TIME IN THE NOVELS OF MILOS CRNJANSKI - Nottingham eTheses

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CHAPTER FOUR Svjetlost, Sarajevo, 1986, pp191-192. 66. Milan Boatdanovi6, "MiloJ Crnjanski: Seobe", Srpski knji!evni ;lasnik, 1929, XXVIII, 4, p293. 67. Mikhail Bakhtin, "Forms o~ Time and Chronotope in the Novel", The Oialo;ic Ima;ination, edited by Michael HolQuist, University o~ Texas Press. 1983, p85. 68. Mikhail Bakhtin, "Forms o~ Time and Chronotope in the Novel", p243. 214
CHAPTER FIVE PART THREE CHAPTER FIVE <strong>TIME</strong> AND SELF Introduction Time is not a neutra~. ~iven. or natura~ order which indexes the succession and duration of events. Time. for Crnjanski. is mode11ed on the princip1es of simu1taneit~ and rh~thm. which he out1ined in his two ear1y essavs "Objaiinjenje 'Sumatre'" and "Za s10bodni stih". These two princip1es rare1y occur in their pure form. rather they a1ternate. one eventua~~ bein~ disp1aced by the other. The tempora1 or~anisation ot Crnjanski's nove1s is marked bv the different sequences of duration and succession of characters and other narratin~ voices. Time a1so .. functions as a creative order. since it is throu~h their impositon of order that the characters eva1uate the si~nificance of certain events. The characters aspire towards makin~·sense ot their present. past. and potentia1 future throu~h f'ocusinc on the intensity ot the moment. and throuch recoanisinc that moment. and their wh01e 1ives. as part of' other paradicms of time and historv in which they have a r01e to p1av. I..n this sense simu1taneitv is the 215
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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.
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CHAPTER THREE 90. III. p16. p223. 9
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CHAPTER FOUR Voice. in this context
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Page 177 and 178: CHAPTER POUR institutions which all
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Page 181 and 182: CHAPTER POUR a creative order. Each
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Page 187 and 188: CHAPTER POUR tortured re~lections e
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Page 193 and 194: CHAPTER FOUR impersonal and distanc
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Page 203 and 204: CHAPTER FOUR Dloni mu vi~e u uvo da
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Page 209 and 210: CHAPTER FOUR sort of ·larce, stran
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Page 215 and 216: CHAPTER FOUR seoba. "Epic and Time
Page 217: CHAPTER FOUR U4. Boris Uspenskv. A
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
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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~
Page 235 and 236: CHAPTER F1.VE says. "H06u da ti pri
Page 237 and 238: CHAPTER. FIVE spends the niaht. and
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Page 241 and 242: CHAPTER FIVE psvche wh1Ch eX1sts be
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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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Page 261 and 262: CHAPTER FIVE station. The cinema is
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Page 265 and 266: CHAPTER FIVE on himselt. the other
Page 267 and 268: 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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