أدب رقمي

جان كليمون Jean Clément: هل النص التشعبي التخييلي نوع أدبي جديد؟ /ترجمة محمد أسليم

يُشير مفهوم النص التشعبي بمعناه في البيئة المعلوماتية المحَوْسَبة، قبل كل شيء، إلى مجال التوثيق والقراءة. فهو، في الواقع، مجموعة تتألف من وثائق غير هرمية مترابطة بوصلات يمكن للقارئ أن يُفعِّلها وتتيحُ وصولا سريعا إلى كل عنصر من عناصر المجموعة بكاملها. ولكونه أكثر مرونة من قاعدة البيانات وأسهل قابلية للاستخدام من الموسوعة، فهو يقترحُ طريقة جديدة للقراءة الوثائقية والعالمة. ولا يتطلب تنظيم النص التشعبي في حقل معين مهارات متخصصة في الميدان فحسب، بل وكذلك مهارات في «الكتابة» ما دام الأمر يتعلق بإعداد مسارات ممكنة وتخيل شبكة مركبة من الروابط التي تنظمها والتي ستكون موجّهة «للقراءة».

يمكن العثور على خصائص  كتابة النص التشعبي في مجال النصوص التشعبية التخييلية، وهو نوع ظهر منذ حوالي عشر سنوات، ولكنه تطور تدريجيا  في الولايات المتحدة بالخصوص إذ خصَّصته صحيفة نيويورك تايمز(1) عنوانا رئيسيا لأحد ملاحقها المتعلقة بالكتب، حيثُ كانَ عددٌ صغيرٌ من الكتاب قد نشروا أعمالهم هناك بالفعل في أقراص مرنة وبدأوا في استكشاف خصائص هذا النوع الجديد من الوسائط. أما في فرنسا، فقد بدأت الحركة بالكاد. ويجد هذا التفاوت بالتأكيد تفسيره في وجود نوع من الإحجام لدى الكتاب الفرنسيين عن استخدام أدوات الكتابة المعلوماتية الجديدة، إذ أظهرت ندوات(2) أنَّ مجرد استخدام برامج لتحرير النصوص كان يثير تحفظا وغضبا لدى معظم الكتاب. أما أكثرهم استعدادا للتعامل مع جهاز الحاسوب، كميشال بوتور الذي يتوقع ظهور أدب إلكتروني، فالكمبيوتر في رأيه ليس أكثر من أداة متطورة تتيح الكتابة بطريقة مريحة جدا أو أقرب إلى  طريقتهم في الإبداع متمثلة في تأليف كتب موجهة للقراءة على الورق. وبذلك، إذا أردنا أن نرى بدايات هذا الأدب الجديد وجب الالتفات صوب محترفات الكتابة. فعلى سبيل المثال، يحاول  طلاب من جامعة باريس الثامنة، منذ بضع سنوات، كتابة روايات تفاعلية. أكثر من ذلك، في الآونة الأخيرة، بدأت ورشات الكتابة التي تديرها إليزابيث بينغ في الاهتمام بهذا النوع من الكتابة.

وللمفارقة، فالكتّاب الفرنسيون ومنظرو الأدب في بلاد الأنوار هم رواد أنصار هذه الكتابة الجديدة ومرجعياتها في أمريكا، إذ يسترشد الأمريكيون  – ضمن ما يسترشدون – بأعمال جاك دريدا ورولان بارث أو جيرار جنيت. لا شك أن لدينا في فرنسا ميلا خاصا نحو التنظير نُحسَدُ عليه في الضفة الأخرى من المحيط الأطلسي، ولكن من الصحيح أيضا أن جماعات مثل الأوليبو أو أفرادا مثل مارك سابورتا قد وضعوا منذ وقت طويل في مجال الإبداع لبنات كتابة النصوص التشعبية – التي تسمى أيضا كتابة تشعبية – وإن كانت أعمالهم الورقية ليست سوى نصوص تشعبية جنينية.

تشير هذه الملاحظات الأولية إلى أننا نشهد بدون شك ولادة نوع جديد، ولكن لا أحد يستطيع أن يتنبأ بمستقبله، لأننا لا نتوفر على مسافة زمنية وما يكفي من الأعمال العديدة والمتنوعة، لذا سأكتفي هنا بتسليط الضوء على بعض خصائص أعمال منشورة وتوَقُّع مستقبل تلك التي ستظهر في المستقبل.

 

فضاء القراءة والفضاء التشعبي

يَفرضُ التقسيم التقليدي للسرد التخييلي إلى فصول ومشاهد ووصفٍ وفقرات، وما إلى ذلك، إيقاعا في القراءة يتميز بعودة الشبيه والمختلف حسب تدرج زمني يحدده المؤلف. وبغض النظر عما إذا كان هذا التتابع يستند إلى تسلسل القصة أو العكس، فالسرد يجري في الزمنية باستخدام الطرائق التقليدية للاسترجاع أو التنفيذ المُسبَّق. ويبقى الأساسي أنَّ المؤلف يفرض على القارئ وتيرة لا يمكن لهذا الأخير إلا أن يتبعها على غرار المستمع الذي لا يملك، لكي يسمع قطعة موسيقية، أي خيار آخر عدا مواكبة تدفق النوتات حتى النهاية.

