The article is devoted to the analysis of the structure and content of the text of the epic tale The Best of Men, Three-Year-Old Mekele, recorded by the Oirats of Western Mongolia. The purpose of the article is to identify elements of ancient beliefs and ritual actions associated with them in the content of the epic text. The main material of the study was the text of the epic tale The Best of Men, Three-Year-Old Mekele, recorded in 1879 by Grigory Potanin in Western Mongolia by the epicteller Derbet Sarisan. In analyzing the text, based on the stated goal, an interdisciplinary approach was used, including methods of philosophical, religious studies and textual analysis.
The epic text The Best of Men, Three-Year-Old Mekele is a unique example of an archaic epic, both in its volume and complex structure. The structural space of the epic text organically combines layers of ancient beliefs and Buddhist teachings of different times. The religious system of the Central Asian nomads was a complex of traditional shamanic rituals and the religious system of Tengrianism, based on the ritual of sacrifice. The epic hero makes a ritual sacrifice to the deities in honor of his first victory. He sets fire to his rival’s horse and makes an offering by placing a part of the antagonist’s body on a high place.
Buddhist inclusions are scattered throughout the text of the tale. In addition, the structure of this epic narrative includes a plot of the hero’s visit to Buddhist hell. He frees the living beings languishing in hell and receives instructions from the lord of hell, Erlik Nomun Khan. Such elements in the text of the tale testify to different stages of the evolution of ancient epic texts. They also provide an opportunity to reconstruct ancient religious ideas, without knowledge.

The article considers the folklore image of Erlik-Biy, which is common in Altai myths, fairy tales and epics.
The purpose of the study is a comparative study in the Altai folklore genres of the image of the mythological character Erlik-Biy in comparison with the divine pantheon of the Turkic-Mongolian peoples. In this regard, the task is being solved: elucidation of changes in the image of Erlik in texts of one genre and in other genres. The research material in the article is research, mythological dictionaries, publications of folklore texts. The research method was a comprehensive study of all available materials (research, textual, facts) related to the topic of our article, as well as the comparative method that we used in the analysis of folklore plots.
The relevance of the article is expressed in the fact that it clarifies in detail the common and different features in the characterization of the Erlik-Biy character in myths, fairy tales and epics, that is, changes in the role and content of the same image within the framework of one folklore tradition are revealed. In comparisons with the pantheon of Buddhist deities, possible transformations of the character are observed, when the “overthrown” can enter the bosom of the deities. So, a similar analysis can be carried out with other characters who actively figure in folklore.
The scholarly novelty of the article lies in the fact that the study of the development of the image of the Altai mythological character Erlik-Biy in comparison with the Turkic-Mongolian texts has not yet been the subject of independent research, but this problem is extremely important for a complete understanding of the peculiar changes of this image within the folklore system of one people, and also expands its interpretation in comparison with folklore material other peoples. In the perspective of research, this problem is necessary for a complete understanding of the Altai folklore system of deities and their opponents in comparison with a wide range of similar mythological characters in the folklore of other peoples.

