The main subject of the article is the motif for describing the fast movement of a rider riding a horse, revealed in a number of Turkic-Mongolian epic works and heroic tales. This motif, including a series of comparisons, attracts attention in connection with the traditional theme of the horse for the epic and the heroic tales of the peoples of Central and North Asia, which attracted the attention of many researchers, and for characterizing the zoononymous world of the epic. The similarities of motifs in the epics of the Turkic and Mongolian peoples themselves are of interest, firstly, in connection with their abundance, which grows with the introduction of new texts, and secondly, because they expressively characterize the linguistic and folklore picture of the world named peoples, in some cases reflecting ancient totemic ideas, in particular, veneration of the wolf. Another motif considered is related to the performance of epic songs with a comparison of playing a musical instrument, indicative and demonstrative for the exchange of epic traditions, especially along with the names of the performers. The purpose of the study is to generalize and comprehend various observations on epic texts representing different traditions, to trace possible interconnections of epic traditions, especially in those cases where the interconnections are not obvious, and to determine the prospects for their further research in comparative historical and typological aspects. The novelty of the study is the discovery of parallels between the epics of peoples geographically far distant from each other, a demonstration of the common motifs of the epic and a heroic tale, illustrations of the interplay of the epic traditions of Turkic and Mongolian peoples, as well as the presentation of the influence of the eastern epic and ancient Russian literature in the light of new reliable facts. It was unexpected that two motifs are present in the 12th century Old Russian literary monument – The Song of Igor's Campaign, moreover in the description of the flight of the protagonist of Prince Igor from Polovtsian captivity and in the singer’s game with a Turkic-Mongolian name in the musical instrument. In connection with this observation, the author draws attention to the fact that the musical practice of the singer Boyan, whom the author of The Song of Igor's Campaign mentions, in the text looks very similar to playing the heroine of the Kalmyk heroic epic Dzhangar, for which the same comparisons of the game on a string instrument and swan singing are used. The observations made reveal examples of the links between the epic traditions of the Turkic and Mongolian peoples, can multiply the number of oriental motifs in ancient Russian literature of the older period, and to some extent characterize the unity of the content and poetics of the medieval epic.

Acknowledgments: The study was carried out as part of a state subsidy – the project “Oral and written heritage of the Mongolian peoples of Russia, Mongolia and China: cross-border traditions and interactions” (registration number AAAA-A19-119011490036-1)

In Narts studies, one of the important and urgent problems, due to its insufficient study, is a comparative study of the narrative tradition of Nartiade. The purpose of this article is show their place and role of the narrator as creator, bearer, keeper and translator in society, in the development and preservation of Nart songs and legends. To achieve the goal, it is necessary to solve the following tasks: to recreate the short history of the institute of epic narration among the speakers of the Narts (Adyghe dzheguaco, Balkarian and Karachai zhyrchi/nartaichi, Ossetian kadgggænæg’i, Chechen-Ingush illanchi, Abkhazian narrators, Dagestan iyirchi, ashug); to study the features of narration and the personality of the narrator among the bearers of the Nart epic, its special status and impact on the spiritual and cultural life of society; to identify local, regional and typological universals in the North Caucasian narrative tradition.

This article is an attempt to consider the evolution of the personality of the narrator. The author came to the conclusion that narrators were the custodians of the traditional foundations of narration, the spiritual and cultural life of society, and therefore had a special status among their people. As a result of the study, it was revealed that in the national versions of Nartiade, given the common names of the main characters, motifs, plots, there are significant differences in poetics and performing manner. Performing traditions, manner of performance, the role of live communication of folk singers with the audience are described. In the course of historical-typological comparison, the main forms of the living existence of Nart songs and legends in the epic tradition of Nartiade narrators were revealed – orality and variability. When considering the functional role of the narrator, the correlations of the living tradition and the role of improvisation in it are clearly revealed.

