‫ﺍﻟﻌﺪﺩ )‪ - (١‬ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ‪ -‬ﺭﺑﻴﻊ ‪٢٠١٦‬‬

‫ﻣﻘﻬﻰ‬
‫ﺍﻟﺸﺎﻫﻲ‪..‬‬
‫ﻭﺣﻴﺎﺩﻳﺔ ﺍﻟﺼﺤﻔﻲ‬
‫ﻳﻮﻣﻴﺎﺕ ﻣﺮﺍﺳﻞ ﺻﺤﻔﻲ ﻲﻓ ﺟﺒﻬﺔ ﺍﻟﻘﺘﺎﻝ‬
 ‫ﺍﻟﺘﻐﻄﻴﺔ ﺍﻟﺼﺤﻔﻴﺔ ﺑﻠﺒﻨﺎﻥ‪ ..‬ﻣﻬﻨﺔ ﺍﳌﺘﺎﻋﺐ ﺃﻡ ﺍﻷﺧﻄﺎﺀ؟‬

‫ﻣﺤﺘﻮﻳﺎﺕ ﺍﻟﻌﺪﺩ‬

‫‪ 46‬ﺻﺤﻔ ّﻴﺎﻥ ﻳﻮﻗﻌﺎﻥ ﺑـ"ﻛﻞ‬ ‫"ﺍﳌﺸﻬﺮﻭﻥ" ﻲﻓ ﺍﻟﺼﺤﺎﻓﺔ‬

‫ﱢ‬ ‫‪26‬‬ ‫‪ 4‬ﻣﻘﻬﻰ ﺍﻟﺸﺎﻫﻲ‪ ..‬ﻭﺣﻴﺎﺩﻳﺔ‬
‫ﺭﺟﺎﻝ ﺍﻟﺮﺋﻴﺲ"‬ ‫ﺍﻻﺳﺘﻘﺼﺎﺋﻴﺔ‬ ‫ﺍﻟﺼﺤﻔﻲ‬
‫ﺣﺴﻴﻦ ﻋﻠﻮﺍﻥ‬ ‫ﻓﻴﻞ ﺭﻳﺲ‬ ‫ﻋﺒﺪ ﺍﻟﻘﺎﺩﺭ ﻓﺎﻳﺰ‬

‫‪ 50‬ﺍﻟﺴﺮﺩ ﻣﺘﺄﺭﺟﺤﺎ ﺑﻴﻦ ﺍﻟﺼﺤﺎﻓﺔ‬ ‫‪ 30‬ﺍﻟﺮﺃﻱ ﺍﻟﻌﺎﻡ ﻲﻓ ﻗﺒﻀﺔ‬ ‫‪ 8‬ﺍﺳﺘﺮﺍﺗﻴﺠﻴﺔ ﺍﻟﺤﺮﺑﺎﺀ ﻹﺟﺮﺍﺀ‬
‫ﻭﺍﻟﺮﻭﺍﻳﺔ‬ ‫ﺍﻹﻧﺘﺮﻧﺖ‬ ‫ﺍﳌﻘﺎﺑﻼﺕ ﺍﻟﺼﺤﻔﻴﺔ‬
‫ﻏﺪﻳﺮ ﺃﺑﻮ ﺳﻨﻴﻨﺔ‬ ‫ﺇﺳﻤﺎﻋﻴﻞ ﻋﺰﺍﻡ‬ ‫ﺃﻣﻴﺮ ﺑﺎﻳﻲ‬

‫‪ 54‬ﳌﻦ ﺗﻨﺘﺼﺮ ﻲﻓ‬ ‫‪ 34‬ﻋﺎﻟﻢ ﺍﻷﺧﺒﺎﺭ ﻲﻓ ﺗﻮﻳﺘﺮ‬ ‫‪ 12‬ﺻﺪﻗﻴﺔ ﺍﻟﺼﻮﺭﺓ ﻲﻓ ﻋﺼﺮ‬

‫ﺍﻟﺤﺮﺏ؟‬ ‫ﻭﻓﻴﺴﺒﻮﻙ‬ ‫ﺍﻹﻋﻼﻡ ﺍﻟﺮﻗﻤﻲ‬
‫ﺣﻤﺪﻱ ﺍﻟﺒﻜﺎﺭﻱ‬ ‫ﻋﺒﺪ ﺍﷲ ﺍﻟﺮﺷﻴﺪ‬ ‫ﺃﻣﺠﺪ ﺍﻟﺸﻠﺘﻮﻧﻲ‬

‫‪ 57‬ﻣﺤﻤﺪ ﺍﻟﺸﺎﻣﻲ‪ ..‬ﻋﺪﺳﺔ‬ ‫‪ 38‬ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻲﻓ‬ ‫‪ 16‬ﺍﻟﺘﻐﻄﻴﺔ ﺍﻟﺼﺤﻔﻴﺔ ﺑﻠﺒﻨﺎﻥ‪ ..‬ﻣﻬﻨﺔ‬
‫ﺻﻐﻴﺮﺓ ﺍﻟﺴﻦ‬ ‫ﺃﻳﺪﻱ ﺍﻟﺼﺤﺎﻓﺔ‬ ‫ﺍﳌﺘﺎﻋﺐ ﺃﻡ ﺍﻷﺧﻄﺎﺀ؟‬
‫ﻣﺠﻠﺔ ﺍﻟﺼﺤﺎﻓﺔ‬ ‫ﻏﺪﻳﺮ ﺃﺑﻮ ﺳﻨﻴﻨﺔ‬ ‫ﺣﺴﻦ ﺍﻟﺤﺎﻑ‬

‫‪ 62‬ﻗﻴﻤﺔ "ﺍﻟﺼﺤﺎﻓﺔ ﺍﳌﺘﺄﻧﻴﺔ" ﻲﻓ‬ ‫‪ 43‬ﺫﺍﻛﺮﺓ ﺍﻟﺼﺤﻒ ﺍﻟﻌﺮﺑﻴﺔ‬ ‫‪ 22‬ﺍﻟﻔﻴﻠﻢ ﺍﻟﻮﺛﺎﺋﻘﻲ ﺑﻴﻦ ﺍﻟﻘﻴﻤﺔ‬
‫ﻋﺼﺮ ﺍﳌﻌﻠﻮﻣﺎﺕ ﺍﻟﺴﺮﻳﻌﺔ‬ ‫ﻲﻓ ﺍﻟﺒﺮﺍﺯﻳﻞ‬ ‫ﺍﻹﺧﺒﺎﺭﻳﺔ ﻭﺍﻟﺤﺲ ﺍﻟﻔﻨﻲ‬
‫ﻣﺎﻳﻜﻞ ﺑﻼﻧﺪﻳﻨﻎ‬ ‫ﻓﻴﻜﺘﻮﺭﻳﻮﺱ ﺑﻴﺎﻥ ﺷﻤﺲ‬ ‫ﺑﺸﺎﺭ ﺣﻤﺪﺍﻥ‬

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 ‫ﻣﺠﻠﺔ ﺍﻟﺼﺤﺎﻓﺔ‬ ‫ﻛﺘﺎﺏ ﺍﻟﻌﺪﺩ‬
‫ﺍﻟﻌﺪﺩ )‪ I (١‬ﺍﻟﺴﻨﺔ ﺍﻷﻭﻟﻰ ‪ I‬ﺭﺑﻴﻊ ‪٢٠١٦‬‬ ‫ﻋﺒﺪ ﺍﻟﻘﺎﺩﺭ ﻓﺎﻳﺰ‬
‫ﺻﺤﻔﻲ ﻓﻠﺴﻄﻴﻨﻲ‪ ،‬ﻣﺪﻳﺮ ﻣﻜﺘﺐ ﺷﺒﻜﺔ‬
‫ﻣﺠﻠﺔ ﻓﺼﻠﻴﺔ ﺗﺼﺪﺭ ﻋﻦ‬
‫ﺍﻟﺠﺰﻳﺮﺓ ﻲﻓ ﻃﻬﺮﺍﻥ‪ .‬ﻏﻄﻰ ﺑﺪﺍﻳﺎﺕ ﺍﻟﺜﻮﺭﺓ‬
‫ﻣﺮﻛﺰ ﺍﻟﺠﺰﻳﺮﺓ ﺍﻹﻋﻼﻣﻲ ﻟﻠﺘﺪﺭﻳﺐ ﻭﺍﻟﺘﻄﻮﻳﺮ‬ ‫ﺍﻟﻠﻴﺒﻴﺔ ﻋﺎﻡ ‪ ،٢٠١١‬ﻭﺭﺻﺪ ﻛﻤﺮﺍﺳﻞ ﻣﻴﺪﺍﻧﻲ‬
‫ﻋﻤﻠﻴﺔ ﺍﻧﺴﺤﺎﺏ ﺍﻟﻘﻮﺍﺕ ﺍﻷﻣﻴﺮﻛﻴﺔ ﻣﻦ‬
‫ﺷﺒﻜﺔ ﺍﻟﺠﺰﻳﺮﺓ ﺍﻹﻋﻼﻣﻴﺔ‬ ‫ﺍﻟﻌﺮﺍﻕ‪.‬‬

‫ﺍﳌﺸﺮﻑ ﺍﻟﻌﺎﻡ‬
‫ﺃﻣﻴﺮ ﺑﺎﻳﻲ‬
‫ﻣﻨﻴﺮ ﺍﻟﺪﺍﺋﻤﻲ‬
‫ﻛﺎﺗﺐ ﻭﺻﺤﻔﻲ ﻛﻮﺑﻲ ﻣﺘﺨﺼﺺ ﻲﻓ ﺷﺆﻭﻥ‬
‫ﺃﻣﻴﺮﻛﺎ ﺍﻟﻼﺗﻴﻨﻴﺔ ﻭﺍﻟﺸﺮﻕ ﺍﻷﻭﺳﻂ‪ .‬ﻟﻪ ‪ ٣٠‬ﻛﺘﺎﺑﺎ‬
‫ﻣﻨﺸﻮﺭﺍ‪ ،‬ﺍﺛﻨﺎﻥ ﻣﻦ ﻛﺘﺒﻪ ﻧﺎﻗﺸﺎ ﺍﻟﺼﺮﺍﻉ‬
‫ﺍﳌﺤﺮﺭ ﺍﳌﺴﺆﻭﻝ‬ ‫ﺍﻟﻔﻠﺴﻄﻴﻨﻲ‪-‬ﺍﻹﺳﺮﺍﺋﻴﻠﻲ ﻣﻦ ﻣﻨﻈﻮﺭ ﺩﻳﻨﻲ‬
‫ﺗﻮﺭﺍﺗﻲ‪.‬‬
‫ﻣﻨﺘﺼﺮ ﻣﺮﻋﻲ‬

‫ﻣﺤﺮﺭ ﺃﻭﻝ‬
‫ﺃﻣﺠﺪ ﺍﻟﺸﻠﺘﻮﻧﻲ‬
‫ﻏﺪﻳﺮ ﺃﺑﻮ ﺳﻨﻴﻨﺔ‬
‫ﻣﺤﺮﺭ ﺃﻭﻝ ﻟﻨﺸﺮﺍﺕ ﺍﻷﺧﺒﺎﺭ ﻲﻓ ﻗﻨﺎﺓ ﺍﻟﺠﺰﻳﺮﺓ‪.‬‬
‫ﻋﻤﻞ ﻣﺤﺮﺭﺍ ﻟﻨﺸﺮﺍﺕ ﺍﻷﺧﺒﺎﺭ ﻭﺍﻟﺒﺮﺍﻣﺞ ﻲﻓ‬
‫ﺍﻟﻘﺴﻢ ﺍﻟﻌﺮﺑﻲ ﻲﻓ ﻫﻴﺌﺔ ﺍﻹﺫﺍﻋﺔ ﺍﻟﺒﺮﻳﻄﺎﻧﻴﺔ‬
‫ﻣﺮﺍﺟﻌﺔ ﻟﻐﻮﻳﺔ‬ ‫)ﺑﻲ ﺑﻲ ﺳﻲ(‪.‬‬

‫ﺍﻟﻔﻀﻴﻞ ﺑﻦ ﺳﻌﻴﺪ‬

‫ﺍﻹﺷﺮﺍﻑ ﺍﻟﻔﻨﻲ‬ ‫ﺣﺴﻦ ﺍﻟﺤﺎﻑ‬

‫ﺇﺩﺍﺭﺓ ﺍﻹﺑﺪﺍﻉ ﻲﻓ ﺷﺒﻜﺔ ﺍﻟﺠﺰﻳﺮﺓ ﺍﻹﻋﻼﻣﻴﺔ‬ ‫ﺻﺤﻔﻲ ﻟﺒﻨﺎﻧﻲ ﻋﻤﻞ ﻲﻓ ﺻﺤﻴﻔﺔ "ﺍﻟﺴﻔﻴﺮ"‬
‫ﺍﻟﻠﺒﻨﺎﻧﻴﺔ ﻛﻤﺤﺮﺭ ﻭﻛﺎﺗﺐ ﻲﻓ ﺍﻻﻗﺘﺼﺎﺩ ﻭﺍﻟﺜﻘﺎﻓﺔ‪،‬‬
‫ﺛﻢ ﺻﺤﻴﻔﺔ "ﺍﳌﺪﻥ" ﺍﻹﻟﻜﺘﺮﻭﻧﻴﺔ ﻛﺮﺋﻴﺲ ﻗﺴﻢ‬
‫ﺍﻻﻗﺘﺼﺎﺩ ﻭﺍﳌﺠﺘﻤﻊ‪ .‬ﺳﺎﻫﻢ ﺃﻳﻀﴼ ﻲﻓ ﻛﺘﺎﺑﺔ‬
‫ﺗﺼﻤﻴﻢ‬ ‫ﻣﻘﺎﻻﺕ ﻲﻓ ﺻﺤﻴﻔﺔ "ﺍﻟﺤﻴﺎﺓ" ﺍﻟﻠﻨﺪﻧﻴﺔ‪.‬‬
‫ﺃﻣﺠﺪ ﺑﻜﺮ‬

‫ﻣﺠﻠﺔ ﺍﻟﺼﺤﺎﻓﺔ‬ ‫ﻏﺪﻳﺮ ﺃﺑﻮ ﺳﻨﻴﻨﺔ‬

‫‪Aljazeera Journalism Review‬‬ ‫ﺻﺤﻔﻴﺔ ﻭﻣﺘﺮﺟﻤﺔ‪ ،‬ﺣﺎﺻﻠﺔ ﻰﻠﻋ ﺍﳌﺎﺟﺴﺘﻴﺮ ﻲﻓ ﺍﻟﻠﻐﺔ‬
‫ﺍﻹﺳﺒﺎﻧﻴﺔ ﻣﻦ ﺍﻟﺠﺎﻣﻌﺔ ﺍﻟﻮﻃﻨﻴﺔ ﻲﻓ ﻧﻴﻜﺎﺭﺍﻏﻮﺍ‪ .‬ﻛﺎﺗﺒﺔ‬
‫ﻣﻮﻗﻊ ﺍﻹﻧﺘﺮﻧﺖ‪:‬‬ ‫ﻣﻬﺘﻤﺔ ﺑﺸﺆﻭﻥ ﺃﻣﻴﺮﻛﺎ ﺍﻟﻼﺗﻴﻨﻴﺔ‪ .‬ﺗﻜﺘﺐ ﺃﻳﻀﺎ ﻲﻓ‬
‫ﻣﺠﻼﺕ ﺗﺼﺪﺭ ﺑﺎﻟﻠﻐﺔ ﺍﻹﺳﺒﺎﻧﻴﺔ‪.‬‬
‫‪http://training.aljazeera.net/ajr‬‬

‫ﺗﻮﻳﺘﺮ‪:‬‬ ‫ﻓﻴﻜﺘﻮﺭﻳﻮﺱ ﺑﻴﺎﻥ ﺷﻤﺲ‬

‫@‪AJR_Arabic‬‬ ‫ﺻﺤﻔﻲ ﺳﻮﺭﻱ ﻣﻘﻴﻢ ﻲﻓ ﺍﻟﺒﺮﺍﺯﻳﻞ‪ .‬ﺩﺭﺱ ﺍﻟﻌﻠﻮﻡ‬
‫ﺍﻟﺴﻴﺎﺳﻴﺔ ﻭﺍﻹﺩﺍﺭﻳﺔ ﻲﻓ ﺍﻟﺠﺎﻣﻌﺔ ﺍﻟﻠﺒﻨﺎﻧﻴﺔ‪ .‬ﻛﺎﺗﺐ ﻲﻓ‬
‫ﻓﻴﺴﺒﻮﻙ‪:‬‬ ‫ﻋﺪﺓ ﺻﺤﻒ ﻭﻣﺠﻼﺕ ﻭﻣﻮﺍﻗﻊ ﻋﺮﺑﻴﺔ‪.‬‬

‫‪www.facebook.com/aljazeerajournalismreview‬‬

‫ﻓﻴﻞ ﺭﻳﺲ‬
‫ﻣﺪﻳﺮ ﺍﻟﺘﺤﻘﻴﻘﺎﺕ ﻲﻓ ﻭﺣﺪﺓ ﺍﻟﺘﺤﻘﻴﻘﺎﺕ ﻲﻓ ﺷﺒﻜﺔ‬
‫ﺑﺮﻳﺪ ﺍﳌﺠﻠﺔ ﺍﻹﻟﻜﺘﺮﻭﻧﻲ‪:‬‬ ‫ﺍﻟﺠﺰﻳﺮﺓ‪ .‬ﺩﺭﺱ ﺍﻟﻌﻠﻮﻡ ﺍﻟﺴﻴﺎﺳﻴﺔ ﻭﺍﻟﻔﻠﺴﻔﺔ ﻭﺍﻻﻗﺘﺼﺎﺩ‬
‫‪ajreditor@aljazeera.net‬‬ ‫ﻲﻓ ﺟﺎﻣﻌﺔ ﺃﻭﻛﺴﻔﻮﺭﺩ‪ .‬ﺃﻧﺘﺞ ﻭﺃﺧﺮﺝ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻷﻓﻼﻡ‬
‫ﺍﻟﻮﺛﺎﺋﻘﻴﺔ‪ ،‬ﻭﻓﺎﺯﺕ ﺃﻋﻤﺎﻟﻪ ﺑﻌﺪﺩ ﻣﻦ ﺍﻟﺠﻮﺍﺋﺰ‪.‬‬

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 ‫ﻛﺘﺎﺏ ﺍﻟﻌﺪﺩ‬
‫ﺇﺳﻤﺎﻋﻴﻞ ﻋﺰﺍﻡ‬
‫ﺍﻟﺒﺪﺍﻳﺔ‪..‬‬
‫ﺻﺤﻔﻲ ﻲﻓ ﻣﻮﻗﻊ ﺳﻲ ﺇﻥ ﺇﻥ ﺑﺎﻟﻌﺮﺑﻴﺔ‪ .‬ﻣﻦ‬
‫ﺃﻭﺍﺋﻞ ﺍﳌﺪ ّﻭﻧﻴﻦ ﺍﳌﻐﺎﺭﺑﺔ‪ ،‬ﻛﺘﺐ ﻲﻓ ﻋﺪﺓ ﻣﻮﺍﻗﻊ‬ ‫ﻟﻢ ﻳﺸﻬﺪ ﺍﻟﻌﺎﻟﻢ‬
‫ﻣﻨﻬﺎ ﻫﺴﺒﺮﻳﺲ ﻭﺷﺒﻜﺔ ﺍﻟﺼﺤﻔﻴﻴﻦ ﺍﻟﺪﻭﻟﻴﻴﻦ‪.‬‬
‫ﺍﻟﻌﺮﺑﻲ ﺗﻄﻮﺭﺍ ﻲﻓ‬
‫ﻣﻬﻨﺔ ﺍﻹﻋﻼﻡ ﻛﻤﺎ‬
‫ﻳﺤﺪﺙ ﻫﺬﻩ ﺍﻷﻳﺎﻡ‪.‬‬
‫ﻳﺎﺳﺮ ﺃﺑﻮ ﻫﻼﻟﺔ‬ ‫ﻭﻳﻌﻮﺩ ﺍﻟﻔﻀﻞ ﻲﻓ‬
‫ﺑﺸﺎﺭ ﺣﻤﺪﺍﻥ‬ ‫ﻣﺪﻳﺮ ﻗﻨﺎﺓ ﺍﻟﺠﺰﻳﺮﺓ‬ ‫ﺫﻟﻚ ﺇﻟﻰ ﺛﻮﺭﺍﺕ ﺍﻟﺮﺑﻴﻊ‬
‫ﻣﻨﺘﺞ ﻲﻓ ﺑﺮﻧﺎﻣﺞ ﺍﻟﺼﻨﺪﻭﻕ ﺍﻷﺳﻮﺩ ﺑﻘﻨﺎﺓ ﺍﻟﺠﺰﻳﺮﺓ‪.‬‬
‫ﻛﺘﺐ ﻭﺃﺧﺮﺝ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻷﻓﻼﻡ ﺍﻟﻮﺛﺎﺋﻘﻴﺔ‪ .‬ﺣﺎﺻﻞ‬
‫ﺍﻟﻌﺮﺑﻲ ﺍﻟﺘﻲ ﻟﻌﺐ‬
‫ﻰﻠﻋ ﺷﻬﺎﺩﺓ ﺍﻟﺒﻜﺎﻟﻮﺭﻳﻮﺱ ﻲﻓ ﺍﻹﺫﺍﻋﺔ‬ ‫ﻓﻴﻬﺎ ﺍﻹﻋﻼﻡ ﺩﻭﺭﺍ ﺣﺎﺳﻤﺎ‪ ،‬ﻭﻫﻮ ﻣﺎ ﺩﻓﻊ ﺍﻟﺜﻮﺭﺍﺕ‬
‫ﻭﺍﻟﺘﻠﻔﺰﻳﻮﻥ‪.‬‬ ‫ﺍﳌﻀﺎﺩﺓ ﺃﻳﻀﺎ ﺇﻟﻰ ﺍﺳﺘﺨﺪﺍﻡ ﺳﻼﺡ ﺍﻹﻋﻼﻡ ﻻﺳﺘﻌﺎﺩﺓ‬
‫ﻣﻮﺍﻗﻊ ﺍﻟﺴﻠﻄﺔ ﺍﻟﻘﺪﻳﻤﺔ‪ .‬ﻭﻗﺪ ﺗﺰﺍﻣﻦ ﺫﻟﻚ ﻣﻊ ﺗﻄﻮﺭ‬
‫ﻣﻜﻦ ﺍﻷﻓﺮﺍﺩ ﻣﻦ ﺍﻗﺘﻨﺎﺀ‬ ‫ﺗﻘﻨﻲ ﻟﻢ ﺗﻌﺮﻓﻪ ﺍﻟﺒﺸﺮﻳﺔ‪ّ ،‬‬
‫ﺃﺣﺪﺙ ﺍﻟﻜﺎﻣﻴﺮﺍﺕ ﻭﺃﺟﻬﺰﺓ ﺍﳌﻮﻧﺘﺎﺝ ﻭﺑﺮﺍﻣﺠﻬﺎ ﺑﺄﺳﻌﺎﺭ‬
‫ﺣﺴﻴﻦ ﻋﻠﻮﺍﻥ‬ ‫ﻣﻌﻘﻮﻟﺔ‪ .‬ﻭﺍﻟﺘﻄﻮﺭ ﺍﻷﻛﺒﺮ ﻛﺎﻥ ﻲﻓ ﺍﻟﺸﺒﻜﺔ‬
‫ﺻﺤﻔﻲ ﻭﻓﻨﺎﻥ ﻣﺴﺮﺣﻲ ﻭﻧﺎﻗﺪ ﺳﻴﻨﻤﺎﺋﻲ‬
‫ﻋﺮﺍﻗﻲ ﻣﻘﻴﻢ ﺑﺎﻟﻮﻻﻳﺎﺕ ﺍﳌﺘﺤﺪﺓ‪ .‬ﻋﻤﻞ ﻣﺬﻳﻌﺎ‬ ‫ﺍﻟﻌﻨﻜﺒﻮﺗﻴﺔ ﺍﻟﺘﻲ ﺍﺗﺴﻊ ﺍﻧﺘﺸﺎﺭﻫﺎ ﻭﺗﻀﺎﻋﻔﺖ ﻗﺪﺭﺍﺗﻬﺎ‬
‫ﻭﻣﻌﺪﺍ ﻟﻠﺒﺮﺍﻣﺞ ﺍﻟﺜﻘﺎﻓﻴﺔ ﻲﻓ ﺇﺫﺍﻋﺔ ﺍﳌﺴﺘﻘﺒﻞ‬ ‫ﻭﺳﻊ‬
‫ﻲﻓ ﺍﻟﺒﺚ ﻭﺍﻻﺳﺘﻘﺒﺎﻝ ﻭﺍﻟﺘﺤﻤﻴﻞ‪ ،‬ﻭﻫﻮ ﻣﺎ ّ‬
‫ﻭﺭﺍﺩﻳﻮ ﺳﻮﺍ ﺣﺘﻰ ﻋﺎﻡ ‪.٢٠٠٩‬‬ ‫ﻣﺴﺎﺣﺔ ﻣﻨﺼﺎﺕ ﺍﻟﺘﻮﺍﺻﻞ ﺍﻻﺟﺘﻤﺎﻋﻲ ﻭﺟﻌﻠﻬﺎ‬
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‫ﻟﻠﻜﺎﻓﺔ‪.‬‬ ‫ﻣﺘﺎﺣﺔ‬

‫ﺣﺎﻓﻈﺖ ﺍﻟﺠﺰﻳﺮﺓ ﻰﻠﻋ ﺭﻳﺎﺩﺗﻬﺎ ﻭﺳﻂ ﻫﺬﺍ ﺍﻟﺘﻄﻮﺭ‪،‬‬

‫ﻋﺒﺪ ﺍﷲ ﺍﻟﺮﺷﻴﺪ‬
‫ﻭﻛﺎﻧﺖ ﻲﻓ ﻗﻠﺐ ﺍﻟﺮﺑﻴﻊ ﺍﻟﻌﺮﺑﻲ ﺇﻟﻰ ﺩﺭﺟﺔ ﺍﺗﻬﺎﻣﻬﺎ‬
‫ﺻﺤﻔﻲ ﺳﻮﺭﻱ‪ ،‬ﻳﻌﻤﻞ ﻲﻓ ﻗﺴﻢ ﺍﻹﻋﻼﻡ‬
‫ﺍﻻﺟﺘﻤﺎﻋﻲ ﻲﻓ ﻗﻨﺎﺓ ﺍﻟﺠﺰﻳﺮﺓ ﺍﻟﻌﺮﺑﻴﺔ‪ .‬ﻋﻀﻮ ﻲﻓ‬ ‫ﺑﺄﻧﻬﺎ ﻭﺭﺍﺀﻩ‪ .‬ﻭﻟﻢ ﺗﺰﺩﻫﺎ ﺍﻟﺜﻮﺭﺍﺕ ﺍﳌﻀﺎﺩﺓ ﺇﻻ ﺣﻀﻮﺭﺍ‬
‫ﻣﻨﺘﺪﻯ ﺍﻟﺸﺮﻕ ﻭﻣﺤﻜﻢ ﺩﻭﻟﻲ ﻟﺪﻯ ﻣﺆﺳﺴﺔ‬ ‫ﻰﻠﻋ ﺍﻟﺮﻏﻢ ﻣﻦ ﺍﺳﺘﻬﺪﺍﻓﻬﺎ ﺑﺸﻜﻞ ﻣﻨﻬﺠﻲ‪ .‬ﻭﻲﻓ‬
‫ﻣﻨﺎﻇﺮﺍﺕ ﻗﻄﺮ‪.‬‬ ‫ﺍﻟﻌﺎﻡ ﺍﳌﺎﺿﻲ ﺃﻇﻬﺮﺕ ﺍﻷﺭﻗﺎﻡ ﺃﻧﻬﺎ ﺍﻟﻘﻨﺎﺓ ﺍﻷﻭﻟﻰ‬
‫ﻰﻠﻋ ﻣﻨﺼﺎﺕ ﺍﻟﺘﻮﺍﺻﻞ ﻣﻦ ﺣﻴﺚ ﺍﻟﺤﻀﻮﺭ ﻭﺍﻻﻧﺘﺸﺎﺭ‬
‫ﻭﺍﻟﺘﻔﺎﻋﻞ‪ .‬ﻭﻣﺎ ﻛﺎﻥ ﺫﻟﻚ ﻟﻴﺘﺤﻘﻖ ﻟﻮﻻ ﺍﳌﺒﺎﺩﺭﺓ ﻭﺍﻟﺒﻨﺎﺀ‬
‫ﻰﻠﻋ ﺍﻟﺨﺒﺮﺍﺕ ﻭﺍﻟﺘﺪﺭﻳﺐ ﺍﳌﺘﻮﺍﺻﻞ‪ .‬ﻭﻛﺎﻥ ﻣﺮﻛﺰ‬
‫ﺍﻟﺠﺰﻳﺮﺓ ﺍﻹﻋﻼﻣﻲ ﻟﻠﺘﺪﺭﻳﺐ ﻭﺍﻟﺘﻄﻮﻳﺮ ﺷﺮﻳﻜﺎ ﻲﻓ‬
‫ﺍﻟﻨﺠﺎﺡ ﺍﻟﺬﻱ ﺗﺤﻘﻖ‪.‬‬

‫ﻭﺃﺛﺮﺕ ﻲﻓ ﺍﻟﺘﻐﻴﻴﺮ ﺍﻟﺬﻱ ﺷﻬﺪﻩ‬ ‫ﺗﺄﺛﺮﺕ ﺍﻟﺠﺰﻳﺮﺓ ّ‬

‫ﺍﻹﻋﻼﻡ‪ ،‬ﻭﻫﺬﻩ ﺍﳌﺠﻠﺔ ﺗﻘﺪﻡ ﻣﺴﺎﻫﻤﺔ ﺗﺄﺧﺮﺕ ﻛﺜﻴﺮﺍ‬
‫ﻲﻓ ﺭﺻﺪ ﺍﻟﺘﺤﻮﻻﺕ ﺍﻟﻜﺒﺮﻯ ﺍﻟﺘﻲ ﺷﻬﺪﻫﺎ ﺍﻹﻋﻼﻡ‬
‫ﻓﺎﺭﺿﺔ ﺗﺤﺪﻳﺎﺕ ﻏﻴﺮ ﻣﺴﺒﻮﻗﺔ‪ ،‬ﻛﻤﺎ ﺃﻧﻬﺎ ﺗﺴﺪ ﻓﺮﺍﻏﺎ‬
‫ﻲﻓ ﺍﳌﻜﺘﺒﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﺘﻲ ﺗﻔﺘﻘﺮ ﳌﺠﻠﺔ ﻣﺘﺨﺼﺼﺔ‬
‫ﻲﻓ ﻣﻬﻨﺔ ﺍﻟﺼﺤﺎﻓﺔ ﻭﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻹﻋﻼﻣﻴﺔ‪ .‬ﻭﻫﻲ‬
‫ﻣﺠﻠﺔ ﻲﻓ ﻣﻨﻄﻘﺔ ﻭﺳﻂ ﺑﻴﻦ ﺍﻟﺒﺤﺚ ﺍﻷﻛﺎﺩﻳﻤﻲ‬
‫ﻭﺍﳌﻘﺎﻟﺔ ﺍﻟﺼﺤﻔﻴﺔ‪ ،‬ﺑﻠﻐﺔ ﻣﻌﻠﻮﻣﺎﺗﻴﺔ ﺭﺷﻴﻘﺔ‬
‫ﻳﻔﻬﻤﻬﺎ ﺍﻟﻘﺎﺭﺉ ﺍﻟﻌﺎﺩﻱ ﻭﻳﺤﺘﺮﻣﻬﺎ ﺍﳌﺘﺨﺼﺺ‪ ،‬ﺑﺤﻴﺚ‬
‫ﺗﺼﻞ ﺇﻟﻰ ﺃﻭﺳﻊ ﺷﺮﻳﺤﺔ ﻣﻤﻜﻨﺔ ﻭﻻ ﺗﻈﻞ ﺣﺒﻴﺴﺔ‬
‫ﺍﳌﺆﺗﻤﺮﺍﺕ ﻭﺍﳌﻜﺘﺒﺎﺕ‪.‬‬

‫ﺑﺪﺍﻳﺔ ﻣﺒﺸﺮﺓ ﻻ ﺗﺴﻬﻢ ﻓﻘﻂ ﻲﻓ ﻓﻬﻢ ﺍﻟﺘﺤﻮﻻﺕ ﺑﻞ‬

‫ﺣﻤﺪﻱ ﺍﻟﺒﻜﺎﺭﻱ‬ ‫ﺗﺆﻃﺮﻫﺎ ﺑﺎﺗﺠﺎﻫﺎﺕ ﺃﻛﺜﺮ ﻣﻬﻨﻴﺔ ﻭﺃﺧﻼﻗﻴﺔ‪.‬‬
‫ﻣﺮﺍﺳﻞ ﺍﻟﺠﺰﻳﺮﺓ ﻲﻓ ﺍﻟﻴﻤﻦ‪ .‬ﺷﺎﺭﻙ ﻲﻓ ﺗﻐﻄﻴﺔ ﺍﳌﻌﺎﺭﻙ‬
‫ﺍﻟﺪﺍﺋﺮﺓ ﻲﻓ ﻋﺪﺓ ﻣﺪﻥ ﻳﻤﻨﻴﺔ‪.‬‬

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 ‫ﻣﻘﻬﻰ ﺍﻟﺸﺎﻫﻲ‪..‬‬
‫ﻭﺣﻴﺎﺩﻳﺔ ﺍﻟﺼﺤﻔﻲ‬
‫ﻋﺒﺪ ﺍﻟﻘﺎﺩﺭ ﻓﺎﻳﺰ‬

‫ﻭﻛﺼﺤﻔﻴﻴــﻦ ﻛﻨــﺎ ﻧﻌﻤــﻞ ﻣــﻊ ﻭﺳــﺎﺋﻞ‬ ‫ﻛﺒــﺢ ﻧﻔﺴــﻲ ﻋــﻦ ﺍﻟﺘﻮﺍﻃــﺆ ﻣــﻊ ﻫــﺆﻻﺀ‬ ‫ﻛﺎﻥ ﻳﻮﻣﺎ ﺭﺑﻴﻌﻴﺎ ﺃﻭﺍﺧﺮ ﺃﺑﺮﻳﻞ‪/‬ﻧﻴﺴﺎﻥ ‪،2011‬‬
‫ﺇﻋــﻼﻡ ﺍﻋﺘﺒﺮﺗﻬــﺎ ﻛﺘﺎﺋــﺐ ﺍﻟﻘــﺬﺍﻲﻓ‬ ‫ﱢ‬
‫ﺳــﺄﻭﻓﻖ‬ ‫ﺍﻟﻔﺘﻴــﺔ ﺍﳌﺴــﻠﺤﻴﻦ؟ ﻭﻛﻴــﻒ‬ ‫ﺣﻴــﻦ ﻫﺒﻄــﺖ ﺑﻨــﺎ ﺍﻟﻄﺎﺋــﺮﺓ ﻲﻓ ﻣﻄــﺎﺭ‬
‫ً‬
‫ﻣﻌﺎﺩﻳــﺔ ﻭﺭﺻــﺪﺕ ﺟﻮﺍﺋــﺮ ﻣﺎﻟﻴــﺔ ﳌــﻦ‬ ‫ﻛﺈﻧﺴــﺎﻥ‪،‬‬
‫ٍ‬ ‫ﺑﻴــﻦ ﻫــﺬﺍ ﺍﻟﺘﻮﺍﻃــﺆ ﺍﻟﺪﺍﺧﻠــﻲ‬ ‫ﺑﻨﻴﻨــﺎ ﺍﻟﻌﺴــﻜﺮﻱ ﻗــﺮﺏ ﻣﺪﻳﻨــﺔ ﺑﻨﻐــﺎﺯﻱ‬
‫ﻳﻘﻄــﻒ ﺭﺅﻭﺳــﻨﺎ‪ ،‬ﻭﺑــﺎﺕ ﻟﺰﺍﻣــﺎ ﻋﻠﻴﻨــﺎ‬ ‫ﻭﺑﻴــﻦ ﻓﻜــﺮﺓ ﺍﻟﺤﻴــﺎﺩ ﻰﻠﻋ ﺍﻟﺼﻌﻴــﺪ‬ ‫ﺷــﺮﻕ ﻟﻴﺒﻴــﺎ‪ ،‬ﻫــﺬﺍ ﺍﻟﺒﻠــﺪ ﺍﻟﻌﺮﺑــﻲ ﺍﻟــﺬﻱ‬
‫ﺍﻟﺤــﺬﺭ ﺃﻛﺜــﺮ‪ .‬ﻣــﻊ ﺫﻟــﻚ‪ ،‬ﻟــﻢ ﺃﺳــﺘﻄﻊ‬ ‫ﺍﳌﻬﻨﻲ؟‬ ‫ﻗــﺮﺭ ﺷــﻌ ُﺒﻪ ﺧــﻮﺽ ﻣﻐﺎﻣــﺮﺓ ﺧﻄــﺮﺓ‬
‫ﻣﻘﺎﻭﻣــﺔ ﻓﻜــﺮﺓ ﺍﻟﺬﻫــﺎﺏ ﺇﻟــﻰ ﻣﻘﻬــﻰ‬ ‫ﻋﻨﻮﺍﻧﻬــﺎ "ﺍﻟﺸــﻌﺐ ﻣﻘﺎﺑــﻞ ﺍﻟﺪﻛﺘﺎﺗــﻮﺭ"‪.‬‬
‫ﺍﻟﺸــﺎﻫﻲ ﻲﻓ ﺍﳌﺪﻳﻨــﺔ )ﻭﺍﻟﺸــﺎﻫﻲ ﻫــﻮ‬ ‫ﻟــﻢ ﺗﻜــﻦ ﺗﺠﺮﺑﺘــﻲ ﺍﻷﻭﻟــﻰ ﻲﻓ ﺗﻐﻄﻴــﺔ ﺃﻣﻀﻴــﺖ ﺫﻟــﻚ ﺍﳌﺴــﺎﺀ ﻭﻟﻴﻠﺘــﻪ ﻲﻓ‬
‫ﺍﻻﺳــﻢ ﺍﻟــﺬﻱ ﻳﻄﻠﻘــﻪ ﺍﻟﻠﻴﺒﻴــﻮﻥ ﻰﻠﻋ‬ ‫ﺍﻟﺤــﺮﻭﺏ ﻭﺍﳌﻌــﺎﺭﻙ‪ ،‬ﻟﻜﻨﻬــﺎ ﻛﺎﻧــﺖ ﺍﻟﻔﻨــﺪﻕ ﺃﻗــﺮﺃ ﻋــﻦ ﺍﻟﺴﻴﺎﺳــﺔ ﻭﺍﻟﺘﺎﺭﻳــﺦ‬
‫ﺍﻟﺸــﺎﻱ(‪ .‬ﻛﺎﻥ ُﻳﺪﻳــﺮ ﻫــﺬﺍ ﺍﳌﻘﻬــﻰ‬ ‫ﺗﺠﺮﺑــﺔ ﻣﺨﺘﻠﻔــﺔ ﺑــﻜﻞ ﺗﻔﺎﺻﻴﻠﻬــﺎ ﻣﻨــﺬ ﻭﺍﻻﻗﺘﺼــﺎﺩ ﻭﺍﳌﺠﺘﻤــﻊ ﻲﻓ ﻟﻴﺒﻴــﺎ‪ ..‬ﻟﻴﺒﻴــﺎ‬
‫ﺷــﺎﺏ ﻟﻴﺒــﻲ ﻗﻠﻴــﻞ ﺍﻟــﻜﻼﻡ ﻭﻛﺜﻴــﺮ‬‫ﱞ‬ ‫ﺑﺪﺍﻳــﺔ ﺇﺭﻫﺎﺻﺎﺗﻬــﺎ‪ ..‬ﺑــﺪﺃ ﺫﻟــﻚ ﻋﻨﺪﻣــﺎ ﺍﻟﺘﻲ ُﺗﻤ ﱢﺰﻕ ﺛﻮﺑﻬﺎ ﻭﺗﺤﺎﻭﻝ ﺍﻟﺘﻐﻴﻴﺮ‪.‬‬
‫ﺍﻟﺘﺪﻗﻴــﻖ ﻲﻓ ﻭﺟــﻮﻩ ﺍﻟﻨــﺎﺱ‪،‬‬ ‫ﺍﺳــﺘﻘﺒﻠﻨﻲ ﺫﻟــﻚ ﺍﻟﺜﺎﺋــﺮ ﺍﳌﺴــﻠﺢ‬
‫ﻳﺪﻋﻰ ﻓﻮﺯﻱ‪.‬‬ ‫ﻋﻨــﺪ ﺑــﺎﺏ ﺍﻟﻄﺎﺋــﺮﺓ‪ ،‬ﻭﺑﻌــﺪ ﻧﻈــﺮﺓ‬
‫ﺳــﺮﻳﻌﺔ ﺑﻴــﻦ ﺟــﻮﺍﺯ ﺳــﻔﺮﻱ ﻛﺎﻥ ﻣﻘﻬﻰ ﺍﻟﺸﺎﻫﻲ ﻳﻠﻌﺐ ﻟﻌﺒﺔ‬
‫ﻛﺎﻥ ﻓــﻮﺯﻱ ﺷــﺨﺼﻴﺔ ﻣﻐﺮﻳــﺔ‬ ‫ﺍﺳــﺘﻞ ﻣــﻦ ﺟﻴﺒــﻪ ﺍﻟﺤﺮﺏ ﻧﻔﺴﻬﺎ‪ ،‬ﺗﺎﺭﺓ ﻳﺤﺘﻀﻦ‬ ‫ﱠ‬ ‫ﻭﻭﺟﻬــﻲ‪،‬‬
‫ﺑﺬﻟــﺖ ﺍﻟﺠﻬــﺪ ﺍﻟﻮﻓﻴــﺮ ﻟﺘﺴــ ّﻠﻖ‬
‫ُ‬ ‫ﺧﺘﻤــﺎ ﺧﺸــﺒﻴﺎ ﺻﻨــﻊ ﻰﻠﻋ ﻋﺠــﻞ‬
‫ﺃﺳــﻮﺍﺭﻫﺎ ﻗﺒــﻞ ﺃﻥ ﻧﺼﺒــﺢ‬
‫ﻭﻣ َﻬــﺮ ﺑــﻪ ﺍﻟﺠــﻮﺍﺯ‪ ،‬ﻟﺘﻈﻬــﺮ ﺩﻣﻐــﺔ ﺍﻟﺜﻮﺍﺭ‪ ،‬ﻭﺗﺎﺭﺓ ﻳﻜﻮﻥ ﺑﻴﺪ ﻛﺘﺎﺋﺐ‬ ‫َ‬
‫ﺃﺻﺪﻗــﺎﺀ‪ ،‬ﻟﻜــﻦ ﺑﺤــﺬﺭ ﺛﻨﺎﺋــﻲ‬ ‫ﺣﺒﺮﻳــﺔ ﻛﺒﻴــﺮﺓ ﻛﺘــﺐ ﻲﻓ ﺍﻟﻘﺬﺍﻲﻓ‪ .‬ﻭﻛﺎﻥ ﻓﻮﺯﻱ ﻳﻠﻌﺐ‬
‫ﻣﺘﺒــﺎﺩﻝ‪ ،‬ﻓﻠــﻢ ﻳﻜــﻦ ﺍﻟﺼﺤﻔــﻲ‬
‫ﺑﺪﺍﺧﻠــﻲ ﻣﺴــﺘﻌﺪﺍ ﻟﻠﻮﺛــﻮﻕ‬
‫ﻲﻓ ﺍﻟﻠﻌﺒﺔ ﺫﺍﺗﻬﺎ ﺑﻴﻦ ﺍﻟﻄﺮﻓﻴﻦ‪ ،‬ﻟﻌﺒﺔ‬ ‫ﻭﺳــﻄﻬﺎ ﻋﺒــﺎﺭﺓ "ﺃﻫــﻼ ﺑﻜــﻢ‬
‫ﻟﻴﺒﻴــﺎ ﺍﻟﺠﺪﻳــﺪﺓ"‪ .‬ﻭﺳــﻴﺒﻘﻰ ﺫﻟــﻚ‬
‫ﺑﺄﺣــﺪ‪ ،‬ﺑﻴﻨﻤــﺎ ﻛﺎﻥ ﻓــﻮﺯﻱ‬ ‫ﺍﻟﺨﺘــﻢ ﻳﻨﻐــﺺ ﻋﻠــﻲ ﻛﻞ ﺍﻟﺤﻴﺎﺩﻳﺔ ﺍﻟﺨﻄﺮﺓ‪.‬‬
‫‪-‬ﻛﺄﻏﻠــﺐ ﻣﺸــﺮﻗﻴﻲ ﻟﻴﺒﻴــﺎ‪-‬‬ ‫ﺗﺤﺮﻛﺎﺗــﻲ‪ ،‬ﺇﺫ ﻛﺎﻥ ﺑﻤﺜﺎﺑــﺔ ﺗﻬﻤــﺔ‬
‫ﺗﺜﻴــﺮ ﺍﻟﺸــﻜﻮﻙ ﺃﻳﻨﻤــﺎ ﺫﻫﺒــﺖ ﺳــﻮﺍﺀ ﻲﻓ ﻟــﻢ ﺃﻛــﻦ ﺃﻋــﺮﻑ ﺃﻧــﻲ ﺳــﺄﺗﻌﻠﻢ ﺩﺭﺳــﺎ ﻳﺘﻮﺟــﺲ ﻣــﻦ ﺍﻟﻐﺮﺑــﺎﺀ ﻣﺜﻠــﻲ‪ ،‬ﻓﻤــﺎ‬
‫ﻗﺎﺳــﻴﺎ ﺟــﺪﺍ ﻲﻓ ﺍﻟﺤﻴﺎﺩﻳــﺔ‪ ،‬ﺩﺭﺳــﺎ ﺑﺎﻟــﻚ ﺑﺼﺤﻔــﻲ ﺃﺟﻨﺒــﻲ ﻲﻓ ﺗﻠــﻚ‬ ‫ﻟﻴﺒﻴﺎ ﺃﻭ ﺧﺎﺭﺟﻬﺎ‪.‬‬
‫ﺳــﻴﺒﻘﻰ ﻋﺎﻟﻘــﺎ ﻲﻓ ﺗﺠﺮﺑﺘــﻲ ﻛﺬﻛــﺮﻯ ﺍﻷﻳﺎﻡ ﺍﻟﻌﺼﻴﺒﺔ؟!‬
‫ﻲﻓ ﺍﻟﻄﺮﻳــﻖ ﻣــﻦ ﻣﻄــﺎﺭ ﺑﻨﻴﻨــﺎ ﺇﻟــﻰ ﺍﻋﺘﺮﺍﺿﻴﺔ ﺛﻘﻴﻠﺔ ﺍﻟﻮﺯﻥ‪.‬‬
‫ﻛﺎﻥ ﻣﻘﻬــﻰ ﺍﻟﺸــﺎﻫﻲ ﻳﻠﻌــﺐ ﻟﻌﺒــﺔ‬ ‫ﻓﻨــﺪﻕ ﺗﺒﻴﺴــﺘﻲ ﻲﻓ ﺑﻨﻐــﺎﺯﻱ‪ ،‬ﻛﺎﻥ ﻛﻞ‬
‫ﺷــﻲﺀ ﻳﺸــﻲ ﺑــﺄﻥ ﺛــﻮﺭﺓ ﻋﺎﺭﻣــﺔ ﻛﺎﻧــﺖ ﻣﺪﻳﻨــﺔ ﺍﻟﺒﺮﻳﻘــﺔ ﻏــﺮﺏ ﺑﻨﻐــﺎﺯﻱ ﺍﻟﺤــﺮﺏ ﻧﻔﺴــﻬﺎ‪ ،‬ﺗــﺎﺭﺓ ﻳﺤﺘﻀــﻦ ﺍﻟﺜــﻮﺍﺭ‬
‫ﻭﻏﺎﺿﺒــﺔ ﺧﺮﺟــﺖ ﻣــﻦ ﻗﻤﻘﻤﻬــﺎ ﺩﻓﻌــﺔ ﺃﺷــﺒﻪ ﺑﻌﻨــﻮﺍﻥ ﻟﻠﻤﺮﺣﻠــﺔ‪ ،‬ﺇﺫ ﺑﺎﺗــﺖ ﻭﺃﺣﺎﺩﻳﺜﻬــﻢ ﻋــﻦ ﺍﻟﺤﺮﻳــﺔ ﻭﻟﻴﺒﻴــﺎ‬
‫ﻭﺍﺣــﺪﺓ ﻭﺩﻭﻥ ﻣﻘﺪﻣــﺎﺕ‪ .‬ﺍﻟﺸــﻌﺎﺭﺍﺕ ﻣﺴــﺮﺣﺎ ﻟﻠﻌﻤﻠﻴــﺎﺕ ﺑﻴــﻦ ﺛــﻮﺍﺭ ‪ 17‬ﻓﺒﺮﺍﻳــﺮ ﺍﻟﺠﺪﻳــﺪﺓ‪ ،‬ﻭﺗــﺎﺭﺓ ﻳﻜــﻮﻥ ﺑﻴــﺪ ﻛﺘﺎﺋــﺐ‬
‫ﻰﻠﻋ ﺍﻟﺠــﺪﺭﺍﻥ‪ ،‬ﺍﻟﺸــﺒﺎﺏ ﺍﳌﺴــﻠﺤﻮﻥ ﻭﺑﻴــﻦ ﻛﺘﺎﺋــﺐ ﺍﻟﻘــﺬﺍﻲﻓ‪ .‬ﻓﺒﻌــﺪ ﺍﻟﺤﺴــﻢ ﺍﻟﻘــﺬﺍﻲﻓ ﻭﻧﻈﺮ ﱠﻳﺎﺗﻬــﻢ ﻋــﻦ ﺍﳌﺆﺍﻣــﺮﺓ‬
‫ـﺪ ﺍﻟﻌﻘﻴــﺪ ﻭﺍﻟﺒــﻼﺩ ﻭﺍﻟﻠﻴﺒﻴﻴﻦ‪.‬‬‫ﺣﻘﻘــﻪ ﺍﻟﺜــﻮﺍﺭ ﻲﻓ ﻣﺪﻳﻨــﺔ ﺍﻟﻜﺒــﺮﻯ ﺿـ ﱠ‬ ‫ﺑﺎﻟﻜﻼﺷــﻨﻴﻜﻮﻑ‪ ،‬ﺗﻌﺎﺑﻴــﺮ ﺍﻟﻮﺟــﻮﻩ ﺍﻟــﺬﻱ ﱠ‬
‫ﺍﻟﻔﺎﺋﻀــﺔ ﺑﺎﻟﺘﺤــﺪﻱ ﻭﺍﻟﺘﻤــﺮﺩ‪ ،‬ﻛﻞ ﺫﻟــﻚ ﺃﺟﺪﺍﺑﻴــﺎ‪ ،‬ﺟﺴــﺪﺕ ﺍﻟﺒﺮﻳﻘــﺔ ﻣﺮﺣﻠــﺔ ﻛﺎﻥ ﻓــﻮﺯﻱ ﻳﻠﻌــﺐ ﺍﻟﻠﻌﺒــﺔ ﺫﺍﺗﻬــﺎ ﺑﻴــﻦ‬
‫ﺟﻌــﻞ ﻓﻜــﺮﺓ ﻣﺘﻄﺮﻓــﺔ ﺗﻘﻔــﺰ ﺇﻟــﻰ ﺍﳌﺮﺍﻭﺣــﺔ ﻲﻓ ﺍﳌــﻜﺎﻥ‪ ،‬ﻓﻤــ ﱠﺮﺓ ﺗﻘــﻊ ﺍﻟﻄﺮﻓﻴﻦ‪ ،‬ﻟﻌﺒﺔ ﺍﻟﺤﻴﺎﺩﻳﺔ ﺍﻟﺨﻄﺮﺓ‪.‬‬
‫ﻭﺍﺟﻬــﺔ ﺫﻫﻨــﻲ‪ ،‬ﻛﻴــﻒ ﺳــﺄﻛﻮﻥ ﺣﻴﺎﺩﻳــﺎ ﺃﺟــﺰﺍﺀ ﻣﻨﻬــﺎ ﺑﻴــﺪ ﺍﻟﺜــﻮﺍﺭ‪ ،‬ﻭﻣــﺮﺓ ﺳﺄﻟﺘﻪ ﺫﺍﺕ ﻣﺴﺎﺀ‪:‬‬
‫ﺗﺴﺘﻌﻴﺪﻫﺎ ﻛﺘﺎﺋﺐ ﺍﻟﻘﺬﺍﻲﻓ‪.‬‬ ‫ﺣﺪ ﺑﺈﻣﻜﺎﻧﻲ‬‫ﻫﺬﻩ ﺍﳌﺮﺓ؟ ﻭﺇﻟﻰ ﺃﻱ ﱢ‬

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 ‫ﻛﻴﻒ ﺗﺘﻌﺎﻣﻞ ﻣﻊ ﻛﺘﺎﺋﺐ ﺍﻟﻘﺬﺍﻲﻓ؟‬

‫ﺑﻬــﺪﻭﺀ ﻭﺩﻭﻥ ﺗﻔﻜﻴــﺮ ﻗــﺎﻝ‪ :‬ﻣﺜﻠﻤــﺎ‬

‫ﻳﺤﻔــﻆ ﻛﻞ ﺍﻷﺷــﻌﺎﺭ ﺍﻟﺸــﻌﺒﻴﺔ‬ ‫ﺃﺗﻌﺎﻣــﻞ ﻣــﻊ ﺍﻟﺜــﻮﺍﺭ‪ ،‬ﺃﻭ ﻣﺜﻠﻤــﺎ ﺃﺗﻌﺎﻣــﻞ‬
‫ﺻﺎﺣــﺐ ﻣﻘﻬــﻰ ﺍﻟﺸــﺎﻫﻲ ﺍﻟــﺬﻱ ﻳﻘــﺪﻡ‬
‫ﻭﺍﻟﺮﺳــﻤﻴﺔ ﺍﻟﺘــﻲ ﺗﺘﻐــﺰﻝ ﺑﺎﻟﺸــﺎﻫﻲ ﺃﻭ‬ ‫ﻟــﺪﻱ ﺳــﻮﻯ ﺃﻥ‬
‫ﱠ‬ ‫ﻣﻌــﻚ ﺃﻧــﺖ‪ ،‬ﻻ ﻓــﺮﻕ‬
‫ﺍﻟﺸﺎﻱ ﻟﻠﺠﻤﻴﻊ‪.‬‬
‫ﺗﻠــﻚ ﺍﻟﺘــﻲ ﺗﺬﻣــﻪ‪ .‬ﻛﺎﻥ ﺣﻴﺎﺩﻳــﺎ ﻲﻓ ﻛﻞ‬ ‫ﺗﺤــﺐ ﺍﻟﺸــﺎﻫﻲ ﺍﻷﺧﻀــﺮ‬ ‫ﱡ‬ ‫ﺍﻟﻜﺘﺎﺋــﺐ‬
‫ﱢ‬
‫ﻳﻔﻀﻠــﻪ ﺍﻟﺜــﻮﺍﺭ ﺃﺧﻀــﺮ‬ ‫ﺑﺎﻟﻠــﻮﺯ‪ ،‬ﺑﻴﻨﻤــﺎ‬
‫ﺷــﻲﺀ ﺗﻘﺮﻳﺒــﺎ ﺣﺘــﻰ ﻲﻓ ﺷــﻌﺮﻩ ﻋــﻦ‬ ‫ﻛﻨــﺖ ﻣﻌﺠﺒــﺎ ﺑﻔــﻮﺯﻱ‪ ،‬ﻭﺯﺍﺩ ﺇﻋﺠﺎﺑــﻲ‬
‫ﺍﻟﺸﺎﻫﻲ‪.‬‬ ‫ﺩﻭﻥ ﻟﻮﺯ‪.‬‬
‫ﺑــﻪ ﺫﺍﺕ ﻣﺴــﺎﺀ ﺣﻴــﻦ ﻓــﺮﺩ ﺫﺍﻛﺮﺗــﻪ‬
‫ﻭﻓــﺮﺵ ﺛﻘﺎﻓﺘــﻪ ﺍﻟﻮﺍﺳــﻌﺔ ﻋــﻦ‬
‫ﻋــﺮﻑ ﻓــﻮﺯﻱ ﺑﺘﻮﺍﻃﺌــﻲ ﺍﻟﺪﺍﺧﻠــﻲ ﻣــﻊ‬ ‫ـﻲ ﺃُﻋﺠﺒــﺖ ﻛﺜﻴــﺮﺍ ﺑــﻜﻼﻡ ﻓــﻮﺯﻱ‬
‫ﻛﺼﺤﻔـ ﱟ‬
‫ـﻲ ﻗﺼــﺔ ﻟﻴﺒﻴــﺎ‬
‫ﺍﻟﺸــﺎﻫﻲ‪ .‬ﺭﺍﺡ ﻳﻘــﺺ ﻋﻠـ ﱠ‬
‫ﺍﻟﺜــﻮﺭﺓ‪ ،‬ﻟﻜﻨــﻪ ﻛﺎﻥ ﻳﺸــﺎﻫﺪ ﺣﻴﺎﺩﻳــﺔ‬ ‫ﻭﺃﺣﺴﺴــﺖ ﺃﻧــﻪ ﺻﺤﻔــﻲ ﺑﺎﻟﻔﻄــﺮﺓ‪،‬‬
‫ﻭﺍﻟﻠﻴﺒﻴﻴــﻦ ﻣــﻊ ﺍﻟﺸــﺎﻱ‪ ..‬ﺃﺧﺒﺮﻧــﻲ ﻛﻴــﻒ‬
‫ﺻﺎﺭﻣــﺔ ﻲﻓ ﻛﻞ ﻣــﺎ ﺃﻧﻘﻠــﻪ ﻣــﻦ ﺃﺧﺒــﺎﺭ‬ ‫ﺑﺎﻏ ﱡﺘﻪ ﺑﺎﻟﺴﺆﺍﻝ‪:‬‬
‫ﺩﺧــﻞ ﺍﻟﺸــﺎﻱ ﻟﻴﺒﻴــﺎ ﺑﻴــﻦ ﻓﺘﺮﺗــﻲ‬
‫ﻭﺗﻘﺎﺭﻳــﺮ‪ ..‬ﺳــﺄﻟﻨﻲ ﻣــﺮﺓ‪ :‬ﻛﻴــﻒ ﺃﻭﻓــﻖ‬ ‫ﺍﻟﻌﺜﻤﺎﻧﻴﻴــﻦ ﻭﺍﻻﺳــﺘﻌﻤﺎﺭ ﺍﻹﻳﻄﺎﻟــﻲ‪،‬‬
‫ﺑﻴــﻦ ﻫــﺬﺍ ﻭﺫﺍﻙ؟ ﻭﻛﻴــﻒ ﺃﺑــﺮﺭ ﻣــﺎ ﻛﺎﻥ‬ ‫ﳌﺎﺫﺍ ﺗﻤﺎﺭﺱ ﻛﻞ ﻫﺬﻩ ﺍﻟﺤﻴﺎﺩﻳﺔ؟‬
‫ﻭﻛﻴــﻒ ﻛﺎﻥ ﻋﻴﺒــﺎ ﻰﻠﻋ ﺍﻟﻠﻴﺒﻴﻴــﻦ ﺷــﺮﺏ‬
‫ﻳﺴــﻤﻴﻪ ﺍﻧﻔﺼﺎﻣــﺎ ﻲﻓ ﺍﻟﺸــﺨﺼﻴﺔ‬ ‫ﺍﻟﺸــﺎﻱ ﺷــﺄﻧﻪ ﺷــﺄﻥ ﺍﻟﺘﺪﺧﻴــﻦ ﻭﺍﻟﺨﻤــﺮ‪،‬‬
‫ﺍﳌﻬﻨﻴــﺔ ﻭﻣﻌﺮﻛــﺔ ﺑﻴــﻦ ﺇﻧﺴــﺎﻥ‬ ‫ﻓﻘــﻂ ﻛــﻲ ﺃﺑﻘــﻰ ﻰﻠﻋ ﻗﻴــﺪ ﺍﻟﺤﻴــﺎﺓ‪،‬‬
‫ﻭﻛﻴــﻒ ﺗﻘ ﱠﺒــﻞ ﺍﻟﻠﻴﺒﻴــﻮﻥ ﺍﻟﺸــﺎﻱ ﺧﻄــﻮﺓ‬
‫ﻳﺴــﺘﻄﻴﻊ ﻭﺑﺴــﻬﻮﻟﺔ ﺍﻟﺘﻤﻴﻴــﺰ ﺑﻴــﻦ‬ ‫ﻟﺪﻱ ﻋﺎﺋﻠﺔ ﻭﻃﻔﻼﻥ‪.‬‬
‫ﺧﻄــﻮﺓ ﺣﻴــﻦ ﺳــﻤﺤﻮﺍ ﺑﺸــﺮﺑﻪ ﻟﻠﺮﺟــﺎﻝ‬
‫ﺍﻟﺤــﻖ ﻭﺍﻟﺒﺎﻃــﻞ‪ ،‬ﻭﺑﻴــﻦ ﺷــﻴﻄﺎﻧﻪ‬ ‫ﻓﻘــﻂ ﺑﻴﻨﻤــﺎ ﺣﺮﻣــﺖ ﻣﻨــﻪ ﺍﻟﻨﺴــﺎﺀ‪،‬‬
‫ﺍﻟﺼﺤﻔــﻲ ﺍﻟــﺬﻱ ﻳﻤﻨﻌــﻪ ﻣــﻦ ﻗــﻮﻝ‬ ‫ﺳــﻘﻒ‬ ‫ﺩﻭﻥ ﻣﻘﺪﻣــﺎﺕ‪ ،‬ﺭﻓﻌــﺖ‬
‫ﻭﻛﻴــﻒ ﺍﻧﺘﺼــﺮ ﺍﻟﺸــﺎﻱ ﻲﻓ ﻣﻌﺮﻛﺘــﻪ‬
‫ﺫﻟــﻚ ﻋﻼﻧﻴــﺔ؟ ﻛﺎﻥ ﻳــﻮﻡ ﺍﻷﺭﺑﻌــﺎﺀ ﻣــﻦ‬ ‫ﺍﳌﻜﺎﺷﻔﺔ ﻣﻊ ﻓﻮﺯﻱ ﻭﺳﺄﻟﺘﻪ‪:‬‬
‫ﺍﻟﻨﻬﺎﺋﻴــﺔ ﻣــﻊ ﺍﻟﻠﻴﺒ ﱢﻴﻴــﻦ ﻭﺩﺧــﻞ ﻛﻞ‬
‫ﺷــﻬﺮ ﻣﺎﻳﻮ‪/‬ﺃﻳــﺎﺭ‪ ،‬ﺣﻴــﻦ ﺃﻋﻠــﻦ ﺍﻟﺜــﻮﺍﺭ‬ ‫ﺑﻴﻮﺗﻬــﻢ‪ ،‬ﺑــﻞ ﻭﺗﺮﺑــﻊ ﻰﻠﻋ ﻋــﺮﺵ‬
‫ﺳــﻴﻄﺮﺗﻬﻢ ﺍﻟﻜﺎﻣﻠــﺔ ﻭﻟﻠﻤــﺮﺓ ﺍﻷﺧﻴــﺮﺓ‬ ‫ﻣــﻊ ﻣــﻦ ﺗﻘــﻒ‪ ،‬ﻣــﻊ ﺍﻟﺜــﻮﺭﺓ ﻭﺍﻟﺘﻐﻴﻴــﺮ ﺃﻡ‬
‫ﺛﻘﺎﻓﺘﻬــﻢ ﻭﻋﺎﺩﺍﺗﻬــﻢ ﺣﺘــﻰ ﺑــﺎﺕ ﺟــﺰﺀﺍ‬
‫ﻰﻠﻋ ﺍﻟﺒﺮﻳﻘــﺔ ﺑﻌــﺪ ﻣﻌــﺎﺭﻙ ﺍﺳــﺘﻤﺮﺕ‬ ‫ﻣﻊ ﺍﻟﻘﺬﺍﻲﻓ ﻭﻛﺘﺎﺋﺒﻪ؟‬
‫ﻣــﻦ ﺛﻘﺎﻓﺘﻬــﻢ ﺍﻟﻴﻮﻣﻴــﺔ ﻭﺃﻫﺎﺯﻳﺠﻬــﻢ‬
‫ﺃﻳﺎﻣــﺎ‪ .‬ﻛﺎﻧــﺖ ﺳــﻌﺎﺩﺗﻲ ﻛﺒﻴــﺮﺓ ﻷﻧــﻲ‬ ‫ﺍﻟﺸــﻌﺒﻴﺔ ﺍﻟﺘــﻲ ﺗﺘﻐﻨــﻰ ﺑﺄﻧﻮﺍﻋــﻪ‬
‫ﺭﻏﺒــﺖ ﻲﻓ ﻟﻘــﺎﺀ ﻓــﻮﺯﻱ ﻭﺍﻟﺠﻠــﻮﺱ ﻲﻓ‬ ‫ﻭﻃﺮﻕ ﺗﺤﻀﻴﺮﻩ‪.‬‬ ‫ﺑــﺪﺍ ﻟــﻲ ﻓــﻮﺯﻱ ﺣﻴﻨﻬــﺎ ﱢ‬
‫ﻳﻔﻜــﺮ ﺑﻌﻤــﻖ‬
‫ﻣﻘﻬــﺎﻩ ﻭﺷــﺮﺏ ﺍﻟﺸــﺎﻫﻲ ﺍﻟــﺬﻱ‬ ‫ﻗﺒــﻞ ﺃﻥ ﻳﻘــﻮﻝ‪ :‬ﺃﻧــﺎ ﻣﺘﻌﺎﻃــﻒ ﻣــﻊ‬
‫ﻳﺼﻨﻌﻪ‪ .‬ﺟﻠﺴﺖ ﻰﻠﻋ ﺫﺍﺕ ﺍﳌﻘﻌﺪ‬ ‫ﻛﺎﻥ ﻓﻮﺯﻱ‪ ،‬ﻣﺜﻘﻔﺎ ﺟﺪﺍ ﻲﻓ ﻣﻬﻨﺘﻪ‪،‬‬ ‫ﺍﻟﺜــﻮﺭﺓ ﻭﺍﻟﺜــﻮﺍﺭ‪ ،‬ﻟﻜﻨــﻲ ﻟﺴــﺖ ﻰﻠﻋ‬
‫ﻋﻼﻗــﺔ ﺳــﻴﺌﺔ ﻣــﻊ ﺍﻟﻜﺘﺎﺋــﺐ‪ ،‬ﻓﺄﻧــﺎ‬
‫ـﻲ‬
‫ﺃﻗــﺪﻡ ﺍﻟﺸــﺎﻫﻲ ﻟﻠﺠﻤﻴــﻊ ﻭﻏﻴــﺮ ﻣﻌﻨـ ﱟ‬
‫ﺑﺄﻓﻜﺎﺭﻫﻢ ﺍﻟﺴﻴﺎﺳﻴﺔ ﻭﺗﺼﺮﻓﺎﺗﻬﻢ‪.‬‬

‫ﺧﻀــﺖ ﻧﻘﺎﺷــﺎ ﻃﻮﻳــﻼ ﻣــﻊ ﻓــﻮﺯﻱ‬ ‫ُ‬

‫ﺑﺸــﺄﻥ ﺍﻟﺤﻴﺎﺩﻳــﺔ‪ ،‬ﻭﻛﺎﻥ ﺑــﺪﻭﺭﻩ ﻳﺒــﺬﻝ‬
‫ﺟﻬــﺪﺍ ﻛﺒﻴــﺮﺍ ﻹﺛﺒــﺎﺕ ﺃﻥ ﺍﻟﺤﻴﺎﺩﻳــﺔ‬
‫ﻟﻴﺴــﺖ ﻣﺠــﺮﺩ ﺻﺤﺎﻓــﺔ ﻭﺍﻟﺘــﺰﺍﻡ‬
‫ﻭﻣﻬﻨﻴــﺔ‪ ،‬ﺑﻘــﺪﺭ ﻣــﺎ ﻫــﻲ ﻭﺳــﻴﻠﺔ‬
‫ﺣﻤﺎﻳــﺔ ﻭﺩﺭﻉ ﺿــﺪ ﺍﳌــﻮﺕ ﺑﻴــﻦ ﺑﻨــﺎﺩﻕ‬
‫ﺗﺘﺼــﺎﺭﻉ‪ .‬ﺧﺘــﻢ ﻓــﻮﺯﻱ ﺃﻃﺮﻭﺣﺘــﻪ‬
‫ﺑﺎﻟﺘﻌﺒﻴــﺮ ﻋــﻦ ﺍﻋﺘﻘــﺎﺩﻩ ﺑــﺄﻥ ﺍﻟﺤﻴﺎﺩﻳــﺔ‬
‫ﺟﻌﻠــﺖ ﻣﻨــﻪ ﺷــﺨﺼﺎ ﻣﻘﺒــﻮﻻ ﻟــﺪﻯ‬
‫ﺍﻟﺠﻤﻴــﻊ‪ ،‬ﻓــﻼ ﻫــﻮ ﺻﺪﻳــﻖ ﻷﺣــﺪ‪ ،‬ﻭﻻ‬
‫ﺃﺣﺪ ﻳﻌﺎﻣﻠﻪ ﻛﻌﺪﻭ‪ ،‬ﻓﻬﻮ ﻓﻮﺯﻱ‬

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‫ﺍﻟــﺬﻱ ﺗﻌــﻮﺩﺕ ﺍﻟﺠﻠــﻮﺱ ﻋﻠﻴــﻪ ﻲﻓ‬
‫ﻣﻘﻬــﻰ ﺍﻟﺸــﺎﻫﻲ‪ ،‬ﻗﺒــﻞ ﺃﻥ ﻳﺒﺎﻏﺘﻨــﻲ‬
‫ﺻﻮﺕ ﻓﺘﻰ ﺻﻐﻴﺮ‪:‬‬

‫ﺃﻱ ﻧﻮﻉ ﻣﻦ ﺍﻟﺸﺎﻫﻲ ﺗﺮﻳﺪ؟‬

‫ﻭﺑﻌــﺪ ﺃﻥ ﺗﻔﺤــﺺ ﻭﺟﻬــﻲ ﺟﻴــﺪﺍ‬

‫ﻭﺗﻘﺎﺳــﻴﻢ ﺍﻟﺪﻫﺸــﺔ ﻋﻠﻴــﻪ‪ ،‬ﻗــﺎﻝ ﻟــﻲ‬
‫ﻣﺒﺎﻝ‪:‬‬
‫ٍ‬ ‫ﻏﻴ َﺮ‬

‫ﺇﻥ ﻛﻨــﺖ ﺗﻨﺘﻈــﺮ ﻓــﻮﺯﻱ ﻓﻬــﻮ ﻟــﻦ‬

‫ﻳﺄﺗــﻲ‪ ..‬ﻟﻘــﺪ ﻗﺘﻠــﻮﻩ‪ .‬ﻗﺘﻠﺘــﻪ ﺍﻟﻜﺘﺎﺋــﺐ‬
‫ﻗﺒــﻞ ﺍﻧﺴــﺤﺎﺑﻬﺎ ﻧﻬﺎﺋﻴــﺎ ﻣــﻦ ﻫﻨــﺎ‪،‬‬
‫ﻗﺘﻠﺘــﻪ ﻰﻠﻋ ﻣــﺮﺃﻯ ﻣــﻦ ﺍﻟﺜــﻮﺍﺭ ﺍﻟﺬﻳــﻦ‬
‫ﻟﻢ ﻳﻔﻌﻠﻮﺍ ﺷﻴﺌﺎ‪ ..‬ﻟﻘﺪ ﺗﺮﻛﻮﻩ ﻳﻤﻮﺕ‪.‬‬

‫ﻛﺎﻧــﺖ ﺟﻤﻠﺘــﻪ ﺍﻷﺧﻴــﺮﺓ ﺃﺷــﺒﻪ ﺑﻤﺼﻴــﺪﺓ‬

‫ﻟﺼﺤﻔــﻲ ﻣﺜﻠــﻲ ﺩﻓﻌﺘﻨــﻲ ﻗﺒــﻞ‬
‫ﻣﻐﺎﺩﺭﺗــﻲ ﻟﻴﺒﻴــﺎ ﺇﻟــﻰ ﺳــﺆﺍﻝ ﻗﺎﺋــﺪ ﺗﻠــﻚ‬
‫ﺍﳌﻌﺮﻛﺔ‪:‬‬
‫ﳌــﺎﺫﺍ ﻟــﻢ ﻳﺘﺤــﺮﻙ ﺍﻟﺜــﻮﺍﺭ ﺣﻴــﻦ ﻗﺘﻠــﺖ‬
‫ﺍﻟﻜﺘﺎﺋﺐ ﻓﻮﺯﻱ؟‬

‫ﻭﳌــﺎﺫﺍ ﻧﺴــﺎﻋﺪﻩ ﺃﺻــﻼ؟ ﻛﻨــﺎ ﻧﺸــﻚ‬

‫ﻓﻴــﻪ ﺩﺍﺋﻤــﺎ‪ ،‬ﻭﻟــﻮ ﻟــﻢ ﺗﻘﺘﻠــﻪ ﺍﻟﻜﺘﺎﺋــﺐ‬
‫ﻟﻔﻌــﻞ ﺍﻟﺜــﻮﺍﺭ ﺫﻟــﻚ‪ ..‬ﻓــﻮﺯﻱ ﻛﺎﻥ‬
‫ﺷــﺨﺼﻴﺔ ﺇﺷــﻜﺎﻟﻴﺔ ﺗﺒﻌــﺚ ﻰﻠﻋ ﺍﻟﺸــﻚ‬
‫ﻭﺍﻟﺮﻳﺒﺔ‪ ..‬ﻟﻘﺪ ﻛﺎﻥ ﺣﻴﺎﺩﻳﺎ‪.‬‬

‫ﻛﺎﻧــﺖ ﺍﻟﻄﺎﺋــﺮﺓ ﺗﻘﻠــﻊ ﺑﻨــﺎ ﻣــﻦ ﻣﻄــﺎﺭ‬

‫ﺑﻨﻴﻨــﺎ ﺍﻟﻌﺴــﻜﺮﻱ ﻟﻨﻌــﻮﺩ ﻣــﻦ ﺣﻴــﺚ‬
‫ـﺖ ﺣﻴﻨﻬــﺎ ﻣﺸــﺒﻌﺎ ﺑﺘﺴــﺎﺅﻝ‬ ‫ﺃﺗﻴﻨــﺎ‪ ،‬ﻭﻛﻨـ ُ‬
‫ﻟﻢ ﺃﺟﺪ ﻟﻪ ﺟﻮﺍﺑﺎ ﺣﺘﻰ ﺍﻟﻠﺤﻈﺔ‪:‬‬

‫ﳌﺎﺫﺍ ُﻗﺘﻞ ﻓﻮﺯﻱ ﺇﻥ ﻛﺎﻥ ﺣﻴﺎﺩﻳﺎ؟‬

‫ﻭﳌــﺎﺫﺍ ﺑﻘﻴــﺖ ﺃﻧــﺎ ﻰﻠﻋ ﻗﻴــﺪ ﺍﻟﺤﻴــﺎﺓ‬

‫ﺑﻮﺟــﻮﺩ ﺃﻟــﻒ ﺩﻟﻴــﻞ ﻰﻠﻋ ﺃﻧــﻲ ﺃﻣــﺎﺭﺱ‬
‫ﺍﻟﺤﻴﺎﺩﻳﺔ؟‬

‫ﻭﻣــﻦ ﻛﺎﻥ ﺃﻛﺜــﺮ ﺻﺪﻗــﺎ ﻲﻓ ﺣﻴﺎﺩﻳﺘــﻪ‪،‬‬

‫ﺃﻧﺎ ﺃﻡ ﻓﻮﺯﻱ؟‬
‫ﺍﺳﺘﺮﺍﺗﻴﺠﻴﺔ ﺍﻟﺤﺮﺑﺎﺀ‬
‫ﻹﺟﺮﺍﺀ ﺍﳌﻘﺎﺑﻼﺕ‬
‫ﺍ ﻟﺼﺤﻔﻴﺔ‬
‫ﺃﻣﻴﺮ ﺑﺎﻳﻲ‬

‫ﻲﻓ ﺍﳌﻘﺎﺑﻼﺕ ﺍﻟﺼﺤﻔﻴﺔ‪ُ ،‬ﻳﻔﻀﻞ ﺃﻻ ُﻳﻈﻬﺮ‬

‫ﺟﻤﻬــﻮﺭﻩ"‪ .‬ﻭﺃﺿﺎﻓــﺖ ﺃﻥ ﺍﻟﺼﺤﻔــﻲ ﺍﻟــﺬﻱ‬ ‫ﺍﻟﺼﺤﻔﻲ ﺫﻛﺎﺀﻩ ﻭﺟﺮﺃﺗﻪ ﻭﺗﺠﺮﺑﺘﻪ ﻭﻣﺴﺘﻮﺍﻩ‬
‫ﻳﺒــﺪﻱ ﺷــﻔﻘﺘﻪ ﺗﺠــﺎﻩ ﺿﺤﺎﻳــﺎ ﺍﻟﻮﺣﺸــﻴﺔ‬
‫ﺍﻟﻨﺎﺯﻳــﺔ ﺃﻭ ﺿﺤﺎﻳــﺎ ﺃﻱ ﻗﻀﻴــﺔ‪ ،‬ﻓﺈﻧــﻪ‬ ‫ﺍﻻﺟﺘﻤﺎﻋﻲ‪ ،‬ﺑﻞ ﻳﻨﺒﻐﻲ ﺃﻥ ﻳﺨﻔﻲ ﺗﻠﻚ ﺍﻷﻣﻮﺭ‬
‫ﻳﻐﻠــﻖ ﺍﻟﺒــﺎﺏ ﺃﻣــﺎﻡ ﻛﺜﻴــﺮ ﻣــﻦ‬ ‫ﻛﻤﺎ ﺗﻔﻌﻞ ﺍﻟﺤﺮﺑﺎﺀ‪.‬‬
‫ﺍﻻﻋﺘﺮﺍﻓــﺎﺕ‪ ،‬ﻟــﺬﺍ ﻓﻬــﻲ ﺗﻨﺼــﺢ‬
‫ﺍﻟﺼﺤﻔﻴﻴــﻦ ﺑﻘﻮﻟﻬــﺎ‪" :‬ﻻ ﺇﻃــﺮﺍﺀ‪ ،‬ﻭﻻ‬
‫ﺭﺑﻤــﺎ ﻛﺎﻥ ﺗﺼــ ﱡﺮﻑ ﺻﺤﻔ ﱢﻴــﻲ ﺑﻌــﺾ‬ ‫ﻗﻀﻴــﺖ ﻃﻔﻮﻟﺘــﻲ ﻲﻓ ﻗﺮﻳــﺔ ﺷــﺮﻗﻲ‬ ‫ُ‬
‫ﻣﺴــﺎﻭﺍﺓ‪ ،‬ﻳﻘﻠــﻼﻥ ﻣــﻦ ﺷــﺄﻧﻚ ﺃﻣــﺎﻡ‬
‫ﺍﻟﻘﻨــﻮﺍﺕ ﺍﻹﺧﺒﺎﺭﻳــﺔ ﺧﻴــﺮ ﻣﺜــﺎﻝ ﻰﻠﻋ ﻣــﺎ‬ ‫ﻛﻮﺑــﺎ‪ ،‬ﻭﺍﻋﺘــﺪﺕ ﺍﻟﻠﻌــﺐ ﻲﻓ ﺃﺭﺿﻬــﺎ‬
‫ﺍﳌﺘﺤﺪﺙ"‪.‬‬
‫ﻗﺎﻟــﻪ ﺳﺎﻧﺸــﻴﺰ‪ ،‬ﺇﺫ ﻳﺘﺼــ ﱠﺮﻑ ﺍﻟﻜﺜﻴــﺮ ﻣــﻦ‬ ‫ﺍﳌﻠﻴﺌــﺔ ﺑﺎﻷﺷــﺠﺎﺭ ﺍﻟﻌﺎﻟﻴــﺔ ﺍﻟﺘــﻲ ﻛﻨــﺖ‬
‫ﺍﳌﺬﻳﻌﻴــﻦ ﺫﻭﻱ ﺍﻟﺨﺒــﺮﺓ ﺍﻟﻄﻮﻳﻠــﺔ ﺃﻭ‬ ‫ﺃﺧﺘﺒــﺊ ﺑﻴﻨﻬــﺎ‪ ..‬ﻫﻨــﺎﻙ ﺗﻌﺮﻓــﺖ ﺇﻟــﻰ‬
‫ﻻ ﺗﻐ ّﻴﺮ ﺟﻠﺪﻙ‪ ،‬ﺑﻞ‬ ‫ﺍﳌﺘﺨﺼﺼﻴــﻦ ﻲﻓ ﺷــﺄﻥ ﻣــﺎ ﻭﻛﺄ ﱠﻧﻬــﻢ‬ ‫ﱢ‬ ‫ﺣﻴــﻮﺍﻥ ﺯﺍﺣــﻒ‪ ،‬ﻣﻌــﺮﻭﻑ ﺑﺎﺗﺒﺎﻋــﻪ‬
‫ﺃﺧﻀﻌﻪ ﻟﻠﺒﻴﺌﺔ‬ ‫ﻧﺠــﻮﻡ ﺃﻣــﺎﻡ ﺍﳌﺘﺤﺪﺛﻴــﻦ‪ ،‬ﺍﻟﺬﻳــﻦ‬ ‫ﺃﺳــﻠﻮﺏ ﺗﻐﻴﻴــﺮ ﻟﻮﻧــﻪ ﻟﻠﺘﺄﻗﻠــﻢ ﻣــﻊ‬
‫ﻳﺸــﻌﺮﻭﻥ ﺑﻌــﺪﻡ ﺍﻟﺮﺍﺣــﺔ ﺧــﻼﻝ ﺍﻟﻠﻘــﺎﺀ‪،‬‬ ‫ﺍﳌﺤﻴﻂ‪ ،‬ﻭﺃﻋﻨﻲ ﺍﻟﺤﺮﺑﺎﺀ‪.‬‬
‫ﻧﻔﺴــﻪ ﻧﺒــﺮﺓ‬
‫ﻛﻤــﺎ ﻳﻠﻤــﺲ ﺍﳌﺸــﺎﻫﺪ ُ‬
‫ﻗﺒــﻞ ﺍﻟﺜــﻮﺭﺓ ﺍﻟﻜﻮﺑﻴــﺔ ﺍﻟﺘــﻲ ﺣﺪﺛــﺖ‬ ‫ﺍﻻﺳــﺘﻌﻼﺀ ﻟــﺪﻯ ﺍﳌﺬﻳــﻊ‪ ،‬ﺍﻷﻣــﺮ ﺍﻟــﺬﻱ‬ ‫ـﻲ ﻓﻬــﻢ ﻣــﺎ‬
‫ﻟﻬــﺬﺍ‪ ،‬ﻟــﻢ ﻳﻜــﻦ ﺻﻌﺒــﺎ ﻋﻠـ ّ‬
‫ﻋــﺎﻡ ‪ ،1959‬ﻛﺎﻧــﺖ ﻛﻮﺑــﺎ ﺗﺴــﻤﻰ "ﻣﺎﺧــﻮﺭ‬ ‫ﻳﺜﻴــﺮ ﻣﻮﺟــﺎﺕ ﻧﻘﺪﻳــﺔ ﺣــﻮﻝ ﻟﻘــﺎﺀﺍﺕ‬ ‫ﻗﺎﻟــﻪ ﻟــﻲ ﺧــﻮﺍﻥ ﺳﺎﻧﺸــﻴﺰ ‪-‬ﻭﻫــﻮ ﺃﺣــﺪ‬
‫ﺍﻷﻣﻴﺮﻛﻴﺘﻴــﻦ"‪ ،‬ﻭﻗــﺪ ﺳــﻌﺖ ﺍﻟﺜــﻮﺭﺓ‬ ‫ﻣﻦ ﻫﺬﺍ ﺍﻟﻨﻮﻉ‪.‬‬ ‫ﺃﺳــﺎﺗﺬﺗﻲ ﺑﻜﻠﻴــﺔ ﺍﻟﺼﺤﺎﻓــﺔ ﻲﻓ‬
‫ﻟﻠﺘﺨﻠــﺺ ﻣــﻦ ﺫﻟــﻚ ﺍﻟﻮﺻــﻒ‪ .‬ﻭﺭﻏــﻢ‬ ‫ﺟﺎﻣﻌــﺔ ﻫﺎﻓﺎﻧــﺎ‪ -‬ﺃﺛﻨــﺎﺀ ﺃﺣــﺪ ﺣﻮﺍﺭﺍﺗﻨــﺎ‪،‬‬
‫ﺃﻧﻬــﺎ ﺳــﻨﺖ ﻗﻮﺍﻧﻴــﻦ ﺗﻤﻨــﻊ ﺃﻋﻤــﺎﻝ‬ ‫ﻲﻓ ﻛﺘﺎﺑﻬــﺎ "ﺃﻭﺭﻳﺎﻧــﺎ ﻓﺎﻳﺎﺳــﻲ ﺗﺠــﺮﻱ‬ ‫ﺃﺭﺩﺕ ﺃﻥ ﺃﻛــﻮﻥ ﺻﺤﻔﻴــﺎ‬ ‫ﱡ‬ ‫ﺑﺄﻧــﻪ ﻟــﻮ‬
‫ﺍﻟﺪﻋــﺎﺭﺓ‪ ،‬ﻓﺈﻧﻬــﺎ ﻟــﻢ ﺗﻘــﺾ ﻋﻠﻴﻬــﺎ‬ ‫ﻟﻘﺎﺀ ﻣﻊ ﻧﻔﺴﻬﺎ" )ﺇﺳﺒﺎﻧﻴﺎ‪ ،(2004 ،‬ﺗﺸﻴﺮ‬ ‫ﻓﻌﻠــﻲ ﺃﻥ ﺃﺗﺒــﻊ ﺍﺳــﺘﺮﺍﺗﻴﺠﻴﺔ‬
‫ّ‬ ‫ﺣﻘﻴﻘﻴــﺎ‪،‬‬
‫ﺗﻮﺟــﺐ‬
‫ﺗﻤﺎﻣــﺎ‪ .‬ﻭﻲﻓ ﻋﻤﻠــﻲ ﺍﻟﺼﺤﻔــﻲ‪ ،‬ﱠ‬ ‫ﺍﻟﺼﺤﻔﻴــﺔ ﺍﻹﻳﻄﺎﻟﻴــﺔ ﺃﻭﺭﻳﺎﻧــﺎ ﻓﺎﻳﺎﺳــﻲ‬ ‫ﺍﻟﺤﺮﺑــﺎﺀ ﺃﺛﻨــﺎﺀ ﻋﻤﻠــﻲ‪ ،‬ﻭﺃﻧــﻪ ﺑﻐــﺾ‬
‫ﻋﻠــﻲ ﺇﺟــﺮﺍﺀ ﺗﺤﻘﻴــﻖ ﻋــﻦ ﻫــﺬﺍ‬ ‫ّ‬ ‫ﺇﻟــﻰ ﺃﻧﻬــﺎ ﺃﺿﺎﻋــﺖ ﻣﻘﺎﺑــﻼﺕ ﻗ ﱢﻴﻤــﺔ‬ ‫ﺍﻟﻨﻈــﺮ ﻋــﻦ ﻣﻜﺎﻧــﺔ ﺍﻟﺼﺤﻔــﻲ ﺍﻟﻌﻠﻤﻴــﺔ‬
‫ﺍﳌﺴــﺘﻨﻘﻊ ﺍﻟﻘــﺬﺭ‪ ،‬ﻓﺄﺟﺮﻳــﺖ ‪200‬‬ ‫ﺑﺴــﺒﺐ ﻣــﺎ ﺃﺳــﻤﺘﻪ ﺍﺧﺘــﻼﻻ ﻲﻓ ﺗــﻮﺍﺯﻥ‬ ‫ﻭﺍﻻﺟﺘﻤﺎﻋﻴــﺔ‪ ،‬ﻭﻣﻜﺎﻧــﺔ ﺍﳌﺆﺳﺴــﺔ‬
‫ﻣﻘﺎﺑﻠــﺔ ﻲﻓ ﻓﺘــﺮﺓ ﺍﺳــﺘﻤﺮﺕ ﺧﻤــﺲ‬ ‫ﻣﻮﻗﻔﻬــﺎ ﺗﺠــﺎﻩ ﺍﳌﺘﺤــﺪﺙ‪ .‬ﻭﺑﺎﻟﻨﺴــﺒﺔ‬ ‫ﺍﻟﺼﺤﻔﻴــﺔ ﺍﻟﺘــﻲ ﻳﻌﻤــﻞ ﺑﻬــﺎ‪ ،‬ﻓﻤــﻦ‬
‫ﺳــﻨﻮﺍﺕ‪ ،‬ﺍﻟﺘﻘﻴــﺖ ﺧﻼﻟﻬــﺎ ﺑﺎﺋﻌــﺎﺕ‬ ‫ﻟﻬــﺎ‪ ،‬ﻓــﺈﻥ ﺍﻟﺼﺤﻔــﻲ ﺍﻟــﺬﻱ ﻳﺒــﺪﻭ‬ ‫ﻭﺍﺟﺒــﻪ ﺃﻥ ﻳﺘﻜﻴــﻒ ﻣــﻊ ﺍﻟﺤﺎﻟــﺔ ﺍﻟﺘــﻲ‬
‫ﻫــﻮﻯ ﻭﺗﺠــﺎﺭ ﺑﺸــﺮ ﻭﻣﺮﻭﺟــﻲ ﻣﺨــﺪﺭﺍﺕ‬ ‫ﻣﺘﺬﻟــﻼ ﺃﻣــﺎﻡ ﺍﻟﺴﻴﺎﺳــﻴﻴﻦ ﺍﳌﺘﻌﺼﺒﻴــﻦ‪،‬‬ ‫ﻳﻌﻴﺸــﻬﺎ ﺑﻄﺮﻳﻘــﺔ ﻣﻬﻨﻴــﺔ‪ .‬ﻭﻓﻴﻤــﺎ‬
‫ﻭﺃﺻﺤــﺎﺏ ﻣﻮﺍﺧﻴــﺮ ﻏﻴــﺮ ﻗﺎﻧﻮﻧﻴــﺔ‪،‬‬ ‫ﺳــﻴﻜﻮﻥ ﻣﺠﺒــﺮﺍ ﻰﻠﻋ ﺍﻟﻘﺒــﻮﻝ‬ ‫ﻳﺘﻌ ﱠﻠــﻖ ﺑﺎﻟﻠﻘــﺎﺀﺍﺕ ﺍﻟﺼﺤﻔﻴــﺔ‪ ،‬ﻓﺎﻷﺟــﺪﺭ‬
‫ﻭﺍﻟﻌﺪﻳــﺪ ﻣــﻦ ﺍﻟﺸــﺨﺼﻴﺎﺕ ﺍﻟﺘــﻲ‬ ‫ﺑﺎﻟﻜﻴﻔﻴــﺔ ﺍﻟﺘــﻲ ﻳﺪﻳــﺮﻭﻥ ﺑﻬــﺎ ﺍﻟﻠﻘــﺎﺀ‬ ‫ﺍﳌﺘﺤــﺪﺙ‪..‬‬
‫ﱢ‬ ‫ﺃﻥ ﻳﺘﺄﻗﻠــﻢ ﺍﻟﺼﺤﻔــﻲ ﻣــﻊ‬
‫ﺍﺳــﺘﻔﺎﺩﺕ ﻣــﻦ ﺍﻷﺭﺑــﺎﺡ ﺍﻟﻘــﺬﺭﺓ‬ ‫ﺍﻟﺼﺤﻔــﻲ‪ .‬ﻭﻋــﻦ ﻫــﺬﺍ ﺗﻘــﻮﻝ‪" :‬ﻋﻠﻴــﻪ‬ ‫ﻭﺑﻜﻠﻤــﺎﺕ ﺑﺴــﻴﻄﺔ‪ ،‬ﺃﻥ ﻳﺤﺎﻓــﻆ ﻰﻠﻋ‬
‫ﺍﳌﻜﺘﺴــﺒﺔ ﻣــﻦ ﺗﻠــﻚ ﺍﳌﻬﻨــﺔ ﺍﳌﻐﺮﻗــﺔ‬ ‫)ﺍﳌﺘﺤــﺪﺙ( ﺃﻥ ﻳﺸــﻌﺮ ﺑــﺄﻥ ﻫﻨــﺎﻙ ﻣــﻦ‬ ‫ﺗــﻮﺍﺯﻥ ﺍﻟﺤــﻮﺍﺭ ﺑﻴﻨﻬﻤــﺎ‪ ،‬ﺩﻭﻥ ﺃﻥ‬
‫ﻲﻓ ﺍﻟﻘﺪﻡ ﻭﺍﳌﻬﻴﻨﺔ ﻟﻜﺮﺍﻣﺔ ﺍﻹﻧﺴﺎﻥ‪.‬‬ ‫ﻳﺘﺤــﺪﺍﻩ‪ ،‬ﻭﻣــﻦ ﻳﺴــﺎﺋﻠﻪ‪ ..‬ﺃﻥ ﻳﻌﻠــﻢ ﺃﻧــﻪ‬ ‫ﻳﺘﺨﻄــﻰ ﺃﺣﺪﻫﻤــﺎ ﺍﻵﺧــﺮ ﺃﻭ ﻳﻘﻠــﻞ ﻣــﻦ‬
‫ﻟــﻦ ﻳﺘﻤﻜــﻦ ﻣــﻦ ﺧــﺪﺍﻉ ﺍﻟﺼﺤﻔــﻲ ﻭﻻ‬ ‫ﺍﺣﺘﺮﺍﻣــﻪ‪ ،‬ﻛﻤــﺎ ﻋﻠﻴــﻪ ﺃﻻ ﻳﻌﺘﻘــﺪ ﻲﻓ‬
‫ﺇﻥ ﺇﺟــﺮﺍﺀ ﻣﻘﺎﺑﻠــﺔ ﺻﺤﻔﻴــﺔ ﻻ ﻳﻨﺤﺼــﺮ‬ ‫ﺍﻟﻀﻐــﻂ ﻋﻠﻴــﻪ ﺑﺎﳌﺮﺍﻭﻏــﺎﺕ ﺍﻟﺴﻴﺎﺳــﻴﺔ‬ ‫ﻣﻤــﻦ ﻳﻠﺘﻘــﻲ‬‫ـﺔ ﻣــﺎ ﺃﻧــﻪ ﺃﻛﺜــﺮ ﺫﻛﺎﺀ ﱠ‬‫ﻟﺤﻈـ ٍ‬
‫ﻲﻓ ﺇﻋﺪﺍﺩ ﺍﻷﺳﺌﻠﺔ‪ ،‬ﺑﻞ ﺍﻟﺘﻨﻘﻴﺐ‬ ‫ﻭﺍﻟﺤﻴﻞ ﺍﻟﺘﻲ ﻳﺴﺘﺨﺪﻣﻬﺎ ﻣﻊ‬ ‫ﺑﻬﻢ‪.‬‬

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‫ﻛﻮﺑــﺎ‬
‫ﻛﻨــﺖ ﻗــﺪ ﻋﺸــﺖ ﻓﺘــﺮﺓ ﻲﻓ ﺗﻠــﻚ‬
‫ﺍﻷﺣﻴــﺎﺀ ﺍﳌﻬﻤﺸــﺔ ﻭﺗﺤﺪﺛــﺖ ﺑﻠﻬﺠــﺔ‬
‫ﺳــﺎﻛﻨﻴﻬﺎ‪ ..‬ﻟﻌﺒــﺖ ﺍﻟﺒﻴﺴــﺒﻮﻝ ﻲﻓ‬
‫ﺍﳌﻨﺘﺰﻫــﺎﺕ ﻣــﻊ ﺷــﺒﺎﺏ ﺗﺤﻮﻟــﻮﺍ ﻻﺣﻘــﺎ‬
‫ﺇﻟــﻰ ﺗﺠــﺎﺭ ﺑﺸــﺮ‪ ،‬ﻭﺍﻟﺘﻘﻴــﺖ ﻓﺘﻴــﺎﺕ‬
‫ﻋﻠﻤــﺖ ﻓﻴﻤــﺎ ﺑﻌــﺪ ﺃﻧﻬــﻦ ﺍﻟﺘﺤﻘــﻦ‬
‫ﺑﺎﻟﻌﻤﻞ ﻲﻓ ﺍﳌﻮﺍﺧﻴﺮ‪.‬‬
‫ﺍﻗﺘﺮﺑــﺖ ﺃﻛﺜــﺮ ﻣــﻦ ﺿﺤﺎﻳــﺎ ﺫﻟــﻚ‬
‫ﺍﳌﺠﺘﻤــﻊ ﺍﳌﻮﺣــﻞ‪ ،‬ﻭﻛﺄﻧﻨــﻲ ﻭﺍﺣــﺪ‬
‫ﻣﻨﻬــﻢ ﻳﻌﻠــﻢ ﺗﻤﺎﻣــﺎ ﺍﻷﺳــﺒﺎﺏ ﺍﻟﺘــﻲ‬
‫ﺟﻌﻠﺘﻬــﻢ ﻳﻨﺤــﺪﺭﻭﻥ ﺇﻟــﻰ ﻫــﺬﻩ ﺍﻷﻭﺿــﺎﻉ‬
‫ﺍﻟﺠﺤﻴﻤﻴــﺔ‪ ..‬ﻓﻠــﻮ ﺃﻧﻨــﻲ ﺍﻗﺘﺮﺑــﺖ ﻣﻨﻬــﻢ‬
‫ﻣﺘﺨــﺬﺍ ﺩﻭﺭ ﺍﻟﺤﺎﻛــﻢ ﺃﻭ ﺍﻟﻘﺎﺿــﻲ‪ ،‬ﻷﺿﻌﺖ‬
‫ﻓﺮﺻــﺔ ﺍﻟﻮﺻــﻮﻝ ﺇﻟــﻰ ﺃﻋﻤــﺎﻕ ﺣﻴﺎﺗﻬــﻢ‬
‫ﻭﺧﻮﻓﻬﻢ ﻭﺗﺠﺎﺭﺑﻬﻢ ﺍﻟﻘﺎﺳﻴﺔ‪.‬‬
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‫ﺇﺟﺮﺍﺀ ﻣﻘﺎﺑﻠﺔ ﺻﺤﻔﻴﺔ ﻻ ﻳﻨﺤﺼﺮ‬
‫ﻲﻓ ﺇﻋﺪﺍﺩ ﺍﻷﺳﺌﻠﺔ‪ ،‬ﺑﻞ ﺍﻟﺘﻨﻘﻴﺐ‬
‫ﺗﺤﺖ ﺟﻠﺪ ﺍﳌﺘﺤﺪﺙ ﺑﺤﺜﺎ ﻋﻦ‬
‫ﺍﻟﺤﻘﻴﻘﺔ‪.‬‬
‫ﻲﻓ‬ ‫ﻋﻠﻴﻬــﻦ‬ ‫ﻳﻄﻠــﻖ‬ ‫ﺗﺤــﺖ ﺟﻠــﺪ ﺍﳌﺘﺤــﺪﺙ ﺑﺤﺜــﺎ ﻋــﻦ‬
‫"ﺧﻴﻨﻴﺘﻴــﺮﺍﺱ"‪ ،‬ﻓﻘــﺪ ﻛﻨــﺖ ﺃﺣــﺎﻭﻝ ﺃﻥ‬ ‫ﺍﻟﺤﻘﻴﻘــﺔ ﺍﻟﺘــﻲ ﻳﺴــﺘﻄﻴﻊ ﻫــﻮ ﻭﺣــﺪﻩ‬
‫ﺃﺗﻜﻴــﻒ ﻣــﻊ ﻧﻔﺴــﻴﺎﺕ ﻣــﻦ ﺃﻟﺘﻘــﻲ‪،‬‬ ‫ﺗﻘﺪﻳﻤﻬــﺎ ﻟﻨــﺎ‪ .‬ﻭﻣــﻦ ﺃﺟــﻞ ﺗﺤﻘﻴــﻖ‬
‫ﻟﻴــﺲ ﻓﻘــﻂ ﺑــﺄﻥ ﺃﻏ ّﻴــﺮ ﺟﻠــﺪﻱ‪ ،‬ﺑــﻞ ﺃﻥ‬‫ﺫﻟــﻚ‪ ،‬ﻻ ﺑــﺪ ﻣــﻦ ﻫــﺪﻡ ﻋــﺪﺓ ﺣﻮﺍﺟــﺰ‪،‬‬
‫ﺃﺷــﻌﺮ ﺃﻥ ﻫــﺬﺍ ﺍﻟﺠﻠــﺪ ﺍﻟﺠﺪﻳــﺪ ﻫــﻮ ﻲﻓ‬ ‫ﻣــﻦ ﺃﻫﻤﻬــﺎ‪ :‬ﺍﻟﺸــﻚ ﺍﻟــﺬﻱ ﻳــﺮﺍﻭﺩﻩ ﻋﻨــﺪ‬
‫ﺍﻷﺻــﻞ ﺟﻠــﺪﻱ‪ ،‬ﻣﺴــﺘﺒﻌﺪﺍ ﺍﻟﻨﺼﺎﺋــﺢ‬ ‫ﺍﻟﺘﺤــﺪﺙ ﻣــﻊ ﺷــﺨﺺ ﻣﺠﻬــﻮﻝ ﺣــﻮﻝ‬
‫ﺍﻟــﻮﺍﺭﺩﺓ ﻲﻓ ﺩﻟﻴــﻞ ﺍﻟﺼﺤﻔــﻲ ﻹﺟــﺮﺍﺀ‬ ‫ﻣﻮﺿــﻮﻉ ﻣﻌﻘــﺪ‪ ،‬ﻭﺭﺑﻤــﺎ ﺧﻄﻴــﺮ‪ ،‬ﺛــﻢ‬
‫ﺍﳌﻘﺎﺑﻼﺕ‪.‬‬ ‫ﻏﺮﻳــﺰﺓ ﺍﻟﺒﻘــﺎﺀ ﻰﻠﻋ ﻗﻴــﺪ ﺍﻟﺤﻴــﺎﺓ ﺍﻟﺘــﻲ‬
‫ﻳﻔﻜــﺮ ﺑﻬــﺎ ﺃﻱ ﺷــﺨﺺ ﻟــﻮ ﺍﻋﺘﻘــﺪ ﺃﻥ‬
‫ﻛﻠﻤﺎﺗــﻪ ﺳــﺘﺠﻠﺐ ﻟــﻪ ﺍﳌﺘﺎﻋــﺐ‪ ،‬ﺇﺿﺎﻓــﺔ ﻭﻫﻨــﺎ ﻳﺘﺪﺧــﻞ ﻋﻨﺼــﺮ ﻳﺘﺤــﺪﺙ ﻋﻨــﻪ‬
‫ﺇﻟــﻰ ﺍﻟﻈــﺮﻭﻑ ﺍﻟﺸــﺨﺼﻴﺔ ﻭﺍﻻﺟﺘﻤﺎﻋﻴــﺔ ﺍﻟﻜﺜﻴــﺮﻭﻥ ﻟﻜﻨﻬــﻢ ﻛﺜﻴــﺮﺍ ﻣــﺎ ﻳﻐﻔﻠﻮﻧــﻪ‬
‫ﺑﺴــﺒﺐ ﺿﻐــﻂ ﺍﻟﻌﻤــﻞ‪ ،‬ﻭﻫــﻮ‪ :‬ﺩﺭﺍﺳــﺔ‬ ‫ﻭﺍﻟﺴﻴﺎﺳﻴﺔ ﺍﻟﺘﻲ ﺗﺤﻴﻂ ﺑﺎﳌﺘﺤﺪﺙ‪.‬‬
‫ﺳــﺎﺑﻘﺔ ﻋــﻦ ﺍﳌﺘﺤــﺪﺙ ﻭﻣﻌﺮﻓــﺔ ﻣــﺎ‬
‫ﻳﺤــﺐ‪ ،‬ﻭﻋﺎﺩﺍﺗــﻪ ﻭﺗﺎﺭﻳﺨــﻪ ﺍﻟﺸــﺨﺼﻲ‬‫ﱡ‬ ‫ﻭﻲﻓ ﺍﻟﺤﺎﻟــﺔ ﺍﻟﺘــﻲ ﻋﺎﻳﺸــ ُﺘﻬﺎ‪ ،‬ﻭﺑﺴــﺒﺐ‬
‫ﻣﻨــﻊ ﺍﻟﺤﻜﻮﻣــﺔ ﺍﻟﻜﻮﺑﻴــﺔ ﻟﻬــﺬﻩ ﻭﻧﻘــﺎﻁ ﺿﻌﻔــﻪ‪ ..‬ﻛﻞ ﺫﻟــﻚ ﺑﻬــﺪﻑ‬
‫ﺍﻷﻋﻤــﺎﻝ‪ ،‬ﻭﺍﻵﺭﺍﺀ ﺍﳌﺘﻜﻮﻧــﺔ ﻟــﺪﻯ ﺍﻟﻨــﺎﺱ ﻣﻌﺮﻓــﺔ ﻣــﺎ ﻳﻨﺒﻐــﻲ ﻭﻣــﺎ ﻻ ﻳﻨﺒﻐــﻲ‬
‫ﻋﻠﻴﻚ ﺳﺆﺍﻟﻪ‪.‬‬ ‫ﻣﺴﺒﻘﺎ ﻋﻦ ﺑﺎﺋﻌﺎﺕ ﺍﻟﻬﻮﻯ‪ ،‬ﺃﻭ ﻣﺎ‬
‫ﺭﺋﻴﺲ ﺍﻟﻮﺯﺭﺍﺀ ﺍﻟﺒﺮﻳﻄﺎﻧﻲ ﺍﻟﺴﺎﺑﻖ ﺗﻮﻧﻲ ﺑﻠﻴﺮ ﻲﻓ ﻣﻮﺍﺟﻬﺔ ﺃﺳﺌﻠﺔ ﺍﳌﺬﻳﻊ ﺩﻳﻔﻴﺪ ﻓﺮﻭﺳﺖ )‪.(2004‬‬
‫ﻣﻘﺎﺑــﻼﺕ ﺑﺤﻴــﺚ ﻳﻀﻴﻔــﻮﻥ ﺟﺪﻳــﺪﺍ‬ ‫ﺍﳌﻨﺎﺳــﺒﺔ ﻹﻋﻼﻣﻬــﻢ ﺑﺄﻧﻬــﻢ ﻟــﻦ‬ ‫ُ‬
‫ﺍﺳﺘﺨﺪﻣﺖ؟‬ ‫ﻓﺄﻱ ﺃﺳﻠﻮﺏ‬
‫ﺇﻟــﻰ ﺍﻟﺤﻘﻴﻘــﺔ ﺍﻟﺘــﻲ ﻳﺤــﺎﻭﻝ ﺇﻳﺠﺎﺩﻫــﺎ‪.‬‬ ‫ﻳﺘﺤﻮﻟــﻮﺍ ﺇﻟــﻰ ﺃﺑﻄــﺎﻝ ﻣﺠﻬﻮﻟﻴــﻦ ﻲﻓ‬
‫ﺍﻟﻮﺍﻗــﻊ ﺍﻟﻘﺎﺳــﻲ ﻟﻠﻤﻬﻤﺸــﻴﻦ ﻲﻓ‬ ‫ﺣﺎﻭﻟــﺖ ﺃﻻ ﺃﺟﻌﻠﻬــﻢ ﻳﺸــﻌﺮﻭﻥ ﺃﻧﻬــﻢ‬
‫ﻣــﻦ ﺍﻷﻓﻀــﻞ ﺃﻻ ُﻳﻈﻬــﺮ ﺍﻟﺼﺤﻔــﻲ ﺫﻛﺎﺀﻩ‬ ‫ﻛﻮﺑــﺎ‪ ..‬ﻛﻨــﺖ ﻣﺴــﺘﻌﺪﺍ ﻷﻛــﻮﻥ ﺻﻮﺗﻬــﻢ‪،‬‬ ‫ﺧﺎﺿﻌــﻮﻥ ﻟﺘﺤﻘﻴــﻖ ﺃﻭ ﻻﺳــﺘﺠﻮﺍﺏ‪.‬‬
‫ﻭﻣﺴــﺘﻮﺍﻩ‬ ‫ﻭﺗﺠﺮﺑﺘــﻪ‬ ‫ﻭﺟﺮﺃﺗــﻪ‬ ‫ﺃﻥ ﺃﻗــﻮﻝ ﻣــﺎ ﻻ ﻳﺠــﺮﺅﻭﻥ ﻰﻠﻋ ﻗﻮﻟــﻪ‪،‬‬ ‫ﻭﺑﺒﺴــﺎﻃﺔ‪ ،‬ﻛﺎﻧــﻮﺍ ﻳﻌﺘﻘــﺪﻭﻥ ﺃﻧﻬــﻢ‬
‫ﺍﻻﺟﺘﻤﺎﻋــﻲ‪ ،‬ﺑــﻞ ﻳﻨﺒﻐــﻲ ﺃﻥ ﻳﺨﻔــﻲ‬ ‫ﺑﻤﻌﻨــﻰ ﺃﻧﻨــﻲ ﺗﺤﻮﻟــﺖ ﺇﻟــﻰ ﺷــﺮﻳﻚ‬ ‫ﻳﺘﺤﺪﺛــﻮﻥ ﻣــﻊ ﻭﺍﺣــﺪ ﻣﻨﻬــﻢ ﻋــﻦ‬
‫ﺗﻠﻚ ﺍﻷﻣﻮﺭ ﻛﻤﺎ ﺗﻔﻌﻞ ﺍﻟﺤﺮﺑﺎﺀ‪.‬‬ ‫‪.‬‬ ‫ﻟﻬــﻢ‬ ‫ُ‬
‫ﺿﻤﻨــﺖ ﻟﻬــﻢ ﺃﻧﻨــﻲ ﻟــﻦ‬ ‫ﻋﻮﺍﳌﻬــﻢ‪..‬‬
‫ﺃﺧــﻮﻥ ﺍﻋﺘﺮﺍﻓﺎﺗﻬــﻢ‪ ..‬ﺗﺠﻨﺒــﺖ ﺍﻷﺳــﺌﻠﺔ‬
‫ﻭﺃﺧﻴــﺮﺍ‪ ،‬ﺃﻥ ﻳﻨﺪﻣــﺞ ﻲﻓ ﻋﺎﻟــﻢ‬ ‫ُ‬
‫ﺧﻠﺼــﺖ ﻣــﻦ ﺗﻠــﻚ ﺍﻟﺘﺠﺮﺑــﺔ ﺍﻟﺘــﻲ‬ ‫ﻭﺍﻟﺘﻌﻠﻴﻘــﺎﺕ ﺍﻟﺘــﻲ ﺗﺠﻌﻠﻬــﻢ ﻳﺸــﻌﺮﻭﻥ‬
‫ﺍﳌﺘﺤــﺪﺙ‪ ،‬ﻣــﻊ ﺇﺩﺭﺍﻛــﻪ ﺃﻧــﻪ ﻓﻘــﻂ‬ ‫ﻭﺿﻌﺘﻬــﺎ ﻲﻓ ﻛﺘــﺎﺏ؛ ﺃﻥ ﻰﻠﻋ‬ ‫ﻟــﺪﻱ ﺃﻳــﺔ‬
‫ّ‬ ‫ﺃﻧﻬــﻢ ﺑﺎﺋﺴــﻮﻥ‪ ..‬ﻟــﻢ ﺗﻜــﻦ‬
‫ﺑﻬــﺬﻩ ﺍﻟﻄﺮﻳﻘــﺔ ﻳﺴــﺘﻄﻴﻊ ﺃﻥ ﻳﻜﺸــﻒ‬ ‫ﺍﻟﺼﺤﻔــﻲ ﺃﻥ ﻳﺮﺍﻗــﺐ ﺍﻟﺘﻔﺎﺻﻴــﻞ‬ ‫ﺃﺣــﻜﺎﻡ ﻧﻘﺪﻳــﺔ‪ ،‬ﺧﺼﻮﺻــﺎ ﻛﺘﻠــﻚ ﺍﻟﺘــﻲ‬
‫ﺍﻟﻐﻤــﻮﺽ ﺍﳌﺤﻴــﻂ ﺑــﻪ‪ ،‬ﻛﺤﺮﺑــﺎﺀ‬ ‫ﻭﻳﺤﻠﻠﻬــﺎ‪ ،‬ﻭﺃﻥ ﻳﺪﻗــﻖ ﻲﻓ ﺍﺧﺘﻴــﺎﺭ‬ ‫ﺃﻃﻠﻘﺘﻬــﺎ ﻭﻧﺸــﺮﺗﻬﺎ ﺍﻟﺤﻜﻮﻣــﺔ‪ .‬ﻭﻲﻓ‬
‫ﺗﺘﺄﻗﻠــﻢ ﻣــﻊ ﻭﺍﻗــﻊ ﻳﺼﻌــﺐ ﻰﻠﻋ‬ ‫ﺍﻷﺷــﺨﺎﺹ ﺍﻟﺬﻳــﻦ ﻳﺠــﺮﻱ ﻣﻌﻬــﻢ‬ ‫ﻧﻔــﺲ ﺍﻟﻮﻗــﺖ‪ ،‬ﺍﻧﺘﻈــﺮﺕ ﺍﻟﻠﺤﻈــﺔ‬
‫ﺍﻵﺧﺮﻳﻦ ﺇﺩﺭﺍﻛﻪ‪.‬‬

