Danil Makeev was the first in Yakut literature to turn to the fate of war prisoners, the most tragic side of the World War II theme. The story “The Traitor” reveals the story of Yakut soldier Tarabukin, who went through a penal company and managed to maintain his honor and dignity. The even more acutely tragic fate of a man who suffered mortal trials and monstrous humiliations of captivity is revealed in the story “The Destiny of Fate.” Compared to the story “The Traitor,” the author deepened in it the psychological side of the state of the individual, who many times found himself on the brink of death. The story has a complex composition and is structured like the memoirs of a World War II veteran who, in his declining years, recalls the episodes of the environment, the joy of liberation and the vicissitudes of post-war life with the stigma of a person who was in German captivity. In another story, “Brothers,” Makeev tells about the military “odyssey” of three siblings who returned safely from the front. As for the writer’s stories, what is striking is the variety of intra-genre types in his short prose, skillful plot construction based on the principle of testing heroes, the use of traditions of foreign and Russian literature in creating characters, and a rich arsenal of visual and expressive means. In general, Makeev’s talentedly written novels and short stories give reason to believe that he can create major epic works on the theme of the Great Patriotic War, which in the light of recent events has gained new relevance

This article is devoted to the work of two luminaries of the French drama of the absurd – Samuel Beckett and Eugene Ionesco. It reveals the theory of the absurd by Samuel Beckett and Eugene Ionesco. The article has a plan of content and a plan of expression. The first one is mainly represented by former Soviet criticism, which, as follows from the materials of the work, proceeded from the primacy of an allegedly cheap and primitive plot. In them, the paradox itself was analyzed as something alien  to great and real art. The second plan is more sober and rational. Throughout the course of the study, it was shown that the theory of the absurd by Samuel Beckett and Eugene Ionesco cannot be indisputably understood as not requiring explanation and well-known reservations. The playwrights themselves did not abandon logic at all, they only sought it throughout their creative activity precisely in anti-logic. Hence the paradox of the French playwrights. The relevance of the chosen topic consists of several problems. Firstly, in the world philological science, it is on the material of the dramaturgy of these two writers that there are still many "white spots" that require further scientific research. Secondly, it attracts modern scientists with its unusual architectonics. The article highlights the main constituent elements of these dramas. That is, it was primarily about mixing the base with the sublime, the comic with the tragic, dividing the dramas of two writers into many diverse episodes. The dynamics of parallel actions in antidramas is noticeable, which unfold as side effects to the main thread of the plot development. Certain textual layers are derived, directly based on the quotations of the cited scientists. A clash of different points of view is given. At the same time, it is obvious that the dramas of the absurdity of these writers were aimed at modernity with their sharp edge. The relevance of the chosen topic consists of several problems. Firstly, in the world philological science, it is on the material of the dramaturgy of these two writers that there are still many "white spots" that require further scientific research. Secondly, it attracts modern scientists with its unusual architectonics. The article highlights the main constituent elements of these dramas. That is, it was primarily about mixing the base with the sublime, the comic with the tragic, dividing the dramas of two writers into many diverse episodes. The dynamics of parallel actions in anti-dramas is noticeable, which unfold as side effects to the main thread of the plot development. Certain textual layers are derived, directly based on the quotations of the cited scientists. A clash of different points of view is given. At the same time, it is obvious that the dramas of the absurdity of these writers were aimed at modernity with their sharp edge.

The article investigates the main methodological approaches of Professor Nikolai Toburokov to the study of ethnic literatures of Siberia. The aim of the article is to evaluate the contribution of Professor, Dr. Sci. in Philology Toburokov in the formation of comparative literary studies in the ethnic literatures of Siberia. The study of the Professor's works led to the conclusion that his studies have formed a typologically verified system of comparative literary studies of the ethnic literatures of Siberia as a whole. His works on poetry, history of literature are considered as the development of a systematic approach in comparative literary studies from folklore-literary, intra-literary (purely national) to inter-literary interaction. In the author's opinion, Toburokov's typological system was formed from the study of the organic combination of the qualitative (ideological-content, genre-stylistic, etc.) and quantitative (phonetic-experimental, statistical) analysis of the poetic text. The "field" material - a meticulous analysis of "sounding verse" in the native languages of Siberian literatures (Yakut, Buryat, Khakass, Tuvan, and Altai literatures) - was of great importance. The Toburokov's analytical system was based on the gradual disclosure of typologically similar bases of the development of ethnic literatures: from the peculiarities of poets' artistic thinking to the instrumentation of verse

