In the Archetypal critique of postmodern poetry, we can see clear signs of the Collective unconscious mind. Among these signs is the archetype of the anti-Hero. The archetype of the anti-Hero has appeared in postmodern poetry in different forms, especially "Anima", "Animus" and "Self" so boldly and diversely that sometimes it makes the reader feel doubtful and confused in distinguishing the Hero from the anti-Hero. The current research, using the descriptive-analytical method, has tried to determine the position and function of the archetype of the anti-Hero in the course of postmodern poetic narration. The results of this study showed that postmodern poets are praised as long as the archetype of the anti-Hero protests against the social conditions, and he is praised among the Heroes, but when this role causes damage to one's own archetype or other positive archetypes, it is no longer supported. Keywords: Postmodern poetry, archetype, anti-Hero, shadow Extended Abstract 1. Introduction One of the distinctive features of postmodern poetry in Iran are open images that reflect the society, individuals and social issues. Direct communication and images without individual and social considerations have caused postmodern poems to be closer to the inner layers of the collective unconscious mind of society (archetypes). One of the key features of the archetype is the inability to represent the real world directly. "Archetypes cannot be directly manifested by themselves, but when they are activated, they express themselves in different ways, mainly through dreams, fantasies and delusions" (Fiest, 2016: 126). "Among the range of archetypes, Jung believes that some archetypes have a stronger role on human behavior and personality, therefore he introduced them as "main archetypes". Besides these archetypes, there are many other manifestations of archetypes, which are called "sub-archetypes". The main archetypes include: persona (mask), anima, animus, shadow (shado), self (self)" (Hall & Nordbai, 2015: 57). "The archetype of the Hero is a symbolic manifestation of the perfected psyche, which has powers that the self does not have. Therefore, the main function of the Hero's myth is the self-conscious discovery of one's self, which means becoming aware of one's own weaknesses and abilities in a way that enables "I" to show resistance against external problems. (Jung, 1387: 164).   Due to the two-dimensional nature of archetypes, the archetype of the Hero has a negative aspect as well, which appears as the archetype of "anti-Hero" in the narratives. He is, in fact, a Hero who does not have the characteristics of a traditional Hero and usually exhibits behaviors that are seen in the villain of the story. The motivations of the anti-Hero are usually good, or the one who thinks they have good motives. He becomes a good character whenever he feels that the situation calls for him to do evil. Contemporary poets after the constitutional period, especially modern poets, due to the non-implementation of popular ideas and ideals, internal suffocation and tyranny, lack of individual and social freedoms, feelings of dissatisfaction and despair and other individual and social concerns, use the character of anti-Heroes as an approach to portray these anti-normative themes. This method has been widely used despite the manifesto of postmodern poets to avoid any structure, meaning and tradition. In the face of such a volume of the anti-Hero archetype in the course of postmodern poetic narration, the question arises: what are the grounds for the appearance of the anti-Hero archetype in post-modern poetry? And what functions does this negative archetype have in postmodern poetry? 2. Materials and methods In postmodern poetry, due to the poets’ style, we see distinct manifestations of anti-Heroes. Some of the manifestations of the anti-Hero in the narrative are in the form of references to unpleasant feelings such as fear, disappointment, despair, frustration, inner weakness, complexes, and sometimes in the form of actions such as external violence, protest, being subjected to violence. In postmodern poetry, the anti-Hero appears in the narrative in two ways: 1- the anti-Hero who is the main role of the narrative (the focus of negative archetypes) 2- the anti-Hero (negative archetype) against the Hero (positive archetypes). Although there have been many studies, compilations and translations about the archetype as well as postmodern poetry, such as Jung's book and his analytical psychology by Farbad Fadai, which is mostly dedicated to retelling Jung's thoughts, as well as the article "Examination and Analysis of the Anima Archetype in Molana's Ghazals" by Maryam Ismailipour; In this article, the researcher introduced the anima archetype and its representation in Jung's unconscious in some contemporary mythologies and literature of Iran and the world, as well as the thesis "Review of archetypes (persona, anima and animus, exemplary mother, self and Shadow) in the poetry of Mahmoud Darwish", by Sosan Ghaibzadeh and the book What is Postmodernism?, translated by Farhad Mortezaei. In this book, the author tries to describe and define postmodernism. The article "Postmodernism and Contemporary Poetry of Iran" by Qadratullah Taheri also deals with the pursuit and the history of postmodernism. The thesis "Investigation of postmodernist elements in the classical forms of contemporary poetry" by Arman Mearaji also looks for postmodern signs in these poems, without looking at archetypes in postmodern poetry, alongside the classical forms of modern poetry. As can be seen, none of the above sources have made the archetype of the anti-Hero in postmodern poetry the subject of their research. Therefore, this article, using a qualitative approach and a descriptive-analytical method, has tried to discuss and examine the issue of the anti-Hero in postmodern poetry to answer the research questions. 3. Results and discussion In the criticism of archetypal postmodern poetry, one can see clear signs of collective unconscious mind. Among these signs is the archetype of the anti-Hero. The archetype of anti-Hero has appeared in postmodern poetry in various forms, especially "anima", "animus" and "self", that sometimes the reader cannot distinguish the position of the Hero from the anti-Hero. The current research, using the descriptive-analytical method, has tried to determine the position and function of the archetype of the anti-Hero in the course of postmodern poetic narration. The results of this study showed that postmodern poets are praised as long as the archetype of the anti-Hero protests against social conditions, and he is praised among the Heroes, but when this role causes damage to one's own archetype or other positive archetypes, it is no longer supported. 4. Conclusion The result of the study of the anti-Hero in postmodern poetry showed that the poets of this style support anti-Heroic actions as long as positive archetypes are not harmed. Most of these anti-Heroic actions, which are accompanied by external violence, are meant to express protests and rebellion towards society. This group of anti-Heroes, in the eyes of poets, are essentially Heroes who have performed anti-Heroic actions and are also praised. On the other hand, if the anti-Hero has abnormal actions or shows his violence towards positive archetypes, he will be criticized, but still the main characters of the archetype do not have the power to confront this anti-Hero. In a way, the anti-Hero becomes a real image of the shadow archetype in the poem. It was also found that some Heroes have anti-Heroic actions in postmodern poetry and instead of playing a powerful role in the narrative, they choose to escape. In the eyes of the poets of this style, if the anti-Hero even has a Heroic action, he is superior to the Hero who chooses to run away and surrender. The extension of this process brings the Hero into the stage of "transformation of the Hero into the anti-Hero" and the result is that the positive archetypes that appear at the beginning of the narrative eventually take on a negative role. Another manifestation of the anti-Hero is its combination with the face of the Hero. Some narrative characters of postmodern poetry are anti-Heroes and are not approved by the poet in some ways, but aspects of their Heroic face are also expressed in the poem and combination of the Hero's face and Twin anti-Heroes are also seen in these poems. The archetypes that appeared the most in the role of anti-Hero in postmodern poetry are the archetypes of "Anima and Animus". The most common image used in anti-Heroic narratives by postmodern poets is the contrast between "man and woman" in the narrative of the story. Although the anima is a powerful archetype, it is powerless against the power of the shadow in postmodern poetry. The ideal mother is also a powerful and active archetype in the unconscious mind, but in postmodern poetry, this archetype, like the anima, shows its credibility shaky. In general, it can be said that the border between the Hero and the anti-Hero in postmodern poetry is very close, and the anti-Hero appears only in situations where the destructive element of the archetype of the shadow has more control over the individual's subconscious mind. The anti-Hero harms both himself and the society, and this is caused by the darkness of this negative archetype in the poem.

