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Showing 7 results for Archetype
Seyyed Morteza Hashemi , Ashraf Khosravi,
Volume 18, Issue 69 (12-2010)
Abstract
One of the dynamic branches of contemporary literary criticism is psychological criticism which, in turn, has several subdivisions. One such subdivision is based on Carl Gustav Jung's viewpoint. Hermann Hesse's works can be well criticized and analyzed through Jung's psychological point of view because his ideas and thoughts are in many ways similar to those of Jung. They were in close contact and communicated with each other. Both of them were interested in symbols and icons, as well as commenting and analyzing them. Hesse was as introvert as Jung was; he paid attention to psychological facts and social aspects are meager in his works. Hesse and Jung liked East mysticism including Indian Gnosticism. India was a link which joined Jung and Hesse. Indians live in the world of symbols; influencing on symbols, being influenced by them, although they didn't like to comment on them. Symbols are favorite subjects for Jung and Hesse and their dominance in Hesse's works provide an appropriate field for a critical analysis from Jung's point of view. An investigation of symbols and archetypical criticism of literary works, especially those works arising from the soul, is a suitable method for exploring the hidden meaning in exterior and surface-structural layers. These analyses may reveal common facts in human soul as well. In this article, the researchers attempt to criticize the Hermann Hesse's "Siddhartha"story based on archetypical approach.Archetypes such as dream, journey, hero, water, river and passing it ,anima, tree and old wiseman are within important symbols which are assembled harmoniously in this story. They represent human effort in his individual and self-realization process. These symbols will be examined in details here in this article.
Khosro Gholizadeh, Sahar Nobakht Fard,
Volume 22, Issue 77 (12-2014)
Abstract
The Jungian evaluation theory has not been fully used as a standard in analyzing the subject of the seven adventures (or Haft Khan) in Shahnameh. The main purpose of this research is to evaluate the psychological theory in the seven adventures of Rostam and of Esfandiar. By using it, we have attempted to find out the hidden aspects of the evolution of the hero’s personality in his adventures and consequently know the nature of the Jungian archetypes in the Persian epic. Therefore, the article tries to find out the relationship between the supreme Persian subject matters and Jungian theory. Moreover, the research has analyzed each of the basic Jungian elements (i.e. archetype, shadow, anima and animus, persona, etc.) in the seven adventures of Rostam and of Esfandiar, and then each of the elementary concepts in the two adventures have been decoded on the basis of the Jungian theory. It is concluded that all of the elements of the theory can be fully seen in the seven adventures of Rostam, repeatedly in some cases. The hero meets all of the Jungian archetypes in his seven adventures, and after winning them, he finally reaches the stage of individuation. On the contrary, the pattern does not have a regular order in the adventures of Esfandiar and there is no a clear reference to the archetype “Animus” in this adventure. Therefore, the seven adventures of Rostam, in comparison to that of Esfandiar, reflects the entire archetypes of Jungian theory.
Mohammad Reyhani, Raheleh Abdollahzadeh Borzou,
Volume 25, Issue 82 (9-2017)
Abstract
This paper is an analysis of archetypal elements in Mahan story in Haft Paykar (“The Seven Beauties”) based on Joseph Campbell's Monomyth Theory. Greed is the reason why Mahan starts his journey and duly leaves heaven where he lived without being aware of its value. His journey starts from a palm grove, which is a sign of his spiritual ascension. Since he does not have insight yet, he sees the leaders on his journey as monsters thatmake him suffer during the night but when the night endsthey changeinto light as a manifestation of God’s face. Mahan meets Anima after passing the thousand step well (the whale’s belly) which brings himawareness, and after gaining awareness he meets his guide who is the Khidr. Their meeting is a rebirth for him and a return to heaven, and the reward and bless he acquiresthrough his journey is an eternal life in heaven.
