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Abstract Structural researches and considering the fundamental patterns of different narrative forms, is one of the common methods to categorize them. In this manner the oral tales have a great chance to pay attention to. This article is written according to a new version of Propp’s theory about the morphology of fairy tales, and also with a glance to “The Narrative World of Finnish Fairy Tales” by Satu Apo. So the structural patterns of Persian fairy tales can be summarize as below: 1. Hero is looking forward something 2. Something dangerous is threatened hero

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Psychoanalysts and psychologists of different schools have analyzed fairy tales for psychoanalytic purposes. Bruno Bettelheim, a Freudian thinker, seeks to show how fairy tales, using imaginary faces, shape the process of healthy human development and make the process of development interesting and acceptable for the child. The Limped Deer tale helps children figuratively to learn how to manage the two conflicting feelings of love and hatred toward their parents and to preserve the image of the loving parents. In the story, when children leave home, it means that self-care and individualism require leaving home. Running away from the demon is a symbol of the child's conceptualization of the dangers of adolescence as imaginatively disturbing creatures. Siblings are symbols of the need to assimilate conflicting human and animal tendencies within themselves to achieve real development. The whale swallowing the sister represents an unreal death to reach a higher existence. "Replacement", "adjustment and modernization of deep psychological conflicts", "individuality and identity independence", "psychological extraversion", "personality integration", "mental, psychological and social order", "the cultivation of the imagination" are all the most important functions which are extracted from the Limped Deer. Therefore, it is concluded that fairy tales can address the fundamental problems of the child's maturity process figuratively and resolve them in an imaginative and indirect way.

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Abstract
Individuation is a term used in analytical psychology to characterize the integration of human psyche. Relying on clinical experiments as well as evidence from world-renowned legends and myths, Murdoch has identified a circular psychological travel pattern for women's individuation. The present study examined the fitness of the heroine’s individuation journey in Persian fairy tales considering the stages of the psychological cycle. The results of the study, while confirming the general conformity of the tales with Murdoch’s psychological cycle, have identified three different subsets for the Iranian fairy tales centered on a heroine. The first subset, including more than fifty percent of the studied stories, are the fairy tales which fully coordinates with Murdoch's psychological cycle for the heroine individuation; the second subset corresponds only to the first part of the intended cycle; finally, the third subset corresponds only to the second half of the Murdoch's psychological cycle. The psychological implications of these three subsets and the overall conclusion are also discussed in the article.

Introduction
Research background
So far, little attention has been paid to the solo journey of the female heroine in the Persian fairy tales. Although some studies (Heidari, 2017; Yahaghi et al., 2017), based on the morphological theory of Prapia Estés model of literary criticism, have examined the journey in one or more myths, the rest of the studies seem to have focused on the position of women next to the men's heroic journey. Mahmoudi Bakhtiari et al. (2014) analyzed the psychological cycle of Murdoch in three films, namely, Dog Killing, Occupation, and Facts About Leila Idris' Daughter, and Ismeilipour (2015) did the same on the novel We Get Used Do. Although these studies have investigated Murdoch's pattern in relation to the contemporary Iranian women, they have not considered the examination of older cultural evidence for this cycle, as Murdoch himself has noted.
Aims, questions, and assumptions
Influenced by Murdoch's psychological stages, this study examines those Persian fairy tales that reflect the individual hero's journey. The question that this study seeks to answer is whether the events described in these myths correspond to the particular psychological cycle that Murdoch posed for women's psychological individuality. The answer to this question can lead to a better understanding of Iranian culture towards women as independent and separate personalities from men.
Discussion
The hero's movement through a journey in fairy tales is to reach a goal which is, according to Jung, successfully achieved in the process of individuality (2011, p. 135). In The Depth of Being Woman (2015), Murdoch describes the stages of a woman's heroic journey to achieve individuality in 11 categories: separation from femininity, identification with masculinity, gathering allies, the path of difficult trials, success, awakening, feeling the dryness of the soul: death, descent into the realm of femininity, a strong desire to be reunited with femininity, healing of the mother-daughter gap, healing of masculinity, wounded inside and holy marriage: the bond of femininity and masculinity. These steps can be identified based on the events of the story and the actions of the female protagonist. Accordingly, the Iranian fairy tales that have considered the individuality of the female heroine (Darvishian, 2009) have been studied, and examples for each step have been identified accordingly. Based on this, different forms of each step have been categorized.
Conclusion
Many of the fairy tales analyzed in this study are consistent with the pattern of Murdoch's mental cycle. The Murdoch's psychological cycle has two main parts: the first part begins from the first stage (separation from femininity) to the fifth stage (achieving success), and the second part begins from the sixth stage (feeling of dryness of soul) to the eleventh stage (holy marriage). In the first part of this cycle, the journey of the female protagonist focuses on the growth of the "I" or ego; the second part, which is a meeting with the Goddess, is dedicated to the restoration of female energy at the mental level. These two sections are symbolically presented thoroughly in 75 of the 146 myths analyzed in the present study (i.e. more than fifty percent). This shows the cultural context of these myths, acknowledging and accepting the independence and individual identity of the female heroine that is achieved in the first part of the cycle, and femininity in the form of respect for the goddess as a positive source of power, wisdom, and deep strength. The legends included in this group are usually myths that are far better known than other myths.
After this group, there are 55 myths that have the first part of the cycle of individuality, i.e. the first to the fifth steps and also the tenth to the eleventh steps. The first part of the cycle of individuality is concerned with cultivating the independence and strength of the female protagonist and the competence of women in the outside world. Thirteen myths have been identified as examples for adapting the second half of Murdoch's cycle, which are the seventh step onwards. In the second half of her journey, the female protagonist revives the feminine traits she has lost through the struggle for victory and success in the male world.
The first, tenth, and eleventh steps of Murdoch's psychological cycle, namely, "separation from femininity," "healing wounded masculinity," and "holy marriage or the bond of femininity and masculinity" can be observed in all the myths under consideration - whether they fully cover the cycle, or remain to be matched with only one of the two.
References

