Abstract The purpose of this paper is to introduce, discuss, and analyze the novel "Atonement" by Ian McEwan. Specifically it contains an archetypal criticism of the book, showing how the author weaves the archetypal motif of Cinderella throughout the story. "Atonement" is the story of a young girl who changes the fate of others by her accusations, and then attempts to atone for her actions throughout her life. Briony opens the novel as a 13-year-old aspiring writer, and ends it as a 77-year-old acclaimed novelist. The paper relates that ehat happens in between this time is a story of change and tragedy, all brought together by Briony's own fairy tale story telling.
From the Paper "Robbie really does seem like a "Prince Charming" who can handle himself in any situation, and would make a good and loyal husband. That is confirmed when Robbie returns with the boys after a long night of searching, oblivious of the charges against him. McEwan shows his triumphant and innocent, when he writes, "Then it was obvious - this was Robbie, with one boy sitting up on his shoulders and the other holding his hand and trailing a little behind" (McEwan 171). That is alluded to again when Robbie "saves" Briony from drowning, and she tells him, "'I wanted you to save me'" (McEwan 217). Robbie is almost a larger-than-life figure, and in the novel, he represents everything good and decent, while Paul represents pure evil, but receives the rewards, anyway."
Abstract This paper examines how the narrative in Ian McEwan's "Atonement" shows how a story reveals more about the implied author's intentions and beliefs rather than those of her characters. It looks at how Briony Tallis accepts literary criticisms, adopts perspectives of those negatively affected by her actions, and employs other literary techniques in narrating a credible story of how interpretations can have indelible effects on the lives of other people. It also discusses whether Briony's actually atones for her wrongdoing and how her narration is her way of coming to terms with an ordeal that is only based on the story told in "Atonement".
From the Paper "The events that take place by the fountain form a pivotal turning point in Atonement; both internally as an aspect of Briony's seeming inability to atone, and externally as a driving force of the third-person narrative. According to Bennett and Royle, "narratives move from a state of equilibrium or stasis through a disturbance of this stability, and back to a state of equilibrium at the end" (55). Based on this view, the reader can perceive the fountain scene as a primary source of 'disturbance'. Innocence (the 'state of equilibrium') is not implicit; Briony stands before a window in a nursery and observes a sequence of action that takes place outside, by the fountain. She does not hear (and therefore, does not completely understand) the conversation between two adults."
Abstract This paper takes a look at Ian McEwan's book "Atonement". According to the paper, "Atonement" is not a book to be judged according to mainstream ethical and moral standards. This paper shows us how the author believes in telling the story as he envisioned it and lets you decide what the moral outcome should have been.
From the Paper "Broiny Tallis is the culprit in the story. She is an unusual protagonist for neither does she possess the sensibilities of an average heroine nor does she appear to be a victim. But having said that, what is really inspiring is that despite her obvious flaws, she is still anything but evil. We can say that a person with a wild imagination like hers is susceptible to making the mistake that she made, only in her case it went a little too far and ruined the lives of two people who were innocent. An aspiring writer, Broiny primary flaw was her overly fertile imagination. She felt that words could give you the power to create anything: "By means of inking symbols onto a page she was able to send thoughts and feelings from her mind to her reader's ... You saw the word castle, and it was there, seen from some distance, with woods in high summer spread before it, the air bluish and soft with smoke rising ...". (p. 37). The obsession of playing with words results in a catastrophic situation when she wrongly accuses Robbie of sexually harassing her cousin."
Abstract This paper explains how the theme of betrayal is played out through the character of Edmund and the way he betrays his friends at a key juncture in the novel. The theme is developed by Lewis in terms of his conception of Christianity so that the act of betrayal requires an act of atonement, often by someone other than the offender, as is the case in this novel.
From the Paper "The story tells of four children, Peter, Susan, Edmund, and Lucy, who find themselves in a different world after passing through a doorway found in a wardrobe. The world they escape is the world of World War II, while the world in which they then find themselves is a fantasy world where animals speak. The transition is abrupt, and for Edmund the transition creates an opportunity to serve himself while betraying the others. Edmund does not fully comprehend the enormity of what he does before doing it, and it is evident that he is seduced into his betrayal by the creature comforts he is given by the Queen of Narnia. When she offers him something to eat, he asks for Turkish Delight. the food she gives him satisfies him but is more than simple Turkish Delight, and she asks if he wants more..."
