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The kite runner structure and plot
The kite runner structure and plot
Analysis for the story of the kite runner
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The Kite Runner Hosseini’s use of irony is persvasive throughout the novel. Select three moments in which irony is illustrated. What is ironic at that juncture in the text and why is it important in shaping our understanding of the story? Hosseini’s use of irony in this novel greatly develops the characters,themes,plots and our understanding of the story. The author uses tragic and situational irony which plays a major role in the novel.The following examples are moments in which Hosseini used irony. “We may be hard headed and I know we are to far too proud but in the hour of need believe me that there's no one you’d rather have at your side than a pashtun”(160). This quote is said by Baba and what he means is that pashtuns are better to have at your side than hazaras. This quote is ironic cause Amir wasn't there when Hassan needed him,he ran away like a coward,whereas Hassan being a hazara he was loyal and proved to be a better person to have by your side than Amir who was a coward. This helped us …show more content…
Hosseini gave us a realistic approach and did a very well job of informing the audience of the events that are taking place in Afghanistan.From the conflict of hazaras and pashtuns to the taliban taking over,all this showed us the reality of what's happening in Afghanistan, during these cruel events I felt angry that people can treat others people this way, it was inhumane. I was upset and angry with Amir in so many ways because of how he watched his friend go through such a tragic event and pretend to be unaware of it.He ran away from a loyal friend like Hassan to save himself. And to top it off he blamed him of theft because he felt threatened by Hassan.All these actions were selfish of him. Even though the guilt was destroying Amir I didn't feel anything sympathy towards him. I thought why should I feel sympathy for Amir when he again and again wronged his friend who had no
Pashtuns have more control over things, as Hosseini talked about in the novel, they had more control in their history. When Amir was describing his father as, “…a towering Pashtun specimen with a thick beard, a way ward crop of curly brown hair…” (Page 12), was way different compared to the way he described Ali, a Hazara. Amir did not realize that he was describing the Pashtuns as they were better than the Hazara’s, also when Amir mentioned Hassan he said how he did not call him his friend because Hassan was a Hazara and he was his servant. Although he did say they were like brothers because they grew up together but never did he say friends. The tragedy that happened in the novel when Hassan was rape, sometimes it can be seen as a betrayal because Amir did not help Hassan, Pashtun betraying a Hazara.
Literary value can be defined as a plot that follows the guideline that Joseph Campbell set before his theory of “monomyth,” inferring from the two videos and Foster’s ideas. Understanding this concept allows us to confirm that the book, The Kite Runner by Khaled Hosseini, contains an ample amount of literary value. Amir’s journey to Afghanistan serves as the prototype that Campbell constructed when producing his hypothesis. The two videos and Foster’s book lays out the conditions of a book containing literary value through Campbell’s ideas.
As the cliche goes, appearances are not always what they seem: there are discrepancies between the expectation and the reality in both the physical and intangible traits of an individual. Edmond Rostand equips these inconsistencies in words, behaviors, and events, also known as irony, in the construction of his chivalric romance play Cyrano De Bergerac. His use of situational and dramatic irony establishes the theme of the outward manifestation failing to reflect the true inner identity.
all of these works, irony plays an important role in the plot of the story.
Amir makes mistakes and hurts his friend Hassan, and immediately afterwards he felt guilt, and wanted forgiveness, but Hassan acted like Amir did nothing, which bothered Amir even worse. And that lasted on, throughout his childhood he’s constantly upset about what he has done to Hassan, he doesn’t feel like it can be fixed. And he strives to do things throughout the novel to achieve that. One good deed he does trying to be good again, was when he goes back home, he is at a house with Farid and
...octor is an obstetrician but cannot save the life of the child. In the three central texts discussed heretofore it has become evident to the reader that irony is used to aid in the representation of an unfortunate event. The study of more short stories could come to show how irony can be used to demonstrate many events that end with different outcomes, whether they are positive or negative as in this case.
