Vladimir Fedorov, a geologist by occupation, an artist by vocation, began his career as a poet, but today he could subscribe to Voltaire's motto "All genres are good, except boring ones". This article is devoted to his first prose work "Citizen No. 1 of the forever vanished city", the genre specifics of which the author defined as "unthinkable antinovel". Indeed, "reality, strange fantasy and absurdity" are being mixed in it. Like Jonathan Swift and Herbert Wells, the writer skillfully "neutralizes" the fantastic by a system of artistic means and techniques. In particular, to limit direct fiction, Fyodorov uses an appeal to the form of sleep, and his "antinovel" is constructed as an alternation of dreams and memories of childhood. Further, the fantastic is hiding by spatial localization and "inclusion" in a real, everyday environment. Finally, a special role in the poetics of the fantastic in Fedorov’s work is assigned to the figure of the author. His presence in the narrative as an eyewitness and a participant confirms the reliability of fantastic situations and events.

The article considers the role of the chronotope of sleep in women's prose based on the prose of famous Yakut writer Sardaana Sivtseva – Dana Sard. In women's prose, dreams occupy a significant place as an artistic means in the image of a person, which have, firstly, a plot-forming function, and secondly, the function of psychological disclosure of character. In our opinion, the gender connotation is most pronounced in women's prose. The dream and its visions reveal in the characters of the heroines their secret desires, hidden vocations and the rich, bright inner world of the characters and develop the reader's imagination about their lives. In the process of studying dreams in the author's plots, the essential features of the chronotope in the female text are revealed, which allows us to more fully reveal the flow, development of thoughts and experiences of the heroines. The chronotope of sleep reveals the peculiarities of the poetics of women's prose. The prospects for further research of the chronotope of sleep in the gender aspect and the study of the work regarding the features of the plot, composition, image system, language structure characteristic of the stylistics of women's prose are outlined.

The article considers the writing of People’s writer of Yakutia Andrey Krivoshapkin on the example of his novel The Coast of Destiny. This work is of great interest for literary studies, the ethnological sketches of the novel have not been studied enough. The article gives a new interpretation of ethnographic realities from the life of the Evens. Using concrete examples from the text of the novel The Coast of Destiny, the qualitative characteristics of the phenomena of ethnoculture – the realities of ethnography and folklore of the Evens are shown. Andrey Krivoshapkin demonstrates a complex of rituals, customs and taboos associated with them on artistic material.

The novel presents an artistic and aesthetic understanding of the cultural and historical heritage of the Evens (Lamuts) - the material and spiritual culture of the ethnic group. The article actualizes the problem of preserving and popularizing knowledge about traditional and modern culture, language, folklore and ethnography of one of the most ancient peoples of the North, Siberia and the Far East. Value transformations under the influence of globalization make the study of Andrey Krivoshapkin's novel The Coast of Destiny even more relevant. An analysis of the work of the Even poet, prose writer, publicist, who made a great contribution to the development of Even literature, is also important and necessary in the practice of school and university education.

The relevance of the article’s theme lays in the fact that the theory of linguistic concepts is important in modern theories of translation. When translating, it is necessary to take note of transferring the form of the language, meaning of an original text, and also to strive to convey a cultural code where there are public perception, reality awareness, mentality, linguistic worldview. The purpose of the study was to analyze the asymmetry of the realization of the concept of happiness in the novels "Togoy Sele" and "Land of Meyi" by Yakut writer Leonid Popov and these novels’ translations into Russian by Albert Gurulev. The article reveals the features of the representation of the concept of happiness in the Russian and Yakut linguistic view of the world and its conceptual asymmetry. The novelty of the research: this is the first attempt of analyzing the asymmetry of the realization of the concepts in Popov’s works and the translations of his works into Russian based on the research of I. Lekomtseva, T. Kuraleva, A. Skryabina, and others. As a result of the research, the author of the article comes to the conclusion that it is necessary to take into account the asymmetry in literary translation in order to achieve the adequacy of the transmission of the author’s thoughts and his artistic world. In the Russian translation, there are mismatches of the meaning communication, there is an asymmetry in the implementation of the concept of happiness, which leads to some dissonance. Literary translation is always an improvisation, a creative process, there is always a place for asymmetry, the quality and adequacy of the translation depend on how much the translator managed to penetrate into the author's creative world, what tasks he pursued.

