The article is devoted to a comparative study of the degree of proximity of the Yakut and Altaic languages on the example of the names of tools of manual labor. The purpose of the article is to identify lexical parallels of the names of manual labor tools and cutting and sharpening tools in the related Yakut and Altaic languages. To achieve this goal, the following tasks were set: to identify and systematize the names of manual labor tools in the Yakut and Altaic languages; to identify parallels in the vocabulary of manual labor tools and cutting and sharpening tools in the languages studied; to describe them from the point of view of etymology and semantics, to identify their functional and semantic features. The following research methods were used: descriptive, comparative-historical, comparative and etymological. The need to study this lexico-semantic group is due to the fact that the process of disappearance of many components of traditional and spiritual cultures from the daily life has been accelerating recently. The study of the dailylife-vocabulary of the Altaic and Yakut languages will allow not only revealing the nature of the functioning of this category of vocabulary and lexico-semantic features, but also to get acquainted with the material culture of the peoples, with their present and historical past; establish linguistic and cultural contacts with other related and unrelated peoples. The lexical units of this thematic group clearly respond to the slightest deviations in any of the spheres of the original life of the people. Changes in the living conditions, spiritual life, daily life and other factors affect the vocabulary of these languages. The study of them is of scholarly importance from the point of view of the history of the language. Lexical parallels are revealed, which are the result of the ancient kinship of languages and the historical interaction of peoples. The proverbs and sayings of the Yakut and Altaic languages are given, which contain lexemes of this lexico-semantic group of household vocabulary, dialect words, which often hide valuable information, are also studied. It is noted that the original vocabulary of tools in the Yakut and Altaic languages has been preserved.

In modern philology, the study of the original language of folklore, especially the language of epic texts, is of great importance. The relevance of the research topic is due to the growing interest in Turkology in conducting special studies aimed at the linguo-folkloristic study of the language of folklore, and the first works of our linguists testify to the prospects of such studies. Folklore, as a spontaneously developing oral everyday culture, demonstrates the fundamental patterns and properties of the ethnic language. So, at the present stage of development of Turkic linguistics, there are significant studies in this area, but, despite this, one of the urgent tasks is the study of numerals in oral folk arts. Numbers have a special role in epic texts, where they receive the sacred status, which sheds light on the genesis of heroic epics. The purpose of the work is to study the structural and semantic features of numerals in Turkic epics. The material of the study is the texts of the Yakut olonkho “Buduruibet Muldyu Bege”, the Bashkir kubair “Ural-Batyr”, the Altai kai cherchek “Maadai-Kara”. The method of continuous sampling, descriptive, comparative, contextual, statistical and diachronic methods were used to achieve the goal. Also, we used the method of quantitative calculation. The scholarly novelty of the work lies in the fact that the epic numerals are described as a linguo-folklore phenomenon in a comparative aspect. It identifies and defines their scope of use in the epic, the sacred meaning of these numerals, and also compares their similar and distinctive features in a symbolic sense.

The relevance of the research topic is determined by insufficient knowledge of the Yakut folk terminology, including anatomical terminology denoting the names of bones in the Yakut language. Such anatomical terms mainly refer to the prescientific terminology of the Yakut language and are called “prototerms”. The article identifies and analyzes previously unexplored anatomical terms of the Yakut language. An attempt is made to linguistically describe the methods of term formation, as well as to identify models for lexico-semantic and lexico-grammatical groups of terms denoting human bones in the Yakut language. The paper also analyzes the ways of translating anatomical terms into the Yakut language. As a result of the study, the following conclusions were obtained: 1. The terms denoting human bones in the Yakut language are formed on the basis of the Yakut literary language’s own resources and are prototerms. 

Anatomical terms consist of two varieties: 1) simple terms consisting of one word; 2) compound terms consisting of two or more components. 2. There may be adjectives formed from nouns and participles. 3. In the formation of anatomical terms denoting human bones in the Yakut language, all term-forming means existing in the Yakut language are involved. 4. In the translation of anatomical terms denoting human bones into the Yakut language, interlanguage correspondences are mainly used, in isolated cases – transcription and tracing.

This article explores the objective world in the work of Sergei Zverev-Kyyl Uola «Ddjabaka Song (a song about the ddjabaka ceremonial hat)», the worldview foundations of the symbols and signs of the djabaka ceremonial hat of the Yakuts (Sakha) are considered. The objective world in the Zverev’s works is of exceptional importance and is of professional interest to researchers. The content side, the semiotics of Zverev’s folklore works can be perceived as an important ethnographic source for studying and getting acquainted with the indigenous way of life of the Sakha people, ritual culture, archaic terminology related to the material world of Zverev, which have to be solved. The content of the concept of «objective world in folklore works» is determined. The purpose of the study is to study the objective world in the work of Sergei Zverev-Kyyl Uola on the example of details, things, objects found in the folklore work «Djabaka Song (Song about the djabaka ceremonial hat)». The research methods are the comparative-contrasting, complex analysis of the texts of the work «Djabaka song (Song about the djabaka ceremonial hat)», determining the role of objects in them. The sources were the text materials, publications on this topic, including research, illustrative publications and albums on the traditional culture of the Sakha people. As a result of the study, we come to the conclusion that, firstly, the importance of studying the objective world of Sergei ZverevKyyl Uola. In the analyzed work, a comparison of the depicted hat – djabaka – with a real description is carried out. Such a chanting of a folk singer gives not only a complete description of the djabaka ceremonial hat, as it actually looked, but also the way of life of the Sakha people. Secondly, the work expresses the singer’s reverent attitude to the ritual culture of the Yakuts. The djabaka hat of the Yakuts is the main element in the paraphernalia of ritual actions, has a symbolic meaning and emphasizes the social status of a woman. 

Today there is no universal scheme for translating a dramatic text from one language into another, since the dramatic text is complex. The problem statement lies in the lack of knowledge of the translation of a dramatic work. This work aims to identify the features of the translation of a dramatic text from Russian into Yakut, as well as the adaptation of the Yakut translation for a theatrical performance. The actual material for the study was the theatrical performance of the Sakha Theater based on the play by William Shakespeare “King Lear”. With the help of the comparative method of Russian and Yakut texts of a dramatic work, it was revealed that translation and staging converge on the basis of such concepts as transformation, interpretation, concretization, adaptation. In perspective, we set the task to explore the literary, linguistic, pragmatic, theater and cultural aspects of the comparative analysis of the texts of “King Lear”, in order to fully disclose the scheme of the Russian-Yakut translation of a dramatic work.

The relevance of the study is dictated by the insufficiency of studying the audiovisual translation of feature and animated films made in the Yakut language. The authors define the terms “audiovisual translation”, “duplication”, “simultaneous translation”, “subtitle”, classification of audiovisual translation and a brief overview analysis of the history of the appearance of audiovisual translation in Yakut cinematography. The methodological basis of the study was the works of Russian translation scholars P.R. Palazhchenko, A.P. Chuzhakin, R.A. Matasova, and A. V. Kozulyaeva. The historical digression showed that the translation of films in the Yakut cinematography dates back to 1916 with the appearance in the Priyutov Theater of the silent film “The Death of Pompeii”, which was accompanied by a commentary in the Yakut language. Since the 1990s with the development of the film industry, films created in the local film studio “Sakhafilm” are broadcast with simultaneous translation; followed by subtitled translation. Full dubbing (dubbing) was carried out in such large-scale multi-budget projects as “The Secret of Genghis Khan” (2009), “Tygyn Darkhan” (2020). The paper uses a descriptive research method.