Kuzma Tschorny

Cyrillic ( Belarusian )
	Мікалай Карлавіч Раманоўскі
Transl. :	Mikalaj Karlavič Ramanoŭski
Transcr. :	Mikalaj Karlawitsch Ramanojski
Cyrillic ( Russian )
	Николай Карлович Романо́вский
Transl .:	Nikolaj Karlovič Romanovskij
Transcr .:	Nikolaj Karlowitsch Romanowski

Kusma Tschorny (1925)

Kuzma Chorny (born Nikolai Karlovich Romanowski , Russian Кузьма Чорный ; Belarusian Мікалай Карлавіч Раманоўскі ; Russian Николай Карлович Романовский * June 11 ^{. Jul} / 24. June  1900 ^greg. In Birky, Minsk province ; † 22. November 1944 in Minsk ) was a Belarusian writer and literary translator. "Kusma Tschorny" (Kuźma Čorny) was his pseudonym .

resume

Nikolai Karlowitsch Romanowskij came from a rural family. In 1913 he finished the "Timkovichskoe" elementary school. In 1915 he went to the Несвижской учительской семинарии - "Nesvischskoj uchitelskoi seminari" in Nyasvish and finished the teachers' seminar in 1920. From 1921 he began to work as a writer. In 1923 he began studying at the Belarusian University in Minsk and shortly afterwards became a member of the literary organization "Maladnjak". At the same time he wrote for the newspaper "Belaruskaja veska" - "Belarusian Events" and presented his first literary works there. In 1925, however, he had to break off his studies because of a tuberculosis disease. In 1926 he joined a new literary association - the "Usvysha"; shortly before that, he had already published two anthologies of his works and received first attention. Since 1934 he was a member of the Writers' Union of the USSR and in 1943 he joined the Communist Party of the Soviet Union (CPSU). From 1941 he worked for the newspaper "Раздавим фашистскую гадину" [Step on the fascist monster] until he returned to Minsk in 1944 and died there. The burial took place in the Minsk military cemetery.

The Soviet Union awarded him the Order of the Red Star and the medal “Partisan of the Patriotic War” . After him, the ул. Кузьмы Чорново (Kuzma Chorny Street) in Minsk.

Artistic work and biographical influences

NK Romanovskij reports very poorly about his childhood, the people who surrounded him and raised him were very frugal and used to the little luck of having something to eat. Throughout his life he felt a close relationship with his rural origins and received strong influences from his parents; the suffering of the able-bodied population recurs as a motif in his works.

In the revolution that came over Belarus, he initially saw an opportunity to improve conditions in the country. So his heroes are mostly Belarusian farmers who come from injustice and bondage to freedom, a change through goodness and justice is sweeping the country.

Bit by bit, this creates a picture of the national situation and that fate. In the place of the idealistic heroes, more and more figures with depth are moving, before whom the gates of the endless possibilities are closed and thus show the true revolutionary traits. As a stylistic means he uses dynamic, harmonious and emotional words, combined into expressive lines that are supposed to convey thoughts and feelings in his stories - on a psychoanalytic level.

Later he concretized this topic in that his Belarusian heroes with a national character are no longer invented, but describe true historical personalities. This section is called the problem of "schivoj tschelovek" - "living people". NK Romanovskij / Tschorny thus presents a connection between the old and the new imagination of the people, he relates concrete realism to represent the historical past of the nation.

In his creative period between 1925 and 1927 his works often contain elementary questions about being, "What is life and what is man?"

Text example: "Падарозе", "Пачуцці", "Хвоігавораць" (1926)

Often one feels the love for the fatherland and the simple way of life in his work, the peasant life is depicted in all facets. Alienation seems to be the big problem from the past to the present.

Text example: «Зямля» (1928)

The antihuman world becomes one of the main points of view of the writer, he looks at it philosophically and sociologically and creates a lively representation of the Belarusian people over an extensive and formative period of time.

The aim of the artist was to describe the tendencies of the people from slavery to slavelessness and to clarify the desire of the collective principle.

The social development under socialism was fundamentally an important topic of the Soviet poets at that time.