The end of the 19th century saw an intense debate in Russian society around what education should be like in the changing socio-political conditions and the growing revolutionary movement. These events forced people to think about whether they should choose the path of radical (revolutionary) transformations or remain on the path of evolution, relying on traditional values that were preserved in the family. Nikolai Garin-Mikhailovsky touched upon this sensitive topic, raising an important question about the future of the society's development strategy. Based on his own experience, Garin-Mikhailovsky puts forward the traditional Russian model of family education as an ideal, emphasizing the importance of the role of a woman in the formation of spiritual and moral values in a child. Most studies emphasize the sharp opposition and categorical condemnation of Garin-Mikhailovsky’s system of education in the family and at school, based on the brutal suppression of a person’s personality and forming spiritual monsters for society. Using the example of the main character of the tetralogy, Artemy Kartashev, the author shows how a personality is formed under the influence of various trials, how character, inner world, and relationships with family and friends change. The purpose of our research is to analyze the image of the family recreated by Garin-Mikhailovsky in the autobiographical saga “Tyoma’s Childhood”. The material for the research was the first two stories of the cycle – “Tyoma’s Childhood” and “Gymnasium Students”, since the theme of family is the leading one here, and weakens in subsequent books. The theoretical basis of the work was the works of V. M. Zhirmunsky, B. M. Gasparov, and A. B. Esin

The family theme is one of the leading themes in world and Russian literature, revealing the relationship between "fathers" and "children". In Russian literature, the family acts as the moral foundation of human existence. The most famous Russian writers – Alexander Pushkin, Mikhail Lermontov, Leo Tolstoy, Dmitry Fonvizin, etc., emphasized the importance of the family, because it is the family that asserts moral principles, instills general cultural values that are passed down from generation to generation, and also has a direct impact on character, beliefs, life and the fate of the country. Currently, the concept of concept is actively used in various humanities. Linguists (Arutyunova, Stepanov, Boldyrev, etc.) and literary critics (Askold, Lotman, Zusman, Likhachev, etc.) have been engaged in the study of the concept. Concepts in literature (artistic concepts) reflect not only the peculiarities of mentality of a nation or ethnic group, they combine the peculiarities of the writer's worldview, as well as the individual associations of each reader. The purpose of this work is to study the concept of family as a basic concept of Russian literature in the 20th century. Research objectives: 1) consideration of the concept of "concept" in the humanities; 2) the study of the implementation of the concept of family in Russian literature in the 20th century; 2) the definition of the components of the basic concept of family. Procedure and methods. The paper uses problem-thematic, historical-literary, and conceptual-cultural methods. The analysis showed that the family is the basis of human life, it is in the family that the system of values and life attitudes is determined. Considering the relationship in the family, many authors focus our attention on the problem of the loss of kindred spiritual ties between relatives and close people. Gradually, boundaries are being erased, stereotypes are being destroyed – the destruction of the traditional concept of the family. However, writers still single out the family as a necessary condition for the development of a person's personality, since it is in the family that the moral foundations are laid. The work of writers in the 20th century provides rich material for studying the history, culture and way of life of the Russian people. The themes and problems that the authors solve in their works remain relevant and interesting, since literature is a reflection of life.

