This paper aims at studying different aspects of archetypal criticism from traditional and modern perspectives. Archetypal criticism is the approach of finding common and unconscious roots of human behavior and actions in literature. By addressing Jung’, s as well as Post-Jungian notions, this paper contends to offer a fairly comprehensive picture of the approach and remove some common misunderstandings and misrepresentations of the criticism. The problem is more aggravated in Iran as, due to insufficient knowledge of English or German, access to first rate sources is limited. Moreover, few works have been translated into Persian and that leads to improper understating of archetypal criticism. This approach, if adopted with insight, can help readers overcome at least some of the obstacles standing in the way of understanding not only literature but also dreams, dream works, fairy tales, and myths. It will also make researchers aware of the pitfalls in archetypal criticism.

Although archetypal criticism has been used in literary-artistic research for nearly one hundred years, still, as it should be, there is no proper understanding of it, whether in theory or methods, and many studies that have been conducted using this approach, have flaws that require a careful approach to the theories and approaches of archetypal criticism to correct them. Repeated results, misunderstanding of theories, unmethodical and lack of knowledge of archetypal criticism methods, being on the sidelines of mythic criticism, imposing theories on texts and findings, and incorrect and inconsistent results on archetypal criticism, are the most important problems of studies and articles written based on this approach. In the present descriptive-analytical study, firstly the concept of archetype and criticism of archetype is taken into consideration and an effort was made to resolve its ambiguities, and then its various formats and approaches based on different theories have been specified. In addition, related concepts such as Jungian and post-Jungian studies of archetypes have been discussed. The archetypal evolution, the archetypal close-reading, and the rhetorical criticism of archetypes are the approaches that can be used to conduct studies on the criticism of archetypes. Moreover, stereotypical characters, mythological characters, archetypal motifs and situations, collective rituals, public symbols and images, cultural or psychological syndromes, and psychological complexes are forms in which undiscovered archetypes can be explored or literary-artistic texts can be criticized based on them. Introduction Although numerous studies have dealt with archetypal criticism and examined Jungian archetypes in various works, there is still no clear understanding of this approach. In most of the conducted research, only one of the methods of archetypal criticism is utilized and we can say there is no acceptable understanding of the different methods of archetypal criticism. In many articles written in the field of archetypal criticism, the authors are not even familiar with the most basic concepts of archetypal criticism and have analyzed the works according to the author's intention, though archetypal criticism is one of the text-oriented approaches. Another point that has caused archetypes to be misunderstood is the deep connection existing between archetypes and myths, and myths with epics. That is why most archetypal research is dedicated to epic literature and some think that archetypes and myths are only limited to epic literature and have no place in other literary genres. In addition, the ambiguities in Jung's own words and the difficulty of his writings are also other factors that have caused ambiguity or misunderstanding in the recognition of archetypes. Materials and Methods In this descriptive-analytical study, first, the what and why of archetypal criticism have been discussed. Then, its different approaches in facing the texts have been identified to prepare the ground for further studies that either directly deal with archetypal criticism or use it in their analyses. Research Findings Archetypal Criticism Archetypal criticism is an approach in literary criticism that is usually placed next to mythical criticism, and in many works, it is referred to as the mythological-archetypal approach. In Jung's view, analyzing the personality of an artist based on hir works is similar to analyzing the personality of a judge, police officer, politician, etc. His job has no result but to go astray because artists play an impersonal role in their own position and the artist is also an impersonal process. Archetypal criticism is one of the text-oriented approaches in which the author's intention has no place, and in which the effort is made to study conventions and literary genres in order to place the poems into the body of poetry as a whole. Understanding that archetypal criticism is one of the text-oriented approaches in literary criticism is the first step in this approach. After that, it should be determined how the archetypal literary critic can criticize the literary-artistic texts and by which methods the artist can criticize and analyze the texts. In archetypal criticism, three approaches can be identified based on which critics can criticize and analyze the texts or the archetypes themselves: Evolution of Archetypes In this