Russian Fairy Tales Research Articles

Женщины-оборотни: от образа в сказке до сюжетного мотива в литературе

<p>The article deals with the phenomenon of female werewolfism in Russian folklore and Russian-language literature. The image of a female werewolf in Russian folklore is divided into three categories: 1. Wonderful wives; 2. Bewitched lovers; 3. Substituted wife or bride. The image of a female werewolf in fairy tales is analyzed, functional diversity is revealed. The mythological origin of the image, connected with the idea of "otherworldliness" and anthropomorphic perception of the world, is studied. In Russian folklore, the female werewolf appears either in the image of a victim, who by nature is a human being, or she is asserted to have the function of salvation and improvement of the surrounding world. The transformation into various animals is not only an expression of totemism of Old Russian ancestors, but also a hidden manifestation of otherworldliness. At the same time, the female werewolf is the companion of the male protagonist, the key to the other world and a test for his marriage. The dual nature of woman in Russian fairy tales is eventually overcome, and the woman finally enters the hero's world. Further written literature transforms the worldview aspect into a metaphor describing the complexity and ambiguity of female behavior. N.V. Gogol again actualizes ideas about werewolves-witches, in Soviet literature the phenomenon of werewolfism will appear in the works of P.P. Bazhov, and in modern literature — in the novels of Victor Pelevin. Female werewolves in modern literature are often portrayed as characters with complex emotions and inner conflicts, as unusual creatures, but with human essence and emotions, or acquire them in the process of communication. The connection between werewolfism and the otherworld has always been maintained.</p>

COMPARATIVE ANALYSIS OF LINGUISTIC AND STYLISTIC PECUARITIES OF THE EPITHET IN THE ENGLISH AND RUSSIAN FAIRY TALES (BASED ON THE TALES OF O. WILDE AND M.E. SALTYKOV-SHCHEDRIN)

Background. Studying and understanding stylistic devices, and, in particular, the epithet, is an integral part of the world linguistic picture. The epithet is inextricably linked with all literary works and is therefore a key part of any language. It reveals the attitude of native speakers to certain phenomena, which is manifested in the use of words stable for epithets. However, the lack of certainty in various aspects of the study of the epithet determines the need for its further study. The subject of the study is the linguistic and stylistic features of the epithet in English and Russian fairy tales. Purpose. The article identifies and compares the linguistic and stylistic features of epithets in the English and Russian fairy tales. Materials and methods: The material for the study comprises 150 epithets from the fairy tales of O. Wilde the fairy tales of M.E. Saltykov-Shchedrin. When analyzing the material, the following methods of linguistic analysis were used: semantic, stylistic, cultural, comparative and quantitative analysis, as well as the continuous sampling method. Results. As a result of a comparative study, identical and distinctive pecularities of epithets in two languages were identified. It was determined that the stylistic characteristics of epithets are largely similar, but it is emphasized that the English-language epithets are more unique and concise than Russian-language ones, which, in turn, are characterized by repetition and figurative meaning. In the English-language examples, there was greater neutrality and an emphasis on the positive and neutral qualities of the characters. Negative connotations were noted in the Russian-language epithets. Practical implications. The results of the study can be used in the study of the courses in stylistics, foreign literature, as well as in foreign language classes.

Russian World in Yakut Heroic Epic Olonkho

This article evaluates the impact of Russian culture on the Yakut epic, Olonkho. The emergence and evolution of the Russian character in Olonkho are analyzed. Texts from various local traditions and time periods of Olonkho serve as the research material. The study employs a historical poetics approach, showcasing the evolution and changes in the portrayal of the Russian character in Yakut epic texts, considering the territorial and temporal differences in the texts and the individual characteristics of storytellers. It is determined that the semantics of this character transform from “foreign” to “native”. The Russian character in Yakut heroic epic texts initially appears through epic formulas, comparisons, and epithets, manifesting foreignness and alienation. Subsequently, the Russian individual becomes a character participating in the Olonkho plot. A transition from “foreign” to “different,” “other” is observed: intermediary zones (the meeting place of heaven and earth, forests, mountains) start resembling objects belonging to Russians. When Russian material culture aligned with the life and customs of the Yakuts, objects adopted from Russians began resembling parts of the main hero’s (bogatyr) body, vividly demonstrating the incorporation of the Russian character into the category of “ours.” References to certain realities of Orthodox Christianity are also made in Olonkho. Images of Baba Yaga, Zmey Gorynych, the forest spirit, motifs of path selection are borrowed from Russian fairy tales and myths. Russian names, names of Russian cities and places, among others, are mentioned.

