Hypertextual Transformation (Novels "Franc Kafka Writes to His Son" and "The Kanun of Leka Junior")

Abstract

By studying the relationship between literary texts, the researcher Gerard Genette mentions transtextuality theory, which is a structural view of intertextuality. While, by definition, transtextuality is "all that sets the text in a relationship, whether obvious or concealed, with other texts." Inside transtextuality, Genette distinguishes five categories: Intertextuality – A relationship of copresence between two texts or among several texts; the actual presence of one text within another. Paratextuality – Marks those elements which lie on the threshold (the threshold consist of a peritext and an epitext) of the text and which help to direct and control the reception of a text by its readers. Metatextuality – When a text takes up a relation of ‘commentary’ to another text: it unites a given text to another, of which it speaks without necessarily citing it (without summoning it) in fact sometimes even without naming it. Hipertextuality – Any relationship uniting a text B (hypertext) to an earlier text A (hypotext) upon which it is grafted in a manner that is not that of commentary. Architextuality – The entire set of general or transcendent categories- types of discourses, modes of enunciation, literary genres- from which emerges each singular text.[2] In our study, we are interested in the fourth category, hypertextuality. What Genette calls hypotext for other critics is intertext. Thus, the textual practise of hypertextuality is considered an intentional intertextuality (Genette), as it is obtained through the technique of palimpsest. What makes palimpsest a postmodern feature is precisely the consciousness of it because it is known that palimpsest has been applied earlier. Keywords: Ridvan Dibra, hypertextuality, contemporary novel, postmodern, transformation, parody, etc.