‫ﺗﻌﻠﻢ ﻋﻠﻢ ﺍﻟﻔﺮﺍﺳﺔ ‪ -‬ﻣﻮﺿﻮﻉ‬ ‫‪https://mawdoo3.com/%D8%AA%D8%B9%D9%84%D9%85_%D8%...

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‫ﺗﻌﻠﻢ ﻋﻠﻢ ﺍﻟﻔﺮﺍﺳﺔ ‪ -‬ﻣﻮﺿﻮﻉ‬

‫‪Layal Ahmed‬‬

‫ﻋﻠﻢ ﺍﻟﻔﺮﺍﺳﺔ‬
‫ﺕ ﻣﻨﻬﺠﻴّﺔ ﺗﺘﻌﻠّﻖ ﺑﻤﻼﻣﺢ ﺍﻟﻮﺟﻪ ﻭﺍﻟﺒﻨﻴﺔ ﺍﻟﺠﺴﺪﻳّﺔ ﻟﻺﻧﺴﺎﻥ‪،‬‬ ‫ﻲ ﻋﻠﻰ ﺩﺭﺍﺳﺎ ٍ‬ ‫ﻳُﻨﺴﺐ ﻟﻌﻠﻢ ﺍﻟﻔﺮﺍﺳﺔ ﺑﻌﺾ ﺍﻟﻤﻤﺎﺭﺳﺎﺕ ﺍﻟﻤﺘﻌﻠﻘﺔ ﺑﺎﻟﺸﻌﻮﺫﺓ ﻭﺍﻟﺪﺟﻞ‪ ،‬ﻭﻟﻜﻨّﻪ ﻓﻲ ﺃﺻﻠﻪ ﻋﻠ ٌﻢ ﻣﺒﻨ ّ‬
‫ﻷﻥ ﺍﻷﻧﺸﻄﺔ ﺍﻟﻌﻘﻠﻴّﺔ ﻭﺍﻟﻤﺸﺎﻋﺮ ﺗﺆﺛّﺮ ﻓﻲ ﺣﺮﻛﺔ‬ ‫ﺕ ﺗﻈﻬﺮ ﻋﻠﻰ ﻭﺟﻪ ﺍﻹﻧﺴﺎﻥ‪ ،‬ﻭﺫﻟﻚَ ّ‬ ‫ﻱ ﻋﻠﻰ ﺍﻟﻌﻮﺍﻁﻒ ﺍﻟﺘﻲ ﺗُﺘ َﺮﺟﻢ ﻋﻠﻰ ﺷﻜ ِﻞ ﺗﻌﺒﻴﺮﺍ ٍ‬ ‫ﺇﺫ ﻳﻌﺘﻤﺪ ﻫﺬﺍ ﺍﻟﻌﻠﻢ ﺑﺸﻜ ٍﻞ ﻣﺤﻮﺭ ّ‬
‫ﻈﻢ ﻟﻬﺬﺍ ﺍﻟﻌﻠﻢ ﻣﺠﻤﻮﻋﺔٌ ﻣﻦ‬‫ﻋﻀﻼﺕ ﺍﻟﻮﺟﻪ ﺑﺸﻜ ٍﻞ ﻣﺒﺎﺷﺮ ﻭﺑﺎﻟﺘﺎﻟﻲ ﺗﻌﻜﺲ ﺍﻟﻄﺒﻴﻌﺔ ﺍﻟﻨﻔﺴﻴّﺔ ﻟﻺﻧﺴﺎﻥ‪ ،‬ﻭﻋﻨﺪﻫﺎ ﻳُﻤﻜِﻦ ﻟﻠﺸﺨﺺ ﻗﺮﺍءﺓ ﺍﻟﻌﻘﻞ ﻭﺗﺤﻠﻴﻞ ﺍﻟﺸﺨﺼﻴّﺔ‪ .‬ﻭﻗﺪ ﻧُ ِ ّ‬
‫ﻧﻈﺎﻡ ﻣﻦ ﺍﻷﻧﻮﺍﻉ ﺍﻟﺘﻲ ﺗ ّﻢ ﺍﺳﺘﻨﺒﺎﻁﻬﺎ ﻋﻦ ﻁﺮﻳﻖ ﺍﻟ ُﻤﻼﺣﻈﺔ‪ .‬ﻭﻳﻌﻮﺩ ﺃﺻﻞ ﻋﻠﻢ ﺍﻟﻔﺮﺍﺳﺔ ﺇﻟﻰ ﺍﻟﻌﺼﻮﺭ‬ ‫ﺍﻟﻨﻈﺮﻳﺎﺕ ﺍﻟﺘﻲ ﺗﻌﻤﻞ ﻋﻠﻰ ﺷﺮﺡ ﺍﻟﻄﺒﻴﻌﺔ ﺍﻟﺒﺸﺮﻳّﺔ ﺍﻋﺘﻤﺎﺩﺍ ً ﻋﻠﻰ ٍ‬
‫ﺑﻌﺾ ﺍﻟﻌُﻴﻮﺏ ﺍﻟﺠﻴﻨﻴﺔ ﻛﺎﻟﻜﺸﻒ ﻋﻦ ُﻣﺘﻼﺯﻣﺔ ﺩﺍﻭﻥ‪ .‬ﻭﻳُﻨﺴﺐ‬ ‫ِ‬ ‫ﺍﻟﻘﺪﻳﻤﺔ ﻭﺍﻟﻮﺳﻄﻰ‪ ،‬ﻓﻘﺪ ﻛﺎﻥ ﻳﻌﺘﺒﺮ ﺟﺰءﺍ ً ﻣﻦ ﺍﻟﻔﻠﺴﻔﺔ ﺍﻟﻌﻠﻤﻴّﺔ ﺍﻟﻘﺪﻳﻤﺔ‪ ،‬ﻛﻤﺎ ﺍﺳﺘُﺨﺪ َِﻡ ﻭﺳﻴﻠﺔً ﻟﻠﻜﺸﻒِ ﻋﻦ‬
‫ﺴﺮﺩ ﻓﻴﻬﺎ ﺩﺭﺍﺳﺔً ﻟﻤﻼﻣﺢ ﻭﺟﻪ ﺍﻹﻧﺴﺎﻥ‪،‬‬ ‫ﻜﻮﻧ ٍﺔ ﻣﻦ ‪ 6‬ﻓﺼﻮ ٍﻝ‪ ،‬ﻳَ ُ‬ ‫ﻲ ﺍﻟﺸﻬﻴﺮ ﺃﺭﺳﻄﻮ‪ ،‬ﻓﻘﺪ ﻋﻤ َﻞ ﻋﻠﻰ ﻛﺘﺎﺑﺔ ﺃُﻁﺮﻭﺣ ٍﺔ ُﻣ ّ‬ ‫ﺑﺪﺍﻳﺔ ﺗﻮﺛﻴﻖ ﻋﻠﻢ ﺍﻟﻔِﺮﺍﺳﺔ ﻟﻠﻔﻴﻠﺴﻮﻑ ﺍﻟﻴﻮﻧﺎﻧ ّ‬
‫ﺼﻔﺎﺕ ﺍﻟﺸﺨﺼﻴّﺔ ﺍﻟﺘﻲ ﺗﺮﺗﺒﻂ ﺑﻬﺬﻩ ﺍﻟﺨﺼﺎﺋﺺ ﺍﻟﻔﻴﺰﻳﺎﺋﻴّﺔ‪ ،‬ﻛﺮﺑﻂ ﺷﻜﻞ ﺍﻷﻧﻒ‪ ،‬ﻭﻟﻮﻥ ﺍﻟﻌُﻴﻮﻥ‪ ،‬ﻭﺍﻟﻤﺸﻴﺔ‪ ،‬ﻭﺍﻟﺼﻮﺕ‪ ،‬ﻭﻏﻴﺮﻫﺎ ﻣﻦ ﺍﻟﺨﺼﺎﺋﺺ ﺑﻄﺒﻴﻌﺔ ﺍﻟﺸﺨﺺ‬ ‫ﻭﺍﻟ ّ‬
‫ﺨﺪﻡ ﻫﺬﺍ ﺍﻟﻌﻠﻢ ﻓﻲ ﺍﻟﻘﺮﻧﻴﻦ ﺍﻟﺜﺎﻣﻦ ﻋﺸﺮ ﻭﺍﻟﺘﺎﺳﻊ ﻋﺸﺮ ﻭﺳﻴﻠﺔً ﻟﻠﻜﺸﻒ‬ ‫َ‬ ‫ُ‬ ‫ﺘ‬ ‫ﺍﺳ‬ ‫ﻭﻗﺪ‬ ‫‪.‬‬ ‫ﺭﺷﺪ‬ ‫ﻭﺍﺑﻦ‬ ‫ﻛﺎﻟﺮﺍﺯﻱ‪،‬‬ ‫ﺍﻟﻔﺮﺍﺳﺔ‬ ‫ﻋﻠﻢ‬ ‫ﺗﻄﻮﻳﺮ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻌﺮﺏ‬ ‫ﺍﻟﻌﻠﻤﺎء‬ ‫ﺑﻌﺾ‬ ‫ﺳﺎﻫﻢ‬
‫َ‬ ‫ﻭﻗﺪ‬ ‫‪.‬‬ ‫ﻭﺻﻔﺎﺗﻪ‬
‫ﻋﻦ ﺍﻟﻤﻴﻮﻝ ﺍﻹﺟﺮﺍﻣﻴّﺔ ﻟﻠﺸﺨﺺ‪[٢][١].‬‬

