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com -‬‬
 ‫ﺍﻟﺬﻛﻮﺭﺓﻭﺍﻟﻠﺒﺎﺱ ﻓﻲ ﺍﻟﻌﺼﻮﺭ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﺍﻟﻘﺪﻳﻤﺔ‬

‫ﻓﻲﺍﻟﺬﻛﻮﺭﺓ ﻭﺍﻟﻠﺒﺎﺱ ﻓﻲ ﺍﻟﻌﺼﻮﺭ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﺍﻟﻘﺪﻳﻤﺔ‪،‬ﻳﺮﻯ ﺃﻭﻟﺴﻮﻥ ﺃﻥ ﺍﻟﻤﻼﺑﺲ ﻛﺎﻧﺖ ﺑﻤﺜﺎﺑﺔ ﺟﺰء‬
‫ﻣﻦﻋﻤﻠﻴﺔ ﺍﻻﺗﺼﺎﻝ ﺍﻟﺘﻲ ﻣﻦ ﺧﻼﻟﻬﺎ ﺗﻢ ﺍﻟﺘﻌﺮﻳﻒ ﻭﺍﻻﻋﺘﺮﺍﻑ ﺑﺘﺄﺛﻴﺮ ﺍﻟﻨﺨﺒﺔ ﺍﻟﺬﻛﻮﺭﻳﺔ‪ ،‬ﻭﺍﻟﺬﻛﻮﺭﺓ‪،‬‬
‫ﻭﺍﻟﺠﻨﺲ‪،‬ﻋﻼﻭﺓ ﻋﻠﻰ ﺃﻥ ﻫﺬﻩ ﺍﻟﻤﻔﺎﻫﻴﻢ ﻣﺘﺮﺍﺑﻄﺔ ﺑﻄﺮﻕ ﺫﺍﺕ ﺃﻫﻤﻴﺔ ﺍﺟﺘﻤﺎﻋﻴﺔ‪ .‬ﻭﻳﺒﻴﻦ ﻫﺬﺍ‬
‫ﺍﻟﻤﺠﻠﺪﺃﻳﻀﺎً ﺗﻔﺎﺻﻴﻞ ﺍﻟﻠﺒﺎﺱ ﺍﻟﺮﺟﺎﻟﻲ ﻣﻦ ﺍﻟﺸﻮﺍﻫﺪ ﺍﻷﺩﺑﻴﺔ ﻭﺍﻟﻔﻨﻴﺔ ﻭﺍﺭﺗﺒﺎﻁ ﺍﻟﻠﺒﺎﺱ ﺑﺎﻟﺮﺗﺒﺔ‬
‫ﻭﺍﻟﻤﻜﺎﻧﺔﻭﺍﻟﻄﻘﻮﺱ‪ .‬ﻫﺬﻩ ﻫﻲ ﺍﻟﺪﺭﺍﺳﺔ ﺍﻷﻭﻟﻰ ﺑﺎﻟﻠﻐﺔ ﺍﻹﻧﺠﻠﻴﺰﻳﺔ ﺍﻟﺘﻲ ﺗﺠﻤﻊ ﺍﻷﺩﻟﺔ ﺍﻟﺘﻲ ﻻ ﺗﻌﺪ ﻭﻻ‬
‫ﺗﺤﺼﻰﻋﻠﻰ ﻣﻼﺑﺲ ﺍﻟﺮﺟﺎﻝ ﻓﻲ ﺍﻟﻌﺎﻟﻢ ﺍﻟﺮﻭﻣﺎﻧﻲ‪ ،‬ﻭﺗﻔﺤﺼﻬﺎ ﻛﺪﻟﻴﻞ ﻋﻠﻰ ﻋﺮﺽ ﺍﻟﺮﺟﺎﻝ ﻟﺬﺍﺗﻬﻢ‪،‬‬
‫ﻭﻣﻜﺎﻧﺘﻬﻢ‪،‬ﻭﺗﻘﺎﻟﻴﺪﻫﻢ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‪.‬‬

‫ﻛﻴﻠﻲﺃﻭﻟﺴﻮﻥﻫﻲ ﺃﺳﺘﺎﺫ ﻣﺸﺎﺭﻙ ﻓﻲ ﺍﻟﻜﻼﺳﻴﻜﻴﺎﺕ ﻓﻲ ﺟﺎﻣﻌﺔ ﻭﻳﺴﺘﺮﻥ ﺃﻭﻧﺘﺎﺭﻳﻮ‪ ،‬ﻛﻨﺪﺍ‪ .‬ﻭﺗﺸﻤﻞ‬

‫ﺃﻋﻤﺎﻟﻬﺎﺍﻷﺧﺮﻯﺍﻟﻠﺒﺎﺱ ﻭﺍﻟﻤﺮﺃﺓ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ )ﺭﻭﺗﻠﻴﺪﺝ‪.(2008 ،‬‬
 ‫ﺩﺭﺍﺳﺎﺕﺭﻭﺗﻠﻴﺪﺝ ﻓﻲ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﻜﻼﺳﻴﻜﻴﺔ‬

‫ﺗﺸﻤﻞﺍﻟﻌﻨﺎﻭﻳﻦ‪:‬‬

‫ﺃﺛﻴﻨﺎﺗﺤﻮﻟﺖ‪ 262-404 ،‬ﻕ‪.‬ﻡ‪ :.‬ﻣﻦ ﺍﻟﺴﻴﺎﺩﺓ ﺍﻟﺸﻌﺒﻴﺔ ﺇﻟﻰ ﺳﻴﻄﺮﺓ ﺍﻟﻨﺨﺒﺔ‬

‫ﻓﻴﻠﻴﺐﻫﺎﺭﺩﻳﻨﺞ‬

‫ﺗﺮﺟﻤﺔﺍﻟﻤﺴﺮﺣﻴﺎﺕ ﺍﻟﻜﻼﺳﻴﻜﻴﺔ‪ :‬ﺍﻷﻭﺭﺍﻕ ﺍﻟﻤﺠﻤﻌﺔ‬

‫ﺟﻲﻣﺎﻳﻜﻞ ﻭﺍﻟﺘﻮﻥ‬

‫ﺃﺛﻴﻨﺎ‪:‬ﺍﻟﻤﺪﻳﻨﺔ ﻛﺠﺎﻣﻌﺔ ﻧﻴﺎﻝ‬

‫ﻟﻴﻔﻴﻨﻐﺴﺘﻮﻥ‬

‫ﺍﻟﺘﺸﺎﺑﻪﻭﺍﻟﻮﺍﻗﻊ ﻓﻲ ﺍﻟﻔﻜﺮ ﺍﻟﻴﻮﻧﺎﻧﻲ ﺣﺮﺭﻩ ﺃﺭﻭﻡ ﺑﺎﺭﻙ‬

‫ﻧﻈﺮﻳﺔﻗﺪﻳﻤﺔ ﻟﻠﺪﻳﻦ‪ Euhemerism :‬ﻣﻦ ﺍﻟﻌﺼﻮﺭ ﺍﻟﻘﺪﻳﻤﺔ ﺇﻟﻰ ﺍﻟﻮﻗﺖ ﺍﻟﺤﺎﺿﺮ ﻧﻴﻜﻮﻻﺱ‬
‫ﺏ‪.‬ﺭﻭﺑﻴﻜﺎﺱ‬

‫ﺍﻟﻌﻠﻴﺔﺍﻟﺨﻄﺎﺑﺔ ﻭﺍﻷﺩﺍء ﺃﻧﺪﺭﻳﺎﺱ‬

‫ﺳﻴﺮﺍﻓﻴﻢ‬

‫ﻗﺎﺩﻡ‪،‬ﺻﺮﻳﺢ‪ ،‬ﻳﻈﻬﺮ‪:‬‬

‫ﺍﻟﻌﺼﻮﺭﺍﻟﻘﺪﻳﻤﺔ‪ :‬ﺍﺭﺗﺪﺍء ﺍﻟﻤﻼﺑﺲ ﺍﻟﻤﺘﻘﺎﻃﻌﺔ ﻭﺩﻳﻨﺎﻣﻴﻜﻴﺎﺕ ﺍﻟﻤﺘﺤﻮﻟﻴﻦ ﺟﻨﺴﻴﺎ ً‬

‫ﻓﻲﺍﻟﻌﺎﻟﻢ ﺍﻟﻘﺪﻳﻢ‬
‫ﺗﺤﺮﻳﺮﺩﻭﻣﻴﺘﻴﻼ ﻛﺎﻣﺒﺎﻧﻴﻠﻲ‪ ،‬ﻭﻓﻴﻠﻴﺒﻮ ﻛﺎﺭﻻ‪-‬ﺃﻭﻫﻴﻨﻚ‪ ،‬ﻭﻣﺎﺭﻏﺮﻳﺘﺎ ﻓﺎﺳﻴﻠﻼ‬

‫ﺇﺳﺨﻴﻠﻮﺱﻭﺍﻟﺤﺮﺏ‪ :‬ﻭﺟﻬﺎﺕ ﻧﻈﺮ ﻣﻘﺎﺭﻧﺔ ﺣﻮﻝ "ﺳﺒﻌﺔ ﺿﺪ ﻃﻴﺒﺔ" ﺣﺮﺭﻩ ﺇﻳﺰﺍﺑﻴﻞ ﺗﻮﺭﺍﻧﺲ‬

‫ﺍﻷﺗﺮﻭﺳﻜﺎﻥﻭﺗﺎﺭﻳﺦ ﻃﺐ ﺍﻷﺳﻨﺎﻥ‪ :‬ﺍﻻﺑﺘﺴﺎﻣﺔ ﺍﻟﺬﻫﺒﻴﺔ ﻋﺒﺮ ﺍﻟﻌﺼﻮﺭ‬

‫ﻣﺎﺭﺷﺎﻝﺟﻲ ﺑﻴﻜﺮ ﻭﺟﺎﻥ ﻣﺎﻛﻨﺘﻮﺵ ﺗﻮﺭﻓﺎ‬

‫ﺍﻟﺬﻛﻮﺭﺓﻭﺍﻟﻠﺒﺎﺱ ﻓﻲ ﺍﻟﻌﺼﻮﺭ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ‬
‫ﺍﻟﻘﺪﻳﻤﺔ‬

‫ﻛﻴﻠﻲﺃﻭﻟﺴﻮﻥ‬
 ‫ﺗﻢﺍﻟﻨﺸﺮ ﻷﻭﻝ ﻣﺮﺓ ﻋﺎﻡ ‪2017‬‬
‫ﺑﻮﺍﺳﻄﺔﺭﻭﺗﻠﻴﺪﺝ‬
‫‪2‬ﺑﺎﺭﻙ ﺳﻜﻮﻳﺮ‪ ،‬ﻣﻴﻠﺘﻮﻥ ﺑﺎﺭﻙ‪ ،‬ﺃﺑﻴﻨﺠﺪﻭﻥ‪ ،‬ﺃﻭﻛﺴﻮﻥ ‪OX14 4RN‬‬
‫ﻭﺑﻮﺍﺳﻄﺔﺭﻭﺗﻠﻴﺪﺝ‬
‫‪711‬ﺍﻟﺠﺎﺩﺓ ﺍﻟﺜﺎﻟﺜﺔ‪ ،‬ﻧﻴﻮﻳﻮﺭﻙ‪ ،‬ﻧﻴﻮﻳﻮﺭﻙ ‪10017‬‬
‫ﺭﻭﺗﻠﻴﺪﺝﻫﻲ ﺇﺣﺪﻯ ﺑﺼﻤﺎﺕ ﻣﺠﻤﻮﻋﺔ ﺗﺎﻳﻠﻮﺭ ﻭﻓﺮﺍﻧﺴﻴﺲ‪ ،‬ﻭﻫﻲ ﺷﺮﻛﺔ ﻣﻌﻠﻮﻣﺎﺗﻴﺔ © ‪2017‬‬
‫ﻛﻴﻠﻲﺃﻭﻟﺴﻮﻥ‬
‫ﺗﻢﺍﻟﺘﺄﻛﻴﺪ ﻋﻠﻰ ﺣﻖ ﻛﻴﻠﻲ ﺃﻭﻟﺴﻮﻥ ﻓﻲ ﺗﺤﺪﻳﺪ ﻫﻮﻳﺘﻬﺎ ﻛﻤﺆﻟﻔﺔ ﻟﻬﺬﺍ ﺍﻟﻌﻤﻞ ﻭﻓﻘﺎً ﻟﻠﻤﺎﺩﺗﻴﻦ‬
‫‪77‬ﻭ‪ 78‬ﻣﻦ ﻗﺎﻧﻮﻥ ﺣﻘﻮﻕ ﺍﻟﻄﺒﻊ ﻭﺍﻟﻨﺸﺮ ﻭﺍﻟﺘﺼﺎﻣﻴﻢ ﻭﺑﺮﺍءﺍﺕ ﺍﻻﺧﺘﺮﺍﻉ ﻟﻌﺎﻡ ‪.1988‬‬

‫ﻛﻞﺍﻟﺤﻘﻮﻕ ﻣﺤﻔﻮﻇﺔ‪ .‬ﻻ ﻳﺠﻮﺯ ﺇﻋﺎﺩﺓ ﻃﺒﻊ ﺃﻱ ﺟﺰء ﻣﻦ ﻫﺬﺍ ﺍﻟﻜﺘﺎﺏ ﺃﻭ ﺇﻋﺎﺩﺓ ﺇﻧﺘﺎﺟﻪ ﺃﻭ‬
‫ﺍﺳﺘﺨﺪﺍﻣﻪﺑﺄﻱ ﺷﻜﻞ ﻣﻦ ﺍﻷﺷﻜﺎﻝ ﺃﻭ ﺑﺄﻱ ﻭﺳﻴﻠﺔ ﺇﻟﻜﺘﺮﻭﻧﻴﺔ ﺃﻭ ﻣﻴﻜﺎﻧﻴﻜﻴﺔ ﺃﻭ ﻏﻴﺮﻫﺎ ﻣﻦ‬
‫ﺍﻟﻮﺳﺎﺉﻞﺍﻟﻤﻌﺮﻭﻓﺔ ﺍﻵﻥ ﺃﻭ ﺍﻟﺘﻲ ﺳﻴﺘﻢ ﺍﺧﺘﺮﺍﻋﻬﺎ ﻓﻴﻤﺎ ﺑﻌﺪ‪ ،‬ﺑﻤﺎ ﻓﻲ ﺫﻟﻚ ﺍﻟﺘﺼﻮﻳﺮ ﻭﺍﻟﺘﺴﺠﻴﻞ‪،‬‬
‫ﺃﻭﻓﻲ ﺃﻱ ﻧﻈﺎﻡ ﻟﺘﺨﺰﻳﻦ ﺍﻟﻤﻌﻠﻮﻣﺎﺕ ﺃﻭ ﺍﺳﺘﺮﺟﺎﻋﻬﺎ‪ ،‬ﺩﻭﻥ ﺍﻟﺤﺼﻮﻝ ﻋﻠﻰ ﺇﺫﻥ ﻛﺘﺎﺑﻲ ﻣﻦ‬
‫ﺍﻟﻨﺎﺷﺮﻳﻦ‪.‬‬
‫ﺇﺷﻌﺎﺭﺍﻟﻌﻼﻣﺔ ﺍﻟﺘﺠﺎﺭﻳﺔ‪:‬ﻗﺪ ﺗﻜﻮﻥ ﺃﺳﻤﺎء ﺍﻟﻤﻨﺘﺠﺎﺕ ﺃﻭ ﺍﻟﺸﺮﻛﺎﺕ ﻋﻼﻣﺎﺕ ﺗﺠﺎﺭﻳﺔ ﺃﻭ ﻋﻼﻣﺎﺕ‬
‫ﺗﺠﺎﺭﻳﺔﻣﺴﺠﻠﺔ‪ ،‬ﻭﺗﺴﺘﺨﺪﻡ ﻓﻘﻂ ﻟﻠﺘﻌﺮﻳﻒ ﻭﺍﻟﺘﻮﺿﻴﺢ ﺩﻭﻥ ﻧﻴﺔ ﺍﻻﻧﺘﻬﺎﻙ‪.‬‬

‫ﻓﻬﺮﺳﺔﺍﻟﻤﻜﺘﺒﺔ ﺍﻟﺒﺮﻳﻄﺎﻧﻴﺔ ﻓﻲ ﺑﻴﺎﻧﺎﺕ ﺍﻟﻨﺸﺮ‬

‫ﻳﺘﻮﻓﺮﺳﺠﻞ ﻓﻬﺮﺱ ﻟﻬﺬﺍ ﺍﻟﻜﺘﺎﺏ ﻓﻲ ﺍﻟﻤﻜﺘﺒﺔ ﺍﻟﺒﺮﻳﻄﺎﻧﻴﺔ‬
‫ﻣﻜﺘﺒﺔﺍﻟﻜﻮﻧﻐﺮﺱ ﺑﻴﺎﻧﺎﺕ ﺍﻟﻔﻬﺮﺳﺔ ﻓﻲ ﻭﺍﻟﻨﺸﺮ ﺍﻷﺳﻤﺎء‪:‬‬
‫ﺃﻭﻟﺴﻮﻥ‪،‬ﻙ‪) .‬ﻛﻴﻠﻲ(‪ ،‬ﻣﺆﻟﻒ‪.‬‬
‫ﺍﻟﻌﻨﻮﺍﻥ‪:‬ﺍﻟﺮﺟﻮﻟﺔ ﻭﺍﻟﻠﺒﺎﺱ ﻓﻲ ﺍﻟﻌﺼﺮ ﺍﻟﺮﻭﻣﺎﻧﻲ ﺍﻟﻘﺪﻳﻢ ‪ /‬ﻛﻴﻠﻲ ﺃﻭﻟﺴﻮﻥ‪ .‬ﺍﻟﻮﺻﻒ‪:‬‬
‫ﺃﺑﻴﻨﺠﺪﻭﻥ‪,‬ﺃﻭﻛﺴﻮﻥ ; ﻧﻴﻮﻳﻮﺭﻙ‪ :‬ﺭﻭﺗﻠﻴﺪﺝ‪ | [2017] ،‬ﺍﻟﺴﻠﺴﻠﺔ‪ :‬ﺩﺭﺍﺳﺎﺕ ﺭﻭﺗﻠﻴﺪﺝ ﻓﻲ‬
‫ﺍﻟﺪﺭﺍﺳﺎﺕﺍﻟﻜﻼﺳﻴﻜﻴﺔ | ﺗﺘﻀﻤﻦ ﻣﺮﺍﺟﻊ ﺑﺒﻠﻴﻮﻏﺮﺍﻓﻴﺔ ﻭﻓﻬﺮﺱ‪.‬‬

‫ﺍﻟﻤﻌﺮﻓﺎﺕ‪) LCCN 2016033106 | ISBN 9781138932937:‬ﻏﻼﻑ ﻣﻘﻮﻯ‪ :‬ﻭﺭﻕ ﺁﻟﻚ( |‬

‫ﺭﺩﻣﻚ‪) 9781315678887‬ﻛﺘﺎﺏ ﺇﻟﻜﺘﺮﻭﻧﻲ(‬
‫ﺍﻟﻤﻮﺍﺿﻴﻊ‪ :LCSH:‬ﺍﻟﻤﻼﺑﺲ ﻭﺍﻟﻤﻼﺑﺲ ‪ --‬ﺟﻮﺍﻧﺐ ﺍﺟﺘﻤﺎﻋﻴﺔ ‪ --‬ﺭﻭﻣﺎ‪ | .‬ﺍﻟﻤﻼﺑﺲ ﻭﺍﻟﻤﻼﺑﺲ‪--‬‬
‫ﺟﻮﺍﻧﺐﺭﻣﺰﻳﺔ‪--‬ﺭﻭﻣﺎ‪ | .‬ﻣﻼﺑﺲ ﺭﺟﺎﻟﻴﺔ‪-‬ﺭﻭﻣﺎ‪ | .‬ﺍﻟﺮﺟﻮﻟﺔ ‪ -‬ﺭﻭﻣﺎ‪.‬‬

‫ﺍﻟﺘﺼﻨﻴﻒ‪ LCC GT555 .O46 2017 | DDC 391/.10945632--dc23:‬ﺳﺠﻞ‬

‫‪ LC‬ﻣﺘﺎﺡ ﻋﻠﻰ ‪https://lccn.loc.gov/2016033106‬‬

‫ﺭﻗﻢ (‪ISBN: 978-1-138-93293-7 )hbk‬‬

‫ﺭﻗﻢ (‪ISBN: 978-1-315-67888-7 )ebk‬‬

‫ﺗﻤﺖﺍﻟﻄﺒﺎﻋﺔ ﻓﻲ ‪Times New Roman‬‬

‫ﺑﻮﺍﺳﻄﺔﻛﺘﺐ ﺗﺎﻳﻠﻮﺭ ﻭﻓﺮﺍﻧﺴﻴﺲ‬
‫ﻧﻮﺭﻣﺎﻣﺎﻱ ﺃﻭﻟﺴﻮﻥ‬
‫ﺃﻭﺑﺘﻴﻤﻴﺎﻣﺎﺗﺮﻱ‬
 ‫ﺍﻟﺮﺅﻳﺔﻟﻴﺴﺖ ﺳﻮﻯ ﻟﻐﺔ‬
‫)ﺳﺎﻧﺖ ﻛﻮﻟﺮﻳﺪﺝ‪،‬ﺍﻟﺴﺪﺍﺳﻴﺔ(‬

‫ﺣﺘﻰﻟﻮ ﺳﻜﺖ ﺍﻟﻜﻼﻡ…ﻣﻼﺑﺴﻲ ﺫﺍﺗﻬﺎ ﺗﺘﺤﺪﺙ‪ .‬ﺇﺗﺴﻲ ﺇﻟﻮﻛﻮﻳﻮﻡ‬

‫ﻛﻮﻳﺴﻜﺎﺕ‪…،‬ﻫﺎﺑﻴﺘﻮﺱ ﺳﻮﻧﺎﺕ ‪ipse‬‬
‫)ﺛﺎﻟﺜﺎ‪.‬ﺑﺎﻝ‪(6.1.1.‬‬
 ‫ﻣﺤﺘﻮﻳﺎﺕ‬

‫ﺛﺎﻣﻨﺎ‬ ‫ﻗﺎﺉﻤﺔﺍﻟﺮﺳﻮﻡ ﺍﻟﺘﻮﺿﻴﺤﻴﺔ‬

‫ﺱ‬ ‫ﺷﻜﺮﻭﺗﻘﺪﻳﺮ‬
‫ﺍﻟﺜﺎﻧﻲﻋﺸﺮ‬ ‫ﺍﻻﺧﺘﺼﺎﺭﺍﺕ‬

‫‪1‬‬ ‫ﺍﻟﻤﻘﺪﻣﺔ‪:‬ﺍﻟﻤﻼﺑﺲ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ‬

‫‪13‬‬ ‫ﺍﻟﺴﺘﺮﺓﻭﺍﻟﺘﻮﺟﺔ‪ :‬ﺍﻟﻤﻼﺑﺲ ﻭﺍﻟﺮﺗﺒﺔ‬ ‫‪1‬‬

‫‪62‬‬ ‫ﺟﻮﺍﻧﺐﺃﺧﺮﻯ ﻣﻦ ﺍﻟﺰﻱ‬ ‫‪2‬‬
‫‪91‬‬ ‫ﺍﻟﻔﻘﺮﻭﺍﻟﺤﺪﺍﺩ ﻭ‪sordes‬‬ ‫‪3‬‬
‫‪105‬‬ ‫ﺍﻟﻤﻼﺑﺲﻭﺍﻟﺤﺎﻟﺔ‬ ‫‪4‬‬
‫‪135‬‬ ‫ﺍﻟﻄﺒﻘﺔﻭﺍﻟﺠﻨﺲ‬ ‫‪5‬‬
‫‪167‬‬ ‫ﺧﺎﺗﻤﺔ‬

