تحليل ماهيت عكاسي خياباني و كارهاي عكاسان به نام اين سبك در غرب درنيمه اول قرن بيستم ميلادي

‫‪,‬‬
‫دسترسی به این مدرک بر پایة آییننامة ثبت و اشاعة پیشنهادهها‪ ،‬پایاننامهها‪ ،‬و رسالههای تحصیل ت تکمیلی و صیانت از حقوق پدیدآوران در آنها ) وزار ت علوم‪ ،‬تحقیقا ت‪ ،‬فناوری به شمارة ‪/195929‬و تاریخ ‪ (1395/9/6‬از پایگاه اطلعا ت علمی ایران )گنج( در پژوهشگاه علوم و فننناوری‬
‫اطلعا ت ایران )ایرانداک( فراهم شده و استفاده از آن با رعایت کامل حقوق پدیدآوران و تنها برای هدفهای علمی‪ ،‬آموزشی‪ ،‬و پژوهشی و بر پایة قانون حمایت از مؤلفان‪ ،‬مصنفان‪ ،‬و هنرمندان )‪ (1348‬و الحاقا ت و اصلحا ت بعدی آن و سایر قوانین و مقررا ت مربوط شدنی است‪.‬‬
‫ﻭﺯﺍﺭﺕ ﻋﻠﻮﻡ‪ ،‬ﺗﺤﻘﻴﻘﺎﺕ ﻭ ﻓﻨﺎﻭﺭﻱ‬
‫ﺩﺍﻧﺸﻜﺪﻩ ﻫﻨﺮﻫﺎﻱ ﺗﺠﺴﻤﻲ‬
‫ﭘﺎﻳﺎﻥ ﻧﺎﻣﻪ ﺑﺮﺍﻱ ﺩﺭﻳﺎﻓﺖ ﺩﺭﺟﻪ ﻛﺎﺭﺷﻨﺎﺳﻲ ﺍﺭﺷﺪ‬

‫ﺭﺷﺘﻪ ﻋﻜﺎﺳﻲ‬
‫ﻋﻨﻮﺍﻥ‬
‫ﺗﺤﻠﻴﻞ ﻣﺎﻫﻴﺖ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﻭ ﻛﺎﺭﻫﺎﻱ ﻋﻜﺎﺳﺎﻥ ﺑﻪ ﻧﺎﻡ ﺍﻳﻦ ﺳﺒﻚ‬
‫ﺩﺭ ﻏﺮﺏ ﺩﺭﻧﻴﻤﻪ ﺍﻭﻝ ﻗﺮﻥ ﺑﻴﺴﺘﻢ ﻣﻴﻼﺩﻱ‬
‫ﺍﺳﺘﺎﺩ ﺭﺍﻫﻨﻤﺎ‬
‫ﺧﺎﻧﻢ ﭘﺮﻭﻳﻦ ﻃﺎﻋﻲ‬
‫ﻋﻨﻮﺍﻥ ﺑﺨﺶ ﻋﻤﻠﻲ‬

‫ﻧﺎﻇﺮ ﺑﻲ ﻃﺮﻑ‬
‫ﺍﺳﺘﺎﺩ ﺭﺍﻫﻨﻤﺎﻱ ﺑﺨﺶ ﻋﻤﻠﻲ‬

‫ﺁﻗﺎﻱ ﺩﻛﺘﺮ ﺳﻴﺪﺟﻮﺍﺩ ﺳﻠﻴﻤﻲ‬
‫ﻧﮕﺎﺭﺵ ﻭ ﺗﺤﻘﻴﻖ‬
‫ﭘﻮﻳﺎ ﻋﺎﺑﺪﻳﻦ ﺯﺍﺩﻩ‬
‫ﺗﻴﺮ ﻣﺎﻩ ‪۱۳۹۱‬‬
Ministry of Science, Research & Technology
University of Art
Visual Arts Faculty
Dissertion for the Degree of Master of Arts in

Photography
Theoretical Subject
Street photography in the United States and Europe in regard to
works of notable photographers in the first half of the 20th century P P
Supervisor
Ms. Parvin Taee
Practical Subject
Bystander
Practical Project Supervisor

Dr. SeyedJavad Salimi
A Thesis Submitted to Graduate Studies Office in Partial Fulfillment of the

Requirements for the Degree of Master of Arts in Photography
By: Pooya Abedinzadeh
Summer 2012
‫( از پایگاه اطلعا ت علمی ایران )گنج( در پژوهشگاه علوم و فننناوری‬1395/9/6 ‫و تاریخ‬/195929 ‫ فناوری به شمارة‬،‫ تحقیقا ت‬،‫ و رسالههای تحصیل ت تکمیلی و صیانت از حقوق پدیدآوران در آنها ) وزار ت علوم‬،‫ پایاننامهها‬،‫دسترسی به این مدرک بر پایة آییننامة ثبت و اشاعة پیشنهادهها‬
.‫( و الحاقا ت و اصلحا ت بعدی آن و سایر قوانین و مقررا ت مربوط شدنی است‬1348) ‫ و هنرمندان‬،‫ مصنفان‬،‫ و پژوهشی و بر پایة قانون حمایت از مؤلفان‬،‫ آموزشی‬،‫اطلعا ت ایران )ایرانداک( فراهم شده و استفاده از آن با رعایت کامل حقوق پدیدآوران و تنها برای هدفهای علمی‬
‫ﺗﻌﻬﺪﻧﺎﻣﻪ‬ ‫‪U‬‬
‫ﺍﻳﻨﺠﺎﻧﺐ ﭘﻮﻳﺎ ﻋﺎﺑﺪﻳﻦ ﺯﺍﺩﻩ ﺍﻋﻼﻡ ﻣﻲ ﺩﺍﺭﻡ ﻛﻪ ﺗﻤﺎﻡ ﻓﺼﻞ ﻫﺎﻱ ﺍﻳﻦ ﭘﺎﻳﺎﻥ ﻧﺎﻣﻪ ﻭ ﺍﺟﺰﺍء ﻣﺮﺑﻮﻁ ﺑﻪ ﺁﻥ‬
‫ﺑﺮﺍﻱ ﺍﻭﻟﻴﻦ ﺑﺎﺭ )ﺗﻮﺳﻂ ﺍﻳﻨﺠﺎﻧﺐ( ﺍﻧﺠﺎﻡ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺑﺮﺩﺍﺷﺖ ﺍﺯ ﻧﻮﺷﺘﻪ ﻫﺎ‪ ،‬ﻛﺘﺐ‪ ،‬ﭘﺎﻳﺎﻥ ﻧﺎﻣﻪ ﻫﺎ‪ ،‬ﺍﺳﻨﺎﺩ‪،‬‬
‫ﻣﺪﺍﺭﻙ ﻭ ﺗﺼﺎﻭﻳﺮ ﭘﮋﻭﻫﺸﮕﺮﺍﻥ ﺣﻘﻴﻘﻲ ﻳﺎ ﺣﻘﻮﻗﻲ )ﻓﺎﺭﺳﻲ ﻭ ﻏﻴﺮﻓﺎﺭﺳﻲ( ﺑﺎ ﺫﻛﺮ ﻣﺂﺧﺬ ﻛﺎﻣﻞ ﻭ ﺑﻪ‬
‫ﺷﻴﻮﻩ ﺗﺤﻘﻴﻖ ﻋﻠﻤﻲ ﺻﻮﺭﺕ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪.‬‬
‫ﺑﺪﻳﻬﻲ ﺍﺳﺖ ﺩﺭ ﺻﻮﺭﺗﻲ ﻛﻪ ﺧﻼﻑ ﻣﻮﺍﺭﺩ ﻓﻮﻕ ﺍﺛﺒﺎﺕ ﺷﻮﺩ ﻣﺴﺆﻭﻟﻴﺖ ﺁﻥ ﻣﺴﺘﻘﻴﻤﺎً ﺑﻪ ﻋﻬﺪﻩ ﺍﻳﻨﺠﺎﻧﺐ‬
‫ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬
‫ﺗﺎﺭﻳﺦ‪۱۳۹۱/٤/۱۰ :‬‬ ‫ﺍﻣﻀﺎء‬
‫ﭼﻜﻴﺪﻩ‬
‫ﺩﺭ ﺍﻳﻦ ﺗﺤﻘﻴﻖ ﺳﻌﻲ ﺷﺪﻩ ﺑﻪ ژﺍﻧﺮﻱ ﺍﺯ ﻋﻜﺎﺳﻲ ﭘﺮﺩﺍﺧﺘﻪ ﺷﻮﺩ ﻛﻪ ﺗﺎﻛﻨﻮﻥ ﺩﺭ ﻛﺸﻮﺭ ﻣﺎ‪ ،‬ﭼﻪ ﺩﺭ ﻧﻤﺎﻳﺸﮕﺎﻩ ﻫﺎﻱ ﻋﻜﺎﺳﻲ ﻭ‬
‫ﭼﻪ ﺩﺭ ﻛﺘﺐ ﻭ ﺗﺤﻘﻴﻖ ﻫﺎ ﻭ ﺭﺳﺎﻟﻪ ﻫﺎ‪ ،‬ﺗﻮﺟﻪ ﺑﺴﻴﺎﺭ ﻛﻤﻲ ﺑﻄﻮﺭ ﺍﺧﺘﺼﺎﺻﻲ ﺑﻪ ﺁﻥ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ژﺍﻧﺮ ﻋﻜﺎﺳﻲ ﺍﺯ ﺯﻣﺎﻥ‬
‫ﭘﻴﺪﺍﻳﺶ ﺍﻳﻦ ﺭﺳﺎﻧﻪ ﻫﻤﻮﺍﺭﻩ ﺩﺭ ﺍﺭﻭﭘﺎ‪ ،‬ﺑﻪ ﺧﺼﻮﺹ ﺩﺭ ﭘﺎﺭﻳﺲ ﻭ ﭘﺲ ﺍﺯ ﺁﻥ ﺩﺭ ﺁﻣﺮﻳﻜﺎ‪ ،‬ﺑﺨﺶ ﺯﻳﺎﺩﻱ ﺍﺯ ﺗﺼﺎﻭﻳﺮ ﺭﺍ ﺑﻪ‬
‫ﺧﻮﺩ ﺍﺧﺘﺼﺎﺹ ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﺗﺤﻘﻴﻖ ﺑﺮ ﺁﻧﻴﻢ ﺗﺎ ﺍﻳﻦ ژﺍﻧﺮ ﺭﺍ ﺑﻪ ﻃﻮﺭ ﻣﺠﺰﺍ ﻣﻮﺭﺩ ﺑﺮﺭﺳﻲ ﻗﺮﺍﺭ ﺩﻫﻴﻢ‪ .‬ﻧﺨﺴﺖ ﻣﺎﻫﻴﺖ‬
‫ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺭﺍ ﺑﺮﺭﺳﻲ ﻣﻴﻜﻨﻴﻢ ﻭ ﺑﻄﻮﺭ ﻛﻠﻲ ﺩﻳﺪﮔﺎﻩ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﮔﺮﺍﻳﺎﻧﻪ ﺭﺍ ﺗﺸﺮﻳﺢ ﻣﻲ ﻛﻨﻴﻢ ﻭ ﺑﻪ ﺍﻳﻦ ﻧﻜﺘﻪ ﻣﻲ‬
‫ﭘﺮﺩﺍﺯﻳﻢ ﻛﻪ ﺍﻳﻦ ﺩﻳﺪﮔﺎﻩ ﺣﺘﻲ ﭘﻴﺶ ﺍﺯ ﻋﻜﺎﺳﻲ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺳﭙﺲ ﺑﻪ ﺑﺮﺭﺳﻲ ﺗﻔﺎﻭﺕ ﻫﺎ)ﻭ ﺷﺒﺎﻫﺖ ﻫﺎﻱ( ﺍﻳﻦ ژﺍﻧﺮ‬
‫ﺑﺎ ﻋﻜﺎﺳﻲ ﻣﺴﺘﻨﺪ‪ ،‬ﻭ ﺑﺎ ﻋﻜﺎﺳﻲ ﺧﺒﺮﻱ ﻣﻲ ﭘﺮﺩﺍﺯﻳﻢ‪ .‬ﺩﺭ ﺍﻳﻦ ﺭﺳﺎﻟﻪ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺭﺍ ﺑﺼﻮﺭﺕ ژﺍﻧﺮﻱ ﻣﺠﺰﺍ ﺍﺯ ﻋﻜﺎﺳﻲ‬
‫ﻣﺴﺘﻨﺪ ﺩﺭﻧﻈﺮ ﻣﻲ ﮔﻴﺮﻳﻢ ﺗﺎ ﺑﺪﻳﻦ ﮔﻮﻧﻪ ﺑﻴﺸﺘﺮ ﺑﺎ ﻣﺎﻫﻴﺖ ﺍﻳﻦ ﻧﻮﻉ ﻋﻜﺎﺳﻲ ﻭ ﺑﻄﻮﺭ ﻛﻠﻲ ﺍﻳﻦ ﺩﻳﺪﮔﺎﻩ ﺁﺷﻨﺎ ﺷﻮﻳﻢ‪ .‬ﺳﭙﺲ ﺑﻪ‬
‫ﺳﻮژﻩ ﻫﺎﻱ ﺍﻳﻦ ﻧﻮﻉ ﺍﺯ ﻋﻜﺎﺳﻲ ﻣﻲ ﭘﺮﺩﺍﺯﻳﻢ‪ .‬ﭘﺲ ﺍﺯ ﺁﻥ ﺩﺭﺑﺎﺭﻩ ﻧﻘﺪ ﻭ ﺗﻔﺴﻴﺮ ﻋﻜﺲ ﻫﺎﻱ ﺧﻴﺎﺑﺎﻧﻲ ﺑﺤﺚ ﻣﻲ ﻛﻨﻴﻢ‪ .‬ﺩﺭ‬
‫ﺑﺨﺸﻲ ﺟﺪﺍﮔﺎﻧﻪ‪ ،‬ﺍﻳﻦ ژﺍﻧﺮ ﺭﺍ ﺍﺯ ﻟﺤﺎﻅ ﺗﺎﺭﻳﺨﻲ ﻣﻮﺭﺩ ﻣﻄﺎﻟﻌﻪ ﻗﺮﺍﺭ ﻣﻲ ﺩﻫﻴﻢ ﻭ ﺳﻴﺮ ﺗﺤﻮﻝ ﺁﻥ ﺭﺍ ﺍﺯ ﺍﺑﺘﺪﺍ )ﺑﺎ ﺑﺮﺭﺳﻲ ﺍﻳﻦ‬
‫ﻋﻜﺎﺳﻲ ﺩﺭ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ ﺑﻄﻮﺭ ﻣﺨﺘﺼﺮ ﻭ ﺩﺭ ﻗﺮﻥ ﺑﻴﺴﺘﻢ ﺑﻪ ﺗﻔﺼﻴﻞ( ﺗﺎ ﺍﻭﺍﺳﻂ ﺩﻫﻪ ﭘﻨﺠﺎﻩ ﻣﻴﻼﺩﻱ ﻣﺸﺎﻫﺪﻩ ﻣﻲ ﻛﻨﻴﻢ‪.‬‬
‫ﺍﻳﻦ ژﺍﻧﺮ ﻋﻜﺎﺳﻲ‪ ،‬ﺑﻪ ﺧﺼﻮﺹ ﺩﺭ ﺟﻮﺍﻣﻌﻲ ﻛﻪ ﺑﻪ ﺳﺮﻋﺖ ﺩﺭﺣﺎﻝ ﺗﻐﻴﻴﺮ ﻭ ﺗﺤﻮ‪‬ﻟﻨﺪ‪ ،‬ﻧﻘﺶ ﺑﺴﺰﺍﻳﻲ ﺩﺭ ﺣﻔﻆ ﺑﺎﻓﺖ ﻗﺪﻳﻤﻲ‬
‫ﺷﻬﺮﻱ ﻭ ﻓﺮﻫﻨﮕﻲ‪ ،‬ﺣﺪﺍﻗﻞ ﺩﺭ ﻗﺎﻟﺐ ﻋﻜﺲ‪ ،‬ﻭ ﻣﺸﺎﻫﺪﻩ ﺳﻴﺮ ﺗﺤﻮﻻﺕ ﺩﺭ ﺟﺎﻣﻌﻪ ﺩﺍﺭﺩ‪ .‬ﺍﻳﻦ ﺍﻣﺮ ﺍﺯ ﺍﺑﺘﺪﺍﻱ ﭘﻴﺪﺍﻳﺶ‬
‫ﻋﻜﺎﺳﻲ‪ ،‬ﻳﻜﻲ ﺍﺯ ﺭﺳﻮﻡ ﺍﻳﻦ ﺭﺳﺎﻧﻪ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﺗﺤﻘﻴﻖ ﻣﺤﻘﻘﺎﻥ ﻭ ﻋﻜﺎﺳﺎﻧﻲ ﻛﻪ ﺑﻪ ﺍﻳﻦ ژﺍﻧﺮ ﻋﻼﻗﻪ ﺩﺍﺭﻧﺪ‪ ،‬ﺑﺎ‬
‫ﻛﺎﺭﻫﺎﻱ ﻋﻜﺎﺳﺎﻥ ﺑﻨﺎﻡ ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻨﻪ ﺁﺷﻨﺎ ﻣﻲ ﺷﻮﻧﺪ ﻭ ﻭﺍﺭﺩ ﺩﻧﻴﺎﻳﻲ ﺍﺯ ﺩﻳﺪﻱ ﺧﺎﺹ ﻧﺴﺒﺖ ﺑﻪ ﻋﻜﺎﺳﻲ ﻣﻲ ﺷﻮﻧﺪ‪.‬‬
‫ﻛﻠﻴﺪﻭﺍژﻩ ﻫﺎ‪:‬‬
‫ﻓﻼﻧﻮﺭ)ﭘﺮﺳﻪ ﺯﻥ(‪ ،‬ﺍﺷﺎﺭﻩ ﮔﺮﻱ‪ ،‬ﻣﻮﺍﺟﻪ ﺗﺼﺎﺩﻓﻲ‪ ،‬ﻳﻚ ﺁﻥ)ﻟﺤﻈﻪ ﻣﻨﻘﻄﻊ(‪ ،‬ﺳﺨﻨﺎﻥ ﻋﺎﻣﻴﺎﻧﻪ)ﺷﺎﻳﻌﻪ ﻳﺎ ﮔﺎﺳﻴﭗ(‬
‫‪I‬‬
Abstract
Street photography is a genre which is neglected in my country, either in
exhibitions or in books or in researches. A great deal of street photography have
been done in Europe, especially in France and in the United States since the
invention of photography. In this thesis I have discussed this genre thoroughly
and separately from other genres. First I discuss the nature of street photography
and street photographic mentality in general. It is discussed that this genre
existed even before photography. Then we compare this genre to documentary
photography, and photojournalism, and differentiate between the three. Then
the subjects of street photography such as street types are presented. After that
the suitable criticism and interpretations for street photographs are mentioned.
In a separate chapter, the history of street photography is studied. It is discussed
how street photography evolved from the beginning to the mid 50s (19th century
photography is discussed briefly whereas 20th century photography is discussed
thoroughly)
Street photography has played a key role in preserving and restoring (at least
photographically) rapidly changing societies historically. Through photography we
can see and track changes. This has been an old convention of photography from
the beginning of its invention. I want to get researchers and scholars to know this
genre better and to further research. I especially want to expand the knowledge
of photographers, expand their field of view, and to provoke them to do similar
photography.
The references that I used in this thesis are all in English. Suitable parts from each
is selected and used. Photos are primarily gathered from printed works of the
photographers, and from the internet and used alongside the text.
Keywords:
Flâneur, Indexicality, Chance Encounter, gossip, Instant
‫ﻓﻬﺮﺳﺖ‬
‫ﻣﻘﺪﻣﻪ‪1 ......................................................................................................................‬‬
‫ﻓﺼﻞ ﺍﻭﻝ‪ :‬ﻣﺎﻫﻴﺖ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ‪4.......................................................‬‬
‫ﻣﻘﺪﻣﻪ ﻓﺼﻞ ﺍﻭﻝ ‪5....................................................................................................................... :‬‬
‫ﺑﺨﺶ ﺍﻭﻝ‪ :‬ﭘﻴﺪﺍﻳﺶ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﻭ ﻣﻨﺸﺄ ﺁﻥ ﺩﺭ ﻧﻘﺎﺷﻲ ﻫﺎﻱ ﺍﻳﻤﭙﺮِﺷ‪‬ﻨﻴﺴﺘﻲ‪7.................................‬‬
‫ﺑﺨﺶ ﺩﻭﻡ‪ :‬ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﻭ ﻣﺴﺘﻨﺪ ‪14.........................................................................................‬‬
‫ﺑﺨﺶ ﺳﻮﻡ‪ :‬ﻓﺮﻭﺷﻨﺪﮔﺎﻥ‪ ،‬ﺳﺮﮔﺮﻡ ﻛﻨﻨﺪﮔﺎﻥ ﻭ ﺩﻳﮕﺮ ﺗﻴﭗ ﻫﺎﻱ ﺧﻴﺎﺑﺎﻧﻲ‪22.........................................‬‬
‫ﺑﺨﺶ ﭼﻬﺎﺭﻡ‪ :‬ﻣﻨﺎﺳﺒﺖ ﺯﺑﺎﻥ ﺩﺭ ﻭﺍﻛﻨﺶ ﺑﻪ ﻋﻜﺲ ﺧﻴﺎﺑﺎﻧﻲ‪27...........................................................‬‬
‫ﺑﺨﺶ ﭘﻨﺠﻢ‪ :‬ﺧﻴﺎﺑﺎﻧﻬﺎ‪ ،‬ﺳﺎﺧﺘﻤﺎﻧﻬﺎ ﻭ ﺷﻬﺮ ﻫﻮﻳﺖ ﻣﺬﻛﺮ ﻳﺎ ﻣﺆﻧﺚ‪33....................................................‬‬
‫ﻧﺘﻴﺠﻪ ﮔﻴﺮﻱ ﻓﺼﻞ ﺍﻭﻝ ‪37..............................................................................................................‬‬
‫ﻓﺼﻞ ﺩﻭﻡ ‪ :‬ﺗﺎﺭﻳﺦ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ‪40......................................................‬‬
‫ﺑﺨﺶ ﺍﻭﻝ‪ :‬ﺍﻭﺍﺧﺮ ﻗﺮﻥ ‪ 19‬ﻭ ﺍﻭژﻥ ﺁﺗﮋﻩ‪40.............................................................‬‬
‫‪ :1‬ﭘﻴﺶ ﺍﺯ ﻋﻜﺎﺳﻲ ‪41...................................................................................................................‬‬
‫‪ :2‬ﺩﺭ ﺁﻏﺎﺯ ﻋﻜﺎﺳﻲ ‪42..................................................................................................................‬‬
‫‪ :3‬ﺟﺎﻥ ﺗﺎﻣﺴﻮﻥ ﻭ ﻛﻠﻮﺩﻳﻮﻥ ﺗﺮ ‪44..................................................................................................‬‬
‫‪ :4‬ﻋﻜﺲ ﻫﺎﻳﻲ ﺑﻪ ﻋﻨﻮﺍﻥ ﺗﻔﺮﻳﺢ ﻣﺸﺎﺑﻪ ﻛﺎﺭ ﺍﺻﻠﻲ‪45........................................................................‬‬
‫‪ :5‬ﻫﻨﺮ ﺑﺮﺍﻱ ﻫﻨﺮ ﻭ ﺍﺳﺘﻴﮕﻠﻴﺘﺰ ‪47.......................................................................................................‬‬
‫‪ :6‬ﺁﺗﮋﻩ ﻭ ﺍﺳﻨﺎﺩﻱ ﺑﺮﺍﻱ ﻫﻨﺮﻣﻨﺪﺍﻥ ‪52................................................................................................‬‬
‫‪II‬‬
‫ﺑﺨﺶ ﺩﻭﻡ‪ :‬ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﻭ ﺍﺭﻭﭘﺎ ﺩﺭ ﻗﺮﻥ ﺑﻴﺴﺘﻢ‪54...................................................‬‬
‫‪ :7‬ﻻﺭﺗﻴﮓ ‪55................................................................................................................................‬‬
‫‪ :8‬ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﻭ ﻟﺤﻈﻪ ﻗﻄﻌﻲ ‪58..................................................................................................‬‬
‫‪ :9‬ﻋﻜﺎﺳﺎﻥ ﻣﺠﺎﺭﺳﺘﺎﻧﻲ ﺍﻻﺻﻞ ‪64....................................................................................................‬‬
‫‪ :10‬ﻋﻜﺎﺳﺎﻥ ﺧﺎﺭﺝ ﺍﺯ ﻗﺎﺭﻩ ﺍﺻﻠﻲ ﺍﺭﻭﭘﺎ‪68.......................................................................................‬‬
‫‪ :11‬ﺩﻭﺍﻧﻮ‪ ،‬ﮔﻴﻠﺰ ﭘﺮﺱ ﻭ ﻛﻮﺩﻟﻜﺎ ‪71.................................................................................................‬‬
‫ﺑﺨﺶ ﺳﻮﻡ‪ :‬ﻭﺍﻛﺮ ﺍﻭﺍﻧﺰ ﻭ ﺁﻣﺮﻳﻜﺎ ﭘﻴﺶ ﺍﺯ ﺟﻨﮓ‪77......................................................‬‬
‫‪ :12‬ﭘﻴﺸﺮﻓﺖ ﺍﺟﺘﻤﺎﻋﻲ‪ .‬ﺭﻳﺲ ﻭ ﻫﺎﻳﻦ ‪78...........................................................................................‬‬
‫‪ :13‬ﺩﻳﺪ ﺟﻤﻌﻲ‪ :‬ﺍﺩﺍﺭﻩ ﺍﻣﻨﻴﺖ ﻛﺸﺎﻭﺭﺯﻱ ﻭ ﺍﺩﺍﺭﻩ ﭘﻴﺸﺮﻓﺖ ﻛﺎﺭ‪82........................................................‬‬
‫‪ :14‬ﺁﺑﻮﺕ ﻭ ﺍﻭﺍﻧﺰ ‪91.......................................................................................................................‬‬
‫ﺑﺨﺶ ﭼﻬﺎﺭﻡ‪ :‬ﺭﺍﺑﺮﺕ ﻓﺮﺍﻧﻚ ﻭ ﺁﻣﺮﻳﻜﺎ ﭘﺲ ﺍﺯ ﺟﻨﮓ‪98..............................................‬‬
‫‪ :15‬ﺍﺷﺨﺎﺹ ﺟﺎﺑﺠﺎ ﺷﺪﻩ ﺍﺯ ﻭﻃﻦ ﺍﺻﻠﻲ‪99.......................................................................................‬‬
‫‪ :16‬ﺷﻬﺮﻭﻧﺪﺍﻥ ﺁﻣﺮﻳﻜﺎﻳﻲ ﺷﺪﻩ ‪100..................................................................................................‬‬
‫‪:17‬ﻭﻳﻠﻴﺎﻡ ﻛﻠﻴﻦ ‪102.........................................................................................................................‬‬
‫‪:18‬ﺭﺍﺑﺮﺕ ﻓﺮﺍﻧﻚ ‪105.....................................................................................................................‬‬
‫‪:19‬ﻧﺘﻴﺠﻪ ﮔﻴﺮﻱ ‪108........................................................................................................................‬‬
‫ﭘﺮﻭژﻩ ﻋﻤﻠﻲ)ﻧﺎﻇﺮ ﺑﻲ ﻃﺮﻑ( ‪111.....................................................................................................‬‬
‫‪III‬‬
‫ﻓﻬﺮﺳﺖ ﺷﻜﻞ ﻫﺎ‬
‫ﻋﻜﺲ ‪69................................................. 2-14‬‬ ‫ﻋﻜﺲ ‪7.................................................... 1-1‬‬

‫ﻋﻜﺲ ‪72................................................. 2-15‬‬ ‫ﻋﻜﺲ ‪12.................................................... 1-2‬‬
‫ﻋﻜﺲ ‪73................................................. 2-16‬‬ ‫ﻋﻜﺲ ‪13.................................................... 1-3‬‬
‫ﻋﻜﺲ ‪75................................................. 2-17‬‬ ‫ﻋﻜﺲ ‪16.................................................... 1-4‬‬
‫ﻋﻜﺲ ‪76................................................. 2-18‬‬ ‫ﻋﻜﺲ ‪17.................................................... 1-5‬‬
‫ﻋﻜﺲ ‪79................................................. 2-19‬‬ ‫ﻋﻜﺲ ‪18.................................................... 1-6‬‬
‫ﻋﻜﺲ ‪80................................................. 2-20‬‬ ‫ﻋﻜﺲ ‪20.................................................... 1-7‬‬
‫ﻋﻜﺲ ‪81................................................. 2-21‬‬ ‫ﻋﻜﺲ ‪23.................................................... 1-8‬‬
‫ﻋﻜﺲ ‪83................................................. 2-22‬‬ ‫ﻋﻜﺲ ‪24.................................................... 1-9‬‬
‫ﻋﻜﺲ ‪84................................................. 2-23‬‬ ‫ﻋﻜﺲ ‪28................................................. 1-10‬‬
‫ﻋﻜﺲ ‪85................................................. 2-24‬‬ ‫ﻋﻜﺲ ‪32................................................. 1-11‬‬
‫ﻋﻜﺲ‪85.................................................. 2-25‬‬ ‫ﻋﻜﺲ ‪35................................................. 1-12‬‬
‫ﻋﻜﺲ ‪86................................................. 2-26‬‬ ‫ﻋﻜﺲ ‪43.................................................... 2-1‬‬
‫ﻋﻜﺲ ‪87................................................. 2-27‬‬ ‫ﻋﻜﺲ ‪43.................................................... 2-2‬‬
‫ﻋﻜﺲ ‪88................................................. 2-28‬‬ ‫ﻋﻜﺲ‪46..................................................... 2-3‬‬
‫ﻋﻜﺲ ‪89................................................. 2-29‬‬ ‫ﻋﻜﺲ ‪49.................................................... 2-4‬‬
‫ﻋﻜﺲ‪90.................................................. 2-30‬‬ ‫ﻋﻜﺲ ‪50.................................................... 2-5‬‬
‫ﻋﻜﺲ ‪92................................................. 2-31‬‬ ‫ﻋﻜﺲ ‪56.................................................... 2-6‬‬
‫ﻋﻜﺲ ‪94................................................. 2-32‬‬ ‫ﻋﻜﺲ ‪57.................................................... 2-7‬‬
‫ﻋﻜﺲ ‪95................................................. 2-33‬‬ ‫ﻋﻜﺲ ‪60.................................................... 2-8‬‬
‫ﻋﻜﺲ ‪96................................................. 2-34‬‬ ‫ﻋﻜﺲ ‪62.................................................... 2-9‬‬
‫ﻋﻜﺲ ‪101................................................ 2-35‬‬ ‫ﻋﻜﺲ ‪63................................................. 2-10‬‬
‫ﻋﻜﺲ ‪103................................................ 2-36‬‬ ‫ﻋﻜﺲ ‪65................................................. 2-11‬‬
‫ﻋﻜﺲ ‪104................................................ 2-37‬‬ ‫ﻋﻜﺲ ‪66................................................. 2-12‬‬
‫ﻋﻜﺲ ‪107................................................ 2-38‬‬ ‫ﻋﻜﺲ ‪67................................................. 2-13‬‬
‫* ﻣﻧﺑﻊ ﺷﮑﻝ ﻫﺎ ﺗﺎ ﻋﮑﺱ ﻋﮑﺱ ‪ 2-1‬ﻋﻣﺩﺗﺎ ً ﻣﻧﺑﻊ ‪ 3‬ﻭ ﭘﺱ ﺍﺯ ﺁﻥ ﻋﻣﺩﺗﺎ ً ﻣﻧﺑﻊ ‪ 5‬ﻫﺳﺗﻧﺩ‪.‬‬
‫‪IV‬‬
‫ﻣﻘﺪﻣﻪ‬
‫ﺑﺮﺍﻱ ﺍﻛﺜﺮ ﻣﺮﺩﻡ ﻳﻚ ﻋﻜﺎﺱ ﺧﻴﺎﺑﺎﻧﻲ ﻋﻜﺎﺳﻲ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻛﻨﺎﺭ ﺧﻴﺎﺑﺎﻥ ﻭ ﺩﺭﻳﻚ ﻣﻴﺪﺍﻥ ﻭ ﻳﺎ ﭘﺎﺭﻙ ﺩﻭﺭﺑﻴﻦ‬
‫ﺑﻪ ﮔﺮﺩﻥ ﺁﻭﻳﺨﺘﻪ ﻭ ﺩﺭ ﺍﺯﺍﻱ ﻣﺒﻠﻐﻲ ﭘﻮﻝ ﺍﺯ ﻣﺮﺩﻡ ﻋﻜﺲ ﻣﻲ ﮔﻴﺮﺩ‪ .‬ﺣﺪﺍﻗﻞ ﻳﻜﻲ ﺍﺯ ﻋﻜﺎﺳﺎﻥ ﻣﻮﺭﺩ ﺑﺤﺚ‪،‬‬
‫‪4‬‬
‫‪P‬‬ ‫‪P‬‬ ‫‪ 2‬ﺗﺎ ﻣﺎﻧﻮﺋﻞ ﺁﻟﻮﺍﺭﺯ ﺑﺮﺍﻭﻭ ‪ 3‬ﺗﺎ ﺩﻳﺎﻥ ﺁﺭﺑﻮﺱ‬
‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫ﻭﻳﮕﻲ‪ ،1‬ﻛﺎﺭ ﺧﻮﺩ ﺭﺍ ﺍﻳﻨﭽﻨﻴﻦ ﺁﻏﺎﺯ ﻧﻤﻮﺩ‪ ،‬ﻭ ﺍﺯ ﺟﺎﻥ ﺗﺎﻣﺴﻮﻥ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺑﺴﻴﺎﺭﻱ ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﺎ ﺗﻘﺎﺿﺎﻱ ﺍﺯ ﭘﻴﺶ ﺑﺮﻧﺎﻣﻪ ﺭﻳﺰﻱ ﻧﺸﺪﻩ ﺍﺯ ﺳﻮژﻩ ﻫﺎ ﺍﺯ ﺁﻥ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﻋﻜﺲ ﻣﻲ ﮔﺮﻓﺘﻨﺪ‪.‬‬
‫ﻭﻟﻲ ﺩﺭ ﺍﻛﺜﺮ ﻣﻮﺍﺭﺩ‪ ،‬ﻋﻜﺎﺳﺎﻥ ﻣﻮﺭﺩ ﺑﺤﺚ ﺩﺭ ﺍﻳﻦ ﺭﺳﺎﻟﻪ ﺳﻌﻲ ﺩﺭ ﺍﻳﻦ ﺩﺍﺷﺘﻨﺪ ﻛﻪ ﺑﺪﻭﻥ ﺟﻠﺐ ﺗﻮﺟﻪ ﺳﻮژﻩ ﻫﺎ‬
‫ﻛﺎﺭ ﻛﻨﻨﺪ‪ .‬ﺁﻥ ﻫﺎ ﺍﺯ ﻣﺮﺩﻣﻲ ﻋﻜﺲ ﮔﺮﻓﺘﻪ ﺍﻧﺪ ﻛﻪ ﺑﺪﻭﻥ ﺗﻮﺟﻪ ﺑﻪ ﺣﻀﻮﺭ ﻋﻜﺎﺱ ﻣﺸﻐﻮﻝ ﺑﻪ ﻛﺎﺭﻫﺎﻱ ﺧﻮﺩ‬
‫ﻫﺴﺘﻨﺪ‪ .‬ﺁﻥ ﻫﺎ ﺍﺯ ﺯﻧﺪﮔﻲ ﺭﻭﺯﻣﺮﻩ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﻋﻜﺲ ﻫﺎﻳﻲ ﺑﻲ ﻫﻮﺍ)ﺑﺪﻭﻥ ﺟﻠﺐ ﺗﻮﺟﻪ ﺁﻧﻬﺎ( ‪ 5‬ﮔﺮﻓﺘﻪ ﺍﻧﺪ‪ .‬ﺍﻳﻦ ﺍﻣﺮ‬
‫‪P‬‬ ‫‪P‬‬
‫ﻫﺴﺘﻪ ﻭﺟﻮﺩﻱ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺍﺳﺖ‪.‬‬

‫ﺍﻳﻦ ﻧﻮﻋﻲ ﺍﺯ ﻋﻜﺎﺳﻲ ﺍﺳﺖ ﻛﻪ ﭼﻴﺰﻱ ﻣﻬﻢ ﻭ ﺍﺻﻠﻲ ﺭﺍﺟﻊ ﺑﻪ ﻃﺒﻴﻌﺖ ﺍﻳﻦ ﺭﺳﺎﻧﻪ ﺑﻪ ﻣﺎ ﻣﻲ ﮔﻮﻳﺪ‪ ،‬ﭼﻴﺰﻱ ﻛﻪ‬
‫ﻣﺨﺘﺺ ﺑﻪ ﺗﺼﺎﻭﻳﺮﻱ ﺍﺳﺖ ﻛﻪ ﺍﻳﺠﺎﺩ ﻣﻲ ﻛﻨﺪ‪ .‬ﺗﻠﻔﻴﻖ ﺍﻳﻦ ﺍﺑﺰﺍﺭ ﻳﻌﻨﻲ ﻳﻚ ﺩﻭﺭﺑﻴﻦ‪ ،‬ﻭ ﺳﻮژﻩ‪ ،‬ﻳﻌﻨﻲ ﺧﻴﺎﺑﺎﻥ‪،‬‬
‫ﻧﻮﻋﻲ ﺍﺯ ﺗﺼﻮﻳﺮ ﺭﺍ ﭘﺪﻳﺪ ﻣﻲ ﺁﻭﺭﺩ ﻛﻪ ﻣﻨﺤﺼﺮ ﺑﻪ ﻋﻜﺎﺳﻲ ﺍﺳﺖ‪ ،‬ﺑﻪ ﻧﻮﻋﻲ ﻛﻪ ﭘﺮﺗﺮﻩ ﻫﺎﻱ ﺭﺳﻤﻲ‪ ،‬ﻣﻨﺎﻇﺮ‬
‫ﺗﺼﻮﻳﺮﮔﺮﺍ ﻭ ﺩﻳﮕﺮ ژﺍﻧﺮﻫﺎﻱ ﻋﻜﺎﺳﻲ ﻓﺎﻗﺪ ﺁﻥ ﻫﺴﺘﻨﺪ‪.‬‬
‫ﺍﺯ ﻣﻴﺎﻥ ﺧﺼﻮﺻﻴﺎﺗﻲ ﻣﺨﺘﺺ ﺑﻪ ﺍﻳﻦ ﺭﺳﺎﻧﻪ ﻛﻪ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺁﻥ ﻫﺎ ﺭﺍ ﻛﺎﻭﺵ ﻧﻤﻮﺩﻩ ﻭ ﺍﺯ ﺁﻥ ﻫﺎ ﺍﺳﺘﻔﺎﺩﻩ‬
‫ﻣﻲ ﻛﻨﺪ ﻟﺤﻈﻪ ﺍﻱ)ﺁﻧﻲ( ﺑﻮﺩﻥ ﻭ ﺗﻜﺮﺍﺭ ﺷﺪﻧﻲ ﺑﻮﺩﻥ)ﻗﺎﺑﻠﻴﺖ ﺍﻳﺠﺎﺩ ﺗﺼﺎﻭﻳﺮ ﻣﺸﺎﺑﻪ ﭘﺸﺖ ﺳﺮﻫﻢ( ﺍﺳﺖ‪.‬‬
‫ﻋﻜﺎﺳﻲ ﺍﺯ ﺑﺪﻭ ﭘﻴﺪﺍﻳﺶ ﺑﻪ ﻣﺎﻧﻨﺪ ﻭﺳﻴﻠﻪ ﺍﻱ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﺩﺳﺖ ﻭ ﺣﺘﻲ ﭼﺸﻢ ﺩﺭ ﺛﺒﺖ ﺟﺰﺋﻴﺎﺕ ﺳﺮﻳﻌﺘﺮ ﺑﻮﺩ‪ .‬ﺑﺎ ﺍﻳﻦ‬
‫ﻛﻪ ﺁﺯﻣﺎﻳﺸﺎﺕ ﺍﺩﻭﺍﺭﺩ ﺟﻴﻤﺰ ﻣﺎﻳﺒﺮﻳﺞ ‪ 6‬ﻭ ﺍﺗﻴﻦ ژﻭﻝ ﻣﺎﺭﻱ ‪ 7‬ﻳﺎ ﻟﺤﻀﺎﺗﻲ ﺧﺎﺹ ﺩﺭ ﻋﻜﺎﺳﻲ ﺧﺒﺮﻱ ‪ 8‬ﺍﻃﻼﻋﺎﺕ‬
‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺑﻴﺸﺘﺮﻱ ﺭﺍ ﺑﻪ ﻣﺎ ﻣﻲ ﺩﻫﻨﺪ‪ ،‬ﻋﻜﺎﺳﺎﻥ ﺧﻴﺎﺑﺎﻧﻲ ﺍﺯ ﮔﻨﺠﺎﻳﺶ ﺑﺮﺍﻱ ﺛﺒﺖ ﺍﻃﻼﻋﺎﺕ ﺑﺼﻮﺭﺕ ﻣﺘﺨﻴﻼﻧﻪ ﻭ ﺷﺎﻋﺮﺍﻧﻪ‬
‫ﺗﺮﻱ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻲ ﻛﻨﻨﺪ‪.‬‬
‫ﺁﻥ ﻫﺎ ﺑﺼﻮﺭﺕ ﻋﻤﻴﻖ ﺗﺮﻱ ﻧﺴﺒﺖ ﺑﻪ ﻫﺮﺷﺨﺺ ﺩﻳﮕﺮ ﺭﺍﺟﻊ ﺑﻪ ﺍﻳﻦ ﺧﺼﻮﺻﻴﺖ ﻋﻜﺎﺳﻲ ﻓﻜﺮ ﻣﻲ ﻛﻨﻨﺪ‪ .‬ﺑﻄﻮﺭ‬
‫ﻣﺸﺎﺑﻬﻲ ﻫﻨﺮ ﺁﻥ ﻫﺎ ﺑﺮ ﺗﻜﺮﺍﺭﺷﺪﻧﻲ ﺑﻮﺩﻥ ﻋﻜﺎﺳﻲ ﺗﺄﻛﻴﺪ ﺩﺍﺭﺩ‪ ،‬ﻳﻌﻨﻲ ﻗﺎﺑﻠﻴﺖ ﺍﻳﺠﺎﺩ ﺗﺼﺎﻭﻳﺮ ﭘﺸﺖ ﺳﺮﻫﻢ ﻭ‬
‫ﺩﻧﺒﺎﻟﻪ ﺍﻱ ﺍﺯ ﺗﺼﺎﻭﻳﺮ‪.‬‬
‫ﺩﺭ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﻳﻦ ﺧﺼﻮﺻﻴﺖ ﻋﻜﺎﺳﻲ ﻳﻚ ﭘﺎﺭﺍﺩﻭﻛﺲ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻳﻚ ﺭﺍﻫﻜﺎﺭ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺗﻤﺎﻡ ﺍﻳﻦ‬
‫ﺗﺼﺎﻭﻳﺮ ﻣﺸﺎﺑﻪ ﻭ ﭘﺸﺖ ﺳﺮﻫﻢ‪ ،‬ﻳﻜﻲ ﺍﻧﺘﺨﺎﺏ ﺷﻮﺩ ﻛﻪ ﺍﺯ ﻫﻤﻪ ﻛﺎﻣﻠﺘﺮ ﺍﺳﺖ ﻭ ﺗﻤﺎﻣﻲ ﺣﺎﻟﺖ ﻫﺎﻱ ﻣﻮﺟﻮﺩ ﺩﺭ ﺁﻥ‬
‫ﮔﻨﺠﺎﻧﺪﻩ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺭﺍﻫﻜﺎﺭ ﺩﻳﮕﺮ ﭼﺎپ ﺁﻥ ﻫﺎ ﺑﺼﻮﺭﺕ ﭘﺸﺖ ﺳﺮﻫﻢ ﻭ ﮔﺮﻭﻫﻲ ﺩﺭ ﻛﺘﺎﺏ ﻫﺎﺳﺖ‪ .‬ﺩﺭ‬
‫‪ Weegee .1‬ﺍﺳﻢ ﻣﺴﺘﻌﺎﺭ ﺁﺭﺗﻮﺭ ﻓﻠﻴﻨﮓ )‪ .(Arthur Felling‬ﻋﻜﺎﺱ ﺍﺗﺮﻳﺸﻲ‪-‬ﺁﻣﺮﻳﻜﺎﻳﻲ ‪1899-1968‬‬
‫‪ .John Thomson .2‬ﻋﻜﺎﺱ ﺍﺳﻜﺎﺗﻠﻨﺪﻱ‪1837-1921 .‬‬
‫‪ .Manuel Álvarez Bravo .3‬ﻋﻜﺎﺱ ﻣﻜﺰﻳﻜﻲ‪1902-2002 .‬‬
‫‪ .Diane Arbus .4‬ﻋﻜﺎﺱ ﺁﻣﺮﻳﻜﺎﻳﻲ‪1923-1971 .‬‬
‫‪Candid .5‬‬
‫‪1830-1904‬‬ ‫‪ .Eadweard James Muybridge .6‬ﻋﻜﺎﺱ ﺍﻧﮕﻠﻴﺴﻲ ‪1‬‬
‫‪.Étienne-Jules Marey .7‬ﺩﺍﻧﺸﻤﻨﺪ ﻓﺮﺍﻧﺴﻮﻱ ‪1830-1904‬‬
‫‪photojournalism‬‬
‫رسالههای تحصیل ت تکمیلی و صیانت از حقوق پدیدآوران در آنها ) وزار ت علوم‪ ،‬تحقیقا ت‪ ،‬فناوری به شمارة ‪/195929‬و تاریخ ‪ (1395/9/6‬از پایگاه اطلعا ت علمی ایران )گنج( در پژوهشگاه علوم و فننناوری‬ ‫دسترسی به این مدرک بر پایة آییننامة‪.8‬‬
‫ثبت و اشاعة پیشنهادهها‪ ،‬پایاننامهها‪ ،‬و‬
‫‪1‬بر پایة قانون حمایت از مؤلفان‪ ،‬مصنفان‪ ،‬و هنرمندان )‪ (1348‬و الحاقا ت و اصلحا ت بعدی آن و سایر قوانین و مقررا ت مربوط شدنی است‪.‬‬ ‫اطلعا ت ایران )ایرانداک( فراهم شده و استفاده از آن با رعایت کامل حقوق پدیدآوران و تنها برای هدفهای علمی‪ ،‬آموزشی‪ ،‬و پژوهشی و‬
‫ﻣﻘﻴﺎﺱ ﻛﻠﻲ‪ ،‬ﺗﻔﺎﻭﺕ ﺑﻴﻦ ﺍﻧﺘﺨﺎﺏ ﻫﺎﻱ ﻫﺎﻧﺮﻱ ﻛﺎﺭﺗﻴﻪ ﺑﺮِﺳﻮﻥ ‪ 1‬ﻭ ﺭﺍﺑﺮﺕ ﻓﺮﺍﻧﻚ ‪ 2‬ﺩﺭ ﻋﻜﺎﺳﻲ ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩ‬
‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺗﻔﺎﻭﺕ ﺑﻴﻦ ﺍﻳﻦ ﺩﻭ ﺣﺎﻟﺖ ﺍﺳﺖ‪.‬‬

‫ﺩﺭﺣﺎﻟﻴﻜﻪ ﺗﺼﺎﻭﻳﺮ ﺍﻳﺴﺘﺎ ﺍﺯ ﺣﺮﻛﺖ ﻣﺮﺩﻡ ﺑﻴﺸﺘﺮﻳﻦ ﺑﺨﺶ ﻫﺮ ﻣﺠﻤﻮﻋﻪ ﻋﻜﺲ ﻫﺎﻱ ﺧﻴﺎﺑﺎﻧﻲ ﺭﺍ ﺗﺸﻜﻴﻞ ﻣﻲ‬
‫ﺩﻫﻨﺪ‪ ،‬ﺍﻳﻦ ﺭﺳﺎﻟﻪ ﻫﻤﭽﻨﻴﻦ ﺣﺎﻭﻱ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﻋﻜﺲ ﻫﺎﺳﺖ ﻛﻪ ﺩﺭ ﺁﻥ ﻫﺎ ﻫﻴﭻ ﺷﺨﺼﻲ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪.‬‬
‫ﺑﺎﺭﺯﺗﺮﻳﻦ ﺁﻥ ﻫﺎ ﺩﺭ ﻣﻴﺎﻥ ﻋﻜﺲ ﻫﺎﻱ ﺍﻭژﻥ ﺁﺗﮋﻩ ‪ 3‬ﺍﺳﺖ‪ .‬ﻭﻟﻲ ﺣﺘﻲ ﺍﻭ ﺑﻄﻮﺭ ﻏﻴﺮ ﻣﺴﺘﻘﻴﻢ ﺑﻪ ﺯﻧﺪﮔﻲ ﺩﺭ ﺧﻴﺎﺑﺎﻥ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺍﺷﺎﺭﻩ ﻣﻲ ﻛﺮﺩ‪ .‬ﺍﻭ ﺑﺎ ﻧﻤﺎﻳﺶ ﻭﺟﻮﺩ ﺩﺭ ﻣﻴﺎﻥ ﻋﺪﻡ ﻭﺟﻮﺩ‪ ،‬ﺳﻌﻲ ﺩﺭ ﺁﺷﻜﺎﺭ ﻧﻤﻮﺩﻥ ﺯﻧﺪﮔﻲ ﺧﻴﺎﺑﺎﻥ ﻛﻪ ﺩﺭ ﺧﻮﺩ‬
‫ﻓﻀﺎ ﻭ ﻣﻜﺎﻥ ﻣﻮﺟﻮﺩ ﺍﺳﺖ ﺩﺍﺷﺖ‪ .‬ﺍﻭ ﻧﻴﺰ ﻣﺎﻧﻨﺪ ﺗﻤﺎﻣﻲ ﻋﻜﺎﺳﺎﻥ ﺍﻳﻦ ﺳﺒﻚ ﺑﺎ ﺩﻭﺭﺑﻴﻦ ﺧﻮﺩ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﻫﺎ ﺑﻪ‬
‫ﺩﻧﺒﺎﻝ ﻣﻮﻗﻌﻴﺖ ﻫﺎ ﻣﻲ ﮔﺸﺖ‪ .‬ﺍﺯ ﺁﻥ ﻣﻬﻤﺘﺮ ﺍﻭ ﺑﺮﺍﻱ ﭘﺎﺳﺦ ﺑﻪ ﺟﺰﺋﻴﺎﺕ ﺳﺮﮔﺮﺩﺍﻥ‪ ،‬ﺗﻘﺎﺑﻞ ﻫﺎﻱ ﺍﺗﻔﺎﻗﻲ ﻭ ﻋﺠﺎﻳﺐ‬
‫ﺯﻧﺪﮔﻲ ﻣﻮﺟﻮﺩ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﺁﻣﺎﺩﻩ ﺑﻮﺩ‪.‬‬
‫ﺍﻛﺜﺮ ﻋﻜﺲ ﻫﺎﻱ ﺍﻳﻦ ژﺍﻧﺮ ﺗﻮﺳﻂ ﻋﻜﺎﺳﺎﻥ ﺑﻲ ﻧﺸﺎﻥ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺍﻧﺪ ﻛﻪ ﺗﻨﻬﺎ ﺑﺮﺍﻱ ﺍﻫﺪﺍﻑ ﺷﺨﺼﻲ ﺷﺎﻥ ﻋﻜﺲ‬
‫ﻣﻲ ﮔﺮﻓﺘﻨﺪ‪ .‬ﺁﻧﻬﺎ ﻣﻌﻠﻮﻣﺎﺕ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺧﻮﺩ ﺩﻭﺭﺑﻴﻦ ﻳﺎﺩ ﮔﺮﻓﺘﻪ ﻭ ﺳﭙﺲ ﺑﺎ ﺗﺠﺮﺑﻪ ﭘﻴﺸﺮﻓﺖ ﻧﻤﻮﺩﻧﺪ‪.‬‬
‫ﺣﺴﺎﺳﻴﺖ ﻫﺎﻱ ﺷﺨﺼﻲ ﻋﻜﺎﺳﺎﻥ ﺧﻴﺎﺑﺎﻧﻲ ﺩﺭ ﻋﻜﺲ ﻫﺎﻱ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺗﻮﺳﻂ ﺁﻥ ﻫﺎ ﺗﺄﺛﻴﺮ ﺩﺍﺭﺩ‪ ،‬ﺑﻪ ﻫﻤﻴﻦ‬
‫ﺧﺎﻃﺮ ﺩﺭ ﺑﺮﺭﺳﻲ ﻋﻜﺎﺳﺎﻥ ﻣﻬﻢ ﺍﻳﻦ ﺳﺒﻚ‪ ،‬ﻛﺎﺭ ﺁﻧﻬﺎ ﺭﺍ ﻧﻪ ﻓﻘﻂ ﺍﺯ ﻟﺤﺎﻅ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺑﻠﻜﻪ ﺑﻄﻮﺭ ﻛﻠﻲ‬
‫ﺗﺮﻱ ﺑﺮﺭﺳﻲ ﻣﻲ ﻛﻨﻴﻢ‪.‬‬
‫ﺑﻪ ﻣﻮﺍﺯﺍﺕ ﻋﻜﺎﺳﻲ ﻣﺴﺘﻨﺪ ﻛﻪ ﺩﺭﺁﻥ ﻋﻜﺎﺱ ﺳﻮژﻩ ﺭﺍ ﺍﺯ ﺯﻭﺍﺋﺪ ﺟﺪﺍ ﻧﻤﻮﺩﻩ ﻭ ﺁﻥ ﺭﺍ ﺩﺭ ﻣﻌﺮﺽ ﻗﻀﺎﻭﺕ ﻗﺮﺍﺭ‬
‫ﻣﻲ ﺩﻫﺪ‪ ،‬ﻳﻚ ﻋﻜﺎﺱ ﺧﻴﺎﺑﺎﻧﻲ ﺩﺍﺋﻤﺎً ﺩﺭﺣﺎﻝ ﺍﻧﺠﺎﻡ ﻛﺸﻒ ﻫﺎﻱ ﺍﺗﻔﺎﻗﻲ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﻋﻜﺲ ﻫﺎ ﺟﺮﻳﺎﻧﺎﺕ‬
‫ﮔﻮﻧﺎﮔﻮﻥ ﺯﻧﺪﮔﻲ ﺷﻬﺮﻱ ﻭ ﺭﻭﺍﺑﻂ ﺍﻧﺴﺎﻥ ﻫﺎ ﺩﺭ ﻛﻨﺎﺭ ﻫﻢ ﻗﺮﺍﺭ ﻣﻲ ﮔﻴﺮﻧﺪ ﻭ ﻋﻜﺎﺱ ﺑﺮ ﺧﻼﻑ ﻋﻜﺎﺱ ﻣﺴﺘﻨﺪ‬
‫ﭘﻴﺎﻣﻲ ﺍﺭﺍﺋﻪ ﻧﻤﻲ ﺩﻫﺪ ﻭ ﻣﺴﺌﻮﻟﻴﺘﻲ ﺑﻪ ﺩﻭﺵ ﻧﻤﻲ ﻛﺸﺪ‪ ،‬ﺑﻠﻜﻪ ﺑﻴﻨﻨﺪﻩ ﺑﻪ ﻋﻜﺲ ﻣﻌﻨﺎ ﻣﻲ ﺑﺨﺸﺪ‪.‬‬
‫ﺩﺭ ﺟﺴﺘﺠﻮ ﺑﺮﺍﻱ ﻣﻨﺎﺑﻊ ﻓﺎﺭﺳﻲ ﺑﺮﺍﻱ ﺍﻳﻦ ﻧﻮﻉ ﺍﺯ ﻋﻜﺎﺳﻲ ﭘﺎﻳﺎﻥ ﻧﺎﻣﻪ ﺍﻱ ﺑﺎ ﺍﻳﻦ ﻋﻨﻮﺍﻥ ﻣﺸﺎﻫﺪﻩ ﻧﮕﺮﺩﻳﺪ‪ .‬ﻻﺯﻡ ﺑﻪ‬
‫ﺫﻛﺮ ﺍﺳﺖ ﻛﻪ ﺣﺘﻲ ﺩﺭ ﻛﺘﺐ ﻋﻜﺎﺳﻲ ﻣﻮﺟﻮﺩ ﺩﺭ ﺍﻳﺮﺍﻥ ﺍﺷﺎﺭﻩ ﭼﻨﺪﺍﻧﻲ ﺑﻪ ﺍﻳﻦ ﻧﻮﻉ ﺍﺯ ﻋﻜﺎﺳﻲ ﻧﺸﺪﻩ ﺍﺳﺖ‪.‬‬
‫ﮔﺮﭼﻪ ﺩﺭ ﺑﺮﺧﻲ ﻛﺘﺐ ﻭ ﭘﺎﻳﺎﻥ ﻧﺎﻣﻪ ﻫﺎﻱ ﻓﺎﺭﺳﻲ ﻛﻪ ﺩﺭ ﺁﻥ ﻫﺎ ﺩﺭ ﺑﺎﺭﻩ ﻋﻜﺎﺳﻲ ﻣﺴﺘﻨﺪ ﺗﺤﻘﻴﻖ ﻭ ﺑﺮﺭﺳﻲ ﺷﺪﻩ‬
‫ﺍﺳﺖ‪ ،‬ﻧﺎﻣﻲ ﺍﺯ ﻋﻜﺎﺳﺎﻥ ﻣﻮﺭﺩ ﺑﺤﺚ ﺩﺭ ﺍﻳﻦ ﺗﺤﻘﻴﻖ ﺑﻪ ﻣﻴﺎﻥ ﺁﻣﺪﻩ ﺍﺳﺖ ﻭﻟﻲ ﺩﺭ ﺁﻥ ﻫﺎ ﻋﻤﺪﺗﺎً ﺑﻪ ﻛﺎﺭﻫﺎﻱ ﺍﻳﻦ‬
‫ﻋﻜﺎﺳﺎﻥ ﺍﺯ ﺟﻨﺒﻪ ﻫﺎﻱ ﺩﻳﮕﺮ ﭘﺮﺩﺍﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﻫﻴﭻ ﻳﻚ ﺑﻪ ﻃﻮﺭ ﺍﺧﺘﺼﺎﺻﻲ ﺑﻪ ﺍﻳﻦ ژﺍﻧﺮ ﻧﭙﺮﺩﺍﺧﺘﻪ ﺍﻧﺪ‪.‬‬
‫ژﺍﻧﺮﻱ ﻛﻪ ﺩﺭ ﺑﺮﺭﺳﻲ ﻣﺎ ﺩﺭ ﺍﻳﻦ ﺭﺳﺎﻟﻪ‪ ،‬ﻛﺎﻣﻼً ﻣﺘﻔﺎﻭﺕ ﺑﺎ ﺩﻳﮕﺮ ژﺍﻧﺮﻫﺎﻱ ﻋﻜﺎﺳﻲ ﺍﺳﺖ‪.‬‬
‫ﺩﺭ ﺯﻣﻴﻨﻪ ﻣﻨﺎﺑﻊ ﺧﺎﺭﺟﻲ ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻨﻪ ﻛﺘﺎﺑﻬﺎﻳﻲ ﭼﻨﺪ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ ﻭ ﻫﻤﭽﻨﻴﻦ ﻋﻜﺲ ﻫﺎﻱ ﻋﻜﺎﺳﺎﻥ ﻣﻮﺭﺩ ﺑﺤﺚ‬
‫ﺩﺭ ﻛﺘﺎﺏ ﻫﺎﻱ ﻣﺘﻌﺪﺩﻱ ﺑﻪ ﭼﺎپ ﺭﺳﻴﺪﻩ ﻭ ﺑﺮﺭﺳﻲ ﺷﺪﻩ ﺍﻧﺪ‪ .‬ﺑﻨﺎﺑﺮ ﺍﻳﻦ ﺑﺎﺗﻮﺟﻪ ﺑﻪ ﺗﺎﺯﮔﻲ ﻣﻮﺿﻮﻉ ﺩﺭ ﻛﺸﻮﺭ ﻣﺎ‪،‬‬
‫ﺩﺭ ﺍﻳﻦ ﺗﺤﻘﻴﻖ ﺍﺯ ﺗﺮﺟﻤﻪ ﺍﺳﺘﻔﺎﺩﻩ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺳﻌﻲ ﺷﺪﻩ ﺣﺘﻲ ﺍﻻﻣﻜﺎﻥ ﺻﺪﺍﻗﺖ ﺩﺭ ﺗﺮﺟﻤﻪ ﺭﻋﺎﻳﺖ ﺷﻮﺩ‪.‬‬
‫‪ .Henri Cartier-Bresson .1‬ﻋﻜﺎﺱ ﻓﺮﺍﻧﺴﻮﻱ ‪1908-2004‬‬

‫‪ .Robert Frank .2‬ﻋﻜﺎﺱ ﺳﻮﺋﻴﺴﻲ‪-‬ﺁﻣﺮﻳﻜﺎﻳﻲ‪ .‬ﻣﺘﻮﻟﺪ ‪1924‬‬
‫‪ .Eugène Atget .3‬ﻋﻜﺎﺱ ﻓﺮﺍﻧﺴﻮﻱ ‪1857-1927‬‬
‫‪2‬‬
‫‪ 1‬ﻭ ‪ 2‬ﺫﻛﺮ ﺷﺪﻩ ﺩﺭ‬ ‫ﺗﺼﺎﻭﻳﺮ ﻋﻤﺪﺗﺎً ﺍﺯ ﻣﻨﺎﺑﻊ ﻣﻮﺭﺩ ﺗﺮﺟﻤﻪ ﺍﺳﺘﺨﺮﺍﺝ ﺷﺪﻩ ﺍﻧﺪ‪ .‬ﻣﻨﺎﺑﻊ ﺗﺮﺟﻤﻪ ﻧﻴﺰ ﻋﻤﺪﺗﺎً ﻣﻨﺎﺑﻊ‬
‫ﺍﻧﺘﻬﺎﻱ ﭘﺎﻳﺎﻥ ﻧﺎﻣﻪ ﻫﺴﺘﻨﺪ‪.‬‬
‫ﺩﺭﻣﻨﺎﺑﻊ ﺍﺻﻠﻲ ﺍﻳﻦ ﺗﺤﻘﻴﻖ ﺍﮔﺮ ﺍﺯ ﻣﻜﺎﻥ ﻫﺎ ﻳﺎ ﺍﺷﺨﺎﺹ ﻧﺎﻡ ﺑﺮﺩﻩ ﻣﻲ ﺷﻮﺩ‪ ،‬ﺩﺭ ﺍﻳﻦ ﺗﺤﻘﻴﻖ ﻋﻴﻨﺎً ﻫﻤﺎﻥ ﺍﺳﺎﻣﻲ ﺩﺭ‬
‫ﭘﺎﻭﺭﻗﻲ ﺫﻛﺮ ﻣﻲ ﺷﻮﻧﺪ‪.‬‬
‫‪3‬‬
‫ﻓﺼﻞ ﺍﻭﻝ‪ :‬ﻣﺎﻫﻴﺖ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ‬
‫‪4‬‬
‫ﻣﻘﺪ‪‬ﻣﻪ ﻓﺼﻞ ﺍﻭﻝ‬
‫ﭘﺎﺭﻳﺲ ﺭﺍ ﻣﻲ ﺗﻮﺍﻥ ﺍﺯ ﺑﺴﻴﺎﺭﻱ ﺟﻬﺎﺕ ﮔﻬﻮﺍﺭﻩ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺩﺍﻧﺴﺖ‪ .‬ﺍﻳﻦ ﺷﻬﺮ ﺑﻪ ﭘﻴﺪﺍﻳﺶ ﺍﻳﻦ ژﺍﻧﺮ ﻋﻜﺎﺳﻲ‬
‫ﻛﻤﻚ ﻧﻤﻮﺩ ﻭ ﺑﻪ ﻫﻤﺎﻥ ﻣﻘﺪﺍﺭ ﺍﻳﻦ ژﺍﻧﺮ ﻧﻴﺰ ﺩﺭ ﺷﻜﻞ ﮔﻴﺮﻱ ﺁﺗﻲ ﺍﻳﻦ ﺷﻬﺮ ﻧﻘﺶ ﺩﺍﺷﺖ‪.‬‬
‫ﺍﻭﻟﻴﻦ ﻫﺎ ﻭ ﻳﺎ ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ ﭘﻴﺶ ﺷﻜﻞ ﺩﻫﻨﺪﻩ ﻫﺎﻱ ژﺍﻧﺮ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ‪ ،‬ﺑﻮﺩﻟﺮ ‪ 1‬ﻭ ﺑﻪ ﮔﻔﺘﻪ ﺍﻭ ﻛﻨﺴﺘﺎﻧﺘﻴﻦ‬
‫‪P‬‬ ‫‪P‬‬
‫ﮔﺎﻳﺰ‪ 2‬ﻧﻘﺎﺵ ﺯﻧﺪﮔﻲ ﻣﺪﺭﻥ ﺑﻮﺩﻧﺪ‪ .‬ﻧﻘﺎﺷﺎﻥ ﺍﻳﻤﭙﺮِﺷ‪‬ﻨﻴﺴﺖ ‪ ،3‬ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﻣﻮﺿﻮﻋﺎﺕ ﻭ ﺍﺑﺪﺍﻋﺎﺕ ﺗﺮﻛﻴﺐ ﺑﻨﺪﻱ‬
‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺧﻮﺩ ﺭﺍ ﻣﺪﻳﻮﻥ ﻋﻜﺎﺳﻲ ﻫﺴﺘﻨﺪ ﻭ ﺑﺎﻟﻌﻜﺲ‪ ،‬ﻋﻜﺎﺳﺎﻥ ﻧﻴﺰ ﺗﺄﺛﻴﺮ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﻧﻘﺎﺷﻲ ﻫﺎﻱ ﺍﻳﻤﭙﺮِﺷ‪‬ﻨﻴﺴﺖ ﺑﺮﺩﺍﺷﺘﻨﺪ‪.‬‬
‫ﺩﺭ ﺍﻳﻦ ﺭﺳﺎﻟﻪ ﺑﻪ ﺑﺮﺭﺳﻲ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺑﺼﻮﺭﺕ ﻳﻚ ژﺍﻧﺮ ﻣﺴﺘﻘﻞ ﻣﻲ ﭘﺮﺩﺍﺯﻳﻢ ﻭ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺑﺎ ﺑﺮﺭﺳﻲ ﺭﺍﺑﻄﻪ‬
‫ﺁﻥ ﺑﺎ ﻋﻜﺎﺳﻲ ﻣﺴﺘﻨﺪ ﻭ ﺑﺎ ﺯﻳﺒﺎﻳﻲ ﺷﻨﺎﺳﻲ ﻋﻜﺎﺳﻲ ﺑﻄﻮﺭ ﻋﺎﻡ ﺍﻧﺠﺎﻡ ﻣﻲ ﺩﻫﻴﻢ‪ .‬ﻭﻟﻲ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺍﻳﻦ ژﺍﻧﺮ‬
‫ﻋﻜﺎﺳﻲ ﺭﺍ ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ ﻧﻘﺎﺷﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺑﺮﺭﺳﻲ ﻣﻲ ﻛﻨﻴﻢ‪ .‬ﻧﻜﺘﻪ ﺩﻳﮕﺮ ﻣﻮﺭﺩ ﺑﺮﺭﺳﻲ ﻧﮕﺎﻩ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﮔﺮﺍ‬
‫ﺩﺭ ﻧﻮﺷﺘﺎﺭ ﻭ ﻧﺜﺮ ﺍﻭﺍﺧﺮ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ ﻭ ﺍﻭﺍﻳﻞ ﻗﺮﻥ ﺑﻴﺴﺘﻢ ﺩﺭ ﻓﺮﺍﻧﺴﻪ ﻣﻲ ﺑﺎﺷﺪ‪.‬‬
‫ﺯﺑﺎﻥ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺯﺑﺎﻧﻲ ﭘﺮ ﺳﺮﻭ ﺻﺪﺍ ﭼﻮﻥ ﻋﻜﺎﺳﻲ ﻣﺴﺘﻨﺪ ﻧﻴﺴﺖ ﻭ ﻋﻼﻣﺖ ﺗﻌﺠﺐ ﻣﻮﺟﻮﺩ ﺩﺭ ﺁﻥ ﻳﻚ‬
‫ﺗﺸﺪﻳﺪ ﺍﺣﺴﺎﺳﻲ ﺭﺍ ﻧﺸﺎﻥ ﻧﻤﻲ ﺩﻫﺪ‪ ،‬ﺑﻠﻜﻪ ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩ ﻳﻚ ﺳﺮﮔﺮﻣﻲ ﻫﻤﺮﺍﻩ ﺑﺎ ﻃﻌﻨﻪ ﺍﺳﺖ‪.‬‬
‫ﺍﺯ ﺧﺼﻮﺻﻴﺎﺕ ﺍﻳﻦ ژﺍﻧﺮ ﻣﻲ ﺗﻮﺍﻥ ﺍﻳﻦ ﻣﻮﺍﺭﺩ ﺭﺍ ﺫﻛﺮ ﻛﺮﺩ‪ :‬ﭘﻨﻬﺎﻧﻲ ﺑﻮﺩﻥ ﻭ ﺩﻳﺪﻩ ﻧﺸﺪﻥ‪ ،‬ﻓﺮﺍﺳﺖ )ﺩﺍﻧﺶ ﺫﺍﺗﻲ(‪،‬‬
‫ﺍﺣﺴﺎﺱ ﺭﺳﻴﺪﻥ ﺑﻪ ﻟﺤﻈﻪ ﻗﻄﻌﻲ‪ ،‬ﺣﺲ ﺁﻧﻲ ﺑﻮﺩﻥ‪ ،‬ﺑﻪ ﻣﺜﺎﺑﻪ ﺭﻫﮕﺬﺭﻱ ﺑﻪ ﻧﻮﻉ ﺧﺎﺻﻲ ﺍﺯ ﺣﻘﻴﻘﺖ ﺑﻮﺩﻥ‪،‬‬
‫ﻧﺎﭘﺎﻳﺪﺍﺭ‪ ،‬ﻏﻴﺮﺣﺮﻓﻪ ﺍﻱ)ﺁﻣﺎﺗﻮﺭ( ‪-‬ﻭﻟﻲ ﭘﺎﺳﺨﮕﻮ‪ -‬ﺑﻮﺩﻥ ﻭ ﭼﻨﺪ ﻛﺎﺭﺑﺮﺩﻱ ﺑﻮﺩﻥ‪ .‬ﺑﻪ ﻃﻮﺭﻳﻜﻪ ﻣﻨﺎﺳﺐ ﺑﻮﺩﻥ ﭘﺎﺳﺦ‬
‫ﻭ ﻭﺍﻛﻨﺶ ﻧﺴﺒﺖ ﺑﻪ ﺍﺛﺮ ﻣﺴﺘﻘﻴﻤﺎً ﺑﻪ ﻛﺎﺭﺑﺮﺩ ﺑﺴﺘﮕﻲ ﺩﺍﺭﺩ‪.‬‬
‫ﺍﻳﻦ ﻧﻮﻉ ﻋﻜﺎﺳﻲ ﺭﺍ ﻣﻲ ﺗﻮﺍﻥ ﺍﻳﻨﮕﻮﻧﻪ ﺗﻌﺮﻳﻒ ﻛﺮﺩ‪ :‬ﺗﺼﺎﻭﻳﺮ ﺑﻲ ﻫﻮﺍ ﺍﺯ ﺯﻧﺪﮔﻲ ﺭﻭﺯﻣﺮﻩ ﺩﺭ ﺧﻴﺎﺑﺎﻥ‪ .‬ﻋﻜﺎﺳﺎﻥ‬
‫ﺧﻴﺎﺑﺎﻧﻲ ﺑﻪ ﺩﻧﺒﺎﻝ ﻟﺤﻈﻪ ﮔﺬﺭﺍ ﻫﺴﺘﻨﺪ ﻭ ﺍﺯ ﻣﺪﻝ ﻫﺎﻳﺸﺎﻥ ﭼﻪ ﺑﺼﻮﺭﺕ ﺁﺷﻜﺎﺭ ﭼﻪ ﭘﻨﻬﺎﻧﻲ ﻋﻜﺲ ﻣﻲ ﮔﻴﺮﻧﺪ ﻭ ﺑﻪ‬
‫ﺻﻮﺭﺕ ﺭﻫﮕﺬﺭﺍﻧﻲ ﻋﺎﺩﻱ ﻭ ﻳﺎ ﻣﺸﺎﻫﺪﻩ ﮔﺮﺍﻥ ﻧﻈﺎﻡ ﺩﺍﺭ ﻭ ﺍﺻﻮﻟﻲ ﻫﺴﺘﻨﺪ‪ .‬ﺍﻳﻦ ﺗﻌﺮﻳﻒ ﺗﻘﺮﻳﺒﻲ‪ ،‬ﻋﻜﺎﺳﺎﻥ‬
‫ﺧﻴﺎﺑﺎﻧﻲ ﺭﺍ ﻫﻢ ﺑﺼﻮﺭﺕ ﺑﺎﺩﺍﺩ ‪) 4‬ﺧﻴﺮﻩ ﺷﻮﻧﺪﻩ ﺍﻱ ﻛﻪ ﺩﺭ ﺯﻣﺎﻥ ﻭ ﻣﻜﺎﻥ ﻣﻨﺎﺳﺐ ﻭ ﺑﺪﻭﻥ ﺍﻧﮕﻴﺰﻩ ﻭ ﻫﺪﻑ ﺧﺎﺹ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﻗﺮﺍﺭ ﺩﺍﺭﺩ(‪ ،‬ﻭ ﻓﻼﻧﻮﺭ ‪) 5‬ﻣﺸﺎﻫﺪﻩ ﮔﺮ ﺟﺪﻱ ﺯﻧﺪﮔﻲ ﻣﺮﺩﻡ ﻭ ﺑﻪ ﺩﻧﺒﺎﻝ ﻣﻨﺎﺑﻊ‪ ،‬ﺑﺪﻭﻥ ﺍﻳﻨﻜﻪ ﺳﺮﻳﻌﺎً ﺩﺭ ﺁﻥ ﻟﺤﻈﻪ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺑﺪﺍﻧﺪ ﺁﻥ ﻣﻨﺎﺑﻊ ﭼﻪ ﻫﺴﺘﻨﺪ( ﻣﻲ ﺑﻴﻨﺪ؛ ﻫﻢ ﺑﻪ ﻋﻨﻮﺍﻥ ﺧﺒﺮﻧﮕﺎﺭﻱ ﻏﻴﺮ ﺭﺳﻤﻲ ﻭ ﺧﻮﺩﺑﺨﻮﺩﻱ ﻭ ﻫﻢ ﺑﻪ ﻋﻨﻮﺍﻥ‬
‫ﺍﺑﺰﺍﺭﻱ ﺑﺎﻟﻘﻮﻩ ﺑﺮﺍﻱ ﺍﻳﺠﺎﺩ ﻳﻚ ﺯﻳﺒﺎﻳﻲ ﺷﻨﺎﺳﻲ ﺟﺪﻳﺪ ﺩﺭ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ‪.‬‬
‫ﺩﺭ ﺍﻳﻦ ﺭﺳﺎﻟﻪ ﺩﻭ ژﺍﻧﺮ ﻋﻜﺎﺳﻲ ﻣﺴﺘﻨﺪ ﻭ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺭﺍ ﺑﺼﻮﺭﺕ ﺩﻭ ژﺍﻧﺮ ﻣﺠﺰﺍ ﺩﺭ ﻧﻈﺮ ﻣﻲ ﮔﻴﺮﻳﻢ‪ .‬ﺑﺎ ﺍﻳﻨﻜﻪ‬
‫ﺍﻳﻦ ﺩﻭ ﻧﻘﺎﻁ ﻣﺸﺘﺮﻙ ﺑﺴﻴﺎﺭ ﺩﺍﺭﻧﺪ ﻭ ﺩﺭ ﻳﻚ ﭘﺎﻳﻪ ﻭﻟﻲ ﺩﺭ ﺩﻭ ﺟﻬﺖ ﻣﺨﺘﻠﻒ ﻗﺮﺍﺭ ﺩﺍﺭﻧﺪ‪ ،‬ﻭﻟﻲ ﺑﺮﺍﻱ ﺷﻨﺎﺳﺎﻳﻲ‬
‫ﺗﻔﺎﻭﺕ ﺍﻳﻦ ﺩﻭ ﺍﻳﻦ ﺗﻤﺎﻳﺰ ﻻﺯﻡ ﺍﺳﺖ‪ .‬ﻫﻤﭽﻨﻴﻦ ﺑﺎﻳﺪ ﻳﺎﺩ ﺁﻭﺭ ﺷﺪ ﻛﻪ ﻭﺍﻗﻌﻴﺖ ﻫﻴﭻ ﮔﺎﻩ ﺑﻪ ﻣﺎﻧﻨﺪ ﺗﺌﻮﺭﻱ ﺧﺎﻟﺺ‬
‫ﻧﻴﺴﺖ ﻭ ﺩﺭ ﺑﺴﻴﺎﺭﻱ ﺍﻭﻗﺎﺕ ﺍﻳﻦ ﺩﻭ ژﺍﻧﺮ ﻫﺮ ﺩﻭ ﻫﻤﺮﺍﻩ ﺑﺎ ﻫﻢ ﺩﺭ ﻳﻚ ﻋﻜﺲ ﻣﻮﺟﻮﺩﻧﺪ‪.‬‬
‫ﺑﺎﻳﺪ ﻳﺎﺩ ﺁﻭﺭ ﺷﺪ ﻛﻪ ﻋﻤﻮﻣﻴﺖ ﺩﺍﺩﻥ‪ ،‬ﺳﺎﺧﺘﻪ ﺫﻫﻦ ﺑﻴﻴﻨﺪﻩ ﺍﺳﺖ ﻭ ﻧﻪ ﻋﻜﺲ ﻭ ﻧﻮﻋﻲ ﻣﻜﺎﻧﻴﺰﻡ ﺩﻓﺎﻋﻲ ﺍﺳﺖ ﺩﺭ‬
‫ﺑﺮﺍﺑﺮ ﮔﻮﻧﺎﮔﻮﻧﻲ ﻭ ﻋﺪﻡ ﭘﺎﻳﺒﻨﺪﻱ ﻣﻮﺟﻮﺩ ﺩﺭ ﻋﻜﺲ‪.‬‬
‫‪ .Charles Baudelaire .1‬ﺷﺎﻋﺮ ﻭ ﻧﻮﻳﺴﻨﺪﻩ ﻓﺮﺍﻧﺴﻮﻱ ‪1821-1867‬‬
‫‪ .Constantine Guys .2‬ﻧﻘﺎﺵ ﻓﺮﺍﻧﺴﻮﻱ ‪1802-1892‬‬
‫‪Impressionist Painters .3‬‬
‫‪5‬‬ ‫‪Badaud .4‬‬
‫‪5‬‬ ‫‪Flâneur .5‬‬
‫ﻋﻜﺎﺳﻲ ﻣﺴﺘﻨﺪ ﺍﺟﺘﻤﺎﻋﻲ ﺑﺮ ﺍﻳﻦ ﺩﻻﻟﺖ ﻣﻲ ﻛﻨﺪ )ﺷﺎﻳﺪ ﻧﻴﺎﺯ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﺗﺎ ﺑﺮﺍﻱ ﺗﺄﺛﻴﺮ ﮔﺬﺍﺭﻱ ﺩﺭﺍﻣﺎﺗﻴﻚ ﺧﻮﺩ‬
‫ﺑﺮ ﺍﻳﻦ ﺩﻻﻟﺖ ﻛﻨﺪ( ﻛﻪ ﺷﺮﺍﻳﻂ ﺩﺷﻮﺍﺭ ﺍﺟﺘﻤﺎﻋﻲ ﺩﺍﺋﻤﻲ ﺍﻧﺪ ﻭ ﺍﻳﻦ ﺷﺮﺍﻳﻂ ﺩﺷﻮﺍﺭ ﺳﻨﺪﻱ ﺑﺮ ﺿﻌﻒ ﻭ ﻧﺎﺑﺮﺍﺑﺮﻱ‬
‫ﺍﺟﺘﻤﺎﻋﻲ ﺍﻧﺪ‪ .‬ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺳﺨﺘﻲ ﻫﺎ ﺭﺍ ﮔﺬﺭﺍ‪ ،‬ﻣﺸﻜﻠﻲ ﻛﻮﭼﻚ ﺩﺭ ﻭﺟﻮﺩﻱ ﮔﻮﻧﺎﮔﻮﻥ ﻭ ﺭﻧﮕﺎﺭﻧﮓ ﻣﻲ‬
‫ﺑﻴﻨﺪ‪.‬‬
‫ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﻣﺎ ﺭﺍ ﺩﺭ ﻳﻚ ﺳﺮﺩﺭﮔﻤﻲ ﺩﺭ ﻃﺒﻘﻪ ﺑﻨﺪﻱ ﻗﺮﺍﺭ ﻣﻲ ﺩﻫﺪ‪ ،‬ﻧﻪ ﻓﻘﻂ ﺑﻪ ﺧﺎﻃﺮ ﺍﻳﻦ ﻛﻪ ﺩﺭ ﺗﻘﺎﻃﻊ‬
‫‪ 1‬ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪ ،‬ﺑﻠﻜﻪ‬ ‫‪P‬‬ ‫‪P‬‬ ‫ﺑﻴﻦ ﻋﻜﺲ ﻓﻮﺭﻱ ﺗﻮﺭﻳﺴﺘﻬﺎ‪ ،‬ﻋﻜﺲ ﻣﺴﺘﻨﺪﻭ ﻋﻜﺲ ﺍﺧﺒﺎﺭ ﻛﻮﺗﺎﻩ ﮔﻮﻧﺎﮔﻮﻥ)ﻓﻴﺖ ﺩﻳﻮﺭ(‬
‫ﻫﻤﭽﻨﻴﻦ ﺑﻪ ﺧﺎﻃﺮ ﺍﻳﻨﻜﻪ ﺑﻪ ﻫﻤﺎﻥ ﻣﻘﺪﺍﺭ ﻛﻪ ﺧﻮﺍﺳﺘﺎﺭ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻋﻜﺎﺳﻲ ﻋﺎﺩﻱ ﻭ ﺭﻭﺯﻣﺮﻩ ﺗﻠﻘﻲ‬
‫ﺷﻮﺩ‪ ،‬ﺧﻮﺍﺳﺘﺎﺭ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻫﻨﺮ ﻭﺍﻻ‪ 2‬ﺗﻠﻘﻲ ﺷﻮﺩ‪.‬‬
‫‪P‬‬ ‫‪P‬‬
‫ﺩﺭ ﺍﻳﻦ ﻓﺼﻞ ﺑﻪ ﺑﺮﺭﺳﻲ ﻣﻔﻬﻮﻡ ﻧﺎﻡ ﺍﻳﻦ ژﺍﻧﺮ ﻭ ﻣﺎﻫﻴﺖ ﺍﺻﻠﻲ ﺁﻥ ﭘﺮﺩﺍﺧﺘﻪ ﻣﻲ ﺷﻮﺩ‪ .‬ﻧﺨﺴﺖ ﺑﻪ ﺑﺮﺭﺳﻲ ﺍﻳﻦ ژﺍﻧﺮ‬
‫ﺍﺯ ﺩﻳﺪﮔﺎﻩ ﺍﻭﺍﺧﺮ ﻗﺮﻥ ‪ 19‬ﻭ ﺍﺭﺗﺒﺎﻁ ﺁﻥ ﺑﺎ ﻧﻘﺎﺷﻲ ﻣﻲ ﭘﺮﺩﺍﺯﻳﻢ‪ .‬ﺩﺭ ﺩﺭﺟﻪ ﺩﻭﻡ ﺑﻪ ﻣﺠﺰﺍ ﺳﺎﺧﺘﻦ ﺧﺼﻮﺻﻴﺎﺕ ﺍﻳﻦ‬
‫ژﺍﻧﺮ ﺍﺯ ﺳﺎﻳﺮ ژﺍﻧﺮﻫﺎﻱ ﻣﺮﺗﺒﻂ )ﻣﺴﺘﻨﺪ ﻭ ﺧﺒﺮﻱ( ﺑﻪ ﻛﻤﻚ ﺍﺩﺑﻴﺎﺕ ﺁﻥ ﺩﻭﺭﺍﻥ ﻣﻲ ﭘﺮﺩﺍﺯﻳﻢ‪.‬‬
‫ﻭﺍﻟﺘﺮ ﺑﻨﻴﺎﻣﻴﻦ‪ 3‬ﺩﺭ ‪ 1931‬ﺑﺎ ﻧﺎﺭﺍﺣﺘﻲ ﺍﺑﺮﺍﺯ ﺩﺍﺷﺖ ﻛﻪ ﺍﻋﺘﺒﺎﺭ ﻋﻜﺎﺳﻲ ﻣﺪﺕ ﺯﻣﺎﻥ ﺑﺴﻴﺎﺭﻱ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﺍﻳﺴﺘﺎﺩﻥ ﺁﻥ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺩﺭ ﻛﻨﺎﺭ ﺳﺎﻳﺮ ﻫﻨﺮﻫﺎﻱ ﺑﺼﺮﻱ ﮔﺮﻩ ﺧﻮﺭﺩﻩ ﺍﺳﺖ‪ ،‬ﻭﻟﻲ ﻧﻘﺪ ﻋﻜﺎﺳﻲ ﻫﻤﭽﻨﺎﻥ ﺍﺯ ﻭﺍژﻩ ﻫﺎﻱ ﻣﺮﺗﺒﻂ ﺑﺎ ﺳﺎﻳﺮ‬
‫ﻫﻨﺮﻫﺎﻱ ﺑﺼﺮﻱ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻲ ﻛﻨﺪ‪ .‬ﻓﺮﻳﻢ‪ ،‬ﻣﺪﻟﻴﻨﮓ ‪ ،‬ﭘﺮﺳﭙﻜﺘﻴﻮ‪ ،‬ﺗﺮﻛﻴﺐ ﺑﻨﺪﻱ‪ ،‬ﻧﻮﺭ ﭘﺮﺩﺍﺯﻱ‪ ،‬ﺗﻦ ﻫﺎ ﻭ ﺍﻳﻦ ﮔﻮﻧﻪ‬
‫ﺗﻔﺎﺳﻴﺮ‪ ،‬ﻋﻜﺎﺳﻲ ﺭﺍ ﺗﻨﻬﺎ ﺑﻪ ﻣﺎﻧﻨﺪ ﻳﻚ ﻓﺮﺍﻳﻨﺪ ﺛﺎﺑﺖ ﺳﺎﺯﻱ ﻣﻲ ﺩﺍﻧﻨﺪ‪ .‬ﺛﺎﺑﺖ ﺳﺎﺯﻱ ﺗﺼﻮﻳﺮ ﺍﺗﺎﻕ ﺗﺎﺭﻳﻚ‪.‬‬
‫ﺩﺭ ﺍﻳﻦ ﻓﺼﻞ‪ ،‬ﻋﻜﺎﺳﻲ ﻣﻮﺭﺩ ﺑﺤﺚ ﻣﺎ ﻋﻤﺪﺗﺎً ﻋﻜﺎﺳﻲ ﺍﻧﺴﺎﻥ ﮔﺮﺍﻳﺎﻧﻪ ﻧﻮﻉ ﻓﺮﺍﻧﺴﻮﻱ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﻧﻮﻉ ﻋﻜﺎﺳﻲ‬
‫ﺧﻴﺎﺑﺎﻧﻲ ﻛﻪ ﺩﺭ ﺁﻣﺮﻳﻜﺎ ﺷﻜﻞ ﮔﺮﻓﺖ ﻣﺘﻔﺎﻭﺕ ﺍﺳﺖ‪.‬‬
‫ﺩﺭ ﺍﻳﻦ ﻓﺼﻞ ﺑﻪ ﻣﻮﺍﺭﺩ ﺯﻳﺮ ﻣﻲ ﭘﺮﺩﺍﺯﻳﻢ‪:‬‬
‫ﺑﺨﺶ ﺍﻭﻝ‪ :‬ﻣﻨﺸﺄﻫﺎﻱ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺩﺭ ﻧﻘﺎﺵ ﻣﻮﺭﺩ ﻧﻈﺮ ﺑﻮﺩﻟﺮ‪ ،‬ﻛﻨﺴﺎﻧﺘﻴﻦ ﮔﺎﻳﺰ ﻭ ﺍﻳﻤﭙﺮِﺷ‪‬ﻨﻴﺴﺖ ﻫﺎ‬
‫ﺑﺨﺶ ﺩﻭﻡ‪ :‬ﻣﻘﺎﻳﺴﻪ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﻭ ﻣﺴﺘﻨﺪ‬
‫ﺑﺨﺶ ﺳﻮﻡ‪ :‬ﻓﺮﻭﺷﻨﺪﮔﺎﻥ ﺧﻴﺎﺑﺎﻧﻲ‪ ،‬ﺳﺮ ﮔﺮﻡ ﻛﻨﻨﺪﻫﺎﻱ ﺧﻴﺎﺑﺎﻧﻲ ﻭ ﺩﻳﮕﺮ ﺗﻴﭗ ﻫﺎﻱ ﺧﻴﺎﺑﺎﻧﻲ‬
‫ﺑﺨﺶ ﭼﻬﺎﺭﻡ‪ :‬ﺑﺤﺚ ﺩﺭﺑﺎﺭﻩ ﻣﻮﺍﻗﻌﻲ ﻛﻪ ﺩﺭ ﺁﻧﻬﺎ ﺳﻜﻮﺕ ﭘﺎﺳﺨﻲ ﻣﻨﺎﺳﺐ ﺑﺮﺍﻱ ﻋﻜﺲ ﺧﻴﺎﺑﺎﻧﻲ ﺍﺳﺖ ﻭ ﺍﮔﺮ‬
‫ﺯﺑﺎﻥ ﻻﺯﻡ ﺑﺎﺷﺪ ﭼﻪ ﻧﻮﻉ ﺯﺑﺎﻧﻲ ﻣﻨﺎﺳﺐ ﺍﺳﺖ‪.‬‬
‫ﻭ ﺑﺨﺶ ﭘﻨﺠﻢ ﺳﺎﺧﺘﻤﺎﻧﻬﺎ ﻭ ﺑﺎﻓﺖ ﺷﻬﺮ ﺭﺍ ﺑﻪ ﺑﺎﻧﻤﺎﻳﻲ ﻫﺎﻱ ﺯﺑﺎﻧﻲ ﻭ ﺧﻮﺩﺑﻴﺎﻧﮕﺮﻱ ﺍﺭﺗﺒﺎﻁ ﻣﻲ ﺩﻫﺪ‪.‬‬
‫‪fait divers .1‬‬

‫‪ :High Art .2‬ﻫﻨﺮ ﻣﺮﺑﻮﻁ ﺑﻪ ﺳﻄﺢ ﻓﻜﺮﻱ ﺑﺎﻻﻱ ﺍﺟﺘﻤﺎﻉ )ﺩﺭﺑﺮﺍﺑﺮ ﺍﻓﺮﺍﺩ ﺳﻄﺢ ﭘﺎﻳﻴﻦ ﻭ ﺗﻮﺩﻩ ﻫﺎ(‬
‫‪ .Walter Benjamin .3‬ﻧﻮﻳﺴﻨﺪﻩ‪ ،‬ﻓﻴﻠﺴﻮﻑ ﻭ ﻣﻨﺘﻘﺪ ﻳﻬﻮﺩﻱ‪-‬ﺁﻟﻤﺎﻧﻲ‪1892-1940 .‬‬
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‫ﺑﺨﺶ ﺍﻭﻝ‪ :‬ﭘﻴﺪﺍﻳﺶ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﻭ ﻣﻨﺸﺄ ﺁﻥ ﺩﺭ ﻧﻘﺎﺷﻲ ﻫﺎﻱ ﺍﻳﻤﭙﺮِﺷ‪‬ﻨﻴﺴﺘﻲ‬
‫)ﺍﻣﭙﺮﺳﻴﻮﻧﻴﺴﺘﻲ(‬
‫ﺁﻧﻄﻮﺭ ﻛﻪ ﺑﻮﺩﻟﺮ ﺩﺭ "ﻧﻘﺎﺵ ﺯﻧﺪﮔﻲ ﻣﺪﺭﻥ ) ‪ "(1863‬ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ ﻛﺎﻣﻴﻞ ﻛﻮﺭﻭ ‪ 1‬ﻭ ﻛﻨﺴﺘﺎﻧﻴﻦ ﮔﺎﻳﺰ ﺑﻴﺎﻥ ﻛﺮﺩﻩ‬
‫‪P‬‬ ‫‪P‬‬
‫ﺑﻮﺩ ﻫﻨﺮ ﺑﺰﺭگ ﺍﺯ ﻃﺮﻳﻖ ﺗﺮﻛﻴﺐ ﻭ ﺍﺧﺘﺼﺎﺭ ﺗﺠﺮﺑﻪ ﺭﺍ ﺩﺭ ﺧﻮﺩ ﻣﻲ ﮔﻨﺠﺎﻧﺪ ﻭ ﺑﺪﻳﻦ ﻭﺳﻴﻠﻪ ﺑﻴﻨﻨﺪﻩ ﺗﺠﺮﺑﻪ ﺍﺻﻠﻲ‬
‫ﺭﺍ ﺩﺭ ﺫﻫﻦ ﻭ ﺣﺎﻓﻈﻪ ﺧﻮﺩ ﺑﺎﺯ ﺳﺎﺯﻱ ﻣﻲ ﻛﻨﺪ‪.‬‬
‫ﺑﻮﺩﻟﺮ ﻳﺎﺩﺩﺍﺷﺖ ﺑﺮﺩﺍﺭﻱ ﺍﺯ ﺣﻮﺍﺩﺙ ﺍﺻﻠﻲ ﺭﺍ ﺟﺎﻳﺰ ﻣﻲ ﺩﺍﻧﺪ ﻭﻟﻲ ﺑﻨﻈﺮ ﺍﻭ ﻫﺮ ﭼﻪ ﻫﻨﺮﻣﻨﺪ ﺑﻴﺸﺘﺮ ﭘﻴﺸﺮﻓﺖ ﻣﻲ‬
‫ﻛﻨﺪ ﺍﻳﻦ ﻧﺖ ﻫﺎ ﻣﺎﻧﻊ ﻛﺎﺭ ﺍﻭ ﻣﻲ ﺷﻮﻧﺪ‪ .‬ﺟﺰﺋﻴﺎﺕ ﺍﻭ ﺭﺍ ﺍﺯ ﺗﻔﻜﺮ ﺑﻪ ﻋﻤﻖ ﺑﺎﺯ ﻣﻲ ﺩﺍﺭﻧﺪ‪ .‬ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺩﺭ ﻋﻜﺎﺳﻲ‬
‫ﻧﻴﺰ ﻣﻮﺭﺩ ﺑﺤﺚ ﺍﺳﺖ‪ .‬ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﻋﺪﻩ ﺍﻱ ﻣﻮﺍﻓﻖ ﻋﻜﺎﺳﻲ ﺳﻴﺎﻩ ﻭ ﺳﻔﻴﺪﻧﺪ ﻭ ﻧﻪ ﺭﻧﮕﻲ‪.‬‬
‫ﺑﺮﺍﻱ ﭘﻴﺴﺎﺭﻭ‪ 2‬ﻧﻘﺎﺷﻲ ﺩﺭ ﺍﺳﺘﻮﺩﻳﻮ ﺛﺒﺖ ﺣﻮﺍﺱ ﺁﻧﻲ ﻭ ﻣﺴﺘﻘﻴﻢ ﺭﺍ ﻣﻤﻜﻦ ﻣﻲ ﺳﺎﺯﺩ‪ .‬ﺍﮔﺮ ﭼﻪ ﻣﻤﻜﻦ ﺍﺳﺖ ﻛﻤﺘﺮ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺑﺮﺍﻱ ﭼﺸﻢ ﺭﻧﮕﺎﺭﻧﮓ ﻭ ﮔﻴﺮﺍ ﺑﺎﺷﺪ‪ ،‬ﻭﻟﻲ ﻫﻨﺮﻣﻨﺪﺍﻧﻪ ﺗﺮ‪ ،‬ﺷﺪﻳﺪﺗﺮ ﻭ ﻓﻜﺮ ﺷﺪﻩ ﺗﺮ ﺍﺳﺖ‪.‬‬
‫ﺍﻭﺩﺭﻧﺎﻣﻪ ﺑﻪ ﭘﺴﺮﺵ ﻣﻴﮕﻮﻳﺪ ﻛﻪ ﺍﻳﻦ ﻧﻘﺎﺷﻲ ﻫﺎ ﺑﻪ ﻫﻢ ﺷﺒﻴﻬﻨﺪ ﻭ ﺍﺯ ﻧﻘﺎﺷﻲ ﻫﺎﻱ ﻛﺸﻴﺪﻩ ﺷﺪﻩ ﺩﺭ ﻓﻀﺎﻱ ﺑﻴﺮﻭﻥ‬
‫ﻣﺘﻔﺎﻭﺕ‪ ،‬ﻭ ﻣﻲ ﮔﻮﻳﺪ ﻛﻪ ﻣﻮﺍﻓﻖ ﺗﺄﺛﻴﺮ )ﺍﻳﻤﭙﺮِﺷ‪‬ﻦ ( ﮔﺬﺭ ﻛﺮﺩﻩ ﺍﺯ ﻓﻴﻠﺘﺮ ﺣﺎﻓﻈﻪ ﺍﺳﺖ ﻛﻪ ﺣﻘﻴﻘﺖ ﺍﺣﺴﺎﺱ ﺷﺪﻩ‬
‫ﺭﺍ ﺑﻴﺎﻥ ﻣﻲ ﺩﺍﺭﺩ‪ .‬ﺑﺮﺍﻱ ﻣﺜﺎﻝ ﺩﺭ ﻧﻘﺎﺷﻲ "ﻣﻮﺳﻴﻘﻲ ﺩﺭ ﺗﻮﻳﻴﻠﺮﻱ " ﺍﺛﺮ ﻣﺎﻧﻪ‪ ،‬ﭼﺸﻢ ﺧﻴﺮﻩ ﻧﻤﻲ ﺷﻮﺩ ﺑﻠﻜﻪ ﺑﺼﻮﺭﺕ‬
‫ﮔﺬﺭﺍ ﺑﻪ ﻧﻘﺎﻁ ﻣﺨﺘﻠﻒ ﺗﺼﻮﻳﺮ ﻣﻲ ﻧﮕﺮﺩ‪) .‬ﺷﻜﻞ ‪(1-1‬‬
‫ﺷﻜﻞ ‪ 1-1‬ﺍﺩﻭﺍﺭ ﻣﺎﻧﻪ‪ ،‬ﻣﻮﺳﻴﻘﻲ ﺩﺭ ﺗﻮﻳﻴﻠﺮﻱ )‪(1862‬‬
‫‪ .Jean-Baptiste-Camille Corot .1‬ﻧﻘﺎﺵ ﻓﺮﺍﻧﺴﻮﻱ ‪1796-1875‬‬

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‫‪ .Camille Pissarro .2‬ﻧﻘﺎﺵ ﻓﺮﺍﻧﺴﻮﻱ ‪1830-1903‬‬
‫دسترسی به این مدرک بر پایة آییننامة ثبت و اشاعة پیشنهادهها‪ ،‬پایاننامهها‪ ،‬و رسالههای تحصیل ت تکمیلی و صیانت از ‪7‬‬
‫حقوق پدیدآوران در آنها ) وزار ت علوم‪ ،‬تحقیقا ت‪ ،‬فناوری به شمارة ‪/195929‬و تاریخ ‪ (1395/9/6‬از پایگاه اطلعا ت علمی ایران )گنج( در پژوهشگاه علوم و فننناوری‬
‫ﺩﺭﺑﺎﺭﻩ ﺣﻘﻴﻘﺖ ﮔﻮﻳﻲ ﺑﻲ ﻭﺍﺳﻄﻪ ﻋﻜﺲ ﺑﺎﻳﺪ ﺩﻭ ﻧﻜﺘﻪ ﺭﺍ ﺑﮕﻮﻳﻴﻢ‪ .‬ﺍﻭﻝ ﺍﻳﻨﻜﻪ ﺁﻥ ﺑﻪ ﻣﺎ ﻫﻴﭻ ﭼﻴﺰﻱ ﻧﻤﻲ ﮔﻮﻳﺪ‪.‬‬
‫ﻫﺮ ﭼﻪ ﻳﻚ ﻋﻜﺲ ﺑﻪ ﻣﺪﺕ ﺑﻴﺸﺘﺮﻱ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﺑﻴﺸﺘﺮ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﻣﻌﻨﺎﻱ ﺍﻭﻟﻴﻪ ﺧﻮﺩ ﺗﻬﻲ ﻣﻲ ﺳﺎﺯﺩ‪،‬‬
‫ﺑﻴﺸﺘﺮ ﻳﻚ ﺍﺷﺎﺭﻩ ﮔﺮ ﺑﺪﻭﻥ ﺍﺭﺟﺎﻉ ﮔﺮ ﻣﻲ ﺷﻮﺩ‪ .‬ﺍﻳﻦ ﺑﻪ ﭼﻪ ﻣﻌﻨﺎﺳﺖ؟ ﻋﻜﺲ ﺍﺷﺎﺭﻩ ﮔﺮ ﺍﺳﺖ ﻭ ﺑﺪﻭﻥ ﻭﺟﻮﺩ‬
‫ﻫﺮ ﺩﻭ ﻋﺎﻣﻞ ﺳﻮژﻩ‪ /‬ﺍﺭﺟﺎﻉ ﮔﺮ ﻭ ﺩﻭﺭﺑﻴﻦ ﺑﻮﺟﻮﺩ ﻧﻤﻲ ﺁﻳﺪ‪ .‬ﻭﻟﻲ ﺑﺎ ﮔﺬﺷﺖ ﺯﻣﺎﻥ ﺍﺭﺟﺎﻉ ﮔﺮ ﺗﺤﻠﻴﻞ ﻣﻲ ﺭﻭﺩ‪.‬‬
‫ﺍﺭﺟﺎﻉ ﮔﺮ ﻫﻨﻮﺯ ﻣﻮﺟﻮﺩ ﺍﺳﺖ ﻭﻟﻲ ﺍﻛﻨﻮﻥ ﺩﺭ ﻳﻚ ﺭﺍﺑﻄﻪ ﻋﺠﻴﺐ ﺑﺎ ﺗﺼﻮﻳﺮ‪ .‬ﻋﻜﺲ ﺑﺮﺍﻱ ﺑﻪ ﻭﺟﻮﺩ ﺁﻣﺪﻥ ﺑﻪ‬
‫ﺍﺭﺟﺎﻉ ﮔﺮ ﻧﻴﺎﺯ ﺩﺍﺭﺩ ﻭﻟﻲ ﺑﻌﺪ ﺍﺯ ﺁﻥ ﺩﻳﮕﺮ ﻧﻴﺎﺯﻱ ﺑﻪ ﺁﻥ ﻧﺪﺍﺭﺩ ﻭ ﺣﺘﻲ ﻭﺟﻮﺩ ﺍﺭﺟﺎﻉ ﮔﺮ ﻣﺎﻧﻊ ﺍﺯ ﺍﺳﺘﻘﻼﻝ ﻣﻌﻨﺎﻳﻲ‬
‫ﺍﺛﺮ ﻣﻲ ﺷﻮﺩ‪ .‬ﺳﭙﺲ ﻋﻜﺲ ﺑﺪﻭﻥ ﺗﺎﺭﻳﺦ ﻣﻲ ﺷﻮﺩ ﻭ ﺍﺭﺟﺎﻉ ﮔﺮ ﺗﻨﻬﺎ ﺩﺭ ﺩﺭﻭﻥ ﻋﻜﺲ ﺑﺎﻗﻲ ﺧﻮﺍﻫﺪ ﻣﺎﻧﺪ‪.‬‬
‫ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺟﺎﻥ ﺑﺮﮔﺮ ‪ 1‬ﺍﺷﺎﺭﻩ ﻣﻲ ﻛﻨﺪ‪ ،‬ﺍﺑﻬﺎﻡ ﻣﻔﻬﻮﻡ ﻋﻜﺲ ﻛﻤﺘﺮ ﻣﺤﺼﻮﻝ ﺣﻀﻮﺭ ﻣﻔﺎﻫﻴﻢ ﻛﺎﺷﺘﻪ ﺷﺪﻩ ﺩﺭ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺁﻥ ﻭ ﺑﻴﺸﺘﺮ ﻣﺤﺼﻮﻝ ﻓﺎﺻﻠﻪ ﺯﻣﺎﻧﻲ ﺑﻴﻦ ﮔﺮﻓﺘﻪ ﺷﺪﻥ ﻋﻜﺲ ﻭ ﺩﻳﺪﻥ ﺁﻥ ﺍﺳﺖ‪ .‬ﻭﻟﻲ ﺩﺭ ﻧﻘﺎﺷﻲ ﺍﻳﻦ ﭼﻨﻴﻦ‬
‫ﻧﻴﺴﺖ‪ .‬ﺍﻳﻦ ﺑﻨﻈﺮ ﻣﻬﻢ ﻣﻲ ﺭﺳﺪ ﻛﻪ ﻋﻜﺲ ﺑﻪ ﻋﻨﻮﺍﻥ ﺑﺨﺸﻲ ﺍﺯ ﺍﺭﺯﺵ ﻭﺍﻗﻌﻲ ﺁﻥ ﺑﺮﺍﻱ ﻣﺎ‪ ،‬ﺭﺍﺑﻄﻪ ﺷﻔﺎﻑ ﺧﻮﺩ ﺑﺎ‬
‫ﺍﻣﻮﺭ ﺳﻄﺤﻲ‪ ،‬ﺗﺼﺎﺩﻓﻲ ﻭ ﺧﻮﺩ ﺑﺨﻮﺩﻱ ﺭﺍ ﺣﻔﻆ ﻛﻨﺪ‪.‬‬
‫ﭘﺲ ﻣﺎ ﻣﻲ ﻣﺎﻧﻴﻢ ﻭ ﻳﻚ ﻋﻜﺲ ﻛﻪ ﺩﺭ ﺁﻥ‪ ،‬ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺑﺮﮔﺮ ﺍﺑﺮﺍﺯ ﻣﻲ ﺩﺍﺭﺩ‪ ،‬ﺭﻭﻳﺪﺍﺩ ﻋﻜﺎﺳﻲ ﺷﺪﻩ ﺑﺪﻭﻥ‬
‫ﻋﻠﻴﺖ ﻳﺎ ﻧﻬﺎﻳﻲ ﺷﺪﻧﻲ ﺑﻪ ﻏﻴﺮ ﺍﺯ ﺁﻧﭽﻪ ﺩﺭ ﺩﺭﻭﻥ ﺧﻮﺩ ﻋﻜﺲ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﺑﺎﻗﻲ ﻣﻲ ﻣﺎﻧﺪ‪.‬‬
‫ﻓﺮﺍﻧﺴﻮﺍ ﺳﻮﻻژ ‪ 2‬ﻣﻲ ﮔﻮﻳﺪ‪ :‬ﻋﻜﺎﺳﻲ ﻫﻨﺮ ﺗﺨﻴﻞ ﺍﺳﺖ‪ .‬ﺑﺴﻴﺎﺭ ﺑﻴﺸﺘﺮ ﺍﺯ ﺳﻴﻨﻤﺎ‪ .‬ﺷﺎﻳﺪ ﭼﻮﻥ ﻛﻪ ﺳﺎﻛﺖ‪ ،‬ﺳﺎﻛﻦ‪،‬‬ ‫‪P‬‬ ‫‪P‬‬
‫ﻗﻄﻊ ﺷﺪﻩ ﺍﺯ ﺁﻳﻨﺪﻩ ﻭ ﻳﻚ ﻗﻄﻌﻪ ﺑﻲ ﺣﺲ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﻃﺮﻑ ﮔﻴﺮﻧﺪﻩ ﺍﺛﺮ ﺍﺣﺘﻴﺎﺝ ﺩﺍﺭﺩ ﻛﻪ ﺑﻪ ﺁﻥ ﻳﻚ ﺣﺲ‬
‫ﺗﺨﻴﻠﻲ ﺑﺨﺸﻴﺪﻩ ﺷﻮﺩ‪ .‬ﻣﻲ ﺗﻮﺍﻧﻴﻢ ﺑﮕﻮﻳﻴﻢ ﭘﺮﺩﺍﺧﺘﻦ ﺑﻪ ﻋﻜﺲ ﺍﺯ ﻧﻈﺮ ﺯﻣﺎﻥ ﻭ ﻣﻜﺎﻥِ ﮔﺮﻓﺘﻪ ﺷﺪﻥ ﺑﻴﺸﺘﺮ‬
‫ﻛﻨﺠﻜﺎﻭﻱ ﺩﻳﺪ ﺭﺍ ﺑﺮ ﻣﻲ ﺍﻧﮕﻴﺰﺩ ﺗﺎ ﭘﺮﺩﺍﺧﺘﻦ ﺑﻪ ﺁﻥ ﺍﺯ ﻧﻈﺮ ﻧﻤﺎﺩﻳﻦ ﻭ ﺍﻳﻨﻜﻪ ﭼﻪ ﻣﻌﻨﻲ ﻣﻲ ﺩﻫﺪ‪.‬‬
‫ﻳﻚ ﻋﻜﺲ ﻫﻤﺎﻧﻨﺪ ﻳﻚ ﻧﻘﺎﺷﻲ ﺍﻳﻤﭙﺮِﺷ‪‬ﻨﻴﺴﺖ ﺑﺎﻋﺚ ﻣﻲ ﺷﻮﺩ ﻣﺎ ﺩﺭ ﺧﻮﺩ ﻓﺮﻭ ﺭﻓﺘﻪ ﻭ ﻳﻚ ﺗﺄﺛﻴﺮ ‪ 3‬ﺷﺨﺼﻲ ﺭﺍ ﺑﻪ‬
‫‪P‬‬ ‫‪P‬‬
‫ﻳﺎﺩ ﺁﻭﺭﻳﻢ‪ .‬ﺗﻐﻴﻴﺮ ﺍﺯ ﺍﺳﺘﻮﺩﻳﻮ ﺑﻪ ﺧﻴﺎﺑﺎﻥ ﺗﻐﻴﻴﺮﻱ ﺭﺍ ﻧﺸﺎﻥ ﻣﻲ ﺩﻫﺪ ﻛﻪ ﻣﻮﻗﻌﻴﺖ ﺧﻼﻕ ﻛﻪ ﺩﺭ ﺁﻥ ﺣﺎﻓﻈﻪ ﺑﻄﻮﺭ‬
‫ﻓﻌﺎﻝ ﮔﺬﺷﺘﻪ ﺭﺍ ﻓﺮﺍ ﻣﻲ ﺧﻮﺍﻧﺪ‪ ،‬ﺑﻪ ﻣﻮﻗﻌﻴﺘﻲ ﺗﺒﺪﻳﻞ ﺷﻮﺩ ﻛﻪ ﺩﺭ ﺁﻥ ﺣﺎﻓﻈﻪ ﺑﻄﻮﺭ ﺧﻮﺩﻛﺎﺭ ﺑﻪ ﻣﺤﺮﻙ ﻫﺎﻱ‬
‫ﺑﻴﺮﻭﻧﻲ ﭘﺎﺳﺦ ﻣﻲ ﮔﻮﻳﺪ‪ .‬ﺑﻄﻮﺭ ﺧﻼﺻﻪ ﺗﻐﻴﻴﺮﻱ ﺍﺯ ﺣﺎﻓﻈﻪ ﺍﺭﺍﺩﻱ ﺑﻪ ﻏﻴﺮ ﺍﺭﺍﺩﻱ‪.‬‬
‫ﺑﻪ ﺩﻟﻴﻞ ﻋﺪﻡ ﻭﺟﻮﺩ ﻳﻚ ﭘﻴﻮﺳﺘﮕﻲ ﺑﻴﻦ ﺯﻣﺎﻥ ﮔﺮﻓﺘﻪ ﺷﺪﻥ ﻋﻜﺲ ﻭ ﺣﺎﻝ‪ ،‬ﻳﻚ ﻋﻜﺲ ﮔﻮﻳﻲ ﻫﻤﻴﺸﻪ ﺩﺭ ﺯﻣﺎﻥ‬
‫ﺣﺎﻝ ﺩﺭ ﺣﺎﻝ ﺍﺩﺍﻣﻪ ﺑﻪ ﺣﻴﺎﺕ ﺧﻮﺩ ﺍﺳﺖ‪ .‬ﻋﻜﺎﺳﻲ ﻳﺎﺩ ﺑﻮﺩ ﻣﻲ ﺳﺎﺯﺩ ﻭﻟﻲ ﺑﻪ ﺧﺎﻃﺮ ﻧﻤﻲ ﺁﻭﺭﺩ ﻭ ﺑﻨﺎﺑﺮﺍﻳﻦ ﻣﻲ‬
‫ﺗﻮﺍﻥ ﮔﻔﺖ ﺑﻪ ﻧﻮﻋﻲ ﻫﻤﻴﺸﻪ ﻧﻮ ﻭ ﺩﺳﺖ ﻧﺨﻮﺭﺩﻩ ﺍﺳﺖ‪ .‬ﻳﻚ ﻋﻜﺲ ﺩﺭ ﺣﻘﻴﻘﺖ ﺣﺎﻓﻈﻪ ﺑﺒﻨﺪﻩ ﺭﺍ ﻓﻌﺎﻝ ﻣﻲ ﺳﺎﺯﺩ‬
‫ﻭ ﺗﺮﺗﻴﺐ ﺯﻣﺎﻧﻲ ﺯﻣﺎﻥ ﮔﺮﻓﺘﻪ ﺷﺪﻥ ﻋﻜﺲ ﻧﺴﺒﺖ ﺑﻪ ﺗﺮﺗﻴﺐ ﺯﻣﺎﻧﻲ ﺍﻟﻘﺎ ﺷﺪﻩ ﺩﺭ ﺣﺎﻓﻈﻪ ﺑﻴﻨﻨﺪﻩ ﺍﻫﻤﻴﺘﻲ ﻧﺪﺍﺭﺩ‪.‬‬
‫ﺑﺮﺍﻱ ﻣﺜﺎﻝ ﺑﺎ ﺩﺭﻧﻈﺮﮔﺮﻓﺘﻦ ﺳﻪ ﻋﻜﺲ " ﻳﻚ ﺗﺼﺎﺩﻑ ﻣﺴﺎﻓﺮﻛﺶ ﺧﻴﺎﺑﺎﻧﻲ ﺩﺭ ﻫﺎﻱ ﻫﺎﻟﺒﻮﺭﻥ‪ .‬ﺗﺎﻛﺴﻲ‬
‫‪ .John Berger .1‬ﻧﻮﻳﺴﻨﺪﻩ‪،‬ﻧﻘﺎﺵ ﻭ ﻣﻨﺘﻘﺪ ﺍﻧﮕﻠﻴﺴﻲ‪ .‬ﻣﺘﻮﻟﺪ ‪1926‬‬

‫‪ .François Soulages .2‬ﻣﻨﺘﻘﺪ ﻣﻌﺎﺻﺮ ﻋﻜﺎﺳﻲ‬
‫‪Impression .3‬‬
‫‪8‬‬
‫ﻭﺍژﮔﻮﻥ)‪ "(1894‬ﭘﻞ ﻣﺎﺭﺗﻴﻦ ‪" ،1‬ﺍﺳﺐ ﺑﺮ ﺯﻣﻴﻦ ﺍﻓﺘﺎﺩﻩ) ‪ "(1942‬ﺩﻭﺍﻧﻮ ‪ 2‬ﻭ "ﺍﻓﺘﺎﺩﻥ ﻳﺎ ﻣﺮگ ﻳﻚ ﺍﺳﺐ‪ ،‬ﻛﻮﺍﻱ‬
‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺑﻮﺭﺑﻮﻥ)‪ "(60-1855‬ﺷﺎﺭﻝ ﻧﮕﺮﻭ‪ ،3‬ﺩﺭ ﺣﺎﻓﻈﻪ ﺑﻴﻨﻨﺪﻩ ﻋﻜﺲ ﺩﻭﺍﻧﻮ ﭘﻴﺶ ﺍﺯ ﺩﻭ ﻋﻜﺲ ﺩﻳﮕﺮ ﻭ ﻣﻨﺸﺄ ﺍﺻﻠﻲ ﺁﻧﻬﺎ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺍﺳﺖ‪.‬‬
‫ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﻴﻦ ﻧﻘﺎﺷﻲ ﻫﺎ ﻭ ﻋﻜﺲ ﻫﺎ‪ ،‬ﻧﻤﺎﻳﺶ ﻣﺤﻮ ﻋﺎﺑﺮﺍﻥ ﭘﻴﺎﺩﻩ ﺩﺭ ﺧﻴﺎﺑﺎﻧﻬﺎﻱ ﺷﻬﺮ‪ ،‬ﺍﺷﻜﺎﻝ ﺑﺮﻳﺪﻩ ﺷﺪﻩ ﺗﻮﺳﻂ‬
‫ﻓﺮﻳﻢ‪ ،‬ﺗﻀﺎﺩ ﺩﻭﺭ ﻭ ﻧﺰﺩﻳﻚ‪ ،‬ﻧﻘﻄﻪ ﺩﻳﺪ ﺑﻠﻨﺪ‪ ،‬ﭘﻠﻪ ﭘﻠﻪ ﻫﺎﻱ ﺁﺳﻤﺎﻥ ﻭ ﺗﻐﻴﻴﺮ ﺭﻧﮓ ﺩﺭ ﺟﻮ‪ ،‬ﺳﻴﺎﻩ ﻭ ﺳﻔﻴﺪ ﺑﻮﺩﻥ )ﺩﺭ‬
‫ﺩﮔﺎﺱ ﻭ ﻛﺎﻟﻴﺒﻮﺕ( ﺗﻮﺳﻂ ﻫﺮ ﺩﻭ ﮔﺮﻭﻩ ﻧﻘﺎﺷﺎﻥ ﻭ ﻋﻜﺎﺳﺎﻥ ﺩﻫﻪ ‪ 1860‬ﻭ ‪ 1870‬ﺍﺳﺘﻔﺎﺩﻩ ﻣﻲ ﺷﺪ‪.‬‬
‫ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﺳﻮژﻩ ﻫﺎﻱ ﻋﻜﺎﺳﺎﻥ ﺧﻴﺎﺑﺎﻧﻲ ﺁﻥ ﺩﻭﺭﻩ ﺍﺯ ﻧﻘﺎﺷﻲ ﻫﺎﻱ ﺍﻳﻤﭙﺮِﺷ‪‬ﻨﻴﺴﺘﻲ ﺍﻟﻬﺎﻡ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪.‬‬
‫ﺻﻨﺪﻟﻲ ﻫﺎﻱ ﺧﺎﻟﻲ ﭘﺎﺭﻙ ﻭ ﻧﻴﻤﻜﺖ ﻫﺎﻱ ﺧﺎﻟﻲ ﺧﻴﺎﺑﺎﻥ )ﺭﻧﻪ ژﺍﻙ ‪ 4‬ﻭ ﺑﻮﻭﻳﺲ ‪ 5‬ﺩﺭ ‪ 1927‬ﻭ ‪ 1939‬ﺩﺭ ﺑﻮﻟﻮﺍﺭ‬
‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬
‫ﭘﺎﺳﺘﻮﺭ( ﻭ ﻫﻤﭽﻨﻴﻦ ﺭﺍﺑﻄﻪ ﺑﻴﻦ ﺧﻴﺎﺑﺎﻥ ﻣﺎﺷﻴﻦ ﺭﻭ ﻭ ﭘﻴﺎﺩﻩ ﺭﻭ‪ ،‬ﻛﺎﻓﻪ ﻫﺎ‪ ،‬ﻧﻤﺎﻳﺶ ﻫﺎﻱ ﻣﻮﺳﻴﻘﻲ‪ ،‬ﺍﻳﺴﺘﮕﺎﻩ ﻫﺎﻱ‬
‫ﺭﻳﻠﻲ‪ ،‬ﺳﻴﺮﻙ ﻫﺎ‪ ،‬ﺳﺎﺧﺘﻤﺎﻧﻬﺎ‪ ،‬ﺻﺤﻨﻪ ﺑﺎﻟﻪ‪ ،‬ﭘﻞ ﻫﺎﻱ ﺷﻠﻮﻍ‪ ،‬ﻧﻤﺎﻫﺎﻱ ﺭﻭ ﭘﺎﻳﻴﻦ ﺧﻴﺎﺑﺎﻥ ﻫﺎ ﻭ ﻣﻴﺪﺍﻥ ﻫﺎ‪،‬‬
‫ﻓﺮﻭﺷﮕﺎﻫﻬﺎ ﻭ ﺭﻭﺳﭙﻴﺎﻥ‪.‬‬
‫ﻭﻟﻲ ﺍﻳﻦ ﺷﺒﺎﻫﺖ‪ ‬ﻣﻮﺿﻮﻉ ﻧﻴﺴﺖ ﻛﻪ ﻣﻮﺭﺩ ﻧﻈﺮ ﻣﺎﺳﺖ ﭼﻮﻥ ﺩﺭﻫﺮ ﺻﻮﺭﺕ ﻳﻚ ﻣﺤﺪﻭﺩﻳﺘﻲ ﺑﺮﺍﻱ ﻣﻮﺿﻮﻋﺎﺕ‬
‫ﻣﻮﺟﻮﺩ ﺩﺭ ﺷﻬﺮ ﻭ ﻗﺎﺑﻞ ﺩﻳﺪ ﺩﺭ ﻫﺮ ﺭﻭﺯ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﺑﻠﻜﻪ ﺍﺩﺭﺍﻙ ﺫﻫﻨﻲ ﺍﺯ ﺳﻮژﻩ ﻣﻮﺭﺩ ﻧﻈﺮ ﺍﺳﺖ‪ .‬ﺑﺮﺍﻱ ﻣﺜﺎﻝ‬
‫ﺩﺭ ﻛﺎﺭ ﻛﺎﻟﻴﺒﻮﺕ ﻓﻘﻂ ﺍﻳﻦ ﻧﻴﺴﺖ ﻛﻪ ﺍﻭ ﺑﻪ ﭘﺎﻳﻴﻦ ﻭ ﺑﻪ ﺧﻴﺎﺑﺎﻥ ﻣﻲ ﻧﮕﺮﺩ ﺑﻠﻜﻪ ﺍﻭ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺍﺯ ﻣﻴﺎﻥ ﻧﺮﺩﻩ ﻫﺎﻱ‬
‫‪7‬‬
‫‪P‬‬ ‫‪P‬‬ ‫‪) 6‬ﻣﺎﺭﺳﻲ ‪ (1928‬ﻭ ﻭﻳﻠﻲ ﺭﻭﻧﻴﺰ‬ ‫‪P‬‬ ‫‪P‬‬ ‫ﺑﺎﻟﻜﻦ ﺍﻧﺠﺎﻡ ﻣﻲ ﺩﻫﺪ‪ .‬ﺯﺍﻭﻳﻪ ﺩﻳﺪﻱ ﻛﻪ ﺑﺮﺍﻱ ﻣﺜﺎﻝ ﺗﻮﺳﻂ ﻣﻮﻫﻮﻟﻲ ﻧﺎﺟﻲ‬
‫)ﺑﻠﻮﺍﺭ ﺭﻳﭽﺎﺭﺩ ﻟﻨﻮﺁﺭ ‪ (1946‬ﺑﻜﺎﺭ ﮔﺮﻓﺘﻪ ﺷﺪ‪ ،‬ﻓﻘﻂ ﺍﻳﻦ ﻧﻴﺴﺖ ﻛﻪ ﺍﺯ ﺑﺎﻻ ﺑﻪ ﺧﻴﺎﺑﺎﻥ ﻣﻲ ﻧﮕﺮﺩ‪ ،‬ﺑﻠﻜﻪ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ‬
‫ﺑﺎ ﺯﺍﻭﻳﻪ ﺗﻨﺪ ﺍﻧﺠﺎﻡ ﻣﻲ ﺩﻫﺪ‪ .‬ﻛﺎﺭﻱ ﻛﻪ ﺑﺮﺍﻱ ﻣﺜﺎﻝ ﺗﻮﺳﻂ ﻛﺎﺑﻮﺭﻥ ‪ ،8‬ﻛﺮﺗﻴﺲ ‪،9‬ﻭ ﺭﻭﺩﭼﻨﻜﻮ ‪ 10‬ﻧﻴﺰ ﺍﻧﺠﺎﻡ ﺷﺪ‪.‬‬
‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬
‫ﻧﻤﺎﻱ ﺍﺯ ﺑﺎﻻ ﻫﻢ ﺍﺯ ﻧﻈﺮ ﺍﺣﺴﺎﺳﻲ ﻭ ﻫﻢ ﺍﺯ ﻧﻈﺮ ﻓﻀﺎ ﻧﻤﺎﻳﺎﻧﮕﺮ ﻓﺎﺻﻠﻪ ﻭ ﺟﺪﺍﺳﺎﺯﻱ ﺍﺳﺖ ﻭ ﻫﻴﭻ ﻧﻤﺎﻳﻲ ﺑﻬﺘﺮ ﺍﺯ ﺁﻥ‬
‫ﺗﺠﺴﻢ ﻟﻐﺖ ﺑﻴﮕﺎﻧﮕﻲ ﻧﻴﺴﺖ‪.‬‬
‫ﺩﺭ ﺍﻳﻦ ﻗﺴﻤﺖ ﺑﻪ ﺑﺮﺭﺳﻲ ﻣﻮﺿﻮﻉ ﻫﺎ ﺍﺯ ﺩﻳﺪﮔﺎﻩ ﺍﻳﻤﭙﺮِﺷ‪‬ﻨﻴﺴﺘﻲ‪ /‬ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﻣﻲ ﭘﺮﺩﺍﺯﻳﻢ‪.‬‬
‫ﭘﻴﺴﺎﺭﻭ ﺩﺭ ﻧﺼﻴﺤﺘﺶ ﺑﻪ ﻧﻘﺎﺵ ﺟﻮﺍﻥ ﺳﻮﺋﻴﺴﻲ ﻟﻪ ﺑِﻴﻞ ﺍﻳﻦ ﺭﻭﺵ ﺭﺍ ﺑﻪ ﺍﺟﻤﺎﻝ ﻣﻲ ﮔﻮﻳﺪ‪ :‬ﺍﻧﮕﻴﺰﻩ ﺑﺎﻳﺪ ﺑﻴﺸﺘﺮ ﺑﺮ‬
‫ﺷﻜﻞ ﻭ ﺭﻧﮓ ﺑﺎﺷﺪ ﺗﺎ ﺗﺮﺳﻴﻢ‪ .‬ﻧﻴﺎﺯﻱ ﻧﻴﺴﺖ ﺗﺎ ﻓﺮﻡ ﺭﺍ ﻣﺤﺪﻭﺩ ﻛﻨﻴﻢ‪ .‬ﺗﺮﺳﻴﻢ ﺩﻗﻴﻖ ﺧﺸﻚ ﺍﺳﺖ ﻭ ﺗﺄﺛﻴﺮ ﺍﺩﺭﺍﻛﻲ‬
‫‪ .Paul Augustus Martin‬ﻋﻜﺎﺱ ﺍﻧﮕﻠﻴﺴﻲ ﺯﺍﺩﻩ ﻓﺮﺍﻧﺴﻪ ‪1864-1944‬‬ ‫‪.1‬‬

