The P. N. Kharitonov’s heritage includes several collections of poetry, autobiographical proze, a number of journalistic and critical books; however, the greatest contribution to the genre of the novel he made as the author of a monumental historical work in four volumes “The Bells over the Lena”, dedicated to the “works and days” of several generations of “sovereign coachmen”, Russian peasants who settled on the Yakut land. The relevance of studying the Oyuku’s artistic work lies not only in the fact that it has not been sufficiently studied, but also in the author’s philosophy of the history, according to which it is necessary to assess the modern era in the context of the past and taking into account the development prospects.

The author of the novel, who was born and spent his childhood on Toyon Aryy, one of the largest and most beautiful Lena islands, surrounded by Russian coachmen, reproduced his genealogy and told about his young years in the story “On the Threshold of Life”. As for the novel “The Bells over the Lena”, its specifity lies in the fact that each of the four parts has its own intra-genre characteristics: the first book has the outlines of a moral narrative, the second corresponds to the logic of the educational genre, the third and fourth volumes are built according to the historical and chronicle principle. The Oyuku’s novel reveals the special ethnic mentality of “sovereign coachmen”. For a long time, being surrounded by the Yakut people, they not only adopted the way of life, mastered the Yakut language, but also influenced the Yakuts and, in particular, spread farming and grain growing in their new homeland, and also managed to preserve their traditions and customs, legends and ceremonies, songs and dances. The article shows that in artistic terms the novel “The Bells over the Lena” is one of the best examples of modern Yakut literature.

The relevance of the topic of the article is due to the increasing interest of literary critics in the notion of concept, which can be organically reflected in the detective genre. The purpose of the study wass to analyze the conceptual structure of detective works by the famous Yakut writer Vitaly Mikhailovich Egorov. The material for the study was seven works by the specified author, written in the genre of detective stories relevant to modern literature (“The Adychan tragedy”, “Retribution to the monster”, “Kara Chochur Murana”, “Fears of the Hill of Love”, “Connecting Rods”, “In the footsteps of the Yakut Haig”, and “Following the trail"). The article reveals the features of the main concepts that make up the structure of these works. The scholarly novelty lies in the development of our own model of the frame-slot structure of V. M. Egorov's detective works based on the works of Russian researchers M. Minsky, V. Z. Demyankov, A. P. Chudinova, and Y. N. Filistova. As a result of the research, the authors of the article identified the following conceptual structure of V. M. Egorov's detective stories: crime – mystery – investigation – punishment. Main conclusions: the frame-slot model of V. M. Egorov's novels considered fully corresponds to the traditional structure of the detective; frame structures can act as conceptual bases for the formation of storylines in detective works. In the future, concept frames can be used as a support for identifying the structure of detective texts of Yakut literature in interdisciplinary research.

In the framework of ontological poetics, the authors analyze three novels by Zeytun Tolgurov, the classic of Balkarian literature: “Ursa Major”, “Blue Tipchak” and “White Dress”. The study covered a whole list of issues related to the theory of accelerated development, the specifics of novel thinking, a multi-conflict model, intertextual parallels with Russian and foreign literature, psychologism, misogynism, and costume symbols. Particular attention was paid to gender issues and the educational potential of Z. Tolgurov’s novels.

The article examines the attitude of the first Yakut poet Alexei Eliseevich Kulakovsky to the preceding tradition, understood in this case in a broad sense. It included both the oral tradition and the foreign-language book literature, the experience of mastering which characterizes the earliest stage of the poet's formation. It is suggested that the poet's attitude to the two different sources for his work was built on the principle of attitude to the "foreign" text in general, whose role was played by both the borrowed book literature and the autochthonous folklore. At the same time, the poet creates his "own" text each time, differing in individual consistency and integral composition. The mechanism of the appearance of the "poetic function" (according to Roman Jakobson) in such a text is considered through the analysis of the A. E. Kulakovsky’s first work published in 1908 – "The Oath of the Demon (Abaasy)". It demonstrates simultaneous innovations in verse, stylistic and narrative plan, and the text itself arises at the junction of the plots borrowed from the Russian literature and the poetic language of "own" tradition. That work already signaled the transition to a literary text, distinguished by its own poetics. The A. E. Kulakovsky’s poetry, as a whole, demonstrats a system of ideas about poetics, which was based on general attitudes of his own literary origin rather than on folklore, which is commonly believed. This was the reformatory essence of the first poet and his poetry: to overcome the tradition and create a new literary type of the text.

The results of the study of interrelation and mutual influence in Yakut, Buryat, Tuvan, Khakass and Altai poetry are presented.

Special attention was paid to the use of the artistic experience of Russian poetry by ethnic literatures, as well as translation of both Russian and world literature.

The multilingual poetry of the peoples of Siberia, absorbing the valuable in the works of Russian and world literature, stimulates the impact of one ethnic literature on the development of another one.