N. Mikhaleva is known among readers primarily as a poetess. In the field of critics view is mainly her poetry as well. Meanwhile, the work of Saya presents a number of prose works. This article discusses the genre specificity of her short prose, which includes psychological and moralistic stories, as well as original short stories-reflections. As for the stories, not only their genre and compositional features are of interest, but also the specific techniques and principles of personification in “The Blue Snowdrop” and “Uigur”. Thus, proceeding from the value criteria in the analysis of N. Mikhaleva's prose works, the author comes to the conclusion that Saya's artistic prose is at least as good as her poetry in terms of its level.

The fate of the outstanding Azerbaijani poet Mirza Shafi Vazeh (1794-1852) was typical for a talented, free-thinking person of that epoch. Mirza Shafi Vazeh got education in a madrasаh in Ganja. There, he spent most part of his life and became famous as a poet and teacher, organizer of the literary Majlis “Divani-Hikmet”. At the same time, Mirza Shafi was also a competent translator (many of his translations from the Russian, Arabian and French languages have been preserved) and the author of the textbooks (he has certain merits in the development of the Azerbaijani language). As ordinary was the life of Mirza Shafi, as unusual became the fate of his verses. The pseudonym Vazeh (in Arabian “Vazeh” means open, clear, revealed) predetermined the creative fate of the “mystified” poet, who won world fame, thanks to the “plagiarism” of the German orientalist Friedrich Bodenshtedt, who came to Tiflis in 1844. Friedrich Bodenshtedt showed great interest in the life of Caucasus and for this purpose took lessons from Mirza Shafi. Having published in Germany Vazeh's verses under the name “The Songs of Mirza Shafi”, the German poet suddenly gained popularity and, not having settled down in front of temptation, represented himself to be the author of these verses.

This article is devoted to the works by the people's writer Natalia Mikhaleva-Saya. The purpose of the article is to study the poetry by Mikhaleva-Saya, in particular, the analysis of the varieties of themes and the features of the lyrical subject. In her poems, Saya touches on a variety of topics: patriotism, love for the motherland, nature, sincere happy love, expectation of love, etc. The poems by Mikhaleva - Saya show real life: happiness from love, separation, attachment to the motherland, beauty of nature, etc. In addition, in the poems of the poetess, we find the concepts of freedom, creativity, and love for the motherland.

This paper discusses the deciphered records from the field materials of the folklore expeditions of the Yakut folklorist Vasily Vasilyevich Illarionov. He was the first in Yakutia to use technical means of recording oral folk art and is the first folklorist who completely recorded the performance of olonkho. Field materials of the folklore expeditions of Professor Illarionov are stored in the archives from 1967 to 1991. He recorded 81 field folklore records. Of these, we will consider five deciphered folklore records. The purpose of our work is to fill the gap in research on the history of the Yakut sound recording. This work is an attempt to highlight the decoding of the audio recording of the Yakut folklore. The history of the study of the phonographic record of the Yakut folklore in the framework of the study of the traditional culture of the Yakuts is little studied and so far it has not become the subject of a special study. And with the advent of sound recording, a new information space arose in the field of Yakut culture, requiring scientific coverage. For modern researchers, phono recording can serve as an important and valuable source for a comparative study of folk art and the folklore heritage of the Sakha people.

This article examines the influence of the literature of the Muslim East on Tatar literature. The inter-literary ties of Muslim Turkic-speaking peoples became especially pronounced with the spread of Islam in Central Asia, Siberia, the Urals, the Volga region, the Caucasus, and the Crimea. As a statement of the question, the opinion is expressed that Islam has brought new themes, genres, images and symbols to Tatar literature and folk art. The author comes to the conclusion that the adoption of a new religion ensured the written fixation of literature and folklore. The article analyzes the poem of the 19^th century "Kyissai Ibrahim Adham" by the Tatar poet Gabdeljabbar Kandaly, which has become a classic example of religious-didactic and Sufi poetry. The poem was created in the traditions of "Pandnam" 'Attara and other Sufi poets, highlights some episodes of the life of a real historical figure – Sufi Sheikh Ibrahim ibn Adham. A comparative analysis of the Tatar poem about Ibrahim Adham and the Turkish folk dastan "Ibrahim Adham" is performed. As a result of the analysis, the author of the article comes to the conclusion that the poem "Kyissai Ibrahim Adham" by G. Kandaly, having preserved the traditional motives and ideas of religious and didactic works of literature of the East, has become an independent, original work in the Tatar language.

The relevance of this study is due to insufficient study of the peculiarities of the structure of Tatar romantic dastans. The object of the research is romanic dastans featuring Tahir and Zukhra, and Leyla and Majnun, recorded or rewritten by informants in Tatar communities. The study also analyses other Turkic-language variants as well as medieval literary poems were attracted as background phenomenon. The purpose of the article is to consider the structural features of Tatar romanic dastans. In order to achieve this goal, the following tasks were set: the paths and stylistic tools in the Tatar dastans "Tahir and Zuhra" and "Leyla and Majnun" were identified, different variants were compared in terms of their contents and forms. In this article comparative and structural-descriptive research methods were used. The Tatar romanic dastans often use metaphors, epithets, epiphors, hyperbolas, and rhetorical questions. Despite the frequent use of expressive means, folklore variants are inferior to literary versions of these dastans. This is due to the fact that the monuments were simplified, passing from generation to generation.

The article is devoted to the study of the verbs of causation of the beginning of existence in Alexei Kulakovsky’s Ottoku oluk algyha ("Blessing of the middle generation"). The composition of the verbs of causation of the beginning of existence in the structure of this poetic text is determined, their meaning used in a certain context is analyzed. The research is based on the principles of the functional-semantic approach, which allows to display the integral organization of universal semantic categories with a certain content and means of expression. The study uses structural analysis, which allows us to present the most detailed characteristics of the relations between the components of linguistic phenomena; contextual description with methods of observation and generalization. The examples are described on the basis of glossing as a method of text representation. The appeal to the text of Kulakovsky, the founder of Yakut litearure, allows us to identify features in the use of linguistic means in the early emerging literary poetry, different from the tradition of oral folk art. The article analyzes for the first time the verbs of causation of the beginning of existence, set forth in this work.