Durmuş G.2024-08-042024-08-0420121300-3984https://hdl.handle.net/11616/91188In this study, Ahmet Necati Cumali's play Yarali{dotless} Geyik has been analysed in accordance with"The Transtextual Relations Theory" put forward by Gérard Genette in order to reveal intertextualrelations in literary texts. In his theory, Genette has regarded intertextuality as one of the five transtextualityrelations including hypertextuality, paratextuality, architextuality and metatextuality. Inthis new respect that is put into practice by text-centered close reading, the hypotexts of Yarali{dotless} Geyikand the fact that these texts have been chosen by the author deliberately, have been effective. In thework, in accordance with the traditional forms, texts of oral tradition (folk ballad and story) have beenthe basis for a text of written tradition (the art of drama) and the hypertextuality relation has beenput into practice in a way that many intertextuality theorists agree on. In the study, Yarali{dotless} Geyik isregarded as the hypertext and the folk ballad and story as the hypotext. Furthermore, the process inwhich the author gives his own thematic meaning to the work that he rewrites with a transpositionhomodiegetic and the intertextual formal and thematic variations have been emphasized in the study.The work has been analysed in terms of not only the hypertextuality relation but also other transtextualrelations. In paratextuality, other texts that the author interrelates by means of the title he's chosenfor his work have been determined; in architextuality the literary form of the work has been stated andin metatextuality the evaluations of the author that he made about Yarali{dotless} Geyik and its hypotexts inother texts, have been stressed. Formal transformations also brought along semantic transformationsand the author has transformed the hypotexts that are about "the ill luck of deer hunt" to a hypertextthat is about "the pleasure of the dedication to an ideal".eninfo:eu-repo/semantics/closedAccessAhmet necati cumaliFolk balladPalimpsestsTheatre textTranstextual relationsArticle12961161282-s2.0-84877647906Q2