Page 5 - (کیهان لندن - سال سى و سوم ـ شماره ۲۰ (دوره جديد

‫ﺻﻔﺤﻪ ‪ 5‬ـ ‪ Page 5‬ـ ﺷﻤﺎﺭﻩ ‪20‬‬
‫ﺟﻤﻌﻪ ‪ 7‬ﺗﺎ ﭘﻨﺠﺸﻨﺒﻪ ‪ 13‬ﺍﻭﺕ ‪2015‬‬

‫ﭼﺮﺍ » ﺭﺳﺘﺎﺧﻴﺰ« ﺭﺍ ﻣﻤﻨﻮﻉ ﻛﺮﺩﻧﺪ؟‬ ‫ﭘﻴﺸﺎﻧ ِﻰ ﺑﻠﻨ ِﺪ ﺗﺮﺍ »ﻃﻨﺰ«‪ ،‬ﺑﻮﺳﻪ ﺩﺍﺩ‬

‫ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ‪ 33‬ﺳﺎﻝ ﭘﻴﺶ ﺣﺬﻑ‬ ‫ﺭﺿﺎ ﻣﻘﺼﺪﻯ‬
‫ﻓﻴﻠﻤﻰ ﺍﺯ ﭘﺮﺩﻩ ﺳﻴﻨﻤﺎﻫﺎ ﺭﺍ ﺑﺎ ﻓﻴﻠﻢ‬
‫»ﺑﺮﺯﺧﻰ ﻫﺎ« ﺳﺎﺧﺘﻪ ﺍﻳﺮﺝ ﻗﺎﺩﺭﻯ‬ ‫ﺍﺯ ﺩﻭﺭﺩﺳ ِﺖ ﺧﺎﻃﺮﻩﻯ ﺑﺎﻍ‪ ،‬ﺑﺎ ﻣﻨﻰ!‬ ‫ﺍﻳﺮﺝ ﭘﺰﺷﻜﺰﺍﺩ‪ ،‬ﭼﻬﺮﻩ ﭘﺮﺩﺍﺯ ﺷﻜﻮﻫﻤﻨ ِﺪ ﻃﻨﺰ ﻓﺎﺧ ِﺮﺍﺩﺑﻴﺎ ِﺕ‬
‫ﺗﺠﺮﺑﻪ ﻛﺮﺩ‪ ،‬ﻓﻴﻠﻤﻰ ﻛﻪ ﻃﻮﻣﺎﺭﻯ ‪18‬‬ ‫ﺁﻧﺠﺎ ﻛﻪ ﺁﺳﻤﺎ ِﻥ ﻃﺮﺑﻨﺎ ِﻙ ﺧﺎ ِﻙ ﻣﺎ‬ ‫ﺩﺍﺳﺘﺎﻧ ِﻰ ﻣﺎﺳﺖ‪ .‬ﺍﻭ ﺑﻪ ﻏﻴﺮﺍﺯ ﻧﻮﺷﺘﻪﻫﺎﻯ ﺍﺭﺟﻤﻨ ِﺪ ﺑﺴﻴﺎﺭ‪،‬‬
‫ﻣﺘﺮﻯ ﺑﺎ ﺩﺭﺝ ﺍﺳﺎﻣﻰ ﻣﺨﺎﻟﻔﺎﻧﺶ ﺗﻬﻴﻪ‬ ‫ﺯﻳﺒﺎﻳﻰﻯ ﺷﻨﺎﻭ ِﺭ ﻣﻬﺘﺎﺏ ُﻭ ﺁﺏ ﺭﺍ‬ ‫ﭼﻪ ﺑﺎ ﻧﺎﻡ ﺧﻮﺩ ﻭ ﭼﻪ ﺑﺎ ﻧﺎﻡ ‪» :‬ﺍﻟﻒ‪.‬پ‪ .‬ﺁﺷﻨﺎ« ﺑﺎ ﻛﺘﺎﺏ‬
‫ﺷﺪ ﺗﺎ ﺑﺮﺍﻯ ﻫﻤﻴﺸﻪ ﺍﺯ ﺍﻛﺮﺍﻥ ﻋﻤﻮﻣﻰ‬ ‫ﺑﺮ ﭼﻬﺮﻩﻯ ﺟﻮﺍﻧﻪﻯ ﻣﺎ‪ ،‬ﻧﻘﺶ ﻣﻰﺯﻧﺪ‬ ‫»ﺩﺍﻳﻰ ﺟﺎﻥ ﻧﺎﭘﻠﻴﻮﻥ«‪ ،‬ﺟﺎﻳﻰ ﻣﺎﻧﺪﮔﺎﺭ ُﻭ ﺳﺰﺍﻭﺍﺭ‪ ،‬ﺩﺭ ﺟﺎ ِﻥ‬
‫ﭼﻮﻥ ﺭﻭﺷﻨﺎ ِﻯ ﻋﺎﻃﻔﻪﻯ ﺑﺎﻍ‪ ،‬ﺑﺎ ﻣﻨﻰ!‬ ‫ﺩﺍﺳﺘﺎﻥ ﺩﻭﺳﺘﺎ ِﻥ ﺭﻭﺯﮔﺎﺭ ﻳﺎﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻛﺘﺎﺏ ﺗﺎ ﺍﻛﻨﻮﻥ‬
‫ﻣﺤﺮﻭﻡ ﺑﻤﺎﻧﺪ‪.‬‬
‫ﺍﺯ ﺁﻥ ﺯﻣﺎﻥ ﺗﺎﻛﻨﻮﻥ ﺑﺮﺧﻰ ﻓﻴﻠﻢﻫﺎ ﺑﺎ‬ ‫ﻣﻬﺘﺎ ِﺏ ﻣﻬﺮﺑﺎ ِﻥ ﺩﺭﺧﺸﺎ ِﻥ ﺟﺎﻥ ﻣﺎ‬ ‫ﺑﻪ ‪ 8‬ﺯﺑﺎﻥ ﺑﺮﮔﺮﺩﺍﻧﺪﻩ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬
‫ﺯﻭﺭﮔﻴﺮﻯ ﻭ ﺍﻋﺘﺮﺍﺿﺎﺕ ﺧﺸﻦ ﺧﻴﺎﺑﺎﻧﻰ‬ ‫ﺩﺭ ﺭﻭﺯﮔﺎ ِﺭ ﺭﻭﻳ ِﺶ ﺯﻳﺒﺎﻯ ﺍﺭﻏﻮﺍﻥ‬ ‫ﭼﻨﺪﻯ ﭘﻴﺶ‪ ،‬ﺑﻴﺴﺖ ُﻭ ﺩﻭﻣﻴﻦ ﺷﻤﺎﺭﻩ »ﺩﻓﺘﺮ ﻫﻨﺮ«‬
‫ﺍﻓﺮﺍﺩﻯ ﻣﻮﺍﺟﻪ ﺑﻮﺩﻩ ﻛﻪ ﺳﺎﺯﻣﺎﻥﻳﺎﻓﺘﻪ ﺑﻪ‬ ‫»ﻭﻳﮋﻩ ﺍﻳﺮﺝ ﭘﺰﺷﻜﺰﺍﺩ« ﺩﺭ ﺍﻣﺮﻳﻜﺎ ﻣﻨﺘﺸﺮ ﺷﺪ‪ .‬ﺑﻴﺴﺖ‬
‫ﺧﻴﺎﺑﺎﻥﻫﺎ ﻣﻰﺭﻳﺰﻧﺪ‪ .‬ﻓﻴﻠﻢ ﻫﺎﻳﻰ ﭼﻮﻥ‬ ‫ﻟﺒﺨﻨ ِﺪ ﻋﺸﻖ ﺑﻮﺩ‪.‬‬ ‫ُﻭ ﺩﻭ ﺳﺎﻝ ﺍﺳﺖ »ﺩﻓﺘﺮ ﻫﻨﺮ« ﺑﺎ ﭘﺸﺘﻜﺎﺭﻯ ﺳﺘﻮﺩﻧﻰ‪،‬‬
‫ﻣﺎﺭﻣﻮﻟﻚ‪ ،‬ﺧﺼﻮﺻﻰ‪ ،‬ﮔﺸﺖ ﺍﺭﺷﺎﺩ ﻭ‬ ‫ﺑﻪ ﺳﺮﺩﺑﻴﺮ ِﻯ ﻫﻨﺮﻣﻨﺪ ﺍﺭﺟﻤﻨﺪ ﺑﻴﮋﻥ ﺍﺳﺪﻯﭘﻮﺭ ﺍﻧﺘﺸﺎﺭ‬
‫ﻋﺼﺒﺎﻧﻰ ﻧﻴﺴﺘﻢ ﺑﺎ ﺍﻳﻦ ﺷﻴﻮﻩ ﺍﺯ ﭘﺮﺩﻩ‬ ‫ﺩﺭﻳﺎ‪ ،‬ﺳﺮﻭ ِﺩ ﺁﺑﻰﻯ ﻣﺎ ﺭﺍ ﺑﻪ ﺳﻴﻨﻪ ﺩﺍﺷﺖ‪.‬‬ ‫ﻣﻰﻳﺎﺑﺪ‪ .‬ﺷﻌﺮ ﺯﻳﺮ ﺭﺍ ﺑﻪ ﻧﺎﻡ ﺍﻭ ﻧﻮﺷﺘﻪﺍﻡ ﻛﻪ ﺑﺮﮔﺮﻓﺘﻪ ﺍﺯ ﺍﻳﻦ‬
‫ﺻﺤﺮﺍ‪ ،‬ﺳﻼﻡ ِ ﺳﺒ ِﺰ ﺩﺭﺧﺘﺎﻥ ِ ﺻﺒﺢ ﺭﺍ‬
‫ﺍﻛﺮﺍﻥ ﭘﺎﻳﻴﻦ ﻛﺸﻴﺪﻩ ﺷﺪﻧﺪ‪.‬‬ ‫ﻭﻳﮋﻩﻧﺎﻣﻪ ﺍﺳﺖ‪.‬‬
