The study of the weaponry of the Turkic and Mongolic peoples of the Eurasian Steppe during the Late Middle Ages, the Early Modern Period, and the ethnographic period constitutes an important scholarly problem. In this regard, particular significance is attached to the comprehensive examination of information on weapons preserved in oral folk traditions, primarily in heroic epics, in comparison with data from other types of sources. The aim of the present study was to identify and attribute short-bladed thrusting and cutting weapons mentioned in Kazakh heroic epics, as well as to correlate and compare them with analogous types of weapons used by Turkic nomadic warriors of the Great Steppe on the basis of written and material sources. Materials and Methods. The study was based on materials from Kazakh heroic epics that have not previously been introduced into scholarly discourse. Their interpretation was undertaken through the analysis of written, material and other sources. An integrated approach to source analysis was employed, incorporating comparative and descriptive methods as well as methods of verification, correlation, analysis, and translation of folkloric texts. Results. The analysis of the sources made it possible to identify and attribute the principal terms and expressions used in Kazakh heroic epics to designate short-bladed thrusting and cutting weapons. The study examines the history of this type of weapon, the specific features of its use in combat, its metaphorical characteristics, its role in gift-exchange practices, as well as linguistic parallels with other Turkic languages, particularly Yakut, and other related aspects. A dagger from the collections of the National Museum of the Republic of Kazakhstan, which have not previously been introduced into scholarly circulation, is described. An attempt was also made to correlate episodes depicting friendly relations between Kazakh and Kalmyk batīrs with the findings of Japanese scholars concerning the existence of allied ties between the military and political elites of the Kazakhs and the Oirats. Conclusions. The study demonstrates that the short-bladed thrusting and cutting weapons correspond to daggers and knives known from written and material sources. It was also established that the elements of military material culture and the information on political, military, and other forms of interaction reflected in the examined epics correspond to the historical realities of Kazakhstan and adjacent territories during the Early Modern and ethnographic periods.

Funding: The research was funded by the Science Committee of the Ministry of Science and Higher Education of the Republic of Kazakhstan within the framework of the research program BR28713777 “New sources on the history and geography of Kazakhstan: analysis, translation and introduction into scientific circulation”.

This paper examines the Eurasian myth of the “celestial chase” (CC). The relevance and novelty of this work lies in its identification of the calendar aspects of the genesis and development of various versions of the CC myth. The aim and objective of the study comparatively examine various versions of the CC myth in Northern Asia. The methodology employed was a comparative analysis of CC folklore texts among the peoples of Northern Eurasia and an analysis of the semantics of rock art themes. The analysis of the texts was correlated with the species (elk, musk deer, etc.) and ecology of the “prey”. Various versions of the CC myth known in Northern Eurasia were analyzed. It was revealed that the beginning of the CC is “timed” to coincide with the autumnal equinox, and its end is no later than the “month of crust”, which begins with the spring equinox. The absence of wild boar as prey is due to the peculiarities of boar hunting. It is shown that the image of the “multi-legged” prey in the celestial chase myth is known only among the Ob Ugrians, and is absent in the Tungusic texts. The purpose of the celestial chase varies across traditions: it is the harvesting of an animal (Ob Ugrians), or the first creation (Tungus). The direction of the celestial chase, from south to north explicitly preserved only in “taiga” mythological models (Ob Ugrians, Evenks). The mythological texts correlated with the seasonal behavior of the main calendrical actors of the sky (stars, constellations). The calendrical foundations of the genesis of the “celestial chase” myth, the areas of existence of different versions, and cases of their mutual “flowing” (inversion) were revealed. The influence of the characteristics of the hunter's image (old/young, friend/foe) on the achievability of the celestial chase wereidentified. The celestial chase myth is associated with the motif of the “super-lucky/unlucky” hunter. The positions of hunters and prey in rock art identified. The direction of the actors in chase scenes correlated with the direction of the sun's movement across the sky during the winter and summer solstices. The iconography of the “sun abduction” motif – depicts of ungulates (deer, elk, boar, etc.) with solar rosettes on their horns, explored in petroglyphs from Southern Siberia.

