ii v
T C A R T S B A
. ) 2 1 0 2 ( i rt s e W a c s i s n a r F , h a d n e w r a
S The metamo itva iton o f BrionyTalil s in s
’ n o t p m a H r e h p o t s i r h C n i n e e s s a l e v o n t s a l r e h g n it i r
w Atonemen.tYogyaka tra :
. y ti s r e v i n U a m r a h D a t a n a S , m a r g o r P y d u t S n o it a c u d E e g a u g n a L h s il g n E
d e lt it n e y a l p n e e r c s s ’ n o t p m a H r e h p o t s ir h C s e s s u c s i d y d u t s s i h
T Atonemen.t
t , e r o m r e h tr u
F hi sstudy raises t he t opic o f“metamo itvaiton”to ifnd outB ironyTal ils ’ “metamoitvaiton” in w iritng he rlas tnovel .Thi sstory i sabou tB ironyTalil swho
a s a w e h s n e h w e d a m e h s e k a t s i m g i b r e h m o r f fl e s r e h e n o t a o t l e v o n t s a l r e h s e ti r w
fl e s a s a s d e e n r e H . d li h
c -actuailzed person “metamoitvate” he rto ifnish he rlas t .l
e v o n
h
T ere are two problems discussed in thi sstudy :(1 )how i sB ironyTalils ,in s
’ n o t p m a H r e p o t s ir h
C Atonement ,characte irzed? (2 )wha ti sold B irony Talils ’ a
t e
m moitvaitoni nw iritngherl as tnovel?
m e l b o r p e h t e v l o s o t h c a o r p p a l a c i g o l o h c y s p s e il p p a y d u t s s i h
T sf ormulaiton .
o y r o e h t e h t y b d e v l o s e r a e s o h
T n characte rand characte irzaiton and theory on “metamoitvaiton”.
y a l p n e e r c s e h t n i n o it a z ir e t c a r a h c ’ s il l a T y n o ir B f o y d u t s e h t f o t l u s e r e h T
e c n e ir e p x e s il l a T y n o ir B t a h t t u o s d n
if s three stages i n her l fie .When she i s t hi treen ,
d e n i a rt s e r n u , d l o c , l u fi c n a f , d e t n e ir o y li m a f a s e m o c e b e h s , d l o s r a e
y partonising ,
t a h t e l p o e p r e h t o s e c n i v n o c e h s t a h t s i s e k a m e h s e k a t s i m g i b e h T . d li h c t n e d if n o c d n a
e p a r e i b b o
R s Lola and b irng shim to jali .Atfe r ifve years ,he rcharacte irsitc sare a s i y n o ir B g n u o Y . e g d ir b m a C n i g n i y d u t s o t e s r u n a g n i e b s r e f e r p e h S . g n i g n a h c
, d e ll o rt n o
c humble ,and uncon ifden tgi lr .Olde rB ironycanno tescapef rom he rguitl , e
h T . e fi l e u rt r e h n o d e s a b r e d l o s t e g e h s n e h w l e v o n a s e k a m e h s o
s researche r
n o
c cludes tt ha Olde rB ironybecomesas efl-actuailzedperson. y b ” d e t a v it o m a t e m “ s i e h s , l e v o n t s a l r e h g n i h s i n if n
I wholeness ,perfeciton ,
fl e s , y ti c il p m i s , s s e n l u f y a l p , s s e n h c ir , s s e n e v il a , y ti l a e r , n o it e l p m o
c -suf ifciency ,
, y t u a e
b goodness ,and uniqueness. Those point s are need sfo ra s -efl actuailzed .
n o s r e
p Olde rB irony’sstatu sa sas efl-actuailzedpersond irve shert ousehe rablitiyi n .t
n e m e n o t a r e h s a l e v o n a e k a m o t g n it ir w
l a e v e r o t s r e h c r a e s e r e r u t u f e h t s t s e g g u s o s l a y d u t s s i h
T B ironyTalils ’
d n a l e v o n s ’ y n o r B r e d l O n e e w t e b n o it a l e r r o c d n a t n e m p o l e v e d l a n o s r e
p atonemen t
.f l e s
ti Fort eachingi mplementaiton,t hescreenplaycanbeused a samate iralt ot each .s
s a l c a m a r d
fl e s : s d r o w y e
ii i v
K A R T S B A a
c s i s n a r F , h a d n e w r a
S Wesrt i (2012) . The metamo itva iton o f BrionyTalil s in s
’ n o t p m a H r e h p o t s i r h C n i n e e s s a l e v o n t s a l r e h g n it i r
w Atonemen.tYogyaka tra :
i d u t S m a r g o r
P PendidikanBahasaIngg irs ,UniverstiasSanataDharma. i
d u t
S ii n membicarakan tentang naskah flim yang dibuat oleh Ch irstoph re n
o t p m a
H be jrudul Atonement .S it iud i n mengangkat topic tentang “metamoitvasi” k
u t n
u menjabarkan moitvasi B irony s aat menuil snove lterakhrinya. Certia dalam i
n i m li f h a k s a
n mencertiakan tentang Birony Talil syang menuil snovel t erakhrinya k
u t n
u menebusdosa d a ir kesalahan besa ryangdia b uatsemasa keci.lKebutuhannya i
a g a b e
s seorang yang memiilki karakteraktuailsasi d i ir telah mendorongnya untuk .
a y n ri h k a r e t l e v o n n a k i a s e l e y n e m
n a s u m u
R masalah yangakandjiawabdalamstudiin:i( 1 )bagaimana karakter y
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B Talil sd idalamnaskahf lim?( 2 )apametamoitvasiB ironyTalilsuntukmenuil s ?
a y n ri h k a r e t l e v o n
i d u t
S ii n menggunakan pendekatan psikologi untuk menjawab rumusan .
h a l a s a
m Rumusan masalah tersebut terpecahkan berdasarkan teo ir characte rand n
o it a z i r e t c a r a h
c d anmetamoitvaiton.
li s a
H d a ir peneilitan terhadap karakter B irony Talil sd idalam naskah flim n
a k p a k g n u g n e
m bahwa B ironyTalils mengalami ait g tahap dalam hidupnya .Keitka a
i
d berusia ait g belas tahun ,dia menjadi anak yang mencintai keluarganya ,suka k
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i
d berubahmenjadilebihterkonrtol ,bia sbersosiailsasi ,dan itdakpercayad ri.iOlde r y
n o ir
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F hi sstudy raises t he t opic o f“metamo itvaiton”to ifnd outB ironyTal ils ’ “metamoitvaiton” in w iritng he rlas tnovel .Thi sstory i sabou tB ironyTalil swho
a s a w e h s n e h w e d a m e h s e k a t s i m g i b r e h m o r f fl e s r e h e n o t a o t l e v o n t s a l r e h s e ti r w
fl e s a s a s d e e n r e H . d li h
c -actuailzed person “metamoitvate” he rto ifnish he rlas t .l
e v o n
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T ere are two problems discussed in thi sstudy :(1 )how i sB ironyTalils ,in s
’ n o t p m a H r e p o t s ir h
C Atonement ,characte irzed? (2 )wha ti sold B irony Talils ’ a
t e
m moitvaitoni nw iritngherl as tnovel?
m e l b o r p e h t e v l o s o t h c a o r p p a l a c i g o l o h c y s p s e il p p a y d u t s s i h
T sf ormulaiton .
o y r o e h t e h t y b d e v l o s e r a e s o h
T n characte rand characte irzaiton and theory on “metamoitvaiton”.
