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The influence of one literature on the other is the   consequence of cultural interaction in different nations. No literary dynamics can keep itself away from the influence of other literature. When both sides of the equation interact through the cultural and literary language of the two nations, the issue will be more serious.  Since the Literature and language of Iran and Tajikistan have the same origin, then this can be a subject for a comparative study. So in this article, we will investigate similarities and differences in how to apply mythology, poetic language, its functions and its application in both quantity and quality in the poetry language of two contemporary poet from Iran and Tajikestan ( Forough Farrokhzad, Golrokhsar Safi-Ava). The main question is that how is each of these poet`s  attitude to myth, mythological themes and  their origins, and to what extent do they have used from these mythological motifs in their poems. These motifs are: God, goddesses, gods, prophets and entrepreneurs, mythological figures, historical and epic creatures, plants and animals and mythological mythology as well as certain areas.

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Myth and archetype represent the universal aspirations and ideas of human. On the other hand, they represent religious experience and exposure to Holy Existence. On this basis, the mystical narratives are the basic vehicle for development and exposure of archetypes and myths. As for symbolism, and the significance of mystical narratives, necessary to interpret for understanding their texts and to obtain narrative functions, we have surveyed three authentic and effective texts of Attar`s Tazkarat-ol-Olya, Hojviri`s Kashf-ol-Mahjoob and Goshairieh’s Resaleh with mythology approach. Because the mystical narratives benefit from all components of the thought and culture sphere of human, especially archetype, we have reviewed, classified and decoded, according to the their texture, have archetypes such as tree, mountains, caves, animals, colors, cycle and center, the names and numbers in the mentioned three texts. This review illustrates that mystical narratives like other areas of human thought, benefit from myth and archetype to achieve its objectives and functions as one of the dominant elements. Based on these features, many mystical narratives use narrative folk or close to their structure. Archetype and myths explain religious experiences in mystical narratives, which are covered in symbolic forms. Although mythological elements have a bond with Holy Existence, they take distinctive color and odor to the mystical narratives, and describe and three stages of birth, death, and rebirth, and encounter with Holy Existence.

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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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Geometry is considered one of the fundamental structures of Iranian traditional art and architecture, and some of its displays can be seen in most of fine ancient works. Studying geometry, as one of the main fields of Iranian art and architecture, is of more importance when it comes to the word of architecture, as it seems impossible to define it without relying on geometry. Architecture has been founded on "construction" as it is necessary to utilize accurate geometry and order; and in architecture, Order and planning are manifested as geometry. In other words, the basic factor that makes different parts of architecture united is nothing but geometry, and through this uniting and coordination between parts of architecture culture the survival and endurance of that culture becomes possible. In general, order and geometric plan assists the designer to predict the course of the plan and design. Not only the Iranian traditional architecture works from the ancient times to the Islamic era have been relied upon the geometric principles, but also the contemporary architecture is based on such principles. This study is concentrated on the exact recognition of geometric principles, intellectual roots and theoretical basics of Iranian traditional architecture in addition to the analysis of the advent of such items in the contemporary architecture. The main aim of this research is to recognize the geometric principles of the traditional architecture and its application in the contemporary architecture. In other words, we aim to answer to the question, what are the geometric principles of the traditional architecture and how is the manifestation of such principles in the contemporary architecture? The results show that the use of geometric order in the plan, along with the application of hidden geometry and creation of geometric understanding through the static sense have been more applied in the contemporary architecture compared to other characteristics of Iranian traditional architecture and the traditional architecture archetypes and motives have always attracted contemporary architects.

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Archetype is the common experience of mankind that has remained of distant past in collective unconscious. Because human experiences are abundant, we can not be identify the number of archetypes, but the most significant archetypes are: anima, animus, self, persona, shadow, wise old man and mother. Sacrifice is one of the major archetypes that have been institutionalized in the collective unconscious of most humans. In psychoanalyst viewpoint, sacrifice is one of the defensive mechanisms of humans against the demands of the id that leads to social interest. Archetypes are shown in dreams, imagination and illusions. Art (especially literature), is one of the main manifestations of archetypes. Sacrifice and its features can be found in the large number of artworks. In this paper, we investigated the archetype of the "Sacrifice" in Hallaj, in "Hallaj's poetry" of Mohammadreza Shafiei Kadkani, and "Hallaj's requiem" of Adonis, and presented a mythical criticism of them. 

