‫‪Hespéris-Tamuda LIV (3) (2019): 413-419‬‬

‫‪Baya Abidi. - Bārdū: as-swānī wa al-quṣūr‬‬

‫)‪khilāl al-fatra al-Husayniya (1705-1957‬‬
‫‪(Tunis: Manshūrāt as-Sabīl/ Majmāʿ al-‬‬
‫‪Atrash linashri al-Kitāb al-mukhtaṣ wa‬‬
‫‪tawzīʿihi, 2019), 517p.‬‬

‫ﺍﻟﺴـﻮﺍﲏ ﻭﺍﻟﻘﺼﻮﺭ ﺧﻼﻝ‬

‫ﺑ ﹼﻴـﺔ ﺍﻟﻌﺒﻴﺪﻱ‪ .-‬ﺑـﺎﺭﺩﻭ‪ :‬ﹼ‬
‫ﺍﻟﻔـﱰﺓ ﺍﳊﺴـﻴﻨ ﹼﻴﺔ )‪) (1957-1705‬ﺗﻮﻧـﺲ‪:‬‬
‫ﺍﻟﺴـﺒﻴﻞ‪/‬ﳎﻤﻊ ﺍﻷﻃﺮﺵ ﻟﻨﴩ ﺍﻟﻜﺘﺎﺏ‬
‫ﻣﻨﺸﻮﺭﺍﺕ ﹼ‬
‫ﺍﳌﺨﺘﺺ ﻭﺗﻮﺯﻳﻌﻪ‪ 517 ،(2019 ،‬ﺹ‪.‬‬
‫ﹼ‬
‫ﺍﻋﺘﻤﺪﺕ ﺍﻟﺒﺎﺣﺜﺔ ﺑ ﹼﻴﺔ ﺍﻟﻌﺒﻴﺪﻱ ﰲ ﻋﻤﻠﻬﺎ ﺍﻟﺼﺎﺩﺭ‬
‫ﺍﻟﺴﻮﺍﲏ ﻭﺍﻟﻘﺼﻮﺭ ﺧﻼﻝ ﺍﻟﻔﱰﺓ‬ ‫ﺣﺪﻳﺜﺎ‪ ،‬ﺑﻌﻨﻮﺍﻥ‪ :‬ﺑﺎﺭﺩﻭ‪ :‬ﹼ‬
‫ﺗﺘﻜﻮﻥ ﺃﺳﺎﺳﺎ ﻣﻦ ﺩﻓﺎﺗﺮ ﳏﻔﻮﻇﺔ‬ ‫ﹼ‬ ‫ﻣﺪﻭﻧﺔ ﻣﺼﺪﺭ ﹼﻳﺔ ﻣﺘﻴﻨﺔ‬
‫ﺍﳊﺴﻴﻨ ﹼﻴﺔ )‪ ،(1957- 1705‬ﻋﲆ ﹼ‬
‫ﺍﻟﺮﺳﻮﻡ ﺍﻟﻌ ﹼﻘﺎﺭ ﹼﻳﺔ ﺑﺄﺭﺷﻴﻒ ﺇﺩﺍﺭﺓ ﺍﳌﻠﻜ ﹼﻴﺔ ﺍﻟﻌ ﹼﻘﺎﺭﻳﺔ‬
‫ﺑﺎﻷﺭﺷﻴﻒ ﺍﻟﻮﻃﻨﻲ ﺍﻟﺘﻮﻧﴘ‪ ،‬ﻭﻣﻠ ﹼﻔﺎﺕ ﹼ‬
‫ﺑﺘﻮﻧﺲ‪ ،‬ﻭﻭﺛﺎﺋﻖ ﺍﻷﻭﻗﺎﻑ ﺍﳌﺮﺍﺩ ﹼﻳﺔ‪ ،‬ﻭﻣﺼﺎﺩﺭ ﻣﻨﺸﻮﺭﺓ ﻣﺜﻞ ﻛﺘﺎﺏ ﺍﳌﺆﻧﺲ ﰲ ﺃﺧﺒﺎﺭ ﺇﻓﺮﻳﻘﻴﺔ‬
‫ﻭﺗﻮﻧﺲ ﻻﺑﻦ ﺃﰊ ﺩﻳﻨﺎﺭ‪ ،‬ﻭﺇﲢﺎﻑ ﺃﻫﻞ ﺍﻟﺰﻣﺎﻥ ﺑﺄﺧﺒﺎﺭ ﻣﻠﻮک ﺗﻮﻧﺲ ﻭﻋﻬﺪ ﺍﻷﻣﺎﻥ ﻷﲪﺪ‬
‫ﻣﺘﻨﻮﻋﺔ ﻣﻦ ﺍﳌﺮﺍﺟﻊ ﺍﻟﻌﺮﺑ ﹼﻴﺔ ﻭﺍﻷﺟﻨﺒ ﹼﻴﺔ‪ .‬ﻭﻳﻨﺪﺭﺝ‬ ‫ﺑﻦ ﺃﰊ ﺍﻟﻀﻴﺎﻑ‪ .‬ﻫﺬﺍ ﻓﻀﻼ ﻋﻦ ﳎﻤﻮﻋﺔ ﹼ‬
‫ﺍﻟﻜﺘﺎﺏ ﺿﻤﻦ ﺍﻟﺘﺎﺭﻳﺦ ﺍﻟﻌ ﹼﻘﺎﺭﻱ ﻭﺗﺎﺭﻳﺦ ﺍﻟﻌﲈﺭﺓ ﳌﺪﻳﻨﺔ ﺗﻮﻧﺲ ﰲ ﺍﻟﻔﱰﺓ ﺍﳊﺪﻳﺜﺔ ﻭﺍﳌﻌﺎﴏﺓ‪،‬‬
‫ﺑﺪﺍﻳﺔ ﻣﻦ ﺗﺄﺳﻴﺲ ﺍﻟﺪﻭﻟﺔ ﺍﳊﺴﻨ ﹼﻴﺔ )‪ (1705‬ﻭﺻﻮﻻ ﺇﱃ ﺇﻋﻼﻥ ﺍﳉﻤﻬﻮﺭ ﹼﻳﺔ ﺍﻟﺘﻮﻧﺴﻴﺔ )‪.(1956‬‬
‫ﺗﻄﻮﺭ‬‫ﺍﻷﻭﻝ ﻋﻨﻮﺍﻥ ”ﺑﺎﺭﺩﻭ‪ :‬ﹼ‬ ‫ﺗﺘﻜﻮﻥ ﺍﻟﺪﺭﺍﺳﺔ ﻣﻦ ﻗﺴﻤﲔ ﺃﺳﺎﺳ ﹼﻴﲔ‪ ،‬ﳛﻤﻞ ﺍﻟﻘﺴﻢ ﹼ‬ ‫ﹼ‬
‫ﺧﺼﺎﺋﺺ ﺍﳌﺠﺎﻝ ﺍﻟﻀﺤﻮﻱ ﺧﻼﻝ ﺍﻟﻔﱰﺓ ﺍﻟﻌﺜﲈﻧ ﹼﻴﺔ‪ “،‬ﺃﻣﺎ ﺍﻟﻘﺴﻢ ﺍﻟﺜﺎﲏ ﻓﻘﺪ ﹸﻭﺳﻢ ﺑﻌﻨﻮﺍﻥ‬
‫”ﺍﳋﺼﺎﺋﺺ ﺍﳌﻌﲈﺭ ﹼﻳﺔ ﻟﻘﺼﻮﺭ ﺟﻬﺔ ﺑﺎﺭﺩﻭ ﺧﻼﻝ ﺍﻟﻔﱰﺓ ﺍﳊﺴﻴﻨ ﹼﻴﺔ‪ “،‬ﺇﱃ ﺟﺎﻧﺐ ﻣﻘﺪﹼ ﻣﺔ ﻋﺎ ﹼﻣﺔ‬
‫ﻭﺧﺎﲤﺔ‪ .‬ﻭﻗﺪ ﺃﺭﺩﻓﺖ ﺍﻟﺒﺎﺣﺜﺔ ﺩﺭﺍﺳﺘﻬﺎ ﺑﻤﺠﻮﻋﺔ ﻣﻦ ﺍﻟﻔﻬﺎﺭﺱ‪ ،‬ﻭﺍﺣﺪ ﺧﺎﺹ ﺑﺎﻷﻋﻼﻡ‪،‬‬
‫ﻭﺁﺧﺮ ﺑﺎﻷﻣﺎﻛﻦ ﻭﺍﳌﻌﺎﱂ ﻭﺛﺎﻟﺚ ﺧﺎﺹ ﺑﺎﻟﺼﻮﺭ ﻭﺍﻷﺷﻜﺎﻝ‪ .‬ﻭﰲ ﻣﺘﻦ ﺍﻟﺒﺤﺚ‪ ،‬ﻗﺎﻣﺖ ﺑ ﹼﻴﺔ‬
‫ﲥﺘﻢ ﺑﺎﻟﺮﻫﺎﻧﺎﺕ‬ ‫ﻣﺮﺓ‪ ،‬ﹼ‬ ‫ﺍﻟﻌﺒﻴﺪﻱ ﺑﻌﺮﺽ ﻭﲢﻘﻴﻖ ‪ 24‬ﺭﺳﲈ ﻋ ﹼﻘﺎﺭ ﹼﻳﺎ ﻭﺃﺣﺒﺎﺳﺎ‪ ،‬ﺗﻨﴩ ﹼ‬
‫ﻷﻭﻝ ﹼ‬
‫ﺍﳌﺤﲇ ﻣﻦ ﺧﻼﻝ ﺍﻻﻋﺘﻨﺎﺀ‬ ‫ﺍﻟﻌ ﹼﻘﺎﺭﻳﺔ ﰲ ﺟﻬﺔ ﺑﺎﺭﺩﻭ‪ .‬ﻭﻗﺪ ﺭﻛﹼﺰﺕ ﺍﳌﺆ ﹼﻟﻔﺔ ﰲ ﻋﻤﻠﻬﺎ ﻋﲆ ﺩﺭﺍﺳﺔ ﹼ‬
