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.

From the biological point of view, all human beings possess both male and female traits. Yet, it is the social norms that define gender differences, emphasizing femininity and masculinity. As a result, every individual strengthens the characteristics of their normal gender whereas the aspects of the other gender lose prominence and fade away. However, anima, i.e. the feminine inner personality, and animus, i.e. the masculine inner personality, tend to appear in dreams, imaginations, myths, literature and the like. In the present article, two manifestations of animus, i.e. 'the beloved man (the ideal man)' and 'the inner companion' in Persian literature and culture are studied. Using an analytic and descriptive method, it will be shown that one of the manifestations of animus in the unconscious of Iranian woman is rooted in a prototype; it most probably is Mithra.

Archetypes are a set of images, ideal forms and biological and psychological experiences that are manifested in the form of common symbols and themes in myths, religions, rites, mysticism and tales. One of the most important Archetypes is "the circle" that has common symbols and functions in mythology and mysticism from way back. The symbols associated with the Archetype of circle are as follows: unity and integrity, soul, the self, perfection, glory and power, sanctity and blessing, chance and omen, friendship and intimacy, time and eternity. The functions associated with it are protection and guarding, diversity of two heterogeneous spaces, treatment and mobility, self-knowledge, divine epiphany, representation of the divine science and lordly realities, seven modes of heart. By employing comparative-analytical method, the present article tries to show the most important symbols and functions of the Archetype of circle in mythology and mysticism. Also, the attempt is made to show the role of "circle, center and circular movement" in mythological thoughts and religious-mystical beliefs. By this way, the central role of image schema of circle is shown in motifs like manifestation, the process of perfection of the universe, the arc of descent and ascent, creatio continua and the seven sacred and symbolic things.

In the present article, attempts are made to trace the changed manifestations of Archetype of motherland in the poems of Hafez. After disintegration of personality of this powerful female Archetype, in the beginning it continues to live as goddess, then it is transferred to unconscious, and finally it appears in the mind and language of man through art. The present article tries to answer these questions: may it be said that Hafez belongs to that group of genius poets the historical and geographical gaps could not prevent from appearing Archetypes in his poems? Furthermore, regarding to the mythical backgrounds of matriarchy in Iran, how does the Archetype of motherland has continued to live in the collective unconscious of Iranians? We believe that the poems of Hafez are the context in which the concept of motherland manifests and finds expression.

Jung believed that all of us have a very dark side in our identity which is called the collective unconscious. After analyzing the collective unconscious, Jung applied the concept of Archetypes extensively in his works. The images and dispositions resulting from the recurrent experiences of our ancestors in our unconscious mind as well as the contents of the collective unconscious common among all human being are called Archetypes. Archetypes including time, mother representation, anima, animus, shadow, self, re-birth and hero are among the most important contents of the collective unconscious. In Jung psychology, time has a very deep, broad and mysterious meaning…

Scientific approach to different Phenomena, has opened its way in the modem world. This kind of approach has also entered the world of literature and criticism. The archetypal criticism is a minor branch of psychological criticism and can be a good criterion for analysis of literary texts. The writer of this paper has first introduced the characteristics of one of the most important known Archetypes called Mother Archetype. It’s forming process and its influences on human beings are also presented. Then at the end of the article, the writer presents the influences and the different symbols of this Archetype in the poetical language of Sohrab Sepehri.

Symbolic language is considered as a type of literary school. This language in literature is not only used to escape realism, but it is also used as a facilitating means to achieve realities of the cosmos. Since symbols determine humans’ special mental states, they lead to recognize poets’ or authors’ ideologies through interpreting literary works. Saghinameh Zohoori Torshizi and Sadatnameh Nezamoddin Asterabadi are examples of works that are not yet studied upon sufficiently; thus, many of their valuable features are still unknown. This study intended to investigate animal symbolism in both of the aforementioned works. After studying and analysis, findings show that Astarabadi and Zohoori possessed a deep and precise knowledge of Archetypes especially symbolic Archetypes and had used them through elements of imagination in their poems in a special way. It seems meanings in these two works are very close to each other. The results are presented via library research and analytical-descriptive methodology.

One the important discussion of mythological criticism school is “Archetypes”. The Archetypes are mental package that give us the all of the human’s mental features since ancient age up to now. The one of these Archetypes that has not already explored extensively is the “water”. This paper has attempted to investigate Archetypes and collective unconscious, as well as functions of “water” Archetype in myth and mythical epic. Among these functions the followings are considered the most considerable in epic: creation of world by “water”, passing mythical hero from water and his birthday, immortality and getting life shield against death by water, cleaning of spiritual of human and objects by water and tie of water and snake in myth. Finally, applying the mythological approach the paper investigates an Archetype in Persian epic, Rostam’s Flag, which is similar to dragon.

Ibn-Arabi disapproves of the concept of Otherness (i. e. differentiation from God) in the world of existence; therefore, in the creator-creature puzzle, he explicates the existence of creature in such a way that it leads to personal pantheism. By coining the term “ permanent Archetype” , he considers a new identity for “ everything but God” , which, though not identical to divinity, is not different in nature from that. Creation results from the creator’ s self-awareness, which is the cause of the permanent Archetype. Bidel was strongly influenced by Ibn Arabi’ s mystical conceptions, so far that he can be considered as the last of the commentators of Ibn Arabi. Bidel meticulously recites the teachings of philosophical mysticism in the form of poetic wisdom in his imaginative poetry. Bidel’ s explication of Ibn Arabi’ s mystical teachings is irreplaceable, at least in the poetical works of sufism literature. Employing the great capacities of Persian poetry as well as semantic and lexical figures of speech, Bidel attempted to symbolize the mental and abstract teachings of mysticism. By expounding the concept of permanent Archetype and the issues thereof, this study investigates Bidel’ s poetic imagery of this bewildering concept from a comparative perspective.

A recurring subject in mystical literature is the study of mystical literatures’ common symbols. The commonality of symbols cannot be due to but the existence of a unique Archetype which has a unique manifestation in diverse traditions. One of such symbols is ‘ the loss of feathers’ . It has two main significances, one is the renunciation of temporal power which is the prerequisite of acceptance of the divine world, and another is the loss of the spiritual power and, in its wake, the fall caused by indolence in spiritual practice and indulgence in passion. Instances of the latter may be found in mystical and spiritual literature of the Hindus, Greeks, Arabs and Persians, and as such can be presented as a common symbol in literature, religion and beyond it, that is, the unique Truth from which all religions spring forth.