Mythological Plots Research Articles

Легенда о Стратонике: мифологический аспект

The study aims to analyze the well-known episode of the marriage of Stratonice, the first wife of Seleucus I and then his son Antiochus, in the context of the policy of consolidating society conducted by Seleucus Nicator and to determine the reasons that influenced the established description of this incident in sources. The scientific novelty of the study lies in the fact that this story is considered as an artificially created myth that has absorbed representations of the “dying and resurrecting god”. As a result of the study, it was found that in the sources, the background of Stratonice’s second marriage is described similar to popular mythological plots and ritual practices, which suggests the artificial origin of this legend. Seleucus’s decision to give his wife to his son needed an intelligent justification, and the explanation of this step organically blended into the formation of the myth about the ruler himself and the members of his family.

Ethnolinguistics and Folklore Poetics. 4. «A Mother Bewitches her Son into a Snake»

The article is devoted to a comprehensive analysis of the Bulgarian folk songs «Mother turns her son into a snake», which are distinguished by a unique mythological plot and describe the transformation of a person due to the magic activity of the mother into a hybrid creature – half-man, half-snake. The study focuses on the structure of the song and the combination of repeated and unique content blocks. A special place is given to mythological aspects – the description of gypsies as carriers of magical knowledge, herbs that separate spouses, preparation of a witch’s potion, the characteristics of how a demonological character is presented in the songs and in other folklore genres. The explicit didacticism of the song is shown – using the example of reprisals against the mother, the ideas are conveyed that slander, hatred in the family, and black magic are punishable. The conclusion contains the main ideas of the depiction of ethnographic reality with folklore poetic means.

Mythological plot of the creation of the world on ancient ceramics from Iturup Island

Mythological plot of the creation of the world on ancient ceramics from Iturup Island

TRADITIONAL THEMES AND IMAGES IN CLASSICAL LITERATURE

In this article, it is said that most of the folklore plots, motifs, characters and images in the classic Karakalpak poetry of the 19th century were transformed into written literature through creative methods. In the work of the Karakalpak poets of the 19th century, the tradition of creating mythological plots and images characteristic of folklore was successfully used in the works of the Karakalpak poets Kunkhoja, Ajiniyaz and Berdak. The features of mythological interpretation present in the works of Karakalpak poets of this period are divided into two groups as religious mythology that entered before and through Islam.

Повесть Анны Неркаги «Илир»: художественное осмысление сиротства в ненецкой литературе

In the course of analyzing the story “Ilir” by a prominent representative of Nenets literature, Anna Nerkagi, were revealed the peculiarities of the writer’s linguistic personality, direct or indirect appeal to Nenets folklore and mythology, and artistic understanding of the social problems of the Nenets people, among which orphanhood is named the main one. In the novel the orphanhood of the protagonist Ilir personifies the break with national roots and deprivation during historical collisions - Sovietization, collectivization and subsequent internal problems of the people. This work shows that Ilir is a mirror of the personality of the writer A. Nerkagi. He is endowed with the power to fulfill the author’s hopes, which are impossible for objective reasons in reality. It is also shown that the path of the protagonist corresponds to the folklore and mythological plot, where an orphan, in order to realize his calling and establish the status of the chosen one, goes through suffering and initiation. He is faced with the choice of continuing to follow traditions, responding to the new orders of the Soviet regime, or choosing his own path. Based on folklore and mythological principles, this work shows that despite the open ending of the story, the author of the story determines the path of the future strong representative of the Nenets people for the hero.

Reflection of sacred symbols in folklore and dance culture of Chechens

The article is devoted to the study of sacred symbols represented in the petroglyphs of Chechnya and widely used in the material culture of the local population of the ancient and late medieval era: in the decoration of metal products, the ornament of carpets and ceramics. The author believes that sacred symbolism is reflected in spiritual culture. The circle, the cross, the spiral and other sacred symbols have been embodied in a variety of forms in oral folk art, dance culture, ritual traditions, the Nart epic, thereby defining the stylistic features of the culture of the North Caucasus. Sacred meanings are imprinted not only in the images of dancing anthropomorphic figures on the walls of residential and combat towers, but also the pattern of their movements and gestures repeats the outlines of ancient symbols, thereby testifying to the ritual nature of the origin of folk dance and many genres of oral folk art. The methodological basis of the research is a set of general historical, ethnographic and archaeological research methods, the use of which is determined by the nature of the material being studied. Thus, the internal space and structure of the phenomena of spiritual culture correspond to the forms of the main sacred symbols that existed in the culture of the peoples of the region in ancient times, thereby creating a special style of North Caucasian culture, which is characterized by inner sacredness. The reflection of mythological plots and symbols in petroglyphs and bronze plastics of the Koban culture of late Bronze and early iron testifies to the deep antiquity of folk dance and many genres of oral folk art of the population of the North Caucasus and speaks about the close intertwining of the phenomena of material and spiritual culture in that period, about the sacredness of being in its representations. Ritualism penetrates into all spheres of life (labor, funeral rite, wedding ceremony), protecting the ancient man from all bad things.

