TIME IN THE NOVELS OF MILOS CRNJANSKI - Nottingham eTheses

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CHAPTER ONE Slavko Leovac. pp43-44. 108. Svetozar Koljevi6. "The Linzuistic Aspects ot the International Theme in Roman 0 Londonu", Milol Crnjanski and Modern Serbian Literature. edited b¥ David Norris, Astra Press. Nottincham. 1988. p83. 109. Svetozar Koljevi6. p84. 110. Aleksandar Petrov. p18. 111. Milo. Crnjanski, Sabrana dela Milo.a Crnjanskoc. Prosveta, Belcrade, 1966. 112. Radovan Vu~kovi6. "Osnovne crte simbolike i strukture romana Seobe Milola Crnjanskoc", p124. 66
CHAPTER TWO PART TWO CHAPTl!iR TWO SUMATRAISM AND <strong>TIME</strong> Crnjanski's personal stNle has been called . sumatraism, both bN the author himselt and bN critics. The term is derived trom the title ot his poem "sumatra", which 1s tamous not onlN in itselt but also because ot the manitesto essaN which accompanied its tirst appearance "Ob;}aln;}en;}e 'Sumatre'" in 1920. BN studNinc Crnjanski's two e.saNs, "Objalnjenje 'Sumatre'" and "Za slobodn1 stih" written within two Nears ot each other, we can utilise the author's own ideas about lancuace, literarN torm. andt1me to intorm our own analNsis ot his novels. AlthouCh both .ssavs were written at an ear~N sta.e 1n his care.r. the basic thouchts which we tindin them staved with him throuchout his lite with certain chances and developments, which will be traced in this studN. There are two e~ements 1n this chapter. The tirst is an analNsi. ot Crnjanski's a •• thetics and views ot literature wh1ch are relevant to the examination ot time in his novels. The second conoerns the WaNS in which time hasb.en discussed with particular reterence to 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
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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
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: CHAPTER ONE 93. Ljub11a .1erem16, "
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
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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
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BIBLIOGRAPHY I~njatovi6. Dra~oljub.
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BIBLIOGRAPHY Lovri6. Jasmina. "Funk
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BIBLIOGRAPHY Serbian Literature, ed
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BIBLIOGRAPHY Zdrale. Radovan. "Crnj
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BIBLIOGRAPHY Srpski knjifevni glasn
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BIBLIOGRAPHY Mirkovi6, Mil.osl.av,
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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
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BIBLIOGRAPHY Time in Literature Bak
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BIBLIOGRAPHY Spencer. Sharon. Space
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