y a l p n e e r c s e h t n i n o it a z ir e t c a r a h c ’ s il l a T y n o ir B f o y d u t s e h t f o t l u s e r e h T
e c n e ir e p x e s il l a T y n o ir B t a h t t u o s d n
if s three stages i n her l fie .When she i s t hi treen ,
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y partonising ,
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e p a r e i b b o
R s Lola and b irng shim to jali .Atfe r ifve years ,he rcharacte irsitc sare a s i y n o ir B g n u o Y . e g d ir b m a C n i g n i y d u t s o t e s r u n a g n i e b s r e f e r p e h S . g n i g n a h c
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c humble ,and uncon ifden tgi lr .Olde rB ironycanno tescapef rom he rguitl , e
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s researche r
n o
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I wholeness ,perfeciton ,
fl e s , y ti c il p m i s , s s e n l u f y a l p , s s e n h c ir , s s e n e v il a , y ti l a e r , n o it e l p m o
c -suf ifciency ,
, y t u a e
b goodness ,and uniqueness. Those point s are need sfo ra s -efl actuailzed .
n o s r e
p Olde rB irony’sstatu sa sas efl-actuailzedpersond irve shert ousehe rablitiyi n .t
n e m e n o t a r e h s a l e v o n a e k a m o t g n it ir w
l a e v e r o t s r e h c r a e s e r e r u t u f e h t s t s e g g u s o s l a y d u t s s i h
T B ironyTalils ’
d n a l e v o n s ’ y n o r B r e d l O n e e w t e b n o it a l e r r o c d n a t n e m p o l e v e d l a n o s r e
p atonemen t
.f l e s
ti Fort eachingi mplementaiton,t hescreenplaycanbeused a samate iralt ot each .s
s a l c a m a r d
fl e s : s d r o w y e
ii i v
K A R T S B A
a c s i s n a r F , h a d n e w r a
S Wesrt i (2012) . The metamo itva iton o f BrionyTalil s in s
’ n o t p m a H r e h p o t s i r h C n i n e e s s a l e v o n t s a l r e h g n it i r
w Atonemen.tYogyaka tra : i
d u t S m a r g o r
P PendidikanBahasaIngg irs ,UniverstiasSanataDharma. i
d u t
S ii n membicarakan tentang naskah flim yang dibuat oleh Ch irstoph re n
o t p m a
H be jrudul Atonement .S it iud i n mengangkat topic tentang “metamoitvasi” k
u t n
u menjabarkan moitvasi B irony s aat menuil snove lterakhrinya. Certia dalam i
n i m li f h a k s a
n mencertiakan tentang Birony Talil syang menuil snovel t erakhrinya k
u t n
u menebusdosa d a ir kesalahan besa ryangdia b uatsemasa keci.lKebutuhannya i
a g a b e
s seorang yang memiilki karakteraktuailsasi d i ir telah mendorongnya untuk .
a y n ri h k a r e t l e v o n n a k i a s e l e y n e m
n a s u m u
R masalah yangakandjiawabdalamstudiin:i( 1 )bagaimana karakter y
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c d anmetamoitvaiton. li
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H d a ir peneilitan terhadap karakter B irony Talil sd idalam naskah flim n
a k p a k g n u g n e
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i
d berusia ait g belas tahun ,dia menjadi anak yang mencintai keluarganya ,suka k
a d it , n i g n i d , l a y a h k r e
b terkonrtol ,anit-sosial ,dan percaya dri.iSetelah ilmatahun , a
y n n a i d a b ir p e
k berubah .Dia memiilh untuk menjadi seorangperawat. Padas aat tiu , a
i
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n o ir
B itdakbia smelepasr asabersalahnya,s ehingga ad i membua tnove lberdasarkan n
a m a l a g n e
p hidupnyakeitka ad i sudah .t ua Penuils beranggapan bahwaB ironyyang h
a d u
s at u telahmemiilkikarakters -efl actuailze d . k
u t n
U menyelesaikannovelt erakhrinya,I atermoitvasi ho nle p oi keseluruhan , l a h , n a n i a m r e p , n a a y a k e k , n a p u d i h e k , n a a t a y n e k , n a p a k g n e l e k , n a a n r u p m e s e
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n
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n o it a z il a u t c
a Ha l ini jugalah yang mendorongnya untuk menggunakan bakat a
y n s il u n e
m untukmenuilssebuahnovels ebagaipenebusandosanya. i
d u t
S ii n juga menyarankan kepada peneilit selanjutnya untuk mengungkap n
a g n a b m e g n e
p ird i B irony Talils nd a hubungan antara nove lterakhi ryang dtiuils h
e l
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, r o s n o p s y m o t d e t b e d n i y l p e e d m a I . e r e h n i g n i y d u t s g n ir u d s t n e m o m l u f r e d n o
w Dr .
. A . M , o t n a y ij u r e H s u i n o t n
A ,who encouraged me and gave hi s itme to give hi s .s
i s e h t y m r o f s n o it s e g g u s d n a n r e c n o c
I would ilket ogivemybigt hanks t oal lPBIl ecturer sandmyf irends i nPBI ;
, t o d n e B i n e B , a i M , n il r e B e h B , i w i S , a s a S a s o R , t o m e L a ti N , l e g n A , g n it I a k s i S
y k s i R , y n n e J , o e L , a h t a g A , e d k a P o y R , a ll e B , o d t r A , r e t a r F i d A , k n u j A g n u g A
r e h S , m a d A , t n e c n i V , t e k u
S ly ,Ma sAgungKisruh ,Ma sCahyoKecap ,Ajeng ,
, o t e S , t u d N i e D k a b M , s d n e i r f d n a y ll e S , a m t A , i r p e D , y o s A a s o Y , k n i m A , i n e H
, a u s o Y , a i V , o k o Y e d k a P , a y a H k a b M , e c a r
G and al lf irend sfo rgiving me thei r
s r a e y e s o h t l l a g n ir u d t s e r e t n i , p l e h , tr o p p u s , e m
it .My persona lgrattiude i salso d
e t n e s e r
p t omydadBapakVincen itusSujtio ,mymomIbuAgne sYuvtiaSr iHarit , r
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m Widur iGtia Rumja it ,my brothe rBayuGembod ,my housemates ;Sore , ,
t o r s O li si S , a n a i d i W , n it N it n a
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d n
a SEXEN fo rthe smlie and tear swe gave each other . Ialso appreciate wha t
r e h p o t s i r h
C ha sdone fo rme ,fo rbeing nex tto me in al lcondiiton sand wtih hi s
. g n i k c e h c r a m m a r g r o f e m it s i h e v a g e r u s a e l
x
, o r d n a j e l A , t r e
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a my grattiude goes t o
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t shere .Thei rhelpandsuppor tmean u
t s s i h t d n a e m r o f h c u m o
s d y.
i x
S T N E T N O C F O E L B A T
E G A P E L T I
T ... i
S E G A P L A V O R P P
A ... ii ..
Y T I L A N I G I R O S ’ K R O W F O T N E M E T A T
S ... vi
I S A K I L B U P N A U J U T E S R E
P ... v N
O I T A C I D E D F O E G A
P ... iv T
C A R T S B
A ... v ii
K A R T S B
A ... iiv i S
T N E M E G D E L W O N K C
A ... xi S
T N E T N O C F O E L B A
T ... ix
. I R E T P A H
C INTRODUCTION ... 1
.
A BACKGROUNDOFTHESTUDY ... 1 .
B OBJECTIVESOFTHESTUDY ... 3
.
C PROBLEMSFORMULATION ... 3 .
D DEFINITIONOFTERMS... 3 .
1 S -efl actuailzaiton... 4
.
2 “Metamoitvaiton” ... 4 .
ii x W E I V E R L A C I T I R O E H T . II R E T P A H
C ... 6 ..
.
A Reviewo fRelatedStudies ... 6
.
