‫ﻧﻘﺪِ ﺩﺭﻳﺪﺍ ﺑﺮ ﺩﻳﺪﮔﺎ ِﻩ ﺩﻭ ﺳﻮﺳﻮﺭ ﺩﺭ ِ‬

‫ﺑﺎﺏ ﻧﺸﺎﻧﻪ‬ ‫ﻣﺤ ّﻤﺪِ ﻏ ّﻔﺎﺭﻯ‬

‫*‬

‫ﺷﻨﺎﺱ ﺳﻮﻳﻴﺴﻰ )‪ ،(1913 -1857‬ﻛﻪ‬‫ﻓﺮﺩﻳﻨﺎﻥ ﺩﻭ ﺳﻮﺳﻮﺭ‪ ،‬ﺯﺑﺎﻥ ِ‬

‫ﻣﻜﺘﺐ ﺳﺎﺧﺘﺎﺭﺑﺎﻭﺭﻯ )‪ (Structuralism‬ﺩﺭ ﺯﺑﺎﻥﺷﻨﺎﺳﻰ ﺑﻪ‬
‫ِ‬ ‫ﺑﻨﻴﺎﻥﮔﺬﺍ ِﺭ‬
‫ﻫﺎﻯ ﺯﺑﺎﻧﻰ ﺩﺭ ﻧﺘﻴﺠﺔ »ﺗﻔﺎﻭﺕ«‬ ‫ﺷﻤﺎﺭ ﻣﻰﺭﻭﺩ‪ ،‬ﻣﻌﺘﻘﺪ ﺑﻮﺩ ﻛﻪ ﻧﺸﺎﻧﻪ ِ‬ ‫ﻫﺎﻯ‬
‫ﺩﻳﻔﺮﺍﻧﺲ )‪ (différance‬ﻳﻜﻰ ﺍﺯ ﻣﻬﻢﺗﺮﻳﻦ ﻛﻠﻴﺪﻭﺍژﻩ ِ‬
‫ﻣﺤﺾ ﻧﻤﻮﻧﻪ‪،‬‬ ‫ِ‬ ‫)‪ (différence‬ﺑﺎ ﻳﻜﺪﻳﮕﺮ ﺍﺳﺖ ﻛﻪ ﻣﻌﻨﺎﺩﺍﺭ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﺍﻧﺪﻳﺸﺔ ژﺍﻙ ﺩﺭﻳﺪﺍ‪ ،‬ﺍﻧﺪﻳﺸﻤﻨﺪِ ﻓﺮﺍﻧﺴﻮﻯ )‪،(2004 -1930‬‬
‫ﺑﺮﺍﻯ ﻣﺎ ﻣﻌﻨﺎﻳﻲ ﺧﺎﺹ ﺩﺍﺭﺩ؛ ﭼﻮﻥ »ﺭﺩ« ﻳﺎ "»ﺑﺪ« ﻧﻴﺴﺖ ﻭ ﺑﺎ ﺁﻧﻬﺎ‬‫»ﺯﺩ« ِ‬ ‫ﮔﺸﺎﻳﻰ )‪(Deconstruction‬‬
‫ِ‬ ‫ﺍﺳﺖ‪ .‬ﺷﺎﻳﺪ ﺑﺘﻮﺍﻥ ﺍﺩّﻋﺎ ﻛﺮﺩ ﺳﺎﺧﺖ‬
‫ﻣﺘﻔﺎﻭﺕ ﺍﺳﺖ‪ .‬ﻭﻯ ﻫﻤﭽﻨﻴﻦ ﺑﺮ ﺁﻥ ﺑﻮﺩ ﻛﻪ ﻧﺸﺎﻧﺔ ﺯﺑﺎﻧﻰ‪ ،‬ﻳﻌﻨﻰ ﺭﺍﺑﻄﺔ‬ ‫ﺩﺭﻳﺪﺍ‪ ،‬ﺩﺭ ﻛﻞ ﺑﺮ ﺍﻳﻦ ﻣﻔﻬﻮﻡ ﺍﺳﺘﻮﺍﺭ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﺟﺴﺘﺎ ِﺭ‬
‫ﻣﺎﻫﻴﺘﻰ ﺍﺧﺘﻴﺎﺭﻯ‬‫ﻣﻴﺎﻥ ﺩﻻﻟﺖﮔﺮ )‪ (signifier‬ﻭ ﺩﻻﻟﺖﻳﺎﺏ )‪ّ ،(signified‬‬‫ِ‬ ‫ﻛﻮﺗﺎﻩ ﻣﻰﻛﻮﺷﻢ ﺗﺤﻠﻴﻠﻰ ﺍﺯ ﺍﻳﻦ ﺍﺻﻄﻼﺡ ﺑﻪ ﺩﺳﺖ ﺩﻫﻢ ﻭ‬
‫»]ﺑﺮﺍﻯ‬
‫ِ‬ ‫ﻋﻤﻮﻣﻰ ﺍﻭ ﻣﻰﺧﻮﺍﻧﻴﻢ‪:‬‬
‫ِ‬ ‫ﺷﻨﺎﺳﻰ‬
‫ِ‬ ‫)‪ (arbitrary‬ﺩﺍﺭﺩ‪ .‬ﺩﺭ ﺩﻭﺭﺓ ﺯﺑﺎﻥ‬ ‫ِ‬
‫ﻛﺎﺭﺑﺴﺖ ﺁﻥ ﺭﺍ ﺍﺯ ﺩﻳﺪِ ﺩﺭﻳﺪﺍ ﺑﻪ ﺍﺧﺘﺼﺎﺭ ﺑﻴﺎﻥ ﻛﻨﻢ‪.‬‬
‫ﺁﻭﺍﻳﻰ‬
‫ِ‬ ‫ﺩﺭﻭﻧﻰ ﻭﻳﮋﻩﺍﻯ ﻣﻔﻬﻮ ِﻡ »ﺧﻮﺍﻫﺮ« ﺭﺍ ﺑﺎ ﺭﺷﺘﺔ‬
‫ِ‬ ‫ﻣﺜﺎﻝ‪ [،‬ﻫﻴﭻ ﺭﺍﺑﻄﺔ‬
‫ﺻﻮﺭﺕ ﺁﻥ‬ ‫ِ‬ ‫»‪ [sœur] « s-ö-r‬ﭘﻴﻮﻧﺪ ﻧﻤﻰﺩﻫﺪ‪ ،‬ﻛﻪ ﺩﺭ ﻓﺮﺍﻧﺴﻪ ﻧﻤﻮﺩﺍ ِﺭ‬ ‫‪20‬‬
‫ﺍﺳﺖ« )ﺩﻭ ﺳﻮﺳﻮﺭ‪ .(98 :1382 ،‬ﺍﻟﺒ ّﺘﻪ ﻭﻯ ﺍﺷﺎﺭﻩ ﻣﻰﻛﻨﺪ ﺍﻳﻦ ﺑﺪﺍﻥ ﻣﻌﻨﺎ‬
‫ﻛﺘﺎﺏ ﻣﺎﻩ ﺍﺩﺑﻴﺎﺕ ﺷﻤﺎﺭﻩ ‪3‬‬

‫ﻧﻴﺴﺖ ﻛﻪ »ﮔﻮﻳﻨﺪﺓ ﻳﻚ ﺯﺑﺎﻥ ﻫﺮ ﺻﻮﺭﺗﻰ ﺭﺍ ﻛﻪ ﺑﺨﻮﺍﻫﺪ‪ ،‬ﺁﺯﺍﺩﺍﻧﻪ ﺍﻧﺘﺨﺎﺏ‬

‫ﺗﻮﺍﻧﺎﻳﻰ ﻫﻴﭻ ﮔﻮﻧﻪ ﺗﻐﻴﻴﺮﻯ ﺭﺍ ﺩﺭ ﻧﺸﺎﻧﻪﺍﻯ‬ ‫ِ‬ ‫ﺷﺨﺺ ﮔﻮﻳﻨﺪﻩ‬ ‫ِ‬ ‫ﻣﻰﻛﻨﺪ ‪...‬‬
‫ﻛﻮﺭﺵ‬ ‫ِ‬ ‫ﻛﻪ ﺩﺭ ﻳﻚ ﺟﺎﻣﻌﺔ ﺯﺑﺎﻧﻰ ﺟﺎ ﺍﻓﺘﺎﺩﻩ ﺍﺳﺖ‪ ،‬ﻧﺪﺍﺭﺩ« )ﻫﻤﺎﻥ‪.(100 :‬‬
‫ﺗﻮﺿﻴﺢ ﺍﻳﻦ ﺍﻳﺪﺓ ﺩﻭ ﺳﻮﺳﻮﺭ ﻣﻰﻧﻮﻳﺴﺪ‪» :‬ﻣﺎ ﺑﻪ‬ ‫ِ‬ ‫ﺻﻔﻮﻯ )‪ (26 :1383‬ﺩﺭ‬
‫ﺑﺮﺍﻯ‬‫ﮔﺬﺍﺭﻯ ﭘﺪﻳﺪﻩﻫﺎ ﻣﺨﺘﺎﺭﻳﻢ ﻫﺮ ﺩﺍﻟّﻰ ]= ﺩﻻﻟﺖﮔﺮﻯ[ ﺭﺍ ِ‬ ‫ِ‬ ‫ﻫﻨﮕﺎ ِﻡ ﻧﺎﻡ‬
‫‪) 33‬ﭘﻴﺎﭘﻰ‪(147‬‬

‫ﻣﺎﻫﻴ ِﺖ‬‫ﻫﺮ ﻣﺪﻟﻮﻟﻰ ]= ﺩﻻﻟﺖﻳﺎﺑﻰ[ ﺑﺮﮔﺰﻳﻨﻴﻢ ﻭ ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ‪ ،‬ﻣﻰﺗﻮﺍﻥ ّ‬

‫ﺍﻋﻤﺎﻝ ﺍﻳﻦ ﺍﺧﺘﻴﺎﺭ‪ ،‬ﻧﻮﻋﻰ ﺟﺒﺮ‬ ‫ِ‬ ‫ﻧﺸﺎﻧﻪ ﺭﺍ ﺍﺧﺘﻴﺎﺭﻯ ﺩﺍﻧﺴﺖ؛ ﻭﻟﻰ ﭘﺲ ﺍﺯ‬
‫ﺩﻯ ‪13888‬‬

