The work contains analytical information about the processes of aesthetic unification and national identity of the North Caucasian literatures of the early twentieth century. The consideration is based on reflections on the nature of the ideological factors that influenced the division of national literatures into "traditional" and "newly written". The problem of continuity and isolation of the national literatures of the North Caucasus, the issues of ideological and artistic enrichment of Balkar literature with the principles of Soviet literature are analyzed. The methodology of the article is based on the Marxist-Leninist concept of the legacy of the past, which formed new judgments about national literatures. It is about the preservation of archetypes of different levels and comparing the degree of this preservation in the North Caucasian and Russian literatures.

Under conditions of deformation, the attitude of a modern person to spiritual and moral values is of particular relevance to the axiological potential of the philosophical category of beauty and its interpretation in the works of the latest Russian literature. The purpose of this article is to study the author’s interpretation of the aesthetic imperative “beauty” in the story by Yury Buida “Lilaya Fimochka”, which is the quintessential author's understanding of this constant. The tasks were to identify the specifics of the concept of beauty through the analysis of plot and composition, a complex of motifs, a system of images and characters. To achieve the purpose and objectives, methods of cultural-historical and motivational analysis weare involved. It was determined that the plot of the story is an author's myth of the death of divine beauty as the basis of a harmonious universe. Receptions of deconstruction, antithesis, detailing and parody contribute to isolating the following attributes of beauty: blindness, unconsciousness, indifference to man, characteristic of a milestone. Buida’s artistic discovery is the double vision technique (authorial and characters), revealing the ambiguity and diversity of beauty, sometimes perceived as ugliness. It is important that evil and beauty are endowed with an irrational nature. The semantic pairs were revealed: church – market / bazaar, star – man, light – darkness, beauty – a monster, the semantics of which are conceptual in nature. The complex of motives is represented by the motifs of self-abasement, suffering, retribution and resurrection, carnival life, forming the philosophical implication of the work. Ambivalent symbolic images (temple, eyes, angle, stone, cross, ice) bring diversity to the story. The following types of parts were distinguished: olfactory, portrait, habitats, zoomorphic, optical, color, the transformation of some parts into a metaphor is noted. Beauty, which appears as the foundation of world, predetermines the possible spiritual revival of humanity mired in sin.

The article is devoted to the formation and development of artistry of the newly written Nenets literature. The main goal was to determine the origins and reveal the ethnocodes of artistic concepts and conceptosphere. Among the tasks was the manifestation of their role and significance in the creation of the image system. There was also a search for methodological approaches to comprehending the complex and little-studied literary process that takes place in peculiar conditions of transculturation. Interdisciplinary, historical-cultural and comparativist approaches were substantiated and activated, and analytical and synthetic reading of texts was used. The research was conducted on the material of Yuri Vella's texts written both in Nenets and Khanty languages and translated into Russian, and those created by him in Russian. The author's active search for peculiar genres and his aspiration to preserve his ancestral ethnicity in the process of transculturation are noted. The specificity of symbolism of a number of transformed and embodied primordial images (archetypes) is revealed. The difference between cognitive and artistic concepts is outlined. It is shown how artistic concepts and the conceptosphere, including mental signs and phenomena preserved by the historical memory of Nenets, participate in the creation of images and the development of plots, in the embodiment of the chosen idea and the disclosure of the theme.

The article reviews the participation of philology students of Glazov University in innovative activities that have educational and enlightening significance in the socio-cultural and educational space of multicultural Udmurtia. The project of students from the Faculty of Social Communications and Philology, presented at the International Youth Ethnic Forum "Heritage of Ancestors" in 2024, are based on the material of dialectological and folklore expeditions, research in the field of ethnography, literary local history, family studies, methodology, science studies, and regional studies.

This article is devoted to one of the little-known pages of the multifaceted activity of the outstanding statesman, public figure, writer Platon Alekseevich Sleptsov–Oyunsky: the years of his work as the Commissar of Education, Health and Social Security of the Yakut ASSR (06 January 1928–04 March 1929). Numerous articles, essays, memoirs, poems have been written about Platon Oyunsky, as well as many books, collections, albums, etc. have been published. His name is included in encyclopedias and reference books. However, there are still undiscovered pages from his short life, namely, his life activity in 1928–1929. These years became a turning point in his fate, when Platon Oyunsky revised his views on many social processes and determined his future path as a scholar and creative person. Restoration of historical justice and a full picture of the life activity of the statesman, writer and scholar Platon Oyunsky continues until now and becomes a necessary task for researchers.

