9.2.1

Social Class

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Social Class: The Tallises and Robbie

The Tallises are an upper-middle-class family with a level of inherited wealth. Jack Tallis is a senior civil servant working for the War Ministry in Whitehall. Emily sees to the day-to-day running of the house.

Illustrative background for Difference: Cecilia & RobbieIllustrative background for Difference: Cecilia & Robbie ?? "content

Difference: Cecilia & Robbie

  • Cecilia and Robbie have both been educated at Cambridge University but there is a marked difference in social class between them.
  • Grace Turner, Robbie’s mother, is the cleaning lady for the Tallises and cannot afford to send her son to university.
Illustrative background for Jack's financial supportIllustrative background for Jack's financial support ?? "content

Jack's financial support

  • Robbie needs the considerable financial support given to him by Jack Tallis to entertain the idea of studying Medicine.
  • Emily Tallis refers to her husband’s decision to fund Robbie’s studies as coming from “some levelling principle” (p151) whereby he wants to allow Robbie the opportunity to bridge the strict class divide which existed in English society at that time.
Illustrative background for Emily's class snobberyIllustrative background for Emily's class snobbery ?? "content

Emily's class snobbery

  • Emily considers her husband’s charitable behaviour as “meddling” (p151), suggesting that she is sceptical of this small challenge to the English social order.
  • She sees Robbie’s “elevation” (p152) in status as being “unfair” to her children, despite their being born into a life of privilege.
  • Emily’s class snobbery is also seen in the description of her treating the police officers as “menials” (p178).

Social Class: Class Prejudice & 'Old' vs 'New' Money

The suspicion which falls on Danny Hardman and Robbie can be seen as a reflection of class prejudice and the association of the lower classes with crime and immorality.

Illustrative background for Robbie's obscenity & 'ingratitude'Illustrative background for Robbie's obscenity & 'ingratitude' ?? "content

Robbie's obscenity & 'ingratitude'

  • Robbie’s use of an obscenity in his note to Cecilia is read as an indicator of his probable guilt.
  • Young Briony is outraged at Robbie’s ingratitude: “They had provided for all manner of pleasant things for him, the Tallis family…” (p158).
Illustrative background for Tension: old vs new moneyIllustrative background for Tension: old vs new money ?? "content

Tension: old vs new money

  • The tension between ‘old money’ and ‘new money’ is also explored in the relationship between the Tallises and Paul Marshall.
  • ‘Old money’, as represented by the Tallis family, often looked down on the ‘new money’ being made from manufacturing families such as the Marshalls.
Illustrative background for Presentation of Paul MarshallIllustrative background for Presentation of Paul Marshall ?? "content

Presentation of Paul Marshall

  • Paul Marshall, “the chocolate millionaire” (p26), is initially a rather comic figure, represented as being rather vulgar in the way he likes to brag about himself and his wealth.
  • The “gold case” (p175) from which he offers the police inspectors a cigarette is a sign of his ostentatiousness (i.e. willingness to make a public display of his wealth), as is his overly generous tip of five pounds that he gives to Danny Hardman.

