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THE CONCEPT OF MASCULINITY BASED ON

PASHTUNWALI REVEALED IN THE CHARACTER OF

BABA AND THE SETTING IN

KHALED HOSSEINI’S THE KITE RUNNER

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements

for the Degree of Sarjana Sastra

in English Letters.

By

GRACE MELIA KRISTANTO

Student Number: 074214058

ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS SANATA DHARMA UNIVERSITY

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THE CONCEPT OF MASCULINITY BASED ON

PASHTUNWALI REVEALED IN THE CHARACTER OF

BABA AND THE SETTING IN

KHALED HOSSEINI’S THE KITE RUNNER

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements

for the Degree of Sarjana Sastra

in English Letters.

By

GRACE MELIA KRISTANTO

Student Number: 074214058

ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS SANATA DHARMA UNIVERSITY

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(4)
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Time flies so fast, make sure we are still the

pilot.

There’s a line between slutty and classy.

And, I walk right on that line

-Katy Perry-

Give thanks for what you are now, and keep

fighting for what you want to be tomorrow

-Fernanda Miramontes-Landeros-

If you don’t like how

things are, change them!

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Truly

 

dedicated

 

for

 

my

 

super

 

daddy,

 

the

 

one

 

who

 

sees

 

me

 

better

 

than

 

anyone

 

else

 

does,

 

and

 

my

 

mommy,

 

the

 

one

 

who

 

has

 

taught

 

me

 

to

 

struggle.

 

Trust

 

me;

 

I

 

do

 

love

 

you,

 

with

 

my

 

own

 

ways.

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LEMBAR PERNYATAAN PERSETUJUAN

PUBLIKASI KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS

Yang bertanda tangan di bawah ini, saya mahasiswa Universitas Sanata Dharma

Nama : Grace Melia Kristanto

NomorMahasiswa : 07 4214 058

Demi pengembangan ilmu pengetahuan, saya memberikan kepada perpustakaan

Universitas Sanata Dharma karya ilmiah saya yang berjudul

The Concept of Masculinity Based on Pashtunwali Revealed in the Character of Baba and the Setting in Khaled Hosseini’s The Kite Runner.

Beserta perangkat yang diperlukan (bilaada). Dengan demikian saya memberikan

kepada perpustakaan Universitas Sanata Dharma hak untuk menyimpan,

mengalihkan dalam bentuk media lain, mengelolanya dalam bentuk pangkalan

data mendistribusikan secara terbatas dan mempublikasikannya di internet atau

media lain untuk kepentingan akademis tanpa perlu meminta ijin dari saya

maupun memberikan royalty kepada saya selama tetap mencantumkan nama saya

sebagai penulis.

Demikian pernyataan ini yang saya buat dengan sebenarnya

Dibuat di Yogyakarta

Padatanggal : 12 Agustus 2011

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ACKNOWLEDGEMENTS

I am indebted to my dearest God, Jesus Christ, who keeps calling me even

when I try to walk at the wrong ways. I am grateful for His omnipresence which

means a lot for me.

I must thank my advisor, Drs. Hirmawan Wijanarka, M.Hum. and my

co-advisor Adventina Putranti, S.S., M.Hum. I truly appreciate their time, guidance,

advice, and support in the process of making this thesis. I thank them for doing

their best in helping me making this thesis. I would also like to thank all the

lecturers and staffs of English Letters Program during my study in Sanata Dharma

University.

I sincerely express my gratitude for Mr. Mustafa Haidari for his time

chatting with me. I must thank his kindness for answering my questions and

suggesting some of his friends to help me knowing more about Pashtunwali.

I am grateful to my parents, Bambang Kristanto and Melia Aditya, and my

little brother, Kevin Aditya Kristanto, for their being around me every time I need,

their supporting me, and for their calling me as a part of family. I can never

describe how much I am grateful to have Bambang Kristanto, for his implied

support, anger, and advice. No one understands and accepts me the way I am

better than he does.

I am grateful to my dear friend Nandha Rizki Rahmalia for her ears when I

need someone to talk to and words that sting me into action. Thanks go out to

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thank Mustika Sari who has taught how to be thankful even in the worst situation

to me. My gratitude also goes out to Maria, Tina, Yeni, Tata, Cicil, and Karin for

the supports, jokes, giggles, and stories. I must thank Noviyanti Riendrasiwi,

S.Pd. for her question “What do you seek in your life?” which has helped me to

set my goals in life. I want to thank the AllPlus crews, Yuliyanti Rahayu, S.Pd.,

Yosefina Heriyanti, S.Pd., Erny Ludvyani, Indriyani Kusumastuti, and

Ardinawati, S.Pd. for being supportive, helpful, and incredible workmates.

Lastly, I don’t know how to thank life for every breathtaking moment. For

the gifts and tricks in my ups and downs, I will always love life.

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TABLE OF CONTENTS

LEMBAR PERNYATAAN PENGESAHAN ... vi

ACKNOWLEDGEMENTS ... vii

CHAPTER II: THEORETICAL REVIEW ... 7

A. Review of Related Studies ... 7

B. Review of Related Theories ... 10

C. Review on the History of Pashtuns in Afghanistan ... 15

D. Review on Pashtunwali ... 17

B. The Setting in Khaled Hosseini’s The Kite Runner ... 37 

1. Traditions Seen in the Setting of Circumstance ... 38

2. Religion Seen in the Setting of Circumstance ... 41

3. Customs and Habits Seen in the Setting of Circumstance ... 42

4. Moral Conditions Seen in the Setting of Circumstance ... 45

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1. The Concept of Masculinity Based on Pashtunwali Revealed in the Character of Baba ... 48

a. Baba’s being Determined as a Revelation of Ghayrat ... 49 b. Baba’s being Success-Oriented as a Revelation of Ghayrat.…..50 c. Baba’s being Courageous as a Revelation of Turah &

Namus ... 52 d. Baba’s being Hospitable as a Revelation of Melmastya …. ... 53 e. Baba’s being Generous as a Revelation of Melmastya ………..54 f. Baba’s being Determined, Success-Oriented, Courageous, Hospitable, and Generous as a Revelaation of Nang … ... 55 2. The Concept of Masculinity Based on Pashtunwali Revealed in the Setting ... 56

a. Traditions Seen in the Setting of Circumstance as a Revelation of Ghayrat,

Turah, and Namus ... 56 b. Religion Seen in the Setting of Circumstance as a Revelation of

Melmastya and

Ghayrat ... 58 c. Customs and Habits Seen in the Setting of Circumstance as a

Revelation of

Ghayrat and Melmastya ... 59 d. Moral Conditions Seen in the Setting of Circumstance as a

Revelation of

Namus and Melmastya ... 61 e. Traditions, Religion, Customs, Habits, and Moral Condition Seen in the Setting of Circumstance as a Revelation of Nang 63

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ABSTRACT

Grace Melia Kristanto. The Concept of Masculinity Based on Pashtunwali Revealed in the Character of Baba and the Setting in Khaled Hosseini’s The Kite Runner Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma University, 2011.

