Search

A suitable platform for paradigmatic criticism would be the paintings of Iran Darroudi, a contemporary Iranian female painter, which are created in the surrealist and symbolism style. For instance, paintings are one of the domains in which archetypes are manifested. Archetypes are abstract concepts that are common, repeated, and abstract in various human societies. They are rooted in the collective unconscious, the deeper part of the psyche, and are reflected in the individual's consciousness and unconsciousness through fantasies, legends, dreams, delusions, and artworks in the form of symbols and myths, according to the perspective of analytical psychology. In fact, these symbols and mythologies are containers that convey archetypes, and by interpreting them, one can gain a deeper layer of the human psyche. In this research, we will examine the symbols of archetypes in three instances of Iran-Darroudi's paintings to determine the role of the collective unconscious effect through the reflection of archetypes in Darroudi's paintings. The purpose of this research is to develop a novel analytical method that employs a distinct approach to facilitate a more profound comprehension of the inner layers of Darroudi's paintings. The research performed qualitatively on descriptive-analytical method. The collection of topics would be based on observation and the library. The findings indicate that the primary bold elements in Darroudi's art are the manifested symbols of sky, earth, ruins, flowers, pearls, and light. These symbols represent the archetypes of mother/woman, sky/father, ascension, and marriage. [ABSTRACT FROM AUTHOR]

Purpose: The amazing, miraculous and unconventional birth of the hero is a very important element in the beginning of folk stories, which starts the story with a prophecy about the fate of the character or the description of his characteristics, which is a sign of the presence of the hero in the story. This research shows that the birth of the hero in a number of legends of Khur and Biabank has a mythological aspect. Method and Research: The present research examines and analyzes the archetype of the miraculous birth of the hero in some folk legends of Khur and Biabank in a descriptive-analytical way. Finding and Conclusion: In these stories, the hero is usually born to prominent parents, sometimes the hero is a prince. Often, the birth of a hero and the process of his growth and development are accompanied by many problems, difficulties and obstacles. In general, among the various forms of the miraculous birth of the hero in the legends of Khur and Biabank, we can mention birth with plant origin, birth without parents, birth with one origin, incomplete birth, birth from a non-human, birth in the form of an animal-human, and birth with a child's vow. The tree pointed. [ABSTRACT FROM AUTHOR]

1. Introduction By the year the Islamic revolution in Iran overthrew the former regime, a Marxist system in Afghanistan took the power, the anti)religious nature of which caused many mass uprising against it. The civilian resistance continued till the complete withdrawal of the Russian military and overthrow of Marxist system in 1993. The conquest of Mujahedin ended up with civil war, which in turn caused the appearance of Taliban, and consequently their complete conquest of the country. Playing a savior role, the US and the NATO established the Islamic republic of Afghanistan in 2001. This government, again, was brought down by Taliban. But throughout all these periods, what kept the nation of Afghanistan on their feet was their indomitable spirit. The role of poetry of resistance in the history of Afghanistan is something remarkable. Widely calling the national and religious figures, and using the old patterns of poetry and mythological elements, contemporary poetry of Afghanistan traveled a long way of resistance, and strengthened the morale of resistance of the people. Mythological sources, in addition to enforcing the aspects of the poetry, have been used as the tool for the poets to scandal the invading and intervening strangers, their puppet governments, and the traitors. This study aims at criticizing and evaluating the mother archetype as the strongest, and most substantial archetype which is deeply affecting the unconscious mind, as the most important, and the key archetype of Afghanistan resistance poetry. After recognition of these manifestations, it aims at investigating the relation between them and the resistance thought in resistance poetry. 2. Methodology Jung considers the surface layer of the unconscious to be the personal psyche (Jung, 2020:55); deep in this layer, however, there is the deep area of the psyche that is the collective nature which Jung calls the collective unconscious (Jung, 1995a: 14). “The content of collective unconscious is called the archetype (Jung, 1990: 14)”. Archetypes are a collection of inherent tendencies that always tend to create parallel images and ideals according to Plato. Archetypes are always present in the unconscious mind, and pave the ground for human actions by their creative power. The birth, death, hero, shadow, exemplary mother, mask, colors, idealism, etc. are particular concepts of human mind. Dreams, myths and literature are among the flourishing fields of these psychological products. Resistance poetry comprises the works that are created under the tough circumstances such as lack of freedom, domestic tyranny, lawlessness, offence of the authorities, usurpation of power, territory, and national and individual capitals. The sources of such works are fighting against the domestic oppression, foreigners’ aggression, and resistance against anti-freedom groups (Sangari, 2005: 45). Resistance poetry of Afghanistan is also one of the richest currents of resistance poetries reflecting various manifestations of resistance in the form of archetypes, and mother archetype in particular during three different periods, Jihad against Soviet invaders, civil war, and the rule of Taliban. 3. Discussion Mother is the oldest archetype in the mind which appears in different forms. I want to look at the most important Manifestations of archetype of mother in two groups of real and natural/virtual Manifestations. 3-1. Real Manifestations of mother archetype The most important manifestations in which the real mother appears are the real mother, grandmother, nanny, and any other woman with whom there is a relation. The most prominent real archetype of mother is the face of the real mother of the poet or the fighters. This woman carries the entire characteristics of mother archetype such as concern, enthusiasm, compassion, kindness, sympathy, supportiveness, and fertility. For instance, mother in Masnawi e Shekayatnama by Mozaffari is the woman of Afghanistan (Mozaffari, 2014: 79-81). Khalida Forogh also considered the girls of the desert as the real manifestation of mother archetype, and she considers the tendency to love, fertility, and bringing up heroes such as Rostam, Zaal and Belaal as the responsibility of herself and her companions in the group of resistance (Forogh, cited in Mozaffari, 2005: 454). 3-2. Natural manifestations of archetypes of mother Mother’s characteristics in the nature have been shown in both negative and positive manifestations. Bipolarity of the archetypes is dependent in its symbolic characteristics; confronting archetypes, human beings recall the evil, or the useful mental images as required. Resistance poetry also depicts the archetype of mother, as required, in two aspects of good and evil. 3-3. Positive manifestations of mother archetype Characteristics of “the lovely mother” appears in those things which are arousing sacrifice or respect, or fills someone with awe such as church, motherland, the heaven, the earth, jungles, the sea, the world of under-earth or month. These archetypes are generally connected with things which are the symbols of abundance and fertility. These symbols can connect with the rock, cave, tree, water fountain, water well, flowers such as a rose (Jung, 2019: 99). Resistance poetry has used most of the images of “the lovely mother”. Some of the most important images are as follow. 3-3-1. The Earth What make the earth similar to mother/woman are the characteristics such as fertility, birth, breading, gush of fountain, etc. Resistance poetry uses the most evident female features of the earth which are birth and breading. The earth appears as the soil/mother, growing and nurturing. As an instance, Khalili using the idea that “the human being is born from the earth” and the idea of nurturing of the earth, relates the hero not only to his real mother, but to earth, the mother of existence (Khalili, 1999: 222). 3-3-2. Motherland The motherland evokes the feeling of sacrifice and respect. Resistance poetry of Afghanistan, recalls this country from two perspectives: praise and expression of love, and talking about the long tough days. Loving the motherland is an important feature of Khalili’s collection of poetry. Mozaffari too in “Salaam mother” accuses his brothers of being disloyal and loveless. He likens the evil behavior of his brothers to the wild animals such as wolves and leopards which due to distortion take guns against one another, and eventually, the mother/motherland is burnt in the fire of their war. 3-3-3. The sun The generous and life-giving light and warmth of the sun is one of motherly expressions of the nature, that is why it is described as “the supreme cosmic energy”, “manifestation of God”, “the eye of the day” etc. (Guerin, 1991: 501). The sun is a multidimensional symbol, but in resistance poetry of Afghanistan, it is recalled for its propitiousness, love, the power of revealing the dark face of the traitors. 3-4. The negative manifestations of mother archetype According to Jung, dragon, grave, coffin, death, carnivorous animal, deep water, nightmare, and the devils are the most important exemplary evil symbols of mother (Jung, 1989: 25). The “horrible mother” of Jung, in resistance poetry of Afghanistan is manifested as earth, city, night, season, death, the sea, the dragon, etc. 3-4-1. The Earth The negative aspect of the earth in resistance poetry of Afghanistan is described for being swallower and fatal. This way, the resistance poetry exhibits the dark face of the war and its ruins. For example, in Kazemi’s poem, the earth, the victory of Mujahidin, and the restart of the war are shown as symbols of the swallower storms. The eruption of the storm from the deep inside the earth denotes the other aspect of the earth (Kazemi, 2012: 66). Talking about the darkness and the oppression of the earth, Mozaffari too curses the civil war and the presence of Taliban. 3-4-2. Motherland The motherland in resistance poetry of Afghanistan is another exemplary evil symbol of mother. The resistance poetry due to three decades of war and corruption in Afghanistan enters the name of the country in the list of harmful monsters. “Ceilings without wall” by Kazemi is one of the examples of this manifestation in which the poet highlights the evil deeds of the exemplary mother expressing as “rainless clouds”, “untitled graves”, etc. While the Russian army is at the very peak of its tyranny, the poet evokes the destructor aspect of the motherland, and depicts the growing force of death. 3-4-3. Seasons Seasons and months are some natural examples of mother archetype. Seasons, as separates warm, cold, rainy and snowy days, are considered the source of life, or the famine. Seasons and months in the resistance poetry are the sources of bloody killings, infertility, famine, drought, tyranny and cruelty. Among others, the spring which is the season of resurrection of nature and fertility, in resistance poetry is generating disasters and bloody events. The bloody coup of Sour, as well as the victory of Mujahidin, both, took place in Ordibehesht (the second month of spring). 4. Conclusion Analyzing the manifestations of the mother archetype in resistance poetry of Afghanistan we come to the following conclusions: 1. Resistance poetry uses both the real and the natural manifestations of archetype, the most important manifestation of which is Afghan woman as a real mother of the poet and other fighters. Different manifestations of this archetype appears as a “lovely mother”, and another a “horrible mother”. The most important symbols among them are the earth, motherland, the sun, fire, sea, night, grave, season, death, wolf, and leopard. It is worth mentioning that the negative manifestations of mother archetype, as the resistance poetry requires, have appeared more commonly. 2. The main reasons for evoking the mother archetype in the resistance poetry are the invasion of Russia, killing and tyranny of the puppet governments, civil wars, killing brothers, complicity of traitors for becoming a member of Taliban. 3. Using some old archetypes such Ave, behavioral patterns such as disloyalty towards the mother, and other similar patterns, throw the current destiny as well as the current history of the motherland to the heart of flowing archetypes. This way, the resistance poetry becomes rich, deep, impressive and lasting. [ABSTRACT FROM AUTHOR]

The relationship between literary texts and psychoanalysis was proposed in the 20th century with the help of Freud's theories, and after him, Carl Gustav Jung played a prominent role in this field and wrote important works about the reflection of people's emotions and thoughts in his creations. According to Jung, human thoughts are partly derived from daily desires and are largely influenced by the collective unconscious and old images (archetypes), and in general, humans are controlled by their unconscious throughout their lives. In this article, the epopee Bahram and Golandam by Aminuddin Safi (the poet of the 9th century) has been analyzed using the descriptive-analytical method and from Jung's psychoanalytic point of view in order to determine the level of collective unconsciousness and its elements in it. According to the obtained results, this folk tale is consistent with the archetype of Jung's individuation and shows the path of character development towards evolution; hence, in this poem, Keshvarshah is a code of humans and Bahram represents his archetype, who goes through the difficult stages of confronting the shadow to connect with the anima, and finally, his connection with Golandam completes the cycle of character transformation. Also, in this system, two archetypes of the shadow and the old man play a more prominent role: the archetype of the shadow due to the persistence and great effort of the king to develop the character, and the archetype of the old man due to his enthusiasm and confusion.Keywords: Jung, Archetype, Collective Unconscious, Aminuddin Safi, Bahram and Golandam. IntroductionAccording to Jung, the human psyche has three parts, which include the conscious mind (I or ego), the personal unconscious, and the collective unconscious. Jung defined the personal unconscious as a special area adjacent to the ego. He feels that a person's unconscious consists of ideas and emotions that existed as consciousness at one time; but now they are suppressed, forgotten, or for some reason purposefully ignored or forced out.The collective unconscious is the main part of the psyche and is much deeper and wider than the conscious part. This part of the psyche contains ancient images that are almost the same among all human beings and are reflected in dreams and other unconscious activities. Literature ReviewAccording to Jung, due to having a common mental structure, people face similar problems in different periods, and the key to solving these problems should be found with the help of collective and ancient psychological experiences. He called these old experiences archetypes and this term is the most important topic in his psychoanalysis.The contents of the collective unconscious are not acquired, but inherited, and thus are the same across cultures. This unconsciousness consists of two main aspects, i.e. archetypes and instincts (such as sexual instinct, violence, etc.). Archetypes are a reservoir and storehouse of experiences that have been constantly repeated throughout human history. These patterns always exist for every human being from birth and they have chosen a home in the deepest part of their unconscious. Every human being can face them internally through dreams and imaginations and externally through myths and religious teachings (Snowden, 2013: 121).Archetypal images or archetypes show different aspects of the mental apparatus and each one is revealed with the help of some symbols. Jung introduced some of their most important forms as follows: self, shadow, anima and animus, old man, mother, hero, mask, etc. In this article, our intention is to show the growth path of Keshvarshah's personality in the epopee of Bahram and Golandam. MethodologyThe book Bahram and Golandam is about the love of Bahram, the prince of Rome, to Golandam, the daughter of the Khaqan of China, and by reflecting on the structure of the story, its symbolic depth is determined. In fact, in this poem, the poet has symbolically told the story of the evolution and integration of the character with the help of a folk tale, and each of the elements of the story, such as characters, phenomena, and various creatures, are a symbol of a part of the unconscious mind, and Prince Bahram's battle to reach his lover, in the language of psychoanalysis, is a reflection of the psyche's sweating to solve problems related to the unconscious and absorb it into consciousness. ConclusionFolktales have a happy ending with a happy union. The same issue shows the repetitive pattern of these stories and, in fact, general and universal content that depicts the path of human excellence towards a comprehensive personality. In this research, the following results have been obtained:Keshvarshah is a symbol of man or the actualized dimension of the psyche (self-awareness) that strives to achieve a new and superior personality.Prince Bahram is a symbol of his archetype, which becomes active after man's effort and concern for progress and tries to harmonize different parts of the unconscious mind. At first, he reaches the psychic center with the help of an unseen helper (deer, a code of the wise old man) and there, after facing the image of his incomparable lover (Anima), with the guidance of the wise man (Pir Bazargan), he walks on the long and difficult path of love.In this story, the shadow has a positive side as well as a negative side. After encountering Anima, the prince reaches the land of fairies (Jenian). Jeni brothers (Shadow archetypes) first appear in the enemy's delegation and after defeating Bahram, they help him in the prince's battles by giving him a few strands of their hair; Therefore, after this change, they are considered a symbol of the positive dimension of the shadow. The negative effects of the shadow have also been shown by elements such as the prince's rivals and the demons, after defeating the Jenian, Bahram first faced the demon and after killing it, he faced the mysterious and terrifying world of the collective unconscious (the terrible sea) and the various manifestations of this unconscious, such as the negative shadow (Behzad and Noushadshah), the hero, etc.In the end, after marrying Golandam, Bahram finds out about his father's restlessness and unhappiness with the help of the archetype of sleep, and after returning to his homeland, he becomes a worthy successor to his father. In this story, the direction of the prince's journey is from the West, i.e. ignorance, to the East, i.e. inner illumination, and this is another secret of man's effort to achieve the higher aspect of personality. According to Jung's view, in this system, the prince's conflict is related to the negative aspects of the psyche; because it is difficult for humans to accept the negative aspects of their existence and to change them. The archetype of the wise old man also appears twice in the story, and the reason for this is the prince's confusion and desperate need to find a way out of his current situation.

