The domain of the study of myths and its evaluation in literary CRITICISM has always been in the process of development. However, myth critics sometimes put theme, symbol, and motive into one structure so that what is considered as a theme in one case can considered as a myth, in another. Nevertheless, there is a vast difference between these words, although there is no consensus among the critics about their meanings. For example how does a historical figure change into a myth? When can a myth appear in a literary context? In the study of MYTHICAL CRITICISM, in finding out the roots of the myths and in comparison between them, which one of the following is possible? The method of diachronic or synchronic study? In this article, by referring to the views of the theorists of MYTHICAL CRITICISM, we have tried to find out responses for the above mentioned questions.

Mythological CRITICISM is one of the main methods of contemporary literary CRITICISM that has been based on findings of contemporary psychology and particularly theories of Carl Gustav Jung, the famous Swiss psychiatrist, and his personality theory. Analytic psychology and its formation is in continuity theory that has been created on Sigmund Freud's psychoanalysis theory (Austrian psychiatrist).The paper depicts the formation of priest-king pattern in personality of Jamshid, his assimilation with Manna (Fares), his psychic inflation, and gloriousness, instituting of golden age and utopia (Var-e-Jamkard), and reasons of his sin and his extremity destroying, in Avesta and Shahnameh.Then, it presents the reader with archetypical CRITICISM and change cycles of the myth.

Mythological CRITICISM is an effective tool for examining early ideas, historical events and human ideals throughout history, and through it can be traced the actions of ancient humans. Various areas can be explored, including MYTHICAL CRITICISM, in Touba and the Meaning of Night, a novel by Shahrnush Parsipur. The aim of the present research is to study the components of MYTHICAL CRITICISM in Touba and the Meaning of Night by using descriptive-analytical method. The results indicate that in the novel, there is a direct and significant relationship between women and the elements of nature, which has given direction and meaning to the mythological actions of women. For example, by using the symbolic and archetypal concept of water, it is possible to explain the placement of Munesan next to the fountainhead and Leila next to the pond, who, respectively, seek to achieve fertility and the process of individuation. We can also mention the influence of the Epic of Gilgamesh on Touba and the Meaning of Night; because Touba, like Gilgamesh, uses the archetype of journey to achieve self-examination and perfection.

