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This article explores the plot and motivational parallels present in the heroic epics of the Karachay-Balkar and Yakut traditions. It focuses on a central theme that is vital to the genre: the trials faced by the epic hero. The primary aim of this study is to investigate the unique features of overlapping plot motifs within these two Turkic narrative traditions, thereby illuminating their thematic and poetic characteristics. The research draws on a representative corpus of heroic epic recordings from the Yakuts, Karachays, and Balkars, collected throughout the 19th and 20th centuries, as well as narratives from other Turkic and Mongolicspeaking communities. Despite the significant geographical and temporal distances between these traditions, the analysis reveals a noteworthy number of coinciding plot situations and motifs. This study delves into the nuances of their representation and variation, tracing potential folkloric connections and origins. Particular attention is given to specific plots, such as “shooting at a distant celestial object,” “the hero’s temptation by a group of antagonists,” and “the stone that crumbles beneath the feet of the true hero.” The textual analysis concludes that there is a remarkable similarity in the concept of the epic hero across these traditions, alongside a rich variety of plots and motifs that likely trace back to a common source in Central Asia.

This research considers issues of interaction between language and culture; it studies the phenomenon of lacunarity in general, as well as identifying lexical gaps in olonkho texts and ways of eliminating them in translation. Here, we investigate the need for more in-depth study of the translation of works of art in which a culture-specific component has a high degree of presence; the importance of studying the lacuna phenomenon as one of the main factors influencing translation, and, in turn, the need to study to the misunderstanding of a text by a foreign reader. The problem of translating culturally related phenomena necessitates a description of their origins and development, and attention to notions of linguistic worldview and linguistic universals regarding culture-specific vocabulary, including lexical gaps. [ABSTRACT FROM AUTHOR]

Introduction. The article presents a comparative analysis of the figurative vocabulary of the Yakut and Buryat languages on the basis of epic texts. The figurative vocabulary in both languages is specific part of its lexicon which have a common roots. The purpose of the study is to identify the features of the use of lexical parallels of the Yakut and Buryat figurative vocabulary in the texts of the Buryat uliger and Yakut olonkho. The relevance of the study is determined by the growing interest in linguistic folklore in the study of language based on the material of epic texts in order to identify the specifics of the language of the epic as a whole. For research a lexical and semantic analysis and comparative historical method were used. Materials. The texts of the Buryat uliger “Alamzhi Bergen” by E. Shalbykov and the Yakut olonkho “Kyys Debiliye” by N. P. Burnashev, “Mighty Er Sogotokh” by V. O. Karataev, “Khaan Dzhargystai” by unknown olonkhosut from Verkhoyansk were used as material for the study. The three olonkho texts are represented by three main regional epic traditions, which makes it possible to take into account almost all the local features of the olonkho text. Results. The study revealed 12 lexical parallels in the figurative vocabulary presented in the Yakut and Buryat epic texts. These lexical parallels were divided into three thematic groups by the way of description. Thus, first group is figurative words describing the figure, second is the group of words describing facial expressions and face, and the last one is the words describing the shape of objects. A comparative analysis of the revealed lexical parallels showed that they have a emotionally expressive character that allows expressing the narrator’s attitude to the described object, have the same semantic meaning, the same ways of word formation and the general principle of word formation.

This article explores the use of rhetorical devices in the epic imagery of Yakutian epic poetry. The study focuses on the continuity of tropes such as epithet, hyperbole, simile, metaphor, and metonymy, drawing upon various recordings of Olonkho texts from different time periods. The main attention is given to tropes found in the earliest texts (1840-1860s), as this was a period of greatest diversity and variation in their usage. The author proposes a classification of tropes based on their period of usage and spread. It is noted that in the diachronic analysis, there is a demythologization of the image of the “milk lake” and an evolution of the artifact of the “bone bow”. The conclusion is drawn that by the mid-19th century, Yakutian epic art, with its already established regional traditions, possessed a highly developed arsenal of rhetorical devices for epic imagery. It is suggested that the peak of mutual influence among storytellers occurred during the heyday of gold mining in the Bodaiibo residence (1870-1900s), as many Olonkho performers have biographical data indicating their involvement in mining activities in Bodaiibo, where they would have encountered other prominent Olonkho performers. After this period, similarities in the use of tropes can be observed in Olonkho texts. The relevance of this research is driven by the increasing interest in contemporary Russian society towards the ethnocultural diversity and uniqueness of different peoples.

The article is devoted to the poetics of the path chronotope in the Yakut heroic epic. The relevance of the topic is due to the need for an in-depth study of the spatio-temporal organization of the path in the olonkho, in particular in the Vilyui epic tradition, to which the olonkho S.N. Karataev “Bogatyr Tong Saar” belongs. The novelty of the article lies in the fact that for the first time the poetics of the path chronotope in the Yakut epic is subjected to systemic analysis, and for the first time the peculiarities of the path chronotope in the Vilyui epic tradition are revealed. The author of the article comes to the conclusion that the chronotope of the path occupies the most important place not only in the chronotope of the olonkho, but in general in its plot-compositional organization. The structure of the path has been determined, consisting of three main parts: the departure of the hero on the path, the process of the path itself, the completion of the path (the return of the hero to his homeland), in which various plot motives are realized. Particular attention is paid to the plot-forming role of the path chronotope in the olonkho, its relationship with the system of characters, poetical and stylistic means. It has been established that the leading links of the poetics of the Yakut heroic epic have inextricable interconnections in solving the main ideological and aesthetic problems.

