Structural-Component Analysis of the Linguistic Process of

Transtextuality and Its Position in Discourse Study

Aziza Mirzaeva

Bukhara State University, Bukhara, Uzbekistan

Keywords: Analysis, Scientific, Linguistic, Study.

Abstract: The point of view of the author proposed in this scientific article describes the linguistic phenomenon of

transtextuality, which is very relevant in recent decades, which is quite often found in texts of various

directions, in particular in world literature and journalism. In the described linguistic study, I carefully

analyzed and elaborated the term and the concept of transtextuality, in particular I would like to note that this

linguo-literary layer is very multifaceted and incorporates a whole network of independent, semantic

branches, such as metatextuality, hypertextuality, architextuality, paratextuality, and of course well,

intertextuality. All these concepts, although they are equivalent in terms of functional and structural

characteristics, but it is the category of intertextuality that most comprehensively complements the semantic

and conceptual picture of transtextuality. An important role in the transtextual process is also played by lexical

borrowings of words, since the word and even its constituent part - the word-forming morpheme - are the key

elements of any text, discourse, speech and language in general. The object and subject of the study were

textual elements containing transtextual components of the works of foreign publicists and literary critics,

such as M. Bakhtin, J. Genette, M.Riffater, etc. This scientific article consists of an abstract, keywords,

annotations, introduction, aim, materials and methods, results and discussion, conclusion and references.

1 INTRODUCTION

The term "Transtextuality" was created by the literary

theorist and publicist J. Genette. Genette explains

transtextuality in a book he wrote called Palimpsests:

Literature of the Second Degree (1982), in particular

he explains this term as textual transcendence of a

text, that is, a literary phenomenon that places a text

in obvious or hidden relationships and relationships

with other texts. (literary works, novels, prose). There

are basically five fundamental branches of

transtextuality that are prevalent in the majority of

verbal texts as lingual component, they are:

As a paradigm for substantiating the structure of

the described proposition, Gennet presents the

conception of intertextuality, which was introduced

by Julia Kristeva in 1967 and which Genette

reformulates, making it 1 of the 5 orders of

transtextuality. Kristeva explains it as grounded on

one of the leading trends in linguistics of the 19th

century the semiotics of Ferdinand de Saussure and

the dialogism of M. Bakhtin, as commodity that

replaces intersubjectivity, establishing that the

meaning of the textbook isn't transmitted from pen to

anthology, but is interceded by a series of canons that

involve different textbooks. Although in its origin

Yulia Kristeva's conception of intertextuality is

communed to post-structuralism, Gérard Genette

comes from a structuralist vision to explore a field of

literature where workshop aren't original, unique or

independent, but are specific articulations (literary

selections). and combinations) of a delimited but"

open" system. Genette extends the proposition of

transtextuality to aspects of textuality that categorize

from material to a broader abstraction of conveyed

meanings that includes the intertextuality suggested

by Kristeva but is more restrictive, so he believes that

the conception of transtextuality is more inclusive.

While detailed studies of the five orders that Genette

proposes haven't been done, the delineations of each

of them make it possible to easily outline what they

substitute.

Mirzaeva, A.

Structural-Component Analysis of the Linguistic Process of Transtextuality and Its Position in Discourse Study.

DOI: 10.5220/0013425000004654

Paper published under CC license (CC BY-NC-ND 4.0)

In Proceedings of the 4th International Conference on Humanities Education, Law, and Social Science (ICHELS 2024), pages 539-544

ISBN: 978-989-758-752-8

539

Figure 1: Transtextuality’s integral elements.

Genett explains that the boundaries of the five

categories of textual transcendence (or

transtextuality) can be mixed up, but narratologists as

well as literature reviewers list them in the following

ascending order, depending on the degree of

abstraction, sphericity and implication.

