TIME IN THE NOVELS OF MILOS CRNJANSKI - Nottingham eTheses

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CHAPTER FOUR countrv where he has lived ~or some time. These isolated words are complemented bV loncer phrases. One dav Rjepnin i •• ittinc in the park when he notices a vouth close bV and i. .tartled when the boV asks him the time: Polto se u tom parku Svetoc Jakova. ~uje sat sa tornja Parlamenta. junak nalec romana pomisli: ato me pita9 Zatim odeovara. "Ra mom je .atu prollo pola dva." "It'. hal~ past one bV mv watch." De~ko mu u~tivo kale: hvala. Tek da nelto doda. junak nalec romana. dodaje. "Molda vam se luri9" "Are vou in a hurrv9" (42). Since the clock on the tower o~ the Parliament buildinc can be clearlv heard ~rom Saint James' park. the hero o~ our novel thinks: WhV is he askinc me9 Then he answers. "It's turned hal~ past one bV ·mv watch." "It's hal~ past one b¥ mv watch." The vouth politelv savs to him thanks. Just to add somethine the hero o~ our novel adds. "Seems vou're in a hurrv9" "Are ¥ou in a hurr;y9" The prince ~irst wonders whv the boV is askine when he can hear the clock chiminc.Then the repl;y in Serbo-Croat is .iven idiomaticallv as a little a~ter h.l~-past one. but the phrase in Enelish savs preciselv "hal~-past one". as i~ spoken bv someone who to himsel~ u.es an idiomatic phrase which i. more e •• ilv rendered into the ~oreien l.neuaee bv roundine the ~icures to the neare~t division. A similar ef~ect is .iven in the second paracraph. The que.tion "Molda vam se luri9" i. delivered with some hesitation and indirectnes.. The inclu.iono~ "molda" indioate. a .transer askine a 192
CHAPTER FOUR question which misht be taken as too direct. However. the question as phrased in Enelish contains no such subtletv. The Enslish phrases are·as spoken bv Rjepnin. and the Serbo-Croat phrases indicate what is in his mind at the time. but which he cannot ~ender preciselv into Enslish. In this short passaee the ve~bs a~e eiven in the p~esent tense. The passaee p~eceedine it describes the scene in the park and is dominated bv the perfect tense of the impersonal na~rato~ relatine the events retrospectivelv, and opens, "To se doeodilo jednos petka" (":tt happened one P'ridav tl 43). The shift from pe~fect top~esent tense is a shift from the diach~onic narration of the impersonal observer to the svnchronic narration of the character. The use of the present tense in this wav in Serbo-Croat is used to convev a sreaterimmediacv of action. However, in Roman 0 Londonu, the present. tense i.s part of the novel's compositional desisn. The perfeot.tense .indioates the voioe of the impersonal narrator, and the present tense indicates the voice of Rjepnin. This particular use of verbs has been described bv Uspenskv, when the p~esent tense is associated with a .eries of scenes. each beine presented frOm a s¥nchronic point of view and within which time seems to stoP. Verbs in. the past tense. however, describe the shifts that take place between the 8cen.s. formine the context aaainst which the svnch~onio scenes must be perceived (Ill). 193
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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
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CHAPTER THREE The whole campaien th
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CHAPTER THREE In Vuk's consciousnes
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CHAPTER THREE simultaneous. The int
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CHAPTER THREE boucht, he wanted to
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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
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
Page 193 and 194: CHAPTER FOUR impersonal and distanc
Page 195: CHAPTER FOUR in the lancuac. o~ the
Page 199 and 200: CHAPTER FOUR because of the intri~u
Page 201 and 202: CHAPTER FOUR class, that lady - mur
Page 203 and 204: CHAPTER FOUR Dloni mu vi~e u uvo da
Page 205 and 206: CHAPTER FOUR those which Rjepnin ha
Page 207 and 208: CHAPTER FOUR anal~sis has shown tha
Page 209 and 210: CHAPTER FOUR sort of ·larce, stran
Page 211 and 212: CHAPTER POUR in o~de~ to set the ~a
Page 213 and 214: CHAPTER POUR expression of time is
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
Page 223 and 224: CHAPTER FIVE absurd and a~ien in th
Page 225 and 226: CHAPTER FIVE left Russia, he has ju
Page 227 and 228: CHAPTER FIVE Xzabe~a. and h~s f~~st
Page 229 and 230: CHAPTER FIVE are sharp~v contrasted
Page 231 and 232: CHAPTER FIVE th1S? 11). closes thus
Page 233 and 234: CHAPTER FIVE dane sam prvi put nau~
Page 235 and 236: CHAPTER F1.VE says. "H06u da ti pri
Page 237 and 238: CHAPTER. FIVE spends the niaht. and
Page 239 and 240: CHAPTER FIVE Greek honeyed words. a
Page 241 and 242: CHAPTER FIVE psvche wh1Ch eX1sts be
Page 243 and 244: CHAPTER F~VE aeainst the diarist's
Page 245 and 246: 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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