‫ﺗﺎﺯﻩ ﺗﺮﻳﻦ ﻓﻴﻠﻤﻰ ﻛﻪ ﺑﺎ ﺳﺪ ﻣﺨﺎﻟﻔﺖ‬ ‫ﺍﺯ ﻭﺍژﻩﻫﺎﻯ ﺳﺮﺧﻮ ِﺵ ﺟﺎ ِﻥ ﺗﻮ ﻣﻰﺷﻨﻴﺪ‪.‬‬
‫ﻣﺬﻫﺒﻴﻮﻥ ﺳ ّﻨﺘﻰ ﻭ ﺩﻟﻮﺍﭘﺴﺎﻥ ﻣﻮﺍﺟﻪ‬
‫ﺷﺒﻬﻪ ﺑﺮﺍﻧﮕﻴﺰ ﺑﻮﺩ‪ .‬ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻨﻜﻪ‬ ‫ﺁﻥ ﺭﺍ ﻣﺤﺼﻮﻝ ﺣﻤﺎﻳﺖ ﺍﺣﻤﺪﺭﺿﺎ‬ ‫ﺷﺪﻩ‪» ،‬ﺭﻭﺯ ﺭﺳﺘﺎﺧﻴﺰ« ﺳﺎﺧﺘﻪ‬ ‫ﻫﺮﮔﺎﻩ‪ ،‬ﺁﻩ‪ ،‬ﺩﺭ ﻧ َﻔ ِﺲ ﻣﺎﻩ ﻣﻰﺧﻠﻴﺪ‬
‫ﺩﺭﻭﻳﺶ ﺍﻋﻼﻡ ﻛﺮﺩ ﻧﺴﺨﻪ ﻛﻨﻮﻧﻰ ﺑﺎ‬ ‫ﺩﺭﻭﻳﺶ ﺍﺯ ﻣﻴﺮﺣﺴﻴﻦ ﻣﻮﺳﻮﻯ ﺩﺭ‬ ‫ﺍﺣﻤﺪﺭﺿﺎ ﺩﺭﻭﻳﺶ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﻭﺟﻮﺩ‬ ‫ﻣﻬ ِﺮ ﺗﻮ ﺑﻮﺩ ﺗﻮ!‬
‫ﻧﺴﺨﻪ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ﻛﺎﻣﻼ ﻣﺘﻔﺎﻭﺕ‬ ‫ﺩﻭﺭﺍﻥ ﺍﻧﺘﺨﺎﺑﺎﺕ ﻭ ﺣﻀﻮﺭﺵ ﺩﺭ‬ ‫ﺩﺍﺷﺘﻦ ﻣﻀﻤﻮﻧﻰ ﻣﺬﻫﺒﻰ ﻭ ﺑﻪ ﺗﺼﻮﻳﺮ‬
‫ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﻣﻌﺘﺮﺿﺎﻥ ﺗﻐﻴﻴﺮﺍﺕ ﺭﺍ ﻧﺎﻛﺎﻓﻰ‬ ‫ﺗﻈﺎﻫﺮﺍﺕ ﺍﻋﺘﺮﺍﺿﻰ ﺳﺎﻝ ‪ 88‬ﻣﻰ ﺩﺍﻧﻨﺪ‪.‬‬ ‫ﺩﺭ ﺁﻭﺭﺩﻥ ﻭﺍﻗﻌﻪ ﻛﺮﺑﻼ ﺍﺯ ﺍﻛﺮﺍﻥ ﻋﻤﻮﻣﻰ‬ ‫ﺍﺯ ﻫﺮ ﻃﺮﻑ ﺑﻪ ﺳﻴﻨﻪﻯ ﻣﻬﺘﺎ ﺏ ﻣﻰﭼﻜﻴﺪ‪.‬‬
‫ﺩﺍﻧﺴﺘﻪ ﻭ ﻧﻤﺎﻳﺶ ﭼﻬﺮﻩ ﺍﺑﻮﺍﻟﻔﻀﻞ‬ ‫ﻣﺨﺎﻟﻔﺎﻥ ﺣﺘﻰ ﻛﻤﭙﻴﻦ »ﺍﻛﺮﺍﻥ‬
‫ﻋﺒﺎﺱ ﺭﺍ ﻧﻘﻄﻪ ﻋﻄﻒ ﻣﺸﻜﻼﺕ ﻓﻴﻠﻢ‬ ‫ﺭﺳﺘﺎﺧﻴﺰ ﻣﻤﻨﻮﻉ« ﺭﺍ ﺩﺭ ﺍﻳﻨﺘﺮﻧﺖ ﺑﻪ‬ ‫ﺑﺎﺯﻣﺎﻧﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺍﺯ ﺩﻭﺭ ﺩﺳ ِﺖ ﺧﺎﻃﺮﻩﻯ ﺑﺎﻍ‪ ،‬ﺑﺎ ﺗﻮﺍﻡ!‬
‫ﺑﺮﺷﻤﺮﺩﻧﺪ‪ .‬ﺩﺭ ﻧﻬﺎﻳﺖ ﺑﺎﻭﺟﻮﺩ ﭘﺬﻳﺮﺵ‬ ‫ﺭﺍﻩ ﺍﻧﺪﺍﺧﺘﻨﺪ ﻭ ﺑﺎ ﺍﻧﺘﺸﺎﺭ ﺗﺼﺎﻭﻳﺮ ﻓﻴﻠﻢ‬ ‫ﺍﻳﻦ ﻓﻴﻠﻢ ﭘﺮﻫﺰﻳﻨﻪ ﻭ ﭘﺮﺑﺎﺯﻳﮕﺮ ﻛﻪ‬ ‫ﻭﻗﺘﻰ ﻛﻪ ﺷﺐ‪ ،‬ﺑﻪ ﺷﺎﺧﻪﻯ ﺷﻤﺸﺎ ِﺩ ﻣﺎ ﻧﺸﺴﺖ‬
‫ﺣﺬﻑ ﻭ ﺳﺎﻧﺴﻮﺭ ﺑﻰ ﺷﻤﺎﺭ‪ ،‬ﺩﺭﻭﻳﺶ‬ ‫ﻭ ﻣﻄﺎﻟﺒﻰ ﻋﻠﻴﻪ ﻓﻴﻠﻢ ﺗﻼﺵ ﻛﺮﺩﻧﺪ ﺗﺎ‬ ‫ﻗﺮﺍﺭ ﺑﻮﺩ ﺑﻪ ﻋﻨﻮﺍﻥ ﻧﻤﺎﺩﻯ ﺍﺯ ﭘﺘﺎﻧﺴﻴﻞ‬
‫ﺣﺎﺿﺮ ﺑﻪ ﺣﺬﻑ ﺷﺨﺼﻴﺖ ﺍﺑﻮﺍﻟﻔﻀﻞ‬ ‫ﻃﺮﻓﺪﺍﺭﺍﻥ ﺑﻴﺸﺘﺮﻯ ﺭﺍ ﺟﺬﺏ ﻛﻨﻨﺪ‪.‬‬ ‫ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺩﺭ ﻛﺸﻮﺭﻫﺎﻯ ﺩﻳﮕﺮ‬ ‫ﺩﻳﺪﻳﻢ ﺑﺎ ﺧﻄﺎﺑﻪﻯ ﺗﺎﺭﻳﻚ ُﻭ ﺳﻮﮔﻮﺍﺭ‬
‫ﻧﺸﺪ ﻭ ﺷﺎﻳﻌﻪ ﻧﻮﺭﺍﻧﻰ ﻛﺮﺩﻥ ﭼﻬﺮﻩ‬ ‫ﻛﺎﺭ ﺑﻪ ﺟﺎﻳﻰ ﺭﺳﻴﺪ ﻛﻪ ﺑﻬﺎﺩﺭ ﺯﻣﺎﻧﻰ‬ ‫ﺟﻬﺎﻥ ﺑﻪ ﺍﻛﺮﺍﻥ ﺩﺭ ﺑﻴﺎﻳﺪ‪ ،‬ﺑﺎ ﻭﺍﻛﻨﺶ‬ ‫ﺯﻳﺒﺎﻳﻰﻯ ﺯﻣﺎﻧﻪﻯ ﻣﺎ ﺭﺍ ﺳﻴﺎﻩ ﻛﺮﺩ‪.‬‬
‫ﺑﺎﺯﻳﮕﺮ ﻓﻴﻠﻢ ﻫﻢ ﺍﺯ ﺳﻮﻯ ﺳﺎﺯﻧﺪﮔﺎﻥ ﺍﻳﻦ‬ ‫ﺑﺎﺯﻳﮕﺮ ﻧﻘﺶ ﺍﺑﻮﺍﻟﻔﻀﻞ ﺭﺍ ﺑﻪ ﻭﺍﺳﻄﻪ‬ ‫ﻫﺎﻯ ﻣﻨﻔﻰ ﺑﺮﺧﻰ ﻣﺮﺍﺟﻊ ﺗﻘﻠﻴﺪ‪،‬‬
‫ﻓﻌﺎﻟﻴﺘﺶ ﺩﺭ ﻋﺮﺻﻪ ﻣﻮﺳﻴﻘﻰ ﻭ ﭘﻮﺷﺎﻙ‬ ‫ﮔﺮﻭﻫﻰ ﺍﺯ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﻣﺠﻠﺲ‬ ‫ﻭﻳﻦ ﺭﻧﺞ ِ ﻣﺎﻧﺪﮔﺎﺭ‬