Transtextuality as a linguistic phenomenon

in the context of discourse has been studied very

insufficiently, therefore the aim of the chosen

research theme is, first of all, to identify and analyze

the structure of this linguistic process, occurring in

discourse field, i.e., within various texts, outline its

main characteristic elements, define linguistic

interrelations between them and consider scientific

outlooks of the most renowned literary scholars in the

given sphere of knowledge about the investigated

subject.

2 MATERIALS AND METHODS

Concerning the materials of the given research work,

the term “transtextuality” is one of the most

problematic conceptual terms in contemporary

linguistics, text theory, discourse studies and

semiotics. Among other things, this term also carries

a literary load, since the interweaving and

relationships of different texts are also very often

found in literary works, when an analysis, quotation,

or simply comparison of fragments of two or more

texts of not directly related literary works is made.

The ambiguities in its interpretation have led to

differences in the interpretation of the work of many

linguists. Nevertheless, some linguists (N.N.

Belozerova, L.E. Chufistova) consider the term ideal

[1, p. 56]. This is because its introduction into the

scientific literature makes it possible to replace many

descriptive names, such as literary memories, the

words of others, following traditions, etc. One of the

aims of our research is to analyze the content of this

concept and ensure that it meets the needs of modern

linguistics. To do so, it is necessary to trace the

scientific development of this concept and its scope

in the professional literature.

The notion of intersubjectivity is replaced by

the notion of intertextuality, and poetic language is

read at least two ways"[2, p 89]. This approach

extends the boundaries of the text and points

backwards and forwards to infinite connections with

other texts. Yu. Kristeva relies in her research mainly

on M.M. Bakhtin's work devoted to dialogism and

polyphony: “Dostoevsky's Problem of Creativity”

“François Rabelais in the History of Realism”.

M.M.Bakhtin, in his monograph 'Problems

of Dostoevsky's Poetics', argues that F. M.

Dostoevsky's “polyphony” and “dialogical character”

of the work, as expressed in M.M. Bakhtin's

definition of dialogical relations, further developed R.

Barthes' text theory; Yu. Kristeva developed these

ideas by moving away from the concept of

'intersubjectivity' used by M.M. Bakhtin and arguing

that e a very text is in 'dialogue' with the past and the

future. and concludes that every text is in 'dialogue'

with past and contemporary texts. Thus, subsequent

reflections on the 'death of the author' are produced.

ICHELS 2024 - The International Conference on Humanities Education, Law, and Social Science

540

G. Genette

Transtextuality -

"everything that relates

a text to other texts,

whether explicitly or

implicitly and

'encompasses all

components of a given

text."

M. Bakhtin

Dialogism

An individual's speech

is formed in constant

interaction with the

speech of others

through the experience

of assimilating others'

words

Yu. Kristeva

Intertextuality

It blurs the boundaries

of the text, due to

which the text loses its

completeness and

closeness.

Figure 2: a sequence of studying the transtextuality

The role of the author is replaced by intra- and

intertextual interaction. The author does not

participate in the text, but only presents various

ideologies [3, p.36].

M.M.Bakhtin was the first to analyze the

concepts: ideology and ideogram from a linguistic

perspective. From his point of view the national

language is a variety of ideological outlook that is to

be realized by means of the ideology of each

individual. Yuliya Kristeva presented the term

“ideology” as a mixture of organization of texts

embedded in a “general text (culture)” and

explanations sent through assimilation into the

“external textual field (section)”, i.e. the transtextual

relations.

Ideologeme is an transtextual function that can be

read “embodied” at different levels of the structure of

each text, influencing its entire trajectory and

determining its historical and social coordinates [5, p.

63]. In this case, the texts are seen as intertextual and

understood within the text of society and culture as a

whole. Both authors have a great interest in

developing specific approaches to analyzing a

particular genre of the novel.

