TIME IN THE NOVELS OF MILOS CRNJANSKI - Nottingham eTheses

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CHAPTER TWO related to the debate concernine time in modernism senerally. The s1sn1t'1cance ot' "veza" in his sumatra1st style is claritied when examined alone with his views on lansuaee and literary torms. Crn~anski himselt expresses the connection between laneuaee and ideas in "Ob~aAn~en~e 'Sumatre"': Najnovija umetnost. a osob1to l1rska poezija, pretpostavlja izvesne. nove. osetljivosti. Oni koji ne moeu da diAu izvan. predratne. umetni~ke atmostere. prilaze joj uzalud. Svud se danas ose6a da su h1ljade 1 hiljade proAle kraj leAina. ruAevina. i obi Ale svet i vratile se doma. tra!e6i misli. zakone i !ivot kakvi su 611i. Tra~e61 staru. nav1klu. knj1!evnoat. poznate, udobne, senzac1je, protuma~ene m1s11. Liraku poez1ju ve~n1h, svak1dalnjih metatora, ono draco cile-mileatihova. alikova. hrizantema. koje au cvetale u naAim. nedeljnim. dodacima. Ali su dolle nove misli" novi zanos1, novi zakoni. nov1 moralit Mo!e se b1ti prot1v naa. ali pretiv naAih aadr!aja. i intensija, uzalud. The newest art. and part1cularly lyric peetrv. presupposes oertain new sensibilities. Thev who are unable to breathe outside ,the pre-war artistic atmosphere approaoh it in vain. You cet the 1'eelins evervwhere you co today that thousands upon thOusands have pass.d bV· OOrpses and, ruins, toured the world. and retUrned home searoh1ns tor the thouchts. laws. and l1te such as the~ had been. SearOh1nc tor the old, aeeustomed I1terature, the known. aat'e. aensations. the second-hand ta.o •• bt.. "".'•• 1 p ••'''' of eternal. everyday metaphors, that dear old bunch ot' verses, rhymes, ohrvsanthemums which blossom in our weekly supplements. aut new thouchts. new inspirations. new laws. new morals have arrived' You can be ac.inst us. but .cainst what we write and our intentions. In,.vain. 82
CHAPTER TWO The "new sensibil.ities" al"e l"ecosnised b¥ the new 1'ol"ms which have appeal"ed in "post-waJ::' cul.tuJ::'e" (25). Some 01' those who 1'ousht and witnessed thehoJ::'l"oJ::' 01' the waJ::' desiJ::'e to J::'etuJ::'n to l.i1'e as the¥ had l.e1't it be1'ol"e hostil.ities bl"oke out. FoJ::' Cl"njanski. such a l.i1'e is embodied in the 1'Ol:'mS 01' poetJ::'¥. and in the moul.ds 01' thousht which had been known be1'ol"e the wal". Fol" those l.ike CJ::'njanski, expeJ::'ience. thousht. inspiJ::'ation. l.aw. mOJ::'al.s. and W&¥S 01' wl"itins have chansed 1'ol"evel". EveJ::'¥thins pJ::'e-waJ::' is inval.id 1'01" the new sensibil.ities. He 1'ocuses on the institutions in which the new sensibilities have made theil" appeaJ::'ance. and as such he equates wavs 01' wl"itins with l.aw and mOJ::'alit¥. Howevel", what is 1'undamental. to Cl"njanski's sumatJ::'aist outl.ook is. that the chanses in l.ansuase. institutions, and senaibilit~ oCCUJ::' simultaneousl.¥. He wl"ites 01' his senel"ation that "mi sad donosimo nemil". Pl"evJ::'at. u J::'e~i. u ose6ar ..'u,·· u milljen;lu ("we al"e now bl"insins anxiet~. J::'evolution. in WOl"d.in 1'eelins. in thinkins"). The anxiet~ and l"evol.ution which the~, the modeJ::'nist senel"ation, expl"eSS l.1nks them to the hietOl"ical chanse takins placeal"ound them. Howevel", thel"e ie a t'uJ::'thel" etep 1'0l" them to take. The~ have to 1'eel the chanse takins place, and be able to expl"ess it as it happens, to which tl"aditional t'o~sot' poetl"¥ pl"esent a baJ::'l"iel". CJ::'njanaki aaeel"ta that, "Sea
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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
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 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: CHAPTER TWO articles (such as the o
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
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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.
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BIBLIOGRAPHY Lovri6. Jasmina. "Funk
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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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