The article examines notions of hostility between ritual specialists – lamas and shamans – using examples of oral stories common in the context of shamanic-Buddhist syncretism in the oral tradition of the Tuvans. While stories about conflicts among shamans existed among other Turkic peoples of Siberia, narratives about confrontations between shamans and lamas are found only among Tuvans who follow the Gelug school of Buddhism. However, this topic has not been addressed in folkloristics, which confirms the relevance and novelty of its study, since plots about confrontations between religious practitioners serve as vivid indicators of religious syncretism among the Tuvans, for whom shamanism and Buddhism played a significant role in everyday and ritual life. The aim of the article is to examine the features of the stories about the confrontation between a lama and a shaman; to analyze the Tuvans' perceptions of Buddhist lamas and shamans based on these narratives; and to determine the semantic orientation of the stories about the struggle between religious practitioners. The study revealed that oral accounts of the confrontation between a lama and a shaman possess the characteristics and functions of various genres of non-fairy-tale prose of the Tuvans, in which an intertwining of mythological, historical, shamanic, and Buddhist plots is observed. The specificity of narratives about the struggle between the lama and the shaman is analyzed, and their mythological subtext, containing a complex of shamanic and Buddhist views, is considered. It is determined that in the narratives, duels between a lama and a shaman are usually conveyed through the following means: the use of the sound characteristics of ritual attributes, the description of magical rites, and ritual actions of an imitative nature. In some cases, the struggle of the cult servants in the stories is barely covered; they only convey brief information about the miraculous abilities of both opponents. The study used descriptive, structural-semantic, and systemic research methods. A promising direction for further study of oral narratives about cult practitioners among Turkic-Mongol peoples is the analysis of the plots of their magical competitions in a comparative aspect with the traditions of the peoples of Siberia and Inner Asia.

The article is devoted to the epic image of Archangel Gabriel, who appears in folklore narrations as the angel of death taking the souls of mortals. The novelty of the study lies in a systematic comparison of all known epic episodes, in which the Archangel Gabriel is one of the central figures. The objective of this study was to identify the common characteristics of the image of Archangel Gabriel in Armenian epic folklore and to analyze his relationship with other characters of the folklore narratives under examination. The research is based on published folklore primary sources, as well as on the works of previous folklorists who addressed this topic. The article employs descriptive, comparative-typological, and structural methods of research. A significant role is assigned to the chronological analysis of all known epic stories. In the Armenian tradition, Gabriel is the only angel whose name is repeatedly mentioned in various genres of folklore. However, Archangel Gabriel (Gabriel Hreshtakapet) is especially prominent in Armenian epic folklore. He plays a key role in several versions of the heroic epic “Daredevils from Sassoun” (“Sasna Tsrer”), although he does not belong to the circle of the epic’s principal heroes. At the same time, Gabriel is the central figure in the well-known historical-mythological “Ballad of Aslan”. One of the key conclusions of the study is that, in folk narratives, Gabriel is not merely the angel of death taking the souls of all mortals — both righteous and sinful — but also the representative of the Lord on earth, the executor of divine commands and his chief messenger. In folklore works, people generally refer to him as “Angel Gabriel” (Gabriel Hreshtak). The results of the study show that in some cases where his name is absent and only an “angel” is mentioned, the context clearly implies the presence of Archangel Gabriel within the given narrative. The results may be used in theoretical studies devoted to epic folklore and mythological ballads. Avenues and perspectives for further research could include comparing the Armenian material with similar plots and motifs found among neighboring peoples.

The aim of our study is to identify the ways in which the syntactic parallelisms мал “cattle” and чон “people” function in the text and the semantic loads they embody through an analysis of their components. To achieve this goal, we discuss three key concepts that reflect national worldviews: parallelism, the place, and/or role of background characters such as мал “cattle” and чон “people” in Khakas heroic tales. The novelty of this study lies in the fact that for the first time, background fragments of situational parallels with the components мал “cattle” and чон “people” are highlighted for scholarly discussion, symbolizing the khan's property and greatness. The widespread presence of these linguistic resources in Khakas heroic tales necessitates in-depth analysis and a thorough exploration of their semantic, substantive, and functional aspects, confirming the relevance of our study. Textual parallels with the basic lexemes мал “cattle” and чон “people” are examined using the following methods: a) a functional-semantic approach, which allows us to identify the semantic types of epic discourse of these lexemes; b) a componential analysis allows us to identify specific features of their conceptualization in the text, characteristic of the khan's property; c) using a descriptive method, we can determine the place and significance of the conceptual parallels мал “cattle” and чон “people” in the linguistic and folkloristic space.