The article provides an overview of the works of Semyon, Gavril and Nikolai Kurilovs in the context of the Yukaghir literature of Yakutia. The literary heritage of the Kurilovs in their native language is defined as the pinnacle of the development of the ethnic language. Stable means and techniques of artistic imagery are considered, aesthetic principles and patterns of formation of the original artistic world of writers in the aspect of interaction with national spiritual culture are analyzed. The purpose of the study is to identify the most characteristic poetical features of the artistic thinking of the authors, formed in the context of the Yukagir tradition. The name of Gavril Kurilov is associated with the creation of writing and the formation of the literary form of the Yukaghir language. Nikolai Kurilov's great merit is that, continuing the continuity, he confirmed the existence of an artistic tradition in Yukaghir literature, and deepening his innovative search, enriched Yukaghir literature with new forms, genres, directions, themes and images.

The influence of the family on the formation of personality has long been one of the important issues. The family occupies a central place in a person's life. Family is in the focus of almost all folk tales. Russian folk tales serve as a source for studying the image of the family, its importance in people's lives. The purpose is to study the role of family members in Russian folk tales and identify the features of family relations. In the course of the work, the theoretical patterns of fairy tales as a genre of folklore were studied, the role and functions of family members were investigated, and the features of family relations in Russian folk tales were revealed. The object of the study was 30 Russian folk tales. The methods of situational analysis, classification and generalization were used in the work. The authors conclude that each image of a family member is filled with special qualities and functions important for the harmonious existence of the family; fairy tales serve as a mirror that reflects both the positive and negative sides of family life.

The article analyses the compositional structure in the Yhekh algys blessings in the prerevolutionary, Soviet, and modern periods. The traditional ancient festival Yhekh (Yak. ыhыах), dedicated to communication with the Upper deities, has survived in its archaic form to our times and remains the main factor of uniting the Sakha people and expressing them as an ethnos. The festival traditionally represents a complex of rites and rituals, the centrepiece of which is the algys (blessing) ceremony, which, as a separate folklore genre, has its own peculiarities. At the present stage of development of Siberian folkloristics, despite the efforts of researchers from the national republics, the genres of ritual and shamanic poetry, which arouse the interest of specialists of different directions, remain insufficiently studied. The choice of the research topic and statement of the problem was conditioned by this circumstance. The necessity of comparative and comparative consideration of Yhekh's algys on the basis of data predetermines the relevance of the work. Depending on the nature of the study, descriptive, structural-typological, lexico-semantic and linguistic methods of research were used. The study notes that the process of cultural transmission expressed in the intergenerational transmission of practices of ritual ceremonies of algys blessing is successful, which is reflected in the preservation of the main genre features and elements characteristic of traditional Yakut algys.

The article examines the legacy of Dmitry Govorov - Olonkhohut Miterey in the modern socio-cultural space. According to ancient teachings, thought and, especially, word, have great creative and destructive power; therefore, people who possess these skills were considered special spiritual leaders on a par with outstanding shamans and blacksmiths. Thanks to the efforts of the enthusiast A. F. Boyarov, who recorded the full text of the olonkho, we know about its extensive repertoire, including the olonkho "Mulju Bege." It is known that in the 1970s - 1980s, the folk art of the peoples of Russia was in decline. However, in modern realities, there is a revival of national identity in the form of a movement for the revival of traditional ethnic culture, which leads to a more noticeable role of folklore in public life, the restoration of its origins and the preservation of traditions. The purpose of the article is to analyze the role of the olonkhohut (Olonkho-narrator) in the modern cultural environment using the work of Dmitry Govorov - Olonkhohut Miterey as an example. This study uses historical and typological comparison and a system analysis of modern storytelling. Particular attention is paid to the role of the olonkhohut personality in the context of the modern cultural space. The scholarly novelty of the article lies in the fact that it is the first to consider and analyze the personality of the olonkhohut in the context of the modern cultural environment, which has not been thoroughly studied by researchers to date. This work makes a significant contribution to understanding the role of the olonkhohut in modern culture.

The article is devoted to the analysis of the plot-compositional structure of the olonkho storytellers from Khangalassky District of Yakutia. According to the materials of Mukhopleva and Dyakonova, research fellows of the Institute of Historical and Pedagogical Sciences of the Siberian Branch of the Russian Academy of Sciences, starting from the 17th century, Khangalassky District was home to about 60 olonkhohuts. This indicates that the art of storytelling was quite widespread there. The study of the storytelling tradition of oral folklore is a relevant area in modern folklore studies. The aim of the research was to study the plot-compositional structure of the published texts of the Khangalas olonkho. The material for the study was three short texts of the olonkho storytellers K. Sleptsov, M. N. Neustroev, T.P. Kirillin, and three complete olonkhos by M. I. Savvin, A. N. Alekseev, and E. I. Kardashevsky. The theoretical basis of the study in the methodological sense were the works of folklorists Propp, Meletinsky, Ksenofontov, Ergis, Pukhov, Emelyanov, Illarionov, Mukhopleva, Dyakonova, Illarionova, Kuzmina, Orosina, and Pavlova. For the analysis, a comparative-contrastive method was used to identify the structure of olonkho. The results of the study showed that the storytelling tradition of the Khangalas olonkhohuts adheres to the traditional canons. The plot-compositional structure of olonkho is traditional: an introductory part, exposition, development of the action, culmination, and denouement. All olonkho plots have several lines of development. The plots of the Khangalas olonkho belong to the early types according to the Yemelyanov’s classification. The analyzed olonkhos have 2-3 generations of heroes.

