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‫ﺟﻤﻌﻪ ‪ 8‬ﺗﺎ ﭘﻨﺠﺸﻨﺒﻪ ‪ 14‬ژﺍﻧﻮﻳﻪ ‪2016‬‬

‫ﻧﺎﮔﺰﻳﺮﻯﺍﺳﺖﻛﻪﺧﻮﺩﺗﺠﺮﺑﻪﻛﺮﺩﻩﺍﺳﺖ‬            ‫ﭼﻪ ﭼﻴﺰﻯ ﺭﺍ ﻣﻰﺧﻮﺍﻫﺪ ﺑﮕﻮﻳﺪ‪ .‬ﺍﻭ‬              ‫ﻧﻘﺎﺷﻰﻫﺎﻯ ﺑﺮﻫﻨﻪﻯ ﺍﻓﺸﻴﻦ ﻧﺎﻏﻮﻧﻰ‪:‬‬                                               ‫ﺍﻭﻟﻴﻪ ﺭﺍ ﻧﺪﺍﺭﺩ ﻭﻫﻨﻮﺯ ﺧﻴﻠﻰ ﻛﺎﺭﻫﺎ ﺭﺍ‬     ‫ﻣﻬﻴﻦ ﻣﻴﻼﻧﻰ ‪ -‬ﺷﻬﺮﻳﺎﺭ ﺻﻴﺎﻣﻰ ﺩﺭ‬
‫ﻭ ﺍﻳﻦ ﺗﺠﺮﺑﻪﻯ ﺷﺨﺼﻰ ﺑﺴﻴﺎﺭ ﻣﺘﻔﺎﻭﺕ‬         ‫ﻣﻰﺗﻮﺍﻧﺴﺖ ﻣﺜﻞ ﺧﻴﻠﻰ ﺍﺯ ﻧﻘﺎﺵﻫﺎﻯ‬                                                                                          ‫ﺗﻮﺳﻂ ﺩﺳﺘﻴﺎﺭ ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﺪ‪ ،‬ﺍﻣﺎ ﻛﺎﺭ‬       ‫ﻣﺴﺘﻨﺪ ‪ ،Out of Focus‬ﺍﻓﺸﻴﻦ ﻧﺎﻏﻮﻧﻰ‬
‫ﺍﺳﺖ ﺍﺯ ﺍﻳﻨﻜﻪ ﺗﻮ ﻓﻘﻂ ﺷﺎﻫﺪ ﻣﺎﺟﺮﺍ‬         ‫ﺩﻳﮕﺮ ﻓﻘﻂ ﺑﺪﻥ ﺑﺮﻫﻨﻪﻯ ﺯﻥ ﺭﺍ ﺗﺮﺳﻴﻢ‬         ‫ﺑﺎﺯﺗﺎﺏ ﺧﺸﻮﻧﺖﻫﺎ ﻭ‬                                                              ‫ﺍﺻﻠﻰ ﺭﺍ ﭘﻴﺶ ﻣﻰﺑﺮﺩ‪.‬ﻭ ﺍﻳﻦ ﻛﺎﺭ ﺍﺻﻠﻰ‬       ‫ﺭﺍ ﻭ ﺳﻘﻮﻁﺍﺵ ﺍﺯ ﻃﺒﻘﻪﻯ ﺷﺸﻢ‪ ،‬ﺁﺳﻴﺐ‬
‫ﺑﺎﺷﻰ ﻳﺎ ﺷﻨﻮﻧﺪﻩﻯ ﻭﻗﺎﻳﻊ‪ .‬ﻭ ﻛﺎﺭﻫﺎﻳﺶ‬                                                ‫ﺗﻀﺎﺩﻫﺎﻯ ﺟﺎﻣﻌﻪ‬                                                                ‫ﺑﺎﺯﺗﺎﺏ ﺣﺲﻫﺎﻳﻰﺳﺖ ﺍﺯ ﺗﻤﺎﻡ ﺩﻭﺭﺍﻥ‬          ‫ﺩﻳﺪﻥ ﻧﺨﺎﻉﺍﺵ‪ ،‬ﻓﻠﺞ ﺷﺪﻥ ﺑﺪﻥﺍﺵ‬
‫ﺑﺎﺯﺗﺎﺏ ﻛﻨﺘﺮﺍﺳﺖ ﻭ ﺗﻀﺎﺩﻫﺎﻯ ﺟﺎﻣﻌﻪﺍﻯ‬         ‫ﻛﻨﺪ‪ .‬ﻣﺎ ﺍﺯ ﺍﻳﻦ ﻧﻘﺎﺵﻫﺎ ﻓﺮﺍﻭﺍﻥ ﺩﺍﺭﻳﻢ‪.‬‬                                                                                 ‫ﺯﻧﺪﮔﻰ ﺍﺯ ﻃﺮﻳﻖ ﻧﻘﺎﺷﻰ‪ :‬ﺩﻭﺭﺍﻥ ﻧﻮﺟﻮﺍﻧﻰ‬     ‫ﻭ ﺷﻬﺮﺕ ﺍﻣﺮﻭﺯﻯﺍﺵ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ‬
‫ﺍﺳﺖ ﻛﻪ ﺍﺯ ﻳﻚ ﻃﺮﻑ ﻫﻤﻪ ﻣﺤﺪﻭﺩﻳﺖ‬           ‫ﺍﻓﺸﻴﻨﻰ ﻛﻪ ﺍﺯ ﻧﻮﺟﻮﺍﻧﻰ ﺩﺭ ﺗﻴﺮﺭﺱ‬           ‫ﮔﻔﺖ ﻭ ﮔﻮﻳﺶ ﺑﺎ ﺣﻀﺎﺭ ﭘﺲ ﺍﺯ ﻧﻤﺎﻳﺶ‬         ‫ﺟﻨﮓ‪ .‬ﻣﺪﺕﻫﺎ ﺑﺎ ﺧﺎﻧﻮﺍﺩﻩ ﺑﻰ ﺧﺎﻧﻤﺎﻥ‬        ‫ﺩﺭ ﺍﻫﻮﺍﺯ ﻭ ﺑﻤﺒﺎﺭﺍﻥ ﺩﺍﺋﻤﻰ ﺧﺎﻧﻪﻫﺎ ﺩﺭ‬     ‫ﻧﻘﺎﺵ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﺑﺮ ﺭﻭﻯ ﻭﻳﻠﭽﺮ ﻭ ﺑﺎ‬
‫ﺍﺳﺖ ﻭ ﺍﺯ ﺟﺎﻧﺐ ﺩﻳﮕﺮ ﺟﺎﻣﻌﻪﺍﻯ ﺍﺳﺖ‬         ‫ﺑﻤﺐﻫﺎﻯ ﻫﻮﺍﻳﻰ ﻭ ﺗﻴﺮﻫﺎﻯ ﺩﻭﺭﺑﺮ ﺯﻣﻴﻨﻰ‬       ‫ﻓﻴﻠﻢ ﺍﺯ ﻃﺮﻳﻖ ﺍﺳﻜﺎﻳﭗ ﻣﻄﺮﺡ ﻣﻰﻛﺮﺩ‪،‬‬        ‫ﺑﻮﺩﻩﺍﻧﺪ‪ .‬ﻫﺰﺍﺭ ﻣﺸﻜﻞ ﺩﺍﺷﺘﻪﺍﻧﺪ ﻛﻪ ﺟﺎ‬      ‫ﻫﻨﮕﺎﻡ ﺟﻨﮓ ﺍﻳﺮﺍﻥ ﻭ ﻋﺮﺍﻕ‪ ،‬ﻣﻬﺎﺟﺮﺕ ﺑﻪ‬
‫ﻛﻪ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺁﺯﺍﺩ ﻧﺒﺎﺷﺪ‪ .‬ﻫﺮﺍﻧﺪﺍﺯﻩ ﺩﺳﺖ‬   ‫ﻋﺮﺍﻕ ﺩﺭ ﺟﻨﻮﺏ ﺍﻳﺮﺍﻥ ﻗﺮﺍﺭ ﺩﺍﺷﺘﻪ‪،‬‬          ‫ﺍﻳﻦﺩﻳﺪﮔﺎﻩﻭﺟﻮﺩﺩﺍﺭﺩﻛﻪﻧﺎﺗﻮﺍﻧﻰﺟﻨﺴﻰ‬         ‫ﺑﻴﺎﻓﺘﻨﺪ‪ .‬ﻭ ﺑﺎﺭ ﺩﻳﮕﺮ ﺯﻣﺎﻧﻴﺴﺖ ﻛﻪ ﻧﺎﮔﺰﻳﺮ‬  ‫ﺗﻬﺮﺍﻥ ﺑﺮﺍﻯ ﻓﺮﺍﺭ ﺍﺯ ﺟﻨﮓ‪ ،‬ﺁﻧﮕﺎﻩ ﺳﻘﻮﻁ ﺍﺯ‬     ‫ﺩﺳﺘﻰﻧﻴﻤﻪ ﻓﻠﺞﺑﻪ ﻣﺎﻣﻰﺷﻨﺎﺳﺎﻧﺪ‪.‬‬
‫ﻭ ﺑﺎﻝﺍﺵ ﺭﺍ ﻣﻰﺑﻨﺪﻧﺪ ﺍﻓﺮﺍﺩ ﺭﺍﻩ ﺧﻮﺩ ﺭﺍ‬    ‫ﺍﻓﺸﻴﻨﻰﻛﻪﻓﻘﻂﺑﻪﻋﻠﺖﻳﻚﮔﺮﺩﻫﻤﺎﺋﻰ‬              ‫ﺑﻪ ﺩﻟﻴﻞ ﺍﺯ ﻛﺎﺭ ﺍﻓﺘﺎﺩﻥ ﻧﺨﺎﻉ ﺳﺒﺐ ﺷﺪﻩ‬     ‫ﺑﻪ ﺩﻳﺎﺭ ﻏﺮﺏ ﻣﻰﺭﻭﺩ‪ .‬ﺩﺭ ﺁﻧﺠﺎ ﻓﺮﺻﺖﻫﺎﻯ‬     ‫ﻃﺒﻘﻪﻯ ﺷﺸﻢ‪ ،‬ﻣﺪﺍﻭﺍﻯ ﭼﻨﺪﻳﻦ ﺳﺎﻟﻪ ﺩﺭ‬        ‫ﻧﻘﺎﺷﻰﻫﺎﻯ ﺑﺴﻴﺎﺭ ﺑﺰﺭگ ﻛﻮﺑﻴﺴﻢ‪،‬‬
‫ﺑﺎﺯ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻭ ﻫﻤﻴﻦ ﺗﻨﺎﻗﺾﻫﺎﺳﺖ ﻛﻪ‬        ‫ﺩﻭﺳﺘﺎﻧﻪ ﻣﻮﺭﺩ ﻏﻀﺐ ﻣﺎﻣﻮﺭﻳﻦ ﻗﺮﺍﺭ‬           ‫ﺍﺳﺖ ﻛﻪ ﻧﻘﺎﺷﻰ ﺯﻥﻫﺎﻯ ﻋﺮﻳﺎﻥ ﺟﺰء‬           ‫ﺑﻬﺘﺮﻯ ﺑﺮﺍﻯ ﺑﻬﺒﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻭﻟﻰ ﻳﻚ ﻣﻬﺎﺟﺮ‬    ‫ﺍﻳﺮﺍﻥ‪ ،‬ﻣﻬﺎﺟﺮﺕ ﺑﻪ ﻟﻨﺪﻥ‪ ،‬ﺯﻧﺪﮔﻰ ﺳﺨﺖ‬       ‫ﺍﻣﭙﺮﺳﻴﻮﻧﻴﺴﻢ‪ ،‬ﻛﻮﻻژ ﻭ ﺑﻪ ﻛﺎﺭﮔﻴﺮﻯ‬
‫ﺗﻨﺶ ﺍﻳﺠﺎﺩ ﻣﻰﻛﻨﺪ‪ .‬ﻭ ﻃﺮﻓﻴﻦ ﺗﻀﺎﺩﻫﺎ‬        ‫ﻣﻰﮔﻴﺮﺩ ﻭ ﺍﺯ ﻫﺮﺍﺱ ﺩﺳﺘﮕﻴﺮﻯ ﻭ‬              ‫ﻛﺎﺭﻫﺎﻯ ﻣﻮﺭﺩ ﻋﻼﻗﻪﺍﺵ ﺑﺎﺷﺪ‪ .‬ﺑﻪ ﺍﻋﺘﻘﺎﺩ‬     ‫ﺍﺳﺖ‪ ،‬ﻏﺮﻳﺐ ﺍﺳﺖ‪ ،‬ﻓﻠﺞ ﺍﺳﺖ‪ .‬ﺑﻰ ﭘﻮﻝ‬         ‫ﺑﺎ ﺩﺳﺖ ﻓﻠﺞ ﺑﺮ ﺭﻭﻯ ﻭﻳﻠﭽﺮ‪ ،‬ﻭ ﻓﻘﻂ‬         ‫ﺭﻧﮓﻫﺎﻯ ﻛﻨﺘﺮﺍﺳﺖ ﺳﻴﺎﻩ ﻭ ﺗﻴﺮﻩ ﺍﺯ ﻳﻚ‬
‫ﺑﻪ ﻃﻮﺭ ﺩﺍﺋﻢ ﺩﺭ ﺗﻼﺵ ﻫﺴﺘﻨﺪ ﻛﻪ‬            ‫ﻣﺤﺮﻭﻡ ﺷﺪﻥ ﺍﺯ ﺩﺍﻧﺸﮕﺎﻩ ﻭ ﻏﻴﺮﻩ ﭘﺎ ﺑﻪ‬       ‫ﻣﻦ ﺍﮔﺮﭼﻪ ﺍﻳﻦ ﺍﻣﺮ ﻧﻴﺰ ﻣﻰﺗﻮﺍﻧﺪ ﺗﺄﺛﻴﺮ ﺩﺭ‬  ‫ﺍﺳﺖ‪.‬ﺍﻳﻨﻬﺎ ﻫﻤﻪ ﻧﻘﺶ ﺩﺍﺭﻧﺪ ﺩﺭ ﺁﻓﺮﻳﻨﺶ‬      ‫‪ 350‬ﭘﻮﻧﺪ ﺑﺮﺍﻯ ﺷﺮﻭﻉ ﺯﻧﺪﮔﻰ ﺍﺯ ﺻﻔﺮ‪،‬‬       ‫ﻃﺮﻑ ﻭ ﺳﺮﺧﺎﺑﻰ ﻭ ﺯﺭﺩ ﻭ ﺁﺑﻰ ﺍﺯ ﻃﺮﻑ‬