Abstract This paper presents a brief look into the doctrine of the "Infinite Atonement of Christ". The paper is written from the perspective of the prophet, Joseph Smith.
From the Paper "Among the precious doctrinal contributions from 2nd Nephi of the Book of Mormon, Jacob, the younger brother of Nephi, glorifies the Atonement of Jesus Christ within Heavenly Father's plan of salvation. Emphasizing the infinite nature of the Atonement, Jacob reads from the writings of the ancient prophet Isaiah and teaches his brethren concerning the covenants that the Lord has prepared for all the house of Israel. Through His goodness and grace, God prepared a way for all mankind to escape the awful grasp of the devil, by sacrificing His only begotten son. Clearly, there is no other way. Joseph Smith the Prophet taught that "man was not able himself to erect a system, or plan with power sufficient to free him from a destruction which awaited him" (TPJS, 58). What produces the infinite power of the atonement? How did Christ gain the right, the ability to have such an infinite effect over all of us and our sins?"
Abstract The writer of this paper introduces, discusses, and analyzes the books "Atonement" by Ian McEwan and "The Things They Carried" by Tim O'Brien. The writer discusses how each author uses fiction to deal with reality. The paper's author says that reality is the backbone of both of these very different war novels, but contends that they both utilize reality in very different ways. Briony, the central character in "Atonement", retreats from the reality of what she thinks she has seen and creates an alternate fictional reality that blends her Cinderella dreams with reality. O'Brien, in his collection of short stories based on his own experiences in Vietnam, reshapes reality with fiction because Vietnam was a horrible experience that cannot be forgotten, and the only way to survive such a horrible experience is to blend reality with fiction so the result is easier to accept.
From the Paper "From an early age, Briony has showed an interest in writing, and even at 13, she understands many of the elements of fiction, which also help her replace reality with fiction in the very real story of Robbie and Cecelia. McEwan writes, "A crisis in a heroine's life could be made to coincide with hailstones, gales and thunder, whereas nuptials were generally blessed with good light and soft breezes" (McEwan 7). Thus, there has always seemed to be an element of unreality in Briony's life, so it would be natural for her to blend reality with fiction to create the most important story of her life. A literary critic writes, "McEwan debates fiction and fact in this historical panorama covering six decades of the twentieth century. Beginning in prewar Britain and concluding with the millennium, Atonement is a study of before and after, cause and effect, crime and punishment" (Stovel 114). Indeed, it is a novel of atonement, and so, it may have more in common with O'Brien's novel than might appear at first glance."
This paper explores the role of madness in three of Edgar Allan Poe's "Tales of Terror": ?The Tell-Tale Heart,? ?The Cask of Amontillado,? and "The Fall of the House of Usher".
1,390 words (approx. 5.6 pages), 5 sources, 2002, $ 46.95
Abstract This paper discusses that, through the words and actions of the unknown narrators in ?The Tell-Tale Heart,? "The Fall of the House of Usher" and the vengeful Montresor in "The Cask of Amontillado", readers can understand Poe's psychological madness. This paper discusses that within these deranged minds is the portrait of this psychosis: An individual perceives he is trapped in a hostile environment beyond his control, which produces great apprehension despite the lack of specific causes for his dread. The paper author believes that Poe's characters or narrators feel remorse for their actions and are moved emotionally to atone for their guilt.
From the Paper "However, in reality, many individuals are frequently at the mercy of some unexplained anxiety brought about by circumstances which are difficult, if not impossible, to deal with in a logical manner. As seen with a quick reading of any of the tales mentioned, the origin of the madness is described graphically, as in the beating of a dead man's heart, the devious yet unexplained treachery of Fortunato and the foreboding atmosphere of the decrepit House of Usher."
Abstract This paper discusses mythology, particularly the major areas of mythology that have influenced the development of the collective mythological heritage - the concepts of Atonism, Zarathustrism and Judaism. The paper describes examples from these areas of mythology to understand their role in explaining or interpreting natural events as they pertain to nature, the universe and humanity in general.
