The article studies the literary and critical works by Egor Shestakov – Erchimen (1927–1996), a major and authoritative critic in the Yakut literature of the 1960s – 90s. His opinion was of great importance in the literary process of that period. The article reveals the problems, the genre originality of his works, the principles that the critic adhered to, as well as the methods and techniques of critical analysis of a work of art (the critic's tools). As a result, based on the analysis, the following was revealed: the main problematic issues of literary and critical articles and research works by Erchimen are the issues of evaluating the literary heritage of the classics of Yakut literature; controversial issues of the history of Yakut literature and criticism; issues of the critic's skill and the quality of critical analysis of a work of art. The Erchimen's literary and critical works represent the whole range of major genres of criticism: a review, article (review, problematic and polemical), literary portrait (anniversary article and a literary portrait per se and essay); his critical analysis methods include retelling, quoting, comparison, analogy, and a direct statement.

The relevance of the article is determined by the fact that its topic is in line with the works of Russian researchers of Vladimir Korolenko’s legacy: N. N. Zakirova, S. L. Skopkareva, A. V. Trukhanenko, V. N. Krylov, E. G. Savelyeva, dedicated to the problem of organizing space and time in the writer’s works. The methodological basis for the study was the works of M. M. Bakhtin and Yu. M. Lotman. The purpose of the work was to identify the uniqueness of the chronotope in the story “Makar’s Dream” and the story “Without Language”. It is noted that in the both works the author refers to the chronotope of the road and road meetings. While in “Makar’s Dream” the chronotope of Amga is contrasted with the space and time of the afterlife, in “Without Language” the chronotope of New York is presented in opposition to the chronotope of the heroes’ native Lozishchi. In the both works, one can state the “liminal” state of the hero: Makar’s “fading away,” his “sleep,” and the state of Matvey Lozinsky on the verge of death in a New York park.

In modern conditions, when human society has entered the era of globalization, many processes related to the preservation and development of languages and cultures of peoples are taking on new forms. Globalization has had a negative impact on the social functioning of languages, with native languages being the most affected. The problem of preservation, functionality, development of native languages and national and cultural identity of small peoples has become actualized. The image of the native language is becoming the most important factor in preserving the national identity of young people, since the language not only reflects cultural and national values and traditions, but is also a key element in the transmission of national and cultural information. In this regard, it seems expedient to pay attention to the figurative and aesthetic comprehension of the image of the native language, when it is included in verbal and artistic structures. In the article, based on the material of the poetic works of the Yakut poets A. A. Ivanov – Kunde "Tóróóbút tyl" ("Native language"), I. M. Gogolev – Kyndyl "Tóróóbút tyl" ("Native language"), "Iye tylym" ("My mother's language"), S. P. Danilov "Tóróóbút tyl" ("Native language"), S. P. Danilov "Tóróbút tyl" ("Native language") analyzes the originality of the individual stylistic comprehension of the native language by the authors. The authors emphasize the importance of involving verbal and artistic works to increase the prestige of the native language.

The relevance of the topic is dictated by the fact that the problem of the northern space in the poems by A. A. Bestuzhev, written during the period of exile in Yakutsk, has almost not been considered. The subject of interest of researchers, both Yakut and Russian, has become the prose works and lyric-epic poems of the writer. Meanwhile, it is the small forms of the Decembrist poet’s lyrics that demonstrate the beginning of the formation of the sacred image of Yakutia in Russian literature. The purpose of the article is to consider the poetics of the northern space in the poems by A. A. Bestuzhev-Marlinsky. The northern locus becomes the spatial point at which the lyrical hero opens up the prospect of mythological otherness. A textual analysis for the purpose of studying the poetics of’ lyrics by A. A. Bestuzhev-Marlinsky allows us to write out a system of images in the author’s artistic picture of the world, which are determined both by the worldview and the worldview of the romantic poet. The poet uses a variety of techniques as tools for creating a system of images: from tropes to the author’s words. The specific combination of the categories of time and space, subordinated to the main motives of the author’s poetic works, is also of considerable importance. This work examines not only how the means of artistic expression convey a picture of the poetic world of the lyrical hero, but also form the attribution of northern spaces. Northern spaces, through the prism of romanticism, represent an ideal situation in which the category of home is most often conveyed through the categories of memories or dreams. It is through the contrast of the topoi of the house and the North that the final picture of the surrounding world is built, within which the lyrical hero finds himself. Also in the poet’s artistic world, one can trace the difference between external (real) and internal (perceptual) space. However, in this case, the space of reality often merges with the pictures of introspection, blurring the boundaries between the external and the internal. Associations that endow the ideal inner world of the lyrical hero with real pictures of nature (the space of the North) perform the function of achieving harmony between the internal and external spaces.

