The article considers the traditional spring holiday “Alternation of heads of years” (Ilesyshye zablek1ygu) on March 21–23 among the Adygs (Circassians) people, dedicated to Shyuzeresh the patron saint of abundance and horsemen. The aim of the work is to study the mythoepic basis of the traditional holidays associated with the spring and winter solstices. Based on this goal, the tasks of identifying representations of sacred processes designed to create favorable conditions for the preparation and start of spring field work and seasonal agricultural completion of the year are solved. The relevance of the research topic is due to the insufficient knowledge of the calendar holidays of the Adyghes, in this case, associated with the vernal equinox and winter solstice. The theoretical basis of the mythological rituals requires in-depth study, since the process of reanimation of folk festivals is one of the important components of the self-identification of the Adyghe. Travel essays by missionaries, the research activities of the Adyghe enlighteners of the 19^th century Sultan Khan Giray, Shora Nogmov, Adil Giray Keshev, folklorists Askarbiy Shortanov, Mukhtar Meretukov, Adam Gutov, Aslan Tsipinov and other scholars served as the methodological basis of this work and determined the basic principles of research: the comparative-historical, historical-typological, and comparative analyses. The novelty of the study lies in the fact that it describes for the first time the rituals of the spring festival, symbolizing the onset of the Adyghe New Year, and the time of spring plowing, which began on the third day after the onset of the holiday “Alternating heads of Years”, as well as the winter solstice holiday. The result of the study was the conclusion that the worldview and worldview of the ancient Adyghe was at a high level for its time and evolved along with the process of progressive development of the Adyghe society. It is established that a historical and cultural excursion into the past about the existence of the New Year among the Adyghe (Circassians) and the winter solstice holiday makes it possible to know the depth of the processes of the mythoepic consciousness of the people. The theoretical and practical value of the work is seen in the possibility of using the results of the research in theoretical disciplines and practical research on folklore, epic studies, the study of the mythoepical basis of the Adyghe worldview, as well as in the educational process of educational institutions.

The article examines grammaticalized comparative constructions of the Tuvan language, identified in texts of different genres. Particular attention is paid to the comparison standard marker. The purpose of the study is to identify and interpret the main means of expressing pretense and appearances in Tuvan texts, both modern and folklore. The relevance of the study is determined by the insufficient knowledge of the semantics of pretense and the increased interest in the study of the traditional and cultural characteristics of the linguistic consciousness of representatives of various ethnic groups. It seems relevant to show what lexical units can verbalize the semantics of appearance. The novelty of the research lies in the fact that for the first time, comparative structures were studied using the material of the Tuvan language and semantic types of markers of the specified semantics in folklore and modern texts were identified. The main research methods are the descriptive method and the structural modeling method. As a result of the study, comparative structures expressing both real and unreal comparison were identified and interpreted. In constructions of unreal comparison, the situation presented to the dependent predicative unit (DPU) does not take place in reality. It is arbitrarily constructed as a subjective interpretation of what is reported in the main predicative unit (GPU). This fictitious, unreal event becomes the standard comparisons for a real event expressed in MPU. The main means of marking modal meanings in the system of real comparison in the Tuvan language are comparatives: yshkash ‘like’; deg ‘like’. The same markers are also noted in unreal structures. Marking of unreal semantics is carried out in Tuvan folklore texts with multifunctional forms from the verb bol = ‘to be’ (boop, boor, etc.). The semantic invariant of such constructions is ‘pretend that...’. In addition, syntactic constructions of the predicate are widely used, expressing the relationship of the communicated or the message itself to reality with the postpositions deg, yshkash. It was established that the folklore texts under consideration use the same methods of expressing comparative relations that have been identified for the modern Tuvan language. However, the qualitative side (the complex of means and the nature of their functioning) and the quantitative side (the frequency of use of these units) are determined by the purpose of communication and depend on specific extralinguistic factor.

