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IntroductionThroughout the history of Persian language and literature, the rubāʿī (quatrain) has enjoyed special popularity among both the lay and literati. This popularity has also introduced certain challenges and complexities to this poetic form over time. One such challenge is the issue of “wandering” rubāʿīs, that is, quatrains attributed to more than one poet. Studying these wandering rubāʿīs is only feasible with the aid of all available ancient sources.At various times, literature enthusiasts in Persian-speaking communities have compiled anthologies of different types of poetry and prose. The rubāʿī has often held a special place in such collections and anthologies. In addition to collections exclusively dedicated to rubāʿīs of various poets, many safīne compilers have allocated sections to rubāʿīs. The abundance and significance of scattered rubāʿīs in ancient safīnes necessitate independent research on them.The two manuscripts examined in this study are valuable examples of such sources. These two manuscripts, namely Manuscript No. 3775 from the Esma’il Sa’ib Library in Turkey and Manuscript No. F.738 from the Istanbul University Library, are originally two parts of the same Jung. According to the Esma’il Sa’ib manuscript, the Jung was transcribed in 681 AH (1282/83) by a literary figure, likely from Anatolia, named Yunus ibn Abi Bakr. Literature ReviewBoth fragments of this Jung have previously been introduced in detail and separately, with references to the connection between these two manuscripts. The Esma’il Sa’ib manuscript is one of the sources used by J. Bashari in his edition of Poetic Translation of Imam Ali’s Will to Imam Husayn, where he extensively introduces this manuscript in the introduction (Seyyed Hasan Ghaznavi, 681AH/1282-83: XXXVI-XLIV). Furthermore, S. A. Mirafzali, discussing a quatrain attributed to Khayyam found in this source, briefly describes and mentions this manuscript (Mirafzali, 1382/2003: 49). The manuscript from Istanbul University Library has been meticulously introduced by Mohammad Afshin Vafaee in his note on Ferdowsi’s satire in this Jung (Afshin Vafaee, 1400/2021: 163-172). Research MethodologyIn the present study, all rubāʿīs from the two fragments of this Jung have been edited and compared with other ancient sources to provide a comprehensive report on their attributions. Finally, an analysis of the status of these rubāʿīs from this ancient source is presented based on the collected information. DiscussionIn total, the two parts of this Jung contain 59 rubāʿīs (excluding those in Niṣāb al-Ṣibyān), with only four rubāʿīs in the first part (the Esma’il Sa’ib manuscript) having attributed authors. Among known rubāʿī collections, this Jung shows the closest affinity to Nuzhāt al-Majālis, sharing 16 rubāʿīs out of 59.As mentioned, the Jung contains four rubāʿīs with attributed authors, each of significant importance. Apart from the rubāʿī attributed to Khayyam, the other three which are attributed to Mahsati, Ayyuqi, and Kamal Isma’il do not appear in other ancient sources by these poets’ names, making this Jung unique in this regard.The scribe (compiler) of the Jung has generally refrained from naming the poets of the rubāʿīs, transferring most without attribution. In this study, the authorship of some of these rubāʿīs has been identified with the help of other sources, with Kamal Isma’il contributing the most with 15 rubāʿīs. Nonetheless, many rubāʿīs appear only in this source and are absent in other ancient texts. Recording and preserving these rubāʿīs in this Jung, even without the names of the poets, is valuable.The Jung contains rubāʿīs that share one or more half-verses with rubāʿīs in other sources, indicating that poets might have borrowed from each other—a practice common among early Persian poets, though more prominent and problematic in the rubāʿī form due to its brevity. These borrowings often led to confusion and uncertainty among literary scholars regarding the correct attribution of these rubāʿīs. ConclusionCompiling and editing collections of Persian and Arabic poetry and prose was widespread in Anatolia during the 7th, 8th, and 9th centuries AH (13th-15th centuries AD). The numerous surviving collections from this period and region suggest that the rubāʿī had a particular appeal among literature enthusiasts in that area. The number of rubāʿīs in the two parts of the Jung under study is significant relative to the remaining folios of the collection.The number of shared rubāʿīs between the studied Jung and Nuzhat al-Majālis may indicate Yunus ibn Abi Bakr’s use of this Jung. However, discrepancies in attribution and recording of some shared rubāʿīs prevent a definitive conclusion.As discussed, the attributions in this Jung are all significant and mostly unique. Additionally, the unnamed rubāʿīs found exclusively in it are noteworthy and important. Some of these rubāʿīs might be the work of local poets from the region where the Jung was compiled (Anatolia).

