TIME IN THE NOVELS OF MILOS CRNJANSKI - Nottingham eTheses

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CHAPTER TWO itselt under constant creation. modulated by the twin principles ot simultaneity and rhythm. Simultaneity and rhythm are principles which have transcendental. psycholoaical. ontoloaical. and historical sianiticance. but they are not reducible to anv one of these cateaories. Crnjanski's views on time are tvpical ot the modernist understandina ot time. but more importantly they are also aspects of his sumatraist stvle. Since the oriain ot sumatraism itselt is a literary reterence. and since he advocated a close link between lanauaae and the content ot experience. we must examine his use ot lanauaae in relation to time. Lanauaae is not only vocabulary and syntax. but also literarv torm and stvle. It is the broader context ot the materials at a novelist's disposal. As a novelist Crnjanski orders his material in wavs whiCh retlects the prinCiple ot simultaneitv and the rhvthm ot a torm ot cvclic time. In his novels much ot what happens is tiltered throuah the consciousness of characters. or related directly by narrators. It is. theretore. only possible to aive a tull account ot his use of lanauaae and narrative structures in relation to the ditterent narratina voices. In part. it is throuah the muitiplicitv ot ditterent voices that his material achieves its temporal complexitv. 100
CHAPTER TWO Notes 1. Sima Pandurovi6. "Svetkovina", Posmrtne po~asti. Prosveta. Belcrade. 1968, pp35-36. 2. XII, p79. 3. Boedan Popovi6. Antoloei;Ja novi"e srpske lirike, Matiea hrvatska, Zaereb, 1911. 4. see Dejvid Noris. "Od Pandurovi6a do Crnjanskoc", Srpski simbolizam, Tipolo.ka prou~avan~a, edited bV Predraa Palavestra. Srpska akademija nauka i umetnosti. Nauani skupovi, XXII, Belcrade.' 1985. pp339-359. 5. Petal' Dladli6. Prostori sre6e u delu Milola. Crnjanskoe. Molit. Belerade. 1976. p23. 6. Petal' Dladli6. p18. 7. Nikola Milolevi6. "Filozofska dimenzi;Ja kn;Jilevnih dela Milola Crnjanskoa", Milo. Crnjanski, Sab:r-ana dela .Milola Crn;Jansko«, vol 1. Prosveta, Belerade, 1966. p22. 8. Radovan Vuakovi6. Poetika hrvatskoe i srpsko« ekspr.sionizma, Sv;Jetlost, Sa:r-ajevo, 1979. p194. 9. Aleksandar Flak.r. po.tika Ospo:r-avan~a, $kolska kn;Jiea. Zaereb. 1982. p99. 10. Milan Bcedanovi6, "Mova poezi;Ja", Srpski kn;Jilevni elasnik, 1921. IV. 1 • p57. 11. II. p5il. 12. II, p62. 13. Pisma iz Pariza. XI, p19. lil. VII •. p38. 15. Mil.an D.dinae, "Dn!!1.I'niko earno;Jevi6u od Milola Crn;Janskoe". Putevi. 1922. 1. p29. 16. Al.eksanda:r- Il.i6. "Sumatraizam Milol1a Crnjanskoe". ~askrsnioa. 192il. 2. p51. 17. Ma:r-ko Risti6. "Seob .... Kn~ilevna pol.itika. Rad. Belerade, 1979. P96, (first publ.ished in 1929) 1'8. Mirko ~elelj. "Milol C:r-njanski", S:r-pski knjilevni «lasnik. 1939. LVIII, il. pp208-217t 5. pp278-286. 101
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TIME IN THE NOVELS OF MILOS CRNJANS
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ABSTRACT TIME IN THE NOVELS OF MILO
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CHAPTER ONE PART ONE CHAPTER ONE TH
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CHAPTER ONE preoccupations and char
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CHAPTER ONE (1971). There are simil
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CHAPTER ONE than in his studies. Th
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CHAPTER ONE his connection with Ben
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CHAPTER ONE One could not speak ~et
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CHAPTER ONE his collection o~ poems
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CHAPTER ONE debate with other croup
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CHAPTER ONE and a style similar to
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CHAPTER ONE slikara koji su osnoval
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CHAPTER ONE project in the post-war
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CHAPTER ONE adoption of the term ne
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CHAPTER ONE stru~~le of the earlv R
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CHAPTER ONE discontinuing the line
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CHAPTER ONE this discussion on the
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CHAPTER ONE impression that the con
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CHAPTER ONE knji~evni ;lasnik (66).
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CHAPTER ONE His recollection of his
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CHAPTER ONE and that he used his po
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----------------------- CHAPTER ONE
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CHAPTER ONE The~ took all my books
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CHAPTER ONE areas of social and cul
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CHAPTER ONE Crnjanski's memoirs fro
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CHAPTER ONE 1962. Far from beine pe
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Page 55 and 56: CHAPTER ONE chanced. He had intende
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Page 59 and 60: CHAPTER ONE doe. not view the.e eve
Page 61 and 62: CHAPTER ONE Much of what informed h
Page 63 and 64: CHAPTER ONE December 1959, p15. 11.
