The modern academic worldview has the capacity to build a universal academic theory in the field of epic studies, which can explain the variety of epos of peoples of the world. A very important subject of epic studies in narration art has always been considered an art, which is part of the traditional culture of the people. To achieve this goal we need to consider the academic and theoretical study of the issues associated with the traditional art of the narrator. Reviewing the theoretical approaches of Soviet, Kyrgyz and foreign scholars, which were used in studying the issues of narration art creativity in general, the author aims to properly assess the problems of the traditional foundations of Kyrgyz narration. Building on the achievements of the past years of research and traditional research methods (historical and typological, comparative-typological), developed by the Soviet, foreign and domestic scholars, the author tries to reveal deeper and understand the world of the Kyrgyz narration. Due to the academic and theoretical studies of many researchers on the narration art topics, the author was able to organize the academic study and tried to present it to the academic community. Thus, the author of this article makes a brief review of research on the Kyrgyz narration art that have been implemented since the second half of the 19 century to present. The author also acknowledges that it is only a preparatory stage for a comprehensive study of the subject, the results of which in the future will expand the opportunities for further study not only of the art but also the narration art and narration activities in general. The interest of scholars in the Kyrgyz heroic epos Manas and narrators is growing every year. In this article the author refers to the works by Ch. Ch. Valikhanov, W. W. Radloff, G. Almashi, B. V. Smirnov, B. Soltonoev, M. O. Auezov, V. S. Vinogradov, K. A. Rahmatullin, V. M. Zhirmunskii, B. N. Putilov, M. Ch. Mamyrov, Zh. K. Orozobekova, K. Jumaliev et al., that left an indelible mark on the study of creative narration arts manaschy. Referring to their content, the author tried to mark the stages of development in Manas studies in the study of Kyrgyz narration.

The article is devoted to the comparative study of the Bashkir epos-kubair Ural-Batyr and the epics of related Turk-Mongol peoples. The author believes that the epos Ural-Batyr, studied in comparison with such epic monuments as Gilgamesh, Avesta, Mahabharata in historical and typological terms, is marked as containing identical components in the plot and characters, and can be studied more in this direction, in particular, in comparison with the Yakut heroic epos olonkho Er Sogotokh the Mighty and the Buryat epos Geser. The purpose of this article is to compare the Bashkir epos Ural-Batyr with the Yakut epos, and then with the Buryat epic Geser in order to identify similarities between them with the use of historical-comparative, historical-typological, and textual research methods.

The comparative study of the epics of the Bashkirs and Yakut people showed that they belong to the early types of the archaic epic, and the events in them take place in the mythological time. The similarities in the epics of the two peoples are most obvious on the level of motifs and images: the information about the land surrounded by water from all sides, about the first people, who did not know of the disease, the birth of a hero, human sacrifices, the image of the sacred birds, the unusual sword, etc. There are quite a lot of them, whereas a comparison with the Buryat epic shows similarities in just a few significant parts such as heroes – fighters for the happiness of the people, both the epics have three enemy khanates, polygamy and a brother-traitor.

After the comparative study of the Bashkir epos Ural-Batyr with the Yakut epos olonkho Er Sogotokh the Mighty and then the Buryat epic Geser individually, the author finds interesting typological similarities (all the three epics “proclaim the good and justice, creative labour and peaceful coexistence of different tribes”); however, besides to the physical strength of the hero, there are no common motifs revealed.

The article studies the axiological aspect of small folklore genres used in the poetic system of the Buryat epos of Geser. It reveals their national identity, functional features and value-oriented focus in the Buryat epic Abai Geser Bogdo khaan written down by the famous Buryat researcher S. P. Baldaev from the talented narrator Alfor Vasilev, better known as Alforov’s version (the epos was published in the Buryat language in 1995). The epic is famous for its deep content, original composition, colorful language, vivid imagery and “high style” features. There are different-genre folklore elements in the artistic canvas of the Buryat heroic epic: praises (magtals), good wishes (urols), proverbs (onihon ugenud), sayings (khoshoo ugenud), curses (haral) and others. The analysis showed that their national originality reveals itself in the content, themes, and structure. The small poetic forms are organically integrated into the compositional structure of the epic, performing various functions: describing the characters, serving as strings of the plot, being used in the beginning of the narrative, in the end of some episodes, expressing the emotional state of the characters. The relevance of the issue studied in the article lies in the fact that the small folklore genres reflect the peculiarity of the material and spiritual culture of the Buryat people. With the help of expressive epithets and other poetic means in these forms of folklore culturally valuable for the traditional society stereotypes are created. We can conclude that the small genres of poetic folklore of the Buryat people, along with the major genres, actively participate in the preservation of national identity. It is established that the considered formulaic expressions contribute to the movement of the epic events of the dramatic character, they are involved in heroic situations, and are completely subordinated to the disclosure of the epic genre content. In the frame of heroic tales small folklore poetic forms gain epic coloring and character, thus becoming an integral part of the structural-poetic system of the epos. They do not lose their cognitive, social, aesthetic and educational value even at present.

