Kul Gali’s work “Kyissa-i Yusuf” is a poem written in the Turkic literary language in the 13^th century. It has been loved by the Tatar people for many centuries, rewritten many times by hand and first printed in the 19^th century. In the regions, where the Tatars live, more than 300 handwritten copies of the work have been found. The plot of the poem goes back to the story about good looking Yusuf. It is found in the sacred books of most orthodox religions, but differs significantly in details and descriptions of the characters. One of these characters is Zuleikha. This article discusses the artistic means of expression, chosen by the author, to create the image and speech portrait of Zuleikha and reveal the features of her character.

The article studies adverbs in the diachronic aspect in Tatar and other Turkic languages. Throughout the history of the Turkic linguistics development, this part of speech has always been the focus of researchers’ attention. In the Tatar language, adverb studies began in the early 19^th century. The article discusses various approaches, principles and provisions in the works of famous linguists of Tatar and other Turkic languages, namely, G. Alparov, I. Giganov, N. K. Dmitriev, A. Kazem-Bek, A. N. Kononov, K. Nasyri, G. Nugaybek, A. Troyansky and others. The article highlights the problems connected with the formation of the adverb as an independent part of speech and its lexical and semantic groups. Adverbs in Tatar and other Turkic languages are not differentiated from other parts of speech by any specific indicators, except for word-forming affixes. Therefore, of importance are the system characteristics of the adverb. The article systematizes the theoretical material on this issue.

The object of this study is the dastan “Kongyr Boga” and the Bashkir folk song of the same name. The subject of the study is the history of their creation, their ideological, aesthetic, genre originality and the connection of these works with the cultural heritage of the Turkic peoples. This source from N. Isanbet’s archive has been introduced into scientific circulation for the first time. This is the novelty of the work. The dastan and the Bashkir song “Kongyr Boga” are studied in the context of the relationship of song, music and oral folk art of the Turkic peoples. The study proves that the origin of these sources is based on the ancient people’s ideas about the world and the surrounding phenomena, on mythology, legends and epics. N. Isanbet highlights both to the depth of the semantics and the emotional power inherent in the song “Kongyr Boga”, and the dialectical relationship of its content and form, the features of the song performance. The article reveals the national peculiarities of the ways these texts sound and focuses on the nobility of the people’s patriotic feelings, which found their embodiment in these ancient works of folklore.

The article deals with the issue of creative generations in Tatar poetry of Bashkortostan. Based on the scientific-chronological and diachronic aspects, the work provides a historical and literary analysis of the Tatar poetry development in Bashkortostan from the second half of the 20^th century to the present day; it reveals the reasons for the emergence of such a phenomenon as “bilingual Tatar literature”, primarily due to the changes in the socio-political and cultural life of the republic and the displacement of the Tatar language from the literary press and book publishing in 1950-1980. We also study the influence these events had on the individual style of the poets. Analyzing a qualitative scientific and theoretical base, the article reveals the features characterizing the reflection of reality in the local writers’ works and emphasizes that the picture of the world, formed in the poets’s minds, is a decisive factor shaping their individual styles. We identify both the features of the individual style of the masters of the pen and the general regional style of Tatar poetry in Bashkortostan. Taking all this into account, the article identifies four creative generations in the development of regional Tatar poetry during the period under study. The main motifs in the works of the most prominent poets and the typical qualities inherent in each creative generation are revealed by means of the analysis of their creative methods, content and form. The article emphasizes that in terms of its poetic value, ideological and aesthetic content, Tatar poetry of the region is mainly based on its millennial traditions.

The article systematizes archival materials on the creation of the Kazan Office of Musical Folklore. The focus is on the activities of the composer A. Eichenwald as the head (manager) of this organization. The composer dreamed of turning the Office into an exemplary laboratory for mechanical sound recording. He wanted to cooperate with qualified scientists who would record musical and literary material, examine what was recorded, identify historical data, compile recording funds, process and prepare them for publication. Based on the analysis of archival materials, the article proves that A. Eichenwald held his position for six months and was forced to quit either due to external circumstances, or of his own free will.