Our research is devoted to the identification and description of one of the fragments of the folklorelinguistic picture of the world – the semantic field of mental vocabulary based on the material of the Khakas heroic legend Albynchy. The interest in this linguistic representation of the characters’ image stems from the principle of the anthropocentric paradigm, which represents the study of the inner world of a person, in particular, their psychological and mental functions. We understand a mental vocabulary as lexemes that not only name the process, the state of the subject, but contain elements of its description in their semantics and indicate the ethnic specifics of perception, understanding, cognition of the surrounding reality by an individual linguistic personality or the ethnolinguistic community as a whole. The purpose of the study is to identify and describe the semantic and functional structures of a mental vocabulary based on the material of the specified work of oral folk art. The tasks set to achieve this goal are related to the anthropocentric paradigm, i.e. the issues of revealing the human phenomenon through language. The relevance of the research is due to the insufficiency of research on the lexical system of the language of the Khakas heroic tales and the need to develop their linguistic and folklore paradigm as an independent scientific direction. The novelty of the research lies in the fact that mental vocabulary based on folklore material becomes the subject of special research for the first time. Based on the material of the Khakas heroic tale Albynchy the field of mental vocabulary turned out to be few. These include two basic verbs (сағын- ‘to think’, пiл- ‘to know’); verbal synonymous constructions; nouns – synonyms with the general meaning “mind, thought, reason” (ис, ағыл, сағыс), one cliched expression (ис ирт-, ағыл ас- ‘reason to pass by, lose your mind’), the phraseology of сағыс кiр- ‘the mind to enter’, describing the  processes of mental activity and mental states of the characters. The study revealed that the semantic structures of these means of expressing mentality differ significantly from the contents of common-language dictionary variants, since the system of traditional folklore texts primarily reflect the ideological orientations and attitudes of the ethnic group. The conceptual basis of the set of mental representations is the categorical polarity of assessments: positive and negative in the absence of a neutral one. We see the prospects for the study of the language of heroic tales in deeper and more thorough developments of both individual lexical groupings and conceptual spheres, which contribute to the development of the Turkic interdisciplinary directions “folklorelinguistic picture of the world” and “linguofoloristics”.

In this article the problem of functional genre, which is an important issue in folklore studies, is studied scientifically and theoretically. The formation of a new genre as a result of the process of deriving a genre from a genre has been brought to attention on the basis of specific texts. These genres are called functional genres and it has been considered on the basis of which specifics functionalize the genres such as “bayati”, “gerayli”, “goshma”, “temsil” and fairy tales. Thus, it was initially noted that the genre of “bayati” (quatrain) is not a specific genre, like many other genres, but, in fact, a literary formula. Because many genres are formed on the basis of the genre “bayati”. Among them are quatrains, lullabies, folk songs, ceremonial songs, elegy and other folklore genres are studied in the article and brought to the attention, due to this functionality, even before it was also considered that it was called a literary kind by A. Abid. In particular, it has been observed that the genres created on the basis of “bayati” are widely included in the ceremonial folklore and from the genres of “bayati” forms created in this direction such as wishes, lullabies, Novruz songs, beliefs, occasions, religious holidays, laments, etc. have been looked through. As a functional genre “garayli” like the genre “bayati” has been put forward as a new problem in theoretical and methodological research and garayli, folk songs and important parts of epics, which appeared on the basis of the genre garayli can serve as an example of it as the main genre component. In the article the genre “goshma” is also studied as a functional genre. So, on the basis of this genre “goshma”, “tajnis”, the verse part of epics, “ustadname”, “vujudname”, “gifilbend”, “baghlama” and other genres were formed. Fables have also been brought to the attention as a functional genre, such as representation derived from this genre, allegorical narrative, examples that arise in written and oral literature, etc. can be examples for it. At the same time the representation is manifested both in fairy tales and the fairy tale itself has spawned many genres from itself. The genres of fairy tales, garavelli, anecdotes, jokes and other genres have been reviewed. The theoretical problem proposed in the study is rich in important innovations for the scientific community

The article presents the result of the procedure for resolving the issue of forming dictionary vocables, as well as organizing a dictionary entry in the dictionary of the language of the Yakut heroic epic Olonkho, proclaimed by UNESCO in 2005 as a masterpiece of the oral and intangible cultural heritage of   humanity. The question was one of the rather complex problems in the theoretical development of a dictionary of the Olonkho language. The high degree of formulaicity of the language of the Yakut epic, the originality of the stylistics of the epic narrative and the characteristic features of the language of the Turkic peoples generated a complex of original properties of the Olonkho language, which determined the problematic character of lexicographic works. However, when developing the macro- and microstructure of dictionaries of the language of folklore, an unconventional solution to the problem is allowed, and therefore the work proposes a special structure of a dictionary entry, as well as methods for forming non-standard forms of dictionary vocables. To achieve the goal, we analyzed the functional and semantic features of the lexeme aghys ʻeightʼ in the olonkho text Nurgun Bootur the Swift by K. G. Orosin (1947). As a result of the analysis, the following points were clarified and determined: 1. it was decided to present stable verbal complexes of the Olonkho language (i. e. epic formulas, formulaic constructions, constructions of a formulaic nature), phraseological units, single lexemes and epic periods as vocabulary vocables. The main factors that served as support for making such a decision were the distinctive feature of the Turkic languages – the law of synharmonism, as well as the diffuse nature of the meaning of folk expressions, which requires an integrated approach to the compilation of dictionary definitions, including in the design of the lemma part of the dictionary. The basic principles of the structure of dictionary entries in the Olonkho language dictionary are indicated: the order of presentation of units of lexicographic description, the order of presentation of stable verbal complexes, principles of presentation of material, features of presentation of illustrative material. In developing the described principles, we relied on individual aspects of the theoretical positions expressed in the works of our predecessors, specializing in the field of Russian lingua-folkloristics, Russian folklore lexicography, in Turkic studies, as well as the result of a comprehensive analysis of materials from the K. G. Orosin’s olonkho text of Nurgun Bootur the Swift. In the course of further lexicographical work, it will obviously be possible to make minor adjustments, since the language material of the Yakut epic is extremely diverse. However, the result obtained in this article, in this aspect, will definitely form the basis of lexicography.