This thesis studies one of Khaled Hosseini’s novels entitled The Kite Runner. The story tells about Amir who desperately tries to win the approval of his father, Baba, by winning a kite-fighting tournament to prove that he has the makings of man. This study discusses the concept of masculinity based on Pashtunwali which Baba believes and which is represented in the setting.

There are three objectives in this study. The first is to describe Baba’s characteristics. The second is to describe how the setting is depicted in the novel. The third is to discuss the concept of masculinity based Pashtunwali revealed in the character of Baba and the setting.

To answer the questions the writer uses the novel as the primary source, while the secondary sources are books on literature, books of masculinity, and online sources. The writer applies library research method. The writer employs socio-cultural historical approach as the approach to the thesis because the study focuses in the concept of masculinity based on a code of behavior believed socially, culturally, and historically.

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ABSTRAK

Grace Melia Kristanto. The Concept of Masculinity Based on Pashtunwali Revealed in the Character of Baba and the Setting in Khaled Hosseini’s The Kite Runner. Yogyakarta: Jurusan Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma, 2011.

Skripsi ini mempelajari salah satu novel Khaled Hosseini yang berjudul The Kite Runner. Novel ini menceritakan tentang Amir yang dengan putus asa berusaha mendapatkan pengakuan dari ayahnya, Baba. Ia berusaha mendapatkan pengakuan dari Baba dengan memenangkan perlombaan layang-layang untuk membuktikan bahwa ia dapat menjadi seorang laki-laki sejati. Skripsi ini membahas konsep maskulinitas berdasarkan Pashtunwali yang diyakini oleh Baba dan yang tergambar di dalam latar belakang The Kite Runner.

Ada tiga tujuan dari skripsi ini. Yang pertama untuk menjabarkan karakteristik-karakteristik Baba. Yang kedua untuk meneliti bagaimana latar belakang digambarkan dalam novel. Yang ketiga untuk menganalisa bagaimana karakter seorang Baba dan latar belakang merepresentasikan konsep maskulinitas berdasarkan Pashtunwali.

Untuk menjawab pertanyaan-pertanyaan tersebut, penulis menggunakan novel sebagai sumber utama, sedangkan sumber penunjang adalah buku-buku sastra, buku-buku maskulinitas, dan sumber-sumber online. Penulis menggunakan metode studi pustaka. Pendekatan yang digunakan oleh penulis adalah pendekatan sosial-budaya sejarah karena penelitian ini berfokus pada konsep maskulinitas berdasarkan etika berperilaku yang diyakini dalam sosial, budaya, dan sejarah.

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CHAPTER I INTRODUCTION

A. Background of the Study

People are unique. They, male or female, have their own characteristics,

thoughts, abilities, and disabilities. In some conditions, certainly men possess

characteristics, personalities, or anything else that women do not have and vice

versa. One difference between men and women as stated by Andrew Kimbrell

(2005) in “What is a Man?” for example is that women can easily express their

sadness by crying while men will try their best not to cry even if they are sad

(2005). There are still many things differentiating men from women. Nonetheless,

each culture sees the characteristics differentiating men from women differently.

As described by Kimbrell, men will attempt not to share their feelings by crying.

However, that idea is very much different from British culture in the past.

Cunningham and Moor in New Cutting Edge state that in the eighteenth century, a

true gentleman showed his feelings by crying many times in public. King George

IV even sat down and cried loudly after hearing a very bad news (2005: 43).

The characteristics men and women possess are developed through any

idea or concept of masculinity (for men) or femininity (for women) that they

believe. Men, to be particular, have various standards of the-so called masculinity

that they want to achieve.

Generally speaking, masculinity simply means the qualities considered to

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than that because the qualities required to be a masculine man in a society are

various and complex. If King George IV lived in this era and cried to express his

sadness, he would never be called masculine. One certain thing about masculinity

is it is socially constructed rather than innately constructed. It means that one has

to adhere to the concept of masculinity believed in his society to prove that he is

masculine. The fact that someone was born as a male does not directly mean that

he will certainly be called masculine because masculinity is not simply about

one’s sex. Masculinity is a gender identity one possesses through a rather complex

process. Thus, there must be some aspects and characteristics to make a man

deserve to be called masculine. Any aspects and characteristics are not only from

what he believes, but also from what society sees and believes about how a man

should be. It is strengthened by Grodan (2008) in “Masculinity Theory – An

Overview” who states that “Thus, it is not just the specific behaviors and actions

of the individual that define masculinity; rather, masculinity is a consideration of

power structures in social and cultural discourse.”

As stated above, masculinity is socially constructed and is shaped by some

aspects. Then, one of the aspects socially interlinked to a social scope is the place

where a man lives since different places with different circumstance might require

different standards of masculinity as well. This fact is also stated by Shroder in

“Afghanistan” as “Masculinity plays an important role in shaping men’s

help-seeking behavior. However, what men consider as important attributes of

masculinity and how these attributes are related vary in different Asian countries.”

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considered as a masculine trait in one place does not necessarily mean that it will

be considered as the same in a different place. The act of men fulfilling their

wives’ needs in Afghanistan, for example, is considered as what typical men

should do only by those who live in Afghanistan. People who live in America

probably will not see that act as a masculine behavior since typical American

women, different from Afghan women who depend on their husbands, make their

own living so that they do not need to depend on their husband to buy their needs.

In order to comprehend such a topic, a novel entitled The Kite Runner by

Khaled Hosseini is a great choice. The Kite Runner is a story that depicts the

concept of masculinity based on Pashtunwali; how masculinity based on

Pashtunwali is perceived and expressed, moreover to Baba. Even though Baba is

not the main character in this novel, Baba’s ways of thinking, speaking, behaving,

and treating his son, Amir, will show how Afghan men see masculinity based on

Pashtunwali and respectively will be such a way that underlines how masculinity

based on Pashtunwali is revealed in the novel. The fact that this novel tells a story

about Afghans also reveals the concept of masculinity based on Pashtunwali,

particularly for Afghan men due to how Afghans see the role of a man and what

characteristics or codes of behavior required from an Afghan man to be called

masculine. Therefore, The Kite Runner is undoubtedly the excellent source to gain

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B. Problem Formulation

In order to get a good grasp of the topic, three problems were formulated

as follows:

1. How is Baba characterized?

2. How is the setting of circumstance described?

3. What is the concept of masculinity based on Pashtunwali revealed in the

character of Baba and the setting of circumstance?

C. Objectives of the Study

Generally, the objective of this study is to answer the problems formulated

in the previous part. There are three objectives that the writer wants to achieve in

this study. The first objective is to see how Baba, a character in the novel, is

characterized. The second is to find out how the setting of the novel, especially

the setting of circumstance is described. The last objective is to understand what

concept of masculinity based on Pashtunwali is revealed in the character of Baba

and the setting of circumstance.

D. Definition of Terms

To avoid any further misunderstanding in this study, clarification of the

key terms is worth to do.

1. Masculinity

According to Reeser in Masculinities in Theory: An Introduction (2010: 2)

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complicated than it is firstly believed and, consequently, it can be studied not as a

single definition, but as variety and complexity. Further, he states that

Yet even within a single cultural and temporal context, ideas of masculinity are far from stable and fixed. While there are maybe some agreement among some people about a given definition, such a definition is never entirely agreed upon, and it is always contested in some way (2010: 3).

