An Object Relations Perspective on Ian Mcewan’S Atonement: Briony’S Creative Apperception in Light of Attachment Theory Genre, and Narrative Form

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dc.contributor.authorSabancı Uzun, Gamze
dc.date.accessioned2021-11-20T10:37:27Z
dc.date.available2021-11-20T10:37:27Z
dc.date.issued2018
dc.departmentTrakya Üniversitesien_US
dc.description.abstractIan McEwan'ın Atonement adlı eserinin odağı, Briony'nin onu çevreleyengerçekliğe hakim olma çabası üzerinedir. Bununla birlikte, Briony'ningerçeği, kendini romanın kahramanı olarak yeniden yaratmasınin nedeniaçısından bir boşluk oluşmuştur. Bu makale, gerçekliği ortadan kaldırarakBriony'nin doğrudan romantizm türünün zeminini terk ettiğini ve Bildungsromantürüne girdiğini öne sürürek, yazın türünün geleneklerini yıkmasının sebebinikendi anlatılarını kontrol etme arzusu olmasını tartışacaktır. Makale aynızamanda romanın genelinde görülen bu kontrol takıntısının sebebinin de iseBriony’nin kendini kahraman olarak yaratma isteği olduğunu savunacaktır.en_US
dc.description.abstractThe general focus on Atonementhas been on Briony’s attempt to dominate the reality that surrounds her.However, there is a gap in respect of Briony’s motive for subverting reality insuch a way that she can recreate herself as the heroine of her writing,consequently allowing her to “dispel her insignificance” (McEwan 2001; 72). Theargument put forth in this article will be based around the suggestion that bysubverting reality, Briony directly leaves the ground of the romance genre andenters the Bildungsroman genre. Thus, although Ian McEwan claims this to be his“Jane Austen” novel, no heroine of that genre would come to the conclusion thatRobbie is a sex maniac and thus follow that narrative trajectory to its tragicconclusion. It is the very tedium of her own “romantic” big-house existence,which indeed resembles that of a Jane Austen novel, that leads Briony tosubvert the romance genre and thus assert her independence from herenvironment. For a reader in a small urban house, the Tallis/Jane Austenexistence seems romantic, but for Briony in her large romantic house, itrepresents the tedium of daily life, which she thus subverts to create some measureof differentiation from her mother and her home context. As well as subvertingconventions, Briony’s projection of the “sex maniac” theory onto the narrativecan be interpreted as her urge to be creative and imaginative. She thus playswith the conventions of the genre to demonstrate her primary creativity thatwill allow her to gain control of her own narrative.en_US
dc.identifier.dergipark437687en_US
dc.identifier.doi10.26468/trakyasobed.437687en_US
dc.identifier.endpage266en_US
dc.identifier.issn1305-7766
dc.identifier.issn2587-2451
dc.identifier.issue1en_US
dc.identifier.startpage253en_US
dc.identifier.urihttps://doi.org/10.26468/trakyasobed.437687
dc.identifier.urihttps://dergipark.org.tr/tr/pub/trakyasobed/issue/37840/437687
dc.identifier.urihttps://dergipark.org.tr/tr/download/article-file/495687
dc.identifier.urihttps://hdl.handle.net/20.500.14551/7141
dc.identifier.volume20en_US
dc.indekslendigikaynakTR-Dizinen_US
dc.language.isoenen_US
dc.publisherTrakya Üniversitesien_US
dc.relation.ispartofTrakya Üniversitesi Sosyal Bilimler Dergisien_US
dc.relation.publicationcategoryMakale - Ulusal Hakemli Dergi - Başka Kurum Yazarıen_US
dc.rightsinfo:eu-repo/semantics/openAccessen_US
dc.snmz20240608_ID_Qen_US
dc.subjectAtonementen_US
dc.subjectNesne ilişkisien_US
dc.subjectYaratıcılıken_US
dc.subjectBildungsromanen_US
dc.subjectAtonementen_US
dc.subjectObject relationsen_US
dc.subjectCreativityen_US
dc.subjectBildungsromanen_US
dc.titleAn Object Relations Perspective on Ian Mcewan’S Atonement: Briony’S Creative Apperception in Light of Attachment Theory Genre, and Narrative Formen_US
dc.typeArticleen_US

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