‫ﻓﻴﻠﻢ ﺗﻜﺬﻳﺐ ﺷﺪ‪.‬‬ ‫ﺷﻮﺭﺍﻯ ﺍﺳﻼﻣﻰ‪ ،‬ﺷﻤﺎﺭﻯ ﺍﺯ ﻣﺪﺍﺣﺎﻥ‬ ‫ﺁﻥ ﻟﺤﻈﻪﻫﺎﻯ ﺻﺒﺢ ِ ﺩﺭﺧﺸﺎﻥ ِ ﺷﺎﺩ ﺭﺍ‬
‫ﻓﺎﺭﻍ ﺍﺯ ﻫﺰﻳﻨﻪ ﻫﻨﮕﻔﺖ ﻭ ﺑﻰ‬ ‫ﺍﻣﺮﻭﺯﻯﺍﺵ ﻣﻮﺭﺩ ﺷﻤﺎﺗﺖ ﻗﺮﺍﺭ ﺩﺍﺩﻧﺪ‪.‬‬ ‫ﻭ ﻛﺎﺭﺷﻨﺎﺳﺎﻥ ﻣﺬﻫﺒﻰ ﺩﺭ ﻗﺪﻡ ﻫﺎﻯ‬
‫ﺛﻤﺮ ﻛﺮﺩﻥ ﺗﻼﺵ ﻳﻚ ﮔﺮﻭﻩ ﻋﻈﻴﻢ‬ ‫ﺩﺭ ﻧﻬﺎﻳﺖ ﻣﻘﺎﻭﻣﺖ ﺳﺎﺯﻧﺪﮔﺎﻥ ﻓﻴﻠﻢ‬ ‫ﻫﻤﺮﻧﮓ ِ ﺁﻩ ﻛﺮﺩ‪.‬‬
‫ﺳﻴﻨﻤﺎﻳﻰ‪ ،‬ﺳﺎﻧﺴﻮﺭ ﻭ ﺗﻮﻗﻴﻒ‬ ‫ﻭ ﺍﺳﺘﻨﺎﺩﺷﺎﻥ ﺑﻪ ﻓﺘﻮﺍﻯ ﺑﺮﺧﻰ ﻣﺮﺍﺟﻊ‬ ‫ﻧﺨﺴﺖ ﺍﺯ ﻧﻤﺎﻳﺶ ﺑﺎﺯ ﻣﺎﻧﺪ‪.‬‬
‫ﻣﺤﺼﻮﻻﺕ ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺍﺯ ﺣﺎﺷﻴﻪ‬ ‫ﺗﻘﻠﻴﺪ ﺍﺯ ﺟﻤﻠﻪ ﺁﻳﺖ ﺍﷲ ﻋﻠﻰ ﺧﺎﻣﻨﻪ‬ ‫ﻣﻌﺘﺮﺿﺎﻥ‪ ،‬ﻓﻴﻠﻢ ﺭﺍ ﺑﺎ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻦ ‪9‬‬ ‫ﻣﺎ ﺷﺎﻋﺮﺍﻥ‪ ،‬ﺑﻪ ﺗﻌﺰﻳ ِﺖ ﺑﺎﻍ ِ ﺍﺭﻏﻮﺍﻥ‬
‫ﺍﻣﻨﻰ ﺧﺎﺭﺝ ﺍﺯ ﻭﺯﺍﺭﺕ ﺍﺭﺷﺎﺩ‪ ،‬ﺗﺤﻤﻴﻞ‬ ‫ﺍﻯ ﻛﺎﺭﺳﺎﺯ ﻧﺸﺪ ﻭ ﻓﻴﻠﻤﻰ ﻛﻪ ‪ 11‬ﺳﺎﻝ‬ ‫ﺳﻴﻤﺮﻍ ﻭ ﺟﺎﻳﺰﻩ ﺑﻴﺮﻕ ﻃﻼﻳﻰ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﮔﻔﺘﻴﻢ ﺁﻧﭽﻪ ﺭﺍ ﻛﻪ ﺳﺮﺍﻧﺠﺎﻡ ِ ﺩﺭﺩ ﺑﻮﺩ‪.‬‬
‫ﻣﻀﺎﻋﻒ ﻣﻘﺮﺭﺍﺕ ﻧﺎﻧﻮﺷﺘﻪ ﺍﻯ ﺍﺳﺖ‬ ‫ﺗﻮﻟﻴﺪ ﺁﻥ ﻃﻮﻝ ﻛﺸﻴﺪﻩ ﺑﻮﺩ‪ ،‬ﺩﺭ ﺍﻭﻟﻴﻦ‬ ‫ﻓﻴﻠﻢ ﻓﺠﺮ ﻣﺘﻬﻢ ﺑﻪ ﺗﺤﺮﻳﻒ ﻭﺍﻗﻌﻪ‬
‫ﻛﻪ ﺳﻴﻨﻤﺎﻯ ﻭﺭﺷﻜﺴﺘﻪ ﺟﻤﻬﻮﺭﻯ‬ ‫ﺭﻭﺯ ﺍﻛﺮﺍﻥ‪ ،‬ﺑﺎ ﺩﺳﺘﻮﺭ ﻭﺯﺍﺭﺕ ﺍﺭﺷﺎﺩ ﺍﺯ‬ ‫ﻋﺎﺷﻮﺭﺍ‪ ،‬ﺑﻰ ﺣﺮﻣﺘﻰ ﺑﻪ ﺷﺨﺼﻴﺖ ﻫﺎﻯ‬ ‫ﺍﻣﺎ ﺩﺭﻳﻦ ﻣﻴﺎﻥ‬
‫ﺍﺳﻼﻣﻰ ﺭﺍ ﺑﻴﺶ ﺍﺯ ﭘﻴﺶ ﻧﺤﻴﻒ ﻣﻰ‬ ‫ﻣﺬﻫﺒﻰ ﻭ ﺗﻮﻫﻴﻦ ﺑﻪ ﻣﻘﺪﺳﺎﺕ ﻛﺮﺩﻧﺪ ﻭ‬ ‫ﺁﻥ ﺭﻧﺞ‪ -‬ﺧﻨﺪﻩﺍﻯ ﻛﻪ ﺳﺮﺷ ِﺖ ﺗﺮﺍ ﻧﻮﺷﺖ‬
‫ﻛﻨﺪ‪ .‬ﺳﻴﺎﺳﺖ ﻭﺭﺯﻯ ﻫﺎ ﻭ ﺟﻨﺎﺡ ﺑﻨﺪﻯ‬ ‫ﭘﺮﺩﻩ ﺳﻴﻨﻤﺎﻫﺎ ﭘﺎﻳﻴﻦ ﻛﺸﻴﺪﻩ ﺷﺪ‪.‬‬ ‫ﺍﻫﺪﺍﻯ ﺟﻮﺍﻳﺰ ﺟﺸﻨﻮﺍﺭﻩ ﻓﺠﺮ ﺑﻪ ﺁﻥ ﺭﺍ‬
‫ﻫﺎ ﭼﻨﺎﻥ ﺩﺭ ﺳﻴﻨﻤﺎ ﻧﻔﻮﺫ ﻳﺎﻓﺘﻪ ﻛﻪ‬ ‫ﺻﺎﺣﺒﺎﻥ ﻓﻴﻠﻢ ﺩﺭ ﻭﺍﻛﻨﺶ ﺑﻪ ﺍﻳﻦ‬ ‫ﺑﻰ ﺍﺣﺘﺮﺍﻣﻰ ﺑﻪ ﻣﺮﺍﺟﻊ ﺗﻘﻠﻴﺪ ﺧﻮﺍﻧﺪﻧﺪ‪.‬‬ ‫ﻣﺎ ﺭﺍ ﺑﻪ ﺭﻭﺯﮔﺎﺭ ِﺳﺰﺍﻭﺍﺭ‪ ،‬ﻣﮋﺩﻩ ﺩﺍﺩ‪.‬‬
‫ﻭﺯﺍﺭﺕ ﺍﺭﺷﺎﺩ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﺻﻠﻰ ﺗﺮﻳﻦ‬ ‫ﺗﻮﻗﻴﻒ‪ ،‬ﻧﺎﻣﻪ ﺍﻯ ﺑﻪ ﺣﺠﺖﺍﻻﺳﻼﻡ‬ ‫ﺑﺎ ﻭﺟﻮﺩ ﺣﻤﺎﻳﺖ ﻫﺎﻯ ﺍﻭﻟﻴﻪ ﻭﺯﻳﺮ‬
‫ﻧﻬﺎﺩ ﻣﺮﺗﺒﻂ ﺑﺎ ﺳﻴﻨﻤﺎ ﺭﺍ ﺗﺒﺪﻳﻞ ﺑﻪ ﻳﻚ‬ ‫ﺣﺴﻦ ﺭﻭﺣﺎﻧﻰ ﺭﺋﻴﺲ ﺩﻭﻟﺖ ﻳﺎﺯﺩﻫﻢ‬ ‫ﺍﺭﺷﺎﺩ ﻛﻨﻮﻧﻰ ﻭ ﺣﺘﻰ ﺣﺬﻑ ‪ 40‬ﺩﻗﻴﻘﻪ‬ ‫ﻣﻬﺘﺎﺏ ُﻭ ﺁﺏ ُﻭ ﺁﻳﻨﻪ ﺩﻳﺪﻧﺪ‬ ‫ﺑﺎﺭﻯ‪ ،‬ﻧﺎﻡ ﺳﺮﺑﻠﻨ ِﺪ ﺍﻳﺮﺝ ﭘﺰﺷﻜﺰﺍﺩ ﺩﺭ ﺫﻫﻦ ُﻭ ﺯﺑﺎﻥ‬
