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Following Julia Kristeva who first coined the term intertextuality concerning the relationship among different texts, a new wave of critical approaches and notions to text analysis was formed among which was Gerard Genette's idea of 'transtextuality' that was the result of his investigation of all possible intertextual relationships. An important category of transtextuality is extratextuality which is concerned with the relationship between two literary texts from a certain perspective. The present paper is an attempt to examine extratextual relationships between Najmud-din Razi's treatise "At-toyour" [The Birds] and some of the previous literary works. The findings suggest that, in composing his treatise, Razi mostly made use of some of the treatises of Ikhwan As-safa, Sanaee's "Seyr-ol Ebad El-al Ma'ad" [People's Journey toward God], and Suhrawardi's "Ghesse-ye Ghorbat-e Gharbi" [The Story of Western Solitude]. He also touched upon Nezami's poetical narratives. The most important reasons for the extratextual changes in his book include the specific role of the audience, Razi's authorial style, and the dominant trend in Persian prose of the time.

Intertextuality is an approach that examines the effectiveness of the text in other texts. it is particularly important in the examination of texts and determines how much a genre has mixed with other genres and how much has been created creatively? In the analysis of genres according to Genette theory, "it can be said that the main issue is the predominance of imitation or change aspect, so in the first stage, the amount of imitation or change is of interest, and after that, the type and quality of transformation are discussed. In other words, what has changed and what has been imitated." (Namvarmatlaq,  2013: 147)
Genette has divided the transtextual relations into five basic forms: 1- Intertextuality 2- Paratextuality 3- Metatextuality 4- Architextuality 5- Hypertextuality. Namvar Motlatq,2011: 434). Genres can be combined, and each genre can include subgenres. Sometimes new genres are created from their combination. In contemporary genre theory, this issue has been called "Literary Types Interaction". This attitude refers to the fact that "there is no pure genre; For example, in a novel, it can appear in different genres such as plays, ghazals, and odes." (Wediji, 2014: 281). One of these genres is fantasy in which can be seen different literary genres. This genre arose in the late 19 century in the West. Harry Potter is one of the famous examples of this genre, after its publication, many works have been published in different countries. Fantasy works have been written also in Iran. One of them is the Dasht-e Parsova collection, the first volume of which - Hume Sokoot - has been recorded in the Black Crow list as one of the top two hundred works in 2017.
 
Since in the intertextual analysis of the genre, we identify the genres in a text by using architextuality, and by using hypertextuality, we analyze the amount of changes in the text. In this research we have tried to answer these followig questions: Which genre has represented in Azizi's fantasy? Does the author's work have its own characteristics? Is it an imitation of previous literary texts like Harry Potter? What are the similarities and differences between this work and Harry Potter?

It is a comparative-analytical research method to investigate the intertextuality of genre in Harry Potter and Dasht-e-Parsova. 

According to Razmjo, genre theory is an attempt to divide various literary topics according to the appearance or formats in which the topics have created and composed with their own special characteristics and rules. (Ref: Razmjo, 1374:10). Frow defines genre as "the organization of texts according to the thematic, rhetorical and morphological dimensions" and subgenre as "becoming more specific of a genre according to specific theme" (Frow, 2005: 67). Intertextuality is a very important method in identifying the relationship of the text with other texts. Genet has also mentioned genre in explaining intertextual relationships; He introduces five categories of factors that play a role in accepting and receiving texts, among which "two types of Architextualie and hypertextuality are related to the issue of genre." (Vaezzadeh et al., 2013: 98)
For this reason, by examining these two methods, we will identify literary types in Harry Potter and Dasht-e-Parsova:A) Architextualite
In Architextualite, the longitudinal relationship between a work and the genre to which the work belongs to it is examined. According to Genet, in the main text, "we have the genres, with their determinations that we’ve already glimpsed: thematic, modal, formal, and other" (Genette, 1992: 82) as mentioned in this way, the connection that a text establishes with the texts before it is through genre. In this way, the later text uses the literary type of the previous text and sometimes it includes different types and achieves a new type.
B) Hypertextity
Another intertextual relationship that leads to the recognition of genres is hypertextuality. Hypertextuality examines the way of reproduction and expansion of the text more than other genres of transtextual relations. Hypertextuality "means the placement of the text in a totality of texts and especially the knowledge of literary genres" (Ahmadi, 2018: 321). According to Genet, hypertextuality employs two methods of imitation and transformation. The purpose of sameness is to keep text A in text B without the slightest change and with a little creativity, and one of its functions is to stick different texts together without the slightest change. If the author's goal is to change a lot in the text A, "transformation" has been done, and if the goal has only a little overlap, then "imitation" has been formed. (Genette, 1997: 92-91(