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 ‫ﺻﺪﻗﻴﺔ ﺍﻟﺼﻮﺭﺓ‪..‬‬
‫ﺍﻟﺘﺤﺪﻱ ﺍﻟﺠﺪﻳﺪ ﻲﻓ‬
‫ﻋﺼﺮ ﺍﻹﻋﻼﻡ ﺍﻟﺮﻗﻤﻲ‬
‫ﺍﻟﻨﺖ ﺗﺨﺪﻉ ﻗﺒﻞ‬
‫ﺍﻟﻌﻴﻦ ﺃﺣﻴﺎﻧﺎ‬
‫ﻭﺳــﻌﺖ ﺍﻟﻮﺳــﺎﺋﻞ ﺍﻟﺤﺪﻳﺜــﺔ ﻣــﻦ ﺩﺍﺋــﺮﺓ‬
‫ﺍﳌﺸــﺎﺭﻛﻴﻦ ﻲﻓ ﻧﻘــﻞ ﺍﻟﻘﺼــﺔ ﺃﻭ‬
‫ﺗﺼﻮﻳﺮﻫــﺎ ﻭﺗﺴــﻠﻴﻂ ﺍﻟﻀــﻮﺀ ﻋﻠﻴﻬــﺎ‪،‬‬
‫ﻓﻘــﺪ ﺳــﺎﻫﻤﺖ ﻲﻓ ﻭﺿــﻊ ﺍﳌﺰﻳــﺪ ﻣــﻦ‬
‫ﺍﳌﺤﺎﺫﻳــﺮ ﻲﻓ ﻋﺎﻟــﻢ ﺍﻟﺘﺤﻘــﻖ ﻣــﻦ‬
‫ﺻﺪﻗﻴﺘﻬــﺎ‪ .‬ﻭﻗــﺪ ﺃﺩﺭﻛــﺖ ﺃﻃــﺮﺍﻑ ﺃﺧــﺮﻯ‬
‫‪-‬ﺭﺑﻤــﺎ ﻣﺘﻀــﺮﺭﺓ ﻣــﻦ ﻫــﺬﺍ ﺍﳌــﺪ‪ -‬ﺃﻥ‬
‫ﻋﻠﻴﻬــﺎ ﺃﻥ ﺗﻄــﻮﺭ ﻋﻨﺎﺻــﺮ ﺍﻟﺘﺸــﻮﻳﺶ‬
‫ﻟﺘﺤﺎﺻــﺮ ﺇﻋــﻼﻡ ﺍﳌﻮﺍﻃــﻦ ﻭﻟﺘﻄﻌــﻦ‬
‫ﻲﻓ ﺃﻫــﻢ ﻣــﺎ ﻳﻤﻠﻜــﻪ ﺍﻟﺼﺤﻔــﻲ‪ ،‬ﻭﻫــﻮ‬
‫ﺍﻟﺼﺪﻗﻴﺔ‪.‬‬
‫ﺍﳌﺼﺪﺍﻗﻴــﺔ ﻗــﺪ ﺗﻜــﻮﻥ ﺿﺤﻴــﺔ‬
‫ﻭﻟﺴــﻮﺀ ﺍﻟﺤــﻆ ﻓﻘــﺪ ﻛﺎﻥ ﺍﻟﻄــﺮﻑ ﺍﻵﺧــﺮ‬
‫ﻲﻓ ﻫــﺬﻩ ﺍﳌﻮﺍﺟﻬــﺔ ﺃﺣﻴﺎﻧــﺎ‪ ،‬ﻫــﻮ‬
‫ﺃﻧﻈﻤــﺔ ﺣﻜــﻢ ﺭﺍﻫﻨــﺖ ﻭﺗﺮﺍﻫــﻦ ﻲﻓ‬
‫ﺑﻘﺎﺋﻬــﺎ ﻰﻠﻋ ﺃﺟﻬﺰﺗﻬــﺎ ﺍﻷﻣﻨﻴــﺔ‬
‫ﺍﳌﺸــﻬﻮﺩ ﻟﻬــﺎ ﺑﺎﻟﺪﻫــﺎﺀ ﺣﻴــﻦ ﻳﺘﻌﻠــﻖ‬
‫ﺍﻷﻣﺮ ﺑﺪﺱ ﺍﳌﺆﺍﻣﺮﺍﺕ‪.‬‬
‫ﻳﺨﺘــﺎﺭ ﺍﳌﺆﻟــﻒ ﺷــﺨﻮﺹ ﻋﻤﻠــﻪ‬
‫ﻭﻣــﻦ ﻧﺎﻓﻠــﺔ ﺍﻟﻘــﻮﻝ ﺃﻥ ﺍﳌﻮﺍﻗــﻊ‬
‫ﺍﻹﻟﻜﺘﺮﻭﻧﻴــﺔ ﺗﻤــﺎﺭﺱ ﻗــﺪﺭﺍ ﻣــﻦ‬
‫ﺍﻻﻧﻀﺒﺎﻃﻴــﺔ ﻭﺍﻟﺘﺤــﺮﻱ ﻋﻨﺪﻣــﺎ ﻳﺘﻌﻠــﻖ‬
‫ﺍﻷﻣــﺮ ﺑﺎﳌــﻮﺍﺩ ﺍﻟﻔﻴﻠﻤﻴــﺔ ﺗﺤﺪﻳــﺪﺍ‪،‬‬
‫ﻟﻜﻨﻬــﺎ ﺿﻮﺍﺑــﻂ ﻗﺎﺻــﺮﺓ ﻰﻠﻋ ﻣﺮﺍﻋــﺎﺓ‬
‫ﻧــﻮﻉ ﺍﳌــﺎﺩﺓ ﺍﻟﺘــﻲ ﻳﺘــﻢ ﺗﺤﻤﻴﻠﻬــﺎ‬
‫ﻭﻣﻨﺎﺳﺒﺘﻬﺎ ﻟﻠﻘﻮﺍﻋﺪ ﺍﻟﻌﺎﻣﺔ ﻟﻠﻤﻮﻗﻊ‪.‬‬
‫ﻭﺭﺑﻤــﺎ ﻲﻓ ﻣﺜــﻞ ﻫــﺬﻩ ﺍﻟﺤــﺎﻻﺕ ﻳﺘﻌﻴــﻦ‬
‫ﻭﻲﻓ ﺣــﺎﻻﺕ ﺃﺧــﺮﻯ ﻳﺘــﻢ ﺍﻻﻟﺘﻔــﺎﺕ‬
‫ﺣﺼــﺮﺍ ﺇﻟــﻰ ﺣﻘــﻮﻕ ﺍﳌﻠﻜﻴــﺔ ﻟﻠﻤــﺎﺩﺓ‪،‬‬
‫ﺑﻤــﺎ ﻻ ﻳﺮﺗــﺐ ﻰﻠﻋ ﺍﳌﻮﻗــﻊ ﻣﺴــﺆﻭﻟﻴﺔ‬
‫ﻗﺎﻧﻮﻧﻴﺔ‪.‬‬
‫ﺃﻣﺠﺪ ﺍﻟﺸﻠﺘﻮﻧﻲ‬
‫ﺣﻴﻨﻤﺎ ﻳﺘﻌﻠﻖ ﺍﻷﻣﺮ ﺑﺼﺪﻗﻴﺔ ﺍﻟﺨﺒﺮ‪ ،‬ﻓﺈﻥ ﻣﻦ‬
‫ﺃﻫﻢ ﺍﻟﻘﻮﺍﻋﺪ ﺍﳌﻔﺮﻭﺿﺔ ﻰﻠﻋ ﺍﳌﺤﺮﺭ ﻗﺎﻋﺪﺓ‬
‫"ﺍﻷﻓﻀﻞ ﺃﻥ ﺗﻜﻮﻥ ﺍﻟﺜﺎﻧﻲ ﻰﻠﻋ ﺻﻮﺍﺏ‪ ،‬ﻣﻦ ﺃﻥ‬
‫ﺗﻜﻮﻥ ﺍﻷﻭﻝ ﻰﻠﻋ ﺧﻄﺄ"‪.‬‬
‫ﻲﻓ ﺍﻷﺯﻣــﺔ ﺍﻟﺴــﻮﺭﻳﺔ ﻰﻠﻋ ﻧﺤــﻮ ﻟــﻢ‬ ‫ﻓﻘــﻂ ﻲﻓ ﻋﺼــﺮ ﺍﻹﻋــﻼﻡ ﺍﻟﺮﻗﻤــﻲ‬
‫ﺗﻌــﺪ ﺯﻳﻨــﺐ ﺍﺳــﺘﺜﻨﺎﺀ‪ ،‬ﺑــﻞ ﻧﺴــﻲ‬ ‫ﻳﻌــﻮﺩ ﺍﳌﻮﺗــﻰ ﺇﻟــﻰ ﺍﻟﺤﻴــﺎﺓ ﺑﻌــﺪ‬
‫ﺍﻟﻜﺜﻴــﺮﻭﻥ ﺣﻜﺎﻳﺘﻬــﺎ ﻣــﻊ ﻃﻮﻓــﺎﻥ ﺍﻷﻟــﻢ‬ ‫ﺃﺳــﺎﺑﻴﻊ ﻣــﻦ ﺇﻋــﻼﻥ ﻭﻓﺎﺗﻬــﻢ ﺭﺳــﻤﻴﺎ‬
‫ﺍﻟﺬﻱ ﻟﺤﻖ ﺑﺎﻟﺒﻼﺩ‪.‬‬ ‫ﻋﺒــﺮ ﺷﺎﺷــﺎﺕ ﺍﻟﺘﻠﻔﺰﻳــﻮﻥ ﻭﻣﻮﺍﻗــﻊ‬
‫ﺍﻹﻧﺘﺮﻧﺖ‪.‬‬
‫ﺳــﺮﺩﺕ ﺍﻟﻘﺼــﺔ ﻟﻠﺘﺬﻛﻴــﺮ ﺑــﺄﻥ‬ ‫ُ‬
‫ﺫﻟــﻚ ﻫــﻮ ﻣﻠﺨــﺺ ﻗﺼــﺔ ﺯﻳﻨــﺐ‬
‫ﻭﻋﺮﺿــﺔ ﻟﻠﺨﻄــﺄ ﻭﺍﻟﺘﻀﻠﻴــﻞ ﻲﻓ ﻋﺼــﺮ‬ ‫ﺍﻟﺤﺼﻨــﻲ‪ ..‬ﻓﺘــﺎﺓ ﺳــﻮﺭﻳﺔ ﺗﺨﺘﻔــﻲ ﻲﻓ‬
‫ﺍﻹﻧﺘﺮﻧــﺖ ﻭﺍﻹﻋــﻼﻡ ﺍﳌﺴــﺘﻨﺪ ﺇﻟﻴــﻪ‪ ،‬ﺇﺫ‬ ‫ﺑﺪﺍﻳــﺎﺕ ﺍﻟﺜــﻮﺭﺓ ﻋــﺎﻡ ‪ ،2011‬ﻓﺘﻨﻄﻠــﻖ‬
‫ﻳﺤﻠــﻮ ﻟﻨــﺎ ‪-‬ﻧﺤــﻦ ﺍﻟﺼﺤﻔﻴﻴــﻦ‪ -‬ﺃﻥ‬ ‫ﺍﻟﺸــﺎﺋﻌﺎﺕ ﺣــﻮﻝ ﺗــﻮﺭﻁ ﻋﻨﺎﺻــﺮ ﻣﻮﺍﻟﻴــﺔ‬
‫ﻧﺴــﻤﻲ ﺍﳌﻨ َﺘــﺞ ﺍﻟــﺬﻱ ﻧﻘــﻮﻡ ﺑــﻪ ﻗﺼــﺔ‬ ‫ﻟﻠﻨﻈــﺎﻡ ﻲﻓ ﺍﺧﺘﻄﺎﻓﻬــﺎ‪ ..‬ﺗﺴــﺘﺪﻋﻲ‬
‫ﺻﺤﻔﻴــﺔ‪ ،‬ﻏﻴــﺮ ﺃﻧــﻪ ﻲﻓ ﺍﻟﻘﺼــﺺ‬ ‫ﺍﻟﺴــﻠﻄﺎﺕ ﻋﺎﺋﻠﺘﻬــﺎ ﺑﻌــﺪ ﺃﺳــﺎﺑﻴﻊ‬
‫ﻭﺍﳌﺴــﺮﺣﻴﺎﺕ ﻭﺍﻟﺮﻭﺍﻳــﺎﺕ ﺍﻷﺩﺑﻴــﺔ‪،‬‬ ‫ﻟﺘﺘﺴــﻠﻢ ﺟﺜﻤﺎﻧﻬــﺎ ﺍﳌﺸــﻮﻩ ﻭﺗﺪﻓﻨــﻪ‬
‫ﺑﺴﺮﻳﺔ ﺗﺎﻣﺔ‪.‬‬
‫ﺍﻟﻔﻨــﻲ‪ ،‬ﻭﻳﺮﺳــﻢ ﻟﻬــﺎ ﺣﺒﻜــﺔ ﻳﺘﺤــﺮﻙ‬
‫ﺑﻬــﺎ ﻧﺤــﻮ ﺍﻟﺘﺄﺯﻳــﻢ ﻭﺍﻟﻌﻘــﺪﺓ ﺛــﻢ‬ ‫ﺣــﺪﺙ ﻛﻞ ﺫﻟــﻚ ﻰﻠﻋ ﻭﻗــﻊ ﺣﻤﻠــﺔ‬
‫ﺍﻻﻧﻔــﺮﺍﺝ‪ ،‬ﻟﻜــﻦ ﺫﻟــﻚ ﻻ ﻳﺤــﺪﺙ ﻲﻓ‬ ‫ﺩﻭﻟﻴــﺔ ﻣﻨــﺪﺩﺓ ﺑﺒﻄــﺶ ﺍﻟﻨﻈــﺎﻡ‬
‫ﻋﺎﻟﻢ ﺍﻟﺼﺤﺎﻓﺔ‪.‬‬ ‫ﻭﻗﻤﻌــﻪ‪ ،‬ﻟﺘﻈﻬــﺮ ﺯﻳﻨــﺐ "ﺣﻴــﺔ ﺗﺴــﻌﻰ"‬
‫ﺑﻌــﺪ ﺫﻟــﻚ ﻰﻠﻋ ﻭﺳــﺎﺋﻞ ﺍﻹﻋــﻼﻡ‬
‫ﻓﻨﺤــﻦ ‪-‬ﺍﻟﺼﺤﻔﻴﻴــﻦ‪ -‬ﻻ ﻧﺨﺘــﺎﺭ ﻣﺴــﺎﺭ‬ ‫ﺍﻟﺤﻜﻮﻣﻴــﺔ‪ ،‬ﻧﺎﻓﻴــﺔ ﻗﺼــﺔ ﺍﻋﺘﻘﺎﻟﻬــﺎ ﻣــﻦ‬
‫ﻗﺼﺼﻨــﺎ ﺍﻹﺧﺒﺎﺭﻳــﺔ ﻭﻻ ﺷــﺨﻮﺻﻬﺎ‪،‬‬ ‫ﺃﺳﺎﺳﻬﺎ‪.‬‬
‫ﻰﻠﻋ ﺍﳌﺤــﺮﺭ ﺍﻟﺼﺤﻔــﻲ ﺃﻥ ﻳﺴــﺘﻌﻴﺮ‬ ‫ﻻ ﺗﻬــﺪﻑ ﻫــﺬﻩ ﺍﳌﻘﺎﻟــﺔ ﺇﻟــﻰ ﺍﻟﻮﻗــﻮﻑ‬
‫ﺍﻷﺩﻭﺍﺕ ﻣــﻦ ﻋﺎﻟــﻢ ﺍﳌﺤﻘــﻖ ﺍﻷﻣﻨــﻲ‬ ‫ﻰﻠﻋ ﻗﺼــﺔ ﺯﻳﻨــﺐ ﻭﺗﺪﺍﻋﻴﺎﺗﻬــﺎ ﻭﻣــﺎ‬
‫ﺑﺪﻻ ﻣﻦ ﻋﺎﻟﻢ ﺍﻟﻜﺘﺎﺑﺔ ﺍﻟﺼﺤﻔﻴﺔ‪.‬‬ ‫ﺁﻟﺖ ﺇﻟﻴﻪ‪ ،‬ﻓﻘﺪ ﺗﻔﺎﻗﻤﺖ ﺍﳌﺂﺳﻲ‬
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‫ﺑﺎﻟﻨﺴــﺒﺔ ﻟﻨــﺎ ﻛﺈﻋﻼﻣﻴﻴــﻦ‪ ،‬ﺛﻤــﺔ‬
‫ﻣﺴــﺘﻮﻳﺎﺕ ﺃﺧــﺮﻯ ﺃﻛﺜــﺮ ﺃﻫﻤﻴــﺔ ﺣﻴــﻦ‬
‫ُﺗﺘــﺪﺍﻭﻝ ﻣﺜــﻞ ﻫــﺬﻩ ﺍﳌــﻮﺍﺩ‪ ،‬ﺇﺫ ﻳﺘﻌﻠــﻖ‬
‫ﺍﻷﻣــﺮ ﺑﺎﻟﺼﺪﻗﻴــﺔ ﺑﺎﻟﺪﺭﺟــﺔ ﺍﻷﻭﻟــﻰ‪،‬‬
‫ﻭﺍﻟﺘﺤﻘــﻖ ﻣــﻦ ﺃﻥ ﺍﳌــﺎﺩﺓ ُﺗﺜﺒــﺖ ﻣــﺎ‬
‫ﻳﺮﺍﺩ ﻟﻬﺎ ﺃﻥ ﺗﺜﺒﺘﻪ‪.‬‬

‫ﺛﻤــﺔ ﻗﻮﺍﻋــﺪ ﻲﻓ ﻋﺎﻟــﻢ ﺍﻟﺼﺤﺎﻓــﺔ‬

‫ﺗﻨﺎﻗــﺶ ﻫــﺬﻩ ﺍﻟﺰﺍﻭﻳــﺔ ﻭﺗﻔــﺮﺽ ﻰﻠﻋ‬
‫ﺍﳌﺤــﺮﺭ ﺍﻟﺘﺜﺒــﺖ ﻣــﻦ ﻣﺎﺩﺗــﻪ‪ ،‬ﺗﻨــﺺ‬
‫ﺇﺣﺪﺍﻫــﺎ ﻰﻠﻋ ﺃﻥ "ﺍﻷﻓﻀــﻞ ﺃﻥ ﺗﻜــﻮﻥ‬
‫ﺍﻟﺜﺎﻧــﻲ ﻰﻠﻋ ﺻــﻮﺍﺏ‪ ،‬ﻣــﻦ ﺃﻥ ﺗﻜــﻮﻥ‬
‫ﺍﻷﻭﻝ ﻰﻠﻋ ﺧﻄﺄ"‪.‬‬

‫ﺍﻟﺠﺰﻳﺮﺓ ﺃﻣﺎﻡ ﻃﻮﻓﺎﻥ‬

‫ﺍﻟﺼﻮﺭﺓ‬

‫ﺍﻋﺘﻤــﺪﺕ ﺍﻟﺠﺰﻳــﺮﺓ ﻲﻓ ﻣﺮﺍﺣــﻞ ﻣﺒﻜــﺮﺓ‬

‫ﺻــﻮﺭﺓ ﺍﻹﻧﺘﺮﻧــﺖ ﺧﺎﺻــﺔ ﻓﻴﻤــﺎ ﻳﺘﻌﻠــﻖ‬
‫ﺑﺎﳌــﺎﺩﺓ ﺍﻟﻔﻴﻠﻤﻴــﺔ‪ ،‬ﻭﺗﻮﺳــﻊ ﺍﻻﻋﺘﻤــﺎﺩ‬
‫ﻋﻠﻴﻬــﺎ ﻣــﻊ ﻣــﺎ ﻋــﺮﻑ ﺑﺜــﻮﺭﺍﺕ ﺍﻟﺮﺑﻴــﻊ‬
‫ﺷــﺢ ﺍﻟﺼــﻮﺭ‬
‫ﱢ‬ ‫ﺍﻟﻌﺮﺑــﻲ‪ ،‬ﻲﻓ ﻇــﻞ‬
‫ﺍﻟﺮﺳﻤﻴﺔ ﳌﺜﻞ ﻫﺬﻩ ﺍﻟﺜﻮﺭﺍﺕ‪.‬‬

‫ﻲﻓ ﺗﻮﻧــﺲ ﺍﻟﺘــﻲ ﻗــﺎﺩﺕ ﻗﻄــﺎﺭ ﺍﻟﺜــﻮﺭﺍﺕ‬

‫ﻣﺜــﻼ‪ ،‬ﻇﻠــﺖ ﺍﻟﺼــﻮﺭﺓ ﺍﻟﺮﺳــﻤﻴﺔ ﺍﻟﻮﺣﻴــﺪﺓ‬
‫ﺍﳌﺘﺪﺍﻭﻟــﺔ ﻫــﻲ ﻟﻠﺮﺋﻴــﺲ ﺍﻟﺘﻮﻧﺴــﻲ‬
‫ﺍﳌﺨﻠــﻮﻉ ﻭﻫــﻮ ﻳﻘــﻒ ﻋﻨــﺪ ﺳــﺮﻳﺮ‬
‫ﻣﺤﻤــﺪ ﺍﻟﺒﻮﻋﺰﻳــﺰﻱ‪ ،‬ﺑﻴﻨﻤــﺎ ﻛﺎﻧــﺖ ﺍﳌــﺪﻥ‬
‫ﺍﻟﺘﻮﻧﺴﻴﺔ ﺗﺸﺘﻌﻞ ﺑﺎﻻﺣﺘﺠﺎﺟﺎﺕ‪.‬‬

‫ﻭﻣــﻊ ﺍﻟﻠﺠــﻮﺀ ﺇﻟــﻰ ﺍﺳــﺘﺨﺪﺍﻡ ﻫــﺬﻩ‬

‫ﺍﻟﺼــﻮﺭ ﻣــﻦ ﺍﻟﻔﻀــﺎﺀ ﺍﻹﻟﻜﺘﺮﻭﻧــﻲ‪ ،‬ﺳــﻌﺖ‬
‫ﺍﻟﺠﺰﻳــﺮﺓ ﺇﻟــﻰ ﺇﺭﺳــﺎﺀ ﺿﻮﺍﺑــﻂ ﻟﻠﺘﺤﻘــﻖ‬
‫ﻣــﻦ ﺍﳌــﻮﺍﺩ ﻭﻏﺮﺑﻠﺘﻬــﺎ ﺑﻤــﺎ ﻳﻀﻤــﻦ‬
‫ﺩﻗﺘﻬﺎ ﻭﺻﺪﻗﻴﺘﻬﺎ‪.‬‬

‫ﻭﺭﻏــﻢ ﺃﻥ ﺍﳌﻨ َﺘــﺞ ﺍﻹﻟﻜﺘﺮﻭﻧــﻲ ﻗــﺪ ﻭﻓــﺮ‬

‫ﻟﻨــﺎ ﺍﻟﻜﺜﻴــﺮ ﻣــﻦ ﺍﳌــﻮﺍﺩ ﺍﻹﻋﻼﻣﻴــﺔ‪،‬‬
‫ﻓﺈﻧــﻪ ﻋﺠــﺰ ﺃﺣﻴﺎﻧــﺎ ﻋــﻦ ﺍﻟﻮﻓــﺎﺀ ﺑﻤــﺎ‬
‫ﻧﺤﺘﺎﺝ ﺇﻟﻴﻪ ﻣﻦ ﺃﺩﻭﺍﺕ ﻟﻠﺘﺤﻘﻖ‪ ،‬ﻣﻤﺎ‬

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‫ﻭﺧــﻼﻝ ﺍﻷﺷــﻬﺮ ﺍﳌﺎﺿﻴــﺔ ﻧﻘــﻞ‬
‫ﻣﺼــﻮﺭﻭﻥ ﻣﺤﺘﺮﻓــﻮﻥ ﺻــﻮﺭﺍ ﻟﻘﺘﻠــﻰ‬
‫ﻭﺩﻣــﺎﺭ ﻧﺎﺟــﻢ ﻋــﻦ ﻗﺼــﻒ ﺣﻮﺛــﻲ ﳌــﺪﻥ‬
‫ﻳﻤﻨﻴــﺔ‪ ..‬ﻛﺎﻧــﺖ ﺍﻟﺼــﻮﺭ ﻣﻌﺒــﺮﺓ ﺑﻮﺿــﻮﺡ‬
‫ﻋــﻦ ﻋﻤــﻖ ﺍﻷﺯﻣــﺔ‪ ،‬ﻭﻛﺎﻧــﺖ ﻭﺍﻓــﺮﺓ ﻣــﻦ‬
‫ﺣﻴــﺚ ﺍﻟﻜﻤﻴــﺔ‪ ،‬ﻟﻜﻨﻬــﺎ ﻟــﻢ ﺗﻜــﻦ ﺻﺎﻟﺤــﺔ‬
‫ﻟﻠﺒﺚ‪.‬‬
‫ﻓﻔــﻲ ﺳــﺒﻴﻞ ﻧﻘــﻞ ﺍﻟﺤــﺪﺙ ﻭﺍﳌﻌﺎﻧــﺎﺓ‪،‬‬
‫ﻟﺠــﺄ ﺍﳌﺼــﻮﺭ ﺇﻟــﻰ ﺍﻟﺘﻘــﺎﻁ ﺻــﻮﺭ ﻗﺮﻳﺒــﺔ‬
‫ﻟﻠﺤــﺪﺙ ﺗﺨــﺪﻡ ﺭﺅﻳﺘــﻪ ﻲﻓ ﻧﻘــﻞ‬
‫ﻣﻌﺎﻧــﺎﺓ ﺍﻟﻀﺤﺎﻳــﺎ‪ ،‬ﻭﻟﻜﻨﻬــﺎ ﻻ ﺗﺘﺴــﻖ ﻣــﻊ‬
‫ﺃﺧﻼﻗﻴﺎﺕ ﺍﳌﻬﻨﺔ‪.‬‬
‫ﻫــﺬﻩ ﺍﻟﺼــﻮﺭ ﺍﻟﺘﻘﻄــﺖ ﻲﻓ ﻇــﺮﻭﻑ‬
‫ﻭﻲﻓ ﻋﺎﻟــﻢ ﺍﻟﺘﻠﻔﺰﻳــﻮﻥ ﺗﺤ ّﺘــﻢ ﻋﻠﻴﻨــﺎ‬
‫ﺍﻷﻋــﺮﺍﻑ ﺍﳌﻬﻨﻴــﺔ ﺍﳌﺤﺎﻓﻈــﺔ ﻰﻠﻋ‬
‫ﻛﺮﺍﻣــﺔ ﺍﻟﻨﻔــﺲ ﺍﻟﺒﺸــﺮﻳﺔ ﺣﻴــﺔ ﺃﻭ‬
‫ﻣﻴﺘــﺔ‪ ،‬ﺳــﻮﺍﺀ ﺑﻌﺮﺿﻬــﺎ ﺗﺤــﺖ ﺍﻹﻛــﺮﺍﻩ‬
‫ﻭﺍﻟــﺬﻝ‪ ،‬ﺃﻭ ﺑﻌــﺮﺽ ﻣﻼﻣــﺢ ﺍﻟﺠﺜــﺚ ﺍﻟﺘــﻲ‬
‫ﺗﻌﺮﺿﺖ ﻟﻠﻌﻨﻒ‪.‬‬
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‫ﻳﻮﺟــﺐ ﺍﻟﺘﺪﺧــﻞ ﺑﺎﻟﻌــﻮﺩﺓ ﺇﻟــﻰ ﺍﻟﺤــﺲ‬
‫ﺍﻟﺒﺸﺮﻱ ﻲﻓ ﺍﻟﻜﺸﻒ ﻋﻦ ﺍﻟﺤﻘﻴﻘﺔ‪.‬‬
‫ﻲﻓ ﻛﺜﻴــﺮ ﻣــﻦ ﺍﻟﺤــﺎﻻﺕ‪ ،‬ﺍﺷــﺘﺮﻁ ﻣﺤــﺮﺭ‬
‫ﺍﻟﺠﺰﻳــﺮﺓ ﺃﻥ ﺗﻜــﻮﻥ ﺍﻟﺼــﻮﺭﺓ ﻲﻓ ﻓﻀــﺎﺀﺍﺕ‬
‫ﻣﻔﺘﻮﺣــﺔ ﻛــﻲ ﺗﻮﺣــﻲ ﺑﺎﳌــﻜﺎﻥ ﺍﻟــﺬﻱ‬
‫ﺍﻟﺘﻘﻄــﺖ ﻓﻴــﻪ‪ ،‬ﻭﺗــﻢ ﺍﻟﺘﺤﻔــﻆ ﻰﻠﻋ‬
‫ﺍﻟﺼــﻮﺭ ﺍﳌﺄﺧــﻮﺫﺓ ﻲﻓ ﺃﻣﺎﻛــﻦ ﻣﻐﻠﻘــﺔ‬
‫ﻳﻠﻔﻬــﺎ ﺍﻟﻜﺜﻴــﺮ ﻣــﻦ ﺍﻟﺘﺴــﺎﺅﻝ ﺣــﻮﻝ‬
‫ﺍﳌﻜﺎﻥ ﻭﺍﻟﺰﻣﺎﻥ ﻭﺍﻟﻈﺮﻭﻑ ﺍﳌﺤﻴﻄﺔ‪.‬‬
‫ﻭﻣــﻦ ﺷــﺄﻥ ﻫــﺬﺍ ﺍﻟﻀﺎﺑــﻂ ﺃﻥ ﻳﺴــﻬﻢ‬
‫ﻲﻓ ﺍﻟﺘﺤﻘــﻖ ﻣــﻦ ﻣﻼﻣــﺢ ﺍﳌــﻜﺎﻥ‬
‫ﻭﺍﻟﺸــﺨﻮﺹ‪ ،‬ﻭﺑﺎﻟﺘﺎﻟــﻲ ﺍﻟﺤــﺪﺙ ﺍﻟــﺬﻱ‬
‫ﻧﺴــﻌﻰ ﻹﺛﺒﺎﺗــﻪ‪ .‬ﻭﻳﻨﺴــﺤﺐ ﺫﻟــﻚ ﺃﻳﻀــﺎ‬
‫ﻰﻠﻋ ﺍﻷﺻــﻮﺍﺕ ﻭﺍﻟﻠﻬﺠــﺎﺕ‪ ،‬ﺑﻤــﺎ ﻳﺆﻛــﺪ‬
‫ﺿﻤﻨــﺎ ﺃﻧﻬــﺎ ﻟﻴﺴــﺖ ﻣﻔﺘﻌﻠــﺔ ﺃﻭ ﻣﻀﺎﻓــﺔ‬
‫ﻲﻓ ﻣﺮﺣﻠــﺔ ﻻﺣﻘــﺔ ﺇﻟــﻰ ﺍﳌــﺎﺩﺓ‬
‫ﺍﻟﻔﻴﻠﻤﻴﺔ‪.‬‬
‫ﻭﻣــﻦ ﺍﳌﻬــﻢ ﻲﻓ ﻣﺘﺎﺑﻌــﺔ ﺍﻷﺻــﻮﺍﺕ‬
‫ﻭﺍﻷﺣﺎﺩﻳــﺚ ﺧــﻼﻝ ﺍﳌــﺎﺩﺓ‪ ،‬ﺍﻟﺘﺤﻘــﻖ ﻣــﻦ‬
‫ﺃﻥ ﺣﺮﻛــﺔ ﺍﻟﺸــﻔﺎﻩ ﻣﻄﺎﺑﻘــﺔ ﳌﺤﺘــﻮﻯ‬
‫ﺍﻟــﻜﻼﻡ ﺍﳌﺴــﻤﻮﻉ‪ ،‬ﺗﺠﻨﺒــﺎ ﻹﺿﺎﻓــﺎﺕ ﺃﻭ‬
‫ﺩﺑﻠﺠــﺔ ﺗﻨﺴــﺐ ﺇﻟــﻰ ﺍﳌﺘﺤــﺪﺙ ﻣــﺎ ﻟــﻢ‬
‫ﻳﻘﻠﻪ‪.‬‬
‫ﺻﻼﺣﻴﺔ ﺑﺚ ﺍﻟﺼﻮﺭﺓ‬ ‫ﻣــﻦ ﺣﺴــﻦ ﺍﻟﺤــﻆ ﺃﻥ ﻣﻮﺍﻗــﻊ ﺍﻹﻧﺘﺮﻧــﺖ‬
‫ﺍﻟﺘــﻲ ﺗﻌــﺮﺽ ﻫــﺬﻩ ﺍﳌــﻮﺍﺩ‪ ،‬ﺗﻨﺸــﺮ‬
‫ﺑﺪﻗــﺔ ﺇﻟﻜﺘﺮﻭﻧﻴــﺔ ﺍﻟﺘﻮﻗﻴــﺖ ﺍﻟــﺬﻱ‬
‫ﻓﺜﻤــﺔ ﻗﺎﻋــﺪﺓ‬‫ﻭﺭﻏــﻢ ﻛﻞ ﻣــﺎ ﺳــﺒﻖ‪ ،‬ﱠ‬ ‫ُﺗ ﱠ‬
‫ﺤﻤــﻞ ﻓﻴــﻪ ﺍﳌــﺎﺩﺓ‪ ،‬ﻣﻤــﺎ ﻳﻤﻜــﻦ ﺃﻥ‬
‫ﺟﻮﻫﺮﻳــﺔ ﻰﻠﻋ ﺻﻠــﺔ ﺑﻬــﺬﺍ ﺍﻟﻨــﻮﻉ ﻣــﻦ‬ ‫ﻳﺴــﺎﻫﻢ ﻲﻓ ﺍﻟﺘﺤﻘــﻖ ﻣــﻦ ﺃﻧﻬــﺎ‬
‫ﺍﻟﺼــﻮﺭ‪ ،‬ﻫــﻲ ﺻﻼﺣﻴﺘﻬــﺎ ﻟﻠﺒــﺚ ﻣــﻦ‬ ‫ﺣﺪﻳﺜــﺔ ﺭﺍﻓﻘــﺖ ﺍﻟﺤــﺪﺙ‪ ،‬ﺃﻭ ﻗﺪﻳﻤــﺔ‬
‫ﺣﻴــﺚ ﺟﻮﺩﺗﻬــﺎ‪ ،‬ﻓﺎﻟﻜﺜﻴــﺮ ﻣــﻦ ﻫــﺬﻩ‬ ‫ﻣﺮﺗﺒﻄﺔ ﺑﺤﺪﺙ ﺳﺎﺑﻖ‪.‬‬
‫ﺍﳌــﻮﺍﺩ ﺍﻟﺘﻘﻄﻬــﺎ ﻣﺼــﻮﺭﻭﻥ ﻳﻔﺘﻘــﺮﻭﻥ‬
‫ﺇﻟــﻰ ﺍﻻﺣﺘﺮﺍﻓﻴــﺔ ﺑﺄﺟﻬــﺰﺓ ﻟــﻢ ﺗﺨﺼــﺺ‬ ‫ﻭﻣــﻦ ﺍﻟﺒﺪﻳﻬــﻲ ﺃﻥ ﻫــﺬﺍ ﻻ ﻳﺸــﻜﻞ‬
‫ﻟﻠﺒﺚ ﺍﻟﺘﻠﻔﺰﻳﻮﻧﻲ‪.‬‬ ‫ﺩﻟﻴــﻼ ﻗﺎﻃﻌــﺎ‪ ،‬ﻓﻘــﺪ ﻳﻌــﺎﺩ ﺗﺤﻤﻴــﻞ‬
‫ﻣــﺎﺩﺓ ﻗﺪﻳﻤــﺔ ﺑﺘﺎﺭﻳــﺦ ﺟﺪﻳــﺪ‪ ،‬ﺍﻷﻣــﺮ‬
‫ﻲﻓ ﻛﺜﻴــﺮ ﻣــﻦ ﺍﻟﺤــﺎﻻﺕ‪ ،‬ﻗــﺪ ﺗﻜــﻮﻥ‬ ‫ﺍﻟــﺬﻱ ﻳﺴــﺘﻮﺟﺐ ﺩﺭﺟــﺎﺕ ﺃﻰﻠﻋ ﻣــﻦ‬
‫ﺍﻟﺘﺪﻗﻴﻖ‪.‬‬
‫ﺍﺳــﺘﺜﻨﺎﺋﻴﺔ ﻟــﻢ ﺗﺴــﻤﺢ ﻟﻬــﺎ ﺑﺎﻻﻗﺘــﺮﺍﺏ‬
‫ﻣــﻦ ﺍﻟﺤــﺪﺙ‪ ،‬ﺃﻭ ﻣﺨﺘﻠﻄــﺔ ﺑﺎﻟﻜﺜﻴــﺮ ﻣــﻦ‬ ‫ﻭﻳﺮﺗﺒــﻂ ﺑﺎﳌﺆﺷــﺮ ﺍﻟﺴــﺎﺑﻖ ﻣﺆﺷــﺮ ﻋــﺪﺩ‬
‫ﺍﻟﺤﺮﻛــﺔ ﻭﺍﻻﻫﺘــﺰﺍﺯ‪ ،‬ﺃﻭ ﺷــﺤﻴﺤﺔ ﻲﻓ‬ ‫ﺍﳌﺸــﺎﻫﺪﺍﺕ‪ ،‬ﺇﺫ ُﻳﻔﺘــﺮﺽ ﺃﻥ ﻳﺘﻨﺎﺳــﺐ‬
‫ﺍﻹﺿــﺎﺀﺓ‪ ،‬ﻣﻤــﺎ ﻳﺠﻌــﻞ ﺍﻟﻘــﺮﺍﺭ ﻲﻓ ﺑﺜﻬــﺎ‬ ‫ﻃﺮﺩﻳــﺎ ﻣــﻊ ﺗﺎﺭﻳــﺦ ﺍﻟﻨﺸــﺮ‪ ،‬ﻟﻴﺸــﻜﻞ‬
‫ﻣــﻦ ﻋﺪﻣــﻪ ﻣﻘﺘﺮﻧــﺎ ﺑﺎﻟﺤــﺪﻭﺩ ﺍﻟﺪﻧﻴــﺎ‬ ‫ﻓﺮﺻــﺔ ﻟﻠﻤﺤــﺮﺭ ﻟﻠﺘﺤﻘــﻖ ﻣــﻦ ﺗﺎﺭﻳــﺦ‬
‫ﺍﻟﺘﻲ ﺗﺴﻤﺢ ﺑﻬﺎ ﺍﻟﺸﺎﺷﺔ‪.‬‬ ‫ﺍﳌﺎﺩﺓ ﻭﺻﺪﻗﻴﺘﻬﺎ‪.‬‬
 ‫ﺍﻟﺘﻐﻄﻴﺔ ﺍﻟﺼﺤﻔﻴﺔ‬
‫ﺑﻠﺒﻨﺎﻥ‪ ..‬ﻣﻬﻨﺔ‬
‫ﺍﳌﺘﺎﻋﺐ ﺃﻡ ﺍﻷﺧﻄﺎﺀ؟‬
‫ﺣﺴﻦ ﺍﻟﺤﺎﻑ‬

‫ﻳﺸﻬﺪ ﻋﻤﻞ ﺍﳌﺮﺍﺳﻠﻴﻦ ﺍﻟﺼﺤﻔﻴﻴﻦ ﻲﻓ‬ ‫ﻫــﻲ ﻲﻓ ﻛﻞ ﺍﻟﻌﺎﻟــﻢ ﻣﻬﻨــﺔ ﺍﳌﺘﺎﻋــﺐ‪،‬‬

‫ﻏﻴــﺮ ﺃﻧﻬــﺎ ﻲﻓ ﻟﺒﻨــﺎﻥ ﻣﻬﻨــﺔ ﺍﳌﺘﺎﻋــﺐ‬
‫ﻟﺒﻨﺎﻥ ﺃﺧﻄﺎﺀ ﻣﻬﻨﻴﺔ ﻓﺎﺩﺣﺔ‪ ،‬ﺧﺼﻮﺻﴼ ﻲﻓ‬ ‫ﻭﺍﻷﺧﻄــﺎﺀ ﻰﻠﻋ ﺍﻟﺴــﻮﺍﺀ‪ ،‬ﻓﻤــﺎ ﻳﺸــﻬﺪﻩ‬
‫ﺗﻐﻄﻴﺎﺕ ﺍﻷﺣﺪﺍﺙ ﺍﻟﻜﺒﺮﻯ‪ ،‬ﻣﻤﺎ ﻳﺠﻌﻞ‬ ‫ﻋﻤــﻞ ﺍﳌﺮﺍﺳــﻠﻴﻦ ﺍﻟﺼﺤﻔﻴﻴــﻦ ﻣــﻦ‬
‫ﺃﺧﻄــﺎﺀ ﻣﻬﻨﻴــﺔ ﻓﺎﺩﺣــﺔ‪ ،‬ﺧﺼﻮﺻــﺎ ﻲﻓ‬
‫ﺍﳌﺮﺍﺳﻞ ﻭﻣﺆﺳﺴﺘﻪ ﻭﻣﻌﺎﻳﻴﺮ ﻭﺃﺧﻼﻗﻴﺎﺕ‬ ‫ﺍﻷﺣــﺪﺍﺙ ﺍﻟﻜﺒــﺮﻯ‪ ،‬ﻳﺠﻌــﻞ ﺍﳌﺮﺍﺳــﻞ‬
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‫ﻣﺤﻞ ﺍﻣﺘﺤﺎﻥ ﺩﺍﺋﻢ‪.‬‬ ‫ﺍﳌﻬﻨﺔ ﻋﻤﻮﻣﺎ‪،‬‬ ‫ﻭﻣﺆﺳﺴــﺘﻪ ﻭﻣﻌﺎﻳﻴــﺮ ﻭﺃﺧﻼﻗﻴــﺎﺕ‬
‫ﺍﳌﻬﻨــﺔ ﻋﻤﻮﻣــﺎ‪ ،‬ﻣﺤـ ّ‬
‫ـﻞ ﺍﻣﺘﺤــﺎﻥ ﺩﺍﺋــﻢ‪..‬‬
‫ﺍﻣﺘﺤﺎﻥ ﻣﻌﺮﻭﻓﺔ ﻧﺘﺎﺋﺠﻪ ﺳﻠﻔﺎ‪.‬‬
‫ﺍﳌﻨﺎﻓﺴــﺔ ﺍﻟﺸﺮﺳــﺔ ﺑﻴــﻦ ﺍﳌﺮﺍﺳــﻴﻦ‬ ‫ﺍﻟﺴــﺮﻋﺔ‪ ،‬ﻭﻣﻘﺘﻀﻴــﺎﺕ ﺍﳌﺼﻠﺤــﺔ‬
‫ﻟﻨﺸــﺮ ﺃﻭﻝ ﺧﺒــﺮ ﻳﺼــﻞ ﺇﻟﻴﻬــﻢ ﺑــﻼ‬ ‫ﺍﻟﻮﻃﻨﻴــﺔ ﺍﻟﻌﻠﻴــﺎ ﻰﻠﻋ ﻣــﺎ ﻋﺪﺍﻫــﺎ ﻣــﻦ‬ ‫ﻲﻓ ﺍﻻﻧﻔﺠــﺎﺭ ﺍﻟــﺬﻱ ﺿــﺮﺏ ﺍﻟﻀﺎﺣﻴــﺔ‬
‫ﺗﺪﻗﻴﻖ"‪.‬‬ ‫ﺍﻋﺘﺒﺎﺭﺍﺕ‪.‬‬ ‫ﺍﻟﺠﻨﻮﺑﻴﺔ ﻟﺒﻴﺮﻭﺕ ﻳﻮﻡ ‪ 12‬ﻧﻮﻓﻤﺒﺮ‪/‬ﺗﺸﺮﻳﻦ‬
‫ﺍﻟﺜﺎﻧــﻲ ‪ ،2015‬ﺍﺭﺗﻜــﺐ ﺍﳌﺮﺍﺳــﻠﻮﻥ‬
‫ﻭﻳﻔﻀــﻞ ﻭﻫﺒــﺔ "ﺍﻻﻧﺘﻈــﺎﺭ ﻗﺒــﻞ ﻧﺸــﺮ‬‫ﱢ‬ ‫ﺩﻭﺭ ﺍﳌﺮﺍﺳﻞ ﺇﻋﻼﻡ‬ ‫ﻭﻗﻨﻮﺍﺗﻬــﻢ ‪-‬ﻛﻤــﺎ ﻻﺣــﻆ ﻣﺮﺍﻗﺒــﻮﻥ ﻛﺜــﺮ‪-‬‬
‫ﻣﻌﻠﻮﻣــﺎﺕ ﻏﻴــﺮ ﻣﺆﻛــﺪﺓ‪ ،‬ﻭﺍﻟﺘﺄﻛــﺪ ﻣﻨﻬــﺎ‬ ‫ﺍﻟﻨﺎﺱ ﻻ ﺗﻌﻠﻴﻤﻬﻢ‬ ‫ﻛﻤــﴼ ﻣــﻦ ﺍﻷﺧﻄــﺎﺀ ﻳﺘﻄﻠــﺐ ﻋﻤــﺮﺍ‬ ‫ّ‬
‫ﻣــﻦ ﻣﺼﺪﺭﻳــﻦ ﺣﺘــﻰ ﻟــﻮ ﻧﺸــﺮﺗﻬﺎ‬ ‫ﻣﻬﻨﻴــﺎ ﻛﺎﻣــﻼ ﻻﺭﺗﻜﺎﺑــﻪ‪ .‬ﻓﻘــﺪ ﻧﺸــﺮﺕ‬
‫ﻣﺆﺳﺴــﺔ ﻣﻨﺎﻓﺴــﺔ‪ ،‬ﻷﻥ ﺍﳌﺼــﺎﺩﺭ‬ ‫ﻣﺨﺘﻠــﻒ ﺍﻟﻘﻨــﻮﺍﺕ ﺍﳌﺤﻠﻴــﺔ ﺻــﻮﺭﺍ ﻷﺣــﺪ‬
‫ﺍﻟﺮﺳــﻤﻴﺔ ﻗــﺪ ﺗﺨﻄــﺊ ﻲﻓ ﺍﻷﺣــﺪﺍﺙ‬ ‫ﻳﻘــﻮﻝ ﻣﺬﻳــﻊ ﻭﻣﺮﺍﺳــﻞ ﻗﻨــﺎﺓ‬ ‫ﺿﺤﺎﻳــﺎ ﺍﻻﻧﻔﺠــﺎﺭ ﺑﻮﺻﻔــﻪ "ﺍﻻﻧﺘﺤــﺎﺭﻱ‬
‫ﺍﻟﻜﺒــﺮﻯ‪ ،‬ﻛﻤــﺎ ﺟــﺮﻯ ﻲﻓ ﺍﻧﻔﺠــﺎﺭ‬ ‫"ﺃﻝ‪.‬ﺑﻲ‪.‬ﺳــﻲ‪.‬ﺁﻱ" ﻭﺍﻷﺳــﺘﺎﺫ ﺍﻟﺠﺎﻣﻌــﻲ‬ ‫ﺍﻟﺜﺎﻟــﺚ"‪ ،‬ﻟﻴﺘﺒﻴــﻦ ﻻﺣﻘــﺎ ﺃﻥ ﻻ ﻭﺟــﻮﺩ‬
‫ﺍﻟﻀﺎﺣﻴــﺔ‪ ،‬ﺣﻴــﺚ ﺗﺤﺪﺛــﺖ ﻣﺼــﺎﺩﺭ‬ ‫ﻳﺰﺑــﻚ ﻭﻫﺒــﺔ "ﺇﻥ ﺩﻭﺭ ﺍﳌﺮﺍﺳــﻞ‬ ‫ﻻﻧﺘﺤﺎﺭﻱ ﺛﺎﻟﺚ‪.‬‬
‫ﺭﺳــﻤﻴﺔ ﻋــﻦ ﻭﺟــﻮﺩ ﺍﻧﺘﺤــﺎﺭﻱ ﺛﺎﻟــﺚ‪،‬‬ ‫ﺍﻟﺼﺤﻔــﻲ ﺍﻹﻋــﻼﻡ‪ ،‬ﺃﻱ ﺇﻋــﻼﻡ ﺍﻟﻨــﺎﺱ‬
‫ﻓﺘــﻢ ﺗﺒﻨــﻲ ﻫــﺬﻩ ﺍﳌﻌﻠﻮﻣــﺔ ﻣــﻦ ﻗﺒــﻞ‬ ‫ﺑﻤﺸﺎﻫﺪﺍﺗﻪ‪ ،‬ﻻ ﺗﻌﻠﻴﻤﻬﻢ"‪.‬‬ ‫ﻛﻤــﺎ ﺗــﻢ ﺗــﺪﺍﻭﻝ ﻓﻴﺪﻳــﻮ ﻰﻠﻋ ﻣﻮﺍﻗــﻊ‬
‫ﻏﺎﻟﺒﻴــﺔ ﻭﺳــﺎﺋﻞ ﺍﻹﻋــﻼﻡ ﺩﻭﻥ ﺃﻥ ﻳﻘــﺎﻝ‬ ‫ﺍﻟﺘﻮﺍﺻــﻞ ﺍﻻﺟﺘﻤﺎﻋــﻲ ﳌﻮﺍﻃﻨﻴــﻦ‬
‫ﺇﻧﻬﺎ ﻏﻴﺮ ﻣﺆﻛﺪﺓ"‪.‬‬ ‫ﻭﻳﻀﻴــﻒ ﻭﻫﺒــﺔ ﳌﺠﻠــﺔ ﺍﻟﺼﺤﺎﻓــﺔ ﺃﻧــﻪ‬ ‫ﻳﻌﺘــﺪﻭﻥ ﺑﺎﻟﻀــﺮﺏ ﻰﻠﻋ ﺃﺣــﺪ ﺍﻟﺸــﺒﺎﻥ‪،‬‬
‫ﻲﻓ ﺍﻷﺣــﺪﺍﺙ ﺍﻟﻜﺒــﺮﻯ ‪-‬ﻛﺎﻻﻧﻔﺠــﺎﺭ ﺍﻟــﺬﻱ‬ ‫ﻓﺘﺒﻨﺘــﻪ ﻭﺳــﺎﺋﻞ ﺍﻹﻋــﻼﻡ ﻣﺒﺎﺷــﺮﺓ ﻭﺩﻭﻥ‬
‫ﻰﻠﻋ ﺃﻥ ﻣﻌﻴــﺎﺭ ﺍﻟﺪﻗــﺔ ﻲﻓ ﻧﻘــﻞ‬ ‫ﻭﻗــﻊ ﻲﻓ ﺍﻟﻀﺎﺣﻴــﺔ ﺍﻟﺠﻨﻮﺑﻴــﺔ ﻟﺒﻴــﺮﻭﺕ‬ ‫ﺗﺪﻗﻴــﻖ ‪ ،‬ﻭﺟــﺮﻯ ﺗﻘﺪﻳﻤــﻪ ﻰﻠﻋ ﺃﺳــﺎﺱ‬
‫ﺍﳌﻌﻠﻮﻣــﺔ ﻻ ﻳﻠﻘــﻰ ﺻــﺪﻯ ﻟــﺪﻯ ﺇﺩﺍﺭﺓ‬ ‫ﻳــﻮﻡ ‪ 12‬ﻧﻮﻓﻤﺒﺮ‪/‬ﺗﺸــﺮﻳﻦ ﺍﻟﺜﺎﻧــﻲ ‪2015-‬‬ ‫ﺃﻧــﻪ ﻟﺤﻈــﺔ ﺇﻟﻘــﺎﺀ ﺍﻟﻘﺒــﺾ ﻰﻠﻋ‬
‫ﺑﻌــﺾ ﺍﳌﺆﺳﺴــﺎﺕ ‪-‬ﻭﻓــﻖ ﻭﻫﺒــﺔ‪-‬‬ ‫ﻣﻬﻤــﺔ ﺍﻟﺼﺤﻔــﻲ ﺃﺻﻌــﺐ ﻣــﻦ‬ ‫ّ‬ ‫ﺗﺼﺒــﺢ‬ ‫"ﺍﻻﻧﺘﺤــﺎﺭﻱ ﺍﻟﺮﺍﺑــﻊ"‪ ،‬ﻭﺑﻘﻴــﺔ ﺍﻟﻘﺼــﺔ‬
‫ﺍﻟﺘــﻲ ﺗﻀﻐــﻂ ﻰﻠﻋ ﻣﺮﺍﺳــﻠﻴﻬﺎ ﻟﺘﺒﻨــﻲ‬ ‫ﺍﻷﻭﻗــﺎﺕ ﺍﻟﻌﺎﺩﻳــﺔ‪ ،‬ﺇﺫ "ﺗﺘﻄﻠــﺐ ﺗﻐﻄﻴــﺔ‬ ‫ﻣﻌﺮﻭﻓﺔ!‬
‫ﻣﻌﻠﻮﻣــﺎﺕ ﺗﺒﻨﺘﻬــﺎ ﻗﻨــﺎﺓ ﻣﻨﺎﻓﺴــﺔ‪،‬‬ ‫ﻣــﻦ ﻫــﺬﺍ ﺍﻟﻨــﻮﻉ ﺩﻗــﺔ ﺍﺳــﺘﺜﻨﺎﺋﻴﺔ‪،‬‬
‫ﺧﺼﻮﺻــﺎ ﺃﺛﻨــﺎﺀ ﺍﻟﻨﻘــﻞ ﺍﳌﺒﺎﺷــﺮ‪ .‬ﻓﻬــﺬﺍ‬ ‫ﻭﺍﻟﺘﺄﻛــﺪ ﻣــﻦ ﻣﺼــﺎﺩﺭ ﺍﳌﻌﻠﻮﻣــﺎﺕ‬ ‫ﻫــﺬﺍ ﻏﻴــﺾ ﻣــﻦ ﻓﻴــﺾ ﻣــﺎ ﺗﻘﺘﺮﻓــﻪ‬
‫"ﺍﻟﻨﻘــﻞ ﺍﳌﺒﺎﺷــﺮ ﺍﻟــﺬﻱ ﻳﺴــﺘﻤﺮ‬ ‫ﺍﻟﻜﺜﻴــﺮﺓ ﻣــﻦ ﺃﻛﺜــﺮ ﻣــﻦ ﻣﺮﺟــﻊ‪ ،‬ﺍﻷﻣــﺮ‬ ‫ﻭﺳــﺎﺋﻞ ﺍﻹﻋــﻼﻡ ﺍﳌﺤﻠﻴــﺔ ﻭﻣﺮﺍﺳــﻠﻮﻫﺎ‬
‫ﻟﺴــﺎﻋﺎﺕ‪ ،‬ﻳﻤﻨــﻊ ﺍﳌﺮﺍﺳــﻞ ‪-‬ﺍﻟــﺬﻱ ﻳﻜــﻮﻥ‬ ‫ﺍﻟــﺬﻱ ﻳــﺆﺩﻱ ﺇﻟــﻰ ﻭﻗــﻮﻉ ﺍﻟﺼﺤﻔــﻲ ﻲﻓ‬ ‫ﺃﺛﻨــﺎﺀ ﺍﻟﺘﻐﻄﻴــﺎﺕ ﺍﻟﺘــﻲ ﺗﻘﺘﻀــﻲ ﺃﺩﺍﺀ‬
‫ﻲﻓ ﻣﻮﻗﻊ ﺍﻟﺤﺪﺙ ﺑﻤﻔﺮﺩﻩ ﻭﺑﻼ‬ ‫ﻋﺪﻡ ﺍﻟﺪﻗﺔ ﺍﻟﺬﻱ ﺗﺰﻳﺪ ﻣﻨﻪ‬ ‫ﺍﺣﺘﺮﺍﻓﻴﺎ ﻋﺎﻟﻴﺎ ﻳﻐ ّﻠﺐ ﺍﻟﺪﻗﺔ ﻰﻠﻋ‬

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‫ﺗﺠﺎﻭﺯ ﺍﳌﻌﺎﻳﻴﺮ ﺍﳌﻬﻨﻴﺔ‬
‫ﻫﻮ ﺍﻟﻘﺎﻋﺪﺓ ﻻ ﺍﻻﺳﺘﺜﻨﺎﺀ‬
‫ﻲﻓ ﺃﺧﻄــﺎﺀ‪ ،‬ﺇﻟــﻰ ﺟﺎﻧــﺐ ﺑﻌﺜﻬــﺎ‬
‫ﻳﻌﺘــﺮﻑ ﻣﺮﺍﺳــﻞ ﻗﻨــﺎﺓ "ﺍﻟﺠﺪﻳــﺪ" ﺁﺩﻡ‬
‫ـﺮﺩﺩ ﺑــﺄﻥ ﺍﻟﺘﻐﻄﻴــﺔ‬
‫ﺷــﻤﺲ ﺍﻟﺪﻳــﻦ ﺑــﻼ ﺗـ ّ‬
‫ﺍﻟﺼﺤﻔﻴــﺔ ﻲﻓ ﻟﺒﻨــﺎﻥ ﺗﺸــﻮﺑﻬﺎ ﻋﻴــﻮﺏ‬
‫ﻣﺮﺩﻫــﺎ ﺇﻟــﻰ ﺃﺳــﺒﺎﺏ‬
‫ﻏﻴــﺮ ﺍﻋﺘﻴﺎﺩﻳــﺔ‪ ،‬ﱡ‬
‫ﺫﺍﺗﻴــﺔ ﺗﺘﺼــﻞ ﺑﺎﳌﺮﺍﺳــﻞ ﻧﻔﺴــﻪ‪،‬‬
‫ﺗﺘﻌﻠــﻖ‬ ‫ﻣﻮﺿﻮﻋﻴــﺔ‬ ‫ﻭﺃﺧــﺮﻯ‬
‫ﺑﺎﻟﺘﻨﻈﻴﻤــﺎﺕ ﺍﻟﺘــﻲ ﺗﺮﻋــﻰ ﻋﻤــﻞ‬
‫ﻭﺳﺎﺋﻞ ﺍﻹﻋﻼﻡ‪.‬‬
‫ـﺎﻝ ﺩﻭﺭ‬
‫ﻭﻳﺸــﻴﺮ ﺇﻟــﻰ ﺃﻧــﻪ ﺃﺛﻨــﺎﺀ ﺗﻐﻄﻴــﺔ‬
‫ﺍﻷﺣــﺪﺍﺙ ﺍﻟﻜﺒــﺮﻯ‪ ،‬ﻛﺎﻻﻧﻔﺠــﺎﺭ ﺍﻟــﺬﻱ ﻭﻗــﻊ‬
‫ﻲﻓ ﺍﻟﻀﺎﺣﻴــﺔ ﺍﻟﺠﻨﻮﺑﻴــﺔ ﻟﺒﻴــﺮﻭﺕ‪ ،‬ﻳﺮﻛــﺰ‬
‫ﻰﻠﻋ ﻧﻘــﻞ ﻣﺸــﺎﻫﺪﺍﺗﻪ ﻋــﻦ ﺁﺛــﺎﺭ‬
‫ﺍﻻﻧﻔﺠــﺎﺭ ﻭﻃﺒﻴﻌﺘــﻪ ﻭﻣﻮﻗﻌــﻪ‪ ،‬ﻭﻋــﻦ‬
‫ﺣﺠــﻢ ﺍﻟﻀﺤﺎﻳــﺎ ﻭﺍﻟﺠﺮﺣــﻰ‪ ،‬ﻻﻓﺘــﴼ ﺇﻟــﻰ‬
‫ﺃﻧــﻪ ﻳﺴــﻤﺢ ﺑﻨﻘــﻞ ﺻــﻮﺭ ﺍﻟﺠﺮﺣــﻰ‪،‬‬
‫ﻟﻜﻨﻪ ﻳﺮﻓﺾ ﻋﺮﺽ ﺻﻮﺭ ﺍﻟﺠﺜﺚ‪.‬‬
‫ﺻــﻮﺭ ﺍﻟﺠﺜــﺚ ﻭﺍﻟﺠﺮﺣــﻰ ﺃﺛﻨــﺎﺀ‬
‫ﻭﻳﺆﻛــﺪ ﺷــﻤﺲ ﺍﻟﺪﻳــﻦ ﻣــﺎ ﻟﻔــﺖ ﺇﻟﻴــﻪ‬
‫ﻭﻫﺒــﺔ ﺃﻋــﻼﻩ‪ ،‬ﺣــﻮﻝ "ﺿــﺮﻭﺭﺓ ﻋــﺪﻡ‬
‫ﺗﺄﻛﻴــﺪ ﻣﻌﻠﻮﻣــﺎﺕ ﻲﻓ ﺍﻟﻠﺤﻈــﺎﺕ ﺍﻷﻭﻟــﻰ‬
‫ﻟﺤﺼﻮﻝ ﺍﻧﻔﺠﺎﺭ‪ ،‬ﺣﻴﺚ ﺗﻘﻊ ﺍﳌﺼﺎﺩﺭ‬
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‫ﻣﻌﺎﻭﻧــﺔ ﻣــﻦ ﻣﻨ ِﺘــﺞ )‪ -(producer‬ﻣــﻦ‬
‫ﺍﻟﺒﺤــﺚ ﻋــﻦ ﺍﳌﻌﻠﻮﻣــﺔ‪ ،‬ﻓﻴﺘــﻮﺭﻁ ﻰﻠﻋ‬
‫ﺍﻟﻬﻮﺍﺀ ﻲﻓ ﻧﻘﻞ ﻣﻌﻠﻮﻣﺎﺕ ﻣﻐﻠﻮﻃﺔ"‪.‬‬
‫ﻭﻳــﺮﻯ ﺃﻥ ﺍﻟﺨﻄــﻮﺭﺓ ﻛﺎﻣﻨــﺔ ﻲﻓ‬
‫ﺍﻟﺘﻨﺎﻓــﺲ ﺍﻟﺤــﺎﺩ ﺑﻴــﻦ ﻣﺮﺍﺳــﻠﻴﻦ ﻻ‬
‫ﻳﻔ ّﺮﻗــﻮﻥ ﺑﻴــﻦ ﺍﻟﺴــﺮﻋﺔ ﻭﺍﻟﺘﺴــ ّﺮﻉ‪،‬‬
‫ﻭﻳﻨﻘﻠــﻮﻥ ﺃﻭﻝ ﻣﻌﻠﻮﻣــﺔ ﺗﺼﻠﻬــﻢ ﺑــﻼ‬
‫ﺣﺴﺎﺏ ﻟﻠﺪﻗﺔ ﺇﻃﻼﻗﺎ‪.‬‬
‫ﻳﻘــﺎﺭﻥ ﻭﻫﺒــﺔ ﺑﻴــﻦ ﺍﻟﺘﻐﻄﻴــﺔ ﺍﻟﺼﺤﻔﻴــﺔ‬
‫ﺃﺛﻨــﺎﺀ ﻫﺠﻤــﺎﺕ ﺑﺎﺭﻳــﺲ ﻭﺍﻟﺘﻐﻄﻴــﺔ‬
‫ﺍﻟﺼﺤﻔﻴــﺔ ﻲﻓ ﻟﺒﻨــﺎﻥ‪ ،‬ﻟﻴﺨﻠــﺺ ﺇﻟــﻰ ﺃﻥ‬
‫ﺍﳌﻌﺎﻳﻴــﺮ ﺍﳌﻬﻨﻴــﺔ ﺍﻟﻌﺎﻟﻴــﺔ ﺍﻟﺘــﻲ‬
‫ﺣﻜﻤــﺖ ﻋﻤــﻞ ﻭﺳــﺎﺋﻞ ﺍﻹﻋــﻼﻡ‬
‫ﺍﻟﻔﺮﻧﺴــﻴﺔ ﻭﺍﻟﻌﺎﳌﻴــﺔ‪ ،‬ﻟﻴــﺲ ﻣﺮﺩﻫــﺎ‬
‫ﺇﻟــﻰ ﺍﻟﻀﻮﺍﺑــﻂ ﺍﳌﻬﻨﻴــﺔ ﺍﻟﺬﺍﺗﻴــﺔ‬
‫ﻭﺍﻟﺘﻨﻈﻴﻤﻴــﺔ ﺍﻟﺨﺎﺭﺟﻴــﺔ ﻓﺤﺴــﺐ‪ ،‬ﻭﺇﻧﻤــﺎ‬
‫ﻲﻓ ﺍﻟﻨﻘــﻞ ﺍﳌﺒﺎﺷــﺮ ﻟﺴــﺎﻋﺎﺕ ﺃﺛﻨــﺎﺀ‬
‫ﺇﻟــﻰ ﺍﻟﺜﻘﺎﻓــﺔ ﺍﻟﻌﺎﻟﻴــﺔ ﺍﻟﺘــﻲ ﺗﻤ ﱢﻴــﺰ‬
‫ﺍﻟﻔﺮﻧﺴــﻴﻴﻦ ﺃﻳﻀــﺎ‪ ،‬ﺣﻴــﺚ ﻟــﻢ ﻳﻘــﻢ ﺃﺣــﺪ‬
‫ﺃﺣــﺪﺍﺙ ﺧﻄﻴــﺮﺓ‪ ،‬ﻣﻤــﺎ ﻳﻮﻗــﻊ ﺍﳌﺮﺍﺳــﻠﻴﻦ‬
‫ﺑﻨﻘــﻞ ﺍﻟﺠﺮﺣــﻰ ﻭﺍﻟﺠﺜــﺚ ﺇﻟــﻰ‬
‫ﺍﳌﺴﺘﺸــﻔﻴﺎﺕ ﻗﺒــﻞ ﻭﺻــﻮﻝ ﺳــﻴﺎﺭﺍﺕ‬
‫ﺍﳌﺮﺍﺳــﻞ ﺑﻤﻔــﺮﺩﻩ ﺇﻟــﻰ ﻣــﻜﺎﻥ ﺍﻟﺤــﺪﺙ‬
‫ﺍﻹﺳــﻌﺎﻑ‪ ،‬ﻛﻤــﺎ ﺃﻥ ﺍﳌﺮﺍﺳــﻠﻴﻦ ﻳﺒﻘــﻮﻥ‬
‫ﻣﻤــﺎ ﻳﻌﻴــﻖ ﺃﺩﺍﺀﻩ ﻣﻬﻤﺘــﻪ ﻰﻠﻋ ﺃﻛﻤــﻞ‬
‫ﺑﻌﻴﺪﻳــﻦ ﻋــﻦ ﻣﺴــﺮﺡ ﺍﻟﺤــﺪﺙ ﺣﺘــﻰ ﻻ‬
‫ﻭﺟﻪ‪.‬‬
‫ﻳﻌﺒﺜﻮﺍ ﺑﺎﻷﺩﻟﺔ‪.‬‬
‫ﻭﺑﺎﻟﻨﺴــﺒﺔ ﻟﻠﺮﻗﺎﺑــﺔ ﺍﻟﻘﺎﻧﻮﻧﻴــﺔ‪ ،‬ﻳﻘــﻮﻝ‬
‫ﻭﻫﺒــﺔ ﺇﻧــﻪ ﻰﻠﻋ ﺍﻟﺮﻏــﻢ ﻣــﻦ ﺃﻥ‬
‫ﻭﻳﻠﻔــﺖ ﺇﻟــﻰ ﺃﻥ ﺍﳌﺮﺍﺳــﻞ ﺍﳌﺤﺘــﺮﻑ‬
‫ﺍﻟﻘﻮﺍﻧﻴــﻦ ﺍﻟﻠﺒﻨﺎﻧﻴــﺔ ﻣﺄﺧــﻮﺫﺓ ﺑﻤﺠﻤﻠﻬــﺎ‬
‫ﻳﺒﻘــﻰ ﻣــﻦ ﺗﻠﻘﺎﺋــﻪ ﺑﻌﻴــﺪﺍ ﻋــﻦ ﻣﺴــﺮﺡ‬
‫ﻋــﻦ ﺍﻟﻘﻮﺍﻧﻴــﻦ ﺍﻟﻔﺮﻧﺴــﻴﺔ ﺃﺛﻨــﺎﺀ‬
‫ﺍﻟﺠﺮﻳﻤــﺔ‪ ،‬ﻭﻻ ﻳﺼــﻮﺭ ﺻــﻮﺭ ﺍﻟﺠﺮﺣــﻰ‬
‫ﺍﻻﻧﺘــﺪﺍﺏ‪ ،‬ﻓــﺈﻥ ﺩﻭﺭ ﺍﳌﺠﻠــﺲ ﺍﻟﻮﻃﻨــﻲ‬
‫ﻭﺍﻟﻘﺘﻠــﻰ ﻰﻠﻋ ﺍﻟﻬــﻮﺍﺀ ﻣﺒﺎﺷــﺮﺓ ﺣﺘــﻰ‬
‫ﻟﻺﻋــﻼﻡ ﻲﻓ ﻟﺒﻨــﺎﻥ ﻻ ﻳﺸــﺒﻪ ﺑﺤـ ٍ‬ ‫ﻟﻮ ﺃﺗﻴﺢ ﻟﻪ ﺫﻟﻚ‪.‬‬
‫ﺍﳌﺠﻠــﺲ ﺍﻟﻔﺮﻧﺴــﻲ‪" ،‬ﻓﻔــﻲ ﻟﺒﻨــﺎﻥ‬
‫ُﻳﻨﺘﺨــﺐ ﺃﻋﻀــﺎﺀ ﺍﳌﺠﻠــﺲ ﻰﻠﻋ ﺃﺳــﺎﺱ‬
‫ﻭﻳــﺮﻯ ﻭﻫﺒــﺔ ﺃﻥ ﺃﻫــﻢ ﺳــﻤﺎﺕ ﺍﳌﺮﺍﺳــﻞ‬
‫ﻣﺬﻫﺒــﻲ ﺳﻴﺎﺳــﻲ‪ ،‬ﻭﺩﻭﺭﻩ ﺍﺳﺘﺸــﺎﺭﻱ‬
‫ﺍﳌﺤﺘــﺮﻑ ﺍﻟﺘﻤﺘــﻊ ﺑﺎﻟﺪﻗــﺔ ﻭﺍﳌﺼﺪﺍﻗﻴــﺔ‬
‫ﻭﻟﻴــﺲ ﻣﻠﺰﻣــﺎ‪ ،‬ﺑﻴﻨﻤــﺎ ﻳﺠــﺐ ﺃﻥ ﻳﻜــﻮﻥ‬
‫ﻭﻋــﺪﻡ ﺍﻟﺘﺴــﺮﻉ‪ ،‬ﻣﺸــﻴﺮﺍ ﺇﻟــﻰ ﺃﻥ ﻰﻠﻋ‬
‫ﺣﺎﺳــﻤﺎ ﻭﻗــﺎﺩﺭﺍ ﻰﻠﻋ ﻭﺿــﻊ ﺍﻟﻀﻮﺍﺑــﻂ‬
‫ﺍﳌﺆﺳﺴــﺎﺕ ﺍﻹﻋﻼﻣﻴــﺔ ﺃﻻ ﺗﺮﺳــﻞ‬
‫ﺍﻟﺘﻨﻈﻴﻤﻴــﺔ ﻟﻠﻘﻄــﺎﻉ ﻭﺗﻄﺒﻴﻘﻬــﺎ ﻰﻠﻋ‬
‫ﺻﺤﻔﻴﻴــﻦ ﻣﺒﺘﺪﺋﻴــﻦ ﻟﺘﻐﻄﻴــﺔ ﺍﻷﺣــﺪﺍﺙ‬
‫ﻭﺳــﺎﺋﻞ ﺍﻹﻋــﻼﻡ ﻛﺎﻓــﺔ‪ .‬ﻭﻣــﻦ ﺗﻠــﻚ‬
‫ﺍﻟﻜﺒــﺮﻯ ﻛﺎﻟﺘﻔﺠﻴــﺮﺍﺕ‪ ،‬ﻭﺇﻧﻤــﺎ ﺗﺮﺳــﻞ‬
‫ﺍﻟﻀﻮﺍﺑــﻂ ‪-‬ﺗﻤﺜﻴــﻼ ﻻ ﺣﺼــﺮﺍ‪ -‬ﻣﻨــﻊ ﻧﺸــﺮ‬
‫ﺻﺤﻔﻴﻴــﻦ ﻟﺪﻳﻬــﻢ ﺧﺒــﺮﺓ ﻻ ﺗﻘــﻞ ﻋــﻦ‬
‫ﺧﻤــﺲ ﺳــﻨﻮﺍﺕ ﻟﺘﻐﻄﻴــﺔ ﺍﻟﻜــﻮﺍﺭﺙ‬
‫ﻣﻘﺪﻣــﺎﺕ‬
‫ﺍﻟﺘﻔﺠﻴــﺮﺍﺕ‪ ،‬ﻓﻀــﻼ ﻋــﻦ ﺇﻟﻐــﺎﺀ ّ‬
‫ﻭﺍﻻﻧﻔﺠﺎﺭﺍﺕ‪.‬‬
‫ﻧﺸــﺮﺍﺕ ﺍﻷﺧﺒــﺎﺭ ﺍﻟﺘــﻲ ﻻ ﺗﻠ ّﺒــﻲ ﻭﻇﻴﻔــﺔ‬
‫ﻭﻳﺤﻤــﻞ ﻭﻫﺒــﺔ ﺇﺩﺍﺭﺍﺕ ﺍﳌﺆﺳﺴــﺎﺕ‬ ‫ﱢ‬
‫ﺇﻋﻼﻣﻴــﺔ‪ ،‬ﺑﻘــﺪﺭ ﻣــﺎ ﺗﺴــﻬﻢ ﻲﻓ‬
‫ﺍﻟﺘﻠﻔﺰﻳﻮﻧﻴــﺔ ﺍﳌﺴــﺆﻭﻟﻴﺔ ﻋــﻦ ﺍﻷﺧﻄــﺎﺀ‬
‫ﺍﻟﺸﺤﻦ ﺍﳌﺬﻫﺒﻲ"‪.‬‬
‫ﺍﳌﺮﺗﻜﺒﺔ ﺃﻳﻀﺎ‪ ،‬ﻣﺸﻴﺮﺍ ﺇﻟﻰ ﺩﻭﺭﻫﺎ‬
‫ﻭﻳــﺮﻯ ﺷــﻤﺲ ﺍﻟﺪﻳــﻦ ﺃﻥ ﺗﺠــﺎﻭﺯ‬ ‫ﻏــﺮﻑ ﺍﻷﺧﺒــﺎﺭ ﻭﺍﻷﺳــﺘﺪﻳﻮ ﺃﺛﻨــﺎﺀ ﺍﻟﻨﻘــﻞ‬ ‫ﺍﻟﺮﺳــﻤﻴﺔ ﻲﻓ ﺃﺧﻄــﺎﺀ ﻋﺪﻳــﺪﺓ‪ ،‬ﻣﺜــﻞ‬
‫ﺍﳌﻌﺎﻳﻴــﺮ ﺍﳌﻬﻨﻴــﺔ ﻻ ﻳﻘﺘﺼــﺮ ﻰﻠﻋ‬ ‫ﺍﳌﺒﺎﺷــﺮ‪ ،‬ﻣﺸــﻴﺮﺍ ﺇﻟــﻰ ﺃﻥ ﻫــﺬﺍ ﺍﻷﻣــﺮ‬ ‫ﺍﻟﻘــﻮﻝ ﺃﺛﻨــﺎﺀ ﺍﻧﻔﺠــﺎﺭ ﺍﻟﻀﺎﺣﻴــﺔ‬
‫ﺍﻟﻠﺤﻈــﺎﺕ ﺍﻷﻭﻟــﻰ ﻟﻠﺤــﺪﺙ‪ ،‬ﻭﻻ ﻰﻠﻋ‬ ‫ﻳﻮﻗــﻊ ﺍﳌﺮﺍﺳــﻞ ﻲﻓ ﺍﺭﺗﺒــﺎﻙ ﻛﺒﻴــﺮ‬ ‫ﺍﻟﺠﻨﻮﺑﻴــﺔ ﺑﻮﺟــﻮﺩ ﺍﻧﺘﺤــﺎﺭﻱ ﺛﺎﻟــﺚ‪،‬‬
‫ﺍﻟﻴــﻮﻡ ﺍﻷﻭﻝ ﻭﺣﺴــﺐ‪ ،‬ﻓﻔــﻲ ﺍﻷﻳــﺎﻡ‬ ‫ﺑﻔﻌــﻞ ﺍﻟﺘﻨﺎﻗــﺾ ﺑﻴــﻦ ﻣــﺎ ﻳــﺮﺍﻩ ﻭﺑﻴــﻦ‬ ‫ﻭﺃﻳﻀــﺎ ﻣﺜــﻞ ﺑــﺚ ﻫﻮﻳــﺎﺕ ﺍﻻﻧﺘﺤﺎﺭﻳﻴــﻦ‬
‫ﺍﻟﺘﺎﻟﻴــﺔ ﻟــﻪ ﺗﺮﺗﻜــﺐ ﺍﻟﻘﻨــﻮﺍﺕ‬ ‫ﻣﻌﻠﻮﻣــﺎﺕ ﻣﺬﻳــﻊ ﺍﻟﻘﻨــﺎﺓ ﻲﻓ ﺍﻷﺳــﺘﺪﻳﻮ‪.‬‬ ‫ﻭﻋﺪﺩﻫــﻢ ﻰﻠﻋ ﺍﻟﻬــﻮﺍﺀ ﻣﺒﺎﺷــﺮﺓ‪،‬‬
‫ﻭﺍﳌﺮﺍﺳــﻠﻮﻥ ﺍﻟﺘﺎﺑﻌــﻮﻥ ﻟﻬــﺎ ﺃﺧﻄــﺎﺀ‬ ‫ﻭﻳﻀــﺮﺏ ﻣﺜــﺎﻻ ﻰﻠﻋ ﺫﻟــﻚ ﺑﺎﻟﻔﻴﺪﻳــﻮ‬ ‫ﻟﻴﺘﺒﻴــﻦ ﻻﺣﻘــﺎ ﺃﻥ ﻛﻞ ﻫــﺬﻩ ﺍﳌﻌﻠﻮﻣــﺎﺕ‬
‫ﻏﻴــﺮ ﻣﺒــ ّﺮﺭﺓ ﺗﺤــﺖ ﺿﻐــﻮﻁ ﻭﺣــﺶ‬ ‫ﺍﻟــﺬﻱ ﻧﻘﻠﺘــﻪ ﻣﺨﺘﻠــﻒ ﻭﺳــﺎﺋﻞ ﺍﻹﻋــﻼﻡ‬ ‫ﻣﻐﻠﻮﻃــﺔ ﻭﻏﻴــﺮ ﺻﺤﻴﺤــﺔ‪ ،‬ﺑﺮﻏــﻢ ﺃﻥ‬
‫ﺍﻟﺘﺼﻨﻴــﻒ )‪ (rating‬ﻭﺯﻳــﺎﺩﺓ ﻋــﺪﺩ‬ ‫ﺣــﻮﻝ ﺍﻻﻧﺘﺤــﺎﺭﻱ ﺍﻟﺜﺎﻟــﺚ ﻲﻓ ﺍﻧﻔﺠــﺎﺭ‬ ‫ﺑﻌﻀﻬــﺎ ﻗﻴــﻞ ﻰﻠﻋ ﻟﺴــﺎﻥ ﻭﺯﺭﺍﺀ‬
‫ﺍﳌﺸﺎﻫﺪﻳﻦ‪.‬‬ ‫ﺍﻟﻀﺎﺣﻴــﺔ‪ ،‬ﺣﻴــﺚ ﺷــﺎﻫﺪ ﺑــﺄﻡ ﻋﻴﻨــﻪ‬ ‫ﻭﺑﻌﻀﻬــﺎ ﺍﻵﺧــﺮ ﻲﻓ ﺑﻴــﺎﻥ ﻗﻴــﺎﺩﺓ‬
‫ﻛﻴــﻒ ﺃﻥ ﺃﺣــﺪ ﺃﺑﻨــﺎﺀ ﺍﳌﻨﻄﻘــﺔ ﻛﺎﻥ‬ ‫ﺍﻟﺠﻴﺶ"‪.‬‬
‫ﻭﻳﻌــﺰﻭ ﺷــﻤﺲ ﺍﻟﺪﻳــﻦ ﺍﻻﺭﺗﻔــﺎﻉ ﻲﻓ‬ ‫ﻳﺪﺍﻓــﻊ ﻋﻨــﻪ ﻷﻧــﻪ ﻳﻌــﺮﻑ ﻫﻮﻳﺘــﻪ‬
‫ﻣﺴــﺘﻮﻯ ﺍﻷﺧﻄــﺎﺀ ﺇﻟــﻰ ﺳــﺒﺒﻴﻦ‪ ،‬ﺃﻭﻟﻬﻤــﺎ‬ ‫ﻭﻳﻌــﺮﻑ ﺃﻧــﻪ ﻣــﻦ ﺍﻟﺴــﻜﺎﻥ‪ ،‬ﻲﻓ ﺣﻴــﻦ‬ ‫ﻭﻳﺸــﺮﺡ ﺃﻥ ﺍﳌﺮﺍﺳــﻞ ﻳﻌﺠــﺰ ﺃﺣﻴﺎﻧــﺎ‬
‫ﺿﻌــﻒ ﺍﻟﻀﻮﺍﺑــﻂ ﺍﳌﻬﻨﻴــﺔ ﻭﺍﻷﺧﻼﻗﻴــﺔ‬ ‫ﻛﺎﻧــﺖ ﺍﳌﺼــﺎﺩﺭ ﺍﻷﻣﻨﻴــﺔ ﺗﺆﻛــﺪ ﺃﻧــﻪ‬ ‫ﻛﺜﻴــﺮﺓ ﻋــﻦ ﺍﻟﺘﺄﻛــﺪ ﻣــﻦ ﻣﺼــﺪﺭ‬
‫ﺍﻟﺬﺍﺗﻴــﺔ‪ ،‬ﻭﺍﻟﺜﺎﻧــﻲ ﻏﻴــﺎﺏ ﺩﻭﺭ ﺍﻟﺪﻭﻟــﺔ‪،‬‬ ‫ﺍﻻﻧﺘﺤﺎﺭﻱ ﺍﻟﺜﺎﻟﺚ‪.‬‬ ‫ﺍﳌﻌﻠﻮﻣــﺔ ﺃﺛﻨــﺎﺀ ﺗﻐﻄﻴﺘــﻪ ﺣﺪﺛــﺎ ﻛﺒﻴــﺮﺍ‪،‬‬
‫ﻣﻤــﺎ ﻳﻐــﺮﻱ ﺍﻟﺼﺤﻔﻴﻴــﻦ ﺑﻠﻌــﺐ ﺩﻭﺭ‬ ‫ﻭ"ﺍﻟﺘﺤﻘﻖ ﻣﻦ ﺍﳌﻌﻠﻮﻣﺔ" ﻫﻮ ﺩﻭﺭ‬
‫ﺍﳌﺤﻘﻘﻴــﻦ‪ ،‬ﺧﺼﻮﺻــﺎ ﺃﻧﻬــﻢ ﻳﺼﻠــﻮﻥ‬
‫ﻣﺴــﺮﺡ ﺍﻟﺠﺮﻳﻤــﺔ ﻗﺒــﻞ ﺍﻷﺟﻬــﺰﺓ ﺍﻷﻣﻨﻴــﺔ‬
‫ﻭ ُﻳﺘــﺎﺡ ﻟﻬــﻢ ﺍﻟﺪﺧــﻮﻝ‪ ،‬ﻓﻴﺼﺒــﺢ‬
‫ﻣﻘﺼــﺮﺍ ﺃﻣــﺎﻡ ﺇﺩﺍﺭﺓ ﺍﳌﺆﺳﺴــﺔ‬
‫ﱢ‬ ‫ﺍﳌﺮﺍﺳــﻞ‬
‫ﺇﺫﺍ ﻟــﻢ ﻳﻘــﻢ ﺑﺮﺳــﺎﻟﺔ ﻣــﻦ ﻣﻮﻗــﻊ‬
‫ﺍﻟﺤــﺪﺙ‪ ،‬ﺑﻴﻨﻤــﺎ ﻳﻘــﻮﻡ ﻣﺮﺍﺳــﻠﻮ ﺍﻟﻘﻨــﻮﺍﺕ‬
‫ﺍﻷﺧــﺮﻯ ﺍﳌﻨﺎﻓﺴــﺔ ﺑﺎﻟﺸــﻲﺀ ﻧﻔﺴــﻪ‪.‬‬
‫ﻛﻤــﺎ ﻳﻨﺘﻘــﺪ ﻓﺘــﺢ ﺍﻟﻬــﻮﺍﺀ ﻟﺴــﺎﻋﺎﺕ‬
‫ﺃﻣــﺎﻡ ﺍﳌﻮﺍﻃﻨﻴــﻦ ﻟــﻺﺩﻻﺀ ﺑﺸــﻬﺎﺩﺍﺗﻬﻢ‬
‫ﻭﺁﺭﺍﺋﻬــﻢ‪ ،‬ﻓﻴﻐــﺪﻭ ﺩﻭﺭ ﺍﳌﺮﺍﺳــﻞ ﺿﺒــﻂ‬
‫ﺍﻵﺭﺍﺀ ﺍﳌﺘﺸــﻨﺠﺔ‪ ،‬ﻣﺸــﻴﺮﺍ ﺇﻟــﻰ ﺃﻥ ﺗﻠــﻚ‬
‫ﻣﻬﻤﺔ ﻣﺴﺘﺤﻴﻠﺔ‪.‬‬

‫ﻭﻳﻀﻴــﻒ "ﻟــﻮ ﺃﻥ ﺍﻟﻘــﻮﻯ ﺍﻷﻣﻨﻴــﺔ ﺗﻀــﺮﺏ‬

‫ﻣﻨــﺬ ﺍﻟﻠﺤﻈــﺔ ﺍﻷﻭﻟــﻰ ﻃﻮﻗــﺎ ﺣــﻮﻝ‬
‫ﻣﺴــﺮﺡ ﺍﻟﺤــﺪﺙ ﻭﺗﻤﻨــﻊ ﻛﻞ ﺍﳌﺮﺍﺳــﻠﻴﻦ‬
‫ﻣــﻦ ﺍﻟﺪﺧــﻮﻝ ﺇﻟﻴــﻪ‪ ،‬ﻓــﺈﻥ ﺍﻟﺘﻐﻄﻴــﺔ‬
‫ﺳــﺘﺨﺘﻠﻒ ﺇﻟــﻰ ﺣــﺪ ﻛﺒﻴــﺮ‪ ،‬ﻭﺳــﺘﺘﺤﻮﻝ‬
‫ﺇﻟــﻰ ﺗﻐﻄﻴــﺔ ﻣﻌﻠﻮﻣﺎﺗﻴــﺔ ﺃﻛﺜــﺮ ﻣﻤــﺎ‬
‫ﻫــﻲ ﺗﺤﻘﻴﻘﻴــﺔ‪ ،‬ﻭﺗﺼﺒــﺢ ﺍﳌﻨﺎﻓﺴــﺔ‬
‫ﺑﻴــﻦ ﻭﺳــﺎﺋﻞ ﺍﻹﻋــﻼﻡ ﺣــﻮﻝ ﻣــﻦ ﻳﻤﻠــﻚ‬
‫ﻣﺼــﺎﺩﺭ ﻣﻌﻠﻮﻣــﺎﺕ ﺃﻗــﻮﻯ‪ ،‬ﻭﻣــﻦ‬
‫ﻳﺴــﺘﻄﻴﻊ ﺗﻮﻓﻴــﺮ ﺗﻐﻄﻴــﺔ ﺧﺒﺮﻳــﺔ‬
‫ﺃﻭﺳﻊ ﻭﺃﻋﻤﻖ ﻟﻠﻤﺸﺎﻫﺪﻳﻦ"‪.‬‬

‫ﻭﻳﺨﺘــﻢ ﺷــﻤﺲ ﺍﻟﺪﻳــﻦ ﺑﺎﻟﻘــﻮﻝ ﺇﻥ ﻰﻠﻋ‬

‫ﺍﳌﺮﺍﺳــﻞ ﺃﻻ ﻳﻘــﺪﻡ ﻣــﺎ ﻳﻄﻠﺒــﻪ‬
‫ﺍﳌﺸــﺎﻫﺪﻭﻥ‪ ،‬ﺑــﻞ ﻣــﺎ ﻳﺠــﺐ ﺃﻥ‬
‫ﻳﺸﺎﻫﺪﻭﻩ‪.‬‬

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 ‫ﻲﻓ ﺍﳌﺸــﻬﺪ ﻭﺃﻥ ﻳﺒﺘﻌــﺪ ﻋــﻦ ﺍﻟﻨــﺎﺱ‬
‫ﻭﻛﺎﻻﺕ ﺃﺟﻨﺒﻴﺔ‪ ..‬ﺍﻟﺪﻗﺔ‬
‫ﻗــﺪﺭ ﺍﻹﻣــﻜﺎﻥ‪ .‬ﻭﺇﺫﺍ ﻛﺎﻥ ﻳﺘﻤﻨــﻰ‬
‫ﺛﻢ ﺍﻟﺪﻗﺔ ﺛﻢ ﺍﻟﺪﻗﺔ‬ ‫ﻭﻳﺤــﺮﺹ ﺩﺍﺋﻤــﺎ ﻰﻠﻋ ﻋــﺪﻡ ﻧﺸــﺮ ﺻــﻮﺭ‬
‫ﻋﻨﻴﻔــﺔ‪ ،‬ﺃﻭ ﺗﺘﻀﻤــﻦ ﻭﺟــﻮﻩ ﺃﻃﻔــﺎﻝ ﻲﻓ‬
‫"ﺍﳌــﺪﻥ"‪ ،‬ﻓــﺈﻥ ﺍﻟﻘــﺮﺍﺭ ﻲﻓ ﻏﺎﻟﺒﻴــﺔ‬
‫ﻻ ﻳﻤﻜــﻦ ﻟﻠﻨﻘــﺎﺵ ﺍﻟﺪﺍﺋــﺮ ﺃﻋــﻼﻩ ﺃﻥ ﻳﻘــﻒ‬
‫ﻰﻠﻋ ﺃﺭﺿﻴــﺔ ﺗﻘﻴﻴﻤﻴــﺔ ﺳــﻠﻴﻤﺔ ﺩﻭﻥ‬ ‫ﻭﺳــﺎﺋﻞ ﺍﻹﻋــﻼﻡ ﻻ ﻳﻌــﻮﺩ ﺇﻟــﻰ‬
‫ﺍﻟﺘﻄــ ّﺮﻕ ﺇﻟــﻰ ﺃﺩﺍﺀ ﻭﺁﻟﻴــﺔ ﻋﻤــﻞ ﻣﺮﺍﺳــﻠﻲ‬ ‫ﺍﻟﺼﺤﻔــﻲ ﺃﻭ ﺍﳌﺼــﻮﺭ‪ ،‬ﺑــﻞ ﺇﻟــﻰ ﺇﺩﺍﺭﺓ‬
‫ﺍﻟــﻮﻛﺎﻻﺕ ﺍﻷﺟﻨﺒﻴــﺔ ﺍﳌﺤﺘﺮﻓــﺔ‪ .‬ﻳﻘــﻮﻝ ﺃﺣــﺪ‬ ‫ﺍﳌﺆﺳﺴﺔ‪.‬‬
‫ﺍﻟﻌﺎﻣﻠﻴــﻦ ﻲﻓ ﻭﻛﺎﻟــﺔ ﺃﺟﻨﺒﻴــﺔ ﺑﺎﻟﻌﺎﺻﻤــﺔ‬
‫‪-‬ﻓﻀــﻞ ﻋــﺪﻡ ﻛﺸــﻒ ﺍﺳــﻤﻪ‪ -‬ﺇﻥ‬ ‫ﺑﻴــﺮﻭﺕ ّ‬ ‫ﻭﻳــﺮﻯ ﺃﻥ ﺍﻟﻀﻮﺍﺑــﻂ ﺍﳌﻬﻨﻴــﺔ‬
‫ﻋﻤــﻞ ﺍﻟــﻮﻛﺎﻻﺕ ﻳﻐ ّﻠــﺐ ﺍﻟﺪﻗــﺔ‬ ‫ﻭﺍﻷﺧﻼﻗﻴــﺔ ﺗﻀﻌــﻒ ﻛﺜﻴــﺮﺍ ﻲﻓ‬
‫ﻭﺍﳌﻌﺎﻳﻴــﺮ ﺍﻻﺣﺘﺮﺍﻓﻴــﺔ ﺍﻟﺪﻭﻟﻴــﺔ ﻲﻓ‬ ‫ﺍﻟﺘﻠﻔﺰﻳﻮﻧــﺎﺕ ﻭﺍﳌﻮﺍﻗــﻊ ﺍﻹﻟﻜﺘﺮﻭﻧﻴــﺔ‬
‫ﻋﻤﻠــﻪ‪ ،‬ﺳــﻮﺍﺀ ﺃﻛﺎﻥ ﻲﻓ ﺑﻴــﺮﻭﺕ ﺃﻭ ﻲﻓ‬ ‫ﺍﻟﺘــﻲ ﺗﺴــﺘﻔﻴﺪ ﻣــﻦ ﺍﻧﺘﺸــﺎﺭ ﺍﻟﻬﻮﺍﺗــﻒ‬
‫ﺑﺎﺭﻳﺲ‪.‬‬ ‫ﺍﻟﺬﻛﻴــﺔ ﺑﻴــﻦ ﺃﻳــﺪﻱ ﺍﳌﻮﺍﻃﻨﻴــﻦ ﻟﺘﻨﻘــﻞ‬
‫ﻋــﻦ ﻭﺳــﺎﺋﻞ ﺍﻟﺘﻮﺍﺻــﻞ ﺍﻻﺟﺘﻤﺎﻋــﻲ ﻣــﺎ‬
‫ﻓﻤﺮﺍﺳــﻞ ﺍﻟﻮﻛﺎﻟــﺔ ﺍﻷﺟﻨﺒﻴــﺔ ﻳﻨﻄﻠــﻖ‬ ‫ﻻ ﻳﺠــﻮﺯ ﻧﻘﻠــﻪ‪ ،‬ﺑــﻼ ﺗﺪﻗﻴــﻖ ﻭﻻ ﺍﺣﺘــﺮﺍﻡ‬
‫ﻲﻓ ﺗﻐﻄﻴﺘــﻪ ﻷﻱ ﺣــﺪﺙ ﻣــﻦ ﻗﻮﺍﻋــﺪ‬ ‫ﻟﺤﻘــﻮﻕ ﺍﳌﻠﻜﻴــﺔ ﺍﻟﻔﻜﺮﻳــﺔ‪ .‬ﻟﻜﻨﻬــﺎ ﻲﻓ‬
‫ﻋﺎﻣــﺔ ﺣﻴــﺚ ﻳﻄﻠــﻊ ﺍﳌﺸــﺎﻫﺪ ﺃﻭ‬ ‫ﺍﻟﻨﻬﺎﻳــﺔ ﺗﻌﻜــﺲ ﺛﻘﺎﻓــﺔ ﺷــﺎﺋﻌﺔ ﻲﻓ‬
‫ﺍﻟﻘــﺎﺭﺉ ﺃﻭﻻ ﻰﻠﻋ ﻣﺸــﺎﻫﺪﺍﺗﻪ ﺍﻟﺘــﻲ‬ ‫ﻣﺠﺘﻤﻌﺎﺗﻨــﺎ ﻻ ﺗﺤﺘــﺮﻡ ﻋﻴــﻦ ﺍﳌﺸــﺎﻫﺪ‪،‬‬
‫ﺗﺘﺮﺍﻓــﻖ ﻣــﻊ ﻋــﺮﺽ ﺻــﻮﺭﺓ ﻋﺎﻣــﺔ ﻟــﻜﻞ‬
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‫ﻭﺗــﺮﻯ ﺃﻥ ﻋــﺮﺽ ﺻــﻮﺭ ﺟﺜــﺚ ﻰﻠﻋ‬
‫ﺷــﻲﺀ‪ ،‬ﺗﺒــﺪﺃ ﻣــﻦ ﺑﻌﻴــﺪ ﺛــﻢ ﺗﻘﺘــﺮﺏ‬
‫ﺍﻟﺸﺎﺷــﺎﺕ ﺃﻭ ﻲﻓ ﺍﳌﻮﺍﻗــﻊ ﺃﻣــﺮ‬
‫ﺷــﻴﺌﺎ ﻓﺸــﻴﺌﺎ‪ ،‬ﻣــﻊ ﺍﻟﺤــﺮﺹ ﺍﻟﺘــﺎﻡ ﻰﻠﻋ‬
‫ﻃﺒﻴﻌــﻲ‪ ،‬ﻭﻫــﻮ ﺟــﺰﺀ ﻣــﻦ ﻭﻇﻴﻔــﺔ‬
‫ﻋــﺪﻡ ﻧﻘــﻞ ﺻــﻮﺭ ﺟﺜــﺚ‪ ،‬ﺇﻻ ﺑﻠﻘﻄــﺎﺕ‬
‫ﺍﻟﺼﺤﺎﻓﺔ‪.‬‬
‫ﺑﻌﻴــﺪﺓ ﻭﻫــﻲ ﻣﻐﻄــﺎﺓ‪ .‬ﻭﻲﻓ ﺍﳌﺮﺣﻠــﺔ‬
‫ﺍﻟﺜﺎﻧﻴــﺔ ﻳﺒــﺪﺃ ﺍﳌﺮﺍﺳــﻞ ﺍﺳــﺘﻘﺎﺀ‬
‫ّ‬
‫ﻭﻳﺨﺘــﻢ ﻋﻠــﻮﺵ ﺑﺎﻟﻘــﻮﻝ ﺇﻥ ﺍﳌﺼــﻮﺭ‬
‫ﺍﳌﻌﻠﻮﻣــﺎﺕ ﻣــﻦ ﺷــﻬﻮﺩ ﺍﻟﻌﻴــﺎﻥ ﻭﻣــﻦ‬
‫ﺍﳌﺤﺘــﺮﻑ ﻳﺴــﺘﻄﻴﻊ ﺗﺼﻮﻳــﺮ ﻫــﻮﻝ‬
‫ﺍﳌﺼــﺎﺩﺭ ﺍﻟﺮﺳــﻤﻴﺔ‪ ،‬ﻭﻲﻓ ﺍﳌﺮﺣﻠــﺔ‬
‫ﺍﳌﺸــﻬﺪ ﺩﻭﻥ ﺃﻥ ﻳــﺆﺫﻱ ﻣﺸــﺎﻋﺮ‬
‫ﺍﻟﺜﺎﻟﺜﺔ ﻲﻓ ﺍﳌﺴﺘﺸﻔﻴﺎﺕ ﺣﻴﺚ ﻳﺒﺪﺃ‬
‫ﺍﳌﺸﺎﻫﺪ‪ ،‬ﻭﺩﻭﻥ ﺃﻥ ﻳﺨﺮﺏ ﻣﺨ ّﻴﻠﺘﻪ‪.‬‬
‫ﺗﺼﻮﻳﺮ ﺍ َ‬
‫ﳌﺸﺎﻫﺪ ﺩﻭﻥ‬
‫ﺇﻳﺬﺍﺀ ﺍ ُ‬
‫ﳌﺸﺎﻫﺪ‬
‫ﻳﻘــﻮﻝ ﻣﺪﻳــﺮ ﻗﺴــﻢ ﺍﻟﺘﺼﻮﻳــﺮ ﻲﻓ‬
‫ﺻﺤﻴﻔــﺔ ﺍﳌــﺪﻥ ﺍﻹﻟﻜﺘﺮﻭﻧﻴــﺔ ﺍﳌﺼــﻮﺭ‬
‫ﺍﻟﺼﺤﻔــﻲ ﻋﻠــﻲ ﻋﻠــﻮﺵ "ﺇﻥ ﺩﻭﺭ‬
‫ﺍﳌﺼــﻮﺭ ﻲﻓ ﺍﻷﺣــﺪﺍﺙ ﺍﻟﻜﺒــﺮﻯ ﺃﻥ‬
‫ﻳﻨﻘــﻞ ﺻــﻮﺭﺓ ﻟﻠﻘــﺎﺭﺉ ﺃﻭ ﺍﳌﺸــﺎﻫﺪ‬
‫ﻗــﺎﺩﺭﺓ ﻰﻠﻋ ﺗﻜﻮﻳــﻦ ﺍﻧﻄﺒــﺎﻉ ﻟﺪﻳــﻪ‬
‫ﺣــﻮﻝ ﻣﺎﻫﻴــﺔ ﺍﻟﺤــﺪﺙ ﻭﻃﺒﻴﻌﺘــﻪ‪ ،‬ﻻ ﺃﻥ‬
‫ﻳﻘــﺪﻡ ﺻــﻮﺭﺓ ﻟــﻪ ﻗــﺪ ﺗــﺆﺫﻱ ﻣﺸــﺎﻋﺮﻩ‬
‫ﺃﻭ ﺗﺨﺪﺵ ﺣﻴﺎﺀﻩ"‪.‬‬
‫ﻭﻳﻀﻴــﻒ ﻋﻠــﻮﺵ ﳌﺠﻠــﺔ ﺍﻟﺼﺤﺎﻓﺔﺃﻧــﻪ‬
‫"ﻲﻓ ﻟﺤﻈــﺔ ﺣﺼــﻮﻝ ﺍﻧﻔﺠــﺎﺭ ﻰﻠﻋ‬
‫ـﺪﻱ ﻫﺎﺟــﺲ‬‫ﺳــﺒﻴﻞ ﺍﳌﺜــﺎﻝ‪ ،‬ﻻ ﻳﻜــﻮﻥ ﻟـ ّ‬
‫ﺇﻻ ﺍﻟﻮﺻــﻮﻝ ﺇﻟــﻰ ﻣﻮﻗــﻊ ﺍﻟﺤــﺪﺙ‪ ،‬ﻭﻣــﺎ‬
‫ﻫــﻲ ﺍﳌﺸــﺎﻛﻞ ﺍﻷﻣﻨﻴــﺔ ﺍﻟﺘــﻲ‬
‫ﻟــﺪﻱ‬
‫ﺳــﺄﻭﺍﺟﻬﻬﺎ‪ ،‬ﻣــﻦ ﺩﻭﻥ ﺃﻥ ﺗﻜــﻮﻥ‬
‫ﻓﻜــﺮﺓ ﻋﻤــﺎ ﺳــﺄﺻﻮﺭ‪ ،‬ﻓﻘــﺪ ﺗﻌﻠﻤــﺖ ﻣــﻦ‬
‫ﺧﺒﺮﺗــﻲ ﺃﻥ ﻛﻞ ﺣــﺪﺙ ﻳﻮﻓــﺮ ﻣــﺎﺩﺓ‬
‫ﺑﺼﺮﻳﺔ ﺟﺪﻳﺪﺓ"‪.‬‬
‫ﺍﳌﺼــﻮﺭ‬
‫ﻲﻓ ﺭﺃﻱ ﻋﻠــﻮﺵ‪ ،‬ﻳﺠــﺐ ﻰﻠﻋ‬
‫ﺗﺼﻮﻳــﺮ ﻛﻞ ﺷــﻲﺀ‪ ،‬ﺣﺘــﻰ ﺍﻟﺼــﻮﺭ ﺍﻟﺘــﻲ‬
‫ﻳﺠــﺐ ﺃﻥ ﻻ ﺗﻨﺸــﺮ ﻷﺳــﺒﺎﺏ ﻣﻬﻨﻴــﺔ‬
‫ﻭﺃﺧﻼﻗﻴﺔ‪ ،‬ﻭﻳﺠﺐ ﻋﻠﻴﻪ ﺃﻻ ﻳﺘﺪﺧﻞ‬

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‫ﻳﻨﻘــﻞ ﻋــﻦ ﺷــﻬﻮﺩ ﺍﻟﻌﻴــﺎﻥ ﺑــﻼ ﺗﻤﻮﻳــﻪ‬
‫ﻟﻠﺼــﻮﺕ ﺃﻭ ﻟﻠﻮﺟــﻪ‪ ،‬ﻭﺇﺫﺍ ﻛﺎﻥ ﺍﳌﻮﺿــﻮﻉ‬
‫ﻳﺸــﻜﻞ ﺧﻄــﺮﺍ ﻰﻠﻋ ﺣﻴﺎﺗــﻪ‪ ،‬ﻳﺴــﺘﻄﻴﻊ‬
‫ﺍﻟﺸــﺎﻫﺪ ﺗﻐﻄﻴــﺔ ﻭﺟﻬــﻪ ﺑﺤﺠــﺎﺏ‪،‬‬
‫ﻭﻳﻤﻨﻊ ﻋﻠﻴﻪ ﻣﻨﻌﺎ ﺑﺎﺗﺎ ﺃﺧﺬ ﺷﻬﺎﺩﺓ ﻣــﻦ‬
‫ﻫــﻢ ﺩﻭﻥ ﺍﻟـــ‪ 18‬ﻋﺎﻣــﺎ‪ ،‬ﺃﻭ ﺗﺼﻮﻳــﺮ ﺍﻷﻃﻔــﺎﻝ‬
‫ﺩﻭﻥ ﺇﺫﻥ ﺃﻫﺎﻟﻴﻬــﻢ‪ ،‬ﻭﻋﻠﻴــﻪ ﺩﺍﺋﻤــﺎ ﺍﻟﺘﺄﻛــﺪ‬
‫ﻣــﻦ ﺍﻟﺨﺒــﺮ ﻣــﻦ ﻣﺼﺪﺭﻳــﻦ‪ ،‬ﻭﺍﻻﻧﺤﻴــﺎﺯ‬
‫ﺍﻟﺪﺍﺋﻢ ﺇﻟﻰ ﺍﻟﺪﻗﺔ ﻻ ﺇﻟﻰ ﺍﻟﺴﺮﻋﺔ‪.‬‬
‫ﻭﺇﺫﺍ ﺷــﻚ ﻓﻴﻬــﺎ ﻓﺈﻧــﻪ ﻳﻨﻘﻠﻬــﺎ ﻣــﻊ‬ ‫ﺍﻟﺒﺤــﺚ ﻋــﻦ ﻋــﺪﺩ ﺍﻟﻘﺘﻠــﻰ ﻭﺍﻟﺠﺮﺣــﻰ‬
‫ﺗﺄﻛﻴــﺪ ﺃﻧﻬــﺎ ﻏﻴــﺮ ﻣﺆﻛــﺪﺓ‪ ،‬ﺃﻭ ﺃﻧﻬــﺎ ﻧﻘــﻼ‬ ‫ﻭﻧﻮﻋﻴﺔ ﺇﺻﺎﺑﺎﺗﻬﻢ‪.‬‬
‫ﻋــﻦ ﺍﻟﺠﻬــﺔ ﺍﻟﻔﻼﻧﻴــﺔ‪ .‬ﻛﻤــﺎ ﺃﻧــﻪ ﻳﻨﺘﻈــﺮ‬
‫ﺻــﺪﻭﺭ ﺍﻟﺮﻭﺍﻳــﺔ ﺍﻟﺮﺳــﻤﻴﺔ ﻟﻠﺤــﺪﺙ ﻣــﻦ‬ ‫ﻭﻳﺮﻛــﺰ ﺍﳌﺮﺍﺳــﻞ ﻲﻓ ﺗﻐﻄﻴﺘــﻪ‬
‫ﺍﳌﺼــﺎﺩﺭ ﺍﻟﺮﺳــﻤﻴﺔ‪ ،‬ﻓــﻼ ﻳﺤ ّﻠــﻞ ﻣــﻦ‬ ‫ﻟﻸﺣــﺪﺍﺙ ﺍﻷﻣﻨﻴــﺔ ﻰﻠﻋ ﺍﻟﺪﻣــﺎﺭ‬
‫ّ‬
‫ﺍﳌﺤﻘﻖ‪.‬‬ ‫ﺭﺃﺳﻪ ﺃﻭ ﻳﺤﺎﻭﻝ ﻟﻌﺐ ﺩﻭﺭ‬ ‫ﻭﺍﻟﺠﺮﺣــﻰ ﻭﺍﻹﺳــﻌﺎﻑ ﻭﺩﻭﺭ ﺍﻟﻘــﻮﻯ‬
‫ﺍﻷﻣﻨﻴــﺔ‪ ،‬ﻭﻻ ﻳﻨﻘــﻞ ﻣﻌﻠﻮﻣــﺎﺕ ﻗﺒــﻞ‬
‫ﻭﻳﻀﻴﻒ ﺃﻥ ﺍﳌﺮﺍﺳﻞ ﻲﻓ ﺍﻟﻮﻛﺎﻟﺔ ﺍﻷﺟﻨﺒﻴﺔ‬ ‫ﺍﻟﺘﺄﻛﺪ ﻣﻨﻬﺎ ﻋﺒﺮ ﻣﺼﺪﺭﻳﻦ ﻣﺨﺘﻠﻔﻴﻦ‪،‬‬

‫ﺍﻻﺣﺘﺮﺍﻑ ﻣﺮﺑﺢ ﻰﻠﻋ‬

‫ﺍﳌﺪﻯ ﺍﻟﺒﻌﻴﺪ‬

‫ﻳــﺮﻯ ﺍﻷﺳــﺘﺎﺫ ﻲﻓ ﻛﻠﻴــﺔ ﺍﻹﻋــﻼﻡ‬

‫ﺑﺎﻟﺠﺎﻣﻌــﺔ ﺍﻟﻠﺒﻨﺎﻧﻴــﺔ ﺃﺣﻤــﺪ ﺯﻳــﻦ ﺍﻟﺪﻳــﻦ‬
‫ﺃﻥ ﺩﻭﺭ ﺍﳌﺮﺍﺳــﻞ ﺍﻟﺼﺤﻔــﻲ ﺃﻥ ﻳﻨﻘــﻞ‬
‫ﺍﻟﻮﻗﺎﺋــﻊ ﺑﺘﺠــ ّﺮﺩ‪ ،‬ﻭﻳﻀﻌﻬــﺎ ﻲﻓ ﻗﺎﻟــﺐ‬
‫ﻣﻬﻨــﻲ‪ ،‬ﺩﻭﻥ ﺇﻋﻄﺎﺋﻬــﺎ ﺃﺑﻌــﺎﺩﺍ ﺃﻭ‬
‫ﺗﻔﺴــﻴﺮﻫﺎ ﺃﻭ ﺍﻟﺘﺪﺧــﻞ ﻓﻴﻬــﺎ‪ .‬ﻭﻳﺴــﺘﺪﺭﻙ‬
‫ٌ‬
‫ﻣﻤﻜــﻦ ﻲﻓ‬ ‫ﺃﺑﻌــﺎﺩ‬
‫ٍ‬ ‫ﻼ "ﺇﻥ ﺇﻋﻄــﺎﺀ‬ ‫ﻗﺎﺋــ ً‬
‫ﺣﺎﻟــﺔ ﻭﺍﺣــﺪﺓ؛ ﺇﺫﺍ ُﻗ ّﺪﻣــﺖ ﻲﻓ ﻗﺎﻟــﺐ‬
‫ﻣﻬﻨــﻲ ﻣﻮﺿﻮﻋــﻲ ﻛﺄﻥ ﻳﻘــﻮﻝ‬
‫ﺍﳌﺮﺍﺳــﻞ ﻧﺘﻴﺠــﺔ ﻣﺸــﺎﻫﺪﺍﺗﻪ ﺃﻭ‬
‫ﻣﻌﺮﻓﺘــﻪ ﺍﳌﺴــﺒﻘﺔ ﺑﻤــﻜﺎﻥ ﺍﻟﺤــﺪﺙ‪:‬‬
‫ﻳﺒــﺪﻭ ﺃﻥ ﻏﺎﻟﺒﻴــﺔ ﻣــﻦ ﺍﻟﻔﻘــﺮﺍﺀ ﺗﻘﻄــﻦ‬
‫ﺍﳌﻜﺎﻥ"‪.‬‬

‫ﻭﻳﺸــﺮﺡ ﺯﻳــﻦ ﺍﻟﺪﻳــﻦ ﳌﺠﻠــﺔ ﺍﻟﺼﺤﺎﻓــﺔ‬

‫ﺃﻥ ﺍﻟﻜﺜﻴــﺮ ﻣــﻦ ﺍﻟﺼﺤﻔﻴﻴــﻦ ﻳﺘﺠــﺎﻭﺯﻭﻥ‬
‫ﻣﻌﺎﻳﻴــﺮ ﺍﻟﺘﻐﻄﻴــﺔ ﺍﳌﻬﻨﻴــﺔ ﺍﻟﺤﺮﻓﻴــﺔ‬
‫ﺇﻣــﺎ ﻋــﻦ ﺟﻬــﻞ ﺑﺎﻟﻘﻮﺍﻋــﺪ‬
‫ﺍﻟﺒﺤﺘــﺔ‪ّ ،‬‬
‫ﺍﳌﻬﻨﻴــﺔ‪ ،‬ﺃﻭ ﻏﺎﻟﺒــﴼ ﻧﺘﻴﺠــﺔ ﻏﻴــﺎﺏ‬
‫ﺍﻟﺘﻮﺟﻴــﻪ ﺍﳌﻬﻨــﻲ ﻣــﻦ ﻗﺒــﻞ‬
‫ﺍﳌﺴــﺆﻭﻟﻴﻦ ﻋﻨﻬــﻢ‪ ،‬ﻣﻀﻴﻔــﴼ "ﻋﻨﺪﻣــﺎ‬
‫ﺗﻜــﻮﻥ ﻲﻓ ﺍﳌﻴــﺪﺍﻥ ﻭﺗﻐﻴــﺐ ﻋﻨــﻚ‬
‫ﺍﻟﻘﻮﺍﻋــﺪ ﻭﺍﻟﺘﻮﺟﻴــﻪ‪ ،‬ﺳــﺘﻘﻊ ﻻ ﺷــﻚ‬
‫ﻲﻓ ﺍﻟﺸﻄﻂ"‪.‬‬

