The article examines the semantic uniqueness of female images in the novel by Aleksandr Fadeev "Young Guard", short novels by Boris Vasiliev "The Dawns Here Are Quiet", Elena Ilyina "The Fourth Height", and Boris Polevoy "Doctor Vera". The analysis of the poetics of the works reveals the features of the authors’ interpretation of documentary facts and historical events of the Great Patriotic War. The basis of literary research is a creative history, understanding of the heroic and tragic in the context of psychological analysis of the characters of the heroines in their typology. The scientific novelty of the article’s topic is related to the study of the feminine principle of heroism of the feat and the role of military literature in the civil and patriotic education of contemporaries. The novelty of the research aspect is determined by today's reading of Russian military classics about the Great Patriotic War, its task of patriotic and civic education of contemporaries. An analytical review of literary criticism shows that in the history of Russian literature of the 20th century there are periods of obvious decline in reader interest in works that carry the truth about the war. Works from the 1940s and 1950s, which laid the foundation for the traditions of true patriotism and love for the Motherland, were often left outside the list of recommended literature for reading. The theoretical aspect of the study is related to the principle of documentary as the main thing in the poetics of works based on war events. The realities of the fact become text-forming in the figurative structure, composition, and semantic nature of the feat. The features of the poetics of the studied artistic texts are determined by the originality of the primary material, when the fact is creatively rethought by the writer. The author's view of the life of the heroines in the location of the war archetypically reveals the natural meanings of female existence, gender motivation of the heroic feat. In the figurative system of works, women's destinies are intertwined, forming a holistic and impressive portrait of a generation, an organic part of which were girls who showed the ability to endure any trials and preserve humanity even in the most cruel times.

The relevance of this article is due to the growing interest in shamanic figures in contemporary fantasy literature, particularly female trickster characters who embody archetypes of mediators and bearers of sacred power. The aim of the study is to identify and analyze the features of fire-element female shamans in the novels "The Land of the Udagans" by Ariadna Borisova and "The Poppy War" by Rebecca F. Kuang, considering their symbolic, cultural, and narrative significance. The material for analysis includes Borisova’s four-part novel cycle and the Kuang’s trilogy. The methodological foundation is an interdisciplinary approach incorporating hermeneutics, myth criticism, semiotics, and comparative literary studies. The study employs the Jung’s concepts of archetypes, Eliade’s ideas on shamanic transformation, and Lotman’s classification of female literary images. The archetypal features of the protagonists and their connection to the fire element are viewed as symbols of transformation, sacrifice, and power. The analysis reveals two contrasting shamanic images: Ilene in the Borisova’s work – a harmonious mediator between worlds, embodying ancestral memory and spiritual balance; and Fang Runin in the Kuang’s novels – a destructive figure who loses her subjectivity under the influence of the fire archetype. Both heroines illustrate different cultural interpretations of shamanism: Yakut as regenerative, and Sino-American as apocalyptic. The novelty of the research lies in the comparison of shamanic images from distinct cultural frameworks, allowing for the identification of both universal and localized traits of the shamanic archetype. The practical significance of the study lies in its applicability to educational and scholarly activities in literary and cultural studies. This work opens new perspectives for the study of archetypal figures in intercultural fantasy prose and contributes to the academic dialogue on the transformation of traditional mythological structures in contemporary literature.

The article is devoted to the evolution of Pavel Antokolsky’s sonnet writing, focusing on two key aspects: the early (“youthful”) sonnets of 1914–1920 and the large-scale “Wreath of Sonnets” (1920–1967). The early sonnets, created under the influence of the Vakhtangov Theatre Studio and the poetics of the late Silver Age, reflect the search for a poetic voice and biographical motifs (love, art, fate). Having remained in the archives of the poet and his descendants for a long time, they were first published in 2010. The central motifs of the “Wreath of Sonnets” are time, memory, sacralization of the creative process, and the fate of the “revolutionary” generation of Soviet poets, which connects the wreath with Antokolsky’s late lyrics. The article emphasizes the unity of the two periods: early experiments became the basis for the virtuoso mastery of the form of mature creativity, while the “Wreath of Sonnets” represents an understanding of the creative and life path. The analysis is based on archival materials, sonnet texts and the literary context of the era.

In the history of Bashkir literature, the names of writers writing in Russian are known. These are M. Gafurov, R. Khakimov, A. Sharipov, R. Bikmukhametov, Y. Mustafin, R. Akhmedov, Y. Ilyasova, G. Shafikov, D. Daminov, R. Maksutov, S. Sadykov, and others. Many of them, by the will of fate, finding themselves far from their native land, living outside the republic, have lost the opportunity to communicate and write in their native Bashkir language. However, they wrote their works about their people, for their people, described their native nature: the Ural-Tau mountain, rivers and lakes, etc. One of these writers who wrote in Russian was Talkha Genatulin. The article examines the work of the famous Bashkir and Russian front-line writer Talkha Yumabaevich Genatullin (signed as Anatoly Genatulin) (1925–2019), whose 100th anniversary is celebrated today by the entire public, scientific, and literary communities of the Republic of Bashkortostan. Genatulin was one of the few Bashkir writers who wrote in Russian. However, he wrote about the Bashkirs; he glorified the heroism of the Bashkir warrior; he was inspired by the natural beauty of his small homeland and the spurs of the Ural Mountains. The purpose of the article is to reveal the artistic originality of Genatulin's work; to achieve this, the following tasks were solved: the review and analysis of the writer's works; identification of their artistic and aesthetic originality. The methods of study were analytical, literary methods of analysis. The research results seem promising and are a contribution to a comprehensive study of the work of the writer-warrior Genatulin. Because the study of the life and work of writers who went through the war has always been relevant and in demand in national literatures, and it remains so in Bashkir literature.

