ‪‬‬
‫ﺍﻹﻨﺴﺎﻥ"؛ ﻓﺎﻝﻬ‪‬ﻭﻴ‪‬ﺔ‪:‬ﻋﻼﻗﺔ ﺒﺎﻝﺘﹼﻁﺎﺒﻕ ﻤﻊ ﺍﻝﺫﹼﺍﺕ ﻭﻗﻴﻤﻬﺎ ﻋﻨﺩ ﺸﺨﺹ ﻤﺎ ﺃﻭ ﺠﻤﺎﻋﺔ ﺃﻭ ﺠﻤﺎﻋﺎﺕ ﺍﺠﺘﻤﺎﻋﻴ‪‬ﺔ ﻤﺎ‪ ،‬ﻭﺍﻻﻨﺘﻤـﺎﺀ ﺇﻝـﻰ‬
‫ﻲ ‪ .‬ﻭﻴﺘﺭﻜﹼﺯ ﺴﺅﺍل ﺍﻝﻬ‪‬ﻭﻴ‪‬ﺔ ﻋﻠﻰ ﺘﺄﻜﻴـﺩ ﻤﺒـﺎﺩﺉ‬
‫ﺍﻝﻤﻜﺎﻥ ﻭﺍﻝﺘﹼﺎﺭﻴﺦ ﻭﺍﻝﺘﹼﺭﺍﺙ ﻭﺍﻝﻌﺎﺩﺍﺕ ﻭﺍﻝﺘﹼﻘﺎﻝﻴﺩ ﺍﻝﻤﺸﺘﺭﻜﺔ ﻓﻲ ﻤﺠﺘﻤﻌﻬﻡ ﺍﻷﺼﻠ ‪‬‬
‫ﺍﻝﻭﺤﺩﺓ ﻓﻲ ﻤﻘﺎﺒل ﺍﻝﺘﹼﻌﺩ‪‬ﺩ ﻭﺍﻝﻜﺜﺭﺓ‪ ،‬ﻭﺍﻻﺴﺘﻤﺭﺍﺭ ﻓﻲ ﻤﻘﺎﺒل ﺍﻝﺘﹼﻐﻴ‪‬ﺭ ﻭﺍﻝﹼﺘﺤﻭ‪‬ل)ﺒﻴﻨﻴﺕ ﻭﺭﻓﻴﻘﺎﻩ‪.(701 -700 :2010،‬‬
‫ﻝﺫﻝﻙ ﺍﺴﺘﺩﻋﺘﻬﺎ ﺍﻝﻜﺎﺘﺒﺔ ﻝﺘﺸﻜﹼل ﺍﻝﺭ‪‬ﻭﺍﻴﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﺒﻬﻤﺎ‪ ،‬ﻤﺴﺘﻔﻴﺩﺓ ﻤﻥ ﺤﻘﺎﺌﻕ ﺍﻝﹼﺘﺎﺭﻴﺦ ﻭﺍﻝﺠﻐﺭﺍﻓﻴﺎ ﺍﻝﻤﺩﻭ‪‬ﻨـﺔ ﻭﺍﻝﺤﻘـﺎﺌﻕ‬
‫ﻲ ﻓﻲ ﻋﻴﻥ ﺍﻝﻤﻜﺎﻥ‪ -‬ﺍﻝﻭﻁﻥ ﺍﻝﺘﻲ ﻴﺤﻔﻅﻬﺎ ﺍﻝﻼﺠﺌﻭﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻭﻥ ﻋﻥ ﻭﻁﻨﻬﻡ ﺍﻝﻜﺒﻴـﺭ ﻓﻠﺴـﻁﻴﻥ‬
‫ﺍﻝﻤﺸﺨﹼﺼﺔ ﻝﻠﻭﺠﻭﺩ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﻭﺃﻭﻁﺎﻨﻬﻡ ﺍﻝﺼﻐﻴﺭﺓ؛ ﻤﺩﻨﻬﻡ ﻭﻗﺭﺍﻫﻡ ﺍﻝﺘﻲ ﻭﻝﺩﻭﺍ ﻓﻴﻬﺎ ﻭﻋﺎﺸﻭﺍ ﻓﻴﻬﺎ ﺒﺎﺩﺉ ﺍﻷﻤﺭ‪ .‬ﻭﻗﺩ ﻋﻤﺭﻫﺎ ﺃﺠﺩﺍﺩﻫﻡ ﺁﻻﻑ ﺍﻝﺴﻨﻴﻥ ﻭﻭﺭﺜﻭﻫﺎ‬
‫ﻕ ﺃﻫﻠﻬﻡ ﻭﺫﻭﻴﻬﻡ ﻝﻴﺠـﺩﻭﺍ ﺃﻨﻔﺴـﻬﻡ‪ ،‬ﺒـﻴﻥ ﻋﺸـﻴ‪‬ﺔ‬
‫ل ﺍﻝﺘﻲ ﺍﺭﺘﻜﺒﻬﺎ ﺒﺤ ﹼ‬
‫ﻋﻨﻬﻡ‪ ،‬ﻭﻝﻜﻨﹼﻬﻡ ‪‬ﻫﺠ‪‬ﺭﻭﺍ ﻋﻨﻬﺎ ﻗﺴﺭ‪‬ﺍ ﻋﺒﺭ ﻤﺠﺎﺯﺭ ﺍﻝﻤﺤﺘ ّ‬
‫ﻭﻀﺤﺎﻫﺎ‪ ،‬ﻻﺠﺌﻴﻥ ﻤﺸ ‪‬ﺭﺩﻴﻥ ﺒﻼ ﻭﻁﻥ ﻭﻻ ﻫﻭﻴ‪‬ﺔ ﻤﻌﺘﺭﻑ ﺒﻬﺎ ! ﻭﻫﺫﻩ ﻫﻲ ﻋﻘﺩﺓ ﺍﻝﺴ‪‬ﺭﺩ ﺍﻝﺘﻲ ﺘﺴﻌﻰ ﺍﻝﻜﺎﺘﺒـﺔ ﺇﻝـﻰ ﺘﻔﻜﻴﻜﻬـﺎ‬

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 ‫ﳎﻠﺔ ﻣﻘﺎﻟﻴﺪ ـــــــــــــــــــــــــ ﺍﻟﻌﺪﺩ ﺍﻟﺴﺎﺩﺱ‪ /‬ﺟﻮﺍﻥ ‪2014‬‬
‫ﻤﺴﺘﻔﻴﺩﺓ ﻤﻥ ﺤﻘﺎﺌﻕ ﺍﻝﺘﺎﺭﻴﺦ ﻭﺍﻝﺠﻐﺭﺍﻓﻴﺎ ﻭﺍﻝﺘﹼﺭﺍﺙ‪ ،‬ﻭﻤﺨﺯﻭﻥ ﺍﻝﺫﹼﺍﻜﺭﺓ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﺍﻝﺫﻱ ﻴﻤﺜﹼل ﻓﻲ ﻭﺍﻗﻊ ﺍﻝﺤﺎل ﺤﺎﻓﻅﺔ ﺤﻴ‪‬ﺔ ﺤﺎﻓﻠﺔ‬
‫ﻥ ﺃﻫل ﻓﻠﺴﻁﻴﻥ ﻫﻡ ﺃﺼﺤﺎﺏ ﺍﻝﺤﻕﹼ ﻓﻲ ﺍﻝﻌﻭﺩﺓ ﺇﻝﻴﻬﺎ ﺩﻭﻥ ﺍﻵﺨﺭﻴﻥ ﺍﻝﺫﻴﻥ ﺍﻏﺘﺼﺒﻭﻫﺎ ﻭﻗﻠﺒﻭﺍ‬
‫ﺸﻭﺍﻫﺩ ﻭﺍﻝﺤﺠﺞ ﻋﻠﻰ ﺃ ‪‬‬
‫ﺒﻌﺸﺭﺍﺕ ﺍﻝ ﹼ‬
‫ﺍﻝﺤﻘﺎﺌﻕ ﻓﻴﻬﺎ ﻭﺯﻴ‪‬ﻔﻭﺍ ﺼﻭﺭﺓ ﺍﻝﻤﻜﺎﻥ ﻭﺃﺤﻠﹼﻭﺍ ﻏﺭﺒﺎﺀ ﻤﻥ ﺸ ﹼﺫﺍﺫ ﺍﻷﺭﺽ ﻓﻴﻬﺎ‪.‬‬
‫ﺹ ﻋﻠﻰ ﺴﺭﺩ ﺍﻝﻬﻭﻴ‪‬ﺔ ﺒﺸﻘﹼﻴﻬﺎ؛ ﻫﻭﻴ‪‬ﺔ ﺍﻝﻤﻜﺎﻥ ﻭﻫﻭﻴ‪‬ﺔ ﺍﻹﻨﺴﺎﻥ‪ ،‬ﻭﻫﻤﺎ ﻋﻼﻤﺘﺎﻥ ﺒﺎﺭﺯﺘﺎﻥ ﻓـﻲ‬
‫ﻭﺒﺩﺍ ﺘﺭﻜﻴﺯ ﺍﻝﻜﺎﺘﺒﺔ ﻓﻲ ﺍﻝﹼﻨ ‪‬‬
‫ﻲ ﻭﺃﺩﺏ ﺍﻝﻘﻀﻴ‪‬ﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﺍﻝﻤﻨﺠﺯﻴﻥ ﻗﺒل ﺍﻝﻨﹼﻜﺒﺔ ﻭﺒﻌﺩﻫﺎ‪ .‬ﻭﺘﺭﺘﺒﻁﺎﻥ ﺩﺍﺌﻤ‪‬ﺎ ﺒﺈﻋﺎﺩﺓ ﺘﺸـﻜﻴل‬
‫ﻲ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﺃﻁﺭﻭﺤﺔ ﺍﻝﻔﻜﺭ ﺍﻷﺩﺒ ‪‬‬
‫ﺍﻝﺫﹼﺍﻜﺭﺓ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﻭﺒﻨﺎﺀ ﺍﻝﻭﻁﻥ ﻓﻴﻬﺎ ﻭﺘﻌﺯﻴﺯ ﺍﻻﻨﺘﻤﺎﺀ ﺇﻝﻴﻪ‪ .‬ﻭﻗﺩ ﺍﻗﺘﺭﻨﺘﺎ ﺒﺭﻭﺍﻴﺔ ﺍﻝﻤﺄﺴﺎﺓ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﺍﻝﺘﻲ ﺼﻨﻌﻬﺎ ﺍﻻﺤـﺘﻼل‬
‫ﻲ ﻝﻔﻠﺴﻁﻴﻥ‪-‬ﺃﺭﻀ‪‬ﺎ ﻭﺸﻌﺒ‪‬ﺎ‪ -‬ﺒﺩﺍﻴ ﹰﺔ ﻓﻲ ﻋﺎﻡ ‪ 1917‬ﻭﻭﺍﺼﻠﻬﺎ ﺤﺘﹼﻰ ﻋﺎﻡ ‪ ،1948‬ﺜ ‪‬ﻡ ﺃﻭﺭﺜﻬﺎ ﺍﻝﻌﺼﺎﺒﺎﺕ ﺍﻝﺼﻬﻴﻭﻨﻴ‪‬ﺔ ﻓﻲ‬
‫ﺍﻝﺒﺭﻴﻁﺎﻨ ‪‬‬
‫ﻨﻬﺎﻴﺔ ﺍﻝﻤﻁﺎﻑ ﻝﺘﺘﺎﺒﻊ ﻓﺼﻭﻝﻬﺎ ﻗﺒل ﻗﻴﺎﻡ ﺩﻭﻝﺘﻬﺎ ﺍﻝﻜﻭﻝﻭﻨﻴﺎﻝﻴ‪‬ﺔ ﻋﺎﻡ ‪ 1948‬ﻭﺒﻌﺩ ﻗﻴﺎﻤﻬﺎ ﻭﺼﻭﻻ ﺇﻝﻰ ﻴﻭﻤﻨﺎ ﻫﺫﺍ‪ .‬ﻭﺫﻝـﻙ ﻋﺒـﺭ‬
‫ﻓﻅﺎﺌﻌﻬﺎ ﻓﻲ ﺯﻤﻥ ﺍﻝﻨﹼﻜﺒﺎﺕ ﺍﻝﻤﻤﺘﺩ‪‬ﺓ ﺍﻝﺘﻲ ﺍﺭﺘﻜﺒﺘﻬﺎ ﺒﺤﻕ ﺸﻌﺒﻨﺎ ﺒﺩﺀ‪‬ﺍ ﺒﻌﺎﻡ ‪ 1948‬ﻭﻤﺎ ﺘﺨﻠﹼﻠﻪ ﻭﺘﻼﻩ ﻤﻥ ﺘﻘﺘﻴل ﻭﺘﺸـﺭﻴﺩ ﻝﺸـﻌﺒﻨﺎ‬
‫ﻭﺘﺩﻤﻴﺭ ﻝﺒﻨﺎﻩ ﺍﻝﺜﻘﺎﻓﻴ‪‬ﺔ ﻭﺍﻻﺠﺘﻤﺎﻋﻴ‪‬ﺔ ﻭﺘﻬﺩﻴﻡ ﻝﻤﻌﺎﻝﻡ ﻭﺠﻭﺩﻩ ﻭﺴﺭﻗﺘﻬﺎ‪ ،‬ﻭﻫﻲ ﺍﻝﻤﺘﻤﺜﹼﻠﺔ ﻓﻲ ﻤﺸﺨﹼﺼﺎﺘﻪ ﺍﻝﺤﻀـﺎﺭﻴ‪‬ﺔ؛ ﺍﻝﻌﻤﺭﺍﻨﻴ‪‬ـﺔ‬
‫ﻭﺍﻝﺘﹼﺭﺍﺜﻴ‪‬ﺔ ﻋﻠﻰ ﺍﻷﺭﺽ )ﺍﻝﺴ‪‬ﻬﻠﻲ‪ .(40 -34 : 2004،‬ﻭﻤﺭﻭﺭ‪‬ﺍ ﺒﺄﻓﻅﻊ ﻨﺘﺎﺌﺠﻬﺎ‪،‬ﻭﻫﻲ ﺍﻝﻨﹼﻜﺴﺔ ﺍﻝﺤﺯﻴﺭﺍﻨﻴ‪‬ﺔ ﻋﺎﻡ ‪ 1967‬ﺍﻝﺘـﻲ‬
‫ل ﺍﻝﺘﻭﻗﹼﻌﺎﺕ‪ ،‬ﻭﺭﺴ‪‬ﺨﺕ ﻓﻜﺭ ﺍﻝﻬﺯﻴﻤﺔ ﻓﻲ ﻨﻔﻭﺱ ﺍﻝﻌﺭﺏ ﻭﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ‪ ،‬ﻭﺯﻋﺯﻋﺕ ﺤﻠﻡ ﺍﻝﻌﻭﺩﺓ ﻝﺩﻯ ﺍﻝﻤﻨﻔﻴ‪‬ـﻴﻥ ﻤـﻨﻬﻡ‬
‫ﻗﻠﺒﺕ ﻜ ّ‬
‫ﻲ ‪ .(62 -51 :2004،‬ﻭﺍﻨﺘﻬﺎﺀ ﺒﺤﺭﻭﺒﻪ ﻭﻤﺠﺎﺯﺭﻩ ﺍﻝﻤﺴﺘﻤﺭ‪‬ﺓ ﻀ ‪‬ﺩ ﺸﻌﺒﻨﺎ ﺤﺘﹼﻰ ﻴﻭﻤﻨﺎ ﻫﺫﺍ‪.‬‬
‫)ﺍﻝﺴ‪‬ﻬﻠ ‪‬‬

