The purpose of the research is to reveal of the patterns of the formation and centuries-old development of the common Turkic and Bashkir author’s oral poetry. The relevance of this article is determined by understudying the comparatively research of the problem.

The main method is historical-comparative and system approach to studying the Turkic national professional improvisers’ creation.

The author's verbal poetry, as unique phenomenon in artistic literature, took place in the history of culture of many peoples of the world. There, unsurpassed masters of the poetic word composed their compositions, as a rule, by improvisation in front of the public and expressed their personal world view and ethical assessment of reality. Particularly widespread was the cultivated professional creativity among the Turkic peoples. Authors of verbal poetry combined art creativity with great public activity. They enjoyed popular authority among people, courageously intervened in the activities of rulers and leaders. A characteristic feature of the creativity of verbal writers is to touch upon the most pressing issues of the time that are relevant to a given society at the time of a public address to people.

By the nature and content of the work of the masters of the word, the centuries-old Bashkir verbal authorial poetry was consonant with the work of the related Turkic-speaking peers. Bashkir sesensoften turned to aitysh (poetic competition), kubair, epic, song, and partly – bait. These are the genres widely spread in the Bashkir folklore. Although having the same name, the same genres in the author's poetry differed from the folklore by conscious authorship, creative individuality, the closeness of objects of the image to the reality, the stability of texts, the prevalence of philosophy and didactics.

The main results of the work allow us to state that the professional author's poetry of the Turkic peoples, as well as the creativity sesens of the 16-18th centuries was at the level of universal achievements of literature both in content and in various forms of its reproduction. At the same time, it was generally characterized by distinct local characteristics, and in each author – by unique personal features.

One of the Central problems of modern Russian folklore is the further development and improvement of methods and principles of textual research of works of different genres of folklore prepared for publication. First of all, it refers to the national heroic epic, widely represented in the artistic heritage of our multi-ethnic country.

In this regard, the experience of textual research of epic monuments of different peoples of our country, accumulated by Soviet folklorists, who prepared for publication volumes of bilingual academic series “Epic of the peoples of the USSR”, acquires a special value.

The article describes the experience of the Altai, Yakut and Khakass folklorists who prepared for publication in the series of the Altai heroic epic “Maadai-Kara”, the Yakut heroic epic “Obstinate Kulun Kullustuur” and the Khakass heroic epic “Altyn-Aryg”. The compilers of the volumes had at disposal asynchronical fixation of the material, this determined a different approach to its preparation. By no means unimportant was the preparation of introductory studies for each of these volumes. They included a brief reference on the history of the people, the history of its fixation. Publication and study, the creativity of its performers and custodians, the place of the monument in the folklore of the people who created it, its genesis, the system of its characters and poetics were characterized. “Comments”, “Notes” and “Dictionary” to each volume substantially enhance the introductory study. The study of this invaluable experience will make it possible to open new paths of textual research of epic monuments.

The publication of the monuments of the Altai, Khakass and Yakut epics in the bilingual academic series “The Epic of the Peoples of the USSR” not only duly presented these outstanding creations of the oral folk poetry of the peoples of Southern Siberia, but organically included them in the world epic context.

The article discusses a problem of studying of interrelations of folklore traditions of Yakuts and Tungus (Evenki and Evens). The presented subject is exclusively important for the researchers in two problems. It is, first, the origin of the Tungus epic - whether it is a product of independent development of Tungus folklore or the Tungus epic has developed under direct and rather strong influence of samples of the Yakut heroic epic olonkho or, probably, at influence of any other epic tradition which was close to Turkic and Mongolian one. Secondly, it is character and forms of realisation of folklore interrelations in epic genres or the genres close to the epic and having correspondences with the epic. The actuality of presented article is connected by that in process of accumulation of number of the Yakut and Tungus epic texts in studying of an epic heritage of the peoples of Yakutia there are put the new problems, namely: studying of poetics of different ethnic epic traditions, and also objective research of different forms of display of interrelations of different ethnic traditions at level of plots, poetic figures and receptions (in qualitative and quantitative aspects), motives, details of a narration, the world of objects in epic texts. The main purpose of work is to show the facts and forms of interrelation of the Yakut epos and wider the Yakut narrative folklore with folklore of the Evenki and the Evens in the samples fixed for last 50-60 years. Our work designates prospects of consideration of each new Tungus epic text in respect of searches of analogies with Yakut olonkho and some types of fairy tales known for today in spheres of subjects, characters, structure of motives, the world of objects and attributes, and also in areas of epic sociology (social relations of epic heroes in the sphere of the main character and in the phere of its antagonists) and epic cultural science (structure and the image of the world of artefacts: clothes, the weapons, art subjects, the relation of the person and animals, etc.). The basic results of research are that: 1) concrete Yakut-Tungus parallels under texts; 2) a variety of their types; 3) presence of any elements of the text outside of Yakut-Tungus ethnographic area; 4) influence of the Yakut fantastic tradition on formation of late plots of the Tungus epos, traced both on an Evenki epic material, aswell as on a material of Even texts.