As stated by Reeser, the concepts of masculinity are various, complex, and not

fixed. Therefore, it will be better seeing masculinity in some definitions and

understandings rather than in a single definition because some definitions may

complement each other so that finally the intended understanding of masculinity

will be perceived.

Stets and Burke in Femininity/Masculinity define masculinity as the

degree to which persons see themselves as masculine given what it means to be a

man in society (2006: 3). It is rooted in the social (one’s gender) rather than the

biological (one’s sex).

Another concept of masculinity is stated by Grodan (2008) in Masculinity Theory

– An Overview published in Associatedcontent.com.

Unlike the biological state of maleness, masculinity is a gender identity constructed socially and historically. It is the cultural interpretation of maleness, learnt through participation in society and its institutions. Thus, masculinity is an ever evolving process that requires the individual to be intimately linked to social and cultural discourse. The male is expected to identify with the social institutions.

Those definitions are chosen because this study intends to convey masculinity as a

socially and culturally constructed concept that includes one’s physical

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2. Pashtunwali

Background Brief in Afganistan: Cultural Appreciation Booklet states

The most important code is Pashtunwali, which means ‘the way of the Pashtuns’. Although associated with the country’s largest ethnic group (Pashtun), it represents a general ideological framework underpinning social behavior among all Afghans. At the heart of Pashtunwali is a recognition of the importance of honor (nang), and it is from this that most other Afghan cultural values flow (2007: 5).

There are some codes described in Pashtunwali. UK Defense Forum

(2006: 1) in their “RS 48 Pushtunwali – Afghanistan’s Cultural Background”

states

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CHAPTER II

THEORETICAL REVIEW

This chapter discusses three main parts. The first part is review of the

related studies. This part aims at reviewing other related studies done previously

by other writers. The next part is review of related theories. At this point, the

writer puts theories of character and characterization, theories of setting, theories

of masculinity, review of history of Pashtuns in Afghanistan, and review of

Pashtunwali.

A. Review of Related Studies

In this part, the writer deals with studies that have been done previously

related to the object and the topic of this study. The studies are taken from the

theses of the students of Sanata Dharma University.

The first study taken is Elizabeth Nita Kurniasari’s undergraduate thesis

entitled The Influence of Amir’s Guilty Feeling upon His Self Concept in

Hosseini’s The Kite Runner. In this undergraduate thesis, Elizabeth Nita

Kurniasari uses psychological approach in which she tries to analyze how the

main character’s guilty feeling influences his self concept. Elizabeth Nita

Kurniasari concludes that one’s self-concept is not always stable and can be

influenced by many emotional factors such as guilty feeling (2004: ix). In her

undergraduate thesis, Elizabeth Nita Kurniasari concludes that Amir’s first

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self-concept so that Amir eventually becomes more confident with his ability and

self-concept (2009: ix).

The second study is taken from Yeni Oviana Mamanua’s A Study of

Friendship as Reflected in the Character of Hassan as Seen in Khaled Hosseini’s

The Kite Runner. Yeni Oviana Mamanua also uses psychological approach to

analyze the character of Hassan and the meaning of friendship believed by

Hassan. In this undergraduate thesis, Yeni Oviana Mamanua concludes that there

are three reasons why Hassan loyally keeps his friendship with Amir. The first

reason is because Amir is his master. The next reason is because Hassan wants to

keep his status as a loyal friend. The last reason is because Amir is the only friend

to Hassan (2009: xii).

Another study taken is Paskalina Widiastuti Ratnaningsih’s undergraduate

thesis entitled The Influence of Jalil, Rasheed, and Laila on Mariam’s Personality

Changes in Khaled Hosseini’s A Thousand of Splendid Suns. In her study, she

uses psychological approach to analyze the personality changes experienced by

the main character in the novel. Finally, Paskalina Widiastuti Ratnaningsih

concludes that Jalil and Rasheed make Mariam lose her self-respect, become an

unfriendly person, and turn out to be a bad-tempered person, whereas Laila makes

Mariam become a friendly, brave, and affectionate person (2009: xiii).

The last study is taken from Maximillian Samuel Puji’s undergraduate

thesis entitled Masculinity of Josephine March in Louisa May Alcott’s Little

Women. In this thesis, Maximillian Samuel Puji uses psychological approach to

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conclusion of his study, he discovers that Josephine March’s masculinity is

revealed through physical determinant, functional determinant, emotional

determinant, intellectual determinant, and interpersonal determinant. All those

determinants are developed because of poverty and her disappointment on

discrimination (2007: xi).

This study uses the same object as the first and second undergraduate

thesis by Elizabeth Nita Kurniasari and Yeni Oviana Mamanua, but the writer is

more interested in analyzing how masculinity is revealed in the character and the

setting so that this study will have a different focus from the first and second

undergraduate thesis taken.

This study, as the third undergraduate thesis by Paskalina Widiastuti

Ratnaningsih, examines a novel by Khaled Hosseini. Nevertheless, the novel

analyzed in this study is different from the novel used in the third undergraduate

thesis taken. Therefore, this study will have different topic, focus, and approach

with Paskalina Widiastuti Ratnaningsih’s undergraduate thesis. As the last

undergraduate thesis, this study also deals with masculinity. Nonetheless, this

study relates masculinity not only to the characters, but also to the setting so that

this study uses a socio-cultural historical approach instead of psychological

approach. Therefore, this study will discover something new that is the concept of

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B. Review of Related Theories

To be able to answer the problems formulated previously, some theories

are needed to the base of the analysis. Since this study deals with how the

character of Baba and the setting can reveal the concept of masculinity, theories of

character and setting are undoubtedly important. Then, theories of masculinity and

Pashtunwali are the next theories needed to do the analysis.

1. Theory of Character and Characterization

Character, according to Abrams in A Glossary of Literary Terms is the

person represented in a dramatic or narrative work, who are interpreted by the

readers as being endowed with moral, dispositional, and emotional qualities that

are expressed in what they say-the dialogue-and by what they do-the action (1993:

23). In order to comprehend a character, one should observe nine things an author

puts into his character. Those nine things, as stated by Murphy in Understanding

Unseens: An Introduction to English Poetry and English Novel for Overseas

Students (1972: 161-173), are:

a. Personal Description

The author can describe a person’s appearance and clothes. It is a kind of

physical description that helps us to imagine the character.

b. Character as Seen by Another

The author describes the character through the eyes and opinions of

another character and they are reflected image of the character.

