Seddigheh Hoseini; Mahin Hajizadeh; Hamid Valizadeh
Abstract
Gérard Genette considers hypertextuality as a type of transtextuality. Hypertextuality focuses on adaptation and is divided into two categories: imitation and transformation. In this approach, the hypertext as the affective element and the hypertext as the practical elements are very important. ...
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Gérard Genette considers hypertextuality as a type of transtextuality. Hypertextuality focuses on adaptation and is divided into two categories: imitation and transformation. In this approach, the hypertext as the affective element and the hypertext as the practical elements are very important. The hypertext by imitating or transforming the pretext makes the original text preserved or changed. The transformation means changing something differently, while imitation is saying something similar. Transformation leads to transposition, which is a severe change in the hype. Saadawi, who belongs to the new generation of novelists, makes significant changes in the speed of hypertext by placing Frankenstein in a new literary space and a different environment. Studying the change in the speed of the novel in the hypertext shows Saadawi's creativity in deepening the narrative is a clear example of transposition of narrative duration and pause. Substitution in form and meaning makes significant changes in the text and narrative speed or duration is one of the changes. Studying narrative speed in hypertext is implying changes in narrative speed by transposition. Duration or speed results from comparing the speed of the story to the speed of the event. Ahmed Saadawi’s Frankenstein in Baghdad was inspired by Mary Shelley’s Frankenstein. This descriptive-analytic and comparative study analyzed the transformation in the narrative speed of the two novels and changes in positive and negative speed according to transposition. The results show that changing poetic style, dynamic description, implicit ellipsis, and inner speech in hypertext leads to transposition in narrative duration. In such a way mental action in the hypertext, unlike the hypertext, causes vertical movement in the text and progress in the mental world of the characters.
