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Transtextuality is an approach that examines possible relationships between the text and other texts. Gérard Genet, a famous French literary theorist, and semiotician (2018 AD - 1930 AD), divided transtextuality into five categories: intertextuality, paratextuality, metatextuality, architextuality, and hypertextuality. Gérard Genet’s precision regarding the description of the characteristics of hypertextuality and intertextuality in literary texts provides the possibility for researchers to distinguish these types of texts with a high degree of confidence despite the apparent similarity of poetic evidence-- something that might not have been possible without this theory. Based on an analytical-descriptive research method, the study compares Hossein Monzavi’s ghazals with those of Hafez and Saadi firstly, to explain the extent of his affectedness from their ghazals, regarding each of the above types, and secondly, to reveal the methods that Monzavi noticed in each employment of the classical poets’ ghazals. As the results show, hypertextality is the main arena of Monzavi’s works and performances, especially its transformation type. Then, implicit intertextuality and internal authorial paratextuality are more important.

Gérard Genet puts the links between literary texts under the general term of transtextuality. One of these links is hypertext link. In the hypertext link, the second text is derived from the first text, so that if the first text is not there, the second text will not be formed. The current research is based on the hypothesis that the link between "Rostamnameh" and Shahnameh is a more textual link. However, according to Genet's writing, even when the connection of two works is more textual, the creator of the second work attempts to expand, generalize and transform the first work. The results of the current research, which is a descriptive-analytical research, show that Bahar has made this transformation in "Rostamnameh" and has avoided pure imitation. As a result, Rostamnameh Bahar is an original work in which the political and cultural concerns of the poet's time are reflected.

Transcendental relationships of text are one of the new literary approaches that Mikhail Bakhtin with the subject of text dialogue is considered the basis of this theory. Other theorists such as Julia Kristeva, Laurent Jenny, Michail Riffaterre, Barthes and Gerard Genette evolved this theory. In his theories of Transtextualite, Gerard Genette has proposed the relationships of influence and influence of literary texts, including the works in which this influence is observed, the introductions of epic texts. The present study, with a descriptive-analytical approach and the use of library resources, has analyzed the Introductiones of National Epics of Iran based on the Theory of Genette Transtextualite. The results of this study show that national epics as more texts have been influenced in self-old ageing, elimination, reduction and expansion processes. In the hypertextualite relationships of national epics with Shahnameh, transformation and homogeneity are relative and are meaningful in relation to each other. The Introduction of Garshasbnameh indicates the influence of Shahnameh on the themes of Garshasbnameh, Bahmannameh indicates the influence of this work from Garshasbnameh, and Iranshah's Kooshnameh have been influenced by Shahnameh and Gershasbnameh. The main and minor titles of epics from the perspective of the paratextualite relationship indicate their influence and influence from the original texts. The creation parts of the universe in Farmarznameh and Shahnameh, based on the relationship between Genette's Arcitextuality, show the roughness with the unified subtext.

To create his work, the poet or writer is challenged with a world of impressions from other texts in his mind, and he creates with the connection he has with his previous or contemporary works, and in this way, he establishes a link between the texts in different ways. which can be studied and analyzed as transtextuality. Bread and halwa is a text that Shirvani was influenced by in writing Safa al-Qulob. Both works are educational-mystical works. Since Genet's transtextuality is much broader than other intertextual theories in terms of division and detail, the main goal of this research is to discover the types of transtextual relationships between Safa al-Qulob and bread and halwa. In this article, an attempt has been made to answer this question by comparative-analytical-documentary method, which of the divisions of Genet's transtextuality theory is exemplified in a comparative comparison between Safa al-Qulob and Nan and Halwa? The results of the research show that Shirvani has consciously established an intertextual relationship with nan and halwa, and in this regard, there are various types of transtextual relationships, including intertextuality (explicit, indirect, and implied), paratextuality, metatextuality, sertextuality, and hypertextuality (coherence and transtextuality) has benefited