B Reviewo fRelatedTheo ires ... 7 .
1 Theoryon Characte randCharacte irzaiton ... 7 .
a Theoryon Character... 8
.
b Theoryon Characte irzaiton ... 9 .
2 Theoryon“Metamoitvaiton” ... 01 .
C Theoreitca lFramework ... 41
.
D Contex to fTheScreenplay... 41 .
1 Setitngo fAuthorship ... 41 .
2 Setitngo fTheScreenplay ... 5..1
Y G O L O D O H T E M . I II R E T P A H
C ... 61
.
A Objec toft heStudy... 61 .
B Approachoft heStudy ... 91
.
C Methodoft heStudy... 91
S I S Y L A N A . V I R E T P A H
C ... 12
.
A TheCharacte irsitc so fB ironyTalil sa sTheMainCharacter... 12
.
1 Frists tage :a13yea roldgri.l... 12 .
a FamliyO irented ... 12 .
ii i x .
c C old ... 62 .
d AnUnresrtainedChlid ... 72
.
e Partonising ... 92 .f Con ifdent ... 03 .
2 Seconds tage :an18yea roldgi lr ... 31
.
a A conrtolledperson ... 31 .
b A humbleperson ... 33 .
c Lackingo fcon ifdence ... 4..3
.
3 Thrids tage :a76yea roldwoman ... 53 .
B OldB irony’sMetamoitvaitoni nW iritngHe rLas tNovel... 73 .
1 Wholeness ... 83
.
2 Perfeciton ... 93 .
3 Compleiton ... 93 .
4 Jusitce ,Truth ,andHonesty :Realtiy ... 40
.
5 Ailveness ... 40 .
6 Richnes sandPlayfulness ... 41 .. .
7 SimpilctiyandSefl-suf ifciency... 42
.
8 Beauty ,Goodness ,andUniqueness ... 42
S N O I T S E G G U S D N A S N O I S U L C N O C . V R E T P A H
C ... 34
.
A Conclusions ... 3....4
.
v i x .
1 Suggesitonsf o rFutureResearchers ... 44 .
2 Suggesitonsf o rTeachingI mplementaiton... 54
S E C N E R E F E
R ... 64 S
E C I D N E P P
A ... 84 t
n e m e n o t A s ’ n o t p m a H r e h p o t s ir h C f o y r a m m u S e h T : A x i d n e p p
A ... 84
y h p a r g o i B : B x i d n e p p
A ... 05 a
m a r D f o s u b a ll y S : C x i d n e p p
A ... 25 n
a l P n o s s e L : D x i d n e p p
A ... 45
: E x i d n e p p
1 I R E T P A H C
N O I T C U D O R T N I
s e v it c e j b o ; y d u t s e h t f o d n u o r g k c a b : y l e m a n , s tr a p r u o f f o s t s i s n o c r e t p a h c s i h T
e h t , tr a p t s ri f e h t n I . s m r e t f o n o it i n if e d d n a ; n o it a l u m r o f m e l b o r p ; y d u t s e h t f o
e h t d n a y d u t s e h t f o c i p o t e h t t u o b a n i a l p x e o t g n i o g s i r e h c r a e s e
r reason why the
o t s i h t r e tf a d e t n e s e r p s i y d u t s e h t f o e v it c e j b o e h T . y a l p n e e r c s e h t g n i s u s i r e h c r a e s e r
s t n e s e r p r e h c r a e s e r e h t , n o it a l u m r o f m e l b o r p e h t n I . y d u t s e h t f o e s o p r u p e h t n i a l p x e
e h t s i t r a p t s a l e h T . y d u t s s i h t n i d e s s u c s i d e b o t s m e l b o r p o w
t de ifniiton o fterm s
.r e h tr u f d e n i a l p x e e b o t d e d e e n s d r o w e m o s s t n e s e r p h c i h w
.
A Backgroundoft heStudy
t u b t n e t n o c e h t t u o b a t o n s i tI . s r e d a e r e h t n i a tr e t n e n a c k r o w y r a r e ti l a g n i d a e R
o s l a n a c t I .t i g n i d a e r y b e r u s a e l p n w o r i e h t t e g n a c s r e d a e r e h t w o
h en ircht her eader s
e fi l l a e r n i d e c n e ir e p x e r e v e n e v a h y e h t t a h t e g d e l w o n k d n a e c n e ir e p x e w e n h ti w
.s k r o w y r a r e ti l h g u o r h t
d n a k e ll e W e n e R o t g n i d r o c c a e c n i s e fi l l a e r a t n e s e r p y a m k r o w y r a r e ti l A
. e fi l f o n o it a ti m i e h t s i k r o w y r a r e ti l a ; n e r r a W n it s u A
But ,fu trhermore ,ltierature ‘represent ’ l‘fie’ ,and l‘fie ’is ,in large measure ,a socia l l a u d i v i d n i e h t f o d lr o w e v it c e j b u s r o r e n n i e h t d n a k r o w l a r u t a n e h t h g u o h t n e v e , y ti l a e r
. p , 4 6 9 1 , n e r r a W d n a k e ll e W ( .’ n o it a ti m i‘ y r a r e ti l f o s t c e j b o n e e b o s l a e v a
e h t t a h t d i a s e b n a c t i , y ti l a e r f o n o it a t n e s e r p e r a s i k r o w y r a r e ti l e h t f I
. e r u t a n n a m u h t n e s e r p e r k r o w y r a r e ti l e h t n i s r e t c a r a h c
d e n if e d ) 8 9 9 1 ( r e it t o r T d i v a
D a screenplay ro sc irpta sa w irtten work tha ti s
a r o f y ll a i c e p s e e d a
m mfli ro television program .Screenplay scan be o irgina lwork s
t n I . g n it ir w f o s e c e i p g n it s i x e m o r f s n o it a t p a d a r
o hi sstudy,t her esearche ranalyze sa
. n a w E c M n a I y b n e tt ir w l e v o n a m o r f d e t p a d a s i t a h t y a l p n e e r c
s Thescreenplayt ha t
d e lt it n e s i y d u t s s i h t n i d e s s u c s i d e b l li
w Atonemen tby Ch irstophe rHampton .
n o t p m a H r e h p o t s ir h
C (born 26 January 1946 ) i s a B iritsh playw irght , screen
f o y t e i c o S l a y o R , b u l C s t s it a m a r D f o r e b m e m a s i e H . r o t c e ri d m li f d n a r e h c r a e s e r
. e r u t a r e ti
L In screenplays , the reader s can ifnd tha t the movement , acitons ,
e t c a r a h c e h t f o s e u g o l a i d d n a , n o i s s e r p x
e r sarealsodriected.
