TIME IN THE NOVELS OF MILOS CRNJANSKI - Nottingham eTheses

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CHAPTER FOUR second novel ~alls on the di~~erences between individual and institutional concepts o~ time and historv. and the dialectic between sel~ and historv. Roman 0 Londonu Crnjanski's last novel. Roman 0 Londonu. was published in 1971 althouch its cenesis coes back to his earlier davs as an 6micr' in London. It contains manv structural and thematic ~eatures with respect to time which echo the other novels. Voice is an important element in this novel. as in Druca knjica seoba. The compositional desicn o~ his last novel is based on the contrast between the voice o~ an impersonal narrator. and the voices or the main character. These latter voices are those o~ the main character as narrator. and others which are presented in the text as i~ thev were the voices o~ characters. althouch thev are all in the main character's mind. Thev"represent aspects o~ his hopes and ~ears ~or the future and what has happened to him in the past. Thev are civen creater substance bV his frequent recollections from his past. To a certain decree the focus on one character in this ~ashion re.emble. Crnjan.ki's ~irstnovel Dnevnik 0 earnojevi6u. The distinction lies in the presentation o~ an identi~ied main,oharacter in the last novel. the Russian 6micr' Prince Nikolaj Rod1onovi~ Rjepn1n. Rjepnin is not the author of a diarv. but the 182
CHAPTER POUR tortured re~lections expressed bv the voices conjured up in his mind are con~essional. He names them as the voioe o~ his ~riend Barlov, who is o~ten heard expressins the unpleasant truths from which R~epnin tries to shield himsel~. Barlov is a ~riend who oommitted suicide while in emisration. Then there are the voices o~ Jim and John, as R;tepnin names them. Thev sussest di~~erent wavs in whioh the prince is to consider his past, ~uture, and present position, and di~~erent wavs ~or him to consider his livins in time. As thev orsanise and privilese oertain memories, certain experienoes, and hopes thev sive evidence o~ value svstems, all o~ which emanate~rom the prinoe and ·oon~ront him with the choioe between li~e and death. In all crn~anski's novels the pl'esence o~ the characters as narrators, or as asents ~rom whose point o~ view events al'e narrated, is a central ~eature o~ the presentation o~ time. In Roman 0 Londonu·R;lepnin's position in the text as a narrator o~ his own ~ate links time, oharacter.~ action •. and values •. Roman 0 Londonu is narrated in the third person. However, as .vi4ence ~rom our analvsis o~ Dnevnik 0 earnojevi6u sussests, Cl'njanskits use o~ the ~irst and .thil'd pel'son pronouns is not a neoessarv distinction between charaoters and narrators. There are a number o~ linsuistic and textual markers which indicate that ~or larse parts o~ the novel R;lepnin i. himself the 183
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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
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CHAPTER TWO which also links the in
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CHAPTER TWO Ber~son, as for Crnjans
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CHAPTER TWO in the "rhythm ot each
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CHAPTER TWO cause and effect. ver~
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CHAPTER TWO tempol"alitv. but bv st
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CHAPTER TWO Moderna umetni~ka lirik
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CHAPTER TWO rhythm"). Later in the
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CHAPTER TWO Notes 1. Sima Pandurovi
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CHAPTER TWO 36. Joseph Frank. "Spat
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CHAPTER THREE Crnjanski's lyricism
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CHAPTER THREE persuade him of the n
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CHAPTER THREE to find themselves al
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CHAPTER THREE writin~. and their du
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CHAPTER THREE i vi~u: "Izdajice. iz
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CHAPTER THREE o toj je s~1c1 mu~e61
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CHAPTER THREE action, the focus on
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CHAPTER THREE ("1 am ~~ing; down").
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CHAPTER THREE to the insicnificant.
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CHAPTER THREE dominates much o-r th
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CHAPTER THREE of self in his dream.
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CHAPTER THREE Po~azlivenim vodama.
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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
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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
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Page 171 and 172: CHAPTER FOUR chronic~e. The events
Page 173 and 174: CHAPTER POUR structure of events, h
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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
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Page 203 and 204: CHAPTER FOUR Dloni mu vi~e u uvo da
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Page 215 and 216: CHAPTER FOUR seoba. "Epic and Time
Page 217 and 218: CHAPTER FOUR U4. Boris Uspenskv. A
Page 219 and 220: CHAPTER FIVE PART THREE CHAPTER FIV
Page 221 and 222: CHAPTER FIVE characters' invo~vemen
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Page 227 and 228: CHAPTER FIVE Xzabe~a. and h~s f~~st
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Page 231 and 232: CHAPTER FIVE th1S? 11). closes thus
Page 233 and 234: CHAPTER FIVE dane sam prvi put nau~
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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
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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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