The present research investigated the genre in Dasht-e-parsova and Harry Potter series with an intertextual approach in order to determine the level of creativity and imitation of the Iranian author according to this research, the author has connected with the pervious text by using Architextualite and different genres such as fantasy. Oral tradition, myth, legend, riddle, romantic genre has been used in his work with architextualite. He has introduced these genres into his text by using architextualite and has given it special characteristics by using hypertextuality. Azizi, by following the modern story writing in the space and plot of the story, has created changes that have caused innovation in the story and made it different from Harry Potter.
The author has also benefited from tragedy as a genre in his story to influence the audience, and the genre is not seen in the Rowling story. In general, Azizi, though in the entry of literary genres in his text, has benefited from Rowling's work; but by using the hypertextuality, he has introduced his national culture into his work and has distinguished it from its western sample.
The present research investigated the genre in Dasht-e-parsova and Harry Potter series with an intertextual approach in order to determine the level of creativity and imitation of the Iranian author according to this research, the author has connected with the pervious text by using architextualite and different genres such as fantasy. Oral tradition, myth, legend, riddle, romantic genre has used in his work with architextualite. He has introduced these genres into his text by using architextualite and has given it special characteristics by using hypertextuality. Azizi, by following the modern story writing in the space and plot of the story, has created changes that have caused innovation in the story and made it different from Harry Potter.
The author has also benefited from tragedy as a genre in his story to influence the audience, and the genre does not seen in the Rowling story. In general, Azizi, though in the entry of literary genres in his text, has benefited from Rowling's work; but using the hypertextuality, it has introduced his national culture into its work and has distinguished it from its western sample.

Film adaptations are one of the most significant branches of comparative literature studies and are of great importance to the field. The concept of film adaptations, which are so-called transpositions, is a component of Gérard Genette’s theory of hypertextuality, a subset of the broader theory known as transtextuality. Pedro Almodóvar is one of the few filmmakers whose work exhibits a unique affinity for literature. This article analyzes the adaptation process of the film “The Skin I Live in” (2011), directed by Pedro Almodóvar and adapted from the novel “Tarantula” (1984), written by Thierry Jonquet, by addressing the question, ‘How did the adaptation process work in “The Skin I Live in” based on Gérard Genette’s theory of hypertextuality?’ Here, the literary work is studied as the hypotext and the film as the hypertext. This paper employs the descriptive-analytical method. Considering that transposition occurs due to the change of medium, it first defines the terms “adaptation” and “transposition” as well as explaining Gérard Genette’s theory of hypertextuality. It then analyzes the transformation of the text during the process of adapting the novel into the film. The findings show that “The Skin I Live in” is a transposition in the sense of its hypertext due to the various transformations made, with an emphasis on excision, concision, extension, and substitution in this adaptation.

Studying the relationships between texts led to the discovery of the great theory of "intertextuality" in the 20th century. Based on this theory, every text is formed on the basis of previous texts. Kristeva, Barthes, Sollers and Genette are among the influencers and developers of this theory. Genette tried to examine any relationship between texts including all the details and called the set of these relationships "transtextuality", of which hypertextuality is one of its branches. The purpose of this article is to investigate hyperertextual effects and signs in six fictional works of the world based on Genette's theory. The research method is to study, analyze and compare the stories of The Miser, Christmas Carol, Story of Miserly Man, Eugenie Grande, The Miserly Knight and Dead Souls. The result of the studies shows that five of above-mentioned stories have a single pretext, and that is the play "Judgment" by Menander, which is the first example of Aulularia by Plutus which was imitated by Moliere in "The Miser". In other stories, "The Miser" is the model, which will be their hypertext, and in principle, the hypertext of "Judgment". The types of these hypertexts are pastiche, charge, and replacement.