Трансформация и синтез мифологических сюжетов и образов в современной чувашской драматической сказке

The research aims to identify changes in mythological plots and images in modern Chuvash fairy-tale plays for children. The paper analyzes fairy-tale plays by Iosif Trer, Olga Turgay, and Elen Narby. As the genre background, the plots of fairy tales by Konstantin Ivanov, Efim Nikitin, and Mikhail Yukhma are considered. The paper is novel in that it is the first in Chuvash literary studies to analyze the characters and plots of modern stage fairy tales the heroes of which are mythological figures and which include story-lines from national folklore. The research findings showed that folklore is a rich cultural source for modern Chuvash literature. Ancient mythological plots and images, transforming and adapting to modern realities, receive a new interpretation, retain their relevance and acquire a different meaning. Using the motif of the hero’s disappearance and of his loved ones (bride, wife, father, etc.) looking for him, the authors created dozens of stage fairy tales. They present the ancient Chuvash mythological images of Pyulekhse, Esrel, Kiremet, etc., which are close to today’s life. Mythological plots, having received a new literary manifestation, are being revived on the modern stage.

THE DUALISTIC MYTHOMODEL OF S. CHERKASENKO’S DRAMA “THE PRICE OF BLOOD”, PARTICULARLY IN ITS PHILOSOPHICAL, SPATIO-TEMPORAL CHARACTERISTICS

The article deconstructs the poetic mytho-model of world of the drama “The Price of Blood” by S. Cherkasenko, in particular in its philosophical characteristics: reveals the artistic features of the author's dualistic model of the world, examines the reinterpretation of biblical Christological themes, motifs and images. This thematic exploration adds depth to the understanding of the drama and underscores the profound philosophical questions S. Cherkasenko raises. The analysis shows that dualistic myths are represented through the forms of binary oppositions, such as cosmological (e.g. the space and chaos, the moon and the sun, heaven and earth, day and night), biological (e.g. male and female), social (e.g. dual organization of society) and ethical (e.g. good and evil). The drama “The Price of Blood” is based on the mythological plot of the Gospel story of Judas Iscariot’s betrayal, in which S. Cherkasenko uses dualistic mythological thinking to contrast “faith – mind”, which is reproduced through the following oppositions: “good - evil”, “sin – righteousness”, “truth – lie”, “God - Devil”, “life – death”, “freedom – slavery”, “love – hate”, “loyalty – betrayal”. This is a confrontation between faith and mind in a kind of search for the salvation of humanity. The relevance of this topic lies in the study of the author's dualistic model and the disclosure of biblical motifs in the drama “The Price of Blood” by S. Cherkasenko; comprehension of the problem of betrayal in a mythopoetic way. The results of the study showed that the author describes the universe as a unity of opposites, which is typical for a dualistic myth, where the victory of good implies the elimination of evil. The archetypal characters – Jesus Christ (faith) and Judas the Tempter (mind) – are encoded by the binary opposition “good – evil” and their confrontation can be seen as an antagonistic duality.

Танатологические образы и мотивы в творчестве А. К. Толстого и И. В. Гете (на примере баллад «Слепой» и «Певец»)

The aim of the study is to identify specific typological similarities in the realization of thanatological images and motifs in the ballads by A. K. Tolstoy and J. W. von Goethe (using the example of the ballads “The Blind Man” and “The Singer”). Although literary critics have already analysed similarities between certain aspects of A. K. Tolstoy’s creative work and Western European literature (in particular, German Romanticism), the identification of typological similarities at the level of such poetological categories as the thanatological motif and the thanatological image has not yet been undertaken, which accounts for the scientific novelty of the study. The paper examines in detail the interaction between the two ballads at the levels of the plot and images. Attention is paid to common mythological plots and motifs, similarities and differences in the images of the central characters. The role of thanatological poetics in the creation of world duality, which is typical for the ballad genre, is traced. As a result, the comparative analysis made it possible to shed light on the specifics of thanatological images and motifs in the ballads by A. K. Tolstoy in comparison with German Romanticism (J. W. von Goethe). The revealed connections and similarities indicate literary contact between the authors and the literatures and demonstrate the specifics of contact links and typological similarities in A. K. Tolstoy’s and J. W. von Goethe’s creative work.