‫ﻣﻘﺮ ﺍﻟﺴﻠﻄﺔ‬ ‫ﲢﻮﻟﺖ ﺇﱃ ﹼ‬ ‫ﺑﺠﻬﺔ ﺑﺎﺭﺩﻭ ﺑﺎﻋﺘﺒﺎﺭﻫﺎ ﻣﻦ ﺃﺑﺮﺯ ﺿﻮﺍﺣﻲ ﻣﺪﻳﻨﺔ ﺗﻮﻧﺲ‪ ،‬ﻭﺍﻟﺘﻲ ﹼ‬
‫ﻭﺍﻟﻨﻔﻮﺫ ﰲ ﺍﻹﻳﺎﻟﺔ ﺍﻟﺘﻮﻧﺴﻴﺔ ﺧﻼﻝ ﺍﻟﻔﱰﺓ ﺍﻟﻌﺜﲈﻧﻴﺔ ﻭﺧﺎﺻﺔ ﻣﻊ ﺍﻟﻌﺎﺋﻠﺔ ﺍﳊﺴﻴﻨﻴﺔ‪ .‬ﻭﻣﻦ ﻫﻨﺎ‪،‬‬
‫ﻟﺐ ﺍﻟﺪﺭﺍﺳﺔ ﺑﺤﻜﻢ ﻭﻇﻴﻔﺘﻪ ﺍﻟﺴﻴﺎﺳﻴﺔ ﻭﻃﺒﻴﻌﺔ ﻗﺎﻃﻨﻴﻪ‪ .‬ﻭﺭﺍﻭﺣﺖ ﺍﻟﺒﺎﺣﺜﺔ‬ ‫ﹼ‬
‫ﺍﺣﺘﻞ ﻗﴫ ﺑﺎﺭﺩﻭ ﹼ‬
‫ﻭﺍﳌﺪﻭﻧﺔ ﺍﳋﺮﺍﺋﻄ ﹼﻴﺔ ﻭﺍﻟﺒﺤﺚ ﰲ ﺍﳌﺼﺎﺩﺭ ﺍﳌﻨﺸﻮﺭﺓ ﻭﺍﻟﻌﻤﻞ ﺍﳌﻴﺪﺍﲏ‪،‬‬
‫ﹼ‬ ‫ﺑﲔ ﺍﻟﻌﻤﻞ ﺍﻷﺭﺷﻴﻔﻲ‬

‫)‪Journal Indexed in Emerging Sources Citation Index (Web of Science‬‬

‫‪Covered in Clarivate Analytics products and services, ISSN: 0018-1005‬‬
‫‪414‬‬ ‫‪Baya Abidi‬‬

‫ﺗﻔﻬﻢ ﻭﺍﻗﻊ ﺟﻬﺔ ﺑﺎﺭﺩﻭ‬

‫ﺍﳌﺘﺤﺼﻞ ﻋﻠﻴﻬﺎ ﻣﻦ ﺃﺟﻞ ﹼ‬
‫ﹼ‬ ‫ﻛﻞ ﺍﳌﻌﻄﻴﺎﺕ‬ ‫ﺛﻢ ﺳﻌﺖ ﺇﱃ ﺍﳌﻘﺎﺭﻧﺔ ﺑﲔ ﹼ‬
‫ﻣﻦ ﺧﻼﻝ ﺳﲑﻭﺭﲥﺎ ﺍﻟﺘﺎﺭﳜﻴﺔ ﻭﺍﻟﻌﻤﺮﺍﻧ ﹼﻴﺔ‪.‬‬
‫ﺍﻟﺴﻮﺍﲏ“‬
‫ﳘﻬﺎ ﻣﺼﻄﻠﺤﻲ ” ﹼ‬
‫ﻭﻳﺮﺗﻜﺰ ﺍﻟﻌﻤﻞ ﻋﲆ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﳌﺼﻄﻠﺤﺎﺕ ﺍﳌﻔﺎﺗﻴﺢ ﺃ ﹼ‬
‫ﻭﺟﻬﺔ ”ﺑﺎﺭﺩﻭ‪ “.‬ﻭﺗﻨﺘﻤﻲ ﻣﻨﻄﻘﺔ ﺑﺎﺭﺩﻭ ﳎﺎﻟ ﹼﻴﺎ ﺇﱃ ﻇﻬﲑ ﻣﻨﻄﻘﺔ ﺗﻮﻧﺲ‪ ،‬ﻭﻫﻲ ﻋﺒﺎﺭﺓ ﻋﻦ‬
‫ﺳﻬﻞ ﻓﺴﻴﺢ ﺧﺼﺐ ﻳﻘﻊ ﰲ ﺍﻟﻀﺎﺣﻴﺔ ﺍﻟﻐﺮﺑ ﹼﻴﺔ ﻣﻦ ﺍﳌﺪﻳﻨﺔ ﺗﺘﻤ ﹼﻴﺰ ﺧﺎﺻﺔ ﺑﺄﺷﺠﺎﺭﻫﺎ ﺍﳌﺜﻤﺮﺓ‪،‬‬
‫ﻭﺑﺪﺃ ﺗﻌﻤﲑ ﻫﺬﻩ ﺍﳌﻨﻄﻘﺔ ﺑﺪﺍﻳﺔ ﻣﻦ ﻋﻬﺪ ﺍﳌﺴﺘﻨﴫ ﺑﺎﷲ )‪1249‬ﻡ‪1277-‬ﻡ( ﺃﺣﺪ ﺃﻣﺮﺍﺀ‬
‫ﳐﺼﺼﺔ ﻹﻧﺘﺎﺝ ﺍﳋﴬ‬ ‫ﺍﻟﺪﻭﻟﺔ ﺍﳊﻔﺼ ﹼﻴﺔ‪ .‬ﺃ ﹼﻣﺎ ”ﺍﻟﺴﻮﺍﲏ‪ “،‬ﻓﺘﻤﺜﻞ ﺃﺭﺍﴈ ﻓﻼﺣ ﹼﻴﺔ ﺳﻘﻮ ﹼﻳﺔ ﹼ‬
‫ﻭﺍﻟﻐﻼﻝ‪ ،‬ﲢﺘﻮﻱ ﻣﻌﻈﻤﻬﺎ ﻋﲆ ﻣﻨﺸﺂﺕ ﻣﺎﺋ ﹼﻴﺔ ﻣﺜﻞ ﺍﻵﺑﺎﺭ ﻭﺍﳉﻮﺍﰊ ﻭﺍﳌﺨﺎﺯﻥ‪ .‬ﻭﻓﻀﻼ ﻋﻦ‬
‫ﻣﺒﺎﻥ ﻣﺜﻞ ﺍﻷﺑﺮﺍﺝ ﻭﳐﺎﺯﻥ ﺍﳊﺒﻮﺏ ﻭﺗﻌﱪ ﺃﺭﺍﺿﻴﻬﺎ‬ ‫ﺩﻭﺭﻫﺎ ﺍﻟﻔﻼﺣﻲ‪ ،‬ﲢﺘﻀﻦ ﺍﻟﺴﻮﺍﲏ ﻋﺪﹼ ﺓ ﹴ‬
‫ﻣﺴﺎﻟﮏ ﻭﻃﺮﻗﺎﺕ‪.‬‬
‫ﺗﻄﻮﺭ ﺧﺼﺎﺋﺺ‬ ‫ﺃﺷﺎﺭﺕ ﺍﻟﺒﺎﺣﺜﺔ ﰲ ﺍﻟﻘﺴﻢ ﺍﻷﻭﻝ ﻣﻦ ﻋﻤﻠﻬﺎ‪ ،‬ﻭﺍﳌﻮﺳﻮﻡ ﺑـ”ﺑﺎﺭﺩﻭ‪ :‬ﹼ‬
‫ﺃﻥ ﺳﺎﻧﻴﺔ ﺑﺎﺭﺩﻭ ﹸﺃﺣﺪﺛﺖ ﰲ ﻋﻬﺪ ﺃﰊ ﻓﺎﺭﺱ‬ ‫ﺍﳌﺠﺎﻝ ﺍﻟﻀﺤﻮﻱ ﺧﻼﻝ ﺍﻟﻔﱰﺓ ﺍﻟﻌﺜﲈﻧ ﹼﻴﺔ“ ﺇﱃ ﹼ‬
‫ﻋﺒﺪ ﺍﻟﻌﺰﻳﺰ )‪1394‬ﻡ‪1434 -‬ﻡ( ﺑﻐﻴﺔ ﺗﻌﻤﲑ ﻇﻬﲑ ﻣﺪﻳﻨﺔ ﺗﻮﻧﺲ ﻭﺳﻬﻮﳍﺎ ﻭﺃﺭﻳﺎﻓﻬﺎ ﺍﳌﺤﻴﻄﺔ‬
‫ﲠﺎ‪ .‬ﻭﻗﺪ ﺃﺣﺎﻃﺖ ﺑﺄﺭﺍﴈ ﺑﺎﺭﺩﻭ ﻋﺪﺓ ﺳﻮﺍﲏ ﻣﺜﻞ ﺳﺎﻧﻴﺔ ﺭﺃﺱ ﺍﻟﻄﺎﺑﻴﺔ‪ .‬ﻭﻇﻬﺮﺕ ﺳﺎﻧﻴﺔ‬
‫ﺑﺎﺭﺩﻭ ﺧﻼﻝ ﺍﻟﻔﱰﺓ ﺍﳊﻔﺼ ﹼﻴﺔ ﻛﻔﻀﺎﺀ ﻟﻨﺰﻫﺔ ﺍﻟﻌﺎﺋﻠﺔ ﺍﳊﺎﻛﻤﺔ ﻭﺇﻗﺎﻣﺔ ﻇﺮﻓ ﹼﻴﺔ ﺧﺎﺻﺔ ﺯﻣﻦ‬
‫ﺍﻟﺼﺤﻲ‪ .‬ﻭﻗﺪ ﺃﺣﺎﻃﺖ ﺑﺎﻟﻘﺼﻮﺭ ﺍﳌﻠﻜﻴﺔ ﰲ ﺳﺎﻧﻴﺔ‬ ‫ﹼ‬ ‫ﺍﻟﻄﺎﻋﻮﻥ‪ ،‬ﺣﻴﺚ ﻟﻌﺒﺖ ﺩﻭﺭ ﺍﳌﺤﺠﺮ‬