The purpose of the article is to determine the features of the invariant of the Tatar Soviet dramaturgy of the 1930s-1940s. The scholarly novelty consists in an attempt to identify the patterns of ideological and aesthetic development of the national stage literature of the studied period through the prism of invariant. To achieve the above goal, the following tasks were solved: a brief overview of the general trends in the development of Tatar drama in the 1930s-1940s was carried out; the main themes, features of the concept of the hero and the construction of the conflict of plays of the period under study were determined; the main ideological and aesthetic features of the Tatar Soviet dramaturgy of the 1930s-1940s are formulated. The results obtained indicate that the 1930s were characterized by the dogmatization of socialist realism as a single creative method, which determines the trends of further development of Tatar Soviet dramaturgy. The Tatar stage literature of the period under study mainly focuses on topics related to the collectivization of agriculture and industrialization of the country, the main idea of the plays is to call for the transformation of the country's life and the construction of a «bright future». Preference is given to the creation of a “new” Soviet hero – an idealized image of a selfless contemporary worker. Despite the complete exclusion of ethnic (national) problems from the field of view of Tatar dramaturgy, there are also very successful attempts of genre and poetic experiments, which were achieved through the authors' appeal to historical, folklore and ethnographic motives. Cultural-historical and hermeneutic methods were used as the main research methods.

This article discusses female images in the texts of the olonkho of the northeastern tradition of the Yakuts and the archaic epos of the Evens. The purpose of the study: to make a comparative analysis of the texts of the Yakut and Even epics, in particular, to study female images. To achieve this goal, it is necessary to set the following tasks: consider the history of the study of the Yakut and Even epics, study the research materials, identify female images and systematize them into groups. As a result of the analysis, 3 groups of female images were identified in the northeastern tradition of the Yakuts: udagan women (shamans), аiyy girls and the old woman Simehsin. In the archaic epos of the Evens, 4 groups of female images are characteristic: udagan girls, active heroines, heroic girls and zoomorphic images of girls. Girls in the guise of a swan, a bear and a bird are an interesting image.

The article describes the creative history of Alexei Kulakovsky’s work "To the Yakut Intelligentsia" (1912) basing on the study of the author’s manuscripts. It reviews the history of discovering the author’s manuscripts, their studying and publishing. The topics raised in the article are analyzed in contrast with the author’s poetic piece “The Shaman’s Dream” (1910) and the work by Vasily Troshchansky "Sketches on the Yakuts of the Yakutsk District" (1911). Considerable attention was paid to previously unexplored textual aspects of the Kulakovsky’s autographs; discrepancies in the variants were identified; the archival history of the main text was reviewed; the results of a handwriting analysis were presented. An analysis of the manuscripts published over the past decades was conducted, revealing elements of editing, cases of specifying certain fragments of the text. Methodologically, the research was based on the works of Dmitry Likhachev; Andrei Grishunin; recent materials in the collective editions of the Institute of World Literature, RAS; a monograph by Lyudmila Kulakovskaya about the Kulakovsky’s scholarly biography; and the sources of his artistic and scholarly heritage. The main results of the research were establishing the chronology of the autographs and determining their significance for studying the life and creative activity of the Yakut poet and thinker. The creative history of this work confirms the importance of the author's principle in the systematization of analytical observations and in the choice of the form of address to his contemporaries, corresponding to the pragmatic orientation of the content. Rather than criticism, the fragments on the Government in the Kulakovsky’s autographs demonstrate his wish to prevent negative interpretations of his solutions regarding a northbound migration. The writer’s manuscripts signal his friendly attitude towards the people with advanced opinions on relevant social issues.