approach, through the Darwinian concept of evolution and the evolutionary theory the author tries to show the course of transformation and evolution of archetypes. This approach can be seen as a higher level of archetypal criticism, in which theoretical explanations about a discovered archetype or an unexplained archetype are discussed. This is the method used by Carl Jung or others such as Erich Newman, James Hillman, Ann Ulanov, Marie Louise von Franz, Carol Pearson, and Joseph Campbell. In this method, it is necessary to investigate the transformations of an archetype based on its sources, that is, myths, ancient literary-artistic works, and cultural anthropology. In the ‘evolution of archetypes’ approach, one should first pay attention to the prototypes and traces of an archetype in mythology and determine its background. Then, it should be investigated in epic texts, lyrical stories, folk traditions, and oral traditions, and its metamorphoses should be clearly displayed in these texts and its transformation in contemporary literary-artistic texts should be specified. Archetypes usually appear in the form of stereotypical characters, mythological characters, archetypal roles and situations, collective rituals, public symbols and images, syndromes, and complexes. Close reading of the literary-artistic text based on an archetype In this approach, which can be considered the middle level of archetypal criticism, how a literary-artistic work is formed in an archetypal situation is discussed and its organic unity is emphasized based on an archetypal situation, for example, a poem, story, film, or image is analyzed based on a single archetype and its components are interpreted in relation to that archetype. Examining Archetypes in a Text In this approach, which is the lowest level of archetypal criticism, several well-known archetypes are examined in the entirety of a literary-artistic work, and the manifestations of those archetypes are shown in that work. For instance, archetypes in a certain poetry book or a certain poet's collection of poems are identified. In this approach, which is closely related to rhetorical criticism, an archetype is considered a literary figure and image just like a metaphor. In addition, a combination of these three approaches can be used in archetypal criticism and the works can be analyzed through them. Post-Jungian Studies The prefix ‘post’ in post-Jungian, like other terms that use the prefix, implies several issues: 1) transition from Jung's theories and rejection of some of them, 2) continuation and completion of some of his theories, 3) pluralism in methods and theories, and 4) an obstacle to any ultimate principle in theories emphasizing infinity and uncertainty. Samuels argues that “Jung's attitudes toward women, blacks [and people of color], so-called 'primitive' cultures and so forth are now outmoded and unacceptable. Jung converted prejudice into theory and translated his perception of what was current into something supposed to be eternally valid. Here, too, it has turned out to be the work of the post-Jungians that have discovered these mistakes and contradictions and corrected Jung’s faulty or amateur methods. In other words, post-Jungian means the correction of Jung's work and also a critical distance from it” (2008, p. 2-3). In fact, archetypal criticism is regarded as Jungian when in addition to Jung's theories, the theories and approaches of other post-Jungian thinkers are also employed. As Hillman states, Jung should be viewed as one of the sources and not the only existing theory and method in regard to archetypal criticism. Discussion of Results and Conclusion Archetypal criticism is based on archetypal psychology, which has an interdisciplinary nature, and its teachings and concepts, in addition to psychology, are derived from literature, mythology, theology, anthropology, and public culture. This approach of literary criticism is placed in many textbooks next to mythological criticism and is usually referred to as the mythological-archetypal approach, although it can be used independently in the criticism and analysis of literary-artistic texts. Archetypal criticism is one of the text-based approaches of literary criticism, which can be used in three ways as follows to criticize and analyze texts or archetypes themselves: 1) the evolution of archetypes, 2) in-depth reading of literary-artistic text based on an archetype, and 3) examination of archetypes in a text. Moreover, familiarity with archetypes and criticism of archetypes is very important in comparative literature research because the unfamiliarity with them can cause the literary work to be at the mercy of other literary works’ influences without adequate documented reasons and in this way prevent the formation of necessary research in the field of comparative literature. It can be said that the meaning of post-Jungian criticism is the criticism of the archetypes based on the theories of Jungian and post-Jungian researchers, and the use of terms such as ‘post-Jungian reading and post-Jungian criticism’ and the like do not change it. Indubitably, archetypal criticism is regarded as Jungian when in addition to Jung's theories, the theories and approaches of other post-Jungian thinkers are also used. According to Hillman, we consider Jung as one of the sources and not the merely existing theory and method.