The article is devoted to the consideration of epic motifs of the Mongol-Oirat epic of the epicteller Parchen. The relevance of the study is due to the fact that, despite the wide coverage of the range of problems of the epic of the Mongolian peoples, the issues of studying the motifs of the Mongol-Oirat epic tradition still remain insufficiently studied. The novelty of the study lies in the consideration of the epic motifs of the MongolOirat heroic epic in a comparative aspect with the national versions of the Dzhangar epic. The purpose of this article is to consider the epic motifs of the heroic poems of the Mongol-Oirat epic of the epicteller Parchen, which were recorded, translated into Russian and published by Boris Vladimirtsov. The objectives of the study are to characterize the epic repertoire of the epicteller Parchen, to identify epic motifs in the Mongol-Oirat heroic epic and to consider them in a comparative aspect in the Xinjiang-Oirat and Kalmyk traditions of the Dzhangar epic. The work uses descriptive, comparative and contrastive methods, and textual analysis methods are used in the study of epic texts. The material of the study is the texts of the Oirat epics: Bum-Erdeni, Daini-Kuryul, KigiinKiytyun-Keke-Temur-Zeve, Egil-Mergen, Ergil-Tyurgul, Shara-Bodon, the texts of the epic songs of the Xinjiang Oirat version of Dzhangar, published in China in 1986–2000, translated into the modern Kalmyk language by the orientalist Bulyash Todaeva, as well as the texts of the Kalmyk version of Dzhangar. The examination of the epic motifs of the Mongol-Oirat epics showed that in the process of historical development of peoples from the patriarchal-clan to the feudal system, archaic motifs (the motif of the first creation, miraculous birth, naming, the destined bride, the “external soul”, “difficult tasks”, three competitions, etc.) were transformed and inherited by the heroic Dzhangar epic. The motif of the first creation, present in the Mongol-Oirat epic Egil-Mergen in the Xinjiang-Oirat version of Dzhangar depicts the mythological early time, which passes to a hierarchically higher level, receiving the status of the original water chaos. The image of this chaos, taking an intermediate form, opens the next phase of the existence of the universe. The motif of naming, being an important component of the epic biography of the hero, is accompanied by a ritual in the Turkic-Mongolian epic, and in the national versions of Dzhangar – by a yoryal-good wish, which is a magical blessing and a prediction of the future heroic path of the hero. The miraculously born hero of the Oirat epics, performing heroic deeds in the interests of his family, in the national versions of Dzhangar is transformed into the heir of the epic ruler, a member of the family of heroes, the first among equals (Dzhangar-bogdo) in selfless service to the fatherland – the Bombay state.
The study of the epic of the Mongolian peoples in this direction seems promising for further research into the problems of epictelling, motifs, poetics and style of folklore text.

The article discusses topical issues of reflection and development of the motif of fate in the folklore of the Mongolian peoples in the light of their traditional ideas. The views of fate are the most essential part in the people’s vision of the world and understanding of the destiny of man. Despite the fact that the topic of fate has long worried people and completely occupied their minds, there are still few works devoted to this issue. This is related to the relevance and novelty of our research. The purpose of this work is to analyze the reflection in folklore of mythological ideas about the fate of man and the world order, to determine the connection of these views with the Buddhist tradition, which is an integral part of the spiritual life of the Mongolian peoples. To achieve this goal, methods of interpretative and contextual analysis of myths, ritual texts, epics and oral narratives are used. The main provisions of the article have a promising continuation in the study of the ritual folklore of the Buryat people, followed by the publication of samples of cult poetry, which reflected the theme of fate and the predestination of human life. As a result of studying the folklore material, it was revealed that the concept of the ‘fate’ of zayaan differs in the pre-Shamanic, shamanic and Buddhist traditions, receiving different interpretations. In Buddhism, the word ‘fate’ of zayaan has many meanings, but it is more important to understand that a person’s fate depends on his good or bad deeds in previous rebirths. In the broad popular understanding, which is reflected in folklore, a certain fate is given to a person from above, but a person can control it himself. In the ritual texts, epics and oral narratives of the Mongolian peoples, a multifunctional deity of fate stands out from the pantheon of the highest celestials, playing a dominant role in the human life cycle. The fate of man is predetermined by the supreme deities, as well as the deity of fire and the spirits who own the area. In the epic texts of the Buryats, the image of the book of fate is inextricably linked with the concept of ‘fate’, in which particularly significant events in the lives of the characters are painted, and instructions are given on how to act in a specific situation.