The article is devoted to the problems of studying the phenomenon of storytelling in the folk tradition of the Kalmyks. The purpose of the article is to reveal the features of the Kalmyks' storytelling. In the course of the study, biographies of storytellers, fairy tales and legends and stories about obtaining a narrative gift were studied in detail. The relevance of the research topic is due to the need for academic study of the phenomenon of storytelling. The acquisition of the “narrative gift”, the question of the degree of influence of objective and subjective conditions in the development of the narrator is still open in both national and world folklore.

In the folk tradition of the Kalmyks, the narrator is the bearer and keeper of a wide variety of knowledge, experience, spiritual values and traditions. The name of the narrator is surrounded by legends about the origin of the gift of the epic narrator-dzhangarchi. A study of the biographies of storytellers-dzhangarchi allowed to reveal storytelling school is a family dzhangarchi who transmit their skills and repertoire. Since ancient times, around the names of the performers of the epic there reigned a halo of mystery: these are stories about receiving a gift from the singer under unusual circumstances, most often in a dream. Stories about getting a particular narrator-tuulcha or dzhangarchi were popular in the Kalmyk folk tradition. This is confirmed by many studies on the history of the role of the narrators of a people. However, each narrator has his own individual style, creativity of each requires individual study. In the performing tradition of the nomadic society, the narrator performed in different roles as a musician, a diviner, a singer. We identified that the most important condition for the preservation of the institute of storytelling is a tradition of performance, commitment dzhangarchi to one or another of the epic school, and equally important is the ritual of performance. The considered texts of legends about the origin of the gift of storytellers are a reflection of the people's interest in the performers of the epic.

Acknowledgements: The article was carried out within the framework of the State Order “The Code of Kalmyk Folklore. Preparation of volumes: Volume «Kalmyk tales about animals, household, cumulative tales and fables»” (project № № АААА-А16-116053010037-9).

The article studies the Central Asian versions of Gorogly epic, their comparative analysis is carried out in the historical, ethnographic, and cultural aspects. The relevance of this study is due to the need for a comprehensive study of this cycle, with the definition of its historical basis, as well as cultural interactions, to more accurately determine the basis and time of the formation of the epic. The aim of the research is to find similarities and individual differences between the versions, to trace the sequence of cultural mutual influence of the peoples of the region, and also to explain the reason for such a wide spread of the epic. The task of the research is to examine each epic of this version, to analyze their content and to reveal the way of cultural relations between peoples. The scientific novelty of the research was reflected in the idea of ​​the possibility of a historical basis for the Central Asian versions, the origins of which are hidden in the Turkmen version of the heroic epic. In this article, the epic is considered as an indicator of cultural relations between the peoples of the Central Asian region. The Central Asian versions of Gorogly epic include versions of the heroic epos of Turkmen, Uzbek, Karakalpak, Kazakh, Tajik and Tatar (Tobolsk Tatars) peoples. The comparisons of these versions of the epic give some idea of the range of long-standing mutual contacts and cultural ties of the peoples of the region. Especially many parallels between versions are found among peoples living in the neighborhood with each other. The multitude of national versions of the epic and their plot closeness speaks of unified cultural roots, the foundations of which began to evolve even in remote times. And the final approval and the acquisition by them of certain local-national features occurred already in the process of forming them each in their national environment. Despite the fact that the study of Central Asian versions of the heroic epic involved a large number of researchers and each of them devoted a lot of publications, yet the original and infinitely diverse stories, variants, ideological and artistic qualities of the legends about Gorogly deserve even more attentive and special study. Because, reflecting in the highly artistic form the bright ideals and aspirations of the people, the Gorogly epic has undoubtedly played a significant role in bringing the peoples of the region closer together, in the formation of national cultures, and continues to serve the cause of educating the younger generation.

The territory of Segozero has two unique features that are not inherent in the whole of Karelia. This is the absence of a fixed epic tradition and the widespread development of song lyric genres. There are two reasons for this. First, perhaps in the process of development, one trend excluded the other. Secondly, it was the Segozero Karelians that experienced quite a great Russian influence in the early 19th century.