‫ﻣﻴﺎﻥ‬
‫ﺷﺪﻥ ﺍﺭﺗﺒﺎﻁِ ِ‬ ‫ﺳﺨﻨﮕﻮﻳﺎﻥ ﺯﺑﺎﻥ ﭘﺲ ﺍﺯ ﺑﺮﻗﺮﺍﺭ ِ‬
‫ِ‬ ‫ﻣﻄﺮﺡ ﻣﻰﺷﻮﺩ؛ ﻳﻌﻨﻰ‬
‫ﺑﺮﺍﻯ ﺍﻳﺠﺎ ِﺩ ﺍﺭﺗﺒﺎﻁ‬‫ﻣﻮﻇﻒ ﻣﻰﺑﻴﻨﻨﺪ ﻛﻪ ِ‬ ‫ﻣﺪﻟﻮﻝ ﺁﻥ‪ ،‬ﺧﻮﺩ ﺭﺍ ّ‬
‫ِ‬ ‫ﻳﻚ ّ‬
‫ﺩﺍﻝ ﻭ‬
‫ﺩﺍﻝ ﺍﻧﺘﺨﺎﺏﺷﺪﻩ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻨﺪ«‪ .‬ﺑﻪ‬ ‫ﻣﺪﻟﻮﻝ ﺁﻥ‪ ،‬ﺍﺯ ﻫﻤﺎﻥ ّ‬
‫ِ‬ ‫ﻭ ﺍﺷﺎﺭﻩ ﺑﻪ‬
 ‫ﻣﻌﻨﺎﻯ ّ‬
‫ﻳﻜﻪ ﻭ‬ ‫ِ‬ ‫ﺩﻻﻟﺘﻰ ﺩﻳﮕﺮ ﮔﺮﺩﺩ‪ ،‬ﻭ ﺍﻳﻦ ﻳﻌﻨﻰ ﻳﻚ ﻣﺘﻦ ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ‬ ‫ﺯﻋﻢ ﺩﻭ ﺳﻮﺳﻮﺭ‪ ،‬ﻧﺸﺎﻧﻪ ﺩﺭ ﺁﻏﺎﺯ‬ ‫ﺍﻳﻦ ﺗﺮﺗﻴﺐ‪ ،‬ﺑﻪ ِ‬
‫ﻣﻌﻴﻨﻰ ﻧﺪﺍﺭﺩ‪.‬‬
‫ّ‬ ‫ﺧﺎﺻﻴﺘﻰ ﺍﺧﺘﻴﺎﺭﻯ )ﻳﺎ ﺗﺼﺎﺩﻓﻰ( ﺩﺍﺭﺩ ﻭ ﺑﺎ ﻛﺎﺭﺑﺮﺩ‬ ‫ّ‬
‫ﻛﺘﺎﺏ ﻣﻮﺿﻊﻫﺎ‬
‫ِ‬ ‫ﺩﺭ ﻣﺼﺎﺣﺒﻪﺍﻯ ﺑﺎ ژﻭﻟﻴﺎ ﻛﺮﻳﺴﺘﻴﻮﺍ‪ ،‬ﻛﻪ ﺩﺭ‬ ‫ﺩﺭ ﺟﺎﻣﻌﻪ ﺧﺼﻠﺘﻰ ﻗﺮﺍﺭﺩﺍﺩﻯ ﻣﻰﻳﺎﺑﺪ‪.‬‬
‫ﺣﺎﺻﻞ‬
‫ِ‬ ‫)‪ (Positions‬ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﺩﺭﻳﺪﺍ ﻣﻰﮔﻮﻳﺪ ﻛﻪ ﺗﻔﺎﻭﺕ‪،‬‬ ‫ﺩﺭﻳﺪﺍ ﻧﻈ ِﺮ ﺩﻭ ﺳﻮﺳﻮﺭ ﺣﺎﻛﻰ ﺍﺯ ﺍﺧﺘﻴﺎﺭﻯ‬
‫ﻫﺎﻯ‬ ‫ﮔﺸﺘﺎﺭ ﺍﺳﺖ‪ .‬ﺑﻪ ﺧﺎﻃ ِﺮ ﻫﻤﻴﻦ‪» ،‬ﺩﻳﻔﺮﺍﻧﺲ ﺑﻪ ﻫﻴﭻ ﺭﻭﻯ ﺑﺎ ﺑﻦﻣﺎﻳﻪ ِ‬ ‫ﺧﻼﻑ ﺍﻭ ﺁﻥ‬
‫ِ‬ ‫ﺑﻮﺩﻥ ﻧﺸﺎﻧﻪﻫﺎ ﺭﺍ ﻣﻰﭘﺬﻳﺮﺩ‪ ،‬ﺍ ّﻣﺎ ﺑﺮ‬ ‫ِ‬
‫ﻧﺎﺗﺎﺭﻳﺨﻰ ﻣﻔﻬﻮ ِﻡ ﺳﺎﺧﺘﺎﺭ ﻫﻢﺧﻮﺍﻧﻰ‬
‫ِ‬ ‫)‪ (motifs‬ﺍﻳﺴﺘﺎ‪ ،‬ﻫﻢﺯﻣﺎﻧﻰﻧﮕﺮ ﻭ‬ ‫ﺭﺍ ﺑﻪ ﺩﻻﻟﺖﻳﺎﺏ ﺍﻃﻼﻕ ﻣﻰﻛﻨﺪ‪ .‬ﺩﻭ ﺳﻮﺳﻮﺭ ﺑﺮ‬
‫ﻧﺪﺍﺭﺩ« )‪ .(27 :2002 ،Derrida‬ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﺩﻳﺪﻳﻢ‪ ،‬ﺍﻳﻨﺠﺎﺳﺖ ﻛﻪ‬ ‫ﻣﻮﺟﺐ‬
‫ِ‬ ‫ﻣﻴﺎﻥ ﺩﻻﻟﺘﮕﺮﻫﺎ‬ ‫ﺗﻔﺎﻭﺕ ِ‬ ‫ِ‬ ‫ﺍﻳﻦ ﺑﺎﻭﺭ ﺑﻮﺩ ﻛﻪ‬
‫ﻧﮕﺮﺵ ﭘﺴﺎﺳﺎﺧﺘﺎﺭﺑﺎﻭ ِﺭ )‪ (Post-structuralist‬ﺩﺭﻳﺪﺍ ﺩﻳﺪﮔﺎ ِﻩ ﺳﺎﺧﺘﺎﺭﺑﺎﻭ ِﺭ‬
‫ِ‬ ‫ﭘﺪﻳﺪﺍﻳﻰ ﻣﻌﻨﺎ ﻣﻰﺷﻮﺩ‪ ،‬ﺣﺎﻝ ﺁﻥ ﻛﻪ ﺩﺭﻳﺪﺍ ﻋﻘﻴﺪﻩ‬ ‫ِ‬
‫ﺩﻭ ﺳﻮﺳﻮﺭ ﺭﺍ ﻛﻨﺎﺭ ﻣﻰﺯﻧﺪ‪.‬‬ ‫ﻣﻴﺎﻥ ﺩﻻﻟﺖﻳﺎﺏﻫﺎ ﻟﺤﺎﻅ‬ ‫ﺩﺍﺭﺩ ﺍﻳﻦ ﺗﻔﺎﻭﺕ ﺭﺍ ﺑﺎﻳﺪ ِ‬
‫»ﺑﺎﺯﻯ ﺗﻔﺎﻭﺕﻫﺎ« ﻣﻌﺘﻘﺪ ﺍﺳﺖ‪ :‬ﻧﺸﺎﻧﻪﻫﺎ‬ ‫ِ‬ ‫ﺩﺭ ﻭﺍﻗﻊ‪ ،‬ﺩﺭﻳﺪﺍ ﺑﻪ ﻧﻮﻋﻰ ﺑﻪ‬ ‫ﺍﺳﺘﻘﻼﻝ‬
‫ِ‬ ‫ﻧﻤﺎﻳﻴﻢ‪ :‬ﺩﻻﻟﺖﻳﺎﺏﻫﺎ ﻫﻢ ﺍﺯ ﺭﺍ ِﻩ ﺗﻔﺎﻭﺕ ﺑﺎ ﻳﻜﺪﻳﮕﺮ ﺍﺳﺖ ﻛﻪ‬
‫ﺑﻪ ﭼﻴﺰﻯ ﺍﺭﺟﺎﻉ ﺩﺍﺭﻧﺪ ﻛﻪ ﺧﻮﺩ ﺣﻀﻮ ِﺭ ﻗﻄﻌﻰ ﻧﺪﺍﺭﺩ ﻭ ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﻪ‬ ‫ﻣﻌﻨﺎﻳﻰ ﺑﻪ ﺩﺳﺖ ﻣﻰﺁﻭﺭﻧﺪ‪ .‬ﺍﻓﺰﻭﻥ ﺑﺮ ﺍﻳﻦ‪ ،‬ﻳﻚ ﺩﻻﻟﺖﻳﺎﺏ ﻫﻴﭻﮔﺎﻩ ﻣﺎ‬
‫ﭼﻴﺰﻯ ﺩﻳﮕﺮ ﺍﺭﺟﺎﻉ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺍﻳﻦ ﺯﻧﺠﻴﺮﻩ ﻫﻤﻴﻦ ﻃﻮﺭ ﺍﺩﺍﻣﻪ ﻣﻰﻳﺎﺑﺪ‬ ‫ﻳﻜﻪ ﻧﻤﻰﺭﺳﺎﻧﺪ؛ ﺯﻳﺮﺍ ﻫﺮ ﺩﻻﻟﺖﻳﺎﺏ‪ ،‬ﺧﻮﺩ ﻣﻰﺗﻮﺍﻧﺪ ﺩﺭ‬ ‫ﺭﺍ ﺑﻪ ﻣﻌﻨﺎﻳﻰ ّ‬
‫ﻣﺒﻨﺎﻯ‬ ‫ِ‬ ‫ﻭ ﺷﺒﻜﻪﺍﻯ ﺍﻳﺠﺎﺩ ﻣﻰﻛﻨﺪ ﻛﻪ ﺩﺭ ﺁﻥ‪ ،‬ﻫﺮ ﺳﺎﺯﻣﺎﻳﻪ )‪ (element‬ﺑﺮ‬ ‫ﺣﻜﻢ ﻳﻚ ﺩﻻﻟﺖﮔ ِﺮ ﺗﺎﺯﻩ ﻋﻤﻞ ﻛﻨﺪ‪ ،‬ﻭ ﺍﻳﻦ ﭼﺮﺧﻪ ﻫﻤﻴﻦﻃﻮﺭ ﺍﺩﺍﻣﻪ‬ ‫ِ‬
‫ﺭ ّﺩﭘﺎﻳﻰ )‪ (trace‬ﻛﻪ ﺍﺯ ﺩﻳﮕﺮ ﺳﺎﺯﻣﺎﻳﻪﻫﺎ ﺩﺭ ﺁﻥ ﻫﻮﻳﺪﺍﺳﺖ‪ ،‬ﻣﻔﻬﻮﻡ ﭘﻴﺪﺍ‬ ‫ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ‪.‬‬
‫ﺧﻮﺩﻯ ﺧﻮﺩ ﺩﺭ ﻣﺘﻦ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ؛‬
‫ِ‬ ‫ﻣﻰﻛﻨﺪ‪ .‬ﻫﻴﭻ ﭼﻴﺰ ﻧﻴﺴﺖ ﻛﻪ ﺑﻪ‬ ‫ﻣﻔﻬﻮ ِﻡ ﺩﻳﻔﺮﺍﻧﺲ ﺍﺯ ﺍﻳﻦ ﻧﻘﺪ ﺳﺮﭼﺸﻤﻪ ﻣﻰﮔﻴﺮﺩ‪ .‬ﺍﺯ ﺩﻳ ِﺪ ﺩﺭﻳﺪﺍ‪،‬‬
‫ﻫﻤﻪ ﭼﻴﺰ ﻧﺘﻴﺠﺔ ﺗﻔﺎﻭﺕ ﻭ ﺭ ّﺩﭘﺎﺳﺖ )ﻫﻤﺎﻥ‪:‬‬ ‫ﻭﻳﮋﮔﻰ ﻫﻤﺔ ﻧﺸﺎﻧﻪﻫﺎﺳﺖ‪ .‬ﻭﺍژﺓ ‪ différence‬ﺩﺭ‬ ‫ِ‬ ‫»ﺩﻳﻔﺮﺍﻧﺲ« ﺑﻪﻭﺍﻗﻊ‬
‫‪ .(26‬ﺟﺎﻥ ﻻﻯ )‪ (2009 ،Lye‬ﻋﻘﻴﺪﻩ ﺩﺍﺭﺩ‬ ‫ﺣﺮﻑ ‪ e‬ﻧﺨﺴﺖ ﺍﺯ‬ ‫ﺟﺎﻯ ِ‬ ‫ﻣﻌﻨﺎﻯ »ﺗﻔﺎﻭﺕ« ﺍﺳﺖ‪ .‬ﺩﺭﻳﺪﺍ ﺑﻪ ِ‬ ‫ِ‬ ‫ﻓﺮﺍﻧﺴﻪ ﺑﻪ‬
‫ﻭﺍژﺓ »ﺑﺎﺯﻯ« )‪ (play‬ﺭﺍﺑﻄﻪﺍﻯ ﺗﻨﮕﺎﺗﻨﮓ ﺑﺎ‬ ‫‪ a‬ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﺪ ﻭ ﺍﻳﻦﮔﻮﻧﻪ ﻭﺍژﻩﺍﻯ ﻧﻮ ﺑﺮﻣﻰﺳﺎﺯﺩ‪ .différance :‬ﺍﻳﻦ‬
‫»ﻣﻔﺼﻞﺑﻨﺪﻯ« )‪ (articulation‬ﺩﺍﺭﺩ‪ .‬ﻭﻗﺘﻰ‬
‫َ‬ ‫ﺍﺧﺘﻼﻑ ﻓﻘﻂ ﺩﺭ ﻧﮕﺎﺭﺓ ﺍﻳﻦ ﺩﻭ ﻣﺸﻬﻮﺩ ﺍﺳﺖ؛ ﺩﺭ ﻓﺮﺍﻧﺴﻪ‪ ،‬ﻫﻨﮕﺎ ِﻡ ﻭﺍﮔﻮﻳﻰ‬
‫ﭼﻴﺰﻯ ﻓﺼﻞﺩﺍﺭ ﺍﺳﺖ‪،‬‬ ‫ﺍﺧﺘﻼﻑ ﺣﺎﺻﻞﺷﺪﻩ‬ ‫ِ‬ ‫ﻧﻤﻰﺗﻮﺍﻥ ﺗﻤﺎﻳﺰﻯ ﻣﻴﺎﻧﺸﺎﻥ ﻗﺎﻳﻞ ﺷﺪ‪ .‬ﺍﺯ ﺍﻳﻦ ﺭﻭ‪،‬‬
‫ﻣﺨﺘﻠﻔﺶ‬ ‫ﻫﺎﻯ‬
‫ﺑﺨﺶ ِ‬ ‫ﺳﻮﺳﻮﺭﻯ ‪différence‬‬
‫ِ‬ ‫ﺍﺧﺘﻼﻓﻰ ﺍﺳﺖ ﻧﻮﺷﺘﺎﺭﻯ ﻭ ﺍﻟﺒ ّﺘﻪ ﻣﻌﻨﺎﻳﻰ‪ .‬ﻭﺍژﺓ ﺩﻭ‬
‫ﺑﻪ ﺧﻮﺑﻰ ﭼﻔﺖ ﻭ ﺑﺴﺖ‬ ‫ﻓﻌﻞ ‪ différer‬ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﺩ‪ .‬ﺍﺯ ﺍﻳﻦ ﻓﻌﻞ ﺩﺭ ﻓﺮﺍﻧﺴﻪ‬ ‫ﺍﺳﻤﻰ ِ‬
‫ِ‬ ‫ﺻﻮﺭﺕ‬
‫ِ‬
‫ﻋﻴﻦ ﺍﻳﻨﻜﻪ‬
‫ﺷﺪﻩﺍﻧﺪ ﻭ ﺩﺭ ِ‬ ‫ﺩﻭ ﻣﻌﻨﺎ ﺍﺭﺍﺩﻩ ﻣﻰﺷﻮﺩ‪ .1 :‬ﺗﻔﺎﻭﺕﺩﺍﺷﺘﻦ )ﺩﺭ ﺍﻧﮕﻠﻴﺴﻰ‪ ،(to differ :‬ﻭ ‪.2‬‬
‫ﺑﻪ ﻫﻢ ﭘﻴﻮﻧﺪ ﺧﻮﺭﺩﻩﺍﻧﺪ‪،‬‬ ‫ﺧﺎﺹ‬ ‫ﻫﻮﺷﻤﻨﺪﻯ ّ‬
‫ِ‬ ‫ﺑﻪ ﺗﻌﻮﻳﻖ ﺍﻧﺪﺍﺧﺘﻦ )ﺩﺭ ﺍﻧﮕﻠﻴﺴﻰ‪ .(to defer :‬ﺩﺭﻳﺪﺍ ﺑﺎ‬
‫‪1‬‬
‫ﻛﺎﺭﻛﺮﺩﻫﺎﻯ ﮔﻮﻧﺎﮔﻮﻥ ﺩﺍﺷﺘﻪ‬
‫ِ‬ ‫ﺍﻣﻜﺎﻥ‬
‫ِ‬ ‫ﻣﻰﺗﻮﺍﻧﻨﺪ ﺁﺯﺍﺩﺍﻧﻪ ﺣﺮﻛﺖ ﻛﻨﻨﺪ ﻭ‬ ‫ﺧﻮﺩ ﻭﺍژﻩﺍﻯ ﺁﻓﺮﻳﺪﻩ ﺍﺳﺖ ﻛﻪ ﻫﻢﺯﻣﺎﻥ ﻫﺮ ﺩﻭ ﻣﻌﻨﺎ ﺭﺍ ﺩﺭ ﺑﺮ ﺑﮕﻴﺮﺩ‪.‬‬
‫ﺳﻄﺢ ﻭﺍﺝﻫﺎ ﻭ‬
‫ِ‬ ‫ﺑﺎﺷﻨﺪ‪ .‬ﺯﺑﺎﻥ ﻫﻢ ﭼﻴﺰﻯ ﺍﺳﺖ ﻓﺼﻞﺩﺍﺭ؛ ﭼﻮﻥ ﺩﺭ‬ ‫ﺑﻨﺎﺑﺮﺍﻳﻦ‪ ،‬ﻣﻰﺗﻮﺍﻥ ﮔﻔﺖ ﻧﺸﺎﻧﻪﻫﺎ ﺑﺎ ﻳﻜﺪﻳﮕﺮ ﻣﺘﻔﺎﻭﺗﻨﺪ ﻭ ﺍﺯ ﺍﻳﻦ ﻧﻈﺮ‪،‬‬
‫‪21‬‬ ‫ﻫﺎﻯ ﺳﺎﺯﻧﺪﻩﺍﺵ ﺩﺍﺭﺩ‪ .‬ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ‪،‬‬
‫ﻣﻴﺎﻥ ﺑﺨﺶ ِ‬
‫ﺩﻻﻟﺖﻫﺎ ﭘﻴﻮﻧﺪﻫﺎﻳﻰ ِ‬ ‫ﺩﻻﻟﺖ ﻧﺸﺎﻧﻪﻫﺎ ﻫﻤﻮﺍﺭﻩ ﺑﻪ‬
‫ِ‬ ‫ﻋﻴﻦ ﺣﺎﻝ‪،‬‬‫ﻓﺎﺻﻠﻪﺍﻯ ﻣﻜﺎﻧﻰ ﺑﺎ ﻫﻢ ﺩﺍﺭﻧﺪ‪ .‬ﺩﺭ ِ‬
‫ﻣﻔﺼﻞﺑﻨﺪﻯ ﻳﺎ ﺑﺎﺯﻯ ﺑﻪ ﻣﺘﻦ ﻣﻜﺎﻥﻣﻨﺪﻯ ﻭ ﺯﻣﺎﻥﻣﻨﺪﻯ ﻣﻰﺑﺨﺸﺪ ﻭ ﻣﺎ‬ ‫َ‬ ‫ﺗﻌﻮﻳﻖ ﻣﻰﺍﻓﺘﺪ ﻭ ﺍﺯ ﺍﻳﻦ ﻟﺤﺎﻅ ﺩﺭ ﻓﺎﺻﻠﻪﺍﻯ ﺯﻣﺎﻧﻰ ﺑﺎ ﻫﻢ ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﻧﺪ‪.‬‬
‫ﻛﺘﺎﺏ ﻣﺎﻩ ﺍﺩﺑﻴﺎﺕ ﺷﻤﺎﺭﻩ ‪3‬‬