والأمر بخلاف ذلك في النص التشعبي بسبب القيود التي يفرضها الحامل، ولكن أيضا بسبب الإمكانيات الجديدة التي يسمح بها هذا الحامل. في الواقع، لن يطيق القارئ على الإطلاق أن يُكره على قراءة صفحات تنسدل على الشاشة كما تُعرض صفحات الكتاب الورقي، أو بالأحرى ألا يكون له أي اتصال مع النص إلا من خلال نافذة يظهر فيها العمل كما لو كان ورقة بردي. ولكوننا معتادين على استخدام جسم مادي ثلاثي الأبعاد في الكتابة والقراءة، فنحنُ نتقبل بصعوبة كبيرة أن تحوله الشاشة إلى مجرد سطح. بالتأكيد، يجوز تصور أن يُعيدَ لنا الحاسوب في المستقبل القريب البُعدَ الناقص في قراءتنا على الشاشة فنستطيعَ التنقل في كتاب يُعادُ إنتاجه افتراضيا، ولكن مجرد استرجاع عاداتنا القديمة قد يحرمنا من الإمكانيات الجديدة التي يتيحها النص التشعبي اليوم.

في الواقع، يعوض النص التشعبي محدودية الشاشة من خلال إتاحته للقارئ إمكانيات جديدة يفتقدها الكتاب، إذ خلف الإطار المستطيل الذي يحد من مجال قراءتنا، يوفر الحاسوب، وعلى نحو مثير للدوار، فضاءً أعمق بكثير من فضائنا الثلاثي الأبعاد المألوف، وهو هذا الفضاء المتعدد الأبعاد الذي يسمى بالفضاء التشعبي. على سبيل المثال، فالفقرة التي أقرأها الآن على الشاشة لم تعد مرتبطة بسابقتها مباشرة، بل تندرج في بنية نصية تشعبية تنسج روابط محتملة بين مختلف مقاطع شبكة مركبة، بالتالي لم تعد قراءتي خاضعة لنظام الصفحات الثابت، بل أصبحت تنفتح على فضاء جديد يمكنني أن أجُوبَه الآن وفقا لمزاجي أو فضولي – بوصفي قارئا- مستكشفا لنوع جديد من النص المتحرك الآفاق باستمرار.

 

النصوص الشجرية والنصوص التوليفية

ليسَ رفض إخضاع النص لتسلسل يحكمه نظام نهائي بالأمر الجديد، بل هو قديم جدا. وسأكتفي بذكر مثال واحد مأخوذ من الأدب الصيني، هو «الأيشنج أو كتاب التحولات الكبرى»، وهو عبارة عن مجموعة من الأمثال الكونفوشيوسية والأقوال الكهانية. يتعلق الأمر هنا بمجموعة تتألف من 64 سُداسية ترتبط فيما بينها بعلاقات تشابه، وتناظر، وتعارض، وما إلى ذلك. ولا تُقرأ هذه النصوص قراءة خطية، بل وفقا للمعلومات التي تقدمها ضربة القضبان، والدبابيس أو النرد. وأقرب إلينا، تقترحُ المجموعة الشعرية لجاك روبو، بعنوان علامة الانتماء [Roubaud 1967]، صدى قديما لكتاب التحولات الآنف، حيث تعرض المجموعة مسارات للقراءة تستوحي تغير موقع البيادق في شوط من لعبة الغولف. وبشكل عام، هناك تقليد كامل من الأدب الشذري الشعري أو القول المأثور، يتضح خصوصا في كتابات نيتشه الذي يسعى إلى استعادة تدفق الفكر من خلال مُعارضته للمصنَّف وروح النسق ووقت الانتقالات الميت. وفي مقدمة كتاب رولان بارث شذرات خطاب عاشق، يقول المؤلف إن نصوصه «صور لا يمكن أن تُجمَع، ولا أن تُنظَّم، ولا أن تسير أو تفضي إلى نهاية» [Barthes 1977, p. 11].