‫‪ .Robert Doisneau‬ﻋﻜﺎﺱ ﻓﺮﺍﻧﺴﻮﻱ ‪1912-1994‬‬ ‫‪.2‬‬
‫‪ .Charles Nègre‬ﻋﻜﺎﺱ ﻓﺮﺍﻧﺴﻮﻱ ‪1820-1880‬‬ ‫‪.3‬‬
‫‪ .René-Jacques‬ﻋﻜﺎﺱ ﻓﺮﺍﻧﺴﻮﻱ ‪1908-2003‬‬ ‫‪.4‬‬
‫‪ .Marcel Bovis‬ﻋﻜﺎﺱ ﻓﺮﺍﻧﺴﻮﻱ ‪1904-1997‬‬ ‫‪.5‬‬
‫‪ .László Moholy-Nagy‬ﻋﻜﺎﺱ ﻭ ﻧﻘﺎﺵ ﻣﺠﺎﺭﺳﺘﺎﻧﻲ ‪1895-1946‬‬ ‫‪.6‬‬
‫‪ .Willy Ronis‬ﻋﻜﺎﺱ ﻓﺮﺍﻧﺴﻮﻱ ‪1910-2009‬‬ ‫‪.7‬‬
‫‪ .Alvin Langdon Coburn‬ﻋﻜﺎﺱ ﺁﻣﺮﻳﻜﺎﻳﻲ‪1882-1966 .‬‬ ‫‪.8‬‬
‫‪ .André Kertész .9‬ﻋﻜﺎﺱ ﻣﺠﺎﺭﺳﺘﺎﻧﻲ ‪1894-1985‬‬
‫‪ .Aleksander Rodchenko .10‬ﻫﻨﺮﻣﻨﺪ ﺭﻭﺳﻲ ‪1891-1956‬‬
‫‪9‬‬
‫ﺭﺍ ﭘﺎﻳﻴﻦ ﻣﻲ ﺁﻭﺭﺩ ﻭ ﺗﻤﺎﻡ ﺣﺲ ﺭﺍ ﺍﺯ ﺑﻴﻦ ﻣﻲ ﺑﺮﺩ‪ .‬ﻣﻮﻗﻊ ﻧﻘﺎﺷﻲ ﺳﻮژﻩ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻛﻦ ﻭ ﺑﺒﻴﻦ ﺩﺭ ﺭﺍﺳﺖ ﻭ ﭼﭗ‬
‫ﭼﻪ ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪ .‬ﺳﭙﺲ ﺑﺮ ﺭﻭﻱ ﻫﻤﻪ ﭼﻴﺰ ﺑﻄﻮﺭ ﻫﻤﺰﻣﺎﻥ ﻛﺎﺭﻛﻦ‪ .‬ﺫﺭﻩ ﺫﺭﻩ ﻛﺎﺭ ﻧﻜﻦ ﺑﻠﻜﻪ ﺑﺎ ﻗﺮﺍﺭ ﺩﺍﺩﻥ ﺗﻦ ﻫﺎ ﺩﺭ‬
‫ﺩﺭ ﻫﻤﻪ ﺟﺎ‪ ،‬ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﺑﻪ ﻳﻜﺒﺎﺭﻩ ﻭ ﺑﺎ ﻗﻠﻢ ﻣﻨﺎﺳﺐ ﺍﺯ ﻧﻈﺮ ﺭﻧﮓ ﻭ ﻣﻘﺪﺍﺭ ﺑﻜﺶ‪ .‬ﺍﺯ ﻗﻠﻢ ﻛﻮﭼﻚ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻦ‬
‫ﻭ ﺳﻌﻲ ﻛﻦ ﻣﺸﺎﻫﺪﺍﺗﺖ ﺭﺍ ﺳﺮﻳﻊ ﺩﺭ ﻧﻘﺎﺵ ﭘﻴﺎﺩﻩ ﻛﻨﻲ‪ .‬ﭼﺸﻢ ﻧﺒﺎﻳﺪ ﺩﺭ ﻳﻚ ﻧﻘﻄﻪ ﺛﺎﺑﺖ ﺑﻤﺎﻧﺪ ﺑﻠﻜﻪ ﺑﺎﻳﺪ ﺩﺭ‬
‫ﺣﺎﻟﻴﻜﻪ ﺑﺎﺯﺗﺎﺏ ﻫﺎﻱ ﺭﻧﮕﻲ ﺑﺮ ﻣﺤﻴﻂ ﺭﺍ ﻣﺸﺎﻫﺪﻩ ﻣﻲ ﻛﻨﺪ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﺩﺭ ﺧﻮﺩ ﺟﺎﻱ ﺩﻫﺪ‪.‬‬
‫ﻧﻘﺎﺷﻲ ﺍﻳﻤﭙﺮِﺷ‪‬ﻨﻴﺴﺖ ﻧﻴﺰ ﻣﺎﻧﻨﺪ ﻋﻜﺎﺳﻲ ﻣﺤﺼﻮﻝ ﻧﮕﺎﻩ ﮔﺬﺭﺍ ﺍﺳﺖ‪ .‬ﺁﻧﭽﻪ ﻧﻘﺎﺷﻲ ﺍﻳﻤﭙﺮِﺷ‪‬ﻨﻴﺴﺖ ﺭﺍ ﺑﻪ ﻋﻜﺎﺳﻲ‬
‫ﻧﺰﺩﻳﻚ ﻣﻲ ﺳﺎﺯﺩ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺍﺷﺎﺭﻩ ﮔﺮﻱ ‪ 1‬ﻭ ﺩﺭﮔﻴﺮﻱ ﺑﻲ ﻭﺍﺳﻄﻪ ﺑﺎ ﺣﻘﻴﻘﺖ ﺭﺍ ﺑﺎ ﺁﻥ ﻣﺸﺘﺮﻙ ﺍﺳﺖ‪ .‬ﻳﻚ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﻋﻜﺲ ﻳﻜﺘﺎﺳﺖ ﭼﻮﻥ ﻟﺤﻈﻪ ﺍﻱ ﻛﻪ ﺛﺒﺖ ﻣﻲ ﻛﻨﺪ ﺗﻜﺮﺍﺭ ﻧﺸﺪﻧﻲ ﺍﺳﺖ‪ .‬ﻳﻚ ﻧﻘﺎﺷﻲ ﺍﻳﻤﭙﺮﺷﻨﺴﻴﺖ ﻧﻴﺰ ﻳﻜﺘﺎﺳﺖ‬
‫ﭼﻮﻥ ﺣﺲ ﺍﻳﺠﺎﺩ ﺷﺪﻩ ﺗﻮﺳﻂ ﺩﻳﺪ ﺩﺭ ﺁﻥ ﻟﺤﻈﻪ ﻳﻜﺘﺎﺳﺖ‪.‬‬
‫ﻣﺸﺎﻫﺪﺍﺕ ﻳﻚ ﺻﺤﺒﺖ ﻛﻨﻨﺪﻩ ﺩﺭﻭﻧﻲ ﺑﺎ ﺧﻮﺩ )ﻣﻮﻧﻮﻟﻮﮔﻴﺴﺖ( ‪ ، 2‬ﻣﺎﻧﻨﺪ ﺗﺼﺎﻭﻳﺮ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﻟﺰﻭﻣﻲ ﺑﻪ‬
‫‪P‬‬ ‫‪P‬‬
‫ﺩﺍﺷﺘﻦ ﻗﻄﻌﻴﺖ ﻭ ﭘﺎﻳﺎﻥ ﻧﺪﺍﺭﻧﺪ‪ ،‬ﻣﻲ ﺗﻮﺍﻧﻨﺪ ﺑﻄﻮﺭ ﺧﺎﻟﺺ ﺍﺯ ﻋﻨﺼﺮ ﺗﺼﺎﺩﻑ ﺗﺸﻜﻴﻞ ﺷﺪﻩ ﺑﺎﺷﻨﺪ ﻭ ﻣﺤﻞ ﺗﻼﻗﻲ‬
‫ﺯﻣﺎﻥ ﺧﻴﺎﺑﺎﻥ ﻭ ﺯﻣﺎﻥ ﺩﻭﺭﻧﻲ ﻣﻮﻧﻮﻟﻮﮔﻴﺴﺖ ‪ /‬ﻋﻜﺎﺱ ﺍﻧﺪ‪ .‬ﻭ ﺑﺎﻻﺧﺺ ﻣﺎ ﺑﺎ ﻛﻠﻤﺎﺕ ﻣﻮﻧﻮﻟﻮﮔﻴﺴﺖ ﻳﺎ ﺗﺼﺎﻭﻳﺮ‬
‫ﻋﻜﺎﺱ ﺧﻴﺎﺑﺎﻧﻲ ﺑﻪ ﭼﻴﺰﻱ ﺁﺩﺭﺱ ﺩﻫﻲ ﻧﻤﻲ ﺷﻮﻳﻢ‪ .‬ﻣﺎ ﺗﻨﻬﺎ ﺷﺎﻫﺪ ﺁﻧﻬﺎﺋﻴﻢ‪ .‬ﻣﻮﻧﻮﻟﻮﮔﻴﺴﺖ ﻫﻴﭻ ﺑﺤﺜﻲ ﻧﻤﻲ ﻛﻨﺪ‪.‬‬
‫ﺁﻳﺎ ﻫﻴﭻ ﻳﻚ ﺍﺯ ﺍﻳﻨﻬﺎ ﻣﻲ ﺗﻮﺍﻧﺪ ﺩﺭ ﻣﻮﺭﺩ ﻋﻜﺎﺳﻲ ﻣﺴﺘﻨﺪ ﻳﺎ ﺧﺒﺮﻱ ﺍﺩﻋﺎ ﺷﻮﺩ؟ ﻣﻄﻤﺌﻨﺎً ﻧﻪ‪ .‬ﺍﻳﻦ ﺩﻭ ﻧﻮﻉ ﻋﻜﺎﺳﻲ‬
‫ﺑﻪ ﻭﺿﻮﺡ ﺩﺍﺭﺍﻱ ﺳﺒﺐ ﻭ ﻣﻘﺼﻮﺩﻧﺪ‪ ،‬ﻳﻚ ﻃﺮﺡ ﻭ ﻧﻘﺸﻪ ﺭﺍ ﺩﻧﺒﺎﻝ ﻣﻲ ﻛﻨﻨﺪ‪ ،‬ﺑﻴﻨﻨﺪﻩ ﺍﻱ ﺩﺍﺭﻧﺪ ﺗﺎ ﺩﻻﻟﺖ ﻫﺎﻱ ﺁﻥ‬
‫ﺭﺍ ﺩﺭﻳﺎﺑﺪ‪ ،‬ﺩﺭ ﺟﺴﺘﺠﻮﻱ ﻳﻜﻲ ﻛﺮﺩﻥ ﺯﻣﺎﻧﻨﺪ‪ ،‬ﺯﻣﺎﻧﻲ ﻛﻪ ﺑﻴﻦ ﺳﻮژﻩ‪ ،‬ﻋﻜﺎﺱ ﻭ ﺑﻴﻨﻨﺪﻩ ﻣﺸﺘﺮﻙ ﺍﺳﺖ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ‬
‫ﻣﻲ ﺗﻮﺍﻥ ﺍﺩﻋﺎ ﻛﺮﺩ ﻛﻪ ﻋﻜﺲ ﻫﺎﻱ ﺑﻮﺑﺎﺕ ‪ 2‬ﻳﺎ ﺩﻭﺍﻧﻮ ﻛﻤﺘﺮ ﺛﺒﺖ ﻳﻚ ﺍﺷﺎﺭﻩ ﮔﺮ ﺩﺭ ﻭﺍﻗﻌﻴﺖ ﺍﺳﺖ ﺗﺎ ﻳﻚ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺭﻭﻳﺪﺍﺩ ﺩﺭﻭﻧﻲ‪.‬‬
‫ﺁﻳﺎ ﻣﻲ ﺗﻮﺍﻥ ﮔﻔﺖ ﻣﻮﻧﻮﻟﻮگ ﺩﺭﻭﻧﻲ ﻭ ﻋﻜﺲ ﺧﻴﺎﺑﺎﻧﻲ ﺑﻴﺸﺘﺮ ﺩﺭ ﻧﺎﺧﻮﺩ ﺁﮔﺎﻩ ﺭﺳﻮﺥ ﻣﻲ ﻛﻨﻨﺪ ﺗﺎ ﺭﻭﺍﻳﺖ‬
‫ﻭﺍﻗﻌﻴﺖ ﮔﺮﺍ ﻭ ﻋﻜﺲ ﻣﺴﺘﻨﺪ؟ ﺩﻭ ژﺍﺭﺩﻥ‪ 3‬ﻗﻄﻌﺎً ﭼﻨﻴﻦ ﻓﻜﺮ ﻣﻲ ﻛﻨﺪ‪:‬‬
‫‪P‬‬ ‫‪P‬‬
‫"ﻣﻮﻧﻮﻟﻮگ ﺩﺭﻭﻧﻲ ﺑﻪ ﻣﺎﻧﻨﺪ ﺷﻌﺮ‪ ،‬ﺳﺨﻦ ﻧﺸﻴﻨﺪﻩ ﻭ ﻧﮕﻔﺘﻪ ﺍﺳﺖ ﻛﻪ ﺗﻮﺳﻂ ﺁﻥ ﻳﻚ ﺷﺨﺼﻴﺖ ﺧﺼﻮﺻﻲ ﺗﺮﻳﻦ‬
‫ﺍﻓﻜﺎﺭ ﺧﻮﺩ‪ ،‬ﺁﻧﻬﺎﻳﻲ ﻛﻪ ﺑﻴﺸﺘﺮ ﺍﺯ ﻫﻤﻪ ﺑﻪ ﻧﺎﺧﻮﺩ ﺁﮔﺎﻫﺶ ﻧﺰﺩﻳﻜﻨﺪ ﺭﺍ ﺑﻴﺎﻥ ﻣﻲ ﺩﺍﺭﺩ‪ ،‬ﭘﻴﺶ ﺍﺯ ﻫﺮ ﮔﻮﻧﻪ ﺳﺎﺯﻣﺎﻥ‬
‫ﺩﻫﻲ ﻣﻨﻄﻘﻲ‪ ،‬ﻳﻌﻨﻲ ﺩﺭﺣﺎﻝ ﺷﻜﻞ ﮔﻴﺮﻱ ﺁﻥ‪ ،‬ﺑﺎ ﺍﺑﺰﺍﺭ 'ﺳﺨﻦ ﻣﺴﺘﻘﻴﻢ' ﻛﻪ ﺑﻪ ﺣﺪﺍﻗﻞ ﭼﻴﺪﻣﺎﻥ ﻟﻐﻮﻱ ﺗﻘﻠﻴﻞ ﻳﺎﻓﺘﻪ‬
‫‪4‬‬
‫ﺍﺳﺖ‪ ،‬ﺗﺎ ﺗﺄﺛﻴﺮ ﻭﺭﻭﺩﻱ ﻣﻨﻈﻢ ﻧﺸﺪﻩ ﺭﺍ ﺍﻳﺠﺎﺩ ﻛﻨﺪ‪".‬‬
‫‪P‬‬
‫ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻥ ﻣﻌﻨﺎﻱ ﺩﻗﻴﻖ ﻳﻚ ﺁﻥ ‪ 5‬ﺭﺍ ﻧﺸﺎﻥ ﻣﻲ ﺩﻫﺪ‪ .‬ﻳﻚ ﺁﻥ‪ ،‬ﺑﺎ ﻟﺤﻈﻪ ‪ 6‬ﺗﻔﺎﻭﺕ ﺩﺍﺭﺩ‪ .‬ﻳﻚ ﺁﻥ ﻳﻚ‬
‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺗﺠﺮﺑﻪ ﺭﻗﻤﻲ ‪ 7‬ﺍﺳﺖ‪ ،‬ﺑﻪ ﻋﻨﻮﺍﻥ ﻛﻮﭼﻜﺘﺮﻳﻦ ﺗﻘﺴﻴﻢ ﺑﻨﺪﻱ ﺭﻭﺍﻧﻲ ﻳﺎ ﺍﺩﺭﺍﻛﻲ ﺯﻣﺎﻥ‪ .‬ﺩﺭ ﺣﻘﻴﻘﺖ ﺁﻥ ﻗﺪﺭ ﻣﺤﺪﻭﺩ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺍﺳﺖ ﻛﻪ ﻣﺎ ﺭﺍ ﺍﺯ ﻓﺮﺍﻳﻨﺪ ﺧﺎﺭﺝ ﻣﻲ ﺳﺎﺯﺩ‪ .‬ﺍﺷﻴﺎء ﺩﺭ ﺁﻧﻲ ﺑﻮﺩﻥِ‪ 8‬ﺧﻮﺩ‪ ،‬ﺍﺯ ﻣﺎ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﻭ ﺟﺎ ﻣﻲ ﻣﺎﻧﻨﺪ‪.‬‬
‫‪P‬‬ ‫‪P‬‬
‫‪Indexicality‬‬ ‫‪-1‬‬
‫‪ .Édouard Boubat‬ﻋﻜﺎﺱ ﻓﺮﺍﻧﺴﻮﻱ ‪1923-1999‬‬ ‫‪-2‬‬
‫‪Monologist‬‬ ‫‪-3‬‬
‫‪ .Édouard Dujardin‬ﻧﻮﻳﺴﻨﺪﻩ ﻓﺮﺍﻧﺴﻮﻱ ‪1861-1949‬‬ ‫‪-4‬‬
‫ﻣﻨﺒﻊ ﺷﻤﺎﺭﻩ ‪ 3‬ﺻﻔﺤﻪ ‪68‬‬ ‫‪- 5‬‬
‫‪10‬‬ ‫‪Instant‬‬ ‫‪- 6‬‬
‫‪Moment‬‬ ‫‪- 7‬‬
‫‪digital‬‬ ‫‪- 8‬‬
‫‪10‬‬ ‫‪Instantaneousness‬‬ ‫‪- 9‬‬
‫ﻟﺤﻈﻪ ﻳﻚ ﺗﺠﺮﺑﻪ ﻗﻴﺎﺳﻲ ‪ 1‬ﺍﺯ ﺯﻣﺎﻥ ﻭ ﺍﺩﺭﺍﻙ ﺍﺳﺖ‪ .‬ﻣﺎ ﺑﻄﻮﺭ ﻓﻌﺎﻝ ﺩﺭ ﻟﺤﻈﺎﺕ ﺯﻧﺪﮔﻲ ﻣﻲ ﻛﻨﻴﻢ‪ ،‬ﭼﻪ ﺩﺭ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﻟﺤﻈﻪ ﻫﺎﻱ ﺩﻳﮕﺮ ﻣﺠﺎﻭﺭ ﺁﻧﻬﺎ ﻭ ﭼﻪ ﺯﻣﺎﻥ ﻫﺎﻱ ﺩﻳﮕﺮ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻟﺤﻈﻪ ﺑﺴﻂ ﭘﺬﻳﺮ ﺍﺳﺖ ﻭ ﺣﻀﻮﺭﻱ‬
‫ﻓﻌﺎﻝ ﺩﺍﺭﺩ‪ .‬ﻣﺎ ﺍﻳﻦ ﻗﺪﺭﺕ ﺭﺍ ﺩﺍﺭﻳﻢ ﻛﻪ ﺩﺭ ﻟﺤﻈﻪ ﺑﺎﻗﻲ ﺑﻤﺎﻧﻴﻢ ﻭ ﺳﺎﻛﻦ ﺷﻮﻳﻢ‪.‬‬
‫ﻣﻲ ﺗﻮﺍﻥ ﮔﻔﺖ ﮔﺮﻓﺘﻦ ﻳﻚ ﻋﻜﺲ ﺗﻼﺷﻲ ﺍﺳﺖ ﺑﺮﺍﻱ ﺗﺒﺪﻳﻞ ﻳﻚ ﺁﻥ ﺑﻪ ﻟﺤﻈﻪ ﻭ ﺑﻪ ﺯﺑﺎﻥ ﺩﻳﮕﺮ ﺍﺳﺘﺨﺮﺍﺝ‬
‫ﻟﺤﻈﻪ ﺍﺯ ﻳﻚ ﺁﻥِ ﺣﺎﻭﻱ ﻟﺤﻈﻪ‪ .‬ﻗﺎﺑﻠﻴﺖ ﻳﻚ ﻋﻜﺲ ﺩﺭ ﮔﺴﺘﺮﺩﻥ ﻳﻚ ﺁﻥ ﺑﻪ ﻟﺤﻈﻪ ﺗﻮﺳﻂ ﮔﺮﺍﻳﺶ ﺁﻥ ﺑﻪ ﺗﻐﻴﻴﺮ‬
‫ﺍﺯ ﺍﺷﺎﺭﻩ ﮔﺮﻱ ﺑﻪ ﻧﻤﺎﺩﮔﺮﺍﻳﻲ ﻳﺎ ﺗﻐﻴﻴﺮ ﺍﺯ ﺍﺷﺎﺭﻩ ﮔﺮﻱ ﺑﺎ ﺍﺭﺟﺎﻉ ﮔﺮ ﺑﻪ ﺍﺷﺎﺭﻩ ﮔﺮﻱ ﺑﺪﻭﻥ ﺍﺭﺟﺎﻉ ﮔﺮ ﻳﺎﺭﻱ ﻣﻲ‬
‫ﺷﻮﺩ‪.‬‬
‫ﺑﻌﻠﺖ ﻧﺰﺩﻳﻜﻲ ﻣﻌﻨﺎﻱ ﻟﻐﻮﻱ ﺩﻭ ﻭﺍژﻩ "ﻳﻚ ﺁﻥ" ﻭ "ﻟﺤﻈﻪ"‪ ،‬ﺩﺭ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﻣﺘﻦ ﻫﺎ ﺍﻳﻦ ﺩﻭ ﻭﺍژﻩ ﺑﻪ ﺟﺎﻱ ﻫﻢ ﺑﻪ‬
‫ﻛﺎﺭ ﻣﻲ ﺭﻭﻧﺪ‪.‬‬
‫ﻳﻚ ﺁﻥ ﻓﻘﻂ ﺗﻜﻪ ﺍﻱ ﺍﺯ ﺯﻣﺎﻥ ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﺧﻮﺩ ﺷﺎﻣﻞ ﻣﺠﻤﻮﻋﻪ ﺍﻱ ﺍﺯ ﺯﻣﺎﻥ ﻫﺎﻱ ﻣﺨﺘﻠﻒ ﺍﺳﺖ‪ .‬ﭘﺲ ﺍﺯ‬
‫ﮔﺮﻓﺘﻪ ﺷﺪﻥ ﻋﻜﺲ ﺗﻼﻗﻲ ﻭ ﺍﺭﺗﺒﺎﻁ ﭼﻨﺪ ﮔﺎﻧﻪ ﺍﻳﻦ ﺯﻣﺎﻧﻬﺎ ﺛﺒﺖ ﺷﺪﻩ ﻭ ﺩﺍﺋﻤﻲ ﻣﻲ ﺷﻮﺩ‪ .‬ﻋﻜﺲِ ﺁﻧﻲ ﻫﻤﮕﺮﺍﻳﻲ‬
‫ﺯﻭﺍﻳﺎ‪ ،‬ﻓﻀﺎﻫﺎ‪ ،‬ﺧﻄﻮﻁ‪ ،‬ﺻﻔﺤﺎﺕ‪ ،‬ﺍﺷﻜﺎﻝ ﻭ ﺍﺷﻴﺎء ‪-‬ﻛﻪ ﺑﻪ ﺁﻧﻬﺎ ﺗﺮﻛﻴﺐ ﺑﻨﺪﻱ ﻣﻲ ﮔﻮﻳﻴﻢ ‪ -‬ﺭﺍ ﺍﻳﺠﺎﺩ ﻣﻲ ﻛﻨﺪ‪.‬‬
‫ﻭﻟﻲ ﻫﻤﭽﻨﻴﻦ ﺭﺧﺪﺍﺩﻫﺎﻱ ﺍﺗﻔﺎﻗﻲ ﺩﺭ ﺟﺮﻳﺎﻧﻬﺎﻱ ﺯﻣﺎﻧﻲ ﻣﺘﻔﺎﻭﺕ‪ ،‬ﻣﻘﻴﺎﺱ ﻫﺎﻱ ﺯﻣﺎﻧﻲ ﻣﺘﻔﺎﻭﺕ ﻭ ﺳﺮﻋﺘﻬﺎﻱ‬
‫ﻣﺘﻔﺎﻭﺕ ﺍﺯ ﺑﻴﻦ ﺭﻓﺘﻦ ﺭﺍ ﺍﻳﺠﺎﺩ ﻣﻲ ﻛﻨﺪ‪ .‬ﻳﻚ ﻛﺘﺎﺏ ﺑﺴﺘﻪ ﺑﺮﺟﺎ ﺗﺮ ﻭ ﭘﺎﻳﻪ ﺩﺍﺭﺗﺮ ﺍﺯ ﻳﻚ ﻛﺘﺎﺏ ﺑﺎﺯ ﺍﺳﺖ‪ ،‬ﻳﻚ‬
‫ﭼﺎﻗﻮﻱ ﻋﻤﻮﺩ ﺑﺮ ﻣﻴﺰ ﭘﺎﻳﺪﺍﺭ ﺗﺮ ﻭ ﺑﺮﺟﺎ ﺗﺮ ﺍﺯ ﻳﻚ ﭼﺎﻗﻮﻱ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺑﻄﻮﺭ ﺍﻓﻘﻲ‪ ،‬ﻳﻚ ﺻﻨﺪﻟﻲ ﺑﺮﺟﺎ ﺗﺮ ﺍﺯ ﻣﻴﻮﻩ‬
‫ﻭ ﻳﻚ ﺳﺎﺧﺘﻤﺎﻥ ﺑﺮﺟﺎ ﺗﺮ ﺍﺯ ﻳﻚ ﺍﺑﺮ ﺍﺳﺖ‪ .‬ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﻣﺎ ﺑﻪ ﻳﻚ ﻧﻘﺎﺷﻲ ﺍﻳﻤﭙﺮِﺷ‪‬ﻨﻴﺴﺘﻲ ﻭ ﻳﺎ ﻳﻚ ﻋﻜﺲ‬
‫ﺧﻴﺎﺑﺎﻧﻲ ﻧﮕﺎﻩ ﻣﻲ ﻛﻨﻴﻢ ﺩﺭ ﻫﻢ ﺑﺎﻓﺘﮕﻲ ﺍﻱ ﺍﺯ ﺯﻣﺎﻧﻬﺎﻱ ﻣﺨﺘﻠﻒ ﺩﺭ ﺁﻥ ﻟﺤﻈﻪ ﺭﺍ ﻣﻲ ﺑﻴﻨﻴﻢ ﻛﻪ ﺩﺭ ﺗﻼﻗﻲ ﺑﺎ‬
‫ﻳﻜﺪﻳﮕﺮﻧﺪ‪ .‬ﺑﺮﺍﻱ ﻣﺜﺎﻝ ﺩﺭ ﻋﻜﺲ ‪ 1-2‬ﻛﻪ ﺗﻮﺳﻂ ﻛﺮﺗﻴﺲ ﮔﺮﻓﺘﻪ ﺷﺪﻩ‪ ،‬ﺳﺎﻳﻪ ﻫﺎ‪ ،‬ﻧﺮﺩﻩ ﻫﺎ‪ ،‬ﺩﺭﺧﺘﻬﺎ‪ ،‬ﻣﺮﺩ ﻧﺸﺴﺘﻪ‬
‫ﻭ ﺯﻥ ﺩﺭ ﺣﺎﻝ ﺭﺍﻩ ﺭﻓﺘﻦ ﻫﺮ ﻳﻚ ﺩﺍﺭﺍﻱ ﻳﻚ ﺳﺮﻋﺘﻨﺪ‪ .‬ﻧﺮﺩﻩ ﻫﺎ ﺩﺭ ﻭﺟﻮﺩ ﺷﺎﻥ ﺳﺮﻳﻌﺘﺮ ﺍﺯ ﺩﺭﺧﺘﺎﻧﻨﺪ‪ ،‬ﺍﻧﺴﺎﻧﻬﺎ‬
‫ﺳﺮﻳﻌﺘﺮ ﺍﺯ ﻧﺮﺩﻩ ﻫﺎ‪ ،‬ﻣﺮﺩ ﻛﻨﺎﺭ ﺗﻴﺮ ﭼﺮﺍﻍ ﻣﺎﻧﻨﺪ ﺁﻥ ﺳﺮﻋﺖ ﻛﻤﻲ ﺩﺍﺭﺩ ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﺯﻥ ﺩﺭ ﮔﺬﺭﺍ ﺑﻮﺩﻥ ﺗﻨﻬﺎﺳﺖ‪.‬‬
‫‪Analogue .1‬‬
‫‪11‬‬
‫ﻋﻜﺲ ‪ :1-2‬ﺁﻧﺪﺭﻩ ﻛﺮﺗﻴﺲ‪ -‬ﭘﻠﻪ ﻫﺎﻱ ﻣﻮﻧﺖ ﻣﺎﺭﺗﺮﻩ)‪(1925-27‬‬
‫ﺩﺭ ﻧﻘﺎﺷﻲ ﺍﻳﻤﭙﺮِﺷ‪‬ﻨﻴﺴﺘﻲ ﻧﻴﺰ ﭼﻨﻴﻦ ﺍﺳﺖ‪ .‬ﺑﺎ ﺍﻳﻨﻜﻪ ﭼﺸﻢ ﻧﻤﻲ ﺗﻮﺍﻧﺪ ﻟﺤﻈﻪ ﺍﻱ ﺑﺒﻴﻨﻨﺪ ﻭﻟﻲ ﻧﻘﺎﺵ ﺍﻳﻤﭙﺮﺷﻨﻴﺴﺖ‬
‫ﻳﻚ ﻟﺤﻈﻪ ﺭﺍ ﺗﺼﻮ‪‬ﺭ ﻛﺮﺩﻩ ﻭ ﺁﻥ ﺭﺍ ﺗﺮﺳﻴﻢ ﻣﻲ ﻛﻨﺪ‪.‬‬
‫ﭼﮕﻮﻧﻪ ﺗﺮﻛﻴﺐ ﺑﻨﺪﻱ ﺑﺎ ﻟﺤﻈﻪ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺍﺳﺖ؟ ﺑﺎ ﻧﮕﺎﻩ ﺑﻪ ﻋﻜﺲ ﻫﺎﻱ ﻛﺎﺭﺗﻴﻪ ﺑﺮِﺳﻮﻥ ﻣﻲ ﺑﻨﻴﻢ ﻛﻪ ﻟﺤﻈﻪ‪،‬‬
‫ﻧﻘﻄﻪ ﺍﻳﺠﺎﺩ ﺗﺮﻛﻴﺐ ﺑﻨﺪﻱ ﺩﺭ ﻛﺴﺮﻱ ﺍﺯ ﺯﻣﺎﻥ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺁﻥ ﻫﻤﺎﻫﻨﮕﻲ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺩﺭ ﻧﻈﺮ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ‬
‫ﺍﮔﺮ ﻳﻚ ﻋﻜﺲ ﺑﺨﻮﺍﻫﺪ ﺑﺎ ﺷﺪﺕ ﺗﻤﺎﻡ ﺑﺎ ﺳﻮژﻩ ﺍﺵ ﺍﺭﺗﺒﺎﻁ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﺑﺎﻳﺪ ﺍﺭﺗﺒﺎﻁ ﻓﺮﻡ ﺑﻪ ﺩﻗﺖ ﺑﺮﻗﺮﺍﺭ ﺷﺪﻩ‬
‫ﺑﺎﺷﺪ‪ .‬ﺑﻪ ﺑﻴﺎﻥ ﺩﻳﮕﺮ ﻣﻲ ﺗﻮﺍﻥ ﮔﻔﺖ ﻛﻪ ﺗﺮﻛﻴﺐ ﺑﻨﺪﻱ ﺩﺭ ﻭﺣﻠﻪ ﺍﻭﻝ ﺩﺭ ﻳﻜﭙﺎﺭﭼﮕﻲ ﻋﻜﺲ ﺑﻪ ﻋﻨﻮﺍﻥ ﺗﺼﻮﻳﺮ‬
‫ﻛﻤﻚ ﻧﻤﻲ ﻛﻨﺪ ﺑﻠﻜﻪ ﺳﺮﻋﺖ ﺍﺭﺗﺒﺎﻁ ﺑﺼﺮﻱ ﺑﺎ ﺁﻥ ﺭﺍ ﺑﺎﻻ ﻣﻲ ﺑﺮﺩ‪.‬‬
‫ﺗﺮﻛﻴﺐ ﺑﻨﺪﻱ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﻭ ﻧﻘﺎﺷﻲ ﺍﻳﻤﭙﺮﺷﻨﻴﺴﺘﻲ ﺑﺎ ﺗﺮﻛﻴﺐ ﺑﻨﺪﻱ ﺍﺳﺘﻮﺩﻳﻮ ﻣﺘﻔﺎﻭﺕ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻨﺠﺎ ﺑﺠﺎﻱ‬
‫ﺗﺮﻛﻴﺐ ﺑﻨﺪﻱ ﺍﺯ ﻓﺮﻳﻢ ﺑﻨﺪﻱ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻲ ﻛﻨﻴﻢ‪ .‬ﻻﺯﻡ ﺍﺳﺖ ﻣﺘﺬﻛﺮ ﺷﻮﻳﻢ ﻛﻪ ﺩﻭ ﻧﻮﻉ ﻓﺮﻳﻢ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻳﻜﻲ‬
‫ﻓﺮﻳﻢ ﻧﮕﺎﻩ ﺩﺍﺭﻧﺪﻩ ﻗﺎﺏ ﻭ ﺩﻳﮕﺮﻱ ﻓﺮﻳﻢ ﭼﺸﻢ‪ .‬ﺩﺭ ﻋﻠﻢ ﺟﺪﻳﺪ ﻓﺮﻳﻢ ﺑﺠﺎﻱ ﻓﺮﻳﻢ ﻧﮕﺎﻩ ﺩﺍﺭﻧﺪﻩ )ﺻﻔﺤﻪ‪ -‬ﺑﻮﻡ( ﺍﺯ‬
‫ﻓﺮﻳﻢ ﭼﺸﻢ )ﭼﺸﻤﻲ‪-‬ﻭﻳﺰﻭﺭ ﺩﻭﺭﺑﻴﻦ( ﺍﺳﺘﻔﺎﺩﻩ ﻣﻲ ﺷﻮﺩ‪ .‬ﺍﻳﻦ ﻓﺮﻳﻢ ﻗﺎﺑﻠﻴﺖ ﺗﻐﻴﻴﺮ ﻭ ﺍﻧﺘﺨﺎﺏ ﺭﺍ ﺩﺍﺭﺩ‪ ،‬ﭼﻪ ﺩﺭ‬
‫ﻣﻮﻗﻊ ﻋﻜﺎﺳﻲ ﻭ ﭼﻪ ﺩﺭ ﻣﻮﻗﻊ ﺍﻧﺘﺨﺎﺏ ﻧﮕﺎﺗﻴﻮ ﻫﺎﻱ ﻻﺯﻡ ﻭ ﺩﻭﺭ ﺭﻳﺨﺘﻦ ﺑﻘﻴﻪ‪.‬‬
‫ﻭﻟﻲ ﻳﻚ ﻋﻜﺲ ﻧﻴﺰ ﺩﺍﺭﺍﻱ ﻓﺮﻳﻢ ﻧﮕﺎﻩ ﺩﺍﺭﻧﺪﻩ ﺍﺳﺖ ﻛﻪ ﺁﻥ ﺭﺍ ﺍﻳﺴﺘﺎ ﻧﻤﻮﺩﻩ ﻭ ﻣﺎ ﺭﺍ ﻗﺎﺩﺭ ﺑﻪ ﻧﻘﺪ ﺁﮔﺎﻫﺎﻧﻪ ﺍﻱ ﻣﻲ‬
‫ﻛﻨﺪ ﻛﻪ ﺩﺭ ﺍﻳﺠﺎﺩ ﺗﻮﺳﻂ ﻓﺮﻳﻢ ﭼﺸﻤﻲ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺖ‪ .‬ﺍﻳﻦ ﺍﺭﺗﺒﺎﻁ ﺑﻴﻦ ﻓﺮﻳﻢ ﭼﺸﻤﻲ ﻭ ﻓﺮﻳﻢ ﻧﮕﺎﻩ ﺩﺍﺭﻧﺪﻩ ﺩﺭ‬
‫ﻫﻤﻪ ژﺍﻧﺮﻫﺎﻱ ﻋﻜﺎﺳﻲ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﻋﻜﺎﺳﻲ ﻣﺴﺘﻨﺪ ﻭ ﭘﺮﺗﺮﻩ ﺑﻴﺸﺘﺮ ﻣﻌﻄﻮﻑ ﻓﺮﻳﻢ ﻧﮕﺎﻩ ﺩﺍﺭﻧﺪﻩ ﺍﻧﺪ ﺗﺎ ﻓﺮﻳﻢ‬
‫ﭼﺸﻤﻲ ﻭ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺳﻪ ﭘﺎﻳﻪ ﺩﺭ ﺍﻳﻦ ﻧﻮﻉ ﻋﻜﺎﺳﻲ ﺑﻄﻮﺭ ﻭﺍﺿﺢ ﺩﺍﻭﺭﻱ ﺑﺎ ﺍﺳﺘﺎﻧﺪﺍﺭﺩﻫﺎﻱ ﻓﺮﻳﻢ ﻧﮕﺎﻩ ﺩﺍﺭﻧﺪﻩ ﺭﺍ‬
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‫ﻣﻲ ﻃﻠﺒﺪ‪ .‬ﻫﻤﻴﻨﻄﻮﺭ ﻣﻲ ﺗﻮﺍﻥ ﮔﻔﺖ ﻛﻪ ﺩﺭ ﻋﻜﺎﺳﻲ ﺍﻳﻦ ﺩﻭ ﻧﻮﻉ ﻓﺮﻳﻢ ﺗﻮﺳﻂ ﻟﺤﻈﻪ ﮔﺮﻓﺘﻪ ﻋﻜﺲ ﻭ ﻟﺤﻈﻪ‬
‫ﭼﺎپ ﻋﻜﺲ ﺍﺯ ﻫﻢ ﺟﺪﺍ ﻣﻲ ﺷﻮﻧﺪ‪ ،‬ﻭﻟﻲ ﺩﺭ ﻧﻘﺎﺷﻲ ﺍﻳﻤﭙﺮﺷﻨﻴﺴﺖ ﺑﻄﻮﺭ ﻫﻤﺰﻣﺎﻥ ﺩﺭ ﺯﻣﺎﻥ ﻛﺸﻴﺪﻥ ﻧﻘﺎﺷﻲ‬
‫ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ‪.‬‬
‫ﻋﻮﺍﻗﺐ ﺍﻳﻦ ﺍﺑﻬﺎﻡ ﭼﻴﺴﺖ؟ ﭘﻴﺘﺮ ﮔﺎﻻﺳﻲ ‪ 1‬ﻭ ﻛﺮﻙ ﻭﺍﺭﻧﺪﻭ ‪ 2‬ﺭﺍﺟﻊ ﺑﻪ ﻃﺮﺡ ﺗﺮﻛﻴﺐ ﺑﻨﺪﻱ ﻛﺎﻟﻴﺒﻮﺕ ‪ 3‬ﺩﺭ ﺧﻴﺎﺑﺎﻥ‬
‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬
‫ﭘﺎﺭﻳﺲ‪ ،‬ﻫﻮﺍﻱ ﺑﺎﺭﺍﻧﻲ ) ‪ - (1877‬ﻋﻜﺲ ‪ ،1-3‬ﺍﻳﻦ ﺭﺍ ﺁﺷﻜﺎﺭ ﻣﻲ ﻛﻨﻨﺪ‪ .‬ﺑﻮﻡ ﺳﺎﺧﺘﺎﺭ ﺳﺎﺯﻱ ﺷﺪﻩ ﺑﺮ ﺭﻭﻱ ﻳﻚ‬
‫ﻋﻼﻣﺖ ﺑﻌﻼﻭﻩ ﺑﺰﺭگ‪ ،‬ﺍﺷﻴﺎء ﻭ ﺍﺷﺨﺎﺹ ﺭﺍ ﺑﺮ ﻃﺒﻖ ﻃﺮﺡ ﭘﺮﻳﺴﻜﺘﻮ ﺗﻘﺴﻴﻢ ﺑﻨﺪﻱ ﻫﻤﺎﻫﻨﮓ )ﻧﻘﺎﻁ ﻃﻼﻳﻲ( ﻗﺮﺍﺭ‬
‫ﻣﻲ ﺩﻫﺪ‪ .‬ﻭﻟﻲ ﺁﻧﻄﻮﺭ ﻛﻪ ﮔﺎﻻﺳﻲ ﻣﻲ ﮔﻮﻳﺪ ﻭﺟﻮﺩ ﺗﻘﺴﻴﻢ ﺑﻨﺪﻱ ﻫﺎﻱ ﻃﻼﻳﻲ ﻛﻤﺘﺮ ﺍﺯ ﺗﺠﺮﺑﻪ ﺑﻴﻨﻨﺪﻩ ﺗﺼﻮﻳﺮ‬
‫ﺑﺮﺍﻱ ﻣﺎ ﻣﻲ ﮔﻮﻳﺪ ﺗﺎ ﺭﺍﺟﻊ ﺑﻪ ﺗﺠﺮﺑﻪ ﻛﺎﻟﻴﺒﻮﺕ ﺍﺯ ﺁﻥ ﻭ ﺍﺯ ﺳﺎﺧﺘﻦ ﺁﻥ‪ ،‬ﻳﻌﻨﻲ ﺍﺯ ﻗﺼﺪ ﺍﻭ‪ .‬ﻣﻲ ﺗﻮﺍﻥ ﮔﻔﺖ‬
‫ﺑﻄﺮﻳﻘﻲ ﻛﻪ ﺩﺭ ﻋﻜﺎﺳﻲ ﻧﻴﺰ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﻛﺎﻟﻴﺒﻮﺕ ﻣﻲ ﺧﻮﺍﺳﺘﻪ ﻓﺮﻳﻢ ﻧﮕﺎﻫﺪﺍﺭﻧﺪﻩ ﻧﻘﺎﺵ‪ ،‬ﻓﺮﻳﻢ ﭼﺸﻢ ﺑﻴﻨﻨﺪﻩ‬
‫ﺷﻮﺩ ﻭ ﺑﺮﺍﻱ ﻣﻘﺼﺪ ﺗﺮﻛﻴﺐ ﺑﻨﺪﻱ ﺧﻮﺩ‪ ،‬ﺗﻮﺳﻂ ﺑﻴﻨﻨﺪﻩ ﺩﻭﺑﺎﺭﻩ ﻓﺮﻣﻮﻝ ﺑﻨﺪﻱ ﺷﻮﺩ‪) .‬ﺑﻪ ﻫﻤﺎﻥ ﺻﻮﺭﺕ ﻳﺎ‬
‫ﺑﺼﻮﺭﺗﻲ ﺩﻳﮕﺮ(‪.‬‬
‫ﻣﻮﺿﻮﻉ ﻣﻬﻢ ﺩﺭ ﺗﻤﺎﻡ ﺍﻳﻨﻬﺎ ﻳﺎﻓﺘﻦ ﻋﺪﻡ ﺍﻧﺴﺠﺎﻡ ﺩﺭ ﻳﻚ ﻧﻤﺎﻱ ﺑﺪﻗﺖ ﺗﺮﺳﻴﻢ ﺷﺪﻩ ﻭ ﻳﺎ ﺍﻳﻨﻜﻪ ﺳﺎﺧﺘﺎﺭ ﻃﺮﺍﺣﻲ‬
‫ﺷﺪﻩ ﻭ ﭼﻴﻨﺶ ﺷﺪﻩ ﺩﺭ ﺧﺪﻣﺖ ﻋﺪﻡ ﺍﻧﺴﺠﺎﻡ ﺑﺎﺷﺪ ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺳﺎﺧﺘﺎﺭ ﻓﺮﻳﻢ ﺟﺴﺘﺠﻮ ﺑﺮﺍﻱ ﻳﺎﻓﺘﻦ‬
‫ﺍﻃﻼﻋﺎﺕ ﺩﺭ ﺗﺼﻮﻳﺮ ﺭﺍ ﺩﺭ ﺑﻴﻨﻨﺪﻩ ﺑﺮ ﻣﻲ ﺍﻧﮕﻴﺰﺩ‪ ،‬ﺑﺪﻭﻥ ﺗﻀﻤﻴﻨﻲ ﺑﺮﺍﻱ ﻳﺎﻓﺘﻦ ﻧﺘﻴﺠﻪ ﺍﻱ ﻗﻄﻌﻲ‪ .‬ﺍﮔﺮ ﺗﺼﻮﻳﺮ ﺑﺎ‬
‫ﺩﻗﺖ ﻭ ﺑﺎ ﺍﺻﻮﻝ ﺗﺮﻛﻴﺐ ﺑﻨﺪﻱ ﺷﺪﻩ ﺑﻮﺩ ﻓﻮﺭﻳﺖ ﻟﺤﻈﻪ ﺍﺯ ﺑﻴﻦ ﻣﻲ ﺭﻓﺖ‪.‬‬
‫ﺷﻜﻞ ‪ :1-3‬ﮔﻮﺳﺘﺎﻭﻛﺎﻟﻴﺒﻮﺕ‪ -‬ﺧﻴﺎﺑﺎﻥ ﭘﺎﺭﻳﺲ‪ ،‬ﻫﻮﺍﻱ ﺑﺎﺭﺍﻧﻲ )‪(1877‬‬

‫‪ .Peter Galassi .1‬ﻣﻮﺯﻩ ﺩﺍﺭ‬
‫‪ .Kirk Varnedoe .2‬ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﺗﺎﺭﻳﺦ ﺩﺍﻥ ﻫﻨﺮ ‪1946-2003‬‬
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‫‪ .Gustave Caillebotte .3‬ﻧﻘﺎﺵ ﻓﺮﺍﻧﺴﻮﻱ‪1848-1894 .‬‬
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‫ﺑﺨﺶ ﺩﻭﻡ‪ :‬ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﻭ ﻣﺴﺘﻨﺪ‬
‫ﺩﺭ ﻣﻘﺎﻟﻪ ﺍﻱ ﺩﺭ ﺳﺎﻝ ‪ 1942‬ﺑﺮﻧﻴﺲ ﺁﺑﻮﺕ ‪ 1‬ﺑﻪ ﻛﺴﺎﻧﻲ ﻛﻪ ﻣﻲ ﺧﻮﺍﻫﻨﺪ ﺷﻬﺮ ﺭﺍ ﻣﺴﺘﻨﺪ ﺳﺎﺯﻧﺪ ﺗﻮﺻﻴﻪ ﻣﻲ ﻛﻨﺪ ﺗﺎ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺍﺯ ﺩﻭﺭﺑﻴﻦ ﺑﺎ ﺑﺰﺭﮔﺘﺮﻳﻦ ﻓﺮﻣﺖ ﻣﻤﻜﻦ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻨﺪ‪ .‬ﺍﻳﻦ ﺗﻮﺻﻴﻪ ﻧﺸﺎﻥ ﻣﻲ ﺩﻫﺪ ﻛﻪ ﻋﻜﺎﺳﻲ ﻣﺴﺘﻨﺪ‪ ،‬ﻋﻜﺎﺳﻲ‬
‫ﺍﻱ ﮔﺬﺷﺘﻪ ﮔﺮﺍﺳﺖ‪ .‬ﺍ ﺯ ﻧﻈﺮ ﺗﻜﻨﻮﻟﻮژﻳﻜﻲ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻥ ﺑﺎ ﺍﻳﺠﺎﺩ ﺩﻭﺭﺑﻴﻦ ﻫﺎﻱ ﻗﻄﻊ ﻛﻮﭼﻚ ﮔﺴﺘﺮﺵ‬
‫ﻳﺎﻓﺖ‪ .‬ﺑﺎ ﺩﻭﺭﺑﻴﻦ ﻫﺎﻳﻲ ﺍﺯ ﺟﻤﻠﻪ ﺍﺭﻣﺎﻧﻮﻛﺲ ﺍﺯ ‪ ،1924‬ﻻﻳﻜﺎ ﺍﺯ ‪ 1925‬ﻭ ﻛﺎﻧﺘَﻜﺲ ﺍﺯ ‪ 1932‬ﻛﻪ ﻗﺎﺑﻠﻴﺖ ﺗﻌﻮﻳﺾ‬
‫ﻧﻤﺎﻱ ﺩﻳﺪ ﻭ ﺳﺮﻋﺘﻲ ﺑﺎﻻ‪ ،‬ﭼﻪ ﺩﺭ ﺍﺳﺘﻔﺎﺩﻩ ﻭ ﭼﻪ ﺩﺭ ﻧﻮﺭﺩﻫﻲ ﺩﺍﺭﻧﺪ‪.‬‬
‫ﺁﮔﻮﺳﺖ ﺳﺎﻧﺪﺭ ‪ 2‬ﻭ ﺁﻟﺒﺮﺕ ﺭﻧﺠﺮ‪-‬ﭘﺎﺗﮋ ‪ 3‬ﺩﺭ ﺗﻤﺎﻡ ﺣﺮﻓﻪ ﻋﻜﺎﺳﻴﺸﺎﻥ ﺍﺯ ﻓﺮﻣﺖ ﺑﺰﺭگ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩﻧﺪ‪ .‬ﺁﺑﻮﺕ ﻭ‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬
‫ﻭﺍﻛﺮ ﺍﻭﺍﻧﺰ ‪ 4‬ﺩﺭ ﺣﺪﻭﺩ ﺳﺎﻝ ‪ 1930‬ﺑﻪ ﺳﺮﺍﻍ ﻓﺮﻣﺖ ﺑﺰﺭگ ﺭﻓﺘﻨﺪ‪ ،‬ﺩﺭﺳﺖ ﺯﻣﺎﻧﻲ ﻛﻪ ﻓﺮﻣﺖ ﻛﻮﭼﻚ ﻛﺎﻣﻼً‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺭﻭﺍﺝ ﺩﺍﺷﺖ‪ .‬ﺩﺭ ﻋﻜﺎﺳﻲ ﻣﺴﺘﻨﺪ ﮔﺬﺭ ﺯﻣﺎﻥ ﺑﺎ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﻣﺘﻔﺎﻭﺕ ﺍﺳﺖ‪ ،‬ﺩﻳﺪ ﻳﻜﻨﻮﺍﺧﺖ ﺍﺳﺖ ﻭ‬
‫ﻣﻨﺤﺮﻑ ﻧﻤﻲ ﺷﻮﺩ‪،‬ﻭ ﺩﺭ ﺁﻥ‪ ،‬ژﺳﺖ ﻭ ﺣﺎﻟﺖ ﺁﻧﻘﺪﺭﻛﻪ ﻣﻮﺭﺩ ﻧﻴﺎﺯ ﻣﻴﻞ ﺩﻭﺭﺑﻴﻦ ﺑﻪ ﺩﻳﺪﻥ ﺍﺳﺖ‪ ،‬ﺍﻧﺘﺨﺎﺏ ﺳﻮژﻩ ﻳﺎ‬
‫ﻋﻜﺎﺱ ﻧﻴﺴﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﺻﻮﺭﺕ ﺳﻮژﻩ ﻫﻢ ﻧﮕﺎﻩ ﺑﺒﻴﻨﻨﺪﻩ ﺭﺍ ﻣﻲ ﻃﻠﺒﺪ ﻭ ﻫﻢ ﺑﻪ ﺩﻭﺭﺑﻴﻦ ﭘﺎﺳﺦ ﻣﻲ ﺩﻫﺪ ﻛﻪ ﻣﻤﻜﻦ‬
‫ﺍﺳﺖ ﺳﻮژﻩ ﻗﺮﺑﺎﻧﻲ ﺷﻮﺩ ﻭﻟﻲ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﻣﺪﺭﻛﻲ ﺍﺳﺖ ﭘﺎﺳﺨﮕﻮ ﻭ ﻗﺎﺑﻞ ﺍﻋﺘﻤﺎﺩ‪ .‬ﺑﻄﻮﺭ ﺧﻼﺻﻪ ﺩﻭﺭﺑﻴﻦ ﺑﻪ‬
‫ﻣﺎﻧﻨﺪ ﺷﺎﻫﺪﻱ ﺑﺮ ﺳﻮژﻩ ﺍﺳﺖ‪ .‬ﻭﻟﻲ ﺍﻳﻦ ﺍﻧﺘﺨﺎﺏ ﺗﻜﻨﻮﻟﻮژﻳﻜﻲ ﺑﻴﺸﺘﺮ ﻣﺤﺼﻮﻝ ﺍﻧﺘﺨﺎﺏ ﺩﻳﺪﮔﺎﻩ ﺁﺭﺷﻴﻮ ﺳﺎﺯﻱ‬
‫ﺍﺳﺖ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺑﺮﺍﻱ ﺫﺧﻴﺮﻩ ﺳﺎﺯﻱ ﺳﻮژﻩ ﺩﺭ ﻗﺎﻟﺐ ﻋﻜﺲ ﺑﻪ ﻛﻴﻔﻴﺖ ﺑﺎﻻ ﻧﻴﺎﺯ ﺍﺳﺖ‪ .‬ﺑﺮﺍﻱ ﻫﻤﻴﻦ ﻋﻜﺲ ﻫﺎﻱ‬
‫ﺷﺎﺭﻝ ﻣﺎﺭﻭﻳﻞ ‪ 5‬ﺍﺯ ﻳﻚ ﭘﺎﺭﻳﺲ ﺩﺭ ﺣﺎﻝ ﻧﺎﭘﺪﻳﺪ ﺷﺪﻥ ﻭ ﻫﻤﭽﻨﻴﻦ ﻋﻜﺴﻬﺎﻱ ﺳﺎﻧﺪﺭ ﻭ ﺁﺑﻮﺕ‪ ،‬ﻣﻲ ﺩﺍﻧﻨﺪ ﻛﻪ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺳﻮژﻩ ﺷﺎﻥ ﺩﺭ ﺣﺎﻝ ﻧﺎﭘﺪﻳﺪ ﺷﺪﻥ ﺍﺳﺖ ﻭ ﺍﺯ ﺁﻧﻬﺎ ﻳﻚ ﺟﺎﻧﺸﻴﻦ ﻣﻲ ﺳﺎﺯﻧﺪ‪.‬‬

‫ﻋﻜﺎﺳﻲ ﻣﺴﺘﻨﺪ ﻭ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﭼﻪ ﻧﻘﻄﻪ ﻣﺸﺘﺮﻛﻲ ﺩﺍﺭﻧﺪ؟ ﻧﺨﺴﺖ ﻭﻗﻒ ﺑﻠﻨﺪ ﻣﺪﺗﺸﺎﻥ ﺑﻪ ﺳﻴﺎﻩ ﻭﺳﻔﻴﺪ ﺑﻪ‬
‫ﻣﺎﻧﻨﺪ ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩ ﺍﺻﻞ ﺑﻮﺩﻥ )ﺑﻄﺮﺯﻱ ﻋﺠﻴﺐ( ﻭ ﺭﺳﻮﺥ ﺁﻥ ﺭﺍ ﺑﻪ ﺣﻘﻴﻘﺖ ﺩﺭﻭﻧﻲ ﻭ ﮔﺬﺭ ﺍﺯ ﻻﻳﻪ ﻫﺎﻱ ﺳﻄﺤﻲ‬
‫ﻫﻤﭽﻮﻥ ﺭﻧﮓ ﻭ ﻓﺎﺭﻍ ﺍﺯ ﺯﻳﺒﺎ ﺳﺎﺯﻱ ﺳﻄﺤﻲ ﺳﻮژﻩ ﻭ ﺑﻪ ﺧﺎﻃﺮ ﻛﻨﺘﺮﻝ ﺑﻴﺸﺘﺮ ﺍﺯ ﻟﺤﺎﻅ ﺗﻜﻨﻴﻜﻲ‪ .‬ﻭﻟﻲ ﺑﺎﻳﺪ ﺩﺭ‬
‫ﻧﻈﺮ ﺩﺍﺷﺖ ﻛﻪ ﺩﺭ ﺩﻫﻪ ‪ 1950‬ﻋﻜﺎﺳﻲ ﺭﻧﮕﻲ ﻫﻨﻮﺯ ﻓﺮﺍﻳﻨﺪﻱ ﭘﻴﭽﻴﺪﻩ ﻭ ﻧﺎﭘﺎﻳﺪﺍﺭ ﺑﻮﺩ‪ .‬ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﻛﺎﺭﺗﻴﻪ‬
‫ﺑﺮﺳﻮﻥ ﻣﻲ ﮔﻮﻳﺪ‪:‬‬
‫‪ .Berenice Abbott .1‬ﻋﻜﺎﺱ ﺁﻣﺮﻳﻜﺎﻳﻲ‪1898-1991 .‬‬

‫‪ .August Sander .2‬ﻋﻜﺎﺱ ﺁﻟﻤﺎﻧﻲ‪1876-1964 .‬‬
‫‪ .Albert Renger-Patzsch .3‬ﻋﻜﺎﺱ ﺁﻟﻤﺎﻧﻲ‪1897-1966 .‬‬
‫‪ .Walker Evans .4‬ﻋﻜﺎﺱ ﺁﻣﺮﻳﻜﺎﻳﻲ ‪1903-1975‬‬
‫‪ .Charles Marville .5‬ﻋﻜﺎﺱ ﻓﺮﺍﻧﺴﻮﻱ ‪1813-1879‬‬
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‫"ﻋﻜﺎﺳﻲ ﺭﻧﮕﻲ ﻣﺸﻜﻼﺗﻲ ﭼﻨﺪ ﺍﻳﺠﺎﺩ ﻣﻲ ﻛﻨﺪ ﻛﻪ ﻫﻨﻮﺯ ﻣﺸﻜﻞ ﺍﺳﺖ ﺗﺎ ﺣﻞ ﺷﻮﻧﺪ ﻭ ﺑﺴﻴﺎﺭﻱ ﻫﻨﻮﺯ ﻗﺎﺑﻞ ﭘﻴﺶ‬
‫ﺑﻴﻨﻲ ﻧﻴﺴﺘﻨﺪ ﻭ ﺍﻳﻦ ﺑﻪ ﺧﺎﻃﺮ ﭘﻴﭽﻴﺪﮔﻲ ﻭ ﻋﺪﻡ ﺑﻠﻮﻍ ﺍﻳﻦ ﺗﻜﻨﻮﻟﻮژﻱ ﺍﺳﺖ‪ .‬ﻣﻦ ﺑﻄﻮﺭ ﺷﺨﺼﻲ ﻧﮕﺮﺍﻧﻢ ﻛﻪ ﺍﻳﻦ‬
‫ﻋﻨﺼﺮ ﭘﻴﭽﻴﺪﻩ ﻭ ﺟﺪﻳﺪ ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﻪ ﺩﺳﺘﺎﻭﺭﺩﻫﺎﻱ ﺯﻧﺪﮔﻲ ﻭ ﺗﺤﺮﻙ ﺁﻥ ﻛﻪ ﺍﻏﻠﺐ ﺑﺼﻮﺭﺕ ﺳﻴﺎﻩ ﻭ ﺳﻔﻴﺪ‬
‫‪1‬‬
‫ﺛﺒﺖ ﺷﺪﻩ ﺍﻧﺪ‪ ،‬ﻟﻄﻤﻪ ﺑﺰﻧﺪ‪".‬‬
‫‪P‬‬
‫ﻭﻟﻲ ﺍﮔﺮ ﺍﺯ ﻟﺤﺎﻅ ﺣﻘﻴﻘﺖ ﺩﺭﻭﻧﻲ ﻛﻪ ﺩﺭ ﻣﻮﺭﺩ ﻋﻜﺎﺳﻲ ﺳﻴﺎﻩ ﻭ ﺳﻔﻴﺪ ﮔﻔﺘﻪ ﻣﻲ ﺷﻮﺩ ﺑﺨﻮﺍﻫﻴﻢ ﺑﺮﺭﺳﻲ ﻛﻨﻴﻢ‪،‬‬
‫ﺍﻳﻦ ﺣﻘﻴﻘﺖ ﺩﺭ ﻣﻮﺭﺩ ﻋﻜﺎﺳﻲ ﻣﺴﺘﻨﺪ‪ ،‬ﺍﻭﺿﺎﻉ ﺍﻧﺴﺎﻧﻲ ﺍﺳﺖ‪ .‬ﺑﺮﺍﻱ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ‪ ،‬ﺍﻳﻦ ﻣﺎﺟﺮﺍﻫﺎﻳﻲ ﺍﺳﺖ ﻛﻪ‬
‫ﺩﺭ ﺧﻴﺎﺑﺎﻥ‪ ،‬ﭼﻬﺎﺭﺭﺍﻩ ﻭ ﻓﺮﻭﺷﮕﺎﻩ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻣﺎﺟﺮﺍﻫﺎﻳﻲ ﻛﻪ ﺗﻮﺳﻂ ﻧﻴﺮﻭﻫﺎﻱ ﻣﺮﻣﻮﺯ ﺩﺭﺳﺖ ﺩﺭ ﺯﻳﺮ ﺳﻄﺢ‬
‫ﭼﻴﺰﻫﺎ ﺍﻳﺠﺎﺩ ﻣﻲ ﺷﻮﻧﺪ‪.‬‬
‫ﻧﻘﻄﻪ ﻣﺸﺘﺮﻙ ﺩﻳﮕﺮ ﺑﻴﻦ ﺍﻳﻦ ﺩﻭ ژﺍﻧﺮ ﻋﻜﺎﺳﻲ‪ ،‬ﺩﺭ ﮔﺸﺘﻦ ﻫﺮ ﺩﻭ ﺑﻪ ﺩﻧﺒﺎﻝ ﭼﻴﺰﻫﺎﻱ ﻋﺎﺩﻱ ﻭ ﺭﻭﺯﻣﺮﻩ ﺍﺳﺖ‪.‬‬
‫ﻭﻟﻲ ﺩﺭ ﭼﻴﺰﻫﺎﻳﻲ ﻋﺎﺩﻱ ﻭ ﺭﻭﺯﻣﺮﻩ ﻧﻴﺰ ﺣﻮﺍﺩﺙ ﻧﺎﺩﺭ ﻭ ﺍﺳﺘﺜﻨﺎﻳﻲ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﺑﺎ ﺣﻘﻴﻘﺖ ﺩﻳﺪﻩ ﺷﺪﻩ ﻓﺮﻕ‬
‫ﺩﺍﺭﺩ‪ .‬ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﮕﻮﻳﻴﻢ ﻓﻘﻂ ﺑﺨﺎﻃﺮ ﺩﻳﺪ ﻣﺘﻔﺎﻭﺕ ﺩﻭﺭﺑﻴﻦ ﻧﺴﺒﺖ ﺑﻪ ﭼﺸﻢ )ﻓﻮﻛﻮﺱ‪ ،‬ﻣﺴﻄﺢ ﺳﺎﺯﻱ ﻓﻀﺎ‪،‬‬
‫ﺩﻭﺑﺎﺭﻩ ﺧﻮﺍﻧﻲ ﻣﻘﻴﺎﺱ‪ ،‬ﺳﻴﺎﻩ ﻭ ﺳﻔﻴﺪ ﻭ ‪ (..‬ﻭﻟﻲ ﻣﻬﻤﺘﺮ ﺍﺯ ﻫﻤﻪ ﺧﻮﺩ ﻓﺮﻳﻢ ﺍﺳﺖ ﻭ ﺩﻭ ﺍﺛﺮ ﺑﺴﻴﺎﺭ ﻣﻬﻢ ﺁﻥ‪:‬‬
‫ﺍﻭﻝ‪ :‬ﻓﺮﺍﻳﻨﺪ ﺧﺎﺭﺝ ﺳﺎﺯﻱ ﻛﻪ ﺩﺭ ﻓﺮﻳﻢ ﭼﺸﻤﻲ ﺍﻧﺠﺎﻡ ﻣﻲ ﺷﻮﺩ ﻧﻮﻋﻲ ﻧﺎﺩﻳﺪﻩ ﺍﻧﮕﺎﺭﻱ )ﻣﺘﻦ‪ ،‬ﺭﻭﺍﻳﺖ( ﭘﺪﻳﺪ ﻣﻲ‬
‫ﺁﻭﺭﺩ‪ .‬ﺍﻳﺠﺎﺩ ﺍﻳﻦ ﻧﺎﺩﻳﺪﻩ ﺍﻧﮕﺎﺭﻱ ﺣﻴﺎﺗﻲ ﺍﺳﺖ ﭼﻮﻥ‪ .1 :‬ﻣﻴﺪﺍﻥ ﻛﻮﺭ ﺭﺍ ﺩﻭﺑﺎﺭﻩ ﺭﺍ ﻓﻌﺎﻝ ﻣﻲ ﺳﺎﺯﺩ‪ ،‬ﻧﻪ ﺑﻪ ﻋﻨﻮﺍﻥ‬
‫ﻳﻚ ﻣﻴﺪﺍﻥ ﻗﺎﺑﻞ ﺷﻨﺎﺧﺖ ﺑﻠﻜﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻓﻀﺎﻱ ﺗﺼﻮﺭﻱ ﻭ ‪ .2‬ﺍﻣﺮ ﭘﻴﺶ ﭘﺎ ﺍﻓﺘﺎﺩﻩ ﻭ ﻣﻌﻤﻮﻟﻲ ﺭﺍ ﺑﻪ ﻳﻜﺒﺎﺭﻩ‬
‫ﺭﻣﺰ ﺁﻟﻮﺩ ﻭ ﺑﻪ ﻣﺎﻧﻨﺪ ﺣﻘﻴﻘﺖ ﻗﺎﺑﻞ ﻧﻮ ﺷﺪﻥ ﻣﻲ ﺳﺎﺯﺩ‪.‬‬
‫ﻋﻜﺲ ﻣﻮﺩﻭﻥِ ‪ 2‬ﻛﺮﺗﻴﺲ ) ‪) ( 1928‬ﻋﻜﺲ ‪ ( 1-4‬ﺗﺼﻮﻳﺮ ﺭﺍﻩ ﻫﺎﻱ ﮔﺬﺭ ﺍﺳﺖ‪ .‬ﻗﻄﺎﺭ ﺭﻭﻱ ﭘﻞ ﺭﺍﻩ ﺁﻫﻦ ﻭ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﻣﺮﺩﻱ ﺑﺎ ﻳﻚ ﺑﺴﺘﻪ ﺩﺭ ﭘﻴﺶ ﺯﻣﻴﻨﻪ‪ ،‬ﺩﺭ ﺩﻭ ﺟﻬﺖ ﻣﺘﻔﺎﻭﺕ ﻭﻟﻲ ﺩﺭ ﺗﻤﺎﺱ ﺑﺎ ﻫﻢ ﺗﻮﺳﻂ ﭘﺎﻳﻪ ﭘﻞ ﺭﺍﻩ ﺁﻫﻦ‪ ،‬ﭼﻪ‬
‫ﺭﺍﺯﻱ ﺭﺍ ﻗﺴﻤﺖ ﻣﻲ ﻛﻨﻨﺪ؟ ﭼﻪ ﭼﻴﺰ ﻣﻬﻤﻲ ﺩﺭ ﺭﻭﺯﻧﺎﻣﻪ ﭘﻴﭽﻴﺪﻩ ﺷﺪﻩ ﺍﺳﺖ؟‬
‫ﺍﺯ ﻃﺮﻑ ﺩﻳﮕﺮ ﻧﺎﻣﺮﺋﻲ ﺑﻮﺩﻧﻲ ﻛﻪ ﻋﻜﺲ ﻣﺴﺘﻨﺪ ﺍﻳﺠﺎﺩ ﻣﻲ ﻛﻨﺪ‪ ،‬ﻧﺎﻣﺮﺋﻲ ﺑﻮﺩﻧﻲ ﻧﻴﺴﺖ ﻛﻪ ﺑﻪ ﺧﺎﻃﺮ ﺁﻥ ﻣﺎ ﻧﻤﻲ‬
‫ﺗﻮﺍﻧﻴﻢ ﭼﻴﺰ ﺧﺎﺻﻲ ﺭﺍ ﺑﺒﻴﻨﻴﻢ‪ ،‬ﺑﻠﻜﻪ ﺩﻗﻴﻘﺎ ﻧﺎﻣﺮﺋﻲ ﺑﻮﺩﻥِ ﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﻣﺎ ﻣﻌﻤﻮﻻً ﺍﻣﺘﻨﺎﻉ ﻣﻲ ﻛﻨﻴﻢ ﻛﻪ ﺁﻥ ﭼﻴﺰ‬
‫ﺭﺍ ﺍﻳﺰﻭﻟﻪ ﺳﺎﺯﻳﻢ‪ ،‬ﻛﻪ ﺑﺎ ﺁﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻣﻮﺭﺩ ﺧﺎﺹ ﺭﻓﺘﺎﺭ ﻛﻨﻴﻢ‪.‬‬
‫ﻣﻨﺒﻊ ﺷﻤﺎﺭﻩ ‪ .3‬ﺻﻔﺤﻪ ‪1956 .90‬‬ ‫‪.1‬‬

‫‪Meudon .2‬‬
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‫ﻋﻜﺲ ‪ :1-4‬ﺁﻧﺪﺭﻩ ﻛﺮﺗﻴﺲ – ﻣﻮﺩﻭﻥ )‪(1928‬‬
‫ﺩﻭﻡ‪ :‬ﺩﺭ ﻣﻮﺭﺩ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺑﻜﺎﺭ ﺑﺮﺩﻥ ﻧﻘﻄﻪ ﺩﻳﺪ ﻛﻨﺎﺭﻱ )ﻛﺞ‪ ،‬ﺷﻴﺐ ﺩﺍﺭ ‪ ،‬ﻏﻴﺮ ﻗﺮﻳﻨﻪ‪ ،‬ﻧﻤﺎﻱ ﻧﺰﺩﻳﻚ( ﺍﻳﻦ‬
‫ﭘﺮﺳﺶ ﺭﺍ ﻣﻄﺮﺡ ﻣﻲ ﻛﻨﺪ ﻛﻪ ﺳﻮژﻩ ﭼﻪ ﻫﺴﺖ‪ .‬ﺍﻳﻦ ﮔﻨﮕﻲ ﺑﺎﻋﺚ ﻣﻲ ﺷﻮﺩ ﺗﺎ ﭼﺸﻢ ﺑﺘﻮﺍﻧﺪ ﺁﺯﺍﺩﺍﻧﻪ ﻭ ﺑﻲ‬
‫ﺗﻌﺼﺐ ﺑﻪ ﺍﻛﺘﺸﺎﻑ ﺑﭙﺮﺩﺍﺯﺩ‪ .‬ﺍﮔﺮ ﻋﻜﺎﺳﻲ ﻣﺴﺘﻨﺪ ﺍﺛﺒﺎﺕ ﺩﻭﺑﺎﺭﻩ ﻳﻚ ﻭﺟﻮﺩ ﺍﺳﺖ‪ ،‬ﺧﻮﺷﺒﺨﺘﺎﻧﻪ ﻳﺎ ﻣﺘﺎﺳﻔﺎﻧﻪ‪،‬‬
‫ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺭﺍﺟﻊ ﺑﻪ ﻣﺎﺟﺮﺍ ﺟﻮﻳﻲ ﺍﺳﺖ ﻭ ﭘﺮ ﺍﺯ ﺭﻭﻳﺪﺍﺩ ﺍﺳﺖ‪ ،‬ﭼﻪ ﺩﺭ ﺳﻮژﻩ ﻭ ﭼﻪ ﺩﺭ ﭼﺸﻢ ﺑﻴﻨﻨﺪﻩ‪.‬‬
‫ﺍﮔﺮ ﻋﻜﺎﺳﻲ ﻣﺴﺘﻨﺪ ﻣﺎ ﺭﺍ ﺑﻪ ﻣﻮﺍﺟﻬﻪ ﻣﻲ ﻃﻠﺒﺪ‪ ،‬ﺑﻪ ﺩﻧﺒﺎﻝ ﻳﻚ ﻭﺍﻛﻨﺶ ﺍﺧﻼﻗﻲ ﺍﺳﺖ‪ ،‬ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺟﺪﺍ‬
‫ﺳﺎﺯﻱ ﻣﺎ ﺍﺯ ﺗﻔﻜﺮ ﺑﻪ ﺍﻳﻦ ﺍﺭﺯﺷﻬﺎ ﻭ ﺭﻫﺎ ﻛﺮﺩﻥ ﻣﺎ ﺍﺯ ﺣﺲ ﻣﺴﺌﻮﻟﻴﺖ ﺭﺍ ﺩﺭ ﻗﺎﻟﺐ ﻭﺍﻛﻨﺶ ﻛﻨﺘﺮﻝ ﺷﺪﻩ ﺷﺨﺼﻲ‬
‫ﺩﺭ ﭘﻲ ﺩﺍﺭﺩ‪ .‬ﺍﮔﺮ ﻋﻜﺎﺳﻲ ﻣﺴﺘﻨﺪ ﺩﺭ ﭘﻲ ﺗﺒﺪﻳﻞ ﻧﺴﺒﻲ ﺑﻪ ﻣﻄﻠﻖ ﺍﺳﺖ‪ ،‬ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺑﺮ ﻋﻜﺲ ﺁﻥ ﺭﺍ ﺍﻧﺠﺎﻡ‬
‫‪3‬‬
‫‪P‬‬ ‫‪P‬‬ ‫ﻣﻲ ﺩﻫﺪ‪ .‬ﺍﮔﺮ ﻋﻜﺎﺳﻲ ﻣﺴﺘﻨﺪ ﺑﺮ ﻃﺒﻖ ﻧﻈﺮﻳﻪ ﺑﺎﺭﺕ‪ 1‬ﻣﺘﻨﻲ ﺧﻮﺍﻧﺪﻧﻲ‪ 2‬ﺍﺳﺖ‪ ،‬ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﻣﺘﻨﻲ ﻧﻮﺷﺘﻨﻲ‬
‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﻋﻜﺎﺳﻲ ﻣﺴﺘﻨﺪ ﺑﻪ ﺩﻧﺒﺎﻝ ﺩﺳﺘﻪ ﺑﻨﺪﻱ ﻣﻮﺿﻮﻋﺎﺕ ﺍﺳﺖ‪ ،‬ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺑﻪ ﺩﻧﺒﺎﻝ ﮔﻮﻧﺎﮔﻮﻥ ﺳﺎﺯﻱ‬
‫ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﻋﻜﺎﺳﻲ ﻣﺴﺘﻨﺪ ﺑﻪ ﻣﺎﻧﻨﺪ ﺧﺪﻣﺘﻜﺎﺭﻱ ﻋﻤﻮﻣﻲ ﺍﺳﺖ‪ ،‬ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺑﻪ ﻣﺎﻧﻨﺪ ﭘﺮﺳﻪ ﺯﻥ)ﻓﻼﻧﻮﺭ(‬
‫ﺑﺪﻭﻥ ﻭﺍﺑﺴﺘﮕﻲ ﺍﺳﺖ‪.‬‬
‫‪ .Roland Gérard Barthes .1‬ﺗﺌﻮﺭﻳﺴﻴﻦ ﺍﺩﺑﻲ ﻭ ﻧﻘﺎﺩ ﻓﺮﺍﻧﺴﻮﻱ‪1915-1980 .‬‬
‫‪lisible-readerly .2‬‬
‫‪scriptible-writerly .3‬‬
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‫ﻋﻜﺲ "ﺑﻠﻮﺍﺭ ﺳﺎﻥ ﻣﻴﻜﻞِ " ﺍﻳﺰﻳﺲ ‪ 1‬ﺭﺍ ﺩﺭﻧﻈﺮ ﺑﮕﻴﺮﻳﺪ )ﻋﻜﺲ ‪ .(1-5‬ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﺤﺚ ﻛﻨﻴﻢ ﻛﻪ ﭼﺮﺍ ﺍﻳﻦ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﻋﻜﺲ ﻳﻚ ﻋﻜﺲ ﺧﻴﺎﺑﺎﻧﻲ ﺍﺳﺖ ﻭ ﻧﻪ ﻋﻜﺲ ﻣﺴﺘﻨﺪ‪ .‬ﺍﮔﺮ ﺍﻳﻦ ﻋﻜﺲ ﻳﻚ ﻋﻜﺲ ﻣﺴﺘﻨﺪ ﺑﻮﺩ ﺑﺎﻳﺪ ﺍﻧﺘﻈﺎﺭ ﻣﻲ‬
‫ﺩﺍﺷﺘﻴﻢ ﻛﻪ ﺷﺮﺍﻳﻂ ﻣﺮﺩ ﺗﺨﺘﻪ ﺑﻪ ﭘﺸﺖ ﻏﻴﺮﻗﺎﺑﻞ ﮔﺮﻳﺰ ﻭ ﺑﻠﻨﺪ ﻣﺪﺕ ﺑﺎﺷﺪ‪).‬ﭼﮕﻮﻧﻪ ﺍﻳﻦ ﻣﺮﺩ ﻣﻲ ﺗﻮﺍﻧﺪ ﻳﻚ ﺗﻴﭗ‬
‫ﺍﺟﺘﻤﺎﻋﻲ ﺑﺎﺷﺪ ﺍﮔﺮ ﺷﺮﺍﻳﻄﺶ ﺯﻭﺩﮔﺬﺭ ﺑﺎﺷﺪ؟( ﺑﺮ ﻃﺒﻖ ﻧﻈﺮ ﺑﺎﺭﺕ ﻳﻚ ﻣﺘﻦ ﺧﻮﺍﻧﺪﻧﻲ ﻣﺘﻨﻲ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺁﻥ‬
‫ﺧﻮﺍﻧﺪﻥ ﭼﻴﺰﻱ ﻏﻴﺮ ﺍﺯ ﺭﻓﺮﺍﻧﺪﻭﻡ ﻳﺎ ﻗﺎﺑﻠﻴﺖ ﻗﺒﻮﻝ ﻛﺮﺩﻥ ﻳﺎ ﺭﺩ ﻛﺮﺩﻥ ﻧﻴﺴﺖ‪.‬‬
‫ﻋﻜﺲ ‪ 1-5‬ﺍﻳﺰﻳﺲ‪ -‬ﺑﻠﻮﺍﺭ ﺳﺎﻥ ﻣﻴﻜﻞ )‪(1949‬‬

‫ﻣﻤﻜﻦ ﺍﺳﺖ ﺗﺼﻮﺭ ﻛﻨﻴﻢ ﻛﻪ ﻓﻮﻛﻮﺱ ﺩﺭ ﺍﻳﻦ ﻋﻜﺲ‪ ،‬ﺷﺨﺼﻲ ﺭﺍ ﺍﺯ ﭘﺲ ﺯﻣﻴﻨﻪ ﺟﺪﺍ ﻣﻲ ﻛﻨﺪ ﻭ ﻧﺸﺎﻧﮕﺮ ﻋﺪﻡ‬
‫ﺩﺳﺘﺮﺳﻲ ﺍﻭ ﺑﻪ ﻃﺒﻘﺎﺕ ﺩﻳﮕﺮ ﺟﺎﻣﻌﻪ ﺍﺳﺖ‪ ،‬ﺗﻮﺟﻪ ﺍﻭ ﺑﻪ ﺭﻫﮕﺬﺭﺍﻥ ﻳﻚ ﻃﺮﻓﻪ ﺍﺳﺖ‪ ،‬ﻇﺎﻫﺮ ﺍﻭ ﻭ ﻛﻔﺶ ﻫﺎﻱ‬
‫ﺑﺮﺍﻗﺶ ﺑﺮﺍﻳﺶ ﺍﺣﺘﺮﺍﻣﻲ ﺑﻪ ﺍﺭﻣﻐﺎﻥ ﻧﻤﻲ ﺁﻭﺭﺩ‪ .‬ﻣﻜﺎﻥ ﻋﺪﻡ ﺍﻣﻜﺎﻥ ﺑﺎﻻ ﺭﻓﺘﻦ ﺍﺯ ﻃﺒﻘﺎﺕ ﺍﺟﺘﻤﺎﻋﻲ ﺍﺵ ﻛﻨﺎﺭﻩ ﭘﻴﺎﺩﻩ‬
‫ﺭﻭ ﺍﺳﺖ‪ .‬ﻭﻟﻲ ﺑﻪ ﻋﻨﻮﺍﻥ ﺑﻴﻨﻨﺪﻩ ﻣﻲ ﺑﻴﻨﻴﻢ ﻛﻪ ﺗﻤﺎﻣﻲ ﺍﻳﻦ ﺗﻮﺟﻴﻬﺎﺕ ﺑﺮﺍﻱ ﻣﺎ ﺭﻧﮓ ﻣﻲ ﺑﺎﺯﻧﺪ‪ .‬ﻣﺎ ﺑﺎ ﺑﺮﺩﺍﺷﺘﻦ ﺍﺳﻢ‬
‫ﺳﻴﻨﻤﺎ‪"،‬ﺍﺳﺘﻮﺩﻳﻮﺍﺭﺳﻮﻟﻴﻦ"‪ ،‬ﺑﺮﺍﻱ ﺧﻮﺩ ﺍﻳﻦ ﺗﺼﻮﻳﺮ ﺭﺍ ﻧﻮﺷﺘﻨﻲ ﻣﻲ ﺳﺎﺯﻳﻢ )ﺁﻳﺎ ﺁﻥ ﺯﻧﺎﻥ ﺭﺍﻫﺒﻪ ﺍﻧﺪ؟(‪ .‬ﻧﺎﻡ ﻓﻴﻠﻢ‬
‫ﭼﻴﺴﺖ؟ "ﺧﺎﻃﺮﺍﺕ ﺍﺯ ﺩﺳﺖ ﺭﻓﺘﻪ "‪ .‬ﺁﻳﺎ ﺗﻤﺎﻡ ﺻﺤﻨﻪ ﻳﻚ ﺧﺎﻃﺮﻩ ﺍﺯ ﺩﺳﺖ ﺭﻓﺘﻪ ﺍﺳﺖ؟ ﺍﮔﺮ ﻣﺎ ﺑﻪ ﺑﻴﻨﻨﺪﻩ ﻛﻤﺘﺮ‬
‫ﺑﻪ ﻋﻨﻮﺍﻥ "ﺁﺭﻱ ﻳﺎ ﻧﻪ " ﻭ ﺑﻴﺸﺘﺮ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺸﺘﺮﻱ "ﻛﺪﺍﻡ ﻳﻚ " ﻧﮕﺎﻩ ﻛﻨﻴﻢ‪ ،‬ﺁﻧﮕﺎﻩ ﻣﻲ ﻓﻬﻤﻴﻢ ﻛﻪ "ﻧﻮﺷﺘﻨﻲ"‬
‫ﭼﮕﻮﻧﻪ ﻛﺎﺭ ﻣﻲ ﻛﻨﺪ‪ .‬ﻫﻴﭻ ﻭﻗﺖ ﺯﻣﺎﻥ ﺣﺎﻝ ﺑﻮﺩﻥ ﺧﻮﺩ ﺭﺍ ﺍﺯﺩﺳﺖ ﻧﻤﻲ ﺩﻫﺪ‪ ،‬ﭼﻮﻥ ﻫﻤﻴﺸﻪ ﻣﺘﻔﺎﻭﺕ ﺍﺳﺖ‪.‬‬
‫ﻳﻚ ﻋﻜﺲ ﺧﻴﺎﺑﺎﻧﻲ ﻧﻴﺎﺯﻱ ﺑﻪ ﺗﻮﺍﻓﻖ ﻣﻌﻨﻲ ﺩﺭ ﺑﻴﻦ ﺑﻴﻨﻨﺪﮔﺎﻧﺶ ﻧﺪﺍﺭﺩ‪ .‬ﻫﺮ ﺑﻴﻨﻨﺪﻩ ﺑﺮﻃﺒﻖ ﺑﺮﺩﺍﺷﺖ ﺧﻮﺩﺵ ﺍﺯ‬
‫ﺗﺼﻮﻳﺮ ﺑﻪ ﻧﺘﻴﺠﻪ ﺑﺼﺮﻱ ﺧﻮﺩﺵ ﺩﺳﺖ ﻣﻲ ﻳﺎﺑﺪ‪.‬‬
‫‪ .Izis(Israëlis) Bidermanas .1‬ﻋﻜﺎﺱ ﻳﻬﻮﺩﻱ‪-‬ﻟﻴﺘﻮﺍﻧﻴﺎﻳﻲ‪1911-1980 .‬‬

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‫ﻋﻜﺲ ‪ 1-6‬ﻛﺎﻣﻴﻞ ﭘﻴﺴﺎﺭﻭ – ﻛﻨﺞ ﻟﻲ ﺁﻟﻪ )‪(1889‬‬
‫ﺍﻳﻦ ﺍﻣﺮ‪ ،‬ﻋﻜﺲ ﻣﺴﺘﻨﺪ ﺭﺍ ﺩﺭﺑﺮﺍﺑﺮ ﻋﻜﺲ ﺧﻴﺎﺑﺎﻧﻲ ﻗﺮﺍﺭ ﻣﻲ ﺩﻫﺪ ﻭ ﺩﺭ ﺍﻳﻨﺠﺎ ﺑﻨﻈﺮ ﻣﻲ ﺭﺳﺪ ﻛﻪ ﺍﺟﺎﺯﻩ ﻣﻲ ﺩﻫﺪ‬
‫ﺩﻭﻣﻲ ﺍﻭﻟﻲ ﺭﺍ ﺟﺬﺏ ﻛﻨﺪ‪ ،‬ﻭ ﺩﺭ ﻣﻮﺍﺭﺩﻱ ﺩﻳﮕﺮ ﻋﻜﺲ ﻫﺎﻳﻲ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ ﻛﻪ ﺩﺭ ﺁﻥ ﻫﺎ ﺑﺮﻋﻜﺲ ﺍﻳﻦ ﺻﺎﺩﻕ‬
‫ﺍﺳﺖ‪.‬‬
‫ﺍﮔﺮ ﺗﺮﻛﻴﺐ ﺑﻨﺪﻱ ﻫﺎﻱ ژﺳﺖ ﺩﺍﺩﻩ ﺷﺪﻩ "ﺭﻭﺑﺮﻭﻳﻲ" ﻭ "ﻣﺮﻛﺰﻱ" ﺩﺭ ﻣﺴﺘﻨﺪ‪ ،‬ﺳﻮژﻩ ﺭﺍ ﻗﺮﺑﺎﻧﻲ ﻣﻲ ﺳﺎﺯﻧﺪ‪ ،‬ﻳﺎ‬
‫ﺣﺪﺍﻗﻞ ﺁﻥ ﺭﺍ ﺩﺍﻡ ﻣﻲ ﺳﺎﺯﻧﺪ‪ ،‬ﻭﻓﺎﺩﺍﺭﻱ ﻋﻜﺎﺱ ﺧﻴﺎﺑﺎﻧﻲ ﺑﻪ ﻋﻤﻞ ﻛﺮﺩﻥ ﭘﻨﻬﺎﻧﻲ ﻭ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻧﻘﺎﻁ ﺩﻳﺪ ﻛﻨﺎﺭﻱ‬
‫ﻛﻤﺘﺮ ﺑﻪ ﺧﺎﻃﺮ ﻋﻤﻞ ﻋﻜﺎﺳﻲ ﺑﻲ ﻫﻮﺍ ﻭ ﺑﻴﺸﺘﺮ ﺑﻪ ﺧﺎﻃﺮ ﺭﺍﻡ ﻭ ﻣﻬﺎﺭ ﻧﺸﺪﻧﻲ ﻧﺸﺎﻥ ﺩﺍﺩﻥ ﺳﻮژﻩ ﺍﺳﺖ‪.‬‬
‫ﺩﺭ ﻛﺎﺭﻫﺎﻱ ﺁﺗﮋﻩ ﺗﻐﻴﻴﺮﻱ ﺑﺎ ﺷﻴﺐ ﻛﻢ ﺍﺯ ﺧﻮﺍﻧﺪﻥ ﺑﻪ ﻧﻮﺷﺘﻦ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻋﻜﺲ ﻫﺎﻱ ﺍﻭ ﺍﺯ ﺍﻭﺍﺧﺮ ﺩﻫﻪ ‪ 1890‬ﻭ‬
‫ﺍﻭﺍﻳﻞ ﺩﻫﻪ ‪ 1900‬ﻋﻤﺪﺗﺎً ﺍﺯ ﻓﺮﻭﺷﮕﺎﻩ ﻫﺎﻱ ﺑﺪﻭﻥ ﻣﺸﺘﺮﻱ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻫﺎ ﻋﻜﺲ ﻫﺎﻳﻲ ﻣﺴﺘﻨﺪ ﺍﻧﺪ ﻭ ﻧﻮﻉ ﻓﺮﻭﺷﮕﺎﻩ‬
‫ﻫﺎﻱ ﺁﻥ ﻣﻮﻗﻊ‪ ،‬ﺍﺟﻨﺎﺱ ﻣﺼﺮﻓﻲ‪ ،‬ﻭ ﻗﻴﻤﺖ ﺁﻥ ﻫﺎ ﺭﺍ ﻧﺸﺎﻥ ﻣﻲ ﺩﻫﻨﺪ‪ .‬ﺧﻮﺩ ﻋﻜﺎﺳﻲ ﻳﻚ ﺭﺳﺎﻧﻪ ﻣﺴﺘﻨﺪ ﺍﺳﺖ ﺯﻳﺮﺍ‬
‫ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﺑﻲ ﺣﺮﻛﺖ ﻣﻲ ﺳﺎﺯﺩ ﻭ ﭼﻴﺰ ﺟﺪﻳﺪﻱ ﺑﻪ ﻣﺤﺼﻮﻝ ﺁﻥ )ﻋﻜﺲ( ﺍﺿﺎﻓﻪ ﻧﻤﻲ ﺷﻮﺩ‪ .‬ﺩﺭ ﻋﻜﺲ ﻫﺎﻱ‬
‫ﺁﺗﮋﻩ ﻧﻴﺰ ﭼﻨﻴﻦ ﺍﺳﺖ‪.‬‬
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‫ﺍﺯ ﻓﺮﻭﺷﮕﺎﻩ ﻫﺎ ﻧﮕﺎﻩ ﻛﻨﻴﻢ‪ ،‬ﺧﻮﺩﺭﺍ ﺩﺭ ﻣﻴﺎﻥ ﺧﺮﻳﺪﺍﺭﺍﻥ ﻭ‬ ‫‪P‬‬ ‫‪P‬‬ ‫ﺍﺯ ﻃﺮﻑ ﺩﻳﮕﺮ ﺍﮔﺮ ﺑﻪ ﻧﻘﺎﺷﻲ ﻫﺎﻱ ﭘﻴﺴﺎﺭﻭ‬
‫ﻓﺮﻭﺷﻨﺪﮔﺎﻥ ﺗﺼﻮﺭ ﻣﻲ ﻛﻨﻴﻢ)ﻋﻜﺲ ‪ .(1-6‬ﭘﺲ ﺑﺎﺭ ﺩﻳﮕﺮﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺑﺠﺎﻱ ﺍﻳﻨﻜﻪ ﺩﺭ ﺟﻬﺖ ﺗﺜﺒﻴﺖ ﻛﺎﺭ‬
‫ﻛﻨﺪ ﺩﺭ ﺟﻬﺖ ﺷﺎﻧﺲ ﻭ ﻣﻮﻗﻌﻴﺖ ﻛﺎﺭ ﻣﻲ ﻛﻨﺪ ﻭ ﺑﻴﻨﻨﺪﻩ ﺭﺍ ﺑﻪ ﺷﺮﻛﺖ ﺩﺭ ﺭﻭﺍﻳﺖ ﺧﻮﺩ ﺩﻋﻮﺕ ﻣﻲ ﻛﻨﺪ‪.‬‬
‫ﻣﻲ ﺗﻮﺍﻥ ﭼﻨﻴﻦ ﺍﺳﺘﻌﺎﺭﻩ ﺍﻱ ﺑﻪ ﻛﺎﺭ ﺑﺮﺩ ﻛﻪ ﻋﻜﺎﺱ ﺧﻴﺎﺑﺎﻧﻲ ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﻭﺍﻗﻌﻴﺖ‪ ‬ﺧﺮﻳﺪﺍﺭ ﻭ ﻓﺮﻭﺷﻨﺪﻩ‪ ،‬ﺑﻪ ﻣﺎﻧﻨﺪ‬
‫ﺧﺮﻳﺪﺍﺭ ﻋﻤﻞ ﻣﻴﻜﻨﺪ‪ .‬ﺩﺭ ﺻﻮﺭﺗﻴﻜﻪ ﻋﻜﺎﺱ ﻣﺴﺘﻨﺪ ﺑﻪ ﻣﺎﻧﻨﺪ ﻓﺮﻭﺷﻨﺪﻩ ﻋﻤﻞ ﻣﻲ ﻛﻨﺪ‪) .‬ﺍﺳﺘﺎﻧﺪﺍﺭﺩﻫﺎﻱ ﺑﺎﻻﻱ‬
‫ﻓﺮﻭﺷﻨﺪﻩ ﺩﺭ ﻛﺎﻻ ﻧﻤﺎﻳﺎﻥ ﺍﺳﺖ‪(.‬‬
‫ﺩﺭﺩﻳﺪﮔﺎﻩ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﮔﺮﺍﻳﺎﻧﻪ ﻋﺎﻣﻞ ﺍﺻﻠﻲ ﻛﻨﺠﻜﺎﻭﻱ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻨﺠﺎ ﺗﺠﺮﺑﻪ ﻫﺎﻱ ﺷﺨﺼﻲ ﺟﺎﻟﺒﺘﺮ ﺍﺯ‬
‫ﺩﺭﺱ ﻫﺎﻱ ﻧﻬﺎﻳﻲ‪ ،‬ﻭ ﺗﺮﺳﻴﻢ ﻫﺎﻱ ﻛﻠﻲ ﺟﺎﻟﺐ ﺗﺮ ﺍﺯ ﻧﻘﺎﺷﻲ ﻧﻬﺎﻳﻲ ﺍﻧﺪ‪) .‬ﻣﺴﺘﻨﺪ ﮔﺮﺍﻫﺎ ﺑﻪ ﺩﻧﺒﺎﻝ ﻛﺎﻣﻞ ﮔﺮﺍﻳﻲ ﺍﻧﺪ‬
‫‪ ،‬ﺁﻥ ﭼﻨﺎﻥ ﻛﻪ ﺷﻮﺍﻫﺪ ﺗﺒﺪﻳﻞ ﺷﻮﻧﺪ ﺑﻪ ﻣﺪﺍﺭﻙ – ﻋﻜﺎﺱ ﺧﻴﺎﺑﺎﻧﻲ ﺑﻪ ﺩﻧﺒﺎﻝ ﭘﺘﺎﻧﺴﻴﻞ ﺗﻜﺮﺍﺭ ﺷﺪﻥ ﺟﺮﻳﺎﻥ ﺍﻣﻮﺭ‬
‫ﺍﺳﺖ‪ (.‬ﺍﺷﺨﺎﺹ ﺟﺎﻟﺒﺘﺮ ﺍﺯ ﻛﺎﺭﻫﺎ ﻫﺴﺘﻨﺪ‪) .‬ﺗﻮﺟﻪ ﻣﺴﺘﻨﺪﮔﺮﺍﻳﺎﻥ ﺑﻴﺸﺘﺮ ﻣﻌﻄﻮﻑ ﺷﺮﺍﻳﻂ ﺍﻳﺠﺎﺩ ﺷﺪﻩ ﺑﺮﺍﻱ ﺍﻧﺴﺎﻥ‬
‫ﻫﺎﺳﺖ ﺗﺎ ﺧﻮﺩ ﺍﻧﺴﺎﻥ (‪ .‬ﺭﺳﻮﻡ ﺟﺎﻟﺒﺘﺮ ﺍﺯ ﻣﻘﺮّﺭﺍﺗﻨﺪ‪ ).‬ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺭﻓﺘﺎﺭﻫﺎ ﺭﺍ ﺩﺭ ﻋﻤﻞ ﻣﻲ ﻧﮕﺮﺩ ﺗﺎ ﺩﺭ‬
‫ﺍﺭﺯﺷﻬﺎﻱ ﺍﺧﻼﻗﻲ ﺍﻧﺘﺰﺍﻋﻲ ﺩﺭﻭﻧﻲ(‪.‬‬
‫ﻋﻜﺎﺳﻲ ﻣﺴﺘﻨﺪ ﻫﻨﻮﺯ ﺑﺎ ﻗﺪﺭﺕ ﺑﻪ ﺣﻴﺎﺕ ﺧﻮﺩ ﺍﺩﺍﻣﻪ ﻣﻲ ﺩﻫﺪ ﻭﻟﻲ ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺁﻥ ﺑﺎ ﻧﻈﺎﻡ ﺧﺮﻳﺪ ﻭ ﻓﺮﻭﺵ‪،‬‬
‫ﻋﻜﺎﺳﻲ ﻣﺴﺘﻨﺪ ﺑﻴﺸﺘﺮ ﻣﺸﺎﺑﻪ ﻧﻈﺎﻡ ﺍﻗﺘﺼﺎﺩﻱ ﻋﺮﺿﻪ ﻭ ﺗﻘﺎﺿﺎﺳﺖ ﺗﺎ ﺍﻳﻨﻜﻪ ﻣﺒﺘﻨﻲ ﺑﺮ ﻧﻈﺎﻡ ﻭﺳﻮﺳﻪ ﻛﺮﺩﻥ ﻣﺸﺘﺮﻱ‬
‫ﺑﺎﺷﺪ ﺗﺎ ﺷﻲء ﻏﻴﺮ ﻻﺯﻡ ﺭﺍ ﺑﺨﺮﺩ‪.‬‬
‫ﺗﺎ ﺍﻳﻨﺠﺎ ﺗﻔﺎﻭﺕ ﻫﺎﻱ ﻋﻤﺪﻩ ﺑﻴﻦ ﺩﻳﺪﮔﺎﻩ ﻣﺴﺘﻨﺪ ﮔﺮﺍ ﻭ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻥ ﮔﺮﺍ ﺭﺍ ﺑﻴﺎﻥ ﻛﺮﺩﻳﻢ ﻭ ﺟﺎﻫﺎﻳﻲ ﻛﻪ ﺍﻳﻦ ﺩﻭ‬
‫ﺑﺎ ﻫﻢ ﺩﺭ ﻳﻚ ﻋﻜﺲ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ ﺭﺍ ﺫﻛﺮ ﻛﺮﺩﻳﻢ‪ .‬ﻳﻚ ﺗﻐﻴﻴﺮﻛﻠﻲ ﺩﺭ ﺁﺛﺎﺭ ﺁﺗﮋﻩ ﺍﺯ ﻳﻜﻲ ﺑﻪ ﺩﻳﮕﺮﻱ ﺭﺍ ﻛﺸﻒ‬
‫ﻧﻤﻮﺩﻳﻢ‪ .‬ﻭﻟﻲ ﺗﺼﺎﻭﻳﺮﻱ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ ﻛﻪ ﺩﺭ ﺁﻧﻬﺎ ﺗﺼﻤﻴﻢ ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﻪ ﻫﺮ ﻃﺮﻑ ﺑﺮﻭﺩ‪ .‬ﺩﺭ ﺑﺴﻴﺎﺭﻱ ﺍﺯ‬
‫ﻋﻜﺴﻬﺎﻱ ﺧﺒﺮﻱ‪ ،‬ﺗﺮﻛﻴﺒﻲ ﺍﺯ ﻫﺮ ﺩﻭ ﺩﻳﺪﮔﺎﻩ ﺩﺭ ﻳﻚ ﻋﻜﺲ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪.‬‬
‫ﺳﻪ ﻧﻮﻉ ﺭﭘﻮﺭﺗﺎژ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻳﻜﻲ ﺭﭘﻮﺭﺗﺎژﻱ ﻛﻪ ﻳﻚ ﺷﺮﺍﻳﻂ ﺩﺭ ﺣﺎﻝ ﺭﺥ ﺩﺍﺩﻥ ﺭﺍ ﺑﺮﺭﺳﻲ ﻣﻲ ﻛﻨﺪ)ﻣﻘﺎﻟﻪ ‪،(1‬‬
‫‪P‬‬ ‫‪P‬‬
‫ﻳﻜﻲ ﺭﭘﻮﺭﺗﺎژﻱ ﻛﻪ ﻳﻚ ﻋﻨﻮﺍﻥ ﻣﻬﻢ ﺧﺒﺮﻱ ﺭﺍ ﺩﻧﺒﺎﻝ ﻣﻲ ﻛﻨﺪ )ﺩﺍﺳﺘﺎﻥ ﺧﺒﺮﻱ( ﻭ ﺭﭘﻮﺭﺗﺎژﻱ ﻛﻪ ﻳﻚ ﺧﺒﺮ‬
‫ﻛﻮﺗﺎﻩ ﻭﺍﮔﺬﺭﺍ ﺭﺍ ﺑﺎ ﺍﺭﺯﺵ ﻛﻨﺠﻜﺎﻭﻱ ﻓﺮﺍﻭﺍﻥ ﺿﺒﻂ ﻣﻲ ﻛﻨﺪ)ﻓ‪‬ﻴﺖ ﺩﻳﻮِﺭ ﻳﺎ ﺍﺧﺒﺎﺭﻛﻮﺗﺎﻩ ﮔﻮﻧﺎﮔﻮﻥ(‪.‬‬
‫‪P‬‬ ‫‪P‬‬
‫ﺩﺭ ژﺍﻧﻮﻳﻪ ‪ 1910‬ﺳﻴﻞ ﺷﺪﻳﺪﻱ ﭘﺎﺭﻳﺲ ﺭﺍ ﻓﺮﺍ ﮔﺮﻓﺖ‪ .‬ﺁﺏ ﺗﺎ ﮔﻴﺮ ﺳﻦ ﻻﺯﺍﺭ ‪ 2‬ﺭﺳﻴﺪ ﻭ ﺩﺭﻳﺎﭼﻪ ﺑﺰﺭﮔﻲ ﺩﺭﺳﺖ‬
‫‪P‬‬ ‫‪P‬‬
‫ﻛﺮﺩ‪ .‬ﺑﺮﺍﺩﺭﺍﻥ ﺳﻴﺒﺮﮔﺮ ) ﻫﻨﺮﻱ‪ ،‬ﻟﻮﺋﻴﺲ ﻭ ژﻭﻟﺰ( ‪ 3‬ﺍﺯ ﺍﻳﻦ ﺳﻴﻞ ﻫﺎ ﻛﻪ ﭘﺎﺭﻳﺲ ﺭﺍ ﺗﺒﺪﻳﻞ ﺑﻪ ﻳﻚ ﻭﻧﻴﺰ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﻋﻜﺲ ﮔﺮﻓﺘﻨﺪ ﻛﻪ ﺍﻛﻨﻮﻥ ﺩﺭ ﺁﻥ ﻣﺎﻫﻴﮕﻴﺮﻱ ﻳﻜﻲ ﺍﺯ ﺳﺮﮔﺮﻣﻲ ﻫﺎﻱ ﺍﺻﻠﻲ ﺑﻮﺩ‪).‬ﻋﻜﺲ ‪ (1-7‬ﺍﻳﻦ ﻳﻚ ﻗﻄﻌﻪ‬
‫ﺧﺒﺮﻱ ﺍﺻﻠﻲ ﺑﻮﺩ‪ ،‬ﻳﻚ ﺭﺧﺪﺍﺩ ﺩﺭ ﺟﺮﻳﺎﻥ‪ .‬ﻭﻟﻲ ﺑﺮﺍﺩﺭﺍﻥ ﺳﻴﺒﺮگ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺭﺍ ﺭﻫﺎ‬
‫‪Feature .1‬‬
‫‪Gare st Lazare .2‬‬
‫‪Seeberger brothers .3‬‬
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‫ﻋﻜﺲ ‪ :1-7‬ﺳﻴﺒﺮﮔﺮﻫﺎ‪ ،‬ﺳﻴﻞ‪ ،‬ﻛَﺪﻳﺲ ﺍﻭﺭ ﻓ‪‬ﻮ‪(1910) ‬‬
‫ﻧﻜﺮﺩﻧﺪ ﺗﺎ ﻋﻜﺎﺳﺎﻥ ﺧﺒﺮﻱ ﻣﺴﺘﻨﺪ ﺷﻮﻧﺪ‪ .‬ﻋﻜﺴﻬﺎﻱ ﺁﻧﻬﺎ ﭘﺮ ﺍﺯ ﺭﻭﻳﺪﺍﺩ ﻧﻴﺴﺖ ) ﻣﺎﻧﻨﺪ ﻧﺠﺎﺕ ﺍﻧﺴﺎﻥ ﻫﺎ‪ ،‬ﺣﻴﻮﺍﻧﺎﺕ‬
‫ﻏﺮﻕ ﺷﺪﻩ‪ ،‬ﺳﺨﺘﻲ ﻫﺎ ( ﻛﻪ ﺁﮔﺎﻫﻲ ﻣﺎ ﺭﺍ ﺍﺯ ﺷﺮﺍﻳﻂ ﺑﺎﻻ ﺑﺒﺮﺩ‪ .‬ﻋﻜﺴﻬﺎﻱ ﺁﻧﻬﺎ ﺩﺍﺭﺍﻱ ﺧﺎﺻﻴﺖ ﺧﻮﺩﺑﺨﻮﺩﻱ ﻭ ﺑﻲ‬
‫ﻗﺎﻋﺪﮔﻲ "ﻓ‪‬ﻴﺖ ﺩﻳﻮِﺭ " ﺍﺳﺖ‪ ،‬ﺑﺼﻮﺭﺗﻴﻜﻪ ﺧﺒﺮ ﺭﺍ ﺩﺭ ﺟﻬﺘﻲ ﻋﺠﻴﺐ ﻭ ﺟﺎﻧﺒﻲ ﻣﻄﺮﺡ ﻣﻲ ﻛﻨﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻓ‪‬ﻴﺖ‬
‫ﺩﻳﻮِﺭ ﺟﺎﻳﻲ ﺍﺳﺖ ﻛﻪ ﻋﻜﺎﺳﻲ ﺧﺒﺮﻱ ﺍﺯ ﻋﻜﺎﺳﻲ ﻣﺴﺘﻨﺪ ﻓﺎﺻﻠﻪ ﮔﺮﻓﺘﻪ ﻭ ﺑﻪ ﺳﻤﺖ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﮔﺮﺍﻳﺶ‬
‫ﭘﻴﺪﺍ ﻣﻲ ﻛﻨﺪ‪ .‬ﻓ‪‬ﻴﺖ ﺩﻳﻮِﺭ ﻣﻌﻄﻮﻑ ﺍﺧﺒﺎﺭ ﺣﺎﺷﻴﻪ ﺍﻱ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺭﺍﺣﺘﻲ ﻃﺒﻘﻪ ﺑﻨﺪﻱ ﻧﻤﻲ ﺷﻮﻧﺪ‪ ،‬ﺍﺧﺒﺎﺭﻱ ﻛﻪ‬
‫ﻛﺎﺭﺍﻳﻲ ﺁﻧﻬﺎ ﻣﺸﺨﺺ ﻧﻴﺴﺖ‪ .‬ﺍﺧﺒﺎﺭ ﻭﺍﻗﻌﻲ ﺩﺭ ﻗﺴﻤﺖ ﻫﺎﻱ ﺭﻭﺯﻣﺮﻩ ﻫﺮ ﺭﻭﺯ ﺑﻪ ﺩﺳﺖ ﻣﺎ ﻣﻲ ﺭﺳﻨﺪ ﻭ ﻗﺴﻤﺘﻲ ﺍﺯ‬
‫ﻳﻚ ﻛﻠّﻴﺖ ﺑﺰﺭﮔﺘﺮﻧﺪ‪ ،‬ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﺍﺩﺍﻣﻪ ﺩﺍﺭ‪ ،‬ﻛﻪ ﺍﻫﻤﻴﺖ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺁﻥ ﻣﻲ ﮔﻴﺮﻧﺪ‪ .‬ﺍﺯ ﻃﺮﻑ ﺩﻳﮕﺮ ﻓ‪‬ﻴﺖ ﺩﻳﻮِﺭ‬
‫ﻣﺴﺘﻘﻞ ﻭ ﻣﺘﻜﻲ ﺑﺮ ﺧﻮﺩ ﺍﺳﺖ ﻛﻪ ﻋﻠﻴﺖ ﻭ ﭘﻴﺎﻣﺪ ﻫﺎﻱ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻗﺎﻟﺐ ﺧﻮﺩ ﺣﻤﻞ ﻣﻲ ﻛﻨﺪ‪ .‬ﺩﺭ ﺁﻧﻬﺎ ﺍﺗﻔﺎﻗﺎﺕ‬
‫ﺗﺼﺎﺩﻓﻲ ﻋﻠﺖ ﺍﺻﻠﻲ ﺍﺳﺖ‪.‬‬
‫ﺩﺭ ﻋﻜﺎﺳﻲ ﺭﭘﻮﺭﺗﺎژ ﻋﻜﺎﺳﻲ ﻣﺴﺘﻨﺪ ﻭ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺑﺎ ﻫﻤﺪﻳﮕﺮ ﺗﻼﻗﻲ ﺩﺍﺭﻧﺪ‪ ،‬ﭼﻮﻥ ﺍﺧﺒﺎﺭ ﻧﻪ ﺗﻨﻬﺎ ﺭﺥ ﻣﻲ‬
‫ﺩﻫﻨﺪ ﺑﻠﻜﻪ ﺍﺯ ﺧﻮﺩ ﻣﻲ ﭘﺮﺳﻨﺪ ﻛﻪ ﭼﺮﺍ ﺗﺒﺪﻳﻞ ﺑﻪ ﺧﺒﺮ ﺷﺪﻧﺪ‪ ،‬ﻣﻜﺚ ﻛﺮﺩﻩ ﻭ ﻣﻲ ﭘﺮﺳﻨﺪ ﻛﻪ ﭼﻘﺪﺭ ﺍﺑﺘﻜﺎﺭ ﺩﺍﺭﻧﺪ‪،‬‬
‫ﻣﻜﺚ ﻛﺮﺩﻩ ﻭ ﺑﻪ ﻓﻮﺭﺍﻥ ﻫﺎﻱ ﺧﻮﺩ ﺑﺨﻮﺩﻳﺸﺎﻥ ﻟﺒﺨﻨﺪ ﻣﻲ ﺯﻧﻨﺪ‪.‬‬
‫ﻳﻚ ﺗﻔﺎﻭﺕ ﻣﻴﺎﻥ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﻭ ﻣﺴﺘﻨﺪ‪ ،‬ﺍﺯ ﻟﺤﺎﻅ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﺩﺳﺘﻮﺭ ﺯﺑﺎﻥ ﺍﻧﮕﻠﻴﺴﻲ ﻣﺎﻧﻨﺪ ﺗﻔﺎﻭﺕ ﺣﺮﻑ‬
‫ﺗﻌﺮﻳﻒ ‪ a‬ﻭ ‪ the‬ﺍﺳﺖ‪ .‬ﺣﺮﻑ ﺗﻌﺮﻳﻒ ‪ the‬ﻳﻚ ﻣﻮﺿﻮﻉ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ‪ ،‬ﻧﻮﻋﻲ ﻭ ﻃﺒﻘﻪ ﺑﻨﺪﻱ ﺷﺪﻩ ﺭﺍ ﺗﻌﺮﻳﻒ‬
‫‪20‬‬
‫‪the‬‬ ‫ﻣﻲ ﻛﻨﺪ ﻭﻟﻲ ﺣﺮﻑ ﺗﻌﺮﻳﻒ ‪ a‬ﻳﻚ ﻣﻮﺿﻮﻉ ﻧﺎﺷﻨﺎﺱ ﺭﺍ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺩﺭ ﺑﺴﻴﺎﺭﻱ ﻣﻮﺍﺭﺩﻱ ﺣﺮﻑ ﺗﻌﺮﻳﻒ‬
‫ﺩﻳﺪﮔﺎﻩ ﻣﺴﺘﻨﺪ ﺭﺍ ﺑﻪ ﺫﻫﻦ ﺁﻭﺭﺩﻩ ﻭ ﺣﺮﻑ ﺗﻌﺮﻳﻒ ‪ a‬ﺩﻳﺪﮔﺎﻩ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺭﺍ‪.‬‬
‫‪film still .1‬‬
‫‪21‬‬
‫ﺑﺨﺶ ﺳﻮﻡ‪ :‬ﻓﺮﻭﺷﻨﺪﮔﺎﻥ‪ ،‬ﺳﺮﮔﺮﻡ ﻛﻨﻨﺪﮔﺎﻥ ﻭ ﺩﻳﮕﺮ ﺗﻴﭗ ﻫﺎﻱ ﺧﻴﺎﺑﺎﻧﻲ‬
‫ﺩﺭ ﺍﻭﺍﺧﺮ ﻗﺮﻥ ‪ 19‬ﻋﻠﻮﻡ ﭼﻬﺮﻩ ﺷﻨﺎﺳﻲ ‪ 1‬ﻭ ﺑﺪﻥ ﺷﻨﺎﺳﻲ ‪ 2‬ﺩﺭ ﺣﺎﻝ ﭘﻴﺸﺮﻓﺖ ﺑﻮﺩﻧﺪ ﻭ ﺑﺎ ﻃﺒﻘﻪ ﺑﻨﺪﻱ ﺟﺎﻣﻌﻪ ﺑﻪ‬
‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬
‫ﻣﻄﺎﻟﻌﻪ ﺁﻧﻬﺎ ﻣﻲ ﭘﺮﺩﺍﺧﺘﻨﺪ‪ .‬ﺗﻐﻴﻴﺮﺍﺕ ﺍﺟﺘﻤﺎﻋﻲ ﺿﺮﻭﺭﻱ ﺑﻮﺩﻧﺪ‪.‬‬

‫ﺩﺭ ﺍﻳﻦ ﺷﺮﺍﻳﻂ ﻧﻴﺎﺯ ﺑﻪ ﻣﺴﺘﻨﺪ ﺳﺎﺧﺘﻦ ﺑﺎﻻ ﺑﻮﺩ‪ .‬ﻭﻟﻲ ﺩﺭ ﺩﻳﺪﮔﺎﻩ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺍﻳﻦ ﺩﺳﺘﻪ ﺑﻨﺪﻱ ﻫﺎ ﺑﻪ ﻫﻢ‬
‫ﺭﻳﺨﺘﻪ ﻣﻲ ﺷﺪ ﻭ ﺑﻪ ﺗﺠﺮﺑﻪ ﻫﺎﻱ ﺷﺨﺼﻲ ﺑﻬﺎ ﺩﺍﺩﻩ ﻣﻲ ﺷﺪ ﻭ ﻣﺮﺯﻫﺎ ﺑﺮﺩﺍﺷﺘﻪ ﻣﻲ ﺷﺪﻧﺪ ﺗﺎ ﻏﻴﺮ ﻗﺎﺑﻞ ﭘﻴﺶ ﺑﻴﻨﻲ‬
‫ﺑﻮﺩﻥ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺷﻮﺩ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺑﺎﺭ ﺩﻳﮕﺮ ﺩﻳﺪﮔﺎﻩ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺑﺎ ﻏﻴﺮ ﻗﺎﺑﻞ ﻛﻨﺘﺮﻝ ﻭ ﻏﻴﺮ ﻗﺎﺑﻞ ﭘﻴﺶ ﺑﻴﻨﻲ‬
‫ﺑﻮﺩﻧﺶ ﺩﻳﺪﮔﺎﻩ ﻫﺪﻓﻤﻨﺪ ﻭ ﻫﻮﺷﻴﺎﺭ ﻭ ﻣﺴﺘﻨﺪﮔﺮﺍﻳﻲ ﺭﺍ ﻧﺎﺩﻳﺪﻩ ﻣﻲ ﺍﻧﮕﺎﺷﺖ‪.‬‬
‫"ﻣﺎﻧﻪ"‪ 3‬ﺩﺭ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﻧﻘﺎﺷﻲ ﻫﺎﻳﺶ ﺍﺯ ﻓﺮﻭﺷﻨﺪﮔﺎﻥ ﺧﻴﺎﺑﺎﻧﻲ‪ ،‬ﺍﺟﺮﺍ ﻛﻨﻨﺪﻩ ﻫﺎﻱ ﻧﻤﺎﻳﺶ ﺧﻴﺎﺑﺎﻧﻲ ﻭ ﺩﻳﮕﺮ ﺗﻴﭗ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﻫﺎ‪ ،‬ﻣﺜﻞ ﻣﺸﺮﻭﺏ ﺧﻮﺍﺭ ) ‪ (1858-59‬ﻧﻮﺍﺯﻧﺪﻩ ﭘﻴﺮ ) ‪ (1862‬ﻭ ‪ ...‬ﺷﺨﺼﻴﺖ ﺭﺍ ﺩﺭ ﺑﺮﺍﺑﺮ ﻳﻚ ﭘﺲ ﺯﻣﻴﻨﻪ ﺧﻨﺜﻲ ﻳﺎ‬
‫ﻣﺤﻮ ﻗﺮﺍﺭ ﻣﻲ ﺩﻫﺪ‪ .‬ﺍﻳﻦ ﺭﺳﻢ ﺁﻥ ﺩﻭﺭﻩ ﺑﺮﺍﻱ ﺑﻪ ﻧﻤﺎﻳﺶ ﮔﺬﺍﺷﺘﻦ ﺗﻴﭗ ﻫﺎﻱ ﺧﻴﺎﺑﺎﻧﻲ ﺍﺳﺖ‪ .‬ﻋﻜﺴﻬﺎﻱ "ﻫ‪‬ﻨﺮﻱ‬
‫‪ (1851-62‬ﻧﻴﺰ ﭼﻨﻴﻦ ﺧﺼﻮﺻﻴﺘﻲ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﻣﻲ ﻫﻴﻮ ‪ "4‬ﺗﺤﺖ ﻋﻨﻮﺍﻥ ﻛﺎﺭ ﺳﺨﺖ ﺩﺭ ﻟﻨﺪﻥ ﻭ ﻓﻘﺮﺍﻱ ﻟﻨﺪﻥ )‬ ‫‪P‬‬ ‫‪P‬‬
‫ﻋﻜﺴﻬﺎﻱ ﺟﺎﻥ ﺗﺎﻣﺴﻮﻥ‪ 5‬ﺗﺤﺖ ﻋﻨﻮﺍﻥ ﺯﻧﺪﮔﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺩﺭ ﻟﻨﺪﻥ )‪ (1877‬ﻧﻴﺰ ﭼﻨﻴﻨﻨﺪ‪ .‬ﻋﻜﺴﻬﺎﻱ ﺁﺗﮋﻩ ﺍﺯ ‪petits‬‬ ‫‪P‬‬ ‫‪P‬‬
‫‪ métiers‬ﻧﻴﺰ ﺍﮔﺮ ﭼﻪ ﺩﺭ ﺧﻴﺎﺑﺎﻧﻨﺪ ﻭﻟﻲ ﻋﻤﻖ ﻣﻴﺪﺍﻥ ﺑﺴﻴﺎﺭ ﻛﻤﻲ ﺩﺍﺭﻧﺪ‪ ،‬ﻃﻮﺭﻳﻜﻪ ﺍﺷﺨﺎﺹ ﻣﺠﺰﺍ ﺍﺯ ﭘﺲ ﺯﻣﻴﻨﻪ‬
‫ﺑﻨﻈﺮ ﻣﻲ ﺭﺳﻨﺪ‪.‬‬
‫ﻋﻜﺴﻬﺎﻱ ﺁﺗﮋﻩ ﭘﺲ ﺍﺯ ﻋﻜﺴﻬﺎﻱ ﺷﺎﺭﻝ ﻧﮕﺮﻭ ﺗﺤﺖ ﻋﻨﻮﺍﻥ ‪ scènes de genre‬ﻗﺮﺍﺭ ﺩﺍﺭﻧﺪ ﻛﻪ ﺩﺭ ﺍﻭﺍﺋﻞ‬
‫ﺩﻫﻪ ‪ 1850‬ﻧﻮﺍﺯﻧﺪﮔﺎﻥ ﺧﻴﺎﺑﺎﻧﻲ‪ ،‬ﻛﺎﺭﮔﺮﺍﻥ ﻭ ﻧﻈﺎﻓﺖ ﻛﻨﻨﺪﮔﺎﻥ ﺭﺍ ﺑﻪ ﻧﻤﺎﻳﺶ ﻣﻲ ﮔﺬﺍﺭﻧﺪ‪ .‬ﺩﺭ ﺗﻤﺎﻣﻲ ﺍﻳﻦ ﻋﻜﺴﻬﺎ‬
‫ژﺳﺖ ﻫﻢ ﺍﻫﻤﻴﺘﻲ ﺍﺻﻠﻲ ﺩﺍﺭﺩ‪ .‬ﺳﻮژﻩ ﻓﺮﺻﺖ ﺍﻳﻦ ﺭﺍ ﺩﺍﺭﺩ ﻛﻪ ﺍﺯ ﺧﻮﺩ ﺣﺎﻟﺘﻲ ﺍﺭﺍﺋﻪ ﺩﻫﺪ ﻭ ﺷﺨﺼﻴﺘﻲ ﺑﻪ ﻧﻤﺎﻳﺶ‬
‫ﺑﮕﺬﺍﺭﺩ‪ .‬ﺑﻪ ﻧﻮﻋﻲ ژﺳﺖ ﺩﺍﺩﻥ ﺑﺮ ﻃﺒﻖ ﺩﺭﺧﻮﺍﺳﺖ ﻋﻜﺎﺱ ﻭ ﺑﺮ ﻃﺒﻖ ﻧﻈﺮ ﺍﻭ ﺍﻧﺠﺎﻡ ﻣﻲ ﺷﻮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﺑﻴﻦ ژﺳﺖ‬
‫ﮔﺮﻓﺘﻦ‪ ،‬ﻫﻢ ﮔﺮﻓﺘﻦ ﺣﺎﻟﺘﻲ ﺑﻪ ﺧﻮﺩ ﺍﺳﺖ ﻭ ﻫﻢ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻥ ﺧﻮﺩ‪.‬‬
‫ﺍﻳﻦ ﺭﻭﻳﻪ ﻫﺎﻱ ﺑﺼﺮﻱ ﻛﻪ ﺗﺎ ﺣﺪ ﺯﻳﺎﺩﻱ ﻣﺤﺼﻮﻝ ﻧﻘﺎﺷﻲ ﺑﺮﺭﻭﻱ ﭘﺎﻳﻪ‪ ،‬ﺍﻣﻮﻟﻮﺳﻴﻮﻧﻬﺎﻱ ﻛﻨﺪ ﻭ ﺳﻨﮕﻴﻨﻲ‬
‫ﺗﺠﻬﻴﺰﺍﺕ ﺑﻮﺩﻧﺪ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﻣﺴﺘﻨﺪ ﮔﺮﺍﻳﻲ ﺑﻮﺩﻧﺪ‪ .‬ﻣﺴﺘﻨﺪ ﺷﺨﺺ ﺭﺍ ﺩﺭ ﻭﺿﻌﻴﺖ ﺯﻧﺪﮔﻲ ﻭ ﻳﺎ ﻛﺎﺭ ﺍﻭ ﻣﺤﺼﻮﺭ‬
‫ﻣﻲ ﻛﻨﺪ‪ ،‬ﺩﺭ ﺻﻮﺭﺗﻴﻜﻪ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺷﺨﺺ ﺭﺍ ﺟﺰﺋﻲ ﺍﺯ ﺑﻘﻴﻪ ﻭ ﻣﺎﻧﻨﺪ ﺁﻧﻬﺎ ﻧﺸﺎﻥ ﻣﻲ ﺩﻫﺪ‪ .‬ﺩﺭ ﻋﻜﺎﺳﻲ‬
‫‪Physiognomy .1‬‬
‫‪Physiology .2‬‬
‫‪ .Édouard Manet .3‬ﻧﻘﺎﺵ ﻓﺮﺍﻧﺴﻮﻱ‪1832-1883 .‬‬
‫‪ .Henry Mayhew .4‬ﻣﺤﻘﻖ ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﻧﻮﻳﺴﻨﺪﻩ ﺍﻧﮕﻠﻴﺴﻲ ‪1812-1887‬‬
‫‪ .John Thomson .5‬ﻋﻜﺎﺱ ﺍﺳﻜﺎﺗﻠﻨﺪﻱ‪1837-1921 .‬‬
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‫ﻣﺴﺘﻨﺪ ﺷﺨﺺ ﻣﺠﺰﺍ ﺍﺯ ﻣﺤﻴﻂ ﻭ ﺑﻪ ﻣﺎﻧﻨﺪ ﻳﻚ ﮔﻮﻧﻪ ﺁﺯﻣﺎﻳﺸﮕﺎﻫﻲ ﻣﻮﺭﺩ ﻣﻄﺎﻟﻌﻪ ﻭ ﺗﺤﻘﻴﻖ ﻗﺮﺍﺭ ﻣﻲ ﮔﻴﺮﺩ ﻭ ﻳﺎ‬
‫ﺑﻪ ﻋﻨﻮﺍﻥ ﺭﺳﺎﻧﻨﺪﻩ ﻳﻚ ﭘﻴﺎﻡ ﺍﺧﻼﻗﻲ ﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩ ﻗﺮﺍﺭ ﻣﻲ ﮔﻴﺮﺩ‪ .‬ﻣﺠﺰﺍ ﻛﺮﺩﻥ ﺳﻮژﻩ‪ ،‬ﺍﻣﻜﺎﻥ ﻭﺟﻮﺩ ﻳﻚ‬
‫ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺍﺯ ﺑﻴﻦ ﻣﻲ ﺑﺮﺩ‪ .‬ﻳﻚ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﺑﻪ ﺷﺮﺍﻳﻂ‪ ،‬ﺯﻧﺪﮔﻲ ﻭ ﺗﺤﺮﻙ ﻣﻲ ﺑﺨﺸﺪ ﻭ ﺍﺯ ﻫﻤﻪ ﻣﻬﻤﺘﺮ ﺷﺨﺺ ﺭﺍ‬
‫ﻳﻚ ﺷﺨﺼﻴﺖ ﺍﺻﻠﻲ ﺩﺍﺳﺘﺎﻥ ﻣﻲ ﺳﺎﺯﺩ‪.‬‬
‫ﻋﻜﺲ ‪ 1-8‬ﻧﺎﻳﺠﻞ ﻫ‪‬ﻨﺪﺭﺳﻮﻥ‪ ،‬ﻓﺮﻭﺷﻨﺪﻩ ﺧﻴﺎﺑﺎﻧﻲ ﺩﺭ ﻧﺰﺩﻳﻜﻲ ﺳﺎﻟﻤﻮﻥ ﺍﻧﺪ ﺑﻮﻝ‪ ،‬ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﺑﺘﻨﺎﻝ ﮔﺮﻳﻦ)‪(1951‬‬
‫ﺑﺎ ﻧﮕﺎﻫﻲ ﺑﻪ ﻋﻜﺲ ﻧﺎﻳﺠﻞ ﻫ‪‬ﻨﺪﺭﺳﻮﻥ ‪ 1‬ﺑﻪ ﻧﺎﻡ ﻓﺮﻭﺷﻨﺪﻩ ﺧﻴﺎﺑﺎﻧﻲ ﺩﺭ ﻧﺰﺩﻳﻜﻲ ﺳﺎﻟﻤﻮﻥ ﺍﻧﺪ ﺑﻮﻝ‪ ،‬ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﺑﺘﻨﺎﻝ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﮔﺮﻳﻦ)‪) (1951‬ﻋﻜﺲ ‪ (1-8‬ﻓﺮﻭﺷﻨﺪﻩ ﺑﻨﻈﺮ ﻣﻲ ﺭﺳﺪ ﻛﻪ ﻟﻮﺍﺯﻡ ﺧﺮﺍﺯﻱ ﻣﻲ ﻓﺮﻭﺷﺪ ﻭﻟﻲ ﺑﺎﺩﺑﺎﺩﻙ ﭘﻼﺳﺘﻴﻜﻲ‬
‫ﻫﻢ ﻣﻲ ﻓﺮﻭﺷﺪ‪ .‬ﻭﺳﺎﻳﻞ ﺯﻳﺎﺩ ﺩﺳﺖ ﺳﺎﺯﺵ‪ ،‬ﺩﺳﺘﻬﺎﻱ ﻧﺎﻣﺮﺋﻲ ﺍﺵ‪ ،‬ﻧﻤﺎﻳﺶ ﻛﺎﺭ ﺳﺨﺖ ﺗﻮﺳﻂ ﺍﻭ‪ ،‬ﻫﻤﮕﻲ ﺩﺍﺭﺍﻱ‬
‫ﻣﻌﻨﻲ ﺍﺟﺘﻤﺎﻋﻲ ﺍﻧﺪ‪ .‬ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺍﺯ ﺍﺟﺘﻤﺎﻋﻲ ﺳﺎﺯﻱ ﺳﻮژﻩ ﻭ ﺍﺯ ﺭﺳﻮﺥ ﺑﻪ ﺫﻫﻦ ﺍﻭ ﻭ ﺷﻨﺎﺧﺖ ﺭﻓﺘﺎﺭ ﻭ‬
‫‪ .Nigel Henderson .1‬ﻋﮑﺎﺱ ﺍﻧﮕﻠﻳﺳﯽ‪1917-1985 .‬‬
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‫ﺟﺎﻳﮕﺎﻩ ﺍﺟﺘﻤﺎﻋﻲ ﺍﻭ ﺍﺟﺘﻨﺎﺏ ﻣﻲ ﻛﻨﺪ‪ .‬ﺩﻧﻴﺎﻱ ﻋﻜﺲ ﺧﻴﺎﺑﺎﻧﻲ ﺩﻧﻴﺎﻳﻲ ﺑﺎﺯ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺁﻥ ﺧﻮﺩ ﺗﻌﺮﻳﻒ ﮔﺮﻱ‪،‬‬
‫ﺑﻲ ﭘﺎﻳﺎﻥ ﺍﺳﺖ ﻭ ﺩﺭ ﺁﻥ ﺷﺎﻧﺲ ﻭ ﺗﻐﻴﻴﺮ‪ ،‬ﻫﻤﻮﺍﺭﻩ ﺩﺍﺩﻩ ﻫﺎ ﺭﺍ ﺑﺎﺯﻧﻮﻳﺴﻲ ﻣﻲ ﻛﻨﻨﺪ ﻭ ﺩﮔﺮﮔﻮﻧﻴﻲ ﻫﺎﻳﻲ ﭘﻴﺶ ﺑﻴﻨﻲ‬
‫ﻧﺸﺪﻩ ﭘﺪﻳﺪ ﻣﻲ ﺁﻭﺭﻧﺪ‪.‬‬
‫ﻋﻜﺲ ‪ 1-9‬ﺭﻧﻪ ژﺍﻙ‪ -‬ﺭﻭﺯﻧﺎﻣﻪ ﻓﺮﻭﺵ‪ ،‬ﭘﺎﺭﻳﺲ)‪(1936‬‬
‫ﺩﺭ ﻋﻜﺲ ﺭﻭﺯﻧﺎﻣﻪ ﻓﺮﻭﺵ‪ ،‬ﭘﺎﺭﻳﺲ) ‪ (1936‬ﺭﻧﻪ ژﺍﻙ ‪) 1‬ﻋﻜﺲ ‪ (1-9‬ﺭﻭﺯﻧﺎﻣﻪ ﻓﺮﻭﺷﻲ ﺭﺍ ﻣﻲ ﺑﻴﻨﻴﻢ ﻛﻪ ﺑﻪ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺳﺮﻧﺸﻴﻦ ﻳﻚ ﻭﺳﻴﻠﻪ ﻧﻘﻠﻴﻪ ﺭﻭﺯﻧﺎﻣﻪ ﻣﻲ ﻓﺮﻭﺷﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﺗﺼﻮﻳﺮ ﺑﺎ ﻧﮕﺎﻩ ﺑﻪ ﺭﻭﺯﻧﺎﻣﻪ ﻓﺮﻭﺵ ﻣﺘﻮﺟﻪ ﻣﻲ ﺷﻮﻳﻢ ﻛﻪ‬
‫ﺍﻭ ﻛﻨﺎﺭ ﭘﻴﺎﺩﻩ ﺭﻭ ﺭﺍ ﻣﺎﻧﻨﺪ ﺧﺎﻧﻪ ﺧﻮﺩ ﻣﻲ ﺩﺍﻧﺪ‪ ،‬ﺍﺯ ﺟﺎﻱ ﺧﻮﺩ ﺑﻠﻨﺪ ﻧﻤﻲ ﺷﻮﺩ‪ ،‬ﭼﺘﺮ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺗﻴﺮ ﭼﺮﺍﻍ ﺗﻜﻴﻪ‬
‫ﺩﺍﺩﻩ ﻭ ﻣﻴﺰ ﺟﻠﻮﻱ ﺍﻭ ﻣﺎﻧﻨﺪ ﻣﻴﺰ ﻣﻄﺎﻟﻌﻪ ﺍﺵ ﺍﺳﺖ‪ .‬ﺑﻪ ﺣﺎﻟﺘﻲ ﺭﺍﺣﺖ ﻧﺸﺴﺘﻪ ﺍﺳﺖ ﻭﺭﻭﺯﻧﺎﻣﻪ ﻣﻲ ﺧﻮﺍﻧﺪ ﻭ ﮔﻮﻳﻲ‬
‫ﺩﺭ ﺣﺎﻟﺖ ﺍﺳﺘﺮﺍﺣﺖ ﺍﺳﺖ ﻭ ﻫﺮ ﻛﺲ ﺭﻭﺯﻧﺎﻣﻪ ﻣﻲ ﺧﻮﺍﻫﺪ ﺑﺎﻳﺪ ﺑﻴﺎﻳﺪ ﻭ ﺍﻭ ﺭﺍ ﻣﻼﻗﺎﺕ ﻛﻨﺪ‪ .‬ﮔﻮﻳﻲ ﺧﺮﻳﺪﺍﺭﺍﻥ‪ ،‬ﺑﺎ‬
‫ﺍﻳﻨﻜﻪ ﻭﺟﻮﺩ ﺷﺎﻥ ﺿﺮﻭﺭﻱ ﺍﺳﺖ‪ ،‬ﻣﺰﺍﺣﻢ ﺍﻭﻳﻨﺪ‪.‬‬
‫ﻋﻠﻴﺖ ﮔﺮﺍﻳﻲ ﻓﺮﺍﻳﻨﺪ ﻋﻜﺎﺳﻲ ‪ -‬ﺩﻧﻴﺎﻱ ﻭﺍﻗﻌﻲ ﻋﻠﺖ ﻏﻴﺮ ﻗﺎﺑﻞ ﺍﺟﺘﻨﺎﺏ ﻋﻜﺲ ﺍﺳﺖ‪ -‬ﻣﻲ ﺗﻮﺍﻧﺪ ﺑﻪ ﺭﺍﺣﺘﻲ ﺧﻮﺩ‬
‫ﺭﺍ ﺑﺎ ﺳﻮژﻩ ﻋﻜﺲ ﺍﺭﺗﺒﺎﻁ ﺩﻫﺪ‪ :‬ﭼﻴﺰﻫﺎ ﻧﻤﻲ ﺗﻮﺍﻧﻨﺪ ﻏﻴﺮ ﺍﺯ ﺁﻥ ﭼﻴﺰﻱ ﺑﺎﺷﻨﺪ ﻛﻪ ﻣﺎ ﻣﻲ ﺑﻴﻨﻴﻢ ﭼﻮﻥ ﻛﻪ ﺩﻭﺭﺑﻴﻦ‬
‫ﻳﻚ ﺳﻮﻡ ﺷﺨﺺ ﺑﻲ ﺗﻔﺎﻭﺕ ﺍﺳﺖ‪ .‬ﻭﻟﻲ ﻣﺎ ﻣﻲ ﺩﺍﻧﻴﻢ ﻛﻪ ﻋﻜﺲ ﺗﻮﺳﻂ ﻗﺎﺑﻠﻴﺖ ﻓﺮﻳﻢ ﭼﺸﻤﻲ ﻛﻪ ﺑﺮﺍﻱ ﻣﺎ‬
‫ﺍﻳﺠﺎﺩ ﻛﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﻣﻲ ﺗﻮﺍﻧﺪ ﺗﺼﺎﻭﻳﺮﺵ ﺭﺍ ﻗﺎﺑﻞ ﺗﺮﻛﻴﺐ ﺑﻨﺪﻱ‪ ،‬ﻗﺎﺑﻞ ﻧﻮﺷﺘﻦ ﻭ ﻗﺎﺑﻞ ﺩﻭﺑﺎﺭﻩ ﻓﺮﻳﻢ ﺑﻨﺪﻱ ﻛﺮﺩﻥ‬
‫‪ .René-Jacques .1‬ﻋﻜﺎﺱ ﻓﺮﺍﻧﺴﻮﻱ‪1908-2003 .‬‬

