TIME IN THE NOVELS OF MILOS CRNJANSKI - Nottingham eTheses

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CHAPTER ONE 22. Crnjanski published ~ourteen poems in Savremenik durins 1917 and 1918. includins "Himna". "Groteska". "HaAa elesija" etc. 23. MiloA Crnjanski, Lirika Itake, S. B. Cvijanovi6. Belsrade. 1919. (I). 24. XI:I. p78. 25. XII. p79. 26. Jovan Dereti6. :Iatorija arpake knji&evnosti. Noliti Belarade. 1983. p505. 27. I. p189. 28. MiloA Crnjanaki. Maaka. Drultvo hrvatskih knji&evnika. Zasreb. 1918. (X). MiloA Crnjanski, Pri~e 0 mulkom. S. B. Cvijanovi6. Belarade. 1920, (II). Mil01 Crnjanaki. Antolocija kineske lirike. Napredak, Delarade. 1923. (I). M~10. Crnjansk~. Pesme staro. Japana. Hapredak, aelarade, 1928, (I). 29. Milol Crnilanaki. "Sum.tra", ij£P'ki koililavo1 Clasnik. 1920. I. 4. p262. (I, p231). Mil01 Crnjanski. "Stra&ilovo", Mis.o. 1921, VII, 2, pp98-100, (I, PP237-244). MiloA Crnjanaki. "Serbia", Srpski knji&evni .l •• nik, 1926, XVII, 1, PP21-24, (I, Pp2'3-2'7). 30. Aleksandar Flaker. "Svmbolism or Modernism. in Slavic Literatures", Byss1an Literatyr1t. 1979. V:II. ". 1>334. 31. OenvsVal Baker. Little Review. 1914-1943. Georse Allen and Unwin. London, 1943. 32. There were just ten issues o~ pan ~rom 1 3ul¥ to 15 November 1919. 33. Malcolm BradburV and 3ames McFarlane. "The Name and Nature o~ Modernism". Modernism 1890-1930. edited bV Malcolm Bradburv and 3ames McFarlane. Penauin Books. Middlesex. 1981. p23. 34. Predx-aa Palavestx-a, "Pravci px-ou~avanja mecruratne sx-pske knjil.vnosti (1919-1941)". M.cruratna srpska knji&evnost, edited bv Marko Nedi6, Institut za knjilevnost iumetnost, Posebna iZdanja. IX. Belarade. 1983. p16. 35. "Milol Golubov16". XII. p325. 60
CHAPTER ONE 36. Draaila Vitolevi6. "Pos~eratna avanaarda i Mi~ol Crnjanski". Knji~evno de~o Mi~ola Crn;tnskoa. edited bV Predras Palavestra and Svetlana Radulovi6. Institut za knji~evnost i umetnoat. Poaebna izdan;Ja. IV. Be~arade. p13. 37. A~eksandar F~aker. Poetika osporavanja. Skolska knjiaa. Zaareb. 1982. p237. 38. I. p122. p132. 39. Branimir (';'osi6. "u razaovoru sa a. Milolem Crn;Janskim. pesnikom. pripoveda~em. itd.", Deset pisaoa •.. deset razaovora. Geea Kon. Belarade. 1931. p75. 40. Aleksandar Petrov. Poezija Crnjanskoa i srpsko pesniltvo. Vuk Karad!i6, Be~arade. 1971. p155. 41. XII. p82. 42. Boadan Popovi6 and Slobodan .lovanovi6. "~itaooima nove serije Srpakoa kn;lilevnoa a~asnika". Brpski knjilevni alasnik. 1920. I. 1. ppl-4. 43. E.D. Gov. "The Reoeption of Post-war Modernism in Brpski knjilevni alaanlk 1920-1928". Annali dell' lstituto Universitario Orientale. 1967. X. p144. Lt.4. Mirko 2e~elj. "Milol Orn;lanski tt • Brpsk! knji~evni ,lasnik. 1939. LVIII. 4. p216. 4,. Marko Car. "Podarejani simbolizam". Srpaki kn;Jllevni a~asnlk. 1920. I. 2. p123. 46. Branko LazareviO. "Lirika G. Crnjanskos". SEPski kn;tilevni clasnik. 1921. II. 7. p530. 47. E. D. Gov. P161. Lt.8. see Aleksandar F~aker.· "Svmbolism or Modernism in Slavic Litel'atuMs", Ru •• 1an Lite;:atul'e. 1979. VII. 4. pp329-348. 49. XII. p82. '1. XII. p88. 52. Aleksandar Petrov. p231. '3. Ljuba VUkmanovi6. "Milol Crnjanski 0 Branku. 0 61
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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
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: CHAPTER ONE December 1959, p15. 11.
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
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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
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CHAPTER SIX molda samo oni znaju" (
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CHAPTER SIX spokesperson for the wh
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CHAPTER SIX She was dead for more t
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CHAPTER SIX based on the values ot
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CHAPTER SIX iz~leda da se taj rat n
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CHAPTER SIX todav. The details whic
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CHAPTER SIX ohapter of the novel. w
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CHAPTER SIX The ~ears are passin~ e
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CHAPTER SIX Notes 1. III. pll'3. 2.
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CHAPTER SIX 47. III, p79. 46. III,
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CHAPTER SIX 99. Mircea Eliade. Cosm
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CHAPTER SEVEN CHAPTER SEVEN CONCLUD
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CHAPTER SEVEN follow ~apidlY in the
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CHAPTER SEVEN temporal relationship
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CHAPTER SEVEN oriein, linked to but
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CHAPTER SEVEN Carnojevi6u, are pers
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CHAPTER SEVEN search o~ salvation.
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CHAPTER SEVEN discourse which opens
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CHAPTER SEVEN The moti~ o~ return a
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CHAPTER SEVEN Crnjanski himself def
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CHAPTER SEVEN 11. I. p210. 18. II.
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BIBLIOGRAPHY of Arts and Sciences,
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, Crnjanski, Milo~. "Objalnjenje 'S
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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
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BIBLIOGRAPHY SUPPLEMENTARY MATERIAL
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BIBLIOGRAPHY Modernism Bradburv, Ma
Page 389 and 390:
BIBLIOGRAPHY Time in Literature Bak
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BIBLIOGRAPHY Spencer. Sharon. Space
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