The article* presents the results of textual studies of the early recordings of the Yakut heroic epic Olonkho, recorded from the second half of the 19th century to the beginning of the 20th century. The relevance of the study is due to the fact that scientific research of the texts of the early recordings of Olonkho with full broadcasts of the plot is most widely, systematically carried out. At the same time, researchers today continue to pay less attention to early recordings of Olonkho, producing brief or incomplete schematic statements of content. A review of early texts on Olonkho shows that these reviews have incomplete, overly concise, summaries of the plot, although they do confirm the stability of the ancient thematic content, plot structure, motifs, and image system. The richness of the poetic language and the beauty of the style, and the surprisingly artistic content and archaic motifs, which can be seen even in translations, are of considerable value for establishing a full picture of the unique oral creativity of the Yakut people. This study attempts for the first time to systematise transcriptions of early recordings of Olonkho using a summary of the plot in Russian compared with a summary of the plot in the original language. The systematised texts will be used in a comparative study of Olonkho texts recorded in the 19th and 20th centuries. This analysis shows that there has been a transfer of plot with epic texts of the late period in order to maintain a degree of continuity, using both common and specific features to bridge between traditional and modern forms of Olonkho, taking into account regional and local features. [ABSTRACT FROM AUTHOR]

The results of the analysis of the basic principles of compiling the database “Olonkhosuts of Yakutia of the 17th—20th centuries” — about the storytellers of the Yakut national epic are presented. The relevance of the research is determined by some difficulties in the systematization and design of the information content of the repository. A brief overview of the history of the study of the personalities of Yakut storytellers is given, the stages of database development are discussed in detail. It is noted that as a result of the generalization of the material a reference book that contains more than 1300 names of storytellers of the 17th-20th centuries was published by the team of the Olonkho Research Institute of M. K. Ammosov North-Eastern Federal University. Problems identified in the process of filling in the cells are described. Particular attention is paid to entering data in the national language, their transliteration and translation into Russian. The definition of the types of the second names of olonkhosuts is given, the expediency of allocating a separate field for nicknames-pseudonyms reflecting the status and popular recognition of the talent of the narrator is substantiated. A sample database table on olonkhosuts is presented. As a result of the study, the parameters for selecting data for inclusion in the repository were compiled, the need for additional research work to identify the facts of the change of residence of olonkhosuts was determined, and recommendations were proposed for improving the principles of information content of the database.

Introduction. The article provides a comparative analysis of artistic expressiveness means inherent to the Yakut Olonkho and Tuvan epics. The point is that poetics of the epic work Nurgun Bootur the Swift by P. A. Oyunsky recreated on the basis of folk tales has actually remained understudied, and this paper fills the gap. Goals. The work — as part of Yakut folklore studies — makes the first attempt to consider poetics and the system of artistic techniques of the Olonkho Nurgun Bootur the Swift in comparison to Tuvan heroic epics. Methods. The study employs a comprehensive approach that includes comparative historical and typological research methods. Results. The comparative analysis concludes that P. Oyunsky’s Nurgun Bootur the Swift is based on the principles of traditional folk epic, and reveals parallels to Tuvan heroic narratives. Special attention is paid to the means of artistic expression — hyperbole and comparison. There are functional semantic dependence and structural unity indicating a typological similarity of the epic works examined. The vivid language of Tuvan epic narratives and that of P. Oyunsky’s Olonkho are explicitly characterized by elements observed in heroic epic proper, and the poetic analysis shows the Yakut text is distinguished by artistic completeness. So, P. Oyunsky revived the Yakut heroic epic, enriched its conceptual/thematic essentials — to strengthen the unique poetic form.

Introduction. Interpretation of sign systems inherent to archaic texts of Olonkho epic remains an important issue within Yakut epic studies. The situation is complicated by the ongoing penetration of network structures into all spheres of human activity in modern society, and requires further systemic studies in the nature of mythological consciousness. The article examines the mythological image of Aal Luuk mas Tree which steadily functions in mythological contexts of the Yakut Olonkho epic. As is known, the ‘pith and marrow’ of any phenomenon can be comprehended only through the study of its formation. So, the work analyzes all stages of the development of the image, starting with the sources proper. Goals. The research aims to identify the sequence of stages in the formation of the mythological image of Aal Luuk mas, determine the model archetype within the ethnic mythopoetic consciousness, and demonstrate modeling and structuring functions thereof as the main generating idea in the Sakha view of the world. Materials and Methods. The work considers mythological views of the Sakha people reflected in Yakut Olonkho epic texts, and employs an interdisciplinary approach that includes various methods of modeling, structural-semiotic analysis, and deduction. Results. The stadial research shows that Olonkho texts contain fragments of mythological cosmogenesis, archaic motifs of the world egg, world sea, elements of zoomorphic space, anthropomorphic characters to have preceded the era of the Tree ― to further shape a complex image of Aal Luuk mas as a model that structures a multilevel Universe. The work mentions a geometric representation of the Tree in the form of a static pyramid and a dynamic cone identical to the Olonkho epic model of the world discovered by the author in previous studies. The paper concludes that in addition to the well-known ideas about the image of Aal Luuk mas as a symbol of fertility and the eternal cycle of life and death, the form and content of this archaic image largely determined the emergence of many sign systems nowadays integral to Yakut material and spiritual culture. And this circumstance proves instrumental in recognizing an invariant archetype scheme with the preservation of semantic ‘valencies’ in modern texts of the tradition, thus indicating further research prospects.