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‫ﻛﻨﺪ‪ .‬ﻳﻜﻲ ﺍﺯ ﻧﺘﺎﻳﺞ ﻓﻌﺎﻝ ﺷﺪﻥ ﻓﺮﻳﻢ ﭼﺸﻤﻲ‪ ،‬ﺍﻳﺠﺎﺩ ﺣﺲ ﺑﻴﺸﺘﺮﻱ ﺍﺳﺖ ﻛﻪ ﻣﺎ ﺍﺯ ﺍﻭﻝ ﺷﺨﺺ ﺑﻮﺩﻥ‪ ،‬ﺍﺯ ﺍﺭﺍﺩﻱ‬
‫ﺑﻮﺩﻥ ﺑﻪ ﻣﻌﻨﺎﻱ ﭘﺎﺳﺦ ﺁﻥ ﺑﻪ ﺩﻧﻴﺎﻱ ﻭﺍﻗﻌﻲ ﺑﺠﺎﻱ ﻓﻘﻂ ﺛﺒﺖ ﺁﻥ ﺩﺍﺭﻳﻢ‪.‬‬
‫ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﻪ ﻳﻚ ﻋﻜﺲ ﻣﺴﺘﻨﺪ ﺍﺯ ﻳﻚ ﺑﻲ ﺧﺎﻧﻤﺎﻥ ﻧﮕﺎﻩ ﻛﻨﻴﻢ ﻭ ﻓﻜﺮ ﻛﻨﻴﻢ ﻛﻪ ﺍﻭ ﺑﻪ ﺑﻲ ﺧﺎﻧﻤﺎﻥ ﺑﻮﺩﻥ‬
‫ﻣﺠﺒﻮﺭ ﺷﺪﻩ ﻭ ﺑﻪ ﺍﻳﻦ ﺍﻣﺮ ﺗﻘﻠﻴﻞ ﻳﺎﻓﺘﻪ ﺍﺳﺖ ﻭ ﺁﻥ ﭼﻴﺰﻫﺎﻱ ﻛﻤﻲ ﻛﻪ ﺩﺍﺭﺩ ﻛﻪ ﺍﺯ ﺭﻭﻱ ﺿﺮﻭﺭﺕ ﺍﺳﺖ‪.‬‬
‫ﺩﻳﺪﮔﺎﻫﻲ ﻛﻪ ﻋﻜﺴﻬﺎﻱ ﻛﺮﻭﻝ ﺗﺮﻭﻳﺞ ﻣﻲ ﻛﻨﻨﺪ ﻛﺎﻣﻼً ﻣﺘﻔﺎﻭﺕ ﻭ ﺗﻤﺎﻣﺎً ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﮔﺮﺍ ﺍﺳﺖ‪ :‬ﺑﻲ‬
‫ﺧﺎﻧﻤﺎﻥ ﻫﺎﻱ ﺍﻭ ﺗﻨﻬﺎ ﺍﻧﺘﺨﺎﺏ ﻧﻜﺮﺩﻩ ﺍﻧﺪ ﻛﻪ ﺑﻲ ﺧﺎﻧﻤﺎﻥ ﺑﺎﺷﻨﺪ ﺑﻠﻜﻪ ﺍﻭﺿﺎﻉ ﻧﺎﺑﺴﺎﻣﺎﻥ ﺁﻧﻬﺎ ﻭ ﻣﺘﻌﻠﻘﺎﺕ ﺑﻲ‬
‫ﺍﺭﺯﺷﺸﺎﻥ ﻏﺮﻭﺭ ﺁﻧﻬﺎ ﺍﺯ ﺩﺍﺷﺘﻪ ﻫﺎﻳﺸﺎﻥ ﺭﺍ ﻛﻢ ﻧﻜﺮﺩﻩ ﺍﺳﺖ ﻭ ﺣﺎﻻﺕ ﺁﻧﻬﺎ ﺍﻳﻦ ﺭﺍ ﻧﺸﺎﻥ ﻣﻲ ﺩﻫﺪ ﻛﻪ ﺑﻲ ﺧﺎﻧﻤﺎﻧﻲ‬
‫ﺭﻭﺷﻲ ﺍﺯ ﺯﻧﺪﮔﻲ ﻛﺮﺩﻥ ﺍﺳﺖ ﻭ ﻧﻪ ﺍﻓﻮﻝ ﺍﻧﺴﺎﻥ‪ .‬ﺩﺭ ﻳﻚ ﺗﺼﻮﻳﺮ ﻳﻚ ﺯﻥ ﺑﻲ ﺧﺎﻧﻤﺎﻥ ﺭﻭﻱ ﻳﻚ ﻧﻴﻤﻜﺖ‬
‫ﻧﺸﺴﺘﻪ ﻭ ﺩﻣﭙﺎﻳﻲ ﺍﺵ ﺭﺍ ﺩﺭﺁﻭﺭﺩﻩ ﻭ ﺩﺭ ﺭﻭﺯﻧﺎﻣﻪ ﻫﻤﺮﺍﻫﺶ ﻣﻘﺎﻟﻪ ﺍﻱ ﺭﺍﺟﻊ ﺑﻪ ﮔﻮﻳﺎ ) ‪ (Goya‬ﻣﻲ ﺧﻮﺍﻧﺪ‪ .‬ﺩﺭ‬
‫ﻋﻜﺲ ﺩﻳﮕﺮﻱ ﻳﻚ ﺯﻥ ﺑﻲ ﺧﺎﻧﻤﺎﻥ ژﺳﺖ ﻳﻚ ﺯﻥ ﺍﺟﺘﻤﺎﻋﻲ ﺩﺭ ﺣﺎﻟﺖ ﭘﻴﻚ ﻧﻴﻚ ﺭﺍ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺩﺭ ﻳﻚ‬
‫ﻣﻘﺎﻟﻪ ﺩﺭ ﻭﻭ ) ‪ (Vu‬ﺭﺍﺟﻊ ﺑﻪ ﺑﻲ ﺧﺎﻧﻤﺎﻥ ﻫﺎ ) ‪ 17‬ﺍﻛﺘﺒﺮ ‪ (1928‬ﻛﻪ ﺗﻮﺳﻂ ﻫ‪‬ﻨﺮﻱ ﺩﺍ ﻧﺠﻮ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﻭ ﺑﺎ‬
‫ﻋﻜﺴﻬﺎﻱ ﻛﺮﻭﻝ ﻣﺼﻮﺭ ﺷﺪﻩ‪ ،‬ﺑﻪ ﻣﺎ ﮔﻔﺘﻪ ﻣﻲ ﺷﻮﺩ ﻛﻪ ﻳﻜﻲ ﺍﺯ ﺑﻲ ﺧﺎﻧﻤﺎﻥ ﻫﺎ ﺑﺮﺍﺩﺭ ﺯﺍﺩﻩ ﻳﻚ ﻭﺯﻳﺮ ﻭ ﺩﻳﮕﺮﻱ‬
‫) ﻃﺮﻓﺪﺍﺭ ﮔﻮﻳﺎ ) ‪ ((Goya‬ﻳﻚ ﻛُﻨﺘ‪‬ﺲ ﻭ ﺩﻳﮕﺮﻱ )ﻣﺮﺩﻩ( ﺑﻪ ﻧﺎﻡ ‪ trompela – mort‬ﻣﻴﻠﻴﻮﻧﺮ ﺷﺪ ﻭ ﻳﻚ‬
‫ﻗﻠﻌﻪ ﺧﺮﻳﺪ ﻭﻟﻲ ﻳﻚ ﺑﺎﺭ ﺩﺭ ﻫﻔﺘﻪ ﺑﻪ ﺍﻭﺿﺎﻉ ﺑﻲ ﺧﺎﻧﻤﺎﻧﻲ ﺧﻮﺩ ﺑﺮﻣﻲ ﮔﺸﺖ ﻛﻪ ﻧﻬﺎﻳﺘﺎً ﺑﻪ ﻗﻴﻤﺖ ﺟﺎﻧﺶ ﺗﻤﺎﻡ‬
‫ﺷﺪ‪.‬ﺍﻳﻦ ﻣﺮﺩﻡ ﺩﺍﺳﺘﺎﻧﻬﺎﻱ ﻣﺘﻨﻮﻋﻲ ﺩﺍﺭﻧﺪ ﻭﻟﻲ ﺑﻪ ﮔﻔﺘﻪ ﺧﻮﺩ ﻛﺮﻭﻝ ﺯﻧﺪﮔﻴﺸﺎﻥ ﻣﺸﺨﺺ ﺍﺳﺖ‪.‬‬
‫ﺍﻳﻦ ﻋﻜﺴﻬﺎ ﺍﻳﺪﻩ ﺁﻝ ﮔﺮﺍﻳﻲ ﻗﺮﻥ ‪ 19‬ﺭﺍ ﺩﻧﺒﺎﻝ ﻣﻲ ﻛﻨﻨﺪ ﻛﻪ ﻃﺒﻖ ﺁﻥ ﺑﻲ ﺧﺎﻧﻤﺎﻥ ﻫﺎ ﺑﻪ ﻣﺎﻧﻨﺪ ﺍﺯ ﺧﻮﺩ ﺑﻲ‬
‫ﺧﻮﺩﺷﺪﮔﺎﻧﻲ ﺑﻲ ﺗﻮﺟﻪ ﺑﻪ ﺍﻣﻮﺭ ﺩﻧﻴﻮﻱ ﺍﻧﮕﺎﺷﺘﻪ ﻣﻲ ﺷﺪﻧﺪ ﻭ ﺑﻲ ﺩﻏﺪﻏﻪ ﻭ ﺻﻠﺢ ﻃﻠﺐ ﺑﻮﺩﻧﺪ‪.‬‬
‫ﺩﺭﻛﺎﺭﻫﺎﻱ ﺑﺮﺍﺳﺎﻳﻲ‪ 1‬ﺗﻌﺎﺩﻟﻲ ﺍﺯ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﻭ ﻧﻮﻳﺴﻨﺪﮔﻲ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﮔﺮﺍ ﻣﺸﺎﻫﺪﻩ ﻣﻲ ﺷﻮﺩ‪ .‬ﺍﻭ ﻣﻲ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﮔﻮﻳﺪ ﻛﻪ ‪ paroles en l’air‬ﺩﺭ ﻓﻀﺎﻱ ﻋﻜﺎﺳﻲ ﮔﺮﺍ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﻛﺎﺭﺍﻛﺘﺮﻫﺎ ﺩﺭ ﻧﻮﺭ ﭘﺮﺩﺍﺯﻱ‬
‫ﺧﻮﺩﺷﺎﻥ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﺷﺪﻩ ﺍﻧﺪ؛ ﺑﺪﻭﻥ ﺗﻮﺿﻴﺢ‪ ،‬ﺷﺮﺡ ﻭ ﺑﺮﺭﺳﻲ ﻓﻜﺮﻱ ﻳﺎ ﻣﺘﻦ ﺗﻔﺼﻴﻠﻲ‪.‬‬
‫ﺑﺮﺍﺳﺎﻳﻲ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﺁﻧﻬﺎﻳﻲ ﻛﻪ ﺑﻪ ﺍﺑﺪﺍﻉ ﺷﻌﺮﻱ ‪ ،‬ﻭﻫﻢ ﻭ ﺗﺨﻴﻞ ﻣﻲ ﭘﺮﺩﺍﺯﻧﺪ ﺗﻄﺒﻴﻖ ﻧﻤﻲ ﺩﻫﺪ ﺑﻠﻜﻪ ﺑﺎ ﺁﻧﻬﺎﻳﻲ‬
‫ﺗﻄﺒﻴﻖ ﻣﻲ ﺩﻫﺪ ﻛﻪ ﺷﮕﻔﺘﻲ ﻭ ﻧﺎﺩﻳﺪﻧﻲ ﺭﺍ ﺍﺯ ﺣﻘﻴﻘﺖ ﺭﻭﺯﻣﺮﻩ ﺑﺮﺩﺍﺷﺖ ﻣﻲ ﻛﻨﻨﺪ‪ .‬ﺍﻳﻦ ﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﺑﺮﺍﺳﺎﻳﻲ‬
‫ﺁﻥ ﺭﺍ ﺍﺩﺑﻴﺎﺕ "ﺩﺭ ﻣﺎﻳﻪ ﻋﻜﺎﺳﻲ " ﻣﻲ ﻧﺎﻣﺪ ؛ ﺭﻭﺡ ﻭ ﻣﺎﻳﻪ ﺍﻱ ﻛﻪ ﭘﻴﺶ ﺍﺯ ﻋﻜﺎﺳﻲ ﻧﻴﺰ ﻭﺟﻮﺩ ﺩﺍﺷﺖ ﻭﻟﻲ‬
‫ﻋﻜﺎﺳﻲ ﺁﻥ ﺭﺍ ﺑﻪ ﻃﺮﺯ ﺷﮕﻔﺘﻲ ﻧﻤﺎﻳﺎﻥ ﻭ ﻗﺎﺑﻞ ﺩﺭﻙ ﻧﻤﻮﺩ‪ .‬ﻋﻜﺴﻬﺎﻱ ﺑﺮﺍﺳﺎﻳﻲ ﺑﻪ ﮔﻔﺘﻪ ﺍﻭ ﻋﻜﺲ ﻫﺎﻱ ﺩﺭﻭﻧﻲ‬
‫ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﻪ ﺧﺎﻃﺮ ﺁﻭﺭﺩﻩ ﻣﻲ ﺷﻮﻧﺪ‪ .‬ﻋﻜﺴﻬﺎﻱ ﺍﻭ ﺍﺯ ﭘﺎﺭﻳﺲ ﺗﺤﻘﻖ ﻧﻤﺎﻳﻲ ﺩﻭﺭﺍﻥ ﺍﻭ ﻗﺒﻞ ﺍﺯ ﻋﻜﺎﺳﻲ ﻛﺮﺩﻥ‬
‫ﻫﺴﺘﻨﺪ؛ ﻋﻜﺴﻬﺎﻳﻲ ﻛﻪ ﺑﻪ ﺩﻧﺒﺎﻝ ﺍﻭ ﻫﺴﺘﻨﺪ‪ .‬ﮔﻔﺘﻪ ﻣﻲ ﺷﻮﺩ ﻛﻪ ﺍﻭ ﻫﻤﻴﺸﻪ ﺩﺭ ﺷﻜﺎﺭ ﺗﺼﺎﻭﻳﺮ ﺑﻮﺩ‪ .‬ﻭﻟﻲ ﺍﻭ ﻫﻴﭻ‬
‫ﭼﻴﺰﻱ ﺭﺍ ﺷﻜﺎﺭ ﻧﻤﻲ ﻛﻨﺪ‪ .‬ﺩﺭ ﻋﻮﺽ ﻃﻌﻤﻪ ﺍﻱ ﺍﺳﺖ ﻛﻪ ﺗﻮﺳﻂ ﺗﺼﺎﻭﻳﺮﺵ ﺷﻜﺎﺭ ﻣﻲ ﺷﻮﺩ‪.‬‬
‫‪ .George Brassaï .1‬ﻧﺎﻡ ﻣﺴﺘﻌﺎﺭ ‪ .Gyula Halász‬ﻋﻜﺎﺱ ﻣﺠﺎﺭﺳﺘﺎﻧﻲ ‪1899-1984‬‬

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‫ﺩﺭ ﺑﺴﻴﺎﺭﻱ ﺟﻬﺎﺕ ‪ ،‬ﺑﺮﺍﺳﺎﻳﻲ ﮔﻮﻳﻲ ﺑﻪ ﻋﻘﺐ ﺑﺎﺯﮔﺸﺘﻪ ﺍﺳﺖ‪ .‬ﻋﻜﺎﺳﻲ ﺍﻱ ﻛﻪ ﻋﻤﻴﻘﺎً ﻣﺘﺎﺛﺮ ﺍﺯ ﺑﻮﺩﻟﺮ ﻭ ﭘﺮﻭﺳﺖ‬
‫ﺍﺳﺖ‪ ،‬ﻭ ﺑﺮﺧﻼﻑ ﺟﺮﻳﺎﻥ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﺍﻳﺪﻩ ﻫﺎﺳﺖ ﻛﻪ ﺩﺭ ﺍﺑﺘﺪﺍﻱ ﺍﻳﻦ ﻣﻘﺎﻟﻪ ﺑﻴﺎﻥ ﺷﺪﻧﺪ‪ .‬ﻭﻟﻲ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻦ‬
‫ﺑﺮﺍﺳﺎﻳﻲ ﺑﻪ ﻣﺎ ﺍﺟﺎﺯﻩ ﻣﻲ ﺩﻫﺪ ﺗﺎ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺍﻱ ﺭﺍ ﺗﺼﻮﺭ ﻛﻨﻴﻢ ﻛﻪ ﻣﺘﻔﺎﻭﺕ ﺑﻨﻈﺮ ﻣﻲ ﺭﺳﺪ ﺍﺩﻋﺎﻫﺎﻱ‬
‫ﻣﺘﻔﺎﻭﺗﻲ ﺭﺍ ﻣﻄﺮﺡ ﻣﻲ ﻛﻨﺪ ؛ ﻛﻪ ﻣﺎ ﺩﺭ ﺁﻥ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺯﻭﺭﮔﻮﻳﻲ ﻟﺤﻈﻪ ﻗﻄﻌﻲ‪ ،‬ﻭ ﺭﻫﻴﺎﻓﺘﻲ ﻛﻪ ﺑﻪ ﻣﺆﻟﻒ ﺑﻮﺩﻥ‬
‫ﺑﻴﺸﺘﺮ ﺍﺭﺯﺵ ﻣﻲ ﺩﺍﺩ ﻭ ﺑﺮﺍﻱ ﻳﻚ ﺗﻚ ﺗﺼﻮﻳﺮ ﻗﺪﺭﺕ ﺯﻳﺎﺩﻱ ﻣﺘﺼﻮﺭ ﻣﻲ ﺷﺪ‪ ،‬ﻭ ﭼﺸﻤﺎﻥ ﻣﺎ ﺭﺍ ﺍﺯ ﺗﺨﻴﻼﺕ‬
‫ﺧﻼﻕ ﻭ ﺣﺲ ﻋﺎﻣﺪﺍﻧﻪ ﮔﺮﺍﻳﻲ ﻭ ﭘﺎﻳﺎﻥ ﺑﺎﺯ ﻭﺍﺑﺴﺘﻪ ﺑﻪ ﺁﻥ ﻣﻲ ﺑﺴﺖ ﺁﺯﺍﺩ ﻣﻲ ﺳﺎﺯﻳﻢ‪ .‬ﺍﺷﺘﻴﺎﻕ ﺗﻮﺟﻴﻪ ﺷﺪﻧﻲ ﻣﺎ‬
‫ﺑﺮﺍﻱ ﺗﻤﺎﻳﺰ ﻗﺎﺋﻞ ﺷﺪﻥ ﺑﻴﻦ ژﺍﻧﺮﻫﺎﻱ ﻋﻜﺎﺳﻲ ﺑﺎﺭ ﺩﻳﮕﺮ ﺑﺎﻳﺪ ﺗﺄﻳﻴﺪ ﺻﻼﺣﻴﺖ ﺷﻮﺩ ؛ ﻧﻪ ﻓﻘﻂ ﺑﺎ ﺣﺲ ﺗﻘﺎﺑﻞ ﻫﺎﻱ‬
‫ﭼﻨﺪ ﺟﺎﻧﺒﻪ ﺁﻧﻬﺎ‪ ،‬ﺑﻠﻜﻪ ﻫﻤﭽﻨﻴﻦ ﺑﺎ ﻗﺎﺑﻠﻴﺖ ﺍﻧﻌﻄﺎﻑ ﭘﺎﺳﺦ‪ ،‬ﻛﻪ ﻣﻲ ﺗﻮﺍﻧﺪ ﮔﻮﻧﻪ ﻫﺎﻱ ﻣﺨﺘﻠﻒ ﻭ ﻋﺠﻴﺐ ﻋﻤﻞ ﻭ‬
‫ﺍﻳﺪﺋﻮﻟﻮژﻱ ﺭﺍ ﺑﺎ ﻫﻢ ﺗﺮﻛﻴﺐ ﻛﻨﺪ‪.‬‬
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‫ﺑﺨﺶ ﭼﻬﺎﺭﻡ‪ :‬ﻣﻨﺎﺳﺒﺖ ﺯﺑﺎﻥ ﺩﺭ ﻭﺍﻛﻨﺶ ﺑﻪ ﻋﻜﺲ ﺧﻴﺎﺑﺎﻧﻲ‬
‫ﻳﻜﻲ ﺍﺯ ﭼﻴﺰﻫﺎﻱ ﻋﺠﻴﺐ ﺭﺍﺟﻊ ﺑﻪ ﻋﻜﺎﺳﻲ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺍﮔﺮﭼﻪ ﻳﻚ ﺗﺎﺭﻳﺦ ﻳﺎ ﺗﺎﺭﻳﺦ ﻫﺎﻳﻲ ﺩﺍﺭﺩ )ﺑﺮﺍﺳﺎﺱ‬
‫ﭘﻴﺸﺮﻓﺘﻬﺎﻱ ﺗﻜﻨﻮﻟﻮژﻳﻜﻲ‪ ،‬ﺍﺳﺘﻔﺎﺩﻩ ﻫﺎ ﻭ ﺍﺳﺘﺎﻳﻞ ﻫﺎ(‪ ،‬ﺩﺭ ﺣﻘﻴﻘﺖ ﻫﻴﭻ ﺗﺎﺭﻳﺨﻲ ﺑﺮﺍﻱ ﺗﻚ ﻋﻜﺲ ﻫﺎ ﻭﺟﻮﺩ‬
‫ﻧﺪﺍﺭﺩ )ﺁﻧﻄﻮﺭ ﻛﻪ ﺑﺮﺍﻱ ﻣﺜﺎﻝ ﺩﺭ ﻣﻮﺭﺩ ﺗﻚ ﻣﺘﻦ ﻫﺎﻱ ﺍﺩﺑﻲ ﻳﺎ ﻧﻘﺎﺷﻲ ﻫﺎ ﻭﺟﻮﺩ ﺩﺍﺭﺩ(‪ .‬ﻫﻴﭻ ﺗﺎﺭﻳﺨﻲ ﺍﺯ ﺩﺍﻧﺶ‬
‫ﺟﻤﻊ ﺷﺪﻩ ﺩﺭﺑﺎﺭﻩ ﻋﻜﺲ ﻫﺎ ﻭ ﻫﻴﭻ ﺗﺎﺭﻳﺦ ﺩﺭ ﺣﺎﻝ ﺗﻮﺳﻌﻪ ﺍﻱ ﺍﺯ ﺗﻔﺴﻴﺮ ﻋﻜﺲ ﻫﺎ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﮔﻮﻳﻲ ﻫﺮ‬
‫؛ ﻣﺎ ﻧﺒﺎﻳﺪ ﺁﺛﺎﺭ‬ ‫ﻭﻗﺖ ﻣﻲ ﺧﻮﺍﻫﻴﻢ ﺁﮔﺎﻫﻲ ﺍﺯ ﻳﻚ ﻋﻜﺲ ﭘﻴﺪﺍ ﻛﻨﻴﻢ ﺑﺎﻳﺴﺘﻲ ﺩﻭﺑﺎﺭﻩ ﺍﺯ ﻫﻴﭻ ﺷﺮﻭﻉ ﻛﻨﻴﻢ‬
‫ﻧﻤﺎﻳﺎﻧﮕﺮﻱ ﺧﺎﻟﺺ ﻋﻜﺲ ﺭﺍ ﺗﻮﺳﻂ ﻣﻌﺎﻧﻲ ﺁﻣﺎﺩﺓ ﻭﺍﺭﺩ ﺷﺪﻩ ﺟﺎﻳﮕﺰﻳﻦ ﻛﻨﻴﻢ‪ ،‬ﺑﻠﻜﻪ ﺑﺎﻳﺪ ﺭﺍﻩ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﻣﻮﺍﺟﻬﻪ‬
‫ﺑﺪﻭﻥ ﭘﻴﺶ ﺷﺮﻁ ﺣﺴﻲ ﻭ ﺩﺭﻳﺎﻓﺘﻲ ﭘﻴﺪﺍ ﻛﻨﻴﻢ ؛ ﺍﺯ ﺁﮔﺎﻫﻲ ﺍﺯ ﻧﺎﺩﺍﻧﻲ ﻣﺎﻥ‪ ،‬ﺑﻪ ﺳﻮﻱ ﺭﺍﻩ ﺧﻮﺩﻣﺎﻥ ﺩﺭ ﺟﺬﺏ‬
‫ﻋﻜﺲ‪ ،‬ﻣﻬﻢ ﺳﺎﺧﺘﻦ ﺁﻥ ﺩﺭ ﺯﻧﺪﮔﻲ ﺷﺨﺼﻴﻤﺎﻥ‪ ،‬ﺑﺪﻭﻥ ﻣﺘﻮﺻﻞ ﺷﺪﻥ ﺑﻪ ﻭﺍژﮔﺎﻥ ﭘﻴﺶ ﺩﺍﻭﺭﻱ ﻛﻨﻨﺪﻩ ﻳﺎ ﺳﺨﻦ‬
‫ﻧﻘﺎﺩﺍﻧﻪ ﻣﻮﺟﻮﺩ ﺍﺯ ﻗﺒﻞ‪ .‬ﻋﺪﻩ ﺍﻱ ﺩﻳﮕﺮ ﺑﺤﺚ ﻣﻲ ﻛﻨﻨﺪ ﻛﻪ ﻋﻜﺎﺳﻲ ﺍﺯ ﺯﻣﺎﻥ ﺍﺧﺘﺮﺍﻉ ﺁﻥ ﺭﻭﺍﺑﻂ ﻫﻤﺰﻳﺴﺘﻲ‬
‫ﮔﺮﺍﻳﺎﻧﻪ ﻣﺘﻔﺎﻭﺗﻲ ﺑﺎ ﺯﺑﺎﻥ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﻛﻪ ﺯﺑﺎﻥ ﺗﻨﻬﺎ ﻳﻚ ﻫﻤﺮﺍﻩ ﺛﺎﺑﺖ ﺗﺼﺎﻭﻳﺮ ﻋﻜﺎﺳﻲ ﻧﻴﺴﺖ‪ ،‬ﺑﻠﻜﻪ ﺑﻪ ﻃﻮﺭ‬
‫ﺛﺎﺑﺘﻲ ﺩﺭ ﻫﻢ ﭘﻴﭽﻴﺪﻩ ﺑﺎ ﺧﻮﺩ ﻓﺮﺍﻳﻨﺪ ﻧﮕﺎﻩ ﻛﺮﺩﻥ ﺍﺳﺖ‪.‬‬
‫ﭘﺲ ﺭﻭﺍﺑﻂ ﻣﺎ ﺑﺎ ﻋﻜﺲ ﺑﺎﻳﺪ ﭼﮕﻮﻧﻪ ﺑﺎﺷﺪ؟ ﺳﺎﻛﺖ ﻳﺎ ﻛﻼﻣﻲ؟‬
‫ﺑﺤﺚ ﻧﺨﺴﺖ ﺭﺍﺟﻊ ﺑﻪ ﺭﺍﺑﻄﻪ ﺳﺎﻛﺖ ﺑﺎ ﻋﻜﺲ ﺳﺎﺩﻩ ﺍﺳﺖ ﻭﻟﻲ ﺯﻳﺎﺩ ﺑﺮ ﺁﻥ ﺗﺎﻛﻴﺪ ﻧﺸﺪﻩ ﺍﺳﺖ‪ :‬ﻋﻜﺲ ﻫﺎ ﺗﻨﻬﺎ‬
‫ﻟﺤﻈﺎﺗﻲ ﺟﺪﺍ ﺷﺪﻩ ﺍﺯ ﺯﻣﺎﻥ ﻧﻴﺴﺘﻨﺪ‪ .‬ﺁﻧﻬﺎ ﻟﺤﻈﺎﺕ ﺗﻤﺎﺱ‪ ،‬ﻭﺍﻗﻌﻴﺘﻨﺪ‪ ،‬ﺍﮔﺮ ﭼﻪ ﺁﻥ ﻭﺍﻗﻌﻴﺖ ﮔﺬﺷﺘﻪ ﻭ ﺩﺭ ﻣﻜﺎﻥ‬
‫ﺩﻳﮕﺮﻱ ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪.‬‬
‫ﺯﻧﻲ ﻛﻪ ﺩﺭ ﻋﻜﺲ ﺑﺮﻱ ﻟﻮﺋﻴﺲ ‪) ، Charing Cross Station, 5:30 pm (1976) 1‬ﻋﻜﺲ ‪ (1-10‬ﺍﺯ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﭘﻨﺠﺮﻩ ﻧﻴﻤﻪ ﺑﺎﺯ ﺑﻪ ﻣﺎ ﻣﻲ ﻧﮕﺮﺩ‪ ،‬ﺑﻪ ﮔﻮﻧﻪ ﺍﻱ ﻫﻨﻮﺯ ﺑﻪ ﻣﺎ ﻣﻲ ﻧﮕﺮﺩ‪ ،‬ﻭ ﻣﺎ ﻧﻴﺰ ﺑﻪ ﺍﻭ‪ ،‬ﻭ ﮔﻮﻧﻪ ﺍﻱ ﺍﺯ ﮔﻔﺘﮕﻮ ﻫﻨﻮﺯ ﺑﻴﻦ‬
‫ﻣﺎ ﺑﺮﻗﺮﺍﺭ ﺍﺳﺖ ﻭ ﮔﺬﺷﺘﻪ ﺑﻮﺩﻥ ﺯﻣﺎﻥ ﺍﻳﻦ ﻋﻜﺲ ﺍﻳﻦ ﮔﻔﺘﮕﻮ ﺭﺍ ﺍﺯ ﺑﻴﻦ ﻧﻤﻲ ﺑﺮﺩ‪ .‬ﺍﻳﻦ ﺯﻥ ﺑﻪ ﮔﻮﻧﻪ ﺍﻱ ﺍﺯ ﻧﻤﻮﻧﻪ‬
‫ﺁﺯﻣﺎﻳﺸﻲ ﺍﻧﺴﺎﻧﻲ ﻭ ﻣﺴﺘﻨﺪﻱ ﺗﺎﺭﻳﺨﻲ ﺗﺒﺪﻳﻞ ﻧﺸﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺧﻮﺩ ﮔﺬﺷﺘﻪ ﺑﻮﺩﻥ ﺗﺼﻮﻳﺮ ﺍﺳﺖ ﻛﻪ ﺟﺎﺩﻭﻱ‬
‫ﺗﻤﺎﺱ ﺭﺍ ﺍﻳﺠﺎﺩﻣﻲ ﻛﻨﺪ‪ .‬ﻣﺎ ﺗﻮﺳﻂ ﺍﻳﻦ ﻋﻜﺲ ﺑﻪ ﺯﻣﺎﻥ ﮔﺬﺷﺘﻪ ﻭ ﺯﻣﺎﻥ ﮔﺮﻓﺘﻪ ﺷﺪﻥ ﺍﻳﻦ ﻋﻜﺲ ﺑﺎﺯ ﻣﻲ ﮔﺮﺩﻳﻢ‬
‫ﻭ ﺍﻳﻦ ﺳﻔﺮ ﺯﻣﺎﻧﻲ ﻛﻪ ﺍﺳﻢ ﺁﻥ ﺩﺭ ﺍﺳﻢ ﻋﻜﺲ ﺁﻣﺪﻩ ﺍﺳﺖ‪ ،‬ﻟﻐﺎﺕ ﺭﺍ ﺑﻴﻬﻮﺩﻩ ﻣﻲ ﺳﺎﺯﺩ‪ ،‬ﭼﻮﻥ ﺍﻳﻦ ﻟﻐﺎﺕ ﺍﺭﺗﺒﺎﻃﻲ‬
‫ﺑﻪ ﺍﻳﻦ ﺟﺎﺩﻭ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺯﻳﺮﺍ ﺍﻳﻦ ﺟﺎﺩﻭ ﻟﻐﺎﺕ ﺭﺍ ﺑﺮﺍﻱ ﺣﺎﻻﺕ ﺩﺳﺘﺎﻥ ﺍﻭ ﺑﺮﺭﻭﻱ ﭘﻨﺠﺮﻩ‪ ،‬ﻛﺸﻴﺪﻥ ﺩﺭ‪ ،‬ﭼﺮﻭﻙ‬
‫ﻟﺒﺎﺳﺶ ﻭ ﻭﺿﻮﺡ ﺍﻭ ﺩﺭ ﻣﻘﺎﺑﻞ ﺑﻘﻴﻪ ﻧﺎﻛﺎﻓﻲ ﻣﻲ ﺳﺎﺯﺩ‪ .‬ﺷﮕﻔﺘﻲ ﻣﺎ ﺍﺯﻛﺸﻒ ﭼﻨﻴﻦ ﭼﻴﺰﻫﺎﻳﻲ ﻭ ﺍﺷﺘﻴﺎﻕ ﻣﺎ ﺑﺮﺍﻱ‬
‫ﻧﮕﺎﻩ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺁﻧﻬﺎ‪ ،‬ﺗﺎ ﺩﺭﻙ ﺑﺼﺮﻱ ﺁﻧﻬﺎ ﺑﺪﻭﻥ ﻭﺍﺳﻄﻪ‪ ،‬ﺯﺑﺎﻥ ﺭﺍ ﻧﺎﻛﺎﺭﺁﻣﺪ ﻣﻲ ﺳﺎﺯﺩ‪ .‬ﺍﻳﻦ ﻣﺪﺍﺧﻠﻪ ﺯﺑﺎﻥ ﺍﺳﺖ‬
‫‪ .Barry Lewis .1‬ﻋﻜﺎﺱ ﺍﻧﮕﻠﻴﺴﻲ‪ .‬ﻣﺘﻮﻟﺪ ‪1948‬‬
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‫ﻛﻪ ﺍﻳﻦ ﻋﻜﺲ ﺭﺍ ﺑﻪ ﺯﻣﺎﻥ ﻭ ﻣﻜﺎﻧﻲ ﺩﻳﮕﺮ ﻧﺴﺒﺖ ﻣﻲ ﺩﻫﺪ‪،‬ﺑﺎ ﺣﻘﻴﻘﺘﻲ ﻣﺎ ﺭﺍ ﺍﺯ ﺗﺨﻴﻞ ﺩﻭﺭ ﻣﻲ ﺳﺎﺯﺩ‪ ،‬ﻣﻜﺎﻟﻤﻪ‬
‫ﺑﺼﺮﻱ ﻣﺎ ﺭﺍ ﻣﺨﺘﻞ ﻣﻲ ﻛﻨﺪ ﻭ ﺍﻳﻦ ﺯﻥ ﺭﺍ ﺑﻪ ﻳﻚ ﻫﻮﻳﺖ ﺍﺟﺘﻤﺎﻋﻲ ﺑﺪﻝ ﻣﻲ ﺳﺎﺯﺩ‪ .‬ﭼﺸﻢ ﺍﮔﺮ ﺑﻪ ﺣﺎﻝ ﺧﻮﺩ ﺭﻫﺎ‬
‫ﺷﻮﺩ ﻛﻨﺠﻜﺎﻭﻱ ﺭﺍ ﺑﻪ ﺷﻴﻔﺘﮕﻲ ﺗﺒﺪﻳﻞ ﻣﻲ ﻛﻨﺪ‪ ،‬ﻛﻪ ﺗﻮﺿﻴﺢ ﻭ ﺗﻔﺴﻴﺮ ﺑﻪ ﺁﻥ ﭘﺎﻳﺎﻥ ﻣﻲ ﺩﻫﺪ‪ .‬ﻋﻨﻮﺍﻥ ﻫﺎ ﺩﺭ ﺍﻳﻦ‬
‫ﺍﻣﺮ ﻧﻘﺶ ﺑﻪ ﺳﺰﺍﻳﻲ ﺩﺍﺭﻧﺪ‪ .‬ﻫﻢ ﻣﻲ ﺗﻮﺍﻧﻨﺪ ﺑﺎ ﻧﺠﻮﺍﻳﻲ ﺁﺭﺍﻡ ﻭ ﺳﭙﺲ ﺗﺮﻙ ﻣﻮﺿﻮﻉ‪ ،‬ﺍﻳﻦ ﺟﺎﺩﻭ ﺭﺍ ﻗﻮﺕ ﺑﺨﺸﻨﺪ‬
‫ﻭ ﻫﻢ ﻣﻲ ﺗﻮﺍﻧﻨﺪ ﺑﺎ ﺻﺪﺍﻳﻲ ﺑﻠﻨﺪ ﺁﻥ ﺭﺍ ﻧﺎﺑﻮﺩ ﺳﺎﺯﻧﺪ‪ .‬ﺩﺭ ﺍﻳﻨﺠﺎ ﻋﻨﻮﺍﻥ ﺑﺎ ﮔﻔﺘﻦ ‪Charing , 5:30 pm , 1978‬‬
‫‪ ،Cross Station‬ﺍﺭﺟﺎﻉ ﮔﺮﻱ ﺭﺍ ﻗﻮﺕ ﻣﻲ ﺑﺨﺸﺪ ﻭ ﺑﻪ ﺟﺎﻱ ﻧﻤﺎﺩ ﮔﺮﺍﻳﻲ‪ ،‬ﺣﻀﻮﺭﻱ ﺿﺮﻭﺭﻱ ﺭﺍ ﺍﺑﻘﺎ ﻣﻲ‬
‫ﻛﻨﺪ‪.‬‬
‫ﻋﻜﺲ ‪ 1-10‬ﺑﺮﻱ ﻟﻮﺋﻴﺲ‪Charing Cross Station, 5:30 pm (1976) ،‬‬
‫ﺑﺎ ﺑﺮﺭﺳﻲ ﺍﺯ ﻟﺤﺎﻅ ﺩﻳﮕﺮ‪ ،‬ﻣﻲ ﺗﻮﺍﻥ ﻋﻜﺲ ﺭﺍ ﺍﺯ ﻧﻘﻄﻪ ﻧﻈﺮ ﭘﻮﻧﻜﺘﻮﻡ ) ﺑﻪ ﮔﻔﺘﻪ ﺑﺎﺭﺕ( ﺑﺮﺭﺳﻲ ﻛﺮﺩ‪ .‬ﭼﻴﺰﻱ ﻛﻪ‬
‫ﺑﻴﺸﺘﺮ ﻣﺘﻜﻲ ﺑﻪ ﻏﺮﻳﺰﻩ ﺍﺳﺖ ﺗﺎ ﻣﻌﻨﺎ ﻭ ﺣﺲ ﻣﻮﺟﻮﺩ ﺩﺭ ﻋﻜﺲ‪ ،‬ﻭ ﺑﺮﺍﻱ ﻫﺮ ﺷﺨﺺ ﻣﺘﻔﺎﻭﺕ ﺍﺳﺖ‪ .‬ﺑﺮﺍﻱ ﻣﺜﺎﻝ‬
‫ﺩﺭ ﻋﻜﺲ ‪ Charing Cross , 5:30 pm‬ﻣﻤﻜﻦ ﺍﺳﺖ ﻧﻘﻄﻪ ﺗﻜﺎﻥ ﺩﻫﻨﺪﻩ ﺑﺮﺍﻱ ﻳﻚ ﻧﻔﺮ ﭼﻬﺮﻩ ﻳﻜﻲ ﺍﺯ‬
‫ﻣﺴﺎﻓﺮﺍﻧﻲ ﺑﺎﺷﺪ ﻛﻪ ﻧﺸﺴﺘﻪ ﺍﻧﺪ ) ﺑﻪ ﻋﻠﻞ ﻧﺎﻣﻌﻠﻮﻡ ﻣﺜﻞ ﺷﺒﺎﻫﺖ ﺑﻪ ﺷﺨﺼﻲ ﺩﻳﮕﺮ(‪ .‬ﭘﻮﻧﻜﺘﻮﻡ ﺭﺍﻫﻲ ﺍﺳﺖ ﻛﻪ ﺩﺭ‬
‫ﺁﻥ‪ ،‬ﺑﻪ ﻃﺮﺯ ﻃﻌﻨﻪ ﺁﻣﻴﺰﻱ‪ ،‬ﺑﺎﺭﺕ ﻗﺎﺩﺭ ﺍﺳﺖ ﺍﻣﺮ ﺍﺣﺴﺎﺳﻲ ﻭ ﻏﺮﻳﺰﻱ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻧﺸﺎﻧﻪ ﺷﻨﺎﺳﻲ ﻧﺠﺎﺕ ﺩﻫﺪ‪.‬‬
‫ﻫﻨﮕﺎﻣﻴﻜﻪ ﻣﺎ ﺑﻪ ﺳﺮﺍﻍ ﺗﻔﺴﻴﺮ ﺯﺑﺎﻥ ﺷﻨﺎﺳﺎﻧﻪ ﺗﺼﻮﻳﺮ ﻋﻜﺎﺳﻲ ﻣﻲ ﺭﻭﻳﻢ‪ ،‬ﺩﻭ ﺭﺍﻩ ﺩﺭ ﭘﻴﺶ ﺭﻭﻱ ﻣﺎﺳﺖ‪ .‬ﻳﺎ ﺍﻫﻤﻴﺖ‬
‫ﺗﺼﻮﻳﺮ ﺩﺭ ﺍﺭﺯﺵ ﺭﺍﺑﻄﻪ ﻋﻜﺎﺱ ﺑﺎ ﺳﻮژﻩ ﺍﺵ ﺍﺳﺖ‪ ،‬ﻳﺎ ﺩﺭ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺗﺼﻮﻳﺮ‪ ،‬ﻓﺎﺭﻍ ﺍﺯ ﻋﻜﺎﺱ‪ ،‬ﺑﻪ ﻣﺎ ﭼﻪ ﻣﻲ‬
‫ﮔﻮﻳﺪ‪ .‬ﻳﻚ ﺩﻳﺪﮔﺎﻩ ﺍﻳﻦ ﺭﺍ ﻣﻲ ﺭﺳﺎﻧﺪ ﻛﻪ ﻋﻜﺲ ﻧﻤﻲ ﺗﻮﺍﻧﺪ ﺑﺪﻭﻥ ﻧﻤﺎﻳﺶ ﻣﻬﺎﺭﺕ ﻫﺎﻱ ﻭﻳﮋﻩ ﻋﻜﺎﺱ‪ ،‬ﻣﻬﻢ‬
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‫ﺑﺎﺷﺪ‪ .‬ﺩﻳﺪﮔﺎﻩ ﺩﻳﮕﺮ ﺍﻳﻨﻜﻪ ﻫﺮ ﺗﺼﻮﻳﺮﻱ ﺑﺎﻳﺪ ﮔﻮﻳﺎﻱ ﺧﻮﺩ ﺑﺎﺷﺪ ﻳﺎ ﺍﻳﻨﻜﻪ ﺩﺭ ﻛﻞ ﺳﺨﻨﻲ ﻧﮕﻮﻳﺪ‪ .‬ﻭﻟﻲ ﻫﻤﭽﻨﻴﻦ‬
‫ﺑﺒﻴﻨﻨﺪﻩ ﺑﺎﻳﺪ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪ ﺷﻮﺩ ؛ ﻧﻪ ﺑﻴﻨﻨﺪﻩ ﺍﻱ ﻛﻪ ﻣﻘﺎﺻﺪ ﻭ ﻣﻌﺎﻧﻲ ﻋﻜﺎﺳﻲ ﺭﺍ ﺗﺮﺟﻤﻪ ﻣﻲ ﻛﻨﺪ‪ ،‬ﺑﻠﻜﻪ ﺁﻧﻲ ﻛﻪ‬
‫ﺑﺮﺍﻱ ﺍﻭ ﻋﻜﺲ ﻳﻚ ﭘﻴﺶ ﻣﺘﻦ ﺑﺮﺍﻱ ﺗﻔﻜﺮ ﺭﺍﺟﻊ ﺑﻪ ﻣﺤﺮﻙ ﻫﺎ ﻭ ﺭﻓﺘﺎﺭﻫﺎﻱ ﺍﻧﺴﺎﻥ ﺍﺳﺖ‪.‬‬
‫ﺩﺭ ﺗﻮﺿﻴﺢ ﺭﺍﺟﻊ ﺑﻪ ﻋﻜﺲ ﻫﺎ ﮔﺎﻫﺎً ﺑﺠﺎﻱ ﻧﻘﺪ ﺍﺯ ﺳﺨﻨﺎﻥ ﻋﺎﻣﻴﺎﻧﻪ ‪ 1‬ﺍﺳﺘﻔﺎﺩﻩ ﻣﻲ ﺷﻮﺩ ﻛﻪ ﺩﺭ ﺁﻥ ﻋﻜﺲ ﺑﻪ ﻳﻚ‬
‫‪P‬‬ ‫‪P‬‬
‫ﺯﻧﺠﻴﺮﻩ ﺍﻱ ﺍﺯ ﺩﺍﻧﺶ ﻫﺎ ﻭ ﺑﻪ ﺗﺎﺭﻳﺨﭽﻪ ﺍﻳﻦ ﺭﺳﺎﻧﻪ ﻣﺘﺼﻞ ﻧﻤﻲ ﺷﻮﺩ ﻭ ﺣﺘﻲ ﻣﻤﻜﻦ ﺍﺳﺖ ﻧﺘﻴﺠﻪ ﮔﻴﺮﻱ ﻫﻢ ﺍﻧﺠﺎﻡ‬
‫ﻧﺸﻮﺩ ﻭ ﺗﻮﺿﻴﺢ ﺣﺎﻟﺘﻲ ﺑﻲ ﺍﻋﺘﻨﺎ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﻧﻘﺪ‪ ،‬ﺩﺭ ﻣﻘﺎﺑﻞ ﺑﻲ ﺍﻋﺘﻨﺎﻳﻲ ﺣﺴﺎﺱ ﺍﺳﺖ ﻭ ﻣﺴﺌﻮﻟﻴﺘﻲ ﺑﺰﺭگ ﺩﺭ‬
‫ﺑﺮﺍﺑﺮ ﻳﺎﺩﮔﻴﺮﻱ ﺩﺍﺭﺩ‪ .‬ﺳﺨﻨﺎﻥ ﻋﺎﻣﻴﺎﻧﻪ ﺑﻲ ﺍﻋﺘﻨﺎ‪ ،‬ﺑﻲ ﺗﻮﺟﻪ ﻭﺑﻲ ﻣﺴﺌﻮﻟﻴﺘﻨﺪ‪ .‬ﻫﻤﺎﻧﻨﺪ ﻧﻘﺪ‪ ،‬ﺳﺨﻦ ﻋﺎﻣﻴﺎﻧﻪ ﻧﻴﺰ ﺑﺎﻭﺭ‬
‫ﺩﺍﺭﺩ ﻛﻪ ﻫﻴﭻ ﭼﻴﺰ ﻣﺼﻮﻥ ﻧﻴﺴﺖ ؛ ﻭﻟﻲ ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﺩﺭ ﻧﻘﺪ ﻫﻴﭻ ﭼﻴﺰ ﺩﺭ ﻣﻘﺎﺑﻞ ﻣﻌﻨﺎ ﻣﺼﻮﻥ ﻧﻴﺴﺖ‪ ،‬ﺑﺮﺍﻱ ﺳﺨﻨﺎﻥ‬
‫ﻋﺎﻣﻴﺎﻧﻪ ﻫﻴﭻ ﭼﻴﺰ ﺍﺯ ﻣﺤﺮﻙ ﺑﻴﺮﻭﻧﻲ ﻭﺗﺪﺑﻴﺮ ﻳﺎ ﺣﻴﻠﻪ ﺑﻴﻦ ﺭﻭﺍﺑﻂ ﻣﺼﻮﻥ ﻧﻴﺴﺖ‪ .‬ﻧﻘﺪ ﻭ ﺳﺨﻨﺎﻥ ﻋﺎﻣﻴﺎﻧﻪ ﻫﺪﻑ ﻫﺎﻱ‬
‫ﺷﻨﺎﺧﺘﻲ ﻣﺘﻔﺎﻭﺗﻲ ﺩﺍﺭﻧﺪ‪ .‬ﺑﻪ ﻣﺎ ﺁﻣﻮﺧﺘﻪ ﺷﺪﻩ ﻛﻪ ﺑﻪ ﺍﻭﻟﻲ ﺑﻴﺸﺘﺮ ﺍﺯ ﺩﻭﻣﻲ ﺑﻬﺎ ﺩﻫﻴﻢ‪ .‬ﻭﻟﻲ ﺩﺭ ﻣﻮﺭﺩ ﻋﻜﺎﺳﻲ ﻣﻲ‬
‫ﺗﻮﺍﻥ ﺑﺤﺚ ﻛﺮﺩ ﻛﻪ ﻧﻪ ﺗﻨﻬﺎ ﻫﺮ ﺩﻭ ﻧﻮﻉ ﺳﺨﻦ ﺑﻪ ﻃﺮﺯ ﻋﺠﻴﺒﻲ ﺑﺮﺍﻱ ﺍﻳﻦ ﺭﺳﺎﻧﻪ ﻣﻨﺎﺳﺒﻨﺪ‪ ،‬ﺑﻠﻜﻪ ﻋﻜﺎﺳﻲ ﺑﻪ ﻃﺮﺯ‬
‫ﻣﺜﺒﺘﻲ ﺍﺯ ﺳﺨﻨﺎﻥ ﻋﺎﻣﻴﺎﻧﻪ ﺣﻤﺎﻳﺖ ﻣﻲ ﻛﻨﺪ‪.‬‬
‫ﺑﺮﺍﻱ ﭼﻨﻴﻦ ﺍﺩﻋﺎﻳﻲ ﺑﺎﻳﺪ ﺍﺻﺮﺍﺭ ﺩﺍﺷﺖ ﻛﻪ ﺯﺑﺎﻥ ﻋﻜﺎﺳﻲ ﺯﺑﺎﻥ ﻇﻮﺍﻫﺮ ﺑﻴﺮﻭﻧﻲ ﺍﺳﺖ‪ .‬ﻧﻘﺪ ﻣﺎ ﺭﺍ ﻧﺼﻴﺤﺖ ﻣﻲ ﻛﻨﺪ‬
‫ﻭ ﻫﺸﺪﺍﺭ ﻣﻲ ﺩﻫﺪ ﻛﻪ ﻋﻜﺲ ﻫﺎ ﻧﻤﺎﻳﺎﻧﮕﺮ ﺣﻘﻴﻘﺖ‪ ،‬ﺳﺎﺧﺘﺎﺭﻫﺎﻱ ﺍﻳﺪﺋﻮﻟﻮژﻳﻜﻲ ﻭ ﻧﺤﻮﻱ ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﺎ ﻋﻤﻞ‬
‫ﻓﺮﻳﻢ ﺑﻨﺪﻱ ﻓﻌﺎﻝ ﻣﻲ ﺷﻮﻧﺪ‪ .‬ﺳﺨﻨﺎﻥ ﻋﺎﻣﻴﺎﻧﻪ ﻣﻲ ﮔﻮﻳﻨﺪ ﻛﻪ ﻋﻜﺲ ﻫﺎ ﻗﻄﻌﺎﺗﻲ ﺍﺯ ﻭﺟﻮﺩﻧﺪ‪ ،‬ﻣﺪﺍﺭﻛﻲ ﺛﺒﺖ ﺷﺪﻩ‬
‫ﺍﺯ ﻣﻮﺍﺟﻬﻪ ﺑﺎ ﻭﺟﻮﺩﻧﺪ ﻛﻪ ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﻣﺎ ﺍﻃﺮﺍﻑ ﺧﻮﺩ ﺭﺍ ﻣﻲ ﺧﻮﺍﻧﻴﻢ‪ ،‬ﺁﻧﻬﺎ ﺭﺍ ﻧﻴﺰ ﻣﻲ ﺧﻮﺍﻧﻴﻢ‪ .‬ﻧﻘﺪ ﺑﺮ ﺳﺎﺧﺖ‬
‫ﻋﻜﺲ ﻫﺎ ﺗﺎﻛﻴﺪ ﺩﺍﺭﺩ‪ ،‬ﺻﺤﺒﺖ ﻋﺎﻣﻴﺎﻧﻪ ﺑﺮ ﮔﺮﻓﺘﻦ ﺗﺸﺎﺑﻬﺎﺕ‪ ،‬ﻧﻘﺪ ﻧﻤﺎﺩﮔﺮﺍﻳﻲ ﻋﻜﺎﺳﻲ ﺭﺍ ﻣﻲ ﭘﺬﻳﺮﺩ‪ ،‬ﺻﺤﺒﺖ‬
‫ﻋﺎﻣﻴﺎﻧﻪ ﺍﺭﺟﺎﻉ ﮔﺮﺍﻳﻲ ﺁﻧﺮﺍ‪ .‬ﺑﻪ ﻃﻮﺭ ﺧﻼﺻﻪ ﺻﺤﺒﺖ ﻋﺎﻣﻴﺎﻧﻪ ﺍﺑﺮﺍﺯ ﻣﻲ ﺩﺍﺭﺩ ﻛﻪ ﻫﺮ ﭼﻘﺪﺭ ﻛﻪ ﻳﻚ ﻋﻜﺲ‬
‫ﺳﻮژﻩ ﺗﻔﺴﻴﺮ ﺑﺎﺷﺪ‪ ،‬ﻋﻨﺼﺮ ﺗﺼﺎﺩﻓﻲ‪ ،‬ﻧﺎﮔﻬﺎﻧﻲ ﺑﻮﺩﻥ‪ ،‬ﺷﺎﻧﺴﻲ ﺑﻮﺩﻥ ﻭ ﺑﻲ ﻧﻈﻤﻲ )ﺁﻧﺎﺭﺷﻴﺴﺘﻲ( ﻧﻤﻲ ﺗﻮﺍﻧﺪ ﺍﺯ ﺑﻴﻦ‬
‫ﺑﺮﻭﺩ‪ ،‬ﻭ ﺍﻳﻦ ﺣﺎﺷﻴﻪ ﺳﺮﻛﺶ ﺑﻪ ﺭﻫﻴﺎﻓﺘﻲ ﺍﺯ ﻋﻜﺎﺳﻲ ﻣﻨﺘﺞ ﻣﻲ ﺷﻮﺩ ﻛﻪ ﺭﻭﺍﻳﺘﮕﺮ ﻭ ﺟﺬﺍﺏ ﺍﺳﺖ‪.‬‬
‫ﺍﮔﺮ ﻋﻜﺎﺳﻲ ﺭﺍ ﺑﺎ ﻓﻴﻠﻢ ﻣﻘﺎﻳﺴﻪ ﻛﻨﻴﻢ ﻳﻚ ﺗﻔﺎﻭﺕ ﺍﺳﺎﺳﻲ ﺑﻴﻦ ﺁﻧﻬﺎ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻓﻴﻠﻢ‪ ،‬ﺳﻮژﻩ ﻧﺒﺎﻳﺪ ﺑﻪ‬
‫ﺩﻭﺭﺑﻴﻦ‪ ،‬ﻳﻌﻨﻲ ﺩﺭ ﺣﻘﻴﻘﺖ ﺑﻪ ﺑﻴﻨﻨﺪﻩ ﻧﮕﺎﻩ ﻛﻨﺪ‪ .‬ﻧﮕﺎﻩ ﻧﻜﺮﺩﻥ ﺑﻪ ﺩﻭﺭﺑﻴﻦ ﺩﺭ ﻓﻴﻠﻢ ﻧﺸﺎﻧﮕﺮ ﭘﺎﺑﺮﺟﺎ ﺑﻮﺩﻥ ﺗﺼﻮﺭ ﻭ‬
‫ﺗﻮﻫﻢ ﻭ ﺧﻴﺎﻟﻲ ﺑﻮﺩﻥ ﺍﺳﺖ‪ .‬ﻧﮕﺎﻩ ﻧﻜﺮﺩﻥ ﺑﻪ ﺩﻭﺭﺑﻴﻦ ﺩﺭ ﻋﻜﺎﺳﻲ ﻧﺸﺎﻧﮕﺮ ﺑﻲ ﻫﻮﺍ ﺑﻮﺩﻥ ﻭ ﺍﺻﻠﻲ ﺑﻮﺩﻥ ﺍﺳﺖ‪.‬‬
‫ﺑﻨﺎﺑﺮﺍﻳﻦ ﻳﻚ ﭘﺎﺭﺍﺩﻭﻛﺲ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ :‬ﺁﻧﭽﻪ ﻛﻪ ﺑﺮﺍﻱ ﻋﻜﺲ ﺻﺪﺍﻗﺖ ﺑﻪ ﻭﺍﻗﻌﻴﺖ ‪ -‬ﺳﻮژﻩ ﻫﺎ ﺑﺪﻭﻥ ﺍﻃﻼﻉ ﻭ‬
‫ﺑﺪﻭﻥ ﻧﮕﺎﻩ ﻛﺮﺩﻥ ﺑﻪ ﺩﻭﺭ ﺑﺒﻴﻨﻨﺪ‪ -‬ﻓﺮﺍﻫﻢ ﻣﻲ ﺁﻭﺭﺩ‪ ،‬ﺁﻥ ﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺁﻥ ﭘﺘﺎﻧﺴﻴﻞ ﺩﻳﺪﻩ ﺷﺪﻥ ﺑﻪ ﻋﻨﻮﺍﻥ‬
‫ﻳﻚ ﻓﺘﻮﮔﺮﺍﻡ ﺭﺍ ﻣﻲ ﺩﻫﺪ‪ ،‬ﻳﻌﻨﻲ ﻳﻚ ﺭﻭﺍﻳﺖ ﺍﺩﺍﻣﻪ ﻳﺎﻓﺘﻨﻲ ﻛﻪ ﮔﺬﺷﺘﻪ ﻭ ﺁﻳﻨﺪﻩ ﺁﻥ ﺑﻪ ﺗﺨﻴﻞ ﻭﺍﮔﺬﺍﺭ ﻣﻲ‬
‫ﺷﻮﺩ)ﺩﺍﺳﺘﺎﻥ(‪ .‬ﺩﺭ ﻳﻚ ﭘﺎﺭﺍﺩﻭﻛﺲ ﺑﺮﻋﻜﺲ ﺁﻥ‪ ،‬ﺍﺳﺘﻨﺎﺩ ﻳﻚ ﻣﺴﺘﻨﺪ ﻭ ﺍﻋﺘﺒﺎﺭ ﺁﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺳﻨﺪ‪ ،‬ﺑﻪ ﺭﺷﺪ‬
‫‪gossip .1‬‬
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‫ﻭ ﺗﻜﺎﻣﻞ ژﺳﺖ ﺩﺭ ﺁﻥ ﻭ ﺑﻪ ﻧﮕﺎﻩ ﺧﻴﺮﻩ ﺑﺎﺯﮔﺸﺘﻪ ﺍﺯ ﺳﻮژﻩ ﺁﻥ ﺑﺴﺘﮕﻲ ﺩﺍﺭﺩ‪ .‬ژﺳﺖ ﻗﺎﺑﻠﻴﺖ ﻓﺘﻮﮔﺮﺍﻡ ﺑﻮﺩﻥ ﻭ‬
‫ﺩﺍﺳﺘﺎﻥ ﭘﺮﺩﺍﺯﻱ ﺗﺼﻮﻳﺮ ﺭﺍ ﺍﺯ ﺑﻴﻦ ﻣﻲ ﺑﺮﺩ‪.‬‬
‫ﺍﺯ ﺳﻮﻳﻲ ﺩﻳﮕﺮ ﻫﻨﮕﺎﻣﻲ ﻛﻪ ﺑﻪ ‪ Charing Cross‬ﻟﻮﻳﺲ ﻳﺎ ‪ Le Viaduct des Fades‬ﻻﺭﺗﻴﮓ ‪ 1‬ﻳﺎ‬
‫‪P‬‬ ‫‪P‬‬
‫ﻋﻜﺲ ﺑﺎﺯﺍﺭ ﮔﻞ ﺩﺭ ﻣﺴﻜﻮ ﺍﺯ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ )‪ (1954‬ﻣﻲ ﻧﮕﺮﻳﻢ‪ ،‬ﺩﺭ ﻧﮕﺎﻩ ﻟﺤﻈﻪ ﺍﻱِ ﺯﻥ ﻛﻪ ﺭﻭ ﺑﻪ ﺩﻭﺭ ﺑﻴﻦ‬
‫ﺑﺮﮔﺸﺘﻪ‪ ،‬ﭼﻴﺰﻱ ﺑﻪ ﻣﺎﻧﻨﺪ ﭼﻜﻴﺪﻩ ﺍﻱ ﺍﺯ ﻛﻞ ﺻﺤﻨﻪ ﻣﻲ ﺑﻴﻨﻴﻢ‪ .‬ﭼﻬﺮﻩ‪ ،‬ﻛﺎﻧﺎﻝ ﺍﺭﺗﺒﺎﻃﻲ ﺑﺎ ﻛﻞ ﺍﺛﺮ ﺍﺳﺖ ﻭ ﺍﺯ ﻃﺮﻳﻖ‬
‫ﺍﻳﻦ ﺻﻮﺭﺕ ﺍﺳﺖ ﻛﻪ ﻛﻞ ﺍﺛﺮ ﺑﻪ ﻣﺎ ﻣﻲ ﻧﮕﺮﺩ‪ .‬ﺩﺭ ﺁﻧﻲ ﺑﻮﺩﻥ ﺣﺎﻟﺖ ﺍﻳﻦ ﭼﻬﺮﻩ ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﺗﻜﻪ ﺑﺴﻴﺎﺭﺑﺎﺭﻳﻚ‬
‫ﺍﺯ ﺯﻣﺎﻥ ﺑﻪ ﻣﺎ ﺩﺍﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻧﮕﺎﻩ ﻛﻞ ﺭﺍ ﺑﻴﺎﻥ ﻣﻲ ﻛﻨﺪ ؛ ﺍﻧﺴﺠﺎﻣﻲ ﺧﺎﺹ ﺍﺯ ﻣﻘﺼﻮﺩ ﻭ ﻓﻌﺎﻟﻴﺖ ﻛﻪ ﺑﻪ‬
‫ﺳﺨﺘﻲ ﺯﻣﺎﻥ ﺍﻳﻦ ﺭﺍ ﺩﺍﺭﺩ ﻛﻪ ﺗﺪﺍﺧﻞ ﺩﻭﺭﺑﻴﻦ ﺭﺍ ﺑﻔﻬﻤﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺍﮔﺮ ﭘﺮﺗﺮﻩ ﻣﺴﺘﻨﺪ ﺗﻮﺳﻂ ﺍﻳﻦ ﺗﻤﺎﻳﻞ ﺍﻳﺠﺎﺩ ﻣﻲ‬
‫ﺷﻮﺩ ﻛﻪ ﺑﮕﺬﺍﺭﺩ ﻧﮕﺎﻩ ﺧﻴﺮﻩ ﺩﺭ ﺧﻮﺩ ﻏﺮﻕ ﺷﻮﺩ ‪،‬ﺗﺎ ﺩﺭ ﻣﺎ ﻏﺮﻕ ﺷﻮﺩ‪ ،‬ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﭼﻬﺮﻩ ﺍﻱ ﺭﺍ ﻧﺸﺎﻥ ﻣﻲ‬
‫ﺩﻫﺪ ﻛﻪ ﺍﺯ ﺧﻮﺩ ﺑﻴﺮﻭﻥ ﺁﻣﺪﻩ ﺍﺳﺖ ﺗﺎ ﺑﺎ ﺁﻥ ﺑﻬﺘﺮ ﺍﻧﺮژﻱ ﻫﺎﻳﻲ ﻛﻪ ﺗﻮﺳﻂ ﺁﻧﻬﺎ ﺍﺣﺎﻃﻪ ﺷﺪﻩ ﺍﺳﺖ ﺭﺍ ﺿﺒﻂ ﻛﻨﺪ‪.‬‬
‫ﻧﮕﺎﻩ ﺩﺭ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﻳﻚ ﺑﻮﺩﻥ ﻭ ﺍﻧﺤﺼﺎﺭ ﻳﻚ ﺫﻫﻦ ﺭﺍ ﻧﺸﺎﻥ ﻧﻤﻲ ﺩﻫﺪ ﺑﻠﻜﻪ ﺍﺯ ﻃﺮﻳﻖ ﭼﻬﺮﻩ ﺫﻫﻦ ﺯﻣﺎﻥ ﻭ‬
‫ﻣﻜﺎﻥ ﻭ ﭘﻮﻳﺎﻳﻲ ﺷﻬﺮﻱ ﺩﺭ ﺣﺎﻝ ﮔﺬﺭ ﺭﺍ ﻧﺸﺎﻥ ﻣﻲ ﺩﻫﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺍﻳﻦ ﻧﮕﺎﻩ ﻳﻚ ﻧﮕﺎﻩ ﻧﻤﺎﺩ ﮔﺮﺍ ﻧﻴﺴﺖ ﺑﻠﻜﻪ‬
‫ﻳﻚ ﻧﮕﺎﻩ ﺍﺷﺎﺭﻩ ﮔﺮ ﺍﺳﺖ‪.‬‬
‫ﺩﺭ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ‪ ،‬ﭼﻬﺮﻩ ﻣﺤﺼﻮﻝ ﺁﻥ ﻟﺤﻈﻪ ﺍﺳﺖ ﻭ ﺑﺎ ﻣﺤﻴﻂ ﺩﺭﮔﻴﺮ ﺍﺳﺖ ﻭ ﺑﺎ ﺳﺎﺧﺘﺎﺭ ﻛﻠﻲ ﻋﻜﺲ ﭘﻴﻮﻧﺪ‬
‫ﺩﺍﺭﺩ‪ .‬ﺍﺯ ﻃﺮﻓﻲ ﺩﻳﮕﺮ ﻧﮕﺎﻩ ﺩﺭ ﻋﻜﺎﺳﻲ ﻣﺴﺘﻨﺪ ﻣﻤﻜﻦ ﺍﺳﺖ ﺗﻮﺳﻂ ﺳﺎﺧﺘﺎﺭ ﻋﻜﺲ ﺗﻘﻮﻳﺖ ﺷﻮﺩ‪ .‬ﻭﻟﻲ ﺍﻳﻦ‬
‫ﻗﺎﺑﻠﻴﺖ ﺭﺍ ﺩﺍﺭﺩ ﻛﻪ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﻟﺤﻈﻪ ﻣﺠﺰﺍ ﺳﺎﺯﺩ ﻭ ﻣﺎ ﺭﺍ ﺩﺭ ﺑﺮﮔﻴﺮﺩ ﻭ ﺯﻣﺎﻥ ﺧﻮﺩ ﺭﺍ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﭘﺲ ﺑﻴﺸﺘﺮ‬
‫ﺑﺠﺎﻱ ﺍﻟﻘﺎﻱ ﺣﺲ ﻛﻨﺠﻜﺎﻭﻱ ﺩﺭ ﻣﺎ ﻧﻔﻮﺫ ﻣﻲ ﻛﻨﺪ‪.‬‬
‫ﺧﺎﺻﻴﺖ ﺩﻳﮕﺮﻱ ﻛﻪ ﻣﻲ ﺗﻮﺍﻥ ﺑﺮﺍﻱ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﻗﺎﺋﻞ ﺷﺪ ﺧﺎﺻﻴﺖ ﺁﻧﺎﻣﻮﺭﻓﻴﺰﻡ)ﺗﻐﻴﻴﺮﺷﻜﻞ( ﺍﺳﺖ‪ .‬ﻳﻌﻨﻲ‬
‫ﺍﺯ ﻫﺮ ﻧﻘﻄﻪ ﻧﻈﺮ ﻭ ﺑﺎ ﻫﺮ ﻃﺮﺯ ﺩﻳﺪ‪ ،‬ﻣﺤﺘﻮﺍﻱ ﺩﺭﻳﺎﻓﺘﻲ ﺍﺯ ﺁﻥ ﻋﻮﺽ ﻣﻲ ﺷﻮﺩ‪ .‬ﻋﻜﺎﺳﻲ ﺑﻪ ﻃﺮﺯ ﻋﺠﻴﺒﻲ ﺧﺎﺻﻴﺖ‬
‫ﺁﻧﺎﻣﻮﺭﻓﻴﺰﻡ ﺭﺍ ﻣﻲ ﭘﺬﻳﺮﺩ ﺯﻳﺮﺍ ﮔﺮﻓﺘﻦ ﻳﻚ ﻋﻜﺲ ﺩﻳﺪ ﺭﺍ ﻋﻮﺽ ﻣﻲ ﻛﻨﺪ ﻭ ﺑﻪ ﻧﻮﻋﻲ ﻣﻌﻨﺎﻱ ﻫﺮ ﻋﻜﺲ ﺍﺯ‬
‫ﺍﻭﻟﻴﻦ ﻣﻮﺍﺟﻬﻪ ﺑﺎ ﺁﻥ ﻧﻬﻔﺘﻪ ﺍﺳﺖ‪ ،‬ﺩﺭ ﺷﻮﻙ ﺑﺎﺯﺩﺍﺷﺖ ﻟﺤﻈﻪ‪ ،‬ﺩﺭ ﻓﻬﻢ ﺍﻳﻨﻜﻪ ﻣﺎ ﭼﻴﺰﻱ ﺭﺍ ﻣﻲ ﺑﻴﻨﻴﻢ ﻛﻪ ﻗﺒﻼً ﺑﻪ‬
‫ﺁﻥ ﺗﻮﺟﻬﻲ ﻧﻜﺮﺩﻩ ﺑﻮﺩﻳﻢ‪ .‬ﺧﺎﺻﻴﺖ ﺁﻧﺎﻣﻮﺭﻓﻴﺰﻡ ﻋﻜﺎﺳﻲ ﻧﻪ ﺩﺭ ﺗﻔﺴﻴﺮ ﺁﻥ‪ ،‬ﺑﻠﻜﻪ ﺩﺭ ﺧﻮﺩ ﻋﻤﻞ ﺩﻳﺪﻥ ﺍﻧﺠﺎﻡ ﻣﻲ‬
‫ﺷﻮﺩ‪.‬‬
‫ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﻣﻲ ﭘﺬﻳﺮﺩ ﻛﻪ ﺩﻭﺭﺑﻴﻦ ﺑﻴﺸﺘﺮ ﺍﺯ ﻣﺎ ﻣﻲ ﺑﻴﻨﺪ ﻭ ﻭﺳﻴﻠﻪ ﺍﻱ ﺑﺎ ﻗﺎﺑﻠﻴﺖ ﺩﺳﺘﻴﺎﺑﻲ ﻣﻤﺘﺎﺯ ﺍﺳﺖ‪ .‬ﺑﺎ‬
‫ﭘﺬﻳﺮﺵ ﺍﻳﻦ ﻣﻮﺿﻮﻉ‪ ،‬ﻣﺎ ﺩﻭ ﻣﻮﺿﻮﻉ ﺭﺍ ﻣﻲ ﻓﻬﻤﻴﻢ ‪ .‬ﻧﺨﺴﺖ ﺍﻳﻨﻜﻪ ﺑﺎ ﺍﻳﻨﻜﻪ ﺩﻭﺭﺑﻴﻦ ﺑﻴﺸﺘﺮ ﺍﺯ ﻣﺎ ﻣﻲ ﺑﻴﻨﺪ ﻣﺎ ﺍﻳﻦ‬
‫ﻗﺎﺑﻠﻴﺖ ﺭﺍ ﺩﺍﺭﻳﻢ ﻛﻪ ﺍﻳﻦ "ﺑﻴﺸﺘﺮ" ﺭﺍ ﺣﺘﻲ ﻗﺒﻞ ﺍﺯ ﺭﻫﺎ ﺷﺪﻥ ﺷﺎﺗﺮ ﺑﻪ ﻃﻮﺭ ﻏﺮﻳﺰﻱ ﺩﺭﻙ ﻛﻨﻴﻢ‪ .‬ﻟﺤﻈﻪ ﻗﻄﻌﻲ‬
‫ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺑﺮﭘﺎﻳﻪ ﻗﺎﺑﻠﻴﺖ ﻋﻜﺎﺱ ﺩﺭ ﺷﮕﻔﺘﻲ ﺳﺎﺯﻱ ﻭ ﺿﺒﻂ ﻟﺤﻈﻪ ﺍﻱ ﺍﺳﺖ ﻛﻪ ﻋﻜﺎﺱ ﭘﻴﺶ ﺍﺯ ﺭﻫﺎ ﻛﺮﺩﻥ‬
‫ﺷﺎﺗﺮ ﺁﻥ ﺭﺍ ﺩﻳﺪﻩ ﺑﻮﺩ ﻭ ﺭﺧﺪﺍﺩ ﺁﻥ ﺭﺍ ﭘﻴﺶ ﺑﻴﻨﻲ ﻣﻲ ﻛﺮﺩ‪ .‬ﺩﻭﻡ ﺍﻳﻨﻜﻪ ﺣﺘﻲ ﺯﻣﺎﻧﻲ ﻛﻪ ﺩﻭﺭﺑﻴﻦ ﭼﻴﺰﻫﺎﻳﻲ ﺭﺍ ﻣﻲ‬
‫‪ .Jacques Henri Lartigue .1‬ﻋﻜﺎﺱ ﻓﺮﺍﻧﺴﻮﻱ ‪1894-1986‬‬
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‫ﺑﻴﻨﺪ ﻛﻪ ﭼﺸﻢ ﻧﻤﻲ ﺗﻮﺍﻧﺪ ﺣﺘﻲ ﺁﻧﻬﺎ ﺭﺍ ﺍﺯ ﭘﻴﺶ ﺩﺭﻙ ﻛﻨﺪ‪ ،‬ﺟﺎﻳﻲ ﻛﻪ ﺩﻭﺭﺑﻴﻦ ﺍﺑﺰﺍﺭ ﺷﺎﻧﺲ ﺧﻼﻕ ﺍﺳﺖ‪ ،‬ﻫﻨﻮﺯ‬
‫ﺑﻪ ﺳﻄﺢ ﺑﺼﺮﻱ ﭼﻴﺰﻱ ﺭﺍ ﻣﻲ ﺭﺳﺎﻧﺪ ﻛﻪ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﺍﻧﺴﺎﻥ ﺁﻥ ﺭﺍ ﻣﻲ ﻃﻠﺒﺪ ﻳﺎ ﻣﺎ ﺭﺍ ﺑﻪ ﺳﻮﻱ ﺁﻥ ﻣﻲ ﺍﻧﮕﻴﺰﺩ ؛ ﻭ‬
‫ﺁﻥ ﻛﺸﻒ ﭼﻴﺰﻫﺎﻱ ﺁﺷﻨﺎ ﺩﺭ ﺭﺧﺪﺍﺩ ﻫﺎﻱ ﺗﺼﺎﺩﻓﻲ ﺍﺳﺖ‪.‬‬
‫ﻳﻚ ﺧﺎﺻﻴﺖ ﺩﻳﮕﺮ ﺩﺭ ﻋﻜﺎﺳﻲ ﺧﺎﺻﻴﺖ ﺳﻴﻨﺘﺰﻱ ) ﺟﺎﺑﺠﺎﻳﻲ ﺣﺴﻲ( ﺍﺳﺖ‪ .‬ﻃﺒﻖ ﺍﻳﻦ ﺧﺎﺻﻴﺖ‪ ،‬ﺑﺎ ﺗﺤﺮﻳﻚ‬
‫ﻳﻚ ﺣﺲ‪ ،‬ﺩﻳﮕﺮ ﺣﺲ ﻫﺎ ﻧﻴﺰ ﺗﺤﺮﻳﻚ ﻣﻲ ﺷﻮﻧﺪ‪ .‬ﺩﺭ ﻋﻜﺎﺳﻲ ﺑﺎ ﺩﻳﺪﻥ ﺑﺎ ﭼﺸﻢ‪ ،‬ﺣﻮﺍﺱ ﻻﻣﺴﻪ‪ ،‬ﺑﻮﻳﺎﻳﻲ ﻭ‬
‫ﺷﻨﻴﺪﺍﺭﻱ ﺗﺤﺮﻳﻚ ﻣﻲ ﺷﻮﻧﺪ‪ .‬ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺍﺯ ﺳﻮژﻩ ﻫﺎﻳﻲ ﻛﻪ ﺑﺎﻋﺚ ﺗﺠﺮﺑﻪ ﺳﺘﻴﺰﻱ ﻣﻲ ﺷﻮﻧﺪ ﺑﻬﺮﻩ ﻣﻲ ﺑﺮﺩ‪.‬‬
‫ﺑﺮﺍﻱ ﻣﺜﺎﻝ ﺍﮔﺮ ﺑﻪ ﺗﺼﺎﻭﻳﺮ ﺧﻴﺎﺑﺎﻥ ﺩﺭ ﺑﺎﺭﺍﻥ ﻧﮕﺎﻩ ﻛﻨﻴﻢ ﺍﻳﻦ ﺗﺠﺮﺑﻪ ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﻪ ﻋﻠﺖ ﺍﻳﻦ ﺑﺎﺷﺪ ﻛﻪ ﺑﺎﺭﺍﻥ ﺑﻪ‬
‫ﺳﻄﻮﺡ‪ ،‬ﺑﻪ ﺩﺭﺟﺎﺕ ﺗﻮﻧﺎﻟﻴﺘﻪ‪ ،‬ﺑﻪ ﺑﺎﺯﻱ ﺍﻧﻌﻜﺎﺱ ﻫﺎ ﮔﻮﻧﺎﮔﻮﻧﻲ ﻭ ﺳﺮﺯﻧﺪﮔﻲ ﻣﻲ ﺑﺨﺸﺪ ؛ ﻭﻟﻲ ﺑﻪ ﻫﻤﺎﻥ ﻣﻘﺪﺍﺭ‬
‫ﻣﻲ ﺗﻮﺍﻧﺪ ﺑﻪ ﺍﻳﻦ ﻋﻠﺖ ﺑﺎﺷﺪ ﻛﻪ ﺑﺎﺭﺍﻥ ﺳﻴﻨﺘﺰﻱ ﭼﺸﻢ ﺭﺍ ﻓﻌﺎﻝ ﻣﻲ ﻛﻨﺪ ﻭ ﻃﻠﺐ ﻣﻲ ﻛﻨﺪ ﻛﻪ ﻣﺎ ﺁﻥ ﻋﻄﺮ ﺑﺎﺭﺍﻥ ﻛﻪ‬
‫ﺍﺯ ﺳﻨﮓ ﻫﺎﻱ ﺷﻬﺮ ﺑﻪ ﺑﻴﺮﻭﻥ ﻣﻲ ﺗﺮﺍﻭﺩ ﺭﺍ ﺑﺒﻴﻨﻴﻢ‪ .‬ﺭﻳﺘﻢ ﻫﺎ ﻭ ﻣﻮﺳﻴﻘﻲ ﻫﺎﻱ ﻣﺨﺘﻠﻒ ﺑﺎﺭﺍﻥ ﺭﺍ ﺑﺒﻴﻨﻴﻢ‪.‬‬
‫ﺑﺎﺭﺕ ﺑﻴﺎﻥ ﻣﻲ ﺩﺍﺭﺩ ﻛﻪ ﭘﻮﻧﻜﺘﻮﻡ‪ ،‬ﻣﻌﻨﺎﻱ ﺗﻨﺪ ‪ ،‬ﻣﻌﻨﺎﻱ ﺳﻮﻡ ﺧﺎﺭﺝ ﺍﺯ ﺩﺳﺘﺮﺱ ﺯﺑﺎﻥ ﺍﺳﺖ‪ .‬ﻭﻟﻲ ﭼﻪ ﻧﻮﻉ ﺯﺑﺎﻧﻲ؟‬
‫ﺁﻳﺎ ﺣﺎﻟﺘﻲ ﺍﺯ ﻧﻮﺷﺘﺎﺭ ﺍﺗﻮﺑﻴﻮﮔﺮﺍﻓﻲ ﻭﺍﺭ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ ﻛﻪ ﺑﻪ ﻣﺎ ﺑﻴﺎﻣﻮﺯﺩ ﻛﻪ ﻋﻜﺴﻬﺎ ﭼﻪ ﭼﻴﺰﻱ ﺍﺯ ﻣﺎ ﺭﺍ ﺑﻪ ﺧﻮﺩﻣﺎﻥ‬
‫ﺑﺮ ﻣﻲ ﮔﺮﺩﺍﻧﻨﺪ؟ ﻋﻜﺴﻲ ﻛﻪ ﻣﺎﺩﺭ ﺑﺎﺭﺕ ﺭﺍ ﺑﻪ ﺍﻭ ﺑﺮ ﻣﻲ ﮔﺮﺩﺍﻧﺪ ﻣﺘﻌﻠﻖ ﺑﻪ ﭘﻴﺶ ﺍﺯ ﺗﻮﻟﺪ ﺍﻭﺳﺖ‪ .‬ﻋﻜﺴﻲ ﺍﺯ ﺑﺎﺭﺍﻥ‬
‫ﻛﻪ ﺩﺭ ﺳﺎﻝ ‪ 1930‬ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺍﺳﺖ ﭘﻴﺶ ﺍﺯ ﺗﻮﻟﺪ ﻣﺎﺳﺖ ﻭﻟﻲ ﺗﻮﺳﻂ ﺍﺷﺎﺭﻩ ﮔﺮﻱ ﻣﺎ ﺭﺍ ﺑﻪ ﺗﺠﺮﺑﻪ ﺷﺨﺼﻴﻤﺎﻥ ﺍﺯ‬
‫ﺭﻭﺯﻫﺎﻱ ﺑﺎﺭﺍﻧﻲ ﺍﺭﺗﺒﺎﻁ ﻣﻲ ﺩﻫﺪ‪.‬‬
‫ﺍﻳﻦ ﺩﻧﻴﺎﻱ ﻣﻌﺎﻧﻲ "ﻋﻜﺲ ﮔﺮﺍ " ﺍﺳﺖ ﻛﻪ ﻋﻜﺎﺳﻲ ﻣﺴﺘﻨﺪ ﺑﺎ ﺁﻥ ﺍﺭﺗﺒﺎﻃﻲ ﻧﺪﺍﺭﺩ‪ .‬ﺩﺭ ﻋﻜﺎﺳﻲ ﻣﺴﺘﻨﺪ ﺍﮔﺮ ﺍﺷﺎﺭﻩ‬
‫ﮔﺮﻱ ﺑﺪﻭﻥ ﺗﺮﺗﻴﺐ ﺯﻣﺎﻧﻲ ﺑﻮﺩ ﻭ ﻣﻲ ﺗﻮﺍﻧﺴﺖ ﺁﺯﺍﺩﺍﻧﻪ ﺩﺭ ﺯﻣﺎﻥ ﻭ ﻣﻜﺎﻥ ﺣﺮﻛﺖ ﻛﻨﺪ‪ ،‬ﺑﻲ ﻣﻌﻨﺎ ﻣﻲ ﺷﺪ‪ .‬ﺍﮔﺮ‬
‫ﺑﻴﻨﻨﺪﻩ ﻋﻜﺲ ﻣﺴﺘﻨﺪ ﺍﺯ ﺁﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﻭﺳﻴﻠﻪ ﺍﻱ ﺑﺮﺍﻱ ﺑﺎﺯﮔﺸﺖ ﺑﻪ ﺯﻧﺪﮔﻲ ﺩﺭﻭﻧﻲ ﺧﻮﺩ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻲ ﻛﺮﺩ‬
‫ﺗﻼﺷﻬﺎﻱ ﻋﻜﺎﺱ ﻣﺴﺘﻨﺪ ﺑﻪ ﻫﺪﺭ ﻣﻲ ﺭﻓﺖ‪ .‬ﻗﺪﺭﺕ ﻋﻜﺲ ﻣﺴﺘﻨﺪ ﺩﺭ ﺗﻮﺍﻓﻖ ﻧﻈﺮ ﺑﻴﻨﻨﺪﮔﺎﻧﺶ ﺩﺭ ﺟﺎﻣﻌﻪ ﻗﺮﺍﺭ‬
‫ﺩﺍﺭﺩ‪.‬‬
‫ﺩﺭ ﻣﺠﻤﻮﻋﻪ ﺷﻌﺮﻫﺎﻱ ﻧﺜﺮ ﮔﻮﻧﺔ ﻣﻚ ﺍﻭﺭﻻﻥ ‪ 1‬ﺑﺎ ﻧﺎﻡ ﺗﺎﺏ ﻫﺎ ‪2‬ﻛﻪ ﺑﻪ ﻫﻤﺮﺍﻩ ﻋﻜﺲ ﻫﺎﻱ ﺑﻮﻭﻳﺲ ﺩﺭ ﺳﺎﻝ ‪1948‬‬
‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺁﻣﺎﺩﻩ ﺑﻮﺩ ﻭﻟﻲ ﭼﺎپ ﻧﺸﺪ‪ ،‬ﺍﻳﻦ ﺗﻮﺿﻴﺤﺎﺕ ﺷﻔﺎﻫﻲ‪ ،‬ﺍﻳﻦ ﺩﻋﻮﺕ ﻧﺎﻣﻪ ﻫﺎ ﺑﻪ ﺑﺮﭘﺎﻳﻲ ﺗﺨﻴﻞ ﺷﺨﺼﻲ ﻭ ﺍﻓﺰﻭﺩﻥ‬
‫ﺍﺩﺑﻴﺎﺕ ﺑﻪ ﻋﻜﺴﻬﺎﻱ ﺑﻮﻭﻳﺲ ﻭ ﺍﻓﺰﻭﺩﻥ ﺣﺲ ﺍﺗﻮﺑﻴﻮﮔﺮﺍﻓﻲ ﺩﻳﺪﻥ ﻭ ﺧﻮﺍﻧﺪﻥ‪ ،‬ﻣﻘﺪ‪‬ﻡ ﺑﺮ ﻣﻮﺍﺟﻬﻪ ﺑﺼﺮﻱ ﻗﺮﺍﺭ ﻧﻤﻲ‬
‫ﮔﻴﺮﻧﺪ‪ .‬ﻋﻜﺲ ﺍﺷﺎﺭﻩ ﮔﺮﻱ ﺧﻮﺩ ﺭﺍ ﻭ ﺍﺭﺗﺒﺎﻃﺶ ﺭﺍ ﺑﺎ ﺣﻘﻴﻘﺖ ﺭﻭﺷﻦ ﻭ ﺩﻳﺪﻥ ﻣﺴﺘﻘﻴﻢ ﺣﻔﻆ ﻣﻲ ﻛﻨﺪ‪ ،‬ﻭ ﺍﻳﻦ‬
‫ﺗﻮﺳﻂ ﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﺑﺎﺭﺕ ﺁﻥ ﺭﺍ ﻧﻴﺮﻭﻱ ﺗﻜﺎﻥ ﺩﻫﻨﺪﻩ ﻣﻲ ﻧﺎﻣﺪ ﻭ ﻧﺴﺒﺖ ﺑﻪ ﺳﺨﻦ ﺗﻔﺴﻴﺮﻱ ﻣﻘﺎﻭﻣﺖ ﻣﻲ ﻛﻨﺪ‬
‫ﻭ ﻳﻚ "ﺍﻳﻦ ﺳﻮﻱ ﺯﺑﺎﻥ " ﺍﺳﺖ‪ .‬ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺿﺮﺑﻪ ﺷﺮﺍﻳﻂ ﺑﺤﺮﺍﻧﻲ ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﺿﺮﺑﻪ ﻣﻮﺟﻮﺩ ﺩﺭ ﺍﻣﻮﺭ‬
‫ﺭﻭﺯﻣﺮﻩ ﺍﺳﺖ‪.‬‬
‫‪ .Pierre Mac Orlan .1‬ﺷﺎﻋﺮ ﻭ ﺩﺍﺳﺘﺎﻥ ﻧﻮﻳﺲ ﻓﺮﺍﻧﺴﻮﻱ‪1882-1970 .‬‬

‫‪Les Balançoires (The Swings) .2‬‬
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‫ﺑﺮﺍﻱ ﻣﺜﺎﻝ ﺩﺭ ﻋﻜﺲ ﺑﻮﻭﻳﺲ)ﻋﻜﺲ ‪ (1-11‬ﺍﻳﻦ ﻣﻤﻜﻦ ﺍﺳﺖ ﻧﻮﺭ ﺑﺎﺯﺗﺎﺑﻲ ﺍﺯ ﻗﺎﻳﻖ ﺁﻥ ﭘﺴﺮ‪ ،‬ﻳﺎ ﻳﻚ ﻳﻘﺔ‬
‫ﺑﺮﮔﺸﺘﺔ ﭘﺎﻟﺘﻮﻱ ﭘﻮﺳﺖ‪ ،‬ﻳﺎ ﺩﺭ ﻻﻣﭗ ﺁﻭﻳﺰﺍﻥ ﺍﺯ ﺳﻘﻒ ﻳﺎ ﻳﻚ ﻛﻴﻒ ﺩﺳﺘﻲ ﻳﺎ ﺣﺘﻲ ﻃﺮﺯ ﻣﻌﻠﻖ ﻣﺎﻧﺪﻥ ﺗﺎﺏ ﺩﺭ‬
‫ﻓﻀﺎ ﺑﺎﺷﺪ ﻛﻪ ﺑﻨﻈﺮ ﻣﻲ ﺭﺳﺪ ﻗﺪﺭﺕ ﻣﻌﻠﻖ ﻧﻤﻮﺩﻥ ﺯﻧﺪﮔﻲ ﺍﻃﺮﺍﻑ ﺧﻮﺩ ﺭﺍ ﺩﺍﺭﺩ‪ .‬ﭼﺸﻢ ﺗﻮﺳﻂ ﺍﻳﻦ ﭼﻴﺰﻫﺎ‬
‫ﺑﺮﮔﺰﻳﺪﻩ ﻣﻲ ﺷﻮﺩ‪ ،‬ﺗﻮﺳﻂ ﺁﻧﻬﺎ ﺷﮕﻔﺖ ﺯﺩﻩ ﻣﻲ ﺷﻮﺩ ﺍﮔﺮ ﭼﻪ ﺩﺭ ﺍﻧﺘﺨﺎﺏ ﺑﻴﻦ ﺁﻧﻬﺎ ﺁﺯﺍﺩ ﺍﺳﺖ ﻭ ﺑﻪ ﻳﻜﺒﺎﺭﻩ ﺁﻧﻬﺎ‬
‫ﻧﻤﻲ ﺗﻮﺍﻧﻨﺪ ﺗﻮﺳﻂ ﺍﺩﻋﺎﻫﺎﻱ ﻣﻘﺎﻟﻪ ﻭ ﻣﻮﺿﻮﻉ ﻋﻜﺲ ﻧﺎﺩﻳﺪﻩ ﮔﺮﻓﺘﻪ ﺷﻮﻧﺪ‪ ،‬ﺑﻠﻜﻪ ﺑﻪ ﻣﺎﻧﻨﺪ ﻳﻜﺴﺮﻱ ﺍﻧﻔﺠﺎﺭ‬
‫ﻛﻮﭼﻚ ﺑﺼﺮﻱ‪ ،‬ﺩﺭ ﭼﺸﻢ ﻓﻮﺭﺍﻥ ﻣﻲ ﻛﻨﻨﺪ ﻭ ﻭﺟﻮﺩ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺍﻳﻦ ﺑﻌﺪﺍﺯﻇﻬﺮ ﭘﺎﺭﻳﺴﻲ ﺛﺎﺑﺖ ﻣﻲ ﺳﺎﺯﻧﺪ‪ .‬ﺁﻧﭽﻪ‬
‫ﻛﻪ ﺍﻓﺰﻭﺩﻥ ﺯﺑﺎﻥ‪ ،‬ﻣﻌﺎﻧﻲ ﺍﺿﺎﻓﻲ ﻭ ﺍﺭﺗﺒﺎﻃﺎﺕ ﺍﺟﺎﺯﻩ ﻣﻲ ﺩﻫﺪ ﻭﺟﻮﺩ ﻛﻨﺎﺭ ﻫﻢ "ﻳﻚ ﺁﻥ" ﻭ" ﻟﺤﻈﻪ" ﺍﺳﺖ‪.‬‬
‫ﻋﻜﺲ‪ 1-11‬ﻣﺎﺭﺳﻞ ﺑﻮﻭﻳﺲ‪ ،‬ﺗﺎﺏ ﻫﺎ ﺩﺭ ﺩﻭﻥ ﻓ‪‬ﺮ ﺭﻭﺷﺮﻭ )‪(1931‬‬
‫ﻳﻚ ﺟﻨﺒﻪ ﻧﻬﺎﻳﻲ ﻛﻪ ﺑﻪ ﻣﻮﺿﻮﻉ ﺯﺑﺎﻥ ﻣﻨﺎﺳﺐ ﺑﺮﺍﻱ‪ ،‬ﻳﺎ ﻣﻨﺎﺳﺐ ﺑﻮﺩﻥ ﺯﺑﺎﻥ ﺑﺮﺍﻱ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﻣﺮﺑﻮﻁ ﺍﺳﺖ‪،‬‬
‫ﻋﻨﻮﺍﻥ ﻫﺎﺳﺖ‪ .‬ﻭﻟﻲ ﺍﺯ ﺁﻧﺠﺎ ﻛﻪ ﺩﺭ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺍﻳﻦ ﻫﺎ ﺑﻪ ﻛَﺮّﺍﺕ ﺩﺍﺭﺍﻱ ﻃﺒﻴﻌﺖ ﺟﻐﺮﺍﻓﻴﺎﻳﻲ ﻳﺎ ﻣﻜﺎﻥ‬
‫ﻧﮕﺎﺭﻱ ﺍﻧﺪ‪ ،‬ﻣﻨﺎﺳﺐ ﺗﺮ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻗﺴﻤﺖ ﺑﻌﺪﻱ ﺑﻪ ﺁﻥ ﻫﺎ ﺑﭙﺮﺩﺍﺯﻳﻢ ﻛﻪ ﺑﻪ ﺷﻬﺮ ﻓﻴﺰﻳﻜﻲ‪ ،‬ﺷﻬﺮ ﺳﺎﺧﺘﻤﺎﻧﻬﺎ‪،‬‬
‫ﺷﻬﺮ ﻣﻨﺎﻇﺮ ﺷﻬﺮﻱ ﻭ ﺍﺛﺎﺛﻴﻪ ﺧﻴﺎﺑﺎﻧﻲ ﺍﺧﺘﺼﺎﺻﻲ ﻳﺎﻓﺘﻪ ﺍﺳﺖ‪.‬‬
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‫ﺑﺨﺶ ﭘﻨﺠﻢ‪ :‬ﺧﻴﺎﺑﺎﻧﻬﺎ‪ ،‬ﺳﺎﺧﺘﻤﺎﻧﻬﺎ ﻭ ﺷﻬﺮ ﺑﺎ ﻫﻮﻳﺖ ﻣﺬﻛﺮ ﻳﺎ ﻣﺆﻧﺚ ‪:‬‬
‫ﺩﺭ ﺍﻳﻦ ﻗﺴﻤﺖ ﺑﻪ ﺑﻠﻮﺍﺭﻫﺎﻱ ﻋﺮﻳﺾ ﭘﺎﺭﻳﺲ ﻫﺎﺳﻤﻨﻲ ﻣﻲ ﭘﺮﺩﺍﺯﻳﻢ‪ .‬ﺑﻪ ﻃﻮﺭ ﺧﻼﺻﻪ ﺗﻐﻴﻴﺮﺍﺗﻲ ﻛﻪ ﺗﻮﺳﻂ ﺟﺮﺝ‬
‫ﻫﺎﺳﻤﻦ‪ 1‬ﺩﺭ ﭘﺎﺭﻳﺲ ﺍﻳﺠﺎﺩ ﺷﺪ ﭼﻨﻴﻦ ﺑﻮﺩﻧﺪ‪ :‬ﺍﺯ ﻧﻈﺮ ﺯﻳﺒﺎﻳﻲ ﺷﻨﺎﺳﻲ ﺍﺯ ﺳﻨﮓ ﺑﺠﺎﻱ ﮔﭻ ﺍﺳﺘﻔﺎﺩﻩ ﺷﺪ‪.‬‬ ‫‪P‬‬ ‫‪P‬‬
‫ﻧﺎﻫﻤﺎﻫﻨﮕﻲ ﺑﻪ ﻳﻚ ﮔﺴﺘﺮﻩ ﻣﺤﺪﻭﺩ ﺍﺯ ﻣﺪﻝ ﻫﺎﻱ ﻃﺒﻘﻪ ﺑﻨﺪﻱ ﺷﺪﻩ ﺗﺒﺪﻳﻞ ﺷﺪ‪ ،‬ﺭﺍﻩ ﻫﺎﻱ ﻛﻮﭼﻚ ﻭ ﻛﺞ ﺑﻪ ﺭﺍﻩ‬
‫ﻫﺎﻱ ﺑﺰﺭگ ﻭ ﺻﺎﻑ ﺗﺒﺪﻳﻞ ﺷﺪﻧﺪ‪ ،‬ﻭ ﺷﻬﺮ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﻧﺒﺎﺷﺘﻲ ﺗﺼﺎﺩﻓﻲ ﺑﻪ ﺷﻬﺮﻱ ﻣﻨﻈﻢ ﻭ ﻫﻤﺎﻫﻨﮓ ﺗﺒﺪﻳﻞ ﺷﺪ‪.‬‬
‫ﺍﺯ ﻧﻈﺮ ﺍﻗﺘﺼﺎﺩﻱ‪ ،‬ﻣﺒﺎﺩﻻﺕ ﺍﻗﺘﺼﺎﺩﻱ ﺗﻮﺳﻂ ﺑﻬﺒﻮﺩ ﺷﺮﻳﺎﻧﻬﺎﻱ ﺍﺻﻠﻲ ﺣﻤﻞ ﻭ ﻧﻘﻞ ﺷﻬﺮ ﻭ ﺳﺎﺧﺘﻤﺎﻥ ﻫﺎﻱ ﺑﺰﺭگ‬
‫ﺗﺠﺎﺭﻱ ﺑﻬﺒﻮﺩ ﻳﺎﻓﺖ‪ .‬ﺳﺮﻣﺎﻳﻪ ﮔﺬﺍﺭﻱ‪ ،‬ﻣﻮﻗﻌﻴﺖ ﻫﺎﻱ ﺷﻐﻠﻲ ﻭ ﮔﺮﺩﺷﮕﺮﻱ ﺗﺮﻗﻲ ﻛﺮﺩ‪.‬‬
‫ﻫﺎﺳﻤﻨﻴﺰﺍﺳﻴﻮﻥ ﭘﺎﺭﻳﺲ ﺍﻗﺪﺍﻣﻲ ﻧﻔﻮﺫ ﮔﺮﺍﻳﺎﻧﻪ ﻭ ﻣﺮﺩﺍﻧﻪ ﺑﻮﺩ‪ .‬ﻭﻟﻲ ﺑﻮﻟﻮﺍﺭ ﻫﺎﺳﻤﻨﻲ ﻛﻮﭼﻪ ﻫﺎﻱ ﺗﻮ ﺩﺭ ﺗﻮ ‪،‬‬
‫ﺧﺮﻭﺟﻲ ﻫﺎﻱ ﻧﺎﮔﻬﺎﻧﻲ ﻭ ﻧﻤﺎﻳﺶ ﻏﻴﺮ ﻗﺎﺑﻞ ﭘﻴﺶ ﺑﻴﻨﻲ ﻣﺤﻮﻃﻪ ﻫﺎﻱ ﻣﺤﺼﻮﺭ ﺭﺍ ﺑﻪ ﻃﻮﺭ ﻛﺎﻣﻞ ﺍﺯ ﺑﻴﻦ ﻧﺒﺮﺩ‪.‬‬
‫ﺑﻘﺎﻳﺎﻱ ﻛﻮﭼﻪ ﻫﺎ ﻭ ﺧﻴﺎﺑﺎﻧﻬﺎﻱ ﺗﻮﺩﺭ ﺗﻮ ﻫﻨﻮﺯ ﻧﻤﺎﻳﺎﻧﮕﺮ ﺯﻧﺎﻧﮕﻲ ﺩﺍﺧﻠﻲ ﺷﻬﺮ‪ ،‬ﭘﻨﻬﺎﻧﻲ ﺑﻮﺩﻥ ﺁﻧﺎﺗﻮﻣﻲ ﺁﻥ ﻭ‬
‫ﮔﻮﻧﺎﮔﻮﻧﻲ ﻏﻴﺮ ﻗﺎﺑﻞ ﺟﻬﺖ ﺩﺍﺩﻥ ﺑﻮﺩﻧﺪ‪.‬‬
‫ﺷﻬﺮ ﺭﺍﻩ ﻫﺎﻱ ﺗﻮ ﺩﺭ ﺗﻮ ﺩﺭ ﺑﺮﺍﺑﺮ ﻫﺪﻑ ﮔﺮﺍﻳﻲ ﻫﺎﻱ ﻣﺮﺩﺍﻧﻪ ﺑﻮ ﻟﻮﺍﺭﻫﺎ ﻛﻪ ﺩﺭ ﭘﻞ ﻫﺎ ﺑﻪ ﻫﻢ ﻣﻲ ﺭﺳﻨﺪ ﻳﺎ ﺷﻬﺮ ﺭﺍ‬
‫ﺗﻮﺳﻂ ﻣﺤﻞ ﻫﺎﻱ ﮔﺬﺭﻱ ﻛﻪ ﻣﻲ ﺗﻮﺍﻥ ﺁﺯﺍﺩﺍﻧﻪ ﺩﺭ ﺁﻥ ﺣﺮﻛﺖ ﻛﺮﺩ ﺗﻘﺴﻴﻢ ﻣﻲ ﻛﻨﻨﺪ‪ ،‬ﻣﻘﺎﻭﻣﺖ ﻣﻲ ﻛﻨﺪ‪.‬‬
‫ﺭﺍﻩ ﻫﺎﻱ ﺗﻮ ﺩﺭ ﺗﻮ ﻫﻤﭽﻨﻴﻦ ﺩﺭ ﺑﺮﺍﺑﺮ ﭘﻴﻮﺳﺘﮕﻲ ﺩﺍﺳﺘﺎﻥ ﺭﻭﺍﻳﻲ ﻣﻘﺎﻭﻣﺖ ﻣﻲ ﻛﻨﻨﺪ‪ .‬ﺭﺍﻩ ﻫﺎ ﻫﻤﺪﻳﮕﺮ ﺭﺍ ﻗﻄﻊ ﻛﺮﺩﻩ‬
‫ﻭ ﺑﻪ ﺟﺎﻳﻲ ﻧﻤﻲ ﺭﺳﻨﺪ ﻭ ﺷﺨﺺ ﺩﺭﮔﻴﺮ ﺗﻮﺍﻟﻲ ﺍﺯ ﺳﻔﺮﻫﺎﻱ ﻛﻮﺗﺎﻩ ﻭ ﮔﺬﺭﺍ ﻣﻲ ﺷﻮﺩ‪ .‬ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﻣﻲ ﺗﻮﺍﻧﻴﻢ ﺑﻪ‬
‫ﺑﻠﻮﺍﺭﻫﺎﻱ ﻣﺤﻮﺭﻱ ﺑﻪ ﻋﻨﻮﺍﻥ ﺩﺍﺳﺘﺎﻥ ﻳﺎ ﺭﻣﺎﻥ ﻳﺎ ﺍﺧﺒﺎﺭ ﺍﺻﻠﻲ ﻳﺎ ﺗﻔﺴﻴﺮ ﭘﺎﻧﻮﺭﺍﻣﻴﻚ ﺑﻨﮕﺮﻳﻢ‪ ،‬ﺧﻴﺎﺑﺎﻧﻬﺎﻱ ﺣﺎﺷﻴﻪ ﺍﻱ‬
‫ﺑﻪ ﻣﺎﻧﻨﺪ ﺣﻜﺎﻳﺖ ﻫﺎﻱ ﻛﻮﺗﺎﻩ‪ ،‬ﻓ‪‬ﻴﺖ ﺩﻳﻮِﺭﻭ ﺗﻔﻜﺮ ﺻﺤﺒﺖ ﻋﺎﻣﻴﺎﻧﻪ ﮔﺮﺍ ﻫﺴﺘﻨﺪ‪.‬‬
‫ﺩﺭ ﺍﻳﻨﺠﺎ ﻣﻲ ﺧﻮﺍﻫﻴﻢ ﻛﻤﻲ ﺩﺭﺑﺎﺭﻩ ﻋﻜﺎﺳﻲ ﺩﺭﺷﺐ ﺻﺤﺒﺖ ﻛﻨﻴﻢ‪ .‬ﻳﻜﻲ ﺍﺯ ﺍﻭﻟﻴﻦ ﻧﻤﻮﻧﻪ ﻫﺎﻱ ﻋﻜﺎﺳﻲ ﺩﺭ ﺷﺐ‬
‫ﺩﺭ ﺳﺎﻝ ‪ 1896‬ﺗﻮﺳﻂ ﭘﻞ ﻣﺎﺭﺗﻴﻦ ﺩﺭ ﻟﻨﺪﻥ ﺍﻧﺠﺎﻡ ﺷﺪ ﻛﻪ ﻣﺪﺍﻝ ﻃﻼﻱ ﺍﻧﺠﻤﻦ ﺳﻠﻄﻨﺘﻲ ﻋﻜﺎﺳﻲ ﺭﺍ ﺑﺮﺍﻱ ﺍﻭ ﺩﺭ‬
‫ﭘﻲ ﺩﺍﺷﺖ‪ .‬ﻋﻜﺎﺳﻲ ﺩﺭ ﺷﺐ ﺩﺭ ﺳﺎﻝ ‪ 1896‬ﻛﺎﻣﻼ ﺗﺎﺯﻩ ﻧﺒﻮﺩ ﻭﻟﻲ ﺑﺎﻋﺚ ﺍﻳﺠﺎﺩ ﺍﻧﺠﻤﻦ ﻋﻜﺎﺳﺎﻥ ﺩﺭ ﺷﺐ ﺩﺭ‬
‫ﻟﻨﺪﻥ ﺷﺪ ﻭ ﻳﻚ ﺳﺮﻱ ﺗﻜﻨﻴﻚ ﻣﻔﻴﺪ ﺑﺮﺍﻱ ﻋﻜﺎﺳﺎﻥ ﺑﻌﺪﻱ ﻓﺮﺍﻫﻢ ﺷﺪ‪ .‬ﻣﺎﻧﻨﺪ ﺑﻴﺸﺘﺮﻳﻦ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻧﻮﺭ ﮔﺮگ ﻭ‬
‫ﻣﻴﺶ‪ ،‬ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻧﻮﺭ ﺑﺎﺯﺗﺎﺑﻲ ﺍﺯ ﺳﻄﻮﺡ ﺧﻴﺲ‪ ،‬ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﺳﻼﻳﺪ ﻫﺎﻱ ﻓﺎﻧﻮﺳﻲ ﺑﺮﺍﻱ ﺍﻓﺰﺍﻳﺶ ﮔﺴﺘﺮﻩ ﺗﻮﻧﺎﻟﻴﺘﻪ‬
‫ﻭ ﺭﻧﮓ ﻛﺮﺩﻥ ﺍﺳﻼﻳﺪ ﻫﺎ ﺑﺎ ﺭﻧﮓ ﺁﺑﻲ ﻭ ﺯﺭﺩ ﺑﺮﺍﻱ ﺍﻳﺠﺎﺩ ﺣﺲ ﺷﺐ‪ .‬ﭼﻬﻞ ﺳﺎﻝ ﺑﻌﺪ ﺑﺮﺍﺳﺎﻳﻲ ﻧﻴﺰ ﻣﻄﺎﻟﺒﻲ ﺩﺭ‬
‫ﻣﻮﺭﺩ ﻋﻜﺎﺳﻲ ﺩﺭ ﺷﺐ ﺩﺭ ﻣﺠﻤﻮﻋﻪ "ﭘﺎﺭﻳﺲ ﺩﺭ ﺷﺐ" ﻣﻨﺘﺸﺮﻛﺮﺩ‪.‬‬
‫ﺭﻭﺯ ﻭ ﺷﺐ ﺩﻭ ﻣﻮﺟﻮﺩﻳﺖ ﻣﺘﻔﺎﻭﺗﻨﺪ‪ .‬ﻳﻜﻲ ﻣﺤﺎﻓﻈﻪ ﻛﺎﺭ‪ ،‬ﺩﻳﮕﺮﻱ ﺍﻧﻘﻼﺑﻲ‪ .‬ﻳﻜﻲ ﻣﺮﺩﺍﻧﻪ‪ ،‬ﺩﻳﮕﺮﻱ ﺯﻧﺎﻧﻪ‪ .‬ﻳﻜﻲ‬
‫ﺳﺎﻟﻢ‪ ،‬ﺩﻳﮕﺮﻱ ﺁﻟﻮﺩﻩ ﺑﻪ ﻳﻚ ﺑﻴﻤﺎﺭﻱ ﺩﺭ ﺣﺎﻝ ﮔﺴﺘﺮﺵ‪ .‬ﺗﺎﺭﻳﻜﻲ ﺧﺼﻮﺻﺎً ﺩﺭ ﺳﺎﻟﻬﺎﻱ ﺑﻴﻦ ﺟﻨﮓ ﭼﻴﺰﻱ ﺍﺳﺖ‬
‫‪ .Georges-Eugène Haussmann .1‬ﺟﻮﺭﺝ ﻫﺎﺳﻤﻦ‪ .‬ﻣﻌﻤﺎﺭ ﭘﺎﺭﻳﺴﻲ‪1809-1891 .‬‬
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‫ﻛـﻪ ﺑـﺎﻋﺚ ﺗﺠﻤﻊ ﺷﺮﺍﻳـﻂ ﺍﮔﺰﻳﺴﺘﺎﻧﺴﻴﺎﻝ ﺑﻮﺩ‪ .‬ﺷـﺮﺍﻳﻄﻲ ﻛﻪ ﺗﻮﺻﻴﻒ ﺩﻗﻴﻖ ﺁﻥ ﻣﺸﻜﻞ ﺍﺳﺖ‪ .‬ﺷﺮﺍﻳﻂ‬
‫ﺍﺿﻄﺮﺍﺏ‪ ،‬ﺑﻲ ﻗﺮﺍﺭﻱ‪.‬‬
‫ﺑﺨﺸﻲ ﺍﺯ ﺍﻳﻦ ﺍﺿﻄﺮﺍﺏ ﺑﻪ ﺩﻟﻴﻞ ﻗﺮﺍﺭ ﮔﻴﺮﻱ ﺑﻴﻦ ﺩﻭ ﺭژﻳﻢ ﺍﺯ ﺑﻴﻦ ﺭﻓﺘﻪ ﻗﺒﻠﻲ ﻭ ﻧﺎﻣﻄﻤﺌﻦ ﺟﺪﻳﺪ‪ ،‬ﺑﺨﺸﻲ ﺑﻪ ﺧﺎﻃﺮ‬
‫ﻧﻴﺮﻭﻫﺎﻱ ﻣﺨﺮﺑﻲ ﻛﻪ ﺟﻨﮓ ﺍﻭﻝ ﺟﻬﺎﻧﻲ ﻫﻨﻮﺯ ﺑﻪ ﻃﻮﺭ ﻛﺎﻣﻞ ﺑﺎ ﺁﻧﻬﺎ ﺑﺮﺧﻮﺭﺩ ﻧﻜﺮﺩﻩ ﺑﻮﺩ ﻭ ﺁﻣﺎﺩﻩ ﺑﻮﺩﻧﺪ ﺗﺎ‬
‫ﺩﻭﺑﺎﺭﻩ ﺷﺪﺕ ﮔﻴﺮﻧﺪ‪ ،‬ﺑﺨﺸﻲ ﺑﻪ ﺧﺎﻃﺮ ﺿﻌﻒ ﺷﺮﺍﻳﻂ ﺍﻗﺘﺼﺎﺩﻱ ﻭ ﺑﺨﺸﻲ ﺑﻪ ﺧﺎﻃﺮ ﺑﻲ ﻫﺪﻓﻲ ﺑﻮﺩ‪ .‬ﻭﻟﻲ ﺍﺯ ﻫﻤﻪ‬
‫ﻣﻬﻤﺘﺮ‪ ،‬ﺍﺿﻄﺮﺍﺏ ﺗﻮﺳﻂ ﺗﺨﻴﻞ ﺑﻴﺶ ﻓﻌﺎﻝ ﺍﻳﺠﺎﺩ ﻣﻲ ﺷﺪ ﻛﻪ ﺗﻮﺳﻂ ﺳﺎﻳﻪ ﻫﺎﻱ ﭘﻨﻬﺎﻧﻲ‪ ،‬ﻭ ﺗﺎﺭﻳﻜﻲ ﺗﻘﻮﻳﺖ ﻣﻲ‬
‫ﺷﺪ‪.‬‬
‫ﺑﺎﺯ ﻣﻲ ﮔﺮﺩﻳﻢ ﺑﻪ ﺧﻴﺎﺑﺎﻧﻬﺎ ﻭ ﺳﺎﺧﺘﻤﺎﻥ ﻫﺎﻱ ﭘﺎﺭﻳﺲ‪ .‬ﻫﺎﺳﻤﻨﻴﺰﺍﺳﻴﻮﻥ)ﺗﻐﻴﻴﺮﺍﺕ ﺍﺳﺎﺳﻲ ﻣﻌﻤﺎﺭﻱ ﺩﺭ ﭘﺎﺭﻳﺲ‬
‫ﺗﻮﺳﻂ ﻫﺎﺳﻤﻦ ﺩﺭ ﻧﻴﻤﻪ ﺩﻭﻡ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ(‪ ،‬ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺳﻴﺎﺳﺖ ﻣﻌﻤﺎﺭﻱ ﻭ ﺷﻬﺮﺳﺎﺯﻱ‪ ،‬ﺩﺭ ﻓﻜﺮ ﺗﺨﻠﻴﻪ ﺷﻬﺮ‬
‫ﺍﺯ ﻧﺎﻫﻤﺎﻫﻨﮕﻲ‪ ،‬ﺯﻣﺎﻥ ﻛﻴﻔﻲ ﻭ ﺍﺭﺗﺠﺎﻋﻲ ﻣﺪﺕ ﺯﻣﺎﻥ ﺑﺮﮔﺴﻮﻧﻴﺎﻥ ‪ 1‬ﺍﺳﺖ‪ .‬ﺑﻪ ﻃﻮﺭ ﺧﻼﺻﻪ ﺁﻧﭽﻪ ﻫﺎﺳﻤﻦ ﺩﺭ ﻓﻜﺮ‬
‫‪P‬‬ ‫‪P‬‬
‫ﺩﺍﺭﺩ ﺁﻥ ﺯﻧﺪﮔﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺍﺳﺖ ﻛﻪ ﺟﻠﻮﻱ ﺩﺳﺘﺮﺳﻲ ﺑﻪ ﺯﻣﺎﻥ ﺩﺭﻭﻧﻲ ﺭﺍ ﻣﻲ ﮔﻴﺮﺩ‪.‬‬

