Welcome to Seneca Revision Notes

1.1.1Background to the Author - Ian McEwan

1.1.2Settings & Historical Context of Atonement

1.1.3Social Issues Raised in Atonement

1.2.1Atonement as a Crime Text

2.1.1Chapter 1: Key Events

2.1.2Chapter 1: Key Themes

2.2.1Chapter 2: Key Events

2.2.2Chapter 2: Key Themes

2.3.1Chapter 3: Key Events

2.3.2Chapter 3: Key Themes

2.4.1Chapter 4: Key Events

2.4.2Chapter 4: Key Themes

2.5.1Chapter 5: Key Events

2.5.2Chapter 5: Key Themes

2.6.1Chapter 6: Key Events & Themes

2.7.1Chapter 7: Key Events

2.7.2Chapter 7: Key Themes

2.8.1Chapter 8: Key Events

2.8.2Chapter 8: Key Themes

2.9.1Chapter 9: Key Events

2.9.2Chapter 9: Key Themes

2.10.1Chapter 10: Key Events

2.10.2Chapter 10: Key Themes

2.11.1Chapter 11: Key Events

2.11.2Chapter 11: Key Themes

2.12.1Chapter 12: Key Events

2.12.2Chapter 12: Key Themes

2.13.1Chapter 13: Key Events

2.13.2Chapter 13: Key Themes

2.14.1Chapter 14: Key Events

2.14.2Chapter 14: Key Themes

3.1.1Pages 191-201: Key Events

3.1.2Pages 191-201: Key Themes

3.2.1Pages 202-213: Key Events

3.2.2Pages 202-213: Key Themes

3.3.1Pages 214-226: Key Events

3.3.2Pages 214-226: Key Themes

3.4.1Pages 226-234: Key Events

3.4.2Pages 226-234: Key Themes

3.5.1Pages 234-246: Key Events

3.5.2Pages 234-246: Key Themes

3.6.1Pages 246-254: Key Events

3.6.2Pages 246-254: Key Themes

3.7.1Pages 254-265: Key Events

3.7.2Pages 254-265: Key Themes

4.1.1Pages 269-277: Key Events

4.1.2Pages 269-277: Key Themes

4.2.1Pages 277-286: Key Events

4.2.2Pages 277-286: Key Themes

4.3.1Pages 287-315: Key Events

4.3.2Pages 287-315: Key Themes

4.4.1Pages 315-327: Key Events

4.4.2Pages 315-327: Key Themes

4.5.1Pages 328-349: Key Events

4.5.2Pages 328-349: Key Themes

5.1.1Pages 353-371: Key Events

5.1.2Pages 353-371: Key Themes

6.1.1Overview of Briony's Character

6.1.2Briony in Part One

6.1.3Briony in Part Three & Four

6.2.1Overview of Robbie's Character

6.2.2Robbie in Part One

6.2.3Robbie in Part Two & Three

6.3.1Cecilia in Part One

6.3.2Cecilia in Part Three

6.4.1Overview of Lola Quincey

6.4.2Lola Relationship with Marshall

6.5.1Overview of Paul Marshall

6.5.2Paul Marshall's Relationship with Lola

6.5.3Paul Marshall's Power

6.6.1Overview of Emily Tallis

6.6.2Emily Tallis' Character

7.1.1Common Themes in Crime Texts

7.2.1Crimes in Atonement

7.2.2Structural Patterning & Ambiguity in Crime Texts

7.3.1Paul Marshall & Lola as Criminals

7.3.2Narrative Point of View in Crime Texts

7.4.1Lola, Robbie & Cecilia as Victims

7.4.2Females Victims & Social Class in Crime Texts

7.5.1Detection in Atonement

7.5.2Detection in Crime Texts

7.6.1Settings in Atonement

7.6.2Symbolism of Settings in Crime Texts

7.7.1Marshall & Briony Escaping Punishment

7.7.2Guilt & Punishment in Crime Texts

8.1.1Overview of Structure

8.1.2Metanarrative, Circular Structure & Ending

8.1.3Manipulation of Time

8.2.1Narrative Perspective

8.2.2Genre

8.3.1Symbolism of the Vase & Amo Bar

8.4.1Focalising Through Briony & Robbie

9.1.1The Summer of 1935

9.1.2Dunkirk, 1940

9.1.3London, 1940

9.2.1Social Class

9.2.2The Role of Women in the 1930/40s

9.3.1Literary Genres & Atonement

10.1.1Introduction to Marxist Literary Criticism

10.1.2Marxist Readings: Importance of Social Class

10.1.3Marxist Reading: Capitalist Exploitation & War

10.2.1Introduction to Feminist Literary Criticism

10.2.2Feminist Readings: Gender Roles & Stereotypes

10.2.3Feminist Readings: Marriage & Family

10.2.4Feminist Readings: Male & Female Sexuality