The article is devoted to the study of the historical poetics of the Olonkho Vilyui Yakuts. The relevance of the study is due to the need for an in-depth study of the archaic and late layers of the Yakut heroic epic based on the materials of the Vilyui expedition of 1938, with the help of which it is possible to reveal the specifics of the olonkho of the Vilyui region. The author of the article concludes that the materials of this expedition accurately reflect the peculiarities of the local tradition under consideration. The archaic stratum of olonkho is revealed, which is characterized by a ritual parenthetic song before or after the performance of the epic, the preservation of the mythologeme of the creation of the world, the image of the sacred birch Aar Kuduk Khatyng, a less developed description in the epic beginning. It has been established that the formation of the late layer of olonkho poetics is associated with a number of reasons, including the following: the cumulative nature of the characters’ actions under the influence of a fairy tale; demythologization; replacement of the heroic with everyday life; reflection of the negative consequences of the development of society; the appearance of borrowed words, the names of Russian cities, Christian concepts, images of Russian girls, the fire-breathing Serpent Gorynych, Baba Yaga as a result of close ties with Russians, their culture and worldview; the emergence of a war motive between the aiyy and abaasy tribes as a reflection of the Great Patriotic War; the image of the achievements of technical progress (in particular, the steamer); displacement of images; using the image of a shaman; the introduction of an intermediate layer of images of semi-ayy and semi-baasy.

The relevance of the study is due, on the one hand, to the insufficient knowledge of the semiotics of the Yakut epos olonkho, and on the other, the need to implement a new paradigm of modern science, which involves the convergence of scientific knowledge. It is noted that the fundamental categories in the worldview are the modes of space and time, which in total lead to another mode of being - a chronotope. The subject of this article is the codes of cosmological mythology in the texts of the epic olonkho from the perspective of a peculiar spatio-temporal organization of the epic world of olonkho. The purpose of the study is to decode the elements of mythology, as a result of which “compressed” messages about scientific knowledge that indicate the existence of a single source of typology of culture are found. Particular attention is paid to the variety of codes, the rules for their emergence, taking into account the national characteristics of language and thinking. A systematic approach to the subject of study, structural-semiotic analysis, methods of review and description are used in the study. The novelty of the study is in an attempt to partially solve the problem of the disunity of two types of cultures (folklore and fundamental laws of nature) in the context of a general typology of culture. This study indicates the prospects for further consideration and definition of the elements of a peculiar symbolic-semiotic system of space-time organization in the texts of the Yakut epos olonkho.

The article is devoted to the transformation of the Yakut heroic epos. The relevance of the work is due to large changes in the epos creation of Yakut storytellers and insufficient study of this process in Yakut folklore. The novelty of the study is that for the first time the problem of olonkho transformation is specifically studied. Various changes in the epos in the genre, pragmatic, conceptual, ideological and other aspects are considered. Of particular note is the transition from the oral epos to the written form of being. It is established that the appearance of copyright works based on olonkho creates confusion in the definition of the genre, as a result of which various falsifications appear. The characteristic of the transformation of the concept of “olonkhosut” (narrator) is given. An author’s periodization of olonkho transformations is proposed, which consists of three stages: pre-revolutionary, Soviet and post-Soviet (modern). It is noted that each period has its own characteristics. The author of the article reveals some features of stage productions when traditional images and motives of olonkho are distorted to suit modern viewers' requirements. Summing it up, the author concludes that the transformation of the epos creates a great danger that can destroy the olonkho genre in Yakut folklore and change the idea of it in modern people.

The article is devoted to the transformation of the Yakut heroic epos on the example of Olonkho of B. A. Alekseyev “Erbechtay Mergen,” which was recorded by him and the folklorist-collector S. I. Bolo during the Vilyuisk expedition in 1938. The relevance of the work is determined by the increased interest in the transformation processes of the traditional culture of the Yakuts under the influence of the socio-cultural environment. The novelty of the study is that for the first time the local Olonkho text is studied as an object of transformation. Olonkho manuscript and the peculiarities of its recording are given. It is reported that in 2017 the author of the article prepared the Olonkho text for publication. The article establishes fabulous elements, demythologization, the influence of Russian culture as the cause of changes in Olonkho. As the author of the article shows, this Olonkho is characterized by cumulative actions of the characters, as in fairy tales. It is noted that the rivalry and strife of relatives enhance the domestic nature of the relationship between the characters and push the heroic image into the background. It is reported that due to demythologization the mythological motifs and images have become rare in Olonkho of B. A. Alekseyev. The author also points out that under the influence of Russian culture there have been some changes: a lot of words are borrowed from the Russian language, the names of Russian cities, the pantheon of deities began to include Christian images, there is a mixture of the image of Baba Yaga and abaasa women, there are images of Russian girls, etc.

This paper explores the pragmatics of a traditional Siberian epic tale genre. The author analyzes this issue on the example of Yakut epos called Olonkho from the moment of its first records (mid-19 th century) up to the present. The first part of the paper reconstructs the information concerning the pragmatics of this genre in the non-written epoch on the basis of ethnographic notes, field materials, and “internal” data of the records of Yakut epic plots. The main focus is on the function of magic in the narratives. The ceremonial character of the performance, the recorded cases of its performance either during important festivities or, on the contrary, during community crises, the semantics of its plotlines allow us to consider the epos as a specific mode of magic influence on reality. The second part of the article features some facts that are relevant in terms of rethinking the status/functioning of the epic genre in the “post- traditional” era (e.g. the emergence of new forms of recording and circulation of the plots, attribution of epic tales to literary art, the inclusion of artistically elaborated epic texts in school curricula, overlaps between epic and popular song genres, etc.); it also describes the specificity of the perception of epic by contemporary representatives of Yakut tradition. The author points out at the emergence of such tendencies as institutionalization and codification of the narrative and dissemination of new ideas concerning the origins of the epic text. The described mode of transforming the traditional narrative genre into a marker of ethnic identity, aimed at the “other,” seems to be not specific for Yakut tradition only and thus may be extended to similar cases.