‫ﻋﻜﺲ)‪ A corner, rue de seine (1924‬ﺍﻭژﻥ ﺁﺗﮋﻩ)ﻋﻜﺲ ‪ (1-12‬ﺩﺭ ﺻﺒﺢ ﺯﻭﺩ ﺍﺯ ﻳﻚ ﺳﺎﺧﺘﻤﺎﻥ‬
‫ﮔُﻮﻩ ﺍﻱ ﺷﻜﻞ ﺩﺭ ﻛﻨﺞ ﻣﻴﺎﻥ ﺭﻭ‪-‬ﺩﻩ‪-‬ﺳﻴﻦ ﻭ ﺭﻭ‪-‬ﺩﻩ‪ -‬ﻟ‪‬ﺸﺎﺩ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺳﺎﺭﻛﻮﻓﺴﻜﻲ ‪ 2‬ﻣﻲ‬
‫‪P‬‬ ‫‪P‬‬
‫ﮔﻮﻳﺪ‪" :‬ﻧﻤﺎﻱ ﻛﺞ ﺩﺭ ﺍﻳﻨﺠﺎ ﺑﺮ ﻛﻮﭼﻚ ﺳﺎﺯﻱ ﻟﻨﺰ ﻭﺍﻳﺪ ﺗﺎﻛﻴﺪ ﺩﺍﺭﺩ ﻭ ﺩﺭ ﺍﻳﻨﺠﺎ ﺟﺰﻳﺮﻩ)ﺳﺎﺧﺘﻤﺎﻥ ﻣﺠﺰﺍ( ﺑﻨﻈﺮ‬
‫ﻣﻲ ﺭﺳﺪ ﻛﻪ ﺑﻪ ﻳﻚ ﻛﺸﺘﻲ ﺗﺒﺪﻳﻞ ﺷﺪﻩ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﺳﺮﻋﺖ ﺯﻳﺎﺩ ﺣﺮﻛﺖ ﻣﻲ ﻛﻨﺪ‪ 3".‬ﺍﻋﻮﺟﺎﺝ ﻟﻨﺰ ﻫﻤﭽﻨﻴﻦ ﺑﻪ‬
‫‪P‬‬ ‫‪P‬‬
‫ﺳﺎﺧﺘﻤﺎﻥ ﻳﻚ ﻋﺪﻡ ﺗﻌﺎﺩﻝ ﻣﻲ ﺩﻫﺪ‪ .‬ﺁﻳﺎ ﺍﻳﻦ ﻛﺞ ﺑﻮﺩﻥ ﺑﻪ ﺳﻤﺖ ﺭﺍﺳﺖ ﻧﺘﻴﺠﻪ ﻣﺴﻤﻮﻡ ﺷﺪﻥ ﻳﺎ ﺳﻦ ﺑﺎﻻﺳﺖ؟‬
‫ﺍﻳﻦ ﺳﺎﺧﺘﻤﺎﻥ ﺭﻫﺎ ﺷﺪﻩ ﺩﺭ ﺟﺰﻳﺮﻩ ﺍﻱ ﺩﻭﺭ ﺍﻓﺘﺎﺩﻩ‪ ،‬ﭼﺸﻤﺎﻧﻲ ﺑﺎﺯ ﺩﺍﺭﺩ )ﭘﻨﺠﺮﻩ ﻫﺎﻱ ﺑﺴﺘﻪ ﻧﺸﺪﻩ(‪ ،‬ﻭﻟﻲ ﺩﺭ ﻃﺒﻘﺎﺕ‬
‫ﺳﻮﻡ ﻭ ﭼﻬﺎﺭﻡ ﻭ ﻧﺰﺩﻳﻚ ﺍﻧﺘﻬﺎ‪ ،‬ﺩﺭ ﻫﻤﻪ ﺟﺎﻱ ﺩﻳﮕﺮ‪ ،‬ﺳﺎﺧﺘﻤﺎﻥ ﺧﻮﺍﺏ ﺁﻟﻮﺩ ﺍﺳﺖ ﻭ ﻣﺮگ ﺭﺍ ﺍﻟﻘﺎ ﻣﻲ ﻛﻨﺪ ﻭ ﻳﺎ‬
‫ﻣﺮﻣﻮﺯ ﺑﻮﺩﻥ ﺧﻮﺩ ﺭﺍ‪ .‬ﻣﻪ ﺭﻗﻴﻖ ﻓﻀﺎﻱ ﮔﺎﺗﻴﻚ‪ 4‬ﺭﺍ ﺍﻓﺰﺍﻳﺶ ﻣﻲ ﺩﻫﺪ‪ .‬ﺳﻘﻒ ﭘﺮ ﺍﺯ ﻟﻮﻟﻪ ﻫﺎﻱ ﺑﺨﺎﺭﻱ‪ ،‬ﭘﻨﺠﺮﻩ ﻫﺎﻱ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺯﻳﺮ ﺷﻴﺮﻭﺍﻧﻲ‪ ،‬ﺩﻳﻮﺍﺭﻫﺎﻱ ﺟﺪﺍ ﻛﻨﻨﺪﻩ ﻭ ﻗﻴﺮ ﺍﺳﺖ ﻭ ﺑﻪ ﻋﺒﺎﺭﺗﻲ ﺫﻫﻨﻲ ﺁﺷﻔﺘﻪ ﺭﺍ ﺗﺪﺍﻋﻲ ﻣﻲ ﻛﻨﺪ‪ .‬ﺩﺭ ﭘﺸﺖ‬
‫ﻓﺮﻭﺷﮕﺎﻩ ﻳﻚ ﺁﺭﺍﻳﺸﮕﺎﻩ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻭ ﺩﺭ ﻓﺮﺍﺳﻮﻱ ﺁﻥ ﻳﻚ ﻫﺘﻞ‪ .‬ﺍﻳﻦ ﺳﺎﺧﺘﻤﺎﻥ ﺑﻪ ﻣﺎ ﭼﻪ ﻣﻲ ﺧﻮﺍﻫﺪ ﺑﮕﻮﻳﺪ؟‬
‫ﺍﺯ ﺯﻧﺪﮔﻲ ﻫﺎﻱ ﭼﻨﺪ ﮔﺎﻧﻪ ﺍﺵ‪ ،‬ﺍﺯ ﮔﺬﺷﺘﻪ ﺍﺵ ﻳﺎ ﺍﺯ ﺁﻳﻨﺪﻩ ﺍﺵ؟ ﭼﻨﻴﻦ ﺭﻣﺰ ﻭ ﺭﺍﺯﻱ ﺑﻲ ﺗﻮﺟﻬﻲ ﻣﺎ ﺭﺍ ﺑﻪ‬
‫ﺗﻔﻜﺮﻱ ﻣﻲ ﺑﺮﺩ ﻛﻪ ﺩﺭ ﺁﻥ‪ ،‬ﻋﻜﺲ ﻣﺎ ﺭﺍ ﺑﻪ ﺩﺭﻭﻥ ﺧﻮﺩ ﺑﺮ ﻣﻲ ﮔﺮﺩﺍﻧﺪ‪ .‬ﺑﺮﭼﺴﺐ ﻫﺎﻱ ﭘﺎﺭﻩ ﺷﺪﻩ ﻣﻮﺟﻮﺩ ﺩﺭ‬
‫ﺩﻣﺎﻏﺔ ﺳﺎﺧﺘﻤﺎﻥ ﻧﺸﺎﻥ ﺍﺯ ﺗﺎﺭﻳﺨﻲ ﺩﺍﺭﻧﺪ ﻛﻪ ﻓﻘﻂ ﺑﺎ ﮔﻔﺖ ﻭ ﺷﻨﻮﺩ ﺍﺯ ﺑﻘﻴﻪ ﻗﺎﺑﻞ ﺩﺳﺘﺮﺳﻲ ﺍﺳﺖ‪ .‬ﺍﻧﮕﺎﺭ ﺳﺎﺩﻩ‬
‫ﺑﻮﺩﻥ ﻋﻨﻮﺍﻥ )‪ (A corner , rue de seine , may 1924‬ﻧﺸﺎﻥ ﺍﺯ ﻛﻤﺒﻮﺩ ﺍﻃﻼﻋﺎﺕ ﻣﺎ ﺩﺍﺭﺩ‪ .‬ﺍﻳﻦ ﻋﻨﻮﺍﻥ‬
‫ﻛﺎﻣﻼ ﺍﺷﺎﺭﻩ ﮔﺮ ﺍﺳﺖ‪ - .‬ﺯﻣﺎﻥ ﻭ ﻣﻜﺎﻥ ‪ -‬ﻛﻪ ﻓﻘﻂ ﺍﺯ ﮔﺮﻓﺘﻦ ﻋﻜﺲ ﻣﻲ ﮔﻮﻳﺪ ﻭ ﻧﻪ ﺍﺯ ﻗﺼﺪ ﺁﻥ ﺑﺮﺍﻱ ﻧﻤﺎﺩ ﻳﺎ‬
‫ﻧﺸﺎﻧﻪ ﺷﺪﻥ‪ .‬ﺍﻳﻦ ﺳﺎﺩﻩ ﺑﻮﺩﻥ ﻋﻨﻮﺍﻥ ﻧﺸﺎﻧﮕﺮ ﺑﻲ ﺗﻔﺎﻭﺗﻲ ﻭ ﻳﺎ ﻋﺪﻡ ﺧﻮﺍﺳﺖ ﻋﻜﺴﻲ ﺩﺭ ﺑﺮﺍﻧﮕﻴﺨﺘﻦ ﺩﺍﻧﺶ ﺑﻴﻨﻨﺪﻩ‬
‫‪Bergsonian Duration .1‬‬
‫‪ .2‬ﻣﻨﺒﻊ ﺷﻤﺎﺭﻩ ‪ .3‬ﺻﻔﺤﻪ ‪150‬‬
‫‪ . John Szarkowski .3‬ﻋﻜﺎﺱ‪ ،‬ﻣﻮﺯﻩ ﺩﺍﺭ‪ ،‬ﺗﺎﺭﻳﺦ ﺩﺍﻥ ﻫﻨﺮ ﻭ ﻣﻨﺘﻘﺪ ﺁﻣﺮﻳﻜﺎﻳﻲ‪1925-2007 .‬‬
‫‪gothic .4‬‬
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‫ﺍﺳﺖ‪ .‬ﺯﺑﺎﻥ ﻓﻘﻂ ﺩﺭ ﺟﻬﺖ ﻋﺪﻡ ﺩﺧﺎﻟﺖ ﻭ ﮔﺬﺍﺷﺘﻦ ﻣﺎ ﺑﻪ ﺣﺎﻝ ﺧﻮﺩ ﻭ ﻧﺘﻴﺠﻪ ﮔﻴﺮﻱ ﺍﺯ ﺗﺠﺮﺑﻴﺎﺕ ﻭ ﻣﻨﺎﺑﻊ ﺫﻫﻨﻲ‬
‫ﺧﻮﺩﻣﺎﻥ ﻋﻤﻞ ﻣﻲ ﻛﻨﺪ‪.‬‬
‫ﻋﻜﺲ ‪ 1-12‬ﺍﻭژﻥ ﺁﺗﮋﻩ ‪(1924) A Corner, rue de seine‬‬
‫ﺩﺭ ﺍﻳﻨﺠﺎ ﻋﻜﺲ ﺧﻴﺎﺑﺎﻧﻲ ﻧﻘﻄﻪ ﺁﻏﺎﺯﮔﺮﻱ ﺑﺮﺍﻱ ﻣﻴﺪﺍﻥ ﮔﺴﺘﺮﺵ ﻳﺎﻓﺘﻨﻲ ﺍﺯ ﺯﻧﺪﮔﻲ ﻫﺎ‪ ،‬ﺭﻭﻳﺪﺍﺩ ﻫﺎ‪ ،‬ﺗﺎﺭﻳﺦ ﻫﺎﻱ‬
‫ﺩﺭ ﻫﻢ ﭘﻴﭽﻴﺪﻩ)ﺑﺮﺧﻲ ﻭﺍﻗﻌﻲ‪ ،‬ﺑﺮﺧﻲ ﺳﺎﺧﺘﮕﻲ( ‪ ،‬ﺧﺎﻃﺮﻩ ﻫﺎ ﻭ ﺧﻴﺎﻻﺕ ﻣﻲ ﺷﻮﺩ‪ .‬ﺍﻳﻦ ﻣﻴﺪﺍﻥ ﺩﺭ ﺣﺎﻝ ﮔﺴﺘﺮﺵ‬
‫ﻛﻪ ﺑﺮﺍﻱ ﻣﺴﺘﻨﺪﮔﺮﺍﻳﺎﻥ ﻳﻚ ﻋﺎﻣﻞ ﺧﻄﺮﻧﺎﻙ ﻭ ﭘﺮﺕ ﻛﻨﻨﺪﻩ ﺣﻮﺍﺱ ﻭ ﻳﻚ ﻋﺎﻣﻞ ﺩﻭﺭ ﻛﻨﻨﺪﻩ ﺍﺯ ﻫﺪﻑ ﺍﺻﻠﻲ‬
‫ﺍﺳﺖ‪ ،‬ﺗﻮﺳﻂ ﻋﻜﺲ ﺁﻏﺎﺯ ﻣﻲ ﺷﻮﺩ ﻭ ﺑﻪ ﻣﺎﻧﻨﺪ ﻏﺎﺭ ﻋﻼء ﺍﻟﺪ‪‬ﻳﻦ ﺩﺭ ﭘﺸﺖ ﻇﺎﻫﺮ ﺳﺎﺩﻩ ﻭ ﺑﻲ ﺗﻔﺎﻭﺕ ﻋﻜﺲ‬
‫ﻧﻬﻔﺘﻪ ﺍﺳﺖ‪.‬‬
‫ﺍﻳﻦ ﻛﺎﺭ ﺳﺨﺘﻲ ﻧﻴﺴﺖ ﻛﻪ ﺧﻮﺩ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺭﺍ ﺑﻪ ﻣﺎﻧﻨﺪ ﻳﻚ ﮔﺮﺍﻓﻴﺘﻲ ‪) 1‬ﻧﻘﺎﺷﻲ ﺭﻭﻱ ﺩﻳﻮﺍﺭﻫﺎﻱ ﺧﻴﺎﺑﺎﻥ(‬
‫‪P‬‬ ‫‪P‬‬
‫ﺑﭙﻨﺪﺍﺭﻳﻢ؛ ﺗﺼﻮﻳﺮﻱ ﻛﻪ ﺑﺮﺭﻭﻱ ﻭﺍﻗﻌﻴﺖ ﭼﺴﺒﺎﻧﺪﻩ ﺷﺪﻩ ﺍﺳﺖ ؛ ﺁﻧﭽﻪ ﻛﻪ ﺑﺎﺭﺕ ﻳﻚ ﺩﻳﻮﺍﻧﮕﻲ‪ ،‬ﻏﻀﺐ ﻫﻤﮕﺎﻧﻲ‪،‬‬
‫‪Graffiti .1‬‬
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‫ﻓﻮﺭﺍﻧﻲ ﺩﺭ ﻣﺒﺎﺩﻟﻪ ﺭﻭﺯﻣﺮﺓ ﻣﺎ ﺑﺎ ﺯﻧﺪﮔﻲ ﻣﻲ ﻧﺎﻣﺪ‪ .‬ﻋﻜﺲ ﺟﺎﻱ ﻭﺍﻗﻌﻴﺖ ﺭﺍ ﺑﺎ ﺍﻋﻤﺎﻝ ﺧﻮﺩﻧﻮﺷﺘﺎﺭﺍﻧﻪ ﻭ ﺍﻧﺤﺮﺍﻑ‬
‫ﺁﻣﻴﺰ ﺗﻜﺮﺍﺭ ﺷﺪﻧﻲ ﻣﻲ ﮔﻴﺮﺩ‪ .‬ﻋﻜﺲ ﺟﺎﻱ ﺩﻳﮕﺮ ﺑﻮﺩﻧﺶ ﺭﺍ ﺩﺭ ﻓﻀﺎﻱ ﺟﻠﻮﻱ ﻣﺎ ﻣﻲ ﮔﻨﺠﺎﻧﺪ‪ ،‬ﺗﻮﺟﻪ ﻣﺎ ﺭﺍ‬
‫ﺟﻠﺐ ﻣﻲ ﻛﻨﺪ‪ ،‬ﺣﻮﺍﺱ ﻣﺎ ﺭﺍ ﭘﺮﺕ ﻣﻲ ﻛﻨﺪ‪ ،‬ﻣﺴﻴﺮ ﻓﻜﺮ ﻣﺎ ﺭﺍ ﺩﻭﺑﺎﺭﻩ ﺗﻌﺮﻳﻒ ﻣﻲ ﻛﻨﺪ‪ ،‬ﻳﻚ ﻋﺎﻣﻞ ﺩﮔﺮﺩﻳﺴﻲ‬
‫ﺑﺼﺮﻱ ﺍﺳﺖ ﻛﻪ ﺍﻣﻜﺎﻧﺎﺕ ﺍﺯ ﻗﺒﻞ ﺩﻳﺪﻩ ﻧﺸﺪﻩ ﺍﻱ ﺭﺍ ﺩﺭ ﺯﻧﺪﮔﻲ ﺭﻭﺯﻣﺮﻩ ﺑﻪ ﻣﺎ ﻧﺸﺎﻥ ﻣﻲ ﺩﻫﺪ‪ .‬ﺍﺯ ﻃﺮﻓﻲ ﺩﻳﮕﺮ‬
‫ﺗﺼﻮﻳﺮﻣﺴﺘﻨﺪ ﺑﻄﻮﺭ ﺧﻼﻕ ﺩﺭ ﭘﻲ ﻣﻨﺤﺮﻑ ﻛﺮﺩﻥ ﺩﻳﺪ ﻧﻴﺴﺖ‪ .‬ﻧﻤﻲ ﺧﻮﺍﻫﺪ ﻛﻪ ﻣﺎ ﺑﺎﻭﺭ ﻛﻨﻴﻢ ﻛﻪ ﻭﺍﻗﻌﻴﺖ‬
‫ﻫﻤﻮﺍﺭﻩ ﺑﻪ ﻃﻮﺭ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﻗﺮﺍﺭ ﺩﺍﺩﻥ ﺩﺭ ﻛﺎﺭﺑﺮﺩﻫﺎﻱ ﺟﺪﻳﺪ ﺩﻭﺑﺎﺭﻩ ﻣﻲ ﺳﺎﺯﺩ‪ .‬ﻋﻜﺲ ﻣﺴﺘﻨﺪ ﺩﺭ‬
‫ﭘﻲ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻣﺎ ﺭﺍ ﺑﻪ ﺧﺎﻧﻪ ﻭ ﺑﻪ ﺧﻮﺩ ﺗﻜﺮﺍﺭﻱ ﻭ ﺣﺎﻟﺖ ﻏﻴﺮ ﻗﺎﺑﻞ ﻓﺮﺍﺭ ﺑﺮﺳﺎﻧﺪ‪ .‬ﻭﻟﻲ ﺗﻮﺳﻂ ﻋﺎﻣﻞ ﻋﻜﺲ‬
‫ﺧﻴﺎﺑﺎﻧﻲ‪ ،‬ﭘﻴﺶ ﭘﺎﺍﻓﺘﺎﺩﮔﻲ ﻫﺮﺭﻭﺯﻩ ﺑﺮﺧﻼﻑ ﺧﻮﺩ‪ ،‬ﺗﻮﺳﻂ ﺷﺎﻧﺲ ﻭ ﻏﻴﺮ ﺍﺭﺍﺩﻱ ﺑﻮﺩﻥ ﺑﻪ ﻣﻨﺎﺑﻊ ﺟﺪﻳﺪ ﻭ ﻋﺠﻴﺒﻲ‬
‫ﺩﺳﺘﺮﺳﻲ ﺩﺍﺭﺩ‪.‬‬
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‫ﻧﺘﻴﺠﻪ ﮔﻴﺮﻱ ﻓﺼﻞ ﺍﻭﻝ ‪:‬‬
‫ﺍﻳﻦ ﺍﻣﺮ ﻋﺎﺩﻱ ﺍﺳﺖ ﻛﻪ ﻣﺮگ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺍﻧﺴﺎﻥ ﮔﺮﺍﻳﺎﻧﻪ ﻓﺮﺍﻧﺴﻮﻱ ﺭﺍ ﺑﻪ ﺍﻭﺍﺧﺮ ﺩﻫﻪ ‪ 1950‬ﻭ ﺍﻭﺍﻳﻞ ﺩﻫﻪ‬
‫‪ 1960‬ﻧﺴﺒﺖ ﺩﻫﻴﻢ ﻭ ﻋﻠﺖ ﺁﻥ ﺭﺍ ﺩﺭ ﺍﻳﻦ ﻋﻮﺍﻣﻞ ﺑﺪﺍﻧﻴﻢ‪ .1 :‬ﻇﻬﻮﺭ ﺩﻳﮕﺮ ﺭﺳﻮﻡ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ )ﻣﺎﻧﻨﺪ ﺭﺳﻢ‬
‫ﻋﻜﺎﺳﻲ ﻫﺎﺭﺩ ﺑﻮﻳﻞ ‪ 1‬ﺁﻣﺮﻳﻜﺎﻳﻲ ﺭﺍﺑﺮﺕ ﻓﺮﺍﻧﻚ‪ ،‬ﻭﻳﻠﻴﺎﻡ ﻛﻠﻴﻦ ﻭ ﻏﻴﺮﻩ ؛ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺑﻪ ﻋﻨﻮﺍﻥ ﺑﻌﺪﻱ ﺍﺯ‬ ‫‪P‬‬ ‫‪P‬‬
‫‪ .2‬ﻫﻮﻳﺖ ﭼﻨﺪ ﻧﮋﺍﺩﻱ ﺟﺪﻳﺪ‬ ‫ﻋﻜﺎﺳﻲ ﻣﺪ ؛ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﻋﻜﺎﺳﻲ ﭘﺎﻳﻴﺪﻧﻲ ‪ ، 2‬ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﭘﺎﭘﺎﺭﺍﺗﺰﻱ ‪. 3‬‬
‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬
‫ﻓﺮﺍﻧﺴﻮﻱ ‪ .3‬ﭘﺮﺍﻛﻨﺪﮔﻲ ﻃﺒﻘﻪ ﻛﺎﺭﮔﺮ ‪ .4‬ﺍﻓﺰﺍﻳﺶ ﺣﺠﻢ ﺗﺮﺍﻓﻴﻚ ﻭ ﺩﺭ ﭘﻲ ﺁﻥ ﻛﺎﻫﺶ ﻓﻀﺎﻱ ﺯﻧﺪﮔﻲ ﻋﻤﻮﻣﻲ‬
‫‪ .5‬ﻇﻬﻮﺭ ﺗﻠﻮﻳﺰﻳﻮﻥ ﻭ ﺩﺭ ﭘﻲ ﺁﻥ ﻣﺮگ ﮔﻮﻧﻪ ﺍﻱ ﺧﺎﺹ ﺍﺯ ﻣﺠﻠﻪ ﺗﺼﻮﻳﺮﻱ ‪ .6‬ﺟﻨﮓ ﺳﺮﺩ ﻭ ﺳﺮﺧﻮﺭﺩﮔﻲ ﺑﺎ‬
‫ﻛﻮﻣﻮﻧﻴﺰﻡ ‪ .7‬ﺍﻓﺰﺍﻳﺶ ﺍﺟﺎﺭﻩ ‪ .8‬ﺍﻓﺰﺍﻳﺶ ﻣﺼﺮﻑ ﮔﺮﺍﻳﻲ ﻭ ﺩﺭ ﭘﻲ ﺁﻥ ﻫﻤﺎﻧﻨﺪ ﺳﺎﺯﻱ ﺍﺟﺘﻤﺎﻋﻲ‬
‫ﺑﻪ ﻧﻈﺮ ﻣﻲ ﺭﺳﺪ ﻛﻪ ﻋﻜﺎﺳﻲ‪ ،‬ﺍﻧﻘﻼﺑﻲ ﺩﺭ ﺍﺩﺭﺍﻙ ﺑﻪ ﻭﺟﻮﺩ ﺁﻭﺭﺩ‪ .‬ﺗﺼﻮﻳﺮ ﭘﺪﻳﺪ ﺁﻣﺪﻩ ﺗﻮﺳﻂ ﺩﺳﺖ ﺍﻧﺴﺎﻥ ﺗﻐﻴﻴﺮ‬
‫ﻣﺎﻫﻴﺖ ﻣﻮﺍﺩ ﺧﺎﻡ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻧﻤﺎﻳﺶ ﻣﻲ ﮔﺬﺍﺭﺩ‪ .‬ﻫﻨﺮ ﺑﻨﻈﺮ ﻣﻲ ﺭﺳﻴﺪ ﻛﻪ ﺑﻪ ﺍﻗﺘﺒﺎﺱ ﺩﻧﻴﺎ ﺑﺮﺍﻱ ﺍﻫﺪﺍﻑ ﺍﻧﺴﺎﻥ‬
‫ﺗﺨﺼﻴﺺ ﻳﺎﻓﺘﻪ ﺑﻮﺩ‪ .‬ﺣﻘﻴﻘﺘﺎً ﻣﻮﺍﺭﺩﻱ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﺁﻧﻬﺎ ﺩﻧﻴﺎ ﺑﻪ ﺧﻮﺩﻱ ﺧﻮﺩ ﺍﻫﻤﻴﺘﻲ ﻧﺪﺍﺷﺖ ﻳﺎ ﻗﺎﺑﻞ ﻧﻘﺾ ﺑﻮﺩ‪.‬‬
‫ﺣﺘﻲ ﻃﺒﻴﻌﺖ ﺑﻴﺠﺎﻥ ﺑﻪ ﻣﺎﻧﻨﺪ ﺟﺸﻨﻲ ﺑﺮﺍﻱ ﭼﺸﻢ ﻭ ﻳﺎ ﺷﺎﻫﺪﻱ ﺑﺮﺍﻱ ﻓﻌﺎﻟﻴﺖ ﻫﺎﻱ ﺍﻧﺴﺎﻧﻲ ﺑﻮﺩ‪ .‬ﻧﺎﮔﻬﺎﻥ ﺑﺎ ﻋﻜﺲ‪،‬‬
‫ﺩﻳﮕﺮ ﺩﺳﺖ ﺍﻧﺴﺎﻥ‪ ،‬ﻫﻨﺮﻣﻨﺪ ﻛﺎﺭﻛﺸﺘﻪ ﻧﻴﺴﺖ‪ .‬ﺑﻠﻜﻪ ﻧﻮﺭ ﺍﻳﻨﭽﻨﻴﻦ ﺍﺳﺖ ‪ .‬ﺩﻧﻴﺎ ﺑﻪ ﻳﻜﺒﺎﺭﻩ ﺍﻳﻦ ﻗﺎﺑﻠﻴﺖ ﺭﺍ ﭘﻴﺪﺍ ﻣﻲ‬
‫ﻛﻨﺪ ﻛﻪ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﺧﻮﺩ ﻣﺨﺘﺎﺭﻱ ﺧﻮﺩ ﺑﻪ ﻧﻤﺎﻳﺶ ﺑﮕﺬﺍﺭﺩ‪ .‬ﺟﺎﻳﻲ ﻛﻪ ﺗﺼﻮﻳﺮ ﺳﺎﺯﻱ ﺑﻴﺎﻥ ﻗﺪﺭﺕ ﺗﻐﻴﻴﺮ ﺑﻮﺩ ﻭ ﺑﺎ‬
‫ﺗﻐﻴﻴﺮ ﻣﻌﻨﻲ ﭘﻴﺪﺍ ﻣﻲ ﻛﺮﺩ‪ ،‬ﺍﻛﻨﻮﻥ ﻳﻚ ﺍﻃﺎﻋﺖ ﺑﻮﺩ ﻭ ﺑﺠﺎﻱ ﺁﻥ ﺭﻣﺰ ﻭﺍﻗﻌﻴﺖ ﺗﻐﻴﻴﺮ ﻧﻴﺎﻓﺘﻪ ﺭﺍ ﺣﻤﻞ ﻣﻲ ﻛﺮﺩ‪.‬‬
‫ﻭﻗﺘﻲ ﻣﺎ ﺑﻪ ﻳﻚ ﻋﻜﺲ ﻣﻲ ﻧﮕﺮﻳﻢ ﻣﺎ ﺑﻪ ﻳﻚ ﻋﻤﻞ ﺍﻧﺠﺎﻡ ﺷﺪﻩ ﻣﻲ ﻧﮕﺮﻳﻢ‪ ،‬ﻭ ﺩﻳﮕﺮ ﺑﺴﻴﺎﺭ ﺩﻳﺮ ﺷﺪﻩ ﺗﺎ ﺗﻐﻴﻴﺮﻱ‬
‫ﺍﻳﺠﺎﺩ ﻛﻨﻴﻢ ؛ ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﺑﻨﻈﺮ ﻣﻲ ﺭﺳﺪ ﻛﻪ ﻧﻘﺎﺷﻲ ﭼﻴﺰﻫﺎ ﺭﺍ ﺑﺮﺍﻱ ﭼﺸﻢ ﺑﺎﺯ ﮔﺬﺍﺷﺘﻪ ﺍﺳﺖ ﺗﺎ ﭼﺸﻢ ﺭﺍ ﺑﻪ ﻋﻤﻞ‬
‫ﻛﺮﺩﻥ ﺩﺭ ﺁﺯﺍﺩﻱ ﻫﺎﻱ ﺧﻼﻕ ﺧﻮﺩﺵ ﺩﻋﻮﺕ ﻛﻨﺪ‪.‬‬
‫ﺑﺎ ﻧﮕﺎﻩ ﺑﻪ ﻋﻜﺴﻬﺎﻱ ﻗﺪﻳﻤﻲ ﭼﺸﻢ ﻫﻨﻮﺯ ﺁﺯﺍﺩﻱ ﺩﺍﺭﺩ ؛ ﺁﺭﺯﻭ ﻣﻲ ﻛﻨﺪ ﻭ ﺑﻨﻈﺮ ﻣﻲ ﺭﺳﺪ ﻛﻪ ﻣﻲ ﺧﻮﺍﻫﺪ ﻳﻚ‬
‫ﺁﻳﻨﺪﻩ ﺩﺭ ﮔﺬﺷﺘﻪ ﺍﻳﺠﺎﺩ ﻛﻨﺪ‪ .‬ﺁﻳﻨﺪﻩ ﺍﻱ ﻛﻪ ﻧﮕﺎﻩ ﻛﺮﺩﻥ ﺭﺍ ﺍﺭﺯﺷﻤﻨﺪ ﻣﻲ ﺳﺎﺯﺩ‪ .‬ﺍﻳﻦ ﻓﺸﺎﺭ ﻋﺠﻴﺐ ﻧﮕﺎﻩ ﻛﺮﺩﻥ‬
‫ﻳﻌﻨﻲ ﻫﺮ ﻋﻜﺴﻲ ﺗﻤﺎﻳﻞ ﻛﻤﻲ ﺩﺍﺭﺩ ﻛﻪ ﺑﻪ ﻳﻚ ﻓﺘﻮﮔﺮﺍﻡ )ﻋﻜﺲ ﺍﺯ ﻓﻴﻠﻢ( ﺗﺒﺪﻳﻞ ﺷﻮﺩ ﻛﻪ ﺩﺭ ﻳﻚ ﺯﻣﺎﻥ‬
‫ﮔﺴﺘﺮﺵ ﻳﺎﺑﺪ‪ ،‬ﺑﺠﺎﻱ ﺍﻳﻨﻜﻪ ﺩﺭ ﻳﻚ ﻣﻴﺪﺍﻥ ﻛﻮﺭ ﻗﺮﺍﺭ ﮔﻴﺮﺩ‪.‬‬
‫ﻋﻜﺎﺳﻲ ﺗﺎﺭﻳﺦ ﺭﺍ ﻧﻴﺰ ﺩﮔﺮﮔﻮﻥ ﺳﺎﺧﺖ‪ .‬ﺑﻨﻈﺮ ﻣﻲ ﺭﺳﺪ ﻛﻪ ﻋﻜﺎﺳﻲ ﻳﻚ ﻭﺳﻴﻠﻪ ﺍﺭﺯﺷﻤﻨﺪ ﺍﺻﺎﻟﺖ ﻭ ﺻﺤﺖ‬
‫ﺑﺨﺸﻴﺪﻥ ﺍﺳﺖ‪ .‬ﭼﻴﺰﻱ ﻛﻪ ﺣﻘﺎﻳﻖ ﺭﺍ ﻭﺍﺿﺢ ﻣﻲ ﺳﺎﺯﺩ ﻭ ﻣﺪﺍﺭﻙ ﺭﺍ ﺛﺎﺑﺖ ﻣﻲ ﺳﺎﺯﺩ‪ .‬ﻭﻟﻲ ﺩﺭ ﺑﺴﻴﺎﺭﻱ ﻣﻮﺍﺭﺩ‬
‫ﻋﻜﺎﺳﻲ ﺗﺠﺮﺑﻴﺎﺗﻲ ﻋﺠﻴﺐ ﻭ ﻓﺎﺭﻍ ﺍﺯ ﺗﺎﺭﻳﺦ ﻣﻲ ﺳﺎﺯﺩ‪ .‬ﻣﻲ ﺗﻮﺍﻧﻴﻢ ﺑﺤﺚ ﻛﻨﻴﻢ ﻛﻪ ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻨﻜﻪ ﻋﻜﺲ ﻳﻚ‬
‫‪hard-boiled .1‬‬
‫‪surveillance .2‬‬
‫‪paparazzi .3‬‬
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‫ﺭﺧﺪﺍﺩ ﮔﺬﺷﺘﻪ ﺭﺍ ﺑﻪ ﺗﺼﻮﻳﺮ ﻣﻲ ﻛﺸﺪ‪ ،‬ﺩﺭ ﺯﻣﺎﻥ ﺧﻮﺩ ﻣﺎ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﻭ ﺣﺪ‪‬ﺍﻗﻞ ﺩﺭ ﺳﻪ ﻭﺟﻪ ‪.1 :‬ﺩﺭ ﭘﻴﺶ ﺭﻭﻱ‬
‫ﻣﺎ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺷﻲء ﻓﻴﺰﻳﻜﻲ ﻛﻪ ﻳﻚ ﻣﻜﺎﻥ ﺑﺼﺮﻱ ﺩﺭ ﻣﺤﻴﻂ ﻣﺎﺭﺍ ﺍﺷﻐﺎﻝ ﻛﺮﺩﻩ ﺍﺳﺖ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪.‬‬
‫)ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﻳﻚ ﺷﻤﻊ ﺍﺳﺘﻔﺎﺩﺓ ﺷﺪﺓ ﻋﺘﻴﻘﻪ ﭼﻨﻴﻦ ﺍﺳﺖ(‪) .‬ﻫﻤﭽﻨﻴﻦ ﻣﺎ ﻣﻲ ﺗﻮﺍﻧﻴﻢ ﺑﻪ ﻃﻮﺭ ﭘﻴﻮﺳﺘﻪ ﺍﺯ ﻳﻚ‬
‫ﻧﮕﺎﺗﻴﻮ ﻗﺪﻳﻤﻲ ﭼﺎپ ﻫﺎﻱ ﺟﺪﻳﺪ ﺑﮕﻴﺮﻳﻢ(‪ .2 .‬ﻋﻜﺲ ﺭﺍ ﻫﻤﺎﻧﻨﺪ ﻳﻚ ﺳﺘﺎﺭﻩ ﭼﺸﻤﻚ ﺯﻥ ﻛﻪ ﺑﻴﺶ ﺍﺯ ﺍﻳﻦ ﻣﺮﺩﻩ‬
‫ﺍﺳﺖ ﻣﻲ ﺑﻴﻨﻴﻢ‪ .‬ﺳﻮژﻩ ﻋﻜﺎﺳﻲ ﺷﺪﻩ ﺯﻧﺪﻩ ﺗﺼﻮﺭ ﻣﻲ ﺷﻮﺩ‪ ،‬ﺩﻗﻴﻘﺎ ﺑﺨﺎﻃﺮ ﺍﻳﻨﻜﻪ ﭼﻨﺪﻳﻦ ﺳﺎﻝ ﻧﻮﺭﻱ ﺍﺯ ﻣﺎ ﺩﻭﺭ‬
‫ﺍﺳﺖ‪ .3 .‬ﻣﺎﻧﻨﺪ ﺗﺠﺮﺑﻪ ﺧﺎﻃﺮﻩ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﭘﺮﻭﺳﺘﻲ‪ ،‬ﺷﺪﺕ ﺣﻀﻮﺭ ﻳﻚ ﻋﻜﺲ ﻗﺪﻳﻤﻲ ﺑﻪ ﻃﻮﺭ ﻟﺤﻈﻪ ﺍﻱ ﺍﺯ‬
‫ﺯﻣﺎﻥ ﺣﺎﻝ ﭘﻴﺶ ﻣﻲ ﺍﻓﺘﺪ‪(ecmnesia) .‬‬
‫ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﻗﺒﻼً ﻣﺸﺎﻫﺪﻩ ﺷﺪ ﺑﻴﻦ ﺁﻧﺠﺎ ﻭ ﺁﻥ ﻣﻮﻗﻊ ﻭ ﺍﻳﻨﺠﺎ ﻭﺍﻛﻨﻮﻥ ﻳﻚ ﺑﺤﺮﺍﻥ ﺍﺩﺍﻣﻪ ﻭﺍﺭ ﺑﻮﺩﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‬
‫ﻛﻪ ﻋﻜﺲ ﻗﺎﺩﺭ ﺑﻪ ﺣﻞ ﺁﻥ ﻧﻴﺴﺖ‪ .‬ﻋﻜﺲ ﻫﺎﻱ ﮔﺬﺷﺘﻪ ﻫﺮ ﻳﻚ ﺯﻣﺎﻥ ﻣﺨﺼﻮﺹ ﺑﻪ ﺧﻮﺩ ﺩﺍﺭﻧﺪ ﻭ ﺍﺩﺍﻣﻪ ﻭﺍﺭ‬
‫ﺑﻮﺩﻥ ﺑﻴﻦ ﺁﻥ ﺯﻣﺎﻥ ﻭ ﺯﻣﺎﻥ ﻣﺸﺎﻫﺪﻩ ﻋﻜﺲ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻋﻜﺲ ﻫﺎ ﺭﺍﺑﻄﻪ ﺍﻱ ﺑﻪ ﻃﺮﺯ ﻋﺠﻴﺐ ﺷﻨﺎﻭﺭ ﺑﺎ‬
‫ﺯﻣﺎﻥ ﺣﺎﻝ ﺩﺍﺭﻧﺪ‪ .‬ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﻧﻘﺪ ﻫﺎ ﺧﻮﺩ ﺭﺍ ﻭﻗﻒ ﺍﻳﻦ ﺣﻘﻴﻘﺖ ﻛﺮﺩﻩ ﺍﻧﺪ ﻛﻪ ﺭﻫﺎ ﺳﺎﺧﺘﻦ ﺷﺎﺗﺮ ﺳﻮژﻩ ﺭﺍ ﺑﻪ‬
‫ﻳﻚ ﮔﺬﺷﺘﻪ ﺗﻜﺮﺍﺭ ﻧﺸﺪﻧﻲ ﻧﺴﺒﺖ ﻣﻲ ﺩﻫﺪ ؛ ﺑﻪ ﻣﺮﮔﻲ ﻛﻪ ﻣﺮگ ﺳﻮژﻩ ﻋﻜﺎﺳﻲ ﺭﺍ ﭘﻴﺶ ﺑﻴﻨﻲ ﻣﻲ ﻛﻨﺪ‪ .‬ﺑﻨﻈﺮ‬
‫ﻣﻲ ﺭﺳﺪ ﻛﻪ ﻋﻜﺲ ﻫﺎ ﺑﺎ ﮔﺬﺷﺖ ﺯﻣﺎﻥ ﺍﺯ ﺍﻳﻦ ﻣﺮگ ﺑﺎﺯ ﻣﻲ ﮔﺮﺩﻧﺪ‪.‬‬
‫ﺯﻧﺪﮔﻲ ﭘﺲ ﺍﺯ ﻣﺮگ ﻳﻚ ﻋﻜﺲ ﻏﻴﺮ ﻗﺎﺑﻞ ﭘﻴﺶ ﺑﻴﻨﻲ ﺍﺳﺖ‪ .‬ﺁﻳﺎ ﻭﺍﺭﺩ ﻣﻮﺯﻩ ﻣﻲ ﺷﻮﺩ؟ ﺩﺭ ﭼﻨﺪ ﻛﺘﺎﺏ ﺣﻀﻮﺭ‬
‫ﺧﻮﺍﻫﺪ ﺩﺍﺷﺖ؟ ﭼﮕﻮﻧﻪ ﺑﻪ ﺁﻥ ﻧﮕﺎﻩ ﺧﻮﺍﻫﺪ ﺷﺪ؟ ﭼﮕﻮﻧﻪ ﺭﺍﺟﻊ ﺑﻪ ﺁﻥ ﺑﺤﺚ ﺧﻮﺍﻫﺪ ﺷﺪ؟ ﭼﻪ ﻛﺴﻲ ﺻﺎﺣﺐ‬
‫ﺁﻥ ﺧﻮﺍﻫﺪ ﺑﻮﺩ؟ ﺗﺎ ﭼﻪ ﻣﺪﺕ ﺩﺭ ﺧﻮﺩﺁﮔﺎﻩ ﺑﻘﺎ ﺧﻮﺍﻫﺪ ﺩﺍﺷﺖ؟ ﺗﺎ ﭼﻪ ﻣﺪﺕ ﺑﻪ ﻃﻮﺭ ﻓﻴﺰﻳﻜﻲ ﺩﻭﺍﻡ ﺧﻮﺍﻫﺪ‬
‫ﺩﺍﺷﺖ؟‬
‫ﻫﻤﭽﻨﻴﻦ ﺑﻪ ﻧﻘﺶ ﺍﺳﺎﺳﻲ "ﺑﻲ ﺗﻮﺟﻬﻲ "‪ ،‬ﺩﺭ ﭘﺎﺳﺦ ﻭ ﻭﺍﻛﻨﺶ ﺑﻪ ﻋﻜﺲ ﻫﺎ ﭘﺮﺩﺍﺧﺘﻴﻢ‪ .‬ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺑﺎﻳﺪ ﺑﻄﻮﺭ‬
‫ﻣﺜﺒﺖ ﺍﺭﺯﻳﺎﺑﻲ ﺷﻮﺩ‪ .‬ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻓﺮﺻﺖ ﺑﺮﺍﻱ ﺍﺭﺗﺒﺎﻁ‪ ،‬ﻧﻪ ﻣﻮﺿﻮﻋﻲ ﻣﻨﻔﻲ‪ .‬ﻋﻜﺎﺳﻲ ﻳﻚ ﺭﺳﺎﻧﻪ ﺑﺴﻴﺎﺭ‬
‫ﻧﺎﭘﺎﻳﺪﺍﺭ ﻭ ﻧﺎﻣﻄﻤﺌﻦ ﺍﺳﺖ ﻛﻪ ﻋﻤﻴﻘﺎً ﺗﻮﺳﻂ ﺷﺎﻧﺲ ﻭ ﺗﺼﺎﺩﻑ ﺣﺎﻭﻱ ﺍﻃﻼﻋﺎﺕ ﻣﻲ ﺷﻮﺩ‪ .‬ﺍﻳﻦ ﻣﻮﻗﻌﻴﺖ ﺩﺷﻮﺍﺭ‬
‫ﻧﻴﺰ ﻧﻴﻤﻪ ﻣﺜﺒﺘﻲ ﺩﺍﺭﺩ‪ .‬ﻋﻜﺲ ﻫﺎ ﮔﺬﺷﺘﻪ ﺭﺍ ﺷﻠﻮﻍ ﻣﻲ ﻛﻨﻨﺪ‪ .‬ﺧﻮﺩ ﺗﺎﺭﻳﺦ ﺑﻨﻈﺮﻣﻲ ﺭﺳﺪ ﻛﻪ ﮔﺬﺷﺘﻪ ﺭﺍ ﺧﺎﻟﻲ ﻭ‬
‫ﺧﻠﻮﺕ ﻣﻲ ﺳﺎﺯﺩ ﻭ ﺗﻨﻬﺎ ﺍﺷﺨﺎﺹ‪ ،‬ﺭﻭﻳﺪﺍﺩ ﻫﺎ‪ ،‬ﻣﻜﺎﻥ ﻫﺎ ﻭ ﺁﻣﺎﺭﻫﺎﻱ ﻣﺸﻬﻮﺭ ﺭﺍ ﺑﺠﺎﻱ ﻣﻲ ﮔﺬﺍﺭﺩ‪ .‬ﻋﻜﺎﺳﻲ‬
‫ﺑﺮﺧﻼﻑ ﺍﻳﻦ ﻋﻤﻞ ﻣﻲ ﻛﻨﺪ‪ .‬ﺑﻪ ﻣﺤﺾ ﺍﻳﻨﻜﻪ ﻋﻜﺲ ﻫﺎ ﺣﻀﻮﺭ ﺧﻮﺩ ﺭﺍ ﺛﺎﺑﺖ ﺳﺎﺧﺘﻨﺪ ﺩﻳﮕﺮ ﻧﺰﻭﻝ ﻧﻤﻲ ﻛﻨﻨﺪ‪.‬‬
‫ﺩﺭ ﺑﺮﺭﺳﻲ ﻫﺎﻱ ﻣﺎ ﺩﺭ ﻣﻮﺭﺩ ﻋﻜﺲ ﻫﺎﻱ ﺧﻴﺎﺑﺎﻧﻲ ﺑﻪ ﺯﻭﺍﻳﺎﻱ ﻣﺨﺘﻠﻒ ﭘﻴﭽﻴﺪﮔﻲ ﺯﻣﺎﻥ ﺁﻥ ﭘﺮﺩﺍﺧﺘﻴﻢ‪ :‬ﺯﻣﺎﻥ‬
‫ﺍﺷﺎﺭﻩ ﮔﺮ )ﻳﻚ ﺁﻥ‪ ،‬ﺁﻧﻲ ﺑﻮﺩﻥ( ﺯﺑﺎﻥ ﻧﻤﺎﺩﻳﻦ )ﺗﻜﺮﺍﺭ ﺷﺪﻧﻲ‪ ،‬ﺍﺩﺍﻣﻪ ﺩﺍﺭ ﺑﻮﺩﻥ( ﺯﻣﺎﻥ ﻧﺸﺎﻧﻪ ﺍﻱ ﻳﺎ ﺳﻤﺒﻮﻟﻴﻚ‬
‫)ﺑﻲ ﺯﻣﺎﻥ( ﺯﻣﺎﻥ ﻧﮕﺮﻳﺴﺘﻦ )ﻧﮕﺎﻩ ﻧﺎﻓﺬ‪ ،‬ﻧﮕﺎﻩ ﮔﺬﺭﺍ( ﺯﻣﺎﻥ ﺑﻴﻨﻨﺪﻩ )ﺑﻴﻦ ﻣﺘﻨﻲ‪ ،‬ﺣﺎﻓﻈﻪ ﻏﻴﺮﺍﺭﺍﺩﻱ‪ ،‬ﺗﺨﻴﻠﻲ(‪ ،‬ﺑﺮﻫﻢ‬
‫ﻛﻨﺶ ﺯﻣﺎﻥ ﺳﺎﻋﺘﻲ ﻭ ﻣﺪﺕ ﺯﻣﺎﻥ ﺑﺮﮔﺴﻮﻧﻴﺎﻥ‪ ،‬ﺯﻣﺎﻥ ﻫﺎﻱ ﻓﺮﻳﻢ ﭼﺸﻤﻲ ﻭ ﻓﺮﻳﻢ ﻧﮕﻬﺪﺍﺭﻧﺪﻩ‪ ،‬ﺭﺍﻩ ﻫﺎﻳﻲ ﻛﻪ‬
‫ﺗﻮﺳﻂ ﺁﻧﻬﺎ "ﻳﻚ ﺁﻥ" ﻣﻲ ﺗﻮﺍﻧﺪ ﺑﻪ ﮔﺬﺷﺘﻪ ﻭﺁﻳﻨﺪﻩ ﺑﺮﺳﺪ‪ .‬ﺩﺭ ﭘﺎﻳﺎﻥ ﻣﻲ ﺗﻮﺍﻧﻴﻢ ﺑﮕﻮﻳﻴﻢ ﻛﻪ ﺍﻳﻦ ﺟﺎﻳﻲ ﺍﺳﺖ ﻛﻪ‬
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‫ﺗﻔﺎﻭﺕ ﺍﺳﺎﺳﻲ ﺑﻴﻦ ﻣﺴﺘﻨﺪ ﻭ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﮔﺮﺍ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻣﺴﺘﻨﺪ ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﺴﻴﺎﺭ ﺑﺎ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻥ‬
‫ﮔﺮﺍ ﻣﺸﺘﺮﻙ ﺑﺎﺷﺪ‪ ،‬ﻭﻟﻲ ﺯﻣﺎﻥ ﺁﻥ ﺩﺭ ﻣﺮﺣﻠﻪ ﻧﻤﺎﺩﻳﻦ )ﺗﻜﺮﺍﺭ ﺷﺪﻧﻲ‪ ،‬ﺍﺩﺍﻣﻪ ﺩﺍﺭ ﺑﻮﺩﻥ( ﺍﺳﺖ ﻭ ﺑﺎﻗﻲ ﺯﻣﺎﻥ ﺁﻥ‬
‫ﻛﻢ ﻭ ﺑﻴﺶ ﭘﺎﻙ ﺷﺪﻩ ﺍﻧﺪ‪ .‬ﺍﻳﻦ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻣﺴﺘﻨﺪ ﻛﻪ ﺑﺨﻮﺍﻫﺪ ﻫﺪﻑ ﮔﺮﺍﻳﻲ ﺫﺍﺗﻲ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺭﻭﻱ ﺯﻣﺎﻥ ﻫﺎﻱ‬
‫ﭘﻴﺶ ﺑﻴﻨﻲ ﻧﺸﺪﻩ ﻭ ﺧﻮﺩ ﺑﺨﻮﺩﻱ ﻣﻮﺟﻮﺩ ﺩﺭ ﺣﻮﺍﺷﻲ ﻋﻜﺲ ﺧﻴﺎﺑﺎﻧﻲ ﺑﮕﺸﺎﻳﺪ ﺑﻪ ﻃﺮﺯ ﻋﺠﻴﺒﻲ ﻣﻨﺤﺮﻑ ﻳﺎ‬
‫ﻣﺨﺮﺏ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬
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‫ﻓﺼﻞ ﺩﻭﻡ ﺗﺎﺭﻳﺦ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ‬
‫ﺑﺨﺶ ﺍﻭﻝ ﺍﻭﺍﺧﺮ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ ﻭ ﺍﻭژﻥ ﺁﺗﮋﻩ‬
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‫‪ .1‬ﭘﻴﺶ ﺍﺯ ﻋﻜﺎﺳﻲ‬
‫ﺩﺭ ﺩﻫﻪ ‪ 1830‬ﺩﺭ ﭘﺎﺭﻳﺲ ﺑﺮ ﻃﺒﻖ ﻧﻈﺮ ﺭﺍﺟﺮ ﻭﻳﻠﻴﺎﻣﺰ ﺗﺎﺭﻳﺨﺪﺍﻥ‪ ،‬ﺩﻧﻴﺎﻱ ﻟﺬﺕ ﺍﺯ ﺗﺎﻻﺭﻫﺎ ﻭ ﺧﻠﻮﺕ ﮔﺎﻩ ﻫﺎ ﺑﻪ‬
‫ﺑﻠﻮﺍﺭﻫﺎ‪ ،‬ﻣﺴﻴﺮﻫﺎﻱ ﻣﺴﺎﺑﻘﻪ ﻭ ﻣﺠﻤﻊ ﻫﺎ ﻭ ﻛﻠﻮپ ﻫﺎ ﻣﻲ ﺭﻓﺖ‪ .‬ﭼﻨﺪ ﺩﻫﻪ ﺑﻌﺪ ﺑﺮﺍﺩﺭﺍﻥ ﮔﻮﻧﻜﻮﺭﺕ ﻛﻪ ﻧﻮﻳﺴﻨﺪﻩ‬
‫ﺩ ﻭ ﺩﺭ ژﻭﺭﻧﺎﻝ ﺧﻮﺩ‬ ‫ﻭﻗﺎﻳﻊ ﺑﻮﺩﻧﺪ ﺍﺑﺮﺍﺯ ﻛﺮﺩﻧﺪ ﻛﻪ ﺧﺎﻧﻮﺍﺩﻩ ﻫﺎ ﻫﻤﮕﻲ ﺑﺮﺍﻱ ﺷﺎﻡ ﺧﻮﺭﺩﻥ ﺑﻪ ﻛﺎﻓﻪ ﻣﻲ ﺭﻭﻥ‬
‫"‪ .‬ﺗﺤﺖ ﺍﻳﻦ ﺷﺮﺍﻳﻂ‬ ‫ﻧﻮﺷﺘﻨﺪ‪"،‬ﺧﺎﻧﻪ ﺩﺭ ﺣﺎﻝ ﻣﺮگ ﺍﺳﺖ ‪ ،‬ﺯﻧﺪﮔﻲ ﺩﺭ ﺗﻬﺪﻳﺪ ﻫﻤﮕﺎﻧﻲ ﺷﺪﻥ ﻗﺮﺍﺭ ﺩﺍﺭﺩ‬
‫ﺍﺟﺘﻤﺎﻋﻲ ﺍﻳﺪﻩ ﺍﻳﻨﻜﻪ ﺧﻴﺎﺑﺎﻥ ﺻﺤﻨﻪ ﺗﺌﺎﺗﺮ ﺑﻮﺩ ﺑﻪ ﺫﻫﻦ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﻣﺸﺎﻫﺪﻩ ﮔﺮﺍﻥ ﺩﺭ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ ﻣﻲ ﺭﺱﻱﺩ‪.‬‬
‫ﻧﺎﭘﻠﺌﻮﻥ ﺳﻮﻡ ﻣﻲ ﺧﻮﺍﺳﺖ ﻛﻪ ﺯﻧﺪﮔﻲ ﺩﺭ ﭘﺎﻳﺘﺨﺘﺶ ﻳﻚ ﻧﻤﺎﻳﺶ ﻋﻈﻴﻢ ﺑﺎﺷﺪ ﻭ ﺑﺎﺭﻭﻥ ﻫﺎﺳﻤﻦ ﻃﺮﺍﺡ ﻧﻤﺎﻫﺎﻱ ﺍﻭ‬
‫ﺑﻮﺩ‪ .‬ﺍﻭ ﻳﻚ ﺻﺤﻨﻪ ﺳﺎﺧﺖ ﻛﻪ ﺑﺮﺭﻭﻱ ﺁﻥ ﺯﻧﺪﮔﻲ ﺗﺌﺎﺗﺮ ﮔﻮﻧﻪ ﺧﻴﺎﺑﺎﻧﻬﺎﻱ ﭘﺎﺭﻳﺲ ﺑﺘﻮﺍﻧﺪ ﺍﺟﺮﺍ ﺷﻮﺩ‪ .‬ﺩﺭ ﺁﻥ‬
‫ﺯﻣﺎﻥ ﺗﻤﺎﻡ ﮔﻮﻧﺎﮔﻮﻧﻲ ﻫﺎ ‪ ،‬ﺍﺧﺘﻼﻓﺎﺕ ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﻣﺪ ﭘﺎﺭﻳﺲ ﺩﺭ ﺧﻴﺎﺑﺎﻧﻬﺎ ﻣﺸﻬﻮﺩ ﺑﻮﺩ‪.‬‬
‫ﺭﻫﮕﺬﺭﻱ ﻛﻪ ﺩﺭ ﺧﻴﺎﺑﺎﻧﻬﺎ ﺑﻪ ﻗﺪﻡ ﺯﺩﻥ ‪ ،‬ﻣﺸﺎﻫﺪﻩ ﻣﺮﺩﻡ ﻣﺨﺘﻠﻒ ﻭ ﺯﻧﺪﮔﻲ ﺁﻧﻬﺎ ﻭ ﺗﻔﻜﺮ ﻭ ﺗﻔﺮﺝ ﺭﺍﺟﻊ ﺑﻪ ﺁﻧﻬﺎ‬
‫ﻣﻲ ﭘﺮﺩﺍﺧﺖ ﻫﻤﺎﻥ ﭘﺮﺳﻪ ﺯﻥ ﻳﺎ ﻓﻼﻧﻮﺭ ﺑﻮﺩ‪ .‬ﻛﺴﻲ ﻛﻪ ﺍﻳﻦ ﻧﻤﺎﻳﺶ ﺭﺍ ﺗﺤﺴﻴﻦ ﻣﻲ ﻧﻤﻮﺩ‪.‬‬
‫ﻭ ﺧﻮﺩﺁﮔﺎﻩ ﺑﻮﺩ ‪ ،‬ﺳﻮﻱ ﺩﻳﮕﺮ ﺍﻭ‬ ‫ﺍﮔﺮ ﻳﻚ ﺳﻮﻱ ﻓﻼﻧﻮﺭ‪ ،‬ﺭﻫﮕﺬﺭ ﺑﻮﻟﻮﺍﺭ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﺗﺼﺮﻑ ﺧﻮﺩ ﻣﻲ ﺑﻮﺩ‬
‫ﺑﺎﺩﺍﺩ ﺑﻮﺩ ﻛﻪ ﺑﺎ ﻣﺸﺎﻫﺪﻩ ﺯﻧﺪﮔﻲ ﻣﺮﺩﻡ ﺍﺯ ﺧﻮﺩ ﺑﻲ ﺧﻮﺩ ﻣﻲ ﺷﺪ ﻭ ﺑﺮﺍﻱ ﺍﻭ ﻧﮕﺮﻳﺴﺘﻦ ﻧﻮﻋﻲ ﺷﺮﻛﺖ ﻛﺮﺩﻥ ﻭ‬
‫ﻛﺸﻴﺪﻩ ﺷﺪﻥ ﺩﺭ ﺻﺤﻨﻪ ﺑﻮﺩ‪ .‬ﺑﻪ ﮔﻔﺘﻪ ﻭﻳﻜﺘﻮﺭ ﻓﻮﺭﻧﻞ ‪ ،1‬ﺭﻭﺯﻧﺎﻣﻪ ﻧﮕﺎﺭ ﺁﻥ ﺯﻣﺎﻥ‪" ،‬ﺑﺎﺩﺍﺩ ﺩﺭ ﺟﻤﻌﻴﺖ ﻧﺎﭘﺪﻳﺪ ﻣﻲ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺷﻮﺩ‪ ،‬ﺗﻮﺳﻂ ﺩﻧﻴﺎﻱ ﺧﺎﺭﺝ ﻛﻪ ﺍﻭ ﺭﺍ ﺍﺯ ﺧﻮﺩ ﺑﻴﺮﻭﻥ ﻣﻲ ﺭﺍﻧﺪ ﺟﺬﺏ ﻣﻲ ﺷﻮﺩ‪ .‬ﺩﻧﻴﺎﻳﻲ ﻛﻪ ﺍﻭ ﺭﺍ ﻣﺪﻫﻮﺵ ﺑﻪ ﺍﻳﻦ‬
‫ﻃﺮﻑ ﻭ ﺁﻥ ﻃﺮﻑ ﻣﻲ ﺑﺮﺩ ‪ ....‬ﺍﻭ ﺭﻭﺣﻴﻪ ﺍﻱ ﺳﺎﺩﻩ ﻭﺗﻨﺪ ﻭ ﺗﻴﺰ ﺩﺍﺭﺩ‪ ،‬ﻭ ﺗﻮﺳﻂ ﺧﻴﺎﻝ ﻭ ﺷﻮﻕ ﺑﻲ ﺻﺪﺍﻱ ﺧﻮﺩ ﺑﻪ‬
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‫ﺍﻳﻦ ﻃﺮﻑ ﻭ ﺁﻥ ﻃﺮﻑ ﻣﻲ ﺭﻭﺩ‪ .‬ﺍﻭ ﻏﺮﻳﺰﺗﺎً ﻭ ﺫﺍﺗﺎً ﻳﻚ ﻫﻨﺮﻣﻨﺪ ﺍﺳﺖ‪".‬‬
‫‪P‬‬
‫ﺳﺴﻼ ﻣﻴﻠﻮﺱ ‪ 5‬ﺷﺎﻋﺮﻱ ﻛﻪ ﺏﻋﺪ ﺍﺯ ﺟﻨﮓ ﺟﻬﺎﻧﻲ ﺩﻭﻡ ﺩﺭ ﭘﺎﻳﺘﺨﺖ ﻓﺮﺍﻧﺴﻪ ﻣﻲ ﺯﻳﺴﺖ ﮔﻔﺖ ﻛﻪ ﺍﺣﺴﺎﺱ ﻣﻲ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﻛﺮﺩ ﺭﺍﻩ ﺭﻓﺘﻦ ﺩﺭ ﺁﻧﺠﺎ ﻣﺎﻧﻨﺪ ﺷﻨﺎ ﻛﺮﺩﻥ ﺩﺭ ﺍﻗﻴﺎﻧﻮﺱ ﺍﺳﺖ‪ .‬ﺍﻭ ﻣﺎﻧﻨﺪ ﺷﻨﺎﮔﺮﻱ ﺍﺳﺖ ﻛﻪ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻣﻮﺝ ﻫﺎ‬
‫ﻣﻲ ﺳﭙﺎﺭﺩ ﻭ ﻧﻴﺮﻭﻱ ﺁﻧﻬﺎ ﺭﺍ ﺣﺲ ﻣﻲ ﻛﻨﺪ‪ .‬ﺍﻳﻦ ﺍﺣﺴﺎﺱ ﺍﻗﻴﺎﻧﻮﺱ ﻭﺍﺭ ﻫﻤﺎﻧﻲ ﺍﺳﺖ ﻛﻪ ﻓﻮﺭﻧﻞ ﺑﻪ ﺑﺎﺩﺍﺩ ﻧﺴﺒﺖ‬
‫ﻣﻲ ﺩﺍﺭﺩ ﻭ ﺑﻮﺩﻟﺮ ﺑﻪ ﻛﺎﻧﺴﺘﻨﺘﻴﻦ ﮔﺎﻳﺰ‪ .‬ﻣﻴﻠﻮﺱ ﺩﺭﻳﺎﻓﺖ ﻛﻪ ﺧﻴﺎﺑﺎﻧﻬﺎﻱ ﭘﺎﺭﻳﺲ ﻧﻮﻋﻲ ﺗﺠﺮﺑﻪ ﺯﻳﺒﺎﻳﻲ ﺷﻨﺎﺧﺘﻲ ﺍﻧﺪ‪.‬‬
‫ﺗﺠﺮﺑﻪ ﺍﻱ ﻛﻪ ﺍﻭ ﺍﺯ ﺁﻥ ﻣﺴﺘﻘﻴﻤﺎ ﻧﻮﻋﻲ ﺗﺤﺮﻳﻚ ﺣﺴﻲ ﺑﺪﺳﺖ ﻣﻲ ﺁﻭﺭﺩ ﻛﻪ ﻣﺎ ﺑﻪ ﻣﺎﻧﻨﺪ ﻳﻚ ﻗﺎﻧﻮﻥ ﺑﻪ ﻫﻨﺮ‬
‫ﻧﺴﺒﺖ ﻣﻲ ﺩﻫﻴﻢ‪ .‬ﺑﻪ ﻋﻘﻴﺪﻩ ﺍﻭ ﺯﻧﺪﮔﻲ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﻫﻨﺮ ﻫﻤﮕﺎﻧﻲ ﻣﺎﺳﺖ‪.‬‬
‫ﻧﻤﺎﻱ ﺧﻴﺎﺑﺎﻥ ﺣﺎﻭﻱ ﺗﻘﺎﺑﻞ ﻫﺎﻱ ﺍﺗﻔﺎﻗﻲ ﻭ ﻋﻮﺽ ﺷﺪﻥ ﻳﻜﺒﺎﺭﻩ ﻱ ﻧﻤﺎ ﻧﻴﺰ ﺑﻮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﻧﻤﺎ ﺗﻤﺎﺷﺎﮔﺮ ﺑﻪ ﻳﻜﺒﺎﺭﻩ ﺍﺯ‬
‫ﻳﻚ ﺳﻮژﻩ ﺑﻪ ﺳﻮژﻩ ﺍﻱ ﺩﻳﮕﺮ ﻣﻲ ﭘﺮﻳﺪ ‪ ،‬ﻭ ﻫﻤﻪ ﭼﻴﺰ ﺗﺼﺎﺩﻓﻲ ﺑﻮﺩ‪.‬‬
‫‪Victor Fournel .1‬‬

‫‪ .2‬ﻓﻮﺭﻧﻞ‪ .‬ﻣﻨﺒﻊ ﺷﻤﺎﺭﻩ ‪ .5‬ﺻﻔﺤﻪ ‪43‬‬
‫‪Czeslaw Milosz .3‬‬
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‫‪ .2‬ﺩﺭ ﺁﻏﺎﺯ ﻋﻜﺎﺳﻲ‬
‫ﻭﻳﻠﻴﺎﻡ ﻫﻨﺮﻱ ﻓﺎﻛﺲ ﺗﺎﻟﺒﻮﺕ ‪ 1‬ﭘﺲ ﺍﺯ ﺍﺧﺘﺮﺍﻉ ﺧﻮﺩ ﺍﺯ ﻋﻜﺎﺳﻲ ‪ ،‬ﺑﺎ ﺍﻳﻦ ﻭﺳﻴﻠﻪ ﺟﺪﻳﺪ ) ﺩﻭﺭﺑﻴﻦ ﻋﻜﺎﺳﻲ( ﺑﻪ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﻋﻜﺎﺳﻲ ﺍﺯ ﻣﻨﺎﻇﺮ ﻣﺨﺘﻠﻒ ﻣﻲ ﭘﺮﺩﺍﺧﺖ‪ .‬ﺗﻨﻲ ﭼﻨﺪ ﺍﺯ ﻧﺰﺩﻳﻜﺎﻧﺶ ﻣﺎﻧﻨﺪ ﻛﻴﺖ ﺗﺎﻟﺒﻮﺕ ﻭ ﺭِﻭﺭِﻧﺪ ﻛﺎﻟﻮِﺭﺕ‬
‫ﺟﻮﻧﺰﻧﻴﺰ ﺑﺎ ﻭﺳﻴﻠﻪ ﺍﺑﺪﺍﻋﻲ ﺍﻭ ﺑﻪ ﻋﻜﺎﺳﻲ ﻣﻲ ﭘﺮﺩﺍﺧﺘﻨﺪ‪ .‬ﻳﻜﻲ ﺩﻳﮕﺮ ﺍﺯ ﻋﻜﺎﺳﺎﻧﻲ ﻛﻪ ﺑﺎ ﺍﻳﻦ ﺷﻴﻮﻩ ﻋﻜﺎﺳﻲ ﻣﻲ‬
‫ﻧﻤﻮﺩ ﺭِﻭﺭِﻧﺪ ﺟﻮﺭﺝ ﺑﺮﻳﺠِﺰ ﺑﻮﺩ ﻛﻪ ﺷﺶ ﺳﺎﻝ ﺩﺭ ﺍﻃﺮﺍﻑ ﻣﺪﻳﺘﺮﺍﻧﻪ ﺳﻔﺮ ﻛﺮﺩ ﻭ ﺑﺎ ‪ 1700‬ﻧﮕﺎﺗﻴﻮ ﺑﺎﺯﮔﺸﺖ‪ .‬ﻭﻟﻲ‬
‫ﻳﻜﻲ ﺩﻳﮕﺮ ﺍﺯ ﻋﻜﺎﺳﺎﻥ ﺍﻭﻟﻴﻪ ﻛﻪ ﺑﻪ ﻃﻮﺭ ﻛﺎﻣﻞ ﭘﺘﺎﻧﺴﻴﻞ ﺯﻧﺪﮔﻲ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﺳﻮژﻩ ﺭﺍ ﺩﻳﺪ ﻳﻚ ﻧﻘﺎﺵ‬
‫ﻓﺮﺍﻧﺴﻮﻱ ﺑﻪ ﺍﺳﻢ ﺷﺎﺭﻝ ﻧ‪‬ﮕﺮ ﻭ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﺣﺪﻭﺩ ﺳﺎﻝ ‪ 1850‬ﺩﻭﺭﺑﻴﻦ ﺑﻪ ﺩﺳﺖ ﮔﺮﻓﺖ‪ .‬ﺍﻭ ﭘﻴﺸﮕﺎﻡ ﻋﻜﺎﺳﺎﻥ‬
‫ﺑﻌﺪﻱ ﺍﻳﻦ ﺳﺒﻚ ﻭ ﺑﻪ ﻭﻳﮋﻩ ﺍﻭژﻥ ﺁﺗﮋﻩ ﺑﻮﺩ ﻭ ﺍﺯ ﻣﺒﺎﺩﻻﺕ ﺧﻴﺎﺑﺎﻧﻲ ﻭ ﺭﻓﺘﮕﺮﺍﻥ ﻭ ﻧﻮﺍﺯﻧﺪﮔﺎﻥ ﻛﻮﻟﻲ ﻋﻜﺲ ﻣﻲ‬
‫ﮔﺮﻓﺖ ﻭ ﺍﻧﺮژﻱ ﺧﻮﺩ ﺭﺍ ﻭﻗﻒ ﻋﻜﺎﺳﻲ ﻣﻌﻤﺎﺭﻱ ﻣﻲ ﻧﻤﻮﺩ‪ .‬ﺩﺭ ﻫﻤﺎﻥ ﺯﻣﺎﻥ ﻓﻜﺮ ﺍﻭ ﺑﺴﻴﺎﺭ ﻣﻌﻄﻮﻑ ﺑﻪ ﺍﻳﺴﺘﺎ‬
‫ﻧﻤﻮﺩﻥ ﺣﺮﻛﺖ ﺑﻮﺩ‪ ،‬ﻛﻪ ﭘﺎﻳﻪ ﻛﺎﺭ ﻋﻜﺎﺳﺎﻥ ﺑﻌﺪﻱ ﻫﻤﭽﻮﻥ ﻛﺎﺭ ﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺑﻮﺩ‪.‬‬
‫ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ ﻛﻪ ﻫﻨﻮﺯ ﻋﻜﺎﺳﻲ ﺭﺳﺎﻧﻪ ﺍﻱ ﺟﺪﻳﺪ ﺑﻮﺩ ﺭﻭﺷﻬﺎﻱ ﺑﺴﻴﺎﺭﻱ ﺑﺮﺍﻱ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺁﻥ ﻣﻌﻤﻮﻝ ﺑﻮﺩ‪ .‬ﭼﻴﺰﻱ‬
‫ﻛﻪ ﻧ‪‬ﮕﺮ ﻭ ﺭﺍ ﻣﺘﻤﺎﻳﺰ ﻣﻲ ﻛﺮﺩ ﺍﺻﻮﻝ ﺷﻜﻨﻲ ﺍﻭ ﺑﻮﺩ‪ .‬ﺩﺭ ﺁﻥ ﻫﻨﮕﺎﻡ ﻛﻪ ﻋﻜﺎﺳﺎﻥ ﺁﻥ ﺩﻭﺭﺍﻥ ﺍﺯ ﺳﺎﻳﻪ ﺩﺭ ﻋﻜﺎﺳﻲ‬
‫ﻣﻌﻤﺎﺭﻱ ﺑﻪ ﻃﺮﺯﻱ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻲ ﻛﺮﺩ ﻛﻪ ﺳﺎﺧﺘﻤﺎﻥ ﺭﺍ ﺑﻪ ﻣﺎﻧﻨﺪ ﻳﻚ ﺟﻮﺍﻫﺮ ﺩﺭ ﻣﺨﻤﻠﻲ ﺳﻴﺎﻩ ﺑﻪ ﺗﺼﻮﻳﺮ ﺑﻜﺸﻨﺪ‪،‬‬
‫ﺩﺭ ﻋﻜﺲ ﻫﺎﻱ ﻧﮕﺮﻭ ﻭ ﭘﺲ ﺍﺯﺍﻭ ﺁﺗﮋﻩ ﺳﺎﻳﻪ ﻫﺎ ﺑﻪ ﺭﻭﻱ ﺧﻮﺩ ﺳﺎﺧﺘﻤﺎﻥ ﻣﻲ ﺍﻓﺘﺎﺩﻧﺪ ﻭ ﻧﻪ ﺧﺎﺭﺝ ﺍﺯ ﺁﻥ‪.‬‬
‫ﺗﻼﺵ ﻫﺎﻱ ﺍﻭ ﺑﺮﺍﻱ ﺍﻳﺴﺘﺎ ﻧﻤﻮﺩﻥ ﺣﺮﻛﺖ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﻧﻴﺰ ﺟﺎﻟﺐ ﺍﺳﺖ‪ .‬ﺑﺮﺧﻲ ﺍﺯ ﻛﺎﻟﻮﺗﺎﻳﭗ ﻫﺎﻱ ﺍﻭ ﺑﻪ ﻋﻠﺖ‬
‫ﺗﺎﺭﻱ ﺣﺮﻛﺘﻲ ﻣﻮﻓﻖ ﺑﻪ ﺍﻳﻦ ﺍﻣﺮ ﻧﻤﻲ ﺷﺪﻧﺪ ﻭﻟﻲ ﺍﻭ ﺑﻪ ﺯﻭﺩﻱ ﺭﻭﺷﻬﺎﻳﻲ ﻳﺎﻓﺖ ﺗﺎ ﺑﻪ ﺳﺮﻋﺖ ﺑﻴﺸﺘﺮ ﺩﺳﺖ ﻳﺎﺑﺪ‪.‬‬
‫ﻧﺨﺴﺖ ﺑﺎ ﻃﺮﺍﺣﻲ ﻟﻨﺰﻫﺎﻱ ﺳﺮﻳﻌﺘﺮ‪ ،‬ﺳﭙﺲ ﺑﺎ ﺗﻜﻨﻮﻟﻮژﻱ ﺟﺪﻳﺪﺗﺮﺍﺳﺘﺮﻳﻮﮔﺮﺍﻑ‪ .‬ﺍﻳﻦ ﺍﻣﺮ ﺑﺎﻋﺚ ﺷﺪ ﺗﺎ ﺍﻭ ﺑﺘﻮﺍﻧﺪ‬
‫ﺍﺯ ﺭﻭﻳﺪﺍﺩﻫﺎﻱ ﺩﺭ ﺣﺎﻝ ﺍﺗﻔﺎﻕ ﻋﻜﺲ ﺑﮕﻴﺮﺩ‪ ،‬ﻣﺎﻧﻨﺪ ﺍﺳﺒﻲ ﻛﻪ ﺟﻠﻮ ﻱ ﺍﺳﺘﻮﺩﻳﻮﻱ ﺍﻭ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﺑﻪ ﺯﻣﻴﻦ ﺧﻮﺭﺩﻩ‬
‫ﺑﻮﺩ‪) .‬ﻋﻜﺲ ‪(2-1‬‬
‫ﺩﺭ ﻋﻜﺲ ﺍﺯ ﺭﻫﮕﺬﺭﺍﻥ ﺩﺭ ‪ Place aux Aires‬ﺩﺭ ﮔﺮﺍﺳﻪ ﻳﻜﻲ ﺍﺯ ﺁﻥ ﺍﺗﻔﺎﻕ ﻫﺎﻳﻲ ﺭﺥ ﻣﻲ ﺩﻫﺪ ﻛﻪ‬
‫ﻋﻜﺎﺳﺎﻥ ﺧﻴﺎﺑﺎﻧﻲ ﺩﺭ ﻫﺮ ﺩﻭﺭﻩ ﺍﻱ ﺁﻣﻮﺯﻧﺪﻩ ﻳﺎﻓﺘﻪ ﺍﻧﺪ‪ .‬ﻳﻚ ﻣﺮﺩ ﺳﺎﻳﻪ ﻭﺍﺭ ﺩﺭﮔﻮﺷﻪ ﻓﺮﻳﻤﻲ ﭘﺪﻳﺪﺍﺭ ﻣﻲ ﺷﻮﺩ ﻛﻪ‬
‫ﺩﺭ ﻣﺮﻛﺰ ﺁﻥ ﻳﻚ ﺯﻥ ﺳﻔﻴﺪ ﭘﻮﺵ ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪) .‬ﻋﻜﺲ ‪(2-2‬‬
‫ﻭﺟﻮﺩ ﭼﻨﻴﻦ ﭘﻴﻜﺮ ﻋﺠﻴﺒﻲ ﺩﺭ ﭘﻴﺶ ﺯﻣﻴﻨﻪ‪ ،‬ﻧﻤﺎﻱ ﺳﻴﺎﻩ ﺍﻭ ﻛﻪ ﺩﺭﺗﻀﺎﺩ ﺑﺎ ﺳﻔﻴﺪﻱ ﺯﻥ ﺩﺭ ﻓﺎﺻﻠﻪ ﺩﻭﺭ ﺍﺳﺖ‪ ،‬ﻛﻞ‬
‫ﻓﺮﻳﻢ ﺭﺍ ﻓﻌﺎﻝ ﻭ ﭘﻮﻳﺎ ﻣﻲ ﺳﺎﺯﺩ‪ .‬ﺗﻤﺎﻣﻲ ﻛﺎﺭﻫﺎﻱ ﻧﮕﺮ ﻭ ﺑﻪ ﻧﻮﻋﻲ ﺍﺯ ﺯﻣﺎﻥ ﺧﻮﺩ ﺟﻠﻮﺗﺮ ﺑﻮﺩﻧﺪ ﻭﻟﻲ ﺑﻴﺸﺘﺮ ﺍﺯ ﻫﻤﻪ‬
‫ﺳﺮﻱ ﻋﻜﺴﻬﺎﻱ ﺍﻭ ﺍﺯ ﻓﺮﻭﺷﮕﺎﻩ ﻫﺎﻱ ﻓﻀﺎﻱ ﺑﺎﺯ ﺩﺭ ﻛﻨﺎﺭ ﺳﻴﻦ ﺩﺭ ﭘﺎﺭﻳﺲ ﺍﻳﻦ ﺧﺼﻮﺻﻴﺖ ﺭﺍ ﺩﺍﺷﺖ‪ .‬ﻫﻤﭙﻨﻴﻦ‬
‫ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﻛﺎﺭﻫﺎﻳﻲ ﻛﻪ ﺍﻭ ﺩﺭ ﺳﺎﻝ ‪ 1850‬ﺑﻪ ﻧﻤﺎﻳﺶ ﮔﺬﺍﺷﺖ ﺩﺭ ﺣﻘﻴﻘﺖ ﻧﻘﺎﺷﻲ ﺑﻮﺩﻧﺪ ﻛﻪ ﺑﺮﺭﻭﻱ ﻋﻜﺲ ﻫﺎ‬
‫ﻛﺸﻴﺪﻩ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺩﺭ ﻛﺎﺭﻫﺎﻱ ﺍﻭ ﺗﺎﺭﻳﺦ ﻋﻜﺎﺳﻲ‪ ،‬ﻭ ﻧﻘﺎﺷﻲ‪ ،‬ﺑﺎ ﻳﻜﺪﻳﮕﺮ ﺗﻼﻗﻲ ﺩﺍﺷﺘﻨﺪ‪.‬‬
‫‪ .William Henry Fox Talbot .1‬ﻣﺨﺘﺮﻉ ﺑﺮﻳﺘﺎﻧﻴﺎﻳﻲ‪ .‬ﻣﺨﺘﺮﻉ ﻓﺮﺍﻳﻨﺪ ﻛﺎﻟﻮﺗﺎﻳﭗ‪1800-1877 .‬‬
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‫ﻋﻜﺲ ‪ 2-1‬ﺷﺎﺭﻝ ﻧﮕﺮﻭ – ﺍﺳﺐ ﺑﺮ ﺯﻣﻴﻦ ﺍﻓﺘﺎﺩﻩ ‪1855‬‬
‫ﻋﻜﺲ ‪ 2-2‬ﺷﺎﺭﻝ ﻧﮕﺮﻭ – ﮔﺮﺍﺳﻪ ‪1852‬‬
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‫‪ .3‬ﺟﺎﻥ ﺗﺎﻣﺴﻮﻥ ﻭ ﻛﻠﻮﺩﻳﻮﻥ ﺗﺮ‬
‫ﻓﺮﺍﻳﻨﺪ ﻛﻠﻮﺩﻳﻮﻥ ﻛﻪ ﺩﺭ ﺩﻫﻪ ‪ 1850‬ﺟﺎﻳﮕﺰﻳﻦ ﻓﺮﺍﻳﻨﺪ ﻧﮕﺎﺗﻴﻮ ﻛﺎﻏﺬﻱ ﺷﺪ ﻳﻚ ﻓﺮﺍﻳﻨﺪ ﺻﻔﺤﻪ ﺗﺮ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﺁﻥ‬
‫ﺻﻔﺤﻪ ﺷﻴﺸﻪ ﺍﻱ ﻣﻲ ﺑﺎﻳﺴﺖ ﺩﺭﺳﺖ ﻗﺒﻞ ﺍﺯ ﮔﺮﻓﺘﻦ ﻋﻜﺲ ﺁﻣﺎﺩﻩ ﻣﻲ ﺷﺪ ﻭ ﺑﻪ ﺻﻮﺭﺕ ﺗﺮ ﺩﺭ ﺩﻭﺭﺑﻴﻦ ﻗﺮﺍﺭ ﻣﻲ‬
‫ﮔﺮﻓﺖ ﻭ ﺳﭙﺲ ﺑﻼﻓﺎﺻﻠﻪ ﭘﺲ ﺍﺯ ﻋﻜﺎﺳﻲ ‪ ،‬ﻗﺒﻞ ﺍﺯ ﺧﺸﻚ ﺷﺪﻥ ﻇﺎﻫﺮ ﻣﻲ ﺷﺪ‪.‬‬
‫ﺍﻳﻦ ﻓﺮﺍﻳﻨﺪ ﺁﻧﻘﺪﺭ ﻣﺸﻜﻞ ﺑﻮﺩ ﻭ ﻣﺤﺘﺎﺝ ﺗﺨﺼﺺ ﻛﻪ ﻋﻜﺎﺳﻲ ﺗﻘﺮﻳﺒﺎً ﻣﺨﺘﺺ ﺣﺮﻓﻪ ﺍﻱ ﻫﺎ ﺷﺪ‪ .‬ﺍﺯ ﺍﻳﻦ ﺑﻪ ﺑﻌﺪ‬
‫ﻫﻨﺮﻣﻨﺪﺍﻥ ﻭ ﺁﻣﺎﺗﻮﺭﻫﺎ ﺗﻮﺳﻂ ﻧﻮﻉ ﺩﻳﮕﺮﻱ ﺍﺯ ﻋﻜﺎﺳﺎﻥ ﺟﺎﻳﮕﺰﻳﻦ ﺷﺪﻧﺪ ﻛﻪ ﭼﻪ ﺩﺭ ﺧﺎﺭﺝ ﺍﺳﺘﻮﺩﻳﻮ ﻭ ﺩﺭ‬
‫ﭘﺎﺭﻳﺲ ﻳﺎ ﻟﻨﺪﻥ ﻳﺎ ﭼﻪ ﺩﺭ ﺳﻔﺮ ﺑﻪ ﺳﺮﺯﻣﻴﻦ ﻩ ﺍﻱ ﺩﻭﺭ ﺩﺳﺖ ‪ ،‬ﻋﻜﺎﺳﻲ ﺭﺍ ﺣﺮﻓﻪ ﺧﻮﺩ ﻛﺮﺩﻧﺪ‪ .‬ﻳﻜﻲ ﺍﺯ ﻋﻜﺎﺳﺎﻥ‬
‫‪ 1877‬ﻛﺘﺎﺏ‬ ‫ﺑﺎﺭﺯ ﺍﻳﻦ ﺩﻭﺭﻩ ﻋﻜﺎﺱ ﺍﺳﻜﺎﺗﻠﻨﺪﻱ ﺟﺎﻥ ﺗﺎﻣﺴﻮﻥ ﺑﻮﺩ‪ .‬ﺍﻭ ﭼﻨﺪﻳﻦ ﻛﺘﺎﺏ ﺳﻔﺮ ﻭ ﻫﻤﭽﻨﻴﻦ ﺩﺭ‬
‫"ﺯﻧﺪﮔﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺩﺭ ﻟﻨﺪﻥ" ‪ ،‬ﺍﻭﻟﻴﻦ ﻛﺘﺎﺏ ﻣﻨﺤﺼﺮﺍًﺍﺧﺘﺼﺎﺹ ﻳﺎﻓﺘﻪ ﺑﻪ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺭﺍ ﭼﺎپ ﻧﻤﻮﺩ‪.‬‬
‫ﭼﻮﻥ ﻛﻠﻮﺩﻳﻮﻥ ﺑﺮ ﻭﺿﻮﺡ ﺗﺎﻛﻴﺪ ﺩﺍﺷﺖ ﻭ ﺍﻳﻦ ﺩﺭ ﺍﺯﺍﻱ ﻛﺎﻫﺶ ﺩﻳﮕﺮ ﺧﺼﻮﺻﻴﺎﺕ ﭼﻮﻥ ﺳﺮﻋﺖ ‪ ،‬ﭼﻪ ﺩﺭ‬
‫ﺁﻣﺎﺩﻩ ﺳﺎﺯﻱ ﻭ ﭼﻪ ﺧﻮﺩ ﺍ ﻣﻮﻟﺴﻴﻮﻥ ﺑﻮﺩ ﺑﺎﻋﺚ ﻣﻲ ﺷﺪ ﻋﻜﺎﺳﺎﻥ‪ ،‬ﻣﺎﻧﻨﺪ ﺟﺎﻥ ﺗﺎﻣﺴﻮﻥ ﺑﻪ ﺳﻮژﻩ ﻫﺎﻱ ﺧﻮﺩ ژﺳﺖ‬
‫ﺩﻫﻨﺪ ﻭ ﺁﻧﻬﺎ ﺭﺍ ﺩﺭ ﻃﻮﻝ ﻣﺪﺕ ﺯﻣﺎﻥ ﻧﻮﺭﺩﻫﻲ ﺛﺎﺑﺖ ﻧﮕﺎﻩ ﺩﺍﺭﻧﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻋﻜﺎﺳﻲ ﺗﺎﻣﺴﻮﻥ ﻛﻤﺘﺮ ﻣﺸﺎﻫﺪﻩ‬
‫ﺯﻧﺪﮔﻲ ﻭ ﺑﻴﺸﺘﺮ ﻣﺸﺎﻫﺪﻩ ﺧﺼﻮﺻﻴﺎﺕ ﺑﻮﺩ‪.‬‬
‫ﺣﺎﻟﺖ ﺧﻮﺩﺁﮔﺎﻫﺎﻧﻪ ﻭ ﺟﺪﻱ ﻭ ﺭﺳﻤﻲ ﻛﻪ ﺳﻮژﻩ ﻫﺎﻱ ﺗﺎﻣﺴﻮﻥ ﺩﺍﺷﺘﻨﺪ ﺩﺭ ﻋﻜﺎﺳﻲ ﺁﻥ ﺯﻣﺎﻥ ﻟﻨﺪﻥ ﺭﺍﻳﺞ ﺑﻮﺩ‪.‬‬
‫ﻛﺘﺎﺑﻲ ﻛﻪ ﭘﻴﺶ ﺍﺯ ﻛﺘﺎﺏ ﺗﺎﻣﺴﻮﻥ ﭼﺎپ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﺗﺎﻣﺴﻮﻥ ﺩﺭ ﺁﻥ ﺭﺍﻩ ﮔﺎﻡ ﻣﻲ ﻧﻬﺎﺩ ﻛﺘﺎﺑﻲ ﺑﻮﺩ ﻛﻪ ﺭﺑﻊ ﻗﺮﻥ‬
‫ﭘﻴﺶ ﺍﺯ ﺁﻥ ﺗﻮﺳﻂ ﻫﻨﺮﻱ ﻣﻲ ﻫﻴﻮ ﺑﺎ ﻧﺎﻡ "ﻛﺎﺭ ﺩﺷﻮﺍﺭ ﺩﺭ ﻟﻨﺪﻥ ﻭ ﻓﻘﺮﺍﻱ ﻟﻨﺪﻥ " ﭼﺎپ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻣﻲ ﻫﻴﻮ ﻧﻮﺷﺘﺎﺭ‬
‫ﺧﻮﺩ ﺭﺍ ﺑﺎ ﺗﺼﺎﻭﻳﺮﻱ ﻣﺼﻮﺭ ﻛﺮﺩﻩ ﺑﻮﺩ ﻛﻪ ﺑﺮﺍﺳﺎﺱ ﺩﺍﮔﺮﻭﺗﺎﻳﭗ ﻫﺎﻱ ﻋﻜﺎﺳﻲ ﭘﺮﺗﺮﻩ ﺭﻳﭽﺎﺭﺩ ﺑﻴﺮﺩ ﺑﻮﺩﻧﺪ ﻛﻪ ﺍﺯ‬
‫ﺗﻴﭗ ﻫﺎﻱ ﺧﻴﺎﺑﺎﻧﻲ ﺩﺭ ﺍﺳﺘﻮﺩﻳﻮﻱ ﺍﻭ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﺑﻌﺪﺍً ﭘﺲ ﺯﻣﻴﻨﻪ ﺍﻱ ﻣﻨﺎﺳﺐ ﺁﻧﺎﻥ ﺑﺮﺍﻱ ﻋﻜﺲ ﻫﺎ ﻗﺮﺍﺭ‬
‫ﺩﺍﺩﻩ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬
‫ﺑﻴﺸﺘﺮ ﻋﻜﺲ ﻫﺎ ﺩﺭ "ﺯﻧﺪﮔﻲ ﺧﻴﺎﺑﺎﻧﻲ" ﻟﺤﻈﺎﺕ ﻗﻄﻌﻲ ﻧﻴﺴﺘﻨﺪ ﺑﻠﻜﻪ ﻟﺤﻈﺎﺕ ﺗﺼﻤﻴﻢ ﮔﻴﺮﻱ ﺷﺪﻩ ﺍﻧﺪ‪ .‬ﺗﺼﺎﻭﻳﺮﻱ‬
‫ﺍﺯ ﺗﺼﻤﻴﻤﺎﺗﻲ ﺍﺯ ﺑﻴﺶ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺭﺍﺟﻊ ﺑﻪ ﺍﻳﻨﻜﻪ ﻣﺮﺩﻡ ﭼﮕﻮﻧﻪ ﺑﺎﻳﺪ ﻧﮕﺎﻩ ﻭ ﺭﻓﺘﺎﺭ ﻛﻨﻨﺪ‪ .‬ﻭﻟﻲ ﺩﺭ ﺑﺮﺧﻲ ﻋﻜﺲ‬
‫ﻫﺎﻱ ﺍﻭ ﻣﺎﻧﻨﺪ ‪ Hooking Alf‬ﺗﺎﻣﺴﻮﻥ ﻧﻮﺭﺩﻫﻲ ﺧﻮﺩ ﺭﺍ ﻟﺤﻈﻪ ﺍﻱ ﺯﻭﺩﺗﺮ ﻳﺎ ﺩﻳﺮﺗﺮ ﺍﻧﺠﺎﻡ ﺩﺍﺩ ﺗﺎ ﻣﻮﺍﺯﻧﻪ ﺍﻱ ﺍﺯ‬
‫ﻗﺮﺍﺭ ﺩﺍﺩﻱ ﺑﻮﺩﻥ ﻭ ﺧﻮﺩ ﺑﺨﻮﺩﻱ ﺑﻮﺩﻥ ﺩﺭ ﻋﻜﺲ ﺍﻳﺠﺎﺩ ﺷﻮﺩ‪.‬‬
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‫‪ .4‬ﻋﻜﺲ ﻫﺎﻳﻲ ﺑﻪ ﻋﻨﻮﺍﻥ ﺗﻔﺮﻳﺢ ﻣﺸﺎﺑﻪ ﻛﺎﺭ ﺍﺻﻠﻲ‬
‫ﺩﺭ ﻧﻴﻮﻳﻮﺭﻙ ﺟﻮﺯﻑ ﺑﺎﻳﺮﻭﻥ‪ 1‬ﻭ ﭘﺴﺮﺵ ﭘِﺮﺳﻲ‪ 2‬ﺷﺮﻛﺘﻲ ﺩﺍﺷﺘﻨﺪ ﻛﻪ ﺩﺭ ﺁﻥ ﺍﺯ ﺻﺤﻨﻪ ﻫﺎﻱ ﻧﻤﺎﻳﺶ ‪ ،‬ﻛﺸﺘﻲ ﻫﺎ‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺩﺭ ﺑﻨﺪ ﺭ ﻧﻴﻮﻳﻮﺭﻙ ﻭ ‪ ...‬ﻋﻜﺲ ﻣﻲ ﮔﺮﻓﺘﻨﺪ ﻭﻟﻲ ﻫﻴﭻ ﻳﻚ ﺍﺯ ﻛﺎﺭﻫﺎﻳﺸﺎﻥ ﺟﺰﻭ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﻧﺒﻮﺩ‪ .‬ﺑﺎ ﺍﻳﻦ‬
‫ﻭﺟﻮﺩ ﺩﺭ ﺩﻫﻪ ﻧﺰﺩﻳﻚ ﻋﻮﺽ ﺷﺪﻥ ﻗﺮﻥ ﺷﺨﺼﻲ ﺩﺭ ﺷﺮﻛﺖ ‪ ،‬ﻣﺨﺘﺼﺮﻱ ﺍﺯ ﺍﻳﻦ ﻧﻮﻉ ﻋﻜﺎﺳﻲ ﺭﺍ ﺍﻧﺠﺎﻡ ﺩﺍﺩ‪.‬‬
‫ﺍﺣﺘﻤﺎﻻ ﺍﻳﻦ ﺷﺨﺺ ﭘِﺮﺳﻲ ﺑﻮﺩﻩ ﺍﺳﺖ ﻭﻟﻲ ﺩﺭ ﭘﺮﻭﻧﺪﻩ ﻫﺎﻱ ﺷﺮﻛﺖ ﭼﻨﻴﻦ ﭼﻴﺰﻱ ﺩﺭﺝ ﻧﺸﺪﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﻫﺮ‬
‫ﺻﻮﺭﺕ ﺷﺨﺼﻲ ﻛﻪ ﺍﻳﻦ ﻋﻜﺴﻬﺎ ﺭﺍ ﮔﺮﻓﺘﻪ ﺩﺭ ﺭﻓﺖ ﻭ ﺁﻣﺪ ﺑﻴﻦ ﺷﺮﻛﺖ ﻭ ﺻﺤﻨﻪ ﻫﺎﻱ ﺗﺌﺎﺗﺮ ﭼﻨﺪ ﺩﻗﻴﻘﻪ ﺍﻱ‬
‫ﺩﻭﺭﺑﻴﻦ ﺑﻪ ﺩﺳﺖ ﮔﺮﻓﺘﻪ ﻭ ﭼﻨﺪﻳﻦ ﻋﻜﺲ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺷﺨﺺ ﻫﺮ ﻛﺲ ﻛﻪ ﺑﻮﺩﻩ ﺍﺳﺖ ﺗﻘﺎﺑﻞ ﻳﻚ ﻟﺒﺎﺱ‬
‫ﺭﺍﻩ ﺭﺍﻩ ﺩﺭ ﺑﺮﺍﺑﺮ ﺳﺎﻳﺒﺎﻥ ﻫﺎﻱ ﻓﺮﻭﺷﮕﺎﻩ ﻫﺎ )ﻋﻜﺲ ‪ (2-3‬ﻭ ﻳﺎ ﮔﻔﺘﮕﻮﻫﺎﻱ ﺑﻴﻦ ﻣﺮﺩﻡ ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺍﻭ‬
‫ﺑﺪﻭﻥ ﺷﻚ ﻣﻲ ﺩﺍﻧﺴﺘﻪ ﻛﻪ ﺑﺮﺧﻲ ﺍﺯ ﺍﻳﻦ ﻋﻜﺲ ﻫﺎ ﺑﻪ ﻛﺎﺭﺕ ﭘﺴﺘﺎﻝ ﻫﺎ ﺭﺍﻩ ﭘﻴﺪﺍ ﺧﻮﺍﻫﻨﺪ ﻛﺮﺩ‪ .‬ﻭﻟﻲ ﺩﺭﻫﺮ‬
‫ﺻﻮﺭﺕ ﺍﻳﻦ ﻋﻜﺲ ﻫﺎ ﺩﺭ ﻛﺴﺐ ﻭ ﻛﺎﺭ ﺍﺻﻠﻲ ﺷﺮﻛﺖ ﺗﺼﺎﺩﻓﻲ ﺑﻮﺩﻧﺪ ﻭ ﺑﻴﺸﺘﺮ ﻣﺎﻧﻨﺪ ﺗﻔﺮﻳﺤﻲ ﻣﺸﺎﺑﻪ ﻛﺎﺭ‬
‫ﺍﺻﻠﻲ ﺑﻮﺩﻧﺪ‪ .‬ﻭ ﺍﻳﻦ ﻧﻘﻄﻪ ﻗﻮﺗﺸﺎﻥ ﺑﻮﺩ‪.‬‬
‫ﻳﺎﻓﺘﻦ ﻧﻤﻮﻧﻪ ﻫﺎﻱ ﺩﻳﮕﺮ ﺍﺯ ﻛﺎﺭﻫﺎﻱ ﺍﻧﺠﺎﻡ ﺷﺪﻩ ﺑﻪ ﺍﻳﻦ ﺷﻜﻞ ﻛﺎﺭ ﺳﺨﺘﻲ ﻧﻴﺴﺖ‪ .‬ﻳﻚ ﻧﻤﻮﻧﻪ ﺍﺯ ﺍﻳﻦ ﻋﻜﺎﺳﺎﻥ‬
‫ﭼﺎﺭﻟﺰ ﺟِﻲ ﻭﻥ ﺷ‪‬ﻴﻚ ‪ 3‬ﺑﻮﺩ ﻛﻪ ﺑﺮﺧﻼﻑ ﺑﺎﻳﺮﻭﻥ ﺍﺯ ﻛﺎﺩﺭ ﺑﻨﺪﻱ ﻫﺎﻱ ﻋﺠﻴﺐ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻲ ﻧﻤﻮﺩ ﻭ ﺑﺮﺍﻱ ﻣﺜﺎﻝ‬ ‫‪P‬‬ ‫‪P‬‬
‫‪4‬ﺑﻮﺩ‪ .‬ﻋﻜﺎﺳﻲ‬ ‫‪P‬‬ ‫‪P‬‬ ‫ﺳﻮژﻩ ﺭﺍ ﺩﺭ ﮔﻮﺷﻪ ﻓﺮﻳﻢ ﻗﺮﺍﺭ ﻣﻲ ﺩﺍﺩ‪ .‬ﻧﻤﻮﻧﻪ ﺩﻳﮕﺮ ﺍﺯ ﭼﻨﻴﻦ ﻋﻜﺎﺳﺎﻧﻲ ﻓﺮﺍﻧﻚ ﺳﺎﺕ ﻛﻠﻴﻒ‬
‫ﺍﺯ‬ ‫ﻣﺤﻠﻲ ﺩﺭ ﻭﻳﺘﺒﻲ ﺍﻧﮕﻠﻴﺲ‪،‬ﻛﻪ ﻣﺤﻠﻲ ﻣﻨﺎﺳﺐ ﺑﺮﺍﻱ ﮔﺮﺩﺷﮕﺮﻱ ﺩﺭ ﺗﺎﺑﺴﺘﺎﻥ ﺑﻮﺩ‪ .‬ﺍﻭ ﺩﺭ ﺯﻣﺎﻥ ﻫﺎﻱ ﺧﺎﺭﺝ‬
‫‪ ،‬ﺑﻪ‬ ‫ﺳﺎﻋﺖ ﻛﺎﺭﻱ ﻫﻤﭽﻮﻥ ﻏﺮﻭﺏ ﻭ ﺻﺒﺢ ﺯﻭﺩ ﻛﻪ ﮔﺮﺩﺷﮕﺮﺍﻥ ﻫﻨﻮﺯ ﺑﻴﺪﺍﺭ ﻧﺸﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﻓﻘﻂ ﻣﺤﻠﻲ ﻫﺎ‬
‫ﺧﺼﻮﺹ ﻣﺎﻫﻴﮕﻴﺮﺍﻧﻲ ﺑﻴﺮﻭﻥ ﺑﻮﺩﻧﺪ ﻛﻪ ﺍﺯ ﻣﺎﻫﻴﮕﺮﻱ ﺷﺐ ﺑﺮﮔﺸﺘﻪ ﺑﻮﺩﻧﺪ‪ ،‬ﺩﺭ ﺷﻬﺮ ﻣﻲ ﮔﺸﺖ‪ .‬ﭼﻨﻴﻦ ﺑﻮﺩ ﻛﻪ‬
‫"ﻣﻨﻈﺮﻩ ﺑﺎ ﺣﻀﻮﺭ ﺍﺷﺨﺎﺹ "ﺑﻴﺎﻥ‬ ‫ﻋﻜﺴﻬﺎﻱ ﺧﻴﺎﺑﺎﻧﻲ ﻣﻲ ﮔﺮﻓﺖ‪ .‬ﺳﺎﺕ ﻛﻠﻴﻒ ﺩﺭ ﻣﻘﺎﻟﻪ ﺍﻱ ﺗﺤﺖ ﻋﻨﻮﺍﻥ‬
‫ﺩﺍﺷﺖ‪":‬ﻋﻜﺎﺱ ﻭﻗﺘﻲ ﺑﺎ ﺩﻭﺭﺑﻴﻨﺶ ﺑﻴﺮﻭﻥ ﺍﺳﺖ ﺑﺎﻳﺪ ﺍﺣﺴﺎﺱ ﻛﻨﺪ ﻛﻪ ﺁﻳﺎ ﺷﺨﺼﻲ ﺭﺍ ﺩﺭ ﻣﻨﻈﺮﻩ ﺍﺵ ﻣﻲ‬
‫ﺧﻮﺍﻫﺪ ﻳﺎ ﻧﻪ‪ .‬ﺍﻭ ﺑﺎﻳﺪ ﺑﻪ ﺧﻮﺩ ﺑﮕﻮﻳﺪ‪ :‬ﺍﻳﻦ ﻧﻤﺎ ﻳﻚ ﺷﺨﺺ ﻣﻲ ﻃﻠﺒﺪ ﺩﻗﻴﻘﺎً ﺩﺭ ﺁﻥ ﻧﻘﻄﻪ‪ ،‬ﻭ ﺍﻭ ﺑﺎﻳﺪ ﻧﻤﺎﻳﻲ‬
‫ﺭﻭﺷﻦ‪ ،‬ﺧﺎﻛﺴﺘﺮﻱ ﻳﺎ ﻣﺸﻜﻲ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺍﻭ ﻣﻤﻜﻦ ﺍﺳﺖ ﻗﺎﺩﺭ ﻧﺒﺎﺷﺪ ﺑﮕﻮﻳﺪ ﭼﺮﺍ ﭼﻨﻴﻦ ﺷﺨﺼﻲ ﺭﺍ ﺩﺭ ﺁﻧﺠﺎ‬
‫ﻣﻲ ﺧﻮﺍﻫﺪ‪ .‬ﺍﻳﻦ ﻛﻪ ﺑﺪﺍﻧﺪ ﻛﻪ ﻭﺟﻮﺩ ﺍﻭ ﻋﻜﺴﺶ ﺭﺍ ﺭﺿﺎﻳﺖ ﺑﺨﺶ ﺗﺮ ﻣﻲ ﻛﻨﺪ ﺑﺮﺍﻱ ﺍﻭ ﻛﺎﻓﻴﺴﺖ‪ .‬ﺍﮔﺮ ﺍﻭ ﺻﺒﺮ‬
‫ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﻭ ﺑﻪ ﻣﺪﺕ ﺯﻣﺎﻥ ﻛﺎﻓﻲ ﻣﻨﺘﻈﺮ ﺑﻤﺎﻧﺪ ﺁﻥ ﺷﺨﺺ ﺧﻮﺍﻫﺪ ﺁﻣﺪ‪ .‬ﺳﭙﺲ ﺩﻭﺳﺘﺎﻥ ﺍﻭ ﺧﻮﺍﻫﻨﺪ ﮔﻔﺖ ‪:‬‬
‫‪ .Josef Byron .1‬ﻋﻜﺎﺱ ﺁﻣﺮﻳﻜﺎﻳﻲ ﺍﻧﮕﻠﻴﺴﻲ ﺍﻻﺻﻞ‪1847-1923 .‬‬

‫‪1878-1959 .Percy Byron .2‬‬
‫‪Charles j. Van Schaik .3‬‬
‫‪ .Francis Meadow (Frank) Sutcliffe .4‬ﻋﻜﺎﺱ ﺍﻧﮕﻠﻴﺴﻲ‪1853-1941 .‬‬
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‫)ﻋﻜﺲ ‪ (2-3‬ﺟﻮﺯﻑ ﻭ ﭘﺮﺳﻲ ﺑﺎﻳﺮﻭﻥ – ﺑﺮﺍﺩﻭِﻱ ﺷﻤﺎﻝ ﺍﺯ ﺧﻴﺎﺑﺎﻥ ‪(1898) 38‬‬
‫ﭼﻪ ﻋﻜﺲ ﻓﻮﺭﻱ )ﺍﺳﻨﭗ ﺷﺎﺕ ( ﺟﺎﻟﺒﻲ‪.‬ﭼﻪ ﺷﺎﻧﺴﻲ‪ .‬ﭼﻪ ﺧﻮﺏ ﻛﻪ ﭼﻨﻴﻦ ﺷﺨﺼﻲ ﺩﺭ ﺍﻧﺠﺎ ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪ .‬ﻳﻚ‬
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‫ﻫﻨﺮﻣﻨﺪ ﻧﻤﻲ ﺗﻮﺍﻧﺴﺖ ﺍﻭ ﺭﺍ ﺩﺭ ﺟﺎﻳﻲ ﺑﻬﺘﺮ ﻗﺮﺍﺭ ﺩﻫﺪ ‪" .‬‬
‫‪P‬‬
‫ﺍﻳﻦ ﺍﻇﻬﺎﺭﺍﺕ ﺟﺎﻟﺒﻨﺪ ﺯﻳﺮﺍ ﺁﻧﻬﺎ ﻳﻚ ﺻﺤﻨﻪ ﻳﺎﻓﺘﻪ ﺷﺪﻩ ﺭﺍ ﻃﻮﺭﻱ ﺗﻮﺟﻴﻪ ﻣﻲ ﻛﻨﻨﺪ ﻛﻪ ﮔﻮﻳﻲ ﺑﺎ ﻧﻘﺸﻪ ﮔﺮﻓﺘﻪ ﺷﺪﻩ‬
‫ﭼﻴﺪﻣﺎﻥ ﺷﺪﻩ‬ ‫ﺍﺳﺖ‪ .‬ﺁﻧﻬﺎ ﻳﻚ ﻋﻜﺲ ﺑﻲ ﻫﻮﺍ ﺭﺍ ﻃﻮﺭﻱ ﺑﻪ ﻧﻤﺎﻳﺶ ﻣﻲ ﮔﺬﺍﺭﻧﺪ ﻛﻪ ﮔﻮﻳﻲ ﺑﺎ ﺍﺭﺍﺩﻩ ﻋﻜﺎﺱ‬
‫ﺍﺳﺖ‪ .‬ﮔﻮﻳﻲ ﺍﻳﻦ ﺻﺤﻨﻪ ﺑﻪ ﻣﺎﻧﻨﺪ ﻳﻚ ﻧﻘﺎﺷﻲ ﺗﺮﻛﻴﺐ ﺑﻨﺪﻱ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﻫﺮ ﺻﻮﺭﺕ ﭼﻪ ﻣﻨﻄﻖ ﺑﺮﺍﻱ ﺍﻳﺠﺎﺩ‬
‫ﭼﻨﻴﻦ ﺗﺼﺎﻭﻳﺮﻱ ﺩﺭﺳﺖ ﺑﺎﺷﺪ ﭼﻪ ﻧﺒﺎﺷﺪ‪ ،‬ﺍﻳﻦ ﺷﻴﻮﻩ ﺍﻱ ﺍﺳﺖ ﻛﻪ ﻋﻜﺎﺳﺎﻧﻲ ﭼﻮﻥ ﺗﺎﻣﺴﻮﻥ ‪ ،‬ﺳﺎﺗﻜﻠﻴﻒ ﻳﺎ‬
‫ﭘِﺮﺳﻲ ﺑﺎﻳﺮﻭﻥ ﺍﺯ ﺍﺑﺘﺪﺍ ﺩﺭ ﭘﻲ ﺁﻥ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻳﻦ ﻳﻚ ﭘﺘﺎﻧﺴﻴﻞ ﻭ ﻳﻚ ﻭﻋﺪﻩ ﺑﻮﺩ ﻛﻪ ﺟﺰﺋﻲ ﺫﺍﺗﻲ ﺍﺯ ﺧﻮﺩ ﺩﻭﺭﺑﻴﻦ‬
‫ﺑﻮﺩ‪ .‬ﺍﺳﺘﺮﺍﺗﮋﻱ ﺍﻱ ﻛﻪ ﺳﺎﺗﻜﻠﻴﻒ ﭘﻴﺸﻨﻬﺎﺩ ﻛﺮﺩ‪ ،‬ﺍﻳﻨﻜﻪ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻳﻚ ﻣﻨﻈﺮﻩ ﺟﺎﻟﺐ ﻣﺘﺼﻞ ﻛﻨﻴﺪ ﻭ ﺳﭙﺲ ﺻﺒﺮ‬
‫ﻛﻨﻴﺪ ﺗﺎ ﺳﻮژﻩ ﺩﺭ ﺁﻥ ﺑﻪ ﮔﺸﺖ ﻭ ﮔﺬﺍﺭ ﺑﭙﺮﺩﺍﺯﺩ‪ ،‬ﻫﻤﺎﻧﻲ ﺑﻮﺩ ﻛﻪ ﭘﺲ ﺍﺯ ﺁﻥ ﻛﺎﺭﺗﻴﻪ ﺑﺮِﺳﻮﻥ ﺑﺎ ﻣﻮﻓﻘﻴﺖ ﺑﺴﻴﺎﺭ‬
‫ﺑﺰﺭﮔﻲ ﺍﻧﺠﺎﻡ ﻣﻲ ﺩﺍﺩ‪.‬‬
‫‪ .1‬ﻣﻧﺑﻊ ﺷﻣﺎﺭﻩ ‪ .5‬ﺻﻔﺣﻪ ‪123‬‬
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‫‪P‬‬ ‫‪ .5‬ﻫﻨﺮ ﺑﺮﺍﻱ ﻫﻨﺮ ﻭ ﺍﺳﺘﻴﮕﻠﻴﺘﺰ‬
‫ﺍﻳﻦ ﻣﺸﻜﻞ ﺍﺳﺖ ﻛﻪ ﺑﮕﻮﻳﻴﻢ ﭼﻪ ﺯﻣﺎﻧﻲ ﺩﺭ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ ﻋﻜﺎﺳﻲ ﺣﺮﻓﻪ ﺍﻱ ﻣﺘﻮﻗﻒ ﺷﺪ ﻭ ﻋﻜﺎﺳﻲ ﺁﻣﺎﺗﻮﺭ‬
‫ﺷﺮﻭﻉ ﺷﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﻋﻜﺎﺳﺎﻥ ﺍﺯ ﻳﻜﻲ ﺍﺯ ﺍﻳﻦ ﺩﻭ ﺯﻣﻴﻨﻪ ﻋﻜﺎﺳﻲ ﺑﻪ ﺩﻳﮕﺮﻱ ﺭﻓﺘﻨﺪ ﻭ ﻣﺮﺯ ﺑﻴﻦ ﺍﻳﻦ ﺩﻭ‬
‫ﻛﻤﺮﻧﮓ ﺷﺪ‪ .‬ﻭﻟﻲ ﻳﻚ ﺷﺨﺺ ﺑﻮﺩﻛﻪ ﺑﺮﺍﻱ ﺍﻭ ﺗﻔﺎﻭﺕ ﻣﻴﺎﻥ ﺍﻳﻦ ﺩﻭ ﻫﻴﭻ ﻭﻗﺖ ﻣﺤﻮ ﻧﺒﻮﺩ‪ .‬ﺁﻟﻔﺮﺩ ﺍﺳﺘﻴﮕﻠﻴﺘﺰ‪.‬‬
‫ﺁﻣﺎﺗﻮﺭﻳﺰﻡ ﻳﻜﻲ ﺍﺯ ﺍﺻﻠﻲ ﺗﺮﻳﻦ ﺍﺻﻮﻝ ﺍﺳﺘﻴﮕﻠﺘﻴﺰ ﺑﻮﺩ‪ .‬ﻫﻨﮕﺎﻣﻴﻜﻪ ﭘﺪﺭﺵ ﭘﻴﺸﻨﻬﺎﺩ ﻛﺮﺩ ﻛﻪ ﺍﻭ ﻳﻜﻲ ﺍﺯ‬
‫‪ 2‬ﻣﻮﺯﻩ ﺩﺍﺭ ﻭ ﻣﺤﻘﻖ ﺍﺳﺘﻴﮕﻞ ﻱﺗﺰ‬ ‫‪P‬‬ ‫‪P‬‬ ‫ﻋﻜﺴﻬﺎﻳﺶ ﺭﺍ ﺑﻔﺮﻭﺷﺪ ﺑﻪ ﺷﺪﺕ ﺑﻪ ﺍﻭ ﺑﺮﺧﻮﺭﺩ‪ .‬ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﻭﺳﺘﻮﻥ ﻧﺎﺋﻴﻒ‬
‫ﺗﻮﺿﻴﺢ ﺩﺍﺩﻩ ﺍﺳﺖ‪ ،‬ﺑﺮﺍﻱ ﺍﺳﺘﻴﮕﻞﻱﺗﺰ "ﺁﻣﺎﺗﻮﺭ" ﻭﺍژﻩ ﺍﻱ ﻣﺘﺮﺍﺩﻑ ﺑﺎ "ﻫﻨﺮﻱ" ﺑﻮﺩ‪ .‬ﺑﺮﺍﻱ ﻫﻨﺮ ﻱ ﺑﻮﺩﻥ ‪ ،‬ﻋﻜﺎﺳﻲ‬
‫ﻱ ﺍﻭﻗﺎﺕ ﺩﺭ ژﻭﺭﻧﺎﻝ ﺧﻮﺩ‬ ‫ﺑﺎﻳﺪ ﻓﻘﻂ ﺑﺮﺍﻱ ﻋﺸﻖ ﺑﻪ ﺁﻥ ﺍﻧﺠﺎﻡ ﻣﻲ ﮔﺮﻓﺖ‪ .‬ﺑﺎ ﺍﻳﻦ ﻭﺟﻮﺩ ﺧﻮﺩ ﺍﺳﺘﻴﮕﻠﻴﺘﺰ ﮔﺎﻩ‬
‫ﻛﻤﺮﺍ ﻭ‪‬ﺭﻙ‪ 3‬ﻛﺎﺭ ﻋﻜﺎﺳﺎﻧﻲ ﺭﺍ ﭼﺎپ ﻣﻲ ﻛﺮ ﺩ ﻛﻪ ﺯﻧﺪﮔﻲ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﻋﻜﺎﺳﻲ ﻣﻲ ﮔﺮﺩﺍ ﻧﺪﻥﺩ‪ .‬ﮔﺮ ﭼﻪ ﺗﻔﺎﻭﺕ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﻣﻴﺎﻥ ﺁﻣﺎﺗﻮﺭﻫﺎ ﻭ ﺣﺮﻓﻪ ﺍﻱ ﻫﺎ ﻣﺸﺨﺺ ﻧﻴﺴﺖ ﻭﻟﻲ ﻳﻚ ﺭﺍﻩ ﺑﺮﺍﻱ ﺗﻤﺎﻳﺰ ﺩﺍﺩﻥ ﺑﻴﻦ ﻋﻜﺎﺳﺎﻥ ﻣﻮﺭﺩ ﺑﺤﺚ ﺩﺭ ﺍﻳﻦ‬
‫ﺑﺨﺶ ﺑﺎ ﺑﺎﻗﻲ ﺑﺨﺶ ﻫﺎ ﻋﻼﻗﻪ ﺁﻧﻬﺎ ﺑﻪ ﻫﻨﺮ ﺍﺳﺖ‪ .‬ﺣﺮﻓﻪ ﺍﻱ ﻫﺎﻳﻲ ﻣﺎﻧﻨﺪ ﺗﺎﻣﺴﻮﻥ ﻳﺎ ﻭﻥ ﺷ‪‬ﻴﻚ ﺍﻫﻤﻴﺘﻲ ﻧﻤﻲ ﺩﺍﺩﻧﺪ‬
‫ﻛﻪ ﻋﻜﺎﺳﻲ ﻫﻨﺮ ﺍﺳﺖ ﻳﺎ ﻧﻪ‪ .‬ﻋﻜﺎﺳﺎﻥ ﻣﻮﺭﺩ ﻟﺤﺎﻅ ﺍﻳﻦ ﺑﺨﺶ ﺑﻪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺍﻫﻤﻴﺖ ﻣﻲ ﺩﺍﺩﻧﺪ‪ .‬ﺁﻧﻬﺎ ﺩﺭ‬
‫ﺣﻘﻴﻘﺖ ﻣﺘﻮﺟﻪ ﭘﻴﺸﺮﻓﺖ ﻫﻨﺮﻫﺎﻱ ﺯﻳﺒﺎ ﺑﻪ ﺧﺼﻮﺹ ﻧﻘﺎﺷﻲ ﺑﻮﺩﻧﺪ ﻭ ﺍﺯ ﺁﻧﻬﺎ ﺍﻟﻬﺎﻡ ﻣﻲ ﮔﺮﻓﺘﻨﺪ‪ .‬ﺍﻳﻦ ﺍﻣﺮ ﺑﻴﺸﺘﺮ ﺍﺯ‬
‫ﻫﺮ ﭼﻴﺰ ﺩﻳﮕﺮ ﺍﻳﻦ ﻋﻜﺎﺳﺎﻥ ﺭﺍ ﺍﺯ ﺑﻘﻴﻪ ﻋﻜﺎﺳﺎﻥ ﺟﺪﺍ ﻣﻲ ﺳﺎﺧﺖ‪.‬‬
‫ﺍﻳﻦ ﮔﺮﻭﻩ ﺍﺯ ﻋﻜﺎﺳﺎﻥ ﺑﺎ ﺗﻤﺎﻣﻲ ﺗﻔﺎﻭﺕ ﻫﺎﻳﺸﺎﻥ ﺧﺼﻮﺻﻴﺎﺕ ﻣﺸﺘﺮﻛﻲ ﺩﺍﺷﺘﻨﺪ‪ .‬ﻳﻜﻲ ﺣﻀﻮﺭ ﻣﺸﻬﻮﺩ ﺗﺄﺛﻴﺮ‬
‫ﺍﻳﻤﭙﺮِﺷ‪‬ﻨﻴﺰﻡ ﻭ ﺩﻳﮕﺮﻱ ﻋﻼﻗﻪ ﺩﺭ ﺣﺎﻝ ﺍﻓﺰﺍﻳﺶ ﺑﻪ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﺍﻣﺮ ﻧﻪ ﻓﻘﻂ ﺗﻮﺳﻂ ﺍﻧﮕﻠﻴﺴﻲ ﻫﺎﻳﻲ‬
‫ﻣﺜﻞ ﺳﺎﺕ ﻛﻠﻴﻒ ﻭ ﻣﺎﺭﺗﻴﻦ ﺑﻠﻜﻪ ﻫﻤﭽﻨﻴﻦ ﺗﻮﺳﻂ ﺍﺳﺘﻴﮕﻠﻴﺘﺰ ﺁﻣﺮﻳﻜﺎﻳﻲ ﻭ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﻋﻜﺎﺳﺎﻥ ﺟﻮﺍﻧﻲ ﻛﻪ ﻛﺎﺭ‬
‫ﺁﻧﻬﺎ ﺭﺍ ﺩﺭ ﻛﻤﺮﺍ ﻭﺭﻙ ﭼﺎپ ﻣﻲ ﻛﺮﺩ ﺍﻧﺠﺎﻡ ﻣﻲ ﺷﺪ‪ .‬ﻳﻚ ﻋﻜﺲ ﺧﻴﺎﺑﺎﻥ ﺍﺳﺘﻴﮕﻠﻴﺘﺰ ﻛﻪ ﺩﺭ ﺍﻳﺘﺎﻟﻴﺎ ﮔﺮﻓﺘﻪ ﺷﺪﻩ‬
‫ﺑﻮﺩ ﺩﺭ ﻟﻨﺪﻥ ﺟﺎﻳﺰﻩ ﺍﻭﻝ ﺭﺍ ﺗﻮﺳﻂ ﺍﻣﺮﺳﻮﻥ ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩ‪ .‬ﺍﺳﺘﻴﮕﻠﺘﻴﺰ ﺑﻪ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺩﺭ ﭘﺎﺭﻳﺲ ﻭ‬
‫‪5‬‬
‫ﺑﻪ ﺍﻳﻦ ﻛﺎﺭ ﻣﻲ ﭘﺮﺩﺍﺧﺘﻨﺪ ﻭ ﺍﺩﻭﺍﺭﺩ‬ ‫‪P‬‬ ‫‪P‬‬ ‫ﻧﻴﻮﻳﻮﺭﻙ ﺍﺩﺍﻣﻪ ﺩﺍﺩ ﻭ ﺩﺭ ﭘﺎﺭﻳﺲ ﺭ ﻭﺑﺮ ﺩﻣﺎﭼﻲ ‪ 4‬ﻭ ﻣﺎﺭﻳﺲ ﺑﺎﻛﺖ‬
‫‪P‬‬ ‫‪P‬‬
‫‪7‬‬
‫‪P‬‬ ‫‪P‬‬ ‫ﺍﺳﺘﺎﻳﻜﻦ‪ 6‬ﺩﺭ ﺭﻭﺯ ﻣﺴﺎﺑﻔﺎﺕ ﺍﺳﺐ ﺩﻭﺍﻧﻲ ﺑﻪ ﺍﻳﻦ ﻧﻮﻉ ﺍﺯ ﻋﻜﺎﺳﻲ ﻣﻲ ﭘﺮﺩﺍﺧﺖ ‪ .‬ﺩﺭ ﻧﻴﻮﻳﻮﺭﻙ ﻛﺎﺭﻝ ﺍﺳﺘﺮﺍﻭﺱ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﻧﻴﺰ ﺑﺮﺍﻱ ﻋﻜﺎﺳﻲ ﺑﻪ ﺧﻴﺎﺑﺎﻥ‬ ‫ﻭ ﭘﻞ ﺍﺳﺘﺮﻧﺪ ‪ 8‬ﺩﻭ ﻋﻜﺎﺱ ﺟﻮﺍﻧﻲ ﻛﻪ ﻛﺎﺭ ﺁﻧﻬﺎ ﺩﺭ ﻛﻤﺮﺍ ﻭﺭﻙ ﭼﺎپ ﻣﻲ ﺷﺪ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﻣﻲ ﺭﻓﺘﻨﺪ‪.‬‬
‫‪ .Alfred Stieglitz .1‬ﻋﻜﺎﺱ ﺁﻣﺮﻳﻜﺎﻳﻲ ‪1864-1946‬‬

‫‪Weston Naef .2‬‬
‫‪Camera work .3‬‬
‫‪ Robert Demachy .4‬ﻋﻜﺎﺱ ﻓﺮﺍﻧﺴﻮﻱ ‪1859-1936‬‬
‫‪Maurice Bucquet .5‬‬
‫‪ .Edward Jean Steichen .6‬ﻋﻜﺎﺱ ﺁﻣﺮﻳﻜﺎﻳﻲ ‪1879-1973‬‬
‫‪Karl Strauss .7‬‬
‫‪Paul Strand .8‬‬
‫‪47‬‬
‫ﺍﺯ ﻛﺮﺍﻳﮓ ﺍَﻧﺎﻥ ‪ 1‬ﺩﺭ ﮔﻼﺳﮕﻮ ﺗﺎ ﺁﺭﻧﻮﻟﺪ ﮔﻨﺘﻪ ‪ 2‬ﺩﺭ ﺳﺎﻧﻔﺮﺍﻧﺴﻴﺴﻜﻮ‪ ،‬ﭘﻴﻜﺘﻮﺭﻳﺎﻟﻴﺴﺖ ﻫﺎ ﺩﺭ ﻧﻘﺎﻃﻲ ﺍﺯ ﻛﺎﺭﺷﺎﻥ ﺑﻪ‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺳﺮﺍﻍ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﻣﻲ ﺭﻓﺘﻨﺪ‪ .‬ﺑﻴﺸﺘﺮ ﺍﻳﻦ ﻋﻜﺎﺳﺎﻥ ﺗﻤﺎﻳﻞ ﺑﻪ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺭﺍ ﺑﺎ ﺗﻤﺎﻳﻞ ﺑﻪ ﺍﻳﺠﺎﺩ ﺗﺼﺎﻭﻳﺮ ﻱ‬
‫ﻣﺎﻧﻨﺪ ﻧﻘﺎﺷﻲ ﺍﻳﻤﭙﺮﺷﻨﻴﺴﺘﻲ ﺩﺭ ﻫﻢ ﻣﻲ ﺁﻣﻴﺨﺘﻨﺪ‪ .‬ﻛﺮﺍﻳﮓ ﺍَﻧﺎﻥ ﺣﺘﻲ ﺧﻮﺩﺭﺍ ﻋﻜﺎﺱ ﻧﻤﻲ ﺩﺍﻧﺴﺖ‪ .‬ﺭﺳﺎﻧﻪ ﺍﻭ‬
‫ﮔﺮﺍﻭﺭ ﺑﻮﺩ‪ .‬ﺻﻔﺤﺎﺕ ﺍﻭ ﻣﻌﻤﻮﻻ ﺗﻮﺳﻂ ﺭﻭﻟﺖ ﻛﺎﺭ ﻣﻲ ﺷﺪﻧﺪ ﺗﺎ ﻇﺎﻫﺮ ﻳﻚ ﻛﺎﺭ ﻫﻨﺮﻱ ﺍﻧﺠﺎﻡ ﺷﺪﻩ ﺗﻮﺳﻂ‬
‫ﺩﺳﺖ ﺭﺍ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪.‬‬
‫ﺩﻳﮕﺮ ﻋﻜﺎﺳﺎﻥ ﻛﺎﺭ ﺧﻮﺩ ﺭﺍ ﺗﻮﺳﻂ ﺻﻤﻎ ﺑﻴﻜﺮﻭﻣﺎﺕ ﭼﺎپ ﻣﻲ ﻛﺮﺩﻧﺪ‪ .‬ﺍﻳﻦ ﻓﺮﺍﻳﻨﺪ ﺍﺟﺎﺯﻩ ﻣﻲ ﺩﺍﺩ ﺗﺎ ﺟﺰﺋﻴﺎﺕ ﺍﺯ‬
‫ﺑﻴﻦ ﺑﺮﻭﻧﺪ ﻭ ﺍﺛﺮ ﺷﻜﻞ ﻳﻚ ﺗﺮﺳﻴﻢ ﺑﺎ ﺫﻏﺎﻝ ﻳﺎ ﮔﭻ ﻗﺮﻣﺰ ﺭﺍ ﺑﮕﻴﺮﺩ‪ .‬ﺩﻣﺎﭼﻲ ﺍﻭﻟﻴﻦ ﻋﻜﺎﺳﻲ ﺑﻮﺩ ﻛﻪ ﺗﻮﺟﻪ ﺑﻘﻴﻪ‬
‫ﻋﻜﺎﺳﺎﻥ ﺍﻳﻦ ﺳﺒﻚ ﺭﺍ ﺑﺮﺍﻧﮕﻴﺨﺖ ﻭ ﭘﺲ ﺍﺯ ﺍﻭ ﺍﺳﺘﺎﻳﻜﻦ ﻭ ﮔﻨﺘﻪ ﻭ ﺩﻳﮕﺮﺍﻥ ﺍﻳﻦ ﻓﺮﺍﻳﻨﺪ ﺭﺍ ﺑﺮﺭﻭﻱ ﻛﺎﻏﺬ ﻣﺮﻏﻮﺏ‬
‫ﻃﺮﺍﺣﻲ ﺍﻧﺠﺎﻡ ﻣﻲ ﺩﺍﺩﻧﺪ‪.‬‬
‫ﻋﻜﺴﻬﺎﻱ ﺍﺳﺘﺎﻳﻜﻦ ﭼﻪ ﺩﺭ ﻣﺴﺎﺑﻘﺎﺕ ﭘﺎﺭﻳﺲ ﻭ ﭼﻪ ﺩﺭ ﺧﻴﺎﺑﺎﻧﻬﺎﻱ ﻧﻴﻮﻳﻮﺭﻙ ﺍﻳﻦ ﭼﻨﻴﻦ ﭼﺎپ ﻣﻲ ﺷﺪﻧﺪ ﻭ ﮔﻨﺘﻪ‬
‫ﺍﻳﻦ ﭼﻨﻴﻦ ﭼﺎپ ﻛﺮﺩ‪ .‬ﻫﺮ‬ ‫ﻧﻴﺰ ﻋﻜﺴﻬﺎﻱ ﺑﻲ ﻫﻮﺍ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺧﻮﺩ ﺩﺭ ﻣﺤﻠﻪ ﭼﻴﻨﻲ ﻫﺎ ﺩﺭ ﺳﺎﻧﻔﺮﺍﻧﺴﻴﺴﻜﻮ ﺭﺍ‬
‫ﻋﻜﺎﺱ ﻃﺒﻖ ﻗﺎﻋﺪﻩ ﻛﻠﻲ ﺭ ﻭﺑﺮ ﺩﻣﺎﭼﻲ ﺩﺭ ﻛﻤﺮﺍ ﻭﺭﻙ ﻛﺎﺭ ﻣﻲ ﻛﺮﺩ ﻭ ﺁﻥ ﻗﺎﻋﺪﻩ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ "ﻳﻚ ﭼﺎپ‬
‫ﻣﺴﺘﻘﻴﻢ ‪ ...‬ﻧﻤﻲ ﺗﻮﺍﻧﺪ ﻳﻚ ﺍﺛﺮ ﻫﻨﺮﻱ ﺑﺎﺷﺪ‪ " .‬ﺁﻧﻬﺎﻳﻲ ﻛﻪ ﺍﻳﻦ ﺭﺍ ﻗﺒﻮﻝ ﻧﺪﺍﺷﺘﻨﺪ ﻫﻢ ﺑﻪ ﺟﻠﻮﻩ ﻫﺎﻱ ﻣﺸﺎﺑﻪ ﻣﻲ‬
‫ﺭﺳﻴﺪﻧﺪ ﻭﻟﻲ ﺑﺎ ﺍﺑﺰﺍﺭﻫﺎﻱ ﺩﻳﮕﺮ‪ .‬ﺍﺳﺘﺮﺍﻭﺱ ﻣﻌﻤﻮﻻ ﻃﻮﺭﻱ ﻋﻜﺲ ﻣﻲ ﮔﺮﻓﺖ ﻛﻪ ﺳﻮژﻩ ﻫﺎﻳﺶ ﺷﺪﻳﺪﺍً ﺍﺯ ﭘﺸﺖ‬
‫ﻧﻮﺭﺩﻫﻲ ﺷﺪﻩ ﺑﺎﺷﻨﺪ‪ .‬ﺍﺳﺘﺮﻧﺪ‪ ،‬ﻧﻪ ﺗﻨﻬﺎ ﭼﺎپ ﻫﺎ ﺭﺍ ﺩﺳﺘﻜﺎﺭﻱ ﻣﻲ ﻛﺮﺩ‪ ،‬ﺑﻠﻜﻪ ﻋﻜﺴﻬﺎﻳﺶ ﺭﺍ ﺑﺎ ﻟﻨﺰﻱ ﻣﻲ ﮔﺮﻓﺖ‬
‫ﻛﻪ ﻓﻮﻛﻮﺱ ﻧﺮﻡ‪ 3‬ﺩﺍﺷﺖ‪.‬‬
‫‪P‬‬ ‫‪P‬‬
‫ﻋﻜﺴﻬﺎﻱ ﺍﺳﺘﻴﮕﻠﺘﺰ ﺑﺎ ﺍﻳﻦ ﻛﻪ ﺩﺳﺘﻜﺎﺭﻱ ﻧﻤﻲ ﺷﺪﻧﺪ ﻭﻟﻲ ﻣﺎﻧﻨﺪ ﺑﻘﻴﻪ ﻋﻜﺎﺳﺎﻥ ﻣﻮﺭﺩ ﺑﺤﺚ ﺣﺎﻟﺖ ﺍﻳﻤﭙﺮِﺷ‪‬ﻨﻴﺴﺘﻲ‬
‫ﺩﺍﺷﺘﻨﺪ ‪ .‬ﻋﻜﺴﻲ ﻛﻪ ﺑﻪ ﺍﺩﻋﺎﻱ ﺍﺩﻭﺍﺭﺩ ﺍﺳﺘﺎﻳﻜﻦ ﻣﻮﺭﺩ ﺗﻌﺮﻳﻒ ﺗﺮﻳﻦ ﻭ ﺑﻴﺸﺘﺮﻳﻦ ﺍﺛﺮ ﭼﺎپ ﺷﺪﻩ ﺍﺯ ﺍﺳﺘﻴﮕﻠﺘﺰ ﺍﺳﺖ‬
‫ﻋﻜﺲ ﺯﻣﺴﺘﺎﻥ‪-‬ﺧﻴﺎﺑﺎﻥ ﭘﻨﺠﻢ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻳﻚ ﺑﺮﻑ ﻭ ﺑﻮﺭﺍﻥ ﺩﺭ ﺳﺎﻝ ‪ 1893‬ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪) .‬ﻋﻜﺲ‪(2-4‬‬
‫"ﺍﻳﻦ ﻋﻜﺲ‬ ‫ﻭﻗﺘﻲ ﺍﺳﺘﻴﮕﻠﺘﻴﺰ ﺍﻳﻦ ﻋﻜﺲ ﺭﺍ ﺩﺭ ﺍﻧﺠﻤﻦ ﻋﻜﺎﺳﺎﻥ ﺁﻣﺎﺗﻮﺭ ﻧﻴﻮﻳﻮﺭﻙ ﻧﺸﺎﻥ ﺩﺍﺩ ﭘﺎﺳﺦ ﺍﻳﻦ ﺑﻮﺩ ‪:‬‬
‫ﻣﺰﺧﺮﻑ ﺭﺍ ﺩﻭﺭ ﺑﻴﻨﺪﺍﺯ ‪ ،‬ﺍﻳﻦ ﻋﻜﺲ ﺗﺎﺭ ﺍﺳﺖ ﻭ ﻭﺿﻮﺡ ﻧﺪﺍﺭﺩ‪".‬ﭘﺎﺳﺦ ﺳﺮﻳﻊ ﺍﻭ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ "ﺍﻳﻦ ﻋﻜﺲ ﺩﻗﻴﻘﺎً‬
‫ﻫﻤﺎﻧﻄﻮﺭﻱ ﺍﺳﺖ ﻛﻪ ﻣﻴﺨﻮﺍﺳﺘﻢ ﺑﺎﺷﺪ‪ .‬ﺍﻳﻦ ﺷﺮﻭﻉ ﻳﻚ ﺩﻭﺭﻩ ﺟﺪﻳﺪ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﻣﻲ ﺧﻮﺍﻫﻴﺪ ﺁﻥ ﺭﺍ ﻳﻚ ﺩﻳﺪ‬
‫ﺟﺪﻳﺪ ﺑﻨﺎﻣﻴﺪ‪".‬‬
‫ﻃﻲ ﺩﻫﻪ ﺑﻌﺪ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﻋﻜﺴﻬﺎﻱ ﺍﻭ ﭼﻨﻴﻦ ﺧﺼﻮﺻﻴﺘﻲ ﺩﺍﺷﺘﻨﺪ‪ .‬ﺍﺳﺘﻴﮕﻠﻴﺘﺰ ﺻﺒﺮ ﻣﻲ ﻛﺮﺩ ﺗﺎ ﺷﺮﺍﻳﻂ ﺟﻮﻱ ﺑﻪ‬
‫ﺷﻜﻠﻲ ﺷﻮﺩ ﻛﻪ ﺟﻠﻮﻩ ﺍﻱ ﺭﺍ ﺍﻳﺠﺎﺩ ﻛﻨﺪ ﻛﻪ ﺩﻳﮕﺮﺍﻥ ﺩﺭ ﺗﺎﺭﻳﺨﺎﻧﻪ ﺁﻥ ﺭﺍ ﺍﻳﺠﺎﺩ ﻣﻲ ﻛﺮﺩﻧﺪ‪.‬‬
‫‪ .James Craig Annan .1‬ﻋﻜﺎﺱ ﺍﺳﻜﺎﺗﻠﻨﺪﻱ‪1864-1946 .‬‬