There are different methods for criticizing a work of art, which critics use to criticize and analyze works of art and literature. Until today, the criticisms focused mostly on the author's external world, the work itself, and the author's influence on the story. This research tries to examine the findings of psychological studies about the collective unconscious mind and the use of its contents and facilities in the creation of artwork; Therefore, the main goal of this research is to answer the question, what role did the factors and elements belonging to the unconscious mind play in literature or giving literary dignity to "Da" and "Kelidar"? This research has been conducted by document analysis and analytical-descriptive method. The result shows that any text with any level cannot provide a suitable platform and necessary conditions to play the role of archetypes and myths. Texts that are solely developed by the intellect and the five senses cannot go beyond the intellect; this is despite the fact that the more sense and imagination are left free, the more literary and mythological text we will have at our disposal.Keywords: Collective Unconscious Mind, Archetype, Kelidar, Da, Calamity, Literacy. IntroductionIn recent decades, the attention of critics of literary works has been drawn to psychology more than ever before, the reason for the interest is that it has been able to enter the boundaries that were closed to critics in the field of analysis and criticism of works. Freud and Jung are among the psychologists who were able to discover the relationship between literature and the human psyche and open its gates to the world. One of these gates and achievements was the unconscious mind. Freud stated that the human mind should consist of two parts or areas, the conscious part (rational area) and the unconscious part (irrational area). Freud later revised this theory and said that no thought is completely conscious or completely unconscious, and instead, he considered states of consciousness or unconsciousness. In completing Freud's comments, Jung divided the unconscious into two parts, individual and collective: the first part: the individual unconscious which is specific to individuals, and the second part is the collective unconscious which is the result of the lives of many generations of our ancestors and is in no way unique to an individual and exists in everyone. Jung believes that the basis of a person's unconscious contains once conscious information; but in a period due to being forgotten or suppressed, they have gone out of the conscious field; while unconscious contents never enter the conscious realm; therefore, they are not acquired individually and their existence depends on heredity. According to Jung, the individual unconscious is generally made up of complexes, while the collective unconscious is basically made up of archetypes. This opinion of Jung is not accepted by other psychologists, including Eastop. Eastop states that it is not possible to know the nature of the collective unconscious except in an indirect way. He says that the nature of the unconscious can be determined by analyzing the characteristics of human behavior, especially his linguistic behavior. According to these materials and since the researchers cannot directly reach the unconscious mind, they must inevitably find out the nature of the unconscious by examining the effects emerging from it. Literature ReviewIn the literature review of this research, there was no material confirming the opinion that research is directly centered around the explanation of unconscious themes and images in the formation of a work of art, especially a story. In Sara Mobra's thesis, which deals with the category of unconsciousness in the field of painting, she examined the topics of unconsciousness in the paintings of several artists and the result of the work led to the acknowledgment of the important role of the unconscious mind in their creation. The researcher attempts to study this issue in fiction and examine the unconscious expression in the works created in this field.Clarification of this issue will have such results: 1. With the expansion of research following this issue, critics of literary works will criticize the works in a more fundamental way; 2. The works created in the field of sustainability should be looked at from a different perspective and the enrichment of the literary part of this type of work should be done more easily. MethodologyThis research has been conducted in the form of documents and library studies. In the process of conducting the research, by comparing the contents of themes, archetypes, and images of the collective unconscious, the semiotic concepts and archetypal symbols of the two books of Da and Kelidar were analyzed in accordance with the reference books in the field of symbology. Finally, the conclusion was drawn by comparing Da and Kelidar. Discussion"Imagination", "myth" and "archetype" are the main perspectives that have attracted the attention of critics when examining the influence of the contents of the unconscious mind in the formation of desirable works of art. The main issue of this research is the answer to the question of whether the creators of the so-called sustainable literature have used the themes and images of the collective unconscious mind and their capacity in the artistic richness of their work. To answer this, by choosing a limited and researchable theme of "reaction to calamity" and with the help of the mentioned perspectives, the role of the unconscious in the creation of artistic and literary works has been explained. "Calamity" has wide meanings and concepts. In this research, the tragedy of losing loved ones has been specially investigated. According to the opinions of philosophers, "imagination" is the main factor of creativity and also the creator of artwork, which has differences from "imagination". Coleridge, the English literary critic, and philosopher, does not separate the primary imagination from the secondary imagination; rather, he considered it a higher rank and position in which he can make a difference between the artist and other people. From his theories, it is understood that a person can give it the soul appropriate to the work, which can connect the imagination to the higher level of imagination, regardless of his will and desire. Of course, there were others who considered other forces to be effective in literary creation; among others, we can mention Proust, who considered instinct as a source of inspiration and power and considered the writer to be someone who can use it and mix it with internal and external factors to create his work of art. This is despite the fact that Jung considered instinct as a physical tension that is received by the senses. He equated "instinct" with "archetype". In fact, from this point of view, Jung called the instinct an archetype, and the archetype also emerges and shows itself like an instinct; just as the instinct is spontaneous and stimulating, the archetype also appears instinctively and spontaneously.Based on this, the themes and images emerging from the collective unconscious mind, which are represented in the works of art, can be traced through the archetypes used in the texts and understand which artistic texts are the suitable platform for these images. To achieve such significance, considering anything as a scale other than the collective unconscious seems far from scientific logic. With this criterion for measurement, one should compare works that are on both sides of this spectrum in their foundation; just like night and day, white and black, good and evil, and to understand each of these concepts, one must understand the other. In this research, two works have been placed on both ends of the measuring scale, which are in front of each other. One is the flagship of the memoir, which is the seat of reason and objectivity, and the other is a novel full of archetypes, which the reader realizes in the first reading. The result shows that any text with any level cannot provide a suitable platform and the necessary conditions to play the role of archetypes and myths. The texts that are only developed by the intellect and the five senses, cannot go beyond the intellect. This is despite the fact that the more sense and imagination are left free, the more literary and mythological text we will have at our disposal. ConclusionThe comparison of the two books from the point of view of the reaction to the "calamity of losing loved ones" and the role of archetypal themes and images in giving them literary and artistic dignity shows that in some themes and images, the narration of both works has been compiled in such a way that they can provide more or less capacity and capability for archetypal reading and emerging from the realm of the unconscious mind; among other things, in the archetypal images of "death", "mother" and "lost", it seems that the feature mentioned in Kelidar's narrative has more depth and variety, and in this regard, it can bring the reader with him more. Kelidar's expression is such that you can read it many times and get to know more angles of it in each reading. This is why repetition in reading desirable literary works increases the reader's excitement; because in every reading, a knot is untied. Perhaps it can be said that because of its type, which is a memoir, and in its core and primary material, it has a lot of dependence on reality and the self-conscious world. Therefore, at least in the presentation and first report of self-narrative, it is deprived of this gift. These two different types of narration showed that the effect of possessing unconscious content in reaching a literary work to its desired position, which is the continuous communication with the reader, is important, and Kelidar's ability to communicate with the reader is greater by using archetypal elements instead of narration and connecting the reader's soul and unconscious with these themes.

Introduction: Initially, bibliotherapy was used to address emotional issues in adults. However, in the second half of the 19th century, its theoretical and practical foundations expanded significantly. Nowadays, bibliotherapy is recognized as an effective strategy for treating clinical problems. ­The purpose of this study is to examine the impact of an experimental Bibliotherapy for resilience, and so investigate the effect of twelve archetypes on teenagers with cancer at Behsat Hospital, Hamedan. Methodology: This research employed a semi-experimental design, utilizing a pre-test and post-test approach. The target population consisted of teenagers aged 10 to 14 undergoing chemotherapy for cancer at Besat Hospital in Hamedan. A sample of 30 cancer-afflicted teenagers was randomly selected, ensuring homogeneity in terms of age, duration of illness, socioeconomic status, and other variables. The sample was divided into two groups: a control group of 15 individuals and an experimental group of 15 individuals. The research utilized two questionnaires to measure resilience (Conner and Davidson, 2003) and life expectancy (Schneider, 2006). The resilience questionnaire had 25 items that are scored on a five-level Likert scale from completely agree to completely disagree. The validity of this questionnaire was confirmed by six experts and its reliability was obtained using Cronbach's alpha coefficient of 0.89. The life expectancy questionnaire has 12 items and 3 components and is implemented as a self-assessment. Out of these 12 items, four items measure operative thinking, four items measure strategic thinking, and four items contain deviant questions. This questionnaire includes two subscales of factor and strategy, and its purpose is to evaluate the level of life expectancy in people. The scoring method of this questionnaire is based on a five-level Likert scaleThe experimental group participated in eight sessions of bibliotherapy intervention using a storytelling skill plan. The therapist researchers used three books as guides: "Living with Chronic Pain: An Acceptance-Based Approach" and its therapist's guide and patient workbook by Kevin Wells and John Sorrell (2013), "Pain Control Practical Guide: A Positive Attitude to Adapting to Chronic Pain" by Michael Nicholas (2014), and "The Hero's Awakening" by Patricia Addson (2014). Data analysis was conducted using independent t-tests and analysis of covariance in SPSS statistical software. Findings: The results of the independent t-tests revealed a significant difference in mean scores for resilience and life expectancy between the control and experimental groups. Moreover, the bibliotherapy intervention had a 43.6 percent effect on life expectancy and a 64.1 percent effect on resilience among teenagers with cancer.

1. Introduction: Some mystical texts narrate spiritual and mystical experiences with strange and cryptic expressions, and these transcendent experiences are only articulated in symbolic language. With the discovery of the collective unconscious by Carl Jung and his theories on dream interpretation, researchers have paid more attention to the relationship between symbolism and psychology, as well as the deeper layers of the human mind. Jung believed that archetypes present in the unconscious appear manifest symbolically in dreams; therefore, the dreams and revelations of mystics can also be seen as manifestations of human myths and archetypes from Jung's perspective. The "Badwo-Sha'n" treatise" which is an autobiographical account of the life of Hakim Tirmidhi and the dreams he and his wife had about him, symbolicly reflects the evolution and spiritual progress of this hadith scholar and the third century mystic. In this research, the authors attempt to show based on which of the Jungian archetypes these dreams can be interpreted, and how the mystical symbols in Tirmidhi's dreams align with Jungian symbolism. 2. Methodology: In this research, based on Carl Jung's "analytical psychology" approach, the dreams presented in "Badwo-Sha'n" treatise have been interpreted from an archetypal perspective. Jung believes that when we want to investigate the talent of symbolization, dreams are the best materials and symbolic expressions can be the individual or collective unconscious messengers; of course, Jung believed that individuals' dreams may have roots in mythological foundations or mythological cognitive units, which he calls "archetypes." Some of the most significant archetypes include "Self," "Anima," "Animus," "Persona," "Shadow," "Wise Old Man," "God," and "Death." Archetypes play a crucial role in shaping the collective unconscious and are transmitted from one generation to another. Reflections of archetypes or contents of the collective unconscious can also be observed in some secret mystical texts. The "Badwo-Sha'n" treatise is a relatively short description of Tirmidhi's condition by his own pen. A major part of this treatise, which appears to be the first self-written biography of a mystic, includes reports of Tirmidhi's dreams and those of others, particularly his wife's dreams about him; it has the ppotential of being interpreted from the perspective of Jung's archetyps and symbology. 3. Discussion: The dreams presented in "Badwo-Sha'n" treatise with symbolic and imaginative content, narrate the spiritual and mystical evolution of Tirmidhi. Familiarity with Jung's symbolism and the views of this great psychoanalyst shows that Tirmidhi's dreams have the capacity of Jungian interpretation. In analytical psychology, one of the most basic archetypes is "self". The process of individuality or realization-self, occurs when a person, on the way of his evolution, travels inside himself and in this journey gets to know the different dimensions of his personality, dimensions emerging from archetypes that exist in his subconscious. In one dream, Ahmad ibn Jibril sees Tirmidhi performing the Tawaf around Kaaba, which is a symbol of the mystic's achievement of individuality and his inner journey of conscious and unconscious unity. In another story, Tirmidhi's wife hears a voice in her sleep and sees Tirmidhi praying in a kind of alter surrounded by light. Tirmidhi's wife follows - anima/inner guide - the voice and reaches the gate of a palace full of light. From Jung's point of view, sometimes the unconscious guides us. Another archetype that appear in Tirmidhi's dreams is the "Wise Old Man" which psychologists consider to be the manifestation of the hero's concentration of his spiritual and physical powers. This archetype appears to the seeker in various forms and situations and guides him. In Tirmidhi's dreams, "prophet", "white-haired old man", "angel" and "Amir" are symbols of "Wise Old Man". "Shadow" is also another archetype which is a collection of raw and unformed feelings and desires, and the origin of human temptations and sinful tendencies, and appears in dreams and myths as an enemy, a magician, a deceiver, a dragon, a devil or a demon. In Islamic mysticism, knowing the self and fighting against it goes on from the beginning of one's spiritual practice to the end of one's life, and one of the symbols of the shadow is the commanding self (the inner devil) or external devils. Jung, in the journey of awakening the inner hero, considered the meeting with the shadow as the first stage of individuality and believes that the first layer that is discovered from the unconscious is the shadow. In a dream, Tirmidhi's sees a Wise old man, who prevents him from engaging in worldly affairs. Arif's drowning in worldly affairs is a symbol. 4. Conclusion: The dreams presented in "Badwo-Sha'n" treatise by Tirmidhi's are connected to the unconscious mind of this mystic and possess symbolic content that can be aligned with Jungian symbolism. Among the most significant Jungian symbols reflected in the narration of these dreams are the the process of individuality, the Self, the Shadow, the Anima, and the Wise Old Man. One manifestation of the process of individuality is the experience of traveling to Kaaba in Tirmidhi's dreams, which can symbolize his inner journey. Another archetype of Jung is the wise old man who appears in Tirmidhi's dreams in the form of the Prophet, the Old Man with White Hair, the Angel, and the Prince, guiding him through the difficult path of spiritual practice toward the ultimate truth. The Shadow is also another archetype that corresponds to the commanding self in Islamic mysticism and appears in Tirmidhi's dreams through symbols such as the commanding self (the inner devil) or external devils (worldly affairs). The Self, representing the deepest aspect of the dreamer's personality, also appears in Tirmidhi's dreams through symbols like plants, geometric shapes, rocks, birds, and trees. With guidance from these symbols, Tirmidhi must navigate through the challenges of spiritual practice and attain self-awareness. His wife also symbolizes the anima of the mystic and serves as his helper in recognizing his inner shadows and guiding him along his path. [ABSTRACT FROM AUTHOR]

