Hypotext

The purpose of the present article is to investigate Peter Carey’s Jack Maggs (1997) within a theoretical context set by Linda Hutcheon’s definition of parody. In Hutcheon’s view, parody is a repetition with critical distance. Hucheonian parody allows the adapted work to challenge and ironically transform the form and the content of the hypotext in order not to ridicule but to create. The central questions of this research are: How does Jack Maggs employ Hutcheonian parody within the broader postmodern narrative discourse to view its source text with a critical distance? And, how does Hutcheonian parody engage Jack Maggs in contemporary social debates? In order to answer these questions, the research applies various aspects of Hutcheonian parody to Carey’s novel. The present paper demonstrates that Carey’s Jack Maggs recontextualizes Charles Dickens’ Great Expectations (1860) in a new Australian setting. It also argues that the novel, which has mostly received positive responses and reactions from both literary critics and general readers, illustrates Carey’s parodic attempt to revisit one of the most renowned novels of the Victorian era. The present research contends that Jack Maggs is a critique of nineteenth-century realism and, more broadly speaking, of master narratives.

The concept of translation encompasses a broad spectrum, including various forms of textual adaptation and adjustment that occur across languages and cultures. Within this spectrum, adaptation and imitation are also considered as part of the translation family. This study, conducted using a comparative, descriptive-analytical method, seeks to explore the issue of adapting a contemporary religious drama from Qur’anic narratives, employing Gérard Genette’s theory of hypertextuality. It examines the structural and thematic aspects of the hypertext in question—the television series Sahebdelan ( The Spiritualists ), directed by Mohammad Hossein Latifi (2006)—and its relation to its hypotext, the narratives of the Qur’an. The aim is to determine the extent and manner of the Qur’an’s influence on the adapted hypertext and to analyze the types of transformations that have occurred. The findings reveal that, based on Genette’s categorization of transtextual relationships, this form of translation from hypotext to hypertext constitutes a recreation of parts of the lives of certain prophets in the Qur’an in the format of a television drama. This recreation—shaped by filmmaking motives, media constraints, target audience, and the purpose of the series—has involved substantial changes to narrative elements such as characters, events, time and space of narration, and intertextual connections. These transformations have enabled the transmission of Qur’anic themes and messages in a contemporary and accessible language for today’s viewers. The impact of Qur’anic narratives in shaping the content and themes of this dramatic work has been significant, making it a prominent example of religious adaptation.