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Abstract
The purpose of this dissertation is to prove that in spite of the burgeoning chasm between hypertextuality and
textuality as they perform different functions and display opposite characteristics, they could be dovetailed. It is conceived that hypertext fragments and atomizes a text by destroying the notion of linearity which results in a deconstructed, dynamic, and dispersed text. Hence, the
relationship seems to be blurred, destroyed, and dissentangled. Concrete lines of demarcation between them are constantly drawn. Nevertheless, the relationship between textuality and hypertextuality could be differently revisited.
There are points of convergence that render textuality and hypertextuality complementary. After comparing between
the original print format and its hypertextual counterpart, one can come up with a different conclusion: hypertextuality is a subset of textuality, rather than an adversary. The former is a derivative of the latter. Both of them are intertextually
related to other works of arts. Hence, hypertextuality is a digital form of textuality; a different form of narrativestructure. As a result, text and hypertext could be complementary. But in spite of the hypertextual medium’s increasing crescent of success, no one can declare the death
of the print form. Nevertheless, every age has to seek out new forms to give a further insight into understanding
dramatic art in particular and life at large.