During the 7th and 8th centuries AH, numerous works were written in the subcontinent, including India and Pakistan, known as “Malfuzat” in the field of mystical literature.The presence of certain commonalities between these texts and Majalis raises the question whether Malfuzats were written under the influence of or in imitation of Majalis, or they represent distinct literary works. Majalis-e Sab’e (621-629 or 637-642 AH) by Mowlavi and Favaed Al-Fuad (703-722 AH) by Sheikh Nezam Al-Din Awlia are well-known examples of Majalis and Malfuzats that are studied in this research, using a descriptive-analytical method, to examine their respective characteristics, both shared and distinct. This comparison is conducted within the framework of intertextuality theory. In terms of paratextuality, Favaed Al-Fuad and Majalis-e Sab’e share commonalities in the way they structure their gatherings and their lack of internal titles. In terms of architextuality, the affiliation of both works to a specific literary genre has led to the presence of certain structural and content-related features common to both texts. In terms of hypertextual relationship, considering the existence of historical documents, there is a possibility of the indirect derivation of Favaed Al-Fuad from Majalis-e Sab’e. Also quantitative, motivational, and qualitative transformations have been observed in Favaed Al-Fuad. The results of this research show that the influence of Favaed Al-Fuad by Majalis-e Sab’e is not imitative, and with regard to similarities, this work and possibly other Malfuzats represent an independent and indirect adaptation of Majalis-e Sab’e and other Majalis.

Since mystical texts are based on Qoranic verses, hadiths, and sayings of saints, they are more suitable for the exploration of transtextual relations than other texts. This comparative study aimed to analyze transtextual relations in Resaleh Qoshayriyeh and Seyr al-Auliya based on Gérard Genette's theory of transtextuality. The goal was to discover which types of transtextual relations exist in Seyr al-Auliya, and how this work has established a dialogic relationship with Resaleh Qoshayriyeh. Based on the results, Mir Khord Kermani established a conscious transtextual relationship to create a work on the same level as Resaleh Qoshayriyeh. Among the different types of transtextual relations, explicit, latent, and implicit intertextual relations were observed at the level of themes and narratives; a paratextual relation existed in the book’s structure and parts (main title and subtitle, chapters, sections, and epilogues); an architextual relation in the book’s style and language; and a hypertextual relation of the adaptation type in the use of mystical terms, verses, hadiths, anecdotes, and sayings of the saints.

The aim of the present study was to read the context of Hafez's poems based on Gerard Genette’s theory of transmittance. Gerard Genette believes that hypertexts are the thresholds for entering the world of text and are therefore among the key indicators of textual comprehension and reception. In this research, relying on the trans-textual approach in Genette's trans-textual theory, Hafez's poems are examined. This analytical-descriptive research has been conducted through library studies. Genette believes that there is seldom a text that is naked. In other words, there are always words in the text that cover it either directly or indirectly. Therefore, there is no text without cover. The inner contexts of Hafez's poems in the form of concepts such as "Hafez's titles, Hafez’s narration style, self-reporting, other audience, realistic reading, atmosphere and offerings" and external contexts in form of concepts such as "imitators, contradictions, historians, commentators, illustrators, etc.” can be formulated. Findings indicate that Hafez's poems are a cover for internal contexts that complement the focal text of his poems, playing a significant role in the real dialogue between Hafez and his audience. On the other hand, external contexts around Hafez's poems have been present separately and discontinuously and have provided the ground for criticism and charm of Hafez's poetry.

This article was written with the purpose of architextuality reading of Hafez's poems based on Gerard Genet's theory of transtextuality. Genet calls the long-term relationship between a work and the type it belongs to as architextuality. For this purpose, considering the importance of the typology of Hafez's poems, this issue has been investigated in the context of architextuality reading.

This research has been conducted as a theoretical study in the form of a laboratory study. The scope of the study is Hafez's Diwan Ghazliat edited by Ghasem Ghani and Mohammad Qazvini. In this research, an attempt was made to analyze Hafez's poems based on Gerard Genet's theory of transtextuality in a descriptive-analytical way.