‫ﺗﻌﻠّﻢ ﺍﻟﻔﺮﺍﺳﺔ‬
‫ﻱ ﻳﺤﺪﺙ ﺑﺼﻮﺭﺓٍ‬ ‫ﻉ ﺍﻹﻧﺴﺎﻥ ﺗﻌﻠﱡﻢ ﻋِﻠﻢ ﺍﻟﻔﺮﺍﺳﺔ ﻓﺴﻴﺼﺒﺢ ﺃﻧﺠﺢ ﻓﻲ ﺍﻟﻌﻼﻗﺎﺕ ﺍﻻﺟﺘﻤﺎﻋﻴّﺔ ﻭﺍﻟﻌﺎﻁﻔﻴّﺔ‪ ،‬ﺇﺫ ﻳﺆﻛﺪ ﻋﻠﻤﺎء ﺍﻟﻨﻔﺲ ّ‬
‫ﺑﺄﻥ ‪ %60‬ﻣﻦ ﺍﻟﺘﻮﺍﺻﻞ ﺍﻟﺒﺸﺮ ّ‬ ‫ﺇﺫﺍ ﺍﺳﺘﻄﺎ َ‬
‫ﺕ ﻓﻲ ﺍﻟﻮﺟﻪ‪ .‬ﻭﻳُﻤﻜِﻦ ﺗﻌﻠﱡﻢ ﺍﻟﻔﺮﺍﺳﺔ ﻋﻦ ﻁﺮﻳﻖ ﻗﺮﺍءﺓ ﻣﻼﻣﺢ ﺍﻹﻧﺴﺎﻥ ﺃﻭ ﻋﻦ ﻁﺮﻳﻖ ﻓﻬﻢ ﺣﺮﻛﺎﺕ ﻭﺗﻌﺎﺑﻴﺮ‬
‫ﺕ ﺟﺴﺪﻳّ ٍﺔ ﺃﻭ ﺇﻳﻤﺎءﺍ ٍ‬
‫ﻏﻴﺮ ﺷﻔﻬﻴّﺔٍ‪ ،‬ﺃﻱ ﻳﻈﻬﺮ ﻋﻠﻰ ﺷﻜﻞ ﺣﺮﻛﺎ ٍ‬
‫ﺍﻟﻮﺟﻪ ﻭﺍﻟﺠﺴﺪ‪[٣].‬‬

‫ﻓِﺮﺍﺳﺔ ﺣﺮﻛﺎﺕ ﺍﻟﻮﺟﻪ‬

‫ﺣﺘﻰ ﻳﺴﺘﻄﻴﻊ ﺍﻟﺸﺨﺺ ﺍﻛﺘﺴﺎﺏ ﻣﻬﺎﺭﺓ ﻓﺮﺍﺳﺔ ﺍﻟﻨّﺎﺱ‪ ،‬ﻭﻓﻬﻢ ﻣﺸﺎﻋﺮ ﺍﻟﺸﺨﺺ ﺍﻟﺬﻱ ﺃﻣﺎﻣﻪ‪ ،‬ﻋﻠﻴﻪ ﺃﻥ ّ‬
‫ﻳﺘﻤﺮﻥ ﻋﻠﻰ ﻗﺮﺍءﺓ ﺍﻟﺴﻠﻮﻛﻴﺎﺕ ﺍﻟﺤﺮﻛﻴّﺔ ﻟﻮﺟﻪ ﺍﻹﻧﺴﺎﻥ‪ ،‬ﺇﺫ ﺇﻥّ‬
‫ﺝ ﻟﺤﺮﻛﺎﺕ ﺍﻟﻮﺟﻪ ﻭﻣﻌﺎﻧﻴﻬﺎ‪[٤]:‬‬
‫ﺍﻟﻤﺸﺎﻋﺮ ﺗﻈﻬﺮ ﻣﺒﺎﺷﺮﺓ ً ﻋﻠﻰ ﺍﻟﻮﺟﻪ‪ ،‬ﻭﻓﻴﻤﺎ ﻳﺄﺗﻲ ﻧﻤﺎﺫ ُ‬