The object of the study is the entomological vocabulary used to nominate dipterous insects in the Altai language and its dialects. The relevance of the study lies in the lack of study of the lexemes denoting dipterous insects in Altai linguistics. In the article, for the first time, phonetic and lexical-semantic features of Altai insectonyms are considered on the basis of fiction and folklore texts, field materials of the authors. The purpose of this article is to determine the composition of insectonyms denoting dipterous insects in the Altai language, their phonetic, lexical-semantic and linguocultural features. Various methods of linguistic analysis were used in the work: the method of comparative analysis of lexemes, component analysis of the word in identifying structural types and models of formation of insect names, as well as motivational analysis revealing the principle of nomination inherent in the word, linguatextual analysis in identifying the context of the use of lexemes in the culture of the Altai people. The analysis of the structural composition of the names of dipterous insects in the Altai language and its dialects showed the presence of synthetic (one-component) and analytical (two-component) names. Most lexemes are formed as a result of secondary nomination. Secondary nomination of dipterous insects is realized in the form of word-formation and semantic nomination. Secondary nomination of animals in the language and culture of the Altai people is carried out by the following methods of nomination: 1) rethinking or semantic derivation (metaphor, metonymy, euphemisms), 2) reorganization (composition of new units from ready-made elements according to certain models, according to the motivating features “color (coloring)”, “time and habitat”), 3) borrowing of lexical units (from the literary language to dialects and from dialects to the literary language). A complex of motivational features underlying the nominations of dipterous insects is identified: color, size, behavioral features, habitat. For the first time in Turkology, hypotheses of the origin of some Altai insectonyms are presented based on the analysis of the internal forms of their names. The linguacultural contexts representing dipterans are considered: phraseological units, proverbs, riddles, and legends. The study showed that the images of some dipteran insects have the ability to express figurative meanings and interact with the cultural context. In secondary nominations, both external and behavioral characteristics of dipterans are used: their small size, harmfulness towards other living beings, the ability to make certain sounds and fly in the air.

The article examines artistic forms and ways of reflecting spatio-temporal landmarks in the context of the historical-heroic epic of the Adyghe. The sacred foundations of ancient views are revealed, which are transformed into epic narratives, acquiring features different from mythological ones. In the late epic, they are filled with the semantic specificity of the genre, the task of which is to idealize the hero, to allegorically convey internal experiences and emotional attitudes to current events, as well as to objectify military confrontations and their consequences.
An attempt was made to determine the uniqueness in the use of these categories in the artistic text of historicalheroic songs. Identification of figurative forms of manifestation of these symbols is the goal of our work. To achieve it, the following tasks were solved: study of the category of space and time in aesthetic terms; study of the specifics of refraction of spatio-temporal categories in the texts of historical-heroic songs; definition of their sacred features.
The initial principles of the study are based on the provisions of foreign, domestic and Adyghe researchers who have considered this problem. The relevance of the chosen topic is an attempt to identify the distinctive features of the manifestation of spatio-temporal ideas in the ideological system of the Adyghe historical-heroic epic. The analysis is carried out using the structural-comparative and structural-semiotic methods. The practical significance of the work is that this article can become an addition to the presentation of a holistic picture of spatio-temporal categories in folklore.
The result of the work done is the understanding that spatio-temporal ideas determine the features of the ethnic tradition; they were formed in ancient times; in the historical-heroic epic they are realized as means of artistic expression.

This article is devoted to the study of the plot: a fundamental and general category of folklore and literary studies. The relevance of addressing the topic of the epic plot, as well as the motifs that construct it, is caused by the insufficient study of the historical transformation of the Yakut epic olonkho, on the one hand, and on the other – the need for an in-depth study of the spatial organization of the olonkho world, which can lead to the explication of the patterns (invariants) of plot composition, to the definition of the principles of plot composition of olonkho. The novelty of the study is the focus of the study through the prism of the relationships of motifs along the syntagmatic horizontal in the course of the “plot development” of the olonkho text of Yuyolen Nyuryue. The aim of the work is to conduct a structural and semantic analysis of the plot-significant motifs of the olonkho text of Yuyolen Nyuryue in the light of the dynamics of the epic space. The work uses structural and semantic, semiotic, functional analysis, methods of review, description and generalization. The roles of spatial loci in the plot structure of the olonkho text are designated. The functions of plot motifs in the syntagmatics of the epic text are highlighted. The order of the coupling of plot motifs in a holistic event sequence is shown. The presence of a condensed, unexpressed spatial element in the name of the hero’s bride is noted. The author’s innovation of the epicteller Mikhail Sorov is emphasized in the form of introducing repetitive digressions and narratives in the plot composition of the olonkho. The author comes to the conclusion that although the traditional plot-compositional structure is not violated, in the olonkho of Yuyolen Nyuryue there is a simplification of the plot line through the loss of some plot elements, truncations of the course of implementation of the vertical deployment of the coordinates of the epic space, contaminations (connections) of motifs, narrowing of epithetics in poetics and symbolism in the sign system of olonkho. This circumstance indicates the prospects for further research of olonkho texts of the Soviet and post-Soviet periods with the actualization of the formulation of problems of the historical dynamics of the motifs of the Yakut olonkho in the perspective of structure, semantics, function, poetics, semiotics.

