The article proposes the results of linguistic analysis of complicated sentences specific to the heroic epic of Karachays and Balkars. The purpose of the article is to identify and describe the functional-semantic and structural features of structures with homogeneous members, sentences, which are in the texts of the Karachay-Balkar Nart epic. The relevance of the study is determined by the fact that the study of the syntactic characteristics of epic texts is associated with the nature of the very language of oral folk art, which traditionally plays a special role in the formation of the national language, as a result of which the study of its language seems to be relevant for linguistic science, folklorism and linguisticopro. The novelty of the study lies in the fact that it first describes the syntactic constructions that are significant for the texts of heroic legends with homogeneous, predicates, additions, circumstances and definitions. For analysis, by continuous sample, syntactic constructions with homogeneous constitutions are selected from the published texts of the KarachayBalkar heroic epic Narts. In the course of the study, a structural-semantic and functional analysis of the most typical syntactic units for the heroic epic containing various kinds of homogeneous members of the sentence is carried out. It was established that in the prose and poetic texts of the Nart epic there are almost all varieties of homogeneous members of the sentence, both main and secondary, which are used not only in complicated, but also in different parts of complex constructions, while distinguishing in a lexical and grammatically. It is shown that such components of syntactic constructions are represented by the words and their forms of various frequency origin, by descriptions, which are both simple combinations of words and turnover, whose nuclear constituents are non-personal forms of the verb. The presented study has a prospect for further studying epic constructions in terms of establishing ways of development and formation of complicated, as well as complex syntactic structures of Karachay-Balkaria and other related languages, identifying their role in the language explication of the national picture of the world.

The relevance of the proposed research lies in the absence of special works devoted to the symbolism of the axe in the traditional Yakut culture. The axe as an object of the purely utilitarian sphere of the “thing world” had several types: chakan axes, chokhoroon axe, balta, tereger suge, basymny syuge. The first ones, in all probability, were used as combat weapons, and chokhoroon axes had a universal (combat and working) meaning, which is confirmed by folklore data. At the same time, the axe was a weapon and a symbol of the deity Syuge Toyon (Axe-Head), who was a member of the triad of gods-creators of the Universe. The thunder god threw his axe from the heavens (etin syugete), protecting people and all useful animals from evil otherworldly forces. This manifests the multidimensional essence of the axe as a cultural phenomenon, a creative and ritual tool for transforming “nature” and “alien” into “culture” and “own”, for maintaining the stability of the human world. The aim and objectives of this work are to identify the place and role of the axe in the religious and mythological picture of the world, to determine its ritual functions and symbolic meanings in the traditional culture and social organization of Yakuts. The main source of factual material for the study was the plots and images of the Yakut epic olonkho, historical stories and legends, ethnographic texts, as well as the data of archaeological research of Yakut burials of the XVII–XVIII centuries. The study utilized structural-descriptive, historical-typological and historical-genetic methods. As a result of the study the following conclusions were made: axes have a mediative function, by means of which a communicative connection between deities and people is established; in all ritual actions they participate in modeling a stable and stable living space. The discovery of axes in elite burials with rich accompanying inventory testifies to their high status and symbolic significance as a sign of clan power. The content of the cultural significance of the axe, its additional symbolic markers and ritual functions is not limited to this aspect only – it is much more complex and diverse, for example, in connection with the blacksmith’s craft or shamanic kamlany, where the axe-hammer occupies a special place.