Acknowledgments: The work was performed as part of the RFBR research project No. 18-012-00266 A

There is an increasing interest on the creative features of the Yakut epic olonkho in current literature. The article gives special focus to acknowledged researches of distinguished scholars who studied the oral epic heritage of the Sakha people. An overview of these researchers’ works and their methodology is achieved with the following goal – to single out rationalized academic approaches in the process of typological systemization of the Yakut epic based on the structural analysis of the olonkho plots and images; to explain the substantiated ideas expressed in complex research monographs by I. V. Pukhov, N. V. Emelyanov, A. P. Reshetnikova, and D. T. Burtseva as a systematic in-depth text analysis of the oral traditional art. In these aspects, there is a range of specific foundations that form the olonkho; this is explained in the research works in the form of plot classification and a fixed systemization of the main images together with a complex typological study of the unity of two planes – the epic content plane and the oral expression plane. The main dogmas of the research completed by Yakut scholars is advocated through the prism of theoretical issues and fundamental problems reflected in the works by Aristotle, H. W. F. Hegel, A. N. Veselovsky, E. M. Meletinsky on the aesthetics and poetics of oral forms of language art. Research results expand the range of possibilities of holding a complex study of epic, which does not exclude the possibility for scientific discussions. Perspectives for a complex olonkho research are in the fact that these research works reveal the creative onsets of the ancient oral art texts in a polyphonic concordance and in equal amounts. This is the conventionality in expressing the reality in its pure form, the inner completeness of a unified expression of the idea; and the originality, all of which cannot simply be taught; the uniqueness, equal to universality; the initial natural address towards the listeners, which can be equaled to the creative foundations of olonkho as one of the examples of unique epic narration forms. The article presents discussions of philologists on the issues of genre, images, plot and composition of olonkho. Revealed arguments and conclusions of researchers on the problems of typological and comparative study of legends. These are questions of structural text analysis; determining the value of the olonkho musical part and the function of ritual descriptions.

Acknowledgment: The paper has been prepared by RFBR according to the research project № 19-012-00467 a “Source study aspects of the study of the role of Christian culture in the formation of the Yakut writing and literature”

The main purpose of the article is to identify the ontological, biophysical, social and spiritual essence of the motive of initiation in the context of rational-empirical archetypes.

The relevance of the topic is determined by the fact that the existing ethno-historical, folkloristic, philological and literary theoretical arsenal of Kyrgyz legends does not reveal the ideological, philosophical, essential and existential aspects of the motive of the hero's initiation. Despite the fact that this phenomenon occupies a large place in the composition texture of Kyrgyz myths, being one of the most important parts, it is still not soundly investigated from the point of view of semantic aspects. As you know, for ideological reasons, in Soviet times, the epic heritage of the Kyrgyz people used a selective approach. Consequently, some interesting epic problems remained “outside” the research culture, which had to do with the mental specificity of the people. One such theme, we believe, is the nomadic motive for the initiation of the neophyte into adulthood. For it is through this motive shows the bright destiny of a neophyte, filled with amazing and unusual journey, grotesquely symbolic and colorful content. Therefore, these aspects give to the tests of the hero, to which he is subjected, an element of mystery, to this day in need of mental processing. Hence, the attractive magnet of the motive of initiation became the object of our research, because the awareness of its semantic resources remains relevant today. The analysis was carried out taking into account hermeneutic, inductive, structural and constructive methods of research, which determined the rational-empirical, spiritual, nomadic, ethnic aspects of the motive of initiation of the mythical hero.

Our research yielded the following results. The motive of initiation of the Kyrgyz mythical hero solves basically two problems. First, onto-epistemologically and axiologically initiation refers to the fundamental nomadic tradition, for the hero performs the functions of medium and conductor, connecting and cognizing the three forms of the universe – the highest (heavenly), middle (earthly) and lower (underground). Accordingly, through the initiation of the hero, a picture emerges of that heavenly world embodies eternity, this world – life and the underworld – death. Secondly, in the ethno-social context, the element of initiation acts as evidence of the natural-nomadic existence of the people, since the act of educating the younger generation is performed, in which the neophyte is formed as a person, gaining his life status.

The article is dedicated to the problem of the epic historicism, the theoretical basics of which were developed in the 20^th century by Russian researchers A. N. Veselovsky, V. Ya. Propp, B. N. Putilov etc. On the example of Evenki folklore, the measure of epic historicism is being researched in the epic traditions of ethnos.

The introductions of Evenki heroic legends are considered in the research in order to determine geographical information on historical ancestral home of Tungus. Based on the hypothesis of G. M. Vasilevich, the author analyzes the texts of legends’ intonations, attracting the information from related disciplines such as linguistics, ethnography, archeology, paleoecology and genetics.