Title: Alleviating Personality Shadows among Iranian Women through Clothing Style Adjustment: An Archetypal Analysis according to Jean Shinoda Bolen's Theory According to Jung's psychoanalytic theory, predetermined archetypes reside in the human unconscious, profoundly influencing human life. Jean Shinoda Bolen, an American psychologist, identifies seven female archetypes derived from Greek myths, including Athena, Artemis, Hestia, Demeter, Persephone, Hera, and Aphrodite. Imbalance in these archetypes casts certain personality traits into shadow, amplifying the unconscious and impeding personal growth. Awareness and reconciliation of these shadows foster internal harmony and enhance self-understanding. This study proposes addressing personality shadows through psychoanalytic techniques and modifying clothing styles to mitigate the dominance of the unconscious mind and promote better decision-making. Clothing serves as an external expression of internal dynamics, reflecting one's psyche. By understanding a person's shadow archetype and considering cultural and social contexts, tailored clothing styles can promote mental equilibrium and diminish shadows. Encounters with the psyche's darker aspects often trigger intense reactions, hindering personal development. This research asserts that subtle changes in clothing can facilitate shadow confrontation, ultimately preparing individuals for deeper psychological exploration and growth. Aligning clothing styles with psychoanalytic interventions accelerates therapeutic progress and fosters inner peace. The study poses the question: How can community clothing designs effectively address personality shadows among women, drawing from Shinoda Bolen's archetypal framework? By identifying personality shadows, recognizing individual strengths and weaknesses, and acknowledging clothing's impact on the psyche, tailored clothing designs can complement therapeutic interventions. Given the diverse personality shades among Iranian women, exacerbated by modern communication dynamics and increased societal roles, this study focuses on this demographic. Through qualitative and quantitative analysis, involving 254 women aged 20-45 in Tehran, the research reveals that aligning clothing styles with desired archetypes accelerates therapeutic progress. Utilizing design elements to engage individuals in self-reflection enhances treatment efficacy alongside traditional psychoanalytic methods. [ABSTRACT FROM AUTHOR]

Background: Archetypes are the most important manifestation of the collective unconscious in mankind, which appears in the form of psychological complexes in the individual. Complexes cause psychological problems in the individual, and the heroic journey is one of the ways to cure it, which has not been done much research in this field. Aims: This research was conducted with the aim of compiling the heroic journey of a woman's life based on psychological complexes in the psychoanalytic theory of Carl Jung. Methods: The research method was qualitative, with a thematic analysis method. The statistical population of Jung's works and their sequels and the use of the opinions of experts familiar with psychoanalysis have been done. The means of collecting information, reading texts, and using the opinions of experts in the form of targeted sampling in such a way that until no new information is obtained, the sampling was completed. For data analysis and theme analysis and network drawing, MaxQDA2020 software was analyzed with open and axial coding. Then, in order to match the complexes with the archetypes, a content validity questionnaire was given to four experts familiar with The concepts were analyzed psychoanalytically. Results: The results were analyzed by CVI in Excel and the masochist complex score was less than 0.7 based on the Lavesche index, which was removed. Finally, matching with 28 archetypes and 15 archetypes was confirmed. Based on the findings of the research, the results show that 28 identified complexes and 15 archetypes were extracted from the core of the complexes, the extracted archetypes caused the compilation of the journey of a woman's heroism, which were categorized into three stages of the journey of heroism by analyzing the hidden meaning approach. The journey of a woman's heroism consists of 15 archetypes, which can treat 28 mental complexes, were compiled. Finally, the stages of the championship journey were divided into three parts, preparation for the trip, travel, and return from the trip. Conclusion: Each archetype, as a behavioral and personality pattern, consists of several complexes that interact with each other and shape the individual's personality and behavior. Based on these findings, in the treatment of complexes, related archetypes can be used for each complex. According to the presented classification, in each of the three stages of travel preparation, travel, and return from travel, different archetypes are used for the heroine.

In the Archetypal critique of postmodern poetry, we can see clear signs of the Collective unconscious mind. Among these signs is the archetype of the anti-hero. The archetype of the anti-hero has appeared in postmodern poetry in different forms, especially "Anima", "Animus" and "Self" so boldly and diversely that sometimes it makes the reader feel doubtful and confused in distinguishing the hero from the anti-hero. The current research, using the descriptive-analytical method, has tried to determine the position and function of the archetype of the anti-hero in the course of postmodern poetic narration. The results of this study showed that postmodern poets are praised as long as the archetype of the anti-hero protests against the social conditions, and he is praised among the heroes, but when this role causes damage to one's own archetype or other positive archetypes, it is no longer supported. Keywords: Postmodern poetry, archetype, anti-hero, shadow Extended Abstract 1. Introduction One of the distinctive features of postmodern poetry in Iran are open images that reflect the society, individuals and social issues. Direct communication and images without individual and social considerations have caused postmodern poems to be closer to the inner layers of the collective unconscious mind of society (archetypes). One of the key features of the archetype is the inability to represent the real world directly. "Archetypes cannot be directly manifested by themselves, but when they are activated, they express themselves in different ways, mainly through dreams, fantasies and delusions" (Fiest, 2016: 126). "Among the range of archetypes, Jung believes that some archetypes have a stronger role on human behavior and personality, therefore he introduced them as "main archetypes". Besides these archetypes, there are many other manifestations of archetypes, which are called "sub-archetypes". The main archetypes include: persona (mask), anima, animus, shadow (shado), self (self)" (Hall & Nordbai, 2015: 57). "The archetype of the hero is a symbolic manifestation of the perfected psyche, which has powers that the self does not have. Therefore, the main function of the hero's myth is the self-conscious discovery of one's self, which means becoming aware of one's own weaknesses and abilities in a way that enables "I" to show resistance against external problems. (Jung, 1387: 164). Due to the two-dimensional nature of archetypes, the archetype of the hero has a negative aspect as well, which appears as the archetype of "anti-hero" in the narratives. He is, in fact, a hero who does not have the characteristics of a traditional hero and usually exhibits behaviors that are seen in the villain of the story. The motivations of the anti-hero are usually good, or the one who thinks they have good motives. He becomes a good character whenever he feels that the situation calls for him to do evil. Contemporary poets after the constitutional period, especially modern poets, due to the non-implementation of popular ideas and ideals, internal suffocation and tyranny, lack of individual and social freedoms, feelings of dissatisfaction and despair and other individual and social concerns, use the character of anti-heroes as an approach to portray these anti-normative themes. This method has been widely used despite the manifesto of postmodern poets to avoid any structure, meaning and tradition. In the face of such a volume of the anti-hero archetype in the course of postmodern poetic narration, the question arises: what are the grounds for the appearance of the anti-hero archetype in post-modern poetry? And what functions does this negative archetype have in postmodern poetry? 2. Materials and methods In postmodern poetry, due to the poets’ style, we see distinct manifestations of anti-heroes. Some of the manifestations of the anti-hero in the narrative are in the form of references to unpleasant feelings such as fear, disappointment, despair, frustration, inner weakness, complexes, and sometimes in the form of actions such as external violence, protest, being subjected to violence. In postmodern poetry, the anti-hero appears in the narrative in two ways: 1- the anti-hero who is the main role of the narrative (the focus of negative archetypes) 2- the anti-hero (negative archetype) against the hero (positive archetypes). Although there have been many studies, compilations and translations about the archetype as well as postmodern poetry, such as Jung's book and his analytical psychology by Farbad Fadai, which is mostly dedicated to retelling Jung's thoughts, as well as the article "Examination and Analysis of the Anima Archetype in Molana's Ghazals" by Maryam Ismailipour; In this article, the researcher introduced the anima archetype and its representation in Jung's unconscious in some contemporary mythologies and literature of Iran and the world, as well as the thesis "Review of archetypes (persona, anima and animus, exemplary mother, self and Shadow) in the poetry of Mahmoud Darwish", by Sosan Ghaibzadeh and the book What is Postmodernism?, translated by Farhad Mortezaei. In this book, the author tries to describe and define postmodernism. The article "Postmodernism and Contemporary Poetry of Iran" by Qadratullah Taheri also deals with the pursuit and the history of postmodernism. The thesis "Investigation of postmodernist elements in the classical forms of contemporary poetry" by Arman Mearaji also looks for postmodern signs in these poems, without looking at archetypes in postmodern poetry, alongside the classical forms of modern poetry. As can be seen, none of the above sources have made the archetype of the anti-hero in postmodern poetry the subject of their research. Therefore, this article, using a qualitative approach and a descriptive-analytical method, has tried to discuss and examine the issue of the anti-hero in postmodern poetry to answer the research questions. 3. Results and discussion In the criticism of archetypal postmodern poetry, one can see clear signs of collective unconscious mind. Among these signs is the archetype of the anti-hero. The archetype of anti-hero has appeared in postmodern poetry in various forms, especially "anima", "animus" and "self", that sometimes the reader cannot distinguish the position of the hero from the anti-hero. The current research, using the descriptive-analytical method, has tried to determine the position and function of the archetype of the anti-hero in the course of postmodern poetic narration. The results of this study showed that postmodern poets are praised as long as the archetype of the anti-hero protests against social conditions, and he is praised among the heroes, but when this role causes damage to one's own archetype or other positive archetypes, it is no longer supported. 4. Conclusion The result of the study of the anti-hero in postmodern poetry showed that the poets of this style support anti-heroic actions as long as positive archetypes are not harmed. Most of these anti-heroic actions, which are accompanied by external violence, are meant to express protests and rebellion towards society. This group of anti-heroes, in the eyes of poets, are essentially heroes who have performed anti-heroic actions and are also praised. On the other hand, if the anti-hero has abnormal actions or shows his violence towards positive archetypes, he will be criticized, but still the main characters of the archetype do not have the power to confront this anti-hero. In a way, the anti-hero becomes a real image of the shadow archetype in the poem. It was also found that some heroes have anti-heroic actions in postmodern poetry and instead of playing a powerful role in the narrative, they choose to escape. In the eyes of the poets of this style, if the anti-hero even has a heroic action, he is superior to the hero who chooses to run away and surrender. The extension of this process brings the hero into the stage of "transformation of the hero into the anti-hero" and the result is that the positive archetypes that appear at the beginning of the narrative eventually take on a negative role. Another manifestation of the anti-hero is its combination with the face of the hero. Some narrative characters of postmodern poetry are anti-heroes and are not approved by the poet in some ways, but aspects of their heroic face are also expressed in the poem and combination of the hero's face and Twin anti-heroes are also seen in these poems. The archetypes that appeared the most in the role of anti-hero in postmodern poetry are the archetypes of "Anima and Animus". The most common image used in anti-heroic narratives by postmodern poets is the contrast between "man and woman" in the narrative of the story. Although the anima is a powerful archetype, it is powerless against the power of the shadow in postmodern poetry. The ideal mother is also a powerful and active archetype in the unconscious mind, but in postmodern poetry, this archetype, like the anima, shows its credibility shaky. In general, it can be said that the border between the hero and the anti-hero in postmodern poetry is very close, and the anti-hero appears only in situations where the destructive element of the archetype of the shadow has more control over the individual's subconscious mind. The anti-hero harms both himself and the society, and this is caused by the darkness of this negative archetype in the poem.