‫ﺭﺍ ﺑﻪ ﻣﻔﻬﻮ ِﻡ ﺩﻳﻔﺮﺍﻧﺲ ﻧﺰﺩﻳﻚ ﻣﻰﻛﻨﺪ‪ :‬ﺩﻳﻔﺮﺍﻧﺲ ﺑﻪ ﺩﻻﻟﺖﻫﺎ ﺍﺟﺎﺯﻩ‬ ‫ﺗﻔﺎﻭﺕ ﻣﻜﺎﻧﻰ ﻭ ﺯﻣﺎﻧﻰ ﺭﺍ ﺩﺭ ﻳﻚ ﻭﺍژﻩ ﺟﻤﻊ‬ ‫ِ‬ ‫ﺭﻭﻯ ﻫﻢ‪» ،‬ﺩﻳﻔﺮﺍﻧﺲ‬
‫ﺑﺮ ِ‬
‫ﻣﻰﺩﻫﺪ ﺁﺯﺍﺩﺍﻧﻪ ﺣﺮﻛﺖ ﻛﻨﻨﺪ‪.‬‬ ‫ﺷﺪﻥ ﺯﻣﺎﻥ« )ﻧﺠﻮﻣﻴﺎﻥ‪،‬‬ ‫ِ‬ ‫ﺷﺪﻥ ﻣﻜﺎﻥ ﻭ ﻣﻜﺎﻥ‬ ‫ِ‬ ‫ﻛﺮﺩﻩ ﺍﺳﺖ‪» :‬ﺯﻣﺎﻥ‬
‫ﺁﻓﺮﻳﻨﺶ ﻣﻜﺎﻥ ﻭ ﺯﻣﺎﻥ ﺍﺳﺖ‪،‬‬ ‫ِ‬ ‫‪ .(126 :1382‬ﺑﺪﻳﻦﺳﺎﻥ‪ ،‬ﻫﺮ ﻧﺸﺎﻧﻪ ﺗﻜﺮﺍ ِﺭ‬
‫ﺩﻳﻔﺮﺍﻧﺲ ﻭ ﻭﺟﻮﺩ‬ ‫ﻭ ﺩﻳﻔﺮﺍﻧﺲ ﺩﺭ ﻧﻬﺎﻳﺖ ﺑﻨﻴﺎﺩﻯﺗﺮﻳﻦ ﭘﺪﻳﺪﻩﺍﻯ ﺍﺳﺖ ﻛﻪ ﺩﺭ‬
‫ﺑﻄﻦ ﻭﺟﻮﺩ )‪ (existence‬ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪ .‬ﺑﻨﺎ ﺑﻪ ﻧﻈ ِﺮ‬
‫ﺩﻳﻔﺮﺍﻧﺲ ﺩﺭ ِ‬ ‫ﺟﻬﺎﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ؛ ﻋﻤﻠﻜﺮﺩﻯ ﺍﺳﺖ ﻛﻪ ﻧﻤﻰﺗﻮﺍﻥ ﻋﻤﻠﻜﺮﺩ‬
‫‪) 33‬ﭘﻴﺎﭘﻰ‪(147‬‬