‫ﻲ ﺒﺘﺩﻤﻴﺭﻩ ﻭﺘﻐﻴﻴـﺏ ﻫﻭﻴﺘـﻪ ﺍﻝﻌﺭﺒﻴ‪‬ـﺔ‬

‫ﻭﻋﺯ‪‬ﺯ ﺍﻻﺤﺘﻼل ﺫﻝﻙ ﻜﻠﹼﻪ ﺒﺴﻌﻴﻪ ﺍﻝﻤﺤﻤﻭﻡ ﺇﻝﻰ ﺘﻐﻴﻴﺭ ﻤﻌﺎﻝﻡ ﺍﻝﻤﻜﺎﻥ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ؛ ﻭﺫﻝﻙ ﺒﻨﻔﻲ ﺍﺴﻡ "ﻓﻠﺴﻁﻴﻥ" ﻭﻤﻭﻗﻌﻬﺎ ﻜﹼﻠﻴ‪‬ﺎ ﻤﻥ ﺨﺭﻴﻁﺔ ﻓﻠﺴﻁﻴﻥ ﻭﺇﺜﺒﺎﺕ ﺍﺴﻡ "ﺇﺴﺭﺍﺌﻴل" ﻤﻜﺎﻨﻪ‪ .‬ﻜﻤﺎ ﺍﺴﺘﺒﻌﺩ ﺨﺭﺍﺌﻁ‬
‫ﻤﻭﺍﻗﻌﻬﺎ ﺍﻝﹼﺘﺎﺭﻴﺨﻴ‪‬ﺔ ﻭﺍﻝﺩ‪‬ﻴﻨﻴ‪‬ﺔ ﻓﻲ ﺨﺭﻴﻁﺔ ﻓﻠﺴﻁﻴﻥ ﺍﻝﹼﺘﺎﺭﻴﺨﻴ‪‬ﺔ‪ .‬ﺜ ‪‬ﻡ ﻨﻔﻰ ﺃﺴﻤﺎﺀ ﻤﺩﻨﻬﺎ ﻭﻗﺭﺍﻫﺎ ﻭﻤﻘﺩ‪‬ﺴﺎﺘﻬﺎ ﺍﻹﺴﻼﻤﻴ‪‬ﺔ ﻋﻥ ﺨﺭﻴﻁﺘﻬﺎ‬
‫ﻭﻫﻭ‪‬ﺩﻫﺎ ﻓﻲ ﺨﺭﺍﺌﻁ ﺍﻝﻌﺎﻝﻡ ﻭﺃﻁﺎﻝﺴﻪ ﺍﻝﻤﻁﺒﻭﻋﺔ ﻭﺍﻹﻝﻜﺘﺭﻭﻨﻴ‪‬ﺔ ﻜﻠﹼﻬﺎ‪ .‬ﻭﻝﻡ ﺘﺴﻠﻡ ﺍﻝﻤﺩﻥ ﻭﺍﻝﻘﺭﻯ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﺍﻵﻫﻠﺔ ﺒﺎﻝﻔﻠﺴـﻁﻴﻨﻴ‪‬ﻴﻥ‬
‫ﻤﻥ ﺸﺭ‪‬ﻩ؛ ﺇﺫ ﺴﻤ‪‬ﺎﻫﺎ ﺒﺄﺴﻤﺎﺌﻪ ﺍﻝﻌﺒﺭﻴ‪‬ﺔ ﻭﺃﺤﺎﻁﻬﺎ ﺒﺴﻭﺍﺭ ﻤﻥ ﺍﻝﻤﺴﺘﻭﻁﻨﺎﺕ ﺍﻝﺘﻲ ﺘﺤﻤل ﺃﺴﻤﺎﺀﻩ ﻭﺘﺤﺎﻭل ﺇﻝﻐﺎﺀ ﺃﺴـﻤﺎﺀ ﺃﻤﺎﻜﻨﻬـﺎ‬
‫ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ‪.‬‬
‫ﺴﻼﻡ ﺍﻝﻭﺍﻫﻲ ﻤﻌﻪ ﺍﻝﺫﻱ ﻴﺤﻤل ﻓﻲ "ﻁﻴ‪‬ﺎﺕ ﺩﻤﻐﺘـﻪ ﺍﻝﻤﺎﺌﻴ‪‬ـﺔ‬
‫ﻭﻓﺎﻗﻡ ﺍﻻﺤﺘﻼل ﺍﻷﻤﺭ ﻓﻲ ﺯﻤﻥ ﺍﻝﻌﻭﻝﻤﺔ؛ ﺯﻤﻥ ﺼﻨﺎﻋﺔ ﺍﻝ ‪‬‬
‫ﻱ ﻝﺤﻅﺔ" )ﺍﻝﺸﹼﺎﻤﻲ‪ .(5 :1986،‬ﻭﻗﺩ ﻤﻨﺤﺘﻪ ﺃﻭﺴﻠﻭ ﺍﻝﻌﺒﻭﺭ ﺇﻝﻰ ﻤﺭﺤﻠـﺔ ﻤـﺎ ﺒﻌـﺩ‬
‫ﺍﺤﺘﻤﺎﻻﺕ ﺘﺠﺩ‪‬ﺩ ﺍﻝﺼ‪‬ﺩﺍﻡ ﻭﺍﻝﺤﺭﻭﺏ ﻓﻲ ﺃ ‪‬‬
‫ﺍﻝﻜﻭﻝﻭﻨﻴﺎﻝﻴ‪‬ﺔ؛ ﻭﻫﻲ‪ ،‬ﻋﻨﺩﻩ‪ ،‬ﻓﺘﺭﺓ ﻤﺎ ﺒﻌﺩ ﺍﺴﺘﻌﻤﺎﺭﻩ ﻝﻔﻠﺴﻁﻴﻥ‪ .‬ﻭﻗﺩ ﺍﺴﺘﺨﺩﻤﻬﺎ ﻝﻭﺼﻑ ﻓﻜﺭﻩ ﻭﻤﺠﺘﻤﻌﻪ ﺍﻝﻤﻌﺎﺼـﺭﻴﻥ ﻭﺤﺎﻝـﺔ‬
‫ﺍﻝﹼﺘﻤﻜﹼﻥ ﺍﻝﺘﻲ ﺜ‪‬ﺒﺕ ﻓﻴﻬﺎ ﻭﺠﻭﺩﻩ ﻋﻠﻰ ﺍﻷﺭﺽ )ﺒﻴﻨﻴﺕ ﻭﺭﻓﻴﻘﺎﻩ ‪ .( 575 -573 : 2010،‬ﻭﻫﻲ ﺘﻤﺜﹼل ﻓـﻲ ﻤﻨﻅـﻭﺭﻩ ﺍﻨﺘﻬـﺎﺀ‬
‫ﻤﺭﺤﻠﺔ ﺘﺜﺒﻴﺕ ﻫﻭﻴ‪‬ﺔ ﻤﺠﺘﻤﻌﻪ ﻭﺩﻭﻝﺘﻪ ﺍﻝﺠﺩﻴﺩﺓ ﺍﻝﻤﻌﺘﺭﻑ ﺒﻬﺎ ﺩﻭﻝﻴ‪‬ﺎ!‬
‫ﺸﺭﺍﻜﺔ ﺍﻻﺴﺘﺭﺍﺘﻴﺠﻴ‪‬ﺔ‪.‬‬
‫ﻭﻗﺩ ﺁﺯﺭﺘﻪ ﻓﻲ ﺫﻝﻙ ﻫﻴﺌﺔ ﺍﻷﻤﻡ ﺍﻝﻤﺘﺤﺩﺓ ﻭﺍﻝﻘﻭﻯ ﺍﻻﺴﺘﻌﻤﺎﺭﻴ‪‬ﺔ ﺍﻝﻜﺒﺭﻯ ﻓﻲ ﺍﻝﻌﺎﻝﻡ‪ .‬ﻤﻥ ﻤﻨﻁﻠﻕ ﺍﻝ ﹼ‬
‫ﻲ ﺍﻝﺫﻱ ﺃﻋﺎﺩ ﺍﻝﻴﻬﻭﺩ ﺍﺴﺘﻌﻤﺎﻝﻪ ﻓـﻲ ﻭﺼـﻑ ﺍﻝﻤﺤﺭﻗـﺔ ﺍﻝﻨﹼﺎﺯﻴ‪‬ـﺔ‬
‫ﻭﻋﺒﺭ ﺍﺴﺘﺜﻤﺎﺭﻩ ﻗﺼ‪‬ﺔ "ﺍﻝﻤﺤﺭﻗﺔ"‪ ،‬ﻭﻫﻲ ﺍﻝﻤﺼﻁﻠﺢ ﺍﻝﹼﺘﻭﺭﺍﺘ ‪‬‬
‫ﺍﻝﻬﺘﻠﺭﻴ‪‬ﺔ‪،‬ﻭﻫﻭ ﻴﻘﺎﺒل ﻤﺼﻁﻠﺢ ﺍﻹﺒﺎﺩﺓ ﺍﻝﺠﻤﺎﻋﻴ‪‬ﺔ )ﻁﻭﻨﻲ ﺒﻴﻨﻴﺕ ﻭﺭﻓﻴﻘﺎﻩ‪ .(600-599 : 2010،‬ﻭﺫﻝﻙ ﻀﻤﻥ ﺤﻤﻼﺕ ﻤ‪‬ﻨﻅﹼﻤﺔ‬
‫ل ﻁﺎﻗﺎﺘﻬﺎ ﺒﻬﺩﻑ ﺘﻤﻜﻴﻥ ﻫﻭﻴ‪‬ﺘﻬﺎ ﻭﺘﻌﺯﻴﺯ ﻤﻜﺎﻨﺘﻬﺎ ﺒﻴﻥ ﺩﻭل ﺍﻝﻌﺎﻝﻡ‪ .‬ﺇﺫ ﻭﻅﹼﻔﺕ ﺠﻬﻭﺩﻫـﺎ‬
‫ﻤ‪‬ﻌﻭﻝﻤﺔ ﺴﺨﹼﺭﺕ ﻓﻴﻬﺎ ﺩﻭﻝﺔ ﺍﻻﺤﺘﻼل ﻜ ّ‬
‫ﺍﻝﺩ‪‬ﺒﻠﻭﻤﺎﺴﻴ‪‬ﺔ‪ ،‬ﻭﺍﻹﻋﻼﻤﻴ‪‬ﺔ‪ ،‬ﻭﺍﻝﺩ‪‬ﻋﺎﺌﻴﺔ ﻓﻲ ﻭﺴﺎﺌل ﺍﻹﻋﻼﻡ ﺍﻝﺠﻤﺎﻫﻴﺭﻴ‪‬ﺔ ﺩﺍﺨل ﻜﻴﺎﻨﻬﺎ ﻭﺤﻭل ﺍﻝﻌﺎﻝﻡ ﻝﺘﺭﻭﻴﺞ ﻤﺯﺍﻋﻤﻬـﺎ ﺍﻝﺩ‪‬ﻴﻨﻴ‪‬ـﺔ‬
‫ﺸﺅﻭﻥ ﺍﻝﻌﺎﻝﻤﻴ‪‬ﺔ ﻭﻓﻲ ﺍﻷﺯﻤﺎﺕ ﺍﻝﺩ‪‬ﻭﻝﻴ‪‬ﺔ ﺒﻭﺼـﻔﻬﺎ‬
‫ﻭﺍﻝﺴ‪‬ﻴﺎﺴﻴ‪‬ﺔ‪ .‬ﻭﺸﻜﹼﻠﺕ ﺍﻝﻜﺘل ﺍﻝﺩ‪‬ﺍﻋﻤﺔ ﻝﻬﺎ ﻓﻲ ﺍﻝﻤﺤﺎﻓل ﺍﻝﺩ‪‬ﻭﻝﻴ‪‬ﺔ‪ .‬ﻭﺘﺩﺨﹼﻠﺕ ﻓﻲ ﺍﻝ ﹼ‬
‫ﻲ‪.‬‬
‫ﺩﻭﻝﺔ ﻤﺅﹼﺜﺭﺓ ﻓﻲ ﺍﻝﺴ‪‬ﻴﺎﺴﺎﺕ ﺍﻝﻌﺎﻝﻤﻴ‪‬ﺔ‪ .‬ﻭﻫﻭ ﻤﺎ ﻴﺴﻭ‪‬ﻍ ﺇﻁﻼﻕ ﻤﺼﻁﻠﺢ "ﺍﻷﺴﺭﻝﺔ" ﻋﻠﻰ ﺩﻭﺭﻫﺎ ﺍﻝﻌﺎﻝﻤ ‪‬‬

‫ﻭﻜﺭ‪‬ﺴﺕ ﺫﻝﻙ ﻜﻠﹼﻪ ﺩﺍﺨﻠﻴ‪‬ﺎ ﺒﺤﺭﻜﺔ ﺒﻨﺎﺀ ﺍﺴﺘﻴﻁﺎﻨﻴ‪‬ﺔ ﻤﺴﺘﻤﺭ‪‬ﺓ ﻤﺘﻐﻭ‪‬ﻝﺔ ﻋﻠﻰ ﺍﻷﺭﺽ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﻭﻤﻘﺩ‪‬ﺴﺎﺘﻬﺎ‪ .‬ﻭﺴﻌﺕ ﺇﻝـﻰ‬
‫ل‬
‫ﺸﻌﺏ ﺍﻝﻤﺤﺘـ ّ‬
‫ﻤﺤﻭ ﺍﻝﺘﹼﺎﺭﻴﺦ ﻭﺍﻝﺠﻐﺭﺍﻓﻴﺎ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ‪ ،‬ﻭﺯﻴ‪‬ﻔﺕ ﺍﻝﺤﻘﺎﺌﻕ ﻝﺘﺼﻨﻊ ﺘﺎﺭﻴﺨﹰﺎ ﺼﻬﻴﻭﻨﻴ‪‬ﺎ ﻴﻐﻴ‪‬ﺏ ﺇﻝﻰ ﺤ ‪‬ﺩ ﻜﺒﻴﺭ ﺘﺎﺭﻴﺦ ﺍﻝ ﹼ‬
‫ﻭﻴﺴﻜﺘﻪ)ﺍﻝﺴ‪‬ﻬﻠﻲ‪ .(22-10: 2004 ،‬ﻭﻜﻠﹼﻠﺕ ﺫﻝﻙ ﻜﻠﹼﻪ ﺒﻤﻁﺎﻝﺒﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ ﻭﺍﻝﻌﺎﻝﻡ ﺒﺎﻻﻋﺘﺭﺍﻑ ﺒﻴﻬﻭﺩﻴ‪‬ﺔ ﺍﻝﺩﻭﻝﺔ ﺒﻭﺼﻔﻪ ﺸﺭﻁﹰﺎ‬