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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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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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Folklore Fictions such as mystery and legends contain magical elements which have been considered since further past years among people. Whereas the metaphysical beliefs provide the psyche calm, they have approved their places despite of scientific progress. Folklore Fictions are one of the most popular features of folkloric culture which has provided the suitable bed for the collective consciousness of a nation. This study approaches two layers including; deep-structure and surface structure of fiction simultaneously. The different forms of magic appear in the surface structure, while the deep structure refers to the critical method of archetype. The findings show that 89% of magical elements appear in the fictions containing the archetype of hero’s journey. Such fictions overlap with the archetypal elements .There are either white or black magic due to archetypal heroes in such fictions, their connections are as if that shadow or the black magic make conflict for the hero and the archetype of old wisdom or white magic guide the hero, in order to remove problems. Their functions are diabolical. The different forms of magic make the elements of fiction which are respectively frequent like: the magical objects, the natural elements, the human personality, the imaginative elements and creatures, the semi-human creatures, the surrounding elements of human, the pseudo-animals, semi-animals, and Satan.

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Abstract: Focusing on the linguistic and national diversities, the French school of comparative literature has mainly attempted to trace the footprints of the literature of one country in that of another mostly in a historical context. The rival American school, on the other hand, has raised new questions in this field and extended the scope of research to subsume other domains of scholarly endeavors. The present paper first intends to briefly examine the limitations of the French school. It then proceeds to show how the archetypal approach of literary criticism and the American school of comparative literature can be employed to bear fruitful results in the field of comparative studies. Such interdisciplinary approaches can make up for the possible shortcomings of the individual modes of study and make much of the potentials that the concept of archetype can offer for this purpose. The study then singles out the Shadow archetype and makes a comparative study of the concept in two epic works, i.e. Beowulf and Gilgamesh. It finally picks out a structural archetype—hero’s journey-- as an example, to briefly discuss and evaluate such models.

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One of the important aspects of a folk tale literature review, is to study mysterious and meaningful mental world, a world which narrates cultural history. This subject is feasible due to understanding and perception of the meaning elements of the fictions in which archetypes of collective mentality and common senses of nation’s mental world find the opportunity to be developed and find cohesion. The present study by adopting the theoretical framework of phenomenology and regarding the ancient background of wolf archetype in Persian culture and literature aims at illuminating the roots of Gorgane in Firuzshah-name. Wild woman archetype crystallization in Firuzshah-name fiction appears to be significant. Phenomenological interpretation of an old woman who has lost his or her child is called "Gorgane" which indicates this fact. Two legendary level (fierce wolf) and legendary (wolf and totems of the Turks) is visible in the story. Female wolf in Firuzshah-name has a negative character and unpleasant destiny, but it meets all the situations of accordance with Iranian mentality in the case of wolf and totems of the Turks. Also, this character agrees with archetype of barbaric or wild woman.  

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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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One of those fictional streams is the tendency of women writers towards independence in writing and their attempt for establishing a kind of feminine writing style. According to some of its claimers, this style would be acquired through reconsidering patriarchal narratives and attempt to form a protest-critical movement with an approach of rereading mythical narratives. The novel “Welcome to the Hades” written by Belgheys Soleimani is a mythical-critical novel, in which the author as a representative of women population, has tried to present a kind of mythical model. Through this model, she tries to illustrate the ignored stand of women in society by some mythical narrations.It seems as if, according to her, ignorance of the role of women in patriarchal narratives such as war narratives, corresponds to the ignorance of goddesses in myths. Since mythical novels, as a result of following the mythical model, are character-based, the research has tried to focus on the main character of the novel and her spiritual-psychic status through the events of plot, and has based its theoretical framework on a consolidated approach towards theories of Transtextuality by Gerard Genette and archetypal analysis by Pearson. The result shows that the writer, by integration of Iranian mythical narrations like Rostam & Sohrab and Rostam & Esfandiar, and focus on Greek myth “Persefone & Hades”, tries to protest against the patriarchal process of mythical narratives in eastern and western parts of the world, and as a result to show that human society is only rescued by deconstructing male/female contrast and also revival of women rights. Representation of Rodabe in archetypal character of “Orphan” and her conversion to unsuccessful “Terminator”, shows the structural congruence of text and character with the theme of protest in the novel.