‫ﺣﺮﻛﺎﺕ ﺍﻟﻌﻴﻮﻥ‪ :‬ﺗُﻌﻄﻲ ﺍﻟﻌﻴﻮﻥ ﺇﻳﺤﺎ ًء ﺃﻗﻮﻯ ﻣﻦ ﻋﻨﺎﺻﺮ ﺍﻟﻮﺟﻪ ﺍﻷﺧﺮﻯ‪ ،‬ﻟﺬﺍ ﺇﺫﺍ ﺃﺭﺍﺩ ﺍﻟﺸﺨﺺ ﺍﻟﺒﺪء ﺑﺘﻌﻠّﻢ ﺍﻟﻔﺮﺍﺳﺔ ﻓﻌﻠﻴﻪ ﺍﻟﺘﺤﺪﻳﻖُ ﻓﻲ ﻋﻴﻮﻥ ﺍﻵﺧﺮﻳﻦ‬
‫ﻭﻗﺮﺍﺋﺘﻬﺎ‪ ،‬ﻓﺒﺆﺑﺆ ﺍﻟﻌﻴﻦ ﺗﺘﻐﻴ ُّﺮ ﻫﻴﺌﺘُﻪ ﺣﺴﺐ ﺍﻟﻤﺸﺎﻋﺮ ﺍﻟﺪﺍﺧﻠﻴّﺔ‪ ،‬ﻓﺈﺫﺍ ﻛﺎﻥَ ﺍﻹﻧﺴﺎﻥ ﻣﺘﺤ ّﻤﺴﺎ ً ﺃﻭ ﻳﺸﻌُ ُﺮ ﺑﺎﻻﻫﺘﻤﺎﻡ ﺑﺸﻲءٍ ﻣﺎ ﻓﺈﻥّ ﺑﺆﺑﺆ ﺍﻟﻌﻴﻦ ﻳﺘّﺴﻊ‪ ،‬ﻭﻳﻨﻘﺒﺾ ﺍﻟﺒﺆﺑﺆ‬
‫ﻋﻨﺪَ ﺍﻟﺸﻌﻮﺭ ﺑﺎﻹﻫﺎﻧﺔ ﺃﻭ ﺍﻟﺴﻠﺒﻴّﺔ‪.‬‬
‫ﺕ ﺣﺴّﺎﺳﺔً‪ ،‬ﻭﺗُﺘ َﺮﺟﻢ ﺍﻟﻤﺸﺎﻋﺮ ﺍﻟﺘﻲ ﻳﺸﻌﺮ ﺑﻬﺎ ﺍﻟﺸﺨﺺ‪ ،‬ﻓﻤﻼﺣﻈﺔ ﺍﺭﺗﻌﺎﺵ ﺍﻟﺸﻔﺔ ﻋﻨﺪَ ﺍﻟﻜﻼﻡ ﻣﺜﻼً ﺗﺪ ّﻝ ﻋﻠﻰ‬ ‫ﺣﺮﻛﺎﺕ ﺍﻟﺸﻔﺎﻩ‪ :‬ﺗﻌﺪّ ﻋﻀﻼﺕ ﺍﻟﺸﻔﺎﻩ ﻋﻀﻼ ٍ‬
‫ﺍﻟﻜﺬﺏ‪.‬‬
‫ﻂ ﺍﻟﻮﺟﻪ ﻳُﺴ ّﻬﻞ ﻣﻼﺣﻈﺘﻪ‪ ،‬ﻓﻤﺜﻼً ﻋﻨﺪﻣﺎ ﺗﺘﺴﻊ ﻓﺘﺤﺎﺕ‬ ‫ﺣﺮﻛﺎﺕ ﺍﻷﻧﻒ‪ :‬ﺇﻥّ ﺍﻟﺮﺳﺎﺋﻞ ﺍﻟﺘﻲ ﻳُﻌﻄﻴﻬﺎ ﺍﻷﻧﻒ ﺃﻗ ﱡﻞ ﻣﻦ ﺍﻟﺘﻲ ﺗُﻌﻄﻴﻬﺎ ﺍﻟﻌﻴﻮﻥ ﻭﺍﻟﺸﻔﺎﻩ‪ ،‬ﻭﻟﻜﻦّ ﻣﻮﻗﻌﻪ ﻭﺳ َ‬
‫ﺃﻧﻒ ﺷﺨﺺ ﻣﺎ ﻓﻬﻮ ﺑﺬﻟﻚ ﻳﺴﻤﺢ ﺑﻤﺮﻭﺭ ﻫﻮﺍء ﺃﻛﺜﺮ ﻣ ّﻤﺎ ﻳﺪ ّﻝ ﻋﻠﻰ ﺷﻌﻮﺭ ﺍﻟﺸﺨﺺ ﺑﻌُﺪﻭﺍﻧﻴﺔ‪ ،‬ﻛﻤﺎ ﺃﻧّﻬﺎ ﺗﺪ ّﻝ ﻋﻠﻰ ﺍﺳﺘﻴﺎء ﺍﻟﺸﺨﺺ ﺃﻭ ﻏﻀﺒﻪ‪ .‬ﻭﺇﺫﺍ ﻛﺎﻥَ‬
‫ﺍﻟﺸﺨﺺ ﻳﻜﺬﺏ ﻓﺈﻥّ ﺍﻟﺨﻼﻳﺎ ﺍﻟﺪﻣﻮﻳﺔ ﻓﻲ ﺍﻷﻧﻒ ﺗﺘﺴﻊ ﻣ ّﻤﺎ ﻳﻌﻄﻲ ﺍﻟﻠﻮﻥ ﺍﻷﺣﻤﺮ ﻟﻸﻧﻒ‪.‬‬
‫ﺕ ‪ ،‬ﻓﻤﺜﻼً ﺇﺫﺍ ﺍﺭﺗﻔﻊ ﺍﻟﺤﺎﺟﺒﺎﻥ ﻣﻌﺎ ً ﻭﺗﺠﻌّﺪ ﺟﺒﻴﻦ ﺻﺎﺣﺒﻪ ﻓﻴﻘﺮﺃ‬‫ﺣﺮﻛﺎﺕ ﺍﻟﺤﺎﺟﺒﻴﻦ‪ :‬ﻳﺮﺗﺒﻂ ﺍﻟﺤﺎﺟﺒﺎﻥ ﺑﻌﺪ ٍﺩ ﻣﺤﺪﻭ ٍﺩ ﻣﻦ ﺍﻟﻌﻀﻼﺕ ﻭﻟﻜﻨّﻪ ﻳُﻌﻄﻲ ِﻋﺪّﺓ ﺩﻻﻻ ٍ‬
‫ﺍﻟﻤﺘﻔﺮﺱ ﺫﻟﻚ ﺍﻟﺘﻐﻴﱡﺮ ﺑﺄﻥّ ﺍﻟﺸﺨﺺ ﻗﺪ ﻳﻜﻮﻥ ﻣﺘﺴﺎﺋﻼً ﺃﻭ ﻣﺘﻔﺎﺟﺌﺎً‪ ،‬ﺃ ّﻣﺎ ﺇﺫﺍ ﺍﻧﻘﺒﻀﺎ ﻟﻸﺳﻔﻞ ﻓﺬﻟﻚ ﻳﺪ ّﻝ ﻋﻠﻰ ﺍﻟﺘﺮﻛﻴﺰ ﻋﻠﻰ ﺷﻲءٍ ﻣﺎ‪ ،‬ﺃﻭ ﻋﻠﻰ ﺍﻟﺤﺰﻥ ﺃﻭ ﺍﻟﻐﻀﺐ‪.‬‬ ‫ّ‬

