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This paper aims at a Jungian reading of Shazdeh Ehtejab and thus tries to find the traces of archetypes in the novel. Among the most important archetypes and primordial images that have found expression in the text, one can mention the hero archetypes, the images of water, fire, desert, colors and numbers along with the archetypes associated with Jung’s theory of individuation, i.e., the shadow, the persona and the anima. I have tried to use this conceptual framework to shed light on the way one can interpret different characters of Golshiri’s novel. Thus in my reading the grandfather symbolizes the devil while the prince himself is the exemplification of the hero archetype

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Safari.,J ,Ph.D.
MahmodNejad, H.
 
Abstract:
 
Archetypes are the common forms with million years of historical backgrounds, passed from generations to generations and kept in our unconscious mind. To reach the conscious mind these forms have emerged in forms of symbols in the works of  artists. 
This study examines the frequency of some archetypes in Shamlu's poems. These archetypes are sometimes emerged in the overt forms and symbols and are indirectly shown in his behaviors and belief. Various archetypes have been manifested in Sshamlu's poems among them are Aanima، Neghab, Khod, Mandla, Tarni, Adad, Mam Bozorg, Baradar Koshi and Eshgh.
      This article examines these archetypes with variuos symbols and patterns bereifly. 
 
 

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Jamshidiyan.H.,PH.D
 
Abstract:
 
The result of this article shows that Anima is a creature with a surprising face and manner in Sepehri’s` poems. Anima has many faces. Sometimes it is called clearly wind or water and sometimes it can be suggested by the affects it imposes on the atmosphere. Anima immediately appears and disappears in night in form of a dream. Dialogue of the narrator with anima is the most ambiguous and imaginative content in Sepehri’s poems. The most important of narrator’s concern is to reach anima by passing the difficult way in mind and spirit. The dialogue and relation to Sepehri, comparing with the last series, has a different meaning aspect in the first series.
 
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Chahar-taqi is a valuable form of Iranian architecture used in the construction of religious and other types of structures in pre-and post-Islamic periods.According to the available archaeological evidence, it has been used in pre-Islamic architecture, especially from the Median period as a plan for construction of fire altars. After a while, this form of architecture became more common, and was used in the construction of such structures as palace. The Chahar- taqi plan was also used during the Islamic period, although there are limited vestiges of its use in the first four centuries of Islamic period. However, with the rise of Seljuk dynasty, and the need to expand the architectural spaces like mosques, this construction plan was widely used in the construction of mosques, palaces and castles. Based on the archetype hypothesis by Jung, the authors set out to analyze the reasons for selecting this architecture form and its continuation from Sassanid to the Islamic period by mentioning evidences of its sacred aspect in Islamic sources. In other words, the question is whether chahar-tag (four-typed) architecture is a model derived from the common beliefs of the society or unconscious tribal mind of pre-Islamic peoples of Iran, found its way, gained ground and evolved in human mind in this land, and used in the construction of other structures such as palaces, castles, mosques and tomb monuments.    

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Archetypal criticism is one of the contemporary literary criticism main approaches which discovers the nature and characteristics of the myths and archetypes and their role in literature. This article tries to carry out archetypal criticism of “The story of Amir Arsalan” according to the Jung’s individuation theory. As the hero searching progress and perfection and finding his archetype, Amir Arsalan begins journey and awakes by seeing the image of Farrokhlega (his anima) and achieves new levels of awareness. By passing of the persona archetype he can eliminate the shadow and get married and unify with anima (Farrokhlega) by the help of the wise old man and ends his individuation process and finally, he achieves his archetype. However, he experiences death and rebirth archetypes as revival of life and inner revolution by entering to cave and well- indicating return to fetus period(ritual death)-leaving there as the secret of rebirth.

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In this article, one of the most iterative examples of Iranian tales and myths, heroism and the victory of the last child, has been examined, based on the ancient examples of the child's model from the view point of Jung. Son or the third daughter, fourth, seventh, fortieth or hundredth, who is in fact the youngest child, fights against his brothers and sisters in a scene of balanced struggle and triumphs. In this paper, several types are first selected and for each type, a story has been chosen. Then, the stories are examined according to the three characteristics that Young attributes to the child's old model. The results indicate that the latest children of tales with smaller than small while bigger than big character than Jung model have a close connection with the three attributes of rejection, invincibility and hermaphroditic talent.
 

