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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.

Abstract:Human knowledge is swiftly moving towards independence and specialization. One of the requirements of independence is having a special, systematic, and creative language and discourse. Literary criticism, as specialized knowledge, due to this necessity, turns upon the creation of new terms. However, the dependence of literary works on language, emotions, and mentalities, the differences, and the unique linguistic and cultural capacities of each nation require researchers to develop terms appropriate to their native works in order to understand and evaluate their literary works comprehensively. In the present study, by explaining the necessity of terminology in criticism and the scientific principles of terminology, we have examined the terms suggested by Shafii Kodkani in literary criticism from various aspects. The results of the research show that since these terms have emerged by combining classic native knowledge and new literary ideas and are made based on the structural and aesthetic capacities of the Persian language, they have been established and used widely in the discourse of literary criticism and give us hope for the formation of native literary criticism.IntroductionThe Persian language, like other languages, has characteristics that many literary techniques and devices of art are based on them. Therefore, criteria related to literary criticism should be formed in accordance with the aesthetics and poetics of this language to evaluate its special capabilities.During more than fifty years of research, investigation and authoring of numerous works, and theorizing and creating terms in the field of literary criticism, Shafi'i Kadkani has contributed significantly to the growth of native literary criticism. Many of Shafi's terms in literary criticism, looking at the new principles of criticism and literary theory, are based on the special structure of the Persian language. The terms are essential for the Persian language and literature. They free the literary researchers and “leave a deep vortex of repetition, interference, superficiality, ignorance and sometimes theorizing, and sometimes a feeling of false exclusion and a generalization about one's own heritage” (Fotoohi, 2016, p. 12). Materials and MethodsIn this qualitative research, we have tried to investigate the critical terms in Shafi'i's works and his ideas in Persian literature with a descriptive-analytical method and a comparative approach. ResultsIn this research, by carefully studying the works of Shafifu and extracting terms of literary criticism, we examined terms considering two components: 1) scientific foundations, and 2) the rhetoric of making terms. In Shafi'i's works, in a general view, the terms are based on the foundations of new linguistics, especially the theories of formalism. Besides, they have been influenced by the scientific foundations of other branches of human sciences such as sociology, psychology, and analytical philosophy. In addition, factors such as secularizing or making concepts conventional, providing precise definitions and explanations of each term, modeling and systematizing them, classifying some concepts, avoiding ideological bias, and paying attention to the text have also strengthened the scientific aspects of these terms.Apart from the above technical fields, Shafi'i's poetic style and artistic taste and its combination with a scientific view have led to the construction of terms that are mostly based on similes and metaphors or synesthesia that help both beauty and a clearer understanding of the meaning of the term. Two factors are the greatest strengths of these terms: 1) practicality and modeling, and 2) updating of old literary knowledge based on scientific foundations and new approaches of criticism, and also practical adaptations of new theories of criticism, especially formalistic, structuralism and hermeneutic criticism.Shafi'i terms can be placed in three categories. The first category includes innovative terms that are made largely based on individual ideation, analysis, and reasoning. These terms rely on a coherent theoretical system and numerous experimental and practical examples and evidence. Second, adapted terms that are generally derived from the important contemporary currents of literary criticism especially formalism, structuralism, sociology of literature, hermeneutics, as well as classical Persian and Arabic literary criticism, including the opinions and ideas of people such as Gorjani and Jahiz and to some extent critics of Indian style. The final category includes translated terms that are presented in his works.In the study of the construction of terms, it can be said that these terms are either a) taken from other fields of knowledge such as agriculture, folklore, and the fields of natural or technical sciences and or they are old and familiar terms that have been reconstructed in a new meaning. ConclusionShafi'i is one of the few contemporary theorists who contributes to the localization of literary criticism by creating a terminology system based on scientific methods and placing them in the discourse of Persian literary criticism. His terms are placed in three categories of invented, redefined, or adapted and translated terms. While trying to revive the neglected theories of old criticism and rhetoric, they are largely based on new scientific methods, especially linguistics, philosophy, and sociology of literature. Also, in their construction, eloquence and rhetoric have been applied simultaneously and the use of literary techniques such as similes and metaphors have given them more clarity, simplicity, and comprehensibility.Among other issues, the precise definition of terms, the presentation of numerous evidence and modeling, the observance of impartiality, and a purely literary view and applied classifications have made such terms more and more popular among experts. The importance of these terms more than anything is that since they are based on the study of Persian language works and mastering them, they fully adapt to the structure of the Persian language. In addition, they have been planned according to accurate measurement and transparent criteria in this field, so by collecting these terms, we can hope for the formation of native academic literary criticism in Iran.

In the present article, 23 points on the text and suspensions of Farīd al-Dīn ‘Aṭṭar`s Tazkirat al-Awliyā (Biographies of the Saints) by Mohammad Reza Shafi'I Kadkani are codified. One of these points is about the origin of the historical error in one of the narratives of Sahlib Abdullah Tostari. In this case it becomes clear that the existing narrative cannot be true. Another point is about the actual burial place of King Shuja Kermani. And it turns out that the real burial place of Shah is S irjan. Other 14 cases are related to the sources of anecdotes and fabless and 5cases about the meanings of words used in the Tazkirat al-Awliyā that according to the dialect of the people of kirman. In addition, a number of original recordings in Tazkirat al-Awliyā that have been altered by Attar's scribbling or maladaptation of scribes have also been cited, as well as some aspects of Shafi'i Kadkani's preferred correction of coding over Nicholson's corrected text.