‫‪171‬‬ ‫ﻓﻬﺮﺱ‬
‫‪197‬‬ ‫ﻓﻬِﺮﺱِ‬
 ‫ﺍﻟﺮﺳﻮﻡﺍﻟﺘﻮﺿﻴﺤﻴﺔ‬

‫‪1.1‬ﺭﺳﻢ ﺍﻟﺴﺘﺮﺓ )ﻣﻘﺪﻡ ﺑﻮﺍﺳﻄﺔ ﻙ‪ .‬ﺃﻭﻟﺴﻮﻥ ﻻﻣﺎﺭﻱ(‪ .‬ﺑﻌﺪ ﻛﺮﻭﻡ ‪21 ،2002‬‬
‫‪14‬‬ ‫ﺍﻟﺸﻜﻞ‪3.‬‬
‫‪1.2‬ﺍﻟﺘﻮﻗﻴﻊ ﻣﻦ ﻣﺘﺠﺮ ‪Verecundus‬ﻓﻴﺴﺘﻴﺮﻳﻮﺱ‪.‬ﺑﻮﻣﺒﻲ )ﺍﻟﺘﺎﺳﻊ‪.(5 ،7 ،‬‬
‫‪15‬‬ ‫ﺍﻟﻘﺮﻥﺍﻷﻭﻝ ﺍﻟﻤﻴﻼﺩﻱ‬
‫‪1.3‬ﺍﻟﻠﻮﺣﺔ ﺍﻟﺠﻨﻮﺑﻴﺔ ﺍﻟﻐﺮﺑﻴﺔ ﻟـ ‪ Ara Pacis Augustae‬ﺃﻭ ‪ Aeneas‬ﺃﻭ ‪ .Numa‬ﺭﻭﻣﺎ‪.‬‬
‫‪17‬‬ ‫‪9-13‬ﻗﺒﻞ ﺍﻟﻤﻴﻼﺩ‬
‫‪1.4‬ﻣﺸﻬﺪ ﺍﻟﻤﺄﺩﺑﺔ ﻣﻦ ﺑﻮﻣﺒﻲ‪ .‬ﺍﻟﻤﺘﺤﻒ ﺍﻷﺛﺮﻱ ﺍﻟﻮﻃﻨﻲ‪ ،‬ﻧﺎﺑﻮﻟﻲ‪ .‬ﺍﻟﻘﺮﻥ ﺍﻷﻭﻝ‬
‫‪21‬‬ ‫ﺍﻟﻤﻴﻼﺩﻱ‬
‫‪1.5‬ﺻﻮﺭﺓ ﺟﻨﺎﺉﺰﻳﺔ ﺧﺸﺒﻴﺔ ﻣﺮﺳﻮﻣﺔ ﻟﺮﺟﻞ ﻳﺮﺗﺪﻱ ﺯﻳﺎً ﻛﺎﻭﻳﺎً‪ ،‬ﻣﻦ ﻃﻴﺒﺔ‪ ،‬ﺍﻟﻌﺼﺮ‬
‫‪22‬‬ ‫ﺍﻟﻴﻮﻧﺎﻧﻲﺍﻟﺮﻭﻣﺎﻧﻲ‪ .‬ﺍﻟﻘﺮﻥ ﺍﻟﺮﺍﺑﻊ ﺍﻟﻤﻴﻼﺩﻱ‬
‫‪1.6‬ﺃﺭﻳﻨﻐﺎﺗﻮﺭﻱ )ﺃﻭﻟﻮﺱ ﻣﻴﺘﻴﻠﻮﺱ(‪ .‬ﺍﻟﻤﺘﺤﻒ ﺍﻷﺛﺮﻱ‪ ،‬ﻓﻠﻮﺭﻧﺴﺎ‪ .‬ﻟﻴﺲ ﻗﺒﻞ‬
‫‪24‬‬ ‫‪100‬ﻗﺒﻞ ﺍﻟﻤﻴﻼﺩ‬
‫‪25‬‬ ‫‪1.7‬ﺍﻹﻓﺮﻳﺰ ﺍﻟﺸﻤﺎﻟﻲ‪ ،‬ﺁﺭﺍ ﺑﺎﺳﻴﺲ ﺃﻭﻏﺴﺘﺎﻱ‪ ،‬ﺭﻭﻣﺎ‪ 9-13 .‬ﻗﺒﻞ ﺍﻟﻤﻴﻼﺩ‬
‫‪1.8‬ﺍﻹﻏﺎﺛﺔ ﻣﻦ ‪ .Ara dei Vicomagistri‬ﻣﺘﺤﻒ ﺟﺮﻳﺠﻮﺭﻳﺎﻧﻮ ﺑﺮﻭﻓﺎﻧﻮ‪،‬‬
‫‪26‬‬ ‫ﻣﺘﺎﺣﻒﺍﻟﻔﺎﺗﻴﻜﺎﻥ‪ ،‬ﺭﻭﻣﺎ‪ 40-20 .‬ﻡ‬
‫‪1.9‬ﺍﻟﻤﺸﻬﺪ ﺍﻟﺘﺠﺎﺭﻱ ﻟﺒﺎﺉﻌﻲ ﺍﻟﺴﻜﺎﻛﻴﻦ‪ .‬ﻣﺘﺎﺣﻒ ﺍﻟﻔﺎﺗﻴﻜﺎﻥ‪ ،‬ﺟﺎﻟﻴﺮﻳﺎ ﻻﺑﻴﺪﺍﺭﻳﺎ‬
‫‪27‬‬ ‫‪،147‬ﺭﻭﻣﺎ‬
‫‪1.10‬ﺷﺎﻫﺪ ﺍﻟﻘﺒﺮ ﺍﻟﺬﻱ ﺃﻗﺎﻣﺘﻪ ﺷﺮﻛﺔ ‪ Publicia Glypte‬ﻟﻄﻔﻠﻴﻦ ﺻﻐﻴﺮﻳﻦ )ﻗﺪﻣﻪ‬
‫‪ .(K. Olson-Lamari‬ﻣﺘﺤﻒ ﻓﻴﻼ ﺃﻟﺒﺎﻧﻲ‪ ،‬ﺭﻭﻣﺎ‪ .‬ﺃﻭﺍﺉﻞ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﻧﻲ ﺍﻟﻤﻴﻼﺩﻱ‬
‫‪28‬‬
‫‪1.11‬ﻧﻘﺶ ﺟﻨﺎﺉﺰﻱ ﺭﻭﻣﺎﻧﻲ ﻣﻦ ﻃﺮﻳﻖ ﺳﺘﺎﺗﻴﻠﻴﺎ‪ .‬ﺳﻨﺘﺮﺍﻟﻲ‬
‫‪30‬‬ ‫ﻣﻮﻧﺘﺮﻳﻤﺎﺭﺗﻴﻨﻲ‪،‬ﺭﻭﻣﺎ‪ 50-80 .‬ﻗﺒﻞ ﺍﻟﻤﻴﻼﺩ‬
‫‪1.12‬ﺗﻤﺜﺎﻝ ﺃﻏﺴﻄﺲ ﻣﻦ ﻃﺮﻳﻖ ﻻﺑﻴﻜﺎﻧﺎ‪ .‬ﻣﺘﺤﻒ ﻧﺎﺳﻴﻮﻧﺎﻟﻲ ﺭﻭﻣﺎﻧﻮ )ﻗﺼﺮ ﻣﺎﺳﻴﻤﻮ‬
‫ﺃﻟﻲﺗﻴﺮﻣﻲ(‪ ،‬ﺭﻭﻣﺎ‪ .‬ﺍﻟﻘﺮﻥ ﺍﻟﺤﺎﺩﻱ ﻭﺍﻟﻌﺸﺮﻳﻦ‬
‫‪32‬‬ ‫ﻡ‬
‫‪33‬‬ ‫‪1.13‬ﻧﻘﺶ ﺑﺎﺭﺯ‪ ،‬ﻗﻮﺱ ﺗﻴﺘﻮﺱ‪ .‬ﺭﻭﻣﺎ‪ 70 .‬ﻡ‬
‫‪1.14‬ﺗﻤﺜﺎﻝ ﻓﻴﺴﺒﺎﺳﻴﺎﻥ‪ .‬ﻣﺘﺤﻒ ﺑﻴﻮ ﻛﻠﻴﻤﻨﺘﻴﻨﻮ‪ ،‬ﻣﺘﺎﺣﻒ ﺍﻟﻔﺎﺗﻴﻜﺎﻥ‪ ،‬ﺭﻭﻣﺎ‪ 79-69 .‬ﻡ‬
‫‪34‬‬
‫‪1.15‬ﺍﻛﺴﺘﺴﺒﻴﺴﻴﻮﻡﺍﻹﻏﺎﺛﺔ ﻣﻊ ﺗﺮﺍﺟﺎﻥ‪ .‬ﻣﻨﺘﺪﻯ ﺗﺮﺍﺟﺎﻥ‪ ،‬ﺭﻭﻣﺎ‪ 120/130 .‬ﻡ‬
‫‪35‬‬
‫‪36‬‬ ‫‪1.16‬ﺗﻤﺜﺎﻝ ﻫﺎﺩﺭﻳﺎﻥ؛ ﻣﺘﺤﻒ ﻛﺎﺑﻴﺘﻮﻟﻴﻨﻲ‪ ،‬ﺭﻭﻣﺎ‪ 8-120 .‬ﻡ‬
‫‪1.17‬ﺍﻟﻤﺬﺑﺢ ﺍﻷﻧﻄﻮﻧﻲ ﺍﻟﻜﺒﻴﺮ‪ ،‬ﻣﺸﻬﺪ ﺍﻷﺳﺮﺓ ﺍﻟﺤﺎﻛﻤﺔ‪ ،‬ﻣﻦ ﺃﻓﺴﺲ‪ .‬ﻓﻴﻴﻨﺎ‪ ،‬ﻣﺘﺤﻒ‬
‫‪37‬‬ ‫ﻛﻮﻧﺴﺜﻴﺴﺘﻮﺭﻳﺴﺘﺸﺲ‪.‬ﺑﻌﺪ ‪ 169‬ﻡ‬
‫ﺗﺎﺳﻌﺎ‬ ‫ﺍﻟﺮﺳﻮﻡﺍﻟﺘﻮﺿﻴﺤﻴﺔ‬

‫‪1.18‬ﻟﻮﺣﺔ ﺑﺎﺭﺯﺓ ﻟﻠﺴﻴﺪ ﺃﻭﺭﻳﻠﻴﻮﺱ‪ .‬ﻣﺘﺤﻒ ﻛﺎﺑﻴﺘﻮﻟﻴﻨﻲ‪ ،‬ﺭﻭﻣﺎ‪ 80-176 .‬ﻡ‬

‫‪38‬‬
‫‪1.19‬ﻟﻮﺣﺔ ﻣﻦ ﻗﻮﺱ ﻣﺎﺭﻛﻮﺱ ﺃﻭﺭﻳﻠﻴﻮﺱ )ﺍﻵﻥ ﻋﻠﻰ ﻗﻮﺱ ﻗﺴﻄﻨﻄﻴﻦ(‪ .‬ﺭﻭﻣﺎ‪.‬‬
‫‪39‬‬ ‫‪80-176‬ﻡ‬
‫‪1.20‬ﻋﻨﺼﺮ ﺯﺧﺮﻓﻲ ﻣﻦ ﻗﺎﻋﺪﺓ ﺍﻟﻤﺴﺮﺡ‪ ،‬ﺍﻟﻤﺴﺮﺡ ﺍﻟﺮﻭﻣﺎﻧﻲ ﻓﻲ ﺻﺒﺮﺍﺗﺔ‪ ،‬ﻟﻴﺒﻴﺎ‪ .‬ﺃﻭﺍﺉﻞ‬
‫‪40‬‬ ‫ﺍﻟﻘﺮﻥﺍﻟﺜﺎﻟﺚ ﺍﻟﻤﻴﻼﺩﻱ‬
‫‪41‬‬ ‫‪1.21‬ﺗﻮﺟﺎ ﻛﻮﻧﺘﺎﺑﻮﻻﺗﺎ‪.‬ﻗﺼﺮ ﺩﻭﺭﻳﺎ‪-‬ﺑﺎﻣﻔﻴﻠﻲ‪ .‬ﺭﻭﻣﺎ‪ 260 .‬ﻡ‬
‫‪1.22‬ﺗﺎﺑﻮﺕ ﺃﻛﻴﻠﻴﺎ‪ ،‬ﻣﻦ ﺃﻛﻴﻠﻴﺎ‪ .‬ﻣﺘﺤﻒ ﻧﺎﺳﻴﻮﻧﺎﻟﻲ ﺭﻭﻣﺎﻧﻮ )ﻗﺼﺮ ﻣﺎﺳﻴﻤﻮ ﺃﻟﻲ‬
‫‪42‬‬ ‫ﺗﻴﺮﻣﻲ(‪ ،‬ﺭﻭﻣﺎ‪ 238 .‬ﻡ‬
‫‪1.23‬ﺃﺭﻳﻨﻐﺎﺗﻮﺭﻱ )ﺃﻭﻟﻮﺱ ﻣﻴﺘﻴﻠﻮﺱ(‪ .‬ﺍﻟﻤﺘﺤﻒ ﺍﻷﺛﺮﻱ‪ ،‬ﻓﻠﻮﺭﻧﺴﺎ‪ .‬ﻟﻴﺲ ﻗﺒﻞ‬
‫‪46‬‬ ‫‪100‬ﻗﺒﻞ ﺍﻟﻤﻴﻼﺩ‬
‫‪1.24‬ﻟﻮﺣﺔ ﻣﻦ ﺃﻻﺭﻳﻮﻡ‪.‬ﺑﻴﺖ ﻓﻴﺘﻲ‪ ،‬ﺑﻮﻣﺒﻲ )ﺍﻟﺴﺎﺩﺱ‪،‬‬
‫‪47‬‬ ‫‪ .(15،1‬ﺍﻟﻘﺮﻥ ﺍﻷﻭﻝ ﺍﻟﻤﻴﻼﺩﻱ‬
‫‪1.25‬ﺭﻭﻧﺪﻳﻞ ﻓﺴﻴﻔﺴﺎء‪ ،‬ﺑﺎﺯﻳﻠﻴﻚ ﺳﺎﻧﺘﺎ ﻣﺎﺭﻳﺎ ﺃﺳﻮﻧﺘﺎ‪ .‬ﺃﻛﻮﻳﻠﻴﺎ‪ .‬ﺍﻟﻘﺮﻥ ﺍﻟﺨﺎﻣﺲ‬
‫‪47‬‬ ‫ﺍﻟﻤﻴﻼﺩﻱ‬
‫‪1.26‬ﻟﻮﺣﺔ ﺟﺪﺍﺭﻳﺔ ﻣﻦ ﻗﺒﺮ ﻓﺮﺍﻧﺴﻮﺍ‪ ،‬ﻓﻮﻟﺴﻲ‪ .‬ﻣﺘﺤﻒ ﻓﻴﻼ ﺃﻟﺒﺎﻧﻲ‪ ،‬ﺭﻭﻣﺎ‪ .‬ﺍﻟﻘﺮﻥ ﺍﻟﺮﺍﺑﻊ‬
‫‪50‬‬ ‫ﻗﺒﻞﺍﻟﻤﻴﻼﺩ‬
‫‪1.27‬ﻋﻤﻠﺔ ﺃﻏﺴﻄﺲ‪ .‬ﺩﻳﻨﺎﺭ ﺭﻭﻣﺎﻧﻲ‪ .‬ﻗﺮﻃﺒﺔ‪، Staatliche Museen .‬‬
‫‪51‬‬ ‫‪ ،Muenzkabinett‬ﺑﺮﻟﻴﻦ‪ ،‬ﺃﻟﻤﺎﻧﻴﺎ‪ .‬ﻛﺎﻟﻴﻔﻮﺭﻧﻴﺎ‪ 18 .‬ﻕ‪.‬ﻡ‬
‫‪2.1‬ﺍﻟﺬﻫﺐﺍﻟﻔﻘﺎﻋﺔﻣﻦ ﻛﺎﺳﺎ ﺩﻳﻞ ﻣﻴﻨﺎﻧﺪﺭﻭ‪ ،‬ﺑﻮﻣﺒﻲ‪ .‬ﺍﻟﻤﺘﺤﻒ ﺍﻷﺛﺮﻱ ﺍﻟﻮﻃﻨﻲ‪،‬‬
‫‪63‬‬ ‫ﻧﺎﺑﻮﻟﻲ‪.‬ﺍﻟﻘﺮﻥ ﺍﻷﻭﻝ ﺍﻟﻤﻴﻼﺩﻱ‬
‫‪2.2‬ﺗﻤﺜﺎﻝ ﻟﺼﺒﻲ ﻳﺮﺗﺪﻱ ﺍﻟﻔﻘﺎﻋﺔ‪ .‬ﺍﻟﺮﺃﺱ ﻟﻨﻴﺮﻭ ﻋﻨﺪﻣﺎ ﻛﺎﻥ ﻃﻔﻼ ًﺻﻐﻴﺮﺍ‪ ً.‬ﺭﻭﻣﺎ‪.‬‬
‫‪64‬‬ ‫‪54-41‬ﻡ‬
‫‪2.3‬ﺍﻟﺘﺎﺑﻮﺕ‪ ،‬ﺭﺟﻞ ﺫﻭ ﻏﻄﺎء ﻣﺤﺮﻙ ﺍﻟﺴﻴﺎﺭﺓ‪ .‬ﺳﻨﺘﺮﺍﻟﻲ ﻣﻮﻧﺘﺮﻳﻤﺎﺭﺗﻴﻨﻲ‪ ،‬ﺭﻭﻣﺎ‪ .‬ﺃﻭﺍﺧﺮ‬
‫‪70‬‬ ‫ﺍﻟﻘﺮﻥﺍﻟﺜﺎﻟﺚ ‪ -‬ﺃﻭﺍﺉﻞ ﺍﻟﻘﺮﻥ ﺍﻟﺮﺍﺑﻊ ﺍﻟﻤﻴﻼﺩﻱ‬
‫‪2.4‬ﺗﻤﺜﺎﻝ ﺑﺮﻭﻧﺰﻱ ﻟﻠﺼﺒﻲ ﻓﻲ ﺃﺍﻟﺒﺎﻟﻴﻮﻡ‪.‬ﺃﻭﺍﺧﺮ ﺍﻟﻘﺮﻥ ﺍﻷﻭﻝ ﻗﺒﻞ ﺍﻟﻤﻴﻼﺩ – ﺃﻭﺍﺉﻞ‬
‫‪75‬‬ ‫ﺍﻟﻘﺮﻥﺍﻷﻭﻝ ﺍﻟﻤﻴﻼﺩﻱ‪ .‬ﺭﻭﻣﺎ‬
‫‪2.5‬ﺗﻤﺜﺎﻝ ﺑﺮﻭﻧﺰﻱ ﻟﻬﺎﺩﺭﻳﺎﻥ ﻓﻲ ﺃﻫﻴﻤﺎﻳﺸﻦ‪.‬ﺍﻟﻤﺘﺤﻒ ﺍﻷﺛﺮﻱ‪ ،‬ﺍﺳﻄﻨﺒﻮﻝ‪.‬‬
‫‪76‬‬ ‫ﺍﻟﻘﺮﻥﺍﻟﺜﺎﻧﻲ ﺍﻟﻤﻴﻼﺩﻱ‬
‫‪2.6‬ﺃﺭﺳﺘﻘﺮﺍﻃﻲ‪" ،‬ﻓﺎﺭﺱ"‪ ،‬ﻭﻋﻀﻮ ﻓﻲ ﻣﺠﻠﺲ ﺍﻟﺸﻴﻮﺥﻛﺎﻟﺴﻲ )ﺍﻟﻤﻘﺪﻣﺔ ﻣﻦ ﻗﺒﻞ‬
‫‪83‬‬ ‫ﺩ‪.‬ﻓﻠﻴﺘﺸﺮ(‪ .‬ﺑﻌﺪ ﺟﻮﻳﺖ ‪.459 ،1988‬‬
‫‪2.7‬ﻓﺮﻳﺴﻜﻮ‪ :‬ﺗﻮﺯﻳﻊ ﺍﻟﺨﺒﺰ ﻓﻲ ﻣﺨﺒﺰ ﻓﻲ ﺑﻮﻣﺒﻲ‪ .‬ﺍﻟﻤﺘﺤﻒ ﺍﻷﺛﺮﻱ ﺍﻟﻮﻃﻨﻲ‪ ،‬ﻧﺎﺑﻮﻟﻲ‪.‬‬
‫‪83‬‬ ‫ﺃﻭﺍﺧﺮﺍﻟﻘﺮﻥ ﺍﻷﻭﻝ ﺍﻟﻤﻴﻼﺩﻱ‬
‫‪2.8‬ﺍﻟﺘﻔﺎﺻﻴﻞ‪ ،‬ﺗﻤﺜﺎﻝ ﺃﻏﺴﻄﺲ ﻣﻦ ﻃﺮﻳﻖ ﻻﺑﻴﻜﺎﻧﺎ‪ .‬ﻣﺘﺤﻒ ﻧﺎﺳﻴﻮﻧﺎﻟﻲ ﺭﻭﻣﺎﻧﻮ )‬
‫ﻗﺼﺮﻣﺎﺳﻴﻤﻮ ﺃﻟﻲ ﺗﻴﺮﻣﻲ(‪ ،‬ﺭﻭﻣﺎ‪ .‬ﺍﻟﻘﺮﻥ ﺍﻷﻭﻝ ﺍﻟﻤﻴﻼﺩﻱ‬
‫‪84‬‬
‫‪4.1‬ﺗﻔﺎﺻﻴﻞ ﺍﻟﺘﻮﻏﺎ‪ ،‬ﻧﻘﺶ ﺟﻨﺎﺉﺰﻱ ﺭﻭﻣﺎﻧﻲ ﻣﻦ ﻃﺮﻳﻖ ﺳﺘﺎﺗﻴﻠﻴﺎ‪ .‬ﺳﻨﺘﺮﺍﻟﻲ‬
‫‪120‬‬ ‫ﻣﻮﻧﺘﺮﻳﻤﺎﺭﺗﻴﻨﻲ‪،‬ﺭﻭﻣﺎ‪ 50-80 .‬ﻗﺒﻞ ﺍﻟﻤﻴﻼﺩ‬
‫‪143‬‬ ‫‪5.1‬ﺍﻟﺘﻔﺎﺻﻴﻞ‪ ،‬ﺍﻹﻓﺮﻳﺰ ﺍﻟﺠﻨﻮﺑﻲ‪ ،‬ﺁﺭﺍ ﺑﺎﺳﻴﺲ ﺃﻭﻏﺴﺘﺎﻱ‪ ،‬ﺭﻭﻣﺎ‪ 9-13 .‬ﻗﺒﻞ ﺍﻟﻤﻴﻼﺩ‬
 ‫ﺷﻜﺮﻭﺗﻘﺪﻳﺮ‬