Urban space: archetypal models, morphological properties, mythological plots. The methodology of comprehensive study

The object of the study is the cultural space of the city. The subject of the study is the morphological properties and mythological plots of the cultural space of the city (using the example of Komsomolsk-on-Amur). The author examines in detail the complex study of the cultural space of the city in the prism of historical-cultural, philosophical-cultural, psychoanalytic, symbolic, linguistic and semiological approaches. The author's method of exploring urban space has been formed, based on the line of myth (lemniscata Bernoulli). Literary and artistic works have been studied and reviewed to identify archetypal models and their morphological properties of the city of Komsomolsk-on-Amur. Some mythological plots and ways of transforming cultural space are revealed. Special attention is paid to the analysis of artistic texts to identify the artistic image of the cultural space of the city. The description of a number of architectural objects and the interpretation of some decorative elements are presented. The study uses traditional approaches to the study of the cultural space of the city, and also attempts to complement the boundaries of the study based on the interpretation of mythical plots, mythologems using a technematic component – the Bernoulli Lemniscate. The scientific novelty of the research lies in the fact that on the basis of traditional and technematic approaches, the cultural space of the city of Komsomolsk-on-Amur is studied based on the analysis of mythological plots of the city of Komsomolsk-on-Amur, artistic texts, literary and architectural works. The morphological properties of the cultural space of the city are revealed. The main conclusion of the study is that using an interdisciplinary approach in the study of the cultural space of the city, opportunities for its identification have been identified. With the help of technematics or mathematical analysis, interpretation of literary and artistic texts, as well as a comprehensive study of architectural objects and its decorative, expressive means, it became possible to interpret this knowledge as a way to transform the cultural space of the city. This study opens up opportunities for a more thorough study of the myth line as one of the possible options for transforming the city's space, preserving historical, architectural, artistic and literary heritage.

АВТОКОММУНИКАЦИЯ КАК КРИТИКА СОВРЕМЕННОГО ФИЛОСОФСКОГО ПСИХОАНАЛИЗА

Contemporary philosophical psychoanalysis is increasingly turning to mythological stories in order to explain the phenomenon of autocommunication as a constant loss of self and encounter with self. The relevance of the article is determined by the complex superimposition of such mythological plots, requiring the involvement of certain interdisciplinary instruments of analysis in philosophical research. In the Lacanian tradition of psychoanalysis, we suggest that the story of Eurydice serves to explain Dora’s case and substantiates the autocommunicative core of experience. This plot allowed us to criticize both positivist and economic (investment, fetishism) aspects of classical psychoanalysis and to show the epistemological potential of autocommunication as overcoming the totality of the uncanny and returning «to one’s home». The aim of the article is to investigate the epistemological potential of autocommunication, to which psychoanalysis gives a narrative dimension, and the modern philosophy of the self and the alien – an axiological meaning; the task is to clarify, using the example of the newest psychoanalysis’ work with the uncanny, the limits of autocommunication as a mechanism of both seduction (Sirens) and the return of all participants of future communication to themselves (their own mind). The main method of the study was a metacritique of psychoanalysis from the perspective of general notions of the structure of experience and encounter with the other across generations. The main results of the study are that, contrary to the models of the uncanny as fear of encountering oneself or one’s place in the world, another understanding of the uncanny is possible as a choice that all people face in the continuation of the human race. In this case, the happiness of continuation of the species or creative self-realization overcomes the initial impulses of creative temptations, turning reasoning alone with oneself into a mirror of communication with others that has already taken place. The newness consists in the fact that the paper solved the main contradiction of the theory of autocommunication, which is divided into two parts: the illusion of the desire to communicate and the imperative encounter with one’s speech as a stranger, creating a situation of joint communication. It has been shown that, contrary to the common view in philosophy, this joint communication is socially determined and not at all an extension of the internal topology or structure of thought. The contradiction can be resolved by adopting the concept of «the gift of time» (Derrida), which overcomes the antinomy of exchange and gift. Directions for further research on the basis of this work imply the development of a consistent theory of autocommunication that does not reduce it to individual cases of finding the self or postulating the other and that takes into account the social framework of any communication.