‫ﺗﻤﺎﺷﺎﭼﻰ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺗﻤﺎﺷﺎﭼﻰﻳﻰ‬ ‫ﻧﻮﺷﺘﻨﺪ ﺍﻣﺎ ﺩﺭ ﻧﻬﺎﻳﺖ ﺗﻜﻠﻴﻒ ﺍﻛﺮﺍﻥ‬ ‫ﺍﺯ ﻓﻴﻠﻢ ﻧﻤﺎﻳﺶ ﺍﻣﺎ ﺍﻋﺘﺮﺍﺿﺎﺕ ﺗﺎ ﭘﺎﻯ‬ ‫ﺑﺎ ﻣﺎ ﺑﻪ ﺳﺮ ﻓﺮﺍﺯﻯ ِﻳﻚ ﻋﺸ ِﻖ ﭘﺎﻳﺪﺍﺭ‬ ‫ُﻭ ﺣﺎﻓﻈﻪ ﺗﺎﺭﻳﺨ ِﻰ ﻣﺎ ﺑﺎ ﺷﺎﻳﺴﺘﮕﻰ ﺑﺴﻴﺎﺭ‪ ،‬ﻣﺎﻧﺪﮔﺎﺭ‬
‫ﻛﻪ ﺑﺮﺍﻯ ﺣﻔﻆ ﺑﺮﺧﻰ ﻣﻨﺎﻓﻊ ﭘﺸﺖ‬ ‫ﻓﻴﻠﻢ ﻫﻨﻮﺯ ﺭﻭﺷﻦ ﻧﻴﺴﺖ‪ .‬ﻭﺯﺍﺭﺕ‬ ‫ﺍﻛﺮﺍﻥ ﻋﻤﻮﻣﻰ ﻫﻢ ﻛﺸﺎﻧﺪﻩ ﺷﺪ ﻭ‬ ‫ﭘﻴﺸﺎﻧ ِﻰ ﺑﻠﻨ ِﺪ ﺗﺮﺍ »ﻃﻨﺰ«‪ ،‬ﺑﻮﺳﻪ ﺩﺍﺩ‪.‬‬
‫ﭘﺮﺩﻩ ﺣﺘﻰ ﺣﺎﺿﺮ ﺑﻪ ﺣﻤﺎﻳﺖ ﺍﺯ‬ ‫ﺍﺭﺷﺎﺩ ﺳﺨﻦ ﺍﺯ ﺍﺻﻼﺣﺎﺕ ﺗﺎﺯﻩ ﻓﻴﻠﻢ‬ ‫ﻣﻌﺘﺮﺿﺎﻥ ﻣﻘﺎﺑﻞ ﺳﺎﺧﺘﻤﺎﻥ ﻭﺯﺍﺭﺕ‬ ‫ﺧﻮﺍﻫﺪ ﻣﺎﻧﺪ‪.‬‬
‫ﻣﺤﺼﻮﻻﺕ ﺧﻮﺩ ﻧﻴﺴﺖ‪ .‬ﻣﺤﺼﻮﻻﺗﻰ‬ ‫ﻣﻰ ﺯﻧﺪ‪ ،‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺳﺎﺯﻧﺪﮔﺎﻥ ﻓﻴﻠﻢ‬ ‫ﺍﺭﺷﺎﺩ ﺗﻈﺎﻫﺮﺍﺕ ﻛﺮﺩﻧﺪ ﻭ ﻓﻴﻠﻤﻰ ﻫﻢ ﺍﺯ‬
‫ﻛﻪ ﺳﺎﻧﺴﻮﺭ ﺁﻧﻬﺎ ﭘﻴﺸﺎﭘﻴﺶ ﻭ ﺍﺯ ﺫﻫﻦ‬ ‫ﺍﻋﻼﻡ ﻛﺮﺩﻩ ﺍﻧﺪ ﻫﻨﻮﺯ ﺩﺳﺘﻮﺭ ﺍﺻﻼﺣﻴﻪ‬ ‫ﻗﻤﻪ ﺯﻧﻰ ﭼﻨﺪ ﺯﻥ ﺑﻪ ﻧﺸﺎﻧﻪ ﺳﻮﮔﻮﺍﺭﻯ‬ ‫ﮔﺎﻟﺮﻯﻫﺎﻯ ﻫﻨﺮﻯ ﻟﻨﺪﻥ ﺑﻴﺸﺘﺮﻳﻦ ﻣﻮﺿﻮﻉ ﺟﺴﺘﺠﻮﻯ‬
‫ﺧﻮ ِﺩ ﺩﺳﺖ ﺍﻧﺪﺭﻛﺎﺭﺍ ِﻥ ﻓﻴﻠﻢ ﺁﻏﺎﺯ‬ ‫ﺍﺯ ﺍﻛﺮﺍﻥ ﻓﻴﻠﻢ ﺩﺭ ﻓﻀﺎﻯ ﻣﺠﺎﺯﻯ ﻣﻨﺘﺸﺮ‬
‫ﻣﻰﺷﻮﺩ ﻭ ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ ﺣﺘﻰ ﭘﺲ ﺍﺯ‬ ‫ﺭﻭﺷﻨﻰ ﺑﻪ ﺁﻧﻬﺎ ﺍﺭﺍﺋﻪ ﻧﺸﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﮔﻮﮔﻞ ﺩﺭ ﺩﻧﻴﺎ‬
‫ﺗﻐﻴﻴﺮ ﻭ ﺗﺤﺮﻳﻒ ﻭ ﺣﺬﻑ ﻓﺮﺍﻭﺍﻥ ﺑﺎﺯ‬ ‫»ﺭﺳﺘﺎﺧﻴﺰ« ﭘﺲ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ‬ ‫ﺷﺪ‪.‬‬
‫ﻓﺠﺮ ﺑﺎ ﺳﺎﻧﺴﻮﺭ ﺑﺴﻴﺎﺭﻯ ﻣﻮﺍﺟﻪ ﺷﺪ ﻛﻪ‬ ‫ﺣﺎﻣﻴﺎﻥ ﻭ ﻋﻮﺍﻣﻞ ﻓﻴﻠﻢ ﭼﻨﻴﻦ ﻭﺍﻛﻨﺸﻰ‬ ‫ﺷﻬﺮ ﻟﻨﺪﻥ ﺑﻪ ﺩﻟﻴﻞ ﺩﺍﺷﺘﻦ‬
‫ﻫﻢ ﺍﺟﺎﺯﻩ ﺍﻛﺮﺍﻥ ﻧﻤﻰﻳﺎﺑﻨﺪ‪.‬‬ ‫ﺷﺎﻣﻞ ﺣﺬﻑ ﻛﺎﻣﻞ ﺑﺮﺧﻰ ﺷﺨﺼﻴﺖ‬ ‫ﺭﺍ ﺳﻴﺎﺳﻰ ﺧﻮﺍﻧﺪﻧﺪ ﻭ ﺑﺮﺧﻰ ﺗﺤﻠﻴﻠﮕﺮﺍﻥ‬ ‫ﮔﺎﻟﺮﻯﻫﺎﻯ ﻫﻨﺮﻯ‪ ،‬ﻫﻨﺮﻫﺎﻯ ﻧﻤﺎﻳﺸﻰ‬
‫ﻫﺎﻯ ﻓﻴﻠﻢ ﻭ ﺳﻜﺎﻧﺲ ﻫﺎﻯ ﺑﻪ ﺍﺻﻄﻼﺡ‬ ‫ﻭ ﻃﺮﺍﺣﻰ ﻣﺒﺘﻜﺮﺍﻧﻪ ﺷﻬﺮﻯ ﺑﻴﺸﺘﺮﻳﻦ‬
‫ﺟﺴﺘﺠﻮﻯ ﮔﻮﮔﻞ ﺭﺍ ﺩﺭ ﺑﻴﻦ ﺷﻬﺮﻫﺎﻯ‬
‫ﺗﺒﻌﻴﺾ ﺟﻨﺴﻴﺘﻰ ﻭ ﺗﻨﻈﻴﻢ ﺩﺭﺟﻪ ﺣﺮﺍﺭﺕ ﺩﺍﺧﻠﻰ ﺳﺎﺧﺘﻤﺎﻥﻫﺎ‬
‫ﺩﻧﻴﺎ ﺑﻪ ﺧﻮﺩ ﺍﺧﺘﺼﺎﺹ ﺩﺍﺩﻩ ﺍﺳﺖ‪.‬‬
‫ﺩﺭ ﺟﺎﻳﻰ ﺍﺯ ﻛﺘﺎﺏ »ﺑﻬﺸﺖ ﮔﻤﺸﺪﻩ«‬ ‫ﻣﻮﺯﻩ ﻋﻠﻮﻡ ﻟﻨﺪﻥ‬ ‫ﺑﻪ ﮔﺰﺍﺭﺵ ﺳﺮﻭﻳﺲ ﺟﻬﺎﻧﻰ ﺑﻰ ﺑﻰ‬
‫ﺍﺛﺮ ﺟﺎﻥ ﻣﻴﻠﺘﻮﻥ‪ ،‬ﺧﺪﺍﻭﻧﺪ ﺭﺍﻓﺎﺋﻞ )ﻓﺮﺷﺘﻪ‬ ‫ﺳﻰ ﻣﻮﺯﻩﻫﺎﻯ ﻟﻨﺪﻥ ﺑﻪ ﭘﻴﺸﺘﺎﺯﻯ‬
‫ﺷﻔﺎ( ﺭﺍ ﻧﺰﺩ ﺁﺩﻡ ﻣﻰﻓﺮﺳﺘﺪ ﺗﺎ ﺑﺎ ﺍﻭ‬ ‫ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﺍﺳﺖ ﻛﻪ ﻣﺮﺩﻡ ﺑﺴﻴﺎﺭﻯ ﺩﺭ ﻭﺍﻛﻨﺶ ﺑﻪ ﺍﻳﻦ ﺧﺒﺮ ﮔﻔﺘﻪ ﺍﺳﺖ‪:‬‬ ‫ﻣﻮﺯﻩ ﻋﻠﻮﻡ ﺳﻪ ﻣﻮﺯﻩ ﻧﺨﺴﺖ ﺩﺭ‬