في مجال السرد التخييلي، قلما نجد نصوصا تسعى إلى الإفلات مما سمي بـ «منطق الحكي»، لأنَّ السرد يدخل بحكم تعريفه، فيما يبدو، في الزمن ويقتضي نظاما وتقدما تسلسليا. فقد وصف أرسطو في الفصل السابع من كتابه فن الشعر الحكاية بأنها «ما له بداية ووسط ونهاية»، وأضاف: «لا تبدأ الحكايات الجدية عشوائيا ولا تنتهي عشوائيا» [Aristote 1990, p.114]. أما النص التشعبي، فيزعم قطع الصلة بهذا التقليد الراسخ، ومن هذه الوجهة للنظر يحسن التمييز بين الحكايات الشجرية متعددة الفروع، وتلك التي – تحت غموض المسارات الظاهري – ترسُمُ مسارات خطية وتسرد قصة واحدة أو أكثر سردا تقليديا. توجد أمثلة عديدة منها ورقية أو في حامل رقمي، ويمكن التمييز فيها بين صنفين تبعا لكيفية التصميم والاشتغال.

فهناك أولا الحكايات التي بخضوعها لنموذج سردي وحيد (أكثرها كلاسيكية هو نموذج البحث) تعرضُ حلقات حسب ترتيب صارم لا يقبل التبديل، إذ تأخذ كل فئة من الحلقات مكانا محدَّدا في السَّرد. وبإحلال الصدفة محل حرية اختيار القارئ على هذا النحو، تكون النتيجة هي آلة توليد قصص بشكل تلقائي [Clément, 1991]، كما هو الحال، على سبيل المثال، مع برنامج حكاية(3) الذي ينتج قصصا قصيرة أولية بالطريقتين: العشوائية أو التفاعلية. ويوجد مشتق من هذا النموذج في الحكايات ذات المسارات الحَلَقية التي تقدم مسارا أساسيا مع إمكانيات وجود تنويعات في مواضع مختلفة، فيتقلص توليف الحلقات نفسه وفقا لذلك. والأعمال المسماة «كتبٌ- بطلُها-القارئ» مثال معروف عن ذلك، إذ تعرض نفسها بشكل مسارات مسهَّمة تتقدم بكيفية شبه مُنظمة من لدن المؤلف وتُفضي دائما إلى إحدى نتيجتين ممكنتين: انتصار البطل أو موته. ونرى أن النصوص الشجرية، بصرف النظر عن الجهاز الذي يتخيله الكاتب، تُصمَّمُ لكي تُقرأ خطيا، حيثُ كل مسار فريد هو مسلك يسرد حكاية ويسوقها إلى نهايتها.

صحيح، قد يرى المؤلف من التهور منح القارئ سلطة قيادة الحكاية. وعلى حد علمي، فقد قام بمثل هذه المحاولة كاتب واحد حتى الآن، هو مارك سابورتا في عمله المعنون بـ التركيب رقم1، ويقدم المؤلف فيه مثالا جيدا لتوليف كلي فريد من نوعه في تاريخ الرواية. فالصفحات الـ 150 التي يقدمها للقارئ لم يتم ترقيمها وترتيبها وتغليفها كالكتاب، بل تم وضعها عشوائيا في علبة ورقية هي غلافها ووعاؤها في آن. وتشكل كل صفحة جزءا فرديا، قابلا للعزل، إذ يمكنها أن تشغل أي مكان في الكتاب. ويشير المؤلف في مقدمة كتابه إلى أنَّ «القارئ مدعو لخلط هذه الصفحات كما يفعل في لعبة البطاقات، وسحب مجموعة من الأوراق بيده اليسرى إن شاء ذلك كما يفعل المرءُ عند العرافة قارئة البطاقات، والترتيب الذي ستأخذه الأرواق، بعد اختيار مجموعة منها، هو ما سيوجه مصير س». وبالقيام بعملية حسابية، نستنتج أن عدد القراءات الممكنة لهذه الرواية هو 150 قراءة مختلفة! ينتابنا الدوار أمام عمل يستوعبه الخيال بالكاد. ومع ذلك، فقارئ هذا العمل التخييلي التوليفي يقتنع بأن وراء كل النسخ الممكنة لهذا العمل هناك قصة واحدة يمكنه التعرف إلى شخوصها وأماكنها، وأنه يستطيع أن يروي هذه الحكاية. لذلك، فهو يُغرى بإجراء اختيارات، فيفضل رسم خطوط سردية بدل أخرى لأنها تولد معنى في رأيه، بيد أنه لا يحتفظ من هذا التوليف الكلي إلا بتوليفة محدودة. ومن هذه المجموعة من النصوص تنتابه رغبة إنشاء نص تشعبي.

يمكننا الآن أن نقترح تعريفا مؤقتا للنص التخييلي التشعبي يسمح بالتمييز بين القصص الشجرية والتوليف الخالص: يشترك النص التشعبي مع الأخيرين في مفهوم الوحدات السردية الشذرية. ولكن هذه المقاطع لا تخضع كليا لنظام ما، كما هو الحال في النصوص الشجرية، ولا تكون غير منظمة تماما، كما هو الحال، في التوليف الكلي، وبذلك يكون النص التشعبي عبارة عن مجموعة من المقاطع النصية شبه المنظمة.