As a result of folklore texts’ analysis the author makes an assumption about Baikal as an ancient ancestral home of the Tungus-Manchu people in the Late Neolithic. In the description of the epic hero’s homeland, distinctive geographical characteristics of Baikal and neighboring territories appear. The intonations of Evenki heroic legends tell about evolution of Siberian landscapes in the Holocene era, when the gradual change of the mountain tundra to the mountain taiga occurred under the influence of tectonic and climatic processes. According to the hypothesis of Baikal origin of the Tungus, prototungus culture arose on the basis of Serov and Glazkov cultures of Neolithic in the Baikalia-Transbaikalia. The results of archeological, ethnographic, genetic research suggest the representatives of Serov and Glazkov cultures as the ancestors of the Tungus-Manchu people. Localization of these cultures correlated with geographic information of Evenki nimngakans.

Also, the researcher expresses the opinion on the promise of using the multidisciplinary approach to doing research into folklore traditions for solving the relevant problems of Siberia and Far East people’s ethnogenesis and history. The research is of interest to the specialists of a wide range disciplines, especially for folklorists, the interests of which are connected with the future works in the historicism area of folklore. Moreover, the results of research can be useful for ethnographers and specialists of Siberia’s history and the Tungus-Manchu people’s history.

The purpose of this article is to analyze the philosophical and sociological aspects of the process of revitalization of epic culture in its entirety and completeness. The theoretical analysis of epic culture as a system is supplemented by the results of a sociological study of the problems of the most complex and unpredictable process of revitalization of the Khakas epic tradition.

To reveal the topic, the authors used a system-functional method, the essence of which is to consider the epic culture as a system, each component of which has a specific purpose. The work focuses on identifying the functions of the epic in society, which determines the context in which the epic tradition is alive and plays an active role in society. To determine the problems and prospects of the revival of the Khakas epic culture, a semi-formalized survey of experts (performers, writers, musicians, actors, scientists – a total of 21 people) was conducted. The results of the included observation were also presented, especially since one of the authors (A. M. Tyulberova) is a performer of Khakas heroic legends.

In the work, epic culture as a system is represented in the unity of the core (value system), elements (authentic text, narrative gift, “understanding audience”), “protective belt” (traditions and canons of performance, the system of prohibitions, ritual practices that accompany acts of performing stories and etc.). The authors highlighted the main functions of the epic culture: ontological, axiological, aesthetic, sociological, ethical, environmental, reflective, communicative, existential and psychotherapeutic. The epic heritage, functioning in its entirety, contributed to the preservation and development of the ethnos in time and space.

An analysis of expert responses showed that in questions of the revival of epic culture, respondents were divided into two unequal groups. Most believe that the epic heritage should be revived as a sociocultural phenomenon by educational, cultural, media and other institutions. A few supporters of understanding epic culture as sacred activity are convinced that narrator should receive the right to perform epic works only from sacred ancestors, and the action itself always sacred.

Further research requires the definition of actors, mechanisms and means of revitalizing epic culture as a resource for the self-development of an ethnic group.

Acknowledgments: The study was carried out as part of the RFBR project No. 19-011-00365 “Problems of the effective use of human capital: regional dimension”

The article views the texts of the later epic – the historical and heroic songs and traditions that exist among the Circassian diaspora of Turkey and make up the extensive corpus and a prestigious repertoire of the local tradition. The study is relevant in light of the developments in the field of the local and regional studies, the comparative study of the functionality of folklore forms in the metropolis and diaspora.

The main aims of the research are to pay attention to the social factors of the preservation of the texts of the epic cycle in the diaspora enclave which existed until recently without the influence of the written culture, the authorical literature and professional stage performance of the folk songs. The main objective of the research is to identify the local features of the functionality of texts and contextual narratives.

The texts of the later epic that exist among the Circassians of Turkey are considered for the first time in the declared aspects.

The materials of the article were collected by the author during 2009-2019. The field methods were in-depth interviews, participant observation, video and audio recording, notes in the expeditionary notepad and on the digital media. The research methods were the comparative, pragmatic, semiotic, functional approach, the discourse analysis.

The main conclusion of the research is that in a non-written diaspora tradition that has existed for quite some time outside the metropolis the certain sociohistorical factors are observed that contribute to the preservation of songs and legends of the epic cycle in a living authentic existence. Among these factors are the connection of the epic texts with the deep collective memory and group identity of the local culture speakers, social (linguistic, class, gender) skills and competences specifically understood by the local community, and the pragmatic (ethno-representative) functionality of the epic cycle texts.