‫ﺻﺤﺒﺖ ﻛﻨﺪ‪ .‬ﻓﺮﺷﺘﻪ ﻣﻘﺮﺏ ﺁﺩﻡ ﺭﺍ ﺩﺭ‬ ‫ﺩﺭ ﻧﻘﺎﻁ ﻣﺨﺘﻠﻒ ﺟﻬﺎﻥ ﺑﻪ ﺩﻧﺒﺎﻝ » ﺑﺪﻭﻥ ﺷﻚ ﻟﻨﺪﻥ ﭘﺎﻳﺘﺨﺖ ﻓﺮﻫﻨﮕﻰ‬
‫ﺣﺎﻟﻰ ﻳﺎﻓﺖ ﻛﻪ ﺑﺮﺍﻯ ﻓﺮﺍﺭ ﺍﺯ ﺁﻓﺘﺎﺏ ﺯﻳﺮ‬ ‫ﺟﺴﺘﺠﻮﻯ ﮔﻮﮔﻞ ﻫﺴﺘﻨﺪ‪.‬‬
‫ﻣﻰﺷﻮﺩ ﻛﻪ ﻛﻞ ﺑﺪﻥ ﺍﺣﺴﺎﺱ ﺳﺮﻣﺎ ﻛﻨﺪ‪.‬‬ ‫ﺍﻣﺎ ﻳﻚ ﻧﻜﺘﻪ ﻣﻬﻢ ﻫﻤﻮﺍﺭﻩ ﻧﺎﺩﻳﺪﻩ ﮔﺮﻓﺘﻪ‬ ‫ﺩﻧﻴﺎ ﺍﺳﺖ‪«.‬‬ ‫ﻣﻮﺯﻩ ﻋﻠﻮﻡ ﻫﺴﺘﻨﺪ ﻭ ﺍﻳﻦ ﺍﻃﻼﻋﺎﺕ‬ ‫ﭘﺲ ﺍﺯ ﻣﻮﺯﻩ ﻋﻠﻮﻡ‪ ،‬ﻣﻮﺯﻩ ﺗﺎﺭﻳﺦ‬
‫ﺍﺿﺎﻓﻪ ﺑﺮ ﺍﻳﻦ ﻣﺤﻘﻘﺎﻥ ﻣﻰﮔﻮﻳﻨﺪ ﻛﻪ ﺯﻧﺎﻥ‬ ‫ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﻣﺎ ﻣﺮﺩﻯ ﭼﻬﻞ ﺳﺎﻟﻪ ﺑﺎ‬ ‫ﺳﺎﻳﺒﺎﻧﻰ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﺗﺌﺎﺗﺮﻫﺎﻯ ﻟﻨﺪﻥ ﻧﻴﺰ ﺩﺭ ﻣﻘﺎﻳﺴﻪ‬ ‫ﺗﺎﺯﻩ ﻣﺴﺘﻨﺪﺍﺕ ﺑﻴﺸﺘﺮﻯ ﺭﺍ ﺩﺭﺑﺎﺭﻩ‬ ‫ﻃﺒﻴﻌﻰ ﻭ ﻣﻮﺯﻩ ﺑﺮﻳﺘﺎﻧﻴﺎ ﺩﺭ ﺟﺎﻳﮕﺎﻩﻫﺎﻯ‬
‫ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﻣﺮﺩﺍﻥ ﻛﻤﺘﺮ ﻋﺮﻕ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫‪ 50‬ﻛﻴﻠﻮ ﻭﺯﻥ ﻭ ﻛﺖ ﻭ ﺷﻠﻮﺍﺭ ﺑﻪ ﺗﻦ‬ ‫ﭘﺲ ﺍﺯ ﺁﻧﻜﻪ ﺧﺪﺍﻭﻧﺪ ﺗﺨﻠﻒ ﺁﺩﻡ ﻭ ﺣﻮﺍ‬ ‫ﺑﺎ ﺗﺌﺎﺗﺮﻫﺎﻯ ﺷﻬﺮﻫﺎﻯ ﺩﻳﮕﺮ ﺩﻧﻴﺎ‬ ‫ﻣﺮﺗﺒﻪ ﺟﻬﺎﻧﻰ ﻣﻮﺯﻩﻫﺎﻯ ﺑﺮﻳﺘﺎﻧﻴﺎ ﻧﺸﺎﻥ‬
‫ﻧﺘﻴﺠﻪ ﺍﻳﻨﻜﻪ ﻣﻬﻨﺪﺳﺎﻥ ﺑﺎﻳﺪ‬ ‫ﺭﺍ ﺩﺭ ﭼﻴﺪﻥ ﻭ ﺧﻮﺭﺩﻥ ﻣﻴﻮﻩ ﻣﻤﻨﻮﻋﻪ ﺩﻳﺪ‬ ‫ﺟﺴﺘﺠﻮﻯ ﺑﻴﺸﺘﺮﻯ ﺭﺍ ﺩﺭ ﮔﻮﮔﻞ ﺑﻪ‬ ‫ﺩﻭﻡ ﻭ ﺳﻮﻡ ﻗﺮﺍﺭ ﺩﺍﺭﻧﺪ‪.‬‬
‫ﺑﺮﺍﻯ ﺗﻨﻄﻴﻢ ﺩﺭﺟﻪ ﺣﺮﺍﺭﺕ ﺩﺍﺧﻠﻰ‬ ‫ﻧﻴﺴﺘﻴﻢﺗﻜﻠﻴﻒﭼﻴﺴﺖ؟‬ ‫ﺁﻧﻬﺎ ﺭﺍ ﺑﺎ ﺗﺒﻌﻴﺪ ﺑﻪ ﺁﺏ ﻭ ﻫﻮﺍﻯ ﻧﺎﻣﺴﺎﻋﺪ‬ ‫ﻣﻰﺩﻫﺪ‪«.‬‬ ‫ﺑﺮ ﺍﺳﺎﺱ ﺍﻳﻦ ﮔﺰﺍﺭﺵ ﭘﺲ ﺍﺯ ﺍﻳﻦ‬
‫ﺳﺎﺧﺘﻤﺎﻥﻫﺎ ﻭ ﺑﻨﺎﻫﺎﻯ ﺗﺠﺎﺭﻯ ﻭ ﺍﺩﺍﺭﻯ‪،‬‬ ‫ﺑﻪ ﮔﺰﺍﺭﺵ ﺭﻭﺯﻧﺎﻣﻪ ﻧﻴﻮﻳﻮﺭﻛﺮ‪،‬‬ ‫ﺗﻨﺒﻴﻪ ﻛﺮﺩ؛ ﺟﺎﻳﻰ ﺑﺎ ﮔﺮﻣﺎﻯ ﺳﻮﺯﺍﻥ ﺩﺭ‬ ‫ﺧﻮﺩ ﺍﺧﺘﺼﺎﺹ ﺩﺍﺩﻩﺍﻧﺪ‪.‬‬ ‫ﺑﻮﺭﻳﺲ ﺟﺎﻧﺴﻮﻥ ﺷﻬﺮﺩﺍﺭ ﻟﻨﺪﻥ ﻧﻴﺰ‬ ‫ﺳﻪ ﻣﻮﺯﻩ ﺷﻬﺮ ﻟﻨﺪﻥ‪ ،‬ﻣﻮﺯﻩﻫﺎﻯ ﻫﻨﺮ‬
‫ﺩﻣﺎﻯ ﺑﺪﻥ ﺯﻧﺎﻥ ﺭﺍ ﻫﻢ ﺩﺭ ﻧﻈﺮ ﺑﮕﻴﺮﻧﺪ‬ ‫ﻣﻄﺎﻟﻌﺎﺗﻰ ﻛﻪ ﻣﺠﻠﻪ »ﺗﻐﻴﻴﺮ ﺁﺏ ﻭ ﻫﻮﺍ«‬ ‫ﺗﺎﺑﺴﺘﺎﻥ ﻭ ﺳﺮﻣﺎﻳﻰ ﺧﺸﻚ ﺩﺭ ﺯﻣﺴﺘﺎﻥ‪.‬‬ ‫ﻣﺘﺮﻭﭘﻮﻟﻴﺘﻦ ﻧﻴﻮﻳﻮﺭﻙ ﻭ ﺍﺳﻤﻴﺘﺴﻮﻧﻴﻦ‬
‫ﻭ ﺍﺯ ﺗﺒﻌﻴﺾ ﺟﻨﺴﻴﺘﻰ ﺩﺳﺖ ﺑﺮﺩﺍﺭﻧﺪ‪.‬‬ ‫ﻣﻨﺘﺸﺮ ﻛﺮﺩﻩ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ ﻛﻪ ﺯﻧﺎﻥ‬ ‫ﭘﺲ ﺍﺯ ﺁﻥ ﺁﺩﻡ ﻭ ﺣﻮﺍ ﺑﺎﻳﺪ ﺑﻪ ﺩﻧﺒﺎﻝ‬ ‫ﻭﺍﺷﻨﮕﺘﻦ ﺩﺭ ﺭﺗﺒﻪﻫﺎﻯ ﺑﻌﺪﻯ ﻗﺮﺍﺭ‬
‫ﺑﺮ ﺍﺳﺎﺱ ﻣﻄﺎﻟﻌﻪﺍﻯ ﻛﻪ ﻭﺯﺍﺭﺕ ﺍﻧﺮژﻯ‬ ‫ﻣﻌﻤﻮﻻ ﺩﺭ ﺍﻳﻦ ﺩﺭﺟﻪ ﺣﺮﺍﺭﺕ ﺍﺣﺴﺎﺱ‬ ‫ﻟﺒﺎﺱﻫﺎﻯ ﺗﺎﺯﻩ ﻣﻰﺭﻓﺘﻨﺪ؛ ﻟﺒﺎﺱﻫﺎﻳﻰ‬