The article tells about the translation of a part of the olonkho Saryn Nyurgustaiby D. A. Tomskaya into the Japanese language, which was performed at the Tokyo Summer Festival in 1997. D. A. Tomskaya and A. E. Solovev are the first olonkho narrators, who introduced the Sakha epos to the Japanese audience. In her art, D. A. Tomskaya was preserving the oral folk epic tradition. The text of the olonkho, translated into the Japanese language, was the original manuscript of Tomskaya’s narration, written down by V. S. Nikiforova and A. I. Innokenteva. The text abounds in ethnic cultural realia and figurative expressions, which are difficult for translation. The realia were conveyed into Japanese mainly through transliteration with commentary, translation of word meaning and description. These words include the names of objects, things of everyday use (serge, billerik), words and expressions related to the world view (Orto Doidu, Aiyy Kiһite), words indicating the age of cattle, the names of measures of length, etc. The focus is on translating them through transliteration with commentary, translating on the basis of meanings and using descriptions. Comments were as laconic as possible.

The transliteration of the words expressing realia, and names of the olonkho characters was complicated by the differences between the phonetic systems of the Sakha and Japanese languages. The absence of some Yakut sounds (ө, ү, ы, ҕ, ҥ) in the Japanese language hampered an adequate transmission. We had to choose from several options one, the most, in our opinion, closely reflecting the originality of the original pronunciation.

Also, the ways of transferring Russian borrowings were considered separately, the use of which in the passage is interesting because the narrator did not speak Russian. Some of these borrowings are firmly embedded in the everyday vocabulary of a modern Sakha-speaking person (ньуоска, биилкэ), and some (босоол, болбуот) are quite rare. Russian borrowings transmit the individual style of the narrator and, thus, give a certain stylistic color to the entire passage. The article gives examples of translating Russian borrowings into Japanese through borrowing (mainly from English) and through words with a certain stylistic coloring.

The article is intended for specialists involved in the translation of epics and linguists.

The formation of the Even literature, its poetry in particular, is based on the song folk art ike, on folk traditions khirgechin, tomal, on fairy tale plots nimkar, legends – telen, on their compositions and styles. As the Even study specialist V. A. Robbek notes “the best works of Even writers and poets – N. S. Tarabukin, P. A. Lamutsky, V. D. Lebedev, V. S. Keymetinov-Bargachan, A. Krivoshapkin – have roots in the oral folk art”. V. D. Lebedev was one of the most talented poets who relied on legends and traditions, on shamanism, on the folklore of Evens in his works of creating of the epic.

Basing on the folklore plots and characters, Even poets create works that are timeless. Poems have a motif of contrasting good and evil, which is one of the most common in the Even folklore. Poems “Gyavan asi” and “Khanyan khuyen” are the works of Vasily Lebedev based on the principles of such contrast. In the epic poems considered by the author, there are the elements of song folklore creativity preserved – chants, glorifying courage and the hero’s power. Thus, V.D. Lebedev considers the issues of the Even epic folklore genesis in terms of the relationships of epic with the myth and archaic form of the fairy tale. This is what V. D. Lebedev`s “Gyavan asi” poem is like; the story tells of the girl Gyavan who saves her betrothed.

The author of the article presents the results of the analysis of Even poem “Gyavan asi” based on teleng, the Even folk genre. The main method of studying the poem “Gyavan asi” was the method of analyzing the epic work. The researcher reveals V. D. Lebedev`s innovation in the Even poetry. The article analyses the composition of the poem “Gyavan asi” and its originality, since the dialogue of the heroes is the core. The author also comes to conclusion that rhythmic structure is typical of the Even legend.