Заповедные места в дискурсах сакральной географии

The paper explores the phenomenon of sanctuaries from the perspective of religious semiotics. The authors have identified the ambivalence of the perception of a mystical place by folk religion: a mystical place can be simultaneously perceived both as a topos in which ritual is performed, and as an object of worship. At the same time, stable ritualogemes of veneration of mystical places are developed, forming elaborate ritual complexes. Analysis of the mytho-semiotic specificity of narratives about sanctuaries made it possible to propose their typology: places of power, mysterious places, places of refuge, places metonymically associated with special religiously significant events. Specal areas that are dangerous and harmful to humans are considered separately. The study includes analyzing of basic mytheologems that form the discourse of sacred geography. It has been proven that the narrative about sanctuaries is not only formed as a result of the functioning of the mechanisms of mythological hermeneutics characteristic of folk religiosity, but also turns out to be capable of generating new mythological plots. At the same time, a religious studies analysis of the specifics of sacred sites revealed the impossibility of their unambiguous confessional identification due to the presence of syncretic mythologemes in their interpretation. Stories about visiting sacred places and the experiences of various events and states associated with these visits are actively mythologized and become sources for the generating of new semantics and semiotics of sacred geography.

Archetypes, plots, and images of old Ukrainian mythology in the lyrics of Yurii Darahan

The relevance of the study is due to the need for a detailed analysis of mythologemes in Yurii Darahan’s work for a sufficiently deep reading of his texts. The subject of the study is the archetypes, plots, and images of Ukrainian mythology in his lyrics. The study aims to find out the conceptual and aesthetic significance of Ukrainian mythological plots and images in Darahan’s artistic picture of the world. Using the methods of mythocritical (archetypal) and intertextual analysis, autobiographical and descriptive methods the author examines all of Yurii Darahan’s published poetry, including the collection Sahaidak (“Quiver”, 1925), and texts outside the collection published in periodicals. Thus, mythologemes — the smallest semantic units of the text that refer to the old Ukrainian mythology — were distinguished, and their influence on the essence of the author’s poetic texts and their role in his artistic picture of the world was revealed. As a result of the study, the following archetypes, plots, and images of old Ukrainian mythology in Darahan’s poetry were identified: the sophisticated and deep archetype of the Great Mother, the productive and inspiring archetype of the Defender (the image of an ideal person), a wide range of solar images, images of mediators, the concept of the Genus, motifs of synergy of the elements and sacrifice, as well as images of old Ukrainian gods. Ukrainian mythology enables him to reveal his vision of the world, reflect on basic ontological categories, and form the basis of his artistic picture of the world; through its distinctive archetypes, images, and plots, he seeks to actualize national memory, identity, and the collective unconscious. The novelty of the study lies in the fact that it allows us to deepen the interpretation of Yurii Darahan’s texts and to develop the mythocritical (archetypal) method of text analysis through the prism of national mythology, which is relevant for the study of the Prague School poets and the literary process of the 20th–21st centuries.

Правовой нарратив в легенде о Ромуле

Introduction: the article analyzes the legal significance of the legend about the founding of Rome as illustrated by the episode concerning the murder of Remus, brother of Romulus. This myth, as a legal narrative, preserved the description of facts that corresponded to the logic of Roman criminal law and were constantly updated in the public consciousness. Purpose: the article attempts, from the stance of postclassical jurisprudence, to reconstruct the legal reality of ancient Roman society and the Romans’ understanding of the death of Remus, to analyze the reasons for the stability and the development stages of the narrative tradition. Results: the episode of fratricide, reflected in most ancient sources, is contextually connected with public legal consciousness, which, throughout most of the Roman history, did not condemn Romulus. The symbolic interpretation of the legend is insufficient since it does not take into account the normative enshrinement and positivation of the mythological plot in the Digests. The narrative does not contain a detailed description of the ritual, and therefore Rem’s death cannot be considered a sacrifice. The analyzed legend reflects the process of establishing ancient Roman legal norms, and its content is more of legal than of religious or allegorical nature. Conclusions: the narrative about the death of Remus can be recognized as a source of archaic law. Its regulatory content was expressed in the prohibition to get over the walls or ditch surrounding the city, which served to preserve Roman society and supported the idea of law and order and the inevitability of punishment. The ban itself as well as the sanction for violating it were publicly proclaimed. The preservation of the narrative tradition is explained by the focus on repeated application of the described rule, the violation of which was punished regardless of blood relationship. The myth of Romulus and Remus initially legitimized the archaic criminal law norm, giving it the properties of publicity, universality, and obligation. Evolving in dialogue with the audience, this legend acquired the properties of a metanarrative that personified the inviolability of Roman laws and created the principles of the entire system of Roman public law.