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The readers can get clues to the character through what the person says in

a conversation or when he puts forward an opinion.

d. Past Life

What happened in the past life can give the clue to understand what shaped

a person’s character. This can be done by the direct comment by the author, the

character’s thought, through the conversation of other characters.

e. Conversation of Other Characters

A clue to a person’s character can be derived through the conversation of

the other characters and the things they say about him.

f. Reactions

The author can also give us a clue to a person’s character by letting us

know how that person reacts to various situations and events.

g. Direct Comment

The author can describe or comment on a person’s character directly.

h. Thoughts

The author can give us direct knowledge of what a person is thinking

about. In this respect he is able to do what he cannot do in real life. He can tell us

what different people are thinking. In the novel we accept this. The reader then is

in a privileged position he has, as it were, a secret listening device plugged in to

the inmost thoughts on a person in a novel.

i. Mannerism

The author can describe a person’s mannerism, habits or idiosyncrasies

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Murphy makes clear that those nine ways can help the readers know better

about a character. Dealing with personal description, the readers can assume that a

character is a rich person by looking what he wears for example jewelries and a

fur coat. It is indeed true that speech can also reveal the characteristics of a

character since in most situations, a person’s speech can show what he thinks

about or what he seems to think about. Murphy’s opinion about past life is also

worth to ponder. Past life is a great aspect to know more about a character. Simply

knowing about a character’s past life or experience is useful to grasp his thought

and what makes him think and react in certain ways. Aspects such as thoughts,

mannerisms, and direct comment also say a lot about a person’s characteristic. All

in all, those nine ways do contribute a lot in supporting the readers to be more

capable of imagining a character, comprehending what he feels and thinks about,

and how his feelings and thoughts lead him to act toward a situation or a problem.

2. Theory of Setting

One of intrinsic elements that is impossible to ignore is setting. In fact,

setting provides clues or information to gain insight into the characters’ emotions,

motives, and conflicts. According to Abrams in A Glossary of Literary Terms

(1993: 192), “the overall setting of a narrative work is the general locale,

historical time, and social circumstances in which its action occurs; the setting of

a single episode or scene within a work is the particular physical location in which

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Based on Abrams’ definition about setting, the writer concludes that there

are three types of setting namely setting of place, setting of time, and setting of

circumstance. The setting of place and setting of time might be stated clearly such

as England in the eighteenth century, at night in a hotel room, etc. The setting of

circumstance might be slightly different with the other two in the way that it needs

closer observation since it is not always stated explicitly. It can be understood by

observing the social condition in a story that gives sight to the background of the

characters and the society in which the characters live. Harvey in Character and

the Novel (1965: 56) makes that point clear by stating that “the social environment

basically refers to the society that is taken mostly in the novel. The environment

shows a social condition of people who live there.”

Hudson in An Introduction to the Study of Literature states that setting is

the whole environment in the story. It includes the customs, traditions, habits, and

characters’ view of life (1960: 158).

According to Holman in A Handbook of Literature (1986: 465), there are

some elements that make a setting. Those elements are described as follows:

1. The actual geographic location, including topography, scenery and even the

detail of a room’s interior;

2. The occupations and daily activities of the characters;

3. The time or period in which the action takes place, for example, historical

period or season of the year;

4. The general environment of the characters, for example, religion, mental,

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3. Theory of Masculinity

In this part, the writer will define masculinity from two points of view.

The first is masculinity in general and the second is masculinity believed in

Afghanistan.

Grodan (2008) in “Masculinity Theory – An Overview” states that

Unlike the biological state of maleness, masculinity is a gender identity constructed socially and historically. It is the cultural interpretation of maleness, learnt through participation in society and its institutions. Thus, masculinity is an ever evolving process that requires the individual to be intimately linked to social and cultural discourse. The male is expected to identify with the social institutions that construct masculinity and react in manner that is commensurate with what these institutions view as acceptable behavior.

In other words, as stated in 50 Key Concepts in Gender Studies, “masculinity is

the set of social practices and cultural representations associated with being a

man” (Pilcher and Whelehan, 2004: 82). Those two definitions highlight that

masculinity is far beyond one’s biological or physical state. Social, cultural, and

historical aspects are the prominent factors which construct masculinity.

Therefore, to be called masculine, one should fully understand and follow what

his society requires about how he should behave in society.

Since the object of this study is a novel taking place in Afghanistan, the

idea of masculinity believed in Afghanistan is very worth to ponder. Nyrop and

Seekins in Afghanistan: A Country Study (1986: 126) states that “Afghan society

is consistent in its attitudes toward the underlying principles of gender. It is the

application of these principles that varies from group to group.” The Afghans’

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Cultural Appreciation Booklet (2007: 19), “Gender roles are strictly defines, with

men representing the ‘public face’ of the household in its dealings with the outside

world.” The previous quotation shows that men are considered important in

Afghanistan. They have to build respectable image to cope with the society which

surrounds them.

Masculinity in Afghanistan is marked by men’s power and full control.

TRADOC Culture Center in Afghanistan Smart Book declares “Afghanistan is

very much a masculine society where competition, assertiveness and power play a

crucial role in everyday life” (2009: 43). Besides that, as stated by Nyrop &

Seekins, ed in Afghanistan: A Country Study (1986: 127), “Men are expected to

be leaders, protectors, and disciplinarians . . . Men must also be brave”. Further,

masculinity in Afghanistan is also based on the so-called Pashtunwali.

Citizendium.com in their article entitled ‘Pashtun People’ states that “Manliness is

a complex ideal in Pashtunwali.” Therefore, one must follow Pashtunwali to be

called masculine. Pashtunwali and the codes within it will be discussed in the next

part.

 

C. Review on the History of Pashtuns in Afghanistan

Since this study aims at seeing how masculinity is revealed in the

character and setting, the writer believes that a short and brief review on Pashtun

should be put in this chapter. Afghanistan is a home for many tribes and cultures.

One of many tribes living in Afghanistan is the Pashtun. Winkler in A Study

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Afghanistan main ethnic composition includes the Pashtun, Tajik, Hazara, Uzbek, Baluchi, and Turkoman people. The Afghan nation is a very heteregeneous population, comprising at least 22 languages… Practically everyone in Afghanistan is Muslim representing both Shia and Sunni Muslims… All Afghan ethnic groups have been able to preserve their kinship, village, and regional ties (2007: 4).

It will nearly be impossible looking at Afghanistan without paying attention to the

Pashtuns since they are the biggest tribe in Afghanistan. The Pashtuns themselves

cannot be separated from their code of life namely Pashtunwali. Therefore,

Pashtunwali will also be put in this chapter. To make it more understandable, the

writer will divide this into two parts. This part will discuss about Pashtun and the

next part will discuss about Pashtunwali.

As stated above, Afghan people consist of many kinds of ethnic group.

One of the ethnic groups in Afghanistan, as well as the biggest one, is the Pashtun.

Nyrop and Seekins in Afghanistan: A Country Study state that

The largest and most powerful ethnic group is the Pashtun. The Pashtuns are primarily Pashtu speaking, although those residing in Kabul are often Dari speaking… In 1980 Dupree estimated that there were about 6.5 miliions Pashtuns in Afghanistan (1986: 105).

Pashtuns, as the biggest tribe in Afghanistan, certainly have their own

characteristics. Merrill, Paxson, and Tobey in An Introduction to Afghanistan

Culture (2006: 6) state that they are loyal to their tribal and sub-tribal groups and

they mostly work as merchants, traders, farmers, and animal breeders.