BACKGROUND AND OBJECTIVES: The advice of the human being and the human being, and the human being, has the work, and is in the light of the relevance of the recklessness and the abstract of the universal. Any admiration can be rendered to the extent and a month. This article examines the character typology of the Hero and anti-Hero in Najib Mahfouz"s novel Bein al-Qasserin. Hornay as a revisionist specialist in Freudian psychoanalysis,It has either completed or revised the concepts of Freud"s theory. Horne"s view of personality, like other personality theorists, is a reflection of his personal experiences. From his point of view, the methods and tricks that a person resorts to in order to stay safe lead to the creation of three personality types,He becomes affectionate, superior, and isolated. METHODOLOGY: The research method is descriptive-analytical. FINDINGS: The main Hero of Bin al-Qasreen"s story is Seyyed Ahmed Abdul Javad, who is the only male head of the family and does not utter any words except commands and prohibitions and cursing. By giving the name Sid to this person, the author has well evoked his character for the reader. Therefore, different types of his personality can be seen throughout the novel. CONCLUSION: Najib Mahfouz, the creator of the novel Between the Palaces, is a realistic story writer and refers to the realities of society and the spiritual, political-social, and intellectual crisis and their impact on people"s psyche. He tries to depict the dark personal and social corners of Egyptian society amid the uproar caused by alien colonization,Therefore, he expressed the prevailing atmosphere in the society and criticized the superior personalities. According to him, the Egyptian society has still preserved its traditional form and many examples of patriarchy and humiliation of children, bullying and tyranny can be seen in the society.