Altai heroic tales are unique monuments of the people’s epic heritage. They act as a cultural code that preserved the originality of the ethnic worldview, traditions of the people, as well as the peculiarities of their poetic language. At the same time, the Altai epic has much in common and peculiar in comparison with the epics of other Turkic-speaking peoples. The study of the epic style originality is special interest for folkloristics. The relevance of this study is determined by the insufficient study of style features of the Altai people’s heroic tales. The scholarly novelty of the work consists in the fact that it is the first to study the types of repetition as one of the stylistic phenomena of the Altai epic. The purpose of this research is to study repetition as a stylistic phenomenon of folk poetics. The sources for the study were the heroic tales published in the series “Altai Bogatyrs”. An important criterion for selecting sources for the study was the observation of this phenomenon in authentic texts, where the features of the narrator’s living language are preserved to a greater extent. The study is based on the analysis of Altai heroic tales from different narrators and other folklore sources. The descriptive method, methods of comparison and generalization were also used in the work. As a result of the study, the types of repetitions found in the Altai epic were identified and described; their main functions were defined. It is established that repetition in folklore text is an important and multidimensional phenomenon. In heroic tales it is manifested at different levels. Repetitions of individual words and word combinations, phrases and whole episodes are distinguished. According to the frequency of use, there are twofold, threefold and more repetitions. Repetitions occur within a line, at the beginning, end or at the junction of poetic lines, forming such stylistic figures as anaphora, epiphora and epanaphora. Each type of repetition fulfills a certain function in the text. The study has shown that the functioning of repetitions in heroic tales differs in the activity of their use by narrators.

The heroic epics of the Turkic peoples in Siberia are the brightest achievement of their authentic culture. Due to the processes of urbanization, the diverging from the traditional way of life that are actively taking place in the Republic of Khakassia today, the mass bilingualism among the native speakers of the Khakas language, the switch to Russian by the Khakas younger generation, the loss of traditions in intergenerational transmission of folklore works, especially heroic epic, it is very important to study the linguistic features of Khakas folklore. The purpose of the article is to describe the features of semantic models of verbal euphemisms with meanings ‘to die’ and ‘to kill’, presented in Khakas heroic epics Altyn-Aryg and Ai-Khuuchin. Nominative units with similar meanings have not been previously studied in Khakas language and folklore studies. To achieve this goal, the method of contextual analysis, component analysis, and word formation analysis were used. Phrases with euphemistic verbal nominations, included in thematic group ‘death’ were identified with the help of the method of contextual analysis. Using the method of component analysis, the presence of seme ‘death as cessation of vital activity’ was confirmed in the verb semes. By word-formation analysis, models of the formation of euphemisms with meanings ‘to die’ (8 models) and ‘to kill’ (5 models) were established. The notion “to die” is conveyed by euphemisms formed according to such semantic models as “to lie down > to die”; “to fall down > to die”; “to cross > to die”; “to pass over > to die”; “to break off > to die”; “to transform > to die”; “to part > to die”; “to break (about a saddle pommel) > to die”. The notion “to kill” in the analyzed texts is conveyed through euphemisms formed using semantic models “to make somebody lie down > to kill”, “to make somebody cross > to kill”, “to drop > to kill”, “to tear > to kill”, “to eat > to kill”. Most of euphemisms are formed by metaphorical transfer; one semantic model is based on metonymic transfer (“to break (about a saddle pommel) > to die”). The analyzed units reflect archaism of the ideas reflected in them about death as a transition to the world of the dead, as the result of the interruption of a thread–like substance – a soul ‘tyn’, as the transformation of the external appearance (khubulliterary ‘to change’, ‘to transform’), as the parting with the light world ‘akh charykh’