‫ﺩﺭﻳﺪﺍ‪ ،‬ﮔﻮﻫﺮ )‪ (essence‬ﺟﺎﻳﻰ ﺩﺭ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ )ﻫﻤﺎﻥ(‪ .‬ﭼﻴﺰﻫﺎ ﺑﻪ‬ ‫ﻧﺎﻣﻴﺪﺵ؛ ﻫﻢ ﻛﻨﺶﮔﺮ ﺍﺳﺖ ﻭ ﻫﻢ ﻛﻨﺶﭘﺬﻳﺮ؛ ﻫﺴﺘﻰ ﺭﺍ ﺗﺪﺍﻭﻡ‬
‫ﻋﻴﻦ ﺍﻳﻨﻜﻪ‬
‫ﻭﺍﺳﻄﺔ ﺗﻔﺎﻭﺕ ﺍﺳﺖ ﻛﻪ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ‪ .‬ﺯﻣﺎﻥ ﻭ ﻣﻜﺎﻥ ﺩﺭ ِ‬ ‫ﺣﺎﺻﻞ ﻫﺴﺘﻰ ﺍﺳﺖ )‪.(2009 ،Lye‬‬ ‫ِ‬ ‫ﻣﻰﺑﺨﺸﺪ ﻭ ﺧﻮﺩ ﻧﻴﺰ‬
‫ﺩﻯ ‪13888‬‬