The concepts that are understood as structural units of human consciousness that store a set of knowledge, primarily about the phenomena of the surrounding world that have accompanied a person since ancient times and are part of the national culture, are of the greatest interest for modern humanitarian research. That is, it is a multicomponent mental entity, which is the result of reflecting the real world in a person's consciousness in the context of ethno- and socio-cultural specifics. The aim of the work is to study the features of the artistic embodiment of the primary concept of family in the prose of K. G. Karnyshev. The aim of the work is to study the features of the artistic embodiment of the primary concept of family in the prose of K. G. Karnyshev. Achieving this goal involves solving the following tasks: 1) consideration of the concept of "concept" in the humanities; 2) study of the implementation of the concept of family in the Russian literature of the 20^th century; 3) definition of the components of the basic concept of family; 4) study of the conceptualization of family relations in the prose of K. Karnyshev; 5) analysis of the central secondary concept of the house; 6) identification of the features of the embodiment of the secondary concept of the genus. Procedure and methods. The paper uses problem-thematic (analysis of the themes and issues of the writer's works, taking into account the peculiarities of their worldview), historical and literary (the study of the writer's creativity in the context of the historical process), conceptual and cultural methods. Results. The analysis showed that the "Family" in K. G. Karnyshev's prose is the basis of human life, it is in the family that the system of values and life attitudes is determined. Considering interpersonal relationships in the family, the author speaks bitterly about the loss of a kindred spiritual connection between close people. Frames are being erased, stereotypes are being destroyed – the traditional concept of family is being destroyed. But for K. Karnyshev, it is still the family that is a necessary condition for the formation of a person's personality; moral foundations are laid in the family. Research implications. The work of K. Karnyshev provides rich material for studying the history, culture and life of the region. The themes and problems that the author solves in his works remain relevant and interesting, since literature is a reflection of life.

The article deals with the genre features of the documentary novel "By the Roads of Bygone Years" ("Aaspytyt kem aartyktarynan", 2021) written by the Yakut writer V. Е. Vasiliev – Kharyskhal. He is the author of historical dramas, which are staged in the theaters of our republic. The writer has created dramas based on archival documents, which reflect the history of Yakut life in the early twentieth century. His work "By the Roads of Bygone Years" ("Aaspytyt kem aartyktarynan") is a novel by genre. It is also based on archive materials, memoirs and letters, and is truly documentary. At the same time, the work is characterized by a peculiar artistic form, which is expressed in a special lyrical narration of the author himself, as well as in the ways of revealing the image of the protagonist.

The purpose of the research is to study the concept of the documentary novel and to identify its specific features. The article emphasizes that the documentary novel tells about little-known periods and events that are still mysteries. The writer uses personal experiences, including his own impressions and experiences, to create a more emotional connection with the topic and characters. This allows the reader to better understand the author's motivation and special relationship to the story being told.

Thus, the study of the documentary novel and its genre features is of great relevance as it allows us to expand our understanding of art and literature. The documentary novel provides a unique opportunity to combine reality and fiction writing, which allows us to better understand and appreciate history, as well as develop our imagination and emotional perception of texts.