According to Genet's concept of transtextuality, the results of the research indicate that the main text of Hafez's poems can also be classified into the following types in terms of type and form: "political, didactic, eulogizing, appropriate, boastful, satirical and Satire, philosophical-mystical, prayerful, calumny and reproach."

Based on this, the results of this research have shown that the main text of Hafez's poems includes critical political poems, political praise poems, political resistance, political satire and political epic. Praise poems can be classified into types such as laudatory praise, descriptive laudatory, elegiac laudatory, descriptive laudatory, boastful laudatory. After the type of "prayer" and "humor and satire", the main text of Hafez's romantic and mystical poems can be classified under the philosophical and mystical type. On the other hand, the reprimanding poems of Hafez have titles such as "giving oneself over to blame and not being afraid and not angry at the slander of those who appear, avoiding the worldly world and thinking about goodness and expediency and disregarding name and shame, avoiding asceticism and ascetic sellers, avoiding hypocrisy, a critical view of It is classified as formal institutions, avoiding the claim of discovery and virtues, covering up flaws, avoiding self-righteousness and selfishness, fighting with the ego, and seeking salvation in love.

Genette believes that different texts have taken from earlier works. He divides the relations between texts into five categories Intertextualitie, Architextualite, Paratextualite, Metatextualite, and Hypertextualite. Since the most important issues in comparative literature is literary effectiveness and Genet in transtextuality theory seeks the influence of texts to each other. It can be said that transtextuality are relate to comparative literature. Vampires are European legends that have attracted teenage audience and Golshiri has introduced them to Iranian fiction for the first time. In this research, using the content analysis method, we want to examine Meyer and Golshiri's vampire according transtextuality relations, in order to answer following questions: how the primary text was transferred to the secondary text in Golshiri vampire and Golshiri has used from Which transtextuality elements in his works? What effect cultural relations has been on the secondary text? In his works, Golshiri has used the Intertextualitie, Architextualite, Paratextualite and hypertextualite, and Iranian cultural relations have caused changes in the story,

Fasih Khafi (777-845AH) wrote the Mojmal Fasihi book in the ninth centuryAH, often each work is somehow related to works before and after it. Knowing source of a work helps to know it better. One way to understand the content, structure and position of a work is to understand extent and how it relates to works before it. Transtextuality is a theory that deals with all kinds of relationships between texts. In many cases, Fasih Khafafi has omitted source in order to avoid prolonging speech. For example narrations of Scaffi's death and Makan Kakoi's rebellion which have been narrated in events of 386AH. research question is to find out source of Khafi in these two anecdotes and prove it. By contemplating two books of the Chahar Maghale and Mojmal Fasihi and examining and comparing two in terms of intertextuality similarities, it was determined that three anecdotes of the Chahar Maghale are also mentioned in Mojmal Fasihi. Existence of common historical errors, similar phrases and common details between two narrations of Mojmal Fasihi in mentioning events of 386AH, and first and second anecdotes of first Chahar Maghale article, as well as the paratextuality of Khayyam's prophecy in Mojmal Fasihi with seventh anecdote The third of the Chahar Maghale proves that Chahar Maghale written in the sixth centuryAH by Nezami Aroozi are source of Fasih Khafi in writing narrations that he mentions about events of 386AH about Scafi and Makan.