Page 65 and 66: CHAPTER ONE 36. Draaila Vitolevi6.
Page 67 and 68: CHAPTER ONE 66. Mi101 Crnjanski. Su
Page 69 and 70: CHAPTER ONE 93. Ljub11a .1erem16, "
Page 71 and 72: CHAPTER TWO PART TWO CHAPTl!iR TWO
Page 73 and 74: CHAPTER TWO The Antholocy to which
Page 75 and 76: CHAPTER TWO His rriend told him or
Page 77 and 78: CHAPTER TWO su bo~e, ~ak tamo do zv
Page 79 and 80: CHAPTER TWO hi. outlook. which i. i
Page 81 and 82: CHAPTER TWO intuitive. As Milan Bo~
Page 83 and 84: CHAPTER TWO the actual time of narr
Page 85 and 86: CHAPTER TWO articles (such as the o
Page 87 and 88: CHAPTER TWO The "new sensibil.ities
Page 89 and 90: CHAPTER TWO Pound's emphasis on 1an
Page 91 and 92: CHAPTER TWO which also links the in
Page 93 and 94: CHAPTER TWO Ber~son, as for Crnjans
Page 95 and 96: CHAPTER TWO in the "rhythm ot each
Page 97 and 98: CHAPTER TWO cause and effect. ver~
Page 99 and 100: CHAPTER TWO tempol"alitv. but bv st
Page 101 and 102: CHAPTER TWO Moderna umetni~ka lirik
Page 103: CHAPTER TWO rhythm"). Later in the
Page 107 and 108: CHAPTER TWO 36. Joseph Frank. "Spat
Page 109 and 110: CHAPTER THREE Crnjanski's lyricism
Page 111 and 112: CHAPTER THREE persuade him of the n
Page 113 and 114: CHAPTER THREE to find themselves al
Page 115 and 116: CHAPTER THREE writin~. and their du
Page 117 and 118: CHAPTER THREE i vi~u: "Izdajice. iz
Page 119 and 120: CHAPTER THREE o toj je s~1c1 mu~e61
Page 121 and 122: CHAPTER THREE action, the focus on
Page 123 and 124: CHAPTER THREE ("1 am ~~ing; down").
Page 125 and 126: CHAPTER THREE to the insicnificant.
Page 127 and 128: CHAPTER THREE dominates much o-r th
Page 129 and 130: CHAPTER THREE of self in his dream.
Page 131 and 132: CHAPTER THREE Po~azlivenim vodama.
Page 133 and 134: CHAPTER THREE Uili su u Pe~uj tako
Page 135 and 136: CHAPTER THREE The whole campaien th
Page 137 and 138: CHAPTER THREE In Vuk's consciousnes
Page 139 and 140: CHAPTER THREE simultaneous. The int
Page 141 and 142: CHAPTER THREE boucht, he wanted to
Page 143 and 144: CHAPTER THREE main verb is deterred
Page 145 and 146: CHAPTER THREE the passin,; ot an ev
Page 147 and 148: CHAPTER THREE ni~ht cooin~. he list
Page 149 and 150: CHAPTER THREE zalivala svoje poljup
Page 151 and 152: CHAPTER THREE the po~nt. of v~ew of
Page 153 and 154: CHAPTER THREE social custom in the
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CHAPTER THREE his ~riends ~or Vuk I
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CHAPTBR THRBB 89) 1 •• 1.0 'oun
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CHAPTER THREE Notes 1. M. Svetovaki
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CHAPTER THREE 45. Novioa Petkovi6.
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CHAPTER THREE 90. III. p16. p223. 9
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CHAPTER FOUR Voice. in this context
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CHAPTER FOUR di~~erent arransement
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CHAPTER FOUR Novom Sadu. izc~eda da
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CHAPTER FOUR chronic~e. The events
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CHAPTER POUR structure of events, h
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CHAPTER FOUR not explain his presen
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CHAPTER POUR institutions which all
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CHAPTER FOUR European civilisation
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CHAPTER POUR a creative order. Each
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CHAPTER FOUR su Oni. Isakovi~i.u Au
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CHAPTER FOUR and die for Russia. an
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CHAPTER POUR tortured re~lections e
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CHAPTER FOUR I com~ort him with wha
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CHAPTER FOUR one point that ".John
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CHAPTER FOUR impersonal and distanc
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CHAPTER FOUR in the lancuac. o~ the
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CHAPTER FOUR question which misht b
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CHAPTER FOUR because of the intri~u
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CHAPTER FOUR class, that lady - mur
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CHAPTER FOUR Dloni mu vi~e u uvo da
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CHAPTER FOUR those which Rjepnin ha
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CHAPTER FOUR anal~sis has shown tha
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CHAPTER FOUR sort of ·larce, stran
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CHAPTER POUR in o~de~ to set the ~a
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CHAPTER POUR expression of time is
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CHAPTER FOUR seoba. "Epic and Time
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CHAPTER FOUR U4. Boris Uspenskv. A
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CHAPTER FIVE PART THREE CHAPTER FIV
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CHAPTER FIVE characters' invo~vemen
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CHAPTER FIVE absurd and a~ien in th
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CHAPTER FIVE left Russia, he has ju
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CHAPTER FIVE Xzabe~a. and h~s f~~st
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CHAPTER FIVE are sharp~v contrasted
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CHAPTER FIVE th1S? 11). closes thus
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CHAPTER FIVE dane sam prvi put nau~
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CHAPTER F1.VE says. "H06u da ti pri
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CHAPTER. FIVE spends the niaht. and
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CHAPTER FIVE Greek honeyed words. a
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CHAPTER FIVE psvche wh1Ch eX1sts be
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CHAPTER F~VE aeainst the diarist's
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CHAPTER FIVE by" 51). By avoidin~ t
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CHAPTER FIVE his diary with a para&
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CHAPTER FIVE United States. Third.