o h w s il l a T y n o ir B d e m a n l ri g d l o r a e y n e e tr i h t a t u o b a s ll e t y a l p n e e r c s s i h T
s t c a d li h c a n e h w s n e p p a h d o o h tl u d a e r u t a m e r P . d o o h tl u d a e r u t a m e r p s e c n e ir e p x e
tr i h t s i e h s n e h W . e m it s i h r o r e h e r o f e b e r u t a m s e m o c e b d li h c A . tl u d a n a e k
il een
e i b b o R t u o b a e il a , n o it p m u s s a r e h n o d e s a b , r e h d n u o r a e l p o e p s ll e t e h s , d l o s r a e y
o d y a m e i b b o R t a h t d i a r f a s i e h s e s u a c e b d n a y s u o l a e j r e h f o e s u a c e b r e n r u T
e r u t a m s i e h s t a h t s k n i h t y n o ir B e lt ti l A . r e t s i s r e h , a il i c e C o t l u f m r a h g n i h t e m o s
t h g u o n
e o t alk abou the rassumpiton .A s itme goe sby ,she feel sguitly abou tdoing
e h t g n il l e t y B . r e d l o s t e g e h s n e h w h t u rt e h t ll e t o t s e ir t e h s , l e v o n a g n it ir w y B . t a h t
s a h e h s t a h t d e z il a e r s a h e h S . e r o m y n a e m a h s t u o h ti w y ll u f e c a e p e v il n a c e h s , h t u rt
tt i m m o
c ed a sin when she become sa nurse .She want sto be able to apologize to
n i ” n o it a v it o m a t e m “ s ’ y n o ir B d l o s i y d u t s s i h t m o r f t n i o p g n it s e r e t n i e h T
s s u c s i d o t g n it s e r e t n i s i ” n o it a v it o m a t e m “ t u o b a c i p o t e h T . l e v o n t s a l r e h g n it ir w
e s u a c e
b the reader smay l earn t ha tsomeone’ s“metamoitvaiton” can come from any
o t s m e l b o r p o w t d e t a l u m r o f s a h r e h c r a e s e r e h t , c i p o t e h t e z y l a n a o t r e d r o n I . n o s a e r
. d e s s u c s i d e b
.
B Objec itve soft heStudy
f o ” n o it a v it o m a t e m “ e h t e e s o t s i y d u t s s i h t f o m i a e h
T BironyTalil ,st he main
s ’ n o t p m a H r e h p o t s ir h C f o r e t c a r a h
c Atonement,i nw iritngherl as tnove.l
.
C ProblemFormula iton
d e t a l u m r o f e r a y e h T . y d u t s s i h t n i d e s s u c s i d e b l li w t a h t s m e l b o r p o w t e r a e r e h T
: s w o ll o f s a
.
1 Howi sB ironyTalil ,si nCh irstope rHampton’ sAtonement ,characte irzed?
.
2 Whati soldB ironyTalils ’“metamoitvaiton”i nw iritngherl as tnovel?
.
D De ifni itono fTerms
r e d r o n i y ll a c if i c e p s d e n if e d e b o t d e e n t a h t c i p o t s i h t n i s m r e t l a r e v e s e r a e r e h T
.
1 S -efl actuailza iton
n i d r o c c
A gt oAbrahamMaslowi nFrankGoble’ sbookTheThirdForce(1971) ,
fl e s a f o n o it i n if e d e h t
“ -actuailzed person wa sstli lvague ,bu tMaslow loosely
s e it il a it n e t o p d n a , s e it i c a p a c , t n e l a t f o n o it a ti o l p x e d n a e s u l l u f e h t s a t i d e b ir c s e
d -etc .
m e e s e l p o e p h c u
S tobef uflliilngt hemselve sanddoingt hebestt hatt heyarecapable
.) 4 2 . p ( ” g n i o d f o
k o o b s ’ w o l s a M m a h a r b A n i d e t a t s o s l a s i t
I The Farthe rReache so fHuman
e r u t a
N (1971)t ha tsefl-actuailzaiton i san ongoingprocess; i tmean smakingeach o f
i s y n a m e h
t ngle choice sabou twhethert o ile o rbe honest ,whether t o stea lo rnot t o
h t w o r g a s a s e c i o h c e s e h t f o h c a e e k a m o t s n a e m t i d n a t n i o p r a l u c it r a p a t a l a e t s
.) 4 4 . p ( e c i o h c
n o it a v it o m a t e m “ n o y r o e h t e h t n o d e s a b , r e v o e r o
M ”byAbrahamMaslow ,sefl
-d l o e h t s e e s r e h c r a e s e r e h T . e r o m r o e g a f o s r a e y y t x i s y ll a u s u e r a e l p o e p d e z il a u t c a
fl e s a s a y n o ir
B -actuailzed person becauseshei smature enough ,creaitve ,and ha sa
. g n it ir w n i t n e l a t
.
2 Metamo itva iton
o w a s i ” n o it a v it o m a t e M
“ rd used instead o f“moitvaiton” fo rsefl-actuailzed
fl e s g n i h c a e r d n a r e d l o g n it t e g e r a e l p o e p n e h W . e l p o e
p -actuailzaiton ,the word
. e r o m y n a m e h t r o f e t a ir p o r p p a t o n s i ” n o it a v it o m “
m r e t e h t t a h t s e v e il e b w o l s a M . r D “ , e t o r w ) 1 7 9 1 ( e l b o G k n a r F , k o o b s i h n I
. p ( ” s d e e n c i s a b e h t d n o y e b t c a o t e s l u p m i e h t s a ” n o it a v it o m a t e m “ d e n if e d s a h e h
.) 2 3
fl e
S -actuailzedpeopleneed“metamoitvaiton”t obemorecreaitve.I nt hiss tudy ,
a76 yea roldB ironyneed stit owrtieherl as tnovelt o atonef o rhe raciton .She doe s
s d e e n e h S . d e ll if l u f n e e b e v a h s d e e n c i s a b r e h e c n i s e r o m y n a n o it a v it o m d e e n t o n
.s e i d e h s e r o f e b s d e e n r e h l li fl u f o t ” n o it a v it o m a t e m “
.
3 Atonement
e l c it r a n a n i d e t a t s s
A Atonemen t (2010) , wir tten by Gordon Graham ,
e h t d e r e t n e s a h t a h t s n i g ir o h s il g n E h ti w m r e t a g n i e b n i l a u s u n u s i t n e m e n o t a “
s tr a p t n e n o p m o c s ti o t n i n e k o r B . y g o l o e h t n a it s ir h C f o y r a l u b a c o v d r a d n a t
s – ta - eo -n
t n e
m – i tnaturally suggest sa state o faffaris in which two parite sare untied o r
n o n d n a l a c i g o l o e h t s ti h t o b n i t u b , d e li c n o c e
r -theologica luse ,si tmoreusuallyr efer s
e h t t a h t d e t a t s o s l a s i tI . ) 1 . p ( ” t u o b a e m o c s a h s i h t h c i h w y b s s e c o r p r o t c a e h t o t
e m e n o t a e h t‘ n i f e il e b n a it s ir h C l a n o it i d a
rt nt ’ refer s p irmarliy to the spritiua l
f o r o h t u a e h t , n o t p m a H r e h p o t s ir h C . t s ir h C s u s e J f o k r o w d n a e fi l e h t f o e c n a c if i n g i s
s i e h e s u a c e b m r e t e h t n e s o h c e v a h y a m , r e h c r a e s e r e h t y b d e s u y a l p n e e r c s e h t
6 I I R E T P A H C
W E I V E R L A C I T I R O E H T
; s e i d u t s d e t a l e r e h t f o w e i v e r ; e r a e s o h T . s tr a p e e r h t f o s t s i s n o c r e t p a h c s i h T
s i s e i d u t s d e t a l e r f o w e i v e r e h T . k r o w e m a r f l a c it e r o e h t d n a s e ir o e h t d e t a l e r f o w e i v e r
e l p o e p r e h t o y b y a l p n e e r c s e h t n o s t n e m m o c w o h s o t r e d r o n i d e t n e s e r
p andanalysi s
e h t s t n e s e r p s e ir o e h t d e t a l e r f o w e i v e r e h T . s e l g n a r e h t o m o r f c i p o t e m a s e h t f o
s li a t e d k r o w e m a r f l a c it e r o e h t e h T . y a l p n e e r c s e h t e z y l a n a o t d e s u e b l li w t a h t s e ir o e h t
d e t a l e r f o w e i v e r e h t n i d e t n e s e r p e r a t a h t s e ir o e h t e h t f o e c n a tr o p m i e h
t theo ire .s
.
