چکیده:
Theories of intertextuality were shaped in the twentieth century with the name of Julia Kristeva. The approach of this theory was presented in opposition to source criticism. Before Kristeva, other figures in pre-intertextuality, such as Mikhail Bakhtin, had proposed topics with novel approaches in literary and artistic theory and criticism through ideas of dialogism and polyphony. In the field of intertextuality, the theories of Ferdinand de Saussure and Charles Sanders Peirce have also received some attention, but all theorists after Saussure are indebted to him, and intertextuality cannot have been outside the path of this influence. Therefore, intertextuality is not an individual consequence and should be considered a movement. Intertextuality is based on the idea that every text has a pre-text and has various types, the most important of which are Riffaterre, genic, and genettean intertextuality. Among these, Genette's theory has received more attention. He named the relationship of a text with another text or non-self using the new term 'transtextuality' and restricted it to five titles: hypertextuality, paratextuality, metatextuality, architextuality, and transtextuality. Each of the mentioned cases refers to the ways one text influences another, which is the subject of this research.
خلاصه ماشینی:
Before Kristeva, other figures in pre-intertextuality, such as Mikhail Bakhtin, had proposed matters with a new approach in literary and artistic theory and criticism through his ideas on dialogism and polyphony (polyphony).
Finally, in the twentieth century, Julia Kristeva (1941), a Bulgarian immigrant woman in France, coined words and terms for this new theory and presented a novel approach to researchers and critics in the fields of literature and art.
"Researchers of intertextuality works often begin the discussion with the views of Mikhail Bakhtin, especially the dialogism and polyphony presented by him, because it was his views that paved the way for the founder of intertextuality, namely Julia Kristeva, and provided a new approach in literary and artistic theory and criticism" (Ibid: 397).
D) Types of Transtextuality By expanding the scope of Kristeva's studies, Gérard Genette named any kind of relationship between a text and other texts or non-texts with the new term 'transtextuality' and divided it into five categories, of which intertextuality is considered one of the types.
This issue distinguishes Kristevan intertextuality from Genettean transtextuality, because Genette is explicitly in search of influence and being influenced relationships, and especially in hypertextual relationships, he places the influence between two or more texts as the main axis of his studies" (Ibid: 85-86).
Genre is also divided into four parts: parody, travesty, charge, and pastiche; and the last part, which is relation, includes transformation and sameness, which are the most important indicators of Genette's structure and function that he deals with.
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