‫ﻧﺘﻴﺠﺔ ﺩﻳﻔﺮﺍﻧﺲﺍﻧﺪ‪ ،‬ﺧﻮﺩ ﻫﻢ ﺩﻳﻔﺮﺍﻧﺲ ﺭﺍ ﻣﻰﺁﻓﺮﻳﻨﻨﺪ‪ .‬ﭘﺲ ﭼﻴﺰﻯ ﺑﻪ‬ ‫ﺩﺭﻳﺪﺍ ﺑﺮ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﺩﻳﻔﺮﺍﻧﺲ ﻣﻮﺟﺐ ﻣﻰﺷﻮﺩ‬
‫ﻧﺎ ِﻡ »ﻫﻮ ّﻳ ِﺖ ﻣﻄﻠﻖ« ﻧﺪﺍﺭﻳﻢ ﻭ ﻧﻤﻰﺗﻮﺍﻥ ﮔﻔﺖ ﭼﻴﺰﻫﺎ ﻓﻘﻂ ﺑﻪ ﺧﺎﻃ ِﺮ‬ ‫ﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺍﺯ ﻳﻚ ﮔﺰﺍﺭﻩ ‪ -‬ﻳﺎ ﻣﺘﻦ ‪ -‬ﺍﻣﻜﺎﻥﭘﺬﻳﺮ‬ ‫ﺧﻮﺍﻧﺶ ِ‬
‫ﺻﺮﻑ ﻭﺟﻮﺩﺷﺎﻥ ﺍﺳﺖ ﻛﻪ ﻣﻮﺟﻮﺩ ّﻳﺖ ﻳﺎﻓﺘﻪﺍﻧﺪ‪ .‬ﺍﻳﻦ ﺍﻳﺪﻩ ﺑﻪ ﻫﻤﻴﻦ ﺷﻜﻞ‬
‫ِ‬ ‫ﺑﺎﺷﺪ )ﺿﻴﻤﺮﺍﻥ‪ .(107 :1386 ،‬ﭘﺲ ﻧﺸﺎﻧﻪﻫﺎ ﺑﺎﻋﺚ ﻣﻰﺷﻮﺩ‬
‫»ﺣﻘﻴﻘﺖ ﻏﺎﻳﻰ«‬
‫ِ‬ ‫ﻋﻨﻮﺍﻥ‬
‫ِ‬ ‫ﺩﺭﺑﺎﺭﺓ »ﺣﻘﻴﻘﺖ« ﻫﻢ ﺻﺎﺩﻕ ﺍﺳﺖ‪ :‬ﭼﻴﺰﻯ ﺑﺎ‬ ‫ﺩﺭﻙ ﻣﺘﻦ ﻣﺪﺍﻡ ﺑﻪ ﺗﻌﻮﻳﻖ ﺑﻴﻔﺘﺪ ﻭ ﻫﺮ ﺩﻻﻟﺖ ﻭﺍﺑﺴﺘﻪ ﺑﻪ‬ ‫ِ‬
‫ﺣﺎﻝ ﺗﻔﺎﻭﺕ ﺩﺍﺷﺘﻦ ﻭ ﺑﻪ ﺗﻌﻮﻳﻖ ﺍﻓﺘﺎﺩﻧﻴﻢ )ﺩﻳﻔﺮﺍﻧﺲ(‪ .‬ﺁﻥ‬ ‫ﺯﻳﺮﺍ ﻫﻤﻴﺸﻪ ﺩﺭ ِ‬ ‫ﻧﺪﺍﺭﻳﻢ ﻭ ﻫﺮ ﺣﻘﻴﻘﺖ ﺍﺯ ﺭﻫﮕﺬ ِﺭ ﺗﻔﺎﻭﺕ ﺑﺎ ﺩﻳﮕﺮ‬
‫ﭼﻴﺰﻯ ﻛﻪ ﻣﺮﻛ ِﺰ ﺧﻮﺩ ﺗﺼ ّﻮﺭ ﻣﻰﻛﻨﻴﻢ‪ ،‬ﺑﻪﻭﺍﻗﻊ ﻣﺮﻛﺰ ﻧﻴﺴﺖ‪ .‬ﺧﻮﺩﺁﮔﺎﻫﻰ‬ ‫ﺣﻘﻴﻘﺖﻫﺎﺳﺖ ﻛﻪ ﺑﻪ ﻭﺟﻮﺩ ﻣﻰﺁﻳﺪ‪ .‬ﺣﻘﻴﻘﺖ‪ ،‬ﻓﺎﺭﻍ‬
‫ﻫﺎﻯ‬‫ﺑﺎﺯﻯ ﺗﻘﺎﺑﻞﻫﺎ ﻭ ﺟﺎﺑﻪﺟﺎﻳﻰ ِ‬ ‫ِ‬ ‫ﭼﻴﺰﻯ ﻧﻴﺴﺖ ﺟﺰ ﭘﺮﺩﻩﺍﻯ ﻛﻪ‬ ‫ﺍﺯ ﻣﻜﺎﻥ ﻭ ﺯﻣﺎﻥ ﻫﻢ ﻧﻴﺴﺖ؛ ﺩﺭ ﻧﺘﻴﺠﻪ‪ ،‬ﺩﻳﻔﺮﺍﻧﺲ‬
‫ﺣﺎﺻﻞ ﻛﺎﺭﻛﺮ ِﺩ‬
‫ِ‬ ‫ﻣﺘﻦ ﻣﺎ ﺭﺍ ﭘﻨﻬﺎﻥ ﻣﻰﺳﺎﺯﺩ‪ .‬ﺿﻤﻴ ِﺮ ﻣﺎ ﻧﻴﺰ‬
‫ﺍﻧﺠﺎﻡﮔﻴﺮﻧﺪﻩ ﺩﺭ ِ‬ ‫ﺍﺳﺖ ﻛﻪ ﺣﻘﻴﻘﺖ ﺭﺍ ﺷﻜﻞ ﻣﻰﺩﻫﺪ‪ .‬ﻭﺟﻮﺩ ﺑﺮ‬
‫ﻧﻈﺮﻫﺎﻯ ﺭﻭﺍﻥﻛﺎﻭﺍﻧﺔ ﻓﺮﻭﻳﺪ ﺑﻪ‬
‫ِ‬ ‫ﮔﺸﺎﻳﻰ‬
‫ِ‬ ‫ﺩﻳﻔﺮﺍﻧﺲ ﺍﺳﺖ‪ .‬ﺩﺭﻳﺪﺍ ﺑﺎ ﺳﺎﺧﺖ‬ ‫ﮔﻮﻫﺮ ﻣﻘ ّﺪﻡ ﺍﺳﺖ‪ ،‬ﻭ ﻭﺟﻮﺩ ﺑﻪﻭﺍﻗﻊ ﭼﻴﺰﻯ ﻧﻴﺴﺖ‬
‫ﺍﻳﻦ ﻧﺘﻴﺠﻪ ﻣﻰﺭﺳﺪ ﻛﻪ ﺩﻳﺪﮔﺎ ِﻩ ﻓﺮﻭﻳﺪ ﺩﺭﺑﺎﺭﺓ ﺿﻤﻴ ِﺮ ﺍﻧﺴﺎﻥ ﻧﻴﺰ ﺭﻳﺸﻪ‬ ‫ﺟﺰ ﻣﻜﺎﻥﻣﻨﺪﻯ ﻭ ﺯﻣﺎﻥﻣﻨﺪﻯ‪.‬‬
‫ﺍﺻﻞ ﻛﺎﻡﺟﻮﻳﻰ )‪ (pleasure principle‬ﻭ ِ‬
‫ﺍﺻﻞ‬ ‫ﺩﺭ ﺩﻳﻔﺮﺍﻧﺲ ﺩﺍﺭﺩ؛ ِ‬
‫ﺭﻭﺍﻥ ﻣﺎ ﺑﻪ‬
‫ﻭﺍﻗﻌﻴﺖﮔﺮﺍﻳﻰ )‪ (reality principle‬ﺍﺯ ﺭﻫﮕﺬ ِﺭ ﺩﻳﻔﺮﺍﻧﺲ ﺩﺭ ِ‬
‫ّ‬ ‫ﻫﺎﻯ ﺩﻭﻗﻄﺒﻰ‬
‫ﺩﻳﻔﺮﺍﻧﺲ ﻭ ﺗﻘﺎﺑﻞ ِ‬
‫ﻳﮕﺎﻧﮕﻰ ﻣﻰﺭﺳﺪ )ﻫﻤﺎﻥ(‪.‬‬ ‫ﻫﺎﻯ )‪(repression‬‬‫ﻃﺮﺩﮔﺮﻯﻫﺎ )‪ (exclusions‬ﻭ ﺳﺮﻛﻮﺏﮔﺮﻯ ِ‬
‫ﻣﻌﻨﺎ ﻳﺎ ﺑﺨﺶﻫﺎﻳﻰ ﺍﺯ ﺁﻥ ﺩﺭ ﺩﻳﻔﺮﺍﻧﺲ ﻧﻘﺸﻲ ﻣﻬﻢ ﺑﺎﺯﻯ ﻣﻰﻛﻨﻨﺪ‪.‬‬
‫ﺩﻳﻔﺮﺍﻧﺲ ﻭ ﺩﻳﮕﺮﻯ‬ ‫ﮔﺮﻯ‬
‫ﻫﺮ ﺁﻧﭽﻪ ﻫﺴﺖ ﻳﺎ ﻣﻌﻨﺎ ﻣﻰﺩﻫﺪ‪ ،‬ﺑﻪ ﻭﺍﺳﻄﺔ ﻃﺮﺩﮔﺮﻯ ﻭ ﺳﺮﻛﻮﺏ ِ‬
‫»ﺩﻳﮕﺮﻯ« )‪ (the other‬ﻣﻔﻬﻮﻣﻰ ﺍﺳﺎﺳﻰ ﺩﺭ ﺍﻧﺪﻳﺸﺔ ﺳﺪﺓ ﺑﻴﺴﺘﻢ‬ ‫ﻋﻴﻦ ﺣﺎﻝ‪ ،‬ﺧﻮﺩ ﺑﺮﺍﻧﮕﻴﺰﻧﺪﺓ‬
‫ﺩﻳﻔﺮﺍﻧﺲ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻭ ﻣﻌﻨﺎ ﻣﻰﺩﻫﺪ ﻭ ﺩﺭ ِ‬
‫ﻓﻜﺮﻯ ﮔﻮﻧﺎﮔﻮﻥ‪ ،‬ﻧﻈﻴ ِﺮ ﭘﺪﻳﺪﺍﺭﺷﻨﺎﺳﻰ‪،‬‬
‫ِ‬ ‫ﻫﺎﻯ‬
‫ﭘﺮﺩﺍﺯﺍﻥ ﻣﻜﺘﺐ ِ‬
‫ِ‬ ‫ﺍﺳﺖ‪ .‬ﻧﻈﺮﻳﻪ‬ ‫ﻫﺎﻯ ﻣﻌﻨﺎﻳﻰ ﻧﻴﺰ ﻫﺴﺖ )ﻫﻤﺎﻥ(‪ .‬ﺍﺯ ﺍﻳﻦ‬
‫ﻃﺮﺩﮔﺮﻯﻫﺎ ﻭ ﺳﺮﻛﻮﺑﮕﺮﻯ ِ‬
‫ﺗﻮﺟ ِﻪ‬
‫ﮔﺸﺎﻳﻰ ﺩﺭﻳﺪﺍﻳﻰ‪ّ ،‬‬
‫ِ‬ ‫ﻛﺎﻭﻯ ﻟَﻜﺎﻧﻰ ﻭ ﺳﺎﺧﺖ‬
‫ﺍﮔﺰﻳﺴﺘﺎﻧﺴﻴﺎﻟﻴﺴﻢ‪ ،‬ﺭﻭﺍﻥ ِ‬ ‫ﺗﻮﺿﻴﺢ ﻳﻚ‬
‫ِ‬ ‫ﺑﺮﺍﻯ‬
‫ﺭﻭ‪ ،‬ﻛﺎﻣﻞﮔﺮﻫﺎ )‪ (supplements‬ــ ﭼﻴﺰﻫﺎﻳﻰ ﻛﻪ ِ‬
‫ﺯﻳﺎﺩﻯ ﺑﺪﺍﻥ ﻛﺮﺩﻩﺍﻧﺪ )ﻫﻤﺎﻥ(‪ .‬ﺩﺭ ﺣﻘﻴﻘﺖ‪ ،‬ﻣﻔﻬﻮ ِﻡ »ﺩﻳﮕﺮﻯ« ﻧﻴﺰ ﺍﺯ ﺭﺍ ِﻩ‬ ‫ﻫﺎﻯ ﺩﺭﻳﺎﻓﺖﻛﻨﻨﺪﺓ‬‫ﻣﻔﻬﻮﻡ ﺑﻪ ﺁﻥ ﻣﻰﺍﻓﺰﺍﻳﻴﻢ ــ ﺩﺭ ﻭﺍﻗﻊ ﺑﻴﺸﺘﺮ ﺍﺯ ﻣﻔﻬﻮﻡ ِ‬
‫ﭘﺲ ﺍﻳﻦ ﺭﺍﺑﻄﻪ‬ ‫ﺗﻔﺎﻭﺕ ﺑﺎ ﻣﻔﻬﻮ ِﻡ »ﺧﻮﺩ« ﺍﺳﺖ ﻛﻪ ﻣﻌﻨﺎﺩﺍﺭ ﻣﻰﺷﻮﺩ‪ .‬ﺩﺭ ِ‬ ‫ﻃﺮﻳﻖ ﺍﻳﻦ ﻛﺎﻣﻞﮔﺮﻫﺎﺳﺖ‬ ‫ِ‬ ‫ﺍﻳﻦ ﻛﺎﻣﻞﮔﺮﻫﺎ ﺩﺭ ﻣﺘﻦ ﻣﺮﻛﺰ ّﻳﺖ ﺩﺍﺭﻧﺪ؛ ﺍﺯ‬
‫ﻧﻘﺶ ﺩﻳﻔﺮﺍﻧﺲ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﺷﺎﻫﺪ ﺑﻮﺩ‪ :‬ﻭﺟﻮ ِﺩ‬ ‫ﻫﻢ ِ‬ ‫ﺍﻣﻜﺎﻥ ﻭﺟﻮﺩ ﻣﻰﻳﺎﺑﺪ ﻭ ﻛﺎﻣﻞ ﻣﻰﺷﻮﺩ‪ .‬ﺣﺎﺷﻴﻪﻫﺎ ﺩﻳﮕﺮ‬ ‫ِ‬ ‫ﻛﻪ ﻣﺮﻛ ِﺰ ﻓﺮﺿﻰ‬
‫ﺧﻮﺩ‪ ،‬ﺟﺪﺍ ﺍﺯ ﺩﻳﮕﺮﻯ ﻣﻤﻜﻦ ﻧﻴﺴﺖ؛ ﺧﻮﺩ ﺩﻳﮕﺮﻯ‬ ‫ﭼﻴﺰﻯ ﺑﻴﺮﻭﻥ ﺍﺯ ﻣﺘﻦ ﺑﻪ ﺷﻤﺎﺭ ﻧﻤﻰﺭﻭﻧﺪ؛ ﺑﻠﻜﻪ ﺩﺭ ﻣﺮﻛ ِﺰ ﻣﺘﻦ ﺟﺎﻯ ﺩﺍﺭﻧﺪ‪.‬‬
‫ﻧﻴﺴﺖ؛ ﺍ ّﻣﺎ ﺑﺎ ﻭﺟﻮ ِﺩ ﺍﻭﺳﺖ ﻛﻪ ﻣﻌﻨﺎ ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻫﺎﻯ ﺩﻭﻗﻄﺒﻰ )‪ - (binary oppositions‬ﻣﺎﻧﻨ ِﺪ ﺳﻔﻴﺪ‪ /‬ﺳﻴﺎﻩ‪،‬‬ ‫ﺗﻘﺎﺑﻞ ِ‬
‫ﻣﻴﺎﻥ ﺧﻮﺩ ﻭ ﺩﻳﮕﺮﻯ ﺭﺍﺑﻄﻪﺍﻯ ﺍﺳﺮﺍﺭﺁﻣﻴﺰ ﺍﺳﺖ؛‬ ‫ِ‬ ‫ﺗﻮﺟﻪ ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﻧﺪ‪.‬‬ ‫ﻛﺎﻧﻮﻥ ّ‬ ‫ِ‬ ‫ﻣﺮﺩ‪ /‬ﺯﻥ‪ - ... ،‬ﻧﻴﺰ ﺑﻪ ﻫﻤﻴﻦ ﺻﻮﺭﺕ ﺩﺭ‬
‫ﭼﻨﺎﻥ ﻛﻪ ﻧﻤﻰﺗﻮﺍﻥ ﻗﺎﻃﻌﺎﻧﻪ ﺣﻜﻤﻰ ﺩﺭﺑﺎﺭﻩﺍﺵ‬ ‫ﻣﻌﻨﺎﻯ ﺩﻳﮕﺮﻯ ﺳﻬﻢ ﺩﺍﺭﺩ ﻭ ﻣﻰﺗﻮﺍﻥ‬ ‫ِ‬ ‫ﻗﻄﺐ ﺍﻳﻦ ﺗﻘﺎﺑﻞﻫﺎ ﺩﺭ ﺍﻳﺠﺎ ِﺩ‬
‫ﻫﺮ ِ‬
‫ﺻﺎﺩﺭ ﻛﺮﺩ‪.‬‬ ‫ﺷﺒﺎﻫﺖ ﺑﻨﻴﺎﺩﻯ ﺩﺭ ﻛﺎﺭ‬
‫ِ‬ ‫ﻗﻄﺐ ﺑﻪ ﻇﺎﻫﺮ ﻣﺘﻘﺎﺑﻞ‪ ،‬ﮔﻮﻧﻪﺍﻯ‬ ‫ﻣﻴﺎﻥ ﺩﻭ ِ‬‫ﮔﻔﺖ ِ‬
‫ﺍﺳﺖ؛ ﮔﻮﻳﻰ ﻫﺮﻳﻚ ﺭ ّﺩﻯ ﺍﺯ ﺩﻳﮕﺮﻯ ﺩﺭ ﺧﻮﺩ ﺩﺍﺭﺩ‪.‬‬
‫ﺧﻮﺍﻧﺶ ﻣﺘﻦ‬
‫ِ‬ ‫ﺩﻳﻔﺮﺍﻧﺲ ﻭ‬ ‫ﻣﺘﺎﻓﻴﺰﻳﻚ ﻏﺮﺏ‬
‫ِ‬ ‫ﺗﺎﺭﻳﺦ‬
‫ِ‬ ‫ﭼﻨﺎﻥ ﻛﻪ ﻣﻰﺩﺍﻧﻴﻢ‪ ،‬ﺩﺭﻳﺪﺍ ﺍ ّﺩﻋﺎ ﻣﻰﻛﻨﺪ‬
‫ﺩﻝ ﺍﺩﺑﻴﺎﺕ ﻫﻢ ﺩﻳﻔﺮﺍﻧﺲ ﺩﺭ ﺟﺮﻳﺎﻥ‬ ‫ﺩﺭﻳﺪﺍ ﺑﺮ ﺍﻳﻦ ﺑﺎﻭﺭ ﺍﺳﺖ ﻛﻪ ﺩﺭ ِ‬ ‫ﺑﺮﺍﻯ‬
‫ﻫﺎﻯ ﺩﻭﻗﻄﺒﻰ ﺍﺳﺎﺱ ﻳﺎﻓﺘﻪ ﺍﺳﺖ ﻭ ﻓﻴﻠﺴﻮﻓﺎﻥ ﻫﻤﻮﺍﺭﻩ ِ‬ ‫ﺑﺮ ﺗﻘﺎﺑﻞ ِ‬
‫ﺑﺮﺍﻯ‬
‫ﺍﺳﺖ‪ .‬ﺍﺩﺑﻴﺎﺕ ﻳﻚ ﻫﺴﺘﻨﺪﻩ ﻳﺎ ﻣﻮﺟﻮﺩ ﻧﻴﺴﺖ؛ ﺑﻠﻜﻪ ﺑﺴﺘﺮﻯ ﺍﺳﺖ ِ‬ ‫ﻳﻜﻰ ﺍﺯ ﺍﻳﻦ ﺩﻭ ﻗﻄﺐ ﻧﺴﺒﺖ ﺑﻪ ﺩﻳﮕﺮﻯ ﺑﺮﺗﺮﻯ ﻗﺎﻳﻞ ﺷﺪﻩﺍﻧﺪ ‪ -‬ﻣﺜ ً‬
‫ﻼ‬
‫ﻗﺒﻴﻞ »ﺍﺩﺑﻴﺎﺕ ﭼﻴﺴﺖ؟«‬‫ﺩﻳﻔﺮﺍﻧﺲ؛ ﭘﺲ ﺩﺭ ﻧﻈ ِﺮ ﻭﻯ ﭘﺮﺳﺶﻫﺎﻳﻰ ﺍﺯ ِ‬ ‫ﺭﻭﺡ<ﺟﺴﻢ‪ ،‬ﻣﺮﺩ<ﺯﻥ‪ ،‬ﺧﻴﺮ<ﺷﺮ‪ ،‬ﻭ ﺍﻟﺦ ‪ -‬؛ ﻣﺎ‬ ‫‪22‬‬
‫ﻣﺤﻠّﻰ ﺍﺯ ﺍﻋﺮﺍﺏ ﻧﺪﺍﺭﺩ‪.‬‬ ‫ﻣﺒﻨﺎﻯ ﮔﻔﺘﻤﺎﻥﻫﺎﻳﻰ ﺷﻜﻞ‬ ‫ِ‬ ‫ﻫﻢ ﺍﻧﺪﻳﺸﺔ ﺧﻮﺩ ﺭﺍ ﺑﺮ‬
‫ﻛﺘﺎﺏ ﻣﺎﻩ ﺍﺩﺑﻴﺎﺕ ﺷﻤﺎﺭﻩ ‪3‬‬