‫ﺑﺎﺭﺩﻭ ﺑﺴﺎﺗﲔ ﻭﺣﻘﻮﻝ ﻋﺪﻳﺪﺓ‪ ،‬ﻛﲈ ﺃﻭﺭﺩﺕ ﺑﻌﺾ ﺍﳌﺼﺎﺩﺭ ﻭﺟﻮﺩ ﺯﺍﻭﻳﺔ ﺧﺪﻣﺔ ﻟﻌﺎﺑﺮﻱ‬
‫ﺍﻟﺴﺒﻴﻞ‪ .‬ﻭﻗﺪ ﹸﻋ ﹼﻤﺮﺕ ﻫﺬﻩ ﺍﻟﺴﺎﻧﻴﺔ ﻣﻊ ﺍﳊﻔﺼﻴﲔ ﺑﻤﺠﻤﻮﻋﺔ ﻣﻦ ﺍﳌﺮﺍﻓﻖ ﻣﺜﻞ ﻣﻠﻌﺐ‬ ‫ﹼ‬
‫ﻣﻘﺮﺍ ﻟﺴﻜﻨﻰ ﻋﺎ ﹼﻣﺔ ﺍﻟﻨﹼﺎﺱ‪ ،‬ﻭﻣﺮﻛﺰﺍ‬
‫ﻟﺮﻛﻮﺏ ﺍﳋﻴﻞ ﻭﺑﻨﺎﺀ ﺍﳊﻨﺎﻳﺎ ﳉﻠﺐ ﺍﳌﺎﺀ‪ .‬ﻭﱂ ﹸﺗﺘﱠﺨﺬ ﺑﺎﺭﺩﻭ ﹼ‬
‫ﻋﻤﺮﺍﻧﻴﺎ ﻫﺎﻣﺎ‪ ،‬ﺇﻻﹼ ﻣﻊ ﺍﻟﻘﺮﻥ ﺍﻟﺴﺎﺑﻊ ﻋﴩ ﺑﺘﺰﺍﻣﻦ ﻣﻊ ﻭﺻﻮﻝ ﺍﻟﺒﺎﻳﺎﺕ ﺍﳌﺮﺍﺩ ﹼﻳﲔ ﺇﱃ ﺍﳊﻜﻢ‪.‬‬
‫ﲪﻮﺩﺓ‬‫ﻛﻤﻘﺮ ﻟﻠﺤﻜﻢ‪ ،‬ﻓﺎﺧﺘﺎﺭﻫﺎ ﹼ‬
‫ﹼ‬ ‫ﻳﺘﺨﲆ ﺍﳊﻜﹼﺎﻡ ﺍﳉﺪﺩ ﻋﻦ ﺑﺎﺭﺩﻭ‬ ‫ﹼ‬ ‫ﻭﺧﻼﻝ ﻫﺬﻩ ﺍﳌﺮﺣﻠﺔ‪ ،‬ﱂ‬
‫ﻣﻘﺮﺍ ﻟﻠﺴﻜﻨﻰ ﻭﺍﳊﻜﻢ‪ .‬ﻭﻇﻠﺖ ﻣﻨﻄﻘﺔ ﺑﺎﺭﺩﻭ ﺇﱃ ﺣﺪﻭﺩ ﺳﻨﺔ ﺇﻗﺮﺍﺭ ﺍﳊﲈﻳﺔ‬ ‫ﺑﺎﺷﺎ ﺍﳌﺮﺍﺩﻱ ﹼ‬
‫ﺍﻟﻔﺮﻧﺴﻴﺔ ﺑﺘﻮﻧﺲ )‪ (1881‬ﻣ ﹼﻘﺮﺍ ﻟﻠﺤﻜﻢ‪ .‬ﻭﻗﺪ ﺃﻧﺸﺄ ﺍﳌﺮﺍﺩ ﹼﻳﻮﻥ ﻋﺪﹼ ﺓ ﺳﻮﺍﲏ ﺑﺒﺎﺭﺩﻭ ﻣﺜﻞ ”ﺳﺎﻧﻴﺔ‬
‫ﺍﻟﺒﻮﺭﻱ‪ “،‬ﻭ”ﺳﺎﻧﻴﺔ ﺑﺎﺭﺩﻭ“ ﻭ”ﺳﺎﻧﻴﺔ ﺍﻟﻘﻔﴢ‪ “.‬ﺛﻢ ﺍﻋﺘﻤﺪ ﺍﳊﻜﹼﺎﻡ ﻋﲆ ﺗﻘﻨﻴﺔ ﺍﻟﻮﻗﻒ ﺿﲈﻧﺎ‬
‫ﳊﲈﻳﺔ ﺩﻳﻤﻮﻣﺔ ﻫﺬﻩ ﺍﻟﺴﻮﺍﲏ‪ ،‬ﻭﺫﻟﮏ ﺑﺎﻋﺘﺒﺎﺭﻫﻢ ﺃﻫﻢ ”ﻣﺎﻟﮏ ﻋ ﹼﻘﺎﺭﻱ“ ﺑﺠﻬﺔ ﺑﺎﺭﺩﻭ‪ .‬ﻭﺇﱃ‬
‫ﺍﳊﲈﻣﺎﺕ ﻭﺍﻷﺳﻮﺍﻕ‬ ‫ﺣﺪﻭﺩ ﺍﻟﻔﱰﺓ ﺍﳌﺮﺍﺩﻳﺔ ﺧﻠﺖ ﻣﻨﻄﻘﺔ ﺑﺎﺭﺩﻭ ﻣﻦ ﺍﳌﻨﺸﺂﺕ ﺍﻟﻌﺎﻣﺔ ﻣﺜﻞ ﹼ‬
‫ﻭﺍﳊﻮﺍﻧﻴﺖ؛ ﻓﻜﺎﻧﺖ ﺍﳌﻨﻄﻘﺔ ﺇﻗﺎﻣﺔ ﻣﻠﻜﻴﺔ ﺑﺎﻣﺘﻴﺎﺯ‪ .‬ﻭﲨﻌﺖ ﺍﻟﺴﻮﺍﲏ ﻣﻨﺬﺋﺬ ﺑﲔ ﺍﻷﻋﲈﻝ‬
‫ﺍﻟﻔﻼﺣﻴﺔ ﻭﺇﻧﺸﺎﺀ ﺍﻟﻌﻨﺎﴏ ﺍﳌﻌﲈﺭ ﹼﻳﺔ‪.‬‬
 ‫‪ͨUrūḍ biblioghrāfia, Comptes Rendus, Reviews of Books, Reseñas Bibliográficas‬‬ ‫‪415‬‬

‫ﺗﻄﻮﺭﺍ ﻣﻠﺤﻮﻇﺎ‬ ‫ﻭﺷﻬﺪﺕ ﻣﻨﻄﻘﺔ ﺑﺎﺭﺩﻭ ﺧﻼﻝ ﺍﻟﻔﱰﺓ ﺍﳊﺴﻴﻨ ﹼﻴﺔ )ﺑﺪﺍﻳﺔ ﻣﻦ ﺳﻨﺔ ‪ (1705‬ﹼ‬
‫ﻭﺃﳖﺎ ﻇ ﹼﻠﺖ ﻣﻜﺎﻧﺎ ﳏﻮﺭ ﹼﻳﺎ ﳌﲈﺭﺳﺔ‬
‫ﺧﺎﺻﺔ ﹼ‬
‫ﻋﲆ ﻣﺴﺘﻮ￯ ﺍﻟﺘﻌﻤﲑ ﺑﺈﻧﺸﺎﺀ ﺍﻟﻘﺼﻮﺭ ﻭﺍﻟﺴﻮﺍﲏ‪ ،‬ﹼ‬
‫ﺍﳊﻜﻢ ﻣﻦ ﻗﺒﻞ ﺍﻟﺴﻠﻄﺔ ﻭﺃﻋﻮﺍﳖﺎ ﻭﺃﻋﻴﺎﻥ ﻣﺪﻳﻨﺔ ﺗﻮﻧﺲ‪ .‬ﻭﺑﻘﻴﺖ ﺃﺭﺍﴈ ﺟﻬﺔ ﺑﺎﺭﺩﻭ ﹼ‬
‫ﳏﻞ‬
‫ﺍﳋﺎﺻﺔ ﻭﺍﻟﻌﺎ ﹼﻣﺔ ﺃﻭ ﺍﳍﺒﺔ ﺃﻭ‬
‫ﹼ‬ ‫ﺭﻫﺎﻥ ﺑﲔ ﺍﻟﻔﺎﻋﻠﲔ ﺍﻻﺟﺘﲈﻋﻴﲔ ﺳﻮﺍﺀ ﻣﻦ ﺧﻼﻝ ﺍﻷﺣﺒﺎﺱ‬
‫ﺍﻻﺣﺴﺎﻥ ﺃﻭ ﺍﻹﺭﺙ‪ ،‬ﻭﺃﻳﻀﺎ ﻋﱪ ﺗﻘﻨﻴﺔ ﺍﳌﻌﺎﻭﺿﺔ ﺍﻟﺘﻲ ﺳﻤﺤﺖ ﻟﻠﻌﺎﺋﻠﺔ ﺍﳊﺴﻴﻨ ﹼﻴﺔ ﺑﺘﻤ ﹼﻠﮏ‬
‫ﻣﻌﻈﻢ ﺳﻮﺍﲏ ﻭﺃﺭﺍﴈ ﺍﳉﻬﺔ‪ .‬ﻭﺍﺧﺘﺎﺭ ﺣﺴﲔ ﺑﻦ ﻋﲇ ﻣﺆﺳﺲ ﺍﻟﺪﻭﻟﺔ ﺍﳊﺴﻴﻨ ﹼﻴﺔ ﺍﻻﺳﺘﻘﺮﺍﺭ‬
‫ﰲ ﺳﺎﻧﻴﺔ ﺑﺎﺭﺩﻭ ﻭﺍﻻﺑﺘﻌﺎﺩ ﻋﻦ ﺍﺯﺩﺣﺎﻡ ﻭﺿﻴﻖ ﻗﺼﺒﺔ ﺍﳊﺎﴐﺓ‪ .‬ﻭﻇ ﹼﻠﺖ ﺍﻟﺴﻮﺍﲏ ﲤﺜﻞ ﺧﻼﻝ‬
‫ﻭﺍﳌﻜﻮﻥ ﺍﻷﺳﺎﳼ ﻟﻠﻨﺴﻴﺞ ﺍﻟﻌﻤﺮﺍﲏ‪ ،‬ﻭﰲ ﻣﻘﺪﻣﺘﻬﺎ‬ ‫ﹼ‬ ‫ﺍﻷﻫﻢ‪،‬‬
‫ﹼ‬ ‫ﻫﺬﻩ ﺍﻟﻔﱰﺓ ﺍﻟﻮﺣﺪﺍﺕ ﺍﻟﻌﻤﺮﺍﻧ ﹼﻴﺔ‬
‫ﺳﺎﻧﻴﺔ ﺑﺎﺭﺩﻭ‪.‬‬
‫ﻣﻬﻤﺔ؛‬