 

أثر القارئ

مع هذا الشِّبْه النظام الذي أتاحه الحامل المعلوماتي يتحقق حلم قديم جدا، هو حلم إشراك القارئ في كتابة العمل الأدبي. لا شك أن كل قراءة تساهمُ في إبداع النص الذي تقرأه وأنَّ كل قارئ هو مؤلف مشارك بطريقته من خلال قراءته للعمل. ولكن قيود الورق لم تسمح بالتحقيق الكامل لرغبة الكُتَّاب في إشراك القارئ في إبداعهم على نحو أكثر. أقصى ما نجده، منذ ستيرن وديدرو، هو محاولة تبديد الوهم الروائي بظهور مؤلف- سارد يخاطب القارئ ويذكره بأن كل حكاية هي لعبة وأنَّ على القارئ أن يؤدي دوره فيها.

وقد دفع الأدب الحديث هذا الانشغال بالقارئ إلى حد إدخاله في كواليس الإبداع، على نحو ما فعل أندريه جيد في روايته مزيفو النقود، حيث أدرج يوميات الرواية قيد الكتابة، وتساءل بروست في روايته البحث عن الزمن المفقود عن عمل الإبداع، وناوب سيلين في رواياته بين زمن الخيال وزمن الكتابة، وأدرج جويس في روايته استيقاظ فينغانز مختلف مسوَداتها [Bolter p. 136]. ومن بين كل هذه المحاولات، تبقى محاولة جاك روبو هي الأكثر انفتاحا على النص التشعبي. فهو في روايته الأخيرة الحَلَقة، يناوبُ في الترتيب المطبعي والمكاني للنص بين فقرات الذكريات وتأملاته في العمل وهو يتطور تحت عيني القارئ.

يُمكن لهذا التعاون بين قارئ العمل ومؤلفه أن يُسجَّلَ بطريقة أخرى. كل قراءة هي رحلة، وكل قارئ يتقدم في نص القراءة بشق طريق له فيه. هذا التجوال يمكن أن يكون سارا أو مؤلما، يمكن أن يكون مباشرا أو متعرجا، يمكن أن يسلك عبر قنوات أو أن يتابع الطريق الرئيسية التي رسمها تتابع صفحات الكتاب. فهناك طرق بعدد القراء، وهناك ألف طريقة لقراءة كتاب ما. كما يمكنني أن أبدأ القراءة من فهرست المحتويات، وأن أتخطى المقدمة، وأن أصفح فصول كاملة بشكل عرضي، يمكنني أن أجتاز سهوا فصولا كاملة، وأن أعيد قراءة هذا المقطع أو ذاك عشر مرات، أن أعود بقراءتي إلى الخلف. وباختصار يمكنني أن أسير وأنا «أقفز مسرورا بالرقص فرحا»، كما يقول مونتانييه. وهذا التسكع بسير مختلف هو ما يبني تدريجيا الكتاب كما سيعلق في ذاكرتي ويمنحه هذا التفرد الذي لا يعود لي.

يمنح النص التشعبي ميزة القدرة على الاحتفاظ بأثر لهذه الرحلة في الكتاب، معترفا بذلك للقارئ بدوره في صياغة النص المقروء وظهوره، ومُدرجا إياه في مادية جهازه. في الواقع، تكاد حوامل النص التشعبي كلها تمنح وظائف تتيحُ الاحتفاظ بأثر لمسار القارئ. من بين أكثر هذه الوظائف شيوعا على الأرجح:

  1. إمكانية طبع المقاطع المقروءة، وبذلك يتم الاحتفاظ بأثر من النص نفسه؛
  2. القدرة على عرض قائمة هذه المقاطع وطباعتها، وبذلك تتاح إمكانية الحصول على نوع من خريطة القراءة؛
  3. أخيرا إمكانية الرجوع من المسار الذي تمَّ اتباعه لتمكين القارئ من الانعطاف صوب مسارات أخرى، كما هو الحال في لعبة البحث عن الكنز، حيث يتراجع المرءُ عندما يأخذ وجهة خاطئة.

من القراء من لا يقرأون كتابا دون أن يحملوا في اليد قلم رصاص أو قلما ملوَّنا، ويدسون في الكتاب واسمات صفحات أو بطاقات صغيرة. إنها طريقة لتجسيد أثر قراءتهم، وترك بصمتهم بجانب بصمة المؤلف. وتشجع بعض النصوص التشعبية هذه القراءة / الكتابة، وذلك بترك هامش، على سبيل المثال، يمكن الكتابة فيه أو بوسم حدود الصفحة المادية بأيقونة(4) تظهر على الشاشة. وإلى هذه الوسائل التي تظل كلها كلاسيكية ولا تقوم بأكثر من محاكاة أنشطة الكتابة التي يتيحها الكتاب التقليدي بالفعل، تُضاف أحيانا إمكانية تدخل القارئ بإدراج كتابته في نص المؤلف نفسه، وذلك بالانخراط في مسار النص عن طريق إعادة كتابته أو بإدراج وصلات إلكترونية تربط مقاطع جديدة بالنص التشعبي الإبداعي الأول.

