TIME IN THE NOVELS OF MILOS CRNJANSKI - Nottingham eTheses

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CHAPTER SIX presence and bein2 are denied entry into the present, so truth and meanin2 can on1y exist inPav1e's mythic consciousness. Pav1e's journey to Russia is an ima2e both o~ the pro2ression o~ his psych0102ica1 1i~e trom the past into an unknown tuture, and ot the repetition ot the myth. Given that the myth denies history, and historica1 chan2e denies the'presentany meanin2. Pav1e personities the role ot chance as the link between sel~ and history in the remark that ttslu~aj je najve6i komedijant u !ivotu ljudi i naroda" ("chance is the 2reatest actor in the lives ot peop1e and nations" 115). A similar phrase is used by Crnjanski in his Itaka i komentari. "S1u~aj je najve6i komedijant u svetu" t...t:t:::¥Wed~ ("Chance is the 2reatest . r' ln the world" 116). Pavle's sense of beine-in-time comes into contlict with the history ot nations and ot economies which have an interest in his nation. The interests ot the Austrian and Russian empires are ot no concern to ~avle. Similarly. the private desires and nationa1 identity ot Pavle is ot no concern to them. He and the Serbs were a1lowed to be s01diers and ti2ht the Turks. tor as 1on2 as it was in the Habsburc interest tor them to do so. The Isakovi~ tami1Y meet with a simi1ar response in Russia. They are expected to ticht acainst the same Prussian army that they had to tace tor the AUstrians. The Russian cenera1 Kostjurin has been ordered "da priprema trupe. koje 6e i6i u rat. na Prajsku. Ima 324
CHAPTER SIX iz~leda da se taj rat nastavi. uskoro" ("to prepare the troops. which will ~o to war. a~ainst Prussia.. There is a possibility that the war will be continued. soon" 117) • The Russian authorities are only interested in their ability to ~i~ht ~or Russia: Kostjurin jet to~ kasno~. zimsko~. dana. ~odine 1753. u Kijevu. !eleo samo da se uveri u mo~u6nost pretvaranje tih doseljenika. u ritama. u staja6u vojsku. koju je Rosija. tih ~odina, stvarala. i za rat pripremala (118). Kostjurin. on that late winter's day in 1753. in Kiev. wanted only to make sure o~ the possible conversion o~ these newcomers. dressed in ra~s. into a standin~ army which Russia was buildin~ up in those years. and preparin~ ~or war. Pavle sees a vision o~ Russia in which "ovo nije bila Rosija kojoj se nadao. to je bio neki o~romni Garsuli. koji je imao lice. sad Sevi~evo. sad Kostjurinovo. sad Tritunovo" ("this was not the Russia ~or which he hoped. it was a hu~e Garsuli. who had a tace. now like Sevi~. now Kostjurin. now Tri~un" 119). Russia is no lon~er a vision ot his hopes or mythic consciousness. but is associated with the Austrian and Russian o~~icials. and with the Serb who encoura~ed them to come to Russia. The tate o~ Pavle and his cousins is beinc reculated by a continental consciousness then be~innin~ to emerce amoncst the courts o~ Europe. The Austrians no lon~er ~icht the Turks. - and "sad se radilo 0 cranicama carstva. 0 iml. peratriai li~no. 0 Be~u. 0 "-"" Austriji. 0 Evropi" ("now the matter concerned the
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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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CHAPTER FIVE Notes 1. Leslie A. Joh
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Page 335 and 336: CHAPTER SIX The ~ears are passin~ e
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Page 343 and 344: CHAPTER SEVEN CHAPTER SEVEN CONCLUD
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Page 347 and 348: CHAPTER SEVEN temporal relationship
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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,
Page 381 and 382:
BIBLIOGRAPHY Kru!evac. 1988 Travar.
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BIBLIOGRAPHY 7-8. pp809-817 Mirkovi
Page 385 and 386:
BIBLIOGRAPHY SUPPLEMENTARY MATERIAL
Page 387 and 388:
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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