‫ﲢﻮﻻﺕ ﻋﻤﺮﺍﻧ ﹼﻴﺔ ﹼ‬‫ﺷﻬﺪﺕ ﻣﻨﻄﻘﺔ ﺑﺎﺭﺩﻭ ﺑﺪﺍﻳﺔ ﻣﻦ ﺍﻟﻔﱰﺓ ﺍﻻﺳﺘﻌﲈﺭ ﹼﻳﺔ )‪ (1881‬ﹼ‬
‫ﺇﺫ ﺣﺮﺻﺖ ﺍﻟﺴﻠﻄﺎﺕ ﺍﻟﻔﺮﻧﺴ ﹼﻴﺔ ﻋﲆ ﺭﺳﻢ ﺧﺮﺍﺋﻂ ﺩﻗﻴﻘﺔ ﻟﻠﺠﻬﺔ‪ ،‬ﻭﺍﻟﺒﺤﺚ ﰲ ﻭﺿﻌ ﹼﻴﺎﲥﺎ‬
‫ﺍﻟﻌﻘﺎﺭ ﹼﻳﺔ ﻭﻃﺒﻴﻌﺔ ﺍﳌﺎﻟﻜﲔ ﻭﻫﻮ ﹼﻳﺘﻬﻢ‪ .‬ﻛﲈ ﻋﻤﻠﺖ ﻋﲆ ﺇﻋﺎﺩﺓ ﲥﻴﺌﺔ ﺍﳌﻨﻄﻘﺔ ﻭﻓﻖ ﺃﺳﺎﻟﻴﺐ‬
‫ﺟﺪﻳﺪﺓ ﺃﺳﻬﻤﺖ ﰲ ﺇﻋﺎﺩﺓ ﺗﺸﻜﻴﻞ ﻣﻼﻣﺢ ﺍﳌﻨﻄﻘﺔ ﻋﻤﺮﺍﻧ ﹼﻴﺎ ﻭﻃﺒﻴﻌ ﹼﻴﺎ‪ .‬ﻭﺑﺪﺃﺕ ﺍﻟﺴﻠﻄﺎﺕ‬
‫ﺍﻻﺳﺘﻌﲈﺭ ﹼﻳﺔ ﺍﺷﺘﻐﺎﳍﺎ ﻋﲆ ﺍﳉﻬﺔ ﺑﺘﺄﺳﻴﺲ ﺍﻟﺪﺍﺋﺮﺓ ﺍﻟﺒﻠﺪﻳﺔ ﺑﺒﺎﺭﺩﻭ ﰲ ‪ 8‬ﻣﺎﻱ ‪.1909‬‬
‫ﻣﻨﻄﻖ ﺟﺪﻳﺪ ﻟﻠﻤﺄﺳﺴﺔ ﺑﺪﺃ ﻣﻊ ﻋﻬﺪ ﺍﳊﲈﻳﺔ ﺍﻟﻔﺮﻧﺴﻴﺔ ﺑﺘﻮﻧﺲ‪،‬‬ ‫ﹴ‬ ‫ﻧﻼﺣﻆ ﺇﺫﻥ ﺍﻧﺒﻌﺎﺙ‬
‫ﺍﳌﺠﻬﺰﺓ‬
‫ﹼ‬ ‫ﻓﻘﺪ ﺷﺠﻌﺖ ﻫﺬﻩ ﺍﻹﺟﺮﺍﺀﺍﺕ ﺍﻟﺴﻜﺎﻥ ﻋﲆ ﺍﻻﺳﺘﻴﻄﺎﻥ ﰲ ﺍﳌﻘﺎﺳﻢ ﺍﻟﻌﻘﺎﺭﻳﺔ‬
‫ﺍﳌﻬﻤﺔ ﻭﺍﻟﻄﺮﻗﺎﺕ ﺍﻟﺮﺋﻴﺴ ﹼﻴﺔ ﺍﻟﺘﻲ ﺍﺷﺘﻐﻠﺖ ﻋﻠﻴﻬﺎ ﺍﻟﺪﺍﺋﺮﺓ ﺍﻟﺒﻠﺪﻳﺔ ﺑﺒﺎﺭﺩﻭ ﺑﻌﺪ‬ ‫ﹼ‬ ‫ﺑﺎﳌﺮﺍﻓﻖ‬
‫ﺃﻥ ﺳﺎﻧﻴﺔ ﺑﺎﺭﺩﻭ‪ ،‬ﻭﻫﻲ‬‫ﺗﻮﺳﻊ ﺍﻟﺪﺍﺋﺮﺓ ﺍﻟﺒﻠﺪ ﹼﻳﺔ ﻋﺪﹼ ﺓ ﻧﺘﺎﺋﺞ ﺃﺑﺮﺯﻫﺎ ﹼ‬
‫ﺗﺄﺳﻴﺴﻬﺎ‪ .‬ﻭﺗﺮﺗﺒﺖ ﻋﻦ ﹼ‬
‫ﺃﻫﻢ ﺳﻮﺍﲏ ﺍﳉﻬﺔ‪ ،‬ﱂ ﺗﻌﺪ ﻧﻮﺍﺓ ﺍﻟﺘﻮﺳﻊ ﺍﻟﻌﻤﺮﺍﲏ ﻟﻠﺠﻬﺔ‪ .‬ﻭﻋﻤﻮﻣﺎ ﲤ ﹼﻴﺰﺕ ﺟﻬﺔ ﺑﺎﺭﺩﻭ ﰲ‬ ‫ﹼ‬
‫ﺗﻌﺮﺿﺖ ﻣﻌﻈﻢ ﺳﻮﺍﲏ ﺍﳉﻬﺔ ﺇﱃ ﻋﻤﻠ ﹼﻴﺎﺕ‬ ‫ﺑﺎﻟﺘﻮﺳﻊ ﺍﻟﻌﻤﺮﺍﲏ‪ ،‬ﻛﲈ ﹼ‬‫ﹼ‬ ‫ﺍﻟﻔﱰﺓ ﺍﻻﺳﺘﻌﲈﺭ ﹼﻳﺔ‬
‫ﺗﻘﺴﻴﻢ ﻋﺪﻳﺪﺓ ﻣﻦ ﺃﺟﻞ ﺍﻟﺘﻬﻴﺌﺔ ﺍﻟﻌﻤﺮﺍﻧ ﹼﻴﺔ ﻭﺑﻴﻊ ﺍﳌﻘﺎﺳﻢ‪ .‬ﻭﺑﺤﻜﻢ ﺃﳘﻴﺔ ﺟﻬﺔ ﺑﺎﺭﺩﻭ‪ ،‬ﻓﺈﳖﺎ ﻗﺪ‬
‫ﳏﻞ ﺭﻫﺎﻧﺎﺕ ﻋﻘﺎﺭﻳﺔ ﻛﺒﲑﺓ ﺑﲔ ﺍﻟﻔﺎﻋﻠﲔ ﺍﻻﺟﺘﲈﻋﻴﲔ‪.‬‬ ‫ﺃﺻﺒﺤﺖ ﹼ‬
‫ﻭﰲ ﺍﻟﻘﺴﻢ ﺍﻟﺜﺎﲏ ﻣﻦ ﺍﻟﻌﻤﻞ ﺍﻟﺬﻱ ﲪﻞ ﻋﻨﻮﺍﻥ‪” :‬ﺍﳋﺼﺎﺋﺺ ﺍﳌﻌﲈﺭ ﹼﻳﺔ ﻟﻘﺼﻮﺭ ﺟﻬﺔ‬
‫ﺑﺎﺭﺩﻭ ﺧﻼﻝ ﺍﻟﻔﱰﺓ ﺍﳊﺴﻴﻨ ﹼﻴﺔ‪ “،‬ﺍﻧﺘﻘﻠﺖ ﺍﻟﺒﺎﺣﺜﺔ ﺑ ﹼﻴﺔ ﺍﻟﻌﺒﻴﺪﻱ ﻣﻦ ﳎﺎﻝ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﻌﻘﺎﺭ ﹼﻳﺔ‬
‫ﺇﱃ ﺩﺭﺍﺳﺔ ﺗﺎﺭﻳﺦ ﺍﻟﻌﲈﺭﺓ ﻭﺗﻘﻨﻴﺎﲥﺎ‪ .‬ﻭﻗﺪ ﺍﺳﺘﻔﺎﺩﺕ ﺍﻟﺒﻼﺩ ﺍﻟﺘﻮﻧﺴﻴﺔ ﻣﻦ ﺗﺮﺍﻛﲈﺕ ﺣﻀﺎﺭ ﹼﻳﺔ‬
‫ﺗﻨﻮﻋﺖ ﺍﻟﻌﲈﺭﺓ‬ ‫ﻋﺪﻳﺪﺓ ﺍﻧﻌﻜﺴﺖ ﻣﺒﺎﴍﺓ ﻋﲆ ﻃﺒﻴﻌﺔ ﺍﻟﺘﻘﻨﻴﺎﺕ ﻭﺍﳌﻬﺎﺭﺍﺕ ﺍﳌﻌﲈﺭ ﹼﻳﺔ‪ ،‬ﺣﻴﺚ ﹼ‬
‫ﺑﲔ ﺍﳋﺼﺎﺋﺺ ﺍﻷﻧﺪﻟﺴ ﹼﻴﺔ ﻭﺍﻟﻌﺜﲈﻧ ﹼﻴﺔ ﻭﺍﻟﻔﺮﻧﺴﻴﺔ ﻭﻏﲑﻫﺎ‪.‬‬
‫‪416‬‬ ‫‪Baya Abidi‬‬

‫ﻭﺧﺎﺻﺔ ﻗﺼﻮﺭﻫﺎ‪ ،‬ﻣﻦ ﻫﺬﺍ ﺍﳌﻮﺭﻭﺙ ﺍﳊﻀﺎﺭﻱ‪ ،‬ﺣﻴﺚ‬ ‫ﹼ‬ ‫ﻭﺍﺳﺘﻔﺎﺩﺕ ﻣﻨﻄﻘﺔ ﺑﺎﺭﺩﻭ‪،‬‬
‫ﺃﺣﺼﺖ ﺍﻟﺒﺎﺣﺜﺔ ‪ 10‬ﻗﺼﻮﺭ ﰲ ﺟﻬﺔ ﺑﺎﺭﺩﻭ‪ ،‬ﹸﺑﻨﻴﺖ ﰲ ﺗﻮﺍﺭﻳﺦ ﳐﺘﻠﻔﺔ ﺑﲔ ﺍﻟﻘﺮﻧﲔ ﺍﳋﺎﻣﺲ‬
‫ﺗﻢ ﺇﻧﺸﺎﺋﻪ ﰲ ﺍﻟﻘﺮﻥ ﺍﳋﺎﻣﺲ ﻋﴩ ﺯﻣﻦ‬ ‫ﳘﻬﺎ‪ ،‬ﺇﺫ ﹼ‬ ‫ﻋﴩ ﻭﺍﻟﺘﺎﺳﻊ ﻋﴩ‪ ،‬ﻓﻜﺎﻥ ﻗﴫ ﺑﺎﺭﺩﻭ ﺃ ﹼ‬