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 ‫ﳎﻠﺔ ﻣﻘﺎﻟﻴﺪ ـــــــــــــــــــــــــ ﺍﻟﻌﺪﺩ ﺍﻟﺴﺎﺩﺱ‪ /‬ﺟﻮﺍﻥ ‪2014‬‬
‫ﻲ ﻏﻴﺭ ﺍﻝﻘﺎﺒﻠﺔ ﻝﻠﻨﹼﻔـﻲ‪ ،‬ﻭﻴ‪‬ـﺭﺍﺩ‬
‫ﻲ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﻕ ﺍﻝﺘﹼﺎﺭﻴﺨ ‪‬‬
‫ﺴﻼﻡ ﺍﻝﻌﺎﺩل ﻭﺍﻝﺸﺎﻤل ﻤﻌﻬﺎ ! ﻓﺒﺘﻨﺎ ﺃﻤﺎﻡ ﺭﻭﺍﻴﺘﻴﻥ؛ ﺭﻭﺍﻴﺔ ﺍﻝﺤ ﹼ‬
‫ﻝﺘﺤﻘﻴﻕ ﺍﻝ ‪‬‬
‫ﺘﻐﻴﻴﺒﻬﺎ‪ ،‬ﻭﺭﻭﺍﻴﺔ ﺍﻻﺤﺘﻼل ﺍﻝﺯ‪‬ﺍﺌﻔﺔ‪ ،‬ﻭﻴ‪‬ﺭﺍﺩ ﺇﺜﺒﺎﺘﻬﺎ ﻭﺘﺜﺒﻴﺘﻬﺎ‪.‬‬

‫ﺸﺨﺹ ﺍﻝﺫﻱ ﻴﺘﺨﻠﹼﻰ ﻋﻥ ﺍﻝﻤﺒﺎﺩﺉ ﻓﻲ ﺴﻴﺎﻕ ﻤﺎ ﻴﺴﻤ‪‬ﻰ ﻓﻲ‬

‫ﻭﻴﻤﺎﺭﺱ ﺫﻝﻙ ﻜﻠﹼﻪ ﺒﺎﺴﻡ ﺍﻝﺒﺭﺍﻏﻤﺎﺘﻴ‪‬ﺔ ﺍﻝﺴ‪‬ﻴﺎﺴﻴ‪‬ﺔ ﺍﻝﺘﻲ ﺘﻌﻨﻲ" ﺍﻝ ﹼ‬
‫ﺞ ﺒﺎﻝﺩ‪‬ﺨﺎﻥ")ﺒﻴﻨﻴـﺕ ﻭﺭﻓﻴﻘـﺎﻩ‪،‬‬
‫ﺍﻝﻌﺎﺩﺓ ﺒـ"ﻤﻔﺎﻭﻀﺎﺕ ﺍﻝﻤﺴﺎﻭﻤﺔ" ﻭﺍﻝﹼﺘﻨﺎﺯﻻﺕ ﺍﻝﺘﹼﻲ ﺘﺘﹼﺨﺫ ﻓﻲ ﺼﻔﻘﺎﺕ ﺍﻷﺭﻭﻗﺔ ﻭﺍﻝﻐﺭﻑ ﺍﻝﺘﹼﻲ ﺘﻌ ‪‬‬
‫ﻲ‪.‬‬
‫ﻕ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﺹ ﻴﺤﺫﹼﺭ ﻤﻥ ﺇﺴﻘﺎﻁ ﺭﻭﺍﻴﺔ ﺍﻝﺤ ﹼ‬
‫‪ (143 :2010‬ﻓﻲ ﺇﻁﺎﺭ ﻤﺎ ﻴﻌﺭﻑ ﺒﺴﻼﻡ ﺍﻝﺸﹼﺠﻌﺎﻥ‪ .‬ﻭﺍﻝﹼﻨ ‪‬‬

‫ﻀﻴﺎﻉ ﺒﺘﺴﺠﻴﻠﻪ ﻜﻤﺎ ﻫﻭ ﺤﺎﻀﺭ ﻓﻲ ﺫﺍﻜﺭﺓ ﺍﻝﻼﺠﺌﻴﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ‪ .‬ﻓﺎﻝﺭ‪‬ﻭﺍﻴـﺔ‬

‫ﻭﻫﻭ ﻤﺎ ﺘﺴﻌﻰ ﺍﻝﻜﺎﺘﺒﺔ ﺇﻝﻰ ﺤﻔﻅﻪ ﻤﻥ ﺍﻝ ‪‬‬
‫ﻲ ﻤﺼﺩﺭﻩ ﺍﻝﻤﺩﻭ‪‬ﻥ ﻜﺘﺏ ﺍﻝﹼﺘﺎﺭﻴﺦ ﻭﺍﻝﺠﻐﺭﺍﻓﻴﺎ ﻭﺍﻝﻭﺜـﺎﺌﻕ ﺍﻝﻤﺅﺭ‪‬ﺨـﺔ‬
‫ﻲ ﻤﺼﻭﻍ ﺒﺄﺴﻠﻭﺏ ﺃﺩﺒ ‪‬‬
‫ﻲ ﻝﺘﺎﺭﻴﺦ ﺤﻘﻴﻘ ‪‬‬
‫ﻲ ﺘﻭﺜﻴﻘ ‪‬‬
‫ﺴﺭﺩ ﺘﺴﺠﻴﻠ ‪‬‬
‫ﻱ ﺍﻝﻤ‪‬ﺴﻁﹼﺭ ﻓﻲ ﺍﻝﺫﹼﺍﻜﺭﺓ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﺒﺸـﻬﺎﺩﺍﺕ ﺤﻘﻴﻘﻴ‪‬ـﺔ ﻝﻼﺠﺌـﻴﻥ‬
‫ﻝﻔﻠﺴﻁﻴﻥ ﻭﺇﻨﺴﺎﻨﻬﺎ‪ .‬ﻭﻤﺼﺩﺭﻩ ﻏﻴﺭ ﺍﻝﻤﺩﻭ‪‬ﻥ ﺍﻝﹼﺘﺎﺭﻴﺦ ﺍﻝﺸﹼﻔﻭ ‪‬‬
‫ﻓﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ ﻋﺎﻴﺸﻭﺍ ﺘﺎﺭﻴﺦ ﺍﻝﻘﻀﻴ‪‬ﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﺒﺘﻔﺎﺼﻴﻠﻪ ﺍﻝﻜﺎﺭﺜﻴ‪‬ﺔ ﻓﻲ ﻤﺠﺘﻤﻊ ﻤﺎ ﻗﺒل ﻨﻜﺒﺔ ﻓﻠﺴﻁﻴﻥ‪،‬ﻭﺃﺜﻨﺎﺀﻫﺎ‪ ،‬ﻭﻤﺠﺘﻤﻌﺎﺕ ﻤـﺎ‬
‫ل ﺘﺴـﺠﻴل ﻝﺸـﻬﺎﺩﺓ‬
‫ﺹ ﻜﻜـ ﱟ‬
‫ﺸﺘﺎﺕ ﺤﺘﹼﻰ ﻨﻬﺎﻴﺔ ﺯﻤﻥ ﺍﻝﺴ‪‬ﺭﺩ‪ .‬ﻭﺍﻝﹼﻨ ‪‬‬
‫ﺒﻌﺩﻫﺎ ﻓﻲ ﺍﻝﻭﻁﻥ ﺍﻝﻤﺤﺘلّ‪ ،‬ﻭﺨﺎﺭﺠﻪ ﻓﻲ ﺒﻠﺩﺍﻥ ﺍﻝﻠﹼﺠﻭﺀ ﻭﺍﻝ ﹼ‬
‫ل‬
‫ﺍﻝﺴ‪‬ﺎﺭﺩﺓ ﺭﻀﻭﻯ ﻋﺎﺸﻭﺭ ﻋﻠﻰ ﻤﺄﺴﺎﺓ ﺍﻝﻼﺠﺌﻴﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ‪،‬ﻭﻋﻠﻰ ﺇﺨﻔﺎﻕ ﺍﻝﻌﺭﺏ ﻭﻤﻨﻅﹼﻤﺔ ﺍﻝﺘﹼﺤﺭﻴﺭ ﻓﻲ ﺍﻝﻭﺼﻭل ﺇﻝﻰ ﺍﻝﺤـ ّ‬
‫ﺍﻝﻤﻨﺸﻭﺩ ﻝﺘﻠﻙ ﺍﻝﻤﺄﺴﺎﺓ‪ .‬ﻭﻫﻲ ﺍﻝﻤﻭﺍﻜﺒﺔ ﻝﻭﻗﺎﺌﻊ ﺍﻝﻘﻀ‪‬ﻴﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﻭﺘﺎﺭﻴﺨﻬﺎ ﺍﻝﻤﻌﺎﺼﺭ‪.‬‬

‫ﻲ‪ .‬ﻓﺎﻝﻭﻁﻥ ﺍﻝﻐﺎﺌﺏ ﺍﻝﺤﺎﻀـﺭ ﻓـﻲ‬

‫ﺹ ﻋﻠﻴﻪ ﻤﻴﺜﺎﻗﻪ ﺍﻝﺩ‪‬ﻭﻝ ‪‬‬
‫ﻭﻫﻭ ﺃﻤﺭ ﻴﺘﻭﺍﻓﻕ ﺘﻤﺎﻤ‪‬ﺎ ﻤﻊ ﺘﺸﺭﻴﻌﺎﺕ ﺤﻘﻭﻕ ﺍﻹﻨﺴﺎﻥ ﻜﻤﺎ ﻨ ‪‬‬
‫ﺹ ﻭﺍﻝﻼﺠﺊ‪ ،‬ﻓﻲ ﻭﺍﻗﻊ ﺍﻝﺤـﺎل‪،‬‬
‫ﻲ ﺍﻝﻌﺫﺍﺏ ﻭﺍﻷﻝﻡ ‪ ،‬ﻭﻫﻤﺎ ﻤﺤﻭﺭﺍ ﺍﻝﹼﻨ ‪‬‬
‫ﺍﻝﺫﹼﺍﻜﺭﺓ ﺍﻝﻤﺤﺼ‪‬ﻨﺔ ﻭﺍﻝﻤﻨﻔﻰ ﺍﻝﺫﻱ ﻴﻤﺜﹼل ﻝﻼﺠﺊ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﻲ ﻤﻥ ﺍﻝﻭﻁﻥ‪ ،‬ﻴﻨﻔـﺫ ﺇﻝـﻰ ﺼـﻤﻴﻡ‬
‫ﻥ ﺍﻝﻤﻨﻔﻰ ﺤﺭﻤﺎﻥ ﺃﺴﺎﺴ ‪‬‬
‫‪‬ﻴﺤﺭﻡ ﺤﻘﹰﺎ ﺇﻨﺴﺎﻨﻴﹰﺎ ﻭﺍﺠﺘﻤﺎﻋﻴﹰﺎ ﺃﺴﺎﺴﻴﺎﹰ‪ ،‬ﻭﻫﺫﺍ ﺍﻝﺤﻕ ﻀﺭﻭﺭﻱ؛ ﻷ ‪‬‬
‫ﺍﻝﺨﺼﺎﺌﺹ ﺍﻝﹼﺜﺎﺒﺘﺔ ﺍﻝﺘﻲ ﺘﻜﹼﻭﻥ ﻫﻭﻴﺘﻨﺎ ﺍﻝﺸﺨﺼﻴﺔ ﻭﺍﻝﺠﻤﺎﻋﻴﺔ‪ ،‬ﻓﻠﻨﺎ ﺍﻝﺤﻕ ﻓﻲ ﻭﻁﻨﻨﺎ‪ ،‬ﻓﻲ ﺍﻝﻌﻴﺵ ﺒﺴﻼﻡ ﻭﺃﻤﺎﻥ ﺤﻴﺙ ﻭﻝﺩﻨﺎ‪ ،‬ﻭﻓﻲ‬
‫ﻼ ﺒﻌﺩ‬
‫ﻤﺭﺍﺒﻊ ﺃﺴﻼﻓﻨﺎ ﻭﺜﻘﺎﻓﺘﻨﺎ ﻭﺘﺭﺍﺜﻨﺎ‪ .‬ﻓﻔﻲ ﻨﻔﻲ ﺍﻹﻨﺴﺎﻥ ﻤﻥ ﻭﻁﻨﻪ‪ ،‬ﺒل ﻓﻲ ﺴﻠﺨﻪ ﺒﺎﻝﻘﻭﺓ ﻋﻥ ﻋﻼﻗﺔ ﺤﻤﻴﻤﻴﺔ ﺒﺄﻓﺭﺍﺩ ﻋﺎﺌﻠﺘﻪ ﺠﻴ ﹰ‬
‫ﺠﻴل‪ ،‬ﻤﻤﺎ ﻴﺨﻠﻕ ﻋﺫﺍﺒﹰﺎ ﺭﻭﺤﻴﹰﺎ ﻻ ﻴﻤﻜﻥ ﺃﺒﺩﹰﺍ ﺍﻝﺸﻔﺎﺀ ﻤﻨﻪ ﺒﺼﻭﺭﺓ ﺘﺎﻤﺔ‪.‬‬

‫ﻲ ﻭﺇﻋﺎﺩﺓ ﺍﻝﹼﺘﻭﻁﻴﻥ ﻓﻲ ﺒﻠﺩ ﺁﺨﺭ ﺨﻴﺎﺭﺍﺕ ﻤﻤﻜﻨﺔ ﺘﻭﻓﺭ ﺍﻝﺤﻤﺎﻴﺔ ﻝﻼﺠﺌﻴﻥ ﻭﺘﻤﻜﻨﻬﻡ ﻤﻥ ﺒﺩﺀ ﺤﻴـﺎﺓ‬
‫ﻭﻗﺩ ﻴﻤﺜل ﺍﻝ ‪‬ﺩﻤﺞ ﺍﻝﻤﺤﻠ ‪‬‬
‫ﺸﺨﺹ ﻻﺠﺌﺎ‪ .‬ﻜﻤﺎ ﺃﻥ ﺃﻴﹰﺎ ﻤﻨﻬﻤﺎ ﻻ‬
‫ﻱ ﻤﻨﻬﻤﺎ ﺍﻝﻤﺸﻜﻠﺔ ﺍﻝﺘﻲ ﺠﻌﻠﺕ ﻤﻥ ﺍﻝ ﹼ‬
‫لﺃ ‪‬‬
‫ﺠﺩﻴﺩﺓ‪ .‬ﻝﻜﻥ ﻝﻴﺱ ﺃﻱ ﻤﻨﻬﻤﺎ ﺤﻘﹰﺎ ﻓﻲ ﺫﺍﺘﻪ‪ ،‬ﻭﻻ ﻴﺤ ّ‬
‫ﻴﺒﺩﺩ ﺍﻝﺤﺭﻤﺎﻥ ﻤﻥ ﺍﻝﺤﻘﻭﻕ ﺍﻷﺴﺎﺴ‪‬ﻴﺔ ﻭﺍﻝﺫﻱ ﺴﻴﺤﻤﻠﻪ ﺍﻝﻼﺠﺊ ﺍﻝﻌﺎﺠﺯ ﻋﻥ ﺍﻝﻌﻭﺩﺓ ﺇﻝﻰ ﺩﻴﺎﺭﻩ‪ ،‬ﻁﻭﺍل ﺤﻴﺎﺘﻪ‪ ،‬ﻭﺭﺒﻤﺎ ﻝﻌﺩﺓ ﺃﺠﻴﺎل‬
‫ل ﺍﻷﻤﺜل ﻝﻬﺫﺍ ﺍﻻﻨﺴﻼﺥ ﻴﻜﻤﻥ ﻓـﻲ ﻭﻀـﻊ ﺤـﺩ‬
‫ﻥ ﺍﻝﺤ ّ‬
‫ﻻﺤﻘﺔ ﻝﻼﺠﺌﻴﻥ ﺍﻝﺫﻴﻥ ﻴﺠﺭﻱ ﺇﻋﺎﺩﺓ ﺘﻭﻁﻴﻨﻬﻡ ﻓﻲ ﺜﻘﺎﻓﺎﺕ ﻏﺭﺒﻴﺔ‪ ،‬ﺇﻻ ﺃ ‪‬‬
‫ﻝﻐﺭﺒﺘﻪ‪ ،‬ﺃﻱ‪ ،‬ﻓﻲ ﺍﻝﻌﻭﺩﺓ ﺇﻝﻰ ﺩﻴﺎﺭﻩ‪ ،‬ﺃﻱ ﻋﻭﺩﺘﻪ ﺇﻝﻰ ﻭﻁﻨﻪ ﺍﻷﺼﻠﻲ )ﺘﺎﻜﻤﺒﺭﻍ‪ .( 294 :2003 ،‬ﻭﻫﻲ ﺨﻼﺼـﺔ ﺍﻝﺭ‪‬ﺴـﺎﻝﺔ‬
‫ﻕ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ‪.‬‬
‫ﺹ ﻜﻤﺎ ﺘﺘﺸﺎﺭﻙ ﺍﻝﻜﺎﺘﺒﺔ ﻓﻴﻬﺎ ﻤﻊ ﺃﺼﺤﺎﺏ ﺍﻝﺤ ﹼ‬
‫ﺍﻷﺩﺒﻴ‪‬ﺔ ﻝﻠﹼﻨ ‪‬‬