Arthur Geffery Believes that the word "Iblis' is a borrowing from of the Greek word "diablos', which was introduced into the Arabic language by Aramaic or Arabic-speaking Christians. The Sufi understanding of the concept of Iblis is not compatible with the mental schemas of the jurists and consequently not with the masses. Iblis is separated from divine time (lahut) and wanders in nasut time (the material world), connecting the eternal time with the material thime, and the story becomes temorally distorted. These stories gragually shed their historical narrative skin and approach fictional narratives. The figure of Iblis in the stories of Tadhkerat al-Awliya, like the events of certian, disrupts the story's equilibrium and leads to a kind of imbalance. Attar employs a mystical and jurisprudential perspective with two different voices and meaning to portary a single character (Iblis), with these two voices having a conversational relationship. These two voces are evident in most of the stories of Tazkirat al-Awliya. The narration in the stories of this work, not only lends an artistic aspect to ordinary speech, but ix also a means of persuading the audience. In these fictional narratives, the person in the act of narration becomes a character. The aim of this study is to explian the characterization of Iblis (in the stories of Tazkerat al-Awliya) in the two opposing aspects of Hero and anti-Hero in the act of storyelling.

The purpose of this research was to achieve the position of the Hero and anti-Hero and the role of each of them in the narrative created from the TV series “Kuochak-e Jangali” with an in-depth and methodical approach. A Hero is a person who can overcome his personal and native limitations, cross them and reach a point beyond what he is. Every day, in the labyrinth of stories, all the Heroes find themselves facing tests and stages that many eager eyes, sympathizers and companions, wish to pass through and reach their destination. The Hero dies as a modern human being, but is reborn as a complete human being belonging to the whole world. Those Iranian TV series that are based on historical facts are few in comparison to Iran’s historical scope. TV series “Kuochak-e Jangali” has been chosen as an example of the narrative of a great historical figure in the framework of the content and structural coordinates of a Hero. The research method was narrative analysis. The characters of this series have been analyzed using the analytical model of Roland Barthes, including three levels of functional, Action and Narrative, and the five Signifier, Symbol, Action, Hermeneutic, and Culture codes have been extracted. The most important results of this research show that the Hero in the mentioned TV series was created with a rational approach and in accordance with the general needs and expectations of the society.

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.

This article aims to discover and divulge the hidden and obvious themes of social malingering in the actions of characters in the movie A Hero, by Asghar Farhadi. Since, according to some critics and thinkers, the content and themes of Iranian cinema have a deep connection with social issues and events, this study is an attempt to highlight social interactions and analyze everyday life in contemporary Iran. The research was conducted using a qualitative method and content analysis technique. The main problems discussed here were: Why do we construct a Hero? What is the relationship between the phenomena of social malingering and constructing a Hero in everyday life? Findings show the phenomenon such as social malingering and a Hero construct in everyday life, in the mutual relationship and dialectic of attempt and failure, the inefficiency of social and political institutions, individuality cult, ideological morality, ontological insecurity and the reduction of social capital among others. It seems the social malingering and constructing a Hero may be strategies for survival, especially the survival of honor and social acceptability in interactions and everyday life, the last type of social action and initiative to protect oneself and society.