The article is written on the basis of archival materials and records made by the author during folkloric-ethnographic expeditions to Segozero Karelia in the first decade of the 21st century. Traditional methods of folklore studies were used: typological, descriptive, comparative-historical, and structural-typological.

The aim was to identify the process of transformation of folklore genres for a century and a half, to determine its main directions, as well as to present the epic as a reflection of the mental (worldview) beliefs of the people. One of the objectives was to attempt to establish the probable reasons why in Segozero, back in the 19th century, they failed to capture the epic tradition, widespread throughout the rest of Karelia.

The relevance of the article is determined by the need to trace the changes in the folk traditions, folklore texts and genres, as well as to be aware of new trends in folk art.

The study showed that only the older generation speaks Karelian nowadays. It should be noted that during the 20th century there were significant gender changes among the carriers of the Karelian folklore tradition. With wizards, medicine men and storytellers of the past being men, the by mid-century these practices were passed on to women. Almost all the traditional genres that existed in this territory in the Karelian language have gone out of everyday life. Epic songs have not been known for a long time. People still remember the existence of fairy-tale traditions and some plot conflicts, but can’t tell the tale. Music genres have been preserved for much longer. It is a funeral wail and a rhymed lyrical song. These are typically female genres. Thus, we can talk about the fragmentary preservation of the mythological prose. The main folk genre today is a biographical story.

Acknowledgements: The financial support for the research came from the federal budget for fulfillment of the state commission to the Karelian Scientific center of the RAS (project № АААА-А18-118030190094-6).

On the example of Shor heroic legends, recorded from contemporary storytellers – kajchi, as well as the archival text of “Meret Oolak…”, this article examines the forgotten words and archaisms, found in the names of epic heroes and horse colour terms.

The subject of the article is relevant due to the fact that there are difficulties in translating and understanding proper names of epic heroes and coat colours of their horses containing a large number of archaisms and difficult-to-translate vocabulary, the semantics of which cannot be always explained by storytellers themselves.

The scientific novelty of this work consists in the fact that, on the basis of decoded epic texts and engaging materials closely related to Turkic-speaking peoples (Altay, Khakass), we first analyzed and restored the lost performers of the archaic words and expressions.

The purpose of the article is to identify forgotten words and archaisms found in names and colours of horse coats. Clarification of the meaning of the words, lost language, will undoubtedly enrich the vocabulary of contemporary Shor people. For this research, the following works were carried out: working with the closely related dictionaries of Turkic-speaking peoples (Altay, Khakass), the study and mapping of the comparative material, attracted from their language and folklore.

The translation of forgotten words and difficult-to-translate vocabulary, the meaning of which cannot be always explained by native speakers themselves, remains relevant in the Siberian folklore studies. Therefore, the solution to these outstanding issues on the Shor epic material will form the basis for comparative-contrasting studies in Siberian epic studies. In addition to these academic results, identifying archaisms and setting their values is of great importance for the modern generation of Shor peoples who, growing up in the Russian urban environment, are gradually forgetting not only their native language, but also the culture. Restored semantics of the archaic epic words and expressions will replenish the vocabulary of the contemporary Shor people.

The problems of the Kyrgyz people's religion have always been of great and controversial academic interest. In this regard, the article examines the complex issues of the belief of the Kyrgyz of the pre-Islamic and Islamic periods. In their centuries-old multilayered ethnopolitical history, Kyrgyz people professed, to a variable degree,Animism, Zoroastrism, Shamanism, Totemism, Tengrianism, and then Buddhism, Christianity etc. However, due to various circumstances, Kyrgyz people did not become convinced fire worshipers, Buddhists or Christians. Most importantly, the Kyrgyz remained “moderate” Muslims. There are many reasons for this. First of all, the long domination of nomadism, as well as the patriarchal-tribal way of life and, of course, the extremely viable forms of pre-Islamic beliefs, and the cult of ancestors and deceased, who organically intertwined, coexisted with the fundamental provisions of the Hanafi Islamic Sunnism. The most important thing is a great epic heritage, an epic worldview and a world perception of Kyrgyz people.

Such a feature is the essence of folk or traditional Islam of the Kyrgyz people. Of course, in this unique mixture, occupying a certain niche in the spiritual development of Kyrgyz people, various archaic beliefs existing at the subconscious level played an important role, as well as the uniqueness of the mentality of the Kyrgyz, which gave the Muslim faith to the Kyrgyz a very syncretic character.

