3.6.1

Pages 246-254: Key Events

Test yourself on Pages 246-254: Key Events

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Key Events in Pages 246-254: Arrival at Dunkirk

The men arrive at Dunkirk in a state of exhaustion. There are chaotic scenes on the beach as troops wait for rescue.

Fight in the bar

Fight in the bar

Robbie and the two corporals go to a bar where they rescue an RAF man from a violent confrontation.
The soldiers take out their frustrations with the RAF for a lack of air cover on the man in the bar. As animosity grows, all their other frustrations boil to the surface.

Quotation: mob mentality in bar

Quotation: mob mentality in bar

“They laughed at his comic yelp. They hated him and he deserved everything that was coming his way. He was answerable for the Luftwaffe’s freedom of the skies, for every Stuka attack, every dead friend” (p251).

Danger of a **"lynching"**

Danger of a "lynching"

McEwan provides us with an insight into the mentality of a mob with its growing list of grievances which become ever more personal.
There is a genuine danger of a “lynching” with even Robbie feeling the temptation to get involved: “Turner understood the exhilaration among the tormentors and the insidious way it could claim him” (p251).
Grief, trauma, anger and frustration are all ready to erupt in an act of violence.

1

Introduction to Atonement

1.1

Introduction & Background to Atonement

1.1.1Background to the Author - Ian McEwan 1.1.2Settings & Historical Context of Atonement 1.1.3Social Issues Raised in Atonement

1.2

Focus of Your Exam: Crime Texts

1.2.1Atonement as a Crime Text

2

Chapter Summaries & Analysis: Part One

2.1

Chapter 1

2.1.1Chapter 1: Key Events 2.1.2Chapter 1: Key Themes

2.2

Chapter 2

2.2.1Chapter 2: Key Events 2.2.2Chapter 2: Key Themes

2.3

Chapter 3

2.3.1Chapter 3: Key Events 2.3.2Chapter 3: Key Themes

2.4

Chapter 4

2.4.1Chapter 4: Key Events 2.4.2Chapter 4: Key Themes

2.5

Chapter 5

2.5.1Chapter 5: Key Events 2.5.2Chapter 5: Key Themes

2.6

Chapter 6

2.6.1Chapter 6: Key Events & Themes

2.7

Chapter 7

2.7.1Chapter 7: Key Events 2.7.2Chapter 7: Key Themes

2.8

Chapter 8

2.8.1Chapter 8: Key Events 2.8.2Chapter 8: Key Themes

2.9

Chapter 9

2.9.1Chapter 9: Key Events 2.9.2Chapter 9: Key Themes

2.10

Chapter 10

2.10.1Chapter 10: Key Events 2.10.2Chapter 10: Key Themes

2.11

Chapter 11

2.11.1Chapter 11: Key Events 2.11.2Chapter 11: Key Themes

2.12

Chapter 12

2.12.1Chapter 12: Key Events 2.12.2Chapter 12: Key Themes

2.13

Chapter 13

2.13.1Chapter 13: Key Events 2.13.2Chapter 13: Key Themes

2.14

Chapter 14

2.14.1Chapter 14: Key Events 2.14.2Chapter 14: Key Themes

3

Chapter Summaries & Analysis: Part Two

3.1

Pages 191-201: To the Farmhouse

3.1.1Pages 191-201: Key Events 3.1.2Pages 191-201: Key Themes

3.2

Pages 202-213: The Night in the Barn

3.2.1Pages 202-213: Key Events 3.2.2Pages 202-213: Key Themes

3.3

Pages 214-226: The Attack

3.3.1Pages 214-226: Key Events 3.3.2Pages 214-226: Key Themes

3.4

Pages 226-234: Robbie's Reflections

3.4.1Pages 226-234: Key Events 3.4.2Pages 226-234: Key Themes

3.5

Pages 234-246: To the Bridge over the Canal

3.5.1Pages 234-246: Key Events 3.5.2Pages 234-246: Key Themes

3.6

Pages 246-254: Arrival at Dunkirk

3.6.1Pages 246-254: Key Events 3.6.2Pages 246-254: Key Themes

3.7

Pages 254-265: To the Cellar

3.7.1Pages 254-265: Key Events 3.7.2Pages 254-265: Key Themes

4

Chapter Summaries & Analysis: Part Three

4.1

Pages 269-277: London, 1940

4.1.1Pages 269-277: Key Events 4.1.2Pages 269-277: Key Themes

4.2

Pages 277-286: Briony as Writer

4.2.1Pages 277-286: Key Events 4.2.2Pages 277-286: Key Themes

4.3

Pages 287-315: Victims of War

4.3.1Pages 287-315: Key Events 4.3.2Pages 287-315: Key Themes

4.4

Pages 315-327: Lola & Paul Marshall’s Wedding

4.4.1Pages 315-327: Key Events 4.4.2Pages 315-327: Key Themes

4.5

Pages 328-349: The Visit

4.5.1Pages 328-349: Key Events 4.5.2Pages 328-349: Key Themes

5

Chapter Summaries & Analysis: Part Four

5.1

Epilogue: London, 1999 - Pages 353-371

5.1.1Pages 353-371: Key Events 5.1.2Pages 353-371: Key Themes

6

Key Character Profiles

6.1

Briony Tallis

6.1.1Overview of Briony's Character 6.1.2Briony in Part One 6.1.3Briony in Part Three & Four

