TIME IN THE NOVELS OF MILOS CRNJANSKI - Nottingham eTheses

More documents

Recommendations

Info

CHAPTER SIX 125. IV. p436. 126. IV. p461. 121. V. p418. 128. v. pp483-484. 129. v. p465. 130. V. p484. 131- v. p485. 132. Nikola Milo.ev16. p224. 338
CHAPTER SEVEN CHAPTER SEVEN CONCLUD<strong>IN</strong>G REMARKS This stud~ examines the representation ot time and analvses its sicniticance in Crnjanski's tour major novels. We be can b~ examininc"'bhe issue ot time as discussed bv Crnjanski in his two earlv ess~s "Objalnjenje 'Sumatre'" and "Za sl.obodni stih" (1). In those essavs he emphasises the role pl~ed b~ the two principles ot simultaneitv and rh~thm. Thev are introduced in this investication as teatures ot Crnjanski's personal st~le known as sumatraism. and acainst the backcround ot the Serbian and European modernist aesthetic ot which the~ torm a part. Crnjanski links these principles to lancuace and the selt. Lancuace must retlect in its verv torm the ideas which it represents 1n order to achieve a sreater immediacV ot expression. Simultaniet~ and r~thm are inner processes experienced b~ the individual. and which l.ink the individual to experience and the world. In Pert Two ot this stu~ we examined the link between time and lancuace. takina lancuaae to mean not onl~ svntax -and sentence structure. but also all aspects ot narroative structure. In Part Thro.e we examined the relationship between time and' self. and between time and 339
Page 1 and 2:
TIME IN THE NOVELS OF MILOS CRNJANS
Page 3 and 4:
ABSTRACT TIME IN THE NOVELS OF MILO
Page 5 and 6:
CHAPTER ONE PART ONE CHAPTER ONE TH
Page 7 and 8:
CHAPTER ONE preoccupations and char
Page 9 and 10:
CHAPTER ONE (1971). There are simil
Page 11 and 12:
CHAPTER ONE than in his studies. Th
Page 13 and 14:
CHAPTER ONE his connection with Ben
Page 15 and 16:
CHAPTER ONE One could not speak ~et
Page 17 and 18:
CHAPTER ONE his collection o~ poems
Page 19 and 20:
CHAPTER ONE debate with other croup
Page 21 and 22:
CHAPTER ONE and a style similar to
Page 23 and 24:
CHAPTER ONE slikara koji su osnoval
Page 25 and 26:
CHAPTER ONE project in the post-war
Page 27 and 28:
CHAPTER ONE adoption of the term ne
Page 29 and 30:
CHAPTER ONE stru~~le of the earlv R
Page 31 and 32:
CHAPTER ONE discontinuing the line
Page 33 and 34:
CHAPTER ONE this discussion on the
Page 35 and 36:
CHAPTER ONE impression that the con
Page 37 and 38:
CHAPTER ONE knji~evni ;lasnik (66).
Page 39 and 40:
CHAPTER ONE His recollection of his
Page 41 and 42:
CHAPTER ONE and that he used his po
Page 43 and 44:
----------------------- CHAPTER ONE
Page 45 and 46:
CHAPTER ONE The~ took all my books
Page 47 and 48:
CHAPTER ONE areas of social and cul
Page 49 and 50:
CHAPTER ONE Crnjanski's memoirs fro
Page 51 and 52:
CHAPTER ONE 1962. Far from beine pe
Page 53 and 54:
CHAPTER ONE Habsbur~ armv. Thev led
Page 55 and 56:
CHAPTER ONE chanced. He had intende
Page 57 and 58:
CHAPTER ONE verv d~fferent sentence
Page 59 and 60:
CHAPTER ONE doe. not view the.e eve
Page 61 and 62:
CHAPTER ONE Much of what informed h