The relevance of this article is due to the fact that in the scholarly literature there are virtually no works in which the Manas epic would be used as the main source for the study of military affairs of the Kyrgyz people. The exception is the article by Saul Abramzon “Features of military organization and technology among the Kyrgyz people (according to historical and ethnographic data and materials of the Manas epic)”, in which the author brilliantly considered some aspects of military affairs of the Kyrgyz people. Another work is an essay by Zair Mamytbekov “Reflection of life and struggle of Kyrgyz people in the Manas epic”, which contains sections devoted to the subject of our interest. The works of Viktor Zhirmunsky “Introduction to the study of the Manas epic” and Alexandr Bernshtam “The era of the Manas epic” are also important for us, which analyze separate issues related to military affairs of the Kyrgyz people, such as weapons of Manas, the retinue of Manas, etc. The works of the above-mentioned scientists served as a methodological basis for the work and determined the main methods of research, which were comparative-historical and historical-typological. As is known, the formation of the Manas heroic epic took place over many centuries in two major historical and cultural regions: in Southern Siberia and Central Asia (Saian-Altai) and in the mountains and valleys of Tien-Shan and Central Asia. The Manas epic belongs to the developed, classical forms of heroic tales, the development of the plot of which was dominated by historical events related to the real struggle of the Kyrgyz people against foreign invaders. In accordance with this, materials of the Manas epic become for us one of the most important sources in the study of military affairs of the Kyrgyz people, which can partially supplement the data of written sources and archaeological monuments. This article attempts to establish, as far as possible, certain forms of military organization, armament, characteristic features of the military art of the Kyrgyz people as they are reflected in the Manas heroic epic. The artistic impression of individual aspects of the military affairs of the Kyrgyz people is considered in the article in a comparative-historical plan with the data of written sources and archaeological materials concerning the military art of the nomads of Southern Siberia, Central and Middle Asia. The result of the study was the conclusion that the military art of the Kyrgyz people was at a high level for its time and evolved with the achievements of surrounding peoples and absorbed the richest military experience of the nomads of the Eurasian steppes of the early and developed Middle Ages.

Legends about the histories of villages in northwestern Bashkortostan are characterized by a strong influence of traditions, plots and motifs of both Tatar and Bashkir oral non-narrative prose, which is due to the centuries-old neighborhood of representatives of the two peoples in this territory. The motif of the origin of the geographical name in many such works is plot-forming. Unfortunately, the area of existence, historical foundations, mythological roots, plot composition, regional and local features of legends about the stories of villages are still insufficiently researched. Of particular interest is the study of the issue of naming villages from the point of view of its combination of historicism and mythological traditions, namely, sacred cults reflecting totemic, animistic and fetishistic beliefs of the ancient population of the region. The relevance of the presented article is determined by these factors. The novelty of the proposed work is that for the first time an attempt has been made to systematically analyze the motifs of “donation of land to the first settlers by the animals – owners of the area”, “construction” and “substitute” sacrifice, “divine predestination” or “sign” on the folklore material of northwestern Bashkortostan. The purpose of the proposed work is to analyze the features of the reflection of sacred cults in legends, their functional role in the naming of villages. To achieve it, we conducted a review of the special literature on the topic, determined the source base, identified the main sacred cults in the folklore of the studied region, conducted their diachronic analysis. In their work, the authors adhere to comparative-historical and historical-typological research methods with elements of hermeneutics. The authors come to the conclusion that these works are a synthesis of totemic, animistic and anthropomorphic views with the real history of the people, which is why the stories of villages acquire a legendary character.

Olonkho is an example of the oral culture of the Sakha people. Over the course of many centuries, olonkhosut improvisers developed their own methods of epic storytelling, which made it possible to preserve and pass on to generations the values of poetic and song culture, which became a prerequisite for the development of folk and professional art.
The main purpose is to study epic chants performed by the hereditary olonkhosut Alexey Agapov based on the expedition materials of the first researcher of his work Eduard Alekseev. In accordance with the goal, the following tasks are defined: to supplement musical literature with early folklore samples of epic chants; to clarify the existing scientific ideas about the intonational, timbre, rhythmic features of the Lena-area song. The relevance of the work is in the study of the work of Alexey Agapov, as a representative of the Lena-area local group. Transcriptions of epic chants (Kyys Betientin Kuo, Tallan Mengia, Yuryung Uolan, Timir Chyybystaan, Uoruku Suoruku) performed by the Bologur olonkhosut Alexey Agapov are presented in Yakut ethnomusicology for the first time.
The study was conducted on the basis of fragmentary audio recordings by Alexey Agapov, which he performed in the olonkho Altan Sabarai bogatyr (Copper Sabarai Bukhatyyr). The author of the work performed a transcription of the song source. The poetic text was deciphered more adequately by Yuri Borisov. The study used the structural-typological method of study. The analytical approach led to a combination of analysis and generalization of the main intonational, rhythmic relationships, timbre features of epic chants. The result of the study was the replenishment of the ethno-cultural local context performed by Alexey Agapov, which is important and necessary for practical work in mastering the complex song art of olonkho characters by performers.

