The article discusses the specifics of the local literary tradition on the example of the work of the Yukaghir N. I. Spiridonov – Teki Odulok, Even Andrey Krivoshapkin and Evenk G. I. Varlamova – Kaptuke. expressed in the characteristic features of the author’s self-awareness. Northern literature as a northern text, regardless of the language in which it is written, has a high degree of representativeness, which comes primarily from the development of the unique image of the Far North as a geographical space and landscape, and its impact on the picture of the world of a northern person, historically formed under the influence of extreme natural and climatic conditions.
The possible parameters of the «northern identity» in its symbolic and conceptual manifestations in the literary text are determined. Attention is focused on the dominants in the definition and description of the northern territories, in connection with which a unique model of geospace appears. The problem of the identity of the image of a literary character – a reindeer herder and a nomad, the correlation of the image of the hero with the mental, semantic, social, cultural content is actualized.

The article discusses the peculiarities of the poetic style of Mahsati Ganjavi, a famous poetess of the 12th century in Azerbaijani literature. It was during this epoch that masterpieces were created which enriched not only Azerbaijani, but the whole culture of the Middle East.
Mahsati Ganjavi, an outstanding Azerbaijani poetess of the late 11th – early 12th centuries, is a prominent representative of the Azerbaijani and Muslim Renaissance, a representative of the new urban poetry, who glorified in her poems the images of the inhabitants of the quarter of urban artisans, poets, singers and mutribs – Kharabat. Mehseti is the first in everything. She is the first well-known Azerbaijani poetess, the first chess player, the first famous Azerbaijani woman musician and quite possibly the first woman composer. Her biography is surrouded by legends and mystery, and the known facts of her life, as well as her poems, are extremely extravagant, at least in the perception of the Muslim society of that time, certainly, if they are understood directly but not figuratively. The appearing of a female poetess in the 12th century is nothing but one of the manifestations of the Azerbaijani people achievements in the social-political and cultural spheres.

The article deals with the issues of the spiritual revival of Altai in the journalism of the orientalist-Turkologist, writer Brontoy Bedyurov. His works became a notable phenomenon in Altai literature in the last quarter of the twentieth century as an independent direction in the comprehension and development of national spiritual foundations. The individual style of the writer – a synthesis of poetry and science, author's lyrics and reminiscences, unshakable traditions of folk literature – leads the reader to comprehend the foundations of the spiritual culture of Altai.
A substantial and linguistic analysis is presented, the leading stylistic features of journalistic articles from the book "The Word about Altai" are revealed.

The study of the work of writers, the analysis of artistic methods, techniques of artistic creativity is an important trend in literary criticism. The relevance is most enhanced when considering the work of contemporary authors who have made a great contribution to the development of national literature in particular with their creative achievement.
The purpose of the article is to reveal the artistic creativity of the Bashkir prose writer, translator Amir Aminev, to identify the techniques and methods of his writing. The tasks were the study of the writer's stories, novels, the representation of the author's skill in translation work, etc.
Research methods are biographical, descriptive, cultural and historical methods of analysis. The results of the study were the revealed features and peculiarities of the writer in the ability to depict realistic pictures from life with the help of special artistic details, fantastic techniques and forms of artistic convention. All this has a special effect on the consciousness and perception of reality. His works are a great achievement of the writer, an example of an unexpected, sudden disclosure of the truth, novelistic and realistic.
The study is promising and can serve as a starting point for studying the work of not only writers who have left the world, but also those who live today and create their highly artistic works for the benefit of national literature.
As a result of the analysis, the creative skill of the laboratories of the Bashkir writer Amir Aminev was established. They lie in his ability in an allegorical form to reveal the unattractive sides of a person, in the bold application of the methods of neorealism and surrealism, elements of phantasmagoria, which enriches the artistic methods of national literature, bringing it new forms and creative ways. This distinguishes him from other Bashkir writers.

