In this article, we examine the artistic features of works by Sergey Afanasyevich Zverev (1871–1973), a prominent representative of Yakut folk tradition, a folk singer, olonkho-teller, performer and choreographer of ritual dances. Special attention is paid to the author’s work on the texts of his works – the poem “Suosaljiya Tolbonnokh” (1941) and the musical drama “Suosaljiya Tolbonnokh” (1959). The narrative-compositional structure of the works and the artistic uniqueness of the images of main characters are analyzed. As a result, it was revealed that Zverev’s creative work represents an unique phenomenon demonstrating the transition from oral improvisation to written literature. In creating the poem “Suosaljiya Tolbonnokh”, the author adhered to the rules of epic narration; the narrative-compositional structure of the work is characterized by a chronological sequence of events occurring in a specific time and space, describing characters, their actions, and circumstances. The image of Suosaljiya Tolbonnokh possesses multifacetedness due to the use of traditional epic techniques. The author endows the heroine with qualities characteristic of an epic beauty, which plays a key role in the development of the plot. The intention to stage the drama “Suosaljiya Tolbonnokh” had an impact on its compositional structure of the work. The author intensifies the class conflict by portraying Suosaljiya Tolbonnokh as an advocate for a just and free life of the poor strata of the population, actively supporting them in their struggle against oppressors. Overall, Zverev created original artistic images of Suosaljiya Tolbonnokh in his works. 

The article is devoted to the study of the process of formation of the figurative system in the works of the Chukchi writer Yuri Sergeevich Rytkheu (1930-2008), the formation of female images in works of various genres (short stories, novellas, novels). Textual and contextual analyses of the short stories “Otlek” and “Tegryne goes to Khabarovsk”, the novella “When the Whales leave”, the novels “The Last Shaman”, “The Wanderings of Anna Odintsovo” and the dictionary book “Road Lexicon” were carried out. An integrated approach made it possible to reveal the origins and features of the meaning generation and the ethnospecific character of the heroines. Myths and folklore (fairy tales, legends) are involved, the symbolism of archetypes and their transformation in the literary works of the Chukchi author are revealed. The archetypes used unconsciously and consciously are considered and the types of heroines are highlighted: the virgin, the mother, the creator of the human world, the ruler, the mentor, the worker, the magician and a number of others related to their lives and deeds: the word, the forest, the tree, labor, etc. The understanding of the complex process of image-making in the Chukchi author’s knowledge was facilitated by referring to the materials of ethnologists and linguists who participated in the creation of alphabets, writing, and the first educational books, in the creation of which Rytkheu participated. The role and importance of Russian literature and writers, both classics and contemporaries, are highlighted based on comparativism. In his work, Yuri Rytkheu presented a variant of the evolutionary development of the Chukchi people in the process of creating female images, activated gender issues related to the feminine principle, presenting them through the prism of archetypes and the process of individuation. Creating the image of an ideal woman, reviving the feminine principle, combining the courage to be and compassion as qualities of a strong Ego, he did not pursue the goals of domination, relying on the ideal partner model. The Chukchi writer has made a valuable contribution to supporting the modern gynocentric (women-oriented) renaissance societies. The archetypal aspects in the creation of an imaginative system in the work of Rytkheu, related to the spiritual development of a personality, require further research. 

The article provides a comprehensive analysis of the narrative structure of Nikolay ZabolotskyChyskhan’s short story “Maappa” (1944) in terms of the interaction between folklore and mythology and the literary traditions of early 20th-century Yakut prose. The aim of the article is to study the narrative organization that determines the artistic originality of the work. Special attention is paid to the mechanisms of representation of the narrator’s image, which is endowed with special artistic functions in the literary text. In the course of the work, the following tasks are solved: determining the type of narrator, analyzing the composition of the story, ways to organize the chronotope (the chronotope of the “terrible world”), techniques for creating artistic imagery, as well as the study of the linguistic plan of the work. Special attention is paid to the image of the road and the motive of wandering, as well as the evolution of the traveler’s character, which form the liminal (borderline) space in the writer’s story. The linguistic analysis examines the use of folklore vocabulary (mythological nominations, stylistic figures and syntactic constructions), which form a special narrative rhythm and strengthen the connection with the oral tradition. The scientific novelty of the research consists in the systematization of narrative organization techniques that had not previously been the subject of a separate comprehensive analysis, including their linguistic implementation. The methodological base of the research includes a structural semiotic approach, a narratological analysis, a cultural historical method and concepts of studying mythopoetics. The practical significance of the research lies in the possibility of using its results in courses on the history of Yakut literature, text poetics, and narratology. 