The relevance of this kind of research is updating the forms of preservation and transformation of the traditional folk culture including the epic heritage in the modern conditions of urbanization and globalization.

The article discusses cosmological representations in the Dolgan yryalaak olongko, Evenki nimngakan and the Yakut heroic epic olonkho. The general aspects and specific ethnic features of these representations in the epic works of these peoples are revealed. The centuries-old cultural interaction and mutual influence of these close peoples on each other in the creation of epic works is noted. The universe in the epic works of Dolgans, Evenkis and Yakuts consists, as in the epics of many peoples of the world, of three worlds: The Upper, Middle and Under. These three worlds arose in those distant, immemorial epic times, when the great tribes inhabiting these three worlds had not yet appeared, and gradually they increased in size. In the epics of these peoples, we observe pronounced ethnocentrism, since the ancestors of the Dolgans, Evenkis, Yakuts and their descendants are populated in the epics in the Middle World. They speak the same language, have the same ethnic appearance, etc. They are close relatives of celestials and are in eternal enmity and struggle with the terrible one-eyed, one-legged, one-armed chthonic monsters, heroes of the Under World. In the Dolgan olongko, Evenki nimngakan and the Yakut heroic epic olonkho, we find many similarities. For example, in the description of three worlds, in the characterization of the main characters of epics, in space-time representations, the same epic clichés and formulas are used. There is a mutual influence of peoples in their epic work. The article also notes the ethnic identity of the epic works of these peoples. These features are clearly manifested, for example, when describing nature, occupation, fishing, vehicles, homes. So, for example, in the Yakut olonkho heroes ride horses intended for them from above. In Dolgan olongko, the heroes ride horses like gold, silver or copper, as reindeer, and in Evenki nimngakan they ride deer or moose. The characters of the epics live in the Dolgan raw-hide tent called golomo, Evenki tent – utenyakh and Yakut yurt – balagans. A comparative study of the epic works of Dolgans, Evenkis, Yakuts leads to very interesting and important conclusions. A comparative study of cosmological representations in the epic works of Dolgans, Evenkis and Yakuts has not yet been carried out.

Acknowledgments: The study was prepared as part of the RFBR project region No. 18-412-140013 r_a “The epic heritage of the Arctic (northern) Yakuts in the context of ethnic history (the problem of interaction and mutual influence)”

The article is a review of translations of the Yakut heroic epic olonkho into Russian and foreign languages. The review captures a large period, from Soviet times to the present. For the first time, such a study included unknown and little-known translations, as well as reviews on translations. The need to preserve and popularize the Yakut cultural heritage, represented by outstanding works of the Yakut classics, is confirmed by the history of Russia and of all mankind. The relevance of translation projects is due to the fact that in 2005 UNESCO recognized the Yakut heroic epic olonkho as a Masterpiece of the Oral Intangible Heritage of Humanity, which, in turn, caused attention to olonkho in different countries. This fact inspired an interest to Yakut epic worldwide and stimulated translations of it into various languages and the research of these translations that supposed to be a tool for Northern cultural heritage preservation.

The significance of translations of the olonkho epic is determined by the features of the development of traditional communities at the present stage, their cultural heritage, which is in danger of extinction, is of particular concern. Olonkho – the ancient heroic epic of the Yakuts – is one of the brightest examples of the archaic folk epic. The olonkho formed the ideas of the Yakut people about the universe, a system of moral values, traditional beliefs and customs, the originality of language and culture. Particularly relevant is the question of the features of the translation of the Yakut heroic epic olonkho into the world languages. The uniqueness of the artistic world and the language of the epic olonkho determines the extreme complexity of its translation and significantly distinguishes it from all other kinds of literature. At the end of the twentieth century the Yakut heroic epic olonkho spoke not only in Russian, but also in other languages ​​of the world. This paper considers translations of the Yakut epic olonkho into Russian, English, French, Korean, in particular, the full-text English translation of the olonkho Nurgun Bootur the Swift by P. A. Oyunsky; translations of olonkho Eles Bootur by P. V. Ogotoev and other epic texts. Translators of German, Turkish and Japanese also paid attention to various olonkho texts.