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Naser Nikoobakht, Ph.D.
Saeed Bozorg Bigdeli, Ph.D.
Hossein Ali Qobadi, Ph.D.
Soghra Salmani Nejad Mehr-Abadi
 
Abstract
Archetypes are the unknown and complicated dimensions of the collective unconsciousness which have accompanied mankind since his birth; in a manner which makes it seem hereditary. The archetypal images are concealed in the unconscious part of the mind; and are actually the source and substructure of myths. They have a strict and close connection with symbols and are revealed in dreams, poetical and prophetical intuitions and revelations, and even observed in psychosis. Artists and poets create their work by using these concepts in specific mental circumstances, which is to some extent similar to intuition; intermingled with the power of imagination. In this respect, the artist and poet disguise these concepts unconsciously; depending on their own artistic talent and divine potential. Poetry is one of the most expansive domains for the manifestation of such archetypes. In the present article, the authors have made an attempt to briefly survey and analyze the method through which some of these archetypes have been applied and become functional in the poetry of the late Tahereh Safarzadeh; a highly skilled poet. The archetypes which enjoy more frequency in Safarzadeh’s poetry are; water, tree, woman, Mandala, numbers and colors etc. This article has specifically focused on two archetypes of tree and water.
 

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Farzad Ghaemi, Ph.D.
 
Abstract
"Mythological criticism" bears an anthropological base which interprets and paraphrases a literary work or some of its themes through to the in-depth structure of its archetype. In this study the story of Keikhosrow in Shahnameh is surveyed within the qualitative research method based on mythological criticism (with tendency and emphasize on archetype). The researcher has tried to interpret the alteration sequence of his myth regarding this approach.
According to this approach, Keikhosrow, king and the glorious Kiani priest, is a lofty and ideal symptom of the "hero" archetype. The building blocks of  his myths are: the symbolic being of water as an element and the myth of baptism, the power of granting blessing and remand of rain and greenery to nature, being in possession of the prediction cup, passing through the honorary trials to God's salvation, battle with Afrasiab, which is a repetition of the eternal sample of the battle between good and evil and its symbolic disappearance implying his eternal return and is one of the symbols of the archetype of "death and rebirth". The in-depth structure related to the archetype of this story seems to be; Keikhsrow is the "perfect human" of the Iranian epic at the end of " a great cosmic day"- which started from the "first human" ( Kiomarss); turning the mythological history of Iran to a repetitive  and systematic truth about the cosmological circle of creation.
 
 

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

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Wrestling has been popular since ancient times and it has been associated with many aspects of Iranian culture. In this regard, wrestling has been a physical ritual, and today it is performed at the national, indigenous, and local levels. This study focuses on the myths behind this ritual movement. It is aimed to explain the myths that have been the reason for the meaning, continuity, and the value of this movement as a ritual in Iranian folk culture throughout history via the analytical method. In ancient culture, a person who fought with the destructive forces of nature became the heroic archetype who created livelihood and security in a society and was respected by the people. This challenge with the antagonist also entered the arena of the enemies of Iran, and wrestling was a symbol of the action of the heroes who fought a duel to protect his land and its values; but what was suggested in Iranian culture was that these heroes, whose actions establish the security and order of the society, first, must clear their background as an antagonist, and voluntarily go into the battle with shadows. In Iranian society, this became a value and moral foundation for the heroic archetype and remained in the collective subconscious of the Iranian society, and in the festivals of folk culture where wrestling is held, all these values are projected on the wrestler character. This forms the kind of social identity and cohesion through which viewers receive love and self-fulfillment.
Introduction
Research background
A few research projects been done on wrestling in folk culture. However, in these studies, types of wrestling in folk culture have been studied on a case. In the culture of every city and village, a type of native and local wrestling is common, and most studies have focused on one of these types such as Chokheh wrestling or Gilehmardi wrestling. Qasem Mehrabi et al. (2014) have dealt with the interaction of spectators and wrestlers of Chokheh, and Rahmati and Abbaszadeh (2016) have paid attention to the ability of Gilehmardi wrestling in the development of social participation. Since wrestling has a long history in Iranian culture, it is necessary to conduct research on the values and social beliefs that have led to the continuation of this national, indigenous, and local sport.
Aims, questions, and assumptions
The aim of the present research is to describe the mythology that has caused the continuity, meaning, and value of wrestling in Iranian society throughout history. Therefore, three theories could be indicated in this regard: Jung's archetypal, Campbell's mono-myth, and Maslow's hierarchy of needs to describe these myths through a qualitative descriptive-analytical method. The main question of this study is: what myths are behind this ritual movement activity? Wrestling is probably a movement activity that was intertwined with rituals and represented many myths through ritual performances.
 