‫ﻟﻘﺪﻗﺪﻡ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻷﺷﺨﺎﺹ ﺗﻌﻠﻴﻘﺎﺕ ﻋﻠﻰ ﻫﺬﻩ ﺍﻟﻤﺨﻄﻮﻃﺔ‪ ،‬ﺑﺪءﺍً ﻣﻦ ﻣﺴﻮﺩﺗﻬﺎ ﺍﻷﻭﻟﻰ ﻭﺣﺘﻰ‬
‫ﺍﻟﻤﺸﺮﻭﻉﺍﻟﻨﻬﺎﺉﻲ‪ .‬ﺃﻧﺎ ﻣﺪﻳﻦ ﻟﻜﻴﺚ ﺑﺮﺍﺩﻟﻲ ﺑﺎﻟﻜﺜﻴﺮ ﻣﻦ ﺍﻻﻣﺘﻨﺎﻥ ﻟﺪﻋﻤﻪ ﺍﻟﻬﺎﺉﻞ ﻋﻠﻰ ﻣﺮ‬
‫ﺍﻟﺴﻨﻴﻦ‪،‬ﻋﻠﻰ ﺍﻟﻤﺴﺘﻮﻳﻴﻦ ﺍﻟﺸﺨﺼﻲ ﻭﺍﻟﻌﻠﻤﻲ‪ .‬ﻟﻘﺪ ﻗﺪﻣﺖ ﺃﺟﺰﺍء ﻣﻦ ﺍﻟﻤﺨﻄﻮﻃﺔ ﻛﺄﻭﺭﺍﻕ‬
‫ﻣﺆﺗﻤﺮﺍﺕﺣﻮﻝ ﺃﻣﺮﻳﻜﺎ ﺍﻟﺸﻤﺎﻟﻴﺔ ﻭﺃﻭﺭﻭﺑﺎ‪ ،‬ﻭﺃﺷﻜﺮ ﺍﻟﺠﻤﻬﻮﺭ ﻭﺃﻋﻀﺎء ﺍﻟﻠﺠﻨﺔ ﻋﻠﻰ ﺍﻗﺘﺮﺍﺣﺎﺗﻬﻢ‬
‫ﻭﺗﻌﻠﻴﻘﺎﺗﻬﻢ‪،‬ﻭﺧﺎﺻﺔ ﻣﺎﺭﻱ ﻫﺎﺭﻟﻮ‪ ،‬ﻭﻟﻮﻳﺪ ﻟﻮﻳﻠﻴﻦ ﺟﻮﻧﺰ‪ ،‬ﻭﺃﻭﺭﺳﻮﻻ ﺭﻭﺙ‪ .‬ﺇﻥ ﺍﻻﻣﺘﻨﺎﻥ ﺃﻳﻀﺎً ﻳﺮﺟﻊ‬
‫ﺇﻟﻰﺍﻟﻘﺮﺍء ﺍﻟﻤﺠﻬﻮﻟﻴﻦ ﻓﻲ ﺭﻭﺗﻠﻴﺪﺝ‪ :‬ﻓﻘﺪ ﻗﺪﻣﻮﺍ ﺃﻓﻜﺎﺭﺍً ﻣﻔﻴﺪﺓ ﻟﻠﻐﺎﻳﺔ ﻟﻠﻌﺪﻳﺪ ﻣﻦ ﺍﻟﻔﺼﻮﻝ ﻭﻗﻤﺖ‬
‫ﺑﺪﻣﺞﺍﻗﺘﺮﺍﺣﺎﺗﻬﻢ ﺑﺤﺮﻳﺔ‪ .‬ﻭﺑﻄﺒﻴﻌﺔ ﺍﻟﺤﺎﻝ‪ ،‬ﺃﻋﻔﻲ ﺟﻤﻴﻊ ﺍﻟﻤﻌﺘﺮﻑ ﺑﻬﻢ ﻫﻨﺎ ﻣﻦ ﺃﻱ ﺗﻮﺍﻃﺆ ﻓﻲ‬
‫ﺍﻷﺧﻄﺎءﺍﻟﺘﻲ ﻻ ﻣﻔﺮ ﻣﻨﻬﺎ‪.‬‬

‫ﺍﻟﻤﺴﺎﻋﺪﺓﻓﻲ ﺍﻟﻤﺴﺎﺉﻞ ﺍﻹﺩﺍﺭﻳﺔ ﻭﺍﻟﺒﺤﺜﻴﺔ ﻓﻲ ﺍﻟﺠﺎﻣﻌﺔ‪ .‬ﻣﻦ ﻏﺮﺏ ﺃﻭﻧﺘﺎﺭﻳﻮ ﺗﻢ ﺗﻘﺪﻳﻤﻪ ﺑﺴﺨﺎء‬
‫ﻣﻦﻗﺒﻞ ﺟﻮﺩﻱ ﻻ ﻓﻮﺭﻡ ﻭﻛﺎﺛﻠﻴﻦ ﺑﻴﻬﺎﺭﻳﻞ‪ .‬ﺗﻢ ﺗﻮﻓﻴﺮ ﺍﻟﺘﻤﻮﻳﻞ ﻟﻠﻤﺸﺮﻭﻉ ﻭﺍﻟﺮﺣﻼﺕ ﺍﻟﺒﺤﺜﻴﺔ ﺇﻟﻰ‬
‫ﺭﻭﻣﺎﻣﻦ ﻗﺒﻞ ﻣﺠﻠﺲ ﺃﺑﺤﺎﺙ ﺍﻟﻌﻠﻮﻡ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭﺍﻹﻧﺴﺎﻧﻴﺔ ﻓﻲ ﻛﻨﺪﺍ‪ ،‬ﻭﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ‬
‫ﺍﻹﻧﺴﺎﻧﻴﺔﻓﻲ ﺟﺎﻣﻌﺔ ﻭﻳﺴﺘﺮﻥ ﺃﻭﻧﺘﺎﺭﻳﻮ‪ .‬ﺗﻢ ﺗﻮﻓﻴﺮ ﺍﻟﺼﻮﺭ ﻣﻦ ﻗﺒﻞ ‪ ،Art Resource‬ﻧﻴﻮﻳﻮﺭﻙ‬
‫ﻭﺍﻟﻤﻌﻬﺪﺍﻷﻟﻤﺎﻧﻲ ﻟﻶﺛﺎﺭ‪ ،‬ﻭﺗﻤﻮﻳﻞ ﺇﻋﺎﺩﺓ ﺇﻧﺘﺎﺟﻬﺎ ﻣﻘﺪﻡ ﻣﻦ ﺻﻨﺪﻭﻕ ‪ ،JB Smallman‬ﺟﺎﻣﻌﺔ‬
‫ﻭﻳﺴﺘﺮﻥﺃﻭﻧﺘﺎﺭﻳﻮ‪ .‬ﺗﻢ ﺗﻘﺪﻳﻢ ﺍﻟﺮﺳﻮﻣﺎﺕ ﺍﻟﺨﻄﻴﺔ ﺑﻮﺍﺳﻄﺔ ﺩﺍﺭﻳﺎﻥ ﻓﻠﻴﺘﺸﺮ ﻭﻛﺎﺗﻲ ﺃﻭﻟﺴﻮﻥ ﻻﻣﺎﺭﻱ‬
‫ﺍﻟﺘﻲﻻ ﺗﻌﺮﻑ ﺍﻟﺨﻮﻑ‪ .‬ﺍﻟﺘﺮﺟﻤﺎﺕ ﻛﻠﻬﺎ ﻣﺄﺧﻮﺫﺓ ﻣﻦ ﻣﻜﺘﺒﺔ ﻟﻮﺏ ﺍﻟﻜﻼﺳﻴﻜﻴﺔ‪ ،‬ﻣﻊ ﺗﻌﺪﻳﻼﺕ‬
‫ﻃﻔﻴﻔﺔ‪.‬ﺗﺮﺟﻤﺎﺕ ﺗﺮﺗﻠﻴﺎﻥ ﻣﺄﺧﻮﺫﺓ ﻣﻦ ‪ .Hunink 2005‬ﺗﺮﺟﻤﺎﺕ ‪ Isidore‬ﻣﺄﺧﻮﺫﺓ ﻣﻦ‬
‫‪ Barney‬ﻭﺁﺧﺮﻭﻥ‪ .2010.‬ﺗﺮﺟﻤﺎﺕﺍﺳﺘﻮﻋﺐﻫﻲ ﻣﻦ ﺗﺄﻟﻴﻒ ﻭﺍﺗﺴﻮﻥ ‪ .1985‬ﺟﻤﻴﻊ ﺗﺮﺟﻤﺎﺕ‬
‫ﻧﻮﻧﻴﻮﺱ‪،‬ﻓﺴﺘﻮﺱ‪ ،‬ﻭﺳﻴﺮﻓﻴﻮﺱ ﻫﻲ ﺗﺮﺟﻤﺎﺗﻲ ﺍﻟﺨﺎﺻﺔ‪.‬‬

‫ﻭﺃﻭﺩﺑﺸﻜﻞ ﺧﺎﺹ ﺃﻥ ﺃﺷﻜﺮ ﺯﻣﻼﺉﻲ ﺍﻷﻋﺰﺍء ﺃ‪ .‬ﻛﻴﻢ ﻛﻼﺭﻙ‪ ،‬ﻭﻣﺎﻳﻜﻞ ﺩﻳﻮﺍﺭ‪ ،‬ﻭﻛﺎﻳﻞ ﺟﻴﺮﻓﻴﻪ‪،‬‬
‫ﻭﺇﻟﻴﺰﺍﺑﻴﺚﻡ‪ .‬ﺟﺮﻳﻦ‪ ،‬ﻭﺃﻣﺎﻧﺪﺍ ﺟﺮﻳﺰﻳﺐ‪ ،‬ﻭﻣﺎﺭﻙ ﻣﺎﻛﺪﺍﻳﺘﺮ‪ ،‬ﻭﺃﻟﻜﺴﻨﺪﺭ ﻣﺎﻳﺮ‪†،‬ﺇﻟﺴﻲ ﻣﻮﻟﺮ‪ ،‬ﻭﺭﺍﻧﺪﻱ‬
‫ﺑﻮﺟﻮﺭﺯﻳﻠﺴﻜﻲ‪،‬ﻭﻛﻴﻨﺪﺍﻝ‪ ،‬ﻭﻫﻮﺏ ﺷﺎﺭﺏ‪ ،‬ﻭﺗﻴﻢ ﺭﺍﻳﺖ‪ .‬ﻟﻘﺪ ﺃﺛﺒﺘﺖ ﺍﺑﻨﺘﻲ ﻛﺎﺛﺮﻳﻦ ﻭﺇﻳﺰﺍﺑﻴﻼ ﻛﺮﻣﻬﻤﺎ‬
‫ﻓﻲﻣﻮﺍﺟﻬﺔ ﻫﻮﺱ ﻭﺍﻟﺪﺗﻬﻤﺎ ﺍﻟﻐﺮﻳﺐ ﺑﺎﻟﻌﺼﻮﺭ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﺍﻟﻘﺪﻳﻤﺔ‪ ،‬ﻭﺃﻧﺎ ﺃﺣﺒﻬﻤﺎ ﻭﺃﺷﻜﺮﻫﻤﺎ ﻋﻠﻰ‬
‫ﺫﻟﻚ‪.‬ﻫﺬﺍ ﺍﻟﻜﺘﺎﺏ ﻣﺨﺼﺺ ﻷﻣﻲ‪ ،‬ﻧﻮﺭﻣﺎ ﻣﺎﻱ ﺃﻭﻟﺴﻮﻥ‪ ،‬ﻭﻫﻲ ﺑﻼ ﺷﻚ ﺍﻷﻗﻮﻯ ﻭﺍﻷﻛﺜﺮ ﻣﺤﺒﺔ ﻭﺣﺒﺎً‬
 ‫ﺷﻜﺮﻭﺗﻘﺪﻳﺮﺍﻟﺤﺎﺩﻱ ﻋﺸﺮ‬
‫ﺍﻟﻤﺮﺃﺓﺍﻷﻛﺜﺮ ﺟﺪﻳﺔ ﻓﻲ ﺍﻟﻌﻤﻞ ﺍﻟﺘﻲ ﻗﺎﺑﻠﺘﻬﺎ ﻋﻠﻰ ﺍﻹﻃﻼﻕ‪ .‬ﺇﻥ ﻧﺠﺎﺣﺎﺗﻲ ﺍﻟﻌﻠﻤﻴﺔ‪ ،‬ﻛﻤﺎ ﻫﻲ ﺍﻵﻥ‪ ،‬ﻟﻢ‬
‫ﻳﻜﻦﻣﻦ ﺍﻟﻤﻤﻜﻦ ﺗﺤﻘﻴﻘﻬﺎ ﺩﻭﻥ ﺩﻋﻤﻬﺎ ﻭﺗﺸﺠﻴﻌﻬﺎ‪ .‬ﺷﻜﺮﺍ ﻳﺎ ﺃﻣﻲ‪.‬‬

‫ﻙ‪.‬ﺃﻭﻟﺴﻮﻥ‬
‫ﻟﻨﺪﻥ‪،‬ﺃﻭﻧﺘﺎﺭﻳﻮ‪ ،‬ﻛﻨﺪﺍ ‪2016‬‬
 ‫ﺍﻻﺧﺘﺼﺎﺭﺍﺕ‬

‫ﺍﺧﺘﺼﺎﺭﺍﺕﻋﻨﺎﻭﻳﻦ ﺍﻟﻤﺠﻼﺕ ﻣﺄﺧﻮﺫﺓ ﻣﻦ ‪ .L'Année Philologique‬ﺍﺧﺘﺼﺎﺭﺍﺕ ﺍﻟﻤﺆﻟﻔﻴﻦ‬

‫ﺍﻟﻘﺪﻣﺎءﻭﺃﻋﻤﺎﻟﻬﻢ ﻣﺄﺧﻮﺫﺓ ﻣﻦ ﻗﺎﻣﻮﺱ ﺃﻛﺴﻔﻮﺭﺩ ﺍﻟﻼﺗﻴﻨﻲ‪.‬‬

‫‪ .65–1923‬ﻋﻤﻼﺕ ﺍﻹﻣﺒﺮﺍﻃﻮﺭﻳﺔ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﻓﻲ ﺍﻟﻤﺘﺤﻒ ﺍﻟﺒﺮﻳﻄﺎﻧﻲ‪ ،‬ﺣﺮﺭﻩ‬ ‫ﺑﻲﺇﻡ ﺳﻲ‬

‫ﻫﺎﺭﻭﻟﺪﻣﺎﺗﻴﻨﺠﻠﻲ‪ 6 .‬ﻣﺠﻠﺪﺍﺕ‪.‬‬
‫‪ .11–2002‬ﺑﺮﻳﻞ ﺍﻟﺠﺪﻳﺪ ﺑﻮﻟﻲ‪ :‬ﻣﻮﺳﻮﻋﺔ ﺍﻟﻌﺎﻟﻢ ﺍﻟﻘﺪﻳﻢ‪ ،‬ﺣﺮﺭﻩ ‪D. Orton‬‬ ‫ﺑﻲﺇﻥ ﺑﻲ‬

‫‪ .H. Cancik، H. Schneider، C. Salazar، and‬ﻟﻴﺪﻥ‪ :‬ﺑﺮﻳﻞ‪.‬‬

‫ﺗﻤﺖﺍﻟﺘﺮﺟﻤﺔ ﺑﻮﺍﺳﻄﺔ ‪ P. Kreuger.‬ﺑﻤﺴﺎﻋﺪﺓ ‪. Mommsen‬ﺑﺮﻟﻴﻦ‪ :‬ﺝ‪.‬‬ ‫‪CIL‬‬

‫ﺭﺍﻳﻨﺮ‪ .1985.‬ﻣﻠﺨﺺ ﺟﺴﺘﻨﻴﺎﻥ‪ .‬ﺍﻟﻨﺺ ﺍﻟﻼﺗﻴﻨﻲ ﺍﻟﺬﻱ ﺣﺮﺭﻩ ﺙ‬ ‫ﺍﺳﺘﻮﻋﺐ‬
‫‪1863 - . Corpus Inscriptionum Latinarum.‬‬
‫ﺃ‪.‬ﻭﺍﺗﺴﻮﻥ‪ .‬ﻓﻴﻼﺩﻟﻔﻴﺎ‪ :‬ﻣﻄﺒﻌﺔ ﺟﺎﻣﻌﺔ ﺑﻨﺴﻠﻔﺎﻧﻴﺎ‪" .1940 .‬ﻣﺮﺳﻮﻡ‬
‫ﺩﻗﻠﺪﻳﺎﻧﻮﺱﺑﺸﺄﻥ ﺍﻷﺳﻌﺎﺭ ﺍﻟﻘﺼﻮﻯ"‪ ،‬ﺣﺮﺭﻩ ﺇﻱ‪ .‬ﺟﺮﺍﺳﺮ‪ .‬ﻓﻲ ﻓﺮﺍﻧﻚ ‪.1940‬‬ ‫ﻣﺮﺳﻮﻡ‬

‫‪.‬ﺩﻳﺴﺎﻭ‪ 3.‬ﻣﺠﻠﺪﺍﺕ‪ .‬ﺑﺮﻟﻴﻦ‪ :‬ﻓﺎﻳﺪﻣﺎﻥ ‪ H.‬ﻟﻴﺪﻥ‪ :‬ﺑﺮﻳﻞ‪.1916-1892 .‬‬ ‫‪FGrH‬‬

‫ﺍﻟﻨﻘﻮﺵﺍﻟﻼﺗﻴﻨﻴﺔ ﺍﻟﻤﺨﺘﺎﺭﺓ‪ ،‬ﺍﻟﺬﻱ ﺣﺮﺭﻩ ‪der griechischen Historiker.‬‬ ‫ﺷﻴﻜﻞ‬
‫‪1950–8. Fragmente‬‬
‫‪.‬ﻣﺎﻟﻜﻮﻓﺎﺗﻲ‪.‬ﺍﻟﻄﺒﻌﺔ ﺍﻟﺜﺎﻧﻴﺔ‪ .‬ﺗﻮﺭﻳﻨﻮ‪ :‬ﺑﺎﺭﺍﻓﻴﺎ‪ .82–1968 .‬ﻗﺎﻣﻮﺱ‬ ‫‪ORF‬‬
‫ﺃﻛﺴﻔﻮﺭﺩﺍﻟﻼﺗﻴﻨﻲ‪ .‬ﺃﻛﺴﻔﻮﺭﺩ ‪ H.‬ﺣﺮﺭﻩ ‪Liberae Rei Publicae،‬‬
‫‪1955. Oratorum Romanorum Fragmenta‬‬ ‫ﻗﺪﻳﻢ‬
‫‪.‬ﺣﺮﺭﻩﺱ‪ .‬ﺭﻳﻜﻮﺑﻮﻧﻮ‪ .‬ﻓﻠﻮﺭﻧﺴﺎ‪ :‬ﺝ‪ .‬ﺑﺎﺭﺑﻴﺮﺍ ‪، ii. 319-417،‬‬ ‫ﺑﻮﻝ‪.‬ﻣﺮﺳﻞ‬
‫‪1968–9. Fontes Iuris Romani Antejustiniani‬‬
‫‪.‬ﺑﺮﻟﻴﻦﻭﻻﻳﺒﺰﻳﻎ‪ :‬ﻭﺍﻟﺘﺮ ﺩﻱ ﺟﺮﻭﻳﺘﺮ ﻭﺷﺮﻛﺎﻩ ‪ . –1898‬ﺑﺮﺩﻳﺎﺕ ﺃﻭﻛﺴﻴﺮﻳﻨﺨﻮﺱ‪،‬‬ ‫ﺷﺮﻃﺔﺍﻟﺘﺪﺧﻞ ﺍﻟﺴﺮﻳﻊ‬

‫ﺣﺮﺭﻩﺑﻲ ﺑﻲ ﺟﺮﻳﻨﻔﻴﻞ ﻭﺁﻳﻪ ﺇﺱ ﻫﺎﻧﺖ‪ .‬ﻟﻨﺪﻥ‪ :‬ﺟﻤﻌﻴﺔ ﺍﻻﺳﺘﻜﺸﺎﻑ ﺍﻟﻤﺼﺮﻳﺔ‬

‫‪L. Peterson.‬ﻭ ‪ A. Stein‬ﺣﺮﺭﻩ ‪Prosopographia Imperii Romani،‬‬ ‫ﻑﺃﻭﻛﺴﻲ‪.‬‬
‫‪1952–66.‬‬
‫‪.‬ﺷﺘﻮﺗﻐﺎﺭﺕ‪:‬ﺟﻲ ﺑﻲ ﻣﻴﺘﺰﻟﺮ ‪WS Teuffel.‬ﻭ ‪A. Pauly، C. Walz،‬‬ ‫ﻳﻜﺮﺭ‬
‫ﺗﻢﺗﺤﺮﻳﺮﻩ ﺑﻮﺍﺳﻄﺔ ‪der classichen Altertumswissenschaft،‬‬
‫‪1894-1978. Real-Encyclopädie‬‬
‫‪.1923-2007‬ﺍﻟﻌﻤﻠﺔ ﺍﻹﻣﺒﺮﺍﻃﻮﺭﻳﺔ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ‪ ،‬ﺣﺮﺭﻩ ﻫـ‪ .‬ﻣﺎﺗﻴﻨﺠﻠﻲ‪ .‬ﻟﻨﺪﻥ‪:‬‬ ‫ﺭﻳﻚ‬
‫ﺳﺒﻴﻨﻚ‪.‬‬
‫ﺍﻻﺧﺘﺼﺎﺭﺍﺕﺍﻟﺜﺎﻟﺚ ﻋﺸﺮ‬

‫‪ .1965،1963‬ﺍﻟﻨﻘﻮﺵ ﺍﻟﻼﺗﻴﻨﻴﺔ ‪ ،Liberae Reipublicae‬ﺍﻟﺬﻱ ﺣﺮﺭﻩ ﺃ‪.‬‬ ‫‪ILLRP‬‬

‫ﺩﻳﺠﺮﺍﺳﻲ‪.‬ﻓﻠﻮﺭﻧﺴﺎ‪ :‬ﻻ ﻧﻮﻓﺎ ﺇﻳﻄﺎﻟﻴﺎ‪.‬‬
‫‪ . –1900‬ﻗﺎﻣﻮﺱ ﺍﻟﻤﺮﺍﺩﻓﺎﺕ ‪ .Linguae Latinae‬ﻻﻳﺒﺰﻳﻎ‪ :‬ﺑﻲ ﺟﻲ ﺗﻴﻮﺑﻨﺮ‪.‬‬ ‫‪TLL‬‬
 ‫ﻣﻘﺪﻣﺔ‬
‫ﺍﻟﻤﻼﺑﺲﺍﻟﺮﻭﻣﺎﻧﻴﺔ‬