‫ﻓِﺮﺍﺳﺔ ﺷﻜﻞ ﺍﻟﻤﻼﻣﺢ‬

‫ﺼﻔﺎﺕ ﺍﻟﺸﺨﺼﻴّﺔ ﻟﻺﻧﺴﺎﻥ ﻋﻦ ﻁﺮﻳﻖ ﺷﻜﻞ ﻣﻼﻣﺢ ﻭﺟﻬﻪ‪ ،‬ﻛﻤﺎ ﻳﺄﺗﻲ‪[٣]:‬‬
‫ﻳُﻤﻜِﻦ ﺍﻻﺳﺘﺪﻻﻝ ﻋﻠﻰ ﺑﻌﺾ ﺍﻟ ّ‬

‫ﺼﻨّﻒ ﺣﺴﺐ ﻫﻴﺌﺘﻬﺎ ﻭﺷﻜﻠﻬﺎ ﻟﻌﺪّﺓ ﺃﻧﻮﺍﻉ ﻣﻨﻬﺎ‪:‬‬ ‫ﻭﻫﻲ ﺗ ُ َ‬

‫َ‬ ‫ﺍﻟﺠﺒﻬﺔ‪ :‬ﺗﺮﺗﺒﻂ ﺍﻟﺠﺒﻬﺔ ﺑﺎﻷﻣﻮﺭ ﺍﻟﻌﻘﻠﻴّﺔ‪،‬‬
‫ﺼﻒ ﺑﺬﺍﻛﺮﺓ ﺟﻴّﺪﺓ‪ .‬ﺃ ّﻣﺎ ﺍﻟﺸﺨﺺ ﺍﻟﺬﻱ ﻳﻤﺘﻠﻚ ﺟﺒﻬﺔً‬ ‫ﺍﻟﺠﺒﻬﺔ ﺍﻟﻌﺎﻟﻴﺔ ﻭﺍﻟﻤﻨﺨﻔﻀﺔ‪ :‬ﻗﺪ ﺗُﻌﺒّﺮ ﺍﻟﺠﺒﻬﺔ ﺍﻟﻌﺎﻟﻴﺔ ﻋﻦ ﺷﺨﺼﻴّ ٍﺔ ﻣﺤﺒّ ٍﺔ ﻟﻠﻘﺮﺍءﺓ ﻭﻟﻠﻤﻌﺮﻓﺔ‪ ،‬ﻭﻗﺪ ﻳﺘ ّ ِ‬
‫ﻣﻨﺨﻔﻀﺔ ﻓﻬﻮ ﻏﺎﻟﺒﺎ ً ﺷﺨﺺ ﺑﺴﻴﻂ ﻭﻻ ﻳﻬﺘﻢ ﺑﺎﻷﻣﻮﺭ ﺍﻟ ُﻤﻌﻘّﺪﺓ‪ ،‬ﻓﻬﻮ ﻳُﻔﻀّﻞ ﻋﺪﻡ ﺍﻟﺘﻔﻜﻴﺮ ﻟﺬﺍ ﺗﺠﺪﻩ ﻣﺘﻬﻮﺭﺍ ً ﺑﻌﺾ ﺍﻟﺸﻲء ﻭﻣﻨﺪﻓﻌﺎ ً‪.‬‬
‫ﻲ‪ ،‬ﻭﺍﻟﻤﺜﺎﺑﺮﺓ‪ ،‬ﻭﺣﺐّ ﺍﻟﻤﺎﻝ‪ ،‬ﺃ ّﻣﺎ ﺃﺻﺤﺎﺏ ﺍﻟﺠﺒﺎﻩ ﺍﻟﻀﻴّﻘﺔ ﻓﻌﺎﺩﺓ ً ﻣﺎ ﻳﻜﻮﻧﻮﻥ‬ ‫ﺍﻟﺠﺒﻬﺔ ﺍﻟﻮﺍﺳﻌﺔ ﻭﺍﻟﻀﻴّﻘﺔ‪ :‬ﻳﺘﻤﺘّﻊ ﺻﺎﺣﺐ ﺍﻟﺠﺒﻬﺔ ﺍﻟﻮﺍﺳﻌﺔ ﺑﺎﻟﺘﻔﻜﻴﺮ ﺍﻟﻤﻨﻄﻘ ّ‬
‫ﺿﻴﻘﻲ ﺍﻷﻓﻖ‪ ،‬ﻭﻣﺤﺎﻓﻈﻴﻦ ﻣﺘﻌﻠﻘﻴﻦ ﺑﺎﻟﺘﻘﺎﻟﻴﺪ ﻭﺍﻟﻌﺎﺩﺍﺕ ﺍﻟﻘﺪﻳﻤﺔ‪.‬‬
‫ﻫﻲ ﺍﻟﺠﺒﻬﺔ ﺍﻟﺘﻲ ﻳﻜﻮﻥ ﻁﻮﻟﻬﺎ ﻭﻋﺮﺿﻬﺎ ﻣﺘﻨﺎﺳﺒﺎﻥ‪ ،‬ﻭﻳﺘﻤﻴّﺰ ﻣﻦ ﻳﻤﺘﻠﻜﻬﺎ ﺑﺎﻟﻘﺪﺭﺓ ﻋﻠﻰ ﻣﻤﺎﺭﺳﺔ ﺃﻱ ﻣﻬﻨ ٍﺔ ﺗُﻌﻄﻰ ﻟﻪ‪.‬‬ ‫ﺍﻟﺠﺒﻬﺔ ﺍﻟﻤﺮﺑّﻌﺔ‪َ :‬‬
‫ﺍﻟﻌﻴﻮﻥ‪ :‬ﺗﺪ ّﻝ ﺍﻟﻌﻴﻮﻥ ﻋﻠﻰ ﺍﻷﺣﺎﺳﻴﺲ ﻭﺍﻟﻤﺸﺎﻋﺮ‪ ،‬ﻭﻗﺪ ﻳﺪ ّﻝ ﺣﺠﻢ ﺍﻟﻌﻴﻮﻥ ﺃﻭ ﻟﻮﻧﻬﻤﺎ ﻋﻠﻰ ﺻﻔﺎﺕ ﺷﺨﺼﻴّﺔ ﻟﻺﻧﺴﺎﻥ ﻛﻤﺎ ﻳﺄﺗﻲ‪:‬‬