Page 63 and 64:
CHAPTER ONE December 1959, p15. 11.
Page 65 and 66:
CHAPTER ONE 36. Draaila Vitolevi6.
Page 67 and 68:
CHAPTER ONE 66. Mi101 Crnjanski. Su
Page 69 and 70:
CHAPTER ONE 93. Ljub11a .1erem16, "
Page 71 and 72:
CHAPTER TWO PART TWO CHAPTl!iR TWO
Page 73 and 74:
CHAPTER TWO The Antholocy to which
Page 75 and 76:
CHAPTER TWO His rriend told him or
Page 77 and 78:
CHAPTER TWO su bo~e, ~ak tamo do zv
Page 79 and 80:
CHAPTER TWO hi. outlook. which i. i
Page 81 and 82:
CHAPTER TWO intuitive. As Milan Bo~
Page 83 and 84:
CHAPTER TWO the actual time of narr
Page 85 and 86:
CHAPTER TWO articles (such as the o
Page 87 and 88:
CHAPTER TWO The "new sensibil.ities
Page 89 and 90:
CHAPTER TWO Pound's emphasis on 1an
Page 91 and 92:
CHAPTER TWO which also links the in
Page 93 and 94:
CHAPTER TWO Ber~son, as for Crnjans
Page 95 and 96:
CHAPTER TWO in the "rhythm ot each
Page 97 and 98:
CHAPTER TWO cause and effect. ver~
Page 99 and 100:
CHAPTER TWO tempol"alitv. but bv st
Page 101 and 102:
CHAPTER TWO Moderna umetni~ka lirik
Page 103 and 104:
CHAPTER TWO rhythm"). Later in the
Page 105 and 106:
CHAPTER TWO Notes 1. Sima Pandurovi
Page 107 and 108:
CHAPTER TWO 36. Joseph Frank. "Spat
Page 109 and 110:
CHAPTER THREE Crnjanski's lyricism
Page 111 and 112:
CHAPTER THREE persuade him of the n
Page 113 and 114:
CHAPTER THREE to find themselves al
Page 115 and 116:
CHAPTER THREE writin~. and their du
Page 117 and 118:
CHAPTER THREE i vi~u: "Izdajice. iz
Page 119 and 120:
CHAPTER THREE o toj je s~1c1 mu~e61
Page 121 and 122:
CHAPTER THREE action, the focus on
Page 123 and 124:
CHAPTER THREE ("1 am ~~ing; down").
Page 125 and 126:
CHAPTER THREE to the insicnificant.
Page 127 and 128:
CHAPTER THREE dominates much o-r th
Page 129 and 130:
CHAPTER THREE of self in his dream.
Page 131 and 132:
CHAPTER THREE Po~azlivenim vodama.
Page 133 and 134:
CHAPTER THREE Uili su u Pe~uj tako
Page 135 and 136:
CHAPTER THREE The whole campaien th
Page 137 and 138:
CHAPTER THREE In Vuk's consciousnes
Page 139 and 140:
CHAPTER THREE simultaneous. The int
Page 141 and 142:
CHAPTER THREE boucht, he wanted to
Page 143 and 144:
CHAPTER THREE main verb is deterred
Page 145 and 146:
CHAPTER THREE the passin,; ot an ev
Page 147 and 148:
CHAPTER THREE ni~ht cooin~. he list
Page 149 and 150:
CHAPTER THREE zalivala svoje poljup
Page 151 and 152:
CHAPTER THREE the po~nt. of v~ew of
Page 153 and 154:
CHAPTER THREE social custom in the
Page 155 and 156:
CHAPTER THREE his ~riends ~or Vuk I
Page 157 and 158:
CHAPTBR THRBB 89) 1 •• 1.0 'oun
Page 159 and 160:
CHAPTER THREE Notes 1. M. Svetovaki
Page 161 and 162:
CHAPTER THREE 45. Novioa Petkovi6.
Page 163 and 164:
CHAPTER THREE 90. III. p16. p223. 9
Page 165 and 166:
CHAPTER FOUR Voice. in this context
Page 167 and 168:
CHAPTER FOUR di~~erent arransement
Page 169 and 170:
CHAPTER FOUR Novom Sadu. izc~eda da
Page 171 and 172:
CHAPTER FOUR chronic~e. The events
Page 173 and 174:
CHAPTER POUR structure of events, h
Page 175 and 176:
CHAPTER FOUR not explain his presen
Page 177 and 178:
CHAPTER POUR institutions which all
Page 179 and 180:
CHAPTER FOUR European civilisation
Page 181 and 182:
CHAPTER POUR a creative order. Each
Page 183 and 184:
CHAPTER FOUR su Oni. Isakovi~i.u Au
Page 185 and 186:
CHAPTER FOUR and die for Russia. an
Page 187 and 188:
CHAPTER POUR tortured re~lections e
Page 189 and 190:
CHAPTER FOUR I com~ort him with wha
Page 191 and 192:
CHAPTER FOUR one point that ".John
Page 193 and 194:
CHAPTER FOUR impersonal and distanc
Page 195 and 196:
CHAPTER FOUR in the lancuac. o~ the
Page 197 and 198:
CHAPTER FOUR question which misht b
Page 199 and 200:
CHAPTER FOUR because of the intri~u
Page 201 and 202:
CHAPTER FOUR class, that lady - mur
Page 203 and 204:
CHAPTER FOUR Dloni mu vi~e u uvo da
Page 205 and 206:
CHAPTER FOUR those which Rjepnin ha
Page 207 and 208:
CHAPTER FOUR anal~sis has shown tha
Page 209 and 210:
CHAPTER FOUR sort of ·larce, stran
Page 211 and 212:
CHAPTER POUR in o~de~ to set the ~a
Page 213 and 214:
CHAPTER POUR expression of time is
Page 215 and 216:
CHAPTER FOUR seoba. "Epic and Time
Page 217 and 218:
CHAPTER FOUR U4. Boris Uspenskv. A
Page 219 and 220:
CHAPTER FIVE PART THREE CHAPTER FIV
Page 221 and 222:
CHAPTER FIVE characters' invo~vemen
Page 223 and 224:
CHAPTER FIVE absurd and a~ien in th
Page 225 and 226:
CHAPTER FIVE left Russia, he has ju
Page 227 and 228:
CHAPTER FIVE Xzabe~a. and h~s f~~st
Page 229 and 230:
CHAPTER FIVE are sharp~v contrasted
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
Page 263 and 264:
CHAPTER FIVE 1948 but with a parall
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 and 274:
CHAPTER FIVE bein~-in-time. Both Dn
Page 275 and 276:
CHAPTER FIVE Notes 1. Leslie A. Joh
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
Page 287 and 288:
CHAPTER SIX tuture becomes present.
Page 289 and 290:
CHAPTER SIX the loss o~ the ~ather'
Page 291 and 292: CHAPTER SIX their oontaot with natu
Page 293 and 294: CHAPTER SIX his ~ather. However. th
Page 295 and 296: CHAPTER SIX In P'cs. Vuk is invited
Page 297 and 298: CHAPTER SIX search. The final passa
Page 299 and 300: CHAPTER SIX sneeom. opet doselili d
Page 301 and 302: CHAPTER SIX experience sQmethin~ wh
Page 303 and 304: CHAPTER SIX seemed to him as if hea
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
Page 315 and 316: CHAPTER SIX symbols of the sta~ and
Page 317 and 318: CHAPTER SIX sad odlaze. Prva velika
Page 319 and 320: CHAPTER SIX of the nation at Kosovo
Page 321 and 322: CHAPTER SIX molda samo oni znaju" (
Page 323 and 324: CHAPTER SIX spokesperson for the wh
Page 325 and 326: CHAPTER SIX She was dead for more t
Page 327 and 328: CHAPTER SIX based on the values ot
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: CHAPTER SIX 99. Mircea Eliade. Cosm
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,
Page 381 and 382: BIBLIOGRAPHY Kru!evac. 1988 Travar.
Page 383 and 384: 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
show all

TIME IN THE NOVELS OF MILOS CRNJANSKI - Nottingham eTheses

Create successful ePaper yourself

Delete template?

Save as template?