The  article  analyses  the  artistic  specificity  in  the  novel  "The  Universal  Storm" by  Elena  Sleptsova-Kuorsunnakh,  dedicated  to  the  tragic  fate  of  the  Sakha  intelligentsia.  By  its genre nature, this is a synthetic work that combines the features of an epic novel with a document-based family  chronicle.  Although  the  narrative  in  the  novel  is  built  around  the  Orosin  clan,  its  distinctive feature is the depiction of a complex polyphony of individual destinies and characters that do not merge into a single mass, but give rise to real diversity. The article features the images of such historical figures as Vasily Nikiforov, Anepodist Sofronov, Platon Oyunsky, and Vera Davydova. The depiction of the real vicissitudes  of  their  private  lives  not  only  confirms  the  novelistic  character  of  the  Kuorsunnakh's  work, but  also  testifies  to  the  presence  of  the  features  of  psychological  "genre  generalization".  In  this  regard, as  shown  in  the  article,  the  use  of  literary  allusions  and  reminiscences  by  the  author  among  the  ways of mastering the artistic material seems to be successful.

Vasily  Manchary  was  a  Sakha  legendary  figure,  who  fought  against  the  local  rich  and was known as a “noble robber”, narrator, and a performer of folk songs.  The article deals with the study of  his  influence  upon  the  personality  of  Nikita  Leglyarin,  the  main  character  in  the  novel  “Springtime” (“Vesennyaya Pora”) by Nikolai Mordinov. The image of Vasily Manchary, considered by people as their hero,  becomes  the  ideal  for  Nikita  Leglyarin  after  the  folk  legend.  Thanks  to  the  author’s  mastery,  the whole unity of the materials from fiction and reality has been reached and revealed. The motifs of the main character’s actions are convincingly shown in combination with the Manchary’s image.

The  article  attempts  to  study  the  images  of  inverted  space  in  the  prose  of  Platon  Oyunsky. Special  attention  is  paid  to  the  initial  images  of  the  artistic  chronotope,  forming  a  scheme  of  inversion: this  is  the  underwater  and  lower  worlds,  the  urban  space  in  the  writer's  stories.  The  author  of  the article  also  highlights  the  image  of  the  border,  which  forms  a  specific  character  of  the  Yakut  world, also  asserting  the  exceptional  image  of  the  initiating  hero.  The  scholarly  paradigm  of  this  study  also includes  the  issue  of  the  body  (clothing)  as  the  main  component  of  the  image  of  the  “I”  of  an  urban person, defining the boundaries of his/her social sphere.

The article considers the ways of expressing comparative relations in the Yakut and Altai heroic epics. The related Yakut and Altaic languages are currently being actively studied in comparative terms in order  to  identify  specific  differences.  The  comparative  construction  was  previously  studied  in  the  Yakut language by Yu. I. Vasilyev, theoretical coverage was given by E. I. Ubryatova; in the Altai language the comparative construction was specially studied by L. N. Tybykova. The material of the study was the Yakut heroic epic "Djuluruyar Nyurgun Bootur" ("Nurgun Botur the Swift") and the Altai epic "Maadai Kara".

Proverbs  and  sayings  are  those  genres  of  oral  folk  art  that  are  always  in  demand  and popular in fiction. The relevance of the article consists in an attempt to reveal the peculiar reminiscences of  Bashkir  folk  proverbs  and  sayings  in  the  poem  "Kutadgu  bilik"  ("Blessed  Knowledge")  by Yusuf  Balasagunsky,  where  they  serve  the  ideological,  aesthetic,  artistic  enrichment  of  the  plot, strengthening  the  imagery  of  the  language  and  style  of  narration.  The  purpose  of  the  article  is  to identify  and  consider  Bashkir  folk  proverbs  and  sayings  –  makel  and  eytem,  the  reminiscence  of  which can  be  traced  in  the  mentioned  work  of  the  medieval  author.  Proverbs  and  sayings  enhance  the imagery of the poet's language, its poetic coloring and sound, demonstrate the author's skill in eloquence and  wordplay.  Such  traditional  methods  of  representation  are  a  characteristic  feature  of  eastern  poetry, samples of which have reached the Ural-Volga region, enriching the local Turkic literature. In this sense, the  poetic  language  of  Yusef  Balasagunsky  was  also  close  to  the  Bashkirs  with  his  reminiscence of traditional proverbs and sayings.

The article concludes that once expressed wise thoughts, based on life experience, natural phenomena and  the  surrounding  world,  are  repeated,  passed  from  mouth  to  mouth,  begin  to  be  represented  as generalizing  short  phrases.  In  Bashkir  folk  art,  the  traditional  poetic  genre  of  tulgau  consisted  of proverbs  and  sayings,  which  could  later  spread  as  independent  aphoristic  genres.  At  the  same  time, the  meaning  of  what  has  been  said  is  steadily  preserved.  In  aphoristic,  figurative  statements  Yusef Balasagunsky  reveals  common  and  similar  to  Bashkir  folklore  proverbs  and  sayings,  reminiscences on them. In the future (perhaps in the form of an academic grant) it would be interesting to identify the reminiscences  of  proverbs  and  sayings  of  other  Turkic  peoples,  to  whom  the  poem  by  Balasagunsky is relatable and is part of their cultural heritage.

The  story  by  Evenki  writer  Alitet  Nemtushkin  "The  Road  to  the  Lower  World",  which touches  on  urgent  ethnic-social  and  cultural-psychological  issues,  has  been  undeservedly  deprived of  the  attention  of  researchers,  although  it  has  the  prospect  of  revealing  a  number  of  significant  artistic techniques. The purpose of this article is to consider the semiotics of reflection in the story as a universal sign  system  containing  a  variety  of  semantic  units.  As  a  result  of  the  research,  such  meanings  of  the semiotics  of  reflection  as  the  epistemological  function,  the  motif  of  afterlife,  the  motif  of  duality, the artistic reflection of reality and the manifestation of the author's image were revealed.

In  modern  literary  studies,  the  study  of  the  poetics  of  a  work  of  art  in  terms  of identifying  its  aesthetic,  genre,  plot  and  compositional  features  remains  one  of  the  relevant  issues. The  article  presents  a  structural  analysis  of  the  text  of  the  literary  olonkho  "Erchimen  Bergen"  by Sergei Vasilyev-Borogonsky  in  the  context  of  the  poetics  of  the  Sakha  heroic  epic.  The  study  of  the text is aimed at identifying the artistic and genre features of the literary olonkho dedicated to children's reading.  In  the  course  of  the  analysis  of  the  work,  the  originality  of  the  poetic  language  is  revealed, namely, the issues of the author's use of visual and expressive means are considered. As a result, certain aspects of the artistic skill of the poet Sergei Vasilyev-Borogonsky are revealed.