‫ﻣﻘﺮﺍ ﻟﻠﺴﻠﻄﺔ ﺍﳊﺎﻛﻤﺔ ﰲ ﺍﻟﺒﻼﺩ ﺍﻟﺘﻮﻧﺴ ﹼﻴﺔ‪ .‬ﻭﺍﺣﺘﻮ￯ ﻫﺬﺍ ﺍﻟﻘﴫ‬ ‫ﺍﻟﺪﻭﻟﺔ ﺍﳊﻔﺼ ﹼﻴﺔ‪ ،‬ﻭﺃﺻﺒﺢ ﹼ‬
‫ﻣﻬﻤﺔ ﻣﻦ ﺍﳌﺒﺎﲏ ﻭﺍﳌﻨﺎﺯﻝ ﻭﺍﻟﺒﺴﺎﺗﲔ ﻭﺍﳊﺪﺍﺋﻖ‪ ،‬ﻓﻀﻼ ﻋﻦ ﲤ ﹼﻴﺰﻩ ﺑﺘﻘﻨﻴﺎﺕ‬ ‫ﻋﲆ ﳎﻤﻮﻋﺔ ﹼ‬
‫ﻣﺘﻨﻮﻋﺔ‪ .‬ﻭﱂ ﻳﻜﻦ ﻗﴫ ﺑﺎﺭﺩﻭ ﻭﺣﺪﺓ ﻣﻌﲈﺭ ﹼﻳﺔ ﻣﺘﺠﺎﻧﺴﺔ ﻓﻘﻂ‪ ،‬ﺑﻞ ﺍﺣﺘﻮ￯ ﺃﻳﻀﺎ‬ ‫ﻣﻌﲈﺭ ﹼﻳﺔ ﻭﻓﻨ ﹼﻴﺔ ﹼ‬
‫ﻭﻣﺘﻨﻮﻋﺔ ﻋﱪ ﻓﱰﺍﺕ ﺗﺎﺭﳜ ﹼﻴﺔ ﻣﺘﻌﺪﹼ ﺩﺓ؛ ﻓﻘﺪ ﺍﺷﺘﻤﻞ ﻋﲆ ﻧﻮﺍﻓﲑ ﻭﺑﺮک‬ ‫ﹼ‬ ‫ﻋﲆ ﺇﺿﺎﻓﺎﺕ ﻋﺪﻳﺪﺓ‬
‫ﺑﺎﻟﺮﺧﺎﻡ ﺍﻹﻳﻄﺎﱄ‪ .‬ﺛﻢ ﺃﺿﺎﻑ ﺣﻜﹼﺎﻡ ﺍﻟﺒﻼﺩ ﺍﻟﺘﻮﻧﺴ ﹼﻴﺔ‬ ‫ﹴ‬
‫ﻭﻧﻘﻮﺵ ﺟﺼ ﹼﻴﺔ‪ ،‬ﻭﻛﺎﻥ ﻣﺰﺩﺍﻧﺎ ﹼ‬ ‫ﻣﺎﺀ‬
‫ﻃﻴﻠﺔ ﺍﻟﻔﱰﺓ ﺍﳌﺮﺍﺩ ﹼﻳﺔ ﻭﺍﳊﺴﻨ ﹼﻴﺔ ﻋﺪﹼ ﺓ ﻋﻨﺎﴏ ﻭﲡﺪﻳﺪﺍﺕ ﻣﻌﲈﺭ ﹼﻳﺔ ﻣﺜﻞ ﺟﺎﻣﻊ ﺍﳋﻄﺒﺔ ﺍﻟﺬﻱ‬
‫ﻭﺍﳊﲈﻡ ﻭﺍﻟﻔﻨﺪﻕ ﻭﺍﳌﺤﻜﻤﺔ‬ ‫ﹼ‬ ‫ﺃﻧﺸﺄﻩ ﺣﺴﲔ ﺑﻦ ﻋﲇ )‪ (1735- 1705‬ﺇﱃ ﺟﺎﻧﺐ ﺑﻨﺎﺀ ﺍﻟﺴﻮﻕ‬
‫ﻭﺩﺍﺭ ﺧﺰﻧﺪﺍﺭ‪ .‬ﻭﻗﺪ ﺳﻌﻰ ﺧﻠﻔﺎﺀ ﺣﺴﲔ ﺑﺎﻱ ﺇﱃ ﺗﺮک ﺑﺼﲈﲥﻢ ﺍﳌﻌﲈﺭ ﹼﻳﺔ ﰲ ﺟﻬﺔ ﺑﺎﺭﺩﻭ‬
‫ﻣﻘﺮ ﺍﳊﻜﻢ ﻭﺍﻟﺴﻜﻨﻰ‪ .‬ﻭﰲ ﻫﺬﺍ ﺍﻻﲡﺎﻩ‪ ،‬ﻗﺎﻡ ﻋﲇ‬ ‫ﻋﻤﻮﻣﺎ‪ ،‬ﻭﻗﴫ ﺑﺎﺭﺩﻭ ﲣﺼﻴﺼﺎ ﺑﺎﻋﺘﺒﺎﺭﻩ ﹼ‬
‫ﻣﻬﻢ ﻣﻦ‬‫ﺑﺎﺷﺎ )‪ (1756 -1735‬ﺑﻤﴩﻭﻉ ﻛﺒﲑ ﻟﺘﺠﺪﻳﺪ ﻗﴫ ﺑﺎﺭﺩﻭ ﻭﺗﻮﺳﻌﺘﻪ ﻣﺴﺘﻌﻴﻨﺎ ﺑﻌﺪﺩ ﹼ‬
‫ﺍﳊﺮﻓﻴﲔ‪ .‬ﻭﺗﱪﺯ ﻟﻨﺎ ﺑﻮﺿﻮﺡ ﺍﻷﳘ ﹼﻴﺔ ﺍﳌﺮﻛﺰ ﹼﻳﺔ ﺍﻟﺘﻲ ﺃﺻﺒﺢ ﳛﺘ ﹼﻠﻬﺎ ﻗﴫ ﺑﺎﺭﺩﻭ ﰲ ﺳﻴﺎﺳﺔ‬ ‫ﹼ‬
‫ﺣﻜﻢ ﺍﻹﻳﺎﻟﺔ ﺍﻟﺘﻮﻧﺴ ﹼﻴﺔ ﻣﻦ ﺧﻼﻝ ﺍﻹﺟﺮﺍﺀﺍﺕ ﺍﻟﺘﻌﻤﲑ ﹼﻳﺔ ﺍﻟﺘﻲ ﺣﺮﺹ ﻋﲆ ﺇﻧﺸﺎﺋﻬﺎ ﻋﲇ ﺑﺎﻱ؛‬
‫ﻓﻘﺪ ﻧﻘﻞ ﺩﺍﺭ ﺍﻟﺒﺎﺭﻭﺩ ﻣﺜﻼ ﻣﻦ ﻣﺪﻳﻨﺔ ﺗﻮﻧﺲ ﺇﱃ ﺑﺎﺭﺩﻭ‪ .‬ﻛﲈ ﻳﱪﺯ ﻟﻨﺎ ﻭﻋﻲ ﻋﲇ ﺑﺎﻱ ﺑﺘﺨﻠﻴﺪ‬
‫ﺍﻟﴫﺡ ﺍﻟﻌﻈﻴﻢ ﺑﺒﺎﺭﺩﻭ ﺍﳌﻌﺮﻭﻑ ﺑﺎﻟﱪﺝ‪ “.‬ﻭﻇ ﹼﻠﺖ‬ ‫ﻣﻬﻤﺔ ﻣﺜﻞ ” ﹼ‬
‫ﺍﺳﻤﻪ ﺑﺈﻧﺸﺎﺀ ﻣﻌﺎﱂ ﻣﻌﲈﺭ ﹼﻳﺔ ﹼ‬
‫ﺍﳌﻨﺸﺂﺕ ﺍﳌﻌﲈﺭ ﹼﻳﺔ ﺗﺘﺰﺍﻳﺪ ﰲ ﻗﴫ ﺑﺎﺭﺩﻭ ﻭﺻﻮﻻ ﺇﱃ ﳏﻤﺪ ﺑﺎﻱ )‪ (1859 - 1855‬ﻭﺍﻟﺼﺎﺩﻕ‬
‫ﺑﺎﻱ )‪ ،(1882 - 1859‬ﺃﻱ ﹸﻗﺒﻴﻞ ﺑﺪﺍﻳﺔ ﻋﻬﺪ ﺍﳊﲈﻳﺔ ﺍﻟﻔﺮﻧﺴ ﹼﻴﺔ ﺑﺘﻮﻧﺲ‪ ،‬ﺇﺫ ﹸﺑﻨﻴﺖ ﰲ ﻋﻬﺪﻫﺎ‬
‫ﲢﻮﻻﺕ‬ ‫ﺃﻫﻢ ﺃﺟﻨﺤﺔ ﺍﻟﻘﴫ ﺍﳉﺪﻳﺪﺓ‪ .‬ﻭﺑﺮﺯﺕ ﺧﻼﻝ ﻫﺬﻩ ﺍﻟﻔﱰﺓ ﹼ‬ ‫ﺍﻟﴪﺍﻳﺎ“ ﺍﻟﺘﻲ ﻋﺪﹼ ﺕ ﹼ‬ ‫” ﹼ‬
‫ﻓﺴﺠﻠﺖ ﺍﻟﺒﺎﺣﺜﺔ ﺇﻧﺸﺎﺀ ”ﻗﺎﻋﺔ ﺍﳌﻮﺳﻴﻘﻰ ﺃﻭ ﺑﻴﺖ‬ ‫ﹼ‬ ‫ﻣﻬﻤﺔ ﻋﲆ ﻣﺴﺘﻮ￯ ﺍﻟﺬﻭﻕ ﺍﳌﻌﲈﺭﻱ‪،‬‬ ‫ﹼ‬
‫ﺍﻟﻌﻮﺍﺩﺓ‪ “،‬ﻭ”ﻏﺮﻓﺔ ﺍﻟﻄﻌﺎﻡ ﺃﻭ ﺑﻴﺖ ﺍﻟﻔﻄﻮﺭ‪ “.‬ﻭﺗﻌﺪﹼ ﺩﺕ ﺍﻟﺰﻳﺎﺩﺍﺕ ﺍﳌﻌﲈﺭ ﹼﻳﺔ ﻣﻊ ﺗﻌﺎﻗﺐ ﺑﺎﻳﺎﺕ‬ ‫ﹼ‬
‫ﻭﻗﻮﺓ ﺍﻟﺴﻠﻄﺔ‪،‬‬ ‫ﺗﻮﻧﺲ‪ ،‬ﺣﻴﺚ ﺍﺯﺩﺣﻢ ﺍﻟﻘﴫ ﺑﺎﻟﻮﺣﺪﺍﺕ ﺍﳌﻌﲈﺭ ﹼﻳﺔ‪ ،‬ﺳﻮﺍﺀ ﲠﺪﻑ ﺇﺑﺮﺍﺯ ﻫﻴﺒﺔ ﹼ‬
‫ﺃﻭ ﻣﻦ ﺃﺟﻞ ﺍﺳﺘﲈﻟﺔ ﺍﻷﺗﺒﺎﻉ ﻭﺃﻋﻮﺍﻥ ﺍﻟﺪﻭﻟﺔ ﻭﺍﻷﻋﻴﺎﻥ ﺑﺘﺨﺼﻴﺺ ﺇﻗﺎﻣﺎﺕ ﻭﻭﺣﺪﺍﺕ ﺳﻜﻨ ﹼﻴﺔ‬
