TIME IN THE NOVELS OF MILOS CRNJANSKI - Nottingham eTheses

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CHAPTER TWO modernism. Sumatra is the name o~ an is1and in the South Seas and evokes an exoticism which is characteristic o~ modernism. More speci~1ca11Y. it is a term red01ent o~ Gaucuin's many years spent on another South Sea is1and. Tahiti. However. when considerinc the oricin o~ the term in Crnjanski's poem we ~ind a 1iterary re~erence which is more in~ormative than details o~ an artistic. ceocraphica1. or biocraphica1 nature. The word "sumatra" echoes part o~ the phonetics o~ the ~irst 1ine o~ a poem written by Sima Pandurovi6. "Svetkovina"s "Si161i smo s uma u ejajan dan" ("We went. out o~ our minds one ~ine day" 1).· Pandurovi6's poem. pub1ished be~ore the First Wor1d War, represented the strain o~ svmb01ist and intimist Urricpoetry much criticized in its day. Pandurovi6 andPetkovi6-Dis were two pre-war poets whose work is important in the development o~ the ~irstphase o~ therebe11ious·new poetr~ o~ Serbian modernism. Crnjanski makes a speci~ic re~erence to Pandurovi6. and to his in~luence on his own work in the years immediate1y a~ter the war. in his 1929 essay "Pos1eratn.a knjilevnost"s Pandurovi6 jet tada. za mene bio najistaknutiji pesnik na16e "Moderne". i n.;fecove dYe pes.e iz Ant010a1.;fe znao sam na1zust (2) Then, Pandurov16 was tor me the most prominent poet oP our "Moderna", and I knew by heart h1s two poems ~rom the AntholoR· . 68
CHAPTER TWO The Antholocy to which Crn;tanski re~ers is the AntoloCi;ta novi;te srpske lirike edited by Boedan Popovi6 (3). Pandurovi6's poem "Svetkovina" is one o~ the two included in this antholoeY. Crn~anski'a poem reads: SUMATRA Sad smo bezbr1lni. laki i nelni. Pomislimo: kako su tihi. anelni vrhovi Urala. Rastuli li nas kakav bledi like Ito ea 1zcub1smo jedno ve~e. znamo da. neCde. neki potok. mesto n~eea. rumeno teae! Po ;tedna ljubav. jutro. u tu4ini. dulu nam uvija. ave telnje. beskrajnim mirom plavihmora. izko;tih crvene zrna korala. kao. iz zaviaaja t treinje. Probud1mo ae n06u i smelimo. draco, na Mesec sa zapetim lukom. I milujemo daleka brda i ledene co~e. blaco. rukom. Now we are care~ree, licht and centle, We think: how quiet. are the snowv peaks ot the Urals. / . Should a pale face sadden us. because we loat it one eveninc. we know that. somewhere. a stream. in its atead. ~lows pink! One love. one morninc. in a ~oreicn country. envelops our soul.. ever tichtl.y. in the in~1nite peace o~ the blue seas, trom which shine red beads. Of coral. like cherries. from home. We-wake at nicht and smile. lovincl.y. at the Moon w.i th ita drawn bow. And we caress the distant hil.ls and the ~rozen mountains. tenderlv. with our hand. crn;fan"'k1's l\e-intel\pretation of Pandurovi6's ~irst 69
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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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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
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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: CHAPTER TWO PART TWO CHAPTl!iR TWO
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
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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
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BIBLIOGRAPHY Srpski knjifevni glasn
Page 379 and 380:
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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