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.

Despite the common thoughts of the poets who have stepped on the path of mysticism, each of them had a special style in depicting the ways and methods of conduct and their identification. In addition to the stylistic characteristics of a work, which play a decisive role in creating a different work, the spiritual and personality characteristics of the creator of the work also affect this matter. In this article, the personality of Attar and Rumi has been analyzed based on the theory of the famous psychologist, Gustav Jung, from the perspective of introversion and extroversion in the face of the two categories of joiner and separation. Considering the influence of the childhood environment, different incidents and events in the lives of the two poets, the difference in their views and narratives about the character of the lover, which is the main focus of romantic lyric poetry, and the moods related to it, as well as the poetic style and personality type of the two poets, it can be acknowledged that Attar has an emotional introverted character and has spoken more about Hejran (separation) than Vesal (joiner), and despite many descriptions about Hejran (separation), Rumi does not consider Vesal (joiner) to be out of reach and has an emotional extroverted personality.Keywords: Personality, Jung, Joiner, Separation, Attar, Rumi. IntroductionThe present research pays close attention to the two categories of separation and joiner in the sonnets of Attar and Rumi and has taken a special look at the personality of these two poets and examined their extroversion and introversion based on Jung's personality theory.This article examines the personality type of two poets by looking at the history and childhood of two poets and their poetic style, especially in dealing with concepts such as joiner and separation.Research Questions The present research will answer the following questions:How was the living environment and childhood of the two poets and what effect did it have on their personalities?What approach did Attar and Rumi have to the two categories of joiner and separation in their sonnets?From the point of view of psychology, what type of personality did these two poets have and what differences did this issue create in their narrative style? Literature ReviewThere are many articles and research studies from the perspective of psychoanalysis in the field of Rumi's and Attar's poems, including the analysis of the archetype of the self in Attar's Mantiq al-Tair (Gholampour, 2015), the principle of Senkhiat and identification in psychology, with the thoughts of Attar and Rumi (Anzabinejad, 2014), a comparative study of the archetype of the veil in the opinions of Jung and its traces in the ghazals of Shams (Mohammadi, Esmailipour, 2013), the lover's anima in Attar's Ghazals based on Jung's archetypal criticism (Aqrani, 2017). The following article deals with the psycho-analysis of the personality of Attar and Rumi based on Jung's typological model. The subject of this research is an innovation based on the concepts of "joiner and separation" in order to know the personality type of two poets. MethodologyThe research method in this study is descriptive-analytical. First, the principles of Jung's psychology in the field of personality have been carefully studied; then, with a complete study of life, research on the content of behavior and the study of the two poets' sonnets based on psychological studies, the personality of Attar and Rumi has been examined. ConclusionIn his romantic sonnets, Attar talks more about separation and insists on the idea that the character of a lover is always in a state of fervency and is happy to make love and stay away from the beloved. On the other hand, although Rumi talks about burning and melting and separation, his tendency has been more towards happiness, hope, and joiner. Both poets, due to having a famous family, studied science and literature and had the good fortune to reach the final goal in this way; however, during Attar's childhood, very bitter events, especially the Ghoz attack, made his mind and soul suffer, and in the later years, according to the narrations, he was a reclusive man.Based on the clear evidence of Attar's lifestyle, i.e. his tendency towards poetry and mysticism, his isolation and lack of socializing with mystics and great men of his time, his avoidance of fame and the features of the lover's personality in the sonnets, including being sad, feeling disillusioned, and being happy with the separation, emphasis on disappointment in joiner, his character can be counted among the group of emotional introverts.On the other hand, apart from the bitter experience of migration, Rumi had more security during his childhood. Like his father, Bahavald, he became famous at a young age and enjoyed being in contact with great men and mystics and the people of the city. Based on pieces of evidence such as interest in acquiring knowledge and seeking fame, having many connections with scholars and students, states after his love experience - joy, mystic dance, music, and reciting poetry in the company of friends, also the personality characteristics of a lover in his Divan - the hope of being joined, special experiences of making love, which is a creative and unique thought - it can be said that Rumi had an emotional extroverted personality.