‫ﻹﻳﻮﺍﺋﻬﻢ‪ .‬ﻭﱂ ﺗﻐﻔﻞ ﺍﻟﻌﺒﻴﺪﻱ ﻋﻦ ﻭﺿﻊ ﺍﳌﲈﺭﺳﺎﺕ ﺍﻟﺘﻌﻤﲑ ﹼﻳﺔ ﺿﻤﻦ ﺇﻃﺎﺭ ﺛﻘﺎﻓﺘﻬﺎ ﺍﳌﺎﺩ ﹼﻳﺔ‪،‬‬
‫ﺍﻟﺮﺧﺎﻡ ﺑﺄﻧﻮﺍﻋﻬﺎ‪،‬‬ ‫ﺳﺠﻠﺖ ﺗﻌﺪﹼ ﺩ ﺗﻘﻨﻴﺎﺕ ﺍﻟﺒﻨﺎﺀ ﻭﺃﺩﻭﺍﺗﻪ‪ ،‬ﻣﺜﻞ ﺍﻻﺳﺘﻌﲈﻝ ﺍﳌﻜ ﹼﺜﻒ ﳌﺎ ﹼﺩﺓ ﹼ‬ ‫ﺇﺫ ﹼ‬
‫ﺍﳌﺘﻨﻮﻋﺔ‪ ،‬ﻭﺍﻵﺟﺮ‪ ،‬ﻭﻧﻘﺶ ﺍﳊﺪﻳﺪﺓ‪ ،‬ﻭﺍﳋﺸﺐ‪ ،‬ﻭﺍﳊﺠﺎﺭﺓ‪ ،‬ﻭﺍﻟﻘﺮﻣﻴﺪ‪.‬‬ ‫ﻭﺍﳉﻠﻴﺰ‪ ،‬ﻭﺍﻷﺩﻫﺎﻥ ﹼ‬
‫ﻛﲈ ﺣﻔﻠﺖ ﻫﺬﻩ ﺍﳌﻨﺸﺂﺕ ﺍﳌﻌﲈﺭ ﹼﻳﺔ ﺑﻤﺠﻤﻮﻋﺔ ﻫﺎ ﹼﻣﺔ ﻣﻦ ﺗﻘﻨﻴﺎﺕ ﺍﻟﺒﻨﺎﺀ ﺍﻷﻧﺪﻟﺴ ﹼﻴﺔ ﻭﺍﻟﻌﺜﲈﻧ ﹼﻴﺔ‬
 ‫‪ͨUrūḍ biblioghrāfia, Comptes Rendus, Reviews of Books, Reseñas Bibliográficas‬‬ ‫‪417‬‬

‫ﻭﺍﻹﻳﻄﺎﻟ ﹼﻴﺔ ﻭﻃﺮﺍﺯ ”ﺍﻟﺮﻛﻮﻛﻮ“ ﻣﺜﻞ ﺍﻷﻗﻮﺍﺱ ﺍﳌﺨﺘﻠﻔﺔ ﻭﺍﻟﺘﻴﺠﺎﻥ ﻭﺍﳌﴩﺑ ﹼﻴﺎﺕ‪ .‬ﻭﻣﺎ ﻧﻼﺣﻈﻪ‬
‫ﻭﺗﻨﻮﻉ ﺍﻷﺩﻭﺍﺕ ﻭﺍﳌﲈﺭﺳﺎﺕ ﻭﺍﳌﻬﺎﺭﺍﺕ‬‫ﻫﻨﺎ ﻫﻮ ﺗﺸﺎﺑﮏ ﻭﲡﺎﻭﺭ ﺍﻷﻧﲈﻁ ﻭﺍﻟﺘﻘﻨﻴﺎﺕ ﺍﻟﻔﻨﻴﺔ ﹼ‬
‫ﰲ ﺍﳌﻨﺸﺂﺕ ﺍﳌﻌﲈﺭ ﹼﻳﺔ ﳉﻬﺔ ﺑﺎﺭﺩﻭ‪.‬‬
‫ﻭﻣﻦ ﺯﺍﻭﻳﺔ ﺃﺧﺮ￯‪ ،‬ﺑ ﹼﻴﻨﺖ ﺍﳌﺆ ﹼﻟﻔﺔ ﻣﺴﺘﻮﻳﺎﺕ ﺍﻟﺜﺮﺍﺀ ﺍﳊﻀﺎﺭﻱ ﻭﺍﳌﻌﲈﺭﻱ ﻷﺑﻨﻴﺔ ﺟﻬﺔ‬
‫ﺑﺎﺭﺩﻭ ﺧﻼﻝ ﺍﻟﻔﱰﺓ ﻗﻴﺪ ﺍﻟﺪﺭﺱ؛ ﻓﻤﻦ ﺧﻼﻝ ﻧﻤﻮﺫﺝ ﺳﺎﻧﻴﺔ ”ﺍﻟﱪﻃﺎﻝ ﺍﻟﺼﻐﲑ“ ﺗﱪﺯ ﺃﳘ ﹼﻴﺔ‬
‫ﺗﺄﺛﲑ ﻇﺮﻓ ﹼﻴﺔ ﳖﺎﻳﺔ ﺍﻟﻘﺮﻥ ﺍﻟﺘﺎﺳﻊ ﻋﴩ ﰲ ﺍﻷﻧﺸﻄﺔ ﺍﳌﻌﲈﺭ ﹼﻳﺔ‪ ،‬ﺇﺫ ﻃﻐﺖ ﺍﻟﺰﺧﺮﻓﺔ ﺍﻷﻭﺭﻭﺑ ﹼﻴﺔ‬
‫ﺍﳌﺬﻫﺐ‪،‬‬‫ﺍﳌﻠﻮﻧﺔ ﻭﺍﻟﺒﻼﻁ ﺍﳋﺰﰲ ﺍﻹﻳﻄﺎﱄ‪ ،‬ﻭﺍﳋﺸﺐ ﹼ‬ ‫ﻋﲆ ﺍﻷﺑﻨﻴﺔ‪ ،‬ﺑﺪﻟﻴﻞ ﺍﻧﺘﺸﺎﺭ ﺍﻷﺳﻘﻒ ﹼ‬
‫ﻓﻀﻼ ﻋﻦ ﺍﻻﻫﺘﲈﻡ ﺑﺘﻮﻇﻴﻒ ﺗﻘﻨﻴﺔ ”ﺍﻟﻔﺮﻳﺴﻜﻮ“ ﰲ ﺍﻟﺰﺧﺮﻓﺔ‪.‬‬
‫ﻭﺑﺪﺃ ﻗﴫ ﺑﺎﺭﺩﻭ ﰲ ﺍﻻﻧﺤﺪﺍﺭ ﻋﻤﺮﺍﻧ ﹼﻴﺎ ﹸﻗﺒﻴﻞ ﻋﻬﺪ ﺍﳊﲈﻳﺔ ﺍﻟﻔﺮﻧﺴ ﹼﻴﺔ ﺑﺘﻮﻧﺲ )‪،(1881‬‬
‫ﺇﺫ ﺑﺪﺃﺕ ﺗﱪﺯ ﲤﻈﻬﺮﺍﺕ ﺍﳋﺮﺍﺏ ﻋﲆ ﺑﻌﺾ ﺍﻟﻮﺣﺪﺍﺕ ﺍﳌﻌﲈﺭ ﹼﻳﺔ؛ ﻓﺒﻌﺪ ﺃﻥ ﻛﺎﻥ ﺍﻟﻘﴫ ﻣﻜﺎﻧﺎ‬
‫ﻭﻣﺼﺪﺭﺍ ﻟﻠﺴﻠﻄﺔ ﻭﺍﳊﻜﻢ ﻭﻣﻘﺮﺍ ﻹﻗﺎﻣﺔ ﺍﻟﻌﺎﺋﻠﺔ ﺍﳊﺴﻴﻨ ﹼﻴﺔ‪ ،‬ﺃﺻﺒﺢ ﺧﻼﻝ ﺍﻟﻔﱰﺓ ﺍﻻﺳﺘﻌﲈﺭ ﹼﻳﺔ‬
‫ﺗﴫﻑ ﺍﳌﻘﻴﻢ ﺍﻟﻌﺎﻡ ﺍﻟﻔﺮﻧﴘ‪ ،‬ﺍﻟﺬﻱ ﺍﺧﺘﺎﺭ ﺗﻮﻇﻴﻒ ﺃﺑﻨﻴﺘﻪ ﳋﺪﻣﺔ‬ ‫ﰲ ﻣﻠﮏ ﺍﻟﺪﻭﻟﺔ ﻭﲢﺖ ﹼ‬
‫)ﺍﻟﺰﻧﺪﺍﻟﺔ( ﻭﺗﻮﺳﻴﻌﻪ‪ ،‬ﻛﲈ‬
‫ﻣﺼﺎﻟﺢ ﺍﻹﺩﺍﺭﺓ ﺍﻻﺳﺘﻌﲈﺭﻳﺔ‪ .‬ﻭﻣﺜﺎﻝ ﺫﻟﮏ ﺗﺮﻣﻴﻢ ﺳﺠﻦ ﺑﺎﺭﺩﻭ ﹼ‬
‫ﺣﺎﻭﻟﺖ ﺍﻹﺩﺍﺭﺓ ﺍﻻﺳﺘﻌﲈﺭ ﹼﻳﺔ ﻫﺪﻡ ﺍﻟﻘﴫ ﻭﺃﺑﻨﻴﺘﻪ ﺍﳌﻠﺤﻘﺔ ﺑﻪ‪ ،‬ﺭﻏﻢ ﺭﻓﺾ ﺍﻟﺒﺎﻱ ﻭﺇﺩﺍﺭﺓ‬
‫ﻭﺍﻟﺮﻛﺎﻡ ﻭﺍﳌﻮﺍﺩ ﺍﻟﺼﻠﺒﺔ ﰲ ﻣﺸﺎﺭﻳﻌﻬﺎ ﻣﻦ‬‫ﺍﻷﻭﻗﺎﻑ‪ ،‬ﺣﺘﻰ ﺗﺘﻤﻜﻦ ﻣﻦ ﺍﺳﺘﻐﻼﻝ ﺍﳊﺠﺎﺭﺓ ﹼ‬
‫ﻣﺘﻨﻮﻋﺔ ﻣﺜﻞ ﺑﻨﺎﺀ ﺳﺠﻦ ﻣﺪﲏ‪ ،‬ﻭﺑﻴﻊ‬ ‫ﻗﺒﻴﻞ ﺑﻨﺎﺀ ﻣﻴﻨﺎﺀ ﺗﻮﻧﺲ‪ ،‬ﻭﲣﺼﻴﺺ ﺃﺭﺿﻪ ﻷﻫﺪﺍﻑ ﹼ‬
‫ﺍﻟﺒﻘﻊ ﺍﻷﺭﺿﻴﺔ ﻟﻠﻌﻤﻮﻡ‪ .‬ﻭﻗﺪ ﺃﻗﺎﻣﺖ ﺍﻹﺩﺍﺭﺓ ﺍﻟﻔﺮﻧﺴﻴﺔ ﻋﺪﹼ ﺓ ﺣﻈﺎﺋﺮ ﻟﻠﺒﻨﺎﺀ ﰲ ﻗﴫ ﺑﺎﺭﺩﻭ‬