‫ﺼﻴ‪‬ﺔ ﻓﻲ ﻨﺴﻴﺞ ﻨﺼ‪‬ﻬﺎ ﻝﺘﺸـﻜﹼل ﺒـﺫﻝﻙ‬

‫ﺼﺭﻴﺤﺔ ﻭﺍﻝﻤﻀﻤﺭﺓ‪ :‬ﺘﻌﺩ‪‬ﺩ ﺘﻭﻅﻴﻑ ﺍﻝﻜﺎﺘﺒﺔ ﻝﻠﻤﺘﻔﺎﻋﻼﺕ ﺍﻝﹼﻨ ‪‬‬
‫ﺏ‪ -‬ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺍﻝﺘﹼﻨﺎﺼ‪‬ﺎﺕ ﺍﻝ ‪‬‬
‫ﻱ ﻋﻠـﻰ ﻨﺤـﻭ‬
‫ﺹ ﻋﻠﻰ ﻨﺼﻭﺹ ﺃﺨﺭﻯ ﻤﺨﺘﻠﻔﺔ ﺒﻐﻴﺔ ﺘﺸﻜﻴل ﺍﻝﻤﻨﻅﻭﺭ ﺍﻝﺴ‪‬ﺭﺩ ‪‬‬
‫ﻝﻭﺤﺔ ﻓﺴﻴﻔﺴﺎﺌﻴ‪‬ﺔ ﻏﻨﻴ‪‬ﺔ ﺒﺎﻝﺩ‪‬ﻻﻻﺕ‪ ،‬ﺇﺫ ﺍﻨﻔﺘﺢ ﺍﻝﹼﻨ ‪‬‬
‫ﻴﺼل ﺍﻝﻜﺎﺘﺏ ﺒﺎﻝﻭﺍﻗﻊ ﻭﺼﻼ ﻴﺤﻘﹼﻕ ﺍﻝﻤﻌﺎﻴﺸﺔ ﻭﺍﻝﹼﺘﻔﺎﻋل ﻤﻊ ﺭﺅﻴﺔ ﺍﻝﻜﺎﺘﺒﺔ ﻭﻤﻭﻗﻔﻬﺎ ﻤﻥ ﺤﺎﻝﺔ ﺍﻝﻠﹼﺠﻭﺀ ﻭﺍﻝﻨﹼﻔﻲ ﺍﻝﻤﺴﺘﻤﺭ‪‬ﺓ ﻝﺸـﻌﺏ‬
‫ﺒﺄﻜﻤﻠﻪ‪ .‬ﻭﻤ ‪‬ﺭ ﺒﻨﺎ ﺸﻭﺍﻫﺩ ﻋﺩﻴﺩﺓ ﻋﻠﻴﻬﺎ ﻓﻲ ﻤﺘﻥ ﺍﻝﺒﺤﺙ‪ ،‬ﻭﺍﻝﺭ‪‬ﻭﺍﻴﺔ ﺤﺎﻓﻠﺔ ﺒﻬﺎ‪ .‬ﻭﻤﻥ ﺃﻤﺜﻠﺘﻬﺎ ﺃﻴﻀ‪‬ﺎ‪" ،‬ﻭﺍﻗﻌﺔ ﺍﻝﺜﹼﻭﺏ" ﻭ"ﺸﻭ ﺒـﺩ‪‬ﻱ‬
‫ﺃﺤﻜﻲ ﺘﺎﺤﻜﻲ")ﻋﺎﺸﻭﺭ‪ .(242-231 :2011 ،‬ﻓﺈﺤﺎﻝﺔ ﺠﻤﻠﺘﻲ ﻋﻨﻭﺍﻥ ﺍﻝﻔﺼل ﺍﻷﺭﺒﻌﻴﻥ ﻭﻤﻀﻤﻭﻨﻪ ﻴﺸﻴﺭﺍﻥ ﺇﻝﻰ ﻤﻭﻀـﻭﻋﺔ‬
‫ﻲ ﺒﺄﻨﹼﻪ ﻝﻬـﻡ‬
‫ﻲ ﺒﺎﻨﺘﺤﺎﻝﻪ ﻭﺘﺯﻴﻴﻑ ﻤﺭﺠﻌﻴ‪‬ﺘﻪ ﺍﻝﺤﻘﻴﻘﻴ‪‬ﺔ؛ ﻭﺫﻝﻙ ﺒﺈﻴﻬﺎﻡ ﺍﻝﻌﺎﻝﻡ ﺍﻝﻐﺭﺒ ‪‬‬
‫ﻲ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﺴﺭﻗﺔ ﺩﻭﻝﺔ ﺍﻻﺤﺘﻼل ﻝﻠﺘﹼﺭﺍﺙ ﺍﻝﺸﹼﻌﺒ ‪‬‬
‫ﻲ ﻝﻔﻠﺴﻁﻴﻥ ﺯﻭﺭ‪‬ﺍ‪ ،‬ﻓﻬﻭ ﺃﻤﺭ ﻤﺘﹼﺼل ﺒﺘﻤﺜﻴل ﺍﻝ ‪‬ﻬﻭﻴ‪‬ﺔ ﺍﻝﻭﻁﻨﻴ‪‬ﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﺍﻝﺘﻲ ﻴﺤﺎﻭل ﺍﻻﺤـﺘﻼل‬
‫ﻝﻴﺜﺒﺘﻭﺍ ﻋﻤﻕ ﺍﻨﺘﻤﺎﺌﻬﻡ ﺍﻝﺘﹼﺎﺭﻴﺨ ‪‬‬
‫ﻲ ﻝﺭﻤﺯﻴ‪‬ﺘﻪ ﺍﻝﻭﻁﻨﻴ‪‬ﺔ ﺍﻝﻌﺎﻝﻴﺔ ﻭﺤﻔﺎﻅﹰﺎ ﻋﻠﻴﻪ‬
‫ل ﺍﻝﻼﺠﺌﻴﻥ ﻫﻡ ﺃﺸ ‪‬ﺩ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ ﺍﺴﺘﻤﺴﺎﻜﹰﺎ ﺒﺎﻝﺜﹼﻭﺏ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﺍﻗﺘﻼﻋﻬﺎ ﺃﻭ ﺘﻐﻴﻴﺒﻬﺎ‪ .‬ﻭﻝﻌ ّ‬
‫ﺒﺎﻝﻤﺤﺎﻓﻅﺔ ﻋﻠﻰ ﺇﻨﺘﺎﺠﻪ ﻭﺍﺭﺘﺩﺍﺌﻪ‪ .‬ﻓﻬﻭ ﺘﺭﺍﺙ ﺼﻤﻴﻡ ﻴﺼﻠﻬﻡ ﺒﻤﺩﻨﻬﻡ ﻭﻗﺭﺍﻫﻡ ﺍﻝﺘﻲ ﻫﺠ‪‬ﺭﻭﺍ ﻤﻨﻬﺎ ﻓﻲ ﻓﻠﺴﻁﻴﻥ ﻜﻠﹼﻬﺎ‪.‬‬

