Typological study of literary works at the present stage seems to be one of the most productive. In 19th-century Russian literature, alongside the well-known images of the “little man,” the “superfluous man,” the “hero-ideologist,” and others, the image of the fallen woman occupies a prominent place, which determines the relevance of the study. The purpose of this article is to study the transformation of the image of a fallen woman in 19th-century works of different genres depending on the literary era and the ideological views of the author. The objectives are to identify the artistic specificity of the image of a fallen woman in the works of leading classical writers and to examine their functional load. The object of the study was N. V. Gogol's story "Nevsky Prospect", poems by N. A. Nekrasov "When from the darkness of delusion...", "When I drive at night along a dark street...", the novels "What is to be done?" by N. G. Chernyshevsky, "Crime and Punishment" by F. M. Dostoevsky, "Resurrection" by L. N. Tolstoy, stories by V. M. Garshin "Nadezhda Nikolaevna", A. P. Chekhov "Attack". To achieve the goals and objectives, comparative-historical and typological research methods are used. It is determined that in N. V. Gogol's "Nevsky Prospect" the problem of the fallen woman is related to the writer's pressing question of the frequent incompatibility of the ethical and aesthetic in the human world; in addition, the contrast between the ideal and reality is shown. In the works of democratic writers, the image of a fallen woman is associated with social issues, and she herself appears as a victim of an unjust social structure. In F. M. Dostoevsky and L. N. Tolstoy this line continues, acquiring a Christian-humanistic character. In the stories of V. M. Garshin, the theme of prostitution reaches its greatest degree of generalization and is conceived as a global evil, while A. P. Chekhov, unlike his predecessors, deprives the image of the fallen woman of its sacrificial aura, diminishing it.

The article presents a comparative analysis of the archetypal images of the Animus and the Shadow in the novel “Finist the Bright Falcon” by Andrei Rubanov and in “The Poppy War” trilogy by Rebecca F. Kuang within the framework of Jung’s analytical psychology. The novelty of the study lies in addressing the underexplored comparative aspect of the Jungian interpretation of archetypes in contemporary Russian and Anglo-Chinese literature. The aim of the research is to identify the specific ways in which the archetypes of the Animus and the Shadow function in the selected works and to reveal cultural differences in the models of interaction between the feminine consciousness and the masculine archetypal principle. The theoretical and methodological foundation includes the concepts of Carl Gustav Jung and Marie-Louise von Franz, complemented by structural-semiotic and cultural approaches. The material of the study comprises the Rubanov’s novel, which reinterprets archetypes of the Russian fairy-tale tradition, and the English-language trilogy by Rebecca F. Kuang, an American writer of Chinese origin, whose archetypal system emerges at the intersection of Western and Eastern cultural codes. The analysis demonstrates that in the Rubanov’s text the archetypal dynamics lead to inner harmony and integration of the Shadow, while in the Kuang’s works they result in the disintegration of personality and spiritual catastrophe. The study reveals that universal Jungian structures are refracted through cultural contexts: in the Russian tradition they represent a path of overcoming and renewal, whereas in the Eastern one they express historical trauma and loss of wholeness. The practical significance of the study lies in the possibility of applying its results in the study of archetypal models in modern literature and in the development of the methodology of Jungian literary analysis.

The relevance of the research is due to the growing interest in the artistic conceptual sphere of regional literatures of Russia as a reflection of ethnic mentality and cultural codes. The work of the Buryat writer Konstantin Karnyshev, who developed the traditions of "rustic prose", remains insufficiently studied in this aspect. The problem lies in the need to identify the key value dominants that structure his artistic world. The purpose of the article is to analyze the specifics of the implementation of the concepts "native home" and "family" as central value dominants in Karnyshev's prose. To achieve this goal, the following tasks were solved: to determine the place of these concepts in the system of the basic concept "family", to reveal their spatial ("house") and temporal ("genus") semantics, as well as to trace their evolution in the works of different years. The research is based on the methods of cultural-conceptual, problem-thematic and historical-literary analysis. The material consisted of the novels "Snowdrifts", "On the Cormorant", "Kedrol" and the cycle of short stories "Father's Settlement". As a result, it was established that the concept of "native home" is not limited to the meaning of a physical dwelling, expanding to a symbol of protection and spiritual connection with a small homeland and nature, and the concept of "family" represents the temporal axis of family relations, actualizing the problem of historical memory and the continuity of generations. It is shown that in the writer's late work, both concepts mark the loss of traditional spiritual ties, reflecting the tragic tendencies common to Russian "rustic prose" of the 20th century. Spatial ("house") and temporal ("genus") semantic lines in their unity and contradiction reveal the evolution and originality of Karnyshev's artistic understanding of the family. It is concluded that the concepts of "native home" and "family" form the spatial and temporal framework of the writer's value system, and their transformation from early to late works demonstrates the key conflict between traditional spiritual values and the destructive trends of modernity. The prospects of the research are seen in the further study of the entire conceptual sphere of Karnyshev in comparison with other representatives of "rustic prose".

