TIME IN THE NOVELS OF MILOS CRNJANSKI - Nottingham eTheses

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CHAPTER FIVE tempora1 concepts. Thev interweave one into the other. and to~ether present a point at which his characters stru~~1e for a definition of se1f. A~ainst this backc1oth. sa1vation for Crnjanski's characters is 1imited. tenuous. and on1v ever potentia1. 270
CHAPTER FIVE Notes 1. Leslie A. Johnson. The Experience of Time in Crime and Punishment. Slavica. Columbus. 1985. pl0. 2. II. p56. III. pp25-26. 4. III. p128. IV. p262. 6. IX, p52. II. p49. 8. II. p50. This section on Dnevnik 0 earno~evi6u is a revised version of the article "Time in Dnevnik 0 earno~evi6u: Structural and Thematic Features". Relations, 1985. 3. pp67-76; 4. pp55-63. 9. II. p70. 10. II. p7. 11- II. p8. . 12. II • p9. 13. II. pl1- 14. II. pl1- 15. II. p14. 16. II, p7. 17. II. p23. 18. II. p25. 19. Henri Bereson. Matter and Memor~. Georee Al.len and Unwin. London. 1919. p171. 20. , II. p67. 21. II .. p68. 22. II. p82. 23. II. p68. 24. II. pp54-55. 271
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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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CHAPTER FIVE PART THREE CHAPTER FIV
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CHAPTER FIVE characters' invo~vemen
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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
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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Page 265 and 266: CHAPTER FIVE on himselt. the other
Page 267 and 268: CHAPTER FIVE prolazili ljudi ilene.
Page 269 and 270: CHAPTER FIVE heart of Rjepnin's psv
Page 271 and 272: CHAPTER FIVE Rjepnin considers retu
Page 273: CHAPTER FIVE bein~-in-time. Both Dn
Page 277 and 278: CHAPTER FIVE UB. II. p11. U9. II. p
Page 279 and 280: CHAPTER FIVE 98. IX. p325. 99. Duii
Page 281 and 282: CHAPTER SIX i bein~-in-time wi.t~ t
Page 283 and 284: CHAPTER S.IX c~ttle. around the for
Page 285 and 286: CHAPTER SIX trend in the epic in wh
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Page 289 and 290: CHAPTER SIX the loss o~ the ~ather'
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Page 295 and 296: CHAPTER SIX In P'cs. Vuk is invited
Page 297 and 298: CHAPTER SIX search. The final passa
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Page 301 and 302: CHAPTER SIX experience sQmethin~ wh
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Page 305 and 306: CHAPTER SIX Nemalt1na, samo~a, b01e
Page 307 and 308: CHAPTER SIX Zatim je Zemun doznao j
Page 309 and 310: CHAPTER SIX dance. clances and kiss
Page 311 and 312: CHAPTER SIX her shadow in the mire,
Page 313 and 314: CHAPTER SIX ona jo! vide neko zlatn
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Page 317 and 318: CHAPTER SIX sad odlaze. Prva velika
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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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