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]

In the study of Divan-i Shams-i Tabrizi, we encounter examples that have music, but they have no meaning. These examples, which some formalists call "za'um", have raised many controversies and challenges among scholars. One of the key issues is to understand the question of what the genealogy is and how it is based on what events occur in Rumi's life. In a leading research with a descriptive analytical approach, we will examine these issues by relying on Karl Jung's psychological thoughts. The main body of the paper is the psycho-psychological study of poetry from Rumi, which can be an example of za'um. The result of this study is the discovery of a close link that comes with the archetype of Dionysus in the midst of these verses and comes from the tragic events of Rumi's life. The events that have influenced the poems without meaning and musical in Divan-i Shams-i Tabrizi. Based on this, these verses of Rumi are rooted in the collective unconscious of the poet and the result of the manifestation of his archetypal Dionysian model. This manifestation took place after a tragic event. [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.

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.

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]

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]

Archetypes, which are the same ancient images and ancient human experiences that, as a legacy of the past, are present in the psyche of each person, constitute the contents of the collective unconscious, is one of Jung's most important findings. One of these archetypes is the shadow, which has a great effect on individuality and mental development. It is the dark side of our being and the negative traits that we deny in ourselves. And only by recognizing and accepting it have we taken the first step towards individuality. Literature is one of the unconscious realms that shows the hidden layers of the creator of the work. A trace of these mythological forms and some of Jung's theories of psychology can be seen in Saadi's works. The main issue in this paper is the compatibility of Saadi's performance with Jung's theories of dealing with the shadow. We intend to use an analytical and descriptive method to explain the archetype of the shadow and examine it in anecdotes from the garden and show that Saadi before Jung with his unique language and expressions has referred to this dark side of the mind. And the solution he offers in dealing with the shadow is consistent with Jung's method of psychotherapy, as if Saadi's words were a fountain for Jung's thoughts.

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]

It could be said that Nezami’s Haft Peikar is a book about the unity of Hero and his holy joining to his Anima which leads to a sort of self-awareness according to a variety of symbols or meaningful metaphors. The appearance of collective unconscious archetypes of this book put it in an aura of ambiguity that cannot be understood unless by psychological approaches to myth. The archetype of “archetypal woman” or “archetypal mother” in symbolic travel of Bahram and his different steps of self-awareness examinations is a movement from the deepest layer of darkness to the heart of lightning. In the stories of this book, some kind of deficiency and lockage in Hero’s psych cause him to move and travel to open the unknown windows. According to Nezami’s report, the mysterious life of Bahram changed him into a mythical hero that at the end of his life was an aware man who reached a kind of metaphysical individuation. The main concern of this article is the Bahram’s travel which happened in order to reach a kind of regeneracy and the consequence of events and their internal connections empower the self-awareness process of the Hero. The aim, by revealing the psychological side of myth and analyzing the symbolic elements in HaftGonbad’s stories, is to investigate the internal connections between stories and make all fictional actions and reactions meaningful in line with improving the Hero’s metaphysical side. It should be said that the approach of this article is analytical-descriptive.

Literary works mirror a society’s social situation, habits, traditions, and customs. Analyzing and re-reading the literary works reveals considerable cultural, social, personal, and psychological aspects of the people of a society. In the meantime, archetypal images are man’s individual and collective unconscious heritage throughout history actualized in literature through artists’ creative and sensitive minds. Based on Jung’s theories, the present study intends to examine the novel, The Yard and the Dogs of My Father, one of Sherzad Hassan’s outstanding works. This study analyzes the story based on Freud, Lacan, and Campbell’s theories, emphasizing Jung’s archetypal theory. The qualitative content analysis is adopted to analyze the selected themes and sentences of the novel based on Jung’s archetypes. In this research, the archetypes of self, anima, and animus, mask, shadow, hero, father, myth, mother, moon, sun, castration, virginity are analyzed in the story, and it is indicated that the plot and the role of the characters can be examined based on Jung’s theory. The novel’s bold archetypes include death, shadow, myth, and hero. The role of “myth” and “mythical hero” is so ingrained in human belief from the past to the present that even after the protagonist’s death, we can see the function and effect of this archetype. Father’s shadow (the dictator) is observed in the lives of the people residing in the yard. They do not even believe his death and think he will return soon to retake his yard.