The analysis revealed 13 thematic cycles of use of these lexemes, reflecting the strong conceptual connections between the khan and the people – the tributary and the cattle as objects of ownership. The implementation of these parallels formed specific linguistic patterns. The lexeme мал “cattle” most often appears with the epithet хадарған / хадарғанда “grazing”; in certain contexts, the adjective чахсы “good” or pronouns with the personal-possessive affix минiӊ / синiӊ “my / yours” are added. The lexeme чон “people” is found with the epithets албат / албатхы / илбеткi “подданный”, хара пастығ “black-headed”, харағы сiлiг “with beautiful eyes”, халых “people”, and ил “people”. The traditional use of these lexemes – parallels symbolizing the wealth and greatness of the khan – in most plot-organizing parts of heroic tales demonstrates our ancestors' special attitude toward material property as one of the most important resources in life.

The archaic epic represents the pinnacle of the Even people’s oral storytelling tradition. This study examines the linguistic features of one of the local variants of the Even archaic epic, the Nimkan, which is an under-researched area. The relevance of the study stems from the need to preserve the invaluable cultural heritage of the small ethnic group that is at risk of extinction. For the first time, the article sets out the objective of conducting a linguistic analysis of the language of the Even epic tradition, specifically the Okhotsk local variant. To achieve this aim, the study addresses the tasks of clarifying the repertoire of epic texts within the Okhotsk local tradition; identifying the specific features of the local Okhotsk variant at the phonetic, morphological, lexical levels; and outlining directions for further research into the language of the Even epic. The object of the study is the Okhotsk epic tradition. The subject of the study is the specific features of the language of the Okhotsk epic tradition: phonetic, morphological and lexical characteristics. Methods used: descriptive, comparative-contrastive, lexicographical and dialectological analysis.

As a result of a linguistic analysis – the first of its kind in Even studies – of nine epic works from the Okhotsk epic tradition, the distinctive features of the Okhotsk regional dialect were identified at all linguistic levels. In the area of consonantism, there is a notable absence of spirantisation of the consonant [s], as well as consonant assimilation (the combinations ll, nn; the transition of the consonant “ч“ to „т“; and consonant assimilation). The morphological features of the Nimkan people reflect the distinctive characteristics inherent to the Okhotsk dialect. In the field of verbal morphology, certain aspectual forms not previously noted in grammatical descriptions are identified: the ultramomentary aspect (-nukan-//-nuken-); iterative forms (-tna-//-tne- and -ru); and the attenuative (-jat-/-ch-//-jet-/-ch). A comprehensive analysis of folklore texts reveals a rich layer of specialised vocabulary: unique names of epic heroes, distinctive opening words characteristic of each character, specific folklore terms, and metaphorical expressions.

An analysis of the Nimkan language will make a significant contribution to an in-depth and comprehensive description of the Even epic tradition. This will enable both new folklore materials collected in the field and previously inaccessible archival data to be incorporated into scholarly discourse. Furthermore, the research will facilitate the detailed examination, identification and clarification of specific features of little-studied and unexplored Even dialects and variants at all levels of the language.

Acknowledgements: This research was carried out as part of State Commission No. 075-00619-26-00 for 2026 (research project No. FWRS-2024-0070) using scientific equipment Shared core facilities of the Federal Research Center “Yakutsk Science Center SB RAS”.

The article examines the linguistic aspect of the comic component of the poetics of the Yakut heroic epic Olonkho. The theme of the comic in Olonkho is partially touched upon in the works of epic scholars when studying the artistic and visual means of Olonkho, but the linguistic means of conveying the comic have not yet received special attention. The relevance of this topic is due to the fact that in studies on the epic heritage of the people of the world, there is little information about the comic, both in general terms and regarding the specific means of expressing the comic. The purpose of the work is to determine the linguistic means used by the storytellers that form the integrity of the structural-semantic content and the functional role of popular humor in the artistic fabric of Olonkho. The material for the study was obtained through a comprehensive analysis of Olonkho texts, selected based on the content of comic elements in Olonkho. The methodology is based on types of philological analysis of the folklore text, namely linguistic, which involves identifying the language means that create a comic effect; literary, which considers the features of folklore poetics; and stylistic, aimed at studying individual techniques of using language means. As a result of the work, the role of lexical, morphological, and syntactic forms in conveying the comic was identified; the means of creating situational-linguistic humor in the texts of Olonkho were shown, as well as their determination by both tradition and the creative approach of the storyteller; the linguistic and cultural aspects of understanding the comic effect in a folk work were determined. The novelty of the approach and its interest to researchers lie in the fact that in the poetics of Olonkho, with the exception of the obligatory satirical context in depicting negative characters, the comic is not a characteristic but an additional, dynamic element, which has specific linguistic means, the main function of which is to attract the interest of listeners to what is being depicted, and, consequently, is conditioned by the immediate reaction of the listeners. In the perspective of the work, a comparative study of the epic heritage of peoples is considered in order to deepen linguistic research on the problems of the language of a folklore work. The practical significance of the work lies in attracting new information to the study of the artistic and expressive means of Olonkho, the living tradition of storytelling.