M.M.Bakhtin, in his turn, recognizes that one of

the origins of the genre of the novel in literature lies

in its history. M. M. Bakhtin claims that one of the

origins of the novel genre in literature is the 'carnival'

described in his monograph analyzing the works of

Yu.Kristeva and M. M.Bakhtin. Analyzing the works

of Kristeva and M. M.Bakhtin, G.Koshkov concludes

that transtextual carnivalization is rather aimed at

liberation from truth [4, p. 42], that is, the denial of

established truths, the recognition of the absence of

individual consciousness. Carnival is a state without

conventions and constraints, hierarchies and laws, a

'crowning' and 'debunking' or a continuous 'process of

becoming'. Carnival is the mixing and interweaving

of all accumulated experiences, the disclosure and

'liberation of human consciousness'. The novel is thus

presented as a way out of all the internal and external

contradictions prevalent in the social environment.

The following methods were used for

investigating the term “transtextuality”, its structural

content and functional peculiarities: lexical, stylistic

and discourse analyses.

3 RESULTS

It should be noted, however, that what M.Bakhtin is

talking about in his work is not the direct presence of

explicit borrowings and references from other works,

but the different voices within a single work. The

term “transtextuality” implies, i.e. the existence of

different and heterogeneous texts that are

interconnected conceptionally and semantically.

G.Thieme, M. Fister, J.Bloch share the same point of

view described above. "Julia Kristeva associates this

term (transtextuality) with M.Bakhtin's "dialogism",

but unwittingly, and most importantly, she rejects the

notion of dialogism. Let us take a look at a sequence

of studying the transtextuality process by three

renowned linguists and theorists:

This clearly shows the development of research

ideas that led to the creation of the term intertextuality

itself. However, this theory, and the view of literature

and art in general, is rooted in a philosophical work

that originated in ancient Greece. There, classical

philosophers argued that art is a reflection of reality

Structural-Component Analysis of the Linguistic Process of Transtextuality and Its Position in Discourse Study

541

and gives people the pleasure of recognition. Plato,

and after him Aristotle, spoke of mimetic art and the

pleasure and delight the viewer derives from knowing

this or that truth. In the Renaissance and Classicism,

imitation was seen as the only way to approach the

ideal. Following the aesthetics of the ancients seems

to have been the tradition of the aristocracy - the

cultured, literate and refined. While this practice was

abolished in the future, the aesthetic consciousness

that transtextual elements bring to any work

remained.

If ancient Greek philosophy is the foundation of

many modern theories, not only in linguistics but also

in other sciences, the 20th century is that very

foundation. - The 20th century is the building that

gave birth to the theory of intertextuality: In the 30s

of the 20th century, A.V.Shubnikov and V.A.

Kopchik were working on the categories of symmetry

in terms of the human desire for proportionality. The

work of physicists was analyzed in the works of N.N.

Belozerova and L.E. Chufistova "Cognitive models

of discourse" concludes that the basis for maintaining

symmetry between interacting texts is the influence

of invariants and variants on each other [1]. That is,

the interaction, parodying and referencing of the

original text and the new text on which it is based.

According to these studies, people unconsciously try

to reflect their accumulated experiences in their texts

and liken their work to observed natural phenomena

or the creative output of previous or contemporary

generations.

Simultaneously with that, Vannevar Busch

proposed the so called “memex” theory, a hypothetic

prototype of hypertextual system, according to which

people accumulate and extract knowledge not

through logical connections but through chains of

associations. According to Busch, associations form

a whole network or 'web' whereby all the information

that a person assimilates is reflected in the creation of

a new text. 'Memexes' are special devices for storing

and retrieving information. Each person has their own

notes, which are reflected in their work and in new

texts. W. Bush elaborated on this idea in his article

"As We May Think" published in the Atlantic Daily

in July 1945.

Memex is a mechanized device for

very fast and flexible reference, where an individual

stores all their books, records and correspondence"

[6, p. 13]. Its development has been the prototype of

the concepts of 'hypertext' and “transtextuality”. This

is because it is a cognitive model of the process by

which connections between texts emerge.

H.L. Borges, who wrote the short story 'The

Library of Babel' in 1945, made a significant

contribution to the creation of intertextual theory. The

author imagines a universal library containing every

book ever created. On the surface, this world library

is a solid structure, represented as a hexagonal room

with stairs and mirrors. In reality, however, H.L.