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Aliakbar Bagheri Khalili, PH.D.
Manireh Mehrabi Kali
Abstract
 
From the perspective of Carl Gustav Jung (1875-1961 AD), the collective unconscious, is the source of historical experiences and these experiences are manifested through ancient patterns. Mask, shadow, anima, animos and self/mandala, are the most ancient patterns which are also manifested in literary works.  Jung believes that the ancient patterns very effective in the formation and evolution of personality. According to this theory, contrasts and conflicts of personality types and social classes in the poems of Hafez are compatible to mask and shadow of Jung and dictums such as spoiled and distinctness are responsible to define the opposition of shadow mask are responsible. The most important masks of Khawaja Shams al-Din Muhammad are: guardian and, pious. In these shadows, Khawaja shows himself less than what it is, so that there is no or less than what will happen. It has been an attempt to achieve balance, follow through to perfection. In this way, he constructs "I", “mask” and “shadow” bring the unity of the personality of "knavish".
 
 

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The Jung’s criticism is real area of mythological criticism. When
this criticism focuses on the archetypal deep structures that also
describes the "archetypal criticism". In recent decades, with the
growth of postmodern philosophy and with the influential of theorists
such as Lacan about language and unconsciousness, Jung’s criticism
too was affected from post-modern views. Post- Jung criticism which
possesses three approaches and eight main schools was abstracted
from this main approach. Among areas of Post- Jung criticism, one of
the most widely applied theories in the field of literary criticism is the
archetypal criticism that is both inclusive and pluralist. In this
approach, internal and external elements of texts are interpreted
through deductive method.
In this paper, in order to examine the methodological approach of
archetypal criticism, we have explained the quality of critical theory in
the text. Then, with the classification of various texts, we tried a
practical approach to the textual analysis to show how the theory
attempted to extend the area of operation.

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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, among others, is the story of "Taher and Zohreh". This story, which like other Ashiqlar literatures, is the symbol of the hero's death and rebirth, happens many times throughout the story. In the course of the story, apart from mmetempsychosis, 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 Zohreh” based on the narratives of Iran, Gebres and Kumuk with descriptive and analytical method.

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One of the most important terms in Jungian psychology is "collective unconscious". The contents of the collective unconscious form "archetypes", which Jung considers the psychological forms of the old, inherent and inherited remains of the human mind and outside the circle of events in people's lives. Traces of archetypes can be found in the world's valuable literary works, and the comparative study of works from this perspective is considered as one of the important studies of literary research. The aim of the present research is to investigate the archetypes in two important literary works, Dante's Divine Comedy and the story of Ibn Sina's Hayy bin Yaqzan, in order to find out the commonalities and differences of these two works in the archetypes section, and realize the possible reasons for that. The method used in this research was text analysis. The results show that the archetypes of "travel", "shadow", "sage" and "self" can be seen in both works, and the archetypes of "rebirth" and "passing the water" are the cases of differences.
 

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Archetypes serve as fundamental building blocks and inherited attributes of human beings that profoundly influence behavior, manifesting in myths, symbols, and imagery. These archetypes possess an unconscious content that has evolved over millennia within the psyche of humanity. Among these archetypes, the "Self" and "Shadow" hold essential roles in Jungian psychology, aiding in the interpretation of individual identity and the inner conflicts of individuals. In "The Dinner of the Cypress and Fire," the protagonist's quest for identity and self-awareness is portrayed through love and complex human relationships. In contrast, "On Water" depicts the character's journey towards recognition of the other half of the "Self," that is, the "Shadow," confronting existential crises and fears. A deep analysis of the narrative elements reveals that understanding and interpreting the characters through the lens of archetypes not only possess a psychological and symbolic structure but also carry unconscious content. This exploration highlights the mental landscapes of human cultures and recounts the behavioral and experiential patterns of humanity since the dawn of being and authenticity. Overall, this research delves into the archetypes of "Self" and "Shadow" within "The Dinner of the Cypress and Fire" by Shahryar Mandanipour and "On Water" by Guy de Maupassant. The findings of this study underscore the significance of literature as a tool for exploring human psychology and social interactions, indicating that literature can act as a reflective medium for the profound depths of human existence.
 