‫ﻭﺗﻢ ﻫﺪﻡ ﻋﺪﺩ ﻛﺒﲑ ﻣﻦ ﺩﻭﺭ ﺍﻷﻣﺮﺍﺀ ﻭ”ﺍﳊﻮﺍﻧﻴﺖ“ ﻭﻣﻨﺸﺂﺕ ﻣﻌﲈﺭ ﹼﻳﺔ ﺃﺧﺮ￯ ﻣﺜﻞ‬ ‫ﻭﳏﻴﻄﻪ‪ ،‬ﹼ‬
‫ﺍﻟﺘﴪﻉ ﰲ ﻋﻤﻠ ﹼﻴﺎﺕ ﺍﳍﺪﻡ ﰲ ﺇﳊﺎﻕ ﺃﴐﺍﺭ ﺟﺴﻴﻤﺔ ﺑﺄﺟﺰﺍﺀ ﻛﺒﲑﺓ ﻣﻦ ﺍﻟﻘﴫ‬ ‫ﺍﳊﲈﻡ‪ .‬ﻭﺃﺳﻬﻢ ﹼ‬
‫ﹼ‬
‫ﺗﻐﲑﺕ ﻭﻇﻴﻔﺔ ﺑﻌﺾ ﻣﻠﺤﻘﺎﺕ ﻗﴫ‬ ‫ﻭﻃﻤﺲ ﺃﺧﺮ￯‪ .‬ﻛﲈ ﹼ‬ ‫ﹾ‬ ‫ﻭﺗﻐﻴﲑ ﺑﻌﺾ ﺯﺧﺎﺭﻓﻪ ﺍﻟﻔﻨ ﹼﻴﺔ‬
‫ﺑﺎﺭﺩﻭ ﻣﺜﻞ ﲢﻮﻳﻞ ﴎﺍﻳﺔ ﳏﻤﺪ ﺑﺎﻱ ﺇﱃ ﻣﺘﺤﻒ‪.‬‬
‫ﺍﻟﺘﺤﻮﻻﺕ ﺍﻟﻌﻤﻴﻘﺔ ﺍﻟﺘﻲ ﻋﺮﻓﻬﺎ ﻗﴫ ﺑﺎﺭﺩﻭ ﰲ ﺍﻟﻔﱰﺓ‬ ‫ﹼ‬ ‫ﻭﺑ ﹼﻴﻨﺖ ﺍﻟﺒﺎﺣﺜﺔ ﺑﻮﺿﻮﺡ‬
‫ﺍﻻﺳﺘﻌﲈﺭ ﹼﻳﺔ‪ ،‬ﻭ ﹸﻳﻌﺪﹼ ﺟﻬﻞ ﺍﻹﺩﺍﺭﺓ ﺍﻻﺳﺘﻌﲈﺭ ﹼﻳﺔ ﺑﺎﻟﻌﻤﻖ ﺍﻟﺮﻣﺰﻱ ﻭﺍﻟﺘﺎﺭﳜﻲ ﳌﻨﻄﻘﺔ ﺑﺎﺭﺩﻭ ﻣﻦ‬
‫ﺃﻫﻢ ﺃﺳﺒﺎﺏ ﺍﻹﴐﺍﺭ ﺑﺎﳌﻮﺭﻭﺙ ﺍﳌﻌﲈﺭﻱ ﻟﻠﺒﻼﺩ ﺍﻟﺘﻮﻧﺴ ﹼﻴﺔ‪ ،‬ﻫﺬﺍ ﺇﱃ ﺟﺎﻧﺐ ﺩﻭﺭ ﺍﳌﲈﺭﺳﺎﺕ‬ ‫ﹼ‬
‫ﻛﺨﺰﺍﻥ ﻟﻸﺭﺍﴈ ﺍﻟﺘﻲ‬ ‫ﺍﻻﺳﺘﻌﲈﺭ ﹼﻳﺔ ﺫﺍﺕ ﺍﻟﻄﺎﺑﻊ ﺍﻟﻮﻇﻴﻔﻲ ﺃﺳﺎﺳﺎ‪ ،‬ﻓﻘﺪ ﻧﹸﻈﺮ ﳌﻨﻄﻘﺔ ﺑﺎﺭﺩﻭ ﹼ‬
‫ﻳﻤﻜﻦ ﺇﻋﺎﺩﺓ ﺗﺴﻮﻳﻘﻬﺎ ﻭﺑﻴﻌﻬﺎ ﻭﺇﻋﺎﺩﺓ ﺗﻨﻈﻴﻢ ﳎﺎﳍﺎ ﺣﺴﺐ ﺍﳊﺎﺟﺔ‪ ،‬ﺇﱃ ﺟﺎﻧﺐ ﺍﻋﺘﺒﺎﺭ ﺍﳌﻨﻄﻘﺔ‬
‫ﺍﺣﺘﻴﺎﻃﻴﺎ ﻣﻨﺎﺳﺒﺎ ﻟﻠﺤﺠﺎﺭﺓ ﻭﻣﻮﺍﺩ ﺑﻨﺎﺀ ﺛﻤﻴﻨﺔ ﳚﺐ ﺇﻋﺎﺩﺓ ﺗﺪﻭﻳﺮﻫﺎ ﻭﺗﻮﻇﻴﻔﻬﺎ ﰲ ﺍﳊﻈﺎﺋﺮ‬
‫‪418‬‬ ‫‪Baya Abidi‬‬

‫ﳘﻬﺎ ﺍﳌﻴﻨﺎﺀ‪ ،‬ﺑﺎﻋﺘﺒﺎﺭﻩ ﻳﻠﻌﺐ‬

‫ﺍﻟﻌﺪﻳﺪﺓ ﺍﻟﺘﻲ ﻓﺘﺤﺘﻬﺎ ﺍﻹﺩﺍﺭﺓ ﺍﻻﺳﺘﻌﲈﺭ ﹼﻳﺔ ﰲ ﻣﺪﻳﻨﺔ ﺗﻮﻧﺲ ﻭﺃ ﹼ‬
‫ﺩﻭﺭ ﺍﳌﺤﻮﺭ ﺫﻭ ﺍﻟﻮﻇﻴﻔﺔ ﺍﳊﻴﻮ ﹼﻳﺔ ﻟﻠﻤﻴﱰﻭﺑﻮﻝ ﺳﻮﺍﺀ ﻣﻦ ﺃﺟﻞ ﺍﻟﺘﺼﺪﻳﺮ ﺃﻭ ﺍﻟﺘﻮﺭﻳﺪ‪ .‬ﻭﲠﺬﺍ‬
‫ﻭﻣﺴﺘﻘﺮ ﳍﺎ ﻗﺒﻞ ﻭﺻﻮﻝ ﺍﻻﺳﺘﻌﲈﺭ‪ ،‬ﺇﱃ‬‫ﹼ‬ ‫ﲢﻮﻟﺖ ﻣﻨﻄﻘﺔ ﺑﺎﺭﺩﻭ ﻣﻦ ﻣﻜﺎﻥ ﻹﻧﺘﺎﺝ ﺍﻟﺴﻠﻄﺔ‬ ‫ﹼ‬
‫ﺧﻀﻢ ﻫﺬﻩ‬
‫ﹼ‬ ‫ﻓﺘﴬﺭ ﻣﻮﺭﻭﺛﻬﺎ ﺍﳌﻌﲈﺭﻱ ﻛﺜﲑﺍ ﰲ‬ ‫ﹼ‬ ‫ﻣﻨﻄﻘﺔ ﺧﺎﺿﻌﺔ ﻟﺮﻫﺎﻧﺎﺕ ﺍﻹﻗﺎﻣﺔ ﺍﻟﻌﺎ ﹼﻣﺔ‪،‬‬
‫ﺍﻟﺮﻫﺎﻧﺎﺕ‪ .‬ﻭﻗﺪ ﺃﺑﺮﺯﺕ ﺑ ﹼﻴﺔ ﺍﻟﻌﺒﻴﺪﻱ ﻣﺪ￯ ﺩﺭﺟﺔ ﺗﺄ ﹼﺛﺮ ﻭﺣﺪﺍﺙ ﻣﻌﲈﺭ ﹼﻳﺔ ﺃﺧﺮ￯‪ ،‬ﺇﱃ ﺟﺎﻧﺐ‬
‫ﺑﺘﻐﲑ ﺍﻟﻈﺮﻓ ﹼﻴﺎﺕ ﺍﻻﻗﺘﺼﺎﺩﻳﺔ ﻭﺍﻟﺴﻴﺎﺳ ﹼﻴﺔ ﻣﺜﻞ ﺣﺎﻟﺔ ”ﺑﺮﺝ ﺍﻟﻘﻔﴢ“ ﺍﻟﺬﻱ ﻳﻌﻮﺩ‬
‫ﻗﴫ ﺑﺎﺭﺩﻭ‪ ،‬ﹼ‬
‫ﲢﻮﻝ ﰲ ﺯﻣﻦ‬
‫ﺍﻟﺴﻌﻴﺪ ﺍﻟﻘﺎﺋﻢ ﺑﺠﺎﻧﺐ ﺳﺎﻧﻴﺔ ﺑﺎﺭﺩﻭ‪ ،‬ﻭﺍﻟﺬﻱ ﹼ‬ ‫ﺗﺄﺳﻴﺴﻪ ﺇﱃ ﺳﻨﺔ ‪ ،1658‬ﻭﺍﻟﻘﴫ ﹼ‬
‫ﺍﳊﲈﻳﺔ ﺇﱃ ﺛﻜﻨﺔ ﻋﺴﻜﺮ ﹼﻳﺔ‪.‬‬
‫ﺗﺒﲔ ﻟﻨﺎ ﺍﻟﺒﺎﺣﺜﺔ ﺍﻟﺮﻫﺎﻧﺎﺕ ﺍﻟﻜﺒﲑﺓ ﺍﳌﺤﻴﻄﺔ ﲠﺬﻩ ﺍﻟﻌ ﹼﻘﺎﺭﺍﺕ‪،‬‬
‫ﻭﻣﻦ ﺧﻼﻝ ﻫﺬﻩ ﺍﻟﻨﲈﺫﺝ‪ ،‬ﹼ‬
‫ﻭﺧﺎﺻﺔ ﻣﻨﻬﺎ ﻣﻨﺎﻭﺭﺍﺕ ﻭ ﺍﻟﺘﻤ ﹼﻠﮏ ﺍﺳﱰﺍﺗﻴﺠ ﹼﻴﺎﲥﺎ ﺍﻟﺘﻲ ﺍﺗﹼﺒﻌﻬﺎ ﺍﻟﻔﺎﻋﻞ ﺍﻻﺟﺘﲈﻋﻲ‪ .‬ﻟﻘﺪ‬
‫ﹼ‬
‫ﻛﺎﻧﺖ ﻗﺼﻮﺭ ﺟﻬﺔ ﺑﺎﺭﺩﻭ ﻭﺳﻮﺍﻧﻴﻬﺎ ﻗﺒﻞ ﻋﻬﺪ ﺍﳊﲈﻳﺔ ﺍﻟﻔﺮﻧﺴﻴﺔ ﲢﺖ ﻣﻠﻜ ﹼﻴﺔ ﺍﻟﻌﺎﺋﻠﺔ ﺍﳊﺴﻴﻨﻴﺔ‬