Examining the interaction between texts is one of the ways to know texts accurately; hypertextuality is an approach to text reading that shows relationships between texts in a systematic way. Most of the anecdotes of Asrar Nama (composed by Attār of Nishapur) have their roots in previous works, but they have been changed and reproduced in this book very thoughtfully and purposefully. By using analytical-comparative method and based on Gérard Genette’s theory of hypertextuality, the present article attempts to investigate the relationship between the Asrar Nama and its subtexts. The findings of the research show that Attar uses subtexts in the form of explicit and implicit intertextual relationship in order to validate the narrative and confirm the content. The most type of hypertextual relationship between Asrar Nama and its subtexts is trigonomy or homogeneity in a quantitative transformation and pragmatic transformation methods. Processes such as transformation of motivation, transformation of value, qualitative transformation, amplification, expansion, cutting and summarizing the text lead to change the discourse of the stories, to highlight the content, to add fictional elements, to turn the text from a report mode into a narrative mode, to devalue or value the characters of the anecdotes and to adjust the goals in the Attār's narration. Hypertextuality in Asrar Nama is interpretive; it has played an effective role in explaining Attar's mystical views, expanding the themes, and symbolizing the anecdotes that are monosemantically and superficially narrated in the sources of Asrar Nama.

Drawing upon such theoretical principles as intertextuality, transtextuality, and hypertextuality, the present article seeks to introduce the notion of transnarration and its various kinds and applications in narrative genres. Put another way, the purpose of this narratological study is to define transnarration and transnarrative travel, and discuss their stratifications and categorisations in various forms of narrative. Here, the central questions are: what are transnarration, transnarrative travel, and their different kinds in narrative genres? How can the characteristic features of transnarration be traced and analysed in genres that incorporate micro or macro narrations? To answer these questions, the present study makes frequent use of key terms associated with intertextuality, Genette’s hypertextuality in particular, as well as of narrative elements, characters specifically, in an attempt to illustrate and exemplify different manifestations, categorisations, and sub-categorisations of the notions in question. The article divides transnarrative travel into outwardly (bilateral and unilateral) and inwardly (in even and uneven narratives) and argues that transnarration is, in effect, the textual and semantic expansion of a narrative and its penetration into another via the intertextual transportation and the simultaneous appearance of major or minor characters. The paper demonstrates that the character’s reciprocal or one-sided travel from a hypotext into a hypertext, from a hypertext into a hypotext, among even or uneven narratives within a single narrative work, from a main to a frame story or among possible stories in a multi-plotted and metafictional narrative work are all manifestations of transnarration and transnarrative travel.

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.

Chahar Maghaleh or Majmaol Navader contains anecdotes, some of which are not found in any former sources. After Chahar Maghaleh, many books have mentioned anecdotes. Each text is somehow related to the texts before and after it in terms of whether the connection is direct or indirect, conscious or unconscious, and limited or unlimited. Understanding such connections helps us to better understand the text through its sources. ‘Dialogue and intertextuality’ is a theory examining the relationship between texts and works before and after them. Dialogue deals with the relationship between all systems of language, writing, image, etc., according to the social nature of human beings. Man's interest in history and the experience of the past for a better life is based on the intertextual characteristic. The present study examines the memoirs of the ninth century AH to determine the relationship among six biographies and Chahar Maghaleh. For this purpose, first, six ninth-century AH biographies were examined. The related memoirs were Majmal Fassihi, Tazkereh al-Shoara, Baharestan, and Roza al-Safa. Then the commonalities between them and Chahar Maghaleh in the fields of vocabulary/words, phrases or sentences, events, time, and places were examined. Among the ninth-century memoirs, four were related to Chahar Maghaleh in the areas under discussion, especially events.

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.