The article is devoted to the analysis of the initial stage of academic fixation of the Yakut epic art of olonkho in the period from the second half of the 19th century to the beginning of the 20th century. The study of their primary sources, methods and principles of work is not only of historical but also methodological importance, revealing the process of formation of a scholarly approach to the documentation of the oral tradition. The first steps in this direction were taken in the middle of the 19th century, when representatives of academic science and political exiles who found themselves in Yakutia began the process of translating the oral tradition into written format. This process was accompanied by numerous difficulties, and its effectiveness depended on the principles and methods of recording applied by the collectors. The accuracy and completeness of the fixation of the performed text determined the future scientific value of the Olonkho epic. The purpose of the research was to identify and characterize the methods and principles that were guided by the first folklore collectors in recording and publishing olonkho texts, as well as to evaluate their contribution to the preservation and study of this unique cultural heritage. The objectives of the work include: to determine the role of pioneers in this field (A. F. Middendorf, I. A. Khudyakov), to study the evolution of approaches to transcription and translation of epic texts by E. K. Pekarsky, S. V. Yastremsky and V. N. Vasiliev, as well as the analysis of the participation of literate representatives of the Yakut people (K. G. Orosin, A. P. Afanasiev) in the process of recording the oral tradition. Special attention is paid to the methodological principles that the researchers tried to observe: literal recording from the words of the olonkhohut narrator, preservation of dialectal and linguistic features, refusal of arbitrary literary corrections. The practical application of the research is that its results are of fundamental importance for modern folklore studies, textology. The analysis of early recordings allows to reconstruct the authentic features of the performance tradition of nineteenth-century olonkhohuts, to understand the evolution of the epic canon and serves as a reliable source base for further research.

This article provides a comprehensive analysis of the ancient custom of bride kidnapping (abduction) – Kyz Urlau (ҡыҙ урлау) – among the Gaina Bashkirs living in the Bardym District of Perm Krai. Without delving into a detailed and extensive analysis of the history and ethnographic peculiarities of this custom among the Bashkirs in general, the author focuses on a few materials recorded during comprehensive expeditions carried out in this region (2019) and, for comparison, in the Orenburg Region (2024). The aim of this article is to demonstrate the persistence of the ancient custom of bride kidnapping (abduction) kyz urlau among the Gaina Bashkirs until the mid-20th century. This idea is supported by examples from the wedding traditions of the Bashkirs of the Orenburg Region. Research methods include analytical, descriptive, and comparative methods. As a result, the author established that the Gaina people abducted brides both with the girl's consent and by force, albeit without dramatic consequences, while such cases did occur among the Orenburg Bashkirs. Consequently, among the Gaina Bashkirs, as well as the Orenburg Bashkirs, the ancient traditional abduction of a girl kyz urlau remained common even in the mid-20th century and was well preserved in the people's memory and traditional culture, as well as materials from various expeditions to the Saratov and Kurgan regions with compact settlements of Bashkirs, which were included in the Unified Register of Intangible Ethnocultural Heritage of the Peoples of the Republic of Bashkortostan.

The article examines the gastronomic code as a system-forming element of the poetic worldview in the works of A. E. Kulakovsky – Еksеkyleekh Eleksei, the founder of Yakut written literature. The relevance of the study stems from the need for a deeper understanding of the national distinctiveness of Yakut literature and the mechanisms of embodying ethnocultural identity through poetic text. The research problem is that gastronomic images in Kulakovsky’s poetry have previously been viewed primarily as ethnographic background rather than as an active poetic and structural component. The aim of the study is to identify the genre-stylistic and figurative functions of the gastronomic code, its role in creating artistic integrity, national flavor, and the axiological system of the works. To achieve this, the following tasks were set: analyzing gastronomic imagery in the context of poetics and style; determining the connection between the gastronomic code and genre specificity; examining its role in shaping the chronotope and value oppositions; assessing the significance of archaic food-related vocabulary as a linguistic-cultural archive. The methods employed include historical-literary, structural-poetic, and stylistic analysis, as well as an ethnopoetic approach within the framework of the theory of the artistic world (D.S. Likhachev) and chronotope (M. M. Bakhtin). The results demonstrate that the gastronomic code in Kulakovsky’s works serves as a fundamental principle for organizing the artistic world, fulfilling a polyfunctional role: from marking national identity and creating sensory imagery to shaping genre models (ritual, satire) and facilitating sacred communication. In satirical works, the same code acts as a tool for social criticism and psychological characterization. Research prospects are associated with the application of the developed approach to the analysis of other works of national literatures, as well as with further linguistic-cultural reconstruction of the fading layer of traditional vocabulary for an adequate interpretation of classical texts.

This article examines the expressive potential of vernacular vocabulary and phraseology in the works of Vladimir Vysotsky, whose poetic and songwriting legacy occupies a special place in 20th-century Russian culture and is characterized by a vibrant linguistic personality. The aim of this study is to uncover and systematize the diverse artistic functions of vernacular units in his song lyrics, revealing their role in shaping the author's style and creating a distinctive aesthetic. The article employs methods of linguostylistic analysis, functional semantics, and elements of sociolinguistic and contextual approaches. The functions of colloquial speech, such as creating an effect of authenticity and realism, enhancing emotional expressiveness, characterizing characters, conveying social typification, and shaping ironic, satirical, or tragic pathos, are analyzed. It is shown that for Vysotsky, colloquial speech served not only as a means of stylization but also as a powerful tool for expressing the author's profound position, contributing to the creation of a unique "speech mask" and direct communication with the listener. The results of the study deepen our understanding of Vysotsky's idiostyle and contribute to the theory of functional stylistics, lexicology, and linguistic analysis of literary text. This work will be of interest to philologists, cultural scholars, literary scholars, and all admirers of the great bard's work.