NATIONAL-CULTURAL SPECIFICITY OF THE OF THE EAST SLAVIC CONCEPT OF LAZINESS IN COMPARISON WITH THE CHINESE 懒 (LAN) (BASED ON THE MATERIAL OF THE FAIRYTALE DISCOURSE)

The purpose of the work is to reveal the national and cultural specificity of the Eastern Slavic Laziness concept in comparison with the Chinese one 懒 (lan). The object of research is Eastern Slavic and Chinese folk tales. In folk tales, the conceptual sphere inherent in folk consciousness is best reflected. In Chinese folk tales, laziness is condemned because it is perceived as a vice. The result of the study is the revealed specificity of the East Slavic mentality, which is expressed in the correlation of the concepts Laziness and Success/Luck. Conclusions. Russian fairy tales can show different values. There are Russian fairy tales in which laziness is assessed as a defect and condemned; in others, the lazy person receives a reward, because he is kind and compassionate to other people's misfortune. The main components of the concept of Success / Luck in the Russian fairy-tale picture of the world are the absence of the need for hard work, a successful marriage, material well-being and the opportunity to demonstrate one's success to those who previously did not believe in it. Chinese folk tales unequivocally condemn laziness. Lazy people suffer from troubles and do not have happiness and wealth. The practical application of the research results lies in the possibility of their use in translations of East Slavic folk tales into Chinese.

ПРИНЦИПЫ СОЗДАНИЯ ОБРАЗА ЛИСЫ В РУССКИХ СКАЗКАХ О ЖИВОТНЫХ, ЗАПИСАННЫХ В СИБИРИ И НА ДАЛЬНЕМ ВОСТОКЕ

The article, based on an analysis of research literature, as well as a comparative method and cultural commentary, analyzes fairy tales about animals recorded in the 19th (collection of A. N. Afanasyev, 44 texts) and 20th (“Russian fairy tales of Siberia and the Far East: Magic. About Animals”, 13 texts) centuries, reveals the features of the creation of the image of a fox in the considered works. 45 plots with which this character is associated are analyzed, 9 of the most stable of them, preserved in the tales of Russian settlers to Siberia and the Far East, are identified: 15; 158+1+2+3+4; 155; 20A+21; 170+158; 103; 1+130; 61A; 61B, also in Russian fairy tales about animals, recorded in Siberia and the Far East, very rare plots for the Eastern Slavs are found: 31; 51A*; 56A; 6, which are also associated with the image of a fox. The principles of creating the image of a fox are characterized: 1) the name and addresses of other characters to her; 2) character; 3) speech; 4) characterization of the fox given by other characters; 5) features of the relationship between the fox and wild and domestic animals, as well as with humans; 6) actions and actions characteristic of a fox; 7) motives associated with the image of a fox. Modifications of these principles can be traced in later records made in Siberia and the Far East: a change in the nature of the interaction of the fox with humans and some animals (both wild and domestic); the emergence of a new motive for trade (in addition to such stable motives associated with the image of the fox as greed, gluttony, mischief, pretense, cunning, death of the fox through tearing/cutting). In addition to the atypical motif among the regional components in the records of the 20th century. The emergence of new characters interacting with the fox (milk mushroom, magpie, goat), a reflection of the natural features of a particular region, is noted. The good preservation in the texts of the settlers of what was discovered in the records of the 19th century is proven. a complex of archaic ideas about the fox, characteristic of the traditional picture of the world of the Eastern Slavs: the fox as a demon; fox as a female hypostasis; fox as a negative and positive image (trickster). Loss in 20th century texts The ancient idea of the connection between the image of a fox and fire is probably due to frequent observations of the habits of specific animals and the influence of everyday realities.