عندما يصبح أثر مسار القراءة أثرا للكتابة تُلغى الحدود بين من يقرأ ومن يكتب، بين القارئ والكاتب. وقد جعل رولان بارث في كتابه س/ز من هذه الإمكانية لانتقال النص المقروء المعيار الأسلم، في نظره، لتقويم النصوص:

« […] ليس تحدي العمل الأدبي (الأدب بوصفه عملا) أن يجعل قارئ النص ليس مستهلكا له فحسب، بل وكذلك منتجا له. ويتميز أدبنا بالطلاق التام الذي تحافظ عليه المؤسسة الأدبية بين صانع النص ومستعمله، بين مالكه وزبونه، بين كاتبه وقارئه، وبذلك يُتركُ هذا القارئ لنوع من الجمود والسلبية، وبكل صراحة، يُتركُ لنوع من الجدية: فبدلا من أن يلعبَ هو نفسه، وأن ينغمس كليا في سحر الدال ولذة الكتابة لا يبقى له سوى حريته في أن يقبل النص أو أن يرفضه، إذ لا تصبح القراءة أكثر من مجرد استفاء. وإذا، فإزاء النص القابل للكتابة تقف قيمته المضادة، وهي قيمته السلبية والارتدادية: ما يمكن أن يُقرأ دونَ أن يُكتَب: القابل للقراءة. ونسمي نصا كلاسيكيا كل نص يقبل القراءة دون الكتابة [Barthes 1970, p.10].

يدخل هذا الأثر للقارئ أيضا بطريقة أخرى في العمل التشعبي، وذلك بالحذف الجزئي للنص الأصلي ومؤلفه. لأنه، إذا كان كل مسار للقراءة يُخرج إلى حيز الوجود النصوصَ المقروءة من خلال إعادة بناء تسلسلها، فهو يُبقي في الوقت نفسه المسارات الأخرى الممكنة في المجال الافتراضي. أسوأ من ذلك، أنه يُرسلُ إلى العدم الجزء الأكبر من العمل. فنص ستيورت ملثروب حديقة النصر، بشاشاته-صفحاته الـ 993 وبروابطه الـ 2804، يُثبط مسبقا كل محاولة لقراءته قراءة شاملة. لكونه لم يُبنَ حسب منظور واحد يُفضي إلى الصفحة الأخيرة، بل تمّ تأليفه لكي يُزارَ كما يُزارُ معرضٌ تشكيلي أو تزارُ مدينة أجنبية، وبالتالي فنظام قراءته المفضل هو النّزهة، من ثمة فهو يدعونا لمغادرته في أي لحظة. تنوه إلينا ظهيرة مايكل جويس منذ الصفحات الأولى بأنه «عندما تكف القصة عن التطور، عندما تصيرُ دون مخرج أو عندما تتعبكم مساراتها، فتلك نهاية تجربة قراءتكم». ثم يُضيف «كما هو الحالُ في كل سرد تخييلي، فالنهاية قيمة مُشتبه بها». وبذلك، يقدِّمُ النص التشعبي للقارئ علاقة جديدة مع العمل والمؤلف. لقد افتقد هذان كليا وسائلَ إثبات نفسيهما، وأمام رغبتنا العابرة في متابعتهما، أصبحا يقدمان نفسيهما إلينا بتواضع. لم يعد الأدب يؤخذ مأخذ جد، وبالتالي فقد أصبح لعبا.

 

تفكيك الحكاية

الضحية الأولى للتخلي عن السرد التقليدي هي الحبكة نفسها. فبعد قراءة الرواية التشعبية، يخرج القارئ بالطبع بفكرة عن موضوع قراءته، ولكنه يعجز عن رواية القصة. أولا، لأنه لم يقرأ سوى مقاطع منها. ثم لأنه قرأها في ترتيب غير منطقي أحيانا، وأخيرا لأن في النص العديد من القصص أو ربما ليس هناك قصة أصلا. في السرد التقليدي، لا تتبع الوحدات السردية دائما خيط القصة، ولكن يُفترضُ التصرف الذي يأمله المؤلف من القارئ أن يساهم في بناء الحبكة. يعطي الحامل الورقي لتنظيم الحكاية طبيعة ثابتة، وبالتالي جوهرية. يستطيع المؤلف أن يُنظِّمَ آثار المفاجأة، وأن يخلق تشويقا، وأن يغير آفاق روايته. وفي سائر الأحوال، يكونُ هو المالك الوحيد لزمام سيره وطريقه. أما في النص التشعبي، فيكون القارئ بمثابة مركبة فضائية أطلقتْ في الكون [Bolter 1991, p.125]. يمكنه أن يتبع المسار الذي يفرضه عليه خموله (وهذا ما يقوم به عندما يتتبع الروابط التشعبية الافتراضية)، ولكن يمكنه أيضا أن يتعرض لجاذبية الكواكب التي يصادفها، فيدخل في مدارها (فيختار آنذاك أن يتخلى عن مواصلة المسار الذي اتبعه حتى الآن ليأخذ وجهة أخرى)، فيجازف آنذاك بأن يتيه من فلك لآخر، لأنَّ تركَ خيط قصة ما على طول الطريق في النصوص التشعبية، كما تدعو إليه الكلمات الروابط («الكلمات التي تُنتِجُ«) هو فقدانٌ للعلامات التي شيدتها القراءة وانتقالٌ إلى قصة جديدة دون معرفة كيف بدأت.

