TIME IN THE NOVELS OF MILOS CRNJANSKI - Nottingham eTheses

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CHAPTER SIX Ijubavima i ne ~ovorimo - pa da sretan ~ovek postane nesretan, kao da sretan nikad nije bio (108). That was all in the past, it had passed forever. That which ·~trAck him most, when he remembered it, was the transcience of human happiness, even in that past life. Human happiness was so unstable. It was enou~h for some sudden mi~ration. some illnes. in the house. some famil~ accident,' an unspoken quarrel. a debt to a debtor, a lack of mone~ - and not to menti.on unhapp~ love for a happ~ man to become unhapp~, as if he had never been happ~. Pavle transfers his feelin~s of insecuritv at the transience of life to the future, and even to the prospects that await him and his cousins in Russia, ttNa tom putu Isakovi~. prvi put, po~e da se pita, kud li sad, ion. i nje~ovi bratenci, idu7 tt (ttOn his journev. Isakovi~, for the first time, be~an to ask himself where were he and his cousins now ~oin~7tt 109). His questionin~ of what fate awaited him in Russia stands in stark contrast to the Russia which was part of his mvthic consciousness:' "Ono Ito mu se ~inilo neprolazno, bila je ta nje~ova !elja da ode i da se pojavi u Rosiji. da se tamo odseli" (ttThat which appeared to him intransient was the desire of his to ~o aw~ and to appear in Russia. to mierate there tt 110). Pavle lives with two senses of his beine-in-time. One is a mvth1c consciousness that presents the world and his role in it as consubstantial, and in which he has a purpose. It is a picture of an immutable realitv, 322
CHAPTER SIX based on the values ot the Kosovo mvth. The second is his lite in a ~ea1ity which is constantly chan~in~ shape and "koja biva sasvim d~uk~ija, ne~o Ito je nala vo1ja !e1i da bude" ("which is completely ditte~ent t~om the one that ou~ will wants it to be" 111). This second pictu~e ot ~ea1ity has no ima~e ot the p~esent, but ot d~eams to~ the tutu~e and a past which is i~~ecove~able. As Pav1e thinks ot the voices which spu~ him into action he asks: Oa 1i sa zvezda? Ili, iz nale~ prolloe !ivota i nalih uspomena. Ili su vesti iz budu6nosti, koja nam se sp~ema. bez nale~ znanja. p~otiv nale vo1je i sasvim d~u~a~ija, ne~o Ito se 0~ekiva1a (112). Are they trom the sta~s9 O~. t~om our past lite and ou~ memories. o~ a~e they news trom thetutu~e, which is bein~ prepared tor us, without our know1ed~e, a~ainst ou~ will and completely ditterent to what was expected. In the second picture ot ~eality, Pavle has no sense ot bein~ in the present, since as Christopher Norris comments "time is an endless deterrin~ ot presence" (113). As time is denied entry.into the present, but remains in some realm ot dream, past. or tuture, so the~e is no authentic selt to be discove~ed in the p~esent. Time divides selt trom a knowled~e ot the selt. The p~esent is "a moment compounded ot manitold ~etentions and anticipations. neve~ existine in the isolated instant ot awa~eness" (114). P'u~thermo~e. it 323
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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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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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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 297 and 298: CHAPTER SIX search. The final passa
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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 329 and 330: CHAPTER SIX iz~leda da se taj rat n
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
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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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