The article focuses on the study of educational poetry, understanding of the land issue in the works of Safuan Yakshigulov of the early twentieth century. The article describes the origins of Bashkir educational literature, the influence of democratic ideas of the late 19th century, in particular the work of M. Akmulla (M. K. Kamaletdinov) on Bashkir poetry. The educational activity of the poet Yakshigulov, the formation of his creative activity and attitude to the issue of plundering Bashkir lands are considered separately. It is said about the civil, political position, attitude through the analysis of the works of an outstanding poet. In addition, attention is paid to the poet's communication with other Bashkir educators, independent study of secular sciences, foreign languages, etc. It is concluded that the enlightenment poets stood at the origins of educational reforms.

The paper analyzes the Yakshigulov’s poems and describes how he met the revolution, the changes of the early twentieth century. The article also analyzes the thoughts and speeches of the poet. Examples of new poetic images are given, with the help of which he revealed not only the spirit of the times, but also his spiritual world: it was a new enlightenment poetry. The material also mentions authors of that time, such as M. Akmulla, M. Gafuri, Sh. Babich, Ya. Yumaev.

The study of the contribution of Alexei Kulakovsky – a thinker, scholar, founder of Yakut literature, public figure, educator – to the development of the temperance movement in Yakutia has important theoretical and practical significance. Alcoholization of the population of Yakutia began in 1632, from the moment of Yakutia's voluntary entry into Russia. To study the temperance movement in Yakutia, we distinguish three periods: the first period from 1632 to 1885; the second period from 1885 to 1917; the third period from 1970 to the present.

The article, based on the study of scholarly literature related to the history of the temperance movement in Yakutia, reveals for the first time the contribution of the founder of Yakut literature to the temperance movement in pre-revolutionary times, highlights the history of the temperance movement until 2022.

Purpose of the article: 1) to consider how the problem of soldering the peoples of Yakutia and the harmful effects of alcohol is revealed in the poem "Arygy" ("Werewolf"); the letter of the "Yakut intelligentsia" by Alexei Kulakovsky; 2) To reveal the role and significance of the poet, thinker in the development of the teetotal movement in Yakutia, for which to highlight the history of the movement from the end of the 19th – beginning of the 20th century to our time.

The article emphasizes the leading place of Alexei Kulakovsky in the first sobriety society, created with progressive people, the first intellectuals P. K. Sokolnikov, I. N. Basharin, Egasov and others in the village of Churapcha of Boturussky ulus in 1904. The activities of I. E. Serguchev, the first sobriologist of Yakutia of the Soviet period, as well as the activities of temperance organizations and the National University are revealed a sober healthy lifestyle in the modern period.

The article uses a comparative method of analyzing the creativity of Alexei Kulakovsky with the scholarly data of sobriology. Specific conclusions are given, which are set out in the conclusion.

The article considers scholarly views on the theoretical and methodological foundations of literary connections between Kazakh and Polish literature. The study of these connections is based on the scholarly works of the Poles who moved to the Kazakh steppes in connection with the historical and social situation, and the question of the place of these works in the cultural, literary, spiritual life of the Kazakh people is also considered.

In the 1960s-1980s, comedies by well-known Polish and Kazakh playwrights Slavomir Mrozhek, Tadeush Ruzhevich, Sadykbek Adambekov, Kaltai Mukhamedzhanov, Saken Zhunusov were studied from the point of view of ideological and thematic similarities and differences, mastery in creating artistic images was considered. Along with this, given the importance of the language of the characters in dramatic works, the issues of struggle and relationships between their heroes are raised.