‫ﻱ ﺍﻟ ُﻤﻼﺣﻈﺔ‪ ،‬ﺃ ّﻣﺎ ﺃﺻﺤﺎﺏ ﺍﻟﻌﻴﻮﻥ ﺍﻟﻤﺘﻮﺳﻄﺔ ﻓﻴﻤﺘﻠﻜﻮﻥ ﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ ﺗﺒﻨﻲ ﺁﺭﺍء ﺳﻠﻴﻤﺔ‪ ،‬ﻭﺍﻟﻌﻴﻮﻥ‬ ‫ﺷﺨﺺ ﻗﻮ ّ‬ ‫ٍ‬ ‫ﺣﺠﻢ ﺍﻟﻌﻴﻮﻥ‪ :‬ﺗﺪ ّﻝ ﺍﻟﻌﻴﻮﻥ ﺍﻟﻜﺒﻴﺮﺓ ﻋﻠﻰ‬
‫ﺼﺮﺍﻣﺔ ﻭﺍﻟﻌﻨﻒ‪.‬‬ ‫ﺍﻟﺼﻐﻴﺮﺓ ﺗُﺸﻴﺮ ﺇﻟﻰ ﺍﻟ ّ‬
‫ﻱ ﻭﻣﺘﻔﺎﺋﻞ‪ ،‬ﻭﺍﻟﻌﻴﻮﻥ ﺍﻟﻜﺴﺘﻨﺎﺋﻴّﺔ ﺗﻮﺣﻲ ﺑﺎﻟﺒﺮﺍءﺓ ﻭﺍﻟﺮﻗّﺔ‪ ،‬ﺃ ّﻣﺎ ﺍﻟﻌﻴﻮﻥ ﺍﻟﺒﻨﻴّﺔ ﻓﺘﻮﺣﻲ ﺑﺸﺨﺼﻴّﺔ‬ ‫ّ‬ ‫ﺣﻴﻮ‬ ‫ﺑﺸﺨﺺ‬
‫ٍ‬ ‫ﺗﻮﺣﻲ‬ ‫ﺍﻟﺰﺭﻗﺎء‬ ‫ﻟﻮﻥ ﺍﻟﻌﻴﻮﻥ‪ :‬ﻓﺎﻟﻌﻴﻮﻥ‬
‫ﻋﺎﻁﻔﻴّﺔ ﻭﺣﺴﺎﺳﺔ‪ ،‬ﺃ ّﻣﺎ ﺃﺻﺤﺎﺏ ﺍﻟﻌﻴﻮﻥ ﺍﻟﺨﻀﺮﺍء ﻓﻬﻢ ﻏﺎﻟﺒﺎ ً ﻣﺰﺍﺟﻴﻮﻥ‪ ،‬ﻭﺃﺻﺤﺎﺏ ﺍﻟﻌﻴﻮﻥ ﺍﻟﺴﻮﺩﺍء ﻳﺘﺴﻤﻮﻥ ﺑﺎﻹﺧﻼﺹ‪.‬‬
‫ﺼﻨّﻒ ﺍﻷﻧﻒ ﺣﺴﺐ ﺷﻜﻠﻪ ﻟﻌﺪّﺓ ﺃﻧﻮﺍﻉ ﻣﻨﻬﺎ‪:‬‬ ‫ﺍﻷﻧﻒ‪ :‬ﺗﺮﺗﺒﻂ ﻣﺠﻤﻮﻋﺔٌ ﻣﻦ ﺍﻟﺼﻔﺎﺕ ﺑﺸﻜﻞ ﺍﻷﻧﻒ‪ ،‬ﺇﺫ ﻳُ َ‬
‫ﻗﻮﺓً ﻭﺣﺰﻣﺎ ً‪.‬‬‫ّ‬ ‫ّﺔ‬ ‫ﻴ‬ ‫ﺍﻟﺸﺨﺼ‬ ‫ﺗﺰﺩﺍﺩ‬ ‫ﻋﺮﺿﻪ‬ ‫َ‬ ‫ﺩ‬ ‫ﺍﺯﺩﺍ‬ ‫ﻤﺎ‬‫ّ‬ ‫ﻓﻜﻠ‬ ‫ﻭﺷﺠﺎﻉ‪،‬‬ ‫ﻱ‬
‫ّ‬ ‫ﻗﻮ‬ ‫ﺷﺨﺺ‬ ‫ﻋﻠﻰ‬ ‫ﻝ‬‫ّ‬ ‫ﻘﻮﺱ‪ ،‬ﻭﻫﻮ ﻳﺪ‬ ‫ﻛﺒﻴﺮ ﻭ ُﻣ ّ‬
‫ﺃﻧﻒ ٌ‬ ‫ﺍﻟﺮﻭﻣﺎﻧﻲ‪ :‬ﺃﻱ ٌ‬
‫ّ‬ ‫ﺍﻷﻧﻒ‬
‫ﻕ ﺭﻓﻴﻊ‪ ،‬ﻭﻗﺪﺭﺓٍ ﻋﻠﻰ ﺍﻟﺘﺤﻜﻢ ﻓﻲ ﺍﻟﻨﻔﺲ‪.‬‬ ‫ﺍﻹﻏﺮﻳﻘﻲ‪ :‬ﻫﻮ ﺍﻷﻧﻒ ﺍﻟﺬﻱ ﻳﺸﻜﻞ ﺧﻄﺎ ً ﻣﺴﺘﻘﻴﻤﺎ ً ﻣﻊ ﺍﻟﺠﺒﻴﻦ‪ ،‬ﻭﻳﻜﻮﻥ ﺃﺻﺤﺎﺑﻪ ﺃﺷﺨﺎﺻﺎ ً ﺫﻭﻱ ﺫﻭ ٍ‬ ‫ّ‬ ‫ﺍﻷﻧﻒ‬
‫ﺍﻷﻧﻒ ﺍﻟﻤﻌﻘﻮﻑ‪ :‬ﻳﺘﻤﻴّﺰ ﺻﺎﺣﺒﻪ ﺑﺎﻟﻬﺪﻭء‪ ،‬ﻭﻳﻤﺘﻠﻚ ﺭﻏﺒﺔً ﺑﺎﻟﺴﻴﻄﺮﺓ ﻋﻠﻰ ﺍﻵﺧﺮﻳﻦ‪.‬‬
‫ﻣﺘﻬﻮﺭﺍ ً ﻭﻗﻠﻘﺎ ً‪.‬‬
‫ّ‬ ‫ﻲ‪ ،‬ﻭﻗﺪ ﻳﻜﻮﻥ‬ ‫ﺷﺨﺺ ﻣﺮﺡٍ ﻭﺍﺟﺘﻤﺎﻋ ّ‬ ‫ٍ‬ ‫ﺍﻷﻧﻒ ﺍﻷﻓﻄﺲ‪ :‬ﻳﺪ ّﻝ ﻋﻠﻰ‬