This article analyzes the texts of the song tradition of the Tsar’s coachmen as a unique phenomenon of Russian folk culture. The relevance of the study stems from the need to preserve intangible cultural heritage, particularly song traditions that reflect the historical, social, and aesthetic features of 18th–19th century Russian life in the Republic of Sakha. The song texts of this tradition, combining musical and literary elements, played a significant role in the working and emotional lives of the coachmen but remain underexplored. The analysis of the musical components of these songs offers a deeper understanding of their genre and stylistic features, functional significance, and contribution to the development of Russian folk culture. The issue addressed is the insufficient study of the song culture of the coachmen, who, as an essential part of the transportation system and military logistics, created a distinctive folklore filled with symbolism, imagery, and stable genre traits. The study aimed to examine the musical texts of the Tsar’s coachmen's song tradition and identify their genre-stylistic characteristics. The tasks included analyzing the structure and content of the musical texts' genre specifics and identifying their melodic, rhythmic, and intonational characteristics. The methodological foundation of the study comprised the art historical analysis and a structural-semantic approach, which allow the examination of the texts in their lexical-syntactic organization, artistic imagery, and genre distinctiveness. The results revealed that each song closely reflects certain aspects of the coachmen's lives: work songs emphasize the physical and emotional hardships of labor; round dance and game songs highlight the collective nature of leisure; and soldier and love songs convey personal emotions. The prospects of the study lie in further exploration of the musical accompaniment of coachmen’s songs and their role in shaping the identity of professional communities. The findings expand the understanding of Russian folklore and its functions in the sociocultural space.

The authors of the article examine the role of sociocultural commentary in the first two novels of the Land of the Udagans cycle by Russian writer Ariadna Borisova: “People with Solar Reins” and “The Stars Have Cold Fingers.” Ariadna Borisova is a writer, translator, and journalist from Yakutia, known for her works of various genres for both children and adults. The Land of the Udagans cycle is written in the genre of ethnic fantasy and narrates the distant past of the Sakha people. It is rich in material related to mythology, folklore, and religious motifs. The author herself defines her work as a "novel-olonkho." Sociocultural commentary is essential for revealing the cultural context, helping readers understand the unique aspects of the national culture, mentality, and worldview reflected in Borisova's works, which may be unfamiliar or unclear not only to those from other cultural backgrounds but also may be incomprehensible to the modern reader who is not sufficiently familiar with the history of their people. Analyzing the sociocultural aspects of the novels allows for a deeper appreciation of the text's multilayered nature and its cultural and linguistic worldview. Incorporating sociocultural commentary into the texts enables readers to perceive the work not only as a piece of fiction but also as a cultural phenomenon, broadening its interpretation. This commentary also facilitates a more profound understanding of the text, not only for readers from different cultures but also for contemporary audiences. It serves as a tool that not only explains the text but also makes it accessible and relevant to a wider audience, enhancing its educational and cultural value.

Аlexei Kulakovsky devoted his whole life to his people. His artistic works, scholarly works on Yakut linguistics, folklore, ethnography are not studied in full and arouse the interest of specialists. The article studies the use of Russian borrowings in Kulakovsky's works. In his poetry, a special place is occupied by works about Yakut women, which reveal the problem of everyday life, fate and hard life of a Yakut woman of the early twentieth century. At the same time, among the poet's works one can find pieces that reveal the beauty, elegance and morality of a Yakut girl. In this regard, according to our observations, in the dilogy ‘Kuorat kyyha’ (‘A town girl’) and ‘Kuorat kyrgyttara’ (‘Town girls’) [1], Kulakovsky presents the image of Yakut girls, their living conditions, as well as quite prosperous life of local youth of that time. Moreover, this dilogy is an artistic source testifying to the beginning of the period of social development of Yakutia in the 1920s, the special spirit and structure of that time. The changes taking place in the life of Yakut society are also reflected in the language in general. This is confirmed by the abundance of borrowed words from the Russian language, confirming the renewal of society as a whole.