6.2

Robbie Turner

6.2.1Overview of Robbie's Character 6.2.2Robbie in Part One 6.2.3Robbie in Part Two & Three

6.3

Cecilia Tallis

6.3.1Cecilia in Part One 6.3.2Cecilia in Part Three

6.4

Lola Quincey

6.4.1Overview of Lola Quincey 6.4.2Lola Relationship with Marshall

6.5

Paul Marshall

6.5.1Overview of Paul Marshall 6.5.2Paul Marshall's Relationship with Lola 6.5.3Paul Marshall's Power

6.6

Emily Tallis

6.6.1Overview of Emily Tallis 6.6.2Emily Tallis' Character

7

Key Themes

7.1

Introduction to Crime Texts

7.1.1Common Themes in Crime Texts

7.2

Crimes in Atonement

7.2.1Crimes in Atonement 7.2.2Structural Patterning & Ambiguity in Crime Texts

7.3

Criminals in Atonement

7.3.1Paul Marshall & Lola as Criminals 7.3.2Narrative Point of View in Crime Texts

7.4

Victims in Atonement

7.4.1Lola, Robbie & Cecilia as Victims 7.4.2Females Victims & Social Class in Crime Texts

7.5

Detection in Atonement

7.5.1Detection in Atonement 7.5.2Detection in Crime Texts

7.6

Settings in Atonement

7.6.1Settings in Atonement 7.6.2Symbolism of Settings in Crime Texts

7.7

Guilt & Punishment in Atonement

7.7.1Marshall & Briony Escaping Punishment 7.7.2Guilt & Punishment in Crime Texts

8

Writing Techniques

8.1

Structure

8.1.1Overview of Structure 8.1.2Metanarrative, Circular Structure & Ending 8.1.3Manipulation of Time

8.2

Form

8.2.1Narrative Perspective 8.2.2Genre

8.3

Symbols & Motifs

8.3.1Symbolism of the Vase & Amo Bar

8.4

Language

8.4.1Focalising Through Briony & Robbie

9

Context

9.1

Historical Context

9.1.1The Summer of 1935 9.1.2Dunkirk, 1940 9.1.3London, 1940

9.2

Social Context

9.2.1Social Class 9.2.2The Role of Women in the 1930/40s

9.3

Literary Context

9.3.1Literary Genres & Atonement

10

Critical Debates

10.1

Marxist Literary Criticism

10.1.1Introduction to Marxist Literary Criticism 10.1.2Marxist Readings: Importance of Social Class 10.1.3Marxist Reading: Capitalist Exploitation & War

10.2

Feminist Literary Criticism

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

Jump to other topics

1

Introduction to Atonement

1.1

Introduction & Background to Atonement

1.1.1Background to the Author - Ian McEwan 1.1.2Settings & Historical Context of Atonement 1.1.3Social Issues Raised in Atonement