Специфика реализации семиперсонажной схемы на материале карельских народных сказок

Series of Karelian fairy tales have been documented and analyzed, revealing their intricate structural, compositional, and plot elements. This study delves into connections embedded within these fairy tale narratives. Employing a typological approach, the article scrutinizes representative protagonists, examining the etymologies of their names, the descriptions of their characters, and the motivations behind their actions. This analysis is conducted primarily within the context of the Russian fairy tale tradition. Through a thorough examination of the Karelian fairy tale repertoire, the study identifies stories featuring unjustly persecuted girls and women, as well as fairy tales with unique protagonists such as the “younger brother Tukhkimus” and the “saboteur” Syöjätär and her variants. These tales exhibit distinctive characteristics when compared to the Russian fairy tale tradition. The analysis is grounded in V.Ya. Propp’s structural-semiotic approach, particularly his seven-person scheme of the fairy tale plot. The study effectively demonstrates how ethno-cultural and geographical factors of the region influence the specificities of these narratives.

Alice's Tales: the transformation of the composition, fairy-tale formulas and contexts of the voice assistant in the skill "Let's come up with"

The subject of the study is a spontaneously generated text by the voice assistant Alice when it is creating a fairy tale together with the user, and the purpose of the study is the transformation of the structure, fairy-tale formulas and context in terms of the selection of linguistic elements and meanings using artificial intelligence technology. Particular attention has focused on the skill "Let's make it up", which became available to users in the spring of 2023. The collision and interaction of folklore canons with the realities of the 21st century give rise to an ambiguous reaction to the interactive opportunity to play the role of a storyteller together with a voice assistant. The main research method was a continuous sample, which was used to distribute the steps, stages and actions when it is creating a fairy-tale plot together with a voice assistant. In addition, methods such as comparative and contextual analyses were used to identify similarities and differences between traditional Russian fairy tales and a spontaneously generated fairy tale plot. To obtain the data and subsequent analysis of the components, a linguistic experiment with the voice assistant Alice from Yandex was conducted and described. The rapid development of neural network language models allows us to talk about the scientific novelty of the material under study, since this area is unexplored and is being modified too quickly. It is important to emphasize that to date, the texts of spontaneously generated fairy-tale, their structural division and the correspondence of fairy-tale formulas in them to folklore canons have not been studied. The main conclusion of the study is that the user's share in creating a fairy tale with the voice assistant Alice is greatly exaggerated.

STUDY OF BEHAVIORAL MODELS OF PERSONALITY IN UKRAINIAN AND RUSSIAN FAIRY TALES

STUDY OF BEHAVIORAL MODELS OF PERSONALITY IN UKRAINIAN AND RUSSIAN FAIRY TALES

Первая запись якутского эпоса в контексте традиции

The paper considers the first text of the Yakut heroic epic, recorded by A. Middendorf in the 1840s from an anonymous storyteller, later known as “Eriedel Bergen.” An attempt is made to determine the specific features of the text in terms of its local attribution. The study also provides an opportunity to discuss concrete historical and methodological observations. For a more comprehensive analysis, the author has used a representative sampling of records of the Yakut epic and other genres of narrative folklore of the peoples of Siberia, including Yakut, Russian, and Evenki fairy tales and mythological stories. The structural and semantic features of the recording were revealed that demonstrate the similarity to the texts of the Central Yakut epic tradition, in particular, to the variants recorded later near the Amginskaya Sloboda, Megino-Kangalassky, and Boturussky uluses of Yakutia. The analysis has identified some locally specific motifs and “common places” of the Yakut heroic epic, with the principles of their differentiation and study tested. It is suggested that the traditional international plot about the swapped bride, present in the text of the olonkho, appears to have originated from Evenk folklore rather than Russian fairy tales. A conclusion is made that the local specificity in Yakut epic tales is primarily evident in the specific motifs of the “exterior” plan while having a minimal effect on the core plot elements that remain broadly consistent across the genre’s various “dialect” versions. It would be considerably valuable in the future to map or catalog them.

