جهان‌بینی ریزوماتیک دلوز در هم‌نوایی شبانۀ ارکستر چوب‌ها

Gilles Deleuze, the prominent Post-structuralist philosopher, challenged the traditional patterns of Western thought. His “rhizomatic system” paves the way for a polyphonic and decentralised reading of the text. Informed by Deleuzian thought, the present study investigates Reza Ghasemi’s The Nocturnal Harmony of Wood Orchestra (Hamnavāei Shabāneh-e Orkestr-e Choob-hā) in the light of “becoming,” “deterritorialisation and reterritoralisation,” and “de-autorisation.” This descriptive-analytical research comparatively explores Deleuzian concepts in accordance with narrative structure, characterisation, and the subtext to offer a Postmodern reading. The results of this study show that by moving beyond linear patterns, decentralising the narrator’s authority, and crafting liminal spaces, Ghasem turns his novel into a text that reflects Deleuzian philosophy. The process of “becoming” in character-metamorphosis, “deterritorialization” through the rupture of fixed identities, and “de-auhtorisation” via the collapse of grand narratives are salient features of the novel. By transcending binary logic, this study presents a multi-layered Postmodernist reading of The Nocturnal Harmony of Wood Orchestra as a prominent example of rhizomatic literature. Beside unveiling the theoretical potential of Deleuze’s philosophy in literary criticism, the results solidify the status of the novel as an avant garde text in contemporary Persian literature.
 
Keywords: Gilles Deleuze, Becoming, Reza Ghasemi, Deteritorialisation, The Harmony of Wood Orchestra
 
 
Extended Abstract
1. Introduction
By transcending classical narrative patterns, Persian Postmodern literature paved the way for a reinterpretation of concepts, such as identity, power, and hierarchical structures. As a pioneer in Persian contemporary literature, Reza Ghasemi formulates multi-layered and Formalist works that decentralise linear narrations. His prominent work, The Nocturnal Harmony of Wood Orchestra (Hamnavāei Shabāneh-e Orkestr-e Choob-hā), employs unprecedented narratological techniques to reflect the collapse of the grand narratives in modern society.
Gilles Deleuze, the prominent Post-structuralist philosopher, challenged the traditional patterns of Western thought. His “rhizomatic system” paves the way for a polyphonic and decentralised reading of the text. Informed by Deleuzian thought, the present study investigates Reza Ghasemi’s The Nocturnal Harmony of Wood Orchestra in the light of “becoming,” “deterritorialisation and reterritoralisation,” and “de-auhtorisation.”
 
2. Methodology
This descriptive-analytical research comparatively explores Deleuzian concepts in accordance with narrative structure, characterisation, and the subtext to achieve a Postmodern reading.
 
3. Theoretical Framework
Deleuze’s concept of “becoming” is a core idea in his philosophy; it emphasises continuous change and transformation rather than fixed identities or states of being. It is not about becoming something specific, but rather about a process of differentiation and movement. This process is not linear or teleological; it is a multiplicity of forces and relations that constantly reshape and redefine what is.
“Deterritorialization and reterritorialization” are concepts, primarily associated with the work of Gilles Deleuze and Félix Guattari, describing processes of change and transformation in social, political, and cultural contexts. Deterritorialization refers to the weakening or removal of established boundaries, connections, or structures, while reterritorialization is the subsequent process of rebuilding or restructuring within a new framework or context.
Deleuze’s concept of “de-authorization” is not a straightforward or standalone term in his work, but rather a concept that can be understood through his broader ideas on deterritorialization, nomadism, and the challenge to established structures of power and meaning. It relates to his rejection of fixed identities, hierarchical systems, and the imposition of pre-defined roles and norms.
4. Discussion and Analysis
The process of “becoming” is present throughout the novel. “Seyed” is the pinnacle of becoming. He is in a never-ending process of becoming that has no goal. Through his multiple interactions with different people, he stays in an active state of “becoming.” Seyed’s various roles and interactions show his alienation and multiplicity. Instead of taking a linear and familiar path, he turns to different experiences and adapts himself accordingly.
The process of “deterritorialisation” is evident in the fourth section of the first chapter; the narrator enjoys the music, without understanding the content.
“De-authorisation” becomes highlighted in the sixth section of the first chapter, where the dogs are viewed both as static and reactionary beings and as active subjects that create intimacy.
 
5. Conclusion
The results of this study show that by moving beyond linear patterns, decentralising the narrator’s authority, and crafting liminal spaces, Ghasemi tuns his novel into a text that reflects Deleuzian philosophy. The process of “becoming” in character-metamorphosis, “deterritorialization” through the rupture of fixed identities, and “de-auhtorisation” via the collapse of grand narratives are salient features of the novel. By transcending binary logic, this study presents a multi-layered Postmodernist reading of The Nocturnal Harmony of Wood Orchestra as a prominent example of rhizomatic literature. Beside unveiling the theoretical potential of Deleuze’s philosophy in literary criticism, the results solidify the status of the novel as an avant garde text in contemporary Persian literature.
 
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