 

الزمان والمكان

هذا الإضعاف للحكاية هو نتيجة تغيير أحدثه النص التشعبي، ويتمثل في الانتقال من البعد الزماني للسرد إلى بعده المكاني. في مقال شهير لستيورت ملثروب [Moulthrop 1991] يأخذ هذا الباحث من بورخيس استعارة الحدائق ذات الممرات المتشعبة، فيبين كيف أن قارئ النص التشعبي يتصرفُ على عكس القارئ العادي. فبينما «يتقدم» هذا الأخير في قراءته وهو واثق من أنه يتجه نحو نتيجة سوف تسلط الضوء بأثر رجعي على المقاطع المقروءة، يطوّر قارئ النص التشعبي حبكته الخاصة داخل فضاء جغرافي. ويتخذ من هذا الفضاء، بمعالمه المتغيرة، مرشدا له ويسعى لإعادة بنائه لكي يمنحه معنى. وبعض النصوص التشعبية تسمح للقارئ بإلقاء نظرة عل خريطة النص وبعضها الآخر لا تسمح بذلك. ففي قصة حديقة النصر، يعرض ستيورت ملثروب منذ الصفحات الأولى تصميما مبسطا لنصه التشعبي، مما يعطي القارئ فرصة ولوج الحكاية باختيار هذا المكان أو ذاك من نصه – حديقته. ويحمل أحد أكثر البرامج المعلوماتية استخداما من لدن الكتاب الأمريكيين اسم Storyspace («فضاء الحكاية») كما يحمل كتاب ج. بولتر حول النصوص التشعبية عنوان The Writing Space («فضاء الكتابة»).

في نص الحَلَقة، يعود جاك روبو إلى فنون الذاكرة القديمة، فيأسف على اختفاء تقاليدها التي كانت تضع أشياء الذاكرة في أماكن مألوفة (غرف مبنى، على سبيل المثال) لتسهيل العثور عليها بواسطة رحلة خيالية [Roubaud، 1993، p.30]. والنص التشعبي يجدد، على نحو ما، الصلةَ بهذه الممارسة التي توقفت في القرن السابع عشر. في الواقع، يكون الزمن فيه وكأنه قد توقف وتقلص إلى ذرات مرتبطة بأمكنة وغير قابلة للتجزئة ولا القياس. وإذا ما اشتغل مجددا في بعض الأحيان من جزء إلى آخر، كما هو الحال في السرد التقليدي، فذلك لا يدوم لفترة طويلة، إذ سرعان ما يوقفه كل تشعب ويُجمِّده.

 

أصوات سردية

يُساعدُ هذا الاختفاء لزمن السرد بطريقته على اختفاء الشخصية. فبحرمان هذه الأخيرة من بُعدها الزمني لم تعد لها قصة مستقرة وقابلة للتعرف. لم تعد الشخصية أكثر من بطل بين أبطال آخرين، وصوت حكائي غير محقق. من هذه الوجهة للنظر يكون النص التشعبي هو وريث الثورة التي هزت الرواية الغربية في بداية القرن العشرين. وسط التشويش والغضب، ساهم وليام فوكنر في تفكيك شخصياته بمنحها أسماء متطابقة عمدا. وفي نص تشعبي يحمل عنوان شهوة، من تأليف ماري كيم أرنولد، لا يُشارُ إلى الشخصيات سوى بأسمائها الشخصية المذكرة والمؤنثة وضمير الغائب.  ويتفاقم تجريد الشخصيات من هويتها هنا عندما يدرك القارئ أن عبارات الشخصية الواحدة تتكرر حرفيا على لسان الشخصية الأخرى في سياق لاحق.. وبذلك ينقلبُ السيناريو الذي كونه القارئ سابقا، فلا يجد بدا من إعادة النظر في مجمل الحكاية. وكما هو الحال في بعض أعمال الرواية الجديدة (رواية بيت الموعد لألان روب غرييه)، على سبيل المثال، قد يبلغ هذا القلب للأحداث حد أن يعثر القارئ مجددا على شخصية تركها ميتة في مقطع سابق من الرواية كما في حالة شخصية إميلي الصغيرة في رواية حديقة النصر.