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 ‫ﳎﻠﺔ ﻣﻘﺎﻟﻴﺪ ـــــــــــــــــــــــــ ﺍﻟﻌﺪﺩ ﺍﻟﺴﺎﺩﺱ‪ /‬ﺟﻮﺍﻥ ‪2014‬‬
‫ﻭﻜﺫﻝﻙ ﺍﻝﻌﻨﻭﺍﻥ"ﺍﻝﺴﺒﺕ ‪) "5/15‬ﻋﺎﺸﻭﺭ‪ ،(75-47 :2011 ،‬ﻭﺍﻝﻌﻨﻭﺍﻥ "ﺤﻴﻥ ﺍﺤﺘﻠﻭﺍ ﺍﻝﺒﻠﺩ"" )ﻋﺎﺸﻭﺭ‪-58 :2011 ،‬‬
‫‪ ،(67‬ﻭﻫﻤﺎ ﻴﺤﻴﻼﻥ ﺇﻝﻰ ﻋﻼﻤﺔ ﻓﺎﺭﻗﺔ ﻓﻲ ﺘﺎﺭﻴﺦ ﻗﻀﻴ‪‬ﺘﻨﺎ‪ .‬ﻭﻫﻲ ﺇﻋﻼﻥ ﻗﻴﺎﻡ ﺩﻭﻝﺔ ﺍﻻﺤﺘﻼل ﻋﻠﻰ ﺃﺭﺽ ﻓﻠﺴﻁﻴﻥ ﺍﻝﻐﺭﺒﻴ‪‬ﺔ ﻋﺎﻡ‬
‫ﻲ ﻭﺘﺤﻭ‪‬ﻝﺕ ﻫﻭﻴ‪‬ﺔ ﻤﻜﺎﻨﻪ ﻭﺇﻨﺴﺎﻨﻪ‪-‬ﻅﺎﻫﺭﻴ‪‬ـﺎ‪-‬‬
‫‪ ،1948‬ﻭﻫﻭ ﻴﻭﻡ ﺍﻝﻨﹼﻜﺒﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﺍﻝﻜﺒﺭﻯ ﺍﻝﺫﻱ ﺍﻨﻘﻠﺏ ﻓﻴﻪ ﺍﻝﻤﺠﺘﻤﻊ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﻲ ﻋ ‪‬ﺯ ﻨﻅﻴﺭﻩ‪ .‬ﻭﺍﻝﻌﻨﻭﺍﻥ"ﺴﻭﻤﺎﻨﺎ"ﻤﺭﺒﻴ‪‬ﺔ ﺍﻷﻁﻔـﺎل‪ ،‬ﻭﻤﻀـﻤﻭﻥ‬
‫ل ﻭﻫﻭﻴ‪‬ﺘﻪ ﺍﻝﻤﺼﻁﻨﻌﺔ ﻓﻲ ﻭﻗﺕ ﻗﻴﺎﺴ ‪‬‬
‫ﺇﻝﻰ ﻤﺠﺘﻤﻊ ﺍﻵﺨﺭ ﺍﻝﻤﺤﺘ ّ‬
‫ﺍﻝﻔﺼل ﺍﻝﺫﻱ ﹸﺘﻅﻬﺭ ﻓﻴﻪ ﺍﻝﻜﺎﺘﺒﺔ ﺘﻌﺎﻁﻑ ﺍﻝﻐﺭﻴﺒﺔ ﺍﻝﻤﻨﻔ‪‬ﻴﺔ ﻤﻊ ﺍﻝﻤﻐﺘﺭﺒﺔ ﺍﻝﻌﺎﻤﻠﺔ ﺍﻵﺴﻴﻭﻴ‪‬ﺔ‪ ،‬ﻭﻫﻭ ﻴﺤﻴل ﺇﻝﻰ ﺍﻝﻤﺸﺎﺭﻜﺔ ﺍﻝﻭﺠﺩﺍﻨﻴ‪‬ـﺔ‬
‫ﻲ ﺍﻝﻼﺠﺊ ﻭﺍﻝﻐﺭﻴﺏ ﺍﻝﻤﻐﺘﺭﺏ ﻋﻥ ﺃﻫﻠﻪ ﻭﻨﺎﺴﻪ ﻭﻴﺘﺄﻝﹼﻡ ﺒﺴﺒﺏ ﻓﺭﺍﻗﻪ ﻝﻬﻡ‪ .‬ﻭﺍﻝﻌﻨﻭﺍﻥ"‪) " 1982‬ﻋﺎﺸـﻭﺭ‪،‬‬
‫ﺍﻝﻭﺍﻗﻌﺔ ﺒﻴﻥ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫‪ "(187-183 :2011‬ﻭﺍﻝﻌﻨﻭﺍﻥ"ﺍﻝﺫﹼﺒﺎﺏ"")ﻋﺎﺸﻭﺭ‪ ، (189-188 :2011 ،‬ﻭﻫﻤﺎ ﻴﺤﻴﻼﻥ ﺇﻝﻰ ﺍﺠﺘﻴﺎﺡ ﺍﻻﺤـﺘﻼل ﺍﻝﻌﺎﺼـﻤﺔ‬
‫ﺒﻴﺭﻭﺕ ‪ 1982‬ﻭﺘﻨﻔﻴﺫﻩ ﻤﺠﺯﺭﺓ ﺼﺒﺭﺍ ﻭﺸﺎﺘﻴﻼ ﺍﻝﺒﺸﻌﺔ ﻭﻤﺠﺎﺯﺭ ﺃﺨﺭﻯ ﻭﻨﺘﺎﺌﺞ ﺘﻠـﻙ ﺍﻝﺤـﺭﺏ ﺍﻝﻔﺎﺩﺤـﺔ ﻋﻠـﻰ ﺍﻝﻼﺠﺌـﻴﻥ‬
‫ﺍﻝﻔﻠﺴﻁﻴﻨ‪‬ﻴﻴﻥ ﺁﻨﺫﺍﻙ‪.‬‬
‫ﻭﺜﻤ‪‬ﺔ ﺇﺤﺎﻝﺔ ﻀﻤﻨﻴ‪‬ﺔ ﺃﺨﺭﻯ ﻓﻲ ﻓﺼل "ﺍﻝﺫﹼﺒﺎﺏ" ﺘﺘﻤﺜﹼل ﻓﻲ ﺍﻝﺠﻤل ﺍﻝﻭﺍﺼﻔﺔ ﻝﻜﺜﺭﺓ ﻀﺤﺎﻴﺎ ﺍﻝﻤﺠﺎﺯﺭ ﻤﻥ ﺍﻝﻔﻠﺴـﻁﻴﻨﻴ‪‬ﻴﻥ‬
‫ﺸﻤﺱ ﺭﺍﺌﺤﺔ ﻭﺴﺤﺏ ﻤﻥ ﺫﺒﺎﺏ‪ .‬ﺍﺒﺴﻁﻲ ﻜﻤﺎ ﺭﺃﻴﺘﻬﻡ ﻴﻔﻌﻠـﻭﻥ‪،‬‬
‫ﻭﻗﺘﺫﺍﻙ‪ ،‬ﺇﺫ ﺘﻘﻭل ﺍﻝﺭ‪‬ﺍﻭﻴﺔ‪ " :‬ﻤﻥ ﻁﻠﻌﺔ ﺍﻝﻨﹼﻬﺎﺭ ﺇﻝﻰ ﻏﺭﻭﺏ ﺍﻝ ﹼ‬
‫ﻤﻼﺀﺓ ﺘﻐﻁﹼﻲ ﻤﺎ ﺭﺃﻴﺕ ﻁﻭﺍل ﺴﻨﻭﺍﺕ‪ ،‬ﻭﻴﻭﻡ ﺍﻝﺭ‪‬ﺍﺌﺤﺔ ﻭﺍﻝﺫﹼﺒﺎﺏ‪ .‬ﺍﺘﺭﻜﻲ ﻴﺎ ﺭﻗﻴ‪‬ﺔ ﺍﻝﺼ‪‬ﻔﺤﺔ ﻝﻠﺒﻴﺎﺽ"")ﻋﺎﺸـﻭﺭ‪-189 :2011،‬‬
‫ﺴﻴﺎﻕ ﺍﻝﺴ‪‬ﺎﺒﻕ ﺇﻝﻰ ﻨﺘﺎﺌﺞ ﺍﻝﻤﺠﺎﺯﺭﺓ ﺍﻝﺒﺸﻌﺔ ﻓﻲ ﻤﺨﻴ‪‬ﻡ ﺼﺒﺭﺍ ﻭﺸﺎﺘﻴﻼ ﻭﻓﻲ ﺒﻴﺭﻭﺕ ﺍﻝﺘﻲ ﺭﺍﺡ ﻀﺤﻴ‪‬ﺘﻬﺎ ﺁﻻﻑ‬
‫‪ .(190‬ﻭﻴﺤﻴل ﺍﻝ ‪‬‬
‫ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ ﺍﻝﻼﺠﺌﻴﻥ‪.‬‬
‫ﻱ ﻓﻠﺠـﺄﺕ‬
‫ﻭﻗﺩ ﺒﺩﺍ ﻭﺼﻑ ﻤﺸﻬﺩ ﺍﻝﻤﻭﺕ ﻤﺄﺴﺎﻭﻴ‪‬ﺎ ﺇﻝﻰ ﺍﻝﺤ ‪‬ﺩ ﺍﻝﺫﻱ ﻝﻡ ﺘﺴﺘﻁﻊ ﻤﻌﻪ ﺍﻝﻜﺎﺘﺒﺔ ﺍﻝﹼﺘﻌﺒﻴﺭ ﻋﻨﻪ ﺒﺎﻷﺴﻠﻭﺏ ﺍﻝﻠﹼﻐﻭ ‪‬‬
‫ل ﻗﺎﺼﺭ‪‬ﺍ ﻋﻥ ﻨﻘل‬
‫ﺼﻔﺤﺔ ﺴﻴﻅ ّ‬
‫ﻥ ﺘﺴﻭﻴﺩ ﺍﻝ ‪‬‬
‫ﺇﻝﻰ"ﺍﻝﻜﺘﺎﺒﺔ ﺍﻝﺒﻴﻀﺎﺀ" ﻓﻲ ﺩﺭﺠﺔ ﺍﻝﺼ‪‬ﻔﺭ‪ ،‬ﺍﻝﻜﺘﺎﺒﺔ ﺍﻝﺤﺭ‪‬ﺓ ﺍﻝﻤﻔﺘﻭﺤﺔ ﻋﻠﻰ ﺍﻝﻤﻌﺎﻨﻲ ؛ ﻷ ‪‬‬
‫ﺤﻘﻴﻘﺘﻬﺎ ﺍﻝﺼ‪‬ﺎﺩﻤﺔ ﺍﻝﻔﺎﺠﻌﺔ‪ .‬ﻭﻫﻭ ﻤﺎ ﺴﻤ‪‬ﺎﻩ "ﺭﻭﻻﻥ ﺒﺎﺭﺙ" ﺒـ "ﺍﻝﻜﺘﺎﺒﺔ ﻓﻲ ﺩﺭﺠﺔ ﺍﻝﺼ‪‬ﻔﺭ"‪ ،‬ﻭﻫﻭ ﻋﻨﻭﺍﻥ ﻜﺘﺎﺏ ﻝﻪ‪ ،‬ﻴﻘﻭل ﻓﻴﻪ‪" :‬‬
‫ل ﺃﺤﻭﺍل ﺍﻝﺘﹼﺭﺴﻴﺦ‬
‫ﻅ ﻋﻠﻰ ﺩﻴﻜﻭﺭ ﺍﻝﻜﻠﻤﺎﺕ‪-‬ﻗﺩ ﺍﺠﺘﺎﺯﺕ ﻜ ّ‬
‫ﻥ ﺍﻝﻜﺘﺎﺒﺔ ﺒﺎﻨﻁﻼﻗﻬﺎ ﻤﻥ ﺍﻝﻌﺩﻡ ﺤﻴﺙ ﻴﺒﺩﻭ ﺍﻝﻔﻜﺭ ﻤﺘﻌﺎﻝﻴ‪‬ﺎ ﻝﺤﺴﻥ ﺍﻝﺤ ﹼ‬
‫ﺇ‪‬‬
‫ﻲ ﻭﻫﻭ ﺍﻝﻐﻴﺎﺏ‪ .‬ﺍﻝﻐﻴـﺎﺏ‬
‫ﻲ‪ :‬ﻓﻜﺎﻨﺕ ﻓﻲ ﺍﻝﺒﺩﺀ ﻤﻭﻀﻭﻋ‪‬ﺎ ﻝﻠﻔﻌل‪ ،‬ﻭﺃﺨﻴﺭ‪‬ﺍ ﻤﻭﻀﻭﻋ‪‬ﺎ ﻝﻠﻘﺘل‪ ،‬ﻭﺒﻠﻐﺕ ﺍﻝﻴﻭﻡ ﺘﺤﻭ‪‬ﻝﻬﺎ ﺍﻝﻨﹼﻬﺎﺌ ‪‬‬
‫ﺍﻝﺘﹼﺩﺭﻴﺠ ‪‬‬
‫ﺩﺍﺨل ﻫﺫﻩ ﺍﻝﻜﻠﻤﺎﺕ ﺍﻝﻤﺤﺎﻴﺩﺓ ﺍﻝﺘﻲ ﻨﺩﻋﻭﻫﺎ ﻫﻨﺎ "ﺍﻝﻜﺘﺎﺒﺔ ﻓﻲ ﺩﺭﺠﺔ ﺍﻝﺼﻔﺭ"")ﺒﺎﺭﺙ‪ .(10: 2002،‬ﻭﻫﻭ ﻤﺎ ﺘﻤﺜﹼﻠﺘﻪ ﺍﻝﻜﺎﺘﺒﺔ ﻓـﻲ‬
‫ﺍﻝﺼﻔﺤﺔ ‪ 190‬ﻤﻥ ﺭﻭﺍﻴﺘﻬﺎ‪ ،‬ﺇﺫ ﺘﺭﻜﺘﻬﺎ ﺒﻴﻀﺎﺀ ﻝﺘﻭﺤﻲ ﻝﻠﻘﺎﺭﺉ ﺒﺫﻝﻙ ﺍﻝﻤﻌﻨﻰ ﺍﻝﻤﺄﺴﺎﻭﻱ ﺍﻝﺫﻱ ﺘﻌﺠﺯ ﺍﻝﻜﻠﻤﺎﺕ ﻋـﻥ ﻭﺼـﻔﻪ‪،‬‬
‫ﻭﺘﺭﻜﺕ ﻝﻪ ﻤﺠﺎﻻ ﻹﻋﻤﺎل ﺨﻴﺎﻝﻪ ﻓﻲ ﺇﻋﺎﺩﺓ ﺇﻨﺘﺎﺝ ﺼﻭﺭ ﺍﻝﻤﺸﻬﺩ ﺍﻝﻤﺭﻭ‪‬ﻋﺔ ﻭﻤﻘﺎﺭﺒﺘﻬﺎ ﻤﻊ ﻨﺘﺎﺌﺞ ﺍﻝﻤﺠﺎﺯﺭ ﺍﻷﻭﻝﻰ ﺍﻝﺘﻲ ﺍﺭﺘﻜﺒﻬﺎ‬
‫ﻕ ﺸﻌﺒﻨﺎ ﻓﻲ ﻓﻠﺴﻁﻴﻥ ﺍﻝﺘﹼﺎﺭﻴﺨﻴ‪‬ﺔ‪.‬‬
‫ﺍﻻﺤﺘﻼل ﺒﺤ ﹼ‬
‫ﻭﻤﻥ ﺃﻤﺜﻠﺔ ﺍﻹﺤﺎﻝﺔ ﺍﻝﻀ‪‬ﻤﻨﻴ‪‬ﺔ "ﺍﻝﺴﻠﺴﺎل" ")ﻋﺎﺸﻭﺭ‪ ،(363-360 :2011 ،‬ﻭﻫﻭ ﻋﻨﻭﺍﻥ ﻓﺼل ﻴﺤﻴل ﺇﻝﻰ ﻫﺩﻴ‪‬ﺔ ﻋﺒـﺩ‬
‫ﺼﻔﺤﺔ ﺍﻝﻔﻀﻴ‪‬ﺔ ﺍﻝﻤﻨﻤﻨﻤﺔ ﺒﺤﺠﻡ ﻋﻘﻠﺔ ﺍﻹﺼﺒﻊ ﺍﻝﻤﺤﻔﻭﺭ ﻋﻠﻴﻬﺎ ﺍﺴﻡ "ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ ؛ "ﺍﻝﺠﺩ‪‬ﺓ ﺭﻗﻴ‪‬ﺔ"‬
‫ﻷﻤ‪‬ﻪ ﺭﻗﻴ‪‬ﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ‪ ،‬ﻭﻫﻭ ﺍﻝ ‪‬‬
‫)ﻋﺎﺸﻭﺭ‪ ،(363 :2011،‬ﻭﻗﺩ ﻋﻠﹼﻘﺘﻪ ﻓﻲ ﻋﻨﻘﻬﺎ ﻤﺩ‪‬ﺓ ﻤﻥ ﺍﻝﺯ‪‬ﻤﻥ ﺜ ‪‬ﻡ ﺃﻫﺩﺘﻪ ﻝﺤﻔﻴﺩﺘﻬﺎ ﺭﻗﻴ‪‬ﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴـﺔ‪ ،‬ﺍﺒﻨـﺔ ﺤﺴـﻥ‪ ،‬ﺫﺍﺕ‬
‫ﺍﻷﺭﺒﻌﺔ ﺃﺸﻬﺭ ﻭﺍﻝﻤﻭﻝﻭﺩﺓ ﻓﻲ ﻓﻠﺴﻁﻴﻥ ﻭﺍﻝﻤﻘﻴﻤﺔ ﻓﻴﻬﺎ‪-‬ﻭﻗﺩ ﻋﺎﺩ ﺃﻫﻠﻬﺎ ﺇﻝﻰ ﻓﻠﺴﻁﻴﻥ ﻤﻥ ﻜﻨﺩﺍ‪ ،-‬ﺇﺫ ﻨﺯﻋﺘﻪ ﺍﻝﺠﺩ‪‬ﺓ ﻤـﻥ ﻋﻨﻘﻬـﺎ‬
‫ﻝﺘﻌﻠﹼﻘﻪ ﻓﻲ ﻋﻨﻕ ﺤﻔﻴﺩﺘﻬﺎ ﻭﺘﻬﺩﻴﻬﺎ ﻤﻌﻪ ﻤﻔﺘﺎﺡ ﺒﻴﺘﻬﺎ ﻓﻲ ﺒﻠﺩﻫﺎ ﺍﻝﻤﻨﻜﻭﺏ")ﻋﺎﺸﻭﺭ‪. (454-453 :2011 ،‬‬
‫ﻥ ﺤﻔﺭﻴ‪‬ﺎﺕ ﺍﻝﺫﹼﺍﻜﺭﺓ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﻻ ﻴﻤﻜﻥ ﻨﺴﻴﺎﻨﻬﺎ ﺃﻭ ﺍﻝﺘﹼﻔﺭﻴﻁ ﺒﻬﺎ‪ ،‬ﻤﻬﻤﺎ‬
‫ﻕ ﺍﻝﻌﻭﺩﺓ‪ .‬ﺫﻝﻙ ﺃ ‪‬‬
‫ﻭﻫﻭ ﻓﻌل ﺘﻭﺭﻴﺙ ﺼﺭﻴﺢ ﻝﺤ ﹼ‬
‫ﺴﻠﻙ ﺍﻝﺸﹼﺎﺌﻙ ﺍﻝﺫﻱ ﻴﻔﺼل ﺸﻤﺎل ﻓﻠﺴﻁﻴﻥ ﻋـﻥ ﺠﻨـﻭﺏ‬
‫ﻁﺎل ﻋﻠﻴﻬﺎ ﺍﻝﺯ‪‬ﻤﻥ‪ .‬ﻭﻗﺩ ﻭﻗﻊ ﺍﻝﻠﹼﻘﺎﺀ ﺒﻴﻥ ﺍﻷ ‪‬ﻡ ﻭﺍﺒﻨﻬﺎ ﻭﺃﺤﻔﺎﺩﻫﺎ ﻋﻨﺩ ﺍﻝ ‪‬‬
‫ﺴﻨﻭﻴ‪‬ﺔ ﻝﺩﺤﺭ ﺍﻻﺤﺘﻼل ﻋﻥ ﺍﻝﺠﻨﻭﺏ‪ .‬ﻭﻓﻲ ﻫﺫﺍ ﺼﻴﻐﺔ ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺩﺍﻝﹼﺔ ﻋﻠﻰ ﺇﺼﺭﺍﺭ ﺍﻝﻼﺠﺌﻴﻥ ﻋﻠﻰ ﺍﻝﻌﻭﺩﺓ‬
‫ﻝﺒﻨﺎﻥ ﻓﻲ ﺍﻻﺤﺘﻔﺎﻝﻴ‪‬ﺔ ﺍﻝ ‪‬‬
‫ﻁﺭﻕ ﺍﻝﻤﺘﺎﺤﺔ ﺃﻤﺎﻤﻬﻡ‪ ،‬ﻭﺃﻤﻠﻬﻡ ﻜﺒﻴﺭ ﺒﺘﺤﺭﻴﺭ ﺍﻝﻭﻁﻥ ﻜﻠﹼﻪ ﻓﻲ ﻴﻭﻡ ﻗﺭﻴﺏ‪.‬‬
‫ل ﺍﻝ ﹼ‬
‫ﺇﻝﻰ ﻓﻠﺴﻁﻴﻨﻬﻡ ﺒﻜ ّ‬
‫ﻲ‬
‫ﻭﺜﻤ‪‬ﺔ ﻋﻼﻤﺔ ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺃﺨﺭﻯ ﺘﺘﻤﺜﹼل ﻓﻲ ﺍﺴﺘﺩﻋﺎﺀ ﻨﻤﺎﺫﺝ ﻤﻥ ﻜﺎﺭﻴﻜﺎﺘﻭﺭ ﺍﻝﺸﹼﻬﻴﺩ ﻨﺎﺠﻲ ﺍﻝﻌﻠـﻲ ﺍﻝﺭ‪‬ﺴـﺎﻡ ﺍﻝﻔﻠﺴـﻁﻴﻨ ‪‬‬
‫ﺍﻝﺸﹼﻬﻴﺭ ﻭﺒﻌﺽ ﻤﻭﺍﻗﻔﻪ ﺍﻝﺴ‪‬ﻴﺎﺴﻴ‪‬ﺔ ﻓﻲ ﻓﺼل ﺍﻝﺭ‪‬ﻭﺍﻴﺔ ﺍﻷﺨﻴﺭ‪ .‬ﻭﻫﻲ ﺇﺸﺎﺭﺓ ﺇﻝـﻰ ﻤـﺎ ﻜـﺎﻥ ﻴﺴﺘﺸـﺭﻓﻪ ﻨـﺎﺠﻲ ﺒﺭﺴـﻭﻤﺎﺘﻪ‬
‫ﺼﺤﻑ ﺍﻝﻠﹼﺒﻨﺎﻨﻴ‪‬ﺔ ﻭﺍﻝﻌﺭﺒﻴ‪‬ﺔ ﺤﻭل ﻭﺍﻗﻊ ﻤﺄﺴﺎﺓ ﺍﻝﻼﺠﺌﻴﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ‪ ،‬ﻭﺤﺘﻤﻴ‪‬ـﺔ ﻋـﻭﺩﺘﻬﻡ ﺇﻝـﻰ‬
‫ﺍﻝﻜﺎﺭﻴﻜﺎﺘﻭﺭﻴ‪‬ﺔ ﺍﻝﻤﻨﺸﻭﺭﺓ ﻓﻲ ﺍﻝ ‪‬‬
‫ﺴﻴﺎﺴﺎﺕ ﺍﻝﻌﺭﺒﻴ‪‬ﺔ ﺘﺠﺎﻫﻬﻡ‪) .‬ﻋﺎﺸﻭﺭ‪.(459-458 :2011 ،‬‬
‫ﺍﻝﻭﻁﻥ‪ ،‬ﻭﻨﻘﺩﻩ ﺍﻝﻼﺫﻉ ﻝﻠ ‪‬‬