The article "Complementarity and author's position in Khlebnikov's lyrical texts", based on a comprehensive study of Velimir Khlebnikov's biography and creativity, presents the richness and scope of the topics in the poet's lyrical works. The author of the article appeals to the principles of the connection of "one's own" and "someone else's", developed by both the "new" Khlebnikov and the "old" poetic tradition. The Old Slavonic archaic world permeating Khlebnikov's artistic everyday life, a mysterious system of interactions, mutual influences based on the evolved citation technique, and the organization of the speech flow, lexical and syntactic structure of the text are analyzed

The purpose of the study is to determine the specifics of the formation and construction of hybrid structures as original genre forms of Yakut poetry of the second half of the twentieth century. The scientific novelty consists in an attempt to comprehensively study the specifics of genre synthesis in Yakut poetry from the point of view of new methodological approaches to the systematic and typological study of the problem of stable contextual structures. As a result, it is proved that the poetic texts of Ivan Gogolev – "Writing on the tusk of a mammoth", "Song of Lena" are unique examples of synthesized, hybrid genre forms of a cycle-poem and a mounting polycyclic structure. The contamination of the genre possibilities of the poetic cycle and the poem within the framework of an integral artistic structure makes it possible to characterize texts from the perspective of a qualitatively new meta-genre status for Yakut literature

The article is devoted to the study of verbs of being in the Yakut language. The relevance of this article is justified by modern approaches to the study of the Yakut language as a system consisting of multi-level means of expression, in light of studying the first literary texts in the context of genre transformations. The study was carried out based on the texts of Alexei Kulakovsky, the first Yakut poet, founder of Yakut fiction, linguist, written in the genre of algys (blessing). The article presents the results of examining the verbs of being in the works of Kulakovsky in the genre of algys (blessing) as a set of interacting means according to the principle of functional-semantic grammar “center – periphery”. The hypothesis of the study is the idea of the presence of nuclear and peripheral means of expressing the category of beingness in the poetic works of Kulakovsky in the genre of algys (blessing). The study used a continuous sampling method when forming material from text and lexicographic sources, and a descriptive method with elements of statistical analysis. The article is the first to analyze verbs as nuclear and peripheral means of expressing the category of beingness in the poetic works of Kulakovsky in the genre of algys (blessing). It was established that basic verbs, combining a group of verbs with the semantics of causation of the beginning of existence, can be classified as nuclear means of expressing the category of beingness in the Yakut language. Other verbs, having in their semantic structure a meaning that goes beyond the designation of causation of the beginning of existence, in the context of the works considered, convey the situation of the onset of the beginning of an event or phenomenon. Based on the material of the reviewed works, such verbs represent peripheral means of expressing the category of beingness in the Yakut language

Within the realm of Russian fiction translation, contrasting approaches of literal translation and literary license have surfaced. This article delves into the characteristics of literary license within fiction translation, elucidating its criteria through an examination of "The Last Tryst" story by N. Gabyshev and its rendition into Russian as illustrative instances. The author of the article asserts that recognizing the asymmetry inherent in literary license is crucial for achieving adequacy in conveying the author's ideas and fictional universe. The Russian translation displays disparities, inaccuracies, and falls short of fully encapsulating the author's style, resulting in a diminished emotional impact and some discordance. Nevertheless, it is essential to acknowledge that literary license translation is inherently interpretative—a creative endeavor characterized by asymmetry and license. The quality and adequacy of a translation are contingent upon the translator's depth of exploration into the author's creative universe, comprehension of their stylistic nuances, and awareness of the author's underlying intentions.

This article is devoted to the study of Vasily Troshchansky's works on Sakha beliefs in the context of researching the materials of the Sibiryakov (Yakut region) expedition. The relevance of the research lies in the study of Troschansky's scholarly works "The Evolution of the Black Faith (Shamanism) of the Yakuts" (1902), "The Experience of a Systematic Programme for the Study of Pre-Christian Beliefs of the Yakuts" (1897) in the textological aspect and directions of conceptual provisions concerning the beliefs of the Sakha people. The aim of the study is to reveal the textological parameters of Troschansky's works as fundamental works on Yakut beliefs, where the author's angles of studying Yakut life acquire special significance. The theoretical directions of textology as a branch of philology are the methodological basis of the research. The work chooses cultural, hermeneutic methods in comparative-typological analysis of texts, sources, documents. The study emphasises the scientific context of the research undertaken by Troschansky, which is underlined by the words of the enlightener, one of the founders of Yakut literature Alexei Kulakovsky. The study of Yakut beliefs in comparative contexts with the culture and beliefs of other Turkic and Mongolian peoples, as well as the broad context of lexical and semantic studies of religious terminology of the Yakut language adds to the fundamental nature of the research