ВАРИАТИВНОСТЬ НОМИНАЦИЙ В АНГЛИЙСКИХ ПЕРЕВОДАХ НИКОЛАЯ КОТАРА РУССКИХ СКАЗОК И БЫЛИН В СБОРНИКАХ «IN A CERTAIN KINGDOM»

This article examines the relation of translation strategies to the naming of Russian culture-bound words. The article reveals the naming variation of culture-specific words in Nicholas Kotar’s English translations of Russian fairy and folk tales in his collections In a Certain Kingdom. The author of the collections adapts Russian culturonyms and concepts from the source material for English speakers by effectively selecting and implementing translation strategies.

TRANSLATION OF REALIA ON THE MATERIAL OF THE RUSSIAN FOLK TALE «KOSCHEY THE IMMORTAL»

Statement of the problem. The article discusses the interaction of linguistics and cultural studies in translation. The concepts of lacunarity, ethnolinguocultural asymmetry, sociocultural adaptation, significative connotation are revealed. Results. The article describes the difficulties that arise when translating works that are distinguished by a bright national coloring. Particular attention is paid to the problems associated with the difficulties of translation, in particular the translation of non-equivalent vocabulary. Various interpretations of the concept of reality are given. It is explained why it is necessary to distinguish between the concepts of "realia" and "non-equivalent vocabulary". With the help of the theory of renomination, the difficulties associated with the translation of realia from one language to another are analyzed and a comparative analysis of various translation options for realia taken from the Russian folk tale "Koschey the Immortal" of A. S. Afanasyev and its translations into Italian by Rosella Morini (2011) and Sophia de Figner (1903). Conclusion. It is concluded that the translation of folklore is always difficult, since its quality depends very much on how rich the translator's stock of thematic and folk-poetic vocabulary of both languages ​​is. The analysis showed that the language in the translations is modern, neutral vocabulary prevails in it, in contrast to the Russian fairy tale, where there is a lot of stylistically colored colorful vocabulary. To convey the cultural features of the Russian language, transcriptions, transliterations, partial tracing with explanatory notes are used.

“Individual status” of the characters from the Oirat monument “The Tale of the Nectar Teaching”

For the first time, this article has presented the experience of describing the internal and external features of the characters in the Oirat monument “The Tale of the Nectar Teaching” from the point of view of their individual qualities, based on the well-known work “The System of Characters of the Russian Fairy Tale” (2001) by the Russian folklorist E. S. Novik. The analysis is based on three unpublished copies of the monument, stored in the Scientific Library of the Oriental Faculty of St. Petersburg State University, the Manuscript Fund of the Institute of Oriental Manuscripts of the Russian Academy of Sciences and the State Archives of the Republic of Tatarstan. Lexicographic works and dictionaries were used as additional materials for interpreting the names of the Buddhist characters. As a result of the analysis, we have come to the conclusion that for the intra-plot functioning of the characters, it is important to take into account not only the role they play in the given plot (episode), but also the individual characteristics they are endowed with, since they correspond to those actions (conflict situations) in which the characters take part. The individual features of the character not only determine the nature of the plot, but they can also change in the course of its development, since each character is a bundle of characteristics that can easily disintegrate or be completed. We believe that the results obtained will serve as the basis for further research into the family, class and local states of the characters in the Oirat monument “The Legend of the Nectar Teaching.”