The Holy Quran tells of Allah creating seven heavens and seven earths. These have been traditionally identified cosmologically with seven stars etc. or geographically with seven lands. We provide an alternative interpretation that these refer to seven centers in the spinal cord. Each center has a physical location and a psychic quality. Abraham Maslow has suggested that a human being evolves progressively through seven needs. We suggest this evolution refers to the consciousness of a person rising thorugh the seven centers in the spinal cord. Car G. Jung has commented on the Hindu understanding of these seven centers and endorsed that these have psychic qualities. We find that this understanding is consistent with the Quran. In particular, a Hadith tells of the area from the Prophet’s “throat to lower part of the abdomen” being washed. This is the location of the lower five of the seven psychic centers in the spine. The Hadith then goes on to tell that the Prophet ascended the seven heavens and met with Adam, Jesus and John, Joseph, Idris, Aaron, Moses and Abraham sequentially. In the seventh heaven He was shown Bait-al-Ma'mur or Allah's House which could indicate that his consciousness reached the crown center which is said to be the seat of “spiritual emancipation.”

Jung, considers the subconscious mind of man to be the female and male cross-poles of Anima and Animus. Anima's archetype is half feminine in the male psyche and Animus is half masculine in the female psyche. These archetypes are influenced by the relationships and behaviors of the family, especially the parents, in the presence of each individual, and can change his personality under the circumstances of his community and life. The oneness and homogeneity of these archetypes will cause human development, and the domination of each of these cross-poles in the individual will make a series of traits and characters that can be studied from a psychological perspective. These images are unconsciously depicted in the works of artists. GhaemMaghami,as a contemporary lady poet, has also unconsciously expressed these archetypes in his poems in various ways (positively and negatively). the frequency of positive aspect of animus is higher than that of negative side In her poems,74.74% of findings presents positive aspects of animus and25.26% of findings indicates negative aspects of animus. The initial formation of these archetypes is positive when she is single, but after marriage and quitting her child because of the divorce , the negative presentations begin to realize.

The myth of the hero, which is accompanied by a lot of wisdom and inspiration, expresses the human desire for transformational growth. The audience of this myth identifies with the hero, and in fact, mythology creates a context where a person can transform and reach perfection by reading and listening to it. One of the famous stories of Turkish nations, that has different narratives in Iran, Azerbaijan, Tatar, Turkmen, Uzbek, Cyprus, Anatolia, etc., is the story of "Taher and Zuhreh".This story, which, like other Ashiqlar literatures, is the symbol of the hero's death and rebirth, which happens many times throughout the story. In the course of the story, apart from Metempsychosis, the protagonist experiences four types of rebirth: 1- renovation, 2- Indirect re-birth, 3- reincarnation and 4- resurrection. What dies is usually the former "self" of the hero who, by his death and rebirth, marks the awakening of society. This death can be the death of doubt, breach of contract, betrayal, lies, and deceit, who dies by love, that is always manifested in human life. This article examines the death and repetitive rebirth of the hero in the story of Taher and Zuhreh based on the narratives of Iran, Gebres and Kumuk with descriptive and analytical method. [ABSTRACT FROM AUTHOR]

The archetype in the collective human psyche motivates the performance of various actions in his spiritual mind. The present study seeks to find the connection between psychoanalysis and architecture, as the art is essence of human mind and psyche. Carl Gustav Jung, the inventor of the theory of analytical psychology and the developer of the theory of archetypes, considers architecture as the human psyche. He believes that all man-made phenomena have already imagined in the mind or psyche at first. The number of archetypes, as the main topic of this discussion, is a lot. This research focuses on the two archetypes of Anima and Animus; at first to find and collect the symbols of these archetypes in ethnic thoughts, rituals and beliefs and then to create their proper correspondences in the symbols of some of the most important components of traditional houses in the Central Plateau of Iran. The main elements are including entrance complex, central yard, porch, pool space, room, wind passage, basement, cold basement and others. The present research has been carried out with the content analysis approach in the qualitative paradigm by inductive and deductive methods. The results showed that there is a correspondence between the archetypal symbols of anima and animus and the spiritual themes embedded in the components of traditional houses. As the perfect human psyche has a two-dimensional nature, there is a balance between both feminine and masculine expressions in the whole supreme art of traditional house architecture.