A Reviewo fRelatedStudies
d n a , s n o it s e g g u s , s t n e m m o c n w o r i e h t e v a g t a h t e l p o e p y n a m e r e w e r e h T
s ’ n o t p m a H r e h p o t s ir h C n e h w s m s i c it ir
c Atonementwasi nprogres sandr eadbyt hem .
.f l e s ti y a l p n e e r c s e h t n r e c n o c s m s i c it ir c d n a , s n o it s e g g u s ,s t n e m m o c e s o h T
n i y li r a m ir p d l o t e b o t e v a h d l u o w y r o t s e h t t a h t t n a e m ) r o t c e ri d e h t( t h g ir W e o J
o e l b a d a e r e b o t e v a h d l u o w s t h g u o h t ’ s r o t c a e h t t a h t d n a s e g a m
i n t hei rface srathe r
y e h t , k o o b e h t f o y g e t a rt s d l o b e h t g n i o h c e , t a h t d n a ; k c a rt d n u o s e h t n o e l b i d u a n a h t
fl e s , g i b n i g n il a e d e b d l u o
w -contained chunk so fnarraitve ,where t he focu swould
.r e h t o n a o t e n o m o r f y ll a c it e g o l o p a n u t fi h s
( n o t p m a H r e h p o t s ir h
C thesc irptwrtier )also statedt hatt hi sstoryhadone majo r
y t n e w t e h t : e g a t n a v d a n e e s e r o f n
a e d i n a , s r o t c a e t a r a p e s o w t g n it s a c f o k n i h t o t r e i s a e r a f t i e d a m n e e t h g i e t a y n o ir B
e r r u c c o y ll a e r t o n d a h t a h
t dt ot hembefore ,whenou rsrtucturehad appearedt oi nsis t
. n w o d d n a p u g n i g a f o e l b a p a c r o t c a e g a n e e t a n o
h ti w d e c u d o r p s a w y r o t s e h t t a h t n w o h s s i t i , e v o b a s t n e m m o c o w t e h t m o r F
n i s r e t c a r a h c e h t f o e g a m i n a s t n e s e r p y lt c e ri d r e ti r w t p ir c s e h T . t h g i s n
i thi sstory . tIi s
s e c n e u lf n i t a h w d n a d l o r a e y 8 1 n a o t d l o r a e y 3 1 a m o r f p u s w o r g o h w y n o ir B t u o b a
.r a e y h t 6 7 r e h n i l e v o n t s a l r e h e k a m o t y n o ir B r e d l O
m o r f t e n r e t n i e h t n o d n u o f e b n a c h c i h w , t n e m m o c e v it i s o p e n O
i a r p , m o c .t o p s g o l b .t n e d i c n i g n it i c n i e h
t se sthe screenwrtier’ sforesight .The commen t
l e v o n e h t d a e r ll a w e r c g n it o o h s e h t e r u s s a w e h t a h t d i a s e H . d o o w y lr u H m o r f s a
w -
t o n d a h e h h c i h
w - and the scirp tcould have jumped around even more wtihou t
. g n i d n u o p x e
s e s u c o f r e h c r a e s e r e h t , y d u t s s i h t n
I ont hecharacte irsitc so fB ironyast hemain
g n it ir w n i ” n o it a v it o m a t e m “ s ’ y n o ir B d l o e z y l a n a o s l a l li w r e h c r a e s e r e h T . r e t c a r a h c
.l e v o n t s a l r e h
.
B Reviewo fRelatedTheories
.
1 TheoryonCharacterandCharacterizaiton
t s t n e s e r p r e h c r a e s e r e h t , w e i v e r s i h t n
I he theory o f characte r and
s r e t c a r a h c e h t w o h n o n o it a n a l p x e n a s e v i g r e t c a r a h c f o y r o e h t e h T . n o it a z ir e t c a r a h c
t s r e d n u f o s y a w e h t f o n o it a n a l p x e n a s e v i g n o it a z ir e t c a r a h
c anding t he rtati sof t he
.s r e t c a r a h c
.
a Theoryon Character
e r a e r e h T . s r e t c a r a h c s i m e h t f o e n O . s t n e m e l e y n a m s n i a t n o c y a l p n e e r c s s i h T
s e b ir c s e d o h w r o h t u a e h t y b d e t n e s e r p e r a t a h t y a l p n e e r c s s i h t n i s r e t c a r a h c y n a m
r i e h t h g u o r h t d e b ir c s e d e r a s r e t c a r a h c e h T . y ti l a n o s r e p d n a s e c n a r a e p p a l a c i s y h p r i e h t
, r o i v a h e
b dialogues ,and thought .M.H Abram s(2008 )de ifnes ,“character sare the
r e d a e r e h t y b d e t e r p r e t n i e r a o h w k r o w e v it a r r a n r o c it a m a r d a n o d e t n e s e r p s n o s r e p
y e h t t a h w n i d e s s e r p x e e r a t a h t y ti l a u q n o it i s o p s i d d n a l a r o m h ti w d e w o d n e g n i e b s a
l a i d h g u o r h t( y a
s ogue) ,andbywhatt heydo t(hroughaciton)”( p .23 .)
, y a l p n e e r c s a n i t a h t s n a e m t I . s r e t c a r a h c l a e v e r o t n e tt ir w s i y a l p n e e r c s A
y r o t s e h t h g u o r h t d e b ir c s e d d n a d e t c e j o r p e r a s r e t c a r a h
c .IanMliilgan (1983 )states ,
o r t n a tr o p m i n a y a l p s r e t c a r a h c l l a t o N
“ le .At l eas tone characte rappears t o be t he
e h T . e c n a tr o p m i ri e h t n o d e s a b r e t c a r a h c f o s e p y t o w t e r a e r e h T . y r o t s e h t f o r e t n e c
e h t d n a y r o t s e h t f o r e t n e c e h t s i r e t c a r a h c n i a m e h T . r e t c a r a h c r o j a m / n i a m e h t s i t s ri f
y r o t s e h t n i r e t c a r a h c t n a tr o p m i t s o
m .On the othe rhand ,mino rcharacte rappear s
r o j a m e h t n a h t t n a tr o p m i s s e l s i e l o r r i e h t d n a y r o t s e h t n i e c i w t r o e n o y l n o
n i a m e h t s i y n o ir B t a h t s e d i c e d r e h c r a e s e r e h t , y d u t s s i h t n I . ) 5 5 1 . p ( ” r e t c a r a h c
r e t n e c e h t s i e h s e s u a c e b y r o t s e h t f o r e t c a r a h
c oft he storywho play she rrole from
.
b TheoryonCharacteriza iton
k o o b s i h n i ) 5 9 9 1 ( l li G d r a h c i
R Mastering Engilsh Ltierature desc irbe ssix
e v il a e m o c d n a , o t e l b a d n a t s r e d n u , s r e t c a r a h c s i h e k a m o t t p m e tt a s ’ r o h t u a n a n i s y a w
5 3 2 . p ( r e d a e r s i h , r o
f -243 .)