Stefan Zweig (1881-1942) is a writer and a convinced humanist who joined trying to fight the vices of society, without resorting to violence. He acknowledges fanaticism and racism as sources of creating hostility among men and the world wars as the signs of the man’s return to barbarism. Through his works he tries to divulge his ideas, but it seems that the apathy 160Plume 16 of his characters in front of the social events pushes them in the margins and they are faced with a bifurcation: shrink from cruel enemy to refrain from violence and enter the war to safeguard their moral ethics at all costs. Zweig’s Hero chooses the first, a decision that drove him to seclusion and endangering its human values.To realize his ideal, Zweig publishesBrazil, Land of the future in which it represents a utopian society who owes his happiness to altruism and a people with a large width of spirit. But, gradually, Zweig discovered that achieving his dreams, despite the worsening international situation, is almost impossible. Resigned before the brute force of destiny, Zweig decided to leave this world that has turned all his dreams to a persistent nightmare. French: Le Heros de Zweig face a un dilemme: compromis ou conflit Ecrivain et humaniste convaincu, Stefan Zweig (1881-1942) essaie de combattre les vices de la societe, sans recours a la violence. Pour lui, le fanatisme et le racisme sont les sources memes de l’agressivite chez les hommes et les guerres mondiales sont les signes du retour de l’homme a la barbarie. A travers ses oeuvres il essaie de divulguer ses idees, mais l’apathie de ses personnages devant les evenements sociaux les marginalise et ils se trouvent souvent confrontes a un dilemme: reculer devant la cruaute de l’ennemi pour eviter la violence ou entrer en guerre pour sauvegarder leur ethique, quel qu’en soit le prix. Le Heros de Zweig choisit de reculer, decision qui le conduit a une retraite absolue et qui met en peril ses valeurs humaines.Pour concretiser son ideal, Zweig publieLe Bresil terre d’avenir dans lequel il represente une societe utopique, qui doit son bonheur a l’altruisme et a un peuple ayant une grande largeur d’esprit. Mais, peu a peu, Zweig decouvre que la realisation de ses reves, en raison de la situation internationale qui s’aggrave, est presque impossible. Resigne devant la force brutale du destin, Zweig decide de quitter ce monde qui a transforme tous ses reves en un cauchemar persistant. key word: Idealisme, Realisme, Fanatisme, Racisme, Bonheur, Amour

This article is a review of Lev Nikolaivich Tolstois "Hadji Morad", in which the Russian genius auther expresses his unprejudiced and profound ideas about the political, social, and ideological problems of Tzarist Russia and condemns the Caucausion War. Here, Tolstoi uses a psychological method to illustrate his characters by reflecting their internal conflicts and showing them functioning in their respective social classes. The article studies the causes of Caucausion War, introduces some of its main participants, who are also the protagonists of the work, and analyses their character according to the ideas of the writer expressed in "Hadji Morad".

Myth is a means to express the feelings and general demands of every nation whose members follow common patterns. Hamzanama is the story of one of the Iranian-Islamic myths presented in the form of a literary text,it expresses the inner demands of the Islamic society by using Iranian culture with a symbolic language. In this literary text, the archetype of the Hero has been manifested in the form of the historical figure of Ḥ, amza ibn Abd al-Muttalib (the uncle of the Prophet of Islam) to reveal the hidden truths of the psyche of the society. Using the foundations of psychology and sociology and regarding the views of mythologists such as Mircea Eliade and Joseph Campbell, and with a historical-comparative approach, the current research tries to reread and analyze Hamzanama in order to gain an understanding of the Islamic society in the 8th century AH. The results of the research show that due to the cultural and climatic diversity of the Islamic society of that period, the internal cohesion of the society is greatly threatened. In order to solve the problem, the unconscious of the Islamic-Iranian society wears the luxurious clothes of Iranian culture on a Semitic Hero with an Islamic character to ensure its survival.