The purpose of this article is the hypertextuality study of manifestations of metamorphosis in Gholam-Hossein Sa'edi's works according to Gérard Genette's theory of hypertextuality. This theory is one of the five types of Genette's theory of transtextuality which concentrates on inspiration, derivation and effectiveness of the hypotext on the hypertext. Besides, this theory includes two basic types, imitation and transformation. Metamorphosis is considered as one of the most remarkable elements in myths, folk tales, and legends. Based on this process, unexpected and gradual changes demonstrate themselves in the appearance and sometimes in the conscience of the creatures and they transform from one form to another while displaying different performances. Moreover, sometimes they can appear in the combined structure of humans, animals, plants, and objects. Literature is the origin of presence of these manifestations and they have had mutual effects on each other over the time. The mutual impressiveness and effectiveness provide an opportunity to study them with respect to the theory of hypertextuality especially by considering contemporary literatute as the target resources which fewer researchers have focused on it. The results of the study demonstrate that the manifestations of the metamorphosis exist in thirteen stories, one novel, six plays, and three screenplays written by Gholam-Hossein Sa'edi. In this article, based on the descriptive-analytical method, these manifestations were classified and determined in three different groups and then they were studied based on a qualitative content analysis. At the end, impressiveness of these manifistations in Gholam-Hossein Sa'edi's works from ancient literature and folk tales has been studied according to the hypertextuality theoretical framework. The results represent that Gholam-Hossein Sa'edi sometimes has used these manifestations with direct and indirect influence of ancient and religious narratives and folk tales (hypotext) in his works (hypertext), however, in most of the time, he has used his creativity and imagination to make these manifestations in favor of progress of the story.

The World Wide Web has created a new arena for Google as one of the most widely used brand names in the last two decades, which has designed more than 4,000 examples of Doodle logo appropriate for its advertising strategies from 1998 to 2022. Among the doodles, the celebration of artists in various fields, especially painting, has a special place. The present paper, studies Google’s Occasional Logos as perfect examples of referencing based on Gerard Genette’s transtextuality. This French cultural critic and thinker developed a coherent theory for explaining intertextual relations by presenting the idioms of transtextuality. The paper draws on a descriptive analytical method to examine the extent to which Genette's typology is applicable to the design of Google logos (doodles) celebrating artists. To do so, the paper discusses the influence of hypertext on the hypotext of works of artists from different countries. The "hypotext" is the original text and the source of inspiration, and the "hypertext" is the second text derived from an earlier one. Hundreds of doodles have been designed to honor painters so far, and from among which, 11 paintings were selected as the corpus of the study by purposeful sampling. The results of the study indicate that different types of Doodle Googles in honor of painters revolve around four types of hypertext (except for charge and Travestissement), and most of them might be categorized in several types at the same time. A number of logos have been created based on pastiche (imitation of an artist's masterpiece), but most of the doodles are in the category of parody (comprised of a combination of elements from different works by the same artist). Many of them are categorized as forgery and transposition.

Tazkereh al-Awliya, which is the most important work of Attar's prose and one of the greatest texts of mystical prose, has great potential for intertextual comparisons with other mystical works as well as Attar’s Masnavis. This descriptive-comparative study aims to show the textual relationship of 51 joint anecdotes of Tazkereh-al-Awliya and Attar's Masnavis with the hypertext approach, one of the five pillars of Gérard Genette’s theory of transtextuality. The results of the research show a broad relationship between Tazkereh Al-Awliya and Attar’s Masnavis. Both types of hypertext (i.e. homogeneity and tragedy) are observed in these works. This connection is more than the type of tragedy, and among Attar's Masnavis, Al-Tair, Elahinameh, Misibatnameh, and Asrarnameh, respectively, have the highest percentage of common anecdotes with Tazkereh al-Awliya.

