Burkit Iskakov was a prominent poet, scholar, and public figure committed to the interests of the nation, a follower of the Alash ideas, and the founder of the Esep Party (Party of People Who Love Their Homeland). He advocated the idea of an independent state, risking his life for the freedom and independence of his people, and a prisoner of the Steplag labour camp in the Zhezkazgan region. Prepared as part of the doctoral dissertation "The Literary and Scientific Legacy of Burkit Iskakov", this article presents examples and analyzes the poet's works written during his imprisonment and exile. The article employs methods of generalization, systematization, comparison, conceptual analysis, and synthesis. The purpose of the article is to reveal the civic stance of the poet, analyze historical truth through his poetry, and explore the essence of such complex concepts as "totalitarianism," "repressions," "Gulag," and "rehabilitation" within the context of Kazakh literature and their significance for the Kazakh people. In addition, the poet's verses are compared with the works of other poets, writers, and researchers. The scientific novelty of the article lies in the fact that the theme of labour camp poetry still requires deeper study in contemporary literary scholarship. The research findings can be used in studies on the history of Kazakh literature and literary criticism.

This article is the first to analyze the theme of the Great Patriotic War using specific literary examples from Mongush Kenin-Lopsan's novel "The Rapids of the Great River." The writer Mongush Kenin-Lopsan reveals the theme of the Great Patriotic War through various literary means, such as dynamic narration, dialogues, monologues, lyrical digressions (or memoirs), author's remarks. An important role is played by lyrical digressions, which the author uses to highlight and deepen a particular situation, the qualities of the characters, and the author's thought. The purpose of this article is to explore the subject matter of this work using specific examples of the novel. To achieve this goal, it is necessary to solve the following tasks: first, to determine the theme of the novel as a whole, and secondly, to identify the rationale for the theme of the Great Patriotic War using specific examples of the work.

The purpose of the presented article is to consider the specifics of the implementation of the thanatological motifs and images in the Aleksey Tolstoy's ballad “Three Massacres”; to identify the influence of the German romanticism on the Tolstoy's ballad work, comparing the ballad “Three Massacres” with Нeinrich Heine's ballad “«The Battlefield of Hastings”; to prove the typological similarities of the two works. The research focuses on the image of raven, which is supposed to serve a key poetical element providing a link between the two works. The analysis showed that the image of raven, which traditionally carries a thanatological load, is realized differently in the two ballads: in the one written by Heine, it appears as a part of an ominous landscape, as an observer of the battle, while in the ballad by Tolstoy, the raven is endowed with the proactive role of the narrator conveying information about the events. It not only bears the witness of the death, but also continues the narrative that Heine began. The author of the study concludes that Tolstoy does not just borrow the image of raven, but rethinks it, endowing it with new functions and making it the key element in the shaping of the overall poetic idea. The study revealed the existence of the typological similarities between the ballads, where the image of raven, transforming and expanding its functions, becomes an integral part of the inter-literary connection between the two works.

The article reviews Christa Wolf's novels-reflections: “Frankfurt lectures”, “Kassandra", "Medea", and "Crista T. thoughts about", where the author, in conversations with the reader, discusses various problems and also expands the boundaries of prose works. Her works unite fiction and journalism, reality and fiction, history and myths and modernity. “Reflections” in the form of a novel contains all the signs of a genre. Thus, in our opinion, novels-reflections make a separate genre. Within the framework of the new poetics, the author had to explain to the reader, brought up in the traditions of realistic art, the reasons for turning to the unusual essay nature of the narration. In addition to "reflections" on the work of her predecessors, Wolf creates her works in the form of her own "reflections" on some global problems of the past and her modern existence; at the same time, she turns to myths. Through myths as intertexts, Wolf expresses her view of the contemporary life. The plots of myths inspire Wolf on "reflections...".