This article continues the study and introduction into scientific circulation of Kalmyk songsshastras praising Buddhism. The purpose of the article: to study the early recordings of songs-shastras recorded in the Oirat script “todo-bichig”. The novelty of the work lies in the introduction into scientific discourse of unknown and little-known texts of Kalmyk songs-shastras. The material for the study includes the texts of songsshastras stored in manuscripts for more than one hundred and fifty years in the Scientific Archives of the Russian Geographical Society. The songs were recorded by graduates of the Astrakhan School for Children of Kalmyks Elistad Dzhabdykov and Shamba Sadzhirkhaev and handed over in 1854 to I. P. Kornilov, one of the leaders of the expedition of the Imperial Russian Geographical Society to the Astrakhan province (“Expedition of the IRGO for the study of the area of the Chernoyarsk district occupied by the Bogdo Mountains”). As additional sources for studying early Kalmyk shastra songs, a manuscript collection of Kalmyk songs of the 19th century, stored in the Eastern Department of the M. Gorky Scientific Library of St. Petersburg State University, was used. The article uses descriptive, comparative-typological and comparative-contrastive methods, which allow us to identify general and specific features of the content of the songs.
Having analyzed the song texts from the RGS manuscripts, the authors come to the conclusion that they are valuable sources in the study of the folk song art of the Kalmyks. The information gleaned from the texts of the shastra songs testifies, supplements and expands the knowledge of the “folk Buddhism” of the Kalmyks. The lyrics of the songs contain praise of the deities, listing their exploits; taking refuge; prayer addressed to the Buddhas; wish to achieve the state of Buddha for the benefit of living beings. Performance of shastra songs by the people helped the Buddhist clergy to educate society in the mainstream of the Buddha’s doctrine. Research prospects are the results of this article will be further used by the authors in the study of Kalmyk songs in their diachronic juncture.

The relevance of the topic is due to the need for a systematic study of the character series of the Yakut epic olonkho, including previously unstudied mythological images. The article for the first time examines the images of the hero’s heavenly patrons in five olonkho texts about the Nyurgun heroes, representing various epic traditions of Central Yakutia. The purpose of the article is to study the images of the hero’s heavenly patrons in the context of the figurative system of the olonkho about the Nyurguns, to clarify their role and functions in the plot structure. To achieve the goal, the following tasks were set: compiling a systematization of heavenly patrons and identifying their functional features. The study was conducted using comparative-typological and comparative-contrastive methods. Using a systematic approach, an attempt was made to classify the images of heavenly patrons by their characteristics and functioning in the plot structure. As a result of the study, we come to the conclusion that heavenly patrons act as intermediaries between the deities and the main characters – the Nyurgun heroes. They can be classified as heavenly messengers, heavenly warriors, heavenly udagan women and the heavenly patron of men. They are of great importance in the storyline, their functions and actions develop along with the events and episodes that happen to the main character. The main function is to convey the orders of the deities, to notify about disasters, to warn about dangerous situations, to provide assistance in battle, and to indicate betrothed. Based on the fact that Nyurgun initially developed the type of a warrior – the defender of the tribe, the celestials in every possible way protect and direct him in the right direction. The presence of heavenly patrons in the plot structure is one of the features of the olonkho texts about Nyurguns, since these warriors have a heavenly-divine origin and are settled in the Middle World with the mission to protect the tribe, due to which the participation and patronage of mythological characters are inevitable. It is necessary to state that over time their appearance and functional features were subject to transformation processes, even a complete disappearance from the plot structure is noted. The prospect of this study is assumed in the systematic study of mythological characters in epic texts.