Типы экологического сознания в русских волшебных сказках

<p>The purpose of the study was to identify what types of ecological consciousness are reflected in Russian fairy tales. A diagnostic toolkit based on a two-dimensional model of human—nature interactions has been developed. The method of qualitative expert analysis of specially selected passages from fairy tales was used, where man and nature act as heroes and it is possible to evaluate the valence of their impact on each other (from completely negative to completely positive). The study involved a purposive sample of 37 experts — representatives of socionomic professions. Contrary to the initial assumption, the predominance of the archaic type of eco-consciousness, manifested in feeling of dependence on nature and fear of it, was not revealed. According to experts, in these passages, nature affects humans mostly more positively than humans affect nature, that is, the eco-centric type of eco-consciousness dominates. The anthropocentric ("struggle with nature") and nature-centric ("harmony with nature") types are presented to a lesser extent. The pilot study was carried out on a limited number of fairy tale passages, but it helps to understand what ecological ideas are reflected in traditional folk art.</p>

The concept of “wisdom” in a Russian fairy tale

The description of the concepts of the Russian language is impossible without referring to folklore, since it is in this linguocultural layer that it is possible to identify the sources and ways of the formation of the mental characteristics of the Russian people. The concept "Wisdom" is one of the central concepts of the Russian folklore picture of the world. It is extremely widely represented in the genre of folk fairy tales. Usually women in fairy tales are wiser than men. The purpose of this article is to reveal the semantic structure of the concept "Wisdom" in Russian fairy tales. The material of the study was Russian folk tales from the collection of A. N. Afanasyev. As a result of the study, it was found that the concept of "wisdom" in the Russian fairy tale is characterized by various cognitive features. Central is the understanding of wisdom as a supernatural power, the ability to perform magical actions, transformations, witchcraft. Such wisdom is possessed, as a rule, by female characters (wise princesses, wives), less often by male characters, but always positive characters. Fairy-tale female wisdom includes such components as supernatural power, power over the natural world, mental abilities and good intentions. Along with the understanding of wisdom as a magical power, there is another interpretation of this concept in fairy tales. Thus, the wise in a fairy tale is that which is characterized by difficulty, complexity, impracticability. In fairy tales, the word wise often characterizes the quality of an object, as well as the skill of a hero who is able to make such objects. The intellectual component of the concept is also presented in Russian fairy tales. At the same time, wisdom is understood not only as intelligence and education, but also as practical insight and ingenuity.

Особенности эпитетов, описывающих героев в английских, казахских и русских сказках

The article discusses the most significant groups of epithets from English, Kazakh and Russian fairy tales. The groups determine the appearance, age, social position, positive and negative features and peculiarities of heroes. Peculiarities are united during many years of conveying fairy tales, which was fixed as a tradition and thus appeared to be most stable and important for British, Kazakh and Russian national cultures

Writer’s Bilingualism and Biculturalism: Nicholas Kotar’s Mythopoetic Literary Works

This article examines the matter of bilingualism and biculturalism of bilingual authors analyzing the literary work of Nicholas Kotar, an American bilingual writer who is a descendant of the first-wave of Russian émigrés. The relevance of this topic stems from a growing interest among scholars of bilingual studies in researching the features of bilingual writers who efficiently use two languages and two cultures to create literary images and express their ideas, leading to translingualism and transculturalism in their work. The article analyzes how bilingualism and biculturalism of Nicholas Kotar, a heritage language speaker of Russian, reflect in his English-language literary works, using research methods of comparative, cultural and translational interpretation. In the novels from the Raven Son series The Song of the Sirin, The Heart of the World , The Throne of the Gods , The Son of the Deathless , Nicholas Kotar conveys elements of Russian folklore to Englishspeaking readers by mythopoesis. The analysis of the literary text provides results, revealing that samples of Nicholas Kotar’s English-language creativity emerge in the process of hybridization and syncretism through the mythopoetic transformation of Russian folklore and linguaculture. Nicholas Kotar’s novels contain many lexical and cultural borrowings, exotisms (Slavicisms), sayings from Russian fairy tales, as well as allusions pertaining to Russian linguaculture. Thus, incorporating elements of Russian fairy tales and other folklore genres enables the translingual and transcultural writer to familiarize English-speaking readers with elements of Slavic linguaculture through the combination and hybridization of English and Russian literary traditions in mythopoetic literature.

