Objective This study aims to identify the antecedents of brand archetypes through a cross-sectional analysis conducted in Hamedan, a city in western Iran, between 2020 and 2021.   Methodology This research is both fundamental and applied in its objectives, qualitative in nature, and field-based in its execution. Data was collected through semi-structured, in-depth interviews with open-ended questions, accompanied by note-taking. Given that the research is survey-based with non-probability, purposive sampling, the target population for each brand was determined separately. The samples were selected intentionally based on specific characteristics known to the researcher beforehand, ensuring they would contribute meaningfully to the research objectives. Interviews were conducted with brand owners, managers of well-known brands, and marketing professors. A phenomenological approach and coding using Maxqda software were employed to extract features that serve as antecedents of brand archetypes. Based on these features, the archetype for each brand was determined.   Findings The study involved 137 interviews across 12 selected brands. Coding these interviews using Maxqda generated 2,316 codes, consisting of 457 sub-codes, 79 semi-sub-codes, and 12 main codes. From these interviews, specific features were identified as antecedents to each brand's archetype. The findings reveal the following archetypes for the respective brands: Apple as the Creator, Xbox as the Magician, Pepsi as the Jester, Jeep as the Explorer, Diesel as the Outlaw, Rolex as the Ruler, Sony as the Sage, Chanel as the Lover, Coca-Cola as the Innocent, Gap as the Everyman, Nike as the Hero, and Niva as the Caregiver.   Conclusion The results of this study suggest that archetypes help in understanding the meaning and concept of a brand, serving as crucial tools for marketing and branding, and distinguishing brands from one another. A brand’s personality is a significant factor in attracting customers. It is the brand’s personality that shapes how customers feel about the brand. Each brand, through its archetypes, connects with customers who have similar personalities. For a brand to succeed in the market, it must establish a deep and meaningful connection with its customers. This connection fosters a sense of loyalty and trust, ultimately attracting customers to the brand and creating customer satisfaction. One of the most effective strategies for building a strong emotional bond between a brand and its customers is to design the brand’s personality around archetypes. This approach deeply influences the customer’s perceptions and emotions, transforming ordinary buyers into loyal, lifelong patrons. The brand’s personality determines how customers feel about it. Brands must connect deeply and meaningfully with their customers, and the best way to achieve this is by designing their personalities based on archetypes. Additionally, the findings of this study can be leveraged to develop effective marketing and branding strategies that build a brand’s identity by utilizing the antecedents of brand archetypes.

Nowadays, the importance of the brand in purchasing is to the extent that the customer wants to buy the brand instead of the product. In this study, in order to identify people mentality of the brand, first the brand was examined based on archetypes and while determining the archetype personality of different brands studied in the research, based on their Obvious characteristics among people, it will be determined for Which brand or in which group of products each archetype is more suitable. The most famous brands were identified among the people by conducting a survey that includes fifty-five deep semi-structured interviews using phenomenological methods, and the archetypes associated with these brands were identified and determined based on the opinions of the interviewees and the obvious characteristics of the brands. Based on the results, it is not possible to determine for sure that all brands in a product group have the same personality, but each brand has its own characteristics that creates a special character for that brand and represents a certain archetype. The importance of paying attention to archetypes and their connection with the deep subconscious of consumers, in this study shows that archetypes have led to a more complete understanding of the brand in the minds of consumers, which can have lasting effects on branding.

One of the obvious features about cotemporary poetry is profiting the legends as there are many poets who use the legends as a secret to represent their attitude. Some of the poets have used the legends especially Tammouz being famed poets as Tammouz. Badr-sha ker-Al sayyab- contemporary poet of Iraqi is at the head of this group. He has particular knowledge to apply these legends so that you believe he is not able to state his attitude without the use of myths because he was living in a typical territory where the mouth was smelled in case of telling: ”I love you”. He had tendency to political activities in a period of his life and struggled permanently to prove a revolution and his pen was his solitary weapon. Among these legends, Tammouz has a special status because it symbolizes evolution and change in political and social condition, the revolution which improves the people’s lives. The present article is going to consider the role of legends especially Tammouz in the poetry of Sayyab.

The Ghessat al-Ghorbat al-Gharbiya (Story of western alienation) is one of the most striking symbolic treatises of Sohrevardi. In this story, ‘sheikh of illumination’ depicts the meeting of the luminous human with its divine mate as a dream like experience in the form of a spiritual journey. It is the story of descent of soul and its captivity in the chains of material word. It portraits the carnal soul’s struggles in passing the obstacles and ends with arriving at Tour-e-Sina and the father’s mythical temple and visiting him. The archetypes have a special function in advancing the theme of this story and picturing its events. Therefore, a Jungian archetypal approach has been adopted. The archetypal situations and characters that have been considered specially are respectively as follows: quest and yearn, rebirth, journey, conversion of multiplicity to unity, passing through water and fire; and those of characters: the wise old man, anima, and shadow.

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.

Signs, in ancient Iranian architecture, are of the key elements of structures and traces of them can be found all over the history of Iranian architecture. Most of worship places are featured with minaret and dome, so that variations of these elements can be found in holy places of all divine religions. Unfortunately, today we witness that these elements are neglected or even removed from architecture of holy places and mosques in particular. Although, innovation is an essential part of architecture, the historical identity of a culture needs to be respected, if we want to achieve a stable form in architecture. Minarets in Iranian architecture represent specific signs and symbols that have formed and matured intentionally over the years so that they are considered as an archetype. These elements take the observers’ imagination to the old ages and to find out human’ s ancient mental connection. Todays, traces of different fields of science are evident in architecture. One of these is semiotics, which is the science of perceiving phenomena in the world. The present study focuses on semiotics of archetypes as the constant patters that are rooted in collective experience of man. Studying architectural specification of archetypes and how their concepts are used in Iranian minarets architecture is another objective of the study. In our approach to semiotics of archetypes in architectural structures, we need to know some basic definitions in semiotics. To this end, concepts like signs, semiology, architecture, minaret, and their multi-aspect and close relationship are discussed thoroughly. The study is aimed at examining how the archetypal signs are represented in old minaret architecture in Iran and the way of using them in contemporary architecture in Iran in compliance with Iranian culture and history. To do this, using analytical and interpretive method, the bidirectional relationship was examined through quantitative study (from theory to instance) and qualitative study (from instance to theory). The study was carried out as analytical library work based on the available references. After literature review and representing viewpoints of the pioneers of semiology about signs and comparing their theories, a comprehensive definition of archetypes was proposed. Then, the semiotic systems in architecture of minaret, based on the proposed definition, were examined through semantic approach. Finally, a method to recreate the signs in the structures was brought in. Thus, the study begins with surveying the concept of semiotics and archetypes followed by some examples of minarets that try to regenerate architectural signs and convey an indigenous sense, which were examined through semiotics viewpoint. Finally a theory about archetype semiotics of minaret and guidance tower of Iran was proposed. Surveys of archetypes semiotics indicated that minaret is one of the main archetypes that represents variety of mythical concepts and meanings. Thus, it is not reasonable to eliminate such a valuable element regardless of its archetype aspects and even without an acceptable replacement. It is not hard to understand that the developers of minarets have tried to convey a message to the future generations.