Human knowledge is swiftly moving towards independence and specialization. One of the requirements of independence is having a special, systematic, and creative language and discourse. Literary criticism, as specialized knowledge, due to this necessity, turns upon the creation of new terms. However, the dependence of literary works on language, emotions, and mentalities, the differences, and the unique linguistic and cultural capacities of each nation require researchers to develop terms appropriate to their native works in order to understand and evaluate their literary works comprehensively. In the present study, by explaining the necessity of terminology in criticism and the scientific principles of terminology, we have examined the terms suggested by Shafii Kodkani in literary criticism from various aspects. The results of the research show that since these terms have emerged by combining classic native knowledge and new literary ideas and are made based on the structural and aesthetic capacities of the Persian language, they have been established and used widely in the discourse of literary criticism and give us hope for the formation of native literary criticism. [ABSTRACT FROM AUTHOR]

1- Introduction The tendency to call them myths and invoke them in modern art has many reasons: the return to spirituality, the liberation of material time and the attempt to overthrow it, the creation of pluralism by modernity, the ambiguity and multiplicity of work are among the reasons for this tendency. Contemporary artist expresses his thoughts and emotions in the veil of myths in order to relieve the suffering he suffers, “because myths are inherently better off than the sacred and the eternal, because of their two distinctive and intrinsic elements of aesthetics and emphasis on the sacred. Fill these gaps for contemporary man. (Qasimzadeh, Ghobadi, 1391: 40) And since "mythical mind is the mind of the creator" (Biden, 1386: 167) Mythical poets, with creative expression, create a new world and dynamism for literature, they provide with Symbolic, ambiguous, fluid and polyphonic expressions that are specific to the myth attempt to establish the "ideal order of the myth" (Kupp, 1384: 41) in the turbulent world of their age. Contemporary poets have come to the realization that the decline of sacred affairs is one of the most destructive of modern times, and have invoked national and human myths, calling for the disguise of dissident figures such as, inadvertently, and in fact, embodied in reality. It is the age of modernity. "The concepts that the poet seeks to instill and understand through the use of myth are human cultural and intellectual meanings or political concepts that the poet does not want or cannot express directly and explicitly. 2- Methodology In this article, we have tried to first define and analyze the method of invoking the masquerade style in contemporary poetry, and then, in a comparative way, to investigate the application of the masquerade style in the poetry of two contemporary Iranian and Egyptian poets, namely Shafi'i Kadkani and Salah Abdul Nassib The key point is to find out what the artistic and cultural implications of the call for traditional masks in contemporary poetry are and how there is a difference in the style of reading these masks between contemporary Persian and Arabic literature. 3-Discussion The link between Arabic and Persian culture and language is so strong and long-lasting that it is impossible to separate the two. "The necessity of examining the links between these two languages ​​in literary, historical discourses on the one hand, and crossing cultural boundaries on the other, has doubled the need to address the common issues between the two languages. (Dadkhah, 125: 1386) Invoking the mythical, historical, literary, Sufi, folk, masquerading characters is one of the common boundaries of contemporary Arabic and Persian poetry. Invoking traditional personalities in the guise of sophisticated techniques in Arabic and Persian literature is therefore one of the necessities of comparative research. The issue raised in the present study is a comparative study of the appeal of the personality of Halaj in the poetry of two contemporary Arab and Iranian poets, Salah Abdul Sabour and Shafi'i Kadkani. After discussing the general issues of research, the main purpose of the study, namely, to explain and apply the method of summoning personality in modern poetry of these two contemporary poets. Recognizing the multidimensional characteristics of the solution personality, as well as the social, political and cultural needs of their community, these two poets have invoked this personality in a masquerading way to satisfy their own mental needs and, on the other, to Respond to the cultural needs of their community. 4-Conclusion In contrast to the invocation of masquerade in Persian poetry and Arabic poetic dramas, what makes the difference is the first; that poetic plays have a more personalized character than contemporary Persian poetry and can incorporate several masks into Persian poetry. Because of the short structure of the poems, the opportunity for personalization is less important. Second, in disguising theatrical plays, language is a tool for another end and is changing with the characters of the play, but in contemporary Persian poetry, language literature is more valid. Thirdly, it is intended in the playful spirits of the playwright's spirits and avoids poetic artifacts, but in the non-visual poetry in which the mask is used, ambiguity and cryptography is a literary value. The ambiguity, "is the essence of pure and enduring literature, and for the literary context, value and virtue." (Fotouhi, 2008: 30: 30)

Poetry is beyond ordinary speech due to its implicit language, weight, rhyme and the combination of its constituent elements with poetic feelings, and therefore, its translation is difficult and sometimes impossible. The main concern of the translator of the poem is to explain the special features of the original text as much as possible and to create an effectiveness poetic text in the target language. Since the words and elements of both languages are not exactly the same, there is a loss of meaning in translating the poem, and the translator can compensate this loss in some way. In an analytical-descriptive approach, the present article studies the strategies of meaning loss compensation in translation of Arabic poetry and tries to present the guidelines so that translator can create a text having the same effect on the readers while sustaining the features of Arabic poetry. For this purpose, by examining the opinions of a group of experts in the field of translation about Meaning loss compensation deals with positions of meaning loss and its compensation strategies in translation of Arabic poetry into Persian at the phonetic, lexical, imaginative, stylistic and cultural levels. The present research has been done based on translation samples of some contemporary Arabic poets derived from Shafií Kadkani Arabic contemporary poetry book (2008). The findings showed that in the translation of Arabic contemporary poetry into Persian, meaning loss is occurred at the phonetic, lexical, imaginative, stylistic and cultural levels and by using compensation strategy, translator can sustain the general tone of the main text and use in place- compensation and Kind- compensation. [ABSTRACT FROM AUTHOR]