Summary
Summary CRITICAL ANALYSIS OF VICTIMS IN ATONEMENT
- Module
- Elements of Crime Writing
- Institution
- AQA
Two in-depth slides about Robbie Turner and Briony Tallis' roles as victims in McEwan's 'Atonement' from an A grade student
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As a victim of Briony’s accusation As a victim of social class- One of the main victims of - 1935 world McEwan recreates, Robbie has little
Briony’s chance to protest against his higher-class accusers
- Loses prospects due to false accusations – would
misunderstanding/deceit
- Labelled a ‘manic’, and have shifted social class, the readiness to accept
portrayed to fit the role of the accusation (Emily) may be a reflection of putting
‘criminal’ (‘he looked so huge Robbie back into his rightful place
As a v
and wild’) in Briony’s justi
McEwan’s intentions DANGERS OF PERSPECTIVE
melodramatic fantasies Robbie judged on the perspective of his class, rather than actual person – same goes for - Almo
- Tragedy comes in the fact his Marshall ‘sensa
Robbie as a victim
fate is almost inevitable – esque
arguably also a victim of upper
middleclass societal roles – almos
Robbie a gentle fellow, prison consu
and war permanently change As a victim of war prior t
his temperament (even in - Linking to PTSD, war immediately engulfs Robbie’s narrative accusa
Briony’s manifestations, stating (‘There were horrors enough...’) Robbie is a victim of the brutality accusa
he had a ‘savage’ look when of war; he is disabled by his injuries and his aching wounds. He alread
she saw him again) - PTSD himself wonders about the crimes committed by one set of human incom
beings on another. McEwan carefully reveals the crimes against the M
humanity that result from war – blunt image of the child’s leg ‘it prejud
was a leg’ focus on the graphic image, fixating thoughts of PTSD force
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