Introduction Mokhtari's Shahryar nameh is one of the epic and mythological poems with a relatively large volume, the structure of which contains a main narrative and several sub-narratives. A romance has been expressed that, according to the action and confrontation of the characters in them, in the depth and depth of these romantic sub-narratives, various similarities and combinations with mythological themes and components can be found, and these mythological components can reflect certain fields of psychology. For this reason, in this research, the recognition of such mythological components in the romantic sub-narratives of Shahryar nameh and the explanation of the possibility or impossibility of reflecting the psychological fields through these mythological components, is presented as an important research problem, and their analysis can provide an answer to the research problem. In this research, three major questions are raised as follows: 1. Can the romantic narratives of Shahryar nameh Mokhtari be a subject to be investigated in terms of mythological and psychological CRITICISM? In case of a positive answer to the first question; What is the mythology of Shahryar nameh 's love stories in terms of mythological CRITICISM of the narrator? What archetypes or areas of psychological science do these myths reflect in their depth? The theory proposed in this research states that the romantic narratives in Shahryar nameh, like many epic stories, narrate various myths that can be analyzed from the point of view of psychology. Regarding the background of the research, only a few researches have been conducted on the subject of Shahryar nameh: Reza Ghafouri (2016) in an article titled "Attitude to Shahryar nameh and its Compilation Period" has investigated the most important differences between several manuscripts. Hassanpour and Qavam (2021) in the article "Archetypal CRITICISM of Shahryar nameh based on Jung's theory" based on Jung's analytical psychology in a different way from the method of this article by analyzing the symbolic numbers of the poem and Nine steps of Shahryar, his journey and journey in nine steps are symbolized. Review Among the heroic texts of Iran, the story of the bravery of Shahryar is found in the Shahryar nameh poem, and in the Iranian folk texts. This work contains a main narrative and several sub-narratives. The main narrative of this work is the story of Shahryar, Barzo's son, from Sistan and going to India and finally returning to Iran and Sistan. All the sub-narratives of this work are eventually somehow connected with Shahryar's story. Many of the adventures in this poem are reminiscent of the stories of the Shah nama; In a way that in many places the poet clearly refers to the above-mentioned stories, such as: kidnapping of Delaram by Mezrab Div following the story of Akwan Div, nine steps of Shahryar like seven steps of Rostam, … In this article, only two relatively romantic narratives related to Shahryar are analyzed, each of them in one of the layers of meaning is a manifestation of Carl Gustav Jung's theories of individuality process and perfectionist self-knowledge and George Fraser's fertility myth. According to Jung, due to the collective unconscious origin of the subjects and the basis of legends, myths and stories are common and specific and are repeated always and everywhere, in fact, archetypes are the materials of the hereditary building of the human psyche in the formation of literary works. According to this reading, Zabul (Iran) is in the self-conscious state of Shahryar, who, due to Zal's (symbolic father) Shahryar's blame and lack of attention, has left it and entered the unconscious (India) by turning his back on the current reality. At this stage of his life, a wise and helpful old man in the form of a merchant takes care of him and provides the ground for change and exit from this stage by taking Shahryar to the public meeting of Arjang Shah and playing polo. During Arjang Shah's visit, the unruly elephant, attacked, who kills people and arms in the city square (sparks of power and inner ability), plays the role of a shadow in Shahryar's psyche, which, when Shahryar overcomes it, falls to the lower layers of the unconscious, and pushed back. After acting, Shahryar, by attracting the positive look and trust of Arjang Shah (symbolic father), again faced his real and class face, the warrior class, and accepted it, and with the meeting of Arjang Shah's daughter (Anima) and the projection of failed love and lack of affection Finally, by accepting the social role of a warlord, his motherly self reaches a psychological balance and harmony between consciousness and unconsciousness. A god or a hero goes to battle with the dragon and kills him, as a result, the water flows again and is free, and once again greenness and vitality return to nature. Conclusion From the point of view of Jung's psychological analysis, in this work, Zabul (Iran) is in the self-conscious state of Shahryar, who, due to Zal's (symbolic father) blame and lack of attention, Shahryar leaves it and enters India (the realm of the unconscious) and by choosing clothes and the mask of agriculture lives with anonymity instead of the mask of the warrior class; But as soon as he meets and gets to know the Iranian merchant (the wise old man of the story), the ground for his transformation is provided, and by confronting and overcoming the elephant, he becomes repressed (the shadow) and attracts the positive look and trust of Arjang Shah (the symbolic father) again with his real and classy face. That is, the warrior class faced and accepted it, and by marrying Arjang Shah's daughter (Anima), he reached harmony between consciousness and unconsciousness and went through the process of separation. From the point of view of the myth of dragon slaying and fertility, Shahryar is the hero of dragon slaying, who follows the abduction of the goddess of fertility (Delaram) by a dragon or a drought demon (Mezrab-Div) under the guidance of a worldly person (Jumhorshah) with the aim of releasing the goddess, steps on the path of Noh Khan and by going through different stages, he succeeds in freeing the girl from the whole (the world of the dead) and accomplishes his mission. In another reading, Shahryar is a martyred god who is symbolically killed by the conspiracy of a rival god (Frank) and is imprisoned in a whole (the world of the dead) until the goddess of fertility (Delaram) travels to the world of the dead with a disguised face and causes freedom and return.

The emergence of mythology in the contemporary Persian novels, as the dominant literary discourse, is an epoch making movement. Based upon their vision and socio- political situation, many of the contemporary authors have used mythology in order to achieve two main goals: one, to present an interpretation of the world around, and the other, to enhance the esthetic and attractive values which they are to present in their works.According to the findings of the research, novelists within the 1340’s and 1350’s showed most concern toward restructuring and reproducing myth ever. A main reason was the authors’ nostalgias caused by the events such as the defeat of folk movement and the coup of Mordad 28th which mad long and deep impression on them. The most tendencies to myths in post-revolution period can be seen in 1370’s and 1380’s. However, the authors’ motivations differ from those of the pre-revolution period.  A vast number of writers follow modernist and postmodernist movements and aesthetical tastes; some try to strengthen and revive national features, turn back to their traditional origins rather than pure imitating the West.The present research seeks to study and analyze how the mythological theme and narratives have been reflected, reproduced in the contemporary Iranian novels from mordad 28th 1332 to 1387.

The MYTHICAL critique as one of the approaches to contemporary literary CRITICISM explains the nature and characteristics of myths and their role in literature. In this article, we analyzed Garshaspname Asadi Tusi's based on Pearson's view, which is one of MYTHICAL critique viewpoints. Garshasb's life consists of various trips that each journey gives rise to one of the characteristics of his personality. And then his personality is complete. The giraffes of the Gershaphas show his passage from his stage to life and then himself. With the advent of the ancient pairs of the pattern, the background to the birth of the sacred child, Khodabano, the death and rebirth, the ideal of the city and. . . . Garshasb, the hero of these trips, fell in love with his inner and social journey through various obstacles and trials. And conquer on fairy instead of blending with him and perform Sacrifice ceremony And what inspires the immortality of the spirit of Garshasb is the awareness and cognition that the traveler gains from the father and other helpers during the journey.