Like intertextuality, intratextuality is an important notion in textual analysis and narratological studies. It does not deny functional and conceptual similarities with intertextuality, which is a more familiar narratological term. While intertextuality seeks interconnectedness among hypertexts and hypotexts, intratextuality sets about to discover and decipher it within the structural totality of a single work. In other words, the emphasis is laid on self-reflexivity rather than other-reflexivity in that the objective is to unveil the connectivity that in-text narratives, sub-narratives and frame stories maintain through sustained allusions and dialogues. The major questions of the research include: What is intratextuality and what are its characteristic features? Are they discernible in the narrative fabric of David Mitchell’s Cloud Atlas? What structural and thematic roles, if any, do they play? Background Studies: Bakhtine’s Dostoevsky's Poetics (1929), Kristeva’s Desire in Language: A Semiotic Approach to Literature and Art (1969), Barthes’ Image-Music-Text (1977), and Genette’s Palimpsests: Literature in the Second Degree (1982) are among important sources on intertextuality and its principal categorisations. In his article "Moonlight Bright as a UFO Abduction: Science Fiction, Present-Future Alienation and Cognitive Mapping" (2011), William Stephenson claims that Michell’s sci-fi novel is highly polyphonic and multifaceted. In his article, “Speculative Fiction as Postcolonial Critique in Ghostwritten and Cloud Atlas,” Nicholas Dunlop argues that Mitchell’s postmodern novel harmoniously mixes different and heterogeneous narrative styles as well as typical aspects of sci-fi and fantasy novels. George Gessert’s 2005 article, “Cloud Atlas by David Mitchell,” predominantly deals with plot-development, characterisation, and story-telling techniques, beside such themes as inhumanity, slavery, and apocalypse. In Close Reading with Computers: Textual Scholarship, Computational Formalism, and David Mitchell’s Cloud Atlas (2020), Martin Paul Eve uses computer-assisted charts to analyse lexical and grammatical distributions in the novel to prove the unity and harmony of narrativity despite all apparent heterogeneities. To answer the stated questions, this narratological study first offers a brief digest of the term intratextuality, which recognises and endeavours to locate intertextual relations and echoes inside the narrative structure of the same work, and then probes its applicability to the Mitchell’s Cloud Atlas. Genette’s well-known hypertext and hypotext as well as his five-partite categorisation of transtextuality, comprising intertextuality, metatextuality, paratextuality, hypotextuality, and archetextuality are also contextualised in the novel. In addition, notions such as organic narration, self-reflexivity, self-allusiveness, symmetricality, and in-text relations are deemed pivotal throughout the mainstream discussions This research shows that identical characters and incidents, one way or another, keep reappearing in all of the six nested stories of the novel, thereby constructing a tightly-knit network of reciprocal references and allusions within its narrative structure. Furthermore, the sustained recurrence of such motifs as reincarnation, dominance, quest for truth, death and symbols and images associated with them in all narratives creates an intratextuality of self-reflexive themes, which reaffirm themselves in every new intratextual dialogue. Transtextual relations are also discernible in the novel, predominantly in the repeated titles of the six narratives in two halves of the novel, protagonists’ comments on characters and incidents in a previous narrative, and in recurring themes and motifs which expand and modify in every new appearance.

One of the types of textual relations is Hypertextuality, which studies the relationship between two literary texts. This relationship is based on adaptation and does not address the element of intertextuality. According to Genette's view, the adaptation is divided into two parts: imitation and transformation. The transformation means to change something in a different way, while an imitation is to say something in a similar way and Its purpose is not purposive change. The extension of meaning in the hypotext has been done through transposition, which is a serious change. Frequency or Number of times an event occurs in the story and the number of times it is mentioned in the narrative in hypotext and hypertext implies a serious change or transformation. As regards the novel Frankenstein in Baghdad by Ahmed Saadawi was inspired by the Frankenstein by Mary Shelley, This descriptive-analytic and comparative study analyzes the transformation in the frequency of events between the two novels and changes in the the number of times it is mentioned in the narrative. The study of types of frequencies, especially repeating singulative narration and repeating narrative, is  objective examples of transposition in hypertext.

Al-Futuh by Abu Muhammad Ahmad ibn Ali, known as Ibn A'tham Kufi, was probably written in Arabic in the late third and early fourth centuries. Muhammad ibn Ahmad Mostofi Heravi translated a part of this book into Persian in 596 AH by the order of one of the rulers of Kharazm. Gerard Genette proposed the theory of Hypertextuality around the relationship between texts. In the present study, an attempt has been made to compare and compare the narration of Ashura in the book of Al-Futuh Ibn A'tham with the Persian translation of Al-Futuh. For this comparison, Gerard Genet's theory of redundancy was used. According to this theory, text B (Hypertext) is created under the influence of text A (Hypotext). The contextual relationship of the texts can be examined in two forms of imitation and otherness and three modes of humor, satire and seriousness. Changes made in the subtext compared to the rough text is called torque, which can be divided into quantitative, applied and qualitative torque. According to this theory, Ibn A'tham's narration was considered a rough text for Al-Futuh Persian translation.