The relevance of this study stems from the need for a systematic study of the poetics of the olonkho's final section as a whole. Unlike the northeastern tradition, where the epic's ending has already been studied, the Vilyui epic tradition has not yet been systematically examined in this regard. The aim of this article is to systematically examine the poetics of the olonkho's final section in the Vilyui epic tradition. The research objectives are aimed at identifying the following aspects of the olonkho's final section: its compositional role, its place in the narrative structure, and the specific application of epic poetic and stylistic devices. The study utilizes methods such as a systemic analysis of olonkho poetics, structural analysis, and continuous sampling. It was revealed that in epic traditions, the ring-shaped composition with its restoration of harmony serves a meaning-making function, while a happy ending, embodying the archetypal model of world order renewal, is a necessary element of the poetics. Furthermore, the fragmentary nature of texts is determined by external factors of recording, rather than by the peculiarities of the tradition itself. Despite apparent similarities, the ending contains quite diverse motifs and typical passages, which are determined by the plot-thematic type and the evolutionary features of olonkho poetics. It was determined that the final section of the olonkho is built on the stable motifs of a happy ending. However, an analysis of the Vilyuy tradition reveals variability: alongside archaic elements, later additions are also recorded. It was established that in the Yakut heroic epic olonkho, the ending, based on a system of epic formulas and typical places, is not simply the conclusion of the plot, but a meaningful compositional unit. In the Vilyuy tradition, it ranges from expanded, multi-stage versions to brief conclusions. The research aims to compare the poetics of the final sections of various epic traditions to form a holistic picture of the phenomenon under study. 

Acknowledgements: Author gratitude to Shared core facilities of the Federal Research Center ‟Yakutsk Science Center SB RAS” for the opportunity to conduct research on the scientific equipment of the Center.

Funding: The article was carried out within the state assignment of the Ministry of Science and Higher Education of the Russian Federation No 075-00619-26-00 for 2026, research project No. 124030100136-9

The relevance of this study is dictated by the insufficient study of Buddhist manuscripts in the Oirat language, which are in archival and private collections in Kalmykia. The key problem is the lack of their digitization and integration into scholarly circulation, which limits access to them by the global academic community. The novelty of the research lies in the scholarly analysis of the legend about the origin of vodka and the dangers of drunkenness, extracted from an anonymous Oirat collection. This collection was discovered by the author of the article in the fund of the Lagan branch of the N.N. Palmov National Museum of the Republic of Kalmykia. Stories about the origin of alcoholic beverages and their harmful effects are widespread in the world's oral and written traditions. Mongolian folklore and historical sources record an ambivalent attitude towards arak (dairy vodka): on the one hand, its use was integrated into everyday practice, associated with joyful events and religious rituals; on the other hand, it was condemned and banned in regulatory texts. The negative connotation of alcohol in Mongolian literature has been further reinforced by the spread of Buddhism. The legend under study is an abridged and unfinished translation of the work of the Indian preacher Padmasambhava, dedicated to the origin of vodka and the dangers of drunkenness. The originality of this text lies in the use of Tibetan character names, which allows us to hypothesize that it was translated from a Tibetan source. The discovery of the legend in the collection confirms its functional purpose in the preaching activities of Buddhist monks. The purpose of this study was a comparative analysis of the content of the legend about the origin of vodka and the dangers of drunkenness from the Oirat anonymous collection with other oral and written sources, aimed at identifying similarities and local features. The comparative method and synoptic analysis were used to study the preservation and variability of the plot. The results of the study showed that genetically related plots contribute to a deeper understanding of the content of the Oirat legend, which is characterized by the loss of essential compositional components. A distinctive feature of this text is its extreme conciseness and the absence of detailed descriptions. The identification of local differences in the Oirat legend allows us to reconstruct the genesis of the plot about the origin of vodka and the dangers of drunkenness, the origins of which can be traced in Indo-Tibetan literature. Prospects for further research include the introduction into scholarly circulation of the legend of the origin of vodka and the dangers of drunkenness from an anonymous Oirat collection, which, in turn, will significantly expand the understanding of Buddhist literature stored in the collections of Kalmykia.