From the Paper "Historically, many scholars view this hymn as one of the earliest known examples of monotheistic mythology. In fact, the Pharaoh's thoughts were eventually found heretical by his own people and were quickly reverted to the more traditional polytheism of Egyptian mythology. However, this fact of both monotheism and atonement found in this hymn serve as an example of how mythology is passed on, as many scholoars argue that this hymn is an indication that Egyptians were the original source of Judaism and thus, the Judeo-Christian tradition."
Abstract The paper deals with the purpose of the atonement of Jesus Christ and how it was achieved, what happened during atonement and how it ended. The paper also looks upon whether human beings were saved by the atonement of Jesus Christ, the Son of God. Written from a staunch Christian angle.
From the Paper "According to Christian faith and the Scriptures, the Son of God, or the Second person in the Holy Trinity, became man and came to the Earth to live among man. What was the purpose of this, and what did He hope to achieve by coming to live among mankind? This is what First Timothy has to say, that Jesus Christ came to the Earth again in order to 'live among sinners, and save them'. The question is this, how did Christ manage to accomplish the Salvation that He gives to the sinners among human kind? Apostle Paul in (1 Cor- 15:3) states that Christ in fact, died for our sins, and He died on the Cross, just to save the numerous sinners. What, exactly did Jesus Christ do at the time of His death? It is well understood that Jesus Christ died for our Salvation, and God was able to demonstrate and display His love for us by this selfless act wherein Christ was nailed to the Cross, and tortured. To ignore the Doctrines and the Scriptures that explain exactly what happened and why they happened is to state that you prefer to ignore the fact that God loves you, and also that God saved you from sin. In fact, it would be a downright insult to God to state that you do not care what He did, and how he did it, and how He saved humankind."
This paper reviews, chapter by chapter, the book, "The Many Faces of Christology", by Tyron L. Inbody, which explores the various ways of using Christ in religion or of seeing how Christ forms beliefs with a myriad of different outlooks.
Abstract The author presents four varying claims as to whether Christianity is truly the better, more truthful religion. The author points out that "Exclusivism" states Christianity is the true religion, and, therefore, no other can be true. The paper concludes that no one religion can say it is the one way among all the great truths of other religions, and for Christians, their way can be enriched and transformed by the true things about the other religions.
Table of Contents
Jesus of Nazareth and Christology
Jesus Christ and the Identity of God: The Christological Creeds of Yesterday and Today
Evangelical Christology
Table of Contents
Liberal and Post-liberal Christologies
Feminist Christology
Christology and the Atonement: Is Atonement Theology Sacralization of Abuse?
Jesus, Judaism, and Christianity
Is Jesus the Only Way, Truth, and Life?
Conclusion
From the Paper "The concept of God that Christians accept originally came from Judaism. The "theistic God" is the God of ?philosophy, theology, and piety,? according to Inbody. But the concept of God is under attack, writes Inbody: He is being dismissed as "an illusion" or a ?key concept in an ideology of alienation and oppression, suffering, and injustice.? Meanwhile, historically, by the early second century, some Christians believed that Jesus Christ was not ?a human being at all,? but only ?appeared to be human.? In the 5th Century the question was often asked, were Christ's "divine and human natures" thoroughly "fused"? But these are the kinds of questions, Inbody writes, that are raised only when theologians "interfere with popular piety" ? because most modern Christians tend to avoid "theological debates and definitions" ? in particular, Christology. "
Abstract This paper examines how themes from the Old Testament, including the absolute authority of the law above all else and from the New Testament, including unconditional love, forgiveness, salvation and atonement, can be found in Richard Boleslawski's 1935 film version of Victor Hugo's novel "Les Miserables".
Outline
The Law
Unconditional Love
Forgiveness
Atonement Salvation
From the Paper "The concept of absolute authoritarian law is represented by Javert, the policeman. The law, according to Javert, is the answer to all conflict. This guides his judgment and decisions throughout the film. His relentless pursuit of Valjean is evidence of this. The only way to atone for wrongdoing is through harsh punishment, whether fully deserved or not. This concept is also representative of the society at the time. Paris during the 1830's was a harsh place, where many were poor and desperate. It is in fact a desperate crime that leads to Valjean's arrest and imprisonment. Thus, the slightest error would bring upon the perpetrator the harshest punishment. This is reminiscent of the Old Testament, where there was a law for everything from crime to the dress code. If God was not happy with something somebody did, they would be struck dead on the spot. Thus Valjean represents the merciless law of the Old Testament."