The article is devoted to the study of the mythological basis of the Khakas ritual well-wishes from the collections of Nikolay Katanov at the end of the 19th century. The aim of the work is to study the stable poetic formulas in the ritual benedictions of the Khakases. Proceeding from the set aim, it is necessary to solve the tasks of systematization and classifi cation of the ritual well-wishes, revealing mythological representations and poetic and stylistic features. The relevance of the topic of the research is due to the insufficient development of ritual poetry in Khakas folkloristics. The theoretical basis of Khakas ritual folklore requires in-depth study, and the classification of ritual folklore genres belongs to one of the most important in Siberian folkloristics. Based on diaries, reports and publications by Daniel Messershmidt, Mathias Kastren, Vasiliy Radlov and other researchers, the history of collecting and studying ritual folklore is examined. Comparative-historical and descriptive methods, review of scientific literature are used in the work.
The mythological motifs and semantics of images of deities and spirits-masters are considered. To the Upper world belong deities Hudai, Ymai-Iche, Akh Chayaan. The Middle world is inhabited by spirits-masters of mountains, water and fire. The Lower world is inhabited by demonological beings erliks and aina-chikter led by Irlik-khan. The functional purpose of the characters is defined. Poetic and stylistic means reflect the specific features of mythological thinking of the ancient people. The poetics of Khakas benedictions is rich in epithets, comparisons and metaphors. The poems are preserved in verse form, as well as various types of alliteration.
In connection with the preparation of the volume “Rite poetry of Khakases” in the series “Monuments of folklore of the peoples of Siberia and the Far East”, the collection and study of materials on ritual folklore of Khakases has begun. Thus, at present, a new active research stage in the study of ritual folklore has begun.

The relevance is dictated by the fact that the issues of plot typology of the national versions of the epic Jangar are still insufficiently studied. The study of the plot structure and typological similarities of the plots of the Xinjiang-Oirat version of Jangar in the context of the Kalmyk version is a novelty. The aim and objectives of the study are to examine the structure and content of the epic story in its narrative presentation, to reveal the typological similarities of the constituent elements of the plot of the Sinjiang-Oirat version of Jangar by the narrator Rampil “On the first fight of the glorious Jangar with Sanal”. The comparative-typological analysis was carried out in the sequential consideration of the structure of the epic plot (exposition, motivation, plot twist, culmination, denouement) at the content level and in analogy with the Kalmyk epic. The research is based on a complex approach including comparative-typological, structural-typological, structural-semantic methods of study. The synthesis of approaches taking into account the concepts of Vladimir Propp, Boris Putilov, Sergey Neklyudov allow us to combine the analysis of the epic story structure and semantics of its constituent elements in a typological correlation. As a result of the work it was established that the exposition is typologically similar to the beginnings of epic tales of Mongolian peoples and Kalmyk bogatyr tale, in which the event time is profane and coincides with the biographical time (the hero’s youth), and the epic space is hyperbolized and archaic (eight thousand eight hundred worlds); the motivation and the beginning of the plot are expressed by typical epic situations characteristic of fairy tales and epics, where the heroes behave in accordance with certain epic canons – watching the approaching hero, adopting a fighting attitude, the ritual of greeting at the meeting; the culmination of the plot, which is the central event of the heroic epic – the bogatyr’s duel, consisting of different stages, each of which reveals typological parallels with the Kalmyk epic; the denouement, uncharacteristic for stories about military collisions, is due to the specificity of the narrative, which tells about earlier times, when there was a confrontation between the future suzerain and his bogatyrs-vassals; the denouement also reveals direct typological similarities of episodes and motifs with the Kalmyk epic. Thus, significant typological similarities of the plot of the Xinjiang-Oirat version with the Kalmyk epic and the bogatyr tale are noted both at the plotcompositional level and at the content level (narrative plot elements, epic situations, motifs and formulas), which gives grounds to speak about genetic roots going back to Mongolian epic traditions.