The work was carried out within the framework of the project of the Foundation for the Promotion of Buddhist Education and Research No. 40/2026 “Buddhist manuscripts in the Oirat language in the collections of the eastern regions of Kalmykia: cataloguing, research and translation”

The purpose of the study was to present the zoonymic system of the epic ‟Idegeу”. To achieve the aim, the following tasks were solved: to identify the composition of zoonymic vocabulary; define the structure; and to trace the evolution of animal names. In the course of the analysis descriptive, statistical, semantic-etymological, semantic-logical methods were used, which made it possible to create a picture of the zoonymic system preserved in the work and determine changes in the semantics of names. The relevance of the study is due to the insufficient study of the history of the Tatar language terminology, the zoological terminology system in which is one of the bright systems that have a significant layer of prototherms preserved in works of folklore. The scholarly novelty of research lies in the fact that zoonyms functioning in the text were studied for the first time as a systemic lexico-semantic group. The work analyzed more than 100 names that are elements of the theriological (names of mammals), herpetological (names of amphibians and reptiles), ichthyological (names of fish), insectological (names of insects), ornithological (names of birds) subsystems. Hyperonyms and hyponyms were revealed, lexemes preserved in dialects and in works of folklore were highlighted, phonetic variants and synonyms were indicated, semantic transformations were revealed. It was determined that the most richly represented groups are therionim and ornithonim, which is associated with the lifestyle of the people. In the formation and systematization of ornithological vocabulary, the generic component plays an important role. The presence of couples with and without a generic component shows a characteristic development of the zootherminosystem, in which the omission of the generic component indicates the term's desire for brevity. Most of the names of animals recorded in the epic are used in the modern Tatar language, which indicates the stable nature of the elements of the system in the process of its development.

The obtained results open up prospects for comparative studies on the material of other Turkic languages and the study of the national-cultural specifics of zonyms in the epic. The work complements the picture of the zoological thermosystem formation of the Tatar language. The practical significance of the work lies in the possibility of using the results in historical lexicology and lexicographic practice.

Funding: This work was supported by a grant awarded by the Academy of Sciences of the Republic of Tatarstan to research and teaching staff of its separate structural units to encourage them to defend doctoral dissertations and conduct research (Agreement No. 2/2025-PD dated December 22, 2025)

The subject of the study is the plot and compositional structure of the Yakut heroic epic olonkho; the object is A.P. Amvrosiev’s olonkho The Hero Kyun Nyurgun, Son Kegyon Kus (Suntarsky District). The relevance of the work stems from the insufficient research into the plot structure, composition, and artistic originality of this text. The aim is to analyse the features of the olonkho’s plot and compositional structure within the context of the Vilyui epic tradition. The research objectives are as follows: to examine the architectonics of the work, to identify the specifics of its plot construction, and to determine the genetic and functional connections in its poetics. The novelty lies in the fact that this is the first analysis in the history of Yakut folklore studies of the plot and compositional structure of this particular olonkho, with a comparison to other local versions of the epic. The study employs methods of structural, structural-semantic, and comparative analysis.In the course of the research, a canonical model of plot construction was identified, and a transitional form of the epic was revealed – from early types of olonkho about tribal defenders to later epics about defenders. The text is recognised as an independent epic narrative preserving ancient motifs (for example, the abaasy maiden Uot Kudangsy’s desire to marry Nyurgun). Particular attention is paid to ornithomorphic images: the olonkho features a diverse avifauna of Yakutia, including a group of corvid birds as characters (the Scribe Raven, the Woodpecker Prince, the Nutcracker Toyon, etc.), as well as messenger figures (the thrush Bergen, the raven Daagynai, the cuckoo, the Siberian crane, etc.). The image of the hero’s mother – the mallard duck Kegyon Kus – plays an important role. The avian aspect is significant for understanding the composition, functions, and behaviour of the characters. A specific feature of the olonkho is the presence of the image of a dog (Esir Khara Yt), which is unusual for the Yakut epic tradition and plays an important role in the plot construction; it is noted that dog images are also common in other Turkic-Mongolic epics. The opening section of the olonkho shows considerable similarity to the formulaic structures of the Vilyui and central epic traditions. It determines the further development of the plot and organises the epic’s composition – in particular, through the motif of descending from the heavens with a special mission entrusted to the hero’s mother. The results can be applied in folklore studies for the analysis of regional texts and for the development of educational materials on Yakut folklore. The identified plot model (motivation for departure, the hero’s journey, obstacles, heroic deed, consequences, return) is suitable for the study of other olonkho texts.