The article is devoted to the plot structure of the olonkho “Bie uola Beibeldjin Tulaaiakh” (Orphan Beibeldjin the Mare’s Son) performed by the narrator F. S. Semyonov-Kyrsa. To understand the peculiarities of the poetics of the epic, it is important to consider the characteristic features of plot structure. The plot structure of an olonkho consists of a beginning, a plot, stages of development, a climax, a denouement and a conclusion. Olonkhos about the bogatyr Beibeldjin Tulaaiakh have a peculiar plot, unique to them. The olonkho plot delves into the representation of different worlds: the Upper, Middle and Lower, each of which plays a significant role in the fate of the protagonist. These worlds not only provide a rich backdrop for the events, but also symbolize the different aspects of spiritual and physical reality that the hero encounters. The story details the trials that the protagonist goes through. The victories over the abaahy demons and the rescue of the Aiyy girls reinforce the theme of the eternal struggle between good and evil, which is the basis for the development of the plot. Family and social ties, the motif of succession and inheritance become important. The discovery of the links between the heroes at the climax emphasizes the importance of descent and lineage as structural elements of the epic. The use of dream and prophecy motifs in the story serves as an important tool for determining the fate of the hero and his descendants. It reinforces the fatalistic elements in the epic, linking contemporary actions to historical context and future consequences. The narrative concludes with the performance of a thanksgiving ritual that emphasizes man's interaction with the spiritual forces of nature and social responsibility to them. The sacrifice to the spirits of water symbolizes gratitude and reinforces the idea of harmonious coexistence. The main methods used were: the method of solid sampling to collect plot motifs; the method of structural analysis to study the structure of the plot.

The issue of representing female images in the Yakut epic olonkho is a relevant scholarly problem, associated with the interpretation of gender roles and the symbolic functions of characters in traditional culture. The aim of this study is to identify the typological and functional features of female characters – Aiyy girls and udagankas – in three olonkho texts of the Olyekma local tradition. The structure and logic of the research are determined by the following objectives: 1) to review existing studies and academic literature on the topic; 2) to identify key female images characteristic of this local tradition and analyze their functions and symbolism. The source material includes the epic texts Uolan Dokhsun, Kulluiya Kullustuur, and Turbutunan Törüöbüt Duo Bukhatyyr (The Standing Warrior Duo). The methodological foundation of the study combines structural-semantic and comparative analysis, along with elements of the mythopoetic approach. The research reveals that the heroines of the epic range from traditional beauties to active participants in the narrative—prophetesses and female warriors. Particular attention is given to the images of udagankas, whose functions vary depending on their affiliation with the Upper or Lower worlds, ranging from helpers and mentors to seductresses and destructive forces. The study demonstrates significant variability and multilayeredness of female characters, reflecting both the dualistic worldview of the olonkho epic and the specific features of the local tradition. The practical value of the research lies in its applicability in courses on folklore, gender and cultural anthropology, as well as in the development of educational materials on Yakut literature. Future research prospects include expanding the source base to other local traditions and conducting a deeper analysis of the semantics of female characters in olonkho.

The article examines the functioning of toponyms in Yuri Sergeyev's novel “Stanovoy Ridge” as a significant element of the artistic space, reflecting the author's worldview. The relevance of the work is due to the growing interest in the study of the linguistic picture of the world, represented in fiction, and in the role of toponymy in the formation of national identity. The scientific novelty of the study lies in the comprehensive analysis of the toponymic space of the Sergeyev's novel, which has not previously been subjected to special study from the point of view of reflecting the national picture of the world. The analysis of the frequency of use of toponyms made it possible to identify the core and periphery of the toponymic space of the work, as well as to determine their functional significance. The study was conducted using the methods of linguistic analysis, including contextual analysis, component analysis and statistical analysis of the frequency of use of toponyms. As a result of the study, various functions of using toponyms in the novel were identified, among which the predominant function is to create the effect of authenticity of the events described, along with the functions of localization, characterization of characters and creation of national color. Toponyms thus become not only a means of orientation in space, but also an important element of the composition and style of the work, contributing to the formation of a holistic artistic image. The results of the work can be used in further research on onomastics, linguocultural studies and analysis of literary texts, as well as in teaching literature and Russian as a foreign language.

The article is devoted to the poetic analysis of Russian translations from Chinese on the example of Bai Juyi, a classic of the Tang era. The range of translations under consideration includes almost everything that has been created since the 1920s. The main attention in the analysis is paid to three aspects: metre, stanza and rhyme. The article contains both a general description of the corpus of these texts and an analysis of individual poems. Thematically, the material is divided into two blocks: the classical type of verse and the non-classical type. Translations of L. Aidlin are considered separately as the most interesting cases of the classical type. The nonclassical type of verse is represented mainly by R. Sh. Masalimov's works.