The Role of the Symbol in the Work of the Bronte Sisters (Based On the Novels «Jane Eyre» and «Wuthering Heights»)

The article focuses on the analysis of symbolism reflected in two striking works of the Victorian era: Emily Bronte's «Wuthering Heights» and Charlotte Bronte's «Jane Eyre». The work compares the symbols used by the specified authors (etymology of names and surnames, the image of nature, plots and images appearing in fairy-tale and mythological plots), search for images common to them. The relevance of the study is due to the increased interest of philologists in the work of the Bronte sisters, the desire of researchers to highlight the features that unite the works of both Charlotte and Emily Bronte. To achieve this goal, a comparative historical research method is used. The result of the study is a conclusion about the general fabulous and mythological sources in the symbolism of the fiction of the Brontë sisters, which characterize the individuality of each author, the specifics of each of the two analyzed works, but also allow determining their common origins. Both Bronte sisters, when creating their novels, somehow turned to various fairy-tale plots, mythological images appearing in Celtic legends and legends. The originality of the data obtained lies in the motivic organization and comparative analysis of the texts of the two sisters. The practical significance of the work consists in the possibility of using the research results in the formation of programs on the “History of foreign literature of the XIX century”, as well as in special courses on the work of the Bronte sisters. In addition, the results of the study will serve as a guideline for scientific research. The further direction of research involves the continuation of the study of the Bronte sisters' creativity, the reflection of the fairy-tale and mythological context in it from the point of view of comparative analysis.

The plot of initiation in the novel “The Song of Achilles” by M. Miller

The article studies the poetics of M. Miller’s novel in the context of the initiation plot representation. The search for the hero is considered as one of the main problems of modern American literature. We use the cultural-historical and comparative methods and the method of narrative analysis in our research. The relevance of the study is the synthesis of approaches to the analysis of the novel “The Song of Achilles” by M. Miller. The study hypothesizes that, the technique of remythologization enables the writer to represent the universality of the human development stages and the crisis trials that adolescents face. The novel is considered both in the context of rethinking of the mythological narrative and in the aspect of representing the archaic model of initiation. The mythological plot basis, which implies plot determinism, makes it possible to emphasize the axiological, emotive discourse and protagonists’ inner changes. The parallel initiation of Patroclus and Achilles explicates the dichotomy of the godlike and the human elements in the inner nature of the characters. Patroclus, being close to the hero, shares his fate. He literally and metaphorically becomes Achilles in the finale of the novel, entering the battle in his armor and under his name. Achilles, on the contrary, shows human features due to the fact that he matures next to Patroclus. The article concludes that the theme of formation and internal evolution of the person in the context of the initiation rite and mythological narratives plays a plot-forming role in modern American literature.

Archeology of Folklore: Ancient inhabitants of the East Siberian Arctic

The subject of the study is the aboriginal tribes of the Yakut Arctic based on the folklore of the indigenous peoples of Northeast Asia. Mythological plots and folklore texts include images from mythical characters – the host spirits of ichchi and kuchun of peripheral border territories and wild "half-human, half-animal" chuchun/suchun, to representatives of alien Omuk tribes with their unusual appearance and habits: "hairy" giants, tiny men and people "falling asleep for the winter". The purpose and objectives of the article are to generalize, systematize and analyze folklore texts about the ancient inhabitants of the Yakut Arctic using materials from mythology, toponymy, ethnography and archeology. In the genres of Yakut folklore, although a cycle of legends and legends about non-Yakut tribes stands out, nevertheless there is no special article dedicated to the ancient inhabitants of the Arctic coast and the islands of the northern seas of Yakutia. Folklore texts contain diverse, including deeply archaic layers of mythological ideas and folk knowledge inherent in both Yakuts and Tungus-Manchurian, Paleoasiatic, Samoyed and Finno-Ugric peoples. At the same time, the plots of legends and legends were constantly developing, absorbing both mythological representations and real features of the life of Arctic hunters and reindeer herders, as well as fragments of Early Russian folklore. Such a wide areal distribution can be explained by a single historical and cultural heritage, including folklore traditions, of Northern Eurasia.