Spiritual intelligence combines spirituality and intelligence within a new structure and provides humanity with a logical application of spiritual skills to search for meaningful and valuable issues. As the basis of human values, beliefs, and actions, SQ enables humans to focus on ontological issues and change living conditions and seek growth and excellence in the face of the realities of life. Robert Emmons (1958), a professor of psychology at the University of California, whose connections to religious and moral issues are prominent in his thoughts, is one of the thinkers of this new theory. Since the poetry of Farouk Shuwaykh (1976), a contemporary Lebanese poet, are all about mysticism and a reflection of Islamic and human truths, the functions and purposes of applying the components of this type of intelligence in the poems of this poet in Emmons' thoughts were the subject of this study. One of the present research results, conducted via a descriptive-analytical method, is that although Shuwaykh did not mention spiritual intelligence in his poems. However, his poems are very flexible in terms of ideological and cognitive dimensions, emotional and voluntary dimensions. Therefore, it reinforces the hypothesis that the subconscious Shuwaykh used the manifestations of this intelligence in his poems. By analyzing his poetry, which follows the teachings of Islam and the Qur'an and has a searching view to solve anthropological problems, it can be inferred that the Shuwaykh’s subconscious employed the mechanisms of spiritual intelligence in his poetry to transcend himself, solve ontological problems, and use the quality of communication with God and man.

Apart from being a means of entertainment and psychological drain, the dramatic works for children serve, on the one hand, as educational tools and, on the other, as a smooth path to pass the legacy of the past (traditions, rites, religion, politics, and the socio-ethical norms of society) over to the consciousness of the current generation, especially when the authors of the works draw on such important structural elements as time, place, plot, characters and, in times, even, the integrity of a story in an intertextual interaction with ancient texts. significant instances are myth and mythical narratives reflected always in various forms including stories, dramas and screenplays. Using Genette’s transtextuality theory, especially hypertextuality, in a descriptive-analytic fashion, the way in which Atosa Shamloo’s drama “Teshtar, the Guardian of Rain” is recreated comes under scrutiny. The most importantly results revealed are as follows: Teshtar, the Guardian of Rain has been fully affected by the “Myth of Rain” in terms of all five types of transtextuality (i.e. intertextuality, arcitextuality, paratextuality, metatextuality and hypertextuality). Intertextuality considered, the author has been mostly under the influence of the Myth of Rain. In other words, she has utilized both imitation and transformation. In Fact, her affectedness and making changes (transformation) in the original in harmony with the mood of audiences have produced a beautiful attractive work for children. In addition, the writer has placed paratextual thresholds within her text making it easier to understand the text when recognized. Doubtlessly, the Myth of Rain has, hence, been a prime pre-text in the production of the work.

Tazkereh al-Awliya, which is the most important work of Attar's prose and one of the greatest texts of mystical prose, has the potential to study intertextual relations with other works of mystics as well as Attar's own Mathnawi. This descriptive-comparative study aims to show the textual relationship of 51 joint anecdotes of Tazkereh-al-Awliya and Attar's Mathnawiswith the hypertext approach, one of the five pillars of Gérard Genette’s theory of transtextuality. The results of the research show a broad relationship between Tazkereh Al-Awliya and Attar’s Mathnawis. Both types of hypertext, homogeneity, and tragedy, are observed in these works. This connection is more than the type of tragedy, and among Attar's Mathnawis, Al-Tair, Elahinameh, Misibatnameh, and Asrarnameh, respectively, have the highest percentage of common anecdotes with Tazkereh al-Awliya.

Intertextuality is a literary approach that allows critics to examine the links between the works in a scientific and systematic ways. The relationship of texts is a topic that was considered by researchers with structuralism. The first time, Kristova used “intertextuality” in textual relations. Later, people studied intertextual issues from different perspectives. One of them was Gerard Genette, who studied the intertextual relations in a broader and more systematic ways with all its variations and called it Hypertextuality. Genette is one of the most important theorists of this approach, which plays a key role in its application. Genette discusses the relationship of a text to each other. One of the intertextual concepts is the explicit and implicit influence of literary texts from other sources. This article uses library and analytical research methods with the aim of establishing a relationship between the intertextual theory of Genette and the types of influences from each other. The subject of his research is Alexander's Sharafnameh as a pre-text to examine and analyze them together based on Genette's views and they try to answer the following questions such as whether the pre-text of Alexander's story Shahnameh had an effect on the back text of Alexander's story Sharafnameh?