the most important term of Yung's psychology is the oldest example that has various types such as: self, hero, shadow, mask, anima, animus and old wise man. Among the ancestors of the samples, what is said in the present article is Anima, "the elemental element of the embodiment of all the psychological tendencies of feminine in the soul of man, such as: feelings, ambiguous mood, prophetic revelations, irrational sensitivities, the ability of personal love, feelings Towards nature, and finally, relationships with the unconscious. " (Jung, 1377: 270) Anima has two positive and negative sides. The positive side of it will make people achieve excellence, perfection and individuality. On the contrary, the negative motive of Anima, the annoyance of the human body and beyond, is the cause of his destruction. In the classical Persian literature, Anima is the same fancier fanfare. Attar, in his sonnets, has always spoken of a lovers who, in the dream and awakening of the kingdom of his mind, always calls him to himself. Hence, Anemian signs can be examined in his poem. 2. Research method the present study is descriptive-analytic. In order to co-ordinate the discussed topics, the old ideas of Jung's model of Anima are firstly classified as Anima. Then, with regard to the components described by Jung, the signs of Anima in the lyrics of Attar and the character of the mistress of tracing, have been reviewed and compared. To illustrate Jung's views on his books, he has also used credible sources to analyze his views. 3. Discussion in the ghost of Attar, Nishapouri, she has appeared in five cases, which are referred to below: 3-1. Beloved and Individual in the process of individuality, man dies of "me" and reaches "himself, " or his own original self. (Jung, 1377: 245). In the writings of Attar of Neyshaburi, the descriptions given from the joinal stage are very similar to the process of individuality. In Islamic mysticism, they are told to someone who "has joined in God and is related to ethics. . . [also] is connected with lack of perception. " (Goharin, 1388: 10/191) In Attar's eyes, the lover at this stage, due to the affection of the beloved Anima, reaches the peaks of spiritual growth. As a result of the removal of the veil curtains, he reveals some factual facts about him and deserves the human personality aspects He will emerge. 3-2. Beloved and Freamkhani the ancient presence of the beloved Anima in the ghosts of Atar is very prominent, especially when the poet deals with the emotional experiences he experiences in his unconscious. Experiences that are present in the individual entity of Attar, but as a common heritage to other people, are worth attention. The poets use the various tools to describe these experiences. "Therefore, the poetic tools, the best example of pursuing emotional patterns in individual lives and poetry themselves, are the most important venue for exploration of contemporary human experiences with ancient patterns of the past generation. " (Horri, 2009: 177) On this basis, the presence of the beloved Anima in the poetry of Attar is the common heritage of humanity that has come from the distant past to the unconscious of Attar, and he has described various aspects of it in the form of poetry. One who loves the hearts of all the lovers of the world and speaks to him about every whim and dowry. 3-3. Expression of the Beloved in Dream and Dream Jung believes that, because Anima is an "inner side" of the soul, (Allner, 1993: 58), it always becomes dreamy and dreamy. (Jung, 1368: 109) Attar, too, often speaks of a lover in the guise of ghosls, which appears to him in an unconscious manner and can communicate with him in his dreams. A visit to a beloved in the Valley of Dreams is a dream that he loves to accomplish, waiting for his life. The poet believes that the person who succeeds in seeing a manifestation of Anima is beloved, the heat of love will make all of his infidels believe in faith. 3-4. Spirituality and eternal and eternal beloved Beloved Anima, in the eyes of Attar, acts like a rescuer who, in moments of frustration, cries for a man's existential shout and brings him back to life. Yong also believes that "whenever a man's reasonable minds fail to recognize the truths that are hidden in his subconscious, he is helpless to bring them out. Even the role that feminine feminism plays in the matching of the male's mind with intrinsic values and thus makes the way more inferior to the angles is more critical. " (Jung, 1377: 286) From the viewpoint of Attar, his beloved has a life-giving spirit, which he even uses, and Moses possesses insight. Anima of the beloved in the sonnets of Attar, when he reveals himself, appears the new doors of the universe of meaning, and all the physical states of the human body are transformed into the Enlightenment of his devotion. 3-5. the Negative Way of Beloved the beloved Anima appears in two different forms: sometimes negative and annoying, and sometimes positive and calming. This feature is in line with Jung's approach (Shamsa, 1370: 231), which states that the male psychological man in this board mentions men in a destructive game, and that the effect of this psychic trick is manifested in all male conversations, and freedom Exercise and emotional effects of the sexually transmitted genitalia. (Jung, 1377: 284) The figure Attar provides to his beloved is sometimes accompanied by love and love, and it depicts an ideal image of it. Sometimes, he also reveals his bloodsucking up and his negative side. 4. results Anima is the embodiment of the female soul tendencies of the man. Attar, as a faithful and mystic poet, speaks of a lovers who have a spiritual and profane structure. This is apparent in light of the metaphoricalness of the mystic language. In Attar's eyes, the lover, relying on the attention of the beloved Anima, reaches to the peaks of perfection and spiritual growth. As a result of the removal of the veil curtains, he reveals some factual facts about him and deserves his human personality. Find out The lover has a certain path in the ghazals of Attar; it means that he first involves terrestrial concepts, and in line with the approach of the lover (solicitor) to the individuality stage, the epistemic aspect of it is added, and eventually, in a final destination It finds only that it contains spiritual truths. He has made great contributions to Pierre Farzaneh this time. The presence of the beloved Anima poetry in the poetry of Attar, as a common heritage of human type, has come from the distant past to the poet's unconscious, and he has mentioned it using the artistic means of poetry. Jung describes the manifestation of Anima in two modes of sleep and dream. Attar also often speaks of a livelier who appears to be in a state of indifference to him and communicates with his dreams. Along with Jung's approach, Anima's beloved in Attar's eyes, as a savior, in the moments of despair, he casts out to the cry of the existential of man and returns him to the cycle of life. This approach illustrates the positive and clear functions of Anima's beloved. Attar has mentioned the negative qualities of Anima. The poet addresses to his inner self, that if there is a confrontation, I will be disturbed and astonished, and that sadness will come across me.