The article systematizes a range of sources and studies, which have references to the Tatars’ participation in Russian fisticuffs. Our analysis is based on newspaper publications, ethnographic essays and fiction. The methodological basis is the research of A. Grantovsky, G. Bazlov and V. Kats. In the course of the research, we found that there were passionate fans of Russian fisticuffs among the Tatars before the Revolution of 1917. In Kazan, the fights were held in winter on the Kaban and in Arsk Field, in Moscow - on the Moskva River. We prove that for Tatar batyrs it was an opportunity not only to demonstrate their valiant prowess, but to significantly improve their financial situation, so they agreed to become hired fighters. Tatar merchants paid them with money and tea, and the Russians, in addition to money, put up barrels of vodka and beer, and sleighs of pretzels. At the end of the nineteenth century, due to numerous injuries, fisticuffs in Kazan were banned; later, at the beginning of the twentieth century, they ceased to be held at all due to persecution by the authorities. In the history of Moscow fisticuffs, the name of the Tatar Misharin Nur Aliyev, better known by his nickname Kara Malay, became a legend.

The article studies the stage interpretation features of Z. Bigiev’s first Tatar detective story “Thousands, or the Beautiful Khadicha”, directed by R. Ayupov. We systematized the research material according to the degree this work has been studied in Tatar literary criticism. The article characterizes the system of characters in the stage production, revealing the ideological and artistic potential of its images. We describe the synthesis of Eastern and Western traditions in the stage interpretation of prose and prove that in his performance R. Ayupov resorts to the synthesis of different types of arts: literature, cinema, dance, music and circus.

The article explores the history of the works by Amirkhan Eniki, the national writer of the Republic of Tatarstan and laureate of the State Prize named after G. Tukay, on the Tatar stage. Tatar theaters have repeatedly turned to the writer’s prose. The Tatar State Theater of Drama and Comedy named after K. Tinchurin staged such productions as “Kurkam min bu bakhettan” (“I Am Afraid of This Happiness”, 1987, director P. Isanbet, the author of the dramatization N. Shaikhutdinov, M. Zabbarov), based on the story “Reshe” (“Haze”, 1962), and “Gоlandem tutash hatirase” (“Memoirs of Gulyandam Tutash”, 2018), based on the story of the same name (1975, directed by R. Zagidullin, the author of the dramatization I. Gali). In 2019, the youth theater “Mizgel” (“A Moment”, KFU, dir., the author of the dramatization I. Khafizov), and in 2022 – the Tatar State Academic theatre named after G. Kamal (dir., the author of the dramatization A. Zabbarov) showed the story “Reshe” (“Haze”, 1962). M. Zabbarov presented the performances based on the writer’s novels “Aytelmagan vasiyat” (“The Untold Will”) and “Yorak sere” (“The Secret of the Heart”) on the stage of the youth theater “Mizgel” (TGGPU) in different years. The Almetyevsk Tatar Drama Theater put on the play “Tormysh Koraby” (“The Ship of Life”, 2011, directed by G. Akberdina, authored by F. Ismagilova) on its stage.

Our study is based on dramatizations of the writer’s prose. The subject of the research is the ideological and aesthetic features of the writer’s and directors’ findings, the methods of stage embodiment of A. Eniki’s philosophical and moral thoughts. The innovation of the study lies in the study of acting skills.

