Tragedy and its producer social positions in Iran

Tragedy is both a literary genre and an approach to life that narrates a disastrous ending. Hegel and Lukács consider tragedy to be the moment of separation of man from the world. Therefore, there is no tragedy in the world without such conflict. The present article argues that due to divine providence, medieval rationality in Iran lacked a tragic approach, and then by looking at Goldman's approach, who believed in the existence of a relationship between literary-ideological form and social structure, it shows that the contradictions And the internal tensions of the intellectuals' social position as the first producers of the tragic approach in Iran, have played a key role in the formation of such a form in the fiction literature and based on its ups and downs, different types of tragic narratives have emerged. One can first recognize a kind of tragedy caused by the failure of an external obstacle, which shows the position of the intellectual who hopes for change and wants social support. But after the initial failures of the intellectuals, the tragedy of the narrative became a self-inflicted subject who blames himself for his failure. At the same time, a pattern of ontological tragedy appeared, which saw the possibility of salvation as impossible. With the continuation of historical failures, the basis of the desire for change was understood as a tragedy. As a result, a pattern of living without the illusion of liberation was narrated, which was a tragedy of repetition, and also a pattern that was the result of the deviation of the desire to change from the real realm to the symbolic realm, which appeared in the form of postmodern tragedy.