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 ‫ﳎﻠﺔ ﻣﻘﺎﻟﻴﺪ ـــــــــــــــــــــــــ ﺍﻟﻌﺪﺩ ﺍﻟﺴﺎﺩﺱ‪ /‬ﺟﻮﺍﻥ ‪2014‬‬
‫ﻕ‬
‫ﻲ ﻝﻠﻜﺎﺘﺒﺔ ﻋﺒـﺭ ﺴـﺭﺩﻫﺎ ﻝﺭﻭﺍﻴـﺔ ﺍﻝﺤـ ﹼ‬
‫ﻲ ﻝﻠﺴ‪‬ﺭﺩ ﻭﺭﺴﺎﻝﺘﻪ ﺍﻝﻌﺎﻤ‪‬ﺔ‪ :‬ﺘﺠﻠﹼﻰ ﺍﻝﻤﻭﻗﻑ ﺍﻷﺩﺒ ‪‬‬
‫ﺝ‪ -‬ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ ﺍﻝﻤﻨﻅﻭﺭ ﺍﻝﺭ‪‬ﻭﺍﺌ ‪‬‬
‫ﻕ ﺍﻝﻌـﻭﺩﺓ ‪ ،‬ﻭﻓـﻲ‬
‫ﻲ ﻜﻤﺎ ﺘﻤﻅﻬﺭﺕ ﻓﻲ ﻤﺼﺎﺩﺭﻫﺎ ﺍﻝﻤﺨﺘﻠﻔﺔ ﻭﺃﻫﻤ‪‬ﻬﺎ ﺫﺍﻜﺭﺓ ﺍﻝﻼﺠﺌﻴﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ‪ ،‬ﻓﻲ ﺘﻤﻜﻴﻥ ﺤـ ﹼ‬
‫ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﻲ ﻓﻲ ﺍﻝﻌـﻭﺩﺓ‬
‫ﺭﻓﻀﻬﺎ ﺍﻝﺘﻨﺎﺯل ﻋﻨﻪ‪ ،‬ﻭﻓﻲ ﺤﺜﹼﻬﺎ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ ﻋﻠﻰ ﺤﻔﻅ ﺫﺍﻜﺭﺘﻬﻡ ﺍﻝﻭﻁﻨﻴ‪‬ﺔ ﻋﺒﺭ ﺘﺩﻭﻴﻨﻬﺎ ﻭﺇﺸﻬﺎﺭ ﺤﻘﹼﻬﻡ ﺍﻝﻘﺎﻨﻭﻨ ‪‬‬
‫ﺸﺭﺍﺌﻊ ﺍﻝﺩ‪‬ﻭﻝﻴ‪‬ﺔ‪ .‬ﻭﻜﺫﻝﻙ ﻓﻲ ﻨﻔﻴﻬﺎ ﻝﺭﻭﺍﻴﺔ ﺍﻻﺤﺘﻼل ﺍﻝﺯ‪‬ﺍﺌﻔﺔ ‪.‬‬
‫ﺇﻝﻰ ﻭﻁﻨﻬﻡ‪ ،‬ﻜﻤﺎ ﻜﻔﻠﺘﻪ ﻝﻬﻡ ﺍﻝ ﹼ‬
‫ﺨﺎﺘﻤﺔ ﺍﻝﺒﺤﺙ‪ :‬ﻴﻤﻜﻥ ﺇﺠﻤﺎل ﻨﺘﺎﺌﺞ ﺍﻝﺒﺤﺙ ﻓﻲ ﺍﻝﻨﹼﻘﺎﻁ ﺍﻵﺘﻴﺔ‪:‬‬
‫ﻲ ﻋﻤﺎﺩ ﺍﻝﺴ‪‬ﺭﺩ‪ .‬ﻭﻨﻬﺽ ﻤﺭﻜﺯ ﺍﻝﹼﺘﺒﺌﻴﺭ ﻓﻴﻪ ﻋﻠﻰ ﺘﻤﻜﻴﻥ ﻫﻭﻴ‪‬ﺔ ﺍﻹﻨﺴﺎﻥ‬
‫ﻲ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫‪ -‬ﺸﻜﹼﻠﺕ ﺫﺍﻜﺭﺓ ﺍﻝﻠﹼﺠﻭﺀ ﻓﻲ ﺍﻝﻤﺨﻴﺎل ﺍﻝﺠﻤﻌ ‪‬‬
‫ﻲ ﻓﻲ ﺯﻤﻥ ﺍﻝﻌﻭﻝﻤﺔ ﺍﻝﺜﹼﻘﺎﻓﻴ‪‬ﺔ‪.‬‬
‫ﻲ ﻭﺍﻝﻌﺭﺒ ‪‬‬
‫ﻲ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﻭﻫﻭﻴ‪‬ﺔ ﺍﻝﻤﻜﺎﻥ ﻓﻲ ﺍﻝﻌﻘل ﺍﻝﺠﻤﻌ ‪‬‬
‫‪ -‬ﺘﻤﻜﻨﺕ ﺍﻝﻜﺎﺘﺒﺔ ﻤﻥ ﺘﺤﻭﻴل ﺭﺅﻴﺘﻬﺎ ﺍﻝﺫﹼﺍﺘﻴ‪‬ﺔ ﻋﺒﺭ ﺭﺅﻴﺘﻬﺎ ﺍﻝﻔﻨﻴ‪‬ﺔ ﻓﻲ ﺍﻝﺴ‪‬ﺭﺩ ﺇﻝﻰ ﺭﺅﻴﺔ ﻋﺎﻤ‪‬ﺔ ﻴﺸﺎﺭﻜﻬﺎ ﻓﻴﻬﺎ ﺠﻤﻬﻭﺭ ﻋﺭﻴﺽ ﻤﻥ‬
‫ﺍﻝﻤﺘﻠﻘﹼﻴﻥ‪ .‬ﻝﻴﻐﺩﻭ ﺨﻁﺎﺒﻬﺎ ﺒﺫﻝﻙ ﺒﺅﺭﺓ ﺍﻝﺘﻘﺎﺀ ﺘﺠﺘﻤﻊ ﻓﻴﻬﺎ ﺠﻤﻠﺔ ﺍﻝﺭ‪‬ﺅﻯ ﻭﺍﻝﻌﻼﻤﺎﺕ ﺍﻝﺘﻲ ﺃﻨﺘﺠﺘﻬﺎ ﻓﻴﻪ ﺍﻨﻁﻼﻗﹰﺎ ﻤـﻥ ﻭﻀـﻌﻬﺎ‬
‫ﻲ ﻭﺭﺅﻴﺘﻬﺎ ﻝﻠﻌﺎﻝﻡ ﻤﻥ ﺤﻭﻝﻬﺎ‪ .‬ﻭﻗﺩ ﻝﻌﺒﺕ ﺤﺼﺎﻓﺘﻬﺎ ﺩﻭﺭ‪‬ﺍ ﺭﺌﻴﺴ‪‬ﺎ ﻓﻲ ﺼﻨﺎﻋﺔ ﺫﻝـﻙ‬
‫ﻲ ﻭﺍﻝﻨﹼﻔﺴ ‪‬‬
‫ﻲ ﻭﺍﻝﺴ‪‬ﻴﺎﺴ ‪‬‬
‫ﻲ ﻭﺍﻻﺠﺘﻤﺎﻋ ‪‬‬
‫ﺍﻝﺜﹼﻘﺎﻓ ‪‬‬
‫ﻜﻠﹼﻪ؛ ﻤﻤ‪‬ﺎ ﻭﻀﻊ ﺨﻁﺎﺒﻬﺎ ﻓﻲ ﻤﻭﺍﺠﻬﺔ ﺨﻁﺎﺏ ﺍﻵﺨﺭ ﺍﻝﻨﹼﻘﻴﺽ‪.‬‬
‫ﻲ ﻓﻲ"ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ" ﻨﻘﻁﺔ ﺘﺤﻭ‪‬ل ﻓﻲ ﺘﺎﺭﻴﺦ ﺃﺩﺏ ﺍﻝﻘﻀﻴ‪‬ﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ؛ ﺫﻝﻙ ﺃﻨﹼﻪ ﺨﻁـﺎﺏ ﻤﺨﺘﻠـﻑ ﻓـﻲ‬
‫‪-‬ﻴﻤﺜﹼل ﺍﻝﺨﻁﺎﺏ ﺍﻝ ‪‬ﺭﻭﺍﺌ ‪‬‬
‫ﻲ ﺍﻝﻤﻘﺎﻭﻡ‪ .‬ﻓﻘﺩ ﺭﺼﺩ ﺍﻝﺒﺎﺤﺙ‬
‫ﻤﻭﻀﻭﻋﻪ ﻭﻓﻲ ﺃﺴﻠﻭﺏ ﻜﺘﺎﺒﺘﻪ ﻋﻥ ﺴﺎﺒﻘﻴﻪ‪ .‬ﺇﺫ ﻴﻘﺘﺭﺏ ﻤﻥ ﺤﺩﻭﺩ ﺍﻝﺨﻁﺎﺏ ﺍﻝﺭ‪‬ﻭﺍﺌﻲ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﻓﻲ ﺍﻝﺭ‪‬ﻭﺍﻴﺔ ﻓﻜ ‪‬ﺭﺍ ﺃﺩﺒ‪‬ﻴﺎ ﻤﺘﻜﺎﻤﻼ ﻤﻊ ﺭﺅﻴﺔ ﺍﻝﻜﺘﹼﺎﺏ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ ﺘﺠﺎﻩ ﻗﻀﻴ‪‬ﺘﻬﻡ ﺍﻝﻤﺼﻴﺭﻴ‪‬ﺔ‪ .‬ﻭﺸﻜﹼل ﻋﻼﻤﺔ ﺃﺴﻠﻭﺒﻴ‪‬ﺔ ﻓﺎﺭﻗﺔ ﻓﻲ‬
‫ﻲ‪ .‬ﻓﺎﻝﺭ‪‬ﻭﺍﻴﺔ ﻭﺜﻴﻘﺔ ﺃﺩﺒﻴ‪‬ﺔ ﻭﺘﺎﺭﻴﺨﻴ‪‬ﺔ ﺸﺎﻫﺩﺓ ﻋﻠﻰ ﻤﺄﺴﺎﺓ ﺍﻝﻼﺠﺌﻴﻥ ﺍﻝﻤﺴـﺘﻤﺭ‪‬ﺓ‪،‬‬
‫ﺯﻤﻥ ﺍﻝﻌﻭﻝﻤﺔ‪ .‬ﺇﺫ ﻻ ﻨﻅﻴﺭ ﻝﻪ ﻓﻲ ﺃﺩﺒﻨﺎ ﺍﻝﻌﺭﺒ ‪‬‬
‫ل ﺍﻝﻁﹼﺭﻭﺤﺎﺕ ﺍﻝﻤﻐﺎﻴﺭﺓ ﻝﻬﺎ‪.‬‬
‫ﻭﻤﺘﺨﻁﹼﻴﺔ ﻝﻜ ّ‬
‫ﻕ ﺍﻝﻌﻭﺩﺓ( ﻤﺴﺎ ‪‬ﺭﺍ ﺠﺩﻴـﺩ‪‬ﺍ‬
‫ﻱ)ﺘﻤﻜﻴﻥ ﺤ ﹼ‬
‫‪ -‬ﻤﺜﹼﻠﺕ ﺃﻁﺭﻭﺤﺔ ﺍﻝﺴ‪‬ﺭﺩ)ﻫﺎﺠﺱ ﺍﻝﻬﻭﻴ‪‬ﺔ ﺍﻝﻭﻁﻨﻴ‪‬ﺔ ﻭﺴﺅﺍل ﺍﻝﻀ‪‬ﺤﻴ‪‬ﺔ( ﻭﻤﻨﻅﻭﺭﻫﺎ ﺍﻝﺴ‪‬ﺭﺩ ‪‬‬
‫ﻲ ﻭﻤﻜﻭ‪‬ﻨﺎﺘﻪ ﻓﻲ ﺃﺩﺏ ﺍﻝﻘﻀﻴ‪‬ﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﺍﻝﹼﻨﺎﺠﺯ‪ .‬ﻓﻬﻲ ﺭﻭﺍﻴﺔ ﺩﺭﺍﻤﻴ‪‬ﺔ‪ -‬ﺴﻴﺎﺴﻴ‪‬ﺔ ﻤﺸﺘﺠﺭﺓ ﺒﺎﻝﺘﹼﺎﺭﻴﺦ ﻭﺍﻝﺘﹼﺭﺍﺙ‬
‫ﻝﻠﺨﻁﺎﺏ ﺍﻷﺩﺒ ‪‬‬
‫ﻕ ﻋﻭﺩﺓ ﺍﻝﻼﺠﺌﻴﻥ ﺇﻝﻰ‬
‫ﻭﺍﻷﻴﺩﻴﻭﻝﻭﺠﻴﺎ ﺍﻝﻭﻁﻨﻴ‪‬ﺔ ﻭﻤﺒﺎﺩﺉ ﺤﻘﻭﻕ ﺍﻹﻨﺴﺎﻥ‪ .‬ﻭﺨﺎﺼ‪‬ﺔ ﺒﻌﺩ ﺘﻭﻗﻴﻊ ﺍﺘﹼﻔﺎﻗﻴ‪‬ﺔ ﺃﻭﺴﻠﻭ ﺍﻝﺘﻲ ﺃﺴﻘﻁﺕ ﺤ ﹼ‬
‫ﻤﺩﻨﻬﻡ ﻭﻗﺭﺍﻫﻡ ﻓﻲ ﻤﻨﺎﻁﻕ ‪ 48‬ﻭ ‪.67‬‬
‫ﺹ‪.‬‬
‫ﻲ ﻋﺒﺭ ﻀﻤﻴﺭ ﺍﻷﻨﺎ ﺍﻝﺴ‪‬ﺎﺭﺩ ﻝﻠﹼﻨ ‪‬‬
‫ﻲ ﻝﻼﺠﺊ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫‪ -‬ﺠﺴ‪‬ﺩﺕ ﺍﻝﺭ‪‬ﺍﻭﻴﺔ ﺍﻝﺒﻁﻠﺔ ﺭﻗﻴ‪‬ﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ ﺍﻝﻘﻨﺎﻉ ﺍﻝﻤﻌﺎﺩل ﺍﻝﻤﻭﻀﻭﻋ ‪‬‬
‫ﻜﻤﺎ ﺼﺎﻏﺕ ﺃﻁﺭﻭﺤﺔ ﺍﻝﺴ‪‬ﺭﺩ ﻓﻲ ﺍﻝﺭ‪‬ﻭﺍﻴﺔ ﻋﺒﺭ ﺍﻝﺘﹼﻀﻔﻴﺭ ﺒﻴﻥ ﺭﺅﻴﺘﻲ ﺍﻝﻜﺎﺘﺒﺔ؛ ﺍﻹﺒﺩﺍﻋﻴ‪‬ﺔ ﻭﺍﻝﻔﻜﺭﻴ‪‬ﺔ‪ .‬ﻭﻋﺒﺭ ﺍﻝﹼﺘﻀﻔﻴﺭ ﺒـﻴﻥ‬
‫ل‬
‫ﻱ‪ .‬ﻓﻌﻜﺴﺕ ﺒﺫﻝﻙ ﻭﺍﻗﻊ ﺤﻴﺎﺓ ﺍﻝﻼﺠﺌﻴﻥ ﺍﻝﻤﻌﺫﹼﺒﻴﻥ ﻓﻲ ﺍﻝﻤﻨﻔﻰ‪ .‬ﻭﻏﺩﺕ ﺃﻴﻘﻭﻨﺔ ﺒﺼﺭﻴ‪‬ﺔ ﻝﻜ ّ‬
‫ﻲ ﻭﺍﻝﻤﺘﺨﻴ‪‬ل ﺍﻝﺴ‪‬ﺭﺩ ‪‬‬
‫ﺍﻝﺘﹼﺎﺭﻴﺦ ﺍﻝﺤﻘﻴﻘ ‪‬‬
‫ﺍﻝﻼﺠﺌﻴﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﻴﻥ ﻭﺼﻭﺭﺓ ﺍﺴﺘﻌﺎﺭﻴ‪‬ﺔ ﻝﻤﻌﺎﻨﺎﺘﻬﻡ‪ ،‬ﺘﺴﺘﻌﻴﺩ ﺫﺍﻜﺭﺘﻬﻡ ﺍﻝﺠﻤﻌﻴ‪‬ﺔ‪ ،‬ﻭﺘﻭﺜﹼﻕ ﺸﻬﺎﺩﺍﺘﻬﻡ ﻋﻠﻴﻬﺎ‪ ،‬ﻭﺘﺅﺴﺱ ﻝﻤﻭﻗﻑ‬
‫ﻲ ﺠﺩﻴﺩ ﺤﻴﺎل ﺍﻝﺘﹼﻌﺎﻤل ﻤﻊ ﻗﻀﻴ‪‬ﺘﻬﻡ ﺍﻝﻤﺘﺠﺩ‪‬ﺩﺓ‪.‬‬
‫ﻓﻠﺴﻁﻴﻨ ‪‬‬
‫ﻲ‬
‫ﺸﻜل ﺍﻝﻔﻨ ‪‬‬
‫‪ -‬ﺘﺼﻨﹼﻑ ﺭﻭﺍﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ ﻤﻥ ﺠﻬﺔ ﻤﻭﻀﻭﻋﻬﺎ ﻓﻲ ﺩﺍﺌﺭﺓ ﺍﻝﺭ‪‬ﻭﺍﻴﺔ ﺍﻝﺴ‪‬ﻴﺎﺴﻴ‪‬ﺔ ﻭﺍﻝﹼﺘﺎﺭﻴﺨﻴ‪‬ﺔ‪ .‬ﻭﺘﺼﻨﹼﻑ ﻤﻥ ﺠﻬﺔ ﺍﻝ ﹼ‬
‫ﺼﻭﺕ ﺍﻝﻭﺍﺤﺩ‪ ،‬ﻭﺭﻭﺍﻴﺔ ﺘﻴ‪‬ﺎﺭ ﺍﻝﻭﻋﻲ‪ ،‬ﻭﺭﻭﺍﻴﺔ ﺍﻝ ‪‬ﺭﺍﻭﻱ ﺍﻝﻌﻠﻴﻡ‪ ،‬ﻓﻲ ﺁﻥ‬
‫ﻓﻲ ﺇﻁﺎﺭ ﺭﻭﺍﻴﺔ ﺍﻝﻤﻜﺎﻥ‪ ،‬ﻭﺭﻭﺍﻴﺔ ﺍﻝﺤﺩﺙ‪ ،‬ﻭﺭﻭﺍﻴﺔ ﺍﻝ ‪‬‬
‫ﻤﻌ‪‬ﺎ‪ .‬ﻭﻤﻥ ﺠﻬﺔ ﺍﻷﺴﻠﻭﺏ ﻓﻲ ﺇﻁﺎﺭ ﺭﻭﺍﻴﺔ ﺍﻝﻤﺫﻜﹼﺭﺍﺕ؛ ﺃﻭ ﺍﻝﺴ‪‬ﻴﺭﺓ ﺍﻝﺭ‪‬ﻭﺍﺌﻴ‪‬ﺔ ﻤﺘﺩﺍﺨﻠﺔ ﺍﻝﺴ‪‬ﺭﺩ‪ ،‬ﻭﺍﻝﺭ‪‬ﻭﺍﻴﺔ ﺍﻝﺩﺭﺍﻤﻴ‪‬ﺔ‪ ،‬ﻭﺍﻝﺭ‪‬ﻭﺍﻴﺔ‬
‫ﺍﻝﺘﹼﺴﺠﻴﻠﻴ‪‬ﺔ‪.‬‬
‫ﺹ‪ .‬ﻤﻤ‪‬ﺎ ﻁﺒﻌـﻪ ﺒﺼـﺒﻐﺔ ﺍﻝﻭﺜﻴﻘـﺔ ﺍﻷﺩﺒﻴ‪‬ـﺔ‬
‫‪ -‬ﺒﺩﺍ ﺍﺴﺘﺨﺩﺍﻡ ﺍﻝﻜﺎﺘﺒﺔ ﺘﻘﻨﻴﺔ ﺍﻝﻤﺘﻔﺎﻋﻼﺕ ﺍﻝﻨﹼﺼﻴ‪‬ﺔ ﻋﻼﻤﺔ ﺃﺴﻠﻭﺒﻴ‪‬ﺔ ﺒﺎﺭﺯﺓ ﻓﻲ ﺍﻝﹼﻨ ‪‬‬
‫ﻲ ‪ .‬ﻭﺒﺩﺍ ﺘﻭﺍﺼل ﺍﻝﻜﺎﺘﺒﺔ ﻤﻊ ﻨﺼﻭﺹ ﺭﻭﺍﺌﻴ‪‬ﺔ ﻓﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﺘﻭﺍﺼﻼ ﺼـﺭﻴﺤ‪‬ﺎ ﻭﻤﻀـﻤﺭ‪‬ﺍ‬
‫ﻕ ﺍﻝﻔﻠﺴﻁﻴﻨ ‪‬‬
‫ﺍﻝﺘﹼﺎﺭﻴﺨﻴ‪‬ﺔ ﻝﺭﻭﺍﻴﺔ ﺍﻝﺤ ﹼ‬
‫ﺍﻤﺘﺩﺍﺩ‪‬ﺍ ﻝﻤﻭﻀﻭﻉ ﺴﺭﺩﻫﺎ‪ ،‬ﻭﺘﻜﺎﻤﻼ ﻤﻊ ﻤﻨﻅﻭﺭﺍﺘﻬﺎ ﺍﻝﺭ‪‬ﻭﺍﺌﻴ‪‬ﺔ ﺒﻭﺼﻔﻬﺎ ﻨﺼﻭﺼ‪‬ﺎ ﺴﺭﺩﻴ‪‬ﺔ ﻭﺍﺼﻔﺔ ﻭﻤﻭﺜﹼﻘﺔ ﻝﻠﻤﺄﺴﺎﺓ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ‬
‫ﺍﻝﻤﺘﺠﺩ‪‬ﺩﺓ‪ .‬ﻤﻥ ﻤﺜل؛ ﻤﺠﻤﻭﻋﺔ "ﺃﺭﺽ ﺍﻝﺒﺭﺘﻘﺎل ﺍﻝﺤﺯﻴﻥ"‪ ،‬ﻭﺭﻭﺍﻴﺔ "ﺭﺠﺎل ﻓﻲ ﺍﻝﺸﻤﺱ" ﻝﻐﺴ‪‬ﺎﻥ ﻜﻨﻔﺎﻨﻲ‪ .‬ﻭﺭﻭﺍﻴﺎﺕ ﺭﺒﺎﻋﻴ‪‬ـﺔ‬
‫ﺍﻝﻨﹼﻜﺒﺔ ﻝﻴﺤﻴﻰ ﻴﺨﻠﻑ‪ .‬ﻭﺭﻭﺍﻴﺎﺕ ﺇﻤﻴل ﺤﺒﻴﺒﻲ‪ .‬ﻭﺴﺒﺎﻋﻴ‪‬ﺔ ﺍﻝﻤﻠﻬﺎﺓ ﺍﻝﻔﻠﺴﻁﻴﻨﻴ‪‬ﺔ ﻹﺒﺭﺍﻫﻴﻡ ﻨﺼﺭ ﺍﷲ ﻭﻏﻴﺭﻫﺎ‪.‬‬
‫‪ -‬ﺘﻤﻅﻬﺭ ﺃﺴﻠﻭﺏ ﺍﻝﺴ‪‬ﺭﺩ ﻓﻲ ﺍﻝﺭ‪‬ﻭﺍﻴﺔ ﻓﻲ ﻤﺴﺎﺭﻴﻥ ﺭﺌﻴﺴﻴﻥ ﻫﻤﺎ‪ :‬ﺍﻝﺭ‪‬ﻭﺍﻴﺔ ﻤﻥ ﺍﻝﺨﻠﻑ‪،‬ﻋﺒﺭ ﺘﻘﻨﻴﺔ ﺍﻻﺴﺘﺫﻜﺎﺭ ﻭﺘﻴ‪‬ـﺎﺭ ﺍﻝـﻭﻋﻲ‪.‬‬
‫ﻲ‪ ،‬ﻜﻤﺎ ﺘﺠﻠﹼﺕ ﻓﻲ ﺍﻝﺴ‪‬ﺭﺩ‪.‬‬
‫ﻲ ﻝﻸﺤﺩﺍﺙ ﻓﻲ ﺍﻝﻭﺍﻗﻊ ﺍﻝﺤﻘﻴﻘ ‪‬‬
‫ﻭﺍﻝﺭ‪‬ﻭﺍﻴﺔ ﻤﻊ‪ ،‬ﺍﻝﻤﺴﺎﻴﺭﺓ ﻝﻠﹼﺘﻁﻭ‪‬ﺭ ﺍﻝﺘﹼﺎﺭﻴﺨ ‪‬‬