‫ﻭﻳﻤﻜﻦﺍﻟﻘﻮﻝ ﺇﻥ ﺍﻟﺠﺴﺪ ﻳﺘﻢ ﺍﻟﺘﻌﺒﻴﺮ ﻋﻨﻪ ﺍﺟﺘﻤﺎﻋﻴﺎً ﻣﻦ ﺧﻼﻝ ﺍﻟﻤﻼﺑﺲ ﻭﺍﻟﺤﻠﻲ‪ ،‬ﻭﺃﻥ ﻫﺬﺍ ﻣﺎ‬
‫ﻳﺠﻌﻞﺍﻟﺠﺴﺪ ﺍﻟﺒﺸﺮﻱ ﻣﺮﺉﻴﺎً ﺛﻘﺎﻓﻴﺎً‪1.‬ﻻﺣﻈﺖ ﻓﺎﻟﻴﺮﻱ ﺳﺘﻴﻞ ﺃﻥ “ﺗﺎﺭﻳﺦ ﺍﻟﻤﻮﺿﺔ ﻣﻌﻘﺪ ﻣﺜﻞ ﺃﻱ‬
‫ﻓﺮﻉﺁﺧﺮ ﻣﻦ ﺍﻟﺘﺎﺭﻳﺦ” )‪ .(96 ،1985‬ﺑﻞ ﺇﻥ ﺍﻷﻣﺮ ﺃﻛﺜﺮ ﺗﻌﻘﻴﺪﺍً ﺑﺎﻟﻨﺴﺒﺔ ﻟﻤﺆﺭﺧﻲ ﺍﻟﻤﻮﺿﺔ ﺍﻟﻘﺪﻳﻤﺔ‪،‬‬
‫ﺍﻟﺬﻳﻦ»ﻻ ﻳﺘﻤﺘﻌﻮﻥ‪ ،‬ﻓﻲ ﺃﻏﻠﺐ ﺍﻷﺣﻴﺎﻥ‪ ،‬ﺑﺮﻓﺎﻫﻴﺔ ﺍﻟﺒﺤﺚ ﺍﻟﻘﺎﺉﻢ ﻋﻠﻰ ﺍﻟﻤﺼﻨﻮﻋﺎﺕ ﺍﻟﻴﺪﻭﻳﺔ«‪….‬‬
‫ﻧﺤﻦﻧﻌﺘﻤﺪ ﺑﺸﻜﻞ ﻛﺒﻴﺮ ﻋﻠﻰ ﺍﻟﺘﻤﺜﻴﻼﺕ ﺍﻟﻤﺮﺉﻴﺔ ﻓﻲ ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﺍﻟﻮﺳﺎﺉﻂ‪ ،‬ﻭﺍﻟﻨﺼﻮﺹ‬
‫ﺍﻷﺩﺑﻴﺔﻣﻦ ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﺍﻷﻧﻮﺍﻉ” )‪ .(Harlow 2005, 143‬ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﺫﻟﻚ‪ ،‬ﻳﺬﻛﺮﻧﺎ ﻟﻮﻳﻠﻴﻦ‬
‫ﺟﻮﻧﺰﺃﻥ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﻣﺼﻄﻠﺤﺎﺕ ﺍﻟﻤﻼﺑﺲ ﻟﻬﺎ ﻣﻌﺎﻧﻲ ﻏﻴﺮ ﻗﺎﺑﻠﺔ ﻟﻠﺘﻔﺴﻴﺮ‪" .‬ﺭﺑﻤﺎ ﻓﻘﺪﻧﺎ ﺍﻟﻌﺪﻳﺪ‬
‫ﻣﻦﺍﻟﻤﺼﻄﻠﺤﺎﺕ ﺍﻟﺪﻗﻴﻘﺔ ﻭﺍﻟﻌﺎﻣﻴﺔ ﻟﻘﻄﻊ ﺍﻟﻤﻼﺑﺲ ﺍﻟﺘﻲ ﺗﺨﺘﻠﻒ ﺑﺎﺧﺘﻼﻑ ﺍﻟﺰﻣﺎﻥ ﻭﺍﻟﻤﻜﺎﻥ‪ .‬ﻛﺎﻥ‬
‫ﺍﻟﻴﻮﻧﺎﻧﻴﻮﻥﺍﻟﻘﺪﻣﺎء ﺃﻧﻔﺴﻬﻢ ﻣﺮﺗﺎﺣﻴﻦ ﺟﺪﺍً ﺑﺸﺄﻥ ﺗﺴﻤﻴﺔ ﻗﻄﻊ ﻣﻼﺑﺴﻬﻢ” )‪ .(25 ،2003‬ﻭﻫﻜﺬﺍ‪،‬‬
‫ﻓﺈﻥﻣﺆﺭﺥ ﺍﻟﺰﻱ ﺍﻟﻘﺪﻳﻢ "ﻳﺘﻌﺎﻣﻞ ﻣﻊ ﻣﻔﺮﺩﺍﺕ ﻏﻴﺮ ﻣﻜﺘﻤﻠﺔ ﻟﺘﻐﻴﻴﺮ ﺍﻟﻤﺼﻄﻠﺤﺎﺕ ﺍﻟﺘﻘﻨﻴﺔ ﻭﺍﻟﻌﺎﻣﻴﺔ‬
‫" )ﺍﻟﻤﺮﺟﻊ ﻧﻔﺴﻪ(‪.‬‬

‫ﺇﻥﺍﻟﻜﺘﺎﺑﺔ ﻋﻦ ﺍﻟﺰﻱ ﺍﻟﺮﻭﻣﺎﻧﻲ ﺍﻟﻘﺪﻳﻢ ﺑﺎﻟﻠﻐﺔ ﺍﻹﻧﺠﻠﻴﺰﻳﺔ ﻗﺪ ﺗﺨﻠﻔﺖ ﻟﻸﺳﻒ ﻋﻦ ﺩﺭﺍﺳﺎﺕ‬

‫ﺍﻟﻤﻮﺿﺔﻓﻲ ﺍﻟﻤﺠﺎﻻﺕ ﺍﻷﺧﺮﻯ‪2.‬ﻧﺸﺮﺕ ﻟﻴﻠﻴﺎﻥ ﻭﻳﻠﺴﻮﻥﺗﻮﺟﺎ ﺍﻟﺮﻭﻣﺎﻧﻴﺔﻭﻣﻼﺑﺲ ﺍﻟﺮﻭﻣﺎﻥ ﺍﻟﻘﺪﻣﺎء‬
‫ﻓﻲﻋﺎﻣﻲ ‪ 1924‬ﻭ‪ 1938‬ﻋﻠﻰ ﺍﻟﺘﻮﺍﻟﻲ‪ .‬ﻧﺸﺮ ﻣﺎﻳﺮ ﺭﻳﻨﻬﻮﻟﺪ ﺩﺭﺍﺳﺘﻴﻦ ﺃﺳﺎﺳﻴﺘﻴﻦ ﻋﻦ ﺍﻟﻤﻼﺑﺲ‪،‬‬
‫ﺇﺣﺪﺍﻫﻤﺎﻋﻦ ﺗﺎﺭﻳﺦ ﺍﻟﻠﻮﻥ ﺍﻷﺭﺟﻮﺍﻧﻲ )‪ (1970‬ﻭﺍﻷﺧﺮﻯ ﻋﻦ ﺍﻏﺘﺼﺎﺏ ﺭﻣﻮﺯ ﺍﻟﻤﻜﺎﻧﺔ )‪ .(1971‬ﺑﺪﺃﺕ‬
‫‪ Bonfante-Warren‬ﻋﻤﻠﻬﺎ ﺍﻟﺬﻱ ﻻ ﻳﻘﺪﺭ ﺑﺜﻤﻦ ﻋﻠﻰ ﻣﻼﺑﺲ ﺍﻷﺗﺮﻭﺳﻜﺎﻥ ﻓﻲ ﻋﺎﻡ ‪) 1973‬‬
‫ﻭﻋﻤﻠﻬﺎﺍﻟﻠﺒﺎﺱ ﺍﻹﺗﺮﻭﺳﻜﺎﻧﻲﺗﻢ ﺇﻋﺎﺩﺓ ﺇﺻﺪﺍﺭﻩ ﻣﺆﺧﺮﺍً ﻓﻲ ﻃﺒﻌﺔ ﻣﺤﺪﺛﺔ ]‪.([Bonfante 2003‬‬
‫ﻭﻣﻊﺫﻟﻚ‪ ،‬ﻟﺴﻨﻮﺍﺕ ﻋﺪﻳﺪﺓ‪ ،‬ﺑﺪﺍ ﺃﻥ ﺩﺭﺍﺳﺎﺕ ﺍﻟﻤﻼﺑﺲ ﺍﻟﻘﺪﻳﻤﺔ‪ ،‬ﻋﻨﺪ ﻇﻬﻮﺭﻫﺎ‪ ،‬ﺗﺘﻌﺎﻣﻞ ﻓﻘﻂ ﻣﻊ‬
‫ﺍﻷﻣﻮﺭﺍﻟﺘﻲ ﺗﻬﻢ ﺍﻷﺛﺮﻳﻴﻦ‪ :‬ﺍﻟﺸﻜﻞ ﺍﻟﺪﻗﻴﻖ ﻭﺣﺠﻢ ﺍﻟﺘﻮﻏﺎ‪ ،‬ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﻟﻤﺜﺎﻝ‪ ،‬ﺃﻭ ﺍﻟﺘﺨﻤﻴﻨﺎﺕ ﺣﻮﻝ‬
‫ﻇﻼﻝﺻﺒﻐﺎﺕ ﺍﻟﻤﻼﺑﺲ‪3.‬ﻟﻘﺪ ﺗﺰﺍﻳﺪ ﺍﻻﻫﺘﻤﺎﻡ ﺑﻤﺠﺎﻝ ﺍﻟﻤﻈﻬﺮ ﻓﻘﻂ ﻓﻲ ﺍﻟﻌﺸﺮﻳﻦ ﻋﺎﻣﺎً ﺍﻟﻤﺎﺿﻴﺔ‬
‫ﺃﻭﻧﺤﻮ ﺫﻟﻚ‪ .‬ﺗﻢ ﻧﺸﺮ ﺳﻴﺒﻴﺴﺘﺎ ﻭﺑﻮﻧﻔﺎﻧﺘﻲﻋﺎﻟﻢ ﺍﻟﺰﻱ ﺍﻟﺮﻭﻣﺎﻧﻲﻓﻲ ﻋﺎﻡ ‪ ،1994‬ﻛﺘﺎﺏ ﻳﺘﻜﻮﻥ ﻣﻦ‬
‫ﻣﻘﺎﻻﺕﻗﺼﻴﺮﺓ ﺣﻮﻝ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺟﻮﺍﻧﺐ ﺍﻟﺰﻱ ﺍﻟﺮﻭﻣﺎﻧﻲ ﻓﻲ ﺍﻷﺩﺏ ﻭﺍﻟﻔﻦ‪ ،‬ﺑﻤﺎ ﻓﻲ ﺫﻟﻚ‬
‫ﺍﻟﻤﻼﺑﺲﺍﻟﺮﺟﺎﻟﻴﺔ ﻭﺍﻟﻨﺴﺎﺉﻴﺔ ﻭﺍﻟﻤﺠﻮﻫﺮﺍﺕ ﻭﺍﻷﺣﺬﻳﺔ‪ .‬ﻫﺬﺍ ﺍﻟﻌﻤﻞ ﻣﻊ ﻛﺘﺎﺏ ﻛﺮﻭﻡ ﻟﻌﺎﻡ ‪) 2002‬‬
‫ﺍﻟﻤﻼﺑﺲﻭﺍﻷﺯﻳﺎء ﺍﻟﺮﻭﻣﺎﻧﻴﺔ(‪ ،‬ﻳﺠﺐ ﺍﻋﺘﺒﺎﺭﻫﺎ ﺍﻵﻥ ﻧﻘﻄﺔ ﺍﻟﺒﺪﺍﻳﺔ ﻟﺠﻤﻴﻊ ﻣﺆﺭﺧﻲ ﺍﻟﺰﻱ ﺍﻟﺮﻭﻣﺎﻧﻲ‬
‫ﺍﻟﻨﺎﻃﻘﻴﻦﺑﺎﻟﻠﻐﺔ ﺍﻹﻧﺠﻠﻴﺰﻳﺔ‪ ،‬ﻋﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ ﻇﻬﻮﺭ ﻣﺠﻤﻮﻋﺎﺕ ﺃﺣﺪﺙ ﺃﻳﻀﺎً )‪; Harlow 2012a‬‬
‫‪ .(Edmondson and Keith2008‬ﻛﻤﺎ ﺃﻥ ﺍﻟﻤﺠﻠﺪﺍﺕ ﺍﻟﻤﺘﻌﻠﻘﺔ ﺑﺎﻟﻤﻨﺴﻮﺟﺎﺕ ﺍﻟﻘﺪﻳﻤﺔ ﻋﺪﻳﺪﺓ‬
‫ﺃﻳﻀﺎً‪):‬ﻣﺆﺧﺮﺍً‪.(Gillis and Nosch 2007; Harlow and Nosch 2014 ،‬‬
 ‫‪2‬ﻣﻘﺪﻣﺔ‬
‫ﻛﺎﻥﺍﻟﻌﻤﻞ ﺍﻷﻟﻤﺎﻧﻲ ﺃﻳﻀﺎً ﻛﺒﻴﺮﺍً‪ ،‬ﺣﻴﺚ ﻇﻬﺮﺕ ﺩﺭﺍﺳﺎﺕ ﻋﻦ ﺍﻟﺘﻮﻏﺎ )ﺟﻮﻳﺖ ‪ ،(1990‬ﻭﺍﻟﻮﺷﺎﺡ‬
‫ﺳﺘﻮﻻ)‪ Tellenbach‬ﻭﺍﻟﻔﺼﻮﻝ ﻓﻲ ;‪1977; Goette 1986 and 1990; Wrede 1988‬‬
‫‪ )Gabelmann‬ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﺍﻟﻤﻘﺎﻻﺕ ﻋﻦ ﺍﻟﻌﺒﺎءﺍﺕ ﻭﺍﻷﺣﺬﻳﺔ ﻭﺍﻟﺰﺧﺎﺭﻑ‬
‫ﺍﻟﺮﻭﻣﺎﻧﻴﺔﺍﻷﺧﺮﻯ (‪ )Pausch 2008‬ﻭﺍﻟﺴﺘﺮﺓ ‪ Scholz 1992(،‬ﻭﺁﺧﺮﻭﻥ‪ .(2013.‬ﺑﺎﻟﻠﻐﺔ‬
‫ﺍﻟﻔﺮﻧﺴﻴﺔ‪،‬ﺳﻴﻜﻮﻥ ‪ Chausson and Inglebert 2003‬ﻣﻮﺿﻊ ﺍﻫﺘﻤﺎﻡ؛ ﻛﺎﻥ ﻋﻤﻞ ﻓﻠﻮﺭﻧﺲ‬
‫ﻏﻴﺮﺷﺎﻧﻮﻙﻫﻮ ﺍﻷﻛﺜﺮ ﺗﺄﺛﻴﺮﺍً )ﺍﻧﻈﺮ ﻣﺠﻤﻮﻋﺎﺕ ﻏﻴﺮﺷﺎﻧﻮﻙﻭﺁﺧﺮﻭﻥ‪2011.‬؛ ‪and Huet 2012‬‬
‫‪ (Gherchanoc‬ﻭﻣﺆﺧﺮﺍً ﻇﻬﺮﺕ ﺛﻼﺙ ﻣﻘﺎﻻﺕ ﻓﻲﻣﺮﺍﺟﻌﺔ ﺗﺎﺭﻳﺨﻴﺔﻣﺴﺘﺤﻖ) ﻓﻲ ﺍﻟﻴﻮﻧﺎﻥ ﻭﺭﻭﻣﺎ‬
‫‪S'habiller et se déshabiler‬ﺗﻢ ﺇﺩﺭﺍﺝ ﺍﻷﻭﻝ ﻭﺍﻟﺜﺎﻟﺚ ﻓﻲ ﻗﺎﺉﻤﺔ ﺍﻟﻤﺮﺍﺟﻊ ﺑﺎﺳﻢ ‪2007‬‬
‫‪ Baroin and Valette-Cagnac‬ﻭ‪ .(Gherchanoc and Huet 2007‬ﻋﺪﺩ ﺧﺎﺹ ﻣﻦ‬
‫ﻣﻴﺘﻴﺲ)‪ ،2008‬ﻻ‪ (6 .‬ﻳﺘﻨﺎﻭﻝ ﺟﻮﺍﻧﺐ ﻣﺨﺘﻠﻔﺔ ﻣﻦ ﺍﻟﺰﻱ ﺍﻟﻘﺪﻳﻢ؛‪4‬ﻗﻀﻴﺔ ﺧﺎﺻﺔ ﻣﻦﺣﻮﺍﺭﺍﺕ‬
‫ﺍﻟﺘﺎﺭﻳﺦﺍﻟﻘﺪﻳﻢﻋﺒﺎﺭﺓ ﻋﻦ ﺳﻠﺴﻠﺔ ﻣﻦ ﺍﻟﻤﻘﺎﻻﺕ ﻋﻦ ﺣﺎﻟﺔ ﻣﺠﺎﻝ ﺍﻟﺒﺤﺚ ﻋﻦ ﺍﻟﻤﻼﺑﺲ ﺍﻟﻘﺪﻳﻤﺔ‬
‫ﻭﺍﻟﺠﺴﻢ)‪.(Gherchanoc 2015‬‬

‫ﺑﺴﺒﺐﺍﻟﺘﺮﻛﻴﺰ ﺍﻟﺘﻘﻠﻴﺪﻱ ﻓﻲ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﻜﻼﺳﻴﻜﻴﺔ ﻋﻠﻰ ﺍﻟﺮﺟﺎﻝ ﻭﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﺬﻛﻮﺭﻳﺔ‪ ،‬ﻓﻘﺪ ﺗﻢ‬
‫ﻧﺸﺮﺍﻟﻤﺰﻳﺪ ﻋﻦ ﻣﻼﺑﺲ ﺍﻟﺮﺟﺎﻝ ﻓﻲ ﺇﻳﻄﺎﻟﻴﺎ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﻣﻘﺎﺭﻧﺔ ﺑﺎﻟﻤﻼﺑﺲ ﺍﻟﻨﺴﺎﺉﻴﺔ‪5.‬ﻭﻷﻥ‬
‫ﺍﻟﻤﺼﺎﺩﺭﺗﻬﺘﻢ ﺃﻛﺜﺮ ﺑﺎﻟﺮﺟﺎﻝ ﺑﺸﻜﻞ ﻋﺎﻡ‪ ،‬ﻓﺈﻥ ﻫﻨﺎﻙ ﺃﺩﻟﺔ ﺃﻭﻟﻴﺔ ﺃﻛﺜﺮ ﻋﻠﻰ ﻣﻼﺑﺲ ﺍﻟﺮﺟﺎﻝ‪ :‬ﺃﻭﺻﺎﻑ‬
‫ﻣﻈﻬﺮﻫﺎ‪،‬ﻭﺣﺴﺎﺑﺎﺕ ﻋﻦ ﻛﻴﻔﻴﺔ ﺍﺭﺗﺪﺍﺉﻬﺎ‪ ،‬ﻭﻣﺆﺷﺮﺍﺕ ﻋﻠﻰ ﻣﺨﺎﻟﻔﺎﺕ ﻣﻌﻴﻨﺔ ﻟﻠﺰﻱ ﺍﻟﻌﺎﺩﻱ‪ .‬ﻟﻘﺪ‬
‫ﺗﻢﺇﻧﺠﺎﺯ ﺍﻟﻜﺜﻴﺮ ﻣﻦ ﺍﻟﻌﻤﻞ ﺍﻟﻤﻤﺘﺎﺯ ﻓﻴﻤﺎ ﻳﺘﻌﻠﻖ ﺑﺎﻟﺘﻮﺟﺎ ﻭﺍﻟﺮﻣﻮﺯ ﻓﻲ ﻣﻼﺑﺲ ﺍﻟﺮﺟﺎﻝ‪6،‬ﻭﻣﻔﺎﻫﻴﻢ‬
‫ﺍﻟﺘﺨﻨﺚﻭﺍﻟﻌﺮﺽ ﺍﻟﺬﺍﺗﻲ ﻟﻠﺠﺴﺪ ﺍﻟﺬﻛﺮﻱ‪7.‬ﻭﻗﺪ ﺣﻈﻴﺖ ﻣﺠﺎﻻﺕ ﺃﺧﺮﻯ ﻣﻦ ﺍﻟﻠﺒﺎﺱ ﺑﺎﻫﺘﻤﺎﻡ‬
‫ﻋﻠﻤﻲﺃﻳﻀﺎً‪ :‬ﻛﻤﺎ ﺣﻘﻖ ﺍﻟﻤﺆﺭﺧﻮﻥ ﺍﻟﻌﺴﻜﺮﻳﻮﻥ ﺍﻟﺮﻭﻣﺎﻥ ﺍﻟﻜﺜﻴﺮ ﻓﻲ ﻣﺠﺎﻝ ﻣﻼﺑﺲ ﺍﻟﺠﻨﻮﺩ‬
‫ﻭﺍﻟﻀﺒﺎﻁ‪8،‬ﻭﻫﻨﺎﻙ ﺍﻵﻥ ﺛﺮﻭﺓ ﻣﻦ ﺍﻟﻤﻨﺸﻮﺭﺍﺕ ﺣﻮﻝ ﺍﻟﻠﺒﺎﺱ ﻓﻲ ﺃﻭﺍﺧﺮ ﺍﻹﻣﺒﺮﺍﻃﻮﺭﻳﺔ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ‬
‫ﺍﻟﻌﺘﻴﻘﺔ‪،‬ﻭﺣﻮﻝ ﺍﻟﻤﻮﺍﻗﻒ ﺍﻟﻤﺴﻴﺤﻴﺔ ﺗﺠﺎﻩ ﺍﻟﻤﻼﺑﺲ‪9.‬‬

‫ﻭﻟﺴﻮءﺍﻟﺤﻆ‪ ،‬ﻓﺈﻥ ﺍﻟﻤﺴﺎﺣﺔ ﻫﻨﺎ ﺗﻤﻨﻌﻨﻲ ﻣﻦ ﺍﻟﻨﻈﺮ ﻓﻲ ﻫﺬﻩ ﺍﻟﻤﺠﺎﻻﺕ ﺍﻟﺮﺍﺉﻌﺔ ﺑﺎﻟﺘﻔﺼﻴﻞ ﻓﻲ‬
‫ﻫﺬﺍﺍﻟﻜﺘﺎﺏ‪ ،‬ﺣﻴﺚ ﻳﺘﻄﻠﺐ ﻛﻞ ﻣﻨﻬﺎ ﺣﺠﻤﺎً ﻛﺒﻴﺮﺍً ﺧﺎﺻﺎً ﺑﻪ‪ .‬ﻭﺑﺪﻻ ًﻣﻦ ﺫﻟﻚ‪ ،‬ﺃﺭﻛﺰ ﻋﻠﻰ ﺍﻟﻤﻼﺑﺲ‬
‫ﺍﻟﺮﺟﺎﻟﻴﺔ"ﺍﻟﻤﺪﻧﻴﺔ" ﻭﺃﺻﺪﺍﺉﻬﺎ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭﺍﻟﺠﻨﺴﻴﺔ‪.‬‬

‫ﻃﺮﻳﻘﺔ‬
‫ﻟﺘﻮﺿﻴﺢﺍﻟﻄﺮﻕ ﺍﻟﻤﺘﻌﺪﺩﺓ ﺍﻟﺘﻲ ﻳﻤﻜﻦ ﻟﻠﻤﻼﺑﺲ ﺃﻥ ﺗﻨﻘﻞ ﺑﻬﺎ ﺍﻟﻮﺿﻊ ﺍﻻﺟﺘﻤﺎﻋﻲ ﻭﺍﻟﻬﻮﻳﺔ ﻓﻲ‬
‫ﺍﻟﻌﺼﻮﺭﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﺍﻟﻘﺪﻳﻤﺔ‪ ،‬ﺃﺅﻛﺪ ﺃﻧﻨﺎ ﺑﺤﺎﺟﺔ ﺃﻭﻻ ًﺇﻟﻰ ﻓﻬﻢ )ﺑﻘﺪﺭ ﻣﺎ ﺗﺴﻤﺢ ﻟﻨﺎ ﻣﺼﺎﺩﺭﻧﺎ ﺑﺈﻋﺎﺩﺓ ﺑﻨﺎ‬
‫ء( ﻣﻔﺮﺩﺍﺕ ﺍﻟﺨﻴﺎﻃﺔ ﻟﺪﻯ ﺍﻟﺮﻭﻣﺎﻥ ﺍﻟﻘﺪﻣﺎء‪ ،‬ﻭﺗﻜﻨﻮﻟﻮﺟﻴﺎ ﻣﻼﺑﺴﻬﻢ‪ ،‬ﻭﺗﻔﺎﺻﻴﻞ ﺍﻟﻤﻼﺑﺲ‪.‬‬
‫ﺍﻟﻤﻼﺑﺲﺍﻟﺘﻲ ﻛﺎﻧﺖ ﺗﺮﺗﺪﻳﻬﺎ‪ .‬ﻭﻣﻦ ﺃﺟﻞ ﺇﻋﺎﺩﺓ ﺑﻨﺎء ﻫﺬﻩ ﺍﻟﺘﻔﺎﺻﻴﻞ ﺍﻟﺪﻗﻴﻘﺔ‪ ،‬ﻧﺤﺘﺎﺝ ﺇﻟﻰ ﺍﻟﻨﻈﺮ ﺇﻟﻰ‬
‫ﻣﺠﻤﻮﻋﺔﻣﺘﻨﻮﻋﺔ ﻣﻦ ﺍﻟﻤﺼﺎﺩﺭ )ﺍﻷﺩﺑﻴﺔ ﻭﺍﻟﻔﻨﻴﺔ(‪ ،‬ﻋﺒﺮ ﺍﻟﻔﺘﺮﺍﺕ ﺍﻟﺠﻐﺮﺍﻓﻴﺔ ﻭﺍﻟﺘﺎﺭﻳﺨﻴﺔ‪.‬‬

