TIME IN THE NOVELS OF MILOS CRNJANSKI - Nottingham eTheses

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CHAPTER FIVE Not alive - of course - but as brou2ht to life bv an En2lish film actor who was famous at the time. Leslie Howard. On the occasion of some ceremonv. on the steps of the church which is called St Paul's. the actor was representin2 the admiral. Does she remember how thev stood. as if bewitched? It seemed that it was reallv Nelson brou2ht to life. The effect created bv the actor's steppin2 off the screen and port ravine Nelson in the street breaks the barrier between illusion and realitv. reinforcin2 the presence of the illusion as real. Similarlv. Rjepnin's movement from one frame to another resolves the tension between illusion and realitv. R;Jepnin shifts into the frame of an actor. and "radio :Ie svoj posao kao da je u nekom pozoriltu. 2lumac" ("he did hid job as if he were in a theatre. an actor" 91). And when he dies. he is to die not as a real person but as if on sta2e. on which "treba samo stati i pucati mirno. kao Ito 2lumci puca:lu" ("he onlv has to stand and fire calmlv. as actors fire" 98) • In his essav on Roman 0 Londopu Puva~i6 remarks on the "~esto koril6enje pozorilne terminolo2ije" ("frequent use of theatrical terminolocv" 99) as a feature which stresses Rjepnin's alienation. The tension between the past in memorv and the past as it reallv was. irrecoverable. is resolved when Rjepnin steps entirelv into the svrnbolic frame of the theatre. In this theatrical frame. R;Jepnin's suicide is a svmbolio death of·a self which he does notrecoenis •• and the appropriation of an ima2e of self' f'rom memorv. 266
CHAPTER FIVE Rjepnin considers returninc to Russia, but he is sure that the 'micr~ community in London will then present him as a sp¥ to the Soviet embassy (100). The voice of his dead friend Barlov exhorts him to return speakinc in a mixture of French and Russian, with a military commandt· Tako. tako, tr~s bien. tr~s bien. mon prince! Shacom marsh. Marsh. Domoi! Domoi! Mi se vra6amo. Svi se vra6amo (101). That's it, that's it, tr.s bien, tr's bien, mon prince! Quick march. March. Home! Home! We are returninc. We are all returninc!. He acain hears Barlov's voice in the final paces of the novel, when Barlov succests death as a necessar¥ ~re-reQuis1te for the return to an irrecoverable past, U clavi je, opet, iznenada, ~uo, tihi smeh, i ~apat, pokojnosa Barlova. Neka idu bel: traca, knjaz, svi to. sa njihovim tra!anjem napretka ~ove~anstva, i bolje Rusije! Mi set posle na~e smrti. vra~amo (sic). Shasom marsh, knjaz'! Tako, tako. svi set tamo, vra6amo (102). In his head he asain heard suddenly the Quiet lauch and whisper of the late Barlov. Let them so without trace. prince. all those with their search for the pro&ress Of mankind and a better Russia! We are returnina after our death. Quick march, prince! That's it. that's it. we are all returnins there. Rjepnin settles his affairs in London·calmly "jer se vra6a u codine kad je bio junker" ("for he is returnina to the years when he was a.cadet" 103). Death is the 10c1cal answer. The return which he desires is a return 267
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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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CHAPTER FOUR di~~erent arransement
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CHAPTER FOUR Novom Sadu. izc~eda da
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CHAPTER FOUR chronic~e. The events
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CHAPTER POUR structure of events, h
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CHAPTER FOUR not explain his presen
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CHAPTER POUR institutions which all
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CHAPTER FOUR European civilisation
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CHAPTER POUR a creative order. Each
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CHAPTER FOUR su Oni. Isakovi~i.u Au
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CHAPTER FOUR and die for Russia. an
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CHAPTER POUR tortured re~lections e
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CHAPTER FOUR I com~ort him with wha
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CHAPTER FOUR one point that ".John
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CHAPTER FOUR impersonal and distanc
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CHAPTER FOUR in the lancuac. o~ the
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CHAPTER FOUR question which misht b
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CHAPTER FOUR because of the intri~u
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CHAPTER FOUR class, that lady - mur
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CHAPTER FOUR Dloni mu vi~e u uvo da
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CHAPTER FOUR those which Rjepnin ha
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CHAPTER FOUR anal~sis has shown tha
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CHAPTER FOUR sort of ·larce, stran
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CHAPTER POUR in o~de~ to set the ~a
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CHAPTER POUR expression of time is
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CHAPTER FOUR seoba. "Epic and Time
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CHAPTER FOUR U4. Boris Uspenskv. A
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Page 227 and 228: CHAPTER FIVE Xzabe~a. and h~s f~~st
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Page 249 and 250: CHAPTER FIVE United States. Third.
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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 267 and 268: CHAPTER FIVE prolazili ljudi ilene.
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Page 289 and 290: CHAPTER SIX the loss o~ the ~ather'
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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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