Abstract The issue of religion has been very important in humans’ life from the beginning until now in such a way that it has played a special role even in their individual and social life. In this regard, theorists have studied this issue with different approaches and have offered different definitions of religion. One of these theorists is Mircea Eliade, who is a great researcher in the field of religion and myth. He has approached the issue of religion with a phenomenological approach. Emphasizing religious symbolism, he stated that religion refers to the experience of the sacred. In his view, the duty of religion and religious rites is nothing more than an increase in human exposure to the sacred. He considers the sacred to be a common component of all religions. Regarding the sacred manifestations, he believes that the symbols of the sacred can appear in the form of worldly affairs. He opposes the traditionalist approach and believes that the phenomenon of religion should be studied without reducing it to other areas. According to Eliade, myth is based on ontology and speaks only of the facts and things that have been manifested and how the universe was created and evolved. Eliade considers myth as a model for precisely religious practices that must be approached to find the origin of religion. Therefore, it is difficult to present a single and universally accepted definition of myth. However, he considers myth to be a narrative of sacred history and relates it to an event that has occurred in ancient times and is the essence of religion. According to Eliade, the historical method is useful for systematizing religion, and the belief in oneness and harmony with the world is one of the strongest foundations of myth. Using historical documents, he tries to express the manifestations of the sacred and find the existential position and the religious meanings presented in these phenomena. In his view, the sacred should not be sought merely in experiences specific to God. The manifestation of the sacred is abundantly hidden and visible in the symbolism and rituals of almost every culture, especially in the primitive and Asian cultures. Eliade considers the holy and fundamental element between religions to be the same thing. The realm of religion is the distinction between the sacred and the unholy. Carl Gustav Jung was also a great philosopher and psychologist who conducted studies on human nature and, as the founder of analytical psychology, linked archetypes to religion. One of the fundamental concepts in Jung psychology is the collective unconscious discussion. He considers archetypes to be important features of the collective unconscious. Referring to the issues such as myth and symbol, he considers the language of symbols as the language of the subconscious, which manifests itself through myth. In mythology, Jung seeks out signs of man’s inclination to the sacred that can be accurately traced in mythology to an understanding of archetypes. From Jung's point of view, God is also an archetype. He does not try to separate rituals and traditions from religion. According to Jung, myth and religion have traditionally interacted. Religion preserves myth and myth perpetuates religion. Myths, along with rituals, open the door to God, and myth, contrary to the belief that it is only enlightening, is the creator of experience. Jung believes that if religion has a meaning, it must be sought in connection with myths. He considers the language of religion as a symbolic language that must be deciphered in order to discover its truth. In this paper, using a comparative descriptive approach, the relationship between religion and myth is depicted from Jung and Eliade’s point of view. The psychological approach to the myth, the most important example of which presented in Jung's works, had a great influence on Eliade's approach to mythological studies of religion. According to Eliade, many of the terms used in the discussion of theology and mythology are used in the same way by Jung. Although Jung’s view of religion and myth was from the perspective of analytical psychology with an emphasis on the collective unconscious, there are similarities and differences in Eliade's approach to religious mythology, which was largely derived from religious phenomenology and hermeneutics interpretation. Eliade uses exemplary forms to mean the supreme example and the pattern of the prototype, while Jung considers exemplary forms to be the same collective unconscious structures. According to Eliade, myth is a narrative or symbolic manifestation of gods, angels, supernatural beings, and a cosmology in general that a group of people use to interpret its existence. But for Jung, myths are common themes that have always existed and are repeated in the same way throughout the lives of all human beings and form the basic collective unconscious structure. According to Jung, religion arises from the subconscious mind and is expressed in symbolic language. He sees archetypes as a kind of organizer of religion. He sees religion as a channel for satisfying the mythical tendencies in the individual’s psyche, which, by blocking this path, will find dangerous ways to emerge. But Eliade, with a phenomenological approach and an emphasis on religious symbolism and as an interpreter of religious symbols believes that religion refers to the experience of the sacred.

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]

“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.

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.