The scientific novelty and relevance of the article are determined by understanding the problem of the north as a mythological space in the lyrics by Nikolai Gumilyov as quite ambiguous, not fitting into the framework of solely acmeist aesthetics and poetics, and at the same time fundamentally important for determining the evolution of the poet's work. The dynamics of the poet's work was determined by the evolution of the author's ideas from symbolism to acmeism. The article clarifies the idea of Gumilyov's mythopoetics: for the poet's early lyrics of 1905-1907, it is characteristic to consider the northern theme in the context of archaic heroism: the north as a place of heroic trials. The poetic image of the north in Gumilyov's late poetry of 1917-1918 outgrows the folklore interpretation, it translates the deep mythological semantics of mother earth as a sacred source of Russian self-consciousness. The artistic result of Gumilyov's appeal to the northern theme is the creation of poems that go back to deep mythological semantics. The article mainly uses an immanent analysis of the artistic text. 

Versification is a complex and theoretically insufficiently studied section of Balkar literary criticism. The problem of organizing poetic rhythm, addressed by the author of the work, remains one of the key problems of literary creativity, which has both theoretical and practical significance. The author expressed the opinion that the study of versification is necessary for understanding the specifics of poetic language and artistic form of poetic works, as well as for solving general issues of literature development. Without accumulating empirical data, observations and conclusions in this area, it is impossible to comprehensively study such important aspects of the literary process as the interaction of traditions and innovations in poetry, the specifics of the national form of modern Balkar literature, the influence of Turkic literatures on the development of the national poetic tradition. Insufficient study of the key components of the rhythm of Balkar poetry hinders a deep understanding of the artistic form of poetic works and the originality of the poetic language of national authors.

The relevance of the article is related to the definition of the role of the fairy tale book by Ariadna Borisova in modern children's literature, which continues to remain little studied. The genre of literary fairy tale in Yakut prose is considered by critics within the framework of the traditional literary analysis. The novelty of the article's problems is substantiated by the study of fairy-tale content based on a comparative analysis of “The Gift of the Fantasy Fairy” with selected works of Western European short stories, the author’s transformation of the intertext and reinterpretation of the spiritual values of the Sakha people. The work uses a comparativehistorical method, expanding the research boundaries of the article, the methodical technique of "slow reading". The analysis of multi-temporal and multi-style material allows us to draw a conclusion about the originality of the poetics of the book of fairy tales "The Gift of the Fantasy Fairy ", its stylistic atmosphere in the context of the creative individuality of the author. The observations and conclusions of the article can be functional for expanding the problems of new literary criticism and spiritual education of the young reader.

The year 2025 marks the 220th anniversary of the birth of Vasily Fedorov-Manchaary, a legendary hero of the Sakha people. The rebellious fighter against social injustice in the 19th century, who was repeatedly arrested and escaped from prison, is famous as a defender of the poor and oppressed, as a storyteller and improvisational poet. The hard fate of the young Manchaary is interpreted in different ways. In pre-revolutionary times, the first information about him as one of the most vivid and interesting personalities in the history of Yakutia was published. The first information about him as one of the most colourful and interesting personalities in Yakutia's history was published. Aleksey Kulakovsky generalised and systematised the legends about Manchaary. His work consists of an independent group of texts based on oral legends. The talented Siberian poet Matvei Alexandrov, whose work is almost forgotten, wrote a poem about Manchaary while the hero was still alive. In the poem he used a large number of Yakut words, from this we can conclude that he knew the life of the Yakuts well enough. The second poem with a similar title ‘Yakut Manchaary’, written also by the Slavic poet Borisovsky, is also of interest. About Manchaary wrote political exiles Seroshevsky and Korolenko. The drama ‘Bandit Manchaary’ by Vasily Nikiforov is the first dramatic piece in Yakut literature. A valuable source is the documentary account by Mikhail Tereshkin from the words of an eyewitness of episodes in the life of a contemporary of the folk hero. The article systematises biobibliographical data on Manchaary's life, presents his folklore and artistic image in the texts of the late 19th century.