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1Introduction to Atonement

1.1Introduction & 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

1.2Focus of Your Exam: Crime Texts

1.2.1Atonement as a Crime Text

2Chapter Summaries & Analysis: Part One

2.1Chapter 1

2.1.1Chapter 1: Key Events

2.1.2Chapter 1: Key Themes

2.2Chapter 2

2.2.1Chapter 2: Key Events

2.2.2Chapter 2: Key Themes

2.3Chapter 3

2.3.1Chapter 3: Key Events

2.3.2Chapter 3: Key Themes

2.4Chapter 4

2.4.1Chapter 4: Key Events

2.4.2Chapter 4: Key Themes

2.5Chapter 5

2.5.1Chapter 5: Key Events

2.5.2Chapter 5: Key Themes

2.6Chapter 6

2.6.1Chapter 6: Key Events & Themes

2.7Chapter 7

2.7.1Chapter 7: Key Events

2.7.2Chapter 7: Key Themes

2.8Chapter 8

2.8.1Chapter 8: Key Events

2.8.2Chapter 8: Key Themes

2.9Chapter 9

2.9.1Chapter 9: Key Events

2.9.2Chapter 9: Key Themes

2.10Chapter 10

2.10.1Chapter 10: Key Events

2.10.2Chapter 10: Key Themes

2.11Chapter 11

2.11.1Chapter 11: Key Events

2.11.2Chapter 11: Key Themes

2.12Chapter 12

2.12.1Chapter 12: Key Events

2.12.2Chapter 12: Key Themes

2.13Chapter 13

2.13.1Chapter 13: Key Events

2.13.2Chapter 13: Key Themes

2.14Chapter 14

2.14.1Chapter 14: Key Events

2.14.2Chapter 14: Key Themes

3Chapter Summaries & Analysis: Part Two

3.1Pages 191-201: To the Farmhouse

3.1.1Pages 191-201: Key Events

3.1.2Pages 191-201: Key Themes

3.2Pages 202-213: The Night in the Barn

3.2.1Pages 202-213: Key Events

3.2.2Pages 202-213: Key Themes

3.3Pages 214-226: The Attack

3.3.1Pages 214-226: Key Events

3.3.2Pages 214-226: Key Themes

3.4Pages 226-234: Robbie's Reflections

3.4.1Pages 226-234: Key Events

3.4.2Pages 226-234: Key Themes

3.5Pages 234-246: To the Bridge over the Canal

3.5.1Pages 234-246: Key Events

3.5.2Pages 234-246: Key Themes

3.6Pages 246-254: Arrival at Dunkirk

3.6.1Pages 246-254: Key Events

3.6.2Pages 246-254: Key Themes

3.7Pages 254-265: To the Cellar

3.7.1Pages 254-265: Key Events

3.7.2Pages 254-265: Key Themes

4Chapter Summaries & Analysis: Part Three

4.1Pages 269-277: London, 1940

4.1.1Pages 269-277: Key Events

4.1.2Pages 269-277: Key Themes

4.2Pages 277-286: Briony as Writer

4.2.1Pages 277-286: Key Events

4.2.2Pages 277-286: Key Themes

4.3Pages 287-315: Victims of War

4.3.1Pages 287-315: Key Events

4.3.2Pages 287-315: Key Themes

4.4Pages 315-327: Lola & Paul Marshall’s Wedding

4.4.1Pages 315-327: Key Events

4.4.2Pages 315-327: Key Themes

4.5Pages 328-349: The Visit

4.5.1Pages 328-349: Key Events

4.5.2Pages 328-349: Key Themes

5Chapter Summaries & Analysis: Part Four

5.1Epilogue: London, 1999 - Pages 353-371

5.1.1Pages 353-371: Key Events

5.1.2Pages 353-371: Key Themes

6Key Character Profiles

6.1Briony Tallis

6.1.1Overview of Briony's Character

6.1.2Briony in Part One

6.1.3Briony in Part Three & Four

6.2Robbie Turner

6.2.1Overview of Robbie's Character

6.2.2Robbie in Part One

6.2.3Robbie in Part Two & Three

6.3Cecilia Tallis

6.3.1Cecilia in Part One

6.3.2Cecilia in Part Three

6.4Lola Quincey

6.4.1Overview of Lola Quincey

6.4.2Lola Relationship with Marshall

6.5Paul Marshall

6.5.1Overview of Paul Marshall

6.5.2Paul Marshall's Relationship with Lola

6.5.3Paul Marshall's Power

6.6Emily Tallis

6.6.1Overview of Emily Tallis

6.6.2Emily Tallis' Character

7Key Themes

7.1Introduction to Crime Texts

7.1.1Common Themes in Crime Texts

7.2Crimes in Atonement

7.2.1Crimes in Atonement

7.2.2Structural Patterning & Ambiguity in Crime Texts

7.3Criminals in Atonement

7.3.1Paul Marshall & Lola as Criminals

7.3.2Narrative Point of View in Crime Texts

7.4Victims in Atonement

7.4.1Lola, Robbie & Cecilia as Victims

7.4.2Females Victims & Social Class in Crime Texts

7.5Detection in Atonement

7.5.1Detection in Atonement

7.5.2Detection in Crime Texts

7.6Settings in Atonement

7.6.1Settings in Atonement

7.6.2Symbolism of Settings in Crime Texts

7.7Guilt & Punishment in Atonement

7.7.1Marshall & Briony Escaping Punishment

7.7.2Guilt & Punishment in Crime Texts

8Writing Techniques

8.1Structure

8.1.1Overview of Structure

8.1.2Metanarrative, Circular Structure & Ending

8.1.3Manipulation of Time

8.2Form

8.2.1Narrative Perspective

8.2.2Genre

8.3Symbols & Motifs

8.3.1Symbolism of the Vase & Amo Bar

8.4Language

8.4.1Focalising Through Briony & Robbie

9Context

9.1Historical Context

9.1.1The Summer of 1935

9.1.2Dunkirk, 1940

9.1.3London, 1940

9.2Social Context

9.2.1Social Class

9.2.2The Role of Women in the 1930/40s

9.3Literary Context

9.3.1Literary Genres & Atonement

10Critical Debates

10.1Marxist Literary Criticism

10.1.1Introduction to Marxist Literary Criticism

10.1.2Marxist Readings: Importance of Social Class

10.1.3Marxist Reading: Capitalist Exploitation & War

10.2Feminist 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

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London, 1940

The Role of Women in the 1930/40s