Borges' Universal Library is chaotic, infinite and

decentralized. It is impossible to organize this library

and find the right books and librarians. In this story,

the idea emerges that everything has already been

said and written: 'This article of mine, unnecessary

and useless, already exists in one of the thirty

volumes on one of the five shelves of the countless

hexagons. Later, M. Foucault used similar

metaphorical imagery and called his library

'fantastic'. Such an idea destroys the author's

motivation and inspiration and ultimately downplays

the importance of the author in the contemporary

world, which French structuralists and post-

structuralists have based on the notion of the death of

the author. This author's work aimed to break the

conventional attitude towards the literary work as a

search for a beginning: H.L. Borges' concept is to

represent the text as a vicious circle (N. Piegue-Gros)

or a textile (R. Barth). In each case, there is no way to

find a beginning or an end, all texts are in endless

interaction with each other, the core or fundamental

principle is denied.

In the mid-20th century, such ideas gained

popularity and came to be known as set theory,

replacing unity philosophy. The main difference

between these theories is the absence of centers,

beginnings and absolutes. The structuralists were

replaced by post-structuralists, mostly represented by

French theorists such as J. Derrida, J.-F. Lyotard and

J. Delaire. Lyotard, J. Deleuze and M. Foucault,

among others. These philosophers argued for the

inherent heterogeneity of existence, ambiguity and

the absence of any totalization. Their philosophical

work paved the way for the creation of the theory of

intertextuality presented by Y. Kristeva and other

representatives of the philosophical and literary group

Ter Kel. Philippe Sollers, editor of the journal of the

same name, emphasized that 'any text is linked to

many other texts and can be re-read, emphasized,

condensed, transformed and deepened' [7, p. 205].

This group argued for the relativity of the concept of

plagiarism. Because, in one way or another, every text

consists of a 'mosaic of quotations', so everything is

plagiarized. Thus, they denied the existence of

authorship and promoted the fashionable notion of the

'death of the author'.

The emergence of the term transtextuality was

received critically by French philologists, but with the

support of the journal Tel Kel and the authority of R.

Barthes, the term remained in print R. Barthes

ICHELS 2024 - The International Conference on Humanities Education, Law, and Social Science

542

developed the concept created by his students and is

reflected in the following works: 'S/Z', “From Work

to Text”, Joy from Text”. It is worth noting that R.

Barthes assimilates many meanings of the term text

that are embedded in the concept of intertextuality,

such as the galaxy, network and fabric of Signifiers.

He makes a clear distinction between the concepts of

text and artifact; while the artifact is static and

limited, the text is dynamic, constantly expanding,

overshadowing every artifact and inevitably 'casting

a shadow over it'. This contrast clearly reflects the

similarity between R. Barthes' text and Y. Kristeva's

intertext ('every text is an intertext'). R. Barthes thinks

that any text is often an accumulation of unconscious

borrowings, which is almost impossible to determine.

Moreover, each reader has his or her own

associations, and these associations do not necessarily

coincide with the author's ideas. For this reason, 20th

century literary scholarship has a maxim:

In the abstract: 'How many readers - how many

works” A.Mirzaeva disputes the true meaning of her

term and argues for a new, equally broad and vague

definition. "Transtextuality is the transposition of one

or more symbol systems into another"[8, p. 593].

Ultimately, R. Barth accepted A.Mirzaeva text and

intertext. there have been numerous attempts to

legitimize the concept, giving it the opportunity to

become a linguistic problem.

A more complex conceptual system was

developed by the French structuralist Gérard Genette

in his book Palimpsest-1986 y.. Palimpsest is a name

that aptly conveys the main direction of thought in

linguistic and literary studies at the time: 'an ancient

document on paper (usually parchment) that has been

washed or scraped and inscribed' [9, pp. 370-371]. J.