The paper deals with translation strategies of the epic texts in the case of the Sakha epic “Nurgun Botur the Swift” translation into English. Due to the variety of research works on the Sakha-Russian translation issues this paper focuses on the review of olonkho translations into other languages of the world. The framework theory includes the review of studies on translation strategies in Russia and abroad. As global translation strategies Lawrence Venuti’s ‘domestication’ and ‘foreignisation’ are considered. The idea of “a golden mean strategy” is introduced. The paper views lexical translation challenges. Local strategies to overcome lexical challenges in the epic translation, as transliteration/transcription, calque, partial calque, and, explication occur to be the most applicable in the translation of the epic texts. Practical significance lies in the possibility of using the materials of this study by translators-practitioners in the translation of epic texts, in the courses on “Theory and practice of translation”, “Literary translation” as well as in assessing the quality of translations.

The article deals with introductory parts of olonkhos in the northern regional tradition of the Yakuts. The authors of the article divide the introduction into two segments as follows: a narrative part comes first and is followed by a descriptive one. Narrative parts of olonkhos within this tradition are classified into three groups. Compositions of the first group describe single heroes who have neither father, nor mother, nor sister, nor brother. The second group comprises plots according to which the main character has sisters and brothers but they live all alone without parents. And the third group consists of plots that begin with fairy-tale motifs. The most common plot of introductory parts of olonkhos within the northern regional tradition presented in seven texts describes the main character as a full orphan. The hero is reported never to have seen his revered parents and, thus, lives in the Middle World alone, unaware of his origin: he wonders whether he fell from the sky or appeared from under the ground. Still, in some olonkho texts of the tradition the main character has brothers and sisters. The distinct feature of northern olonkhos is that their introductory parts contain fairytale motifs. Such olonkho texts begin with descriptions of the lives of an old man and an old woman, or an old man with three sons. The descriptive part is divided in two, and it is the house of heroes that is described first: there are detailed descriptions of the building, its interior decoration, household utensils and facilities. The second section describes the Middle World with its mountains, ponds and rivers, plants, trees and grass. The final episode of the narrative includes a description of the Sacred Tree the main character runs across on his way of adventures. And there are different names used to denote the Sacred Tree. The paper concludes that introductory parts of olonkhos of this tradition differ from those of the central and Vilyuisky epic traditions. Narrative parts of olonkhos within the studied tradition are usually incomplete due to the lack of descriptions of the universe.

The work is based on the results of studying the Turkic peoples’ folklore and heroic epos, published research papers whoch focus on the etymology of the terms denoting the main characters “albasty” and “abaahy”, and also the lifestyle, appearance, anatomy, and genetics of the archaic hominids – Homo neanderthalensis, Denisovan hominine. Research articles on olonkho, the texts of Yakuts’ Olonkho heroic epos – the largest indigenous ethnic groups of North-Eastern Siberia have been analyzed. As a result of the conducted research, the most generalized image of “abaahy” has been created, its prototypes in the ancient history have been presented.

The article is devoted to a comparative analysis of the image of the epic horse in the texts of two related Turkic epics. The material for the research in a comparative aspect was the texts of the Yakut epic "The Girl-Warrior of Dzhyrybyna Dzhyrylyatta with a milk-white horse" by P. P. Yadrikhinsky - Bedjeele and "Son of the Horse Dyyray Warrior" by I. I. Burnasheva - Tong Suorun; Khakass epic "Altyn-Aryg" by S. P. Kadyshev and "Ai-Khuuchin" by P. V. Kurbizhekov. The choice of these texts is due to the fact that their academic publications are equipped with a good reference apparatus, as well as the presence of facing Russian translation and relatively equal volume of texts. The relevance of the study is determined by the increasing interest in the comparative study of Turkic epics. The subject of this study is the image of an epic horse from the texts of the Yakut olonkho and Khakass alyptyh nymah. The purpose of this article is to identify the commonality and differences in the images of the epic horse in the epics of related Turkic peoples. In order to achieve this objective, contrastive-comparative and comparative-historical methods were used to identify the general and specific in the Turkic epics and a descriptive method that allows us to more deeply characterize the image of the epic horse taking into account the worldview and mentality of these peoples. The analysis showed that the horse is present in all the main events of the life of the epic bogatyr accompanying him in all significant events. A commonplace in the image of a horse for the Yakut and Khakass heroic epics is a beautiful description of a horse, loyalty and power of a horse, as well as its ability to speak in human language. A wide variety of horse's colors in epics indicates good knowledge of Turkic peoples in horse breeding. The image of the horse, which had a major impact, refers to the archetypal symbols of the culture of the Turkic people. [ABSTRACT FROM AUTHOR]

The article speaks about the history of the design of the National Innovative Complex “Olonkholand” in Yakutsk. It features the concept of the future complex, which will play an important role in the development of the territory. The focus of the article is the International Architectural Competition for the design of “Olonkholand”.