Based on the comparative method, the article analyzes the collections of short stories "Tales of our city ...", "Angelina Jolie lives in Yakutia" by A. Ambrosiev - Sien Mundu and novel "Entertainment for birds with clipped wings" by B. Khanov. The methodological basis of the study was the works by Yu. Lotman, M. Bakhtin, V. Toporov. Both writers, being, respectively, representatives of the Yakut and Tatar cultures, write in Russian. In the stories of A. Ambrosiev, the character appears in the urban landscape of Yakutsk. The writer is most often attracted by unsightly pictures of the city, and the most striking in the collections is the image of a sad house with smelly entrances, reminiscent of a ship plundered by pirates and abandoned by the crew. Yakutsk in the collections looks like a provincial city, which is predominantly inhabited by marginalized residents. For the most part, they are unhappy, lonely, they are not worried about global modern problems, and most of all – private problems of a personal nature.

Elnet Ener is more modern and beautiful, but one of the heroes of the novel perceives it as a "simulation space" with predictable temptations and software failures. Quite pessimistic people live in the city's "gaming" space: yesterday's graduates with specialized education become sales assistants, pizza makers have not dreamed of such a profession since childhood. The most successful of the townspeople are engaged in blogging, coaching, graphic design. The sad summary of the author: there was no unity ahead - neither mental, nor territorial, nor economic. The writer focuses on feminist student Irina, blogger Yelisey who dropped out of the university, Sergey Khriponin, the owner of a craft beer bar, and Mark, the unfortunate son of an oligarch.

The article is dedicated to the 70th anniversary of the Scientific and Research Institute of Altaic Studies named after S. Surazakov and is devoted to the research activities of the ascetics of Altaic philology S. Surazakov and S. Katashev. It describes the personal, human qualities and research work of the scholars. The article is devoted to the evaluation and analysis of their creativity from the standpoint of modern science.

This article considers the reflection of archetypal images in Yakut women's lyrics.

To achieve this goal, we relied on the research of the Swiss psychoanalyst Carl Gustav Jung.

Research methods: descriptive, comparative and archetypal analysis of a literary text.

The poetic works of such famous Yakut poetesses as V. Potapova, N. Kharlampieva, S. Golderova- Sargykuo, O. Koryakina-Umsuura, N. Mikhaleva-Saya, V. Petrova-Venera are selected as the research material. Also, as a comparison, the poetic texts of men are given: Yakut poets and authors of other ethnic literatures.

Of the archetypes identified by Jung, in this article we considered the archetypes of the lover and the savior, since their presence is characteristic only of female lyrics. In the works of male poets, they are not planned. Next, we examined the images of the sky, the moon as prototypes, which received an archetypal role in the work of Yakut poetesses.

We paid special attention to the color scheme and volumetric characteristics of the image in the poetic texts of the poetesses. Of the epithets to the word "heaven" used in the works of poetesses, 30% are taken from oral creative works, in particular, from the Yakut heroic epic Olonkho.

We noticed that in the description of the sky from these modifiers, the female authors most often use ‘white’. The image of the sky in their works is used as a metaphorical image. Itis identified with the object of love – a man, is the abode from which the archetypes of the lover, the savior, should descend. The colorfulness and abundance of epithets to the word "heaven", dating back to folklore and the appearance of individual, author's epithets in the collections of poetesses testifies to the rich poetic lexicon and its evolution in the work of modern Yakut poetesses. In comparison with the works of other modern Yakut poets, it is the female lyrics that are characterized by the transmission of the color scheme and volumetric characteristics of the image of the sky, dating back to folklore.

In this article, the authors consider the relevance of translating epic texts, as well as the widespread dissemination of mutual translation of the epics of the Turkic-Mongolian peoples as one of the methods for popularizing epic works. The release of the series "Epic monuments of the peoples of the world" under the auspices of UNESCO is celebrated. Yakut folklorists, on the initiative of the vice-president of the association "Eposes of the peoples of the world" A. N. Zhirkov, as a project, translated into the Yakut language the Kyrgyz epic Manas, translated by B. Zh. Zhakiev, Altai "Maadai Kara" after S. S. Surazakov according to A. G. Kalkina, Bashkir "Ural Baatyr" by M. A. Burangulov, Tuvan "Kunan Khara" translated from the performance of Chanchy-Khoo Oorzhak.