1.2

Focus of Your Exam: Crime Texts

1.2.1Atonement as a Crime Text

2

Chapter Summaries & Analysis: Part One

2.1

Chapter 1

2.1.1Chapter 1: Key Events 2.1.2Chapter 1: Key Themes

2.2

Chapter 2

2.2.1Chapter 2: Key Events 2.2.2Chapter 2: Key Themes

2.3

Chapter 3

2.3.1Chapter 3: Key Events 2.3.2Chapter 3: Key Themes

2.4

Chapter 4

2.4.1Chapter 4: Key Events 2.4.2Chapter 4: Key Themes

2.5

Chapter 5

2.5.1Chapter 5: Key Events 2.5.2Chapter 5: Key Themes

2.6

Chapter 6

2.6.1Chapter 6: Key Events & Themes

2.7

Chapter 7

2.7.1Chapter 7: Key Events 2.7.2Chapter 7: Key Themes

2.8

Chapter 8

2.8.1Chapter 8: Key Events 2.8.2Chapter 8: Key Themes

2.9

Chapter 9

2.9.1Chapter 9: Key Events 2.9.2Chapter 9: Key Themes

2.10

Chapter 10

2.10.1Chapter 10: Key Events 2.10.2Chapter 10: Key Themes

2.11

Chapter 11

2.11.1Chapter 11: Key Events 2.11.2Chapter 11: Key Themes

2.12

Chapter 12

2.12.1Chapter 12: Key Events 2.12.2Chapter 12: Key Themes

2.13

Chapter 13

2.13.1Chapter 13: Key Events 2.13.2Chapter 13: Key Themes

2.14

Chapter 14

2.14.1Chapter 14: Key Events 2.14.2Chapter 14: Key Themes

3

Chapter Summaries & Analysis: Part Two

3.1

Pages 191-201: To the Farmhouse

3.1.1Pages 191-201: Key Events 3.1.2Pages 191-201: Key Themes

3.2

Pages 202-213: The Night in the Barn

3.2.1Pages 202-213: Key Events 3.2.2Pages 202-213: Key Themes

3.3

Pages 214-226: The Attack

3.3.1Pages 214-226: Key Events 3.3.2Pages 214-226: Key Themes

3.4

Pages 226-234: Robbie's Reflections

3.4.1Pages 226-234: Key Events 3.4.2Pages 226-234: Key Themes

3.5

Pages 234-246: To the Bridge over the Canal

3.5.1Pages 234-246: Key Events 3.5.2Pages 234-246: Key Themes

3.6

Pages 246-254: Arrival at Dunkirk

3.6.1Pages 246-254: Key Events 3.6.2Pages 246-254: Key Themes

3.7

Pages 254-265: To the Cellar

3.7.1Pages 254-265: Key Events 3.7.2Pages 254-265: Key Themes

4

Chapter Summaries & Analysis: Part Three

4.1

Pages 269-277: London, 1940

4.1.1Pages 269-277: Key Events 4.1.2Pages 269-277: Key Themes

4.2

Pages 277-286: Briony as Writer

4.2.1Pages 277-286: Key Events 4.2.2Pages 277-286: Key Themes

4.3

Pages 287-315: Victims of War

4.3.1Pages 287-315: Key Events 4.3.2Pages 287-315: Key Themes

4.4

Pages 315-327: Lola & Paul Marshall’s Wedding

4.4.1Pages 315-327: Key Events 4.4.2Pages 315-327: Key Themes

4.5

Pages 328-349: The Visit

4.5.1Pages 328-349: Key Events 4.5.2Pages 328-349: Key Themes

5

Chapter Summaries & Analysis: Part Four

5.1

Epilogue: London, 1999 - Pages 353-371

5.1.1Pages 353-371: Key Events 5.1.2Pages 353-371: Key Themes

6

Key Character Profiles

6.1

Briony Tallis

6.1.1Overview of Briony's Character 6.1.2Briony in Part One 6.1.3Briony in Part Three & Four

6.2

Robbie Turner

6.2.1Overview of Robbie's Character 6.2.2Robbie in Part One 6.2.3Robbie in Part Two & Three

6.3

Cecilia Tallis

6.3.1Cecilia in Part One 6.3.2Cecilia in Part Three

6.4

Lola Quincey

6.4.1Overview of Lola Quincey 6.4.2Lola Relationship with Marshall

6.5

Paul Marshall

6.5.1Overview of Paul Marshall 6.5.2Paul Marshall's Relationship with Lola 6.5.3Paul Marshall's Power

6.6

Emily Tallis

6.6.1Overview of Emily Tallis 6.6.2Emily Tallis' Character

7

Key Themes

7.1

Introduction to Crime Texts

7.1.1Common Themes in Crime Texts

7.2

Crimes in Atonement

7.2.1Crimes in Atonement 7.2.2Structural Patterning & Ambiguity in Crime Texts

7.3

Criminals in Atonement

7.3.1Paul Marshall & Lola as Criminals 7.3.2Narrative Point of View in Crime Texts

7.4

Victims in Atonement

7.4.1Lola, Robbie & Cecilia as Victims 7.4.2Females Victims & Social Class in Crime Texts

7.5

Detection in Atonement

7.5.1Detection in Atonement 7.5.2Detection in Crime Texts

7.6

Settings in Atonement

7.6.1Settings in Atonement 7.6.2Symbolism of Settings in Crime Texts

7.7

Guilt & Punishment in Atonement

7.7.1Marshall & Briony Escaping Punishment 7.7.2Guilt & Punishment in Crime Texts

8

Writing Techniques

8.1

Structure

8.1.1Overview of Structure 8.1.2Metanarrative, Circular Structure & Ending 8.1.3Manipulation of Time

8.2

Form

8.2.1Narrative Perspective 8.2.2Genre

8.3

Symbols & Motifs

8.3.1Symbolism of the Vase & Amo Bar

8.4

Language

8.4.1Focalising Through Briony & Robbie

9

Context

9.1

Historical Context

9.1.1The Summer of 1935 9.1.2Dunkirk, 1940 9.1.3London, 1940

9.2

Social Context

9.2.1Social Class 9.2.2The Role of Women in the 1930/40s

9.3

Literary Context

9.3.1Literary Genres & Atonement

10

Critical Debates

10.1

Marxist Literary Criticism

10.1.1Introduction to Marxist Literary Criticism 10.1.2Marxist Readings: Importance of Social Class 10.1.3Marxist Reading: Capitalist Exploitation & War

10.2

Feminist Literary Criticism

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

Practice questions on Pages 246-254: Key Events

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1
What is the RAF man "answerable for", according to the angry mob (p251)?Fill in the list

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Pages 234-246: Key Themes

Pages 246-254: Key Themes