‫ﻭﻳﺸــﻴﺮ ﺇﻟــﻰ ﺃﻧــﻪ "ﻲﻓ ﺃﻱ ﺑﻠــﺪ ﻲﻓ‬

‫ﺍﻟﻌﺎﻟــﻢ ﻳﺤﺘﻜــﻢ ﻋﻤــﻞ ﺍﳌﻬﻨــﺔ ﺇﻟــﻰ‬
‫ﺍﳌﻌﺎﻳﻴﺮ ﺍﳌﻬﻨﻴﺔ ﻭﺍﻟﻘﻮﺍﻧﻴﻦ‬
‫ﻭﻃﻨﻴــﺔ ﻭﻣﺘﻮﺍﺯﻧــﺔ ﻭﻏﻴــﺮ ﻃﺎﺋﻔﻴــﺔ‬
‫ﻟﻸﺣــﺪﺍﺙ ﺍﻟﻜﺒــﺮﻯ‪ ،‬ﻓﺈﻧــﻪ ﻳﺴــﺘﺪﺭﻙ‬
‫ﻼ ﺇﻧــﻪ ﻲﻓ ﺑﻠــﺪ ﺗﻐﻴــﺐ ﻓﻴــﻪ‬ ‫ﻗﺎﺋــ ً‬
‫ﺍﻟﺨﺪﻣــﺎﺕ ﺍﻟﻌﺎﻣــﺔ ﺍﻟﺒﺪﻳﻬﻴــﺔ ﻛﺎﻟﻜﻬﺮﺑــﺎﺀ‬
‫ﻭﺍﳌﻴــﺎﻩ‪ ..‬ﻣــﻦ ﺍﻟﻄﺒﻴﻌــﻲ ﺗﻐﻴﻴــﺐ ﺃﺩﻭﺍﺭ‬
‫ﻻ ﺗﻘــﻞ ﺃﻫﻤﻴــﺔ‪ ،‬ﻛﺈﻋــﻼﻡ ﺍﻟﺨﺪﻣــﺔ‬
‫ﺍﻟﻌﺎﻣﺔ‪.‬‬
‫ﻳﻌــﺪ ﺇﻟــﻰ ﺍﻟﻌﺸــﺮﺓ ﻗﺒــﻞ‬
‫ﻭﻳــﺮﻯ ﺍﻷﺳــﺘﺎﺫ ﺍﻟﺠﺎﻣﻌــﻲ ﺃﻥ ﺍﳌﺸــﻬﺪ‬
‫ﺍﻹﻋﻼﻣــﻲ ﻳﺸــﻬﺪ ﻣﻨﺎﻓﺴــﺔ ﺑﻴــﻦ‬
‫ﺍﻹﻋــﻼﻡ ﺍﻟﻌﻘﻠــﻲ ﻭﺍﳌﻨﻄﻘــﻲ ﻭﺍﻹﻋــﻼﻡ‬
‫ﺍﻟــﺬﻱ ﻳﺘﻼﻋــﺐ ﺑﺎﻟﻌﻮﺍﻃــﻒ‪ ،‬ﻣﺸــﻴﺮﺍ ﺇﻟــﻰ‬
‫ﺃﻥ ﺍﻟﻠﺒﻨﺎﻧﻴﻴــﻦ ﻳﻨﺤــﺎﺯﻭﻥ ﺇﻟــﻰ ﺍﳌﺪﺭﺳــﺔ‬
‫ﺍﻟﺜﺎﻧﻴــﺔ ﻟﻜﻮﻧﻬــﺎ ﺩﻳﻤﺎﻏﻮﺟﻴــﺔ ﻭﻗﺎﺋﻤــﺔ‬
‫ﻰﻠﻋ ﺍﺳــﺘﻘﻄﺎﺏ ﺃﻛﺒــﺮ ﻋــﺪﺩ ﻣــﻦ‬
‫ﺍﻟﺠﻤﻬﻮﺭ ﻛﻴﻔﻤﺎ ﺍﺗﻔﻖ‪.‬‬
‫ﺍﻟﺮﺧﺼــﺔ‪ ،‬ﺑﻴﻨﻤــﺎ ﺍﳌﺠﻠــﺲ ﺍﻟﻠﺒﻨﺎﻧــﻲ ﻻ‬
‫ﻭﻳﺨﺘــﻢ ﺑﺎﻟﻘــﻮﻝ ﺇﻧــﻪ ﻻ ﻳﻤﻜــﻦ ﺍﻻﺭﺗﻘــﺎﺀ‬
‫ﺑﻤﺴــﺘﻮﻯ ﺍﳌﻬﻨــﺔ ﺑــﻼ ﻗﻮﺍﻧﻴــﻦ‬
‫ﻭﻫﻴﺌــﺎﺕ ﻧﺎﻇﻤــﺔ‪ ،‬ﻭﺩﻭﻥ ﺃﻥ ﺗﻌــﻲ‬
‫ﺍﳌﺆﺳﺴــﺎﺕ ﺃﻥ ﺍﻻﺣﺘــﺮﺍﻑ ﺃﻓﻀــﻞ ﻟﻬــﺎ‪،‬‬
‫ﻭﺃﻥ ﺩﻭﺭﻫــﺎ ﺗﺄﻫﻴــﻞ ﻣﺤﺮﺭﻳــﻦ ﻣﺤﺘﺮﻓﻴــﻦ‬
‫ﻳﻌﺮﻓــﻮﻥ ﺍﻟﻘﻮﺍﻋــﺪ ﻭﻳﻠﺘﺰﻣــﻮﻥ ﺑﻬــﺎ‪ ،‬ﻭﺃﻥ‬
‫ﺍﻟﻠﻌــﺐ ﻰﻠﻋ ﺍﻟﻌﻮﺍﻃــﻒ ﻻ ﻳــﺆﺩﻱ ﺇﻟــﻰ‬
‫ﺍﻻﺯﺩﻫــﺎﺭ ﻰﻠﻋ ﺍﳌــﺪﻯ ﺍﻟﺒﻌﻴــﺪ‪ .‬ﻭﻳﺸــﻴﺮ‬
‫ﺇﻟــﻰ ﺃﻥ "ﺍﻻﺯﺩﻫــﺎﺭ ﻫــﻮ ﺗﺮﺍﻛــﻢ ﻟﺒﻨــﺎﺀ‬
‫ﺍﻟﺜﻘــﺔ ﻣــﻊ ﺍﻟﻨــﺎﺱ‪ ،‬ﻭﻋﻨﺪﻣــﺎ ﺗﺼﺒــﺢ‬
‫ﺍﳌﺆﺳﺴــﺔ ﻣﺮﺟﻌــﺎ ﳌﻌﺮﻓــﺔ ﻣﻌﻠﻮﻣــﺎﺕ‬
‫ﻋــﻦ ﺃﻱ ﺣــﺪﺙ ﻣﺴــﺘﺠﺪ‪ ،‬ﺣﺘــﻰ ﺍ ُ‬
‫ﳌﻌِﻠــﻦ‬
‫ﺳــﻴﺘﻮﺟﻪ ﺇﻟﻴﻬــﺎ‪ ،‬ﻷﻥ ﺍﻟﺠﻤﻬــﻮﺭ ﺍﻷﻛﺒــﺮ‬
‫ﻭﺍﻷﻛﺜﺮ ﺇﺧﻼﺻﺎ ﺳﻴﻜﻮﻥ ﻋﻨﺪﻫﺎ"‪.‬‬
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‫ﻟﺘﻐﻄﻴﺔ ﺃﺣﺪﺍﺙ ﻣﻦ ﻫﺬﺍ ﺍﻟﻨﻮﻉ‪.‬‬ ‫ﻭﺍﻷﻋــﺮﺍﻑ ﺍﻷﺧﻼﻗﻴــﺔ‪ ،‬ﻭﺣﻴــﻦ ﺗﻜــﻮﻥ‬
‫ُ‬
‫ﺍﻟﻘﻮﺍﻧﻴــﻦ ﺑــﻪ ﻏﻴــﺮ ﻣﻄﺒﻘــﺔ‬ ‫ﺑﻠــﺪ‬
‫ٍ‬ ‫ﻲﻓ‬
‫"ﻭﻲﻓ ﻇــﻞ ﻏﻴــﺎﺏ ﺍﻟــﺮﻭﺍﺩﻉ ﺍﻟﺘﻨﻈﻴﻤﻴــﺔ‪،‬‬ ‫ﻰﻠﻋ ﻛﻞ ﺍﳌﺴــﺘﻮﻳﺎﺕ‪ ،‬ﻳﺼﺒــﺢ ﺍﺭﺗــﻜﺎﺏ‬
‫ﻭﻲﻓ ﻇــﻞ ﻏﻴــﺎﺏ ﻫﻴﺌــﺎﺕ ﺗﺮﺍﻗــﺐ‬ ‫ﺍﻷﺧﻄــﺎﺀ ﺳــﻬﻼ‪ .‬ﻓﺎﻷﺧﻼﻗﻴــﺎﺕ ﻲﻓ‬
‫ﻭﺗﺤﺎﺳــﺐ ﻭﺗﺘﺨــﺬ ﺇﺟــﺮﺍﺀﺍﺕ‪ ،‬ﻭﻲﻓ ﻇــﻞ‬ ‫ﺃﺳﺎﺳــﻬﺎ ﻟﻴﺴــﺖ ﺟﺒﺮﻳــﺔ‪ ،‬ﻟــﺬﺍ ﻳﺴــﻬﻞ‬
‫ﻋــﺪﻡ ﺣــﺮﺹ ﻭﺳــﻴﻠﺔ ﺍﻹﻋــﻼﻡ ﻰﻠﻋ‬ ‫ﺃﻣــﺮ ﺗﺨﻄﻴﻬــﺎ‪ ،‬ﻭﺇﺫﺍ ﺗــﻼﺯﻡ ﻫــﺬﻩ‬
‫ﺗﻘﺪﻳــﻢ ﻣــﺎﺩﺓ ﻗﻠﻴﻠــﺔ ﺍﻷﺧﻄــﺎﺀ‪ ،‬ﻓــﺈﻥ‬ ‫ﺍﻟﺘﺨﻄــﻲ ﻣــﻊ ﻏﻴــﺎﺏ ﺍﳌﻌﺎﻳﻴــﺮ‬
‫ّ‬ ‫ﺍﳌﺮﺍﺳــﻞ ﻟــﻦ‬ ‫ُ‬
‫ﺍﻟﺨﻄــﺄ‬ ‫ﺣﻘــﻞ‬ ‫ﺍﳌﻬﻨﻴــﺔ‪ ،‬ﻧﺼﺒــﺢ ﻲﻓ‬
‫ٍ‬
‫ﺃﻥ ﻳﺮﺗﻜــﺐ ﺧﻄــﺄ"‪ ،‬ﻭﻓــﻖ ﺗﻌﺒﻴــﺮ ﺯﻳــﻦ‬ ‫ﻓﻴﻪ ﺃﻗﻮﻯ ﺍﻻﺣﺘﻤﺎﻻﺕ"‪.‬‬
‫ﺍﻟﺪﻳﻦ‪.‬‬
‫ﻭﻳــﺮﻯ ﺯﻳــﻦ ﺍﻟﺪﻳــﻦ ﺃﻥ "ﺍﻟﺼﺤﺎﻓــﺔ‬
‫ﻼ‪ ،‬ﺍﳌﺠﻠــﺲ ﺍﳌــﻮﺍﺯﻱ‬‫"ﻓﻔــﻲ ﻓﺮﻧﺴــﺎ ﻣﺜـ ً‬ ‫ﺍﻟﻠﺒﻨﺎﻧﻴــﺔ ﺻﺤﺎﻓــﺔ ﺗﻤﻮﻳــﻞ ﻻ ﺻﺤﺎﻓــﺔ‬
‫ﻟﻠﻤﺠﻠــﺲ ﺍﻟﻮﻃﻨــﻲ ﻟﻺﻋــﻼﻡ ﺍﳌﻮﺟــﻮﺩ‬ ‫ﺟﻤﻬــﻮﺭ‪ ،‬ﻓــﺈﺫﺍ ﺃﺿﻴــﻒ ﻫــﺬﺍ ﺍﻟﺒﻌــﺪ ﺇﻟــﻰ‬
‫ﻲﻓ ﻟﺒﻨــﺎﻥ ﻳﺮﺍﻗــﺐ ﻰﻠﻋ ﻣــﺪﺍﺭ ﺍﻟﺴــﺎﻋﺔ‬ ‫ﺍﻷﺑﻌــﺎﺩ ﺍﳌﺬﻛــﻮﺭﺓ ﺃﻋــﻼﻩ‪ ،‬ﻳﻤﻜــﻦ‬
‫ﺃﺩﺍﺀ ﺍﻟﺘﻠﻔﺰﻳﻮﻧــﺎﺕ ﻭﻳﺘﺨــﺬ ﺇﺟــﺮﺍﺀﺍﺕ‬ ‫ﺍﻟﺨﻠــﻮﺹ ﺇﻟــﻰ ﻧﺘﻴﺠــﺔ ﻣﻔﺎﺩﻫــﺎ ﺃﻥ ﻛﻞ‬
‫ﻭﻗــﺮﺍﺭﺍﺕ ﻗــﺪ ﺗﺼــﻞ ﺇﻟــﻰ ﺣــﺪ ﺳــﺤﺐ‬ ‫ﺍﻟﺸــﺮﻭﻁ ﻣﻮﻓــﺮﺓ ﻟﻠﺼﺤﻔــﻲ ﻛــﻲ‬
‫ﻳﺨﻄــﺊ‪ ،‬ﻷﻥ ﺍﻟﺠﻤﻬــﻮﺭ ﺍﻟــﺬﻱ ُﻳﻔﺘــﺮﺽ‬
‫ﻳﺴــﺘﻄﻴﻊ ﺍﻟﻘﻴــﺎﻡ ﺑــﺪﻭﺭﻩ‪ ،‬ﺑﻔﻌــﻞ‬ ‫ﻳﺤﺎﺳــﺐ ﻏﻴــﺮ ﻣﻮﺿــﻮﻉ ﻲﻓ‬ ‫ِ‬ ‫ﺑــﻪ ﺃﻥ‬
‫ﻃﺒﻴﻌــﺔ ﺍﻟﻨﻈــﺎﻡ ﺍﻟﺴﻴﺎﺳــﻲ ﺍﻟﻠﺒﻨﺎﻧــﻲ‬ ‫ﺍﻻﻋﺘﺒﺎﺭ"‪.‬‬
‫ﺍﻟﻘﺎﺋــﻢ ﻰﻠﻋ ﺍﻟﺤﻤﺎﻳــﺎﺕ‪ ،‬ﻭﻳﻘﺘﺼــﺮ ﺩﻭﺭ‬
‫ﻗﺎﻧــﻮﻥ ﺍﳌﻄﺒﻮﻋــﺎﺕ ﻰﻠﻋ ﺩﻋــﺎﻭﻯ‬ ‫ﻛﻤــﺎ ﻳــﺮﻯ ﺃﻥ ﺍﳌﺸــﻬﺪ ﺍﻟﺘﻨﺎﻓﺴــﻲ‬
‫ﺍﻟﻘﺪﺡ ﻭﺍﻟﺬﻡ ﻭﺍﻟﺘﻌﻮﻳﻀﺎﺕ"‪.‬‬ ‫ﺍﻟﺴــﺎﺋﺪ ﺑﻴــﻦ ﻭﺳــﺎﺋﻞ ﺍﻹﻋــﻼﻡ ﻲﻓ‬
‫ﻟﺒﻨــﺎﻥ ﻳﻮﺳــﻊ ﻫﺎﻣــﺶ ﺍﻟﺨﻄــﺄ‪ ،‬ﺣﻴــﺚ‬
‫ﻭﻳﻠﻔــﺖ ﺇﻟــﻰ ﺃﻥ ﺍﻟﻘﻀــﺎﺀ ﻣﻔﺘــﺎﺡ‬ ‫ﺗــﺆﺩﻱ ﺍﻟﺴــﺮﻋﺔ ﻲﻓ ﻧﻘــﻞ ﺍﻟﺨﺒــﺮ ﺑــﻼ‬
‫ﺍﻻﺯﺩﻫــﺎﺭ‪ ،‬ﻭﺃﻥ ﺍﺿﻄﻼﻋــﻪ ﺑــﺪﻭﺭﻩ ﺍﻟــﺮﺍﺩﻉ‬ ‫ﺗﺪﻗﻴــﻖ ﻣــﻦ ﺃﺟــﻞ ﺯﻳــﺎﺩﺓ ﻋــﺪﺩ‬
‫ﻫــﻮ ﺍﻟــﺬﻱ ﻳﻤﻨــﻊ ﻣﺮﺗﻜﺒــﻲ ﺍﻷﺧﻄــﺎﺀ‬ ‫ﺍﳌﺸــﺎﻫﺪﻳﻦ ﺃﻭ ﺍﻟﻘــﺮﺍﺀ‪ ،‬ﺇﻟــﻰ ﺃﺧﻄــﺎﺀ ﻻ‬
‫‪-‬ﺃﻳﴼ ﻛﺎﻧﺖ‪ -‬ﻣﻦ ﺍﺭﺗﻜﺎﺑﻬﺎ‪.‬‬ ‫ﺗﺤﻤــﺪ ﻋﻘﺒﺎﻫــﺎ‪ .‬ﻛﻤــﺎ ﺃﻥ ﺍﻟﻘﻨــﻮﺍﺕ‬
‫ﺗﺮﺳــﻞ ﻣﺮﺍﺳــﻠﻴﻦ ﺑــﻼ ﺧﺒــﺮﺓ ﻣﻬﻨﻴــﺔ‬
‫ﻭﺇﺫ ﻳﺪﻋــﻮ ﺯﻳــﻦ ﺍﻟﺪﻳــﻦ ﺇﻟــﻰ ﺗﻔﻌﻴــﻞ ﺩﻭﺭ‬ ‫ﻟﺘﻐﻄﻴــﺔ ﺃﺣــﺪﺍﺙ ﻛﺒــﺮﻯ ﻛﺎﻻﻧﻔﺠــﺎﺭﺍﺕ‪،‬‬
‫"ﺗﻠﻔﺰﻳــﻮﻥ ﻟﺒﻨــﺎﻥ" ﺍﻟﺤﻜﻮﻣــﻲ‪ ،‬ﻧﻈــﺮﺍ‬ ‫ﻲﻓ ﺣﻴــﻦ ﺃﻥ ﻭﺳــﺎﺋﻞ ﺍﻹﻋــﻼﻡ ﻲﻓ‬
‫ﻟﻜﻮﻥ ﻭﻇﻴﻔﺘﻪ ﺗﺄﻣﻴﻦ ﺗﻐﻄﻴﺔ‬ ‫ﺍﻟﻌﺎﻟﻢ ﺗﺮﺳﻞ ﺃﻛﺜﺮ ﻣﺮﺍﺳﻠﻴﻬﺎ ﺧﺒﺮﺓ‬
‫ﺍﻟﻔﻴﻠﻢ ﺍﻟﻮﺛﺎﺋﻘﻲ ﺑﻴﻦ‬
‫ﺍﻟﻘﻴﻤﺔ ﺍﻹﺧﺒﺎﺭﻳﺔ‬
‫ﻭﺍﻟﺤﺲ ﺍﻟﻔﻨﻲ‬
‫ﺑﺼــﺮﻱ ﻭﻣﻮﺿﻮﻋــﻲ‪ ،‬ﻭﺃﻳﻀــﺎ ﺇﻟــﻰ‬
‫ﺗﺸــﻜﻴﻞ ﺍﻟﻌﻼﻗــﺎﺕ ﻭﺍﻟﺮﻭﺍﺑــﻂ ﺩﺍﺧــﻞ‬
‫ﺍﻟﻔﻴﻠﻢ‪.‬‬
‫ﺗﻐﻄﻴﺘﻬــﺎ ﻟﻬــﺬﻩ ﺍﻷﺣــﺪﺍﺙ‪ ،‬ﻭﻃﺒﻌــﺎ‬
‫ـﻮﻝ ﺍﻟﻔﻴﻠــﻢ ﺇﻟــﻰ ﻣﺠــﺮﺩ ﺗﻘﺮﻳــﺮ‬
‫ﻭﻣﻤــﺎ ﻳﺤـ ّ‬
‫ﺇﺧﺒــﺎﺭﻱ ﻫــﻮ ﺗﻨــﺎﻭﻝ ﺍﻟﻘﺼــﺺ ﻛﻤﻠﻔــﺎﺕ‬
‫ﻋﺎﻣــﺔ ﻳﺘــﻢ ﺍﻟﻨﻘــﺎﺵ ﺣﻮﻟﻬــﺎ ﺑﺎﻻﻋﺘﻤــﺎﺩ‬
‫ﻰﻠﻋ ﻭﺟــﻮﺩ ﺷــﺨﺼﻴﺎﺕ ﺗﺘﺤــﺪﺙ ﺣــﻮﻝ‬
‫ﺍﳌﻮﺿــﻮﻉ‪ ،‬ﻳﺘﺨﻠــﻞ ﺫﻟــﻚ ﺑﻌــﺾ‬
‫ﺍﻟﻠﻘﻄــﺎﺕ ﻟﺘﻌﺒﺌــﺔ ﺍﻟﻔﺮﺍﻏــﺎﺕ ﺩﻭﻥ‬
‫ﺗﺸــﻜﻴﻞ ﻟﻠﺮﻭﺍﺑــﻂ ﺍﻟﻔﻨﻴــﺔ ﺑﻴﻨﻬــﺎ‪،‬‬
‫ﻟﺘﺒــﺪﻭ ﻲﻓ ﺍﻟﻨﻬﺎﻳــﺔ ﺃﺷــﺒﻪ ﺑﺎﻟﻜﺘــﺎﺏ‬
‫ﺍﻟﻐﻨﻲ ﺑﺎﻟﺼﻮﺭ ﻭﺍﻟﻮﺛﺎﺋﻖ‪.‬‬
‫ﺇﻓــﺮﺍﻍ ﻫــﺬﻩ ﺍﻷﻓــﻼﻡ ﻣــﻦ ﻣﺤﺘﻮﺍﻫــﺎ‬
‫ﻭﻛﺎﻥ ﻟﻄﺒﻴﻌــﺔ ﺍﳌﻮﺍﺿﻴــﻊ ﺍﻟﺘــﻲ ﺗﻬﺘــﻢ‬
‫ﺑﻬــﺎ ﺍﻟﻘﻨــﻮﺍﺕ ﺩﻭﺭ ﻛﺒﻴــﺮ ﻓﻴﻤــﺎ ﺳــﺒﻖ‪،‬‬
‫ﻭﻛﺜﻴــﺮﺍ ﻣــﺎ ﺗﻌﺘﻤــﺪ ﻰﻠﻋ ﺗﻨــﺎﻭﻝ ﺃﻱ‬
‫ﻣﻮﺿــﻮﻉ ﺑﺎﻟﺴــﺮﺩ ﺍﻟﻌــﺎﻡ ﻭﺍﻟﺘﺤﻠﻴــﻞ‪ ،‬ﺩﻭﻥ‬
‫ﺍﻻﻫﺘﻤــﺎﻡ ﺑﺎﻟﻐــﻮﺹ ﺃﻛﺜــﺮ ﻲﻓ ﺍﻟﻮﺍﻗــﻊ‬
‫ﻧﻔﺴــﻪ ﻭﻣــﺎ ﻳﺨﻔﻴــﻪ ﻣــﻦ ﺃﻣــﻮﺭ ﻟــﻦ‬
‫ﺗﻨﻘﻠﻬﺎ ﺍﻷﺧﺒﺎﺭ‪.‬‬
‫ﻭﻟﻜــﻦ ﺑﻤــﺮﻭﺭ ﺍﻟﺴــﻨﻮﺍﺕ ﻭﺍﻟﺘﻄــﻮﺭ ﺍﻟــﺬﻱ‬
‫ﺣــﺪﺙ ﻛﻨﺘــﺎﺝ ﻃﺒﻴﻌــﻲ ﻣــﻊ ﺗﺰﺍﻳــﺪ‬
‫ﺍﻟﺨﺒــﺮﺓ ﻭﺍﻻﻫﺘﻤــﺎﻡ ﺑﻬــﺬﺍ ﺍﻟﻨــﻮﻉ ﻣــﻦ‬
‫ﺍﻷﻓــﻼﻡ‪ ،‬ﻓﻀــﻼ ﻋــﻦ ﺍﻧﺘﺸــﺎﺭ ﻣــﺎ ﻳﻌــﺮﻑ‬
‫ﺑﺎﻷﻓــﻼﻡ ﺍﳌﺴــﺘﻘﻠﺔ ﺍﳌﻨﺎﻓﺴــﺔ ﻟﺘﻠــﻚ‬
‫ﳌﻨ َﺘﺠــﺔ ﻣــﻦ ﻗﺒــﻞ ﺍﳌﺆﺳﺴــﺎﺕ‬ ‫ﺍ ُ‬
‫ﻭﺍﻟﻘﻨــﻮﺍﺕ‪ ،‬ﺯﺍﺩ ﺍﻟﺤــﺮﺹ ﺃﻛﺜــﺮ ﻰﻠﻋ‬
‫ﺍﻟﺘﻨﻮﻳــﻊ ﻲﻓ ﺍﻷﺩﻭﺍﺕ ﺍﻟﻔﻨﻴــﺔ‬
‫ﻟﺼﻨﺎﻋﺘﻬــﺎ‪ ،‬ﻭﺯﺍﺩ ﺍﻟﺘﻨﺎﻓــﺲ ﺑﻴــﻦ‬
‫ُﺻ ﱠﻨﺎﻋﻬﺎ ﻟﺘﻘﺪﻳﻢ ﺍﻷﻓﻀﻞ‪.‬‬
‫ﻭﺑــﺪﺃﺕ ﺍﻟﻘﻨــﻮﺍﺕ ﻭﺍﻟﺠﻬــﺎﺕ ﺍﻹﻧﺘﺎﺟﻴــﺔ‬
‫ﺗﺪﺭﻙ ﻋﺪﻡ ﺟﺪﻭﻯ ﺍﻟﻌﻤﻞ ﻰﻠﻋ ﻫﺬﻩ‬
‫ﺍﻟﻘﻨــﻮﺍﺕ ﺑﺎﻷﻓــﻼﻡ ﺫﺍﺕ ﺍﻟﻄﺎﺑــﻊ‬
‫ﺍﻹﺧﺒــﺎﺭﻱ‪ ،‬ﺃﻱ ﺍﻟﺘــﻲ ﺗﻼﺣــﻖ ﺃﺣﺪﺍﺛــﺎ‬
‫ﻣﻌﻴﻨــﺔ ﻟﺘﺘﻨﺎﻭﻟﻬــﺎ ﺑﺸــﻜﻞ ﺃﻭﺳــﻊ ﺿﻤــﻦ‬
‫ﻛﺠــﺰﺀ ﻣــﻦ ﺇﻛﻤــﺎﻝ ﺩﻭﺭﺍﺗﻬــﺎ ﺍﻟﺒﺮﺍﻣﺠﻴــﺔ‬
‫ﻭﺍﻟﺘﻨﻮﻳــﻊ ﻭﻛﺴــﺮ ﺍﻟﺠﻤــﻮﺩ ﺍﻟــﺬﻱ ﻳﻠــﻒ‬
‫ﻃﺒﻴﻌﺘﻬﺎ ﺍﻹﺧﺒﺎﺭﻳﺔ‪.‬‬
‫ﻭﻫﻜــﺬﺍ ﺗﻬﺎﻓــﺖ ﺍﳌﻨﺘﺠــﻮﻥ ﻰﻠﻋ‬
‫ﺗﻘﺪﻳــﻢ ﻫــﺬﺍ ﺍﻟﻨــﻮﻉ ﺍﻟﺴــﻬﻞ ﻣــﻦ‬
‫ﺍﻷﻓــﻼﻡ ﺩﻭﻥ ﺍﻻﻧﺘﺒــﺎﻩ ﺇﻥ ﻛﺎﻧــﺖ ﺗﺤــﻮﻱ‬
‫ﺟﻤﻴــﻊ ﻋﻨﺎﺻــﺮ ﺍﻟﻔﻴﻠــﻢ ﺍﻟﻮﺛﺎﺋﻘــﻲ ﺇﻟــﻰ‬
‫ﺟﺎﻧــﺐ ﺍﻟﻔــﻦ ﻭﺍﻹﺑــﺪﺍﻉ‪ ،‬ﻣﻤــﺎ ﺃﺩﻯ ﺇﻟــﻰ‬
‫ﺍﻟﻔﻨــﻲ ﻭﺗﺴــﻄﻴﺤﻬﺎ ﺣﺘــﻰ ﻭﺇﻥ ﻛﺎﻥ‬
‫ﻓﻴﻬــﺎ ﺍﻟﻜﺜﻴــﺮ ﻣــﻦ ﺍﻟﺠﻤﺎﻟﻴــﺎﺕ ﺍﻟﺒﺼﺮﻳــﺔ‬
‫ﺍﳌﻨﻔــﺮﺩﺓ‪ ،‬ﻭﺍﻟﺘــﻲ ﺻــﺎﺭ ﺗﻨﻔﻴﺬﻫــﺎ ﺳــﻬﻼ‬
‫ﻲﻓ ﻋﺼــﺮ ﺍﻟﺮﻗﻤﻴــﺔ ﻭﺗﻄــﻮﺭ ﺍﻟﻜﺎﻣﻴــﺮﺍﺕ‬
‫ﻭﺍﳌﻮﻧﺘﺎﺝ‪ ،‬ﻟﻜﻨﻬﺎ ﺗﻔﺘﻘﺪ ﺇﻟﻰ ﺑﻨﺎﺀ‬
‫ﻳﺤﺘﻤﻞ ﺍﻟﻔﻴﻠﻢ‬
‫ﺍﻟﻮﺛﺎﺋﻘﻲ ﻗﺪﺭﺍ ﻛﺒﻴﺮﺍ‬
‫ﻣﻦ ﺍﻹﺑﺪﺍﻉ ﻭﺍﻟﺨﻴﺎﻝ‬
‫ﻲﻓ ﺷﻜﻞ ﺍﳌﻌﺎﻟﺠﺔ‪،‬‬
‫ﺩﻭﻥ ﺃﻥ ﻳﺠﺘﺰﺉ ﻣﻦ‬
‫ﺍﻟﺤﻘﻴﻘﺔ ﺃﻭ ﻳﻐ ّﻴﺮ‬
‫ﻓﻴﻬﺎ‪ ،‬ﻓﻬﻮ ﻳﻜﺘﺴﺐ‬
‫ﺃﻫﻤﻴﺘﻪ ﻣﻦ ﻛﻴﻔﻴﺔ‬
‫ﻧﻘﻠﻪ ﻟﻠﻮﺍﻗﻊ‬
‫ﻭﺗﻘﺪﻳﻤﻪ ﻟﻠﻤﻌﻠﻮﻣﺎﺕ‪.‬‬
‫ﺑﺸﺎﺭ ﺣﻤﺪﺍﻥ‬
‫ﻣﻨــﺬ ﺑــﺪﺀ ﺍﻧﺘﺸــﺎﺭ ﺍﻟﻔﻀﺎﺋﻴــﺎﺕ ﺍﻹﺧﺒﺎﺭﻳــﺔ‬
‫ﺗــﺮﺩﺩ‬
‫ﱠ‬ ‫ﻭﺍﻫﺘﻤﺎﻣﻬــﺎ ﺑﺎﻟﻔﻴﻠــﻢ ﺍﻟﻮﺛﺎﺋﻘــﻲ‪،‬‬
‫ﺳــﺆﺍﻝ ﻣﺴــﺘﻤﺮ‪ :‬ﻫــﻞ ُﻳﻤﻜــﻦ ﺇﺩﺭﺍﺝ ﻣــﺎ‬
‫ـﺪﻡ ﻣــﻦ ﺃﻓــﻼﻡ ﻰﻠﻋ ﻫــﺬﻩ ﺍﻟﻘﻨــﻮﺍﺕ‬ ‫ُﻳﻘـ ﱠ‬
‫ﺿﻤــﻦ ﻣﻔﻬــﻮﻡ ﺍﻟﻔﻴﻠــﻢ ﺍﻟﻮﺛﺎﺋﻘــﻲ‪ ،‬ﺃﻡ‬
‫ﻫﻲ ﻣﺠﺮﺩ ﺗﻘﺎﺭﻳﺮ ﺇﺧﺒﺎﺭﻳﺔ ﻃﻮﻳﻠﺔ؟‬
‫ﻭﺑﻌﻴــﺪﺍ ﻋــﻦ ﺗﻌــﺪﺍﺩ ﺍﻟﻔﺮﻭﻗــﺎﺕ ﺑﻴﻨﻬﻤــﺎ‪،‬‬
‫ﻓــﺈﻥ ﻣــﺎ ﻳﺠﻤﻌﻬﻤــﺎ ﻫــﻮ ﺗﻘﺪﻳــﻢ‬
‫ﺍﳌﻌﻠﻮﻣــﺔ‪ ،‬ﻭﺭﺑﻤــﺎ ﻳﻜﻤــﻦ ﺍﻟﻔــﺮﻕ ﻲﻓ‬
‫ﻛﻴﻔﻴﺔ ﺗﻘﺪﻳﻤﻬﺎ‪.‬‬
‫ﻳﻨﺼــﺐ ﺗﺮﻛﻴــﺰ ﺍﳌﻌﻠﻮﻣــﺔ ﻲﻓ‬‫ﱡ‬ ‫ﻗــﺪ‬
‫ﺍﻟﺘﻘﺮﻳــﺮ ﺃﻛﺜــﺮ ﻰﻠﻋ ﺍﻟﺤــﺪﺙ ﻧﻔﺴــﻪ‪،‬‬
‫ﻓﻨﺘﺎﺑﻌــﻪ ﳌﻌﺮﻓــﺔ ﺗﻔﺎﺻﻴﻠــﻪ ﺍﻟﻌﺎﻣــﺔ‬
‫ﺩﻭﻥ ﺍﻟﺪﺧــﻮﻝ ﻲﻓ ﺍﻟﺠﺰﺋﻴــﺎﺕ ﺃﻭ‬
‫ﻣﻼﺣﻘــﺔ ﻣــﺎ ﻭﺭﺍﺀ ﺍﻟﺤــﺪﺙ ﻣــﻦ ﺗﻔﺎﺻﻴــﻞ‬
‫ﻏﻴــﺮ ﻇﺎﻫــﺮﺓ ﺑﺴــﻬﻮﻟﺔ‪ ،‬ﺑﻴﻨﻤــﺎ ﻻ‬
‫ﻳﻜﺘﻔــﻲ ﺍﻟﻔﻴﻠــﻢ ﺍﻟﻮﺛﺎﺋﻘــﻲ ﺑﺘﻘﺪﻳــﻢ‬
‫ﺍﳌﻌﻠﻮﻣــﺔ ﻭﺇﻧﻤــﺎ ﻳﻨﺒــﺶ ﻲﻓ ﻛﺎﻓــﺔ‬
‫ﺗﻔﺎﺻﻴﻠﻬــﺎ‪ ،‬ﺳــﻌﻴﺎ ﻟﺘﻘﺪﻳــﻢ ﻓﻬــﻢ ﺃﻭﺳــﻊ‬
‫ﻭﺃﺷــﻤﻞ ﻟﻠﺤــﺪﺙ ﺍﻟــﺬﻱ ﻳﻤﻜــﻦ ﺗﻨﺎﻭﻟــﻪ‬
‫ﻲﻓ ﺍﻷﺧﺒــﺎﺭ ﺃﻭ ﻲﻓ ﺍﻟﺘﻘﺎﺭﻳــﺮ ﺍﻟﺼﺤﻔﻴــﺔ‪.‬‬
‫ﻭﻟﻨﺘﻔــﻖ ﻫﻨــﺎ ﻰﻠﻋ ﺃﻧﻨــﺎ ﻟــﻦ ﻧﺘﺤــﺪﺙ‬
‫ﻋﻦ ﺍﻷﻓﻼﻡ ﺍﳌﻮﻏﻠﺔ ﻲﻓ ﺍﻟﺮﻣﺰﻳﺔ‪.‬‬
‫ﻌــﺪ ﻛﺜﻴــﺮ ﻣــﻦ ﺍﻟﺒﺎﺣﺜﻴــﻦ‬
‫ﻣــﻊ ﺫﻟــﻚ‪َ ،‬ﻳ ّ‬
‫ﻭﺍﻟﻨﺎﻗﺪﻳــﻦ ﻲﻓ ﻣﺠــﺎﻝ ﺍﻷﻓــﻼﻡ ﺃﻥ‬
‫ﺗﺴــﺎﺑﻖ ﺍﻟﻘﻨــﻮﺍﺕ ﻹﻧﺘــﺎﺝ ﺍﻷﻓــﻼﻡ‬
‫ﺍﻟﻮﺛﺎﺋﻘﻴــﺔ ﺍﻟﺘﻠﻔﺰﻳﻮﻧﻴــﺔ ﺃﺩﻯ ﺇﻟــﻰ‬
‫ﺗﻤﻴﻴﻌﻬــﺎ‪ ،‬ﻓﻠــﻢ ﺗﻌــﺪ ﺃﻓﻼﻣــﺎ ﻭﺛﺎﺋﻘﻴــﺔ‬
‫ﺣﻘﻴﻘﻴــﺔ ﺑﻘــﺪﺭ ﻣــﺎ ﻫــﻲ ﻣﺠــﺮﺩ ﺃﻓــﻼﻡ‬
‫ﺫﺍﺕ ﻗﻮﺍﻟــﺐ ﻓﻨﻴــﺔ ﺿﻌﻴﻔــﺔ ﻻ ﺗﺨﺘﻠــﻒ‬
‫ﻋــﻦ ﺍﻟﺘﻘﺎﺭﻳــﺮ ﺍﻹﺧﺒﺎﺭﻳــﺔ ﺇﻻ ﻲﻓ ﻃــﻮﻝ‬
‫ﺍﻫﺘﻤﺎﻡ‬
‫ُ‬ ‫ﺍﳌﺪﺓ‪ .‬ﻭﻗﺪ ﻋﺰﺯ ﻣﻦ ﺫﻟﻚ‬
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 ‫ﺍﻷﻓــﻼﻡ ﳌﺠــﺮﺩ ﺗﻌﺒﺌــﺔ ﺍﻟــﺪﻭﺭﺍﺕ‬
‫ﺍﻟﺒﺮﺍﻣﺤﻴــﺔ ﻭﻟﻠﺘﺪﻟﻴــﻞ ﻰﻠﻋ ﺗﻮﺳــﻊ‬
‫ﺗﻐﻄﻴﺎﺗﻬــﺎ ﺍﻹﺧﺒﺎﺭﻳــﺔ‪ ،‬ﺧﺼﻮﺻــﺎ ﻲﻓ‬
‫ﻇــﻞ ﺍﳌﺒﺎﻟــﻎ ﺍﻟﺘــﻲ ُﺗﺼــﺮﻑ ﻰﻠﻋ‬
‫ﺍﻹﻧﺘــﺎﺝ‪ ،‬ﻓــﻜﺎﻥ ﻟﺰﺍﻣــﺎ ﻋﻠﻴﻬــﺎ ﺃﻥ ﺗﺴــﻌﻰ‬
‫ﻟﻠﺘﻄﻮﻳــﺮ ﻭﺃﻥ ﺗﺤــﺎﻭﻝ ﺗﻘﺪﻳــﻢ ﺃﻓــﻼﻡ‬
‫ﻭﺛﺎﺋﻘﻴــﺔ ﺫﺍﺕ ﻣﺴــﺘﻮﻯ ﻋــﺎﻝ ﻭﻣﺘﻤﻴــﺰ‬
‫ﺗﺤﻘــﻖ ﺭﺩﻭﺩ ﺍﻟﻔﻌــﻞ ﻭﺍﻷﺻــﺪﺍﺀ ﺍﻟﺘــﻲ‬
‫ﺗﺘﺠﺎﻭﺯ ﺣﺪﻭﺩ ﺍﻻﻫﺘﻤﺎﻣﺎﺕ ﺍﳌﺆﻗﺘﺔ‪.‬‬

‫ﻛﻤــﺎ ﺗﻌﺘﺒــﺮ ﺍﻟﺴــﺮﻋﺔ ﻣــﻦ ﺑﻴــﻦ‬

‫ﺇﺷــﻜﺎﻟﻴﺎﺕ ﺻﻨﺎﻋــﺔ ﺍﻷﻓــﻼﻡ ﺍﻟﻮﺛﺎﺋﻘﻴــﺔ‪،‬‬
‫ﻓﻌــﺎﺩﺓ ﻳﺮﻳــﺪ ﺍﻟﻘﺎﺋﻤــﻮﻥ ﻰﻠﻋ ﺍﻟﻘﻨــﻮﺍﺕ‬
‫ﺍﻹﺧﺒﺎﺭﻳــﺔ ﺗﻘﺪﻳــﻢ ﺍﻷﻓــﻼﻡ ﺍﻟﺘــﻲ ﺗﺘﺘ ّﺒــﻊ‬
‫ﺃﺣﺪﺍﺛــﺎ ﺟﺎﺭﻳــﺔ ﻲﻓ ﺃﺳــﺮﻉ ﻭﻗــﺖ ﻣﻤﻜــﻦ‪،‬‬
‫ﻭﻫــﻮ ﻣــﺎ ﻳﻄــﺮﺡ ﺍﻟﺘﺴــﺎﺅﻝ ﺣــﻮﻝ‬
‫ﺍﳌﺴــﺎﺣﺔ ﺍﻟﺘــﻲ ﻳﻤﻜــﻦ ﺃﻥ ﻳﺘﻤﺘــﻊ ﺑﻬــﺎ‬
‫ﺻﻨــﺎﻉ ﺍﻟﻔﻴﻠــﻢ ﺍﻟﻮﺛﺎﺋﻘــﻲ ﻟﺘﻘﺪﻳــﻢ ﻣــﺎ‬
‫ﻫــﻮ ﻣﻘﺒــﻮﻝ ﺇﻋﻼﻣﻴــﺎ ﻭﺳــﻬﻞ ﺍﻟﻮﺻــﻮﻝ‬
‫ﺇﻟــﻰ ﺍﳌﺸــﺎﻫﺪ‪ ،‬ﻭﺑﻌﻴــﺪﺍ ﻋــﻦ ﺍﻟﻐــﻮﺹ‬
‫ﻲﻓ ﺍﻟﺬﺍﺗﻴــﺔ ﻭﺗﻘﺪﻳــﻢ ﺭﺅﻯ ﻓﻨﻴــﺔ‬
‫ﺗﺤﺘﺎﺝ ﺇﻟﻰ ﻭﻗﺖ ﻃﻮﻳﻞ ﻟﻠﺘﻨﻔﻴﺬ؟‬

‫ﻭﻳﺰﻳــﺪ ﻫــﺬﺍ ﻣــﻦ ﺍﺣﺘﻤــﺎﻻﺕ ﺍﻟﻮﻗــﻮﻉ ﻲﻓ‬

‫ﻣﻄــﺐ ﺍﻟﺘﻘﺮﻳــﺮ ﺍﻹﺧﺒــﺎﺭﻱ ﺍﳌﻄــﻮﻝ‬
‫ﻭﺍﻟﺘﻘﻠﻴــﻞ ﻣــﻦ ﻣﺴــﺎﺣﺔ ﺍﻟﺤﺮﻳــﺔ ﻟــﺪﻯ‬
‫ﺍﳌﺨــﺮﺝ ﻟﺘﺸــﻜﻴﻞ ﺍﻟﻔﻴﻠــﻢ ﻛﻤــﺎ ﻳﺠــﺐ‪،‬‬
‫ﺧﺼﻮﺻــﺎ ﻲﻓ ﻣﺮﺣﻠــﺔ ﺍﻟﺘﺼﻮﻳــﺮ‪ ،‬ﻭﺇﻥ ﻛﺎﻥ‬
‫ﻳﻤﻜــﻦ ﻲﻓ ﻣﺜــﻞ ﻫــﺬﻩ ﺍﻟﺤﺎﻟــﺔ ﺍﻟﺘﻔﻜﻴــﺮ‬
‫ﻲﻓ ﺍﳌﻮﻧﺘــﺎﺝ ﻟﺒﻨــﺎﺀ ﺍﻟﺴــﺮﺩ ﺍﻟﺒﺼــﺮﻱ‬
‫ﺍﻟﺤﺒﻜــﺔ‬ ‫ﻭﺧﻠــﻖ‬ ‫ﻭﺍﳌﻮﺿﻮﻋــﻲ‬
‫ﻭﺍﻟﺘﻘﻄﻴــﻊ ﺍﳌﻨﺎﺳــﺐ ﻭﻣﺴــﺘﻮﻯ ﺍﻹﻳﻘــﺎﻉ‬
‫ﺍﻟﻔﻨــﻲ‪ ،‬ﻭﺇﺿﺎﻓــﺔ ﻣــﺎ ﻳﺘــﺎﺡ ﻣــﻦ ﳌﺴــﺎﺕ‬
‫ﺇﺑﺪﺍﻋﻴــﺔ ﺗﺮﻓــﻊ ﻗﻴﻤــﺔ ﺍﻟﻔﻴﻠــﻢ ﺩﻭﻥ‬
‫ﺍﻻﺑﺘﻌﺎﺩ ﻋﻦ ﻏﺎﻳﺘﻪ ﺍﻷﺳﺎﺳﻴﺔ‪.‬‬

‫ﻭﻳﻈــﻞ ﺍﻟﺴــﺆﺍﻝ ﺍﻟﺼﻌــﺐ ﻲﻓ ﻣﺜــﻞ ﻫــﺬﺍ‬

‫ﺍﻟﻨــﻮﻉ ﻣــﻦ ﺍﻷﻓــﻼﻡ ﻫــﻮ‪ :‬ﻣــﺎ ﺍﻟــﺬﻱ‬
‫ﺳــﻴﻔﻌﻠﻪ ﺍﳌﺨــﺮﺝ ﺇﺫﺍ ﺍﺳــﺘﻄﺎﻉ ﺍﻟﺘﻘــﺎﻁ‬
‫ﺍﻟﻠﻘﻄــﺎﺕ ﻻ ﺗﺤﺘﻤــﻞ ﺗﺄﺟﻴــﻞ ﺑﺜﻬــﺎ‬ ‫ﺑﻮﺟﻮﺩ ﻟﻘﻄﺎﺕ ﻏﻴﺮ ﻣﺴﺒﻮﻗﺔ؟‬ ‫ﺻــﻮﺭ ﺣﺼﺮﻳــﺔ ﻟﺤــﺪﺙ ﻣــﺎ‪ ،‬ﺃﻭ ﺗﻔﺎﺻﻴــﻞ‬
‫ﻷﺳﺒﺎﺏ ﻋﺪﺓ‪.‬‬ ‫ﺗﻈﻬــﺮ ﻷﻭﻝ ﻣــﺮﺓ ﻰﻠﻋ ﺍﻹﻋــﻼﻡ‪ ،‬ﻫــﻞ‬
‫ﻟﻴــﺲ ﺳــﻬﻼ ﺍﻹﺟﺎﺑــﺔ ﻰﻠﻋ ﻫــﺬﻩ‬ ‫ﻳﺠــﺐ ﻋﻠﻴــﻪ ﺇﺭﺳــﺎﻟﻬﺎ ﻣﺒﺎﺷــﺮﺓ ﻟﺘﻌــﺮﺽ‬
‫ﻭﻣــﻦ ﺍﻟﺘﺤﺪﻳــﺎﺕ ﺍﻟﺘــﻲ ﻛﺎﻧــﺖ ﺗﻮﺍﺟــﻪ‬ ‫ﺍﻷﺳــﺌﻠﺔ‪ ،‬ﻓﻬــﻲ ﺗﻌﺘﻤــﺪ ﻰﻠﻋ ﺗﻘﺪﻳــﺮ‬ ‫ﻛﺨﺒــﺮ‪ ،‬ﺃﻡ ﻳﻨﺘﻈــﺮ ﻛــﻲ ﻳﻮﻇﻔﻬــﺎ ﻻﺣﻘــﺎ‬
‫ﺍﳌﺨﺮﺟﻴﻦ‪ ،‬ﻛﻴﻔﻴﺔ ﺍﻟﺨﺮﻭﺝ ﻣﻦ ﺍﻟﻘﻮﺍﻟﺐ‬ ‫ُﺻ ﱠﻨﺎﻉ ﺍﻟﻔﻴﻠﻢ‪ ،‬ﻭﻰﻠﻋ ﻛﻮﻥ ﻫﺬﻩ‬ ‫ﻲﻓ ﻓﻴﻠﻤﻪ ﻟﺘﻀﻴﻒ ﻟﻪ ﻋﻨﺼﺮ ﻗﻮﺓ‬

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‫ﺃﻧــﺎﺱ ﻳﺘﻜﻠﻤــﻮﻥ ﻲﻓ ﺷــﻮﺍﺭﻉ ﺍﻟﻀﻔــﺔ ﻋــﻦ ﺃﺣﻮﺍﻟﻬــﻢ‪ ،‬ﻫﺘﺎﻓــﺎﺕ‬
‫ﺟﻤﺎﻫﻴــﺮ‪ ،‬ﻣﻘﺘﻄﻘــﺎﺕ ﻣــﻦ ﺇﺫﺍﻋــﺎﺕ ﻣﺤﻠﻴــﺔ(‪ ،‬ﻣــﻊ ﺇﻳﻘﺎﻋــﺎﺕ‬
‫ﺇﻟﻜﺘﺮﻭﻧﻴــﺔ ُﺗــﻮﱠﺯﻉ ﺑﻤــﺎ ﻳﺘﻨﺎﺳــﺐ ﻣــﻊ ﺍﻟﻔﻜــﺮﺓ ﺍﻟﺘــﻲ ﻳﺮﻳــﺪﻭﻥ‬
‫ﺇﻳﺼﺎﻟﻬــﺎ ﻣــﻦ ﺍﳌﻘﻄﻮﻋــﺔ ﺍﳌﻮﺳــﻴﻘﻴﺔ‪ .‬ﻭﻗــﺪ ﺍﺳــﺘﻄﺎﻉ‬
‫ﺳــﻼﻣﺔ ﺗﻮﻇﻴــﻒ ﻣﻘﻄﻮﻋــﺎﺕ ﻫــﺬﻩ ﺍﻟﻔﺮﻗــﺔ ﺑﺸــﻜﻞ ﻣﻤﻴــﺰ‬
‫ﻲﻓ ﺍﻟﻔﻴﻠﻢ‪.‬‬
‫ﺍﻟﺤﻮﺍﺟــﺰ‪ ،‬ﻭﺗﺼﻮﻳــﺮ ﺟــﺰﺀ ﻣــﻦ ﺍﳌﻌﺎﻧــﺎﺓ ﻭﺍﻟﻌﻤــﻞ ﻰﻠﻋ‬
‫ﻛﺎﻧــﺖ ﺗﺠﺮﺑــﺔ ﺳــﻼﻣﺔ ﺃﻛﺜــﺮ ﻧﻀﺠــﺎ ﻲﻓ ﺍﻟﻔﻴﻠــﻢ ﺍﻟــﺬﻱ ﻗﺪﻣــﻪ‬
‫ﺑﻌــﺪ ﺫﻟــﻚ ﻟﺼﺎﻟــﺢ ﻗﻨــﺎﺓ ﺍﻟﺠﺰﻳــﺮﺓ ﺍﻟﻮﺛﺎﺋﻘﻴــﺔ ﻭﻛﺎﻥ ﺑﻌﻨــﻮﺍﻥ‬
‫"ﺃﺑﻨــﺎﺀ ﺍﳌﺠــﺎﺯﺭ"‪ ،‬ﻓﻘــﺪ ﺫﻫــﺐ ﻫــﺬﺍ ﺍﻟﻔﻴﻠــﻢ ﻋﻤﻴﻘــﺎ ﺇﻟــﻰ ﻣــﺎ‬
‫ﻭﺭﺍﺀ ﺍﳌﺠــﺰﺭﺓ ﺑﺎﺳــﺘﻌﺮﺍﺽ ﺫﺍﻛــﺮﺓ ﻣﺠﻤﻮﻋــﺔ ﻣــﻦ ﺍﻷﺷــﺨﺎﺹ‬
‫ﺍﻟﺬﻳــﻦ ﻋﺎﺷــﻮﺍ ﺍﳌﺠــﺎﺯﺭ ﻲﻓ ﺻﻐﺮﻫــﻢ‪ ،‬ﻭﻗــﺪ ﻛﺎﻥ ﺑﺈﻣﻜﺎﻧــﻪ‬
‫ﺍﻟﻌﻤــﻞ ﻋﻠﻴــﻪ ﺑﺎﻟﺸــﻜﻞ ﺍﻟﺘﻘﻠﻴــﺪﻱ ﺑــﺄﻥ ﻳﻜﺘﻔــﻲ ﺑﻌــﺮﺽ‬
‫ﺣﺪﻳــﺚ ﻫــﺆﻻﺀ ﺍﻷﺷــﺨﺎﺹ ﺣــﻮﻝ ﻣــﺎ ﻳﺘﺬﻛﺮﻭﻧــﻪ ﻭﺗﺄﺛﻴــﺮ ﻫــﺬﻩ‬
‫ﺍﻟﺬﻛﺮﻳــﺎﺕ ﻰﻠﻋ ﺣﻴﺎﺗﻬــﻢ ﺍﻟﻴﻮﻣﻴــﺔ‪ ،‬ﻣــﻊ ﺍﻟﻠﺠــﻮﺀ ﺇﻟــﻰ ﻟﻘﻄــﺎﺕ‬
‫ﺃﺭﺷــﻴﻔﻴﺔ ﺣــﻮﻝ ﺍﳌﺠــﺎﺯﺭ‪ .‬ﻟﻜﻨــﻪ ﺑــﺪﻻ ﻣــﻦ ﺫﻟــﻚ ﺣــﺎﻭﻝ ﺃﻥ‬
‫ﻳﻨﻘﻠﻨــﺎ ﺇﻟــﻰ ﺫﺍﻛﺮﺗﻬــﻢ ﻭﻛﺄﻧﻨــﺎ ﻧــﺮﻯ ﻣــﺎ ﺑﺪﺍﺧﻠﻬــﺎ‪ ،‬ﻟﻴــﺲ‬
‫ﻓﻘــﻂ ﻋﺒــﺮ ﺗﻮﻇﻴﻔــﻪ ﻟﻠﺮﺳــﻮﻣﺎﺕ ﺍﳌﺘﺤﺮﻛــﺔ ﻟﺘﻮﺿﻴــﺢ ﺷــﻜﻞ‬
‫ﺍﻟﺬﻛﺮﻳــﺎﺕ‪ ،‬ﻭﺇﻧﻤــﺎ ﺑﺎﻷﺳــﺎﺱ ﻲﻓ ﻃﺮﻳﻘــﺔ ﺍﻟﺘﺼﻮﻳــﺮ ﺑﺎﺧﺘﻴــﺎﺭﻩ‬
‫ﻟﻸﺣﺠــﺎﻡ ﻭﺍﻟﺰﻭﺍﻳــﺎ ﻭﺣــﺮﻛﺎﺕ ﺍﻟﻜﺎﻣﻴــﺮﺍ‪ ،‬ﻣــﻊ ﺍﻻﻫﺘﻤــﺎﻡ ﺑﻠﺤﻈــﺎﺕ‬
‫ﺍﻟﺼﻤــﺖ ﻷﺑﻄــﺎﻝ ﻓﻴﻠﻤــﻪ ﺣﻴﻨﻤــﺎ ﻳﻨﻬﻤﻜــﻮﻥ ﻲﻓ ﺍﻟﺘﺬﻛــﺮ‪،‬‬
‫ﻟﻨﻌﻴــﺶ ﻣﻌﻬــﻢ ﺟــﺰﺀﺍ ﻣــﻦ ﻣﻌﺎﻧﺎﺗﻬــﻢ ﻟــﺪﻯ ﺍﺳــﺘﺤﻀﺎﺭﻫﻢ‬
‫ﻫــﺬﻩ ﺍﻟﺬﻛﺮﻳــﺎﺕ ﻭﻣــﺎ ﺗﺮﻛﺘــﻪ ﻓﻴﻬــﻢ ﻫــﺬﻩ ﺍﳌﺠــﺎﺯﺭ ﻣــﻦ ﺃﺛــﺮ‬
‫ﻧﻔﺴﻲ ﻭﺟﺴﺪﻱ‪.‬‬
‫ﻳﻠﺠــﺄ ﺍﳌﺨــﺮﺝ ﺃﺣﻴﺎﻧــﺎ ﺇﻟــﻰ ﻣﻌﺎﻟﺠــﺔ‬
‫ﺇﺑﺪﺍﻋﻴــﺔ ﻟﻠﻮﺍﻗــﻊ‪ .‬ﺍﻟﻠﻘﻄــﺔ ﻣــﻦ ﺍﻟﻔﻴﻠــﻢ‬
‫ﺍﻟﻮﺛﺎﺋﻘﻲ "ﺃﺑﻨﺎﺀ ﺍﳌﺠﺎﺯﺭ"‪.‬‬
‫ﺍﻟﺘــﻲ ﺍﻋﺘﺎﺩﻫــﺎ ﺍﳌﺸــﺎﻫﺪﻭﻥ ﻟﻠﻔﻴﻠــﻢ ﺍﻟﻮﺛﺎﺋﻘــﻲ‪ ،‬ﻓﻠــﻮ ﺃﺭﺩﻧــﺎ‬
‫ﻣﺜــﻼ ﺗﻨــﺎﻭﻝ ﺍﳌﻌﺎﻧــﺎﺓ ﺍﻟﺘــﻲ ﻳﻌﻴﺸــﻬﺎ ﺍﻟﻔﻠﺴــﻄﻴﻨﻴﻮﻥ‬
‫ﻭﺭﺣــﻼﺕ ﺍﻟﻌــﺬﺍﺏ ﺍﻟﻴﻮﻣﻴــﺔ ﺑﺴــﺒﺐ ﺍﳌﻌﺎﺑــﺮ ﺍﻹﺳــﺮﺍﺋﻴﻠﻴﺔ ﺍﻟﺘــﻲ‬
‫ﺗﻀﻴــﻖ ﻋﻠﻴﻬــﻢ ﺍﻟﺨﻨــﺎﻕ ﻲﻓ ﺗﻨﻘﻼﺗﻬــﻢ ﻭﺳــﺒﻞ ﻋﻴﺸــﻬﻢ‪،‬‬
‫ﻓــﺈﻥ ﻣــﺎ ﺳــﻴﺨﻄﺮ ﻰﻠﻋ ﺑــﺎﻝ ﺍﳌﺸــﺎﻫﺪ ﻫــﻮ ﻓﻴﻠــﻢ ﻳﺴــﺘﻀﻴﻒ‬
‫ﻋــﺪﺩﺍ ﻣــﻦ ﺍﻟﺨﺒــﺮﺍﺀ ﻭﺍﳌﺤﻠﻠﻴــﻦ ﻣــﻊ ﻣﺘﻀﺮﺭﻳــﻦ ﺑﺴــﺒﺐ ﻫــﺬﻩ‬
‫ﻣﻨﺘﺠﺘﻬــﺎ ﻟﺘﻜــﻮﻥ ﺃﺷــﺒﻪ ﺑﺒﺮﻧﺎﻣــﺞ ﺣــﻮﺍﺭﻱ ﻳﺴــﺘﻀﻴﻒ ﻋــﺪﺩﺍ‬
‫ﻣــﻦ ﺍﻟﺸــﺨﺼﻴﺎﺕ ﻲﻓ ﺃﻣﺎﻛــﻦ ﻣﺨﺘﻠﻔــﺔ‪ ،‬ﻳﺘﺨﻠﻠــﻪ ﻣــﺎ ﻳﺸــﺒﻪ‬
‫ﺍﻟﺘﻘﺎﺭﻳــﺮ ﺍﻟﻘﺼﻴــﺮﺓ ﻟﻘﺼــﺺ ﻣــﻦ ﺍﳌﻌﺎﻧــﺎﺓ ﺍﻟﻴﻮﻣﻴــﺔ‬
‫ﻟﻠﻔﻠﺴﻄﻴﻨﻴﻴﻦ‪.‬‬
‫ﻭﻟﻜــﻦ ﺍﳌﺨــﺮﺝ ﻣﺤﻤــﺪ ﺳــﻼﻣﺔ ﻲﻓ ﻓﻴﻠﻤــﻪ "ﻣﻌﺎﻧــﺎﺓ ﺍﻟﻌﺒــﻮﺭ"‬
‫ﺿﻤــﻦ ﺑﺮﻧﺎﻣــﺞ "ﻓﻠﺴــﻄﻴﻦ ﺗﺤــﺖ ﺍﳌﺠﻬــﺮ" ﺍﻟــﺬﻱ ﻳﻌــﺮﺽ‬
‫ﻰﻠﻋ ﻗﻨــﺎﺓ ﺍﻟﺠﺰﻳــﺮﺓ‪ ،‬ﺣــﺎﻭﻝ ﺑﺤــﺬﺭ ﺃﻥ ﻳﻀﻴــﻒ ﺟﺪﻳــﺪﺍ ﻰﻠﻋ‬
‫ﺃﺳــﻠﻮﺏ ﻣﻌﺎﻟﺠــﺔ ﺍﻟﻔﻴﻠــﻢ ﺑﺎﻟﻄﺮﻳﻘــﺔ ﺍﻟﺴــﺎﺑﻘﺔ‪ ،‬ﻟــﺬﺍ ﻓﻘــﺪ‬
‫ﻋﻤــﻞ ﻰﻠﻋ ﺍﺳــﺘﺤﻀﺎﺭ ﺷــﻜﻞ ﺍﳌﻌﺎﻧــﺎﺓ ﺑﺎﻟﺮﺳــﻮﻡ ﺍﳌﺘﺤﺮﻛــﺔ‬
‫ﻭﺇﻥ ﻛﺎﻧــﺖ ﻗﻠﻴﻠــﺔ ﺍﻟﻈﻬــﻮﺭ ﻲﻓ ﺍﻟﻔﻴﻠــﻢ‪ ،‬ﺣﻴــﺚ ﻛﺎﻥ ﻳﺮﺍﻓــﻖ‬
‫ﺍﻟﺼــﻮﺭﺓ ﻃــﻮﺍﻝ ﺍﻟﻔﻴﻠــﻢ ﻟﻘﻄــﺎﺕ ﻟﻔﻨــﺎﻥ ﻳﺮﺳــﻢ‪ ،‬ﻗﺒــﻞ ﺃﻥ‬
‫ﺗﻜﺘﻤــﻞ ﺍﻟﺼــﻮﺭﺓ ﻲﻓ ﻧﻬﺎﻳــﺔ ﺍﻟﻔﻴﻠــﻢ ﻭﺗﺘﺤــﻮﻝ ﺇﻟــﻰ ﺭﺳــﻤﺔ‬
‫ﻣﺘﺤﺮﻛــﺔ‪ .‬ﻛﻤــﺎ ﻋﻤــﻞ ﻰﻠﻋ ﺇﺿﺎﻓــﺔ ﻣﻮﺳــﻴﻘﻴﺔ ﺟﺪﻳــﺪﺓ‬
‫ﺗﺘﻤﺜــﻞ ﻲﻓ ﺍﺳــﺘﺨﺪﺍﻡ ﻣﻘﻄﻮﻋــﺎﺕ ﻟﻔﺮﻗــﺔ "ﺣﺎﺟــﺰ‬
‫‪ "303‬ﺍﻟﺘــﻲ ﺗﺘﻤﻴــﺰ ﻣﻮﺳــﻴﻘﺎﻫﺎ ﺑﻜﻮﻧﻬــﺎ ﻣﺰﻳﺠــﺎ ﻣــﻦ ﺃﺻــﻮﺍﺕ‬
‫ﻃﺒﻴﻌﻴﺔ ﻣﻦ ﻭﺍﻗﻊ ﺍﻟﺤﻴﺎﺓ ﺍﻟﻴﻮﻣﻴﺔ ﻲﻓ ﻓﻠﺴﻄﻴﻦ )ﻣﺜﻞ‬
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‫ﺍﻷﺷــﻴﺎﺀ ﺣﻮﻟــﻪ ﺣﺘــﻰ ﻰﻠﻋ ﻣﺴــﺘﻮﻯ‬
‫ﺗﻨﻌﻤــﻪ ﺑﺠﻤﺎﻟﻴــﺎﺕ‬
‫ﺍﻟﻠﻤــﺲ‪ ،‬ﻭﻛﻴﻔﻴــﺔ ﱡ‬
‫ﺍﻟﺤﻴــﺎﺓ ﺍﻟﺘــﻲ ُﺣــﺮﻡ ﻣﻨﻬــﺎ ﺑﺴــﺒﺐ‬
‫ﺑﺼــﺮﻩ‪ ،‬ﻓﻨﺒﻨــﻲ ﺍﻟﺤﺒﻜــﺔ ﻰﻠﻋ ﻫــﺬﺍ‬
‫ﺍﻷﺳــﺎﺱ‪ ،‬ﻭﻧﺤﻤــﻞ ﺍﳌﺸــﺎﻫﺪ ﻰﻠﻋ‬
‫ﺗﻘﻤﺺ ﻭﺍﻗﻊ ﻫﺬﺍ ﺍﻷﻋﻤﻰ‪.‬‬
‫ﺧﻼﺻــﺔ ﺍﻟﻘــﻮﻝ ﺇﻥ ﺃﻛﺜــﺮ ﻣــﺎ ﻳﻤﻴــﺰ‬
‫ﻲﻓ ﺍﻟﻔﻴﻠــﻢ ﺍﻹﻳﺮﺍﻧــﻲ "ﻟــﻮﻥ ﺍﻟﺠﻨــﺔ"‬
‫ﻟﻠﻤﺨــﺮﺝ ﻣﺠﻴــﺪ ﻣﺠﻴــﺪﻱ ‪-‬ﻭﺇﻥ ﻛﺎﻥ‬
‫ﺍﻟﻔﻴﻠــﻢ ﺭﻭﺍﺋﻴــﺎ ﻭﻟﻴــﺲ ﻭﺛﺎﺋﻘﻴــﺎ‪ -‬ﻗــﺪﻡ‬
‫ﺍﳌﺨــﺮﺝ ﺍﻟﻌﺪﻳــﺪ ﻣــﻦ ﺍﻟﻠﻤﺤــﺎﺕ‬
‫ﺍﻟﺠﻤﺎﻟﻴــﺔ ﻭﺍﻟﻌﻤﻴﻘــﺔ ﻟﻜﻴﻔــﺔ ﺇﺣﺴــﺎﺱ‬
‫ﺑﻄــﻞ ﺍﻟﻔﻴﻠــﻢ ﺍﻷﻋﻤــﻰ ‪-‬ﻭﻫــﻮ ﻃﻔــﻞ‬
‫ﻲﻓ ﺍﻟﺜﺎﻣﻨــﺔ ﻣــﻦ ﻋﻤــﺮﻩ‪ -‬ﺑﺘﻔﺎﺻﻴــﻞ ﻗــﺪ‬
‫ﺗﺒــﺪﻭ ﺑﺴــﻴﻄﺔ‪ ،‬ﻣﺜــﻞ ﺗﺤﺴــﺲ ﻣﻠﻤــﺲ‬
‫ﻭﺭﻕ ﺍﻟﺸــﺠﺮ ﺃﻭ ﺣﺮﻛــﺔ ﺍﻟﻬــﻮﺍﺀ ﻰﻠﻋ‬
‫ﻳــﺪﻩ‪ ،‬ﻓﻤــﺎ ﺍﻟــﺬﻱ ﻳﻤﻨــﻊ ﻣــﻦ ﺍﺑﺘــﻜﺎﺭ ﻣﺜــﻞ‬
‫ﻫــﺬﻩ ﺍﳌﻌﺎﻟﺠــﺎﺕ ﻲﻓ ﺍﻷﻓــﻼﻡ‬
‫ﺍﻟﻮﺛﺎﺋﻘﻴﺔ؟‬
‫ﻣﻘﺎﺑﻠــﺔ ﻣﻌــﻪ ﻭﺗﺼﻮﻳــﺮ ﺑﻌــﺾ‬
‫ﻳﺤﺘﻤــﻞ ﺍﻟﻔﻴﻠــﻢ ﺍﻟﻮﺛﺎﺋﻘــﻲ ﻗــﺪﺭﺍ ﻛﺒﻴــﺮﺍ‬
‫ﻣــﻦ ﺍﻹﺑــﺪﺍﻉ ﻭﺍﻟﺨﻴــﺎﻝ ﻲﻓ ﺷــﻜﻞ‬
‫ﺍﳌﻌﺎﻟﺠــﺔ ﻭﺑــﺪﻭﻥ ﺃﻥ ﻳﺠﺘــﺰﺉ ﻣــﻦ‬
‫ﺍﻟﺤﻘﻴﻘــﺔ ﺃﻭ ﻳﻐ ّﻴــﺮ ﻓﻴﻬــﺎ‪ ،‬ﻓﻬــﻮ‬
‫ﻳﻜﺘﺴــﺐ ﺃﻫﻤﻴﺘــﻪ ﻣــﻦ ﻛﻴﻔﻴــﺔ ﻧﻘﻠــﻪ‬
‫ﻟﻠﻮﺍﻗﻊ ﻭﺗﻘﺪﻳﻤﻪ ﻟﻠﻤﻌﻠﻮﻣﺎﺕ‪.‬‬
‫ﻭﺍﻗــﻊ ﺍﻟﺤﺼــﺎﺭ ﻲﻓ ﻏــﺰﺓ‪ ،‬ﻭﺑﻨﻔــﺲ‬ ‫ﻭﻲﻓ ﻓﻴﻠــﻢ "ﻏــﺰﺓ ﺗﻌﻴــﺶ" ﺍﺳــﺘﻄﺎﻉ‬
‫ﺍﻟﻮﻗــﺖ ﻋﻤــﻞ ﻣﻌﺎﻟﺠــﺔ ﻓﻨﻴــﺔ ﺫﻛﻴــﺔ‬ ‫ﺍﳌﺨــﺮﺝ ﺃﺷــﺮﻑ ﻣﺸــﻬﺮﺍﻭﻱ ﺗﻘﺪﻳــﻢ‬
‫ﻟﻨﻘــﻞ ﺍﻟﻮﺍﻗــﻊ ﺍﳌﻐﺎﻳــﺮ ﺍﻟــﺬﻱ ﻳﺤــﺎﻭﻝ‬ ‫ﺭﺅﻳــﺔ ﺇﺑﺪﺍﻋﻴــﺔ ﻟﻨﻘــﻞ ﺻــﻮﺭ ﻣــﻦ ﺍﻟﺤﺼــﺎﺭ‬
‫ﺗﺤــﺪﻱ ﻫــﺬﺍ ﺍﻟﺤﺼــﺎﺭ ﺑﺎﻹﺻــﺮﺍﺭ ﻰﻠﻋ‬ ‫ﻲﻓ ﻏــﺰﺓ‪ ،‬ﻭﻛﺎﻥ ﺑﺈﻣﻜﺎﻧــﻪ ﺗﻘﺪﻳــﻢ ﻓﻴﻠــﻢ‬
‫ﺍﻟﺤﻴﺎﺓ‪.‬‬ ‫ﻋــﺎﺩﻱ ﺟــﺪﺍ ﻋــﻦ ﺍﻟﺤﺼــﺎﺭ ﻫﻨــﺎﻙ‪،‬‬
‫ﻭﺍﻹﺳــﻬﺎﺏ ﻲﻓ ﺷــﺮﺡ ﺃﺳــﺒﺎﺑﻪ‬
‫ﻭﺍﳌﻌﺎﻧــﺎﺓ ﺍﻟﺘــﻲ ﻳﺘﺮﻛﻬــﺎ ﻰﻠﻋ‬
‫ﺍﻟﻔﻴﻠــﻢ ﻋــﻦ ﺍﻟﺘﻘﺮﻳــﺮ ﻟﻴــﺲ ﻲﻓ ﺗﻀﻤﻨــﻪ‬ ‫ﺍﻟﻔﻠﺴــﻄﻴﻨﻴﻴﻦ‪ ،‬ﻭﺃﻥ ﻳﻜــﺮﺭ ﻣــﺎ ﻳﻘــﺎﻝ‬
‫ﻣﻌﻠﻮﻣــﺎﺕ ﺃﻛﺜــﺮ‪ ،‬ﻭﺇﻧﻤــﺎ ﻲﻓ ﻗﺪﺭﺗــﻪ‬
‫ٍ‬ ‫ﻋــﻦ ﻫــﺬﺍ ﺍﻟﺤﺼــﺎﺭ ﻲﻓ ﺍﻷﺧﺒــﺎﺭ‪ .‬ﻟﻜﻨــﻪ‬
‫ﻰﻠﻋ ﺗﻘﺪﻳــﻢ ﻫــﺬﻩ ﺍﳌﻌﻠﻮﻣــﺎﺕ‬ ‫ﻓﻀــﻞ ﺃﻥ ﻳﻨﻘــﻞ ﺷــﻜﻞ ﺍﻟﺤﻴــﺎﺓ ﺩﺍﺧــﻞ‬
‫ﺑﺄﺷــﻜﺎﻝ ﺇﺑﺪﺍﻋﻴــﺔ ﻣﺨﺘﻠﻔــﺔ‪ ،‬ﻭﻛﻤــﺎ‬ ‫ﺍﻟﻘﻄــﺎﻉ‪ ،‬ﻭﻛﻴــﻒ ﻳﻌﻴــﺶ ﺍﻟﻨــﺎﺱ‬
‫ﻳﻘــﻮﻝ ﺍﳌﺨــﺮﺝ ﺍﻟﺒﺮﻳﻄﺎﻧــﻲ ﺟــﻮﻥ‬ ‫ﻭﻳﻤﺎﺭﺳــﻮﻥ ﺍﻟﻔــﺮﺡ ﻭﺍﻟﺒﻬﺠــﺔ‪ ،‬ﻭﺫﻟــﻚ‬
‫ﻏﺮﻳﺮﺳــﻮﻥ ﺇﻥ ﺍﻟﻔﻴﻠــﻢ ﺍﻟﻮﺛﺎﺋﻘــﻲ ﻫــﻮ‬ ‫ﻣــﻦ ﺧــﻼﻝ ﻋــﺪﺓ ﻗﺼــﺺ ﺍﺳــﺘﻄﺎﻉ‬
‫"ﺍﳌﻌﺎﻟﺠﺔ ﺍﻟﺨﻼﻗﺔ ﻟﻠﻮﺍﻗﻊ"‪.‬‬ ‫ﺗﻘﺪﻳﻤﻬــﺎ ﻛﻠﻮﺣــﺎﺕ ﻣﻨﻔﺼﻠــﺔ ﻭﺑــﺪﻭﻥ‬
‫ﺗﻌﻠﻴــﻖ ﻭﻻ ﻣﺪﺍﺧــﻼﺕ ﺣﺘــﻰ ﻣــﻦ‬
‫ﻭﻟــﻮ ﺃﺭﺩﻧــﺎ ﻣﺜــﻼ ﺗﻘﺪﻳــﻢ ﻓﻴﻠــﻢ ﻋــﻦ‬ ‫ﺃﺻﺤــﺎﺏ ﺍﻟﻘﺼــﺺ‪ ،‬ﻭﺇﻧﻤــﺎ ﺗــﺮﻙ ﺍﻟﻜﺎﻣﻴــﺮﺍ‬
‫ﺣﻴــﺎﺓ ﺷــﺨﺺ ﺃﻋﻤــﻰ‪ ،‬ﻓﻴﻤﻜــﻦ‬ ‫ﺗﺮﺻــﺪ ﻣﻼﻣــﺢ ﺍﻟﺤﻴــﺎﺓ ﻲﻓ ﻫــﺬﻩ‬
‫ﺗﻘﺪﻳﻤــﻪ ﺑﺎﻟﻄﺮﻳﻘــﺔ ﺍﻟﻌﺎﺩﻳــﺔ ﺍﻟﺘــﻲ‬ ‫ﺍﻟﻘﺼــﺺ‪ ،‬ﻓﻨﺸــﺎﻫﺪ ﻲﻓ ﺍﻟﻔﻴﻠــﻢ‬
‫ﺗﺸــﺒﻪ ﺍﻟﺘﻘﺎﺭﻳــﺮ ﺍﻹﺧﺒﺎﺭﻳــﺔ ﺑﺈﺟــﺮﺍﺀ‬ ‫ﻣﺠﻤﻮﻋــﺔ ﻣــﻦ ﺍﻟﺼﻴﺎﺩﻳــﻦ ﻲﻓ ﺭﺣﻠــﺔ‬
‫ﺻﻴــﺪ ﻳﺘﺤﺪﺛــﻮﻥ ﻓﻴﻤــﺎ ﺑﻴﻨﻬــﻢ ﻋــﻦ‬
‫ﺍﻟﺘﻔﺎﺻﻴــﻞ ﺍﻟﻈﺎﻫــﺮﺓ ﺑﺴــﻬﻮﻟﺔ ﻟﻠﻌﻴــﺎﻥ‪،‬‬ ‫ﻭﺍﻗــﻊ ﺍﻟﺼﻴــﺪ‪ ،‬ﻭﻧﺮﺍﻫــﻢ ﻳﺘﺴــﺎﻣﺮﻭﻥ‬
‫ﻣﺜــﻞ‪ :‬ﻛﻴــﻒ ﻳﻤﺸــﻲ ﻣﻌﺘﻤــﺪﺍ ﻰﻠﻋ‬ ‫ﻭﻳﻐﻨــﻮﻥ‪ ،‬ﻭﻛﺬﻟــﻚ ﺍﻷﻣــﺮ ﺣﻴــﻦ ﻧﻘــﻞ ﻟﻨــﺎ‬
‫ﻋﺼــﺎﻩ‪ ،‬ﻭﻛﻴــﻒ ﻳﺘﺤــﺪﻯ ﻭﺍﻗﻌــﻪ ﺣﻴــﻦ‬ ‫ﺟﻠﺴــﺔ ﻟﻨﺴــﺎﺀ ﻳﺼﻨﻌــﻦ "ﺍﳌﻔﺘــﻮﻝ"‬
‫ﻧﺸــﺎﻫﺪﻩ ﻳﻘــﻮﻡ ﺑﻌﻤﻠــﻪ‪ .‬ﻟﻜــﻦ ﻟــﻮ‬ ‫‪-‬ﻭﻫــﻲ ﺃﻛﻠــﺔ ﺷــﻌﺒﻴﺔ ﻓﻠﺴــﻄﻴﻨﻴﺔ‪-‬‬
‫ﺫﻫﺒﻨــﺎ ﻋﻤﻴﻘــﺎ ﻲﻓ ﻫــﺬﻩ ﺍﻟﺘﻔﺎﺻﻴــﻞ‪،‬‬ ‫ﺭﺍﺻــﺪﺍ ﺍﻟﺤــﻮﺍﺭﺍﺕ ﻓﻴﻤــﺎ ﺑﻴﻨﻬــﻦ‪ ،‬ﺑــﻞ‬
‫ﻓﻴﻤﻜﻨﻨﺎ ﺭﺻﺪ ﺇﺣﺴﺎﺳﻪ ﺑﺎﻟﻜﺜﻴﺮ ﻣﻦ‬ ‫ﻭﺍﻟﻐﻨﺎﺀ ﺃﺛﻨﺎﺀ ﻋﻤﻠﻬﻦ‪ ..‬ﻭﻫﻜﺬﺍ‪.‬‬
‫ﻭﻣــﻊ ﻧﻬﺎﻳــﺔ ﻛﻞ ﻟﻮﺣــﺔ ﻛﺎﻥ ﻳﺨﺒﺮﻧــﺎ‬
‫ﺑﺎﻟﻜﺘﺎﺑــﺔ ﻰﻠﻋ ﺍﻟﺸﺎﺷــﺔ ﻋــﻦ ﺍﳌﻌﺎﻧــﺎﺓ‪،‬‬
‫ﻣﺜــﻞ‪ :‬ﻭﺍﻗــﻊ ﺍﻟﺼﻴــﺪ ﻲﻓ ﻏــﺰﺓ ﻧﺘﻴﺠــﺔ‬
‫ﺍﻟﺤﺼــﺎﺭ ﻭﺍﳌﻀﺎﻳﻘــﺎﺕ ﺍﻟﺘــﻲ ﻳﺘﻌﺮﺿــﻮﻥ‬
‫ﻟﻬــﺎ ﻣــﻦ ﺍﻟــﺰﻭﺍﺭﻕ ﺍﻹﺳــﺮﺍﺋﻴﻠﻴﺔ‪ ،‬ﻭﻭﺍﻗــﻊ‬
‫ﺍﻟﻨﺴــﺎﺀ ﻧﺘﻴﺠــﺔ ﺍﻟﻈــﺮﻭﻑ ﺍﻻﻗﺘﺼﺎﺩﻳــﺔ‬
‫ﺍﻟﺼﻌﺒــﺔ ﻲﻓ ﺍﻟﻘﻄــﺎﻉ ﺑﺴــﺒﺐ ﺍﻟﺤﺼــﺎﺭ‪،‬‬
‫ﻭﻳﺨﺒﺮﻧــﺎ ﺃﻳﻀــﺎ ﻋــﻦ ﻋــﺪﺩ ﺍﻟﻨﺴــﺎﺀ‬
‫ﺍﻟﻌﺎﻣــﻼﺕ ﻫﻨــﺎﻙ ﻭﻣﺸــﺎﺭﻛﺘﻬﻦ ﻲﻓ‬
‫ﺍﻹﻧﺘــﺎﺝ‪ ،‬ﻭﻛــﻢ ﻋــﺪﺩ ﺍﻟﺸــﻬﻴﺪﺍﺕ ﻣﻨﻬــﻦ‬
‫ﻲﻓ ﺍﻟﺤــﺮﺏ ﻰﻠﻋ ﻏــﺰﺓ ﻋــﺎﻡ‬
‫‪.2008‬‬
‫ﻭﺭﺑﻤــﺎ ﻳﻌﻜــﺲ ﻫــﺬﺍ ﻛﻴﻔﻴــﺔ ﺍﻟﺠﻤــﻊ‬
‫ﺑﻴــﻦ ﺍﻟﺼﺤﺎﻓــﺔ ﻭﺍﻟﻔــﻦ ﻲﻓ ﺍﻟﻔﻴﻠــﻢ‬
‫ﺍﻟﻮﺛﺎﺋﻘــﻲ‪ ،‬ﺑﺘﻘﺪﻳــﻢ ﻣﻌﻠﻮﻣــﺎﺕ ﻣﻔﻴــﺪﺓ‬
‫ﺗﺼﻨــﻒ ﺿﻤــﻦ ﺳــﻴﺎﻕ ﺍﻟﺨﺒــﺮ ﻭﻳﻤﻜــﻦ‬
‫ﺇﺩﺭﺍﺟﻬﺎ ﻲﻓ ﺗﻐﻄﻴﺎﺕ ﺇﺧﺒﺎﺭﻳﺔ ﻋﻦ‬

‫ﻲﻓ ﺍﻟﺼﺤﺎﻓﺔ‬
‫ﺍﻻﺳﺘﻘﺼﺎﺋﻴﺔ‬
‫ﻭﻲﻓ ﻋﺎﻟــﻢ ﻣــﺎ ﺑﻌــﺪ ﺍﻟﺤﺮﺑﻴــﻦ‬
‫ﺍﻟﻌﺎﳌﻴﺘﻴــﻦ‪ ،‬ﻇﻬــﺮﺕ ﺷــﺮﻛﺎﺕ ﺍﻟﻌﻼﻗــﺎﺕ‬
‫ﺍﻟﻌﺎﻣــﺔ ﻭﺗﻌﻠﻤــﺖ ﺍﻟﺤﻜﻮﻣــﺎﺕ ﻛﻴــﻒ‬
‫ﺗﺘﻌﺎﻣــﻞ ﻣــﻊ "ﻭﺳــﻴﻠﺔ ﺍﻟﻴــﻮﻡ"‪..‬‬
‫ﺍﻟﺼﺤﺎﻓﺔ‪.‬‬
‫ﺷــﻬﺪ ﺍﻟﻘــﺮﻥ ﺍﻷﻭﻝ ﻣــﻦ ﺍﻟﺪﻳﻤﻘﺮﺍﻃﻴــﺔ‬
‫ﻲﻓ ﺍﻟﻐــﺮﺏ ﻣﻌﺮﻛــﺔ ﻣﺴــﺘﻤﺮﺓ ﺑﻴــﻦ‬
‫ﺍﻟﺼﺤﺎﻓــﺔ ﺍﻻﺳــﺘﻘﺼﺎﺋﻴﺔ ﻭﺍﳌﺠﻤﻮﻋــﺎﺕ‬
‫ﺍﳌﺘﻨﻔــﺬﺓ ﺍﻟﺘــﻲ ﺣﺎﻭﻟــﺖ ﺃﻥ ﺗﺪﻳــﺮ‬
‫ﺍﻟﻜﻴﻔﻴــﺔ ﺍﻟﺘــﻲ ﺗﺼــﻞ ﺑﻬــﺎ ﺍﳌﻌﻠﻮﻣــﺎﺕ‬
‫ﺇﻟــﻰ ﺍﻟﺠﻤﻬــﻮﺭ‪ .‬ﻟﻜــﻦ ﻭﺳــﺎﺋﻞ ﺍﻹﻋــﻼﻡ‬
‫ﺗﻐﻴــﺮﺕ‪ ،‬ﻭﻛﺎﻧــﺖ ﻭﺗﻴــﺮﺓ ﺑﻌــﺾ‬
‫ﺍﻟﺤﻜﻮﻣــﺎﺕ ﻲﻓ ﺍﻟﻠﺤــﺎﻕ ﺑﺎﻟﺘﻐﻴــﺮﺍﺕ‬
‫ﺍﻟﺠﺪﻳــﺪﺓ ﺑﻄﻴﺌــﺔ‪ ،‬ﻭﺗﻄــﻮﺭﺕ ﺍﻟﻜﺎﻣﻴــﺮﺍﺕ‬
‫ﺍﻟﺼﻐﻴــﺮﺓ ﺍﳌﺤﻤﻮﻟــﺔ ﺑﺎﻟﻴــﺪ ﻲﻓ‬
‫ﺍﻟﺴــﺘﻴﻨﻴﺎﺕ‪ ،‬ﻣﻤــﺎ ﺃﺗــﺎﺡ ﻟﻠﻌﺪﻳــﺪ ﻣــﻦ‬
‫ﺻﺎﻧﻌــﻲ ﺍﻷﻓــﻼﻡ ﺍﻟﺪﺧــﻮﻝ ﺇﻟــﻰ ﻓﻴﺘﻨــﺎﻡ‪،‬‬
‫ﻟﻴﻨﻘﻠــﻮﺍ ‪-‬ﻟﻠﻤــﺮﺓ ﺍﻷﻭﻟــﻰ‪ -‬ﺣﻘﺎﺋــﻖ‬
‫ﺍﻟﺼــﺮﺍﻉ ﺇﻟــﻰ ﺑﻴــﻮﺕ ﺍﻷﻣﻴﺮﻛﻴﻴــﻦ‪.‬‬
‫ﻋﻨﺪﻫــﺎ‪ ،‬ﺗﻌﻠﻤــﺖ ﺣﻜﻮﻣــﺔ ﺍﻟﻮﻻﻳــﺎﺕ‬
‫ﺍﳌﺘﺤــﺪﺓ ﺍﻟــﺪﺭﺱ‪ ،‬ﻭﺃﺩﺭﺟــﺖ ﺍﻟﺼﺤﺎﻓــﺔ‬
‫ﻛﺠــﺰﺀ ﻻ ﻳﺘﺠــﺰﺃ ﺿﻤــﻦ ﺃﻋﻤﺎﻟﻬــﺎ ﺧــﻼﻝ‬
‫ﻋــﺎ ﻡ‬ ‫ﺍ ﻟﺨﻠﻴــﺞ‬ ‫ﺣــﺮ ﺏ‬
‫‪ ،1991‬ﻲﻓ ﻣــﺎ ﻋــﺮﻑ ﺑﺎﻟﺼﺤﺎﻓــﺔ‬
‫ﺍﳌﺮﺍﻓﻘــﺔ ﻟﻠﻘــﻮﺍﺕ ﺍﻟﻌﺴــﻜﺮﻳﺔ ﺃﻭ‬
‫ﺍﻟﺠﻴﻮﺵ ‪Embedded journalism‬‬
‫ﺑﻬــﺪﻑ ﺍﻹﺷــﺮﺍﻑ ﻰﻠﻋ ﺍﻟﺘﻘﺎﺭﻳــﺮ‬
‫ﺍﳌﺮﺳﻠﺔ ﻣﻦ ﺃﺭﺽ ﺍﳌﻌﺮﻛﺔ‪.‬‬
‫ﻭﻣــﻊ ﺩﺧــﻮﻝ ﺷــﺒﻜﺔ ﺍﻹﻧﺘﺮﻧــﺖ ﻛﻮﺳــﻴﻠﺔ‬
‫ﺇﻋــﻼﻡ ﺟﺪﻳــﺪﺓ ﻭﺍﺳــﻌﺔ‪ ،‬ﺗﻤﻜﻨــﺖ‬
‫ﺻﺤــﻒ ﻟﻬــﺎ ﺻﺪﺍﻫــﺎ ﺍﻟﻮﺍﺳــﻊ ﻲﻓ‬
‫ﻣﺨﺘﻠــﻒ ﺍﻟﺸــﺮﺍﺋﺢ ﺍﻻﺟﺘﻤﺎﻋﻴــﺔ ﻣــﻦ‬
‫ﻧﺸــﺮ ﻭﺟﻬــﺎﺕ ﻧﻈﺮﻫــﺎ ﺣــﻮﻝ ﻣﺨﺘﻠــﻒ‬
‫ﺍﻟﻘﻀﺎﻳﺎ‪ ،‬ﺑﺎﻋﺘﺒﺎﺭ ﻫﺬﻩ ﺍﻟﺸﺒﻜﺔ ﻣﻨﺒﺮﺍ‬
‫"ﺍﳌﺸﻬﺮﻭﻥ"‬
‫ﱢ‬
‫ﻓﻴﻞ ﺭﻳﺲ‬
‫ﻣﻬﻨﺔ ﺍﻟﺼﺤﺎﻓﺔ ﺍﻻﺳﺘﻘﺼﺎﺋﻴﺔ ﻣﺜﻴﺮﺓ ﻟﻠﺘﻮﺗﺮ ﻻ‬
‫ﺍﻷﻟﻖ‪ ،‬ﻓﻬﻲ ﺗﺘﺤﺪﻯ ﺍﻟﺴﻠﻄﺔ ﻭﻻ ﺗﻐﺎﺯﻟﻬﺎ‪ ،‬ﻟﺬﺍ‬
‫ﻓﻌﻠﻰ ﺍﻟﺼﺤﻔﻲ ﺍﻻﺳﺘﻘﺼﺎﺋﻲ ﺃﻥ ﻳﻜﻮﻥ‬
‫ﻣﺴﺘﻌﺪﺍ ﻟﺘﺤﻤﻞ ﺍﻟﻌﺪﺍﺀ‪.‬‬
‫ﺍﻟﻨﻔﻄﻴــﺔ ﺍﻟﺘــﻲ ﺃﺳﺴــﻬﺎ ﺟــﻮﻥ ﺭﻭﻛﻔﻠــﺮ‪.‬‬ ‫ﻗﺒــﻞ ﻗــﺮﻥ ﻣــﻦ ﺍﻟﺰﻣــﺎﻥ ﺻــﺎﻍ ﺭﺋﻴــﺲ‬
‫ﻭﻗــﺪ ﺃﺩﺕ ﻣﻘﺎﻻﺗﻬــﺎ ﻲﻓ ﻭﻗــﺖ ﻻﺣــﻖ‬ ‫ﺍﻟﻮﻻﻳــﺎﺕ ﺍﳌﺘﺤــﺪﺓ ﺍﻷﻣﻴﺮﻛﻴــﺔ ﺍﻷﺳــﺒﻖ‬
‫ﺇﻟــﻰ ﺗﻔــﻜﻚ ﺇﻣﺒﺮﺍﻃﻮﺭﻳــﺔ ﺭﻭﻛﻔﻠــﺮ‬ ‫ﺛﻴــﻮﺩﻭﺭ ﺭﻭﺯﻓﻠــﺖ )‪ (1919-1858‬ﻋﺒــﺎﺭﺓ‬
‫ﺍﻟﻨﻔﻄﻴــﺔ‪ .‬ﻭﻗــﺪ ُﻋﺮﻓــﺖ ﺗﺎﺭﺑﻴــﻞ ﺑﺄﻧﻬــﺎ‬ ‫ـﻬﺮ‬
‫‪ muckraker‬ﺍﻟﺘــﻲ ﺗﻌﻨــﻲ "ﺍﻟــﺬﻱ ﻳﺸـ ّ‬
‫ﻣــﻦ ﻛﺒــﺎﺭ ﺍﻟﺼﺤﻔﻴﻴــﻦ "ﺍﻟﻜﺎﺷــﻔﻴﻦ‬ ‫ﻲﻓ ﻗﻀﺎﻳــﺎ ﺍﻟﻔﺴــﺎﺩ"‪ ،‬ﻭﻗــﺪ ﺩﺧﻠــﺖ‬
‫ﻟﻠﻔﻀﺎﺋﺢ"‪.‬‬ ‫ﺍﻟﻌﺒــﺎﺭﺓ ﻣﻨﺬﺋــﺬ ﻣﻌﺠــﻢ ﺍﻟﻠﻐــﺔ‬
‫ﺍﻹﻧﺠﻠﻴﺰﻳﺔ‪.‬‬
‫ﻛﺎﻧــﺖ ﻟﻠﺒــﻮﺍﺩﺭ ﺍﻷﻭﻟــﻰ ﳌــﺎ ﻧﺴــﻤﻴﻬﺎ‬
‫ﺍﻟﻴــﻮﻡ "ﺻﺤﺎﻓــﺔ ﺍﺳــﺘﻘﺼﺎﺋﻴﺔ" ﺗﺄﺛﻴــﺮ‬ ‫ﻛﺎﻥ ﺭﻭﺯﻓﻠــﺖ ﻳﺼــﻒ ﺍﻟــﺪﻭﺭ ﺍﻟﺠﺪﻳــﺪ‬
‫ﺷــﺪﻳﺪ ﻰﻠﻋ ﺍﻟﺪﻳﻤﻘﺮﺍﻃﻴــﺔ‪ .‬ﻭﺑــﺪﺃ‬ ‫ﺍﻟــﺬﻱ ﺗﺆﺩﻳــﻪ ﺍﻟﺼﺤﺎﻓــﺔ ﻲﻓ ﺍﳌﺠﺘﻤــﻊ‬
‫ﺍﳌﺸــﻬﺮﻭﻥ" ﻳﺘﺤــﺪﻭﻥ‬
‫ﱢ‬ ‫"ﺍﻟﺼﺤﻔﻴــﻮﻥ‬ ‫ﺍﻷﻣﻴﺮﻛــﻲ‪ ،‬ﻓﻘــﺪ ﺷــﻬﺪﺕ ﺗﻠــﻚ ﺍﻟﻔﺘــﺮﺓ‬
‫ﺑﺠــﺮﺃﺓ ﻭﺑــﻼ ﻣﻮﺍﺭﺑــﺔ ﻛﻞ ﺍﻟﺬﻳــﻦ ﻳﺪﻳــﺮﻭﻥ‬ ‫ﻭﻻﺩﺓ ﻭﺳــﺎﺋﻞ ﺍﻹﻋــﻼﻡ‪ ،‬ﺣﻴــﺚ ﻛﺎﻧــﺖ‬
‫ﺩﻓــﺔ ﺍﻟﺴــﻠﻄﺔ‪ ،‬ﻭﻟــﻢ ﻳﻜــﻦ ﻫﺪﻓﻬــﻢ‬ ‫ﺍﻟﺼﺤــﻒ ﻭﺍﳌﺠــﻼﺕ ُﺗﺒــﺎﻉ ﻲﻓ ﺯﻭﺍﻳــﺎ‬
‫ﺇﺣــﺪﺍﺙ ﺗــﻮﺍﺯﻥ ﺑﻴــﻦ ﺁﺭﺍﺀ ﺍﻟﻘــﻮﻯ‬ ‫ﺍﻟﺸــﻮﺍﺭﻉ ﻭﻳﻘﺮﺅﻫــﺎ ﺑﺸــﻐﻒ ﺍﻷﻏﻨﻴــﺎﺀ‬
‫ﺍﳌﺘﺴــﻠﻄﺔ ﻭﺗﻠــﻚ ﺍﻟﻀﻌﻴﻔــﺔ ﻲﻓ‬ ‫ﻭﺍﻟﻔﻘﺮﺍﺀ ﻰﻠﻋ ﺣﺪ ﺳﻮﺍﺀ‪.‬‬
‫ﺍﳌﺠﺘﻤــﻊ‪ ،‬ﺑــﻞ ﺍﻟﻜﺸــﻒ ﻋــﻦ ﺍﻟﺤﻘﺎﺋــﻖ‬
‫ﺍﳌﺴــﺘﺠﺪﺓ ﺣــﻮﻝ ﺍﻻﻧﺘﻬــﺎﻛﺎﺕ ﺍﻟﺘــﻲ‬ ‫ﻭﺑﺎﻹﺿﺎﻓــﺔ ﺇﻟــﻰ ﺗﻘﺪﻳﻤﻬــﻢ ﺍﻷﺧﺒــﺎﺭ‬
‫ﻳﺮﺗﻜﺒﻬــﺎ ﺍﻟﺴﻴﺎﺳــﻴﻮﻥ ﻭﺍﻟﺼﻨﺎﻋﻴــﻮﻥ‬ ‫ﻟﻠﺠﻤﻬــﻮﺭ‪ ،‬ﺳــﻠﻂ ﺍﻟﺼﺤﻔﻴــﻮﻥ ﺍﻟﻀــﻮﺀ‬
‫ﺍﻷﺛﺮﻳــﺎﺀ‪ ،‬ﻣﺪﻓﻮﻋﻴــﻦ ﺑﺎﻹﺣﺴــﺎﺱ‬ ‫ﻰﻠﻋ ﺍﻟﻈﻠــﻢ ﻭﺍﻻﺳــﺘﻐﻼﻝ ﺑﺸــﺠﺎﻋﺔ‬
‫ﺑﺒﺸــﺎﻋﺔ ﺍﻟﻈﻠــﻢ ﻭﻣﺘﺤﺮﻛﻴــﻦ ﺑﻮﺣــﻲ‬ ‫ﻭﺑﺄﺳــﺎﻟﻴﺐ ﻣﺒﺘﻜــﺮﺓ‪ ،‬ﻓﻮﺻــﻒ ﺍﻟﺮﻭﺍﺋــﻲ‬
‫ﻣــﻦ ﺑﻮﺻﻠــﺔ ﺃﺧﻼﻗﻴــﺔ ﻭﺍﺿﺤــﺔ ﺍﳌﻌﺎﻟــﻢ‬ ‫ﻭﺍﻟﺼﺤﻔــﻲ ﺍﻷﻣﻴﺮﻛــﻲ ﺁﺑﺘــﻦ ﺳــﻨﻜﻠﻴﺮ‬
‫ﻧﺤﻮ ﺍﻟﻌﺎﻟﻢ ﻣﻦ ﺣﻮﻟﻬﻢ‪.‬‬ ‫ﻲﻓ ﺭﻭﺍﻳﺘــﻪ "ﺍﻟﻐﺎﺑــﺔ"‪ ،‬ﻭﺍﻗــﻊ ﻇــﺮﻭﻑ‬
‫ﺍﻟﻌﻤــﻞ ﺍﻟﺤﻘﻴﻘﻴــﺔ ﻲﻓ ﻣﺼﺎﻧــﻊ ﺗﻌﻠﻴــﺐ‬
‫ﻭﻛﺎﻥ ﻟــﺪﻯ ﺍﻟﺼﺤﻔﻴﻴــﻦ ﺍﳌﺸــﻬﺮﻳﻦ‬ ‫ﺍﻟﻠﺤــﻮﻡ ﺑﺸــﻴﻜﺎﻏﻮ‪ .‬ﻛﻤــﺎ ﻧﺸــﺮﺕ ﻣﺠﻠــﺔ‬
‫ٌ‬
‫ﺷــﻌﺒﻴﺔ ﺳﻠﺴــﻠﺔ ﻣﻘــﺎﻻﺕ ﻛﺘﺒﺘﻬــﺎ‬
‫ﺍﻟﺴﻨﻮﺍﺕ ﺍﻷﻭﻟﻰ ﻣﻦ ﺍﻟﻘﺮﻥ ﺍﻟﻌﺸﺮﻳﻦ‪.‬‬ ‫ﺍﻟﺼﺤﻔﻴــﺔ ﺍﻷﻣﻴﺮﻛﻴــﺔ ﺇﻳــﺪﺍ ﺗﺎﺭﺑﻴــﻞ‪،‬‬
‫ﺗﻔﻀــﺢ ﻓﻴﻬــﺎ ﺍﻻﺣﺘــﻜﺎﺭ ﺍﻟــﺬﻱ ﻛﺎﻧــﺖ‬
‫ﺗﻤﺎﺭﺳﻪ ﺷﺮﻛﺔ "ﺳﺘﺎﻧﺪﺭﺩ ﺃﻭﻳﻞ"‬
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‫ﺍﻷﺧﺒــﺎﺭ ﺍﻟﺘــﻲ ﺗﻘــﺪﻡ ﻟﻬــﻢ‪ ،‬ﻭﻛﺜﻴــﺮﺍ ﻣــﺎ‬
‫ﺴــﻤﺢ ﻟﺸــﺮﻛﺎﺕ ﺍﻟﻌﻼﻗــﺎﺕ ﺍﻟﻌﺎﻣــﺔ‬ ‫َ‬
‫ﻭﺍﻟﺤﻜﻮﻣــﺎﺕ ﺑﺘﺸــﻜﻴﻞ ﺃﺳــﻠﻮﺏ ﻗــﺮﺍﺀﺓ‬
‫ﺍﻷﺧﺒــﺎﺭ ﻋﺒــﺮ ﺗﺤﻜﻤﻬــﺎ ﻲﻓ ﺍﻹﻋﻼﻧــﺎﺕ‬
‫ﻭﺗﻮﻗﻴــﺖ ﺗﻘﺪﻳﻤﻬــﺎ ﻭﻋــﺪﺩ ﻣــﺮﺍﺕ‬
‫ﺗﻜﺮﺍﺭﻫﺎ‪.‬‬
‫ﻭﻫﻨــﺎﻙ ﻣﺸــﻜﻠﺔ ﻗﺪﻳﻤــﺔ ﻇﻠــﺖ ﺗــﺮﺍﻭﺡ‬
‫ﻣﻜﺎﻧﻬــﺎ‪ ،‬ﻭﻫــﻲ ﺍﻻﺭﺗﺒــﺎﻁ ﺍﻟﻬﻴﻜﻠــﻲ‬
‫ﻟﻠﻤﺮﺍﺳــﻠﻴﻦ ﺑﺎﳌﺼــﺎﺩﺭ ﺍﻟﺮﺳــﻤﻴﺔ ﻭﻋــﺪﻡ‬
‫ﺍﻧﻔﻜﺎﻛﻬــﻢ ﻋﻨﻬــﺎ‪ ،‬ﺣﻴــﺚ ﺇﻧﻬــﻢ‬
‫ﻳﺤﺘﺎﺟــﻮﻥ ﻟﻠﻮﺻــﻮﻝ ﺇﻟــﻰ ﻣﺮﺍﻛــﺰ ﺍﻟﻘــﻮﻯ‬
‫ﻭﺍﻟﻨﻔــﻮﺫ ﻻﺳــﺘﻘﺎﺀ ﺍﻷﺧﺒــﺎﺭ ﻣــﻦ ﺃﺟــﻞ‬
‫ﺍﻻﺳــﺘﻤﺮﺍﺭ ﻲﻓ ﺗﻐﻄﻴﺎﺗﻬــﻢ‪ ،‬ﻓﻜﻠﻤــﺎ‬
‫ﺃﺗﻴــﺢ ﻟﻬــﻢ ﺍﻟﻮﺻــﻮﻝ ﺇﻟــﻰ ﺍﳌﻌﻠﻮﻣــﺎﺕ‬
‫ﺑﺎﻧﺘﻈــﺎﻡ‪ ،‬ﺗﻤﻜﻨــﻮﺍ ﻣــﻦ ﺍﻟﺘﺤﻜــﻢ ﻲﻓ‬
‫ﺗﻘﺎﺭﻳﺮﻫﻢ‪.‬‬
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‫ﻳﻤﻜــﻦ ﺍﻟﻮﺻــﻮﻝ ﺇﻟﻴــﻪ ﻣــﻦ ﺃﻱ ﻣــﻜﺎﻥ‬
‫ﺣــﺮﻭﺏ ﻲﻓ ﺃﺭﺽ ﺍﳌﻌﺮﻛــﺔ ﺃﻭ ﺻﺤﻔﻴﻴــﻦ‬ ‫ﻰﻠﻋ ﻛﻮﻛﺒﻨﺎ‪.‬‬
‫ُﻳ‬ ‫ﻲﻓ‬ ‫ﻳﺴــﺘﻨﺪﻭﻥ‬ ‫ﺍﻗﺘﺼﺎﺩﻳﻴــﻦ‬
‫ﻣﻌﻠﻮﻣﺎﺗﻬــﻢ ﺇﻟــﻰ ﺍﻟﺒﻨــﻮﻙ‪ ،‬ﻟﻜــﻦ ﺁﺭﺍﺀﻫــﻢ‬ ‫ﻟﻘــﺪ ﻗ ّﻠﺼــﺖ ﺗﻘﻨﻴــﺔ ﺍﻻﺗﺼــﺎﻻﺕ ﻣــﻦ‬
‫ﺣﻴــﺎﻝ ﺍﻟﻘﻀﺎﻳــﺎ ﺍﻟﻌﺎﳌﻴــﺔ ﻫــﻲ ﺃﻗــﺮﺏ‬ ‫ﺣﺠــﻢ ﺍﻟﻌﺎﻟــﻢ‪ ،‬ﻭﺟﻠــﺐ ﺍﻻﻧﺒﻬــﺎ ُﺭ‬
‫ﺇﻟــﻰ ﺍﻟﻬﺘــﺎﻑ ﻣﻨﻬــﺎ ﺇﻟــﻰ ﺍﻟﺮﺻــﺪ‪ .‬ﻓﻘــﺪ‬ ‫ـﺮﻭﺏ ﺇﻟــﻰ ﺑﻴــﻮﺕ‬
‫ﺑﺎﻟﻠﻘﻄــﺎﺕ ﺍﻟﺤﻴــﺔ ﺍﻟﺤـ َ‬
‫ﻋ ّﻠــﻖ ﻣﺴــﺆﻭﻝ ﺍﻟﺮﺻــﺪ ﻭﺍﻟﺮﻗﺎﺑــﺔ‬ ‫ﺍﻟﻨــﺎﺱ ﻲﻓ ﺑــﺚ ﻣﺒﺎﺷــﺮ‪ ،‬ﻛﻤــﺎ ُﻭﻟــﺪﺕ‬
‫ﺑﺼﺤﻴﻔــﺔ ﻧﻴﻮﻳــﻮﺭﻙ ﺗﺎﻳﻤــﺰ ﺍﻷﻣﻴﺮﻛﻴــﺔ‬ ‫ﺒــﺚ ﻰﻠﻋ ﻣــﺪﺍﺭ ‪24‬‬ ‫ﻧﺸــﺮﺍﺕ ﺃﺧﺒــﺎﺭ ُﺗ ﱡ‬
‫ﻰﻠﻋ ﺗﻐﻄﻴــﺔ ﺍﻟﺼﺤﻴﻔــﺔ ﻟﻠﺤــﺮﺏ ﻰﻠﻋ‬ ‫ﺳــﺎﻋﺔ‪ ،‬ﻭﺃﺻﺒﺤــﺖ ﺍﳌﻌﻠﻮﻣــﺎﺕ‬
‫ﺍﻟﻌــﺮﺍﻕ‪ ،‬ﺑﻘﻮﻟــﻪ "ﻳﻮﺟــﺪ ﻰﻠﻋ ﺃﻛﺘــﺎﻑ‬ ‫ﺍﳌﺘﻀﺎﺭﺑــﺔ ﻣﺘﺎﺣــﺔ ﻲﻓ ﺍﻟﻬﻮﺍﺗــﻒ‬
‫ﺍﳌﺤﺮﺭﻳﻦ ﻧﻴﺎﺷﻴﻦ ﺭﺗﺐ ﻋﺴﻜﺮﻳﺔ"‪.‬‬ ‫ﺍﻟﺬﻛﻴﺔ‪.‬‬
‫ﻭﻳﻌــﺰﻯ ﺃﺣــﺪ ﺃﺳــﺒﺎﺏ ﻫــﺬﺍ ﺍﻟﻔﺸــﻞ ﺇﻟــﻰ‬ ‫ﻣــﻊ ﻫــﺬﺍ‪ ،‬ﻓﻘــﺪ ﺧﺒــﺎ ﺑﺮﻳــﻖ ﺍﻻﻋﺘﻘــﺎﺩ‬
‫ﺍﳌﺸــﻬﺪ ﺍﻹﻋﻼﻣــﻲ ﺍﻟﺠﺪﻳــﺪ‪ ،‬ﻓﺎﻧﻬﻴــﺎﺭ‬ ‫ﺍﻷﻭﻟــﻲ ﺑــﺄﻥ "ﺩﻳﻤﻘﺮﺍﻃﻴــﺔ ﺍﳌﻌﻠﻮﻣــﺎﺕ"‬
‫ﻧﺸــﺮﺍﺕ ﺍﻷﺧﺒــﺎﺭ ﻭﺍﻻﻧﻬﻤــﺎﻙ ﻲﻓ‬ ‫ﻭﻓﺮﺗﻬــﺎ ﺍﻟﺘﻘﻨﻴــﺔ ﺍﻟﺠﺪﻳــﺪﺓ‬ ‫ﺍﻟﺘــﻲ ّ‬
‫ﺗﻘﺪﻳﻤﻬــﺎ ﻰﻠﻋ ﻣــﺪﺍﺭ ‪ 24‬ﺳــﺎﻋﺔ ﻟــﻢ‬ ‫ﺳــﺘﻌﻤﻞ ﻰﻠﻋ ﺗﻤﻜﻴــﻦ ﺍﻟﺠﻤﻬــﻮﺭ‪ ،‬ﻭﺑــﺪﺍ‬
‫ﻳﺴﻤﺤﺎ ﻟﻠﻤﺮﺍﺳﻠﻴﻦ ﺑﺎﻟﺘﺤﻘﻖ ﻣﻦ‬ ‫ﻏﺮﻳﺒــﺎ ﺃﻥ ﺍﻟﻌﻼﻗــﺔ ﺑﻴــﻦ ﺍﳌﺘﻨﻔﺬﻳــﻦ‬
‫ﺍﻷﻏﻨﻴــﺎﺀ‬ ‫ﻭﺑﻴــﻦ‬ ‫ﻭﺍﳌﺤﻜﻮﻣﻴــﻦ‬
‫َ‬
‫ﻭﺍﳌﺴﺘﻐﻠﻴﻦ ﻻ ﺗﺘﺰﻋﺰﻉ‪.‬‬
‫ﻛﺎﻧــﺖ ﺍﻟﺼﺤﺎﻓــﺔ ﺍﻻﺳــﺘﻘﺼﺎﺋﻴﺔ ﺇﺣــﺪﻯ‬
‫ﺿﺤﺎﻳــﺎ ﺛــﻮﺭﺓ ﺍﻻﺗﺼــﺎﻻﺕ‪ ،‬ﺇﺫ ﺃﻏﻠﻘــﺖ‬
‫ﻭﺳــﺎﺋﻞ ﺍﻹﻋــﻼﻡ ﺍﻟﻘﺪﻳﻤــﺔ ﻣــﻦ‬
‫ﻣﻄﺒﻮﻋــﺔ ﻭﻣﺘﻠﻔــﺰﺓ ﺃﻗﺴــﺎﻡ ﺍﻻﺳــﺘﻘﺼﺎﺀ‬
‫ﺑﻬــﺎ ﺑﺴــﺒﺐ ﻓﻘﺪﺍﻧﻬــﺎ ﻟﻠﺠﻤﺎﻫﻴــﺮ‪ .‬ﻭﻛﺎﻥ‬
‫ﺛﻤــﺔ ﺷــﻌﻮٌﺭ ﻣﺘﺰﺍﻳــﺪ ﺑﺎﻟﻴــﺄﺱ ﻣــﻦ ﺃﻥ‬
‫ﺍﻟﻘﻴــﺎﻡ ﺑﺎﻟﺒﺤــﺚ ﺍﳌﻀﻨــﻲ ﺍﻟﻀــﺮﻭﺭﻱ‬
‫ﻻﺳــﺘﻘﺼﺎﺀ ﻋﻤــﻞ ﺷــﺮﻛﺎﺕ ﻣﺘﻌــﺪﺩﺓ‬
‫ﺍﻟﺠﻨﺴــﻴﺎﺕ ‪-‬ﻛﺘﻠــﻚ ﺍﻟﺘــﻲ ﻗــﺎﻡ ﺑﻬــﺎ‬
‫ﺻﺤﻔﻴــﻮﻥ ﻣــﻦ ﺃﻣﺜــﺎﻝ ﺇﻳــﺪﺍ ﺗﺎﺭﺑﻴــﻞ‬
‫ﺣــﻮﻝ ﺷــﺮﻛﺔ ﺳــﺘﺎﻧﺪﺭﺩ ﺃﻭﻳــﻞ ﻗﺒــﻞ‬
‫ﻗــﺮﻥ ﻣــﻦ ﺍﻟﺰﻣــﺎﻥ‪ -‬ﻟــﻦ ﻳﺼﺒــﺢ ﻣﻤﻜﻨــﺎ‪،‬‬
‫ﺑــﻞ ﺇﻥ ﺍﺛﻨﺘﻴــﻦ ﻣــﻦ ﺃﻛﺒــﺮ ﻗﺼــﺺ‬
‫ﺍﻟﻌﻘــﺪ ﺍﻷﻭﻝ ﻣــﻦ ﻫــﺬﺍ ﺍﻟﻘــﺮﻥ ﻟــﻢ‬
‫ﺗﺮﺻــﺪﺍ ﻣــﻦ ﻗﺒــﻞ ﻭﺳــﺎﺋﻞ ﺍﻹﻋــﻼﻡ‬
‫ﺍﻟﺘﻘﻠﻴﺪﻳــﺔ ﻭﻻ ﺍﻟﺤﺪﻳﺜــﺔ‪ ،‬ﻫﻤــﺎ‪ :‬ﺩﻭﺍﻓــﻊ‬
‫ﻭﻧﺘﺎﺋــﺞ ﻣــﺎ ﺃﻃﻠﻘــﺖ ﻋﻠﻴــﻪ ﺍﻟﻮﻻﻳــﺎﺕ‬
‫ﺍﳌﺘﺤــﺪﺓ "ﺍﻟﺤــﺮﺏ ﻰﻠﻋ ﺍﻹﺭﻫــﺎﺏ"‪،‬‬
‫ﻭﺍﻷﺯﻣــﺔ ﺍﳌﺎﻟﻴــﺔ ﺍﻟﻌﺎﳌﻴــﺔ ﻋــﺎﻡ‬
‫‪.2008‬‬
‫ﺃﺻﺒــﺢ ﺍﻟﺼﺤﻔﻴــﻮﻥ ﺟــﺰﺀﺍ ﻻ ﻳﺘﺠــﺰﺃ ﻣــﻦ‬
‫ﺛﻘﺎﻓــﺔ ﻭﺃﻫــﺪﺍﻑ ﺍﳌﺆﺳﺴــﺎﺕ ﺍﻟﺘــﻲ‬
‫ﺍﻟﺼﺤﻔﻴﺔ ﺍﻷﻣﻴﺮﻛﻴﺔ ﺇﻳﺪﺍ ﺗﺎﺭﺑﻴﻞ‬ ‫ﻳﻌﻤﻠﻮﻥ ﺑﻬﺎ‪ ،‬ﺳﻮﺍﺀ ﺃﻛﺎﻧﻮﺍ ﻣﺮﺍﺳﻠﻲ‬