The article, based on an analysis of research literature, as well as a comparative method and cultural commentary, analyzes fairy tales about animals recorded in the 19th (collection of A. N. Afanasyev, 44 texts) and 20th (“Russian fairy tales of Siberia and the Far East: Magic. About Animals”, 13 texts) centuries, reveals the features of the creation of the image of a fox in the considered works. 45 plots with which this character is associated are analyzed, 9 of the most stable of them, preserved in the tales of Russian settlers to Siberia and the Far East, are identified: 15; 158+1+2+3+4; 155; 20A+21; 170+158; 103; 1+130; 61A; 61B, also in Russian fairy tales about animals, recorded in Siberia and the Far East, very rare plots for the Eastern Slavs are found: 31; 51A*; 56A; 6, which are also associated with the image of a fox. The principles of creating the image of a fox are characterized: 1) the name and addresses of other characters to her; 2) character; 3) speech; 4) characterization of the fox given by other characters; 5) features of the relationship between the fox and wild and domestic animals, as well as with humans; 6) actions and actions characteristic of a fox; 7) motives associated with the image of a fox. Modifications of these principles can be traced in later records made in Siberia and the Far East: a change in the nature of the interaction of the fox with humans and some animals (both wild and domestic); the emergence of a new motive for trade (in addition to such stable motives associated with the image of the fox as greed, gluttony, mischief, pretense, cunning, death of the fox through tearing/cutting). In addition to the atypical motif among the regional components in the records of the 20th century. The emergence of new characters interacting with the fox (milk mushroom, magpie, goat), a reflection of the natural features of a particular region, is noted. The good preservation in the texts of the settlers of what was discovered in the records of the 19th century is proven. a complex of archaic ideas about the fox, characteristic of the traditional picture of the world of the Eastern Slavs: the fox as a demon; fox as a female hypostasis; fox as a negative and positive image (trickster). Loss in 20^th century texts The ancient idea of the connection between the image of a fox and fire is probably due to frequent observations of the habits of specific animals and the influence of everyday realities.

This article is devoted to the study of folk names of animals and plants in the Yakut language, formed on the basis of “connection with mythological images, beliefs and totemism”. The study uses descriptive analysis to identify the connection between language and culture and the main patterns of motivational features of the nomination of wildlife objects; component analysis aimed at considering the formal semantic structure of zoonyms and phytonyms to determine the role of their use. The research material was extracted by continuous sampling from the database of Yakut phytonyms and zoonyms, created over the course of about ten years as part of the preparation of a dissertation on the topic “Vocabulary of wildlife in the Yakut language: onomasiology and etymology”. The database is based on a large amount of linguistic material from various sources: explanatory and dialectal dictionaries, biological books, field definitions with reference material, archival documents, folklore and ethnographic materials. The purpose of this article is to show the dependence of the nomination, use and semiotic status of wildlife objects on their signs and properties. The tokens associated with traditional beliefs and legends have bright markings that reveal the peculiarities of the culture and worldview of the Sakha people. The study found that the names of mythological creatures are used in the composition of complex phytonyms and zoonyms: abaahy (demon), tangara (deity), kut (soul), oyuun (shaman), etc. The images of mythological creatures abaahy “demon, evil spirit” and tangara “deity” are used to denote the negative and positive properties of plants and animal signs: abaahy “demon, evil spirit” in plants expresses venom, in animals – ugliness; tangara “deity” in plants – benefit and beauty, in animals – deification and totemism; it is curious that the kut lexeme “soul” (mainly referring in these nominations to cattle and large wild ungulates) is used in the nomination of beetles and their larvae (in which the mandibles are the most striking morphological feature – apparently a parallel to the horns).

This article examines the motive of marriage in the heroic epics of the Turkic-speaking peoples with a special focus on the plot basis and compositional structure of the motif within the framework of the epics version, which is common to a number of Turkic ethnic groups. The novelty of the results obtained lies in the fact that we systematically investigated the issues of the place of the motive of marriage in the epic works of the Turkic-speaking peoples, the function performed by it, the internal plot and compositional structure of this motif in the evolutionary development of the general plot, issues of poetization, the presence of echoes. The purpose and tasks of the study are to analyze the prerequisites for the emergence of the motive of the hero’s marriage in the epic tradition of the Turkic-speaking peoples, the use of various customs in it, to carry out a comparative analysis of the problems of plot and composition in the motive of marriage, the use of artistic means. In our work we used comparative typological, genealogical, problem-themed, historical and literary methods. Methods of analysis and synthesis are also used. As a result of the research, it was revealed that since ancient times our ancestors solved all the difficulties and hardships of nomadic existence, relying on the deep content of the national cultural heritage filled with nomadic philosophy, because it was in it that the traditions and customs of our people, the strength of their mind, the postulates of spiritual and moral behavior were enclosed. At the very core of folk customs and traditions are the problems of creating a family, choosing spouses, and getting married. The presence of mixed ancient religious concepts in the motive of marriage is also determined, the fact that these concepts complement each other to a certain extent indicates a rather significant parallelism in the prerequisites for the emergence and methods of poetization in the motive of marriage in the epic works of the Turkic-speaking peoples. The study found that the indigenous genetic affinity of the Turkic-speaking peoples is observed in the community of poetic artistic means. In addition, the semantic and symbolic aspects of the motive of marriage in the context of the epic tradition and the historical development of society were investigated and determined.