‫‪1 sur 2‬‬ ‫‪2019-06-04 00:35‬‬

‫ﺗﻌﻠﻢ ﻋﻠﻢ ﺍﻟﻔﺮﺍﺳﺔ ‪ -‬ﻣﻮﺿﻮﻉ‬ ‫‪https://mawdoo3.com/%D8%AA%D8%B9%D9%84%D9%85_%D8%...‬‬

‫ﻣﻨﻬﺠﻴﺔ ﻋﻠﻢ ﺍﻟﻔﺮﺍﺳﺔ‬

‫ﻭﻫﻲ ﻋﺒﺎﺭﺓ ﻋﻦ‬
‫َ‬ ‫ﺘﻔﺮﺱ ﻣﻨﻬﺠﺎ ً ﻳُﺴﺎﻋﺪﻩ ﻓﻲ ﺍﻟﻮﺻﻮﻝ ﻟﻠﺪّﻻﻻﺕ ﺍﻟﺨﻔﻴّﺔ ﺍﻟﺘﻲ ﻳﺴﻌﻰ ﻟﻜﺸﻔﻬﺎ‪ ،‬ﻓﺈﺫﺍ ﺃﺭﺍﺩَ ﺷﺨﺺٌ ﺗﻌﻠّﻢ ﺍﻟﻔﺮﺍﺳﺔ ﻓﻼ ﺑﺪّ ﻟﻪ ﻣﻦ ﻣﻌﺮﻓﺔ ﻫﺬﻩ ﺍﻟﻤﻨﻬﺠﻴّﺔ‪،‬‬
‫ﻳﺘﺒّﻊ ﺍﻟ ُﻤ ّ‬
‫ﻣﺤﻮﺭﻳﻦ ﺭﺋﻴﺴﻴﻴﻦ‪ ،‬ﻫﻤﺎ‪[٥]:‬‬