‫ﭼﮕﻮﻧﻪ ﺗﻀﺎﺩ ﺭﺍ ﺑﻪ ﻧﻔﻊ ﺧﻮﺩ ﺗﻤﺎﻡ ﻛﻨﻨﺪ‪.‬‬    ‫ﻓﺮﺍﺭ ﻣﻰﮔﺬﺍﺭﺩ ﻭ ﻧﺘﻴﺠﻪﺍﺵ ﺍﻓﻠﻴﺞ ﺷﺪﻥ‬        ‫ﻛﺎﺭﻫﺎﻯ ﺍﻓﺸﻴﻦ ﻧﺎﻏﻮﻧﻰ ﮔﺬﺍﺷﺘﻪ ﺑﺎﺷﺪ‪،‬‬       ‫ﻛﺎﺭﻫﺎﻳﻰ ﻛﻪ ﺍﺭﺍﺋﻪ ﺩﺍﺩﻩ ﺍﺳﺖ ﻭ ﺷﺎﻳﺪ‬       ‫ﻭ ﺍﺩﺍﻣﻪﻯ ﺯﻧﺪﮔﻰ ﺑﺮﺍﻯ ﺑﻬﺒﻮﺩ ﺑﺎ ﻧﻘﺎﺷﻰ‪.‬‬    ‫ﺩﻳﮕﺮ ﺩﺭ ﻃﺮﺡﻫﺎﻯ ﺯﻧﺎﻥ ﺑﺮﻫﻨﻪ‪ ،‬ﺳﺮﺑﺎﺯ‬
‫ﺍﻓﺸﻴﻦ ﻭ ﻧﻘﺎﺷﻰﻫﺎﻳﺶ ﺑﺎﺯﺗﺎﺏ ﺗﻨﺎﻗﺾﻫﺎ‬       ‫ﺩﺭ ﺗﻤﺎﻡ ﻋﻤﺮ ﺍﺳﺖ‪ ،‬ﺯﻥ ﻋﺮﻳﺎﻥﺍﺵ ﺩﺭ‬          ‫ﺍﻣﺎ ﺍﻳﻦ ﺑﻴﻨﺶ ﻳﻚ ﺟﺎﻧﺒﻪ ﺍﺳﺖ‪ .‬ﻣﻰﺗﻮﺍﻧﺪ‬     ‫ﺑﻴﺸﺘﺮ ﺍﺯ ﻫﺮ ﭼﻴﺰ ﺍﻳﻦ ﻣﺼﻴﺒﺖ ﺳﻘﻮﻁ‪.‬‬        ‫ﻣﻰﮔﻮﻳﺪ ‪ 6-5‬ﺳﺎﻝ ﻓﻘﻂ ﺑﻪ ﺑﻪ ﻭ ﭼﻪ‬          ‫ﺑﺎ ﭼﻬﺮﻩﻯ ﺷﻄﺮﻧﺠﻰ‪ ،‬ﻭ ﻗﺪﻡﻫﺎﻯ ﭘﺎﻯ‬
‫ﻭ ﺗﻀﺎﺩﻫﺎﻯ ﺟﺎﻣﻌﻪﻯ ﻣﺎ ﻫﺴﺘﻨﺪ‪.‬‬             ‫ﻧﻘﺎﺷﻰ ﻣﻰﺗﻮﺍﻧﺪ ﻫﻮﻟﻨﺎﻙ ﺑﺎﺷﺪ ﻭ ﻧﻤﺎﺩ‬        ‫ﺍﺯ ﺟﺎﻧﺐ ﻛﺴﺎﻧﻰ ﻣﻄﺮﺡ ﺷﺪﻩ ﺑﺎﺷﺪ ﻛﻪ‬         ‫ﻣﻰﻣﻴﺮﻯ ﻭ ﺯﻧﺪﻩ ﻣﻰﺷﻮﻯ‪ .‬ﻣﺮﺩﻩ ﺑﻮﺩﻯ‬         ‫ﭼﻪ ﻣﻰﮔﻔﺘﻨﺪ‪ .‬ﻳﻚ ﮔﺎﻟﺮﻯﺩﺍﺭ ﻣﻰﮔﻔﺖ‬          ‫ﺭﻫﻮﺍﺭ‪ ،‬ﺗﺎﺭﻳﻜﻰﻫﺎﻯ ﺯﻧﺪﮔﻰ ﺭﺍ ﺍﺯ ﻳﻚ‬
‫ﺍﻓﺸﻴﻦ ﻧﺎﻏﻮﻧﻰ ﺍﺩﻋﺎﻯ ﺳﻴﺎﺳﻰ ﺑﻮﺩﻥ‬          ‫ﭘﺎﻙ ﺭﻭﺡ ﺁﻥ ﺟﻮﺍﻥ ﺣﻖ ﻛﺸﺘﻪﺍﻯ ﻛﻪ‬            ‫ﺳﻜﺲ ﺭﺍ ﻣﻬﻢﺗﺮﻳﻦ ﻣﺴﺌﻠﻪ ﻣﻰﺩﺍﻧﻨﺪ ﻭ ﻧﻪ‬      ‫ﻳﻚ ﺟﻮﺭﻫﺎﻳﻰ ﻭ ﺣﺎﻻ ﻗﺪﺭ ﺯﻧﺪﮔﻰ ﺭﺍ‬          ‫ﻛﺎﺭﻫﺎﻳﺖ ﺭﻭﺯﻧﺎﻣﻪ ﺩﻳﻮﺍﺭﻯﻫﺎﻯ ﮔﻨﺪﻩﺍﻧﺪ‪.‬‬     ‫ﺳﻮ ﻭ ﺭﻭﺷﻨﺎﺋﻰﻫﺎﻳﺶ ﺭﺍ ﺍﺯ ﺟﺎﻧﺐ ﺩﻳﮕﺮ‬
‫ﻧﺪﺍﺭﺩ‪ .‬ﻭﻟﻰ ﻛﺎﺭﻫﺎﻳﺶ ﭘﻴﺎﻡﻫﺎﻳﻰ ﺭﺍ ﺑﻪ‬      ‫ﺧﺪﺷﻪﺩﺍﺭ ﺷﺪﻩ ﺍﺳﺖ؛ ﻣﻮﻫﺎﻯ ﺯﻥﻫﺎﻯ‬            ‫ﻓﻘﻂ ﺑﺨﺸﻰ ﺍﺯ ﺯﻧﺪﮔﻰ‪ .‬ﻣﺎ ﺩﺭ ﻛﺸﻮﺭﻫﺎﻯ‬       ‫ﻣﻰﺩﺍﻧﻰ‪ .‬ﺯﻧﺪﮔﻰ ﺭﺍ ﺑﻴﺸﺘﺮ ﺍﺯ ﻣﺮگ‬          ‫ﺍﺭﺯﺵ ﻛﺎﺭ ﻫﻨﺮﻯ ﻧﺪﺍﺭﻧﺪ‪.‬ﺗﺎ ﺍﻳﻨﻜﻪ ﻋﻜﺲ‬      ‫ﻣﻨﻌﻜﺲﻣﻰﻛﻨﺪ؛ﺍﻳﻦﺁﺛﺎﺭﺑﺎﺯﺗﺎﺑﻰﻫﺴﺘﻨﺪ‬
‫ﺑﻴﻨﻨﺪﻩ ﺍﺭﺍﺋﻪ ﻣﻰﺩﻫﻨﺪ ﻛﻪ ﻣﺴﺎﺋﻞ ﺍﺻﻠﻰ‬      ‫ﻧﻘﺎﺷﻰﺍﺵ ﺭﺍ ﭘﺮﻳﺸﺎﻥ ﻣﻰﻛﺸﺪ ﺑﺮ‬              ‫ﻏﺮﺏ ﻛﻪ ﻣﺤﺪﻭﺩﻳﺖﻫﺎﻯ ﺳﻜﺴﻰ ﺑﺴﻴﺎﺭ‬           ‫ﺩﻭﺳﺖ ﺩﺍﺭﻯ ﻭ ﺁﻥ ﭼﻨﺎﻥ ﻧﻘﺶ ﻣﻰﺯﻧﻰ‬          ‫ﻛﻮﺩﻛﻰ ﺍﺯ ﻛﺸﺘﻪ ﺷﺪﮔﺎﻥ ﻳﻚ ﻛﺸﻮﺭ‬            ‫ﺑﺴﻴﺎﺭ ﮔﻮﻳﺎ ﺍﺯ ﺭﻧﺞﻫﺎﻯ ﺗﺠﺮﺑﻪ ﺷﺪﻩﻯ‬
‫ﺟﻮﺍﻣﻊ ﺍﻣﺮﻭﺯﻯ ﺩﻧﻴﺎ ﺭﺍ ﻣﻄﺮﺡ ﻣﻰﻛﻨﻨﺪ‪.‬‬      ‫ﺭﻭﻯ ﭼﻬﺮﻩﺍﻯ ﻛﻪ ﻓﻘﻂ ﺭﻧﮓ ﺗﻠﺦ ﺩﺍﺭﺩ‪،‬‬         ‫ﻛﻤﺘﺮ ﺍﺳﺖ‪ ،‬ﻣﻰﺑﻴﻨﻴﻢ ﻛﻪ ﺑﺮﺧﻰ ﺍﻓﺮﺍﺩ‬        ‫ﺑﺮ ﺍﻳﻦ ﺳﺮﻧﻮﺷﺖ ﻛﻪ ﺳﺮﻧﻮﺷﺖﺍﺕ ﺭﺍ ﺣﺎﻻ‬       ‫ﺟﻨﮓ ﺯﺩﻩ ﺍﻭ ﺭﺍ ﺗﺤﺖ ﺗﺄﺛﻴﺮ ﺷﺪﻳﺪ ﻗﺮﺍﺭ‬      ‫ﻫﻨﺮﻣﻨﺪ ﺍﺯ ﺩﻭﺭﺍﻥ ﻧﻮﺟﻮﺍﻧﻰ ﺩﺭﺧﻮﺯﺳﺘﺎﻥ‬
‫ﺍﻭ ﺧﻮﺩ ﺭﺍ ﻣﺤﺪﻭﺩ ﺑﻪ ﺍﻳﺮﺍﻥ ﻧﻤﻰﻛﻨﺪ‪ .‬ﻭ‬     ‫ﭼﺸﻤﺎﻧﺶ ﺭﺍ ﻣﺮﺩﺩ ﻭ ﮔﺎﻩ ﻏﻀﺒﻨﺎﻙ‪.‬‬            ‫ﮔﺎﻫﻰ ﺳﺎﻝﻫﺎ ﺑﻪ ﺩﻧﺒﺎﻝ ﺭﻭﺍﺑﻂ ﺟﻨﺴﻰ‬                                                ‫ﻣﻰﺩﻫﺪ‪ .‬ﺧﻮﺩ ﻣﻰﮔﻮﻳﺪ ﭼﮕﻮﻧﻪ ﻣﻰﺷﻮﺩ‬          ‫ﺟﻨﮓﺯﺩﻩ‪ ،‬ﻣﻤﺎﻧﻌﺖﻫﺎﻯ ﻣﺪﺍﻭﻡ ﻣﺎﻣﻮﺭﻳﻦ‬
‫ﺣﺎﻝ ﻛﻪ ﻧﺰﺩﻳﻚ ﺑﻪ ﺩﻭ ﺩﻫﻪ ﺩﺭ ﻏﺮﺏ‬          ‫ﺯﻥ ﺑﺮﻫﻨﻪﺍﺵ ﺑﺮﻗﻊ ﺗﻮﺭﻯ ﺑﺮ ﺳﺮ ﺩﺍﺭﺩ ﻭ‬       ‫ﻧﻴﺴﺘﻨﺪ‪ .‬ﻛﺎﺭﻫﺎﻯ ﻫﻨﺮﻯ ﺁﻧﻬﺎ ﻣﻰﺗﻮﺍﻧﺪ‬                   ‫ﺩﻳﮕﺮ ﺧﻮﺩﺕ ﻣﻰﻧﻮﻳﺴﻰ‪.‬‬         ‫ﺍﻳﻦ ﻫﻤﻪ ﺧﻮﻧﺮﻳﺰﻯ ﻭ ﻛﺸﺘﺎﺭ ﻭ ﺑﻤﺒﺎﺭﺍﻥ‬      ‫ﺑﺮﺍﻯ ﺟﻠﻮﮔﻴﺮﻯ ﺍﺯ ﺁﺯﺍﺩﻯﻫﺎﻯ ﻓﺮﺩﻯ ﻭ‬
‫ﺯﻧﺪﮔﻰ ﻛﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﺁﻥ ﺟﻮﺍﻣﻊ ﺭﺍ ﻧﻴﺰ‬        ‫ﭼﺸﻤﺎﻥ ﺳﻴﺎﻩ ﺩﺭﺷﺖﺍﺵ ﭘﺮ ﺍﺯ ﭘﺮﺳﺶ‪.‬‬           ‫ﺣﺮﻑ ﺍﻭﻝ ﺭﺍ ﺑﺰﻧﺪ ﻳﺎ ﺳﺮﻣﺎﻳﻪﺍﻧﺪﻭﺯﻯ‪ ،‬ﻳﺎ‬    ‫ﺍﻳﻦ ﻧﻘﺎﺵ ﻛﻪ ﺗﺠﺮﺑﻪﻫﺎﻯ ﺗﻠﺦ‬               ‫ﻋﻜﺴﻰ ﺍﻳﻦ ﻫﻤﻪ ﺯﻳﺒﺎ ﺗﻮﻟﻴﺪ ﻛﺮﺩﻩ ﺑﺎﺷﺪ‪.‬‬     ‫ﺍﺟﺘﻤﺎﻋﻰ‪ ،‬ﻣﻬﺎﺟﺮﺕﻫﺎﻯ ﺩﺍﺧﻞ ﻛﺸﻮﺭﻯ‬
‫ﺧﻮﺏ ﻣﻰﺷﻨﺎﺳﺪ‪ .‬ﻣﻰﮔﻮﻳﺪ‪” :‬ﺑﺎ ﺗﻦ‬            ‫ﻧﻘﺎﺷﻰﺯﻥﺑﺮﻫﻨﻪﻣﻰﺗﻮﺍﻧﺪﺩﺭﻋﻴﻦﺣﺎﻝ‬             ‫ﻣﺴﺎﻓﺮﺕ‪ ،‬ﻧﮕﺎﺭﺵ ﺧﺎﻃﺮﺍﺕ ﻭ…‪ .‬ﺍﻓﺸﻴﻦ‬         ‫ﺯﻧﺪﮔﻰﺍﺵ ﺭﺍ ﻣﺼﻮﺭ ﻛﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﺧﻮﺩ‬          ‫ﭘﺎﻳﻴﻦ ﺑﺪﻥ ﺑﭽﻪ ﺩﺭ ﻋﻜﺲ ﺑﻴﺸﺘﺮ ﺑﻪ ﺳﻴﺎﻩ‬     ‫ﻭ ﺧﺎﺭﺝ‪ ،‬ﻭ ﭼﺎﻟﺶﻫﺎﻯ ﺳﺎﻝﻫﺎ ﺭﻧﺞ ﻧﺎﺷﻰ‬
‫ﻟﺨﺖ ﻣﺸﻜﻠﻰ ﻧﺪﺍﺭﻡ‪ ،‬ﻭﻟﻰ ﺍﻳﻨﻜﻪ ﺗﻦ‬          ‫ﺍﻋﺘﺮﺍﺽﺑﻪﭘﻮﺷﺶﺑﺎﺷﺪ‪.‬ﭘﻮﺷﺶﺍﺟﺒﺎﺭﻯ‬             ‫ﺧﻮﺩ ﻣﻰﮔﻮﻳﺪ ﻭﻗﺘﻰ ﻓﻠﺞ ﺷﺪﻡ ﻣﻬﻢﺗﺮﻳﻦ‬        ‫ﺭﺍ ﺩﺭ ﻛﻨﺎﺭ ﻫﻨﺮﻣﻨﺪﺍﻧﻰ ﭼﻮﻥ ﻓﺮﻳﺪﺍ ﻭ‬       ‫ﻭ ﺳﻔﻴﺪ ﻣﻰﺯﻧﺪ ﻭ ﭼﻬﺮﻩﻯ ﻧﺎﭘﺪﻳﺪ ﺷﺪﻩﻯ‬       ‫ﺍﺯ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻥ ﻧﺨﺎﻉ ﻭ ﻓﻠﺞ ﺍﻋﻀﺎﻯ‬
