TIME IN THE NOVELS OF MILOS CRNJANSKI - Nottingham eTheses

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CHAPTER THREE under pressure to convert to Catholicism. The locical development o~ the main verbs ~rom which oucht to emerce the main in~ormation o~ the sentences. is broken. and the simultaneous sense impressions~ memories and desires which ~orm the dense struoture o~ those ~ew moments are hichlichted. S~ntactic ~racmentation'and displacement o~ the verb becomes more pronounced in moments o~ createst introspection. particularl~ in the scenes when Vuk and his men are aw~ ~rom home in those lone spells o~ inactivit~ durine which VUk's tortuous re~lections dominate the text: Zadricao od spavanja i odmora. otelao opet. nadnosio bi se tad. Bvom snacom. u stilavanju i sumraku. kroz lupu i !acor locora. udarce kopita. klepetula stoke. zvuke kova~kih nakovanja. u tihu. bezmernu zriku popaca. na celoj toj lirokoj poljani. u bezdano niltavilo i prazninu. Ito ih bele iznenada. ali blizu. pred svojom starol6u. ueledao (63). Re~reshed ~rom sleep and rest. heav~ acain. he would have bent then •. with his atreneth. in the calm and twilieht. throuch the noise and murmurinc o~ the camp. the stampine o~ hooves. the r1ne o~ cow bells. the sounds o~ the blacksmith's anvil. into the quiet. immeasurable chirpinc o~ crickets. on the whole o~ that broad ~ield. into the endless nothineness and emptiness. that he had 8uddenl~. but close b~~ be~ore his old ace. seen. In the above example the awkwardness o~ the Enelish translation is not a re~lection o~ the Serbo-Croat ori.inal. However. it is important to note that the 138
CHAPTER THREE main verb is deterred to the end ot the sentence which "prebacu;te te~ilte iskaza na nominalni deo" ("transters the balance ot the statement to the nominal part" 611). Xn such pass aces the sieniticance ot the action is minimised, and the presence ot the character maximised. The projection ot character point ot view is central to the compositional desien ot the novel. whether eraphica1lv in separate chapters or paraeraphs, bV the use ot verba sentiendi, or bV svntactic traementation. The characters int1uence the temporal structure ot the novel bv introducine a "moditvine temporal t10w" (65) to the chronoloev ot events as traced bv the observer-narrator. Thev each inscribe into the novel their own measurements ot duration and their own sequence ot events. It is particu1arl~ the use ot specitic sentence structures which struck previous critics such as Milan Boedanovi6 in his review ot the novel: Milol Crn;tanski ee u znatno;t meri odvaja od mirne i racionalne reaenice nalee savremenoe kn;ti~evnoe ;tezika, da;tu6i ;tednu drueu. ko;ta ;te easvim nervozna emotivna. potencirana (66). Milol Crn;tanski has moved coneiderablv awav trom the 'calm and rational sentence ot our~.ontemporarv literarv lancuaee. supp1vine another one, which ie completelv nervous. emotive, emphatic. Ornlanski'. U •• ot lanauaa. ha. b •• n oommented on .an~ tim •• bv oritios 01 •• obe. who s •• it a.poetic and 1St
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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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CHAPTER ONE Habsbur~ armv. Thev led
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CHAPTER ONE chanced. He had intende
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CHAPTER ONE verv d~fferent sentence
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CHAPTER ONE doe. not view the.e eve
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CHAPTER ONE Much of what informed h
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CHAPTER ONE December 1959, p15. 11.
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CHAPTER ONE 36. Draaila Vitolevi6.
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CHAPTER ONE 66. Mi101 Crnjanski. Su
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CHAPTER ONE 93. Ljub11a .1erem16, "
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CHAPTER TWO PART TWO CHAPTl!iR TWO
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CHAPTER TWO The Antholocy to which
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CHAPTER TWO His rriend told him or
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CHAPTER TWO su bo~e, ~ak tamo do zv
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CHAPTER TWO hi. outlook. which i. i
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CHAPTER TWO intuitive. As Milan Bo~
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CHAPTER TWO the actual time of narr
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CHAPTER TWO articles (such as the o
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CHAPTER TWO The "new sensibil.ities
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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 and 104: CHAPTER TWO rhythm"). Later in the
Page 105 and 106: CHAPTER TWO Notes 1. Sima Pandurovi
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: CHAPTER THREE boucht, he wanted to
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
Page 155 and 156: CHAPTER THREE his ~riends ~or Vuk I
Page 157 and 158: CHAPTBR THRBB 89) 1 •• 1.0 'oun
Page 159 and 160: CHAPTER THREE Notes 1. M. Svetovaki
Page 161 and 162: CHAPTER THREE 45. Novioa Petkovi6.
Page 163 and 164: CHAPTER THREE 90. III. p16. p223. 9
Page 165 and 166: CHAPTER FOUR Voice. in this context
Page 167 and 168: CHAPTER FOUR di~~erent arransement
Page 169 and 170: CHAPTER FOUR Novom Sadu. izc~eda da
Page 171 and 172: CHAPTER FOUR chronic~e. The events
Page 173 and 174: CHAPTER POUR structure of events, h
Page 175 and 176: CHAPTER FOUR not explain his presen
Page 177 and 178: CHAPTER POUR institutions which all
Page 179 and 180: CHAPTER FOUR European civilisation
Page 181 and 182: CHAPTER POUR a creative order. Each
Page 183 and 184: CHAPTER FOUR su Oni. Isakovi~i.u Au
Page 185 and 186: CHAPTER FOUR and die for Russia. an
Page 187 and 188: CHAPTER POUR tortured re~lections e
Page 189 and 190: CHAPTER FOUR I com~ort him with wha
Page 191 and 192: 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
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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
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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
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BIBLIOGRAPHY Time in Literature Bak
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BIBLIOGRAPHY Spencer. Sharon. Space
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