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Archetype criticism is a combined and interdisciplinary approach that shows how the collective unconscious of Jung is present in literary works. Similarly, folk literature is considered one of the most appropriate manifestations of archetypes. In line with this principle, the Taleb and Zohreh system is one of the indigenous stories that emerged from the folk culture of Mazandaran, and among the common people of Mazandaran, some have considered this lyrical system to be the story of Taleb Amoli, a famous poet of the Indian style. Considering the similarities observed between this system and archetypes, this study examines it based on archetype criticism using quantitative and qualitative analysis methods and based on the views of Carl Gustav Jung, and the extent and manner in which the poet uses archetypes such as anima, mask, shadow, travel, and water are measured.
Literature review
The Taleb and Zohreh poetry has not been studied with the approach of archetype criticism so far; however, there are some related studies such as Falah (2012), Majd (2006), and Mehdipour (2013).

Research questions
The following research questions were raised:
Which archetypes are more prominent in the Taleb and Zohreh poetry?
From the perspective of archetype criticism, what analysis can be provided for the archetypes manifested in the Taleb and Zohreh poetry?

Hypotheses
Among the most important archetypes used in the Taleb and Zohreh system, we can mention anima, travel, mask, shadow, and water, which appear more in this story and can be searched and examined from the perspective of archetype criticism in this work. Many of the ideas used in the Taleb and Zohreh system are examples of archetypes that largely correspond to global patterns. It seems that the poet intended to use these elements to better advance the story and explain the story better, and thus have a greater impact on the audience.

Data collection
The data collection for this article was carried out using the analytical-descriptive method and through library studies.

Analysis and discussion
Today, with the emergence of new branches of literary criticism, various approaches to reading literary texts have been formed, which makes it possible to analyze various dimensions of the text and expand the scope of understanding the meaning of the text. One of these approaches is archetypal criticism, which is the result of

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Rotary Regenerative Air Preheater (RRAPH) is one of the main equipments for energy recovery in the steam power plants. In this study, air preheater of the Bisotoun Power Plant of Kerrmanshah has been investigated with the aim of optimizing its thermal performance. So, with Computational Fluid Dynamics (CFD), three-dimensional simulation of the rotary air preheater has performed to solve the continuity, momentum and energy equations in porous medium by using moving refrence frame (MRF) method. The results showed acceptable accuracy in comparison with the experimental results which is achieved from the power plant data. In this research, the effect of rotational speed on the efficiency of air preheater in different loads and mass flow rates for both without and with leakage conditions has investigated. The results showed that the impact of the rotational speed on the performance of RRAPH is noticeable in the range of 0.5 to 4 rpm, and after this increase in speed does not have a significant effect on efficiency. The present study also showed that leakage has a significant effect on reduction of the efficiency of the RRAPH in all loads and rotational speeds. In the following, the effect of matrix material change on the efficiency of RRAPH has investigated. According to the results, for both without and with leakage, the best thermal performance is related to the stainless steel, which has the least thermal diffusivity, also the least thermal performance is related to the copper, which has the highest thermal diffusivity.

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"Dream and dream interpretation" is a common theme between literature and psychology, the most important similarity between the two is their symbolic language. In many literary works we see the narration of dreams that have been interpreted by dream interpreters and have come true. Shahnameh isn’t an exception and dream interpretation is one of the most frequent cases in this book. In this paper, the interpretation of Goodarz's dream in Shahnameh was examined from two perspectives of traditional dream interpretation and Jung's unconscious and was compared with the interpretation of a narrative. The research method of this article is comparative analysis. In the traditional dream interpretation section, dream symbols are reported based on Iranian and Islamic dream interpretation; but in the psychological analysis section, the symbols of Goodarz's dream are analyzed regarding the events of dreaming time, life events, and his personality. In the final section, the structural similarities of this dream with myths and archetypes are examined. Finally, from the perspective of traditional interpretation of the dream, the dream symbols were in accordance with their interpretation in the Shahnameh narrative, and in examining individual unconscious, it was concluded that Goodarz's unrest and concern to end Siavash's revenge battles damaged his psyche that led to such a dream. This dream can be explained from several perspectives of collective unconscious, archetypes, and alignment with ancient myths. These approaches include the hero archetype, the abandoned child, the fertility myth, and the creation myth.