‫‪ 1‬ﺍﳌﻨﻬﺠﻴﺔ‪:‬‬
‫ﻣﺘﺨﺼﺼــﺎ ﻲﻓ ﺻﻨــﻊ ﺍﻷﺧﺒــﺎﺭ ﻋﻮﺿــﺎ‬
‫ﺍﻟﺼﺤﺎﻓــﺔ ﺍﻟﺘﻘﻠﻴﺪﻳــﺔ ﺗﻔﺎﻋﻠﻴــﺔ‪،‬‬
‫ﺑﻤﻌﻨــﻰ ﺃﻥ ﺑﺈﻣــﻜﺎﻥ ﺍﻟﺼﺤﻔــﻲ ﺗﻄﻮﻳــﺮ‬
‫ﺍﻟﻘﺼــﺔ ﺍﻹﺧﺒﺎﺭﻳــﺔ ﺑﺴــﺆﺍﻝ ﺳﻴﺎﺳــﻲ‬
‫ﻋــﻦ ﺭﺃﻳــﻪ ﻲﻓ ﺃﺣــﺪﺍﺙ ﻣﻌﻴﻨــﺔ‪ .‬ﻭﻳﻤﻜــﻦ‬
‫ﻟﺼﺤﻔﻴﻴــﻦ ﺁﺧﺮﻳــﻦ ﺍﺳــﺘﺨﺪﺍﻡ ﺫﻟــﻚ‬
‫ﺍﻻﻗﺘﺒــﺎﺱ‪ ،‬ﺩﻭﻥ ﺍﻟﺘﺸــﻜﻴﻚ ﻲﻓ‬
‫ﺍﻟﺤﻘﻴﻘــﺔ ﺍﳌﺴــﺘﻨﺪﺓ ﺇﻟــﻰ ﺍﻟﺘﻘﺮﻳــﺮ‬
‫ﺍﻷﻭﻝ‪ .‬ﺑﺎﳌﻘﺎﺑــﻞ‪ ،‬ﺗﺴــﺘﺨﺪﻡ ﺍﻟﺼﺤﺎﻓــﺔ‬
‫ﺍﻻﺳــﺘﻘﺼﺎﺋﻴﺔ "ﻓﺮﺿﻴــﺔ ﻣﺒﻨﻴــﺔ ﻰﻠﻋ‬
‫ﺭﻭﺍﻳــﺔ ﻣــﺎ" ﺗﺴــﻌﻰ ﻹﺛﺒــﺎﺕ ﺃﻥ ﺃﻱ‬
‫ﺣﻘﻴﻘــﺔ ﻳﻤﻜــﻦ ﺃﻥ ﺗﻜــﻮﻥ ﺻﺤﻴﺤــﺔ ﺃﻭ‬
‫ﺧﺎﻃﺌــﺔ‪ ،‬ﻣﺜــﻞ ﺭﺟــﻞ ﺍﻟﺸــﺮﻃﺔ ﺃﻭ‬
‫ﺍﻟﻨﻴﺎﺑــﺔ ﺍﻟــﺬﻱ ﺳــﻴﺤﺎﻭﻝ ﺟﻤــﻊ ﺍﻟﺒﺮﺍﻫﻴــﻦ‬
‫ﻟﻴﺪﻋــﻢ ﻓﺮﺿﻴﺘــﻪ‪ .‬ﻓــﺈﺫﺍ ﺍﻓﺘــﺮﺽ‬
‫ﺍﻟﺼﺤﻔــﻲ ﺍﻻﺳــﺘﻘﺼﺎﺋﻲ ﺃﻥ )ﻉ( ﻳﻜــﺬﺏ‬
‫ﺃﻭ ﺃﻥ )ﻉ( ﻓﺎﺳــﺪ‪ ،‬ﻭﻟــﻢ ﻳﺘﻤﻜــﻦ ﻣــﻦ‬
‫ﺇﻳﺠﺎﺩ ﺩﻻﺋﻞ‪ُ ،‬ﻳﻠﻐﻰ ﺍﻟﺘﺤﻘﻴﻖ‪.‬‬
‫ﺍﻟﺮﺍﺋــﺪ ﻟﺸــﺒﻜﺔ ﺍﻟﺠﺰﻳــﺮﺓ‪ ،‬ﻣــﻦ ﺑﻴﻨﻬــﺎ‬
‫‪ 2‬ﺍﻹﻃﺎﺭ ﺍﻟﺰﻣﻨﻲ‪:‬‬
‫ﺍﳌﺘﺤــﺪﺓ‪ ،‬ﻭﺻﺤﻴﻔــﺔ ﺇﻟﺒﺎﻳﻴــﺲ‬
‫ﻭﻫــﻮ ﺇﻃــﺎﺭ ﻳﺘﻌــﺰﺯ ﺑﺎﻟﻄﺮﻳﻘــﺔ ﺍﻟﺘــﻲ‬
‫ُﺗﺠﻤــﻊ ﻭﺗﻨﺸــﺮ ﺑﻬــﺎ ﺍﳌﻌﻠﻮﻣــﺎﺕ ﻰﻠﻋ‬
‫ﻓﺘــﺮﺍﺕ ﻣﻨﺘﻈﻤــﺔ‪ ،‬ﺳــﻮﺍﺀ ﻲﻓ ﻧﺸــﺮﺍﺕ‬
‫ﺃﺧﺒــﺎﺭ ﺍﻟﺴــﺎﻋﺔ ﺃﻭ ﻲﻓ ﺍﻟﺼﺤــﻒ‬
‫ﺍﻟﻴﻮﻣﻴــﺔ ﺃﻭ ﻲﻓ ﺍﳌﺠــﻼﺕ ﺍﻷﺳــﺒﻮﻋﻴﺔ‪.‬‬
‫ﺑﺎﻟﻨﺴــﺒﺔ ﻷﻱ ﺗﺤﻘﻴــﻖ‪ ،‬ﻻ ﻳﻤﻜــﻦ ﻧﺸــﺮ‬
‫ﺍﳌﻌﻠﻮﻣــﺎﺕ ﺣﺘــﻰ ﺗﻜــﻮﻥ ﻛﺎﻣﻠــﺔ‬
‫ﻭﻣﺒﻨﻴــﺔ ﺑﺪﻗــﺔ‪ ،‬ﻭﻳﻤﻜــﻦ ﺃﻥ ﺗﺴــﺘﻐﺮﻕ‬
‫ﺍﻟﺘﺤﻘﻴﻘــﺎﺕ ﺍﻟﺼﺤﻔﻴــﺔ ﺷــﻬﻮﺭﺍ‪ ،‬ﻭﻲﻓ‬
‫ﺑﻌﺾ ﺍﻟﺤﺎﻻﺕ‪ ،‬ﺳﻨﻮﺍﺕ‪.‬‬
‫ﺍﻟﺼﻮﺭﺓ ﻣﺄﺧﻮﺫﺓ ﻣﻦ ﺑﺮﻧﺎﻣﺞ "ﻛﻴﻨﻴﺎ‪ ..‬ﻓﺮﻕ ﺍﳌﻮﺕ"‪ ،‬ﺇﻧﺘﺎﺝ ﺍﻟﺠﺰﻳﺮﺓ‬
‫ﻟﺪﻳﻨــﺎ ﺍﻵﻥ ﻓﺮﻳــﻖ ﻣــﻦ ‪ 20‬ﺻﺤﻔﻴــﺎ‬
‫ﺍﻧﺒﻌــﺎﺙ ﻟﻠﺼﺤﺎﻓــﺔ ﺍﻻﺳــﺘﻘﺼﺎﺋﻴﺔ ﻲﻓ‬
‫ﻋــﻦ ﻧﻘﻠﻬــﺎ‪ .‬ﻭﺧــﻼﻝ ﺍﻟﻌــﺎﻡ ﺍﳌﺎﺿــﻲ‪،‬‬
‫ﻛﺸــﻔﻨﺎ ﻋــﻦ ﺩﻭﺭ ﻓــﺮﻕ ﺍﳌــﻮﺕ ﻲﻓ‬
‫ﻛﻴﻨﻴــﺎ‪ ،‬ﻭ ُﺭﺷــﺢ ﺍﻟﻌﻤــﻞ ﻟﺠﺎﺋــﺰﺓ ﻣﺮﻣﻮﻗــﺔ‬
‫ﻫــﻲ ﺟﺎﺋــﺰﺓ ﺍﻷﻛﺎﺩﻳﻤﻴــﺔ ﺍﻟﺒﺮﻳﻄﺎﻧﻴــﺔ‬
‫ﻟﻔﻨــﻮﻥ ﺍﻷﻓــﻼﻡ ﻭﺍﻟﺘﻠﻔﺰﻳــﻮﻥ "ﺑﺎﻓﺘــﺎ"‬
‫)‪ ،(BAFTA‬ﻭﻫــﻲ ﻣﻨﻈﻤــﺔ ﺧﻴﺮﻳــﺔ‬
‫ﻣﻘﺮﻫــﺎ ﺑﺎﳌﻤﻠﻜــﺔ ﺍﳌﺘﺤــﺪﺓ‪ ،‬ﺗﻘــﺪﻡ‬
‫ﺟﻮﺍﺋــﺰ ﺳــﻨﻮﻳﺔ ﻟﺘﻜﺮﻳــﻢ ﺍﻷﻋﻤــﺎﻝ‬
‫ﺍﳌﺒﺪﻋــﺔ ﻲﻓ ﻣﺠــﺎﻝ ﺍﻟﺴــﻴﻨﻤﺎ‬
‫ﻭﺍﻟﺘﻠﻔﺰﻳــﻮﻥ ﻭﺍﳌﻬــﻦ ﺍﻟﺘﻠﻔﺰﻳﻮﻧﻴــﺔ‪.‬‬
‫ﻧﺸــﺮﻧﺎ ﻣﺌــﺎﺕ ﺍﻟﺼﻔﺤــﺎﺕ ﻋــﻦ ﻭﺛﺎﺋــﻖ‬
‫ﺳــﺮﻳﺔ ﻟﺠﻮﺍﺳــﻴﺲ ﻣــﻦ ﻣﺨﺘﻠــﻒ ﺃﻧﺤــﺎﺀ‬
‫ﺍﻟﻌﺎﻟــﻢ‪ ،‬ﻭﺍﺿﻌﻴــﻦ ﻫــﺆﻻﺀ ﺍﻟﻌﻤــﻼﺀ‬
‫ﺍﻟﺤﻜﻮﻣﻴﻴــﻦ ﺗﺤــﺖ ﺍﳌﺴــﺎﺀﻟﺔ‪ .‬ﻭﻲﻓ‬
‫ﺍﻟﻌــﺎﻡ ‪ ،2015‬ﺃﺷــﺎﺩﺕ ﻛﺒﺮﻳــﺎﺕ‬
‫ﺍﳌﺆﺳﺴــﺎﺕ ﺍﻟﺼﺤﻔﻴــﺔ ﺍﻟﻌﺎﳌﻴــﺔ‬
‫ﺑﺎﻟﻌﻤــﻞ ﺍﻻﺳــﺘﻘﺼﺎﺋﻲ ﺍﻻﺣﺘــﺮﺍﻲﻓ‬
‫ﺻﺤﻴﻔــﺔ ﺫﻱ ﻏﺎﺭﺩﻳــﺎﻥ ﺑﺎﳌﻤﻠﻜــﺔ‬
‫ﺍﻹﺳــﺒﺎﻧﻴﺔ‪ ،‬ﻓﻀــﻼ ﻋــﻦ ﻣﺌــﺎﺕ ﺍﻷﻋﻤــﺪﺓ‬
‫ﺍﻟﺘــﻲ ﻧﺸــﺮﺗﻬﺎ ﺍﻟﺼﺤــﻒ ﻭﺍﳌﺠــﻼﺕ‬
‫ﺍﻟﻌﺎﳌﻴــﺔ ﻭﺍﳌﻮﺍﻗــﻊ ﺍﻟﺼﺤﻔﻴــﺔ‬
‫ﺍﻹﻟﻜﺘﺮﻭﻧﻴﺔ‪.‬‬
‫ﺇﺫﺍ‪ ،‬ﻣــﺎ ﺍﻟــﺬﻱ ﻳﺠﻌــﻞ ﺍﻟﺼﺤﺎﻓــﺔ‬ ‫ً‬
‫ﺍﻻﺳــﺘﻘﺼﺎﺋﻴﺔ ﻣﺨﺘﻠﻔــﺔ ﻋــﻦ ﺍﻷﺧﺒــﺎﺭ‬
‫ﺍﻟﺘﻘﻠﻴﺪﻳــﺔ ﺃﻭ ﺻﻨﺎﻋــﺔ ﺍﻟﻮﺛﺎﺋﻘــﻲ‬
‫ﺑﺎﻟﻨﺴــﺒﺔ ﻟﻠﻤﺆﺳﺴــﺎﺕ ﺍﻹﻋﻼﻣﻴــﺔ؟ ﺃﺩﺭﺝ‬
‫ﻫﻨﺎ ﺳﺘﺔ ﺍﺧﺘﻼﻓﺎﺕ ﺑﺎﺭﺯﺓ‪:‬‬
‫ﻭﻣﻤــﺎ ﻳﺜﻠــﺞ ﺍﻟﺼــﺪﺭ ﻣــﺎ ﺷــﻬﺪﻧﺎﻩ ﻣــﻦ‬
‫ﺍﻟﺴــﻨﻮﺍﺕ ﺍﻟﻘﻠﻴﻠــﺔ ﺍﳌﺎﺿﻴــﺔ ﺑﻌــﺪ‬
‫ﻋﻘــﻮﺩ ﻋﺪﻳــﺪﺓ ﻣــﻦ ﺗﺪﻫﻮﺭﻫــﺎ‪ ،‬ﻭﺫﻟــﻚ‬
‫ﺑﻔﻀــﻞ ﺍﳌﺆﺳﺴــﺎﺕ ﺍﻟﺨﻴﺮﻳــﺔ ﺍﻟﻐﻨﻴــﺔ‬
‫ﻭﺍﳌﺆﺳﺴــﺎﺕ ﻏﻴــﺮ ﺍﻟﺮﺑﺤﻴــﺔ ﺑــﺪﻻ ﻣــﻦ‬
‫ﻭﺳــﺎﺋﻞ ﺍﻹﻋــﻼﻡ ﺍﻟﺮﺋﻴﺴــﻴﺔ‪ .‬ﻓﻤﺮﻛــﺰ‬
‫ﺍﻟﺼﺤﺎﻓــﺔ ﺍﻻﺳــﺘﻘﺼﺎﺋﻴﺔ ﻲﻓ ﻟﻨــﺪﻥ‬
‫ﻭ"ﺑﺮﻭﺑﺒﻠﻴــﻜﺎ" ﻲﻓ ﻧﻴﻮﻳــﻮﺭﻙ‪ ،‬ﺍﻋﺘﻤــﺪﺍ‬
‫ﻲﻓ ﺗﻤﻮﻳﻠﻬﻤــﺎ ﺑﺪﺍﻳــﺔ ﻰﻠﻋ ﺍﻟﺘﺒﺮﻋــﺎﺕ‬
‫ﺍﻟﺨﻴﺮﻳــﺔ ﺍﻟﻘﺎﺩﻣــﺔ ﻣــﻦ ﺭﺟــﺎﻝ ﺃﺛﺮﻳــﺎﺀ‬
‫ﻭﻧﺴــﺎﺀ ﺛﺮﻳــﺎﺕ ﻟــﻢ ﺗﻌﺠﺒﻬــﻢ ﺃﺣــﻮﺍﻝ‬
‫ﺍﻟﺼﺤﺎﻓــﺔ ﺍﳌﻤﻮﻟــﺔ ﺗﺠﺎﺭﻳــﺎ ﻭﺍﻟﻌﺎﺟــﺰﺓ‬
‫ﺇﻟــﻰ ﺣــﺪ ﻛﺒﻴــﺮ ﻋــﻦ "ﻗــﻮﻝ ﺍﻟﺤﻘﻴﻘــﺔ‬
‫ﻟﻠﺴﻠﻄﺔ"‪.‬‬
‫ﻛﻤﺆﺳﺴــﺔ ﺻﺤﻔﻴــﺔ ﻋﺎﳌﻴــﺔ‪ ،‬ﻭﻗﻔــﺖ‬
‫ﺷــﺒﻜﺔ ﺍﻟﺠﺰﻳــﺮﺓ ﺍﻹﻋﻼﻣﻴــﺔ ﻭﺣﺪﻫــﺎ ﻲﻓ‬
‫ﻣﻴــﺪﺍﻥ ﺍﻟﺼﺤﺎﻓــﺔ ﺍﻟﺘــﻲ ﺗﻮﺍﺟــﻪ‬
‫ﺍﻟﺴــﻠﻄﺔ‪ ،‬ﻭﺃﺳﺴــﺖ ﻭﺣــﺪﺓ ﺍﻟﺘﺤﻘﻴﻘــﺎﺕ‬
‫ﺍﻻﺳــﺘﻘﺼﺎﺋﻴﺔ ﻋــﺎﻡ ‪ ،2012‬ﺑﻌــﺪ ﺟﻬــﻮﺩ‬
‫ﻛﺒﻴــﺮﺓ ﺑﺬﻟﻬــﺎ ﻛﻼﻳﺘــﻮﻥ ﺳﻮﻳﺸــﺮ‬
‫ﻭﻓﺮﻳــﻖ ﺍﻟﻌﻤــﻞ ﺍﻟــﺬﻱ ﻳﻘــﻮﺩﻩ‪ .‬ﻭﻛﺎﻧــﺖ‬
‫ﺑﺪﺍﻳــﺔ ﻋﻤــﻞ ﺍﻟﻮﺣــﺪﺓ ﻲﻓ ﺍﻟﺘﺤﻘﻴــﻖ‬
‫ﺍﻹﻋﻼﻣــﻲ ﺍﻻﺳــﺘﻘﺼﺎﺋﻲ ﺑﻌــﺪ ﺇﺟــﺮﺍﺀ‬
‫ﻣﻀــﻦ ﻲﻓ ﻭﺛﺎﺋــﻖ ﺍﳌﻔﺎﻭﺿــﺎﺕ‬ ‫ٍ‬ ‫ﺑﺤــﺚ‬
‫ﺍﻟﻔﻠﺴﻄﻴﻨﻴﺔ‪-‬ﺍﻹﺳــﺮﺍﺋﻴﻠﻴﺔ‪ ،‬ﻭﻣــﻦ ﺛــﻢ‬
‫ﺍﻟﻜﺸــﻒ ﻋــﻦ ﺃﺩﻟــﺔ ﺩﺍﻣﻐــﺔ ﺗﺜﺒــﺖ ﻭﻓــﺎﺓ‬
‫ﺍﻟﺮﺋﻴــﺲ ﺍﻟﻔﻠﺴــﻄﻴﻨﻲ ﺍﻟﺮﺍﺣــﻞ ﻳﺎﺳــﺮ‬
‫ﻋﺮﻓــﺎﺕ ﻣﺴــﻤﻮﻣﺎ ﺑﻤــﺎﺩﺓ ﺍﻟﺒﻮﻟﻮﻧﻴــﻮﻡ‬
‫ﺍﳌﺸﻌﺔ‪.‬‬
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‫ﺍﳌﻌﻠﻮﻣــﺎﺕ ﺍﻟﺘــﻲ ﻳﻘﺪﻣﻬــﺎ ﻟــﻚ‬
‫ﺍﻵﺧــﺮﻭﻥ‪ ..‬ﺇﻧــﻪ ﺍﻹﺣﺴــﺎﺱ ﺑــﺄﻥ ﺷــﺨﺼﺎ‬
‫ﻣــﺎ ﻳﺪﻟــﻲ ﺑﻤﻌﻠﻮﻣــﺎﺕ ﻛﺎﺫﺑــﺔ ﺃﻭ ﻳﺤــﺎﻭﻝ‬
‫ﺇﺧﻔﺎﺀ ﺷﻲﺀ ﻫﺎﻡ‪.‬‬
‫ﺑﺜــﺖ ﻲﻓ ﺫﻟــﻚ ﺍﻟﻮﻗــﺖ‪ .‬ﻫﻨــﺎﻙ ﺍﻋﺘﻘــﺎﺩ‬
‫ﻣﻬﻨــﺔ ﺍﻟﺼﺤﺎﻓــﺔ ﺍﻻﺳــﺘﻘﺼﺎﺋﻴﺔ ﻣﺜﻴــﺮﺓ‬
‫ﻟﻠﺘﻮﺗــﺮ ﻻ ﺍﻷﻟــﻖ‪ .‬ﺃﺧﺒﺮﻧــﻲ ﻣــﺮﺓ ﺃﺣــﺪ ﺃﺑــﺮﺯ‬
‫ﺍﻟﺼﺤﻔﻴﻴــﻦ ﺍﻻﺳــﺘﻘﺼﺎﺋﻴﻴﻦ ﻲﻓ ﺫﻱ‬
‫ﻏﺎﺭﺩﻳــﺎﻥ ﺍﻟﺒﺮﻳﻄﺎﻧﻴــﺔ ﺩﻳﻔــﺪ ﻻﻱ‪ ،‬ﺃﻥ‬
‫ﺗﻌﻄــﻞ ﺟــﺪﻭﻝ‬
‫ﻰﻠﻋ ﺍﻟﺼﺤﻔﻴﻴــﻦ ﺍﻻﺳــﺘﻘﺼﺎﺋﻴﻴﻦ ﺃﻥ‬
‫ﻳﻜﻮﻧــﻮﺍ "ﻣﺴــﺘﻌﺪﻳﻦ ﻧﻔﺴــﻴﺎ ﻟﺘﺤﻤــﻞ‬
‫ﺍﻟﻌﺪﺍﺀ"‪.‬‬
‫ﺍﻟﺼﺤﺎﻓــﺔ‬ ‫ﻣﺮﻛــﺰ‬ ‫ﻣﺪﻳــﺮ‬ ‫ﺃﻣــﺎ‬
‫ﺍﻻﺳــﺘﻘﺼﺎﺋﻴﺔ ﻲﻓ ﻟﻨــﺪﻥ ﻏﺎﻓﻴــﻦ‬
‫ﻣﺎﻛﻔﺎﺩﻳــﻦ‪ ،‬ﻓﻘــﺎﻝ ﺇﻧــﻪ ﻻ ﻳﻨﺒﻐــﻲ‬
‫ﻟﻠﺼﺤﻔــﻲ ﺍﻻﺳــﺘﻘﺼﺎﺋﻲ ﺃﻥ ﻳﻜﻠــﻒ‬
‫ﻧﻔﺴــﻪ ﻋﻨــﺎﺀ ﺍﻟﺘﻔﻜﻴــﺮ ﻲﻓ ﺍﻟﺤﺼــﻮﻝ‬
‫ﻰﻠﻋ ﺩﻋــﻮﺓ ﻟﺪﺧــﻮﻝ ﺍﻟﺒﻴــﺖ ﺍﻷﺑﻴــﺾ ﺃﻭ‬
‫ﻣﻘــﺮ ﺍﻟﺤﻜﻮﻣــﺔ ﺍﻟﺒﺮﻳﻄﺎﻧﻴــﺔ ﻲﻓ ‪10‬‬
‫ﺩﺍﻭﻧﻨﻎ ﺳﺘﺮﻳﺖ‪.‬‬
‫ـﺲ ﻣﺮﻫــﻒ ﻳﺠﻌﻠــﻪ ﻳﺘﺄﻫــﺐ‬ ‫ﻳﺘﺤﻠــﻰ ﺑﺤـ ﱟ‬
‫ﺇﻥ ﻣﻬﻤﺘﻨــﺎ ﻫــﻲ ﺗﺤــﺪﻱ ﺍﻟﺴــﻠﻄﺔ ﻻ‬
‫ﻣﻐﺎﺯﻟﺘﻬــﺎ‪ ،‬ﺃﻣــﺎ ﺇﻥ ﻛﺎﻥ ﻫﺪﻓــﻚ ﺃﻥ ﺗﻜــﻮﻥ‬
‫ﻻﻣﻌــﺎ‪ ،‬ﻓﺎﻋﻤــﻞ ﻣﺮﺍﺳــﻼ ﻲﻓ ﺻﺤﺎﻓــﺔ‬
‫ﺍﳌﺸﺎﻫﻴﺮ‪.‬‬
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‫‪ 3‬ﺍﻟﺮﺅﻳﺔ‪:‬‬
‫ﻳﻔﺘــﺮﺽ ﺃﻥ ﻳﻜــﻮﻥ ﺍﻟﺘﻘﺮﻳــﺮ ﺍﻹﺧﺒــﺎﺭﻱ‬
‫ﺍﻧﻌﻜﺎﺳــﺎ ﺩﻗﻴﻘــﺎ ﻟﻠﻌﺎﻟــﻢ‪ .‬ﻭ ُﻳﻄ َﻠــﻖ ﻰﻠﻋ‬
‫ﻫــﺬﻩ ﺍﻟﻌﻤﻠﻴــﺔ "ﺗﺤــﺮﻱ ﺍﻟﺪﻗــﺔ‬
‫ﻭﺍﳌﻮﺿﻮﻋﻴــﺔ" ﻭﻧﺸــﺮ ﺍﻟﺘﻘﺎﺭﻳــﺮ ﺣــﻮﻝ‬
‫ﺍﻟﺼﺤﺎﻓــﺔ‬ ‫ﻟﻜــﻦ‬ ‫"ﺍﻟﺤﻘﺎﺋــﻖ"‪.‬‬
‫ﺍﻻﺳــﺘﻘﺼﺎﺋﻴﺔ ﺗﺮﻓــﺾ ﺃﻥ ﺗﻘﺒــﻞ ﺍﻟﻌﺎﻟــﻢ‬
‫ﻛﻤــﺎ ﻫــﻮ‪ ،‬ﺑــﻞ ﺗﻌﺘﻘــﺪ ﺃﻥ ﺛﻤــﺔ ﺧﻄــﺄ ﻣــﺎ‬
‫ﻲﻓ ﺍﻟﺤﻘﺎﺋــﻖ ﺍﳌﻌﻄــﺎﺓ‪ ،‬ﻭﺃﻥ ﻫﺪﻓﻬــﺎ‬
‫ﻳﺘﻤﺜــﻞ ﻲﻓ ﻓﻀــﺢ ﺍﻟﺨــﺪﺍﻉ ﻭﺍﻟﺘﺰﻳﻴــﻒ ﺃﻭ‬
‫ﺳــﻮﺀ ﺍﻟﺴــﻠﻮﻙ ﻣــﻦ ﺃﺟــﻞ ﺍﻧﺘﻘــﺎﺩﻩ‬
‫ﻭﺑﻴﺎﻥ ﺯﻳﻔﻪ‪.‬‬
‫‪ 4‬ﺍﻟﺘﻮﺍ ُﺯﻥ‪:‬‬
‫ﻰﻠﻋ ﺍﻟﺼﺤﻔــﻲ ﺃﻥ ﻳﺘﻘﺒــﻞ ﺍﻟﺮﻭﺍﻳــﺔ‬
‫ﺍﻟﺮﺳــﻤﻴﺔ ﻟﻠﻘﺼــﺔ ﺣﺘــﻰ ﻟــﻮ ﻛﺎﻥ ﺭﺃﻳــﻪ‬
‫‪ 6‬ﺻﻨﺎﻋﺔ ﺍﻷﺧﺒﺎﺭ‪:‬‬ ‫ﻳﻨﺎﻗﻀﻬــﺎ‪ ،‬ﺃﻭ "ﻳﻮﺍﺯﻧﻬــﺎ" ﺑﺎﺳــﺘﺨﺪﺍﻡ‬
‫ﺗﺼﺮﻳﺤــﺎﺕ ﻣــﻦ ﻣﺼــﺎﺩﺭ ﺃﺧــﺮﻯ‪ .‬ﺍﻓﺘــﺮﺍﺽ‬
‫ﻲﻓ ﺍﻟﺘﻘﺎﺭﻳــﺮ ﺍﻟﺘﻘﻠﻴﺪﻳــﺔ‪ ،‬ﺗﻘــﺎﺱ‬ ‫ﺣﺴــﻦ ﺍﻟﻨﻴــﺔ ﺑﺎﳌﺼــﺎﺩﺭ ﺍﻟﺮﺳــﻤﻴﺔ ﻭﺍﺭﺩ‪،‬‬
‫ﺍﻟﺤﻘﻴﻘــﺔ ﺃﻭ ﺩﻗــﺔ ﺍﻟﻘﺼــﺔ ﺍﻹﺧﺒﺎﺭﻳــﺔ‬ ‫ﻣــﻊ ﻫــﺬﺍ‪ ،‬ﻳﺘﺤــﺪﻯ ﺍﻟﺼﺤﻔــﻲ‬
‫ﺑﻤــﺪﻯ ﻣﺸــﺎﺑﻬﺘﻬﺎ ﻟﻘﺼــﺺ ﻧﺸــﺮﺕ ﺃﻭ‬ ‫ﺍﻻﺳــﺘﻘﺼﺎﺋﻲ ﺻﺮﺍﺣــﺔ ﺍﻟﺮﻭﺍﻳــﺔ‬
‫ﺍﻟﺮﺳــﻤﻴﺔ ﻟﻠﻘﺼــﺔ‪ ،‬ﻭﻳﺮﻓــﺾ ﻣﺒــﺪﺃ‬
‫ﺑــﺄﻥ ﺍﻷﺧﺒــﺎﺭ "ﺻﺎﻟﺤــﺔ" ﺇﻥ ﺷــﺎﺭﻙ ﺁﺧــﺮﻭﻥ‬ ‫ﺍﻟﺘــﻮﺍﺯﻥ‪ ،‬ﻭﻳﻘــﺪﻡ ﺣﻜﻤــﻪ ﻰﻠﻋ ﺍﻟﻘﺼــﺔ‬
‫ﺍﻟﻘﺼــﺔ‬ ‫ﻰﻠﻋ‬ ‫ﻟﻜــﻦ‬ ‫ﻧﺸــﺮﻫﺎ‪،‬‬ ‫ﺍﺳــﺘﻨﺎﺩﺍ ﺇﻟــﻰ ﺍﻟﺘﻘﻴﻴــﻢ ﺍﻟﺪﻗﻴــﻖ‬
‫ﺍﻻﺳــﺘﻘﺼﺎﺋﻴﺔ ﺃﻥ ﺗﺘﺤــﺪﻯ ﺍﻟﺤﻘﺎﺋــﻖ‬ ‫ﻟﻸﺩﻟﺔ‪.‬‬
‫ﺍﳌﺴــ ﱠﻠﻢ ﺑﺼﺤﺘﻬــﺎ‪ ،‬ﻭﺃﻥ ﱢ‬
‫ﺍﻷﺧﺒــﺎﺭ‪ .‬ﻭﻧﺤــﻦ ﻧﻀــﻊ ﺍﺳــﻢ ﺍﻟﺠﺰﻳــﺮﺓ‬
‫‪ 5‬ﺍﻷﺧﻼﻗﻴﺎﺕ‪:‬‬
‫ﻛﻤﺼﺪﺭ ﻟﻠﺘﺼﺮﻳﺤﺎﺕ ﺍﻟﻌﺎﳌﻴﺔ‪.‬‬
‫ﻳﻮﺍﺟــﻪ ﺍﻟﺼﺤﻔﻴــﻮﻥ ﺍﻻﺳــﺘﻘﺼﺎﺋﻴﻮﻥ‬
‫ﺃﺳــﺌﻠﺔ ﺳﻴﺎﺳــﺔ ﺍﻟﺘﺤﺮﻳــﺮ ﻭﻫــﻢ‬
‫ﻣﺎ ﺍﳌﻬﺎﺭﺍﺕ ﺍﻟﻼﺯﻣﺔ ﻟﻠﻌﻤﻞ‬ ‫ﻳﻀﻤﻨــﻮﻥ ﺃﺳــﺎﻟﻴﺐ ﺟﻤــﻊ ﺍﻟﺪﻻﺋــﻞ ﻲﻓ‬ ‫ﱢ‬
‫ﻛﺼﺤﻔﻲ ﺍﺳﺘﻘﺼﺎﺋﻲ؟‬ ‫ﺗﻘﺎﺭﻳﺮﻫــﻢ‪ ،‬ﺣﻴــﺚ ﺗﻌــﺪ ﺗﻠــﻚ ﺍﻟﻮﺳــﺎﺋﻞ‬
‫ﻏﻴــﺮ ﺃﺧﻼﻗﻴــﺔ ﻲﻓ ﺍﻟﺼﺤﺎﻓــﺔ‬
‫ﺍﻟﺘﻘﻠﻴﺪﻳــﺔ‪ .‬ﻓﻤــﻦ ﺍﳌﻔﺘــﺮﺽ ﻋــﺎﺩﺓ ﺃﻻ‬
‫ﺛﻤــﺔ ﻣ َﺘﻄ ّﻠــﺐ ﻭﺍﺣــﺪ‪ ،‬ﻭﻫــﻮ ﺃﻥ‬ ‫ﻳﻜــﺬﺏ ﺍﻟﺼﺤﻔــﻲ‪ ،‬ﻟﻜــﻦ ﻟــﻮ ﻛﻨــﺎ‬
‫ﻳﺴﺘﺸــﻌﺮ ﺍﻟﺼﺤﻔــﻲ ﻣــﺎ ﻳﺤــﺪﺙ ﻲﻓ‬ ‫ﺑﺤﺎﺟــﺔ ﺇﻟــﻰ ﺗﻮﻇﻴــﻒ ﺗﺪﺍﺑﻴــﺮ ﺗﻨﻄــﻮﻱ‬
‫ﺍﻟﻌﺎﻟــﻢ ﻣــﻦ ﺧــﻼﻝ ﺍﻟﺒﺤــﺚ ﻭﺍﻻﺳــﺘﻘﺼﺎﺀ‬ ‫ﻰﻠﻋ ﻋﻤﻠﻴــﺔ ﺧــﺪﺍﻉ ﻣــﺎ‪ ،‬ﻛﺎﻟﺘﺴــﺠﻴﻼﺕ‬
‫ﻲﻓ ﺍﻷﺩﻟــﺔ ﺍﳌﺠــﺰﺃﺓ ﺍﳌﺘﻨﺎﺛــﺮﺓ‪ ،‬ﻭﺃﻥ‬ ‫ﺍﻟﺴــﺮﻳﺔ ﺃﻭ ﺍﻧﺘﺤــﺎﻝ ﺷــﺨﺼﻴﺔ ﻣــﺎ‪،‬‬
‫ﻓﻌﻠﻴﻨــﺎ ﺃﻥ ﻧﻀﻤــﻦ ﻭﺟــﻮﺩ ﺟﻤﻬــﻮﺭ‬
‫ﳌﻌﺮﻓــﺔ ﺍﻟﺤﻘﻴﻘــﺔ ﻋﻨﺪﻣــﺎ ﻳﻼﺣــﻆ‬ ‫ﻗــﻮﻱ ﻣﻬﺘــﻢ ﺑﺎﻟﺪﻓــﺎﻉ ﻋــﻦ ﺃﻋﻤﺎﻟﻨــﺎ‪.‬‬
‫ﻋــﺪﻡ ﺍﺗﺴــﺎﻕ ﺑﻌــﺾ ﻣﻜﻮﻧــﺎﺕ ﺍﻷﺧﺒــﺎﺭ‪،‬‬ ‫ﻓﻤﺒﺮﺭﻧــﺎ ﺍﻷﺧﻼﻗــﻲ ﻻﺳــﺘﺨﺪﺍﻡ ﺗﻠــﻚ‬
‫ﻭﻫــﻲ ﺍﻟﺤﺎﺳــﺔ ﺍﻟﺴﺎﺩﺳــﺔ ﺍﻟﺘــﻲ ﺗﺜﻴــﺮ‬ ‫ﺍﻷﺳــﺎﻟﻴﺐ ﻫــﻮ ﺃﻧﻬــﺎ ﺍﻟﻄﺮﻳﻘــﺔ ﺍﻟﻮﺣﻴــﺪﺓ‬
‫ﻏﺮﻳﺰﺗــﻚ ﺍﻟﺼﺤﻔﻴــﺔ ﻭﺗﺤﺮﻛﻬــﺎ ﺑﺎﺗﺠــﺎ ٍﻩ‬ ‫ﺍﳌﺘﺒﻘﻴﺔ ﻟﻔﻀﺢ ﺍﳌﺨﺎﻟﻔﺎﺕ‪.‬‬
‫ﺗﺸﻌﺮ ﻣﻌﻪ ﺃﻥ ﻫﻨﺎﻙ ﺧﻄﺒﺎ ﻣﺎ ﻲﻓ‬
 ‫ﺍﻟﺮﺃﻱ ﺍﻟﻌﺎﻡ ﻲﻓ‬
‫ﻗﺒﻀﺔ ﺍﻹﻧﺘﺮﻧﺖ‬
‫ﺇﺳﻤﺎﻋﻴﻞ ﻋﺰﺍﻡ‬

‫ﻣــﻦ ﺍﻟﺼﻌــﺐ ﺇﻳﺠــﺎﺩ ﺗﻌﺮﻳــﻒ ﻭﺍﺣــﺪ ﻟﻠــﺮﺃﻱ ﺍﻟﻌــﺎﻡ‪ ،‬ﻓﻤﻨــﺬ ﺍﻟﻘــﺮﻥ‬

‫ﺍﻟﺴــﺎﺑﻊ ﻋﺸــﺮ ﻭﺗﻌﺮﻳﻔــﺎﺕ ﻛﺜﻴــﺮﺓ ﻳﻘﺪﻣﻬــﺎ ﺍﻟﺒﺎﺣﺜــﻮﻥ ﻟﻬــﺬﺍ‬
‫ﻣﻊ ﺗﻄﻮﺭ ﺃﻟﻮﺍﻥ ﺍﻟﺼﺤﺎﻓﺔ‬ ‫ﺷــﻜﻞ ﻰﻠﻋ ﺍﻟــﺪﻭﺍﻡ ﻣﺠــﺎﻻ ﺧﺼﺒــﺎ‬ ‫ّ‬ ‫ﺍﳌﻔﻬــﻮﻡ ﺍﻟﺸــﺎﺋﻚ ﺍﻟــﺬﻱ‬
‫ﻛﺎﻟﺘﺤﻘﻴﻘﺎﺕ ﺍﻻﺳﺘﻘﺼﺎﺋﻴﺔ‪،‬‬ ‫ﻟﻠﺒﺤــﺚ‪ .‬ﻭﻣــﻦ ﺍﻟﻜﺘــﺐ ﺍﳌﻬﻤــﺔ ﺍﻟﺘــﻲ ﺍﻫﺘﻤــﺖ ﺑﻬــﺬﺍ‬
‫ﺃﺿﺤﺖ ﺍﻟﺼﺤﺎﻓﺔ ﺗﺪﻓﻊ ﺑﺎﳌﺘﻠﻘﻲ‬ ‫ﺍﳌﻔﻬــﻮﻡ ﻛﺘــﺎﺏ "ﺳــﻴﻜﻮﻟﻮﺟﻴﺔ ﺍﻟﺠﻤﺎﻫﻴــﺮ" ﻟﻐﻮﺳــﺘﺎﻑ ﻟﻮﺑــﻮﻥ‪،‬‬
‫ﻓﺒﻌــﺪ ﺃﻥ ﻛﺎﻥ ﺍﻟــﺮﺃﻱ ﺍﻟﻌــﺎﻡ ﻣﺤﺼــﻮﺭﺍ ‪-‬ﺑﻌــﺪ ﺍﻟﺜــﻮﺭﺓ ﺍﻟﻔﺮﻧﺴــﻴﺔ‪-‬‬
‫ﺇﻟﻰ ﺗﻜﻮﻳﻦ ﻭﺟﻬﺔ ﺍﻟﻨﻈﺮ ﺍﻟﺘﻲ‬ ‫ﺗﺤــﻮﻝ ﺍﳌﻔﻬــﻮﻡ ﻛﺜﻴــﺮﺍ ‪-‬ﻋﻨــﺪ‬ ‫ّ‬ ‫ﻲﻓ ﻣــﺎ ﺗﻌ ّﺒــﺮ ﻋﻨــﻪ ﺍﻟﻨﺨﺒــﺔ‪،‬‬
‫ﺗﺘﺒ ّﻨﺎﻫﺎ ﺍﳌﺆﺳﺴﺔ ﺍﻟﺼﺤﻔﻴﺔ‪،‬‬ ‫ﻟﻮﺑــﻮﻥ‪ -‬ﺇﻟــﻰ ﺍﻟﺠﻤﻬــﻮﺭ‪ ،‬ﻭﺻــﺎﺭﺕ ﻗــﻮﺓ ﻫــﺬﺍ ﺍﻷﺧﻴــﺮ ﻛﺒﻴــﺮﺓ‬
‫ﻟﺪﺭﺟــﺔ ﺃﻧــﻪ ﻳﻤﻜــﻦ ﺃﻥ ﻳﺆﺛــﺮ ﺣﺘــﻰ ﻰﻠﻋ ﺍﻟﻔــﺮﺩ ﺍﳌﺜﻘــﻒ‪ ،‬ﺇﺫ‬
‫ﻭﻣﻦ ﻫﻨﺎ ﺍﺳﺘﻤﺪﺕ ﺍﻟﺼﺤﺎﻓﺔ‬ ‫ﻳﻤﻜــﻦ ﻟﻠﺠﻤﻬــﻮﺭ ﺃﻥ ﻳﺤــ ّﺮﻙ ﻭﻳﺪﻓــﻊ ﺍﻟﺠﻤﻴــﻊ ﺳــﻮﺍﺀ ﺇﻟــﻰ‬
‫ﺩﻭﺭﻫﺎ ﺍﻟﻘﻮﻱ ﻛﺴﻠﻄﺔ ﺭﺍﺑﻌﺔ‪.‬‬ ‫ﺍﻷﺳﻮﺃ ﺃﻭ ﺍﻷﻓﻀﻞ‪.‬‬

‫ﻭﻣــﻦ ﺑﻴــﻦ ﺯﻣــﺮﺓ ﺍﻟﺘﻌﺮﻳﻔــﺎﺕ ﺍﳌﺘﻌــﺪﺩﺓ ﻟﻠــﺮﺃﻱ ﺍﻟﻌــﺎﻡ‪ ،‬ﻳﻤﻜــﻦ‬

‫ﺃﻥ ﻧﺴﺘﺸــﻬﺪ ﺑﺘﻌﺮﻳــﻒ ﻭﺭﺩ ﻲﻓ ﻛﺘــﺎﺏ "ﺍﻷﺧﺒــﺎﺭ ﻭﺍﻟــﺮﺃﻱ ﺍﻟﻌــﺎﻡ‪..‬‬
‫ﺍﻟﺮﺃﻱ ﺍﻟﻌﺎﻡ ﻭﺍﻟﺼﺤﺎﻓﺔ‬ ‫ﺗﺄﺛﻴــﺮ ﺍﻹﻋــﻼﻡ ﻰﻠﻋ ﺍﻟﺤﻴــﺎﺓ ﺍﳌﺪﻧﻴــﺔ" ﳌﺠﻤﻮﻋــﺔ ﻣــﻦ‬
‫ﺍﳌﺆﻟﻔﻴــﻦ‪ ،‬ﺟــﺎﺀ ﻓﻴــﻪ ﺃﻥ ﺍﻟــﺮﺃﻱ ﺍﻟﻌــﺎﻡ ﻫــﻮ "ﻭﻓــﺎﻕ ﺍﺟﺘﻤﺎﻋــﻲ‬
‫ﻻ ﻳﻤﻜــﻦ ﺍﻟﻘﻔــﺰ ﺃﺑــﺪﺍ ﻰﻠﻋ ﺍﻷﺩﻭﺍﺭ ﺍﻟﺘــﻲ ﻟﻌﺒﺘﻬــﺎ ﺍﻟﺼﺤﺎﻓــﺔ‬ ‫ﺗﻮﺻﻠــﺖ ﺇﻟﻴــﻪ ﺍﻟﺠﻤﺎﻋــﺎﺕ‬ ‫ﺑﺸــﺄﻥ ﺍﻷﻣــﻮﺭ ﺍﻟﺴﻴﺎﺳــﻴﺔ ﻭﺍﳌﺪﻧﻴــﺔ‪ّ ،‬‬
‫ﻲﻓ ﺗﺸــﻜﻴﻞ ﺍﻟــﺮﺃﻱ ﺍﻟﻌــﺎﻡ ﺃﻭ ﺍﻟﺘﺄﺛﻴــﺮ ﻋﻠﻴــﻪ‪ ،‬ﻓﻤﻨــﺬ ﻇﻬﻮﺭﻫــﺎ‬ ‫ﺗﺘﻨــﻮﻉ ﻫــﺬﻩ‬
‫ّ‬ ‫ﺍﳌﻜﻮﻧــﺔ ﻟﻠﻤﺠﺘﻤــﻊ ﺍﻷﻛﺒــﺮ‪ ،‬ﻭﻳﻤﻜــﻦ ﺃﻥ‬
‫ﺃﺿﺤــﺖ ﺍﻟﺼﺤﺎﻓــﺔ ﻣــﻦ ﺑﻴــﻦ ﺃﻫــﻢ ﺍﻟﻄــﺮﻕ ﺍﻟﺘــﻲ ﻳﺘﺠــﻪ ﺇﻟﻴﻬــﺎ‬ ‫ﺍﻟﺠﻤﺎﻋــﺎﺕ ﻣــﻦ ﻛﻴﺎﻧــﺎﺕ ﺻﻐﻴــﺮﺓ‪ ،‬ﺇﻟــﻰ ﻣﺠﺘﻤﻌــﺎﺕ ﺩﻭﻟﻴــﺔ‬
‫ﺍﻟﻔــﺮﺩ ﻣــﻦ ﺃﺟــﻞ ﺗﺘﺒــﻊ ﺍﻷﺧﺒــﺎﺭ ﻭﻣﻌﺮﻓــﺔ ﻣــﺎ ﻳــﺪﻭﺭ ﻣــﻦ‬ ‫ﺿﺨﻤﺔ"‪.‬‬
‫ﺃﻱ‬
‫ﻭﻗﺎﺋــﻊ ﻋﺒــﺮ ﺍﻟﻌﺎﻟــﻢ‪ .‬ﻓﻤــﻦ ﺍﻟﻄﺒﻴﻌــﻲ ﻗﺒــﻞ ﺗﺸــﻜﻴﻞ ّ‬
‫ﻳﻄﻠــﻊ ﺍﻟﻔــﺮﺩ ﻰﻠﻋ ﺍﳌﻮﺿــﻮﻉ ﻭﻳﻌــﺮﻑ ﺍﻟﺨﺒــﺮ ﻭﻣــﺎ‬ ‫ﻣﻮﻗــﻒ‪ ،‬ﺃﻥ ّ‬ ‫ﻟﻘــﺪ ﻇﻬــﺮ ﺍﻻﻫﺘﻤــﺎﻡ ﺑﺎﻟــﺮﺃﻱ ﺍﻟﻌــﺎﻡ ﺟﻠ ّﻴــﺎ ﺑﺪﺍﻳــﺔ ﺍﻟﻘــﺮﻥ‬
‫ﻭﺭﺍﺀﻩ ﺑﻌﻤــﻖ‪ ،‬ﻟﺬﻟــﻚ ﻟﻌﺒــﺖ ﺍﻟﺼﺤﺎﻓــﺔ ﻫــﺬﺍ ﺍﻟــﺪﻭﺭ ﺍﻟﻜﺒﻴــﺮ ﻲﻓ‬ ‫ﺍﳌﺎﺿــﻲ ﻋﻨﺪﻣــﺎ ﻇﻬــﺮﺕ ﻣﻌﺎﻫــﺪ ﺧﺎﺻــﺔ ﺑﺎﺳــﺘﻘﺮﺍﺀ ﺍﻵﺭﺍﺀ ﻲﻓ‬
‫ـﻒ‬ ‫ﺍﻟﻌﺪﻳــﺪ ﻣــﻦ ﺍﻟــﺪﻭﻝ ﺍﻟﻐﺮﺑﻴــﺔ‪ ،‬ﻻ ﺳــﻴﻤﺎ ﻣــﻊ ﺭﻏﺒــﺔ ﺍﻟﺸــﺮﻛﺎﺕ‬
‫ﺗﻘﺪﻳــﻢ ﻣــﺎ ﻳﺘﻴــﺢ ﻟﻠﻘــﺎﺭﺉ ﺗﻜﻮﻳــﻦ ﺭﺃﻳــﻪ‪ ،‬ﺑــﻞ ﺇﻧﻬــﺎ ﻟــﻢ ﺗﻜﺘـ ِ‬
‫ﺑــﻪ‪ ،‬ﻓﻤــﻊ ﺗﻄــﻮﺭ ﺃﺟﻨــﺎﺱ ﺍﻟــﺮﺃﻱ ﻲﻓ ﺍﻟﺼﺤﺎﻓــﺔ ﻭﻛﺬﻟــﻚ‬ ‫ﻭﺍﳌﺆﺳﺴــﺎﺕ ﺍﻟﺤﻜﻮﻣﻴــﺔ ﻭﻏﻴــﺮ ﺍﻟﺤﻜﻮﻣﻴــﺔ ﻲﻓ ﺍﻟﺘﻌ ـ ّﺮﻑ ﺇﻟــﻰ‬
‫ﺍﻷﺟﻨــﺎﺱ ﺍﻟﻜﺒــﺮﻯ ﻛﺎﻟﺘﺤﻘﻴﻘــﺎﺕ ﺍﻻﺳــﺘﻘﺼﺎﺋﻴﺔ‪ ،‬ﺃﺿﺤــﺖ‬ ‫ﺗﻮﺟﻬــﺎﺕ ﻓﺌــﺎﺕ ﺍﻟﺠﻤﻬــﻮﺭ ﺳــﻮﺍﺀ ﻣــﻦ ﺃﺟــﻞ ﺇﻧﺠــﺎﺯ ﺩﺭﺍﺳــﺎﺕ ﺃﻭ‬
‫ﺍﻟﺼﺤﺎﻓــﺔ ﺗﺪﻓــﻊ ﺑﺎﳌﺘﻠﻘــﻲ ﺇﻟــﻰ ﺗﻜﻮﻳــﻦ ﺭﺃﻱ ﻣــﺎ‪ ،‬ﻗــﺪ ﻳﻜــﻮﻥ‬ ‫ﺗﺴــﻮﻳﻖ ﻣﻨﺘﺠــﺎﺕ ﺃﻭ ﺍﻟﺘﻌﻤــﻖ ﻲﻓ ﻇﺎﻫــﺮﺓ ﻣﺠﺘﻤﻌﻴــﺔ‬
‫ﺍﻟــﺮﺃﻱ ﻧﻔﺴــﻪ ﺍﻟــﺬﻱ ﺗﺘﺒﻨــﺎﻩ‪ ،‬ﻭﻣــﻦ ﻫﻨــﺎ ﺍﺳــﺘﻤﺪﺕ ﺍﻟﺼﺤﺎﻓــﺔ‬ ‫ﻣﻌ ّﻴﻨــﺔ‪ .‬ﻭﺗﻮﺟــﺪ ﺣﺎﻟﻴــﺎ ﺍﻟﻌﺪﻳــﺪ ﻣــﻦ ﺍﳌﻌﺎﻫــﺪ ﺍﻟﺨﺎﺻــﺔ ﺍﻟﺘــﻲ‬
‫َ‬
‫ﺩﻭﺭﻫﺎ ﺍﻟﻘﻮﻱ ﻛﺴﻠﻄﺔ ﺭﻗﺎﺑﻴﺔ ﺭﺍﺑﻌﺔ‪.‬‬ ‫ﺗﻌﻤــﻞ ﻰﻠﻋ ﺇﻧﺠــﺎﺯ ﺍﺳــﺘﻄﻼﻋﺎﺕ ﻟﻠــﺮﺃﻱ ﺍﻟﻌــﺎﻡ‪ ،‬ﻭﻏﺎﻟﺒــﺎ ﻣــﺎ‬
‫ﺗﺄﺧــﺬ ﻋ ّﻴﻨــﺔ ﻣــﻦ ﺍﳌﺠﺘﻤــﻊ ﺗﺨﺘﺎﺭﻫــﺎ ﺑﻌﻨﺎﻳــﺔ ﻣــﻦ ﺃﺟــﻞ‬
‫ﻭﻣــﻦ ﺃﻣﺜﻠــﺔ ﺫﻟــﻚ ﺃﻥ ﺍﻟﺼﺤﺎﻓــﺔ ﺍﻷﻣﻴﺮﻛﻴــﺔ ﻋﻤﻠــﺖ ﻲﻓ‬ ‫ﺍﻹﺟﺎﺑــﺔ ﻰﻠﻋ ﺍﻷﺳــﺌﻠﺔ ﺍﳌﻄﻠﻮﺑــﺔ‪ .‬ﻭﺣﺘــﻰ ﻣــﻊ ﺍﻻﻧﺘﻘــﺎﺩﺍﺕ‬
‫ﺍﻟﻜﺜﻴــﺮ ﻣــﻦ ﺍﳌــﺮﺍﺕ ﻰﻠﻋ ﺇﻗﻨــﺎﻉ ﺍﻟﺠﻤﺎﻫﻴــﺮ ﺑﺨﻴــﺎﺭﺍﺕ‬ ‫ﺍﻟﺘــﻲ ﺗﻮﺟــﻪ ﻟﻬــﺬﻩ ﺍﳌﻌﺎﻫــﺪ ﺑﻐﻴــﺎﺏ ﺍﻟﺘﺪﻗﻴــﻖ‪ ،‬ﻓﺈﻧﻬــﺎ‬
‫ﺳﻴﺎﺳــﻴﺔ ﻣﻌ ّﻴﻨــﺔ‪ ،‬ﻭ ُﺗﺒﻴــﻦ ﺫﻟــﻚ ﺩﺭﺍﺳــﺔ ﺃﺟﺮﺍﻫــﺎ ﻋﺎﻟــﻢ‬ ‫ﻋﻤــﺎ‬
‫ﺑﺮﻫﻨــﺖ ﻰﻠﻋ ﻓﻌﺎﻟ ّﻴﺘﻬــﺎ‪ ،‬ﻟﻜﻮﻧﻬــﺎ ﺗﻘــﺪﻡ ﺻــﻮﺭﺍ ﺗﻘﺮﻳﺒﻴــﺔ ّ‬
‫ﺍﻻﺟﺘﻤﺎﻉ ﺑﻮﻝ ﻻﺯﺍﺭ ﺳﻔﻴﻠﺪ ﻲﻓ ﻭﻻﻳﺔ ﺃﻭﻫﺎﻳﻮ ﺍﻷﻣﻴﺮﻛﻴﺔ‬ ‫ﻳﻔﻜﺮ ﻓﻴﻪ ﺍﳌﺠﺘﻤﻊ‪.‬‬

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 ‫ﻋــﺎﻡ ‪ ،1940‬ﻭﻲﻓ ﻭﻻﻳــﺔ ﺇﳌﻴــﺮﺍ‬
‫ﺑﻨﻴﻮﻳــﻮﺭﻙ ﻋــﺎﻡ ‪ ،1948‬ﺃﺛﻨــﺎﺀ ﺍﻻﻧﺘﺨﺎﺑــﺎﺕ‬
‫ﺍﻷﻣﻴﺮﻛﻴــﺔ‪ ،‬ﻋﻨﺪﻣــﺎ ﻭﺟــﺪ ﺃﻥ ﺍﻹﻋــﻼﻡ‬
‫ﺍﻹﺧﺒــﺎﺭﻱ ﻳﻤﺘﻠــﻚ ﻗــﺪﺭﺓ ﻛﺒﻴــﺮﺓ ﻰﻠﻋ‬
‫ﺇﻗﻨــﺎﻉ ﺍﻟﺠﻤﺎﻫﻴــﺮ‪ ،‬ﺣﺴــﺐ ﻣــﺎ ﻳﻨﻘﻠــﻪ‬
‫ﺍﳌﺮﺟــﻊ ﺍﻟﺴــﺎﺑﻖ ﺍﻟــﺬﻱ ﻳﺆﻛــﺪ ﻛﺬﻟــﻚ ﺃﻥ‬
‫ﺍﺳــﺘﻄﻼﻋﺎﺕ ﺍﻟــﺮﺃﻱ ﻛﺎﻧــﺖ ﺗﺸــﻴﺮ ﺇﻟــﻰ‬
‫ﺗﻔــﻮﻕ ﺑــﺎﺭﺍﻙ ﺃﻭﺑﺎﻣــﺎ ﻰﻠﻋ ﻣﻨﺎﻓﺴــﻪ‬ ‫ﱡ‬
‫‪،2008‬‬ ‫ﻋــﺎﻡ‬ ‫ﻣﺎﻛﻴــﻦ‬ ‫ﺟــﻮﻥ‬
‫ﺑﻔﻀــﻞ ﻗﺪﺭﺗــﻪ ﻰﻠﻋ ﺍﻟﺘﻌﺎﻣــﻞ ﻣــﻊ‬
‫ﺍﻟﺘﺤﺪﻳــﺎﺕ ﺍﻻﻗﺘﺼﺎﺩﻳــﺔ ﺍﻟﺘــﻲ ﻛﺎﻧــﺖ‬
‫ﻭﺳــﺎﺋﻞ ﺍﻹﻋــﻼﻡ ﺗﺮﻛــﺰ ﻋﻠﻴﻬــﺎ ﻛﺜﻴــﺮﺍ‬
‫ﺧﻼﻝ ﺗﻠﻚ ﺍﻟﻔﺘﺮﺓ‪.‬‬

‫ﻭﺣﺘــﻰ ﻣــﻊ ﻣﺤﺎﻭﻟــﺔ ﻭﺳــﺎﺋﻞ ﺍﻹﻋــﻼﻡ‬

‫ﺍﻻﺑﺘﻌــﺎﺩ ﻋــﻦ ﺍﻟﺮﻏﺒــﺔ ﻲﻓ ﺍﻟﺘﺄﺛﻴــﺮ‬
‫ﻭﻣﺤﺎﻭﻟﺘﻬــﺎ ﺗﻘﺪﻳــﻢ ﺍﻟﺨﺒــﺮ ﺑﺸــﻜﻞ‬
‫ﻣﺤﺎﻳــﺪ‪ ،‬ﻓﺼﻌﻮﺑــﺔ ﻧﺸــﺮ ﺍﻟﺠﺮﻳــﺪﺓ‬
‫ﻟﺠﻤﻴــﻊ ﺍﻷﺧﺒــﺎﺭ ﺍﻟﺘــﻲ ﺗــﺮﺩ ﻋﻠﻴﻬــﺎ‪،‬‬
‫ﻭﻋﻤﻠﻬــﺎ ﺑﻤﻨﻄــﻖ ﺍﻻﻧﺘﻘــﺎﺀ ﻲﻓ ﺗﺤﺪﻳــﺪ‬
‫ﻣــﺎ ﻫــﻮ ﺍﻷﻫــﻢ ﺑﺎﻟﻨﺴــﺒﺔ ﻟﺠﻤﻬﻮﺭﻫــﺎ‪،‬‬
‫ﻭﻣــﺎ ﻫــﻲ ﺍﳌﻮﺍﺿﻴــﻊ ﺍﻟﺘــﻲ ﻗــﺪ ﺗﺠﻠــﺐ‬
‫ﻟﻬــﺎ ﻗــﺮﺍ ًﺀ ﺃﻛﺜــﺮ ﻛــﻲ ﺗﺤﻘــﻖ ﺃﺭﺑﺎﺣــﺎ ﺃﻛﺒــﺮ‬
‫)ﺇﺫﺍ ﻛﻨــﺎ ﻧﺘﺤــﺪﺙ ﻫﻨــﺎ ﻋــﻦ ﺟﺮﻳــﺪﺓ‬
‫ﺧﺎﺻــﺔ(‪ ،‬ﻳﺠﻌــﻞ ﺃﺧﺒﺎﺭﻫــﺎ ﺗﺆﺛــﺮ ﺑﺸــﻜﻞ‬
‫ﻣــﺎ ﻰﻠﻋ ﺟﻤﻬﻮﺭﻫــﺎ‪ ،‬ﻭﺫﻟــﻚ ﻣــﻊ ﺿــﺮﻭﺭﺓ‬
‫ﺍﻹﺷــﺎﺭﺓ ﺇﻟــﻰ ﺍﻟﻔﺮﻭﻗــﺎﺕ ﺍﳌﻮﺟــﻮﺩﺓ ﻲﻓ‬
‫ﺍﳌﺠﺘﻤــﻊ‪ ،‬ﻭﻃﺒﻴﻌــﺔ ﺍﻟﺠﻤﻬــﻮﺭ ﻭﺧﺒﺮﺍﺗــﻪ‬
‫ﻲﻓ ﺍﻟﺘﻌﺎﻣــﻞ ﻣــﻊ ﻭﺳــﺎﺋﻞ ﺍﻹﻋــﻼﻡ‪ ،‬ﺃﻱ‬
‫ﺑﺘﻌﺒﻴــﺮ ﺁﺧــﺮ ﺍﻻﺧﺘﻼﻓــﺎﺕ ﺑﻴــﻦ ﺍﻷﻓــﺮﺍﺩ‬
‫ﻲﻓ ﻃﺮﻳﻘــﺔ ﺗﺸــﻜﻴﻠﻬﻢ ﻵﺭﺍﺋﻬــﻢ ﺑﻴــﻦ‬
‫ﻣــﻦ ُﻳﺨﻀــﻊ ﻣــﺎ ﻳﻘــﺮﺅﻩ ﻟﻠﺘﻤﺤﻴــﺺ‪،‬‬
‫ﻭﺑﻴﻦ ﻣﻦ ﻳﺼﺪﻕ ّ‬
‫ﻛﻞ ﻣﺎ ﻳﻘﺮﺅﻩ‪.‬‬

‫ﺍﻟﺮﺃﻱ ﺍﻟﻌﺎﻡ ﻲﻓ ﺍﻟﻔﻀﺎﺀ‬

‫ﺍﻹﻟﻜﺘﺮﻭﻧﻲ‬

‫ﺑــﺪﺃﺕ ﺍﳌﺤــﺎﻭﻻﺕ ﺍﻷﻭﻟــﻰ ﻟﻠﺼﺤﺎﻓــﺔ‬

‫ﺍﻹﻟﻜﺘﺮﻭﻧﻴــﺔ ﻲﻓ ﺳــﺒﻌﻴﻨﻴﺎﺕ ﺍﻟﻘــﺮﻥ‬
‫ﺷ ّ‬
‫ــﻖ‬ ‫ﺍﳌﺎﺿــﻲ‪ ،‬ﻟﻜــﻦ ﻳﻤﻜــﻦ ﺍﻟﻘــﻮﻝ ﺇﻥ َ‬
‫ﺍﻟﺼﺤﺎﻓــﺔ ﺍﻹﻟﻜﺘﺮﻭﻧﻴــﺔ ﻃﺮﻳﻘﻬــﺎ ﻲﻓ‬
‫ﺍﻟﻌﺎﻟــﻢ ﻇﻬــﺮ ﺃﺳﺎﺳــﺎ ﺧــﻼﻝ ﺍﻟﻌﻘــﺪ‬
‫ﺍﻷﺧﻴﺮ ﻣﻦ ﺍﻟﻘﺮﻥ ﺍﳌﺎﺿﻲ‪ ،‬ﻓﻘﺪ‬

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‫ﺗﻌــ ّﺮﻑ ﺍﻟﻘــﺎﺭﺉ ﺍﻷﻣﻴﺮﻛــﻲ ﻣﺜــﻼ ﻰﻠﻋ‬
‫ﺍﻟﻌﺪﻳــﺪ ﻣــﻦ ﺍﳌﻮﺍﻗــﻊ ﺍﻹﺧﺒﺎﺭﻳــﺔ ﻲﻓ‬
‫ﺗﻠــﻚ ﺍﻟﻔﺘــﺮﺓ‪ ،‬ﻣﻨﻬــﺎ ﻣﻮﻗــﻊ "ﺳــﻲ‪.‬ﺃﻥ‪.‬ﺃﻥ"‬
‫ﻭﻣﻮﻗــﻊ "ﺻﺎﻟــﻮﻥ" ﻋــﺎﻡ ‪ ،1995‬ﻭﺗﻄــﻮﺭﺕ‬
‫ﺍﻟﻌﻨﺎﻭﻳــﻦ ﺑﻌﺪﻫــﺎ ﺑﺸــﻜﻞ ﻻﻓــﺖ‪،‬‬
‫ﻟﺪﺭﺟــﺔ ﺇﻧﺸــﺎﺀ ﺟﻤﻌﻴــﺔ "ﺃﺧﺒــﺎﺭ ﺍﻷﻭﻥ‬
‫ﻻﻳﻦ" ﻋﺎﻡ ‪ .1999‬ﺃﻣﺎ ﻲﻓ ﺍﳌﻨﻄﻘﺔ ﺍﻟﻌﺮﺑﻴﺔ‪،‬‬
‫ﻓﻘــﺪ ﻇﻬــﺮﺕ ﺗﺠــﺎﺭﺏ ﻣﺘﻌــﺪﺩﺓ ﻲﻓ‬
‫ﺑﺪﺍﻳــﺔ ﺍﻷﻟﻔﻴــﺔ ﻣﻨﻬــﺎ "ﺍﻟﺠﺰﻳــﺮﺓ ﻧــﺖ"‬
‫ﻭ"ﺇﻳﻼﻑ"‪.‬‬

‫ﻏﻴــﺮ ﺃﻥ ﺗﺄﺛﻴــﺮ ﺍﳌﻮﺍﻗــﻊ ﺍﻹﻟﻜﺘﺮﻭﻧﻴــﺔ‬

‫ﻰﻠﻋ ﺍﻟــﺮﺃﻱ ﺍﻟﻌــﺎﻡ ﻟــﻢ ﻳﻈﻬــﺮ ﺇﻻ ﺑﺪﺍﻳــﺔ‬
‫ﺍﻷﻟﻔﻴــﺔ ﺍﻟﺜﺎﻟﺜــﺔ‪ ،‬ﻭﻳﺴــﺘﺪﻝ ﺍﻟﺒﺎﺣــﺚ‬
‫ﺍﻷﻣﻴﺮﻛــﻲ ﻲﻓ ﺍﻹﻋــﻼﻡ ﺍﻟﺠﺪﻳــﺪ ﺩﺍﻥ‬
‫ﺟﻴﻠﻤــﻮﺭ ﻲﻓ ﻛﺘﺎﺑــﻪ "ﻧﺤــﻦ ﺍﻹﻋــﻼﻡ"‪،‬‬
‫ﺑﻮﺍﻗﻌــﺔ ﺑــﺚ ﺍﻟﺼﺤﻔــﻲ ﺩﺍﻥ ﺭﺍﺛــﺮ ﻲﻓ‬
‫ﺷــﺒﻜﺔ "ﺳــﻲ‪.‬ﺑﻲ‪.‬ﺃﺱ" ﻋــﺎﻡ ‪،2004‬‬
‫ﺗﻘﺮﻳــﺮﺍ ﻋــﻦ ﺳــﺠﻞ ﺍﻟﺤــﺮﺱ ﺍﻟﻮﻃﻨــﻲ‬
‫ﺍﳌﺘﻨــﺎﺯﻉ ﻋﻠﻴــﻪ ﻲﻓ ﻋﻬــﺪ ﺟــﻮﺭﺝ‬
‫ﺩﺑﻠﻴــﻮ ﺑــﻮﺵ‪ ،‬ﻭﻫــﻮ ﺍﻟﺘﻘﺮﻳــﺮ ﺍﻟــﺬﻱ‬
‫ـﻜﻚ ﻓﻴــﻪ ﺃﺻﺤــﺎﺏ ﺍﳌﺪﻭﻧــﺎﺕ‪ ،‬ﺧﺎﺻــﺔ‬ ‫ﺷـ ّ‬
‫ﻓﻴﻤــﺎ ﻳﺘﻌﻠــﻖ ﺑﺼﺤــﺔ ﺍﳌﺬﻛــﺮﺍﺕ ﺍﻟﺘــﻲ‬
‫ﺗــﻢ‬
‫ﺍﺳــﺘﻨﺪ ﺇﻟﻴﻬــﺎ ﺟﺎﻧــﺐ ﻛﺒﻴــﺮ ﻣﻤــﺎ ّ‬
‫ﺑﺜــﻪ‪ .‬ﻭﺗﺤــﺖ ﺗﺄﺛﻴــﺮ ﺍﻧﺘﻘــﺎﺩ ﻛ ّﺘــﺎﺏ‬
‫ﺍﳌﺪﻭﻧــﺎﺕ‪ ،‬ﺍﺿﻄــﺮﺕ ﺍﻟﺸــﺒﻜﺔ ﺍﳌﺬﻛــﻮﺭﺓ‬
‫ﻟﻠﺘﺮﺍﺟﻊ‪.‬‬

‫ﻛﻤــﺎ ﺗﺒ ّﻴــﻦ ﺃﻥ ﻟﻸﺷــﺨﺎﺹ ﺍﻟﺤﺎﺿﺮﻳــﻦ‬

‫ﻲﻓ ﺍﳌــﻜﺎﻥ ﺫﺍﺗــﻪ ﺍﻟﻘــﺪﺭﺓ ﻰﻠﻋ ﻧﺸــﺮ‬
‫ﺭﻭﺍﻳﺘﻬــﻢ ﻋــﻦ ﺍﻷﺣــﺪﺍﺙ ﻲﻓ ﺍﻹﻧﺘﺮﻧــﺖ‪،‬‬
‫ﻓﺎﻟﻜﺎﺗــﺐ ﺩﺍﻥ ﺟﻴﻠﻤــﻮﺭ ﻳﺆﻛــﺪ ﺃﻥ ﺍﻟﺼــﻮﺭ‬
‫ـﻮﺭﺕ ﺃﻣــﻮﺍﺝ‬
‫ﻭﻣﻘﺎﻃــﻊ ﺍﻟﻔﻴﺪﻳــﻮ ﺍﻟﺘــﻲ ﺻـ ّ‬
‫ﺗﺴــﻮﻧﺎﻣﻲ )ﺍﻟﺤــﺎﺩﺙ ﺍﳌﺄﻭﺳــﺎﻭﻱ ﺍﻟــﺬﻱ‬
‫ﺃﻭﺩﻯ ﺑﺤﻴــﺎﺓ ﺍﻵﻻﻑ ﻭﺗﺴــ ّﺒﺐ ﻲﻓ‬
‫ﺧﺴــﺎﺋﺮ ﻣﺎﺩﻳــﺔ ﻓﺎﺩﺣــﺔ(‪ ،‬ﺳــﺎﻋﺪﺕ‬
‫ﺍﻟﻜﺜﻴــﺮ ﻣــﻦ ﺍﻟﺼﺤﻔﻴﻴــﻦ ﻰﻠﻋ ﺗﻐﻄﻴــﺔ‬
‫ﺍﻟﺤــﺪﺙ‪ ،‬ﻛﻤــﺎ ﺃﻥ ﺻــﻮﺭﺓ ﻓﻮﺗﻐﺮﺍﻓﻴــﺔ‬
‫ﺍﻟﺘﻘﻄﻬــﺎ ﺭﺟــﻞ ﻫــﺎﺭﺏ ﻣــﻦ ﺗﻔﺠﻴــﺮﺍﺕ‬
‫‪،2 0 0 5‬‬ ‫ﻋــﺎ ﻡ‬ ‫ﻟﻨــﺪ ﻥ‬
‫ﻛﺎﻧــﺖ ﻭﺍﺣــﺪﺓ ﻣــﻦ ﺃﻫــﻢ ﺍﻟﺼــﻮﺭ ﺍﻟﺘــﻲ‬
‫ﺩﻋﻤــﺖ ﺑﻬــﺎ ﺍﻟﺼﺤــﻒ ﺗﻘﺎﺭﻳﺮﻫــﺎ ﻋــﻦ‬
‫ﺍﻟﺤﺎﺩﺙ ﻟﺬﻟﻚ ﺍﻟﻴﻮﻡ‪.‬‬
‫ﺗﺘﻄــﻮﺭ‬
‫ّ‬ ‫ﺍﻟﺘﻮﻧﺴــﻴﺔ ﻣــﺎ ﻛﺎﻥ ﻳﻤﻜــﻦ ﺃﻥ‬
‫ﺑﺎﻟﺸــﻜﻞ ﺍﻟــﺬﻱ ﻭﻗــﻊ‪ ،‬ﻟــﻮﻻ ﺗﺒــﺎﺩﻝ ﺍﻟﺼــﻮﺭ‬
‫ﻭﻣﻘﺎﻃــﻊ ﺍﻟﻔﻴﺪﻳــﻮ ﻟﻠﻘﺘﻠــﻰ ﻭﺍﻟﺠﺮﺣــﻰ‬
‫ﺑﻨﻴــﺮﺍﻥ ﺍﻟﺸــﺮﻃﺔ ﺍﻟﺘﻮﻧﺴــﻴﺔ‪ ،‬ﻓﻄﺒﻴﻌــﺔ‬
‫ﺍﳌﺸــﺎﻫﺪ ﺍﻟﺘــﻲ ﻧﻘﻠﻬــﺎ ﻧﺸــﻄﺎﺀ‬
‫ﻋﺠﻠــﺖ ﺑﺎﻧﺘﺸــﺎﺭ‬‫ﺍﻹﻧﺘﺮﻧــﺖ ﺇﻟــﻰ ﺍﻟﻌﺎﻟــﻢ ّ‬
‫ﻭﺳــﻊ ﻣــﻦ ﺭﻗﻌــﺔ‬‫ﺃﻛﺒــﺮ ﻟﻠﺴــﺨﻂ‪ ،‬ﻣﻤــﺎ ّ‬
‫ﺍﻻﺣﺘﺠﺎﺟــﺎﺕ ﻭﺃﺳــﻘﻂ ﻧﻈــﺎﻡ ﺯﻳــﻦ‬
‫ﻟﻬــﺎ ﺃﺛــﺮ ﺇﻳﺠﺎﺑــﻲ ﺃﻓﻀــﻞ ﻣــﻦ ﺣﻤــﻼﺕ‬
‫ﺍﻟﻌﺎﺑﺪﻳــﻦ ﺑــﻦ ﻋﻠــﻲ ﻲﻓ ﺃﻗــﻞ ﻣــﻦ‬
‫ﻣﺪﻓﻮﻋــﺔ ﺍﻷﺟــﺮ ﻲﻓ ﻗﻨــﻮﺍﺕ ﻓﻀﺎﺋﻴــﺔ‪،‬‬
‫ﺷﻬﺮ‪.‬‬
‫ﻭﻳﻨﻄﺒــﻖ ﺍﻷﻣــﺮ ﺫﺍﺗــﻪ ﻰﻠﻋ ﻣﺼــﺮ‬
‫ﻋﻨﺪﻣــﺎ ﺍﻧﻄﻠﻘــﺖ ﺣــﺮﻛﺎﺕ ﺷــﺒﺎﺑﻴﺔ ﻣــﻦ‬
‫ﺍﻹﻧﺘﺮﻧــﺖ ﻛﻤﺠﻤﻮﻋــﺔ "ﻛﻠﻨــﺎ ﺧﺎﻟــﺪ‬
‫ﺳــﻌﻴﺪ" ﻰﻠﻋ ﺍﻟﻔﻴﺴــﺒﻮﻙ‪ ،‬ﺇﻟــﻰ ﺟﺎﻧــﺐ‬
‫ﺣــﺮﻛﺎﺕ ﺃﺧــﺮﻯ ﻛﺤﺮﻛــﺔ "ﺷــﺒﺎﺏ ‪ 6‬ﺃﺑﺮﻳﻞ"‬
‫ﻟﻠﻤﻄﺎﻟﺒــﺔ ﺑﺈﺳــﻘﺎﻁ ﻧﻈــﺎﻡ ﺣﺴــﻨﻲ‬
‫ﻣﺒــﺎﺭﻙ‪ .‬ﻭﺭﻏــﻢ ﺃﻥ ﺍﻟﺪﻭﻟــﺔ ﺍﳌﺼﺮﻳــﺔ‬
‫ﺣﺎﻭﻟــﺖ ﺗــﺪﺍﺭﻙ ﻣــﺎ ﻳﻤﻜــﻦ ﺗﺪﺍﺭﻛــﻪ‬
‫ﳌﻨــﻊ ﺗﺒــﺎﺩﻝ ﺍﳌﻌﻠﻮﻣــﺔ ﻰﻠﻋ‬
‫ﺍﻹﻧﺘﺮﻧــﺖ‪ ،‬ﻭﻗﻄﻌــﺖ ﻫــﺬﺍ ﺍﻷﺧﻴــﺮ ﻲﻓ‬
‫ﻓﺘــﺮﺍﺕ ﻣﻌ ّﻴﻨــﺔ‪ ،‬ﻓــﺈﻥ ﺫﻟــﻚ ﻟــﻢ ﻳﻨﻔــﻊ‬
‫ﺑﻌﺪﻣــﺎ ﺃﻭﺟــﺪ ﺍﳌﺘﻈﺎﻫــﺮﻭﻥ ﻃﺮﻗــﺎ‬
‫ﻣﻤــﺎ ﺟﻌــﻞ‬
‫ﻣﺘﻌــﺪﺩﺓ ﻟﻨﺸــﺮ ﺃﺧﺒﺎﺭﻫــﻢ‪ّ ،‬‬
‫ﺍﻟﻜﺜﻴــﺮ ﻣــﻦ ﺍﻟﺒﺎﺣﺜﻴــﻦ ﻳﻄﻠﻘــﻮﻥ ﻰﻠﻋ‬
‫ﺍﻟﺜــﻮﺭﺍﺕ ﺍﻟﻌﺮﺑﻴــﺔ ﻟﻔــﻆ ﺛــﻮﺭﺍﺕ‬
‫ﻗﺮﺍﺑــﺔ ﺛﻤﺎﻧﻴــﺔ ﻣﻼﻳﻴــﻦ ﻣﻨﻬــﻢ‬
‫ﺍﻟﻔﻴﺴــﺒﻮﻙ ﻭﺗﻮﻳﺘــﺮ‪ .‬ﻟﻜــﻦ ﻣــﻊ ﺿــﺮﻭﺭﺓ‬
‫ﺍﻟﺘﺄﻛﻴــﺪ ﺃﻥ ﻣﻮﺍﻗــﻊ ﺍﻟﺘﻮﺍﺻــﻞ‬
‫ﻭﺧــﻼﻝ ﻓﺘــﺮﺓ ﺍﻟﺮﺑﻴــﻊ ﺍﻟﻌﺮﺑــﻲ‪ ،‬ﺗﺒ ّﻴﻨــﺖ‬
‫ﺍﻻﺟﺘﻤﺎﻋــﻲ ﺑﻘﻴــﺖ ﻣﺠــ ّﺮﺩ ﻭﺳــﺎﺋﻞ‬
‫ﻟﺘﺤﻘﻴــﻖ ﺍﻟﺜــﻮﺭﺍﺕ‪ ،‬ﺑﻴﻨﻤــﺎ ﺗﻌــﻮﺩ‬
‫ﺍﻷﺳــﺒﺎﺏ ﺍﻟﺤﻘﻴﻘﻴــﺔ ﺇﻟــﻰ ﻋﻮﺍﻣــﻞ‬
‫ﺳﻴﺎﺳﻴﺔ ﻭﺍﺟﺘﻤﺎﻋﻴﺔ ﻭﺍﻗﺘﺼﺎﺩﻳﺔ‪.‬‬
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‫ﺑﺎﻻﻧﺘﺨﺎﺑــﺎﺕ‪ ،‬ﻓﻘــﺪ ﻓــﺎﺯ ﻣﺮﺷــﺢ ﺍﻟﺤــﺰﺏ‬ ‫ﻭﻲﻓ ﻫــﺬﺍ ﺍﳌﺴــﺘﻮﻯ‪ ،‬ﻇﻬــﺮ ﺃﻥ‬
‫ﺍﻟﺪﻳﻤﻘﺮﺍﻃــﻲ ﺑــﻦ ﺗﺸــﺎﻧﺪﻟﺮ ﻲﻓ‬ ‫ﺍﻟﺼﺤﻔــﻲ ﻟــﻢ ﻳﻌــﺪ ﻫــﻮ ﺃﻭﻝ ﻣــﻦ ﻳﻘــﻮﻡ‬
‫ﺍﻧﺘﺨﺎﺑــﺎﺕ ﺧﺎﺻــﺔ ﻲﻓ ﺍﻟﻜﻮﻧﻐــﺮﺱ‬ ‫ﺑﻮﻇﻴﻔــﺔ ﺍﻟﺘﺄﺭﻳــﺦ ﻟﻸﺣــﺪﺍﺙ‪ ،‬ﺑــﻞ‬
‫ﺍﻷﻣﻴﺮﻛــﻲ ﻋــﺎﻡ ‪ ،2004‬ﻣﺴــﺘﺨﺪﻣﺎ ﻲﻓ‬ ‫ﺃﺿﺤــﻰ ﻧﺸــﻄﺎﺀ ﺍﻹﻧﺘﺮﻧــﺖ ﻫــﻢ ﺃﻭﻝ ﻣــﻦ‬
‫ﺫﻟــﻚ ﺍﳌﻮﺍﻗــﻊ ﺍﻹﻟﻜﺘﺮﻭﻧﻴــﺔ ﺑﺸــﻜﻞ‬ ‫ﻳﻘﻮﻣــﻮﻥ ﺑﻬــﺬﻩ ﺍﻟﻮﻇﻴﻔــﺔ ﺣﺴــﺐ‬
‫ﻛﺒﻴــﺮ‪ ،‬ﻭﻗــﺪ ﺍﺳــﺘﺜﻤﺮ ﺃﻣــﻮﺍﻻ ﺑﺴــﻴﻄﺔ‬ ‫ﺟﻴﻠﻤــﻮﺭ‪ .‬ﻭﻧﺘﻴﺠــﺔ ﻟﻬــﺬﺍ ﺍﻟﻄــﺎﺭﺉ‪،‬‬
‫ﻟﻠﻈﻬــﻮﺭ ﻲﻓ ﺇﻋﻼﻧــﺎﺕ ﻣﺪﻭﻧــﺎﺕ‪ ،‬ﻛﺎﻥ‬ ‫ﺗﻄــﻮﺭﺕ ﺍﻟﺼﺤﺎﻓــﺔ ﺍﻹﻟﻜﺘﺮﻭﻧﻴــﺔ ﺑﺸــﻜﻞ‬
‫ّ‬
‫ﻭﺍﺿــﺢ‪ ،‬ﻭﺍﺳــﺘﻔﺎﺩﺕ ﻣــﻦ ﻫــﺆﻻﺀ‬
‫ﺍﻟﻨﺸــﻄﺎﺀ ﻲﻓ ﺑﻨــﺎﺀ ﺷــﺒﻜﺔ ﻗﻮﻳــﺔ‬
‫ﻭﻓﻖ ﻣﺎ ﻳﺆﻛﺪﻩ ﺟﻴﻠﻤﻮﺭ‪.‬‬ ‫ﺍﺳــﺘﻄﺎﻋﺖ ﺃﻥ ﺗﻌﻄــﻲ ﺍﻟﺠﺪﻳــﺪ ﻟﺤﻈــﺔ‬
‫ﺑﻠﺤﻈــﺔ‪ .‬ﻭﻳﻤﻜــﻦ ﻲﻓ ﻫــﺬﺍ ﺍﻟﺴــﻴﺎﻕ‬
‫ﻭﻛــﻲ ﻧﻌﻄــﻲ ﻣﺜــﺎﻻ ﻗﺮﻳﺒــﺎ‪ ،‬ﻓﺨــﻼﻝ‬ ‫ﺍﻻﺳﺘﺸــﻬﺎﺩ ﺑﺎﻟﻔﻴﻀﺎﻧــﺎﺕ ﺍﻟﺘــﻲ‬
‫ﺍﻻﻧﺘﺨﺎﺑــﺎﺕ ﺍﻟﺠﻬﻮﻳــﺔ ﻭﺍﳌﺤﻠﻴــﺔ ﺍﻟﺘــﻲ‬ ‫ﺷــﻬﺪﻫﺎ ﺍﳌﻐــﺮﺏ ﻧﻬﺎﻳــﺔ ﺍﻟﻌــﺎﻡ‬
‫ﻧﻈﻤﻬﺎ ﺍﳌﻐــﺮﺏ ﻳــﻮﻡ ‪ 4‬ﺳــﺒﺘﻤﺒﺮ‪/‬ﺃﻳﻠﻮﻝ‬ ‫‪ ،2014‬ﻭﻛﻴــﻒ ﺃﻥ ﺍﻟﺼــﻮﺭ ﻭﻣﻘﺎﻃــﻊ‬
‫ـﻞ ﺍﻷﺣــﺰﺍﺏ ﺍﳌﻐﺮﺑﻴــﺔ‬ ‫‪ ،2015‬ﺍﺗﺠﻬــﺖ ﺟـ ّ‬ ‫ﺍﻟﻔﻴﺪﻳــﻮ ﺍﻟﺘــﻲ ﺍﻟﺘﻘﻄﻬــﺎ ﺍﳌﻮﺍﻃﻨــﻮﻥ‬
‫ﻟﻠﻤــﺮﺓ ﺍﻷﻭﻟــﻰ ﺇﻟــﻰ ﺍﻟﻔﻀــﺎﺀ ﺍﻹﻟﻜﺘﺮﻭﻧــﻲ‬ ‫ﻛﺎﻧــﺖ ﻋﺎﻣــﻼ ﺃﺳﺎﺳــﻴﺎ ﻟﺘﻜﻮﻳــﻦ ﺭﺃﻱ ﻋــﺎﻡ‬
‫ﺑﺤ ًﺜــﺎ ﻋــﻦ ﻣﺴــﺎﺣﺎﺕ ﺇﺷــﻬﺎﺭﻳﺔ ﻲﻓ‬ ‫ـﺪﺩ ﺑﺎﺳــﺘﻤﺮﺍﺭ ﺗﻌﻄــﻞ ﺍﻟﺒﻨــﻰ ﺍﻟﺘﺤﺘﻴــﺔ‬
‫ﻧـ ّ‬
‫ﺍﳌﻮﺍﻗــﻊ‪ ،‬ﻛﻤــﺎ ﺍﺳــﺘﺨﺪﻣﺖ ﺍﻟﺼﻔﺤــﺎﺕ‬ ‫ﻲﻓ ﺍﳌﻐﺮﺏ‪.‬‬
‫ﺍﳌﺮ ّﻭﺟــﺔ ﻰﻠﻋ ﺍﻟﻔﻴﺴــﺒﻮﻙ‪ ،‬ﻭﻋﻤﻠــﺖ‬
‫ﻰﻠﻋ ﺗﺼﻤﻴــﻢ ﻣﻘﺎﻃــﻊ ﻓﻴﺪﻳــﻮ ﺇﺷــﻬﺎﺭﻳﺔ‬ ‫ﻭﻣــﻦ ﺳــﻤﺎﺕ ﺍﻟﺼﺤﺎﻓــﺔ ﺍﻹﻟﻜﺘﺮﻭﻧﻴــﺔ‬
‫ﻲﻓ ﻣﻮﻗــﻊ ﺍﻟﻴﻮﺗﻴــﻮﺏ‪ .‬ﻭﻻ ﻋﺠــﺐ ﻲﻓ‬ ‫ﻲﻓ ﻋﻼﻗﺘﻬــﺎ ﺑﺎﻟــﺮﺃﻱ ﺍﻟﻌــﺎﻡ‪ ،‬ﺃﻧﻬــﺎ ﻟــﻢ‬
‫ﺫﻟــﻚ‪ ،‬ﻓﻔــﻲ ﺍﳌﻐــﺮﺏ ﻫﻨــﺎﻙ ﺇﺣﺼﺎﺋﻴــﺎﺕ‬ ‫ﺗﻌــﺪ ﺻﻨﺪﻭﻗــﺎ ﺃﺳــﻮﺩ ﻳﺘﻮﺟــﻪ ﺇﻟــﻰ‬
‫ﻏﻴــﺮ ﺭﺳــﻤﻴﺔ ﺗﺸــﻴﺮ ﺇﻟــﻰ ﻭﻟــﻮﺝ ‪16‬‬ ‫ﺍﳌﺘﻠﻘﻴــﻦ ﺩﻭﻥ ﻣﻌﺮﻓــﺔ ﺁﺭﺍﺋﻬــﻢ‪ ،‬ﺑــﻞ‬
‫ﻣﻠﻴــﻮﻥ ﻣﻐﺮﺑــﻲ ﺇﻟــﻰ ﺷــﺒﻜﺔ ﺍﻹﻧﺘﺮﻧــﺖ‪،‬‬ ‫ﺻــﺎﺭ ﺭﺃﻱ ﺍﳌﺘﻠﻘــﻲ ﻣﻬﻤــﺎ ﺟــﺪﺍ‪ ،‬ﻭﺻــﺎﺭ‬
‫ﻳﺘﺒــﺎﺩﻝ ﺍﻷﻓــﻜﺎﺭ ﺣــﻮﻝ ﻣــﺎ ﻧﺸــﺮﺗﻪ‬
‫ﺟﺮﻳــﺪﺓ ﺩﻭﻥ ﺃﺧــﺮﻯ‪ ،‬ﻛﻤــﺎ ﺻــﺎﺭ ﺍﻟﺒﻌــﺾ‬
‫ﻣﺴﺠﻠﻮﻥ ﻲﻓ ﻣﻮﻗﻊ ﺍﻟﻔﻴﺴﺒﻮﻙ‪.‬‬
‫ﻳﻬــﻮﻯ ﻣﺮﺍﻗﺒــﺔ ﺍﻟﺼﺤــﻒ ﻭﺍﳌﺠــﻼﺕ‬
‫ﺍﻹﻟﻜﺘﺮﻭﻧﻴــﺔ ﺑﺤﺜــﺎ ﻋــﻦ ﻫﻔــﻮﺍﺕ‬
‫ﺃﺩﻭﺍﺭ ﺍﻹﻧﺘﺮﻧــﺖ ﺍﻟﻜﺒﻴــﺮﺓ ﻲﻓ ﺍﻟﺘﺄﺛﻴــﺮ‬ ‫ﻳﻨﺸﺮﻫﺎ‪.‬‬
‫ﻰﻠﻋ ﺍﻟــﺮﺃﻱ ﺍﻟﻌــﺎﻡ‪ ،‬ﺑــﻞ ﻭﺍﻟﺘﻐﻴﻴــﺮ ﻲﻓ‬
‫ﻣﺠــﺮﻯ ﺍﻷﺣــﺪﺍﺙ ﻭﺇﺳــﻘﺎﻁ ﺃﻧﻈﻤــﺔ‬ ‫ﻭﻳﻤﻜــﻦ ﺃﻥ ﻧﺘﺒ ّﻴــﻦ ﺍﻟﺘﺄﺛﻴــﺮ ﺍﻟﻘــﻮﻱ‬
‫ﺑﻜﺎﻣﻠﻬﺎ؟ ﻭﻳﻤﻜﻦ ﺍﻟﻘﻮﻝ ﺇﻥ ﺍﻟﺜﻮﺭﺓ‬ ‫ﻟﻠﺼﺤﺎﻓﺔ ﺍﻹﻟﻜﺘﺮﻭﻧﻴﺔ ﻲﻓ ﻣﺎ ﻳﺘﻌﻠﻖ‬
 ‫ﻋﺎﻟﻢ ﺍﻷﺧﺒﺎﺭ ﻲﻓ‬
‫ﺗﻮﻳﺘﺮ ﻭﻓﻴﺴﺒﻮﻙ‬
‫ﻋﺒﺪ ﺍﷲ ﺍﻟﺮﺷﻴﺪ‬

‫ﻳﻌﺘﺒﺮ ﻣﻮﻗﻌﺎ ﻓﻴﺴﺒﻮﻙ‬ ‫ﻛﻞ ﻣﻨﻬﻤــﺎ ﻰﻠﻋ ﺗﻮﻓﻴــﺮ ﻛﻞ‬ ‫ٌ‬ ‫ﻲﻓ ﻇــﻞ ﻫــﺬﺍ ﺍﻟﺘﻄــﻮﺭ ﺍﻟﺮﻫﻴــﺐ ﻲﻓ‬
‫ﻭﺗﻮﻳﺘﺮ ﻣﻦ ﺃﻛﺜﺮ ﺍﳌﻮﺍﻗﻊ‬ ‫ﺍﻟﺘﺴــﻬﻴﻼﺕ ﺍﳌﻤﻜﻨــﺔ ﻟﻴﻜــﻮﻥ ﺍﻷﻓﻀــﻞ‬ ‫ﻋﺎﻟــﻢ ﺍﻹﻋــﻼﻡ ﺍﻟﺮﻗﻤــﻲ‪ ،‬ﻭﺑﺎﳌــﻮﺍﺯﺍﺓ‬
‫ﻰﻠﻋ ﺍﻹﻃﻼﻕ ﻛﻤﺼﺪﺭ ﺃﻭﻝ ﻟﻠﺨﺒﺮ‪.‬‬ ‫ﺗﻤﺎﻣــﺎ ﻣــﻊ ﺍﺭﺗﺒــﺎﻁ ﻫــﺬﺍ ﺍﻟﺘﻄــﻮﺭ ﺑﺘﻄــﻮﺭ‬
‫ﻧﺠﺎﺣﺎ ﻲﻓ ﺍﻟﺤﺼﻮﻝ ﻰﻠﻋ‬ ‫ﻭﻲﻓ ﻫــﺬﺍ ﺍﻟﺘﻘﺮﻳــﺮ ﻧﻘــﻮﻡ ﺑﺠﻮﻟــﺔ‬ ‫ﺍﻹﻋــﻼﻡ ﻭﺍﻟﺨﺒــﺮ ﻣﻌــﻪ‪ ،‬ﺃﺻﺒــﺢ ﻋﺎﻟــﻢ‬
‫ﺍﻟﺨﺒﺮ ﻭﺻﻨﺎﻋﺘﻪ‪ ،‬ﳌﺎ‬ ‫ﺳــﺮﻳﻌﺔ ﻧﺮﺻــﺪ ﻓﻴﻬــﺎ ﺁﺧــﺮ ﻣــﺎ ﻭﺻــﻞ‬ ‫ﺍﻷﺧﺒــﺎﺭ ﺍﻟﺮﻗﻤــﻲ ﻫــﻮ ﺍﻷﻭﻝ ﻣــﻦ ﻧﻮﻋــﻪ‪،‬‬
‫ﺇﻟﻴــﻪ ﺍﳌﻮﻗﻌــﺎﻥ‪ ،‬ﻭﻧﺘﻌــﺮﻑ ﻰﻠﻋ‬ ‫ـﻮﻕ ﺑﺬﻟــﻚ ﻰﻠﻋ ﺍﻹﻋــﻼﻡ ﺍﳌﻜﺘــﻮﺏ‬ ‫ﻭﺗﻔـ ّ‬
‫ﻳﻘﺪﻣﺎﻧﻪ ﻣﻦ ﺗﺤﺪﻳﺜﺎﺕ‬ ‫ﺍﻹﻧﺠــﺎﺯﺍﺕ ﻭﺍﻟﺘﺴــﻬﻴﻼﺕ ﺍﻟﺘــﻲ ﱠ‬
‫ﻭﻓﺮﺍﻫــﺎ‬ ‫ﻭﺍﳌﺴــﻤﻮﻉ ﻭﺍﳌﺮﺋــﻲ‪ ،‬ﺑــﻞ ﺇﻥ ﻛﻞ ﻫــﺬﻩ‬
‫ﺟﺪﻳﺪﺓ ﻭﺗﺴﻬﻴﻼﺕ‬ ‫ﻣﺆﺧﺮﺍ ﻟﻠﺼﺤﻔﻴﻴﻦ‪.‬‬ ‫ﺍﻷﻧــﻮﺍﻉ ﺑــﺪﺃﺕ ﺗﺘﺠــﻪ ﺑﺸــﻜﻞ ﻣﺘﺴــﺎﺭﻉ‬
‫ﻟﻠﺤــﺎﻕ ﺑﺎﻟﺮﻛــﺐ ﻭﻣﻮﺍﻛﺒــﺔ ﻫــﺬﻩ ﺍﻟﻄﻔــﺮﺓ‬
‫ﻟﻠﻤﺴﺘﺨﺪﻣﻴﻦ‪.‬‬ ‫ﺗﻮﻳﺘﺮ‪ ..‬ﺍﳌﻨﺼﺔ ﺍﻷﻓﻀﻞ‬ ‫ﻲﻓ ﻋﺎﻟﻢ ﺍﻹﻋﻼﻡ ﻭﺍﻷﺧﺒﺎﺭ‪.‬‬
‫ﻟﻠﺤﺼــﻮﻝ ﻰﻠﻋ ﺍﻟﺨﺒﺮ‪ ،‬ﻛﻤــﺎ ﻳﻔﺘﺢ ‪92%‬‬ ‫ﻟﻌﺎﻟﻢ ﺍﻷﺧﺒﺎﺭ‬
‫ﺍﻟﺮﻭﺍﺑــﻂ ﺍﳌﺮﻓﻘــﺔ ﻭﻳﻘــﺮﺅﻭﻥ ﺗﻔﺎﺻﻴــﻞ‬ ‫ﻭﻟﻌــﻞ ﺍﻟﺴــﺎﺋﺪ ﻲﻓ ﺗﻔﻜﻴــﺮ ﺍﻟﺒﻌــﺾ ﺃﻥ‬
‫ﺍﻟﺨﺒﺮ‪.‬‬ ‫ﺍﻟﺤﺼــﻮﻝ ﻰﻠﻋ ﺍﻟﺨﺒــﺮ ﻣــﺎ ﺯﺍﻝ ﻳﺆﺧــﺬ‬
‫ﺃﻋــﺪﻩ ﻣﻮﻗــﻊ "ﺳﻮﺷــﻴﺎﻝ‬
‫ﱠ‬ ‫ﻲﻓ ﺑﺤــﺚ‬
‫ﻣــﻦ ﺍﻟﺘﻠﻔــﺎﺯ ﻣﺜــﻼ ﺃﻭ ﺍﻟﺮﺍﺩﻳــﻮ ﻣــﻦ ﺧــﻼﻝ‬
‫ﺗﺎﻳﻤﺰ" )‪ (SocialTimes‬ﻳﺘﻀﻤﻦ ﺍﺳﺘﻄﻼﻋﺎ‬
‫ﻭﺑﻄﺒﻴﻌــﺔ ﺍﻟﺤــﺎﻝ ﻓــﺈﻥ ﺍﻟﺤﺼــﻮﻝ ﻰﻠﻋ‬ ‫ﺍﳌﺤﻄــﺎﺕ ﺍﻹﺧﺒﺎﺭﻳــﺔ ﺃﻭ ﻣــﻦ ﺍﻟﺠﺮﺍﺋــﺪ‬
‫ﻵﺭﺍﺀ ﺃﻛﺜــﺮ ﻣﻦ ‪ 4700‬ﻣﺴــﺘﺨﺪﻡ ﻟﻮﺳــﺎﺋﻞ‬
‫ﺍﻷﺧﺒــﺎﺭ ﻳﺘــﻢ ﻋﺒــﺮ ﺃﻣﺮﻳــﻦ‪ :‬ﺇﻣــﺎ ﻣﺘﺎﺑﻌــﺔ‬ ‫ﻭﺍﳌﺠــﻼﺕ‪ .‬ﻟﻜــﻦ ﺍﻟﺤﻘﻴﻘــﺔ ﻓﻌــﻼ ﺃﻥ‬
‫ﺍﻟﺘﻮﺍﺻــﻞ ﺍﻻﺟﺘﻤﺎﻋــﻲ‪ ،‬ﻛﺸــﻒ ﺃﻥ‬
‫ﺃﻓــﺮﺍﺩ ﺑﻌﻴﻨﻬــﻢ )ﺻﺤﻔﻴﻴــﻦ ﻭﻛﺘــﺎﺏ‬ ‫ﻛﻞ ﻣــﺎ ﺫﻛــﺮ ﺁﻧﻔــﺎ ﺑــﺪﺃ ﻳﺘﻼﺷــﻰ ﺷــﻴﺌﺎ‬
‫ﻣﺴــﺘﺨﺪﻣﻲ ﺗﻮﻳﺘــﺮ ﻫــﻢ ﺍﳌﺴــﺘﻬﻠﻜﻮﻥ‬
‫ﻭﻣﺤﻠﻠﻴــﻦ(‪ ،‬ﺃﻭ ﻣﺘﺎﺑﻌــﺔ ﻗﻨــﻮﺍﺕ‬ ‫ﻓﺸــﻴﺌﺎ‪ ،‬ﻓﻨﺴــﺒﺔ ﻣــﻦ ﻳﺘﺎﺑــﻊ ﺍﻷﺧﺒــﺎﺭ‬
‫ﺍﻷﻛﺜــﺮ ﺗﻌﻄﺸــﺎ ﻟﻸﺧﺒــﺎﺭ ﻣــﻦ ﺷــﺒﻜﺎﺕ‬
‫ﻭﺻﺤــﻒ ﺇﻋﻼﻣﻴــﺔ ﺭﺳــﻤﻴﺔ ﻣﻌﻴﻨــﺔ‪.‬‬ ‫ﻣــﻦ ﻣﻨﺼــﺎﺕ ﺍﻟﺘﻮﺍﺻــﻞ ﺍﻻﺟﺘﻤﺎﻋــﻲ‬
‫ﺍﻟﺘﻮﺍﺻﻞ ﺍﻻﺟﺘﻤﺎﻋﻲ ﺍﻷﺧﺮﻯ‪.‬‬
‫ﻭﺑﻨــﺎ ًﺀ ﻰﻠﻋ ﻫــﺬﻩ ﺍﻟﺪﺭﺍﺳــﺔ‪ ،‬ﻓــﺈﻥ‬ ‫‪-‬ﺣﺴــﺐ ﺇﺣﺼــﺎﺀﺍﺕ ﻗــﺎﻡ ﺑﻬــﺎ ﻣﻮﻗــﻊ‬
‫‪ 73%‬ﻳﺘﺎﺑﻌــﻮﻥ ﺃﻓــﺮﺍﺩﺍ ﻣــﻦ ﺍﻟﺼﺤﻔﻴﻴــﻦ‬ ‫ﺑﻨﺎ ًﺀ ﻰﻠﻋ ﺍﻟﺪﺭﺍﺳــﺔ‪ ،‬ﱠ‬ ‫"ﺭﺍﻳﺘــﺮ ﺃﻛﺴــﺲ" )‪- (Writeracces‬‬
‫ﺃﻛﺪ ﻗﺮﺍﺑﺔ ‪ 79%‬ﻣﻦ‬
‫ﻭﺍﻟﻜﺘﺎﺏ‪،‬ﺑﻴﻨﻤﺎﻳﺘﺎﺑﻊ‪ 63%‬ﺣﺴﺎﺑﺎﺕﺍﻟﻘﻨﻮﺍﺕ‬ ‫ﻗﺎﺭﺑــﺖ ﺍﻟـــ‪ .50%‬ﻭﻲﻓ ﻇــﻞ ﺍﻧﺘﺸــﺎﺭ‬
‫ﻣﺴــﺘﺨﺪﻣﻲ ﺗﻮﻳﺘــﺮ ﺃﻥ ﺍﺳــﺘﺨﺪﺍﻣﻪ‬
‫ﻭﺍﻟﺼﺤﻒ ﺍﻹﺧﺒﺎﺭﻳﺔ ﺍﻟﺮﺳﻤﻴﺔ‪.‬‬ ‫ﺍﻷﺟﻬــﺰﺓ ﺍﻹﻟﻜﺘﺮﻭﻧﻴــﺔ ﻭﺗﻄﻮﺭﻫــﺎ‬
‫ﻟﻠﺤﺼــﻮﻝ ﻰﻠﻋ ﺍﻷﺧﺒــﺎﺭ ﺃﺳــﻬﻞ ﺑﻜﺜﻴــﺮ‬
‫ﺍﳌﺘﺴــﺎﺭﻉ‪ ،‬ﻓــﺈﻥ ‪ 56%‬ﻳﺴــﺘﺨﺪﻣﻮﻥ‬
‫ﻣﻘﺎﺭﻧــﺔ ﺑﺒﻘﻴــﺔ ﺷــﺒﻜﺎﺕ ﺍﻟﺘﻮﺍﺻــﻞ‬
‫ﻫــﺬﻩ ﺍﳌﻌﻠﻮﻣــﺎﺕ ﻭﻏﻴﺮﻫــﺎ ﺗﻌﻄــﻲ‬ ‫ﻫﻮﺍﺗﻔﻬــﻢ ﺍﻟﺬﻛﻴــﺔ ﻟﻠﺤﺼــﻮﻝ ﻰﻠﻋ‬
‫ﺍﻻﺟﺘﻤﺎﻋــﻲ ﺍﻷﺧــﺮﻯ‪ ،‬ﻭﺃﻧﻬــﻢ ﺗﻤﻜﻨــﻮﺍ‬
‫ﻣﻬﻤــﺎ ﺣــﻮﻝ ﻣﻜﺎﻧــﺔ ﻣﻮﻗــﻊ‬ ‫ّ‬ ‫ﻣﺆﺷــﺮﺍ‬ ‫ﺍﻷﺧﺒﺎﺭ‪ ،‬ﺑﻴﻨﻤﺎ ﻳﺤﺼﻞ ﻋﻠﻴﻬﺎ ‪ 29%‬ﻣﻦ ﺧﻼﻝ‬
‫ﻣــﻦ ﺍﻟﺤﺼــﻮﻝ ﻰﻠﻋ ﺯﺧــﻢ ﻛﺒﻴــﺮ ﻣــﻦ‬
‫ﺗﻮﻳﺘــﺮ ﻲﻓ ﻋﺎﻟــﻢ ﺍﻷﺧﺒــﺎﺭ ﻟﻜﻮﻧــﻪ‬ ‫ﺍﻷﺟﻬــﺰﺓ ﺍﻟﻠﻮﺣﻴــﺔ ﻭﺍﻟﺤﻮﺍﺳــﻴﺐ‬
‫ﺍﻷﺧﺒــﺎﺭ ﺑﻌــﺪ ﺍﻧﻀﻤﺎﻣﻬــﻢ ﺇﻟــﻰ ﺗﻮﻳﺘــﺮ‪،‬‬
‫ﻳﻤﻨــﺢ ﻓﺮﺻــﺔ ﻋﻈﻴﻤــﺔ ﻻﻧﺘﺸــﺎﺭ ﺍﻟﺨﺒــﺮ‬ ‫ﺍﳌﺤﻤﻮﻟﺔ‪.‬‬
‫ﻣــﻊ ﻣﻼﺣﻈــﺔ ﺃﻥ ‪ 40%‬ﻳﺴــﺘﺨﺪﻣﻮﻧﻪ‬
‫ﻟﻸﺷــﺨﺎﺹ ﻭﺍﻟﺼﺤــﻒ ﻭﺍﻟﻘﻨــﻮﺍﺕ‬
‫ﻟﻠﺤﺼﻮﻝ ﻰﻠﻋ ﺍﻷﺧﺒﺎﺭ ﺍﻟﻌﺎﺟﻠﺔ‪.‬‬
‫ﺍﻟﺮﺳــﻤﻴﺔ‪ ،‬ﳌــﺎ ﻳﻤﺘــﺎﺯ ﺑــﻪ ﻣــﻦ ﺳــﺮﻋﺔ‬ ‫ﺇﻥ ﺍﳌﺘﺎﺑــﻊ ﻟﻠﺘﺤﺪﻳﺜــﺎﺕ ﺍﻟﺠﺪﻳــﺪﺓ‬
‫ﻛﻤﺎ ﺑﻴﻨــﺖ ﺍﻟﺪﺭﺍﺳــﺔ ﺃﻥ ﻗﺮﺍﺑــﺔ ‪ 80%‬ﻣﻦ‬
‫ﻭﻭﺍﻗﻌﻴﺔ ﻭﻗﺮﺏ ﻣﻦ ﺍﳌﺴﺘﺨﺪﻣﻴﻦ‪.‬‬ ‫ﻭﺍﻟﺨﺪﻣــﺎﺕ ﺍﻟﺘــﻲ ﻳﻘﺪﻣﻬــﺎ ﻣﻮﻗﻌــﺎ‬
‫ﻣﺴــﺘﺨﺪﻣﻲ ﺗﻮﻳﺘــﺮ ﻳﺄﺧــﺬﻭﻥ ﺍﻷﺧﺒــﺎﺭ‬
‫ﻓﻴﺴــﺒﻮﻙ ﻭﺗﻮﻳﺘــﺮ ﻳــﺪﺭﻙ ﻳﻘﻴﻨــﺎ ﺃﻧﻬﻤــﺎ‬
‫ﻣﻦ ﺧﻼﻝ ﺗﺼﻔﺢ "‪ "Timeline‬ﺍﻟﺨﺎﺹ ﺑﻬﻢ‬
‫ﻛﻤــﺎ ﺗﺴــﺎﻋﺪﻧﺎ ﺍﳌﻌﻠﻮﻣــﺎﺕ ﺍﻟﺴــﺎﺑﻘﺔ‬ ‫ﺍﻷﻛﺜــﺮ ﻧﺠﺎﺣــﺎ ﺣﺘــﻰ ﺍﻵﻥ ﻲﻓ ﺍﻟﺤﺼــﻮﻝ‬
‫ﺑﺸــﻜﻞ ﺍﻋﺘﻴﺎﺩﻱ‪ ،‬ﻲﻓ ﺣﻴﻦ ﻳﺬﻫﺐ ‪67%‬‬
‫ﻲﻓ ﺗﺸﻜﻴﻞ ﻧﻈﺮﺓ ﻣﺴﺘﻘﺒﻠﻴﺔ ﺗﺮﻛﺰ‬ ‫ﻰﻠﻋ ﺍﻟﺨﺒــﺮ ﻭﺻﻨﺎﻋﺘــﻪ‪ ،‬ﻭﺗﺒــﺪﻭ‬
‫ﻣﻨﻬﻢ ﺇﻟﻰ ﺣﺴﺎﺑﺎﺕ ﺑﻌﻴﻨﻬﺎ‬
‫ﺍﳌﻨﺎﻓﺴﺔ ﺑﻴﻨﻬﻤﺎ ﺟﻠﻴﺔ‪ ،‬ﺇﺫ ﻳﺤﺮﺹ‬

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‫ﺍﻟﺸــﺒﻜﺔ ﺍﻟﻌﻨﻜﺒﻮﺗﻴــﺔ‪ ،‬ﻭﺍﻟﺘــﻲ ﺑﺎﺗــﺖ‬
‫ﺗﻨﺎﻓــﺲ ﻃﺮﻳﻘــﺔ "ﺍﻟﺒﺤــﺚ" ﻋﺒــﺮ ﻣﻮﺍﻗــﻊ‬
‫ﺍﻟﺘﺼﻔﺢ‪.‬‬
‫ﺍﺳــﺘﻌﺎﻥ ﻣﻮﻗــﻊ ﺗﻮﻳﺘــﺮ ﺑﻔﺮﻳــﻖ‬
‫ﻭﺣﺴــﺐ ﻣﺎ ﺫﻛﺮﺗﻪ ﺷــﺮﻛﺔ "‪ ،"Parse.ly‬ﻟﻢ‬
‫ﻳﻌــﺪ ﻓﻴﺴــﺒﻮﻙ ﻳﻨﺎﻓــﺲ ﻏﻮﻏــﻞ ﻲﻓ‬
‫ﻫــﺬﺍ ﺍﻷﻣــﺮ ﻓﺤﺴــﺐ‪ ،‬ﺑــﻞ ﺗﺠــﺎﻭﺯﻩ ﺑﻘــﺪﺭ‬
‫ﻛﺒﻴــﺮ‪ .‬ﻭﻳﻘــﻮﻝ ﻣﺪﻳــﺮ ﻣﻜﺘﺒﻬــﺎ ﺍﻟﻔﻨــﻲ‬
‫ﺇﻧﻬــﺎ ﺭﺻــﺪﺕ ﺁﺧــﺮ ﺍﻟﻨﺴــﺐ ﻓﻴﻤــﺎ‬
‫ﻳﺘﻌﻠــﻖ ﺑﻤﺼــﺎﺩﺭ ﺍﻷﺧﺒــﺎﺭ ﻣــﻦ ﺷــﺒﻜﺎﺕ‬
‫ﺍﻟﺘﻮﺍﺻــﻞ ﺍﻻﺟﺘﻤﺎﻋــﻲ‪ ،‬ﻭﺍﻟﺘــﻲ ﺗﺸــﻴﺮ‬
‫ﺇﻟــﻰ ﺃﻥ ﻓﻴﺴــﺒﻮﻙ ﺗﺼــﺪﺭ ﺍﻟﻘﺎﺋﻤــﺔ‬
‫ﺑﻨﺴــﺒﺔ ‪ 43%‬ﻭﺃﺻﺒــﺢ ﺍﳌﺼــﺪﺭ‬
‫ـﻮﻕ ﻰﻠﻋ ﻏﻮﻏــﻞ‬ ‫ﺭﻗــﻢ ﻭﺍﺣــﺪ‪ ،‬ﺣﻴــﺚ ﺗﻔـ ّ‬
‫ﺍﻟﺬﻱ ﺃﺗﻰ ﺛﺎﻧﻴﺎ ﺑﻨﺴﺒﺔ ‪.38%‬‬
‫ﻭﺃﺟــﺮﺕ ﻫــﺬﻩ ﺍﻟﺸــﺮﻛﺔ ﺗﺠﺮﺑﺘﻬــﺎ ﻰﻠﻋ‬
‫ﺃﻛﺜــﺮ ﻣــﻦ ‪ 400‬ﻣﺤﺘــﻮﻯ ‪-‬ﻣــﻦ ﺿﻤﻨﻬــﺎ‬
‫ﻣﺤﺘﻮﻳــﺎﺕ ﺧﺒﺮﻳــﺔ ﻣﻬﻤــﺔ ﻭﻣﺨﺮﺟــﺎﺕ‬
‫ﺇﻋﻼﻣﻴــﺔ‪ -‬ﻧﻘﻠﺘﻬــﺎ ﻋــﻦ ﺑﻌــﺾ‬
‫ﺍﳌﺆﺳﺴــﺎﺕ ﺍﻟﺼﺤﻔﻴــﺔ ﺍﻟﺘﻘﻠﻴﺪﻳــﺔ‬
‫ﻣﺜــﻞ "ﻭﺍﻳــﺮﺩ"‪ ،‬ﻭ"ﺫﺍ ﺃﺗﻼﻧﺘﻴــﻚ"‪،‬‬
‫ﻭ"ﺭﻭﻳﺘــﺮﺯ" ﻭ"ﺩﻳﻠــﻲ ﺗﻠﻐــﺮﺍﻑ"‪ ،‬ﻣــﻊ‬
‫ﻧﻘﻠﻬــﺎ ﺃﻳﻀــﺎ ﻋــﻦ ﺑﻌــﺾ ﺍﻟﻮﺳــﺎﺋﻞ ﺍﻟﺘــﻲ‬
‫ﺗﻨﺸــﺮ ﻓﻘــﻂ ﺍﳌﺤﺘﻮﻳــﺎﺕ ﺍﻟﺮﻗﻤﻴــﺔ ﻣﺜــﻞ‬
‫"ﻣﺎﺷــﺎﺑﻞ"‪ ،‬ﻭ"ﺫﺍ ﻧﻜﺴــﺖ ﻭﻳــﺐ" ﻭ"ﺑﺰﻧــﺲ‬
‫ﺇﻧﺴــﺎﻳﺪﺭ"‪ .‬ﻭﻗــﺪ ﺭﺻــﺪﺕ ﺍﻟﺸــﺮﻛﺔ ﻗﺮﺍﺑــﺔ‬
‫ﺳــﺘﺔ ﻣﻠﻴــﺎﺭﺍﺕ ﻣﺸــﺎﻫﺪﺓ ﻭﺃﻛﺜــﺮ ﻣــﻦ‬
‫ﻣﻠﻴﺎﺭ ﺯﺍﺋﺮ ﻟﻠﻤﻮﻗﻊ ﻲﻓ ﺍﻟﺸﻬﺮ ﺍﻟﻮﺍﺣﺪ‪.‬‬
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‫ﺍﳌﻮﻗــﻊ ﻣﻨــﺬ ﺇﻃﻼﻗــﻪ ﻟﻠﻤــﺮﺓ ﺍﻷﻭﻟــﻰ‬ ‫ﻰﻠﻋ ﺃﻫﻤﻴــﺔ ﺍﻟﺨﺒــﺮ ﻲﻓ ﻋﺎﻟــﻢ ﻣﻮﺍﻗــﻊ‬
‫ﻋﺎﻡ ‪ ،2006‬ﻭﻣﻦ ﺍﳌﺮﺟــﺢ ﺃﻥ ﻳﻜﻮﻥ ﺃﻛﺜﺮ‬ ‫ﻣﺴــﻮﻗﻲ‬
‫ﱢ‬ ‫ﺍﻟﺘﻮﺍﺻــﻞ ﺍﻻﺟﺘﻤﺎﻋــﻲ ﻭﻋﺎﻟــﻢ‬
‫ﻓﺎﺋــﺪﺓ ﻣــﻦ ﺍﻷﺧﺒــﺎﺭ ﺍﻟﺮﺋﻴﺴــﻴﺔ‪ ،‬ﺣﻴــﺚ‬ ‫ﺍﻷﺧﺒــﺎﺭ‪ ،‬ﺑــﺄﻥ ﻣﺴــﺘﻘﺒﻠﻬﻢ ﺃﺻﺒــﺢ ﻲﻓ‬
‫ﻋﺎﻟﻢ ﺷﺒﻜﺎﺕ ﺍﻟﺘﻮﺍﺻﻞ ﺍﻻﺟﺘﻤﺎﻋﻲ‪.‬‬
‫ﻣﺘﺨﺼــﺺ ﻣــﻦ ﺍﻹﻋﻼﻣﻴﻴــﻦ ‪-‬ﻣﺜــﻞ‬
‫ﻣﻮﻗﻊ "‪ "BuzzFeed‬ﺍﻹ ﺧﺒﺎ ﺭﻱ ﻭ"ﻓﻮﻛﺲ‬ ‫ﻣﻮﻣﻨﺘﺲ‪ ..‬ﻋﺎﻟﻢ ﺗﺠﻤﻴﻊ‬
‫ﻧﻴــﻮﺯ"‪ ،‬ﻭﻣﻮﻗــﻊ ﺍﻟﺼــﻮﺭ ﺍﳌﺘﺨﺼــﺺ‬
‫"ﺟﻴﺘــﻲ"‪ -‬ﻟﻺﺷــﺮﺍﻑ ﻰﻠﻋ ﺍﳌﺤﺘــﻮﻯ‬ ‫ﺍﻷﺧﺒﺎﺭ ﻰﻠﻋ ﺗﻮﻳﺘﺮ‬
‫ﺍﻹﺧﺒﺎﺭﻱ‪.‬‬
‫ﻫــﺬﻩ ﺧﺪﻣــﺔ ﺟﺪﻳــﺪﺓ ﺃﻃﻠﻘﻬــﺎ ﻣﻮﻗــﻊ‬
‫ﺗﻮﻳﺘــﺮ ﻭ ُﺗﻌﻨــﻰ ﺑﺘﻮﻓﻴــﺮ ﻃﺮﻳﻘــﺔ‬
‫ﻓﻴﺴﺒﻮﻙ ﻳﺘﺠﺎﻭﺯ ﻏﻮﻏﻞ‬ ‫ﺳــﻬﻠﺔ ﻟﺘﺘﺒــﻊ ﺍﻷﺣــﺪﺍﺙ ﻭﺍﻷﺧﺒــﺎﺭ ﺣــﺎﻝ‬
‫ﻛﻤﺼﺪﺭ ﺃﻭﻝ ﻟﻠﺨﺒﺮ‬ ‫ﻭﻗﻮﻋﻬــﺎ‪ .‬ﻓﻴﻮﻣﻴــﺎ ﻳﻐــﺮﺩ ﻰﻠﻋ ﺗﻮﻳﺘــﺮ‬
‫ﻣﺌــﺎﺕ ﺍﳌﻼﻳﻴــﻦ ﺑﻤــﻮﺍﺩ ﻳﺼﻌــﺐ ﺃﻥ‬
‫ﻧﺠﺪﻫــﺎ ﻲﻓ ﺃﻱ ﻣــﻜﺎﻥ ﺁﺧــﺮ ﺳــﻮﺍﻩ‪،‬‬
‫ﻛﺎﳌﺤﺎﺩﺛــﺎﺕ ﺑﻴــﻦ ﻗــﺎﺩﺓ ﺍﻟﻌﺎﻟــﻢ‬
‫ﺗﺒﻴﻦ ﺩﺭﺍﺳﺔ ﻗﺎﻣﺖ ﺑﻬﺎ ﺷﺮﻛﺔ "‪"Parse.ly‬‬ ‫ﺍﳌﺸــﺎﻫﻴﺮ ﺃﻭ ﺍﻷﺣــﺪﺍﺙ ﺍﻟﺘــﻲ ﺗﻘــﻊ ﻲﻓ‬
‫ﻭﻧﺸــﺮﺕ ﻣﺆﺧــﺮﺍ ﻰﻠﻋ ﻣﻮﻗــﻊ "ﻓﻮﺭﺗــﻮﻥ"‬ ‫ﻣــﻜﺎﻥ ﻣﻌﻴــﻦ‪ ،‬ﻓﻴﻘــﻮﻡ ﺑﻌــﺾ‬
‫)‪ ،(fortune‬ﺃﻥ ﻣﻌــﺪﻝ ﺍﻷﺷــﺨﺎﺹ ﺍﻟﺬﻳــﻦ‬ ‫ﺍﳌﻐﺮﺩﻳــﻦ ﺍﳌﺘﻮﺍﺟﺪﻳــﻦ ﻲﻓ ﺍﳌــﻜﺎﻥ‬
‫ﻳﺘﺼﻔﺤــﻮﻥ ﺍﳌﻮﺍﻗــﻊ ﺍﻹﺧﺒﺎﺭﻳــﺔ ﻋﺒــﺮ‬ ‫ﺑﺎﻟﺘﻐﺮﻳــﺪ ﻓــﻮﺭ ﻭﻗــﻮﻉ ﺍﻟﺤــﺎﺩﺙ ﺑﺎﻟﺼــﻮﺭ‬
‫ﻣﻮﻗــﻊ ﻓﻴﺴــﺒﻮﻙ ﺃﺻﺒــﺢ ﺃﻛﺜــﺮ ﻣــﻦ‬ ‫ﺃﻭ ﺍﻟﻔﻴﺪﻳﻮﻫــﺎﺕ ﺃﻭ ﺍﻷﺧﺒــﺎﺭ ﻭﻏﻴﺮﻫــﺎ‬
‫ﻋــﺪﺩ ﺍﻷﺷــﺨﺎﺹ ﺍﻟﺬﻳــﻦ ﻳﻘﻮﻣــﻮﻥ ﺑﺬﻟــﻚ‬ ‫ﻣــﻦ ﺍﻷﺣــﺪﺍﺙ ﺍﳌﺒﺎﺷــﺮﺓ‪ ،‬ﺑﺤﻴــﺚ‬
‫ﻋﺒﺮ ﻣﻮﻗﻊ ﻏﻮﻏﻞ‪.‬‬ ‫ﻳﻜــﻮﻥ ﺇﻳﺠــﺎﺩ ﻣﺜــﻞ ﻫــﺬﻩ ﺍﻟﺘﻐﺮﻳــﺪﺍﺕ‬
‫ﺑﻤﺜﺎﺑــﺔ ﺍﻟﺘﺤــﺪﻱ ﺍﻟﻜﺒﻴــﺮ‪ ،‬ﻭﻫــﺬﺍ ﻣــﺎ‬
‫ﺃﻱ ﻋﺎﻣــﻞ ﻲﻓ ﻣﺠــﺎﻝ ﺍﳌﻮﺍﻗــﻊ‬
‫ﻭ َﻳﻌﻠــﻢ ﱡ‬ ‫ﺣﺮﺻــﺖ ﻰﻠﻋ ﺗﻘﺪﻳﻤــﻪ ﺗﻮﻳﺘــﺮ‬
‫ﺍﻹﺧﺒﺎﺭﻳــﺔ ﺃﻭ ﺍﳌﺆﺳﺴــﺎﺕ ﺍﻟﺼﺤﻔﻴــﺔ ﺃﻥ‬ ‫ﳌﺴــﺘﺨﺪﻣﻴﻬﺎ ‪-‬ﺧﺼﻮﺻــﺎ ﺍﻟﺼﺤﻔﻴﻴــﻦ‬
‫ﺍﻟﺮﻭﺍﺑــﻂ ﺍﻟﺘــﻲ ﺗﻨﺸــﺮ ﻲﻓ ﺻﻔﺤــﺎﺕ‬ ‫ﻣﻨﻬﻢ‪ -‬ﻋﺒﺮ ﻣﻴﺰﺓ "ﻣﻮﻣﻨﺘﺲ"‪.‬‬
‫ﺍﻟﺘﻮﺍﺻــﻞ ﺍﻻﺟﺘﻤﺎﻋــﻲ ﻣﺜــﻞ ﺗﻮﻳﺘــﺮ‬
‫ﻭﻓﻴﺴــﺒﻮﻙ‪ ،‬ﺃﺻﺒﺤــﺖ ﻣــﻦ ﺃﻫــﻢ‬ ‫ﻭﻳﻌﺘﺒــﺮ ﺍﻟﺘﻄﺒﻴــﻖ ﺍﻟﺠﺪﻳــﺪ ﻭﺍﺣــﺪﺍ ﻣــﻦ‬
‫ﺍﳌﺼﺎﺩﺭ ﺍﻟﺨﺒﺮﻳﺔ ﺍﳌﻮﺟﻮﺩﺓ ﻲﻓ‬ ‫ﺃﻛﺒﺮ ﺍﳌﻤﻴﺰﺍﺕ ﺍﻟﺘﻲ ﺃﺿﻴﻔﺖ ﺇﻟﻰ‬
 ‫ﻓﻴﺴﺒﻮﻙ ﻳﺘﺠﺎﻭﺯ ﻏﻮﻏﻞ‬
‫ﻛﻤﺼﺪﺭ ﺃﻭﻝ ﻟﻠﺨﺒﺮ‬