Мотив помощника в калмыцких сказках на сюжетный тип AT 508 «Благодарный мертвец»

Introduction. In the Kalmyk folktale tradition, AT type 508 (The Grateful Dead) develops through the motif of miraculous helper. The analysis shows that the main character pays some debt of the deceased one — to acquire an assistant. Goals. The study examines the motif of assistant in Kalmyk folktales clustering with AT type 508 (The Grateful Dead). Materials. The paper analyzes folktale texts published in Clear Script (Kalm. todo bičiq), Roman characters, and modern Kalmyk Cyrillic. Results. Before a long journey, the hero offers his servant to partake of some food which is a test for the latter: any refusal from the viands of humans shall indicate the companion belongs to the spirit world. The magic nature of the hero’s assistant is also manifested through his abilities to move at extremely high speed and understand the language of animals. And it is due to the latter gift that the assistant hears a dog and a cat’s conversation — to prompt the young man a remedy for the Khan’s daughter. Cat bile acts as medicine in all versions of Kalmyk folktales related to the type ‘Grateful Dead’. A. Afanasyev notes bile serves as medicine for the resurrection and eyesight recovery in the Russian fairy tale ‘Yeruslan Lazarevich’, emphasizing the ‘linguistic and mythical connection’ between — sunshine, glitter of gold, and the yellow color of bile. Being aware of the trouble, the grateful dead person protects his savior and the latter’s spouse from the snake venom. When accused of encroachments, he confesses all his good deeds (massacre of seven cannibal demons, their daughters, wives, and the former’s old mother) and sets outs towards the world of the dead ruled by Erlik Nomin Khan. The hero decides not to leave his assistant and follows him up to hell. Kalmyk folktales of the mentioned type are distinguished by description of trials experienced by the main character and his assistant in the realms of the dead. Possessions of Erlik Nomin Khan — the lord of the dead — are depicted in accordance with ideas of Buddhist hell traced in Oirat written monuments, such as The Story of Chojid-Dagini, The Tale of Molon-Toyin, The Tale of the Goose-Lama, The Tale of Naranu Gerel etc. It is the descriptions of Buddhist hell that distinguish the international type ‘Grateful Dead’ in the Kalmyk oral tradition through the motif of miraculous helper. Conclusions. The motif of helper in the considered folktales unfolds on the basis of traditional ideas with that earlier views were replaced by later Buddhist ones.

Morphological analysis of the Kurdish legend "Tomatin and Narina Gulbarin" Based on the theory of Vladimir Propp

Structuralists, in the last century, have sought to obtain narrative maps and specific narrative patterns that can be used to examine folk tales, fairy tales, and legends of nations. After a lot of effort and presentation of various models, among them, Vladimir Propp was able to discover and present a diagram and model by analyzing a hundred Russian fairy tales and legends, which can be used to describe most of the folk tales and stories. Russian and even world fairies were adapted to it. This model and method attracted the attention of many researchers and became the basis of many investigations and researches after him. The story collection Narina Gulbarin is one of the Kurdish folk works that contains ten stories. In this article, an attempt has been made to apply Vladimir Propp's autobiography diagram and his morphological model to the story "Tomatin and Narin Golbarin", which is one of the stories in this collection, in order to determine how Propp's theory is applicable to this story. After the analysis of this story, it was found that the method and pattern of the prop are generally consistent with the diagram of the actions of this story. What is certain is that this legend is consistent with Propp's method and model, and a large number of actions. The actions in the mentioned story are identical to Propp's morphological model. And the main goal of this article is, the adaptation of the prop’s pattern to prove that it is applicable to the legend of "Tomatin and Narina Gulbarin". Another goal of this research is to make more students and researchers familiar with this book and its collection of legends.

