TIME IN THE NOVELS OF MILOS CRNJANSKI - Nottingham eTheses

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CHAPTER FQUR and future, time is not a continuum. a flow of uninterrupted succession; it is broken in the middle. at the point where "he" standsl and "his" standpoint is not the present as we usuallv understand it but rather a cap in time which "his" constant fiehtinc. "his" makine a stand aeainst past and future. keeps in existence (53). Rjepnin is trvine to maintain a sense of who he has been, who he is now, and what he oan expect to be in the future. However. as he approaches the time of his suicide, the different times of his life become more confused in his mind. and the "cap in time" which .is the present encompasses his whole life, which then seems to be undifferentiated and emptv. The orchestration of voices in Roman 0 Londonu is a compositional desien which hichliehts the issues of identitv and beinc in time faced bv Rjepnin. He is confronted bV .the transience of experience in Which he finds no comfort for his present position. He reflects on his inabilitv to control the transformations which his life has taken. He distineuishes.various wavs of viewine the past, present, and future. and embodies them in the names of Barlov. ~im. John. and Napoleon. Ultimatelv.he is none of these. With no established sense of self. he is left to comment on his predicament in the third person. as if he were discuss inc someon.e· else. In the final paces .of the novel he remarks "On jelud. Taj Rus" ("He is mad. That Russian" 54). The remark is delive.ed in the third person. Howeve., this 202
CHAPTER FOUR anal~sis has shown that there are instances where the third person narration is conducted b~ the prince himsel~. Rjepnin re~ers to himsel~ as i~ he were the witness and not the victim o~ events. This t~pe o~ narration reveals the prince to be distanced ~rom his sel~, and ~rom the chanees which time has broueht. As a eeneral conclusion to Part Two, this anal~sis o~ Crn;Janski's novels has shown him to be a writer who dislocates the sequence o~ events ~rom anN necessarN causal connection. His characters act as creators o~ temporal schemes, interactine with other impersonal narrators. Such a presentation o~ time in his novels is embedded in the t~pe o~ lancuace and narrative structures which he uses. This is characteristic o~ his • sumatraist st~le. His use o~ ~raemented sentence structures and sNntax is desiened to enhance particular experiences o~ time. Xn his ~inal two novels, Crnjanski continues to use laneuace in a similar w~. but it is in his arrancement o~ voice that thev ~ind compositional coherencv. The di~~erent voices narrate events with di~~erent orders o~ duration and succession. and are placed in di~~erent temporal relationships to the events beine described. Xn all. the characters pl~ an active part in the construction o~ time schemes in Crnjanski's novels. Time is revealed throueh their contrastine perspectives on the sequence and duration o~ events. Xn his two earlv ess~s, "Objalnjenje 'Sumatre'" 203
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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
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CHAPTER THREE the passin,; ot an ev
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CHAPTER THREE ni~ht cooin~. he list
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CHAPTER THREE zalivala svoje poljup
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CHAPTER THREE the po~nt. of v~ew of
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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 and 196: CHAPTER FOUR in the lancuac. o~ the
Page 197 and 198: CHAPTER FOUR question which misht b
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: CHAPTER FOUR those which Rjepnin ha
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
Page 247 and 248: CHAPTER FIVE his diary with a para&
Page 249 and 250: CHAPTER FIVE United States. Third.
Page 251 and 252: CHAPTER FIVE An officer is 1ike a f
Page 253 and 254: CHAPTER FIVE London at the time" 67
Page 255 and 256: 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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