Archetypal criticism is one of the approaches of contemporary literary criticism that explores and explains the influence of myths and archetypes as well as their role in literature. Individualization is one of the most prominent archetypes of Jung's archetypal theory. In the story of Khorshid-Va- Mahpareh, Khorshid, as the hero of the story, encounters a lot of hardships and sequels to reach his beloved, including magical Arghavan, crafy Ainbalay, cannibal Negros, rival Marzban, stormy sea, etc. In addition to the archetypal phenomena in the collection such as magic, witches, supernatural actions, and archetypal symbols, archetypes such as journey, individuality, dream, mother, hero, and so on have been used to investigate and analyze individualization from the perspective of Jung's archetypal theory. Accordingly, Khorshid, the protagonist of the story, reached out to his beloved after going through a heroic journey, overcoming shadows and negative anima, and achieved self-individuality through the help of the Old Wise Man and the essence of love, and then had a rebirthed. [ABSTRACT FROM AUTHOR]

Carl Gustav Jung believes that the unconscious soul of every human being consists of two masculine and feminine poles named Anima and Animus, respectively. The Anima archetype is the feminine half of every man's soul, and the animus archetype is the masculine half of every woman's soul, and the coordination and unity of these two halves of the soul results in a mental balance in human beings, and the domination of each of them over the other one, may result in some characteristics and mental features which research worthy in terms of social and cultural perspectives. The current article adopts a mythological approach to study the emergence of the Animus in the female characters of two Iranian plays by Bahram Beyzayi, named Parde-khane (The Inner side, 1993), and Nodbe (The Lament, 2006). In these two plays, Beyazyi portrays some female characters who have very active Animus feelings due to their specific social circumstances. The study of the origins and the social and cultural reflections of this active Animus in these women, reveals the mental effects caused by the social and cultural structures of their community, as well as the close interactions of these two in the lives of these women.

The naturalistic explanation of realized dream (or dreams that come true) means that this phenomen will be explained regardless of supernatural agents. Aristotle in Parva naturalia and Jung in his works explained dream visionary. In this article by scrutiny on these thinkers’ theory, we will indicate the naturalistic approach to dream that is far- fetched for followers of metaphysics. In spite of this fact that Aristotle and Jung both belongs to different historical contexts, they have common aspects in terms of naturalistic method; in the universal or broad sense of word, but in terms of content both explain the true dream by the term “coincidence” or accidental conformity between objective events and psychological affairs. It also seems that the notion of Neutral monism in Jung is adaptive to Hylomorphism in Aristotle psychology, and this, provides a path for naturalistic approach to dream as one forms of consciousness.

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.

Archetypes are primitive mental images inherited from the collective unconsciousness of the earliest human ancestors. According to Jung, the Swiss psychiatrist, and his followers, archetypes include predetermined patterns that manifest themselves in dreams and myths. In Persian literature, Shahnameh by Ferdowsi contains numerous examples of these archetypes that are set on a people’s collective unconsciousness during years. This paper is a content analysis of Shahnameh, based on Jung’s theory of archetypes, to find the connections between its mythical heroes. More clearly, some mythical characters of Shahnameh are analyzed regarding their roles, actions and historical development, in light of archetypes proposed by Jung. After the analysis of Shahnameh’s mythical characters with the archetypes proposed by Jung and his followers and comparison of the characters belonging to different periods, the unknown aspects of the myths and the way they have changed were explained in detail. Since it has been hypothesized that the selected characters are archetypical ones, the study has been built on some hypotheses. The results indicated that all the heroes and their life events are archetypically patterned based on a collective culture. It was also found that each heroic period has contributed to the development of heroic characteristics for the next period. This piece of finding is in tune with Jung’s theory that heroic periods are gradually developed. On contrary with the heroes in the first heroic period who are simply patterned without any complexity of personality, the heroes in the fourth period are complex and ultimate representation of heroic characters. The four major Jungian animas were also found to have undergone the same evolutionary procedure up to their highest levels in the fourth period.