Religious beliefs are shaped by myth. Mythical heroes and innocent Imams are always considered to be among the recurring themes as the sacred and identifying elements of the Iranian culture. They are in the subconscious, beliefs, and traditions of the people. With common goals and similar destiny, they have been influential in the formation of various literary and artistic works, including Ferdowsichr('39')s Shahnameh and Taziehs. This study focuses on the semantic decoding of repetitive mythical elements, in two texts from the pre - and post- Islamic eras. Employing the Genettechr('39')s hypertextual approach, the study analyzes the story of Siavash in Shahnameh (pre-Islamic) and the Tazieh of Imam Hussein) post-Islamic(. The purpose of the research is to find out how the textual narrative was adapted by the theatrical narrative. After explaining the theoretical issues, the summary of the texts, and the characteristics of the heroes, the results are given in a table. The common or unique elements and symbols of thought and actions of the Iranian hero are sometimes manifested in an earthly-mythical and sometimes religious-historical and celestial personalities. Every year, similar rituals are repeated and reproduced in the mourning. The research method is descriptive-comparative and the analysis is done through content analysis and the use of library documents. The findings showed the following symbolic similarities: the halo of light, intelligent horse, white clothes, the presence of extraterrestrials, among others. The difference between the rituals were: the symbol of the plant god, the passage of fire, the Siavashun feather, Zulfiqar, the magical armor, among others.

"The Red Manes Mare" is a novel about the life of the Arabic famous poet, Imru'al-Qais, which is written in Persian. This research was done using a descriptive-analytical method and its main purpose was to explain the types of text relations based on Gérard Genette’s theory of transtextuality. The results show that the novel of "the Red Manes Mare" is an example of transtextual texts that has consciously linked with different ranges of Arabic texts and this link in line with creating a semantic system in these texts consisted of relations of intertextuality, hypertextuality, archittxtuality and paratextuality in Gérard Genette's theory. Base on intertexutality, it was concluded that some historical texts which were somehow related to Imru'al-Qais' life have been rewritten in the novel. Quantitative and pragmatic transformation of this work shows that there are some changes in parts of events and main contexts of the story than hypertexts. On the other hand, the interaction of types of literature is one of the most important features of the novel style. The novel also contains a final note with paratextual features.

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.

Shirin and Farhad by Salimi Jerouni, composed in the ninth century AH, is adapted from Khosrow and Shirin by Nizami Ganjavi. The distinguishing feature of this poem is the addition of a mystical theme, as compared to its hypotext. The purpose of the current study was to investigate how the narrative structure of this poem has changed compared to Nizami Ganjavi’s Khosrow and Shirin, employing Gerard Genette’s theory of hypertextuality and also intentional interpretation. The researchers have also tried to show how Salimi Jerouni was able to connect his mystical thoughts with Khosrow and Shirin’s earthly love. Based on epitext and peritext analysis and through retrieval of the intention of the author, it was concluded that Salimi Jerouni had created a narrative, using quantitative transformation and pragmatic transformation that in its deep structure, illustrated mystical behavior. The characters of the story have gained symbolical interpretation, proportional to the mystical content of the poem and in line with the evolution of the hero (Khosrow) on the way of reaching the position of a perfect man.

The story of Sheikh San’aan is one of the stories for which various sources have been cited and suggested by different scholars. However, the interpretive narrative of Harut and Marut is a source which has not received due attention in these studies. This narrative contains elements that could not be found in any other probable and known sources of Sheikh San’aan, and because of its great structural, thematic as well as historical resemblances, it supersedes other sources of Sheikh San’aan. Relying on diverse solid evidence and indications in these two stories, the present study claims that this narrative can be considered one of the main hypotexts inspiring Attar’s story of Sheikh San’aan; which indicates a relationship of hypertextuality between the two texts. Attar's style in the introduction of the story and the similarities between the events and the main characters of these two stories, such as Harut and Marut, Sheikh San’aan, Zohra and Christian girl, as well as the themes such descent,vanity, love as a means of divine test, sin and its effects, repentance, and mentioning specific cases that have not been mentioned in any one of the sources of Sheikh San’aan, leave no doubt that Attar had taken this narrative into consideration when writing up that of his own.

Among various intertextual theories, “Gerard Genette” has studied a wide range of relationships of a text with other texts in a structured way, called Tract. Hypertextualite is the most important kind of genette Transtextualite based on adaptation. Police literature is one of the new genres in the world literature, where the issue of adaptation is significant. “Nabeel Farouq” Egyptian is a contemporary writer of Arabic police stories who that has been influenced by Western influences. Evidence suggests that one of his stories, “Diamond Shine”, from Impossible man collection, is the “diamonds are eternal” story, by “Ian Fleming”. The present research has tried to study the hypertextuality relationship of this story with its hypotext according to the Genet’s theory by using the analytical-descriptive and adaptive method. The purpose of this study is to provide a practical example of the intertextual relationship of an Arabic fiction work with a hypotext amount of another literature. The results says that this work is, at first glance, is just an imitation of the previous text, but reveals a deeper insight into the various aspects of the transformation and the author's attempt to make fundamental changes in the vast.