Abstract

According to the theory which Julia Kristeva developed moving from Bakhtin’s theory of dialogy (the relationship of words with each other) and called intertextuality in her study dated 1966, no text exists autonomously because every text is in interaction with other text/s either consciously or unconsciously. The function of intertextuality is to determine covered or overt relations between texts, the position of them (receiver/transmitter), in some cases even to search whether the interaction is one-way or two-way and to reveal the traces of the texts in each other. In other words, the texts are analysed layer by layer and the different tastes and colours they embody and which enrich them are discovered. One of the research areas of intertextuality is mythology and religion which are frequently taken as subjects in such studies. Mythology and religion are one of the sources from which almost all the World literature is nourished widely. Generally Turkish literature and specifically Turkish theatre within the World literature, harbour the effects of the myths and various religions intensively. In this context, this study will analyse religious and mythological elements/ allusions in Turgay Nar’s play called Çöplük and will determine how these religious and mythological elements have been changed and transformed, in other words have been deconstructed by the playwright.