The purpose of this article, is introducing a new approach in critical studies of the text that it is useful in the field of fairy tales, folk stories, many legends and mythic stories. Psychological approach to myth is using modern theories of psychology in these narratives for explaining the psychological origins of the authors. According to the new psychologists, dreams and stories are also related with the human subconscious like a myth and appear the contents of the unconscious. The basic assumption of Freud's is that much of human behaviors are rooted in unconscious processes. Therefore, he imagine stories and myths a space for the alliance of mental triple parts. After Freud this thought develops and expands in the thoughts of his students such as “Bruno Bettelheim’’, “Otto Rank’’ and “Karl Abraham’’. “Carl Gustav Jung’’ and and after him, his followers also epitomize the nature of the mythological stories in the form of a trip according to the importance of the collective unconscious that often it has psychological and symbolic dimensions and it will be done for acquaintance the hero with his unconscious. According to the achievements from psychology of Freud and his students, Jung's analytical psychology and his like-mindeds and also according to centrality of example images and the collective unconscious, the results of this research show that many mythological stories, fairy tales and folk narratives have the ability of psychological interpretation significantlyIn order to discover the secrets of the subconscious.

According to Jung, collective unconscious is the valuable reserve of the human being ancestor who shares their contents between different nations and cultures. The collective unconscious contains the most important and influential content, that a person may face in life. The mother archetype is one of the most prominent and influential contents of the collective unconscious which manifests itself in real, virtual and positive or negative forms. While referring to the nature of archetypal criticism, this study discusses mother archetype, then, its virtual manifestations, such as objects, animals and nature as well as its positive and negative aspects are examined in the book "culture of Kerman people". Then, its samples are extracted from the book and the frequency of their usage is shown. Research findings showed that the Kerman fictions are rich in terms of mother archetype and they correspond to Jung’s theories.

This paperintroducesanima’s archetypeand its representationin the notion of unconscious introduced by Jung. It analyses this archetype in some cases of theworld literatureandmythology and moreover in some cases of contemporary Iranian literature. Bothpositive and negativeroles of anima are considered and someofitspropertiesintheworld and their representation in Shams’ ghazals are mentioned. Given theevidencesin thetext,anima inRumi’s ghazals has certain features such as subjugation, enchantment, the source of life, holiness and mediationbetweenconscious and unconscious. Moreover, it is represented through symbols of birds such as parrot and phoenix,andothersymbolslikethe fairy, deer, the moon, air, waterandwindand the words such asfetishandidol.

In this article, various aspects of the animus archetype in Iranian legends have been studied. The results of this paper show that the masculine strengths, in the journey of the heroine, play an effective and vital role in reaching her ultimate goal, with symbols such as thieves and gangsters or repeated concepts such as wearing men's clothing, choosing a masculine name, and acting like men. This archetype in Iranian narratives includes traits such as desire for violence, rudeness, jealousy, desire for the death of others, wariness and courage, verbal speech, and the like..

The phenomenon of love expresses a strong emotional feeling in the collective human unconscious that Jung has studied as a prominent archetype in his School of Analytic Psychology. Meanwhile, the Persian lyrical literature, especially Layla and Majnun, are a vast arena of the unconscious effects of the ancient love pattern. It should be said that in this narration, majnun’s psyche exhibits the most emotional reactions caused by romance. In this research, using descriptive-analytical method in the science of psychoanalysis, the causes of neuroticism caused by the failure in love in majnun’s psyche and how it led to a supreme love has been investigated from Jung's point of view. Hence, it seems that the positive manifestations of "Anima and Animus" and the concept of "love at first sight" have been combined with the psychoanalytic symbols of implication, and created an intertwined body of unconscious emotions resulting from the phenomenon of love in the structure of the story and ultimately aroused the super ego and the superiority of this love.

In most of his poems, Hafiz has mentioned nocturnal events which have had mystical consequences for him and he often displays such experiences by using the word "last night" and expressions like "last night I saw...". This expression is related to "Tavareq" which is a mystical term. In mystical terminology this term means what enters into the heart of mystic and wayfarer during his nocturnal litanies and it is amongst the terms which has some referents in the poems of mystical poets before Hafiz. On the other hand, since the analysis of such nocturnal dreams which comprise notable parts of his mystical experiences is related to psychology of dream and entering into unconscious via phenomena like sleep, imagination and drunkenness during night, contemplation on such poems can bring better understanding of his internal character and mystical ranks. This article aims to analyze mystical experiences in his poems and such analysis is done by using the psychological method of Jung which considers the role of unconscious in reaching to such spiritual experiences. [ABSTRACT FROM AUTHOR]