This research deals with the analysis of Manely, a long poem composed by Nima Yooshij, based on Jung's archetypal criticism. Archetypal (mythological) criticism is one of the new approaches in contemporary literary criticism, which engages the archetypes with a psychological perspective on myths and shows their role in literary works. On this basis, in contemporary literature (poetry), myth and archetype are somehow tied to psychology (based on the theory of Jung). In the poem, Manley refers to a mythological hero who, through an introspective journey, by passing from "ego" to "self", achieves "individuality", and by this transformation, he becomes distinguished from others. Also, Manely's actions can be adapted to some the stages of archetype of hero, including exploration and learning. In Manley, the archetypes of death and rebirth, the wise old man and water gain meaning in connection with the myth of the hero. The findings of the research show that Manley, the main character of the story, is a person who came from the lower class of the society and with the help of the wise old man, attains a true self-knowledge and returns to the society in harmony with nature.

Ancient critique is a model of mythological critique that emphasizes Jung's theories of collective unconsciousness and primordial forms. According to Jung, archetypes are those eternal and various forms that exist potentially in the depths of the collective unconscious of human beings and are dormant. These ancient and mythical forms can be manifested in art and literature. Romance poetry is one of the areas that can serve as the backdrop for the emergence of archetypes. Since the literature of every nation is rooted in its culture and beliefs and the study of ancient stories is important not only from the literary, artistic or entertainment point of view, but also from the familiarity with the individual and social thoughts and values of the people of a nation. The present study attempts to analyze the status of the transcendent beloved in the abovementioned poem by explaining the symbols and archetypes of the story of the Wameq and Ozra and their role in the transcendence of the lover. so, it tries to reveal if in romantic story, the union of archetype models can show the beloved role in transcendence of the lover. It is observed that the unity and connection of the archetypes in this poem is in the direction of the growth and recognition and achieving human perfection for the lover.

Even though the archetypal approach of literary criticism can be used in the critique and analysis of literary-artistic texts, independently of mythological criticism; but in Persian coursebooks of literary criticism, has always been on the shadow of mythological criticism and most textbooks have failed to teach it. This article reviews the chapter of the mythological-archetypal approach of the most important coursebooks of critical theory that are taught in the field of Persian literature in various Iranian universities; that are, Literary Criticism by Abdolhossein Zarrinkoob, about the Literary Criticism by Abdolhossein Farzad, Literary Criticism by Sirous Shamisa, Principles and Methods of Literary Criticism by Nasrollah Emami, Literary Criticism: Literary Theories and Their Application in Persian Literature by Ali Taslimi, Critical Theory: an Interdisciplinary Coursebook by Hossein Payandeh. except Hossein Payandeh's book, which is an educational- efficient textbook for students and researchers of archetypal criticism, other works have insufficiencies and disadvantages in the archetypal criticism that prevent them from being the main source of teaching this literary criticism approach; including, archetypal criticism has been placed in the shadow of mythological criticism, summarizing it in the theories of Carl Jung and Northrop Frye, being unmethodical and not teaching the methods of mythological-archetypal criticism, false scientific statements, combination of Freudian psychoanalysis and Jungian analytical psychology, non-existence of practical criticism in some coursebooks, selection of ineffective examples for teaching, Incorrect analysis of some literary texts, and infliction of concepts and symbols on analyzed texts.

The story of the Golden calf is one of the most important stories of the Holy Quran which is also mentioned several times in the Torah. Along with many questions about the story, what is important is the reason for choosing the calf from a variety of totemic animals. Why does Samiri choose a calf among all animals? Why is the calf represented as masculine in the Holy Quran? Basically, what is the purpose of telling the story and alluding to a male calf in the verses of the Holy Quran? By exploring the cultural beliefs of Mesopotamian and Semitic people, in the present article, first, the attempt is made to examine the features of calf in terms of its ritual and symbolic importance. Then, the semantic context of the Qur'anic verse referring to the gender of the calf is examined. The article uses archetypal criticism and Jungian ideas with an analytical and comparative approach to the Holy Quran and The Holy Scripture. Findings of the study indicate that the masculinity of the calf is a theme with a special meaning and is used as a rejection of some customs of the Age of Ignorance about the sanctity of natural objects. Since attention to gender did not play much role in the Abrahamic religions, so in later periods it was not raised.