The article is devoted to the linguistic description of the colour picture of the world in the prose of the Yakut writer Nikolay Gabyshev. The study is aimed at identifying the key colours in the original text, as well as at a descriptive analysis of the translation of passages with colours. The main object is selected stories from the book "Suүs kepseen" (100 Hundred Stories), published in 1982 by the Yakut book publishing house; translations of texts prepared by S. Ivanov, V. Popov, T. Rezvova in the 1970-80s. Achromatic absolute colorus predominate in the stories: ürüƞ/maƞan ‘white’, khara ‘black’, chromatic colours are used with the least frequency: küökh ‘sky blue, blue’, araҕas ‘yellow’, kyһyl ‘red’. An interesting fact is when the writer skillfully uses tint colours of white and black. It is important to note that in the Yakut language achromatic colour names ürüƞ/maƞan and khara have many spectral shades that are transmitted in speech in an analytical way of word formation by comparison to a certain phenomenon or object. For example: muus maƞan ‘ice-white’, khaar maƞan ‘snow-white’, tuus maƞan ‘white as salt’, ürümechchi maƞan ‘white as a butterfly’, sya maƞan ‘white as fat’. The colourative “white” in the Yakut language is conveyed in two words: ürüƞ/maƞan. These are equal synonyms. And under the colourative küökh one can understand two different colors: sky blue, blue, and green. They can be distinguished only on the basis of the context or a word adjacent to it: khallaan küöҕe (lit. ‘colour of the sky’) means ‘sky blue, blue’; ot küöҕe (lit. ‘colour of the grass’) – ‘green’. The method of descriptive linguistic analysis is used in the work. Thus, coloratives have their own ethnic and cultural specificity, which is closely intertwined with the linguistic picture of this ethnic group. The paper uses the method of descriptive linguistic analysis of the texts of the original and translation in a comparative aspect. With the help of colourifiers, the writer created vivid pictures of the northern landscape, as well as typical, but at the same time bright original images of Soviet people from the times of labor socialism.

Russian Ethnographic Museum (St. Petersburg) and the National Archive of the Republic of Sakha (Yakutia) revealed that on July 9, 1908, in the Khomustakh nasleg, Namsky ulus, Yakut Region, a demonstrational Ysyakh (the Yakut traditional festival of the summer solstice) was held at the expense of the Ethnographic Department of the Alexander III Russian Museum (now the Russian Ethnographic Museum). The Ysyakh was organized by A. I. Popov, the secretary of the Statistical Committee, the official correspondent of the Ethnographic Department of the Russian Museum, and hosted by S. Rykunov, the head of Namsky ulus. It is revealed that the pictures of the course of the festival with scenes of wrestling and traditional games were taken by A. P. Kurochkin, a political exile, a conservator of the Yakut Museum of 1905 – 1908. The photographs were included in the collections of the museums of St. Petersburg and Yakutia, and are now well known to researchers. But the fact that they were made by order and at the expense of the Ethnographic Department of the Russian Museum of Alexander III (now the REM), as well as the participation in the collection of the Yakut collection of E. K. Pekarsky, V. M. Ionov was not known until recently.

The article is devoted to the study of verbs of being in a poetic text. The purpose of this article is to describe the causative verbs of the beginning of existence in the poetic work by Alexei Kulakovsky “Bylyrgylyy algys” (“Blessing in the old way»”. The composition of the causative verbs of the beginning of existence in the structure of this poetic text is determined, their meaning used in a certain context is analyzed. This study is based on a functional-semantic approach that allows us to display the holistic organization of universal semantic categories with a certain content and means of expression. The study uses structural analysis, which allows to present the most detailed characteristics of the relations between the components of linguistic phenomena; contextual description with methods of observation, generalization and with elements of quantitative data processing. The appeal to the text of Alexei Kulakovsky, the founder of Yakut literature, allows us to identify features in the use of linguistic means in the early emerging literary poetry, different from the tradition of oral folk art. The article analyzes for the first time the causative verbs of the beginning of existence, set forth in this work. What is new is the representation of these verbs used in the text of the poetic work under consideration, in accordance with the principles and methods of the functional semantic analysis. It is revealed that the character of the representation of the verbs under consideration in the poetic text under study reflects the author's transformation of artistic and expressive means based on folklore traditions.