This article aims at analysis and description from the structurally-semantic and cognitive points of view of the participial form of the basic verb of visual perception of the verb kör- “look; see”, acting as a postposition in the text of the Khakas heroic legend Albynchy. The material for the study was the examples extracted from the text of the heroic legend Albynchy from the text of the postposition köre, where it is realized in the previously unrecorded in Khakas linguistics meaning the movement of the subject towards something. The relevance of our study is due to insufficient knowledge of the internal and external contents of this postposition as a language sign. In the Grammar of the Khakas language it is noted that it governs the dative case of names and pronouns; expresses likening and causal relationships. The functional-semantic and cognitive analysis of the factual material showed that in the text of the heroic legend Albynchy the postposer köre has its own characteristics, namely: a) it is consistent with the names in the form of accusative case (not dative case, as noted in the Khakas-Russian Dictionary); b) it indicates the direction of movement of the subject (and not similar and causal relations, as noted in the Grammar of the Khakas language). This fact is confirmed by the fact that in all sentences the process is expressed by a verb with the meaning of movement. The novelty of the study is that, based on the rich illustrative material introduced into scientific circulation, for the first time in Khakas linguistics, additional semantic and compatibility components in the content of the postposition köre were identified and described, thereby it gives a more extensive and comprehensive view of the Khakas postpositions at the synchronous level. The study is promising in the sense that it opens up new possibilities for linguistic and text-centric analysis of individual language elements and categories based on the material of heroic legends in order to reveal their semantic and linguocultural aspects.

The subject of this article is the study of the structure and semantics of syntactic constructions representing the main epic formulas in the text of the olonkho of the Northern (Abyi) Yakuts. The purpose of the article is to identify and describe on the material of the olonkho Son of the lour Er Sogotokh structural and semantic features of syntactic constructions expressing the discussed epic formulas. As a result of the analysis of this olonkho, it was established that it generally uses the basic system of formulas, which is also found in the olonkho of other local traditions – the Yakuts of Central Yakutia and the Vilyui Yakuts. The syntactic constructions of the considered formulas have a specific lexical and grammatical structure, characterized by dialect elements. The formulas in the analyzed olonkho are represented by constructions made out by certain forms of verbs, the name on -laah, etc. Along with the form of recent time, the form -taga is also used, which formally coincides with the indicator of assumed inclination. In the semantic plan, this form is often a stylistic use of the form of the recent past, which is also characteristic of the olonkho of other local traditions. In some cases, it acts as a past narrative time. In the introductory part of the olonkho, the first two tirades are equipped with an evidential particle “say”. Separate formulas (for example, of epic time; a hero who does not know his origin, etc.) functions in the form of parallelism with a relatively large number of members, which is not characteristic of the olonkho Yakuts of Central Yakutia. There is a relatively frequent use of the syllabic form of the past narrative time (ilte instead of ildibite ‘delivered’, boulta instead of buolbuta ‘became’ and others), which in modern Yakut language is found primarily in colloquial style. Instead of the final long verb teree ‘to born’, ekkiree ‘to jump’, telgie ‘to spread’, erie ‘to weave’, kerdie ‘to seek’ and others, the diphthong -үө is used, which also indicates the presence of ancient phonological phenomena in the language of this olonkho. The use in the text of the olonkho of the verb structure ooynoo ‘to play’, instead of the modern one, indicates the preservation of this ancient form in the Abyi dialect. Considered olonkho as olonkho, preserving interesting historical and dialectic phenomena, deserves to continue the study in a linguistic aspect.

Acknowledgments: The study was prepared with the financial support of the RFBF, project No. 18-412-140013 r_a “The Epic Heritage of the Arctic (Northern) Yakuts in the Context of Ethnic History (Problem of Interaction and Mutual Influence)”

At present, the problem of publishing epic texts is considered an urgent area not only in folkloristic science, but also in the cultural sphere of Yakut society. In this regard, the scientific community has been given the task of acquainting and educating those interested in the fundamental principles and modern approaches of editorial practice in order to improve the methodological principles of preparing for print and improve the quality of published epic texts in modern space.