e h t e b ir c s e d o t s e ir t r o h t u a e h t w o h t a h t s n a e m t I .s d r o w d n a s r e t c a r a h c e r a t s ri F
l a r e n e g e h t t a h t s n a e m s i h T . y a l p e h t f o s d r o w e h t m o r f t n r a e l e b n a c r e t c a r a h c
n i a tr e c n i , d n a y u q o li l o s , e u g o l a i d e r a n o it a m r o f n i f o s e c r u o
s specia lcases ,stage
e m o s l l e t t o n n a c t h g ir w y a l p A . t s il e v o n a m o r f t n e r e f fi d s i t h g ir w y a l p A . s n o it c e ri d
t h g ir w y a l p a t a h t s k n i h t r e h c r a e s e r e h T . ) 5 3 2 . p , 5 9 9 1 , ll i G d r a h c i R ( y lt c e ri d s g n i h t
t o s y r o t s a e g n a h c o t e s o p r u p e m a s e h t e v a h r e ti r w t p ir c s a d n
a ha ta story can be
. m r o f r e p o t d e t s e r e t n i
n i s r e t c a r a h c t u o b a t n i o p t n a tr o p m i t s o m e h T . h c e e p s d n a s r e t c a r a h c e r a d n o c e S
; s k a e p s e h s r o e h h c i h w n i y a w e h t s i e v it c n it s i d r e t c a r a h c a s e k a m t a h w d n a a m a r d
. e c i o v f o e n o t ri e h t s i t a h t
s r e t c a r a h c e r a d ri h
T themselves .The easiest t hing t o do i scompare what t hey
.t c a y e h t w o h h ti w y a s
f o y a w h tr u o f e h t s i s i h T . r e h t o h c a e t u o b a g n i k a e p s s r e t c a r a h c e r a h tr u o F
r e h t o m o r f r e t c a r a h c e n o w o n k n a c r e d a e r e h t t a h t s n a e m s i h T . r e t c a r a h c g n i h s il b a t s e
l a i d s ’ r e t c a r a h
c ogueandcheckwhethe ro rno ttii srtue.
e m o S . s d n i k t n e r e f fi d f o e b n a c s t s a rt n o c e h T . d e t s a rt n o c s r e t c a r a h c e r a h tf i F
s a rt n o c a y ll a u s u , y a l p n e e r c s a n I . t n e r e f fi d y r e
v tb irng sou tsomething impo tran t
. e l o h w a s a y a l p e h t f o g n i n a e m e h t t u o b a
, r e v e w o h , s e m it e m o S . s e it il a n o s r e p e v it c n it s i d t u o h ti w s r e t c a r a h c e r a h t x i S
.s e it il a n o s r e p e v it c n it s i d e v a h t a h t s r e t c a r a h c r e v o c s i d o t e l b a e b t o n y a m e l p o e p
s d o h t e m x i s e r a e s e h
T the autho rwli luse t o desc irbe t he characte irsitc sof t he
e s e h t f o y n a d e s u s a h r o h t u a e h t r e h t e h w e n i m r e t e d l li w y a s s e s i h T . r e t c a r a h c
s ’ n o t p m a H r e h p o t s ir h C n i s r e t c a r a h c e h t f o s c it s ir e t c a r a h c e b ir c s e d o t s d o h t e m
t n e m e n o t
A .
.
2 Theoryon“Metamoitva iton”
, s il l a T y n o ir B d l o n a e s u a c e b ” n o it a v it o m “ m r e t e h t e s u t o n s e o d r e h c r a e s e r e h T
fl e s a s i , y r o t s e h t f o r e t c a r a h c n i a m e h
t -actuailzed person who need smore than
. d n e n a o t g n i w a r d s i h c i h w e fi l r e h e v il o t ” n o it a v it o m “
k o o b s i h n i e l b o G k n a r F o t g n i d r o c c
A TheThirdForce(1971 ,)
s i h l li fl u f o t g n i k e e s s i e h ; s e i c n e i c if e d y b d e t a v it o m s i l a u d i v i d n i e g a r e v a e h T
y h tl a e h e h T . m e e t s e f l e s d n a , t c e p s e r , e v o l ,s s e n il g n o l e b , y t e f a s r o f s d e e n c i s a b
s i h e z il a u t c a d n a p o l e v e d o t d e e n s i h y b d e t a v it o m y li r a m ir p “ s i n a
m fulles t
s i , s d r o w r e h t o n i , l a u d i v i d n i y h tl a e h e h T ” .s e it i c a p a c d n a s e it il a it n e t o p
fl e s r o f e ri s e d a y b y li r a m ir p d e t a v it o
m -actuailzaiton( p .32 .)
t s o m o t y l p p a y lt c e r r o c t o n s e o d ” n o it a v it o m “ m r e t e h t t a h t d e t a t s o s l a s i t I
e r a y e h T “ . s l a u d i v i d n i e r u t a
m spontaneous; t hey are doing what i snatura;l t hey are
.) 2 3 . p ( ” s e v l e s m e h t g n i s s e r p x e y l e r e m
fl e
S -actuailzed people focu s on more than basic needs . They are
s a n i s d e e n f o t s
il tli lhighe rcategory ,which he desc irbed “a sgrowth needs ( Being
-B r o s e u l a
v -values) ,a sconrtasted wtih t he basic o rde ifciency needs .Thus ,man i s
d r a w o t s e v o m e h , d e if s it a s e r a e s e h t s a ; s d e e n c i s a b f o s e ir e s a y b d e t a v it o m y ll a it i n i
i h e h t f o l e v e l e h
t ghe rneed sand become smoitvated by t hem .A smen itoned before
fl e s a t u o b
a -actuailzedperson ,Maslow’st ermf ort hisi s“metamoitvaiton””( p .47 .)
k n a r F . e r o m g n i h t e m o s d e e n e l p o e p e r u t a m , d e ll if l u f e r a s d e e n c i s a b n e h W
k o o b s i h n i ) 1 7 9 1 ( e l b o
G The Third Force wrote tha tMaslow desc irbe sfou treen
g n i e B f o t s il a s a s t n i o
p -values( p .47-4 8 .)
.
1 Wholeness
s s e n d e t c e n n o c r e t n i , s s e n e n o o t y c n e d n e t , n o it a r g e t n i ; y ti n u f o s t s i s n o c t I
y m o t o h c i d , e r u t c u rt s , n o it a z i n a g r o , y ti c il p m i
s -rtanscendence ,andorde.r
.
2 Perfeciton
t s u j , y ti s s e c e n f o s t s i s n o c t
I -ir -ght ness ,just- os -ness ,inevtiablitiy ,sutiabli tiy ,
.s s e n t h g u o d n a , s s e n e t e l p m o c , e c it s u j
.
3 Compleiton
, s o l e t d n a s i n if , t n e m ll if l u f , ” d e h s i n if s ’t i “ , e c it s u j , y ti l a n if , g n i d n e f o s t s i s n o c t I
.
4 Jusitce
.s s e n t h g u o d n a , s s e n l u f w a l ,s s e n il r e d r o , s s e n ri a f f o s t s i s n o c t I
.
5 Ailveness
n o n , s s e c o r p f o s t s i s n o c t
I -deadness ,spontanetiy ,sefl-regulaiton , and full
-. g n i n o it c n u f
.
6 Richness
. y c a c ir t n i d n a , y ti x e l p m o c , n o it a it n e r e f fi d f o s t s i s n o c t I
.
7 Simpilctiy
I tconsist so fhonesty ,nakedness ,absrtact ,essenital ,skeleta lsrtucture ,and
. y ti l a it n e s s e
.
8 Beauty
, s s e n e l o h w , s s e n h c ir , y ti c il p m i s , s s e n e v il a , m r o f , s s e n t h g ir f o s t s i s n o c t I
. y lt s e n o h d n a , s s e n e u q i n u , n o it e l p m o c , n o it c e f r e p
.