The integral artistic image, architectonics and rhythms of the Yakut heroic epos are studied from the point of view of the three limit relative dynamic equilibria, presented in our previous works. Three directions in research of heroic epos are singled out, in connection with these limits: identification (I), system-communication (C) and limit rhythms of epic work (K). We correlate the integral artistic image to the identification limit, the architectonics to the system communication limit, and the rhythm to the limit of world harmony. These limits are unattainable in reality, so to understand particular epic works it is necessary to focus on the intermediate cell of the epos: the phenomenon (F), the corresponding horizon (H) and the main rhythm of the epic work (K). They are associated with the limits I, C, K by the calibration ratios ensuring the correspondence of the rhythms of the epos to the rhythms of world harmony. In the framework of the phenomenological approach, the intermediate cell and its limits belong to the phenomenological space, but the works of heroic epos in most cases are models of limit states of real world objects, so the transition from real equilibria to phenomenological ones is completely justified. Sets of rhythms, rhythmic cascades, and their resonant sound throughout the work of the Olonkho are narrated as easily as they are perceived. A transition is made from the rhythms of individual lines to the rhythms of epic formulas, epic places, then to the rhythms of plots and digressions. A set of these rhythms calibrates integral images and architectonics. [ABSTRACT FROM AUTHOR]

This article discusses the normative and legal foundations, laws, principles, approaches, means and methods of organizing the educational process and analyzing the content of the authors' ethnopedagogical program--Olonkho pedagogy. The article relies on the aspiration of ethnic groups to preserve their own distinctiveness and maintain their ethnic and cultural identity despite the current circumstances of globalization. By basing its approach on the Sakha heroic epic tradition--the Olonkho--the article describes how this tradition can introduce children to ethnocultural traditions, customs, and ceremonial rituals. The article examines manifestations of civic and ethnic identity among students, as well as their values and attitudes toward their native language and the cultural and historical heritage of their ethnic group. [ABSTRACT FROM AUTHOR]

This article deals with structurally-phonomorphological and typical acoustic phonocadency in Yakut toyuk and olonkho, performed by outstanding artists of folklore and professional storytelling S.A. Zverev and G.G. Kolesov. Experimentally-linguistic analysis was carried out with computer program "Speech Analyzer". Phonocadency as a structural part of epic chant has been specific acoustic complex of components of intonation (quantitativeness, tonality and dynamic indicators). It has three kinds of realization in toyuk, olonkho and algys: initial, medial and final in melodic axis. Most often it functions as a phonoprocliticenclitic component with various vocal modulations in a form of vibrato and kylyhaakh (throaty signs of chant). Initial and medial phonocadencies are less quantitative than final ones. In general, these acoustic indicators serve as more plangent exclamation in epic chants. Factual and relative phonetic characteristics of phonoproclitics, phonomedial and phonoenclitics of S.A. Zverev's toyuks have typological commonality with epic pieces of art (olonkho, algys) and are etiquette and universal signs, which symbolize the core of Yakut musical culture of oral traditions. Initial and final phonocadencies of Nyurgun Bootur's songs from Oyunsky's olonkho are expressed by generating physiological vibrato and various vocal modulations. They demonstrate strength and frequency of vocal timbre and also they reveal epic image of a hero. [ABSTRACT FROM AUTHOR]

This article discusses the features of "Buura Dokhsun" Olonkho's verse, first published in 1993 by Erilik Eristiin, writer and olonkho-performer. The introduction briefly refers to the studies of the past years, which revealed common features among folk storytellers. Similar moments are clearly shown in the composition of epics. Further, in detail described a special method for studying the verse of olonkho, proposed by professor N.N. Toburokov. This method has been used for about ten years to study many texts of the epic work of the Sakha people. To familiarize in the beginning is given a brief biographical note about the author, about the work as a whole. For the first time are studied the rhythm, alliteration, rhyme of olonkho by writer and olonkho performer - Semen Stepanovich Yakovlev - Erilik Eristiin. It is revealed that in the olonkho "Buura Dokhsun" he followed the canons of the Yakut heroic epic, but in comparison with genuinely folk storytellers, the formal parameters of the Olonkho's verse are much higher. So, in the epic "Buura Dokhsun" alliteration in the beginning of a line (from the studied 1543 lines) makes 70,7%, and inside of a line makes 26,7%. The peculiarity of the olonkho's verse by poet-storyteller is the fact that the number of rhythmic structures that are exactly repeated in the next or corresponding other line has increased to 40%, whereas we found that in the epics of M. N. Androsova-Ionova they are 10%, and D. Govorov - 5%. The use of rhyme by Erilik Eristiin is also higher - in average 73%, and the average rate in traditional storytellers - 56%, there is also a masterful use of different forms of phonomorphological rhymes. At the end of the article the results are summarized. In general, Erilik Eristiin, maintaining the common traditional forms of the verse of the folk epic, introduced a lot of new, inspired by his own poetic experience. The writer and Olonkho-performer Erilik Eristiin has other manuscripts of Olonkho. In this respect, he is the only writer who has created so many Olonkho. [ABSTRACT FROM AUTHOR]

In the Yakut heroic epic olonkho ("Nyurgun Bootur the Swift" by Platon A. Oyunsky, Elbet Bergen of N.T. Abramova), the main person is the hero of aiyy. He is called to protect his people and tribe. He is the guarantor of the "future life of the genus "Aiyy aimaga", i.e. the tribe of divine origin, therefore, in accordance with its high purpose, the hero is portrayed as strong and majestic. He is opposed by the hero of the tribe "Abaasy aimaga" - literally a representative of the devil's tribe, who attacks people and abducts the beautiful bride, the future mother of the successor of the genus of Aiyy aimaga. The last circumstance in the world of the olonkho is a symbol of an assassination attempt on the bright future of people. Therefore, the hero of aiyy at the end defeats the hero of the tribe of "abaasy aimaga". But not everything is so simple. In the single combat of the hero of the tribe of "aiyy aimaga" and the hero of the "abaasy aimaga", the first hero does not always win. And the cause of the defeat is reduced not only to the sentences sent by higher forces for too arrogant attitude towards people of the Aiyy Aimaga family, the Higher Powers. This article is devoted to understanding the image of the hero "Ogo Tulayakh" ("Childorphan") from the genus of Aiyy aimaga. The authors set the task to show the spiritual, moral, emotional, intellectual potential of the olonkho "Nyurgun Bootur the Swift", which is necessary to overcome the spiritual orphanhood of the individual. If a person does not know love, does not know the natural laws, the commandments of people's lives and therefore does not follow them, he considers himself to be abandoned and lonely. This is the manifestation of spiritual orphanhood. As a methodological principle of work, the olonkho is considered as the basic matrix in the spiritual development of a nation. The novelty of the research is that the authors disclose through the images of the heroes of this olonkho the ways to overcome spiritual orphanhood. The practical significance of the research is that the philosophical conception of the development of value orientations of the Sakha ethnofor has been developed, it tried and tested basic components - the theoretical model, mechanisms, authoring methods, constitute the scientific basis for the development and preservation of ethno-value orientations, making optimal decisions on the acute problems of the cultural, spiritual, political coexistence and dynamic development of the representative of the Sakha ethnos. [ABSTRACT FROM AUTHOR]