According to Jung, the process of self-discovery or the process of individuality begins with a spiritual need or inner conflict in the person; in this process, organizing among archetypes is the task of the archetype of the “self”. If it can create unity and oneness among other archetypes, one will reach psychological growth and finally recognize the hidden angles within, to self-awareness and wholeness. Individual leads, with the growth of individuality, the person from individual integrity to connection with the world, and in the next stage, unity with the universe and becoming the owner of universal thought. In this research, the poems of Mohammad Reza Shafi'i Kadkani have been studied from the perspective of self-discovery stages, according to Jung's theory. The result of the research shows that the archetypes of anima, shadow, old wise man, death and rebirth, and the hero are in stages of self-discovery in their thought and are coordinated with the "conscious self". They are all compatible. Shafi'i Kadkani has gone through the inner layers of himself, the path of individuality and psychological growth, and has reached oneness with the universe after self-awareness and connection with the world. Keywords: Jung, Archetype, Individualization Process, Shafi'i Kadkani, Hero.1.IntroductionOne of the important approaches to criticizing literary works that emerged from the analytical psychology of Carl Gustav Jung (1875-1961) is archetypal criticism.By presenting fundamental concepts such as the collective unconscious, the archetype, and the process of individuality, Jung established a hypothesis that left a great impact on the knowledge of mythology and literary criticism. He considered the human psyche to include two conscious and unconscious parts. He also divided the unconscious into two parts: personal and collective. The personal unconscious is made up of the individual's experiences and is unique to everyone, but the collective unconscious, beyond personal experiences, is the strongest and most influential reservoir of the mental system, and the archetypes, which are exemplary and universal phenomena, are hidden in it and can manifest themselves at any time and place (Jung, 1352: 96). All the archetypes exist within each person in a potential form, and they actually appear in the right conditions and opportunities and cause a behavioral reaction in humans, but what is important is the harmony between the archetypes. In order for a person to achieve psychological integrity, there must be harmony and coherence between archetypes so that they can achieve psychological growth. Jung introduced this process of psychological growth as the "individuation process". This is the ultimate goal of Jung's psychology, which leads to self-knowledge.The discussion of the process of individuality in writing poetry, which is a kind of unconscious manifestation of the poet in his conscious, can be investigated because the poet uses his imagination and mental images in writing poetry, and by giving life to these exemplary images and expanding them, he creates his work. In fact, the author of the literary work is the translator of the collective unconscious and exemplary images for ordinary people (Rashidian, 1370: 76).In the present research, two collections of Shafi'i Kadkani's poems, "Mirror for Voices" and "The Second Millennium of the Mountain Deer" have been examined to understand the layers of the poet's personality from the point of view of the process of individuality. Shafi'i Kadkani is one of the most successful contemporary poets who has been a poet for several periods, as if he has gone through different stages of the process of individuality. Lyrical, mystical, social, moral, and philosophical issues, the fate of people in society and the world, and the fate of man in the material world are of interest in his thought, and such cases are in internal coherence, which shows that we are facing a poet who started poetry with individual romances and reached universal thoughts. His poetry is a retelling of the moments of unconsciousness that reached oneness with the universe by passing from individuality.2.Literature ReviewShafi'i Kadkani's poems are of great interest in research, but so far no research has been done on the process of individuality in his poetry. In the field of analyzing the archetypes of his poems, researchers have often examined one or more archetypes without considering the course of individuality. For example, Hassanzadeh-Niri and Jamshidi (2014) in the article " The Archetype of Sacrifice with Look to Hallaj in Poems of Shafi'i Kadkani and Adonis" concluded that their poems have an archetype of sacrifice. Soleimaninejad Mehrabadi (2017) in the article "Positive and negative aspects of the ancient model of anima in the poetry of Shafi'i Kadkani" has examined the ancient model of anima. Pirouz and Bagheri (2019) in the article "The archetypes of death and rebirth in the works of Shafi'i Kadkani and Badie Saqour" (2019) discussed the archetypes of death and rebirth in the collection "Praise of Pigeons" by Shafi'i Kadkani. In none of these studies, the relationship between the archetype and the process of individuality in Shafi'i Kadkani's poetry is the concern of the author, but in the present article, emphasizing the types of archetypes, the three stages of the process of individuality in his poetry are examined.3.MethodologyThe writing of this article is done with an analytical and descriptive method; information collection is in the form of library study and taking notes. The statistical population is composed of two collections of poems by Shafi'i Kadkani, "A Mirror for Voices" and "The Second Millennium of the Mountain Deer". In the analysis of the sheets, the individual and global thoughts of the poet have been examined in line with the three stages of the process of individuality.DiscussionThe three stages of individuality (self-discovery)According to Jung's psychology, during the process of individuation, the "ego" as the center of self- awareness, is transferred to the "self" as the innermost part of the unconscious. In the exchange between ego and self, "ego" forms the core of self-consciousness and expresses our sense of identity. A strong ego has a balancing aspect and can balance the conscious and unconscious aspects of the personality, but a false ego causes the formation of an autocratic and inconsistent personality.On the other hand, the "self" is the regulating center that causes the personality to mature. This aspect is almost comprehensive of the psyche; at first, it manifests itself only as an inherent possibility, and its growth rate depends on how much the "ego" wants to listen to its messages and achieve self-awareness and realization (Jung, 2012: 250-251). This process is actually moving from detail (ego) to totality (self). "The process of individuation, with the centrality of a significant number of Jungian archetypes, enables the unity of the two core layers of the psyche – self-awareness and unconsciousness – in the form of symbolic acts and during a ritual journey for the hero" (Hosseini and Shakibi-Momtaz, 2014: 19). This causes the emergence of a psychological totality that covers all layers of the psyche (conscious and unconscious) like a big circle.In passing this path, according to Jung's analytical psychology, there are three stages, which are:A) From psychological fragmentation to individual wholenessb) From individual wholeness to unification with the worldc) From the unification with the world to unity with cosmic forces (Yavari, 1396: 112).At each stage, the reaction of "self" to archetypes creates the character of "ego", and a person can proceed to the next stage or stop there according to the internal reaction. Shafi'I Kadkani is one of the poets who has passed through three stages according to his intellectual content, has perfected individuality by putting aside the old negative archetypes, has cultivated his soul and spirit, and has been able to reach the stage of unity with the world. In the following, this speech is analyzed by giving examples of his poems.At the beginning of the path of individuality, a person suffers from several psychological ruptures, faces new dimensions of his personality, and is affected. At this stage, if the archetype of "self" can compromise with other archetypes and transfer its positive aspects to the self-conscious "ego", personality balance will be established, and the person will reach wholeness from psychological fragmentation. The most important archetypes of this section in Shafi'I's poetry are Anima, shadow, and wise old man.Anima: Shafi'I Kadkani has started the poem with a lyrical thought; on this basis, according to his poetry era, the poet's first connection in the process of individuality was formed with the archetype of "anima". The anima is the potential woman inside every man in Jung's school (Modaresi, 2015: 391). In the ancient model of Anima, he mentions the mental lover with romantic descriptions; he brought the term "hidden half-born" with influence from the language of the people of Khorasan. "In Khorasan, the bridegroom is called "Nim-Zad" and "Nim-Zi" fits the theory that man and woman are two lost halves of each other" (Shafi'I Kadkani, 1376: 501-500). The mastery of the poet's "self" over the anima can be seen. According to Jung, the formation of the "self" depends on knowing the anima and controlling it.Shadow: the dark, hidden, repressed aspects of a person. "Shadow embodies things that a person does not accept about himself, such as low personality traits and other incompatible desires" (Jung, 1371: 182). Shafi'I Kadkani is running away from his shadow and has not surrendered to its desires. Of course, the positive anima helps the poet cross the shadow; it is stated in his poem that the dragon is a symbol of the shadow, and the green speech of the anima repels the dragon.The wise old man: The archetype of the wise old man appears during the process of individuality when a person needs insight, understanding, and decision-making and is unable to meet this need alone. The wise old man, in this case, compensates for the lack of spirituality. The wise old man knows the ways to reach the goal and the dangers ahead and shows them to the hero (Jung, 1368: 114). Shafi'I Kadkani has paid special attention to the wise old man in his poems, and it is seen in various manifestations such as Khizr, the inner self (the call of the heart), and Pir Muabar.Individual Wholeness: At this stage, the individual is called to the unconscious realm of the psyche in harmony with the positive anima, subduing subduing the shadow with the companionship of the wise old man. The archetypes that can be seen at this stage are "hero", "journey", and finally "death and rebirth" which a person can successfully pass through to reach his/her individual wholeness so that "ego" can discover "self".In the journey, the wise old man is with the hero to be his guide in handling the obstacles and in the process of individuation to elevate the personality of the individual. These archetypes are present in Shafi'I Kadkani's poetry; he is always thinking of passing from darkness to light, and as a hero, he has repeatedly repeated his victory over darkness and blackness, which is a symbol of the suffocation and tyranny of society, and has given the audience hope for victory and well-being. In his poem, he talks about the victory over the night (which is the shadow of darkness and suffocation) and breaking the magic fence and the devilish shadow and the Tatar army, which are the manifestations of the shadow, and he wants to be his own sun and invites the audience to break the magic fence.Death and rebirth: at this stage, a person is reborn with a symbolic death to experience the sublime life. In Shafi'I Kadkani's poetry, the symbols of spring, phoenix, tree, and love are the symbols of rebirth, which the poet emphasized in many poems. After experiencing the archetype of death and rebirth, the hero is on the verge of discovering "himself".Self-discovery: In self-discovery, after rebirth, the conscious "ego" is placed against the unconscious "self". In the poem "The One Who Recites", the poet clearly introduces two egos in himself. That ego that sits and walks and... is self-aware, and that "conscious ego" that recites is equivalent to the term "self".He attributes all the daily and physical behaviors to "ego", but he attributes reciting, which is one of the most subtle human actions and an internal matter, to "conscious self" or "self" and this is the union of conscious and unconscious.Fication with the worldAccording to Jung, the events of the outside world are, in many cases, a reflection of the human psyche. Jung proposes the idea of non-causal parallelism and calls it "symmetry". At this stage of the process of individuality, not only is unity established between consciousness and unconsciousness, but the person also feels unified with the world. Shafi'I Kadkani has reached a higher level than individual wholeness to unify with the world, as he considers the world to be the result of his thoughts and expression of existence:What is the world other than the expression of our existence? (Shafi'I Kadkani, 1376: 130).In poems that have a philosophical and mystical nature, the poet tends to see his existence as one with the world and to be a part of the world. An example of that is the poem "Zandeh-ye Bidar" in which he moves away from his poem and like a song from outside the curtain in the circle of restlessness (several psychological ruptures), loses himself (individual wholeness), tries a new order in the field of faith (unification with the world), and sees himself as a galaxy or particles of objects. He sees (unification with cosmic forces). They are there and he congratulates salvation to himself.ConclusionThe present study was a reflection on Shafi'i Kadkani's poetry concerning the three stages of the process of individuality, according to Jung's theory. What is obtained from the analysis of his poems is that the evolution of Shafi'i Kadkani's personality is consistent with the process of self-discovery in the three stages of Jung's analytical psychology. By benefiting from mystical-philosophical, social, and lyrical thoughts, the poet has been able to recite different themes with the nature of his time, and in different poetic eras, he has been successful as a poet who had a correct understanding of his time and thought. His poetic works, in connection with Jung's psychology, show the harmony between archetypes in such a way that the poet's unconscious "self" is reconciled with the conscious "ego".During the process of individuation, the poet's "self" has been freed from "psychological fragmentation" by reaching his "anima" and subduing the "shadow" under the guidance of the "old wise man". In the next stage, with the beginning of the "archetype of the journey" and the transformation of "ego" into "hero" with the experience of "death and rebirth", "individual wholeness" has been achieved. After individual wholeness, by "recovering from everything and seeing oneself as the world", he has reached "unification with the world". Until he reached the last stage in his spiritual quest, which is "unification with cosmos" and described himself as "a particle in the galaxy". Shafi'i Kadkani is the hero of the process of individuality in his poems and congratulates his salvation in this way - he says congratulations on your salvation.

The journey of souls, which is referred to as the ascent, initiation, and ascension within the mythology of nations and monotheistic religions, represents an archetype aimed at salvation transforming the myth of descent into the myth of eternal return. Contrary to modern literature, the classical literature of Iran and Islamic mysticism are highly influenced by this metanarrative. The time period between the fourth to the sixth century, that is, from the interpretation of the Ascension of the Prophet of Islam adopting a philosophical approach to the journey of the speaking soul and the formation of the treatise of the birds by Ibn Sina, Al-Ghazali, and Suhrawardy until the formation of the Conference of the Birds by Attar, demonstrates that the structure of the Conference of the Birds in the Islamic mysticism and classical literature has been derived from the archetype of ascension. This article – through adopting a mythological criticism approach – seeks to explore a path to demonstrate the structural relationship of the archetype of ascent with the treatise of the birds and the Conference of the Birds. In the archetype of ascent and consequently in the treatise of the birds, the existence of a heavenly guide or a wise spiritual elder represents the action of a hero who intends to guide those who are seeking the truth. According to mythological criticism, this type is the same supreme mimesis in early modern literature putting an indisputable emphasis on concepts such as the hero’s journey, the guide, and the wise spiritual elder. Hence, there is a firm structural relationship between the genre of Maqamat (stations) and Ahwal (states), biographies, the Conference of the Birds, and the stories of ascension.