Text example: «Трэцяе пакаленне» (1935)

Historically realistic references and human change in times of upheaval, its contradicting character and the creation of a "new person" are described again and again.

Text example: «Лявон Бушмар» (1929)

The abysses of the individual, the contradictions of the world and the origins and reasons of all this are psychologically and historically thematized by him.

Text example: «Сястра» (1927–28)

Its heroes create historical and decisive stages for the Belarusian people and man as the subject and object of history. The earth citizen would have to open himself and his environment, a development towards a community-oriented existence can solve the problem of poverty and injustice. The works thus thematized political issues, as well as war and human psychology, which showed his talent as an artist and humanist. Many publications were therefore translated into a wide variety of languages ​​of the former Soviet Union and widely read, and his name can still be found in a wide variety of places - from streets in Belarus to schools.

He translated works and works into the Belarusian language . a. by Alexander Sergejewitsch Pushkin , Maxim Gorki , Wladimir Galaktionowitsch Korolenko , Nikolai Wassiljewitsch Gogol .

Works

• На граніцы . (On the border). 1923.
• Апавяданні . Срэбра жыцця . 1925.
• Па дарозе . (On the way)., Пачуцці , Хвоі гавораць . (Pines speak). 1926.
• Сястра . (Sister). 1927-1928.
• Зямля . (Country). 1928.
• Вераснёвыя ночы . (September nights). 1929.
• Лявон Бушмар . (Ljawon Buschmar). 1929.
• Вецер і пыл . (Wind with dust). 1927-1929.
• Ідзі, ідзі . 1930.
• Бацькаўшчына . (Homeland). 1931.
• Брыгадзіравы апавяданні . 1932.
• Трыццаць год . (unfinished) 1934.
• Трэцяе пакаленне . (Third generation) 1935.
• Люба Лук'янская . 1936.
• Простыя людзі . 1936.
• Вялікае выгнанне . 1936.
• Судны дзень . 1936.
• Базылевічава сямя . 1938.
• Насцечка . 1940.
• Маленькая жанчына . 1940.
• Прасторны дом . 1940
• Вялікае сэрца . 1940.
• Ірынка. (The Irinka) 1941.
• Як дзядзька Тамаш напалохаў ваўкоў . 1941.
• Кат у белай манішцы . 1942.
• Герой Савецкага Саюза Ціхан Піменавіч Бумажкоў . 1943.
• Вялікае сэрца . 1945.
• Пошукі будучыні . 1943, апубл. 1950.
• Вялікі дзень . 1941–44, няскончаны, апубл. 1947.
• Млечны Шлях . (The Milky Way). 1944, апубл. 1954.
• Скіп'ёўскі лес . 1944, апубл. 1946.
• Сумліцкая хроніка . 1941–44, апубл. 1975.

literature

• Dietrich Beyrau , Rainer Lindner (Hrsg.): Handbook of the history of Belarus . Vandenhoeck & Ruprecht , Göttingen 2001, ISBN 3-525-36255-2 , p. 479ff. ( online )
• Tschorny, Čorny, Kusma In: Brockhaus Enzyklopädie 17th edition (1974) 20 volumes . Vol. 19, FA Brockhaus Verlag, Wiesbaden 1974, p. 86.
• Janka Kazeka, Kusma Tschorny: Старонкі творчасці . Janka Kazeka, Minsk: Мастацкая літаратура . 1980, p. 133.
• Их именами названы…: Энциклопедический справочник / Редкол .: И. П. Шамякин (гл. Ред.) И др. БелСЭ, Minsk 1987, pp. 671–672.
• История белорусской советской литературы . И.Я. Науменко, П.К. Дюбайло, Н.С. Перкин, Академия наук БССР, Минск, 1977, pp. 429–446.

Web links

Commons : Kuźma Čorny  - collection of pictures, videos and audio files

• Article Kusma Tschorny in the Great Soviet Encyclopedia (BSE) , 3rd edition 1969–1978 (Russian)http: //vorlage_gse.test/1%3D122667~2a%3DKusma%20Tschorny~2b%3DKusma%20Tschorny
• Literature by and about Kusma Tschorny in the bibliographic database WorldCat
• Čorny Kuźma at Slodnik