‫‪ .Arnold Genthe .2‬ﻋﻜﺎﺱ‪ .‬ﺯﺍﺩﻩ ﺑﺮﻟﻴﻦ ﺩﺭ ﭘﺮﻭﺱ ﻭ ﻣﻬﺎﺟﺮﺕ ﻛﺮﺩﻩ ﺑﻪ ﺁﻣﺮﻳﻜﺎ‪1869-1942 .‬‬
‫‪softfocus .3‬‬
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‫ﻋﻜﺲ‪ 2-4‬ﺁﻟﻔﺮﺩ ﺍﺳﺘﻴﮕﻠﻴﺘﺰ‪-‬ﺯﻣﺴﺘﺎﻥ‪،‬ﺧﻴﺎﺑﺎﻥ ﭘﻨﺠﻢ ‪1893‬‬
‫ﺩﺭ ﻛﺎﺭﻫﺎﻱ ﺑﻌﺪﻱ ﺍﻭ ﺩﺭ ﻣﻄﺎﻟﻌﻪ ﺍﺑﺮﻫﺎ ﺩﺭ ﺩﻫﻪ ﻫﺎﻱ ‪ 1920‬ﻭ ‪ 1930‬ﺁﺏ ﻭ ﻫﻮﺍ ﻛﻪ ﺑﻪ ﻋﻜﺴﻬﺎﻱ ﺍﻭ ﺟﻠﻮﻩ ﻣﻲ‬
‫ﺩﺍﺩﻧﺪ ﺧﻮﺩ ﺗﺒﺪﻳﻞ ﺑﻪ ﺳﻮژﻩ ﺍﺻﻠﻲ ﻋﻜﺲ ﺷﺪﻧﺪ‪ .‬ﺍﻭ ﻣﻄﺎﻟﻌﺎﺕ ﺍﺑﺮ ﺧﻮﺩ ﺭﺍ ﻫﻢ ﺍﺭﺯﻫﺎ ﻣﻲ ﻧﺎﻣﻴﺪ‪ ،‬ﻋﻨﻮﺍﻧﻲ ﻛﻪ ﺁﻧﻬﺎ‬
‫ﺭﺍ ﺍﺳﺘﻌﺎﺭﻩ ﻫﺎﻱ ﺑﺼﺮﻱ ﻣﻲ ﻧﺎﻣﺪ‪.‬‬
‫ﺍﻟﺒﺘﻪ ﺯﻣﺎﻧﻬﺎﻳﻲ ﻧﻴﺰ ﺑﻮﺩﻧﺪ ﻛﻪ ﺍﻭ ﻋﻜﺴﻬﺎﻱ ﺧﻮﺩ ﺑﺨﻮﺩﻱ ﻣﻲ ﮔﺮﻓﺖ‪ .‬ﺍﻟﺒﺘﻪ ﻧﻪ ﺩ ﺭ ﻧﻴﻮﻳﻮﺭﻙ‪ ،‬ﺑﻠﻜﻪ ﺩﺭ ﭘﺎﺭﻳﺲ ‪.‬‬
‫ﻋﻜﺴﻬﺎﻳﻲ ﻛﻪ ﻭﺍﻛﻨﺸﻲ ﺑﻪ ﺯﻧﺪﮔﻲ ﺧﻴﺎﺑﺎﻥ ﺑﻮﺩﻧﺪ‪ .‬ﻋﻜﺲ ‪ 1911‬ﺍﻭ ﺑﺎ ﻧﺎﻡ ﻋﻜﺲ ﻓﻮﺭﻱ)ﺍﺳﻨﭗ ﺷﺎﺕ( ﭼﻨﻴﻦ‬
‫ﻋﻜﺴﻲ ﺑﻮﺩ )ﻋﻜﺲ ‪ .(2-5‬ﺩﺭ ﺍﻳﻦ ﻋﻜﺲ ﮔﻮﻳﻲ ﭘﺎﺭﻳﺲ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ ﺗﺎ ﻣﺸﺎﻫﺪﻩ ﺍﻭ ﺭﺍ ﺟﺸﻦ ﺑﮕﻴﺮﺩ‪ .‬ﺍﻳﻦ‬
‫ﻋﻜﺲ ﻧﺸﺎﻧﺪﻫﻨﺪﻩ ﻳﻚ ﺣﺲ ﺧﻮﺏ ﻭ ﺧﺮﺳﻨﺪﻱ ﻋﻜﺎﺱ ﺍﺯ ﺑﻮﺩﻥ ﺩﺭ ﺁﻧﺠﺎﺳﺖ‪.‬‬
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‫ﻋﻜﺲ ‪ 2-5‬ﺁﻟﻔﺮﺩ ﺍﺳﺘﻴﮕﻠﻴﺘﺰ – ﻋﻜﺲ ﻓﻮﺭﻱ‪ ،‬ﭘﺎﺭﻳﺲ ‪1911‬‬
‫ﺩﺭ ﻃﻮﻝ ﺩﻫﻪ ﺍﻭﻝ ﻗﺮﻥ ﺑﻴﺴﺘﻢ ﻟﻮﻳﺲ ﻫﺎﻳﻦ ﺑﺮﺧﻲ ﺍﻭﻗﺎﺕ ﺩﺍﻧﺶ ﺁﻣﻮﺯﺍﻥ ﻛﻼﺱ ﻫﺎﻱ ﻋﻜﺎﺳﻲ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺩﻳﺪﻥ‬
‫ﻧﻤﺎﻳﺶ ﻫﺎﻱ ﺍﺳﺘﻴﮕﻠﻴﺘﺰ ﻣﻲ ﺑﺮﺩ‪ .‬ﺩﺭﻣﻴﺎﻥ ﺩﺍﻧﺶ ﺁﻣﻮﺯﺍﻥ ﺍﻭ ﭘﻞ ﺍﺳﺘﺮﻧﺪ ﺑﻮﺩ ﻛﻪ ﺷﻴﻔﺘﻪ ﻫﻨﺮ ﻣﺪﺭﻥ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻭ‬
‫ﺳﻌﻲ ﻣﻲ ﻛﺮﺩ ﺗﺎ ﺑﺎ ﺩﻭﺭﺑﻴﻦ ﻃﺮﺍﺣﻲ ﻫﺎﻱ ﻛﻮﺑﻴﺴﺘﻲ ﺍﻳﺠﺎﺩ ﻛﻨﺪ ﻭ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺑﺎ ﻋﻜﺲ ﮔﺮﻓﺘﻦ ﺍﺯ ﺍﻟﮕﻮﻫﺎﻱ ﺳﺎﻳﻪ‬
‫ﺍﻱ ﺍﻧﺠﺎﻡ ﻣﻲ ﺩﺍﺩ‪ .‬ﺍﻭ ﻫﻤﭽﻨﻴﻦ ﻣﻲ ﺧﻮﺍﺳﺖ ﺗﺎ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﻛﻪ ﺍﻧﺠﺎﻡ ﻣﻲ ﺩﺍﺩ ﺭﺍ ﺑﻪ ﻧﻮﻋﻲ ﻫﻨﺮ ﺍﻧﺘﺰﺍﻋﻲ‬
‫ﺗﺒﺪﻳﻞ ﻛﻨﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﻛﻪ ﺍﻳﻦ ﮔﻮﻧﻪ ﻋﻜﺲ ﻫﺎﻱ ﺍﻭ ﻧﻘﺎﻁ ﻣﺮﻛﺰﻱ ﭘﻴﺸﺮﻓﺖ ﺍﻭ ﺑﻮﺩﻧﺪ‪ ،‬ﻭﻟﻲ ﻫﻤﭽﻨﻴﻦ ﺍﻭ ﺍﻧﮕﻴﺰﻩ ﺍﻱ‬
‫ﺑﻪ ﺳﻮﻱ ﻧﻮﻋﻲ ﺍﺯ ﺗﺼﺎﻭﻳﺮ ﻛﻤﺘﺮ ﺍﻟﮕﻮﻭﺍﺭ ﺩﺍﺷﺖ‪ .‬ﺗﺼﺎﻭﻳﺮﻱ ﻛﻪ ﺑﺠﺎﻱ ﺳﺎﺧﺘﺎﺭ ﺳﺎﺯﻱ ﺍﻳﻦ ﺭﺳﺎﻧﻪ ﺁﻥ ﺭﺍ ﻛﺎﻭﺵ‬
‫ﻣﻲ ﻛﻨﻨﺪ‪.‬‬
‫ﺑﺮﺍﻱ ﺍﺳﺘﺮﻧﺪ ﺳﻴﺎﺳﺖ ﻣﻬﻢ ﺑﻮﺩ ﻭ ﻛﺎﺭﺍﻫﺎﻱ ﺍﻭ ﻫﻴﭻ ﻭﻗﺖ ﻣﻨﺤﺼﺮﺍً ﺗﻮﺳﻂ ﺗﺄﺛﻴﺮﺍﺕ ﺗﺎﺭﻳﺦ ﻫﻨﺮ ﻣﺎﻧﻨﺪ ﻛﻮﺑﻴﺰﻡ‬
‫ﺷﻜﻞ ﮔﻴﺮﻱ ﻧﺸﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻭ ﻳﻜﺒﺎﺭ ﺗﻮﺿﻴﺢ ﺩﺍﺩ‪" :‬ﻣﻦ ﺍﺯ ﻧﻈﺮ ﺳﻴﺎﺳﻲ ﺁﮔﺎﻫﻢ" ﻭ ﮔﻔﺖ "ﻫﻤﻴﺸﻪ ﺧﻮﺍﺳﺘﻪ ﺍﻡ ﻧﺴﺒﺖ‬
‫ﺑﻪ ﺟﺮﻳﺎﻧﺎﺕ ﺩﻭﺭ ﻭ ﺑﺮﻡ ﻫﻮﺷﻴﺎﺭ ﺑﺎﺷﻢ ﻭ ﻣﻲ ﺧﻮﺍﺳﺘﻪ ﺍﻡ ﺍﺯ ﻋﻜﺎﺳﻲ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﺑﺰﺍﺭﻱ ﺑﺮﺍﻱ ﺗﺤﻘﻴﻘﺎﺕ ﻭ ﮔﺰﺍﺭﺵ‬
‫ﺯﻧﺪﮔﻲ ﺩﻭﺭ ﻭ ﺑﺮﻡ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻢ‪".‬ﻧﺘﻴﺠﻪ ﺁﻥ ﺩﺭ ﺳﺮﻱ ﭘﺮﺗﺮﻩ ﻫﺎﻱ ﺧﻴﺎﺑﺎﻧﻲ ‪ 1916‬ﺍﻭ ﻣﺸﻬﻮﺩ ﺍﺳﺖ‪ ،‬ﻣﻄﺎﻟﻌﻪ ﻧﻤﺎﻱ‬
‫ﻧﺰﺩﻳﻚ ﺁﻧﭽﻪ ﻛﻪ ﺍﻭ "ﻣﺮﺩﻡ ﺩﺭﮔﻴﺮ ﻓﺮﺍﻳﻨﺪ ﺭﻭﺯﺍﻧﻪ ﺯﻧﺪﮔﻲ " ﻧﺎﻣﻴﺪ‪ .‬ﺍﻭ ﺑﺎ ﺍﺗﺼﺎﻝ ﻳﻚ ﻟﻨﺰ ﺟﻌﻠﻲ ﺑﻪ ﻳﻚ ﺩﻭﺭﺑﻴﻦ‬
‫ﺭﻓﻠﻜﺲ ﻛﻪ ﺗﻮﺟﻪ ﺳﻮژﻩ ﺭﺍ ﺍﺯ ﺩﻭﺭﺑﻴﻦ ﺍﺻﻠﻲ ﻭﺍﻗﻊ ﺩﺭ ﺯﻳﺮﺩﺳﺘﺶ ﻣﻨﺤﺮﻑ ﻣﻲ ﻛﺮﺩ ﺍﺯ ﺗﻴﭗ ﻫﺎﻱ ﺧﻴﺎﺑﺎﻧﻲ‬
‫ﻋﻜﺲ ﻣﻲ ﮔﺮﻓﺖ‪.‬‬
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‫ﺩﺭ ﻣﻴﺎﻥ ﻛﺎﺭﻫﺎﻱ ﺁﻣﺎﺗﻮﺭﻫﺎ ﻛﺎﺭﻫﺎﻳﻲ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﻧﺎﻡ ﻋﻜﺎﺱ ﺁﻧﻬﺎ ﺑﻪ ﻛﻠﻲ ﻓﺮﺍﻣﻮﺵ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺑﺮﺍﻱ ﻣﺜﺎﻝ‬
‫ﻋﻜﺴﻬﺎﻳﻲ ﺍﺯ ﺧﻴﺎﺑﺎﻧﻬﺎﻱ ﻟﻨﺪﻥ ﺩﺭ ﺣﺪﻭﺩ ﺳﺎﻝ ‪ 1900‬ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ ﻛﻪ ﺗﻮﺳﻂ ﻳﻚ ﻋﻜﺎﺱ ﻓﺮﺍﻧﺴﻮﻱ ﻧﺎﺷﻨﺎﺱ‬
‫ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺍﻧﺪ‪ .‬ﺍﺛﺮﺍﺗﻲ ﻛﻪ ﭼﻨﻴﻦ ﻋﻜﺴﻬﺎﻳﻲ ﺩﺭ ﺗﺎﺭﻳﺦ ﻋﻜﺎﺳﻲ ﺩﺍﺷﺘﻪ ﺍﻧﺪ ﺩﺭ ﻣﻘﺎﻟﻪ ﺍﻱ ﺩﺭ ﻛﻤﺮﺍ ﻭﺭﻙ ﺩﺭ ﺳﺎﻝ‬
‫‪1910‬ﺑﺎ ﻧﺎﻡ "ﺍﻣﻜﺎﻥ ﻭﺟﻮﺩ ﻗﻮﺍﻧﻴﻦ ﺟﺪﻳﺪ ﺗﺮﻛﻴﺐ ﺑﻨﺪﻱ " ﺗﻮﺳﻂ ﺳﺎﺩﺍﻛﻴﭽﻲ ﻫﺎﺭﺗﻤﻦ ﻣﻨﺘﻘﺪ ﺁﻣﺪﻩ ﺍﺳﺖ ﻛﻪ ﺩﺭ‬
‫ﺁﻥ ﻧﻮﻳﺴﻨﺪﻩ ﺍﻇﻬﺎﺭ ﺩﺍﺷﺘﻪ ﻛﻪ ﺍﺯ ﻣﻴﺎﻥ ﻛﺎﺭ ﺍﻳﻦ ﺁﻣﺎﺗﻮﺭﻫﺎﻱ ﻧﺎﺷﻨﺎﺱ ﺑﺮﺧﻲ ﻋﻜﺴﻬﺎ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ ﻛﻪ ﺑﺴﻴﺎﺭ ﺗﺄﺛﻴﺮ‬
‫ﮔﺬﺍﺭﻧﺪ ﻭ ﺍﺛﺮ ﻛﻠﻲ ﺩﺭ ﺁﻧﻬﺎ ﻟﺬﺕ ﺑﺨﺶ ﺍﺳﺖ‪ .‬ﺍﻭ ﺩﺭ ﻗﺴﻤﺘﻲ ﺍﺯ ﺍﻳﻦ ﻣﻘﺎﻟﻪ ﻣﻲ ﮔﻮﻳﺪ ‪ " :‬ﺍﮔﺮ ﻗﻮﺍﻧﻴﻦ ﺟﺪﻳﺪ ﺑﺎﻳﺪ‬
‫ﻛﺸﻒ ﺷﻮﻧﺪ‪ ،‬ﻧﺰﺩﻳﻜﻲ ﺑﺎ ﺷﻴﻮﻩ ﻫﺎﻱ ﻣﺨﺘﻠﻒ ﺑﺠﺎﻱ ﺍﻳﻨﻜﻪ ﻣﻔﻴﺪ ﺑﺎﺷﺪ ﺯﻳﺎﻥ ﺑﺨﺶ ﺍﺳﺖ‪ ،‬ﺍﺯ ﺁﻧﺠﺎ ﻛﻪ ﺑﻲ ﻃﺮﻓﺎﻧﻪ‬
‫ﺑﻮﺩﻥ ﺿﺮﻭﺭﻱ ﺩﺭ ﻗﺒﺎﻝ ﺍﻳﺪﻩ ﻫﺎ ﺗﻘﺮﻳﺒﺎً ﻏﻴﺮ ﻣﻤﻜﻦ ﺍﺳﺖ‪ ...‬ﻫﻤﻪ ﭼﻴﺰ ﺑﻴﺸﺘﺮ ﻭﺍﺑﺴﺘﻪ ﺑﻪ ﺁﻣﺎﺗﻮﺭﻱ ﺍﺳﺖ ﻛﻪ ﺗﻮﺳﻂ‬
‫ﺍﻟﺰﺍﻡ ﻣﺤﺾ ﺑﻪ ﻃﻮﺭ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﺩﺭ ﺟﻬﺖ ﺻﺤﻴﺢ ﻛﺎﺭ ﺧﻮﺍﻫﺪ ﻛﺮﺩ‪ .‬ﺩﺍﻧﺶ ﺍﻭ ﺍﻓﺰﺍﻳﺶ ﺧﻮﺍﻫﺪ ﻳﺎﻓﺖ ﻭ‬
‫ﺗﻮﻗﻌﺎﺕ ﺍﻭ ﺑﺎﻻﺗﺮ ﺧﻮﺍﻫﺪ ﺭﻓﺖ‪ .‬ﻭ ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺍﻭ ﺩﺭ ﺣﺲ ﺯﻳﺒﺎ ﺷﻨﺎﺳﻲ ﺭﺷﺪ ﻣﻲ ﻛﻨﺪ‪ ،‬ﺍﻳﻦ ﺣﺲ ﺑﺮ ﻫﻨﺮﻣﻨﺪ‬
‫ﻭﺍﻛﻨﺸﻲ ﺧﻮﺍﻫﺪ ﺩﺍﺷﺖ ﻭ ﺍﻭ ﺭﺍ ﺑﻪ ﺭﺳﻴﺪﻥ ﺑﻪ ﻣﺮﺍﺣﻞ ﭘﻴﺸﺮﻓﺖ ﺟﺪﻳﺪ ﻭ ﮔﻮﻧﺎﮔﻮﻥ ﺗﺮ ‪ ،‬ﺗﻴﺰ ﻭ ﻧﺎﻓﺬ ﺗﺮ ﻭ ﻣﺪﺭﻥ ﺗﺮ‬
‫) ﮔﺮ ﭼﻪ ﻧﻪ ﻟﺰﻭﻣﺎًﻛﺎﻣﻞ ﺗﺮ ( ﺳﻮﻕ ﺧﻮﺍﻫﺪ ﺩﺍﺩ‪.‬‬
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‫‪ .6‬ﺁﺗﮋﻩ ﻭ ﺍﺳﻨﺎﺩﻱ ﺑﺮﺍﻱ ﻫﻨﺮﻣﻨﺪﺍﻥ‬
‫ﻭﻗﺘﻲ ﺩﺭ ﺳﺎﻝ ‪ 1927‬ﺍﻭژﻥ ﺁﺗﮋﻩ ﺩﺭ ﭘﺎﺭﻳﺲ ﻣﺮﺩ ﺑﺮﻳﻨﺲ ﺁﺑﻮﺕ ﻧﮕﺮﺍﻥ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺗﻤﺎﻡ ﺁﺭﺷﻴﻮ ﻋﻜﺴﻬﺎﻱ ﺍﻭ ﺍﺯ‬
‫‪ 1‬ﻓﺮﺳﺘﺎﺩ ﻭ‬ ‫‪P‬‬ ‫‪P‬‬ ‫ﺑﻴﻦ ﺑﺮﻭﺩ ﭼﻮﻥ ﻛﻪ ﻫﻴﭻ ﻛﺲ ﺁﻧﻬﺎ ﺭﺍ ﻧﻤﻲ ﺧﻮﺍﺳﺖ ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺍﻭ ﻳﻚ ﺗﻠﮕﺮﺍﻑ ﺑﻪ ﺟﻮﻟﻴِﻦ ﻟ‪‬ﻮﻱ‬
‫ﻛﻤﻚ ﺧﻮﺍﺳﺖ ﻭ ﺍﻭ ﻧﻴﺰ ﻓﻮﺭﺍً ﻫﺰﺍﺭ ﺩﻻﺭ ﺑﺮﺍﻳﺶ ﻓﺮﺳﺘﺎﺩ‪ .‬ﺑﺮﺍﻱ ﺳﺎﻟﻬﺎ ﺁﺛﺎﺭﺁﺗﮋﻩ ﺩﺭ ﻧﻤﺎﻳﺸﮕﺎﻫﻲ ﻛﻪ ﻟ‪‬ﻮﻱ ﺑﺮﭘﺎ‬
‫ﻛﺮﺩﻩ ﺑﻮﺩ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭ ﺁﻣﺪ‪ .‬ﺑﺮﺍﻱ ﻟﻮﻱ ﻭ ﺑﺴﻴﺎﺭﻱ ﺩﻳﮕﺮ ﺩﺭ ﺩﻧﻴﺎﻱ ﻫﻨﺮ ﭘﺎﺭﻳﺲ ﻭ ﻧﻴﻮﻳﻮﺭﻙ ﺁﺗﮋﻩ ﻳﻜﻲ ﺍﺯ‬
‫ﺑﺰﺭﮔﺘﺮﻳﻦ ﻋﻜﺎﺳﺎﻥ ﻛﻞ ﺩﻭﺭﺍﻧﻬﺎ ﺑﻮﺩ‪ .‬ﺑﺎ ﺍﻳﻦ ﻭﺟﻮﺩ ﻭﻗﺘﻲ ﻟ‪‬ﻮﻱ ﺑﺮﺍﻱ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺍﻭ ﺭﺍ ﺩﺭ ﺁﭘﺎﺭﺗﻤﺎﻥ ﻛﻮﭼﻜﺶ ﺩﺭ‬
‫ﻳﺶ ﺍﺯ ﻣﺮﮔﺶ ﻣﻼﻗﺎﺕ ﻛﺮﺩ‪ ،‬ﺁﺗﮋﻩ ﺭﻏﺒﺘﻲ ﻧﺪﺍﺷﺖ ﻛﻪ ﺣﺘﻲ ﻳﻚ ﻫﻨﺮﻣﻨﺪ ﻧﺎﻣﻴﺪﻩ ﺷﻮﺩ‪.‬‬
‫ﭘﺎﺭﻳﺲ ﻓﻘﻂ ﭼﻨﺪ ﻣﺎﻩ پ‬
‫ﺍﻭ ﺑﻪ ﻟ‪‬ﻮﻱ ﮔﻔﺖ ﻛﻪ ﻓﻘﻂ ﻳﻚ ﺁﻣﺎﺗﻮﺭ ﺍﺳﺖ‪.‬‬
‫ﺗﻤﺠﻴﺪ ﻣﺸﺎﺑﻬﻲ ﺍﺯ ﺳﻮﻱ ﻣﻦ ﺭِﻱ ‪ 2‬ﻧﻴﺰ ﺍﻋﺘﺮﺍﺽ ﺁﺗﮋﻩ ﺭﺍ ﺩﺭ ﭘﻲ ﺩﺍﺷﺖ‪ .‬ﺁﺗﮋﻩ ﺑﻪ ﺁﻥ ﻧﻘﺎﺵ ﮔﻔﺖ ﻛﻪ ﺍﻭ ﻓﻘﻂ‬ ‫‪P‬‬ ‫‪P‬‬
‫"ﺍﺳﻨﺎﺩﻱ ﺑﺮﺍﻱ ﻫﻨﺮﻣﻨﺪﺍﻥ " ﭘﺪﻳﺪ ﺁﻭﺭﺩﻩ ﺍﺳﺖ ‪ ،‬ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺩﺭ ﺗﺎﺑﻠﻮﻱ ﺑﻴﺮﻭﻥ ﺁﺗﻠﻴﻪ ﺍﺵ ﻧﻮﺷﺘﻪ ﺑﻮﺩ‪ .‬ﺍﻭ ﺣـﺘﻲ‬
‫ﺩﺭ ﺍﺑﺘﺪﺍﻱ ﺍﻣﺮ ﺗﻘﺎﺿﺎﻱ ﻣﻦ ﺭﻱ ﺑـﺮﺍﻱ ﭼﺎپ ﻋـﻜﺴﻬﺎﻳﺶ ﺩﺭ ژﻭﺭﻧـﺎﻝ ‪ La révolution surréaliste‬ﺭﺍ‬
‫ﻧﭙﺬﻳﺮﻓﺖ ﻭ ﺗﻨﻬﺎ ﭘﺲ ﺍﺯ ﺍﺻﺮﺍﺭ ﻣﻦ ﺭﻱ ﺣﺎﺿﺮ ﺑﻪ ﺍﻳﻦ ﺍﻣﺮ ﺷﺪ‪ ،‬ﺁﻥ ﻫﻢ ﺑﺎ ﺍﻳﻦ ﺷﺮﻁ ﻛﻪ ﻧﺎﻣﺶ ﺩﺭﺝ ﻧﺸﻮﺩ‪ .‬ﺑﺎ ﺍﻳﻦ‬
‫ﻭﺟﻮﺩ ﺍﻭ ﺑﺎ ﻓﺮﻭﺧﺘﻦ ﻋﻜﺲ ﻫﺎﻳﺶ ﺯﻧﺪﮔﻲ ﺭﺍ ﻣﻲ ﮔﺬﺭﺍﻧﺪ ﻭ ﺍﺯ ﺍﻳﻦ ﺭﻭ ﻣﻲ ﺗﻮﺍﻥ ﺑﺮﺧﻼﻑ ﺍﺩﻋﺎﻳﺶ ﺍﻭ ﺭﺍ ﻳﻚ‬
‫ﺣﺮﻓﻪ ﺍﻱ ﻧﺎﻣﻴﺪ‪ .‬ﻭﻟﻲ ﭼﻮﻥ ﺍﻭ ﺗﻨﻬﺎ ﺍﺯ ﺳﻮژﻩ ﻫﺎﻱ ﻣﻮﺭﺩ ﻋﻼﻗﻪ ﺧﻮﺩﺵ ﺑﺪﻭﻥ ﺗﻮﺟﻪ ﺑﻪ ﺗﻘﺎﺿﺎﻱ ﻣﺸﺘﺮﻱ ﻋﻜﺲ‬
‫ﻣﻲ ﮔﺮﻓﺖ ﻣﻲ ﺗﻮﺍﻥ ﺍﻭ ﺭﺍ ﻳﻚ ﺁﻣﺎﺗﻮﺭ ﻧﻴﺰ ﺩﺍﻧﺴﺖ‪ .‬ﺑﺎ ﺍﻳﻨﻜﻪ ﺍﻭ ﺩﺭ ﺗﻨﻬﺎﻳﻲ ﻭ ﮔﻤﻨﺎﻣﻲ ﻛﺎﺭ ﻣﻲ ﻛﺮﺩ ﻭﻟﻲ ﺍﻟﮕﻮﻳﻲ‬
‫ﺑﺮﺍﻱ ﻋﻜﺎﺳﺎﻥ ﺑﻌﺪ ﺍﺯ ﺧﻮﺩ ﺷﺪ‪ .‬ﺑﺎ ﺍﻳﻨﻜﻪ ﺍﻭ ﺑﺎ ﻭ ﻳﻮﻛﻤﺮﺍ ﻋﻜﺲ ﻣﻲ ﮔﺮﻓﺖ ﻭﻟﻲ ﻧﺨﺴﺘﻴﻦ ﭘﻴﺮﻭﺍﻥ ﺭﺍﻩ ﺍﻭ ﺩﺭ ﻗﺮﻥ‬
‫ﺑﻴﺴﺘﻢ ﻋﻜﺎﺳﺎﻥ ﻃﺮﻓﺪﺍﺭ ﺩﻭﺭﺑﻴﻦ ﺩﺳﺘﻲ ﺑﻮﺩﻧﺪ‪.‬‬
‫ﺍﻭ ﺩﺭ ﺧﻴﺎﺑﺎﻧﻬﺎﻱ ﺧﺎﻟﻲ ﻛﺎﺭ ﻣﻲ ﻛﺮﺩ ﻭﻟﻲ ﺗﺮﻛﻴﺐ ﺑﻨﺪﻱ ﻫﺎﻱ ﺷﮕﻔﺖ ﺍﻧﮕﻴﺰ ﻭ ﻓﺮﻳﻢ ﺑﻨﺪﻱ ﻫﺎﻱ ﻛﻨﺠﻜﺎﻭﺍﻧﻪ ﺍﻱ‬
‫ﻣﻲ ﺳﺎﺧﺖ ﻛﻪ ﺑﻌﺪ ﻫﺎ ﭘﺎﻳﻪ ﻛﺎﺭﻫﺎﻱ ﺑﺰﺭﮔﺘﺮﻳﻦ ﻋﻜﺎﺳﺎﻥ ﺧﻴﺎﺑﺎﻧﻲ ﭼﻮﻥ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ‪ ،‬ﻭﺍﻛﺮ ﺍﻭﺍﻧﺰ ﻭ ﺭﺍﺑﺮﺕ‬
‫ﻓﺮﺍﻧﻚ ﺷﺪ‪ .‬ﺣﺘﻲ ﺍﻭ ﻫﻨﮕﺎﻣﻴﻜﻪ ﻳﻚ ﻋﻜﺎﺱ ﻣﺴﺘﻨﺪ ﻣﻌﻤﺎﺭﻱ ﺑﻮﺩ‪ ،‬ﻛﻪ ﺩﺭ ﺍﻛﺜﺮ ﺍﻭﻗﺎﺕ ﻧﻴﺰ ﭼﻨﻴﻦ ﺑﻮﺩ‪ ،‬ﻗﺎﺩﺭ ﺑﻪ‬
‫ﺳﺎﺧﺖ ﺗﺼﺎﻭﻳﺮﻱ ﺑﻮﺩ ﻛﻪ ﺍﻟﻬﺎﻡ ﺑﺨﺶ ﻋﻜﺎﺳﺎﻥ ﺧﻴﺎﺑﺎﻧﻲ ﺑﻌﺪﻱ ﺑﻮﺩ‪ .‬ﺗﻔﺎﻭﺕ ﻣﻴﺎﻥ ﺗﺼﺎﻭﻳﺮ ﺍﻭ ﺍﺯ ﺳﺎﺧﺘﻤﺎﻥ ﻫﺎ ﻭ‬
‫ﺗﺼﺎﻭﻳﺮ ﻣﺮﺳﻮﻣﻲ ﻛﻪ ﻋﻜﺎﺳﺎﻥ ﻣﻌﺎﺻﺮ ﻭ ﭘﻴﺶ ﺍﺯ ﺍﻭ ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻨﻪ ﻣﻲ ﮔﺮﻓﺘﻨﺪ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺗﺼﺎﻭﻳﺮ ﺁﻧﻬﺎ‬
‫ﻣﻌﻤﺎﺭﻱ ﺭﺍ ﺑﺼﻮﺭﺕ ﺍﻳﺪﻩ ﺁﻝ ﺩﺭ ﻣﻲ ﺁﻭﺭﻧﺪ ﻭﺁﻥ ﺭﺍ ﺗﺎ ﺣﺪ ﻣﻤﻜﻦ ﺍﺯ ﻫﺮ ﺯﻣﺎﻥ ﻭ ﻣﻜﺎﻧﻲ ﺟﺪﺍ ﻣﻲ ﺳﺎﺯﻧﺪ‪ ،‬ﺩﺭ‬
‫ﺣﺎﻟﻴﻜﻪ ﺗﺼﺎﻭﻳﺮ ﺍﻭ ﺑﺮ ﺧﻴﺎﺑﺎﻧﻬﺎﻱ ﺣﻘﻴﻘﻲ ﭘﺎﺭﻳﺲ ﻛﻪ ﺳﻮژﻩ ﺍﻭ ﺩﺭ ﺁﻧﻬﺎ ﻗﺮﺍﺭ ﺩﺍﺭﺩ ﺩﻻﻟﺖ ﻣﻲ ﻛﻨﻨﺪ‪.‬‬
‫ﺑﺮﺍﻱ ﺗﺤﺴﻴﻦ ﻛﺎﻣﻞ ﺩﺳﺘﺎﻭﺭﺩ ﻫﺎﻱ ﺁﺗﮋﻩ ﻧﺨﺴﺖ ﻣﻔﻴﺪ ﺍﺳﺖ ﻛﻪ ﺩﺳﺘﺎﻭﺭﺩ ﻫﺎﻱ ﻳﻚ ﻣﺴﺘﻨﺪ ﺳﺎﺯ ﺩﻳﮕﺮ ﭘﺎﺭﻳﺲ‪،‬‬
‫‪ .Julien Levy .1‬ﺩﻻﻝ ﻫﻨﺮﻱ ﻭ ﺻﺎﺣﺐ ﮔﺎﻟﺮﻱ ﺟﻮﻟﻴِﻦ ﻟﻮﻱ‪1906-1981 .‬‬

‫‪ .Man Ray .2‬ﻫﻨﺮﻣﻨﺪ ﻣﺪﺭﻧﻴﺴﺖ ﺁﻣﺮﻳﻜﺎﻳﻲ‪1890-1976 .‬‬
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‫ﺷﺎﺭﻝ ﻣﺎﺭﻭﻳﻞ ﺭﺍ ﺩﺭ ﻧﻈﺮ ﺑﮕﻴﺮﻳﻢ‪ .‬ﻣﺎﺭﻭﻳﻞ ﺭﺍ ﻣﻴﺘﻮﺍﻥ ﺑﻪ ﻣﺎﻧﻨﺪ ﺩﻭﻗﻠﻮﻱ ﻋﻜﺎﺳﻲ ﺁﺗﮋﻩ )ﮔﺮ ﭼﻪ ﺑﺎ ﺭﻭﺣﻴﻪ‬
‫ﻣﺘﻔﺎﻭﺕ( ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺖ‪ .‬ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﺁﺗﮋﻩ ﺍﺯ ﻣﻨﺎﺑﻊ ﻗﺪﺭﺕ ﻓﺮﺍﻧﺴﻪ ﺁﻥ ﺯﻣﺎﻥ ﺟﺪﺍﻳﻲ ﻣﻲ ﺟﺴﺖ ‪ ،‬ﻣﺎﺭﻭﻳﻞ ﺩﺭ‬
‫ﻧﺰﺩﻳﻜﻲ ﺑﺎ ﺁﻧﻬﺎ ﻛﺎﺭ ﻣﻲ ﻛﺮﺩ‪ .‬ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﺗﺼﺎﻭﻳﺮ ﺁﺗﮋﻩ ﺑﻴﺎﻧﮕﺮ ﻫﻴﭻ ﻧﻘﻄﻪ ﻧﻈﺮ ﻭ ﺩﻳﺪﻱ ﻏﻴﺮ ﺍﺯ ﻧﻘﻄﻪ ﻧﻈﺮ ﺧﻮﺩ ﺍﻭ‬
‫ﻧﺒﻮﺩﻧﺪ‪،‬ﺗﺼﺎﻭﻳﺮ ﻣﺎﺭﻭﻳﻞ ﺑﻨﺎ ﺑﻮﺩ ﻧﻤﺎﻳﺎﻧﮕﺮ ﺳﻴﺎﺳﺖ ﻫﺎﻱ ﺣﻜﻮﻣﺖ ﺑﺎﺷﻨﺪ‪.‬‬
‫ﻋﻠﻴﺮﻏﻢ ﺍﻳﻨﻬﺎ ﻋﻜﺎﺳﻲ ﺍﻳﻦ ﺩﻭ ﺩﺭ ﺟﻨﺒﻪ ﻫﺎﻱ ﺧﺎﺻﻲ ﺑﺎ ﻫﻢ ﻫﻤﭙﻮﺷﺎﻧﻲ ﺩﺍﺭﺩ ﻭﺑﻴﺎﻧﮕﺮ ﻳﻚ ﺩﻳﺪ ﺍﺳﺖ‪،‬ﻛﻪ ﺧﻴﺎﺑﺎﻥ‬
‫ﺩﺍﺭﺍﻱ ﻳﻚ ﺯﻳﺒﺎ ﺷﻨﺎﺳﻲ ﻭﺟﻮﺩﻱ ﺍﺳﺖ ﻛﻪ ﺩﻭﺭﺑﻴﻦ ﻗﺎﺩﺭ ﺑﻪ ﻛﺸﻒ ﺁﻥ ﺍﺳﺖ‪.‬‬
‫ﻣﺎﺭﻭﻳﻞ‪ ،‬ﺩﺭ ﺑﺎﺯﺳﺎﺯﻱ ﭘﺎﺭﻳﺲ ﺗﻮﺳﻂ ﻫﺎﺳﻤﻦ ﺍﺳﺘﺨﺪﺍﻡ ﺷﺪﻩ ﺑﻮﺩ ﺗﺎ ﭘﻴﺶ ﺍﺯ ﺑﺎﺯﺳﺎﺯﻱ ﻣﺤﻠﻪ ﻫﺎﻱ ﻗﺪﻳﻤﻲ‪ ،‬ﺩﺭ‬
‫ﺣﻴﻦ ﺑﺎﺯﺳﺎﺯﻱ ﺁﻧﻬﺎ ﻭ ﭘﺲ ﺍﺯ ﺍﺗﻤﺎﻡ ﻛﺎﺭ ﺍﺯ ﺁﻧﻬﺎ ﻋﻜﺲ ﺑﮕﻴﺮﺩ‪.‬‬
‫ﺑﻴﺸﺘﺮ ﻣﺸﺘﺮﻳﺎﻥ ﻋﻜﺴﻬﺎﻱ ﺁﺗﮋﻩ ﺍﻧﺠﻤﻦ ﻫﺎﻱ ﻃﺮﻓﺪﺍﺭ ﺣﻔﻆ ﺑﺎﻓﺖ ﺳﻨﺘﻲ ﭘﺎﺭﻳﺲ ﺑﻮﺩﻧﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻛﺎﺭﻫﺎﻱ ﻣﺎﺭﻭﻳﻞ‬
‫ﻭ ﺁﺗﮋﻩ ﻃﺒﻖ ﻣﻘﺎﺻﺪ‪ ‬ﻣﺘﻀﺎﺩ ﺑﻮﺩﻧﺪ ﻭ ﻟﻲ ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺗﺼﺎﻭﻳﺮ ﺍﻳﻦ ﺩﻭ ﺑﺎ ﻫﻢ ﺗﻀﺎﺩ ﻧﺪﺍﺷﺘﻨﺪ‪ .‬ﺣﻘﻴﻘﺖ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ‬
‫ﺁﺗﮋﻩ ﺗﺼﺎﻭﻳﺮ ﻣﺎﺭﻭﻳﻞ ﺭﺍ ﺍﺯ ﻃﺮﻳﻖ ﻛﺘﺎﺑﺨﺎﻧﻪ ﺍﻱ ﻛﻪ ﻋﻜﺴﻬﺎﻱ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺁﻥ ﻣﻲ ﻓﺮﻭﺧﺖ ﻣﻲ ﺷﻨﺎﺧﺖ ﻭ ﺗﻮﺳﻂ‬
‫ﺁﻧﻬﺎ ﺗﺤﺖ ﺗﺄﺛﻴﺮ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ .‬ﻭﻟﻲ ﻣﻬﻤﺘﺮ ﺍﺯ ﺁﻥ ﺣﺲ ﻭ ﻋﻼﻗﻪ ﻣﺸﺘﺮﻙ ﺍﻳﻦ ﺩﻭ ﻋﻜﺎﺱ ﻧﺴﺒﺖ ﺑﻪ‬
‫ﺭﻭﻣﺎﻧﺘﻴﺴﻴﺰﻡ‪ 1‬ﺩﺭ ﺩﻭﺭﺍﻥ ﺟﻮﺍﻧﻴﺸﺎﻥ ﺑﻮﺩ‪.‬‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺁﻫﺴﺘﻪ ﺁﻫﺴﺘﻪ ﺩﺭ ﻃﻲ ﺳﺎﻟﻬﺎ ﺁﺗﮋﻩ ﻛﻼً ﻋﻜﺴﻬﺎﻳﺶ ﺭﺍ ﺍﺯ ﺣﻀﻮﺭ ﺍﻧﺴﺎﻥ ﻫﺎ ﺧﺎﻟﻲ ﻛﺮﺩ‪ .‬ﺁﻧﭽﻪ ﻛﻪ ﺩﺭ ﺁﺧﺮ ﺗﻮﺟﻪ‬
‫ﺍﻳﻦ ﺭﻭﺡ ﺩﺭ‬ ‫ﺍﻭ ﺭﺍ ﺑﺮﺍﻧﮕﻴﺨﺖ ﺯﻧﺪﮔﻲ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﻧﺒﻮﺩ ﺑﻠﻜﻪ ﺯﻧﺪﮔﻲ ﺧﻴﺎﺑﺎﻥ ﺑﻮﺩ‪ .‬ﺭﻭﺡ ﺧﻮﺩ ﻣﻜﺎﻥ‪ ،‬ﺣﺮﻛﺖ‬
‫ﺳﻨﮓ ﻫﺎ‪.‬‬
‫ﻧﻤﺎﻫﺎﻱ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺁﺗﮋﻩ ﻧﻪ ﺗﻨﻬﺎ ﭼﻴﺰﻱ ﻣﺘﻔﺎﻭﺗﻲ ﺍﺯ ﻛﻠﻴﺸﻪ ﻫﺎﻱ ﺭﻣﺎﻧﺘﻴﻚ ﺯﻣﺎﻥ ﺧﻮﺩ ﺑﻮﺩ‪ ،‬ﺑﻠﻜﻪ ﺍﺯ‬
‫ﻋﻜﺎﺳﻲ ﻛﻼﺳﻴﻚ ﻣﻌﻤﺎﺭﻱ ﻧﻴﺰ ﻣﺘﻔﺎﻭﺕ ﺑﻮﺩ‪ .‬ﺑﺮﺍﻱ ﺗﺤﺴﻴﻦ ﺗﻔﺎﻭﺕ ﺑﺰﺭگ ﻭ ﺭﺍﺩﻳﻜﺎﻝ ﺩﻳﺪ ﺍﻭ ﺍﺯ ﭘﺎﺭﻳﺲ‬
‫ﻧﺴﺒﺖ ﺑﻪ ﺩﻳﮕﺮ ﻋﻜﺎﺳﺎﻥ‪ ،‬ﺗﻨﻬﺎ ﺑﺎﻳﺪ ﺁﻥ ﺭﺍ ﺑﺎ ﺁﻧﭽﻪ ﻗﺒﻞ ﺍﺯ ﺁﻥ ﮔﺬﺷﺖ ﻣﻘﺎﻳﺴﻪ ﻛﺮﺩ‪ .‬ﺁﺗﮋﻩ ﻧﺒﻮﻍ ﻋﻜﺎﺳﻲ ﺩﺍﺷﺖ‪.‬‬
‫ﺍﻭ ﻳﻚ ﻫﻨﺮﻣﻨﺪ ﺑﻮﺩ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﻛﺎﺭ ﺍﻭ ﺩﺭ ﻣﺒﺤﺚ ﻋﻜﺎﺳﻲ ﻫﻨﺮﻱ ﻣﻌﻨﻲ ﭘﻴﺪﺍ ﻧﻤﻲ ﻛﻨﺪ‪ .‬ﻋﻜﺎﺳﻲ ﺍﻱ ﻛﻪ‬
‫ﻋﻜﺎﺳﺎﻥ ﺁﻥ ﺑﻪ ﻃﻮﺭ ﺧﻮﺩ ﺁﮔﺎﻩ ﺧﻮﺩ ﺭﺍ ﻫﻨﺮﻣﻨﺪ ﻣﻲ ﻧﺎﻣﻴﺪﻧﺪ‪ .‬ﺩﺭ ﺻﻮﺭﺗﻲ ﻛﻪ ﺁﺗﮋﻩ ﭼﻨﻴﻦ ﻧﺒﻮﺩ‪ ،‬ﺑﻠﻜﻪ ﻛﺎﺭ ﺍﻭ ﺩﺭ‬
‫ﻣﻌﻦ ﭘﻴﺪﺍ ﻣﻲ ﻛﺮﺩ‪ .‬ﺩﺭ ﺗﺼﺎﻭﻳﺮ ﺁﻧﺎﻥ ﺍﺛﺮ‬
‫ﻫﻤﺮﺍﻫﻲ ﻛﺎﺭﻫﺎﻱ ﺩﻳﮕﺮ ﻋﻜﺎﺳﺎﻧﻲ ﻛﻪ ﺣﺘﻲ ﻧﺎﻡ ﺑﺮﺧﻲ ﻣﺸﺨﺺ ﻧﻴﺴﺖ ﺍ‬
‫ﺟﺎﻭﺩﺍﻧﻪ ﺧﻴﺎﺑﺎﻥ ﻣﺸﻬﻮﺩ ﺍﺳﺖ‪.‬‬
‫‪romanticism .1‬‬
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‫ﺑﺨﺶ ﺩﻭﻡ‪ :‬ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﻭ ﺍﺭﻭﭘﺎ ﺩﺭ ﻗﺮﻥ ﺑﻴﺴﺘﻢ ‪:‬‬
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‫‪ .7‬ﻻﺭﺗﻴﮓ‬
‫ﺑﺮﺍﻱ ﺍﻓﺮﺍﺩ ﺧﺎﺻﻲ ﻛﻪ ﺩﺭ ﺍﺑﺘﺪﺍﻱ ﻗﺮﻥ ﺑﻴﺴﺘﻢ ﺟﻮﺍﻥ ﻭ ﺑﺎ ﺍﺳﺘﻌﺪﺍﺩ ﺑﻮﺩﻧﺪ ﺩﻭﺭﺑﻴﻦ ﺟﺬﺍﺑﻴﺖ ﺧﺎﺻﻲ ﺩﺍﺷﺖ‪ .‬ﺩﻧﻴﺎ‬
‫ﻣﺎﻝ ﺁﻧﺎﻥ ﺑﻮﺩ‪ .‬ﺩﺭ ﻋﻜﺲ ﻫﺎﻱ ﺁﻧﺎﻥ ﺣﺲ ﺗﺤﺮﻛﻲ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﻫﻴﭻ ﻛﺠﺎﻱ ﺗﺎﺭﻳﺦ ﺍﻳﻦ ﺭﺳﺎﻧﻪ ﻳﺎﻓﺖ ﻧﻤﻲ ﺷﺪ‪ .‬ﺍﺯ‬
‫ﺍﻭﺍﺳﻂ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ ﺗﺎ ﺟﻨﮓ ﺟﻬﺎﻧﻲ ﺍﻭﻝ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﻋﻼﻗﻤﻨﺪﺍﻥ ﺛﺮﻭﺗﻤﻨﺪ ﺍﻳﻦ ﮔﻮﻧﻪ ﺩﺭ ﺍﺭﻭﭘﺎ ﻭ ﺁﻣﺮﻳﻜﺎ ﻳﺎﻓﺖ‬
‫‪ 1‬ﺩﺭ ﺍﻳﺘﺎﻟﻴﺎ‪،‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫ﻣﻲ ﺷﺪﻧﺪ‪ .‬ﻫﻴﭻ ﻳﻚ ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩ ﺍﻳﻦ ﻧﻮﻉ‪ ،‬ﻭ ﻋﻜﺎﺱ ﺑﻬﺘﺮﻱ ﻧﺒﻮﺩﻧﺪ ﺍﺯ ﻛﻨﺖ ﮔﻴﺴﭗ ﭘﺮﻳﻤﻮﻟﻲ‬
‫ﺁﻟﻴﺲ ﺁﺳﺘﻴﻦ‪ 2‬ﺩﺭ ﻧﻴﻮﻳﻮﺭﻙ ﻭ ژﺍﻙ‪ -‬ﻫﻨﺮﻱ ﻻﺭﺗﻴﮓ ﺩﺭ ﻓﺮﺍﻧﺴﻪ ‪.‬‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺑﻴﺸﺘﺮ ﺍﻳﻦ ﺁﻣﺎﺗﻮﺭﻫﺎ ﺑﺎ ﻋﻜﺲ ﮔﺮﻓﺘﻦ ﺍﺯ ﺧﺎﻧﻮﺍﺩﻩ ﻭ ﺩﻭﺳﺘﺎﻧﺸﺎﻥ ﺷﺮﻭﻉ ﻛﺮﺩﻧﺪ ﻭ ﺑﻴﺶ ﺍﺯ ﺁﻥ ﭘﻴﺶ ﻧﺮﻓﺘﻨﺪ‪ .‬ﻭﻟﻲ‬
‫ﺑﺮﺧﻲ ﺍﻧﮕﻴﺰﻩ ﻛﺎﻓﻲ ﺩﺍﺷﺘﻨﺪ ﻳﺎ ﺑﻪ ﺍﻧﺪﺍﺯﻩ ﻛﺎﻓﻲ ﺍﺳﺘﻌﺪﺍﺩ ﺩﺍﺷﺘﻨﺪ ﺗﺎ ﺩﻭﺭﺑﻴﻦ ﻫﺎﻳﺸﺎﻥ ﺭﺍ ﺍﺯ ﺧﺎﻧﻪ ﺑﻴﺮﻭﻥ ﺑﺮﺩﻩ ﻭ ﺑﻪ‬
‫ﺩﻧﻴﺎﻱ ﺑﺰﺭگ ﭘﻴﺮﺍﻣﻮﻥ ﺑﺮﻭﻧﺪ‪ .‬ﺁﻧﻬﺎ ﺑﻪ ﻣﺮﺍﺳﻢ ﺑﺰﺭگ ﺟﻤﻌﻲ ﺭﻓﺘﻪ ﻭ ﺍﻓﺮﺍﺩ ﻣﺸﻬﻮﺭ ﺑﺴﻴﺎﺭﻱ ﺭﺍ ﻣﻲ ﺩﻳﺪﻧﺪ ﻭ ﻣﻲ‬
‫ﺧﻮﺍﺳﺘﻨﺪ ﺍﺯ ﻫﻤﻪ ﺁﻧﻬﺎ ﻋﻜﺲ ﺑﮕﻴﺮﻧﺪ‪ .‬ﭼﻨﻴﻦ ﺑﻮﺩ ﻛﻪ ﻛﻨﺖ ﭘﺮﻳﻤﻮﻟﻲ ﺍﺯ ﺭﻓﺖ ﻭ ﺁﻣﺪ ﻫﺎﻱ ﺍﻟﻨﻮﺭﺍ ﺩﻳﻮﺯ ﺳﺎﺭﺍ‬
‫ﺑﺮﻧﻬﺎﺭﺕ ‪ ،‬ﮔﺎﻱ ﺩﻣﺎﺑﺎﺳﺎﻧﺖ ‪ ،‬ﺍﺩﮔﺎﺭﺩﮔﺎﺱ ‪ ،‬ﭘﺮﻧﺲ ﻭﻳﻜﺘﻮﺭ ﻭ ﺍﻣﺎﻧﻮﺋﻞ ﻭ ﺣﺘﻲ ﺑﻮﻓﺎﻟﻮ ﺑﻴﻞ ﻭﺁﻧﻲ ﺍﻭﻛﻠﻲ‬
‫ﻋﻜﺲ ﮔﺮﻓﺖ‪.‬‬
‫ﻻﺭﺗﻴﮓ ﻧﻴﺰ ﺍﺯ ﺑﺰﺭﮔﺎﻥ ﺩﻭﺭﻩ ﺧﻮﺩ ﺩﺭ ﭘﺎﺭﻳﺲ ﻋﻜﺴﻬﺎﻱ ﻓﻮﺭﻱ)ﺍﺳﻨﭗ ﺷﺎﺕ( ﻣﻲ ﮔﺮﻓﺖ‪ .‬ﺍﻭ ﺍﺯ ﺭﺋﻴﺲ‬
‫ﺟﻤﻬﻮﺭ ﺳﻮﺍﺭ ﺑﺮ ﻣﺎﺷﻴﻨﺶ ﺩﺭ ‪ 1904‬ﻋﻜﺲ ﮔﺮﻓﺖ ﻭ ﻋﻜﺴﻬﺎﻱ ﺩﻳﮕﺮﻱ ﻧﻴﺰ ﺍﺯ ﻣﺎﺭﻳﺲ ﺷﻮﺍﻟﻴﻪ ﻭ ﺳﺎﺷﺎﮔﻴﺘﺮﻱ‬
‫ﮔﺮﻓﺖ‪ .‬ﺍﻳﻦ ﻋﻜﺎﺳﺎﻥ ﺩﺍﺭﺍﻱ ﻣﻮﻗﻌﻴﺖ ﺑﺎﻻﻱ ﺍﺟﺘﻤﺎﻋﻲ ﻛﻪ ﺩﻭﺭﺑﻴﻨﺸﺎﻥ ﺭﺍ ﺩﺭ ﻣﺮﺍﺳﻢ ﻭ ﻣﺤﺎﻓﻞ ﺑﺰﺭگ ﻭ ﻣﻜﺎﻥ‬
‫ﻫﺎﻱ ﻣﻌﺮﻭﻑ ﻣﻲ ﺑﺮﺩﻧﺪ ﺑﻄﻮﺭ ﺍﺟﺘﻨﺎﺏ ﻧﺎﭘﺬﻳﺮ ﺁﻥ ﺭﺍ ﺑﻪ ﺧﻴﺎﺑﺎﻥ ﻧﻴﺰ ﻣﻲ ﺑﺮﺩﻧﺪ ﺗﺎ ﺍﺯ ﺯﻧﺪﮔﻲ ﺭﻭﺯﻣﺮﻩ ﺍﻓﺮﺍﺩ ﻋﺎﺩﻱ‬
‫ﻋﻜﺲ ﺑﮕﻴﺮﻧﺪ‪.‬‬
‫ﻻﺭﺗﻴﮓ ﺩﺭ ﺳﺎﻝ ‪ 1902‬ﻋﻜﺎﺳﻲ ﻭ ﻧﻮﺷﺘﻦ ﻳﺎﺩﺩﺍﺷﺖ ﺭﻭﺯﺍﻧﻪ ﺭﺍ ﻫﻨﮕﺎﻣﻴﻜﻪ ﻫﺸﺖ ﺳﺎﻝ ﺩﺍﺷﺖ ﺷﺮﻭﻉ ﻛﺮﺩ‪ .‬ﺍﻭ‬
‫ﺑﺮﺧﻲ ﺍﺯ ﻋﻜﺴﻬﺎﻳﺶ ﺭﺍ ﺍﺯ ﺭﻭﻱ ﺻﻨﺪﻟﻲ ﺍﺗﻮﻣﺒﻴﻞ ﻣﻲ ﮔﺮﻓﺖ‪ .‬ﺍﻭ ﻫﻤﭽﻨﻴﻦ ﺍﺯ ﻣﺎﺷﻴﻨﻬﺎﻱ ﺑﺎ ﺳﺮﻋﺖ ﺩﺭ ﺣﺎﻝ‬
‫ﺣﺮﻛﺖ ﻭ ﻫﻤﭽﻨﻴﻦ ﺍﺯ ﻫﻮﺍﭘﻴﻤﺎﻫﺎ ﻋﻜﺲ ﻣﻲ ﮔﺮﻓﺖ‪ .‬ﺍﻳﻦ ﻣﺎﺷﻴﻦ ﻫﺎﻱ ﭘﺮﻧﺪﻩ ﺟﺪﻳﺪ ﻣﺨﻠﻮﻗﺎﺗﻲ ﺷﺎﺩﻣﺎﻥ ﻭ ﺟﻬﻨﺪﻩ‬
‫ﺩﺭ ﺑﻬﺸﺘﻲ ﺑﻮﺩﻧﺪ ﻛﻪ ﺩﺭ ﺑﺮﮔﻴﺮﻧﺪﻩ ﺧﻮﺩ ژﺍﻙ ﻛﻮﭼﻚ ‪ ،‬ﺑﺮﺍﺩﺭﺵ ‪ ،‬ﭘﺴﺮ ﻋﻤﻮﻫﺎ ﻭ ﺗﻤﺎﻡ ﺍﻓﺮﺍﺩ ﺩﻳﮕﺮﻱ ﻛﻪ ﺍﻭ‬
‫ﻣﻲ ﺷﻨﺎﺧﺖ ﺑﻮﺩ‪ .‬ﺁﻟﺒﻮﻡ ﻫﺎﻱ ﺍﻭ ﭘﺮ ﺍﺳﺖ ﺍﺯ ﺗﺼﺎﻭﻳﺮ ﻣﺮﺩﻡ ﺩﺭ ﺣﺎﻝ ﺩﻭﻳﺪﻥ ‪ ،‬ﭘﺮﻳﺪﻥ ‪ ،‬ﺷﻴﺮﺟﻪ ﺯﺩﻥ ﻭ ﭘﺸﺘﻚ‬
‫ﺯﺩﻥ‪ .‬ﺩﺭ ﺧﻴﺎﺑﺎﻥ ‪ ،‬ﺑﺮﺍﺩﺭﺵ ﺯﻳﺴﻮ ﺑﻪ ﺳﻮﻱ ﮔﺮﻭﻩ ﻛﺒﻮﺗﺮﺍﻥ ﻣﻲ ﺩﻭﺩ ﻭﺁﻧﻬﺎ ﺑﻪ ﺻﻮﺭﺕ ﺗﻮﺩﻩ ﺍﻱ ﺍﺯ ﭘﻴﺎﺩﻩ ﺭﻭ ﺑﻪ‬
‫ﻫﻮﺍ ﻣﻲ ﭘﺮﻧﺪ‪) .‬ﻋﻜﺲ ‪(2-6‬‬
‫‪ .Conte Giuseppe Primoli .1‬ﻋﻜﺎﺱ ﺍﻳﺘﺎﻟﻴﺎﻳﻲ‪1851-1927 .‬‬

‫‪ .Alice Austen .2‬ﻋﮑﺎﺱ ﺁﻣﺭﻳﮑﺎﻳﯽ‪1866-1952 .‬‬
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‫ﻋﻜﺲ‪ 2-6‬ژﺍﻙ ﻫﻨﺮﻱ ﻻﺭﺗﻴﮓ – ﻓﻮﺭﻳﻪ‪ ،‬ﻣﻮﻧﺖ ﻛﺎﺭﻟﻮ‪1908 ،‬‬
‫ﺩﺭ ﺗﺼﻮﻳﺮ ﻳﻜﻲ ﺍﺯ ﭘﺮﻭﺍﺯﻫﺎﻱ ﺁﺯﻣﺎﻳﺸﻲ ﺯﻳﺴﻮ ﺩﺭ ﻋﻜﺲ ﻻﺭﺗﻴﮓ ﮔﺮﻭﻫﻲ ﺍﺯ ﺧﺪﻣﻪ ﺯﻣﻴﻨﻲ ﭘﺮﻭﺍﺯ ﻭﺟﻮﺩ‬
‫ﺩﺍﺭﻧﺪ ﻛﻪ ﻣﻲ ﺩﻭﻧﺪ ﻭ ﺑﺎ ﺗﻤﺎﻡ ﻗﺪﺭﺕ ﻫﻮﺍﭘﻴﻤﺎ ﺭﺍ ﺑﺎ ﻃﻨﺎﺏ ﻣﻲ ﻛﺸﻨﺪ ﺗﺎ ﺑﻪ ﭘﺮﻭﺍﺯ ﺩﺭ ﺁﻳﺪ‪.‬‬
‫ﺩﺭ ﻣﻴﺎﻥ ﻗﺪﻳﻤﻲ ﺗﺮﻳﻦ ﻋﻜﺴﻬﺎﻱ ﻻﺭﺗﻴﮓ ﭼﻨﺪ ﻋﻜﺲ ﺑﻲ ﻫﻮﺍ ﺩﺭ ﺳﺎﺣﻞ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺍﻭ ﻋﺎﺷﻖ ﺭﻓﺘﻦ ﺑﻪ‬
‫ﺁﻧﺠﺎﺳﺖ ﻭ ﺩﺭﻳﺎﺩﺩﺍﺷﺖ ﺧﻮﺩ ﻣﻲ ﻧﻮﻳﺴﺪ ﻛﻪ ﭼﻮﻥ ﺁﻧﺠﺎ "ﺍﺣﺘﻤﺎﻻً ﻭﺳﻴﻌﺘﺮﻳﻦ ﻭ ﺑﺎﺯﺗﺮﻳﻦ ﻣﻜﺎﻥ ﺑﺮﺭﻭﻱ ﺯﻣﻴﻦ‬
‫ﺍﺳﺖ‪ .‬ﻣﻴﺘﻮﺍﻧﻲ ﺑﺪﻭﻱ ﻭ ﺑﺪﻭﻱ ‪....‬ﻫﻴﭻ ﻣﺤﺪﻭﺩﻳﺘﻲ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﻭ ﻫﻴﭻ ﻛﺲ ﺑﻪ ﺳﻮﻳﺖ ﻓﺮﻳﺎﺩ ﻧﻤﻲ ﻛﺸﺪ ﻛﻪ‬
‫ﺍﺣﺘﻴﺎﻁ ﻛﻦ‪ " .‬ﻫﻴﭻ ﻣﺤﺪﻭﺩﻳﺘﻲ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ :‬ﺍﻳﻦ ﺍﺣﺴﺎﺳﻲ ﺍﺳﺖ ﻛﻪ ﺗﻤﺎﻡ ﻋﻜﺲ ﻫﺎﻱ ﺍﻳﻦ ﺩﻭﺭﻩ ﺍﺯ ﺯﻧﺪﮔﻲ‬
‫ﻻﺭﺗﻴﮓ ﺩﺍﺭﺍﻱ ﺁﻥ ﻫﺴﺘﻨﺪ‪.‬‬
‫ﺍﻭ ﺩﺭ ﻳﺎﺩﺩﺍﺷﺖ ﻫﺎﻱ ﺧﻮﺩ ﻣﻲ ﻧﻮﻳﺴﺪ "ﺭﺍﺑﺮﺕ‪ ،‬ﺯﻳﺴﻮ‪ ،‬ﻭ ﻟﻮﺋﻴﺲ ﺑﺴﻴﺎﺭ ﺑﺰﺭﮔﻨﺪ ﻭ ﻣﻦ ﺑﺴﻴﺎﺭ ﻛﻮﭼﻚ‪ .‬ﺑﻴﺸﺘﺮ‬
‫ﺍﻭﻗﺎﺕ ﻧﻤﻲ ﮔﺬﺍﺭﻧﺪ ﻛﻪ ﺑﺎ ﺁﻧﻬﺎ ﺑﺎﺯﻱ ﻛﻨﻢ‪ .‬ﻣﻦ ﺑﺎﻳﺪ ﻳﻚ ﻧﺎﻇﺮ ﺑﺎﺷﻢ‪ " .‬ﻭﻟﻲ ﻋﻜﺲ ﮔﺮﻓﺘﻦ ﺧﻴﻠﻲ ﺯﻭﺩ ﺍﻭ ﺭﺍ ﻧﻴﺰ‬
‫ﺗﺒﺪﻳﻞ ﺑﻪ ﻳﻚ ﺷﺮﻛﺖ ﻛﻨﻨﺪﻩ ﻛﺮﺩ‪.‬‬
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‫ﻋﻜﺲ ‪ 2-7‬ژﺍﻙ ﻫﻨﺮﻱ ﻻﺭﺗﻴﮓ ‪ ،Avenue de Bois de Boulogne‬ﭘﺎﺭﻳﺲ )‪(1911‬‬
‫ﻫﻨﮕﺎﻣﻴﻜﻪ ﺩﻭﺭﺑﻴﻦ ﺍﻭ ﻣﻲ ﺷﻜﻨﺪ‪ .‬ﻣﺎﻧﻨﺪ ﻫﻨﮕﺎﻣﻴﻜﻪ ﺑﻴﻤﺎﺭ ﻣﻲ ﺷﻮﺩ ﻭ ﻧﻤﻲ ﺗﻮﺍﻧﺪ ﻋﻜﺲ ﺑﮕﻴﺮﺩ‪،‬ﺑﻪ ﮔﻔﺘﻪ ﺍﻭ ﻋﺪﻡ‬
‫ﺗﻮﺍﻧﺎﻳﻲ ﺍﺵ ﺩﺭ ﻋﻜﺲ ﮔﺮﻓﺘﻦ ﺑﺮﺍﻱ ﺍﻭ ﺑﻪ ﻣﺎﻧﻨﺪ ﻳﻚ ﻧﺎﺗﻮﺍﻧﻲ ﺟﺴﻤﻲ ﺍﺳﺖ‪ .‬ﺑﺮﺍﻱ ﺍﻭ ﺩﻭﺭﺑﻴﻦ ﺑﻪ ﻣﺎﻧﻨﺪ ﮔﺴﺘﺮﺵ‬
‫ﺧﻮﺩ ﺍﺳﺖ‪.‬‬
‫ﺩﺭﺍﻭﺝ ﻋﻼﻗﻪ ﻻﺭﺗﻴﮓ ﺑﻪ ﻣﺎﺷﻴﻦ ﻫﺎ ‪ ،‬ﻫﻮﺍﭘﻴﻤﺎ ﻫﺎ ﻭ ﺳﺮﻋﺖ‪ ،‬ﻣﻮﺿﻮﻉ ﺟﺪﻳﺪﻱ ﺫﻫﻦ ﺍﻭ ﺭﺍ ﺩﺭﮔﻴﺮ ﻣﻲ ﺳﺎﺯﺩ ‪:‬‬
‫ﺯﻥ ﻫﺎ‪ .‬ﺍﻭ ﺩﺭ ﻳﺎﺩﺩﺍﺷﺖ ﺧﻮﺩ ﻣﻲ ﻧﻮﻳﺴﺪ‪" :‬ﺑﺠﺎﻱ ﺗﺮﺳﻴﻢ ﻣﺎﺷﻴﻦ ﻫﺎﻱ ﺩﺭ ﺣﺎﻝ ﻣﺴﺎﺑﻘﻪ‪ ،‬ﺍﻓﺮﺍﺩ ﻣﻌﺮﻭﻑ ﻭ ﻳﺎ ﻧﺨﻞ‬
‫ﻫﺎ‪،‬ﺍﻛﻨﻮﻥ ﺯﻧﺎﻥ ﺭﺍ ﺗﺮﺳﻴﻢ ﻣﻲ ﻛﻨﻢ‪ .‬ﺯﻥ ﻫﺎ ‪ ...‬ﻫﻤﻪ ﭼﻴﺰ ﺭﺍﺟﻊ ﺑﻪ ﺁﻥ ﻫﺎ ﻣﻦ ﺭﺍ ﺷﮕﻔﺖ ﺯﺩﻩ ﻣﻲ ﻛﻨﺪ‪ .‬ﻟﺒﺎﺱ ﻫﺎﻱ‬
‫ﺁﻧﻬﺎ‪ ،‬ﻋﻄﺮ ﺁﻧﻬﺎ ‪ ،‬ﻃﺮﺯ ﺭﺍﻩ ﺭﻓﺘﻦ ﺁﻧﻬﺎ ‪ ،‬ﺁﺭﺍﻳﺶ ﺻﻮﺭﺗﺸﺎﻥ ‪ ،‬ﺩﺳﺖ ﻫﺎﻱ ﭘﺮ ﺍﺯ ﺣﻠﻘﻪ ﻭ ﺍﺯ ﻫﻤﻪ ﻣﻬﻤﺘﺮ ﻛﻼﻩ‬
‫ﻫﺎﻳﺸﺎﻥ‪".‬‬
‫ﺑﺎ ﺑﺰﺭگ ﺗﺮ ﺷﺪﻥ ﻻﺭﺗﻴﮓ ﻭ ﺍﺯﺩﻭﺍﺝ ﺍﻭ ‪ ،‬ﻛﻢ ﻛﻢ ﻋﻜﺲ ﻫﺎﻱ ﺍﻭ ﺑﻪ ﺧﺎﻧﻮﺍﺩﻩ‪ ،‬ﻭ ﺩﻭﺳﺘﺎﻧﻲ ﻣﻌﺪﻭﺩ ﻣﺤﺪﻭﺩ ﻣﻲ‬
‫ﺷﻮﺩ ﻭ ﻋﻤﻮﻣﺎً ﺩﺭ ﻋﻜﺲ ﻫﺎﻱ ﺍﻭ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﺧﻮﺩﺵ ﻳﺎ ﻫﻤﺴﺮﺵ ﺑﻪ ﺻﻮﺭﺕ ﺗﻨﻬﺎ ﻣﺸﺎﻫﺪﻩ ﻣﻲ ﺷﻮﺩ‪ .‬ﺩﻳﮕﺮ ﺁﻥ‬
‫ﺧﺎﺻﻴﺖ ﺑﺪﻭﻥ ﻣﺤﺪﻭﺩﻳﺖ ﺩﺭ ﻋﻜﺲ ﻫﺎﻱ ﺍﻭ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﺳﻮژﻩ ﺍﻭ ﻩﺏﺻﻮﺭﺕ ﺳﺎﻛﻦ ﻭ ﺗﻨﻬﺎ ﺩﺭ ﻣﻴﺎﻥ ﻣﺮﺩﻡ‬
‫ﻭ ﻣﺎﺷﻴﻦ ﻫﺎﻱ ﺩﺭ ﺣﺎﻝ ﺣﺮﻛﺖ ﺍﻳﺴﺘﺎﺩﻩ ﺍﺳﺖ ﻭ ﺑﻨﻈﺮ ﻣﻲ ﺭﺳﺪ ﻛﻪ ﻫﻴﭻ ﻛﺲ ﺍﻭ ﺭﺍ ﻧﻤﻲ ﺑﻴﻨﺪ‪ ،‬ﺑﺠﺰ ﻋﻜﺎﺱ‪.‬ﻫﺮ‬
‫ﺳﻮژﻩ ﮔﻮﻳﺎ ﺷﺨﺼﻲ ﺍﺳﺖ ﻛﻪ ﺩﻧﻴﺎ ﺑﺮﺍﻱ ﺍﻭ ﺩﺭ ﺣﺎﻝ ﮔﺬﺭ ﺍﺳﺖ‪.‬‬
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‫‪ .8‬ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﻭ ﻟﺤﻈﻪ ﻗﻄﻌﻲ‬
‫ﻫﺎﻧﺮﻱ ﻛﺎﺭﺗﻴﻪ ﺑﺮِﺳﻮﻥ ﻳﻚ ﺑﺎﺭ ﺑﻪ ﻣﺠﻠﻪ ﻧﻴﻮﺯ ﻭﻳﻚ ﮔﻔﺖ ﻛﻪ ﺍﺯ ﺗﻤﺎﻡ ﻋﻜﺎﺳﺎﻥ‪ ،‬ﺍﻭ ﺑﻴﺸﺘﺮ ﺍﺯ ﻫﻤﻪ ﻻﺭﺗﻴﮓ ﺭﺍ‬
‫ﻣﻮﺭﺩ ﺳﺘﺎﻳﺶ ﻗﺮﺍﺭ ﻣﻲ ﺩﻫﺪ‪ .‬ﻭ ﺍﮔﺮ ﻛﻤﻲ ﺯﻭﺩﺗﺮ ﺑﻪ ﺩﻧﻴﺎ ﻣﻲ ﺁﻣﺪ ﻣﻤﻜﻦ ﺑﻮﺩ ﻻﺭﺗﻴﮓ ﺑﺎﺷﺪ‪ .‬ﻫﻤﺎﻧﻨﺪ ﻻﺭﺗﻴﮓ‬
‫ﺍﻭ ﺩﺭ ﻳﻚ ﺧﺎﻧﻮﺍﺩﻩ ﺛﺮﻭﺗﻤﻨﺪ ﻭ ﺣﺎﻣﻲ ﺑﺰﺭگ ﺷﺪ ﻭ ﺍﻭﻟﻴﻦ ﺩﻭﺭﺑﻴﻨﺶ ﻛﻪ ﻳﻚ ﺑﺮﺍﻭﻧﻲ ﺟﻌﺒﻪ ﺍﻱ ﺑﻮﺩ ﺭﺍ ﺩﺭ‬
‫ﻛﻮﺩﻛﻲ ﺻﺎﺣﺐ ﺷﺪ‪ .‬ﺍﻭ ﻧﻴﺰ ﻫﻤﺎﻧﻨﺪ ﻻﺭﺗﻴﮓ ﺍﺳﺘﻌﺪﺍﺩ ﺫﺍﺗﻲ ﺩﺍﺷﺖ ﻭ ﺑﻌﻀﻲ ﺍﺯ ﺑﻬﺘﺮﻳﻦ ﻋﻜﺲ ﻫﺎﻳﺶ ﺭﺍ ﺩﺭ‬
‫ﻟﺤﻈﻪ ﺷﺮﻭﻉ ﺑﻪ ﻛﺎﺭِ ﺟﺪﻱ ﮔﺮﻓﺖ ﻭﻟﻲ ﺍﻳﻦ ﺯﻣﺎﻥ‪ ،‬ﺯﻣﺎﻧﻲ ﺑﻮﺩ ﻛﻪ ﻧﺴﺒﺖ ﺑﻪ ﺁﻥ ﺯﻣﺎﻥ ﻻﺭﺗﻴﮓ ﺳﻦ ﺑﻴﺸﺘﺮﻱ‬
‫ﺩﺍﺷﺖ‪ .‬ﺩﺭ ﺳﻨﻲ ﻛﻪ ﻻﺭﺗﻴﮓ ﺑﻬﺘﺮﻳﻦ ﺗﺼﺎﻭﻳﺮﺵ ﺭﺍ ﺗﺎ ﺁﻥ ﻣﻮﻗﻊ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﻳﻌﻨﻲ ﺩﺭ ﺍﻭﺍﻳﻞ ﺩﻫﻪ ﺩﻭﻡ ﺯﻧﺪﮔﻲ‬
‫ﺍﺵ ‪ ،‬ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺗﺎﺯﻩ ﺷﺮﻭﻉ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺩﺭ ﺟﺎﻳﻲ ﺍﺯ ﺯﻧﺪﮔﻲ ﻛﻪ ﻻﺭﺗﻴﮓ ﺩﺍﺷﺖ ﺑﻪ ﺩﻧﻴﺎﻱ ﺧﺎﻧﻮﺍﺩﻩ ﻭ‬
‫ﺩﻭﺳﺘﺎﻥ ﻣﻲ ﺭﻓﺖ‪ ،‬ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺳﻔﺮﻫﺎﻱ ﻣﺘﻌﺪﺩ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﺩﻭﺭﺑﻴﻦ ﺷﺮﻭﻉ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﻛﻪ ﺑﻴﺶ ﺍﺯ ﺳﻲ ﺳﺎﻝ‬
‫ﺑﻪ ﻃﻮﻝ ﺍﻧﺠﺎﻣﻴﺪ‪.‬‬
‫ﺑﺎ ﺍﻭ ‪ ،‬ﺑﻴﺸﺘﺮ ﺍﺯ ﻫﺮ ﻋﻜﺎﺱ ﺩﻳﮕﺮﻱ ‪ ،‬ﻣﻨﺎﺳﺐ ﺍﺳﺖ ﻛﻪ ﻣﺴﺘﻘﻴﻢ ﺑﻪ ﺳﺮﺍﻍ ﻋﻜﺲ ﻫﺎ ﺑﺮﻭﻳﻢ ﻭ ﺍﺯ ﺁﻧﺠﺎ ﺷﺮﻭﻉ‬
‫ﻛﻨﻢ‪ ،‬ﭼﻮﻥ ﺍﻭ ﺧﻮﺩﺵ ﭼﻨﻴﻦ ﻛﺮﺩ‪ .‬ﺍﻭ ﺩﺭ ﺻﺤﺒﺖ ﺭﺍﺟﻊ ﺑﻪ ﻛﺘﺎﺏ ﭼﺎپ ﺷﺪﻩ ﺳﺎﻝ ‪ 1952‬ﺍﺯ ﻛﺎﺭﻫﺎﻳﺶ ﮔﻔﺘﻪ‬
‫ﺍﺳﺖ "ﺑﻬﺘﺮﻳﻦ ﻋﻜﺲ ﻫﺎ ﺩﺭ ﻟﺤﻈﻪ ﻗﻄﻌﻲ ﺳﺮﻳﻌﺎً ﭘﺲ ﺍﺯ ﻳﻚ ﺑﺎﺯﻩ ﺩﻭ ﻫﻔﺘﻪ ﺍﻱ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺍﻧﺪ‪ " .‬ﺍﻭ ﮔﻔﺘﻪ ﺍﺳﺖ‬
‫ﻛﻪ ﺩﺭ ﻋﻜﺎﺳﻲ‪ ،‬ﺭﺷﺪ ﻳﻚ "ﻣﻔﻬﻮﻡ ﻏﻠﻂ" ﺍﺳﺖ‪.‬‬
‫ﭘﺮﺳﺸﻲ ﺩﺭ ﺍﻳﻦ ﻧﻴﺴﺖ ﻛﻪ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺳﺮﻳﻌﺎً ﺩﺭ ﻋﻜﺲ ﻫﺎ ﻳﻚ ﻧﮕﺎﻩ ﺟﺪﻳﺪ ﺑﻨﺎ ﻧﻤﻮﺩ‪ .‬ﻟ‪‬ﻮﻱ ﺍﺣﺴﺎﺱ ﻣﻲ‬
‫ﻛﺮﺩ ﻛﻪ ﻛﺎﺭﻫﺎﻱ ﺍﻭ ﺁﻧﻘﺪﺭ ﻏﻴﺮ ﻣﻌﻤﻮﻟﻨﺪ ﻛﻪ ﻋﺎﻣﻪ ﻣﺮﺩﻡ ﺁﻣﺮﻳﻜﺎ ﺍﺣﺘﻴﺎﺝ ﺑﻪ ﻳﻚ ﺁﻣﺎﺩﮔﻲ ﺑﺮﺍﻱ ﺁﻥ ﺩﺍﺭﻧﺪ‪ .‬ﺍﻭ‬
‫ﺗﺤﺖ ﻋﻨﻮﺍﻥ ﺳﺎﺧﺘﮕﻲ ﭘﻴﺘﺮ ﻟﻮﻳﺪ ﺑﺮﺍﻱ ﺧﻮﺩﺵ ﺭﺍﺟﻊ ﺑﻪ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﻳﻚ ﻧﺎﻣﻪ ﻧﻮﺷﺖ ﻛﻪ ﺁﻥ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ‬
‫ﻣﻘﺎﻟﻪ ﻛﺎﺗﺎﻟﻮگ ﺑﺮﺍﻱ ﺍﻭﻟﻴﻦ ﻧﻤﺎﻳﺶ ﺁﺛﺎﺭ ﺍﻭ ﭼﺎپ ﻧﻤﻮﺩ‪.‬‬
‫"ﺍﻳﻦ ﻧﻤﺎﻳﺶ ﺭﺍ ﻋﻜﺎﺳﻲ ﻓﺎﺭﻍ ﺍﺯ ﺍﺧﻼﻗﻴﺎﺕ ‪ ،‬ﻣﺒﻬﻢ ﻭ ﭼﻨﺪ ﻣﻔﻬﻮﻣﻲ ‪ ،‬ﻏﻴﺮ ﻣﻄﻤﺌﻦ ‪ ،‬ﻏﻴﺮ ﻗﺎﺑﻞ ﺗﺮﺳﻴﻢ‪ ،‬ﻋﻜﺎﺳﻲ‬
‫ﺗﺼﺎﺩﻓﻲ ﺑﻨﺎﻣﻴﺪ‪ ".‬ﺍﻳﻦ ﻧﺎﻣﻪ ﺑﻴﺎﻥ ﻛﺮﺩ ﻛﻪ‪ " :‬ﺁﻥ ﺭﺍ ﻋﻜﺎﺳﻲ ﺿﺪ ﮔﺮﺍﻓﻴﻚ ﺑﻨﺎﻣﻴﺪ‪" .‬ﺍﻳﻦ ﻟﻐﺖ ﺁﺧﺮ ﻟﻐﺘﻲ ﺍﺳﺖ ﻛﻪ‬
‫ﻣﺎﻧﺪﻧﻲ ﺷﺪ ﻭ ﺍﻛﺜﺮ ﺍﻭﻗﺎﺕ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﻛﺎﺭﻫﺎﻱ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺑﻴﺎﻥ ﻣﻲ ﺷﻮﺩ‪ .‬ﺍﻳﻦ ﻟﻐﺖ ﺭﻭﺣﻴﻪ ﺍﻳﻦ ﺗﺼﻮﻳﺮ‬
‫ﻛﻦـﺕﺭﺍﺳﺖ ﻧﻮﺭﻱ ﺷﺪﻳﺪ ﻭ‬
‫ﮔﺮﻱ ﺭﺍ ﺍﺯ ﭼﻨﺪﻳﻦ ﺟﻬﺖ ﻧﺸﺎﻥ ﻣﻲ ﺩﻫﺪ‪ .‬ﺍﻭﻝ ﺍﻳﻨﻜﻪ ﺍﻳﻦ ﻋﻜﺲ ﻫﺎ ﻓﺎﻗﺪ ـ‬
‫ﺳﺎﻳﻪ ﻋﻤﻴﻖ ﺍﻧﺪ ﺩﺭ ﺣﺎﻟﻲ ﻛﻪ ﺑﻴﺸﺘﺮ ﻋﻜﺎﺳﻲ ﻫﻨﺮﻱ ﺁﻥ ﺭﻭﺯ ﻃﺮﻓﺪﺍﺭ ﺍﻟﮕﻮﻱ ﮔﺮﺍﻓﻴﻜﻲ ﺑﺮﺟﺴﺘﻪ ﺩﺭ ﭼﺎپ ﺑﻮﺩ‪.‬‬
‫ﺍﮔﺮ ﺩﺭ ﻋﻜﺲ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺁﻓﺘﺎﺏ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻣﻌﻤﻮﻻً ﺭﻭﻱ ﭘﺲ ﺯﻣﻴﻨﻪ ﻣﻲ ﺍﻓﺘﺪ ﻭ ﺳﻮژﻩ ﻫﺎﻱ ﭘﻴﺶ ﺯﻣﻴﻨﻪ‬
‫ﺩﺭ ﺳﺎﻳﻪ ﺍﻧﺪ‪.‬ﺩﺭﻛﻞ ﺗﺮﺟﻴﺢ ﺑﺮ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺁﻓﺘﺎﺏ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺗﺮﺟﻴﺢ ﻣﻲ ﺩﺍﺩ ﻛﻪ ﺩﺭ‬
‫"ﺧﻮﺭﺷﻴﺪ ﺑﺴﻴﺎﺭ ﻣﺸﻜﻞ ﺳﺎﺯ ﺍﺳﺖ‪،‬ﻣﺠﺒﻮﺭ ﻣﻲ ﻛﻨﺪ‪،‬‬ ‫ﻳﻚ ﺭﻭﺯ ﮔﺮﻓﺘﻪ ﻋﻜﺲ ﺑﮕﻴﺮﺩ‪ .‬ﺍﻭ ﺗﻮﺿﻴﺢ ﺩﺍﺩﻩ ﻛﻪ ‪:‬‬
‫ﻭﺍﺩﺍﺭ ﻣﻲ ﻛﻨﺪ‪ .‬ﺷﺮﺍﻳﻂ ﻛﻤﻲ ﺍﺑﺮﻱ ﺍﺟﺎﺯﻩ ﻣﻲ ﺩﻫﺪ ﻛﻪ ﺑﻪ ﻃﻮﺭ ﺁﺯﺍﺩﺍﻧﻪ ﺣﻮﻝ ﺳﻮژﻩ ﺑﮕﺮﺩﻳﻢ‪ " .‬ﺑﻴﺸﺘﺮ ﺍﺯ ﺁﻥ‪ ،‬ﺍﻭ‬
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‫ﺗﺮﺟﻲﺡ ﻣﻲ ﺩﺍﺩ ﻛﻪ ﭼﺎپ ﺧﺎﻛﺴﺘﺮﻱ ﻭ ﺩﺍﺭﺍﻱ ﺗﻦ ﻳﻜﻨﻮﺍﺧﺖ ﺑﺎﺷﺪ‪ .‬ﺍﻭ ﻣﻲ ﺧﻮﺍﺳﺖ ﻛﻪ ﭼﺎپ‪ ،‬ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ‬
‫ﺟﺎﻥ ﺳﺎﺭﻛﻮﻓﺴﻜﻲ ﻳﻜﺒﺎﺭ ﮔﻔﺖ‪ ،‬ﻣﺎﻧﻨﺪ ﻳﻚ "ﭘﺮﺩﻩ ﻣﻨﻘﻮﺵ" ﺑﺎﺷﺪ‪.‬‬
‫ﺟﻨﺒﻪ ﺩﻳﮕﺮﻱ ﻛﻪ ﻃﺒﻖ ﺁﻥ ﻳﻚ ﻋﻜﺲ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺿﺪ ﮔﺮﺍﻓﻴﻚ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﭼﻴﺰﻱ ﻧﻴﺴﺖ ﻛﻪ ﻳﻚ‬
‫ﻭﻳﺮﺍﺳﺘﺎﺭ ﺭﻭﺯﻧﺎﻣﻪ ﺁﻥ ﺭﺍ "ﺗﺼﻮﻳﺮ ﺗﻮﺿﻴﺢ ﺩﻫﻨﺪﻩ "ﺑﺪﺍﻧﺪ‪ .‬ﺗﺼﺎﻭﻳﺮ ﻓﺎﻗﺪ ﻫﺮ ﮔﻮﻧﻪ ﺩﺍﺳﺘﺎﻥ ﺑﺮﺍﻱ ﺭﻭﺍﻳﺘﻨﺪ‪ ،‬ﻳﺎ ﺍﮔﺮ‬
‫ﺩﺍﺭﺍﻱ ﺁﻥ ﻫﺴﺘﻨﺪ‪ ،‬ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﻫﻴﭻ ﻧﻜﺘﻪ ﻳﺎ ﻧﺘﻴﺠﻪ ﺍﺧﻼﻗﻲ ﻧﺪﺍﺭﺩ‪.‬‬
‫ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﻟ‪‬ﻮﻱ ﮔﻔﺖ ﻋﻜﺲ ﻫﺎﻱ ﺍﻭ ﻓﺎﻗﺪ ﺍﺧﻼﻗﻴﺎﺗﻨﺪ‪ .‬ﻫﻤﺎﻧﻨﺪ ﭼﺎپ ‪ ،‬ﻣﺤﺘﻮﻳﺎﺕ ﺗﺼﻮﻳﺮ ﻧﻴﺰ ﺑﻪ ﻃﺮﺯ ﻋﺠﻴﺒﻲ‬
‫ﺍﺯ ﻧﻈﺮ ﺗﻦ ﺧﻨﺜﻲ ﺍﺳﺖ‪ .‬ﻗﺎﺑﻠﻴﺖ ﺍﻭ ﺩﺭ ﺭﺍﻩ ﺭﻓﺘﻦ ﺩﺭ ﻳﻚ ﺧﻴﺎﺑﺎﻥ ﺩﺭ ﭘﺎﺭﻳﺲ ﻳﺎ ﺳ‪‬ﻮﻳﻞ ﻳﺎ ﺷﺎﻧﮕﻬﺎﻱ ﻭ ﭘﺎﺳﺦ ﺩﺍﺩﻥ‬
‫ﺑﺎ ﻣﺘﺎﻧﺖ ﻭ ﺗﻌﺎﺩﻝ ﺑﻪ ﻫﺮ ﭼﻴﺰﻱ ﻛﻪ ﺩﺭ ﺁﻧﺠﺎ ﻣﻲ ﻳﺎﺑﺪ ‪ ،‬ﺍﺯ ﻓﻜﺮ ﺑﺎﺯ ﺍﻭ ﻧﺴﺒﺖ ﺑﻪ ﺗﺠﺮﺑﻪ ﺍﻧﺴﺎﻧﻲ ﻧﺘﻴﺠﻪ ﻣﻲ ﺷﻮﺩ‪.‬‬
‫ﺩﺭ ﺑﻴﺒﺸﺘﺮ ﻛﺎﺭﻫﺎﻱ ﺍﻭ ﻣﻜﺎﻥ ﺩﺍﺭﺍﻱ ﻟﺒﻪ ﺗﻴﺰ ﻭ ﺑﻲ ﺯﻣﺎﻥ ﺍﺳﺖ‪ ،‬ﺣﻀﻮﺭ ﺍﻧﺴﺎﻥ ﺩﺍﺭﺍﻱ ﺗﺎﺭﻱ ﺣﺮﻛﺘﻲ ﻭ ﺯﻭﺩ ﮔﺬﺭ‬
‫ﺍﺳﺖ‪ .‬ﺗﺼﻮﻳﺮ ﺩﻗﻴﻘﺎًﺩﺭ ﻧﻴﻤﻪ ﺭﺍﻩ ﺑﻴﻦ ﻳﻚ ﺗﺮﻛﻴﺐ ﺑﻨﺪﻱ ﺣﺴﺎﺏ ﺷﺪﻩ ﻭ ﻳﻚ ﻭﺍﻛﻨﺶ ﺳﺮﻳﻊ ﻣﺘﻌﺎﺩﻝ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬
‫ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﻳﻚ ﺑﺎﺭ ﺑﻪ ﻳﻚ ﺧﺒﺮﻧﮕﺎﺭ ﺍﺯ ‪ LeMonde‬ﮔﻔﺖ ‪" :‬ﺁﻥ ﭼﻴﺰﻱ ﻛﻪ ﺑﻪ ﺣﺴﺎﺏ ﻣﻲ ﺁﻳﺪ ﺗﻔﺎﻭﺕ‬
‫ﻫﺎﻱ ﻛﻮﭼﻚ ﺍﺳﺖ‪ .‬ﺍﻳﺪﻩ ﻫﺎﻱ ﻛﻠﻲ ﻫﻴﭻ ﻣﻌﻨﺎﻳﻲ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺯﻧﺪﻩ ﺑﺎﺩ‪ ...‬ﺟﺰﺋﻴﺎﺕ ! ﻳﻚ ﻣﻴﻠﻴﻤﺘﺮ ﺍﻳﺠﺎﺩ ﻛﻨﻨﺪﻩ ﺗﻤﺎﻡ‬
‫ﺗﻔﺎﻭﺕ ﻫﺎﺳﺖ‪ " .‬ﻭﻗﺘﻲ ﺣﺘﻲ ﺑﻪ ﻋﻜﺴﻬﺎﻱ ﺍﺑﺘﺪﺍﻳﻲ ﺍﻭ ﻣﻲ ﻧﮕﺮﻳﻢ ﺑﻪ ﺁﺳﺎﻧﻲ ﻣﺸﻬﻮﺩ ﺍﺳﺖ ﻛﻪ ﺍﻭ ﺭﺍﺟﻊ ﺑﻪ ﭼﻪ‬
‫ﭼﻴﺰﻱ ﺣﺮﻑ ﻣﻲ ﺯﻧﺪ‪ .‬ﭼﻨﺪ ﻧﻘﻄﻪ ﻛﻮﭼﻚ ﺭﻭﻱ ﻧﮕﺎﺗﻴﻮ ﻋﻨﺎﺻﺮ ﻣﻬﻤﻲ ﺑﺮﺍﻱ ﻧﮕﻪ ﺩﺍﺷﺘﻦ ﺗﺮﻛﻴﺐ ﺑﻨﺪﻱ ﻫﺴﺘﻨﺪ‪.‬‬
‫ﺟﺰﺋﻴﺎﺕ ﺳﺎﺧﺘﺎﺭ ﻓُﺮﻣﻲ ﺭﺍ ﺍﻳﺠﺎﺩ ﻣﻲ ﻛﻨﻨﺪ‪ .‬ﻣﺎﻧﻨﺪ ﺁﻧﺠﺎ ﻛﻪ ﺍﻧﻌﻜﺎﺱ ﻣﺘﻘﺎﺭﻥ ﻣﺮﺩ ﭘﺮﺵ ﻛﺮﺩﺓ ﺩﺭ ﺣﺎﻝ ﻓﺮﻭﺩ ﺩﺭ‬
‫ﺁﺏ‪ ،‬ﺩﺭ ﺣﺎﻝ ﺭﺳﻴﺪﻥ ﺑﻪ ﺧﻮﺩ ﺍﻭ ﺍﺳﺖ ﻭ ﺍﻳﻦ ﺻﺤﻨﻪ ﺗﻮﺳﻂ ﭘﻴﻜﺮﻫﺎﻱ ﻛﻮﭼﻚ ﺩﺭ ﭘﻮﺳﺘﺮﻫﺎﻱ ﺭﻗﺺ ﺩﺭ ﭘﺲ‬
‫ﺯﻣﻴﻨﻪ‪ ،‬ﺩﻗﻴﻘﺎ ﺷﺒﻴﻪ ﺧﻮﺩﺵ ﺗﻜﺮﺍﺭ ﺷﺪﻩ ﻭ ﺗﻘﻠﻴﺪ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬
‫ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺑﻴﺎﻥ ﺩﺍﺷﺘﻪ ﻛﻪ ﺑﺮﺍﻱ ﺷﻨﺎﺧﺖ ﺧﻮﺩ ﻋﻜﺎﺱ ﺑﺎﻳﺪ ﭼﺎپ ﻫﺎﻱ ﻛﻨﺘﺎﻛﺖ ﺍﻭ ﺭﺍ ﺩﻳﺪ ‪ ،‬ﻧﻪ ﭼﺎپ‬
‫ﻧﻬﺎﻳﻲ ﺭﺍ‪.‬ﻭﻗﺘﻲ ﻛﻪ ﻋﻜﺎﺳﺎﻥ ﺟﻮﺍﻥ ﻣﻲ ﺧﻮﺍﺳﺘﻨﺪ ﻛﺎﺭﻫﺎﻳﺸﺎﻥ ﺭﺍ ﺑﻪ ﺍﻭ ﻧﺸﺎﻥ ﺩﻫﻨﺪ ﺍﻭ ﻣﻲ ﮔﻔﺖ ﻛﻪ ﻓﻘﻂ ﻣﻲ‬
‫ﺧﻮﺍﻫﺪ ﻛﻨﺘﺎﻛﺖ ﻫﺎ ﺭﺍ ﺑﺒﻴﻨﺪ‪ .‬ﺍﻭ ﺑﻪ ‪ Le Monde‬ﮔﻔﺖ "‪:‬ﻣﻦ ﺗﺮﺟﻴﺢ ﻣﻲ ﺩﻫﻢ ﻛﻪ ﺑﻪ ﺑﺮﮔﻪ ﻫﺎﻱ ﻛﻨﺘﺎﻛﺖ‬
‫ﻧﮕﺎﻩ ﻛﻨﻢ‪ ،‬ﭼﻮﻥ ﺁﻧﺠﺎ ﻣﻲ ﺗﻮﺍﻥ ﺧﻮﺩ ﻓﺮﺩ ﺭﺍ ﺩﻳﺪ‪".‬‬
‫ﺍﻱﻧﻜﻪ ﺍﻭ ﻣﻲ ﺧﻮﺍﻫﺪ ﺩﺭ ﻋﻜﺲ ﻫﺎﻱ ﺑﻘﻴﻪ ﺧﻮﺩ ﻓﺮﺩ ﺭﺍ ﺑﺒﻴﻨﺪ ﻣﺸﺎﻫﺪﻩ ﻟﻴﻨﻜﻮﻥ ﻛﻴﺮﺷﺘﺎﻳﻦ ‪ 1‬ﺭﺍ ﺃ‬
‫ﺕﻳﻴﺪ ﻣﻲ ﻛﻨﺪ ﻛﻪ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺩﻳﺪ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺑﺠﺎﻱ ﺗﺮﺍژﻳﻚ ﻭ ﻛﻤﻴﻚ‪ ،‬ﻟﻴﺮﻳﻚ ‪ 2‬ﺍﺳﺖ‪ .‬ﺑﺮﺧﻼﻑ ﺷﻌﺮ ﺗﺮﺍژﻳﻚ ﻛﻪ ﻣﻲ ﺧﻮﺍﻫﺪ ﺩﺭ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺳﺮﻧﻮﺷﺖ ﺩﻳﮕﺮ ﺍﻧﺴﺎﻥ ﻫﺎ ﻗﻮﺍﻧﻴﻦ ﺍﺧﻼﻗﻲ ﺟﻬﺎﻥ ﺭﺍ ﺑﺨﻮﺍﻧﺪ‪ ،‬ﺷﺎﻋﺮ ﻟﻴﺮﻳﻚ ﺑﻪ ﻣﺎ ﻣﻲ ﮔﻮﻳﺪ ﻛﻪ ﺩﺭ ﺧﻮﺩﺵ ﭼﻪ‬
‫ﻣﻲ ﮔﺬﺭﺩ‪ .‬ﺍﻭ ﺑﺎ ﺧﻮﺍﻧﺪﻥ ﺷﻌﺮﺵ ﺩﺭ ﺍﻭﻝ ﺷﺨﺺ ﻣﻔﺮﺩ ﺍﺳﺎﺳﺎً ﺍﺣﺴﺎﺳﺎﺕ ﻭ ﻛﺎﺭﺍﻛﺘﺮ ﺷﺨﺼﻴﺘﻲ ﺧﻮﺩﺵ ﺭﺍ‬
‫ﺁﺷﻜﺎﺭ ﻣﻲ ﺳﺎﺯﺩ‪.‬‬
‫‪ .Lincoln Edward Kirstein .1‬ﻧﻮﻳﺴﻨﺪﻩ ﺁﻣﺮﻳﻜﺎﻳﻲ‪1907-1996 .‬‬

‫‪lyric .2‬‬
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‫ﻋﻜﺲ ‪ 2-8‬ﻫ‪‬ﻨﺮﻱ ﻛﺎﺗﻴﻪ ﺑﺮﺳﻮﻥ‪ ،‬ﺳ‪‬ﻮﻳﻞ‪1932 ،‬‬
‫ﺩﺭ ﻋﻜﺴﻬﺎﻱ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺍﻳﻦ ﻧﮕﺎﻩ ﺩﻭ ﮔﺎﻧﻪ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺩﻧﻴﺎﻱ ﭘﻴﺶ ﺭﻭﻱ ﻣﺎ‪ ،‬ﻫﻢ ﺩﻧﻴﺎﻱ ﻋﻤﻮﻣﻲ ﺧﻴﺎﺑﺎﻧﻲ‬
‫ﺍﺳﺖ ﻛﻪ ﻋﻜﺲ ﺩﺭ ﺁﻥ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﻭ ﻫﻢ ﺩﻧﻴﺎﻱ ﺧﺼﻮﺻﻲ ﻧﺎ ﺧﻮﺩﺁﮔﺎﻫﻲ ﻛﻪ ﺗﺮﻛﻴﺐ ﺑﻨﺪﻱ ﺩﺭﺁﻥ ﺷﻜﻞ‬
‫ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﻣﺜﺎﻝ ﺍﺻﻠﻲ ﭼﻨﻴﻦ ﺗﺼﻮﻱﺭ ﮔﺮﻱ ﺍﻱ ﺗﺼﻮﻳﺮﻱ ﺍﺳﺖ ﻛﻪ ﺍﻭ ﺩﺭ ﺳ‪‬ﻮﻳﻞ ﺩﺭ ‪ 1932‬ﮔﺮﻓﺖ‪ ) .‬ﻋﻜﺲ‬
‫‪ .(2-8‬ﻣﺤﻴﻂ ﺗﻤﺎﻣﺎً ﺧﻄﻮﻁ ﺍﺳﺖ‪ .‬ﭘﻴﺎﺩﻩ ﺭﻭﻱ ﺧﻂ ﺩﺍﺭ ‪ ،‬ﭘﻨﺠﺮﻩ ﻫﺎﻱ ﻛﺮﻛﺮﻩ ﺍﻱ ‪ ،‬ﮔﻮﺷﻪ ﻫﺎﻱ ﺳﻔﻴﺪ ﺷﺪﻩ‬
‫ﺳﺎﺧﺘﻤﺎﻥ ﻫﺎ‪ ،‬ﻭ ﺳﺎﻳﻪ ﻫﺎﻱ ﺳﺨﺖ ﻭ ﺯﺍﻭﻳﻪ ﺩﺍﺭ‪ .‬ﺍﻳﻨﺠﺎ ﻣﺸﺨﺼﺎً ﻳﻚ ﺧﻴﺎﺑﺎﻥ ﺍﺳﭙﺎﻧﻴﺎﻳﻲ ﺍﺳﺖ ﻭﻟﻲ ﺑﺎ ﺍﻳﻨﺤﺎﻝ ﻳﻚ‬
‫ﻓﻀﺎﻱ ﺗﺼﻮﻳﺮﻱ ﻛﺎﻣﻼ ﺍﻧﺘﺰﺍﻋﻲ ﻭ ﺧﻴﺎﻟﻲ ﺍﺳﺖ‪ .‬ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﺧﻴﺎﺑﺎﻥ ﭼﻨﻴﻦ ﻫﻨﺪﺳﻪ ﺧﺸﻨﻲ ﺩﺍﺭﺩ‪ ،‬ﺩﻭ ﭘﺴﺮ ﺑﭽﻪ ﺩﺭ‬
‫ﮔﻮﺷﻪ ﻫﺎﻱ ﻓﻀﺎ ﻭ ﭘﻴﺶ ﺯﻣﻴﻨﻪ ﺣﻀﻮﺭﻱ ﻧﺮﻡ ﻭ ﻏﻴﺮ ﻗﻄﻌﻲ ﺩﺍﺭﻧﺪ‪ .‬ﺁﻧﻬﺎ ﺩﺭﻭﻥ ﮔﺴﺘﺮﻩ ﻛﺎﻧﻮﻧﻲ ﺩﻭﺭﺑﻴﻦ ﻫﺴﺘﻨﺪ‪ ،‬ﻭ‬
‫ﺩﺭ ﺣﺮﻛﺖ‪ .‬ﺁﻧﻬﺎ ﺍﺯ ﻟﺤﺎﻅ ﺑﺼﺮﻱ ﺧﺎﺭﺝ ﺍﺯ ﻣﻜﺎﻥ ﺍﻧﺪ؛ ﻳﻚ ﺗﻀﺎﺩ ﻣﺤﺾ ﻧﺴﺒﺖ ﺑﻪ ﺧﻴﺎﺑﺎﻥ‪ .‬ﻋﻠﻴﺮﻏﻢ ﺍﻳﻦ ﺍﻣﺮ‪،‬‬
‫ﺁﻧﻬﺎ ﺻﺤﻨﻪ ﺍﻱ ﻛﻪ ﺩﺭ ﺁﻥ ﻗﺮﺍﺭ ﺩﺍﺭﻧﺪ ﺭﺍ ﻛﺎﻣﻞ ﻣﻲ ﻛﻨﻨﺪ‪.‬‬
‫ﻟﻐﺎﺗﻲ ﻛﻪ ﺩﺭ ﻋﻨﻮﺍﻥ ﻓﺮﺍﻧﺴﻮﻱ ﻛﺘﺎﺏ ‪ 1952‬ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺍﺳﺘﻔﺎﺩﻩ ﺷﺪﻩ ‪ Images à la sauvette‬ﺍﺳﺖ‪.‬‬
‫ﻟﺤﻈﻪ ﻗﻄﻌﻲ )ﺗﺼﻤﻴﻢ ﮔﺮﻓﺘﻪ ﺷﺪﻩ( )‪ (The decisive moment‬ﺑﻪ ﻋﻨﻮﺍﻥ ﺗﺮﺟﻤﻪ ﺍﻧﮕﻠﻴﺴﻲ ﮔﻤﺮﺍﻩ ﻛﻨﻨﺪﻩ‬
‫ﺍﺳﺖ‪ ،‬ﭼﻮﻥ ﻟﺤﻈﻪ ﺍﻱ ﻛﻪ ﺑﻪ ﺁﻥ ﺍﺷﺎﺭﻩ ﺷﺪﻩ ﻟﺤﻈﻪ ﺍﻱ ﺩﺭﺳﺖ ﻗﺒﻞ ﺍﺯ ﺍﺗﺨﺎﺫ ﺗﺼﻤﻴﻢ ﺍﺳﺖ؛ ﻟﺤﻈﻪ ﺍﺯ ﭘﻴﺶ‬
‫ﺩﺭﻳﺎﻓﺘﻦ ﺑﺠﺎﻱ ﻧﺘﻴﺠﻪ ﮔﺮﻓﺘﻦ‪.‬‬
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‫‪ A là sauvette‬ﻳﻚ ﺍﺻﻄﻼﺡ ﻋﺎﻣﻴﺎﻧﻪ ﺍﺳﺖ ﻛﻪ ﺗﻘﺮﻳﺒﺎً ﻫﻢ ﺍﺭﺯ ﺑﺎ ﺩﺭﺣﺎﻝ ﻓﺮﺍﺭ‪ ،‬ﺩﺭ ﺣﺎﻝ ﻋﺠﻠﻪ ﺍﺳﺖ؛ ﻭﻟﻲ‬
‫ﺑﺮﻃﺒﻖ ﺗﻔﺴﻴﺮ ﺩﺭﺑﺎﺭﻩ ﻋﺒﺎﺭﺍﺗﻲ ﻛﻪ ﻓﺮﺍﻧﺴﻮﺍ ﺑﻮﺁﺱ ﺑﻪ ﮔﺮِﻳﺲ ﻣﺎﻳﺮ ﺩﺭ ﻣﻮﺯﻩ ﻣﺪﺭﻥ ﮔﻔﺖ ‪ ،‬ﺩﺭ ﺁﻥ ﻫﻤﭽﻨﻴﻦ ﻳﻚ‬
‫ﻋﻨﺼﺮ ﺁﻳﻨﺪﻩ ﺍﻱ ﻏﻴﺮ ﻗﺎﺑﻞ ﺗﺮﺟﻤﻪ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻟﺤﻈﻪ )ﻳﻚ ﺁﻥ( ﺷﺮﺡ ﺩﺍﺩﻩ ﺷﺪﻩ ﻟﺤﻈﻪ ﺍﻱ ﺍﺳﺖ ﻛﻪ ﺩﺭﺳﺖ‬
‫ﺩﺭ ﺣﺎﻝ ﺑﺮﺧﻮﺍﺳﺘﻦ ﺍﺯ ﺳﻄﺢ ﺯﻣﻴﻦ ﻫﺴﺘﻴﺪ‪ ،‬ﻳﺎ ﻟﺤﻈﻪ ﺍﻱ ﻛﻪ ﮔﻴﺮﻧﺪﻩ ﺗﻮپ ﺩﺭ ﺑﻴﺴﺒﺎﻝ ﺁﻣﺎﺩﻩ ﺍﺳﺖ ﺗﺎ ﺑﺎ ﺩﻳﺪﻥ‬
‫ﭘﺮﺗﺎﺏ ﺷﺪﻥ ﺗﻮپ ﺑﻪ ﻫﺮ ﻃﺮﻓﻲ ﺑﺮﻭﺩ‪ ،‬ﻳﺎ ﺯﻣﺎﻧﻲ ﻛﻪ ﺟﻴﺐ ﺑﺮ ﻣﻨﺘﻈﺮ ﺍﺳﺖ ﺗﺎ ﺣﻮﺍﺱ ﻗﺮﺑﺎﻧﻲ ﺍﺵ ﭘﺮﺕ ﺷﻮﺩ ﺗﺎ‬
‫ﺑﺘﻮﺍﻧﺪ ﺣﺮﻛﺖ ﺳﺮﻳﻊ ﺭﺍ ﺍﻧﺠﺎﻡ ﺩﻫﺪ‪ Images à la sauvette .‬ﻋﻨﻮﺍﻥ ﺻﺤﻴﺢ ﺍﺳﺖ ﺯﻳﺮﺍ ﻫﻢ ﺧﺼﻮﺻﻴﺎﺕ‬
‫ﺍﻋﻤﺎﻝ ﻋﻜﺎﺱ ﺭﺍ ﻣﻲ ﺭﺳﺎﻧﺪ ﻭ ﻫﻢ ﺳﻮژﻩ ﺭﺍ؛ ﻫﻢ ﺑﻪ ﺑﻴﺮﻭﻥ ﻣﻲ ﻧﮕﺮﺩ ﻭ ﻫﻢ ﺑﻪ ﺩﺭﻭﻥ‪.‬‬
‫ﻳﻚ ﻗﺎﻟﺒﻲ ﻛﻪ ﻋﻜﺲ ﻫﺎﻱ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺩﺭ ﺁﻥ ﻣﻌﻨﻲ ﭘﻴﺪﺍ ﻣﻲ ﻛﻨﻨﺪ ﻳﺎ ﺑﻬﺘﺮ ﺑﮕﻮﻳﻴﻢ ﺩﺭ ﺁﻥ ﺑﻲ ﻣﻌﻨﻲ ﺑﻮﺩﻥ‬
‫‪) 1‬ﺭﺍﺟﻊ ﺑﻪ ﭘﻲ ﻳﺮ ﺭﻭﺩﺭﻱ‬ ‫‪P‬‬ ‫‪P‬‬ ‫ﺁﻧﻬﺎ ﻣﻨﺎﺳﺐ ﺍﺳﺖ‪ ،‬ﻗﺎﻟﺐ ﺳﻮﺭﺭﺋﺎﻟﻴﺰﻡ ﺍﺳﺖ‪ .‬ﻋﻜﺲ ﺍﻳﻨﮕﻮﻧﻪ‪ ،‬ﺑﻪ ﮔﻔﺘﻪ ﺑﺮﺗﻮﻥ‬
‫ﻧﻮﻳﺴﻨﺪﻩ("ﻳﻚ ﺧﻠﻖ ﻣﺤﺾ ﺫﻫﻨﻲ ﺍﺳﺖ ﻛﻪ ‪ ...‬ﺍﺯ ﺗﻘﺎﺑﻞ ﺩﻭﺗﺎﻳﻲ ﺩﻭ ﻭﺍﻗﻌﻴﺖ ﻣﺠﺰﺍ ﺯﺍﺩﻩ ﻣﻲ ﺷﻮﺩ‪ ".‬ﻫﺮ ﻋﻜﺲ‬
‫ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺩﺭ ﺑﺎﺭﻩ ﻭﺍﻗﻌﻴﺖ ﻫﺎﻳﻲ ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﭼﻨﻴﻦ ﻣﻘﺎﺑﻞ ﻳﻜﺪﻳﮕﺮﻧﺪ‪ ...‬ﺩﻭﭼﺮﺧﻪ ﺍﻱ ﻛﻪ ﺩﺭ ﺗﻮﺩﺭﺗﻮﻱ‬
‫ﻧﺮﺩﻩ ﻫﺎﻱ ﻓﻠﺰﻱ ﻭ ﭘﻠﻜﺎﻥ ﺳﻨﮕﻲ ﮔﻴﺮ ﺍﻓﺘﺎﺩﻩ ﻭ ﺑﻪ ﺷﺪﺕ ﺩﺭ ﺣﺎﻝ ﭘﺪﺍﻝ ﺧﻮﺭﺩﻥ ﺍﺳﺖ؛ﺗﻮﺩﻩ ﺍﻱ ﺍﺯ ﺻﻮﺭﺕ ﻫﺎ‬
‫ﻋﻜﺲ ‪(2-9‬؛ ﺯﻥ ﻣﺴﻦ ﺳﻴﺎﻩ‬ ‫ﺩﺭ ﭘﻴﺶ ﺯﻣﻴﻨﻪ ﻣﻘﺎﺑﻞ ﭘﻨﺠﺮﻩ ﻫﺎﻱ ﭘﺨﺶ ﻭ ﭘﻼﻱ ﻣﺮﺗﻔﻊ ﻭ ﺭﻳﺰ ﺩﺭ ﭘﺲ ﺯﻣﻴﻨﻪ)‬
‫ﭘﻮﺵ ﺩﺭ ﺯﻳﺮ ﺳﺘﻮﻥ ﻫﺎﻱ ﻣﺠﺴﻤﻪ ﺯﻥ) ﻋﻜﺲ ‪.(2-10‬ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺩﺭ ﺻﺤﺒﺖ ﻫﺎﻳﺶ ﺭﺍﺟﻊ ﺑﻪ ﻋﻜﺎﺳﻲ‬
‫"‪.‬‬ ‫ﮔﻔﺘﻪ ﺍﺳﺖ‪" :‬ﺷﻌﺮ ﺷﺎﻣﻞ ﺩﻭ ﻋﻨﺼﺮ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻳﻜﺒﺎﺭﻩ ﺩﺭ ﺗﻘﺎﺑﻞ ﻗﺮﺍﺭ ﻣﻲ ﮔﻴﺮﻧﺪ؛ ﺟﺮﻗﻪ ﺍﻱ ﺑﻴﻦ ﺩﻭ ﻋﻨﺼﺮ‬
‫ﺷﻌﺮ ﺍﻭ ﺩﻗﻴﻘﺎ ﺑﻪ ﻣﺎﻧﻨﺪ ﻳﻚ ﺁﻧﻲ ﺍﺳﺖ ﻛﻪ ﺑﺮﺗﻮﻥ ﺍﻳﻨﮕﻮﻧﻪ ﺷﺮﺡ ﺩﺍﺩﻩ‪ " :‬ﺍﺗﻔﺎﻕ ﺗﺼﺎﺩﻓﻲ ﻣﺘﻘﺎﺑﻞ ﺑﻮﺩﻥ ﺩﻭ ﻭﺍژﻩ ﻛﻪ‬
‫ﺍﺯ ﺍﻳﻦ ﺗﻘﺎﺑﻞ‪ ،‬ﻧﻮﺭﻱ ﺑﺮ ﺍﻓﺮﻭﺧﺘﻪ ﻣﻲ ﺷﻮﺩ‪ .‬ﻧﻮﺭ ﺗﺼﻮﻳﺮ‪.‬‬
‫‪ .André Breton .1‬ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﺷﺎﻋﺮ ﻓﺮﺍﻧﺴﻮﻱ‪1896-1966 .‬‬
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‫ﻋﻜﺲ ‪ 2-9‬ﻫ‪‬ﻨﺮﻱ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ‪ ،‬ﻣﺎﺩﺭﻳﺪ‪1933 ،‬‬
‫ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺑﺮﺍﻱ ﮔﺬﺭﺍﻧﺪﻥ ﺯﻧﺪﮔﻲ ﻣﺠﺒﻮﺭ ﺷﺪ ﻛﻪ ﺑﻪ ﺣﺮﻓﻪ ﻋﻜﺎﺳﻲ ﺧﺒﺮﻱ ﺑﭙﺮﺩﺍﺯﺩ‪ .‬ﺑﺎ ﺍﻳﻦ ﻭﺟﻮﺩ ﺍﻭ‬
‫ﭼﮕﻮﻧﻪ ﻣﻲ ﺗﻮﺍﻧﺴﺖ ﻋﻨﺎﺻﺮ ﺳﻮﺭﺭﺋﺎﻝ ﻏﺎﻓﻠﮕﻴﺮﻱ ﻭ ﺗﺼﺎﺩﻑ ﺭﺍ ﺩﺭ ﺣﺮﻓﻪ ﻫﺮ ﺭﻭﺯﻩ ﺧﻮﺩ ﺣﻔﻆ ﻛﻨﺪ ؟ ﻳﻚ‬
‫ﭘﺎﺳﺦ ﺩﺭ ﺷﺮﻛﺖ ﻋﻜﺲ ﻣﮕﻨﻮﻡ ‪ 1‬ﺑﻮﺩ ﻛﻪ ﺍﻭ‪ ،‬ﺭﺍﺑﺮﺕ ﻛﺎﭘﺎ ‪ 2‬ﻭ ﺵﻳﻢ‪ 3‬ﺩﺭ ‪ 1947‬ﺑﻨﻴﺎﻥ ﻧﻬﺎﺩﻧﺪ‪ .‬ﺍﻳﻦ ﺁژﺍﻧﺲ‬
‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺍﻣﺘﻴﺎﺯﺍﺕ ﺑﺴﻴﺎﺭﻱ ﺑﺮﺍﻱ ﺍﻭ ﺑﻪ ﺍﺭﻣﻐﺎﻥ ﺁﻭﺭﺩ ﻛﻪ ﺍﺻﻠﻲ ﺗﺮﻳﻦ ﺁﻧﻬﺎ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﻣﺎﻧﻨﺪ ﺩﻭﺭﺑﻴﻨﺶ‪ ،‬ﻣﺜﻞ ﮔﺴﺘﺮﺷﻲ‬
‫ﺍﺯ ﺧﻮﺩ ﺍﻭ ﻋﻤﻞ ﻣﻲ ﻛﺮﺩ‪ .‬ﻫﻨﮕﺎﻣﻴﻜﻪ ﺍﻭ ﻋﻜﺲ ﻣﻲ ﮔﺮﻓﺖ ﺑﺮﺭﻭﻱ ﺳﻮژﻩ ﺗﻤﺮﻛﺰ ﻣﻲ ﻛﺮﺩ؛ ﻻﺯﻡ ﻧﺒﻮﺩ ﻛﻪ ﻓﻜﺮ‬
‫ﻛﻨﺪ ﻛﻪ ﺑﺎ ﭼﻪ ﻻﻳﻜﺎﻳﻲ ﻋﻜﺲ ﻣﻲ ﮔﻴﺮﺩ‪ .‬ﻣﮕﻨﻮﻡ ﺍﺑﺰﺍﺭ ﻣﺸﺎﺑﻬﻲ ﺑﻮﺩ ﺯﻳﺮﺍ ﺍﻳﻦ ﻧﮕﺮﺍﻧﻲ ﺭﺍ ﺍﺯ ﺑﻴﻦ ﻣﻲ ﺑﺮﺩ ﻛﻪ ﺍﻭ‬
‫ﭼﻄﻮﺭ ﻭ ﻛﺠﺎ ﻣﻲ ﺗﻮﺍﻧﺴﺖ ﻋﻜﺴﻬﺎﻳﺶ ﺭﺍ ﺑﻔﺮﻭﺷﺪ‪.‬‬
‫ﺑﻪ ﺍﻳﻦ ﺻﻮﺭﺕ ﺑﻪ ﺍﻭ‬ ‫ﻣﮕﻨﻮﻡ ﺑﺼﻮﺭﺕ ﺍﻳﺪﻩ ﺁﻟﻲ ﻋﻜﺎﺳﻲ ﺧﺒﺮﻱ ﺭﺍ ﺑﻪ ﻣﺎﻧﻨﺪ ﺩﻭﺭﺑﻴﻦ ﺍﺗﻮﻣﺎﺗﻴﻚ ﻣﻲ ﺳﺎﺧﺖ ﻭ‬
‫ﺍﺟﺎﺯﻩ ﻣﻲ ﺩﺍﺩ ﻛﻪ ﻋﻤﻠﻜﺮﺩ ﺟﺪﺍ ﺷﺪﻥ ﺍﺯ ﻗﻴﺪ ﻭ ﺑﻨﺪ ﺭﺍ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﻛﻪ ﺑﺮﺍﻱ ﺗﺼﺎﻭﻳﺮ ﺍﻭ ﺣﻴﺎﺗﻲ ﺑﻮﺩ‪ .‬ﺍﻓﻜﺎﺭ ﺍﻭ‬
‫ﺩﺭﺑﺎﺭﻩ ﻧﻴﺎﺯ ﺑﻪ ﺗﺒﺪﻳﻞ ﻋﻜﺎﺳﻲ ﺑﻪ ﻳﻚ ﺭﻭ ﺵ ﻣﻨﻈﻢ ﻭ ﺭﻭﺗﻴﻦ ﺭﺍ ﻣﻲ ﺗﻮﺍﻥ ﺑﺎ ﭘﻴﮕﻴﺮﻱ ﻣﺴﻴﺮﻱ ﻛﻪ ﺍﻭ ﺩﺭ ﻃﻲ ﺁﻥ‬
‫ﺩﺭﻃﻮﻝ ﺑﻴﺴﺖ ﺳﺎﻝ ﺑﻌﺪﺩﺭ ﺳﻔﺮﻫﺎﻳﺶ ﺑﻌﺪ ﺑﺮﺍﻱ ﻣﮕﻨﻮﻡ ﻃﻲ ﻛﺮﺩ ﭘﻴﮕﻴﺮﻱ ﻧﻤﻮﺩ‪.‬‬
‫‪Magnum Photos .1‬‬

‫‪ .Robert Capa .2‬ﻋﻜﺎﺱ ﺧﺒﺮﻱ ﻭ ﺟﻨﮓ ﻣﺠﺎﺭﺳﺘﺎﻧﻲ‪1913-1954 .‬‬
‫‪ .Chim .3‬ﺍﺳﻢ ﻣﺴﺘﻌﺎﺭ ‪ .David Seymour‬ﻋﻜﺎﺱ ﻟﻬﺴﺘﺎﻧﻲ‪1911-1956 .‬‬
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‫ﻋﻜﺲ ‪ 2-10‬ﻫ‪‬ﻨﺮﻱ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ‪ ،‬ﺁﺗﻦ‪1953 ،‬‬
‫ﺁﺭﺗﻮﺭ ﮔﻠﺪﺳﻤﻴﺖ‪ ‬ﻣﻨﺘﻘﺪ‪،‬ﺗﻨﻬﺎ ﻳﻜﻲ ﺍﺯ ﻣﻌﺪﻭﺩ ﻣﻔﺴﺮﺍﻥ ﻋﻜﺎﺳﻲ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺍﺳﺖ ﻛﻪ ﻛﺎﺭﻫﺎﻱ ﺍﻭ ﺭﺍ "ﺧﻮﺩ‬
‫ﺭﻫﺎ ﻛﻨﻨﺪﻩ " ﻧﺎﻣﻴﺪﻩ ﺍﺳﺖ ﻛﻪ ﻫﻤﭽﻨﻴﻦ ﻳﻜﻲ ﺍﺯ ﻟﻐﺎﺕ ﺑﺮﺟﺴﺘﻪ ﺑﻜﺎﺭ ﺭﻓﺘﻪ ﺩﺭ ﺗﻔﺴﻴﺮ ﻫﺮﻳﮕﻞ ﺍﺯ ﺯِﻥ ‪ 5‬ﺍﺳﺖ‪ .‬ﺍﻳﻦ‬
‫‪P‬‬ ‫‪P‬‬
‫ﭼﻴﺰﻱ ﻧﻴﺴﺖ ﺟﺰ ﺁﻥ ﭼﻴﺰﻱ ﻛﻪ ﻫﺮﻳﮕﻞ ‪" 4‬ﻋﺎﺭﻱ ﺍﺯ ﻫﺪﻑ ﺑﻮﺩﻥ "ﻳﺎ "ﺁﺭﻱ ﺍﺯ ﺧﻮﺩ ﺑﻮﺩﻥ " ﻳﺎ "ﺗﺮﻙ ﺧﻮﺩ "‬ ‫‪P‬‬ ‫‪P‬‬
‫ﻣﻲ ﻧﺎﻣﺪ ﻭ ﺣﺎﻟﺖ ﭘﻴﺶ ﻻﺯﻣﻪ ﺑﺮﺍﻱ ﺭﺳﻴﺪﻥ ﺑﻪ ﺯﻣﻴﻦ ﺑﺪﻭﻥ ﺳﻄﺢِ ﺑﻮﺩﻥ ﺍﺳﺖ‪.‬ﺑﺮﺍﻱ ﺍﻳﺠﺎﺩ ﻧﻮﻉ ﻋﻜﺲ ﻫﺎﻱ‬
‫ﺧﻴﺎﺑﺎﻧﻲ ﻛﻪ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﻣﻲ ﮔﻴﺮﺩ‪ ،‬ﺣﻀﻮﺭ ﻳﻚ ﺷﺨﺺ ﺑﺎﻳﺪ ﺑﻪ ﺍﻳﻦ ﺷﻜﻞ ﺗﺒﺪﻳﻞ ﺑﻪ ﻳﻚ ﻏﻴﺎﺏ ﺷﻮﺩ‪.‬‬
‫ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻋﻜﺎﺱ ﻏﻴﺮ ﻗﺎﺑﻞ ﺩﻳﺪﻥ ﻣﻲ ﺩﺍﻧﺪ‪ .‬ﺍﻭ ﮔﻔﺘﻪ ﻛﻪ ﺍﮔﺮ ﺷﻐﻞ ﺍﻭ ﻋﻜﺎﺳﻲ ﻧﺒﻮﺩ‬
‫ﻣﻤﻜﻦ ﺑﻮﺩ ﻳﻚ ﺭﺍﻧﻨﺪﻩ ﺗﺎﻛﺴﻲ ﺷﻮﺩ‪" .‬ﻳﻚ ﺷﺨﺺ ﻧﺎﺷﻨﺎﺱ ﻛﻪ ﻣﺮﺩﻡ ﺧﻮﺩ ﺩﺭﻭﻧﻲ ﺷﺎﻥ ﺭﺍ ﺑﺮﺍﻱ ﺍﻭ ﺁﺷﻜﺎﺭ‬
‫ﻣﻲ ﺳﺎﺯﻧﺪ‪ ...‬ﺑﺎ ﺑﻲ ﭼﻬﺮﻩ ﻣﺎﻧﺪﻥ ﺑﺮﺍﻱ ﻣﺴﺎﻓﺮﺍﻥ ﺭﺍﻧﻨﺪﻩ ﻣﻲ ﺗﻮﺍﻧﺪ ﺻﻮﺭﺕ ﺁﻧﻬﺎ ﺭﺍ ﺩﺭ ﺁﻳﻨﻪ ﺑﺒﻴﻨﺪ‪ .‬ﻳﻚ ﻋﻜﺎﺱ‬
‫ﺑﺎﻳﺪ ﭼﻨﻴﻦ ﺑﺎﺷﺪ – ﻧﺎ ﺁﺷﻜﺎﺭﺍ‪ ،‬ﺟﺪﺍ‪ ،‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﻧﺰﺩﻳﻚ ﺑﻪ ﻣﺮﺩﻡ‪".‬‬
‫‪ .Eugen Herrigel .1‬ﻓﻴﻠﺴﻮﻑ ﺁﻟﻤﺎﻧﻲ ﻭ ﻧﻮﻳﺴﻨﺪﻩ ﻛﺘﺎﺏ ﺯِﻥ ﺩﺭ ﻫﻨﺮ ﻛﻤﺎﻧﺪﺍﺭﻱ)‪1884-1955 .(Zen in the Art of Archery‬‬
‫‪zen .2‬‬
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‫‪ .9‬ﻋﻜﺎﺳﺎﻥ ﻣﺠﺎﺭﺳﺘﺎﻧﻲ ﺍﻻﺻﻞ‬
‫" ﺍﻳﻦ ﺟﻤﻠﻪ ﺭﺍ ﻳﻜﺒﺎﺭ ﺍﺳﺘﻔﺎﻥ‬ ‫"ﺍﻳﻦ ﻛﺎﻓﻲ ﻧﺒﻮﺩ ﻛﻪ ﻧﺎﺑﻐﻪ ﺑﺎﺷﻲ ‪ ،‬ﻫﻤﭽﻨﻴﻦ ﺑﺎﻳﺪ ﻳﻚ ﻣﺠﺎﺭﺳﺘﺎﻧﻲ ﻣﻲ ﺑﻮﺩﻱ‪.‬‬
‫ﻟﻮﺭﺍﻧﺖ ) ﻓﻴﻠﻤﺴﺎﺯ‪ ،‬ﻋﻜﺎﺱ ﺧﺒﺮﻱ ﻭ ﻧﻮﻳﺴﻨﺪﻩ ﻣﺠﺎﺭﺳﺘﺎﻧﻲ –ﺁﻣﺮﻳﻜﺎﻳﻲ( ﮔﻔﺖ‪ .‬ﺍﻭ ﺑﻪ ﺩﻭﺭﻩ ﺍﻱ ﺩﺭ ﺍﻭﺍﺧﺮ ﺩﻫﻪ‬
‫–ﻧﺎﺟﻲ ﺩﺭ ﺁﻟﻤﺎﻥ‬ ‫‪ 1920‬ﺍﺷﺎﺭﻩ ﻣﻲ ﻛﺮﺩ ﻛﻪ ﭘﻴﺸﮕﺎﻣﺎﻥ ﻣﺠﺎﺭﺳﺘﺎﻧﻲ ﺍﻻﺻﻠﻲ ﭼﻮﻥ ﺧﻮﺩﺵ ﻭ ﻟَﺴﻠﻮ ﻣﻮﻫﻮﻟﻲ‬
‫ﻛﺎﺭﻛﺮﺩﻩ ﻭ ﻛﺎﺭﺑﺮﺩ ﻫﺎﻱ ﺟﺪﻳﺪﻱ ﺑﺮﺍﻱ ﻋﻜﺎﺳﻲ ﺩﺭ ﺯﻣﻴﻨﻪ ﺧﺒﺮﻧﮕﺎﺭﻱ ﻭ ﻃﺮﺍﺣﻲ ﺍﻳﺠﺎﺩ ﻛﺮﺩﻧﺪ‪ .‬ﻣﻮﻫﻮﻟﻲ‪-‬‬
‫ﻧﺎﺟﻲ ﻋﻜﺎﺳﻲ ﺭﺍ ﺩﺭ ﺑﺮﻧﺎﻣﻪ ﺩﺭﺳﻲ ﺑﺎﻫﺎﺱ ﮔﻨﺠﺎﻧﺪﻩ ﺑﻮﺩ ﺯﻳﺮﺍ ﻣﺘﻘﺎﻋﺪ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ "ﺩﺍﻧﺸﻲ ﺍﺯﻋﻜﺎﺳﻲ ﺑﻪ ﻣﺎﻧﻨﺪ‬
‫ﺍﻟﻔﺒﺎ ﻣﻬﻢ ﺍﺳﺖ‪ " .‬ﻭ ﻟﻮﺭﺍﻧﺖ ﻭﻳﺮﺍﺳﺘﺎﺭ ﺑﺮﻟﻴﻦِ ‪ Münchner Illustrierte Presse‬ﺑﻮﺩ ﻭ ﺩﺭ ﺁﻧﺠﺎ ﺍﻳﺪﻩ‬
‫ﻣﻘﺎﻟﻪ ﻋﻜﺲ ﻭﺍﺭ ﺭﺍ ﻣﻲ ﭘﺮﻭﺭﺍﻧﻴﺪ ﻛﻪ ﺑﻌﺪﺍً ﻃﺒﻖ ﺁﻥ ﻣﺠﻼﺗﻲ ﭼﻮﻥ ﻻﻳﻒ ﻭ ﻟﻮﻙ ﭘﺪﻳﺪ ﺁﻣﺪﻧﺪ‪.‬‬
‫ﺱِﻦ ﺁﻳﮕﻨ‪‬ﺮ ‪ 3‬ﻫﻤﮕﻲ ﻋﻜﺎﺳﺎﻥ‬
‫ﺭﺍﺑﺮﺕ ﻛﺎﭘﺎ‪ ،‬ﻣﺎﺭﺗﻴﻦ ﻣﻮﻧﻜﺎ چﻱ‪،1‬ﺗﻴﻢ ﮔﻴﺪﺍﻝ ‪ ،2‬ﺁﻧﺪﺭﻩ ﻛﺮﺗﻴﺲ‪ ،‬ﺑﺮﺍﺳﺎﻳﻲ ﻭ ﻟﻮ ﻳ‬
‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺟﻮﺍﻥ ﻣﺠﺎﺭﺳﺘﺎﻧﻲ ﺑﻮﺩﻧﺪ ﻛﻪ ﻛﺎﺭ ﺁﻧﻬﺎ ﺩﺭ ﺩﻫﻪ ‪ 20‬ﻭ ‪ 30‬ﺑﻪ ﻋﻜﺎﺳﻲ ﺧﺒﺮﻱ ﺟﺪﻳﺪ ﻛﻪ ﺑﺮﭘﺎﻳﻪ ﻣﺠﻼﺕ ﺑﻮﺩ ﺗﺎ‬
‫ﺭﻭﺯﻧﺎﻣﻪ‪ ،‬ﺷﻜﻞ ﺟﺪﻳﺪ ﻭ ﺧﺎﺻﻲ ﺑﺨﺸﻴﺪﻧﺪ‪.‬‬
‫ﻛﺎﺭ ﻛﺮﺗﻴﺲ ﺑﻪ ﺳﻪ ﺑﺨﺶ ﻭ ﺩﺭ ﺳﻪ ﻛﺸﻮﺭ ﻣﺨﺘﻠﻒ ﻃﺒﻘﻪ ﺑﻨﺪﻱ ﻣﻲ ﺷﻮﺩ‪ .‬ﻣﺠﺎﺭﺳﺘﺎﻥ‪ ،‬ﺟﻨﮓ ﺟﻬﺎﻧﻲ ﺍﻭﻝ‪،‬‬
‫ﻓﺮﺍﻧﺴﻪ ﺑﻴﻦ ﺩﻭ ﺟﻨﮓ ﻭ ﺁﻣﺮﻳﻜﺎ ﺑﻌﺪ ﺍﺯ ﺟﻨﮓ ﺟﻬﺎﻧﻲ ﺩﻭﻡ‪ .‬ﻋﻜﺎﺳﻲ ﻫﺮ ﺑﺨﺶ ﺧﺼﻮﺻﻴﺎﺕ ﺧﺎﺹ ﺧﻮﺩﺵ ﺭﺍ‬
‫ﺩﺍﺭﺩ‪.‬‬
‫ﺗﺼﺎﻭﻳﺮ ﻣﺠﺎﺭﺳﺘﺎﻥ ﺳﺮﺷﺎﺭ ﺍﺯ ﻧﺸﺎﻃﻨﺪ ﻛﻪ ﻋﻜﺴﻬﺎﻱ ﺑﺨﺶ ﻫﺎﻱ ﺑﻌﺪﻱ ‪ ،‬ﻓﺎﺭﻍ ﺍﺯ ﺍﺭﺯﺷﺸﺎﻥ ‪ ،‬ﻓﺎﻗﺪ ﺁﻧﻨﺪ‪ .‬ﺁﻧﻬﺎ‬
‫ﻫﻤﭽﻨﻴﻦ ﺩﺍﺭﺍﻱ ﺍﻧﺮژﻱ ﺟﻮﺍﻧﻲ ﻫﺴﺘﻨﺪ ﻛﻪ ﻋﻜﺴﻬﺎﻱ ﻻﺭﻳﺘﮓ ﻧﻴﺰ ﭼﻨﻴﻦ ﺣﺴﻲ ﺩﺍﺷﺘﻨﺪ‪ .‬ﺑﺎ ﺍﻳﻨﻜﻪ ﺍﻳﻦ ﺩﻭ ﺷﺒﺎﻫﺖ‬
‫ﺯﻳﺎﺩﻱ ﻩﺏﻫﻢ ﻧﺪﺍﺷﺘﻨﺪ ﻭﻟﻲ ﻛﺮﺗﻴﺲ ﮔﻔﺘﻪ ﺑﻮﺩ‪" :‬ﻣﻦ ﻓﻘﻂ ﻣﻲ ﺧﻮﺍﻫﻢ ﺍﺯ ﺭﻭﻳﺪﺍﺩ ﻫﺎﻱ ﻛﻮﭼﻚ ﻋﻜﺲ ﺑﮕﻴﺮﻡ‬
‫‪ ...‬ﭼﻴﺰﻱ ﻛﻪ ﺍﻃﺮﺍﻓﻢ ﻣﻲ ﺑﻴﻨﻢ‪ ".‬ﻛﻪ ﺍﻳﻦ ﺧﺼﻮﺻﻴﺖ ﺍﻭ ﻣﺸﺎﺑﻪ ﻻﺭﺗﻴﮓ ﺑﻮﺩ‪.‬‬
‫‪ 1920‬ﻋﻜﺴﻬﺎﻳﻲ‬ ‫ﻛﺮﺗﻴﺲ ﺍﻭﻟﻴﻦ ﺩﻭﺭﺑﻴﻦ ﺧﻮﺩﺭﺍ ﺩﺭ ﺳﺎﻝ ‪ 1912‬ﺻﺎﺣﺐ ﺷﺪ ﻭ ﺍﺯ ﺁﻥ ﻣﻮﻗﻊ ﺗﺎ ﺍﻭﺍﻳﻞ ﺩﻫﻪ‬
‫ﮔﺮﻓﺖ ﻛﻪ ﺣﺲ ﺗﺤﺴﻴﻦ ﺯﻧﺪﮔﻲ ﻳﻚ ﻧﻮﺟﻮﺍﻥ ﺩﺭﺣﺎﻝ ﺑﺰﺭگ ﺷﺪﻥ ﺩﺭ ﻳﻚ ﺣﻮﻣﻪ ﻣﺠﺎﺭﺳﺘﺎﻥ ﺭﺍ ﻧﺸﺎﻥ ﻣﻲ‬
‫ﺩﻫﻨﺪ‪.‬‬
‫ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺩﺭ ﺗﺼﺎﻭﻳﺮ ﺍﻭ ﻧﻮﻋﻲ ﻏﻢ ﻣﺸﺎﻫﺪﻩ ﻣﻲ ﺷﻮﺩ‪ .‬ﻣﺎﻧﻨﺪ ﺗﺼﻮﻳﺮ ﻧﻮﺍﺯﻧﺪﻩ ﻭﻳﻮﻟﻮﻧﻲ ﻛﻪ ﺗﻨﻬﺎ ﺗﻤﺎﺷﺎﮔﺮ ﺍﻭ‬
‫ﻳﻚ ﺑﭽﻪ ﻛﻮﭼﻚ ﺳﺮﮔﺮﺩﺍﻥ ﺍﺳﺖ‪ .‬ﺩﺭ ﺗﺼﻮﻳﺮﻱ ﺩﻳﮕﺮ ﻛﻪ ﺩﺭ ﺳﺎﻝ ‪ 1916‬ﺍﺯ ﺁﻭﺍﺭﮔﺎﻥ ﺩﺭ ﺣﺎﻝ ﮔﺬﺭ ﮔﺮﻓﺘﻪ‬
‫ﺍﺳﺖ)ﻋﻜﺲ ‪ ،(2-11‬ﺑﻪ ﮔﻔﺘﻪ ﺧﻮﺩ ﺍﻭ ﻣﺮﺩ ﺩﺭ ﻭﺳﻂ ﺗﺼﻮﻳﺮ ﺑﺮﺍﻱ ﺩﺳﺖ ﺩﺍﺩﻥ ﺑﻪ ﺷﺨﺼﻲ ﺩﻳﮕﺮ ﻛﻪ ﺍﻭ ﺭﺍ ﻣﻲ‬
‫"ﺭﻭﺳﺘﺎﻳﻴﺎﻥ ﺑﻪ ﭘﻨﺎﻫﻨﺪﮔﺎﻥ " ﺍﺳﺖ‪ ،‬ﻛﻪ‬ ‫ﺷﻨﺎﺧﺖ ﺣﺘﻲ ﺍﺯ ﺭﺍﻩ ﺭﻓﺘﻦ ﻧﺎﻳﺴﺘﺎﺩ‪ .‬ﺗﺮﺍژﺩﻱ ﺍﻳﻦ ﺗﺼﻮﻳﺮ ﺗﺒﺪﻳﻞ ﺷﺪﻥ‬
‫ﻧﺘﻴﺠﻪ ﺟﻨﮓ ﻣﻲ ﺑﺎﺷﺪ‪ .‬ﺑﺮﺍﻱ ﺧﻮﺩ ﻛﺮﺗﻴﺲ ﻧﻴﺰ ﺑﺎﺯﮔﺸﺖ ﺑﻪ ﺯﻧﺪﮔﻲ ﺳﻨﺘﻲ ﭘﻴﺶ ﺍﺯ ﺟﻨﮓ ﺩﻳﮕﺮ ﻣﻤﻜﻦ ﻧﺒﻮﺩ‪.‬‬
‫‪ .Martin Munkácsi .1‬ﻋﻜﺎﺱ ﻣﺠﺎﺭﺳﺘﺎﻧﻲ ﻛﻪ ﺩﺭ ﺁﻟﻤﺎﻥ ﻭ ﺁﻣﺮﻳﻜﺎ ﻓﻌﺎﻟﻴﺖ ﻣﻲ ﻛﺮﺩ‪1896-1963 .‬‬
‫‪ .Tim N. Gidal .2‬ﻋﻜﺎﺱ ﺧﺒﺮﻱ ﻭ ﺍﺳﺘﺎﺩ ﺩﺍﻧﺸﮕﺎﻩ ﺁﻟﻤﺎﻧﻲ‪-‬ﺍﺳﺮﺍﺋﻴﻠﻲ‪1909-1996 .‬‬
‫‪ .Lucien Aigner .3‬ﻋﻜﺎﺱ ﻣﺠﺎﺭﺳﺘﺎﻧﻲ‪1901-1999 .‬‬
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‫ﻋﻜﺲ ‪ 2-11‬ﺁﻧﺪﺭﻩ ﻛﺮﺗﻴﺲ‪ ،‬ﻣﺮﺩﻡ ﺟﺎﺑﺠﺎ ﺷﺪﻩ‪ ،‬ﺑﻮﺩﺍﭘﺴﺖ‪1916 ،‬‬
‫ﻛﺮﺗﻴﺲ ﺩﺭ ﺳﺎﻝ ‪ 1925‬ﺑﻪ ﭘﺎﺭﻳﺲ ﺭﻓﺖ ﻭ ﺑﻼﻓﺎﺻﻠﻪ ﺑﻪ ﻛﺎﻭﺵ ﺷﻬﺮ ﺗﻮﺳﻂ ﺩﻭﺭﺑﻴﻨﺶ ﭘﺮﺩﺍﺧﺖ‪ .‬ﻋﻜﺴﻬﺎﻱ ﺍﻭﻟﻴﻪ‬
‫ﺍﻭ ﺍﺯ ﭘﺎﺭﻳﺲ ﻣﺸﺎﺑﻪ ﻋﻜﺴﻬﺎﻱ ﺍﻭ ﺩﺭ ﻣﺠﺎﺭﺳﺘﺎﻧﻨﺪ‪ .‬ﻋﻜﺲ ﻫﺎﻱ ﺍﻭ ﺍﺯ ﭘﺎﺭﻳﺲ ﺩﺭ ﺩﻭ ﻛﺘﺎﺏ ﺍﻭﻟﻴﻪ ﺍﻭ ﭼﺎپ ﺷﺪ‪.‬‬
‫‪ Paris Vu André Kertesz‬ﻛﻪ ﺩﺭ ﺳﺎﻝ ‪ 1934‬ﭼﺎپ ﺷﺪ‪ .‬ﻭ ‪ Day of Paris‬ﻛﻪ ﺩﺭ ﺳﺎﻝ ‪ 1945‬ﺩﺭ‬
‫ﺁﻣﺮﻳﻜﺎ ﭼﺎپ ﺷﺪ‪.‬‬
‫ﺑﻌﺪ ﺍﺯ ﻣﻬﺎﺟﺮﺕ ﻛﺮﺗﻴﺲ ﺑﻪ ﺁﻣﺮﻳﻜﺎ ‪ ،‬ﻓﻌﺎﻟﻴﺖ ﺍﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﻋﻜﺎﺱ ﺧﺒﺮﻱ ﺑﻪ ﻣﻘﺪﺍﺭ ﺯﻳﺎﺩﻱ ﺗﻘﻠﻴﻞ ﻳﺎﻓﺖ ﻭ ﻛﺎﺭﺍﻭ‬
‫ﺑﻪ ﻋﻨﻮﺍﻥ ﻫﻨﺮﻣﻨﺪ ﻧﻤﺎﻳﺸﮕﺎﻫﻲ ﺑﻪ ﻛﻠﻲ ﺗﻤﺎﻡ ﺷﺪ‪ .‬ﺩﺭ ﺳﺎﻝ ‪ 1946‬ﻫﺎگ ﺍﺩﻭﺍﺭﺩﺯ ‪ 1‬ﺍﻭﻟﻴﻦ ﻧﻤﺎﻳﺸﮕﺎﻩ ﺭﺍ ﺑﺮﺍﻱ ﺍﻭ‬
‫‪P‬‬ ‫‪P‬‬
‫ﺗﺮﺗﻴﺐ ﺩﺍﺩ ﻭﻟﻲ ﻧﻤﺎﻳﺸﮕﺎﻩ ﻣﻬﻢ ﺩﻳﮕﺮﻱ ﺍﺯ ﻛﺎﺭﻫﺎﻱ ﺍﻭ ﺑﺮﮔﺰﺍﺭ ﻧﺸﺪ‪ ،‬ﺗﺎ ‪ 20‬ﺳﺎﻝ ﺑﻌﺪ ﻛﻪ ﺟﺎﻥ ﺳﺎﺭﻛﻮﻓﺴﻜﻲ ﺑﺎ‬
‫ﻧﻤﺎﻳﺸﮕﺎﻫﻲ ﺩﺭﻣﻮﺯﻩ ﻫﻨﺮ ﻣﺪﺭﻥ‪ 2‬ﺷﻬﺮﺕ ﺍﻭ ﺭﺍ ﺑﺎﺯ ﮔﺮﺩﺍﻧﺪ‪.‬‬
‫‪P‬‬ ‫‪P‬‬
‫ﺩﺭ ﺳﺎﻝ ‪ 1962‬ﻳﻚ ﺑﻴﻤﺎﺭﻱ ﺟﺪﻱ ﻧﺎﺭﺿﺎﻳﺘﻲ ﻛﺮﺗﻴﺲ ﺍﺯ ﺯﻧﺪﮔﻲ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺑﺤﺮﺍﻥ ﺭﺳﺎﻧﻴﺪ‪ .‬ﻋﻜﺴﻲ ﻛﻪ ﺍﻭ ﺩﺭ‬
‫ﺳﺎﻝ ‪ 1962‬ﺍﺯ ﻳﻚ ﻣﺮﺩ ﻣﺴﻦ ﺩﺭ ﻛﻨﺎﺭ ﻳﻚ ﺻﻨﺪﻟﻲ ﺷﻜﺴﺘﻪ ﮔﺮﻓﺖ ) ﻋﻜﺲ ‪ (2-12‬ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩ ﺣﺎﻝ ﻭ ﺭﻭﺯ‬
‫ﺧﻮﺩ ﺍﻭ ﺩﺭﺁﻣﺮﻳﻜﺎﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﻋﻜﺲ ﺳﺮ ﻣﺮﺩ ﺧﺎﺭﺝ ﺍﺯ ﻛﺎﺩﺭ ﺍﺳﺖ ﻭ ﺍﻭ ﺑﺮﺍﻱ ﻣﺎ ﻫﻮﻳﺘﻲ ﻧﺪﺍﺭﺩ‪ .‬ﺍﻭ ﺑﻪ ﻳﻚ‬
‫ﻧﻴﻤﻜﺖ ﺷﻜﺴﺘﻪ ﺧﺎﻟﻲ ﭼﺸﻢ ﻣﻲ ﺩﻭﺯﺩ‪ .‬ﮔﻮﻳﺎ ﺗﺼﻮﻳﺮ ﺧﻮﺩﺵ ﺭﺍ ﺩﻳﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺁﻥ ﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﻛﺮﺗﻴﺲ‬
‫ﺍﺯ ﺧﻮﺩ ﺩﺭ ﺍﻳﻦ ﻋﻜﺲ ﻣﻲ ﺑﻴﻨﺪ‪.‬‬
‫‪ .Hugh Edwards .1‬ﻣﻮﺯﻩ ﺩﺍﺭ ﻋﻜﺎﺳﻲ‪ .‬ﺁﻣﺮﻳﻜﺎﻳﻲ ‪1903-1986‬‬