The article focuses on the study of the language of “power” based on the speech forms of Tyghyn Darkhan, a historical figure of the Sakha people, conducted within the framework of ethnolinguistic analysis. The relevance of the research is determined by the need for an in-depth examination of the phenomenon of leadership in the national settlements of the Russian Arctic, as well as the analysis of grassroots perceptions of state governance. This study, based on Yakut folklore materials, contributes to expanding knowledge about the mechanisms of power and leadership in northern sociocultural contexts.
The novelty of the study lies in its first-ever approach to analyzing the language of “power” through the lens of Yakut folklore, which allows for the identification of unique features of political discourse. This opens up opportunities to analyze rhetorical strategies, manipulative techniques, and mechanisms for achieving balance in relationships between power and society.
The research aims to analyze the language of “power” through the speech forms of Tyghyn Darkhan to identify the ways leadership qualities were constructed and power relationships were established in traditional Sakha society. To achieve this goal, folklore sources related to the image of the hero were studied, key linguistic tools were identified, and their functional roles in political discourse were analyzed.
The methodological foundation of the study includes descriptive, comparative-historical, semantic, and discourse analysis. Particular attention is paid to the interpretation of texts in their cultural and historical context. The results demonstrate that Tyghyn Darkhan’s language played a significant role in consolidating his authority, fostering social integration, and regulating societal relations. His rhetorical strategies combined traditional and innovative approaches, highlighting his importance for understanding the mechanisms of power in ethnic communities.
The findings make a substantial contribution to the development of ethnolinguistics and political anthropology. Future research prospects include extending the analysis to the linguistic practices of other northern peoples, which will deepen the understanding of the role of language in sociopolitical processes in Arctic regions.

The relevance of the topic is determined by the growing interest in studying the interaction between literature and folklore, as well as the importance of analyzing transformations of traditional folk motifs in the works of Russian poets of the 20th century. The image of fevers in Slavic mythology represents one of the most enigmatic phenomena of folk culture, making it an attractive subject for research. The work of Konstantin Balmont, known for his unique interpretations of folk motifs, allows us to uncover new aspects of this theme. 
The novelty of the study lies in the analysis of a little-studied aspect of Balmont’s creativity – his appeal to the image of fevers in the poems “Spell from Twelve Maidens” and “Thirteen Sisters”. The work aims to identify the specifics of adapting folk motifs in the poet’s works, as well as to determine the role of these images in shaping his artistic world.
The purpose of the research is to analyze the features of the transformation of the traditional image of fevers in the Balmont’s work and to reveal the mechanisms of his interaction with folk beliefs. To achieve this goal, it is necessary to solve the following tasks: to study the historical and cultural contexts in which ideas about fevers were formed; to consider the role of folk records by I. P. Sakharov and A. N. Afanasyev in Balmont’s work; to conduct a comparative analysis of the two specified poems in terms of their use of folk motifs; to determine the extent of influence of folk incantations on the poet’s work.
The study was conducted using the method of comprehensive text analysis, including historical-cultural, comparative, and structural-semantic approaches. Materials from the works of renowned folklorists such as I. P. Sakharov, A. N. Afanasyev, T. A. Agapkina, A. L. Toporkov, M. I. Maslova, etc., were utilized. Special attention was paid to the analysis of the structure and content of Balmont’s poems, as well as the identification of characteristic traits of his individual style.
The main conclusions are as follows: Balmont deeply delved into the essence of folk beliefs and skillfully adapted traditional motifs to his creative world while preserving their original essence. He created original interpretations of folk images, giving them new life and actualizing them within the context of his contemporary era. The image of fevers in his poetry acquires symbolic significance, reflecting deep processes of human interaction with higher forces and one’s own culture.
Prospects for further research are associated with an in-depth analysis of the interrelationships between literature and folklore in Russian culture of the 20th century, focusing on the work of Balmont. It is also necessary to continue working on identifying the mechanisms of transformation of folk motifs in the works of other representatives of Russian literature, which will allow creating a more complete picture of the interaction between literature and folklore in the history of national culture.