Bahram Beizaei is an Iranian author, filmmaker, theatre director, scenarist, and prominent and stylish researcher. Benefiting from myth, epic, and historical backgrounds and folklore of Iran and the world, he has created artistic work; thus, his works are contemplative and extensively linked to intellectual topics, Persian cultural themes, and other nations. His play titled ‘Arash’ also possesses such salient feature. This point should be further noticed that based on intertextual approaches and theories, the creators of artistic works may not too rely on their own personal experiences, information, and intact subjective faculties for the generation of such works, but by considering pre-existing texts, they edit their works where these texts are assumed as the foundation for culture, idea, art, and literature of their time. We have tried in the present article to conduct a content analysis on the play of "Arash" and with reliance on librarian and documentary studies and based on the theory of trans textuality of Gerard Genette (as one of the theorists of Intertextuality). The findings achieved from this study suggest that this play is composed of Inter-textuality, hypertextuality, metatextuality, arcitextuality, and paratextuality elements which are noticed with some frequency where this has caused this work to have new conceptual potential and deserving of altered review. In the intertextual view of this work with its contemporary text, the poem "Arash" by Siavash Kasraei, Beizaei challenges the myth and Kasraei depicts himself and his society's desire; However, both works are associated with the myth of water and the demon of drought. On the other hand, in metatextual analysis, the existing classes in the play "Arash" can be considered in accordance with the existing classes in Wittfogel 's theory of Oriental Despotism, which is defined on the basis of the Hydraulic Society and the relations that govern it. From the perspective of contextual analysis, this work is related to the plays Azhi Dahāka and Kārnāme-ye Bandār Bidakhsh. In terms of contextual analysis, this play is similar to a kind of tragedy that is not unrelated to the story of Christ and Ta'zieh of Karbala.

The study of relationships between texts is one of the approaches to the study of literary works through which important information can be obtained from the text. Among the various literary theories that have dealt with the relationship between texts, transtextuality analyzes the text in this respect. This theory was first proposed by Gerard Genette, a French theorist and structuralist. Transtextuality has five forms: Paratextuality, intertextuality, architextuality, metatextuality, and hypertextuality, and includes an extensive study of relationships of a text with its para-elements, previous or contemporary texts, texts that have criticized and interpreted and have taken a step towards confirming or denying it; moreover, it includes the relationship of a text to the genre or genres in which the text is formed, and finally to the texts from which the text is taken. Farhad Hassanzadeh is a prolific writer with a specific style in children and young adult literature who has over 80 works on various subjects. He has received numerous national and international awards. Among his important and famous works, we can mention This Weblog Is Being Turned Over, Namaki And the Spectacled Snake, The Moonlight Guest, Call me Ziba, etc. This study intends to read Farhad Hassanzadeh's The Bambak Ship’s Scorpions through intertextuality which is one of the five forms of transtextuality and to identify the pretexts of interest to the author. In the following, it will be clear that the author has chosen the pretexts of the work purposefully and these pretexts have been effective in selecting some elements of the story. The author has also taken special care in using pretexts of popular culture such as proverbs and allusions, popular songs of the time, and slogans of the revolution. For this reason, the presence of this pretext in the work has a high frequency.

According to intertextual theory, no text is formed in isolation, and each text is influenced in an explicit or implicit way by the books before it.Gérard Genette studied the relationship of texts to the subject of transtextualite. He categorized it into five categories: intertextuality, hypertextuality, metatextuality,Paratextuality andarchitextuality. Accordingly, the purpose of this article is to examine these five categories between Abu-Shakur Balkhi'sAfarin-Name and Saadi'sBustan and Gulistan. It has been done in a library and descriptive-analytical way. Both poets have commonalities in the fields of: science and wisdom, speech, luck, greediness and the value of contentment, enjoying life and in the context of Didactic literature. Saadi's works have been strongly influencedAs "hypertext" (second text)From Afarinnameh as "hypotext" (first text)And we can say thatSaadi's works are a perfect example of the subject ofrelationship of texts transtextual That the category has more intertextuality and transtextuality with the hypotext of its text.

