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The purpose of this work is to substantiate the ethno-cultural orientation in teaching English among bilingual students of Tuvan State University as the basis for the formation of intercultural competence. The strengthening of internationalization and mutual influence of polylinguocultural social communities in different spheres of life actualizes the question of the need to solve educational problems in a broad socio-cultural context and the dialogue of cultures. It is possible through a discipline in English, aimed at studying Tuvan culture by students in the context of the past and the present. We have defined the purpose of the discipline, the content of cultural knowledge, the planned competencies as a result of studying the discipline by students, and also formulated principles. The discipline is based on the application of the innovative subject-integrated methodology CLIL, combining content and language. Its combination with the ethno-cultural component in teaching English creates the potential not only to improve the skills of foreign language communicative competence, but also contributes to the formation of intercultural competence of students.

Introduction. The article discusses an essential upcycling practice to have existed in various local cultures of the past — and still observable in different forms. Goals. The study aims at describing and analyzing a contemporary form of the children’s clothing sharing tradition of Tuvans, indigenous population of the Tyva Republic. The former is viewed as a local traditional variant of upcycling. The tradition proper has no special name in Tuvan culture but there are several Tuvan terms to denote old things. The most common one is ergindi — ‘old stuff’. The paper draws examples to introduce present-day patterns of the tradition and outlines it, since the latter has been totally uninvestigated. Materials and methods. The study comprises autoethnographic observations, employs anthropological methods and data from related academic disciplines, including philology, linguoculturology, and history. Results and conclusions. Tuvan folklore and ethnic literary narratives, 19th and 20th century ethnographic publications do mention the practice, the latter to be confirmed by stories of Tuvan elders about their childhood, family customs. The tradition was not only to save money or instruct people to handle things carefully but also illustrated special attitudes of Tuvans towards children, and furthermore acted as a kinship maintenance mechanism. Similar characteristics are inherent to contemporary patterns. Nevertheless, the paper also lists some innovations, e.g., expanded categories of things involved (children’s clothes proper be added to with clothes for pregnant women, children’s implements, toys, books), sharing not only with relatives, use of national costumes once owned by relatives, etc.

The article presents an analysis of the problems of cultural transfer in the translation of two editions of M.B. Kenin-Lopsans monograph devoted to the description of Tuvan traditions in the Tuvan language Tyva chanchyl. Tyva chonnun ydyktyg chanchyldary [Tuvan traditions. Tuvan folk sacred traditions] 1994 and 1999, in the publication in Russian Tuvan folk traditions 2006. The authors note that cultural transfer causes changes in meanings, adaptations of information not only due to the fact that the translator does not have sufficient linguistic culture. The translator can be a natural bilingual who has been fluent in two languages since childhood, both linguistic cultures can be equivalent. Thus, the translated edition was prepared by two bilingual translators under the editorship of two Tuvan-Russian bilingual writers. But, nevertheless, the linguistic means of Russian culture cannot convey a number of Tuvan terms and expressions, and this imposes restrictions on translations. The authors show these examples by grouping the transformations of cultural transfer into four types of problems: distortion of meanings; incomplete transmission of information; disappearance of semantic constructions; inability to translate non-equivalent vocabulary. Phrases from the Tuvan text of M.B. Kenin-Lopsan, versions of the translated edition are given, and in some cases a more successful translation, according to the authors of the article, is proposed.

The article examines the interest in Scythian imagery and motifs in contemporary arts and crafts, both in Tuva and outside Russia, on a surge after the excavation of Arzhan II burial site. As proved by numerous references, the most popular of the Arzhan II finds was the stylized image of the Scythian stag on a golden hair pin. It has since appeared on the photo taken by Russian photographer Andrei Bronnikov, whose main subject is jewelry. Tattoo artists in English-speaking regions have seen an uptick in customers requesting Scythian stag tattoo designs, due in large part to the discovery of the popularly dubbed “Ukok Princess” and increase in interest in prehistoric fantasy media. Russian-speaking fashion designers redefine textile and ornament in the twenty-first century, influenced by the golden accents of the looped stag in their work, at times inventing an embellished narrative of the past. Folk crafters have created costume and jewelry designs for a different world they wish to inhabit, even creating alter-egos and stories that accompany Scythian-inspired pieces. Finally, within Tuva, wood carving continues thanks to trailblazers that promote folk handicrafts through education and archival work. Artists around the world are fascinated by this unique relic of the past and employ the symbol in romantic imaginings of their past and present.