‫ﻟﺨﺖ ﺯﻥ ﺭﺍ ﻭﺳﻴﻠﻪﺍﻯ ﺑﺮﺍﻯ ﺗﺒﻠﻴﻐﺎﺕ‬         ‫ﺩﺭ ﺑﺮﺍﺑﺮ ﻃﺒﻴﻌﺘﻰ ﻛﻪ ﻟﺨﺖ ﺍﺳﺖ ﻭ ﺍﺻﻴﻞ‬       ‫ﻣﺴﺌﻠﻪ ﺑﺮﺍﻯ ﻣﻦ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﻧﻜﻨﺪ‬          ‫ﻓﺮﺍﻧﺴﻴﺴﻜﻮ ﮔﻮﻳﺎ ﻗﺮﺍﺭ ﻣﻰﺩﻫﺪ‪ .‬ﺟﻬﺎﻧﻰ‬       ‫ﺍﻭ ﻧﻘﺸﻰ ﺍﺳﺖ ﺍﻧﺒﺎﺷﺘﻪ ﺍﺯ ﺭﻧﮓﻫﺎﻯ‬          ‫ﺑﺪﻥ ﻭ… ﺍﺯ ﺳﺮ ﮔﺮﻓﺘﻦ ﺯﻧﺪﮔﻰ‪ .‬ﺍﻳﻦ ﻓﻴﻠﻢ‬
‫ﻛﻨﻨﺪ ﻧﻤﻰﭘﺬﻳﺮﻡ‪ .‬ﺑﺎ ﭘﻮﺷﺶ ﺍﺳﻼﻣﻰ ﺯﻥ‬        ‫ﻭ ﺯﻳﺒﺎﺳﺖ‪ .‬ﻭ ﻣﻨﻈﻮﺭ ﺍﺯ ﺍﻳﻦ ﭘﻮﺷﺶ‪،‬‬          ‫ﺩﺳﺘﺎﻧﻢ ﺗﻮﺍﻧﺎﺋﻰ ﻧﻘﺎﺷﻰ ﺭﺍ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪.‬‬  ‫ﺷﺪﻥ ﺍﻭ ﻧﻴﺰ ﺑﻪ ﻋﻠﺖ ﺑﺎﺯﺗﺎﺏ ﺍﻳﻦ ﺗﺠﺮﺑﻴﺎﺕ‬   ‫ﺳﺮﺧﺎﺑﻰ‪ ،‬ﺯﺭﺩ‪ ،‬ﻗﺮﻣﺰ‪ ،‬ﺁﺑﻰ‪ .‬ﻫﻤﺎﻥ‬           ‫ﻛﻪ ﺍﺯ ﻃﺮﻳﻖ ”ﭘﻼﻥ‪ “pelan /‬ﺩﺭ ﻭﻧﻜﻮﻭﺭ‬
‫ﻣﺸﻜﻠﻰ ﻧﺪﺍﺭﻡ ﺍﻣﺎ ﺍﻳﻨﻜﻪ ﺑﻪ ﺯﻭﺭ ﺭﻭﺳﺮﻯ‬     ‫ﭘﻮﺷﺶ ﺳﺮ ﻭ ﺍﻧﺪﺍﻡ ﻧﻴﺴﺖ‪ .‬ﻣﺎ ﺍﻧﻮﺍﻉ ﻭ‬        ‫ﺍﮔﺮ ﻧﺎﺗﻮﺍﻧﻰ ﺟﻨﺴﻰ ﻋﺎﻣﻞ ﻧﻘﺎﺷﻰ‬            ‫ﺍﺳﺖ‪ .‬ﺍﮔﺮﭼﻪ ﻣﺪﺕﻫﺎ ﻃﻮﻝ ﻣﻰﻛﺸﺪ ﺗﺎ‬          ‫ﺭﻧﮓﻫﺎﻳﻰ ﻛﻪ ﺍﻓﺸﻴﻦ ﺩﺭ ﻛﺎﺭﻫﺎﻳﺶ ﻧﻴﺰ‬        ‫ﺑﻪ ﻧﻤﺎﻳﺶ ﮔﺬﺍﺷﺘﻪ ﺷﺪ‪ ،‬ﺟﻮﺍﻳﺰﻯ ﺭﺍ ﺑﺮﺩﻩ‬
‫ﺳﺮﺯﻥﻫﺎﻛﻨﻨﺪﻣﻮﺍﻓﻖﻧﻴﺴﺘﻢ‪“.‬ﻣﻰﮔﻮﻳﺪ‪:‬‬          ‫ﺍﻗﺴﺎﻡ ﭘﻮﺷﺶ ﺩﺭ ﺟﺎﻣﻌﻪ ﺩﺍﺭﻳﻢ‪ .‬ﺑﺮﻫﻨﮕﻰ‬       ‫ﺯﻧﺎﻥ ﺑﺮﻫﻨﻪ ﻣﻰﺑﻮﺩ‪ ،‬ﺍﻳﻦ ﺳﺌﻮﺍﻝ ﻣﻄﺮﺡ‬       ‫ﻳﻚ ﻛﺲ‪ ،‬ﻳﻚ ﻛﺴﻰ ﻛﻪ ﻋﻤﻖ ﻛﺎﺭ ﺍﻭ‬            ‫ﺑﻪ ﻛﺎﺭ ﻣﻰﺑﺮﺩ‪ ،‬ﻭ ﺁﻥ ﭼﻨﺎﻥ ﺗﺮﻛﻴﺒﺎﺗﻰ ﺑﻪ‬    ‫ﺍﺳﺖ ﻭ ﻧﻘﺎﺷﻰﻫﺎﻯ ﺍﻓﺸﻴﻦ ﻧﺎﻏﻮﻧﻰ ﺑﻪ‬
‫”ﻭﻗﺘﻰ ﺑﻪ ﺩﻭﺭ ﻭ ﺑﺮﻡ ﺩﺭ ﺩﻧﻴﺎ ﻧﮕﺎﻩ ﻣﻰﻛﻨﻢ‬  ‫ﺑﺪﻥ ﻣﻰﺗﻮﺍﻧﺪ ﻧﻤﺎﺩ ﺁﺯﺍﺩﻯ ﺑﺎﺷﺪ ﺩﺭ ﻗﺒﺎﻝ‬     ‫ﻣﻰﺷﻮﺩ ﻛﻪ ﭼﺮﺍ ﺯﻧﺎﻥ ﺭﺍ ﺍﻳﻦ ﮔﻮﻧﻪ‬          ‫ﺭﺍ ﺧﻮﺏ ﺩﺭﻙ ﻣﻰﻛﻨﺪ‪ ،‬ﺍﺭﺯﺵ ﻛﺎﺭ ﺍﻭ ﺭﺍ‬       ‫ﺁﻥﻣﻰﺩﻫﺪﻛﻪﺗﻤﺎﻡﻭﺍﻗﻌﻴﺖﻫﺎﻯﻣﻮﺟﻮﺩ‬            ‫ﻋﻨﻮﺍﻥ ﻳﻚ ﻫﻨﺮﻣﻨﺪ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﻫﻢ‬
‫ﻭ ﺧﺸﻮﻧﺖ ﻭ ﺟﻨﮓ ﻭ ﻓﻘﺮ ﻣﻰﺑﻴﻨﻢ‪،‬‬            ‫ﺯﻧﺠﻴﺮﻫﺎﻳﻰ ﻛﻪ ﺑﻪ ﺩﺳﺖ ﻭ ﭘﺎ ﺑﺴﺘﻪﺍﻧﺪ‬        ‫ﻧﮕﺮﺍﻥ ﻭ ﻣﻀﻄﺮﺏ ﻭ ﮔﺎﻫﻰ ﺧﺸﻤﮕﻴﻦ‬            ‫ﺑﻔﻬﻤﺪ‪ .‬ﻭ ﺍﻓﺸﻴﻦ ﺑﺮ ﺳﺮ ﺯﺑﺎﻥﻫﺎ ﻣﻰﺍﻓﺘﺪ‪.‬‬    ‫ﺍﺯ ﺟﻨﮓ‪ ،‬ﻭﺣﺸﺖ‪ ،‬ﻣﺤﺪﻭﺩﻳﺖ‪ ،‬ﺗﺮﻭﺭ‪،‬‬           ‫ﺍﻛﻨﻮﻥ ﺩﺭ ﺗﻤﺎﻡ ﺩﻧﻴﺎ ﺑﺎ ﻗﻴﻤﺖﻫﺎﻯ ﻛﻼﻥ‬
‫ﭼﮕﻮﻧﻪ ﻣﻰﺷﻮﺩ ﺍﺯ ﮔﻞ ﻭﺑﻠﺒﻞ ﺩﺭ ﻛﺎﺭﻫﺎﻳﻢ‬     ‫ﻭ ﭘﻮﺷﺶﻫﺎﻳﻰ ﻛﻪ ﺑﺮﺍﻯ ﺑﺴﺘﻦ ﺯﺑﺎﻥﻫﺎ‬          ‫ﻳﺎ ﻣﺮﺩﺩ ﻭ ﺧﻼﺻﻪ ﺑﺎ ﺩﻩﻫﺎ ﺫﻫﻨﻴﺖ ﺗﻠﺦ‬       ‫ﺩﺭ ﻛﺎﺭﻫﺎﻳﺶ ﺯﻥﻫﺎﻯ ﻋﺮﻳﺎﻥ ﺑﺎ ﺁﻧﺎﺗﻮﻣﻰ‬      ‫ﻫﺮﺍﺱ‪ ،‬ﻓﺮﺍﺭ ﻭ… ﺩﺭ ﺁﻥ ﻧﻘﺶ ﻣﻰﺯﻧﺪ‪.‬‬         ‫ﺩﺭ ﮔﺎﻟﺮﻯﻫﺎ‪ ،‬ﺩﺭ ﺣﺮﺍﺟﻰﻫﺎﻯ ﺁﺛﺎﺭ ﻫﻨﺮﻯ‪،‬‬
‫ﺑﮕﻮﻳﻢ“‪ .‬ﻣﻰﮔﻮﻳﺪ‪” :‬ﺩﺭ ﺷﺮﻕ ﻭ ﻫﻢ ﺩﺭ‬        ‫ﺩﺭ ﺷﻜﻞﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺍﻳﺠﺎﺩ ﻛﺮﺩﻩﺍﻧﺪ‪.‬‬          ‫ﺗﺮﺳﻴﻢ ﻣﻰﻛﻨﺪ‪ .‬ﺯﻧﻰ ﻛﻪ ﻋﺮﻳﺎﻥ ﺍﺳﺖ ﻭ‬        ‫ﺑﺴﻴﺎﺭ ﺯﻳﺒﺎ ﺍﺯ ﺟﻬﺘﻰ ﻧﺸﺎﻧﮕﺮ ﻋﺮﻳﺎﻥ ﺑﻮﺩﻥ‬   ‫ﺁﻥ ﮔﺎﻩ ﻳﻚ ﮔﺎﻟﺮﻯﺩﺍﺭ‪ ،‬ﻧﻘﺎﺷ ِﻰ ﺣﺎﺻﻞ‬       ‫ﻭ ﺍﺯ ﻃﺮﻳﻖ ﻛﻠﻜﺴﻴﻮﻧﺮﻫﺎ ﻭ ﺛﺮﻭﺗﻤﻨﺪﺍﻥ‬
                                                                               ‫ﭼﻨﺒﺮﻩ ﺯﺩﻩ ﺑﺮ ﺯﻣﻴﻦ ﺑﻪ ﺧﻮﺩ ﻣﻰﭘﻴﭽﺪ‬        ‫ﺫﻫﻦ ﻫﻨﺮﻣﻨﺪ ﺍﺳﺖ؛ ﺑﺮﻫﻨﮕﻰ ﺩﺭ ﺑﻴﺎﻥ‬         ‫ﺍﺯ ﺍﻳﻦ ﺍﻟﻬﺎﻡ ﺍﺯ ﺧﺸﻮﻧﺖ ﺟﻨﮓ ﻭ ﻗﺘﻞ‬         ‫ﺍﻳﺮﺍﻧﻰ ﻭ ﻏﻴﺮ ﺍﻳﺮﺍﻧﻰ ﺧﺮﻳﺪﺍﺭﻯ ﻣﻰﺷﻮﺩ‪.‬‬
       ‫ﻏﺮﺏ ﻣﺮﺩﺳﺎﻻﺭﻯ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪“.‬‬        ‫ﺁﻳﺎﺧﻮﺏﺑﻮﺩﻣﻰﻣﺮﺩﻳﺎﺯﻧﺪﻩﻣﻰﻣﺎﻧﺪ؟‬                                                    ‫ﺫﻫﻨﻴﺎﺕ‪ .‬ﺁﻥ ﮔﻮﻧﻪ ﻛﻪ ﺷﻬﺮﻳﺎﺭ ﺻﻴﺎﻣﻰ ﺩﺭ‬     ‫ﻭﺩﺭﺩ ﺭﺍ ﺑﻪ ﻧﻤﺎﻳﺶ ﻣﻰﮔﺬﺍﺭﺩ‪ ،‬ﻭ ﻓﻘﻂ‬
‫ﺍﻓﺸﻴﻦ ﻧﺎﻏﻮﻧﻰ ﺩﺭ ﻳﻜﻰ ﺍﺯ‬                                                                                                                                       ‫ﻫﻤﻴﻦ ﻳﻚ ﺗﺎﺑﻠﻮ ﺭﺍ‪ .‬ﺗﺎﺑﻠﻮ ﻗﺒﻞ ﺍﺯ ﺷﺮﻭﻉ‬                  ‫ﺳﻘﻮﻁﺍﺯﻃﺒﻘﻪﻯﺷﺸﻢ‬
‫ﻣﺼﺎﺣﺒﻪﻫﺎﻳﺶ ﮔﻔﺘﻪ ﺍﺳﺖ‪ :‬ﻭﻗﺘﻰ ﻗﻠﻢ‬          ‫ﺩﺭ ﻳﻚ ﺳﻜﺎﻧﺲ ﺍﺯ ﻓﻴﻠﻢ ﺻﻴﺎﻣﻰ ﻳﻚ‬                                                                                          ‫ﺍﻓﺘﺘﺎﺣﻴﻪ ﺑﻪ ﻓﺮﻭﺵ ﻣﻰﺭﺳﺪ‪ .‬ﻭ ﺷﺮﻭﻉ‬