‫ﻳﻤﺘﺪﺍﻟﻨﻄﺎﻕ ﺍﻟﺰﻣﻨﻲ ﺍﻟﻤﻐﻄﻰ ﻓﻲ ﻫﺬﻩ ﺍﻟﻤﺠﻠﺪﺍﺕ ﺇﻟﻰ ﺍﻷﻋﻮﺍﻡ ﻣﻦ ‪ 200‬ﻗﺒﻞ ﺍﻟﻤﻴﻼﺩ ﺇﻟﻰ‬
‫ﻛﺎﻟﻴﻔﻮﺭﻧﻴﺎ‪ 235.‬ﻡ )"ﺍﻟﻔﺘﺮﺓ ﺍﻟﻤﺮﻛﺰﻳﺔ"(‪ ،‬ﻋﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ ﺃﻧﻨﻲ ﺃﺷﻌﺮ ﺃﻥ ﺫﻟﻚ ﻟﻪ ﻣﺎ ﻳﺒﺮﺭﻩ‪ ،‬ﺇﻻ ﺃﻧﻨﻲ‬
‫ﻟﻢﺃﺗﺮﺩﺩ ﻓﻲ ﺍﻻﺳﺘﻔﺎﺩﺓ ﻣﻦ ﻣﺼﺎﺩﺭ ﺧﺎﺭﺝ ﻫﺬﺍ ﺍﻟﻌﺼﺮ‪ .‬ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﺍﻟﻤﺼﺎﺩﺭ ﺍﻟﻤﻜﺘﻮﺑﺔ ﺍﻟﻤﻌﺘﺎﺩﺓ‬
‫‪-‬ﺍﻟﺘﺎﺭﻳﺦ‪ ،‬ﻭﺍﻟﺴﻴﺮ ﺍﻟﺬﺍﺗﻴﺔ‪ ،‬ﻭﻣﺎ ﺷﺎﺑﻪ ‪ -‬ﻓﺈﻧﻨﻲ ﺃﺳﺘﺨﺪﻡ ﺃﻳﻀﺎً ﺑﻄﺮﻳﻘﺔ ﻣﺤﺪﻭﺩﺓ ﺍﻷﺩﺏ ﺍﻷﻛﺜﺮ ﺧﻴﺎﻻً‪،‬‬
‫ﻣﺜﻞ"ﺃﺭﺗﻤﻴﺪﻭﺭﻭﺱ"‪.‬ﺃﻭﻧﻴﺮﻭﻛﺮﻳﺘﻴﻜﺎ‪ ,‬ﻭﺍﻟﻤﺸﻜﻮﻙ ﻓﻴﻬﺎ ﺗﺎﺭﻳﺨﻴﺎﻫﻴﺴﺘﻮﺭﻳﺎ ﺃﻭﻏﻮﺳﺘﺎ‪10.‬ﻋﻠﻰ ﺍﻟﺮﻏﻢ‬
‫ﻣﻦﺃﻧﻬﺎ ﺭﺑﻤﺎ ﻻ ﺗﻜﻮﻥ ﺣﻘﻴﻘﻴﺔ ﺑﺸﻜﻞ ﺻﺎﺭﻡ‪ ،‬ﺇﻻ ﺃﻥ ﻫﺬﻩ ﺍﻷﻧﻮﺍﻉ ﻣﻦ ﺍﻟﻤﺼﺎﺩﺭ ﺗﻘﺪﻡ “ﻟﻤﺤﺔ‬
‫ﻣﻌﻘﻮﻟﺔﻋﻦ ﺍﻟﻌﻘﻠﻴﺎﺕ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ” )ﺑﺮﻳﻨﺎﻥ ‪ .(262 ،2008‬ﻓﻲ ﺑﻌﺾ ﺍﻟﻨﻮﺍﺣﻲ‪ ،‬ﻛﺎﻧﺖ ﺭﻭﻣﺎ ﻋﺎﻟﻤﺎً‬
‫ﻣﺨﺘﻠﻔﺎً‬
 ‫ﻣﻘﺪﻣﺔ‪3‬‬
‫‪235‬ﻡ ﻋﻤﺎ ﻛﺎﻥ ﻋﻠﻴﻪ ﻓﻲ ﻋﺎﻡ ‪ 200‬ﻗﺒﻞ ﺍﻟﻤﻴﻼﺩ ‪ -‬ﺑﺎﻟﺘﺄﻛﻴﺪ ﺛﻘﺎﻓﻴﺎً ﻭﺳﻴﺎﺳﻴﺎً ‪ -‬ﻭﺣﻴﺜﻤﺎ ﺃﻣﻜﻦ‪،‬‬
‫ﻗﻤﺖﺑﺘﺪﻭﻳﻦ ﺍﻟﺘﻄﻮﺭﺍﺕ ﺍﻟﺘﺎﺭﻳﺨﻴﺔ ﻓﻲ ﻣﻼﺑﺲ ﺍﻟﺮﺟﺎﻝ‪ .‬ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﻓﻤﻦ ﺍﻟﺼﻌﺐ ﻟﻠﻐﺎﻳﺔ ﺗﺘﺒﻊ‬
‫ﺫﻟﻚ‪:‬ﻓﻲ ﺍﻟﺤﻘﻴﻘﺔ‪ ،‬ﺃﺣﺪ ﺍﻷﺷﻴﺎء ﺍﻟﺮﺍﺉﻌﺔ ﻓﻲ ﺍﻟﻤﺠﺘﻤﻊ ﺍﻟﺮﻭﻣﺎﻧﻲ ﻫﻮ ﻓﻲ ﺍﻟﻮﺍﻗﻊﻧﻘﺺﺍﻟﺘﻐﻴﻴﺮ ﻣﻊ‬
‫ﻣﺮﻭﺭﺍﻟﻮﻗﺖ ‪ -‬ﻓﻲﻋﻘﻠﻴﺔ‪ ,‬ﻓﻲ ﺍﻟﻠﺒﺎﺱ‪ ،‬ﻭﻓﻲ ﺍﻷﻳﺪﻳﻮﻟﻮﺟﻴﺔ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ – ﻋﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ ﺍﻟﺘﺤﻮﻻﺕ‬
‫ﺍﻟﺘﺎﺭﻳﺨﻴﺔﻭﺍﻟﺴﻴﺎﺳﻴﺔ ﺍﻟﻌﻤﻴﻘﺔ‪) .‬ﻫﻨﺎﻙ ﺩﺍﺉﻤﺎً ﺍﺣﺘﻤﺎﻝ ﺃﻥ ﻳﻜﻮﻥ ﻫﻨﺎﻙ ﺗﻐﻴﻴﺮ ﻓﻲ ﺍﻟﻤﻼﺑﺲ ﻭﻻ‬
‫ﻳﻤﻜﻨﻨﺎﺗﻤﻴﻴﺰﻩ ﻣﻦ ﺍﻟﺘﻌﻠﻴﻘﺎﺕ ﺍﻟﻘﻠﻴﻠﺔ ﻧﺴﺒﻴﺎً ﺍﻟﺒﺎﻗﻴﺔ ﻋﻠﻰ ﺍﻟﻤﻼﺑﺲ ﺍﻟﺘﻲ ﻧﻤﺘﻠﻜﻬﺎ(‪ .‬ﻧﻄﺎﻗﻲ‬
‫ﺍﻟﺠﻐﺮﺍﻓﻲﻳﻤﻴﻞ ﺇﻟﻰ ﺃﻥ ﻳﻜﻮﻥ ﺿﻴﻘﺎً ﺇﻟﻰ ﺣﺪ ٍﻣﺎ؛ ﺃﺣﺎﻭﻝ ﺍﻟﺘﺮﻛﻴﺰ ﻋﻠﻰ ﺭﻭﻣﺎ ﻭﺇﻳﻄﺎﻟﻴﺎ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ‪،‬‬
‫ﻟﻜﻦﻣﺮﺓ ﺃﺧﺮﻯ‪ ،‬ﺃﺣﻴﺎﻧﺎً ﺃﺳﺘﻔﻴﺪ ﻣﻦ ﻣﻮﺿﻮﻉ ﺧﺎﺭﺝ ﻫﺬﻩ ﺍﻟﻤﻨﻄﻘﺔ‪.‬‬

‫ﺗﻌﺪﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺜﻘﺎﻓﻴﺔ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﻣﺠﺎﻻً ﻭﺍﺳﻌﺎً ﻭﺭﺍﺉﻌﺎً‪ ،‬ﻭﻻ ﻳﺰﺍﻝ ﻫﻨﺎﻙ ﺍﻟﻜﺜﻴﺮ ﻣﻦ ﺍﻟﻌﻤﻞ‬
‫ﺍﻟﺬﻱﻳﺘﻌﻴﻦ ﺍﻟﻘﻴﺎﻡ ﺑﻪ؛ ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﻟﻢ ﻳﺘﻮﺻﻞ ﺍﻟﺒﺎﺣﺜﻮﻥ ﺍﻟﻜﻼﺳﻴﻜﻴﻮﻥ ﺑﻌﺪ ﺇﻟﻰ ﺃﻱ ﺇﺟﻤﺎﻉ ﺣﻘﻴﻘﻲ‬
‫ﻓﻴﻤﺎﻳﺘﻌﻠﻖ ﺑﺎﻻﺧﺘﻴﺎﺭ ﺍﻟﺼﺤﻴﺢ ﻟﻠﻤﺼﺎﺩﺭ ﻭﺍﺳﺘﺨﺪﺍﻣﻬﺎ‪ .‬ﺇﻧﻪ ﻣﺠﺎﻝ ﻻ ﻳﻌﺘﻤﺪ ﺑﺸﻜﻞ ﺻﺎﺭﻡ ﻋﻠﻰ‬
‫ﻓﻘﻪﺍﻟﻠﻐﺔ؛ ﻳﺤﺘﺎﺝ ﺍﻟﺒﺎﺣﺚ ﺇﻟﻰ ﺍﻟﻨﻈﺮ ﻓﻲ ﺍﻷﻧﻮﺍﻉ ﺍﻟﻤﺨﺘﻠﻔﺔ ﻣﻦ ﺍﻟﻤﺼﺎﺩﺭ ﺍﻷﺩﺑﻴﺔ ﻣﻌﺎً؛ ﻭﻳﺤﺘﺎﺝ‬
‫ﺑﺸﻜﻞﺧﺎﺹ ﺇﻟﻰ ﺍﻟﺠﻤﻊ ﺑﻴﻦ ﺍﻟﻤﺼﺎﺩﺭ ﺍﻟﻔﻨﻴﺔ ﻭﺍﻷﺩﺑﻴﺔ ﻭﺍﻟﻜﺘﺎﺑﻴﺔ ﻟﺘﺤﻘﻴﻖ "ﻭﺻﻒ ﻛﺜﻴﻒ"‬
‫ﻣﺮﻏﻮﺏﻓﻴﻪ‪11.‬ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﺫﻟﻚ‪ ،‬ﻣﻦ ﺍﻟﻤﻔﻴﺪ ﺃﻳﻀﺎً ﺍﻻﻋﺘﻤﺎﺩ ﻋﻠﻰ ﺍﻷﺩﻟﺔ ﺍﻟﻤﻘﺎﺭﻧﺔ ﻟﺼﻴﺎﻏﺔ‬
‫ﻓﺮﺿﻴﺎﺕﺟﺪﻳﺪﺓ ﺃﻭ ﺇﻟﻘﺎء ﺿﻮء ﺟﺪﻳﺪ ﻭﻣﺜﻴﺮ ﻟﻼﻫﺘﻤﺎﻡ ﻋﻠﻰ ﺍﻟﻌﺼﻮﺭ ﺍﻟﻘﺪﻳﻤﺔ‪ .‬ﻭﻫﺬﺍ ﻳﻌﻨﻲ ﺃﻥ‬
‫ﺍﻻﻧﻀﺒﺎﻁﻋﻘﻠﻴﺔﺃﻭ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺜﻘﺎﻓﻴﺔ )ﻭﺍﺳﺘﻨﺘﺎﺟﺎﺗﻬﺎ ﺍﻻﻧﻄﺒﺎﻋﻴﺔ ﺇﻟﻰ ﺣﺪ ﻣﺎ ﻓﻲ ﻛﺜﻴﺮ ﻣﻦ ﺍﻷﺣﻴﺎﻥ‬
‫( ﻛﺜﻴﺮﺍً ﻣﺎ ﻳﻨُﻈﺮ ﺇﻟﻴﻬﺎ ﺑﻌﻴﻦ ﺍﻟﺮﻳﺒﺔ‪ .‬ﺗﺤﺬﺭ ﺳﻮﺯﺍﻥ ﺗﺮﻳﺠﻴﺎﺭﻱ ﺑﺸﻜﻞ ﻣﻔﻴﺪ ﻣﻦ ﺍﻟﻤﺒﺎﻟﻐﺔ ﻓﻲ ﺍﻷﺩﻟﺔ‪“ :‬‬
‫ﻳﺠﺐﺃﻻ ﻧﺪﻋﻲ ﺃﻧﻨﺎ ﺃﺛﺒﺘﻨﺎ ﻣﺎ ﺃﻇﻬﺮﻧﺎﻩ ﻓﻘﻂ ﻋﻠﻰ ﺃﻧﻪ ﻣﻌﻘﻮﻝ” )‪ .(Treggiari 2002، 39‬ﻓﻲ ﻫﺬﻩ‬
‫ﺍﻟﺪﺭﺍﺳﺔ‪،‬ﺑﺬﻟﺖ ﻗﺼﺎﺭﻯ ﺟﻬﺪﻱ ﻟﺘﺼﻨﻴﻒ ﺍﻟﺘﻜﻬﻨﺎﺕ‪.‬‬

‫ﻫﻨﺎﻙﺑﺎﻟﻄﺒﻊ ﻣﺤﺎﺫﻳﺮ ﻓﻴﻤﺎ ﻳﺘﻌﻠﻖ ﺑﺠﻤﻴﻊ ﺃﻧﻮﺍﻉ ﺍﻷﺩﻟﺔ‪ .‬ﺃﻭﺩ ﺃﻥ ﺃﺯﻋﻢ‪ ،‬ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﻟﻤﺜﺎﻝ‪ ،‬ﺃﻥ‬
‫ﻫﻨﺎﻙﺩﺍﺉﻤﺎً ﺧﻄﺮﺍً ﻓﻲ ﺃﻥ ﻳﻜﻮﻥ ﺫﻛﺮ ﻭﻇﻴﻔﺔ ﻭﺍﺳﺘﺨﺪﺍﻡ ﺍﻟﻤﻼﺑﺲ ﻓﻲ ﺍﻟﻤﺼﺎﺩﺭ ﺍﻷﺩﺑﻴﺔ ﻣﺜﺎﻟﻴﺎً‪/‬‬
‫ﺃﻣﺮﻳﺎًﻭﻟﻴﺲ ﻭﺻﻔﻴﺎً ‪ -‬ﻭﻫﻮ ﻣﺎ ﻳﻤﻜﻦ ﺗﺴﻤﻴﺘﻪ ﺑﺒﻼﻏﺔ ﺍﻟﻤﻼﺑﺲ‪12،‬ﻭﻓﻲ ﻛﺜﻴﺮ ﻣﻦ ﺍﻟﻨﻮﺍﺣﻲ‪ ،‬ﻳﻜﻮﻥ‬
‫ﺗﺘﺒﻊﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻟﺮﻣﺰﻳﺔ ﺃﺳﻬﻞ ﻣﻦ ﺗﺘﺒﻊ ﻣﺎﺩﻳﺔ ﺍﻟﻤﻼﺑﺲ ﺍﻟﻘﺪﻳﻤﺔ‪ .‬ﻟﺴﻮء ﺍﻟﺤﻆ‪ ،‬ﻻ ﺗﻮﺟﺪ‬
‫ﻃﺮﻳﻘﺔﻟﻤﻌﺮﻓﺔ ﻣﺎ ﺇﺫﺍ ﻛﺎﻧﺖ ﻗﻄﻌﺔ ﺍﻟﻤﻼﺑﺲ ﻣﺬﻛﻮﺭﺓ ﻓﻲ ﺍﻟﻤﺼﺎﺩﺭ ﻷﻧﻬﺎ ﺃ( ﺗﻌﻜﺲ ﻣﻤﺎﺭﺳﺔ‬
‫ﺍﻟﺤﻴﺎﺓﺍﻟﻮﺍﻗﻌﻴﺔ )ﺍﻟﻮﺻﻒ(؛ ﺏ( ﻳﺴﺘﺨﺪﻡ ﻛﻨﺎﻳﺔ )ﺃﻱ ﻗﻄﻌﺔ ﻣﻦ ﺍﻟﻤﻼﺑﺲ ﺗﻢ ﺍﺭﺗﺪﺍﺅﻫﺎ ﻓﻲ ﺍﻟﻤﺎﺿﻲ‬
‫ﺍﻟﺒﻌﻴﺪﻭﻟﻢ ﺗﻌﺪ ﺗﻠﺒﺲ‪ ،‬ﻭﻟﻜﻨﻬﺎ ﻣﻠﻴﺉﺔ ﺑﺎﻟﺮﻣﺰﻳﺔ(؛ ﺃﻭ ﺝ( ﻳﻤﺜﻞ ﻭﺟﻬﺔ ﻧﻈﺮ ﻋﺎﻟﻤﻴﺔ ﻣﺜﺎﻟﻴﺔ ﻣﻦ‬
‫ﺟﺎﻧﺐﺍﻟﻤﺆﻟﻒ )ﻭﺻﻔﺔ ﻃﺒﻴﺔ(‪ .‬ﻋﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ ﻫﺬﻩ ﺍﻟﻤﺸﺎﻛﻞ‪ ،‬ﻻ ﻳﺴﺘﻄﻴﻊ ﺃﻱ ﻣﺆﺭﺥ ﻟﻠﻤﻼﺑﺲ ﺃﻥ‬
‫ﻳﺘﺠﺎﻫﻞﺍﻟﻤﺼﺎﺩﺭ ﺍﻟﻤﻜﺘﻮﺑﺔ‪ .‬ﺃﺣﺎﻭﻝ ﺃﻥ ﺃﺷﻴﺮ ﺇﻟﻰ ﻫﺬﻩ ﺍﻟﺼﻌﻮﺑﺔ ﻣﻦ ﺧﻼﻝ ﺇﺩﺧﺎﻝ ﻋﺒﺎﺭﺍﺕ ﻣﺜﻞ "‬
‫ﺍﻟﺪﻟﻴﻞﺍﻷﺩﺑﻲ ﻳﻨﺺ ﻋﻠﻰ ﺫﻟﻚ"‪"....‬ﻟﻺﺷﺎﺭﺓ ﺇﻟﻰ ﺍﻟﻤﺼﺪﺭ ﻭﺍﻟﻘﻴﻮﺩ ﺍﻟﻤﺤﺘﻤﻠﺔ ﻟﻬﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ‬
‫ﺍﻟﻤﻌﻠﻮﻣﺎﺕ‪.‬‬

‫ﻓﻲﻫﺬﻩ ﺍﻟﺪﺭﺍﺳﺔ‪ ،‬ﺃﺳﺘﺨﺪﻡ ﺍﻟﻔﻦ ﺃﻳﻀﺎً‪13.‬ﻳﻬﺘﻢ ﺍﻟﺒﺎﺣﺜﻮﻥ ﺍﻟﻴﻮﻡ ﺑﺤﻖ ﺑﻜﻴﻔﻴﺔ ﺍﺳﺘﺨﺪﺍﻡ ﻋﻠﻢ‬
‫ﺍﻷﻳﻘﻮﻧﺎﺕﺑﺸﻜﻞ ﺁﻣﻦ ﻛﺪﻟﻴﻞ ﻋﻠﻰ ﺍﻟﻠﺒﺎﺱ ﺍﻟﻘﺪﻳﻢ ﻓﻲ ﻣﻮﺍﺟﻬﺔ ﺍﻟﻤﺼﺎﺩﺭ ﺍﻟﻤﻜﺘﻮﺑﺔ‪ ،‬ﺍﻟﺘﻲ ﻏﺎﻟﺒﺎً ﻣﺎ‬
‫ﺗﺘﻌﺎﺭﺽﻣﻌﻬﺎ‪ .‬ﻣﻦ ﺍﻟﺼﻌﺐ ﺍﻟﺪﺧﻮﻝ ﻓﻲ ﻫﺬﺍ ﺍﻟﻨﻘﺎﺵ ﺩﻭﻥ ﺍﻹﻳﺤﺎء ﺑﺄﻥ ﺍﻟﻔﻦ "ﺃﺻﺪﻕ" ﺃﻭ ﻳﺠﺐ‬
‫ﺃﻥﻳﺘﻤﺘﻊ ﺑﻄﺮﻳﻘﺔ ﻣﺎ ﺑﺎﻣﺘﻴﺎﺯ ﻋﻠﻰ ﺍﻷﺩﺏ‪ ،‬ﺃﻭ ﺍﻟﻌﻜﺲ‪14.‬ﻳﺸﻌﺮ ﺑﻌﺾ ﺍﻟﻌﻠﻤﺎء ﺃﻥ ﺍﻷﺩﻟﺔ ﺍﻷﺩﺑﻴﺔ‬
‫ﺗﻘﺪﻡﺻﻮﺭﺓ ﺃﻛﺜﺮ ﺩﻗﺔ ﻋﻦ ﺣﻴﺎﺓ ﺍﻟﻤﻼﺑﺲ ﻓﻲ ﺍﻟﻌﺼﻮﺭ ﺍﻟﻴﻮﻧﺎﻧﻴﺔ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﺍﻟﻘﺪﻳﻤﺔ )‪1996, 206‬‬
‫‪c, 125; Kampen 1981, 101; Llewellyn-Jones 2003, 10; Stone 1994, 21; Vout‬‬
‫‪(Clark 1993, 105; Dixon2001‬؛ ﻭﻳﺮﻯ ﺁﺧﺮﻭﻥ ﺃﻥ ﺍﻟﻔﻦ ﺑﺸﻜﻞ ﻋﺎﻡ ﺃﻛﺜﺮ ﻣﻮﺛﻮﻗﻴﺔ ﻣﻦ‬
‫ﺍﻟﻤﺼﺎﺩﺭﺍﻟﻤﻜﺘﻮﺑﺔ )‪;George 2001, 188, n. 8; Kockel 1993, 53‬‬
 ‫‪4‬ﻣﻘﺪﻣﺔ‬
‫ﺃﻭﻟﺴﻮﻥ‪ .(4-3 ،2008‬ﻭﻫﺬﺍ ﺧﻼﻑ ﻻ ﻳﺠﻮﺯ ﺣﻠﻪ ﺑﻴﻦ ﺃﻫﻞ ﺍﻟﻌﻠﻢ‪ .‬ﻓﻲ ﺣﻴﻦ ﺃﻥ ﺍﻟﻔﻦ ﻟﻴﺲ ﺷﺮﻳﺤﺔ‬
‫ﻣﻦﺍﻟﺤﻴﺎﺓ‪ ،‬ﻓﻬﻮ ﻳﺰﻳﻦ ﻭﻳﻐﻔﻞ ﻷﻏﺮﺍﺿﻪ ﺍﻟﺨﺎﺻﺔ‪ ،‬ﺇﻻ ﺃﻥ ﺍﻻﻧﻔﺼﺎﻝ ﺑﻴﻦ ﺍﻟﻤﺼﺎﺩﺭ ﺍﻷﺩﺑﻴﺔ ﻭﺍﻟﻔﻨﻴﺔ‬
‫ﻟﻠﻤﻼﺑﺲﺍﻟﻘﺪﻳﻤﺔ ﻳﻈﻞ ﺭﺍﺉﻌﺎً‪ ،‬ﻭﺇﻥ ﻛﺎﻥ ﻣﻦ ﺍﻟﺼﻌﺐ ﺗﻔﺴﻴﺮﻩ‪ .‬ﺁﻣﻞ ﺃﻥ ﻳﻘﺪﻡ ﻫﺬﺍ ﺍﻟﻜﺘﺎﺏ ﺭﺅﻳﺔ‬
‫ﻣﺘﻮﺍﺯﻧﺔﻟﻤﺰﺍﻳﺎ ﻭﻋﻴﻮﺏ ﺩﺭﺍﺳﺔ ﺍﻟﻤﻼﺑﺲ ﻣﻦ ﺧﻼﻝ ﺍﻷﺩﻟﺔ ﺍﻟﻤﻜﺘﻮﺑﺔ ﻭﺍﻟﻤﺮﺉﻴﺔ‪.‬‬

