The general characterization of Caucasians epos «Narts» is given in the first part of the article including data about significance of monument in spiritual culture of peoples having this epic tradition, about specifity (similarities and differences) of epos national versions, about characters and legends sacred them. The second part is dedicated to duration constants detecting of epic acts in Caucasians «Narts». The description of time and space so called «chronoact» (V.M. Gatsak) is relevant in poetic structure of heroic historical oral tradition. It is notable that semantically different epic acts are described similarly in narts epos of Caucasian peoples. A number of motifs describing in different national versions of epos are marked such as being of bogatyr on the road, cutting epic road, bogatyr fight, narts feast, epic dream, freezing the giant adaua in water. Based upon this motifs descriptions from Abkhazian, Abazin, Adygei and Osetin natrs epos` versions, also from fairytales and heroic historical songs and legends texts are compared. The samples from different narts epos` versions show a lexical-semantic similarity of description of duration constants of epic acts and it gives evidence of time and space continuity (chronotop) in epic narration. By its structure duration constants of acts defined by composition of different temporal dimensions, duration topos (from many a year till 1 minute) in narts epos.

The comparative analysis of such two basic components of spiritual life of the Turk-Mongolian people`s life as epic and shaman traditions is relevant in modern national folklore. The purpose of this research is to consider the semantics of common mythological characters in epic and ceremonial texts. The comparative aspect of myths research in the epos, shamanism and the Turk-Mongolian parallels weren’t yet an object of special study. Certainly, the semantics and genealogy of epic events and function of heroes are more precisely revealed in the context of ceremonial materials. The representation of the Turk-Mongolian mythology characters reflecting the ancestral lunar and solar beginning as a symbol of protection and fertility implicitly or explicitly prevails in epic texts. The image of nine heavenly children remained in the Yakut epic texts and is absent in the Buryat epic texts. In Buryat legends this image remained only in the steadiest repeating ceremonial events. It should be noted that the image of nine heavenly children more fully preserved in the Yakut tradition. Therefore, we tracked the semantics of single Turk-Mongolian mythological characters in ceremonial events and epic texts. We have also revealed similar archaic elements in their image, safety and transformation of cultural codes. According to our observations the basic model of the shaman mythological world is realized in epic poetic texts. The value of mythological characters in the epos and ceremonial events is identical very often.

Folklore rarely turn to other nationalities in the study of materials with even common drugmi peoples folklore phenomena. This article was written based on this gap, which determines its relevance.

The purpose of the article is to attract attention of researchers to the relevance of the comparative study of the Bashkir epos with the Kyrgyz in the context of artistic universals as part of the cultural universals.

To achieve this purpose put the problem, at the first, to justify the historical contacts Bashkir and Kyrgyz national epic carriers, secondly, applying the principle of artistic universals epics reveal the similarities of the two nations at the level of thematic motifs. So, in this article, in particular, justified by the historical connection of the Bashkir and Kyrgyz living in the upper reaches of the rivers Irtysh and Il, as evidenced by the preserved toponyms «The Bashkir’s Steppe» and «The Bashir’s land». On the same ground was born the great Kyrgyz Manas, the eponymous hero of the national epic. This epic, as an element of universals of language arts, has a number of similarities with many motifs Bashkir epic monuments. The author in this regard sees such traditional motifs as «wonderful birth hero-bogatyr», «omen and herald of the message about birth son-hero», «heroic childhood», «the mother hides the identity of a person dear to the hero, or the father of the bride» and etc.

Given the limited scope of the article, the author is confident, that with the assistance to the investigation of a wide range of factual material, possible to carry out a sufficiently large and interesting studies that, in turn, spoke about the prospects of the topic.