The preparation technology of epic texts for publication has a long tradition, developed by considering genre specificity and features of folklore textology. This paper is devoted to cover the experience of Yakut folklorists in preparing for printing and publishing the texts of the Yakut epic olonkho in the republican book series Sakha Booturdara (Yakut Heroes). The series is a 21-volume edition of epic texts selected from each district (ulus) of the Republic of Sakha (Yakutia). The history of creation, the provisions of the series concept are considered, the general principles of preparation for publication are described, the most important results of the serial publication of olonkho texts are presented.

The series Sakha Booturdara was created in 2001 and completed in 2019. The main objectives of the series publication are to preserve the epic heritage of the Sakha people; to create a holistic view of the epic traditions in each district (ulus); to put little-known archival texts of olonkho into the scientific circulation; popularization of oral epic tradition. The novelty of the series is the territorial principle of publication, that made it possible to present a wide area of distribution of the epic tradition. Within the series, the olonkho manuscripts stored in the Manuscript Fund of the Archive of the NSC of the Siberian Branch of Russian Academy of Sciences (SB RAS) for the first time were introduced and published by the Institute of Humanitarian Research and Indigenous studies of the North RAS SB. The manuscripts were written down by researchers and freelance correspondents of the Institute of Language and Culture at the SNK of the YaASSR (the IHRISN SB RAS is its assignee). Despite being popular science publication, each published volume was accompanied by a reference and scientific apparatus corresponding to the modern requirements of scientific publications of folklore texts.

The publication of volumes of the series Sakha Booturdara is of great cultural and scientific importance, associated with the preservation and popularization of the oral epic heritage of the Yakut people.

The article proposes an approach based on the use of the properties of the hermeneutic triangle: the narrator-text-reader, which turns out to be optimal for the study of olonkho texts. All the essences of these three elements: the author-narrator (often nameless), the text and the reader-listener naturally flow into each other and serve as a support for each other. Olonkho created a unique type of epos, in which the language of precise artistic sketches, bright plot lines, multi-level architectonics is combined with subtle irony and sincere author's word. As a result, the epic scope is closely intertwined with the chamber and human warmth.

Another approach used in the work is the hermeneutic opposition “world-to-earth”. This makes it possible to establish a complementary connection between a huge reservoir of metaphysical senses and their realization in the middle world. The metaphysical essence of man and the world in the olonkho contributes to the comprehensive disclosure of the personality, the harmony of the images of the heroes and their environment.

The third approach involves the allocation of parts and the corresponding whole, as one of the options for the hermeneutic circle. Such parts of the text provide an intentional focus on the most important thing in this part of the text, filtering out all secondary collateral impressions. An exceptional variety of characteristics creates a complete, stable description that cuts into memory and at the next stages of hermeneutic analysis provides the interaction of the author, text and reader.

These three approaches make it possible to reveal the essence of the author-narrator, the text produced by him and the reader's orientation to the perception of the text. It is shown that the author narrator constantly refers to the “earth”, which contains the main tools of his work. Being focused on the phenomenological limit, it nevertheless constantly deals with other limits: communication and harmony rhythms. Any word, characteristic features, the narrator there chooses images, so that they correspond to the harmony rhythms of this test and fit into the communication systems while increasing their stability and optimality. A similar relationship between the limits is inherent in the reader-listener and the text. Their formation is based on the same interrelated limits.

According to many researchers, the motif of the miraculous conception and the miraculous birth of children is very ancient, characteristic of the mythologies of many peoples. The relevance of the research topic is associated with the study of the interpretation of the plot-motif elements of the Yakut olonkho, where the fundamental point is the motif of the origin of the main character. This article discusses the motifs associated with the miraculous appearance of the main character in the Yakut olonkho, its close connection with the elements of mythological representations, as well as with traditional rites. The main purpose of this study is to analyze the main motifs associated with the birth of the main character in olonkho. To achieve this goal, the author traced the reflection in the text of olonkho of the motif of the miraculous conception, the miraculous birth of elderly ancestors, the divine origin of the hero. For comparative comparison, the main features of the miraculous birth of the hero's antipode are revealed and analyzed. Descriptive and comparative methods were used to achieve the goal of the study.

The motif of the divine origin of the epic hero, his miraculous conception, birth is included in the complex of mythological motifs of the heroic type. The main attention is paid to the consideration of this motif in its relationship with mythological and ethnographic data. The novelty of the study lies in a detailed study of the motif associated with the origin of the main character olonkho.