‫ﻲﻓ ﻇــﻞ ﺗﻄــﻮﺭﺍﺕ ﻛﺒﻴــﺮﺓ ﻳﺸــﻬﺪﻫﺎ‬

‫ﺍﳌﻮﻗــﻊ ﺍﻷﺯﺭﻕ‪ ،‬ﺃﻋﻠــﻦ ﻣﻮﻗــﻊ ﻓﻴﺴــﺒﻮﻙ‬
‫ﻣﺆﺧــﺮﺍ ﻋــﻦ ﺇﻃــﻼﻕ ﺧﺪﻣﺘــﻪ ﺍﻟﺠﺪﻳــﺪﺓ‬
‫ﺍﻟﺨﺎﺻــﺔ ﺑﺎﻟﺼﺤﻔﻴﻴــﻦ ﺗﺤــﺖ ﺍﺳــﻢ‬
‫"ﺳﻴﻐﻨﻞ" )‪ (Signal‬ﺃﻭ "ﺇﺷﺎﺭﺓ"‪.‬‬

‫ﻭﺗﻬــﺪﻑ ﺍﻟﺨﺪﻣــﺔ ﺍﻟﺠﺪﻳــﺪﺓ ﺇﻟــﻰ‬

‫ﻣﺴــﺎﻋﺪﺓ ﺍﻹﻋﻼﻣﻴﻴــﻦ ﺑﺸــﻜﻞ ﻛﺒﻴــﺮ‬
‫ﻰﻠﻋ ﺟﻤــﻊ ﺍﻷﺧﺒــﺎﺭ ﻋﺒــﺮ ﻣﻨﺼﺘــﻲ‬
‫ﻓﻴﺴــﺒﻮﻙ ﻭﺇﻧﺴــﺘﻐﺮﺍﻡ‪ ،‬ﻭﺍﺳــﺘﺨﺪﺍﻣﻬﺎ‬
‫ﻭﺗﻘﺎ ﺭﻳﺮﻫــﻢ‬ ‫ﻗﺼﺼﻬــﻢ‬ ‫ﻟﺨﺪﻣــﺔ‬
‫ﺍﻹﺧﺒﺎﺭﻳــﺔ ﺑﺎﺧﺘــﻼﻑ ﻣﻀﺎﻣﻴﻨﻬــﺎ‬
‫ﺍﻟﺴﻴﺎﺳــﻴﺔ ﻭﺍﻟﺜﻘﺎﻓﻴــﺔ ﻭﺍﻟﺘﺮﻓﻴﻬﻴــﺔ‬
‫ﻳﻈﻬــﺮ ﻲﻓ ﺍﻟﺮﺳــﻢ ﺍﻟﺒﻴﺎﻧــﻲ ﺃﻋــﻼﻩ ﻛﻴــﻒ ﺃﻥ ﻣﻮﻗــﻊ ﻓﻴﺴــﺒﻮﻙ ﺗﻐﻠــﺐ ﻰﻠﻋ ﻣﻮﻗــﻊ‬
‫ﻭﺣﺘﻰ ﺍﻟﺮﻳﺎﺿﻴﺔ ﻣﻨﻬﺎ‪.‬‬
‫ﻏﻮﻏﻞ ﻭﻏﻴﺮﻩ ﻣــﻦ ﻣﻮﺍﻗــﻊ ﺍﻟﺘﻮﺍﺻﻞ ﺍﻻﺟﺘﻤﺎﻋﻲ ﺑﻨﺴــﺒﺔ ﻗﺎﺭﺑــﺖ ‪ ،40%‬ﻟﻴﺘﺠــﺎﻭﺯ ﺑﺬﻟﻚ‬
‫ﻣﻮﻗﻊ ﻏﻮﻏﻞ ﻛﻤﺼﺪﺭ ﻟﻠﺨﺒﺮ‪.‬‬
‫ﻓﻌﺒــﺮ ﻫــﺬﻩ ﺍﻟﺨﺪﻣــﺔ‪ ،‬ﻳﻤﻜــﻦ ﻟﻠﺼﺤﻔــﻲ‬
‫ﻣﻌﺮﻓــﺔ ﺍﻟﻘﻀﺎﻳــﺎ ﺍﻷﻛﺜــﺮ ﺍﻧﺘﺸــﺎﺭﺍ‬
‫ﻭﻣﺘﺎﺑﻌــﺔ ﻰﻠﻋ ﻣﻮﻗــﻊ ﻓﻴﺴــﺒﻮﻙ‪،‬‬
‫ﻭﻣﻌﺮﻓــﺔ ﺍﳌﻮﺍﺿﻴــﻊ ﺍﳌﺘﻌﻠﻘــﺔ ﺑﻬــﺎ‬
‫ﺃﻳﻀــﺎ ﻟﻠﺤﺼــﻮﻝ ﻰﻠﻋ ﺳــﻴﺎﻕ ﺃﻋﻤــﻖ ﻲﻓ‬
‫ﺍﳌﺘﺎﺑﻌــﺔ‪ ،‬ﻭﺑﺎﻟﺘﺎﻟــﻲ ﺃﺻﺒــﺢ ﺑﺎﻹﻣــﻜﺎﻥ‬
‫ﻣﻌﺮﻓــﺔ ﺍﻟﻘﺼــﺺ ﺍﻟﺘــﻲ ﺗﺤﻈــﻰ‬
‫ﺑﺸﻌﺒﻴﺔ ﻭﺍﻧﺘﺸﺎﺭ ﻛﺒﻴﺮﻳﻦ‪.‬‬

‫ﻭﻲﻓ ﻣــﺎ ﻳﻠــﻲ ﺑﻌــﺾ ﺍﳌﻴــﺰﺍﺕ ﺍﻟﺘــﻲ‬

‫ﺗﻮﻓﺮﻫﺎ ﻫﺬﻩ ﺍﻟﺨﺪﻣﺔ‪:‬‬

‫‪ -‬ﺃﺻﺒــﺢ ﺑﺈﻣــﻜﺎﻥ ﺍﻟﺼﺤﻔــﻲ ﺍﻟﻮﺻــﻮﻝ‬

‫ﺇﻟــﻰ ﻗﻮﺍﺋــﻢ ﻣﺮﺗﺒــﺔ ﺑﺎﻟﺸــﺨﺼﻴﺎﺕ ﺍﻷﻛﺜــﺮ‬
‫ﺗﺄﺛﻴــﺮﺍ ﻰﻠﻋ ﻓﻴﺴــﺒﻮﻙ ﻣــﻦ ﺍﻟﺴﻴﺎﺳــﻴﻴﻦ‬
‫ﻭﺍﳌﺆﻟﻔﻴــﻦ ﻭﺍﳌﻤﺜﻠﻴــﻦ ﻭﺍﳌﻮﺳــﻴﻘﻴﻴﻦ‬
‫ﻭﺍﻷﻧﺪﻳــﺔ ﺍﻟﺮﻳﺎﺿﻴــﺔ ﻭﺍﻟﺮﻳﺎﺿﻴﻴــﻦ‪ ،‬ﻣــﻊ‬
‫ﺇﻣﻜﺎﻧﻴــﺔ ﺍﳌﻘﺎﺭﻧــﺔ ﺑﻴــﻦ ﺗﺄﺛﻴــﺮ ﻛﻞ ﻋﻀــﻮ‬
‫ﻲﻓ ﺍﻟﻘﺎﺋﻤﺔ ﻳﻮﻣﻴﺎ‪.‬‬
‫ﻭﻳﻈﻬــﺮ ﻲﻓ ﺍﻟﺮﺳــﻢ ﺍﻟﺒﻴﺎﻧــﻲ ﻫﻨــﺎ ﺃﻳﻀــﺎ ﺍﻟﻨﻘﻠــﺔ ﺍﻟﻨﻮﻋﻴــﺔ ﺍﻟﺘــﻲ ﺍﺳــﺘﻄﺎﻉ ﻓﻴﺴــﺒﻮﻙ‬
‫‪ -‬ﺗﺴــﻬﻞ ﻫــﺬﻩ ﺍﻟﺨﺪﻣــﺔ ﻰﻠﻋ‬ ‫ﺃﻥ ﻳﺘﻐﻠــﺐ ﺑﻬــﺎ ﻰﻠﻋ ﻣﻮﻗــﻊ ﻏﻮﻏــﻞ‪ ،‬ﻟﻴﺼﺒــﺢ ﺗﻔﺎﻋــﻞ ﻣﺴــﺘﺨﺪﻣﻲ ﻣﻮﺍﻗــﻊ‬
‫ﺍﻟﺼﺤﻔﻴﻴــﻦ ﺧﺎﺻﻴــﺔ ﺍﻟﺒﺤــﺚ ﻋــﻦ‬ ‫ﺍﻟﺘﻮﺍﺻﻞ ﻣﻌﻪ ﻳﺘﻌﺪﻯ ﻣﻮﻗﻊ ﻏﻮﻏﻞ ﻛﻤﺼﺪﺭ ﺭﺋﻴﺴﻲ ﻟﻠﺨﺒﺮ‪.‬‬
‫ﺍﳌﺤﺘﻮﻯ ﺍﳌﺮﺋﻲ ﻰﻠﻋ ﺇﻧﺴﺘﻐﺮﺍﻡ ﻋﺒﺮ‬

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‫ﺑــﺪﻭﺭ ﻓﺎﻋــﻞ ﻭﺣﻘﻴﻘــﻲ ﻲﻓ ﺗﺒــﺎﺩﻝ‬ ‫ﺧﺪﻣــﺔ "ﺳــﻴﻐﻨﻞ" ﻣﺘﻮﻓــﺮﺓ ﺍﻵﻥ ﻣﺠﺎﻧــﺎ‬
‫ﺍﳌﻌﻠﻮﻣﺎﺕ ﻭﺗﺤﻠﻴﻞ ﺍﻷﺧﺒﺎﺭ‪.‬‬ ‫ﻟﺠﻤﻴــﻊ ﺍﻟﺼﺤﻔﻴﻴــﻦ‪ ،‬ﻭﻳﻤﻜــﻦ ﻷﻱ‬
‫ﺻﺤﻔــﻲ ﺍﻟﺪﺧــﻮﻝ ﺇﻟــﻰ ﺍﳌﺪﻭﻧــﺔ‬
‫ﻗﺮﺍﺑــﺔ ﻧﺼــﻒ ﻣﺴــﺘﺨﺪﻣﻲ ﺷــﺒﻜﺎﺕ‬ ‫ﺍﻟﺮﺳــﻤﻴﺔ ﳌﻮﻗــﻊ ﻓﻴﺴــﺒﻮﻙ ﻭﺗﻘﺪﻳــﻢ‬
‫ﺍﻟﺘﻮﺍﺻــﻞ ﺣــﻮﻝ ﺍﻟﻌﺎﻟــﻢ ﻳﺸــﺎﺭﻛﻮﻥ ﻋﺒــﺮ‬ ‫ﻃﻠــﺐ ﺍﻟﺤﺼــﻮﻝ ﻋﻠﻴﻬــﺎ‪ .‬ﻭﺗﻌــﺪ ﻫــﺬﻩ‬
‫ﺣﺴــﺎﺑﺎﺗﻬﻢ ﻭﺻﻔﺤﺎﺗﻬــﻢ ﺍﳌﺤﺘــﻮﻯ‬ ‫ﺍﻟﺨﻄــﻮﺓ ﻣﻬﻤــﺔ ﺟــﺪﺍ ﻟﺠــﺬﺏ ﺃﻛﺒــﺮ‬
‫ﺍﻟﺨﺒــﺮﻱ ﺑﺠﻤﻴــﻊ ﺃﺷــﻜﺎﻟﻪ ﻛﺎﻟﺼــﻮﺭ‬ ‫ﻋــﺪﺩ ﻣــﻦ ﺍﻟﺼﺤﻔﻴﻴــﻦ ﻻﺳــﺘﻘﺎﺀ‬
‫ﻭﺍﻟﻔﻴﺪﻳــﻮ ﻭﺍﻷﺧﺒــﺎﺭ ﺍﳌﻜﺘﻮﺑــﺔ‪ .‬ﺗﻠــﻚ‬ ‫ﺃﺧﺒﺎﺭﻫــﻢ ﻭﻣﺸــﺎﺭﻛﺘﻬﺎ ﻋﺒــﺮ ﻓﻴﺴــﺒﻮﻙ‪،‬‬
‫ﺍﳌﺸــﺎﺭﻛﺔ ﺍﻟﻔﺎﻋﻠــﺔ ﺗﺨﻠــﻖ ﺷــﻌﻮﺭﺍ‬ ‫ﺑــﺪﻻ ﻣــﻦ ﻣﻨﺼــﺎﺕ ﺃﺧــﺮﻯ ﻳﻌﺪﻫــﺎ‬
‫ﺑﺎﳌﻌﻨــﻰ ﺍﻟﺤﻘﻴﻘــﻲ ﻷﻥ ﺗﻜــﻮﻥ ﺻﺎﻧﻌــﺎ‬ ‫ﺍﻟﺼﺤﻔﻴــﻮﻥ ﻣﺼــﺪﺭﺍ ﺭﺋﻴﺴــﻴﺎ ﻟﻸﺧﺒــﺎﺭ‬
‫ﻣﺘﻠــﻖ ﻟــﻪ‪ ،‬ﺇﺫ ﺃﺻﺒــﺢ‬
‫ٍ‬ ‫ﻟﻠﺨﺒــﺮ ﻻ ﻣﺠــﺮﺩ‬ ‫ﻣﺜﻞ ﺗﻮﻳﺘﺮ‪.‬‬
‫ﺑﺈﻣــﻜﺎﻥ ﻛﻞ ﺷــﺨﺺ ﺃﻥ ﻳﻜــﻮﻥ ﺻﺤﻔﻴــﺎ‬
‫ﻋﺒــﺮ ﺣﺴــﺎﺑﺎﺗﻪ ﻰﻠﻋ ﺷــﺒﻜﺎﺕ ﺍﻟﺘﻮﺍﺻــﻞ‬ ‫ﺻﻨﺎﻋﺔ ﺍﻟﺨﺒﺮ‬
‫ﺍﻻﺟﺘﻤﺎﻋﻲ‪.‬‬
‫ﺧﻼﻓــﺎ ﻟــﻜﻞ ﺍﻟﻮﺳــﺎﺋﻞ ﺍﻹﻋﻼﻣﻴــﺔ‬
‫ﺍﳌﺨﺘﻠﻔــﺔ ﻛﺎﻟﺘﻠﻔــﺎﺯ ﻭﺍﻹﺫﺍﻋــﺔ‬
‫ﻭﺍﻟﺼﺤــﻒ ﻭﺍﳌﺠــﻼﺕ‪ ،‬ﺗﺘﻴــﺢ ﻣﻨﺼــﺎﺕ‬
‫ﺍﻟﺘﻮﺍﺻــﻞ ﺍﻻﺟﺘﻤﺎﻋــﻲ ﺍﻟﻔﺮﺻــﺔ ﺃﻣــﺎﻡ‬
‫ﻣﺴﺘﺨﺪﻣﻴﻬﺎ ﻟﺼﻨﺎﻋﺔ ﺍﻟﺨﺒﺮ‪ ،‬ﻭﺍﻟﻘﻴﺎﻡ‬
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‫ﺍﻟﺒﺤــﺚ ﻋــﻦ ﻭﺳــﻢ )ﻫﺎﺷــﺘﺎﻍ( ﻣﻌﻴــﻦ ﺃﻭ‬
‫ﺃﺷــﺨﺎﺹ ﻭﺣﺴــﺎﺑﺎﺕ ﻣﻌﻴﻨــﺔ‪ ،‬ﺃﻭ ﺣﺘــﻰ‬
‫ﻋﺒــﺮ ﺗﺤﺪﻳــﺪ ﺍﳌــﻜﺎﻥ ﺑﺪﻗــﺔ ﻲﻓ ﺟﻤﻴــﻊ‬
‫ﺃﻧﺤﺎﺀ ﺍﻟﻌﺎﻟﻢ‪.‬‬
‫‪ -‬ﺗﺴــﻬﻞ ﻋﻤﻠﻴــﺔ ﺍﻟﺒﺤــﺚ ﻋــﻦ‬
‫ﺍﳌﺤﺘــﻮﻯ ﺍﻟــﺬﻱ ﻳﺴــﺎﻋﺪ ﺍﻟﺼﺤﻔــﻲ‬
‫ﻰﻠﻋ ﺑﻨــﺎﺀ ﻗﺼﺘــﻪ ﻣﺒﺎﺷــﺮﺓ ﻰﻠﻋ ﻣﻮﻗــﻊ‬
‫ﻓﻴﺴــﺒﻮﻙ‪ ،‬ﻭﺳــﻴﺠﺪ ﻛﻞ ﻣــﺎ ﻳﺘﻌﻠــﻖ ﺑــﻪ‬
‫ﺑﺎﻟﺘﺮﺗﻴﺐ ﺍﻟﺰﻣﻨﻲ‪.‬‬
‫‪ -‬ﺗﺘﻴــﺢ ﻟﻠﺼﺤﻔــﻲ ﺣﻔــﻆ ﺃﻱ ﻣﻨﺸــﻮﺭ ﺃﻭ‬
‫ﺻــﻮﺭﺓ ﺃﻭ ﻓﻴﺪﻳــﻮ‪ ،‬ﻟﻴﺘﻤﻜــﻦ ﻣــﻦ‬
‫ﺍﺳــﺘﺨﺪﺍﻣﻬﺎ ﻻﺣﻘــﺎ ﻲﻓ ﺍﻟﻘﺼــﺺ‬
‫ﻭﺍﻟﺘﻘﺎﺭﻳﺮ ﺍﻹﺧﺒﺎﺭﻳﺔ ﺍﻟﺘﻲ ﻳﻌﺪﻫﺎ‪.‬‬
‫‪ -‬ﺗﺘﻴــﺢ ﻟﻠﺼﺤﻔﻴﻴــﻦ ﺇﻣﻜﺎﻧﻴــﺔ ﺗﻀﻤﻴــﻦ‬
‫ﺃﻱ ﻣﻨﺸــﻮﺭ ‪-‬ﺳــﻮﺍﺀ ﻰﻠﻋ ﻓﻴﺴــﺒﻮﻙ ﺃﻭ‬
‫ﺇﻧﺴــﺘﻐﺮﺍﻡ‪ -‬ﻲﻓ ﻣﻮﺍﻗﻌﻬــﻢ‪ ،‬ﻋﺒــﺮ ﻛــﻮﺩ‬
‫ﻳﻨﺴﺦ ﻣﺒﺎﺷﺮﺓ ﻲﻓ ﺍﳌﻮﻗﻊ‪.‬‬
 ‫ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻲﻓ‬
‫ﺃﻳﺪﻱ ﺍﻟﺼﺤﺎﻓﺔ‬
‫ﺣﻮﺍﺭ ﻣﻊ ﻋﺎﺭﻑ ﺣﺠﺎﻭﻱ ﺣﻮﻝ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺍﻟﺼﺤﺎﻓﺔ‬
‫ﻏﺪﻳﺮ ﺃﺑﻮ ﺳﻨﻴﻨﺔ‬

‫–ﻭﻛﺜﻴــﺮﻭﻥ ﻣﺜﻠــﻲ‪ -‬ﺇﻻ ﺳــﺎ ْﺭ َﺗ ْﺮ )ﺑﻔﺘــﺢ ﺍﻟﺘــﺎﺀ(‪ ،‬ﻣﻔﺴــﺮﺍ ﺫﻟــﻚ‬ ‫ﺗــﺮﺍﻩ ﻳﻤﺸــﻲ ﺑﺨﻄــﻰ ﺧﻔﻴﻔــﺔ ﺳــﺮﻳﻌﺔ‪ ،‬ﺭﻏــﻢ ﺃﻧــﻪ ﺟــﺎﻭﺯ‬
‫ﺑﺮﻓﺾ ﺍﻟﻨﻄﻖ ﺍﻟﻌﺮﺑﻲ ﺍﻟﺘﻘﺎﺀ ﺳﺎﻛﻨ ْﻴﻦ‪.‬‬ ‫ﺍﻟﺴــﺘﻴﻦ ﻣــﻦ ﺍﻟﻌﻤــﺮ‪ ..‬ﺗﺮﺍﻗﺒــﻪ ﻓﺘﻈــﻦ ﺃﻧــﻪ ﺃﺿــﺎﻉ ﺷــﻴﺌﺎ ﻳﻨﻬــﺐ‬
‫ﺍﻷﺭﺽ ﺑﺤﺜــﺎ ﻋﻨــﻪ‪ ،‬ﻭﺣﻴــﻦ ُﺗﺤــﺎﻭﺭﻩ ﻳﻔــﺮﺵ ﻣــﻼﺀﺓ ﻣﻠﻴﺌــﺔ‬
‫ﺳــﻨﻔﺘﺢ ﺃﻋﻴﻨﻨــﺎ ﻛﺜﻴــﺮﺍ‪ ،‬ﺩﻫﺸــﺔ ﻭﺣﻤﺎﺳــﺔ ﺣﻴــﻦ ﻧﺼــﺎﺩﻑ‬ ‫ﺑﺎﻟﻨﻘﺪ ﻓﺘﻘﻮﻝ ﻲﻓ ﻧﻔﺴﻚ‪ :‬ﻳﺎ ﻟﻪ ﻣﻦ ﻣﺸﺎﻛﺲ!‬
‫ﻛﻠﻤﺎﺕ ﻣﺜﻞ ﺩﺭﺍﺑﺰﻳﻦ‪ ،‬ﺃﻭ ﻫﺎﺷﺘﺎﻍ‪ ،‬ﺃﻭ َﺟ ْﻌ َﺠ َﻊ‪ ،‬ﻭﻏﻴﺮﻫﺎ‪.‬‬
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‫ﺣﺴــ ًﻨﺎ‪ ،‬ﻓﺎﻟﻘﺎﻣــﻮﺱ ﻻ ﻳﺤﺼــﺮ ﻧﻔﺴــﻪ ﻲﻓ ﺍﳌﻔــﺮﺩﺍﺕ ﺫﺍﺕ‬ ‫ﺃﺩﺭﻛــﺖ ﺧــﻼﻝ ﺣﺪﻳﺜﻨــﺎ ﺃﻥ ﺗﻠــﻚ ﺍﻟﻬﺮﻭﻟــﺔ ﻣــﺎ ﻫــﻲ ﺇﻻ ﺍﻧﻌــﻜﺎﺱ‬
‫ﺍﻟﻄﺎﺑــﻊ ﺍﻹﺧﺒــﺎﺭﻱ‪ ،‬ﺑــﻞ ﻳﻐﻄــﻲ ﻣﻌﻈــﻢ ﺍﳌﻔــﺮﺩﺍﺕ ﺍﻟﺘــﻲ‬ ‫ﺭﻏﺒــﺔ ﺣﻘﻴﻘﻴــﺔ ﺗﺘﻄ ﱠﻠــﻊ ﺇﻟــﻰ ﺍﻟﺘﻐﻴﻴــﺮ‪ :‬ﺍﻟﺘﻐﻴﻴــﺮ ﻲﻓ ﻣﻨﺎﻫــﺞ‬
‫ﻳﺴــﺘﺨﺪﻣﻬﺎ ﺃﻱ ﺻﺤﻔــﻲ ﻲﻓ ﺃﻱ ﻣﺠــﺎﻝ ﻣــﻦ ﺍﳌﺠــﺎﻻﺕ‪،‬‬ ‫ﺍﻹﻋــﻼﻡ ﻭﻣﻨﺎﻫــﺞ ﺍﻟﺘﻌﻠﻴــﻢ‪ ،‬ﻭﻣﻨﻈــﻮﺭ ﺃﺑﻨــﺎﺀ ﺍﻷﻣــﺔ ﺍﻟﻌﺮﺑﻴــﺔ‬
‫ﻭﻳﺼﻠﺢ ﻟﻼﺳﺘﺨﺪﺍﻡ ﻏﻴﺮ ﺍﻟﺼﺤﻔﻲ ﻰﻠﻋ ﺣﺪ ﺳﻮﺍﺀ‪.‬‬ ‫ﻟﻠﻐﺘﻬــﻢ‪ ..‬ﺗﺴﺘﺮﺳــﻞ ﻲﻓ ﺣﺪﻳﺜــﻚ ﻣﻌــﻪ‪ ،‬ﻓﺘﻌــﺮﻑ ﺃﻧــﻪ ﻟــﻢ‬
‫ﻳﻔﻘــﺪ ﺷــﻴﺌﺎ‪ ،‬ﺑــﻞ ﻰﻠﻋ ﻭﻋــﻲ ﺑﻤــﺎ ﻳﻤﺘﻠــﻚ‪ ،‬ﻟﻜﻨــﻪ ﻳﺠﺘﻬــﺪ ﻣــﺎ‬
‫ﻻ َﻳﻌﻨــﻲ ﺣﺠــﺎﻭﻱ ﺑﺎﻟﻠﻐــﺔ ﺍﻟﻌﺎﻟﻴــﺔ ﺃﻧﻬــﺎ ﻋﺼﻴــﺔ ﻰﻠﻋ‬ ‫ﺍﺳﺘﻄﺎﻉ ﻹﻋﺎﺩﺓ ﺍﻟﻮﻋﻲ ﺍﻟﻠﻐﻮﻱ ﺇﻟﻰ ﺍﻷﻟﺴﻨﺔ ﺍﻟﻌﺮﺑﻴﺔ‪.‬‬
‫ﺍﻟﻮﺻــﻮﻝ‪ ،‬ﻓﻬــﻲ ﺗﻨﺤﻨــﻲ ﺑﺴﻼﺳــﺔ ﺃﻣــﺎﻡ ﻣــﻦ ﻳﻤــﺪ ﻳــﺪﻩ‬
‫ﻣﺸــﺎﻛﺲ؟ ﻧﻌــﻢ‪ ،‬ﺧﺼﻮﺻــﺎ ﺣﻴﻨﻤــﺎ ﺃﺟﺎﺑﻨــﻲ ﻰﻠﻋ ﺳــﺆﺍﻟﻲ ﺇﻟﻴﻬــﺎ‪ ،‬ﻟﻜﻨﻬــﺎ ﻟﻐــﺔ ﻋﺎﻟﻴــﺔ ﺍﻟﻘــﺪﺭ‪ .‬ﻭﺍﻟﻌﺎﻟﻴــﺔ ‪-‬ﻛﻤــﺎ ﻗــﺎﻝ ﻲﻓ‬
‫ﻣﻘﺪﻣﺘــﻪ‪ -‬ﺍﺳــﻢ ﳌﻜﺎﻧﻴــﻦ‬ ‫ﺍﳌﺘﻌﻠــﻖ ﺑﺘﺄﺧــﺮ ﺻــﺪﻭﺭ‬
‫ﻲﻓ ﺍﻟﺠﺰﻳــﺮﺓ ﺍﻟﻌﺮﺑﻴــﺔ‪،‬‬ ‫ﻛﺘﺎﺑــﻪ "ﺍﻟﻠﻐــﺔ ﺍﻟﻌﺎﻟﻴــﺔ" ﻳﺘﻌﺎﻣﻞ ﻋﺎﺭﻑ ﺣﺠﺎﻭﻱ ﻣﻊ ﺍﻟﻠﻐﺔ ﻣﻦ‬
‫ﻭﻟــﺪﺕ ﻓﻴﻬﻤــﺎ ﺍﻟﻔﺼﺎﺣــﺔ‬ ‫ﺍﻟﺬﻱ ﺻــﺪﺭ ﻋــﺎﻡ ‪ ..2014‬ﻧﻈﺮ‬
‫ﺍﻟﻌﺮﺑﻴــﺔ‪ .‬ﻛﻤــﺎ ﺃﻥ ﺍﻟﻜﺘــﺎﺏ‬
‫ﺍﻟﺘﻘﻠﻴﺪﻱ‬ ‫ﺍﳌﺤﺮﺭ‬ ‫ﻣﻨﺘﻘﺪﺍ‬ ‫ﻟﻴﺒﺮﺍﻟﻲ‪،‬‬ ‫ﻣﻨﻄﻠﻖ‬ ‫ﺷــ ْﺰ ًﺭ ﺍ‬ ‫ﺣﻴﻨﻬــﺎ‬ ‫ﺇﻟــﻲ‬
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‫ﻟﻴــﺲ ﻣــﻦ ﻛﺘــﺐ ﺍﻟﺨﻄــﺄ‬ ‫ﻭﺃﺟﺎﺑﻨــﻲ ﺑﺎﺑﺘﺴــﺎﻣﺔ ﺍﻟﺬﻱ ﻳﻤﺴﻚ ﻋﺼﺎ ﺍﻹﺭﻫﺎﺏ‪ ،‬ﻭﻳﺮﻛﺰ ﻰﻠﻋ‬
‫ﻣﻌﺎﺗﺒﺔ‪" :‬ﻣﺎ ُ‬
‫ﻭﺍﻟﺼــﻮﺍﺏ‪ ،‬ﺑــﻞ ﺗﺨﻠــﻰ ﻓﻴــﻪ‬
‫ﺣﺠــﺎﻭﻱ ﻋــﻦ ﻟﻐــﺔ‬
‫ﻭﻳﻨﺴﻰ‬ ‫ﺍﻟﻠﻐﺔ‪،‬‬ ‫ﻲﻓ‬ ‫ﺍﻟﺘﺤﺮﻳﺮﻳﺔ‬ ‫ﺍﳌﺸﺎﻛﻞ‬ ‫ﺯﻟﺖ ﺷﺎﺑﺎ"‪.‬‬

‫ﺍﻟﻘﺎﻣــﻮﺱ ﻷﻥ "ﺍﻟﺼﺤﻔــﻲ‬ ‫ﻫــﻮ ﻋــﺎﺭﻑ ﺣﺠــﺎﻭﻱ ﻣﺪﻳــﺮ ﺍﳌﺸﺎﻛﻞ ﺍﻟﺘﺤﺮﻳﺮﻳﺔ ﻲﻓ ﺍﳌﻌﻨﻰ‪.‬‬

‫ﻗــﺪ ﻳﺠــﺪ ﺧﻴــﺎﺭﺍﺕ ﻛﺜﻴــﺮﺓ‬ ‫ﺍﳌﻌﺎﻳﻴــﺮ ﺍﻟﺘﺤﺮﻳﺮﻳــﺔ ﺿﻤــﻦ‬
‫ﻗﻄــﺎﻉ ﺍﻟﺠــﻮﺩﺓ ﻲﻓ ﻗﻨــﺎﺓ ﺍﻟﺠﺰﻳــﺮﺓ‪ ،‬ﻭﺻﺎﺣــﺐ ﺍﻟﻘﺎﻣــﻮﺱ ﺃﻣﺎﻣﻪ‪ ،‬ﺃﺣﺪﻫﺎ ﺃﻰﻠﻋ ﻣﻦ ﺍﻵﺧﺮ"‪.‬‬
‫ﺍﻟﺼﺤﻔــﻲ "ﺍﻟﻠﻐــﺔ ﺍﻟﻌﺎﻟﻴــﺔ"‪ ،‬ﻭ"ﺣﻴﺎﺗــﻲ ﻲﻓ ﺍﻹﻋــﻼﻡ"‪،‬‬
‫‪-‬ﳌــﺎ ﻋﺮﻓــﻪ‬ ‫ﺃﻧﺠــﺰ ﺣﺠــﺎﻭﻱ ﻛﺘﺎﺑــﻪ ﺍﻟــﺬﻱ ﻭﺻﻔــﻪ ﺑﺎﳌﺴــﱢﻠﻲ ِ‬ ‫ﻭ"ﺧﻼﺻﺔ ﻋﻠﻢ ﺍﻟﻨﺤﻮ ﻟﻺﻋﻼﻣﻴﻴﻦ"‪.‬‬
‫ﻭﺗﻌ ﱠﻠﻤــﻪ ﺃﺛﻨــﺎﺀ ﻛﺘﺎﺑﺘــﻪ‪ -‬ﻲﻓ ﺃﺭﺑﻌــﺔ ﺃﺷــﻬﺮ ﻭﻧﺼــﻒ‪ ،‬ﻭﻛﺎﻧــﺖ‬
‫ﺃﺟــﺰﺍﺀ "ﺗــﺎﺝ ﺍﻟﻌــﺮﻭﺱ" ﺍﻷﺭﺑﻌــﻮﻥ ﺃﺣــﺪ ﺃﻫــﻢ ﺍﳌﺮﺍﺟــﻊ ﺍﻟﺘــﻲ‬ ‫ﺍﻟﻠﻐﺔ ﺍﻟﻌﺎﻟﻴﺔ‬
‫ﺍﺳــﺘﺨﺪﻣﻬﺎ‪ ،‬ﻟﻜﻨــﻪ ﻳﺆﻛــﺪ ﺃﻥ ﺍﳌﺮﺟــﻊ ﺍﻷﻫــﻢ ﻫــﻮ "ﻣــﺎ ﺃﺧﻄـ ُ‬
‫ـﺄﺕ‬
‫ﻓﻴﻪ ﻭﻣﺎ ﺃﺧﻄﺄ ﻓﻴﻪ ﺯﻣﻼﺋﻲ"‪.‬‬
‫ﻲﻓ ﺍﻟﻠﻘــﺎﺀ ﺍﻟــﺬﻱ ﺃﺟﺮﻳﺘــﻪ ﻣﻌــﻪ‪ ،‬ﺗﺤﺪﺛﻨــﺎ ﻋــﻦ ﻛﺘــﺎﺏ "ﺍﻟﻠﻐــﺔ‬
‫ﺍﻟﻌﺎﻟﻴــﺔ"‪ ،‬ﻭﺍﻻﺳــﻢ ﻣﺬﻳــﻞ ﺑﻌﻨــﻮﺍﻥ ﻓﺮﻋــﻲ ﻳﻘــﻮﻝ "ﺍﻟﻌﺮﺑﻴــﺔ ﻛﻠﻴﺎﺕ ﺇﻋﻼﻡ ﺧﺎﺋﺒﺔ‬
‫ﺍﻟﺼﺤﻴﺤــﺔ ﻟﻠﻤﺬﻳــﻊ ﻭﺍﳌﺮﺍﺳــﻞ ﻭﻟــﻜﻞ ﺻﺤﻔــﻲ"‪ .‬ﻣــﻊ ﻫــﺬﺍ‪،‬‬
‫ﻓﺈﻧﻨــﺎ ﻻ ﻧﺠــﺪ ﻣﻔــﺮﺩﺍﺕ ﻋﺮﺑﻴــﺔ ﻓﻘــﻂ‪ ،‬ﺑــﻞ ﺳــﻨﻔﺘﺢ ﺃﻋﻴﻨﻨــﺎ‬
‫ـﺪ ﳌــﻦ ﻳﻘــﺮﺃ ﻟﺤﺠــﺎﻭﻱ ﻭﻳﺘﺎﺑﻌــﻪ ﺃﻥ ﻳﻠﻤــﺢ ﻧﻔﺴــﺎ ﺩﻓﺎﻋﻴــﺎ‬ ‫ﻻ ﺑـ ﱠ‬
‫ﺩﻫﺸــﺔ ‪-‬ﺃﻓﺘــﺮﺽ ﺫﻟــﻚ‪ -‬ﺣﻴــﻦ ﻧــﺮﺍﻩ ﻳﻌــ ﱢﺮﻑ ﺳــﺎ ْﺭ ْﺗ ْﺮ‪،‬‬
‫ﻋــﻦ ﺍﻟﻠﻐــﺔ ﺍﻟﻌﺮﺑﻴــﺔ‪ ،‬ﻳﻘــﻮﻝ ﻋﻨــﻪ ﺇﻧــﻪ ﻧﺘﻴﺠــﺔ ﻣــﺎ ﻳــﺮﺍﻩ ﻣــﻦ‬
‫ﺍﻟﻔﻴﻠﺴﻮﻑ ﺍﻟﻔﺮﻧﺴﻲ ﺍﻟﺬﻱ ﻟﻢ ﺃﻧﻄﻖ ﺍﺳﻤﻪ ﻳﻮﻣﺎ‬
‫ﺗﻘﺼﻴﺮ ﺍﻟﺠﺎﻣﻌﺎﺕ ﻭﺧﻴﺒﺘﻬﺎ ﺍﻟﻠﺬﻳﻦ ﻳﻘﻮﺩﺍﻥ ﻟﻠﺘﻮﺟﻪ ﺇﻟﻰ‬

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‫ﻋﺎﺭﻑ ﺣﺠﺎﻭﻱ‬
‫)ﺑﺼﻴــﺮﻭﺍ ُﻳﺸــﺒﻬﻮﺍ ﺑﻌــﺾ(‪ ،‬ﻭﻫــﺬﺍ‬
‫ﺍﳌﻮﺣــﺪ‪،‬‬
‫ﱠ‬ ‫ﻳﺸــﺒﻪ ﺍﻟﺒﻨــﺎﺕ ﻭﺍﳌﻜﻴــﺎﺝ‬
‫ﻓﺪﻋــﻮﺍ ﺍﳌﺬﻳﻌﻴــﻦ ﻳﺴــﺘﺨﺪﻣﻮﻥ‬
‫ﺍﻟﻜﻠﻤﺎﺕ ﺑﺄﺭﻳﺤﻴﺔ"‪.‬‬
‫ﺍﻟﺸــﺒﺎﺏ ﻳﺄﺗــﻮﻥ ﺑﺼﻴــﻎ ﺟﺪﻳــﺪﺓ‪..‬‬
‫ﻭﻋﻨــﺪ ﺣﺪﻳﺜﻨــﺎ ﻋــﻦ ﺍﻟﺘﺤﺮﻳــﺮ ﻋ ّﺮﺟﻨــﺎ‬
‫ﻰﻠﻋ ﺍﺳــﺘﺨﺪﺍﻡ ﻣﻔــﺮﺩﺍﺕ ﻳﺴــﺘﺨﺪﻣﻬﺎ‬
‫ﺍﳌﺸــﺮﻗﻴﻮﻥ ﺃﻛﺜــﺮ ﻣــﻦ ﺍﳌﻐﺎﺭﺑــﺔ‬
‫ﻭﺗﻔﻀﻴﻠﻬــﺎ ﻲﻓ ﺍﻹﻋــﻼﻡ ﺍﻟﻌﺮﺑــﻲ‪ ،‬ﻓﻘــﺎﻝ‬
‫ﺩﻭﻥ ﺗــﺮﺩﺩ "ﻧﻌــﻢ‪ ،‬ﻫﻨــﺎﻙ ﺗﻤﻴﻴــﺰ ﺿــﺪ‬
‫ﺍﻟﻠﻬﺠــﺔ ﺍﳌﻐﺎﺭﺑﻴــﺔ ﻲﻓ ﺍﻹﻋــﻼﻡ‬
‫ﺍﻟﻌﺮﺑــﻲ ﻋﻤﻮﻣــﺎ"‪ ،‬ﻭﺃﺿــﺎﻑ ﺃﻥ‬
‫ﺍﻟﻔﻀﺎﺋﻴــﺎﺕ ﻣﺸــﺮﻗﻴﺔ ﺍﻟﺘﺄﺳــﻴﺲ‪ ،‬ﻟﻜــﻦ‬
‫ﺍﳌﻐﺎﺭﺑــﺔ ﺃﺩﺧﻠــﻮﺍ ﻓﻴﻤــﺎ ﺑﻌــﺪ ﺑﻌــﺾ‬
‫ﺍﻟﺘﻌﺒﻴــﺮﺍﺕ ﻣﺜــﻞ "ﻳﺘﺤﺼــﻞ ﻰﻠﻋ"‪ ،‬ﻭﻗــﺪ‬
‫ﺑﺪﺃﻧــﺎ ﻧﺴــﻤﻌﻬﺎ ﻣــﻦ ﻣﺬﻳﻌﻴــﻦ ﻣﻐﺎﺭﺑــﺔ‬
‫ﻭﻗﺒﻠــﺖ ﻲﻓ ﺍﳌﺸــﺮﻕ ﺍﻟﻌﺮﺑــﻲ ﻭﻫــﺬﺍ‬ ‫ُ‬
‫ﺃﻣــﺮ ﺟﻴــﺪ‪ ،‬ﻓﺎﳌﻐــﺮﺏ ﺍﻟﻌﺮﺑــﻲ ﺍﻟﻜﺒﻴــﺮ‬
‫ﻳﺤــﺲ ﺑﺎﻟﻐﺒــﻦ ﻟﻘﻠــﺔ ﺗــﺪﺍﻭﻝ ﺃﺧﺒــﺎﺭﻩ‪،‬‬
‫ّ‬
‫ﻭﺍﻟﺴــﺒﺐ ﺍﻷﺳﺎﺳــﻲ ﺃﻥ ﺍﻻﺿﻄــﺮﺍﺏ‬
‫ﻔﻀــﻞ ﺃﻥ ﻳﻜــﻮﻥ‬
‫ﺍﻟﺴﻴﺎﺳــﻲ ﻲﻓ ﺍﳌﺸــﺮﻕ ﺃﻛﺜــﺮ‪..‬‬
‫"ﻓﻠﻴﺤﻤــﺪ ﺍﻟﻨــﺎﺱ ﻲﻓ ﻏــﺮﺏ ﺍﻟﻌﺎﻟــﻢ‬
‫ﺍﻟﻌﺮﺑﻲ ﺭﺑﻬﻢ"‪.‬‬
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‫ﺍﻹﻧﺠﻠﻴﺰﻳــﺔ‪" ..‬ﻷﻥ ﺟﺎﻣﻌﺎﺗﻨــﺎ ﻣﻨﺤﻄــﺔ‬
‫ﻭﺗﻔــ ّﺮﺥ ﺟﻤﻴــﻊ ﺍﻟﻘﺼــﻮﺭ ﺑﻘﻮﻟﻬــﺎ ﺇﻥ‬
‫ﺍﻟﻠﻐــﺔ ﺍﻟﻌﺮﺑﻴــﺔ ﻟﻴﺴــﺖ ﺻﺎﻟﺤــﺔ"‪ .‬ﻣــﻊ‬
‫ﻫــﺬﺍ‪ ،‬ﻓﻬــﻮ ﻳﺆﻛــﺪ ﺃﻧــﻪ ﻟﻴــﺲ ﺿــﺪ‬
‫ﺍﺳــﺘﺨﺪﺍﻡ ﻣﺼﻄﻠﺤــﺎﺕ ﺑﺎﻹﻧﺠﻠﻴﺰﻳــﺔ‪،‬‬
‫ﻰﻠﻋ ﺃﻥ ﻳﺒﻘــﻰ ﺍﻟﺴــﻴﺎﻕ ﻋﺮﺑﻴــﺎ‪.‬‬
‫ﻭﻳﻀﻴــﻒ ﺃﻥ ﻫﻨــﺎﻙ ﺇﺣﺴﺎﺳــﺎ ﺑﺎﻟﺪﻭﻧﻴــﺔ‬
‫ﻋﻨــﺪ ﻣﺘﺤﺪﺛــﻲ ﺍﻟﻠﻐــﺔ ﺍﻟﻌﺮﺑﻴــﺔ‪ ،‬ﻛﻤــﺎ ﺃﻥ‬
‫ﻫﻨــﺎﻙ ﻣــﻦ ﻳﺼــﺮ ﻰﻠﻋ ﺗﻌﻘﻴــﺪ ﻫــﺬﻩ‬
‫ﺍﻟﻠﻐﺔ ﻭﺗﺼﻌﻴﺐ ﺍﺳﺘﺨﺪﺍﻣﻬﺎ‪.‬‬
‫ﻳﺤﻴــﻞ ﺣﺠــﺎﻭﻱ ﺗﺮﺍﺟــﻊ ﺍﻟﻌﻼﻗــﺔ ﺑﻴــﻦ‬
‫ﺍﻟﻠﻐــﺔ ﺍﻟﻌﺮﺑﻴــﺔ ﻭﺍﻟﺼﺤﺎﻓــﺔ ﺇﻟــﻰ ﻛﻠﻴــﺎﺕ‬
‫ﺍﻹﻋــﻼﻡ ﺍﻟﺘــﻲ ﻻ ﻳﺆﻣــﻦ ﺑﺄﺳــﻠﻮﺑﻬﺎ‬
‫ﺍﻟﺘﻌﻠﻴﻤــﻲ ﻭﻳﻌﺘﺒﺮﻫــﺎ "ﻃﻨﺠــﺮﺓ"‪ ،‬ﺑﻴﻨﻤــﺎ‬
‫ﺍﻟﻌﻠــﻢ ﺍﻟﺤﻘﻴﻘــﻲ ﻫــﻮ ﺃﻱ ﺗﺨﺼــﺺ‪ ،‬ﺑــﻞ‬
‫ﺇﻧــﻪ ﻛﺎﻥ ﻳﺴــﺘﺒﻌﺪ ﻃــﻼﺏ ﺍﻹﻋــﻼﻡ‬
‫ﻋﻨــﺪ ﻣﻘﺎﺑﻠﺘــﻪ ﺃﺷــﺨﺎﺻﺎ ﻟﻠﺘﻮﻇﻴــﻒ‬
‫ﺍﻹﻋﻼﻣــﻲ‪ ،‬ﻋﻠﻤــﺎ ﺑﺄﻧــﻪ ﺩﺭﺱ ﺍﻹﻋــﻼﻡ‬
‫ﻭﺩﱠﺭﺳــﻪ ﻟﺜﻤﺎﻧــﻲ ﺳــﻨﻮﺍﺕ ﻲﻓ ﺟﺎﻣﻌــﺔ‬
‫ﺍﻟﺸــﺒﺎﺏ ﻓﻴﺼﻨﻌــﻮﻥ ﺍﻟﻠﻐــﺔ ﺑﺎﻟﺘﺪﺭﻳــﺞ‪،‬‬ ‫ﻼ ﻰﻠﻋ ﺫﻟــﻚ ﺑﻘﻮﻟــﻪ ﺇﻧــﻪ‬‫ﺑﻴــﺮ ﺯﻳــﺖ ﻣﺪﻟﱢـ ً‬
‫ﻭﻧﺤــﻦ ﻧﺴﺘﻤﺴــﻚ ﺑﺎﻟﻠﻐــﺔ ﺍﻟﻘﺪﻳﻤــﺔ‬ ‫ﻋﻤــﻞ ﻲﻓ ﺷــﺒﻜﺔ "ﺍﻟﺒﻲ‪.‬ﺑﻲ‪.‬ﺳــﻲ" ‪15‬‬
‫ﻓﻴﺄﺗــﻲ ﺷــﺎﺏ ﻳﻘــﻮﻝ ﻟــﻚ ﻣﻤﻨــﻮﻉ ﺃﻥ‬ ‫ﻋﺎﻣــﺎ ﻭﺍﻟﺘﻘــﻰ ﺻﺤﻔﻴﻴــﻦ ﻻﻣﻌﻴــﻦ ﻟــﻢ‬
‫ﻧﺘﻤﺴــﻚ‪..‬‬
‫ّ‬ ‫ﺗﻘــﻮﻝ‪ :‬ﻧﺴﺘﻤﺴــﻚ ﺑــﻞ‬ ‫ﻳﺪﺭﺳــﻮﺍ ﺍﻹﻋــﻼﻡ‪" ،‬ﻓﻜﻠﻴــﺎﺕ ﺍﻹﻋــﻼﻡ‬
‫ﻌﻄــﻞ ﺍﻟﻄﺎﻟــﺐ ﺃﺭﺑــﻊ ﺳــﻨﻮﺍﺕ ﻋــﻦ‬ ‫ُﺗ ﱢ‬
‫ﻭﺗﻔﺼﺤﻬﺎ"‪.‬‬
‫ﱢ‬ ‫ﺍﻷﺟﻴﺎﻝ ﺗﺤﻀﺮ ﻛﻠﻤﺎﺗﻬﺎ‬ ‫ﺩﺭﺍﺳــﺔ ﺷــﻲﺀ ﻣﻬــﻢ‪ ،‬ﻭﺗﺪﱢﺭﺳــﻪ ﻣــﺎ ﻫــﻮ‬
‫ﺗﺎﻓــﻪ ﻭﻣﻤﻜــﻦ ﺃﻥ ﻳﺪﺭﺳــﻪ ﻲﻓ ﺛﻼﺛــﺔ‬
‫ﻭﻷﻥ ﺍﻟﻠﻐــﺔ ﺍﻟﻌﺮﺑﻴــﺔ ﻲﻓ ﺍﳌﺠﺘﻤــﻊ‬ ‫ﺃﻳــﺎﻡ‪ ..‬ﺧﺮﻳﺠــﻮ ﻛﻠﻴــﺎﺕ ﺍﻹﻋــﻼﻡ‬
‫ﻭﻲﻓ ﺍﻹﻋــﻼﻡ ﺑﺸــﻜﻞ ﺧــﺎﺹ ﺃﺩﺍﺓ‬ ‫ﻣﺴﺎﻛﻴﻦ"‪.‬‬
‫ﻟﺘﻔﺎﻫــﻢ ﺍﻟﻨــﺎﺱ‪ ،‬ﻓﺈﻧــﻪ ﻳﺘﻌﺎﻣــﻞ ﻣﻌﻬــﺎ‬
‫ﻣــﻦ ﻣﻨﻄﻠــﻖ ﻟﻴﺒﺮﺍﻟــﻲ‪ ،‬ﻣﻨﺘﻘــﺪﺍ ﺩﻭﺭ‬ ‫ﻭﻳﺸــﻴﺮ ﺇﻟــﻰ ﺃﻥ ﺗﺄﺧــﺮ ﺗﻄــﻮﺭ ﺍﻟﻠﻐــﺔ‬
‫ﻣﺤــﺮﺭ ﺍﳌــﻮﺍﺩ ﺍﻹﺧﺒﺎﺭﻳــﺔ ﺍﻟﺘﻘﻠﻴــﺪﻱ‬ ‫ﺍﻟﻌﺮﺑﻴــﺔ ﻧﺎﺗــﺞ ﻋــﻦ ﺗﺄﺧﺮﻫــﺎ ﻲﻓ‬
‫ﺍﻟــﺬﻱ ﻳﻤﺴــﻚ ﻋﺼــﺎ ﺍﻹﺭﻫــﺎﺏ ﻭﻳﺮﻛــﺰ‬ ‫ﺍﻻﺧﺘــﺮﺍﻉ‪ ،‬ﻭﺑﺴــﺒﺐ ﻧﻈــﺮﺓ ﺍﻟﻔــﺮﺩ‬
‫ﻰﻠﻋ ﺍﳌﺸــﺎﻛﻞ ﺍﻟﺘﺤﺮﻳﺮﻳــﺔ ﻲﻓ ﺍﻟﻠﻐــﺔ‪،‬‬ ‫ﺍﻟﻌﺮﺑــﻲ ﻟﻬــﺎ ﺇﺫ ﻳﻌﺎﻣﻠﻬــﺎ ﻛﻤــﺎ ﻳﻌﺎﻣــﻞ‬
‫ﻭﻳﻨﺴــﻰ ﺍﳌﺸــﺎﻛﻞ ﺍﻟﺘﺤﺮﻳﺮﻳــﺔ ﻲﻓ‬ ‫ﺍﳌــﺮﺃﺓ ﺑﺎﻟﺘﻀﻴﻴــﻖ ﻭﺍﻟﺨﻨــﺎﻕ‪ .‬ﻣــﻊ ﻫــﺬﺍ‪،‬‬
‫ﺍﳌﻌﻨــﻰ‪ .‬ﻭﻲﻓ ﻣﻌــﺮﺽ ﻧﻘــﺪﻩ ﻳﻘــﻮﻝ‬ ‫ﻭﻣــﻊ ﻭﺟــﻮﺩ ﺍﻹﻧﺘﺮﻧــﺖ‪ ،‬ﺯﺍﺩ ﻋــﺪﺩ‬
‫"ﺍﳌﺪﻗﻘــﻮﻥ ﺍﻟﻠﻐﻮﻳــﻮﻥ ﻣﺘﺨﻠﻔــﻮﻥ ﻋــﻦ‬ ‫ﺍﻟﻜﺘــﺎﺏ ﻲﻓ ﺍﳌﻮﺍﻗــﻊ ﺍﻹﻟﻜﺘﺮﻭﻧﻴــﺔ‪..‬‬
‫ﺍﻟﺮﻛــﺐ ﺍﻟﺤﺪﻳــﺚ ﻭﻳﺆﺛــﺮﻭﻥ ﺍﻟﻘﺪﻳــﻢ‪،‬‬ ‫"ﻲﻓ ﺍﳌﺎﺿــﻲ ﻛﺎﻥ ﺍﻟﺒﻠــﺪ ﺍﻟﻜﺒﻴــﺮ ﻳﺒــﺮﺯ‬
‫ﻭﺍﻟﺼﺤﻔﻴــﻮﻥ ﻳﺠﺎﺭﻭﻧﻬــﻢ ﻭﻳﻘﺘﺒﺴــﻮﻥ‬ ‫ﻓﻴــﻪ ﻫﻴــﻜﻞ ﺃﻭ ﻫﻴــﻜﻼﻥ )ﻓﺎﻫﻤــﺔ‬
‫ﻣــﻦ ﺍﻟﻘﺪﻳــﻢ‪ ،‬ﺑﻴﻨﻤــﺎ ُﻳ ﱠ‬
‫ﻗﺼــﺪﻱ؟( ﻭﻳﺴــﺘﻮﻟﻴﺎﻥ ﻰﻠﻋ ﺍﻟﻜﻠﻤــﺔ‬
‫ﺍﻟﺼﺤﻔــﻲ ﻣﻌﺎﺻــﺮﺍ‪ ،‬ﻓــﻼ ﺗﻀﻴﻴــﻖ‪ ،‬ﺑــﻞ‬ ‫ّ‬
‫ﺍﻟــﻜﻞ ﻳﻜﺘــﺐ‪ ،‬ﻳﺒــﺮﺯ‬ ‫ﻭﻳﺤﺒﺴــﺎﻧﻬﺎ‪ ..‬ﺍﻵﻥ‬
‫ﻧﻔﺘــﺢ ﺍﻷﺳــﻠﻮﺏ ﻗﻠﻴــﻼ ﻛــﻲ ﻻ ﺗﺼﺒــﺢ‬ ‫ﺍﻟﻐﺜــﺎﺀ‪ ،‬ﻟﻜــﻦ ﺃﻳﻀــﺎ ﻳﺒــﺮﺯ ﻣﻌــﻪ ﺍﻟﺜﻤــﺮ‬
‫ﺍﻟﺸــﺨﺼﻴﺔ ﻣﻌ ﱠﻠﺒــﺔ‪ ،‬ﻓﺤﻴﻨﻤــﺎ ﻧﻀــﻊ‬ ‫ﺍﻟﻄﻴــﺐ"‪ .‬ﻳﻘــﻮﻝ ﺇﻥ "ﺍﻟﺼﺤﺎﻓــﺔ ﺗﺆﺛــﺮ‬
‫ﻛﻠﻤﺎﺕ ﺛﻢ ﻧﻤﻨﻊ ﺍﻟﺨﺮﻭﺝ ﻋﻨﻬﺎ ﺗﻤﺎﻣﺎ‬ ‫ﻲﻓ ﺍﻟﻠﻐﺔ‪ ،‬ﻭﺍﻟﻨﺎﺱ ﺃﻳﻀﺎ ﻳﺆﺛﺮﻭﻥ‪ ،‬ﺃﻣﺎ‬
‫ﺍﻟﺬﻳــﻦ ﻛﺘﺒــﻮﺍ ﺑﻠﻐــﺔ ﻋﺮﺑﻴــﺔ ﻣﻨﻤﻘــﺔ‪.‬‬ ‫ﺍﻟﻜﻠﻴﺸــﻴﻬﺎﺕ"‪ ،‬ﻭﺑﻬــﺬﺍ ﺍﳌﻌﻨــﻰ ﻳﻨﺘﻘــﺪ‬ ‫ﺧﻄﺄ ﺷﺎﺋﻊ ﺧﻴﺮ ﻣﻦ‬
‫ﻭﻋــﻦ ﻫــﺬﺍ ﻳﻘــﻮﻝ ﺣﺠــﺎﻭﻱ‪" :‬ﺍﻟﺼﺤﺎﻓــﺔ‬ ‫ﺍﻟﺘﻘﺎﺭﻳــﺮ ﺍﻟﻘﺎﺩﻣــﺔ ﻣــﻦ ﻓﻠﺴــﻄﻴﻦ‬
‫ﻲﻓ ﺍﻟﻌﺎﻟــﻢ ﺍﻟﻌﺮﺑــﻲ ﻣﺮﺗﺒﻄــﺔ ﺑــﺎﻷﺩﺏ‪..‬‬ ‫ﻭﻳﻄﺎﻟــﺐ ﺍﳌﺮﺍﺳــﻠﻴﻦ ﺑﺈﻋﻄــﺎﺀ ﻣﻌﻠﻮﻣــﺎﺕ‬ ‫ﺻﻮﺍﺏ ﻣﻬﺠﻮﺭ‬
‫ﻛﺎﻧــﺖ ﻗﺼﺎﺋــﺪ ﺷــﻮﻗﻲ ﺗﻨﺸــﺮ ﻲﻓ‬ ‫ﻻ ﺑﻴﺎﻧــﺎﺕ ﺳﻴﺎﺳــﻴﺔ‪ .‬ﻭﻳﺘﺎﺑــﻊ ﺃﻥ ﺍﻟﺠﺎﻧــﺐ‬
‫ﺍﻟﺼﻔﺤــﺔ ﺍﻷﻭﻟــﻰ ﺑﺠﺮﻳــﺪﺓ ﺍﻷﻫــﺮﺍﻡ‪ ..‬ﺍﻵﻥ‬ ‫ﺍﻹﻧﺴــﺎﻧﻲ ﻣﻐ ّﻴــﺐ ﻲﻓ ﻛﺜﻴــﺮ ﻣــﻦ‬ ‫ﻭﻋــﻦ ﺍﳌﺠــﺎﺯﺍﺕ ﻭﺍﻟﺘﺸــﺒﻴﻪ ﻲﻓ ﺍﻟﻠﻐــﺔ‬
‫ﺗﻐ ّﻴــﺮ ﺍﻟﻮﺿــﻊ ﻭﺃﺻﺒﺤــﺖ ﺍﻟﺠﺮﺍﺋــﺪ‬ ‫ﺍﻷﺣﻴــﺎﻥ ﻋــﻦ ﻟﻐــﺔ ﺍﻹﻋــﻼﻡ‪ ،‬ﻷﻥ ﺍﻟﺠﺎﻧــﺐ‬ ‫ﺍﻟﺼﺤﻔﻴــﺔ ﻳﻘــﻮﻝ‪" :‬ﺍﳌﺠــﺎﺯ ﻭﺍﻟﺘﺸــﺒﻴﻪ‬
‫ﻟﻠﺴﻴﺎﺳــﺔ ﻭﺗﻄــﺮﺩ ﺍﻷﺩﺏ ﺇﻟــﻰ ﺻﻔﺤــﺎﺕ‬ ‫ﺍﻹﻧﺴــﺎﻧﻲ ﺑــﻪ ﻓــﺮﺡ ﻭﺣــﺰﻥ ﻭﻟﻴــﺲ‬ ‫ﻳﻤﺜــﻼﻥ ﺍﻟﻄﺮﻳــﻖ ﺍﻷﻗﺼــﺮ ﺃﺣﻴﺎﻧــﺎ‪ .‬ﻣﺜــﻼ‪،‬‬
‫ﺍﳌﻼﺣــﻖ‪ ،‬ﻭﻫــﺬﺍ ﻃﺒﻴﻌــﻲ ﻷﻥ‬ ‫ﻣﻘﺘﺼــﺮﺍ ﻰﻠﻋ ﺍﻟﺤــﺰﻥ‪ ،‬ﻲﻓ ﺣﻴــﻦ ﺗﻘــﺪﻡ‬ ‫ﻧﻘــﻮﻝ‪ :‬ﺍﻧﻔﺠــﺮ ﺍﻟﻮﺿــﻊ‪ ،‬ﻭﻫــﻮ ﻣﺠــﺎﺯ‬
‫ﺍﻟﺴﻴﺎﺳــﺔ ﺗﺆﺛــﺮ ﻰﻠﻋ ﺭﻏﻴــﻒ ﺍﻟﻨــﺎﺱ‪،‬‬ ‫ﺍﻟﻘﻨــﻮﺍﺕ ﻟﻄﻤﻴــﺎﺕ ﻰﻠﻋ ﻓﻠﺴــﻄﻴﻦ‬ ‫ﻋﻨﺪﻣــﺎ ﺗﺤــﺪﺙ ﺍﺿﻄﺮﺍﺑــﺎﺕ ﻛﺜﻴــﺮﺓ‬
‫ﻓﻠــﻮ ﻛﺎﻥ ﻫﻨــﺎﻙ ﺗﺼﺮﻳــﺢ ﺑﺮﻓــﻊ ﺍﻷﺳــﻌﺎﺭ‬ ‫ﺍﻟﺘﻲ ﺑﻬﺎ ﻓﺮﺡ ﺃﻳﻀﺎ‪.‬‬ ‫ﻧﺸــﺒﺒﻬﺎ ﺑﺎﻧﻔﺠــﺎﺭ ﺍﻟﻘﻨﺒﻠــﺔ‪ ،‬ﻟﻜــﻦ ﻫــﺬﺍ‬
‫ﻛﺴــﻌﺮ ﺍﻟﺪﻗﻴــﻖ ﻣﺜــﻼ‪ ،‬ﻓﻬــﺬﺍ ﺃﻫــﻢ‬ ‫ﺍﳌﺠــﺎﺯ ﻳﺨﺘﺼــﺮ ﻋﻠﻴﻨــﺎ ﺛﻼﺛــﺔ ﺃﻭ ﺃﺭﺑﻌــﺔ‬
‫ﻟﻠﻘــﺮﺍﺀ ﻣــﻦ ﺁﺧــﺮ ﻗﺼﻴــﺪﺓ ﻟﺸــﺎﻋﺮ"‪.‬‬ ‫ﺃﺟﺒﺮﻧــﺎ ﺍﻟﺤﺪﻳــﺚ ﻋــﻦ ﺍﳌﺠــﺎﺯﺍﺕ‬ ‫ﺃﺳــﻄﺮ"‪ .‬ﻭﻳﻀﻴــﻒ‪" :‬ﻟﻐــﺔ ﺍﻹﻋــﻼﻡ ﻣﻤﻠــﺔ‬
‫ﻭﻳﺘﺎﺑــﻊ "ﻲﻓ ﺍﳌﺎﺿــﻲ‪ ،‬ﻛﺎﻥ ﺍﻷﻏﻨﻴــﺎﺀ‬ ‫ﺍﳌﺴــﺘﺨﺪﻣﺔ ﻲﻓ ﺍﻟﺼﺤﺎﻓــﺔ ﻰﻠﻋ‬ ‫ﻷﻥ ﺍﻹﻋﻼﻣﻴﻴــﻦ ﻣﻤ ّﻠــﻮﻥ‪ ،‬ﻭﻟﻴــﺲ ﺍﻟﺴــﺒﺐ‬
‫ﻭﻃﺒﻘــﺔ ﺍﺟﺘﻤﺎﻋﻴــﺔ ﻣﻌﻴﻨــﺔ ﻳﻘــﺮﺅﻭﻥ‬ ‫ﺍﻟﺘﻄﺮﻕ ﺇﻟﻰ ﺗﺎﺭﻳﺦ ﺍﻟﺼﺤﻔﻴﻴﻦ ﺍﻷﻭﺍﺋﻞ‬ ‫ﻲﻓ ﺍﻟﻠﻐﺔ ﻧﻔﺴﻬﺎ ﺑﻞ ﻲﻓ ﺍﻟﻘﻮﺍﻟﺐ ﺃﻭ‬
‫ﺍﻟﺼﺤــﻒ‪ ،‬ﺛــﻢ ﻧﺸــﺄﺕ ﻃﺒﻘــﺔ ﻣــﻦ‬
‫ﺍﳌﻮﻇﻔﻴــﻦ ﻭﺍﳌﻌﻠﻤﻴــﻦ ﻭﺍﳌﻬﺘﻤﻴــﻦ‬
‫ﺑﻤــﺎ ﻳﺆﺛــﺮ ﻋﻠﻴﻬــﻢ‪ ،‬ﻟﺬﻟــﻚ ﻓﻘــﺪ ﺗﻨﻮﻋــﺖ‬
‫ﺍﻻﻫﺘﻤﺎﻣــﺎﺕ ﻭﺳــﻴﻄﺮ ﻋﻠﻴﻬــﺎ ﺍﻟﻮﺿﻌــﺎﻥ‬
‫ﺍﻻﻗﺘﺼــﺎﺩﻱ ﻭﺍﻻﺟﺘﻤﺎﻋــﻲ‪ ،‬ﺃﻣــﺎ ﺍﻟﺼﺤﺎﻓــﺔ‬
‫ﺍﻷﺩﺑﻴــﺔ ﺍﳌﻌﺎﺻــﺮﺓ ﻓﻠــﻢ ﺗﺆﺛــﺮ‪ ..‬ﻗﺪﻳﻤــﺎ‬
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‫ﺃﺛــﺮﺕ ﺣﻴــﺚ ﺗﺴــﻠﻢ ﺃﺩﺑــﺎﺀ ﺇﺩﺍﺭﺓ ﺍﻟﺠﺮﺍﺋــﺪ‪،‬‬
‫ﺃﻣــﺎ ﺍﻵﻥ ﻓــﻼ‪ ..‬ﺭﺍﺣــﺖ ﺍﻟﺠﺮﻳــﺪﺓ ﻭﺟــﺎﺀ‬
‫ﺍﻹﻧﺘﺮﻧﺖ"‪.‬‬

‫ﻭﻋــﻦ ﺍﻟﺠﻤــﻮﺩ ﺍﻟــﺬﻱ ﺗﺤﻤﻠــﻪ ﺍﻟﻠﻐــﺔ‬

‫ﺍﻹﻋﻼﻣﻴــﺔ ﺃﺷــﺎﺭ ﺇﻟــﻰ ﺃﻥ ﻣــﻦ ﻭﺍﺟــﺐ‬
‫ﺍﻟﺼﺤﻔــﻲ ﺃﻥ ﻳﻮﺳــﻊ ﻣﻔﺮﺩﺍﺗــﻪ‪" ..‬ﺃﺭﻳــﺪ‬
‫ﺃﻥ ﻳﺜــﺮﻱ ﻣﻌﺠﻤــﻪ ﻭﺃﻥ ﻳﻮﺳــﻊ ﻣﺴــﺎﺣﺔ‬
‫ﻟﺴــﺎﻧﻪ‪ ،‬ﻻ ﺃﻥ ﻳﺴــﺘﻌﻤﻞ ﻛﻠﻤــﺎﺕ‬
‫ﺟﺪﻳــﺪﺓ‪ ،‬ﻓﺎﻟﺸــﻲﺀ ﺍﻟــﺬﻱ ﻳﺰﻳــﺪ ﻋــﻦ‬
‫ﺣــﺪﻩ ﻳﻨﻘﻠــﺐ ﺿــﺪﻩ‪ ،‬ﻛﺄﻥ ﻳﺴــﺘﺨﺪﻡ‬
‫ﺍﳌﺬﻳــﻊ ﻛﻠﻤــﺎﺕ ﻏﺮﻳﺒــﺔ‪ ،‬ﻛﺎﻟﺠﻮﺳﺴــﺔ‪،‬‬
‫ﻭﺍﻟﺘﺒﻴــﺆ‪ ،‬ﻭﺍﻟﺘﺒﻴﺌــﺔ‪ ،‬ﻭﺍﳌﺆﻟّﻠــﺔ )ﺃﻱ ﺍﻟﻔــﺮﻕ‬
‫ﺍﻟﻌﺴــﻜﺮﻳﺔ ﺍﻟﺘــﻲ ﺗﺴــﺘﺨﺪﻡ ﺁﻻﺕ(‪ ،‬ﺃﻭ‬
‫ﺍﻟﺴــﻮﻕ ‪-‬ﺑﻔﺘــﺢ ﺍﻟﺴــﻴﻦ‪ -‬ﻲﻓ‬ ‫ﱠ‬
‫ﺃﻱ‬ ‫ﺍﻟﺴــﻮﻗﻴﺔ"‪،‬‬
‫ﱠ‬ ‫"ﺍﻻﻋﺘﺒــﺎﺭﺍﺕ‬
‫ﺍﻻﺳــﺘﺮﺍﺗﻴﺠﻴﺔ‪ .‬ﺃﻧــﺎ ﻣــﻊ ﺇﺛــﺮﺍﺀ ﺍﻟﻠﻐــﺔ ﺩﻭﻥ‬
‫ﺗﻌﻘﻴــﺪ‪ ،‬ﻭﻣــﻊ ﻣﻘﻮﻟــﺔ "ﺧﻄــﺄ ﺷــﺎﺋﻊ‬
‫ﺧﻴــﺮ ﻣــﻦ ﺻــﻮﺍﺏ ﻣﻬﺠــﻮﺭ"‪ .‬ﻭﻳــﺮﻯ‬
‫‪95%‬‬ ‫ﺃﻥ‬ ‫ﺣﺠــﺎ ﻭ ﻱ‬
‫ﻣــﻦ ﺍﳌﺂﺧــﺬ ﺿــﺪ ﺍﻟﺼﺤﻔﻴﻴــﻦ ﺃﻧﻬــﻢ‬
‫ﺍ ﻟﺮ ﻭ ﺍ ﺳــﻢ‬ ‫ﺇ ﻟــﻰ‬ ‫ﻳﺘﺠﻬــﻮ ﻥ‬
‫)ﺍﻟﻜﻠﻴﺸــﻴﻬﺎﺕ(‪ ..‬ﻧﺤــﻦ ﻧﻜﺘــﺐ ﻗﻮﺍﻟــﺐ‬
‫ﻣﺴــﺘﻮﺭﺩﺓ ﻣــﻦ ﺍﳌﺎﺿــﻲ‪ ،‬ﻭﺃﺭﻳﺪﻧــﺎ ﺃﻥ‬
‫ﻧﻜﺘﺐ ﻣﺎ ﻧﻔﻜﺮ ﻓﻴﻪ"‪.‬‬
‫ﻛﻠﻤــﺔ )ﻋﺎﺟــﻞ( ﻋﻮﺿــﺎ ﻋــﻦ )‪Breaking‬‬ ‫ﻭ"ﺍﳌﻠﻘــﺎﻥ" ﻋﻮﺿــﺎ ﻋــﻦ "‪،"Ear Piece‬‬ ‫ﻭﻋــﻦ ﻧﺤــﺖ ﺍﳌﻔــﺮﺩﺍﺕ ﻲﻓ ﺍﻟﺼﺤﺎﻓــﺔ‬
‫ﻭﻭ ﱢﻓﻘــﺖ ﻲﻓ‬ ‫‪ (News‬ﺃﻭ ﺃﺧﺒــﺎﺭ ﻃﺎﺭﺋــﺔ‪ُ ،‬‬ ‫ﻭﻫــﻲ ﺳــﻤﺎﻋﺔ ﺻﻐﻴــﺮﺓ ﺟــﺪﺍ ّ‬
‫ﻳﻠﻘــﻦ‬ ‫ﻳﻌﻠــﻖ ﺣﺠــﺎﻭﻱ ﺃﻻ ﻗﺎﻋــﺪﺓ ﻣﻌﻴﻨــﺔ‬
‫ﺫﻟــﻚ‪ .‬ﻭﻣــﻊ ﻫــﺬﺍ‪ ،‬ﻟــﻢ ﻳﻜــﻦ ﻟﻠﺠﺰﻳــﺮﺓ ﺃﺛــﺮ‬ ‫ﺍﳌﺨــﺮﺝ ﺑﻮﺍﺳــﻄﺘﻬﺎ ﺍﳌﻌﻠﻮﻣــﺎﺕ‬ ‫ﺗﻘﻴــﺪ ﺍﻟﻨﺤــﺖ‪ ،‬ﻓﻤﺜــﻼ ﻫﻨــﺎﻙ ﺑﻌــﺾ‬
‫ﻟﻐــﻮﻱ ﻛﺒﻴــﺮ‪ ،‬ﺑــﻞ ﺃﺛــﺮ ﺳﻴﺎﺳــﻲ‬ ‫ﻟﻠﻤﺬﻳﻊ‪.‬‬ ‫ﺍﻟﺘﻌﺒﻴــﺮﺍﺕ ﺍﻟﺘــﻲ ﺗﻘ ﱠﺒﻠﻨــﺎ ﻧﺤﺘﻬــﺎ ﻣﺜــﻞ‬
‫ﻭﺇﻋﻼﻣــﻲ ﻫﺎﺋــﻞ ﺑــﻞ ﺯﻟــﺰﺍﻝ‪ ،‬ﻟﻜــﻦ ﻟﻐﻮﻳــﺎ‬ ‫ﻟﻠﻘــﺮﻭﻥ‬ ‫ﻧﺴــﺒﺔ‬ ‫"ﺍﻟﻘﺮﻭﺳــﻄﻴﺔ"‬
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‫ﺃﻗﻞ ﻣﻦ ﺫﻟﻚ"‪.‬‬ ‫ﻫــﺬﻩ ﺍﻟﺘﻘﻨﻴــﺔ ﻟﻴﺴــﺖ ﺟﺪﻳــﺪﺓ‪ ،‬ﻭﻫــﻲ‬ ‫ﻓﻀﻨــﺎ‬
‫ﺭ‬ ‫ﻟﻜﻨﻨــﺎ‬ ‫ﺍ ﻟﻮ ﺳــﻄﻰ ‪،‬‬
‫ﻣﺤــﺎﻛﺎﺓ ﳌــﺎ ﻓﻌﻠــﻪ ﺃﺷــﺨﺎﺹ ﺃﺳﺴــﻮﺍ‬ ‫"ﺍﻷﻓﺮﻭﺁﺳــﻴﻮﻳﺔ" ﻭﻓﻀﻠﻨــﺎ "ﺍﻹﻓﺮﻳﻘﻴــﺔ‬
‫ﻗﻠﻴﻞ ﺍﻟﺘﺼﻔﻴﻖ‬ ‫ﻟﻠﺼﺤﺎﻓــﺔ ﺍﻟﻌﺮﺑﻴــﺔ ﻛﺎﻟﻠﺒﻨﺎﻧــﻲ ﺃﺣﻤــﺪ‬ ‫ﺍﻵﺳﻴﻮﻳﺔ"‪.‬‬
‫ﻓــﺎﺭﺱ ﺍﻟﺸــﺪﻳﺎﻕ ﺍﻟــﺬﻱ ﻏﻴــﺮ ﻣﻔــﺮﺩﺓ‬
‫ﺃﺑﺪﻳــﺖ ﻟﺤﺠــﺎﻭﻱ ﻣﻼﺣﻈﺘــﻲ ﺍﻟﺘــﻲ‬ ‫"ﺍﻟﺠﻮﺭﻧــﺎﻝ" ﺍﻟﺘــﻲ ﻛﺎﻧــﺖ ﺗﻄﻠــﻖ ﻰﻠﻋ‬ ‫ﻭﻓﻴﻤــﺎ ﻳﺘﻌﻠــﻖ ﺑﺎﻻﺧﺘﺼــﺎﺭﺍﺕ "ﺍﻟﻠﻐــﺔ‬
‫ـﺪ‬
‫ﺧﻠﺼــﺖ ﺇﻟﻴﻬــﺎ ﻣــﻦ ﺣﺪﻳﺜﻨــﺎ ﺍﻟــﺬﻱ ﺍﻣﺘـ ﱠ‬ ‫ﺍﻟﺼﺤــﻒ ﻗﺪﻳﻤــﺎ ﺇﻟــﻰ "ﺟﺮﻳــﺪﺓ"‪ ،‬ﻷﻥ‬ ‫ﺍﻟﻌﺮﺑﻴــﺔ ﺗﺘﻬﻴــﺐ ﻣــﻦ ﺍﺳــﺘﺨﺪﺍﻡ‬
‫ﻟﺠﻠﺴــﺘﻴﻦ‪ ،‬ﺳــﺄﻟﺘﻪ ﺑﻠﻬﺠﺘــﻲ‪" :‬ﻟﻴــﺶ‬ ‫ﺍﻟﻌــﺮﺏ ﻛﺎﻧــﻮﺍ ﻳﻜﺘﺒــﻮﻥ ﻰﻠﻋ ﺟﺮﻳــﺪ‬ ‫ﺍﻻﺧﺘﺼــﺎﺭﺍﺕ‪ ،‬ﻟﻜﻨــﻪ ﺃﺣﻴﺎﻧــﺎ ﻣﻬــﻢ‪ ،‬ﻣﺜــﻞ‬
‫ﻣﺶ ﻋﺎﺟﺒﻚ ﺍﻟﻌﺠﺐ؟"‬ ‫ﺍﻟﻨﺨــﻞ‪ ،‬ﻳﻘــﻮﻝ ﺣﺠــﺎﻭﻱ‪ .‬ﻭﻛﺬﻟــﻚ‬ ‫)ﻣ َﺘــﻒ( ﻋــﻦ ﻣﻨﻈﻤــﺔ ﺍﻟﺘﺤﺮﻳــﺮ‬ ‫ُ‬
‫ﺍﻟﺼﺤﻔــﻲ ﺍﻟــﺬﻱ ﺳــﻤﻊ ﻛﻠﻤــﺔ‬ ‫ﺍﻟﻔﻠﺴــﻄﻴﻨﻴﺔ‪ ،‬ﻷﻧــﻪ "ﺑﺪﻳــﺶ )ﻻ ﺃﺭﻳــﺪ‬
‫ﻭﻟــﻢ ﻳﻨﻜــﺮ ﺍﻟﺮﺟــﻞ ﺫﻟــﻚ‪ ،‬ﺑــﻞ ﻫ ـ ﱠﺰ ﺭﺃﺳــﻪ‬ ‫"ﺃﻭﺗﻮﻣﻮﺑﻴــﻞ" ﻓﺎﺳــﺘﺨﺪﻡ "ﺳــﻴﺎﺭﺓ"‬ ‫ﺃﻥ( ﺃﻋﺪ ﺃﺳﻨﺎﻥ"‪.‬‬
‫ﻭﺍﺑﺘﺴــﻢ ﻛﺄﻧﻨــﻲ ﺃﻣﺘﺪﺣــﻪ ﻗﺎﺋــﻼ‪:‬‬ ‫ﺍﳌﺬﻛﻮﺭﺓ ﻲﻓ ﺍﻟﻘﺮﺁﻥ ﺍﻟﻜﺮﻳﻢ‪.‬‬
‫"ﺑﺎﻹﻳﺠﺎﺑــﻲ ﺍﺳــﻤﻪ ﺍﻟﻌﻘــﻞ ﺍﻟﻨﻘــﺪﻱ‪،‬‬ ‫ﻭﻣــﻦ ﺑﻌــﺾ ﺍﳌﻔــﺮﺩﺍﺕ ﺍﻟﺘــﻲ ﺍﺟﺘﺮﺣﻬــﺎ‬
‫ﻭﺳــﻠﺒﺎ ﻣــﺶ ﻋﺎﺟﺒــﻪ ﺍﻟﻌﺠــﺐ ﻭﻻ‬ ‫ﻭﻋــﻦ ﺗﺠﺮﺑــﺔ ﺷــﺒﻜﺔ ﺍﻟﺠﺰﻳــﺮﺓ ﻲﻓ ﻫــﺬﺍ‬ ‫ﺣﺠــﺎﻭﻱ ﻟﻼﺳــﺘﺨﺪﺍﻡ ﺍﻟﺼﺤﻔــﻲ‬
‫ﺍﻟﺼﻴــﺎﻡ ﻲﻓ ﺭﺟــﺐ‪ ..‬ﺍﻟﺼﺤﻔــﻲ ﻳﻌﺘﺒــﺮ‬ ‫ﺍﳌﻀﻤــﺎﺭ‪ ،‬ﺃﳌــﺢ ﺇﻟــﻰ ﺃﻧﻬــﺎ "ﺣﺎﻓﻈــﺖ‬ ‫ﻣﺴــﺘﻐﻨﻴﺎ ﻋــﻦ ﺃﺻﻠﻬــﺎ ﺍﻷﺟﻨﺒــﻲ‪،‬‬
‫ﺍﻟﺨﺒــﺮ ﺍﻟﺴــﻴﺊ ﻫــﻮ ﺍﻟﺨﺒــﺮ‪ ..‬ﺧــﺬﻱ ﻣﺜــﺎﻻ‪:‬‬ ‫ﻭﻗﺼــﺮﺕ ﻲﻓ‬ ‫ّ‬ ‫ﻰﻠﻋ ﺍﻟﻠﻐــﺔ ﺍﻟﻌﺮﺑﻴــﺔ‬ ‫ﺍﺳــﺘﺨﺪﺍﻡ ﻣﻔــﺮﺩﺓ "ﺍﻟﺮﺍﻓــﺪ" ﻋﻮﺿــﺎ ﻋــﻦ‬
‫ﺇﺫﺍ ﺑﻨﻴــﺖ ﻋﻤــﺎﺭﺓ ﻓﻬــﺬﺍ ﻟﻴــﺲ ﺧﺒــﺮﺍ‪،‬‬ ‫ﺍﻻﺑﺘــﺪﺍﻉ‪ ،‬ﻓﺎﻟﻜﻠﻤــﺔ ﺍﻟﺘــﻲ ﺳــ ﱠﻴﺮﺗﻬﺎ‬ ‫"‪ ،"Aston‬ﻭﻫــﻮ ﺍﻟﺸــﺮﻳﻂ ﺍﻟــﺬﻱ ﻳﻈﻬﺮ ﺑﻪ‬
‫ﻭﺇﺫﺍ ﺍﻧﻬﺎﺭﺕ ﻰﻠﻋ ﺭﺅﻭﺱ ﺳﺎﻛﻨﻴﻬﺎ‬ ‫ﺍﻟﺠﺰﻳﺮﺓ ﻲﻓ ﺍﻟﻌﺎﻟﻢ ﺍﻟﻌﺮﺑﻲ ﻫﻲ‬ ‫ﺍﺳﻢ ﺍﻟﻀﻴﻒ ﻰﻠﻋ ﺍﻟﺸﺎﺷﺔ‪،‬‬

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‫ﻭﻲﻓ ﺍﻟﻠﻐــﺔ‪ ،‬ﺍﻟﺠﻤﻬــﻮﺭ ﻳﻄــﺮﺏ ﻟﻠﻌﺒــﺎﺭﺍﺕ‬
‫ﺍﻟﺮﻧﺎﻧــﺔ‪ ،‬ﻭﻣﺴــﺆﻭﻟﻮ ﺍﻟﺘﺤﺮﻳــﺮ ﻳﺘﺴــﺎﻫﻠﻮﻥ‬
‫ﻲﻓ ﺍﻷﻣــﺮ"‪ .‬ﻭﺍﺳــﺘﻄﺮﺩ "ﺑﺎﳌﻨﺎﺳــﺒﺔ‬
‫ﻋﻤﻠﺖ‪11‬ﺳﻨﺔﻲﻓﺍﻟﺒﻲ‪.‬ﺑﻲ‪.‬ﺳﻲﺑﻠﻨﺪﻥ‪،‬ﻭﻛﻨﺎ‬
‫ﻧﺘﻔﺎﺻــﺢ‪ ،‬ﻭﻟﻜــﻦ ﻛﺎﻧــﺖ ﻫﻨــﺎﻙ ﺍﻟﺼﺮﺍﻣــﺔ‬
‫ﺍﻹﺧﺒﺎﺭﻳــﺔ ﻭﺍﻟﺨﻄــﺔ ﺍﻟﺘﺤﺮﻳﺮﻳــﺔ ﻟﺘﻠــﻚ‬
‫ﺍﳌﺆﺳﺴــﺔ‪ ،‬ﻓﻬــﺬﺍ ﻗﻠــﻞ ﻣــﻦ ﻣﺨﺎﻃــﺮ‬
‫ﺍﻟﺘﻔﺎﺻﺢ"‪.‬‬

‫ﻭﻲﻓ ﻣﺤﺎﻭﻟــﺔ ﻣﻨــﻲ ﻟﻠﺪﻓــﺎﻉ ﻋــﻦ‬

‫ﺻﺤﻔ ﱢﻴــﻲ ﺍﻟﻴــﻮﻡ‪ ،‬ﻗﻠــﺖ ﻟــﻪ ﺑﺤﻤﺎﺳــﺔ‬
‫"ﺇﺫﴽ‪ ،‬ﻣــﻦ ﺍﻟــﺬﻱ ﺧــﺪﻉ ﺍﻟﺠﻤﻬــﻮﺭ ﻭﻗــﺎﻝ‬
‫ﺇﻥ ﺍﻟﻄﺎﺋــﺮﺍﺕ ﺗﺘﺴــﺎﻗﻂ ﺑﺎﻟﻌﺸــﺮﺍﺕ‬
‫ﻛﺎﻟﺸــﺠﺮ؟ ﻲﻓ ﺇﺷــﺎﺭﺓ ﺇﻟــﻰ ﺍﳌﺬﻳــﻊ‬
‫ﺃﺣﻤــﺪ ﺳــﻌﻴﺪ ﻲﻓ "ﺻــﻮﺕ ﺍﻟﻌــﺮﺏ"‬
‫ﻋــﺎﻡ ‪ ،1968‬ﻓﻜﺎﻧــﺖ ﺇﺟﺎﺑﺘــﻪ‪" :‬ﻫــﺬﺍ‬
‫ﺍﻟﺸــﻲﺀ ﺳــﻤﻌﺘﻪ ﺑﺄﺫﻧــﻲ ﺍﻟﺘــﻲ‬
‫ﺳــﻴﺄﻛﻠﻬﺎ ﺍﻟﺘــﺮﺍﺏ‪ ..‬ﺍﻟﺘﻔﺎﺻــﺢ ﻭﺍﻟﻜــﺬﺏ‬
‫ﺍﻹﻋﻼﻣــﻲ ﻗﺪﻳــﻢ ﻋﻨــﺪ ﺃﺣﻤــﺪ ﺳــﻌﻴﺪ‪..‬‬
‫ﻛﺎﻥ ﺇﻋــﻼﻡ ﺍﻹﺛــﺎﺭﺓ ﻭﺑﺮﻭﺑﺎﻏﻨــﺪﺍ ﺍﻟﻨﻈــﺎﻡ‪،‬‬
‫ﺍﻟﺮﺳــﺎﻣﺔ ﺍﳌﻜﺴــﻴﻜﻴﺔ ﻓﺮﻳــﺪﺍ ﻛﺎﻫﻠــﻮ‬ ‫ﻓﻬــﺬﺍ ﺧﺒــﺮ‪ ..‬ﻣﻌﻴﺸــﺘﻲ ﻲﻓ ﺃﻛﺜــﺮ ﻣــﻦ‬
‫ﻏــﺶ ﻻ ﻣﻬﻨﻴــﺔ‪ .‬ﺃﻣــﺎ ﺍﻟﻠﻐــﺔ ﻓﻬــﻲ‬
‫ﺍﻟﺘــﻲ ﺃﺻﻔــﻖ ﻟﻬــﺎ ﻛﺜﻴــﺮﺍ‪ ..‬ﺍﻟﺼﺤﻔــﻲ‬ ‫ﺑﻠــﺪ ﺟﻌﻠﺘﻨــﻲ ﺃﺗﺴــﻘﻂ ﺍﻟﻌﻴــﻮﺏ ﻲﻓ‬
‫ﻣﻌﺎﺻــﺮﺓ ﻭﻫﺪﻓﻬــﺎ ﺍﻟﺘﻀﻠﻴــﻞ ﻭﺍﻟﺸــﺤﻦ‪.‬‬
‫ﺍﺑــﻦ ﺻﻨﻌــﺔ‪ ،‬ﻭﺍﻟﺼﻨﻌــﺔ ﺻــﺎﺭﺕ‬ ‫ﻛﻞ ﻣــﻜﺎﻥ‪ ،‬ﻭﻟﺤﺴــﻦ ﺍﻟﺤــﻆ ﺃﻭ ﺳــﻮﺋﻪ‬
‫ﻭﺍﻵﻥ ﺑﻌــﺾ ﺍﻟﺼﺤﻔﻴﻴــﻦ ﻟﺪﻳﻬــﻢ‬
‫ﻗﻮﺍﻋﺪﻫــﺎ ﻣﻌﺮﻭﻓــﺔ‪ ،‬ﻻ ﺑﺮﻭﺑﺎﻏﻨــﺪﺍ‪ ،‬ﻭﻻ‬ ‫ﺃﻧﺴﻰ ﺍﻟﺤﺴﻨﺎﺕ"‪.‬‬
‫ﻣﻬﻨﻴــﺔ ﺟﻴــﺪﺓ‪ ،‬ﻭﻟﻜﻨﻬــﻢ ﻳﺤﺸــﺮﻭﻥ‬
‫ﺇﺧﻔــﺎﺀ ﻟﻠﺤﻘﺎﺋــﻖ‪ ،‬ﻭﻻ ﺛﺮﺛــﺮﺓ‪ ،‬ﻓﻤــﻦ ﻛﺎﻥ‬
‫ﺍﳌﻔــﺮﺩﺍﺕ ﻭﺍﻟﻌﺒــﺎﺭﺍﺕ ﺍﻟﻌﺘﻴﻘــﺔ‬
‫ﺍﺑﻦ ﺻﻨﻌﺔ ﻓﻬﺬﻩ ﻫﻲ ﺣﺮﻳﺘﻪ"‪.‬‬ ‫ﻳﻌﺘــﺮﻑ ﺣﺠــﺎﻭﻱ ﺃﻧــﻪ ﺣﻴــﻦ ﻳﺼﻔــﻖ‬
‫ﺍﺳﺘﻌﺮﺍﺿﺎ ﻟﻠﻌﻀﻼﺕ"‪.‬‬
‫ﻓﺈﻧــﻪ ﻳﺼﻔــﻖ ﻟﻄﻼﺑــﻪ ﻷﻥ "ﻰﻠﻋ‬
‫ﻭﻋــﻦ ﺍﻟﻔــﺮﻕ ﺑﻴــﻦ ﻟﻐــﺔ ﺍﻟﺼﺤﻔﻴﻴــﻦ‬ ‫ﺍﳌﻌﻠــﻢ ﺃﻥ ﻳﻜــﻮﻥ ﻣﺸــﺠﻌﺎ ﻭﻣﺤﻔــﺰﺍ‪،‬‬
‫ﻭﻋــﻦ ﺍﻷﺧﺒــﺎﺭ ﺍﻟﺘــﻲ ُﻳﺴــﻤﺢ ‪-‬ﺃﺧﻼﻗﻴــﺎ‪-‬‬
‫ﺍﻷﻭﺍﺋــﻞ ﻭﺍﳌﻌﺎﺻﺮﻳــﻦ ﻗــﺎﻝ‪" :‬ﻛﺎﻧــﺖ ﻟﻐــﺔ‬ ‫ﻭﻟﻜﻨﻨــﻲ ﻗﺒــﻞ ﺍﻟﺘﺼﻔﻴــﻖ ﺃﻗﻠــﻊ‬
‫ﻟﻠﺼﺤﻔــﻲ ﺑﺈﺧﻔﺎﺋﻬــﺎ ﻗــﺎﻝ‪" :‬ﻲﻓ‬
‫ﺍﻟﻘﺪﻣــﺎﺀ ﺳــﻬﻠﺔ ﻭﺻﺤﻔﻴــﺔ‪ ،‬ﺃﻣــﺎ ﺍﻟﺠــﺪﺩ‬ ‫ﻋﻴﻮﻧﻬــﻢ ﻭﺃﻧــﺎ ﺃﻃﱢﻠــﻊ ﺃﺧﻄﺎﺀﻫــﻢ‪..‬‬
‫ﺍﳌﺤﻜﻤــﺔ ﻳﺤﻠــﻒ ﺍﻟﺸــﺎﻫﺪ ﻰﻠﻋ ﺃﻥ‬
‫ﻓﻜﺜﻴــﺮ ﻣﻨﻬــﻢ ﻳﻜﺘــﺐ ﻣﻘﺎﻣــﺎﺕ ﺑﺪﻳــﻊ‬ ‫ﺃﺻﻔــﻖ ﳌــﻦ ﻳﻌﺠﺒﻨــﻲ ﺣﻘــﺎ‪ .‬ﻻ‬
‫ﻳﻘــﻮﻝ ﺍﻟﺤــﻖ‪ ،‬ﻛﻞ ﺍﻟﺤــﻖ‪ ،‬ﻭﻻ ﺷــﻲﺀ ﻏﻴــﺮ‬
‫ﺍﻟﺰﻣــﺎﻥ ﺍﻟﻬﻤﺬﺍﻧــﻲ‪ ،‬ﻭﻳﺤﺸــﺮﻭﻥ‬ ‫ﺗﺒﻬﺮﻧــﻲ ﺷــﻬﺮﺓ ﻛﺎﺗــﺐ ﺃﻭ ﺷــﺎﻋﺮ ﺃﻭ‬
‫ﺍﻟﺤــﻖ‪ .‬ﻭﺍﻟﺼﺤﻔــﻲ ﻲﻓ ﻣﻬﻨﺘــﻪ ﻳﺤﻠــﻒ‬
‫ﺍﻟﺘﺸــﺒﻴﻬﺎﺕ ﺍﻟﻌﺘﻴﻘــﺔ ﺗﻔﺎﺻﺤــﺎ ﻭﺗﻨﻄﻌــﺎ‬ ‫ﺭﺳــﺎﻡ‪ ،‬ﻭﺇﺫﺍ ﺭﺃﺕ ﻋﻴﻨــﺎﻱ ﻲﻓ ﺍﻟﻠﻮﺣــﺔ‬
‫ﻰﻠﻋ ﻗــﻮﻝ ﺍﻟﺤــﻖ ﻭﻻ ﺷــﻲﺀ ﻏﻴــﺮ‬
‫ﻭﻛﺄﻥ ﺍﻟﻠﻐــﺔ ﻫــﻲ ﺍﻟﻬــﺪﻑ ﻻ ﺍﻷﺩﺍﺓ‪..‬‬ ‫)ﺧﺮﺍﺑﻴــﺶ( ﻓﺄﻧــﺎ ﺃﻗــﻮﻝ ﺫﻟــﻚ ﻭﻻ‬
‫ﺍﻟﺤــﻖ‪ .‬ﻓﺄﻳــﻦ ﺿﺎﻋــﺖ )ﻭﻛﻞ ﺍﻟﺤــﻖ(؟‪.‬‬
‫ﺃﻗــﻮﻝ ﻟﻬــﻢ‪ :‬ﻗﻮﻟــﻮﺍ ﻣــﺎ ﻋﻨﺪﻛــﻢ‬ ‫ﻳﻬﻤﻨﻲ ﻧﻘﺎﺩ ﺍﻟﻌﺼﺮ ﺍﻟﺤﺪﻳﺚ"‪.‬‬
‫ﻫــﺬﻩ ﻧﻌﻔــﻲ ﻣﻨﻬــﺎ ﺍﻟﺼﺤﻔــﻲ‪ ،‬ﺑﻤﻌﻨــﻰ‬
‫ﺑﺎﻟﻔﺼﺤﻰ ﺍﻟﺒﺴﻴﻄﺔ"‪.‬‬
‫ﻧﻘــﻮﻝ ﻟــﻪ‪ :‬ﻻ ﺗﻜــﺬﺏ‪ ،‬ﻭﻗــﺪ ﺗﻀﻄــﺮ ﺇﻟــﻰ‬
‫ﺇﻫﻤــﺎﻝ ﺑﻌــﺾ ﺍﻷﺷــﻴﺎﺀ ﺇﻣــﺎ ﺑــﺪﻭﺍﻉ‬ ‫ﺗﺤﱡﺮﺭ ﻋﻤﻴﻖ‬
‫ﻗﻠــﺖ ﻟــﻪ ﺇﻥ ﺍﻟﺘﻨﻄــﻊ ﻭﺍﻟﺘﻔﺎﺻــﺢ ﻣﻤــﺎ‬
‫ﻗﺎﻧﻮﻧﻴﺔ ﻭﺇﻣﺎ ﻷﺳﺒﺎﺏ ﺳﻴﺎﺳﻴﺔ"‪.‬‬
‫ﻳﻄﻠﺒــﻪ ﺍﻟﺠﻤﻬــﻮﺭ ﺍﻵﻥ ﻭﻣــﺎ ﻳﻐــﺾ‬
‫ﻭﻋــﻦ ﺍﻟﺘﺤ ـ ّﺮﺭ ﻲﻓ ﻟﻐــﺔ ﺍﻟﺼﺤﻔــﻲ ﻗــﺎﻝ‪:‬‬
‫ﺭﺩﻩ‬
‫ﺍﳌﺴــﺆﻭﻟﻮﻥ ﺍﻟﻄــﺮﻑ ﻋﻨــﻪ‪ ،‬ﻓــﻜﺎﻥ ﱡ‬
‫ﺳــﺆﺍﻟﻲ ﺍﻷﺧﻴــﺮ‪ :‬ﻫــﻞ ﺗﻐــ ﱢﺮﺩ ﺧــﺎﺭﺝ‬ ‫"ﺃﻧــﺎ ﻣــﻊ ﺍﳌﺤــﺮﺭ ﺍﻟﻌﻤﻴــﻖ‪ ،‬ﺑﻤﻌﻨــﻰ ﺃﻥ‬
‫ﺃﻥ "ﻋﺎﳌﻨــﺎ ﺍﻟﻌﺮﺑــﻲ ‪-‬ﻣــﻊ ﺣﺎﻟــﺔ‬
‫ﺍﻟﺴﺮﺏ؟‬ ‫ﺭﺳــﺎﻣﻲ ﺃﻣﻴــﺮﻛﺎ ﺍﻟﻼﺗﻴﻨﻴــﺔ ﺑﻠﻮﺣﺎﺗﻬــﻢ‬
‫ﺍﻟﺘﻀﻌﻀــﻊ ﻭﺍﻟﻬﺠﻤــﺔ ﺍﻟﺘــﻲ ﻳﻮﺍﺟﻬﻬــﺎ‪-‬‬
‫ﺃﺟﺎﺏ‪ :‬ﻧﻌﻢ‪.‬‬ ‫ﺍﻟﻀﺨﻤــﺔ ﻭﺟﺪﺍﺭﻳﺎﺗﻬــﻢ ﺗﺤــﺮﺭﻭﺍ ﻣــﻦ‬
‫ﺃﺻﺒــﺢ ﻳﺒﺤــﺚ ﻋــﻦ ﺍﻟﺨــﻼﺹ ﺑﺘﻤﺠﻴــﺪ‬
‫ﻭﻭﺿﻌــﻮﺍ‬ ‫ﺍﻷﻭ ﺭﻭﺑﻴــﺔ‬ ‫ﺍﻷﺳــﺎﻟﻴﺐ‬
‫ﻣﺎﺿﻴﻪ ﻭﺍﻟﺘﻤﺴﻚ ﺑﻤﺎ ﻫﻮ ﻋﺘﻴﻖ‪.‬‬
‫ﻷﻧﻔﺴﻬﻢ ﻓﻨﺎ ﻟﻪ ﻫﻮﻳﺘﻪ‪ ،‬ﻣﺜﻞ‬

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 ‫ﺫﺍﻛﺮﺓ ﺍﻟﺼﺤﻒ‬
‫ﺍﻟﻌﺮﺑﻴﺔ ﻲﻓ ﺍﻟﺒﺮﺍﺯﻳﻞ‬
‫ﻓﻴﻜﺘﻮﺭﻳﻮﺱ ﺑﻴﺎﻥ ﺷﻤﺲ‬

‫ﺗﻮﺳــﻌﺘﻪ ﻭﺑــﺪﺀ ﻋﻤﻠﻴــﺔ ﺗﻄﻮﻳــﺮﻩ‬

‫ﻭﺃﺗﻤﺘــﺔ ﻣﺤﺘﻮﻳﺎﺗــﻪ ﻟﺘﺼﺒــﺢ ﻲﻓ‬
‫ﻳﻌﺪ ﺃﺭﺷﻴﻒ ﺍﻟﺼﺤﻒ ﺍﻟﻌﺮﺑﻴﺔ ﻲﻓ‬ ‫ﱡ‬
‫ﻣﺘﻨــﺎﻭﻝ ﺍﻟﺠﻤﻴــﻊ ﻰﻠﻋ ﺷــﺒﻜﺔ‬ ‫ﻣﺪﻳﻨﺔ ﺳﺎﻭ ﺑﺎﻭﻟﻮ ﺍﻟﺒﺮﺍﺯﻳﻠﻴﺔ ﻣﺮﺟﻌﺎ‬
‫ﺍﻹﻧﺘﺮﻧﺖ؛ ﻟﻢ ﺗﺒﺪﺃ ﺇﻻ ﻣﻨــﺬ ﺍﻟﻌﺎﻡ ‪ ،2012‬ﺃﻱ‬ ‫ﺗﺎﺭﻳﺨﻴﺎ‪ ،‬ﻟﻜﻮﻧﻪ ﺻﺪﺭ ﺑﻌﻴﺪﺍ ﻋﻦ ﺳﻄﻮﺓ‬
‫ﺑﻌــﺪ ﺗﺨﺼﻴــﺺ ﻣﺒﻨــﻰ ﻣﺴــﺘﻘﻞ ﻟﻬــﺬﺍ‬
‫ﺍﻟﻐﺮﺽ‪.‬‬ ‫ﺍﻻﺣﺘﻼﻻﺕ ﺍﻟﺘﻲ ﻛﺎﻥ ﻳﺨﻀﻊ ﻟﻬﺎ ﺍﻟﻮﻃﻦ‬
‫ﺿﻤﻦ ﻟﻪ ﺍﺳﺘﻘﻼﻟﻴﺔ‬‫ﺍﻟﻌﺮﺑﻲ‪ ،‬ﻭﻫﻮ ﻣﺎ ِ‬
‫ﻗﺴــﻢ ﻛﺒﻴــﺮ ﻣــﻦ ﻣﺤﺘﻮﻳــﺎﺕ ﻫــﺬﺍ‬ ‫ﻭﻣﻮﺿﻮﻋﻴﺔ‪.‬‬
‫ﺍﻷﺭﺷــﻴﻒ ﻛﺎﻧــﺖ ﻣﺤﻔﻮﻇــﺔ ﺑﺸــﻜﻞ‬
‫ﺳــ ّﻴﺊ ﻲﻓ ﻣﻌﻬــﺪ ﺍﻟﺘﺎﺭﻳــﺦ ﻭﺍﻟﺠﻐﺮﺍﻓﻴــﺎ‪،‬‬
‫ﺣﻴــﺚ ﺑــﺪﺃ ﺍﻟﻌﻔــﻦ ﻭﻗﻠــﺔ ﺍﻻﻫﺘﻤــﺎﻡ‬
‫ﻳﻔﺘــﻜﺎﻥ ﺑﻬــﺬﺍ ﺍﻹﺭﺙ ﺍﻟﺘﺎﺭﻳﺨــﻲ ﺍﻟﻜﺒﻴــﺮ‪.‬‬ ‫ﺗﺤﺘﻀــﻦ ﻭﻻﻳــﺔ ﺳــﺎﻭ ﺑﺎﻭﻟــﻮ ﺍﻟﺒﺮﺍﺯﻳﻠﻴــﺔ‬
‫ﺃﺳﺴــﻬﺎ ﺍﳌﻬﺎﺟــﺮﻭﻥ ﺍﻷﻭﺍﺋــﻞ‪ ،‬ﻓﻜﺎﻧــﺖ‬ ‫ّ‬
‫ﻭﺑﻤﺒــﺎﺩﺭﺓ ﻣــﻦ ﺑﻌــﺾ ﻣﻮﻇﻔــﻲ ﺃﺭﺷــﻴﻒ‬ ‫ﺑﻌــﺪ‬
‫ُ‬ ‫ﻣﻬﻤــﺎ ﻏﻴــﺮ ﻣﻜﺘﺸــﻒ‬ ‫ّ‬ ‫ﺃﺭﺷــﻴﻔﴼ‬
‫ﺻﻠــﺔ ﻭﺻــﻞ ﺑﻴــﻦ ﻫــﺬﺍ ﺍﻟﺠﻴــﻞ ﻭﺍﻟﺠﻴــﻞ‬
‫ﺗــﻢ ﺳــﺤﺐ ﻫــﺬﻩ ﺍﻟﻜﻤﻴــﺎﺕ‬ ‫ﺍﻟﻮﻻﻳــﺔ‪ّ ،‬‬ ‫ﻟﻠﺼﺤــﻒ ﺍﻟﻌﺮﺑﻴــﺔ‪ ،‬ﻭﻫــﻮ ﻭﺍﺣــﺪ ﻣــﻦ‬
‫ﺍﻟــﺬﻱ ﺗــﻼﻩ ﻭﺑﻴــﻦ ﺑﻠﺪﺍﻧﻬــﻢ ﺍﻷﺻﻠﻴــﺔ‪،‬‬
‫ﻭﺣﻔﻈﻬﺎ‪.‬‬ ‫ـﺪﺓ ﺃﺭﺷــﻴﻔﺎﺕ ﻣﻬﻤﻠــﺔ‪ ،‬ﺗﺤــﺎﻭﻝ ﺑﻌــﺾ‬ ‫ﻋـ ّ‬
‫ﺇﻟــﻰ ﺃﻥ ﻓﻘــﺪ ﺍﻟﺠﻴــﻞ ﺍﻟﺜﺎﻟــﺚ ﻟﻐــﺔ ﺁﺑﺎﺋــﻪ‬
‫ﺍﻟﺠﻬــﺎﺕ ﺍﻻﺗﺤﺎﺩﻳــﺔ ﻭﺍﳌﺤﻠﻴــﺔ ﻰﻠﻋ‬
‫ﻭﺃﺟــﺪﺍﺩﻩ ﻭﺍﻧﺪﻣــﺞ ﻲﻓ ﺍﳌﺠﺘﻤــﻊ‬
‫ﻛﺎﻧــﺖ ﺻﺤﻴﻔــﺔ "ﻟﺒﻨــﺎﻥ" ﺍﻟﺘــﻲ ﺻــﺪﺭﺕ‬ ‫ﻣﺴــﺘﻮﻯ ﺍﻟﻮﻻﻳــﺔ ﺇﻋــﺎﺩﺓ ﺗﺮﺗﻴﺒﻬــﺎ‬
‫ﺍﻟﺒﺮﺍﺯﻳﻠــﻲ ﺍﻟﻬﺠﻴــﻦ‪ ،‬ﺇﺿﺎﻓــﺔ ﺇﻟــﻰ‬
‫ﻋﺎﻡ ‪ ،1891‬ﺃﻭﻝ ﺻﺤﻴﻔﺔ ﻋﺮﺑﻴﺔ ﺗﺼﺪﺭ ﻲﻓ‬ ‫ﻭﺗﺮﻣﻴﻤﻬــﺎ‪ .‬ﻭﺃﻫﻤﻴــﺔ ﻫــﺬﻩ ﺍﻷﺭﺷــﻴﻔﺎﺕ‬
‫ﻋﻮﺍﻣــﻞ ﺃﺧــﺮﻯ ﺣﺪﻳﺜــﺔ‪ ،‬ﻛﺘﻄــﻮﺭ ﻭﺳــﺎﺋﻞ‬
‫ﻭﻳﻀﻤﻬــﺎ ﺃﺭﺷــﻴﻒ ﺳــﺎﻭ ﺑﺎﻭﻟــﻮ‪،‬‬
‫ّ‬ ‫ﺍﻟﺒﺮﺍﺯﻳــﻞ‬ ‫ﻟﻴﺴــﺖ ﻲﻓ ِﻗﺪﻣﻬــﺎ ﻓﻘــﻂ‪ ،‬ﺑــﻞ ﺃﻳﻀــﺎ‬
‫ﺍﻻﺗﺼــﺎﻝ ﻭﺍﻹﻧﺘﺮﻧــﺖ ﻭﺍﻟﻔﻀﺎﺋﻴــﺎﺕ ﻲﻓ‬
‫ﻣﻤــﺎ ﻳﺸــﻴﺮ ﺇﻟــﻰ ﺃﻥ ﺍﻟﻌــﺮﺏ ﻛﺎﻧــﻮﺍ ﻣــﻦ‬ ‫ﻲﻓ ﺗﺴــﻠﻴﻄﻬﺎ ﺍﻟﻀــﻮﺀ ﻰﻠﻋ ﻋــﺪﺓ‬
‫ﺍﻟﻌﻘﺪﻳﻦ ﺍﻷﺧﻴﺮﻳﻦ‪.‬‬
‫ﺍﳌﺆﺳﺴــﻴﻦ ﺍﻷﻭﺍﺋــﻞ‪ ،‬ﻟﻴــﺲ ﻟﻠﺼﺤﺎﻓــﺔ‬ ‫ّ‬ ‫ﻣﺮﺍﺣــﻞ ﻣــﻦ ﺗﺎﺭﻳــﺦ ﺍﳌﺸــﺮﻕ ﺍﻟﻌﺮﺑــﻲ‪،‬‬
‫ﻭﺣﺴــﺐ‪ ،‬ﺑــﻞ ﻟﻠﺒــﻼﺩ ﺑﺸــﻜﻞ ﻋــﺎﻡ‪،‬‬ ‫ﻭﺗﺎﺭﻳــﺦ ﺍﻟﻌــﺮﺏ ﻲﻓ ﺍﻟﺒﺮﺍﺯﻳــﻞ ﻭﻛﻴﻔﻴــﺔ‬
‫ﻛﺎﻧــﺖ ﺍﻟﺼﺤــﻒ ﺍﻟﻌﺮﺑﻴــﺔ ﻗــﺪ ﺍﻧﺪﺛــﺮﺕ‬
‫ﻭﻰﻠﻋ ﻛﺎﻓــﺔ ﺍﳌﺴــﺘﻮﻳﺎﺕ ﺍﻟﺴﻴﺎﺳــﻴﺔ‬ ‫ﺗﻔﺎﻋﻠﻬﻢ ﻣﻊ ﻗﻀﺎﻳﺎ ﺍﳌﻨﻄﻘﺔ‪.‬‬
‫ﺑﺎﺳــﺘﺜﻨﺎﺀ ﺑﻌــﺾ ﺍﳌﺤــﺎﻭﻻﺕ ﻟﺘﺄﺳــﻴﺲ‬
‫ﻭﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭﺍﻻﻗﺘﺼﺎﺩﻳﺔ ﻭﺍﻟﺜﻘﺎﻓﻴﺔ‪.‬‬ ‫ﺻﺤــﻒ ﺣﺰﺑﻴــﺔ َﻋ ِﻤــﻞ ﻰﻠﻋ ﺇﺻﺪﺍﺭﻫــﺎ‬
‫ﻛﺎﻧــﺖ ﺍﳌﻤﻠﻜــﺔ ﺍﻟﺒﺮﺗﻐﺎﻟﻴــﺔ ﻗــﺪ ﺍﺣﺘ ﱠﻠــﺖ‬ ‫ﻭﺍﻟﺒﺮﺍﺯﻳــﻞ ﺩﻭﻟــﺔ ﺷــﺎ ّﺑﺔ ﻻ ﻳﺘﺠــﺎﻭﺯ‬
‫ﻧﺎﺷــﻄﻮﻥ ﻋــﺮﺏ ﺑﺎﻟﺘﻌــﺎﻭﻥ ﻣــﻊ ﺑﻌــﺾ‬
‫ﺍﻟﺒﺮﺍﺯﻳﻞ ﻋﺎﻡ ‪ ،1500‬ﺃﻱ ﺑﻌﺪ ﺳﻘﻮﻁ ﺍﻷﻧﺪﻟﺲ‬ ‫ﻋﻤﺮﻫــﺎ ﺍﻟـــ‪ 470‬ﻋﺎﻣــﺎ‪ ،‬ﻭﻫــﻲ ‪-‬ﻛﺒﺎﻗــﻲ‬
‫ﺍﻟﻨﺎﺷــﻄﻴﻦ ﺍﻟﺒﺮﺍﺯﻳﻠﻴﻴــﻦ‪ ،‬ﻛﺼﺤﻴﻔــﺔ‬
‫ﺑﺜﻤﺎﻧﻴﺔ ﺃﻋﻮﺍﻡ )‪ ،(1492‬ﻭﻋﻤﻠﺖ ﻰﻠﻋ ﻧﺸﺮ‬ ‫ﺩﻭﻝ ﺍﻟﻘــﺎﺭﺓ ﺍﻷﻣﻴﺮﻛﻴــﺔ‪ -‬ﺩﻭﻟــﺔ ﻫﺠــﺮﺓ‪،‬‬
‫"ﺍﻟﺒﻴــﺎﻥ" ﺍﻟﻨﺎﻃﻘــﺔ ﺑﺎﻟﻠﻐﺘﻴــﻦ ﺍﻟﻌﺮﺑﻴــﺔ‬
‫ﺛﻘﺎﻓﺘﻬــﺎ ﺍﳌﺸــﺒﻌﺔ ﺑﺎﻟﺜﻘﺎﻓــﺔ ﺍﻟﻌﺮﺑﻴــﺔ‬ ‫ﻓﻴﻬــﺎ ﻣــﻦ ﻛﻞ ﺍﻷﺟﻨــﺎﺱ ﻭﺍﻷﻋــﺮﺍﻕ‬
‫ﻭﺍﻟﺒﺮﺗﻐﺎﻟﻴــﺔ‪ ،‬ﻭﺍﻟﺘــﻲ ﺻــﺪﺭ ﻣﻨﻬــﺎ ﺑﻀﻌــﺔ‬
‫ﻲﻓ ﺍﻟﺒــﻼﺩ ﺍﻟﺠﺪﻳــﺪﺓ‪ ،‬ﺇﻻ ﺃﻥ ﻫــﺬﺍ ﻣــ ّﺮ‬ ‫ﺍﻟﺬﻳﻦ ﺟﺎﺅﻭﺍ ﻟﻴﺴﺘﻮﻃﻨﻮﻫﺎ‪.‬‬
‫ﺃﻋــﺪﺍﺩ ﻋــﺎﻡ ‪ ،2007‬ﺇﻻ ﺃ ّﻧﻬــﺎ‬
‫ﺑﻤﺮﺍﺣﻞ ﻋﺪﻳﺪﺓ ﻣﻌﻘﺪﺓ‪.‬‬ ‫ﺍﺿﻄــﺮﺕ ﻟﻠﺘﻮﻗــﻒ ﻲﻓ ﻧﻔــﺲ ﺍﻟﻌــﺎﻡ‬
‫ﻳﺤــﻮﻱ "ﺍﻷﺭﺷــﻴﻒ ﺍﻟﻌــﺎﻡ ﻲﻓ ﻭﻻﻳــﺔ‬
‫ﻟﺼﻌﻮﺑﺎﺕ ﻋﺪﻳﺪﺓ‪ ..‬ﻣﺎﻟﻴﺔ ﻭﺗﻘﻨﻴﺔ‪.‬‬
‫ﺗﺄﺳﺴــﺖ ﺃﻭﻝ‬ ‫ﻭﺑﺤﻠــﻮﻝ ﺍﻟﻌــﺎﻡ ‪ّ ،1808‬‬ ‫ﺳــﺎﻭ ﺑﺎﻭﻟــﻮ" ‪-‬ﻭﻫــﻮ ﻫﻴﺌــﺔ ﺭﺳــﻤﻴﺔ‬
‫ﺻﺤﻴﻔــﺔ ﺑﺮﺍﺯﻳﻠﻴــﺔ "ﺑﺮﻳــﺪ ﺍﻟﺒﺮﺍﺯﻳــﻞ"‬ ‫ُ‬ ‫ﺗﺘﺒــﻊ ﺣﻜﻮﻣــﺔ ﺍﻟﻮﻻﻳــﺔ‪ -‬ﻋــﺪﺩﺍ ﻛﺒﻴــﺮﺍ‬
‫ﺳﺲ ﺃﺭﺷﻴﻒ ﺳﺎﻭ ﺑﺎﻭﻟﻮ ﻋﺎﻡ ‪ ،1892‬ﺑﻴﻨﻤﺎ‬ ‫ﺃﱢ‬
‫)‪ ،(Correio Braziliense‬ﻟﻜﻦ ﻲﻓ ﻟﻨﺪﻥ‪،‬‬ ‫ﻣﻦ ﺍﻟﺼﺤﻒ ﺍﻟﻨﺎﻃﻘﺔ ﺑﻌﺪﺓ ﻟﻐﺎﺕ‪،‬‬
‫ﺃﻧﺸﺊ ﺍﻟﻘﺴﻢ ﺍﻟﻌﺮﺑﻲ ﻓﻴﻪ ﻋﺎﻡ ‪ ،1985‬ﺇﻻ ﺃﻥ‬