 
Discussion
Archaeological evidence with the motif of wrestling and Persian mythology in the cultural context of ancient Iranian society shows that wrestling is a physical activity in a ritual that represents the heroism of prehistoric times that killed monsters to provide security for human life (Campbell, 2005). The monster is a symbol of some destructive natural forces that destroys the security and livelihood of people. The protagonist's combat with natural destructive forces, such as wild animals, becomes a physical habitus in the Iranian culture and takes on a ritual aspect. This ritual physical activity combines with other aspects of Iranian culture so that it is a show for the legitimacy of the king as a provider of security for the people and the wrestling is performed in the celebration of nature revitalization in the spring (Kaptain, 2013). Thus, the wrestling is a symbol of the battle of two opposing forces, one good, and the other evil. It is the ideology of the culture of ancient Iran that the force of good always triumphs over evil by choosing the right manner for battle (Rezai Rad, 2010). Folk literature also tells the story of wrestlers who wrestle with fair behavior, avoiding any inappropriate behavior. Thus, the wrestler is a symbol of the heroic archetype who removes individual and collective needs and has moral principles. The moral foundation of the Iranian hero archetype is Mithraism, at the top of which is the struggle against the inner shadow. The religion of Mithraism is a form of mysticism that teaches its followers the moral and social principles to make the world a better place (Cumont, 1966). According to these teachings of mysticism, the wrestler is also the protector of the social values.
Conclusion
Wrestling is a physical activity that is intertwined with the dimensions of Iranian culture. Iranian myths and beliefs give meaning to this physical activity and its integration with other cultural aspects. The wrestling is not only reminiscent of the hero archetypal actions of the prehistoric time but with its functions, it satisfies the psychological needs of the wrestler and the people. Hence, people project the character and moral qualities of ancient heroes on the wrestler. The inner shadow is the most important opponent of the wrestling, and by overcoming it, he can show the right manner in his behavior through wrestling.
 
References
Rahmati, M. M., & Abbaszadeh, M. (2016). Capability of rural sport; local development & social participation: a case study of Gilehmardi wrestling. Journal of Community Development, 7(1), 59-78.
Campbell, J. (2006). The hero of a thousand faces (translated into Farsi Shadi Khosrow Panah). Mashhad: GolAftab.
Cumont, F. (1966). The Mysteries of Mithra. Routledge.
Kaptan, D. (2014). Achaemenid history XII. The Daskyleion Bullae: seal images from the western Achaemenid empire (translated into Farsi Morteza. Saghebfar). Tehran: Toos.

Rezaei Rad, M. (2011). Fundamentals of political thought in Mazdaean wisdom (in Farsi). Tehran: TarheNou.

 

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The influence of languages ​​on each other and the cultural connections of nations are inevitable. The stories also have migrated from a land to another and were affected by the target people, but sometimes the similarities of the stories are not due to their influence, rather, they are the result of commonalities of perception which have emerged at different times and geographical areas. Sometimes, the study of the mythological themes and the similarities of some stories among different ethnic groups show their unity and common perception. One of these perceptions is the myth of the hero. However, these archetypes sometimes have differences that are related to the culture and religion of the narrator. This article studies the archetypes of the "hero" and its differences with the western patterns in 24 stories of "Ashiqlar". In these stories, two different elements appear, which are the distinguishing feature of Ashiqlar's stories from the other lyrical poems: One is his assistant dervishes and his honorable apple, which marks the birth of the hero; another is the appearance of the old man with the wine cup in the hero's dream, which calls him to individuality and then the hero who is given wine becomes a true lover.

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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.