‫ﺁﻣﺮﻳﻜﺎ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻩ ﺍﺳﺖ ﺣﺪﻭﺩ ‪40‬‬ ‫ﻣﻨﺎﺳﺐ ﺁﻥ ﺁﺏ ﻭ ﻫﻮﺍ‪ .‬ﻫﻮﺍ ﺳﺮﺩ ﺷﺪ ﺁﺩﻡ‬ ‫ﺩﺍﺭﻧﺪ‪.‬‬
‫ﺩﺭﺻﺪ ﺍﻧﺮژﻯ ﻣﺼﺮﻓﻰ ﺩﺭ ﺍﻳﻦ ﻛﺸﻮﺭ‬ ‫ﺳﺮﻣﺎ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﮔﻔﺖ ﺑﺮﺍﻯ ﺍﻳﻨﻜﻪ ﺧﻮﺩﻣﺎﻥ ﺭﺍ ﮔﺮﻡ ﻛﻨﻴﻢ‬ ‫ﺍﻳﻦ ﺗﺤﻘﻴﻖ ﺑﻪ ﻭﺳﻴﻠﻪ ﻛﻤﭙﺎﻧﻰ‬
‫ﺩﺭ ﺑﺨﺶ ﺳﺎﺧﺘﻤﺎﻥﻫﺎﻯ ﺗﺠﺎﺭﻯ‬ ‫ﺩﺭ ﻳﻚ ﭘﺮﻭژﻩ ﺗﺤﻘﻴﻘﻰ‪ ،‬ﭘﮋﻭﻫﺸﮕﺮﺍﻥ‬
‫ﻭ ﻣﻨﺎﺯﻝ ﻣﺴﻜﻮﻧﻰ ﻫﺰﻳﻨﻪ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺩﺍﻧﺸﮕﺎﻩ ﻣﺎﺳﺘﺮﻳﺨﺖ ﺩﺭ ﻫﻠﻨﺪ ﺍﺯ ‪16‬‬ ‫ﺑﺎﻳﺪ ﻣﻨﺎﺑﻊ ﺟﺪﻳﺪ ﮔﺮﻣﺎﻳﺶ ﭘﻴﺪﺍ ﻛﻨﻴﻢ‪.‬‬ ‫ﻟﻨﺪﻥ ﻭ ﺷﺮﻛﺎ ﺍﻧﺠﺎﻡ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬
‫ﺳﻴﺴﺘﻢ ﮔﺮﻣﺎﻳﺸﻰ ﻭ ﺗﻬﻮﻳﻪ ﺑﻴﺸﺘﺮﻳﻦ‬ ‫ﺯﻥ ﺟﻮﺍﻥ ﺧﻮﺍﺳﺘﻨﺪ ﺗﺎ ﻳﻚ ﺑﻪ ﻳﻚ ﻭﺍﺭﺩ‬ ‫ﻣﻴﻠﺘﻮﻥ ﺩﺭ ﺍﻳﻦ ﺑﺨﺶ ﺍﺯ ﻛﺘﺎﺏ ﻫﺮﮔﺰ‬ ‫ﻣﺪﻳﺮ ﻣﻮﺯﻩ ﻋﻠﻮﻡ ﻟﻨﺪﻥ ﺩﺭ ﻭﺍﻛﻨﺶ‬
‫ﻣﻴﺰﺍﻥ ﺗﻘﺎﺿﺎ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﺍﺧﺘﺼﺎﺹ ﺩﺍﺩﻩ‬ ‫ﺍﺗﺎﻗﻰ ﺑﺴﺘﻪ ﺷﻮﻧﺪ ﻛﻪ ﺩﺭﺟﻪ ﺗﺮﻣﻮﺳﺘﺎﺕ‬ ‫ﺑﻪ ﺧﻮﺩ ﺯﺣﻤﺖ ﻧﺪﺍﺩ ﺗﺎ ﺑﮕﻮﻳﺪ ﺣﻮﺍ ﺩﺭ ﺍﻳﻦ‬ ‫ﺑﻪ ﺍﻳﻦ ﺧﺒﺮ ﮔﻔﺘﻪ ﺍﺳﺖ‪»:‬ﺍﻳﻦ ﺑﺴﻴﺎﺭ‬
‫ﺍﺳﺖ ﻭ ﺑﻪ ﻫﻤﺎﻥ ﺍﻧﺪﺍﺯﻩﺍﻯ ﻛﻪ ﻫﻮﺍﻯ‬ ‫ﺁﻥ ﺭﺍ ﺩﺭ ﻃﻮﻝ ﺗﺤﻘﻴﻖ ﺗﻐﻴﻴﺮ ﺩﺍﺩﻧﺪ‪.‬‬ ‫ﺯﻣﻴﻨﻪ ﭼﻪ ﺍﺣﺴﺎﺳﻰ ﺩﺍﺭﺩ‪ .‬ﺍﻣﺮﻭﺯ ﺗﺎﺭﻳﺦ‬
‫ﺑﻴﺮﻭﻥ ﮔﺮﻡﺗﺮ ﻣﻰﺷﻮﺩ ﺧﺎﻧﻪﻫﺎ ﻭ ﺍﺩﺍﺭﻩﻫﺎ‬ ‫ﺯﻧﺎﻧﻰ ﺑﺎ ﺗﻰﺷﺮﺕ‪ ،‬ﺷﻠﻮﺍﺭ‪ ،‬ﻛﻔﺶ ﺭﺍﺣﺘﻰ‬ ‫ﺩﻧﻴﺎﻯ ﻣﺪﺭﻥ ﺗﻨﻈﻴﻢ ﺩﺭﺟﻪ ﺣﺮﺍﺭﺕ‬ ‫ﮔﺮﺍﻣﻰﺩﺍﺷﺖ ﺟﺎﻧﺒﺎﺧﺘﮕﺎﻥ ﻣﻴﻬﻦ ﺩﺭ ﻟﺲ ﺁﻧﺠﻠﺲ‬
‫ﺑﻴﺸﺘﺮ ﺳﺮﺩ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻳﻦ ﺩﺭ ﺣﺎﻟﻴﺴﺖ‬ ‫ﺍﺯ ﺟﻨﺲ ﻛﺘﺎﻥ ﻭ ﭘﻠﻰﺍﺳﺘﺮ ﻭ ﻛﻔﺶﻫﺎﻯ‬ ‫ﺳﺎﺧﺘﻤﺎﻥﻫﺎ ﻛﻤﺘﺮ ﺍﺯ ﻫﻤﺎﻥ ﻧﮕﺎﻩ ﺳﻨﺘﻰ‬
‫ﻭﺭﺯﺷﻰ‪ .‬ﺩﻣﺎﻯ ﻣﺤﻔﻈﻪ ﺩﺭ ﺍﺑﺘﺪﺍ ﺭﻭﻯ‬ ‫ﻧﻴﺴﺖ ﻛﻪ ﺁﺩﻡ ﺭﺍ ﺩﻳﺪ ﻭ ﺣﻮﺍ ﺭﺍ ﺑﻪ ﺣﺴﺎﺏ‬ ‫ﭘﺲ ﺍﺯ ﺍﻭ ﻣﺴﻌﻮﺩ ﺳﭙﻨﺪ ﺷﺎﻋﺮ ﻣﻌﺎﺻﺮ ﻛﻪ ﺑﺮﺍﻯ ﺷﺮﻛﺖ‬ ‫ﺑﻪ ﻣﻨﻈﻮﺭ ﺗﺠﻠﻴﻞ ﺍﺯ ﺟﺎﻧﺒﺎﺧﺘﮕﺎﻥ ﻧﻈﺎﻣﻰ ﻭ ﻏﻴﺮﻧﻈﺎﻣﻰ ﺩﺭ‬
‫ﺑﺎ ﻗﺮﺍﺭﺩﺍﺩﻥ ﺩﺳﺘﮕﺎﻩ ﺗﻨﻈﻴﻢ ﺣﺮﺍﺭﺕ‬ ‫‪ 58‬ﺻﺪﻡ ﻛﻠﻮﻳﻦ ﺗﻨﻈﻴﻢ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺯﻧﺎﻥ‬ ‫ﺩﺭ ﺍﻳﻦ ﻣﺮﺍﺳﻢ ﺍﺯ ﺷﻤﺎﻝ ﻛﺎﻟﻴﻔﺮﻧﻴﺎ ﺁﻣﺪﻩ ﺑﻮﺩ ﻗﻄﻌﻪ ﺷﻌﺮﻯ‬ ‫ﺍﻳﺮﺍﻥ ﻛﻪ ﺑﺎ ﺭﻭﻯ ﻛﺎﺭ ﺁﻭﺭﺩﻥ ﺟﻤﻬﻮﺭﻯ ﺍﺳﻼﻣﻰ ﻛﺸﺘﻪ ﻭ ﻳﺎ‬
‫ﺑﺮ ﺭﻭﻯ ‪ 37‬ﺑﻪ ﺟﺎﻯ ‪ 32‬ﺩﺭﺟﻪ ﺩﺭ‬ ‫ﭘﺸﺖ ﻣﻴﺰﻫﺎﻯ ﻛﺎﺭ ﻧﺸﺴﺘﻨﺪ ﻭ ﻣﺤﻘﻘﺎﻥ‬ ‫ﻧﻴﺎﻭﺭﺩ‪.‬‬ ‫ﺑﺎ ﻋﻨﻮﺍﻥ ﺍﻧﻘﻼﺏ ﺳﻴﺎﻩ ﺭﺍ ﻛﻪ ﺑﺎ ﺍﻳﻦ ﻣﻄﻠﻊ ﺁﻏﺎﺯ ﻣﻰﺷﺪ‬ ‫ﺍﻋﺪﺍﻡ ﺷﺪﻧﺪ‪ ،‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ ﺩﻳﺮﻭﺯ ﺑﻪ ﻫﻤﺖ ﺳﺮﻫﻨﮓ ﻫﻮﺷﻨﮓ‬