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 ‫ﺻﻔﺤﺔ ﻣﻦ ﺟﺮﻳﺪﺓ ﺍﻷﺻﻤﻌﻲ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﺼﺎﺩﺭﺓ ﻲﻓ ﺍﻟﺒﺮﺍﺯﻳﻞ ﻋﺎﻡ ‪ 1898‬ﻭﺍﳌﺤﻔﻮﻇﺔ ﻲﻓ ﺃﺭﺷﻴﻒ ﻣﺪﻳﻨﺔ ﺳﺎﻭ ﺑﺎﻭﻟﻮ‬

‫ﻭ"ﺍﳌﻴــﺰﺍﻥ" ﻭ"ﺍﻟﺤﺪﻳﻘــﺔ"‪ ،‬ﻭﻏﻴﺮﻫــﺎ‬ ‫ﻗﻠﻴﻠــﺔ‪ ،‬ﺛــﻢ ﺧﻀــﻮﻉ ﺍﻟﻌﺎﻟــﻢ ﺍﻟﻌﺮﺑــﻲ‬
‫ﺍﻟﻜﺜﻴــﺮ‪ .‬ﻫــﺬﺍ ﻲﻓ ﺳــﺎﻭ ﺑﺎﻭﻟــﻮ‪ ،‬ﻭﻫــﺬﺍ ﻣــﺎ‬ ‫ﻟﻠﺤﻜــﻢ ﺍﻟﻌﺜﻤﺎﻧﻲ ﻣﻨــﺬ ﺍﻟﻌــﺎﻡ ‪ ،1516‬ﻓﺘﺮﺓ‬
‫ﻳﺤﺘﻔﻆ ﺑﻪ ﺃﺭﺷﻴﻔﻬﺎ‪.‬‬ ‫ﺍﳌﺘﻐﻴــﺮﺍﺕ ﺍﻟﺪﻳﻤﻐﺮﺍﻓﻴــﺔ ﻭﺍﻟﺜﻘﺎﻓﻴــﺔ‬
‫ﺍﻟﻜﺒــﺮﻯ‪ ،‬ﺣﻴــﺚ ﺑــﺪﺃﺕ ﺍﻟﻬﺠــﺮﺍﺕ ﻣــﻦ‬
‫ﻟﻜــﻦ ﺍﻟﻌﺎﻣﻠﻴــﻦ ﺑﻬــﺬﺍ ﺍﻷﺭﺷــﻴﻒ ﻣﺜــﻞ‬ ‫ﺃﻭﺭﻭﺑــﺎ ﻭﺁﺳــﻴﺎ ﻭﺇﻓﺮﻳﻘﻴــﺎ ﺑﺎﺗﺠــﺎﻩ ﺍﻟﻌﺎﻟــﻢ‬
‫ﺍﳌﺴــﺎﻋﺪﺓ ﺍﻹﺩﺍﺭﻳــﺔ‬
‫ِ‬ ‫"ﻟﻴﺠﻴــﺎ ﻓﺎﻳﺘﺮﻭﻧــﻲ"‬ ‫ﺍﻟﺠﺪﻳﺪ‪.‬‬
‫ﻲﻓ ﻣﻜﺘــﺐ ﺍﻟﺘﺪﺭﻳــﺐ ﺍﻟﺘﻘﻨــﻲ ﻲﻓ‬
‫ﺍﳌﺤﻔﻮﻇــﺎﺕ ﺍﻟﻌﺎﻣــﺔ‪ ،‬ﻭﺯﻣﻴﻠﻬــﺎ‬ ‫ﻭﻫﻜــﺬﺍ ﻛﺎﻥ ﺍﻟﻌــﺮﺏ ‪-‬ﻭﻗــﺪ ﺳــﺒﻘﺘﻬﻢ‬
‫"ﺧﻮﺳــﻴﻪ ﺭﻭﺑﺮﺗــﻮ" ﻳﺆﻛــﺪﺍﻥ ﺃﻥ "ﺃﺭﺷــﻴﻒ‬ ‫ﺍﳌﺆﺳﺴــﻴﻦ ﺍﻷﻭﺍﺋــﻞ‪.‬‬
‫ّ‬ ‫ﺛﻘﺎﻓﺘﻬــﻢ‪ -‬ﻣــﻦ‬
‫ﺍﻟﺼﺤــﻒ ﺍﻟﻌﺮﺑﻴــﺔ ﺍﳌﺤﻔــﻮﻅ ﻲﻓ ﺭﻳــﻮ‬ ‫ﻳﺸــﻬﺪ ﻰﻠﻋ ﺫﻟــﻚ ﻋــﺪﺩ ﻛﺒﻴــﺮ ﻣــﻦ‬
‫ﺩﻱ ﺟﺎﻧﻴــﺮﻭ ﻫــﻮ ﺍﻷﻛﺒــﺮ ﻭﺍﻷﺿﺨــﻢ"‪ ،‬ﺭ ّﺑﻤــﺎ‬ ‫ﺍﻟﺼﺤــﻒ ﺍﳌﻄﺒﻮﻋــﺔ ﻲﻓ ﻭﻻﻳــﺔ ﺳــﺎﻭ‬
‫ﻷﻥ ﻫــﺬﻩ ﺍﻟﻮﻻﻳــﺔ ﻛﺎﻧــﺖ ﺣﺘــﻰ ﻭﻗــﺖ‬ ‫ﺑﺎﻭﻟــﻮ ﻲﻓ ﺍﻟﻘــﺮﻥ ﺍﻟﺘﺎﺳــﻊ ﻋﺸــﺮ‪،‬‬
‫ﻗﺮﻳــﺐ ﻋﺎﺻﻤــﺔ ﺍﻟﺒﺮﺍﺯﻳــﻞ‪ .‬ﺗﻘــﻮﻝ‬ ‫ﻛﺼﺤﻴﻔــﺔ "ﺍﻷﺻﻤﻌــﻲ" ﺍﻟﺘــﻲ ﺻــﺪﺭ ﺃﻭﻝ‬
‫ﱢ‬
‫ﻳﺸــﻜﻞ‬ ‫ﻓﺎﻳﺘﺮﻭﻧــﻲ ﺇﻥ ﻫــﺬﺍ ﺍﻷﺭﺷــﻴﻒ‬ ‫ﺃﻋﺪﺍﺩﻫــﺎ ﻲﻓ ﺑﺪﺍﻳــﺎﺕ ﺍﻟﻌــﺎﻡ ‪،1898‬‬
‫ﻣﻬﻤــﺎ ﻣــﻦ ﺫﺍﻛــﺮﺓ ﺍﻟﺒﺮﺍﺯﻳــﻞ‬ ‫ّ‬ ‫ﺟــﺰﺀﺍ‬ ‫ﺍﻟﺴــﺒﺤﺔ ﻟﺘﺼــﺪﺭ "ﺍﻷﻓــﻜﺎﺭ"‬
‫ﺛــﻢ ﻛــ ّﺮﺕ ﱡ‬
‫ﻭﺗﺎﺭﻳﺨﻬﺎ‪ ،‬ﻭﺇﻧﻬﻢ ﻣﺎ ﺯﺍﻟﻮﺍ ﻳﺴﺘﻘﺒﻠﻮﻥ‬ ‫ﻭ"ﺍ ُ‬
‫ﳌﻨﺎﻇﺮ" ﻭ"ﺍﻟﻮﻃﻦ" ﻭ"ﺍﳌﻨﺎﺭﺓ"‬
‫ﻣﺆﺳﺴــﻬﺎ "ﻫﻴﺒﻮﻟﻴﺘــﻮ ﺧﻮﺳــﻴﻪ‬ ‫ّ‬ ‫ﻷﻥ‬
‫ﺩﺍﻛﻮﺳــﺘﺎ" ) ‪(Hipólito José da Costa‬‬
‫ﻣﻌــﺎﺭﺽ ﻟﺤﻜــﻢ ﺍﳌﻠــﻚ "ﺟــﻮﺍﻭ‬
‫ﺍﻟﺴــﺎﺩﺱ" )‪ (João 6‬ﺍﻟــﺬﻱ ﻧﻘــﻞ ﻣﺮﻛــﺰ‬
‫ﺣﻜﻤﻪ ﺇﻟﻰ ﺍﻟﺒﺮﺍﺯﻳﻞ ﻋــﺎﻡ ‪ ،1808‬ﺧﻮﻓﺎ ﻣﻦ‬
‫ﺃﻃﻤــﺎﻉ ﻧﺎﺑﻠﻴــﻮﻥ ﺑﻮﻧﺎﺑــﺮﺕ ﻲﻓ ﺷــﺒﻪ‬
‫ﺍﻟﺠﺰﻳــﺮﺓ ﺍﻹﻳﺒﻴﺮﻳــﺔ‪ ،‬ﺇﻻ ﺃﻥ ﺣﻜﻤــﻪ ﻟــﻢ‬
‫ﻼ‪ ،‬ﺣﻴــﺚ ﻧﺎﻟــﺖ‬ ‫ﻳﺴــﺘﻤﺮ ﺑﻌــﺪ ﻫــﺬﺍ ﻃﻮﻳ ـ ً‬
‫ﺍﻟﺒﺮﺍﺯﻳــﻞ ﺍﺳــﺘﻘﻼﻟﻬﺎ ﻋــﻦ ﺍﻟﺒﺮﺗﻐــﺎﻝ ﻋــﺎﻡ‬
‫‪ ،1822‬ﻟﺘﻨﺘﻌــﺶ ﺍﻟﺼﺤﺎﻓــﺔ ﻓﻴﻤــﺎ ﺑﻌــﺪ‬
‫ﻭﺗﻨﻄﻠــﻖ ﺍﻟﻌﺪﻳــﺪ ﻣــﻦ ﺍﻟﺼﺤــﻒ‪ ،‬ﻟﻜــﻦ‬
‫ﻣﻦ ﺩﺍﺧﻞ ﺍﻟﺒﺮﺍﺯﻳﻞ ﻫﺬﻩ ﺍﳌ ّﺮﺓ‪.‬‬
‫ﻛﺎﻧــﺖ ﻓﺘــﺮﺓ ﺧــﺮﻭﺝ ﺍﻟﻌــﺮﺏ ﻣــﻦ‬
‫ﺍﻷﻧﺪﻟــﺲ ﻭﺍﺣﺘــﻼﻝ ﺍﻟﺒﺮﺗﻐــﺎﻝ ﻭﺇﺳــﺒﺎﻧﻴﺎ‬
‫ﻷﻣﻴﺮﻛﺎ ﺍﻟﻼﺗﻴﻨﻴﺔ ﺑﻌﺪﻫﺎ ﺑﺴﻨﻮﺍﺕ‬

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 ‫ﺍﻟﺼﺤــﻒ ﺍﻟﻘﺪﻳﻤــﺔ ﺍﻟﺼــﺎﺩﺭﺓ ﻲﻓ‬
‫ﺍﻟﺒﺮﺍﺯﻳــﻞ ﻣــﻦ ﺍﳌﺘﺒ ّﺮﻋﻴــﻦ‪ ،‬ﺣﻴــﺚ‬
‫ﻳﻌﻤﻠــﻮﻥ ﻰﻠﻋ ﺃﺭﺷــﻔﺘﻬﺎ ﻭﺇﺿﺎﻓﺘﻬــﺎ‬
‫ﺇﻟــﻰ ﺍﳌﺤﻔﻮﻇــﺎﺕ‪ ،‬ﺇﻻ ﺃﻧﻬــﻢ ﻳﻌﺎﻧــﻮﻥ‬
‫ﻣــﻦ ﻣﺸــﻜﻠﺔ ﺍﻟﺘﺮﺟﻤــﺔ‪ ،‬ﺣﻴــﺚ ﺗﺤﺘــﺎﺝ‬
‫ﻣﺤﺘﻮﻳــﺎﺕ ﺍﻷﺭﺷــﻴﻒ ﺇﻟــﻰ ﺟﻬــﺪ ﺟ ّﺒــﺎﺭ‬
‫ﻟﻔﺮﺯﻫﺎ ﺣﺴﺐ ﺗﺎﺭﻳﺦ ﻭﻣﻜﺎﻥ ﺻﺪﻭﺭﻫﺎ‪.‬‬

‫ﻳﺤﺘــﻮﻱ ﺍﻷﺭﺷــﻴﻒ ﺃﻳﻀــﺎ ﻰﻠﻋ ﻋــﺪﺩ ﻣــﻦ‬

‫ﺍﻟﺼﺤــﻒ ﺍﻟﻌﺮﺑﻴــﺔ ﺍﻟﺘــﻲ ﻛﺎﻧــﺖ ﺗﺼــﺪﺭ‬
‫ﺧــﺎﺭﺝ ﺍﻟﺒﺮﺍﺯﻳــﻞ ﻛﺼﺤﻴﻔــﺔ "ﻟﺴــﺎﻥ‬
‫ﺍﻟﻌــﺮﺏ" ﺍﻟﺘــﻲ ﻛﺎﻧــﺖ ﺗﺼــﺪﺭ ﻲﻓ‬
‫ﺍﻹﺳــﻜﻨﺪﺭﻳﺔ ﻗﺒــﻞ ﻋــﺎﻡ ‪ ،1895‬ﻭ"ﻟﺒﻨــﺎﻥ"‬
‫ﺍﻟﺘﻲ ﺑﺪﺃﺕ ﺑﺎﻟﺼﺪﻭﺭ ﻣﻨﺬ ﻋﺎﻡ ‪ ،1891‬ﻭ"ﻟﺴﺎﻥ‬
‫ﺍﻟﺤــﺎﻝ" ﺃﻳﻀــﺎ ﻣــﻦ ﺑﻴــﺮﻭﺕ‪ ،‬ﻭﻗــﺪ ﺻــﺪﺭﺕ‬
‫ﻷﻛﺜــﺮ ﻣــﻦ ﺛﻼﺛﻴــﻦ ﻋﺎﻣــﺎ‪ ،‬ﺣﻴــﺚ ﻳﻌــﻮﺩ‬
‫ﺗﺎﺭﻳــﺦ ﺑﻌــﺾ ﺍﻷﻋــﺪﺍﺩ ﺍﳌﺤﻔﻮﻇــﺔ ﻲﻓ‬
‫ﺍﻷﺭﺷــﻴﻒ ﺇﻟــﻰ ﺍﻟﻌــﺎﻡ ‪ ،1896‬ﺇﺿﺎﻓــﺔ ﺇﻟــﻰ‬
‫ﺻﺤﻴﻔــﺔ "ﻛﻮﻛــﺐ ﺃﻣﻴــﺮﻛﺎ" ﺍﻟﺘــﻲ ﻛﺎﻧــﺖ‬
‫ﺗﺼــﺪﺭ ﻣــﻦ ﻧﻴﻮﻳــﻮﺭﻙ‪ ،‬ﻭﺗــﻮّﺯﻉ ﻲﻓ ﻋـ ّ‬
‫ـﺪﺓ‬
‫ﺑﻠــﺪﺍﻥ‪ ،‬ﻣﻨﻬــﺎ ﺍﻟﻮﻻﻳــﺎﺕ ﺍﻟﺒﺮﺍﺯﻳﻠﻴــﺔ ﻣﻨــﺬ‬
‫ﻋﺎﻡ ‪.1895‬‬

‫ﺑﻬــﺬﺍ ﺍﳌﻌﻨــﻰ‪ ،‬ﻓﻘــﺪ ﺗﺮﺍﻓــﻖ ﺻــﺪﻭﺭ‬

‫ﺍﻟﺼﺤــﻒ ﺍﻟﻌﺮﺑﻴــﺔ ﻲﻓ ﺍﻟﺒﺮﺍﺯﻳــﻞ ﻣــﻊ‬
‫ﺻــﺪﻭﺭ ﺃﻗــﺪﻡ ﺍﻟﺼﺤــﻒ ﺍﻟﺒﺮﺍﺯﻳﻠﻴــﺔ‪ ،‬ﻟﻜــﻦ‬
‫ﻲﻓ ﺯﻣــﻦ ﺳﻴﺎﺳــﻲ ﻭﺗﺎﺭﻳﺨــﻲ ﻣﺨﺘﻠــﻒ‬
‫ﻋــﻦ ﺍﻟﺰﻣــﻦ ﺍﻟﺤﺎﺿــﺮ‪ ،‬ﺣﻴــﺚ ﻛﺎﻥ ﺍﻟﻌﺎﻟــﻢ‬
‫ﺍﻟﻌﺮﺑــﻲ ﻳــﺮﺯﺡ ﺗﺤــﺖ ﺣﻜــﻢ ﺍﺣﺘــﻼﻻﺕ‬
‫ـﺪﺩﺓ‪ ،‬ﻭﻫــﻲ ّ‬
‫ﺗﻮﺛــﻖ ﻭﺗــﺆّﺭﺥ ﳌﺮﺍﺣــﻞ‬ ‫ﻣﺘﻌـ ّ‬
‫ﺃﺻﺒــﺢ ﻣــﻦ ﺍﻟﻀــﺮﻭﺭﻱ ﺍﻟﻌــﻮﺩﺓ ﺇﻟﻴﻬــﺎ‬
‫ﻟﺪﺭﺍﺳــﺘﻬﺎ ﻭﻏﺮﺑﻠــﺔ ﻣــﺎ ﺷــﺎﺑﻬﺎ ﻣــﻦ‬
‫ﺗﺤﺮﻳــﻒ ﻭﺗﺰﻭﻳــﺮ ﻲﻓ ﻣﺮﺍﺣــﻞ ﻻﺣﻘــﺔ‬
‫ﻛﺜﻴــﺮﺓ ﺑﻤــﺎ ﻳﺘﻮﺍﻓــﻖ ﻭﺃﻣﺰﺟــﺔ ﺍﻷﻧﻈﻤــﺔ‬
‫ﺍﻟﺤﺎﻛﻤــﺔ ﻲﻓ ﺍﻟﻌﺎﻟــﻢ ﺍﻟﻌﺮﺑــﻲ‪ ،‬ﻷﻥ‬
‫ﻛﺜﺎﻓــﺔ ﺻــﺪﻭﺭ ﻫــﺬﻩ ﺍﻟﺼﺤــﻒ ﻲﻓ‬
‫ﻳﺆﺷــﺮﺍﻥ ﻰﻠﻋ ﺃﻥ‬ ‫ّ‬ ‫ﻭﺗﻨﻮﻋﻬــﺎ‬
‫ّ‬ ‫ﺍﻟﺨــﺎﺭﺝ‬
‫ﻣﺴــﺎﺣﺔ ﺍﻟﺤﺮﻳــﺔ ﺗﺤــﺖ ﺣﻜــﻢ ﺍﻻﺣﺘــﻼﻝ‬
‫ﻛﺎﻧــﺖ ﺿﻴﻘــﺔ‪ ،‬ﻭﺃﻥ ﺻﺪﻭﺭﻫــﺎ ﻲﻓ‬
‫ﺿ ِﻤــﻦ ﻟﻬــﺎ ﺍﺳــﺘﻘﻼﻟﻴﺔ‬ ‫ﺍﻟﺨــﺎﺭﺝ َ‬
‫ﻭﻣﻮﺿﻮﻋﻴــﺔ ﺗﺆﻫﻼﻧﻬــﺎ ﻷﻥ ﺗﻜــﻮﻥ‬
‫ﻣﺮﺟﻌﺎ ﺗﺎﺭﻳﺨﻴﺎ ﻳﺆﺧﺬ ﺑﻌﻴﻦ ﺍﻻﻋﺘﺒﺎﺭ‪.‬‬

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 ‫ﺻﺤﻔ ّﻴﺎﻥ ﻳﻮﻗﻌﺎﻥ‬
‫ﺑـ"ﻛﻞ ﺭﺟﺎﻝ ﺍﻟﺮﺋﻴﺲ"‬
‫ﺣﺴﻴﻦ ﻋﻠﻮﺍﻥ‬

‫ﻏﺎﻟﺒــﺎ ﻣــﺎ ﺗﺮﺗﺒــﻂ ﺍﻟﺼﺤﺎﻓــﺔ ﺍﻻﺳــﺘﻘﺼﺎﺋﻴﺔ ﺑﻤﺴــﺘﻮﻯ‬

‫ﺍﻟﺪﻳﻤﻘﺮﺍﻃﻴــﺔ ﺍﻟﺘــﻲ ﺗﺘﻴﺤﻬــﺎ ﺍﻟــﺪﻭﻝ‪ .‬ﻭﻣــﻦ ﺷــﺄﻥ ﺫﻟــﻚ ﺍﻟﻨــﻮﻉ‬
‫ﻳﺤﻜﻲ ﻓﻴﻠﻢ "ﻛﻞ ﺭﺟﺎﻝ ﺍﻟﺮﺋﻴﺲ"‬ ‫ﻣــﻦ ﺍﻟﺼﺤﺎﻓــﺔ ﺃﻥ ﻳﻔﺴــﺢ ﺍﳌﺠــﺎﻝ ﺃﻣــﺎﻡ ﺍﻟﺼﺤﻔﻴﻴــﻦ‬
‫)‪ (All the President’s Men‬ﻋﻦ‬ ‫ﺍﻻﺳــﺘﻘﺼﺎﺋﻴﻴﻦ ﻟﻼﻗﺘــﺮﺍﺏ ﺃﻛﺜــﺮ ﻣــﻦ ﻋﻤــﻞ ﺍﻟﺴﺎﺳــﺔ‪ ،‬ﻭﺇﻋــﻼﻡ‬
‫ﺗﻮﺻﻠﻮﺍ ﺇﻟﻴﻬﺎ‪.‬‬
‫ﺍﳌﻮﺍﻃﻨﻴﻦ ﺑﺎﳌﻌﻠﻮﻣﺎﺕ ﺍﻟﺘﻲ ﱠ‬
‫ﻭﺳﺎﺋﻞ ﺍﻟﺼﺤﺎﻓﺔ ﺍﻻﺳﺘﻘﺼﺎﺋﻴﺔ‬
‫ﺍﻟﺘﻲ ﺍﺗﺒﻌﻬﺎ ﺻﺤﻔﻴﺎﻥ ﻲﻓ‬ ‫ﻭﺗﻈﻬــﺮ ﺃﻫﻤﻴــﺔ ﻭﺟــﻮﺩ ﺍﻟﻌﻤــﻞ ﺍﻟﺼﺤﻔــﻲ ﻲﻓ ﻭﺳــﻂ‬
‫ﺩﻳﻤﻘﺮﺍﻃﻲ ﺟﻠﻴــﺔ ﻲﻓ ﺍﻟﻔﻴﻠــﻢ ﺍﻷﻣﻴﺮﻛﻲ ﺍﻟﺬﻱ ﺃﻧﺘــﺞ ﻋﺎﻡ ‪1976‬‬
‫ﻭﺃﺩﺕ‬
‫ﺟﺮﻳﺪﺓ "ﻭﺍﺷﻨﻄﻦ ﺑﻮﺳﺖ"‪ّ ،‬‬ ‫ﺑﻌﻨﻮﺍﻥ "ﻛﻞ ﺭﺟﺎﻝ ﺍﻟﺮﺋﻴﺲ" )‪.(All the President’s Men‬‬
‫ﺇﻟﻰ ﺍﺳﺘﻘﺎﻟﺔ ﺍﻟﺮﺋﻴﺲ ﺭﻳﺘﺸﺎﺭﺩ‬ ‫ﻳﺤﻜــﻲ ﺍﻟﻔﻴﻠــﻢ ﻋــﻦ ﺻﺤﻔ ّﻴﻴــﻦ ﺃﻣﻴﺮﻛﻴﻴــﻦ ﻫﻤــﺎ ﻛﺎﺭﻝ‬
‫ﺑﺮﻧﺴــﺘﻴﻦ ﻭﺑــﻮﺏ ﻭﻭﺩﻭﺍﺭﺩ‪ ،‬ﻛﺎﻧــﺎ ﻳﻌﻤــﻼﻥ ﻲﻓ ﺻﺤﻴﻔــﺔ‬
‫ﻧﻴﻜﺴﻮﻥ ﻋﺎﻡ ‪.١٩٧٤‬‬ ‫"ﻭﺍﺷــﻨﻄﻦ ﺑﻮﺳــﺖ" ﺍﻷﻣﻴﺮﻛﻴــﺔ ﺍﳌﺮﻣﻮﻗــﺔ ﻲﻓ ﻣﺴــﺘﻬﻞ‬
‫ﺍﻟﺴــﺒﻌﻴﻨﻴﺎﺕ ﻣــﻦ ﺍﻟﻘــﺮﻥ ﺍﻟﻌﺸــﺮﻳﻦ‪ ،‬ﻭﺳــﺎﻫﻤﺎ ﻲﻓ ﺍﻟﻜﺸــﻒ‬
‫ﻋــﻦ ﺃﻛﺒــﺮ ﻓﻀﻴﺤــﺔ ﻓﺴــﺎﺩ ﺳﻴﺎﺳــﻲ ﻲﻓ ﺗﺎﺭﻳــﺦ ﺍﻟﻮﻻﻳــﺎﺕ‬
‫ﻭﻳﺴــﺒﻮﺭﺩ ﺍﻷﺳــﺘﺎﺫ ﺍﳌﺴــﺎﻋﺪ ﻲﻓ ﻗﺴــﻢ ﺍﻟﺼﺤﺎﻓــﺔ ﻭﺍﻹﻋــﻼﻡ‬ ‫ﱠ‬
‫ﺗﻤﻜــﻦ‬ ‫ﺍﳌﺘﺤــﺪﺓ ﻭﺍﳌﻌﺮﻭﻓــﺔ ﺑﻔﻀﻴﺤــﺔ "ﻭﻭﺗﺮﻏﻴــﺖ"‪.‬‬
‫ﺑﺠﺎﻣﻌــﺔ ﺭﻭﺗﺠــﺮﺯ ﻲﻓ ﻧﻴﻮﺟﺮﺳــﻲ ﻣﺆﻛــﺪﺍ ﻰﻠﻋ ﺩﻭﺭ‬ ‫ﺍﻟﺼﺤﻔ ﱠﻴــﺎﻥ ﺑﺎﻟﺪﻻﺋــﻞ ﻭﺍﻟﺒﺮﺍﻫﻴــﻦ ﻣــﻦ ﺇﺛﺒــﺎﺕ ﺗــﻮﺭﻁ ﺍﻟﺮﺋﻴــﺲ‬
‫ﺍﻟﺪﻳﻤﻘﺮﺍﻃﻴــﺔ ﻲﻓ ﺗﺜﺒﻴــﺖ ﺩﻋﺎﺋــﻢ ﺍﻟﻌﻤــﻞ ﺍﻟﺼﺤﻔــﻲ‪" :‬ﻟﻌــﺐ‬ ‫ﺍﻷﻣﻴﺮﻛــﻲ ﺍﻟﺴــﺎﺑﻊ ﻭﺍﻟﺜﻼﺛﻴــﻦ ﺭﻳﺘﺸــﺎﺭﺩ ﻧﻴﻜﺴــﻮﻥ ﻋــﺎﻡ‬
‫ﺍﳌﺮﺍﺳــﻠﻮﻥ ﺩﻭﺭﺍ ﺩﻗﻴﻘــﺎ ﻲﻓ ﻋﻘــﺪ ﺍﻟﺴــﺒﻌﻴﻨﻴﺎﺕ ﺑﺎﻟﻜﺸــﻒ‬ ‫‪ 1972‬ﻲﻓ ﻣﺤﺎﻭﻟــﺔ ﺍﻟﺘﻨﺼــﺖ ﻰﻠﻋ ﺍﳌﻜﺘــﺐ ﺍﻟﺮﺋﻴﺴــﻲ ﻟﻠﺤــﺰﺏ‬
‫ﻋــﻦ ﺍﻟﻔﻀﻴﺤــﺔ ﺍﻟﺴﻴﺎﺳــﻴﺔ ﺍﻷﻛﺒــﺮ ﻲﻓ ﺍﻟﻮﻻﻳــﺎﺕ ﺍﳌﺘﺤــﺪﺓ‬ ‫ﺍﻟﺪﻳﻤﻘﺮﺍﻃــﻲ ﺍﳌﻨﺎﻓــﺲ ﻟﺤﺰﺑــﻪ )ﺍﻟﺤــﺰﺏ ﺍﻟﺠﻤﻬــﻮﺭﻱ( ﺣــﻮﻝ‬
‫ﺑﻌــﺪ ﺍﻟﻔﺘــﺮﺓ ﺍﻟﺘــﻲ ﺗﻠــﺖ ﺍﻟﺤــﺮﺏ ﺍﻟﻌﺎﳌﻴــﺔ ﺍﻟﺜﺎﻧﻴــﺔ‪ .‬ﱠ‬
‫ﺗﻌﻘــﺐ‬ ‫ﺣﻤﻠــﺔ ﺍﻻﻧﺘﺨﺎﺑــﺎﺕ ﺍﻟﺨﺎﺻــﺔ ﺑﺘﺠﺪﻳــﺪ ﻣﻨﺼﺒــﻪ ﻟﻔﺘــﺮﺓ ﺭﺋﺎﺳــﻴﺔ‬
‫ﺻﺤﻔﻴــﻮ ﻭﺍﺷــﻨﻄﻦ ﺑﻮﺳــﺖ ﺃﺛــﺮ ﺳــﺮﻗﺔ ﺻﻐﻴــﺮﺓ ﻲﻓ ﻣﺒﻨــﻰ‬ ‫ﺛﺎﻧﻴﺔ‪.‬‬
‫ﻣﻜﺎﺗــﺐ ﻭﻭﺗﺮﻏﻴــﺖ‪ ،‬ﺣﺘــﻰ ﻭﺻﻠــﻮﺍ ﺇﻟــﻰ ﺍﻟﺒﻴــﺖ ﺍﻷﺑﻴــﺾ‪ .‬ﺃﺩﻯ‬
‫ﻫــﺬﺍ ﺍﻟﺘﻘﺮﻳــﺮ ﺇﻟــﻰ ﺇﺟــﺮﺍﺀ ﺗﺤﻘﻴﻘــﺎﺕ ﻲﻓ ﻣﺠﻠــﺲ ﺍﻟﺸــﻴﻮﺥ‪،‬‬ ‫ﺟﺴــﺪ ﺍﳌﻤﺜــﻞ ﺩﺍﺳــﺘﻦ ﻫﻮﻓﻤــﺎﻥ ﺩﻭﺭ ﺍﻟﺼﺤﻔــﻲ ﻛﺎﺭﻝ‬
‫ﻭﺑﺎﻟﻨﻬﺎﻳــﺔ ﺇﻟــﻰ ﺍﺳــﺘﻘﺎﻟﺔ ﺍﻟﺮﺋﻴــﺲ ﺭﻳﺘﺸــﺎﺭﺩ ﻧﻴﻜﺴــﻮﻥ‪ .‬ﻛﺎﻧــﺖ‬ ‫ﺑﺮﻧﺴــﺘﻴﻦ‪ ،‬ﻲﻓ ﺣﻴــﻦ ﻛﺎﻧــﺖ ﺷــﺨﺼﻴﺔ ﺍﻟﺼﺤﻔــﻲ ﺑــﻮﺏ‬
‫ﺍﻟﺼﺤﺎﻓــﺔ ﻲﻓ ﺣﺎﻟــﺔ ﻭﻭﺗﺮﻏﻴــﺖ ﻫــﻲ ﺍﳌــﺮﺁﺓ ﺍﻟﺘــﻲ ﺗﻌﻜــﺲ‬ ‫ﻭﻭﺩﻭﺍﺭﺩ ﻣــﻦ ﻧﺼﻴــﺐ ﺍﳌﻤﺜــﻞ ﻭﺍﳌﺨــﺮﺝ ﺭﻭﺑــﺮﺕ ﺭﻳﺪﻓــﻮﺭﺩ‪.‬‬
‫ﺃﻓﻀــﻞ ﻣــﺎ ﻳﻤﻜــﻦ ﻟﻬــﺎ )ﺍﻟﺼﺤﺎﻓــﺔ( ﺗﻘﺪﻳﻤــﻪ ﻟﻠﺪﻳﻤﻘﺮﺍﻃﻴــﺔ‪،‬‬ ‫ﻭﻗــﺪ ﺑﺮﻋــﺎ ﻛﻼﻫﻤــﺎ ﻲﻓ ﺃﺩﺍﺀ ﺩﻭﺭ ﺍﻟﺼﺤﻔﻴﻴــﻦ‪ ،‬ﺧﺼﻮﺻــﺎ ﺇﺫﺍ‬
‫ﺗﺤﻮﻟــﺖ ﺇﻟــﻰ ﺍﺗﺠــﺎﻩ‬
‫ﻬﻤــﺔ ﱠ‬
‫ﳌ ﱠ‬‫ﻭﻫــﻮ ﻣﺤﺎﺳــﺒﺔ ﺍﻟﺴــﻠﻄﺔ‪ ..‬ﻫــﺬﻩ ﺍ َ‬ ‫ﺗﻮﺟﻬــﺎﺕ ﻧﻘﺪﻳــﺔ ﻣﻨﺎﻫﻀــﺔ ﻟﻠﺴﻴﺎﺳــﺔ‬ ‫ﻋﻠﻤﻨــﺎ ﺃﻥ ﻟﻔــﻮﺭﺩ ّ‬
‫ﻲﻓ ﺗﺤﺮﻳــﺮ ﺻﺤــﻒ ﺍﻟﻮﻻﻳــﺎﺕ ﺍﳌﺘﺤــﺪﺓ‪ .‬ﻭﻲﻓ ﺍﻟﺴــﻨﻮﺍﺕ‬ ‫ﺍﻷﻣﻴﺮﻛﻴــﺔ‪ ،‬ﻇﻬــﺮﺕ ﺑﻮﺿــﻮﺡ ﻲﻓ ﻛﺜﻴــﺮ ﻣــﻦ ﺃﻋﻤﺎﻟــﻪ‪ ،‬ﻛﻔﻴﻠﻤــﻪ‬
‫ﻋــﺎﻝ ﻣــﻦ‬
‫ٍ‬ ‫ﺍﻟﻼﺣﻘــﺔ‪ ،‬ﺗﻤ ﱠﺘﻌــﺖ ﻣﻬﻨــﺔ ﺍﻟﺼﺤﺎﻓــﺔ ﺑﻤﺴــﺘﻮﻯ‬ ‫"ﺃﺳــﻮﺩ ﻟﻠﺤﻤــﻼﻥ" ﻋــﺎﻡ ‪ ،2007‬ﺍﻟــﺬﻱ ﻳﻮﺟــﻪ‬
‫ﺍﻟﺼﺪﻗ ﱠﻴــﺔ‪ ،‬ﻭﺍﺭﺗﻔــﻊ ﺑﺸــﻜﻞ ﻣﻠﺤــﻮﻅ ﻋــﺪﺩ ﺍﻟﻄــﻼﺏ ﻲﻓ‬ ‫ﱢ‬ ‫ﻓﻴــﻪ ﻧﻘــﺪﺍ ﻟﻠﺤﻜﻮﻣــﺔ ﺍﻷﻣﻴﺮﻛﻴــﺔ ﺍﻟﺘــﻲ ﻛﺎﻧــﺖ ﻗــﺪ ﺑــﺪﺃﺕ ﻣــﺎ‬
‫ﻛﻠﻴﺎﺕ ﺍﻟﺼﺤﺎﻓﺔ"‪.‬‬ ‫ﺃﺳــﻤﺘﻬﺎ "ﺍﻟﺤــﺮﺏ ﻰﻠﻋ ﺍﻹﺭﻫــﺎﺏ"‪ ،‬ﻭﻓﻴﻠــﻢ "ﺃﻳــﺎﻡ ﺍﻟﻜﻮﻧــﺪﻭﺭ‬
‫ﺍﻟﺜﻼﺛﺔ" ﻋﺎﻡ ‪ ،1975‬ﻭﻏﻴﺮﻫﻤﺎ‪.‬‬
‫ﻭ ُﻳﻈﻬــﺮ ﺍﻟﻔﻴﻠــﻢ ﺍﻟﺘﺤﺪﻳــﺎﺕ ﺍﻟﻜﺒﻴــﺮﺓ ﺍﻟﺘــﻲ ﻭﺍﺟﻬــﺖ ﺻﺤﻔﻴــﻲ‬
‫"ﻭﺍﺷــﻨﻄﻦ ﺑﻮﺳــﺖ" ﻲﻓ ﻇــﻞ ﻇــﺮﻭﻑ ﻏﺎﻣﻀــﺔ ﻟﻠﻘﻀﻴــﺔ‪،‬‬ ‫ﻲﻓ ﻣﻘﺎﻟــﻪ ﺍﳌﻨﺸــﻮﺭ ﻲﻓ ﺍﻟﻌــﺪﺩ ‪ 22‬ﻣــﻦ ﻣﺠﻠــﺔ "ﺍﳌﻨﻄــﻖ‬
‫ﻭﻣﻌﻠﻮﻣﺎﺕ ﺷﺤﻴﺤﺔ ﺗﻢ ﺍﻟﺘﻜﺘﻢ ﻋﻠﻴﻬﺎ ﻣﻦ ﻗﺒﻞ‬ ‫ﻭﺍﻟﻜﻠﻤﺔ" ﺍﻟﺼﺎﺩﺭ ﻲﻓ ﻳﻮﻧﻴﻮ‪/‬ﺣﺰﻳﺮﺍﻥ ‪ ،2001‬ﻳﻘﻮﻝ ﺳﻴﻠﻔﻴﻮ‬

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 ‫ﺭﻭﺑﺮﺕ ﺭﻳﺪﻓﻮﺭﺩ )ﻳﻤﻴﻦ( ﻭﺩﺍﺳﺘﻦ ﻫﻮﻓﻤﺎﻥ )ﻳﺴﺎﺭ( ﺍﻟﻠﺬﺍﻥ ﻗﺎﻣﺎ ﺑﺪﻭﺭ ﺍﻟﺼﺤﻔﻴﻴﻦ ﻛﺎﺭﻝ ﺑﺮﻧﺴﺘﻴﻦ ﻭﺑﻮﺏ ﻭﻭﺩﻭﺍﺭﺩ ﻲﻓ ﻓﻴﻠﻢ "ﻛﻞ ﺭﺟﺎﻝ ﺍﻟﺮﺋﻴﺲ"‪.‬‬

‫ﻛﻤــﺎ ﺍﻧﺘﻘﻠــﺖ ﻣﺸــﺎﻫﺪ ﺍﻟﻔﻴﻠــﻢ ﺑﻴــﻦ‬
‫ﺃﺳــﺘﺪﻳﻮﻫﺎﺕ ﻛﺎﻟﻴﻔﻮﺭﻧﻴــﺎ ﻭﺷــﻮﺍﺭﻉ‬
‫ﻭﺃﻣﺎﻛــﻦ ﻲﻓ ﺍﻟﻌﺎﺻﻤــﺔ ﺍﻷﻣﻴﺮﻛﻴــﺔ‬
‫ﻭﺍﺷــﻨﻄﻦ؛ ﻟﻬــﺎ ﻋﻼﻗــﺔ ﺑﺎﻟﻘﺼــﺔ‬
‫ﺍﻷﺻﻠﻴﺔ‪.‬‬
‫ﺍﻟﻔﻴﻠــﻢ ﻣﺘﻮﺍﻓﻘــﺎ ﻣــﻊ ﺗﻠــﻚ ﺍﻟﺮﺅﻳــﺔ ﺍﻟﺘــﻲ‬
‫ﺍﻟﺘﺼﻮﻳــﺮ ﻭﺳــﻂ ﺃﻛــﻮﺍﻡ ﺍﻷﻭﺭﺍﻕ ﻭﺍﻵﻻﺕ‬
‫ﺍﻟﻜﺎﺗﺒــﺔ ﻭﺍﻟﺼﺤﻔﻴﻴــﻦ ﻭﺍﳌﻮﻇﻔﻴــﻦ‬
‫ﻭﺍﳌﺪﻳﺮﻳــﻦ‪ ،‬ﺟﻌﻠﻨــﺎ ﻧﺘﻠﻤــﺲ ﺑﺄﻧﻔﺴــﻨﺎ‬
‫ﺍﻟﺴــﺮﻋﺔ ﻲﻓ ﺍﻷﺩﺍﺀ ﺣﻴﻨــﺎ‪ ،‬ﻭﺣﻴﻨــﺎ ﺁﺧــﺮ‬
‫ﺗﺒﺎﻃــﺆﺍ ﻭﻣــﺮﻭﺭﺍ ﻛﺌﻴﺒــﺎ ﻟﻠﻮﻗــﺖ‪ ،‬ﺇﺿﺎﻓــﺔ‬
‫ﺇﻟــﻰ ﺍﻟﻔﻮﺿــﻰ ﺍﻟﺘــﻲ ﺗﺤﺘــﺎﺝ ﺗﺮﺗﻴﺒــﺎ‬
‫ﻭﺗﻨﺴــﻴﻘﺎ‪ ،‬ﻭﺍﻟﺘﻀــﺎﺭﺏ ﺑﻴــﻦ ﺇﺩﺍﺭﺍﺕ‬
‫ﺗﻘﻠﻴﺪﻳــﺔ ﻭﺃﺧــﺮﻯ ﻣﺘﻤــﺮﺩﺓ ﺗﻌﺘﻤــﺪ ﻰﻠﻋ‬
‫ﺍﳌﺠﺎﺯﻓــﺔ ﻭﻋــﺪﻡ ﺍﻟﺘﻬﻴــﺐ ﻣــﻦ ﺍﻟﻨﺘﺎﺋــﺞ‬
‫ﻏﻴﺮ ﺍﳌﺤﺴﻮﺑﺔ‪ ،‬ﻟﻨﺮﻯ ﻛﻴﻒ ّ‬
‫ﺗﻤﻜﻦ‬
‫ﺗﻠــﻚ‪ ،‬ﻭﺣﺜﻬﻤــﺎ ﻰﻠﻋ ﺍﻻﻫﺘﻤــﺎﻡ ﺑﺴــﺮﺩ‬
‫ﻃــﺮﻕ ﺍﻟﺘﺤﻘﻴــﻖ ﺍﻟﺼﺤﻔﻴــﺔ ﺍﻟﺘــﻲ‬
‫ﺍﺗﺒﻌﺎﻫــﺎ ﻟﻠﺤﺼــﻮﻝ ﻰﻠﻋ ﺍﳌﻌﻠﻮﻣــﺎﺕ‪،‬‬
‫ﺃﻛﺜــﺮ ﻣــﻦ ﺍﻻﻫﺘﻤــﺎﻡ ﺑﺴــﺮﺩ ﺗﻔﺎﺻﻴــﻞ‬
‫ﻗﺼــﺔ ﺍﻟﻔﻀﻴﺤــﺔ‪ .‬ﻭﺑﺎﻟﻔﻌــﻞ ﺟــﺎﺀ‬
‫ﺑﺮﻧﺴــﺘﻴﻦ ﻭﻭﻭﺩﻭﺍﺭﺩ ﻲﻓ ﻛﺘﺎﺑﻴــﻦ‬
‫ﺻ ﱠﺒﻬــﺎ ﻏﻮﻟﺪﻣــﺎﻥ ﻰﻠﻋ ﺍﻟــﻮﺭﻕ‪ ،‬ﺣﻴــﺚ‬
‫ﺳــﺮﻋﺎﻥ ﻣــﺎ ﻧﺠــﺪ ﺃﻧﻔﺴــﻨﺎ ﻧﻌﻴــﺶ ﻣــﻊ‬
‫ﺃﺑﻄــﺎﻝ ﺍﻟﻔﻴﻠــﻢ ﻲﻓ ﻣﻜﺎﺗــﺐ ﺻﺤﻴﻔــﺔ‬
‫"ﻭﺍﺷﻨﻄﻦ ﺑﻮﺳﺖ"‪.‬‬
‫ﻭﻟﺘﻜــﻮﻥ ﺍﳌﺸــﺎﻫﺪ ﺃﻛﺜــﺮ ﻣﺼﺪﺍﻗ ّﻴــﺔ‪،‬‬
‫ﺣــﺮﺹ ﻣﺨــﺮﺝ ﺍﻟﻔﻴﻠــﻢ "ﺃﻻﻥ ﺟــﻲ‬
‫ـﻮﺭ ﺍﳌﺸــﺎﻫﺪ ﻲﻓ ﻣﻜﺎﺗــﺐ‬ ‫ﺑﻜــﻮﻻ" ﺃﻥ ُﺗﺼـ ﱠ‬
‫ﺍﻟﺼﺤﻴﻔﺔ ﺍﻷﺻﻠﻴﺔ‪ ،‬ﻭﻛﺎﻥ ﻟﻪ ﺫﻟﻚ‪.‬‬
‫ﺍﳌﺘﻮﺭﻃﻴــﻦ‪ ،‬ﻭﻣﻨﻬــﻢ ﺷــﺨﺼﻴﺎﺕ‬
‫ﻣﻘﺮﺑﺔ ﻣﻦ ﻣﺼﺎﺩﺭ ﺍﻟﻘﺮﺍﺭ ﺍﻟﺴﻴﺎﺳﻲ‪.‬‬
‫ﻭﺍﻟﻔﻴﻠــﻢ ﻣﺒﻨــﻲ ﻰﻠﻋ ﻭﻗﺎﺋــﻊ ﺍﻟﻘﺼــﺔ‬
‫ﺍﻟﺤﻘﻴﻘﻴــﺔ ﺍﻟﺘــﻲ ﺻﺎﻏﻬــﺎ ﺍﻟﺼﺤﻔ ّﻴــﺎﻥ‬
‫ﻣﻨﻔﺼﻠﻴــﻦ ﻫﻤــﺎ "ﻛﻞ ﺭﺟــﺎﻝ ﺍﻟﺮﺋﻴــﺲ"‬
‫ﻋــﺎﻡ ‪ ،1974‬ﻭ"ﺍﻷﻳــﺎﻡ ﺍﻷﺧﻴــﺮﺓ" ﻋــﺎﻡ ‪.1976‬‬
‫ﺃﻣــﺎ ﺍﻟﺴــﻴﻨﺎﺭﻳﻮ ﻓﻘــﺪ ﻛﺘﺒــﻪ ﺍﻟﺮﻭﺍﺋــﻲ‬
‫ﻭﺍﻟﺴﻴﻨﺎﺭﻳﺴــﺖ ﻭﻟﻴــﺎﻡ ﻏﻮﻟﺪﻣــﺎﻥ ﺍﻟــﺬﻱ‬
‫ﻓــﺎﺯ ﺑﺠﺎﺋﺰﺗــﻲ ﺃﻭﺳــﻜﺎﺭ ﻋــﻦ ﺃﻋﻤﺎﻟــﻪ‪،‬‬
‫ﻭﻣﻨﻬــﺎ ﺃﻭﺳــﻜﺎﺭ ﺃﻓﻀــﻞ ﺳــﻴﻨﺎﺭﻳﻮ ﻋــﻦ‬
‫ﻫــﺬﺍ ﺍﻟﻔﻴﻠــﻢ‪ .‬ﻭﻗــﺪ ﻛﺎﻥ ﺭﻭﺑــﺮﺕ‬
‫ﺭﻳﺪﻓــﻮﺭﺩ ‪-‬ﺑﻄــﻞ ﺍﻟﻔﻴﻠــﻢ‪ -‬ﻰﻠﻋ ﺍﺗﺼــﺎﻝ‬
‫ﺑﺎﻟﺼﺤﻔ ﱠﻴﻴﻦ ﺣﻴﻨﻤﺎ ﻛﺘﺒﺎ ﺗﺠﺮﺑﺘﻴﻬﻤﺎ‬

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‫ﺻــﺪﻕ ﻣــﺎ ﻳﻔﺘﺮﺿﺎﻧــﻪ‪ ..‬ﻫــﺬﺍ ﺍﻟﺪﻋــﻢ‬
‫ﺳــﺎﻫﻢ ﺑﺸــﻜﻞ ﻛﺒﻴــﺮ ﻲﻓ ﻣﻀــﻲ‬
‫ﺍﻟﺼﺤﻔﻴﻴــﻦ ﻗﺪﻣــﺎ ﻲﻓ ﺗﺤﻘﻴﻘﻬﻤــﺎ‪.‬‬
‫ﻛﻤــﺎ ﻳﺆﺻــﻞ ﺍﻟﻔﻴﻠــﻢ ﻟﺴﻴﺎﺳــﺔ ﻋــﺪﻡ‬
‫ﻧﺸــﺮ ﺍﳌﻌﻠﻮﻣــﺎﺕ ﺃﺑــﺪﺍ ﺇﻻ ﺑﻌــﺪ ﺍﻟﺘﺄﻛــﺪ‬
‫ﺗﻤﺎﻣــﺎ ﻣــﻦ ﺻﺪﻗﻴﺘﻬــﺎ‪ ،‬ﻭﺍﻣﺘــﻼﻙ ﺍﻟﺪﻻﺋــﻞ‬
‫ﺻﺤــﺔ‬‫ﱠ‬ ‫ﻭﺍﻟﺒﺮﺍﻫﻴــﻦ ﺍﻟﺘــﻲ ﺗﺜﺒــﺖ‬
‫ﺍﻻﻓﺘﺮﺍﺿﺎﺕ‪.‬‬
‫ـﺪ ﺍﻟﻔﻴﻠــﻢ ﻣﺮﺟﻌــﺎ ﻣﻬﻤــﺎ ﻟﻠﺼﺤﻔــﻲ‬
‫ﻭﻳﻌـ ﱡ‬
‫ﺍﻻﺳــﺘﻘﺼﺎﺋﻲ ﻓﻴﻤــﺎ ﻳﺘﻌﻠــﻖ ﺑﺤﻤﺎﻳــﺔ‬
‫ﻣﺼــﺪﺭﻩ‪ ،‬ﻓﻤﺜــﻼ ﻟــﻢ ﻳﺬﻛــﺮ ﺍﻟﻔﻴﻠــﻢ ﻭﻻ‬
‫ﺍﻟﻜﺘﺎﺑــﺎﻥ ﺍﻟﻠــﺬﺍﻥ ﺻــﺪﺭﺍ ﻭﺗﺤﺪﺛــﺎ ﻋــﻦ‬
‫ﻫــﺬﻩ ﺍﻟﻔﻀﻴﺤــﺔ؛ ﻣــﻦ ﻫــﻮ ﺍﳌﺴــﺆﻭﻝ‬
‫ﻳﻤﺪ ﺍﻟﺼﺤﻴﻔﺔ‬‫ﺍﻟﺤﻜﻮﻣﻲ ﺍﻟﺬﻱ ﻛﺎﻥ ّ‬
‫ﺳــﻤﺎﺕ ﺍﻟﺼﺤﺎﻓــﺔ ﺍﻻﺳــﻘﺼﺎﺋﻴﺔ‪ ،‬ﻓﻀــﻼ‬ ‫ﺻﺤﻔ ّﻴــﺎﻥ ﻣــﻦ ﺍﺳــﺘﺨﺪﺍﻡ ﺃﺳــﺎﻟﻴﺐ ﻏﻴــﺮ‬
‫ﻋــﻦ ﺍﳌﻄﺎﻭﻟــﺔ ﻭﻣﻘﺎﻭﻣــﺔ ﺍﻟﻴــﺄﺱ‪،‬‬ ‫ﺗﻘﻠﻴﺪ ّﻳــﺔ ﻟﻠﺤﺼــﻮﻝ ﻰﻠﻋ ﺍﳌﻌﻠﻮﻣــﺔ‬
‫ﻭﺍﻟﺒﺮﺍﻋﺔ ﻲﻓ ﺗﻨﺴﻴﻖ ﻭﺭﺑﻂ ﺍﻟﻨﺘﺎﺋﺞ‪.‬‬ ‫ﺭﻏــﻢ ﺃﻧﻬﻤــﺎ ﻳﻌﻤــﻼﻥ ﻲﻓ ﺑﻴﺌــﺔ ﻋﻤــﻞ‬
‫ﺗﻘﻠﻴﺪﻳﺔ‪.‬‬
‫ﻭﻧــﺮﻯ ﺧــﻼﻝ ﺃﺣــﺪﺍﺙ ﺍﻟﻔﻴﻠــﻢ ﺑﻌــﺾ‬
‫ﻗﻮﺍﻋــﺪ ﺍﻟﺼﺤﺎﻓــﺔ ﺍﻻﺳــﺘﻘﺼﺎﺋﻴﺔ‪،‬‬ ‫ﺣــﺮﺹ ﻛﺎﺗــﺐ ﺍﻟﺴــﻴﻨﺎﺭﻳﻮ ﻰﻠﻋ ﺃﻥ ﺗﺘﺮﻛــﺰ‬
‫ﻛﺎﻟﻌﻤــﻞ ﺑــﺮﻭﺡ ﺍﻟﻔﺮﻳــﻖ‪ ،‬ﻭﺇﻃــﻼﻉ ﺍﳌﺤــﺮﺭ‬ ‫ﺣﺒﻜــﺔ ﺍﻟﻔﻴﻠــﻢ ﺣــﻮﻝ ﻣــﺎ ﺑﺬﻟــﻪ‬
‫ﺍﳌﺴــﺆﻭﻝ ﻰﻠﻋ ﺍﻟﺘﻔﺎﺻﻴــﻞ ﺃﻭﻻ ﺑــﺄﻭﻝ‬ ‫ﺍﻟﺼﺤﻔﻴــﺎﻥ ﻣــﻦ ﺟﻬــﻮﺩ ﻛﺒﻴــﺮﺓ‪ ،‬ﻭﻰﻠﻋ‬
‫ﻭﺍﻻﺳﺘﻨﺎﺭﺓ ﺑﺮﺃﻳﻪ‪.‬‬ ‫ﺇﺑــﺪﺍﺀ ﺍﻷﺳــﻠﻮﺏ ﺍﻟــﺬﻱ ﺍ ّﺗﺒﻌــﺎﻩ ﻲﻓ‬
‫ﻋﻤﻠﻬﻤــﺎ ﺍﻻﺳــﺘﻘﺼﺎﺋﻲ‪ ،‬ﻭﻫــﻮ ﺃﺳــﻠﻮﺏ‬
‫ﺑــﺪﺍ ﺍﳌﺤــﺮﺭ ﺍﳌﺴــﺆﻭﻝ ﻲﻓ ﺍﻟﻔﻴﻠــﻢ‬ ‫ﻳﺮﻛــﺰ ﻰﻠﻋ ﺍﻻﻫﺘﻤــﺎﻡ ﺑﺎﻟﺘﻔﺎﺻﻴــﻞ ﻣﻬﻤــﺎ‬
‫ﻗﺎﺳــﻴﺎ ﻭﺻﺎﺭﻣــﺎ‪ ،‬ﳌــﺎ ﻟﻠﺘــﻮﺭﻁ ﻲﻓ ﻗﻀﺎﻳــﺎ‬ ‫ﻛﺎﻧــﺖ ﺻﻐﻴــﺮﺓ‪ ،‬ﻭﳌﻠﻤــﺔ ﺧﻴــﻮﻁ ﻗﻀﻴــﺔ‬
‫ﻛﻬــﺬﻩ ﻣــﻦ ﺃﺛــﺮ ﺧﻄﻴــﺮ ﻰﻠﻋ ﺳــﻤﻌﺔ‬ ‫ﻳﺆﻣﻨــﺎﻥ ﺑﺄﻫﻤﻴﺘﻬــﺎ‪ .‬ﻛﻤــﺎ ﻳﺒــﺪﻭ ﻲﻓ‬
‫ﺍﻟﺼﺤﻴﻔــﺔ‪ ،‬ﻟﻜﻨــﻪ ﻛﺎﻥ ﻇﻬﻴــﺮﺍ‬ ‫ﺍﻟﻔﻴﻠــﻢ ﺗﺘ ّﺒــﻊ ﺍﻟﺼﺤﻔــﻲ ﺍﻻﺳــﺘﻘﺼﺎﺋﻲ‬
‫ﻟﻠﺼﺤﻔ ﱠﻴﻴﻦ ﺣﻴﻨﻤﺎ ﺭﺃﻯ ﺇﺷﺎﺭﺍﺕ ﺗﺒﻴﻦ‬ ‫ﻟﺤﺪﺳﻪ ﺍﻟﺸﺨﺼﻲ ﻛﺴﻤﺔ ﺑﺎﺭﺯﺓ ﻣﻦ‬
‫ﺃﺑﻄﺎﻝ ﻓﻴﻠﻢ "ﻛﻞ ﺭﺟﺎﻝ ﺍﻟﺮﺋﻴﺲ" ﺃﻣﺎﻡ ﻣﺒﻨﻰ ﺻﺤﻴﻔﺔ "ﻭﺍﺷﻨﻄﻦ ﺑﻮﺳﺖ"‪.‬‬
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‫ﺑﺎﳌﻌﻠﻮﻣــﺎﺕ ﻭﺍﻟﺨﻴــﻮﻁ ﻭﺍﳌﻔﺎﺗﻴــﺢ‬
‫ﻟﻠﺴــﻴﺮ ﻰﻠﻋ ﻫﺪﻳﻬــﺎ‪ ،‬ﻭﻟــﻢ ُﻳﻌــﺮﻑ ﻫــﺬﺍ‬
‫ﺍﳌﺼــﺪﺭ ‪-‬ﺍﻟــﺬﻱ ﺗﺒﻴــﻦ ﺃﻧــﻪ ﻛﺎﻥ ﻧﺎﺋﺒــﺎ‬
‫ﳌﺪﻳــﺮ ﻲﻓ ﻣﻜﺘــﺐ ﺍﻟﺘﺤﻘﻴﻘــﺎﺕ‬
‫ﺍﻻﺗﺤــﺎﺩﻱ )ﺃﻑ‪.‬ﺑــﻲ‪.‬ﺁﻱ(‪ -‬ﺇﻻ ﺑﻌــﺪ‬
‫ﺳــﻨﻮﺍﺕ ﻃﻮﻳﻠــﺔ‪ ،‬ﻛﺎﻥ ﻓﻴﻬــﺎ ﺧــﺎﺭﺝ‬
‫ﺩﺍﺋﺮﺓ ﺍﻟﺨﻄﺮ‪.‬‬

‫ﺍﻟﺼﺤﺎﻓــﺔ‬ ‫ﺃﻥ‬ ‫ﺍﻟﻔﻴﻠــﻢ‬ ‫ﺑ ﱠﻴــﻦ‬

‫ﺍﻻﺳــﺘﻘﺼﺎﺋﻴﺔ ﻟﻴﺴــﺖ ﻣﺠــﺮﺩ ﺗﺴــﺮﻳﺒﺎﺕ‬
‫ﺗﺼــﻞ ﺇﻟــﻰ ﻳــﺪ ﺍﻟﺼﺤﻔــﻲ ﻓﻴﺒــﺪﺃ‬
‫ﻧﺸ ـ َﺮﻫﺎ‪ ،‬ﺑــﻞ ﻫــﻲ ﻋﻠــﻢ ﻗﺎﺋــﻢ ﺑﺬﺍﺗــﻪ‪ ،‬ﺃﻭ‬
‫ﻛﻤــﺎ ﻳﻘــﻮﻝ ﻣﺪﻳــﺮ ﺷــﺒﻜﺔ ﺍﻟﺼﺤﺎﻓــﺔ‬
‫ﺍﻻﺳــﺘﻘﺼﺎﺋﻴﺔ ﺍﻟﻌﺎﳌﻴــﺔ ﺩﻳﻔــﺪ ﻛﺎﺑﻠــﻦ‬
‫ﻣﻨﻈــﻢ ﻟﺤــﺪﺱ ﻳﺘﻄ ّﻠــﺐ ﺍﻟﻐــﻮﺹ‬ ‫"ﻧﻬــﺞ ّ‬
‫ﻲﻓ ﺍﻟﻌﻤــﻖ‪ ،‬ﻭﺍﻟﺒﺤــﺚ ﺍﻟﻔﻌﻠــﻲ ﺍﻟــﺬﻱ‬
‫ﻳﻘــﻮﻡ ﺑــﻪ ﺍﻟﺼﺤﻔــﻲ ﺑﻨﻔﺴــﻪ‪ ،‬ﺇﺿﺎﻓــﺔ‬
‫ﺇﻟــﻰ ﺍﻟﺘﻐﻄﻴــﺔ ﺍﻟﺼﺤﻔﻴــﺔ‪ ،‬ﺑﺤﻴــﺚ ﻳﺘﺒــﻊ‬
‫ﺍﻟﺼﺤﻔــﻲ ﺃﺳــﻠﻮﺑﺎ ﻋﻠﻤﻴــﺎ ﻲﻓ ﺍﻟﺒﺤــﺚ‬
‫ﻣﻌﺘﻤــﺪﺍ ﻰﻠﻋ ﻭﺿــﻊ ﻓﺮﺿﻴــﺔ ﻭﺍﺧﺘﺒــﺎﺭ‬
‫ّ‬
‫ﻭﺍﻟﺘﺄﻛــﺪ ﻣــﻦ ﺍﻟﺤﻘﺎﺋــﻖ‬ ‫ﻣــﺪﻯ ﺻﺤﺘﻬــﺎ‪،‬‬
‫ﺍﳌﺤﻴﻄــﺔ ﺑﺎﻟﻔﺮﺿﻴــﺔ‪ ،‬ﻭﻧﺒــﺶ ﺍﻷﺳــﺮﺍﺭ‬
‫ﺍﳌﻐﻤــﻮﺭﺓ‪ ،‬ﻭﻭﺿــﻊ ﺭﻛﺎﺋــﺰ ﺍﻟﻌﺪﺍﻟــﺔ‬
‫ﺛــﻢ‬ ‫ﻭﺍﳌﺴــﺎﺀﻟﺔ‪،‬‬ ‫ﺍﻻﺟﺘﻤﺎﻋﻴــﺔ‬
‫ﺍﻻﺳــﺘﺨﺪﺍﻡ ﺍﳌﻔــﺮﻁ ﻟﻠﺘﺴــﺠﻴﻼﺕ‬
‫ﺍﳌﻌﻠﻨــﺔ ﺍﻟﺘــﻲ ﺗﻜــﻮﻥ ﻲﻓ ﺍﻟﻌــﺎﺩﺓ ﻰﻠﻋ‬
‫ﺷــﻜﻞ ﺑﻴﺎﻧــﺎﺕ"‪ .‬ﻭﺫﻟــﻚ ﻣــﺎ ﻗــﺎﻡ ﺑــﻪ‬
‫ﺗﻤﺎﻣــﺎ ﺻﺤﻔ ّﻴــﺎ "ﻭﺍﺷــﻨﻄﻦ ﺑﻮﺳــﺖ"‬
‫ﺃﺛﻨــﺎﺀ ﻛﺸــﻔﻬﻤﺎ ﻋــﻦ ﻓﻀﻴﺤــﺔ‬
‫"ﻭﻭﺗﺮﻏﻴﺖ"‪.‬‬

‫ﺗﻤﻜﻨــﺎ ﻣــﻦ ﺗﺠــﺎﻭﺯ ﺍﳌﺨــﺎﻭﻑ‬ ‫ﱠ‬ ‫ﻛﻤــﺎ‬

‫ﻭﺗﺠﺎﻫــﻞ ﺍﻟﺘﻬﺪﻳــﺪﺍﺕ ﺍﻟﺘــﻲ ﻛﺎﻧــﺖ‬
‫ﺗﺼﻠﻬﻤــﺎ ﻣــﻦ ﺍﳌﺘﻮﺭﻃﻴــﻦ ﻲﻓ‬
‫ﺍﻟﻔﻀﻴﺤــﺔ‪ ،‬ﻭﻫــﻮ ﺃﻣــﺮ ﻳﺘﻌــ ّﺮﺽ ﻟــﻪ‬
‫ﺍﻟﻜﺜﻴــﺮ ﻣــﻦ ﺍﻟﺼﺤﻔﻴﻴــﻦ ﺍﻻﺳــﺘﻘﺼﺎﺋﻴﻴﻦ‬
‫ﺍﻟﺬﻳــﻦ ﻳﺴــﺒﺮﻭﻥ ﺃﻏــﻮﺍﺭ ﻗﻀﺎﻳــﺎ ﻣﺴــﻜﻮﺕ‬
‫ﻋﻨﻬﺎ‪.‬‬

‫ﺃﻣــﺎ ﻧﺠــﺎﺡ ﺍﻟﺼﺤﻴﻔــﺔ ﻲﻓ ﺇﺛﺒــﺎﺕ ﻣــﺎ‬

‫ﺍﻓﺘﺮﺿــﻪ ﺻﺤﻔﻴﺎﻫــﺎ ﻓﻬــﻮ ﻟﻴــﺲ ﺍﻧﺘﺼــﺎﺭﺍ‬
‫ﻟﻬــﺎ ﻓﺤﺴــﺐ‪ ،‬ﺑــﻞ ﺍﻧﺘﺼــﺎﺭﺍ ﻟﻠﺼﺤﺎﻓــﺔ‬
‫ﻛﺴــﻠﻄﺔ ﺭﺍﺑﻌــﺔ‪ ،‬ﻭﺗﺄﺳﻴﺴــﺎ ﻟﻠﺼﺤﺎﻓــﺔ‬ ‫ﺍﻟﺼﺤﻔﻲ ﺍﻷﻣﻴﺮﻛﻲ ﺑﻮﺏ ﻭﻭﺩﻭﺍﺭﺩ‬
‫ﺍﻻﺳﺘﻘﺼﺎﺋﻴﺔ ﻭﺃﺻﻮﻟﻬﺎ‪ ،‬ﻭﻧﻬﻮﺿﺎ ﺑﻬﺎ‪.‬‬

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 ‫ﺍﻟﺴﺮﺩ ﻣﺘﺄﺭﺟﺤﺎ ﺑﻴﻦ‬
‫ﺍﻟﺼﺤﺎﻓﺔ ﻭﺍﻟﺮﻭﺍﻳﺔ‬
‫ﻭﺭﻏــﻢ ﻭﺟــﻮﺩ ﺍﻟﻜﺜﻴــﺮ ﻣــﻦ ﺍﻟﺨﻴــﻮﻁ‬
‫ﺍﻟﺘــﻲ ﺗﺠﻤــﻊ ﺑﻴــﻦ ﺍﻟﻜﺘﺎﺑﺘﻴــﻦ ﺍﻟﺮﻭﺍﺋﻴــﺔ‬
‫ﻭﺍﻟﺼﺤﻔﻴــﺔ‪ ،‬ﻓــﺈﻥ ﻫﻨــﺎﻙ ﻓﺮﻭﻗــﺎ‬
‫ﺷﺎﺳــﻌﺔ ﺑﻴــﻦ ﺍﻟﻨﻮﻋﻴــﻦ ﻻ ﺗﺠﻌــﻞ ﻣــﻦ‬
‫ﺃﻱ ﺻﺤﻔــﻲ ﺭﻭﺍﺋﻴــﺎ ﻭﻻ ﺍﻟﻌﻜــﺲ‪ ،‬ﺇﻻ ﺇﺫﺍ‬
‫ﻛﺎﻧــﺎ )ﺍﻟﺼﺤﻔــﻲ ﻭﺍﻟﺮﻭﺍﺋــﻲ( ﻳﺘﻤﺘﻌــﺎﻥ‬
‫ﺑﺎﳌﻮﻫﺒــﺔ ﺍﳌﺼﻘﻮﻟــﺔ ﺑﺎﻟﺨﺒــﺮﺓ‪ .‬ﻭﺭﺑﻤــﺎ‬
‫ﺳــﺎﻫﻤﺖ ﺧﻠﻔﻴــﺎﺕ ﺑﻌــﺾ ﺍﻟﺼﺤﻔﻴﻴــﻦ‬
‫ﻲﻓ ﺗﻮﺳــﻴﻊ ﻣــﺪﻯ ﺗﺠﺎﺭﺑﻬــﻢ ﻭﺯﻳــﺎﺩﺓ‬
‫ﺍﻃﻼﻋﻬــﻢ ﻰﻠﻋ ﺻﻨــﻮﻑ ﻣﺨﺘﻠﻔــﺔ ﻣــﻦ‬
‫ﻣﻜﻨﻬــﻢ ﻣــﻦ ﺍﻗﺘﺤــﺎﻡ‬ ‫ﺍﳌﺠﺘﻤــﻊ‪ ،‬ﻣﻤــﺎ ﱠ‬
‫ﻋﺎﻟــﻢ ﺍﻟﺮﻭﺍﻳــﺔ‪ .‬ﻟﻜــﻦ ﺍﻟﺮﻭﺍﺋــﻲ ﺍﳌﻐﺮﺑــﻲ‬
‫ﻣﺤﻄﻤــﺎ ﺑﻬــﺎ ﺟﻤــﻮﺩ ﺍﻟﺘﻘﺮﻳــﺮ‬ ‫ﻣﻨﺎﺳــﺒﺔ‪،‬‬
‫ﺃﺣﻤــﺪ ﺍﻟﻜﺒﻴــﺮﻱ ﻳﺆﻛــﺪ ﺃﻥ ﺍﻟﺮﻭﺍﻳــﺔ ﻗــﺪ‬
‫ﺗﺄﺗــﻲ ﻣــﻦ ﺧﻠﻔﻴــﺎﺕ ﻣﺘﻨﻮﻋــﺔ ﺇﺣﺪﺍﻫــﺎ‬
‫ﺍﻟﺼﺤﺎﻓــﺔ‪ ،‬ﻣﻘﺎﺭﺑــﺎ ﺑﻴــﻦ ﺍﻟﺼﺤﺎﻓــﺔ‬
‫ﻭﺍﻟﺮﻭﺍﻳــﺔ ﻰﻠﻋ ﻣﺴــﺘﻮﻯ ﺍﻟﻮﺍﻗــﻊ‬
‫ﻭﺍﻟﺨﻴــﺎﻝ ﻭﺍﻻﺳــﺘﻘﻼﻟﻴﺔ ﻭﻣﺴــﺘﻮﻯ‬
‫ﺍﻷﺳــﻠﻮﺏ ﻭﺍﻷﺛــﺮ‪ ،‬ﻟﻴﺼــﻞ ﺇﻟــﻰ ﻧﺘﻴﺠــﺔ‬
‫ﻣﻔﺎﺩﻫــﺎ ﺃﻥ ﺍﻟﺮﻭﺍﺋــﻲ ﺇﻣــﺎ ﺃﻥ ﻳﻜــﻮﻥ‬
‫ﺭﻭﺍﺋﻴــﺎ ﺃﻭ ﻻ ﻳﻜــﻮﻥ‪ ،‬ﺳــﻮﺍﺀ ﺃﺗــﻰ ﺇﻟــﻰ‬
‫ﺍﻟﺮﻭﺍﻳــﺔ ﻣــﻦ ﺍﻟﻜﺘﺎﺑــﺔ ﺍﻟﺼﺤﻔﻴــﺔ ﺃﻭ ﻣــﻦ‬
‫ﺍﻟﻌﻤــﻞ ﻲﻓ ﺍﳌﻨﺎﺟــﻢ ﺗﺤــﺖ ﺍﻷﺭﺽ‪.‬‬
‫ﻳﻘــﻮﻝ ﺍﻟﻜﺒﻴــﺮﻱ "ﺭﺑﻤــﺎ ﺍﻟﻌﺪﻳــﺪ ﻣــﻦ‬
‫ﺍﻟﺼﺤﻔﻴﻴــﻦ ﻭﻏﻴﺮﻫــﻢ ﻳﺤﻠﻤــﻮﻥ ﺃﻥ‬
‫ﻳﺼﺒﺤــﻮﺍ ﺭﻭﺍﺋﻴﻴــﻦ‪ ،‬ﻟﻜــﻦ ﺍﻟﺮﻭﺍﺋــﻲ‬
‫ﺍﻟﺤﻘﻴﻘــﻲ ﻻ ﻳﺤﻠــﻢ ﺇﻻ ﺃﻥ ﻳﺘﻔــﺮﻍ‬
‫ﻟﻠﻘﺮﺍﺀﺓ ﻭﺍﻟﻜﺘﺎﺑﺔ" ‪.‬‬
‫ﻭﻳﻄ ّﺒﻘﻬــﺎ ﻰﻠﻋ ﺍﻟﻜﺘﺎﺑــﺔ ﺍﻟﻮﺍﻗﻌﻴــﺔ‪،‬‬
‫ﻣــﻦ ﺑﻴــﻦ ﺍﻟﻜﺘــﺎﺏ ﺍﻷﺑــﺮﺯ ﻰﻠﻋ ﺍﻟﺴــﺎﺣﺔ‬
‫ﺍﻟﻌﺮﺑﻴــﺔ ﻭﺍﻟﻌﺎﳌﻴــﺔ‪ ،‬ﺍﻟﻠﺒﻨﺎﻧــﻲ‬
‫ﺍﻟﻔﺮﻧﺴــﻲ ﺃﻣﻴــﻦ ﻣﻌﻠــﻮﻑ ﺍﻟــﺬﻱ ﺑــﺪﺃ‬
‫ﺣﻴﺎﺗــﻪ ﺍﳌﻬﻨﻴــﺔ ﻲﻓ ﺻﺤﻴﻔــﺔ "ﺍﻟﻨﻬــﺎﺭ"‬
‫ﺍﻷﺳﺒﻮﻋﻴﺔ ﺑﻠﺒﻨﺎﻥ‪ ،‬ﺣﻴﺚ ﻋﻤﻞ‬
‫ﻏﺪﻳﺮ ﺃﺑﻮ ﺳﻨﻴﻨﺔ‬
‫ﺭﻏﻢ ﺃﻧﻬﻢ ﺍﺷﺘﻬﺮﻭﺍ ﻋﺎﳌﻴﺎ ﺑﺴﺒﺐ‬
‫ﺃﻋﻤﺎﻟﻬﻢ ﺍﻟﺮﻭﺍﺋﻴﺔ‪ ،‬ﻓﺈﻥ ﺍﻟﻜﺜﻴﺮﻳﻦ ﻣﻨﻬﻢ‬
‫ﺟﺎﺅﻭﺍ ﻣﻦ ﺧﻠﻔﻴﺎﺕ ﺻﺤﻔﻴﺔ‪ ،‬ﺇﺫ ﺛﻤﺔ‬
‫ﺧﻴﻮﻁ ﻣﺸﺘﺮﻛﺔ ﺑﻴﻦ ﺳﺮﺩ ﺍﻟﻘﺼﺔ‬
‫ﺍﻹﺧﺒﺎﺭﻳﺔ ﻭﺗﻠﻚ ﺍﳌﺘﺨﻴﻠﺔ‪.‬‬
‫ﺑﺎﻟﻜﻴﻔﻴــﺔ ﺍﻟﺘــﻲ ﻳﺮﺍﻫــﺎ ﺍﻟﺼﺤﻔــﻲ‬ ‫ﺑﻌﻀﻬــﻢ ﺑــﺪﺃ ﺻﺤﻔﻴــﺎ ﻗﺒــﻞ ﺃﻥ ﻳﻨﺨــﺮﻁ‬
‫ّ‬
‫ﻲﻓ ﻋﺎﻟــﻢ ﺍﻟﺮﻭﺍﻳــﺔ‪ ،‬ﻭﺍﻟﺒﻌــﺾ ﺍﻵﺧــﺮ ﻛﺎﻥ‬
‫ﺍﻹﺧﺒﺎﺭﻱ‪.‬‬ ‫ﻳﺸــﺬﺏ ﻃــﺮﻲﻓ ﻗﻠﻤــﻪ ﻟﻜﺘﺎﺑــﺔ‬
‫ﺍﳌﻘــﺎﻻﺕ ﺍﻟﺼﺤﻔﻴــﺔ ﺗــﺎﺭﺓ‪ ،‬ﻭﺃﺧــﺮﻯ‬
‫ﻟــﺬﺍ‪ ،‬ﻓﻘــﺪ ﺑــﺮﺯ ﻣﺼﻄﻠــﺢ ﺍﻟﺼﺤﺎﻓــﺔ‬ ‫ﻟﻜﺘﺎﺑﺔ ﺍﻟﺮﻭﺍﻳﺔ‪.‬‬
‫ﻳﻨﺼــﺐ ﺍﻫﺘﻤﺎﻣﻬــﺎ‬
‫ّ‬ ‫ﺍﻟﺮﻭﺍﺋﻴــﺔ ﺍﻟﺘــﻲ‬
‫ﺑﺤﺴــﺐ ﻣــﺎﺭﻱ ﻓﺎﻧﻮﺳــﺖ ﺍﻟﺒﺎﺣﺜــﺔ ﻲﻓ‬ ‫ﺃﻣﻴــﻦ ﻣﻌﻠــﻮﻑ ﻭﻏﺎﺑﺮﻳﻴــﻞ ﻏﺎﺭﺳــﻴﺎ‬
‫ﺍﻟﺼﺤﺎﻓــﺔ ﺍﻟﺮﻭﺍﺋﻴــﺔ ﺑﺠﺎﻣﻌــﺔ ﻟﻮﻓــﺎﻥ‬ ‫ﻣﺎﺭﻛﻴــﺰ ﻭﺗﺸــﺎﺭﻟﺰ ﺩﻳﻜﻨــﺰ ﻭﺇﺭﻧﺴــﺖ‬
‫ﺍﻟﻜﺎﺛﻮﻟﻴﻜﻴــﺔ ﻲﻓ ﺑﺮﻭﻛﺴــﻞ‪ ،‬ﻰﻠﻋ‬ ‫ﻫﻤﻨﻐــﻮﺍﻱ ﻭﻏﻴﺮﻫــﻢ ﻣــﻦ ﺍﻟﻮﺟــﻮﻩ‬
‫ﺗﻘﺪﻳــﻢ ﺍﻟﻘﺼــﺺ ﺍﻷﻗــﺮﺏ ﺇﻟــﻰ ﺍﻟﺮﻭﺍﻳــﺔ‬ ‫ﺍﻷﺩﺑﻴــﺔ ﺍﻟﺒــﺎﺭﺯﺓ‪ ،‬ﺟــﺎﺅﻭﺍ ﻣــﻦ ﺧﻠﻔﻴــﺎﺕ‬
‫ﺍﻟﺨﻴﺎﻟﻴــﺔ ﻣــﻦ ﻗﺼــﺺ ﺍﻟﺼﺤﺎﻓــﺔ‬ ‫ﺻﺤﻔﻴــﺔ ﻗﺒــﻞ ﺃﻥ ﻳﻐﺮﻗــﻮﺍ ﺗﻤﺎﻣــﺎ ﻲﻓ‬
‫ﺍﻟﻮﺍﻗﻌﻴــﺔ‪ ،‬ﻰﻠﻋ ﺍﻷﻗــﻞ ﻲﻓ ﺃﺳــﺎﻟﻴﺐ‬ ‫ﻋﻮﺍﳌﻬــﻢ ﺍﻟﺮﻭﺍﺋﻴــﺔ‪ .‬ﻓﻬــﻞ ﻣــﻦ ﻋﻼﻗــﺔ‬
‫ﺍﻟﻜﺘﺎﺑــﺔ ﻭﻃﺒﻴﻌــﺔ ﺍﻟﻮﺍﻗــﻊ ﺍﳌﺮﺟــﻮ‬ ‫ﺑﻴــﻦ ﺍﻟﺴــﺮﺩ ﺍﻟﺼﺤﻔــﻲ ﻭﺍﻟﺴــﺮﺩ‬
‫ﻧﻘﻠﻪ‪.‬‬ ‫ﺍﻟﺮﻭﺍﺋﻲ؟‬
‫ﻭﺗﻌــ ﱠﺮﻑ ﺍﻟﺼﺤﺎﻓــﺔ ﺍﻟﺮﻭﺍﺋﻴــﺔ ﺑﻜﻮﻧﻬــﺎ‬ ‫ﻳﻘــﻮﻝ ﻣﺎﺭﻛﻴــﺰ ﺇﻥ ﺍﻟﺘﻘﺮﻳــﺮ ﺍﻹﺧﺒــﺎﺭﻱ‬
‫ﺍﻟﻨــﻮﻉ ﺍﻟــﺬﻱ ﻳﺄﺧــﺬ ﺗﻘﻨﻴــﺎﺕ ﺍﻟﺮﻭﺍﻳــﺔ‬ ‫ﻗﺼــﺔ ﻭﺍﻗﻌﻴــﺔ‪ ،‬ﺑــﻞ ﺇﻧــﻪ َﻳﻌﺘﺒــﺮ ﺍﻟﺘﻘﺮﻳــﺮ‬
‫ﺍﻹﺧﺒــﺎﺭﻱ ﺑﺤــﺪ ﺫﺍﺗــﻪ ﺟﻨﺴــﺎ ﺃﺩﺑﻴــﺎ‪.‬‬
‫ﺑﻴﻨﻤــﺎ ﻳﺘﻄﻠــﺐ ﺍﻟﺴــﺮﺩ ﺗﻘﺮﻳــﺮﺍ ﻋﻤﻴﻘــﺎ‬ ‫ﻭﻲﻓ ﻫــﺬﺍ ﺍﻟﺘﻌﺮﻳــﻒ ﺟــﺰﺀ ﻛﺒﻴــﺮ ﻣــﻦ‬
‫ﻭﻣﻌﻘــﺪﺍ ﻭﺗﻘﺪﻳــﺮﺍ ﻟﻠﻘﺼــﺔ ﺍﻹﺧﺒﺎﺭﻳــﺔ‪،‬‬ ‫ﺍﻟﺤﻘﻴﻘــﺔ ﺇﺫﺍ ﻧﺠــﺢ ﺍﻟﺼﺤﻔــﻲ ﻲﻓ‬
‫ﺍﻧﻄﻼﻗــﺎ ﻣــﻦ ﺍﻟﺘﻘﺎﻟﻴــﺪ ﺍﻟﺒﻨﻴﻮﻳــﺔ‬ ‫ﻛﺘﺎﺑــﺔ ﻗﺼﺘــﻪ ﺍﻟﺨﺒﺮﻳــﺔ‪ ،‬ﻣﺴــﺘﻔﻴﺪﺍ ﻣــﻦ‬
‫ﻟﻸﺧﺒــﺎﺭ ﺍﻟﻴﻮﻣﻴــﺔ‪ ،‬ﻭﺍﻻﺳــﺘﺨﺪﺍﻡ‬ ‫ﺃﺩﻭﺍﺕ ﺍﻟﺒﻨــﺎﺀ ﺍﻟﺮﻭﺍﺋــﻲ ﺍﻟﺘــﻲ ﺗﺤــﻮﻱ‬
‫ﺍﻹﺑﺪﺍﻋﻲ ﻟﻠﻐﺔ ‪.‬‬ ‫ﺃﺣﺪﺍﺛــﺎ ﻭﺃﺷــﺨﺎﺻﺎ ﻭﺯﻣﺎﻧــﺎ ﻭﻣﻜﺎﻧــﺎ‬
‫ﺣﻘﻴﻘﻴﻴﻦ ﻭﺃﺳﻠﻮﺑﺎ ﺗﺸﻮﻳﻘﻴﺎ‪ ،‬ﻭﻟﻜﻦ‬
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‫ﻣــﻦ ﺍﻟﻄﺒﻴﻌــﻲ ﺃﻥ ﻳﻌﻤــﻞ ﻲﻓ ﻣﻬﻨــﺔ‬
‫ﺍﻟﺼﺤﺎﻓــﺔ ﺍﻟﺘــﻲ ﻣﺎﺭﺳــﻬﺎ ﺑﺎﻫﺘﻤــﺎﻡ‬
‫ﻭﻟﺬﺓ‪ ،‬ﺣﺴﺐ ﺗﻌﺒﻴﺮﻩ‪.‬‬
‫ﺍﻟﺼﺤﻔﻴــﺔ‪ ،‬ﺭﻏــﻢ ﺍﺧﺘــﻼﻑ ﺍﻟﻄﺮﻳــﻖ‬
‫ﺟــﺎﺀﺕ ﺍﻟﻜﺘﺎﺑــﺔ ﺍﻟﺮﻭﺍﺋﻴــﺔ ﻲﻓ ﺣﻴــﺎﺓ‬
‫ﻣﻌﻠــﻮﻑ ﺑﻌــﺪ ﺍﻣﺘﻬﺎﻧــﻪ ﺍﻟﺼﺤﺎﻓــﺔ‪ ،‬ﺇﺫ‬
‫ﺑــﺪﺃﺕ ﻛﺮﻏﺒــﺔ‪ ،‬ﺇﻻ ﺃﻧــﻪ ﺳــﺮﻋﺎﻥ ﻣــﺎ‬
‫ﺍﺣﺘﺮﻓﻬــﺎ‪ ،‬ﺣﺘــﻰ ﺑﺎﺗــﺖ ﺷــﻬﺮﺗﻪ‬
‫ﻛﺮﻭﺍﺋــﻲ ﺗﻔــﻮﻕ ﺷــﻬﺮﺗﻪ ﺍﻟﺼﺤﻔﻴــﺔ‪.‬‬
‫ﻭﻗــﺪ ﺗﻔـ ﱠﺮﻍ ﻣﻌﻠــﻮﻑ ﻟﻠﻜﺘﺎﺑــﺔ ﺍﻹﺑﺪﺍﻋﻴــﺔ‬
‫ﺗﻤﺎﻣــﺎ ﻋﻘــﺐ ﺍﻟﻨﺠــﺎﺡ ﺍﻟــﺬﻱ ﺭﺍﻓــﻖ‬
‫ﺭﻭﺍﻳﺘﻪ "ﻟﻴﻮﻥ ﺍﻹﻓﺮﻳﻘﻲ"‪.‬‬
‫ﺑﻴــﺖ ﻛﺎﻥ‬
‫ﻭﻟــﻢ ﻳﻜــﻦ ﻣﻌﻠــﻮﻑ ﺍﻟﺮﻭﺍﺋــﻲ ﺍﻟﻮﺣﻴــﺪ‬
‫ﺍﻟــﺬﻱ ﺁﺛــﺮ ﺍﻟﻠﺠــﻮﺀ ﺇﻟــﻰ ﺍﻟﻔﻀــﺎﺀ ﺍﻟﺤــﺮ‬
‫ﺍﻟــﺬﻱ ﺗﻤﻨﺤــﻪ ﻟــﻪ ﺍﻟﻜﺘﺎﺑــﺔ ﺍﻟﺮﻭﺍﺋﻴــﺔ‪،‬‬
‫ﺑﻌﻜﺲ ﺍﻟﺮﻭﺍﻳﺔ ﺍﻟﺼﺤﻔﻴﺔ ﺍﻟﺘﻲ‬
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‫ﺍﻟﺘﺎﺭﻳــﺦ‪ .‬ﺇﻥ ﺗﺘﺒــﻊ ﺍﻟﺘﺎﺭﻳــﺦ ﻲﻓ ﻛﺘﺎﺑــﺎﺕ‬
‫ﻳﺬﻛــﺮ ﺑﺤــﺎﻝ ﻣــﻦ ﺍﻷﺣــﻮﺍﻝ‬‫ﻣﻌﻠــﻮﻑ ﱢ‬
‫ﺑﺘﺘﺒﻌــﻪ )ﺍﻟﺘﺎﺭﻳــﺦ( ﻲﻓ ﺍﻟﻜﺘﺎﺑــﺔ‬
‫ﻻﺣﻘــﺎ‪ ،‬ﺇﺫ ﻳﺪﺧــﻞ ﺍﻟﺨﻴــﺎﻝ ﻰﻠﻋ ﺍﻟﺮﻭﺍﻳــﺔ‬
‫ﺑﻴﻨﻤــﺎ ﻻ ُﻳﺴــﻤﺢ ﻟــﻪ ﺑﺎﻟﻮﻟــﻮﺝ ﺇﻟــﻰ‬
‫ﺍﻟﺘﻘﺮﻳﺮ ﺍﻹﺧﺒﺎﺭﻱ‪.‬‬
‫ﻭﻲﻓ ﺍﳌﻘﺎﺑﻠــﺔ ﺍﻟﺘــﻲ ﺃﺟﺮﺗﻬــﺎ ﻣﻌــﻪ‬
‫ﻗﻨــﺎﺓ "ﻓﺮﺍﻧــﺲ ‪ "24‬ﻲﻓ ﺑﺮﻧﺎﻣــﺞ "ﺿﻴــﻒ‬
‫ﻭﻣﺴــﻴﺮﺓ" ﻋــﺎﻡ ‪ ،2012‬ﻗــﺎﻝ ﻣﻌﻠــﻮﻑ ﺇﻧﻪ‬
‫ﻳﻌﺘﻘــﺪ ﺃﻥ ﺍﻟﺼﺤﺎﻓــﺔ ﺍﻧﻔﺘــﺎﺡ ﻰﻠﻋ‬
‫ٍ‬ ‫ﺍﻟﻌﺎﻟــﻢ‪ ،‬ﻭﺇﻧــﻪ ﺃﺗــﻰ ﻣــﻦ‬
‫ﻟﻠﺼﺤﺎﻓــﺔ ﻓﻴــﻪ ﻣــﻜﺎﻥ‪ ،‬ﺑــﻞ ﺇﻥ ﻭﺍﻟــﺪﻩ‬
‫ﻛﺎﻥ ﻳﻤﺘﻠــﻚ ﺻﺤﻴﻔــﺔ ﻛﺘــﺐ ﻓﻴﻬــﺎ ﻫــﻮ‬
‫ﻧﻔﺴــﻪ ﻣﻘــﺎﻻﺕ ﺣﻴــﻦ ﺑﻠــﻎ ﻣــﻦ ﺍﻟﻌﻤــﺮ‬
‫‪ 16‬ﻋﺎﻣــﺎ‪ ،‬ﺇﺫ ﻛﺎﻥ ﻟﺪﻳــﻪ ﺍﻫﺘﻤــﺎﻡ ﻣﻨــﺬ‬
‫ﺻﺒﺎﻩ ﺑﻤﺎ ﻳﺤﺪﺙ ﻲﻓ ﺍﻟﻌﺎﻟﻢ‪ ،‬ﻭﻛﺎﻥ‬
‫ﻏﻄﻰ ﺧﻼﻟﻬﺎ‬ ‫ﻣﺮﺍﺳــﻼ ﻟﻬﺎ ﳌﺪﺓ ‪ 12‬ﻋﺎﻣﺎ‪ ،‬ﱠ‬
‫ﺃﺣﺪﺍﺛــﺎ ﻲﻓ ﻋــﺪﺩ ﻛﺒﻴــﺮ ﻣــﻦ ﺍﻟﺒﻠــﺪﺍﻥ‪،‬‬
‫ﻣﻨﻬﺎ ﺍﻟﺜﻮﺭﺓ ﺍﻹﻳﺮﺍﻧﻴﺔ ﻭﺣﺮﺏ ﻓﻴﺘﻨﺎﻡ‪.‬‬
‫ﺑﻌــﺪ ﻫﺠﺮﺗــﻪ ﺇﻟــﻰ ﻓﺮﻧﺴــﺎ ﺑﺴــﺒﺐ‬
‫ﺍﻟﺤﺮﺏ ﺍﻷﻫﻠﻴﺔ ﺍﻟﻠﺒﻨﺎﻧﻴﺔ ﻋﺎﻡ ‪ ،1975‬ﻭﺍﺻﻞ‬
‫ﻣﻌﻠــﻮﻑ ﻋﻤﻠــﻪ ﺻﺤﻔﻴــﺎ ﺩﻭﻟﻴــﺎ ﻲﻓ‬
‫"ﺍﻟﻨﻬــﺎﺭ"‪ ،‬ﻗﺒــﻞ ﺃﻥ ﻳﺼﺒــﺢ ﺭﺋﻴــﺲ ﺗﺤﺮﻳــﺮ‬
‫ﻣﺠﻠــﺔ "ﺃﻓﺮﻳﻘﻴــﺎ ﺍﻟﺸــﺎﺑﺔ"‪ .‬ﻋــﺮﻑ ﻋــﻦ‬
‫ﻣﻌﻠــﻮﻑ ﺑﺮﺍﻋﺘــﻪ ﻲﻓ ﻛﺘﺎﺑــﺔ ﺍﻟﺮﻭﺍﻳــﺔ‬
‫ﺍﻟﺘﺎﺭﻳﺨﻴــﺔ ﺑﻘﺎﻟــﺐ ﺗﺸــﻮﻳﻘﻲ‪ ،‬ﻣﻤــﺎ‬
‫ﻳﻘﻮﺩﻧــﺎ ﺇﻟــﻰ ﺍﻟﺮﺑــﻂ ﺑﻴــﻦ ﻋﻤﻠــﻪ‬
‫ﺑﻘــﺺ ﺍﻟﺮﻭﺍﻳــﺔ‬
‫ﱢ‬ ‫ﻛﺼﺤﻔــﻲ ﻣﻠﺘــﺰﻡ‬
‫ﺍﻹﺧﺒﺎﺭﻳــﺔ ﺑﺄﻣﺎﻧــﺔ‪ ،‬ﻭﻛﺘﺎﺑﺘــﻪ ﺍﻟﺮﻭﺍﻳــﺔ‬
‫ﺍﻷﺩﺑﻴــﺔ ﺍﺳــﺘﻨﺎﺩﺍ ﺇﻟــﻰ ﺍﻷﺣــﺪﺍﺙ‬
‫ﺍﻟﺘﺎﺭﻳﺨﻴــﺔ‪ ،‬ﻭﺍﺣﺘﺮﺍﻣــﺎ ﻟﻠﻮﻗﺎﺋــﻊ ﺍﻟﺘــﻲ‬
‫ﺣﺪﺛــﺖ ﻓﻌــﻼ ﻲﻓ ﺍﻟﻔﺘــﺮﺍﺕ ﺍﻟﺘــﻲ ﻛﺘــﺐ‬
‫ﻋﻨﻬﺎ‪ ،‬ﺩﻭﻥ ﺍﻟﺨﺮﻭﺝ ﻋﻦ ﻣﻨﻄﻘﻴﺔ‬
‫ﺍﻟﻜﺎﺗﺐ ﺍﻷﻣﻴﺮﻛﻲ ﺇﺭﻧﺴﺖ ﻫﻤﻨﻐﻮﺍﻱ‬
‫"ﺃﻓﻀﻞ ﻣﻬﻨﺔ ﻲﻓ ﺍﻟﻌﺎﻟﻢ"‬

‫ﻣــﻦ ﻧﺎﺣﻴــﺔ ﺃﺧــﺮﻯ‪ ،‬ﺭﺍﻭﺡ ﻛ ﱠﺘــﺎﺏ ﺁﺧــﺮﻭﻥ‬

‫ﺑﻴــﻦ ﺍﻟﺮﻭﺍﻳــﺔ ﺍﻟﺼﺤﻔﻴــﺔ ﻭﺍﻹﺑﺪﺍﻋﻴــﺔ‪،‬‬
‫ﺩﻭﻥ ﺃﻥ ﻳﺸــﻌﺮﻭﺍ ﺑﺘﻨﺎﻗــﺾ ﺑﻴــﻦ‬
‫ﺍﻟﻨﻮﻋﻴﻦ‪.‬‬

‫ﻓﻌﻠــﻰ ﺍﳌﺴــﺘﻮﻯ ﺍﻟﻌﺎﳌــﻲ‪ ،‬ﺗﻤﻴــﺰ‬

‫ﺍﻹﻧﺠﻠﻴــﺰﻱ ﺗﺸــﺎﺭﻟﺰ ﺩﻳﻜﻨــﺰ ﻲﻓ ﻋﻤﻠــﻪ‬
‫ﺍﻟﺼﺤﻔــﻲ ﻭﺑﻜﺘﺎﺑﺎﺗــﻪ ﺍﻟﺮﻭﺍﺋﻴــﺔ ﺍﻟﺘــﻲ‬
‫ﻧﺸــﺮ ﻛﺜﻴــﺮﺍ ﻣﻨﻬــﺎ ﺑﺸــﻜﻞ ﻣﺘﺴﻠﺴــﻞ‬
‫ﻲﻓ ﺍﻟﺼﺤــﻒ‪ .‬ﻭﻗــﺪ ﺃﺗــﺎﺡ ﻟــﻪ ﻋﻤﻠــﻪ‬
‫ـﻼﻉ ﻰﻠﻋ ﺷــﺆﻭﻥ ﺍﻟﻨــﺎﺱ‬‫ﺍﻟﺼﺤﻔــﻲ ﺍﻻﻃـ َ‬
‫ﻭﺍﻟﺘﻘــﺮﺏ ﻣﻨﻬــﻢ‪ ،‬ﻓﺒــﺮﻉ ﻲﻓ ﺍﻟﺘﻘــﺎﻁ‬
‫ﺍﻷﺧﺒــﺎﺭ ﻭﻛﺘﺎﺑﺘﻬــﺎ ﻰﻠﻋ ﺷــﻜﻞ ﻗﺼــﺺ‬
‫ﺗﺠــﺬﺏ ﺍﻟﻘــﺮﺍﺀ ﻭﺍﻟﻨﻘــﺎﺩ ﻰﻠﻋ ﺣــﺪ‬
‫ﺳــﻮﺍﺀ‪ ،‬ﻭﻛﺎﻧــﺖ ﺍﻟﺘﺠــﺎﺭﺏ ﺍﻟﺘــﻲ ﻋﺎﻳﺸــﻬﺎ‬
‫ﻲﻓ ﻋﻤﻠــﻪ ﺣﺎﺿــﺮﺓ ﻲﻓ ﺭﻭﺍﻳﺎﺗــﻪ ﺍﻟﺘــﻲ‬
‫ﺃﻇﻬــﺮﺕ ﺑــﺆﺱ ﺍﻷﺣــﻮﺍﻝ ﺍﻻﺟﺘﻤﺎﻋﻴــﺔ‬
‫ﻭﺍﻻﻗﺘﺼﺎﺩﻳﺔ ﻲﻓ ﺯﻣﻨﻪ‪.‬‬
‫ﺍﻷﺩﺑــﻲ ﺍﻟﺒﺤــﺖ‪ .‬ﻭﻳﺆﻛــﺪ ﺃﻥ "ﺍﻟﺼﺤﺎﻓــﺔ‬
‫ﻭﻰﻠﻋ ﺍﳌﻨــﻮﺍﻝ ﻧﻔﺴــﻪ‪ ،‬ﺗﻤﻜــﻦ‬
‫ﺍﻟﻜﻮﻟﻮﻣﺒــﻲ ﻏﺎﺑﺮﻳﻴــﻞ ﻏﺎﺭﺳــﻴﺎ ﻣﺎﺭﻛﻴــﺰ‬
‫ﻣــﻦ ﺗﺤﻘﻴــﻖ ﺗــﻮﺍﺯﻥ ﻲﻓ ﻛﺘﺎﺑﺘــﻪ‬
‫ﺍﻟﺼﺤﻔﻴــﺔ ﻭﺍﻟﺮﻭﺍﺋﻴــﺔ‪ ،‬ﻭﻛﺎﻧــﺖ ﺣﻴﺎﺗــﻪ‬
‫ﻣﺰﻳﺠﺎ ﻣﻨﻬﻤﺎ‪.‬‬
‫ﺍﻟﺤﺎﺋﺰ ﻰﻠﻋ ﺟﺎﺋﺰﺓ ﺃﻣﻴﺮﺓ ﺃﺳﺘﻮﺭﻳﺎﺱ ‪،2015‬‬
‫ﻲﻓ ﻣﻘﺎﻟــﻪ ﺍﳌﻨﺸــﻮﺭ ﻲﻓ ﺟﺮﻳــﺪﺓ "ﻻ‬
‫ﻧﺴﻴﻮﻥ" ﺍﻟﻜﻮﺳﺘﺎﺭﻳﻜﻴﺔ )‪ 18‬ﺃﺑﺮﻳﻞ‪/‬ﻧﻴﺴﺎﻥ‬
‫‪ ،(2014‬ﺗﺤــﺪﺙ ﺑﺎﺑﻠــﻮ ﻣﻨﺪﻳﻠﻴﻔﺘــﺶ ﻋــﻦ‬
‫ﻣــﺰﺝ ﺍﻟﻨﻮﻋﻴــﻦ ﻲﻓ ﻛﺘﺎﺑــﺎﺕ ﻣﺎﺭﻛﻴــﺰ‪ ،‬ﺇﺫ‬
‫ﻧﺸــﺮ ﺍﻷﺧﻴــﺮ ﺇﻟــﻰ ﺟﺎﻧــﺐ ﻗﺼﺘــﻪ‬
‫"ﺍﻻﺳــﺘﻘﺎﻟﺔ ﺍﻟﺜﺎﻟﺜــﺔ" ﻲﻓ ﺟﺮﻳــﺪﺓ "ﺇﻝ‬
‫ﺇﺳــﺒﻴﻜﺘﺎﺫﻭﺭ" ﻋــﺎﻡ ‪ ،1947‬ﻣﻘﺎﻻﺗــﻪ‬
‫ﺍﻷﻭﻟــﻰ ﻲﻓ ﺍﻟﺼﺤــﻒ ﺍﻟﻜﻮﻟﻮﻣﺒﻴــﺔ‪،‬‬
‫ﻭﺑﻴﻨﻤــﺎ ﺑﻠــﻎ ﺇﻧﺘﺎﺟــﻪ ﺍﻟﺼﺤﻔــﻲ ﺫﺭﻭﺗــﻪ‬
‫ﻲﻓ ﺍﻟﺨﻤﺴــﻴﻨﻴﺎﺕ ﻣــﻦ ﺍﻟﻘــﺮﻥ ﺍﳌﺎﺿــﻲ‪،‬‬
‫ﺣــﺎﺯ ﺟﺎﺋــﺰﺓ ﻧﻮﺑــﻞ ﻟــﻶﺩﺍﺏ ﻋــﺎﻡ ‪.1982‬‬
‫ﻭﻲﻓ ﺍﻟﺘﺴــﻌﻴﻨﻴﺎﺕ ﺃﻧﺸــﺄ ﻣﺎﺭﻛﻴــﺰ‬
‫ﻣﺪﺭﺳــﺔ ﺩﻭﻟﻴــﺔ ﻟﻠﺼﺤﺎﻓــﺔ ﻫــﻲ‬
‫"ﻣﺆﺳﺴــﺔ ﺍﻟﺼﺤﺎﻓــﺔ ﺍﻹﻳﺒﺮﻭﺃﻣﻴﺮﻛﻴــﺔ‬
‫ﺍﻟﺤﺪﻳﺜــﺔ"‪ ،‬ﻭﺃﺩﺍﺭ ﻣﺠﻠــﺔ "ﺗﻐ ﱡﻴــﺮ"‪ ،‬ﻭﺃﻟﱠــﻒ‬
‫ﺛﻼﺛﺔ ﻛﺘﺐ ﻏﻴﺮ ﺭﻭﺍﺋﻴﺔ‪.‬‬
‫ﺍﳌﺒــﺪﻉ ﺍﻟــﺬﻱ ﻳﻤﻜــﻦ ﺃﻥ ﻳﺘﺤــﻮﻝ‬
‫ﻧﻈﺎﻣــﻪ ﺍﻹﻧﺘﺎﺟــﻲ ﻋﺎﺋﻘــﺎ ﻟﻺﺑــﺪﺍﻉ‬‫ُ‬
‫ﺑﻌــﺪ ﺃﻥ ﺗﺼــﻞ ﺇﻟــﻰ ﻣﺮﺣﻠــﺔ ﻣﻌﻴﻨــﺔ‪،‬‬
‫ﻳﻤﻜــﻦ ﺃﻥ ﺗﺘﺤــﻮﻝ ﺇﻟــﻰ ﺗﺪﻣﻴــﺮ ﺫﺍﺗــﻲ‬
‫ﻳﻮﻣﻲ ﻟﻜﺎﺗﺐ ﻣﺒﺪﻉ ﺟﺪﻱ"‪.‬‬
‫ﺍﻟﺮﻭﺍﺋــﻲ ﺍﻟﻜﻮﺑــﻲ ﻟﻴﻮﻧــﺎﺭﺩﻭ ﺑــﺎﺫﻭﺭﺍ‪،‬‬
‫ﻗــﺮﺭ ﻋــﺎﻡ ‪ 1989‬ﺃﻥ ﻳﺘــﺮﻙ ﻋﻤﻠﻪ ﻛﻤﺮﺍﺳــﻞ‬
‫ﻲﻓ ﺻﺤﻴﻔــﺔ "ﺷــﺒﺎﺏ ﻣﺘﻤــﺮﺩ"‪ ،‬ﻭﺃﻥ‬
‫ﻳﻨﺘﻘــﻞ ﻟﻠﻌﻤــﻞ ﻲﻓ ﻣﺠﻠــﺔ "ﻻ ﻏﺎﺳــﻴﺘﺎ"‬
‫ﺍﻟﻜﻮﺑﻴــﺔ‪ ،‬ﻟﻴــﺲ ﻓﻘــﻂ ﺑﺤﺜــﺎ ﻋــﻦ ﺃﺟــﻮﺍﺀ‬
‫ﺍﻟﺼﺤﺎﻓــﺔ ﺍﻟﺜﻘﺎﻓﻴــﺔ‪ ،‬ﺑــﻞ ﻟﻴﺘﺠﻨــﺐ‬
‫ﺍﻟﻮﻗــﻮﻉ ﺗﺤــﺖ ﺿﻐــﻂ ﺍﻟﻜﺘﺎﺑــﺔ ﺍﻟﻴﻮﻣﻴــﺔ‪.‬‬
‫ﻫــﺬﺍ ﺍﻟﻀﻐــﻂ ﺍﻟــﺬﻱ ﻛﺎﻥ ﻳــﺰﺩﺍﺩ ﻛﻠﻤــﺎ‬
‫ﺳـ ﱠﻠﻢ ﺗﻘﺮﻳــﺮﺍ ﺻﺤﻔﻴــﺎ‪ ،‬ﺇﺫ ﻛﺎﻥ ﻳﻔﻜــﺮ ﻲﻓ‬
‫ﻃﺒﻴﻌــﺔ ﺍﻟﺘﻘﺮﻳــﺮ ﺍﻟﺘﺎﻟــﻲ‪ ،‬ﺩﻭﻥ ﺃﻥ ﻳﻨﻜــﺮ‬
‫ﻓﻀــﻞ ﺍﻟﺼﺤﺎﻓــﺔ ﻲﻓ ﺇﻏﻨــﺎﺀ ﺗﺠﺮﺑﺘــﻪ‪،‬‬
‫ﺭﻏــﻢ ﺃﻧﻬــﺎ ﺍﺳــﺘﻬﻠﻜﺖ ﻛﻞ ﻭﻗﺘــﻪ‬
‫ﻭﺗﻔﻜﻴــﺮﻩ ﻭﺟﻌﻠــﺖ ﻗﻠﻤــﻪ ﺍﻟﺮﻭﺍﺋــﻲ ﻲﻓ‬
‫ﺳــﺒﺎﺕ ﺃﺣﻴﺎﻧــﺎ‪ ،‬ﻟﻴﺘــﺮﻙ ﺍﻟﺼﺤﺎﻓــﺔ ﻣﺘﺄﺛــﺮﺍ‬
‫ﺑــﺂﺭﺍﺀ ﻫﻤﻨﻐــﻮﺍﻱ ﺃﻳﻀــﺎ‪ ،‬ﻭﻳﺸــﻌﺮ ﺑﺘﺤــﺮﺭﻩ‬
‫ﻣﻤﺎ ﺃﺳﻤﺎﻩ "ﺍﺿﻄﻬﺎﺩ ﺍﳌﻬﻨﺔ"‪.‬‬
‫ﺍﻟﻜﺎﺗﺐ ﺍﻟﻜﻮﻟﻮﻣﺒﻲ ﻏﺎﺑﺮﻳﻴﻞ ﻏﺎﺭﺳﻴﺎ ﻣﺎﺭﻛﻴﺰ‬
‫ﺗﺨﻀــﻊ ﻟﻜﺜﻴــﺮ ﻣــﻦ ﺍﻟﻘﻴــﻮﺩ ﺍﻷﺧﻼﻗﻴــﺔ‬
‫ﻭﺍﳌﻬﻨﻴﺔ‪.‬‬
‫ﻭﺗﺄﻛﻴــﺪﺍ ﻟﻘــﻮﻝ ﺍﻟﻜﺒﻴــﺮﻱ ﺳــﺎﺑﻘﺎ ﻣــﻦ ﺃﻥ‬
‫"ﺍﻟﺮﻭﺍﺋــﻲ ﺍﻟﺤﻘﻴﻘــﻲ ﻻ ﻳﺤﻠــﻢ ﺇﻻ ﺃﻥ‬
‫ﻳﺘﻔــﺮﻍ ﻟﻠﻘــﺮﺍﺀﺓ ﻭﺍﻟﻜﺘﺎﺑــﺔ"‪ ،‬ﻓﻘــﺪ‬
‫ﺗﻌﺎﻣــﻞ ﺑﻌــﺾ ﺍﻟﺮﻭﺍﺋﻴﻴــﻦ ﻣــﻊ ﺍﻟﺼﺤﺎﻓــﺔ‬
‫ﻛﻌﻨﺼــﺮ ﻳﺘﻌــﺎﺭﺽ ﻣــﻊ ﻣﻠﻜــﺔ ﺍﻟﻜﺘﺎﺑــﺔ‬
‫ﺍﻟﺮﻭﺍﺋﻴﺔ ﻲﻓ ﺑﻌﺾ ﺍﻷﺣﻴﺎﻥ‪.‬‬
‫"ﺍﺿﻄﻬﺎﺩ ﺍﳌﻬﻨﺔ"‬
‫ﻲﻓ ﻣﻘﺎﺑﻠﺘــﻪ ﺍﻟﺸــﻬﻴﺮﺓ ﻣــﻊ ﺟــﻮﺭﺝ‬
‫ﺑﻠﻴﻤﺒﺘــﻮﻥ ﻲﻓ ﻣﺠﻠــﺔ "ﺫﻱ ﺑﺎﺭﻳــﺲ‬
‫ﺭﻳﻔﻴﻮ" ﻋﺎﻡ ‪ ،1958‬ﺗﺤﺪﺙ ﺍﻟﺮﻭﺍﺋﻲ ﺍﻷﻣﻴﺮﻛﻲ‬
‫ﺇﺭﻧﺴــﺖ ﻫﻤﻨﻐــﻮﺍﻱ ﻋــﻦ ﻋﻼﻗــﺔ ﺗﺒــﺪﻭ‬
‫ﻣﺮﻛﺒــﺔ ﺑﻴــﻦ ﻧﻈــﺎﻡ ﺍﻟﺮﻭﺍﺋــﻲ ﻭﺇﺷــﻜﺎﻟﻴﺎﺕ‬
‫ﺍﻻﺳــﺘﻘﺮﺍﺭ ﺍﻟﻌﺎﻃﻔــﻲ ﻭﺍﻻﻗﺘﺼــﺎﺩﻱ‪ ،‬ﺃﻭ‬
‫ﻣﺨﺎﻃــﺮ ﺍﻻﻧﺘﻤــﺎﺀ ﺍﻟﺴﻴﺎﺳــﻲ ﺍﻟﺘــﻲ ﻳﻌﺒــﺮ‬
‫ﻋﻨﻬﺎ ﺍﻟﺮﻭﺍﺋﻲ ﻲﻓ ﺃﻋﻤﺎﻟﻪ ﺍﻷﺩﺑﻴﺔ‪.‬‬
‫ﻲﻓ ﺫﺍﺕ ﺍﳌﻘﺎﺑﻠــﺔ‪ ،‬ﺃﻭﺿــﺢ ﻫﻤﻨﻐــﻮﺍﻱ‬
‫ﻛﻴــﻒ ﺗﺘﻄﻠــﺐ ﺍﻟﺼﺤﺎﻓــﺔ ﺍﻧﺘﺒﺎﻫــﺎ‬
‫ﻭﺗﺸﻐﻞ ﺣﻴﺰﺍ ﺫﻫﻨﻴﺎ ﻲﻓ ﻋﻘﻞ‬