•  Darvishian, A. (2009). The legendary culture of the Iranian people (in Farsi). Tehran: Books and Culture Publication.
•  Heydari, M. (2017). Explanation and analysis of mythological themes in the structure of Moon Brow story. Literary Techniques,18, 141-158.
•  Ismailipour, M. (2016). The female heroic journey in the novel ‘We get used to’ by ZoyaPirzad based on Maureen Murdoch's theory. Mystical and Mythological Literature, 51, 13-48.
•  Jung, C. (2011). My biography: memories, dreams and thoughts (translated into Farsi by Behrooz Zaka). Tehran: Parseh Book Translation and Publishing Company.
•  Mahmoudi Bakhtiari, A., KordMafi, F. & FarshiJalali, N. (2014). The journey of a female hero in three screenplays by Bahram Beizai: A comparative study of three screenplays of dog killing, occupation, and facts about Leila Idris' Daughter in the Framework of Maureen Murdoch theory. Woman in Culture and Art, 6(2),149-166.
•  Murdoch, M. (2015). The depth of being a woman (translated into Farsi by Simin Movahed). Tehran: Culture of Life Foundation Publication.
•  Yahaghi, M. J., Ghaemi, F. & Esmaaelipour, M. (2017). The study of some Iranian myths based on the Estés model of self-awareness in the forests of the underworld. Popular Culture and Literature, 16, 161-192.

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The topic of this study is "The Morphology of Fairy Tales in Kurdish Language". The purposes of the present study are to determine the structure of these tales and the scale of differences and commons comparison with Vladimir Propp's study and to know better about other Iranian languages. The way in which this study has been carried out is descriptive, the data has been gathered in library method and analysed based on Propp's pattern in morphology of fairy tales. After surveying the structure of 155 tales, there were determined thirty-one functions, seven domains of operations, nine types of prime situations and eighteen types of movement combinations. The result shows that Propp's patterns are the same as patterns in Kurdish language fairy tales and that their final structures are restricted to the same thirty-one functions offered by Propp. What differenciates fairy tales in Kurdish language from similar samples surveying by Propp is the different methods of forming some some of the functions, and certainly these differences do not supply new and different structures.