Funding: The study was conducted within the framework of the NEFU research project “Cultural Universals and Regional-Local Particularities of the Yakut Epic Tradition: Interdisciplinary Research, Digitalization, and Popularization Technology”

The relevance of the research topic is determined by the relevance of studying the traditions and customs of the Karachays and Balkars as regulators of social relations in society. The article examines the linguistic explication of customs and traditions presented in the texts of the Karachay-Balkar Nart epic and historical-heroic songs. These customs and traditions, passed down from generation to generation, served as regulators of people's behavior within the family and society, reinforcing the acquired level of relations between members of society. The emergence and functioning of customs is due to the fact that members of society have sought to strengthen and strictly adhere to certain social norms. The vocabulary used to represent various customs and traditions is extensive and multifaceted.

The purpose of this article is to identify and describe the linguistic means involved in representing the role of customs and traditions in the formation of social norms governed by customary law. To achieve this goal, it is necessary to solve tasks focused on studying the linguistic features of customs and their functioning. The object of this study is the customs and traditions presented in the academic edition of the Karachay-Balkar heroic epic “Nart” and in the heroic songs included in the anthology “Alan Historical and Heroic Epic”. The methodological basis of the study comprised the culturological approach, which enabled the identification of mechanisms for the preservation and development of customs and traditions within society; the systems approach, which made it possible to establish the interrelationships among all components of a custom; and the structural-functional approach, which allowed for an assessment of the role of a specific custom in maintaining social order.

As a result of the conducted research, we come to the conclusion that the earliest type of social norms are the norms of customary law, which began to emerge at the very dawn of the history of social development. The main function of the customary norms that operated in the traditional Karachay-Balkar society, as well as those that later emerged as legal norms, was to regulate social relations. The customs discussed in the article are conveyed by various words and descriptions such as atalyk “atalychism”, ant “oath”, kan alyu “blood feud”, kan töleu “blood payment”, tul toy “levirate custom”, kan qatyshdyrmauluk “prohibition of incest”, etc., which are largely ethnically marked, have undergone archaization, and have linguistic and cultural significance.

This article examines occasional figurative words in the Yakut language found in olonkho texts belonging to the Churapcha local epic tradition. The study is motivated by the need to investigate the phenomenon of storytelling and the mechanisms of oral improvisation characterized by the phenomenon of occasionality from the perspective of linguistic folklore studies. Accordingly, the study aims to identify and systematize the primary forms of occasional figurative vocabulary and proposes mechanisms for determining the meanings of these occasional units. The study’s novelty lies in the fact that it marks the first time occasional figurative vocabulary in the Yakut language has been analyzed within the context of epic texts. The research employs exhaustive sampling for data collection, as well as descriptive methods (including classification, generalization, and interpretation), structural-semantic analysis, and elements of phonosemantic analysis. The study draws upon texts by olonkho storytellers (olonkhosuts) belonging to the Churapcha local epic tradition: “The Obstinate Kulun Kullustuur” by I.G. Timofeev-Teploukhov; “Tamallaaiy Bergen” by I.D. Okoneshnikov (Munduuska Uola); “Ala Khotogoi” by M.I. Belykh; “Usuk Tuigun” by P.M. Teryutina (Yryaa Ymyychaan); “Ala Khotogoi” by N. M. Dyakonov (Chyolos); “Kyun Tegirime” by K.L. Fedorov (Kyoskyoyo Kyostokyuyun); and “Aiyy Dyosyuel” by S. S. Yakovlev (Erilik Eristiin). The research established that the primary method of forming occasional words is the phonetic variation of an existing sound pattern. Even when the sound composition changes, the semantic link to the original word is preserved, albeit adapted to the rhythmic and alliterative structure of the olonkho text. Another productive method for forming occasional units is echo-reduplication, which generally serves to create a comic effect. The study reveals that the mechanisms for determining the meaning of occasional figurative words rely on three main parameters: formal resemblance to a figurative lexical unit recorded in dictionaries; the context of usage within the epic narrative; and the phonosemantic values of individual sounds.