‫ﻣﻮ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﻣﻰﮔﻴﺮﻡ ﻓﻜﺮ ﻣﻰﻛﻨﻢ‬          ‫ﺳﺌﻮﺍﻝ ﻣﻄﺮﺡ ﻣﻰﺷﻮﺩ ﺯﻣﺎﻧﻰ ﻛﻪ ﺍﻓﺸﻴﻦ‬                                                                                       ‫ﻣﻰﺷﻮﺩ ﺳﻴﻞ ﺩﺭﺧﻮﺍﺳﺖ ﮔﺎﻟﺮﻯﺩﺍﺭﻫﺎ‬           ‫ﺩﺭ ﻳﻚ ﺟﻤﻊ ﺑﺎ ﭼﻨﺪ ﺩﺧﺘﺮ ﻭ ﭘﺴﺮ‬
‫ﺧﻮﺷﺒﺨﺖﺗﺮﻳﻦ ﺁﺩﻡ ﻫﺴﺘﻢ‪ .‬ﭘﺎﺳﺦ »ﺁﻳﺎ‬         ‫ﺍﺯ ﺷﺶ ﻃﺒﻘﻪ ﺳﻘﻮﻁ ﻛﺮﺩ ﻭ ﻓﻠﺞ ﺷﺪ‪ .‬ﻭ‬                                                                                       ‫ﺑﺮﺍﻯ ﻧﻤﺎﻳﺶ ﺁﺛﺎﺭ ﺍﻭ‪ .‬ﻭ ﺍﻛﻨﻮﻥ ﺑﺰﺭگﺗﺮﻳﻦ‬   ‫ﺟﺸﻨﻰﺩﻭﺳﺘﺎﻧﻪﺑﺮﭘﺎﻛﺮﺩﻩﺍﻧﺪﻛﻪﻣﺎﻣﻮﺭﺍﻥ‬
‫ﺧﻮﺏ ﺑﻮﺩ ﻣﻰﻣﺮﺩ ﻳﺎ ﺯﻧﺪﻩ ﻣﻰﻣﺎﻧﺪ؟«‬         ‫ﺁﻥ ﺍﻳﻨﻜﻪ ﺁﻳﺎ ﺧﻮﺏ ﺑﻮﺩ ﻭﻗﺘﻰ ﻛﻪ ﺍﻓﺸﻴﻦ‬                                                                                    ‫ﻧﻤﺎﻳﺸﮕﺎﻩﻫﺎﻯ ﻟﻨﺪﻥ ﺁﺛﺎﺭ ﺍﻭ ﺭﺍ ﺑﻪ‬         ‫ﺑﻪ ﺩﺭ ﻣﻰﻛﻮﺑﻨﺪ‪ .‬ﻫﺮﺍﺱ ﺑﺮ ﻫﻤﻪ ﻣﺴﺘﻮﻟﻰ‬
‫ﺩﺭ ﺍﻳﻨﺠﺎ ﺩﺍﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪.‬ﻓﻴﻠﻢ ‪Out‬‬         ‫ﺳﻘﻮﻁ ﻛﺮﺩ ﻭ ﻓﻠﺞ ﺷﺪ ﻣﻰﻣﺮﺩ ﻳﺎ ﺯﻧﺪﻩ‬                                                                                       ‫ﻓﺮﻭﺵ ﻣﻰﺭﺳﺎﻧﻨﺪ‪ .‬ﺣﺮﺍﺟﻰﻫﺎ ﺁﺛﺎﺭﺵ‬           ‫ﻣﻰﺷﻮﺩ‪ .‬ﺑﻪ ﭘﺸﺖ ﺑﺎﻡ ﻣﻰﮔﺮﻳﺰﻧﺪ‪ .‬ﺍﻓﺸﻴﻦ‬
‫‪ of Focus‬ﺑﻪ ﮔﻔﺘﻪﻯ ﺷﻬﺮﻳﺎﺭ ﺻﻴﺎﻣﻰ‪،‬‬        ‫ﻣﻰﻣﺎﻧﺪ‪ .‬ﻭ ﺳﺌﻮﺍﻝ ﺩﻳﮕﺮﻯ ﻛﻪ ﻳﻜﻰ ﺍﺯ‬                                                                                       ‫ﺭﺍ ﺑﺎ ﻗﻴﻤﺖﻫﺎﻯ ﻛﻼﻥ ﻣﻰﻓﺮﻭﺷﻨﺪ‪.‬‬            ‫ﭘﺎﻳﺶ ﺭﺍ ﺑﺮ ﺭﻭﻯ ﺳﻘﻒ ﺷﻴﺸﻪﺍﻯ ﻳﻚ‬
‫ﻛﺎﺭﮔﺮﺩﺍﻥ ﺍﻳﻦ ﻓﻴﻠﻢ ﺩﻭ ﺳﺎﻝ ﺑﻪ ﻃﻮﻝ‬        ‫ﺣﻀﺎﺭﭘﺮﺳﻴﺪﺍﻳﻦﺑﻮﺩﻛﻪﺁﻳﺎﺷﻬﺮﺕﻓﻌﻠﻰ‬                                                                                          ‫ﻛﻠﻜﺴﻴﻮﻧﺮﻫﺎ ﻭ ﺛﺮﻭﺗﻤﻨﺪﺍﻥ ﻭ ﺑﺨﺼﻮﺹ‬         ‫ﭘﺎﺳﻴﻮ ﻣﻰﮔﺬﺍﺭﺩ‪ .‬ﺷﻴﺸﻪ ﻣﻰﺷﻜﻨﺪ ﻭ‬
‫ﺍﻧﺠﺎﻣﻴﺪ ﺗﺎ ﺗﻬﻴﻪ ﺷﻮﺩ‪ .‬ﻳﻚ ﭘﺮﻭﺳﻪﻯ‬         ‫ﺍﻭ ﻣﻰﺗﻮﺍﻧﺪ ﺩﺭ ﻛﺎﺭﻫﺎﻳﺶ ﺗﺄﺛﻴﺮ ﺑﮕﺬﺍﺭﺩ؟‬                                                                                   ‫ﺍﻳﺮﺍﻧﻰﻫﺎﻯ ﭘﻮﻟﺪﺍﺭ ﺍﺯ ﻫﻤﻪ ﺟﺎﻯ ﺩﻧﻴﺎ ﺑﺮﺍﻯ‬  ‫ﺍﻓﺸﻴﻦ ﺍﺯ ‪ 6‬ﻃﺒﻘﻪ ﺑﻪ ﭘﺎﺋﻴﻦ ﺳﻘﻮﻁ‬
‫ﻳﮕﺎﻧﮕﻰ ﻻﺯﻡ ﺑﻮﺩ ﺩﺭ ﺁﻏﺎﺯ ﺗﺎ ﺑﻪ ﺗﺪﺭﻳﺞ‬     ‫ﭼﻨﻴﻦ ﺑﻼﻳﺎﻳﻰ ﺑﺮ ﺳﺮ ﻛﺴﺎﻥ ﺩﻳﮕﺮﻯ‬                                                                                                                                 ‫ﻣﻰﻛﻨﺪ‪ .‬ﺩﻭﺳﺘﺎﻧﺶ ﮔﺮﺩ ﺍﻭ ﺟﻤﻊ‬
‫ﻳﻚ ﺧﺎﻧﻮﺍﺩﻩﻯ ﺳﻪ ﻧﻔﺮﻯ ﺑﺎ ﺍﻓﺸﻴﻦ ﻭ‬         ‫ﻧﻴﺰ ﺩﺭ ﺍﻳﺮﺍﻥ ﺁﻣﺪﻩ ﺍﺳﺖ ﻛﻪ ﺻﺪﺍﻳﺶ ﺭﺍ‬                                                                                          ‫ﺧﺮﻳﺪﺗﺎﺑﻠﻮﻫﺎﻳﺶﺻﻒﻛﺸﻴﺪﻩﺍﻧﺪ‪.‬‬          ‫ﻣﻰﺷﻮﻧﺪ‪ .‬ﺑﻪ ﺯﺣﻤﺖ ﺻﺪﺍﻳﻰ ﺍﺯ ﺩﻫﺎﻧﺶ‬
‫ﻫﻤﺴﺮﺵ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ ﺗﺸﻜﻴﻞ ﺷﻮﺩ‪،‬‬            ‫ﺩﺭ ﻧﻴﺎﻭﺭﺩﻩﺍﻧﺪ‪ .‬ﻣﺎ ﺧﺒﺮ ﻧﺪﺍﺭﻳﻢ ﺍﺯ ﺍﺣﻮﺍﻝ‬                                                                                                                        ‫ﺧﺎﺭﺝ ﻣﻰﺷﻮﺩ ﻭ ﺁﻧﻬﺎ ﻣﺘﻮﺟﻪ ﻣﻰﺷﻮﻧﺪ‬
‫ﻫﻤﺪﻳﮕﺮ ﺭﺍ ﺣﺲ ﻛﻨﻨﺪ ﻭ ﻓﻴﻠﻤﻰﺗﻬﻴﻪ‬          ‫ﺁﻧﺎﻥ )ﺻﻴﺎﻣﻰﻣﻰﮔﻮﻳﺪ(‪ .‬ﺍﻣﺎ ﺍﻓﺸﻴﻦ ﺍﮔﺮ‬                                                                                     ‫ﺯﻥ ﺑﺮﻫﻨﻪ ﺩﺭ ﭼﻨﺒﺮﻩﻯ ﻫﻮﻟﻨﺎﻙ ﺑﻜﻨﻢ‪،‬‬        ‫ﻛﻪ ﺍﻭ ﺯﻧﺪﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﺑﻪ‬
‫ﺷﻮﺩ ﻫﺮﭼﻪ ﺻﻤﻴﻤﻰﺗﺮ ﻭ ﻭﺍﻗﻌﻰﺗﺮ‪.‬‬            ‫ﺍﻛﻨﻮﻥ ﺩﺭ ﺟﺎﻳﻰ ﻫﺴﺖ ﻛﻪ ﻣﻰﺑﻴﻨﻴﻢ‪،‬‬                                                                                                                                ‫ﻣﺪﺕ ﺳﻪ ﺭﻭﺯ ﺑﻴﻬﻮﺵ ﺍﺳﺖ ﻭ ﭘﺲ ﺍﺯ‬