Background: Archetypes are the most important manifestation of the collective unconscious in mankind, which appears in the form of psychological complexes in the individual. Complexes cause psychological problems in the individual, and the heroic journey is one of the ways to cure it, which has not been done much research in this field. Aims: This research was conducted with the aim of compiling the heroic journey of a woman's life based on psychological complexes in the psychoanalytic theory of Carl Jung. Methods: The research method was qualitative, with a thematic analysis method. The statistical population of Jung's works and their sequels and the use of the opinions of experts familiar with psychoanalysis have been done. The means of collecting information, reading texts, and using the opinions of experts in the form of targeted sampling in such a way that until no new information is obtained, the sampling was completed. For data analysis and theme analysis and network drawing, MaxQDA2020 software was analyzed with open and axial coding. Then, in order to match the complexes with the archetypes, a content validity questionnaire was given to four experts familiar with The concepts were analyzed psychoanalytically. Results: The results were analyzed by CVI in Excel and the masochist complex score was less than 0.7 based on the Lavesche index, which was removed. Finally, matching with 28 archetypes and 15 archetypes was confirmed. Based on the findings of the research, the results show that 28 identified complexes and 15 archetypes were extracted from the core of the complexes, the extracted archetypes caused the compilation of the journey of a woman's heroism, which were categorized into three stages of the journey of heroism by analyzing the hidden meaning approach. The journey of a woman's heroism consists of 15 archetypes, which can treat 28 mental complexes, were compiled. Finally, the stages of the championship journey were divided into three parts, preparation for the trip, travel, and return from the trip. Conclusion: Each archetype, as a behavioral and personality pattern, consists of several complexes that interact with each other and shape the individual's personality and behavior. Based on these findings, in the treatment of complexes, related archetypes can be used for each complex. According to the presented classification, in each of the three stages of travel preparation, travel, and return from travel, different archetypes are used for the heroine. [ABSTRACT FROM AUTHOR]

Introduction: This research was conducted with the aim of designing model of antecedents’ archetypes brand formetive cross-sectionally during the years 1399 to 1400 in the city of Hamadan, Qazvin, Sanandaj and Kermanshah. Methodology: This research is a field research in terms of its fundamental and practical purpose, in terms of descriptive survey method, in terms of the type of research data, and in terms of place and time of implementation. After 10 to 12 in-depth semi-structured interviews for each brand with the owners and managers of reputable brands and marketing professors using the phenomenology and coding method using Maxqda12 software, a series of features were extracted as archetypal antecedents of the same brand and based on the codes, questionnaires were designed and Individual forms were distributed among 201 customers who were consumers of the brand and had at least ten years of attitudinal or behavioral loyalty to the brand and collected data. Due to the non-normality of the research data in the KolmogorovSmirnov test, confirmatory factor analysis and structural equation tests were used using SPSS and Smart PLS software. After confirming the reliability, convergent and divergent validity, the quality or validity of the model is checked and at the end the test of the overall model of the research is conducted, which shows the appropriate fit of the model and the model presented by the researcher is approved. To extract the Antecedents Archetypes Brand Formetive, considering brands that have a subconscious collective, were selected for Apple Brand Creator archetype, Xbox Brand Magician archetype, Pepsi Brand Jester archetype, Jeep Brand Explorer archetype, Diesel Brand Outlaw archetype, Rolex Brand Ruler archetype, Sony Brand Sage archetype, Chanel Brand Lover archetype, Coca Cola Brand Innocent archetype, Gap Brand Everyman archetype, Nike Brand Hero archetype, Niva Brand Caregiver archetype. Based on the model obtained from the research, a series of characteristics were extracted as the antecedents of the archetype of each brand. Discussion and Results: Using the coding method, 2316 codes including 457 sub-codes, 79 semi-sub-codes and 12 main codes were extracted from 137 interviews, then 12 questionnaires were designed and a total of 2412 questionnaires were distributed for 12 selected brands in the distribution research and the findings were analyzed. and finally, the Formetive antecedents of each of Jung's 12 Archetypes in marketing were extracted from the data. For each brand separately, a series of factors were obtained from the interviews and questionnaires as the antecedents of the same brand, which indicated and confirmed the specific archetype of the same brand and fulfilled the purpose of the research. For example, The findings of the research show that the antecedents archetypes Formetive: Different thinking, Creative and passionate, Transforming ideas into reality, Innovative and impactful, With quality and a long history, Smiling and funny, Easy life, Challenging other brands, Fear of boredom, Reminder of happy moments, Clever, Funny, Playful and Irresponsible, Lovely, Gaining new experiences, Looking for a better world, Overshadowing the borders, Enjoy your discovery, Away from limitation, A better and more real life, Youthful, Adventurer, Complex personality, Luxury, A different and new appearance, Make the world a better place, Destroying traditions, A successful commander in challenging conditions, Desire to help the world, Dominance and Control, Constructive, Discover new parts, Decoder of clues and solver of the riddle of existence, Emphasis on research, Development and innovative developments, Encourage the customer to think, Seeking knowledge and expanding information, Good sense for life, Finding opportunities and strengths, Independent, Lifelong learner, Differentiation from Competitors' Products, Idealistic and Traditional, Nostalgic, Loyal to customers, Willingness to help,, High quality, sense of belonging, Desire to communicate with others, Defending his territory and honor or from the oppressed, Development of borders, Escape from limiting environments, Diverse and affordable, Desire to communicate, Empathize and help others, Believing in seeing and feeling through the eyes of others, Reassurance, Self-care in the form of self-acceptance, Compassionate, Patient and Friendly. Conclusion: According to the antecedents obtained from the research, it can be said that archetypes have a great impact on the formation of your brand. Also, the findings show that archetypes have an impact on the formation of brand personality and help us understand the meaning and concept of the brand and are very important tools for marketing and differentiate brands from each other. An archetype is what gives originality to a brand. Archetypes play an undeniable role in our success in the marketplace. The archetype of the brand differentiates from competitors, creates a sensory connection with the audience, creates a lasting relationship with the customer, focuses on good features and conveys the brand's message and purpose [ABSTRACT FROM AUTHOR]

One of the general themes of all myths is the journey of the hero. Joseph Campbell based on the close connection of legends and ethnic tales with myths; He proposed a unique model for these stories, and based on Jung’s archetypal view, he designed and compiled a model of his hero’s journey. This pattern has three stages of departure, arrival and return; these three include other sections such as courier call (invitation), accepting or rejecting the invitation, guidance, crossing the threshold, test, reward and return. This study aims to study and analyze the Story Share Sangestan AkhavanSales based on the travel pattern of the hero Joseph Campbell. Therefore, he first explains Campbell’s theory; then, the prince’s action as a manifestation of the myth- hero in this poem is adapted to the important steps of the following pattern, and at the end, the data are described and analyzed. The result of the research shows that although the hero (prince) is in search of salvation and the way of salvation for his stoned and suffering sthociety (contemporary man); But because it fails to pass from me (the ego) to its realization, (the core of life); cannot find the spell key. Therefore, the ambassador has no achievement but regret and defeat. [ABSTRACT FROM AUTHOR]

So far, various theories have been proposed in various scientific branches on the category of personality, among which are the opinions of Jean Shinoda Bolen. Taking an archetypal approach and considering Greek myths, he has represented new dimensions of each character based on their attributes. Bolen's comments have a favorable impact in providing a new reading of fictional texts and the characters present in them. Accordingly relying on library sources, taking a descriptive-analytical method, and considering Jean Shinoda Bolen’s archetypal views, the personalities of Yeki Boud Yeki Naboud (once upon a time) by Mohammad Ali Jamalzadeh were examined. The archetypal characteristics of the characters are considered with regard to their actions and psychological functioning, which can reveal the hidden layers of their characteristics. The results of showed that the influence of the archetypes of Hades, Zeus, Hephaestus, Dionysus and Hermes have been in the inner and outer world of characters, and the result of this influence has been sometimes positive and sometimes negative. This shows Jamalzadeh’s belief in the grayness of human personality and removing the absolutism (good or bad) in dealing with others. Moreover, it was found that Sheikh Jafar has the most complex personality in the story of the political man, who shows signs of the archetypes of Zeus (desire for power), Hermes (trickster and messenger), Hephaestus (inner dissatisfaction, weakness in political skills, etc.). These are evident in his actions, words and thoughts. Other characters are created and processed quite simply and predictably. [ABSTRACT FROM AUTHOR]

Archetype is one of the fundamental terms in Jung's psychology and is located in the individual and collective unconscious of mankind. One of the main places of the manifestation of human unconscious is art and literature. In the ancient Persian poetry, especially the epic poems Bahmannameh and Farammarznameh, archetypes such as Pir Dana (the old wise) have been reflected for the realization of specific purposes or goals, which have been investigated in the present research by referring to library sources and descriptive-analytical method. This study was done in the field of epic literature using Jung's psychology. For this purpose, the dreams mentioned in these two works were taken into consideration. The archetypal criticism of the mentioned works led to the discovery of the nature, characteristics and role of myths in the poetic worldview of the creators of the work. It can be said that Pir Dana appears in the world of dreams as a vague character (like a bird) to the kings and heroes of the epic poems Bahmannameh and Faramaraznameh and gives the road map to heroes such as Bahman, Rostam, Garshasp, Fereidoun, Key Khosrow and Siavash. Moreover, sometimes Jamasb and Zal in the role of wise old man, in the world of sleep and wakefulness (familiar and obvious character), interpret the dreams of these famous warriors and separate the head from the nose; Therefore, Pir Dana has a familiar and vague identity. Generally, Pir Dana has had merciful, favorable and direct impact on the biases of the action of kings and heroes and had changed the course of the epic. [ABSTRACT FROM AUTHOR]

The present paper is conducted through exploratory and inductive approach in order to achieve a business model for data marketplaces. The research paper could be considered as a first attempt in the field of data marketplaces and their business models in Iran. The paper is based on two iterative taxonomy approach that is first introduced by Nickerson et al.(2013).Mixing of a systematic way on current literatures along with structured interviews by some experts who are involved in this area is applied to gain the main objectives.Our results provide the main bloc of the presented archetype with three sub blocs ،attributes and specifications that is titled value proposition. The sub blocs are named value creation، value capture and value delivery.

AbstractThe growing trend of the Arbaeen March can be analyzed from various cultural , social , political , economic and managerial dimensions. In this research , an attempt is made to analyze this important ritual, which has been repeated and globalized over the past decade, with a psycho - cognitive-managerial approach .The theoretical framework of the research is taken from Jung's model of archetypes, which was later considered by management thinkers in the study of successful trademarks. Our goal is to determine the personality for the Arbaeen procession, by modeling the personality of the creators of this ceremony, which is Imam Hussein and his companions, and based on Jung's archetypes, archetypes that are transnational and are similarly perceived and influenced in different societies .The research method is an in - depth interview and documentary study , and the results of the interviews will be examined using deductive content analysis. The research's innovation in using the Jung framework in a subject beyond the trademark, that is, in a religion, is also religious and spontaneous .Thus , if the archetypes that influence the spread of this religion are discovered, these archetypes can be used in other religious rites and these archetypes can be used in their expansion and dissemination.

Introduction: Initially, bibliotherapy was used to address emotional issues in adults. However, in the second half of the 19th century, its theoretical and practical foundations expanded significantly. Nowadays, bibliotherapy is recognized as an effective strategy for treating clinical problems. The purpose of this study is to examine the impact of an experimental Bibliotherapy for resilience, and so investigate the effect of twelve archetypes on teenagers with cancer at Behsat Hospital, Hamedan. Methodology: This research employed a semi-experimental design, utilizing a pre-test and post-test approach. The target population consisted of teenagers aged 10 to 14 undergoing chemotherapy for cancer at Besat Hospital in Hamedan. A sample of 30 cancer-afflicted teenagers was randomly selected, ensuring homogeneity in terms of age, duration of illness, socioeconomic status, and other variables. The sample was divided into two groups: a control group of 15 individuals and an experimental group of 15 individuals. The research utilized two questionnaires to measure resilience (Conner and Davidson, 2003) and life expectancy (Schneider, 2006). The resilience questionnaire had 25 items that are scored on a five-level Likert scale from completely agree to completely disagree. The validity of this questionnaire was confirmed by six experts and its reliability was obtained using Cronbach's alpha coefficient of 0.89. The life expectancy questionnaire has 12 items and 3 components and is implemented as a self-assessment. Out of these 12 items, four items measure operative thinking, four items measure strategic thinking, and four items contain deviant questions. This questionnaire includes two subscales of factor and strategy, and its purpose is to evaluate the level of life expectancy in people. The scoring method of this questionnaire is based on a five-level Likert scale The experimental group participated in eight sessions of bibliotherapy intervention using a storytelling skill plan. The therapist researchers used three books as guides: "Living with Chronic Pain: An Acceptance-Based Approach" and its therapist's guide and patient workbook by Kevin Wells and John Sorrell (2013), "Pain Control Practical Guide: A Positive Attitude to Adapting to Chronic Pain" by Michael Nicholas (2014), and "The Hero's Awakening" by Patricia Addson (2014). Data analysis was conducted using independent t-tests and analysis of covariance in SPSS statistical software. Findings: The results of the independent t-tests revealed a significant difference in mean scores for resilience and life expectancy between the control and experimental groups. Moreover, the bibliotherapy intervention had a 43.6 percent effect on life expectancy and a 64.1 percent effect on resilience among teenagers with cancer. [ABSTRACT FROM AUTHOR]

AbstractUrban legends and fairytales use symbols and archetypes to bring forth, and describe, individual and collective actions and reactions in a society. Using an approach of both descriptive and comparative nature, the present article uses narrative analysis method to conduct an exploration of two similar legends of Beauty and the Beast, from European culture, and Shāhmār, from Iranian culture. The research question is the following; in the two narratives under study, what is described as the ideal epitome of a woman through the evolutionary course of moving from girlhood to womanhood by means of marriage? To answer this question, using the notion of “transformation” in the ideas of John Hinnells as well as the description of marriage as the “transformation of matrimony” based upon the ideas of Joseph Campbell about the evolutionary journey of mythical heroes, the condition of the heroines of both legends- along their path that leads to transformation of matrimony- was studied and analyzed. The results of the research show that the evolution of the heroine of Beauty and the Beast is based upon going past the state of girlhood to the state of womanhood by means of love and union with a creature which looks like a beast, a creature whose hidden inner beauty is unveiled and revealed after experiencing love, leading to the end of the story. In Shāhmār, however, love and union is created only when human nature of the beast is revealed, as this is the point where the eventual evolution of woman, namely, accepting the role of motherhood, starts; protecting the love and matrimony is thus introduced as the ideal and that which is of prime importance.

Urban legends and fairytales use symbols and archetypes to bring forth, and describe, individual and collective actions and reactions in a society. Using an approach of both descriptive and comparative nature, the present article uses narrative analysis method to conduct an exploration of two similar legends of Beauty and the Beast, from European culture, and Shāhmār, from Iranian culture. The research question is the following; in the two narratives under study, what is described as the ideal epitome of a woman through the evolutionary course of moving from girlhood to womanhood by means of marriage? To answer this question, using the notion of “transformation” in the ideas of John Hinnells as well as the description of marriage as the “transformation of matrimony” based upon the ideas of Joseph Campbell about the evolutionary journey of mythical heroes, the condition of the heroines of both legends- along their path that leads to transformation of matrimony- was studied and analyzed. The results of the research show that the evolution of the heroine of Beauty and the Beast is based upon going past the state of girlhood to the state of womanhood by means of love and union with a creature which looks like a beast, a creature whose hidden inner beauty is unveiled and revealed after experiencing love, leading to the end of the story. In Shāhmār, however, love and union is created only when human nature of the beast is revealed, as this is the point where the eventual evolution of woman, namely, accepting the role of motherhood, starts; protecting the love and matrimony is thus introduced as the ideal and that which is of prime importance.