The article deals with the 'strong' text of the Yakut culture - olonkho Nurgun Botur the Swift by Oyunsky. A convincing evidence of the 'strength' of Oyunsky's text is its continuing popularity among native speakers, the steady interest of researchers in the author's version of the epic, its high educational and cultural potential, as well as the regular translatability into the languages of verbal and non-verbal semiotic systems. Being the classical example of epic tradition, olonkho demonstrates close connection with the Yakut real life and the genuineness of the events described, which makes Oyunsky's text a reliable historical and ethnographic source of information about the culture and the history of the Sakha people. Along with the cultural information, an important place in the complicated information continuum of olonkho belongs to cultural memory resulting from mythologization and sacralization of the past of the indigenous Sakha people, being of collective nature and providing the cultural identity of the ethnic group. The present research considers the cultural information and the memory, which reflect the unique cultural code of the 'strong' text (primarily in translingual and transcultural prospects) and identify effective strategies for preserving in the secondary texts the Yakut historical experience and generic memory. The fact that the recipients understand the text of olonkho despite its complex cultural meaning, and the ability to continue its 'life' in 'native' and 'foreign' cultures implies the interpretation and adaptation of information from the epic work by means of verbal and non-verbal semiotics. The secondary texts of olonkho of various semiotic nature preserve the cultural information and the memory of the original text, which proves the universality of this type of information as a unit of translation of epic literature. [ABSTRACT FROM AUTHOR]

For the first time in olonkho studies, this article raises the question of innovation in the plot of the Yakut epic olonkho. Researcher of the plot of olonkho N.V. Emelyanov distinguishes three main types: plots of olonkho about settlement of the Middle world by the aiyy aymaga tribes; plots of olonkho about ancestors of the tribe; plots of olonkho about defenders of the tribe. The researcher considers the following criteria to distinguish plot types: 1. By the birth of the universe and the main heroes of olonkho; 2. By the destiny of the main heroes of olonkho; 3. By the general organization and construction of the olonkho characters system. Therefore, researcher views the plot of the Yakut olonkho as established and quite preserved mythologized oral heroic narrative about past social and political historical events of the pre-state Yakut people tribal system. Thus, new adding in the plot is considered possible, but it cannot drastically change the established ideological and informative tradition of the Yakut olonkho. Accordingly, the plot of olonkho that does not correspond to the described by N.V. Emelyanov traditional types of existing olonkho, either cannot be considered as true olonkho; or does not fit into existing scientific criteria for outlining plot types of olonkho; or there are new plot changes that do not correspond to traditional canons of olonkho. In this article, the plot of the olonkho "Buura Dokhsun" by author of olonkho S.S. Yakovlev - Erilik Eristiin is considered. While analyzing the plot of this olonkho, descriptive, componential, structural and comparative methods were used. In our opinion, the plot of the olonkho "Buura Dokhsun" of the author S.S. Yakovlev - Erilik Eristiin does not correspond to three plot types of the Yakut olonkho described by N.V. Emelyanov. We consider it to be new feature of the author, and, therefore, we think it is necessary to place it as a special problem in olonkho studies. New features in the plot of olonkho "Buura Dokhsun" are: the battle between Buura Dokhsun's father and Yuryung Aar Aiyy Toyon for power and his sending to exile to the Middle World; rebellious appeals of Buura Dokhsun against lords of the Upper and Lower Worlds for their oppression; the violence of Buura Dokhsun over the lord of the Upper World Yurung Aar Aiyy Toyon and the release of all imprisoned people. These new features break traditional plots of the Yakut olonkho and represent the influence of the class conflict ideas of modern era. [ABSTRACT FROM AUTHOR]

The article gives an insight into the textological features of the manuscripts, collected by A.A. Savvin during his Viluy expedition of 1938. The analysis of the manuscript materials, in particular, the olonkho manuscripts "Tebet Menik bogatyr", allowed singling out the main principles and methods of collecting epic works, which were implemented during the Viluy folklore expedition. The olonkho manuscript "Tebet Menik bogatyr" is stored in the Manuscript Collection Fund of the Yakut Research Center of the Siberian Branch of the Russian Academy of Sciences and it is one of the best examples of the Viluy local tradition. This is justified by the archaic motif of the hero's birth from elderly parents. In the course of study of the fixed poetic constructions, a natural input of curses, well-wishing, proverbs and sayings text fragments into the olonkho structure, all of which perform the functions of putting together an epic formula and describing places typical for olonkho. There is additional biographical data about the famous Yakut olonkhosut (olonkho teller), S.I. Eremeyev - Dedeges. The present study analyzes the methods and approaches to field research in process of recording the olonkho songs during the Viluy expedition organized by M.N. Zhirkov in 1943. We have selected notes text corpus of this expedition, which is stored at the A.S. Pushkin National Library of the Sakha Republic (Yakutia). We analyzed records of the characters' chants, which are typical for the Yakut olonkho and we are making a hypothesis on the type of Viluy region olonkho they could possibly belong to. We also give a comparative analysis of the chants by a Tungus bogatyr Ardzhyamaan-Dardzhyamaan in the olonkho by S.A. Zverev - Kyyl uola from the Nurbinsky Ulus (Region) and Ivan Borisov from the Verkheviluysky Ulus (Region). It was determined that even within the regional performing styles, which the Viluy chanting style belongs to, there is a possible existence of local regional singing (performing) styles: in this case, the Nurbinsky and Verkhneviluysky regional traditions are implied. [ABSTRACT FROM AUTHOR]