‫ﺧﻮﺍﻧﺶ ﺳﺎﺧﺖﮔﺸﺎ‬
‫ِ‬ ‫ﺩﺭﻳﺪﺍ ﻫﺴﺘﻰ ﻭ ﺩﻻﻟﺖ ﺭﺍ ﻫﻤﺘﺎ ﻣﻰﺩﺍﻧﺪ‪.‬‬ ‫ﺩﺍﺩﻩﺍﻳﻢ ﻛﻪ ﺩﺭ ﺁﻧﻬﺎ ﻳﻚ ﺳﻮﻳﻪ ﺑﺮ ﺩﻳﮕﺮﻯ ﺳﺎﻳﻪ‬
‫ﺧﻮﺍﻧﺸﻰ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻣﺘﻦ ﺗﺤ ّﻮﻟﻰ ﺍﺳﺎﺳﻰ ﺍﻳﺠﺎﺩ ﻣﻰﻛﻨﺪ‪ .‬ﺁﻧﭽﻪ ﻣﻌﻨﺎ‬ ‫ﺍﻓﻜﻨﺪﻩ ﺍﺳﺖ‪ .‬ﻭﻇﻴﻔﺔ ﺳﺎﺧﺖﮔﺸﺎﻳﻰ ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ‪،‬‬
‫ﻃﺮﻳﻖ ﺁﻥ ﺗﺒﺪﻳﻞ ﺑﻪ‬
‫ِ‬ ‫ﺷﻤﺮﺩﻩ ﻣﻰﺷﻮﺩ‪ ،‬ﺑﺴﺘﮕﻰ ﺩﺍﺭﺩ ﺑﻪ ﺷﻴﻮﻩﺍﻯ ﻛﻪ ﺍﺯ‬ ‫ﺑﺮﺩﻥ ﭼﻨﻴﻦ ﺭﺍﺑﻄﻪﻫﺎﻳﻰ ﺍﺳﺖ؛ ﺑﻪ ﻃﻮﺭﻯ‬ ‫ﺍﺯ ﺑﻴﻦ ِ‬
‫ﻣﻌﻨﺎ ﻣﻰﺷﻮﺩ )ﺟﺎﺑﻪﺟﺎﻳﻰ‪ ،‬ﺑﻪ ﺗﻌﻮﻳﻖ ﺍﻓﺘﺎﺩﻥ ﻳﺎ ﻃﺮﺩﺷﺪﮔﻰ( )ﻫﻤﺎﻥ(‪.‬‬ ‫ﺑﺮﺍﻯ ﺩﻳﮕﺮﻯ؛ ﺑﻪ‬‫ﻛﻪ ﻫﺮ ﻗﻄﺐ ﺁﻳﻴﻨﻪﺍﻯ ﺑﺎﺷﺪ ِ‬
‫ﺑﻄﻦ ﻣﺘﻦ‬
‫ﭘﻰ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﺑﺴﺘﮕﻰ ﺭﺍ ﺩﺭ ِ‬ ‫ﺧﻮﺍﻧﺶ ﺳﺎﺧﺖﮔﺸﺎ ﺩﺭ ِ‬ ‫ِ‬ ‫ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ‪ ،‬ﻫﺮ ﺳﻮﻳﻪ ﺑﺎ ﻭﺟﻮ ِﺩ ﺩﻳﮕﺮﻯ ﻣﻌﻨﺎ‬ ‫ِ‬
‫‪) 33‬ﭘﻴﺎﭘﻰ‪(147‬‬

‫ﻋﻴﺎﻥ ﺳﺎﺯﺩ‪.‬‬ ‫ﻣﻰﻳﺎﺑﺪ‪.‬‬

‫ﺩﺭ ﭘﺮﺗ ِﻮ ﻣﻔﻬﻮ ِﻡ ﺩﻳﻔﺮﺍﻧﺲ‪ ،‬ﻣﻰﺗﻮﺍﻥ ﮔﻔﺖ ﻣﺘﻦﻫﺎ ﺑﺎ ﻳﻜﺪﻳﮕﺮ‬
‫ﺩﻯ ‪13888‬‬

‫ﺑﻴﺎﻥ ﺩﻳﮕﺮ‪ ،‬ﻣﺘﻦﻫﺎ ﺗﺒﺪﻳﻞ‬‫ﺩﺍﺩﻭﺳﺘﺪﻯ ﭘﻮﻳﺎ ﻭ ﺑﺎﻓﺖﻣﺤﻮﺭ ﺩﺍﺭﻧﺪ؛ ﺑﻪ ِ‬ ‫ﺩﻳﻔﺮﺍﻧﺲ ﻭ ﺧﻮﺩﺁﮔﺎﻫﻰ‬