‫‪The Museum of Modern Art (MoMA) .2‬‬
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‫ﻋﻜﺲ ‪ 2-12‬ﺁﻧﺪﺭﻩ ﻛﺮﺗﻴﺲ‪ ،‬ﻧﻴﻤﻜﺖ ﺷﻜﺴﺘﻪ‪ ،‬ﻧﻴﻮﻳﻮﺭﻙ‪1962 ،‬‬
‫ﺷﺒﻲ ﺩﺭ ﺍﻭﺍﻳﻞ ﺳﺎﻝ ‪ 1953‬ﺑﺮﺍﺳﺎﻳﻲ ﺑﻪ ﺩﺭﺑﺎﻥ ﻧﺘﺮﺩﺍﻡ ﺭﺷﻮﻩ ﺩﺍﺩ ﺗﺎ ﺍﺟﺎﺯﻩ ﺩﻫﺪ ﺍﻭ ﺍﺯ ﭘﻠﻪ ﻫﺎ ﺑﺎﻻ ﺭﻓﺘﻪ ﻭ‬
‫ﻋﻜﺲ ﺑﮕﻴﺮﺩ‪ .‬ﺗﻨﻬﺎ ﺷﺮﻁ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﻧﻮﺭﻱ ﺍﺯﺧﻮﺩ ﻧﺸﺎﻥ ﻧﺪﻫﺪ ﺗﺎ ﭘﻠﻴﺲ ﻣﺘﻮﺟﻪ ﺣﻀﻮﺭ ﺍﻭ ﺩﺭ ﺁﻧﺠﺎ ﻧﺸﻮﺩ‪ .‬ﺍﻳﻦ‬
‫ﺷﺮﻁ ﺑﺮﺍﻱ ﺍﻭ ﻣﺸﻜﻞ ﻧﺒﻮﺩ‪ .‬ﺍﻭ ﺣﺪﺍﻗﻞ ﺩﻭ ﺳﺎﻝ ﺭﺍ ﺩﺭ ﺗﻜﻤﻴﻞ ﻛﺮﺩﻥ ﻗﺎﺑﻠﻴﺘﺶ ﺩﺭ ﻋﻜﺎﺳﻲ ﺩﺭ ﺗﺎﺭﻳﻜﻲ ﮔﺬﺭﺍﻧﺪﻩ‬
‫ﺑﻮﺩ‪.‬‬
‫ﺗﺼﺎﻭﻳﺮ ﺍﻭ ﮔﻮﻳﺎ ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩ ﺍﻳﻦ ﺍﻣﺮ ﻫﺴﺘﻨﺪ ﻛﻪ ﭘﺎﻳﻴﻦ ﺭﻓﺘﻦ ﺩﺭ ﺷﻬﺮ ﺑﻪ ﻣﺎﻧﻨﺪ ﻓﺮﻭﺩ ﺩﺭ ﺟﻬﻨﻢ ﺍﺳﺖ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ‬
‫ﺍﻳﻦ ﺟﻬﻨﻢ ﺑﺴﻴﺎﺭ ﺟﺬﺍﺏ ﻭ ﮔﻴﺮﺍﺳﺖ‪.‬‬
‫ﺑﺮﺍﺳﺎﻳﻲ ﻛﻪ ﺩﺭ ﺑﻮﺩﺍﭘﺴﺖ ﺩﺭ ﺁﻛﺎﺩﻣﻲ ﻫﻨﺮ ﺷﺮﻛﺖ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﺑﻪ ﭘﺎﺭﻳﺲ ﺁﻣﺪﻩ ﺑﻮﺩ ﺗﺎ ﻧﻘﺎﺵ ﻳﺎ ﻣﺠﺴﻤﻪ ﺳﺎﺯ‬
‫ﺷﻮﺩ‪ ،‬ﻫﻨﮕﺎﻡ ﺭﺳﻴﺪﻥ ﺑﻪ ﭘﺎﺭﻳﺲ ﻧﺴﺒﺖ ﺑﻪ ﻛﺮﺗﻴﺲ ﺩﺭ ﺍﻳﺪﻩ ﻫﺎﻱ ﺧﻮﺩ ﭘﻴﺸﺮﻓﺘﻪ ﺗﺮ ﺑﻮﺩ‪ .‬ﻋﻼﻗﻪ ﺑﻪ ﻣﺸﻜﻼﺕ ﻓﺮﻣﻲ‬
‫ﺭﺍ ﻛﻪ ﻛﺮﺗﻴﺲ ﻛﻢ ﻛﻢ ﭘﻴﺪﺍ ﻛﺮﺩ‪ ،‬ﺑﺮﺍﺳﺎﻳﻲ ﺍﺯ ﻫﻤﺎﻥ ﺍﺑﺘﺪﺍ ﺩﺍﺷﺖ ﻭ ﺩﺭ ﻃﻮﻝ ﺳﺎﻟﻬﺎ ﺁﻥ ﺭﺍ ﻛﻨﺎﺭ ﮔﺬﺍﺷﺖ‪.‬‬
‫ﻓﺮﻣﺎﻟﻴﺰﻡ ﻛﺘﺎﺏ ﭘﺎﺭﻳﺲ ﺩﺭ ﺷﺐ) ‪(Paris de nuit‬ﺩﺭ ﻫﺮ ﺻﻔﺤﻪ ﻣﺸﻬﻮﺩ ﺍﺳﺖ‪ .‬ﻳﻚ ﻛﺘﺎﺏ ﺳﻴﻤﻲ ‪ 60‬ﺻﻔﺤﻪ‬
‫ﺍﻱ ﻛﻪ ﺗﺼﺎﻭﻳﺮﺵ ﺣﺎﺷﻴﻪ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺍﻳﻦ ﺍﻣﺮ ﺑﻪ ﺑﺮﺍﺳﺎﻳﻲ ﺍﺟﺎﺯﻩ ﺩﺍﺩ ﺗﺎ ﺗﺼﺎﻭﻳﺮ ﺭﺍ ﻃﻮﺭﻱ ﻛﻨﺎﺭ ﻫﻢ ﺑﮕﺬﺍﺭﺩ ﻛﻪ‬
‫ﮔﻮﻳﻲ ﺧﻄﻮﻁ ﻳﻜﻲ ﺩﺭ ﺩﻳﮕﺮﻱ ﺍﺩﺍﻣﻪ ﭘﻴﺪﺍ ﻣﻲ ﻛﻨﻨﺪ‪ .‬ﺣﻠﻘﻪ ﺳﻴﺮﻙ ﺩﺭ ﻳﻜﻲ‪ ،‬ﺩﺍﻳﺮﻩ ﺟﺰﺋﻲ ﻗﻮﺱ ﭘﻞ ﺩﺭ‬
‫ﺻﻔﺤﻪ ﺩﻳﮕﺮ ﺭﺍ ﺗﻜﻤﻴﻞ ﻣﻲ ﻛﻨﺪ‪ .‬ﺳﻜﻮﻱ ﺻﺤﻨﻪ ﺍﺟﺮﺍ ﺩﺭ ﻳﻜﻲ‪ ،‬ﺳﻜﻮﻱ ﺍﭘﺮﺍ ﺩﺭ ﺩﻳﮕﺮﻱ ﺭﺍ ﺍﺩﺍﻣﻪ ﻣﻲ ﺩﻫﺪ ﻭ‪...‬‬
‫ﺳﺎﻳﻪ ﻫﺎﻱ ﻋﻤﻴﻖ ﻭﻧﻮﺭﻫﺎﻱ ﻣﻨﻘﻄﻊ ﻃﺮﺡ ﻫﺎﻱ ﺍﻧﺘﺰﺍﻋﻲ ﺭﺍ ﺗﻘﺮﻳﺒﺎً ﺩﺭ ﻫﺮ ﻋﻜﺲ ﺍﻳﺠﺎﺩ ﻣﻲ ﻛﻨﻨﺪ‪ .‬ﭼﻮﻥ ﺑﺮﺍﺳﺎﻳﻲ‬
‫ﺩﻳﺮ ﻭﻗﺖ ﺷﺐ ﻛﺎﺭ ﻣﻲ ﻛﺮﺩ ﺩﺭ ﻛﺘﺎﺏ ﺍﻭﭘﺎﺭﻳﺲ ﺑﻪ ﻣﻘﺪﺍﺭ ﺯﻳﺎﺩﻱ ﺧﺎﻟﻲ ﺍﺯ ﺳﻜﻨﻪ ﺍﺳﺖ‪ .‬ﻭﻗﺘﻲ ﻫﻢ ﻛﻪ ﻣﺮﺩﻡ ﺩﺭ‬
‫ﻋﻜﺲ ﺣﻀﻮﺭ ﺩﺍﺭﻧﺪ‪ ،‬ﻛﺎﻣﻞ ﻛﻨﻨﺪﻩ ﻋﻨﺎﺻﺮ ﮔﺮﺍﻓﻴﻜﻲ ﺻﺤﻨﻪ ﺍﻧﺪ‪.‬‬
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‫ﺑﺎ ﺍﻳﻨﻜﻪ ﺗﺼﺎﻭﻳﺮ ﺍﻭ ﺍﺯ ﻧﻈﺮ ﺗﺮﻛﻴﺐ ﺑﻨﺪﻱ ﻓﺮﻣﻲ ﻗﻮﻱ ﺍﻧﺪ‪ ،‬ﺍﺯ ﻟﺤﺎﻅ ﻣﺤﺘﻮﺍ ﻧﻴﺰ ﻏﻨﻲ ﺍﻧﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻋﻜﺲ ﻫﺎ‬
‫ﺗﻀﺎﺩﻫﺎﻱ ﭘﺎﺭﻳﺲ‪ ،‬ﺑﻪ ﻋﻨﻮﺍﻥ ﺷﻬﺮ ﺭﻭﺷﻨﻲ ﻭ ﺷﻬﺮ ﺗﺎﺭﻳﻜﻲ ﺗﺼﻮﻳﺮ ﺷﺪﻩ ﺍﻧﺪ‪.‬‬
‫ﭘﺲ ﺍﺯ ﻣﺪﺕ ﻛﻮﺗﺎﻫﻲ ﺍﺯ ﮔﺮﻓﺘﻦ ﻋﻜﺴﻬﺎﻱ ﻛﺘﺎﺏ ﭘﺎﺭﻳﺲ ﺩﺭ ﺷﺐ ﺑﺮﺍﺳﺎﻳﻲ ﺩﻭﺭﺑﻴﻨﺶ ﺭﺍ ﺍﺯ ﺧﻮﺩ ﺧﻴﺎﺑﺎﻧﻬﺎ ﺑﻪ‬
‫ﻛﺎﻓﻪ ﻫﺎ ﺑﺮﺩ ﻭ ﺍﻳﻦ ﺁﻏﺎﺯﻱ ﺑﻮﺩ ﺑﺮﺍﻱ ﺳﺮﻱ ‪. Paris Plaisir‬‬
‫ﺩﺭ ﺳﺮﻱ ‪ Paris Plaisir‬ﺑﻴﺸﺘﺮ ﺍﺯ ﻛﺎﺭ ﻫﺮ ﻋﻜﺎﺱ ﺩﻳﮕﺮﻱ ﺍﻳﺪﻩ ﺧﻴﺎﺑﺎﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺤﻞ ﻣﻌﺎﺷﺮﺕ ﻭ ﺗﻔﺮﻳﺢ ﺍﺯ‬
‫ﺧﻮﺩ ﭘﻴﺎﺩﻩ ﺭﻭ ﺑﻪ ﻣﻜﺎﻥ ﻫﺎﻱ ﻣﺠﺎﻭﺭ ﻛﺸﻴﺪﻩ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬
‫ﺑﺮﺍﺳﺎﻳﻲ ﺑﻪ ﻣﺎﻧﻨﺪ ﻳﻚ ﻛﺎﺭﮔﺮﺩﺍﻥ ﻓﻴﻠﻢ ﺳﻮژﻩ ﻫﺎﻱ ﺧﻮﺩ ﺭﺍ ﻛﺎﺭﮔﺮﺩﺍﻧﻲ ﻣﻲ ﻛﺮﺩ‪ .‬ﺯﻣﺎﻥ ﻫﺎﻱ ﻃﻮﻻﻧﻲ ﻧﻮﺭﺩ ﻩ ﻱ‬
‫‪3‬ﺗﺎ‪ 4‬ﺛﺎﻧﻴﻪ ﻳﺎ ﺑﻴﺸﺘﺮ ﻭ ﻳﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻓﻼﺵ ﺑﺎﻋﺚ ﻣﻲ ﺷﺪ ﻛﻪ ﺳﻮژﻩ ﻫﺎﻱ ﺍﻭ ژﺳﺖ ﺧﻮﺩ ﺭﺍ ﺛﺎﺑﺖ ﻧﮕﺎﻩ ﺩﺍﺭﺩ‪ .‬ﺑﺎ‬
‫ﺍﻳﻦ ﺣﺎﻝ ﻋﻜﺲ ﻫﺎ ﻣﺎ ﺭﺍ ﺩﺭ ﻭﺍﻗﻌﻲ ﺑﻮﺩﻥ ﻗﺎﻧﻊ ﻣﻲ ﻛﻨﻨﺪ‪ .‬ﺩﺭ ﻫﺮ ﺻﻮﺭﺕ ﺣﺎﻟﺘﻬﺎﻱ ﻃﺒﻴﻌﻲ ﺍﺷﺨﺎﺹ ﻧﻴﺰ ﺩﺭ ﭼﻨﻴﻦ‬
‫ﻣﻜﺎﻥ ﻫﺎﻳﻲ ﻣﺎﻧﻨﺪ ژﺳﺖ ﻫﺎﻳﻲ ﺧﻮﺩ ﺁﮔﺎﻩ ﺍﺳﺖ‪ .‬ﺑﺮﺍﺳﺎﻳﻲ ﺑﺮﺍﻱ ﭘﺮﺕ ﻛﺮﺩﻥ ﺣﻮﺍﺱ ﺳﻮژﻩ ﻫﺎ ﻭ ﮔﺮﻓﺘﻦ‬
‫ﻋﻜﺴﻬﺎﻱ ﺩﻟﺨﻮﺍﻩ‪ ،‬ﺍﺯ ﺍﺭﺗﺒﺎﻁ ﺍﺟﺘﻤﺎﻋﻲ ﺑﺎ ﺁﻧﻬﺎ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻲ ﻧﻤﻮﺩ‪.‬‬
‫ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﻋﻨﺼﺮ ﺳﻮﺭﺭﺋﺎﻟﻴﺰﻡ ﺩﺭ ﻋﻜﺴﻬﺎﻱ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﭘﻴﺪﺍﺳﺖ‪ ،‬ﺩﺭ ﻋﻜﺲ ﻫﺎﻱ ﺑﺮﺍﺳﺎﻳﻲ ﻋﻨﺼﺮ ﻛﻮﺑﻴﺰﻡ‬
‫ﻣﺸﻬﻮﺩ ﺍﺳﺖ ﻛﻪ ﺷﺎﻳﺪ ﺗﺄﺛﻴﺮ ﭘﺬﻳﺮﻓﺘﻪ ﺍﺯ ﺩﻭﺳﺘﺶ ﭘﻴﻜﺎﺳﻮ ﺑﺎﺷﺪ‪ .‬ﺩﺭ ﻋﻜﺴﻬﺎﻱ ﻛﺎﻓﻪ ﭼﻨﻴﻦ ﻋﻨﺼﺮﻱ ﺑﺎ ﻭﺟﻮﺩ‬
‫ﺁﻳﻨﻪ ﻫﺎ ﺍﻳﺠﺎﺩ ﻣﻲ ﺷﻮﺩ ﻛﻪ ﺩﺭ ﺁﻧﻬﺎ ﺗﺼﺎﻭﻳﺮ ﺑﺎ ﻫﻢ ﺩﺭ ﺳﺎﺧﺘﺎﺭﻫﺎﻱ ﻫﻨﺪﺳﻲ ﺗﻼﻗﻲ ﻣﻲ ﻛﻨﻨﺪ‪.‬‬
‫ﺑﺮﺍﺳﺎﻳﻲ ﺗﺎ ﺁﺧﺮ ﻋﻤﺮﺵ ﺍﺯ ﺭﻭﺵ ﺗﺼﻮﻳﺮ ﺳﺎﺯﻱ ﻗﺎﻟﺐ ﻭﺍﺭ ﺧﻮﺩ ﺩﻓﺎﻉ ﻛﺮﺩ ‪ .‬ﺍﻭ ﮔﻔﺖ‪" :‬ﻣﻦ ﻋﻜﺲ ﻫﺎﻱ ﻓﻮﺭﻱ‬
‫ﺭﺍ ﺩﻭﺳﺖ ﻧﺪﺍﺭﻡ‪ .‬ﺩﻭﺳﺖ ﺩﺍﺭﻡ ﺛﺎﺑﺖ ﺑﻮﺩﻥ ﺍﻣﻮﺭ ﺭﺍ ﺑﮕﻴﺮﻡ ﻭ ﺑﺮﺍﻱ ﺍﻳﻦ ﻓﺮﻡ ﺑﺮﺍﻳﻢ ﺑﺴﻴﺎﺭ ﻣﻬﻢ ﺍﺳﺖ‪ ...‬ﺗﻨﻬﺎ ﺩﺭ‬
‫ﻗﺎﻟﺐ ﻓﺮﻡ ﺍﺳﺖ ﻛﻪ ﺗﺼﻮﻳﺮ ﻭﺍﺭﺩ ﺫﻫﻦ ﻣﺎ ﻣﻲ ﺷﻮﺩ‪ .‬ﺍﻳﻦ ﻣﺎﻧﻨﺪ ﻃﺮﺍﺣﻲ ﺍﺭﻭ ﺩﻳﻨﺎﻣﻴﻚ ﺩﺭ ﺍﺗﻮﻣﺒﻴﻞ ﺍﺳﺖ‪ .‬ﻧﻤﻲ‬
‫ﺑﻴﻨﻴﺪ؟ ﺑﺮﺍﻱ ﻣﻦ ﻓﺮﻡ ﺗﻨﻬﺎ ﻣﻌﻴﺎﺭ ﻋﻜﺲ ﺧﻮﺏ ﺍﺳﺖ‪ .‬ﻛﺴﻲ ﭼﻨﻴﻦ ﻋﻜﺴﻲ ﺭﺍ ﻓﺮﺍﻣﻮﺵ ﻧﻤﻲ ﻛﻨﺪ ﻭ ﻣﻲ ﺧﻮﺍﻫﺪ‬
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‫‪P‬‬ ‫ﺁﻥ ﺭﺍ ﺩﻭﺑﺎﺭﻩ ﺑﺒﻴﻨﺪ‪".‬‬
‫ﻋﻜﺲ ‪ 2-13‬ﺑﺮﺍﺳﺎﻳﻲ‪ .‬ﺍﺯ ﻣﺠﻤﻮﻋﻪ ﭘﺎﺭﻳﺲ ﺩﺭ ﺷﺐ‬
‫ﻣﻨﺒﻊ ﺷﻤﺎﺭﻩ ‪ .5‬ﺻﻔﺤﻪ ‪257‬‬ ‫‪.1‬‬

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‫‪ 10‬ﻋﻜﺎﺳﺎﻥ ﺧﺎﺭﺝ ﺍﺯ ﻗﺎﺭﻩ ﺍﺻﻠﻲ ﺍﺭﻭﭘﺎ‬
‫ﺩﺭ ﺩﻫﻪ ‪ 1930‬ﺩﺭ ﺍﺭﻭﭘﺎ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺩﺍﺷﺖ ﺑﺮﺍﻱ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺑﻪ ﭼﻴﺰﻱ ﺗﺒﺪﻳﻞ ﻣﻲ ﺷﺪ ﻛﻪ ﻳﻚ ﺗﺎﺭﻳﺦ ﺷﻨﺎﺱ‬
‫ﻫﻨﺮ ﺑﻪ ﺩﺭﺳﺘﻲ ﻣﻲ ﺗﻮﺍﻧﺴﺖ ﺁﻥ ﺭﺍ ﻳﻚ ﺭﺳﻢ ﺑﻨﺎﻣﺪ‪ .‬ﺧﻄﻮﻁ ﺗﺄﺛﻴﺮ ﺍﻳﻦ ﻧﻮﻉ ﻋﻜﺎﺳﻲ ﺩﺍﺷﺖ ﺗﺮﺳﻴﻢ ﻣﻲ ﺷﺪ ﻭ‬
‫ﺁﻧﭽﻪ ﻛﻪ ﺑﺎ ﭼﻨﺪ ﻋﻜﺎﺱ ﻧﻮﺁﻭﺭ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺍﺳﺘﺎﻳﻞ ﺷﺨﺼﻲ ﻳﺎ ﻳﻚ ﺍﻳﺪﻩ ﺟﺪﻳﺪ ﺩﺭﺑﺎﺭﻩ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﻳﻦ ﺭﺳﺎﻧﻪ‬
‫ﺷﺮﻭﻉ ﺷﺪﻩ ﺑﻮﺩ ﺗﺒﺪﻳﻞ ﺑﻪ ﺭﻭﺷﻲ ﺷﺪ ﻛﻪ ﺑﺴﻴﺎﺭﻱ ﺩﻳﮕﺮ ﺑﺎ ﺁﻥ ﺳﻌﻲ ﺑﻪ ﻛﺎﺭ ﻧﻤﻮﺩﻧﺪ‪ .‬ﻋﻜﺎﺳﻲ ﺍﺯ ﻗﺎﺭﻩ ﺍﺻﻠﻲ‬
‫ﺍﺭﻭﭘﺎ ) ﺍﺭﻭﭘﺎ ﺑﺠﺰ ﺷﺒﻪ ﺟﺰﻳﺮﻩ ﺑﺮﻳﺘﺎﻧﻴﺎ( ﺍﺛﺮﺑﺰﺭﮔﻲ ﺑﺮﺭﻭﻱ ﺳﺎﺑﻘﻪ ﺍﻳﻦ ﺭﺳﺎﻧﻪ ﺩﺭ ﺍﻧﮕﻠﻴﺲ ﺩﺍﺷﺖ ﻛﻪ ﻗﺴﻤﺘﻲ ﺍﺯ ﺁﻥ‬
‫ﺑﺨﺎﻃﺮ ﭘﺮﻭﺍﺯ ﻋﻨﺎﺻﺮ ﺍﺻﻠﻲ ﺍﺯ ﺁﻟﻤﺎﻥ‪ ،‬ﭘﺲ ﺍﺯ ﺭﻭﻱ ﻛﺎﺭﺁﻣﺪﻥ ﻧﺎﺯﻱ ﻫﺎ ﺑﻮﺩ‪ .‬ﺩﺭﺑﻴﻦ ﺍﻳﻨﻬﺎ ﻟَﺴﻠﻮ ﻣﻮﻫﻮﻟﻲ ﻧﺎﺟﻲ ﻭ‬
‫ﺍﺳﺘﻔﺎﻥ ﻟﻮﺭﺍﻧﺖ‪ 1‬ﺑﻮﺩﻧﺪ‪.‬‬
‫‪P‬‬ ‫‪P‬‬
‫ﻳﻜﻲ ﺍﺯ ﺍﻧﮕﻠﻴﺴﻴﻬﺎﻱ ﺑﺎ ﺍﺳﺘﻌﺪﺍﺩ ﻛﻪ ﻗﺒﻼً ﺩﺭ ﻣﺠﻠﻪ ﻟﻴﻠﻴﭙﻮﺕ ﺑﺎ ﻟﻮﺭﺍﻧﺖ ﺁﺷﻨﺎ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﺩﺭ ﭘﻴﻜﭽﺮ ﭘﺴﺖ ﻧﻴﺰ ﺑﺮﺍﻱ‬
‫ﺍﻭ ﻛﺎﺭ ﻣﻲ ﻛﺮﺩ ﺑﻴﻞ ﺑﺮﺍﻧﺖ‪ 2‬ﺑﻮﺩ‪ .‬ﺍﻭ ﻛﻪ ﻣﻤﻬﻤﺘﺮﻳﻦ ﻋﻜﺎﺱ ﺧﻴﺎﺑﺎﻧﻲ ﺍﻧﮕﻠﻴﺲ ﺑﻮﺩ ﻧﻴﺰ ﺍﺯ ﻗﺎﺭﻩ ﺍﺻﻠﻲ ﺗﺄﺛﻴﺮ ﭘﺬﻳﺮﻓﺘﻪ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺑﻮﺩ‪ .‬ﻭﻟﻲ ﺑﺮﺍﻱ ﺍﻭ ﺍﻳﻦ ﺗﺄﺛﻴﺮ ﺑﻴﺸﺘﺮ ﺍﺯ ﭘﺎﺭﻳﺲ ﺑﻮﺩ ﺗﺎ ﺑﺮﻟﻴﻦ ﻳﺎ ﻣﻮﻧﻴﺦ‪ .‬ﺍﻳﻦ ﺗﺄﺛﻴﺮ ﺍﻭ ﺩﺭ ﻛﺘﺎﺏ ﺍﻭ ﻛﻪ ﺩﺭ ﺳﺎﻝ ‪1938‬‬
‫ﺑﺎ ﻧﺎﻡ ﻟﻨﺪﻥ ﺩﺭ ﺷﺐ ﻣﻨﺘﺸﺮ ﺷﺪ ﻣﺸﻬﻮﺩ ﺍﺳﺖ‪ .‬ﻋﻨﻮﺍﻥ ﺍﻳﻦ ﻛﺘﺎﺏ ﺍﺭﺟﺎﻉ ﻏﻴﺮ ﻣﺴﺘﻘﻴﻤﻲ ﺑﻪ ﭘﺎﺭﻳﺲ ﺩﺭ ﺷﺐ‬
‫ﺑﺮﺍﺳﺎﻳﻲ ﺍﺳﺖ‪ .‬ﺑﺮﺍﻧﺖ ﺁﻣﻮﺯﺵ ﻋﻜﺎﺳﻲ ﺍﺵ ﺭﺍ ﺩﺭ ﺳﺎﻝ ‪ 1929‬ﺩﺭ ﭘﺎﺭﻳﺲ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺩﺳﺘﻴﺎﺭ ﻣﻦ ﺭﻱ ﻛﻪ ﺍﺯ‬
‫ﻃﺮﻳﻖ ﺍﺯﺭﺍ ﭘﺎﻭﻧﺪ‪ ،3‬ﻳﻚ ﺩﻭﺳﺖ ﺧﺎﻧﻮﺍﺩﮔﻲ ﺑﺎ ﺍﻭ ﺁﺷﻨﺎ ﺷﺪﻩ ﺑﻮﺩ ﺷﺮﻭﻉ ﻛﺮﺩ‪ .‬ﻋﻜﺎﺳﻲ ﺧﺒﺮﻱ ﺍﻭ ﻧﻴﺰ ﺩﺭ ﭘﺎﺭﻳﺲ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺷﺮﻭﻉ ﺷﺪ ﻭ ﻋﻜﺴﻬﺎﻳﺶ ﺩﺭ ﻣﺠﻼﺕ ﭘﺎﺭﻳﺴﻲ ﮔﻮﻧﺎﮔﻮﻥ ﺍﺯ ﺟﻤﻠﻪ ‪ La scandale‬ﻛﻪ ﻛﺎﺭﻫﺎﻱ ﺑﺮﺍﺳﺎﻳﻲ ﻧﻴﺰ‬
‫ﺩﺭ ﺁﻥ ﭼﺎپ ﻣﻲ ﺷﺪ ﺑﻪ ﭼﺎپ ﻣﻲ ﺭﺳﻴﺪ‪ .‬ﻫﻤﭽﻨﻴﻦ ﻛﺘﺎﺏ ﻟﻨﺪﻥ ﺩﺭ ﺷﺐ ﺗﻮﺳﻂ ﻳﻚ ﺷﺮﻛﺖ ﻓﺮﺍﻧﺴﻮﻱ ﻛﻪ ﺩﺭ‬
‫ﻓﺮﺍﻧﺴﻪ ﻋﻨﻮﺍﻥ ‪ Londres de nuit‬ﺭﺍ ﺩﺍﺷﺖ ﺭﻭﺍﻧﻪ ﺑﺎﺯﺍﺭ ﺷﺪ‪.‬‬
‫ﺩﺭ ﻳﻚ ﻋﻜﺲ ﺍﻭ ﺳﻪ ﺍﻭﺑﺎﺵ ﺑﻪ ﻃﺮﺯ ﺩﺳﻴﺴﻪ ﺁﻣﻴﺰﻱ ﺩﺭ ﺯﻳﺮ ﻳﻚ ﭼﺮﺍﻍ ﺧﻴﺎﺑﺎﻧﻲ ﺩﺭ ﻳﻚ ﻛﻮﭼﻪ ﺩﻭﺭ ﻫﻢ ﺟﻤﻊ‬
‫ﺷﺪﻩ ﺍﻧﺪ‪ ،‬ﻛﻪ ﻳﻚ ﭘﺎﺳﺒﺎﻥ ﻣﺸﻜﻮﻙ ﺷﺪﻩ ﻭ ﺑﻪ ﺁﻧﻬﺎ ﻧﮕﺎﻩ ﻣﻲ ﻛﻨﺪ‪).‬ﻋﻜﺲ ‪(2-14‬‬
‫‪ .Stefann Lorant .1‬ﻧﻮﻳﺴﻨﺪﻩ‪ ،‬ﻋﻜﺎﺱ ﺧﺒﺮﻱ ﻭ ﻓﻴﻠﻤﺴﺎﺯ ﻣﺠﺎﺭﺳﺘﺎﻧﻲ‪-‬ﺁﻣﺮﻳﻜﺎﻳﻲ ‪1901-1997‬‬

‫‪ .Bill Brandt .2‬ﻋﻜﺎﺱ ﺍﻧﮕﻠﻴﺴﻲ ‪1904-1984‬‬
‫‪ .Ezra Pound .3‬ﺷﺎﻋﺮ ﻭ ﻣﻨﺘﻘﺪ ﻣﺪﺭﻧﻴﺴﺖ ﺁﻣﺮﻳﻜﺎﻳﻲ‪1885-1972 .‬‬
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‫ﻋﻜﺲ ‪ 2-14‬ﺑﻴﻞ ﺑﺮﺍﻧﺖ‪ ،‬ﺧﻴﺎﺑﺎﻥ ‪1931-35 ،Off India Docks‬‬
‫ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺍﻳﻦ ﺗﺼﻮﻳﺮ ﻧﺸﺎﻥ ﻣﻲ ﺩﻫﺪ ژﺳﺖ ﻫﺎﻱ ﺗﺌﺎﺗﺮﻱ ﺣﺘﻲ ﺑﻴﺸﺘﺮ ﺍﺯ ﻛﺎﺭﻫﺎﻱ ﺑﺮﺍﺳﺎﻳﻲ ﻣﻮﺟﻮﺩﻧﺪ‪ .‬ﺍﻳﻦ ﺳﻪ‬
‫ﺍﻭﺑﺎﺵ ﺩﺭ ﺣﻘﻴﻘﺖ ﺑﺮﺍﺩﺭ ﻛﻮﭼﻜﺘﺮ ﺑﺮﺍﻧﺖ ﺭﺍﻟﻒ ﻭ ﭼﻨﺪ ﺩﻭﺳﺖ ﺍﻭ ﻫﺴﺘﻨﺪ ﻛﻪ ﺁﻧﭽﻨﺎﻥ ﺧﻮﺏ ﻧﻤﺎﻳﺶ ﺭﺍ ﺍﺟﺮﺍ‬
‫ﻧﻤﻮﺩﻧﺪ ﻛﻪ ﺷﻚ ﭘﻠﻴﺲ ﺭﺍ ﺑﺮﺍﻧﮕﻴﺨﺖﻧﺪ‪ .‬ﺩﺭ ﻛﺘﺎﺏ ﺍﻭ ‪ ،‬ﻫﻤﺴﺮ ﻭ ﻣﺎﺩﺭﺵ ﻧﻴﺰ ﺩﺭ ﻋﻜﺴﻬﺎ ﻧﻘﺶ ﺍﺟﺮﺍ ﻣﻲ ﻛﻨﻨﺪ‪ .‬ﺑﺎ‬
‫ﻭﺟﻮﺩ ﺷﺒﺎﻫﺖ ﻋﻜﺲ ﻫﺎﻱ ﺍﻭ ﺑﻪ ﻋﻜﺲ ﻫﺎﻱ ﺑﺮﺍﺳﺎﻳﻲ ﺍﻳﻦ ﻋﻜﺲ ﻫﺎ ﺩﺍﺭﺍﻱ ﻳﻚ ﺟﻮ ﻣﻨﺤﺼﺮﺍً ﺍﻧﮕﻠﻴﺴﻲ ﺍﻧﺪ‪.‬‬
‫ﺕ ﺑﻪ ﺑﺮﺍﺳﺎﻳﻲ ﻓﻀﺎﻱ ﺗﻴﺮﻩ ﺗﺮ ﻭ ﺗﺮﺳﻨﺎﻙ ﺗﺮﻱ ﺩﺍﺭﻧﺪ‪ .‬ﺳﻮژﻩ ﻩ ﺍﻱ ﺍﻭ ﻧﺴﺒﺖ ﺑﻪ ﺑﺮﺍﺳﺎﻳﻲ‬
‫ﻋﻜﺲ ﻫﺎﻱ ﺑﺮﺍﻧﺖ ﻥﺳﺐ‬
‫ﻛﻤﺘﺮ ﺧﻮﺩ ﺑﻪ ﺧﻮﺩﻱ ﺍﻧﺪ؛ ﻧﻪ ﻓﻘﻂ ﻧﺴﺒﺖ ﺑﻪ ﺩﻭﺭﺑﻴﻦ‪ ،‬ﺑﻠﻜﻪ ﻧﺴﺒﺖ ﺑﻪ ﻳﻜﺪﻳﮕﺮ ‪ .‬ﺩﺭﻋﻜﺴﻬﺎﻱ ﺍﻭ ﻭﺍﻗﻌﻴﺖ ﺷﺐ ﻧﻴﺰ‬
‫ﺟﺰﺋﻲ ﺍﺯ ﻭﺍﻗﻌﻴﺖ ﺭﻭﺯ ﺍﺳﺖ‪ ،‬ﻭ ﺑﺮﻋﻜﺲ ﻋﻜﺴﻬﺎﻱ ﺑﺮﺍﺳﺎﻳﻲ‪ ،‬ﺷﺐ ﻭﺍﻗﻌﻴﺘﻲ ﺟﺪﺍ ﺍﺯ ﺭﻭﺯ ﻧﺪﺍﺭﺩ‪.‬‬
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‫ﻡﺍﻧﻮﺋﻞ ﺁﻟﻮﺍﺭﺯ ﺑﺮﺍ ﻭﻭ‪ 1‬ﮔﺮچﻩ ﺍﺯ ﻣﻨﺎﺑﻊ ﺗﺄﺛﻴﺮ ﻓﺮﺍﻧﺴﻮﻱ ﺩﻭﺭﺗﺮ ﺑﻮﺩ ﻭﻟﻲ ﺣﺘﻲ ﺑﻴﺸﺘﺮ ﺍﺯ ﺑﺮﺍﻧﺖ ﺍﺯ ﺁﻧﻬﺎ ﺗﺄﺛﻴﺮ ﻣﻲ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﭘﺬﻳﺮﻓﺖ‪ .‬ﺍﻭ ﻋﻜﺎﺳﻲ ﺭﺍ ﺩﺭ ﺍﻭﺍﻳﻞ ﺩﻫﻪ ‪ 1920‬ﺩﺭ ﻛﺸﻮﺭ ﺧﻮﺩﺵ ﻣﻜﺰﻳﻚ ﺷﺮﻭﻉ ﻛﺮﺩ ﻭ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺑﻪ ﺻﻮﺭﺕ‬
‫ﺁﻣﺎﺗﻮﺭ ﺍﺩﺍﻣﻪ ﺩﺍﺩ ﻭ ﺗﺎ ﺍﻭﺍﻳﻞ ﺩﻫﻪ ‪ 1930‬ﺑﻪ ﻋﻨﻮﺍﻥ ﺣﺴﺎﺑﺪﺍﺭ ﻳﺎ ﺗﺎﻳﭙﻴﺴﺖ ﺩﺭ ﻳﻚ ﺷﺮﻛﺖ ﺩﻭﻟﺘﻲ ﻛﺎﺭ ﻣﻲ ﻛﺮﺩ‪.‬‬
‫ﻭﻟﻲ ﺍﻭ ﺩﺭ ﺭﺷﺘﻪ ﻩ ﻥﺭ ﺗﺤﺼﻴﻞ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﺑﺎ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺍﺭﻭﭘﺎﻳﻲ ﺁﺷﻨﺎ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﭘﺪﺭ ﺑﺰﺭﮔﺶ ﻭ ﭘﺪﺭﺵ ﻛﻪ‬
‫ﻣﻌﻠﻢ ﻳﻚ ﺩﺑﻴﺮﺳﺘﺎﻥ ﺑﻮﺩ ‪ ،‬ﻫﺮﺩﻭ ﻧﻘﺎﺵ ﺑﻮﺩﻧﺪ‪.‬‬
‫ﺩﺭ ﺍﻭﺍﺳﻂ ﺩﻫﻪ ‪ 1920‬ﺍﻭ ﻧﻘﺶ ﻫﺎﻱ ﺍﻧﺘﺰﺍﻋﻲ ﻋﻜﺎﺳﻲ ﺍﻳﺠﺎﺩ ﻣﻲ ﻛﺮﺩ‪ .‬ﺑﺮﺍﻱ ﻣﺜﺎﻝ ﺗﺼﺎﻭﻳﺮ ﻛﺎﻏﺬﻫﺎﻱ ﻣﭽﺎﻟﻪ ﺷﺪﻩ‬
‫ﻛﻪ ﺑﻲ ﺷﺒﺎﻫﺖ ﺑﻪ ﻛﺎﺭﻩ ﺍﻱ ﭘﻞ ﺍﺳﺘﺮ ﻥﺩ ﻛﻪ ﺁﻟﻮﺍﺭﺯ ﺑﺮﺍﻱ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺍﻭ ﺭﺍ ﺩﺭ ‪ 1933‬ﺩﻳﺪﻩ ﺑﻮﺩ ﻧﺒﻮﺩﻧﺪ‪ .‬ﺩﺭ ﺳﺎﻝ ﺑﻌﺪ‬
‫ﺏِﺗﻮﻥ ﺁﺷﻨﺎ ﺷﺪ‬
‫ﺍﻭ ﺍﺏﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﻣﻼﻗﺎﺕ ﻛﺮﺩ ﻛﻪ ﺑﺎ ﺍﻭ ﻃﺮﺡ ﺑﺮ ﺍپﻱﻱ ﻧﻤﺎﻳﺸﮕﺎﻩ ﭼﻴﺪ‪ .‬ﺩﺭ ‪ 1938‬ﺍﻭ ﺑﺎ ﺁﻧﺪﺭﻩ ﺭ‬
‫ﻛﻪ ﺍﻭ ﺁﻟﻮﺍﺭﺯ ﺭﺍ ﺑﻪ ﺷﺮﻛﺖ ﺩﺭ ﻳﻚ ﻧﻤﺎﻳﺶ ﺳﻮﺭﺭﺉﺍﻟﻴﺴﺖ ﺩﺭ ﻫﻤﺎﻥ ﺳﺎﻝ ﺩﺭ ﻣﻜﺰﻳﻚ ﺩﻋﻮﺕ ﻛﺮﺩ‪.‬‬
‫ﺁﻟﻮﺍﺭﺯ ﺑﺮﺍﻭﻭ ﺍﺯ ﻣﻨﺎﺑﻊ ﻣﺪﺭﻧﻴﺴﺘﻲ ﺑﺴﻴﺎﺭﻱ ﺩﺭ ﺍﺭﻭﭘﺎ ﺍﻟﻬﺎﻡ ﮔﺮﻓﺖ‪ .‬ﺍﺯ ﺳﻮﻳﻲ ﺗﻮﺟﻪ ﺍﻭ ﻣﻌﻄﻮﻑ ﺳﻮﺭﺭ ﺉﺍﻟﻴﺰﻡ ﻋﻼﺋﻢ‬
‫ﻭ ﺗﺒﻠﻴﻐﺎﺕ ﺑﻮﺩ‪ .‬ﻣﺎﻧﻨﺪ ﻋﻜﺴﻲ ﻛﻪ ﺩﺭ ‪ 1931‬ﺍﺯ ﺳﺮ ﺩﺭ ﻋﻴﻨﻚ ﻓﺮﻭ ﺵﻱ ﻛﻪ ﺗﻮﺳﻂ ﻳﻚ ﺟﻔﺖ ﭼﺸﻢ ﭘﻮﺷﻴﺪﻩ‬
‫ﺷﺪﻩ ﺑﻮﺩ ﮔﺮﻓﺖ‪ .‬ﺍﺯ ﺳﻮﻳﻲ ﺩﻳﮕﺮ ﺍﻭ ﻫﻤﭽﻨﻴﻦ ﻋﻼﻗﻪ ﺑﺴﻴﺎﺭﻱ ﺑﻪ ﻧﻮﻋﻲ ﺍﺯ ﻓﺮﻣﺎﻟﻴﺰﻡ ﻛﻪ ﺑﻴﺸﺘﺮ ﻣﺸﺨﺼﻪ ﻫﻨﺮ‬
‫ﻛﻮﺑﻴﺴﺖ ﻭ ﺍﻧﺘﺰﺍﻋﻲ ﺑﻮﺩ ﺩﺍﺷﺖ‪ .‬ﺑﻪ ﺧﺼﻮﺹ ﻋﻜﺲ ﻫﺎﻱ ﺭﻧﮕﻲ ﺍﻭ ﭼﻨﻴﻦ ﻃﺒﻴﻌﺖ ﺩﻭ ﮔﺎﻧﻪ ﺍﻱ ﺩﺍﺭﻧﺪ‪.‬‬
‫ﺑﺎ ﺍﻳﻨﻜﻪ ﺍﻭ ﺍﺯ ﻧﻘﺎﺷﻲ ﻓﺮﺍﻧﺴﻮﻱ ﻭ ﻋﻜﺎﺳﻲ ﻫﻨﺮﻱ ﻣﺪﺭﻧﻴﺴﺘﻲ ﺗﺄﺛﻴﺮ ﭘﺬﻳﺮﻓﺘﻪ ﺑﻮﺩ ‪ ،‬ﻭﻟﻲ ﻛﺎﺭ ﺍﻭ ﺑﻪ ﮔﻔﺘﻪ ﺧﻮﺩﺵ‬
‫ﺑﻴﺸﺘﺮ ﺑﺎ ﻫﻨﺮ ﻣﻜﺰﻳﻜﻲ ﻭ ﺯﻧﺪﮔﻲ ﻣﻜﺰﻳﻜﻲ ﺍﺭﺗﺒﺎﻁ ﺩﺍﺭﺩ ﺗﺎ ﺭﺳﻮﻡ ﻋﻜﺎﺳﻲ‪ .‬ﺩﺭ ﻋﻜﺎﺳﻲ ﺍﻭ ﺗﺄﺛﻴﺮﺍﺕ ﺧﺎﺭﺟﻲ ﺑﺎ‬
‫ﺗﺄﺛﻴﺮﺍﺕ ﺑﻮﻣﻲ ﺗﻠﻔﻴﻖ ﺷﺪﻩ ﺍﻧﺪ‪ .‬ﺁﻧﭽﻪ ﻛﻪ ﺑﻪ ﻛﺎﺭ ﺍﻭ ﻛﺎﺭﺍﻛﺘﺮ ﻣﻲ ﺩﻫﺪ ﻳﻚ ﺍﺳﺘﺎﻳﻞ‪ ،‬ﭼﻪ ﻓﺮ ﻡﻱ ﻭ ﭼﻪ ﺗﺼﻮ ﻱﺭﻱ‬
‫ﻱﺷﺘﺮ ﺗﻢ ﻫﺎﻱ ﺧﺎﺹﻱ ﺍﺳﺖ ﻛﻪ ﻡﻧﺢﺻﺮﺍً ﻣﻜﺰﻳﻜﻲ ﺍﻧﺪ‪ .‬ﻣﺎﻧﻨﺪ ﺳﮓ ﻩ ﺍ ﻭ ﻣﺮگ ‪ .‬ﻫﻤﭽﻨﻴﻦ ﺑﺴﻴﺎﺭﻱ‬
‫ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﺏ‬
‫ﺍﺯ ﻛﺎﺭﻩ ﺍﻱ ﺍﻭ ﺩﺭﺑﺎﺭﻩ ﺭﻭﺳﺘﺎﻳﻴﺎﻥ ﻭ ﺍﺯﺁﻧﺎﻥ ﺍﺳﺖ‪.‬‬
‫ﺁﻧﭽﻪ ﻛﻪ ﺑﻴﺸﺘﺮ ﺍﺯ ﺟﺬﺏ ﻭ ﺑﻜﺎﺭﮔﻴﺮﻱ ﺍﺯ ﺗﺄﺛﻴﺮﺍﺕ ﺑﻴﻦ ﺍﻟﻤﻠﻠﻲ ﺍﻫﻤﻴﺖ ﺩﺍﺭﺩ ‪ ،‬ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﻛﺎﺭﻫﺎﻱ ﺑﺮﺍﻧﺖ ﻭ‬
‫ﺁﻟﻮﺍﺭﺯ ﺑﺮﺍ ﻭﻭ ﻧﺸﺎﻥ ﻣﻲ ﺩﻫﻨﺪ ﻗﺎﺑﻠﻴﺖ ﺣﻔﻆ ﺗﺄﺛﻴﺮﺍﺕ ﻣﺤﻠﻲ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻗﺎﺑﻠﻴﺖ ﺳﺎﺧﺘﻦ ﻛﺎﺭ ﺧﻮﺩ ﺑﺼﻮﺭﺕ ﻫﻢ‬
‫ﺁﻥ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺭﺍ‬ ‫ﺍﺏ ﻭ ﻫﻢ ﺑﻴﺎﻥ ﺁﻥ ﻓﺮﻫﻨﮓ ﺑﺠﺎﻱ ﺗﻮﺳﻌﻪ ﻣﺪﺭﻧﻴﺰﻡ ﻛﺴﻲ ﺩﻳﮕﺮ ﺍﺳﺖ ﻛﻪ‬
‫ﻳﻚ ﺑﺎ ﺯﺕ‬
‫ﺍﺭﺯﺷﻤﻨﺪ ﻣﻲ ﺳﺎﺯﺩ‪.‬‬
‫‪ .Manuel Álvarez Bravo .1‬ﻋﻜﺎﺱ ﻫﻨﺮﻱ ﻣﻜﺰﻳﻜﻲ ‪1902-2002‬‬
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‫‪ .11‬ﺩﻭﺍﻧﻮ‪ ،‬ﮔﻴﻠﺰ ﭘﺮﺱ‪ 1‬ﻭ ﻛﻮﺩﻟﻜﺎ‬
‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺩﺭﺳﺖ ﺑﻌﺪ ﺍﺯ ﺟﻨﮓ ﺟﻬﺎﻧﻲ ﺩﻭﻡ ﻟﺤﻈﻪ ﻛﻮﺗﺎﻫﻲ ﺑﻮﺩ ﻛﻪ ﺭﻭﺑﺮ ﺩﻭﺍﻧﻮ ﻭ ﻩ ﺍ ﻧﺮﻱ ﻛﺎ ﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺑﻪ ﻳﻚ ﺁژﺍﻧﺲ‬
‫ﻋﻜﺲ ﻣﻠﺤﻖ ﺵﺩ ﻧﺪ؛ ﻳﻚ ﺷﺮﻛﺖ ﺗﺎﺯﻩ ﺗﺎﺳﻴﺲ ﺑﻪ ﻧﺎﻡ ﺁﺩ‪‬ﺕ ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺍﻳﻦ ﻣﺸﺎﺭﻛﺖ ﻛﻮﺗﺎﻩ ﺑﻮﺩ ﻭ ﭘﺲ ﺍﺯ‬
‫ﺕﺳﻴﺲ ﻣﮕﻨﻮﻡ ﺯﺩ ﻭ‬
‫ﻳﻪ ﺑﺮﺳﻮﻥ ﺩﺳﺖ ﺑﻪ ﺃ‬
‫ﺁﻥ ﻫﺮ ﻳﻚ ﺍﺯ ﺍﻳﻦ ﻋﻜﺎﺳﺎﻥ ﺑﻪ ﺳﺮﺍﻍ ﻣﺴﻴﺮ ﻫﺎﻱ ﻣﺠﺰﺍﻳﻲ ﺭﻓﺘﻨﺪ‪ .‬ﻛﺎﺭ ﺕ‬
‫ﺩﻭﺍﻧﻮ ﺑﻪ ﺭﺍﻓﻮ ﺑﺎﺯﮔﺸﺖ‪ ،‬ﺁژﺍﻧﺴﻲ ﻛﻪ ﻗﺒﻞ ﺍﺯ ﺟﻨﮓ ﺩﺭ ﺁﻥ ﺑﻮﺩ‪ .‬ﻣﺪﺗﻲ ﺑﻌﺪ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺩﻭﺍﻧﻮ ﺭﺍ ﺩﻋﻮﺕ ﻛﺮﺩ‬
‫ﺗﺎ ﺑﻪ ﻣﮕﻨﻮﻡ ﺑﭙﻴﻮﻧﺪﺩ‪ ،‬ﻭﻟﻲ ﺩﻭﺍﻧﻮ ﺁﻥ ﺭﺍ ﺭﺩ ﻛﺮﺩ‪ .‬ﺍﻭ ﺷﺮﺡ ﺩﺍﺩ ‪" :‬ﺭﺍﻓﻮ ﺑﻴﺸﺘﺮ ﻣﻨﺎﺳﺐ ﻣﻦ ﺑﻮﺩ ﺗﺎ ﻣﮕﻨﻮﻡ ‪ .‬ﭘﺲ ﻣﻦ‬
‫ﮔﻔﺘﻢ ﻧﻪ ﺧﻴﻠﻲ ﻣﺘﺸﻜﺮﻡ‪ .‬ﻣﮕﻨﻮﻡ ﺁژﺍﻧﺴﻲ ﺑﻮﺩ ﻛﻪ ﺳﻔﺮ ﻩ ﺍﻱ ﻃﻮﻻﻧﻲ ﻣﻲ ﻃﻠﺒﻴﺪ‪ ...‬ﻣﻦ ﻭﺍﻗﻌﺎً ﺑﺮﺍﻱ ﭼﻨﻴﻦ ﺳﻔﺮﻫﺎﻱ‬
‫ﻛﺎﺭﻱ ﺍﻱ ﺳﺎﺧﺘﻪ ﻧﺸﺪﻩ ﺑﻮﺩﻡ‪".‬‬
‫ژﻩ ﻋﻜﺎﺳﻲ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﺧﺎﻧﻪ ﻣﺎﻧﺪ ﻭ ﺷﻬﺮﺗﺶ ﺭﺍ ﺍﺯ ﻳﻚ ﺳﻮژﻩ ﻳﻜﺴﺎﻥ ‪،‬‬
‫ﺩﻭﺍﻧﻮ ﻧﻴﺰ ﻣﺎﻧﻨﺪ ﺑﺮﺍﻧﺖ‪ ،‬ﺑﺮﺍﻭﻭ ﻭ ﺣﺘﻲ ﺁ ﺕ‬
‫ﻣﻜﺎﻧﻲ ﺧﺎﺹ ﻛﻪ ﻛﺎﻣﻼً ﺑﺎ ﺁﻥ ﺷﻨﺎﺳﺎﻳﻲ ﻣﻲ ﺷﺪ ﻛﺴﺐ ﻛﺮﺩ‪.‬‬
‫ﺍﻭ ﺩﺭ ﺣﻮﻣﻪ ﭘﺎﺭﻳﺲ ﻛﻪ ﻣﺤﻞ ﺯﻧﺪﮔﻲ ﻃﺒﻘﻪ ﻛﺎﺭﮔﺮ ﺑﻮﺩ ﻣﺘﻮﻟﺪ ﺷﺪ ﻭ ﺩﺭ ﻫﻤﺎﻧﺠﺎ ﺯﻧﺪﮔﻲ ﻣﻲ ﻛﺮﺩ‪ .‬ﮔﻮﻧﺎﮔﻮﻧﻲ‬
‫ﺯﻧﺪﮔﻲ ﺍﻭ ﺭﺍ ﺟﺬﺏ ﻣﻲ ﻧﻤﻮﺩ ‪ :‬ﺍﻧﻮﺍﻉ ﻣﺨﺘﻠﻒ ﻣﺮﺩﻡ ‪ ،‬ﻓﺮﻭﺷﮕﺎﻩ ﻫﺎ ﺑﺎ ﺍﺟﻨﺎﺱ ﺧﺎﺹ ﺧﻮﺩ‪،‬ﺍﻟﮕﻮﻫﺎﻱ ﻓﺼﻠﻲ ﻛﻪ‬
‫ﻃﺒﻖ ﺁﻥ ﻫﻤﻪ ﭼﻴﺰ ﺍﺯ ﻋﺎﺩﺍﺕ ﻣﺮﺩﻡ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﮔﺮﻓﺘﻪ ﺗﺎ ﻣﺎﻫﻴﺖ ﻧﻮﺭ ﻋﻮﺽ ﻣﻲ ﺷﺪ‪.‬‬
‫ﺍﻭ ﺍﺯ ﻧﮕﺎﻩ ﻛﺮﺩﻥ ﺑﻪ ﻋﻜﺴﻬﺎﻳﺶ ﺑﻪ ﻣﺎﻧﻨﺪ ﺭﺍﻩ ﺭﻓﺘﻦ ﺩﺭ ﻳﻚ ﻣﺴﻴﺮ ﺏﺻﺮﻱ ﻳﺎﺩ ﻣﻲ ﻛﻨﺪ‪ .‬ﺩﺭ ﺗﺼﻮﻳﺮﻱ ﺍﺯ ﻳﻚ ﺯﻥ‬
‫ﻭ ژﺍﻧﺪﺍﺭﻡ ﺩﺭ ﻳﻚ ﭘﺎﺭﻙ ﺩﺭ ﻛﻨﺎﺭ ﺭﻭﺩ ﺧﺎﻧﻪ ﺳﻴﻦ ﻧﮕﺎﻩ ﻣﺎ ﻳﻚ ﻣﺴﻴﺮ ﺯﻳﮕﺰﺍگ ﺭﺍ ﺍﺯ ﻣﺮﻛﺰ ﻳﻌﻨﻲ ﺟﺎﻳﻲ ﻛﻪ‬
‫ژﺍﻧﺪﺍﺭﻡ ﺍﺳﺖ ‪ ،‬ﺳﭙﺲ ﺑﻪ ﺯﻥ ‪ ،‬ﺑﻪ ﺯﻭﺝ ‪ ،‬ﺑﻪ ﻛﻮﺩﻙ ﻭ ﺳﭙﺲ ﺑﻪ ﺧﺎﺭﺝ ﺍﺯ ﻓﺮﻳﻢ ﻃﻲ ﻣﻲ ﻛﻨﺪ‪) .‬ﻋﻜﺲ ‪(2-15‬‬
‫ﻣﺴﻴﺮﻫﺎﻱ ﻣﺸﺎﺑﻬﻲ ﺩﺭ ﻃﻲ ﻓﻀﺎﻱ ﺗﺼﻮﻳﺮ ﺩﺭ ﺑﺴﻴﺎﺭﻱ ﻋﻜﺴﻬﺎﻱ ﺩﻳﮕﺮ ﺩﻭﺍﻧﻮ ﺗﻮﺳﻂ ﺳﻮژﻩ ﻫﺎ ﺍﻳﺠﺎﺩ ﻣﻲ ﺷﻮﺩ‪.‬‬
‫ﻣﻮﺍﻗﻌﻲ‬ ‫ﮔﺮﭼﻪ ﻛﻤﺮﻭ ﺑﻮﺩﻥ ﺩﻭﺍﻧﻮ ﺑﺎﻋﺚ ﻣﻲ ﺷﺪ ﻛﻪ ﺩﺭ ﺑﺴﻴﺎﺭﻱ ﻣﻮﺍﻗﻊ ﺑﻪ ﻃﻮﺭ ﭘﻨﻬﺎﻥ ﻋﻜﺲ ﺑﮕﻴﺮﺩ ﻭﻟﻲ ﺩﺭ‬
‫ﻫﺎﻱﺵ ﺭﺍ ﺑﺎ‬
‫ـﻧﺎﺑﺮﺍﻳﻦ ﺍﻭ ﺑﺮﺧﻲ ﻋﻜﺲـ ـ‬ ‫ﺩﻳﮕﺮ ﺑﺎﻋﺚ ﻣﻲ ﺷﺪ ﻛﻪ ﺍﻭ ﻛﻼً ﻋﻜﺴﻲ ﺭﺍ ﺑﻪ ﻃﻮﺭ ﺑﻲ ﻫﻮﺍ ﻧﮕﻴﺮﺩ‪ .‬ﺏ‬
‫ژﺱﺕ ﺩﺍﺩﻥ ﺑﻪ ﺱـﻭژﻩ ﻩ ـﺍ ﻡ ـﻱ ﮔﺮﻓﺖ‪ .‬ﺑﺎ ﺍﻳﻦ ﻭﺟﻮﺩ ﺍﻳﻦ ﻋﻜﺴﻬﺎ ﻫﻤﺎﻧﻨﺪ‬
‫ﺵﺩﻩ ‪ ،‬ﻭ ـ‬
‫ﺍﺯﺱﺍﺯﻱ ﻭﺍ ﻗـﻌﺔ ﺍﻧﺞـﺍﻡ ـ‬
‫ـﺏ ـ‬
‫ﻋﻜﺲ ﻫﺎﻱ ﺑﻲ ﻫﻮﺍ ﻫﺴﺘﻦﺩ‪ .‬ﺯﻳﺮﺍ ﺍﻭ ﺑﺎ ﺳﻮژﻩ ﻫﺎﻳﺶ ﺁﺷﻨﺎﻳﻲ ﻛﺎﻣﻞ ﺩﺍﺷﺖ ﻭ ﺩﺭﻡ ﻱﺍﻥ ﺁﻧﻬﺎ ﺯﻧﺪﮔﻲ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬
‫‪ .Gilles Peress .1‬ﻋﻜﺎﺱ ﺧﺒﺮﻱ‪ .‬ﻣﺘﻮﻟﺪ ‪1946‬‬

‫‪ .Josef Koudelka .2‬ﻋﻜﺎﺱ ﻣﺘﻮﻟﺪ ‪ 1938‬ﺩﺭ ﭼﻚ‬
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‫ﻋﻜﺲ ‪ 2-15‬ﺭﻭﺑﺮ ﺩﻭﺍﻧﻮ‪ ،‬ﻣﻴﺪﺍﻥ ‪ ،Vert-Galant‬ﭘﺎﺭﻳﺲ‪1950 ،‬‬
‫ﺍﻭ ﻧﻤﻲ ﮔﺬﺍﺷﺖ ﺩﺭ ﻫﻨﮕﺎﻡ ﻋﻜﺎﺳﻲ ﺳﻮژﻩ ﻫﺎﻳﺶ ﺑﻪ ﻭﺟﻮﺩ ﺍﻭ ﭘﻲ ﺑﺒﺮﻧﺪ ‪ ،‬ﺯﻳﺮﺍ ﺩﺭ ﺍﻳﻨﺼﻮﺭﺕ ﺑﺴﻴﺎﺭ ﺧﺠﺎﻟﺖ ﺯﺩﻩ‬
‫ﻡﻱ ﺷﺪ‪ .‬ﭼﻨﻴﻦ ﺗﺮﺳﻲ ﺑﺎﻋﺚ ﻣﻲ ﺷﺪ ﻛﻪ ﺍﻭ ﻣﻮﻗﻊ ﻋﻜﺎﺳﻲ ﺍﺯ ﺩﻳﺪ ﭘﻨﻬﺎﻥ ﺑﺎﺷﺪ‪ ،‬ﻭ ﺍﻳﻦ ﺍﻣﺮ ﻻﺯﻣﻪ ﻛﺎﺭ ﺍﻭ ﺑﻮﺩ‪.‬‬
‫ﻳﻜﻲ ﺩﻳﮕﺮ ﺍﺯ ﺧﺼﻮﺻﻴﺎﺕ ﻛﺎﺭﻫﺎﻱ ﺍﻭ ﻭﺟﻮﺩﻳﻚ ﺣﺲ ﺷﻮﺥ ﻃﺒﻌﻲ ﺍﺳﺖ‪.‬‬
‫ﺩﺭﻳﻚ ﻋﻜﺲ ﻳﻚ ﺯﻥ ﺩﺭ ﻳﻚ ﺭﻭﺯﻧﺎﻣﻪ ﻓﺮﻭﺷﻲ ﻣﺸﻐﻮﻝ ﻧﺠﻮﺍ ﻛﺮﺩﻥ ﭼﻴﺰﻱ ﺩﺭ ﮔﻮﺵ ﻳﻚ ﻣﺮﺩ ﺑﻪ ﻇﺎﻫﺮ‬
‫ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ﻭ ﺑﺎ ﻛﻼﻩ ﻫﺎ ﻣﺒﻮﺭﮔﻲ ﺍﺳﺖ‪ ) .‬ﻋﻜﺲ ‪ (2-16‬ﺩﺭ ﻛﻨﺎﺭ ﺁﻧﻬﺎ ﻳﻚ ﻛﺸﻴﺶ ﺑﺎ ﻛﻼﻫﻲ ﺩﺭ ﺩﺳﺖ ﻭ‬
‫ﻣﻀﻄﺮﺏ ﺍﺯ ﻧﺸﻨﻴﺪﻥ ﺗﻤﺎﻡ ﺣﺮﻑ ﻫﺎﻱ ﺁﻧﻬﺎ‪ ،‬ﺑﻪ ﺳﻮﻱ ﺟﻠﻮ ﺧﻢ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﮔﻮﻳﻲ ﺍﺳﺘﺮﺍﻕ ﺳﻤﻊ ﻣﻲ ﻛﻨﺪ‪.‬‬
‫‪ ،‬ﺑﺎ‬ ‫ﺍﻭ ﺑﺴﻴﺎﺭ ﺷﺒﻴﻪ ﺑﺮﺍﺳﺎﻳﻲ ﺑﻮﺩ‪ .‬ﺍﺯ ﺍﻳﻦ ﻧﻈﺮ ﻛﻪ ﺍﻭ ﻋﻜﺴﻬﺎﻳﺶ ﺭﺍ ﻫﻤﺎﻥ ﻗﺪﺭ ﻛﻪ ﺑﺎ ﺩﻭﺭﺑﻴﻨﺶ ﻣﻲ ﮔﺮﻓﺖ‬
‫ﺵ ﻣﻲ ﮔﺮﻓﺖ‪ .‬ﺍﻭ ﻧﻴﺰ ﺑﻪ ﻣﺎﻧﻨﺪ ﺑﺮﺍﻧﺖ ﺍﺯ ﭘﺎﺭﻳﺲ ﺩﺭ ﺷﺐ ﺑﺮﺍﺳﺎﻳﻲ ﺍﻟﻬﺎﻡ ﮔﺮﻓﺘﻪ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﮔﻔﺘﻪ ﺧﻮﺩﺵ‬
‫ﺷﺨﺼﻴﺖ‬
‫ﺑﻪ ﺍﻭ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺑﻮﺩ ﻛﻪ‪" ...‬ﻧﻴﺎﺯ ﻣﻦ ﺑﺮ ﺍﻱ ﺍﻧﺒﺎﺷﺘﻪ ﺷﺪﻥ ﺍﺯ ﺷﮕﻔﺘﻲ ﻣﻲ ﺗﻮﺍﻧﺪ ﺩﺭ ﻋﻜﺎﺳﻲ ﺍﺯ ﺯﻧﺪﮔﻲ ﺭﻭﺯﻣﺮﻩ ﺩﺭ‬
‫ﭘﺎﺭﻳﺲ ﺗﺤﺮﻳﻚ ﺷﻮﺩ‪".‬‬
‫ﻙﻓﻪ ﻫﺎ ﺑﺎ‬
‫ﺑﺴﻲ ﺭﻱ ﺩﺭ ﺍ‬
‫ﺍﻭ ﻧﻴﺰ ﻣﺎﻧﻨﺪ ﺑﺮﺍﺳﺎﻳﻲ ﺻﺒﺮ ﺑﺴﻴﺎﺭﻱ ﺩﺍﺷﺖ‪ .‬ﺍﻭ ﺧﺼﻮﺻﺎً ﺩﺭ ‪ Les Halles‬ﺷﺐ ﻫﺎﻱ ﺍ‬
‫ﻣﺸﺘﺮﻳﺎﻥ ﻧﻮﺷﻴﺪ ﻭ ﺑﺎ ﺁﻧﻬﺎ ﺁﺷﻨﺎ ﺷﺪ ﻭ ﺑﻌﺪﺍً ﺩﻭﺭﺑﻴﻦ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﺧﻮﺩ ﺁﻭﺭﺩ‪.‬‬
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‫ﻋﻜﺲ ‪ 2-16‬ﺭﻭﺑﺮ ﺩﻭﺍﻧﻮ‪ ،‬ﻛﻨﺎﺭ ﻧﺮﺩﻩ ﻫﺎﻱ ﻧﺰﺩﻳﻚ ﺑﺎﻍ ﻫﺎﻱ ﻟﻮﻛﺰﺍﻣﺒﻮﺭگ‪1953 ،‬‬
‫ﻋﻜﺴﻬﺎﻱ ﺩﻭﺍﻧﻮ ﭼﻴﺰ ﻫﺎﻱﻱ ﺭﺍ ﺗﻜﺮﺍﺭ ﻣﻲ ﻛﻨﻨﺪ ﻛﻪ ﻫﻤﻪ ﺁﻧﻬﺎ ﺭﺍ ﻣﻲ ﺩﺍﻧﻨﺪ‪ .‬ﺍﻳﻦ ﻛﻪ ﻟﻎﺕ ﻓﺮﺍﻧﺴﻮﻱ ﺑﺮﺍﻱ ﻧﮕﺎﺗﻴﻮ‬
‫ﻋﻜﺎﺳﻲ‪ ،‬ﻛﻠﻴﺸﻪ )‪ (cliché‬ﺍﺳﺖ‪ ،‬ﺍﺗﻔﺎﻗﻲ ﻧﻴﺴﺖ‪ .‬ﻋﻜﺎﺳﻲ ﺩﺭ ﺫﺭﺍﺕ ﺧﻮﺩ ﺑﺎ ﻛﻠﻴﺸﻪ ﻫﺎ ﺳﺮﻭﻛﺎﺭ ﺩﺍﺭﺩ‪ .‬ﺑﺴﻴﺎﺭﻱ‬
‫ﺍﺯ ﻧﻤﺎﻫﺎﻱ ﺯﻧﺪﮔﻲ ﺗﺒﺪﻳﻞ ﺑﻪ ﻛﻠﻴﺸﻪ ﻣﻲ ﺷﻮﻧﺪ ﭼﻮﻥ ﺁﻧﻘﺪﺭ ﺣﻘﻴﻘﻲ ﺑﻪ ﻧﻈﺮ ﻣﻲ ﺭﺳﻨﺪ ﻛﻪ ﻛﺴﻲ ﻧﻤﻲ ﺗﻮﺍﻧﺪ ﺁﻧﻬﺎ‬
‫ﺭﺍ ﺭﺩ ﻛﻨﺪ‪ .‬ﺍﮔﺮ ﻛﺴﻲ ﺑﺘﻮﺍﻧﺪ ﺍﺯ ﭘﺲ ﺁﺷﻨﺎﻳﻲ ﺑﻴﺶ ﺍﺯ ﺣﺪ ﺁﻧﻬﺎ ﻛﻪ ﺑﺎ ﻋﺚ ﻣﺮگ ﺁﻧﻬﺎ ﺷﺪﻩ ﺍﺳﺖ ﺑﮕﺬﺭﺩ ‪،‬‬
‫ﺣﻘﻴﻘﺖ ﺯﻧﺪﮔﻲ ﺍﻱ ﻛﻪ ﺁﻧﻬﺎ ﻧﻤﺎﻳﺶ ﻣﻲ ﺩﻫﻨﺪ ﺑﺎﺭ ﺩﻳﮕﺮ ﺁﺷﻜﺎﺭ ﻣﻲ ﺷﻮﺩ‪ .‬ﺍﻳﻦ ﻛﺎﺭﻱ ﺍﺳﺖ ﻛﻪ ﻋﻜﺴﻬﺎﻳﻲ‬
‫ﻣﺎﻧﻨﺪ ﻋﻜﺴﻬﺎﻱ ﺩﻭﺍﻧﻮ ﺩﺭ ﺑﻬﺘﺮﻳﻦ ﺣﺎﻟﺖ ﺍﻧﺠﺎﻡ ﻣﻲ ﺩﻫﻨﺪ‪.‬‬
‫ﺗﺎ ﻫﻤﻴﻦ ﺍﻭﺍﺧﺮ ﻳﻚ ﻋﻜﺎﺱ ﺧﻴﺎﺑﺎﻧﻲ ﺑﻪ ﻃﻮﺭ ﻛﻠﻲ ﭼﻴﺰﻱ ﺑﻮﺩﻩ ﻛﻪ ژﺍﻙ ﭘﺮﻩ ﻭﺭﺕ ‪ 1‬ﺭﺍﺟﻊ ﺑﻪ ﺑﻮﺑﺎﺕ ﮔﻔﺘﻪ‬
‫‪P‬‬ ‫‪P‬‬
‫ﺍﺳﺖ‪" :‬ﻳﻚ ﺧﺒﺮﻧﮕﺎﺭ ﺻﻠﺢ "‪ .‬ﻭﻟﻲ ﺩﺭ ﻃﻲ ﭼﻨﺪ ﺩﻫﻪ ﺍﺧﻴﺮ ﻋﻜﺎﺳﺎﻥ ﺍﻳﻦ ژﺍﻧﺮ ﺩﺭ ﻋﻤﻞ ﺑﺠﺎﻱ ﺁﻥ ﺧﺒﺮ ﻧﮕﺎﺭﺍﻥ‬
‫ﺟﻨﮓ ﺑﻮﺩﻩ ﺍﻧﺪ‪ .‬ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﺟﻮﺍﻣﻊ ﻣﺪﺭﻥ ﻭﺍﺭﺩ ﺣﺎﻟﺘﻲ ﺷﺪﻩ ﺍﻧﺪ ﻛﻪ ﺩﺭ ﺁﻥ ﻫﺎ ﺗﺸﺨﻴﺺ ﺟﻨﮓ ﻭ‬
‫ﺻﻠﺢ ﻏﻴﺮ ﻣﻤﻜﻦ ﺍﺳﺖ ‪ ،‬ﺯﻧﺪﮔﻲ ﺭﻭﺯﻣﺮﻩ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﻛﻪ ﻋﻜﺎﺱ ﺿﺒﻂ ﻣﻲ ﻛﻨﺪ ﺷﺎﻣﻞ ﺍﻋﻤﺎﻝ ﺗﺮﻭﺭﻳﺴﺘﻲ ﻭ‬
‫ﺟﻨﮓ ﻫﺎﻱ ﻏﻴﺮ ﻧﻈﺎﻣﻲ ﺍﺳﺖ‪.‬‬
‫‪ .Jacques Prévert .1‬ﺷﺎﻋﺮ ﻭ ﻧﻤﺎﻳﺸﻨﺎﻣﻪ ﻧﻮﻳﺲ ﻓﺮﺍﻧﺴﻮﻱ ‪1900-1977‬‬
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‫پ ﺩﻭﻥ ‪ ،‬ﻛﻮﻧﻦ ﻭ ﺳﻴﻨﮓ ﺩﺭ‬
‫ﺗﺤﺖ ﭼﻨﻴﻦ ﺷﺮﺍﻳﻄﻲ )ﻧﺰﺍﻉ( ﻋﻜﺎﺳﺎﻧﻲ ﭼﻮﻥ ﺩﻭﻥ ﻣﻚ ﻛﺎ ﻝﻳﻦ‪ ،‬ﺭﻳﻤﻮﻧﺪ ﺩ ﺍﺭ‬
‫ﻧﻴﻜﺎﺭﺍﮔﻮﻧﻪ ﻭ ﺳﻮﺯﺍﻥ ﻣﻲ ﺳﻼﺱ ﺩﺭ ﺍﻟﺴﺎﻟﻮﺍﺩﻭﺭ ﺑﻪ ﻉﻛﺎﺱﻱ ﻣﻲ ﭘﺮﺩﺍﺯﻧﺪ‪ .‬ﺩﺭ ﺣﻮﻣﻪ ژﻭﻫﺎﻧﺴﺒﻮﺭگ ﭘﻴﺘﺮ ﻣﮕﻮﻱﺍﻥ‬
‫ﻋﻚﺱﻱ ﻣﻲ ﭘﺮﺩﺍﺯﺩ ﻭﻟﻲ ﻋﻜﺴﻬﺎﻱ ﺍﻭ ﺷﺎﻣﻞ ﺷﻮﺭﺵ ﻫﺎ ﻭ ﺧﺸﻮﻧﺖ ﻫﺎﻱ ﭘﻠﻴﺲ ﺍﺳﺖ‪.‬‬
‫ﺑﻪ ﻣﺎﻧﻨﺪ ﺩﻭﺍﻧﻮ ﺑﻪ ﺍ‬
‫ﺩﺭ ﭼﻨﻴﻦ ﺵﺭ ﺍﻳﻄﻲ ﺗﺼﻤﻴﻢ ﮔﻴﺮﻱ ﻟﺤﻈﻪ ﺍﻱ‪ ،‬ﺩﻳﺪﻩ ﻧﺸﺪﻥ ﻭ ﻛﺎﻣﻼً ﻣﺨﻔﻲ ﺑﻮﺩﻥ ﻛﻪ ﻋﻜﺎﺱ ﺧﻴﺎﺑﺎﻧﻲ ﻗﺎﺩﺭ ﺑﻪ‬
‫ﺁﻧﻬﺎﺳﺖ ﺩﻳﮕﺮ ﻧﻮﻋﻲ ﺍﺯ ﺍﺳﺘﻌﺪﺍﺩ ﻫﻨﺮﻱ ﻧﻴﺴﺘﻨﺪ ﺑﻠﻜﻪ ﻣﻬﺎﺭﺕ ﻫﺎﻱ ﺯﻧﺪﻩ ﻣﺎﻧﺪﻥ ﻣﻲ ﺑﺎﺷﻨﺪ‪ ،‬ﻭ ﭼﻨﻴﻦ ﻋﻜﺴﻬﺎﻳﻲ ﻣﺎ‬
‫ﺭﺍ ﺑﻪ ﻳﺎﺩ ﺿﺮﻭﺭﺕ ﻭﺟﻮﺩ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﻣﻲ ﺍﻧﺪﺍﺯﺩ‪ .‬ﻋﻜﺎﺳﺎﻥ ﺩﻭﺑﺎﺭﻩ ﭼﻴﺰﻱ ﻣﻲ ﺷﻮﻧﺪ ﻛﻪ ﺩﺭ ﮔﺬﺷﺘﻪ‬
‫ﺑﻮﺩﻧﺪ‪ :‬ﻗﻬﺮﻣﺎﻧﺎﻥ ﻓﺮﻫﻨﮕﻲ ﻭ ﭘﻴﻐﺎﻡ ﺭﺳﺎﻧﺎﻥ ﺿﺮﻭﺭﻱ ‪.‬‬
‫ﺍﻳﻦ ﻋﻜﺎﺳﺎ ﻥ ﻛﻪ ﺍﺯ ﭼﻨﺪ ﺻﺪ ﺗﺎ ﭼﻨﺪﻳﻦ ﻫﺰﺍﺭ ﺩﻻﺭ ﺑﺮﺍﻱ ﺑﻪ ﺧﻄﺮ ﺍﻧﺪﺍﺧﺘﻦ ﺯﻧﺪﮔﻴﺸﺎﻥ ﺩﺭﻳﺎﻓﺖ ﻣﻲ ﻛﻨﻨﺪ‪،‬‬
‫ﻋﻜﺴﻬﺎﻱ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻣﺠﻼﺗﻲ ﻣﻲ ﺑﻴﻨﻨﺪ ﻛﻪ ﻋﻤﺮﻱ ﺩﺭ ﺣﺪ ﻳﻚ ﻫﻔﺘﻪ ﻳﺎ ﻳﻚ ﻣﺎﻩ ﺩﺍﺭﻧﺪ‪ .‬ﻭﻟﻲ ﺑﻌﻀﻲ ﺍﻭﻗﺎﺕ ﺍﻳﻦ‬
‫ﻋﻜﺴﻬﺎ ﺷﻜﻞ ﻳﻚ ﻛﺘﺎﺏ ﭘﻴﺪﺍ ﻣﻲ ﻛﻨﻨﺪ‪ .‬ﺑﻬﺘﺮﻳﻦ ﺍﻳﻦ ﻧﻮﻉ ﺍﺯ ﻋﻜﺴﻬﺎ ﺍﻫﻤﻴﺖ ﺩﺍﺳﺘﺎﻧﻬﺎﻳﻲ ﻛﻪ ﺭﻭﺍﻳﺖ ﻣﻲ ﻛﻨﻨﺪ‬
‫ﺭﺍ ﻃﻮﺭﻱ ﻣﻲ ﺭﺳﺎﻧﻨﺪ ﻛﻪ ﻫﻴﭻ ﺷﻜﻞ ﺩﻳﮕﺮﻱ ﺍﺯ ﺭﻭﺯﻧﺎﻣﻪ ﻧﮕﺎﺭﻱ ﻗﺎﺩﺭ ﺑﻪ ﺁﻥ ﻧﻴﺴﺖ‪.‬‬
‫ﻳﻚ ﻣﺜﺎﻝ ﺍﺯ ﻗﺪﺭﺗﻲ ﻛﻪ ﭼﻨﻴﻦ ﻋﻜﺴﻬﺎﻳﻲ ﻣﻲ ﺗﻮﺍﻧﻨﺪ ﺩﺭ ﻗﺎﻟﺐ ﻳﻚ ﻛﺘﺎﺏ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ ﺩﺭ "ﺗﻠﻜﺲ‪ :‬ﺍﻳﺮﺍﻥ‪ -‬ﺑﻪ‬
‫ﻧﺎﻡ ﺍﻧﻘﻼﺏ" ﺍﺳﺖ‪ .‬ﻛﺘﺎﺑﻲ ﻛﻪ ﮔﻴﻠﺰ ﭘﺮﺱ ﺍﺯ ﭘﻮﺷﺶ ﺭﺳﺎﻧﻪ ﺍﻱ ﺧﻮﺩ ﺍﺯ ﺍﻧﻘﻼﺏ ﺍﻳﺮﺍﻥ ﺩﺭ ﺍﻭﺍﺧﺮ ﺩﻫﻪ ‪ 1970‬ﺑﻴﺎﻥ‬
‫ﻛﺮﺩ‪ .‬ﻉﺻﺒﻲ ﺑﻮﺩﻥ ﻣﺸﻬﻮﺩ ﺩﺭ ﺑﻴﺸﺘﺮ ﻋﻜﺴﻬﺎﻱ ﺧﻴﺎﺑﺎﻧﻲ ﻛﻪ ﭘﺮﺱ ﺍﺯ ﺁﻧﺠﺎ ﮔﺮﻓﺘﻪ ﺑﺎﺯﺗﺎﺑﻲ ﺍﺯ ﺗﻨﺎﻗﺾ ﻫﺎﻳﻲ ﺍﺳﺖ‬
‫ﻛﻪ ﺍﺟﺘﻤﺎﻉ ﺍﻳﺮﺍﻥ ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ ﺗﺤﺖ ﺁﻧﻬﺎ ﺯﻧﺪﮔﻲ ﻣﻲ ﻛﺮﺩﻧﺪ‪.‬‬
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‫ﻋﻜﺲ ‪ 2-17‬ﮔﻴﻠﺰ ﭘِﺮِﺱ‪ ،‬ﺍﺯ ﺗﻠﻜﺲ‪ :‬ﺍﻳﺮﺍﻥ‪1979-80 ،‬‬
‫پﺱ ﭼﻨﺪﻳﻦ ﺳﺎﻝ ﺩﺭ ﺁﻧﺠﺎ ﺯﻧﺪﮔﻲ ﻛﺮﺩﻩ ‪ ،‬ﻫﻨﻮﺯ ﺍﻭ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺧﺒﺮﻧﮕﺎﺭ ﻓﺮﺍﻧﺴﻮﻱ ﻣﻲ‬
‫ﺩﺭ ﻧﻴﻮﻳﻮﺭﻙ ﻛﻪ ﺭ‬
‫ﺍﺭﻱﺱ ﻛﻪ ﺍﻭ ﺩﺭ ﺁﻧﺠﺎ ﺑﺪﻧﻴﺎ ﺁﻣﺪﻩ ﺍﻛﻨﻮﻥ ﺍﻭ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺁﻣﺮﻳﻜﺎﻳﻲ ﻣﻲ ﺷﻨﺎﺳﻨﺪ‪ .‬ﻳﻚ‬
‫ﺷﻨﺎﺳﻨﺪ‪ .‬ﻭﻟﻲ ﺩﺭ پ‬
‫ﻣﺜﺎﻝ ﺑﺎﺭﺯ ﺍﺯﻋﻜﺎﺳﻲ ﻛﻪ ﺍﻛﻨﻮﻥ ﺍﻳﻨﭽﻨﻴﻦ ﺑﺪﻭﻥ ﻛﺸﻮﺭ ﺍﺳﺖ ﻳﻚ ﻫﻤﻜﺎﺭ ﭘﺮﺱ ﺩﺭﻡ ﮔﻦﻭﻡ‪ ،‬ژﻭﺯﻑ ﻛﻮﺩﻟﻜﺎ‬
‫ﺍﺳﺖ‪ .‬ﺑﺮﺍﻱ ﺳﺎﻟﻬﺎﻱ ﺑﺴﻴﺎﺭﻱ ﻛﻪ ﺍﻭ ﺍﺯ ﻛﺸﻮﺭ ﺍﺻﻠﻲ ﺧﻮﺩ چﻛﻮﺳﻠﻮﺍﻛﻲ ﺩﺭ ‪ 1970‬ﺑﻴﺮﻭﻥ ﺭﻓﺖ ﺗﻨﻬﺎ ﺧﺎﻧﻪ ﺍﻱ‬
‫ﻛﻪ ﺍﻭ ﻣﻲ ﺷﻨﺎﺧﺖ ﺩﻓﺘﺮ ﻣﮕﻨﻮﻡ ﺩﺭ ﭘﺎﺭﻳﺲ ﺑﻮﺩ ﻛﻪ ﺍﻭ ﺷﺐ ﺩﺭ ﺁﻧﺠﺎ ﺑﺮﺭﻭﻱ ﺯﻣﻴﻦ ﺩﺭ ﻳﻚ ﻛﻴﺴﻪ ﺧﻮﺍﺏ ﻣﻲ‬
‫ﺧﻮﺍﺑﻴﺪ‪.‬‬
‫ﻛﻮﺩﻝﻛﺎ ﺩﺭ ﻡ ﮔﻦﻭﻡ ﻣﺰﻳﺘﻲ ﺩﺍﺭﺩ ﻭ ﺁﻥ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻣﺠﺒﻮﺭ ﻧﻴﺴﺖ ﺑﺮﺍﻱ ﻋﻀﻮ ﻣﺎﻧﺪﻥ ﺩﺭ ﻣﮕﻨﻮﻡ ﻣﺎﻧﻨﺪ ﺑﻘﻴﻪ‬
‫ﻣﺮﺗﺐ ﺗﻜﻠﻴﻒ ﺍﻧﺠﺎﻡ ﺩﻫﺪ‪ .‬ﭘﺮﻭژﻩ ﺍﻱ ﻛﻪ ﺑﺎﻋﺚ ﺷﺪ ﺍﻭ ﺑﻪ ﭼﻨﻴﻦ ﻣﺰﻳﺘﻲ ﺩﺳﺖ ﻳﺎﺑﺪ ﻫﻤﺎﻧﻲ ﺑﻮﺩ ﻛﻪ ﺑﺎﻋﺚ ﺷﺪ ﺍﻭ‬
‫ﺩﻭﻥ ﻛﺸﻮﺭ ﺷﻮﺩ ﻭ ﺁﻥ ﻣﻄﺎﻟﻌﻪ ﺍﻱ ﺍﺯ ﻛﻮﻟﻲ ﻫﺎ ﺑﻮﺩ ﻛﻪ ﺍﻭ ﺑﻴﻦ ‪ 1962‬ﻭ ‪ 1968‬ﺍﻧﺠﺎﻡ ﺩﺍﺩ‪.‬‬
‫ﺏ‬
‫ﺩﺭ ﺳﺎﻝ ‪ 1965‬ﻛﻮﺩﻟﻜﺎ ﺑﺎ ﺍ ﻭﺗﻮﻣﺎﺭ ﻛﺮِﺟﺎ ‪ ،‬ﻳﻚ ﭼﻬﺮﻩ ﻣﺸﺨﺺ ﺩﺭ ﺁﻭﺍﻧﮕﺎﺭﺩ ﻛﻪ ﺻﺎﺣﺐ ﺗﺌﺎﺗﺮ ﺑﻮﺩ ﻛﺎﺭ ﻣﻲ‬
‫ﻭﻣﺎﺭ ﺍﺟﺎﺯﻩ ﻣﻲ ﺩﺍﺩ ﻛﻪ ﻳﻚ ﺻﺤﻨﻪ ﺗﺌﺎﺗﺮ ﺟﻠﻮﻱ ﺩﻭﺭﺑﻴﻦ ﺍﻭ ‪ 5‬ﺑﺎﺭ ﺗﻜﺮﺍﺭ ﺷﻮﺩ ﺗﺎ ﺍﻭ ﺑﺘﻮﺍﻧﺪ ﺩﺭ ﺻﺤﻨﻪ‬
‫ﻛﺮﺩ‪ .‬ﺍ ﻭﺕ‬
‫ﺑﻪ ﻫﻤﺮﺍﻩ ﺑﺎﺯﻳﮕﺮﺍﻥ ﺗﺤﺮﻙ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﻭ ﺍﺯ ﺁﻧﻬﺎ ﻋﻜﺲ ﺑﮕﻴﺮﺩ‪ .‬ﺍﻳﻦ ﻧﻤﻮﻧﻪ ﺍﻱ ﺍﺯ ﻧﻮﻉ ﻋﻜﺎﺳﻲ ﺍﻱ ﺑﻮﺩ ﻛﻪ ﺍﻭ‬
‫ﺩﺭ ﺑﻴﻦ ﻛﻮﻟﻲ ﻫﺎ ﺍﻧﺠﺎﻡ ﺩﺍﺩ‪ .‬ﺑﺎ ﺁﻧﻬﺎ ﻧﻴﺰ ﺍﻭ ﺑﺎﻳﺴﺘﻲ ﺩ ﺭ ﻧﻤﺎﻳﺶ ﺑﺎﺯﻱ ﻣﻲ ﻛﺮﺩ ﺗﺎ ﺍﺯ ﺁﻧﻬﺎ ﻋﻜﺲ ﺑﮕﻴﺮﺩ‪ .‬ﺍﻭ ﺩﻗﺖ‬
‫ﺑﺴﻴﺎﺭﻱ ﺭﺍ ﺻﺮﻑ ﺍﻳﻦ ﭘﺮﻭژﻩ ﻛﺮﺩ ﺗﺎ ﺑﺘﻮﺍﻧﺪ ﺯﻧﺪﮔﻲ ﺁﻧﻬﺎ ﺭﺍ ﺍﺯ ﺩﺭﻭﻥ ﺑﺒﻴﻨﺪ‪.‬‬
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‫ﻋﻜﺲ ‪ 2-18‬ﺟﻮﺯﻑ ﻛﻮﺩﻟﻜﺎ‪ ،‬ﭼﻜﻮﺳﻠﻮﺍﻛﻲ‪1966 ،‬‬
‫ﺍﻭ ﺑﺮﺍﻱ ﺍﻳﻦ ﻛﺎﺭ ﺍﺯ ﻳﻚ ﻟﻨﺰ ‪ 25‬ﻣﻴﻠﻴﻤﺘﺮ ﻱ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩ ﺗﺎ ﺑﺘﻮﺍﻧﺪ ﺩﺭ ﻣﻴﺎﻥ ﻣﺮﺩﻣﻲ ﺑﺎﺷﺪ ﻛﻪ ﺍﺯ ﺁﻧﻬﺎ ﻋﻜﺲ ﻣﻲ‬
‫ﮔﻴﺮﺩ‪ .‬ﺩﺭ ﺗﺼﺎﻭﻳﺮ ﺍﻭ ﻳﻚ ﺁ ﻥﺍﺭﺷﻲ ﺗﺼﻮﻳﺮﻱ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﺑﺎ ﻏﻴﺮ ﺍﻫﻠﻲ ﺑﻮﺩﻥ ﻭ ﺑﻲ ﻗﺎﻧﻮﻥ ﺑﻮﺩﻥ ﺧﻮﺩ ﻛﻮﻟﻲ‬
‫ﻫﺎ ﻫﻤﺎﻫﻨﮓ ﺍﺳﺖ‪ .‬ﺍﻭ ﻧﻴﺰ ﻣﺎﻧﻨﺪ ﺁﻟﻮﺍ ﺭﺯ ﺑﺮ ﺍﻭﻭ ﺩﻧﻴﺎ ﺭﺍ ﺍﺯ ﻧﻈﺮ ﺳﻤﺒﻮﻟﻴﺰﻡ ﻣﻲ ﺑﻴﻨﺪ ‪ ،‬ﻧﻪ ﻭﺍﻗﻌﻴﺎﺕ‪ .‬ﺍﻭ ﺑﻴﺸﺘﺮ ﻣﺘﻮﺟﻪ‬
‫ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻳﻚ ﺗﺼﻮﻳﺮ ﺣﺎﻛﻲ ﺍﺯ ﭼﻴﺴﺖ ﺗﺎ ﺍﻳﻨﻜﻪ ﺣﺎﻭﻱ ﭼﻴﺴﺖ‪.‬‬
‫ﻭﺳﻠﻮ ﺍﻛﻲ‪ ،‬ﺍﻭ ﺁﻧﺠﺎ ﺭﺍ ﺗﺮﻙ ﮔﻔﺖ ﻭ ﺍﺯ ﺁﻥ ﺑﻪ ﺑﻌﺪ ﺍﻭ ﻧﻴﺰ ﻳﻚ ﻣﺮﺩ‬
‫ﺑﻌﺪ ﺍﺯ ﺗﻬﺎﺟﻢ ﺳﺎﻝ ‪ 1968‬ﺷﻮﺭﻭﻱ ﺑﻪ ﭼﻚ‬
‫ﺟﺎﺑﺠﺎ ﺷﺪﻩ ﺍﺯ ﺟﺎﻱ ﺍﺻﻠﻲ ﺧﻮﺩ ﻭ ﺑﺪﻭﻥ ﻛﺸﻮﺭ ﮔﺸﺖ ‪ .‬ﺍﻭ ﺣﺘﻲ ﺑﺪﻭﻥ ﺷﻐﻞ ﻣﺎﻧﺪ ﻭ ﺍﺯ ﺑﻮﺩﻥ ﻫﺮ ﭼﻴﺰﻱ ﺑﻪ ﺟﺰ‬
‫ﻳﻚ ﻋﻜﺎﺱ ﺧﻴﺎﺑﺎﻧﻲ ﺳﺮﺑﺎﺯ ﺯﺩ‪.‬‬
‫ﻛﺎﺭ ﺍﻭﻧﻴﺰ ﺟﺰﺋﻲ ﺍﺯ ﺭﺳﻢ ﻗﺪﻳﻤﻲ ﻋﻜﺎﺳﻲ ﺩﺭ ﺣﻔﻆ ]ﺣﺪﺍﻗﻞ ﺗﺼﺎﻭﻳﺮ[ ﻳﻚ ﻓﺮﻫﻨﮓ ﺍﺳﺖ ﻭﻗﺘﻲ ﻛﻪ ﭼﻴﺰ ﺯﻳﺎﺩ‬
‫ﺩﻳﮕﺮﻱ ﺍﺯ ﺁﻥ ﺑﺎﻗﻲ ﻧﻤﺎﻧﺪﻩ ﺍﺳﺖ‪.‬‬
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‫ﺑﺨﺶ ﺳﻮﻡ‪ :‬ﻭﺍﻛﺮ ﺍﻭﺍﻧﺰ ﻭ ﺁﻣﺮﻳﻜﺎ ﻗﺒﻞ ﺍﺯ ﺟﻨﮓ‬
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‫‪2‬‬
‫‪P‬‬ ‫‪ .12‬ﭘﻴﺸﺮﻓﺖ ﺍﺟﺘﻤﺎﻋﻲ‪ .‬ﺭﻳﺲ‪ 1‬ﻭ ﻫﺎﻳﻦ‬
‫‪P‬‬ ‫‪P‬‬
‫ژﺍﻛﻮﺏ ﺭﻳﺲ ﻳﻚ ﻋﻜﺎﺱ ﻧﺒﻮﺩ‪ .‬ﺍﻭ ﻳﻚ ﺧﺒﺮﻧﮕﺎﺭ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﻳﻚ ﺍﺻﻼﺡ ﻃﻠﺐ ﺍﺟﺘﻤﺎﻋﻲ ﺗﺒﺪﻳﻞ ﺷﺪﻩ ﺑﻮﺩ ﻭ‬
‫ﺍﻭ ﺧﻮﺩ ﺩﺭ ﺳﺎﻝ ‪ 1870‬ﺍﺯ‬ ‫ﺍﺯ ﻋﻜﺎﺳﻲ ﺑﺮﺍﻱ ﻛﻤﻚ ﺑﻪ ﺳﺨﻨﺮﺍﻧﻲ ﻫﺎ ﻭ ﻛﺘﺎﺑﻬﺎﻳﺶ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻲ ﻛﺮﺩ‪ .‬ﭼﻮﻥ‬
‫ﺩﺍﻧﻤﺎﺭﻙ ﺑﻪ ﻧﻴﻮﻳﻮﺭﻙ ﺁﻣﺪﻩ ﺑﻮﺩ ﻭ ﺑﺴﻴﺎﺭ ﺗﻬﻲ ﺩﺳﺖ ﺑﻮﺩ ‪ ،‬ﺍﺣﺴﺎﺱ ﻣﻲ ﻛﺮﺩ ﻛﻪ ﺩﻳﺪ ﻭﻳﮋﻩ ﺍﻱ ﺩﺭ ﻳﺎﻓﺘﻦ ﻋﻠﻞ‬
‫ﺟﻨﺎﻳﺎﺗﻲ ﺑﺎﺷﺪ ﻛﻪ ﺩﺭ ﻃﻮﻝ ﺑﻴﺴﺖ ﻭ ﺩﻭ ﺳﺎﻝ ﻛﺎﺭ ﺵ ﺑﻪ ﻋﻨﻮﺍﻥ ﮔﺰﺍﺭﺷﮕﺮ ﭘﻠﻴﺲ ﺩﺭ ﻣﻴﺎﻥ ﺍﻳﺮﻟﻨﺪ ﻫﺎ‪ ،‬ﺍﻳﺘﺎﻟﻴﺎﻱ ﻫﺎ‪،‬‬
‫ﻳﻬﻮﺩﻳﺎﻥ ﻭ ﺣﺘﻲ ﻗﺒﺎﻳﻞ ﺑﻮﻣﻲ ﺁﻣﺮﻳﻜﺎﻳﻲ ﺟﻨﻮﺏ ﺷﺮﻗﻲ ﻧﻴﻮﻳﻮﺭﻙ ﻣﺸﺎﻫﺪﻩ ﻣﻲ ﻛﺮﺩ‪ .‬ﺍﻭ ﺍﺯ ﻋﻜﺲ ﻫﺎﻱ ﺧﻮﺩ ﻩ ﻡ‬
‫ﺍﻧﻮ ﺱﻱ ﻭ ﻫﻢ ﺩﺭ ﻛﺘﺎﺑﺶ "ﻧﻴﻤﻪ ﺩﻳﮕﺮ ﭼﮕﻮﻧﻪ ﺯﻧﺪﮔﻲ ﻣﻲ ﻛﻨﺪ " ﻛﻪ ﺩﺭ ﺳﺎﻝ ‪ 1890‬ﭼﺎپ ﺷﺪ‬
‫ﺍﺳﻼﻱ ﻫﺎﻱ ﻑ‬
‫ﺩ‬ ‫ﺩﺭ‬
‫ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩ‪.‬‬
‫‪ ،‬ﺧﻮﺩﺵ ﻋﻜﺲ ﻧﻤﻲ ﮔﺮﻓﺖ ‪ .‬ﻧﺨﺴﺖ ﺍﺯ ﺁﻣﺎﺭﺗﻮﺭﻫﺎ‬ ‫ﻭﻟﻲ ﺣﺘﻲ ﺑﻌﺪ ﺍﺯ ﭘﻲ ﺑﺮﺩﻥ ﺑﻪ ﺍﺭﺯﺵ ﻋﻜﺲ ﺑﺮﺍﻱ ﺍﻭ‬
‫ﻛﻤﻚ ﻣﻲ ﮔﺮﻓﺖ ﭘﺲ ﺍﺯ ﺁﻧﻜﻪ ﺁﻧﻬﺎ ﺩﻳﮕﺮ ﺗﻤﺎﻳﻠﻲ ﺑﻪ ﻫﻤﻜﺎﺭﻱ ﻧﺪﺍﺷﺘﻨﺪ ﻳﻚ ﺣﺮﻓﻪ ﺍﻱ ﺭﺍ ﺍﺳﺘﺨﺪﺍﻡ ﻛﺮﺩ ﻛﻪ‬
‫ﺳﺮﺍﻭ ﺭﺍ ﻛﻼﻩ ﮔﺬﺍﺷﺖ‪ .‬ﺩﺭ ﺁﺧﺮ ﺍﻭ ﭘﺲ ﺍﺯ ﺧﺸﻢ ﻓﺮﺍﻭﺍﻥ ﺗﺼﻤﻴﻢ ﮔﺮﻓﺖ ﻛﻪ ﻋﻜﺎﺳﻲ ﺭﺍ ﻳﺎﺩ ﺑﮕﻴﺮﺩ‪.‬‬
‫ﺕ ﺑﻪ ﺧﻮﺩ ﻋﻜﺎﺳﻲ ﻭ ﻳﺎ ﻫﺮ ﻗﺎﻧﻮﻥ ﺗﺮﻛﻴﺐ‬
‫ﻭﻗﺘﻲ ﺑﻪ ﻋﻜﺲ ﻫﺎﻱ ﺭ ﻱﺱ ﻣﻲ ﻧﮕﺮﻳﺪ ﻣﻲ ﺑﻴﻨﺪ ﻛﻪ ﺍﻭ ﭼﻘﺪﺭ ﻥﺱﺏ‬
‫ﺑﻨﺪﻱ ﺩﺍ ﻧﺲﺗﻪ ﺷﺪﻩ ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ ﺑﻲ ﺗﻔﺎﻭﺕ ﺑﻮﺩﻩ ‪ .‬ﺑﺮﺍﻱ ﻣﺜﺎﻝ ﺩﺭ ﺗﻼﺵ ﺑﺮﺍﻱ ﮔﺮﻓﺘﻦ ﻳﻚ ﻋﻜﺲ ﺑﻲ ﻫﻮﺍﻱ‬
‫ﻱ‬
‫ﺧﻴﺎﺑﺎﻧﻲ ﺍﺯ ﭼﻨﺪ ﭘﺴﺮ ﺑﭽﻪ ﺩﺭ ﺣﺎﻝ ﺑﺎﺯﻱ )ﻋﻜﺲ ‪ (2-19‬ﺍﻭ ﮔﺬﺍﺷﺖ ﺗﺎ ﺩﻭ ﺑﺰﺭﮔﺴﺎﻝ ﺩﺭ ﭘﻴﺶ ﺯﻣﻴﻨﻪ ﺩﺭ ﺳﺎ ﻩ‬
‫ﺑﻤﺎﻧﻨﺪ؛ ﺟﺎﻳﻲ ﻛﻪ ﺑﻪ ﻣﻘﺪﺍﺭ ﺯﻳﺎﺩﻱ ﺑﻴﺸﺘﺮ ﺍﺯ ﺳﻮژﻩ ﻫﺎﻱ ﻣﺮﻛﺰﻱ ﺑﻪ ﭼﺸﻢ ﻣﻲ ﺁﻳﻨﺪ‪ .‬ﺩﻟﻴﻞ ﺍﻳﻦ ﻛﻪ ﺍﻭ ﻛﺎﺭ ﺧﻮﺩ ﺭﺍ‬
‫ﺑﻬﺘﺮ ﻧﻤﻲ ﻛﺮﺩ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺍﺯ ﺍﺑﺘﺪﺍ ﻓﻬﻤﻴﺪﻩ ﺑﻮﺩ ﺗﺼﻮﻳﺮﻱ ﻛﻪ ﺑﺪﻭﻥ ﻣﻬﺎﺭﺕ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺑﻮﺩ ﺑﺮﺍﻱ‬
‫ﻣﻘﺎﺻﺪ ﺍﻭ ﻡﺅ ﺛﺮﺗﺮ ﺑﻮﺩ‪ .‬ﺑﺮﺍﻱ ﻣﺜﺎﻝ ﺩﺭ ﻫﻤﻴﻦ ﻋﻜﺲ ﺣﻀﻮﺭ ﺗﻴﺮﻩ ﺑﺰﺭﮔﺴﺎﻻﻥ ﺩﺭ ﮔﻮﺷﻪ ﻓﺮﻳﻢ ﻱﻙ ﻧﻜﺘﻪ ﺷﻮﻡ‬
‫ﻭﻟﻲ ﻣﻨﺎﺳﺐ ﺭﺍ ﻣﻲ ﺭﺳﺎﻧﺪ‪ .‬ﺁﻧﻬﺎ ﺑﺮ ﻟﺤﻈﻪ ﻛﻮﺗﺎﻩ ﻟﺬﺕ ﻛﻮﺩﻛﺎﻥ ﺩﺭ ﺁﻓﺘﺎﺏ ﺳﺎﻳﻪ ﻣﻲ ﺍﻧﺪﺍﺯﻥﺩ‪.‬‬
‫ﻗﺮﻱ ﻛﻪ ﻣﻲ ﺩﻳﺪ ﺑﺮﺍﺑﺮ ﺑﺎﺷﻨﺪ‪ .‬ﻫﻨﺮ ﻧﻤﻲ ﺗﻮﺍﻧﺴﺖ ﻛﻤﻚ‬
‫ﺭﻳﺲ ﻣﻲ ﺧﻮﺍﺳﺖ ﻛﻪ ﻋﻜﺲ ﻫﺎﻳﺶ ﺩﺭ ﺯﺷﺘﻲ ﺑﺎ ﻑ‬
‫ﻛﻨﺪ ﭼﻮﻥ ﻣﺮﺩﻡ ﻓﻜﺮ ﻣﻲ ﻛﺮﺩﻧﺪ ﻛﻪ ﺍﻭ ﻣﺨﺼﻮﺻﺎً ﭼﻨﻴﻦ ﺷﺮﺍﻳﻄﻲ ﺭﺍ ﺩﺭ ﻋﻜﺲ ﺍﻟﻘﺎ ﻛﺮﺩﻩ‪ .‬ﺍﮔﺮ ﺍﻳﻦ ﻋﻜﺲ ﻫﺎ‬
‫ﻣﻲ ﺑﺎﻳﺴﺖ ﺑﻲﻥﻧﺪ ﻩ ﺭﺍ ﻣﺘﻘﺎﻋﺪ ﻛﻨﻨﺪ ﺍﺏﻳﺪ ﺩﻗﻴﻘﺎً ﻡﺷﺎ ﺑﻪ ﺍﺻﻞ ﺳﻮژﻩ ﻡﻱ ﺑﻮﺩﻧﺪ‪ ،‬ﺑﻪ ﻫﻤﺎﻥ ﻣﻘﺪﺍﺭ ﺧﺎﻡ ﻭ ﻭﺣﺸﺘﻨﺎﻙ‪.‬‬
‫ﺗﻨﻬﺎ ﺯﻳﺒﺎﻳﻲ ﺷﻨﺎﺳﻲ ﺭﻳﺲ‪ ،‬ﻫﻤﻴﻦ ﺿﺪ ﺯﻳﺒﺎﻳﻲ ﺷﻨﺎﺱﻱ‪ 3‬ﺑﻮﺩ‪.‬‬
‫‪P‬‬ ‫‪P‬‬
‫‪ .Jacob Riis .1‬ﺧﺒﺮﻧﮕﺎﺭ ﻭ ﺍﺻﻼﺡ ﻃﻠﺐ ﺍﺟﺘﻤﺎﻋﻲ ﺩﺍﻧﻤﺎﺭﻛﻲ‪-‬ﺁﻣﺮﻳﻜﺎﻳﻲ‪1849-1914 .‬‬