Abstract One of the themes in almost all texts of traditional local histories is mythical narratives. In this research, an attempt is made to achieve deeper meanings and notions behind the appearances of these myths by applying mythological and psychological concepts and categories. Concepts and categories such as the collective unconscious, the archetype, the center, the celestial models, the myth of the origin, etc., unveil layers of meaning. Chains and networks of meaning often aim at strengthening the patience and endurance of the trembling flame of human existence in the face of death and inexistence. At the same time, myths also play a role in providing role models and patterns. These myths can also be analyzed from an individual perspective, as opposed to the collective approach mentioned in the above statements, and based on a psychoanalytic approach. From this perspective, the content of many of these propositions can be classified into two categories: ‘sanctity’ and ‘individuality’. According to Transactional Analysis Theory and Games Theory, the unconscious intention behind such myths and themes is to create calm and relief, through the ‘I’m better than you’ game. Introduction In the study of local historiography, to the extent that it has been searched, no independent research has been done on the content analysis of the mythological materials of a locality. Myths make up a significant portion of the contents of local history books. Such materials can be analyzed in light of the concepts and categories of mythological knowledge. One of the pivotal terms in the analysis of myths is the archetype. On the other hand, the science of psychology has not been indifferent to myths. Examining books of local history, it became clear that many narrations can somehow conform to the ruling archetype. It is an archetype that, by combining with other archetypes, becomes the inductor of an example of worthy and deserving kings and princes. Another part of this study focuses on showing a celestial model of fences, gates, and cities. In the mythological dualistic ontology, every earthly phenomenon has a supreme and celestial pattern, and whatever does not conform to its pattern and parable is superfluous, imperfect, and doomed. Myths can also be analyzed from an individual perspective. If these narrations and myths are dealt with from this angle, two prominent themes can be abstracted and extracted: the theme of individuality (index and uniqueness) and the sanctity of the city or region and its people. Materials and Methods The present study focuses on local histories using mythological and psychological theoretical concepts and an analytical approach. Discussion of Results and Conclusions One of the forms of archetypes is the archetype of the wise and just ruler. In local myths, too, this archetype appears in various forms, sometimes like Alexander, at times like his mother, and occasionally like Kasra Anoushirvan. On the other hand, the duality of the mythical worldview is also reflected in the myths of local history. The mythical fence of Isfahan and its gates are drawn corresponding to the sacred celestial bodies, and the tomb of the sons of the Messenger of God in Herat is also reflected on the throne of the heavens. On the other hand, the "center" is also manifested in such myths. The first fortress of the world, built by Manouchehr, is interpreted as the mountain, and as a sacred center, it becomes the point of contact between earth and sky. In this way, both the great beginning of eternity and the beginning of the world are drawn along with the beginning of the city and the province. The evasion of death and the attainment of immortality also appear in these myths in a bold and dynamic way. With the eschatology hidden in the myths, Manouchehr represents the city and his country as safe and secure and forces the aggressors and oppressors to the abyss of destruction and annihilation The contents written about the merits and virtues of a region can be included in the form of two categories of sanctity and individuality. Myths, by mentioning the unique and extraordinary historical, natural, and geographical phenomena of a particular region, lead to mystery, individuality, and unity. On the other hand, by attributing holiness and divine blessings to the city or region through the burial and prayers of religious leaders, the region is ‘sanctified’. The two elements of sanctity and individuality, along with their overt and covert comparisons with other regions and peoples, give the idea of ​​the superiority of the city and its inhabitants, and in the form of the game "I am better than you", subconsciously transmit psychic enjoyment and interest.

Although archetypal criticism has been used in literary-artistic research for nearly one hundred years, still, as it should be, there is no proper understanding of it, whether in theory or methods, and many studies that have been conducted using this approach, have flaws that require a careful approach to the theories and approaches of archetypal criticism to correct them. Repeated results, misunderstanding of theories, unmethodical and lack of knowledge of archetypal criticism methods, being on the sidelines of mythic criticism, imposing theories on texts and findings, and incorrect and inconsistent results on archetypal criticism, are the most important problems of studies and articles written based on this approach. In the present descriptive-analytical study, firstly the concept of archetype and criticism of archetype is taken into consideration and an effort was made to resolve its ambiguities, and then its various formats and approaches based on different theories have been specified. In addition, related concepts such as Jungian and post-Jungian studies of archetypes have been discussed. The archetypal evolution, the archetypal close-reading, and the rhetorical criticism of archetypes are the approaches that can be used to conduct studies on the criticism of archetypes. Moreover, stereotypical characters, mythological characters, archetypal motifs and situations, collective rituals, public symbols and images, cultural or psychological syndromes, and psychological complexes are forms in which undiscovered archetypes can be explored or literary-artistic texts can be criticized based on them. [ABSTRACT FROM AUTHOR]

Copyright of Research in Comparative Literature is the property of Razi University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Abstract"Archetypes" are important psychological elements. "Archetypal criticism" has always been considered one of the important types of literary criticism. The theory of archetypes is based on the thought of Carl Gustav Jung, a theorist in the field of psychological sciences. In this theory, the structural elements of myth, which are present in the collective subconscious mind, are analyzed. According to Jung, there is a kind of universal experience in these elements that is repeated in different forms and in all generations. Contemporary psychologist and theorist Shinoda Bolen also contributed to a more accurate understanding of archetypes by supplementing Jung's theories and elaborating on their manifestations in daily lives of individuals. In the present study, by means of mythological and psychological criteria in Shinoda Bolen's theories, two famous theatrical "woman" characters have been the subject of comparative studies. They are "Julia" from the play "Miss Julia" by August Strindberg and "Ensie" from the play "Sing in May" by Akbar Radi. Although created in two different geographies and cultures, both characters bear significant similarities from Shinoda Bolen point of view. This study also shows the fact that quoting mythological and psychological elements in the creation of theatrical characters can lead to the production of a similar pattern in the process of this creation. A pattern that transcends temporal and spatial boundaries and relies more on archetypes than any other element.

One of the themes in almost all texts of traditional local histories is mythical narratives. In this research, an attempt is made to achieve deeper meanings and notions behind the appearances of these myths by applying mythological and psychological concepts and categories. Concepts and categories such as the collective unconscious, the archetype, the center, the celestial models, the myth of the origin, etc., unveil layers of meaning. Chains and networks of meaning often aim at strengthening the patience and endurance of the trembling flame of human existence in the face of death and inexistence. At the same time, myths also play a role in providing role models and patterns. These myths can also be analyzed from an individual perspective, as opposed to the collective approach mentioned in the above statements, and based on a psychoanalytic approach. From this perspective, the content of many of these propositions can be classified into two categories: ‘sanctity’ and ‘individuality’. According to Transactional Analysis Theory and Games Theory, the unconscious intention behind such myths and themes is to create calm and relief, through the ‘I’m better than you’ game. [ABSTRACT FROM AUTHOR]

Myths express human aspirations and fears. Literary and folk texts in the depth of their thinking do not shy away from mythical themes. Myths, through their narrative function, reveal the themes of human archetype in the various contexts narratives. The narrative of the meeting and marriage of Maral and Golmohammad that this study deals with is one of the most basic parts of Kalidar. The folkloric and Kurdish narration of "Mahmoud Khan Balek and Khatun Parizad" is also one of the prominent and famous narrations in Kurdish folk culture. The problem of this research is the function of the common themes of myths that structure the above-mentioned folk narrative and excerpt. The present article looks at the mentioned texts based on the mythological approach and with a descriptive and analytical method, with the aim of explaining the mythological and thoughtful connections in the two mentioned narratives. Both narrations advance their narrative movement based on elements such as woman, water, spring, plant, moon and animal. These narrative elements demonstrate the archetypal themes such as life, life cycle, magic, horror of anime archetype and shadow control in both narratives. Based on common mythological and archetypal principles that systematize the two linguistic context and narrative structure. It is argued that the novel Kalidar, in addition to other aspects of intertextuality, is also influenced by Kurdish folk culture and its mythological and archetypal themes. The author of Kalidar has experienced again living in the horizons of Kurdish people thinking and their culture.

In recent decades, Feminism and Women's Studies in various fields have become very prominent to show the exclusion of women but this marginalized men's studies. This problem also exists in the study and analysis of male cinematic characters. Various studies have analyzed the representation of women in cinema and art, but few studies have analyzed the male personality. The theoretical approach in this research is based on Jean Shinoda Bolen's Archetypal theory. The movie "Sholevar" (2017) has also been analyzed as a case by Fiske semiotic method. "Sholevar" as a case study of this research, has many scientific advantages. This film is character-driven; And has a central character that the audience follows almost all the stories with his mentality throughout the film. The narrator also helps by presenting the inner monologues of the characters. The results of research and analysis of the film sequences show that the closest male archetype to the main character of the film - Farid - is "Poseidon". The most important commonalities between Farid and Poseidon are emotional spirit, overt and covert anger, bad temper, resentment and revenge, self-righteousness and violation of the rights of others, anomaly, self-confidence, and at the same time being ignored, preferring emotion to logic in Reactions, interest in natural elements, etc. [ABSTRACT FROM AUTHOR]

Abstract Symbols and archetypes are the most important structural elements of myths in different societies. They also play a significant role in the Iranian mythology. One of the mythical narrations quoted in Shahnameh and includs symbols and archetypes is the myth of 'Houshang's Battle with the Black Snake'. Despite the importance of this mythical narrative, not much research has been done in this area. Assessing the mythical roots, symbols, and archetypes in this narrative could be accompanied by investigating many historical mysteries of ancient Iranians. The present study was carried out in a descriptive-analytical manner and based on library data. The purpose was to analyze the myth of 'Houshang’s Battle with the Black Snake' using symbols and archetypes. The results showed that the black snake burning the world in this myth was a symbol of evil, destruction, and eternal disorder, which was opposed to Houshang as the symbol of goodness, justice, order, and prosperity. The result of such battle was the discovery of a demonic snake and fire and a celebration that was directly related to the superiority of the snake and the discovery of fire. In this myth, archetypes, such as the battle between the good and evil, the battle of the hero with snakes and dragons, the fire and drift of demons, celebrations, etc., could be observed and evaluated. Introduction One of the mythical narrations quoted in Shahnameh is the myth of 'Houshang's Battle with the Black Snake'. This narration is not quoted in other sources. It has the characteristics of a myth. Two of the most important characteristics of myths, on which the present study was based, are their symbolic expressions and common archetypal roots. In the myth of 'Houshang's battle with the Black Snake', like many other myths, the role of symbols and archetypes could be seen. All the symbols and archetypes studied in this research were rooted in mythical beliefs and could be adapted to the ancient Iranians’ religious beliefs. By assessing the symbols, one could discover the roots of the oldest beliefs. Symbol is one of the tools of knowledge and the oldest and most fundamental method of expression. The myth of 'Houshang's Battle with the Black Snake' also contained several symbols that could be studied to analyze the myth in question and find the roots of many religious and historical beliefs of the ancient Iranians. Archetype is another highly important structural element of myths in different societies. In Iranian myths, as in the myths of other societies, archetypes play a significant role, which is closely related to the ancient Iranians’ religious traditions. In the myth of 'Houshang's Battle with the Black Snake', these archetypes were also seen. Upon evaluating the myth, the archetypal and symbolic roots of this narrative in the ancient Iranians’ traditions and beliefs were clarified. Materials & Methods Since the present study was a library research, library data constituted its main materials. The research method was descriptive-analytical with a symbolic approach and archetypal critique. Discussion of Results & Conclusions The results of this study indicated that the narration of 'Houshang's battle with the Black Snake' was a mythical narrative and had the characteristics of a myth. In this myth, there are symbols and archetypes rooted in the ancient Iranians’ beliefs. The hero's battle with the snake or the dragon was the first archetype to be found in this mythical narrative with its own symbolism. In ancient beliefs, a snake is a two-dimensional creature. In some beliefs, it is a positive and holy being, while being a negative and demonic being in some others. The symbols and archetypes in the myth of " Houshang’s Battle with the Black Snake" depicted the negative effect of the snake or dragon in the ancient Iranians’ beliefs. The snake was black in this myth, which was referred to as a cosmopolitan attitude. The black color of the snake was a symbol of its demonic nature and its world-burning attribute was a symbol of destruction as well. This snake, like other mythical snakes and dragons, was also a symbol of disorder. In contrast, Houshang as the hero was a symbol of the forces of goodness, justice, order, and prosperity that stood against the black snake. In this battle, Houshang was superior to the black snake, but the snake was not killed, which was by itself a symbol of hardship, as well as immortality of the serpent and the demonic forces in some ways in the ancient beliefs. Houshang's battle with the demonic black snake led to the discovery of fire. In this battle, fire as the divine light played the role of driving away the demonic snake. This role of fire was also an archetype that could be traced in the ancient Iranians’ beliefs and those of the peoples of other societies. With the expulsion of the serpent and the discovery of fire, people celebrated the centenary in commemoration of this event. Celebration was also a recurring archetype that was sometimes associated with superiority over demons in the ancient Iranians’ beliefs.

Mandala is one of Jung's most important archetypes associated with some numbers, geometric shapes and concepts, the most important of which is unity and the most prominent geometric shape of the circle that can be observed in art and literature. Kurdish. Child and adolescent storytellers have used mythological archives as a tool to enrich their stories. Mandala is one of the archetypes used in the stories of children and adolescents. Given that children's and adolescent writers tend to be mythical and need to be scientifically applied using this efficient tool, this paper has attempted a library-based approach with a descriptive-analytic approach. Examine Mandala in the stories of children and adolescents. For this purpose, Mandala is first briefly defined and then this type of archetype is analyzed in the stories of children and adolescents. Mandala appears to be expressed in the stories of children and adolescents in symbols such as time, moon, sun, cave, fountain, numbers, and circle. Research aims: 1. Presenting the analysis of Mandala patterns in the story of a child and adolescent. 2. A study of the function of Mandala in the story of a child and adolescent. Research questions: 1. In which ways did Mandala appear in the story of a child and adolescent? 2. What is the role of the mandala in the story of a child and adolescent?