‫ﻛﻤﺎﺃﻧﻨﻲ ﺃﻋﺘﻤﺪ ﻋﻠﻰ ﺍﻷﺩﻟﺔ ﺍﻷﺛﺮﻳﺔ ﺇﻟﻰ ﺣﺪ ﻣﺎ‪ .‬ﺇﻥ ﺍﻛﺘﺸﺎﻓﺎﺕ ﺑﻘﺎﻳﺎ ﺍﻟﻘﻤﺎﺵ ﻭﺍﻟﻤﻼﺑﺲ ﻭﻛﺬﻟﻚ‬
‫ﺍﻛﺘﺸﺎﻓﺎﺕﺍﻟﺼﺒﺎﻏﺔ ﻭﺍﻟﺤﺸﻮ ﻭﻣﻌﺪﺍﺕ ﺇﻧﺘﺎﺝ ﺍﻟﻨﺴﻴﺞ ﻭﺍﻷﺩﻭﺍﺕ ﺗﻌﻨﻲ ﺃﻥ “ﺻﻮﺭﺓ ﺃﻛﺜﺮ ﺗﻔﺼﻴﻼ ً‬
‫ﻟﺼﻨﺎﻋﺔﺍﻟﻤﻼﺑﺲ ﻭﺍﻟﻨﺴﻴﺞ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﺁﺧﺬﺓ ﻓﻲ ﺍﻟﺘﻄﻮﺭ” )‪ .(Mannering 2000b, 10‬ﻟﻘﺪ ﺗﻢ‬
‫ﺇﻧﺠﺎﺯﺍﻟﻜﺜﻴﺮ ﻣﻦ ﺍﻷﻋﻤﺎﻝ ﺍﻟﻘﻴﻤﺔ ﻓﻲ ﻣﻮﻧﺲ ﻛﻠﻮﺩﻳﺎﻧﻮﺱ ﻭﺩﻳﺪﻳﻤﻮﻱ ﻓﻲ ﻣﺼﺮ؛‪15‬ﻣﻮﺍﻗﻊ ﻓﻲ‬
‫ﺇﻳﻄﺎﻟﻴﺎﻣﺎ ﻗﺒﻞ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ؛‪16‬ﻓﻴﻨﺪﻭﻻﻧﺪﺍ ﻭﺷﻤﺎﻝ ﺃﻭﺭﻭﺑﺎ؛‪17‬ﻣﻐﺎﺭﺓ ﺍﻟﺤﺮﻭﻑ ﻋﻠﻰ ﺍﻟﺒﺤﺮ ﺍﻟﻤﻴﺖ؛‪18‬‬
‫ﺇﺳﺒﺎﻧﻴﺎﺍﻟﺮﻭﻣﺎﻧﻴﺔ؛‪19‬ﻭﺑﻮﻣﺒﻲ‪20.‬ﺗﻌﺪ ﺍﻻﻛﺘﺸﺎﻓﺎﺕ ﺍﻷﺛﺮﻳﺔ ﺫﺍﺕ ﻗﻴﻤﺔ ﻃﺒﻴﻌﻴﺔ ﻷﻧﻬﺎ ﻳﻤﻜﻦ ﺃﻥ ﺗﺨﺒﺮﻧﺎ‬
‫ﻋﻦﺃﺻﻮﻝ ﺍﻟﻤﻼﺑﺲ ﻭﺇﻧﺘﺎﺟﻬﺎ ﻭﺗﺼﻨﻴﻌﻬﺎ ﻭﺍﻟﻤﻮﺍﺩ ﺍﻟﻤﺎﺩﻳﺔ ﻟﻠﻤﻼﺑﺲ‪ ،‬ﻭﻟﻜﻨﻬﺎ ﻳﻤﻜﻦ ﺃﻥ ﺗﺤﺘﻮﻱ‬
‫ﺃﻳﻀﺎًﻋﻠﻰ ﻣﻌﻠﻮﻣﺎﺕ ﻣﻔﻴﺪﺓ ﺣﻮﻝ ﺍﻟﻤﻼﺑﺲ ﻭﺍﻟﺤﺎﻟﺔ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭﺃﻧﻤﺎﻁ ﺍﻟﻤﻼﺑﺲ ﺍﻹﻗﻠﻴﻤﻴﺔ‬
‫ﻭﺇﻋﺎﺩﺓﺍﺳﺘﺨﺪﺍﻡ ﺍﻟﻤﻼﺑﺲ‪.‬‬

‫ﺍﻟﻤﺼﻄﻠﺢ‬
‫ﻳﺤﺪﺩﻫﺎﺭﻟﻮ )‪.(46 ،2004‬ﺯﻱ"ﺍﻟﻠﺒﺎﺱ ﺍﻟﺘﻘﻠﻴﺪﻱ"‪ :‬ﺛﻮﺏ ﺃﻭ ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﺍﻟﻤﻼﺑﺲ ﻛﺎﻧﺖ ﻣﻮﺟﻮﺩﺓ‬
‫ﻋﻠﻰﻣﺪﻯ ﻓﺘﺮﺓ ﻃﻮﻳﻠﺔ ﻣﻦ ﺍﻟﺰﻣﻦ ﻭﻟﻢ ﺗﺸﻬﺪ ﺳﻮﻯ ﺍﻟﻘﻠﻴﻞ ﻣﻦ ﺍﻟﺘﻐﻴﻴﺮ‪ ،‬ﻭﻳﻤﻜﻦ ﻟﻠﻤﻌﺎﺻﺮﻳﻦ ﻓﻬﻢ‬
‫ﻋﻼﻣﺎﺗﻬﺎﻭﻓﺮﻭﻗﻬﺎ ﺍﻟﺪﻗﻴﻘﺔ ﺑﺴﻬﻮﻟﺔ‪.‬ﻣﻮﺿﺔﻳﺘﻜﻮﻥ ﻣﻦ ﻋﻨﺎﺻﺮ ﻣﻼﺑﺲ ﻏﻴﺮ ﺗﻘﻠﻴﺪﻳﺔ ﻗﺼﻴﺮﺓ ﺍﻟﻌﻤﺮ‪،‬‬
‫ﻭﻏﺎﻟﺒﺎًﻣﺎ ﺗﻜﻮﻥ ﻧﺘﻴﺠﺔ ﻟﻠﺒﺤﺚ ﺍﻟﻤﻀﻄﺮﺏﺑﻌﺪﻳﺘﻐﻴﺮ؛ ﻏﺎﻟﺒﺎً ﻣﺎ ﻳﻜﻮﻥ ﻣﻦ ﺍﻟﺼﻌﺐ ﺗﺘﺒﻊ ﻫﺬﺍ ﻓﻲ‬
‫ﺍﻟﻌﺼﻮﺭﺍﻟﻘﺪﻳﻤﺔ‪ .‬ﻳﻤﻜﻦ ﺃﻥ ﺗﺼﺒﺢ ﻋﻨﺎﺻﺮ ﺍﻟﻤﻮﺿﺔ ﻓﻲ ﺍﻟﻨﻬﺎﻳﺔ ﺟﺰءﺍً ﻣﻦ ﺍﻟﻠﺒﺎﺱ ﺍﻟﺘﻘﻠﻴﺪﻱ )ﻋﻠﻰ‬
‫ﺳﺒﻴﻞﺍﻟﻤﺜﺎﻝ‪ ،‬ﺍﻟﺴﺮﺍﻭﻳﻞ ﺍﻟﺒﺮﺑﺮﻳﺔ ﻓﻲ ﺍﻟﻌﺼﻮﺭ ﺍﻟﻘﺪﻳﻤﺔ(؛ ﻭﺍﻟﻌﻜﺲ ﺻﺤﻴﺢ‪ ،‬ﻭﻟﻜﻦ ﺑﺸﻜﻞ ﻋﺎﻡ‪،‬‬
‫ﺍﻟﺰﻱ"ﻣﺨﺎﻟﻒ ﻟﻠﻤﻮﺿﺔ"‪21.‬ﻋﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ ﺃﻧﻨﻲ ﺃﺳﺘﺨﺪﻡ ﻋﺒﺎﺭﺓ "ﺭﻣﺰ ﺍﻟﻤﻼﺑﺲ ﺍﻟﺬﻛﻮﺭﻳﺔ" ﻓﻲ ﻫﺬﺍ‬
‫ﺍﻟﻜﺘﺎﺏﻟﺘﻌﻨﻲ "ﺍﻟﺬﻛﺮ ﺍﻟﻤﻘﺒﻮﻝ"‪.‬ﻫﺎﺑﻴﺘﻮﺱ "ﺍﻟﺬﻱ ﻳﺆﺳﺲ ﻭﻳﺆﻛﺪ ﺍﻟﺬﻛﻮﺭﺓ ﻭﺍﻻﻧﺪﻣﺎﺝ ﻓﻲ ﺍﻟﻬﻴﻤﻨﺔ‬
‫ﺍﻟﺬﻛﻮﺭﻳﺔ"‪ ،‬ﻫﺬﺍ ﻟﻴﺲ ﻣﺎ ﺃﻋﺮﻓﻪ ﺑـ "ﺍﻟﻤﻮﺿﺔ"‪ ،‬ﺑﻞ ﺑـ "ﺍﻟﺰﻱ"‪) .‬ﻭﻟﺒﺎﺱ ﺍﻟﻐﻨﺎﺩﻝ ﻣﺨﺘﻠﻒ ﻓﻲ ﻫﺬﺍ‬
‫ﺍﻟﺼﺪﺩ‪:‬ﺍﻧﻈﺮ ﺃﺩﻧﺎﻩ ﺍﻟﻔﺼﻞ ﺍﻟﺨﺎﻣﺲ(‪ .‬ﻻ ﻳﺒﺪﻭ ﺃﻥ ﺳﻠﺴﻠﺔ ﻣﻦ ﺍﻷﻧﻤﺎﻁ ﺍﻟﺴﺎﺉﺪﺓ ﻓﻲ ﻣﻼﺑﺲ‬
‫ﺍﻟﺮﺟﺎﻝﻭﺳﻠﻮﻛﻬﻢ ﻭﺍﻟﺘﻲ ﺗﻌﺎﻗﺒﺖ ﺑﺴﺮﻋﺔ )"ﺍﻟﻤﻮﺿﺔ"( ﻛﺎﻧﺖ ﻣﻮﺟﻮﺩﺓ ﻓﻲ ﺍﻟﻌﺼﻮﺭ ﺍﻟﻘﺪﻳﻤﺔ‬
‫ﺍﻟﺮﻭﻣﺎﻧﻴﺔ‪.‬‬

‫"ﺍﻟﻠﺒﺎﺱ" ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﺮﻭﻣﺎﻥ ﻛﺎﻥ ﻳﻌﻨﻲ ﺃﻛﺜﺮ ﻣﻦ ﻣﺠﺮﺩ ﺍﻟﻤﻼﺑﺲ‪ :‬ﻓﻬﻮ ﻳﺸﻤﻞ ﺃﻳﻀﺎً ﺍﻟﻌﻨﺎﻳﺔ‬
‫ﺑﺎﻟﺠﺴﻢ)ﻗﺺ ﺍﻟﺸﻌﺮ ﻭﺍﻟﻠﺤﻴﺔ ﺇﻥ ﻭﺟﺪﺕ‪ ،‬ﻭﻭﺟﻮﺩ ﺷﻌﺮ ﺍﻟﺠﺴﻢ‪ ،‬ﻭﺍﻟﻌﻄﺮ(‪ ،‬ﻭﺍﺭﺗﺪﺍء ﺍﻟﻤﺠﻮﻫﺮﺍﺕ‪.‬‬
‫ﺍﻟﻤﺼﻄﻠﺤﺎﻥﺍﻟﻤﺴﺘﺨﺪﻣﺎﻥ ﻓﻲ ﺃﻏﻠﺐ ﺍﻷﺣﻴﺎﻥ ﻟﻠﻠﺒﺎﺱ‪/‬ﺍﻟﻤﻈﻬﺮ ﻫﻤﺎﻫﺎﺑﻴﺘﻮﺱﻭﻋﺒﺎﺩﺓ‪'22.‬‬
‫ﻫﺎﺑﻴﺘﻮﺱﻓﻲ ﺍﻝﻗﺎﻣﻮﺱ ﺃﻛﺴﻔﻮﺭﺩ ﺍﻟﻼﺗﻴﻨﻲﻳﺘﻢ ﺗﻌﺮﻳﻔﻪ ﻋﻠﻰ ﺃﻧﻪ "ﺃﺳﻠﻮﺏ ﺍﻟﻠﺒﺎﺱ‪ ،‬ﻭﺍﻟﻤﺮﺣﺎﺽ‪،‬‬
‫ﻭﻣﺎﺇﻟﻰ ﺫﻟﻚ‪ ،‬ﻭ"ﺍﻟﻨﻬﻮﺽ" )ﺧﺎﺻﺔ ﺍﻟﻤﻨﺎﺳﺐ ﻟﻔﺉﺔ ﺃﻭ ﻣﻨﺎﺳﺒﺔ ﻣﻌﻴﻨﺔ(؛" ﺳﻮﺍء ﻣﻦ ﺍﻟﻌﺴﻜﺮﻳﻴﻦ‬
‫)‪.Virg‬ﺃ‪ ،(8.723 ،3.596.‬ﻳﺴﺎﻭﻱ )ﺣﻮﺭ‪.‬ﺱ‪ ،(2.7.54.‬ﺍﻷﺷﺨﺎﺹ ﻓﻲ ﺣﺎﻟﺔ ﺣﺪﺍﺩ )‪.Ov‬ﺳﺮﻳﻊ‪.‬‬
‫‪ ،(2.817‬ﺃﻭ ﺧﻄﻴﺐ )ﻛﻮﻳﻨﺖ‪.‬ﺍﻧﺴﺖ‪ 8.‬ﺍﻟﻌﻼﻗﺎﺕ ﺍﻟﻌﺎﻣﺔ‪ .(20 .‬ﺍﻝﻗﺪﻳﻢﻳﻌﻄﻲ ﻛﺘﻌﺮﻳﻒ ﺃﻭﻝ‬
‫ﻟﻜﻠﻤﺔ"ﺣﺎﻟﺔ ﺍﻟﻮﺟﻮﺩ‪ ،‬ﺍﻟﺸﺮﻁ ﺃ‪) .‬ﺍﻟﺠﺴﺪ(" ﻭﻫﻮ ﻣﺎ ﻳﺘﻮﺍﻓﻖ ﻣﻊ ﺍﻻﻋﺘﻘﺎﺩ ﺍﻟﺮﻭﻣﺎﻧﻲ ﺑﺄﻥ ﺍﻟﻤﻼﺑﺲ )‬
‫ﻣﻊﺍﺳﺘﺜﻨﺎءﺍﺕ ﻗﻠﻴﻠﺔ( ﺗﻈﻬﺮ ﺷﺨﺼﻴﺔ ﺍﻟﻤﺮء ﺍﻟﺪﺍﺧﻠﻴﺔ‪.‬‬
 ‫ﻣﻘﺪﻣﺔ‪5‬‬
‫ﺍﻝﻗﺪﻳﻢﻳﺤﺪﺩﻋﺒﺎﺩﺓ )‪ ،2‬ﺹ‪ (467 .‬ﻛـ "‪ .4‬ﺍﻟﻌﻨﺎﻳﺔ ﺍﻟﺸﺨﺼﻴﺔ ﻭﺍﻟﺼﻴﺎﻧﺔ… ﺃﻳﻀﺎ‪ ،‬ﺣﺎﻟﺔ ﺣﺴﻦ‬
‫ﺍﻹﻋﺪﺍﺩ‪ .5.‬ﺃ‪ .‬ﺍﻟﺰﻳﻨﺔ )ﻷﻱ ﺷﻲء(؛ ﺧﺎﺻﺔ‪ .‬ﺍﻟﺘﺰﻳﻴﻦ ﺃﻭ ﺍﻟﻤﻼﺑﺲ )ﻟﻠﺸﺨﺺ‪ ،‬ﺟﺴﺪﻩ‪ ،‬ﻭﻣﺎ ﺇﻟﻰ ﺫﻟﻚ(‪.‬‬
‫ﺏ‪.‬ﻧﻤﻂ ﻣﻦ ﺍﻟﻠﺒﺎﺱ ﺃﻭ ﺍﻟﺰﺧﺮﻓﺔ‪" ،‬ﺍﻟﻨﻬﻮﺽ"؛ ﺃﻳﻀﺎًﻋﺒﺎﺩﺓ ﺍﻟﺠﺴﻢ‪ .6.‬ﺍﻟﺰﻳﻨﺔ‪ ،‬ﺧﺎﺻﺔ‪ .‬ﺍﻟﺰﻳﻨﺔ‬
‫ﺍﻟﺸﺨﺼﻴﺔﻭﺍﻟﻤﻼﺑﺲ ﻭﺍﻟﺰﻳﻨﺔ ﻭﻏﻴﺮﻫﺎ‪ ".‬ﻭﻛﻤﺎ ﻻﺣﻈﺖ ﻣﺎﺭﻳﺎ ﻭﻳﻚ‪،‬ﻋﺒﺎﺩﺓﻫﻮ ﻣﺎ ﻳﺘﺤﻀﺮ‪ ،‬ﺃﻭ ﻣﺎ‬
‫ﻳﺨﻔﻒ)"ﻟﻴﺲ ﻓﻘﻂ ﺍﻟﻤﻮﺍﻃﻦ ﺍﻟﺮﻭﻣﺎﻧﻲ ﻭﺍﻟﺠﺴﻢ ﺍﻟﺴﻴﺎﺳﻲ‪ ،‬ﺑﻞ ﺃﻳﻀﺎً ﺍﻟﻜﻠﻤﺔ ﺍﻟﻤﻜﺘﻮﺑﺔ"(‪23.‬‬
‫ﻭﻟﻜﻨﻬﺎﻗﺪ ﺗﻌﻨﻲ ﺃﻳﻀﺎً ﺍﻟﺮﺍﺣﺔ )ﻟﻴﻔﻲ ‪ ،(٢٦.٤٩.١١‬ﻭﺍﻷﻧﺎﻗﺔ )ﺳﻮﻳﺖ‪.‬ﻧﻴﺮﻭ‪ ،(31.1‬ﺍﻟﺘﻄﻮﺭ ﺍﻟﺤﻀﺮﻱ‬
‫)‪.Caes‬ﻓﺘﺎﻩ‪ ،(1.1.3.‬ﺃﻭ ﺍﻹﻓﺮﺍﻁ ﻓﻲ ﺍﻟﺼﻘﻞ ﺃﻭ ﺍﻟﺘﺮﻑ )‪.Sall‬ﻗﻄﺔ‪13.3.‬؛ ﺑﻠﻴﻦ‪.‬ﻧﺎﺕ‪34.163.‬؛‬
‫ﺗﺎﻙ‪.‬ﺁﻥ‪.‬‬

‫‪ .(11.16‬ﻧﻘﺺ ﻓﻲﻋﺒﺎﺩﺓﺗﻢ ﺗﻤﻴﻴﺰ ﺍﻟﻌﺒﻴﺪ ﻭﺍﻟﻄﺒﻘﺎﺕ ﺍﻟﺪﻧﻴﺎ‪ :‬ﺍﻟﻤﻼﺑﺲ ﺍﻟﻘﺬﺭﺓ ﻭﺍﻟﺠﺴﺪ ﻏﻴﺮ‬
‫ﺍﻟﻤﻐﺴﻮﻝ‪.‬‬
‫ﻛﻠﻤﺔﺃﺧﻴﺮﺓ ﻳﺠﺐ ﺃﻥ ﻧﺄﺧﺬﻫﺎ ﺑﻌﻴﻦ ﺍﻻﻋﺘﺒﺎﺭ ﻫﻲﻻﻭﺗﺲ‪.‬ﻭﺗﻌﻨﻲ ﻓﻲ ﺍﻟﻤﻘﺎﻡ ﺍﻷﻭﻝ "ﻣﻐﺴﻮﻝ‪،‬‬
‫ﻧﻈﻴﻒ" )‪.Ter‬ﺩﻛﺘﻮﺭﺍﻩ‪ ،339.‬ﺳﻲ ﺳﻲ‪.‬ﻓﻼﻙ‪ (70.‬ﻭﻟﻜﻦ ﻟﻬﺎ ﻣﻌﺎﻧﻲ ﺛﺎﻧﻮﻳﺔ ﺗﺘﻤﺜﻞ ﻓﻲ "ﺃﻥ ﺗﻜﻮﻥ‬
‫ﺣﺴﻦﺍﻟﻤﻈﻬﺮ‪ ،‬ﻭﺃﻥ ﺗﺘﻤﺘﻊ ﺑﺠﻮ ﻣﻦ ﺍﻻﺣﺘﺮﺍﻡ ﻭﺍﻟﺠﻮﻫﺮ" )‪.Cic‬ﺃﺕ‪ ،13.52.2 ،8.1.3.‬ﻓﻴﻞ‪،3.18.‬‬
‫ﻓﻴﺮ‪ ،(2.1.17.‬ﻭﺃﺧﻴﺮﺍً “ﺑﺎﺫﺥ‪ ،‬ﻣﺘﺮﻑ‪ ،‬ﺛﺮﻱ” )ﻣﺎﺭﺱ ‪ ،11.31.20 ،4.54.8‬ﺍﻟﺴﻴﻨﺎﺗﻮﺭ‪.‬ﺇﻳﺐ‪.‬‬
‫‪.94.70‬ﺑﻴﺘﺮ‪ ،26.9 .‬ﺗﺎﻙ‪.‬ﻳﺘﺼﻞ‪ .(22.4.‬ﻭﺑﻌﺒﺎﺭﺓ ﺃﺧﺮﻯ‪ ،‬ﻓﺈﻥ ﻛﻠﻤﺔ "ﻧﻈﻴﻒ" ﺗﻌﻨﻲ ﻋﻠﻰ ﻧﻄﺎﻕ‬
‫ﻭﺍﺳﻊ"ﺍﻟﻔﺨﺎﻣﺔ"‪ ،‬ﻷﻥ ﺍﻟﻨﻈﺎﻓﺔ ﻫﻲ ﻣﻦ ﺍﺧﺘﺼﺎﺹ ﺃﻭﻟﺉﻚ ﺍﻟﺬﻳﻦ ﻟﺪﻳﻬﻢ ﻣﺎ ﻳﻜﻔﻲ ﻣﻦ ﺍﻟﻤﺎﻝ‬
‫ﻭﺃﻭﻗﺎﺕﺍﻟﻔﺮﺍﻍ ﻟﻠﻘﻴﺎﻡ ﺑﺬﻟﻚ‪24.‬‬