‫‪ .Lewis Wickes Hine .2‬ﺟﺎﻣﻌﻪ ﺷﻨﺎﺱ ﻭﻋﻜﺎﺱ ﺁﻣﺮﻳﻜﺎﻳﻲ‪1874-1940 .‬‬
‫‪anti-aesthetic .3‬‬
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‫ﻋﻜﺲ ‪ 2-19‬ﺟﺎﻛﻮﺏ ﺭﻳﺲ‪ ،‬ﺁﻧﭽﻪ ﻛﻪ ﭘﺴﺮﺑﭽﻪ ﻫﺎ ﺩﺭ ﺯﻣﻴﻦ ﺑﺎﺯﻱ ﺧﻴﺎﺑﺎﻧﻲ ﺧﻮﺩ ﻳﺎﺩ ﻣﻲ ﮔﻴﺮﻧﺪ‪c.1880 ،‬‬
‫ﺑﺮﺧﻼﻑ ﺍﻧﮕﻴﺰﻩ ﻫﺎﻱ ﺍﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺍﺻﻼﺡ ﻃﻠﺐ ﺍﺟﺘﻤﺎﻋﻲ‪ ،‬ﺍﻧﮕﻴﺰﻩ ﻫﺎﻱ ﺍﻭ ﺩﺭ ﻋﻜﺎﺳﻲ ﺭﺍ ﻧﻤﻲ ﺗﻮﺍﻥ ﻣﻮﺭﺩ‬
‫ﺱ ﺍﻝ ﻗﺮﺍﺭ ﺩﺍﺩ ‪ ،‬ﭼﻮﻥ ﺍﻭ ﻫﻴﭻ ﺍﻧﮕﻴﺰﻩ ﺍﻱ ﻧﺴﺒﺖ ﺑﻪ ﻋﻜﺎﺳﻲ ﻧﺪﺍﺷﺖ‪ .‬ﺑﺨﺸﻲ ﺍﺯ ﺁﻥ ﺑﻪ ﺍﻳﻦ ﺧﺎﻃﺮ ﺍﺳﺖ ﻛﻪ ﺍﻭ‬
‫ﺅ‬
‫ﺣﺘﻲ ﺧﻮﺩ ﺭﺍ ﻳﻚ ﻋﻜﺎﺱ ﻧﻤﻲ ﺩﺍﻧﺴﺖ ﻭ ﻫﻴﭻ ﻛﺲ ﺩﻳﮕﺮﻱ ﻫﻢ ﺍﻭ ﺭﺍ ﻋﻜﺎﺱ ﻧﻤﻲ ﺩﺍﻧﺴﺖ‪ ،‬ﺗﺎ ﭘﻨﺠﺎﻩ ﺳﺎﻝ ﺑﻌﺪ‬
‫ﻭﺩ ﺭﻱ ﺩﺭ ﻓﻀﺎﻱ‬
‫ﻻﺵ پ‬
‫ﺍﺯﺁﻥ ﻛﻪ ﺍﻭ ﻛﺎﺭ ﻫﺎﻱ ﺧﻮﺩ ﺭﺍ ﺍﻧﺠﺎﻡ ﺩﺍﺩ ﻩ ﺑﻮﺩ‪ .‬ﺍﺛﺮﺍﺕ ﻋﺠﻴﺐ ﻭ ﺗﻘﺎﺑﻞ ﻫﺎﻱ ﺍﺗﻔﺎﻗﻲ ﻛﻪ ﻑ‬
‫ﺩﺍﺧﻠﻲ ﺍﻳﺠﺎﺩ ﻣﻲ ﻛﺮﺩ ﻧﺘﺎﻳﺞ ﻱ ﻣﺸﺎﺑﻪ ﻋﻜﺴﻬﺎﻱ ﺧﻴﺎﺑﺎﻧﻲ ﺍﻭ ﺩﺭ ﺑﻴﺮﻭﻥ ﺍﻳﺠﺎﺩ ﻣﻲ ﻛﺮ ﺩ‪ .‬ﻛﺎﺭ ﺍﻭ ﻳﻚ ﻇﺎﻫﺮ ﻗﻄﻌﻲ‬
‫ﻭ ﭘﻴﻮﺳﺘﻪ‪ ،‬ﻳﻚ ﺍﺳﺘﺎﻳﻞ ﺩﺍﺭﺩ‪ .‬ﻭﻟﻲ ﻫﻴﭻ ﻛﺲ ﺍﻳﻦ ﭼﻨﻴﻦ ﺑﻪ ﺁﻥ ﻫﺎ ﻓﻜﺮ ﻧﻤﻲ ﻛﺮﺩ ‪ ،‬ﺗﺎ ﺍﻳﻨﻜﻪ ﭘﻴﺸﺮﻓﺖ ﻫﺎﻱ ﺑﻌﺪﻱ‬
‫ﺟﺎ ﺭﺍ ﺑﺮﺍﻱ ﺭﻳﺲ ﺩﺭ ﺗﺎﺭﻳﺦ ﻋﻜﺎﺳﻲ ﺑﺎﺯ ﻛﺮﺩ‪.‬‬
‫ﺭﻳﺲ ﻭ ﻟﻮﺋﻴﺲ ﻭﻳﻜﺰ ﻫﺎﻳﻦ ﻫﺮ ﺩﻭ ﺷﻬﺮﺗﻲ ﺩﻭﮔﺎﻧﻪ ﺩﺍﺭﻧﺪ‪ .‬ﻧﺨﺴﺖ ﺑﻪ ﻋﻨﻮﺍﻥ ﺭﻭﺯﻧﺎﻣﻪ ﻧﮕﺎﺭ ﻭ ﺳﭙﺲ ﺑﻪ ﻋﻨﻮﻥ‬
‫ﺛﺮ ﺁﻧﻬﺎ ﺑﺮ‬ ‫ﻋﻜﺎﺳﻲ ﺳﺘﺎﻳﺶ ﺷﺪﻩ‪ .‬ﺍ ﺛﺮ ﻫﺮ ﻳﻚ ﺍﺯ ﺍﻳﻦ ﺩﻭ ﺑﺮ ﺗﺎﺭﻳﺦ ﺍﺟﺘﻤﺎﻋﻲ ﺁﻣﺮﻳﻜﺎ ﻓﻮﺭﻱ ﺑﻮﺩ ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﺍ‬
‫ﺗﺎﺭﻳﺦ ﻋﻜﺎﺳﻲ ﺳﺎﻟﻬﺎ ﺑﻌﺪ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩ‪.‬‬
‫ﻫﺎﻳﻦ ﻧﻴﺰ ﺍﺯ ﺳﻮژﻩ ﻩ ﺍ ﻱﻱ ﻣﺸﺎﺑﻪ ﺳﻮژﻩ ﻫﺎﻱ ﺭﻳﺲ ﻋﻜﺲ ﻣﻲ ﮔﺮﻓﺖ‪ ،‬ﺑﺎ ﺍﻳﻦ ﺗﻔﺎﻭﺕ ﻛﻪ ﻫﺪﻑ ﺍﻭ ﺑﺠﺎﻱ ﺑﻪ‬
‫ﺗﺼﻮﻳﺮ ﻛﺸﻴﺪﻥ ﺷﺮﺍﻳﻂ ﺯﻧﺪﮔﻲ ﺁﻧﻬﺎ ‪ ،‬ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺸﻴﺪﻥ ﺷﺮﺍﻳﻂ ﻛﺎﺭﻱ ﺁﻧﻬﺎ ﺑﻮﺩ‪ .‬ﺭﻳﺲ ﺑﻪ ﻛﺎﺭﮔﺎﻩ ﻫﺎﻱ‬
‫ﻛﺎﺭﻫﺎﻱ ﺳﺨﺖ ﻭ ﺑﺎ ﺷﺮﺍﻳﻂ ﺩﺷﻮﺍﺭ ‪ ،‬ﺳﺎﺧﺘﻤﺎﻥ ﻫﺎﻱ ﺗﻨﮓ ﻭ ﺗﺎﺭﻳﻚ ﻓﻘﺮﺍ ﻭ ﺥﻭﺍﺑﮕﺎﻩ ﻫﺎﻱ ﻛﺜﻴﻒ ﻭ ﺑﺪﻭﻥ‬
‫ﺗﺦﺕ ﺭﻓﺘﻪ ﺑﻮﺩ‪ .‬ﻫﺎﻳﻦ ﺑﻪ ﻣﻌﺪﻥ ﻫﺎ ﻭ ﻛﺎﺭﮔﺎﻩ ﻫﺎ ﻣﻲ ﺭﻓﺖ‪ .‬ﻭﻟﻲ ﺑﺮﺍﻱ ﻫﺮ ﺩﻭﻱ ﺁﻧﻬﺎ ﻫﺪﻑ ﻧﻔﻮﺫ ﺑﻪ ﺟﺎﻫﺎﻱ‬
‫ﻣﺨﻔﻲ ﻭ ﻛﺜﻴﻒ ﺩﺭ ﺁﻣﺮﻳﻜﺎ ﻭ ﺁﺷﻜﺎﺭ ﻛﺮﺩﻥ ﭼﻴﺰﻱ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﻗﺼﺪ‪ ،‬ﺩﻭﺭ ﺍﺯ ﺩﻳﺪ ﻧﮕﺎﻩ ﺩﺍﺷﺘﻪ ﻣﻲ ﺷﺪ‪.‬‬
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‫ﺑﺎ ﺍﻳﻦ ﺡﺍﻝ ﻫﺮ ﻭﻗﺖ ﻫﺎﻳﻦ ﺍﻳﻦ ﺍﻣﻜﺎﻥ ﺭﺍ ﻧﻤﻲ ﻳﺎﻓﺖ ﻛﻪ ﺑﻪ ﺩﺍﺧﻞ ﻛﺎﺭﮔﺎﻩ ﻫﺎ ﺭﺍ ﻩ ﻳﺎﺑﺪ ﺍﺯ ﺳﻮژﻩ ﻫﺎﻱ ﺧﻮﺩ ﺩﺭ‬
‫ﺧﻴﺎﺑﺎﻥ ﻋﻜﺲ ﻣﻲ ﮔﺮﻓﺖ‪.‬‬
‫ﻭ‬ ‫ﻑ ﮔﺮﻓﺖ‪ ،‬ﺳﺎﺧﺖ ﺗﺼﺎﻭﻳﺮ ﺑﺎ ﻧﻮﺭ ﻓﻼﺵ ﺩﺭ ﻣﻴﺎﻥ ﻣﺤﻴﻂ ﮔﺮﻓﺘﻪ ﻭ ﺗﺎﺭﻳﻚ‬
‫ﺯﻳﺒﺎﻳﻲ ﺷﻨﺎﺳﻲ ﺍﻱ ﻛﻪ ﻫﺎﻳﻦ ﺭﺍ‬
‫ﺯﻳﺒﺎﻳﻲ ﺷﻨﺎﺳﻲ ﺍﻱ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺁﻥ ﺗﻨﻬﺎ ﻓﻮﻛﻮﺱ ﺑﺮ ﺳﻮژﻩ ﺍﻧﺴﺎﻧﻲ ﺍﺳﺖ‪ .‬ﭘﺲ ﺯﻣﻴﻨﻪ ﺗﺒﺪﻳﻞ ﺑﻪ ﻳﻚ ﭘﺮﺩﻩ ﭘﺸﺖ‬
‫ﺻﺤﻨﻪ ﻣﻲ ﺷﻮﺩ؛ ﻳﻚ ﻣﺤﻴﻂ ﺍﻥ ﻭﺍﺿﺢ ﻛﻪ ﺩﺭ ﺁﻥ ﺳﻮژﻩ ﺑﺮﺟﺴﺘﻪ ﺍﺳﺖ‪ .‬ﺁﻧﭽﻪ ﻛﻪ ﺑﻪ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﻫﺎﻳﻦ‬
‫ﺭﺗﺮﻩ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﺍﺳﺖ‪ .‬ﻳﻚ ﻋﻜﺲ‬
‫ﺏ ﻛﺎﺭ ﺑﺮﺩﻥ ﺍﻳﻦ ﺯﻳﺒﺎﻳﻲ ﺷﻨﺎﺳﻲ پ‬
‫ﻛﺎﺭﺍﻛﺘﺮ ﺁﻥ ﺭﺍ ﻣﻲ ﺑﺨﺸﺪ ﻗﺎﺑﻠﻴﺖ ﺍﻭ ﺩﺭ ﻩ‬
‫ﺍﻭ ﻛﻪ ﺑﻴﺸﺘﺮ ﺍﺯ ﺑﻘﻴﻪ ﺗﻜﺜﻴﺮ ﺷﺪﻩ ﻋﻜﺴﻲ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻫﻤﻴﻦ ﻃﺮﻳﻖ ﺳﻮژﻩ ﺭﺍ ﺍﺯ ﭘﺲ ﺯﻣﻴﻨﻪ ﺟﺪﺍ ﻣﻲ ﺳﺎﺯﺩ‪ .‬ﺍﻳﻦ‬
‫ﻋﻜﺲ ﺩﺭ ﻗﺴﻤﺖ ﭘﺎﻳﻴﻨﻲ ﺑﺨﺶ ﺷﺮﻗﻲ ﻧﻴﻮﻳﻮﺭﻙ ﮔﺮﻓﺘﻪ ﺷﺪ‪ .‬ﺑﺎ ﺍﻧﺘﺨﺎﺏ ﺍﻳﻦ ﻧﻘﻄﻪ ﺑﻪ ﺷﻜﻠﻲ ﻛﻪ ﭘﺲ ﺯﻣﻴﻨﻪ ﺩﺭ‬
‫ﺧﻴﺎﺑﺎﻥﻱ ﺩﻭﺭ ﺑﺎﺷﺪ‪ ،‬ﺍﻭ ﺍﺣﺘﻤﺎﻻً ﺑﺮﺭﻭﻱ ﭘﻴﺶ ﺯﻣﻴﻨﻪ ﻓﻮﻛﻮﺱ ﻛﺮﺩ ﻩ ﻭ ﻣﻨﺘﻈﺮ ﺷﺪﻩ ﺗﺎ ﺍﻳﻦ ﻛﻪ ﻛﺴﻲ ﺍﺯ ﺁﻧﺠﺎ ﻋﺒﻮﺭ‬
‫ﺱ ﻟﺒﺎﺱ ﺑﺮﺭﻭﻱ ﺳﺮﺵ ﺍﺯ ﮔﻮﺷﻪ ﺧﻴﺎﺑﺎﻥ ﻋﺒﻮﺭ ﻛﺮﺩ ﺑﺎﻋﺚ ﺍﻳﺠﺎﺩ ﻋﻜﺴﻲ ﺑﺮﺍﻱ ﺍﻭ ﺷﺪ‬
‫ﻛﻨﺪ‪ .‬ﺯﻧﻲ ﻛﻪ ﺍﺏﻳﻚ ﻛﻲ ﻩ‬
‫ﻛﻪ ﺑﻌﺪ ﻫﺎ ﺑﻪ ﺻﻮﺭﺕ ﮔﺴﺘﺮﺩﻩ ﺗﻮﺳﻂ ﺍﻧﺠﻤﻦ ﺑﻴﻦ ﺍﻝ ﻣﻞﻟﻲ ﻛﺎﺭﮔﺮﺍﻥ ﺯﻥ ﭘﻮﺷﺎﻙ ﺍﺳﺘﻔﺎﺩﻩ ﺷﺪ ‪ ،‬ﺗﺎ ﺁﻧﺠﺎ ﻛﻪ‬
‫ﻋﻤﻼً ﻟﻮﮔﻮﻱ ﺁﻥ ﺷﺪ‪).‬ﻋﻜﺲ ‪(2-20‬‬
‫ﻋﻜﺲ ‪ 2-20‬ﻟﻮﻳﺲ ﺩﺑﻠﻴﻮ ﻫﺎﻳﻦ‪ ،‬ﻣﻬﺎﺟﺮ ﺍﻳﺘﺎﻟﻴﺎﻳﻲ‪ ،‬ﺑﺨﺶ ﺷﺮﻗﻲ‪ ،‬ﻧﻴﻮﻳﻮﺭﻙ‪1910 ،‬‬
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‫ﺩﺭ ﺍﻳﻦ ﻋﻜﺲ ﺩﺭ ﮔﻮﺷﻪ ﺳﻤﺖ ﺭﺍﺳﺖ ﺯﻥ ﺩﻳﮕﺮﻱ ﺑﻪ ﺻﻮﺭﺕ ﺳﻲ ﻝﻭ ﺉﺕ ﺩﻳﺪﻩ ﻣﻲ ﺷﻮﺩ ﻛﻪ ﺩﺭ ﺣﺎﻝ ﺧﺎﺭﺝ‬
‫ﺷﺪﻥ ﺍﺯ ﻛﺎﺩﺭ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺯﻥ‪ ،‬ﺯﻥ ﺍﺻﻠﻲ ﺭﺍ ﺗﻜﻤﻴﻞ ﻣﻲ ﻛﻨﺪ ﻭ ﺑﻪ ﻋﻜﺲ ﺧﺎﺻﻴﺖﻱ ﻃﻌﻨﻪ ﺁﻣﻴﺰ ﻣﺎﻧﻨﺪ ﻋﻜﺲ ﻫﺎﻱ‬
‫ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﻣﻲ ﺑﺨﺸﺪ‪.‬‬
‫ﻋﻜﺲ ﺩﻳﮕﺮﻱ ﻛﻪ ﺑﻪ ﺍﻳﻦ ﺷﻴﻮﻩ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺍﺳﺖ ﺍﺯ ﭘﺴﺮ ﺑﭽﻪ ﺭﻭﺯﻧﺎﻣﻪ ﻓﺮﻭﺵ ﺩﻧﻲ ﻣﺮﻛﻮﺭ ﻳﻮ ﺩﺭ ﻭﺍﺷﻨﮕﺘﻦ ﺩﺭ‬
‫ﺳﺎﻝ ‪ 1912‬ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪).‬ﻋﻜﺲ ‪ (2-21‬ﺍﻳﻦ ﻳﻚ ﺗﺮﻛﻴﺐ ﺑﻨﺪﻱ ﻣﻌﻤﻮﻝ ﻫﺎﻳﻦ ﺑﺎ ﻳﻚ ﺻﻔﺤﻪ ﻓﻮﻛﻮﺱ ﺩﺭ‬
‫ﻟﺒﻪ ﺳﻤﺖ ﭼﭗ ﺧﺎﺭﺝ ﻣﻲ‬ ‫ﺟﻠﻮﻱ ﭘﺲ ﺯﻣﻴﻨﻪ ﺑﺪﻭﻥ ﺷﻠﻮﻏﻲ ﺍﺳﺖ‪ .‬ﻭﻟﻲ ﻭﺟﻮﺩ ﻳﻚ ﺑﻴﻮﻩ ﺯﻥ ﺛﺮﻭﺗﻤﻨﺪ ﻛﻪ ﺍﺯ‬
‫ﺷﻮﺩ ﺑﻌﺪ ﺩﻳﮕﺮ ﻱ ﺑﻪ ﻋﻜﺲ ﺑﺨﺸﻴﺪﻩ ﺍﺳﺖ ﻭ ﺁﻥ ﻃﻌﻨﻪ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﺣﻴﻦ ﻛﻪ ﺗﺼﻮﻳﺮ ﺣﺎﻭﻱ ﻣﺤﺘﻮﺍﻱ ﺟﺪﻱ‬
‫ﺍﺳﺖ‪ ،‬ﺣﺎﻭﻱ ﻃﻨﺰ ﻣﺎﻧﻨﺪ ﻃﻨﺰ ﺗﺼﺎﻭﻳﺮﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﻧﻴﺰ ﻫﺴﺖ‪.‬‬
‫ﺧﺼﻮﺻﻴﺖ ﻋﻜﺲ ﻫﺎﻱ ﻫﺎﻳﻦ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺍﺷﺨﺎﺹ ﺭﺍ ﺩﺭ ﺑﻨﺪ ﺷﺮﺍﻳﻂ ﺳﺨﺖ ﺍﺟﺘﻤﺎﻋﻲ ﺷﺎﻥ ﻧﺸﺎﻥ ﻧﻤﻲ‬
‫ﺩﻩ ﻥﺩ ﺑﻠﻜﻪ ﺁﻧﻬﺎ ﺭﺍ ﻣﻮﺟﻮﺩﺍﺗﻲ ﻣﻲ ﺑﻴﻦﻥﺩ ﻛﻪ ﻗﺎﺑﻠﻴﺖ ﺍﻳﻦ ﺭﺍ ﺩﺍﺭﻧﺪ ﻛﻪ ﺩﺭ ﺍﺟﺘﻤﺎﻉ ﭘﻴﺸﺮﻓﺖ ﻛﻨﻨﺪ‪.‬‬
‫ﻋﻜﺲ ‪ 2-21‬ﻟﻮﻳﺲ ﺩﺑﻠﻴﻮ ﻫﺎﻳﻦ‪ ،‬ﺩﻧﻲ ﻣﺮﻛﻮﺭﻳﻮ‪ ،‬ﻭﺍﺷﻴﻨﮕﺘﻮﻥ ﺩﻱ ﺳﻲ‪1912 ،‬‬
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‫‪ .13‬ﺩﻳﺪ ﺟﻤﻌﻲ‪ ،‬ﺍﺩﺍﺭﻩ ﺍﻣﻨﻴﺖ ﻛﺸﺎﻭﺭﺯﻱ ﻭ ﺍﺩﺍﺭﻩ ﭘﻴﺸﺮﻓﺖ ﻛﺎﺭ‬
‫ﺩﺭ ﻓﺮﺍﻧﺴﻪ‪ ،‬ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺍﻭﻝ ﺗﻮﺳﻂ ﺍﺷﺨﺎﺹ ﺍﻳﺠﺎﺩ ﺷﺪ ﻭ ﺳﭙﺲ ﻡ ﺅ ﺳﺴﻪ ﻫﺎ ﺍﻳﺠﺎﺩ ﺷﺪﻧﺪ‪ .‬ﺍﻳﻦ ﻋﻜﺎﺳﻲ‬
‫‪ 1930‬ﻛﺎﺭ ﻣﻲ‬ ‫ﺗﻮﺳﻂ ﭼﻨﺪ ﻓﺮﺩ ﺍﻳﺠﺎﺩ ﺷﺪ‪ .‬ﻋﻤﺪﺗﺎً ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﻭ ﻛﺮﺗﻴﺲ ﻛﻪ ﺑﻪ ﺻﻮﺭﺕ ﻣﺴﺘﻘﻞ ﺩﺭ ﺩﻫﻪ‬
‫ﺩﺭ‬ ‫ﻛﺮﺩﻧﺪ ﻭ ﺗﻨﻬﺎ ﺑﻌﺪ ﻫﺎ ‪ ،‬ﭘﺲ ﺍﺯ ﺟﻨﮓ ‪ ،‬ﻭ ﺑﺎ ﺍﻳﺠﺎﺩ ﻣﮕﻨﻮﻡ ﺍﻳﻦ ﻋﻜﺎﺳﻲ ﺷﻜﻞ ﺷﺮﻛﺖ ﺑﻪ ﺧﻮﺩ ﮔﺮﻓﺖ‪.‬‬
‫ﺁﻣﺮﻳﻜﺎ ﺍﻭﻝ ﻡ ﺅ ﺳﺴﺎﺕ ﺁﻣﺪﻧﺪ ﻭ ﺳﭙﺲ ﺍﻓﺮﺍﺩﻱ ﻛﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻋﻜﺎﺱ ﺧﻴﺎﺑﺎﻧﻲ ﺷﻨﺎﺧﺘﻪ ﻣﻲ ﺷﻮﻧﺪ ﺩﺭ ﺍﻳﻦ‬
‫ﻣﻮﺳﺴﺎﺕ ﺷﻜﻮﻓﺎ ﮔﺸﺘﻨﺪ‪ .‬ﻣﻬﻤﺘﺮﻳﻦ ﻡ ﺅ ﺳﺴﺎﺗﻲ ﻛﻪ ﺩﺭ ﺩﻩ ﻩ ﺳﻲ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺭﺍ ﭘﺮﻭﺭﺵ ﺩﺍﺩﻧﺪ ‪ ،‬ﻟﻴﮓ‬
‫ﻋﻜﺲ )‪ (Photo League‬ﭘﺮﻭژﻩ ﻓﺪﺭﺍﻝ ﻫﻨﺮ ) ‪ (Federal Art Project‬ﻭ ﺍﺩﺍﺭﻩ ﺍﻣﻨﻴﺖ ﻛﺸﺎﻭﺭﺯﻱ‬
‫)‪ (FSA) (Farm Security Administration‬ﺑﻮﺩﻧﺪ‪ .‬ﻫﻴﭻ ﻳﻚ ﺍﺯ ﺍﻳﻦ ﻫﺎ ﺑﺮﺍﻱ ﻣﻖﺻﺪ ﺧﺎﺹ ﺗﻮﺳﻌﻪ‬
‫ﺕﺳﻴﺲ ﻥﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻣﻖﺻﺪ ﻭﺍﻗﻌﻲ ﺁﻧﻬﺎ ﺁﻥ ﻗﺪﺭﻫﺎ ﺧﻮﺩ ﻋﻜﺎﺳﻲ ﻧﺒﻮﺩ ﺑﻠﻜﻪ ﻣﻄﺎﻟﻌﻪ ﺯﻧﺪﮔﻲ‬
‫ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺃ‬
‫ﻣﺮﺩﻡ ﻋﺎﺩﻱ ﺩﺭ ﺁﻣﺮﻳﻜﺎ ﺑﻮﺩ‪ .‬ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺗﻨﻬﺎ ﺑﻪ ﻋﻨﻮﺍﻥ ﻧﺘﻴﺠﻪ ﺍﻳﻦ ﻣﻘﺼﻮﺩ ﭘﺪﻳﺪﺍﺭ ﮔﺸﺖ‪.‬‬
‫ﺩﺭ ﺍﻭﺍﻳﻞ ﺩﻫﻪ ‪ 1930‬ﺩﻭﺭﻭﺗﻴﺎ ﻟَﻨﮓ ‪ 1‬ﻣﺘﻮﺟﻪ ﺍﻳﻦ ﺷﺪ ﻛﻪ ﭼﻄﻮﺭ ﺟﺮﻳﺎﻥ ﻣﺮﺩﻡ ﺩﺭ ﻃﻮﻝ ﺧﻴﺎﺑﺎﻥ ﺩﺭ ﺑﻴﺮﻭﻥ ﺍﺯ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺭﺗﺮﻩ ﺍﺵ ﺩﺭ ﺳﺎ ﻥ ﻓﺮﺍﻧﺴﻴﺴﻜﻮ ﻋﻮﺽ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻋﺎﺑﺮﻳﻦ ﭘﻴﺎﺩﻩ ﻛﻤﺘﺮ ﺩﺭ ﺣﺎﻝ ﻋﺠﻠﻪ ﺍﻧﺪ ﻧﮕﺎﻩ‬
‫ﭘﻨﺠﺮﻩ ﺍﺳﺘﻮﺩﻳﻮﻱ پ‬
‫ﻛﺮﺩﻥ ﺑﻪ ﺑﻲ ﻫﺪﻓﻲ ﺁﻧﻬﺎ ﺟﺎﻟﺐ ﺍﺳﺖ ‪ .‬ﺍﻭ ﭘﺲ ﺍﺯ ﻣﺸﺎﻫﺪﻩ ﻳﻚ ﻛﺎﺭﮔﺮ ﺟﻮﺍﻥ ﺑﻲ ﻛﺎﺭ ﺑﻪ ﺍﻳﻦ ﻓﻜﺮ ﺍﻓﺘﺎﺩ ﺗﺎ ﺍﺯ‬
‫ﺍﺳﺘﻮﺩﻳﻮﻱ ﺧﻮﺩ ﺑﻪ ﺧﻴﺎﺑﺎﻥ ﺭﻓﺘﻪ ﻭ ﺍﺯ ﻣﺮﺩﻡ ﻋﻜﺎﺳﻲ ﻛﻨﺪ‪.‬‬
‫ﺍﻭﻝﻳﻦ ﺑﺎﺭﻱ ﻛﻪ ﺍﻭ ﺑﺮﺍﻱ ﻋﻜﺎﺳﻲ ﺑﻪ ﺧﻴﺎﺑﺎﻥ ﺭﻓﺖ ﺗﻨﻬﺎ ﻣﺴﻴﺮ ﻛﻮﺗﺎﻫﻲ ﺭﺍ ﭘﻴﻤﻮﺩ ﻭ ﺑﻪ ﺭﻭﺑﺮﻭﻱ ﻳﻚ ﻣﻐﺎﺯﻩ ﺭﻓﺖ؛‬
‫ﺟﺎﻳﻲ ﻛﻪ ﻳﻚ ﺷﺨﺺ ﺍﻧﺴﺎﻥ ﺩﻭﺳﺖ ﻏﺬﺍ ﺑﺨﺶ ﻣﻲ ﻛﺮﺩ‪ .‬ﺍﻳﻦ ﻋﻤﻞ ﺩﺭ ﺁﻥ ﻣﺤﻞ ﺑﻪ ﻋﻨﻮﺍﻥ ﺧﻂ ﻧﺎﻥ ﻓﺮﺷﺘﻪ‬
‫ﺳﻔﻴﺪ ﺷﻨﺎﺧﺘﻪ ﻣﻲ ﺷﺪ ﻭ ﻋﻜﺲ ﻝَﻧﮓ ﺍﺯ ﺁﻥ ﻳﻜﻲ ﺍﺯ ﺍﻭﻟﻴﻦ ﻋﻜﺲ ﻫﺎﻳﺶ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ‪ ،‬ﻳﻜﻲ ﺍﺯ ﻣﺸﻬﻮﺭﺗﺮﻳﻦ‬
‫ﺗﺼﺎﻭﻳﺮ ﺩﻭﺭﻩ ﺭﻛﻮﺩ ﺍﻗﺘﺼﺎﺩﻱ ﺷﺪ‪).‬ﻋﻜﺲ ‪(2-22‬‬
‫ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ ﺳﺎﺯﻣﺎﻥ ﻫﺎ ﻱﻱ ﭼﻮﻥ ‪ WPA ،FSA‬ﻭ ﻟﻴﮓ ﻋﻜﺲ ﻋﻜﺴﻬﺎﻱ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﻛﺘﺎﺑﻬﺎ ﻭ‬
‫ﻣﺠﻼﺕ ﻗﺮﺍﺭ ﻣﻲ ﺩﺍﺩﻧﺪ ﻭ ﻫﻤﭽﻨﻴﻦ ﺍﺯ ﻋﻜﺴﻬﺎﻱ ﺧﻮﺩ ﻧﻤﺎﻳﺸﮕﺎﻩ ﺗﺮﺗﻴﺐ ﻣﻲ ﺩﺍﺩﻧﺪ‪ .‬ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﺗﺄﺛﻴﺮﻱ ﻛﻪ‬
‫‪ FSA‬ﺑﺮ ﻋﻜﺎﺳﻲ‬ ‫ﻧﻤﺎﻳﺸﮕﺎﻩ ﻫﺎ ﺑﺮ ﺑﺪﻧﻪ ﺳﻴﺎﺳﺖ ﻣﻲ ﮔﺬﺍﺷﺘﻨﺪ ﺭﺍ ﻧﻤﻲ ﺗﻮﺍﻥ ﺍﻧﺪﺍﺯﻩ ﮔﺮﻓﺖ ﻭﻟﻲ ﺗﺄﺛﻴﺮ ﺧﻮﺩ‬
‫ﺁﻣﺮﻳﻜﺎ ﺑﺴﻴﺎﺭ ﻣﺸﻬﻮﺩ ﺍﺳﺖ‪ .‬ﻧﻴﻤﻲ ﺍﺯ ﻋﻜﺎﺳﺎﻥ ‪ FSA‬ﺗﺤﺖ ﺭﻳﺎﺳﺖ ﺭﻭﻱ ﺍﺳﺘﺮﺍﻳﻜﺮ ﺑﻌﺪ ﻫﺎ ﻋﻜﺎﺱ ﻳﺎ ﻭﻳﺮﺍﺳﺘﺎﺭ‬
‫"ﺷﺎﻥ‪ "1‬ﺗﺄﺛﻴﺮ ‪ FSA‬ﺍﻧﻘﻼﺑﻲ ﺩﺭ‬ ‫‪P‬‬ ‫‪P‬‬ ‫ﻣﺠﻼﺗﻲ ﭼﻮﻥ ﺗﺎﻳﻢ‪ ،‬ﻻﻳﻒ ﻭ ﻟﻮﻙ ﺷﺪﻧﺪ‪ .‬ﻭﻟﻲ ﺍﺯ ﺁﻥ ﻣﻬﻤﺘﺮ ﻃﺒﻖ ﻧﻈﺮ‬
‫ﻋﻜﺎﺳﻲ ﺁﻥ ﺯﻡﺍﻥ ﭘﺪﻳﺪ ﺁﻭﺭﺩ‪.‬‬
‫‪ .Dorothea Lange .1‬ﻋﻜﺎﺱ ﺁﻣﺮﻳﻜﺎﻳﻲ‪1895-1965 .‬‬
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‫ﻋﻜﺲ ‪ 2-22‬ﺩﻭﺭﻭﺗﻴﺎ ﻟﻨﮓ‪ ،‬ﺧﻂ ﻧﺎﻥ ﻓﺮﺷﺘﻪ ﺳﻔﻴﺪ‪ ،‬ﺳﺎﻧﻔﺮﺍﻧﺴﻴﺴﻜﻮ‪1933 ،‬‬
‫ﻭﺕ ﻭ‬
‫ﺩﺭ ﺳﺎﻝ ‪ 1938‬ﺩﻭ ﻧﻤﺎﻳﺸﮕﺎﻩ ﺍﺯ ﻛﺎﺭ ﻋﻜﺎﺳﺎﻥ ‪ FSA‬ﺑﺮ ﭘﺎ ﮔﺮﺩﻳﺪ‪" .‬ﻋﻮﺽ ﻛﺮﺩﻥ ﻧﻴﻮﻳﻮﺭﻙ" ﺑﺮﻧﻴﺲ ﺁﺏ‬
‫"ﻋﻜﺴﻬﺎﻱ ﺁﻣﺮﻳﻜﺎﻳﻲ " ﻭﺍﻛﺮﺍﻭﺍﻧﺰ ﻛﻪ ﻫﺮ ﺩﻭ ﺑﺎ ﻛﺘﺎﺏ ﻫﺎﻳﻲ ﻫﻤﺮﺍﻫﻲ ﺷﺪﻧﺪ ﻛﻪ ﺗﺄﺛﻴﺮ ﺍﻳﻦ ﻋﻜﺴﻬﺎ ﺭﺍ ﻓﺮﺍﺗﺮ ﺍﺯ‬
‫ﻧﻤﺎﻳﺸﮕﺎﻩ ﻣﻲ ﺑﺮﺩ‪ .‬ﺍﻳﻦ ﻋﻜﺲ ﻫﺎ ﻋﻤﺪﺗﺎً ﻋﻜﺲ ﻫﺎﻱ ﺧﻴﺎﺑﺎﻧﻲ ﺑﻮﺩﻧﺪ ﻛﻪ ﺷﺎﻣﻞ ﺗﺼﻮﻳﺮ ﺁﻣﺮﻳﻜﺎﻱ ﺩﻭﺭﺍﻥ ﺭﻛﻮﺩ‬
‫ﺍﻗﺘﺼﺎﺩﻱ ﺑﻮﺩﻧﺪ ﻛﻪ ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ ﻫﻤﻪ ﺟﺎ ﺩﺭ ﻋﻜﺲ ﻫﺎ ﻣﺸﺎﻫﺪﻩ ﻣﻲ ﺷﺪ‪.‬‬
‫‪ ،‬ﻛﺎﻓﻪ ﻫﺎﻱ ﻛﻨﺎﺭ ﺧﻴﺎﺑﺎﻥ ﻭ ﺭﻫﮕﺬﺭﺍﻥ‬ ‫ﺩﺭ ﭘﺎﺭﻱﺱ ‪ ،‬ﺑﺎ ﻣﻴﺪﺍﻥ ﻫﺎﻱ ﺑﺰﺭﮔﺶ ﻭ ﭘﻴﺎﺩﻩ ﺭﻭ ﻫﺎﻱ ﺳﻨﮕﻔﺮﺵ ﺷﺪﻩ‬
‫ﺑﻮﻟﻮﺍﺭﻫﺎ‪ ،‬ﻫﻤﻴﺸﻪ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﻳﻚ ﺯﻧﺪﮔﻲ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﻛﻪ ﺩﺭ ﺍﻧﺘﻈﺎﺭ ﻋﻜﺎﺳﻲ ﺷﺪﻥ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﺎﻻﺕ‬
‫ﻣﺘﺤﺪﻩ ﭼﻴﺰﻱ ﻗﺎﺑﻞ ﻣﻘﺎﻳﺴﻪ ﺍﺯ ﻧﻈﺮ ﺟﺎﺫﺑﻪ ﺑﺮﺍﻱ ﻋﻜﺎﺳﺎﻥ ‪ ،‬ﺗﺎ ﺩﻫﻪ ‪ 1930‬ﻭﺟﻮﺩ ﻧﺪﺍﺷﺖ ‪ .‬ﺑﻲ ﻫﺪﻓﻲ ﻋﻤﻮﻣﻲ ﺩﺭ‬
‫ﺧﻴﺎﺑﺎﻥ ﻛﻪ ﺩﺭ ﻓﺮﺍﻧﺴﻪ ﺑﻪ ﺗﻔﺮﻳﺢ ﻭ ﻟﺬﺕ ﻣﻲ ﮔﺬﺷﺖ ‪ ،‬ﺩﺭ ﺁﻣﺮﻳﻜﺎ ﺧﻮﺷﺎﻳﻨﺪ ﻧﺒﻮﺩ‪ .‬ﺑﺎ ﺍﻳﻨﺠﺎﻝ ﺑﻪ ﻣﺤﺾ ﺍﻳﻨﻜﻪ ﺩﺭ‬
‫ﺁﻧﺠﺎ ﻳﻚ ﺯﻧﺪﮔﻲ ﺧﻴﺎﺑﺎﻧﻲ ﭘﺪﻳﺪ ﺁﻣﺪ‪ ،‬ﺑﺎ ﺍﻳﻨﻜﻪ ﺑﺎ ﻧﻮﻉ ﻓﺮﺍﻧﺴﻮﻱ ﺁﻥ ﺑﺴﻴﺎﺭ ﻣﺘﻔﺎﻭﺕ ﺑﻮﺩ ﺑﺎﻋﺚ ﺍﻳﺠﺎﺩ ﻳﻚ‬
‫ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺑﺴﻴﺎﺭ ﻣﺸﺎﺑﻪ ﺷﺪ‪ .‬ﺑﺎﻻﺧﺺ ﺩﺭﺁﺭﺷﻴﻮﻫﺎﻱ ‪ FSA‬ﺍﻏﻠﺐ ﺩﺭ ﺗﺼﺎﻭﻳﺮ ﺣﺎﻻﺕ ﺳﻮﺭﺭﺋﺎﻟﻴﺴﺘﻲ ﻭ‬
‫ﺭﺧﺪﺍﺩ ﻫﺎﻱ ﺟﺎﻟﺐ ﻣﺸﺨﺼﻪ ﻋﻜﺲ ﻫﺎﻱ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﻣﺸﺎﻫﺪﻩ ﻣﻲ ﺷﻮﺩ‪.‬‬
‫‪ .Ben Sahn .1‬ﻫﻨﺮﻣﻨﺪ ﺁﻣﺮﻳﻜﺎﻳﻲ ﻣﺘﻮﻟﺪ ﻟﻴﺘﻮﺍﻧﻲ‪1898-1969 .‬‬
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‫ﻋﻜﺲ ‪ 2-23‬ﻭﺍﻛﺮ ﺍﻭﺍﻧﺰ‪ ،‬ﭘﻴﺎﺩﻩ ﺭﻭ ﻭ ﺳﺮﺩﺭ ﻣﻐﺎﺯﻩ‪ ،‬ﻧﻴﻮﺍﻭﺭﻟﺌﺎﻥ‪1935 ،‬‬
‫ﺩﺭ ﻣﻴﺎﻥ ﺍﻳﻨﮕﻮﻧﻪ ﻋﻜﺲ ﻫﺎ ﻋﻜﺴﻲ ﺍﺳﺖ ﻛﻪ ﻭﺍﻛﺮ ﺍﻭﺍﻧﺰ ﺩﺭ ﺳﻔﺮ ﺑﺮﺍﻱ ‪ FSA‬ﺩﺭ ﺟﻠﻮﻱ ﻳﻚ ﺁﺭﺍﻳﺸﮕﺎﻩ ﺩﺭ‬
‫ﻧﻴﻮﺍﻭﺭﻝﺉﺍﻥ ﺩﺭ ﺳﺎﻝ ‪ 1935‬ﮔﺮﻓﺖ‪ .‬ﻟﺒﺎﺱ ﺯﻥ‪ ،‬ﺩﺍﺭﺍﻱ ﺍﻟﮕﻮﻱ ﺭﺍﻩ ﺭﺍﻩ ﺩﺭ ﺟﻠﻮﻱ ﻧﻮﺍﺭﻫﺎﻱ ﺭﺍﻩ ﺭﺍﻩ ﺟﻠﻮﻱ ﻣﻐﺎﺯﻩ ﻭ‬
‫ﺗﻀﺎﺩﻱ ﻛﻪ ﺍﻭ ﺑﺎ ﭼﻬﺮﻩ ﻓﺮﻳﺒﺎﻱ ﺯﻥ ﺩﺭ ﺁﮔﻬﻲ ﺭﻭﻱ ﺩﻳﻮﺍﺭ ﻛﻨﺎﺭﻱ ﺍﻳﺠﺎﺩ ﻣﻲ ﻛﻨﺪ ﺍﺯ ﻧﻮﻉ ﺩﻭﺗﺎﻳﻲ ﻫﺎﻳﻲ ﻫﺴﺘﻨﺪ‬
‫ﻛﻪ ﻧﻈﺮ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﺟﻠﺐ ﻣﻲ ﻛﺮﺩ‪) .‬ﻋﻜﺲ ‪ (2-23‬ﺑﻴﺸﺘﺮ ﻋﻜﺴﻬﺎﻱ ﺍﻳﻨﮕﻮﻧﻪ ﺩﺭ ﺍﻭﺍﺧﺮ ﻛﺎﺭ ﺍﻳﻦ‬
‫ﺍﺩﺍﺭﻩ ﻭ ﺗﻮﺳﻂ ﻋﻜﺎﺱ ﻫﺎﻱ ﻧﺴﻞ ﺑﻌﺪﻱ ﺁﻥ ﺍﻧﺠﺎﻡ ﺷﺪ ﻛﻪ ﺍﺯ ﻧﺴﻞ ﺍﻭﻟﻲ ﻋﻜﺎﺳﺎﻥ ﺁﻧﺠﺎ ﻭ ﺍﺯ ﺭﻭﻱ ﻋﻜﺴﻬﺎﻱ‬
‫ﺁﻧﺎﻥ ﻋﻜﺎﺳﻲ ﺭﺍ ﻳﺎﺩ ﮔﺮﻓﺘﻪ ﺑﻮﺩﻧﺪ‪.‬‬
‫ﻳﻜﻲ ﺩﻳﮕﺮ ﺍﺯ ﺍﻳﻦ ﻋﻜﺎﺳﺎﻥ ﺟﺎﻥ ﻭِﻳﻜُﻦ ‪ 1‬ﺑﻮﺩ ﻛﻪ ﺑﺠﺎﻱ ﻣﺮﺩﻡ ﻋﺎﺩﻱ ﺍﺯ ﺛﺮﻭﺗﻤﻨﺪﺍﻥ ﻋﻜﺲ ﻣﻲ ﮔﺮﻓﺖ ﻛﻪ ﺩﺭ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺣﺎﻝ ﻭﻗﺖ ﮔﺬﺭﺍﻧﻲ ﺑﻮﺩﻧﺪ‪ .‬ﺩﺭ ﻳﻜﻲ ﺍﺯ ﻋﻜﺲ ﻫﺎﻱ ﺍﻭ ﻳﻚ ﻣﺮﺩ ﺳﻴﺎﻩ ﭘﻮ ﺵ ﺩﺭ ﺟﻠﻮﻱ ﻳﻚ ﺣﺼﺎﺭ ﺳﻔﻴﺪ ﺩﺭ‬
‫ﺣﺎﻝ ﺭﺍﻩ ﺭﻓﺘﻦ ﺍﺳﺖ ﻭ ﺩﺭ ﮔﻮﺷﻪ ﻋﻜﺲ ﻳﻚ ﺯﻥ ﺳﻔﻴﺪ ﭘﻮﺵ ﺩﺭ ﺳﺎﻳﻪ ﻫﺎﻱ ﺳﻴﺎﻩ ﺭﻧﮓ ﺩﺭ ﺣﺎﻝ ﻧﺎﭘﺪﻳﺪ ﺷﺪﻥ‬
‫ﺍﺳﺖ‪) .‬ﻋﻜﺲ ‪(2-24‬‬
‫ﻋﻜﺲ ﺩﻳﮕﺮﻱ ﺍﺯ ﺍﻳﻦ ﺩﺳﺖ ﺳﺎﻟﻬﺎ ﺑﻌﺪ ﺗﻮﺳﻂ ﻣﺎﺭﺟﻮﺭﻱ ﻛﺎﻟﻲﻧﺰ ‪ ،2‬ﻋﻜﺎﺱ ‪ FSA‬ﮔﺮﻓﺘﻪ ﺷﺪ‪).‬ﻋﻜﺲ ‪(2-25‬‬
‫‪P‬‬ ‫‪P‬‬
‫‪ .John Vachon .1‬ﻋﻜﺎﺱ ﺁﻣﺮﻳﻜﺎﻳﻲ‪1914-1975 .‬‬

‫‪ .Marjory Collins .2‬ﻋﻜﺎﺱ ﺁﻣﺮﻳﻜﺎﻳﻲ ‪1912-1985‬‬
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‫ﻋﻜﺲ ‪ 2-24‬ﺟﺎﻥ ﻭِﻳﻜُﻦ‪ ،‬ﺧﻴﺎﺑﺎﻥ ﻛﻼﺭﻙ‪ ،‬ﺷﻴﻜﺎﮔﻮ‪1940 ،‬‬
‫ﻛﻪ ﺩﺭ ﺁﻥ ﺯﻧﻲ ﺑﺎ ﻟﺒﺎﺳﻲ ﺭﻭﺷﻦ ﻭ ﻛﻔﺶ ﻭ ﺟﻮﺭﺍﺏ ﺳﻔﻴﺪ ﺩﺭ ﺣﺎﻝ ﺟﺎﺭﻭ ﺯﺩﻥ ﺟﻠﻮﻱ ﺭﺍﻫﺮﻭﻱ ﻭﺭﻭﺩﻱ ﺍﺳﺖ‪.‬‬
‫ﺳﻔﻴﺪﻱ ﺍﻭ ﮔﻮ ﻳﺎ ﻃﻌﻨﻪ ﺍﻱ ﺑﻪ ﻛﺜﻴﻔﻲ ﻣﺮﺩ ﺳﻤﺖ ﭼﭗ ﺗﺼﻮﻳﺮ ﺍﺳﺖ‪ .‬ﮔﻮﻳﻲ ﻣﻲ ﺧﻮﺍﻫﺪ ﺁﻥ ﻣﺮﺩ ﺭﺍ ﻧﻴﺰ ﺑﻪ ﺑﻴﺮﻭﻥ‬
‫ﺟﺎﺭﻭ ﻛﻨﺪ‪.‬‬
‫ﻋﻜﺲ ‪ 2-25‬ﻣﺎﺭﺟﻮﺭﻱ ﻛﺎﻟﻴﻨﺰ‪ ،‬ﺧﻴﺎﺑﺎﻥ ﭼﻬﺎﺭﺩﻫﻢ ﺯﻳﺮ ﺧﻴﺎﺑﺎﻥ ﻣﺮﺗﻔﻊ ﺳﻮﻡ‪ ،‬ﻧﻴﻮﻳﻮﺭﻙ‪1942 ،‬‬
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‫ﻋﻜﺎﺳﺎﻥ ﺑﻴﺸﺘﺮ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ‪ FSA‬ﺍﻛﻨﻮﻥ ﺑﺮﺍﻱ ﻧﻮﻉ ﺩﻳﮕﺮﻱ ﺍﺯ ﻋﻜﺲ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ﺍﻧﺪ ﻭﻟﻲ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﺁﻧﺎﻥ‬
‫ﻳﻚ ﻧﻴﻚ ﺩﺭ ﺩﻫﻜﺪﻩ ﭘﺎﻱ‬
‫ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻥﻱ ﻧﻴﺰ ﺍﻧﺠﺎﻡ ﻣﻲ ﺩﺍﺩﻧﺪ‪ .‬ﻳﻚ ﻣﺜﺎﻝ ﺗﺼﻮﻳﺮﻱ ﺍﺳﺖ ﻛﻪ ﺭﺍﺳﻞ ﻟﻲ ﺩﺭ پ‬
‫ﺩﺭ ﻧﻴﻮﻣﻜﺰﻳﻜﻮ ﺩﺭ ‪ 1946‬ﮔﺮﻓﺘﻪ ﺍﺳﺖ)ﻋﻜﺲ ‪ (2-26‬ﻛﻪ ﺩﺭ ﺁﻥ ﻣﺮﺩ ﻣﺴﻦ ﺑﺎ ﺗﻴﭗ ﻗﺪﻳﻤﻲ ﺍﺧﻢ ﻛﺮﺩﻩ ﻭ ﺯﻥ ﺍﺯ‬
‫ﻧﻮﺯﺍﺩﺵ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﻴﺰ ﻏﺬﺍﺥﻭ ﺭﻱ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻲ ﻛﻨﺪ‪.‬‬
‫ﻱﻟﻨﮓ ﻧﻴﺰ ﻟﺤﻈﻪ ﺍﻱ ﺍﺯ ﻥﻳﺸﺨﻨﺪ ﺭﺍ ﺍﻳﺠﺎﺩ ﻣﻲ ﻙﻥﻧﺪ‪ .‬ﺩﺭ ﻳﻜﻲ ﺍﺯ ﺑﻬﺘﺮﻳﻦ ﻉﻛﺴﻬﺎﻳﺶ‬
‫ﺕ‬
‫ﺣﺘﻲ ﻋﻜﺴﻬﺎﻱ ﺩﻭﺭﻭ ﺍ‬
‫)ﻋﻜﺲ ‪ (2-27‬ﺯﻥ ﻣﻮﺟﻮﺩ ﺩﺭ ﻋﻜﺲ ﺍﻭ ﺑﺎ ژﺳﺖ ﻡﺩ )ﻓﺸﻦ( ﺭﺍﻩ ﻣﻲ ﺭﻭﺩ ﺑﺪﻭﻥ ﺍﻳﻨﻜﻪ ﺑﺪﺍﻧﺪ ﭘﺴﺮﺵ ﺩﺭ ﭘﺸﺖ‬
‫ﺳﺮﺵ ﺍﺯ ﺍﻭ ﺗﻘﻠﻴﺪ ﻣﻲ ﻛﻨﺪ‪ .‬ﺗﻔﺎﻭﺗﻲ ﻛﻪ ﭼﻨﻴﻦ ﻋﻜﺎﺱﻱ ﺍﻱ ﺩﺭ ‪ FSA‬ﺍﺯ ﻫﻤﺘﺎﻱ ﺍﺭﻭﭘﺎﻳﻲ ﺧﻮﺩ ﺩﺍﺷﺖ ‪ ،‬ﺩﺭ‬
‫ﻭﺣﺸﻲ ﺑﻮﺩﻥ ﺧﺎﺻﻲ ﺍﺳﺖ ﻛﻪ ﻣﺨﺘﺺ ﺑﻪ ﺁﻣﺮﻳﻜﺎ ﺍﺳﺖ‪ .‬ﺩﺭ ﺑﺴﻴﺎﺭﻱ ﺍﻭﻗﺎﺕ ﺍﻳﻦ ﻧﻜﺘﻪ ﺧﺎﺹ ﺑﺼﺮﻱ ﻧﺒﻮﺩ ‪ ،‬ﺍﻳﻦ‬
‫ﻧﻈﻢ ﺩﺭ ﺻﺤﻨﻪ ﻧﺒﻮﺩ ‪ ،‬ﺑﻠﻜﻪ ﺑﻲ ﻧﻈﻤﻲ ﺑﻮﺩ ﻛﻪ ﻧﻈﺮ ﻋﻜﺎﺱ ﺭﺍ ﺑﺮﺍﻱ ﮔﺮﻓﺘﻦ ﻋﻜﺲ ﺟﻠﺐ ﻣﻲ ﻛﺮﺩ‪ .‬ﺍﻳﻦ ﻋﻜﺴﻬﺎ‬
‫ﻣﻌﻤﻮﻻً ﻛﻨﺘﺮﻝ ﻣﻮﺯﻭﻥ ﺑﺎ ﻓﺮﻣﺎﻟﻴﺰﻡ ﻛﺎﺭ ﻛﻼﺳﻴﻚ ﻓﺮﺍﻧﺴﻮﻱ ﺭﺍ ﻧﺪﺍﺭﻧﺪ‪.‬‬
‫ﺟﻚ ﺩﻻﻧﻮ ‪ 1‬ﻋﻜﺎﺱ ‪ FSA‬ﺗﻮﺟﻪ ﺑﻪ ﭼﻨﻴﻦ ﻋﻜﺲ ﻫﺎﻳﻲ ﺩﺍ ﺵﺕ‪ .‬ﺩﺭ ﺗﺼﻮﻳﺮﻱ ﻛﻪ ﺍﻭ ﺩﺭ ﻧﻤﺎﻳﺸﮕﺎﻩ ﺟﻬﺎﻧﻲ ﺩﺭ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﻧﺐﻳﺞ ﻭﺭﻣﻮ ﻥﺕ ﺩﺭ ‪ 1921‬ﮔﺮﻓﺖ )ﻋﻜﺲ ‪ ،(2-28‬ﺩﺭ ﺁﻥ ﻟﺤﻈﻪ ﻫﻴﭻ ﻳﻚ ﺍﺯ ﻫﻔﺖ ﺳﻮژﻩ ﺍﻭ ﺑﻪ ﻫﻤﺪﻳﮕﺮ‬
‫ﺗﺎ ﺭ‬
‫ﻧﮕﺎﻩ ﻧﻤﻲ ﻛﻨﻨﺪ‪ .‬ﺣﺘﻲ ﻣﺎ ﺩﺭ ﺍﺑﺘﺪﺍ ﻣﺘﻮﺟﻪ ﺣﻀﻮﺭ ﺩﻭ ﺗﺎﻱ ﺁﻧﻬﺎ ﻧﻤﻲ ﺷﻮﻳﻢ‪ .‬ﻋﻜﺎﺳﺎﻥ ﺧﻴﺎﺑﺎﻧﻲ ﻣﻌﻤﻮﻻً ﺍﺯ ﭼﻴﺰﻱ‬
‫ﻟﺬﺕ ﻣﻲ ﺑﺮﻧﺪ ﻛﻪ ﻣﺎﻧﻨﺪ ﻟﺬﺕ ﻛﻮﺩﻛﺎﻥ ﺍﺯ ﻡﻋﻤﺎ ﻭ ﭘﺎﺯﻝ ﺍﺳﺖ ‪ .‬ﻣﺎﻧﻨﺪ ﭘﻴﺪﺍ ﻛﺮﺩﻥ ﺣﻴﻮﺍﻧﺎﺕ ﻛﻮﭼﻚ ﺩﺭ ﻣﻨﻈﺮﻩ‬
‫ﺧﺎﻟﻲ‪ .‬ﺑﺎ ﻧﮕﺎﻩ ﻛﺮﺩﻥ ﺑﻪ ﺍﻳﻦ ﻧﻮﻉ ﻋﻜﺴﻬﺎ ﻣﻲ ﺗﻮﺍﻧﻴﻢ ﺑﻪ ﻃﻮﺭﻛﻨﺠﻜﺎﻭﺍﻧﻪ ﺩﺭ ﻋﻜﺲ ﻫﺎ ﻛﺎﻭﺵ ﻛﻨﻴﻢ ﻭ ﻟﺬﺕ‬
‫ﺑﺮﻳﻢ‪.‬‬
‫ﺏ‬
‫ﻋﻜﺲ ‪ 2-26‬ﺭﺍﺳﻞ ﻟﻲ‪ ،‬ﭘﺎﻱ ﺗﺎﻭﻥ‪ ،‬ﻧﻴﻮﻣﻜﺰﻳﻜﻮ‪1940 ،‬‬
‫‪ .Jack Delano .1‬ﻋﻜﺎﺱ ﺁﻣﺮﻳﻜﺎﻳﻲ‪1914-1997 .‬‬
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‫ﻋﻜﺲ ‪ 2-27‬ﺩﻭﺭﻭﺗﻴﺎ ﻟﻨﮓ‪ ،‬ﺭﻭﺍﺑﻂ ﻣﺼﺮﻑ ﻛﻨﻨﺪﻩ‪ ،‬ﺳﺎﻧﻔﺮﺍﻧﺴﻴﺴﻜﻮ‪1952 ،‬‬
‫ﻋﻜﺎﺳﻲ ﻛﻪ ﺑﻴﺸﺘﺮ ﺍﺯ ﻫﻤﻪ ﺩﺭ ﺟﻬﺖ ﭼﻨﻴﻦ ﺑﻲ ﻧﻈﻤﻲ ﻭ ﺩﺭ ﻫﻢ ﻭ ﺑﺮﻫﻤﻲ ﺭﻓﺖ ﺑﻦ ﺷﺎﻥ ﺑﻮﺩ‪ .‬ﺷﺎﻥ ﻳﻜﻲ ﺍﺯ ﺍﻭﻟﻴﻦ‬
‫ﻋﻜﺎﺳﺎﻧﻲ ﺑﻮﺩ ﻛﻪ ﺑﻪ ‪ FSA‬ﺁﻣﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻭ ﻛﻪ ﻳﻚ ﻧﻘﺎﺵ ﺑﻮﺩ ﻛﻪ ﺩﺭﺯﻣﻴﻨﻪ ﻧﻘﺎﺷﻲ ﻩ ﺍﻱ ﺩﻳﻮﺍﺭﻱ ﻛﺎﺭ ﻣﻲ ﻛﺮﺩ ‪،‬‬
‫ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺭﺍ ﺑﺮﺍﻱ ﺧﻮﺩﺵ ﺩﺭ ﻧﻴﻮﻳﻮﺭﻙ ﺍﻧﺠﺎﻡ ﻣﻲ ﺩﺍﺩ‪.‬‬
‫ﺷﺎﻥ ﺩﺭ ﺩﻭﺭﻩ ‪ 1935-38‬ﻛﻪ ﺑﺮﺍﻱ ‪ FSA‬ﻋﻜﺎﺳﻲ ﻣﻲ ﻛﺮﺩ‪ ،‬ﻧﻘﺎﺷﻲ ﻧﻤﻲ ﻧﻤﻮﺩ‪ .‬ﺍﻭ ﺍﺯ ﺳﺎﻝ ‪ 1938‬ﺣﻘﻮﻕ ﺧﻮﺩ‬
‫ﺩﺭ ‪ FSA‬ﺭﺍ ﻧﺼﻒ ﻗﺒﻞ ﺩﺭﻳﺎﻓﺖ ﻧﻤﻮﺩ ﺗﺎ ﺑﺘﻮﺍﻧﺪ ﺑﺮﺍﻱ ﺧﻮﺩﺵ ﻋﻜﺲ ﺑﮕﻴﺮﺩ‪ .‬ﻭﻟﻲ ﺑﻌﺪﺍً ﺩﺭ ﻫﻤﺎﻥ ﺳﺎﻝ ﺩﺭ‬
‫ﻛﻤﺎﻝ ﺗﻌﺠﺐ ﺳﺎﻳﺮﻳﻦ ﺩﺭ ﺩﻭﺭﻩ ﺍﻱ ﻛﻪ ﺍ ﻡﻥﻱﺕ ﺷﻐﻠﻲ ﻫﻤﻪ ﭼﻴﺰ ﺑﻮﺩ ﺑﻪ ﻳﻜﺒﺎﺭﻩ ﺍﺯ ‪ FSA‬ﺍﺳﺘﻌﻔﺎ ﺩﺍﺩ ﻭ ﺑﻪ ﻛﻠﻲ‬
‫ﻋﻜﺎﺳﻲ ﺭﺍ ﺭﻫﺎ ﻛﺮﺩ‪ .‬ﺩ ﻭ ﺩﻫﻪ ﮔﺬﺷﺖ ﺗﺎ ﺍﻭ ﺩﻭﺑﺎﺭﻩ ﺩﻭﺭﺑﻴﻦ ﺑﻪ ﺩﺳﺖ ﺑﮕﻴﺮﺩ ‪ ،‬ﻭ ﺩﺭ ﺁﻥ ﻣﻮﻗﻊ ﻓﻘﻂ ﺑﻪ ﻋﻨﻮﺍﻥ‬
‫ﻳﻚ ﺗﻮﺭﻳﺴﺖ ﺩﺭ ﺁﺳﻴﺎ‪.‬‬
‫ﺑﻦ ﺷﺎﻥ ﺑﺮﺍﻱ ﺍﻳﻨﻜﻪ ﺳﻮژﻩ ﻫﺎ ﻣﺘﻮﺝﻩ ﺍﻭ ﺩﺭ ﺣﺎﻝ ﻋﻜﺎﺳﻲ ﻧﺸﻮﻧﺪ ﻋﻤﻮﻣﺎً ﺍﺯ ﻳﻚ ﻭﻳﺰﻭﺭ ﺯﺍﻭﻳﻪ ﺩﺍﺭ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻲ‬
‫ﻛﺮﺩ ﻭ ﺩﺭ ﺟﻠﻮﻱ ﺧﻮﺩ ﻳﻚ ﺳﻮژﻩ ﺳﺎﺧﺘﮕﻲ ﻗﺮﺍﺭ ﻣﻲ ﺩﺍﺩ ﻛﻪ ﻣﻌﻤﻮﻻ ﻫﻤﺴﺮﺵ ﺑﻮﺩ‪ .‬ﺍﻭ ﻣﻲ ﺗﻮﺍﻧﺴﺖ ﮔﺮﻭﻩ‬
‫ﻫﺎﻱ ﻣﺮﺩﻡ ﺭﺍ ﺑﺎ ﺗﺮﻛﻴﺐ ﺑﻨﺪﻱ ﭘﻴﭽﻴﺪﻩ ﻋﻜﺎﺳﻲ ﻧﻤﺎﻳﺪ ﺑﺪﻭﻥ ﺍﻳﻨﻜﻪ ﻙﺱﻱ ﻣﺘﻮﺟﻪ ﺍﻭ ﺷﻮﺩ‪ .‬ﺩﺭ ﻧﺘﻴﺠﻪ ﺍﻳﻦ ﺍﻣﺮ ﺩﺭ‬
‫ﻋﻜﺴﻬﺎﻱ ﺍﻭ ﻳﻚ ﻧﺎﻫﻤﮕﻮﻧﻲ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻧﻪ ﻓﻘﻂ ﺑﻴﻦ ﭘﻴﺶ ﺯﻣﻴﻨﻪ ﻭ ﭘﺲ ﺯﻣﻴﻨﻪ ﺑﻠﻜﻪ ﺍﺯ ﻳﻚ ﻟﺒﻪ ﺑﻪ ﻟﺒﻪ ﺩﻳﮕﺮ‪.‬‬
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‫ﻋﻜﺲ ‪ 2-28‬ﺟﻚ ﺩﻻﻧﻮ‪ ،‬ﺩﺭ ﻧﻤﺎﻳﺸﮕﺎﻩ ﺟﻬﺎﻧﻲ‪ ،‬ﺗﺎﻧﺒﺮﻳﺞ‪ ،‬ﻭﺭﻣﻮﻧﺖ‪1941 ،‬‬
‫ﺩﺭ ﻋﻜﺲﻱ ﺍﺯ ﺳﻜﻮﻱ ﺟﻠﻮﻱ ﻳﻚ ﻓﺮﻭﺷﮕﺎﻩ ﺣﻮﻣﻪ ﺷﻬﺮ )ﻋﻜﺲ ‪ (2-29‬ﺭﺍﻫﺮﻭﻱ ﻭﺭﻭﺩﻱ ﺗﻴﺮﻩ ﭼﻴﺰﻱ ﺍﺳﺖ‬
‫ﻛﻪ ﺧﺎﻧﻮﺍﺩﻩ ﺩﺭ ﺁﻏﻮﺵ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﻳﻚ ﻟﺒﻪ ﻓﺮﻳﻢ ﺭﺍ ﺩﺭ ﺑﺮﺍﺑﺮ ﻧﺎﻇﺮ ﺑﻲ ﻃﺮﻑﻱ ﻛﻪ ﺑﻪ ﻧﻘﻄﻪ ﺍﻱ ﺩﻳﮕﺮ ﺧﻴﺮﻩ ﺷﺪﻩ‬
‫ﻣﺘﻌﺎﺩﻝ ﻣﻲ ﺳﺎﺯﺩ‪ .‬ﺍﻳﻦ ﺭﺍﻫﺮﻭﻱ ﻭﺭﻭﺩﻱ ﻫﻤﺎﻧﻨﺪ ﻓﺎﺻﻠﻪ ﺍﻱ ﺍﺳﺖ ﻛﻪ ﻣﺎ ﺑﻴﻦ ﺑﻲ ﺗﻔﺎﻭﺗﻲ ﻧﺎﻇﺮ ﺑﻲ ﻃﺮﻑ ﻭ‬
‫پﺵ‬
‫ﻭ‬ ‫ﺍﺣﺴﺎﺱ ﺧﺎﻧﻮﺍﺩﻩ ﺗﺼﻮﺭ ﻣﻲ ﻛﻨﻴﻢ‪ .‬ﺍﻳﻦ ﻣﺮﺩ ﺁﻧﻘﺪﺭ ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﺁﻧﻬﺎ ﺑﻲ ﺗﻔﺎﻭﺕ ﺍﺳﺖ ﻭ ﺁﻧﻘﺪﺭ ﺧﻮﺵ‬
‫ﺗﺮ ﺍﺳﺖ ﻛﻪ ﮔﻮﻳﻲ ﺩﺭ ﺩﻧﻴﺎﻳﻲ ﺩﻳﮕﺮ ﺯﻧﺪﮔﻲ ﻣﻲ ﻛﻨﺪ‪ .‬ﺣﺪﺍﻗﻞ ﺑﻪ ﻧﻈﺮ ﻣﻲ ﺭﺳﺪ ﻛﻪ ﺩﺭ ﻳﻚ ﺗﺼﻮﻳﺮ ﺩﻳﮕﺮ‬
‫ﺍﻳﺴﺘﺎﺩﻩ ﺍﺳﺖ‪.‬‬
‫ﺍﺷﺨﺎﺹ ﻭ ﺍﺷﻴﺎﻳﻲ ﻛﻪ ﺑﻪ ﻧﻈﺮ ﻣﻲ ﺭﺳﺪ ﺩﺭ ﺗﺼﻮﻳﺮﻱ ﺩﻳﮕﺮ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ ﺗﺄﺛﻴﺮ ﻧﻮﻋﻲ ﺍﺯ ﻧﻘﺎﺷﻲ ﻧﻴﺰ ﻫﺴﺘﻨﺪ‪ .‬ﻧﻘﺶ‬
‫ﺩﻳﻮﺍﺭﻱ‪ ،1‬ﻛﻪ ﻧﻮﻋﻲ ﺍﺯ ﻧﻘﺎﺷﻲ ﺑﻮﺩ ﻛﻪ ﺷﺎﻥ ﺩﺭ ﺩﻫﻪ ‪ 1930‬پ‬
‫ﻳﺶ ﺍﺯ ﻋﻜﺎﺳﻲ ﺍﻧﺠﺎﻡ ﻣﻲ ﺩﺍﺩ‪ .‬ﺩﺭ ﺍﻳﻨﺠﺎ ﺭﺋﺎﻟﻴﺰﻡ ﻭ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﻟﻲ ﻧﺪﺍﺭﻧﺪ‪ .‬ﭼﻴﺰﻱ ﻛﻪ ﺍﻭ ﻣﻲ ﺧﻮﺍﺳﺖ ﻧﺸﺎﻥ ﺩﻫﺪ ﺍﻳﻦ ﺑﻮﺩ‬

‫ﺍﻧﺘﺰﺍﻉ ﮔﺮﻱ ﺑﺎ ﻫﻢ ﭘﻴﻮﻧﺪ ﻣﻲ ﺧﻮﺭﺩﻧﺪ ﻭ ﺑﺎ ﻫﻢ ﺕﻗﺎﺏ‬
‫ﻛﻪ ﭼﻄﻮﺭ ﺩﺭ ﻭﺍﻗﻌﻴﺖ ‪ ،‬ﻋﻮﺽ ﺷﺪﻥ ﺑﻴﻦ ﻳﻚ ﺭﺧﺪﺍﺩ ﺍﻱﻣﻜﺎﻥ ﺑﺎ ﺩﻳﮕﺮﻱ ﺍﻧﺠﺎﻡ ﻣﻲ ﺷﻮﺩ ‪ .‬ﺩﺭ ﺑﻌﻀﻲ ﺍﺯ ﻋﻜﺲ‬
‫ﻫﺎﻱ ﺍﻭ ﻡﺍ ﻧﺨﺴﺖ ﻓﻜﺮ ﻣﻲ ﻛﻨﻴﻢ ﻛﻪ ﺩﻭﺭﺑﻴﻦ ﺍﺷﺘﺒﺎﻩ ﻛﺎﺭ ﻛﺮﺩﻩ ﻭ ﺩﻭ ﻧﮕﺎﺗﻴﻮ ﻣﺘﻔﺎﻭﺕ ﺑﺮﺭﻭﻱ ﻫﻢ ﺍﻓﺘﺎﺩﻩ ﺍﻧﺪ‪.‬‬
‫ﻡﺣﺮﻙ ﻋﻜﺎﺳﻲ ﺑﻮﺩ "ﺍﺩﺍﺭﻩ ﭘﻴﺸﺮﻓﺖ ﻛﺎﺭ ) ‪Works Progress‬‬ ‫ﻳﻚ ﺁژﺍﻧﺲ ﺩﻭﻟﺘﻲ ﺩﻳﮕﺮ ﻛﻪ ﺑﺴﻴﺎﺭ‬
‫‪ "(Administration‬ﺑﻮﺩ ﻛﻪ ﻋﻜﺎﺳﺎﻥ ﺁﻥ ﻩ ﻣﺎﻧﻨﺪ ﻋﻜﺎﺳﺎﻥ ‪ FSA‬ﻣﺘﻤﺎﻳﺰ ﻭ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ﺍﻧﺪ‪ ،‬ﻫﻤﭽﻮﻥ‬
‫ﺍﺩﻭﺍﺭﺩ ﻭﺳﺘﻮﻥ ‪ ،2‬ﻣﺎﻳﻨﻮﺭﻭﺍﻳﺖ ‪ ،3‬ﻛﻼﺭﻧﺲ ﺟﺎﻥ ﻻﻓﻠﻴﻦ ‪ ،4‬ﺑﺮ ﻥﻳﺲ ﺁﺑﻮﺕ ﻭ ﻫﻠﻦ ﻟ‪‬ﻮﻳﺖ ‪ .5‬ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺗﺤﺖ‬
‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺣﻤﺎﻳﺖ ﺍﻳﻦ ﺁژﺍﻧﺲ ﺩﺭ ﺷﻬﺮﻫﺎﻱ ﺑﺰﺭﮔﺘﺮ ﻭ ﺑﺎ ﺣﺠﻢ ﺑﻴﺸﺘﺮ ﻭ ﺑﺎ ﺗﻌﺪﺍﺩ ﻋﻜﺎﺳﺎﻥ ﺑﻴﺸﺘﺮ ﺍﻧﺠﺎﻡ ﻣﻲ ﺷﺪ‪.‬‬
‫‪mural‬‬ ‫‪.1‬‬
‫‪1886-1958.Edward Weston‬‬ ‫‪.2‬‬
‫‪1908- 1976 Minor White‬‬ ‫‪.3‬‬
‫‪1905-1985 John Laughlin.‬‬ ‫‪.4‬‬
‫‪1913-2009 Helen Levitt‬‬ ‫‪.5‬‬
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‫ﻋﻜﺲ ‪ 2-29‬ﺑﻦ ﺷﺎﻥ‪ ،‬ﺳﻜﻮﻱ ﺟﻠﻮﻱﻱ‪ ،‬ﻓﺮﻭﺷﮕﺎﻩ ﺣﻮﻣﻪ ﺷﻬﺮ‪ ،‬ﺍﺳﻜﺎﺗﺰ ﺭﺍﻥ‪ ،‬ﻭﻳﺮﺟﻴﻨﻴﺎﻱ ﻏﺮﺑﻲ‪1935 ،‬‬
‫ﺑﺎ ﺍﻳﻦ ﺡﺍﻝ ﺗﻨﻬﺎ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺑﺴﻴﺎﺭ ﺑﺎ ﺍﺭﺯﺵ ﻛﻪ ﻭﺍﻗﻌﺎً ﺗﻮﺳﻂ ‪ WPA‬ﭘﺸﺘﻴﺒﺎﻧﻲ ﻣﻲ ﺷﺪ ﻣﺘﻌﻠﻖ ﺑﻪ ﺁﺑﻮﺕ‬
‫ﺑﻮﺩ‪ .‬ﺑﺎﻗﻲ ﭘﺮﻭژﻩ ﻫﺎ ﻳﺎ ﻛﻮﺗﺎﻩ ﻣﺪﺕ ﻭ ﺁﺯﻣﺎﻳﺸﻲ ﺑﻮﺩﻧﺪ ﻳﺎ ﺑﻪ ﺍﺳﺘﺜﻨﺎﻱ ﻟ‪‬ﻮﻳﺖ ﺧﻼﻗﻴﺖ ﻛﻤﺘﺮﻱ ﺍﺯ ﻋﻜﺎﺳﺎﻥ ‪FSA‬‬
‫ﺩﺍﺷﺘﻨﺪ‪ .‬ﺣﻤﺎﻳﺖ ‪ WPA‬ﺍﺯ ﻟﻮﻳﺖ ﺁﻧﻘﺪﺭ ﻛﻢ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﺯﺣﻤﺖ ﻣﻲ ﺗﻮﺍﻥ ﺍﻭ ﺭﺍ ﺟﺰﺋﻲ ﺍﺯ ﺑﺮﻧﺎﻣﻪ ﻫﺎﻱ ﺍﻳﻦ‬
‫ﺍﺩﺍﺭﻩ ﺩﺍﻧﺴﺖ‪.‬‬
‫ﺩﺭ ﻭﺍﻗﻊ ﻟﻮﻳﺖ ﻳﻜﻲ ﺍﺯ ﻋﻜﺎﺳﺎﻥ ﺩﻫﻪ ﺱﻱ ﺁﻣﺮﻳﻜﺎﻳﻲ ﺑﻮﺩ ﻛﻪ ﻩ ﻣﺎﻧﻨﺪ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺗﻨﻬﺎ ﻭ ﺑﺪﻭﻥ ﻭﺍﺑﺴﺘﮕﻲ ﺑﻪ‬
‫ﺟﺎﻳﻲ ﺑﻮﺩ‪ .‬ﻫﻤﭽﻨﻴﻦ ﻛﺎﺭﻫﺎﻳﺶ ﺑﻴﺸﺘﺮﻳﻦ ﺷﺒﺎﻫﺖ ﺭﺍ ﺑﻪ ﻛﺎﺭﻫﺎﻱ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺩﺍﺭﻧﺪ‪ .‬ﺍﻭ ﺩﺭ ﺁﻥ ﻣﻮﻗﻊ ﺑﺴﻴﺎﺭ‬
‫ﺟﻮﺍﻥ ﺑﻮﺩ ﻭ ﻋﻤﻮﻣﺎً ﻛﺎﺭﻫﺎﻱ ﻋﻜﺎﺳﺎﻥ ﺩﻳﮕﺮ ﺁﻥ ﺯﻣﺎﻥ ﻫﻤﭽﻮﻥ ﺷﺎﻥ ﻭ ﺍﻭﺍﻧﺰ ﺭﺍ ﺩﻳﺪﻩ ﺑﻮﺩ ‪ .‬ﺍﻭ ﺍﺏﺍﻭﺍﻧﺰ ﻣﻼﻗﺎﺕ‬
‫ﻛﺮﺩ ﻭ ﺑﻌﺪ ﻫﺎ ﺩﺭ ﺑﻌﻀﻲ ﺍﺯ ﻣﻮﺍﻗﻊ ﺩﺭ ﻫﻨﮕﺎﻣﻴﻜﻪ ﺍﻭﺍﻧﺰ ﻋﻜﺎﺳﻲ ﻣﻲ ﻧﻤﻮﺩ‪ ،‬ﺍﻭ ﺭﺍ ﻫﻤﺮﺍﻫﻲ ﻣﻲ ﻛﺮﺩ‪.‬‬
‫ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺑﻴﺸﺘﺮﻳﻦ ﺗﺄﺛﻴﺮ ﺭﺍ ﺑﺮ ﻟﻮﻳﺖ‪ ،‬ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺩﺍﺷﺖ‪ .‬ﻋﻜﺴﻬﺎﻱ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺑﺎﻋﺚ ﺷﺪ ﻛﻪ ﺍﻭ‬
‫ﺍﺣﺴﺎﺱ ﻛﻨﺪ‪ ،‬ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺧﻮﺩﺵ ﮔﻔﺘﻪ ﻋﻜﺎﺳﻲ "ﺑﺪﻭﻥ ﻣﺤﺪﻭﺩﻳﺖ" ﺍﺳﺖ‪ ،‬ﻭ ﺑﻪ ﮔﻔﺘﻪ ﺧﻮﺩﺵ ﺑﻌﺪ ﺍﺯ ﺩﻳﺪﻥ‬
‫ﻋﻜﺴﻬﺎﻱ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺑﺮﺍﻳﺶ ﻣﺮﺯﻫﺎ ﺷﻜﺴﺘﻪ ﺷﺪﻧﺪ‪.‬‬
‫ﺍﻭ ﺍﺯ ﻛﻮﺩﻛﺎﻥ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﻋﻜﺲ ﻣﻲ ﮔﺮﻓﺖ ﻭﻟﻲ ﺍﺯ ﻋﻜﺴﻬﺎﻳﺶ ﻣﺸﺨﺺ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻛﻮﺩﻛﺎﻥ ﻋﻼﻗﻪ ﺧﺎﺻﻲ‬
‫ﻧﺪﺍﺷﺖ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮ ﻋﻜﺴﻬﺎﻳﺶ ﺍﺭﺯﺷﻤﻨﺪﻧﺪ‪ .‬ﻛﻮﺩﻛﺎﻥ ﻋﻜﺴﻬﺎﻱ ﺍﻭ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻨﻲ ﻧﻴﺴﺘﻨﺪ‪ .‬ﺍﻭ ﺩﺭ ﻟﺤﻈﺎﺗﻲ‬
‫ﺍﺯ ﻛﻮﺩﻛﺎﻥ ﻋﻜﺲ ﻣﻲ ﮔﺮﻓﺖ ﻛﻪ ﺁﻧﻬﺎ ﺑﺎ ﭘﻮﺷﻴﺪﻥ ﻥﻕﺍﺏ ﻧﻘﺶ ﺑﺰﺭﮔﺴﺎﻻﻥ ﺭﺍ ﺑﺎﺯﻱ ﻣﻲ ﻛﺮﺩﻧﺪ‪ .‬ﺩﺭ ﻳﻜﻲ ﺍﺯ‬
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‫ﻋﻜﺲ ‪ 2-30‬ﻫﻠﻦ ﻟ‪‬ﻮﻳﺖ‪ ،‬ﺑﺪﻭﻥ ﻋﻨﻮﺍﻥ‪ ،‬ﻧﻴﻮﻳﻮﺭﻙ‪c.1942 ،‬‬
‫ﻣﺸﻬﻮﺭ ﺗﺮﻳﻦ ﻋﻜﺲ ﻫﺎﻳﺶ ‪ ،‬ﻛﻮﺩﻛﺎﻥ ﺩﺭ ﺩﺭ ﻭﺭﻭﺩﻱ ﺩﺭ ﺣﺎﻝ ﭘﺎﻳﻴﻦ ﺭﻓﺘﻦ ﻭ ﺯﺩﻥ ﻧﻘﺎﺏ ﺑﻪ ﺻﻮﺭﺗﺸﺎﻥ‬
‫ﻫﺴﺘﻨﺪ‪).‬ﻋﻜﺲ ‪ (2-30‬ﺁﻧﻬﺎ ﺑﺎ ﭘﻮﺷﻴﺪﻥ ﺑﻬﺘﺮﻳﻦ ﻟﺒﺎﺳﺸﺎﻥ ﺩﺭ ﺣﺎﻝ ﮔﺬﺭ ﺍﺯ ﻣﺮﺯ ﺑﻪ ﺳﻮﻱ ﺩﻧﻴﺎﻱ ﺑﺰﺭﮔﺴﺎﻟﻲ ﻭ‬
‫ﺭﻓﺘﺎﺭ ﺑﺰﺭﮔﺴﺎﻻﻧﻪ ﺍﻧﺪ‪ .‬ﺣﺎﻟﺖ ﺍﻳﺴﺘﺎﺩﻥ ﺁﻧﻬﺎ ﻛﺎﻣﻞ ﻭ ﻣﻄﻤﺌﻦ ﻧﻴﺴﺖ ﻭﻟﻲ ﻳﺎﺩ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬
‫ﻟﻮﻳﺖ ﻛﻪ ﺑﺎ ﺗﻤﺮﻛﺰ ﺑﺮﺭﻭﻱ ﻛﻮﺩﻛﺎﻥ ﺷﺮﻭﻉ ﻛﺮﺩﻩ ﺑﻮﺩ ‪ ،‬ﭘﺲ ﺍﺯ ﻣﺪﺗﻲ ﺍﺯ ﻫﻤﻪ ﻧﻮﻉ ﻭ ﻫﻤﻪ ﺗﻴﭗ ﺍﺷﺨﺎﺹ ﻋﻜﺲ‬
‫ﻣﻲ ﮔﺮﻓﺖ؛ ﻣﺎﻧﻨﺪ ﻛﻮﻟﻲ ﻫﺎ ‪ ،‬ﻓﺮﻭﺷﻨﺪﻩ ﻫﺎ ‪ ،‬ﺍﻓﺮﺍﺩ ﻣﺴﻦ ﻭ ‪...‬‬
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‫‪ .14‬ﺁﺑﻮﺕ ﻭ ﺍﻭﺍﻧﺰ‬
‫ﺍﮔﺮ ﺩﻫﻪ ‪ 1920‬ﺩﻭﺭﺍﻧﻲ ﺑﻮﺩ ﻛﻪ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺁﻣﺮﻳﻜﺎﻳﻲ ﺑﻪ ﺍﺭﻭﭘﺎ ﻣﻲ ﺭﻓﺘﻨﺪ ‪ ،‬ﺩﻫﻪ ﺱﻱ ﺯﻣﺎﻧﻲ ﺑﻮﺩ ﻛﻪ ﺩ ﻭﺑﺎﺭﻩ ﺑﻪ‬
‫ﻭﻃﻦ ﺧﻮﺩ ﺑﺎﺯﻣﻲ ﮔﺸﺘﻨﺪ‪ .‬ﺁﻧﻬﺎ ﺩﺭ ﻣﻲ ﻳﺎﻓﺘﻨﺪ ﻛﻪ ﺗﺄﺛﻴﺮﺍﺕ ﻓﺮﺍﻧﺴﻮﻱ ﻛﻪ ﺟﺬﺏ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ ﺑﻪ ﺧﻮﺩﻱ ﺧﻮﺩ‬
‫ﻛﺎﻓﻲ ﻧﺒﻮﺩ‪ .‬ﺑﺮﺧﻲ ﻧﻴﺰ ﺩﺭ ﻓﺮﻫﻨﮓ ﺁﻥﺝﺍ ﺍﺣﺴﺎﺱ ﻏﺮﺑﺖ ﻣﻲ ﻛﺮﺩﻧﺪ‪ .‬ﺍﻳﻦ ﺑﺎﺯﮔﺸﺖ ﺑﺮﺍﻱ ﺑﻦ ﺷﺎﻥ ﻛﻪ ﭼﻨﺪﻳﻦ‬
‫ﺍﺯﮔﺸﺖ ‪ ،‬ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﻭﺍﻛﺮ ﺍﻭﺍﻧﺰ ﺩﻭ‬
‫ﺳﺎﻝ ﺩﺭ ﭘﺎﺭﻳﺲ ﺑﻮﺩ ‪ ،‬ﺩﺭ ﺳﺎﻝ ‪ 1929‬ﺑﻮﺩ‪ .‬ﺑﺮ ﻥﻳﺲ ﺁﻟﺒﻮﺕ ﺩﺭ ﻫﻤﺎﻥ ﺳﺎﻝ ﺏ‬
‫ﺳﺎﻝ ﭘﻴﺶ ﺍﺯ ﺁﻥ ﺑﺎﺯﮔﺸﺘﻪ ﺑﻮﺩ‪.‬‬
‫ﺁﺑﻮﺕ ﺑﻌﺪ ﺍﺯ ﺑﺎﺯﮔﺸﺖ ﺑﻪ ﺁﻣﺮﻳﻜﺎ ﻭ ﺭﻓﺘﻦ ﺑﻪ ﻧﻴﻮﻳﻮﺭﻙ ﺷﺮﻭﻉ ﺑﻪ ﻋﻜﺎﺳﻲ ﺑﺎ ﺩﻭﺭﺑﻴﻦ ﻛﺮﺕ ‪ -‬ﺑﻨﺰﻳﻦ ) ‪Kurt‬‬
‫‪ (– Benzin‬ﻗﻄﻊ ‪ 6.5×9cm‬ﺍﺯ ﺁﺳﻤﺎﻥ ﺥﺭﺍﺷﻬﺎ ﻧﻤﻮﺩ‪.‬ﺍﻳﻦ ﻋﻜﺲ ﻫﺎ ﻣﻘﺪﻣﻪ ﺍﻱ ﺑﻮﺩﻧﺪ ﺑﺮﺍﻱ ﻋﻜﺴﻬﺎﻳﻲ ﻛﻪ‬
‫ﺩﺭ ﺩﻫﻪ ﺑﻌﺪ ﺍﺯ ﺁﻥ ﺩﺭ ﻧﻴﻮﻳﻮﺭﻙ ﮔﺮﻓﺖ‪.‬‬
‫‪ 35‬ﻣﻴﻠﻴﻤﺘﺮﻱ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺭﺍ ﺑﺎ‬ ‫ﺏﺧﻼﻑ ﻋﻜﺎﺳﺎﻥ ﺍﺭﻭﭘﺎﻳﻲ ﭼﻮﻥ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ‪ ،‬ﻛﻪ ﺑﻌﺪ ﺍﺯﺭﻭﺍﺝ ﻗﻄﻊ‬
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‫ﺩﻭﺭﺑﻴﻦ ﻫﺎﻱ ﻛﻮﭼﻚ ﺩﺳﺘﻲ ﺍﻧﺠﺎﻡ ﻣﻲ ﺩﺍﺩﻧﺪ ‪ ،‬ﺩﺭ ﺁﻣﺮﻳﻜﺎ ﺍﻭﺍﻧﺰ ﻭ ﺁﺑﻮﺕ ﺍﺯ ﻭﻳﻮﻛﻤﺮﺍ ﻱ ﻗﺪﻳﻤﻲ ﺗﺮ ﺍﺳﺘﻔﺎﺩﻩ‬
‫ﻭﺕ ﺍﺯ ﺍﻳﻦ ﺩﻭﺭﺑﻴﻦ ﺩﺭ ﮔﺮﻓﺘﻦ ﻋﻜﺲ ﻫﺎ ﻱ ﻧﻴﻮﻳﻮﺭﻛﺶ ﻛﻪ ﺑﺎﻋﺚ ﺷﻬﺮﺗﺶ ﺷﺪ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩ‪.‬‬
‫ﻧﻤﻮﺩﻧﺪ‪ .‬ﺁﺏ‬
‫ﺁﺏﺕ ﺑﺮﺍﻱ ﺑﺎﺭ ﺩﻭﻡ ﻭ ﺑﺎ ﻗﻄﻊ ﺑﺰﺭگ ﺍﺯ ﻧﻴﻮﻳﻮﺭﻙ ﮔﺮﻓﺖ ﺑﺎ ﺁﻧﻜﻪ ﻫﻤﺎﻥ ﺗﺄﺛﻴﺮ ﺷﮕﻔﺖ ﺯﺩﮔﻲ‬
‫ﻋﻜﺴﻬﺎﻳﻲ ﻛﻪ ﻭ‬
‫ﺍﺯ ﺗﻤﺎﺷﺎﻱ ﻧﻴﻮﻳﻮﺭﻙ ﺭﺍ ﺩﺍﺭﻧﺪ ﻭﻟﻲ ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﻋﻜﺴﻬﺎﻱ ﻗﺒﻠﻲ ﺑﻪ ﻏﻴﺮ ﺍﺯ ﻛﻴﻔﻴﺖ ﺑﺎﻻﺗﺮ ‪ ،‬ﻛﻪ ﺑﻪ ﻋﻠﺖ ﺑﺰﺭﮔﺘﺮ‬
‫ﺷﺪﻥ ﻧﮕﺎﺗﻴﻮ ﺍﺳﺖ ‪ ،‬ﻳﻚ ﺑﻌﺪ ﺍﺣﺴﺎﺳﻲ ﻧﻴﺰ ﺩﺍﺭﻧﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻋﻜﺲ ﻫﺎ ﺗﺮﻛﻴﺐ ﺑﻨﺪﻱ ﻛﺘﺮﻝ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺩﺭ ﺁﻧﻬﺎ‬
‫ﻳﻚ ﺗﻌﻤﻖ ﺍﺣﺴﺎﺳﻲ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪.‬‬
‫ﺑﺮﺍﻱ ﻣﺜﺎﻝ ﻳﻜﻲ ﺍﺯ ﺍﻳﻦ ﻋﻜﺴﻬﺎ ﻛﻪ ﺩﺭ ﺯﻳﺮ ﺧﻂ ﺁﻫﻦ ﻫﻮﺍﻳﻲ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺑﺮﭘﺎﻳﻪ ﺯﻭﺍﻳﺎﻱ ﺑﺮﺟﺴﺘﻪ ﻭﮔﺮﺍﻓﻴﻚ‬
‫ﺍﻛﺴﭙﺮِﺷ‪‬ﻨﻴﺴﺘﻲ ﺍﺳﺖ‪) .‬ﻋﻜﺲ ‪ (2-31‬ﭘﻴﭽﻴﺪﮔﻲ ﺧﻄﻮﻁ ﺩﺭ ﺑﺎﻻ ﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﺑﻴﺸﺘﺮ ﺍﺯ ﻣﺮﺩﻡ ﻭ ﺗﺮﺍﻓﻴﻚ‬
‫ﺣﺲ ﻓﻌﺎﻟﻴﺖ ﺭﺍ ﻣﻲ ﺭﺳﺎﻧﺪ‪.‬‬
‫ﻳﻮﻙﺭﺍﻫﺎ ﻭ ﻓﻴﻠﻢ ﻫﺎﻱ ﻣﻮﺟﻮﺩ ﺑﺮﺍﻱ ﺁﻥ ﻫﺎ ﺩﺭ ﺗﻮﻗﻒ ﺣﺮﻛﺖ ﺿﻌﻴﻒ ﺑﻮﺩﻧﺪ ﻭ ﻋﻤﻖ ﻣﻴﺪﺍﻥ ﻛﻤﻲ‬
‫ﺑﺎ ﺍﻳﻦ ﺡﺍﻝ ﻭ ﻡ‬
‫ژﻩ ﻛﻪ ﺍﺯ ﻣﺤﺪﻭﺩﻳﺖ ﻫﺎﻱ ﺍﺑﺰﺍﺭ ﺑﻪ ﻧﺤﻮ ﻣﺜﺒﺖ ﺍﺳﺘﻔﺎﺩﻩ ﻧﻤﻮﺩ ‪ ،‬ﺍﻳﻦ ﻣﺤﺪﻭﺩﻳﺖ ﻫﺎ ﺭﺍ‬
‫ﺩﺍﺷﺘﻨﺪ‪ .‬ﻭﻟﻲ ﺍﻭ ﻧﻴﺰ ﻣﺎﻧﻨﺪ ﺁ ﺕ‬
‫ﺗﺒﺪﻳﻞ ﺑﻪ ﺍﺭﺯﺵ ﻫﺎﻱ ﻣﺜﺒﺖ ﺯﻳﺒﺎﻳﻲ ﺷﻨﺎﺳﻲ ﻧﻤﻮﺩ‪.‬‬
‫ﻙ ﺑﺮ ﺭﻭﻱ ﭘﻴﺶ ﺯﻣﻴﻨﻪ ﻓﻮﻛﻮﺱ ﻣﻲ ﻧﻤﻮﺩ ﻭ ﺍﺯ ﻋﻤﻖ ﻣﻴﺪﺍﻥ ﻛﻢ ﺑﺮﺍﻱ ﺟﺪﺍﺳﺎﺯﻱ ﺳﻮژﻩ ﺍﺯ ﭘﺲ‬
‫ﺑﺮ ﻋﻜﺲ ﻫﺎﻳﻦ ﻩ‬
‫ﺯﻣﻴﻨﻪ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻲ ﻛﺮﺩ ‪ ،‬ﺁﺑﻮﺕ ﺑﺮ ﺭﻭﻱ ﭘﺲ ﺯﻣﻴﻨﻪ ﻓﻮﻛﻮﺱ ﻣﻲ ﻧﻤﻮﺩ‪ .‬ﺍﻭ ﺣﺘﻲ ﺩﺭ ﻭﺍﻗﻊ ﺍﺷﻴﺎ ء ﻭ ﺍﺷﺨﺎﺹ ﭘﻴﺶ‬
‫ﺯﻣﻴﻨﻪ ﻛﻪ ﻏﻴﺮ ﻭﺍﺿﺢ ﺑﻮﺩﻥﺩ ﺭﺍ ﺑﻪ ﻋﻤﺪ ﺩﺭ ﻋﻜﺲ ﻣﻲ ﮔﻨﺠﺎﻧﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻛﺎﺭ ﺑﻪ ﻧﻮﻋﻲ ﻛﻴﻔﻴﺖ ﻏﻴﺮ ﻣﺘﻌﺎﺩﻝ ﺧﻮﺩ‬
‫ﺷﻬﺮ ﺷﻜﻞ ﺩﻫﻲ ﻣﻲ ﺷﻮﺩ‪.‬‬
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‫ﻋﻜﺲ ‪ 2-31‬ﺑِﺮِﻧﻴﺲ ﺁﺑﻮﺕ‪ ،‬ﺍ‪‬ﻝ‪ ،‬ﺧﻄﻮﻁ ﺧﻴﺎﺑﺎﻥ ﺩﻭﻡ ﻭ ﺳﻮﻡ‪1936 ،‬‬
‫ﻇﺎﻫﺮﺍً ﻳﻚ ﻋﻴﺐ ﺩﻳﮕﺮ ﻭﻳﻮﻛﺮﺍ ﺗﺼﻮﻳﺮ ﻭﺍﺭﻭﻧﻪ ﺑﺮﻭﻱ ﺷﻴﺸﻪ ﻣﺎﺕ ﺍﺳﺖ‪ .‬ﺁﺑﻮﺕ ﺍﺯ ﺍﻳﻦ ﻋﻴﺐ ﻧﻴﺰﺑﻪ ﻧﻔﻊ ﺧﻮﺩﺵ‬
‫ﺍﺳﺘﻔﺎﺩﻩ ﻧﻤﻮﺩ ﻭ ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺧﻮﺩﺵ ﮔﻔﺖ ﺍﻳﻦ ﺧﺎﺻﻴﺖ ﺑﺎﻋﺚ ﻣﻲ ﺷﻮﺩ ﺗﺎ ﺑﺮﺍﻱ ﻟﺤﻈﻪ ﺍﻱ ﺳﻮژﻩ ﺭﺍ ﻓﺮﺍﻣﻮﺵ‬
‫ﻛﺮﺩﻩ ﻭ ﺑﻪ ﻃﺮﺍﺣﻲ ﺁﻥ ﻓﻜﺮ ﻛﻨﻴﻢ‪.‬‬
‫ﺁﺑﻮﺕ ﺗﺎ ﺣﺪ ﺯﻳﺎﺩﻱ ﺍﺯ ﻛﺎﺭﻫﺎﻱ ﺁﺗﮋﻩ ﺍﻟﻬﺎﻡ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪.‬ﺍﻭ ﺩﺭ ﺍﻭﺍﺧﺮ ﻋﻤﺮ ﺁﺗﮋﻩ‪ ،‬ﺍﻭ ﺭﺍ ﻣﻼﻗﺎﺕ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﭘﺲ ﺍﺯ‬
‫ﻣﺮگ ﺍﻭ ﻧﻴﺰ ﻛﻠﻜﺴﻴﻮﻥ ﻧﮕﺎﺗﻴﻮﻫﺎ ﻭ ﭼﺎپ ﻫﺎﻱ ﺍﻭ ﺭﺍ ﻛﻪ ﻫﻴﭻ ﻛﺲ ﺧﻮﺍﻫﺎﻥ ﺁﻧﺎﻥ ﻧﺒﻮﺩ ﺑﺎ ﺧﻮﺩ ﺑﻪ ﺁﻣﺮﻳﻜﺎ ﺁﻭﺭﺩ‪.‬‬
‫ﺍﻭ ﻳﻜﺒﺎﺭ ﺩﺭ ﻣﺼﺎﺣﺒﻪ ﺑﺎ "ﻧﻴﻮﻳﻮﺭﻙ ﺳﺎﻥ" ﮔﻔﺖ ‪" :‬ﺁﻧﭽﻪ ﺁﺗﮋﻩ ﺑﺮﺍﻱ ﭘﺎﺭﻳﺲ ﺍﻧﺠﺎﻡ ﺩﺍﺩ ﺭﺍ ﻣﻦ ﻣﻲ ﺧﻮﺍﻫﻢ ﺑﺮﺍﻱ‬
‫ﻧﻴﻮﻳﻮﺭﻙ ﺍﻧﺠﺎﻡ ﺩﻫﻢ‪".‬‬
‫ﺳﻪ ﺗﻦ ﺍﺯ ﺗﺄﺛﻴﺮ ﮔﺬﺍﺭﺗﺮﻳﻦ ﻋﻜﺎﺳﺎﻧﻲ ﻛﻪ ﺑﺮ ﻋﻜﺎﺱﺍﻥ ﺩﻫﻪ ﺳﻲ ﺁﻣﺮﻳﻜﺎ ﺗﺄﺛﻴﺮ ﺑﺴﻴﺎﺭ ﺩﺍﺷﺖﻧﺪ ﺁﺗﮋﻩ‪ ،‬ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ‬
‫ﺁﺏﺕ‪ ،‬ﻋﻜﺎﺳﺎﻥ ﺑﺴﻴﺎﺭﻱ ﺳﻌﻲ ﻣﻲ ﻛﺮﺩﻧﺪ‬
‫ﻭ ﻫﺎﻳﻦ ﺑﻮﺩﻧﺪ‪ .‬ﺑﻌﺪ ﺍﺯ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻥ ﺁﺗﮋﻩ ﺩﺭ ﺁﻣﺮﻳﻜﺎ ﺑﺮ ﺍﺛﺮ ﺗﻼﺷﻬﺎﻱ ﻭ‬
‫ﺑﺠﺰ ﻳﻚ ﻧﻔﺮ ﻭ ﺍﻭ ﻫﻢ‬ ‫ﻛﻪ ﻛﺎﺭﻫﺎﻱ ﻣﺸﺎﺑﻪ ﺍﻭ ﺍﻧﺠﺎﻡ ﺩﻫﻨﺪ ﻭﻟﻲ ﻫﻴﭻ ﻳﻚ ﺑﻪ ﻣﻮﻓﻘﻴﺖ ﺑﺰﺭﮔﻲ ﺩﺳﺖ ﻧﻴﺎﻓﺘﻨﺪ‪.‬‬
‫ﻭﺍﻛﺮ ﺍﻭﺍﻧﺰ ﺑﻮﺩ‪.‬‬
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‫ﺭﺍ ﺟﻠﺐ ﻛﺮﺩ ﺗﺼﺎﺩﻓﻲ ﻧﺒﻮﺩ‪ .‬ﺁﻧﻬﺎ‬ ‫ﺷﺒﺎﻫﺖ ﺩﺭ ﺍﺳﺘﺎﻳﻞ ﺗﺼﺎﻭﻳﺮ ﺍﻭﺍﻧﺰ ﻭ ﺁﺑﻮﺕ ﻭ ﻧﻮﻉ ﺳﻮژﻩ ﺍﻱ ﻛﻪ ﭼﺸﻢ ﺁﻧﻬﺎ‬
‫ﻳﻚ ﻣﻨﺒﻊ ﻣﺸﺘﺮﻙ ﺩﺭ ﺁﺗﮋﻩ ﺩﺍﺷﺘﻨﺪ‪ .‬ﺍﻳﻦ ﺍﻣﺮ ﺑﺨﺼﻮﺹ ﺩﺭ ﺷﻜﻞ ﺳﺎﻳﻪ ﻫﺎ ﻣﺸﺨﺺ ﺍﺳﺖ‪ .‬ﺁﻧﻬﺎ ﺑﻪ ﺷﻜﻞ ﻭ ﻃﺮﺡ‬
‫ﺳﺎﻳﻪ ﻫﺎﻱ ﺍﻓﺘﺎﺩﻩ ﺭﻭﻱ ﺑﻨﺎ ﻫﺎ ﺗﻮﺟﻪ ﺩﺍﺷﺘﻨﺪ‪ .‬ﻃﺮﺣﻲ ﻛﻪ ﺳﻮژﻩ ﺑﻪ ﻇﺎﻫﺮ ﺍﺻﻠﻲ ﺭﺍ ﺩﮔﺮﮔﻮﻥ ﻣﻲ ﻛﺮﺩ‪.‬‬
‫ﺍﻭﺍﻧﺰ ﻛﺎﺭ ﺁﺗﮋﻩ ﺭﺍ ﺗﺤﺴﻴﻦ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﺭﺍﺟﻊ ﺑﻪ ﺁﻥ ﮔﻔﺘﻪ ﺑﻮﺩ ‪" :‬ﺷﻌﺮﻱ ﻛﻪ ﺷﻌﺮ ﺧﻴﺎﺑﺎﻥ ﻳﺎ ﺷﻌﺮ ﭘﺎﺭﻳﺲ ﻧﻴﺴﺖ‬
‫ﺑﻠﻜﻪ ﻧﻤﺎﻳﻲ ﺍﺯ ﺷﺨﺺ ﺁﺗﮋﻩ ﺍﺳﺖ‪".‬‬
‫ﺍﻭﺍﻧﺰ ﺑﺎ ﺍﻳﻨﻜﻪ ﻣﺸﺨﺼﺎً ﺍﺯ ﻛﺎﺭﻫﺎﻱ ﺁﺗﮋﻩ ﻭ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺍﻟﻬﺎﻡ ﮔﺮﻓﺘﻪ ﺑﻮﺩ ﻭﻟﻲ ﺑﻪ ﺧﺎﻃﺮ ﺍﺿﻄﺮﺍﺏ ﺍﺯ ﺷﺒﺎﻫﺖ‬
‫ﻛﺎﺭﻫﺎﻳﺶ ﺑﻪ ﻛﺎﺭﻫﺎﻱ ﺁﻧﺎﻥ ﻭ ﺍﺻﻠﻲ ﻧﺒﻮﺩﻥ ﻛﺎﺭﻫﺎﻳﺶ ﺑﻴﺸﺘﺮ ﺍﻇﻬﺎﺭ ﻣﻲ ﻛﺮﺩ ﻛﻪ ﺍﺯ ﺷﺨﺺ ﺧﺎﺻﻲ ﺗﺄﺛﻴﺮ‬
‫ﻣﺴﺘﻘﻴﻢ ﻧﮕﺮﻓﺘﻪ ﺍﺳﺖ‪.‬‬
‫ﻋﻜﺎﺳﻲ ﺑﻴﺸﺘﺮ ﺍﺯ ﺑﻘﻴﻪ ﻫﻨﺮﻫﺎ‪ ،‬ﺫﺍﺗﺎً ﺭﺳﺎﻧﻪ ﻭﺍﻗﻌﻴﺖ ﻣﻌﺎﺻﺮ ﺑﺎ ﺧﻮﺩ ﺍﺳﺖ‪ .‬ﺗﺄﺛﻴﺮ ﺩﻭﺭﻩ ﻭ ﻋﺼﺮ ﻋﻜﺎﺱ ﺩﺭ ﻋﻜﺲ ﺍﻭ‬
‫ﺑﺴﻴﺎﺭ ﻭﺍﺿﺢ ﺍﺳﺖ‪ .‬ﺑﺮﺍﻱ ﺍﻭﺍﻧﺰ ﺍﻳﻦ ﺗﺄﺛﻴﺮ ﺗﻨﻬﺎ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﻭﺁﺗﮋﻩ ﻧﺒﻮﺩ ‪ ،‬ﺑﻠﻜﻪ ﻓﺮﻫﻨﮓ ﻋﻤﻮﻣﻲ ﺩﻫﻪ ﺳﻲ ﻭ ﺑﻪ‬
‫ﻃﻮﺭ ﻛﻠﻲ ﺍﺩﺑﻴﺎﺕ‪ ،‬ﻧﻘﺎﺷﻲ ﻭﻋﻜﺎﺳﻲ ﻗﺮﻥ ﺑﻴﺴﺘﻢ ﺑﻮﺩ‪.‬‬
‫ﺑﻪ ﮔﻔﺘﻪ ﺍﻭ ﺁﻣﻮﺯﺷﻬﺎﻱ ﺩﻭﺭﺍﻥ ﺍﻗﺎﻣﺖ ﺩﺭ ﭘﺎﺭﻳﺲ ‪ ،‬ﻳﻚ ﺁﻣﻮﺯﺵ ﭼﺸﻢ ﺍﻧﻘﻼﺑﻲ ﺑﻮﺩ‪ .‬ﻧﻪ ﺗﻨﻬﺎ ﺩﺭ ﭘﺎﺭﻳﺲ‪ ،‬ﺑﻠﻜﻪ‬
‫ﺩﻭﺳﺘﺎﻥ ﺍﻭ ﺩﺭ ﺁﻣﺮﻳﻜﺎ ‪ ،‬ﻫﻤﭽﻮﻥ ﺍﺳﺘﻔﺎﻥ ﻫﻴﺮﺵ ‪ 1‬ﻧﻘﺎﺵ ﺑﻮﺩﻧﺪ‪ .‬ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﻫﻴﺮ ﺵ ﺩﻳﺪ ﺍﻧﺘﺰﺍﻋﻲ ﺭﺍ ﺑﺎ ﻭﺍﻗﻌﻴﺖ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺩﺭﺁﻣﻴﺨﺘﻪ ﺑﻮﺩ ‪ ،‬ﺍﻭﺍﻧﺮ ﺍﻋﺘﻘﺎﺩ ﺩﺍﺷﺖ ﻛﻪ ﻣﻲ ﺗﻮﺍﻥ ﺑﺮﻋﻜﺲ ﺁﻥ ﺭﺍ ﺍﻧﺠﺎﻡ ﺩﺍﺩ ﻭ ﻭﺍﻗﻌﻴﺖ ﻏﻴﺮ ﻗﺎﺑﻞ ﺍﺟﺘﻨﺎﺏ ﭘﻴﺶ‬
‫ﺭﻭﻱ ﻋﻜﺎﺱ ﺭﺍ ﺑﺎ ﺩﻳﺪ ﺍﻧﺘﺰﺍﻋﻲ ﺩﺭ ﺁﻣﻴﺨﺖ‪.‬‬
‫ﺍﻭﺍﻧﺰ ﺍﺣﺴﺎﺱ ﻣﻲ ﻛﺮﺩ ﻛﻪ ﻋﻜﺎﺳﻲ "ﺍﺩﺑﻲ ﺗﺮﻳﻦ ﻫﻨﺮ ﮔﺮﺍﻓﻴﻜﻲ " ﺍﺳﺖ ﻭ ﺷﻬﺮﺕ ﺧﻮﺩ ﺍﻭ ﻣﺮﺗﺒﻂ ﺑﺎ ﺩﻭ ﺍﺛﺮ ﻣﻬﻢ‬
‫ﺍﺩﺑﻲ ﺍﺳﺖ؛ ﭘﻞ ﺍﺛﺮ ﻛﺮﻳﻦ ‪ (1930) 2‬ﻭ ﺑﮕﺬﺍﺭ ﺍﻛﻨﻮﻥ ﻣﺮﺩﺍﻥ ﻧﺎﻣﻲ ﺭﺍ ﺑﺴﺘﺎﻳﻴﻢ ﺍﺛﺮ ﺟِﻴﻤﺰ ﺍ‪‬ﻱﺝﻱ‪ .(1941) 3‬ﺍﻳﻦ ﺩﻭ‬
‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺍﺛﺮ ﺑﻪ ﻛﺎﺭ ﺍﻭﺍﻧﺰ ﻗﺎﻟﺐ ﺩﺍﺩﻧﺪ‪ .‬ﺑﺎ ﭼﺎپ ﻋﻜﺲ ﻫﺎﻱ ﺍﻭﺍﻧﺰ ﺩﺭ ﺍﻳﻦ ﻛﺘﺎﺑﻬﺎ ﺍﻭ ﺷﻬﺮﺕ ﺑﺴﻴﺎﺭﻱ ﺑﺪﺳﺖ ﺁﻭﺭﺩ‪.‬‬
‫ﺳﺒﻚ ﻋﻜﺲ ﻫﺎﻱ ﺍﻭﺍﻧﺰ ﻋﻤﺪﺗﺎً ﻣﺴﺘﻨﺪ ﺍﺳﺖ ﻭ ﺍﻭ ﺧﻮﺩ ﺳﺒﻚ ﻛﺎﺭ ﺧﻮﺩ ﺭﺍ "ﺷﻴﻮﻩ ﻣﺴﺘﻨﺪ " ﻣﻲ ﻧﺎﻣﺪ‪ .‬ﺍﻭ ﺑﺎ ﺍﻳﻦ‬
‫ﻳﺶ ﺍﺯ ﺍﻳﻦ ﺩﺭ ﺍﺭﻭﭘﺎ ﻭ ﺑﺎ ﺧﻮﺍﻧﺪﻥ ﺁﺛﺎﺭ ﺍﺭﻧﺴﺖ ﻫﻢ ﻳﻦﮔﻮِﻱ ‪ 5‬ﺁﺷﻨﺎ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺩﺭﺁﺛﺎﺭ ﻫﻢ ﻳﻦﮔﻮِﻱ ‪ ،‬ﻣﺎﻧﻨﺪ‬
‫‪P‬‬ ‫‪P‬‬ ‫ﺳﺒﻚ پ‬
‫ﺁﺛﺎﺭ ﺍ‪‬ﻳﺠﻲ ﻟﺤﻈﺎﺗﻲ ﺍﺳﺖ ﻛﻪ ﺯﺑﺎﻥ ﺑﻪ ﻧﻮﻋﻲ ﻓﺮﺍﻳﻨﺪ ﻟﻴﺴﺖ ﻛﺮﺩﻥ ﺗﻘﻠﻴﻞ ﻳﺎﻓﺘﻪ ﺍﺳﺖ‪) .‬ﺑﺠﺎﻱ ﺩﺭﮔﻴﺮ ﻛﺮﺩﻥ ﻧﻈﺮ‬
‫ﺷﺨﺼﻲ‪ ،‬ﺗﻨﻬﺎ ﺭﻭﻳﺪﺍﺩﻫﺎ ﻫﻤﺎﻧﮕﻮﻧﻪ ﻛﻪ ﻫﺴﺘﻨﺪ ﺑﺼﻮﺭﺕ ﻓﻬﺮﺳﺖ ﻭﺍﺭ ﺷﺮﺡ ﺩﺍﺩﻩ ﻣﻲ ﺷﻮﻧﺪ‪(.‬‬
‫ﺩﺭ ﭘﺸﺖ ﺍﻓﺮﺍﺩ ﻣﻬﻢ ﺑﺮﺍﻱ ﺍﻭﺍﻧﺰ‪ ،‬ﭼﻮﻥ ﻫﻢﻳﻦﮔﻮِﻱ‪ ،‬ﻛﺮِﻳﻦ ‪ ،‬ﺍ‪‬ﻳﺠﻲ ﻭ ﺩﻳﮕﺮﺍﻥ ﮔﻮﺳﺘﺎﻭ ﻓﻼﺑﺮﺕ‪ 6‬ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪ .‬ﺍﻭﺍﻧﺰ‬
‫‪P‬‬ ‫‪P‬‬
‫‪ .Stefan Hirsch .1‬ﻧﻘﺎﺵ ﺁﻣﺮﻳﻜﺎﻳﻲ‪1899-1964 .‬‬

‫‪ .Hart Crane .2‬ﺷﺎﻋﺮ ﺁﻣﺮﻳﻜﺎﻳﻲ‪1899-1932 .‬‬
‫‪ .James Agee .3‬ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﺷﺎﻋﺮ ﺁﻣﺮﻳﻜﺎﻳﻲ‪1909-1955 .‬‬
‫‪documentary style .4‬‬
‫‪ .Ernest Hemingway .5‬ﻧﻮﻳﺴﻨﺪﻩ ﺁﻣﺮﻳﻜﺎﻳﻲ ‪1899-1961‬‬
‫‪ .Gustave Flaubert .6‬ﻧﻮﻳﺴﻨﺪﻩ ﻓﺮﺍﻧﺴﻮﻱ ‪1821-1880‬‬
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‫ﻋﻜﺲ ‪ 2-32‬ﻭﺍﻛﺮ ﺍﻭﺍﻧﺰ‪ ،‬ﺗﻌﻤﻴﺮﮔﺎﻩ ﺍﺗﻮﻣﺒﻴﻞ‪،‬ﺁﺗﻼﻧﺘﺎ‪1936 ،‬‬
‫ﮔﻔﺘﻪ ‪" :‬ﻓﻜﺮ ﻣﻲ ﻛﻨﻢ ﺭﻭﺵ ﻓﻼﺑﺮﺕ ﺭﺍ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﺑﻜﺎﺭ ﻣﻲ ﺑﺮﻡ ‪ ،‬ﻭﻟﻲ ﺩﺭ ﻫﺮ ﺻﻮﺭﺕ ﺍﺯ ﺁﻥ ﺑﻪ ﺩﻭ ﻃﺮﻳﻖ‬
‫ﺍﺳﺘﻔﺎﺩﻩ ﻣﻲ ﻛﻨﻢ ‪ :‬ﻫﻢ ﺍﺯ ﺭ ﺉﺍﻟﻴﺰﻡ )ﻭﺍﻗﻌﻴﺖ ﮔﺮﺍﻳﻲ( ﻭ ﻧﭽﺮﺍﻟﻴﺰﻡ )ﻃﺒﻴﻌﺖ ﮔﺮﺍﻳﻲ( ﺍﻭ ﻭ ﻫﻢ ﺍﺯ ﻭﺍﻗﻊ ﺑﻴﻨﻲ ﻭ ﺑﻲ‬
‫ﻃﺮﻓﻲ ﺑﺮﺧﻮﺭﺩ ﺍﻭ؛ ﻋﺪﻡ ﭘﻴﺪﺍ ﺑﻮﺩﻥ ﻡ ﺅ ﻟﻒ‪ .‬ﻏﻴﺮ ﺍﺣﺴﺎﺳﻲ ﻭﻏﻴﺮ ﺷﺨﺼﻲ ﺑﻮﺩﻥ ﺁﻥ "‪ .‬ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺟﺎﻥ‬
‫ﺳﺎﺭﻛﻮﻓﺴﻜﻲ ﺍﺷﺎﺭﻩ ﻛﺮﺩﻩ ﺍﺳﺖ ‪ ،‬ﺍﻭﺍ ﻥﺯ ﺑﻪ ﻃﻮﺭ ﻛﺎﻣﻞ ﺑﻪ ﺍﻇﻬﺎﺭ ﻓﻼﺑﺮﺕ ﺍﻋﺘﻘﺎﺩ ﺩﺍﺷﺖ ﻛﻪ ﻫﻨﺮ ﺑﺎﻳﺪ ﺑﺎﻻﺗﺮ ﺍﺯ‬
‫ﺍﺣﺴﺎﺳﺎﺕ ﺷﺨﺼﻲ ﺑﺎﺷﺪ‪ .‬ﺯﻣﺎﻥ ﺁﻥ ﺭﺳﻴﺪﻩ ﻛﻪ ﺑﺎ ﺭﻭﺵ ﺑﻲ ﺗﺮ ﺡﻡ ﺑﻪ ﺁﻥ ﺑﭙﺮﺩﺍﺯﻳﻢ‪ .‬ﺍﻳﻦ ﻛﻴﻔﻴﺘﻲ ﺍﺳﺖ ﻛﻪ ﺍﻭﺍﻧﺰ‬
‫ﺑﻪ ﻋﻜﺲ ﻫﺎﻳﺶ ﺑﺨﺸﻴﺪ‪.‬‬
‫ﻭﻙﺭﺍﻱ ‪ 8×10‬ﺍﻳﻨﭻ ﮔﺮﻓﺖ ‪ ،‬ﻓﺮ ﻡﺗﻲ ﻛﻪ ﻗﺒﻼً ﻓﻘﻂ ﺑﻪ ﻃﻮﺭ ﻣﺨﺘﺼﺮ ﺑﺎ ﺁﻥ ﻛﺎﺭﻛﺮﺩﻩ‬
‫ﺩﺭ ‪ 1933‬ﺍﻭﺍﻧﺰ ﻳﻚ ﻭ ﻱ ﻡ‬
‫ﺑﻮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﺯﻣﺎﻥ ﺑﻮﺩ ﻛﻪ ﺍﻭ ﺗﻤﺎﻡ ﺗﺠﺮﺑﻴﺎﺕ ﺷﻜﻞ ﺩﻫﻨﺪﻩ ﺧﻮﺩﺭﺍ ﻛﻨﺎﺭ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩ ﻭ ﺁﻣﺎﺩﻩ ﺑﻮﺩ ﺗﺎ ﺍﺻﻠﻲ ﺗﺮﻳﻦ‬
‫"ﻭﻗﺘﻲ ﺟﻮﺍﻧﻴﺪ ﺁﻣﺎﺩﻩ ﺑﺮﺍﻱ‬ ‫ﻛﺎﺭﻫﺎﻱ ﺧﻮﺩ ﺭﺍ ﺍﻧﺠﺎﻡ ﺩﻫﺪ‪ .‬ﺍﻭ ﺍﻳﻦ ﻓﺮﺍﻳﻨﺪ ﺭﺍ ﭼﻨﻴﻦ ﺧﻼﺻﻪ ﻛﺮﺩ ﻭ ﮔﻔﺖ ‪:‬‬
‫ﺭﻭﻱﺩ؛ ـﺏﻩ ﻡـﻭﺯﻩ ﻩ ـﺍ ﻡـﻱ ﺭﻭﻳﺪ‪ .‬ﺳﭙﺲ ﺧﻴﺎﺑﺎﻥ ﻣﻮﺯﻩ‬
‫ﺍﺙﺭ ﺑﺦـﺵ ﻡـﻱ ـ‬
‫ﭼﻲﺯﻫﺎﻱ ـ‬
‫ﺱﺭﺍﻍ ـ‬
‫ﺗﺄﺛﻴﺮﭘﺬﻳﺮﻱ ﻫﺴﺘﻴﺪ ﻭ ﺑﻪ ـ‬
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‫ﻋﻜﺲ ‪ 2-33‬ﻭﺍﻛﺮ ﺍﻭﺍﻧﺰ‪ ،‬ﭘﺮﺗﺮﻩ ﻫﺎﻱ ﺧﻴﺎﺑﺎﻧﻲ ﺩﺗﺮﻭﻳﺖ‪1946 ،‬‬
‫ﺷﻤﺎ ﻣﻲ ﺷﻮﺩ؛ ﺧﻮﺩ ﻣﻮﺯﻩ ﺑﺮﺍﻱ ﺷﻤﺎ ﺑﺪ ﺍﺳﺖ ‪ .‬ﺷﻤﺎ ﻥﻣﻲ ﺧﻮﺍﻫﻴﺪ ﻛﻪ ﻛﺎﺭﺗﺎﻥ ﺑﻪ ﻳﻜﺒﺎﺭﻩ ﺍﺯ ﻫﻨﺮ ﺑﺮﺧﻴﺰﺩ؛ ﺷﻤﺎ ﻣﻲ‬
‫‪1‬‬
‫‪P‬‬ ‫ﺧﻮﺍﻫﻴﺪ ﻛﻪ ﺍﺯ ﺯﻧﺪﮔﻲ ﺷﺮﻭﻉ ﺷﻮﺩ‪ ،‬ﻭ ﺁﻥ ﺍﻛﻨﻮﻥ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﺍﺳﺖ‪".‬‬
‫‪P‬‬
‫ﺩﺭ ﻳﻜﻲ ﺍﺯ ﻋﻜﺴﻬﺎﻱ ﺍﻭﺍﻧﺰ ﻗﻮﺕ ﺗﻴﺰﺑﻮﺩﻥ ﻭ ﺯﻳﺮﻛﻲ ﻫﻤﺎﻧﻨﺪ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﻣﺸﺨﺺ ﺍﺳﺖ ‪).‬ﻋﻜﺲ ‪(2-23‬‬
‫ﻋﻜﺲ ﺯﻥ ﺑﺎ ﺑﻠﻮﺯ ﺭﺍﻩ ﺭﺍﻩ ﺍﻳﺴﺘﺎﺩﻩ ﺟﻠﻮﻱ ﺩﺭ ﺁﺭﺍﻳﺸﮕﺎﻩ ﺑﺮﭘﺎﻳﻪ ﻧﻮﻋﻲ ﻓﺮﻣﺎﻟﻴﺰﻡ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﻋﻜﺲ ﺳﺮﮔﺮﻣﻲ ﻭ‬
‫ﺭﻣﺎﻟﻴﺰﻡ ﻭ ﻧﻪ ﭼﻨﻴﻦ‬
‫ﻧﻪ ﭼﻨﻴﻦ ﻑ‬ ‫ﻃﻌﻨﻪ ﺧﺎﺹ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻭﻟﻲ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﻋﻜﺲ ﻫﺎﻱ ﺍﻭﺍﻧﺰ‬
‫ﻓﺮﻡﻱ ﺭﺍ ﻛﻢ ﻛﺮﺩﻩ ﻭ‬ ‫ﻣﻼﻳﻤﺖ ﻭ ﺣﺲ ﺷﺎﺩﻱ ﺭﺍ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺩﺭ ﺁﻧﻬﺎ ﺍﺣﺴﺎﺳﺎﺗﻲ ﺩﻳﮕﺮ ﻭﺍﺭﺩ ﻣﻲ ﺷﻮﺩ ﻭ ﻛﻨﺘﺮﻝ‬
‫ﺣﺎﻟﺘﻲ ﻙﻣﺘﺮ ﺧﻮﺷﺤﺎﻝ ﻭ ﻣﻪﺭﺑﺎﻧﺎﻧﻪ ﺭﺍ ﺍﻳﺠﺎﺩ ﻣﻲ ﻙﻥﻧﺪ‪ .‬ﺍﺣﺴﺎﺳﺎﺕ ﻣﻮﺟﻮﺩ ﺩﺭ ﻋﻜﺴﻬﺎﻱ ﺍﻭ ﮔﻮﻧﺎﮔﻮﻧﻲ ﺑﺴﻴﺎﺭﻱ‬
‫ﺩﺍﺭﻧﺪ‪ .‬ﺍﻳﻦ ﺍﻣﺮ ﺩﺭ ﺗﻐﻴﻴﺮﺍﺕ ﺩﻭﺭﺑﻴﻦ ﺍﻭ ﺍﺯ ﺩﻭﺭﺑﻴﻦ ﺟﻌﺒﻪ ﺍﻱ ﺑﻪ ﺩﻭﺭﺑﻴﻦ ‪ 35‬ﻣﻴﻠﻴﻤﺘﺮﻱ‪ ،‬ﺳﭙﺲ ﺑﻪ ‪ 5×7‬ﺍﻳﻨﭻ‪ ،‬ﺑﻌﺪ‬
‫ﺍﺯ ﺁﻥ ﺑﻪ ‪ 6×8‬ﺍﻳﻨﭻ ﻭ ‪ 10×8‬ﺍﻳﻨﭻ ﻧﻴﺰ ﻣﺸﺨﺺ ﺍﺳﺖ‪.‬‬
‫ﺩﺭ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﻋﻜﺴﻬﺎﻱ ﻓﺮﻣﺖ ﻛﻮﭼﻚ ﺍﻭﺍﻧﺰ‪ ،‬ﺑﺮﺧﻼﻑ ﻋﻜﺲ ﻫﺎﻱ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺯﺷﺘﻲ ﻡﺷﺨﺺ ﺍﺳﺖ‪ .‬ﺩﺭ‬
‫ﺁﻧﻬﺎ ﻓﺮﻣﺎﻟﻴﺰﻡ ﻣﻮﺟﻮﺩ ﻧﻴﺴﺖ ‪ .‬ﮔﻮﻳﻲ ﺍﻭ ﻣﻲ ﺧﻮﺍﻫﺪ ﺍﺯ ﻧﺎﻫﻤﺎﻫﻨﮕﻲ ﻫﺎﻱ ﺑﺸﺮ ﻛﺎﺗﺎﻟﻮﮔﻲ ﺑﺴﺎﺯﺩ‪ .‬ﺍﮔﺮ ﺩﺭ‬
‫ﻋﻜﺴﻬﺎﻱ ﺍﻭ ﻃﻨﺰﻱ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﺍﺯ ﻧﻮﻉ ﺭﻳﺸﺨﻨﺪ ﺍﺳﺖ‪.‬‬
‫‪ .1‬ﻣﻨﺒﻊ ﺷﻤﺎﺭﻩ ‪ .5‬ﺻﻔﺤﻪ ‪312‬‬

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‫ﻋﻜﺲ ‪ 2-34‬ﻭﺍﻛﺮ ﺍﻭﺍﻧﺰ‪ ،‬ﭘﺮﺗﺮﻩ ﻫﺎﻱ ﻣﺘﺮﻭﻱ ﻧﻴﻮﻳﻮﺭﻙ‪1938-41 ،‬‬
‫ﺑﺎ ﺭﻓﺘﻦ ﺍﻭ ﺑﻪ ﺳﺮﺍﻍ ﻓﺮﻣﺖ ﺑﺰﺭگ ﭼﻨﻴﻦ ﺯﺷﺘﻲ ﻭ ﺗﻨﻔﺮﻱ ﺍﺯ ﺑﻴﻦ ﻣﻲ ﺭﻭﺩ‪ .‬ﻋﻜﺲ ﺯﻥ ﺩﺭ ﺟﻠﻮﻱ ﺁﺭﺍﻳﺸﮕﺎﻩ ﺑﺎ‬
‫ﻭﻳﻮﻙﺭﺍ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬
‫ﻡ‬
‫ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺜﺎﻟﻲ ﺩﻳﮕﺮ ﺩﺭ ﺗﺼﻮﻳﺮﻱ ‪ 8×10‬ﺍﻳﻨﭻ ﺍﺯ ﻳﻚ ﻓﺮﻭﺷﮕﺎﻩ ﻗﻄﻌﺎﺕ ﺍﺗﻮﻣﺒﻴﻞ ﺩﺭ ﺟﻮﺭﺟﻴﺎ ‪)،‬ﻋﻜﺲ ‪(2-32‬‬
‫ﺩﺭﻙ ﺣﺴﻲ ﻣﺎ ‪ ،‬ﺍﺯ ﻛﻨﺎﺭﻩ ﺑﻪ ﻛﻨﺎﺭﻩ ﻭ ﺩﺭ ﺁﻥ ﻭﺍﺣﺪ ﺍﺯ ﺟﻠﻮ ﺑﻪ ﻋﻘﺐ ﻣﻲ ﺭﻭﺩ‪ .‬ﺩﻳﻨﺎﻣﻴﻚ ﺍﻳﻦ ﺗﺼﻮﻳﺮ ﺍﺯ ﻋﻜﺴﻲ‬
‫ﻛﻪ ﺩﺭ ﺁﻥ ﺯﻥ ﺩﺭ ﺟﻠﻮﻱ ﺁﺭﺍﻳﺸﮕﺎﻩ ﺍﻳﺴﺘﺎﺩﻩ ﻓﺮﻕ ﻣﻲ ﻛﻨﺪ‪ .‬ﺍﻳﻦ ﺗﺼﻮﻳﺮ ﻛﻨﺪ ﺗﺮ ﻭ ﭘﻴﭽﻴﺪﻩ ﺗﺮ ﺍﺳﺖ‪ .‬ﻭﻟﻲ ﻫﺮ ﺩﻭ‬
‫ﺷﻴﻔﺘﻪ ﺍﻥ ﺯﻳﺒﺎﻳﻲ ﺩﻧﻴﺎ ﺍﻧﺪ‪.‬‬
‫ﺑﺎ ﺍﻳﻨﻜﻪ ﺍﻭﺍﻧﺰ ﺍﺯ ﺗﺄﺛﻴﺮﺍﺕ ﭘﻴﺮﺍﻣﻮﻥ ﺧﻮﺩ ﺩﺭ ﺩﻫﻪ ﺱﻱ ﺍﻟﻬﺎﻡ ﮔﺮﻓﺘﻪ ﺑﻮﺩ ﻭﻟﻲ ﻛﺎﺭ ﺧﻮﺩ ﺍﻭ ﻧﻴﺰ ﺑﺮ ﺑﺴﻴﺎﺭﻱ ﺗﺄﺛﻴﺮ‬
‫ﮔﺬﺍﺭﺩ‪ .‬ﻛﺎﺭ ﺍﻭ ﺟﺎﺫﺑﻪ ﺑﺴﻴﺎﺭﻱ ﺑﺮﺍﻱ ﻛﺎﺭﻛﻨﺎﻥ ‪ FSA‬ﺩﺍﺷﺖ‪ ،‬ﻣﻦ ﺟﻤﻠﻪ ﺧﻮﺩ ﺭﻭﻱ ﺍﺳﺘﺮﺍﻳﻜﺮ‪.‬‬
‫ﻳﻜﻲ ﺍﺯ ﻋﻜﺎﺳﺎﻥ ‪ FSA‬ﻛﻪ ﺑﻴﺸﺘﺮﻳﻦ ﺗﺄﺛﻴﺮ ﺭﺍ ﺍﺯ ﺍﻭﺍﻧﺰ ﺑﺮﺩﺍﺷﺖ ﺟﺎﻥ ﻭﻳﻜﻦ ﺑﻮﺩ ﻛﻪ ﺗﺎ ﻗﺒﻞ ﺍﺯ ﺍﻳﻨﻜﻪ ﺧﻮﺩ ﺍﺯ ﺍﻳﻦ‬
‫ﺧﻴﺎﺏﻧﻲ ﺩﻫﻪ ﺳﻲ‬
‫ﺍﺩﺍﺭﻩ ﻛﺎﺭ ﻋﻜﺎﺳﻲ ﺑﮕﻴﺮﺩ ﻣﺘﺺﺩ ﻱ ﻓﺎﻳﻠﻬﺎﻱ ‪ FSA‬ﺑﻮﺩ‪ .‬ﺍﻭﺍﻧﺰ ﺗﻨﻬﺎ ﻫﻤﻜﺎﺭﻱ ﺑﻮﺩ ﻛﻪ ﻋﻜﺎﺳﺎﻥ ﺍ‬
‫ﻛﺎﺭﺗﻲ ﺑﺮﺳﻮﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻣﻨﺒﻊ ﺗﺄﺛﻴﺮﺍﺕ ﻱﺍﺩ ﻣﻲ ﻛﻨﻨﺪ‪ .‬ﻋﻜﺴﻬﺎﻱ ﺍﻭ ﺩﺭ‬
‫ﻩ‬ ‫ﺁﻣﺮﻳﻜﺎ ﺍﺯ ﺍﻭ ﺩﺭ ﻛﻨﺎﺭ ﺁﺗﮋﻩ‪ ،‬ﻫﺎﻳﻦ ﻭ‬
‫‪1938‬‬ ‫ﻧﻮﻥ ﻣﺮﺩﺍﻥ ﻧﺎﻣﻲ ﺭﺍ ﺏﺳﺘﺎ ﻳﻢ" ﻭ ﻧﻤﺎﻳﺸﮕﺎﻫﻲ ﻛﻪ ﺍﺯ ﻛﺎﺭﻫﺎﻱ ﺍﻭ ﺩﺭ ﻣﻮﺯﻩ ﻣﺪﺭﻥ ﺩﺭ‬
‫ﻛﺘﺎﺏ "ﺑﮕﺬﺍﺭ ﺍﻙ‬
‫ﺑﺮﮔﺰﺍﺭ ﺷﺪ ﺩﺭ ﻓﺮﻫﻨﮓ ﺁﻣﺮﻳﻜﺎ ﺑﺴﻴﺎﺭ ﺗﺄﺛﻴﺮ ﮔﺬﺍﺭ ﺑﻮﺩﻧﺪ‪.‬‬
‫ﺏ ﮔﻤﺎﻧﻲ ﻭ ﻋﻴﺐ ﺟﻮﻳﻲ ﺍﺳﺖ ﻭ ﻓﺎﻗﺪ ﺍﻧﺴﺎﻥ ﮔﺮﺍﻳﻲ ﻛﺎﺭﻫﺎﻱ ﺩﻫﻪ ﺳﻲ‬
‫ﻛﺎﺭﻫﺎﻱ ﺍﻭﺍﻧﺰ ﺩﺭ ﺩﻫﻪ ﭼﻬﻞ ﺣﺎﻭﻱ ﺩ‬
‫ﺍﻭﺳﺖ‪ .‬ﺍﺯ ﻣﻴﺎﻥ ﺍﻳﻦ ﻛﺎﺭﻫﺎ ﻣﻲ ﺗﻮﺍﻥ ﺑﻪ ﺳﺮﻱ ﺷﻴﻜﺎﮔﻮ ﻭ ﻛﺎﺭ ﺳﺨﺖ ﺍﺷﺎﺭﻩ ﻧﻤﻮﺩ ﻛﻪ ﺩﺭ ﺁﻧﻬﺎ ﺍﺯ ﺩﻭﺭﺑﻴﻦ‬
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‫ﺭﻭﻟﻴﻔﻠﻜﺲ ﻗﻄﻊ ‪ 2.25‬ﺩﺭ ‪ 2.25‬ﺍﻳﻨﭻ ﺩﺳﺘﻲ ﺍﺳﺘﻔﺎﺩﻩ ﻧﻤﻮﺩ ﻭ ﺍﺯ ﭘﺎﻳﻴﻦ ﺍﺯ ﺳﻮژﻩ ﻫﺎ ﻋﻜﺎﺳﻲ ﻛﺮﺩ‪) .‬ﻋﻜﺲ ‪-33‬‬
‫‪ (2‬ﺩﺭ ﺍﻭﺍﺧﺮ ﺩﻫﻪ ﺳﻲ ﻛﻪ ﺍ ﻭ ﺩﺭ ﮔﺬﺍﺭ ﺍﺯ ﺍﻧﺴﺎﻥ ﮔﺮﺍﻳﻲ ﺩﻫﻪ ﺳﻲ ﺧﻮﺩ ﺑﻪ ﺑﺪ ﺑﻴﻨﻲ ﺩﻫﻪ ﭼﻬﻞ ﺧﻮﺩ ﺑﻮﺩ ‪ ،‬ﻳﻚ‬
‫ﺳﺮﻱ ﻋﻜﺲ ﺩﺭ ﻣﺘﺮﻭ ﮔﺮﻓﺖ ﻛﻪ ﺷﺎﻫﻜﺎﺭ ﺍﻭ ﺑﻮﺩ‪ .‬ﺳﺮﻱ ﻣﺘﺮﻭﻱ ﻧﻴﻮﻳﻮﺭﻙ ‪ .‬ﻣﺘﺮﻭ ﻧﻴﺰ ﺑﻪ ﻧﺤﻮﻱ ﺧﻴﺎﺑﺎﻥ ﺍﺳﺖ ‪،‬‬
‫ﻳﻚ ﻣﻌﺒﺮ ﻋﻤﻮﻣﻲ‪ .‬ﻭﻟﻲ ﺍﺣﺴﺎﺳﺎﺕ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺷﺪﻩ ﺩﺭ ﺍﻳﻦ ﻧﻮﻉ ﺧﻴﺎﺑﺎﻥ ﺑﺎ ﺟﺎﻫﺎﻱ ﺩﻳﮕﺮ ﺗﻔﺎﻭﺕ ﺩﺍﺭﺩ‪ .‬ﺩﺭ ﺍﻳﻨﺠﺎ‬
‫ﺧﻴﺎﺑﺎﻥ ﺩﺭ ﺣﺮﻛﺖ ﻭ ﻣﺮﺩﻡ ﺳﺎﻛﻦ ﺍﻧﺪ‪ .‬ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺩﺭ ﺗﺼﺎﻭﻳﺮ ﺷﻴﻜﺎﮔﻮ ﻭ ﺩ ﺗﺮﻭﻳﺖ ﻣﻲ ﺑﻴﻨﻴﻢ ‪ ،‬ﻣﺮﺩﻡ ﺩﺭ ﺣﺎﻝ‬
‫ﻑﻝ ﺍﻧﺪ ﻭ ﺗﻮﺟﻪ ﺁﻧﻬﺎ ﺭﻭ ﺑﻪ ﺩﺭﻭﻥ‬
‫ﺭﺍﻩ ﺭﻓﺘﻦ ﺩﺭ ﭘﻴﺎﺩﻩ ﺭﻭ ﻕﺍﻟﺒﺎً ﻋﺼﺒﻲ ﻭ ﺑﺮﺍﻧﮕﻴﺨﺘﻪ ﺍﻧﺪ؛ ﻭﻟﻲ ﺩﺭﻣﺘﺮﻭ ﺁﻧﻬﺎ ﻡ ﻥ ﻉ‬
‫ﺍﺳﺖ‪).‬ﻋﻜﺲ ‪(2-34‬‬
‫ﺍﻭﺍﻧﺰ ﺍﻳﻦ ﻋﻜﺲ ﻩ ﺍ ﺭﺍ ﺑﻴﻦ ﺳﺎﻟﻬﺎﻱ ‪ 1938‬ﻭ ‪ 1941‬ﮔﺮﻓﺖ‪ .‬ﺍﻭ ﺑﺮﺍﻱ ﮔﺮﻓﺘﻦ ﺍﻳﻦ ﻋﻜﺲ ﻫﺎ ﺩﻭﺭﺑﻴﻦ ﻛﺎﻧﺘﻜﺲ‬
‫ﺵ ﻣﺨﻔﻲ ﻣﻲ ﻛﺮﺩ ﻛﻪ ﻟﻦﺯ ﺁﻥ ﺑﻴﻦ ﺩﻛﻤﻪ ﻫﺎﻱ‬
‫‪ 35‬ﻣﻴﻠﻴﻤﺘﺮ ﻱ ﺧﻮﺩ ﻛﻪ ﺑﺮﮔﺮﺩ ﻥﺵ ﺁﻭﻳﺰﺍﻥ ﺑﻮﺩ ﺭﺍ ﺩﺭ ﺯﻳﺮ ﻙﺕ‬
‫ﺵ ﺑﻮﺩ ﻭ ﻛﺎﺑﻞ ﺩﻛﻼﻧﺸﻮﺭ ﺭﺍ ﺍﺯ ﺯﻳﺮ ﺁﺳﺘﻴﻨﺶ ﺭ ﺩﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻓﻀﺎﻱ ﺩﺍﺧﻞ ﻣﺘﺮﻭ ﺗﻨﮓ ﻭ ﻛﻢ ﻧﻮﺭ ﺑﻮﺩ ﻭ‬
‫ﺕ‬‫ﻙ‬
‫ﺭﻭﺷﻨﺎﻳﻲ ﺁﻥ ﺗﻮﺳﻂ ﻻﻣﭙﻬﺎﻱ ﺣﺒﺎﺑﻲ ﺃﺕﻣﻴﻦ ﻣﻲ ﺷﺪ‪ .‬ﺍﻭﺍﻧﺰ ﻣﺠﺒﻮﺭ ﺑﻮﺩ ﺗﺎ ﺍﺯ ﺳﺮﻋﺘﻬﺎﻱ ﻛﻢ ﺷﺎﺗﺮ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﺪ‪.‬‬
‫ﻛﺘﺎﺏ ﺑﮕﺬﺍﺭ ﺍﻛﻨﻮﻥ ﻣﺮﺩﺍﻥ ﻧﺎﻣﻲ ﺭﺍ ﺑﺴﺘﺎﻳﻴﻢ ﺑﻌﺪ ﺍﺯ ﺍﻧﺠﺎﻡ ﭘﺮﻭژﻩ ﻣﺘﺮﻭ ﭼﺎپ ﺷﺪ ﻭ ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ ﻣﻮﺭﺩ ﺍﺳﺘﻘﺒﺎﻝ‬
‫ﺯﻳﺎﺩﻱ ﻗﺮﺍﺭ ﻧﮕﺮﻓﺖ‪ .‬ﺑﻌﺪ ﺍﺯ ﮔﺬﺷﺖ ﺳﺎﻟﻬﺎ ﻭ ﺩﺭ ﺍﻭﻳﻞ ﺩﻫﻪ ‪ 60‬ﺍﻳﻦ ﻛﺘﺎﺏ ﺩﻭﺑﺎﺭﻩ ﭼﺎپ ﺷﺪ‪ .‬ﻋﻜﺴﻬﺎﻱ ﻣﺘﺮﻭ‬
‫ﻧﻴﺰ ﺭﺑﻊ ﻗﺮﻥ ﺑﻌﺪ ﺍﺯ ﮔﺮﻓﺘﻪ ﺷﺪﻥ ‪ ،‬ﺩﺭ ‪ 1966‬ﺩﺭ ﻛﺘﺎﺑﻲ ﺗﺤﺖ ﻋﻨﻮﺍﻥ "ﺑﺴﻴﺎﺭﻱ ﺻﺪ ﺍ ﺯﺩﻩ ﺷﺪﻩ ﺍ ﻧﺪ" ) ‪many‬‬
‫‪ (are called‬ﭼﺎپ ﺷﺪﻧﺪ‪ .‬ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺳﺎﺭﺍ ﮔﺮﻳﻨﻮگ ‪ 1‬ﺍﺷﺎﺭﻩ ﻛﺮﺩﻩ‪ ،‬ﺃ‬
‫ﺕﻛﻴﺪ ﺑﺮ ﻋﻜﺴﻬﺎﻱ ﺩﺳﺘﻪ ﺝﻡ ﻉﻱ ﺩﺭ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺍﻧﺘﺨﺎﺏ ﺍﻭﺍﻧﺰ ﺍﺯ ﺍﻳﻦ ﻋﻜﺴﻬﺎ ﻧﻪ ﺗﻨﻬﺎ ﺩﺭ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺍ ﻭﺍﻳﻞ ﺩﻫﻪ ‪ 60‬ﺗﻮﺳﻂ ﻓﺮﺍﻧﻚ‪ ،‬ﻭﻱﻥﻭﮔﺮﺍﻥﺩ ‪ ، 2‬ﻟﻲ ﻓﺮﻳﺪ‬
‫‪P‬‬ ‫‪P‬‬
‫ﻟﻦ ﺭ‪ 3‬ﻭ ﺩﻳﮕﺮﺍﻥ ﻣﻲ ﮔﻨﺠﺪ‪ ،‬ﺑﻠﻜﻪ ﺍﺯ ﺍﻧﺰﻭﺍ ﻭ ﮔﻤﻨﺎﻣﻲ ﻓﺮﺩ ﺩﺭ ﺟﻤﻌﻴﺖ ﻣﻲ ﮔﻮﻳﺪ‪.‬‬
‫ﺩ‬ ‫‪P‬‬ ‫‪P‬‬
‫پﺯﺍﻝ ﺧﻮﺩ ﺑﺮﺍﻱ ﻛﺘﺎﺏ ﭼﻬﺮﻩ ﻫﺎﻱ ﺷﻬﺮﻱ )‪" (Metropolitan Faces‬ﺍﻳﺪﻩ ﺁﻝ" ﺭﺍ ﺷﺮﺍﻳﻄﻲ‬
‫ﺭﻭ ﻭ‬
‫ﺍﻭﺍﻧﺰ ﺩﺭ پ‬
‫ﺑﺖ ﻏﻴﺮﺍﻧﺴﺎﻥﻱ ﺛﺎﺑﺖ‪ ...‬ﺑﺪﻭﻥ ﻫﺮ ﮔﻮﻧﻪ ﺍﻧﺘﺨﺎﺏ ﺍﻧﺴﺎﻧﻲ ﺑﺮﺍﻱ ﻟﺤﻈﻪ ﻧﻮﺭﺩﻫﻲ‬
‫ﻣﻲ ﺩﺍﻧﺪ ﻛﻪ ﺩﺭ ﺁﻥ "ﻳﻚ ﻣﺎﺷﻴﻦ ﺙ‬
‫ﻟﻦﺯ ﻋﻜﺲ ﺑﮕﻴﺮﺩ‪".‬‬
‫"ﻋﻜﺎﺳﻲ ﻭﺍﻻ " ﻫﻤﻴﺸﻪ ﺑﻨﻈﺮ ﻣﻲ ﺭﺳﺪ ﻛﻪ‬ ‫ﻟﻴﻨﻜﻮﻥ ﻛﻴﺮﺷﺘﺎﻳﻦ ﺩﺭ ﻛﺘﺎﺏ ﻋﻜﺲ ﻫﺎﻱ ﺁﻣﺮﻳﻜﺎﻳﻲ ﮔﻔﺘﻪ ﻛﻪ‬
‫ﻣﺨﻠﻮﻕ ﻳﻚ ﻣﺎﺷﻴﻦ ﺑﺪﻭﻥ ﻛﻤﻚ ﺍﺳﺖ ﻭ ﻋﻜﺴﻬﺎﻱ ﺍﻭﺍﻧﺰ ﺍﻳﻦ ﺭﻭﻳﻪ ﺭﺍ ﭘﻴﺶ ﻣﻲ ﮔﺮﻓﺘﻨﺪ‪.‬‬
‫‪ .Sarah Greenough .1‬ﻣﻮﺯﻩ ﺩﺍﺭ ﺍﺭﺷﺪ ﻭ ﺭﺋﻴﺲ ﺩﭘﺎﺭﺗﻤﺎﻥ ﻋﻜﺲ ﺩﺭ ﮔﺎﻟﺮﻱ ﻣﻠﻲ ﻫﻨﺮ‪ ،‬ﻭﺍﺷﻨﮕﺘﻮﻥ‬
‫‪ .Garry Winogrand .2‬ﻋﻜﺎﺱ ﺧﻴﺎﺑﺎﻧﻲ ﺁﻣﺮﻳﻜﺎﻳﻲ‪1928-1984 .‬‬
‫‪ .Lee Friedlander .3‬ﻫﻨﺮﻣﻨﺪ ﻭ ﻋﻜﺎﺱ ﺁﻣﺮﻳﻜﺎﻳﻲ‪ .‬ﻣﺘﻮﻟﺪ ‪1934‬‬
‫‪97‬‬
‫ﺑﺨﺶ ﭼﻬﺎﺭﻡ‪ :‬ﺭﺍﺑﺮﺕ ﻭ ﻓﺮﺍﻧﻚ ﻭ ﺁﻣﺮﻳﻜﺎ ﺍﺯ ﺯﻣﺎﻥ ﺟﻨﮓ‬
‫‪98‬‬
‫‪ .15‬ﺍﺷﺨﺎﺹ ﺟﺎﺑﺠﺎ ﺷﺪﻩ ﺍﺯ ﻭﻃﻦ ﺍﺻﻠﻲ‬
‫ﺝﺍﻥ ﮔﻮﺗﻤﻦ ‪ 1‬ﻛﻪ ﺑﺎ ﻅﻫﻮﺭ ﻧﺎﺯﻱ ﻫﺎ ﺍﺯ ﺁﻟﻤﺎﻥ ﮔﺮﻳﺨﺘﻪ ﺑﻮﺩ ﻭ ﺑﻪ ﺁﻣﺮﻳﻜﺎ ﺁﻣﺪﻩ ﺑﻮﺩ ‪ ،‬ﻛﺎﺭ ﺍﺻﻠﻲ ﺍﺵ ﺩﺭ ﺁﻟﻤﺎﻥ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﻳﻌﻨﻲ ﻧﻘﺎﺷﻲ ﺭﺍ ﺭﻫﺎ ﻛﺮﺩﻩ ﻭ ﺩﺭ ﺁﻣﺮﻳﻜﺎ ﺷﺮﻭﻉ ﺑﻪ ﻋﻜﺎﺳﻲ ﻧﻤﻮﺩ‪.‬‬