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‫ﺍﻟﻴﻮﻣﻴــﺔ‪ ،‬ﻭﺃﻱ ﻧــﺺ ﺁﺧــﺮ ﺣﺴــﺐ‬
‫ﺍﳌﻨﺎﺳﺒﺔ"‪.‬‬
‫ﻃﺮﻳــﻖ ﺍﻟﻜﺜﻴــﺮ ﻣــﻦ ﺍﻟﻌﻤــﻞ ﻲﻓ ﻣﺨﺘﻠــﻒ‬
‫ﻇﻬــﺮ ﻫــﺬﺍ ﺍﻟﻌﻤــﻮﺩ ﻣﺬﻳــﻼ ﺑﺎﺳــﻢ‬
‫"ﺳﺒﺘﻴﻤﻮﺱ"‪ ،‬ﺍﳌﺴﺘﻮﺣﻰ ﻣﻦ ﺭﻭﺍﻳﺔ‬
‫"ﺍﻟﺴﻴﺪﺓ ﺩﺍﻻﻭﻱ" ﻟﻔﺮﺟﻴﻨﻴﺎ ﻭﻭﻟﻒ‪.‬‬
‫ﻋــﺎﻡ ‪ ،1996‬ﻛﺘــﺐ ﻣﺎﺭﻛﻴــﺰ ﻧﺼﺎ ﻣــﻦ ‪2700‬‬
‫ﻭﻳــﺮﻯ ﻣﻨﺪﻳﻠﻴﻔﺘــﺶ ﺃﻥ ﻋﻠﻴﻨــﺎ ﺍﻟﻨﻈــﺮ‬
‫ﺇﻟــﻰ ﻣﺎﺭﻛﻴــﺰ ﻛﺼﺤﻔــﻲ ﻳﻜﺘــﺐ ﺍﻟﺮﻭﺍﻳــﺎﺕ‪،‬‬
‫ﻭﺭﻭﺍﺋﻲ ﻳﺤﻜﻲ ﺍﻟﻘﺼﺺ ﺍﻟﻮﺍﻗﻌﻴﺔ‪.‬‬
‫ﻟﺮﺍﺑﻄــﺔ "ﺇﻧﺘﺮﺃﻣﻴﺮﻛﺎﻧــﺎ" ﻟﻠﺼﺤﺎﻓــﺔ‪،‬‬
‫ﻲﻓ ﻣﺼــﺮ‪ ،‬ﻳﺒــﺮﺯ ﺍﻟﻜﺎﺗــﺐ ﺇﺣﺴــﺎﻥ ﻋﺒــﺪ‬
‫ﺍﻟﻘــﺪﻭﺱ‪ ،‬ﻭﻫــﻮ ﺳــﻠﻴﻞ ﻋﺎﺋﻠــﺔ ﻋﻤﻠــﺖ‬
‫ﺑﺎﻟﺼﺤﺎﻓــﺔ‪ ،‬ﺑــﻞ ﻛﺎﻧــﺖ ﺃﻣــﻪ ﺭﻭﺯ ﺍﻟﻴﻮﺳــﻒ‬
‫ﻣــﻦ ﺃﻧﺸــﺄ ﺻﺤﻴﻔــﺔ ﺣﻤﻠــﺖ ﺍﺳــﻤﻬﺎ‪،‬‬
‫ﻭﺗﻘﻠــﺪ ﻋﺒــﺪ ﺍﻟﻘــﺪﻭﺱ ﻣﻨﺎﺻــﺐ ﻓﻴﻬــﺎ‬
‫ﻻﺣﻘــﺎ ﻭﻲﻓ ﻏﻴﺮﻫــﺎ ﻣــﻦ ﺍﻟﺼﺤــﻒ‪ ،‬ﺇﻻ‬
‫ﺃﻧــﻪ ﺍﻧﻄﺒــﻊ ﻲﻓ ﺃﺫﻫــﺎﻥ ﺍﻟﻨــﺎﺱ‬
‫ﻛﺮﻭﺍﺋــﻲ‪ .‬ﻭﻳﺤﻴــﻞ ﺍﻟﺒﺎﺣــﺚ ﺷــﺮﻳﻒ ﻋﺒــﺪ‬
‫ﺍﻟﺠﺒــﺎﺭ ﺳــﺒﺐ ﺍﻧﺘﺸــﺎﺭ ﺭﻭﺍﻳﺎﺗــﻪ ﺇﻟــﻰ‬
‫"ﻟﻐﺘــﻪ ﺍﻟﺼﺤﻔﻴــﺔ ﺍﻟﺒﺴــﻴﻄﺔ‪ ،‬ﻭﺟــﺮﺃﺓ‬
‫ﺗﻨﺎﻭﻟــﻪ‪ ،‬ﻭﺍﻟﻀﺠــﺔ ﺍﻹﻋﻼﻣﻴــﺔ ﺍﻟﺘــﻲ‬
‫ﻛﺎﻧــﺖ ﺗﺜــﺎﺭ ﺣــﻮﻝ ﺭﻭﺍﻳﺎﺗــﻪ ﺑﺸــﻜﻞ‬
‫ﺟﻌﻠــﻪ ﺍﻟﻜﺎﺗــﺐ ﺍﻟﻮﺣﻴــﺪ ﺍﻟــﺬﻱ ﺍﻧﺘﺼــﺮ‬
‫ﻰﻠﻋ ﺗﺠﺎﻫــﻞ ﺍﻟﻨﻘــﺎﺩ ﻟــﻪ‪ ،‬ﻰﻠﻋ ﻋﻜــﺲ‬
‫ﺯﻣﻴﻠــﻪ ﺍﻟﻜﺎﺗــﺐ ﻣﺼﻄﻔــﻰ ﺃﻣﻴــﻦ ﺍﻟــﺬﻱ‬
‫ﺍﺭﺗﺒﻄــﺖ ﺻﻮﺭﺗــﻪ ﺑﺎﻟﺼﺤﺎﻓــﺔ ﺭﻏــﻢ ﺃﻧــﻪ‬
‫ﺧﺎﺽ ﻏﻤﺎﺭ ﺍﻟﺮﻭﺍﻳﺔ" ‪.‬‬
‫ﺍﻟﺮﻭﺍﺋﻲ ﺃﻣﻴﻦ ﻣﻌﻠﻮﻑ‬
‫ﻭﻋــﻦ ﺑﺪﺍﻳﺎﺗــﻪ ﺍﻟﺼﺤﻔﻴــﺔ ﻳﺆﻛــﺪ ﻣﺎﺭﻛﻴــﺰ‬ ‫ﻭﻳﺸــﻴﺮ ﻣﻨﺪﻳﻠﻴﻔﺘــﺶ ﺇﻟــﻰ ﺗﻌﺎﻣــﻞ‬
‫ﺃﻧــﻪ ﺻﻌــﺪ ﺍﻟﺴــﻠﻢ ﺷــﻴﺌﺎ ﻓﺸــﻴﺌﺎ ﻋــﻦ‬ ‫ﻣﺎﺭﻛﻴــﺰ ﻣــﻊ ﺍﻟﺼﺤﺎﻓــﺔ ﻛﺠﻨــﺲ ﺃﺩﺑــﻲ‪،‬‬
‫ﺃﻣــﺎ ﻋــﻦ ﺭﻭﺍﻳﺎﺗــﻪ ﻓﻘــﺪ ﻗــﺎﻝ ﻣﺎﺭﻛﻴــﺰ‬
‫َ‬
‫ﻣﺮﺍﺳﻞ‬ ‫ﺍﻷﻗﺴﺎﻡ‪ ،‬ﺣﺘﻰ ﺃﻧﻪ ﻋﻤﻞ‬ ‫ﻧﻔﺴــﻪ‪" :‬ﻟــﻦ ﺗﺠــﺪﻭﺍ ﻲﻓ ﺭﻭﺍﻳﺎﺗــﻲ ﺷــﻴﺌﺎ‬
‫"ﺣﺮﻳــﺮ"‪ ،‬ﻭﻫــﻮ ﻭﺻــﻒ ﺃﻃﻠﻘــﻪ ﻰﻠﻋ‬ ‫ﻻ ﻳﺮﺳﻲ ﻲﻓ ﺍﻟﻮﺍﻗﻊ"‪.‬‬
‫ﺍﳌﺮﺍﺳﻞ ﺍﻟﺬﻱ ﻳﻘﻮﻡ ﺑﻌﻤﻠﻪ ﺑﻔ ّﻨ ّﻴﺔ‪.‬‬
‫ﻋــﺎﻡ ‪ ،1988‬ﺃﻋــﺎﺩ ﺃﻟﻴﻜــﺲ ﻏﺮﻳﺨﻴﻠﻤﻮ ﻲﻓ‬
‫ﻛﻠﻤــﺔ ﺑﻌﻨــﻮﺍﻥ "ﺃﻓﻀــﻞ ﻣﻬﻨــﺔ ﻲﻓ‬ ‫ﺻﺤﻴﻔــﺔ "ﺇﻟﺒﺎﻳﻴــﺲ" ﻧﺸــﺮ ﻗﺼــﺔ ﻛﺘﺒﻬــﺎ‬
‫ﺍﻟﻌﺎﻟــﻢ"‪ ،‬ﺃﻟﻘــﺎﻩ ﻲﻓ ﻟــﻮﺱ ﺃﻧﺠﻠــﻮﺱ ﻲﻓ‬ ‫ﻣﺎﺭﻛﻴــﺰ ﻲﻓ ﺑﺪﺍﻳﺎﺗــﻪ ﺍﻟﺼﺤﻔﻴــﺔ ﺧــﻼﻝ‬
‫ﺍﻟﺬﻛــﺮﻯ ﺍﻟـــ‪ 52‬ﻟﻠﺠﻤﻌﻴــﺔ ﺍﻟﻌﺎﻣــﺔ‬ ‫ﻭﺭﺷــﺔ ﻋﻤــﻞ ﻟﺼﺤﻔﻴﻴــﻦ ﻲﻓ‬
‫"ﻛﺎﺭﺗﺎﺧﻴﻨــﺎ ﺩﻱ ﺇﻧﺪﻳــﺎﺱ"‪ .‬ﻳﺬﻛــﺮ ﻣﺎﺭﻛﻴــﺰ‬
‫ﻭﺍﻟﺘــﻲ ﺃﺻﺒﺤــﺖ ﺍﻟﻴــﻮﻡ ﻣــﻦ ﺃﻫــﻢ‬ ‫ﻛﻴــﻒ ﺗﻮﺟــﻪ ﺫﺍﺕ ﻳــﻮﻡ ﺇﻟــﻰ ﺟﺮﻳــﺪﺓ "ﺇﻝ‬
‫ﻣﺼــﺎﺩﺭ ﻛﻠﻴــﺎﺕ ﺍﻟﺼﺤﺎﻓــﺔ‪ ،‬ﻭﺑــﻪ‬ ‫ﺃﻭﻧﻴﻔﺮﺳــﺎﻝ"‪ ،‬ﻭﻗﺎﺑــﻞ ﺍﻟﺼﺤﻔــﻲ‬
‫ﺍﻟــﻮﺩﻱ ﻲﻓ ﺍﻟﺼﺤــﻒ‬ ‫ﱢ‬ ‫ﻳﺴــﺘﺤﻀﺮ ﺍﻟﺠــﻮ‬ ‫ﺍﻟﻜﻮﻟﻮﻣﺒــﻲ ﺍﻟــﺬﻱ ﺗﺄﺛــﺮ ﺑﻤﺪﺭﺳــﺘﻪ‬
‫ﻧﻬﺎﻳــﺔ ﺍﻷﺭﺑﻌﻴﻨﻴــﺎﺕ‪ ،‬ﺣﻴــﺚ ﻛﺎﻥ‬ ‫"ﻛﻠﻴﻤﻨــﺖ ﻣﺎﻧﻮﻳــﻞ ﺳــﺎﺑﺎﻻ"‪ ..‬ﻳﻘــﻮﻝ‬
‫ﺍﳌﺮﺍﺳــﻞ ﻫــﻮ ﺍﻟﺤﻠﻘــﺔ ﺍﻷﺿﻌــﻒ‪ ،‬ﻭﻛﺎﻥ‬ ‫ﻣﺎﺭﻛﻴــﺰ‪" :‬ﺃﺧﺒﺮﺗــﻪ ﺃﻧﻨــﻲ ﺃﺭﻳــﺪ ﺍﻟﻌﻤــﻞ‬
‫ﻫــﻮ ﺍﳌﺘــﺪﺭﺏ ﻭﺍﻟﺒــﺎﺫﻝ ﺟﻬــﺪﺍ ﻲﻓ ﺫﺍﺕ‬ ‫ﻫﻨــﺎﻙ‪ ،‬ﻭﺃﻧﻨــﻲ ﻧﺸــﺮﺕ ﻗﺼﺘﻴــﻦ ﻲﻓ ﺇﻝ‬
‫ﺍﻟﻮﻗــﺖ ﻟﺘﻜــﻮﻥ ﻛﺘﺎﺑﺎﺗــﻪ ﻣﻘﻨﻌــﺔ‬ ‫ﺇﺳــﺒﻴﻜﺘﺎﺫﻭﺭ ﻲﻓ ﺑﻮﻏﻮﺗــﺎ‪ ،‬ﻭﺍﻛﺘﺸــﻔﺖ‬
‫ﺗﺠﺬﺏ ﺍﻵﺭﺍﺀ‪.‬‬ ‫ﺃﻧــﻪ ﻛﺎﻥ ﻗــﺪ ﻗﺮﺃﻫﻤــﺎ‪ .‬ﻗــﺎﻝ ﻟــﻲ‪ :‬ﺍﺟﻠــﺲ‬
‫ﻭﺍﻛﺘــﺐ ﺧﺒــﺮﺍ‪ ..‬ﻗــﺮﺃﻩ ﺑﻌــﺪ ﺫﻟــﻚ ﺛــﻢ‬
‫ﻭﻲﻓ ﻣﺪﻳﻨــﺔ ﺑﺎﺭﺍﻧﻜﻴــﺎ ﺍﻟﻜﻮﻟﻮﻣﺒﻴــﺔ‪،‬‬ ‫ﺷــﻄﺒﻪ‪ ،‬ﺛــﻢ ﺟﻠــﺲ ﻟﻴﻜﺘــﺐ ﺍﻟﺨﺒــﺮ‬
‫ﻣــﺰﺝ ﻣﺎﺭﻛﻴــﺰ ﺍﻟﺮﻭﺗﻴــﻦ ﺍﻟﺼﺤﻔــﻲ‬ ‫ﺑﻨﻔﺴــﻪ ﺑﻴــﻦ ﺍﻟﺴــﻄﻮﺭ ﺍﳌﺸــﻄﻮﺑﺔ‪.‬‬
‫ﺑﺎﻹﺑــﺪﺍﻉ ﺍﻷﺩﺑــﻲ‪ ،‬ﻳﻘــﻮﻝ‪" :‬ﻛﻨــﺖ ﺃﻋﻤــﻞ‬ ‫ﻲﻓ ﺍﻟﺨﺒــﺮ ﺍﻟﺜﺎﻧــﻲ ﺃﻋــﺎﺩ ﻧﻔــﺲ‬
‫ﺻﺒﺎﺣــﺎ ﻲﻓ ﺗﺤﺮﻳــﺮ ﺇﻝ ﻫﻴﺮﺍﻟــﺪﻭ‪ ..‬ﺃﺗﻨــﺎﻭﻝ‬ ‫ﺍﻟﻌﻤﻠﻴــﺔ‪َ ..‬ﻧﺸــ َﺮ ﺍﻟﺨﺒﺮﻳــﻦ ﺩﻭﻥ ﺗﻮﻗﻴــﻊ‪،‬‬
‫ﻏﺬﺍﺋــﻲ ﺇﻥ ﺍﺳــﺘﻄﻌﺖ ﻭﺃﻳــﺎ ﻛﺎﻥ‪ ،‬ﻟﻜﻨﻨــﻲ‬ ‫ُ‬
‫ﻗﻀﻴــﺖ ﺃﻳﺎﻣــﺎ ﻭﺃﻧــﺎ ﺃﻓﻜــﺮ ﳌــﺎﺫﺍ‬ ‫ﺑﻴﻨﻤــﺎ‬
‫ﻰﻠﻋ ﺍﻷﻏﻠــﺐ ﻛﻨــﺖ ﺃﺩﻋــﻰ ﻣــﻦ ﻗﺒــﻞ‬ ‫ﺍﺳــﺘﺒﺪﻝ ﻫــﺬﺍ ﺑــﺬﺍﻙ؟ ﻭﻛﻴــﻒ ﻛﺘﺒــﻪ‬
‫ﺍﻷﺻﺪﻗــﺎﺀ ﻭﺍﻟﺴﻴﺎﺳــﻴﻴﻦ‪ .‬ﻲﻓ ﺍﳌﺴــﺎﺀ‪،‬‬ ‫ﻫــﻮ‪ ..‬ﻻﺣﻘــﺎ‪ ،‬ﺃﺻﺒــﺢ ﻳﺸــﻄﺐ ﻟــﻲ ﺟﻤــﻼ‬
‫ﻛﻨﺖ ﺃﺩ ﱢﻭﻥ "ﺍﻟﺰﺭﺍﻓﺔ"‪ ،‬ﻣﻘﺎﻟﺘﻲ‬ ‫ﺃﻗــﻞ‪ ،‬ﺣﺘــﻰ ﻭﺻﻠﻨــﺎ ﺇﻟــﻰ ﻳــﻮﻡ ﻟــﻢ‬
‫ﻳﺸــﻄﺐ ﻟــﻲ ﻓﻴــﻪ ﺷــﻴﺌﺎ ﺃﺑــﺪﺍ‪ُ ..‬ﻳﻔﺘــﺮﺽ‬
‫ﻣــﻦ ﺗﻠــﻚ ﺍﻟﻠﺤﻈــﺔ ﺃﻧﻨــﻲ ﺃﺻﺒﺤــﺖ‬
‫ﺻﺤﻔﻴﺎ"‪.‬‬
‫ﺫﻛــﺮ ﻣﺎﺭﻛﻴــﺰ ﺃﻳﻀــﺎ ﺟــﺪﺍﺭﺍ ﻣﺨﺼﺼــﺎ ﻲﻓ‬
‫ﺟﺮﻳــﺪﺓ "ﺇﻝ ﺃﻭﻧﻴﻔﺮﺳــﺎﻝ"‪ ،‬ﻛﺎﻧــﺖ ﺗﻌــﺮﺽ‬
‫ﺍﻟﺠﻤــﻞ ﺍﻟﺘــﻲ ُﻭﺿﻌــﺖ ﺗﺤﺘﻬــﺎ‬‫ﻓﻴــﻪ ُ‬
‫ﺧﻄــﻮﻁ ﺑﺴــﺒﺐ ﺍﺣﺘﻮﺍﺋﻬــﺎ ﻰﻠﻋ‬
‫ﺃﺧﻄــﺎﺀ‪ ،‬ﻭﻛﺎﻥ ﺫﻟــﻚ ﺍﳌــﻜﺎﻥ ﻳﺴــﻤﻰ‬
‫"ﺟــﺪﺍﺭ ﺍﻟﻌــﺎﺭ"‪ ،‬ﻭﻛﺎﻥ ﺍﻟﺠﻤﻴــﻊ ﻳﺨﺠــﻞ‬
‫ﻣﻦ ﺍﻟﻨﻈﺮ ﺇﻟﻴﻪ‪.‬‬
 ‫ﳌﻦ ﺗﻨﺘﺼﺮ ﻲﻓ‬
‫ﺍﻟﺤﺮﺏ؟‬
‫ﺟﻤﻌﻴــﺔ ﺧﻴﺮﻳــﺔ ﻭﻟﻴــﺲ ﺻﺤﻔﻴــﺎ ﻻ‬
‫ﺣﻴﻠــﺔ ﺑﻴــﺪﻩ ﺳــﻮﻯ ﻛﺎﻣﻴــﺮﺍ ﻭﻣﻴﻜﺮﻓــﻮﻥ‬
‫ﻭﺩﻣــﻮﻉ ﻳﺤــﺎﻭﻝ ﺟﺎﻫــﺪﺍ ﺃﻥ ﻳﺪﺍﺭﻳﻬــﺎ‪ ..‬ﺃﻭ‬
‫ﺃﻥ ﺃﺿﻄــﺮ ﻟﻠﺘﺪﺧــﻞ ﻲﻓ ﻓــﺾ ﻧــﺰﺍﻉ ﺑﻴــﻦ‬
‫ﻋﺠــﻮﺯ ﻗــﺮﺭﺕ ﺃﻥ ﺗــﺮﻭﻱ ﻗﺼﺘﻬــﺎ ﻲﻓ‬
‫ﺍﻟﻨــﺰﻭﺡ ﻟﻨــﺎ ﺃﻣــﺎﻡ ﺭﻓــﺾ ﺍﺑﻨﻬــﺎ ﺫﻟــﻚ‪،‬‬
‫ﻭﺃﻥ ﻧﺮﺿــﺦ ﻟﻄﻠــﺐ ﺃﺳــﺮﺓ ﻏﻴــﺮﺕ ﺭﺃﻳﻬــﺎ‬
‫ﻭﺗﻮﺳــﻠﺖ ﻛــﻲ ﻻ ﻧﺒــﺚ ﺍﻟﺘﻘﺮﻳــﺮ ﻰﻠﻋ‬
‫ﺍﻟﺸﺎﺷــﺔ ﺑﻌــﺪ ﺃﻥ ﺻﻮﺭﻧــﺎﻩ ﻛــﻲ ﻻ ﻳﻌــﺮﻑ‬
‫ﺑﺤﺎﻟﻬــﺎ ﺃﻓﺮﺍﺩﻫــﺎ ﺍﳌﺘﻔﺮﻗــﻮﻥ ﻲﻓ ﻣــﺪﻥ‬
‫ﻳﻤﻨﻴــﺔ ﺃﺧــﺮﻯ ﻓﻴﺼﻴﺒﻬــﻢ ﺍﻟﻘﻠــﻖ‪ .‬ﻛﺎﻥ‬
‫ﻋﻠﻴﻨــﺎ ﺃﻥ ﻧﺴــﺘﻤﻊ ﻟﺼــﻮﺕ ﺍﻹﻧﺴــﺎﻥ‬
‫ﺍﻟــﺬﻱ ﻋــﻼ ﻓﻴﻨــﺎ ﺃﻛﺜــﺮ ﻣــﻦ ﺻــﻮﺕ‬
‫ﺍﳌﻬﻨــﺔ‪ ،‬ﻣــﻊ ﻫــﺬﺍ ﻓﻘــﺪ ﻛﺎﻥ ﺍﻟﻮﺍﺟــﺐ‬
‫ﻳﺤﺘــﻢ ﻋﻠﻴﻨــﺎ ﻧﻘــﻞ ﺍﳌﺄﺳــﺎﺓ ﻭﺍﻟﺸــﻬﻮﺩ‪،‬‬
‫ﻗﺮﺭﻧــﺎ ﺑﺎﻻﺗﻔــﺎﻕ ﻣــﻊ ﺍﻷﺳــﺮﺓ ﺇﻇﻬــﺎﺭ‬
‫ﺍﻟﺘﻘﺮﻳﺮ ﻰﻠﻋ ﺃﻻ ﺗﻈﻬﺮ ﻭﺟﻮﻫﻬﻢ ﺃﺑﺪﺍ‪.‬‬
‫ﻛﺎﻥ ﺍﺧﺘﻴﺎﺭﻧــﺎ ﻟﻮﻗــﺖ ﺍﻟﻈﻬﻴــﺮﺓ ﻣﻘﺼــﻮﺩﺍ‬
‫ﻗﻠــﺖ ﻟﻠﻤﺼــﻮﺭ‪ :‬ﻫــﺎ ﻗــﺪ ﺃﻧﻬﻴﻨــﺎ ﺟــﺰﺀﺍ‬
‫ﻣــﻦ ﻋﻤﻠﻨــﺎ‪ ..‬ﺍﻟﺠــﺰﺀ ﺍﻷﻫــﻢ ﻫــﻮ ﺃﻥ‬
‫ﻧﺒﻨــﻲ ﺳــﻴﺎﺟﺎ ﺣــﻮﻝ ﺇﻧﺴــﺎﻧﻴﺘﻨﺎ‪ ،‬ﻓــﻼ‬
‫ﻧﺴــﻤﺢ ‪-‬ﻟﺘﻠــﻚ ﺍﳌﺸــﺎﻫﺪ ﺍﻟﺘــﻲ ﺑﺎﺗــﺖ‬
‫ﺍﻋﺘﻴﺎﺩﻳﺔ‪ -‬ﺑﺎﻗﺘﺤﺎﻣﻬﺎ‪.‬‬
‫ﺍﻷﻫﺎﻟــﻲ ﺣﻴــﻦ ﺃﺩﺭﻛــﺖ ﺃﻥ ﺍﻟﺼﺤﻔــﻲ ﻟــﻦ‬
‫ﺃﻛﺜﺮ ﻣﻦ ﺣﺮﺏ‬
‫ﻣﻬﻨﻴــﺔ ﻲﻓ ﻋﻤﻠــﻪ‪ -‬ﻣــﻦ ﻣﻨــﻊ ﺗﻠــﻚ‬
‫ﻲﻓ ﺍﻟﻮﺍﻗــﻊ‪ ،‬ﻟــﻢ ﺃﻛــﻦ ﺃﻋﻴــﺶ ﺣﺮﺑــﺎ‬
‫ﻭﺍﺣــﺪﺓ‪ ،‬ﺑــﻞ ﺍﺛﻨﺘﻴــﻦ‪ ..‬ﻭﺭﺑﻤــﺎ ﺃﻛﺜــﺮ‪.‬‬
‫ﺣــﺮﺏ ﺟﻴــﻮﺵ ﻭﺃﺳــﻠﺤﺔ ﻭﺃﻃــﺮﺍﻑ‬ ‫ُ‬
‫ﻋﻠــﻲ ﺃﻥ ﺃﻏﻄــﻲ ﺃﺣﺪﺍﺛﻬــﺎ‬‫ﱠ‬ ‫ﻣﺘﻨﺎﺯﻋــﺔ‬
‫ﺑﺄﻣﺎﻧــﺔ ﻭﻣﻬﻨﻴــﺔ ﻭﺃﻥ ﺃﻧﺴــﻰ ﻣﻮﻗﻔــﻲ‬
‫ﻭﺣــﺮﺏ‬
‫ٌ‬ ‫ﺍﻟﺸــﺨﺼﻲ ﻲﻓ ﺧﻀﻤﻬــﺎ‪،‬‬
‫ﻧﻔﺴــﻴﺔ ﺩﺍﺧﻠﻴــﺔ‪ ،‬ﺗﺘﺼــﺎﺭﻉ ﻓﻴﻬــﺎ‬
‫ﺍﳌﻬﻨﺔ ﻣﻊ ﺍﻟﺬﺍﺕ‪ ،‬ﻟﻜﻨﻚ ﻛﺼﺤﻔﻲ‪،‬‬
‫ﺣﻤﺪﻱ ﺍﻟﺒﻜﺎﺭﻱ‬
‫"ﺣﺴــﻨﺎ ﺻــﺎﺭ ﻟﺪﻳﻨــﺎ ﺃﻛﺜــﺮ ﻣــﻦ ﻗﺼــﺔ"‪،‬‬
‫ﻗﻠــﺖ ﻟﻠﻤﺼــﻮﺭ ﻭﻧﺤــﻦ ﻧﻐــﺎﺩﺭ ﺍﳌﺪﻳﻨــﺔ‬‫ُ‬
‫ﺃﻥ ﻳﻜﻮﻥ ﺍﻟﺼﺤﻔﻲ‬ ‫ﺍﻟﻘﺪﻳﻤــﺔ ﻲﻓ ﺗﻌــﺰ ﺑﻴﻨﻤــﺎ ﻛﺎﻧــﺖ‬
‫ﺃﺻﻮﺍﺕ ﺍﳌﺪﻓﻌﻴﺔ ُﺗﺴﻤﻊ ﻣﻦ ﺑﻌﻴﺪ‪.‬‬
‫ﺇﻧﺴﺎﻧﺎ ﻣﻨﺤﺎﺯﺍ ﻟﻠﺤﻖ‬
‫ﻳﻌﻨﻲ ﺃﻳﻀﺎ ﺃﻥ ﻳﻨﺘﺒﻪ‬ ‫ﻛﺎﻧــﺖ ﺍﳌﻮﺍﺟﻬــﺎﺕ ﺑﻴــﻦ ﺍﻟﺤﻮﺛﻴﻴــﻦ‬
‫ﳌﺮﺍﻋﺎﺓ ﺍﻟﻘﻮﺍﻋﺪ‬ ‫ﻭﺍﳌﻘﺎﻭﻣــﺔ ﻰﻠﻋ ﺃﺷــﺪﻫﺎ ﻲﻓ ﺫﻟــﻚ‬
‫ﺍﻟﻨﻬــﺎﺭ ﺍﻟﻘﺎﺋــﻆ‪ ،‬ﻭﺍﻟﻘﺬﺍﺋــﻒ ﺗﺴــﻘﻂ ﻣــﻦ‬
‫ﺍﻟﺼﺤﻔﻴﺔ‪ ،‬ﻓﺎﳌﻄﻠﻮﺏ‬ ‫ﺣﻴــﻦ ﻵﺧــﺮ ﻰﻠﻋ ﺑﻌــﺾ ﺍﻷﺣﻴــﺎﺀ‬
‫ﻣﻨﻪ ﻧﻘﻞ ﺃﺣﻮﺍﻝ ﺍﻟﻨﺎﺱ‬ ‫ﺍﻟﺴــﻜﻨﻴﺔ‪ .‬ﻭﻛﺎﻟﻌــﺎﺩﺓ ﻛﺎﻥ ﻳﺘﻮﺟــﺐ‬
‫ﻋﻠﻴﻨــﺎ ﺃﺧــﺬ ﺍﻟﺤﻴﻄــﺔ ﻭﺍﻟﺤــﺬﺭ‪ ،‬ﻭﻟﻜــﻦ‬
‫ﻻ ﺃﺣﺰﺍﻧﻪ‪.‬‬ ‫ﻲﻓ ﻫــﺬﻩ ﺍﳌــﺮﺓ ﻛﺎﻥ ﻋﻠﻴﻨــﺎ ﺃﻳﻀــﺎ‬
‫ﺍﻹﺳــﺮﺍﻉ ﻲﻓ ﺗﻨــﺎﻭﻝ ﻭﺟﺒــﺔ ﺍﻟﻐــﺪﺍﺀ‬
‫ﻟﻠﺒــﺪﺀ ﻲﻓ ﺇﻧﺠــﺎﺯ ﻗﺼــﺔ ﻋــﻦ ﻭﻓــﺎﺓ‬
‫ﻣﺮﻳــﺾ ﺑــﺪﺍﺀ ﺍﻟﺴــﻜﺮ ﺑﻌــﺪ ﺃﻥ ﺻﻌــﺐ‬
‫ﺃﻃﻔﺎﻝ ﻳﻠﻌﺒﻮﻥ ﻛﺄﻥ ﺣﺮﺑﴼ ﻟﻢ ﺗﻘﻢ‪.‬‬ ‫ﻰﻠﻋ ﻋﺎﺋﻠﺘــﻪ ﺗﻮﻓﻴــﺮ ﻣــﺎ ﻳﺤﺘﺎﺟــﻪ ﻣــﻦ‬
‫ﺩﻭﺍﺀ ﺟﺮﺍﺀ ﺣﺼﺎﺭ ﺍﻟﺤﻮﺛﻴﻴﻦ ﻟﻠﻤﺪﻳﻨﺔ‪.‬‬
‫ﺑﺜﺘﻬــﺎ ﺷﺎﺷــﺔ‬ ‫ﻭﺛﻘﻨــﺎ ﺍﻟﻮﺍﻗﻌــﺔ ﻭﻻﺣﻘــﺎ ﱠ‬
‫ﱠ‬
‫ـﺪﻭﺍﻉ ﺃﻣﻨﻴــﺔ ﺑــﻞ ﺗﻮﺍﻃــﺆﺍ‬ ‫ﺍﻟﺠﺰﻳــﺮﺓ‪ ،‬ﻟﻜﻨﻬــﺎ ﻛﺎﻧــﺖ ﺑﺎﻟﻨﺴــﺒﺔ‬
‫ﻟﻴــﺲ ﻓﻘــﻂ ﻟـ ٍ‬
‫ﻣﻨــﺎ ﻣــﻊ ﻧﻬــﺎﺭٍ ﺳﻴﻜﺸــﻒ ﻟﻨــﺎ ﺣﺠــﻢ‬ ‫ﳌﺮﺍﺳــﻞ ﻳﻐﻄــﻲ ﻳﻮﻣﻴــﺎﺕ ﺍﻟﺤــﺮﺏ ﻲﻓ‬
‫ﺍﳌﺄﺳــﺎﺓ ﺑﻨﻔﺴــﻪ‪ .‬ﺍﻧﺼــﺐ ﺗﻔﻜﻴــﺮﻱ ﻰﻠﻋ‬ ‫ﻣﺪﻳﻨــﺔ ﻣﺤﺎﺻــﺮﺓ ﻣﺪﻋــﺎﺓ ﻷﺣــﺰﺍﻥ‬
‫ﺍﻟﻄﺮﻳﻘــﺔ ﺍﻟﺘــﻲ ﺃﺑﻴــﻦ ﻓﻴﻬــﺎ ﺑﺸــﺎﻋﺔ‬ ‫ﻣﻀﺎﻋﻔــﺔ‪ ،‬ﻓﻬــﻲ ﻗﺼــﺔ ﻻ ﺗﻨﻔﺼــﻞ ﻋــﻦ‬
‫ﺍﻟﺤــﺮﺏ ‪-‬ﺃﻱ ﺣــﺮﺏ‪ -‬ﻭﺍﻧﻌﻜﺎﺳــﺎﺗﻬﺎ ﻰﻠﻋ‬ ‫ﺃﻭﺟــﺎﻉ ﻳﻮﻣﻴــﺔ ﺗﻌﻴﺸــﻬﺎ ﻣــﺪﻥ ﺍﻟﺤــﺮﻭﺏ‬
‫ﻭﺍﻟﺼﺮﺍﻋــﺎﺕ ﺍﳌﺴــﻠﺤﺔ‪ ،‬ﻟﻜﻨﻬــﺎ ﻟــﻢ ﺗﻜــﻦ‬
‫ﻳﺘﻤﻜــﻦ ‪-‬ﻣﻬﻤــﺎ ﺣــﺎﻭﻝ ﺃﻥ ﻳﺒــﺪﻱ‬ ‫ﻛﻞ ﺍﻟﺤﻜﺎﻳﺔ‪.‬‬
‫ﺍﻻﻧﻌﻜﺎﺳﺎﺕ ﻣﻦ ﺍﻟﻮﺻﻮﻝ ﺇﻟﻴﻪ‪.‬‬ ‫ﻣﺒــﺎﻥ ﻣﺘﻮﺍﺿﻌــﺔ ﺗﻮﺷــﻚ ﻰﻠﻋ‬ ‫ٍ‬
‫ﺍﻟﺴــﻘﻮﻁ‪ ..‬ﺃﺳــﺮ ٌﺓ ﻛﺒﻴــﺮﺓ ﻣــﺎ ﻋــﺎﺩﺕ‬
‫ﻭﻣــﻦ ﺃﺟــﻞ ﺃﻥ ﺃﻧﺠــﺢ ﻲﻓ ﺗﺼﻮﻳــﺮ ﺍﻟﻔﻘــﺮ‬ ‫ﻭﺟﺒــﺔ ﺍﻟﻐــﺪﺍﺀ ﺗﺸــﻜﻞ ﻟﻬــﺎ ﻭﻗــﺖ‬
‫ﻭﺍﻟﺠــﻮﻉ ﻭﺍﻟﺘﺸــﺮﺩ ﺍﻟــﺬﻱ ﻟﺤــﻖ ﺑﺎﻟﻨــﺎﺱ‬ ‫ﺍﺟﺘﻤــﺎﻉ ﺍﻟﻌﺎﺋﻠــﺔ‪ ،‬ﺑــﻞ ﻓﺮﺻــﺔ ﻟﺘﺬﻛﻴﺮﻫــﺎ‬
‫ﺟــﺮﺍﺀ ﺍﻟﺤــﺮﺏ‪ ،‬ﻛﺎﻥ ﻋﻠــﻲ ﺃﻥ ﺃﻛــﻮﻥ‬ ‫ﺑﺸــﻈﻒ ﺍﻟﻌﻴــﺶ ﻭﺍﻟﻔﻘــﺪ ﺍﻟــﺬﻱ‬
‫ﻣﻨﻬــﻢ‪ ..‬ﺃﻥ ﺃﻧــﺎﺩﻱ ﺗﻠــﻚ ﺍﻟﻌﺠــﻮﺯ ﺍﻟﺘــﻲ‬ ‫ﻓﻘــﺪ ﻣﻌﻴﻠﻬــﺎ‪ ،‬ﻋﺠﺎﺋــﺰ‬
‫ِ‬ ‫ﻋﺎﻳﺸــﺘﻪ ﺟــﺮﺍﺀ‬
‫ﺃﻗﻌﺪﺗﻬــﺎ ﺍﻟﺤــﺮﺏ ﻋــﻦ ﺍﻟﻌﻤــﻞ ﻭﺃﺑﻌــﺪﺕ‬ ‫ﻭﻣﺮﺿــﻰ ﻳﺤﺘﺎﺟــﻮﻥ ﻟﻠــﺪﻭﺍﺀ ﻓــﻼ‬
‫ﻭﻟﺪﻫــﺎ ﻋﻨﻬــﺎ ﺑـ"ﻳــﺎ ﺃﻣــﻲ"‪ ..‬ﺍﻟﻌﺠــﻮﺯ‬ ‫ﻳﺠﺪﻭﻧــﻪ ﻭﺇﻥ ﺗﻮﻓــﺮ ﻻ ﻳﺴــﺘﻄﻴﻌﻮﻥ‬
‫ﺍﻟﺘﻲ ﺗﻤ ﱠﻨﺖ ﻟﻮ ﻛﻨﺖ ﻋﻀﻮﺍ ﻲﻓ‬ ‫ﺷﺮﺍﺀﻩ‪ ..‬ﻭﻲﻓ ﻭﺳﻂ ﺍﻟﺒﺎﺣﺔ‪ ،‬ﺛﻤﺔ‬
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‫ﻛــﻢ ﻣــﺮﺓ ﻛﻨــﺎ ﻰﻠﻋ ﻭﺷــﻚ ﺃﻥ ﻧﺼﺒــﺢ‬
‫ﻲﻓ ﺗﻌــﺪﺍﺩ ﺍﻟﻘﺘﻠــﻰ ﺃﻭ ﺍﻟﺠﺮﺣــﻰ؟ ﻻ‬
‫ﺃﺫﻛــﺮ‪ ،‬ﻟﻜــﻦ ﻟــﻜﻞ ﺃﺟــﻞ ﻣﻮﻋــﺪﻩ ﻭﻻ ﺑــﺪ‬
‫ﻣﻦ ﺇﺣﺴﺎﻥ ﺍﻟﺘﻌﺎﻣﻞ ﻣﻊ ﺍﳌﺨﺎﻃﺮ‪.‬‬
‫ﻭﻟﻌــﻞ ﺍﳌﺨــﺎﻭﻑ ﺗﺘﺰﺍﻳــﺪ ﺃﻛﺜــﺮ ﻋﻨــﺪ‬
‫ﺍﻟﻮﺻــﻮﻝ ﺇﻟــﻰ ﺧﻄــﻮﻁ ﺍﻟﺘﻤــﺎﺱ‪ ،‬ﻓﺄﻧــﺖ‬
‫ﻻ ﺗــﺪﺭﻱ ﺃﻱ ﺭﺻﺎﺻــﺔ ﻗــﺪ ﺗﺼــﻞ ﺇﻟﻴــﻚ‪..‬‬
‫ﻭﻓــﻮﻕ ﺫﻟــﻚ‪ ،‬ﺃﻧــﺖ ﺃﻣــﺎﻡ ﻣــﺎ ﻫــﻮ ﺃﻧﻜــﻰ‬
‫ﺣﻴــﻦ ﺗــﺮﻯ ﻣﻘﺎﺗﻠﻴــﻦ ﻳﺴــﻘﻄﻮﻥ ﺗﺒﺎﻋــﺎ‬
‫ﺑﻴﻦ ﻗﺘﻴﻞ ﻭﺟﺮﻳﺢ‪.‬‬
‫ﺇﻧــﻪ ﻣﺸــﻬﺪ ﻳﻠﺨــﺺ ﺍﺣﺘﻤﺎﻟﻴــﺔ ﻣﻮﺗــﻚ‬
‫ﺃﻭ ﺇﺻﺎﺑﺘــﻚ‪ ،‬ﻭﻣــﻊ ﺫﻟــﻚ ﻳﻨﺒﻐــﻲ ﻋــﺪﻡ‬
‫ﺍﻟﺴــﻤﺎﺡ ﺑﺘﺴــﻠﻞ ﻣﺸــﺎﻫﺪ ﺍﻟﺠﺜــﺚ‬
‫ﻭﺍﻟﺪﻣــﺎﺀ ﻟﺘﺴــﻴﻄﺮ ﻰﻠﻋ ﻧﻔﺴــﻴﺘﻚ‬
‫ﻭﺗﺒﻘﻴﻚ ﺣﺒﻴﺲ ﺭﻋﺒﻬﺎ‪.‬‬
‫ﺗﺤﻠــﻰ ﺑﺎﻟﺘﻤﺎﺳــﻚ‪ ،‬ﺇﻧﻬــﺎ ﺣــﺮﺏ ﻭﻟﻴﺴــﺖ‬
‫ﺍﺳــﺘﻌﺮﺍﺿﺎ ﺭﻳﺎﺿﻴــﺎ ﺃﻭ ﻣﻬﺮﺟﺎﻧــﺎ ﻟﻠﻔﻨــﻮﻥ‬
‫ﺗﺬﻛــﺮ ﺃﻧــﻚ ﻗــﺮﺭﺕ ﺑﻨﻔﺴــﻚ‬‫ﺍﻟﺸــﻌﺒﻴﺔ‪ّ ..‬‬
‫ﺗﻐﻄﻴﺘﻬــﺎ‪ ،‬ﻭﻋﻠﻴــﻚ ﺃﻥ ﺗﻌــﺮﻑ ﺑﺄﻧــﻚ ﺇﺫﺍ‬
‫ﺗﺄﺛــﺮﺕ ﻧﻔﺴــﻴﺎ ﺑﺸــﻜﻞ ﺳــﻠﺒﻲ‬
‫ﻓﺴــﻴﻨﻌﻜﺲ ﺫﻟــﻚ ﻰﻠﻋ ﺃﺩﺍﺋــﻚ‪،‬‬
‫ﻓﺘﻘﺼــﺮ ﻲﻓ ﻋﻤﻠــﻚ‪ .‬ﻫــﺬﺍ ﺃﻭﻻ؛ ﻭﺛﺎﻧﻴــﺎ‪،‬‬
‫ّ‬
‫ﻟــﻦ ﻳﻤﻨﺤــﻚ ﺍﻷﻣــﺮ ﻓﺮﺻــﺔ ﺍﻻﺳــﺘﻤﺮﺍﺭ‬
‫ﻲﻓ ﺍﻟﻌﻤــﻞ ﻭﻧﻘــﻞ ﻭﻗﺎﺋــﻊ ﺍﳌﻌــﺎﺭﻙ‪،‬‬
‫ﺧﺎﺻــﺔ ﺇﺫﺍ ﺍﺳــﺘﻤﺮ ﺯﻣﻨﻬــﺎ ﻃﻮﻳــﻼ ﻛﻤــﺎ‬
‫ﻳﺤــﺪﺙ ﻲﻓ ﺍﻟﻴﻤــﻦ ﻭﺑﻠــﺪﺍﻥ ﺃﺧــﺮﻯ‪،‬‬
‫ﻭﻟﻬﺬﺍ ﺍﻟﺴﺒﺐ ﺣﺎﻭﻟﺖ ﺷﺨﺼﻴﺎ ﺗﺠﺎﻭﺯ‬
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‫ﻻ ﺑــﺪ ﺃﻥ ﺗﻌﻘــﺪ ﺻﻠﺤــﺎ ﺑﻴﻨﻬﻤــﺎ ﻳﻜــﻮﻥ‬
‫ﺍﻟﻮﺳــﻄﺎﺀ ﻓﻴــﻪ ﺍﻟﺘﺠﺮﺑــﺔ ﺍﻟﻨﺎﺿﺠــﺔ‬
‫ﻭﻧﺼﺎﺋﺢ ﺍﻹﻋﻼﻡ ﺍﻟﺠﺎﺩ‪.‬‬
‫ﻭﺃﻥ ﻳﻜــﻮﻥ ﺍﻟﺼﺤﻔــﻲ ﺇﻧﺴــﺎﻧﺎ ﻣﻨﺤــﺎﺯﺍ‬
‫ﻟﻠﺤــﻖ ﻳﻌﻨــﻲ ﺃﻳﻀــﺎ ﺃﻥ ﻳﻨﺘﺒــﻪ ﳌﺮﺍﻋــﺎﺓ‬
‫ﺍﻟﻘﻮﺍﻋــﺪ ﺍﻟﺼﺤﻔﻴــﺔ ﺣﻴــﻦ ﻳﻨﻘــﻞ‬
‫ﺍﻟﺼﻌﺒــﺔ‪،‬‬ ‫ﺍﻹﻧﺴــﺎﻧﻴﺔ‬ ‫ﺍﻟﺘﺠــﺎ ﺭﺏ‬
‫ﻓﺎﳌﻄﻠــﻮﺏ ﻣﻨــﻪ ﻧﻘــﻞ ﺃﺣــﻮﺍﻝ ﺍﻟﻨــﺎﺱ ﻻ‬
‫ﺃﺣﺰﺍﻧــﻪ‪ ،‬ﻭﻰﻠﻋ ﺍﻷﻏﻠــﺐ ﺳــﻴﻜﻮﻥ ﻟــﻪ‬
‫ﺫﻟــﻚ ﺇﻥ ﺻــﺎﺭ ﺟــﺰﺀﺍ ﻣﻨﻬــﻢ ﻭﺗﻤﻜــﻦ ﻣــﻦ‬
‫ﺃﻥ ﻳﻜﻮﻥ ﺍﻟﻨﺎﻗﻞ ﺍﻷﻣﻴﻦ ﻟﺤﻴﺎﺗﻬﻢ‪.‬‬
‫ﻣــﻊ ﻫــﺬﺍ‪ ،‬ﻻ ﻳﻨﺠــﺮ ﺍﳌﺮﺍﺳــﻞ ﻭﺭﺍﺀ ﺃﻗــﻮﺍﻝ‬
‫ﺍﻟﻨــﺎﺱ ﻣﻬﻤــﺎ ﻛﺒــﺮﺕ ﻣﻌﺎﻧﺎﺗﻬــﻢ ﺃﻣــﺎﻡ‬
‫ﻋﻴﻨﻴــﻪ ﺩﻭﻥ ﺃﻥ ﻳﺴــﺘﺨﺪﻡ ﺃﺩﻭﺍﺕ‬
‫ﺍﻟﺼﺤﻔــﻲ ﻣــﻦ ﺍﻹﳌــﺎﻡ ﺑﺎﻟﺘﻔﺎﺻﻴــﻞ‬
‫ﻭﺍﻟﻘــﺪﺭﺓ ﻰﻠﻋ ﺍﻟﺘﻤﺤﻴــﺺ ﻭﺍﻟﺘﺪﻗﻴــﻖ‬
‫ﻣﺤﺼﻠــﺔ ﻟﺘﻠــﻚ ﺍﻟﺤــﺮﺏ‪،‬‬
‫ﱢ‬ ‫ﺍﻹﻧﺴــﺎﻧﻲ ﻫــﻮ‬ ‫ﻭﺗﻘﺪﻳــﻢ ﺍﻟﺸــﻮﺍﻫﺪ ﺍﳌﻮﺛﻘــﺔ‪ ،‬ﻓﻔــﻲ‬
‫ﻭﻟﻘــﺪ ﻣﻨﺤﺘﻨــﻲ ﺗﻐﻄﻴــﺔ ﺍﻟﺤــﺮﺏ ﻲﻓ‬ ‫ﻗﺼــﺔ ﺍﻟﺮﺟــﻞ ﺍﳌﺘﻮﻓــﻰ ﺑﺴــﺒﺐ‬
‫ﻋــﺪﻥ ﻭﺗﻌــﺰ ﻟﻠﺸــﺄﻧﻴﻦ ﺍﻟﻌﺴــﻜﺮﻱ‬ ‫ﺍﻧﻘﻄــﺎﻉ ﺍﻟــﺪﻭﺍﺀ ﻣﺜــﻼ‪ ،‬ﻛﺎﻥ ﻋﻠــﻲ‬
‫ﻭﺍﻹﻧﺴــﺎﻧﻲ ﺗﺠﺮﺑــﺔ ﺍﻹﺑﻘــﺎﺀ ﻰﻠﻋ ﺣﺎﻟــﺔ‬ ‫ﺍﻟﺘﻮﺛــﻖ ﻣــﻦ ﺍﻟﺤﺎﺩﺛــﺔ ﻣــﻦ ﻃﺒﻴــﺐ‬
‫ﺍﻟﺘﻤﺎﺳﻚ‪.‬‬ ‫ﻧﺎﺷﻂ ﻳﻌﻤﻞ ﻲﻓ ﺍﳌﺠﺎﻝ ﺍﻹﻧﺴﺎﻧﻲ‪.‬‬
‫ﻭﻣﻬﻤــﺔ ﻫــﻲ ﺍﻟﺘﻔﺎﺻﻴــﻞ ﻲﻓ ﻣﻬﻨــﺔ‬ ‫ﱞ‬
‫ﺍﻟﺼﺤﺎﻓــﺔ ﻟﻴــﺲ ﻓﻘــﻂ ﻟﻺﺣﺎﻃــﺔ‬
‫ﺍﻟﺒﺤﺚ ﻋﻦ ﻗﺼﺔ‬ ‫ﺑﺎﻟﺘﻨــﺎﻭﻻﺕ ﺍﻟﺼﺤﻔﻴــﺔ ﻭﺇﻧﻤــﺎ ﺃﻳﻀــﴼ ﻷﻧﻬــﺎ‬
‫ﺗﻘ ﱢﺮﺑــﻚ ﻣــﻦ ﺃﺑﻄﺎﻟﻬــﺎ ﺃﻛﺜــﺮ‪ ،‬ﻭﻋﻨﺪﻣــﺎ‬
‫ﺗﻘﺘــﺮﺏ ﻣــﻦ ﺃﺑﻄﺎﻟــﻚ ﻭﺗﻌﺎﻳــﺶ‬
‫ﺍﻟﺘﻤﺎﺳــﻚ ﺑﺎﻟﻨﺴــﺒﺔ ﻟﻠﺼﺤﻔــﻲ ﺃﺛﻨــﺎﺀ‬ ‫ﺗﺠﺮﺑﺘﻬــﻢ ﻳﻄﻤﺌﻨــﻮﻥ ﻟــﻚ ﺃﻛﺜــﺮ‬
‫ﺗﻐﻄﻴــﺔ ﺣــﺮﺏ ﻣــﺎ ﻫــﻮ ﻋﺎﻣــﻞ ﻧﻔﺴــﻲ‬ ‫ﻭﺗﺤﺼــﻞ ﻣﻨﻬــﻢ ﻰﻠﻋ ﻣــﺎ ﺗﺮﻳــﺪ ﻣــﻦ‬
‫ﻣﻬــﻢ ﺟــﺪﺍ ﻳﺒــﺪﺃ ﺑﻘﺘــﻞ ﺍﳌﺨــﺎﻭﻑ‬ ‫ﻣﻌﻠﻮﻣﺎﺕ‪.‬‬
‫ﺍﻟﺪﺍﺧﻠﻴــﺔ ﻭﺍﺗﺨــﺎﺫ ﺍﻟﻘــﺮﺍﺭ ﺍﳌﻨﺎﺳــﺐ ﻲﻓ‬
‫ﺍﳌــﻜﺎﻥ ﻭﺍﻟﺰﻣــﺎﻥ ﺍﳌﻨﺎﺳــﺒﻴﻦ‪ ..‬ﻓــﺈﺯﺍﺀ‬ ‫ﺑﻴــﺪ ﺃﻥ ﺍﻟﺼــﻮﺭﺓ ﻻ ﺗﺒــﺪﻭ ﺑﻬــﺬﻩ‬
‫ﺻــﺮﺍﻉ ﻣﺴــﻠﺢ ﻣــﻦ ﺍﻟﻄﺒﻴﻌــﻲ ﻰﻠﻋ‬ ‫ﺍﻟﺒﺴــﺎﻃﺔ ﺩﺍﺋﻤــﺎ‪ ،‬ﻓﺄﻧــﺖ ﺗﻐﻄــﻲ ﻧﺰﺍﻋــﺎ‬
‫ﺍﻟﺼﺤﻔﻲ ﺍﻟﺘﺤﻠﻲ ﺑﺮﺑﺎﻃﺔ ﺟﺄﺵ‪.‬‬ ‫ﻣﺴــﻠﺤﺎ ﺇﻟــﻰ ﺟﺎﻧــﺐ ﺍﻫﺘﻤﺎﻣــﻚ ﺑﺎﻟﺠﺎﻧــﺐ‬
‫ﻫــﺬﺍ ﺷــﺮﻁ ﺃﺳﺎﺳــﻲ ﻗﺒــﻞ ﺃﻥ ﻳﻘــﺮﺭ‬ ‫ﺍﻹﻧﺴــﺎﻧﻲ‪ .‬ﻭﺇﺫﺍ ﻛﺎﻧــﺖ ﺍﻟﻘﺼــﺺ‬
‫ﺗﻐﻄﻴــﺔ ﺃﻱ ﺣــﺮﺏ‪ ،‬ﺛــﻢ ﺑﻌــﺪ ﺫﻟــﻚ‬ ‫ﺍﻹﻧﺴــﺎﻧﻴﺔ ﺗﺮﺍﻛــﻢ ﻋﻨــﺪ ﺍﻟﺼﺤﻔــﻲ‬
‫ﺗﺄﺗــﻲ ﻋﻤﻠﻴــﺔ ﺍﻟﺘﺨﻄﻴــﻂ ﻭﺍﻟﺨــﻮﺽ ﻲﻓ‬ ‫ﺍﻷﺣــﺰﺍﻥ ﻭﺗﺠﻌﻠــﻪ ﺃﻛﺜــﺮ ﺍﻟﺘﺼﺎﻗــﺎ‬
‫ﺍﻟﺘﻔﺎﺻﻴﻞ‪.‬‬ ‫ﺑﺎﻟﻨﺘﺎﺋــﺞ‪ ،‬ﻓــﺈﻥ ﺗﻐﻄﻴــﺔ ﺍﳌﻮﺍﺟﻬــﺎﺕ‬
‫ﻲﻓ ﺗﻌــﺰ ﺑــﺪﺕ ﻟــﻲ ﻳﻮﻣﻴــﺎﺕ ﺍﻟﺤــﺮﺏ‬ ‫ﺍﳌﺴــﻠﺤﺔ ﺗﺮﺑــﻂ ﺍﻟﺼﺤﻔــﻲ ﺑﺄﺳــﺒﺎﺏ‬
‫ـﺪ ﺣﻘﻴﻘــﻲ ﺃﻣــﺎﻡ ﻣﺨــﺎﻭﻲﻓ‬ ‫ﺃﺷــﺒﻪ ﺑﺘﺤـ ﱟ‬ ‫ﺍﻟﺤــﺮﺏ ﻭﺗﻮﻟــﺪ ﻟﺪﻳــﻪ ﻣﺨــﺎﻭﻑ ﺩﺍﺧﻠﻴــﺔ‬
‫ﺍﻟﺘــﻲ ﻗﻤﻌ ُﺘﻬــﺎ ﻭﺭﺍﻓﻘ ُﺘﻬــﺎ ﺑﺒﻌــﺾ‬ ‫ﻳﺘﻮﺟﺐ ﻋﻠﻴﻪ ﻗﻤﻌﻬﺎ ﺩﻭﻣﴼ‪.‬‬
‫ﺍﻟﺘﺨﻄﻴــﻂ ﻭﺍﻟﺘﻨﺴــﻴﻖ ﻭﺍﺳــﺘﺜﻤﺎﺭ‬
‫ﻣﻌﺮﻓﺘﻲ ﺑﺒﻴﺌﺔ ﺍﻟﻌﻤﻞ ﻭﺃﻧﺎﺳﻬﺎ‪.‬‬ ‫ﻓﺘﺮﺩﻱ ﺍﻟﻮﺿﻊ‬
‫ﱢ‬ ‫ﺍﻟﺸﺄﻧﺎﻥ ﻣﺘﻼﺯﻣﺎﻥ‪،‬‬
‫ﻭﺍﳌﺮﺍﺳــﻞ ﺍﻟﺤﺮﺑــﻲ ﻻ ﺗﻘــﻒ ﻣﻬﻤﺘــﻪ‬
‫ﻋﻨــﺪ ﻧﻘــﻞ ﻳﻮﻣﻴــﺎﺕ ﺍﳌﻌــﺎﺭﻙ ﻭﺣﺴــﺐ‪،‬‬
‫ﻭﺇﻧﻤــﺎ ﻋﻠﻴــﻪ ﺃﻥ ﻳﺠﺘﻬــﺪ ﻲﻓ ﺗﺤﺴــﺲ‬
‫ﻛﻞ ﻣــﺎ ﻳﻌﻄــﻲ ﺻــﻮﺭﺓ ﻋــﻦ ﻧﺘﺎﺋﺠﻬــﺎ‬
‫ﻭﺣــﺎﻻﺕ ﺗﻌﺒﻴــﺮ ﻣﺠﺘﻤﻌﺎﺗﻬــﺎ‪ ،‬ﻭﺇﺫ ﻳﻘــﻮﻡ‬
‫ﺑﺬﻟــﻚ ﻻ ﻳﻤﻜﻨــﻪ ﺍﻟﺘﺨﻠــﻲ ﻋــﻦ ﺍﻟﻘﻴــﻢ‬
‫ﺍﳌﻬﻨﻴــﺔ ﻣﺜــﻞ ﺍﻟﺤﻴــﺎﺩ ﻭﺍﳌﻮﺿﻮﻋﻴــﺔ‬
‫ﻭﺍﻟﺪﻗــﺔ ﻭﺍﻹﻧﺼــﺎﻑ‪ .‬ﺃﻣــﺎ ﺍﻟﺤﺎﻟــﺔ‬
‫ﺍﻟﺴﻴﺎﺳــﻴﺔ‪ ،‬ﻓﻬــﻲ ﺗﺤﻀــﺮ ﺃﻳﻀــﺎ ﻲﻓ‬
‫ﺗﻨــﺎﻭﻻﺕ ﺍﻟﺸــﺄﻥ ﺍﻹﻧﺴــﺎﻧﻲ ﺑﻤــﺎ ﻫــﻲ‬
‫ﺗﻌﺒﻴــﺮ ﻋــﻦ ﺍﻧﺤﻴــﺎﺯ ﺍﻟﺼﺤﺎﻓــﺔ ﻟﻜﺮﺍﻣــﺔ‬
‫ﺍﻹﻧﺴــﺎﻥ ﻭﺣﻘﻮﻗــﻪ‪ ،‬ﻭﺩﻭﻥ ﺍﻟﺘــﺰﺍﻡ ﺫﻟــﻚ‬
‫ﻳﻐﻄﻴﻬــﺎ‪ ،‬ﻭﺗﻘــﺪﻡ ﻣﺆﺳﺴــﺎﺕ‬
‫ﻗــﺪ ﻳﻔﻘــﺪ ﺍﻟﺼﺤﻔــﻲ ﺇﻧﺴــﺎﻧﻴﺘﻪ‬
‫ﻭﻣﻬﻨﻴﺘﻪ ﻣﻌﺎ‪.‬‬
‫ﻛﻴــﻒ ﻳﻌﻴــﺶ ﺍﻟﻨــﺎﺱ ﻲﻓ ﻇــﻞ‬
‫ﺍﻟﺤــﺮﻭﺏ؟ ﻟﻄﺎﳌــﺎ ﺳــﺄﻟﺖ ﻧﻔﺴــﻲ ﻫــﺬﺍ‬
‫ﺍﻟﺴــﺆﺍﻝ ﻭﺃﺧﺎﻟــﻪ ﺳــﺆﺍﻻ ﻳﻔﺘــﺢ ﺯﻭﺍﻳــﺎ‬
‫ﺗﻨــﺎﻭﻻﺕ ﻋﺪﻳــﺪﺓ ﺗﻈﻬــﺮ ﺃﺣﻴﺎﻧــﺎ ﻰﻠﻋ‬
‫ﺷــﻜﻞ ﻓﻌﺎﻟﻴــﺎﺕ ﻓﻨﻴــﺔ ﺃﻭ ﺣــﺎﻻﺕ‬
‫ﺇﺑﺪﺍﻋﻴــﺔ ﺗﻌﺎﻟــﺞ ﺟﺎﻧﺒــﺎ ﻣــﻦ ﺗﺪﺍﻋﻴــﺎﺕ‬
‫ﺍﻟﺤــﺮﺏ‪ ،‬ﻛﻤــﺎ ﺃﻥ ﺫﻟــﻚ ﻳﺨﻔــﻒ ﻣــﻦ ﺛﻘــﻞ‬
‫ﺍﻟﺼــﻮﺭﺓ ﺍﻟﻴﻮﻣﻴــﺔ ﺍﻟﺘــﻲ ﺗﺘﻠﺒﺴــﻚ ﺑــﻜﻞ‬
‫ﻣﺎ ﻓﻴﻬﺎ ﻣﻦ ﺑﺸﺎﻋﺔ ﺍﻟﺤﺮﺏ‪.‬‬
‫ﺑﺎﻟﻨﺴــﺒﺔ ﻟــﻲ ﻛﻨــﺖ ﺃﺭﻯ ﻲﻓ ﺍﻟﺒﻘــﺎﺀ‬
‫ﻋﻤﻠﻴــﺎ ﺗﺆﺛــﺮ ﺍﻟﺤــﺮﺏ ﻧﻔﺴــﻴﺎ ﻰﻠﻋ ﺃﻱ‬
‫ﺻﺤﻔــﻲ ّ‬
‫ﻣﻌﻨﻴــﺔ ﺗﻮﺟﻴﻬــﺎﺕ ﻭﻧﺼﺎﺋــﺢ ﻟﺘﺠــﺎﻭﺯ‬
‫ﺗﻠﻚ ﺍﻟﺘﺪﺍﻋﻴﺎﺕ‪ ،‬ﻟﻜﻦ ﺍﻟﺼﺤﻔﻲ‬
‫ﻫــﺬﺍ ﺍﻹﺷــﻜﺎﻝ ﺑﺘﻨﻮﻳــﻊ ﺍﻟﺘﻐﻄﻴــﺔ ﻣــﻦ‬
‫ﺣﻴــﺚ ﺗﻌــﺪﺩ ﻣﻨﺎﻃﻘﻬــﺎ ﻭﻧﻄﺎﻗﻬــﺎ ﻲﻓ‬
‫ﺇﻃــﺎﺭ ﺍﳌﺪﻳﻨــﺔ ﻧﻔﺴــﻬﺎ‪ ،‬ﻭﻛﺬﻟــﻚ ﺗﻨﻮﻳــﻊ‬
‫ﺯﻭﺍﻳــﺎ ﺍﻟﺘﻨــﺎﻭﻝ‪ ،‬ﻓﺎﻟﺘﻨﻮﻳــﻊ ﻣــﺎ ﺑﻴــﻦ ﺃﺧﺒــﺎﺭ‬
‫ﺍﻟﺤــﺮﺏ ﻭﺍﻟﻘﺼــﺺ ﺍﻹﻧﺴــﺎﻧﻴﺔ ﻳﻌﻄﻴــﻚ‬
‫ﺗﻐﻴﻴــﺮﺍ ﻲﻓ ﺍﻹﻳﻘــﺎﻉ ﻭﺗﺠﺪﻳــﺪﺍ ﻲﻓ‬
‫ﺍﳌﺤﺘــﻮﻯ ﻭﻳﻤﻨــﺢ ﺍﳌﺘﻠﻘــﻲ ﺷــﻬﻴﺔ‬
‫ﺍﳌﺘﺎﺑﻌﺔ‪.‬‬
‫ﻓﺘــﺮﺓ ﻃﻮﻳﻠــﺔ ﻟﺘﻐﻄﻴــﺔ ﺍﻟﺤــﺮﺏ ﻲﻓ‬
‫ﻣﺪﻳﻨــﺔ ﻣﺜــﻞ ﺗﻌــﺰ ﻓﺮﺻــﺔ ﻟﻠﺘﺄﻣــﻞ‬
‫ﻭﻣﺤﺎﻭﻟــﺔ ﺍﻟﺒﺤــﺚ ﻋــﻦ ﺇﺷــﻌﺎﻋﺎﺕ‬
‫ﺗﻔﺮﺯﻫﺎ ﺍﻟﺤﺮﺏ ﻭﺳﻂ ﺍﻟﻌﺘﻤﺔ‪ ،‬ﻭﺇﻻ‬
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 ‫ﻣﺤﻤﺪ ﺍﻟﺸﺎﻣﻲ‪..‬‬
‫ﻋﺪﺳﺔ ﺻﻐﻴﺮﺓ‬
‫ﺍﻟﺴﻦ‬
‫ﺑﺮﻋﺖ ﻋﺪﺳﺔ ﺍﳌﺼﻮﺭ ﺍﻟﺼﺤﻔﻲ ﻣﺤﻤﺪ ﺍﻟﺸﺎﻣﻲ ﻲﻓ ﺍﻟﺘﻘﺎﻁ‬
‫ﺗﻔﺎﺻﻴﻞ ﺇﻧﺴﺎﻧﻴﺔ ﺗﻨﻢ ﻋﻦ ﻧﻈﺮﺓ ﺛﺎﻗﺒﺔ‪ ،‬ﺗﻮﻫﻢ ﺑﺄﻧﻬﺎ ﺃﻋﻤﺎﻝ‬
‫ﻣﻨﺠﺰﺓ ﻣﻦ ﺷﺨﺺ ﺫﻱ ﺧﺒﺮﺓ ﻭﺍﺳﻌﺔ‪ ،‬ﺭﻏﻢ ﺃﻧﻪ ﻟﻢ ﻳﺘﺠﺎﻭﺯ ﺳﻦ‬
‫ﺍﻟﺜﺎﻧﻴﺔ ﻭﺍﻟﻌﺸﺮﻳﻦ‪.‬‬

‫ﺍﻟﺤﻘﻴﻘــﺔ‪ ،‬ﻷﻥ ﺍﻟﺘﺼﻮﻳــﺮ ﺍﻟﺼﺤﻔــﻲ‬
‫ﻳﺨﺘﻠــﻒ ﻛﺜﻴــﺮﺍ ﻋــﻦ ﺃﻧــﻮﺍﻉ ﺍﻟﺘﺼﻮﻳــﺮ‬
‫ﺍﻷﺧــﺮﻯ‪ ،‬ﺇﺫ ﻳﺠــﺐ ﻰﻠﻋ ﺍﻟﺼــﻮﺭﺓ ﺃﻥ‬
‫ﺗﺸــﻤﻞ ﻣﻌﻠﻮﻣــﺎﺕ ﻋﺪﻳــﺪﺓ ﻭﺗﺼــﻒ‬
‫ﺍﻟﺤﺪﺙ ﺍﻟﻮﺍﻗﻊ ﺃﻣﺎﻣﻪ‪.‬‬
‫ﺍﻟــﺬﻱ ﻳﻌــﺮﺽ ﺻــﻮﺭ ﻣﺼﻮﺭﻳــﻦ ﺻﺤﻔﻴﻴــﻦ‬
‫ﻭﺇﺫﺍ ﻛﺎﻥ ﺍﻟﻌﻤــﻞ ﺍﻟﺼﺤﻔــﻲ ﻲﻓ ﻣﺠﻤﻠــﻪ‬
‫ﻗﺎﺋﻤــﺎ ﻰﻠﻋ ﻣﻨﻈﻮﻣــﺔ ﺃﺧﻼﻗﻴــﺔ ﺗﻨﺤــﺎﺯ‬
‫ﺇﻟــﻰ ﺍﻹﻧﺴــﺎﻥ ﻭﺗﺤﺎﻓــﻆ ﻰﻠﻋ ﺍﳌﻬﻨﻴــﺔ‪،‬‬
‫ﻓــﺈﻥ ﺍﻟﺸــﺎﻣﻲ ﻭﺍﺣــﺪ ﻣــﻦ ﻫــﺆﻻﺀ ﺍﻟﺬﻳــﻦ‬
‫ﺃﺩﺭﻛــﻮﺍ ﺗﻠــﻚ ﺍﻟﻘﻴﻤــﺔ‪ ،‬ﻓﻬــﻮ ﻳﺴــﺘﺄﺫﻥ‬
‫ﺍﻷﺷــﺨﺎﺹ ﺍﻟﺬﻳــﻦ ﻳﻈﻬــﺮﻭﻥ ﻲﻓ ﺻــﻮﺭﻩ‪،‬‬
‫ﻭﻳﺘﺠﻨﺐ ﺍﺻﻄﻨﺎﻉ ﺃﻱ ﺣﺪﺙ‪.‬‬
‫ﻛﻞ ﻣﺼــﻮﺭ ‪-‬ﺣﺴــﺐ ﺍﻟﺸــﺎﻣﻲ‪ -‬ﻟــﻪ ﻋﻴــﻦ‬
‫ﻣﺨﺘﻠﻔــﺔ ﻋــﻦ ﻏﻴــﺮﻩ ﻣــﻦ ﺍﳌﺼﻮﺭﻳــﻦ‪،‬‬
‫ﻭﻫــﺬﻩ ﺍﻟﺮﺅﻳــﺔ ﺍﳌﻐﺎﻳــﺮﺓ ﻫــﻲ ﻣــﺎ ﺗﻤ ﱢﻴــﺰ‬
‫ﻋﻤﻼ ﻋﻦ ﻏﻴﺮﻩ‪.‬‬
‫ﺃﻓــﺮﺩﺕ ﻟــﻪ "ﻟﻴﻨــﺰ ﺑﻠــﻮﻍ" ﺗﻘﺮﻳــﺮﺍ ﺿﻤــﻦ‬
‫ﺳﻠﺴــﻠﺔ "ﻧﻘﻄــﺔ ﺗﺤــﻮﻝ" ﺍﳌﻨﺸــﻮﺭﺓ‬
‫ﻲﻓ ﻧﻴﻮﻳــﻮﺭﻙ ﺗﺎﻳﻤــﺰ‪ ،‬ﻭﺃﺗﻴﺤــﺖ ﻟــﻪ‬
‫ﺍﻟﻔﺮﺻــﺔ ﻟﻌــﺮﺽ ﺻــﻮﺭﻩ ﺿﻤــﻦ ﻣﺸــﺮﻭﻉ‬
‫"ﺑﻮﺭﺗﻔﻮﻟﻴﻮ ﺭ ﻳﻔﻴﻮ " )‪(portfolio review‬‬
‫ﻋﺎﳌﻴﻴــﻦ‪ ،‬ﻭﻛﺎﻥ ﺃﺣــﺪ ﺍﳌﺼﻮﺭﻳــﻦ ﺍﻟﺬﻳــﻦ‬
‫ُﺩﻋــﻮﺍ ﻟﺤﻀــﻮﺭ ﻭﺭﺷــﺔ ﺇﻳــﺪﻱ ﺁﺩﻣــﺰ ﻲﻓ‬
‫ﻧﻴﻮﻳﻮﺭﻙ ﻋﺎﻡ ‪.2015‬‬
‫ﻫــﺬﺍ ﺍﳌﺸــﻮﺍﺭ ﺍﻟﻘﺼﻴــﺮ ﻲﻓ ﻃﺮﻳــﻖ‬
‫ﺍﻟﺘﺼﻮﻳــﺮ ﺍﻟﺼﺤﻔــﻲ ﻟــﻢ ﻳﻜــﻦ ﻟﻴﻜ ﱠﻠــﻞ‬
‫ﺑــﻜﻞ ﻫــﺬﺍ ﺍﻟﻨﺠــﺎﺡ ﻟــﻮﻻ ﺩﻋــﻢ ﻋﺎﺋﻠﺘــﻪ‬
‫ﺍﻟﺘــﻲ ‪-‬ﺭﻏــﻢ ﺍﻟﺨﺸــﻴﺔ ﻭﺍﻟﻘﻠــﻖ ﻋﻠﻴــﻪ‪-‬‬
‫ﻟﻢ ﺗﻘﻒ ﻋﺎﺋﻘﺎ ﺃﻣﺎﻡ ﻃﻤﻮﺣﻪ‪.‬‬
‫ﺗــﺆﺩﻱ ﻋﺪﺳــﺔ ﺍﻟﺸــﺎﻣﻲ ﺍﻟﻮﻇﻴﻔــﺔ‬
‫ﺫﺍﺗﻬــﺎ ﺍﻟﺘــﻲ ﺗﺆﺩﻳﻬــﺎ ﻋﻴﻨــﻪ‪ ،‬ﺇﺫ ﻳﻘــﻮﻝ‬
‫ﺇﻥ ﻋﺪﺳــﺘﻪ ﺗﻠﺘﻘــﻂ ﺍﻟﺼــﻮﺭﺓ ﺍﻟﺘــﻲ‬
‫ﺗﺼﻒ ﺍﻟﺤﺎﻟﺔ ﺍﻟﺘﻲ ﻳﺮﺍﻫﺎ ﻲﻓ‬
‫ﺻــﻮﺭﺓ ﺻﺤﻔﻴــﺔ ﻣــﻦ ﻧﻘﺎﺑــﺔ ﺍﻟﺼﺤﻔﻴﻴــﻦ‬
‫ﻫــﻮ ﺃﺣــﺪ ﺍﳌﺼﻮﺭﻳــﻦ ﺍﻟﻘﻼﺋــﻞ ﺍﻟﺬﻳــﻦ‬
‫ﺗﺠــﺮﺅﻭﺍ ﻰﻠﻋ ﺍﻻﻧﺘﻘــﺎﻝ ﺇﻟــﻰ ﺳــﻴﺮﺍﻟﻴﻮﻥ‬
‫ﻭﻟﻴﺒﻴﺮﻳــﺎ ﻭﺗﺼﻮﻳــﺮ ﺍﻟﺤﻴــﺎﺓ ﺍﻟﻴﻮﻣﻴــﺔ ﺇﺛــﺮ‬
‫ﺍﻧﺘﺸــﺎﺭ ﻣــﺮﺽ ﺍﻹﻳﺒــﻮﻻ ﺍﳌﻌــﺪﻱ‪ ،‬ﻟﺘﻜــﻮﻥ‬
‫ﺭﻭﺡ ﺍﳌﻐﺎﻣــﺮﺓ ﻭﺍﻻﺳﺘﻜﺸــﺎﻑ ﺭﻓﻴﻘــﺔ‬
‫ﻷﺩﻭﺍﺕ ﺍﳌﻬﻨﺔ‪.‬‬
‫ﻟﻔــﺖ ﺍﻟﺸــﺎﻣﻲ ﺍﻷﻧﻈــﺎﺭ ﺇﻟــﻰ ﻋﻤﻠــﻪ‬
‫ﺍﳌﺤﺘــﺮﻑ ﻲﻓ ﺍﻟﺘﺼﻮﻳــﺮ ﻣــﻦ ﺧــﻼﻝ‬
‫ﻋﺪﺳــﺘﻪ ﺍﻟﺘــﻲ ﺗﻠﺘﻘــﻂ ﺗﻔﺎﺻﻴــﻞ‬
‫ﺗﻨــﻢ ﻋــﻦ ﻧﻈــﺮﺓ ﺛﺎﻗﺒــﺔ‪،‬‬
‫ّ‬ ‫ﺇﻧﺴــﺎﻧﻴﺔ‬
‫ﺗﻮﻫــﻢ ﺑﺄﻧﻬــﺎ ﺃﻋﻤــﺎﻝ ﻣﻨﺠــﺰﺓ ﻣــﻦ‬
‫ﺷــﺨﺺ ﺫﻱ ﺧﺒــﺮﺓ ﻭﺍﺳــﻌﺔ‪ .‬ﻟﻜــﻦ‬
‫ﺍﳌﺪﻫــﺶ ﻲﻓ ﺍﻷﻣــﺮ ﺃﻥ ﺍﳌﺼــﻮﺭ‬
‫ﺍﻟﺼﺤﻔــﻲ ﻣــﺎ ﻫــﻮ ﺇﻻ ﺷــﺎﺏ ﻣﺼــﺮﻱ ﻣــﻦ‬
‫ﻣﻮﺍﻟﻴــﺪ ‪ ،1994‬ﺑــﺪﺃ ﺍﺣﺘــﺮﺍﻑ‬
‫ﺍﻟﺘﺼﻮﻳﺮ ﺍﻟﺼﺤﻔﻲ ﻭﻫﻮ ﺍﺑﻦ ‪ 17‬ﻋﺎﻣﺎ‪ ،‬ﻭﻲﻓ‬
‫ﻫــﺬﻩ ﺍﻟﺴــﻦ ﺣﺼــﻞ ﻰﻠﻋ ﺟﺎﺋــﺰﺓ ﺃﻓﻀــﻞ‬
‫ﺍﳌﺼﺮﻳﻴﻦ‪.‬‬

‫ﻭﺭﻏــﻢ ﺳــ ﱢﻨﻪ ﺍﻟﺼﻐﻴــﺮﺓ‪ ،‬ﻋﻤــﻞ ﺍﻟﺸــﺎﻣﻲ‬

‫ﻣــﻊ ﺃﻛﺜــﺮ ﻣــﻦ ﻣﺆﺳﺴــﺔ ﺻﺤﻔﻴــﺔ ﻧﺎﻟــﺖ‬
‫ﺃﻋﻤﺎﻟــﻪ ﺍﻟﺘﺼﻮﻳﺮﻳــﺔ ﻓﻴﻬــﺎ ﻧﻘــﺪﺍ‬
‫ﺇﻳﺠﺎﺑﻴــﺎ‪ ،‬ﻓﺨــﻼﻝ ﻋﻤﻠــﻪ ﻲﻓ ﻭﻛﺎﻟــﺔ‬
‫ﺍﻷﻧﺎﺿــﻮﻝ ﻋــﺎﻡ ‪ ،2015‬ﺣــﺎﺯ ﺟﺎﺋــﺰﺓ‬
‫ﺗﺤﻤــﻞ ﺍﺳــﻢ ﺍﳌﺼــﻮﺭ "ﻛﺮﻳــﺲ‬
‫ﻫﻮﻧــﺪﺭﻭﺱ ﻓﻮﻧــﺪ" ﻭﺗﻤﻨــﺢ ﻟﻠﺼﺤﻔﻴﻴــﻦ‬
‫ﺍﻟﺸــﺒﺎﻥ ﺍﻟﺬﻳــﻦ ﻳﺜﺒﺘــﻮﻥ ﻧﺠﺎﺣﻬــﻢ ﻲﻓ‬
‫ﻣﻨﺎﻃــﻖ ﺍﻟﻨﺰﺍﻋــﺎﺕ ﺍﳌﺨﺘﻠﻔــﺔ ﺣــﻮﻝ‬
‫ﺍﻟﻌﺎﻟﻢ‪.‬‬

‫ﻛﻤــﺎ ﺃﻥ ﺍﻟﺸــﺎﻣﻲ ﻫــﻮ ﺃﺻﻐــﺮ ﺍﳌﺸــﺎﺭﻛﻴﻦ‬

‫ﻲﻓ ﺯﻣﺎﻟــﺔ ﻣﺆﺳﺴــﺔ ﻣﺎﻏﻨــﻮﻡ ﺍﻟﺪﻭﻟﻴــﺔ‬
‫ﻟﺤﻘﻮﻕ ﺍﻹﻧﺴﺎﻥ ﻲﻓ ﻧﻴﻮﻳﻮﺭﻙ‪ ،‬ﻭﻗﺪ‬
‫ﻣﻈﺎﻫﺮﺓ ﻣﻌﺎﺭﺿﺔ ﻟﻼﻧﻘﻼﺏ ﺍﻟﻌﺴﻜﺮﻱ‬
‫ﻲﻓ ﻣﻨﻄﻘﺔ ﻋﻴﻦ ﺷﻤﺲ ﺑﺎﻟﻘﺎﻫﺮﺓ‬
‫ﺩﻳﺴﻤﺒﺮ‪/‬ﻛﺎﻧﻮﻥ ﺍﻷﻭﻝ ‪.2013‬‬
‫ﻻﺟﺌــﻮﻥ ﻣــﻦ ﺳــﻮﺭﻳﺎ ﻭﺍﻟﻌــﺮﺍﻕ ﻭﺃﻓﻐﺎﻧﺴــﺘﺎﻥ‬
‫ﻲﻓ ﻣﺤﻄــﺔ ﺍﻟﻘﻄــﺎﺭﺍﺕ ﺍﻟﺮﺋﻴﺴــﻴﺔ ﻲﻓ‬
‫ﻣﺪﻳﻨــﺔ ﺗﻮﻓﺎﺭﻧﻴــﻚ ﺍﻟﻜﺮﻭﺍﺗﻴــﺔ ﻰﻠﻋ ﺍﻟﺤــﺪﻭﺩ‬
‫ﻣﻊ ﺻﺮﺑﻴﺎ‪ .‬ﺳﺒﺘﻤﺒﺮ ‪.2015‬‬

‫ﻟﺤﻈــﺔ ﺇﻋــﻼﻥ ﺍﻟﺠﻴــﺶ ﺍﳌﺼــﺮﻱ‬

‫ﺍﻹﻃﺎﺣــﺔ ﺑﻤﺤﻤــﺪ ﻣﺮﺳــﻲ ﻣــﻦ‬
‫ﺍﻟﺤﻜــﻢ ﻲﻓ ﻣﻴــﺪﺍﻥ ﺭﺍﺑﻌــﺔ‬
‫ﺍﻟﻌﺪﻭﻳﺔ‪ ،‬ﻳﻮﻟﻴﻮ‪/‬ﺗﻤﻮﺯ ‪.2013‬‬
‫ﺳﻮﺩﺍﻧ ﱡﻴﻮﻥ ﻲﻓ ﺇﺣﺪﻯ‬
‫ﺍﻟﻌﻴﺎﺩﺍﺕ ﺍﳌﺘﻨﻘﻠﺔ‬
‫ﳌﺆﺳﺴﺔ ﺃﻃﺒﺎﺀ ﺑﻼ‬
‫ﺣﺪﻭﺩ ﻲﻓ ﻭﻻﻳﺔ‬
‫ﺃﻋﺎﻟﻲ ﺍﻟﻨﻴﻞ‪ ،‬ﺟﻨﻮﺏ‬
‫ﺍﻟﺴﻮﺩﺍﻥ ﻣﺎﺭﺱ‪/‬ﺁﺫﺍﺭ‬
‫‪.2014‬‬

‫ﺟﻨﺪﻱ ﻧﻈﺎﻣﻲ ﻳﺘﻠﻘﻰ‬

‫ﺍﻟﻌﻼﺝ ﻲﻓ ﻣﺴﺘﺸﻔﻰ‬
‫ﺑﻮﺭ ﺍﻟﻌﺴﻜﺮﻱ ﺑﻤﺪﻳﻨﺔ‬
‫ﺑﻮﺭ‪ ،‬ﺟﻨﻮﺏ ﺍﻟﺴﻮﺩﺍﻥ‬
‫ﻣﺎﺭﺱ‪/‬ﺁﺫﺍﺭ ‪.2014‬‬
 ‫ﻣﺘﻄﻮﻋﻮﻥ ﻳﺮﺗﺪﻭﻥ‬
‫ﻣﻼﺑﺲ ﺍﻟﻮﻗﺎﻳﺔ‬
‫ﻗﺒﻞ ﺍﻟﺬﻫﺎﺏ ﻲﻓ‬
‫ﻣﻬﻤﺔ ﺩﻓﻦ ﺿﺤﺎﻳﺎ‬
‫ﺍﻹﻳﺒﻮﻻ ﻲﻓ ﻣﻘﺒﺮﺓ‬
‫ﻛﺒﻴﺘﻴﻤﺎ‪،‬‬
‫ﺃﻏﺴﻄﺲ‪/‬ﺁﺏ‬
‫‪.2014‬‬

‫ﺭﺟﺎﻝ ﺍﻹﺳﻌﺎﻑ‬
‫ﻳﻨﻘﻠﻮﻥ ﺭﺟﻼ ﻣﺼﺎﺑﺎ‬
‫ﺑﺄﻋﺮﺍﺽ ﺍﻹﻳﺒﻮﻻ ﻣﻦ‬
‫ﻣﻨﺰﻟﻪ ﺑﻤﻨﻄﻘﺔ‬
‫ﻭﻳﺴﺘﺒﻮﻳﻨﺖ ﻲﻓ‬
‫ﺍﻟﻌﺎﺻﻤﺔ ﺍﻟﻼﻳﺒﻴﺮﻳﺔ‬
‫ﻣﻮﻧﺮﻭﻓﻴﺎ‪،‬‬
‫ﺃﻛﺘﻮﺑﺮ‪/‬ﺗﺸﺮﻳﻦ ﺍﻷﻭﻝ‬
‫‪.2014‬‬
 ‫ﻗﻴﻤﺔ "ﺍﻟﺼﺤﺎﻓﺔ‬
‫ﺍﳌﺘﺄﻧﻴﺔ" ﻲﻓ ﻋﺼﺮ‬
‫ﺍﳌﻌﻠﻮﻣﺎﺕ ﺍﻟﺴﺮﻳﻌﺔ‬
‫ﺗﺮﺟﻢ ﻫﺬﺍ ﺍﳌﻘﺎﻝ ﺑﺎﻟﺘﻌﺎﻭﻥ ﻣﻊ ﻧﻴﻤﺎﻥ ﺭﻳﺒﻮﺭﺕ ‪ -‬ﺟﺎﻣﻌﺔ ﻫﺎﺭﻓﺎﺭﺩ‬
‫ﻋﺎﻣﻴــﻦ ﻣــﻦ ﺍﻧﻄــﻼﻕ ﺍﳌﺸــﺮﻭﻉ‪ ،‬ﻭﺻــﻞ ﺳــﺎﻟﻮﺑﻴﻚ ﺇﻟــﻰ‬
‫ﺗﺒﻠﻴﺴــﻲ ﻲﻓ ﺟﻮﺭﺟﻴــﺎ‪ ،‬ﻭﻛﺘــﺐ ﺗﻘﺎﺭﻳــﺮ ﻣﻄﻮﻟــﺔ ﻟـ"ﻧﺎﺷــﻴﻮﻧﺎﻝ‬
‫ﻭﻗﺼﺼــﺎ ﺃﻗﺼــﺮ ﳌﺪ ّﻭﻧــﺔ ﺧﺎﺻــﺔ ﺑﺎﻟﺮﺣﻠــﺔ‪ .‬ﻭﻲﻓ‬
‫ً‬ ‫ﺟﻴﻮﻏﺮﺍﻓﻴــﻚ"‬
‫ﻳﻨﻘﺒﻮﻥ‬‫ﻳﻨﺎﻳﺮ‪/‬ﻛﺎﻧــﻮﻥ ﺍﻟﺜﺎﻧــﻲ ‪ ،2013‬ﺃﻣﻀــﻰ ﻭﻗ ًﺘﺎ ﻣــﻊ ﺑﺎﺣﺜﻴــﻦ ّ‬
‫ﻋــﻦ ﺍﻷﺣﻔﻮﺭﻳــﺎﺕ ﺍﻟﺒﺸــﺮﻳﺔ ﻲﻓ ﺇﺛﻴﻮﺑﻴــﺎ‪ ،‬ﻟﻴﻜﺘــﺐ ﻻﺣﻘــﺎ ﻋــﻦ‬
‫ﺍﳌﺨــﺎﻭﻑ ﻣــﻦ ﺃﻥ ﺗﻬــﺪﺩ ﻫﺠﻤــﺎﺕ ﺍﻟﻘﺮﺍﺻﻨــﺔ ﺍﻟﺼﻮﻣﺎﻟﻴﻴــﻦ‬
‫ﺃﺑﺤﺎﺙ ﻋﻠﻮﻡ ﺍﳌﺤﻴﻄﺎﺕ‪ .‬ﺃﻣﺎ ﻲﻓ ﻓﺒﺮﺍﻳﺮ‪/‬ﺷﺒﺎﻁ ‪ ،2015‬ﻓﻘﺪ ﺳﺎﺭ ﺟﻨ ًﺒﺎ‬
‫ﺇﻟــﻰ ﺟﻨــﺐ ﻣــﻊ ﻻﺟﺌﻴــﻦ ﺳــﻮﺭﻳﻴﻦ ﺃﺛﻨــﺎﺀ ﻫﺮﺑﻬــﻢ ﺇﻟــﻰ‬
‫ﻌــﺪﺍ ﻭﺟﺪﺍﻧﻴــﺎ‬
‫ﺍﳌﻨﻔــﻰ ﻲﻓ ﺗﺮﻛﻴــﺎ‪ ،‬ﻭﺃﻋــﺪ ﺗﻘﺎﺭﻳــﺮ ﻣﻨﺤﺘــﻪ ُﺑ ً‬
‫ﺟﺪﻳﺪﺍ ﻋﻦ ﺃﺯﻣﺔ ﺗﺘﻢ ﺗﻐﻄﻴﺔ ﺃﺧﺒﺎﺭﻫﺎ ﻣﻨﺬ‬
‫ﻳﻘــﻮﻝ ﺳــﺎﻟﻮﺑﻴﻚ‪ :‬ﺇﻥ "ﺍﻟﺠﻤﻴــﻊ ﻳﺴــﺮﻋﻮﻥ ﺃﻛﺜــﺮ ﻓﺄﻛﺜــﺮ‬
‫ﻧﺘﻤﻬــﻞ ﻗﻠﻴــﻼ ﻟﻨﻨﺘــﺰﻉ‬
‫ﱠ‬ ‫ﻭﻳــﺰﺩﺍﺩﻭﻥ ﺳــﻄﺤﻴﺔ‪ً ،‬‬
‫ﺇﺫﺍ ﳌــﺎﺫﺍ ﻻ‬
‫ﺑﻌــﺾ ﺍﻟﺼﻴــﺖ ﻋﺒــﺮ ﺍﻟﺬﻫــﺎﺏ ﻲﻓ ﺍﻻﺗﺠــﺎﻩ ﺍﳌﻌﺎﻛــﺲ؟‪..‬‬
‫ﻼ ﺩﻭﻟﻴــﴼ ﺗﻘﻠﻴﺪﻳــﴼ ﻣﻨﺪﻓﻌــﴼ ﺣــﻮﻝ ﺍﻟﻌﺎﻟــﻢ‬
‫ﻭﺑﺎﻟﻔﻌــﻞ ﺗﺠــﺎﻭﺯﺕ ﺍﻟﻨﺘﺎﺋــﺞ ﺗﻮﻗﻌﺎﺗــﻲ ﺑﻜﺜﻴــﺮ‪ ،‬ﻰﻠﻋ‬
‫ﺍﻟﺼﻌﻴﺪﻳــﻦ ﺍﳌﻬﻨــﻲ ﻭﺍﻟﺸــﺨﺼﻲ‪ ،‬ﻭﻣﻨﺤﻨــﻲ ﺫﻟــﻚ ﺷــﻌﻮًﺭﺍ‬
‫ﺳــﺮﺩﻳﺎ ﻟــﻢ ﺃﻋﺘﻤــﺪﻩ ﻣــﻦ ﻗﺒــﻞ ﺣﻴــﻦ‬
‫ًّ‬ ‫ﺗﻮﺟﻬــﺎ‬
‫ً‬ ‫ﺑﺄ ّﻧــﻲ ﺃﻋﺘﻤــﺪ‬
‫ﻛﻨــﺖ ﺃﺳــﺎﻓﺮ ﺣــﻮﻝ ﺍﻟﻌﺎﻟــﻢ ﺃﺧﺒــﺮ ﻗﺼﺼــﺎ ﺑــﺪﺕ ﻏﻴــﺮ ﻣﺘﺮﺍﺑﻄــﺔ‬
‫ﻋﻦ ﺃﺯﻣﺎﺕ ﻳﻮﻣﻴﺔ"‪.‬‬
‫ﻭﺑﺎﻟﻔﻌــﻞ‪ ،‬ﺑــﺪﺃ ﺍﳌﺰﻳــﺪ ﻣــﻦ ﺍﻟﺼﺤﻔﻴﻴــﻦ ﺍﻟﻠﺤــﺎﻕ ﺑﺎﻟﺮﻛــﺐ‪،‬‬
‫ﻣﻌﺘﻤﺪﻳــﻦ ﺷــﻜﻼ ﺟﺪﻳــﺪﺍ ﻣــﻦ "ﺍﻟﺼﺤﺎﻓــﺔ ﺍﳌﺘﺄﻧﻴــﺔ" ﺍﻟﺘــﻲ‬
‫ﺗﺴــﺘﻐﺮﻕ ﺯﻣﻨــﺎ ﻟﻜﺘﺎﺑــﺔ ﺍﻟﻘﺼــﺺ ﺍﻟﺼﺤﻔﻴــﺔ ﺣﺘــﻰ ﻲﻓ‬
‫ﻭﻳﺘﺬﻛــﺮ ﻗﺎﺋــﻼ‪:‬‬
‫ﺍﻟﻮﻗــﺖ ﺍﻟــﺬﻱ ﻳــﺰﺩﺍﺩ ﻓﻴــﻪ ﺿﻐــﻂ ﺩﻭﺭﺍﺕ ﺍﻷﺧﺒــﺎﺭ ﺍﳌﺘﺴــﺎﺭﻋﺔ‬
‫ﺟــﺪﺍ ﻟﻺﻋــﻼﻡ ﺍﻻﺟﺘﻤﺎﻋــﻲ‪ ،‬ﻣﻤــﺎ ﻳﺤﻤــﻞ ﺍﻟﺼﺤﻔــﻲ ﻰﻠﻋ ﺃﻥ‬ ‫ًّ‬
‫ﺳــﺮﻳﻌﺎ ﻭﺃﻭﻝ ﻣــﻦ ﻳــﻮﺭﺩ ﺍﻟﺨﺒــﺮ‪ .‬ﻓﻔــﻲ ﻳﻨﺎﻳﺮ‪/‬ﻛﺎﻧــﻮﻥ‬
‫ً‬ ‫ﻳﻜــﻮﻥ‬
‫ﺍﻟﺜﺎﻧــﻲ ‪ ،2015‬ﺃﻋﻠــﻦ ﻣﺪﻳــﺮ ﻭﺻﺎﺣــﺐ ﺍﳌﺪ ّﻭ ﻧــﺔ‬
‫ﺍﻟﺴﻴﺎﺳــﻴﺔ "ﺍﻟﻄﺒﻖ ﺍﻟﻴﻮﻣﻲ" )‪ (Daily Dish‬ﺃﻧﺪﺭﻭ ﺳــﻮﻟﻴﻔﺎﻥ ﻋﻦ‬
‫ﻭﻓﻴﺎ ﻻﺳﻢ‬ ‫ﺗﻮﻗﻔﻪ ﻋﻦ ﺍﻟﺘﺪﻭﻳﻦ‪ .‬ﻓﻄﻴﻠﺔ ‪ 15‬ﻋﺎﻣﴼ‪ ،‬ﻛﺎﻥ ﺳــﻮﻟﻴﻔﺎﻥ ًّ‬
‫ﻣﺪﻭﻧﺘــﻪ‪ ،‬ﺣﻴــﺚ ﻛﺘــﺐ ﺍﻟﺮﺳــﺎﺋﻞ ﺍﻟﻴﻮﻣﻴــﺔ ﺍﻟﺘــﻲ ﺗﺸــﺮﺡ ﺍﻷﺧﺒــﺎﺭ‬
‫ﺑﺸــﻜﻞ ﻓــﻮﺭﻱ‪ .‬ﻭﻲﻓ ﻭﺍﺣــﺪﺓ ﻣــﻦ ﺁﺧــﺮ ﺭﺳــﺎﺋﻠﻪ‪ ،‬ﺷــﺮﺡ ﻗــﺮﺍﺭ‬
‫ﺗﻮﻗﻔــﻪ ﻗﺎﺋــﻼ‪" :‬ﻟﻘــﺪ ﺍﻛﺘﻔﻴــﺖ ﻣــﻦ ﺍﻟﺤﻴــﺎﺓ ﺍﻟﺮﻗﻤﻴــﺔ ﻭﺃﺭﻏــﺐ‬
‫ﻣﺠــﺪﺩﺍ‪ ..‬ﺃﺭﻏــﺐ ﻲﻓ ﺃﻥ‬
‫ً‬ ‫ﻲﻓ ﺍﻟﻌــﻮﺩﺓ ﺇﻟــﻰ ﺍﻟﻌﺎﻟــﻢ ﺍﻟﺤﻘﻴﻘــﻲ‬
‫ﺗﺨﻄــﺮ ﺑﺒﺎﻟــﻲ ﻓﻜــﺮﺓ ﻭﺃﺗﺮﻛﻬــﺎ ﺗﺘﺒﻠــﻮﺭ ﺑﺒــﻂﺀ‪ ،‬ﺑــﺪﻻ ﻣــﻦ ﺃﻥ‬
‫ﺃﺳــﺎﺭﻉ ﺇﻟــﻰ ﺗﺪﻭﻳﻨﻬــﺎ ﻓــﻮًﺭﺍ‪ ..‬ﺃﺭﻏــﺐ ﻲﻓ ﻛﺘﺎﺑــﺔ ﻣﻘــﺎﻻﺕ‬
‫ﻃﻮﻳﻠــﺔ ﺗﻌﻄــﻲ ﺇﺟﺎﺑــﺎﺕ ﺃﻋﻤــﻖ ﻭﺃﻛﺜــﺮ ﺣﺬﺍﻗــﺔ ﻋــﻦ ﺍﻟﻌﺪﻳــﺪ‬
‫ﻳﻐﻄــﻲ‬
‫ﻋﻠﻲ"‪.‬‬
‫ﻣﻦ ﺍﻷﺳﺌﻠﺔ ﺍﻟﺘﻲ ﺗﻄﺮﺡ ّ‬
‫ﻣﺎﻳﻜﻞ ﺑﻼﻧﺪﻳﻨﻎ‬
‫ﻣﻊ ﺗﺴﺎﺭﻉ ﺩﻭﺭﺓ ﺍﻟﺨﺒﺮ‪ ،‬ﻳﺴﺘﻐﺮﻕ‬
‫ﺍﻟﺼﺤﻔﻴﻮﻥ "ﺍﳌﺘﺄ ّﻧﻮﻥ" ﺃﺷﻬ ًﺮﺍ‪ ،‬ﺑﻞ‬
‫ﺳﻨﻮﺍﺕ ﻟﻜﺘﺎﺑﺔ ﺍﻟﺘﻘﺎﺭﻳﺮ ﺍﻟﺼﺤﻔﻴﺔ‬
‫ٍ‬
‫ﻣﻔﺼﻠﺔ‪.‬‬
‫ّ‬ ‫ﻭﺳﺮﺩ ﻗﺼﺺ ﻋﻤﻴﻘﺔ‬
‫ﻛﺘــﺐ ﺑــﻮﻝ ﺳــﺎﻟﻮﺑﻴﻚ ﺍﻷﺧﺒــﺎﺭ ﺍﻟﺪﻭﻟﻴــﺔ ﻃﻴﻠــﺔ ﺃﻛﺜــﺮ ﻣــﻦ‬
‫ﻋﺎﻣــﺎ‪ ،‬ﻗﺒــﻞ ﺃﻥ ﻳﻘــﺮﺭ ﺇﺑﻄــﺎﺀ ﻭﺗﻴﺮﺗــﻪ‪ ..‬ﻭﻋــﻦ ﺫﻟــﻚ‬
‫ﻋﺸــﺮﻳﻦ ً‬
‫ﻳﻘــﻮﻝ‪" :‬ﻛﻨــﺖ ﻣﺮﺍﺳ ـ ً‬
‫ﺃﻛﺘــﺐ ﺍﻷﺧﺒــﺎﺭ ﻣــﻦ ﻣﻨﺎﻃــﻖ ﺳــﺎﺧﻨﺔ"‪ .‬ﻓﺄﺛﻨــﺎﺀ ﻋﻤﻠــﻪ ﻲﻓ‬
‫"ﺷــﻴﻜﺎﻏﻮ ﺗﺮﻳﺒﻴــﻮﻥ"‪ ،‬ﺃُﺭﺳــﻞ ﻲﻓ ﺗﻐﻄﻴــﺎﺕ ﺻﺤﻔﻴــﺔ ﳌﻨﺎﻃــﻖ‬
‫ﻧﺰﺍﻋــﺎﺕ‪ ،‬ﻭﳌــﺪﺓ ﺃﺳــﺒﻮﻉ ﺃﻭ ﺍﺛﻨﻴــﻦ ﻛﺎﻥ ﻳﺘﻮﺍﺻــﻞ ﺧﻼﻟﻬﻤــﺎ ﻣــﻊ‬
‫ﺍﻟﺼﺤﻴﻔــﺔ‪ ،‬ﺃﻧﺠــﺰ ﻋــﺪﺩﺍ ﻣــﻦ ﺍﻟﺘﻘﺎﺭﻳــﺮ ﺍﳌﻤﻴــﺰﺓ ﺍﻟﺘــﻲ ﺃﻛﺴــﺒﺘﻪ‬
‫ﺇﺷﺎﺩﺓ ﻋﺎﳌﻴﺔ ﻭﺑﻌﺾ ﺟﻮﺍﺋﺰ ﺑﻮﻟﻴﺘﺰﺭ‪.‬‬
‫ﻭﺃﺧﻴــ ًﺮﺍ‪ ،‬ﺍﺳــﺘﻘﺮ ﻟﻴﺆﻟــﻒ ﻛﺘﺎ ًﺑــﺎ ﻋــﻦ ﺃﺳــﻔﺎﺭﻩ‪ ،‬ﺇﻻ ﺃﻥ ﻫــﺬﺍ ﻛﺎﻥ‬
‫ﻣﺤﺒﻄــﺎ ﻟﺴــﺎﻟﻮﺑﻴﻚ ﺍﻟــﺬﻱ ﻛﺎﻥ ﻳﺮﻏــﺐ ﺃﻥ ﻳﻜــﻮﻥ ﻲﻓ‬ ‫ً‬ ‫ـﺮﻭﻋﺎ‬
‫ﻣﺸـ ً‬
‫ّ‬
‫ﺍﳌﻴــﺪﺍﻥ ﻻ ﺃﻥ ﻳﻜﺘــﺐ ﻋــﻦ ﺗﺠﺮﺑﺘــﻪ ﻓﻴــﻪ‪.‬‬
‫"ﺟﻠﺴــﺖ ﺇﻟــﻰ ﻣﻜﺘﺒــﻲ ﻭﺃﻧــﺎ ﺃﺗﺨ ّﻴــﻞ ﻛﻴــﻒ ﺳــﺄﻫﺮﺏ‪ ،‬ﻭﺑــﺪﺃﺕ‬
‫ﺃﻓﻜــﺮ ﺑــﺄﺭﻭﻉ ﻗﺼــﺔ ﻳﻤﻜﻨﻨــﻲ ﻣﺘﺎﺑﻌﺘﻬــﺎ‪ ..‬ﻣــﺎ ﺍﻟﺒﺤــﺚ ﺍﻷﻗﺼــﻰ‬ ‫ّ‬
‫ﺍﻟــﺬﻱ ﻳﻤﻜﻨﻨــﻲ ﺍﻟﻘﻴــﺎﻡ ﺑــﻪ؟"‪ .‬ﻭﻛﺎﻥ ﺍﻟﺠــﻮﺍﺏ ﺑﺎﻟﻨﺴــﺒﺔ ﺇﻟﻴــﻪ‪:‬‬
‫ـﻮًﺭﺍ‬
‫"ﺍﻧﺘﺸــﺎﺭ ﺍﻟﺒﺸــﺮ ﺍﻷﻭﺍﺋــﻞ ﺧــﺎﺭﺝ ﺇﻓﺮﻳﻘﻴــﺎ"‪ .‬ﻋﻨﺪﻫــﺎ ﻭﺿــﻊ ﺗﺼـ ّ‬
‫ﳌﺸــﺮﻭﻉ ﻳﺘﺘﺒــﻊ ﻓﻴــﻪ ﻫــﺬﻩ ﺍﻟﻬﺠــﺮﺓ ﻣــﻦ ﺇﺛﻴﻮﺑﻴــﺎ ﺇﻟــﻰ ﺍﻟﺸــﺮﻕ‬
‫ّ‬ ‫ﺍﻷﻭﺳــﻂ ﻭﺁﺳــﻴﺎ‪ ،‬ﻧــﺰﻭﻻً ﺇﻟــﻰ ﺍﻷﻣﻴﺮﻛﻴﺘﻴــﻦ‪ ،‬ﻭﺻــﻮﻻ ﺇﻟــﻰ ﺃﻗﺼــﻰ‬
‫ﺍﻟﻄﺮﻑ ﺍﻟﺠﻨﻮﺑﻲ ﻟﻸﺭﺟﻨﺘﻴﻦ‪.‬‬
‫ﻭﻟﺘﺘﺒــﻊ ﻫــﺬﺍ ﺍﻟﻄﺮﻳــﻖ‪ ،‬ﺳﻴﺴــﺘﺨﺪﻡ ﺍﻟﻮﺳــﻴﻠﺔ ﻧﻔﺴــﻬﺎ ﺍﻟﺘــﻲ‬
‫ﺍﺳﺘﺨﺪﻣﻬﺎ ﺃﺟﺪﺍﺩﻧﺎ ﺍﻟﻘﺪﺍﻣﻰ‪ ،‬ﺃﻻ ﻭﻫﻲ ﺍﻷﻗﺪﺍﻡ‪.‬‬
‫ﻭﺑﺬﻟــﻚ ُﻭﻟــﺪ ﻣﺸــﺮﻭﻋﻪ "ﺭﺣﻠــﺔ ﺍﻟﺨــﺮﻭﺝ ﻣــﻦ ﻋــﺪﻥ"‪ ،‬ﻭﻫــﻮ‬
‫ّ‬
‫ﺭﺣﻠــﺔ ﺳــﻴﺮ ﺣــﻮﻝ ﺍﻟﻌﺎﻟــﻢ ﳌــﺪﺓ ﺳــﺒﻊ ﺳــﻨﻮﺍﺕ‬
‫ﺧﻼﻟﻬﺎ ﻛﻞ ﺧﻄﻮﺓ ﻳﻘﻮﻡ ﺑﻬﺎ ﻲﻓ ﻃﺮﻳﻘﻪ‪ .‬ﻭﺍﻟﻴﻮﻡ‪ ،‬ﺑﻌﺪ‬
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‫ﻋﻠﻤــﺎﺀ ﺣﻔﺮﻳــﺎﺕ ﻲﻓ ﺇﺛﻴﻮﺑﻴــﺎ ‪-‬ﺍﻟﺘــﻲ ﻛﺎﻧــﺖ ﻧﻘﻄــﺔ ﺍﻧﻄــﻼﻕ ﺍﻟﺼﺤﻔــﻲ ﺑــﻮﻝ ﺳــﺎﻟﻮﺑﻴﻚ ﳌــﺪﺓ ﺳــﺒﻊ ﺳــﻨﻮﺍﺕ ﻲﻓ ﺭﺣﻠــﺔ ﺳــﻴﺮ ﺣــﻮﻝ ﺍﻟﻌﺎﻟــﻢ‪ -‬ﻭﻫــﻢ‬
‫ﻳﻔﺤﺼﻮﻥ ﺃﺩﻭﺍﺕ ﻭﺩﻻﺋﻞ ﺃﺧﺮﻯ ﻟﻠﺒﺸﺮ ﺗﻌﻮﺩ ﺇﻟﻰ ﻣﺎ ﻗﺒﻞ ‪ 60‬ﺃﻟﻒ ﺳﻨﺔ‪ .‬ﺟﻮﻥ ﺳﺘﺎﻧﻤﻴﻴﺮ‪ /‬ﻧﺎﺷﻴﻮﻧﺎﻝ ﺟﻴﻮﻏﺮﺍﻓﻴﻚ‬

