In his works, Dmitry Naumov created a special social and spiritual “microcosm” in the image of the Yakut village Charannaakh, since, in his opinion, the national identity of the Sakha people is formed precisely in rural areas. The writer's stories demonstrate a number of intra-genre varieties, starting with the main types of short prose – the actual story, short story, essay – and ending with synthetic and hybrid forms of short epic genres. Naumov's short stories feature satirical stories directed against bureaucrats, careerists, and lovers of the “green serpent”. Many of them contain everyday comedy, and in a number of the writer’s stories one can feel the features of the so-called “mischievous” tradition known in world literature, which often borders on “black” humor. Naumov’s humor is of a soft, “hinting” nature, and its meaning is hidden in allegories and subtext. A whole series of stories is dedicated to animals: the author’s bestiary includes horses, cows, dogs, cats, even piglets. The writer demonstrates extraordinary skill in creating crowd scenes and identifying the “collective consciousness.” At the same time, his artistic anthropology contains many vivid individualized images. In many of Naumov’s stories one can feel his talent as a playwright. If the writer’s short stories demonstrate different types of short prose, then the genre designations of his dramatic works are limited to only two definitions – “play” in the sense of “drama” and “comedy”. The only dramatic work that is not accompanied by an author's genre definition is “Autumn.” Judging by the brief initial remark, adherence to the principle of “three unities,” the absence of external events, and the minimum of characters, this is a psychological monodrama. In his comedies, as in his stories, Naumov used a whole system of poetic means and techniques, starting with such as literary allusions, poetics of names, animalistic imagery, and ending with the verbal self-disclosure of the characters. To enhance the ironic context, they mention the characters of S.S. Yakovlev-Erilik Eristin, poor Khachygyr, D.K. Sivtsev-Suorun Omollooa autocrat Makar, the “great strategist” Ostap Bender from the works of I. Ilf and E. Petrov, and adapt Ellyai’s poems. Finally, Naumov himself is a brilliant expert on the native language, rightfully throws a stone at supporters of excessive “Yakutization” of the language of the Sakha people.

We have considered some of the most important origins of the image of Don Quixote in Russian literature. Cervantes' novel came to Russian soil in the second half of the 18th century thanks to the translation by Vasily Zhukovsky and the works of Mikhail Lomonosov, Gavril Derzhavin, Ivan Krylov, Dmitry Fonvizin, Alexander Sumarokov, Nikolai Karamzin, Alexander Radishchev and some others. From the works of Alexander Pushkin, Nikolai Gogol and Fyodor Dostoevsky, the motif of quixotism in Russian literature acquires an innovative problematic and plot twist. For example, the article examines the image of the Russian rebel-impostor from Pushkin's novel "The Captain's Daughter" as a variation of Don Quixote's thinking, a comparative analysis of the two characters is carried out. The central link of Pushkin's novel "The Captain's Daughter" is Pugachev's activity, which has both a real-historical and adventurous aspects. This is how the myth of the Russian impostor hero arose, the reflection of which is observed in his distant tribesman – Cervantes’s Don Quixote. In our opinion, some quixotic situations were reinterpreted by Gogol in his poem "Dead Souls" from a completely different angle. Just as Cervantes gave a satire on chivalric novels an exploratory character for the first time in Spanish Renaissance literature, Gogol also recreated a wide panorama of Russian life from an analytical point of view. Gogol's Chichikov resembles the predilections of Don Quixote's squire, Sancho Panza. Dostoevsky created the image of a "positively beautiful man" in the person of Prince Myshkin in "The Idiot". The actions of the two characters, Don Quixote and Lev Myshkin, are inseparable from ethical views. They are trying to transform the world based on the assertion of moral principles.