‫ﻣﺼﺮﻑ ﺍﻧﺮژﻯ ﺻﺮﻓﻪ ﺟﻮﻳﻰ ﻣﻰﺷﻮﺩ‬ ‫ﺩﺭ ﻃﻮﻝ ﺯﻣﺎﻥ ﺁﺯﻣﺎﻳﺶ ﺩﻣﺎﻯ ﺍﺗﺎﻕ ﺭﺍ‬ ‫ﺗﻨﻈﻴﻢ ﺩﺭﺟﻪ ﺣﺮﺍﺭﺕ ﺩﺍﺧﻠﻰ‬ ‫ﻭﺯﻳﻦ ﺍﻓﺴﺮ ﮔﺎﺭﺩ ﺷﺎﻫﻨﺸﺎﻫﻰ ﺳﺎﺑﻖ ﺍﺯ ﺳﻮﻯ »ﺳﺎﺯﻣﺎﻥ‬
‫ﺑﻴﻦ ﻛﻤﻰ ﮔﺮﻣﺘﺮ ﻭ ﻛﻤﻰ ﺳﺮﺩﺗﺮ ﺗﻐﻴﻴﺮ‬ ‫ﺳﺎﺧﺘﻤﺎﻥﻫﺎ ﺑﺎ ﻧﮕﺎﻫﻰ ﻛﺎﻣﻼ ﻣﺮﺩﺍﻧﻪ‬ ‫ﻗﺮﺍﺋﺖ ﻛﺮﺩ‪:‬‬ ‫ﺳﺮﺑﺎﺯ« ﻣﺮﺍﺳﻤﻰ ﺩﺭ ﻫﺘﻞ ﻫﻴﻠﺘﻮﻥ ﻛﺎﻧﻮﮔﺎ ﭘﺎﺭﻙ ﺩﺭ ﻏﺮﺏ‬
‫ﻛﻪ ﻗﺮﺍﺭ ﺩﺍﺩﻥ ﺩﺭﺟﻪ ﺳﻴﺴﺘﻢﻫﺎﻯ‬ ‫ﺩﺍﺩﻧﺪ ﻭ ﺍﺯ ﺁﻧﻬﺎ ﭘﺮﺳﻴﺪﻧﺪ ﺩﺭ ﭼﻪ ﺩﻣﺎﻳﻰ‬ ‫ﺷﺮﻭﻉ ﺷﺪ؛ ﻳﻌﻨﻰ ﺳﺎﻝ ‪1966‬ﻭ ﺯﻣﺎﻧﻰ‬ ‫ﺳﺎﻝ ﺑﺪ ﺳﺎﻝ ﺯﺷﺖ ﺳﺎﻝ ﺗﺒﺎﻩ‬ ‫ﻟﺲ ﺍﻧﺠﻠﺲ ﺑﺮﮔﺰﺍﺭ ﺷﺪ ﻛﻪ ﮔﺮﻭﻫﻰ ﺍﺯ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﻻﻳﻪﻫﺎﻯ‬
‫ﺧﻨﻚ ﻛﻨﻨﺪﻩ ﻫﻮﺍ ﺑﺮ ﺭﻭﻯ ‪ 37‬ﺑﻪ ﺟﺎﻯ‬ ‫ﻛﻪ ﻣﻬﻨﺪﺳﺎﻥ ﻭ ﻣﺘﺨﺼﺼﺎﻥ ﺍﻳﻦ ﺯﻣﻴﻨﻪ‬
‫‪ 32‬ﺩﺭﺟﻪ ﻣﺰﻳﺖ ﺩﻳﮕﺮﻯ ﻫﻢ ﺩﺍﺭﺩ ﻭ ﺁﻥ‬ ‫ﺍﺣﺴﺎﺱ ﺭﺍﺣﺘﻰ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﺩﺭﺟﻪ ﺣﺮﺍﺭﺕ ‪ 55‬ﺭﺍ ﺗﻌﺮﻳﻒ ﻛﺮﺩﻧﺪ‪ .‬ﻳﻜﻰ‬ ‫ﺳﺎﻝ ﺁﻏﺎﺯ ﺍﻧﻘﻼﺏ ﺳﻴﺎﻩ‬ ‫ﻣﺨﺘﻠﻒ ﺍﻳﺮﺍﻧﻰ ﻣﻘﻴﻢ ﺍﻳﻦ ﺷﻬﺮ ﺩﺭ ﺁﻥ ﺷﺮﻛﺖ ﺩﺍﺷﺘﻨﺪ‪.‬‬
‫ﻧﺘﻴﺠﻪ ﻧﺸﺎﻥ ﻣﻰﺩﺍﺩ ﻛﻪ ﺯﻧﺎﻥ ﺩﺭ‬ ‫ﺍﺯ ﻣﻌﻴﺎﺭﻫﺎﻯ ﺍﻳﻦ ﺗﻌﺮﻳﻒ ﻭ ﻣﺤﺎﺳﺒﻪ ﻫﻤﺎﻧﺎ‬ ‫ﺩﺭ ﺍﻃﻼﻋﻴﻪ ﺳﺮﻫﻨﮓ ﻭﺯﻳﻦ ﺑﺎ ﻋﻨﻮﺍﻥ »ﺧﻮﺍﺏ ﺧﻮﻧﻴﻦ‪-‬‬
‫ﺻﺮﻓﻪﺟﻮﻳﻰ ﺩﺭ ﻣﺼﺮﻑ ﺍﻧﺮژﻯ ﺍﺳﺖ‪.‬‬ ‫ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﻣﺮﺩﺍﻥ ﺩﻣﺎﻯ ﮔﺮﻡﺗﺮﻯ ﺭﺍ‬ ‫ﻣﺮﺩﺍﻧﻰ ﺩﺭ ﻛﺖ ﻭ ﺷﻠﻮﺍﺭ ﺭﺳﻤﻰ ﺑﻮﺩ‪ .‬ﺍﻳﻦ‬ ‫ﺩﻭﺩ‪ ،‬ﺁﺗﺶ‪ ،‬ﺩﺭﻭﻍ‪ ،‬ﺧﺸﻢ‪ ،‬ﺟﻨﻮﻥ‬ ‫ﺍﻳﺮﺍﻧﻰ ﺑﻴﺪﺍﺭ ﺷﻮ« ﺁﻣﺪﻩ ﺑﻮﺩ »ﺩﺭ ﻛﻮﻳﺮﻯ ﺗﻬﻰ ﺍﺯ ﻋﻄﻮﻓﺖ‬
‫ﺗﺮﺟﻴﺢ ﻣﻰﺩﻫﻨﺪ‪ .‬ﺑﻪ ﮔﻔﺘﻪ ﻫﻮﺍﺷﻨﺎﺳﺎﻥ‬ ‫ﺩﺭﺟﻪ ﺣﺮﺍﺭﺕ ﺍﻟﺒﺘﻪ ﭼﻨﺪ ﺑﺎﺭ ﺩﺭ ﻃﻮﻝ‬ ‫ﻭ ﻣﻬﺮ‪،‬ﺩﺭ ﺩﻳﺎﺭﻯ ﺳﺎﻛﺖ ﻭ ﺷﻮﻡ‪ ،‬ﺩﻳﺎﺭﻯ ﻣﺎﻭﺍﻯ ﺍﻧﺴﺎﻥﻫﺎﻯ‬
‫ﺯﻳﺴﺘﻰ‪ ،‬ﺯﻧﺎﻥ ﺩﻣﺎﻳﻰ ﺣﺪﻭﺩ ‪ 37‬ﺩﺭﺟﻪ‬ ‫ﺁﻳﺖﺍﷲ ﺗﺸﻨﻪ ﺧﻮﻥ ﺗﺸﻨﻪ ﺧﻮﻥ‬ ‫ﻫﺰﺍﺭ ﻭ ﭼﻬﺎﺭﺻﺪ ﺳﺎﻝ ﺧﻔﺘﻪ ﺩﺭ ﺧﻮﺍﺏ‪ ،‬ﻭﺣﻮﺵ ﺑﻴﺎﺑﺎﻥﮔﺮﺩ‪،‬‬
‫ﺭﺍ ﻣﻨﺎﺳﺐ ﻣﻰﺩﺍﻧﻨﺪ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺩﻣﺎﻯ‬ ‫ﺩﻫﻪﻫﺎﻯ ﮔﺬﺷﺘﻪ ﺑﻪ ﺭﻭﺯ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺗﺎﺯﻳﺎﻥ ﻣﻬﺎﺟﻢ ﺭﻣﻴﺪﻩ ﺍﺯ ﺩﻝ ﮔﺮﺩ ﻭ ﻏﺒﺎﺭ ﺻﺤﺮﺍﻫﺎ ﻫﺰﺍﺭﺍﻥ‬
‫ﺑﺮﺍﻯ ﺗﻌﺮﻳﻒ ﺍﻳﻦ ﺍﺳﺘﺎﻧﺪﺍﺭﺩ ﻣﻬﻨﺪﺳﺎﻥ‬ ‫ﺳﺎﻝ ﺍﻓﺘﺎﺩﻥ ﺯ ﭼﺎﻟﻪ ﺑﻪ ﭼﺎﻩ‬ ‫ﻫﺰﺍﺭﺟﻮﺍﻥ ﺳﺮﺯﻣﻴﻦ ﺍﻫﻮﺭﺍﺋﻰ ﻣﺎ ﺭﺍ ﺩﺭ ﻋﺮﺽ ﻳﻚ ﻫﻔﺘﻪ‬