‫ﭘﺮﻭﺳﻪﻯ ﻣﺸﻬﻮﺭ ﺷﺪﻥ ﺍﻓﺸﻴﻦ ﻧﻴﺰ ﻫﻢ‬          ‫ﺑﻪ ﻋﻠﺖ ﺁﻥ ﻋﺸﻘﻰ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺧﺎﻧﻮﺍﺩﻩ‬                                                                                                                     ‫ﻧﻜﻨﻢ‬    ‫ﺁﻥ ﺑﺎ ﺩﺭﺩ ﺷﺪﻳﺪ ﻭﻗﺘﻰ ﺑﻪ ﻫﻮﺵ ﻣﻰﺁﻳﺪ‬
‫ﺯﻣﺎﻥ ﺑﺎ ﺍﻳﻦ ﺩﻭﺭﻩﻯ ﺩﻭ ﺳﺎﻟﻪ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬    ‫ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ ،‬ﺁﻥ ﺁﺯﺍﺩﻯ ﻛﻪ ﺍﺯ ﮔﻮﻧﺎﮔﻮﻧﻰ‬                                                                                                                           ‫ﻳﻚ ﺣﻠﻘﻪﻯ ﺁﻫﻨﻰ ﺩﻭﺭ ﺳﺮﺵ ﻣﺤﻜﻢ‬
‫ﺑﻪ ﻫﻤﻴﻦ ﻋﻠﺖ ﻓﻴﻠﻢ ﺑﻪ ﺻﻮﺭﺗﻰ ﻃﺒﻴﻌﻰ‬        ‫ﻋﻘﺎﻳﺪ ﺩﺭ ﺧﺎﻧﻮﺍﺩﻩ ﺑﻪ ﺍﻭ ﺭﺳﻴﺪﻩ ﺍﺳﺖ‪ ،‬ﺍﺯ‬                                                                                  ‫ﺍﺯ ﺳﻪ ﭼﻬﺎﺭ ﺳﺎﻟﮕﻰ ﻧﻘﺎﺷﻰ ﻛﺸﻴﺪﻩ‬           ‫ﺑﺴﺘﻪﺍﻧﺪ‪ .‬ﻧﺨﺎﻉﺍﺵ ﺑﻪ ﺷﺪﺕ ﺁﺳﻴﺐ ﺩﻳﺪﻩ‬
‫ﻗﺒﻞ ﻭ ﺑﻌﺪ ﺍﺯ ﺍﺷﺘﻬﺎﺭ ﺟﻬﺎﻧﻰ ﺍﻓﺸﻴﻦ ﺭﺍ‪ ،‬ﻭ‬  ‫ﺁﻥ ﻣﻬﺮﻯ ﻛﻪ ﻭﺍﻟﺪﻳﻦ ﺍﻳﺜﺎﺭ ﻣﻰﻛﻨﻨﺪ ﻭ‬                                                                                      ‫ﺍﺳﺖ‪ .‬ﻣﺎﺩﺭ ﻓﺮﻫﻨﮕﻰ ﺍﺳﺖ ﻭ ﭘﺪﺭ‬             ‫ﺍﺳﺖ‪ .‬ﺳﻪ ﺳﺎﻝ ﺑﻴﻦ ﻣﺮگ ﻭ ﺯﻧﺪﮔﻰ‬
‫ﺣﺎﻝ ﻭ ﺭﻭﺡﺍﺵ ﺭﺍ ﺩﺭ ﺍﻳﻦ ﻣﻘﺎﻃﻊ ﻣﻨﻌﻜﺲ‬      ‫ﻫﻤﻪﻯ ﺯﻧﺪﮔﻰ ﺭﺍ ﺑﺮﺍﻯ ﻣﻌﺎﻟﺠﻪﻯ ﺍﻭ‬                                                                                         ‫ﻣﻬﻨﺪﺱ ﺩﺭ ﺷﻬﺮ ﺍﻫﻮﺍﺯ‪ .‬ﺍﻓﺸﻴﻦ ﺩﺭ‬           ‫ﺑﻪ ﺳﺮ ﻣﻰﺑﺮﺩ‪ .‬ﻣﺪﺗﻰ ﺩﺭ ﺍﻳﺮﺍﻥ ﺯﻧﺪﮔﻰ‬
‫ﻣﻰﻛﻨﺪﻫﻤﺮﺍ ِﻩﮔﻔﺖﻭﮔﻮﻫﺎﻳﻰﺑﺎﻧﺰﺩﻳﻚ‬          ‫ﻣﻰﻓﺮﻭﺷﻨﺪ‪ .‬ﺑﺎﻟﻄﺒﻊ ﺍﻳﻦ ﻋﺸﻖ ﻭ ﻣﻬﺮ ﻭ‬                                                                                      ‫ﺧﺎﻧﻮﺍﺩﻩﺍﻯ ﺑﺎ ﻋﻘﺎﻳﺪ ﮔﻮﻧﺎﮔﻮﻥ ﻣﺬﻫﺒﻰ‪،‬‬      ‫ﻣﻰﻛﻨﺪ‪ .‬ﺁﻧﮕﺎﻩ ﻭﺍﻟﺪﻳﻦ ﺧﺎﻧﻪ ﻭ ﻣﺎﺷﻴﻦ ﻭ‬
‫ﺗﺮﻳﻦ ﺩﻭﺳﺘﺎﻥ ﻛﻪ ﭼﻬﺮﻩﻯ ﻫﻤﻪﻯ ﺁﻧﻬﺎ‬         ‫ﺁﺯﺍﺩﮔﻰ ﺭﺍ ﺍﻓﺸﻴﻦ ﺍﺯ ﻛﻮﺩﻛﻰ ﺩﺭ ﺯﻧﺪﮔﻰ‬                                                                                     ‫ﻻﺋﻴﻚ‪ ،‬ﻻﻣﺬﻫﺐ ﺑﺰﺭگ ﻣﻰﺷﻮﺩ ﺑﺪﻭﻥ‬            ‫ﻫﺮ ﭼﻪ ﺩﺍﺭ ﻭ ﻧﺪﺍﺭ ﺭﺍ ﻣﻰﻓﺮﻭﺷﻨﺪ ﺗﺎ ﻭﻯ ﺭﺍ‬
‫ﻣﺎﺕ ﺍﺳﺖ‪ ،‬ﻭ ﺑﺎ ﺻﺎﺣﺒﺎﻥ ﮔﺎﻟﺮﻯ ﻭ ﭼﻨﺪ‬       ‫ﺭﻭﺯﻣﺮﻩﺍﺵ ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﻋﺸﻖ‬                                                                                         ‫ﺁﻧﻜﻪ ﭼﻨﺪﺍﻥ ﻣﺸﻜﻠﻰ ﺑﻴﻦ ﺁﻧﻬﺎ ﺑﻪ ﻭﺟﻮﺩ‬
‫ﺁﺭﺗﻴﺴﺖ ﺍﻧﮕﻠﻴﺴﻰ ﺩﺭ ﻟﻨﺪﻥ‪ .‬ﺩﺭ ﺩﻭﺭﺍﻥ‬       ‫ﻭ ﺁﺯﺍﺩﮔﻰ ﻛﻪ ﺩﺭ ﺧﻮﺩ ﺁﻣﻮﺯﺵ ﺍﺗﻜﺎء ﺑﻪ‬                                                                                     ‫ﺁﻣﺪﻩ ﺑﺎﺷﺪ‪ .‬ﺟﺎﻳﻰ ﻛﻪ ﻫﺮ ﻛﺲ ﺟﺎﻯ‬                 ‫ﺑﺮﺍﻯ ﻣﻌﺎﻟﺠﻪ ﺑﻪ ﻟﻨﺪﻥ ﺑﻔﺮﺳﺘﻨﺪ‪.‬‬
‫ﺗﻬﻴﻪﻯ ﺍﻳﻦ ﻓﻴﻠﻢ‪ ،‬ﺍﻓﺸﻴﻦ ﺑﻪ ﮔﻔﺘﻪﻯ‬                                                                                                                               ‫ﺧﻮﺩ ﺭﺍ ﺩﺍﺭﺩ‪ .‬ﺁﺯﺍﺩﮔﻰ ﻋﻤﻞﺍﺵ ﺩﺭ ﻧﻘﺎﺷﻰ‬     ‫ﺳﺎﻝﻫﺎ ﺑﺎ ﻓﻴﺰﻳﻮﺗﺮﺍﭘﻰ ﻣﺪﺍﻭﻡ ﺑﺮ ﻧﺎﺗﻮﺍﻧﻰ‬
‫ﺻﻴﺎﻣﻰ ﻣﻰﮔﻮﻳﺪ‪ :‬ﺷﻤﺎ ﻣﺮﺍ ﺩﻭﺑﺎﺭﻩ ﺑﻪ‬           ‫ﻧﻔﺲ ﺭﺍ ﻭ ﺍﻣﻴﺪ ﺭﺍ ﻧﻴﺰ ﺑﻪ ﻫﻤﺮﺍﻩ ﺩﺍﺭﺩ‪.‬‬                                                                                ‫ﺑﻪ ﮔﻤﺎﻧﻢ ﺭﻳﺸﻪ ﺩﺭ ﺍﻳﻦ ﺍﻣﺮ ﺩﺍﺭﺩ ﻭ ﺁﻥ‬     ‫ﺟﺴﻤﻰ ﺧﻮﺩ ﺑﻪ ﺗﺪﺭﻳﺞ ﻏﻠﺒﻪ ﻣﻰﻛﻨﺪ‪.‬‬
                                       ‫ﺍﻓﺸﻴﻦ ﺍﮔﺮ ﺍﻓﻠﻴﺞ ﻧﻤﻰﺷﺪ ﻛﻤﺎﻛﺎﻥ‬                                                                                          ‫ﮔﻮﻧﻪ ﻛﻪ ﭘﺲ ﺍﺯ ﺳﻘﻮﻁ ﺍﺯ ﻃﺒﻘﻪﻯ ﺷﺸﻢ‬        ‫ﻣﺪﺕﻫﺎ ﻧﻤﻰﺗﻮﺍﻧﺪ ﻧﻘﺎﺷﻰ ﻛﻨﺪ‪ .‬ﺍﻣﺎ‬
            ‫ﺍﻳﺮﺍﻥ ﻭ ﺁﻥ ﻓﻀﺎﻫﺎ ﺑﺮﺩﻳﺪ‪.‬‬    ‫ﻧﻘﺎﺵ ﻗﺎﺑﻠﻰ ﻣﻰﺷﺪ‪ .‬ﺍﻣﺎ ﻧﻘﺎﺷﻰﻫﺎﻳﺶ‬                                                                                        ‫ﺧﺎﻧﻮﺍﺩﻩ ﺍﺯ ﺍﻭ ﻣﺮﺍﻗﺒﺖ ﻣﻰﻛﻨﻨﺪ ﻧﻴﺰ ﺍﺯ‬     ‫ﺗﺼﻤﻴﻢ ﮔﺮﻓﺘﻪ ﺍﺳﺖ ﻛﻪ ﭼﻴﺮﻩ ﺷﻮﺩ ﺑﺮ‬