The title is the most important element of every book, it attracts the reader's attention and creates a first impression. The reader first pays attention to the title, so the title should be catchy, clearly convey the idea and content of the book. The purpose of the study is to identify and compare the characteristic features of book naming (titles) in classical and modern Russian literature. In the course of the work, the patterns of book naming, the opinions of famous scholars, and the classification of the titles of books of Russian classical literature were studied. The research method for classification was 84 titles of books from the classics. Further, to identify distinctive features, a classification of the titles of books of modern Russian literature was given. To confirm the idea 71 modern popular books were selected. The study uses the method of the situational analysis and the method of classification and generalization. The author comes to the main conclusion that classic writers approach book naming with special care, and modern authors use various experiments with book title techniques.

The article reviews the prose by Valentin Rasputin, in which the writer expressed his aesthetic ideas about the nature of creativity. The short story “Down and upstream. Essay on a trip” (1972), and the short novels such as “"What to tell the crow” (1981), “Natasha” (1982), “Vision” (1997), “In bad weather” (2003) show the image of the artist in a situation of personal and creative self-reflection. In the image of the autobiographical hero-writer, Rasputin embodies the drama of the artist, overcoming the inconsistency of the rational and irrational sides of creativity. It is concluded that the laws of art and the mystery of creativity in the writer's prose are connected with unraveling the mystery of life and death, with comprehending the mystery of being. It is concluded that the plot of the artist’s self-reflection in the analyzed works acts as a kind of aesthetic manifesto of their author.

The subject of the research is the travelogue genre in Karakalpak literature. The article analyzes the works of the travelogue genre of certain Karakalpak writers, who were abroad in different years. The material used is the poetic collections by a national poet of Karakalpakstan, theHero of Uzbekistan Ibrayim Yusupov “The nights of far Malaysia” and “The Caucasus”, as well as the travel notes of the Karakalpak writer and scholar Kamal Mambetov “The travel”, which includes several sections, such as “A journey to India”, “Hello, Sri Lanka”, “The coasts of the Black Sea of Caucasus”, “On the native Nogay land” and “Turkestan, the homeland of ancestors”. The research also considers the travel diaries of Karakalpak writer Gulaysha Esemuratova “American impressions”; Zubayda Ishmanova’s “Travelling around Europe”; the travel notes of Karakalpak scholar Tajen Izimbetov ”Travelling to five countries by ocean” and Karakalpak poet Maten Seytniyazov’s “Travelling to seven countries”. In particular, it is noted that the description of nature and place plays a significant role in literary travelogues along with the way motif. In this work, the author emphasizes the writer’s position and subjectivity in travelogues on conveying unknown information to readers. At the same time, in literary travelogues, the way motif takes a central place as a way that people cognize themselves, understand better their country, people and spiritual roots. The relevance and novelty of the research stem from insufficient studies of the travelogue genre in Karakalpak literature and the author’s attempt to study the issue. The author considers the motif of wandering of the hero in comparison with the motif of return.

The author of the article believes that the main character in Mikhail Lermontov's poem “Demon” strives to become a part of earthly life, but he understands the objective impossibility of realizing this desire. The contradiction generated by this realization turns into tragic despair, which the founder of existentialism, Soren Kierkegaard, defined as “a disease to death”. As if extrapolating the thought of the founder of existentialism, Lermontov gives the immanence of despair to the main character of his famous poem. The demon wants to reunite with both earth and heaven, hoping to be reborn through love. However, the determinism of his demonic essence prevents the main character of the poem from realizing this aspiration. The rebellious spirit of the Demon, which cannot belong to any of the worlds, reflects the Russian intelligentsia of that period in general and Lermontov himself in particular. However, in this identification, the Demon's rebellion is much closer to the poet's own rebellion, given Lermontov's criticism of his contemporaries, whom the Russian classic describes as prisoners desperate in the face of power in his famous poem “Thought”. The author of the article argues that in identifying the Demon with Lermontov, the rejection of God and the Divine world order comes to the fore. That is why Lermontov's characters are sometimes considered as harbingers of Nietzscheanism. The Demon, paradoxically, begins his path of striving for good from evil, killing Tamara's fiancé. Thus, it is in the poem “Demon” that the existential and psychological foundations of the criminal behavior of artistic characters in borderline situations are laid. The author of the article comes to the conclusion that it is impossible for the Demon to make an existential choice, he is doomed to forever arrive in the borderline situation described in Karl Jaspers' existential theories, without the possibility of its resolution, which results in an irresistible despair, from which even the path of faith proposed by Kierkegaard cannot be saved.