The study of regional traditions of olonkho is considered to be a relevant direction in Yakut folkloristics. According to the materials of S. D. Mukhopleva and N. A. Diakonova, research fellows of the Institute of Humanitarian Research and North Indigenous Peoples Problems, Siberian Branch, Russian Academy of Sciences, about 60 olonkhosuts (olonkho tellers) lived on the territory of Khangalassky district since the 17th century. This indicates that the art of storytelling was quite widespread in Khangalassky district. The study of the storytelling tradition of olonkhosuts of Khangalassky district belongs to the little-studied topics in Yakut folkloristics. Object of the study is the storytelling traditions of Khangalassky district olonkhos. The subject of the study is olonkhosuts of Khangalassky district, forms of performing olonkho, and the areal of existence. The aim of the work is to study the performing tradition of the Khangalassky district olonkho. The following research methods were used in the article: descriptive method - to characterise the forms of everyday life; the cartographic method with the use of geographic information systems - to determine the areal of the olonkho tradition in Khangalassky district. As a result of the research we identified the names of 78 olonkhosuts from different sources: the reference book "Olonkhosuts of Yakutia", the bibliographic guide of Khangalassky district library, the Olonkho website, the Digital Archive of the Olonkho Research Institute of the North-Eastern Federal University, and from the memories of local residents. We divided the storytelling traditions of Khangalass olonkhosuts into 4 local groups: Malzhagar olonkhosuts, Maltan olonkhosuts, olonkhosuts of Erkeni area and olonkhosuts of Samyrtai area.

The relevance of the research is due to the need to study the specifics of the interaction of folklore and literature from the point of view of the continuity of oral literature traditions and their artistic interpretation and transformation in Yakut literature. The problems of functioning and interpretation in the structure of the literary text of the folklore narrative are still poorly studied. Meanwhile, folk legends and legends are one of the important genre- and plot-forming components of Yakut literature. A comparison of plots and motifs of legends in folklore narratives and literary works is considered in the context of the interaction of two poetic systems: oral (recorded in written “book form”) and literary. The novelty of the research lies in the fact that for the first time in Yakut literary studies, the process of forming a plot-motif complex in folk legends about a separate mythological hero in various versions from different sources and its functioning in modern Yakut literature is considered. The purpose of the study is to identify the features of the formation of a plot–motif complex about Taas Ullungakh in folklore studies and the specifics of its artistic interpretation in various genres of Yakut literature of the second half of the twentieth and early twenty-first centuries. (in historical novel, drama poems and poem). Research objectives: 1) comparison and typology of the plot-motif complex in folk legends about Taas Ullungakh in the folklore and ethnographic works of G. V. Ksenofontov, A. E. Kulakovsky, D. I. Dyachkovsky-Sehen Bolo; 2) identification of the features of the functioning and transformation of the plot-motif complex that has developed in mytho-folklore texts, in the drama poems "The Valley of Keryaya" and the poem "Tygyn and Taas Ullungakh" by I. M. Gogolev – Kyndyl, the historical novel "Tygyn Darkhan" by V. S. Yakovlev – Dalan, in the "little" poem "Taas Ullungakh" by N. I. Kharlampieva. The study uses a source analysis of the origin of the main plots and motifs in the legends about Tygyn's son Taas Ullungakh (Muos Uola) and their comparative analysis in literary works of the twentieth century.  The comparison of the plots and motifs of legends in folklore narrative and literary work is considered in the context of the interaction of two poetic systems: oral (recorded in written "book form) and literary. This approach will allow you to detect some common properties of the artistic structure of both systems.

In the context of the introduction of post–non-classical paradigms in the study of oral folk art, it seems timely to turn to one of the brightest examples of folk art of the northern local tradition - the text of olonkho "Duguya Bege", highly appreciated at one time from a scholarly point of view by folklorists S. I. Bolo, V. M. Nikiforov, historian A. P. Okladnikov. The novelty of this study lies in an attempt to identify the ways of further research of the text of this peculiar olonkho, as well as the map of the epic universe attached to it, containing valuable information about historical, ethnographic, toponymic and hydronymic facts. The purpose of this article is to highlight the features of the linguistic fabric, structure, semantics, semiotics of the olonkho "Duguya Bege" and to identify the vector of a comprehensive discussion of problems in its research. The work implements a historical approach, uses methods of review, hermeneutics, generalization, structural and functional analyses. The author dwells on the description of the structural organization, some semantic features, the specifics of the image system, the saturation of the sign system, the originality of the linguistic fabric, the variety of applications of artistic and visual means, genre relationships in the studied olonkho. It is reported that the observation of elements of sarcasm, humor and other forms of comic in the text may indicate the former existence and development of national satire in the Oymyakon tradition. The author comes to the conclusion about the need for a comprehensive study of the text and the epic map of the olonkho world model "Duguya Bege" from the perspective of knowledge and methods of other sciences – history, ethnography, linguistics, geography, semiotics, mythology, which indicates the prospects for further work with this multilevel and multidimensional epic text.