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 ‫ﳎﻠﺔ ﻣﻘﺎﻟﻴﺪ ـــــــــــــــــــــــــ ﺍﻟﻌﺪﺩ ﺍﻟﺴﺎﺩﺱ‪ /‬ﺟﻮﺍﻥ ‪2014‬‬
‫ﻲ ﻋﻠﻰ ﺜﻼﺙ ﻨﻅﺭﻴ‪‬ﺎﺕ ﺭﺌﻴﺴﺔ؛ ﺃﻭ‪‬ﻝﻬﺎ‪ :‬ﻨﻅﺭﻴ‪‬ﺔ ﺍﻷﻴﻘﻭﻨﺔ ﺍﻝﺒﺼﺭﻴ‪‬ﺔ‪ ،‬ﻭﻫـﻲ ﻨﻅﺭﻴ‪‬ـﺔ‬
‫‪ -‬ﺍﻋﺘﻤﺩﺕ ﺍﻝﻜﺎﺘﺒﺔ ﻓﻲ ﺒﻨﺎﺀ ﺴﺭﺩﻫﺎ ﺍﻝﺭ‪‬ﻭﺍﺌ ‪‬‬
‫ﻨﻔﺴﻴ‪‬ﺔ‪ .‬ﻭﺜﺎﻨﻴﻬﻤﺎ‪ :‬ﻨﻅﺭﻴ‪‬ﺔ "ﺍﻝﺫﺍﻜﺭﺓ ﺍﻝﺠﻤﻌﻴ‪‬ﺔ"‪ .‬ﻭﺜﺎﻝﺜﻬﻤﺎ ﻨﻅﺭﻴ‪‬ﺔ "ﺃﻤﺎﻜﻥ ﺍﻝ ﹼﺫﺍﻜﺭﺓ"‪ ،‬ﻭﺍﻷﺨﻴﺭﺘﺎﻥ ﻨﻅﺭﻴ‪‬ﺘﺎﻥ ﺍﺠﺘﻤﺎﻋﻴ‪‬ﺘـﺎﻥ‪ .‬ﻜﻤـﺎ‬
‫ﺒﻨﺕ ﺍﻝﻜﺎﺘﺒﺔ ﺭﻭﺍﻴﺘﻬﺎ ﻋﻠﻰ ﺜﻼﺙ ﻋﻼﻤﺎﺕ ﺭﺌﻴﺴﺔ ﺘﺄﺴ‪‬ﺱ ﻋﻠﻴﻬﺎ ﻤﺭﻜﺯ ﺍﻝﹼﺘﺒﺌﻴﺭ ﻓﻲ ﺍﻝﺴ‪‬ﺭﺩ ﻭﻫﻲ‪:‬ﺃﻁﺭﻭﺤﺔ ﺍﻝﺴ‪‬ـﺭﺩ ﻭﺴـﺅﺍل‬
‫ﻀ ‪‬ﺩﻴ‪‬ﺔ ﺍﻷﻨﺎ ﻭﺍﻵﺨﺭ ﻤﻘﺎﺭﺒﺔ ﺍﻝﺴ‪‬ﺭﺩ ﻤﻊ‬
‫ﺍﻝﻬﻭﻴ‪‬ﺔ‪.‬ﻭﺍﻝﺫﹼﺍﺕ ﺍﻝﻜﺎﺘﺒﺔ ﺍﻝﻤﺘﻘﻨﹼﻌﺔ ﺒﺸﺨﺼﻴ‪‬ﺔ ﺍﻝﺒﻁل‪.‬ﻭﺤﻘﹼﻕ ﺘﻭﻅﻴﻑ ﺃﺴﻠﻭﺒﻴ‪‬ﺔ ﺍﻝﹼﺜﻨﺎﺌﻴ‪‬ﺔ ﺍﻝ ‪‬‬
‫ﺍﻝﻭﺍﻗﻊ ﺍﻷﻝﻴﻡ ﻝﻼﺠﺌﻴﻥ‪.‬‬