The Pashtuns have their own standard of masculinity. Pashtun men have to

learn and show masculinity since they are boys. Thus, they have already been

taught about what is and is not allowed for a man to do. Kurtz (2001) in “Out of

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A Pashtun boy is raised in a state of nature – forced to learn toughness, and self-reliance in a world self-consciously understood as violent, deceitful, and cruel. A Pashtun boy is actively encouraged to the harshness of his world by himself becoming violent, deceitful, and cruel (2001).

Parents try so hard to make their children tough and strong. They unhesitatingly

beat their children just for minor mistakes and encourage them to beat their

friends in a fight. If a Pashtun boy comes home crying because he has been

beaten by his friends, he will undoubtedly be beaten again by his father for

showing his weakness. It’s clear that the Pashtuns hate any signs of weakness.

Kurtz states further that “what is odious to a Pashtun is not theft, or lying, or

fighting, but weakness, carelessness, and clumsiness – anything which diminishes

an individual’s power and self-command.”

Although Pashtuns are best-known for their toughness and masculinity,

they are also known for their hospitality – which is embedded in Pashtunwali, the

code of conduct they believe. More about hospitality and the other codes in

Pashtunwali will be explained in the next part of the review.

D. Review on Pashtunwali

Pashtunwali or Pushtunwali literally means the way of the Pashtuns. It is

the code of conduct or the code of behavior to which the Pashtuns must adhere.

Pashtunwali itself has been believed since a long time ago. Wapedia in their

online article entitled “Pashtunwali” states “Pashtunwali dates back to ancient

pre-Islamic times but it is still widely in use.” Furthermore, Kakar in Tribal Law of

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Embedded in the legal history of Afghanistan are the tribal codes of the Pashtun or Afghan tribes that eventually shaped the modern-day state of Afghanistan. These tribal law codes are called Pashtunwali, and they are widely practiced as a component of customary law, especially in rural Pashtun majority areas (Kakar, 2008: 1).

Pashtunwali is found in all kinds of society without exception. Whether a Pashtun

man is rich or poor and whether he lives in a rural area or in an urban area, he

certainly has to follow Pashtunwali. Amato in Tribes, Pashtunwali and How They

Impact Reconciliation and Reintegration Efforts in Afghanistan (2010: 23) states

that

Pashtunwali is seen as an ideal to be aspired to by all Pashtuns, even those who are not as strict in its application as others. Pashtunwali plays an important role both in the highlands, or areas of low production and in irrigated regions at lower altitudes.

Pashtunwali is something that certainly has to be obeyed because it defines

what it means to be a really Pashtun man. Masculinity is a complex ideal in

Pashtunwali. Pashtun men have to adhere to all codes in Pashtunwali to maintain

their honor and respectively be called masculine. That is why Pashtunwali plays a

significant role in the life of Pashtuns. Kakar (2008: 1) states “once a man

disobeys the codes in Pashtunwali, he is no longer considered a Pashtun, and is

not given the rights, protection, and support of the Pashtun community.” The

significance of Pashtunwali is infused in the very blood of a Pashtun. A man has

to follow Pashtunwali if he wants to be honored and called as a Pashtun.

Salimswati (2005) in “Pashtun and Pashtunwali” states “many say that even if

someone is born an ethnic Afghan, that person is not a Pashtun unless he lives

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believed by the other tribes. The fact that Pashtun is the biggest tribe in

Afghanistan makes Pashtunwali become such an ideal among all Afghans.

Therefore, not only Pashtun men, but also Afghan men follow Pashtunwali to

achieve masculinity. Background Brief states that

The most important code is called Pashtunwali, which means the way of the Pashtuns. Although associated with the country’s largest ethcnic group, it represents a general ideological framework underpinning social behavior among all Afghans (2007: 5).

There are 10 main codes in Pashtunwali as described by the UK Defense

Forum (2006: 1) in their “RS 48 Pushtunwali – Afghanistan’s Cultural

Background.”

The Pushtunwali is based on 10 main principles: Melmastia (hospitality and protection to every guest); Nanawati (the right of a fugitive to seek refuge, and acceptance of his offer of peace when earnestly meant); Badal (the right of blood feuds or revenge); Turah (bravery); Sabat (steadfastness); Imandari (righteousness); ‘Isteqamat (persistence); Nang (honor); Ghayrat (dignity); and Namus (defence of women).

Those codes encourage Pashtun men to behave as required by Pashtunwali

towards everything and to everybody. Pashtun men rely on the codes in

Pashtunwali to maintain their honor as Afghan men because they really believe

that without honor, their lives are not worth living. Therefore, it can be concluded

that Pashtunwali is the Pashtuns’ code of conduct, honor, and manliness. The

writer will try to reveal the concept of masculinity depicted in the character and

the setting by relating those elements to Pashtunwali. In this study, the writer will

not use all the ten codes in Pashtunwali. Instead, the writer will only talk about

nang, melmastya, turah, namus, and ghayrat because those five codes are ones

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1. Nang (honor)

Nang, as described by Globalsecurity.com in “Pashtunwali/Pashtunwaali”,

is “the foremost in this code. Without honor, life for a Pashtun is not worth

living.” Further, as stated by Worldingo.com in “Pashtunwali”, “nang has great

importance in Pushtun society and most other edicts and codes of life are aimed

towards the preservation of one’s honor.” Nang is significant in Pashtunwali since

it is used to determine if a man is masculine or not. Pashtun.org in ‘About

Pashtuns’ states “Manliness is defined by one’s ability to protect his honor.” The

quotation implies that Pashtun men are required to prove their ability to maintain

their honor. Once they succeed, they will be called masculine. Maintaining honor

can be done by carrying out the other codes that follow.

2. Melmastya (hospitality)

Another code in Pashtunwali is melmastya which literally means

hospitality. Global Security states “The commensalism of melmastya is a means

of showing respect, friendship, and alliance to every guest. It is a complex

etiquette surrounds the serving of the guests.”

Further, Background Brief (2007: 5) states that

Afghans place great emphasis on the provision of hospitality and generosity. A refusal to provide or accept hospitality is likely to cause serious offence, and in any social situation it is important not to refuse food, tea, or gifts offered by Afghan hosts.

Pashtuns strongly believe that making their guests happy means making God

happy. There is a Pashtun proverb decribing what they believe as described by

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3. Turah (bravery)

Turah in Pashtunwali means bravery. There are some different names such

as tura and tureh. Nevertheless, the meanings are the same. Globalsecurity.com

states “Tura requires Pashtuns to answer a plea for help even if it involves risking

their own life.” Pashtuns have the obligation to stand for what is right and against

their enemies. Socyberty.com (2010) states “A Pashtun should bravely stand

against tyranny. And he should always defend the honour of his name.”

4. Namus (defence of women)

Socyberty.com (2010) states “A Pashtun will defend the honor of Pashtun

women with all his might, from any harm…vocal or physical.” Maintaining

namus is an obligation for all Pashtuns as Background Brief (2007: 6) states that

“The need to protect the virtue of females is a duty of all, since the deleterious

implications of any transgression impact on all members of a family.” The notion

namus is closely related to honor. Therefore, by protecting females from any

harm, Pashtun men at the same time maintain their honor.