Abstract This paper provides an overview of some of the main precepts in Catholic theology. It begins by discussing the relationship between God and man. It then addresses the gravity of committing sins against God. Next, the paper discusses the incarnation of Jesus Christ and the importance for Christians to be prepared to receive Christ as their savior. Finally, the paper concludes by addressing the issue of Christian atonement and reconciliation with God.
Outline:
God and Man
Sin
The Preparation for Christ
The Incarnation
The Atonement
From the Paper "There are different types of sin but the sin against God is a sin that breaks the bond between God and man. Sinning against God will cause us to fall from grace and lose our eternal life and salvation. We mean by sin whatever is contrary to God's holy will, and we cannot think that God is the source of what is contrary to his own will. We find the root of sin in the misuse by man of the free will that is his noblest power, and we cannot think that it is God who has disposed us to turn his own best gift against him. But Christ came into the world to save sinners, and to save them out of the midst of their sin; and this can be expressed even in such a statement as the following: 'our fellowship with God rests for us on the basis not of holiness but of sin. It is important to live away from sin and strive for holiness, which Pomazansky defines as: "Holiness consists not only in the absence of evil or sin: holiness is the presence of higher spiritual values, joined to purity from sin. Holiness is like the light, and the holiness of God is like the purest light. God is the "one alone holy" by nature."
Abstract This paper examines the life of King Akhenaten who came to power in c.1352 B.C.E. and ruled Egypt for seventeen years. Akhenaten was a firm believer in "maat" or divine truth and centered his religion around this. His divine truth policy changed art and culture in Egypt. This paper considers these changes, in particular the effect on art at the time by reviewing certain works of art from that time period.
From the Paper "Akhenaten and His Family portrays Akhenaten and Nefertiti sitting casually on their thrones playing with their three daughters. The sun disk Aten reaches down his beams; the beams end in hands that tough the royal's, some hands holding Ankh?s. The scarves and clothing they wear seems to drape and flow from their bodies. The position that the family sits in is unusually casual for Egyptian art, as compared with works such as Menkaure and His Wife, Queen Khamereenebty ca.2515 B.C.E., which was made of slate and composed of tight, structured stance. Nefertiti's throne, with lotus and papyrus blossoms at the base, suggests a united upper and lower Egypt. "
Tags: art, aten, aton, god, history, mythology, nefertiti, religion, sun
Abstract This paper discusses the life of King Akhenaten (who eventually changed his name to Amenhotep) who came to power in c.1352 B.C.E. and ruled for seventeen years. It evaluates the several transformations in art, politics, culture and religion he made during his short reign such as the dismissal of Egyptian polytheism in favor of the worship of a single god. There is also a review of the royal art works during his reign which become known as the Amarna art period.
From the Paper "Amenhotep was mostly well remembered for his radical transformations. Plenty of people thought he was a shame to Egypt, to others he was a Christ-like visionary. In honor of the sun disk Aten, Amenhotep changed his name to Akhenaten. He also changed the format for Egyptian religion from several gods to a monotheistic religion involving Aten. Some believe his mother, Tiy, helped bring this change forth. Nefertiti may have also fueled his religious appetite. It is also believed that Akhenaten was a mentor of the biblical figure Moses. Akhenaten was a firm believer in maat or divine truth and centered his religion around this."
From the Paper "This paper is a study of the consequences of romanticism in Western music. Much of the work of 19th century composers was influenced by a sweeping desire to express emotion through music, explore varied forms and lengths of composition, and link music to the other arts, especially literature. The romantic movement encouraged composers to find their individual voices, both in the work they wrote and in the way they supported their art. It released music from the formality of classicism and laid the groundwork for many elements that are now established in modern music, from the variable size of the orchestra to the appreciation of the conductor's importance to performance and interpretation. As the century ended, however, composers began to believe that the romantics had fully explored the limits of major-minor tonality. In moving beyond what they saw then as..."