Eternal Image of Orpheus in Art as a Model that Creates Reality

The purpose of the study is to analyse the modern embodiment of the eternal image of Orpheus created on the basis of an artistic revaluation of an ancient myth, which over a significant period of its existence has changed its role from the model of archaic society to inclusion in the great cultural context of the art of today. The methodological base of the study consists of a number of methods. Analytical method is used to penetrate the essence of the Orpheus as an artist, which allows us to learn about the motives of his actions. The comparative method is applied to compare and contrast the primary mythological image with its transformed variants. The use of the historical method is necessary in order to trace the development of the eternal image in art in different historical periods. The study of such a well-known image is impossible without the use of a descriptive method since its origins are in mythological sources. The scientific novelty of the study is to consider the eternal image of Orpheus, which exists in art as a generating model of reality. The proof of this thesis is based on the analysis of the examples of modern revaluated embodiment of the mythological plot by giving it the meaning that is relevant to the present socio-cultural meaning. Demonstration of such plot and motive transformations not only eliminates the distance between history and modernity, but also gives rise to a “new” myth that plays the role of a model of new reality. Conclusions. Some well-known plots, being repeatedly told and retold, inevitably undergo changes, significantly moving away from their primary source. The story of Orpheus, reflected in the works of art of different genres, functions as a kind of evolutionary power within the constantly expanding culture. An ancient legend of the Thracian Singer is a constant motif of new creations that not only contradict the cultural and historical development of humankind, but also contribute to it protecting the artistic heritage of the past from cultural oblivion by creating a transformed model of image that is actively involved in the creation of new reality.
 Keywords: myth about Orpheus, eternal image, adaptation, transformation, symbol of art, alter-ego, turn, the gaze of Orpheus.

Mythologism of Modern Kazakhstani Prose: Lexico-Semantic Aspect

The research attempts to determine the nature of mythologism in modern prose of Kazakhstan, to explain the use of myths in the novels by Abdizhamil Nurpeisov, A. Zhaksylykov and N. Verevochkin, which are representatives of the spiritual and intellectual stream in the modern literary process. The subject of the authors’ research is the multifunctionality of myth, its semantics and structure-forming function in the works of Kazakhstani prose writers of the late XXth - early XXI centuries. In the first part of the article, the main attention is paid to the mythopoetics of A. Nurpeisov’s dilogy “Last Duty”, the interpretation of mythologeme and the meaning of the actions of the protagonist, which we consider as a mythological hero. The second part is devoted to the analysis of the mythological plot of Aslan Zhaksylykov’s novel “Singing Stones”, the interpretation of the symbolism of the sacred stone Yin-Yang. The next section deals with the novel of Nikolai Verevochkin, which we treat as a myth-novel.

COMPARATIVE ANALYSIS OF NATIONAL VALUES OF ALTAIANS, KAZAKHS AND UZBEKS

This article discusses dozens of axiological concepts that reflect the culture, customs and rituals of the Altaians, Kazakhs and Uzbeks. The main focus of the study is on the identification and comparative analysis of the common values ​​of the Turkic peoples, which have been formed since ancient times, by comparing the lexical and semantic features of these concepts. The presented analysis assesses the role of national features, traits, rituals and aphoristic poetry, formed in connection with the namodological way of life of peoples, in educating the younger generation in a worthy, morally stable form and in shaping their national pride. According to the intermediate result of the study, it has a high scientific and social significance. Altaians, Kazakhs and Uzbeks have deep historical roots of their origin and belong to the Turkic peoples.The article is written on the basis of a large number of archival materials, historical documents, testimonies of ancient chroniclers and travelers. World-wide mythological plots are most often fragmentary preserved in fairy tales, epics, legends and legends. Generalization of such extensive empirical material would reveal general trends and patterns in the functioning of the worldview, as well as features of consciousness of representatives of the Turkic nomadic world. The presented analysis evaluates the role of national features, traits, rituals and aphoristic poetry, formed in connection with the namodological way of life of peoples, in educating the younger generation in a dignified, morally stable form and in the formation of their national pride.