TIME IN THE NOVELS OF MILOS CRNJANSKI - Nottingham eTheses

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CHAPTER P'OUR Notes 1. Nov1ca Petkov16. Seobe M110la C~njanskoc. Zavod za Ud!benike i nastavna s~edstva. Bel,~ade. 1985. p39. Man~ o~itios inoo~po~ate mention o~ C~njanski's hichl~ individual and speci~1c use o~ lancuace and s~ntax into the1~ comments. The ~ollow1nc ~e~e~enoes a~e to studies about his use o~ lancuace. P'o~ ~e~e~enoe to all C~njanski's novels see Radoje S1m16. "G~amati~ka i intonac1jska st~uktu~a p~oznoc dela M110la C~njansko&". Knj1!evna 1sto~1ja. 1978. XI. 41. pp15-60. P'o~ ~e~e~enoe to C~njansk1's use o~ punotuation see Jasmina Lov~i6. "P'unkc1ja 1nte~punkc1ja u C~njanskovoj p~oz1tf. ~. 1978. XXIV. 5. pp67-72. P'o~ ~e~e~enoe to SeObe see Be~1s1av N1koli6. "Jez1k u Seobamft M110la C~njansko&". Knji!evno delo Milola C~njanskoc. edited b~ P~ed~ac Palavest~a and Svetlana Radulov16. Inst1tut za knj1!evnost 1 umetnost. Posebna 1zdanja. IV. Belc~ade. 1972. pp23S-24S. Also see Pavle Zo~16. "St:ruktu~a poetske p~oze M110la C~njanskoc". Knil1!evno delo M110la C~njanskoc. edtited b~ P:red~ac Palavest~a and Svetlana Radulvoi6 • . Institut za knj1levnost i umetnost. Posebna izdanja. IY. Belc~ade. pp209-234. Zo~16 ~ocuses on Seobe and d1sousses mo~e cene~al ~eatu~es o~ lancuace and na~~ative. P'o~ ~e~e~enoe to Roman 0 Landonu see Milo~ad Radovanovi6. "Neki sintaks1~ki za jez1k knj1ce Roman 0 Londonu Milola C~njanskoc". P~ilozi p~ou~avanjajez1ka. 1974. 10. PPl-48. Milo~ad Radovanovi6. "Zna~enja i ~unkoije pluskampe~~ekta u Ramanu 0 Londonu Milola Crn.1anskoc". Gadilnjak P'ilozo~skoc ~akulteta u Novom Sadu. 1975. XVIII. 1. pp165-179. D~acoljub Zbilji6. "Neka odstupanja od jezi~ke no~me u Romanu 0 Londonu M.·C~njanskoc". Zbornik ~adova P'ilozo~skoC ~akulteta u P~iltin1. 1978. XIII. pp457-466. postupoi ka~akte~isti~ni 2. Radovan Vu~kovi6. "Osnovne o~te.simbolike i st~uktu~e ~omana Seabe M110la C~njanskoc". Kn~i!evne analize. Zavod za izdavanja ud!benika •. Sa~ajevo. 1972. p122. . Pavle-Zo~i6. "St~uktu~a poetske proze.Milola Crnjanskoc". Knji!evno delo Milola C~njanskoc. p226. Slavko Leovao. Romansi4e~ Mi101 Crnjanski. Svjetlost, Sarajevo. 1981, pp85-122. These critios have made speoi~io re~erenoe to the epio ~eatures in pruca kn41ca seoba, and also point to other ~eatures oe the novel Wh10h a~e not epic •. An earlier ve~sion oe this seotion an Druca knjica I 210
CHAPTER FOUR seoba. "Epic and Time in Mi10J Crnjanski's Novel Dru,a knji,a seoba". appeared in The Slavonic and East European Review. 1988. 66. 2. pp224-235. 3. IV. p222. 4. IV. p394. 5. V.· p280. 6. IV. p259. 7. IV. p413. 8. v. p305. 9. Tomis1av Ladan. "Od historije do poezije i natra~. Mi10J Crnjanski: Seobe I ill. izd. SKZ. Beo~rad. 1962". U Jkarama. Znanje. Za~reb, 1965. p97. Muharem Pervi6. "Seobe Mi10Ma Crnjansko~". Tre6i pro~ram. 1977. 33. p270. 10. Paul Ricoeurl Time and Narrative. vol 1. University o~ Chicaco Press. 1984. p67. 11. Ve1imir Viskovi6: 'Seobe i njihovo mjesto u stvaralaJtvu MiloJa Crnjansko~'. Knji~evna istorija. 1973. V. 20. pp606-631. Viskovi6 discusses Dru~a kn;Jiaa seoba with re~erence to the romance tradition, and particularly with re~erence to the ;Journey moti~ in the picaresque tradition. We have discounted the picaresque because Crnjanski's novel di~~ers in two important respects; ~irstlY the hero Pav1e is not ~rom the lower social orders, secondly his journey is not aimless wanderin~. whereas these are characteristic ~eatures o~ the picare.sqtie. 12. V. p469. 13. IV. p132. 14. IV. p45. 15. IV. p260. 16. -I-V. p268. 17. V. Chapter 3, p141. Chapter 4. p169. , 18. IV, p5. 19. Mikhail Bakhtin. "Epic and Novel". The Oi&lO.io Im&.inat10n. edited by Michael Holquist. University o~ 211
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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
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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.
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 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: CHAPTER POUR expression of time is
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
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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
Page 257 and 258: CHAPTER FIVE and his class-mates: G
Page 259 and 260: CHAPTER FIVE of their vears. thev w
Page 261 and 262: CHAPTER FIVE station. The cinema is
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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
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BIBLIOGRAPHY Time in Literature Bak
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BIBLIOGRAPHY Spencer. Sharon. Space
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