The epic plot motif “the birth of a hero from elderly parents” is one of the main motifs of the olonkho epic and is associated with mythological views. In olonkho texts the motif of “miraculous conception” of the heroine from the black breath knights abaasy is considered as an archaic layer in the olonkho about the warrior-woman. In the Yakut olonkho is typical of the miraculous and of divine origin.

As a result of studying the features of the motif of the miraculous birth of the hero and his antipode in the texts of olonkho, we note that they are archaic in content and have their roots in the myths of the ancient Yakuts, are closely interrelated with traditional birth rites. The birth of the antipode abaasy is significantly different from the motif of the birth of the hero hero of the tribe aiyy.

The article considers the issue of cultural information of olonkho P. A. Oyunsky’s Nurgun Bootur the Swift. The purpose of the study is to isolate and analyze groups of cultural information in the epic in question. The relevance of the study is due to the fact that an in-depth study of the reflection of culture in olonkho, as the oldest guardian of folk memory, is an integral and important part of the study of olonkho as a whole, the systematization of which is at the initial stage. The tasks of the work include: the study of theoretical literature on cultural information; collection, analysis and classification of factual material reflecting cultural information in the olonkho P. A. Oyunsky’s Nurgun Bootur the Swift; generalization of the results of the work. The method of continuous sampling, comparative-contrasting and descriptive methods are used.

In the course of the study, based on the writings of V. S. Vinogradov, the following classification of cultural information was highlighted in the heroic epic olonkho Nurgun Bootur the Swift: 1. Household information: housing, property; clothes, attires; food, drinks; types of labor and occupations; 2. Information of art and culture: folk dances and songs, performers; national holidays, games; customs, rituals, traditions; 3. Ethnographic and mythological information: ethnic and social communities and their representatives; deities, spirits; sacred, magical items; 4. Information of the natural world: animals; landscape. 160 examples of cultural information that are often repeated in olonkho are analyzed. Most of the cultural information was found in the third group – ethnographic and mythological information: heroes, boomers, spirits and deities, characters of three worlds, as well as sacred and magical objects. The next large group is descriptions of nature and animals. The abundance of these examples can be explained by the fact that the Yakuts consider themselves children of nature, therefore they highly honor, respect, praise and describe her many times in the olonkho. These descriptions give us a general idea of ​​the world, of the environment of the inhabitants of the three worlds. Least of all cultural information is observed in groups of household information and information about culture and art. Examples of these groups are very common, but are repeated many times and help the reader better imagine the image of the presented hero.

The article presents the results of a comparative analysis of the text of the Oymyakon olonkho Duguya Bogyo by olonkhosut M. F. Ammosov (total 4221 poetic lines) with the main fund of published (58 units) olonkho texts in order to detect their interaction and mutual influence at the level of stable epic formulas. At the same time, to narrow the search circle, epic formulas well-known to epicompetition were eliminated, which are typical places and therefore are contained in almost all olonkho texts in one variation or another. In this regard, more “narrow” formulas are considered that are not known to the wide scientific community. Thus, this article will make a modest contribution to expanding the diversity of epic material for further comparative studies. It is important to note that the identification of primordial epic formulas, which are the basis for further variations, is impossible. However, in our opinion, the establishment of a relationship between epic formulas is quite possible and is a priority for modern researchers of the Yakut olonkho. In the course of the analysis, 299 units of epic formulas formed on the basis of rhythmic-syntactic parallelism were revealed from the text under study. Of these 299 units, correspondence and analogies are observed in 20 examples, which is 6.68% of their total number. As a result of the analysis of these stable epic formulas, it was established that in them the primary organizing principle is rhythmic-syntactic parallelism, and the secondary is the initial alliteration. Due to this, epic formulas, passing from the repertoire of one olonkhosut to the repertoire of another (only 14 olonkhosut from 9 regions of the republic), retain their basic structure and semantics. Thus, stable epic formulas are revealed, which are zones of mutual influence of the analyzed and compared texts, which were classified according to their subject. The percentage of interaction and mutual influence at the level of epic formulas for specified zones (areas) of the existence of various epic texts being compared is also established.

Acknowledgments: The study was prepared with the financial support of the RFBF, project No. 18-412-140013 r_a “The Epic Heritage of the Arctic (Northern) Yakuts in the Context of Ethnic History (Problem of Interaction and Mutual Influence)”