TIME IN THE NOVELS OF MILOS CRNJANSKI - Nottingham eTheses

CHAPTER ONE
adoption of the term neo-Romantic for the poetry of
modernism (Ll.B).
By the end of the twenties Crnjanski no lon~er
spoke
scornfully of everythin~
that had preceded his
~eneration. He recorded the chan~e in his attitude in
the essay "Posleratna knjilevnost" in which he writes of
what his ~eneration
introduced into Serbian literature:
Jedan nov stih u naloj knji!evnosti, novu
prozu, sasvim nove intensije, razli~ite
od predratnih. Sto je najbolje: povratak
svome, pouzdanje u sebe, u svoje izvore
(otuda simpatija za nal romantizam), u
nale knjilevne razlo~e, ne trale6i
jednako zapadne kalupe (~esto
placijate), a nose6i u sebe !elju za
knji!evnim radom. bezakademskih
marifetluka (Ll.9).
A new verse in our literature. a new
,prose, ,completely new intentions which
differ from those of the pre-war period.
And the best is: a return to what is our
own, confidence in ourselves, in our
ori~1ns (from that stems our sympathy for
our Romanticism). in our literary ~oals,
without constantly seekin~ Western models
(often plac1arisms), and nursin~ within
ourselves a desire for'literary work
without academic sleicht of hand.
In addition to acknowled~in~
the role of the Serbian
Romantic tradition for post-war modernism. he also
recocnised the contribution made by Some of the pre~war
poets, especially Sima Pandurovi6.
Althou~h
Pandurov~6's
association with the youncer 'poets was
brief, Crnjanski recalled him as the "clavn1 teoreti~ar"
("chief theorist" '0) of the table around which the
"Grupa umetnika" met.'
And he noted the particular
si.nifioance which he attaohed to the oontact between
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