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CHAPTER FIVE An officer is 1ike a f
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CHAPTER FIVE London at the time" 67
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CHAPTER FIVE The passa~e continues
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CHAPTER FIVE and his class-mates: G
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CHAPTER FIVE of their vears. thev w
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CHAPTER FIVE station. The cinema is
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CHAPTER FIVE 1948 but with a parall
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CHAPTER FIVE on himselt. the other
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CHAPTER FIVE prolazili ljudi ilene.
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CHAPTER FIVE heart of Rjepnin's psv
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CHAPTER FIVE Rjepnin considers retu
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CHAPTER FIVE bein~-in-time. Both Dn
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CHAPTER FIVE Notes 1. Leslie A. Joh
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CHAPTER FIVE UB. II. p11. U9. II. p
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CHAPTER FIVE 98. IX. p325. 99. Duii
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CHAPTER SIX i bein~-in-time wi.t~ t
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CHAPTER S.IX c~ttle. around the for
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CHAPTER SIX trend in the epic in wh
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CHAPTER SIX tuture becomes present.
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CHAPTER SIX the loss o~ the ~ather'
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CHAPTER SIX their oontaot with natu
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CHAPTER SIX his ~ather. However. th
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CHAPTER SIX In P'cs. Vuk is invited
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CHAPTER SIX search. The final passa
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CHAPTER SIX sneeom. opet doselili d
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CHAPTER SIX experience sQmethin~ wh
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CHAPTER SIX seemed to him as if hea
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CHAPTER SIX Nemalt1na, samo~a, b01e
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CHAPTER SIX Zatim je Zemun doznao j
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CHAPTER SIX dance. clances and kiss
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CHAPTER SIX her shadow in the mire,
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CHAPTER SIX ona jo! vide neko zlatn
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CHAPTER SIX symbols of the sta~ and
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CHAPTER SIX sad odlaze. Prva velika
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CHAPTER SIX of the nation at Kosovo
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CHAPTER SIX molda samo oni znaju" (
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CHAPTER SIX spokesperson for the wh
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CHAPTER SIX She was dead for more t
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CHAPTER SIX based on the values ot
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CHAPTER SIX iz~leda da se taj rat n
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CHAPTER SIX todav. The details whic
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CHAPTER SIX ohapter of the novel. w
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CHAPTER SIX The ~ears are passin~ e
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CHAPTER SIX Notes 1. III. pll'3. 2.
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CHAPTER SIX 47. III, p79. 46. III,
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CHAPTER SIX 99. Mircea Eliade. Cosm
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CHAPTER SEVEN CHAPTER SEVEN CONCLUD
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CHAPTER SEVEN follow ~apidlY in the
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CHAPTER SEVEN temporal relationship
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CHAPTER SEVEN oriein, linked to but
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CHAPTER SEVEN Carnojevi6u, are pers
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CHAPTER SEVEN search o~ salvation.
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CHAPTER SEVEN discourse which opens
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CHAPTER SEVEN The moti~ o~ return a
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CHAPTER SEVEN Crnjanski himself def
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CHAPTER SEVEN 11. I. p210. 18. II.
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BIBLIOGRAPHY of Arts and Sciences,
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, Crnjanski, Milo~. "Objalnjenje 'S
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BIBLIOGRAPHY SECONDARY SOURCES The
Page 369 and 370:
BIBLIOGRAPHY I~njatovi6. Dra~oljub.
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BIBLIOGRAPHY Lovri6. Jasmina. "Funk
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BIBLIOGRAPHY Serbian Literature, ed
Page 375 and 376:
BIBLIOGRAPHY Zdrale. Radovan. "Crnj
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BIBLIOGRAPHY Srpski knjifevni glasn
Page 379 and 380:
BIBLIOGRAPHY Mirkovi6, Mil.osl.av,
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BIBLIOGRAPHY Kru!evac. 1988 Travar.
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BIBLIOGRAPHY 7-8. pp809-817 Mirkovi
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BIBLIOGRAPHY SUPPLEMENTARY MATERIAL
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BIBLIOGRAPHY Modernism Bradburv, Ma
Page 389 and 390:
BIBLIOGRAPHY Time in Literature Bak
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BIBLIOGRAPHY Spencer. Sharon. Space
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