TIME IN THE NOVELS OF MILOS CRNJANSKI - Nottingham eTheses

More documents

Recommendations

Info

CHAPTER ONE oontributed artioles on Enelish politios to a journal published bv Milan Stojadinovi~ in Buenos Aires. Stojadinivi~ was a former prime minister of Yueoslavia and proprietor of one of the Belerade newspapers. Vreme. for whioh Crnjanski had been a oontributor betore the war. In 1951 he was eleoted the tirst President of the Assooiation of Serbian Writers in London. a post whioh he did not ooouPV tor lone. as he quarrelled with other members. and he left the association in 1953. Crnjanski was torced to take a number of jobs in Londonwhioh he considered to be demeanine. eiven his previous reputation as one .ot Serbia t s toremost li terarv tieures. his diplomatic experience. and the eeneral litestvle whioh he had enjoved until then. He worked as a book-keeper in a shoe shop in Bond Street. and later as a delivervman tor a book shop. He was approached on a number ot ocoasions to return to Yuaoslavia. bvMola Pijade for example in March 1957 (95). but he was still afraid of what mieht happen to him. it he returned. Prom the earlv sixties he was a visitor to the Yueoslav embassv in London where he was betriended bv the ambassador. Prica. and his wife. He finallv returned to YuCoslavia in 1965. convinoedbv the overtures from old friends and bV the srowine critical acolaim with which his work met in aelerade. An undoubted stimulus was the pUblication of his new novel. Druea kQjiea 8eoba. in 46
CHAPTER ONE 1962. Far from beine persecuted, Crnjanski was ereeted as the culmination of Serbian literature in the modernist period and the forerunner of much which had influenced writers in this century. He was awarded a prize by the Association of Writers of Serbia for his life's work in 1971, and the followine year received another prize from the respected weekly journal ~'when his work Roman o Londonu was voted novel of the vear. The author attended numerous literary fundtions, eave many lectures, and was frequentlY praised by writers. critics. and the readine public. He lived in Belerade until his death on 30 November. 1977. He and his wife had no children, and after her death she left a leeacy to establish the Milo. Crnjanski Foundation in 1980. Nikola Milolevi6 was the first president of the Foundation. with premises in the National Librarv in Belerade for a small secretariat and archive. Its purpose is to promote the publication of Crnjanski's works andencouraee critical accounts Of his l.ife and work. Crnjanski's two later novels were publ.ished durinc this period. Druia knjila seoba in 1962. and Roman 0 Londonu in 1971. It is difficult to d.ate precisely when they were written. Druca knjiia seob. was oertainly becun before the war. albeit in a different form from the final. version. while the second novel was 47
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: CHAPTER ONE Crnjanski's memoirs fro
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 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,
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

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?