Nigmatullina Yulduz Galimzyanovna (29.04.1929– 02.02.2023) was a literary critic, Doctor of Philology (1971), Professor (1973), an Honored Scientist of the TASSR, RSFSR (1979, 1981), an Honored Professor (2004). Republic of Tatarstan Science and Technic Prize Winner (1999), Baqi Urmanche Incentive Prize Winner (2005)

Khabibullin Shaukat Taipovich (25.01.1915–7.03.1996) was a prominent astronomer, physicist, mathematician and a teacher. Having defended his Ph.D. thesis in 1948, Sh. Khabibullin worked as an assistant and later as an associate professor at Kazan University. From 1958 he was a doctor of physics and mathematics; in 1959, he became a professor. In 1958, he headed the Astronomy Department; in 1960-1963, he was the dean of the Physics Faculty. In 1965, he became the vice-rector of scientific affairs of KSU (now KFU). In 1949–1958, he worked as the head of the Astrometry Department of the V. Engelhardt observatory; in 1959-1987, he was the head of the city observatory at Kazan University. He was one of the founders of the North Caucasus Astronomy Station of KSU in 1976. He was awarded the title of an Honored Worker of Science and Technology of TASSR (1971) and RSFSR (1975). He was a veteran of the Great Patriotic War. Sh. Khabibullin was a famous scientist who founded the Kazan School of Astrophysics and made great contributions to the global development of astronomy, preparing highly qualified professionals.

Nurullin Ibragim (18.04.1923– 1.07.1995) was a literary critic, writer and teacher. He was Candidate of Philology from 1953, Doctor of Philology (1968) and Professor (1970); he worked as an associate professor and professor in KSU (now KFU) from 1953. He was the winner of the G. Tukay State Prize of the Tatar ASSR (1982) and got the Ayaz Iskhaki Award in 1992. He was a Chevalier of First and Second Degree Orders of the Great Patriotic War and a member of the Writers’ Union of the Republic of Tatarstan from 1957. His scientific research focused on history of literature, literary theory, criticism, literary works of Tukay and Iskhaki, and methodology of teaching Tatar literature in higher and secondary general education schools.

The article is in the nature of a review of the popular science collection "Naki Isanbet", published by the publishing house "Nyen" in 2021. The value of this publication is that it includes materials that were not previously published due to censorship. The range of scientific articles included in the collection allows us to form an idea of the multifaceted scientific activity of the scientist-encyclopedist Naki Isanbet. Autobiographical and documentary materials eliminate “white spots" in the history of the Tatar people.

The article reviews the structure of Ilseyar Zakirova’s book “Awal bashlap ni bette” (“The Beginning of Time”) (2017) and its place in the spiritual and cultural life of the Tatar people. The book shows the connection of myths that arose in the most ancient periods of mankind and individual phenomena of oral folk art with philosophical, religious teachings and aesthetic systems. The review evaluates the author’s philosophical and aesthetic analysis of the Turks and Tatars’ myths, legends and ancient beliefs, their connection with the world outlook and their reflection of the first world perceptions. The article describes such genres of folklore as dedication and ovation as a novelty of the book. It is for the first time that examples from folklore, collected by the author during the expedition to different regions where the Tatars live, have been introduced into the scientific circulation.

The article considers T. Gilazov’s work “Tukay Studies: The Ways to Understand and to Explore” as an object of our review. The article clarifies the contribution of this scientific publication to the research into the life and work of Tukay. It states that the scholarly and critical literature, dedicated to the poet, is studied, on the one hand, in the national-public, Tatar spiritual-cultural and literary-aesthetic aspects; on the other hand, it is done in the context of Eastern and Western cultures. This determines the relevance and scientific novelty of the article. The article highlights the significance of the T. Gilazov’s monographic work for literary science during the 20^th–early 21^st centuries. Firstly, this publication is a systemic research into the consistent, long-term, holistic development of Tukay studies, a comprehensive account of the trends reflecting its changes, transformations and the main stages of the poet’s creativity development. Secondly, the article establishes that the systematic work on Tukay’s studies reveals the turns in the development of Tatar literary and aesthetic thought and the history of literary criticism. Thirdly, the focus is on the fact that comprehensive work on Tukay studies, as a holistic system, can become a conceptual, methodological “key” to the study of the literary and historical heritage of other writers. Fourthly, the article argues that I. Nurullin’s monograph, which determines the place held by the ideological and aesthetic representation of Tukay’s spiritual heritage, made a significant contribution to literary criticism in historical and dialectical aspects.