‫ﻣﻰﺷﻮﻧﺪ ﺑﻪ ﺑﻴﻨﺎﻣﺘﻦﻫﺎ )‪ ،(intertexts‬ﻭ ﻣﻴﺎﻧﺸﺎﻥ ﺭﺍﺑﻄﻪﺍﻯ ﺩﻳﻔﺮﺍﻧﺴﻰ‬ ‫ﻣﻌﻨﺎﻯ ﭘﺬﻳﺮﻓﺘﺔ ﺁﻥ‪ ،‬ﻋﺒﺎﺭﺕ‬‫ِ‬ ‫ﺧﻮﺩﺁﮔﺎﻫﻰ )‪ (consciousness‬ﺩﺭ‬
‫ﻣﻌﻨﺎﻯ ﻳﻚ ﻣﺘﻦ ﻫﻴﭻﮔﺎﻩ ﭘﺎﻳﺪﺍﺭ‪ ،‬ﭘﻴﺶﻧﻬﺸﺘﻪ‬
‫ِ‬ ‫ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ‪،‬‬ ‫ﺍﺳﺖ ﺍﺯ ﺍﻳﻨﻜﻪ ﻧﺴﺒﺖ ﺑﻪ ﺣﻀﻮﺭ ﻭ ﻭﺟﻮ ِﺩ ﺧﻮﺩ ﻫﺸﻴﺎﺭ ﺑﺎﺷﻴﻢ‪ .‬ﺩﺭﻳﺪﺍ ﺑﻪ ﺍﻳﻦ‬
‫ﺩﺭﺳﺖ« ﻣﺘﻦ ﻳﺎ‬
‫ِ‬ ‫»ﻣﻌﻨﺎﻯ‬
‫ِ‬ ‫ﺑﺮﺍﻯ ﺩﺳﺖﻳﺎﺑﻰ ﺑﻪ‬
‫ﻭ ﺍﻳﺴﺘﺎ ﻧﻴﺴﺖ؛ ﻛﻮﺷﺶ ِ‬ ‫ﻣﻔﻬﻮﻡ ﺍﻳﺮﺍﺩ ﺩﺍﺭﺩ ﻭ ﻣﻌﺘﻘﺪ ﺍﺳﺖ ﻣﺎ ﻫﻴﭻﮔﺎﻩ ﻧﻤﻰﺗﻮﺍﻧﻴﻢ ﺧﻮﺩﺁﮔﺎﻩ ﺑﺎﺷﻴﻢ؛‬
 ‫»ﻧﻴ ِﺖ ﻧﻮﻳﺴﻨﺪﻩ«‪ ،‬ﻛﻮﺷﺸﻰ ﺍﺳﺖ ﺑﻴﻬﻮﺩﻩ )‪.(126 :2007 ،Bressler‬‬ ‫ّ‬
‫ﭘﻲﻧﻮﺷﺖ‬ ‫ﺩﻛﺘﺮ ﻧﺠﻮﻣﻴﺎﻥ ﺑﺮ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﺩﻳﻔﺮﺍﻧﺲ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﻳﻜﻰ ﺍﺯ‬
‫ﺍﺩﺑﻴﺎﺕ ﺍﻧﮕﻠﻴﺴﻰ‪.‬‬
‫ِ‬ ‫ﻛﺎﺭﺷﻨﺎﺳﻰ ﺍﺭﺷ ِﺪ ﺯﺑﺎﻥ ﻭ‬
‫ِ‬ ‫ﺩﺍﻧﺸﺠﻮﻯ‬
‫ِ‬ ‫*‬ ‫ﻫﺎﻯ ﻣﺘﻦ‬‫ﺧﻮﺍﻧﺶ ﺳﺎﺧﺖﮔﺸﺎ ﺑﺮﺷﻤﺮﺩ‪ .‬ﻧﺸﺎﻧﻪ ِ‬ ‫ِ‬ ‫ﺑﺮﺩﻫﺎﻯ‬
‫ِ‬ ‫ﻣﻬﻢﺗﺮﻳﻦ ﺭﺍﻩ‬
‫ﺯﺑﺎﻥ‬
‫ﻣﺘﺮﺟﻤﺎﻥ ﺯﻳﺎﺩﻯ ﻛﻮﺷﻴﺪﻩﺍﻧﺪ ﻣﻌﺎﺩﻟﻰ ﺩﺭ ِ‬ ‫ِ‬ ‫‪ .1‬ﭘﮋﻭﻫﻨﺪﮔﺎﻥ ﻭ‬ ‫ﻫﺎﻯ ﺩﻳﮕﺮ ﻛﺴﺐ ﻣﻰﻛﻨﻨﺪ ﻭ ﻣﺘﻔﺎﻭﺕ‬ ‫ﻣﻌﻨﺎﻯ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺗﻔﺎﻭﺕ ﺑﺎ ﻧﺸﺎﻧﻪ ِ‬
‫ِ‬
‫ﺑﺮﺍﻯ ﺍﻳﻦ ﺍﺻﻄﻼﺡ ﺩﺭﻳﺪﺍﻳﻰ ﺑﺴﺎﺯﻧﺪ‪ .‬ﺑﻪ ﻧﻈ ِﺮ ﻣﻦ‪ ،‬ﺩﺭ ﻣﻴﺎﻧﺸﺎﻥ‬ ‫ﻓﺎﺭﺳﻰ ِ‬ ‫ﺍﺯ ﻣﻌﻨﺎﻳﻰ ﻛﻪ ﻣﻤﻜﻦ ﺍﺳﺖ ﺩﺭ ﻣﺘﻨﻰ ﺩﻳﮕﺮ ﺑﺮﻭﺯ ﺩﻫﻨﺪ‪» .‬ﻫﻤﻴﺸﻪ ﻭﻋﺪﺓ‬
‫ﭘﻴﺶﻧﻬﺎ ِﺩ ﺳﻌﻴ ِﺪ ﺳﺒﺰﻳﺎﻥ ﻣﻮ ّﻓﻖﺗﺮﻳﻦ ﻣﻌﺎﺩﻝ ﺍﺳﺖ‪» :‬ﺗﻔﺎﻭﻳﻖ« ﻛﻪ ﻭﺍژﻩﺍﻯ‬ ‫ﻣﻌﻨﺎﻯ ﻧﻬﺎﻳﻰ ﺩﺭ ﻣﺘﻦ ﻭﺟﻮﺩ ﺩﺍﺭﺩ؛ ﺍ ّﻣﺎ ]ﺍﻳﻦ‬
‫ِ‬ ‫ﻳﻚ‬
‫ﺍﺳﺖ ﭼﻨﺪﺭﮔﻪ )‪ (portmanteau word‬ﺑﻪﺩﺳﺖﺁﻣﺪﻩ ﺍﺯ »ﺗﻔﺎﻭﺕ« ﻭ‬ ‫ﻭﻋﺪﻩ[ ﻫﺮﮔﺰ ﺗﺤﻘّﻖ ﻧﻤﻰﻳﺎﺑﺪ« )ﻧﺠﻮﻣﻴﺎﻥ‪:1387 ،‬‬
‫»ﺗﻌﻮﻳﻖ«‪ .‬ﺭﻙ‪ .‬ﺳﺒﺰﻳﺎﻥ ﻭ ﻛ ّﺰﺍﺯﻯ )‪ ،(1388‬ﺹ ‪.162‬‬ ‫‪.(199‬‬
‫ﺍﻣﻴﺮﻋﻠﻰ‬
‫ِ‬ ‫ﮔﻔﺘﺎﺭﻫﺎﻯ ﺍﺳﺘﺎ ِﺩ ﺍﺭﺟﻤﻨﺪ‪ ،‬ﺩﻛﺘﺮ‬
‫ِ‬ ‫ﻃﻰ ﺩﺭﺱ‬‫‪ .2‬ﺍ ّﻭﻝ ﺑﺎﺭ‪ِ ،‬‬
‫ﻫﺎﻯ ﺩﺭﻳﺪﺍ ﺑﻪ ﻃﻮ ِﺭ ﺟ ّﺪﻯ ﺁﺷﻨﺎ ﺷﺪﻡ‪ .‬ﺷﺎﻳﺴﺘﻪ‬
‫ﻧﺠﻮﻣﻴﺎﻥ‪ ،‬ﺑﻮﺩ ﻛﻪ ﺑﺎ ﺍﻧﺪﻳﺸﻪ ِ‬ ‫ﻓﻠﺴﻔﻰ ﺩﻳﻔﺮﺍﻧﺲ‬
‫ِ‬ ‫ﺧﺎﺳﺘﮕﺎ ِﻩ‬
‫ﺳﻬﻢ‬
‫ِ‬ ‫ﺍﺳﺖ ﺩﺭ ﺍﻳﻦ ﻣﺠﺎﻝ ﺍﺯ ﺍﻳﺸﺎﻥ ﺻﻤﻴﻤﺎﻧﻪ ﺳﭙﺎﺱﮔﺰﺍﺭﻯ ﻛﻨﻢ ﻛﻪ‬ ‫ﺩﺭ ﭘﺎﻳﺎﻥ‪ ،‬ﺑﺪ ﻧﻴﺴﺖ ﺍﺷﺎﺭﻩﺍﻯ ﻛﻨﻴﻢ ﺑﻪ ﺍﻳﻦ‬
‫ﺷﻨﺎﺳﺎﻧﺪﻥ ﺩﺭﻳﺪﺍ ﺑﻪ ﻓﺎﺭﺳﻰﺯﺑﺎﻧﺎﻥ ﺩﺍﺷﺘﻪﺍﻧﺪ‪.‬‬
‫ِ‬ ‫ﺑﺰﺭﮔﻰ ﺩﺭ‬ ‫ﺩﻳﻔﺮﺍﻧﺲ‬
‫ِ‬ ‫ﻧﻜﺘﻪ ﻛﻪ ﺑﺮﺧﻰ ﭘﮋﻭﻫﻨﺪﮔﺎﻥ ﻋﻘﻴﺪﻩ ﺩﺍﺭﻧﺪ‬
‫ﻓﻴﻠﺴﻮﻑ‬
‫ِ‬ ‫ﺩﺭﻳﺪﺍ ﺍﺯ ﺍﻧﺪﻳﺸﺔ ﻣﺎﺭﺗﻴﻦ ﻫﻴﺪﮔﺮ )‪،(Martin Heidegger‬‬
‫ﻛﺘﺎﺑﻨﺎﻣﻪ‬ ‫ﺁﻟﻤﺎﻧﻰ )‪ ،(1976 -1889‬ﺳﺮﭼﺸﻤﻪ ﻣﻰﮔﻴﺮﺩ )ﺿﻴﻤﺮﺍﻥ‪:1386 ،‬‬
‫ﺷﻨﺎﺳﻰ ﻋﻤﻮﻣﻰ‪ .‬ﺗﺮﺟﻤﺔ‬
‫ِ‬ ‫‪ -‬ﺩﻭ ﺳﻮﺳﻮﺭ‪ ،‬ﻓﺮﺩﻳﻨﺎﻥ‪ ،1382 ،‬ﺩﻭﺭﺓ ﺯﺑﺎﻥ‬ ‫ﺗﺎﺭﻳﺦ ﻓﻠﺴﻔﺔ ﻏﺮﺏ ﺍﺯ ﺩﻳﺮﺑﺎﺯ »ﺗﻔﺎﻭﺕ«‬ ‫ِ‬ ‫‪ .(108‬ﻫﻴﺪﮔﺮ ﻣﻌﺘﻘﺪ ﺑﻮﺩ ﺩﺭ‬
‫ﭼﺎپ ﺩﻭﻡ‪ .‬ﺗﻬﺮﺍﻥ‪ :‬ﻫﺮﻣﺲ‪.‬‬
‫ﻛﻮﺭﺵ ﺻﻔﻮﻯ‪ِ .‬‬ ‫ِ‬ ‫ﺗﻮﺟ ِﻪ ﺯﻳﺎﺩﻯ ﺑﻪ ﺧﻮﺩ ﻧﺪﻳﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭ ﺣﺎﺷﻴﻪ ﺟﺎﻯ ﺩﺍﺷﺘﻪ ﻭ ّ‬
‫ﻓﺮﻫﻨﮓ ﻧﻈﺮﻳﻪ‬
‫ِ‬ ‫ﻳﻦ ﻛ ّﺰﺍﺯﻯ‪،1388 ،‬‬
‫‪ -‬ﺳﺒﺰﻳﺎﻥ‪ ،‬ﺳﻌﻴﺪ ﻭ ﻣﻴﺮﺟﻼﻝﺍﻟ ّﺪ ِ‬ ‫ﺑﺤﺚ ﻫﻮ ّﻳﺖ‬
‫ﺗﻮﺟ ِﻪ ﺧﻮﻳﺶ ﺭﺍ ﺑﻪ ِ‬ ‫ﺑﻪ ﻭﺍﻗﻊ‪ ،‬ﻓﻴﻠﺴﻮﻓﺎﻥ ﺑﻴﺸﺘﺮ ّ‬
‫ﻫﺎﻯ ﻭﺍﺑﺴﺘﻪ‪ .‬ﺗﻬﺮﺍﻥ‪ :‬ﻣﺮﻭﺍﺭﻳﺪ‪.‬‬
‫ﻭﺍژﮔﺎﻥ ﺍﺩﺑﻴﺎﺕ ﻭ ﺣﻮﺯﻩ ِ‬
‫ِ‬ ‫ﻭ ﻧﻘ ِﺪ ﺍﺩﺑﻰ‪:‬‬ ‫ﻳﺎ ﺍﻳﻦﻫﻤﺎﻧﻰ )‪ (identity‬ﻣﻌﻄﻮﻑ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﻫﻴﺪﮔﺮ ﺍ ّﺩﻋﺎ‬
‫‪ -‬ﺻﻔﻮﻯ‪ ،‬ﻛﻮﺭﺵ‪ ،1383 ،‬ﺍﺯ ﺯﺑﺎﻥﺷﻨﺎﺳﻰ ﺑﻪ ﺍﺩﺑﻴﺎﺕ‪ .‬ﺟﻠ ِﺪ ﺩﻭﻡ‪:‬‬ ‫ﻭﻗﺖ ﺁﻥ ﺭﺳﻴﺪﻩ ﺍﺳﺖ ﻛﻪ ﺑﻪ »ﺗﻔﺎﻭﺕ« ﺭﻭﻯ ﺁﻭﺭﻳﻢ ﻭ‬ ‫ﻛﺮﺩ ِ‬
‫ﺷﻌﺮ‪ .‬ﺗﻬﺮﺍﻥ‪ :‬ﺳﻮﺭﺓ ﻣﻬﺮ‪.‬‬ ‫ﺑﺪﻳﻦﺳﺎﻥ ﺷﺎﻟﻮﺩﻩﺍﻯ ﺭﺍ ﻛﻪ ﻓﻠﺴﻔﺔ ﺳ ّﻨﺘﻰ ﺑﺮ ﺁﻥ ﺑﻨﺎ ﺷﺪﻩ ﺩﺭ‬
‫ﻣﺘﺎﻓﻴﺰﻳﻚ ﺣﻀﻮﺭ‪ِ .‬‬
‫ﭼﺎپ‬ ‫ِ‬ ‫‪ -‬ﺿﻴﻤﺮﺍﻥ‪ ،‬ﻣﺤ ّﻤﺪ‪ ،1386 ،‬ژﺍﻙ ﺩﺭﻳﺪﺍ ﻭ‬ ‫ﻫﻢ ﺷﻜﻨﻴﻢ‪ .‬ﻫﻴﺪﮔﺮ ﺍﻳﻦ ﺭﻭﻯﻛﺮﺩ ﺭﺍ ﺩﺭ ﻣﻮﺭ ِﺩ ﺗﺎﺭﻳﺦ ﺑﻪ ﻛﺎﺭ‬
‫ﻭﻳﺮﺍﺳﺖ ﺩﻭﻡ‪ ،‬ﺗﻬﺮﺍﻥ‪ :‬ﻫﺮﻣﺲ‪.‬‬
‫ِ‬ ‫ﻧﺨﺴﺖ ﺍﺯ‬ ‫ﺑﺴﺖ‪ ،‬ﺣﺎﻝ ﺁﻥ ﻛﻪ ﺩﺭﻳﺪﺍ ﺭﺍ ِﻩ ﺍﻭ ﺭﺍ ﺩﺭ ﻗﻠﻤﺮ ِﻭ ﺯﺑﺎﻥ ﻭ ﻧﺸﺎﻧﻪﻫﺎ‬
‫ﭘﺎﺭﺍﺩﻭﻛﺴﻰ ﺍﻧﺪﻳﺸﺔ ژﺍﻙ‬
‫ِ‬ ‫»ﻣﻨﻄﻖ‬
‫ِ‬ ‫‪ -‬ﻧﺠﻮﻣﻴﺎﻥ‪ ،‬ﺍﻣﻴﺮﻋﻠﻰ‪،1382 ،‬‬ ‫ﺩﻧﺒﺎﻝ ﻛﺮﺩ‪.‬‬
‫ﺩﺭﻳﺪﺍ«‪ .‬ﭘﮋﻭﻫﺶﻧﺎﻣﺔ ﻋﻠﻮ ِﻡ ﺍﻧﺴﺎﻧﻰ‪ :‬ﻭﻳﮋﻩﻧﺎﻣﺔ ﻓﻠﺴﻔﻪ‪ .‬ﺩﺍﻧﺸﮕﺎ ِﻩ ﺷﻬﻴﺪ‬ ‫ﻛﺮﻳﺴﺘﻔﺮ ﻧﺮﻳﺲ )‪ (47 :1986 ،Norris‬ﻫﻢ ﺑﺮ ﺁﻥ‬
‫ﺯﻣﺴﺘﺎﻥ ‪ .1382‬ﺻﺺ ‪.128-119‬‬ ‫ِ‬ ‫ﺑﻬﺸﺘﻰ‪ .‬ﺷﻤﺎﺭﺓ ‪ ،40-39‬ﭘﺎﻳﻴﺰ ﻭ‬ ‫ﺍﻓﺘﺎﺩﻥ( ﺩﻳﻔﺮﺍﻧﺲ ﺭﻳﺸﻪ ﺩﺍﺭﺩ‬
‫ِ‬ ‫»ﺯﻣﺎﻧﻤﻨﺪﻯ )= ﺑﻪﺗﻌﻮﻳﻖ‬
‫ِ‬ ‫ﺍﺳﺖ ﻛﻪ ﺟﻨﺒﺔ‬
‫ﺷﻨﺎﺳﻰ ﭘﺴﺎﺳﺎﺧﺘﮕﺮﺍ‪:‬‬
‫ِ‬ ‫‪ -‬ﻧﺠﻮﻣﻴﺎﻥ‪ ،‬ﺍﻣﻴﺮﻋﻠﻰ‪» ،1387 ،‬ﻧﺸﺎﻧﻪ‬ ‫ﭘﺪﻳﺪﺍﺭﺷﻨﺎﺳﻰ ﻫﻮﺳﺮﻟﻰ‪ .‬ﺍﺗﻤﻮﻧﺖ ﻫﻮﺳﺮﻝ )‪،(Edmund Husserl‬‬ ‫ِ‬ ‫ﺩﺭ‬
‫‪23‬‬ ‫ﻣﺘﻦ ﻫﻨﺮﻯ«‪ .‬ﻣﺠﻤﻮﻋﻪﻣﻘﺎﻻﺕِ ﺳﻮﻣﻴﻦ‬ ‫ِ‬ ‫ﻭﺍﺳﺎﺯﻯ‬
‫ِ‬ ‫ﺷﻨﺎﺳﻰ‬
‫ِ‬ ‫ﺭﻭﺵ‬ ‫ﻭﺍﻛﺎﻭﻯ ﺷﻴﻮﻩﻫﺎﻳﻰ‬
‫ِ‬ ‫ﺍﻧﺪﻳﺸﻤﻨ ِﺪ ﺁﻟﻤﺎﻧﻰ )‪ ،(1938-1859‬ﺩﺭ ﺁﺛﺎ ِﺭ ﺧﻮﺩ ﺑﻪ‬
‫ﻛﻮﺷﺶ ﻓﺮﻫﺎ ِﺩ ﺳﺎﺳﺎﻧﻰ‪ .‬ﺗﻬﺮﺍﻥ‪:‬‬
‫ِ‬ ‫ﺷﻨﺎﺳﻰ ﻫﻨﺮ‪ .‬ﺑﻪ‬
‫ِ‬ ‫ﺍﻧﺪﻳﺸﻰ ﻧﺸﺎﻧﻪ‬
‫ِ‬ ‫ﻫﻢ‬ ‫ﻃﺮﻳﻖ ﺁﻧﻬﺎ ﺯﻣﺎﻥ ﺭﺍ ﺩﺭﻙ ﻣﻰﻛﻨﺪ‪ .‬ﺩﺭﻳﺪﺍ‪،‬‬
‫ِ‬ ‫ﺫﻫﻦ ﺗﺠﺮﺑﻪﮔﺮ ﺍﺯ‬
‫ﭘﺮﺩﺍﺧﺖ ﻛﻪ ِ‬
‫ﻛﺘﺎﺏ ﻣﺎﻩ ﺍﺩﺑﻴﺎﺕ ﺷﻤﺎﺭﻩ ‪3‬‬