9 Goodness
d n a , e c n e l o v e n e b , e c it s u j , s s e n t h g u o , y ti li b a ri s e d , s s e n t h g ir f o s t s i s n o c t I
. 0
1 Uniqueness
. y tl e v o n d n a , y ti li b a r a p m o c n o n , y ti l a u d i v i d n i , y s a r c n y s o i d i f o s t s i s n o c t I
. 1
1 Efforltess
r e p , e c a r g , y tl u c if fi d r o g n i v ir t s , n i a rt s f o k c a l , e s a e f o s t s i s n o c t
I fect ,and
. g n i n o it c n u f l u fi t u a e b
. 2
1 Playfulness
d n a , e c n a r e b u x e , r o m u h , y t e i a g , t n e m e s u m a , y o j , n u f f o s t s i s n o c t I
.s s e n s s e lt r o f f e
. 3
1 TruthandHonesty :Realtiy
d n a n a e l c , e r u p , y t u a e b , s s e n t h g u o , s s e n h c ir , y ti c il p m i s , s s e n d e k a n f o s t s i s n o c t I
c , d e t a r e tl u d a n
u ompleteness ,andessenitaltiy.
. 4
1 S -efl suf ifciency
t o n , e c n e d n e p e d n i , y m o n o t u a f o s t s i s n o c t
I -needing-other- ntha -tisefl- ni -order
-o
t - eb -tisefl ,se fl-determining ,envrionment-rtanscendence ,separateness ,and ilvingby
.
C Theore itca lFramework
t u o b a c i p o t e h t e z y l a n a o t s e ir o e h t e e r h t s e s u r e h c r a e s e r e h t , y d u t s s i h t n I
e h t , s il l a T y n o ir B f o ” n o it a v it o m a t e m “ e h t g n i z y l a n a e r o f e B . ” n o it a v it o m a t e m “
. M y b r e t c a r a h c n o y r o e h t s i t s ri f e h T . t s ri f s c it s ir e t c a r a h c r e h d n if o t s a h r e h c r a e s e r
0 2 ( s m a r b A .
H 08) .This t heoryhelps t he r esearchert o understand t he characte irsitc s
d n a s e u g o l a i d h g u o r h t y a l p n e e r c s e h t f o s r e t c a r a h c e h t g n i b ir c s e d y b s il l a T y n o ir B f o
t e g o t d e s u s i ) 5 9 9 1 ( ll i G d r a h c i R y b n o it a z ir e t c a r a h c n o y r o e h t d n o c e s e h T . s n o it c a
t s r e d n u r e tt e
b anding about t he B ironyTalils ’personaltiy i n t he screenplay .The t hrid
o y r o e h t s i y r o e h
t n “metamoitvaiton” byAbraham Maslow ( 1971) .A tfe r ifnding ou t
y b ” n o it a v it o m a t e m “ f o y r o e h t e h t s e s u r e h c r a e s e r e h t ,s c it s ir e t c a r a h c ’ s il l a T y n o ir B
e z y l a n a o t w o l s a
M whys hewrtie sherl as tnove.l
.
D Contex to fTheScreenplay
.
1 Set itngo fAuthorship
, 1 0 0 2 f o d n e e h t t a , y a l p n e e r c s e h t o t d e h c a tt a e t o n s ’ r o h t u a e h t o t g n i d r o c c A
l e v o n s ’ n a w E c M n a I t h g u o r b d n a d n a li a h T n i s a w n o t p m a H r e h p o t s ir h
C Atonement .
d lr o w e h t o t n i g n i k n i s e k il t l e f e H . y a l p n e e r c s s ti s e k a m e h e r o f e b l e v o n e h t d a e r e H
, t a h t d e c n i v n o c s a w e h , d n a l g n E o t k c a b e m a c e h e m it e h t y B . s il l a T y n o ir B f o
l u f r e w o p a f o s i s a b e h t e b l li t s d l u o c l e v o n e h t ,s a w t i s a d e z ir o ir e t n i d n a x e l p m o c
. m li
n o s k e e w o w t d n e p s o t t n e w , r o t c e ri d e h t ,t h g ir W e o J d n a e h , 5 0 0 2 f o d n e e h t t A
e h t t u o b a d e k l a t y e h T . e k p l e G a s u S o t g n i g n o l e b , e c n e r o l F o t e s o l c y tr e p o r p a
.t f a r d l a n if a t o g y ll a n if d n a y a l p n e e r c s
.
2 Set itngo fTheScreenplay
t n e m e n o t
A i smos ltyseti nt wope irods ,1935and1940.I n1935 ,B ironyTalilsi s
n i y li m a f r e h h ti w s e v il e h S . e m it s i h t t a d l o s r a e y 3 1 s i e h S . lr i g g n u o y a l li t s
h t u a e h T . e l b u o rt n i s a w y m o n o c e d lr o w e h t ,r a e y s i h t n I . d n a l g n
E o roft hes creenplay
h ti w s A . e p o r u E n i y ll a i c e p s e , d lr o w e h t d n a y n o ir B n e e w t e b s n o it a l e r r o c e m o s e d a m
t a h t r e h d n u o r a e n o y r e v e s e c n i v n o c e h S . e l b u o rt a g n i v a h o s l a s i y n o ir B , y m o n o c e e h t
b b o R s e s u a c t I . e u rt t o n s i ti h g u o h t n e v e a l o L d e p a r r e n r u T e i b b o
R ie t o go t o j ali .
g n o l a l i o m r u t r e t a e r g r a f n i e b l li w e fi l r e h , 0 4 9 1 y b t a h t e z il a e r t o n s e o d y n o ir B , t u B
e b o t s e d i c e d d n a d l o s r a e y n e e t h g i e s i y n o ir B , e m it s i h t n I . d lr o w e h t f o t s e r e h t h ti w
m o h T . t S n i g n i c it c a r p s i e h S . s e o d r e t s i s r e h r e tf a e s r u n
a as ’Hosptial ,London .She
l u f e s u g n i h t e m o s o d o t s t n a w e h s e s u a c e b r e h c r a e s e r a g n i e b o t e s r u n a g n i e b s r e f e r p
.s s e lt s e r s i e h S . s r e h t o r o f
h t u rt e h t s l a e v e r e h S . w o h s n o i s i v e l e t a n i d e w e i v r e t n i g n i e b s i e h s , 9 9 9 1 n I
m r e h ; 0 4 9 1 d n a 5 3 9 1 n i e fi l r e h t u o b
6 1
I I I R E T P A H C
Y G O L O D O H T E M
e h t f o h c a o r p p a ; y d u t s e h t f o t c e j b o : y l e m a n , s tr a p e e r h t f o s t s i s n o c r e t p a h c s i h T
e h t t u o b a n o it a n a l p x e e h t s n i a t n o c y d u t s e h t f o t c e j b O . y d u t s e h t f o d o h t e m d n a ; y d u t s
h t h c a o r p p a e h t s e s s u c s i d t i , y d u t s e h t f o h c a o r p p a e h t n I . y a l p n e e r c s e h t f o y ti t n e d
i a t
l a c i g o l o h c y s p a s i d e s u h c a o r p p a e h t , y d u t s s i h t n I . c i p o t e h t e z y l a n a o t e t a ir p o r p p a s i
o t s e s u r e h c r a e s e r e h t t a h t d o h t e m e h t s n i a t n o c y d u t s e h t f o y g o l o d o h t e M . h c a o r p p a
. c i p o t e h t e z y l a n a
.