The article presents an analysis of situational stereotype and behavioral roles of leading characters in Yakut and German-Scandinavian epos. The author proposes to draw attention to the evolution study of epos summand. The removability of passing rituals of a leading character`s life forms the main elements of epos composition making practical topos for narrators that helped to memorize great number of texts. A.P. Reshetnikova introduced the notion «epic ritualism» as a factor of world epos` that will let to reconstruct the development of each epic ritual. Song parts of heroic epos are considered as a portrait marker having individual musical characteristics that lets the singing to act as a special language understood by sacred adressees. The offered consideration method of narrative blocks allows to newly build the historical poetic summands.

Yakut heroic epos by its global and great content, by beauty and wealth of imaginative skill can pretend to rightful place along with epic heritage monuments such as ancient Sumerian epos «Guilgamesh», Greek «The Iliad» and «The Odyssey», German «The Song of the Nibelungs», Finnish «The Kalevala», Russian bylins, Indian «The Mahabharata», «The Ramayana» and others. Today, the problem of positioning Olonkho in epic world as Masterpiece of the Oral and Intangible Heritage of Humanity is current for modern Yakut epic studies. Comparative studies of Olonkho with world epos will resolve this problem.

The researchers assumed that in the Middle Ages Yakut ancestors were a part of the Turkic Great Kaganate and had cultural relations to many countries, including India. It is possible that despite uniqueness of each epos there are similarities in plot, motive, characters and artistic ideas of Olonkho and Indian epos. The article provides comparative analysis of «Nyurgun Bootur the Swift» by K. G. Orosin and Indian epos «The Ramayana» in literary exposition by V. G. Ermin and E. M. Tyomkin. The analysis is aimed at detection of similarities and differences of the epics` plots. The studies of typological similarities of Yakut heroic epos olonkho and Indian epos «The Ramayana» can also expose Yakut epos singularity as each epic monument gets special inimitable traits in consequence of cultural, historical and mental peculiarities of peoples of the world.

On the existing supposition of possible ancient relationship between some American Indians languages and Turkic languages the author tried to establish similar subject lines in national fairy tales of native speakers, in particular the Turkmen and different American Indian tribes. To this end, some fairy tales that were included to the collections «Son of the Morning Star» (Indian tales) and «The Sold dream» (Turkmen tales) were exposed to a comparative analysis in the article.

On the basis of revealing and subsequent description of identical lines in such fairy tales as «The Wolf Tooth and beautiful Nitaki», «Karaja-batyr», the Dakota Indians tale «Nepi and Nip» and «Three companions» from «Turkmen folk tales» collection the author came to the conclusion that the plot of American Indian and Turkmen fairy tales that passed down through the generations suffered a lot of changes although they had commons and principals in the plot. Each American Indian and Turkmen storyteller expounded a tale proceeding from aesthetic requirements of the listeners adding or subtracting minor storyline or even characteristic details for achieving the most effective influence on people around. In this thousand-year process the main plot usually gave way to the minor plots that were brought later and then new original-regional fairy tales appeared. In a subsequent these minor plots which became the main were also displaced by other minor plots etc.

Comparisons are widely used in the genres of Yakut folklore, in particular, in the Yakut heroic epic olonkho. Each olonkhosut uses comparisons in order to give poetry, beauty, vitality and significance to description of the hero, verve of action and plot. For the purpose of identifying and analysis of the comparative constructions in olonkho text we examined two olonkhos of talented olonkhosut from Taattinsky District Nikolai Tikhonovich Abramov «Elbet Bergen» and «Shamans Uolumar and Aygyr» which are examples of early types of Yakut olonkho. In the course of the research, we used the classification of turkologist Yu. I. Vasilyev and such methods as a continuous sampling method for collecting the materials from olonkho texts, descriptive method and semantic analysis for identifying the function of comparative constructions in the text and their role in the linguistic picture of the storyteller`s world. The results give us an opportunity to mention that in the olonkho texts were used all the basic methods of comparison expressions listed by Yu. I. Vasiliev. This fact may be one of the signs of enormous creativity and imagination the olonkhosut. Olonkhosut as a bearer of national culture, customs and traditions of his nation uses natural phenomena of native Yakutia in his figurative comparisons and the specific characteristics of his nation. N. T. Abramov as a native speaker of the oral tradition mainly uses comparisons developed as a stable formula in the Yakut epos. As specific features of a concrete olonkhosut`s comparisons can be considered not more than 6% of the total number of selected examples.