‫ﻫﻲ‪:‬‬
‫ﺘﻔﺮﺱ ﺑﺎﻻﺳﺘﺪﻻﻝ ﻋﻠﻴﻪ ﻋﻦ ﻁﺮﻳﻖ ﺛﻼﺙ ﺗﻘﻨﻴﺎﺕ َ‬ ‫ﺍﻻﺳﺘﺪﻻﻝ‪ :‬ﻓﻬﺬﻩ ﺍﻟﻤﻨﻬﺠﻴّﺔ ﺗُﺴﺘﺨﺪﻡ ﻋﻨﺪﻣﺎ ﻳﻜﻮﻥ ﺍﻟﺸﻲء ﺍﻟﻤﺮﺍﺩ ﻓﻬﻤﻪ ﻏﻴﺮ ﻗﺎﺑﻞ ﻟﻠﻤﻼﺣﻈﺔ‪ ،‬ﻓﻴﻠﺠﺄ ُ ﺍﻟ ُﻤ ّ‬
‫ﺍﻟﻤﺘﻔﺮﺱ ﺍﻟﺨﻠﻔﻴﺔ ﺍﻻﺟﺘﻤﺎﻋﻴّﺔ ﺃﻭ ﺍﻟﻮﻅﻴﻔﻴﺔ ﺃﻭ ﺍﻷﻣﻮﺭ ﺍﻷﺳﺎﺳﻴّﺔ ﺍﻟﻤﺘﻌﻠﻘﺔ‬ ‫ّ‬ ‫ﻋﺮﻑ‬
‫َ‬ ‫ﺗﺼﺮﻑٍ ﻣﺎ‪ ،‬ﻓﺈﺫﺍ‬‫ّ‬ ‫ﻣﻌﺮﻓﺔ ﺍﻟﺸﻲء ﺑﺎﻟﻌﻠّﺔ‪ :‬ﺃﻱ ﺍﻟﺘﺄ ّﻣﻞ ﻓﻲ ﺃﺳﺒﺎﺏ ﺣﺪﻭﺙ‬
‫ﺗﺼﺮﻓﺎﺕ ﺍﻟﻨّﺎﺱ‪ ،‬ﻓﻤﺜﻼً ﺇﺫﺍ ﺭﺃﻯ ﺷﺨﺼﺎ ً ﻳﺘﻠﻔّﺖ ﺣﻮﻟﻪ ﻓﻘﺪ ﻳﻜﻮﻥ ﺳﺒﺐ ﺣﺪﻭﺙ ﻫﺬﺍ ﺍﻟﻔﻌﻞ‬ ‫ّ‬ ‫ﺗﻔﺴﻴﺮ‬ ‫ﺑﺎﻟﺸﺨﺺ ﻭﺃﺧﻼﻗﻪ ﻭﻏﻴﺮﻫﺎ‪ ،‬ﻓﻘﺪ ﻳﻤﺘﻠﻚ ﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ‬
‫ﺟﻬﻞ ﺍﻟﺸﺨﺺ ﺑﺎﻟﻤﻜﺎﻥ‪.‬‬
‫ﻭﻫﻲ‬
‫َ‬ ‫ﻣﻌﺮﻓﺔ ﺍﻟﺸﻲء ﺑﺎﻟﻤﻌﻠﻮﻝ ﻟﻪ‪ :‬ﺃﻱ ﻓﻬﻢ ﺍﻟﻘﺼﺪ ﻣﻦ ﻓﻌﻞ ﺷﻲءٍ ﻣﺎ‪ ،‬ﻓﻘﺪ ﻳﻜﻮﻥ ﺳﻠﻮﻙٌ ﻳﻘﻮﻡ ﺑﻪ ﺍﻹﻧﺴﺎﻥ ﻏﻴﺮ ﻋﻔﻮ ّ‬
‫ﻱ ﺑﻞ ﻳﺴﻌﻰ ﺑﻪ ﻟﺘﺤﻘﻴﻖ ﻏﺎﻳ ٍﺔ ﻣﺎ‪،‬‬
‫ﺗﻘﻨﻴﺔٌ ﺻﻌﺒﺔٌ ﻷﻥّ ﺍﻟﻘﺼﺪ ﻏﺎﻟﺒﺎ ً ﻣﺎ ﻳﻜﻮﻥ ﺧﻔﻴّﺎ ً‪.‬‬
‫ﺷﺨﺺ ﻣﺎ ﻋﻨﺪﻣﺎ ﻳُﺪﺭﻙ‬
‫ٍ‬ ‫ﻲ ﻟﻺﻧﺴﺎﻥ‪ ،‬ﻛﻔﻬﻢ ﺳﺒﺐ ﺑ ْ‬
‫ُﻂء‬ ‫ّ‬ ‫ﺍﻷﺻﻠ‬ ‫ﺍﻟﻤﺰﺍﺝ‬ ‫ﻋﻠﻰ‬ ‫ً‬ ‫ﺍ‬‫ﺍﻋﺘﻤﺎﺩ‬ ‫ﻣﺎ‬ ‫ﺳﻠﻮﻙٍ‬ ‫ﻣﻦ‬ ‫ﺍﻟﺴﺒﺐ‬ ‫ﻣﻌﺮﻓﺔ ﺍﻟﺸﻲء ﺑﺎﻟﻤﻌﻠﻮﻝ ﻟﻌﻠﺘﻪ‪ :‬ﺃﻱ ﻓﻬﻢ‬
‫ﺘﻔﺮﺱ ﺑﺄﻥّ ﻫﺬﺍ ﺍﻟﺸﺨﺺ ﻓﻲ ﺃﺻﻠﻪ ﻳﺘّﺼﻒ ﺑﺎﻟﺒﻼﺩﺓ‪.‬‬ ‫ﺍﻟ ُﻤ ّ‬
‫ﺕ ﺣﻘﻴﻘﻴّ ٍﺔ‬‫ﺕ ﺧﺎﺻﺔ ﺑﺎﻹﻧﺴﺎﻥ ﻭﻻ ﺗﻌﻮﺩ ﻟﻌﻠﻢ ﺍﻟﻔﺮﺍﺳﺔ‪ ،‬ﻛﺎﻟﺤﺪﺱ ﺍﻟﺬﻱ ﻳُﻤ ّﻜﻦ ﺑﻌﺾ ﺍﻟﻨﺎﺱ ﻣﻦ ﺍﺳﺘﻨﺒﺎﻁ ﻣﻌﻠﻮﻣﺎ ٍ‬ ‫ﺍﻻﺳﺘﻨﺒﺎﻁ‪ :‬ﻭﻫﺬﻩ ﺍﻟﻤﻨﻬﺠﻴّﺔُ ﺃﻛﺜﺮ ﺍﺭﺗﺒﺎﻁﺎ ً ﺑﻤﻬﺎﺭﺍ ٍ‬
‫ﻷﻭﻝ ﻣﺮﺓ ﻛﻤﻌﺮﻓﺔ ﻣﻬﻨﺘﻪ ﻣﺜﻼً‪.‬‬ ‫ﻋﻦ ﺍﻟﺸﺨﺺ ﺍﻟﺬﻱ ﻳﻘﺎﺑﻠﻮﻧﻪ ّ‬