Abstract All the mythological themes and worldviews of the primitive tribes and religious concepts of different nations, which represent the general examples of human behavior, should be called archetypes. These mythological themes are repeated and common in different societies. In the myth of Jamshid, which is quoted in the Shahnameh and some other works of Muslim writers, like the myths around the world, one can see the role of the archetypes, and based on these archetypes, one can analyze the desired myth. The present study has been conducted with the archetypal criticism approach and the descriptive-analytical method based on the library data. The purpose of this study is to investigate some of the most important archetypes in the Jamshid myth quoted in the Shahnameh and to compare them with the most important historical works of Muslim writers who have quoted the Jamshid myth. The study results indicate that the role of archetypes such as the archetype of good and evil battle (the archetype of heroic and anti-heroic battle), the archetype of utopia, the archetype of flight, the archetype of the New Year celebration, the archetype of longevity, the archetype of sin as a result of being deceived by demonic forces, the archetype of shadow, the archetype of the mask, the archetype of punishment, and so on, are observed in the Shahnameh and other mentioned works. Thus, the myth of Jamshid can be analyzed based on these archetypes. Introduction Today, myths have been studied from different perspectives, including historical, philosophical, mystical, functional, psychological, anthropological, sociological, artistically, etc., and each of them has different analyses and interpretations. One of the major methodologies is to analyze myths using archetypes, which is also called archetypal criticism. Archetypal criticism explores the nature of the characteristics of myths, archetypes, and their role. Critics of this method look for exemplary forms and archetypes in mythological works and talk about their relationship to the depths of human nature. The collective subconscious encompasses contents and behaviors that are more or less the same everywhere among all human beings. In other words, it is common to all human beings and, therefore, creates a common psychological realm that is superhuman and exists in all of us. The contents of the collective unconscious are called archetypes. If we want to deal with the concept of the collective unconscious, we must know that we are dealing with ancient patterns, or rather eternal, that is, universal images that have existed since time immemorial. Accordingly, the contents of the collective unconscious are formed by archetypes. These archetypes are deposited in the collective subconscious of human beings based on ancient experiences and manifest themselves in the form of dreams, myths, and works of art. In the definition of an archetype, it can be said that it includes a pattern, a model, a person, a letter, an example that looks, patterns, models people, professions, and other examples of perfect imitations, or at least very similar to them. The analysis and adaptation of the archetypes that make up the structure of myths will enable researchers to solve the mysteries of prehistoric man and analyze their beliefs. This study examines the myth of Jamshid, one of the most famous Iranian myths narrated in the Shahnameh and some other historical works of Muslim writers and analyzes some of the most important archetypes in this myth. Material & Methods Since the present research is a library study in which the library data constitute the main materials for investigation. The research method is descriptive-analytical with an archetypal criticism approach. Discussions of Results and Conclusions The results of this study indicate that the narration of the Shahnameh and the narrations of the other Muslim writers concerning the myth of Jamshid are very close to each other and there are slight differences in these narrations. In the myth of Jamshid, like many other Iranian myths, the archetype of the battle between good and evil is symbolized in the form of the battle between a hero and an anti-hero. In this myth, Jamshid can be mentioned as a hero who is captured by carnality in the end or by being deceived by demons who are a symbol of the negative part of the archetype of the shadow, he deviates from the right path and commits the sin of heresy. This sin of Jamshid carries a heavy punishment, and that is the loss of all possessions, wandering, and tragic death. Archetypes of sin and punishment are among the most important archetypes found in this myth. In this myth, the archetype of utopia can also be seen. In various sources, the period of Jamshid’s reign is mentioned as a golden period, which is the manifestation of the archetype of the utopia in Persian myths. The flight archetype is another important archetype that has been quoted in the myth of Jamshid and various sources. The narration of this archetype is the manifestation of ancient human desires to fly in the skies. Another important archetype in this myth is the archetype of the New Year celebration. The archetype of the New Year celebration is one of the most important archetypes that has continued to live in the cultural geography of Iran until today in the form of the Nowruz celebration. Another important archetype quoted in this myth is the archetype of the longevity of some mythical kings. This archetype is also reproducible and can be seen in many myths. In general, by examining the archetypes in the myth of Jamshid and applying them in different narrations, an acceptable analysis of this myth can be achieved.

Problem Statement: According to Carl Gustav Jung, in addition to the personal unconscious, human beings have a common part called the collective unconscious. The contents of this part of the soul and mind are archetypes. Archetypal critique is one of the main approaches of contemporary literary criticism that explores the nature and characteristics of archetypes and their role in literature. Among these archetypes in the present study, the archetype of anima is discussed. Anima is the feminine half of men’s existence that can change under the living conditions of any person and its positive and negative manifestations can be manifested. In the field of literature in different cultures, we also see the birth of strong themes by this archetype, so it is necessary to study products such as novels that are more dependent on the individual’s consciousness based on psychoanalysis. In this regard, the present study investigates the manifestation of this element in the psyche of Ibn Arabi in the novel Mawt Ṣaghir (Minor Death) by Mohammad Hassan Alwan, a prominent Saudi writer. Using a descriptive-analytical method, this paper shows that anima has a significant effect on the creation of events and incidents in the story and has created grounds for conflict between the characters. The findings indicate that the positive manifestations of the anima have been manifested in the form of lover, guide, otad, etc. Research Method)s): One of the most popular types of literary criticism in recent decades has been psychological critique based on Jung’s theories. Jung’s school of psychology, known as Analytical Psychology, is especially famous for its collective subconscious and its contents, the archetypes. In addition to the individual unconscious, Jung believes in a deeper layer called the collective subconscious for the psyche, which is common to all human beings. One of the most important archetypes that Jung addresses in his theories is the anime archetype, which represents the female psyche. In other words, “Jung was the only twentieth-century psychologist to distinguish between male and female psychology” (Sanford, 1980, p. 5). This study analyzes the manifestation of this element in the psyche of Ibn Arabi's character in the novel Mawt Ṣaghir (Minor Death) by Mohammad Hassan Alwan, a prominent Saudi writer. Considering that the archetype of anima at different levels is reflected in the main character, familiarity and integration with one's own anime lead to what Jung refers to as the archetype of happiness, explaining why research is needed. Result/Finding: With the help of the evidence extracted from the novel, this paper deals with the similarities of Ibn Arabi's mistress to the concept of anima in Jung's theory and shows that the descriptive-analytical method has a significant effect on creating events and incidents in the story and the context of conflict it has created. The findings of the study indicate that the positive aspects of the anima are manifested in the form of lover, guide, otad, and so on. In sum, the characteristics of the anima that Jung referred to are consistent with the characteristics that Alwan intended for the characters. In other words, obvious manifestations of the archetype of anima can be seen in the Mawt Ṣaghir of Mohammad Hassan Alwan, which reminds us of the influence and role of the collective unconscious in the creation of this work. [ABSTRACT FROM AUTHOR]

Symbols and archetypes are the most important structural elements of myths in different societies. They also play a significant role in the Iranian mythology. One of the mythical narrations quoted in Shahnameh and includs symbols and archetypes is the myth of 'Houshang's Battle with the Black Snake'. Despite the importance of this mythical narrative, not much research has been done in this area. Assessing the mythical roots, symbols, and archetypes in this narrative could be accompanied by investigating many historical mysteries of ancient Iranians. The present study was carried out in a descriptive-analytical manner and based on library data. The purpose was to analyze the myth of 'Houshang’s Battle with the Black Snake' using symbols and archetypes. The results showed that the black snake burning the world in this myth was a symbol of evil, destruction, and eternal disorder, which was opposed to Houshang as the symbol of goodness, justice, order, and prosperity. The result of such battle was the discovery of a demonic snake and fire and a celebration that was directly related to the superiority of the snake and the discovery of fire. In this myth, archetypes, such as the battle between the good and evil, the battle of the hero with snakes and dragons, the fire and drift of demons, celebrations, etc., could be observed and evaluated. [ABSTRACT FROM AUTHOR]

. In this paper, the present researchers tried to review the elements and components existing between the Safavid era and the principles and architectural techniques of that period; in this sense, purity and cleanliness are also introduced along with the concepts of hidden aspects and finding the water architecture. However, in order to solve the critical problems in the water sphere, the unique features of our culture and beliefs are of particular importance to Iranians at that time. Therefore, in this paper, emphasizing the ancient symbols and images that their secret, according to Jung, is unconscious, we emphasize the symbols and beliefs in the context of the culture of the Iranian society, whose various forms have emerged, especially in the ritual of purity and the purification forms allegorical and metaphorical forms in the form of arts or belief beliefs. These forms, which are rooted in mythological beliefs (also the myths), have been a religious practice, and in the structures of Islamic art, the sanctity and purification of the window of this form have entered the arena of art with the appearance of water, and in the streams of beliefs and signs and symbols. The architecture of Isfahan school is fertilized with the help of its knowledge of time, and neglecting it causes the decline and decline of the Safavid era, and its effects appear to continue in the subsequent periods.

The research analyzes Naghme Samini's dramas based on Durant Gilbert's mythocriticque. The theory and method of myth-analysis were initially introduced by Gilbert Durand. In this theory and method, the texts and hypertexts, such as author’s life, are simultaneously important. Myth-analysis is an interdisciplinary criticism, and its process and method can be divided into three stages: symbol-analysis, psychometric and myth-analysis. According to Durand, there is a relationship among all works of an author; personal myth of the author’s mind can be understood through examining them. Based on the original and primary myths, he deeply analyses a work of an author and focuses on the primitive original myths in the last stage of analysis. He states that although a text and work of art plays a main role, this text is not apart from the author and his living environment. Naghme Samini is a contemporary Iranian playwright; due to her interest in myths, archetypes and history, her playwrights deserve analysis from the viewpoint of Gilbert Durand’s mythology. In this research, five plays and two research books written by Naghme Samini have been selected and examined. In the first stage, namely symbol-analysis stage which relies on the text, the selected works were firstly studied. They were then criticized and analyzed through examining symbols, characters and archetypal acts using valid books; this was the first stage of Durand’s mythology. As the second stage, psychometric, which relies on hypertext, was completed through examining the author’s autobiography as well as asking questions from the author himself. Finally, with a general analysis of the previous stages and combination of the results, the final stage, the mythology of the works was fulfilled in order to achieve the personal myth of author’s mind and then the collective myth of her thought. The data were collected using library studies and valid sources and books, and the research method was analytical-descriptive. The research results show that mental concerns of Naghme Samini mostly include the issues related to war and women. Her most important personal myth is Shahrzad, and her narration is to rescue a part that expands on other women through a collective perspective on myth-building.

In Carl Jung's theory, ‘persona archetype’ or mask is a guise that any person uses in connection with Expectations and social, cultural and traditional standards and replying within archetypal needs. In fact, persona is a role that society expects an individual to play and its aim originally is to influence others and to cover individual's real inner nature. Persona is individual's social character against his private character that he presents to the world unconsciously. In this descriptive-analytic article, we have studied persona archetype in dialogues and encounters of characters of the Siavash story in Shahnameh of Ferdowsi. It has been shown in this article that Siavash and Kavoos do not face the harmful mask in their talks or behaviors due to having godfather qualities. In the article we have presented that main character of the story, Siavash, hasn't any dialogue and encounter combined with persona, conversely, most dialogues and encounters by using persona archetype are from two malevolent characters of the story, Sudaveh and Karsiuse and all their persona are devilish and negative.

Symbolism exists in the thoughts and dreams of various human races and leads man to a range of non-speech thinking. From the past, the Iranian people have paid special attention to Shahnameh and established a close relationship with it according to its texture. During the Safavid period, the narratives in the cafes described the stories of Shahnameh with Pardeh-Xani and arrangement of scenes for entertainment. This research examines and decoding symbols in the images of Haft khan-e Rostam in Ferdowsi's Shahnameh. Rostam passes the seven-step test to save Kay Kāvus and achieving the championship base. Each khan (step) is a symbol of Rostam's confrontation with the hidden creatures that confronts him with the difficulty of reaching perfection. Rostam faces in the first step with lion (a symbol of pride and evil force), in the second step with thirst and warmth (the symbol of power without shape and spirit, as well as its hidden and unknown motive), in the third step with dragons (the symbol of drought), in the fourth step with the witch's wife (the symbol of the negative Anima), in the fifth step with the Devil who named Aowlad (symbol of door guard), in the sixth step with Arjhang Dave (the symbol of the anti-heroic helper) and in the seventh step with the white demon (the symbol of death and his blood symbol of life). The purpose of this research is to analyze the symbols in the illustrated images related to Haft khan-e Rostam in Ferdowsi's Shahnameh. The method of this study is descriptive-analytical. The results of the research show that in all the pictures, the symbols in the story of Haft khan-e Rostam in Shahnameh are presented in the pictures and it has made meaningful the relationship between the image and the original text for the audience.

“Archetype” is an important term developed by Carl Gustav Jung in his work in psychiatry, which has different types. One of the most prominent archetypes described by Jung is the “wise old man”. This archetype in self is represented as mentor and in myth and literature as enlightened ego old personalities. In his publications, Jung has mentioned different characteristics for this archetype such as knowledge, contemplation, wisdom, insight, intelligence, fascination, immortality and connection with metaphysics. Therefore, it can be said that the most important feature of the wise old man described by Jung is sagely advice and guidance of the hero when arising difficulties. In this research by using analytical-descriptive method, regarding the educational and political motifs of Kalile and Demne which has been described through allegory or fable, it has been tried to compare the prominent characteristics of heroes in Kalile and Demne’s allegories with Jung’s wise old man. It can almost be said that the most important characteristics of Jung’s wise old man such as guidance and companionship, intimate countenance, being wise and possessing the ability of prognosticating are clearly seen in the countenance and function of heroes, kings and viziers described in Kalile and Demne.

Archetype is remained from far past as common concept in the human`s unconscious that these photos are seeming in effects of our sleep, dream and literature. “An example mom” is one of the archetypes that Mr. Carl Gustav Jung believes that this archetype is from the most significant psychosomatic manifestation. This is seen in the literature`s effects with positive and negative nature sometimes to form real mother and other time to different shapes and symbols that are implying in aspect maternal. Muhammad Al Qaisi is Palestinian contemporary poet. He has paid a lot of attention to “An example mom” of the archetype in his poems. He has given a new semantic to this archetype with inspiration from religiou texts to deepen the meanings of his poems. The results of this research have indicated that the analytical method of “an example mom” in the poems of Muhammad Al Qaisi is a symbol for occupied homeland and refers to hope, sustainability, rise, freedom, and the binders of the Palestinian people.