This article examines the short satirical genres (fables and feuilletons) in the works of the Balkar writer Osman Balaev. For the first time, using archival sources and periodicals, a comprehensive study was conducted to identify and systematize data on the author’s personal and creative biography. The relevance of this work stems from the need to introduce new factual material into scholarly circulation, identify the typological characteristics of works, study the semantic organization of texts, and determine their thematic structure. Particular attention is paid to the linguistic methods used to construct such devices as allegory, figurativeness, urgency, and moralizing, as well as to the means of embodying didactic ideas that condense culturally specific characteristics such as national character, mentality, and linguistic consciousness. As a result, it was revealed that Balaev’s fables contain universal features of the classical genre, but at the same time demonstrate a unique way of capturing and conveying national and cultural information. The works are distinguished by their realism and topicality, highlighting the universal human problems of the era and offering a philosophical understanding of the spiritual world of contemporaries. The material presented in this article fills the information gap created by the insufficient study of Balaev’s work, allowing us to identify the writer’s place and role in the development of small satirical genres, as well as to reveal the influence of a common literary heritage on the development of young literary literatures. 

The relevance of the article is determined by the understudied nature of the poem genre in Kalmyk poetry of the 20th century, including the works of the People’s Poet of Kalmykia, Khasyr Syan-Belgin. The purpose of the article is to study the previously unexplored poem “Balta erǝtǝ alchur” (“Honey-colored patterned handkerchief”, 1958) by the poet about the Great Patriotic War in terms of its poetics. The novelty of the research is due to the semiotic approach to the function of an object in the plot of a work, the comparative-comparative method in the folklore tradition of the Kalmyk folk song, the Kalmyk fairy tale, and the author’s poem. The patterned silk handkerchief of a girl, given to a young man who is leaving to serve in the army, became a symbol of her love and loyalty, as well as a protective amulet. During the Great Patriotic War, this object performs a protective function: it stops the bleeding of a wounded hero, and then it becomes an identification marker like a red flag, indicating the achievement of a military objective – the capture of an enemy height. The folklore tradition of the Kalmyk folk song (a girl’s handkerchief as a love gift for a young man leaving for military service) and the Kalmyk fairy tale (a handkerchief as a means of reviving a deceased husband) in the poem by a contemporary Kalmyk poet is complemented by the category of heroism in the image of a defender of the Fatherland. The plot-forming function of the object in this poem, starting with the title, conveys the symbolism of love, duty, and heroism. Russian Russian translation of the work entitled “Silk Patterned Handkerchief” (1959) was published over the years in Kalmyk, both in Russian translation and as a poem. 

The article considers the peculiarity of color epithets in functional and semantic aspects based on the material of Rasul Gamzatov’s prose book “My Dagestan”. The relevance of this study is associated with the study of the language picture of the poet’s prose through color definitions, the functioning of which allows us to highlight the features of the author’s worldview, his idiostyle, the expressive capabilities of the language system of Gamzatov. The goal is to study the features of the functioning of color vocabulary as epithets in the poet’s fiction, taking into account its belonging to direct and figurative meanings and its prevalence, as well as to establish the most frequent color epithets and reveal the features of their aesthetic meanings. The tasks of the study include the detection of color epithets of various shades, the identification of direct and figurative nominations, the definition of the specifics and form of expression (adjective, nominal, verb). Color epithets in the Gamzatov’s book “My Dagestan” are widely used for a brighter, more visible, figurative description of objects, phenomena, events and characters. Colors help to convey the portraits and emotions of the heroes, the state of nature, the characteristics of objects and serve as the author’s assessment of the depicted. The use of color vocabulary enhances the imagery of the language of the work, enriches and decorates its speech and is a characteristic stylistic device that performs aesthetic and semantic functions.

The work of the poet and educator, local historian, and religious figure Garifulla Kiikov occupies a prominent place in the history of Bashkir literature and culture of the late 19th and early 20th centuries. This article briefly describes his creative legacy and defines his role in the cultural development of his native people. It is noted that in his books and articles published in the early 20th century, as well as his surviving manuscripts, he was one of the first to raise the issue of creating the Bashkir literary language, wrote a history of the Bashkirs and the Irakte clan, and called on his contemporaries to progress and education. Along with the works of several other authors, his book “A Collection of Poetry for Children, or Rhymes for Children” is a fertile ground where national children’s literature was born. Research Results. This article presents Garifulla Kiikov’s handwritten works on the history of the Bashkir people, his notes on this topic, and letters stored in the scientific archives of St. Petersburg and Ufa. The educator’s epistolary legacy includes information about his search for Arabic script written monuments. One of his surviving letters testifies to his utmost care for the books and manuscripts of his father, the renowned Bashkir poet Gali Chokryi (1826–1889). Along with the many significant references to written monuments in his work on the history of his native people, all this acan serve as a valuable source for linguists interested in the northwestern dialect of the Bashkir language and the toponymy of Bashkiria.