‫ﺑﻪ ﺍﻋﺘﻘﺎﺩ ﻣﻦ ﺍﻓﺸﻴﻦ ﺑﺎ ﻧﻘﺎﺷﻰﻫﺎﻳﺶ‬        ‫ﻋﻨﺎﺻﺮ ﺩﻳﮕﺮﻯ ﺭﺍ ﺩﺭ ﺑﺮﻣﻰﮔﺮﻓﺖ‪ .‬ﺑﻪ‬                                                                                        ‫ﺟﻨﺒﻪﺍﻯ ﺩﻳﮕﺮ ﺷﺨﺼﻴﺖ ﺍﻭ ﺭﺍ ﻣﻰﺳﺎﺯﺩ‪.‬‬        ‫ﺁﻧﭽﻪ ﻛﻪ ﺑﻪ ﺳﺮ ﺍﻭ ﺁﻭﺭﺩﻩﺍﻧﺪ‪ .‬ﺩﻭﺳﺘﻰ‬
                                       ‫ﺷﻜﻞ ﺩﻳﮕﺮﻯ ﻭ ﺑﺎ ﺣﺠﻢ ﻭ ﺑﺎﺭ ﻭ ﺩﺭﺩ‬                                                                                        ‫ﺷﺨﺼﻴﺘﻰ ﻣﻬﺮﺑﺎﻥ ﻛﻪ ﻣﺼﻴﺒﺖﻫﺎﻯ‬              ‫ﻳﻚ ﻗﺎﻟﺐ ﺑﺮﺍﻯ ﺩﺳﺘﺶ ﺗﻬﻴﻪ ﻣﻰﻛﻨﺪ‬
  ‫ﻫﻤﻴﺸﻪ ﺩﺭ ﺍﻳﺮﺍﻥ ﺯﻧﺪﮔﻰ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬       ‫ﻭ ﺧﺸﻮﻧﺖ ﻛﻤﺘﺮﻯ‪ .‬ﻧﻘﺎﺷﻰﻫﺎﻯ ﺍﻭ‬                                                                                            ‫ﺟﻬﺎﻥ ﺍﻭ ﺭﺍ ﻫﻤﻮﺍﺭﻩ ﺗﺤﺖ ﺗﺄﺛﻴﺮ ﻗﺮﺍﺭ‬       ‫ﺑﻪ ﮔﻮﻧﻪﺍﻯ ﻛﻪ ﻗﻠﻢ ﻣﻮ ﺑﺘﻮﺍﻧﺪ ﺩﺭ ﺁﻥ‬
                                       ‫ﺍﻛﻨﻮﻥ ﺑﺎﺯﺗﺎﺏ ﺧﺸﻮﻧﺖ ﺟﻨﮓ ﻭ ﺯﻭﺭ‬                                                                                          ‫ﻣﻰﺩﻫﺪ‪.‬ﺩﻭ ﺑﺎﺭ ﻣﻬﺎﺟﺮﺕ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﻳﻚ‬       ‫ﺟﺎﻯ ﺑﮕﻴﺮﺩ… ﺑﺎﻻﺧﺮﻩ ﭘﻴﺮﻭﺯ ﻣﻰﺷﻮﺩ ﻭ‬
‫‪http://vancouverbidar.blogspot.ca‬‬      ‫ﻭ ﻣﺤﺪﻭﺩﻳﺖ ﻭ ﺩﺳﺖ ﺑﺴﺘﻪ ﺑﻮﺩﻥ ﻭ‬                                                                                           ‫ﺑﺎﺭ ﺍﺯ ﺧﻮﺯﺳﺘﺎﻥ ﺑﻪ ﺗﻬﺮﺍﻥ ﺑﺮﺍﻯ ﻓﺮﺍﺭ ﺍﺯ‬   ‫ﺩﺳﺘﺶ ﺍﮔﺮ ﭼﻪ ﻛﻤﺎﻛﺎﻥ ﻛﺎﻣﻸ ﻛﺎﺭﻛﺮﺩ‬

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‫ﻟﻐﻮ ﻣﺠﻮﺯ ﻫﻔﺘﻪﻧﺎﻣﻪ »ﻳﺎﻟﺜﺎﺭﺍﺕ«‬                                                                                          ‫ﺑﻬﻤﻦ ﺷﻬﻴﺪ ﺛﺎﻟﺚ؛ ﻓﻴﺰﻳﻜﺪﺍﻧﻰ ﺑﺎ ﻧﺖﻫﺎﻯ ﺑﺘﻬﻮﻭﻥ‬

                                       ‫ﻣﮕﺮ ﺁﻥ ﺯﻥ ﻣﻔﻠﻮﻙ‪ ،‬ﻫﻤﭙﺎﻟﻜﻰ ﺳﺎﺑﻖ‬           ‫ﻫﻴﺎﺕ ﻧﻈﺎﺭﺕ ﺑﺮ ﻣﻄﺒﻮﻋﺎﺕ ﺩﺭ ﺟﻠﺴﻪ‬                                                                                        ‫ﻭﻳﺪﺋﻮ‬
                                       ‫ﻫﻤﻴﻦ ﺷﺨﺺ ﻧﺒﻮﺩ ﻛﻪ ﺷﺐﻫﻨﮕﺎﻡ‬                ‫ﺭﻭﺯ ﺩﻭﺷﻨﺒﻪ ‪ 14‬ﺩﻯ ﻣﺎﻩ‪ ،‬ﭘﺮﻭﺍﻧﻪ‬
‫ﺳﺎﺑﻖ ﺍﻧﺼﺎﺭ ﺣﺰﺏﺍﷲ ﻭ ﺭﻳﻴﺲ ﺷﻮﺭﺍﻯ‬          ‫ﻟﺨﺖ ﻭ ﻋﺮﻳﺎﻥ ﺩﺭ ﻣﺤﻠﻪﻫﺎﻯ ﻟﻨﺪﻥ‬             ‫ﺍﻧﺘﺸﺎﺭ ﻫﻔﺘﻪﻧﺎﻣﻪ »ﻳﺎﻟﺜﺎﺭﺍﺕ« ﺭﺍ ﻟﻐﻮ‬      ‫»ﺑﺮﺍﻯﺩﻳﺪﻥﻭﻳﺪﺋﻮ‪،‬ﺭﻭﻯﻋﻜﺲﻛﻠﻴﻚﻧﻤﻮﺩﻩﻭﻳﺎﺑﻪﺳﺎﻳﺖﻛﻴﻬﺎﻥﻟﻨﺪﻥﻣﺮﺍﺟﻌﻪﻧﻤﺎﻳﻴﺪ‪«.‬‬                ‫ﺩﻛﺘﺮ ﺑﻬﻤﻦ ﺷﻬﻴﺪ ﺛﺎﻟﺚ ﺭﻫﺒﺮ‬
‫ﻫﻤﺎﻫﻨﮕﻰ ﻧﻴﺮﻭﻫﺎﻯ ﺣﺰﺏﺍﷲ ﺩﺭ ﮔﻔﺖ‬           ‫ﻇﺎﻫﺮ ﺷﺪ ﻭ ﻣﻮﺭﺩ ﺗﺠﺎﻭﺯ ﺳﻪ ﺗﻦ ﺍﺯ‬                                                                                                                                ‫ﺍﺭﻛﺴﺘﺮ‪ ،‬ﺁﻫﻨﮕﺴﺎﺯ ﻭ ﺑﻨﻴﺎﻧﮕﺬﺍﺭ ﺍﺭﻛﺴﺘﺮ‬
‫ﻭ ﮔﻮﻳﻰ ﺑﺎ ﺭﻭﺯﻧﺎﻣﻪ »ﻭﻗﺎﻳﻊ ﺍﺗﻔﺎﻗﻴﻪ‬       ‫ﺍﻭﺑﺎﺵ ﺍﻧﮕﻠﻴﺴﻰ ﻗﺮﺍﺭ ﮔﺮﻓﺖ ﻭ ﻫﻢﺍﻳﻨﻚ‬                                    ‫ﻛﺮﺩ‪.‬‬                                                                                     ‫ﺑﻮﻟﺪﺭ ﺍﻣﺮﻳﻜﺎﺳﺖ‪ .‬ﺍﻭ ﺍﮔﺮﭼﻪ ﺩﺭ ﻧﺰﺩ‬
‫«ﺑﺎﺭ ﺩﻳﮕﺮ ﺍﺯ ﺍﻧﺘﺸﺎﺭ ﺍﻳﻦ ﻣﻄﺎﻟﺐ ﺩﻓﺎﻉ‬     ‫ﺭﻭﺣﺎﻧﻰ‪ ،‬ﻫﻤﭙﺎﻟﻜﻰ ﻫﻤﺎﻥ »ﺑﺪﺗﺮ ﺍﺯ‬           ‫ﭘﺮﻭﺍﻧﻪ ﺍﻳﻦ ﻫﻔﺘﻪﻧﺎﻣﻪ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ‬                                                                                       ‫ﻫﻤﻮﻃﻨﺎﻧﺶ ﻫﻨﺮﻣﻨﺪﻯ ﻧﺎﺷﻨﺎﺧﺘﻪ‬
‫ﻛﺮﺩ ﻭ ﮔﻔﺖ‪»:‬ﻣﺎ ﺑﺮﺍﺳﺎﺱ ﺁﺯﺍﺩﻯ ﺑﻴﺎﻥ‬        ‫ﻓﺎﺣﺸﻪ ﻣﻌﺮﻭﻓﻪ ﺩﺭ ﺩﻧﻴﺎ« ﺭﺍ ﻣﻰﺧﻮﺍﻫﺪ‬        ‫ﺗﺒﺼﺮﻩ ‪ 2‬ﻣﺎﺩﻩ ‪ 6‬ﻗﺎﻧﻮﻥ ﻣﻄﺒﻮﻋﺎﺕ ﻟﻐﻮ‬                                                                                     ‫ﺍﺳﺖ ﻭﻟﻰ ﭼﻬﺮﻩﺍﻯ ﻣﻌﺮﻭﻑ ﺩﺭ ﻋﺮﺻﻪ‬
