TIME IN THE NOVELS OF MILOS CRNJANSKI - Nottingham eTheses

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BIBLIOGRAPHY 2. pp208-213 Nikolic. Berislav. "Jezik u Seobama Milosa Crnjansko~". Knji!evno delo Milosa Crnjansko~. edited bv Predra~ Palavestra and Svetlana Radulovic. Institut za knji!evnost i umetnost. Posebna izdanja. IV. Bel~rade. 1972. pp235-245 Norris. David A .• "Time in Dnevnik 0 Carnojevicuz Structural and Thematic Features. Relations. 1985. 3. pp67-76; 4. pp55-63. (translated and republished as: Noris. Dejvid A •• "Vreme u Dnevniku 0 ~arnojevicu: Strukturalne i tematske odlike". !2.!!!2.. 1987. XXXIII •. 5-6. pp174-190) Norris. David A .• "Epic and Time in Milos Crnjanski's Novel Druga knjiga seoba". The Slavonic and East European Review. 66. 2. 1988. pp224-235 Norris. David A .• "Contrastin~ Temporal Or~anisation in Crnjanski's Novels". Milos Crnjanski and Modern Serbian Literature. Astra Press. Nottin~ham. 1988. pp89-101 Novakovic. Bosko. "Zapis 0 Seobama". Letopis Matice srpske. 1963. 342. 6. pp506-526 Palavestra. Predra~. "Roman .epohe· raseljenih lieS.. Milos Crnjanski: Roman 0 Londonu. Beo~rad. Nolit. 1971". Politika. 27 November 1971. p14 Palavestra. Predra~. "Pesni~ki roman Milosa Crnjansko~". Gradina. 1981. XV. 2, pP5-15 Palavestra. Predra~, "The Utopian Poetic Consciousness of Milos Crnjanski", Relations, 1981, 3-4, pp28-32 Pervic, Muharem, et al, "Raz~ovor 0 romanu Seobe u redakciji ~asopisa Delo", ~. 1963, IX. 1. ppl-28 Pervic, Muharem. "Seobe Milosa Crnjansko~", pro~ram, 1977, 33, pp241-271 Treci Pervic, Muharem. "Pesnik romana: Milos Crnjanski: Seobe", Pripovedanje i misljenje: Vidovi savremeno~ juaoslov!nsko~ romana.Srpska knjilevna zadru~a. Bel~rade. 1978. pp69-107 Petkovic. Novica. Seobe Milosa Crnjansko~. Zavod za ud!benike i nastavna sredatva. Bel~rade. 1985 Petrov, Aleksandar. "Folk Tale Elements in the Second Book of Seobe. Milos Crnjanski and Modern 368
BIBLIOGRAPHY Serbian Literature, edited by David Norris, Astra Press, <strong>Nottingham</strong>, 1988, pp61-73 Petrovi6, Miodrag, "Dva roman a Milo!a Crnjanskog", Trajanje re~i: Kriti~ki ogledi i ~lanci, Gradina, Ni!, 1972, pp89-96 Pijanovi6, Petar, "Neki aspekti kasne proze Milo!a Crnjanskog", Savremenik, 1980, XXVI, 1-2, pp48-64 Popovi6-Radovi6, Mirjana, "Citati stvarnosti u Romanu 0 Londonu", ~, 1984, XXX, 3, pP58-78 popovi6-Radovi6, Mirjana, "Nepoznati detektivski roman Milo!a Crnjanskog", Knji!evne novine, 15 January 1985, p15 Popovi6-Radovi6, Mirjana, "Jedini verodostojni svedok je pisac", Knji!evne novine, 1 December 1986, p19 Pra!i6, Milan, "U prostorima nepostojanja", Izraz, 1972, XVI, 6, pp587-594 Puva~i6, Du!an, "Izgnanik ili problem samo6e u Romanu 0 Londonu", Knji!evno delo Milo!a Crnjanskog, edited by Predrag Palavestra and Svetlana Radulovi6, Institut za knji!evnost i umetnost, Posebna izdanja,· IV, Belgrade, 1972, pp269-290 Radovanovi6, Milorad, "Neki sintaksi~ki postupci karakteristi~ni za jezik knjige Roman 0 Londonu, Prilozi prou~avanja jezika, 1974, 10, ppl-48 Radovanovi6, Milorad, "Zna~enja i funkcije pluskamperfekta u Romanu 0 Londonu Milo!a Crnjanskog", Godi.njak Filozofskog fakulteta u Novom Sadu, 1975, XVIII, 1, pp165-179 Risti6, Marko, "Seobe", Knji!evna politika, Rad, Belgrade, 1979, pp91-98, (first published in Politika, 15 April 1929) Rotar, Janez, "Citanje romana Seobe Milo!a Crnjanskog", Izraz, 1976, XX, 11, PP523-549; 12, pp699-726 Simi6, Radoje, "GramatiCSka i intonacijska struktur& proznog dela Milo.a Crnjanskog",· Knji!evna istorija, 1978, XI, 41, pp15-60 Stojni6, Mila, "Tri vi4enja ruske emigraoije u knji!evnosti", Knjilevnost i jezik, 1973. XX, 1, ppl.-15 369
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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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CHAPTER FIVE UB. II. p11. U9. II. p
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CHAPTER FIVE 98. IX. p325. 99. Duii
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CHAPTER SIX i bein~-in-time wi.t~ t
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CHAPTER S.IX c~ttle. around the for
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CHAPTER SIX trend in the epic in wh
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CHAPTER SIX tuture becomes present.
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CHAPTER SIX the loss o~ the ~ather'
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CHAPTER SIX their oontaot with natu
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CHAPTER SIX his ~ather. However. th
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CHAPTER SIX In P'cs. Vuk is invited
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CHAPTER SIX search. The final passa
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CHAPTER SIX sneeom. opet doselili d
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CHAPTER SIX experience sQmethin~ wh
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CHAPTER SIX seemed to him as if hea
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CHAPTER SIX Nemalt1na, samo~a, b01e
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CHAPTER SIX Zatim je Zemun doznao j
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CHAPTER SIX dance. clances and kiss
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CHAPTER SIX her shadow in the mire,
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CHAPTER SIX ona jo! vide neko zlatn
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CHAPTER SIX symbols of the sta~ and
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CHAPTER SIX sad odlaze. Prva velika
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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 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: BIBLIOGRAPHY Lovri6. Jasmina. "Funk
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
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