Funding: The study was conducted within the framework of the NEFU research project “Cultural Universals and Regional-Local Particularities of the Yakut Epic Tradition: Interdisciplinary Research, Digitalization, and Popularization Technology”

Abstract. The article presents a study of verbs that characterize the facial expressions of the lower facial zone (teeth, lips, mouth) based on the facial zone division proposed by the linguist O.D. Proskurnich, which constitutes the novelty of the research. The relevance is due to the insufficient study of the specific features of figurative verbs in the Yakut language. The aim of the work is to conduct a structural and semantic analysis of figurative verbs that characterize facial expressions and to identify their functional features in an epic text. The study was conducted based on 54 complete olonkho texts, since figurative verbs are one of the common artistic and expressive means used by masters of the storytelling art. The continuous sampling method was used to collect the materials; the analysis of the sound structure of the word; component analysis based on dictionary definitions to reveal the semantics of the words; and the method of contextual analysis to identify the various meanings and shades of meaning of the verbs under study in context, depending on their functions. During the analysis, the figurative verbs describing facial expressions in the lower part of the face were divided according to their semantic structure into verbs characterizing the movement “to spread the lips and show the teeth” (ardjay, arsay, ordjoy, yrdjay) and verbs depicting “the movement and shape of the lips” (nyimiy, olloy, omoy, oppoi, ortoldjuy, solloy, tolloy). As a result of the study, it was revealed that the sounds in the figurative verbs of the Yakut language contain certain information that generates the meaning of the word, determines the relationship to the represented object; in olonkho texts, these verbs are used in the form of participles and adverbs in combination with service verbs, as well as in a reduplicated form or in paired combination with other figurative verbs, in as a component of the comparative construction, which adds intensity and expressiveness to the described actions; the verbs considered are most often involved in describing actions or characterizing the appearance of a character, in most of the abaasy monsters. Further study of figurative verbs related to facial expressions of the upper and middle parts of the face appears promising.

Funding: The study was carried out as part of the research project of NEFU “Cultural universals and regionally localized unique features of the Yakut epic tradition: interdisciplinary research, digitalization, and popularization technology”

This article examines markers of comparison in the Yakut heroic epic Kuruubai Khaannaakh Kulun Kullustuur (‟The Obstinate Kulun Kullustuur”). A total of 673 comparative constructions were identified in the Olonkho text, featuring the markers kurduk (‘compared to’), saga (‘equal to’ or ‘like’) and dyly (‘resembling’ or ‘as i’). The study aims to identify comparative constructions formed using postpositions within simple sentences. The Yakut heroic epic Kuruubai Khaannaakh Kulun Kullustuur served as the research material. The methodological framework relies on contextual and morphological analysis for the functional interpretation and classification of linguistic data, alongside descriptive and systematizing methods. The empirical section employs a glossing method to process and organize the linguistic material. The study is motivated by the need for a systematic description of comparison markers in the language of Olonkho. This article offers the first comprehensive analysis of simple sentences containing the markers kurduk, saҕa and dyly within this epic text. A comparative construction comprises three essential elements: the standard, the module, and the marker of comparison. In linguistic research, comparison is typically described as a tripartite structure consisting of the object (the item being compared), the standard (the reference point for comparison), and the module (the attribute serving as the basis for comparison). Nouns and personal pronouns most frequently function as the object and the standard of comparison. In the Yakut heroic epic Kuruubai Khaannakh Kulun Kullustuur (‟The Obstinate Kulun Kullustuur”), the most common comparative marker is kurduk (‘compared to’). Points of comparison include names of living organisms, plants, metals, artifacts, and natural phenomena. The analysis demonstrates that these comparative constructions serve both descriptive and characterizing functions. Future research prospects involve expanding the dataset and conducting a comparative study of such constructions across other Turkic languages.

This article will be of interest to folklorists, epic scholars, linguists, and humanities students, and may be utilized in the analysis of epic texts, syntax, and linguopoetics.

Funding: This article was written with support from RSF “Languages and Cultures of the Peoples of the North and the Arctic of the Russian Federation: Comprehensive socio-humanitarian research (on the basis of big data)” (Agreement No25-78-30006 of 22.05.2025)