Amir takes advantage of Hasan because he is a Hazara and his servant. “When it comes to words Hassan is an imbecile” (29). This is when Amir first starts to belittle Hassan knowing that he is a Hazara therefore illiterate. Instead of helping his friend, Amir chooses to instead downplay him and mock Hassan. “What would you do if I hit you with this?” (92). Amir pelting Hassan with the pomegranate after he asks this question continues his betrayal because Amir knew Hassan would not do anything about it. “A loyal Hazara. Loyal as a dog” (72). Assef of all people acknowledged that Hassan was loyal to Amir. This in some ways makes Amir as disgusting as Assef but it there are worse instances of betrayal by Amir.
The second type of irony used in this short story is dramatic irony which irony is when the characters do not know and the people reading the story or watching the play does know. Fortunato appears with an ill-looking “He had on a tight-fitting parti-striped dress, and his head was surmounted but the conical cap and bells.”(1200) He dresses like a jester, and there are a big joke on him soon.
When you do something wrong and you know you shouldn't have done it you feel guilty, right ? Well so does Amir, at least his own kind of guilt. Amir watched Hassan get raped and did nothing to stop it. The summer following Hassans painful misfortune, Amir and Hassan spend less and less time together they don’t play outside as much they had before, so when Amir asked Hassan, “What would you do if I hit you with this? ” [ pomegranate] (92) we can all infer that Amir wants Hassan to hit him back so he feels like he has been paid for not helping Hassan that previous winter, but turns out Hassan just let him throw countless pomegranates at him, eventually Hassan stands up, picks up a pomegranate, walks towards Amir and crushes it against his own forehead. “There” he croaked, “ Are you satisfied? “ “ Do you feel better? “ (92) Afterwards, Amir felt ashamed and broke into tears; At that moment he had one choice to make, get Ali and Hassan to move out. At whatever means necessary.
Amir is my ambiguous character because he was not only a horrible person, but also a bad friend. Amir treated Hassan like crap, even when Amir was Hassan’s world. He’s a terrible person in many ways, Amir is a terrible person because he didn’t help anyone but himself. Amir says, “I ran because I was a coward. I was afraid of Assef and what he would do to me “(Hosseini 77). Amir didn’t help Hassan. Instead he ran away because he was a
Kurt Vonnegut uses irony in the development of his story Harrison Bergeron, in order to allow the reader to understand the conditions of equality. He opens the first paragra...
In conclusion, many examples are given throughout the novel that exemplifies all three types of irony: situational, verbal, and dramatic. There are many more examples, like Bernard wanting attention and John’s suicide. His suicide can be an example of irony, with the reader hoping that John (the revolutionist) might succeed, but John taking his own life. Irony plays a huge role in the book, pointing out that no society can be perfect and that some laws are broken by the creators themselves.
In the stories “Story of an Hour”, “Everyday Use”, “The Necklace”, and “The Lottery” it is evident that irony was quite a large part of the short story. There is situational irony, which is when the situation turns out differently than expected. Also, dramatic irony is present, which is when you as a reader knows more than the character. The authors seem to base their whole story around irony to surprise their readers.
Amir, the main character and narrator in the Kite Runner, belongs to a wealthy family in which his father is a powerful businessman. Amir is also a part of the dominant Pashtun ethnic group and Sunni religious group. Amir in the Kite Runner tells the story of his friendship with Hassan. Hassan and his father, Ali, are Amir’s servants. Hassan on the contrary is a low-caste ethnic Hazara and belongs to the minority Shi’it religious faith. This provides many of the Afghan’s who are different such as Sunni’s, who make up 85% of the Muslim faith, to persecute people like Hassan for their religion.
ABSTRACT: In contemporary literary culture there is a widespread belief that ironies and paradoxes are closely akin. This is due to the importance that is given to the use of language in contemporary estimations of literature. Ironies and paradoxes seem to embody the sorts of a linguistic rebellion, innovation, deviation, and play, that have throughout this century become the dominant criteria of literary value. The association of irony with paradox, and of both with literature, is often ascribed to the New Criticism, and more specifically to Cleanth Brooks. Brooks, however, used the two terms in a manner that was unconventional, even eccentric, and that differed significantly from their use in figurative theory. I therefore examine irony and paradox as verbal figures, noting their characteristic features and criteria, and, in particular, how they differ from one another (for instance, a paradox means exactly what it says whereas an irony does not). I argue that irony and paradox — as understood by Brooks — have important affinities with irony and paradox as figures, but that they must be regarded as quite distinct, both in figurative theory and in Brooks’ extended sense.