The authors note that the translation of the olonkho "Dyuluruyar Nyurgun Bootur" into the Kyrgyz, Altai, Bashkir, Tuvan languages gives them a deeper understanding of the content, plot, images of the Yakut epic. The article deals with the translations of the epic works "Manas" and "Kunan Khara" by Yakut folklorists. The translation of these epics is given in two versions, which serves as a good example and will become a textbook for young translators in the future. Professional translator A. A. Borisova translated from Russian into the Yakut language the Tuvan epic "Kunan Khara" translated by A. V. Kudiyarov, and the best translation by A. N. Zhirkov from the original according to the interlinear translation of the folklorist M. B. Kungaa with the help of different dictionaries in the future will be a good example for the younger generation. The authors of the article note the importance of mutual translation of epics from all over the world.

The article explores genetically and typologically related plots about shamans and the sacred material world of shamans in the prose and poetic corpora of works by Altai and Yakut writers.

The author's strategies in depicting the images of shamans are considered in a comparative aspect. Attention is drawn to the scenes of shamanic mysteries, genre and linguistic features of literary shamanic rituals (repetitions, anaphoras, syntactic parallelism, expressive words), the "material world of shamans" (ritual attributes), plots and episodes, as well as the ideas of shamans about the Universe and the world order. In conclusion, on the example of the works by Altai and Yakut writers, a classification of genetically and typologically related plots about shamans in ethnic literatures and shamanic attributes, which make it possible to identify ethno-cultural features, is carried out. The authors of the article reveal the genetic connection of shamanic plots: ethnographic realities and traditional shamanic ritual attributes as markers of motives perform the plot-forming function of the narrative (the material world of shamans as an artistic individualization of heroes and a single system of the object world). For example, a complex of iconic things and objects: clothes, helpers of shamans (birds, animals, people), tambourine, etc.

In the studied works, there are inclusions of myths and legends in the artistic canvas of the works, performing a plot-forming and characterological function, as well as the function of individualizing the characters. Ethnic writers use benevolence and trans rituals as artistic techniques and elements of the poetics in their works. There is also a typological connection: the persecution and extermination of shamans during the period of the Dzungar Khanate, which were reflected in the works of Dibash Kainchin and Boris Ukachin; during the period of the Soviet power the fight against shamanism is artistically reflected in the works by Dibash Kainchin, Arzhan Adarov, Boris Ukachin, Vasily Yakovlev-Dalan and Ivan Gogolev-Kyndyl, where the life in the beginning of the 20th century, the period of the revolution, is revealed; complex fates of shamans during the civil war and repression is described. At the transitional turn of the 20th – 21st centuries, ethnic writers transfer to fiction images and plots about shamans of the 16th, early 18th – 20th centuries from myths and folk legends. Thus, the image of the shaman is end-to-end for all periods of development of ethnic literatures. Comparative-historical, comparative-contrasting, and hermeneutic methods are used in the study.

The novel "Spring Time" by the people's writer of Yakutia Nikolay Mordinov – Amma Achchygiya was created in a difficult time, still controversially evaluated; it deals with as complex, contradictory processes that took place in the history of Yakutia and the whole of Russia in the early 20th century. In this regard, the novel is an outstanding literary phenomenon of the era, largely reflecting its contradictions. The existence of two versions of the work, the degree and direction of the author’s amendments and additions, the scope and nature of the amnedments made in the second edition – all these are undoubtedly interesting and relevant issues for a scholarly research.

The article deals with a modern interesting theoretical issue based on the material of the classic novel of Yakut literature. The study uses methods of comparative analysis of the texts of two published editions of the novel. The novelty of the research for Yakut literary studies is to clarify the issues of composition of an epic work based on identifying elements of the paratext and analyzing the strong positions of the literary text as the title of chapters and parts (subheadings). In this regard, a comparative comparison of the texts of two editions of the novel "Spring Time" is of particular interest.