5. Ghayrat (dignity)

The last code described in this part is ghayrat. Ghayrat literally means

dignity. Socyberty.com (2010) states that Pashtuns painstakingly maintain their

dignity. Dignity is to be preserved. Furthermore, Wapedia.com in their article

entitled ‘Pashtunwali’ states “Pashtuns must maintain their human dignity.

Respect begins at home, among family members and relatives.” Ghayrat (dignity)

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will be proud of, while ghayrat is the condition which is required to succeed in

maintaining nang.

Based on the theories, the writer concludes that nang (honor) is the most

important code in Pashtunwali since Pashtuns clearly believe that their lives will

be worthless without it. It is concluded that nang stands as both the base and the

goal for Pashtuns. It stands as the base for they perform the other codes in

Pashtunwali because they have such an honor in themselves. It stands as the goal

for they act the other codes out in order to succeed maintaining their honor.

E. Theoretical Framework

In analyzing this study, firstly, the character of Baba is studied by using

the theory of character. As soon as it is done, the first problem formulated is

answered. Secondly, by using the theory of setting, the writer will see how the

setting, particularly the setting of circumstances, in The Kite Runner is described.

Finally, the theories of masculinity and Pashtunwali are combined to analyze how

the concept of masculinity is revealed in the character of Baba and the setting of

circumstance. It is started by the understanding of the concept of masculinity in

general. Then, it is continued by paying a closer attention to the concept of

masculinity described in the codes of Pashtunwali since Baba is a Pashtun man

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CHAPTER III METHODOLOGY

A. Object of the Study

The object of this study is a novel entitled The Kite Runner by Khaled

Hosseini. Khaled Hosseini was born in Kabul, Afghanistan and moved to the

United States in 1980. The Kite Runner is his first novel and it is the first Afghan

novel written in English as well. It was first published in 2003. It consists of 340

pages and 25 chapters. The version used in this study was published by

Bloomsbury Publishing, London. The Kite Runner is an international bestseller

and published in thirty-four countries. It has made into a box-office movie

directed by Marc Foster in 2008.

The novel tells the story of Amir, a Pashtun boy who lives with his father,

Baba who has a high standard of the so called masculinity. Amir always idolizes

Baba for his manliness and respectively Baba always teaches Amir to be manly,

brave, courageous, and tough. By reading The Kite Runner, people can see that the

concept of masculinity in Afghanistan is more complex than the general concept

of masculinity since it involves Pashtunwali, the code of conduct and behavior for

Pashtun men.

B. Approach of the Study

In this study, the writer chooses to use socio cultural-historical approach as

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cultural-historical approach sees a literary work as a representation of the matters that it

represents. It includes the historical aspect and/or the times when the characters

live. Guerin in A Handbook of Critical Approaches to Literature (2005: 22) states

that this approach sees a literary work chiefly, if not exclusively, as a reflection of

its author’s life and times or the life and times of the characters in the work.

Since this study aims at explaining the concept of masculinity seen in the

character and the setting, socio cultural-historical approach is the proper approach.

By looking at the concept of Pashtunwali in Afghanistan, the concept of

masculinity revealed in the character and the setting can be traced.

C. Method of the Study

This undergraduate thesis used library research as the method of the study.

There are two kinds of sources that were used in this study. They were primary

and secondary sources. The primary source was a novel entitled The Kite Runner

by Khaled Hosseini. The secondary sources were some studies on the novel from

undergraduate theses, books, online articles, and dissertations about theories to

support the analysis.

The writer applied some research procedures which were divided into

some steps to conduct the analysis. The first step was reading the novel in detail

and some studies on the novel to discover a new and original topic to be discussed

in this study.

The second step was analyzing the problem formulations stated in the first

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theory of character and characterization was used. By using the theory of

character by Murphy, the writer tried to find Baba’s characteristics through his

personal description, speech, past life, reaction, character as seen by other

characters, conversation with others, thought, and mannerism. The second

problem formulation is about the setting of circumsyance in The Kite Runner. The

writer tried to reveal the setting, particularly the setting of circumstance and its

significance in the novel based on the theories of setting. The last problem

formulation was answered by analyzing the concept of masculinity based on

Pashtunwali. Firstly, the writer tried to define the concept of masculinity believed

in Afghanistan. In doing so, the writer explained that Pashtun men’s concept of

masculinity is so much influenced by Pashtunwali by combining theories of

masculinity and Pashtunwali. Then, the concept of masculinity influenced by

Pashtunwali was combined with the events happened in the novel to reveal how

the character of Baba and the setting can reveal the concept of masculinity based

on Pashtunwali.

The final step of this study is drawing a conclusion. It was done by

summarizing the answers of each problem formulation and highlighting the

important points of the result.

 

 

 

 

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CHAPTER IV ANALYSIS

This study concerns on the character and the setting in the novel that

reveal the concept of masculinity based on Pashtunwali. The discussion will be

divided into three parts based on the problems formulated in chapter I. Firstly, this

study will analyze the minor character’s characteristics. Secondly, this study will

identify the setting of circumstance in the novel. Lastly, it will discuss the concept

of masculinity based on Pashtunwali revealed in the character of Baba and the

setting of circumstance. In the first part of the analysis, the writer will apply the

theory of character and characterization by Murphy to grasp how the minor

character is depicted. In the second problem formulation, the writer will combine

some theories of setting to comprehend how the setting of circumstance is

described.

In the last part of the analysis, the writer will combine some theories of

masculinity, Pashtuns, and Pashtunwali to see how masculinity according to

Pashtunwali believed by the Pashtuns is revealed in the character of Baba and the

setting of circumstance in The Kite Runner. Firstly, the writer will define

masculinity in general compiling Grodan’s theory and Pilcher and Whelehan’s

theory and masculinity according to Pashtunwali in Afghanistan. The writer will

underline the concept of masculinity required and believed by the Pashtuns

according Pashtunwali. Next, the writer will relate Baba’s characteristics to the

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Pashtunwali is revealed in the character of Baba. Lastly, the writer will relate the

setting of circumstance in The Kite Runner to the codes in Pashtunwali to prove

that the concept of masculinity based on Pashtunwali is revealed in the setting of

circumstance.

A. The Characteristics of Baba

In Hosseini’s The Kite Runner, Baba is not a major character. The major

character is Amir, Baba’s son. Nonetheless, there is a significant reason on why

the writer chooses the character of Baba to be analyzed. The reason is that Baba is

the only character who acts upon the concept of masculinity based on

Pashtunwali. Baba’s acting upon the concept masculinity based on Pashtunwali is

shown in what he says, what he thinks about, how he treats Amir, and what others

say about him.

Murphy (1972: 161-173) states that there are nine ways to observe a

character. Those nine ways are personal description, character as seen by another,

speech, past life, conversation of other characters, reactions, direct comment,

thoughts, and mannerism. Some methods are applied to understand Baba’s

characteristics. The methods used in this undergraduate thesis are character as

seen by another, speech, conversation of other characters, reactions, thoughts, and

mannerism. Since the narrator of the novel is Amir, Baba’s characteristics will be

observed from Amir’s point of view. His characteristics will respectively reveal

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1. Determined

Baba always does his best when he desires something. He never let

himself discouraged just because people look down upon his ability to succeed.