A Objec toft heStudy
r e h p o t s ir h C y b n e tt ir w s a w y a l p n e e r c s s i h
T Hampton and wa sadapted from a
d e lt it n e l e v o
n AtonementbyI an McEwan( 2001.) Theauthor ,Ch irstophe rHampton ,
. l a g u tr o P , s e r o ç A , l a i a F n i , 6 4 9 1 y r a u n a J 6 2 n o n r o b s a w
. s e g a p 2 9 n o y r o t s e h t s t n e s e r p r o h t u a e h t , y a l p n e e r c s e h t n
I Atonement i sa
l p n e e r c
s ayoft hedramaitcl fieo fa13 yea roldgri lnamed Bironywhoi sgrowingup
. r e d l o s t e g e h s n e h w e n o t a l li w o h w l ri g a e m o c e b o t
s il l a T y n o ir B r e h c r a e s e r d l o n a f o s ll e t y a l p n e e r c s e h
T whowrtie sherl as tnove l
3 1 a s A . e fi l t s a p r e h t u o b
a -y -ear old gi lr ,shedecidedlychangest hecourse o fsevera l
e h t s A . ti m m o c t o n d i d e h e m ir c a f o r e n r u T e i b b o R s e s u c c a e h s n e h w s e v il
n e e tr i h t e h t ,s il l a T y n o ir B n o s e s u c o f ti , s n i g e b y a l p n e e r c
s -y - lear odyounges tdaughte r
e e r h t r e h d n a f l e s r e h y b n o t u p d n a , n o e L , r e h t o r b r e h f o g n i m o c e m o h e h t r o f r e n n i d a f o e s u a c e b r e m m u s e h t r o f s e s il l a T e h t h ti w g n i y a t s e r a o h w s n i s u o
c divorce
r a e y 9 n i w t r e h d n a , 5 1 , y e c n i u Q a l o L e r a y e h T . s t n e r a p r i e h t n e e w t e
b -old brothers ,
a s e s s e n ti w y n o ir B , d e s r a e h e r y lr e p o r p e b n a c y a l p e h t e r o f e B . n o s k c a J d n a t o r r e i P n a m o w r a h c y li m a f e h t f o n o s e h t d n a a il i c e C r e t s i s r e d l o r e h n e e w t e b e n e c s – s u o
h emaid - Robbie Turner . Wha ti sin actua lfac tan innocen tac ti s grealty
s t n e v e f o s e ir e s a f f o s t e s s i h t d n a , y n o ir B f o n o it a n i g a m i g n u o y e h t y b d o o t s r e d n u s i m r a f h ti
w -reachingconsequence .s
a il i c e C r o f r e tt e l a s d n a h e i b b o R , e n e c s n i a t n u o f e h t g n i w o ll o
F to B irony and
m o r f r e t s i s r e h t c e t o r p o t t u o s t e s d n a s e ri s e d e s r e v r e p s r e v o c s i d e h s ,t i n I .t i s d a e r e h s x e s s i h
t -craved maniac .Before she can do so ,she sees t he couple making l ove and
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m ie i sout t o harm
. a il i c e C e h t g n ir e g g ir t e m o h m o r f y a w a n u r s n i s u o c n i w t r e h , h g u o r h t s i t h g i n e h t e r o f e B g n i h c r a e s s i o h w , y n o ir B . t h g i n k r a d e h t n i m e h t r o f h c r a e s o t s t s e u g r e n n i d e h t f o t s e r o N . a l o L n i s u o c r e d l o r e h f o e c a l p g n i k a t e p a r a s e e s , e n o l
a tone to mis she r
s e it ir o h t u a g n i d u l c n i , e n e c s e h t t a e n o y r e v e d n a f l e s r e h s e c n i v n o c y n o ir B , y ti n u tr o p p o .l i a j o t n e k a t s i e h d n a , r e n r u T e i b b o R s a w t n a li a s s a e h t t a h t h g u o r h t s t a e rt e r e h s a r e n r u T e i b b o R s w o ll o f y a l p n e e r c s e h t , r e t a l s r a e y e v i F s a e c n a r
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y l e r e v e s s i e i b b o R . s o a h c e t e l p m o c f o e t a t s a n i s i h c i h w k ri k n u D o t t i e k a m n e m
t e d s i t u b d e d n u o
w erminedt omakei thomet oCeciilawhoi swaiitngf o rhim.
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. r e t s i s r e d l o r e h t u o s k e e s y n o ir B . g n it ir w l li t s o s l a s i y n o ir B . n i s r e h r o f e c n a n e p
t s d n e tt a e h s , s e o d e h s e r o f e
B heweddingo fPau lMarshall ( whomshenowknows t o
. e g a ir r a m e h t p o t s o t g n i h t o n s e o d y n o ir B . h c r u h c a n i a l o L d n a ) t s i p a r s' a l o L e b
g n i v il d n a e v il a l li t s s i e i b b o R t a h t d e r e v o c s i d s i ti , r e t s i s r e h s ti s i v e h s n e h W
s a s a h c u m o s t o n s e o d e h S . a il i c e C h ti
w kf or f orgiveness f romt he t wo l overs ( who
o t o d n a c e h s t a h w n o l e s n u o c k e e s d n a t li u g r e h t i m d a y l p m i s s a ) y a w y n a t i e s u f e r
l li w t a h t w o ll o f o t s n o it c u rt s n i f o t s il a y n o ir B e v i g a il i c e C d n a e i b b o R . r e tt e b t i e k a m
s e e r g a y n o ir B . e m a n s 'e i b b o R r a e l c p l e
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. m r o ft a l p n o it a t s e b u t e h t n o e r a a il i c e C d n a e i b b o R f o e e s e w t s a l e h T . n o d n o L
r o f g n i v i g s ’ y n o ir B d l o w e i v r e t n i n a s i ) 9 9 9 1 , n o d n o L ( n o it c e s l a n if e h T
o n r a l u p o p a s e m o c e b e h s t a h t e r e h d e l a e v e r s i tI . n o i s i v e l e
t veilst .Sher evealst hats he
g n it i s i v t u o b a t r a p e h t p u e d a m s a h e h s t a h t s m r o f n i y n o ir B , t s i w t l a n if a n I . g n i y d s i
t e l o t t c a r e H . r a w e h t n i d e i d e l p o e p h t o b w o h d n a n o d n o L n i e i b b o R d n a a il i c e C
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t e r ifna latonemen tto he r
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t s a l r e h e k a m o t ” d e t a v it o m a t e m “ s i s il l a T y n o ir B d l o n a , y a l p n e e r c s s i h t n I
o t d e t a l e r y l e s o l c s i c i p o t e h t e c n i S . s e i d e h s e r o f e b t s e r o t e c n e i c s n o c r e h t u p o t l e v o n
it o m e g n i d u l c n i y g o l o h c y s p n a m u
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e h t , s il l a T y n o ir B f o ” n o it a v it o m a t e m “ e h t f o e c n e n it r e p e h t t u o d n if o t r e h c r a e s e r
o t , y a l p n e e r c s s i h t f o r e t c a r a h c n i a
m wrtie he rlas tnove la she ratonement .David
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D Criitca lApproache sto Ltierature stated tha t
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u e b n a c h c a o r p p a l a c i g o l o h c y s p A . s e s ir
a sedt oi nterpre taworkofl tieraturesuch a s
9 2 3 . p ( s r e t c a r a h c e h t f o r o i v a h e b e h
t -344 .)
o t d e s u s i t a h t h c a o r p p a n a s i h c a o r p p a l a c i g o l o h c y s p e h t t a h t e v o b a d e t a t s s i tI
e h t s e s u r e h c r a e s e r e h t , y d u t s s i h t n I . k r o w y r a r e ti l a n i s r e t c a r a h c e h t e z y l a n a
psychologica lapproach because t her esearche rwantedt or eveal t hemain character’ s
.s e ir o e h t l a c i g o l o h c y s p e m o s g n i y l p p a y b n o it a v it o m
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. H . M e r a s k o o b e s o h T . s e c n e r e f e r s a s k o o b e m o s d e s u o s l a r e h c r a e s e r e h T
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A A Glossaryo fLtierary Terms ,Richard Gli’l sMastering EngilshLtierature ,
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o t n o it a l e r n i t e n r e t n i e h t m o r f n o it a m r o f n i e m o s d e w o r r o b o s l a r e h c r a e s e r e h T