One of the main branches of contemporary poetry CRITICISM, paying attention to the features of poets' works, is based on approaches common in CRITICISM. Among the prominent poets of this century, Mehdi Akhavan-Sales (1928-1990), has a prominent status in contemporary poetry research and many critics have criticized his poems from various perspectives. Considering the importance of the research conducted so far, the present article, to better understand approaches taken in the research performed on poems of Akhavan-Sales, along with the CRITICISMs of his poems, has employed the content analysis method, with the emphasis given to three main approaches of aesthetics, symbolism and archetypal mythology. To accomplish this, 52 articles indexed in the period (1991 to 2016), have been classified, introduced and critiqued. The findings show that aesthetic CRITICISM with an emphasis on abnormality have had the highest frequency in research conducted in this field. In the reviewed articles, while more attention has been paid to the archaic, narrative and mythological aspects of poems of Akhavan-Sales, many other aspects of his poetry have been neglected by academic researchers. Among the scientific and methodological drawbacks of the articles, it is found that researchers have neglected the research background, chose repetitive topics, failed to assign specific research scope, and have, at times, conducted research based on their personal tendency.

Problem statement: Designing and its methods are always the concerns of people who work in academic and professional fields in different areas. Architecture as one of the central disciplines in this field has always been challenging the genesis of its works during different periods and the thinkers’ opinion from a different point of views; the results of studies showed controversial views about the methodology of designing. Meanwhile, some researchers in psychology and anthropology believe in the influence of some indirect factors in the emergence of artistic works that have led to the appearance of new horizons in the analysis of artworks and its referral to some unconscious agents. Research objective: This study investigates some of the unknown factors and dimensions involved in the formation of architectural work that the designer does not sense it directly, which unconsciously influences the formation of his/her design. Research method: In this research, we used the “ MYTHICAL CRITICISM” method which by an adaptive analytical approach and an induction method, analyses the elements and concepts that have contributed unconsciously to the creation of the work and interprets its MYTHICAL motifs. For this purpose, first, the emergence of archetypes in architecture was described, then an architectural archetype was selected and the work of a contemporary designer was compared with the selected archetype. Conclusion: Using the MYTHICAL CRITICISM method, it was found that the spatial system of the Yokohama port terminal, which an Iranian architect has been involved in its designing, was consistent with the spatial system of the Iranian garden archetype.

MYTHICAL CRITICISM of literal and/or art works may be considered as one of the most important branches of CRITICISM. In this respect, the idea of monomyth of Joseph Campbell, thanks to its distinctive feature, has been always referred to by many researchers in art, literature as well as linguistics. Campbell maintains that myths, in the beginning, follow architypes in terms of form, content and structure. In different cultures, however, they are transformed into different forms in the course of time. Here, a hero (more technically known protagonist) plays a major role in universal architypes. Religious myths, among other pivotal ones, have been represented into diverse derivations. Accordingly, the story of Moses, the Prophet, with its narrative dimensions, is a prime example of a religious myth. In the present study, the story of Moses depicted onto a rug ground has been read MYTHICALly. The main question here is how Campbell’, s idea of monomyth can help us to read the course of the story from the start to the end of the journey as well as the role of the antagonist, the Moses, so that deeper layers of spiritual transformation of Moses can be appreciated more tangibly. In this story, Moses, the Prophet, as a religious MYTHICAL hero, has been chosen to fulfil his divine mission. Campbell holds that the journey of nearly all heroes may be formulated in three major pillars namely, Separation (departure), being Honored and Return. Findings According to Joseph Campbell’, s idea of monomyth of Joseph Campbell, the form and content of the story of Moses, as a religious myth, can be safely put in those MYTHICAL stories enjoying primal architypes. Along with other symbolic elements and architypes, Moses, as the hero of the story, passes the three phases successfully one after another, in his own manner, to accomplish his mission. This study is essentially qualitative. The data were gathered mainly from library sources and then were analyzed descriptively.

After the composition of the great work of Molavi called “ Masnavi” , different explanations have been proposed for it by different scholars through the pass of time. Currently we can observe the viewpoints of different literary writers and through comparing their views we can understand that: up to now there have been very varied outlooks towards the verses in Masnavi in explanations approaches utilized by the different thought schools. As we investigated about the word “ Rostam” known as one of the six symbols of the myths proposed in descriptions of Masnavi, proposed by Forouzanfar, Shahidi, Jaafari, Estelami, Zamani, and Golbinarly we found the response for the question that what was the outlook of those who explained Masnavi encountering myth symbols. Although in Masnavi, Rostam is often known as a complete humane sample because he is believed to be a national hero and Malavi has put him next to Imam Ali (PBUH) and Hamzeh, prophet’ s uncle, the results of studies show that the explaining scholars have noticed the role of myth symbols only partially and they have not mentioned anything about the mythology history of Rostam. They have translated the verses related to Rostam colloquially and did not considered the myth and mystic characteristics of him. On the whole they have ignored to refer Rostam as an epic hero which the symbol of a complete human in the thoughts of Molavi.