مقارنة بمعظم الروايات الحديثة الأكثر تفكيكا، يضيف النص التشعبي أيضا بعدا إضافيا. لقد كان فولكنر يُضبب هوية شخوصه ليُلتَقطَ جوهرُها على نحو أفضل. ومع النص التشعبي، هذا الصوت نفسه هو ما يتم تشويشه. ففي شمس الظهيرة، على سبيل المثال، هناك مقاطع تتكون من مجرد مونولوج داخلي لا شيء يسمح بنسبته لأي شخصية. وعندما يضع النص التشعبي هذه المقاطع في مفترق طرق محتملة عديدة، فهو يجعل منها نوعا من مؤشرات اتجاه الرياح التي تضعنا في مسار يختلف تبعا لهبوب الريح. فالصوت الذي نظن أنه لهذه الشخصية أو تلك، سرعان ما يتضح، لدى قراءة المقطع نفسه في ترتيب مختلف، أنه لشخصية أخرى.

وبذلك لا تتوقف عملية إعادة تشكيل صورة الشخصيات الخيالية وملامحها، كما تتفكك الأصوات السردية نفسها، محققة على مستوى القارئ ما وضعه باختين على صعيد المؤلف: «يتطور الفنان الناثر في عالم مليء بكلمات الآخرين التي يبحث عن طريقه وسطها […] كل كلمة عن سياقه الخاص إلا وتأتي من سياق آخر سبق أن فسره غيره. لا يعثر تفكيره سوى على كلمات سبق أن أخِذَتْ بالفعل» [Bakhtine 1970, p.262-263].

 

جهاز مكشوف

أظهر جان ريكاردو[Ricardou 1973] ، في معرض دراسته للصراع الدائر في كل عمل تخييلي، بين مكونه المرجعي ومكونه الحرفي، كيف أن روائيي المدرسة الجديدة قد فضلوا المكوِّن الأخير. ومع ذلك، فمن بين كل الصور / الشخصيات التي يمكن أن يأخذها المكون الحرفي، أظن أنّ صورة واحدة تميز النص التشعبي أفضل من أي سمة أخرى، وهي التقعير. ينتج الروائي هنا، إلى جانب الحكاية الرئيسية، قصة صغيرة تعتمد في أغلب الأحيان صورة (رسم، منحوتة، بطاقة لعب، وما إلى ذلك.) تجسد الحكاية الرئيسية بطريقة رمزية. ويضيف ريكاردو أن هذه الصورة في كثير من الأحيان هي التي تُنجبُ النص. وأفترض أنَّ النص التشعبي، داخل جهاز النص التشعبي نفسه، هو الذي يقدم الشكل الذي ينعكس فيه الخيال بكامله، وذلك في مستويات ثلاثة:

  1. أولا في المستوى المادي، يضع الحامل المعلوماتي أو حاملُ القراءة القارئَ في وضعية تؤثر في تحديد اختيار مسار. بوجود القارئ نفسه أمام عمل لا يمكن أن يحصل منه سوى على رؤية محلية، فهو يتمثل النص بمثابة مسار يتعين عليه أن يسلكَه وسط ممرات تبدو له من نواح عديدة كمتاهة. في هذا الصدد، كتب ستيورت ملثروبب في مستهل نصه التشعبي: «تفضلوا / داخل المتاهة : البداية “Come in/ IN THE LABYRINTH: BEGINNING
  2. بعد ذلك، يسمح التفاعل الذي يمنحه النص التشعبي، على مستوى الحكاية، بالأخذ بعين الاعتبار للمسارات التي اجتازتها القراءة لكي يتيح أو يمنع، على العكس، الوصول إلى بعض أجزاء النص. بذلك، لن يُعرض المقطع نفسه بطريقة واحدة لدى المرور مرتين. في نص الشهوة، لدينا بنية لولبية: عندما يمر القارئ ثانية من الأماكن نفسها، يجد الخيارات المتاحة له تتقلص إلى أن يدرك أنه يدور في دائرة مغلقة، فيبحث عن وسيلة للخروج بالنقر على كلمات النص.
  3. أخيرا، على مستوى القصة، تكون الشخصيات نفسها مثل القارئ، حيثُ لا تملك سوى نظرة جزئية على القصة، إذ يبدو لها العالم ملغزا ومبهما. تنغلق كل شخصية في تصورها الخاص لعالم الخيال وفي منطقها الخاص.

وبالتالي فهناك تقعير للقصة بالسرد وتقعيرٌ للسرد بالجهاز المادي. ووجه هذا التطابق هو المتاهة التي تشتغل كاستعارة تسلط الضوء على الخيال وترسم رؤية للعالم. يكتب ستيورت ملثروب في شهوة النصر «ربما نعيش غارقين في الوسائط التشعبية وما بعد الحداثة، في عالم يشبه على نحو مريب حديقة الممرات المتشعبة».