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Girl in a Fur Coat is the name of a motif in which a girl escapes her father's harassment. She is looking for a way to escape and find the solution in a skin that covers her from head to toe. This motif, which is classified in the Arne-Thompson list under number 510B, is called "donkey skin". In the classification of Iranian tales, it is called "Cinderella" and in the classification of Arabic tales it is called "shirt like the sun, shirt like the moon and shirt like the stars". This article tries to introduce the mentioned type because it is not well-known among Iranian researchers of folk literature. In addition, by using the collection of works in which the folk tales of Iran as well as the lands of Egypt, Saudi Arabia, Morocco, Sudan, Palestine, Iraq and Jordan are gathered, the Iranian and Arabic narratives are analyzed. To this aim, these narrations can be divided into several categories. Studies show that based on the girl's solution to escape from her father's house, the narrations of this motif can be divided into three categories: 1-510B: The girl hidden in the object; 2-510B: Girl in a fur coat / wooden mannequin; 3-510B: The girl and her brother. Also, this research, based on Propp's hypertext model, seeks to find the beliefs and customs that make up the "fur-clad girl". Myths and customs found in Zurvanism and Zoroastrianism can be considered as the origin for this type in Iranian stories, because it mentions the intercourse of Ahura Mazda with his mother, sister and daughter, and considers "xᵛaētuuadaθa" a ritual and sacred act.
 

