The article contains quite relevant reflections on the "Abai Phenomenon" of a man of science, who, by his profession, seems to be on the sidelines of traditional Abai studies. All the arguments, statements and specific proposals of the author are aimed at ensuring that the Great Abai not only in words, but also in practice became a true symbol of the Kazakh nation, the entire Kazakh society and in this status was known and recognized by the whole world.

The article actualizes only some manifestations of metatextuality in the context of the northern literature of Yakutia as a single cultural tradition, within which the interpretation of literary texts is carried out and a vertical context is created, the unity of meaning (metasense) and means (meta means) of its expression. The emphasis is placed on the meta-level of this local text, which embodies the most significant cultural codes, the content and structure of the image of the world through the wholeness of texts of the regional subculture. The subject of the research is a special property of a local text – metatextuality - which can be interpreted as a unity of ensemble formations, establishing dialogical connections between different works (folklore, autobiographical metatext, basic images and motifs that form integral verbal-conceptual formations, etc.).
The purpose of the article is to identify only individual forms of metatext in the northern literature of Yakutia, which are cross-references of local elements of poetics that are repeated from text to text, in which the mechanics and logic of their formation, transformation, variation, evolution, dialogical connection with other elements of the local text are traced, permeated with internal connections. In general, the poetics of the northern text in the literature of Yakutia is considered as a naturally developing artistic system that has a structural connection between all elements, territorial-specific subethnic features that are realized in storylines, a motif-figurative complex, themes, and genre specificity.

The article examines the literary-critical activity of the Yakut writer and literary critic Nikolai Nikolaevich Pavlov – Tyahyt (1904-1974). N. N. Pavlov was a man of a difficult fate; he was twice subjected to repressions, but despite the fact, he did a lot for the development of Yakut literature and criticism. In the republic, he is also known as a talented teacher, journalist, translator, compiler of the Russian-Yakut dictionary and bibliographic index "Yakut fiction: 1904-1948". N. N. Pavlov acted as a critic in a difficult period in the development of literature, namely, under the transition from literary polycentrism of the 1920s to the literary monism of the 1930s-1950s, i.e. the establishment of social realism as the only and dominant aesthetics of the Soviet literature. Insufficient study of N. N. Pavlov as a literary critic determines the academic novelty of the research. The work identifies the main directions, themes, genres of his critical works, determines his attitude to the literary heritage of the founders of Yakut literature A. E. Kulakovskiy, A. I. Sofronov, and N. D. Neustroev, as well as the creative activity of writers in the 1930s-1950s, the contribution to the formation and development of literary criticism of Yakutia is assessed. The article uses previously unpublished works of literary character from the N. N. Pavlov’s personal archive. Such methods of literary research as textual analysis and historicalcomparative analysis are used. The authors come to the conclusion that N. N. Pavlov as a literary critic has his place in the history of Yakut literary criticism.

Starting with reviews of the first critics and to monographs by literary critics of recent times, critical works devoted to the heritage of A. E. Kulakovsky (1877-1926), the Yakut literature founder, reflect the entire path of development of Yakut literary criticism. In the 1920s-1930s, the opinions of novice critics and writers of the nascent Yakut literature about the poetic works of the classic writer were dictated by the cultural, historical and socio-political situation in the country.
The study of the periodization principles for the history of criticism and assessment of the first poet heritage in the aspect of the influence of the era, the mentality of the Sakha people and the dominant ideology on literary criticism allows us to consider this period as the initial stage of comprehending and evaluating the work of the Yakut literature founder. It was during this difficult period of the emergence of Yakut literary criticism when A. E. Kulakovsky found his literary position in the specific historical literary space of subsequent times

The purpose of the study is to identify the function of artistic details in Khatyuchaanym barakhsan (“My Little Bitch”, 1968), the first collection of stories by a famous Yakut writer Valentina Nikolaevna Gavrilyeva. The article considers the peculiar role of artistic details in the compilation of a literary image, idea, plot, and composition. The academic novelty is in the development of the authors’ own classification of artistic details based on the works of such Russian literary critics as N. L. Vershinina, E. S. Dobin, and V. A. Kukharenko. The study resulted in emphasizing, within the framework of this collection of works, the following types of details: the detail-symbol, detail-comparison, detail landscape. The main conclusion is that the reflection of the character, the structure of the plot in the works of V. N. Gavrilyeva are conveyed through artistic details that carry characterological and ideologicalcompositional functions.

The article presents a comparative analysis of the literary texts of A. E. Kulakovsky (1877-1926), the founder of the Yakut literature. In his academic and poetic works, the main problems of the early twentieth century regarding the fate of the Sakha (Yakut) people are posed. In this regard, the author's social and philosophical reflections echo the eternal questions of the society, which reveals the relevance of his images nowadays. The article makes a comparative analysis of the ideological beginning and genre forms of his works. The purpose and objectives of the research: to reveal the successive features and parameters of the main meanings of his poetic descriptions in the perspectives of the question "man and his time". The results of the study consist in the concretization of traditional folklore elements in the work of the classic writer, where the national origins of his poetry are observed. Yet, on the other hand, his desire for the artistic and aesthetic principles of the Russian literature is confirmed. In these features of the works of art, it is confirmed that Kulakovsky saw the future of his own people in the indissoluble unity with Russia.

The relevance of the problem under consideration in the article is the analysis of the creative peculiarities of the Bashkir poets-educators of the 19th century Miftikhetdin Akmulla and Mukhametsalim Umetbaev, who turned to the folk traditions. With their progressive activities and bright poetic works, they brought light to people, called on them to master knowledge and become an advanced man of their people.
The purpose of the article is to identify and analyze folklore traditions in the work of these poets, for which the task is solved: using the case of poems to demonstrate the features of the artistic use of the folklore traditions identified in their work. The research method was comparative, analytical methods of analysis.
As a result, it was found that Akmulla and M. Umetbaev enriched their poems, appeals, messages – hitaps – with the traditions of Bashkir oral folk art, wrote in their native Bashkir language, which made them closer to common people. By this, their works were of the folk nature and expressed the dreams, hopes and aspirations of people. As a conclusion, it was found, in particular, that in their work poets most often turned to proverbs and sayings, which were often gleaned not only from the lips of the people, but also created by them; they turned to the ritual folklore of the Bashkirs and described one of the most colorful scenes of the national wedding in the poetic form. The study of the work of Bashkir poets and writers in this vein will allow in the future to reveal more deeply the poetic originality of their works, in which folklore traditions were used for certain artistic purposes.