‫ﺩﺭ ﻧﺸﺮﻳﻪ ﺧﻮﺩ ﺑﻪ ﺗﺤﻠﻴﻞ ﻣﻮﺿﻮﻋﻰ‬           ‫ﺑﺮ ﮔﺮﺩﻥ ﺯﻧﺎﻥ ﻣﺎ ﻣﺴﻠﻂ ﻛﻨﺪ ﺑﻪ ﻧﺎﻡ‬                                                                                                                              ‫ﻣﻮﺳﻴﻘﻰ ﺟﻬﺎﻥ ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﺩ‪.‬‬
‫ﭘﺮﺩﺍﺧﺘﻴﻢ ﻛﻪ ﻧﺴﺒﺖ ﺑﻪ ﺁﻥ ﺩﻏﺪﻏﻪ‬           ‫ﺧﺎﻧﻢ ﻣﻌﺎﻭﻥ ﺭﺋﻴﺲﺟﻤﻬﻮﺭ ﺩﺭ ﺍﻣﻮﺭ‬                                   ‫ﺷﺪﻩ ﺍﺳﺖ‪.‬‬                                                                                      ‫ﺿﻤﻦ ﺍﻳﻨﻜﻪ ﭘﺴﺮﻋﻤﻮﻯ ﺳﻬﺮﺍﺏ ﺷﻬﻴﺪ‬
‫ﺩﺍﺷﺘﻴﻢ‪ .‬ﺑﻪ ﻋﻘﻴﺪﻩ ﻣﺎ ﺩﺭ ﭼﺎﺭﭼﻮﺏ‬                                                  ‫ﻫﻔﺘﻪﻧﺎﻣﻪ »ﻳﺎﻟﺜﺎﺭﺍﺕ« ﺍﺭﮔﺎﻥ ﺍﻧﺼﺎﺭ‬                                                                                      ‫ﺛﺎﻟﺚ ﺁﻏﺎﺯﮔﺮ ﻣﻮﺝ ﻧﻮﻯ ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ‬
‫ﺁﺯﺍﺩﻯ ﺑﻴﺎﻥ ﻣﻄﺮﺡ ﻛﺮﺩﻥ ﺍﻳﻦ ﻣﻮﺿﻮﻉ‬                           ‫ﺯﻧﺎﻥ ﻭ ﺧﺎﻧﻮﺍﺩﻩ!«‬      ‫ﺣﺰﺏﺍﷲ ﺩﺭ ﺩﻭ ﺷﻤﺎﺭﻩ ﺍﺧﻴﺮ ﺧﻮﺩ‬                                                                                           ‫ﻭ ﻳﻜﻰ ﺍﺯ ﺑﺮﺗﺮﻳﻦ ﻓﻴﻠﻤﺴﺎﺯﺍﻥ ﺍﻳﺮﺍﻥ ﻧﻴﺰ‬
                                       ‫ﭼﺎپ ﺍﻳﻦ ﻣﻄﻠﺐ ﻧﺎﻣﺘﻌﺎﺭﻑ ﻭ ﺯﻧﻨﺪﻩ‬           ‫ﻣﻄﺎﻟﺒﻰ ﺗﻮﻫﻴﻦﺁﻣﻴﺰ ﻋﻠﻴﻪ ﻣﻌﺎﻭﻥ ﺍﻣﻮﺭ‬
             ‫ﻫﻴﭻ ﺍﺷﻜﺎﻟﻰ ﻧﺪﺍﺷﺖ«‪.‬‬        ‫ﻭﺍﻛﻨﺶ ﻣﻌﺎﻭﻥ ﺍﻣﻮﺭ ﺯﻧﺎﻥ ﺭﻳﺎﺳﺖ‬             ‫ﺯﻧﺎﻥ ﺭﻳﻴﺲ ﺟﻤﻬﻮﺭﻯ ﺍﺳﻼﻣﻰ ﺍﻳﺮﺍﻥ‬                                                                                                                   ‫ﻫﺴﺖ‪.‬‬
‫ﺩﻭﺍﺯﺩﻫﻢ ﺩﻯ ﻣﺎﻩ ﺍﻟﻬﺎﻡ ﺍﻣﻴﻦ ﺯﺍﺩﻩ‬         ‫ﺟﻤﻬﻮﺭﻯ ﺍﻳﺮﺍﻥ ﺭﺍ ﺩﺭ ﭘﻰ ﺩﺍﺷﺖ ﺍﻣﺎ‬          ‫ﻣﻨﺘﺸﺮ ﻭ ﺍﻭ ﺭﺍ »ﻫﻤﭙﺎﻟﻜﻰ« ﻳﻚ ﻓﻌﺎﻝ‬
‫ﻣﻌﺎﻭﻥ ﺣﻘﻮﻗﻰ ﺣﺴﻦ ﺭﻭﺣﺎﻧﻰ ﺍﺯ‬                                                                                                                   ‫ﺳﺮﻳﺎﻝ ﻣﻌﻤﺎﻯ ﺷﺎﻩ‪:‬‬
‫ﺑﺮﺭﺳﻰ ﭘﺮﻭﻧﺪﻩ ﺷﻜﺎﻳﺖ ﻣﻌﺎﻭﻥ ﺍﻣﻮﺭ‬                ‫ﺷﻬﻴﻨﺪﺧﺖ ﻣﻮﻻﻭﺭﺩﻯ‬                          ‫ﺣﻘﻮﻕ ﺯﻧﺎﻥ ﻣﻌﺮﻓﻰ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬
‫ﺯﻧﺎﻥ ﺭﻳﻴﺲ ﺟﻤﻬﻮﺭ ﺍﺯ ﻫﻔﺘﻪﻧﺎﻣﻪ‬            ‫ﻧﺸﺮﻳﻪ »ﻳﺎﻟﺜﺎﺭﺍﺕ« ﺷﺸﻢ ﺩﻯ ﻣﺎﻩ ﺑﻪ‬          ‫ﻋﻠﻰ ﺟﻨﺘﻰ ﻭﺯﻳﺮ ﻓﺮﻫﻨﮓ ﻭ ﺍﺭﺷﺎﺩ‬            ‫ﭘﺮﻭژﻩﺍﻯ ‪ 20‬ﻣﻴﻠﻴﺎﺭﺩ ﺗﻮﻣﺎﻧﻰ ﺑﺮﺍﻯ ﺗﺤﺮﻳﻒ ﺗﺎﺭﻳﺦ‬
                                       ‫ﺑﺎﺯﻧﺸﺮ ﻣﻄﻠﺒﻰ ﭘﺮﺩﺍﺧﺖ ﻛﻪ ﻣﻮﺭﺩ‬             ‫ﺍﺳﻼﻣﻰ ﻫﻔﺘﻢ ﺩﻯ ﻣﺎﻩ ﺧﺒﺮ ﺩﺍﺩﻩ ﺑﻮﺩ‬
          ‫»ﻳﺎﻟﺜﺎﺭﺍﺕ« ﺧﺒﺮ ﺩﺍﺩﻩ ﺑﻮﺩ‪.‬‬     ‫ﺍﻋﺘﺮﺍﺽ ﺷﻬﻴﻨﺪﺧﺖ ﻣﻮﻻﻭﺭﺩﻯ ﻗﺮﺍﺭ‬             ‫ﻛﻪ ﭘﺮﻭﻧﺪﻩ ﺍﻳﻦ ﻧﺸﺮﻳﻪ ﻫﻔﺘﻪ ﺟﺎﺭﻯ ﺩﺭ‬                                                                                     ‫ﻭﻳﺪﺋﻮ‬
‫ﻫﻔﺘﻪ ﻧﺎﻣﻪ »ﻳﺎﻟﺜﺎﺭﺍﺕ« ﺩﺭ ﺍﺭﺩﻳﺒﻬﺸﺖ‬       ‫ﮔﺮﻓﺘﻪ ﺑﻴﺎﻟﺜﺎﺭﺍﺗﻮﺩ ﻭ ﺍﺯ ﺍﻭ ﺧﻮﺍﺳﺖ‬         ‫ﻫﻴﺎﺕ ﻧﻈﺎﺭﺕ ﺑﺮ ﻣﻄﺒﻮﻋﺎﺕ ﺑﺮﺭﺳﻰ‬
‫ﻣﺎﻩ ﺳﺎﻝ ‪ 1373‬ﺷﺮﻭﻉ ﺑﻪ ﻓﻌﺎﻟﻴﺖ‬            ‫ﺍﮔﺮ ﺍﺯ ﺗﻮﻫﻴﻦ ﻫﺎﻯ ﺍﻳﻦ ﻧﺸﺮﻳﻪ ﺑﻪ‬                                                  ‫»ﺑﺮﺍﻯﺩﻳﺪﻥﻭﻳﺪﺋﻮ‪،‬ﺭﻭﻯﻋﻜﺲﻛﻠﻴﻚﻧﻤﻮﺩﻩﻭﻳﺎﺑﻪﺳﺎﻳﺖﻛﻴﻬﺎﻥﻟﻨﺪﻥﻣﺮﺍﺟﻌﻪﻧﻤﺎﻳﻴﺪ‪«.‬‬                ‫ﻫﺮ ﺳﺎﻝ ﺩﺭ ﺭﻭﺯﻫﺎﻯ ﻧﺰﺩﻳﻚ ﺑﻪ‬
‫ﻛﺮﺩ‪ .‬ﺻﺎﺣﺐ ﺍﻣﺘﻴﺎﺯ ﺍﻥ ﻣﻮﺳﺴﻪ ﺍﻧﺼﺎﺭ‬        ‫»ﻫﻤﭙﺎﻟﻜﻰ«ﻫﺎﻯ ﺧﻮﺩ ﻧﺎﺭﺍﺣﺖ ﺍﺳﺖ ﺑﻪ‬                                   ‫ﻣﻰﺷﻮﺩ‪.‬‬                                                                                      ‫ﺳﺎﻟﮕﺮﺩ ﺍﻧﻘﺮﺍﺽ ﺭژﻳﻢ ﺳﻠﻄﻨﺘﻰ‬
‫ﺣﺰﺏﺍﷲ ﻭ ﻣﺪﻳﺮ ﻣﺴﻮﻭﻝ ﻭ ﺳﺮﺩﺑﻴﺮ ﺁﻥ‬                                                 ‫ﺍﻭﺍﻳﻞ ﺩﻯ ﻣﺎﻩ ﺍﺭﮔﺎﻥ ﺍﻧﺼﺎﺭ ﺣﺰﺏﺍﷲ‬         ‫ﺑﻴﮋﻥ ﻓﺮﻫﻮﺩﻯ ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻨﻪ ﺑﺎ ﺗﺎﺭﻳﺦ ﻭ ﻓﺮﻫﻨﮓ ﺍﻳﺮﺍﻥ ﺩﺭ ﺩﺍﻻﺱ‬                       ‫ﺗﻠﻮﻳﺰﻳﻮﻥ ﺟﻤﻬﻮﺭﻯ ﺍﺳﻼﻣﻰ ﺑﻪ ﭘﺨﺶ‬