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"Fairy tales" are considered one of the popular narrative and literary genres in the world. The global spread of these stories is such that reaching a convinced and comprehensive theory about the origin of fairy tales has been associated with many challenges and difficulties, as well as the views expressed in this field also face many challenges and problems. The widespread popularity of these stories in Indo-European cultures, and the existence of similar narrative patterns, elements and functions in these stories are other issues that show the necessity of research to explain the narrative and historical origins of fairy tales. In this article, in order to analyze the narrative and historical origins of the formation of fairy tales; the problem of the ancient spread and dissemination of these stories in Indo-European cultures; ritual and epistemic functions of these stories in these cultures and its connection with the cultural and ritual foundations of the Indo-European peoples, relying on the narrative, ritual and mythological evidence, we investigate and analyze the origins of the formation of fairy tales. The results of the research show that the primary origin of the formation of fairy tales goes to "the second millennium BC"; That is, it goes back to the period of confrontation between the Indo-European peoples in Iran, Asia Minor and Europe with the native cultures and rituals of the lands they migrated to, as a common narrative and epistemological system can be seen in these stories, which had an educational function with a political-ideological approach for their audience and in connection with the young or adult audience, they have had their own special narrative and cultural form and function. Also, the long-term and ancient continuation of these stories has been the source of the formation of some narratives such as exogamy.
Extended Abstract
Fairy tales are among the important literary genres in Indo-European cultures. Similar meanings and derivations of the concept 'fairy' in Indo-European languages, as well as the presence of relatively common narrative elements, motifs, functions, and narrative structures in these tales, indicate a common narrative and epistemological system in these stories. Given the global spread of these tales in Indo-European cultures, this indicates the very old age of this narrative and epistemological system in these stories. One of the significant challenges in the field of fairy tale studies is understanding the narrative and historical origins of these stories. In this article, relying on various narrative, historical and mythological evidences, the narrative and historical origins of the formation of fairy tales are investigated and analyzed. In this study, we try to find out the reason for the ancient spread of fairy tales in Indo-European cultures; the relation between the intellectual and epistemological system of these stories with the cultural and ritual foundations of Indo-European peoples; and the ritual and epistemological functions of these narratives in these cultures, so that finally a historical and narrative origin can be considered as the origin of the formation of fairy tales.
Before the dominance of Indo-European immigrant tribes in the regions of Greece, Asia Minor and Iran, the Mesopotamia civilization with a history of five thousand years BC, as one of the oldest origins of human civilization and one of the most important origins of the systematic rituals of goddesses in the ancient world, had significant effects on religious systems in Iran, Asia Minor, Syria, Egypt and even Central Asia and parts of Europe. Archaeological evidence shows that in Iranian societies before the Aryans (under the influence of Mesopotamian rituals) there have been rituals of worshiping female gods. The dominance of Indo-European peoples over Greece and Asia Minor in the second millennium BC and later Iran in the first millennium BC played an important role in the evolutions of the ancient world, especially in Iran and its surrounding lands. The belief of the Indo-European peoples in gods with the characteristics of order, treaty and militarism with male characteristics; their tendency towards social centralism and descentism based on their own cultural-ideological characteristics, gave them different cultural and ritual characteristics, which was in conflict with the cultural and ritual foundations of the natives of their migration destination. On the other hand, close to the age of arrival of the first branches of the Aryan peoples in the Asia Minor, significant political and ideological developments had also begun in the Mesopotamia, as parallel to the concentration and consolidation of powers in the Mesopotamian states, and the transformation of city-states into larger states and the rise of the powerful states of Assyria and Babylon, a gradual transformation from subjectivity to objectivity and centralism occurred in ancient discourses and ideologies, which altogether, it was accompanied by the increasing decline of matrilineal rituals and cultures related to goddesses and the predominance of rituals and cultures related to male gods. One of the oldest forms of these cultural developments can be seen in the Sumerian narrative "The Tale of Gilgamesh" (which is the oldest surviving written epic from about 4175 years ago). This story is one of the primary forms of cultural transformation of an ancient goddess (i.e. Ishtar: the powerful goddess of Mesopotamia and Syria).
The continuation of these developments has played an important role in the political (and later cultural) domination of Indo-European peoples in the lands of their immigration destination. In fact, the secret of the gradual dominance of the less advanced Indo-Europeans over the advanced and long-lasting civilizations of the lands of their migration destination lies in the deep political-social-cultural changes in the ancient world and the increasing decline of the cultural and civilizational energy of the cultures related to the goddesses and the alignment of these changes with the cultural-ideological foundations of the Aryans. In total, factors such as: the ritual and cultural confrontations of the Indo-European peoples with the native rituals around the goddesses in the local communities of their migration destination; Trying to overcome the native communities (especially considering the specific descentism and authoritarianism that was hidden in the culture and ideology of the Aryans) and also the effort to preserve own ritual and cultural foundations in the face of the ancient and influential rituals of goddesses, provided the ground for ritual and ideological confrontations with the cultures and rituals of the natives in the Indo-European narratives. In these narratives, the nature of goddesses (through conceptual and ideological transformation) was transformed into a demonic and harmful nature (in the form of the concept of "fairy"). Among these, Zoroastrian texts have a special place. Iran's proximity to Mesopotamia caused that religion and culture of the Aryan immigrants in Iran to be directly confronted with the influential Mesopotamian rituals. In Zoroastrian texts (such as Yashthā, Vandidād, Bondahesh, and Dinkard) in many cases the name of fairy appears in the ranks of demonic creatures and enemies of Minavī creations. According to their ideological basis, these religious and ritual narratives have played a very important role in the formation of the narrative and epistemological system of fairy tales, such as the origin of the functions, main elements and identity components (such as: the demonic nature of the fairy) in fairy tales (and their changed forms in epic narratives and romances) can be found in these religious and ritual narratives.
Based on this, the historical origin of the narrating fairy tales' date backs to the "Second Millennium BC"; which means to the period of the beginning of the encounter between the Indo-European peoples in Iran, Asia Minor and Europe with the native cultures and customs of their destination lands of migration. In fact, the secret of the common structures and motifs of fairy tales in Indo-European cultures, on the one hand, goes back to the cultural and ritual foundations of the Indo-European peoples and on the other hand, to the confrontation of these peoples with the cultures and rituals of the natives of the lands they migrated to, which have been in opposition to the religion and culture of the Indo-European peoples, especially in the regions of Iran, Asia Minor and Europe, which faced the influence of Mesopotamian religions from far or near. Therefore, the Indo-European branches that immigrated to Iran (which were adjacent to the Mesopotamia) played an important role in the creation and expansion of these stories, as well as among the ritual narratives of the Indo-European cultures, the highest frequency of confrontation and enmity with fairies is seen in Zoroastrian texts.
The narrative pattern of fairy tales is based on a "fundamental educational doctrine". It has been an organized and widespread effort in Indo-European cultures based on their political-ideological tendencies and interests in dealing with indigenous peoples. The ideological basis of all these narratives is the "alienization" of fairies (=Goddesses) and then describing and defining them as alien and demonic beings that distance the hero from the traditions and religious and moral teachings of his society and culture, and one should stay away from them, as the Avestan word "Pairïkä", which Bartholomew considered to be the main root of the concept of "Fairy" in Indo-European languages, in addition to meaning "female procreative and fertile", also means "alien and foreigner". These narratives functioned as an effective educational media in the ancient world and were a way to moral and ritual education to children, teenagers and young audiences. The popularity and wide spread of these stories and their various appearances in religious and literary narratives shows the wide-ranging effort of the ancient narrators to confrontation the very old and influential rituals of the goddesses.
In transformed narratives of fairies such as the stories of Zāl & Rudābeh, Rostam & Tahmineh, and Kaikāvus & Sudābeh the role of fairy as a "woman from a foreign land" (and in a more completely transformed form: from a society or a class opposite to the society or class of the hero, even with an ideology opposite to the hero's ideology) is another form of the fairy's belonging to the "other" and rejected world, which is strange to the self-conscious "I" of the hero. This category is one of the old patterns in the narrative structure of stories based on exogamy in literary works.