‫ﻗﺎﺌﻤﺔ ﺍﻝﻤﺼﺎﺩﺭ ﻭﺍﻝﻤﺭﺍﺠﻊ‪:‬‬

‫ﺃﻭﻻ‪ :‬ﺍﻝﻤﺭﺍﺠﻊ ﺍﻝﻌﺭﺒﻴ‪‬ﺔ ﻭﺍﻝﻤﻌﺭ‪‬ﺒﺔ‪:‬‬
‫‪ -‬ﺍﻷﺤﻤﺭ‪،‬ﻓﻴﺼل‪ :‬ﻤﻌﺠﻡ ﺍﻝﺴﻴﻤﻴﺎﺌﻴ‪‬ﺎﺕ‪ ،‬ﻁ ‪ ،1‬ﺍﻝﺠﺯﺍﺌﺭ‪ :‬ﻤﻨﺸﻭﺭﺍﺕ ﺍﻻﺨﺘﻼﻑ‪ ،‬ﺒﻴﺭﻭﺕ‪ :‬ﺍﻝﺩﺍﺭ ﺍﻝﻌﺭﺒﻴ‪‬ﺔ ﻝﻠﻌﻠﻭﻡ ﻨﺎﺸﺭﻭﻥ‪. 2010 ،‬‬
‫ﻱ ﺒﺤﺙ ﺇﺒﺴﺘﻤﻭﻝﻭﺠﻲ ﺃﻨﻁﻭﻝﻭﺠﻲ‪ ،‬ﻁ ‪ ،1‬ﺒﻴﺭﻭﺕ‪ :‬ﺍﻝﻤﺅﺴﺴﺔ ﺍﻝﺠﺎﻤﻌﻴﺔ ﻝﻠﺩﺭﺍﺴﺎﺕ ﻭﺍﻝﻨﺸﺭ‪.1993،‬‬
‫‪ -‬ﺃﺩﻫﻡ‪،‬ﺴﺎﻤﻲ‪:‬ﻓﻠﺴﻔﺔ ﺍﻝﻠﹼﻐﺔ ﺘﻔﻜﻴﻙ ﺍﻝﻌﻘل ﺍﻝﻠﹼﻐﻭ ‪‬‬
‫ﻲ ‪.2007 ،‬‬
‫ﻲ ﺍﻝﻌﺭﺒ ‪‬‬
‫‪ -‬ﺇﻴﻜﻭ‪،‬ﺃﻤﺒﺭﺘﻭ‪ :‬ﺍﻝﻌﻼﻤﺔ ﺘﺤﻠﻴل ﺍﻝﻤﻔﻬﻭﻡ ﻭﺘﺎﺭﻴﺨﻪ‪.‬ﺘﺭﺠﻤﺔ ﺴﻌﻴﺩ ﺒﻨﻜﺭﺍﺩ‪ ،‬ﻁ ‪ ،1‬ﺍﻝﺩ‪‬ﺍﺭ ﺍﻝﺒﻴﻀﺎﺀ‪ :‬ﺩﺍﺭ ﻜﻠﻤﺔ ‪ ،‬ﺒﻴﺭﻭﺕ‪:‬ﺍﻝﻤﺭﻜﺯ ﺍﻝﺜﹼﻘﺎﻓ ‪‬‬
‫ﻱ ‪. 2002 ،‬‬
‫‪ -‬ﺒﺎﺭﺙ‪،‬ﺭﻭﻻﻥ‪ :‬ﺍﻝﻜﺘﺎﺒﺔ ﻓﻲ ﺩﺭﺠﺔ ﺍﻝﺼ‪‬ﻔﺭ‪.‬ﺘﺭﺠﻤﺔ ﻤﺤﻤﺩ ﻨﺩﻴﻡ ﺨﺸﻔﺔ‪ ،‬ﻁ ‪ ،1‬ﺍﻝﺩﺍﺭ ﺍﻝﺒﻴﻀﺎﺀ‪ :‬ﻤﺭﻜﺯ ﺍﻹﻨﻤﺎﺀ ﺍﻝﺤﻀﺎﺭ ‪‬‬
‫ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺎﺕ ﻤﻔﺎﻫﻴﻤﻬﺎ ﻭﺘﻁﺒﻴﻘﺎﺘﻬﺎ‪ ،‬ﻁ ‪ ، 2‬ﺴﻭﺭﻴﺎ ‪ :‬ﺩﺍﺭ ﺍﻝﺤﻭﺭ ﻝﻠﻨﺸﺭ ﻭﺍﻝﺘﹼﻭﺯﻴﻊ‪.2005 ،‬‬
‫‪ -‬ﺒﻨﻜﺭﺍﺩ‪ ،‬ﺴﻌﻴﺩ‪ :‬ﺍﻝ ‪‬‬
‫‪ -‬ﺒﻴﻨﻴﺕ‪،‬ﻁﻭﻨﻲ ﻭﺭﻓﻴﻘﺎﻩ‪ :‬ﻤﻔﺎﺘﻴﺢ ﺍﺼﻁﻼﺤﻴ‪‬ﺔ ﺠﺩﻴﺩﺓ‪ ،‬ﻤﻌﺠﻡ ﻤﺼﻁﻠﺤﺎﺕ ﺍﻝﺜﹼﻘﺎﻓﺔ ﻭﺍﻝﻤﺠﺘﻤﻊ‪ ،‬ﺘﺭﺠﻤﺔ ﺴﻌﻴﺩ ﺍﻝﻐﺎﻨﻤﻲ‪ ،‬ﻁ ‪ ،1‬ﺒﻴﺭﻭﺕ‪:‬ﺍﻝﻤﻨﻅﹼﻤﺔ ﺍﻝﻌﺭﺒﻴ‪‬ﺔ‬
‫ﻝﻠﺘﹼﺭﺠﻤﺔ‪.2010 ،‬‬
‫‪ -‬ﺘﺎﻜﻤﺒﺭﻍ ‪،‬ﻝِﻜﺱ‪ :‬ﻭﻀﻊ ﺍﻝﻼﺠﺌﻴﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴﻥ ﻓﻲ ﺍﻝﻘﺎﻨﻭﻥ ﺍﻝﺩﻭﻝﻲ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﻤﺅﺴﺴﺔ ﺍﻝﺩﺭﺍﺴﺎﺕ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ‪. 2003 ،‬‬
‫ﺹ‪:‬ﺍﻝﺒﻨﻴﺔ ﻭﺍﻝﺩ‪‬ﻻﻝﺔ‪،‬ﻁ‪ ،1‬ﺍﻝﺩﺍﺭ ﺍﻝﺒﻴﻀﺎﺀ‪ :‬ﻤﻨﺸﻭﺭﺍﺕ ﺍﻝﺭ‪‬ﺍﺒﻁﺔ‪-‬ﺸﺭﻜﺔ ﺍﻝﺭﺍﺒﻁﺔ‪. 1996،‬‬
‫‪ -‬ﺍﻝﺤﺠﻤﺭﻱ‪،‬ﻋﺒﺩ ﺍﻝﻔﺘﹼﺎﺡ‪ :‬ﻋﺘﺒﺎﺕ ﺍﻝﹼﻨ ‪‬‬
‫ﻲ‪،‬ﻋﺎﻤﺭ‪ :‬ﻓﻲ ﺍﻝﻘﺭﺍﺀﺓ ﺍﻝﺴ‪‬ﻴﻤﻴﺎﺌﻴ‪‬ﺔ‪ .‬ﻁ‪ ، 1‬ﺘﻭﻨﺱ‪ :‬ﻤﻁﺒﻌﺔ ﺍﻝﺘﹼﺴﻔﻴﺭ ﺍﻝﻔﻨﻲ‪. 2005،‬‬
‫‪ -‬ﺍﻝﺤﻠﻭﺍﻨ ‪‬‬
‫‪ -‬ﺴﻌﺩﻱ‪،‬ﺃﺤﻤﺩ‪ :‬ﺍﻝﺫﺍﻜﺭﺓ ﻭﺍﻝﻬﻭﻴﺔ‪.‬ﺒﺈﻀﻤﺎﻤﺔ ﻜﺘﺎﺏ"ﻨﺤﻭ ﺼﻴﺎﻏﺔ ﺭﻭﺍﻴﺔ ﺘﺎﺭﻴﺨﻴﺔ ﻝﻠﹼﻨﻜﺒﺔ؛ﺇﺸﻜﺎﻝﻴﺎﺕ ﻭﺘﺤ ‪‬ﺩﻴﺎﺕ‪ ،‬ﺘﺤﺭﻴﺭ‪ :‬ﻤﺼﻁﻔﻰ ﻜﺒﻬﺎ‪ .‬ﺤﻴﻔﺎ‪ :‬ﻤﺭﻜﺯ‬
‫ﻤﺩﻯ ﺍﻝﻜﺭﻤل‪ -‬ﺍﻝﻤﺭﻜﺯ ﺍﻝﻌﺭﺒﻲ ﻝﻠﺩﺭﺍﺴﺎﺕ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﺍﻝﺘﻁﺒﻴﻘﻴﺔ‪. 2006 ،‬‬
‫‪ -‬ﺍﻝﺴ‪‬ﻬﻠﻲ‪،‬ﻨﺒﻴل ﻤﺤﻤﻭﺩ‪:‬ﻓﻠﺴﻁﻴﻥ ﺃﺭﺽ ﻭﺸﻌﺏ ﻤﻥ ﻤﺅﺘﻤﺭ ﺒﺎل ﻭﺤﺘﹼﻰ‪ ،2002‬ﺩﻤﺸﻕ‪ :‬ﻤﻨﺸﻭﺭﺍﺕ ﺍﺘﺤﺎﺩ ﺍﻝﻜﺘﺎﺏ ﺍﻝﻌﺭﺏ‪.2004 ،‬‬
‫‪ -‬ﺍﻝﺸﹼﺎﻤﻲ‪،‬ﺭﺸﺎﺩ ﻋﺒﺩ ﺍﷲ‪:‬ﺍﻝﺸﹼﺨﺼﻴ‪‬ﺔ ﺍﻝﻴﻬﻭﺩﻴ‪‬ﺔ ﺍﻹﺴﺭﺍﺌﻴﻠﻴﺔ ﻭﺍﻝﺭ‪‬ﻭﺡ ﺍﻝﻌﺩﻭﺍﻨﻴ‪‬ﺔ‪،‬ﺴﻠﺴﻠﺔ ﻋﺎﻝﻡ ﺍﻝﻤﻌﺭﻓﺔ‪،‬ﺍﻝﻌﺩﺩ ‪ ،102‬ﺍﻝﻜﻭﻴﺕ‪ :‬ﺍﻝﻤﺠﻠﺱ ﺍﻝﻭﻁﻨﻲ ﻝﻠﺜﻘﺎﻓﺔ‬
‫ﻭﺍﻝﻔﻨﻭﻥ ﻭﺍﻵﺩﺍﺏ‪ ،‬ﻴﻭﻨﻴﻭ‪.1986 ،‬‬
‫‪ -‬ﻋﺎﺸﻭﺭ‪،‬ﺭﻀﻭﻯ‪ :‬ﺭﻭﺍﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴ‪‬ﺔ‪ .‬ﻁ ‪، 2‬ﺍﻝﻘﺎﻫﺭﺓ ‪ :‬ﺩﺍﺭ ﺍﻝﺸﺭﻭﻕ‪.2011 ،‬‬
‫‪ -‬ﻋﺒﺩ ﺍﷲ ‪،‬ﻤﺤﻤﺩ ﻗﺎﺴﻡ‪ :‬ﺴﻴﻜﻠﻭﺠﻴ‪‬ﺔ ﺍﻝﺫﹼﺍﻜﺭﺓ‪،‬ﻗﻀﺎﻴﺎ ﻭﺍﺘﹼﺠﺎﻫﺎﺕ ﺠﺩﻴﺩﺓ‪،‬ﺴﻠﺴﻠﺔ ﻋﺎﻝﻡ ﺍﻝﻤﻌﺭﻓﺔ ‪،‬ﺍﻝﻌﺩﺩ ‪ ،290‬ﺍﻝﻜﻭﻴﺕ‪ :‬ﺍﻝﻤﺠﻠﺱ ﺍﻝﻭﻁﻨﻲ ﻝﻠﺜﻘﺎﻓﺔ ﻭﺍﻝﻔﻨﻭﻥ‬
‫ﻭﺍﻵﺩﺍﺏ‪ ،‬ﻓﺒﺭﺍﻴﺭ‪.2003،‬‬
‫‪ -‬ﻏﻭﻝﺩﻤﺎﻥ‪ ،‬ﻝﻭﺴﻴﺎﻥ‪ :‬ﻤﻘﺩ‪‬ﻤﺎﺕ ﻓﻲ ﺴﻭﺴﻴﻭﻝﻭﺠﻴ‪‬ﺔ ﺍﻝﺭ‪‬ﻭﺍﻴﺔ‪.‬ﺘﺭﺠﻤﺔ ﺒﺩﺭ ﺍﻝﺩ‪‬ﻴﻥ ﻋﺭﻜﻭﺩﻱ‪،‬ﺴﻭﺭﻴﺎ‪ :‬ﺩﺍﺭ ﺍﻝﺤﻭﺍﺭ‪.1993،‬‬
‫‪ -‬ﻤﻴﻭﻜﻭﻓﻴﺴﻜﻲ‪،‬ﻴﻠﻥ ﻭﺁﺨﺭﻭﻥ‪:‬ﺴﻴﻤﻴﺎﺀ ﺒﺭﺍﻍ ﻝﻠﻤﺴﺭﺡ ‪،‬ﺩﺭﺍﺴﺎﺕ ﺴﻴﻤﻴﺎﺌﻴ‪‬ﺔ‪،‬ﺘﺭﺠﻤﺔ ﺃﺩﻤﻴﺭ ﻜﻭﺭﻴ‪‬ﺔ‪،‬ﺩﺭﺍﺴﺎﺕ ﻨﻘﺩﻴ‪‬ﺔ ﻋﺎﻝﻤﻴﺔ‪ ،(31)،‬ﺩﻤﺸﻕ‪ :‬ﻭﺯﺍﺭﺓ ﺍﻝﺜﻘﺎﻓﺔ‪،‬‬
‫ﺴﻭﺭﻴﺔ‪.1997 ،‬‬
‫ﺍﻝﺠﻤﻬﻭﺭﻴﺔ ﺍﻝﻌﺭﺒﻴ‪‬ﺔ ﺍﻝ ‪‬‬

‫ﺜﺎﻨﻴ‪‬ﺎ‪ :‬ﺍﻝﻤﺭﺍﺠﻊ ﺍﻷﺠﻨﺒﻴ‪‬ﺔ ‪:‬‬

‫‪-Barry,Schwartz . “Introduction:The Expansion of the Past.”Qualitative Sociology 1996, 19(3): 275-282.‬‬
‫‪-Barry,Schwartz .“Collective Memory and History: How Abraham Lincoln Became a Symbol of Racial‬‬
‫‪Equality.”The Sociological Quarterly , 1997. 38(3): 470 - 492‬‬
‫‪-Malkki,Lisa.“National Geographic: The Rooting of Peoples and the Territorialization of National Identity‬‬
‫‪among Scholars and Refugees .” Cultural Anthropology Space, Identity, and the Politics of Difference".1992,‬‬
‫‪7:24-44.‬‬
‫‪- Simich ,Laura. Refugee mental health and the meaning of home. Canada: University of Toronto.2010 .‬‬

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