In Jung's Analytical Psychology “Self” is one of the important expressions. In Jung's view, self is an archetype which can be considered as base of an individual's integration and consistency. According to Jung's theory, we all grow slowly during their life time and after experiencing a process which Jung calls it "Individuation process" we become the one who we are. Jung calls the whole personality "self". From his point of view "Self" can’t be understood completely. "Self" is symbol of integration and Christ is the archetypical exemplar of human integration because Christ is an example of the divine integration. Jung has mentioned several features for "Self". On the other hand, in Ghazaliyate Shams and overall in mystical literature we face with terms such as soul "Rouh", spirit "Jan" and heart "Del" that are consistent with the schema that Jung define. In this study in addition to explaining the "Self" archetype form Jung's perspective we have also aimed to collate it with the features of "Soul" , "spirit" or "heart" in Ghazaliyate shams and study its features.

The study seeks to identify how Iranian consumers (Isfahan as the case study) perceive archetypes. Drawing on the Theory of Shape Symbolism, the study also addresses geometric shapes as potential elements in conveying archetypal meaning to the brands. Findings from several preliminary studies and seventy-seven semi-structured in-depth interviews in the main study revealed that, in spite of some similarities, Isfahan citizens are somewhat different in their perception of archetypes compared to western consumers. Moreover, the most and the least fitting shape(s) with each archetype were identified. Respondents’ archetypal associations with shapes are based on both intrinsic meaning stemming from shape’s attributes such as symmetry, angularity and number of sides, and referential meaning of shapes. In contrast to the existing literature on geometric shapes, angularity is not the only shape characteristic to affect archetypal associations and is not proved influential in all archetypal perceptions. The results of the present study are invaluable in brand meaning management in general, and for branding and advertising in particular.

All the mythological themes and worldviews of the primitive tribes and religious concepts of different nations, which represent the general examples of human behavior, should be called archetypes. These mythological themes are repeated and common in different societies. In the myth of Jamshid, which is quoted in the Shahnameh and some other works of Muslim writers, like the myths around the world, one can see the role of the archetypes, and based on these archetypes, one can analyze the desired myth. The present study has been conducted with the archetypal criticism approach and the descriptive-analytical method based on the library data. The purpose of this study is to investigate some of the most important archetypes in the Jamshid myth quoted in the Shahnameh and to compare them with the most important historical works of Muslim writers who have quoted the Jamshid myth. The study results indicate that the role of archetypes such as the archetype of good and evil battle (the archetype of heroic and anti-heroic battle), the archetype of utopia, the archetype of flight, the archetype of the New Year celebration, the archetype of longevity, the archetype of sin as a result of being deceived by demonic forces, the archetype of shadow, the archetype of the mask, the archetype of punishment, and so on, are observed in the Shahnameh and other mentioned works. Thus, the myth of Jamshid can be analyzed based on these archetypes. Introduction Today, myths have been studied from different perspectives, including historical, philosophical, mystical, functional, psychological, anthropological, sociological, artistically, etc., and each of them has different analyses and interpretations. One of the major methodologies is to analyze myths using archetypes, which is also called archetypal criticism. Archetypal criticism explores the nature of the characteristics of myths, archetypes, and their role. Critics of this method look for exemplary forms and archetypes in mythological works and talk about their relationship to the depths of human nature. The collective subconscious encompasses contents and behaviors that are more or less the same everywhere among all human beings. In other words, it is common to all human beings and, therefore, creates a common psychological realm that is superhuman and exists in all of us. The contents of the collective unconscious are called archetypes. If we want to deal with the concept of the collective unconscious, we must know that we are dealing with ancient patterns, or rather eternal, that is, universal images that have existed since time immemorial. Accordingly, the contents of the collective unconscious are formed by archetypes. These archetypes are deposited in the collective subconscious of human beings based on ancient experiences and manifest themselves in the form of dreams, myths, and works of art. In the definition of an archetype, it can be said that it includes a pattern, a model, a person, a letter, an example that looks, patterns, models people, professions, and other examples of perfect imitations, or at least very similar to them. The analysis and adaptation of the archetypes that make up the structure of myths will enable researchers to solve the mysteries of prehistoric man and analyze their beliefs. This study examines the myth of Jamshid, one of the most famous Iranian myths narrated in the Shahnameh and some other historical works of Muslim writers and analyzes some of the most important archetypes in this myth. Material & Methods Since the present research is a library study in which the library data constitute the main materials for investigation. The research method is descriptive-analytical with an archetypal criticism approach. Discussions of Results and Conclusions The results of this study indicate that the narration of the Shahnameh and the narrations of the other Muslim writers concerning the myth of Jamshid are very close to each other and there are slight differences in these narrations. In the myth of Jamshid, like many other Iranian myths, the archetype of the battle between good and evil is symbolized in the form of the battle between a hero and an anti-hero. In this myth, Jamshid can be mentioned as a hero who is captured by carnality in the end or by being deceived by demons who are a symbol of the negative part of the archetype of the shadow, he deviates from the right path and commits the sin of heresy. This sin of Jamshid carries a heavy punishment, and that is the loss of all possessions, wandering, and tragic death. Archetypes of sin and punishment are among the most important archetypes found in this myth. In this myth, the archetype of utopia can also be seen. In various sources, the period of Jamshid’s reign is mentioned as a golden period, which is the manifestation of the archetype of the utopia in Persian myths. The flight archetype is another important archetype that has been quoted in the myth of Jamshid and various sources. The narration of this archetype is the manifestation of ancient human desires to fly in the skies. Another important archetype in this myth is the archetype of the New Year celebration. The archetype of the New Year celebration is one of the most important archetypes that has continued to live in the cultural geography of Iran until today in the form of the Nowruz celebration. Another important archetype quoted in this myth is the archetype of the longevity of some mythical kings. This archetype is also reproducible and can be seen in many myths. In general, by examining the archetypes in the myth of Jamshid and applying them in different narrations, an acceptable analysis of this myth can be achieved. [ABSTRACT FROM AUTHOR]

In the archetype of sacrifice, the element of sacrifice is chosen according to the type of culture, religion, livelihood, etc. Cow, as an ancient myth in the mythological story of genesis in Iran is a prominent element of sacrifice and this was an important part of the ritual. Through shedding cow's blood, the earth was revived, and through eating his flesh, the followers of the religion could be immortal. However, after Zoroastrianism, several reasons such as opposition to symbols of Mythraism propagating monotheism, and the necessity of settlement and development of civilization, the sacrifice of cow was opposed, and Zoroastrianism respected its life, but there have been reports of sacrificing cows in Zoroastrianism, suggesting the need to carry out this ritual, to help the fertility of the land and reviving the life cycle. Nevertheless, the reaction Zoroastrianism showed to the sacrifice of cow shifted the myth of immortality and protecting earth to a new level, and rationalized the mythological themes. This study, accordingly, analyzes the archetype of sacrificing cow in Mithraism and Zoroastrianism borrowing Jung's theory and a descriptive-analytic research method. [ABSTRACT FROM AUTHOR]

Mah-Pishani is one of the most known Iranian popular tales that has been narrated by the folklorists frequently and printed by several of them. Sobhi-Mohtadi, from narrators of it, says the history of Mah-Pishani turns back to pre-Islamic periods, but he does not present any reason for his claimed hypothesis. In this research, the author has selected the Ahmad Shamloo’s narration of this tale and explored in ancient layers of it. Firstly the structural components of the tale have been explained based on Prop’s Morphology theory, but the author has not limited himself only to reporting and explaining the narrative structures, rather he traced the characters and their functions in Iranians’ myth, history and culture and has proved their ancient roots clearly. In this article, the roots of these symbols, motifs and archetypes have been analyzed: _Stepmother: in Mah-Pishani, Molla-Baji is a stepmother of Mah-Pishani. The story of villain stepmother and her stepdaughter that unlike the desire of her stepmother succeeds to the prosperity is one of the universal motifs of the tales, as it would be seen in Cinderella tale. _ Hero and Anti-hero and Helpers: Mah-Pishani is a heroine, Molla-Baji is an anti- heroine and Cow and Demon are helper characters. The archetypes of hero and anti-hero and helpers could be traced in anthological battle between Ormazd and Evil and their helpers in Iranian culture. _ Women Functionalists: it could be found evidently and easily in the tale of Mah-Pishani, a passive, neutral and lack of function presence of man gender in this tale. So it would be a remembrance derived from Matriarchy Age. _ burying the bones of victim: from the very deep points of the tale, is a Demon’s command to the heroine of the tale to bury the bones of the sacrificed cow. This point is a key motif that builds to the paleontology and historical antiquity of the tale. Mankind of the hunting age that found his life depending on the survival of animal kinds buried the bones of hunted animal in to the soil so that animal would have another life and its generation not to become extinct. _ Demon: in this tale Demon functions as a generous and then helper character and takes distance from conceptual and semantic field of villainy that is associative of Demon’s character. This discrepancy should be traced in religion and society of ancient Aryans. The word Demon means originally means God, but after the appearance of Zoroaster in Iran and the introduction of Ormazd as a God, Demon’s meaning changed to the devil. _ Cow: Mah-Pishani’s mother stays in seventh jar and then becomes a yellow cow. Cow in Iranian myths is a blessed and sacred symbol. Certainly in the tale, cow is reckoned a totem for Mah-Pishani, because Demon advises to her not to eat from the meat of the sacrificed cow which is a twin of her mother. One of the remarkable features of the totems is prohibition of eating them. This totemic force is a Mah-Pishani helper to the prosperity. _ River: the hero of this tale has touched water and passed from it in two fundamental sections of the tale that brought her with new different birth. Waters, fountains and rivers have been worshiped in ancient days and linked to fertility, gestation and blessing. Water has been a symbol of revitalization and new birth. The author, after exploring the archetypes and motifs of Mah-Pishani, has concluded the historical and religious sediments of Paleolithic Age (Hunting Age), Neolithic Age (Matriarchy Age), ancient Aryan and Zoroastrian religions on its frame.

Archetype Theory, has been raised from Carl Gustav Young’s Psychoanalytical School. Young knows mental images and Sediments and Hereditary information which there are in the collective unconscious as Archetype. In other word, archetype is general type of repeated experiences and behaviors of human forefathers which rooted in collective unconscious. the most important Archetypes are "Anima"," Animus", "old wise man", "shadow", "mask", "rebirth" ,and "self" and "individuality". Kalila va Demna is the book which is full of allegorical stories, which because of their mythical aspect, are researchable from Archetypal Analytic criticism. One of this stories which Archetypal color is Dominant in it, is "Almalek and Albrahmh” from 16th chapter of Kalila va Demna. In this study, some archetypes such as "shadow", "Anima", "mask", "old wise man", " self " and "individuality" in the story of "Almalek and Albrahmh" from sixteenth chapter of book, has been analyzed. Since either this tale because of being legendary, and consisting of series of dreams – which have given it mythical, symbolic and interpretable nature – has capacity for archetypal analysis, or archetypal approach has high capacity and power to analyze such narrations. The story was investigated on mentioned view, and it was found that king Heblar which has stricken to a kind of Psychosis, Finds its way into the subconscious through dreams and After a confrontation with his anima, under guidance of old wise meets his self (true self) and reach to his individuality and Is rescued from distress. It can be said that the king starts his path of the individual process with a dream. He, in the bigining of the story, with the help of Iran Dokht and at the end of the story, with the help of minister is released of grief and psychosis.

Myth has had an Ideological mechanism in contemporary narrative. Due to its explanatory capacity, it mainly seeks to explain and demonstrate unknown and primitive issues, especially the infinite and holy ones; as a consequence, it takes a vague and paradoxical property. However, it has other properties such as plot, coherence, and totality which could be applied to configure dispersed events. When myth is used in narrative (especially ideological narrative), it changes into a set of verbal and visual allusions to clarify its meaning. Ghazzaleh Alizadeh is one of the female writers who has tried to demonstrate myth through language and symbol. As a result, myth has targeted, feminist and sometimes aesthetic functions in her works. Myth has not been applied to give a mythical property to the plots of her stories. Contrarily, myth mainly functions as a catalyst in her works to explain and complete the narrative content. This paper was an attempt to explore Alizadeh’s works for mythical processing, functions, and purposes with a focus on the archetype of woman. Her works were investigated in the thematic, narrative and linguistic levels.

Archetype, as an innate factor in collective unconscious, is deeply associated with myth. In fact, the myth is a kind of archetype whose reasons of formation are reviewed according to collective unconscious. According to Jung's opinion, every myth is created based a collection of factors and innate reasons. Accordingly, different kinds of unnatural childbirth are very important mythological subjects that are tangled with story of hero's birth in various nations. There are many archetypes of Hysterectomy and unnatural childbirth in mythology including: Rostam's story and stories of "Arthur" and "Hercules" and several gods such as "Andre", "Mehr", "Metra", "Atone", "Monrovia", "Sanasar & Baghdasar", "Uziris" or "Uzirmag", "Batrazd", "Mashi & Mashiane'', "Buda", "Brahma", and "Sushiant''. The current research aims to unveil the reasons of these birth myths and gods using descriptive– analytic method while explaining the function of archetype for these heroes. Accordingly, unnatural birth is a kind of "showing future of narration sighting". This technique shows prominence and dignity of heroes and myths.

Mother Archetype is one of the most important archetypes in Carl Gustav Jung's theory manifested in literary works both as the character of a real mother or in the form of symbols that indicate maternal aspect. Epic is a work derived from the male-dominated society in which the heroic functions and masculine power grab the attentions always more than the women's presence and role. However, since most of the epic poems have a mythic infrastructure, archetypically, they reflect many of the mythological themes and symbols that have emerged unconsciously in the poem. Since human life, before the epic realization and the manifestation of the male heroes, has experienced a female dominated era with female eternal holiness (mothers and women), human subconsciousness is full of images and symbols indicating the female element of existence reflecting the epic texts as mother archetypal symbols. According to this perspective, there has been no research on the mother archetype manifestations in the national epic and most of the researchers only referred to the mother characters in these works whose role did not go beyond giving birth and training the epic heroes. that the current research focuses on the issue that although in the Persian epic works (Shahnameh and the following epic poems), the women and mothers do not generally play a decisive role, the vacuum of the presence of women and mothers as an inevitable part of the humans' existence has been seen in the epic works unconsciously in the form of archetypal images and symbols, such as water, springs, rain, wind, plants, mountains, caves, fire, etc. and the mother archetype has entered the realm of consciousness in the form of these symbols.