‫ﺻﺤﺔ ﻋﻠﻢ ﺍﻟﻔﺮﺍﺳﺔ‬

‫ﻖ ﻣﻼﺣﻈﺘﻪ ﻭﺍﻟﺘﻔﺮﺱ ﻓﻲ ﺣﺮﻛﺎﺗﻪ ﻭﺃﻓﻌﺎﻟﻪ‪،‬‬ ‫ﺷﺨﺺ ﻣﺎ ﻋﻦ ﻁﺮﻳ ِ‬ ‫ٍ‬ ‫ﻳُﺘﺮﺟﻢ ﺍﻹﻧﺴﺎﻥ ﺃﺧﻼﻗﻪ ﻭﺻﻔﺎﺗﻪ ﺑﺄﻓﻌﺎﻟﻪ ﺍﻟﻈﺎﻫﺮﺓ ﻟﻶﺧﺮﻳﻦ‪ ،‬ﻓﻼ ﻳُﻤﻜﻦ ﺇﻧﻜﺎﺭ ﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ ﻣﻌﺮﻓﺔ ﻁﺒﻴﻌﺔ‬
‫ﻕ ﺻﺎﺣﺒﻬﺎ‪ ،‬ﻭﻫﻮ‬ ‫ﺕ ﻭﺃﺧﻼ ِ‬ ‫ﻓﻌﻠﻢ ﺍﻟﻔﺮﺍﺳﺔ ﻋﻠ ٌﻢ ﺻﺤﻴﺢ ﺑﺸﻜ ٍﻞ ُﻣﻘﻴّ ٍﺪ ﻭﺿﻤﻦ ﻗﻮﺍﻋﺪﻩ ﺍﻟﻤﺤﺪّﺩﺓ ﻟﻪ‪ ،‬ﻓﻘﺪ ﻳﺬﻫﺐ ﺍﻟﺒﻌﺾ ﺇﻟﻰ ﺭﺑﻂِ ﺗﻔﺎﺻﻴ َﻞ ﺟﺴﺪﻳّ ٍﺔ ﻛﺸﺎﻣ ٍﺔ ﻓﻲ ﺍﻟﻮﺟﻪ ﺑﺼﻔﺎ ِ‬
‫ﺃﺻﺤﺎﺏ ﺍﻟﺠﺒﺎﻩ ﺍﻟﻌﺎﻟﻴﺔ ﺑﺎﻟﺬﻛﺎء‪ ،‬ﻭﻟﻜﻦ ﻻ ﻳﻤﻜﻦ ﺃﻥ‬
‫َ‬ ‫ﺍﻟﺸﺨﺺ‪ ،‬ﻓﻴﺼﻒ ﻋﻠﻢ ﺍﻟﻔﺮﺍﺳﺔ‬
‫ِ‬ ‫ﻑ ﻏﻴﺮ ﻣﻘﺒﻮ ٍﻝ ﻓﻲ ﻋﻠﻢ ﺍﻟﻔﺮﺍﺳﺔ‪ .‬ﻭﻗﺪ ﻳُﻨﻜﺮ ﺍﻟﺒﻌﺾ ﻋﻼﻗﺔ ﺍﻟﻤﻼﻣﺢ ﺑﺼﻔﺎ ِ‬
‫ﺕ‬ ‫ﺗﻄﺮ ٌ‬
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‫ﺑﺄﻥ ﻋﻠﻢ ﺍﻟﻔﺮﺍﺳﺔ ﻻ ﻳﻌﺘﻤﺪ ﻋﻠﻰ ﺻﻔ ٍﺔ ﻭﺍﺣﺪﺓٍ ﻓﻲ ﺍﻹﻧﺴﺎﻥ ﺣﺘﻰ ﻳُﺤﻜَﻢ ﻋﻠﻴﻪ‪ ،‬ﻓﺎﻟﺠﺒﻬﺔ ﺍﻟﻌﺎﻟﻴﺔ ﻳُﺼﺎﺣﺒﻬﺎ ﻣﺜﻼً‬ ‫ﺷﺨﺺ ﻳﻤﺘﻠﻚ ﺟﺒﻬﺔً ﻋﺎﻟﻴﺔً ﺫﻛﻴّﺎ ً‪ ،‬ﻭﻳُﻔﺴﱠﺮ ﻫﺬﺍ ﺍﻟﺨﻄﺄ ّ‬
‫ٍ‬ ‫ﻳﻜﻮﻥ ﻛ ّﻞ‬
‫ﺘﻔﺮﺱ ﺇﻁﻼﻕ ﺍﻟﺤﻜﻢ ﻋﻠﻰ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺬﻱ ﺃﻣﺎﻣﻪ‪[٦].‬‬ ‫ﺼﻔﺎﺕ ﺍﻟﺘﻲ ﺗﺪﻋﻢ ﺑﻌﻀﻬﺎ ﺣﺘﻰ ﻳﺴﺘﻄﻴﻊ ﺍﻟ ُﻤ ّ‬ ‫ﻭﻏﻴﺮﻫﺎ ﻣﻦ ﺍﻟ ّ‬ ‫ﻋﻴﻮﻥٌ ﻛﺒﻴﺮﺓ ٌ‬
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‫ﺍﻟﻤﺮﺍﺟﻊ‬
‫‪Amy Tikkanen, Swati Chopr، Grace Young، and others (15-11-2017)، "Physiognomy"، ↑ .1‬‬
‫‪.www.britannica.com, Retrieved 16-9-2018. Edited‬‬
‫‪.Lucy Hartley, "Physiognomy"، www.encyclopedia.com, Retrieved 16-9-2018. Edited ↑ .2‬‬
‫ﺑﺘﺼﺮﻑ‪.‬‬
‫ّ‬ ‫‪ ^ .3‬ﺃ ﺏ ﺩ‪.‬ﺇﺑﺮﺍﻫﻴﻢ ﺍﻟﻔﻘﻲ )‪ ،(2010‬ﺍﺣﺘﺮﻑ ﻓﻦ ﺍﻟﻔﺮﺍﺳﺔ‪ ،‬ﺍﻷﺭﺩﻥ‪ :‬ﺍﻟﺤﻴﺎﺓ ﻟﻠﺪﻋﺎﻳﺔ ﺍﻹﻋﻼﻥ‪ ،‬ﺻﻔﺤﺔ ‪.13 ،63-68‬‬
‫‪.Dora Markinson, "How to Read Faces"، www.wikihow.com, Retrieved 16-9-2018. Edited ↑ .4‬‬
‫ﻲ ﺍﻟﻤﻌﺎﺻﺮ‪ ،‬ﺍﻟﺠﺰﺍﺋﺮ‪ :‬ﻣﻮﻟﻮﺩ ﻣﻌﻤﺮﻱ ﺗﻴﺰﻱ ﻭﺯﻭ‪ ،‬ﺻﻔﺤﺔ ‪.50،55-48‬‬
‫ﻲ ﻓﻲ ﺿﻮء ﺍﻟﺪﺭﺱ ﺍﻟﺴﻴﻤﺎﺋ ّ‬ ‫‪ ↑ .5‬ﻓﺎﻁﻤﺔ ﺳﻔﻴﺤﻲ‪ ،‬ﺍﻟﻔﺮﺍﺳﺔ ﻓﻲ ﺍﻟﺘﺮﺍﺙ ﺍﻟﻌﺮﺑ ّ‬
‫ﺑﺘﺼﺮﻑ‪.‬‬
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‫ﺑﺘﺼﺮﻑ‪.‬‬
‫ّ‬ ‫‪ ↑ .6‬ﺟﺮﺟﻲ ﺯﻳﺪﺍﻥ )‪ ،( 1987‬ﻋﻠﻢ ﺍﻟﻔﺮﺍﺳﺔ ﺍﻟﺤﺪﻳﺚ )ﺍﻟﻄﺒﻌﺔ ﺍﻟﺜﺎﻧﻴﺔ(‪ ،‬ﻟﺒﻨﺎﻥ‪ :‬ﺩﺍﺭ ﺍﻟﺠﻴﻞ‪ ،‬ﺻﻔﺤﺔ ‪.12،14،15‬‬

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