Zolfaghar Allami, Roghayeh Mousavi, Afsane Akbarzadeh Moghadam,
Volume 26, Issue 85 (1-2019)
Abstract
Khosrow and Shirin is the second of five long narrative poems by Nezami and is one of the finest love stories in Persian literature. This story has been examined so far from different aspects and with different approaches. One of the approaches overlooked in the analysis of this story is the process of individuation from Carl Jung's point of view. Therefore the aim of the present paper is to psychoanalyze the development of the character of Khosrow Parviz and other central characters. This will be done through analytical-descriptive method while drawing upon the archetypes of anima and animus, shadow, persona, anima, wise old man, etc. The result of the study suggests that to achieve the individualism and unification of Khosrow's personality, as the hero of the story, it is necessary for him to enter the unconscious so that through the symbolic indexes of the inner self and the forces that produce consciousness, the hero would obtain self-knowledge, and his way to throne and Shirin is smoothed.
Mohsen Mohamadi Fesharaki, Nasrin Setayesh,
Volume 26, Issue 85 (1-2019)
Abstract
Carl Gustav Jung, the founder of the analytical psychology in the twentieth century believes that under the appearance of human consciousness exists an eternal collective unconscious which is part of the hereditary psychological factor common in the entire human race. He successfully introduced the common archetypes in the mythology of the different nations and opened up a new trend in psychology. This article intends to study "Gol-o-Norooz" in light of Jung’s archetype of individuation. Attention to archetypes for decoding "Gol-o-Norooz" is necessary because this collection is entirely explainable based on these archetypal symbols. Norooz is a symbol of Piroozshah’s unconscious forces and Piroozshah is in turn the activated representative of his own archetype. After many dangerous voyages, he finally reached his beloved, and by the birth of his children the cycle of individuation is completed.
Deceased Qolam Ali Fallah, Razieh Fouladi Sepehr, Zahra Sa’adatinia,
Volume 29, Issue 90 (7-2021)
Abstract
One of the modern theories of literary criticism, which is based on psychological knowledge, is the Archetypal criticism. This theory is based on the views of Carl Gustav Jung and deals with the quality of the absorption of archetypes in the mind of the poet or writer. According to studies, a heroic journey in each person’s life is possible to achieve individual perfection. Fereydoun’s story is important because of the ups and downs of his life and the important characteristics that directly affect his personality during events at every stage of his story. The purpose of this article is to study the story of Fereydoun from the perspective of an archetypal criticism based on the intellectual foundations of Carol S. Pearson and Hugh Marr on the twelvearchetypesforawakening the hero within.Adopting a descriptive-analytical approach,the authors try to portray the manifestations of prominent archetypes in Fereydoun’s story.
Phd Vida Dastmalchi,
Volume 31, Issue 94 (6-2023)
Abstract
In the series of research and psychological criticism of Sadegh Hedayat’s works, the issue of the evil mother among his various fictional characters deserves a separate study. The term “evil mother” derives from the dual aspect of the mother’s archetype in mythological psychology, which has been applied to the realm of humanities studies by the theories of Freud and Jung and their students. Hedayat depicted the evil mother and the consequences of her presence in the lives of the main characters of his stories in the novel Buf-e-kur (The Blind Owl) with the fluid character of the narrator’s mother (narrator’s aunt / narrator’s aunt’s daughter), in the short story Se ghatre khun (three drops of blood) with the character of Rokhsareh (evil woman), in Abji Khanom (Mrs. Abji), with the character of Abji’s mother, in Zani ke mardash ra gom kard (the woman who lost her husband) with the character of Zarrin Kolah’s mother and Zarrin Kolah herself, and in his two unpublished stories with the characters of the mother of the spider and the mother of the murdered man. Adopting a descriptive-analytical method, the present article investigates the power of the evil mother’s influence on the tragic fate of the characters in Hedayat’s works (mother complex, psychosis, suicide, homicide). The findings indicated that there are symbols with the supporting role of the evil mother in Hedayat’s stories. Hence, the influence of the evil mother in the lives of the main characters is predictable i.e., confrontation with the mother, psychosis, suicide and homicide are repeated fates of characters in these stories.
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