‫ﺩﺭﺍﺳﺎﺕﺍﻟﺬﻛﻮﺭﺓ‬
‫ﻛﺎﻧﺖﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﻤﺘﻌﻠﻘﺔ ﺑﺎﻟﺮﺟﺎﻝ ﻭﺍﻟﺬﻛﻮﺭﺓ ﺣﺘﻰ ﺍﻵﻥ ﺃﻛﺜﺮ ﻭﻓﺮﺓ ﻓﻲ ﺍﻟﻌﻠﻮﻡ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‪ ،‬ﻭﻋﺎﺩﺓ‬
‫ﻣﺎﺗﺮﻛﺰ ﻋﻠﻰ ﺍﻟﻤﺠﺘﻤﻊ ﺍﻟﻐﺮﺑﻲ ﺍﻟﻤﻌﺎﺻﺮ؛ “ﺇﻥ ﺍﻟﺘﺨﺼﺼﺎﺕ ﺍﻟﻤﻌﻨﻴﺔ ﺑﺎﻟﻤﺠﺘﻤﻌﺎﺕ ﺍﻟﺴﺎﺑﻘﺔ ﻧﺎﺩﺭﺍً‬
‫ﻣﺎﺭﻛﺰﺕ ﺣﺘﻰ ﺍﻵﻥ ﻋﻠﻰ ﺍﻟﺮﺟﺎﻝ ﻛﺮﺟﺎﻝ” )ﻓﻮﻛﺴﻬﻮﻝ ‪ .(2 ،1998‬ﻭﻫﺬﺍ ﻳﺘﻐﻴﺮ ﻣﻊ ﺗﺤﻮﻝ ﺍﻟﺬﻛﻮﺭﺓ‬
‫ﺇﻟﻰﻣﺠﺎﻝ ﺑﺤﺚ ﻣﻬﻢ ﻭﻣﺤﻔﺰ ﻟﻠﺒﺎﺣﺜﻴﻦ ﺍﻟﻌﺎﻣﻠﻴﻦ ﻓﻲ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺜﻘﺎﻓﻴﺔ ﻭﺍﻟﺠﻨﺴﺎﻧﻴﺔ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ‬
‫ﺍﻟﻘﺪﻳﻤﺔ‪25.‬‬

‫ﻓﻲﻣﻌﻈﻢ ﺍﻟﻤﺠﺘﻤﻌﺎﺕ‪ ،‬ﻫﻨﺎﻙ “ﺑﻌﺾ ﺍﻟﻤﻔﺎﻫﻴﻢ ﺍﻷﺳﺎﺳﻴﺔ ﻭﺍﻟﻤﺘﻔﻖ ﻋﻠﻴﻬﺎ ﻋﻤﻮﻣﺎً ﻟﻠﺬﻛﻮﺭﺓ” )‬
‫‪ ،(Foxhall 1998,4‬ﻭﺍﻟﺘﻲ ﻏﺎﻟﺒﺎً ﻣﺎ ﻳﺼﻔﻬﺎ ﺍﻟﻌﻠﻤﺎء ﺑﺄﻧﻬﺎ “ﺍﻟﺬﻛﻮﺭﺓ ﺍﻟﻤﻬﻴﻤﻨﺔ”‪ ،‬ﺃﻱ ﺍﻟﺬﻛﻮﺭﺓ‬
‫ﺍﻟﻤﻬﻴﻤﻨﺔﺍﻟﺘﻲ ﺗﻤﺎﺭﺳﻬﺎ ﺍﻟﻨﺨﺒﺔ ﺍﻻﻗﺘﺼﺎﺩﻳﺔ ﻭﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭﺍﻟﺴﻴﺎﺳﻴﺔ‪)26.‬ﻏﻠﻴﺴﻮﻥ ‪392 ،1990‬؛‬
‫ﻣﺎﻛﺪﻭﻧﻴﻞ‪ ،(165 ،2006‬ﻳﺘﻨﻜﺮ ﺩﺍﺉﻤﺎً ﻓﻲ ﺷﻜﻞ ﻭﺣﺪﻭﻱ )ﻛﻮﺭﻧﻮﺍﻝ ﻭﻟﻴﻨﺪﺳﻔﺎﺭﻥ ‪" .(20 ،1994‬‬
‫ﻭﺍﻟﻨﺘﻴﺠﺔﺍﻟﻤﺒﺎﺷﺮﺓ ﻟﺬﻟﻚ ﻫﻲ ﺍﻟﺸﻜﻞ ﺍﻟﺜﻘﺎﻓﻲ ﺍﻟﺮﻓﻴﻊ ﻟﻠﺬﻛﻮﺭﺓ…ﻗﺪ ﺗﺘﻮﺍﻓﻖ ﻓﻘﻂ ﻣﻊ ﺍﻟﺸﺨﺼﻴﺎﺕ‬
‫ﺍﻟﻔﻌﻠﻴﺔﻟﻌﺪﺩ ﻗﻠﻴﻞ ﻣﻦ ﺍﻟﺮﺟﺎﻝ‪ .‬ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﻓﺈﻥ ﺃﻋﺪﺍﺩﺍً ﻛﺒﻴﺮﺓ ﺟﺪﺍً ﻣﻦ ﺍﻟﺮﺟﺎﻝ ﻣﺘﻮﺍﻃﺉﻮﻥ ﻓﻲ‬
‫ﺍﻟﺤﻔﺎﻅﻋﻠﻰ ﻧﻤﻮﺫﺝ ﺍﻟﻬﻴﻤﻨﺔ« )ﻛﺎﺭﻳﺠﺎﻥﻭﺁﺧﺮﻭﻥ‪ .(592 ،1985.‬ﻭﻫﻜﺬﺍ ﻳﺘﻢ ﺗﻘﺪﻳﻢ ﺍﻟﺬﻛﻮﺭﺓ ﻓﻲ‬
‫ﺍﻟﻌﺪﻳﺪﻣﻦ ﺍﻟﻤﺠﺘﻤﻌﺎﺕ‪ ،‬ﺑﻤﺎ ﻓﻲ ﺫﻟﻚ ﺍﻟﻌﺼﻮﺭ ﺍﻟﻘﺪﻳﻤﺔ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ‪ ،‬ﺑﺎﻋﺘﺒﺎﺭﻫﺎ ﺟﻮﻫﺮﺍً ﺃﻭ ﺳﻠﻌﺔ‬
‫ﻳﻤﻜﻦﻗﻴﺎﺳﻬﺎ ﺃﻭ ﺍﻣﺘﻼﻛﻬﺎ ﺃﻭ ﻓﻘﺪﻫﺎ )‪(Cornwall and Lindisfarne 1994, 12‬؛ ﺑﺎﻋﺘﺒﺎﺭﻫﺎ‬
‫ﻏﻴﺮﻣﺴﺘﻘﺮﺓ ﻭﻣﺮﺍﻭﻏﺔ ﻭﺍﺳﺘﺒﻌﺎﺩﻳﺔ )‪ .(McDonnell 2006, 10; Wray 2001, 62‬ﺍﻟﺬﻛﻮﺭﺓ ﻫﻲ‬
‫ﺃﻳﻀﺎًﻓﻲ ﺍﻟﻤﻘﺎﻡ ﺍﻷﻭﻝ ﻋﺮﺽ ﺃﻭ ﺃﺩﺍء ﺍﺟﺘﻤﺎﻋﻲ‪ ،‬ﻭﻫﻲ ﻧﺘﻴﺠﺔ ﻧﺸﺄﺕ ﻓﻲ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﻤﻘﺎﺭﻧﺔ )ﺑﺘﻠﺮ‬
‫‪ (1990‬ﻭﻟﻜﻨﻬﺎ ﻟﻮﺣﻈﺖ ﺃﻳﻀﺎً ﻓﻲ ﺍﻟﻌﺼﻮﺭ ﺍﻟﻘﺪﻳﻤﺔ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ )ﻏﻠﻴﺴﻮﻥ ‪1995‬؛ ﺇﺩﻭﺍﺭﺩﺯ ‪،1993‬‬
‫‪ (97–63‬ﺣﻴﺚ ﻛﺎﻥ ﻣﻈﻬﺮ ﺍﻟﺮﺟﻞ ﻭﺳﻠﻮﻛﻪ ﻛﺎﻥ ﺧﺎﺿﻌﺎً ﻟـ"ﺍﻟﺘﻘﻴﻴﻢ ﺍﻷﻳﺪﻳﻮﻟﻮﺟﻲ" )‪2001, 60‬‬
‫‪.(Wray‬‬

‫ﻳﻤﻴﻞﺧﻄﺎﺏ ﺍﻟﻬﻴﻤﻨﺔ ﺇﻟﻰ ﺇﻧﺘﺎﺝ ﻣﺘﻐﻴﺮﺍﺕ ﺗﺎﺑﻌﺔ ﻭﻣﺪﻣﺮﺓ )‪and Lindisfarne 1994, 18‬‬
‫‪ ،(Cornwall‬ﻭﺍﻷﻋﻤﺎﻝ ﺍﻟﺤﺪﻳﺜﺔ ﻓﻲ ﺍﻟﻌﻠﻮﻡ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‬
 ‫‪6‬ﻣﻘﺪﻣﺔ‬
‫ﻭﻗﺪﺧﻠﺺ ﺇﻟﻰ ﺃﻧﻪ ﻻ ﻳﻮﺟﺪ ﻓﻲ ﺃﻱ ﻣﺠﺘﻤﻊ ﺫﻛﻮﺭﺓ ﻭﺍﺣﺪﺓ‪ ،‬ﺑﻞ ﻣﺠﻤﻮﻋﺔ ﻣﺘﻨﻮﻋﺔ ﻣﻦ ﺍﻟﺬﻛﻮﺭﺓ‪ ،‬ﺍﻟﺘﻲ‬
‫ﺗﻌﺘﺒﺮﻫﺎﺍﻟﻤﺠﻤﻮﻋﺔ ﺍﻟﻤﻬﻴﻤﻨﺔ ﻏﻴﺮ ﻛﺎﻓﻴﺔ ﺃﻭ ﺃﺩﻧﻰ ﺑﻄﺮﻳﻘﺔ ﺃﻭ ﺑﺄﺧﺮﻯ )‪; McDonnell 2006, 165‬‬
‫‪ .(Connell 1995; Foxhall 1998, 4; Gilmore 1990; Herzfeld1985‬ﺗﻌﻜﺲ ﺍﻟﺬﻛﻮﺭﺓ‬
‫ﺩﺍﺉﻤﺎًﻋﻼﻗﺎﺕ ﺍﻟﻘﻮﺓ‪ ،‬ﺣﻴﺚ ﺇﻥ ﺍﻟﻬﻮﻳﺎﺕ ﺍﻟﺠﻨﺪﺭﻳﺔ “ﻳﺘﻢ ﺑﻨﺎﺅﻫﺎ ﺑﺎﻟﻀﺮﻭﺭﺓ ﺑﺎﻹﺷﺎﺭﺓ ﺇﻟﻰ ﺍﻵﺧﺮﻳﻦ‬
‫ﺍﻟﺬﻳﻦﻳﺘﻢ ﺗﻤﺜﻴﻠﻬﻢ ﻋﻠﻰ ﺃﻧﻬﻢ ﻣﺨﺘﻠﻔﻮﻥ ﻭ‪/‬ﺃﻭ ﻣﻬﻴﻤﻨﻮﻥ” )‪and Lindisfarne 1994, 43‬‬
‫‪ ،(Cornwall‬ﻭﻛﺎﻥ ﻫﺬﺍ ﺻﺤﻴﺤﺎً ﺑﺎﻟﺘﺄﻛﻴﺪ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻌﺼﻮﺭ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﺍﻟﻘﺪﻳﻤﺔ )‪Gleason 1995‬‬
‫;‪ (Edwards 1993‬؛ ﻣﺎﻛﺪﻭﻧﻴﻞ ‪ 166 ،2006‬ﻥ ‪13‬؛(‪ .‬ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﺫﻟﻚ‪ ،‬ﻓﻲ ﺗﺨﺼﺼﺎﺕ‬
‫ﺃﺧﺮﻯ‪،‬ﺑﺪﺃﺕ ﺍﻟﺘﻘﺴﻴﻤﺎﺕ ﺍﻟﻤﺘﺠﺎﻧﺴﺔ ﻭﺍﻟﻤﺴﺘﻘﻄﺒﺔ ﻟـ "ﺍﻟﺮﺟﻞ" ﻭ"ﺍﻟﻤﺮﺃﺓ" ﻓﻲ ﺍﻻﻧﻬﻴﺎﺭ ﻟﺼﺎﻟﺢ‬
‫ﻃﻴﻒﺃﻛﺜﺮ ﺗﻌﻘﻴﺪﺍً ﻣﻦ ﺍﻟﻔﺉﺎﺕ‪“27.‬ﻣﻦ ﺍﻟﻮﺍﺿﺢ ﻷﻱ ﻧﻈﺎﻡ ﺗﺎﺭﻳﺨﻲ ﻭﺍﺳﻊ ﺍﻟﻨﻄﺎﻕ ﺃﻥ ﺍﻟﻠﺤﻈﺔ‬
‫ﺍﻟﺘﺎﺭﻳﺨﻴﺔ‪،‬ﻭﻣﺮﺣﻠﺔ ﺍﻟﺤﻴﺎﺓ‪ ،‬ﻭﺍﻟﻌﻤﺮ‪ ،‬ﻭﺍﻟﻄﺒﻘﺔ‪ ،‬ﻭﺍﻟﻤﻜﺎﻧﺔ‪ ،‬ﻭﺍﻟﺜﺮﻭﺓ‪ ،‬ﻭﺍﻟﻌﺮﻕ‪/‬ﺍﻹﺛﻨﻴﺔ ﻭﻣﺎ ﺇﻟﻰ ﺫﻟﻚ‬
‫ﺗﺸﻜﻞﺑﺸﻜﻞ ﻋﻤﻴﻖ ﻣﺎ ﻳﻤﻜﻦ ﻓﻬﻤﻪ ﻋﻠﻰ ﺃﻧﻪ ﺫﻛﻮﺭﺓ ﺃﻭ ﺃﻧﻮﺛﺔ ﺃﻱ ﻓﺮﺩ” )‪.( .(Foxhall 1998، 3‬‬

‫ﺃﺣﺎﻭﻝﺃﻥ ﺃﺟﺎﺩﻝ ﻓﻲ ﺍﻟﻔﺼﻮﻝ ﺍﻟﺘﺎﻟﻴﺔ ﺑﺄﻥ ﻫﻨﺎﻙ ﻃﺮﻗﺎً ﻋﺪﻳﺪﺓ ﻟﻤﻤﺎﺭﺳﺔ ﺍﻟﺮﺟﻮﻟﺔ ﻓﻲ ﺭﻭﻣﺎ‬
‫ﺍﻟﻘﺪﻳﻤﺔ؛ﻭﺃﻥ ﺍﻟﺮﺟﺎﻝ ﻳﻌﻤﻠﻮﻥ ﻭﻓﻖ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟﻤﻔﺎﻫﻴﻢ ﺍﻟﻤﺨﺘﻠﻔﺔ ﻟﻠﺬﻛﻮﺭﺓ؛ ﻭﺃﻥ ﻫﻨﺎﻙ ﺫﺧﻴﺮﺓ‬
‫ﻭﺍﺳﻌﺔﻳﻤﻜﻦ ﻣﻦ ﺧﻼﻟﻬﺎ ﺗﺠﻤﻴﻊ ﺍﻟﻬﻮﻳﺎﺕ ﺍﻟﺬﻛﻮﺭﻳﺔ )ﺑﻌﺪ ﻛﻮﺭﻧﻮﺍﻝ ﻭﻟﻴﻨﺪﺳﻔﺎﺭﻥ ‪.(16 ،12 ،1994‬‬
‫ﻟﻌﺒﺖﻣﻼﺑﺲ ﺍﻟﺮﺟﺎﻝ ﻭﺯﺧﺎﺭﻓﻬﻢ ﺩﻭﺭﺍً ﻛﺒﻴﺮﺍً ﻓﻲ ﻛﻴﻔﻴﺔ ﺗﺪﺍﺧﻞ ﺍﻷﺩﻭﺍﺭ ﻭﺍﻟﺴﻠﻮﻛﻴﺎﺕ ﺑﻴﻦ‬
‫ﺍﻟﺠﻨﺴﻴﻦ‪،‬ﺃﻭ ﺗﺸﻮﻳﺸﻬﺎ‪ ،‬ﺃﻭ ﺗﺠﺎﻭﺯﻫﺎ‪ ،‬ﺃﻭ ﺣﺘﻰ ﻃﻤﺴﻬﺎ‪ :‬ﻛﺎﻥ ﻫﻨﺎﻙ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟﻄﺮﻕ ﻓﻲ‬
‫ﺍﻟﻌﺼﻮﺭﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﺍﻟﻘﺪﻳﻤﺔ ﻟﻜﻮﻧﻚ ﺭﺟﻼ‪28ً.‬‬

‫ﺍﻟﺮﺗﺒﺔﻭﺍﻟﺤﺎﻟﺔ‬
‫ﻣﻦﺍﻟﻨﺎﺣﻴﺔ ﺍﻟﻤﺜﺎﻟﻴﺔ‪" ،‬ﻳﺸﻴﺮ ﺷﻜﻞ ﺍﻟﺜﻮﺏ ﻭﻗﻤﺎﺷﻪ ﻭﻟﻮﻧﻪ ﺇﻟﻰ ﺣﺎﻟﺔ ﺍﻟﺸﺨﺺ ﻭﺟﻮﺩﺗﻪ ﻭﻣﻜﺎﻧﺘﻪ‪.‬‬
‫ﻟﻘﺪﻓﻌﻠﺖ ﺫﻟﻚ ﻗﺎﻧﻮﻧﻴﺎ‪ ً،‬ﺑﻮﺿﻮﺡ‪ ،‬ﺩﻭﻥ ﺧﺠﻞ‪ ،‬ﻭﺩﻭﻥ ﻣﺒﺮﺭﺍﺕ” )‪" .(Perrot 1994, 15‬ﺍﻟﻮﺿﻊ"‬
‫ﺃﻋﺮﻓّﻪﻋﻠﻰ ﺃﻧﻪ ﺍﻟﻤﻜﺎﻧﺔ ﻏﻴﺮ ﺍﻟﺮﺳﻤﻴﺔ ﻟﻠﻔﺮﺩ ﺑﻴﻦ ﺃﻗﺮﺍﻧﻪ ﺃﻭ ﻣﻜﺎﻧﺘﻪ ﺍﻟﻤﺎﻟﻴﺔ‪ ،‬ﻭ"ﺍﻟﺮﺗﺒﺔ" ﻫﻲ ﺍﻟﻔﺉﺔ‬
‫ﺍﻟﻘﺎﻧﻮﻧﻴﺔﺍﻟﻔﻌﻠﻴﺔ ﻟﻠﻔﺮﺩ )ﻋﻀﻮ ﻣﺠﻠﺲ ﺍﻟﺸﻴﻮﺥ‪ ،‬ﺍﻟﻔﺮﻭﺳﻴﺔ‪ ،‬ﻭﻣﺎ ﺇﻟﻰ ﺫﻟﻚ(‪ .‬ﻣﻦ ﺍﻟﻮﺍﺿﺢ ﺃﻥ ﺍﻟﺮﺗﺒﺔ‬
‫ﻭﺍﻟﻤﻜﺎﻧﺔﻛﺎﻧﺘﺎ ﻣﺘﺸﺎﺑﻜﺘﻴﻦ ﺑﻄﺮﻕ ﺣﺎﺳﻤﺔ ﻭﻣﻌﻘﺪﺓ‪ ،‬ﻣﻦ ﺣﻴﺚ ﺍﻟﻤﻼﺑﺲ ﻭﻏﻴﺮﻫﺎ )ﺍﻟﻌﺒﻮﺩﻳﺔ‪ ،‬ﺳﻮﺍء‬
‫ﻛﺎﻧﺖﻓﺉﺔ ﻗﺎﻧﻮﻧﻴﺔ ﺃﻭ ﻓﺉﺔ ﻣﻜﺎﻧﺔ‪ ،‬ﻫﻲ ﻣﺠﺮﺩ ﻣﺜﺎﻝ ﻭﺍﺣﺪ(‪ ،‬ﻭﻳﺘﻢ ﺗﺴﻠﻴﻂ ﺍﻟﻀﻮء ﻋﻠﻰ ﻫﺬﻩ‬
‫ﺍﻟﺤﻘﻴﻘﺔﻓﻲ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟﻔﺼﻮﻝ ﺍﻟﺘﺎﻟﻴﺔ‪ .‬ﻓﻲ ﺣﻴﻦ ﻟﻢ ﻳﻜﻦ ﻫﻨﺎﻙ ﺍﻟﻤﻨﺸﺄﺓﻗﺎﻧﻮﻧﻲ ﻓﻲ ﺍﻟﺘﺴﻠﺴﻞ‬
‫ﺍﻟﻬﺮﻣﻲﻟﻠﻤﻼﺑﺲ ﻓﻲ ﺭﻭﻣﺎ‪ ،‬ﻛﺎﻥ ﻫﻨﺎﻙ ﻧﻈﺎﻡ ﻣﺜﺎﻟﻲ ﻟﻌﻼﻣﺎﺕ ﺍﻟﺨﻴﺎﻃﺔ ﺍﻟﺘﻲ ﻛﺎﻧﺖ ﻏﻴﺮ ﺭﺳﻤﻴﺔ‬
‫ﻭﻣﻔﻬﻮﻣﺔﻭﻣﻌﺘﺮﻑ ﺑﻬﺎ‪.‬‬