                                                    ‫ﻧﺰﺩ ﺁﻧﻬﺎ ﺑﻪ ﻟﻨﺪﻥ ﺑﺮﻭﺩ‪.‬‬     ‫ﺩﺭ ﻣﻄﻠﺒﻰ ﺑﺎ ﻋﻨﻮﺍﻥ » ﺩﻳﻮﺍﺭ ﺷﻜﺴﺘﻪ ﻭ‬               ‫ﺷﺎﻫﻴﻦ ﻧﮋﺍﺩ ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﭘﮋﻭﻫﺸﮕﺮ ﺗﮕﺰﺍﺱ ﮔﻔﺘﮕﻮ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬                   ‫ﺑﺮﻧﺎﻣﻪﻫﺎﻯ ﺑﻪ ﺍﺻﻄﻼﺡ ﻣﺴﺘﻨﺪ ﻭ‬
          ‫ﻋﺒﺪﺍﻟﺤﻤﻴﺪ ﻣﺤﺘﺸﻢ ﺍﺳﺖ‪.‬‬         ‫ﭘﺲ ﺍﺯ ﺁﻥ ﺣﺴﻴﻦﺍﷲ ﻛﺮﻡ ﺩﺑﻴﺮ‬                ‫ﺯﻥ ﺳﻠﻴﻄﻪ« ﺑﺎ ﺍﻧﺘﻘﺎﺩ ﺍﺯ ﺳﻴﺎﺳﺖﻫﺎﻯ‬                                                                                      ‫ﺳﺮﻳﺎﻝﻫﺎﻳﻰ ﺑﺎ ﻫﺪﻑ ﺳﻴﺎﻩﻧﻤﺎﻳﻰ ﺩﻭﺭﺍﻥ‬
‫ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﻭﺯﻳﺮ ﻓﺮﻫﻨﮓ ﻭ ﺍﺭﺷﺎﺩ‬                                                  ‫ﺩﻭﻟﺖ ﺣﺴﻦ ﺭﻭﺣﺎﻧﻰ ﻧﻮﺷﺘﻪ ﺑﻮﺩ‪» :‬ﺍﺯ‬                                                                                       ‫ﺳﻠﻄﻨﺖ ﭘﻬﻠﻮﻯﻫﺎ ﺩﺭ ﺍﻳﺮﺍﻥ ﺍﻗﺪﺍﻡ‬
‫ﺍﺳﻼﻣﻰ ﺧﺒﺮ ﺩﺍﺩﻩ ﺑﻮﺩ ﺑﻪ ﺩﻟﻴﻞ ﺁﻧﻜﻪ‬                                                ‫ﺩﻳﺪﮔﺎﻩ ﻟﻴﺒﺮﺍﻟﻰ ﺭﻳﻴﺲ ﺟﻤﻬﻮﺭ ﻓﻌﻠﻰ‪،‬‬                                                                                      ‫ﻣﻰﻛﻨﺪ‪ .‬ﺍﻣﺴﺎﻝ ﻧﻴﺰ ﺳﻴﻤﺎﻯ ﺟﻤﻬﻮﺭﻯ‬
‫ﺍﻳﻦ ﻧﺸﺮﻳﻪ ﺗﺎ ﻛﻨﻮﻥ ﺳﻪ ﺑﺎﺭ ﺗﻮﻗﻴﻒ‬                                                 ‫ﻗﺒﻴﺢﺗﺮﻳﻦ ﻭ ﻧﺎﺭﻭﺍﺗﺮﻳﻦ ﻛﺎﺭ ﺁﻥ ﺍﺳﺖ‬                                                                                      ‫ﺍﺳﻼﻣﻰ ﺑﻪ ﭘﺨﺶ ﺳﺮﻳﺎﻟﻰ ﺑﺎ ﻋﻨﻮﺍﻥ‬
‫ﺷﺪﻩ ﺍﺳﺖ ﻫﻴﺎﺕ ﻧﻈﺎﺭﺕ ﺑﺮ ﻣﻄﺒﻮﻋﺎﺕ‬                                                  ‫ﻛﻪ ﻋﺪﻩﺍﻯ ﺍﻣﺮ ﺑﻪ ﻣﻌﺮﻭﻑ ﺭﺍ ﻋﻠﻴﻪ‬                                                                                        ‫»ﻣﻌﻤﺎﻯ ﺷﺎﻩ « ﻣﺒﺎﺩﺭﺕ ﻭﺭﺯﻳﺪﻩ ﻛﻪ‬
‫ﻣﻰﺗﻮﺍﻧﺪ ﺩﺳﺘﻮﺭ ﻟﻐﻮ ﭘﺮﻭﺍﻧﻪ ﺁﻥ ﺭﺍ‬                                                 ‫ﺯﻧﺎﻥ ﻻﺍﺑﺎﻟﻰ ﻭ ﺑﻰ ﺣﻴﺎ ﻭ ﺑﻰ ﺣﺠﺎﺏ‬                                                                                       ‫ﺍﻓﺰﻭﻥ ﺑﺮ ﺗﺤﺮﻳﻒ ﺗﺎﺭﻳﺦ‪ ،‬ﺳﺮﺷﺎﺭ ﺍﺯ‬
                                                                               ‫ﺑﻪ ﻛﺎﺭ ﮔﺒﺮﻧﺪ‪ .‬ﺣﺮﻑ ﺛﺎﺑﺖ ﺍﻭ ﻫﻤﺎﻥ‬                                                                                       ‫ﺳﻮﺗﻰﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺷﺒﻜﻪﻫﺎﻯ‬
                           ‫ﺑﺪﻫﺪ‪.‬‬                                               ‫ﺍﺳﺖ ﻛﻪ ﺍﺧﻴﺮﺍ ﺁﻥ ﺯﻥ ﻓﻤﻴﻨﻴﺴﺖ ﻋﻀﻮ‬                                                                                       ‫ﺍﺟﺘﻤﺎﻋﻰ ﻣﻮﺭﺩ ﺗﻤﺴﺨﺮ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ‬
                                                                               ‫ﺍﺭﺷﺪ ﺗﺸﻜﻴﻼﺕ ﺑﺮﺍﻧﺪﺍﺯ ﻭ ﻣﻨﺤﻞ ﺷﺪﻩ‬
                                                                               ‫ﻣﺸﺎﺭﻛﺖ ﺍﺑﺮﺍﺯ ﺩﺍﺷﺖ‪ :‬ﺩﻭﻟﺖ ﺑﺎ ﺑﺮﺧﻮﺭﺩ‬                                                                                                               ‫ﺍﺳﺖ‪.‬‬
                                                                               ‫ﺑﺎ ﺯﻧﺎﻥ )ﻭﻟﻮ ﺑﺎ ﻋﺮﻳﺎﻧﻰ ﻛﺎﻣﻞ ﺁﺷﻜﺎﺭ‬
                                                                               ‫ﺷﻮﻧﺪ( ﻣﺨﺎﻟﻒ ﺍﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﺯﻥ‬
                                                                               ‫ﻛﺬﺍﻳﻰ ﺩﺭ ﺍﺩﻋﺎﻯ ﺧﻮﺩ ﺻﺎﺩﻕ ﺍﺳﺖ ﻭ‬
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