It should be noted that the pre-Islamic beliefs of Kyrgyz people also make themselves felt today, although they are gradually being put on the back under the influence of the canonical Islam. There is a completely natural process of sequential absorption of the old by new ones, archaic forms of beliefs adapt and enter into a synthesis with Islam.

At the same time, during the atheistic Soviet times and the post-Soviet years of the Muslim renaissance, a certain part of the Kyrgyz society continued and continues to bow to the spirit of Manas. These features of the religious consciousness and self-awareness of the Kyrgyz are reflected in the Manas folk epic.

Many narrative and descriptive sections of olonkho are carefully designed at the level of signs and can be characterized by semiotic systems and the forming semiotic series, which are characterized by completeness, stability and optimality. Among them, we can distinguish, first, systems that characterize the structure of the world.

The main semiotic series that give an idea of ​​the main plot lines of olonkho are identified: the hero's motivation for combat, including his physical and psychological form; the armament of the hero; characteristics of a fighting horse; preparation and way of the hero to the battle; the battle itself, which ends with the victory of the hero. Usually these series are included in wider semiotic systems. There are four main semiotic systems of olonkho: general, the Upper World, the Middle World, and the Under World. Semiotic systems give an idea of ​​the environment surrounding the heroes of olonkho and the worlds in which all the plot actions take place.

The interaction of the individual with nature is characterized by the master-spirits of the objects, things, manifestations of nature or certain places: lakes, rivers, seas, roads, passages to the Upper and Lower worlds - ichchi, They can be considered the soul of an inanimate object (stone, forests), dwellings, khoton, tethering posts (sergė). Such a soul can have processes, such as fire, as well as a significant word.

As a material for illustrations, we chose the text of the Yakut heroic epic olonkho “Nurgun Botur the Swift” recreated, basing on folk tales, by Platon Alexeyevich Oyunsky. Vladimir Derzhavin carried out translation into the Russian language.

The considered semiotic series are associated with the identification of the main images and objects of olonkho, and semiotic systems - ensure the communication of these images and objects with each other and with their environment. The connection between series and systems is provided through the rhythms of world harmony. Semiotic series and systems are oriented on the universal of the Yakut heroic epic of olonkho: universalism, harmonious interaction with nature and tolerance of the epic.

The article considers the images of the higher deities of aiyy in texts of the olonkho of the Northeastern epic tradition of the Yakuts (Sakha). This article addresses the problem of regional and local traditions of the Yakut olonkho. The olonkho of the Northeastern tradition is studied as a separate branch of the epic tradition of the Yakut narrative. The purpose of this article is to study the epithets and functional accessories of the deities Yuryung Aar Toyon and Yuryung Aiyy Toyon in the olonkho of the studied tradition. To achieve this goal, it was necessary to consider the works of researchers of the Yakut folklore, ethnography and history. We analyze the epithets of the higher deities of the aiyy and revealed their functions in the texts of the olonkho of this tradition. Using the method of continuous sampling, we examined the works of researchers. Using the comparative-contrasting and descriptive methods, the epithets and functions of the deities of the aiyy were revealed in the olonkho of the Northeastern tradition. When analyzing the epithets of the deities Yuryung Aar Toyon and Yuryung Aiyy Toyon, we used the lexical-semantic method. We studied over 20 works of researchers. For the Yakut people, the master of the Upper World had four images: Yuryung Aar Toyon, Yuryung Aiyy Toyon, Aar Aiyy Toyon and Aiyy Tangara. The olonkho of three regional traditions are considered: Lena River area, Vilui River area, and Northeastern. The image of the deity Yuryung Aiyy Toyon is most often mentioned in olonkho of Vilyui (in 5 texts out of 8) and in the Northeastern epic tradition (in 6 texts out of 14). In contrast to these traditions, the Lena area olonkho is dominated by the images of the deity Yuryung Aar Toyon (in 5 texts out of 6). The images of the deities Yuryung Aar Toyon and Yuryung Aiyy Toyon in the texts of the Northeastern olonkho are studied in detail. These images were characteristic of the texts of olonkho from Moma, Abyi, Verkhoyansk and Middle Kolyma local traditions of the Yakut people. The author comes to the conclusion that in the texts of olonkho of the Northeastern tradition of the deity, Yuryung Aar Toyon and Yuryung Aiyy Toyon had different epithets and functions. It is possible to assume that they were separate mythological characters.

Acknowledgements: Research in the framework of the project of the North-Eastern Federal University “Heroic epics of the Turkic-Mongolian peoples of Eurasia: problems and prospects of comparative study”.