In the epic of the Turkic peoples of Siberia one of the main parts of the composition structure is its final part. The final part of the Yakut Olonkho of two regional traditions (Prilensky, Vilyuisky) and the epic of the Altai peoples, Tuvinians, Khakass includes the following subjects: the victory of the enemy and the return home of the main character, his marriage, the wedding feast (in Yakuts in the form of a ysyakh) and the beginning of a happy, peaceful life. Only other Turkic peoples of Siberia – Altaians, Tuvinians, Khakassians have an identical plot of the return of the people, its cattle and riches captured by the enemy which is not typical for the Yakut olonkho. Consequently, the final part of the olonkho of the Prilensky and Vilyusky regional traditions does not differ from the common traditions of the epic of the Turkic peoples of Siberia. The article deals with the final part of the olonkho of the north-eastern regional tradition on the basis of 5 local traditions: Момsky, Verkhoyansky, Abyisky, Ust-Yansky and Srednekolymsky. Authors believe that characteristic plots are plugged in final part of composition of olonkho of the investigated tradition. These plots are the home-coming of main character, his marriage, the feast and happy peaceful life. These plots are characteristic for other regional traditions of Yakut olonkho. But the final part only with a 1 plot is a home-coming of main character is noticed on 4 texts (26,6 %) from the considered 15 olonkho texts of the examined tradition. Other plot of about the marriage of main character was found in the 6 texts (40 %) of оlonkho. In the 2 plots of the 3 texts (20 %) of оlonkho were given descriptions of return of man character, elements of wedding ysyakh and happy peaceful life. There are 2 texts of оlonkho (13,3 %) where the final part is not typical at all. The complete structure of plots of final part of olonkho is not observed in final part of the considered tradition. Consequently, in north-eastern tradition of Yakut olonkho uncomplete and unfinished final part is characteristic.

Acknoweledgements: The study was carried out with the financial support of the Russian Foundation for Basic Research in the framework of the research project No. 16-06-00505 (a).

For philosophical research of Olonkho, one needs to consider a few of its ontological areas and, above all, the cultural one. The subjects of the culturological sphere studies are archetypes, memes, and cultural universals. In this article we limit ourselves to a set of basic archetypes of the Olonkho epic: The Choice (intersection), The Stone, The Mountain, The World (sacred) Tree, The Number, The Ladder, The House, The Threshold, and The Path. Some archetypes are multifaceted. For example, the Sacred Tree performs fundamental functions of providing a link between the Upper, Middle and Under Worlds; it is the hub for all spatial movements within the Middle World’ and the home of the patroness, a protector of the people. The Path archetype connects the organization structures of the unconscious in the individual activities and translates to the consciousness and man’s place in the main areas of the world. The main Olonkho memes are as follows: a brooding, contemplative tone of the narrative; the use of multiple refinements characterizing the hero’s images of natural phenomena from various sides; a detailed description of the characteristic elements of the Sakha life.

As a result, the two groups of cultural archetypes are identified. To describe the fundamental characteristics of the Middle World there are The Mountain, The Sacred Tree, The House. The Middle World has a clear center and borders. For description of the exploits of heroes the fundamental archetypes are The Choice, The Stone, The Ladder. The Hero always faces a choice, but he deliberately chooses the hard path, since it leads him to the main evil to be overcome, so that the people of his kin could live happily ever after. The article considers the processes through which the archetypes are related to the “collective unconscious” (the constant feeling of the center of the World, etc.). The author also marks out three basic levels of worldview universals: the level of an individual; level of planetary civilizational subsystems; planetary-cosmic level of worldview universals aimed at identifying the invariants for the joint development of all these levels. In the olonkho all these three levels are closely intertwined, completely original and unique.

The main idea of the film of Giuseppe Tornatore “The Legend of the Thousand Nine Hundred” is that a person can extract endless music by playing the piano with 88 keys. When he is offered to play the piano with an infinite number of keys, he will not be able to play. He will dissolve in the bad infinity of the world. How does a person establish himself in this world? For the man “sakha” the role of a piano with 88 keys is played by the Yakut heroic epic olonkho.

The subject of this article is Olonkho, the Yakut people’s epic, recognized by UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity in November 25, 2005. Olonkho originated in antiquity and belongs to the earliest types of the Turkic-mongolian epos, reveals the inner essence of the people, its humanism. The art, the depiction of words reflect the philosophical and moral principles of Sakha, thoughts about the fate of tribe, the aspirations for a peaceful, happy and rich life. By the method of interpretation, interpretation of the power of speech and ideal-semantic images in olonkho, the main philosophical arguments about the essence of the world, natural reality, human being are touched upon. The aim of this work is to reveal through the symbolic space of olonkho the content side of the mythoepical consciousness, as an embryonic embodiment and organization of all morality. Drawing on the idea of Ludwig Wittgenstein on the role of the children’s worldview, the significance of the olonkho constructive potential in the process of the formation of the human personality is revealed. Images of heroes are given as the basis of man’s higher destiny. In the context of these images, a person’s knowledge acquires meaning and own being, which is a novelty of work. The article reveals the distinctive spiritual culture of olonkho as a means of forming the system of moral and aesthetic values of the inhabitants of the North as a program for the self-development of the perfect person – the ideal of the people. The concept of development of olonkho’s value orientations, a theoretical model, developed in this article, constitute a scientific and psychological basis for making optimal decisions on social problems and intra-family conflicts. Olonkho brings to the fore, as a spiritual and cognitive construct, organizing the behavior of people in various spheres of life.