When he has already set his goals, Baba will do whatever it takes to achieve the

goals. Baba will always make the impossible possible. It can be seen when Baba

intends to build an orphanage. Baba, who has no skill in architecture, insists on

making the blueprints himself. He does not take people’s comments on how

foolish he is into account. He keeps on managing the blueprints by himself.

In the late 1960s, when I was five or six, Baba decided to build an orphanage…Baba had drawn the blueprints himself despite the fact that he’d had no architectural experience at all. Skeptics had urged him to stop his foolishness and hire an architect. Of course, Baba refused, and everyone shook their heads in dismay at his obstinate ways. Then Baba succeeded and everyone shook their heads in awe at his triumphant ways (Hosseini, 2004: 13).

Before building the orphanage, Baba spends most of his time by running

his business just as typical businessmen. By successfully running the business,

Baba has proven that people’s underestimation of his not being a businessman is

amiss. People suggest Baba to study law since he is a son to a famous judge.

Baba, with his own way, ignores them and does his best to prove that he has made

a right decision. The evidence of Baba’s being determined can be seen in Baba’s

reaction toward the skeptics.

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Baba’s determination leads him being a wealthy and successful man. As

already stated in the previous quotation, Baba becomes a rich person because of

his running his business successfully. Therefore, he can live a very decent life and

build a beautiful house. The evidence of Baba’s wealth can be found in the way

Amir describes it.

Everyone agreed that my father, my Baba, had built the most beautiful house in the Wazir Akbar Khan district, a new and affluent neighborhood in the northern part of Kabul. Some thought it was the prettiest house in all Kabul. A broad entryway flanked by rosebushes led to the sprawling house of marble floors and wide windows. Intricate mosaic tiles, handpicked by Baba in Ishafan, covered the floors of the four bathrooms. Gold-stitched tapestries, which Baba had bought in Calcutta, lined the walls; a crystal chandelier hung from the vaulted ceiling (Hosseini, 2004: 4).

2. Success-Oriented

In The Kite Runner, another character sees Baba as a success-oriented

person. Baba’s being success-oriented can be observed in the conversation

between Baba and Amir. All of a sudden, Baba switches their casual conversation

about how wolves behave in the winter into a kite-fighting tournament that Amir

is going to join in four more days. Baba implicitly asks Amir to win the

tournament. He does not really care if his expectation depresses Amir because

Baba only cares about success. For Baba, success means winning the game like he

always does. He indoctrinates his idea about success to Amir without considering

Amir’s ability.

. . . “I think maybe you’ll win the tournament this year. What do you think?”

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won because winners won and everyone else just went home. Baba was used to winning, winning everything he set his mind to (Hosseini, 2004: 52).

Baba always pays a huge respect for success. That is why he becomes

kinder and nicer to Amir after Amir wins the kite-fighting tournament. Baba used

to be cold and not attentive toward Amir’s stories and requests. He often refuses

Amir when Amir wants a father-and-son time. Nonetheless, after Amir becomes

the winner of the tournament, Baba mainly agrees to everything Amir asks. Baba

even initiatively offers Amir to have some fun, which is something he never does

before Amir’s being successful. The evidence appears in Baba’s reaction toward

Amir’s requests.

That night I asked Baba if we could go to Jalalabad on Friday . . .

“Why not!” he said. Lately, Baba agreed to everything I asked. Not only that, just two nights before, he’d asked me if I wanted to see El Cid with Charlton Heston at Cinema Aryana (Hosseini, 2004: 76).

As stated before, Baba always considers success as a tremendous thing. Baba

turns to be a better father after Amir wins the kite-fighting tournament. After

Amir’s winning the tournament, Baba provides more father-and-son time that

Amir longs for. Baba even asks Amir to read some of his stories. It is something

Baba never does before Amir wins the kite-fighting tournament. The evidence

appears in Baba’s mannerism to Amir.

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Baba’s high appreciation of Amir’s success also appears when they are on

the way to Jalalabad. Baba is driving his car with Amir and some relatives. During

the trip, Baba cannot stop talking about how Amir wins the kite-fighting

tournament. Baba sounds proud of Amir because Amir has brought success to

him. That Baba cannot stop talking about Amir’s success shows that Baba cares

about success that much. The evidence of Baba’s telling his relatives about Amir’s

success can be found in Baba’s speech.

“I was just telling everyone about the tournament,” Baba said from behind the wheel . . . “There must have been a hundred kites in the sky that day?” Baba said. “Is that about right, Amir?” . . . “A hundred kites, Homayoun jan, No laaf. And the only one still flying at the end of the day was Amir’s. He has the last kite at home, a beautiful blue kite . . .” (Hosseini, 2004: 78).

3. Courageous

Baba is also depicted as a man having a great courage. When he was

young, Baba fought a bear without using any weapons. No one dared to doubt that

story. It shows that people do admit Baba’s courage. The evidence of Baba’s

courage is shown in Baba’s past life.

Lore has it my father once wrestled a black bear in Baluchistan with his bare hands. If the story had been about anyone else, it would have been dismissed as laaf, that Afghan tendency to exaggerate – sadly almost national affliction . . . But no one ever doubted the veracity of any story about Baba. And if they did, well, Baba did have those three parallel scars coursing a jagged path down his back (Hosseini, 2004: 12).

The significant event showing Baba’s being courageous happens when

Baba and Amir are on the way to escape from Kabul to Jalalabad with the other

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man named Karim because they pay a big amount of money. On the way, they are

stopped by an Afghan soldier and a Russian Soldier. For their bad luck, the

Russian soldier will only let the truck pass on one condition. The Russian soldier

wants a half hour with one of the female passengers in the back of the truck. Baba,

who fully realizes that the soldier has a gun, stands up to defend the poor

woman’s honor. It can be seen in Baba’s reaction as follows.

That was when Baba stood up. It was my turn to clamp a hand on his thigh, but Baba pried it loose, snatched his leg away. When he stood, he eclipsed the moonlight. “I want you to ask this man something,” Baba said. He said it to Karim, but looked directly at the Russian officer. “Ask him where his shame is.” (Hosseini, 2004: 107).

Karim tells what Baba has said to the Russian soldier and the Russian soldier still

insists on having a half hour with the Afghan lady. Nonetheless, Baba does not

lose any of his courage. The evidence appears in Baba’s speech.

They spoke. “He says this is war. There is no shame in war.”

“Tell him he’s wrong. War doesn’t negate decency. It demands it, even more than in times of peace.” (Hosseini, 2004: 107).

As it has not been enough to endanger his life yet, Baba persists defending the

Afghan lady’s honor even when the Russian soldier has threatened Baba with his

gun. That the Russian soldier will undoubtedly shoot him if he remains

constraining the Russian’s desire does not stop Baba to stand up for the Afghan

lady. Baba’s being courageous can be seen in Baba’s conversation with Karim, as

the translator for the Russian soldier.

The Russian soldier said something to Karim, a smile creasing his lips. “Agha sahib,” Karim said, “these Roussi are not like us. They know nothing about respect, honor.”