‫ﺍﻭ ﺷﺮﻭﻉ ﺑﻪ ﻋﻜﺎﺳﻲ ﺍﺯ ﮔﺮﺍﻓﻴﺘﻲ ﻫﺎ‪ ،‬ﻋﻼﺋﻢ ﻭ ﻧﻮﺷﺘﻪ ﻫﺎﻱ ﺑﺎ ﺯﺑﺎﻥ ﻋﺎﻣﻴﺎﻧﻪ ﺩﺭ ﺧﻴﺎﺑﺎﻥ‪ ،‬ﺁﮔﻬﻲ ﻫﺎﻱ ﺗﺒﻠﻴﻐﺎﺗﻲ‪ ،‬ﺟﻠﺪ‬
‫ﻣﺠﻼﺕ ﺩﺧﺘﺮﺍﻧﻪ ﻭ ﻟﻮﺍﺯﻡ ﻳﺪﻛﻲ ﺍﺗﻮﻣﺒﻴﻞ ﻧﻤﻮﺩ‪ .‬ﺍﻭ ﺍﻳﻦ ﻛﺸﻮﺭ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺳﺮﺩﺭﮔﻤﻲ ﻣﺤﺮﻙ ‪ ،‬ﻧﻪ ﻓﻘﻂ‬
‫ﺩﺭ ﺵﻉﺍﺭﻫﺎ‪ ،‬ﺍﺗﻮﻣﺒﻴﻞ ﻫﺎ‪ ،‬ﻣﺠﻼﺕ ﻭ ﻋﻼﺋﻢ‪ ،‬ﺑﻠﻜﻪ ﺩﺭ ﻣﺮﺩﻡ ﺩﻳﺪ‪.‬‬
‫ﺍﻳﻦ ﺩﻳﺪﻱ ﺑﻮﺩ ﻛﻪ ﺯﻧﺪﮔﻲ ﺩﺭ ﺳﺎﻧﻔﺮﺍﻧﺴﻴﺴﻜﻮ ﺑﺨﺎﻃﺮ ﺧﺼﻮﺻﻴﺖ ﭼﻨﺪ ﻧﮋﺍﺩﻱ ﺑﻮﺩﻧﺶ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺷﻬﺮ‬
‫ﺑﻨﺪﺭﻱ ﺁﻥ ﺭﺍ ﺗﻘﻮﻳﺖ ﻣﻲ ﻛﺮﺩ‪ .‬ﺍﻭ ﺍﺯ ﺁﺳﻴﺎﻳﻲ ﻫﺎﻱ ﺳﺎﻧﻔﺮﺍﻧﺴﻴﺴﻜﻮ ﻭ ﺳﺮﺧﭙﻮﺳﺘﺎﻥ ﺁﺭﻱﺯﻭﻧﺎ ﻋﻜﺲ ﮔﺮﻓﺖ‪ .‬ﺍﻳﻨﻬﺎ‬
‫ﺳﻮژﻩ ﻫﺎﻳﻲ ﺑﻮﺩﻧﺪ ﻛﻪ ﺑﺮﺍﻱ ﺍﻭ ﺁﻣﺮﻳﻜﺎ ﺭﺍ ﺁﻣﺮﻳﻜﺎ ﻣﻲ ﺳﺎﺧﺘﻨﺪ‪.‬‬
‫ﺱ‪ 2‬ﺑﻮﺩ‪ .‬ﻋﻜﺲ‬ ‫‪P‬‬ ‫‪P‬‬ ‫ﺷﺨﺺ ﺩﻳﮕﺮﻱ ﻛﻪ ﺑﺎ ﻇﻬﻮﺭ ﻧﺎﺯﻱ ﻫﺎ ﺑﻪ ﺁﻣﺮﻳﻜﺎ ﺁﻣﺪﻩ ﻭ ﺑﻪ ﻋﻜﺎﺳﻲ ﭘﺮﺩﺍﺧﺖ ﺟﻮﺭﺝ ﮔﺮﻭ‬
‫پﺵِﻧﻴﺴﺘﻲ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﺷﺨﺺ‬
‫ﻫﺎﻱ ﺍﻭ ﺑﺴﻴﺎﺭ ﺷﺒﻴﻪ ﮔﻮﺗﻤﻦ ﺑﻮﺩ ‪ .‬ﺍﻳﻦ ﻋﻜﺲ ﻫﺎ ﻛﻪ ﺩﺭ ﺯﻭﺍﻳﺎﻱ ﺍﻛﺲ ﺭِ‬
‫ﺁﻣﺮﻳﻜﺎﻳﻲ ﺭﺍ ﺑﻪ ﺻﻮﺭﺕ ﻳﻚ ﭼﻬﺮﻩ ﻧﺎﻭﺍﺿﺢ ﺩﺭ ﺝ ﻣﻌﻲﺕ ﻧﺸﺎﻥ ﻣﻲ ﺩﺍﺩﻧﺪ ‪ .‬ﺍﻳﻦ ﻋﻜﺴﻬﺎ ﺑﻴﺎﻧﮕﺮ ﺣﺲ ﺷﺪﻳﺪ‬
‫ﮔﻴﺠﻲ ﻭ ﺍﺿﻄﺮﺍﺑﻲ ﺍﻧﺪ ﻛﻪ ﺍﻭ ﺩﺭ ﻭﺭﻭﺩ ﺑﻪ ﺁﻣﺮﻳﻜﺎ ﺍﺣﺴﺎﺱ ﻣﻲ ﻛﺮﺩ‪.‬‬
‫ﭘﻨﺎﻫﻨﺪﻩ ﺩﻳﮕﺮﻱ ﻛﻪ ﺑﻪ ﺍﻣﺮﻳﻜﺎ ﺁﻣﺪﻩ ﻭ ﺑﻪ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻥ ﻱ ﻣﻲ ﭘﺮﺩﺍﺧﺖ ﻟﻴﺴ‪‬ﺖ ﻣ‪‬ﺪﻝ ‪ 3‬ﺑﻮﺩ‪ .‬ﺍﻭ ﺍﺯ ﻭﻳﻦ ﺑﻪ‬
‫‪P‬‬ ‫‪P‬‬
‫ﺁﻣﺮﻳﻜﺎ ﺁﻣﺪﻩ ﺑﻮﺩ ﻭ ﭘﻴﺶ ﺍﺯ ﭘﺮﺩﺍﺧﺘﻦ ﺑﻪ ﻋﻜﺎﺳﻲ‪ ،‬ﻧﻘﺎﺷﻲ ﺭﺍ ﺁﻣﻮﺧﺘﻪ ﺑﻮﺩ‪.‬‬

‫ﻋﻜﺲ ﻫﺎﻱ ﺍﻭ ﺑﺴﻴﺎﺭ ﺧﺸﻦ ﺍﻧﺪ ‪ .‬ﺩﺭ ﻳﻚ ﺳﺮﻱ ﻋﻜﺲ ‪ ،‬ﺍﻭ ﺩﻭﺭﺑﻴﻦ ﺭﺍ ﺩﺭ ﺳﻄﺢ ﭘﻴﺎﺩﻩ ﺭﻭ ﭘﺎﻳﻴﻦ ﺁﻭﺭﺩﻩ ﻭ ﺍﺯ‬
‫ﺩﺭﻫﻢ ﭘﻴﭽﻴﺪﮔﻲ ﭘﺎﻫﺎﻱ ﺩﺭ ﺣﺎﻝ ﺭﻓﺖ ﻭ ﺁﻣﺪ ﻋﻜﺲ ﻣﻲ ﮔﻴﺮﺩ‪ .‬ﺍﻳﻦ ﻋﻜﺲ ﻫﺎ ﻋﻤﺪﺗﺎً ﺍﻳﺠﺎﺩ ﻛﻨﻨﺪﻩ ﺣﺲ‬
‫ﺧﻔﮕﻲ ﺍﻧﺪ ‪ ،‬ﮔﻮﻳﺎ ﺗﻮﺳﻂ ﻛﺴﻲ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺍﻧﺪ ﻛﻪ ﺩﺭ ﻳﻚ ﻭﺣﺸﺖ ﻫﻤﮕﺎﻧﻲ ﺑﺮﺭﻭﻱ ﺯﻣﻴﻦ ﺍﻓﺘﺎﺩﻩ ﻭ ﺩﺭ ﺯﻳﺮ‬
‫ﺩﺳﺖ ﻭ ﭘﺎ ﻣﺎﻧﺪﻩ ﺍﺳﺖ‪.‬‬
‫ﺑﺮﺧﻲ ﺩﻳﮕﺮ ﺍﺯ ﻋﻜﺲ ﻫﺎ ﻱ ﺩﻫﻪ ‪ 40‬ﺍﻭ ﻧﻴﺰ ﺑﺎ ﮔﺮﻓﺘﻦ ﺯﺍﻭﻳﻪ ﺩﻭﺭﺑﻴﻦ ﺭﻭ ﺑﻪ ﺑﺎﻻ ﺩﺭ ﻓﺎﺻﻠﻪ ﻧﺰﺩﻳﻚ ﮔﺮﻓﺘﻪ ﺷﺪﻩ‬
‫ﺍﻧﺪ ﻭ ﻫﻤﺎﻥ ﺣﺲ ﺭﺍ ﻣﻲ ﺭﺳﺎﻧﻨﺪ‪ .‬ﻋﻜﺲ ﻫﺎﻱ ﺍﻭ ﺑﺎ ﺑﻲ ﺍﺣﺘﺮﺍﻣﻲ ﺑﻪ ﺩﻧﻴﺎﻳﻲ ﻛﻪ ﺍﻭ ﻣﻲ ﺩﻳﺪ ‪ ،‬ﺑﻪ ﻫﻨﺮ ﻧﻴﺰ ﺑﻲ ﺍﻋﺘﻨﺎ‬
‫ﺑﻮﺩﻧﺪ‪.‬‬
‫‪ .John Gutmann .1‬ﻋﻜﺎﺱ ﺁﻣﺮﻳﻜﺎﻳﻲ ﻣﺘﻮﻟﺪ ﺁﻟﻤﺎﻥ‪1905-1998 .‬‬

‫‪ .George Grosz .2‬ﻫﻨﺮﻣﻨﺪ ﺁﻟﻤﺎﻧﻲ‪1893-1959 .‬‬
‫‪ .Lisette Model .3‬ﻋﻜﺎﺱ ﺁﻣﺮﻳﻜﺎﻳﻲ‪ .‬ﺯﺍﺩﻩ ﺍﺗﺮﻳﺶ‪1901-1983 .‬‬
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‫‪ .16‬ﺷﻬﺮﻭﻧﺪﺍﻥ ﺁﻣﺮﻳﻜﺎﻳﻲ ﺷﺪﻩ‬
‫ﺟﺰﻭ ﻧﻮﻉ ﺩﻳﮕﺮﻱ ﺍﺯ‬ ‫ﻭﻱگﻱ ﺍﺯ ﻣﺸﻬﻮﺭﺗﺮﻳﻦ ﻋﻜﺎﺳﺎﻥ ﺧﻴﺎﺑﺎﻧﻲ ﺩﻫﻪ ﺳﻲ ﻭ ﭼﻬﻞ ﺁﻣﺮﻳﻜﺎ ﺑﻮﺩ‪ .‬ﺍﻭ ﺩﺭ ﺍﺑﺘﺪﺍ‬
‫ﻋﻜﺎﺳﺎﻥ ﺧﻴﺎﺑﺎﻧﻲ ﺑﻮﺩ‪ .‬ﻧﻮﻋﻲ ﻛﻪ ﺩﺭ ﭘﻴﺎﺩﻩ ﺭﻭ ﻭ ﺩﺭ ﭘﺎﺭﻙ ﺍﺯ ﺧﺎﻧﻮﺍﺩﻩ ﻫﺎ ﻭ ﺗﻮﺭﻳﺴﺖ ﻫﺎ ﻋﻜﺲ ﻣﻲ ﮔﻴﺮ ﻥﺩ‪ .‬ﺩﺭ‬
‫ﺳﺎﻝ ‪ 1935‬ﺍﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﺧﺒﺮﻧﮕﺎﺭ ﺭﻭﺯﻧﺎﻣﻪ ﺑﻪ ﻛﺎﺭ ﻋﻜﺎﺳﻲ ﭘﺮﺩﺍﺧﺖ ﻭ ﻣﻮﻓﻖ ﻫﻢ ﺷﺪ‪.‬‬
‫ﻱ ﺷﺮﻭﻉ ﺑﻪ ﻛﺎﺭ ﻧﻤﻮﺩ‪ .‬ﻧﺤﻮﻩ ﻛﺎﺭ ﺍﻭ ﺑﺴﻴﺎﺭ‬
‫ﻻﺵ ﺣﺒﺎﺏ‬
‫ﻳﺪ ﮔﺮﺍﻓﻴﻚ ﻭ ﺑﺎ ﻑ‬
‫ﺍﻭ ﺑﺎ ﺩﻭﺭﺑﻴﻦ ﺍﺳﺘﺎﻧﺪﺍﺭﺩ ﺧﺒﺮﻧﮕﺎﺭﻱ‪ ،‬ﺍﺱپ‬
‫ﺷﺒﻴﻪ ﺭﻳﺲ ﺑﻮﺩ‪ ،‬ﻳﻌﻨﻲ ﺩﺭ ﺗﺎﺭﻳﻜﻲ ﻋﻜﺲ ﻣﻲ ﮔﺮﻓﺖ ﻭ ﺑﻪ ﻧﺪﺭﺕ ﻣﻲ ﺗﻮﺍﻧﺴﺖ ﻧﺘﻴﺠﻪ ﻋﻜﺲ ﺭﺍ ﭘﻴﺶ ﺑﻴﻨﻲ ﻛﻨﺪ‪.‬‬
‫ﻋﻜﺲ ﻫﺎﻱ ﻭﻳﮕﻲ ﺗﻤﺎﻣﺎً ﺧﺒﺮ ﻩ ﺍﻱ ﻣﻬﻢ ﻧﺒﻮﺩﻧﺪ‪ .‬ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﻋﻜﺴﻬﺎﻱ ﺍﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﺩﺍﺳﺘﺎﻥ ﻫﺎﻳﻲ ﺍﺯ ﺍﻧﺴﺎﻥ ﻫﺎ‬
‫ﻻﺵ ﻣﺎﺩﻭﻥ ﻗﺮﻣﺰ ﺩﺭ ﺷﺐ ﺍﺯ ﻣﺮﺩﻡ ﻋﻜﺲ ﻣﻲ‬
‫ﻑ‬ ‫ﺑﻮﺩﻧﺪ‪ .‬ﺍﻭ ﻫﻢ ﺑﻪ ﺩﻧﺒﺎﻝ ﺻﻤﻴﻤﻴﺖ ﺑﻮﺩ ﻭ ﻫﻢ ﻓﺎﺟﻌﻪ‪ .‬ﺍﻭ ﺑﺎ‬
‫ﮔﺮﻓﺖ‪ .‬ﺍﻭ ﺩﺭ ﺗﺎﺭﻳﻜﻲ ﻫﻤﺎﻧﻨﺪ ﺭﻳﺲ ﻛﻪ ﺩﺭ ﺯﻳﺮﺯﻣﻴﻦ ﻫﺎ ﻋﻜﺲ ﻣﻲ ﮔﺮﻓﺖ‪ ،‬ﻋﻜﺎﺳﻲ ﻣﻲ ﻧﻤﻮﺩ‪ .‬ﺍﻭ ﺑﺎ ﺷﻨﻴﺪﻥ‬
‫ﺻﺪﺍ‪ ،‬ﻋﻜﺲ ﻣﻲ ﮔﺮﻓﺖ‪ .‬ﺍﻭ ﻧﻴﺰ ﺍﺯ ﺍﺗﺎﻗﻚ ﻫﺎﻱ ﻛﻮﭼﻚ ﺩﺭ ﺷﺐ ﻋﻜﺲ ﻣﻲ ﮔﺮﻓﺖ‪ .‬ﺍﻭ ﺍﺯ ﭘﻠﻪ ﻫﺎﻱ ﺍﺿﻄﺮﺍﺭﻱ‬
‫ﺳﺎﺧﺘﻤﺎﻥ ﻫﺎ ﺑﻪ ﺑﺎﻻ ﻣﻲ ﺭﻓﺖ ﻭ ﺭﻭ ﺑﻪ ﭘﺎﻳﻴﻦ ﺍﺯ ﻣﺮﺩﻡ ﻋﻜﺲ ﻣﻲ ﮔﺮﻓﺖ‪.‬‬
‫‪ ،‬ﻛﻪ ﺑﺎ‬ ‫ﻗﺪﺭﺕ ﻋﻜﺎﺳﻲ ﻭﻳﮕﻲ ﺩﺭ ﻗﺎﺑﻠﻴﺖ ﺍﻭ ﺩﺭ ﺑﺎﺯﺗﺎﺏ ﺩﻳﺪ ﻭ ﺍﺣﺴﺎﺳﺎﺕ ﻣﺨﺎﻃﺒﺎﻧﺶ ﺍﺳﺖ‪ .‬ﻣﺨﺎﻃﺒﺎﻧﻲ ﺗﻨﻬﺎ‬
‫ﺧﻮﺍﻧﺪﻥ ﺭﻭﺯﻧﺎﻣﻪ ﻫﺎ ﻭ ﺩﻳﺪﻥ ﻋﻜﺲ ﻫﺎﻱ ﻣﺠﻼﺕ ﺗﻨﻬﺎﻳﻲ ﺭﺍ ﻓﺮﺍﻣﻮﺵ ﻣﻲ ﻛﻨﻨﺪ‪ .‬ﺍﺯ ﻳﻚ ﻟﺤﺎﻅ ‪ ،‬ﻋﻜﺎﺳﻲ ﻭﻳﮕﻲ‬
‫ﺍﺯ ﻣﺮﺩﻡ ﻭ ﺑﺮﺍﻱ ﻣﺮﺩﻡ ﺍﺳﺖ ﭼﻮﻥ ﺳﻮژﻩ ﻩ ﺍﻱ ﺍﻭ ﺑﺎ ﻣﺨﺎﻃﺒﺎﻧﺶ ﻳﻜﺴﺎﻥ ﺑﻮﺩﻧﺪ‪.‬‬
‫ﻋﻜﺲ ﻫﺎﻳﻲ ﻛﻪ ﺍﻭ ﺍﺯ ﻃﺒﻘﻪ ﺑﺎﻻﻱ ﺟﺎﻣﻌﻪ ﻣﻲ ﮔﺮﻓﺖ ﻧﻴﺰ ﺑﻪ ﻫﻤﺎﻥ ﺍﻧﺪﺍﺯﻩ ﺩﺍﺭﺍﻱ ﻧﻮﺭ ﺑﺪﻱ ﺑﻮﺩ ﻧﺪ ﻛﻪ ﻋﻜﺲ ﻫﺎﻱ‬
‫ﻻﺵ ﻣﺎﺩﻭﻥ ﻗﺮﻣﺰ ﻣﻲ ﮔﺮﻓﺖ ﭼﻬﺮﻩ ﺭﺍ ﻧﺎ‬
‫ﺍﻭ ﺍﺯ ﻃﺒﻘﺎﺕ ﺳﻄﺢ ﭘﺎﻳﻴﻦ ﺟﺎﻣﻌﻪ ﺑﻮﺩ ﻧﺪ‪ .‬ﺧﺼﻮﺻﺎً ﻋﻜﺲ ﻫﺎﻳﻲ ﻛﻪ ﺑﺎ ﻑ‬
‫ﺯﻳﺒﺎ ﻭ ﻩﺏﻣﺎﻧﻨﺪ ﺧﻮﻥ ﺁﺷﺎﻡ ﻫﺎ ﻣﻲ ﺳﺎﺧﺖ‪.‬‬
‫ﺷﺎﻳﺪ ﻣﺸﺨﺼﻪ ﺗﺮﻳﻦ ﺗﺼﺎﻭﻳﺮ ﺍﻭ ﻋﻜﺲ ﻫﺎﻱ ﻭﺍﻛﻨﺸﻲ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺁﻥ ﮔﻮﻳﺎ ﻫﻤﻪ ﺩﺭ ﺟﻬﺎﺕ ﻣﺘﻔﺎﻭﺕ ﻧﮕﺎﻩ ﻣﻲ‬
‫ﻛﻨﻨﺪ‪ .‬ﺍﻭ ﭼﻨﻴﻦ ﺑﻲ ﻧﻈﻤﻲ ﺭﺍ ﺩﺭ ﺗﻤﺎﻡ ﻻﻳﻪ ﻫﺎﻱ ﺍﺟﺘﻤﺎﻉ ﻣﺸﺎﻫﺪﻩ ﻣﻲ ﻛﺮﺩ‪ .‬ﻳﻚ ﻱ ﺍﺯ ﻋﻜﺲ ﻫﺎﻳﻲ ﻛﻪ ﭼﻨﻴﻦ‬
‫‪ .‬ﻳﻚ ﭼﻬﺮﻩ ﻣﻀﻄﺮﺏ ﻛﻪ ﻧﺎﻭﺍﺿﺢ ﻭ‬ ‫ﺧﺎﺻﻴﺘﻲ ﺩﺍﺭﺩ ﻛﻪ ﻳﻚ ﻧﺰﺍﻉ ﻭﺍﻗﻌﻲ ﺑﻴﻦ ﮔﺮﻭﻫﻲ ﺍﺯ ﻧﻮﺟﻮﺍﻧﺎﻥ ﺍﺳﺖ‬
‫ﻧﺰﺩﻳﻚ ﺑﻪ ﺩﻭﺭﺑﻴﻦ ﺍﺳﺖ‪ ،‬ﺑﻨﻈﺮ ﻣﻲ ﺭﺳﺪ ﻛﻪ ﻧﻤﺎﻳﺎﻧﮕﺮ ﻛﻞ ﺍﺷﺨﺎﺹ ﺩﻳﮕﺮ ﺩﺭ ﻋﻜﺲ ﺍﺳﺖ‪).‬ﻋﻜﺲ ‪(2-35‬‬
‫ﭘﺲ ﺍﺯ ﻣﺪﺗﻲ ﺑﺮﺍﻱ ﻛﺎﺭ ﺍﻭ ﻣﺸﻜﻞ ﺍﻳﺠﺎﺩ ﺷﺪ‪ .‬ﺭﻭﺯﻱ ﻳﻚ ﻭﻳﺮﺍﺳﺘﺎﺭ ﺑﻪ ﺍﻭ ﮔﻔﺖ ‪" :‬ﺷﺶ ﺳﺎﻝ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻣﺎ‬
‫ﻫﻤﻴﻦ ﻋﻜﺲ ﻫﺎ ﺭﺍ ﺗﺤﻮﻳﻞ ﻣﻲ ﺩﻫﻲ‪ .‬ﻫﻤﺎﻥ ﺕ ﺑﻪ ﻛﺎﺭ ﻣﺮﺩﻩ ﻭ ﻫﻤﺎﻥ ﻛﻼﻩ ﺑﺮﺭﻭﻱ ﺯﻣﻴﻦ ﺍﻓﺘﺎﺩﻩ ‪ " ...‬ﺳﺮﺍﻧﺠﺎﻡ‬
‫ﻋﻜﺴﻲ ﻛﻪ ﺍﻭ ﺩﺭ "ﻛﺎﻥﻱ ﺁﻳﻠﻨﺪ" ﮔﺮﻓﺖ‪ ،‬ﺩﺭ ﻳﻚ ﻓﺮﻳﻢ ﻧﺸﺎﻧﮕﺮ ﺭﻭﻧﺪ ﺣﺮﻛﺖ ﺍﻭ ﺍﺯ ﺍﺟﺴﺎﺩ ﺑﻪ ﺳﺘﺎﺭﻩ ﻫﺎﻱ‬
‫ﺟﻮﺍﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﺳﻮژﻩ ﻫﺎﻳﺶ ﺍﺳﺖ‪ .‬ﺟﻤﻌﻴﺖ ﺩﻭﺭ ﻳﻚ ﻡﺭﺩ ﻏﺮﻕ ﺷﺪﻩ ﺟﻤﻊ ﺷﺪﻩ ﺍﻧﺪ ‪ .‬ﻫﻤﻪ ﺑﺎ ﻧﮕﺮﺍﻧﻲ ﺑﻪ ﺍﻭ ﻧﮕﺎﻩ‬
‫ﻣﻲ ﻛﻨﻨﺪ ﺑﺠﺰ ﺩﻭﺳﺖ ﺩﺧﺘﺮﺵ ﻛﻪ ﺑﺎ ﺩﻳﺪﻥ ﻋﻜﺎﺱ ﻭ ﺩﻭﺭﺑﻴﻦ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﺑﺮﺍﻱ ﺩﻭﺭﺑﻴﻦ ژﺳﺖ ﮔﺮﻓﺘﻪ ﻭ ﻟﺒﺨﻨﺪ‬
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‫ﻋﻜﺲ ‪ 2-35‬ﻭﻳﮕﻲ)ﺁﺭﺗﻮﺭ ﻓ‪‬ﻠﻴﮓ(‪ ،‬ﻣﺪﺭﺳﻪ ﺗﻌﻄﻴﻞ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﻧﻴﻮﻳﻮﺭﻙ‪ ،‬ﺑﺪﻭﻥ ﺗﺎﺭﻳﺦ‬
‫ﻣﻲ ﺯﻧﺪ‪ .‬ﺩﺭ ﺩﻧﻴﺎﻳﻲ ﻛﻪ ﺷﻬﺮﺕ ﺁﻧﻘﺪﺭ ﻡﻫﻢ ﺍﺳﺖ ﻛﻪ ﺡﺗﻲ ﺭﻓﺘﺎﺭ ﺩﺭﺳﺖ ﺭﺍ ﺗﺤﺖ ﺗﺄﺛﻴﺮ ﻗﺮﺍﺭ ﻣﻲ ﺩﻫﺪ ‪ ،‬ﻭﻳﮕﻲ‬
‫ﻓﻬﻤﻴﺪ ﻛﻪ ﺍﺯ ﺍﻳﻦ ﭘﺲ ﺑﻪ ﻛﺠﺎ ﺑﺎﻳﺪ ﺑﺮﻭﺩ‪ .‬ﺍﻭ ﺑﻪ ﺳﻮﻱ ﻫﺎﻟﻴﻮﻭﺩ ﺭﻓﺖ‪.‬‬
‫ﺍﺯ ﺑﻴﻦ ﺗﻤﺎﻣﻲ ﻋﻜﺎﺳﺎﻧﻲ ﻛﻪ ﺩﺭ ﻧﻴﻮﻳﻮﺭﻙ ﻛﺎﺭ ﻛﺮﺩﻩ ﺍﻧﺪ ‪ ،‬ﺍﺯ ﺭﻳﺲ ﺗﺎ ﻭﻳﮕﻲ ﻭ ﻣﺪﻝ‪ ،‬ﺍﺯ ﺭﺍﺑﺮﺕ ﻓﺮﺍﻧﻚ ﻭ ﻭﻳﻠﻴﺎﻡ‬
‫ﻛﻠﻴﻦ ﺗﺎ ﮔﺮﻱ ﻭﻳﻨﻮﮔﺮﺍﻥﺩ‪ ،‬ﺗﻨﻬﺎ ﻛﺴﻲ ﻛﻪ ﻋﻜﺴﻬﺎﻳﺶ ﺑﻨﻈﺮ ﺑﻴﮕﺎﻧﮕﻲ ﺭﺍ ﻧﻤﻲ ﺭﺳﺎﻧﻨﺪ ‪ ،‬ﺭﻭﻱ ﺩﻛﺎﺭﺍﻭ ﺍ‪ 1‬ﺍﺳﺖ ‪ .‬ﺍﻭ‬
‫‪P‬‬ ‫‪P‬‬
‫ﺁﻧﻘﺪﺭ ﺑﺎ ﺩﻳﮕﺮ ﻋﻜﺎﺳﺎﻥ ﻣﺘﻔﺎﻭﺕ ﺍﺳﺖ ﻛﻪ ﻣﻘﺎﻳﺴﻪ ﺍﻭ ﺑﺎ ﻳﻚ ﭘﺎﺭﻳﺴﻲ ﻣﻨﺎﺳﺐ ﺗﺮ ﺍﺳﺖ‪ .‬ﺍﻭ ﻳﻚ ﺩﻭﺍﻧﻮﻱ‬
‫ﺁﻣﺮﻳﻜﺎﻳﻲ ﺍﺳﺖ‪ .‬ﺍﻭ ﻧﻴﺰ ﺑﻪ ﻣﺎﻧﻨﺪ ﺩﺍﻧﻮ ﺩﺭ ﺳﻮژﻩ ﻫﺎﻳﺶ ﺟﺬﺍﺑﻴﺖ ‪ ،‬ﺯﻳﺒﺎﻳﻲ ﻭ ﺍﻧﺴﺎﻧﻴﺖ ﺭﺍ ﻣﻲ ﺑﻴﻨﺪ‪.‬‬
‫‪ .Roy DeCarava .1‬ﻫﻨﺮﻣﻨﺪ ﺁﻣﺮﻳﻜﺎﻳﻲ‪1919-2009 .‬‬
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‫‪P‬‬ ‫‪P‬‬ ‫‪ .17‬ﻭﻳﻠﻴﺎﻡ ﻛﻠﻴﻦ‬
‫ﻭﻳﻠﻴﺎﻡ ﻛﻠﻴﻦ ﻛﻪ ﺩﺭ ﻗﺴﻤﺖ ﻏﺮﺑﻲ ﻡﻧﻬﺘﻦ ﺑﺰﺭگ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺍﺣﺴﺎﺱ ﻣﻲ ﻛﺮﺩ ﻛﻪ ﺁﻣﺮﻳﻜﺎ ﺟﺎ ﻱ ﻣﻨﺎﺳﺒﻲ ﺑﺮﺍﻱ ﺍﻭ‬
‫ﻧﻴﺴﺖ‪ .‬ﺍﺯ ﺍﻳﻦ ﺭﻭ ﻭﻗﺘﻲ ﺩﺭ ‪ 1948‬ﺑﺮ ﻃﺒﻖ ﺟﻲ ﺁ ﻱ ﺑﻴﻞ ‪ 2‬ﺑﺮﺍﻱ ﺍﻭ ﻳﻚ ﻭﻳﺰﺍﻱ ﺧﺮﻭﺝ ﺻﺎﺩﺭ ﺷﺪ‪ ،‬ﺍﻭ ﺑﻼﻓﺎﺻﻠﻪ‬ ‫‪P‬‬ ‫‪P‬‬
‫ﺭﻧﺎﻧﺪ ﮔﺎﺭ‬
‫ﺁﻣﺮﻳﻜﺎ ﺭﺍ ﺗﺮﻙ ﻛﺮﺩ ﺗﺎ ﺑﻪ ﻓﺮﺍﻧﺴﻪ ﺑﺮﻭﺩ ﻭ ﻳﻚ ﻧﻘﺎﺵ ﺷﻮﺩ‪ .‬ﺍﻭ ﺩﺭ ﻓﺮﺍﻧﺴﻪ ﺯﻳﺮ ﻧﻈﺮ ﺁﻧﺪﺭﻩ ﻝ ﻩ ﻭﺕ ﻭ ﻑ‬
‫ﻧﻘﺎﺷﻲ ﺁﻣﻮﺧﺖ‪.‬‬
‫ﻳﻚ ﺍﺏﺭ ﺯﻣﺎﻧﻲ ﻛﻪ ﺍﻭ ﺩﺭ ﺡﺍﻝ ﻋﻜﺎﺳﻲ ﺍﺯ ﻧﻘﺎﺷﻲ ﺩﻳﻮﺍﺭﻱ ﺧﻮﺩ ﺑﺮﻭﻱ ﻳﻚ ﭘﺎﻧﻞ ﻣﺘﺤﺮﻙ ‪ ،‬ﺑﻪ ﻣﻨﻈﻮﺭ ﻣﺴﺘﻨﺪ‬
‫ﺏ ﻭﺟﻮﺩ ﺁﻭﺭﺩ‪ .‬ﻛﻠﻴﻦ ﺍﺯ ﺍﻳﻦ ﺍﺛﺮ‬
‫ﺳﺎﺯﻱ ﻛﺎﺭﻫﺎﻳﺶ ﺑﻮﺩ ‪ ،‬ﺍﻳﻦ ﭘﺎﻥﻝ ﭼﺮﺧﻴﺪ ﻭ ﻳﻚ ﻋﻜﺲ ﺩﺍﺭﺍﻱ ﺗﺎﺭﻱ ﺣﺮﻛﺘﻲ ﻩ‬
‫ﺧﻮﺷﺶ ﺁﻣﺪ ﻭ ﺳﻌﻲ ﻛﺮﺩ ﺗﺎ ﺍﻳﻦ ﺍﺛﺮﺭﺍ ﺩ ﻭﺑﺎﺭﻩ ﺩﺭ ﺗﺎﺭﻳﻜﺨﺎﻧﻪ ﺍﻳﺠﺎﺩ ﻛﻨﺪ‪ .‬ﺳﭙﺲ ﻋﻜﺴﻬﺎﻱ ﺍﻳﺠﺎﺩ ﺷﺪﻩ ﺭﺍ‬
‫ﺑﺰﺭگ ﻛﺮﺩ ﺗﺎ ﺩﻭﺑﺎﺭﻩ ﺑﺘﻮﺍﻧﺪ ﺁﻧﻬﺎ ﺭﺍ ﺑﺮﺭﻭﻱ ﺩﻳﻮﺍﺭ ﻧﻘﺎﺷﻲ ﻛﻨﺪ‪ .‬ﺳﭙﺲ ﺑﺮﺍﻱ ﺑﺮﺭﺳﻲ ﺍﺛﺮﺍﺕ ﺍﻳﺠﺎﺩ ﺷﺪﻩ ﺍﺯ ﻳﻚ‬
‫ﺵ ﺑﺮﺩ ﻩ ﺑﻮﺩ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩ‪.‬‬
‫ﻭﻛﺮ ﺩﺭ ﺍﺭﺕ‬
‫ﺭﻭﻟﻴﻒﻛﺲ ﻛﻪ ﺩﺭ ﻳﻚ ﺑﺎﺯﻱ پ‬
‫ﻝ‬ ‫ﺩﻭﺭﺑﻴﻦ‬
‫ﺍﻭ ﻛﻪ ﺩﺭ ﺍﺭﺗﺶ ﺑﻮﻛﺲ ﺑﺎﺯﻱ ﻣﻲ ﻛﺮﺩ ‪ ،‬ﺟﻨﮕﻨﺪﻩ ﺧﻮﺑﻲ ﺑﻮﺩ ﻭ ﺍﺯ ﻧﻮﻉ ﻛﺴﺎﻧﻲ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﻗﻮﺍﻧﻴﻦ ﺍﻃﺎﻋﺖ ﻧﻤﻲ‬
‫ﻛﺮﺩﻧﺪ‪ .‬ﺍﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﻋﻜﺎﺱ ﻧﻴﺰ ﭼﻨﻴﻦ ﺍﺳﺖ‪ .‬ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺑﻪ ﻡﺯﺍﻕ ﺍﻭ ﺧﻮﺵ ﺁﻣﺪ ﭼﻮﻥ ﺑﻪ ﻣﺎﻧﻨﺪ ﻳﻚ ﻧﺰﺍﻉ‬
‫ﺧﻴﺎﺑﺎﻧﻲ ﺍﺳﺖ‪ .‬ﺍﻭ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﻧﻴﻮﻳﻮﺭﻙ ﺑﺎﺯﮔﺸﺖ ﺗﺎ ﺑﺮﺍﻱ ﻳﻚ ﻛﺘﺎﺏ ﻋﻜﺲ‪ ،‬ﺑﻪ ﻧﺎﻡ "ﻧﻴﻮﻳﻮﺭﻙ" ﻋﻜﺎﺳﻲ ﻛﻨﺪ‪.‬‬
‫ﻛﻠﻴﻦ ﻗﻮﺍﻧﻴﻦ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺭﺍ ﻧﻴﺰ ﺷﻜﺴﺖ ﻭ ﺁﻧﻬﺎ ﺭﺍ ﺑﺮﻋﻜﺲ ﻧﻤﻮﺩ‪ .‬ﺩﺭ ﺁﻧﺠﺎ ﻛﻪ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺍﺯ ﻟﻨﺰ ﻧﺮﻣﺎﻝ‬
‫ﺍﻱ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻲ ﻛﺮﺩ ‪ ،‬ﻭ ﻣﻬﻤﺘﺮ ﺍﻳﻨﻜﻪ ﺑﺠﺎﻱ ﺩﻳﺪﻩ ﻥﺷﺪﻥ ﻭ ﻧﺎﻣﺮﺋﻲ‬
‫‪ 50‬ﻣﻴﻠﻴﻤﺘﺮﻱ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻲ ﻛﺮﺩ ﺍﻭ ﺍﺯ ﻟﻨﺰ ﻭ ﺩ‬
‫ﺑﻮﺩﻥ ﺑﺎ ﺩﻭﺭﺑﻴﻦ‪ ،‬ﺍﻭ ﺍﺯ ﺁﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﻋﺎﻣﻞ ﺗﺤﺮﻳﻚ ﻛﻨﻨﺪﻩ ﺑﺮﺍﻓﺮﻭﺯﻧﺪﻩ ﺍﺳﺘﻔﺎﺩﻩ ﻧﻤﻮﺩ‪.‬‬
‫ﺍﻭ ﺩﺭ ﻋﻜﺴﻬﺎﻳﺶ ﺍﺯ ﺗﺎﺭﻱ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻲ ﻛﻨﺪ‪ .‬ﺧﻮﺩﺵ ﻣﻲ ﮔﻮﻳﺪ "ﺍﮔﺮ ﺑﻪ ﺩﻗﺖ ﺑﻪ ﺩﻧﻴﺎ ﻧﮕﺎﻩ ﻛﻨﻴﺪ ‪ ،‬ﺗﺎﺭﻱ ﺭﺍ ﻣﻲ‬
‫ﺑﻴﻨﻴﺪ‪ .‬ﺩﺳﺖ ﺧﻮﺩ ﺭﺍ ﺗﻜﺎﻥ ﺩﻫﻴﺪ؛ ﺗﺎﺭﻱ ﺟﺰﺋﻲ ﺍﺯ ﺯﻧﺪﮔﻲ ﺍﺳﺖ‪ ".‬ﺍﻭﺍﺳﺘﺎﻧﺪﺍﺭﺩﻫﺎﻱ ﭼﺎپ ﺩﻗﻴﻖ ﻭ ﺍﺳﺘﺎﻧﺪﺍﺭﺩﻫﺎﻱ‬
‫ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺭﺍ ﺭﻋﺎﻳﺖ ﻧﻜﺮﺩ‪).‬ﻋﻜﺲ ‪(2-36‬‬
‫ﻧﺰﺩﻳﻜﻲ ﺍﻱ ﻛﻪ ﺍﻭ ﺑﻪ ﺳﻮژﻩ ﻫﺎﻳﺶ ﺣﺲ ﻣﻲ ﻛﻨﺪ ‪ ،‬ﻋﻠﻴﺮﻏﻢ ﺁﻣﺎﺩﻩ ﺑﻮﺩﻥ ﺍﻭ ﺑﺮﺍﻱ ﻗﺮﺑﺎﻧﻲ ﺳﺎﺯﻱ ﺁﻧﻬﺎ‪ ،‬ﻫﻨﮕﺎﻣﻲ‬
‫ﻣﺸﺨﺺ ﻣﻲ ﺷﻮﺩ ﻛﻪ ﺍﻭ ﺍﺯ ﻋﻜﺎﺳﻲ ﻓﻮﺭﻱ )ﺍﺱﻧﭗ ﺷﺎﺕ( ﺳﺨﻦ ﻣﻲ ﮔﻮﻳﺪ‪ .‬ﺩﺭ ﺁﻥ‪ ،‬ﺍﺷﺨﺎﺻﻲ ﻛﻪ ﺍﺯ ﺁﻥ ﻫﺎ‬
‫ﺵ ﻧﺪ‪ .‬ﺍﻭ ﺍﻳﻦ ﻧﺘﺎﻳﺞ ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺭﺩ ﭼﻮﻥ ﺗﻨﻬﺎ ﻋﻜﺲ ﻫﺴﺘﻨﺪ‪ ،‬ﺑﺪﻭﻥ ﻗﻮﺍﻧﻴﻦ‬
‫ﻋﻜﺎﺳﻲ ﻣﻲ ﺷﻮﺩ‪ ،‬ﺧﻮﺩ ﻋﻜﺎﺱ ﻣﻲ ﻭ‬
‫ﻭ ﺗﻌﺼﺐ ‪ .‬ﺍﻭ ﮔﻔﺖ‪" :‬ﻣﻦ ﻫﻤﻴﺸﻪ ﻧﻴﻤﻪ ﺁﻣﺎﺗﻮﺭ ﻋﻜﺎﺳﻲ ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻪ ﺍﻡ‪ .‬ﻋﻜﺲ ﻫﺎﻱ ﺍﺗﻮﻣﺎﺗﻴﻚ‪ ،‬ﻋﻜﺲ‬
‫ﻫﺎﻱ ﺍﺗﻔﺎﻗﻲ ﺑﺎ ﺗﺮﻛﻴﺐ ﺑﻨﺪﻱ ﻏﻴﺮ ﻣﺮﻛﺰﻱ‪ ،‬ﺳﺮﻫﺎﻱ ﺑﺮﻳﺪﻩ ﺷﺪﻩ ﻭ ‪ ...‬ﻣﻦ ﻣﺮﺩﻡ ﺭﺍ ﺑﺮ ﻣﻲ ﺍﻧﮕﻴﺰﻡ ﺗﺎ ﺍﺯ ﺧﻮﺩ‬
‫ﻋﻜﺲ ﺑﮕﻴﺮﻧﺪ؛ ﻣﻦ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﺑﺎﺝﻩ ﻋﻜﺲ ﻣﺘﺤﺮﻙ ﺁﻧﻬﺎ ﻣﻲ ﺑﻴﻨﻢ‪ " .‬ﺍﻭ ﺩﺭ ﻣﺼﺎﺣﺒﻪ ﻫﺎﻳﺶ ﮔﻔﺖ‪:‬‬
‫‪ .William Klein .1‬ﻋﻜﺎﺱ ﻭ ﻓﻴﻠﻤﺴﺎﺯ ﺁﻣﺮﻳﻜﺎﻳﻲ‪ .‬ﻣﺘﻮﻟﺪ ‪1928‬‬

‫ﻗﺎﻧﻮﻥ ‪ G.I. Bill‬ﻛﻪ ﺑﻌﺪ ﺍﺯ ﺟﻨﮓ ﺟﻬﺎﻧﻲ ﺩﻭﻡ ﻭﺿﻊ ﺷﺪ‬ ‫‪.2‬‬
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‫ﻋﻜﺲ ‪ 2-36‬ﻭﻳﻠﻴﺎﻡ ﻛﻠ‪‬ﻴﻦ‪ ،‬ﻫﺎﺭﻟ‪‬ﻢ‪1955 ،‬‬
‫"ﻋﻤﻞ ﻋﻜﺎﺳﻲ ﺑﺮﺍﻱ ﻣﻦ ﻳﻚ ﻟﺤﻈﻪ ﺍﺯ ﺧﻮﺩ ﺑﻴﺨﻮﺩ ﺷﺪﮔﻲ )ﺗﺮﻧﺲ( ﺍﺳﺖ؛ ﻭﻗﺘﻲ ﻛﻪ ﻳﻚ ﻧﻔﺮ ﻣﻲ ﺗﻮﺍﻧﺪ ﭼﻨﺪ‬
‫ﺑﻴﻨﺪ ‪ ،‬ﭼﻪ ﺁﮔﺎﻫﺎﻧﻪ ﭼﻪ ﻏﻴﺮ ﺁﮔﺎﻫﺎﻧﻪ‪ ،‬ﻭ‬
‫ﺻﺪ ﭼﻴﺰ ﺭﺍ ﻛﻪ ﻫﻤﺰﻣﺎﻥ ﺩﺭ ﺣﺎﻝ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩﻧﺪ ﻭ ﺷﺨﺺ ﺣﺲ ﻣﻲ ﻛﻨﺪ ﺏ‬
‫ﺁﻧﻬﺎ ﺭﺍ ﺭﺍ ﺿﺒﻂ ﻛﻨﺪ‪ " .‬ﻳﻚ ﻋﻜﺲ ﺑﺎﻳﺪ ﺑﺎ ﺍﺑﻬﺎﻡ ﺑﺎﺯﻱ ﻛﻨﺪ‪ .‬ﻳﻚ ﻋﻜﺲ ﺑﺎﻳﺪ ﺗﺎ ﺣﺪ ﻣﻤﻜﻦ ﺩﺭ ﺭﺍﻩ ﻫﺎﻱ‬
‫ﻣﺘﻔﺎﻭﺕ ﺑﺮ ﻭﺩ‪ .‬ﺍﻳﻦ ﺩﻗﻴﻘﺎً ﻫﻤﺎﻥ ﭼﻴﺰﻱ ﺍﺳﺖ ﻛﻪ ﻋﻜﺴﻬﺎﻱ ﻛﻠﻴﻦ ﻫﻨﮕﺎﻣﻴﻜﻪ ﺍﻭ ﺑﺎ ﻟﻨﺰ ﻭﺍﻳﺪﺵ ﺑﻪ ﻣﻴﺎﻥ ﺟﻤﻌﻴﺖ‬
‫ﺍﺧﻢ ﻛﺮﺩﻩ ﻭ ﺧﻴﺮﻩ ﺷﺪﻩ ﻣﻲ ﺭﻭﺩ ﺍﻧﺠﺎﻡ ﻣﻲ ﺩﻫﻨﺪ‪.‬‬
‫ﮔﺮﭼﻪ ﺍﻭ ﻣﻲ ﮔﻮﻳﺪ ﻛﻪ ﺑﺮﺍﻱ ﺳﻮژﻩ ﻫﺎﻳﺶ ﻳﻚ ﺑﺎ ﺝﻩ ﻋﻜﺲ ﻣﺘﺤﺮﻙ ﺍﺳﺖ ﻭﻟﻲ ﻋﻜﺲ ﻫﺎﻱ ﺍﻭ ﻫﻤﭽﻨﻴﻦ‬
‫ﭘﺮﺗﺮﻩ ﺍﻱ ﺍﺯ ﺧﻮﺩﺵ ﻫﺴﺘﻨﺪ‪ .‬ﭼﻪ ﭼﻴﺰﻱ ﺑﻴﺸﺘﺮ ﺷﺒﻴﻪ ﻛﻠﻴﻦ ﻭ ﺩﻭﺭﺑﻴﻨﺶ ﺍﺳﺖ ﺍﺯ ﻋﻜﺲﻱ ﻛﻪ ﺍﻭ ﺍﺯ ﻳﻚ ﭘﺴﺮ ﺑﭽﻪ‬
‫ﮔﺮﻓﺘﻪ ﻛﻪ ﻫﻔﺖ ﺗﻴﺮ ﺭﺍ ﺑﻪ ﺳﻮﻱ ﺍﻭ ﻧﺸﺎﻧﻪ ﮔﺮﻓﺘﻪ ﺍﺳﺖ؟)ﻋﻜﺲ ‪(2-37‬‬
‫ﺩﺭ ﺍﻳﻦ ﻋﻜﺲ ﺩﻭ ﭘﺴﺮ ﺑﭽﻪ ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩ ﺩﻭ ﺟﻨﺒﻪ ﺷﺨﺼﻴﺖ ﺧﻮﺩ ﻛﻠﻴﻦ ﻫﺴﺘﻨﺪ ﻛﻪ ﺩﺭ ﺗﻀﺎﺩ ﺑﺎ ﻳﻜﺪﻳﮕﺮﻧﺪ‪ .‬ﺍﻳﻦ‬
‫ﺗﺼﻮﻳﺮ ﻧﻮﻋﻲ ﺍﺯ ﻣﻮﺍﺟﻪ ﺑﺎ ﺧﻮﺩ ﺍﺳﺖ ﻛﻪ ﺗﻤﺎﻡ ﺑﻬﺘﺮﻳﻦ ﻛﺎﺭﻫﺎﻱ ﻛﻠﻴﻦ ﺣﺎﻭﻱ ﺁﻥ ﻫﺴﺘﻨﺪ‪.‬‬
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‫ﻋﻜﺲ ‪ 2-37‬ﻭﻳﻠﻴﺎﻡ ﻛﻠ‪‬ﻴﻦ‪ ،‬ﺑﺮﺍﺩﻭِﻱ ﻭ ﺧﻴﺎﺑﺎﻥ ﺻﺪﻭﺳﻮﻡ‪ ،‬ﻧﻴﻮﻳﻮﺭﻙ‪1954-55،‬‬
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‫‪.18‬ﺭﺍﺑﺮﺕ ﻓﺮﺍﻧﻚ‬
‫ﺗﻨﻬﺎ ﻛﺘﺎﺑﻲ ﻛﻪ ﺩﺭ ﺩﻫﻪ ﭘﻨﺠﺎﻩ ﭼﺎپ ﺷﺪ ﻭ ﺍﺯ ﻛﺘﺎﺏ ﻧﻴﻮﻳﻮﺭﻙ ﻭﻳﻠﻴﺎﻡ ﻛﻠﻴﻦ ﺑﻴﺸﺘﺮ ﺑﺤﺚ ﺍﻳﺠﺎﺩ ﻛﺮﺩ ﻛﺘﺎﺏ‬
‫"ﺁﻣﺮﻳﻜﺎﻳﻲ ﻫﺎ"ﻱ ﺭﺍﺑﺮﺕ ﻓﺮﺍﻧﻚ ﺑﻮﺩ ‪ .‬ﺩﺭ ﺁﻥ ﻛﺘﺎﺏ ﺑﻪ ﻃﺮﺯ ﺟﺎﻟﺒﻲ ﺗﺼﻮﻱﺭﻱ ﺍﺯ ﻳﻚ ﺟﺸﻦ ﺍﺳﺖ – ﻳﻚ‬
‫ﻓﺴﺘﻴﻮﺍﻝ ﺧﻴﺮﻳﻪ ﺑﻪ ﻧﺎﻡ ﺗﻮپ ﺍﺳﺒﺎﺏ ﺑﺎﺯﻱ – ﻛﻪ ﻛﻠﻴﻦ ﻧﻴﺰ ﺍﺯ ﺁﻥ ﻋﻜﺲ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﻛﻠﻴﻦ ﺑﺮﺍﻱ ﻭ‪‬گ ﻭ ﻓﺮﺍﻧﻚ‬
‫ﺑﺮﺍﻱ ﻫﺎﺭﭘﺮﺯ ﺑﺎﺯﺍﺭ ﺑﻪ ﺁﻧﺠﺎ ﺁﻣﺪﻩ ﺑﻮﺩ ﺗﺎ ﻋﻜﺲ ﺑﮕﻴﺮﺩ‪ .‬ﺩﺭ ﺑﺮﮔﻪ ﮔﻨﺘﺎﻛﺖ ﻓﺮﺍﻧﻚ ﺣﺘﻲ ﺗﺼﻮﻳﺮﻱ ﺍﺯ ﺧﻮﺩ ﻛﻠﻴﻦ‬
‫ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ ﻫﻴﭻ ﻳﻚ ﺍﺯ ﺍﻳﻦ ﺩﻭ ﺍﺯ ﻳﻜﺪﻳﮕﺮ ﻭ ﻛﺎﺭﻫﺎﻳﺸﺎﻥ ﺁﮔﺎﻩ ﻧﺒﻮﺩﻧﺪ‪ .‬ﺳﺎﻟﻬﺎ ﺑﻌﺪ ﺑﻮﺩ ﻛﻪ ﺍﻳﻦ‬
‫ﺩﻭ ﺍﺏﻛﺎﺭﻫﺎﻱ ﻳﻜﺪﻳﮕﺮ ﺁﺷﻨﺎ ﺵﺩ ﻧﺪ‪.‬‬
‫ﻓﺮﺍﻧﻚ ﺑﺎ ﻛﻠﻴﻦ ﺑﺴﻴﺎﺭ ﻣﺘﻔﺎﻭﺕ ﺑﻮﺩ ‪ .‬ﺩﺭ ﺑﺮﺧﻲ ﻣﻮﺍﻗﻊ ﻛﺎﺭﻫﺎﻱ ﺁﻧﻬﺎ ﻣﻮﺍ ﺯﻱ ﻫﻢ ﻭ ﺩﺭ ﻣﻮﺍﻗﻊ ﺩﻳﮕﺮ ﺩﻗﻴﻘﺎً ﺩﺭ‬
‫ﺧﻼﻑ ﺟﻬﺖ ﻫﻢ ﭘﻴﺶ ﻣﻲ ﺭﻓﺖ ‪ .‬ﺗﻘﺮﻳﺒﺎً ﺩﺭ ﻫﻤﺎﻥ ﻣﻮﻗﻌﻲ ﻛﻪ ﻛﻠﻴﻦ ﺁﻣﺮﻳﻜﺎﻳﻲ‪ ،‬ﺁﻣﺮﻳﻜﺎ ﺭﺍ ﺑﻪ ﻗﺼﺪ ﭘﺎﺭﻳﺲ‬
‫ﺗﺮﻙ ﻛﺮﺩ‪ ،‬ﻓﺮﺍﻧﻚ ﺍﺭﻭﭘﺎﻳﻲ ﭘﺎﺭﻳﺲ ﺭﺍ ﺑﻪ ﻡﻕﺻﺪ ﻧﻴﻮﻳﻮﺭﻙ ﺗﺮﻙ ﻛﺮﺩ‪.‬‬
‫ﻓﺮﺍﻧﻚ ﺩﺭ ﻋﻜﺲ ﻫﺎ ﻳﻲ ﻛﻪ ﮔﺮﻓﺖ‪ ،‬ﻩ ﻣﺎﻧﻨﺪ ﺳﺨﻨﺮﺍﻧﻲ ﻭ ﻛﺎﺭﻫﺎﻳﺶ ‪ ،‬ﺭﻭﻧﺪ ﺩﻳﮕﺮﻱ ﻧﺴﺒﺖ ﺑﻪ ﻛﻠﻴﻦ ﺩﺍﺭﺩ‪ .‬ﺭﻭﻧﺪ‬
‫ﺍﻭ ﺁﺭﺍﻣﺘﺮ ﻭ ﻛﻤﺘﺮ ﻣﻄﻤﺌﻦ ﺍﺳﺖ‪ .‬ﺗﺼﺎﻭﻳﺮ ﺍﻭ ﻕﺍﻟﺒﺎً ﻛﻤﺘﺮ ﭘﺮ ﺳﺮ ﻭ ﺻﺪﺍ ﺍﺳﺖ‪.‬‬
‫ﺁﻣﻮﺧﺖﺑﻮﺩ‪ ،‬ﺩﺭ ‪1946‬‬
‫ﻩ‬ ‫ﻓﺮﺍﻧﻚ ﻛﻪ ﻋﻜﺎﺳﻲ ﺭﺍ ﺑﺎ ﺩﺳﺘﻴﺎﺭﻱ ﻧﺰﺩ ﻋﻜﺎﺳﺎﻥ ﺣﺮﻓﻪ ﺍﻱ ﺩﺭ ﻛﺸﻮﺭﺍﻭﻟﻴﻪ ﺍﺵ ﺳﻮﺋﻴﺲ‬
‫ﺑﻪ ﻓﺮﺍﻧﺴﻪ ﺭﻓﺖ ﺗﺎ ﻳﻚ ﻋﻜﺎﺱ ﻣﺴﺘﻘﻞ ﺷﻮﺩ‪ .‬ﺍﻭ ﻛﻪ ﺩﺭ ﭘﺎﺭﻳﺲ ﻧﺘﻮﺍﻧﺴﺖ ﻛﺎﺭ ﭘﻴﺪﺍ ﻛﻨﺪ ﺩﺭ ‪ 1947‬ﺭﺍﻫﻲ ﺁﻣﺮﻳﻜﺎ‬
‫ﺭﺯﺑﺎﺯﺍﺭ ﺍﺳﺘﺨﺪﺍﻡ ﺷﺪ ﻭ ﺑﻪ ﻋﻜﺎﺳﻲ ﭘﺮﺩﺍﺧﺖ‪.‬‬
‫ﺷﺪ‪ .‬ﺩﺭ ﺁﻧﺠﺎ ﺑﺎ ﻧﻤﻮﻧﻪ ﻋﻜﺲ ﻫﺎﻱ ﺧﻮﺩ ﺑﻪ ﻧﺎﻡ ‪ 40‬ﻉﻛﺲ ﺩﺭ ﻫﺎﺭ پ‬
‫پﺯﺑﺎﺯﺍﺭ ﺭﺍ ﺭﻫﺎ ﻛﺮﺩ‪ .‬ﺍﻭ ﺩﺭ ﺁﻧﺠﺎ ﺑﻪ ﻋﻜﺎﺱ ﻱ ﭘﺮﺩﺍﺧﺖ ﻭ‬
‫ﺍﻭ ﭘﺲ ﺍﺯ ﻣﺪﺗﻲ ﺭﺍﻫﻲ ﺁﻣﺮﻳﻜﺎﻱ ﺟﻨﻮﺑﻲ ﺷﺪ ﻭ ﻫﺎﺭ ﺭ‬
‫ﺕ ﺍﺏﺳﻮژﻩ ﻫﺎﻳﺶ ﺍﻧﺠﺎﻡ ﺩﺍﺩ‪ .‬ﺍﻭ ﻣﻲ ﮔﻮﻳﺪ ‪" :‬ﺑﻴﺸﺘﺮﻋﻜﺴﻬﺎﻱ ﻣﻦ‪،‬‬
‫ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺩﺭ ﻛﻤﺎﻝ ﺳﻚﻭﺕ ﻭ ﺑﺪﻭﻥ ﺻﺢ ﺏ‬
‫ﺍﻥ ﻣﺮﺩﻣﺎﻥ ﺁﻧﺞ ﺭﺍ ﻧﻤﻲ ﺩﺍﻧﺴﺖ ‪،‬‬
‫ﮔﻮﻳﻲ ﭼﻴﺰﻱ ﻫﺴﺘﻨﺪ ﻛﻪ ﺍﻧﺴﺎﻥ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﻣﻲ ﺑﻴﻨﺪ‪ " .‬ﺍﻭ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﺳﻔﺮ ‪ ،‬ﺯ ﺏ‬
‫ﺗﻨﻬﺎ ﺯﺑﺎﻥ ﺧﻮﺩ ﺭﺍ ﺯﺑﺎﻥ ﺗﺼﻮﻳﺮﻱ ﻣﻲ ﺩﺍﻧﺴﺖ‪ .‬ﻋﻜﺲ ﻫﺎﻱ ﺍﻭ ﻋﻤﻮﻣﺎً ﺳﺎﻛﺖ ﺍﻧﺪ ﻭ ﺑﻪ ﺩﻧﺒﺎﻝ ﺗﻮﺿﻴﺢ ﻧﻴﺴﺘﻨﺪ‪.‬‬
‫ﺭﻭ ﮔﺮﻓﺘﻪ ﺑﻮﺩ ﺭﺍ ﺑﻪ ﻣﺎﻧﻨﺪ ﻳﻚ ﻛﺘﺎﺑﭽﻪ ﻭ ﺑﺪﻭﻥ‬
‫ﻫﻨﮕﺎﻣﻲ ﻛﻪ ﺍﻭ ﺑﻪ ﻧﻴﻮﻳﻮﺭﻙ ﺑﺎﺯﮔﺸﺖ ﻋﻜﺲ ﻫﺎ ﻱﻱ ﻛﻪ ﺩﺭ پِ‬
‫ﻫﺮﮔﻮﻧﻪ ﻣﺘﻦ ‪ ،‬ﺯﻳﺮ ﻧﻮﻳﺲ ﻳﺎ ﺣﺘﻲ ﻋﻨﻮﺍﻥ ﺩﺭﺳﺖ ﻛﺮﺩ ‪ .‬ﺍﻭ ﻣﻲ ﺧﻮﺍﺳﺖ ﻛﺘﺎﺑﻬﺎﻱ ﺏ ﻋﺪﻱ ﺧﻮﺩ ﺭﺍ ﻫﻤﭽﻮﻥ‬
‫"ﺁﻣﺮﻳﻜﺎﻳﻲ ﻫﺎ" ﭼﻨﻴﻦ ﭼﺎپ ﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﺑﺎ ﺍﺟﺒﺎﺭ ﻧﺎﺷﺮﺍﻥ ﺗﻮﺿﻴﺢﺍﺕ ﻣﺨﺘﺼﺮﻱ ﺑﻪ ﺁﻥ ﺍﺿﺎﻓﻪ ﺷﺪ‪.‬‬
‫"ﺁﻣﺮﻳﻜﺎﻳﻲ ﻫﺎ" ﺑﻪ ﻳﺎﺩ ﻣﺎﻧﺪﻧﻲ ﺗﺮﻳﻦ ﻛﺎﺭ ﻓﺮﺍﻧﻚ ﺑﻮﺩ‪ .‬ﻧﺨﺴﺖ ﺩﺭ ﺑﺮﺍﺑﺮ ﺍﻧﺘﺸﺎﺭ ﻋﻜﺲ ﻫﺎﻱ ﺁﻥ ﻡﻕﺍﻭ ﻡﺕ ﺑﺴﻴﺎﺭﻱ‬
‫ﺍﻧﺠﺎﻡ ﮔﺮﻓﺖ ﻭ ﺣﺘﻲ ﻫﻴﭻ ﻧﺎﺵﺭﻱ ﺣﺎﺿﺮ ﺑﻪ ﭼﺎپ ﺁﻥ ﻥﺷﺪ‪ .‬ﺗﻨﻬﺎ ﺍﻧﺘﺸﺎﺭﺍﺕ ﺩﻝ ﭘﻴﺮ ﺩﺭ ﭘﺎﺭﻳﺲ ﻣﺸﺘﺎﻕ ﺑﻪ ﺍﻧﺠﺎﻡ‬
‫ﺍﻳﻦ ﭘﺮﻭژﻩ ﺑﻮﺩ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻓﺮﺍﻧﻚ ﺩﺭ ‪ 1958‬ﺑﺎ ﺁﻥ ﺍﻧﺘﺸﺎﺭﺍﺕ ﻗﺮﺍﺭﺩﺍﺩ ﺑﺴﺖ ‪ .‬ﻧﺴﺨﻪ ﺁﻣﺮﻳﻜﺎﻳﻲ ﺁﻥ ﻛﻪ ﺗﻮﺳﻂ‬
‫ﺭﺱ)‪ (Groove Press‬ﭼﺎپ ﺷﺪ ‪ ،‬ﻳﻜﺴﺎﻝ ﺑﻌﺪ ﺍﺯ ﻧﺴﺨﻪ ﻓﺮﺍﻧﺴﻮﻱ ﻭ ﺍﻳﺠﺎﺩ ﺑﺤﺚ ﻭ ﺟﺪﻝ ﺩﺭ ﻣﻮﺭﺩ‬
‫ﮔﺮﻭﻭ‪ ‬پ‬
‫‪105‬‬
‫ﺣﻢﻟﻪ ﺍﻱ ﺑﻪ ﺍﻳﺎﻻﺕ‬ ‫ﺏﭼﺎپ ﺭﺳﻴﺪ ‪ .‬ﺑﺎﺯﺗﺎﺏ ﺍﻳﻦ ﻛﺘﺎﺏ ﺩﺭ ﺁﻣﺮﻳﻜﺎ ﻋﻤﻮﻣﺎً ﻣﻨﻔﻲ ﺑﻮﺩ ﻭ ﺁﻥ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ‬
‫ﺁﻥ ﻩ‬
‫ﻭﺭﻥﻱﺍﻙ ﻧﻴﺰ ﮔﻔﺖ ‪" :‬ﻓﺮﺍﻧﻚ ﻋﻜﺎﺱ ﺗﻚ ﻋﻜﺲ ﺧﻮﺑﻲ‬
‫ﻣﺘﺤﺪﻩ )ﻃﺒﻖ ﺳﺨﻦ ﻟﺲ ﺑﺮﻱ ( ﻣﻲ ﺩﺍﻧﺴﺘﻨﺪ‪ .‬ﺟﺎﻥ ﺏ‬
‫ﺍﺳﺖ ﻭﻟﻲ ﻣﻘﺎﻟﻪ ﻧﻮﻳﺲ ﻭ ﺭﻭﺍﻳﺖ ﮔﺮ ﺩﺍﺳﺘﺎﻥ ﺧﻮﺑﻲ ﻧﻴﺴﺖ‪ " .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﻓﺮﺍﻧﻚ ﺗﺮﺗﻴﺐ ﻋﻜﺲ ﻫﺎ ﺭﺍ ﻃﻮﺭﻱ‬
‫ﭼﻴﺪﻩ ﺑﻮﺩ ﻛﻪ ﻛﺘﺎﺏ ﺑﺴﻴﺎﺭ ﺗﺄﺛﻴﺮ ﮔﺬﺍﺭ ﺑﻮﺩ ﻭ ﺍﻳﺮﺍﺩ ﺁﻥ ﻥﻳﺰ ﻫﻤﻴﻦ ﺑﻮﺩ‪.‬‬
‫ﺭﻭ ﻋﻼﻗﻪ ﺍﻱ ﺑﻪ ﺗﻚ ﻉﻛﺲ ﺑﺎ ﺗﺄﺛﻴﺮ ﻣﺠﺰﺍ ﻧﺪ ﺍﺷﺖ‪ .‬ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﻛﻠﻴﻦ ﻗﻮﺍﻧﻴﻦ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺭﺍ‬
‫ﻓﺮﺍﻧﻚ ﺑﻌﺪ ﺍﺯ پِ‬
‫ﻛﻠﻲ ﺁﻧﻬﺎ ﺭﺍ ﻭﺍژﮔﻮﻥ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﻋﻜﺴﻲ ﺭﺍ ﺳﺘﺎﻳﺶ ﻣﻲ ﻛﺮﺩ ﻛﻪ ﺩﺭ‬
‫ﻧﺎﺩﻳﺪﻩ ﮔﺮﻓﺘﻪ ﺑﻮﺩ ﻓﺮﺍﻧﻚ ﺏ‬
‫ﺕ ﻡﻱ ﭘﻴﭽﻴﺪﮔﻲ ﻭ ﺍﻣﻜﺎﻧﺎﺕ ﺳﻤﺒﻠﻴﻚ ﻳﻚ ﻣﻮﻗﻌﻴﺖ ﺩﺭ ﻓﺮﻳﻢ ﺑﺎﺷﺪ‪ .‬ﻫﺮ ﻋﻜﺲ ﻣﻲ ﺑﺎﻳﺴﺘﻲ‬
‫ﻫﻤﺎﻥ ﻳﻚ ﻋﻜﺲ ﻣﺎ‬
‫ﻛﺎﻣﻞ ﻣﻲ ﺑﻮﺩ‪ .‬ﻣﺪﺭﻧﻴﺰﻡ ﻓﺮﺍﻧﻚ ﻧﻮﻉ ﺩﻳﮕﺮﻱ ﺑﻮﺩ‪ ،‬ﻭ ﺍﻓﺮﺍﻃﻲ ﺗﺮ‪ .‬ﺍﻭ ﻣﻲ ﺧﻮﺍﺳﺖ ﺗﺎ ﻋﻜﺎﺳﻲ ﺭﺍ ﺗﻘﻠﻴﻞ ﺩﻫﺪ‪ ،‬ﻧﻪ ﺑﻪ‬
‫ﻱ ﻛﻪ‬
‫ﺷﻲء ﻣﻔﺮﺩ ﻭﺑﻪ ﻳﻜﭙﺎﺭﭼﮕﻲ‪ ،‬ﺑﻠﻜﻪ ﺑﻪ ﻧﻴﺴﺘﻲ‪ .‬ﺍﻭ ﻣﻲ ﺧﻮﺍﺳﺖ ﺑﻪ ﻥﻭﻉﻱ ﺍﺯ ﺳﻜﻮﺕ ﺑﺼﺮﻱ ﻡﻉﺍﺩﻝ ﺑﺎ ﺳﻜﻮ ﺕ‬
‫ﺷﺪﻳﺪﺍً ﺩﺭ "ﺁﻥﺩ ﺯ" ﺁﻣﺮﻳﻜﺎﻱ ﺟﻨﻮﺑﻲ ﺗﺠﺮﺑﻪ ﻛﺮﺩﻩ ﺑﻮﺩ ﺑﺮﺳﺪ‪.‬‬
‫ﺭﺍﺑﺮﺕ ﻓﺮﺍﻧﻚ ﺑﺮﻋﻜﺲ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ‪ ،‬ﺑﺪ ﻭﻥ ﻛﻤﻚ ﮔﺮﻓﺘﻦ ﺍﺯ ﻳﻚ ﭼﺸﻢ ﻋﺎﻟﻲ ﻋﻜﺲ ﻣﻲ ﮔﺮﻓﺖ‪ .‬ﺍﻭ ﺑﺮ‬
‫ﺕﻛﻴﺪ ﻣﻲ ﻛﺮﺩ ﻛﻪ ﺣﺘﻲ ﺑﺮﺍﺳﺎﺱ ﻫﻴﭻ ﭼﺸﻢﻱ ﺍﺳﺘﻮﺍﺭ ﺑﻮﺩﻧﺪ ‪ .‬ﺍﻭ ﭼﻨﺎﻥ ﻋﻜﺲ ﻫﺎﻱ‬
‫ﺗﺮﻛﻴﺐ ﺑﻨﺪﻱ ﻫﺎ ﻱﻱ ﺃ‬
‫ﺗﺼﺎﺩﻓﻲ ﻣﻲ ﮔﺮﻓﺖ ﻛﻪ ﻏﻴﺮ ﻣﻤﻜﻦ ﺑﻮﺩ ﻛﻪ ﻫﺮ ﻳﻚ ﺍﺯ ﺁﻧﻬﺎ ﻳﻚ ﺷﺎﻫﻜﺎﺭ ﺑﺎﺵ ﺩ‪ ،‬ﻳﺎ ﺣﺘﻲ ﻗﺎﺩﺭ ﺑﺎﺷﺪ ﻛﻪ ﺑﻪ‬
‫ﺗﻨﻬﺎﻳﻲ ﻳﻚ ﺗﺼﻮﻳﺮ ﺑﺎﺷﺪ‪.‬‬
‫ﺗﻮﺟﻪ ﻓﺮﺍﻧﻚ ﻣﻌﻄﻮ ﻑ ﺑﻪ ﻛﺘﺎﺏ ﺑﻮﺩ‪ .‬ﻳﻜﻲ ﺍﺯ ﻛﺘﺎﺑﻬﺎﻳﻲ ﻛﻪ ﺗﺄﺛﻴﺮ ﺑﺰﺭﮔﻲ ﺑﺮﺍﻭ ﺩﺍﺷﺖ "ﻋﻜﺴﻬﺎﻱ ﺁﻣﺮﻳﻜﺎﻳﻲ "‬
‫ﺍﻭﺍﻧﺰ ﺑﻮﺩ‪ .‬ﺍﻫﻤﻴﺖ ﻛﺘﺎﺑﻬﺎ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺗﻨﻬﺎ ﺩﺭ ﺁﻧﻬﺎ ﭘﺘﺎﻧﺴﻴﻞ ﺣﻘﻴﻘﻲ ﻋﻜﺎﺳﻲ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺭﺳﺎﻧﻪ ﺳﺮ ﺍﻱﻝﻱ ﺩﺭﻙ‬
‫ﻣﻲ ﺷﺪ‪.‬‬
‫ﺩﻭ ﻧﻴﻤﻪ ﻓﺮﺍﻧﻚ ‪ ،‬ﻳﻌﻨﻲ ﻛﺎﺭ ﻣﻨﻈﻢ ﻭ ﻛﺎﻣﻼً ﻫﺪﻓﺪﺍﺭ ﺳﻮﺋﻴﺴﻲ ﻭ ﻛﺎﺭ ﺍﺑﺘﺪﺍﺋﻲ ﻭ ﺑﺼﻴﺮﺗﻲ "ﭘﺮﻭ" ﻳﻲ ‪ ،‬ﺩﺭ ﺳﺮﻱ‬
‫ﻩ ﺍﻱ‬ ‫ﻋﻜﺲ ﻫﺎﻱ "ﺁﻣﺮﻳﻜﺎﻳﻲ ﻫﺎ " ﺑﺎ ﻫﻢ ﻭﻓﻖ ﺩﺍﺩﻩ ﺷﺪﻧﺪ‪ .‬ﺍﻭ ﺩﺭ ﻋﻜﺎﺳﻲ ﺍﻳﻦ ﺳﺮﻱ‪ ،‬ﭘﺲ ﺍﺯ ﺑﺮﺭﺳﻲ ﻧﮕﺎﺗﻴﻮ‬
‫ﻇﺎﻫﺮ ﺷﺪﻩ‪ ،‬ﺑﻪ ﺍﻳﻦ ﻧﺘﻴﺠﻪ ﻣﻲ ﺭﺳﻴﺪ ﻛﻪ ﺑﻪ ﺩﻧﺒﺎﻝ ﭼﻪ ﭼﻴﺰﻱ ﺑﺎﻳﺪ ﺑﺮﻭﺩ‪ .‬ﺩﺭ ﺁﺧﺮ ﺍﺯ ﺑﻴﻦ ﻫﺸﺘﺼﺪ ﻧﮕﺎﺗﻴﻮ‪ ،‬ﺳﻴﺼﺪ‬
‫ﺗﺎﻱ ﺁﻥﻫﺎ ﺭﺍ ﭼﺎپ ﻛﺮﺩ ﻭ ﺁﻧﻬﺎ ﺭﺍ ﺩﺳﺘﻪ ﻫﺎﻳﻲ ﭼﻮﻥ "ﻧﻤﺎﺩ ﻫﺎ‪ ،‬ﻣﺎﺷﻴﻦ ﻫﺎ‪ ،‬ﺵﻫﺮﻫﺎ‪ ،‬ﻣﺮﺩﻡ‪ ،‬ﻋﻼﺋﻢ‪ ،‬ﮔﻮﺭﺳﺘﺎﻥ ﻫﺎ"‬
‫ﻭ ﺑﻘﻴﻪ ﻗﺮﺍﺭ ﺩﺍﺩ‪ .‬ﺩﺭ ﺁﻥ ﻧﻘﻄﻪ ﺑﻦﻇﺮ ﺵ ﺭﺳﻴﺪ ﻛﻪ ﻛﺘﺎﺏ ﺭﺍ ﺩﺭ ﭼﻨﺪﺑﺨﺶ ﻗﺴﻤﺖ ﻛﻨﺪ ﻛﻪ ﻫﺮ ﻳﻚ ﺑﺎ ﻳﻚ ﭘﺮﭼﻢ‬
‫ﺷﺮﻭﻉ ﺷﻮﺩ‪ .‬ﺍﻳﻦ ﻋﻜﺲ ﻫﺎﻱ ﭘﺮﭼﻢ ﻫﺎ‪ ،‬ﺩﺭ ﻛﻞ ﻛﺘﺎﺏ ﻳﻚ ﻭﺡﺩﺕ ﻭ ﺍﻥﺱﺟﺎﻡ ﻭ ﺍﺭﺗﺒﺎﻁ ﻣﻮﺿﻮﻋﻲ ﺑﻴﻦ ﺗﻤﺎﻣﻲ‬
‫ﻋﻜﺲ ﻫﺎ ﺍﻳﺠﺎﺩ ﻣﻲ ﻛﻨﺪ‪.‬‬
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‫ﻋﻜﺲ ‪ 2-38‬ﺭﺍﺑﺮﺕ ﻓﺮﺍﻧﻚ‪ ،‬ﺍﺗﻮﺑﻮﺱ ﺑﺮﻗﻲ‪ ،‬ﻧﻴﻮﺍﻭﺭﻟﺌﺎﻧﺰ‪) 1955-56 ،‬ﺍﺯ ﻛﺘﺎﺏ ﺁﻣﺮﻳﻜﺎﻳﻲ ﻫﺎ(‬
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‫ﻧﺘﻴﺠﻪ ﮔﻴﺮﻱ‬
‫ﺩﺭ ﺍﻳﻦ ﻧﻮﺷﺘﺎﺭ ﺑﻪ ﺷﺎﺧﻪ ﺍﻱ ﺍﺯ ﻋﻜﺎﺳﻲ ﭘﺮﺩﺍﺧﺘﻴﻢ ﻛﻪ ﺍﮔﺮﭼﻪ ﺍﺯ ﺍﺑﺘﺪﺍﻱ ﭘﻴﺪﺍﻳﺶ ﺍﻳﻦ ﺭﺳﺎﻧﻪ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‬
‫ﻭﻟﻲ ﺗﺎﺑﺤﺎﻝ ﺩﺭ ﺩﺍﺧﻞ ﻛﺸﻮﺭ ﺑﻄﻮﺭ ﺍﺧﺘﺼﺎﺻﻲ ﺑﻪ ﺁﻥ ﭘﺮﺩﺍﺧﺘﻪ ﻧﺸﺪﻩ ﺑﻮﺩ‪ .‬ﻧﻪ ﺩﺭ ﻛﺘﺐ ﻭ ﺭﺳﺎﻟﻪ ﻫﺎ ﻭ ﻧﻪ ﺑﺼﻮﺭﺕ‬
‫ﻋﻤﻠﻲ ﺩﺭ ﻧﻤﺎﻳﺸﮕﺎﻩ ﻫﺎﻱ ﻋﻜﺎﺳﻲ‪ .‬ﺍﻳﻦ ﺷﺎﺧﻪ‪ ،‬ﻧﻪ ﻓﻘﻂ ﻣﺨﺘﺺ ﺑﻪ ﻋﻜﺎﺳﻲ‪ ،‬ﺑﻠﻜﻪ ﻧﻮﻋﻲ ﺍﺯ ﻃﺮﺯ ﻧﮕﺮﺵ ﻭ ﺗﻔﻜﺮ‬
‫ﺍﺳﺖ‪ .‬ﻧﮕﺮﺷﻲ ﻛﻪ ﺣﺘﻲ ﭘﻴﺶ ﺍﺯ ﭘﻴﺪﺍﻳﺶ ﻋﻜﺎﺳﻲ ﻭﺟﻮﺩ ﺩﺍﺷﺖ ﻭ ﺩﺭ ﻧﺜﺮ ﻭ ﻧﻘﺎﺷﻲ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ ﻧﻤﻮﺩ ﭘﻴﺪﺍ‬
‫ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻧﮕﺮﺵ ﻳﻚ ﭘﺮﺳﻪ ﺯﻥ ﻛﻪ ﻣﺤﻮ ﺗﻤﺎﺷﺎﻱ ﻣﺮﺩﻡ ﻛﻮﭼﻪ ﻭ ﺧﻴﺎﺑﺎﻥ‪ ،‬ﺯﻳﺮﻧﻈﺮ ﮔﺮﻓﺘﻦ ﺁﻧﻬﺎ ﻭ ﺗﻔﻜﺮ ﺭﺍﺟﻊ‬
‫ﺑﻪ ﺁﻧﻬﺎﺳﺖ‪.‬‬
‫ﺍﻳﻦ ﺷﺎﺧﻪ ﺍﺯ ﻋﻜﺎﺳﻲ ﺍﺭﺗﺒﺎﻁ ﻧﺰﺩﻳﻜﻲ ﺑﺎ ﻋﻜﺎﺳﻲ ﻣﺴﺘﻨﺪ ﻭ ﻋﻜﺎﺳﻲ ﺧﺒﺮﻱ ﺩﺍﺭﺩ ﻭ ﺩﺭ ﺑﺴﻴﺎﺭﻱ ﻣﻮﺍﻗﻊ ﺍﺯ ﺁﻥ ﻫﺎ‬
‫ﺗﻔﻜﻴﻚ ﻧﺎﭘﺬﻳﺮ ﺍﺳﺖ‪ .‬ﺗﻤﺎﻳﺰﻱ ﻛﻪ ﻣﺎ ﺩﺭ ﺍﻳﻦ ﻧﻮﺷﺘﺎﺭ ﺑﻴﻦ ﺍﻳﻦ ﺷﺎﺧﻪ ﻫﺎﻱ ﻋﻜﺎﺳﻲ ﻗﺎﺋﻞ ﺷﺪﻳﻢ ﺑﻪ ﺧﺎﻃﺮ ﺑﺮﺭﺳﻲ‬
‫ﺩﻗﻴﻖ ﺗﺮ ﺑﺮﺧﻲ ﺍﺯ ﺧﺼﻮﺻﻴﺎﺕ ﺫﺍﺗﻲ ﺭﺳﺎﻧﻪ ﻋﻜﺎﺳﻲ ﺍﺳﺖ ﻛﻪ ﺗﺎﺑﺤﺎﻝ ﻛﻤﺘﺮ ﺑﻪ ﺁﻧﻬﺎ ﺗﻮﺟﻪ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺑﺎﻳﺪ ﺗﻮﺟﻪ‬
‫ﺩﺍﺷﺖ ﻛﻪ ﻭﺍﻗﻌﻴﺖ ﺑﻪ ﻣﺎﻧﻨﺪ ﺗﺌﻮﺭﻱ ﺧﺎﻟﺺ ﻧﻴﺴﺖ ﻭ ﺩﺭ ﻣﻮﺍﻗﻌﻲ ﻳﻚ ﻋﻜﺲ ﺩﺭ ﭼﻨﺪ ﻃﺒﻘﻪ ﺑﻨﺪﻱ ﻣﻲ ﮔﻨﺠﺪ‪.‬‬
‫ﺍﺯ ﺧﺼﻮﺻﻴﺎﺕ ﺍﻳﻦ ژﺍﻧﺮ ﻋﻜﺎﺳﻲ ﺑﻪ ﺍﻳﻦ ﻣﻮﺍﺭﺩ ﭘﺮﺩﺍﺧﺘﻴﻢ‪ .‬ﻋﻨﺼﺮ ﺗﺼﺎﺩﻑ‪ :‬ﻫﺮﭼﻘﺪﺭ ﻫﻢ ﻛﻪ ﻳﻚ ﻋﻜﺲ‬
‫ﺧﻴﺎﺑﺎﻧﻲ ﻛﻨﺘﺮﻝ ﺷﺪﻩ ﺑﺎﺷﺪ ﺑﺎﺯﻫﻢ ﻋﻨﺼﺮ ﺗﺼﺎﺩﻑ ﺭﺍ ﻧﻤﻲ ﺗﻮﺍﻥ ﺩﺭ ﺁﻥ ﺩﺭﻧﻈﺮ ﻧﮕﺮﻓﺖ‪ .‬ﺗﻘﺎﺑﻞ ﻫﺎﻱ ﺩﻭﺗﺎﻳﻲ‪ :‬ﻣﺎﻧﻨﺪ‬
‫ﺗﺸﺎﺑﻬﺎﺕ ﻭ ﺗﻀﺎﺩﻫﺎ ﻭ ﺟﺰﺋﻴﺎﺗﻲ ﻛﻪ ﺩﺭ ﻛﻨﺎﺭﻫﻢ ﺗﺠﺮﺑﻪ ﺑﺼﺮﻱ ﺟﺎﻟﺒﻲ ﺭﺍ ﺍﻳﺠﺎﺩ ﻣﻲ ﻛﻨﻨﺪ‪ .‬ﺑﺮﺍﻱ ﻣﺜﺎﻝ ﻳﻚ ﻧﻤﻮﻧﻪ‬
‫ﺍﺯ ﭼﻨﻴﻦ ﺗﻘﺎﺑﻞ ﻫﺎ ﺑﻪ ﻳﻚ ﻋﻜﺲ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ )ﭘﺸﺖ ﮔﻴﺮ ﺳﻦ ﻻﺯﺍﺭ( ﺍﺷﺎﺭﻩ ﻛﺮﺩﻳﻢ ﻛﻪ ﻣﺮﺩﻱ ﺩﺭ ﺣﺎﻝ ﭘﺮﺵ‬
‫ﺍﺯ ﺭﻭﻱ ﺁﺏ ﺍﺳﺖ ﻭ ﺩﺭ ﭘﺲ ﺯﻣﻴﻨﻪ ﭘﻮﺳﺘﺮﻱ ﺑﺎ ﻧﻘﺶ ﻳﻚ ﺭﻗﺎﺹ ﺑﺎﻟﻪ ﺩﺭ ﺣﺎﻝ ﭘﺮﺵ ﺑﻪ ﭼﺸﻢ ﻣﻲ ﺧﻮﺭﺩ‪ .‬ﻋﺪﻡ‬
‫ﺍﺭﺍﺋﻪ ﭘﻴﺎﻣﻲ ﺧﺎﺹ‪ :‬ﺩﺭ ﺍﻳﻦ ﻧﻮﻉ ﻋﻜﺎﺳﻲ‪ ،‬ﻋﻜﺎﺱ ﺑﻪ ﺩﻧﺒﺎﻝ ﺍﺭﺍﺋﻪ ﭘﻴﺎﻣﻲ ﺧﺎﺹ ﻧﻴﺴﺖ ﻭ ﻣﺴﺌﻮﻟﻴﺘﻲ ﺑﻪ ﺩﻭﺵ ﻧﻤﻲ‬
‫ﻛﺸﺪ ﺑﻠﻜﻪ ﺗﻤﺎﺷﺎﮔﺮ ﺑﻪ ﻋﻜﺲ ﻣﻌﻨﺎ ﻣﻲ ﺑﺨﺸﺪ‪ .‬ﺍﻭ ﺩﺭ ﻋﻜﺲ ﺑﻪ ﻛﺎﻭﺵ ﻣﻲ ﭘﺮﺩﺍﺯﺩ ﻭ ﺩﺭ ﺁﻥ ﺑﻪ ﻳﻚ ﺗﺠﺮﺑﻪ‬
‫ﺣﺴﻲ ﻣﻲ ﺭﺳﺪ‪ .‬ﺗﺠﺮﺑﻪ ﺍﻱ ﻛﻪ ﺑﻄﻮﺭ ﻛﻠﻲ ﻳﻜﻲ ﺍﺯ ﺧﺼﻮﺻﻴﺎﺕ ﻫﻨﺮ ﺍﺳﺖ‪ .‬ﻳﻚ ﻋﻜﺲ ﺧﻴﺎﺑﺎﻧﻲ ﺑﺮﺍﻱ ﻫﺮ ﺑﻴﻨﻨﺪﻩ‬
‫ﻣﻌﻨﺎﻳﻲ ﻣﺘﻔﺎﻭﺕ ﺩﺍﺭﺩ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻧﺒﺎﻳﺪ ﺩﺭﺁﻥ ﺑﻪ ﺩﻧﺒﺎﻝ ﻳﻚ ﺍﺗﻔﺎﻕ ﻧﻈﺮ ﺩﺭ ﺑﻴﻦ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﻋﻜﺲ ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﻳﻚ‬
‫ﺗﻔﺎﻭﺕ ﻋﻤﺪﻩ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﻭ ﻋﻜﺎﺳﻲ ﻣﺴﺘﻨﺪ ﺍﺳﺖ‪.‬‬
‫ﺑﺮﺭﺳﻲ ﺷﺪ ﻛﻪ ﺑﻪ ﺗﺼﻮﻳﺮﻛﺸﻴﺪﻥ ﺗﻴﭗ ﻫﺎﻱ ﺧﻴﺎﺑﺎﻧﻲ ﺩﺭ ﺍﻳﻦ ﻧﻮﻉ ﻋﻜﺎﺳﻲ ﺣﺎﻛﻲ ﺍﺯ ﻛﻨﺠﻜﺎﻭﻱ ﻣﺎ‬
‫ﺑﺮﺍﻱ ﺩﻳﺪﻥ ﺍﺳﺖ ﻧﻪ ﻧﺸﺎﻥ ﺩﺍﺩﻥ ﺷﺮﺍﻳﻂ ﻳﻚ ﻗﺸﺮ ﺧﺎﺹ ﻳﺎ ﻳﻚ ﺗﻴﭗ ﺧﺎﺹ ﺍﺟﺘﻤﺎﻋﻲ‪ .‬ﺩﺭ ﻳﻚ ﻋﻜﺲ‬
‫ﺧﻴﺎﺑﺎﻧﻲ ﺗﻴﭗ ﻫﺎﻱ ﺍﺟﺘﻤﺎﻋﻲ ﻗﺴﻤﺖ ﻫﺎﻳﻲ ﺍﺯ ﻳﻚ ﻭﺟﻮﺩ ﺭﻧﮕﺎﺭﻧﮓ ﻭ ﻣﺘﻨﻮﻉ ﺍﻧﺪ‪.‬‬
‫ﺩﺭ ﻭﺍﻛﻨﺶ ﺯﺑﺎﻥ ﻧﺴﺒﺖ ﺑﻪ ﺍﻳﻦ ﻧﻮﻉ ﻋﻜﺎﺳﻲ ﻭ ﻧﻘﺪ ﻭ ﺗﻔﺴﻴﺮ ﺁﻥ ﺑﻴﺎﻥ ﻛﺮﺩﻳﻢ ﻛﻪ ﺩﺭ ﺑﺮﺧﻲ ﺍﻭﻗﺎﺕ ﻭﺍﻛﻨﺶ‬
‫ﻣﻨﺎﺳﺐ ﺑﻪ ﻳﻚ ﻋﻜﺲ ﺧﻴﺎﺑﺎﻧﻲ ﺗﻨﻬﺎ ﺳﻜﻮﺕ ﻭ ﮔﺸﺖ ﻭ ﮔﺬﺍﺭ ﺩﺭ ﺟﺰﺋﻴﺎﺕ ﺁﻥ ﺍﺳﺖ‪ .‬ﺩﺭ ﻣﻮﺍﺭﺩ ﺩﻳﮕﺮﻱ ﻧﻴﺰ‬
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‫ﺍﺳﺖ‪.‬ﺍﻳﻦ ﻣﻲ ﺗﻮﺍﻧﺪ ﻧﻈﺮ‬ ‫‪P‬‬ ‫‪P‬‬ ‫ﻭﺍﻛﻨﺶ ﻣﻨﺎﺳﺐ‪ ،‬ﻧﻘﺪ ﻭ ﺗﻔﺴﻴﺮ ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﺳﺨﻨﺎﻥ ﻋﺎﻣﻴﺎﻧﻪ )ﺷﺎﻳﻌﻪ‪ ،‬ﺳﺨﻦ ﭼﻴﻨﻲ(‬
‫ﺭﺍﺟﻊ ﺑﻪ ﻫﺮ ﭼﻴﺰﻱ ﺍﺯ ﺟﻤﻠﻪ ﻧﻘﺶ ﺭﻭﻱ ﻟﺒﺎﺱ‪ ،‬ﺍﺭﺗﺒﺎﻁ ﺑﻴﻦ ﺳﻮژﻩ ﻫﺎ ﻳﺎ ﺣﺘﻲ ﻗﻴﺎﻓﻪ ﻇﺎﻫﺮﻱ ﻳﻚ ﺳﻮژﻩ ﺑﺎﺷﺪ‪.‬‬
‫ﺩﺭ ﻗﺴﻤﺘﻲ ﺩﻳﮕﺮ ﺩﻳﺪﻳﻢ ﻛﻪ ﺳﻮژﻩ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﻟﺰﻭﻣﺎً ﻣﺮﺩﻡ ﻧﻴﺴﺖ ﺑﻠﻜﻪ ﻣﻲ ﺗﻮﺍﻧﺪ ﺧﻮﺩ ﺧﻴﺎﺑﺎﻥ ﺑﺎﺷﺪ‪ .‬ﺑﺎ‬
‫ﻧﮕﺎﻩ ﺑﻪ ﻋﻜﺲ ﻫﺎﻱ ﺁﺗﮋﻩ ﺧﻴﺎﺑﺎﻥ ﻫﺎﻱ ﭘﺎﺭﻳﺲ ﺭﺍ ﻣﻲ ﺑﻴﻨﻴﻢ ﻛﻪ ﺍﮔﺮﭼﻪ ﺷﺨﺼﻲ ﺩﺭ ﺁﻥ ﻫﺎ ﻧﻴﺴﺖ ﻭﻟﻲ‬
‫ﻣﻮﺟﻮﺩﻳﺖ ﺧﻮﺩ ﻛﻮﭼﻪ ﻭ ﺧﻴﺎﺑﺎﻥ ﻭ ﺳﺎﺧﺘﻤﺎﻥ ﻫﺎ ﻣﺸﻬﻮﺩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺧﻮﺩ ﺧﻴﺎﺑﺎﻥ ﺍﺳﺖ ﻛﻪ ﺭﻭﺍﻳﺘﮕﺮ ﺍﺳﺖ‪.‬‬
‫ﭘﺲ ﺍﺯ ﻣﻄﺎﻟﻌﻪ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺩﺭ ﻗﺎﺭﻩ ﺍﺻﻠﻲ ﺍﺭﻭﭘﺎ )ﺍﺭﻭﭘﺎ ﺑﻪ ﺟﺰ ﺷﺒﻪ ﺟﺰﻳﺮﻩ ﺑﺮﻳﺘﺎﻧﻴﺎ(‪ ،‬ﺑﻪ ﺧﺼﻮﺹ ﭘﺎﺭﻳﺲ‪ ،‬ﺑﻪ‬
‫ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺧﺎﺭﺝ ﺍﺯ ﻗﺎﺭﻩ ﺍﺻﻠﻲ ﺍﺭﻭﭘﺎ ﭘﺮﺩﺍﺧﺘﻴﻢ‪ .‬ﺍﺯ ﺟﻤﻠﻪ ﺑﻪ ﻛﺎﺭﻫﺎﻱ ﻋﻜﺎﺳﺎﻧﻲ ﭼﻮﻥ ﺑﻴﻞ ﺑﺮﺍﻧﺖ ﺩﺭ‬
‫ﺍﻧﮕﻠﻴﺲ ﻛﻪ ﺑﺴﻴﺎﺭ ﺍﺯ ﺑﺮﺍﺳﺎﻳﻲ ﺍﻟﮕﻮ ﮔﺮﻓﺘﻪ ﺑﻮﺩ ﻭ ﻣﺎﻧﻮﺋﻞ ﺁﻟﻮﺍﺭﺯ ﺑﺮﺍﻭﻭ ﺩﺭ ﻣﻜﺰﻳﻚ ﻛﻪ ﺳﻮژﻩ ﺍﺵ ﺑﺎﻭﺭﻫﺎ ﻭ‬
‫ﺍﻋﺘﻘﺎﺩﺍﺕ ﺑﻮﻣﻲ ﺳﺮﺯﻣﻴﻦ ﺧﻮﺩ ﺑﻮﺩ ﭘﺮﺩﺍﺧﺘﻴﻢ‪.‬‬
‫ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺩﺭ ﺍﻳﺎﻻﺕ ﻣﺘﺤﺪﻩ ﺁﻣﺮﻳﻜﺎ ﺑﺎ ﻧﻮﻉ ﺍﺭﻭﭘﺎﻳﻲ ﺍﻧﺴﺎﻥ ﮔﺮﺍﻳﺎﻧﻪ ﺍﺵ ﺑﺴﻴﺎﺭ ﻣﺘﻔﺎﻭﺕ ﺑﻮﺩ‪ .‬ﺩﺭ ﺁﻣﺮﻳﻜﺎ‬
‫ﻋﻜﺲ ﻫﺎﻱ ﺧﻴﺎﺑﺎﻧﻲ ﻛﻤﺘﺮ ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩ ﺗﻔﺮﻳﺢ ﻭ ﺳﺮﮔﺮﻣﻲ ﻣﺮﺩﻡ ﻭ ﺑﻴﺸﺘﺮ ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩ ﺍﻭﺿﺎﻉ ﻣﺮﺩﻡ ﻭ ﺑﻪ‬
‫ﺧﺼﻮﺹ ﮔﻮﻧﺎﮔﻮﻧﻲ ﻭ ﺩﺭﻫﻢ ﺭﻳﺨﺘﮕﻲ ﺑﻮﺩ‪ .‬ﻳﻚ ﺗﻔﺎﻭﺕ ﺩﻳﮕﺮ ﻧﻴﺰ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﺣﺎﻟﻴﻜﻪ ﺩﺭ ﺍﺭﻭﭘﺎ ﻋﻜﺎﺳﺎﻥ‬
‫ﺑﺼﻮﺭﺕ ﻣﺴﺘﻘﻞ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﻫﺎ ﻋﻜﺲ ﻣﻲ ﮔﺮﻓﺘﻨﺪ ﻭ ﺑﻌﺪﻫﺎ ﻣﺆﺳ‪‬ﺴﺎﺕ ﺍﻳﺠﺎﺩ ﺷﺪﻧﺪ‪ ،‬ﺩﺭ ﺁﻣﺮﻳﻜﺎ ﺍﻳﻦ ﻋﻜﺎﺳﻲ ﺍﺯ‬
‫ﻣﺆﺳ‪‬ﺴﺎﺗﻲ ﺷﺮﻭﻉ ﺷﺪ ﻛﻪ ﺑﺮﺟﺴﺘﻪ ﺗﺮﻳﻦ ﺁﻧﻬﺎ ﺍﺩﺍﺭﻩ ﺍﻣﻨﻴﺖ ﻛﺸﺎﻭﺭﺯﻱ ﺑﻮﺩ‪ .‬ﻫﺪﻑ ﺍﻳﻦ ﻣﺆﺳ‪‬ﺴﺎﺕ ﻋﻜﺎﺳﻲ ﻧﺒﻮﺩ‪،‬‬
‫ﺑﻠﻜﻪ ﻣﻄﺎﻟﻌﻪ ﺯﻧﺪﮔﻲ ﺍﺟﺘﻤﺎﻋﻲ ﻣﺮﺩﻡ ﺁﻣﺮﻳﻜﺎ ﺑﻮﺩ‪ .‬ﻋﻜﺎﺳﻲ ﻛﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﺑﺰﺍﺭﻱ ﺑﺮﺍﻱ ﺍﻫﺪﺍﻑ ﺍﻳﻦ ﻣﺆﺳ‪‬ﺴﺎﺕ‬
‫ﺑﻮﺩ‪ ،‬ﺗﻮﺳﻂ ﻋﻜﺎﺳﺎﻥ ﺁﻧﻬﺎ ﭘﻴﺸﺮﻓﺖ ﻛﺮﺩﻩ ﻭ ﺑﺴﻴﺎﺭ ﻓﺮﺍﺗﺮ ﺍﺯ ﺍﻫﺪﺍﻑ ﺍﻳﻦ ﻣﺆﺳ‪‬ﺴﺎﺕ ﭘﻴﺶ ﺭﻓﺖ‪ .‬ﺍﺯﺟﻤﻠﻪ ﺗﺄﺛﻴﺮ‬
‫ﮔﺬﺍﺭﺗﺮﻳﻦ ﺍﻳﻦ ﻋﻜﺎﺳﺎﻥ ﻭﺍﻛﺮ ﺍﻭﺍﻧﺰ ﺑﻮﺩ ﻛﻪ ﺍﻛﻨﻮﻥ ﺟﺎﻳﮕﺎﻩ ﺑﺰﺭﮔﻲ ﺩﺭ ﺗﺎﺭﻳﺦ ﻋﻜﺎﺳﻲ ﺩﺍﺭﺩ‪.‬‬
‫ﺩﺭ ﺩﻫﻪ ﭘﻨﺠﺎﻩ ﻗﺮﻥ ﺑﻴﺴﺘﻢ ﻣﻴﻼﺩﻱ ﻧﻴﺰ ﺩﺭ ﺁﻣﺮﻳﻜﺎ ﻋﻜﺎﺳﺎﻥ ﺩﻳﮕﺮﻱ ﺩﺭ ﺯﻣﻴﻨﻪ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﻓﻌﺎﻟﻴﺖ ﻧﻤﻮﺩﻧﺪ‬
‫ﻛﻪ ﻗﻮﺍﻧﻴﻦ ﻗﺒﻠﻲ ﺭﺍ ﺑﻪ ﻛﻠﻲ ﺯﻳﺮ ﭘﺎ ﮔﺬﺍﺷﺘﻨﺪ‪ .‬ﻭﻳﻠﻴﺎﻡ ﻛﻠﻴﻦ ﺍﺻﻞ ﺩﻳﺪﻩ ﻧﺸﺪﻥ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﺭﺍ ﺯﻳﺮﭘﺎ ﮔﺬﺍﺷﺖ ﻭ‬
‫ﺑﺎ ﺩﻭﺭﺑﻴﻦ ﺧﻮﺩ ﺍﺯ ﻧﺰﺩﻳﻚ ﺑﺎ ﺳﻮژﻩ ﻫﺎ ﻣﻮﺍﺟﻬﻪ ﻣﻲ ﻛﺮﺩ ﻭ ﻭﺍﻛﻨﺶ ﺁﻧﻬﺎ ﺭﺍ ﺑﺮ ﻣﻲ ﺍﻧﮕﻴﺨﺖ‪ .‬ﺭﺍﺑﺮﺕ ﻓﺮﺍﻧﻚ‪ ،‬ﺑﺮ‬
‫ﺧﻼﻑ ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﻛﻪ ﺍﺯ ﻣﻴﺎﻥ ﭼﻨﺪﻳﻦ ﻋﻜﺲ ﭘﻴﺎﭘﻲ ﻳﻜﻲ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻣﻲ ﻧﻤﻮﺩ ﻛﻪ ﺣﺎﻭﻱ ﺑﻬﺘﺮﻳﻦ ﺣﺎﻟﺖ‬
‫ﻣﻮﺟﻮﺩ ﺑﻮﺩ‪ ،‬ﻋﻜﺲ ﻫﺎﻳﺶ ﺭﺍ ﺑﺼﻮﺭﺕ ﮔﺮﻭﻫﻲ ﺩﺭ ﻛﺘﺎﺏ ﭼﺎپ ﻣﻲ ﻛﺮﺩ‪ .‬ﻫﺮ ﺗﻚ ﻋﻜﺲ ﺍﻭ ﻓﺎﻗﺪ ﺍﺭﺯﺵ‬
‫ﻣﺴﺘﻘﻞ ﻣﻲ ﺑﻮﺩ ﻭﻟﻲ ﺳﻠﺴﻠﻪ ﻋﻜﺲ ﻫﺎﻱ ﺍﻭ ﺑﺎ ﺗﻜﻤﻴﻞ ﻳﻜﺪﻳﮕﺮ ﻳﻚ ﻣﺠﻤﻮﻋﻪ ﺍﺭﺯﺷﻤﻨﺪ ﻭ ﺗﺄﺛﻴﺮ ﮔﺬﺍﺭ ﺍﻳﺠﺎﺩ ﻣﻲ‬
‫ﻛﺮﺩﻧﺪ‪.‬‬
‫‪gossip .1‬‬
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‫ﺑﺎ ﺍﻳﻦ ﻛﻪ ﺍﻳﻦ ﻧﻮﺷﺘﺎﺭ ﺩﺭ ﺍﻳﻨﺠﺎ ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﺪ ﻭﻟﻲ ﺷﺎﻳﺎﻥ ﺫﻛﺮ ﺍﺳﺖ ﻛﻪ ﻋﻜﺎﺳﺎﻥ ﺧﻴﺎﺑﺎﻧﻲ ﺗﺄﺛﻴﺮﮔﺬﺍﺭﻱ ﻧﻴﺰ ﭘﺲ‬
‫ﺍﺯ ﻋﻜﺎﺳﺎﻥ ﻣﻮﺭﺩ ﺫﻛﺮ ﻛﺎﺭﻫﺎﻱ ﺑﺰﺭﮔﻲ ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻨﻪ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻧﺪ‪ .‬ﻣﻦ ﺟﻤﻠﻪ ﮔﺮﻱ ﻭﻳﻨﻮﮔﺮﺍﻧﺪ ﻭ ﻟﻲ ﻓﺮﻳﺪﻟﻨﺪﺭ‪.‬‬
‫ﻋﻜﺎﺳﺎﻥ ﺩﻳﮕﺮﻱ ﻧﻴﺰ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺭﻧﮕﻲ ﺭﺍ ﭘﺎﻳﻪ ﺭﻳﺰﻱ ﻛﺮﺩﻧﺪ ﻛﻪ ﺍﺯ ﺁﻧﻬﺎ ﻣﻲ ﺗﻮﻥ ﺑﻪ ﺍﺳﺘﻔﺎﻥ ﺷﻮﺭ‪ ،‬ﻭﻳﻠﻴﺎﻡ‬
‫ﺍﮔﻠﺴﺘﻮﻥ ﻭ ﺟﻮﺋﻞ ﻣﻲ ﺍﺭﻭﻭﻳﺘﺰ ﺍﺷﺎﺭﻩ ﻛﺮﺩ‪ .‬ﭘﺮﺩﺍﺧﺘﻦ ﺑﻪ ﻛﺎﺭ ﺍﻳﻦ ﻋﻜﺎﺳﺎﻥ ﺧﻮﺩ ﻣﻘﻮﻟﻪ ﺍﻱ ﮔﺴﺘﺮﺩﻩ ﺍﺳﺖ ﻭ ﻳﻚ‬
‫ﺗﺤﻘﻴﻖ ﻣﺠﺰﺍ ﺭﺍ ﻃﻠﺐ ﻣﻲ ﻛﻨﺪ‪.‬‬
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‫ﭘﺮﻭژﻩ ﻋﻤﻠﻲ‪:‬‬
‫ﻧﺎﻇﺮ ﺑﻲ ﻃﺮﻑ‬
‫ﺩﺭ ﺍﻳﻦ ﭘﺮﻭژﻩ ﻣﻮﺿﻮﻉ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺍﺳﺖ‪ .‬ﻋﻜﺎﺳﻲ ﺍﺯ ﺭﻫﮕﺬﺭﺍﻥ ﺩﺭ ﻛﻮﭼﻪ ﻭ ﺧﻴﺎﺑﺎﻥ ﺑﺼﻮﺭﺕ ﺑﻲ ﻫﻮﺍ ﻭ‬
‫ﺑﺪﻭﻥ ﺑﺮﺍﻧﮕﻴﺨﺘﻦ ﻭﺍﻛﻨﺶ ﺁﻧﻬﺎ ﻧﺴﺒﺖ ﺑﻪ ﺩﻭﺭﺑﻴﻦ‪ .‬ﺩﻭﺭﺑﻴﻦ ﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩ ﺩﻳﺠﻴﺘﺎﻝ ﻭ ﺑﺎ ﻗﻄﻊ ‪ APS-C‬ﺍﺳﺖ ﻭ‬
‫ﻟﻨﺰ ﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩ ﻟﻨﺰ ﻭﺍﻳﺪ ﻭ ﻓﺎﺻﻠﻪ ﻛﺎﻧﻮﻧﻲ ﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩ ‪ 17‬ﻣﻴﻠﻴﻤﺘﺮ)ﻣﻌﺎﺩﻝ ‪ 27‬ﻣﻴﻠﻴﻤﺘﺮ ﺩﺭ ﻗﻄﻊ ‪ 35‬ﻣﻴﻠﻴﻤﺘﺮﻱ(‬
‫ﻣﻲ ﺑﺎﺷﺪ‪ .‬ﺍﻳﻦ ﭘﺮﻭژﻩ ﺑﺼﻮﺭﺕ ﺭﻧﮕﻲ ﻋﻜﺎﺳﻲ ﻣﻲ ﺷﻮﺩ ﻭ ﻋﻜﺲ ﻫﺎ ﺑﻪ ﻫﻤﺎﻥ ﺻﻮﺭﺕ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺗﻮﺳﻂ‬
‫ﺩﻭﺭﺑﻴﻦ ﻭ ﺑﺪﻭﻥ ﻛﻮﭼﻜﺘﺮﻳﻦ ﺩﺧﻞ ﻭ ﺗﺼﺮﻓﻲ ﺗﻮﺳﻂ ﻧﺮﻡ ﺍﻓﺰﺍﺭ‪ ،‬ﭼﺎپ ﻣﻲ ﺷﻮﻧﺪ‪.‬‬
‫ﺩﺭ ﻋﻜﺎﺳﻲ ﺍﻳﻦ ﭘﺮﻭژﻩ ﻋﻤﻞ ﻋﻜﺎﺳﻲ ﺭﺍ ﺑﺎ ﺳﺮﻋﺖ ﻋﻤﻞ ﺑﺎﻻ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻡ ﺑﻄﻮﺭﻳﻜﻪ ﺳﻮژﻩ ﻫﺎ ﺗﻨﻬﺎ ﺯﻣﺎﻧﻲ ﺑﻪ ﻋﻤﻞ‬
‫ﻋﻜﺎﺳﻲ ﻣﻮﻗﻮﻑ ﻣﻲ ﺷﺪﻧﺪ ﻛﻪ ﺩﺭﺳﺖ ﻟﺤﻈﻪ ﺍﻱ ﭘﻴﺶ ﺍﺯ ﺁﻥ ﻧﻮﺭﺩﻫﻲ ﺍﻧﺠﺎﻡ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﭘﻴﺶ ﺍﺯ ﻓﺸﺮﺩﻥ ﺩﻛﻤﻪ‬
‫ﺷﺎﺗﺮ ﻭ ﺍﻧﺠﺎﻡ ﻧﻮﺭﺩﻫﻲ‪ ،‬ﺗﻨﻈﻴﻤﺎﺕ ﺭﺍ ﺍﻧﺠﺎﻡ ﻣﻲ ﺩﺍﺩﻡ‪ .‬ﺩﺭ ﻟﺤﻈﻪ ﺩﻳﺪﻥ ﺻﺤﻨﻪ ﻭ ﺳﻮژﻩ ﺩﻟﺨﻮﺍﻩ ﻓﺮﻳﻢ ﺑﻨﺪﻱ ﺭﺍ‬
‫ﺩﺭﺫﻫﻦ ﺍﻧﺠﺎﻡ ﻣﻲ ﺩﺍﺩﻡ ﻭ ﺑﻼﻓﺎﺻﻠﻪ ﺩﻭﺭﺑﻴﻦ ﺭﺍ ﻛﻪ ﺩﺭ ﻧﺰﺩﻳﻚ ﮔﺮﺩﻧﻢ ﮔﺮﻓﺘﻪ ﺑﻮﺩﻡ ﻭ ﺗﺎ ﻧﻴﻤﻪ ﺩﻛﻤﻪ ﺷﺎﺗﺮ ﺭﺍ ﻓﺸﺎﺭ‬
‫ﺩﺍﺩﻩ ﺑﻮﺩﻡ ﺟﻠﻮﻱ ﭼﺸﻤﻢ ﮔﺮﻓﺘﻪ ﻭ ﻋﻜﺎﺳﻲ ﺭﺍ ﺍﻧﺠﺎﻡ ﻣﻲ ﺩﺍﺩﻡ‪ .‬ﺩﺭ ﺑﻌﻀﻲ ﺍﻭﻗﺎﺕ ﻫﻢ ﺩﻭﺭﺑﻴﻦ ﺭﺍ ﭘﺎﻳﻴﻦ ﺗﺮ ﺍﺯ‬
‫ﺳﻄﺢ ﭼﺸﻢ ﮔﺮﻓﺘﻪ ﻭ ﺑﺎ ﺗﺠﺴﻢ ﺫﻫﻨﻲ ﺍﺯ ﻓﺮﻳﻢ‪ ،‬ﺑﺪﻭﻥ ﻧﮕﺎﻩ ﻛﺮﺩﻥ ﺑﻪ ﻭﻳﺰﻭﺭ ﻋﻜﺲ ﻣﻲ ﮔﺮﻓﺘﻢ‪ .‬ﺍﮔﺮﭼﻪ ﺩﺭ ﺍﻳﻦ‬
‫ﺭﻭﺵ ﻧﺴﺒﺖ ﻋﻜﺲ ﻫﺎﻱ ﻧﮕﻪ ﺩﺍﺷﺘﻪ ﺷﺪﻩ ﺑﻪ ﻋﻜﺲ ﻫﺎﻱ ﺩﻭﺭ ﺭﻳﺨﺘﻪ ﺷﺪﻩ)ﭘﺎﻙ ﺷﺪﻩ( ﻧﺴﺒﺖ ﺑﻪ ﺭﻭﺵ ﻧﮕﺎﻩ‬
‫ﻛﺮﺩﻥ ﺑﻪ ﻭﻳﺰﻭﺭ ﻛﻢ ﺑﻮﺩ ﻭﻟﻲ ﻋﻜﺲ ﻫﺎﻱ ﻧﮕﻪ ﺩﺍﺷﺘﻪ ﺷﺪﻩ ﺍﺭﺯﺵ ﺁﻥ ﺭﺍ ﺩﺍﺷﺘﻨﺪ‪ .‬ﺩﺭ ﻣﻮﺍﺭﺩﻱ ﻧﻴﺰ ﺩﻭﺭﺑﻴﻦ ﺭﺍ ﺩﺭ‬
‫ﺳﻄﺢ ﻛﻤﺮ ﻣﻲ ﮔﺮﻓﺘﻢ‪ ،‬ﺍﺯ ﺻﻔﺤﻪ ﻧﻤﺎﻳﺶ ﺩﻭﺭﺑﻴﻦ ﺑﻪ ﻋﻨﻮﺍﻥ ﻭﻳﺰﻭﺭ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻲ ﻛﺮﺩﻡ ﻭ ﺍﺯ ﺑﺎﻻ ﺑﺎ ﻧﮕﺎﻩ ﻛﺮﺩﻥ ﺑﻪ‬
‫ﺁﻥ ﻛﺎﺩﺭ ﺑﻨﺪﻱ ﻧﻤﻮﺩﻩ ﻭ ﻋﻜﺲ ﻣﻲ ﮔﺮﻓﺘﻢ‪.‬‬
‫ﺑﺮﺍﻱ ﺟﻠﺐ ﺗﻮﺟﻪ ﻧﻨﻤﻮﺩﻥ ﻭﺍﻧﻤﻮﺩ ﻣﻲ ﻛﺮﺩﻡ ﻛﻪ ﺩﺭﺣﺎﻝ ﺗﻨﻈﻴﻢ ﺩﻭﺭﺑﻴﻦ ﻳﺎ ﺗﻌﻤﻴﺮ ﺁﻥ ﻭ ﻳﺎ ﺗﻤﻴﺰ ﻛﺮﺩﻥ ﺁﻥ‬
‫ﻫﺴﺘﻢ‪ ،‬ﺩﺭ ﺻﻮﺭﺗﻴﻜﻪ ﺩﺭ ﺣﺎﻝ ﻋﻜﺲ ﮔﺮﻓﺘﻦ ﺑﻮﺩﻡ‪.‬‬
‫ﻋﻨﻮﺍﻥ ﻋﻜﺲ ﻫﺎ ﻫﻤﺎﻥ ﺯﻣﺎﻥ ﻭ ﻣﻜﺎﻥ ﮔﺮﻓﺘﻪ ﺷﺪﻧﺸﺎﻥ ﻣﻲ ﺑﺎﺷﺪ‪.‬‬
‫‪111‬‬
References ‫ﻣﻨﺎﺑﻊ‬
1. Frank, Robert. 1991. Robert Frank, Thames and Hudson

2. Mora, Gilles and Hill, John T. 1993. Walker Evans, The Hungry Eye. Thames and Hudson
3. Scott, Clive. 2007. Street Photography, From Atget to Cartier Bresson. I.B. TAURIS
4. Szarkowski, John. 1976. Looking at Photographs. Idea Book International. Paris
5. Westerbeck, Colin and Meyerowitz, Joel. 1944. Bystander. A History of Street Photography.
Thames and Hudson
6. Various Internet Websites.
References of Pictures ‫ﻣﻨﺎﺑﻊ ﺗﺼﻮﻳﺮﻱ‬
1. Frank, Robert. 1991. Robert Frank, Thames and Hudson

2. Mora, Gilles and Hill, John T. 1993. Walker Evans, The Hungry Eye. Thames and Hudson
3. Scott, Clive. 2007. Street Photography, From Atget to Cartier Bresson. I.B. TAURIS
4. Szarkowski, John. 1976. Looking at Photographs. Idea Book International. Paris
5. Westerbeck, Colin and Meyerowitz, Joel. 1944. Bystander. A History of Street Photography.
Thames and Hudson
6. Various Internet Websites.

تحليل ماهيت عكاسي خياباني و كارهاي عكاسان به نام اين سبك در غرب درنيمه اول قرن بيستم ميلادي

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تحليل ماهيت عكاسي خياباني و كارهاي عكاسان به نام اين سبك در غرب درنيمه اول قرن بيستم ميلادي

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‫‪,‬‬

‫ﺩﺍﻧﺸﻜﺪﻩ ﻫﻨﺮﻫﺎﻱ ﺗﺠﺴﻤﻲ‬

‫ﭘﺎﻳﺎﻥ ﻧﺎﻣﻪ ﺑﺮﺍﻱ ﺩﺭﻳﺎﻓﺖ ﺩﺭﺟﻪ ﻛﺎﺭﺷﻨﺎﺳﻲ ﺍﺭﺷﺪ‬

‫ﻋﻨﻮﺍﻥ ﺑﺨﺶ ﻋﻤﻠﻲ‬

‫ﺍﺳﺘﺎﺩ ﺭﺍﻫﻨﻤﺎﻱ ﺑﺨﺶ ﻋﻤﻠﻲ‬

‫ﺗﻴﺮ ﻣﺎﻩ ‪۱۳۹۱‬‬

Dissertion for the Degree of Master of Arts in

Practical Project Supervisor

A Thesis Submitted to Graduate Studies Office in Partial Fulfillment of the

By: Pooya Abedinzadeh

‫ﺗﺎﺭﻳﺦ‪۱۳۹۱/٤/۱۰ :‬‬ ‫ﺍﻣﻀﺎء‬

‫ﻓﺼﻞ ﺍﻭﻝ‪ :‬ﻣﺎﻫﻴﺖ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ‪4.......................................................‬‬

‫ﻣﻘﺪﻣﻪ ﻓﺼﻞ ﺍﻭﻝ ‪5....................................................................................................................... :‬‬

‫ﺑﺨﺶ ﺍﻭﻝ‪ :‬ﭘﻴﺪﺍﻳﺶ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﻭ ﻣﻨﺸﺄ ﺁﻥ ﺩﺭ ﻧﻘﺎﺷﻲ ﻫﺎﻱ ﺍﻳﻤﭙﺮِﺷ‪‬ﻨﻴﺴﺘﻲ‪7.................................‬‬

‫ﺑﺨﺶ ﺩﻭﻡ‪ :‬ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﻭ ﻣﺴﺘﻨﺪ ‪14.........................................................................................‬‬

‫ﺑﺨﺶ ﺳﻮﻡ‪ :‬ﻓﺮﻭﺷﻨﺪﮔﺎﻥ‪ ،‬ﺳﺮﮔﺮﻡ ﻛﻨﻨﺪﮔﺎﻥ ﻭ ﺩﻳﮕﺮ ﺗﻴﭗ ﻫﺎﻱ ﺧﻴﺎﺑﺎﻧﻲ‪22.........................................‬‬

‫ﺑﺨﺶ ﭼﻬﺎﺭﻡ‪ :‬ﻣﻨﺎﺳﺒﺖ ﺯﺑﺎﻥ ﺩﺭ ﻭﺍﻛﻨﺶ ﺑﻪ ﻋﻜﺲ ﺧﻴﺎﺑﺎﻧﻲ‪27...........................................................‬‬

‫ﺑﺨﺶ ﭘﻨﺠﻢ‪ :‬ﺧﻴﺎﺑﺎﻧﻬﺎ‪ ،‬ﺳﺎﺧﺘﻤﺎﻧﻬﺎ ﻭ ﺷﻬﺮ ﻫﻮﻳﺖ ﻣﺬﻛﺮ ﻳﺎ ﻣﺆﻧﺚ‪33....................................................‬‬

‫ﻧﺘﻴﺠﻪ ﮔﻴﺮﻱ ﻓﺼﻞ ﺍﻭﻝ ‪37..............................................................................................................‬‬

‫ﻓﺼﻞ ﺩﻭﻡ ‪ :‬ﺗﺎﺭﻳﺦ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ‪40......................................................‬‬

‫ﺑﺨﺶ ﺍﻭﻝ‪ :‬ﺍﻭﺍﺧﺮ ﻗﺮﻥ ‪ 19‬ﻭ ﺍﻭژﻥ ﺁﺗﮋﻩ‪40.............................................................‬‬

‫‪ :1‬ﭘﻴﺶ ﺍﺯ ﻋﻜﺎﺳﻲ ‪41...................................................................................................................‬‬

‫‪ :2‬ﺩﺭ ﺁﻏﺎﺯ ﻋﻜﺎﺳﻲ ‪42..................................................................................................................‬‬

‫‪ :3‬ﺟﺎﻥ ﺗﺎﻣﺴﻮﻥ ﻭ ﻛﻠﻮﺩﻳﻮﻥ ﺗﺮ ‪44..................................................................................................‬‬

‫‪ :4‬ﻋﻜﺲ ﻫﺎﻳﻲ ﺑﻪ ﻋﻨﻮﺍﻥ ﺗﻔﺮﻳﺢ ﻣﺸﺎﺑﻪ ﻛﺎﺭ ﺍﺻﻠﻲ‪45........................................................................‬‬

‫‪ :5‬ﻫﻨﺮ ﺑﺮﺍﻱ ﻫﻨﺮ ﻭ ﺍﺳﺘﻴﮕﻠﻴﺘﺰ ‪47.......................................................................................................‬‬

‫‪ :6‬ﺁﺗﮋﻩ ﻭ ﺍﺳﻨﺎﺩﻱ ﺑﺮﺍﻱ ﻫﻨﺮﻣﻨﺪﺍﻥ ‪52................................................................................................‬‬

‫‪ :8‬ﻛﺎﺭﺗﻴﻪ ﺑﺮﺳﻮﻥ ﻭ ﻟﺤﻈﻪ ﻗﻄﻌﻲ ‪58..................................................................................................‬‬

‫‪ :9‬ﻋﻜﺎﺳﺎﻥ ﻣﺠﺎﺭﺳﺘﺎﻧﻲ ﺍﻻﺻﻞ ‪64....................................................................................................‬‬

‫‪ :10‬ﻋﻜﺎﺳﺎﻥ ﺧﺎﺭﺝ ﺍﺯ ﻗﺎﺭﻩ ﺍﺻﻠﻲ ﺍﺭﻭﭘﺎ‪68.......................................................................................‬‬

‫‪ :11‬ﺩﻭﺍﻧﻮ‪ ،‬ﮔﻴﻠﺰ ﭘﺮﺱ ﻭ ﻛﻮﺩﻟﻜﺎ ‪71.................................................................................................‬‬

‫ﺑﺨﺶ ﺳﻮﻡ‪ :‬ﻭﺍﻛﺮ ﺍﻭﺍﻧﺰ ﻭ ﺁﻣﺮﻳﻜﺎ ﭘﻴﺶ ﺍﺯ ﺟﻨﮓ‪77......................................................‬‬

‫‪ :12‬ﭘﻴﺸﺮﻓﺖ ﺍﺟﺘﻤﺎﻋﻲ‪ .‬ﺭﻳﺲ ﻭ ﻫﺎﻳﻦ ‪78...........................................................................................‬‬

‫‪ :13‬ﺩﻳﺪ ﺟﻤﻌﻲ‪ :‬ﺍﺩﺍﺭﻩ ﺍﻣﻨﻴﺖ ﻛﺸﺎﻭﺭﺯﻱ ﻭ ﺍﺩﺍﺭﻩ ﭘﻴﺸﺮﻓﺖ ﻛﺎﺭ‪82........................................................‬‬

‫‪ :14‬ﺁﺑﻮﺕ ﻭ ﺍﻭﺍﻧﺰ ‪91.......................................................................................................................‬‬

‫ﺑﺨﺶ ﭼﻬﺎﺭﻡ‪ :‬ﺭﺍﺑﺮﺕ ﻓﺮﺍﻧﻚ ﻭ ﺁﻣﺮﻳﻜﺎ ﭘﺲ ﺍﺯ ﺟﻨﮓ‪98..............................................‬‬

‫‪ :15‬ﺍﺷﺨﺎﺹ ﺟﺎﺑﺠﺎ ﺷﺪﻩ ﺍﺯ ﻭﻃﻦ ﺍﺻﻠﻲ‪99.......................................................................................‬‬

‫‪ :16‬ﺷﻬﺮﻭﻧﺪﺍﻥ ﺁﻣﺮﻳﻜﺎﻳﻲ ﺷﺪﻩ ‪100..................................................................................................‬‬

‫‪:17‬ﻭﻳﻠﻴﺎﻡ ﻛﻠﻴﻦ ‪102.........................................................................................................................‬‬

‫‪:18‬ﺭﺍﺑﺮﺕ ﻓﺮﺍﻧﻚ ‪105.....................................................................................................................‬‬

‫‪:19‬ﻧﺘﻴﺠﻪ ﮔﻴﺮﻱ ‪108........................................................................................................................‬‬

‫ﭘﺮﻭژﻩ ﻋﻤﻠﻲ)ﻧﺎﻇﺮ ﺑﻲ ﻃﺮﻑ( ‪111.....................................................................................................‬‬

‫ﻋﻜﺲ ‪69................................................. 2-14‬‬ ‫ﻋﻜﺲ ‪7.................................................... 1-1‬‬

‫ﻫﺴﺘﻪ ﻭﺟﻮﺩﻱ ﻋﻜﺎﺳﻲ ﺧﻴﺎﺑﺎﻧﻲ ﺍﺳﺖ‪.‬‬

‫ﺗﻔﺎﻭﺕ ﺑﻴﻦ ﺍﻳﻦ ﺩﻭ ﺣﺎﻟﺖ ﺍﺳﺖ‪.‬‬

‫‪ .Henri Cartier-Bresson .1‬ﻋﻜﺎﺱ ﻓﺮﺍﻧﺴﻮﻱ ‪1908-2004‬‬

‫‪fait divers .1‬‬

‫ﺷﻜﻞ ‪ 1-1‬ﺍﺩﻭﺍﺭ ﻣﺎﻧﻪ‪ ،‬ﻣﻮﺳﻴﻘﻲ ﺩﺭ ﺗﻮﻳﻴﻠﺮﻱ )‪(1862‬‬

‫‪ .Jean-Baptiste-Camille Corot .1‬ﻧﻘﺎﺵ ﻓﺮﺍﻧﺴﻮﻱ ‪1796-1875‬‬

‫‪ .John Berger .1‬ﻧﻮﻳﺴﻨﺪﻩ‪،‬ﻧﻘﺎﺵ ﻭ ﻣﻨﺘﻘﺪ ﺍﻧﮕﻠﻴﺴﻲ‪ .‬ﻣﺘﻮﻟﺪ ‪1926‬‬

‫‪ .Paul Augustus Martin‬ﻋﻜﺎﺱ ﺍﻧﮕﻠﻴﺴﻲ ﺯﺍﺩﻩ ﻓﺮﺍﻧﺴﻪ ‪1864-1944‬‬ ‫‪.1‬‬

‫ﺷﻜﻞ ‪ :1-3‬ﮔﻮﺳﺘﺎﻭﻛﺎﻟﻴﺒﻮﺕ‪ -‬ﺧﻴﺎﺑﺎﻥ ﭘﺎﺭﻳﺲ‪ ،‬ﻫﻮﺍﻱ ﺑﺎﺭﺍﻧﻲ )‪(1877‬‬

‫ﺳﻮژﻩ ﺷﺎﻥ ﺩﺭ ﺣﺎﻝ ﻧﺎﭘﺪﻳﺪ ﺷﺪﻥ ﺍﺳﺖ ﻭ ﺍﺯ ﺁﻧﻬﺎ ﻳﻚ ﺟﺎﻧﺸﻴﻦ ﻣﻲ ﺳﺎﺯﻧﺪ‪.‬‬

‫‪ .Berenice Abbott .1‬ﻋﻜﺎﺱ ﺁﻣﺮﻳﻜﺎﻳﻲ‪1898-1991 .‬‬

‫ﻣﻨﺒﻊ ﺷﻤﺎﺭﻩ ‪ .3‬ﺻﻔﺤﻪ ‪1956 .90‬‬ ‫‪.1‬‬

‫ﻋﻜﺲ ‪ 1-5‬ﺍﻳﺰﻳﺲ‪ -‬ﺑﻠﻮﺍﺭ ﺳﺎﻥ ﻣﻴﻜﻞ )‪(1949‬‬

‫‪ .Izis(Israëlis) Bidermanas .1‬ﻋﻜﺎﺱ ﻳﻬﻮﺩﻱ‪-‬ﻟﻴﺘﻮﺍﻧﻴﺎﻳﻲ‪1911-1980 .‬‬

‫‪film still .1‬‬

‫ﻣﻄﺎﻟﻌﻪ ﺁﻧﻬﺎ ﻣﻲ ﭘﺮﺩﺍﺧﺘﻨﺪ‪ .‬ﺗﻐﻴﻴﺮﺍﺕ ﺍﺟﺘﻤﺎﻋﻲ ﺿﺮﻭﺭﻱ ﺑﻮﺩﻧﺪ‪.‬‬

‫ﻋﻜﺲ ‪ 1-9‬ﺭﻧﻪ ژﺍﻙ‪ -‬ﺭﻭﺯﻧﺎﻣﻪ ﻓﺮﻭﺵ‪ ،‬ﭘﺎﺭﻳﺲ)‪(1936‬‬

‫‪ .René-Jacques .1‬ﻋﻜﺎﺱ ﻓﺮﺍﻧﺴﻮﻱ‪1908-2003 .‬‬

‫‪ .George Brassaï .1‬ﻧﺎﻡ ﻣﺴﺘﻌﺎﺭ ‪ .Gyula Halász‬ﻋﻜﺎﺱ ﻣﺠﺎﺭﺳﺘﺎﻧﻲ ‪1899-1984‬‬

‫ﻋﻜﺲ ‪ 1-10‬ﺑﺮﻱ ﻟﻮﺋﻴﺲ‪Charing Cross Station, 5:30 pm (1976) ،‬‬

‫‪ .Jacques Henri Lartigue .1‬ﻋﻜﺎﺱ ﻓﺮﺍﻧﺴﻮﻱ ‪1894-1986‬‬