‫ﻳﺸــﻴﺮ ﺇﻟــﻰ ﺃﻧﻨــﺎ "ﻟــﻮ ﺗﺎﺑﻌﻨــﺎ ﺍﻷﺧﺒــﺎﺭ‬
‫ﻳﻮﻣﻴــﺎ ﻲﻓ ﻋﺼــﺮ ﺍﻟﺤﻤﻮﻟــﺔ ﺍﻹﻋﻼﻣﻴــﺔ‬
‫ﺍﳌﺘﺄ ﻧــﻮﻥ‬
‫ﺍﻟﺰﺍﺋــﺪﺓ‪ ،‬ﺍﻟــﺬﻱ ﺗﻨﻬــﺎﻝ ﻓﻴــﻪ ﻋﻠﻴﻨــﺎ‬
‫ﺍﻟﻜﺜﻴــﺮ ﻣــﻦ ﺍﳌﻌﻠﻮﻣــﺎﺕ ﺑﺴــﺮﻋﺔ‪،‬‬
‫ﺍﳌﺴــﺘﺠﺪﺍﺕ‪ ،‬ﻭﻟﻜ ّﻨﻨــﺎ‬
‫ّ‬ ‫ﻓﺴــﻨﺤﺼﻞ ﻰﻠﻋ‬
‫ﻟــﻦ ﻧﺤﺼــﻞ ﻰﻠﻋ ﺻــﻮﺭﺓ ﻋــﻦ ﺃﺳــﺒﺎﺏ‬
‫ﺍﻟﺘﻄﻮﺭﺍﺕ"‪.‬‬
‫ﺍﻟﺼﺤﺎﻓــﺔ ﺍﳌﺘﺄﻧﻴــﺔ )ﺍﻟﺒﻄﻴﺌــﺔ( ﺍﺳــﻤﻬﺎ‬
‫ﻇﻬــﺮﺕ ﻋﺒــﺎﺭﺓ "ﺍﻟﺼﺤﺎﻓــﺔ ﺍﳌﺘﺄﻧﻴــﺔ"‬
‫ﻷﻭﻝ ﻣــﺮﺓ ﻲﻓ ﻣﻘﺎﻟــﺔ ﻧﺸــﺮﺕ ﻲﻓ‬
‫ﻓﺒﺮﺍﻳﺮ‪/‬ﺷــﺒﺎﻁ ‪ 2007‬ﺑﻤﺠﻠﺔ "ﺑﺮﻭﺳﺒﻜﺖ"‬
‫)‪ (Prospect‬ﺍﳌﺨﺘﺼــﺔ ﺑﺎﻟﻘﻀﺎﻳــﺎ‬
‫ﺍﻟﺴﻴﺎﺳــﻴﺔ ﻭﺍﻟﺜﻘﺎﻓﻴــﺔ ﺍﻟﺒﺮﻳﻄﺎﻧﻴــﺔ‪،‬‬
‫ﻛﺘﺒﺘﻬــﺎ ﺳــﻮﺯﺍﻥ ﻏﺮﻳﻨﺒﻴــﺮﻍ ﻭﻫــﻲ‬
‫ﻣﺤﺎﺿــﺮﺓ ﺃﻭﻟــﻰ ﻲﻓ ﺍﻟﻠﻐــﺔ ﺍﻹﻧﺠﻠﻴﺰﻳــﺔ‬
‫ِ‬
‫ﻭﺍﻟﻜﺘﺎﺑــﺔ ﺍﻹﺑﺪﺍﻋﻴــﺔ ﻲﻓ ﺟﺎﻣﻌــﺔ‬
‫"ﺭﻭﻫﺎﻣﺒﺘــﻮﻥ"‪ .‬ﻓﻘــﺪ ﺭﺃﺕ ﻏﺮﻳﻨﺒﻴــﺮﻍ ﺃﻧــﻪ‬
‫ﻰﻠﻋ ﺍﻟﻨﻘﻴــﺾ ﻣــﻦ ﺍﻷﺧﺒــﺎﺭ ﺍﻟﻴﻮﻣﻴــﺔ‪،‬‬
‫ﺗﺼﺒــﺢ ﺍﻟﺼﺤﺎﻓــﺔ ﺍﳌﺪﻋﻮﻣــﺔ ﺑﺎﳌﻬــﺎﺭﺓ‬
‫ﻭﺍﻟﺼــﻮﺕ ﻭﺍﻟﻌﻨﺎﻳــﺔ ﺃﻛﺜــﺮ ﻓﺄﻛﺜــﺮ ﻧﻮﻋــﺎ‬
‫ﻳﺤــﻞ ﻣــﻜﺎﻥ ﺍﻟﺘﻘﺮﻳــﺮ‪ .‬ﺃﺳــﺘﺎﺫﺓ‬
‫ﻣــﻦ "ﺍﻟﺘــﺮﻑ"‪ .‬ﻭﺃﻭﺿﺤــﺖ‪" :‬ﻣــﺎ ﺃﻋﻨﻴــﻪ‬
‫ﻫــﻮ ﺗــﺮﻑ ﺍﻻﺳــﺘﻐﺮﺍﻕ ﻲﻓ ﺍﻟﺸــﻲﺀ‪ ،‬ﺃﻱ‬
‫ﺍﻻﺳــﺘﻐﺮﺍﻕ ﻲﻓ ﺍﻛﺘﺸــﺎﻑ ﺍﻷﻣــﻮﺭ‬
‫ﻭﺑﻠﻮﺭﺗﻬﺎ ﻭﺍﻟﻘﻴﺎﻡ ﺑﺸﻲﺀ ﺟﺪﻳﺪ‬
‫ﻣﻌﻬﺎ‪.‬‬
‫ّ‬
‫ﺍﻟﺼﺤﻔﻴــﻮﻥ‬ ‫ﻳﻘﻴــﺲ‬
‫ﺗﻐﻄﻴﺘﻬــﻢ ﺍﻟﺼﺤﻔﻴــﺔ ﺑﺎﻷﺷــﻬﺮ‬
‫ﻭﺍﻟﺴــﻨﻮﺍﺕ ﺑــﺪﻻ ﻣــﻦ ﺍﻷﻳــﺎﻡ‪ ،‬ﻭﻳﻌﺘﺒــﺮﻭﻥ‬
‫ﻣــﺎ ﻳﻘﻮﻣــﻮﻥ ﺑــﻪ ﺃﻛﺜ ـ َﺮ ﻣــﻦ ﻣﺠ ـ ّﺮﺩ ﺳــﺮﺩ‬
‫ﻭﺗﻤﺎﻣــﺎ ﻣﺜــﻞ ﺗﻴــﺎﺭ‬
‫ً‬ ‫ﻣﻄــﻮﻝ‪.‬‬
‫ّ‬ ‫ﻗﺼﺼــﻲ‬
‫"ﺍﻟﻄﻌــﺎﻡ ﺍﻟﺒﻄــﻲﺀ" ﺍﻟــﺬﻱ ﺃﺧــﺬﺕ‬
‫ﺣﺘــﻰ ﻣﺌــﺔ ﺃﻟــﻒ ﺩﻭﻻﺭ ﻟﻜﺘﺎﺑــﺔ ﻗﺼــﺺ‬
‫ﻣﻨــﻪ‪ ،‬ﺗﺸــﺪﺩ ﺍﻷﺧﻴــﺮﺓ ﻰﻠﻋ ﺃﻫﻤﻴــﺔ‬
‫ﺍﻻﻧﻔﺘــﺎﺡ ﻭﺍﻟﺸــﻔﺎﻓﻴﺔ‪ ،‬ﻛﺎﺷــﻔﺔ‬
‫ﻟﺠﻤﻬﻮﺭﻫــﺎ ﻋــﻦ ﻣﺼﺎﺩﺭﻫــﺎ ﻭﻣﻨﺎﻫﺠﻬــﺎ‬
‫ﻭﺩﺍﻋﻴــﺔ ﺇﻳــﺎﻩ ﺇﻟــﻰ ﺍﳌﺸــﺎﺭﻛﺔ ﻲﻓ‬
‫ﺍﳌﻨﺘﺞ ﺍﻟﻨﻬﺎﺋﻲ‪.‬‬
‫ﺃﻣﻀﺘــﺎ ﻋﺎﻣــﺎ ﻲﻓ ﺇﻋــﺎﺩﺓ ﺍﻟﺘﺤﻘﻴــﻖ ﻲﻓ‬
‫ﻭﻫــﺬﺍ ﺍﻟﻨــﻮﻉ ﻣــﻦ ﺍﻟﺼﺤﺎﻓــﺔ ﻳﻌﺘﺒــﺮ‬
‫ﻭﻳﻘــﺪﻡ‬
‫ّ‬ ‫ﻣﻜﻤــﻼ ﻟﻸﺧﺒــﺎﺭ ﺍﻟﻌﺎﺟﻠــﺔ‬‫ّ‬
‫ﺗﺼﺤﻴﺤــﺎ ﻟﻬــﺎ‪َ ،‬ﻓ َﺘﺤــﺖ ﺿﻐــﻂ‬
‫ﺍﳌﻮﺍﻋﻴــﺪ ﺍﻟﻨﻬﺎﺋﻴــﺔ ﺍﻟﺘــﻲ ﺗﻮﺍﺟــﻪ‬
‫ﺍﻟﺼﺤﻔﻴﻴــﻦ ﺩﺍﺋﻤــﺎ‪ ،‬ﻳﻤﻜــﻦ "ﻟﻠﺘﺨﻤﻴــﻦ"‬
‫ّ‬
‫ﺃﻥ‬
‫ﺍﻹﻋــﻼﻡ ﻭﺍﻟﺘﻮﺍﺻــﻞ ﻲﻓ ﺟﺎﻣﻌــﺔ‬
‫ﺳــﻴﺪﻧﻲ ﻣﻴﻐــﺎﻥ ﻟﻮﻣﺎﺳــﻮﺭﻳﻴﻪ ﻛﺘﺒــﺖ‬
‫ﺗﻜﺸــﻔﺖ ﺑﻬــﺎ‬
‫ﻣﻘــﺎﻻ ﺃﻛﺎﺩﻳﻤﻴــﺎ ﳌﺠﻠــﺔ "ﺍﳌﻤﺎﺭﺳــﺔ‬
‫ﺍﻟﺼﺤﻔﻴﺔ" )‪(Journalism Practice‬‬
‫ﻭﻗﺒــﻞ ﺳــﻮﻟﻴﻔﺎﻥ‪ ،‬ﻛﺎﻧــﺖ ﺍﳌﺤــﺮﺭﺓ‬
‫ﺍﻟﺘﻨﻔﻴﺬﻳــﺔ ﺍﻟﺴــﺎﺑﻘﺔ ﻲﻓ "ﻧﻴﻮﻳــﻮﺭﻙ‬
‫ﺗﺎﻳﻤــﺰ" ﺟﻴــﻞ ﺃﺑﺮﺍﻣﺴــﻮﻥ ﻗــﺪ ﺃﻋﻠﻨــﺖ‬
‫ﻲﻓ ﻧﻮﻓﻤﺒﺮ‪/‬ﺗﺸــﺮﻳﻦ ﺍﻟﺜﺎﻧــﻲ ‪ 2014‬ﺃﻧﻬــﺎ‬
‫ﺗﺘﻌــﺎﻭﻥ ﻣــﻊ ﺍﻟﺼﺤﻔــﻲ ﻭﺭﺟــﻞ ﺍﻷﻋﻤــﺎﻝ‬
‫ﺳــﺘﻴﻔﺎﻥ ﺑﺮﻳــﻞ ﻹﻃــﻼﻕ ﺷــﺮﻛﺔ‬
‫ﺇﻋﻼﻣﻴــﺔ ﻧﺎﺷــﺌﺔ‪ ،‬ﺗﻌﻄــﻲ ﺍﻟﻜ ّﺘــﺎﺏ‬
‫ﺃﻃﻮﻝ ﻣﻦ ﻣﻘﺎﻟﺔ ﻭﺃﻗﺼﺮ ﻣﻦ ﻛﺘﺎﺏ‪.‬‬
‫ﻛﻤــﺎ ﺃﻥ ﻣﻨﺘﺠﺘــﻲ ﺍﻟﺒﺮﻧﺎﻣــﺞ ﺍﻹﺫﺍﻋــﻲ‬
‫"ﻫﺬﻩ ﺍﻟﺤﻴﺎﺓ ﺍﻷﻣﻴﺮﻛﻴﺔ" )‪This American‬‬
‫‪ (Life‬ﺳــﺎﺭﺓ ﻛﻮﻳﻨــﻎ ﻭﺟﻮﻟــﻲ ﺳــﻨﺎﻳﺪﺭ‬
‫ﺟﺮﻳﻤــﺔ ﻗﺘﻞ ﺗﻌــﻮﺩ ﺇﻟﻰ ﺍﻟﻌــﺎﻡ ‪ 1999‬ﻲﻓ‬
‫ﺑﺎﻟﺘﻴﻤــﻮﺭ ﻛﺎﻭﻧﺘــﻲ‪ ،‬ﻗﺒــﻞ ﺗﺴــﺠﻴﻞ‬
‫ﻛﻮﻧﺖ‬‫ﺍﻟﺘﺤﻘﻴﻖ ﻰﻠﻋ ﻣﻘﺎﻃﻊ ﻣﻦ ‪ 12‬ﺳﺎﻋﺔ ّ‬
‫ﺑﺮﻧﺎﻣــﺞ "ﺳــﻴﺮﻳﺎﻝ" ﺍﻹﺫﺍﻋــﻲ ﺍﻟــﺬﻱ‬
‫ﺃﺻﺒــﺢ ﺍﻷﻛﺜــﺮ ﺷــﻌﺒﻴﺔ ﻣــﻦ ﻧﻮﻋــﻪ ﻲﻓ‬
‫ﺍﻟﺘﺎﺭﻳــﺦ‪ .‬ﻭﺃﺣــﺪ ﺍﻷﺳــﺒﺎﺏ ﺍﻟﺘــﻲ ﺟﻌﻠــﺖ‬
‫ﺍﻟﺒﺮﻧﺎﻣــﺞ ﺳــﺎﺣ ًﺮﺍ ﺇﻟــﻰ ﻫــﺬﺍ ﺍﻟﺤــﺪ‪ ،‬ﻫــﻮ‬
‫ﺍﻟﻄﺮﻳﻘــﺔ ﺍﻟﺒﻄﻴﺌــﺔ ﺍﻟﺘــﻲ ّ‬
‫ﺍﻟﻘﺼــﺔ ﻣــﻊ ﺍﻟﻮﻗــﺖ‪ ،‬ﺣﻴــﺚ ﻛﺎﻧــﺖ ﻛﻞ‬
‫ﺗﻌﻘﺪ ﺳﺎﺑﻘﺘﻬﺎ‪ ،‬ﺑﻞ ﺗﺘﻌﺎﺭﺽ‬ ‫ﺣﻠﻘﺔ ّ‬

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‫ﻭﺍﻟﺤﺎﺟﺔ ﺇﻟﻰ ﺗﺪﻋﻴﻢ ﺍﻷﺧﺒــﺎﺭ ﺑﺎﳌﺰﻳﺪ ﻣﻦ‬
‫ﺍﳌﺤﺘــﻮﻯ ﻭﺍﻟﺘﺤﻠﻴــﻞ ﻫــﻲ ﻣــﺎ ﺩﻓــﻊ‬
‫ﺍﻟﺼﺤﻔ ﱠﻴ ْﻴــﻦ ﺭﻭﺏ ﺃﻭﺭﻛﺎﺭﺩ ﻭﻣﺎﺭﻛــﻮﺱ ﻭﻳﺐ‬
‫ّ‬
‫ﺍﳌﺘﺄﺧــﺮ"‬ ‫ﺇﻟــﻰ ﺇﻃــﻼﻕ ﻣﺠﻠــﺔ "ﺍﻹﺭﺿــﺎﺀ‬
‫)‪ (Delayed Gratification‬ﻲﻓ ﺍﳌﻤﻠﻜــﺔ‬
‫ﺍﳌﺘﺤــﺪﺓ ﻋــﺎﻡ ‪ 2011‬ﻭﺍﻟﺘــﻲ ﺗﻌـ ّﺮﻑ ﻋــﻦ‬
‫ﻧﻔﺴﻬﺎ ﺑﺄﻧﻬﺎ "ﻣﺠﻠﺔ ﺍﻟﺼﺤﺎﻓﺔ ﺍﳌﺘﺄﻧﻴﺔ"‪.‬‬
‫ﻳﻘــﻮﻝ ﺃﻭﺭﻛﺎﺭﺩ ﻣﺤــﺮﺭ ﺍﳌﺠﻠــﺔ "ﻳﺠــﺪ‬
‫ﻣﺮﺗﺪﻳــﻦ ﻰﻠﻋ‬ ‫ّ‬ ‫ﺍﻟﺼﺤﻔﻴــﻮﻥ ﺃﻧﻔﺴــﻬﻢ‬
‫ﺃﻋﻘﺎﺑﻬــﻢ ﺑﺸــﻜﻞ ﺩﺍﺋــﻢ ﻭﻫــﻢ ﻳﺤﺎﻭﻟــﻮﻥ‬
‫ﻣﻮﺍﻛﺒــﺔ ﺍﻷﺧﺒــﺎﺭ ﺍﻟﻌﺎﺟﻠــﺔ ﻰﻠﻋ ﺗﻮﻳﺘــﺮ‬
‫ﻭﺍﻹﻋــﻼﻡ ﺍﻻﺟﺘﻤﺎﻋــﻲ‪ ،‬ﻟﺬﻟﻚ ﺃﺭﺩﻧــﺎ ﺗﻮﻓﻴﺮ‬
‫ﻣــﻼﺫ ﻟﻠﺼﺤﻔﻴﻴــﻦ ﻳﺴــﺘﻐﺮﻗﻮﻥ ﻓﻴــﻪ ﻣــﺎ‬
‫ﺭﺩﺓ ﻓﻌﻞ ﻰﻠﻋ‬ ‫ﻳﻜﻔﻲ ﻣﻦ ﺍﻟﻮﻗﺖ ﻟﺘﻜﻮﻳﻦ ّ‬
‫ﺍﻟﺘﻄــﻮﺭﺍﺕ‪ ،‬ﻭﻣﺤﺎﻭﻟــﺔ ﺍﻟﻌﺜﻮﺭ ﻰﻠﻋ ﻗﺼﺺ‬
‫ﻟﻢ ُﻳﻌﺜــﺮ ﻋﻠﻴﻬﺎ ﺧــﻼﻝ ﺭﺩﺓ ﺍﻟﻔﻌــﻞ ﺍﻷﻭﻟﻰ‬
‫ﻏﻴﺮ ﺍﳌﺪﺭﻭﺳﺔ"‪.‬‬
‫ﺍﻟﺼﺤﻔﻴــﻮﻥ ﺍﳌﺘﺄﻧــﻮﻥ ﻏﺎﻟﺒــﺎ ﻣــﺎ ﻳﺘﺮ ّﻳﺜــﻮﻥ ﻛﻤــﺎ ﻓﻌﻠــﺖ ﻛﺎﺛﺮﻳــﻦ ﺑــﻮ ﺍﻟﺘــﻲ ﺃﻣﻀــﺖ ﺳــﻨﻮﺍﺕ ﻲﻓ‬
‫ﺻﺪﻳﻘﻲ‪/‬ﺭﻭﻳﺘﺮﺯ‬‫ﺗﻌﺪ ﺍﻟﺘﻘﺎﺭﻳﺮ ﻟﻜﺘﺎﺑﻬﺎ "ﻣﺎ ﻭﺭﺍﺀ ﺍﻟﻼﻣﺘﻨﺎﻫﻴﺎﺕ ﺍﻟﺠﻤﻴﻠﺔ"‪ .‬ﺩﺍﻧﺶ ّ‬ ‫ﻣﻮﻣﺒﺎﻱ ّ‬
‫ﺗﺄﻟﻴــﻒ ﻛﺘﺎﺑــﻪ "ﻧﻴﻮﺟــﺎﻙ" )‪،(Newjack‬‬ ‫ﻭﻧﻘﻠــﻪ ﺑﻄﺮﻳﻘــﺔ ﻣﻨﺼﻔــﺔ"‪ .‬ﻭﻟﻮﺻــﻒ‬
‫ﻭﻋﺎﺷــﺖ ﺍﻟﺼﺤﻔﻴــﺔ ﺍﻷﻣﻴﺮﻛﻴــﺔ ﺃﺩﺭﻳــﺎﻥ‬ ‫ﺍﻟﻈﺎﻫــﺮﺓ‪ ،‬ﺍﺳــﺘﻌﺎﺭﺕ ﻋﺒــﺎﺭﺓ "ﺍﻟﻄﻌــﺎﻡ‬
‫ﻋﻘــﺪﺍ ﻣــﻦ ﺍﻟﺰﻣــﻦ ﻣــﻊ‬
‫ً‬ ‫ﻧﻴﻜــﻮﻝ ﻟﻮﺑــﻼﻥ‬ ‫ﺍﻟﺒﻄــﻲﺀ"‪ ،‬ﻭﻫــﻲ ﺣﺮﻛــﺔ ﻋﺎﳌﻴــﺔ ﺑــﺪﺃﺕ‬
‫ﻋﺎﺋﻠــﺔ ﻲﻓ ﺑﺮﻭﻧﻜــﺲ ﻟﺘﺄﻟﻴــﻒ ﻛﺘﺎﺑﻬــﺎ‬ ‫ﻲﻓ ﺛﻤﺎﻧﻴﻨﻴــﺎﺕ ﺍﻟﻘــﺮﻥ ﺍﳌﺎﺿــﻲ‬
‫"ﺍﻟﻌﺎﺋﻠﺔ ﺍﻟﻌﺸﻮﺍﺋﻴﺔ" )‪،(Random Family‬‬ ‫ﻭﺍﺣﺘﺠــﺖ ﻰﻠﻋ ﻣﺎﻛﺪﻭﻧﺎﻟــﺪﺯ ﻲﻓ ﺃﻭﺭﻭﺑــﺎ‪،‬‬
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‫ﻭﻣﻜﺜــﺖ ﺍﻟﺼﺤﻔﻴــﺔ ﺍﻻﺳــﺘﻘﺼﺎﺋﻴﺔ‬ ‫ﻣﺪﺍﻓﻌــﺔ ﻋــﻦ ﺍﻟﻄﻌــﺎﻡ ﺍﳌﺤﻠــﻲ ﺍﳌﻨﺘــﺞ‬
‫ﺍﻷﻣﻴﺮﻛﻴــﺔ ﻛﺎﺛﺮﻳــﻦ ﺑــﻮ ﺛــﻼﺙ ﺳــﻨﻮﺍﺕ‬ ‫ـﺪﻡ‬ ‫ﺑﺸــﻜﻞ ﺃﺧﻼﻗــﻲ ﻭﺍﻟــﺬﻱ ﻳﻄﺒــﺦ ﻭﻳﻘـ ّ‬
‫ﻲﻓ ﺣــﻲ ﻓﻘﻴــﺮ ﺑﻤﻮﻣﺒــﺎﻱ ﻟﺘﺄﻟﻴــﻒ‬ ‫ﻭﻳﺘــﻢ ﺍﻻﺳــﺘﻤﺘﺎﻉ ﺑــﻪ ﺑﻤــﺎ ﻳﻜﻔــﻲ ﻣــﻦ‬
‫ﻛﺘﺎﺑﻬــﺎ "ﻣــﺎ ﻭﺭﺍﺀ ﺍﻟﻼﻣﺘﻨﺎﻫﻴــﺎﺕ‬ ‫ﻣﻜﻮﻧﺎﺗﻪ‪.‬‬
‫ﺍﻟﻮﻗﺖ ﻟﺘﺬ ّﻭﻕ ّ‬
‫ﺍﻟﺠﻤﻴﻠــﺔ" )‪Behind the Beautiful‬‬
‫ﻭﻰﻠﻋ ﺍﻟﺮﻏــﻢ ﻣــﻦ ﺃﻥ ﻣﺒــﺎﺩﺉ ﺍﻟﺼﺤﺎﻓــﺔ‬
‫‪.(Forevers‬‬
‫ﺍﳌﺘﺄﻧﻴــﺔ ﻟﻴﺴــﺖ ﺟﺪﻳــﺪﺓ‪ ،‬ﻓــﺈﻥ ﺍﻟﻔﻜــﺮﺓ‬
‫ﻭﻻ ﻧﻨﺴــﻰ ﺍﻟﺼﺤﻔــﻲ ﻭﺍﻟﻜﺎﺗــﺐ‬
‫ﻣﻠﺤــﺎ‪ ،‬ﻓﻬــﻲ ﺗﺸــﺘﺮﻙ ﻣــﻊ‬
‫ﺑﺎﺗــﺖ ﻣﻄﻠ ًﺒــﺎ ًّ‬
‫ﺍﻷﻣﻴﺮﻛــﻲ ﺭﻭﺑــﺮﺕ ﻛﺎﺭﻭ ﺍﻟــﺬﻱ ﺃﻣﻀــﻰ‬
‫ﺍﻟﺼﺤﺎﻓــﺔ ﺍﻟﺮﻭﺍﺋﻴــﺔ ﻲﻓ ﺍﻟﺨﺼﺎﺋــﺺ‬
‫ﺃﻛﺜــﺮ ﻣــﻦ ﺛﻼﺛﻴــﻦ ﻋﺎﻣــﺎ ﻳــﺆﺭﺥ ﻟﺤﻴــﺎﺓ‬
‫ﺧﺼﻮﺻــﺎ ﺍﻟﺘﺮﻛﻴــﺰ ﻰﻠﻋ‬ ‫ً‬ ‫ﻧﻔﺴــﻬﺎ‪،‬‬
‫ﺍﻟﺮﺋﻴــﺲ ﺍﻷﻣﻴﺮﻛــﻲ ﻟﻴﻨــﺪﻭﻥ ﺑــﻲ‪.‬‬
‫ﺍﻹﺳــﻬﺎﺏ ﻲﻓ ﺍﻟﺘﻘﺎﺭﻳــﺮ‪ .‬ﻭﻣــﻦ ﻫــﺬﺍ‬
‫ﺟﻮﻧﺴــﻮﻥ‪ ،‬ﺣﻴــﺚ ﻧﺸــﺮ ﺃﺭﺑﻌــﺔ ﻣﺠﻠــﺪﺍﺕ‬
‫ﺍﳌﻨﻄﻠــﻖ ﺃﻣﻀــﻰ ﺍﻟﻜﺎﺗــﺐ ﻭﺍﻟﺼﺤﻔــﻲ‬
‫ﺣﺘــﻰ ﺍﻵﻥ ﺑﺎﻧﺘﻈــﺎﺭ ﻣﺠﻠــﺪ ﺧﺎﻣــﺲ‬
‫ﺍﻷﻣﻴﺮﻛــﻲ ﺗﻴــﺪ ﻛﻮﻧﻮﻓــﺮ ﺷــﻬﻮ ًﺭﺍ‬
‫ﻳﺘﻨﺎﻭﻝ ﺍﻟﺠﺰﺀ ﺍﻷﻛﺒﺮ ﻣﻦ ﺭﺋﺎﺳﺘﻪ‪.‬‬
‫ﻛﺤﺎﺭﺱ ﻲﻓ ﺳﺠﻦ ﺳﻴﻨﻎ ﺳﻴﻨﻎ‬
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‫ﺍﻟﻜﺘﺎﺑــﻲ ﺍﳌﻮﺛــﻮﻕ‪ .‬ﻭﻰﻠﻋ ﺍﻟﺠﺎﻧــﺐ ﺍﻵﺧﺮ‬
‫ﻣــﻦ ﺍﻟﺠﺒــﺎﻝ ﻲﻓ ﺳﻮﺗﺸــﻲ‪ ،‬ﻳﻘــﻊ ﺷــﻤﺎﻝ‬
‫ﺍﻟﻘﻮﻗﺎﺯ‪ ،‬ﺃﺣﺪ ﺃﻓﻘــﺮ ﺍﻷﻣﺎﻛﻦ ﻲﻓ ﺍﳌﻨﻄﻘﺔ‬
‫ﻭﺃﻛﺜﺮﻫﺎ ﺗﺄﺛ ًﺮﺍ ﺑﺎﻟﺤﺮﻭﺏ‪ ،‬ﻭﺍﻟﺬﻱ ﺷﻬﺪ ﺛﻼﺛﺔ‬
‫ﻋﻘــﻮﺩ ﻣــﻦ ﺍﻟﻨــﺰﺍﻉ ﻣــﻊ ﺭﻭﺳــﻴﺎ‪ ،‬ﺷــﻤﻠﺖ‬
‫ﺣﺮﺑﻴــﻦ ﻣــﻊ ﺍﻟﺸﻴﺸــﺎﻥ ﻲﻓ ﺍﻟﻔﺘــﺮﺓ ﺑﻴــﻦ‬
‫ﻋﺎﻣــﻲ ‪ 1994‬ﻭ‪ 1996‬ﻭﺍﻟﻔﺘــﺮﺓ ﺑﻴﻦ ﻋﺎﻣﻲ‬
‫‪ 1999‬ﻭ‪ ،2006‬ﻭﺣﺮﺑﺎ ﻗﺼﻴﺮﺓ ﺑﻴﻦ ﺟﻮﺭﺟﻴﺎ‬
‫ﻭﺍﻟﺠﻤﻬﻮﺭﻳﺘﻴــﻦ ﺍﻻﻧﻔﺼﺎﻟﻴﺘﻴــﻦ ﺃﻭﺳــﻴﺘﻴﺎ‬
‫ﺍﻟﺠﻨﻮﺑﻴــﺔ ﻭﺃﺑﺨﺎﺯﻳﺎ ﻋــﺎﻡ ‪ ،2008‬ﻓﻀﻼ ﻋﻦ‬
‫ﺗﺰﺍﻳــﺪ ﺍﻟﺘﻄ ـ ّﺮﻑ ﺑﻴﻦ ﺍﻟﺴــﻜﺎﻥ ﺍﳌﺴــﻠﻤﻴﻦ‬
‫ﻲﻓ ﺩﺍﻏﺴــﺘﺎﻥ ﻣﺴــﻘﻂ ﺭﺃﺱ ﻋﺎﺋﻠــﺔ‬
‫ﻣﻨﻔﺬﻱ ﺗﻔﺠﻴﺮﺍﺕ‬ ‫ﺍﻟﺸــﻘﻴﻘﻴﻦ ﺗﺴــﺎﺭﻧﺎﻳﻒ ّ‬
‫ﻣﺎﺭﺍﺛﻮﻥ ﺑﻮﺳــﻄﻦ‪ .‬ﻭﻳﻘﻮﻝ ﻓــﺎﻥ ﺑﺮﻭﻏﻦ ﺇﻥ‬
‫"ﺍﻷﻟﻌﺎﺏ ﺍﻷﻭﳌﺒﻴﺔ ﺗﺘﻌﻠــﻖ ﺑﻮﺣﺪﺓ ﺍﻷﻣﻢ‪،‬‬
‫ﺃﻣــﺎ ﺍﻟﻘﻮﻗــﺎﺯ ﻓﻤﻨﻄﻘــﺔ ﺣــﺮﻭﺏ ﻭﻧﺰﺍﻋــﺎﺕ‪،‬‬
‫ﻟﺬﻟﻚ ﻛﺎﻥ ﻣﻦ ﺍﻟﺴــﻮﺭﻳﺎﻟﻲ ﺃﻥ ﻧﺮﻯ ﺍﻻﺧﺘﻴﺎﺭ‬
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‫ﻟﺘﻨﻈﻢ ﺍﻷﻭﳌﺒﻴﺎﺩ"‪.‬‬ ‫ﻳﻘﻊ ﻰﻠﻋ ﺳﻮﺗﺸﻲ‬
‫ﻟﻠﺠﻮﺩﺓ ﺃﻛﺜــﺮ ﺩﻗﺔ‪ .‬ﻭﺑﺪﻭﺭﻫﺎ ﺗﻨﺸــﺮ ﻣﻨﺼﺔ‬
‫ﻲﻓ ﺍﻟﻮﺍﻗــﻊ‪ ،‬ﺇﻥ ﺍﻟﻮﻗــﺖ ﺍﻟــﺬﻱ ﺃﻣﻀــﺎﻩ ﻓﺎﻥ‬
‫ﺑﺮﻭﻏــﻦ ﻭﻫﻮﺭﻧﺴــﺘﺮﺍ ﻫﻨــﺎﻙ‪ ،‬ﻣﻨﺤﻬﻤــﺎ‬
‫ﺇﻣﻜﺎﻧﻴــﺔ ﻓﺮﻳــﺪﺓ ﻟﻠﻮﺻــﻮﻝ ﺇﻟــﻰ ﻗﺼــﺺ‬
‫ﻣﻤﻴــﺰﺓ‪ .‬ﻓﻤــﻦ ﺧــﻼﻝ ﺍﳌﻘﺎﺑــﻼﺕ ﺍﻟﺘــﻲ‬
‫ﺃﺟﺮﻳﺎﻫــﺎ ﻲﻓ ﻣــﺪﺍﺭﺱ ﺍﳌﺼﺎﺭﻋــﺔ ﻲﻓ‬
‫ﺷــﻤﺎﻝ ﺍﻟﻘﻮﻗــﺎﺯ ﻰﻠﻋ ﺳــﺒﻴﻞ ﺍﳌﺜــﺎﻝ‪،‬‬
‫ﺍﺳــﺘﻄﺎﻋﺎ ﺍﻟﺘﻌــ ّﺮﻑ ﺇﻟــﻰ ﻋﺎﺋﻠــﺔ ﻲﻓ‬
‫ﺩﺍﻏﺴــﺘﺎﻥ ﻰﻠﻋ ﻋﻼﻗــﺔ ﺑﻤﺘﻤﺮﺩﻳــﻦ‬
‫ﺍﻹﻋــﻼﻥ ﺍﳌﻮﺟــﻮﺩ ﻰﻠﻋ‬
‫ﻭﻓﺮ ﻟﻬﻤﺎ ﻓﺮﺻﺔ‬ ‫ﻳﻘﺎﺗﻠﻮﻥ ﻲﻓ ﺍﻟﺠﺒﺎﻝ‪ ،‬ﻣﻤﺎ ّ‬
‫ﻧﺎﺩﺭﺓ ﻹﺧﺒﺎﺭ ﺍﻟﻘﺼﺔ ﺍﻹﻧﺴﺎﻧﻴﺔ ﻭﺭﺍﺀ ﺍﻟﺘﻤﺮﺩ‬
‫ﺍﻹﺳــﻼﻣﻲ ﺍﳌﺴــﺘﻤﺮ ﻲﻓ ﺍﳌﻨﻄﻘﺔ‪ .‬ﻭﻣﻊ‬
‫ﺍﻧﻄــﻼﻕ ﺍﻷﻟﻌﺎﺏ ﻋﺎﻡ ‪ ،2014‬ﻛﺎﻥ ﻣﺸــﺮﻭﻉ‬
‫ﺳﻮﺗﺸﻲ ﻗﺪ ﺟﺬﺏ ﺍﻫﺘﻤﺎﻡ ﺻﺤﻔﻴﻴﻦ ﻣﻦ‬
‫ﺣــﻮﻝ ﺍﻟﻌﺎﻟــﻢ‪ ،‬ﻓﻠﺠــﺆﻭﺍ ﺇﻟــﻰ ﻓــﺎﻥ ﺑﺮﻭﻏــﻦ‬
‫ﻭﻫﻮﺭﻧﺴــﺘﺮﺍ ﻟﻠﺤﺼــﻮﻝ ﻰﻠﻋ ﻗﺼــﺺ‬
‫ﺇﺧﺒﺎﺭﻳــﺔ ﻋــﻦ ﺍﳌﻨﻄﻘــﺔ‪ .‬ﻭﻳﻀﻴــﻒ ﻓــﺎﻥ‬
‫ﺑﺮﻭﻏــﻦ ﺃﻥ "ﺍﻟﻄﺮﻳﻘــﺔ ﺍﻟﺘــﻲ ّ‬
‫ﻧﻈﻤــﺖ ﺑﻬــﺎ‬
‫ﺃﻟﻌــﺎﺏ ﺳﻮﺗﺸــﻲ ﺟﻌﻠــﺖ ﺍﳌﺪﻳﻨــﺔ ﺗﺒﺪﻭ‬
‫ﻛﺄﻧﻬﺎ ﺿﺎﺣﻴﺔ ﻣﻦ ﺿﻮﺍﺣﻲ ﻣﻮﺳــﻜﻮ‪ ،‬ﻏﻴﺮ‬
‫ﺃ ّﻧــﻲ ﺃﻋﺘﻘــﺪ ﺃﻧﻨــﺎ ﻏ ّﻴﺮﻧــﺎ ﺍﻟﺮﻭﺍﻳــﺔ ﺑﺸــﻜﻞ‬
‫ﺃﻇﻬــﺮ ﺃﻥ ﺳﻮﺗﺸــﻲ ﺗﻘــﻊ ﻭﺳــﻂ ﻫــﺬﻩ‬
‫ﺍﳌﻨﻄﻘﺔ ﺍﳌﻀﻄﺮﺑﺔ"‪.‬‬
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‫ﻳﻨﺘﻘﻠــﻮﻥ ﺃﻛﺜــﺮ ﻓﺄﻛﺜــﺮ ﺇﻟــﻰ ﺍﳌﻨﺼــﺎﺕ‬
‫ﺍﻟﺮﻗﻤﻴﺔ ﺣﻴﺚ ﺑــﺮﺯﺕ ﻣﻮﺍﻗﻊ ﺳــﺮﺩﻳﺔ ﺫﺍﺕ‬
‫ﺇﻃﺎﺭ ﺟﺪﻳﺪ ﻣﺜﻞ‪" :‬ﻣﺠﻠﺔ ﺃﺗﺎﻓﻴﺴــﺖ" )‪The‬‬
‫ﻼ‬
‫‪ (Atavist Magazine‬ﻭ"ﻧ ّﺮ ﺍﺗﻴﻔﻠــﻲ"‬
‫) ‪ (Narratively‬ﻭ"ﻟﻮﻧــﻎ ﻓــﻮ ﺭﻡ"‬
‫)‪ ،(Longform‬ﺗﺘﺤﺪﻯ ﺍﻟﺤﻜﻤﺔ ﺍﻟﺘﻘﻠﻴﺪﻳﺔ‬
‫ﻳﻬﺘﻤﻮﻥ‬
‫ّ‬ ‫ﻣﺘﺼﻔﺤﻲ ﺍﻹﻧﺘﺮﻧﺖ‬ ‫ّ‬ ‫ﺍﻟﻘﺎﺋﻠﺔ ﺑــﺄﻥ‬
‫ﻓﻘﻂ ﺑﻘﺮﺍﺀﺓ ﺍﻷﺧﺒﺎﺭ ﺍﻟﻘﺼﻴﺮﺓ‪.‬‬
‫ﻓﻮﻓــﻖ ﺷــﺮﻛﺔ "ﺗﺸــﺎﺭﺗﺒﻴﺖ" ﻟﺘﺤﻠﻴــﻞ‬
‫ﺍﻟﺒﻴﺎﻧﺎﺕ‪ ،‬ﻳﻤﻀﻲ ﻧﺼﻒ ﺍﻟﻘﺮﺍﺀ ﺃﻗﻞ ﻣﻦ ‪15‬‬
‫ﺛﺎﻧﻴــﺔ ﻰﻠﻋ ﺻﻔﺤــﺔ ﻭﻳــﺐ‪ ،‬ﺑﻴﻨﻤــﺎ ﻣــﻦ‬
‫ﻳﺒﻘــﻮﻥ ﻰﻠﻋ ﺍﻟﺼﻔﺤــﺔ ﻳﻤﻀــﻮﻥ ﻭﻗﺘــﺎ‬
‫ﺃﻃــﻮﻝ‪ ،‬ﻭﺍﻟﺬﻳــﻦ ﻳﻤﻜﺜــﻮﻥ ﺃﻛﺜــﺮ ﻳﻌــﻮﺩﻭﻥ‬
‫ﻰﻠﻋ ﺍﻷﺭﺟﺢ‪ .‬ﻭﻣﺆﺧﺮﴽ‪ ،‬ﻏ ّﻴﺮﺕ "ﺗﺸﺎﺭﺗﺒﻴﺖ"‬
‫ﻟﺘﺮﻛﺰ ﻰﻠﻋ "ﺍﻟﻮﻗﺖ ﺍﳌﻜ ّﺮﺱ"‬ ‫ﻣﻘﺎﻳﻴﺴــﻬﺎ ّ‬
‫ﻳﺤﺼــﻞ ﺩﺍﺋﻤــﺎ‪ .‬ﻏﻴــﺮ ﺃﻥ ﺍﻟﻘﺼــﺔ ﻟــﻢ ﺗﻨﺘـ ِ‬
‫ﻰﻠﻋ ﺍﻟﺼﻔﺤــﺎﺕ ﺑــﺪﻻ ﻣــﻦ "ﻣﺸــﺎﻫﺪﺓ‬
‫ﺍﻟﺼﻔﺤﺎﺕ" ﺃﻭ "ﺍﻟﺰﻭﺍﺭ ﺍﻟﻔﺮﻳﺪﻭﻥ" ﻛﻤﻘﻴﺎﺱ‬
‫"ﻛﻴﻨﺪﻝ ﻟﻠﻨﺸــﺮ ﺍﳌﺒﺎﺷــﺮ" ﺍﻟﺘﺎﺑﻌﺔ ﻟﺸﺮﻛﺔ‬
‫"ﺃﻣــﺎﺯﻭﻥ" ﻣﻘﺎﻳﻴــﺲ ﺍﻻﻫﺘﻤــﺎﻡ‪ ،‬ﻓﺒﺮﻧﺎﻣــﺞ‬
‫ﺍﻻﺷــﺘﺮﺍﻙ ﻟﺪﻳﻬــﺎ ﻳﺪﻓــﻊ ﺍﻵﻥ ﻟﻠﻜ ّﺘــﺎﺏ‬
‫ﺍﳌﺴــﺘﻘﻠﻴﻦ ﻰﻠﻋ ﻋــﺪﺩ ﺍﻟﺼﻔﺤــﺎﺕ ﺍﻟﺘﻲ‬
‫ﺗﺘﻢ ﻗﺮﺍﺀﺗﻬﺎ ﺑﺪﻻ ﻣﻦ ﻋﺪﺩ ﻣﺮﺍﺕ ﺍﺳﺘﻌﺎﺭﺓ‬
‫ﺍﻟﻜﺘــﺎﺏ‪ .‬ﻓﺎﻧﻬﻤــﺎﻙ ﺍﻟﻘــﺎﺭﺉ ﻣﻬــﻢ ﻷﻧــﻪ‬
‫ﺍﳌﺮﺟــﺢ ﺃﻥ‬
‫ّ‬ ‫‪-‬ﺑﺤﺴــﺐ "ﺗﺸــﺎﺭﺗﺒﻴﺖ"‪ -‬ﻣــﻦ‬
‫َ‬
‫ّ‬
‫ﻳﺘﺬﻛــﺮ ﺍﻟﻘــ ّﺮﺍﺀ‬
‫ﺍﻟﺼﻔﺤــﺔ ﺃﻛﺜﺮ ﺑﻨﺴــﺒﺔ ‪ 20‬ﺇﻟــﻰ ‪ 30%‬ﻣﻤﺎ‬
‫ﺇﺫﺍ ﻣﻜﺜﻮﺍ ‪ 20‬ﺛﺎﻧﻴﺔ ﻰﻠﻋ ﺍﻷﻗﻞ‪.‬‬
‫ﻳﻬﺘــﻢ ﺍﻟﺼﺤﻔﻴــﻮﻥ ﺃﻣﺜــﺎﻝ ﺍﳌﺮﺍﺳــﻞ‬
‫ـﻮﺭ‬
‫ﺍﻟﻬﻮﻟﻨــﺪﻱ ﺁﺭﻧﻮﻟــﺪ ﻓــﺎﻥ ﺑﺮﻭﻏــﻦ ﻭﺍﳌﺼـ ّ‬
‫ﺭﻭﺏ ﻫﻮﺭﻧﺴﺘﺮﺍ ﺑﻤﻘﺎﻳﻴﺲ ﺍﻻﻫﺘﻤﺎﻡ‪ ،‬ﻓﻘﺪ‬
‫ﺃﻣﻀﻴــﺎ ﺧﻤــﺲ ﺳــﻨﻮﺍﺕ ﻳﺘﻨﻘــﻼﻥ ﻲﻓ‬
‫ﻣﻨﺎﻃــﻖ ﺣــﺮﻭﺏ ﻲﻓ ﺃﺑﺨﺎﺯﻳــﺎ ﻭﺟﻮﺭﺟﻴــﺎ‬
‫ﻭﺷــﻤﺎﻝ ﺍﻟﻘﻮﻗــﺎﺯ ﺿﻤــﻦ ﺇﻃــﺎﺭ "ﻣﺸــﺮﻭﻉ‬
‫ﺳﻮﺗﺸــﻲ"‪ ،‬ﻭﻫــﻮ ﺳﻠﺴــﻠﺔ ﻣــﻦ ﺍﻟﻜﺘــﺐ‬
‫ﻭﺍﻟﻘﺼــﺺ ﺍﻹﻟﻜﺘﺮﻭﻧﻴــﺔ ﺍﻟﺘــﻲ ﺗﺘﻨــﺎﻭﻝ‬
‫ﺍﻷﻭﳌﺒﻴــﺎﺩ ﺍﻟﺸــﺘﻮﻱ ﻲﻓ ﺳﻮﺗﺸــﻲ‬
‫ﺍﻟﺮﻭﺳــﻴﺔ ﻣﻦ ﻣﻨﻈﺎﺭ ﺟﺪﻳــﺪ‪ .‬ﻛﻞ ﻋﺎﻡ‪ ،‬ﻛﺎﻧﺎ‬
‫ﻳﻘﻀﻴــﺎﻥ ﺛﻼﺛــﺔ ﺃﺷــﻬﺮ ﻲﻓ ﻣﻨﻄﻘــﺔ‬
‫ﻣﺨﺘﻠﻔــﺔ ﻹﻧﺘــﺎﺝ ﻓﺼــﻞ ﺟﺪﻳــﺪ ﻣﺬﻫــﻞ‬
‫ﺑﺼﻮﺭﻩ ﺍﻟﺤﻤﻴﻤﺔ ﻭﺍﻟﻐﻨﻴﺔ ﻭﺑﺄﺳﻠﻮﺑﻪ‬
‫ﺗﺼﺪﺭ ﻫﺬﻩ ﺍﳌﺠﻠﺔ ‪-‬ﺍﻟﺘﻲ ﺗﺘﻤﻴﺰ ﺑﺄﺳــﻠﻮﺏ‬
‫ﻓﺼﻠﻴــﺎ‪ ،‬ﻭﻳﻌﻴــﺪ ﻛﻞ ﻋــﺪﺩ ﺗﻨــﺎﻭﻝ‬
‫ًّ‬ ‫ﺧــﺎﺹ‪-‬‬
‫ﺃﺧﺒــﺎﺭ ﺍﻷﺷــﻬﺮ ﺍﻟﺜﻼﺛــﺔ ﺍﻟﺴــﺎﺑﻘﺔ‪ ،‬ﻣﻐﺮﺑـ ً‬
‫ﺍﻟﻌﻨﺎﻭﻳــﻦ ﺍﻟﺮﺋﻴﺴــﻴﺔ ﻟﺘﺤﺪﻳــﺪ ﺍﻟﻘﺼــﺺ‬
‫ﺍﻟﻬﺎﻣــﺔ ﻭﺗﻐﻄﻴﺘﻬﺎ ﺑﺸــﻜﻞ ﺃﻋﻤﻖ ﻭﻗﺮﺍﺋﻦ‬
‫ﺃﻛﺜــﺮ‪ .‬ﻓﻔــﻲ ﺃﺣــﺪ ﺍﻷﻋــﺪﺍﺩ ﺍﻷﺧﻴــﺮﺓ ﻣﺜــﻼ‬
‫ﻭﺭﺩﺕ ﺗﻐﻄﻴــﺔ ﻟﻜﺎﺭﺛــﺔ ﻣﻨﺠــﻢ ﻲﻓ ﺑﻠــﺪﺓ‬
‫ﺻﻮﻣﺎ ﺍﻟﺘﺮﻛﻴﺔ ﺍﻟﺘﻲ ﺭﺍﺡ ﺿﺤﻴﺘﻬﺎ ﺃﻛﺜﺮ ﻣﻦ‬
‫‪ 300‬ﺷــﺨﺺ‪ ،‬ﻭﻃﻐﺖ ﻟﻔﺘﺮﺓ ﻭﺟﻴﺰﺓ ﻰﻠﻋ‬
‫ﺃﺧﺒﺎﺭ ﺷﻬﺮ ﻣﺎﻳﻮ‪/‬ﺃﻳﺎﺭ ‪ .2014‬ﻳﻘﻮﻝ ﺃﻭﺭﻛﺎﺭﺩ‪:‬‬
‫"ﻛﺎﻧــﺖ ﻫــﺬﻩ ﻣﺄﺳــﺎﺓ ﻣﺮﻋﺒــﺔ ﻭﺣﻈﻴــﺖ‬
‫ﺑﺘﻐﻄﻴــﺔ ﺷــﺎﻣﻠﺔ‪ ،‬ﻓﻘــﺪ ﺃﺭﺳــﻠﺖ ﺟﻤﻴــﻊ‬
‫ﺍﳌﺆﺳﺴــﺎﺕ ﺍﻹﺧﺒﺎﺭﻳــﺔ ﻃﻮﺍﻗﻤﻬــﺎ ﺇﻟــﻰ‬
‫ﻫﻨــﺎﻙ ﺣﻴــﺚ ﻣﻜﺜــﻮﺍ ﻋــﺪﺓ ﺃﻳــﺎﻡ ﻗﺒــﻞ ﺃﻥ‬
‫ﺗﻨﺘﻘــﻞ ﺃﺟﻨﺪﺍﺗﻬﻢ ﺇﻟــﻰ ﻣﻮﺿــﻮﻉ ﺁﺧﺮ ﻛﻤﺎ‬
‫ـﻪ‬
‫ﻫﻨﺎ"‪.‬‬
‫ﻭﺃﻭﺿــﺢ ﺃﻭﺭﻛﺎﺭﺩ ﺃﻧــﻪ ﺑﻴﻨﻤــﺎ ﺳـ ّﻠﻂ ﺍﻟﻀــﻮﺀ‬
‫ﻰﻠﻋ ﺍﻟﺒﻠﺪﺓ‪ ،‬ﺗﻀﺎﻣﻦ ﺍﻟﺴﻴﺎﺳــﻴﻮﻥ ﻣﻊ ﺃﺳﺮ‬
‫ﻭﺗﻌﻬــﺪﻭﺍ ﺑﺘﻘﺪﻳﻢ ﺍﳌﺴــﺎﻋﺪﺍﺕ‬ ‫ّ‬ ‫ﺍﻟﻀﺤﺎﻳــﺎ‬
‫ﺍﳌﺎﻟﻴــﺔ ﻟﻠﻨﺎﺟﻴــﻦ ﻭﺑﺈﺻــﻼﺡ ﺻﻨﺎﻋــﺔ‬
‫ﺍﻟﺘﻌﺪﻳــﻦ ﻲﻓ ﺍﻟﺒــﻼﺩ‪ ،‬ﻏﻴــﺮ ﺃﻧﻪ ﺑﻌــﺪ ﻣﺮﻭﺭ‬
‫ﺗﺒﺨﺮﺕ ﺟﻤﻴﻊ ﺍﻟﻮﻋﻮﺩ‪ .‬ﻟﺬﻟﻚ‬ ‫ﺛﻼﺛﺔ ﺃﺷــﻬﺮ ّ‬
‫ﻓــﺈﻥ ﺍﻟﻘﺼﺔ ﺍﻟﺼﺤﻔﻴــﺔ ﺍﻟﻨﺎﺗﺠــﺔ ﻋﻦ ﺫﻟﻚ‬
‫ﺗﻨﺎﻭﻟــﺖ ﺑﺎﻟﺘﻔﺼﻴــﻞ ﺃﺣــﻮﺍﻝ ﺍﳌﺠﺘﻤــﻊ‬
‫ﺍﳌﺤﻠــﻲ ﺍﻟــﺬﻱ ﻳﻐﻠــﻲ ﺑﺴــﺒﺐ ﺍﻟﺼﺪﻣــﺔ‬
‫ﻭﺍﻟﻐﻀــﺐ‪ ،‬ﻭﻳﻨﺎﺿﻞ ﻟﻴﻠﻤﻠﻢ ﻧﻔﺴــﻪ ﻭﻳﻘﻒ‬
‫ﻣﺠــﺪﺩﺍ ﻰﻠﻋ ﻗﺪﻣﻴــﻪ‪ ..‬ﻳﻘــﻮﻝ ﺃﻭﺭﻛﺎﺭﺩ‬ ‫ً‬
‫"ﺣﻴﻦ ﺗﻌــﻮﺩ ﺇﻟﻰ ﺍﻷﺣــﺪﺍﺙ ﺑﻌﺪ ﺍﻧﻘﺸــﺎﻉ‬
‫ﺍﻟﻐﺒﺎﺭ‪ ،‬ﺳﺘﺠﺪ ﻗﺼﺔ ﻣﺨﺘﻠﻔﺔ ﺗﻤﺎﻣﺎ"‪.‬‬
‫ﻻ ﻳــﺮﻯ ﺃﻭﺭﻛﺎﺭﺩ ﺃﻥ ﺍﳌﺠﻠــﺔ ﺗﺘﻨﺎﻓــﺲ ﻣــﻊ‬
‫ﺗﺪﻋﻤﻬــﺎ‪،‬‬
‫ﺍﻷﺧﺒــﺎﺭ "ﺍﻟﺴــﺮﻳﻌﺔ" ﺑﻘــﺪﺭ ﻣــﺎ ّ‬
‫ﻭﻳﻮﺿﺢ‪" :‬ﺟﻤﻴﻌﻨﺎ ﻣﺪﻣﻨــﻮﻥ ﻰﻠﻋ ﺍﻷﺧﺒﺎﺭ‬
‫ﻛﻐﻴﺮﻧــﺎ‪ ،‬ﻭﻧﺘﺤﻘــﻖ ﺑﺸــﻜﻞ ﺩﺍﺋــﻢ ﻣــﻦ‬
‫ﻫﻮﺍﺗﻔﻨﺎ‪ ،‬ﻭﻟﻜﻦ ﻣــﺎ ُﺗﻌﻨﻰ ﺑــﻪ ﺍﳌﺠﻠﺔ ﻫﻮ‬
‫ﺗﺄﻧﻴﺎ ﻭﺛﺮﺍﺀ"‪.‬‬
‫ﺍﻟﺮﻏﺒﺔ ﻲﻓ ﺷﻲﺀ ﺃﻛﺜﺮ ًّ‬
‫ﻣﻨــﺬ ﺍﻟﻌــﺎﻡ ‪ 2008‬ﺣﻴــﻦ ﺃﺛﻘﻠــﺖ ﺍﻷﺯﻣــﺔ‬
‫ﺍﻻﻗﺘﺼﺎﺩﻳــﺔ ﻛﺎﻫــﻞ ﺍﻟﺼﺤﺎﻓــﺔ‪ ،‬ﺑــﺪﺃ‬
‫ﺍﻟﺒﺎﺣﺜﻮﻥ ﻋﻦ ﺗﻠﻚ ﺍﻟﺰﺍﻭﻳﺔ ﻣﻦ ﺍﻟﺘﻨﺎﻭﻝ‬
 ‫ﻳﺘﺼﻮﺭﺍﻥ ﻭﻫﻤﺎ ﻳﺤﻤﻼﻥ ﺍﻟﻜﻼﺷﻨﻴﻜﻮﻑ ﻟﺼﺎﻟﺢ ﻣﺸﺮﻭﻉ ﺳﻮﺗﺸﻲ‪ .‬ﺭﻭﺏ ﻫﻮﺭﻧﺴﺘﺮﺍ‬
‫ّ‬ ‫ﺷﻘﻴﻘﺎﻥ ﻳﻌﻴﺸﺎﻥ ﻲﻓ ﻣﻨﻄﻘﺔ ﻣﺘﻨﺎﺯﻉ ﻋﻠﻴﻬﺎ ﺑﺠﻮﺭﺟﻴﺎ‬
‫ﺍﳌﻮﺳــﻢ ﺍﻟﺜﺎﻧــﻲ ﻳﺒــﺚ ﻲﻓ ﺍﻟﺨﺮﻳــﻒ‬ ‫ﺍﻟﺼﺤﻴﺤــﺔ‪ ،‬ﻓــﺄﻱ ﺷــﺨﺺ ﻳﺤﻘــﻖ ﻲﻓ‬
‫ﺍﳌﻘﺒﻞ‪.‬‬ ‫ﺍﻟﻘﻀﻴــﺔ ﺳــﻴﻮﺍﺟﻪ ﻟﺤﻈــﺎﺕ ﻣﻤﺎﺛﻠــﺔ‬
‫ﻟﻠﺘــﻲ ﻭﺍﺟﻬﻨﺎﻫــﺎ‪ .‬ﻭﻣــﻦ ﺟﻬﺘــﻲ ﻛﻨــﺖ‬
‫ﻛﻤــﺎ ﺃﻥ ﻫﻨــﺎﻙ ﺻﺮﺍﻋــﺎ ﺃﺳﺎﺳــﻴﺎ ﺁﺧــﺮ‬ ‫ﺃﻭﺍﺟــﻪ ﺍﻟﻜﺜﻴــﺮ ﻣــﻦ ﺍﻟﻐﻤــﻮﺽ‪ ،‬ﻭﺑــﺪﺍ‬
‫ﻳﺨﻮﺿــﻪ ﺍﳌﺮﺍﺳــﻠﻮﻥ ﻣــﻦ ﻫــﺬﺍ ﺍﻟﻨــﻮﻉ‪،‬‬ ‫ﻣﻬﻤــﺎ ﺃﻥ ﺃﻛــﻮﻥ ﺻﺎﺩﻗــﺔ ﻲﻓ ﺫﻟــﻚ ﻭﺃﻻ‬ ‫ًّ‬
‫ﻭﻫــﻮ ﻛﻴــﻒ ﻳﻌﻴﻠــﻮﻥ ﺃﻧﻔﺴــﻬﻢ ﺃﺛﻨــﺎﺀ‬ ‫ﺃﺩﻋــﻲ ﺃﻧﻨــﺎ ﻧﻌــﺮﻑ ﻛﻞ ﺷــﻲﺀ"‪.‬‬ ‫ّ‬
‫ﻗﻴﺎﻣﻬــﻢ ﺑﻬــﺬﺍ ﺍﻟﻌﻤــﻞ ﺍﳌﻀﻨــﻲ‬ ‫ﻭﻳﻮﺍﻓﻘﻬــﺎ ﺍﻟــﺮﺃﻱ ﻣــﺎﺭﻙ ﺑﻴﺮﻛــﻲ ﺟﻴــﺮﺍﺭﺩ‪،‬‬
‫ﻭﺍﳌﺴــﺘﻬﻠﻚ ﻟﻠﻮﻗــﺖ ﻲﻓ ﻣﺘﺎﺑﻌــﺔ‬ ‫ﻭﻫــﻮ ﺃﺳــﺘﺎﺫ ﻣﺴــﺎﻋﺪ ﻲﻓ ﺍﻟﺼﺤﺎﻓــﺔ‬
‫ﻗﻀﻴﺔ ﻣﺎ؟‬ ‫ﺑﺠﺎﻣﻌــﺔ "ﺭﻭﻭﺍﻥ" ﻲﻓ ﻧﻴﻮﺟﺮﺳــﻲ‪ ،‬ﺇﺫ‬
‫ﻳﻌﺘﺒــﺮ ﺃﻥ "ﻣــﺎ ﺃﺣ ّﺒــﻪ ﺍﻟﻨــﺎﺱ ﻲﻓ‬ ‫ﺗﻘــﻮﻝ ﺳــﻨﺎﻳﺪﺭ "ﻛﺎﻥ ﻫﻨــﺎﻙ ﻣﺤﺘــﻮﻯ‬
‫ّ‬
‫ﺷــﻜﻞ ﻣﺎﻛﻴﻨــﺰﻱ‬ ‫ﻭﻲﻓ ﻫــﺬﺍ ﺍﻟﺴــﻴﺎﻕ‪،‬‬ ‫ﺍﻟﺒﺮﻧﺎﻣــﺞ ﻫــﻮ ﻣﺘﺎﺑﻌــﺔ ﻛﻴــﻒ ﺗﺘــﻢ‬
‫ﻓﺎﻧــﻚ ﻣﺆﻟــﻒ ﻛﺘــﺎﺏ "ﺍﻟﻜﺴــﺐ‬ ‫ﺍﻟﻌﻤﻠﻴــﺔ‪ ،‬ﻭﺍﻟﻐــﻮﺹ ﻲﻓ ﻛﻞ ﺍﻷﻣــﻮﺭ‬
‫ﺍﳌﻔﺎﺟــﺊ‪ ..‬ﺍﻷﻋﻤــﺎﻝ ﺍﳌﺰﺩﻫــﺮﺓ‬ ‫ﺍﻟﺘــﻲ ﻳﻤــﺮ ﺑﻬــﺎ ﺍﳌﺮﺍﺳــﻞ ﻟﻠﻮﺻــﻮﻝ ﺇﻟــﻰ‬
‫ﻟﻼﺣﺘﺒﺎﺱﺍﻟﺤﺮﺍﺭﻱ")‪Windfall:TheBooming‬‬ ‫ً‬
‫ﻭﺃﻳﻀــﺎ ﺭﺅﻳــﺔ ﺃﻧــﻪ ﺭﻏــﻢ‬ ‫ﺍﻟﺤﻘﻴﻘــﺔ‪،‬‬
‫‪ (Business of Global Warming‬ﺍﻟــﺬﻱ‬ ‫ﻗﻀﺎﺋــﻚ ﻣﺌــﺎﺕ ﺍﻟﺴــﺎﻋﺎﺕ ﻲﻓ ﺍﻟﺘﺤﻘﻴــﻖ‬
‫ﻳﺘﻨــﺎﻭﻝ ﺍﻟﺴــﺒﺎﻕ ﺇﻟــﻰ ﺗﺤﻘﻴــﻖ ﺍﻷﺭﺑــﺎﺡ‬ ‫ﺃﺑــﺪﺍ‬
‫ﻲﻓ ﻣﻮﺿــﻮﻉ ﻭﺍﺣــﺪ‪ ،‬ﻗــﺪ ﻻ ﺗﺼــﻞ ً‬
‫ﻲﻓ ﺍﻟﻘﻄــﺐ ﺍﻟﺸــﻤﺎﻟﻲ‪ ..‬ﺷــﻜﻞ ﺇﻟــﻰ‬ ‫ﺇﻟﻰ ﺍﻟﺤﻘﻴﻘﺔ"‪.‬‬
‫ﺟﺎﻧــﺐ ﺗﺴــﻌﺔ ﻛ ّﺘــﺎﺏ ﺁﺧﺮﻳــﻦ ﻣــﺎ‬
‫ﺃﻃﻠﻘــﻮﺍ ﻋﻠﻴــﻪ ﺍﺳــﻢ "ﺩﻳــﻜﺎ" )‪(Deca‬‬ ‫ﻲﻓ ﺍﻟﻮﺍﻗــﻊ‪ ،‬ﺇﻥ ﻟﻠﺸــﻔﺎﻓﻴﺔ ﺗﺤﺪﻳﺎﺗﻬــﺎ‬
‫)ﺍﻟﺒﺎﺩﺋــﺔ ﺍﻟﺘــﻲ ﺗﻌﻨــﻲ ‪ 10‬ﺑﺎﻟﻠﻐــﺔ‬ ‫ﺍﻟﺨﺎﺻــﺔ‪ ،‬ﻓﻮﻓﻘــﺎ ﻟﺴــﻨﺎﻳﺪﺭ‪ ،‬ﺗﺆﺛــﺮ‬
‫ﺍﻟﻴﻮﻧﺎﻧﻴــﺔ(‪ ،‬ﻭﻫــﻲ ﻋﺒــﺎﺭﺓ ﻋــﻦ‬ ‫ﺟــﺪﺍ ﻻﺭﺗﺒــﺎﻁ‬
‫ًّ‬ ‫ﺍﻟﻄﺒﻴﻌــﺔ ﺍﻟﻌﺎﻣــﺔ‬
‫ﻣﺠﻤﻮﻋــﺔ ﻣــﺆﺍﺯﺭﺓ ﻳﺴــﺎﻋﺪ ﺃﻋﻀﺎﺅﻫــﺎ‬ ‫ﺍﳌﺴــﺘﻤﻊ ﺑـ"ﺳــﻴﺮﻳﺎﻝ" ‪-‬ﺑﻌﻀــﻪ ﺗﺨﻤﻴــﻦ‬
‫ﺑﻌﻀﻬــﻢ ﺍﻟﺒﻌــﺾ ﻲﻓ ﺇﻧﺘــﺎﺝ ﻭﺗﻮﺯﻳــﻊ‬ ‫ﻃﺎﺋــﺶ‪ -‬ﻰﻠﻋ ﺍﺧﺘﻴــﺎﺭ ﺍﻟﻘﺼــﺺ ﻭﻰﻠﻋ‬
‫ﺃﻋﻤﺎﻟﻬــﻢ ﺍﻟﺴــﺮﺩﻳﺔ‪ .‬ﻭﺑﻌﺪ ﺟﻤــﻊ ‪ 32‬ﺃﻟﻒ‬ ‫ﺍﻟﻮﻋــﻮﺩ ﺑﻌــﺪﻡ ﻛﺸــﻒ ﻫﻮﻳــﺔ ﺍﳌﺼــﺎﺩﺭ‬
‫ﺩﻭﻻﺭ ﻋﺒــﺮ ﻣﻮﻗــﻊ "ﻛﻴﻜﺴــﺘﺎﺭﺗﺮ" ﺍﻟﻌــﺎﻡ‬ ‫ﻲﻓ ﺍﳌﻮﺳــﻤﻴﻦ ﺍﻟﺜﺎﻧــﻲ ﻭﺍﻟﺜﺎﻟــﺚ‬
‫ﺍﳌﺎﺿﻲ‪ ،‬ﺍﻟﺘﺰﻣﺖ ﺍﳌﺠﻤﻮﻋﺔ ﺑﺪﻓﻊ‬ ‫ﻋﻠﻤﺎ ﺑﺄﻥ‬
‫ﺍﻟﻠﺬﻳﻦ ﺃﻧﺘﺠﺎ ﺳﻮﻳﺔ‪ً ،‬‬
‫ﻭﺑﺎﻹﺿﺎﻓــﺔ ﺇﻟــﻰ ﺗﻘﺪﻳــﻢ ﻧﻈــﺮﺓ ﺃﻛﺜــﺮ‬
‫ﻋﻤﻘــﺎ‪ ،‬ﻏﺎﻟ ًﺒــﺎ ﻣــﺎ ﺗﺘﻤ ّﻴــﺰ ﺗﺠــﺎﺭﺏ‬
‫ﺍﻟﺼﺤﺎﻓــﺔ ﺍﳌﺘﺄﻧﻴــﺔ ﺑﺸــﻔﺎﻓﻴﺔ ﺃﻛﺒــﺮ ﻲﻓ‬
‫ﻋﻤﻠﻴــﺔ ﺇﻋــﺪﺍﺩ ﺍﻟﺘﻘﺎﺭﻳــﺮ‪ .‬ﻓﻔــﻲ‬
‫"ﺳــﻴﺮﻳﺎﻝ"‪ ،‬ﻛﺸــﻔﺖ ﻛﻮﻳﻨــﻎ ﻋــﻦ‬
‫ﻣﻨﻬﺠﻴﺘﻬــﺎ ﺇﻟــﻰ ﺣــﺪ ﻛﺒﻴــﺮ‪ ،‬ﻛﻤــﺎ ﻋ ّﺒــﺮﺕ‬
‫ﻋــﻦ ﺷــﻜﻮﻛﻬﺎ‪ ،‬ﻭﻛﺎﻧــﺖ ﺗﻐ ّﻴــﺮ ﺭﺃﻳﻬــﺎ ﻣــﻦ‬
‫ﺣﻠﻘﺔ ﺇﻟﻰ ﺃﺧﺮﻯ‪.‬‬
‫ﻟــﻜﻞ ﻭﺟﻬــﺔ ﻧﻈــﺮ‪ ،‬ﻟﺬﻟــﻚ ﺍﺣﺘﺠﻨــﺎ ﺇﻟــﻰ‬
‫ﺍﻟﻮﻗــﺖ ﻛــﻲ ﻧﻔﻬــﻢ ﺣﻘــﴼ ﻣــﺎ ﻛﻨــﺎ‬
‫ﻧﺤــﺎﻭﻝ ﻗﻮﻟــﻪ ﻭﺃﻥ ﻧﻌﻄﻴــﻪ ﻣﻌﻨــﻰ‪.‬‬
‫ﻏﺒﻨــﺎ ﻲﻓ ﺃﻥ ﻳﺸــﻌﺮ‬ ‫ﺭ‬ ‫ﻭﻗــﺪ‬
‫ﺍﳌﺴــﺘﻤﻌﻮﻥ ﺃﻧﻬــﻢ ﺩﺍﺧــﻞ ﺍﻟﻘﺼــﺔ‬
‫ﺍﻟﺘــﻲ‬ ‫ﺑﺎﻟﻄﺮﻳﻘــﺔ‬ ‫ﻭﻳﻔﻬﻤﻮﻧﻬــﺎ‬
‫ﻓﻬﻤﻨﺎﻫﺎ"‪.‬‬
‫ﻏﻴــﺮ ﺃﻥ ﺗــﺮﺩﺩ ﻭﺗﺄﺭﺟــﺢ ﻛﻮﻳﻨــﻎ ﻰﻠﻋ‬
‫ﺍﻟﻬــﻮﺍﺀ ﺟﻌﻠﻬــﺎ ﻣﺤــﻂ ﺍﻧﺘﻘــﺎﺩ ﺑﻌــﺾ‬
‫ﺍﳌﺘﺎﺑﻌﻴــﻦ‪ ،‬ﻭﺣﺘــﻰ ﺳــﺨﺮﻳﺔ ﻣﻮﻗــﻊ‬
‫ﺍﻟﻔﻴﺪﻳﻮﻫــﺎﺕ ﺍﻟﻔﻜﺎﻫﻴــﺔ "ﻓﺎﻧــﻲ ﺃﻭﺭ ﺩﺍﻱ"‬
‫)‪ (Funny or Die‬ﻭﺑﺮﻧﺎﻣﺞ "ﺳﺎﺗﺮﺩﺍﻱ ﻧﺎﻳﺖ‬
‫ﻻﻳــﻒ" )‪ ،(Saturday Night Live‬ﺇﻻ ﺃﻥ‬
‫ﺳــﻨﺎﻳﺪﺭ ﺩﺍﻓﻌــﺖ ﻋــﻦ ﺫﻟــﻚ ﻗﺎﺋﻠــﺔ‪:‬‬
‫"ﺃﺷﻌﺮ ﺃﻧﻨﺎ ﺍﻋﺘﻤﺪﻧﺎ ﺍﻟﺨﻴﺎﺭﺍﺕ‬
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‫ﻓﻴﻐﻄﻴــﺎﻥ ﻧﻔﻘﺎﺗﻬﻤــﺎ ﻣــﻦ ﺍﻟﺘﻤﻮﻳــﻞ ﺍﻟﺠﻤﺎﻋــﻲ‬‫ّ‬ ‫ﻭﻫﻮﺭﻧﺴــﺘﺮﺍ‬
‫ﻭﻋﺎﺋــﺪﺍﺕ ﺍﻟﻜﺘــﺎﺏ‪ ،‬ﻭﻫــﻲ ﻧﻔﻘــﺎﺕ ﻧــﺎﺩًﺭﺍ ﻣــﺎ ﺗﺠــﺎﻭﺯﺕ ﺍﻟـــ‬
‫ﻭﻳﺘﺤﺴــﺮ ﻓــﺎﻥ‬
‫ّ‬ ‫‪ 1200‬ﺩﻭﻻﺭ ﺳــﻨﻮﻳﺎ ﺣﺘــﻰ ﺍﻟﻌــﺎﻡ ﺍﻷﺧﻴــﺮ‪.‬‬
‫ﺑﺮﻭﻏــﻦ ﺍﻟــﺬﻱ ﻳﻌﻤــﻞ ﻣــﻊ ﻫﻮﺭﻧﺴــﺘﺮﺍ ﻰﻠﻋ ﻣﺸــﺮﻭﻉ ﺟﺪﻳــﺪ‬
‫ﻲﻓ ﻏــﺮﺏ ﺃﻭﺭﻭﺑــﺎ‪ ،‬ﻗﺎﺋــﻼ‪" :‬ﺇﻧﻬــﺎ ﺗﺠﺮﺑــﺔ ﺍﻗﺘﺼﺎﺩﻳــﺔ ﺳــﻴﺌﺔ"‪،‬‬
‫ﻣﻀﻴﻔــﺎ "ﻧﺤﺘــﺎﺝ ﺃﻥ ﻧﺠــﺪ ﻣﺼــﺪﺭ ﺭﺯﻕ ﺧــﻼﻝ ﻣﺸــﺮﻭﻋﻨﺎ‬
‫ﺍﳌﻘﺒﻞ"‪.‬‬
‫ﻻ ﺗﻜﺸــﻒ "ﺃﻣــﺎﺯﻭﻥ" ﻋــﻦ ﺍﻟﻌﺎﺋــﺪﺍﺕ ﺍﻟﺘــﻲ ﻳﺤﻘﻘﻬــﺎ ﺍﻟﻜ ّﺘــﺎﺏ‬
‫ﻣــﻦ ﺑﻴــﻊ "ﻛﻴﻨــﺪﻝ ﺳــﻴﻨﻐﻞ"‪ ،‬ﺇﻻ ﺃﻥ ﺍﳌﺤــﺮﺭ ﺩﻳﻔــﺪ ﺑﻠــﻮﻡ ﺃﺷــﺎﺭ‬
‫ﺇﻟــﻰ ﺃﻧﻬــﻢ ﻳﺤﺼﻠــﻮﻥ ﻰﻠﻋ ‪ 70%‬ﻣﻦ ﺃﺭﺑــﺎﺡ ﺍﻟﺒﻴــﻊ ﻭﻳﺤﺘﻔﻈﻮﻥ‬
‫ﺑﺤﻘــﻮﻕ ﺍﻟﻌﻤــﻞ‪ .‬ﻭﻭﻓﻘــﴼ ﻟﺒﻠــﻮﻡ‪ ،‬ﺗﺪﻓــﻊ "ﺃﻣــﺎﺯﻭﻥ" ﺃﺣﻴﺎﻧــﴼ‬
‫ﻧﻔﻘــﺎﺕ ﻣــﻦ ﺃﻟــﻒ ﺩﻭﻻﺭ ﺇﻟــﻰ ﻋﺸــﺮﺓ ﻟﻠﺘﻘﺎﺭﻳــﺮ ﺍﻟﺼﺤﻔﻴــﺔ‪ ،‬ﻛﻤــﺎ‬
‫ﻓﻌﻠــﺖ ﻣــﻊ "ﺳــﻴﻨﻐﻞ" ﺣــﻮﻝ ﻛﺎﺭﺛــﺔ ﺭﺣﻠــﺔ ﺳــﻔﻴﻨﺔ "ﻛﻮﺳــﺘﺎ‬
‫ﻛﻮﻧﻜﻮﺭﺩﻳــﺎ"‪ .‬ﻭﻳﺤﺘﻔــﻆ ﺍﻟﻜ ّﺘــﺎﺏ ﺑﻜﺎﻣــﻞ ﺍﻷﺭﺑــﺎﺡ ﻋــﻦ ﺃﻱ‬
‫ﺻﻔﻘــﺎﺕ ﺃﻓــﻼﻡ‪ ،‬ﻛﻤــﺎ ﻓﻌــﻞ ﺍﻟﻜﺎﺗــﺐ ﺳــﺘﻴﻔﺎﻥ ﺗﺎﻟﺘــﻲ ﺍﻟــﺬﻱ‬
‫"ﻣﻬﻤــﺔ ﻗﺒﻄــﺎﻥ"‬ ‫ّ‬ ‫ﺷــﺎﺭﻙ ﻲﻓ ﺗﺄﻟﻴــﻒ ﻛﺘــﺎﺏ‬
‫ﺣــﻮ ﻝ‬ ‫‪(A‬‬ ‫‪Captain's‬‬ ‫) ‪Duty‬‬
‫ﺍﺣﺘﺠــﺎﺯ ﺍﻟﻘﺒﻄــﺎﻥ ﺭﻳﺘﺸــﺎﺭﺩ ﻓﻴﻠﻴﺒــﺲ ﻰﻠﻋ ﻳــﺪ ﻗﺮﺍﺻﻨــﺔ‬
‫ﺻﻮﻣﺎﻟﻴﻴــﻦ‪ ،‬ﻣــﻊ "ﻛﻴﻨــﺪﻝ ﺳــﻴﻨﻐﻞ" ﺑﻌﻨــﻮﺍﻥ "ﻋﻤﻠﻴــﺔ ﺭﺍﻋــﻲ‬
‫ﺃﺑﺪﺍ‬
‫ﺍﻟﺒﻘﺮ" )‪ .(Operation Cowboy‬ﻭﻳﻘﻮﻝ ﺑﻠﻮﻡ‪" :‬ﻟﻴﺲ ﻣﻦ ﺍﻟﺴﻬﻞ ً‬
‫ﺃﻥ ﺗﻜﺴــﺐ ﻋﻴﺸــﻚ ﻣــﻦ ﻛﻮﻧــﻚ ﻛﺎﺗ ًﺒــﺎ‪ ،‬ﻭﻟﻜــﻦ ﺍﻟﻨــﺎﺱ‬
‫ﻳﺸــﻌﺮﻭﻥ ﺃﻥ ﻛﻴﻨــﺪﻝ ﺳــﻴﻨﻐﻞ ﻳﺴــﺎﻋﺪﻫﻢ ﻲﻓ ﻛﺴــﺐ‬
‫ﺇﺑﺪﺍﻋﻴــﺎ ﻟــﻢ ﻳﻜﻮﻧــﻮﺍ ﻟﻴﺤﺼﻠــﻮﺍ‬
‫ًّ‬ ‫ﻣﺘﻨﻔﺴــﺎ‬
‫ً‬ ‫ﻋﻴﺸــﻬﻢ ﻭﻳﻤﻨﺤﻬــﻢ‬
‫ﻋﻠﻴﻪ ﻲﻓ ﺃﻱ ﻣﻜﺎﻥ ﺁﺧﺮ"‪.‬‬
‫ﺗﺎﻳﻤــﺰ"‪ .‬ﻭﻟﻜــﻦ ﻫــﺬﺍ ﻛﻠــﻪ ﻟــﻢ ﻳﻜــﻦ ﻟﻴﺤﺼــﻞ ﻟــﻮﻻ ﺍﻟﺪﻋــﻢ‬
‫ّ‬
‫ﺍﳌﺘﺄﺧــﺮ" ﻷﺭﺑــﻊ‬ ‫ﻣــﻦ ﺟﻬﺘﻬــﺎ ﺻﻤــﺪﺕ ﻣﺠﻠــﺔ "ﺍﻹﺭﺿــﺎﺀ‬
‫ﺳﻨﻮﺍﺕ ﻋﺒﺮ ﻓﺮﺽ ﻗﻴﻤﺔ ﺍﺷــﺘﺮﺍﻙ ﺑﻘﻴﻤﺔ ‪ 57‬ﺩﻭﻻﺭﺍ ﺳﻨﻮﻳﺎ‪ .‬ﻏﻴﺮ‬
‫ﻳﺘﺤﺴــﺮ ﻰﻠﻋ ﻛﻮﻧــﻪ ﻏﻴــﺮ ﻗــﺎﺩﺭ ﻰﻠﻋ‬
‫ّ‬ ‫ﺃﻥ ﺍﳌﺤــﺮﺭ ﺭﻭﺏ ﺃﻭﺭﻛﺎﺭﺩ‬
‫ﺩﻓــﻊ ﺃﻛﺜــﺮ ﻣــﻦ ‪ 32‬ﺳــﻨﺘﺎ ﻟﻠﻜﻠﻤــﺔ ﻣﻘﺎﺭﻧــﺔ ﺑـــ‪ 50‬ﺇﻟﻰ ‪ 65‬ﺳــﻨﺘﺎ‬
‫ـﺪﻝ ﻧﻤﻮﺫﺟــﻲ ﻟﻠﻜﻠﻤــﺔ ﻲﻓ ﺍﳌﻤﻠﻜــﺔ ﺍﳌﺘﺤــﺪﺓ‪ .‬ﻭﻛﺬﻟــﻚ‬ ‫ﻛﻤﻌـ ّ‬
‫ﺍﻷﻣــﺮ ﺑﺎﻟﻨﺴــﺒﺔ ﳌﻮﻗــﻊ "ﻧ ّﺮﺍﺗﻴﻔﻠــﻲ" ﺍﻟــﺬﻱ ﻳﻘــﻮﻝ ﻣﺆﺳﺴــﻪ‬
‫ﻭﺭﺋﻴــﺲ ﺗﺤﺮﻳــﺮﻩ ﻧــﻮﺍﻩ ﺭﻭﺯﻧﺒــﺮﻍ ﺇﻧــﻪ ﻳﺪﻓــﻊ ﻓﻘــﻂ "ﺑﻀــﻊ‬
‫ﻣﺌــﺎﺕ ﻣــﻦ ﺍﻟــﺪﻭﻻﺭﺍﺕ" ﻟﻠﻘﺼــﺔ ﺍﻟﺼﺤﻔﻴــﺔ‪ ،‬ﻭﻫــﺬﺍ ﺃﻣــﺮ ﻣــﻦ‬
‫ﺍﻟﺼﻌــﺐ ﺃﻥ ﻳﺘﻘ ّﺒﻠــﻪ ﺍﻟﻜ ّﺘــﺎﺏ ﺍﳌﻌﺘــﺎﺩﻭﻥ ﻰﻠﻋ ﻣﻌــﺪﻝ ﺩﻭﻻﺭ‬
‫ﺇﻟﻰ ﺛﻼﺛﺔ ﻟﻠﻜﻠﻤﺔ ﻣﻦ ﻣﺠﻼﺕ ﻭﻃﻨﻴﺔ‪.‬‬
‫ﻣﻌﻈــﻢ ﺗﺠــﺎﺭﺏ ﺍﻟﺼﺤﺎﻓــﺔ ﺍﳌﺘﺄﻧﻴــﺔ ﻰﻠﻋ ﺍﻟﺪﻋــﻢ ﺣﺘــﻰ ﺍﻵﻥ‬
‫ﻭﺃﺧﻴــ ًﺮﺍ‪ ،‬ﺑــﺪﺃ ﺍﳌﻮﻗــﻊ ّ‬
‫ﻳﻮﻇــﻒ ﻛ ّﺘﺎﺑــﺎ ﻹﻧﺘــﺎﺝ ﻣﺤﺘــﻮﻯ ﺧــﺎﺹ‬
‫ﺑﻌﻼﻣــﺎﺕ ﺗﺠﺎﺭﻳــﺔ ﺑﻴﻨﻬــﺎ "ﺷــﻴﻔﺮﻭﻟﻴﻪ" ﻭ"ﺟﻨــﺮﺍﻝ ﺇﻟﻜﺘﺮﻳــﻚ"‬
‫ﻭ"ﺻﻨﺪﺍﻧــﺲ ﺗــﻲ ﻲﻓ"‪ .‬ﻭﺭﻏــﻢ ﺃﻥ ﻫــﺬﻩ ﺍﻟﺨﻄــﻮﺓ ﻗــﺪ ﺗﺜﻴــﺮ‬
‫ﺍﻟﻘﻠــﻖ ﺣﻴــﺎﻝ ﻣﺴــﺄﻟﺔ ﻓﺼــﻞ ﺍﻟﺘﺤﺮﻳــﺮ ﻋــﻦ ﺍﻹﻋــﻼﻥ‪ ،‬ﻳﻘــﻮﻝ‬
‫ﺭﻭﺯﻧﺒﺮﻍ ﺇﻥ ﻣﺜﻞ ﻫﺬﻩ ﺍﻹﺟﺮﺍﺀﺍﺕ ﺿﺮﻭﺭﻳﺔ ﻟﺘﺄﻣﻴﻦ ﺍﻟﺪﻋﻢ‬
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‫ﻧﻔﻘــﺎﺕ ﻧﺼــﻒ ﺍﻷﻋﻀــﺎﺀ‪ ،‬ﺣﺘــﻰ ‪ 2500‬ﺩﻭﻻﺭ ﻟﻜﻞ ﻣﻨﻬــﻢ‪ ،‬ﻓﻀﻼ‬
‫ﻋــﻦ ﺗﺄﻣﻴــﻦ ﺍﻟﺪﻋــﻢ ﻟﻌﻤﻠﻴــﺔ ﺍﻟﺘﺤﻘــﻖ ﻣــﻦ ﺍﻟﻮﻗﺎﺋــﻊ ﻭﺗﺼﻤﻴــﻢ‬
‫ﺍﻟﻐــﻼﻑ‪ ،‬ﻭﺻــﻮﻻ ﺇﻟــﻰ ﺍﻟﻨﺸــﺮ ﻰﻠﻋ ﺷــﻜﻞ ﻛﺘــﺐ ﺇﻟﻜﺘﺮﻭﻧﻴــﺔ‬
‫ﻲﻓ "ﺃﻣــﺎﺯﻭﻥ ﻛﻴﻨــﺪﻝ ﺳــﻴﻨﻐﻞ"‪ .‬ﻭﻲﻓ ﻛﻞ ﻣﺸــﺮﻭﻉ‪ ،‬ﻳﻘــﻮﻡ‬
‫ﻋﻀــﻮ ﺁﺧــﺮ ﻲﻓ "ﺩﻳــﻜﺎ" ﺑــﺪﻭﺭ ﺍﳌﺤــﺮﺭ‪ ،‬ﻰﻠﻋ ﺃﻥ ﻳﺤﺼــﻞ‬
‫ﺍﻟﻜﺎﺗــﺐ ﻰﻠﻋ ‪ 70%‬ﻣــﻦ ﺍﻷﺭﺑــﺎﺡ ﻭﺍﳌﺤــﺮﺭ ﻰﻠﻋ ‪5%‬‬
‫ﻭﻧﺴﺒﺔ ﺍﻟـ‪ 25%‬ﺍﻟﺒﺎﻗﻴﺔ ﺗﺬﻫﺐ ﺇﻟﻰ ﺍﳌﺠﻤﻮﻋﺔ‪.‬‬
‫ﻣﺴــﺎﻫﻤﺔ ﻓﺎﻧــﻚ ﻲﻓ ﻛﺘــﺎﺏ "ﻣــﻦ ﺟﻠﻴــﺪ ﻭﺭﺟــﺎﻝ" ﻣﻨــﺬ ﺃﻥ‬
‫ﺃﻋﻴــﺪ ﻧﺸــﺮﻩ ﺑﺎﺳــﻢ "ﺣﻄــﺎﻡ ﻛﻮﻟــﻮﻙ" )ﻲﻓ ﺇﺷــﺎﺭﺓ ﺇﻟــﻰ ﻣﻨﺼــﺔ‬
‫ـﻞ"(‪،‬ﺗﻄﻮﺭﺕ ﻣــﻦ ﻣﻘﺎﻟــﺔ‬
‫ّ‬ ‫ﺍﻟﺤﻔــﺮ ﺍﻟﻨﻔﻄﻴــﺔ ﺍﻟﺘﺎﺑﻌــﺔ ﻟﺸــﺮﻛﺔ "ﺷـ‬
‫ﻋﺮﺿﻬــﺎ ﻲﻓ ﺍﻷﺻــﻞ ﻰﻠﻋ ﻣﺠﻠــﺔ "ﻧﻴﻮﻳــﻮﺭﻙ ﺗﺎﻳﻤــﺰ" ﺗﺘﻌﻠــﻖ‬
‫ﺑﺎﳌﻮﺍﺟﻬــﺔ ﺍﻟﺘــﻲ ﻛﺎﻧــﺖ ﺗﻠــﻮﺡ ﻲﻓ ﺍﻷﻓــﻖ ﺑﻴــﻦ ﺷــﺮﻛﺔ "ﺷــﻞ‬
‫ﺍﳌﻠﻜﻴــﺔ ﺍﻟﻬﻮﻟﻨﺪﻳــﺔ" ﻭﻣﻨﻈﻤــﺔ ﺍﻟﺴــﻼﻡ ﺍﻷﺧﻀﺮ)ﻏﺮﻳﻨﺒﻴــﺲ(‬
‫ﻋــﺎﻡ ‪ .2012‬ﻭﻟﻜــﻦ ﺣﻴــﻦ ﻟــﻢ ﺗﻈﻬــﺮ "ﺷــﻞ"‬
‫ﺃﺑــﺪﺍ ﻲﻓ ﺍﻟﻘﻄــﺐ ﺍﻟﺸــﻤﺎﻟﻲ ﻲﻓ ﺫﻟــﻚ ﺍﻟﻌــﺎﻡ‪ ،‬ﻟــﻢ ﺗﻨﺸــﺮ‬ ‫ً‬
‫ﺍﳌﺠﻠــﺔ ﺍﳌﻘﺎﻟــﺔ‪ .‬ﺇﻻ ﺃﻥ ﻓﺎﻧــﻚ ﺣﺎﻓــﻆ ﻰﻠﻋ ﺍﻟﻘﺼــﺔ‪،‬‬
‫ﻣﻨﺼــﺔ‬
‫ّ‬ ‫ّ‬
‫ﺗﺤﻄــﻢ‬ ‫ً‬
‫ﻣﻜﺘﺸــﻔﺎ ﺃﻥ ﺳــﺒﺐ ﺍﺧﺘﻔــﺎﺀ "ﺷــﻞ" ﻛﺎﻥ‬
‫ﻧﻔﻄﻴــﺔ ﺿﺨﻤــﺔ‪ ،‬ﻭﻫــﻲ ﻗﻀﻴــﺔ ﺣﻘــﻖ ﻓﻴﻬــﺎ ﻰﻠﻋ ﻣــﺪﻯ‬
‫ﺗﺤﻘﻴــﻖ‬ ‫ﻟﻜﺘﺎﺑــﺔ‬ ‫ﺍﻟﺘﺎﻟﻴــﺔ‬ ‫ﺍﻟـــ ‪18‬‬ ‫ﺍﻷﺷــﻬﺮ‬
‫ﻣﻌﻤﻖ ﺣﻮﻝ ﻣﻤﺎﺭﺳﺎﺕ ﺍﻟﺴﻼﻣﺔ ﺍﻟﺘﻲ ﺗﺘﺨﺬﻫﺎ "ﺷﻞ"‪.‬‬ ‫ّ‬
‫ﻭﺍﳌﻔﺎﺭﻗــﺔ ﺃﻥ ﻓﺎﻧــﻚ ﻗﺒــﻞ ﺃﻥ ﻳﻨﺸــﺮ ﻲﻓ "ﺃﻣــﺎﺯﻭﻥ ﺳــﻴﻨﻐﻞ"‪،‬‬
‫ﻣﻘﺘﻄﻔــﺎ ﻣــﻦ ﺍﻟﻜﺘــﺎﺏ ﺍﻹﻟﻜﺘﺮﻭﻧــﻲ ﺇﻟــﻰ ﻣﺠﻠــﺔ "ﻧﻴﻮﻳــﻮﺭﻙ‬‫ً‬ ‫ﺑــﺎﻉ‬
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‫ﺍﳌﺎﻟــﻲ ﻭﺍﻟﻨﻔﺴــﻲ ﻣــﻦ "ﺩﻳــﻜﺎ"‪ .‬ﻭﻳﻘ ـ ّﺮ ﻓﺎﻧــﻚ ﺑــﺄﻥ "ﺍﻷﻣــﺮ ﻛﺎﻥ‬
‫ﻋﻠــﻲ ﺃﻥ ﺃﻓﻌــﻞ ﺑــﻪ‪ ،‬ﻭﻟﻜــﻦ‬
‫ّ‬ ‫ﻣﻀﻨ ًﻴــﺎ"‪ ،‬ﻣﻀﻴﻔــﺎ‪" :‬ﻟــﻢ ﺃﻋﻠــﻢ ﻣــﺎ‬
‫ﻟــﺪﻱ ﻣﻜﺎﻧــﺎ ﺃﻧﺸــﺮﻩ ﻓﻴــﻪ‪ ،‬ﺟﻌﻠﻨــﻲ‬ ‫ّ‬ ‫ّ‬
‫ﺑــﺄﻥ‬ ‫ﻣﺠــ ّﺮﺩ ﺇﺩﺭﺍﻛــﻲ‬
‫ﻗﺪ ًﻣــﺎ"‪ .‬ﻭﺭﻏــﻢ ﺍﻟﻨﺠــﺎﺡ‪ ،‬ﻳﻌﺘــﺮﻑ ﻓﺎﻧــﻚ ﺑــﺄﻥ ﺃﻣﻠــﻪ‬ ‫ﺃﺳــﺘﻤﺮ ُ‬
‫ﺧــﺎﺏ ﻣــﻦ ﺍﻟﻌﺎﺋــﺪﺍﺕ ﺍﻟﺘــﻲ ﺟﻤﻌﻬــﺎ ﻣــﻦ "ﺃﻣــﺎﺯﻭﻥ"‪ ،‬ﻭﻗــﺎﻝ ﺇﻥ‬
‫"ﺍﳌﺒﻠــﻎ ﺍﻟــﺬﻱ ﺣﺼﻠــﺖ ﻋﻠﻴــﻪ ﻣــﻦ ﻣﺠﻠــﺔ ﻧﻴﻮﻳــﻮﺭﻙ ﺗﺎﻳﻤــﺰ‬
‫ﻛﺎﻥ ﺃﻛﺒــﺮ ﻣــﻦ ﺍﳌﺒﻠــﻎ ﺍﻟــﺬﻱ ﺃﺟﻨﻴــﻪ ﻣﻨــﻪ )ﺃﻣــﺎﺯﻭﻥ( ﺣﺘــﻰ‬
‫ﺍﻵﻥ"‪.‬‬
‫ﺍﻟﻮﻗــﺖ ﻣــﻦ ﺫﻫــﺐ ﺑﺎﻟﻨﺴــﺒﺔ ﺇﻟــﻰ ﺍﻹﻋــﻼﻡ ﺍﳌﺘﺄﻧــﻲ ﺭﺑﻤــﺎ‬
‫ﺃﻛﺜــﺮ ﻣــﻦ ﻣﺸــﺎﺭﻳﻊ ﺍﳌﺆﺳﺴــﺎﺕ ﺍﻷﺧــﺮﻯ‪ ،‬ﻭﻗــﺪ ﺣﺼﻠــﺖ‬
‫ﺑﻄﺮﻳﻘﺘﻴــﻦ‪ :‬ﺍﳌﻨــﺢ ﺍﻟﺨﻴﺮﻳــﺔ ﺃﻭ ﺍﻟﺘﻤﻮﻳــﻞ ﺍﻟﺠﻤﺎﻋــﻲ‪.‬‬
‫ﻳﻤــﻮﻝ ﻣﺴــﻴﺮﺗﻪ ﺍﻟﻄﻮﻳﻠــﺔ ﺑﻮﺍﺳــﻄﺔ ﻣﻨﺤــﺔ‬ ‫ّ‬ ‫ﻓﺴــﺎﻟﻮﺑﻴﻚ‬
‫ﺑﻘﻴﻤــﺔ ﻣﻠﻴــﻮﻥ ﺩﻭﻻﺭ ﺗﻘﺮﻳﺒــﴼ ﻣــﻦ ﻣﺆﺳﺴــﺔ "ﺟــﻮﻥ ﺃﺱ‪.‬‬
‫ﻭﺟﻴﻤــﺲ ﺃﻝ‪ .‬ﻧﺎﻳــﺖ" ﺍﻟﺘــﻲ ﻣــﻦ ﺩﻭﻧﻬــﺎ ﻟــﻢ ﻳﻜــﻦ ﺗﻨﻔﻴــﺬ‬
‫ﺍﳌﺸﺮﻭﻉ ﻣﻤﻜ ًﻨﺎ‪ ،‬ﻰﻠﻋ ﺣﺪ ﻗﻮﻟﻪ‪ .‬ﺃﻣﺎ ﻓﺎﻥ ﺑﺮﻭﻏﻦ‬
‫ﻛﻞ ﺃﺳــﺒﻮﻉ ﺃﻭ ﺃﺳــﺒﻮﻋﻴﻦ ﻲﻓ ﻣﻮﺳــﻢ‬ ‫ﺍﻟﻘــﺮﻥ ﺍﻟﻮﺍﺣــﺪ ﻭﺍﻟﻌﺸــﺮﻳﻦ‪ .‬ﻳﻘــﻮﻝ‬ ‫ﺍﳌﺎﻟــﻲ ﻟﻠﺼﺤﺎﻓــﺔ ﺍﻹﺑﺪﺍﻋﻴــﺔ‪ ،‬ﻣﻀﻴﻔــﴼ‬
‫ﺍﻟﺤﺼــﺎﺩ‪ .‬ﻭﺑﺪﻭﺭﻫــﺎ ﺟ ّﺮﺑــﺖ ﺑﻌــﺾ‬ ‫ﺩﻭﻧﻴ ّﻠــﻲ‪" :‬ﻛﻞ ﻗﻄﻌــﺔ ﻧﺸــﺮﺕ ﻲﻓ‬ ‫ﺗﻤﺎﻣــﺎ ﺣﻴــﺎﻝ ﻣﺴــﺄﻟﺔ‬
‫ً‬ ‫ﺃﻥ ﺍﳌﻮﻗــﻊ ﻳﻘــﻆ‬
‫ﺍﳌﺆﺳﺴــﺎﺕ ﺍﻹﻋﻼﻣﻴــﺔ ﺍﻟﺼﺤﺎﻓــﺔ‬ ‫ﺗﻌــﺪ ﺑﺄﻗﺼــﻰ ﺩﺭﺟــﺔ‬
‫ّ‬ ‫ﺍﳌﺠﻠــﺔ ﻛﺎﻧــﺖ‬ ‫ﺗﻀﺎﺭﺏ ﺍﳌﺼﺎﻟﺢ‪.‬‬
‫ﺍﳌﻤﻮﻟــﺔ ﻣــﻦ ﺍﳌﺠﺘﻤــﻊ‪ .‬ﻭﻛﺎﻧــﺖ ﺇﺣــﺪﻯ‬ ‫ﻣــﻦ ﺍﻟﻌﻨﺎﻳــﺔ ﺑﺎﻟﺘﻔﺎﺻﻴــﻞ‪ ،‬ﻭﻫــﺬﺍ ﻣــﺎ‬
‫ﺍﻟﻨﺸــﺮﺍﺕ ﺍﻟﻨﺎﺟﺤــﺔ "ﻣﺠﻠــﺔ ﺑﻴﻠــﺖ"‬ ‫ﺗﺴــﺒﺐ ‪-‬ﺇﻟــﻰ ﺣــﺪ ﻣــﺎ‪ -‬ﻲﻓ ﺍﻧﻬﻴﺎﺭﻫــﺎ‬ ‫ﺧﻀــﻢ ﺫﻟــﻚ‪ ،‬ﺍﺳــﺘﻄﺎﻋﺖ‬ ‫ّ‬ ‫ﻭﻟﻜــﻦ ﻲﻓ‬
‫)‪ (Belt Magazine‬ﺍﻟﺘــﻲ ﺑــﺪﺃﺕ ﻲﻓ‬ ‫ﻷﻥ ﻋﻤﻠﻴــﺔ ﺍﻟﺘﺪﻗﻴــﻖ ﻫــﺬﻩ ﻛﺎﻧــﺖ‬ ‫ﻭﺳــﻴﻠﺔ ﻭﺍﺣــﺪﺓ ﺃﻥ ﺗﻜﺴــﺮ ﺍﻟﻘﺎﻋــﺪﺓ ﻲﻓ‬
‫ﻭﺗﻮﺳــﻌﺖ ﺑﻌﺪﻫــﺎ ﺇﻟــﻰ ﻋــﺪﺩ‬
‫ّ‬ ‫ﻛﻠﻴﻔﻼﻧــﺪ‬ ‫ﺟــﺪﺍ"‪ .‬ﻭﻲﻓ ﺃﻭﺟﻬــﺎ‪ ،‬ﻛﺎﻥ ﻟــﺪﻯ‬
‫ًّ‬ ‫ﻣﻜﻠﻔــﺔ‬ ‫ﺟﻌــﻞ ﺍﻟﺼﺤﺎﻓــﺔ ﺍﳌﺘﺄﻧﻴــﺔ ﻣﺴــﺘﺪﺍﻣﺔ‪،‬‬
‫ﻣــﻦ ﻣــﺪﻥ ﺭﺍﺳــﺖ ﺑﻴﻠــﺖ‪ .‬ﻭﺑــﺪﻻً ﻣــﻦ‬ ‫ﺍﳌﺠﻠــﺔ ‪ 500‬ﻣﺸــﺘﺮﻙ ﺑﻘﻴﻤــﺔ‬ ‫ﻭﻫــﻲ ﻣﻮﻗــﻊ "ﺃﺗﺎﻓﻴﺴــﺖ ﻣﺎﻏﺎﺯﻳــﻦ"‬
‫ﺍﻻﺷــﺘﺮﺍﻛﺎﺕ‪ ،‬ﺗــﻢ ﺗﻤﻮﻳــﻞ "ﺑﻴﻠــﺖ" ﻣــﻦ‬ ‫ﺍﺷــﺘﺮﺍﻙ ﺑﻠﻐــﺖ ﺳــﺘﻴﻦ ﺩﻭﻻﺭﴽ‪ ،‬ﻭﻭﺻﻠــﺖ‬ ‫ﻣﻄﻮﻟــﺔ‬ ‫ّ‬ ‫ﺍﻟــﺬﻱ ﻳﻨﺸــﺮ ﻣﻘــﺎﻻﺕ ﺳــﺮﺩﻳﺔ‬
‫ﺭﺳــﻮﻡ "ﺍﻟﻌﻀﻮﻳــﺔ" ﺍﻟﺘــﻲ ﺗﺘــﺮﺍﻭﺡ ﺑﻴــﻦ‬ ‫ﺍﳌﺠﻠﺔ ‪ 14‬ﻣﺮﺓ ﺇﻟﻰ ﻻﺋﺤﺔ "ﻟﻮﺱ ﺃﻧﺠﻠﻮﺱ‬ ‫ﺗﺘــﺮﺍﻭﺡ ﺑﻴــﻦ ‪ 10‬ﻭ‪ 20‬ﺃﻟــﻒ ﻛﻠﻤــﺔ‪،‬‬
‫ﺳــﻨﻮﻳﺎ‬
‫ًّ‬ ‫ﻋﺸــﺮﻳﻦ ﺩﻭﻻﺭﺍ ﻭﺃﻟــﻒ ﺩﻭﻻﺭ‬ ‫ﺭﻭﺍﺟــﺎ‪ .‬ﻏﻴــﺮ ﺃﻥ‬
‫ﺗﺎﻳﻤــﺰ" ﻟﻠﻘﺼــﺺ ﺍﻷﻛﺜــﺮ ً‬ ‫ﻭﺗﻌﻬﺪ ﻣﻨﺬ ﺍﻧﻄﻼﻗﻪ ﻋﺎﻡ ‪ 2011‬ﺑﺄﻥ ﻳﺪﻓﻊ‬ ‫ّ‬
‫ﻭﺍﻟﺘــﻲ ﻳﺤﺼــﻞ ﺑﻤﻮﺟﺒﻬــﺎ ﺻﺎﺣﺒﻬــﺎ‬ ‫ﺍﳌﺎﻝ ﻧﻔﺪ ﻣﻦ ﺍﳌﺠﻠﺔ ﺑﻌﺪ ﻋﺎﻣﻴﻦ‪.‬‬ ‫ﻟﻠﻜ ّﺘــﺎﺏ ﻛﻤــﺎ ﺗﻔﻌــﻞ ﺩﻭﺭ ﺍﻟﻨﺸــﺮ‬
‫ﻰﻠﻋ ﻧﺴــﺦ ﻣــﻦ ﺍﳌﺠﻠــﺔ‪ ،‬ﻓﻀــﻼ ﻋــﻦ‬ ‫ﺍﻟﻜﺒــﺮﻯ‪ .‬ﻭﻳﻘــﻮﻝ ﺍﳌﺪﻳــﺮ ﺍﻟﺘﻨﻔﻴــﺬﻱ‬
‫ﺗﻘــﺪﻡ‬
‫ّ‬ ‫ﻗﻤﺼــﺎﻥ ﻭﺑﻄﺎﻗــﺔ ﻋﻀﻮﻳــﺔ‬ ‫ﻭﻻﺣﻘــﺎ‪ ،‬ﺗــﻢ ﺍﻟﺘﻌﺎﻗــﺪ ﻣــﻊ ﺩﻭﻧﻴ ّﻠــﻲ‬
‫ً‬ ‫ﻭﺍﳌﺤــﺮﺭ ﺇﻳﻔــﺎﻥ ﺭﺍﺗﻠﻴــﻒ‪" :‬ﺣﻴــﻦ ﺑﺪﺃﻧــﺎ‪،‬‬
‫ﺣﺴــﻮﻣﺎﺕ ﻰﻠﻋ ﻓﻌﺎﻟﻴــﺎﺕ ﻭﻣﻨﺘﺠــﺎﺕ‬ ‫ﻟﺘﺤﺮﻳــﺮ ﻧﺸــﺮﺓ ﺇﻟﻜﺘﺮﻭﻧﻴــﺔ ﺗﺤﻤــﻞ ﺍﺳــﻢ‬ ‫ﺩﻓﻌﻨــﺎ ﺁﻻﻑ ﺍﻟــﺪﻭﻻﺭﺍﺕ ﻟﻠﻜ ّﺘــﺎﺏ ﻣــﻦ‬
‫ﻣﺤﻠﻴﺔ‪.‬‬ ‫"ﻣﻴﺸﻦ ﺃﻧﺪ ﺳﺘﺎﻳﺖ" )‪،(Mission and State‬‬ ‫ﺣﺴــﺎﺑﺎﺗﻨﺎ ﺍﳌﺼﺮﻓﻴــﺔ ﺍﻟﺨﺎﺻــﺔ"‪ .‬ﻭﻣﻨــﺬ‬
‫ﻭﻟﻜــﻦ ﺭﻏــﻢ ﺗﻤﻮﻳﻠﻬــﺎ ‪-‬ﻛﻤــﺎ ﻫــﻮ ﺣــﺎﻝ‬ ‫ﻣﺘﻨﻮﻋــﺔ ﺣــﻮﻝ‬ ‫ّ‬ ‫ﺗﻀﻤﻨــﺖ ﻗﺼﺼــﺎ‬ ‫ﺫﻟــﻚ ﺍﻟﻮﻗــﺖ‪ ،‬ﺣﺼﻠــﺖ ﺍﻟﺸــﺮﻛﺔ ﻰﻠﻋ‬
‫ﺍﻟﻄﻌــﺎﻡ ﺍﳌﺤﻠــﻲ ﻭﺍﻟﻌﻀــﻮﻱ‪ -‬ﻳﺄﺗــﻲ‬ ‫ﻣﻨﻄﻘــﺔ ﺳــﺎﻧﺘﺎ ﺑﺮﺑــﺮﺍ‪ ،‬ﻭﺗــﻢ ﺗﻤﻮﻳﻠﻬــﺎ‬ ‫ﺃﻛﺜــﺮ ﻣــﻦ ﺃﺭﺑﻌــﺔ ﻣﻼﻳﻴــﻦ ﺩﻭﻻﺭ ﻣــﻦ‬
‫ﻣﻌﻈــﻢ ﻧﺠــﺎﺡ ﺍﻟﺼﺤﺎﻓــﺔ ﺍﳌﺘﺄﻧﻴــﺔ ﻣــﻦ‬ ‫ﻣــﻦ ﻣﻨﺤــﺔ ﳌــﺪﺓ ﻋﺎﻣﻴــﻦ ﻣــﻦ‬ ‫ﻣﺴــﺘﺜﻤﺮﻳﻦ ﺑﻴﻨﻬــﻢ ﺑــﺎﺭﻱ ﺩﻳﻠــﺮ‬
‫ﻣﺴــﺘﻬﻠﻜﻴﻦ ﺭﺍﻏﺒﻴــﻦ ﻲﻓ ﺍﻟﺪﻓــﻊ ﻟﻬــﺎ‪..‬‬ ‫ﻣﺆﺳﺴــﺔ "ﻧﺎﻳــﺖ"‪ .‬ﻭﻟﻜــﻦ ﺍﻟﻨﺸــﺮﺓ‬ ‫ﻭﺃﻧﺪﺭﻳﺴــﻴﻦ ﻫﻮﺭﻭﻓﻴﺘــﺰ‪ .‬ﻭﺃﺣــﺪ ﺃﺳــﺒﺎﺏ‬
‫ﺗﻘــﻮﻝ ﻟﻮﻣﺎﺳــﻮﺭﻳﻴﻪ‪" :‬ﻧﺤــﻦ ﻧﻔﻌــﻞ ﺫﻟــﻚ‬ ‫ﻓﺸــﻠﺖ ﻲﻓ ﺗﻄﻮﻳــﺮ ﻣﺸــﺮﻭﻉ ﺗﺠــﺎﺭﻱ‬ ‫ﻧﺠــﺎﺡ ﺍﻟﺸــﺮﻛﺔ ﻫــﻮ ﻣﻨﺼــﺔ ﺍﻟﻨﺸــﺮ‬
‫ﻧﺘﺤﻤــﻞ ﻣﺴــﺆﻭﻟﻴﺔ ﺗﺠــﺎﻩ‬
‫ّ‬ ‫ﺑﻔــﺮﺡ ﻷﻧﻨــﺎ‬ ‫ﻳﻮﻗﻔﻬــﺎ ﻰﻠﻋ ﻗﺪﻣﻴﻬــﺎ‪ ،‬ﻭﺃﻗﻔﻠــﺖ ﺑﻌــﺪ‬ ‫ﺍﳌﻨﻔﺼﻠــﺔ ﻋــﻦ ﺍﳌﺠﻠــﺔ ﻭﺍﻟﺘــﻲ‬
‫ﺍﻟﺼﺤــﺔ ﻭﺍﻟﺒﻴﺌــﺔ‪ ،‬ﻭﻲﻓ ﺍﻟﻮﻗــﺖ ﺫﺍﺗــﻪ‬ ‫ﻋــﺎﻡ ﻭﻧﺼــﻒ‪ .‬ﻭﻳﻘــﻮﻝ ﺩﻭﻧﻴ ّﻠــﻲ‪" :‬ﻳﺠــﺐ‬ ‫ﻳﺴــﺘﺨﺪﻣﻬﺎ ﺍﳌﺸــﺘﺮﻛﻮﻥ ﺍﻷﻓــﺮﺍﺩ ﻟﻨﺸــﺮ‬
‫ﻭﺑﺎﻟﻄﺮﻳﻘــﺔ ﻧﻔﺴــﻬﺎ ﻳﺠــﺐ ﻰﻠﻋ‬ ‫ﻋﻠﻴﻨــﺎ ﻛﻤﺴــﺘﻬﻠﻜﻴﻦ ﺃﻥ ﻧﻜــﻮﻥ ﺭﺍﻏﺒﻴــﻦ‬ ‫ﻣﺤﺘﻮﺍﻫــﻢ ﺍﻟﺨــﺎﺹ ﺍﻟــﺬﻱ ﻳــﺪّﺭ ﻋﺎﺋــﺪﺍﺕ‬
‫ﻳﺘﺤﻤﻠــﻮﺍ‬
‫ّ‬ ‫ً‬
‫ﺃﻳﻀــﺎ ﺃﻥ‬ ‫ﺍﳌﺴــﺘﻬﻠﻜﻴﻦ‬ ‫ﻲﻓ ﺩﻋــﻢ ﻣﺜــﻞ ﻫــﺬﻩ ﺍﳌﺸــﺎﺭﻳﻊ‪ ،‬ﻭﻟﻜــﻦ‬ ‫ﻰﻠﻋ ﺍﻟﺸــﺮﻛﺔ ﻛﻜﻞ‪ .‬ﻭﺗﺪﻓــﻊ‬
‫ﻣﺴﺆﻭﻟﻴﺔ ﺗﺠﺎﻩ ﺍﻟﺼﺤﺎﻓﺔ"‪.‬‬ ‫ﻛﻴــﻒ ﺗﻌﻴــﺪ ﺍﻷﻣــﻮﺭ ﺇﻟــﻰ ﻧﺼﺎﺑﻬــﺎ ﻟــﻮ‬ ‫ﺭﺳــﻤﺎ ﻣﻌ ّﻴ ًﻨــﺎ‬
‫ً‬ ‫"ﺃﺗﺎﻓﻴﺴــﺖ" ﻟــﻜﻞ ﻣﻘﺎﻟــﺔ‬
‫ﻛﻨــﺎ ﻣﺸــﺮﻭﻃﻴﻦ ﺑﻌــﺪﻡ ﺍﻟﺪﻓــﻊ ﻷﻱ‬ ‫ﺗﻘﺴــﻢ ﺃﻱ ﻋﺎﺋــﺪﺍﺕ ﻣــﻦ‬ ‫ّ‬ ‫ﻭﻣــﻦ ﺛــﻢ‬
‫ﺷﻲﺀ؟"‪.‬‬ ‫ﺍﻻﺷــﺘﺮﺍﻛﺎﺕ ﻭﻣﺒﻴﻌــﺎﺕ ﺍﻟﻨﺴــﺨﺔ‬
‫ﺍﻟﻮﺍﺣــﺪﺓ ﻭﺣﻘــﻮﻕ ﺍﻟﺘﻠﻔﺰﻳــﻮﻥ ﻭﺍﻟﻔﻴﻠــﻢ‪.‬‬
‫ﻛﺎﻧــﺖ ﻣﺴــﺄﻟﺔ ﺍﻻﺳــﺘﺪﺍﻣﺔ ﺃﻳﻀــﺎ ﺇﺣــﺪﻯ‬ ‫"ﺑﻤﻌــﺪﻝ‬
‫ّ‬ ‫ﻭﻳﺸــﻴﺮ ﺭﺍﺗﻠﻴــﻒ ﺇﻟــﻰ ﺃﻧــﻪ‬
‫ﺍﻟﻌﺮﺍﻗﻴــﻞ ﻲﻓ ﻭﺟــﻪ ﺣﺮﻛــﺔ "ﺍﻟﻄﻌــﺎﻡ‬ ‫ﻭﺳــﻄﻲ‪ ،‬ﻳﺤﺼــﻞ ﺍﻟﻜ ّﺘــﺎﺏ ﻰﻠﻋ ﺣﻮﺍﻟــﻲ‬
‫ﻃــﻮﺭﺕ ﻧﻤــﺎﺫﺝ ﻣﺜــﻞ‬
‫ّ‬ ‫ﺍﻟﺒﻄــﻲﺀ" ﺍﻟﺘــﻲ‬ ‫ﻋﺸﺮﺓ ﺁﻻﻑ ﺩﻭﻻﺭ ﻟﻠﻘﺼﺔ ﺍﻟﻮﺍﺣﺪﺓ"‪.‬‬
‫* ﻧﺸــﺮ ﺍﳌﻘــﺎﻝ ﻳــﻮﻡ ‪ 19‬ﺃﻏﺴــﻄﺲ‪/‬ﺁﺏ ‪،2015‬‬ ‫ﺍﻟﺰﺭﺍﻋــﺔ ﺍﳌﺪﻋﻮﻣــﺔ ﻣــﻦ ﺍﳌﺠﺘﻤــﻊ ﻣــﻦ‬
‫ﻭﻳﻤﻜــﻦ ﻗﺮﺍﺀﺗــﻪ ﻣــﻦ ﺍﳌﺼــﺪﺭ ﺍﻷﺻﻠــﻲ‬
‫ﺑﻌﻨﻮﺍﻥ ‪The Value of Slow Journalism in the‬‬
‫ﺃﺟــﻞ ﺩﻋــﻢ ﺍﳌﺰﺍﺭﻋﻴــﻦ ﺍﳌﺤﻠﻴﻴــﻦ‪ ،‬ﺇﺫ‬ ‫ﻭﻣﻘﺎﺑــﻞ ﻛﻞ ﻭﺳــﻴﻠﺔ ﺻﺤﺎﻓــﺔ ﻣﺘﺄﻧﻴــﺔ‬
‫‪ Age of Instant Information‬ﻰﻠﻋ ﻣﻮﻗﻊ‬ ‫ّ‬
‫ﺍﻟﺴــﻜﺎﻥ ﻲﻓ‬ ‫ﻏﺎﻟ ًﺒــﺎ ﻣــﺎ ﻳﺸــﺘﺮﻱ‬ ‫ﺗﺼﻤــﺪ‪ ،‬ﻫﻨــﺎﻙ ﺃﺧــﺮﻯ ﺗﺨــﺮﺝ ﻣــﻦ‬
‫ﺍﳌﻨﻄﻘــﺔ ﺍﻟﺤﻀﺮﻳــﺔ ﺍﻟﻘﺮﻳﺒــﺔ ﻣــﻦ‬ ‫ﺍﻹﻃﺎﺭ‪ .‬ﻓﻔــﻲ ﺍﻟﻌــﺎﻡ ‪ ،2010‬ﺃﺳــﺲ ﻣﺤﺮﺭﺍ‬
‫‪http://niemanreports.org‬‬
‫ﺍﳌﺰﺭﻋــﺔ ﺍﻷﺳــﻬﻢ ﻲﻓ ﺑﺪﺍﻳــﺔ ﻣﻮﺳــﻢ‬ ‫"ﺃﻝ‪.‬ﺃﻱ ﻭﻳﻜﻠــﻲ" ﺟــﻮ ﺩﻭﻧﻴ ّﻠــﻲ ﻭﻟــﻮﺭﻱ‬
‫ﺍﻟﻨﻤــﻮ‪ ،‬ﻣﻤــﺎ ﻳﺴــﻤﺢ ﻟﻠﻤــﺰﺍﺭﻉ ﺑﺎﻟﺤﺼــﻮﻝ‬ ‫ﺃﻛــﻮﺍ "ﺳــﻼﻳﻚ" )‪ ،(Slake‬ﻭﻫــﻲ ﻧﺸــﺮﺓ‬
‫ﻰﻠﻋ ﺍﻟﺒــﺬﻭﺭ ﻭﺍﳌﻌــﺪﺍﺕ ﺍﻟﺘــﻲ‬ ‫ﻣﻄﺒﻮﻋــﺔ ﺟﻤﻴﻠــﺔ ﺗﺘﻀﻤــﻦ ﻣﻘــﺎﻻﺕ‬
‫ﻳﺤﺘﺎﺟﻬﺎ ﻣﻘﺎﺑﻞ ﺗﻮﺻﻴﻞ ﺍﳌﻨﺘﺠﺎﺕ‬ ‫ﺗﺮﻛــﺰ ﻰﻠﻋ ﻟــﻮﺱ‬ ‫ﻣﻄﻮﻟــﺔ ّ‬
‫ّ‬ ‫ﺻﺤﻔﻴــﺔ‬
‫ﺃﻧﺠﻠﻮﺱ ﻛﻤﻠﺘﻘﻰ ﺍﻟﺜﻘﺎﻓﺎﺕ ﻲﻓ‬

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‫ﺍﳌﺘﺄﺧــﺮ" ﺗﺤﻘــﻖ ﻲﻓ ﻗﻀﺎﻳــﺎ ﻣﺜــﻞ ﻛﺎﺭﺛــﺔ ﺍﳌﻨﺠــﻢ ﻲﻓ ﺗﺮﻛﻴــﺎ ﻗﺒــﻞ ﻋﺎﻣﻴــﻦ ﺑﻌــﺪ ﻣﻐــﺎﺩﺭﺓ ﻣﻌﻈــﻢ ﻭﺳــﺎﺋﻞ ﺍﻹﻋــﻼﻡ‬ ‫ﻣﺠﻠــﺔ ﺍﻟﺼﺤﺎﻓــﺔ ﺍﳌﺘﺄﻧﻴــﺔ "ﺍﻹﺭﺿــﺎﺀ‬
‫ﻭﺧﺮﻭﺝ ﺍﻟﻘﺼﺔ ﻣﻦ ﺩﻭﺭﺓ ﺍﻷﺧﺒﺎﺭ ﺍﻟﻴﻮﻣﻴﺔ‪ .‬ﺇﻣﺮﻱ ﺗﺎﺯﻳﻐﻮﻝ‪/‬ﺃﺳﻮﺷﻴﺘﺪ ﺑﺮﺱ‬

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