The topic of article focuses on the examples of epic and fantastic genres interaction represented in the Yakut and Even folklore traditions. The author takes examples from the texts and describes some fragments of Yakut and Even epic texts in which there is an ornitomorphic feature connected with the name Yoksyokyu, and in the Evens texts - with the name Yugseki or Yevseki. This feature is present in various examples of epic texts of the Yakut traditional epic olonkho and in some folklore texts of the Dolgans; it can be seen in the epic legends of the southeast Evens, living in the Khabarovsky Krai, who have come there from the east of Yakutia and are presently living in the neighboring regions with the Yakut people. Apart from epic texts, the image of a bird of Yoksyokyu occurs in examples of Dolgan and Yakut fairy tales. In our research, the descriptive method was used providing a large scope of primary textual data analysis; as well as the categorizing method allowing to show specific features of each text and its details; the comparative method aimed at defining similarities and differences in the context of both - the Yakut and Tungus folklore traditions and texts, representing different genres - the epic olonkho and fairy tales. A text material was selected using the method of computer analysis of large scope of texts, allowing taking texts containing proper names, age and social signs of characters, living beings and subjects as well as these subjects' names. Occurrence of such a character as a predatory fighting bird Yugseki similar to an eagle - Yevseki in the Even legends - is an unequivocal cultural borrowing from the Yakut folklore tradition: the group of Evens where these legends have been written down, is native to the Ust-Maya ulus (administrative division) of Yakutia and their dialect is close to the Even dialects of eastern Yakutia. In all Yoksyokyu referred to in the texts - the ornitomorphic character with a number of heads ranging from 1 to 8, capable of turning into a well-built human being and of participating in epic hero duels. It is a typical example of a cultural borrowing: in folklore, separate motifs and the characters connected with such motifs are usually borrowed. The image of Yoksyokyu - the birdlike human represents such type of a hero as the mediatory force connecting the different worlds (in this case the world of people and birds as a category of characters and Middle (terrestrial) and Top (Upper) worlds as spheres of action and narrations. The given example of character borrowing from the Yakut folklore tradition by the Even epic tradition is a rather bright one and the attention of researchers is drawn to it, but it appears by far not the only thing in weight of examples displaying influence that the Yakut folklore had on that of the Evens. [ABSTRACT FROM AUTHOR]

The article discusses the problem of studying the North-Eastern tradition of the Yakut epic. This tradition is part of the Northern regional tradition of the Yakuts. At the moment, the problem of studying the Northern regional tradition remains open. The study was based on the works of P. Ergun, V.N. Toporov, L.V. Dmitrieva, I.V. Pukhov, N.V. Emel'yanov, L.N. Semenova and others. The images and semantics of the sacred tree in the Olonkho of the North-Eastern tradition are considered in detail. This image is characteristic for the 8 texts of the 14 considered Olonkho from momskiy, verkhoyanskiy, abyiskiy and srednekolymskiy districts or Sakha (Yakutia) Republic local traditions. In Olonkho texts of studied tradition the sacred larch image is widespread. As the researchers note, the sacred larch image is the most archaic. Carried out a comparative analysis of the sacred tree in Olonkho from three traditions (Vilyui, Central and North-Eastern). The sacred tree descriptions in the three traditions had their own regional differences. As a result of sacred tree semantics comparison in Olonkho of three traditions had been revealed the following. In the Central tradition, the sacred tree does not reach the Upper and the Lower worlds. In the Vilyui tradition, the tree penetrates through the Middle world and reaches the Upper world, becomes the horse standing for the Supreme deity Ürüng Aÿý toÿon 'White Creator Lord'. In Olonkho of the studied tradition the top of the sacred tree goes to the Upper world and roots penetrate deep into the Lower world. In the middle world the tree Ál Lúk Mas appears as a center of the world and a sacred place. In the Lower world the sacred tree appears as a hook for the things of its Lord Arsán Tôlaya. The main results of the work allows to suggest that the sacred tree semantics in the Olonkho of this tradition is more interesting and distinctive from the Olonkho of other regional traditions. [ABSTRACT FROM AUTHOR]

The study of present-day folklore and epic traditions remains an important topic and the evolution of epic prose genres in Yakut literature serves as an evidence to this. A complete turn to the folklore and epic traditions at the new stage of evolution is typical for the genre of historical and philosophical novel. A deeper indulgence into the historical plane and much more prominent manifestations of the moral and philosophical point of views predetermined the new steps in the development of traditional poetic features and olonkho. The focus on the psychological and mental structures of the traditional cultural consciousness predefined the turn to the main source of human memory: myths, legends and olonkho. Novels written by V.S. Yakovlev-Dalan and I.M. Gogolev are prominent examples of turning to the traditional poetic features in the new stage of Yakut literature development. Thus, in their novels, written in the new stage of Yakut literature, we can see features of mythological and folklore and olonkho traditions. Folklore and epic motifs are represented in several planes and on different text levels of the epic plot: in the point of view of the author, in the stylistic features, and in the portrayal of the characters personal traits. This article examines the role of folklore and epic traditions in the process of the modern historical and philosophical novel evolution; as well as to single out the folklore and mythological motifs by implementing historical and literary analysis, typological, conceptual and geocultural methods. [ABSTRACT FROM AUTHOR]