The article examines issues of gender creativity in national literatures. The relevance of the study lies in the insufficient knowledge of this problem in relation to Bashkir literature. The disclosure of this issue will allow us to study the works of female authors from a new perspective, take a closer look at the creative laboratories of female writers, the approaches and artistic techniques that they use, etc. The purpose of the article is to pose the problem of gender creativity in modern Bashkir literature, its state today and prospects for study. Despite the fact that this problem has been sufficiently studied in Russian science, in Bashkir literary criticism it has not yet been given an appropriate assessment and there is no monographic study, while issues of gender prose or poetry require it. The objectives were to consider the artistic and aesthetic uniqueness of the women's novel by T. Garipova and G. Yakupova. The analysis of the problem statement revealed that women's novel requires different approaches to study. Applying masculine methods of research to it does not allow us to express all of its artistic, ideological and aesthetic features and originalities. Because the basis of the events depicted in a woman’s work is a purely female attitude to life, female logic and deep psychologism in its revelation and development in the work. Without comprehending all these features, it is impossible to understand the nature of the women's novel, its feminist principles, which are often present in such works, which in many ways differs from masculinity. Without claiming to be final, the article makes an attempt to reveal this problem using the example of the creativity of Bashkir women writers.

The proposed article is devoted to identifying the main qualities of the regional style of Tatar poetry of Bashkortostan, through studying the features of the individual style of modern Tatar poets of the republic. The work provides a historical and literary analysis of the development of Tatar poetry in Bashkortostan in the twentieth century; the reasons for the emergence of such a literary phenomenon as “bilingual Tatar literature” are revealed, due, first of all, to changes in the socio-political and cultural life of the republic, the displacement of the Tatar language from the literary press and book publishing in the 1930s-1980s; the influence of these events on the individual style of poets is studied. Based on a

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qualitative scientific and theoretical basis, the author reveals the meaning and content of such literary terms as “style”, “individual style”, “regional style”; reveals the peculiarities of aesthetic perception and personification of the world in the works of the Tatar poets of Bashkortostan; emphasizes the importance of the artistic picture of the world as the main component of their individual style. Focusing on the diversity of opinions on the problem of the correlation of individual and regional styles in literary criticism, the author reviews scientific and literary discussions on the problems of form, content, creative method and the main motives of regional Tatar poetry. He comes to the conclusion that the Tatar poetry of Bashkortostan is inextricably linked with the traditions of the thousand-year-old Tatar literature and is currently its successor. Thus, the author enters into a polemic with scholars who consider the Tatar poetry of Bashkortostan as an independent literary phenomenon.

The novelty of the research lies in the literary analysis of the performances of the Sakha theater, the definition of epic content in modern stage works. For the first time, the material of the creative rethinking of Western European, Russian and Yakut drama on the ways of forming an aesthetic manifesto of the national theater is summarized. The purpose of the study is to identify the epic code as a key that reveals the role and mission of the Sakha theater in the spiritual culture of the people. The objectives of the research include: 1) to reveal the functionality of the local content of Western European drama by W. Shakespeare, E. T. A. Hoffmann and B. Brecht, whose plays made it possible to creatively decipher the code of the epic heritage of the Sakha people; 2) consider the interaction of theater and prose in the experience of director's staging. The research used methods of historical, literary, comparative and contextual analysis. The study revealed the process of theater's movement towards a synthesis of classical and epic theatrical art. The significance of working with the prose works of P. Oyunsky, S. Kurilov, Ch. Aitmatov as a conceptual part of the manifesto of the Yakut theater is assessed.