Features of the Partipation of a Russian Fairy Tale in the Model of the Female Self

Introduction. The study of a fairy tale leads to an understanding of the deep processes of the global world, the desire for localization, glocalization. The Russian fairy tale in the model of the female “I” is the postulate of a modern reading and the search for one’s place in the world, since the inability to adequately read life, real and fabulous ideological, leads to a detached state of personality, the muscularity of character and external features is the need for counteraction and integration into the call-response system time. Materials and Methods. The article is written taking into account the systematic and interdisciplinary approaches. For the study were used Russian folk tales as presented by: P. P. Ershov “The Humpbacked Horse”, A. N. Afanasiev: “The Firebird and Vasilisa-Tsarevna”, “Koschey the Immortal”, “Sivka-Burka”, A. S. Pushkin: “The Tale of Tsar Saltan”, “The Tale of the Fisherman and the Fish”. Also, tales without authorship: “The Queen and His Uncle”, “Sorcerer’s water”, “Elena the Wise”, “Ivan Bykovich”, “Robbers”, “True and False”, “The Three Kingdoms of Copper, Silver and Gold”, “The Feather of Finist the Clear Falcon”, “The Witch and the Sun Sister”. Research Results. Russian fairy tales as models of women’s self-perception were studied. The values of the people as a cultural historical and current society were evaluated in the categories, the centers of which served at different times as a social change, the dialogue of cultures, which became a unifying and constitutive vector of development of the idea of women’s share. Elements of belonging and alienation are the result of interpenetration of traditions of all peoples of the Russian state, which is why the identification and subsequent comprehension of “folk traits” is relevant, since the elements of hostility as well as friendly reconciliation are mutually excluded, which leads to many pathologies of the social organism, the individual. Discussion and Conclusion. Identification of the female category of attitude to the world in the “good/evil” system in an interdisciplinary approach is possible in such structures as aesthetic, philosophical, semiotic figurative representation. The content of the artistic content should be scientifically comprehended and adapted at the present time as a guarantee of the semantic characteristics of a successful assessment of the system of knowledge about society, the role of women in society, in a number of issues about the feminization of key issues in life aspects: education, culture, legal culture.

Поэтика абазинских сказок

Poetics is an an essential component of literary and folklore works, and therefore, the appeal of this literary problem is relevant. Some issues of the poetics of Abaza fairy tales were touched up-on in the works of V.B. Tugov, but as an independent scientific problem, it is posed for the first time, which ensures the novelty of the work. The purpose of the article is to study the verbal and figurative structure features of the na-tional fairy-tale prose texts. The direct tasks include comprehending such significant composi-tional elements as: a fantastic verse, the ways of manifestation of the narrator, the antithesis tech-nique, realistic and psychological details, portraits of people and animals, landscapes and their functions, semantic content of the names of the cardinal directions, images of a hill and a furnace, toponyms, hydronyms, phytonyms, food names. The research material was three main collections of the Abaza fairy tale epic: “Abaza fairy tales” (Mineralnye Vody, 2015), where two independent editions of T.Z. Tabulov, 1947 and 1955, are brought together; “Tales of Abazashty” (Stavropol, 2016), which is also a reprint of three col-lections released at the time by V.B. Tugov; “Abaza folk Fairy tales” (Cherkessk, 1986), compiled by V.N. Meremkulov. In some cases, we turned to the fairy tales included in the book “Abaza ma-terials A.N. Genko” (Sukhum, 2019) and “Abaza Folk Tales” (Moscow, 1985), which is a book of Abaza fairy tales translated into Russian. The main method of research is descriptive: the authors record observations, reinforce them with examples from various works, comment and draw conclusions. As necessary, a comparative method is used when studying the image of the furnace in Abaza and Russian fairy tales or when correlating individual folklore phenomena with literary ones. In some cases, a psychological method is used when the emotional state of the characters is considered, and a method of motiva-tional analysis is used when studying the motives of ingratitude, betrayal, and cruelty.