The article covers the features of the usage of names of crockery and kitchen utensils in the early and late texts of the Yakut olonkho and Tuvan heroic tales in comparison. Utensils, as part of the household vocabulary, are an integral part of people’s life and regularly undergoes changes depending on their life activities. Novelty of the study: the names of crockery and kitchen utensils in the Yakut and Tuvan epics in a comparative perspective have not been previously the subject of a special study. The aim is to identify the degree of continuity in the use of names of crockery and kitchen utensils in the early and late texts of the Yakut olonkho, to establish the features of their use in the Yakut and Tuvan epics. To achieve these goals, the following methods were used: the sampling method; component analysis; structural-semantic analysis; methods of linguistic description and definitional analysis; method of distributive analysis. The factual material consisted of 53 names of crockery and kitchen utensils from the early texts of the Yakut epic, 40 from the late texts, and 14 from the Tuvan epic. It was revealed that the names of crockery and kitchen utensils are widely used as components of figurative and expressive means, namely comparisons and rhythmic-syntactic parallelism. The following conclusions are made as a result of the research: the materials of names of crockery and kitchen utensils reflect the cultural traditions of the Yakuts and Tuvans; the variety of traditional crockery in the early texts of olonkho demonstrates their wide use in everyday life; most of the studied lexemes are intended for cooking, storage and serving liquid food and dairy products, which reflects the traditional economy and culture of each people; the use of names of crockery in olonkho as components of language means indicates that crockery, as part of everyday vocabulary, are a representative of the material and spiritual culture of the people, thereby showing the worldview of the Yakuts; the conducted research can serve as a source base for creating a dictionary of the language of the Yakut epic olonkho.

In recent decades, the possibilities of computer technology have been intensively expanding, and its exploitation leads to progress in scientific fields. The study of the frequency of language units in various idioms, with a focus on spoken and written speech, is being carried out by a wide range of linguists, both in Russia and abroad. The focus is also on the languages of small-numbered indigenous peoples, which remain unstudied from a statistical point of view. The present study deals with the numerical variation of vowel and consonant phonemes in the Even language. The study is based on the work of Olga Morozova, Svetlana Androsova and Nadezhda Bulatova “Frequency characteristics of phonemes in the Even language: data from a pilot experiment” (2019). The relevance lies in the lack of scholarly works on the numerical ratio of vocalic and consonant phonemes in the sound structure of the Even language. The novelty stems from the activation of the quantitative approach in linguistic research to compile certain matrices illustrating certain linguistic norms and deviations. The aim is to establish the syntagmatic frequency of vowel and consonant phonemes in the Even language on the material of Even nimkans. Nimkan is a genre of the Even folk narrative, which combines urumkun nimkan (a myth with fairy tale elements) and ikelken nimkan (an epic tale with song dialogues). In accordance with the aim of the study, the following tasks were set: to transcribe orthographic records of Even nimkans using symbols of the international phonetic alphabet, to conduct a syntagmatic analysis of the frequency of sounds. The methods of quantitative counting and comparative analysis were used in performing the work. The material of the study is the texts of Even nimkans recorded between 1976 and 2003 by Vasiliy Robbek, Elena Nesterova, Elena Ivanova and Nikolay Tarabukin from the Even village of Berezovka (Srednekolymsky district of Yakutia).
Undoubtedly, oral tradition, as a form of transmitting information in a generational sequence, has many complex structures both linguistically and semiotically. The study of folklore narrative from a statistical perspective implies a syntagmatic analysis of the numerical variation of words or their parts. The main results of the study are: the confirmation of the hypothesis about the subjective representation of the Even people with regards to vocalization of their language, the identification of syntagmatic frequencies of vowel and consonant sounds by features (row, rise, mode and place of formation, etc.), getting coefficients showing the difference between phonemes. The prospect of the study is a paradigmatic consideration of the frequency of vowel and consonant sounds of the Even language.