In the article, the authors consider the female decorations of the Yakut, based on the materials of Platon Alekseevich Oyunsky article "Yakut tale (olonkho): it's plot and composition". He is the first author to write about the Yakuts' decorations based on the olonkho materials yet in 1927. P. A. Oyunsky is a famous writer, linguist, folklorist, outstanding public and state figure of the Yakut people. Terminology of the Yakut decorations is poorly studied in the Yakut linguistics. There are no monographic studies, aimed at analyzing the vocabulary of decorations in the Yakut language. That's why P. A. Oyunsky article, containing interesting data on the Yakuts' decorations, is one of the source materials in studying this issue. As the result, the authors come to conclusion that, P. A. Oyunsky was the first to analyze four types of the Yakuts female decorations in chapter "Female decorations" in his article. He left a full description of a big solid decoration, composed of a few elements. By implementing contrastive-comparative, lexico-semantic and descriptive methods, this research reveals female decorations in olonkho. [ABSTRACT FROM AUTHOR]

For a qualitative translation of text it is necessary to preserve its style, style of the original. In translation practice, a whole arsenal of methods and techniques is used to select an adequate verbal equivalent in the target language. But the issues of style in the translation of epic texts in the communicative and activity aspect have not yet been considered. To understand the valuable information and interpretation of the text it is important to be able to distinguish and use existing stylistic structures and forms, in particular, compositional-vocal and architectonical. When analyzing the texts of olonkho, we rely on the linguistic concept of translation developed by prof. M.P. Brandes. Accordingly, genres and style are forms that determine the perception of meaning. This article studies compositional-vocal and architectonical forms of epic texts. The article implements linguistic analysis, including the method of direct observation, relative and comparative methods. The analysis of fragments of the olonkho translation allowed us to draw the following conclusions: 1. The ascertaining messages are prevalent. The secondary information is dominant in them, since the temporal and logical sequences are blurred by the enumerations that give to message an additional picture. Thus, in such messages, notional and semantic structures merge. 2. The nominative descriptions dominate, where the main semantic load carries the names - adjectives and nouns. [ABSTRACT FROM AUTHOR]

When translating such peculiar genre of Yakut folklore as olonkho into other languages, an issue of preserving the style of the Yakut heroic epic acquires special significance. Currently, there are about a dozen published translations of the epic olonkho in Russian, but the theoretical basis for translating epic texts has not been sufficiently studied, their principles and requirements have not been determined, and this determines the relevance of this study. The purpose of the study is to develop and define the principles of translating epic texts into Russian using the material of the translation of olonkho "Ala Bulkun" by Zakharov-Cheebiy. Currently, a large number of works on the study of the language and style of olonkho have been published, but the study of the problems of translation is at the initial stage. The issues of olonkho translation are considered in the works of P.A. Sleptsov, T.I. Petrova, A.A. Nakhodkina, A.A. Vasilyeva, I.V. Sobakina, N.S. Sivtseva, Z.V. Tarasova and others, and studied in the scientific work of students. In developing the proposed study, the following methods were applied: continuous sampling method, descriptive method, structural method, comparative method. In our opinion, the translation of the monumental poetic creation of the people must guarantee the "recognizability" of the original, i.e. characteristic features of the poetics of Turkic versification, primarily its intonational-rhythmic organization. Upon results of the study, the principles of preserving the number of lines and the order of their content, the number of syllables in a line, alliterating words, the structure of syntactic parallelism, the position of a predicate, auxiliary verbs and modal particles "ukһu", "ebit", the displacement of the agreed adjective to the postposition next to a noun have been proposed to preserve the specific form and full content of the epic text olonkho. [ABSTRACT FROM AUTHOR]

In the article, an attempt of comparative analysis is made between the texts of two different Turkic epics (the Yakut Olonkho "Kyys Debiliye" and the Khakass alyptic nymakh "Ay Huuchin") that were published in the academic series "Monuments of folklore of the peoples of Siberia and the Far East". The choice of these texts is determined by the scientific nature of the publications, the belonging of these epics to one type of women-heroes tales, the presence of a Russian translation, and their relatively equal volume. The relevance of the study is determined by the growing interest for comparative study of the language and epic poetics, as well as their genesis. The purpose of this article is to establish the features in the methods of comparison formation in the Yakut and Khakass epics. The study of comparison is always in demand as an artistic and pictorial tool in linguistics and folklore studies. The subject of this study is the syntactic comparison structures, previously identified from the texts of the epics that were questioned by the method of continuous sampling. The methodology practiced by Yu.I. Vasiliev in the Yakut and E.V. Kyrzhinakova in the Khakass languages were used to study the comparisons and classifications. The study leads to conclusion that the comparison in the Yakut epic is expressed mainly by lexical means (the indicator of comparison are function and categorematic words), and in Khakass - lexical and morphological words (with the help of derivational and case affixes). The most common way of forming a comparison in the Yakut olonkho is the method with the help of the курдук index 'alike, similar to, as', and in Khakass alyptic nymakh - with the word чiли 'like, akin to'. Words with a same etymology were not established among the lexical indicators of the two epics. The common ancient Turkic origin have two morphological indicators: the affix -ча and the affix of the ablative case. A relative analysis of comparative works revealed that there are no completely identical structures in epic texts, but comparisons with similar objects and images, decorated with the help of various indicator words and affixes, are noted. A number of comparable works have a commonality in the expression of the same features and functions. Further studying of the comparative formations with the involvement of a wider material, including other Turkic epics is for seen. [ABSTRACT FROM AUTHOR]

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