Archetypal literary criticism is a type of critical theory that interprets a text by focusing on recurring myths and archetypes in the narrative, symbols, images, and character types in literary work Archetypal criticism gets its impetus from psychologist Carl Jung, who postulated that humankind has a "collective unconscious," a kind of universal psyche, which is manifested in dreams and myths and which harbors themes and images that we all inherit. This heritage, these ancient and mythological forms, can be manifested in art and literature. In the tale of "King and Brahmans" in Kalila and Dimna, positive and negative anima archetypes and the wise old man are respectively: Irandokht, the other wife of king and Kaareydoun the sage. Archetypes of numbers, death, rebirth and mandala can also be found in this tale according to which other layers of meaning can be found in the text.

BACKGROUND AND OBJECTIVES: Archetypal (mythical) criticism is one of the main approaches in contemporary literary criticism and an interdisciplinary study that interprets the literary work and its themes in terms of its prototype or archetypal deep structure. This method was first formally proposed in the findings of contemporary psychologist Carl Gustav Jung regarding the collective unconscious and archetypes. One of these archetypes is the process of individuation, in which, during the process of spiritual growth and transcendence, the center of the personality is transferred from the conscious part to the unconscious part, and the personality achieves balance, stability, and spiritual integrity. In this article, with emphasis on Jung"s archetypal theory, we will examine the process of individuation in Manouchehr Atashi"s poems. METHODOLOGY: The research method in this descriptive-analytical research is based on the method of document analysis and library studies and the use of Jung"s archetype criticism based on the process of individuality. The statistical population of the research is the poems of Manouchehr Atashi. FINDINGS: The research findings show that the path of self-discovery or the process of individuality as a spiritual need in the unconscious angles of Atashi"s poetry from the shadow to reaching the self is worth considering and examining and is in accordance with Jung"s archetype of individuality. CONCLUSION: The research achievement shows that the archetypes of the shadow, anima, and wise man to transformation and oneness with the universe are noticeable in the different stages of self-discovery in Atashi"s poetry. By passing through his inner layers, the poet has gone through the process of spiritual, psychological, and individuality growth to achieve his self, self, and individuality.

The word "driyōš" means poor, needy, beggar, destitute. Also, driyōš refers to ascetics and mystics who are devout from the world and worldly belongings. Therefore, a driyōš refers to a person who, willingly or unwillingly, has nothing and is poor. Of course, "true driyōš" is needy, eager and in need of God. The attribute of such a driyōš is contentment and satisfaction. This study seeks to investigate the character of Driyōš in the story of Noosh Afarin GoharTaj, based on Jung's archetypal theory, and to present a new reading of this story, which leads to the understanding of the instinctive, cultural and idealistic substrata of Iranian society at a particular time. Analyzing the character of Driyōš as a key character in this story and his psychological truth can strengthen this goal,at the same time, it is also a confirmation of the importance of popular stories from Jung's point of view. The research method is a qualitative and quantitative analysis that was formed based on library sources. There are seven characters in this story that can be matched with the character of "Driyōš". These characters can be generally divided into three categories: the hero (self-willed poor), the hero's helper (the true Driyōš), and the anti-hero (Non-Driyōš). The archetypal roles of Driyōš in order of frequency in this story are "self, mask, hero, wise old man, animus and shadow". The character of "Driyōš" has been a positive and respectable character in general. The roles played by this character in the story present him with a likable and ideal face: a savior hero and a pious person with dignity who solves all problems and has a function like the saints of God. The prince (the one who is going to be the king in the future) and pious generous (the religious leader of the community) as the two main pillars of the country, both are driyōš-character and Shiite-religion. The enemy of the hero/prince can be compared to the ostentatious and hypocritical here Driyōšoid. In the end, the prince forms a new and ideal government with the guidance of pious. According to the results of the research, it shows how concepts derived from popular belief, people's unconscious needs and desires, and the political-cultural structure of society affect the characterization of the story (here Driyōš type). Also, the story has emphasized on a certain type of lifestyle, i. e. laziness and abandoning dependencies, trust, relationship and reconciliation of man with the surrounding world (nature and animals) and patience in reaching the goal,And the way and custom of Driyōš is the main way to reach the purpose and knowledge. But it should be noted that these stories are popular, and mysticism and driyōš religion in them are very superficial.