‫ﻓﺮﻫﻨﮕﺴﺘﺎﻥ ﻫﻨﺮ‪ .‬ﺻﺺ ‪.212 -193‬‬

‫ِ‬ ‫ﮔﺸﺎﻳﻰ ﺩﻳﺪﮔﺎ ِﻩ ﻭﻯ‬
‫ِ‬ ‫ﻛﻪ ﺑﺴﻴﺎﺭ ﺍﺯ ﻫﻮﺳﺮﻝ ﺗﺄﺛﻴﺮ ﭘﺬﻳﺮﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﺑﺎ ﺳﺎﺧﺖ‬
‫‪- Bressler, Charles E. (2007). Literary Criticism: An‬‬ ‫ﺩﻳﻔﺮﺍﻧﺴﻰ ﺯﻣﺎﻥ ﺭﺳﻴﺪ ــ ﻳﻌﻨﻰ ﺍﻳﻦ ﻛﻪ »ﺯﻣﺎﻥ ﺑﻪ‬
‫ِ‬ ‫ﺳﺮﺍﻧﺠﺎﻡ ﺑﻪ ﻣﻔﻬﻮ ِﻡ‬
‫‪Introduction to Theory and Practice. 4th edn. New Jersy:‬‬
‫ﺍﻧﺪﺍﺧﺘﻦ ﺑﻰﻭﻗﻔﺔ ﺣﻀﻮﺭ ﺍﺳﺖ«‪.‬‬
‫ِ‬ ‫ﺗﻌﻮﻳﻖ‬
‫‪Pearson Prentice Hall.‬‬
‫‪- Derrida, Jacque (2002). Positions. Trans. Alan Bass. 2nd edn.‬‬
‫‪London and New York: Continuum.‬‬
‫ﻓﺮﺟﺎﻡ ﺳﺨﻦ‬ ‫ِ‬
‫‪) 33‬ﭘﻴﺎﭘﻰ‪(147‬‬

‫‪- Lye, John (08/24/2009). “Différance.” <http://www.brocku.‬‬ ‫ﻫﺎﻯ‬ ‫ﭼﻨﺎﻥ ﻛﻪ ﮔﺬﺷﺖ‪» ،‬ﺩﻳﻔﺮﺍﻧﺲ« ﻳﻜﻰ ﺍﺯ ﻛﻠﻴﺪﻯﺗﺮﻳﻦ ﺍﺻﻄﻼﺡ ِ‬
‫>‪ca/english/courses/4F70/diffr.php‬‬ ‫ﺯﻋﻢ‬
‫ﻓﻬﻢ ﺍﻳﻦ ﺗﺮﻡ ﻣﻤﻜﻦ ﻧﻴﺴﺖ‪ .‬ﺑﻪ ِ‬ ‫ﺑﺪﻭﻥ ِ‬
‫ﻓﻬﻢ ﺍﻧﺪﻳﺸﺔ ﺍﻭ ِ‬
‫ﺩﺭﻳﺪﺍ ﺳﺖ‪ ،‬ﻭ ِ‬
‫ﺩﻯ ‪13888‬‬

‫‪- Norris, Christopher (1986). Deconstruction: Theory and‬‬ ‫ﻧﺎﭘﺬﻳﺮﻯ‬ ‫ﺗﻌﻴﻦ‬

‫ِ‬ ‫ﻣﻮﺟﺐ ّ‬
‫ِ‬ ‫ﭘﺲ ﻫﻤﻪﭼﻴﺰ ﺟﺮﻳﺎﻥ ﺩﺍﺭﺩ ﻭ‬‫ﺩﺭﻳﺪﺍ‪ ،‬ﺩﻳﻔﺮﺍﻧﺲ ﺩﺭ ِ‬
‫‪Practice. Revised edn. London and New York: Routledge.‬‬
‫ﻣﻌﻨﺎﻯ ﻣﺘﻦ ﻣﻰﺷﻮﺩ‪ .‬ﻫﻤﻴﺸﻪ ﺍﺣﺴﺎﺱ ﻣﻰﻛﻨﻴﻢ ﺑﻪ ﻣﻌﻨﺎ ﻧﺰﺩﻳﻚ ﺷﺪﻩﺍﻳﻢ‪،‬‬ ‫ِ‬
‫ﺩﺳﺘﺮﺱ ﻣﺎ ﺩﻭﺭ ﻣﻰﮔﺮﺩﺩ‪ .‬ﻛﻮﺗﺎ ِﻩ ﺳﺨﻦ ﺍﻳﻦ ﻛﻪ ﺍﺯ‬
‫ِ‬ ‫ﺍﺯ‬ ‫ﻫﺮﺑﺎﺭ‬ ‫ﻛﻪ‬ ‫ﺁﻥ‬ ‫ﺣﺎﻝ‬
‫‪2‬‬ ‫ﻧﻈ ِﺮ ﺩﺭﻳﺪﺍ ﻣﻌﻨﺎ ﺩﺭ ﻣﺘﻦ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﻟﻴﻚ ّ‬
‫ﻳﻜﻪ‪ ،‬ﺛﺎﺑﺖ ﻭ ﻣﺸﺨّ ﺺ ﻧﻴﺴﺖ‪.‬‬