‫ﳌﺘﻐﲑﺍﺕ ﺣﺎﺳﻤﺔ ﺣﻴﺚ ﺍﻧﺘﻘﻠﺖ ﺃﻏﻠﺐ‬ ‫ﺃﺳﺲ ﹼ‬ ‫ﺃﻥ ﺣﺪﺙ ﺍﻻﺳﺘﻌﲈﺭ ﹼ‬ ‫ﻭﺃﻋﻮﺍﻥ ﺍﻟﺪﻭﻟﺔ‪ ،‬ﺇﻻﹼ ﹼ‬
‫ﺍﳌﻠﻜ ﹼﻴﺎﺕ ﺇﱃ ﺃﻳﺎﺩﻱ ﻓﺎﻋﻠﲔ ﺍﺟﺘﲈﻋﻴﲔ ﺟﺪﺩ ﻣﺜﻞ ﺍﻟﻔﺮﻧﺴﻴﲔ‪ ،‬ﻭﺃﻣﻼک ﺍﻟﺪﻭﻟﺔ‪.‬‬
‫ﻟﻘﺪ ﺗﻮ ﹼﻓﻘﺖ ﺍﳌﺆﻟﻔﺔ ﺑ ﹼﻴﺔ ﺍﻟﻌﺒﻴﺪﻱ ﻣﻦ ﺧﻼﻝ ﻫﺬﺍ ﺍﻟﺘﺄﻟﻴﻒ ﰲ ﻣﻮﺿﻌﺔ ﺟﻬﺔ ﺑﺎﺭﺩﻭ ﺿﻤﻦ‬
‫ﺳﲑﻭﺭﲥﺎ ﺍﻟﺘﺎﺭﳜ ﹼﻴﺔ ﻭﳑ ﹼﻴﺰﺍﲥﺎ ﺍﳌﻌﲈﺭ ﹼﻳﺔ ﻭﺍﻷﺛﺮ ﹼﻳﺔ ﻭﺍﻟﻔﻨ ﹼﻴﺔ‪ .‬ﻛﲈ ﺑ ﹼﻴﻨﺖ ﺑﻮﺿﻮﺡ ﻋﻼﻗﺔ ﻫﺬﻩ ﺍﳉﻬﺔ‬
‫ﻭﺍﻟﺘﺤﻮﻻﺕ ﺍﻟﺴﻴﺎﺳ ﹼﻴﺔ‪ ،‬ﻭﺍﻧﻌﻜﺎﺱ ﺫﻟﮏ ﻋﲆ ﺍﳌﻮﺭﻭﺙ ﺍﳌﻌﲈﺭﻱ‪ .‬ﻟﻘﺪ ﺗﺮک‬ ‫ﹼ‬ ‫ﺑﺎﻟﻈﺮﻓ ﹼﻴﺎﺕ‬
‫ﺍﻻﺟﺘﲈﻋﲔ‪ ،‬ﺳﻮﺍﺀ ﺍﳊﻔﺼ ﹼﻴﲔ ﺃﻭ ﺍﳌﺮﺍﺩ ﹼﻳﲔ ﺃﻭ ﺍﳊﺴﻴﻨ ﹼﻴﲔ ﺃﻭ ﺍﻟﻔﺮﻧﺴ ﹼﻴﲔ‪،‬‬
‫ﹼ‬ ‫ﹸﳎﻤﻞ ﺍﻟﻔﺎﻋﻠﲔ‬
‫ﺧﺎﺻﺔ ﺍﻟﻘﺼﻮﺭ ﻭﺍﻟﺴﻮﺍﲏ‪.‬‬ ‫ﺑﺼﲈﺕ ﻭﳌﺴﺎﺕ ﻭﺍﺿﺤﺔ ﻋﲆ ﺍﳉﻬﺔ ﻭﻋﻤﺮﺍﳖﺎ ﹼ‬
‫ﻭﻻ ﻳﺴﻌﻨﺎ ﰲ ﺍﻷﺧﲑ ﺇﻻ ﺍﻟﺘﺄﻛﻴﺪ ﻋﲆ ﺃﳘ ﹼﻴﺔ ﻫﺬﻩ ﺍﻟﺪﺭﺍﺳﺔ ﻋﲆ ﻣﺴﺘﻮ￯ ﺍﻟﺘﺎﺭﻳﺦ‬
‫ﻭﺍﳌﻮﺭﻭﺙ ﺍﳌﻌﲈﺭﻱ‪ .‬ﻟﻘﺪ ﺃﻓﻠﺤﺖ ﺍﻟﺒﺎﺣﺜﺔ ﰲ ﺍﳉﻤﻊ ﺑﲔ ﺍﳌﺼﺎﺩﺭ ﺍﻷﺭﺷﻴﻔ ﹼﻴﺔ ﻭﺍﳌﺼﺎﺩﺭ‬
‫ﻭﺍﳌﺮﺍﺟﻊ ﺍﳌﻨﺸﻮﺭﺓ ﻭﺍﻟﻌﻤﻞ ﺍﳌﻴﺪﺍﲏ‪ ،‬ﻛﲈ ﻓﺼﻠﺖ ﰲ ﻫﻮﺍﺟﺲ ﺍﻟﺘﻤ ﹼﻠﮏ ﺍﻟﺘﻲ ﺃﺣﺎﻃﺖ ﺑﺠﻬﺔ‬
‫ﺑﺎﺭﺩﻭ‪ ،‬ﻭﻧﺠﺤﺖ ﰲ ﺭﺳﻢ ﺧﺮﺍﺋﻂ ﺍﻟﻨﹼﻔﻮﺫ ﻭﺍﳉﺎﻩ ﹼ‬
‫ﻭﺗﻨﻮﻉ ﺍﺳﱰﺍﺗﻴﺠ ﹼﻴﺎﺕ ﺍﳌﻠﻜ ﹼﻴﺔ ﺍﳌﺘﻌﺎﻗﺒﺔ ﻋﲆ‬
‫ﺍﻟﺒﻼﺩ ﺍﻟﺘﻮﻧﺴﻴﺔ ﻣﻦ ﺧﻼﻝ ﺩﺭﺍﺳﺔ ﺗﺎﺭﻳﺦ ﺍﳉﻬﺔ ﻭﺍﳌﺆ ﹼﺛﺮﺍﺕ ﺍﻟﺘﻲ ﻋﺎﻳﺸﺘﻬﺎ‪ ،‬ﹼ‬
‫ﻭﺗﻐﲑ ﻣﻮﺍﺯﻳﻦ‬
‫ﻭﲢﻮﻻﺕ ﺷﺒﻜﺎﺕ ﺍﻟﻨﻔﻮﺫ‪.‬‬
‫ﺍﻟﻘﻮ￯‪ ،‬ﹼ‬
‫ﻭﺍﳌﻼﺣﻆ ﺃﻳﻀﺎ ﺃﻥ ﺍﻟﺪﺭﺍﺳﺔ ﲤﻜﻨﺖ ﻣﻦ ﺍﳌﺮﺍﻭﺣﺔ ﺑﲔ ﺍﻟﺘﺎﺭﻳﺦ ﺍﻻﺟﺘﲈﻋﻲ ﻭﺍﻟﺴﻴﺎﳼ‬
‫ﻭﺍﻟﻌ ﹼﻘﺎﺭﻱ ﻣﻦ ﺟﻬﺔ‪ ،‬ﻭﺑﲔ ﻋﻠﻢ ﺍﻵﺛﺎﺭ ﻭﺗﺎﺭﻳﺦ ﺍﻟﻔ ﹼﻦ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮ￯‪ .‬ﻭﺃﻳﻀﺎ ﺑﲔ ﺍﻟﺘﺎﺭﻳﺦ‬
‫ﺍﳌﻤﺘﺪ ﻭﺍﳊﺪﺛﻲ‪ ،‬ﻭﻫﻲ ﺩﺭﺍﺳﺔ ﲡﻤﻊ ﻭﺗﺮﺍﻭﺡ ﺑﲔ ﺍﻟﺒﻨﻴﺔ ﻭﺍﻟﻈﺮﻑ‪ .‬ﻭﻫﻲ ﺑﺬﻟﮏ‪ ،‬ﺗﻔﺘﺢ ﺁﻓﺎﻗﺎ‬
 ‫‪ͨUrūḍ biblioghrāfia, Comptes Rendus, Reviews of Books, Reseñas Bibliográficas‬‬ ‫‪419‬‬

‫ﻣﻬﻤﺔ ﰲ ﻣﻴﺎﺩﻳﻦ ﺍﻟﺘﺎﺭﻳﺦ ﺍﻟﻌ ﹼﻘﺎﺭﻱ ﻭﺍﳌﻮﺭﻭﺙ ﺍﳌﻌﲈﺭﻱ ﻋﻤﻮﻣﺎ‪ ،‬ﻭﺁﻓﺎﻗﺎ ﻣﻨﻬﺠ ﹼﻴﺔ ﹸﻣ ﹼ‬
‫ﻠﺤﺔ‬ ‫ﻣﻌﺮﻓ ﹼﻴﺔ ﹼ‬
‫ﻣﻦ ﺧﻼﻝ ﺍﻟﺘﺄﻛﻴﺪ ﻋﲆ ﺃﳘ ﹼﻴﺔ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﳌﺮﺗﻜﺰﺓ ﻋﲆ ﺗﺪﺍﺧﻞ ﺍﻻﺧﺘﺼﺎﺻﺎﺕ‪ ،‬ﻓﻀﻼ ﻋﻦ‬
‫ﻣﻬﻤﺔ ﺑﻘﻴﺖ ﳎﻬﻮﻟﺔ‬ ‫ﻛﻮﻧﻪ ﻋﻤﻼ ﻳﻔﺘﺢ ﺷﻬ ﹼﻴﺔ ﺍﻟﻘﺎﺭﺉ ﻣﻦ ﺃﺟﻞ ﻣﺰﻳﺪ ﺍﻻ ﹼﻃﻼﻉ ﻋﲆ ﻣﻮﺍﺿﻴﻊ ﹼ‬
‫ﳌﺪﹼ ﺓ ﻃﻮﻳﻠﺔ‪.‬‬
‫ﳏﻤﺪ ﺍﻟﺒﺸﲑ ﺭﺍﺯﻗﻲ‬
‫ﺳﻠﮏ ﺍﻟﺪﻛﺘﻮﺭﺍﻩ‪ ،‬ﻛﻠﻴﺔ ﺍﻟﻌﻠﻮﻡ ﺍﻻﺟﺘﲈﻋﻴﺔ ﻭﺍﻹﻧﺴﺎﻧﻴﺔ‪ ،‬ﺗﻮﻧﺲ‬