The article discusses the heroic epos «Kozin-Erkesh» by N.U. Ulagashev and compares the legend texts in various publishing editions. Today the heroic epos is known only in the repertoire of N. U. Ulagashev. The heroic epos «Kozuyke and Bayan» is the version of the epic «Kozin-Erkesh» that is more widely spread among Altain Kaychi. The plot of the heroic epos «Kozin-Erkesh» and «Kozuyke and Bayan» is close to the plot of the kazakh epos «Kozi-Korpesh and Bayan-Slu», to the bashkir epos «Kuzi-Kurpes and Mayan-Hilu», to the epos of Siberian Tatars «Kozi-Kurpesh and Bayan-Silu» and to the epos of other Turkic peoples.

The aim of the article is to review and compare the texts of the heroic epos «Kozin-Erkesh» in the various publishing editions. The author concludes that as a result of literary treatment that have been removed some episodes about curse between son and mother that led to the distortion of the text content and caused conflict mitigation between them.

The article considers the genesis of the epic «Dzhangar» related to the process of transformation and mutual permeablity of folklore genres. Kalmyk heroic epic «Dzhangar» as polistadial text of popular culture is a syncretic unit including special transformed archaic-mythological tradition. The tradition also sheds light on the problem of the epic text genesis. Heroic epic develops as an immediate continuation of the folk traditions of the archaic society based on interaction of mythological cycles about the ancestors, culture heroes and heroic tales. In the reconstruction of archaic layers of the «Dzhangar» plot the researchers revealed archaic motifs and concepts dating back to ancient rituals and rites of the early nomads. The author concludes that the archaic substrate of the heroic tale is revealed by considering the archaic motifs that dates back to the myth-and-ritual and ceremonial complex as well as reconstruction of the poetic and genre-stylistic peculiarities of epic monuments. Therefore, comparative and typological analysis of heroic tales and national versions of «Dzhangar» epos reveals the fund of universal structural elements of different levels such as narrative, thematic and motivic that gives an idea of the stability and generality of the fairy and Dzhangar epic traditions. The specific and universal features in the Kalmyk heroic tale and «Dzhangar» epos are revealed by reconstructing process of transformation of the heroic tales into heroic epic. Universal features related to the syncretic nature and mutual permeablity of the heroic tale and epos genres. Specific features caused by socio-historical factors of the patriarchal clan and feudal system had an impact on the heroic tale and heroic epos genres` formation.

The author gives examples of the Yakuts pre-journalism information forms and notes that journalism is not only a part of the culture but also a very important part of social development. It influences the evolution of public opinion, the development of spiritual and material culture. In preliterate era the Yakuts formed the most appropriate and effective peculiar ways of informational communication for that time. In particular, the folklore, heroic Olonkho epos, legends and stories which primarily have been transmitting information about ancient history, origin and worldview of the Yakuts. The author also considers the national holiday “Ysyakh” as a platform for communication. The Yakuts were discussing current issues and sharing important domestic and economic information as well as performing ceremonies and rituals during the festival. Fable and epic tellers (olonkhosuts), ritual songs singers (toyuksuts) had a great influence on the public opinion, national consciousness and formation of the young generation`s sense of national dignity in everyday life of the Yakut people. Olonkhosuts and toyuksuts as educators reflected the most vital issues of social and political life, thus forming the peculiarities of information perception. It became the characteristic phenomenon of cultural life of Yakutia up to the end of the XIX century. In this historical context the works of the Yakutian national hero, extemporaneous singer and olonkhosut Vasily Fedorov – Manchary (1805-1870) confirm that national folklore should be considered not only as the precursor of fiction, but also as a pre-journalistic forms of necessary information transfer. 

From history of events dedicated to preservation, popularization and development Olonkho.