‫ﻣﻨﺎﺳﺐ ﺑﺮﺍﻯ ﻣﺮﺩﺍﻥ ‪ 32‬ﺩﺭﺟﻪ ﺍﺳﺖ‪.‬‬ ‫ﭼﻨﺪ ﻣﻌﻴﺎﺭ ﻣﺸﺨﺺ ﺭﺍ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻨﺪ‪:‬‬ ‫ﮔﺮﻭﻩ ﮔﺮﻭﻩ ﺑﻪ ﺳﻼﺥ ﺧﺎﻧﻪﻫﺎ ﺑﺮﺩﻧﺪ‪ .‬ﺳﻼﺧﻰﺷﺎﻥ ﻛﺮﺩﻧﺪ‬
‫ﺩﺭ ﺳﺎﻝ ‪ 2012‬ﻳﻚ ﻣﺤﻘﻖ ﻫﻠﻨﺪﻯ ﺩﺭ‬ ‫ﻣﻴﺰﺍﻥ ﺍﻧﺮژﻯ ﻛﻪ ﺑﺪﻥ ﺩﺭ ﺯﻣﺎﻥ ﺍﻧﺠﺎﻡ‬ ‫ﻛﻮﻩ ﺍﺳﻄﻮﺭﻩ ﺳﺎﺧﺘﻦ ﺍﺯ ﻛﺎﻩ‬ ‫ﻭ ﺍﺟﺴﺎﺩﺷﺎﻥ ﺭﺍ ﺑﻪ ﻭﺳﻴﻠﻪ ﻛﺎﻣﻴﻮﻥﻫﺎﻯ ﺣﻤﻞ ﮔﻮﺷﺖ‬
‫ﺗﻮﺿﻴﺢ ﻋﻠﺖ ﺍﻳﻦ ﺗﻔﺎﻭﺕ ﺩﻣﺎ ﺑﻴﻦ ﺯﻧﺎﻥ‬ ‫ﻓﻌﺎﻟﻴﺖﻫﺎﻯ ﻓﻴﺰﻳﻜﻰ ﻣﺼﺮﻑ ﻣﻰﻛﻨﺪ ﻭ‬ ‫ﺳﭙﺲ ﺩﻛﺘﺮ ﻫﻮﺷﻨﮓ ﺍﻣﻴﺮﺳﻠﻴﻤﺎﻧﻰ ﻭ ﭘﺲ ﺍﺯﺍﻭ ﺩﻛﺘﺮ‬ ‫ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺧﻂ ﺳﻴﺮ ﺭﻳﺰﺵ ﺧﻮﻥ ﺁﻧﻬﺎ ﺍﺯ ﺳﻄﺢ ﺯﻳﺮﻳﻦ‬
‫ﻭ ﻣﺮﺩﺍﻥ ﻧﻮﺷﺖ ﻛﻪ ﺩﻣﺎﻯ ﺑﺪﻥ ﺯﻧﺎﻥ ﺩﺭ‬ ‫ﻣﻘﻴﺎﺱ ﻛﻠﻮﻳﻦ )ﺍﻧﺪﺍﺯﻩﮔﻴﺮﻯ ﺩﻣﺎ( ﻛﻪ ﺑﺮ‬ ‫ﺳﻌﻴﺪ ﺍﺣﻤﺪﻯ ﺩﻧﺪﺍﻥﭘﺰﺷﻚ ﻛﻪ ﺍﺯ ﻫﻴﻮﺳﺘﻮﻥ ﺗﮕﺰﺍﺱ ﺍﻣﺪﻩ‬ ‫ﻛﺎﻣﻴﻮﻥﻫﺎ ﻣﺴﻴﺮ ﺟﺎﺩﻩ ﻣﺮگ ﻣﻠﺘﻰ ﻫﻢﭼﻨﺎﻥ ﺧﻔﺘﻪ ﺩﺭ‬
‫ﺍﻃﺮﺍﻑ ﺑﺎﺯﻭﻫﺎ ﻭ ﻫﻢﭼﻨﻴﻦ ﺩﺳﺘﺎﻥ ﺁﻧﻬﺎ‬ ‫ﺍﺳﺎﺱ ﻋﺎﻳﻖ ﺣﺮﺍﺭﺗﻰ ﻟﺒﺎﺱﻫﺎ ﺗﻌﺮﻳﻒ‬ ‫ﺑﻮﺩ ﺩﺭ ﻣﻮﺭﺩ ﺣﻘﻮﻕ ﺑﺸﺮ ﻭ ﻣﻴﺮﺯﺍ ﺁﻗﺎ ﻋﺴﮕﺮﻯ )ﻣﺎﻧﻰ( ﻭ‬ ‫ﺧﻮﺍﺏ ﺭﺍ ﮔﻮﺍﻫﻰ ﻣﻰﻛﺮﺩ ﺑﻪ ﺑﻴﺎﺑﺎﻥﻫﺎ ﻣﻨﺘﻘﻞ ﻭ ﺩﺭ ﻗﺒﺮﻫﺎﻯ‬
‫ﭘﺎﻳﻴﻦﺗﺮ ﺍﺳﺖ ﻭ ﺩﺳﺘﺎﻥ ﺳﺮﺩ ﻣﻨﺠﺮ ﺑﻪ ﺁﻥ‬ ‫ﻫﻮﻣﺮ ﺍﺑﺮﺍﻣﻴﺎﻥ ﺳﺨﻦ ﮔﻔﺘﻨﺪ ﻭ ﺩﺭ ﭘﺎﻳﺎﻥ ﺳﻴﺎﻣﻚ ﭘﻮﻳﺎﻥ ﺑﺎ‬
‫ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺗﻨﺒﻚ ﻭ ﺳﻌﻴﺪ ﺳﭙﺎﺱ ﺑﺎ ﮔﻴﺘﺎﺭ ﻭ ﺁﻭﺍﺯ ﻗﻄﻌﺎﺗﻰ ﺍﺟﺮﺍ ﻛﺮﺩﻧﺪ‪.‬‬ ‫ﺩﺳﺘﻪ ﺟﻤﻌﻰ ﺑﻪ ﺻﻮﺭﺕ ﻣﺠﻬﻮﻝﺍﻟﻬﻮﻳﻪ ﺩﻓﻦ ﻛﺮﺩﻧﺪ‪«.‬‬
‫ﺑﺮﺍﻯ ﺗﻌﺮﻳﻒ ﺍﻳﻦ ﺭﻗﻢ ﻓﺮﺩﻯ ﺩﺭ ﻛﺖ ﻭ‬ ‫ﺳﻴﺎﻭﺵ ﺁﺫﺭﻯ‬ ‫ﺳﺎﻟﻦ ﻣﺮﺍﺳﻢ ﺩﻳﺮﻭﺯ ﺑﺎ ﺗﺼﺎﻭﻳﺮ ﭘﺎﺩﺷﺎﻫﺎﻥ ﭘﻬﻠﻮﻯ‪،‬‬
‫ﭘﺮﭼﻢﻫﺎﻯ ﺳﻪ ﺭﻧﮓ ﺷﻴﺮ ﻭ ﺧﻮﺭﺷﻴﺪﻧﺸﺎﻥ ﻭ ﺗﺎﺝ ﮔﻞﻫﺎﻯ‬
‫ﺷﻠﻮﺍﺭ ﻭ ﻛﻔﺶ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪ ﺷﺪ‪.‬‬
‫ﺩﺭ ﻣﺠﻤﻮﻉ ﺑﺮﺍﻯ ﺗﻌﺮﻳﻒ ﺩﺭﺟﻪ ﺣﺮﺍﺭﺕ‬ ‫ﻣﺨﺘﻠﻒ ﺗﺰﺋﻴﻦ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬
‫ﺩﺍﺧﻠﻰ ﺳﺎﺧﺘﻤﺎﻥﻫﺎ ﻣﻬﻨﺪﺳﺎﻥ ﺩﺭ‬ ‫ﺍﺑﺘﺪﺍ ﺳﺮﻭﺩ »ﺍﻯ ﺍﻳﺮﺍﻥ« ﭘﺨﺶ ﺷﺪ ﺳﭙﺲ ﻣﻬﺮﺩﺍ ﺩﭘﺎﺭﺳﺎ‬
‫ﻧﻈﺮ ﻣﻰﮔﻴﺮﻧﺪ ﻛﻪ ﺍﻓﺮﺍﺩ ﭼﻘﺪﺭ ﻓﻌﺎﻟﻴﺖ‬ ‫ﮔﺮﺩﺍﻧﻨﺪﻩ ﻣﺮﺍﺳﻢ ﺷﻤﻪﺍﻯ ﺩﺭﻣﻮﺭﺩ ﺟﺎﻧﺒﺎﺧﺘﮕﺎﻥ ﺭﺍﻩ ﻣﻴﻬﻦ‬
‫ﻓﻴﺰﻳﻜﻰ ﺩﺍﺭﻧﺪ ﻭ ﺑﻪ ﻃﻮﺭ ﻣﻌﻤﻮﻝ ﭼﻘﺪﺭ‬
‫ﺳﺨﻦ ﮔﻔﺖ‪.‬‬
‫ﻟﺒﺎﺱﻣﻰﭘﻮﺷﻨﺪ‪.‬‬ ‫ﺁﻧﮕﺎﻩ ﻣﻴﺮﺳﭙﺎﺳﻰ ﺍﺯ ﭼﻬﺮﻩﻫﺎﻯ ﻣﻄﺒﻮﻋﺎﺗﻰ ﺩﺭ ﻣﻮﺭﺩ ﻧﻘﺶ‬
‫ﺭﻭﺷﻨﻔﻜﺮﺍﻥ ﺑﻪ ﺍﻳﺮﺍﺩ ﺳﺨﻦ ﭘﺮﺩﺍﺧﺖ ﻭ ﺁﻧﺎﻥ ﺭﺍ »ﺑﺰﺩﻝ«‬

‫ﻧﺎﻣﻴﺪ‪.‬‬