Genette introduced the generalized term

transtextuality, which allows us to talk about (explicit

or implicit) connections between one text and another,

hypertextuality, paratextuality, archtextuality and

metatextuality. Intertextuality is "a common relation

linking two or more texts". According to J. Genette,

this includes citation, plagiarism and quotation. The

concept of hypertext is defined as "the relationship

between a primary text and a secondary text created

from another primary text". In this typology, the

difference between the terms transtextuality,

intertextuality and hypertextuality is not clear. As a

result, instead of shedding light on the disagreements

that exist among linguists, this development has

further divided and complicated the new theories of

textual interaction by drowning them in vague

terminology. Michael Riffater (Michael Riffater) has

only considered intertextuality in terms of reader-text

interaction. Based on a one-sided approach to

transtextuality, M. Riffater defined transtextuality as

the reader's perception - before or after - of the

relationship between one work and another.

Moreover, this French theorist argued that

intertextuality is not limited to the chronological.

Thus, despite the law of diachronicity, earlier works

can introduce later works to the reader; M. Refater

points out that references to other texts that are not

identified by the reader lose their meaning and the text

remains flat and devoid of richness. In other words,

what the reader cannot miss is emphasized by typos or

by the author himself. The most typical example of

this is the quotation, where an omitted intertextual

expression has a citation. The expression text within a

text is common in Russian philology (Y. M. Lotman,

N. S. Valgina) are characterized by different

approaches to the interpretation of the analyzed

concept. "Text-in-text is the addition of someone

else's text to the text of the original author". A

heterogeneous text can be understood as the text of a

fictional character as well as the text of another real

author. Zhivago's poem at the end of the novel and the

alternate narrative in The Master and Margarita are

examples; I. V. Arnold had a similar view on the

interpretation of the term, but adopted the French term

for his own use. The main determinant of his approach

is the change in the subject of speech. Intertextuality

is "the incorporation into a text of all other texts or

fragments of texts with which the speaking subject

differs, in the form of quotations, allusions and

allusions" [10, p. 165]. It is debatable whether the

standard conversation between the characters in this

work is a change of subject, in which case every

response should be considered a quotation. In general,

I. V. Arnold has managed to create a clear

understanding of textual interpretation. 'The doctrine

of dialogism (M. M. Bakhtin), the theory of

intertextuality and hermeneutics”. To my mind I think

it’s customary to take the term transtextuality in a

limited notion In contemporary linguistics and Y.

Kristeva's interpretation of any text as a set of pre-

formulated sentences is beyond the scope of linguistic

research. The clearest definition summarizing the

main aspects of the term is given in E. A.Bajenova's

stylistic dictionary.

4 CONCLUSION

Transtextuality is "a category of texts that reflects the

relationship between one text and another, the

interaction of texts in the process of functioning of a

work, which gives the work an increase in meaning".

This terminology provides the basis for further study

Structural-Component Analysis of the Linguistic Process of Transtextuality and Its Position in Discourse Study

543

of this phenomenon in the literature. Interest in this

topic is growing and developing as linguists try to

analyze certain aspects of artistic works from the

perspective of the author, text or interpreter.

Particular attention has been paid to the latter, whose

task is to decipher texts. Works written between

antiquity and the 21st century cannot exist without the

influence of texts read in the past.

Summing up the above analyzed data, the

article reveals the essence of the term transtextuality,

its origin, etymology and constituent elements

(hypertextuality, architextuality, paratextuality,

intertestuality), analyzes the ways of forming

intertextuality, gives examples of famous world

philologists, literary theorists and publicists.

Therefore, Transtextuality is "the main foundation of

world literature, as every linguistic and literary piece

of art throughout humans’ writing creativity is surely

based on previous thinkers’ data, texts, necessary

notes and etc..".

In conclusion, I would like to summarize that the

linguistic phenomenon called transtextuality is still

rather poorly studied in world linguistics, therefore

this scientific work on the described issues will be

extremely useful both for further scientific research in

this field of knowledge, and for specialists and

students of special languages of universities and

faculties.

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