 

استنتاج

من خلال إعادة النظر في السرد والشخصية، وتفتيت وجهة النظر إلى العالم، والانشغال بأولوية المكون الأدبي في العمل، نرى أن كل ما يقوم به النص التشعبي التخييلي هو الرجوعُ إلى الإشكاليات قيد الاشتغال في الرواية من جيمس جويس إلى ألان روب غرييه ودفعُ هذه الإشكاليات إلى حدودها القصوى. وما يميزه هو جهاز القراءة.  ولكونه يوفر حاملا جديدا للخيال، فهو يفتح أمام هذا الأخير أبواب الشأن الافتراضي. لم يعد الكاتب متأكدا مما كتب ولا القارئ متأكدا مما قرأ. تتكون تشكّلاتٌ وتنحل، تتشعبُ مسارات أو  تقصر، تأتي شخصيات ثانوية في المقدمة بينما تختفي أخرى. كل قراءة تضعُ في الواجهة صورا وأشكالا تولد وتموت في تجدد دائم. بذلك، فقد أصبح الخيال خيالا تشعبيا.

إنَّ مستقبل هذا الجنس الجديد غير مؤكد، فهو لا زال ينتمي إلى الأدب التجريبي، وجمهوره محدود، ومؤلفوه جامعيون في معظم الأحيان. وباعتباره نوعا أدبيا، فهو مهدد من لدن الإمكانيات التي يتيحها حامله نفسها. في الواقع، تتيحُ المعلوماتية الجمع بين النص والصوت والصورة. وبعض النصوص التشعبية(5) توظف بالفعل هذه الإمكانات، ولكن باحتشام. ومع ذلك، فالاحتمالات تبقى هائلة، بدءا من رواية الصورة التفاعلية إلى أشكال تعتمد الوسائط المتعددة الأكثر تطورا. ليس هناك أي ضمانة في ألا ينحل فيها النص التشعبي الأدبي، وهو نوع ناشئ بالكاد، لصالح أعمال تخييلية متعددة الوسائط هي في طور الحَمْل، وقد تشكل إبدالا (أو باراديغما) جديدا للعمل الكلي الذي لا زال يحلم به عدد من الكتاب.

جان كليمون Jean Clément

أستاذ بشعبة الوسائط التشعبية

جامعة سان دُني (باريس 8)

 

  • Robert Coover, “Hyperfiction: novels for the Computer”, The New York Times, August 29, 1993.
  • يُنظر، على سبيل المثال:

– Jacques Anis et Jean-Louis Lebrave (sous la direction de), Texte et ordinateur, les mutations du Lire-Écrire, Centre de Recherches linguistiques, Université de Paris X Nanterre, 1991, 1993.

  • Alain Lambert, Conte 2, FIL 1988.
  • كما في مثال برنامج Voyager Expanded Book
  • Ambulance de Monica Moran; Uncle Buddy’s Phantom House de John McDaid

مـراجع:

ANIS Jacques et LEBRAVE Jean-Louis (sous la direction de), Texte et ordinateur, les mutations du Lire-Écrire, Centre de Recherches linguistiques, Université de Paris X Nanterre, 1991, 1993.

ARISTOTE, Poétique, Le Livre de poche, 1990.

ARNOLD Mary-Kim, Lust, in “The Eastgate Quaterly Review of Hypertext”, Eastgate Systems, Inc., Cambridge MA, 1993.

BARTHES Roland, Fragments d’un discours amoureux, Seuil, 1977.

BARTHES Roland, S/Z, Seuil, 1970.

BAKHTINE Mikhaïl, La poétique de Dostoïevski, Seuil, Paris, 1970.

BOLTER Jay David, Writing Space, Lawrence Erlbaum Associates, Hillsdale, New Jersey, 1991.

CLEMENT Jean, “La machine à raconter des histoires”, in Le Journal des Instituteurs, Nathan, 1991.

JOYCE Michael, Afternoon, a Story, Eastgate Systems, Inc., Cambridge MA, 1987.

MOULTHROP Stuart, “Reading From the Map: Metonymy and Metaphor in the Fiction of “Forking Paths”, in Paul Delany et George P. Landow (sous la direction de) Hypermedia and Literay Studies, MIT Press, 1992.

MOULTHROP Stuart, Victory Garden, Eastgate Systems, Inc., Cambridge MA, 1992.

RICARDOU Jean, Le nouveau roman, Seuil, 1973.

ROUBAUD Jacques, La Boucle, Seuil, 1993.

ROUBAUD Jacques, Signe d’appartenance, Gallimard, 1967.

SAPORTA Marc, Composition no 1, Seuil, 1965.

السابق
كلود بيرسزتيجن Claude Bursztejn: التفكير التشعبي/ترجمة محمد أسليم
التالي
صوفي ماركوط Sophie Marcotte: النص التشعبي/ترجمة محمد أسليم

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