Introduction. Scholarly studies of Tuvan wedding rites date back to the late 19th century, and include quite a number of works by ethnographers, sociologists, and cultural scientists that tended to focused on topics inherent to general stages of Tuvan studies throughout the 20th and 21st centuries. The most significant achievement of the latter is detailed descriptions of rites and identification of their place in traditional culture. Goals. The article presents a sociocultural analysis of Tuvan wedding rites, and their past — and present — functions in the social life of the ethnic community. Moreover, such functions of rites have been considered only sporadically. Materials. The study investigates published data and conclusions on wedding rites of past periods, as well as authors’ field materials and observations of Tuvan weddings in the 2000s. The paper also scrupulously describes a full cycle of modern Tuvan wedding rites, and one wedding ceremony held in 2019 in Kyzyl. Results. The article combines available conclusions of researchers for the first time, and presents the general evolution of changes in sociocultural functions. In different periods — from the late 19th century to the present days — Tuvan wedding rites are considered as 1) traditional elements supposed to strengthen family ties between different tribes and help solve some economic issues, 2) means of social legitimization according to Soviet policies of equal rights for men and women, under ‘neolocality’ conditions, 3) modern rites for social presentation which is a combination of various traditions, innovations and borrowings. Conclusions. The current situation is characterized by a number of problems such as excessive theatricalization, significant expenses, specific competition between parties of relatives, waste of gifts, etc.

В статье рассматривается творческое наследие известной, рано ушедшей из жизни художницы Нади Рушевой через призму ее становления в творческой атмосфере семьи отца, тувинского художника Н.К. Рушева, и матери, балерины Н.Д. АжикмааРушевой. Показано, что вся семья оставила яркий след в изобразительном искусстве Тувы проанализирован ряд работ Нади Рушевой, в том числе посвященных национальной культуре Тувы.

Статья посвящена преемственности образной системы, мотивов, техник и выразительных средств от раннескифского искусства середины VII в. до н. э. к современному народноприкладному искусству Республики Тыва. В качестве материала автор сравнивает артефакты курганных погребальных комплексов Аржаан и Аржаан2 и образцы тувинского современного народного искусства, сувениры, предметы декора интерьеров, экстерьеров. Автор проводит различие между приемами стилизации и интерпретации в современном преломлении скифского звериного стиля.

Статья посвящена творчеству заслуженного художника Тувинской АССР Сергея Хомушкуевича Кочаа. В частности, представлен искусствоведческий анализ серебряных сережек с подвескамиколокольчиками. Определено, что растительные мотивы черпались из окружающего мира, подсказывая многообразные и вполне совершенные художественные решения. Приведенные детали орнамента, выбор цвета несут определенную информацию, значительно обогащены и изменены за счет шаманских воззрений мастера, ассимилированных с буддизмом. Используя в своем творчестве традиционные мотивы, а также под влиянием определенных условий Сергей Кочаа смог придать этим мотивам специфичные только для его творчества черты, которые впоследствии становились неотъемлемой составляющей оригинального художественного направления.

This article discusses indigenous methodology in the context of Tuvan studies. Tuvan studies have a rich history, with significant contributions by local Tuvan researchers as well as Russian and foreign scholars. This article presents an overview of this research before, during, and after the Soviet period. The paper examines possible strengths and weaknesses of both "insider" (indigenous) and "outsider" research, with the consideration that these opposing categories are not so easily delineated. Through case studies describing the work and insights of the renowned Tuvan researcher Valentina Suzukei and the cultural "thesaurus" approach of Lukov and Lukov (2008), the article assesses the potential of indigenous methodology in the field of Tuvan studies. [ABSTRACT FROM AUTHOR]