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“He says he’ll enjoy putting a bullet in you almost as much as . . .” Karim trailed off, but nodded his head toward the young woman who had caught the guard’s eye . . .

“Tell him I’ll take a thousand of his bullets before I let this indecency take place,” Baba said (Hosseini, 2004: 107).

Amir, seeing that situation can be much worse, tries to prevent Baba from being

such a hero. Nevertheless, to his courageous nature, Baba ignores Amir and he

even dares to threaten the Russian soldier with such harsh voice tone and diction.

By doing so, Baba surely realizes that he might put his life in danger, but it does

not stop him. It underlines his being courageous even in the most dangerous

situation. The evidence lies in Baba’s reaction and speech.

“Baba, sit down please,” I said, tugging at his sleeve. “I think he really means to shoot you.”

Baba slapped my hand away. “Haven’t I taught you anything?” he snapped. He turned to the grinning soldier. “Tell him he’d better kill me good with that first shot. Because if I don’t go down, I’m tearing him to pieces, goddamn his father!” (Hosseini, 2004: 108).

4. Hospitable

Baba always behaves as a man who understands hospitality. When Amir is

going to celebrate his thirteenth birthday in 1976, Baba arranges such a big party

bash with the best food, entertainment, and service for the guests. He caters the

guests only with the best food and he entertains the guests only with the best

music from a famous Afghan singer named Ahmad Zahir. He also arranges his

house to make it comfortable. In Amir’s birthday celebration, Baba puts his best

effort to please the guests. The guests, feeling delightful and content, express their

being content by dancing and chatting. The evidence appears in Amir’s thought of

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I guess in most ways, or at least in the ways in which parties are judged, my birthday bash was a huge success. I’d never seen the house so packed. Guests with drinks in hand were chatting in the hallways, smoking on the stairs, leaning against the doorways . . . In the backyard, they mingled under the glow of blue, red, and green lights winking in the trees, their faces illuminated by the light of kerosene torches propped everywhere. Baba had had a stage built on the balcony that overlooked the garden and planted speakers throughout the yard. Ahmad Zahir was playing an accordion and singing on the stage over masses of dancing bodies (Hosseini, 2004: 88).

Amir seems not to enjoy the crowd as much as Baba. Nevertheless, Baba

tells Amir to be polite and friendly to all the guests, even to those whom Amir has

not known before. Baba teaches Amir to be a hospitable person like him. Having

such a son who does not master hospitability is something Baba cannot cope with

since he is a hospitable man himself. Baba teaches Amir how to interact with the

guests and thank them for their presents according to their Afghan culture to show

hospitality. The evidence is seen in Amir’s thought below.

I had to greet each of guests personally – Baba made sure of that; no one was going to gossip the next day about how he’d raised a son with no manners. I kissed hundreds of cheeks, hugged total strangers, thanked them for their gifts. My face ached from the strain of my plastered smile (Hosseini, 2004: 88).

When it comes for Amir to greet Assef, his enemy, Amir cannot hide his

reluctance since he cannot forget how bad Assef’s behavior to him when Baba is

not present. Therefore, it is Baba who initiates a conversation with Assef. Amir

does not even make a move to accept Assef’s gift and thank him for the gift. Baba

has to remind him to do what he is supposed to do. That Amir does not indicate

any signal of hospitality to Assef is embarrassing for Baba. His embarrassment

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hospitality principle very much. Baba’s disappointment at Amir’s not being

hospitable is seen in Baba’s reaction and speech.

“Aren’t you going to take it, Amir?” Baba was saying. “Huh?”

“Your present,” he said testily. “Assef jan is giving you a present.” “Oh,” I said. I took the box from Assef and lowered my gaze . . . “Well?” Baba said.

“What?”

Baba spoke in a low voice, the one he took on whenever I embarrassed him in public. “Aren’t you going to thank Assef jan? That was very considerate of him.” (Hosseini, 2004: 90).

5. Generous

In The Kite Runner, Baba is depicted as a wealthy man. As stated

previously, he is one of the richest merchants in Kabul and owns a

carpet-exporting business, two pharmacies, and a restaurant (Hosseini, 2004: 15). He

also has the most beautiful house in a new neighborhood in the northern part of

Kabul (Hosseini, 2004: 4). Baba does not spend his money only for arranging

extravagant parties such as birthday party for Amir. In fact, he also spends his

money for helping the unfortunates. Baba even manages to build an orphanage.

As stated in the previous part, Baba insists on drawing the blueprints himself. He

gives his best time and effort for the orphanage. His generosity has not been ended

yet at that point. He pays everything related to the orphanage construction with his

own money without asking any donators to help him. His act of building and

funding the orphanage reveals his generosity. The evidence of Baba’s being

generous can be seen through conversation of Amir and Rahim Khan, Baba’s best

(49)

Baba paid for the construction of the two-story orphanage, just off the main strip of Jadeh Maywand south of the Kabul River, with his own money. Rahim Khan told me Baba had personally funded the entire project, paying for the engineers, electricians, plumbers, and laborers, not to mention the city official whose “mustaches needed oiling.” (Hosseini, 2004: 13).

Baba also often spends his money for helping his neighbors who face

financial problems. He lends his money for Salahuddin, a butcher and

Del-Muhammad, a kabob restaurant owner when they need some money for their

business. Baba never expects anything from his being generous. He does not even

ask Salahuddin and Del-Muhammad to repay their loan. Del-Muhammad, or

known as Dello, has to insist to stay in Baba’s driveway just to make Baba take

his money to repay his loan. Salahuddin has to find his own way to repay his loan.

He finally decides to provide foods and service for Amir’s birthday party. Here,

Baba shows his role as a generous and helpful figure in his society. His being

generous can be seen in conversation of other characters, Amir and Rahim Khan,

below.

(50)

B. The Setting of Circumstance in Khaled Hosseini’s The Kite Runner

The second part of the analysis will be the analysis about the setting in

Khaled Hosseini’s The Kite Runner. Here, the writer will combine some theories

of setting to finally get the most suitable one that suits what the writer needs.

Setting is the general locale, historical time, and social circumstances (Abrams,

1993: 192). In this part of the analysis, the writer will focus on the social

circumstances.

The social circumstances can be defined as the society which is mostly

taken in the novel and shows a social condition of people who live there (Harvey,

1965: 56). Further, the whole environment itself includes the customs, traditions,

habits, and characters’ view of life (Hudson, 1960: 158). In addition, the writer

also uses one of four elements that form setting in a story by Holman which is

“The general environment of the characters, for example, religion, mental, moral,

social and emotional condition of the characters” (1986: 465). Here, the setting in

The Kite Runner will be analyzed from the customs, traditions, habits, religion,

and moral conditions of the characters. Therefore, in this part, the writer will not

focus on the setting of time and place. The fact that the story takes place both in

Afghanistan and America does not matter because the writer will observe the

circumstance which has already been described in the previous lines. Merrill,

Paxson, and Tobey in An Introduction to Afghanistan Culture state “Afghan

culture is rich in social customs. Afghans tend to be very social and ties among

families and friends are very strong” (2006: 10). The Afghan culture as described

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