TIME IN THE NOVELS OF MILOS CRNJANSKI - Nottingham eTheses

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CHAPTER SIX ~or all o~ them ~rom poverty. ~rom wretchedness. ~rom tyranny. from humiliation and pain" 94). His vision of Russia is a salvation. However. althouch he appears to be continuinc Vuk Isakovi~'s dream in Seobe. there is a difference between their views of what Russia offers to the Serbs. Pavle hopes to continue as before. He explains this toone of the officials he meets on his wsv, ViJnjevski: Posle sveca Ito su on. i njecovi bratenci, videli, otkad su izilli iz svoje Servije, oni imaju jol same jednu !elju. Oa se pojave imenom svojim i sabljom svojom, u rosijskoj armiji. kad rosijske armije u rat krenu. 2ele da !ivot zavrle, a ne !ele da sa ponova otPo~inju. To svojoj deci i svom nacionu ostavljaju. Za njih je dockan da opet po~nu. Oni !ele joJ samo da svoje familije nasele, tamo. cde se i druci njihovi sunarodnici, u Rosiji, naseljavaju - u provinciji zovomaja Nova Se rv i j a (95). After every thine which he and his cousins have seen since they lett their Serbia, they have just one wish. That they appear with their name and their sword in' the Russian army. when the Russian armies co to war. They want to finish their lives, and they do not want to becin them acain. They are leavinc that to their children and people. It's too late tor them to besin aaain. They want just to mOve their families. there. where their other fellow-countrvmen are' movinc. in Russia - in the province called New Serbia. Vilnjevski is considered a "bivli Srbin" ("former Serb" 96) by Pavle., He has lost all contact with the nation and is dismissive of Pavie's view ot the clorious days of the Serbian Empire "0 kcm nikc niiSe ~uo pre, i koje 316
CHAPTER SIX molda samo oni znaju" ("about which no-one has heard before. and of.' which perhaps only they know" 97). Vuk in Seobe and Rjepnin in Roman 0 Londonu are both concerned with a return to a sense of.' beine which involves them in a reeenerative cycle. However. Pavle's concern is not to beein acain in any sense. but to seek a continuity of.' his epic consciousness of.' self.' in history. The absence of.' procressive time and chance cives Pavle a sense of.' beine. His sense of.' beinc is crounded in what Gunnell ref.'ers to as the "participative character of.' the mythic vision in which the individual. society. and nature are experienced as a compact and consubstantial unity" (98). Pavle only cains a sense of.' beine by his surrender of.' individuality to the social order of.' the myth. On an individual level. Pavle is protected f.'rom the terror of.' a historical proeression which is threatenine the survival of.' the nation and the deep national aspect of his own beine. In the book Cosmos and History. Mircea Eliade describes the mythic conosciousness of.' time as "the myth of.' eternal repetition". which "has the meaninc of.' a supreme attempt towards the 'staticization' of becomine. towards annullinc the irreversibility of.' time" (99). Myth necessarily involves the denial of.'authentic beine-in-time as becominc. and cives a static and fixed imaee of.' the self.'.· In the licht of these two comments on the status of mythic time. Pavle's concern is not to 317
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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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CHAPTER FIVE absurd and a~ien in th
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CHAPTER FIVE left Russia, he has ju
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CHAPTER FIVE Xzabe~a. and h~s f~~st
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CHAPTER FIVE are sharp~v contrasted
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CHAPTER FIVE th1S? 11). closes thus
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CHAPTER FIVE dane sam prvi put nau~
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CHAPTER F1.VE says. "H06u da ti pri
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CHAPTER. FIVE spends the niaht. and
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CHAPTER FIVE Greek honeyed words. a
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CHAPTER FIVE psvche wh1Ch eX1sts be
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CHAPTER F~VE aeainst the diarist's
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CHAPTER FIVE by" 51). By avoidin~ t
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CHAPTER FIVE his diary with a para&
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CHAPTER FIVE United States. Third.
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CHAPTER FIVE An officer is 1ike a f
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CHAPTER FIVE London at the time" 67
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CHAPTER FIVE The passa~e continues
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CHAPTER FIVE and his class-mates: G
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CHAPTER FIVE of their vears. thev w
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CHAPTER FIVE station. The cinema is
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CHAPTER FIVE 1948 but with a parall
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CHAPTER FIVE on himselt. the other
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CHAPTER FIVE prolazili ljudi ilene.
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Page 281 and 282: CHAPTER SIX i bein~-in-time wi.t~ t
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Page 289 and 290: CHAPTER SIX the loss o~ the ~ather'
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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
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Page 331 and 332: CHAPTER SIX todav. The details whic
Page 333 and 334: CHAPTER SIX ohapter of the novel. w
Page 335 and 336: CHAPTER SIX The ~ears are passin~ e
Page 337 and 338: CHAPTER SIX Notes 1. III. pll'3. 2.
Page 339 and 340: CHAPTER SIX 47. III, p79. 46. III,
Page 341 and 342: CHAPTER SIX 99. Mircea Eliade. Cosm
Page 343 and 344: CHAPTER SEVEN CHAPTER SEVEN CONCLUD
Page 345 and 346: CHAPTER SEVEN follow ~apidlY in the
Page 347 and 348: CHAPTER SEVEN temporal relationship
Page 349 and 350: CHAPTER SEVEN oriein, linked to but
Page 351 and 352: CHAPTER SEVEN Carnojevi6u, are pers
Page 353 and 354: CHAPTER SEVEN search o~ salvation.
Page 355 and 356: CHAPTER SEVEN discourse which opens
Page 357 and 358: CHAPTER SEVEN The moti~ o~ return a
Page 359 and 360: CHAPTER SEVEN Crnjanski himself def
Page 361 and 362: CHAPTER SEVEN 11. I. p210. 18. II.
Page 363 and 364: BIBLIOGRAPHY of Arts and Sciences,
Page 365 and 366: , Crnjanski, Milo~. "Objalnjenje 'S
Page 367 and 368: BIBLIOGRAPHY SECONDARY SOURCES The
Page 369 and 370: BIBLIOGRAPHY I~njatovi6. Dra~oljub.
Page 371 and 372:
BIBLIOGRAPHY Lovri6. Jasmina. "Funk
Page 373 and 374:
BIBLIOGRAPHY Serbian Literature, ed
Page 375 and 376:
BIBLIOGRAPHY Zdrale. Radovan. "Crnj
Page 377 and 378:
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
Page 389 and 390:
BIBLIOGRAPHY Time in Literature Bak
Page 391 and 392:
BIBLIOGRAPHY Spencer. Sharon. Space
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