‫ﻛﺎﻧﺖﺍﻟﻤﻼﺑﺲ ﻣﻬﻤﺔ ﺟﺪﺍً ﻟﺘﺼﻮﺭ ﺍﻟﻄﺒﻘﺎﺕ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻟﺪﺭﺟﺔ ﺃﻥ ﺍﻟﺮﻭﻣﺎﻥ ﺗﺼﻮﺭﻭﺍ ﺍﻟﻔﺉﺔ‬
‫ﺍﻟﻘﺎﻧﻮﻧﻴﺔﺟﺰﺉﻴﺎً ﻋﻠﻰ ﺃﻧﻬﺎ ﺍﻟﺤﻖ ﻓﻲ ﺍﺭﺗﺪﺍء ﺑﻌﺾ ﺃﻧﻮﺍﻉ ﺍﻟﻤﻼﺑﺲ‪ .‬ﻭﻣﻦ ﺛﻢ‪ ،‬ﻓﻘﺪ ﺳﻤﻲ ﺍﻟﺤﻖ ﻓﻲ‬
‫ﺍﻟﺘﺮﺷﺢﻟﻠﻤﻨﺎﺻﺐ ﺑﺤﻖ ﻻﺗﻮﺱ ﻛﻼﻓﻮﺱ )ﺍﻟﺸﺮﻳﻂ ﺍﻟﻌﺮﻳﺾ ﻋﻠﻰ ﺳﺘﺮﺓ ﺍﻟﻘﺎﺿﻲ؛ ﺍﻧﻈﺮ ﺳﻮﻳﺖ‪.‬‬
‫ﺃﻏﺴﻄﺲ‪ (38.2.‬ﺍﻹﺩﻣﺎﺝ ﻓﻲ ﺭﺗﺒﺔ‪com.eques‬ﺍﻝﺇﻳﻮﺱ ﺃﻧﻮﻟﻲ ﺃﻭﺭﻱ )"ﺣﻖ ﺍﻟﺨﺎﺗﻢ ﺍﻟﺬﻫﺒﻲ" ؛‬
‫ﺍﻧﻈﺮﺭﻳﻨﻬﻮﻟﺪ ‪ ،279 ،1971‬ﻣﻊ ﺍﻟﻤﺮﺍﺟﻊ(‪ .‬ﺍﻟﺠﻤﻠﺔﻛﺎﻟﺴﻴﻮﺱ ﻣﻮﺗﺎﺭﻱ‪"'،‬ﺍﻟﺘﺤﻮﻝ ﺇﻟﻰ ﺣﺬﺍء" ﻳﻌﻨﻲ "‬
‫ﺃﻥﺗﺼﺒﺢ ﻋﻀﻮﺍً ﻓﻲ ﻣﺠﻠﺲ ﺍﻟﺸﻴﻮﺥ" )‪.Cic‬ﻓﻴﻞ‪ .(13.28.‬ﻳﺴﺘﺨﺪﻡ ﺷﻴﺸﺮﻭﻥ ﻫﺬﻩ ﺍﻟﻌﺒﺎﺭﺓ‬
‫ﺃﻭﺳﻚﺗﻮﺟﺎ ﺑﻮﺭﺍ )"ﻋﻠﻰ ﻃﻮﻝ ﺍﻟﻄﺮﻳﻖ ﻣﻦ ﺍﻟﺘﻮﻏﺎ ﻏﻴﺮ ﺍﻟﺤﺪﻭﺩﻳﺔ"( ﻟﺘﻌﻨﻲ "ﻣﻨﺬ ﺍﻟﻴﻮﻡ ﺍﻟﺬﻱ ﺑﻠﻎ‬
‫ﻓﻴﻪﺳﻦ ﺍﻟﺮﺷﺪ" )ﺃﺕ‪ .(7.8.5.‬ﻛﺎﻧﺖ ﻣﺜﻞ ﻫﺬﻩ ﺍﻟﺘﻔﺎﺻﻴﻞ ﻣﻬﻤﺔ ﻷﻥ ﺍﻟﺒﺼﺮﻱ ﻛﺎﻥ ﺃﺳﺎﺳﻴﺎً‬
‫ﻟﻠﻄﺮﻳﻘﺔﺍﻟﺘﻲ ﺑﻨﻰ ﺑﻬﺎ ﺍﻟﺮﻭﻣﺎﻥ ﺍﻟﻤﻌﻨﻰ ﺍﻻﺟﺘﻤﺎﻋﻲ‪“ :‬ﺍﻋﺘﺎﺩ ﺍﻟﺮﻭﻣﺎﻥ ﻋﻠﻰ ﺃﻧﻤﺎﻁ ﺍﻻﺗﺼﺎﻝ ﺍﻟﻤﺮﺉﻴﺔ‬
‫ﻭﺍﻧﺴﺠﻤﻮﺍﻣﻌﻬﺎ ﺑﺸﻜﻞ ﻛﺒﻴﺮ‪ ،‬ﻟﺬﺍ ﺳﺎﺩﺕ ﺍﻟﻤﻌﺮﻓﺔ ﺍﻟﺒﺼﺮﻳﺔ ﻋﻠﻰ ﺣﺴﺎﺏ ﺍﻟﻠﻔﻈﻲ‪.‬‬
 ‫ﻣﻘﺪﻣﺔ‪7‬‬
‫ﻣﻌﺮﻓﺔﺍﻟﻘﺮﺍءﺓ ﻭﺍﻟﻜﺘﺎﺑﺔ؛ ﺍﻟﺼﻮﺭ ﻭﺍﻷﺩﻟﺔ ﺍﻟﺒﺼﺮﻳﺔ ﻏﺎﻟﺒﺎً ﻣﺎ ﺗﻜﻮﻥ ﻟﻬﺎ ﺍﻷﻭﻟﻮﻳﺔ ﻋﻠﻰ ﺍﻟﻜﻠﻤﺎﺕ” )‪1998, 11‬‬
‫‪ .(Petersen 2009, 182; Elsner‬ﻓﻲ ﻛﺜﻴﺮ ﻣﻦ ﺍﻷﺣﻴﺎﻥ ﻛﺎﻥ ﺍﻷﺳﻠﻮﺏ ﻻ ﻳﻨﻔﺼﻞ ﻋﻦ ﺍﻟﻤﻼﺑﺲ ﺍﻟﺘﻲ‬
‫ﻳﺮﺗﺪﻳﻬﺎﺍﻟﻨﺎﺱ‪.‬‬
‫ﻟﻜﻦﺗﺤﺪﻳﺪ ﺍﻟﻤﻮﻗﻒ ﺍﻟﻘﺎﻧﻮﻧﻲ ﻟﻢ ﻳﻜﻦ ﺍﻟﻮﻇﻴﻔﺔ ﺍﻟﻮﺣﻴﺪﺓ ﻟﻠﻤﻼﺑﺲ ﻓﻲ ﺍﻟﻌﺼﻮﺭ ﺍﻟﻘﺪﻳﻤﺔ‪ .‬ﻛﻤﺎ‬
‫ﺃﻥﺟﻮﺍﻧﺐ ﺍﻟﻤﻈﻬﺮ ﺗﺼﻮﺭ ﺃﻳﻀﺎً ﺍﻟﻤﻜﺎﻧﺔ‪ ،‬ﻭﺍﻟﺘﻲ ﻏﺎﻟﺒﺎً ﻣﺎ )ﻭﺇﻥ ﻟﻢ ﻳﻜﻦ ﺩﺍﺉﻤﺎً( ﺗﺘﻌﻠﻖ ﺑﺎﻟﺜﺮﻭﺓ‬
‫ﻭﺍﻟﺴﻠﻄﺔ‪،‬ﻭﻫﻮ ﺍﻫﺘﻤﺎﻡ ﺁﺧﺮ ﻟﻠﺪﺭﺍﺳﺔ ﺍﻟﺤﺎﻟﻴﺔ‪ .‬ﺭﺑﻤﺎ ﻟﻢ ﻳﻜﻦ ﻟﻠﺮﺟﻞ ﺍﻟﺤﻖ ﺍﻟﻘﺎﻧﻮﻧﻲ ﻓﻲ ﺍﺭﺗﺪﺍء ﺳﺘﺮﺓ‬
‫ﺫﺍﺕﻣﺨﻄﻂ ﻋﺮﻳﺾ‪ ،‬ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﻟﻤﺜﺎﻝ‪ ،‬ﻭﻟﻜﻦ ﻛﺎﻥ ﺑﺈﻣﻜﺎﻧﻪ ﺑﺎﻟﺘﺄﻛﻴﺪ ﺇﺛﺒﺎﺕ ﻭﺿﻌﻪ ﺍﻟﻤﺎﻟﻲ ﻣﻦ‬
‫ﺧﻼﻝﺍﺳﺘﺨﺪﺍﻡ ﺍﻟﻠﻮﻥ ﺍﻷﺭﺟﻮﺍﻧﻲ ﺍﻟﺼﻮﺭﻱ ﻓﻲ ﻣﻜﺎﻥ ﺁﺧﺮ ﻋﻠﻰ ﻣﻼﺑﺴﻪ ﻭﺍﻷﺣﺠﺎﺭ ﺍﻟﻜﺮﻳﻤﺔ ﻋﻠﻰ‬
‫ﺃﺻﺎﺑﻌﻪ‪.‬ﺳﺎﻋﺪﺕ ﻣﺜﻞ ﻫﺬﻩ ﺍﻟﻤﺆﺷﺮﺍﺕ ﻓﻲ ﺍﻟﺘﻌﺮﻑ ﻋﻠﻰ ﺃﻗﺮﺍﻥ ﺍﻟﻔﺮﺩ ﻭﺭﺅﺳﺎﺉﻪ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ‬
‫ﺍﻷﺷﺨﺎﺹﺫﻭﻱ ﺍﻟﻤﻜﺎﻧﺔ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﺍﻷﺩﻧﻰ‪ .‬ﻭﻫﻜﺬﺍ ﻛﺎﻥ ﻟﻠﻤﻼﺑﺲ ﺑﻌﺪﺍً ﻗﺎﻧﻮﻧﻴﺎً ﻭﺍﺟﺘﻤﺎﻋﻴﺎً ﻗﻮﻳﺎً‪:‬‬
‫ﻓﻘﺪﻛﺎﻧﺖ ﻭﺳﻴﻠﺔ ﻣﻬﻤﺔ ﺃﻇﻬﺮ ﺑﻬﺎ ﺍﻟﺮﻭﻣﺎﻥ ﺍﻟﻮﺍﻋﻮﻥ ﺑﺎﻟﺮﻣﺰ ﺍﻟﻤﻜﺎﻧﺔ ﻭﺍﻟﻤﻜﺎﻧﺔ‪.‬‬

‫ﻛﻤﺎﻫﻮ ﻣﻌﺮﻭﻑ ﻟﺪﻯ ﻋﻠﻤﺎء ﺍﻟﻌﺼﻮﺭ ﺍﻟﻘﺪﻳﻤﺔ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ‪ ،‬ﻛﺎﻧﺖ ﺍﻟﻤﻜﺎﻧﺔ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭﺍﺿﺤﺔ‬
‫ﻣﻦﺧﻼﻝ ﺍﻟﺮﻣﻮﺯ ﺍﻟﻤﺮﺉﻴﺔ‪ ،‬ﻭﺃﻥ ﺍﻟﺘﺴﻠﺴﻞ ﺍﻟﻬﺮﻣﻲ ﻟﻠﻤﻜﺎﻧﺔ )ﻭﻏﺎﻟﺒﺎً ﻣﺎ ﺗﻜﻮﻥ ﺍﻟﺮﺗﺒﺔ ﺃﻳﻀﺎً( ﻛﺎﻥ ﻟﻪ‬
‫ﺷﻜﻞﻣﺎﺩﻱ ﺃﺩﻯ ﺑﺪﻭﺭﻩ ﺇﻟﻰ ﺍﻟﺼﺮﺍﻉ‪ .‬ﻟﻢ ﺗﻜﻦ ﺍﻟﺮﻣﻮﺯ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻣﻠﻜﻴﺔ ﺣﺼﺮﻳﺔ ﻟﻠﻄﺒﻘﺔ ﺍﻟﻤﻬﻴﻤﻨﺔ‪،‬‬
‫ﻭﻻﻳﻤﻜﻦ ﺗﻨﻈﻴﻤﻬﺎ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﻨﺤﻮ‪ :‬ﻧﻈﺮﺍً ﻷﻥ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺭﻣﻮﺯ ﺍﻟﻤﻜﺎﻧﺔ ﻛﺎﻧﺖ ﻧﺘﻴﺠﺔ ﻟﻠﺜﺮﻭﺓ‪،‬‬
‫ﻓﻴﻤﻜﻦﻷﻱ ﺭﺟﻞ ﺛﺮﻱ ﺃﻥ ﻳﺴﺘﻮﻟﻲ ﻋﻠﻴﻬﺎ‪ .‬ﻛﺎﻥ ﺍﻟﺴﺒﺐ ﻭﺭﺍء ﻣﺤﺎﻭﻟﺔ ﺍﻟﺮﻭﻣﺎﻥ ﺟﺎﻫﺪﻳﻦ ﻟﻠﺴﻴﻄﺮﺓ‬
‫ﻋﻠﻰﺭﻣﻮﺯ ﺍﻟﺮﺗﺒﺔ ﻭﺍﻟﻤﻜﺎﻧﺔ ﺑﺸﻜﻞ ﻏﻴﺮ ﺭﺳﻤﻲ ﻫﻮ ﻋﻠﻰ ﻭﺟﻪ ﺍﻟﺘﺤﺪﻳﺪ ﺃﻥ ﺍﻟﺘﺴﻠﺴﻞ ﺍﻟﻬﺮﻣﻲ‬
‫ﺍﻻﺟﺘﻤﺎﻋﻲﻛﺎﻥ ﻣﺎﺉﻌﺎً‪ ،‬ﻭﻛﺎﻥ ﻣﻦ ﺍﻟﺴﻬﻞ ﺍﻟﺘﻼﻋﺐ ﺑﺮﻣﻮﺯ ﺍﻟﻤﻜﺎﻧﺔ‪ :‬ﻛﺎﻥ ﻣﻦ ﺍﻟﺼﻌﺐ ﻓﻲ ﻛﺜﻴﺮ‬
‫ﻣﻦﺍﻷﺣﻴﺎﻥ ﺗﻤﻴﻴﺰ ﺍﻟﺮﺗﺒﺔ ﺣﺴﺐ ﺍﻟﻤﻈﻬﺮ ﻓﻘﻂ‪ .‬ﻳﻤﻜﻦ ﺃﻥ ﺗﻜﺬﺏ ﺍﻟﻤﻼﺑﺲ‪ ،‬ﻭﻳﻤﻜﻦ ﺃﻥ ﻳﺆﺩﻱ‬
‫ﺍﻟﻠﺒﺎﺱﺇﻟﻰ ﺍﺭﺗﺒﺎﻙ‪ ،‬ﺑﺪﻻ ًﻣﻦ ﺗﻮﺿﻴﺢ‪ ،‬ﺍﻟﺤﺪﻭﺩ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭﺍﻟﻘﺎﻧﻮﻧﻴﺔ‪" :‬ﻷﻥ ﺍﻟﻌﻴﻮﻥ ﻻ ﻳﺒﺪﻭ ﺃﻧﻬﺎ‬
‫ﺗﺤﻘﻖﻧﺘﺎﺉﺞ ﺩﻗﻴﻘﺔ‪ ،‬ﻟﻜﻦ ﺍﻟﺤﻜﻢ ﻏﺎﻟﺒﺎً ﻣﺎ ﻳﻨﺨﺪﻉ ﺑﻬﺎ"‪ ،‬ﻛﻤﺎ ﻛﺘﺐ ﻓﻴﺘﺮﻭﻓﻴﻮﺱ‪29.‬ﻳﺒﺪﻭ ﺃﻥ‬
‫ﺍﻏﺘﺼﺎﺏﺭﻣﻮﺯ ﺭﺗﺒﺔ ﺍﻟﻔﺮﻭﺳﻴﺔ ﻛﺎﻥ ﻣﻨﺘﺸﺮﺍً ﻋﻠﻰ ﻧﻄﺎﻕ ﻭﺍﺳﻊ ﻓﻲ ﺍﻟﻔﺘﺮﺓ ﺍﻹﻣﺒﺮﺍﻃﻮﺭﻳﺔ‪ ،‬ﻭﺗﺘﺤﺪﺙ‬
‫ﺍﻟﻤﺼﺎﺩﺭﺍﻟﻘﺪﻳﻤﺔ ﻋﻦ ﺭﺟﺎﻝ ﻳﺮﺗﺪﻭﻥ ﻫﺬﻩ ﺍﻟﺮﺗﺐ ﺑﺸﻜﻞ ﻏﻴﺮ ﻗﺎﻧﻮﻧﻲ‪.‬ﺃﻧﺠﻮﺳﺘﻮﺱ ﻛﻼﻓﻮﺱ‬
‫ﻭﺍﻟﺨﺎﺗﻢﺍﻟﺬﻫﺒﻲ )ﺍﻧﻈﺮ ﺃﺩﻧﺎﻩ‪ ،‬ﺍﻟﻔﺼﻞ ﺍﻟﺜﺎﻧﻲ(‪ .‬ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﻟﻤﺜﺎﻝ‪ ،‬ﻛﺎﻥ ﺍﻟﻌﺒﻴﺪ ﻳﻈﻬﺮﻭﻥ ﺗﻘﻠﻴﺪﻳﺎً‬
‫ﺑﻤﻼﺑﺲﺭﺛﺔ‪ ،‬ﻟﻜﻦ ﺑﻌﻀﻬﻢ ﻛﺎﻥ ﻳﺮﺗﺪﻱ ﻣﻼﺑﺲ ﺑﺎﻫﻈﺔ ﺍﻟﺜﻤﻦ ﻭﻣﺰﺧﺮﻓﺔ‪ ،‬ﻭﻫﻲ ﻣﻤﺎﺭﺳﺔ ﻟﻔﺘﺖ‬
‫ﺍﻻﻧﺘﺒﺎﻩﺇﻟﻰ ﺣﻘﻴﻘﺔ ﺃﻥ ﺳﻴﺪﻫﻢ ﺃﻭ ﺳﻴﺪﺗﻬﻢ ﻛﺎﻥ ﺛﺮﻳﺎً‪ .‬ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﺫﻟﻚ‪ ،‬ﻗﺪ ﻧﻜﺘﺸﻒ ﻓﻲ‬
‫ﺍﻟﻤﺼﺎﺩﺭﺍﻷﺩﺑﻴﺔ ﺍﻟﺤﺬﻑ ﺍﻟﻤﺜﻴﺮ ﻟﻠﺪﻫﺸﺔ ﻓﻲ ﻛﺜﻴﺮ ﻣﻦ ﺍﻷﺣﻴﺎﻥ ﻟﺮﻣﻮﺯ ﺍﻟﻤﻼﺑﺲ ﺫﺍﺕ ﺍﻟﺮﺗﺒﺔ ﻣﺜﻞ‬
‫ﺍﻟﺘﻮﻏﺎ‪.‬‬

‫ﺍﺭﺗﺪﻯﺍﻟﺮﻭﻣﺎﻥ ﺃﻳﻀﺎً ﻣﻼﺑﺲ ﻣﺴﺘﻮﺭﺩﺓ ﻣﻦ ﺍﻟﻴﻮﻧﺎﻥ ﻭﺃﻭﺭﻭﺑﺎ )ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﻟﻤﺜﺎﻝ ﺑﻼﺩ ﺍﻟﻐﺎﻝ(‪،‬‬
‫ﻣﺜﻞﺗﻮﻟﻴﻒ )ﺯﻱ ﺍﻟﻌﺸﺎء( ﻭﺑﺎﺭﺩﻭﻛﻮﻛﻮﻟﻮﺱ )ﺍﻟﻌﺒﺎءﺓ ﺫﺍﺕ ﺍﻟﻘﻠﻨﺴﻮﺓ(‪ ،‬ﻭﻟﻴﺲ ﻣﻦ ﺍﻟﺴﻬﻞ ﺩﺍﺉﻤﺎً‬
‫ﺗﻤﻴﻴﺰﺃﻫﻤﻴﺔ ﻣﺜﻞ ﻫﺬﻩ ﺍﻟﻌﻨﺎﺻﺮ‪ .‬ﺇﺫﺍ ﺻﺪﻗﻨﺎ ﻣﺼﺎﺩﺭﻧﺎ ﺍﻷﺩﺑﻴﺔ‪ ،‬ﻓﺈﻥ ﺍﻟﻠﺒﺎﺱ ﺍﻟﻴﻮﻧﺎﻧﻲ ﻋﻠﻰ ﻭﺟﻪ‬
‫ﺍﻟﺨﺼﻮﺹﻛﺎﻥ ﻣﺤﻔﻮﻓﺎً ﺑﺎﻟﺘﻌﻘﻴﺪﺍﺕ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻤﺮﺗﺪﻳﻪ ﺍﻟﺮﻭﻣﺎﻧﻲ‪ .‬ﺍﻟﻨﺒﻴﻞ ﺍﻟﺬﻱ ﺗﻮﻟﻰﺍﻟﺒﺎﻟﻴﻮﻡ ﻭﺭﺑﻤﺎ‬
‫ﻛﺎﻥﻣﻦ ﺍﻟﻤﻤﻜﻦ ﺃﻥ ﻳﺘﻮﻗﻊ ﺍﻟﺼﻨﺎﺩﻝ ﺍﻟﻴﻮﻧﺎﻧﻴﺔ ﻓﻲ ﺍﻷﻣﺎﻛﻦ ﺍﻟﻌﺎﻣﺔ ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﺭﺩﻭﺩ ﺍﻟﻔﻌﻞ ﻣﻦ‬
‫ﺍﻟﻤﺤﻴﻄﻴﻦﺑﻪ )ﺍﻹﻋﺠﺎﺏ‪ ،‬ﻭﺍﻻﺷﻤﺉﺰﺍﺯ‪ ،‬ﻭﺍﻟﻼﻣﺒﺎﻻﺓ(‪ .‬ﻗﺪ ﻳﻜﻮﻥ ﺍﻟﻮﺿﻊ ﺍﻟﻤﻘﺎﺭﻥ ﻫﻮ ﺍﻋﺘﻤﺎﺩ ﺍﻟﺮﺟﺎﻝ‬
‫ﺍﻟﻴﻮﻧﺎﻧﻴﻴﻦﻟﻠﻤﻼﺑﺲ ﺍﻟﻔﺎﺭﺳﻴﺔ ﻓﻲ ﺃﺛﻴﻨﺎ ﻓﻲ ﺍﻟﻘﺮﻥ ﺍﻟﺨﺎﻣﺲ‪ :‬ﻛﺎﻧﺖ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻷﺧﻤﻴﻨﻴﺔ ﻣﺤﻤﻠﺔ‬
‫ﺑﺎﻟﻬﻴﺒﺔ‪،‬ﻭﻟﻔﺘﺮﺓ ﻣﻦ ﺍﻟﻮﻗﺖ ﻛﺎﻧﺖ ﺑﻤﺜﺎﺑﺔ ﻛﻤﺎﻟﻴﺎﺕ ﻏﺮﻳﺒﺔ ﻋﺼﺮﻳﺔ )ﻣﻴﻠﺮ ‪ .(187 ،1997‬ﻛﺎﻧﺖ‬
‫ﻗﻄﻊﺍﻟﻤﻼﺑﺲ ﺍﻟﻴﻮﻧﺎﻧﻴﺔ ﺃﻳﻀﺎً ﻣﺮﻣﻮﻗﺔ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﺮﻭﻣﺎﻥ‪ ،‬ﻷﻧﻬﺎ ﺭﺑﻤﺎ ﺳﻤﺤﺖ ﻟﻠﻤﺮء ﺑﺘﺼﻮﺭ‬
‫ﺍﻟﺘﻌﻠﻴﻢﻭﺳﻌﺔ ﺍﻻﻃﻼﻉ ﻭﺍﻟﺬﻭﻕ‪ ،‬ﻭﻫﻲ ﻣﻨﺎﻗﺸﺔ ﺳﺄﺗﻨﺎﻭﻟﻬﺎ ﺃﺩﻧﺎﻩ )ﺍﻟﻔﺼﻞ ﺍﻟﺜﺎﻧﻲ(‪ .‬ﺍﻝ‪cucullus‬ﻭ‬
‫ﺑﺎﺭﺩﻭﻛﻮﻛﻠﻮﺱﺭﺑﻤﺎ ﻟﻔﺖ ﺍﻧﺘﺒﺎﻩ ﺍﻟﺮﻭﻣﺎﻥ ﻣﻦ ﺧﻼﻝ‬