Attar’s Mantiq al-Tair, a classical Persian literature heritage, has transcended the local geography and has been considered at worldwide level. One of the fiction books published under the influence of Attar's Mantiq al-Tair is The Conference of the Birds by Peter Sis, the Czech writer, illustrator, and filmmaker. The book was recreated and illustrated by Sis for children, adolescents, and adults in 2011 and after it he won Hans Christian Andersen Award or the biennial Little Nobel Prize–the most prestigious literary and artistic award in the field of children's literature. Zohreh Ghaeini, a writer and researcher of children's literature, translated this book into Persian in 2016. Next year, she was selected as one of the nominees for the sixth period of receiving Golden and Silver Flying Turtle Award for adolescents at domestic festivals. Adopting descriptive-analytic method, intertextuality approach, and specifically Gérard Genett's theory of transtextuality with a critical look, this article attempts to describe and analyze the transtextual relationship between The Conference of the Birds and Attar's Mantiq al-Tair. Intertextuality has long engaged researchers with the premise that texts interact with each other. Intertextual method has roots in the works of Russian critic, Mikhail Bakhtin. All the theorists have presented their own view of dialogism. Among others, Genette proposed and completed his model of “transtextuality" in the twentieth century based on Bakhtin's dialogism principles. His theory of transtextuality includes five types of relations including "intertextuality", "hypertextuality", "paratextuality", "metatextuality", and "architextuality". In the following, these relations are described and analyzed in The Conference of the Birds. Paratextuality includes intra-textual and extra-textual paratexts that are the gateways to enter or exit the text. It is considered an influential element that affects the audience mind and perception. Examples of intra-paratexts are title, second title, book size, cover design, and the like. Extra-paratexts can be divided into two categories of paratexts created by the author and publisher to attract the audience, and paratexts created by other people, including critics or reporters and other authors to promote or critique the text. The Conference of the Birds by Peter Sis is an adaptation of Attar's Mantiq al-Tair based on paratextual sources and documents. The author's explanations concerning the book's connection to Attar’s and his announcement of copyright permission granted to Research Institute of Children's and Adolescents’ Literatureare examples of intra-paratexts. Extra-paratexts can also be seen on Persian and English sites and some media. Intertextuality is the interconnection and relationship between two texts, which includes explicit (verbal), non-explicit, and implicit relations. Implicitly, the essence of Mantiq al-Tair is reflected in the main and general plot of The Conference of the Birds by Sis. From the beginning, through paratexts and references to Attar's metamorphosis to Hudhud, Sis acknowledges that this work is a rewriting of Mantiq al-Tair and with these references he avoids using quotes in the text. Examples of intertextuality are the birds being called by Hudhud to seek the king and set out on a journey to Mount Qaf; the birds bringing pretexts for not going on the trip; the seven valleys (Haft Wadi); and reaching Simorgh. Metatextuality is the explicit or implicit critical commentary of one text on another. In The Conference of the Birds, which is itself an adaptation of Mantiq al-Tair, the effects of conforming to Mantiq al-Tair’s atmosphere in the general formation of the new work cannot be neglected. During the transfer, Mantiq al-Tair’s atmosphere, which is mystical-didactic, has been reduced to a moral-didactic one in The Conference of the Birds; a kind of description and confirmation that the author has adopted in recreating that great classic work taking into account the target audience and the circumstances. Thus, metatextual relations between The Conference of the Birds and Mantiq al-Tair are formed based on the main story. Architextuality is the relationship between a work and the generic category to which it belongs. The genre of Mantiq al-Tair and The Conference of the Birds can be viewed from two perspectives: one is the genre of mystical epic, and the other is the sub-genre of Risalat al-Tair, a branch of didactic genre. The epic genre has indeed been transferred to The Conference of the Birds and has turned it to a didactic epic; however, the format of the new work has changed from a poetic story to a prose one. This part is one of the aspects that Genette's transtextuality considers it to be weak in terms of architextual relationship. Hypertextuality is a relationship based on the adaptation of text B from text A; which is divided into two types of transformation or imitation. From imitation view, the plot and structure of the work can be considered an imitation of the original plot and style of Attar's Mantiq al-Tair. This imitative plot, which forms the plot of Mantiq al-Tair, has been rewritten for children and adolescent audience. Reducing the volume, adding imaginative illustrations, and reducing the mystical dimension could be considered as instances of transformation. Accordingly, by exploring Genette's transtextuality, different dimensions of textual relationships can be examined which have even been created at various geographical boundaries and over different times; though some criticisms are leveled against this model by reader-oriented and systematic analysis approaches.

"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.