Besides being a riding animal, the horse holds an important place in the Turkic cultural history as it was used for food, for making clothing and to transport goods; it was also used in trade, in war and in communication. Moreover, it has played an important role in the formation and development of Turkic literature, art, traditions and customs. As the horse has been so important to Turkic people for centuries, the variety and abundance of horse-related words in Turkic languages is not surprising. This study identifies “horse” vocabulary in the Tatar and Tuvan languages and makes use of comparison by examining its linguistic features. 

The article studies the linguistic features of the poem “Ana vә ugyl” (“Mother and Son”), which is a coeval of the poem “Kyyssai Yusuf” by Kul Gali (the 11^th century). Several little-known sources of this work have reached us. We have introduced them into scientific circulation. The novelty of this work lies in the fact that we have carried out a comparative analysis of the lexical composition of these works, studied their isogosses, and the features of local beliefs. Based on the identified internal relationship, the article proves that both works belong to Bulgar-Tatar literature. The discovered linguistic facts indicate the uniformity of the literary language norms of the Bulgar-Tatars from the Middle Volga region. A comparative study of the works has made it possible to reveal the features of the original literary-fictional koine of the Tatars’ ancestors who lived in the Middle Ages. 

The article deals with the works of writers who played a big role in the rise of literature and culture in terms of postmodern concepts of the Tatar and Turkish literatures of the late 20^th–early 21^st centuries, and explores ideological, aesthetic and philosophical ideas and techniques reflected in them. The object of our research is the prose works of the Tatar writers F. Bayramova, Z. Hakim, N. Gimatdinova, G. Gilmanov, M. Magdiev and F. Yakhin, and the Turkish writers I. Anar, O. Pamuk and E. Shafak, who made significant contributions to the development of national culture. We interpret the philosophical views of M. Magdiev, N. Gimatdinova, G. Gilmanov and Z. Khakim, the features of their artistic thinking and their creative views in the literary and cultural context of the late 20^th–early 21^st centuries, the work of F. Bayramova and F. Yakhin is interpreted in terms of mythology and metaphysics. The novels of Turkish writers are studied in connection with Arabic and Oriental literature, within the framework of the the laws of post-modernist poetics.

The article explores and systematizes information and facts from various sources, related to the postmodern paradigm in Turkish literature, and attempts to create an overview of its current state. For the first time, the modern Turkish writer Elif Shafak’s work has been included in scientific circulation. Scientific research is based on the comparative-historical, typological and hermeneutical methods, on the rules and principles of the cultural-historical school.

The article examines the novel “Our Days” (1920) by the famous Tatar writer and public figure G. Ibragimov. In this work, the writer managed to depict various layers of Tatar society during the years of the First Russian Revolution. The novel is distinguished by its own interpretation of social, public, national and educational problems relevant for that time. Some of the covered issues are consonant with the works of the classics of Tatar literature G. Iskhaki, G. Tukay, F. Amirkhan, S. Ramiev, G. Kamal and N. Dumavi, and public views about the revival and culture of the Tatar people converge with the views of Dzh. Validi, N. Gasryi, I. Gaspraly, M. Bigiev et al. At the same time, this work of G. Ibragimov has strong ties with Arab-Muslim, Turkish and Western culture, philosophy and the teachings of the Koran. The novel “Our Days”, which is the object of our study, is associated with literary, critical, social, ethical, moral, aesthetic and philosophical thinking of the early 20^th century. The article presents a brief review of the history of this publication and its studies.

The article systematizes the material on the history of Tatar television theatre. The study is based on the television plays created by the Tatar directors Gali Khusainov, Rinat Sakaev, Akhtyam Zaripov Idmas Utyaganov and Gulsum Belyaeva as well as the reviews and letters from viewers. It is proved that in the 1970s – 1990s, Tatar television plays and television films efficiently popularized Tatar culture. The history of television theatre is viewed through the exchange of messages between the viewers and the editors of the literary and dramatic programs of the Kazan TV studio.

The article systematizes the data on the history of the symphony orchestra concert of Tatar music in Kazan in 1923. The study is based on archival materials reflecting the ethnographic activities of Anton Eikhenwald (1875–1952). The article presents a detailed analysis of the composer’s works and his views on Tatar music, summarizing newspaper responses and reviews of this unique cultural event. It is proved that A. Eikhenwald, as a composer and performing musician, was higher and more sensitive than his predecessors in the field of symphonic arrangements of Tatar folk songs.

The article systematizes scientific literature on the history of Tatar children’s television. The purpose of the work is to briefly characterize the Soviet stage in the development of Tatar children’s television. The study is based on the memoirs of TV journalists, archival video footage of the Television and Radio Company “Tatarstan – Novyi Vek” (TNV). The article proves that the children’s editorial team of the Kazan TV studio has done a great job of creating Tatar television programs, which are distinguished by rich content and genre diversity. 

The object of our research is the feature film “Tatara Samurai” (“Samurai the Blacksmith”, directed by Yoshinari Nashikori, 2016), the documentary film “The Birth of the Sword” (the exhibition project “Samurai: The Art of War” (2016) – producer Georgy Aistov, curator Steven Seagal) and the projection choreographic show “Tatara – the Heritage of Eurasia” (stage director Tufan Imamutdinov (2020), director Katsumi Sakakura (2021)). The subject of this study is the images of a samurai blacksmith and a tatara oven. In the light of Turkic-Japanese contacts, the article systematizes our knowledge about the unique tatara technology and the stove of the same name, preserved in Japan. We discuss the specificity of the artistic interpretation of this theme given by modern cultural figures of Japan and the Republic of Tatarstan and prove that Yoshinari Nashikori, Sakakura Katsumi, Tufan Imamutdinov and Syumbyul Gaffarova have created a romantic plot about the confrontation of an epic hero with a dragon in the name of saving his beloved one. The main story is about initiation, while the love story plays a supporting role. Japanese and Tatar screenwriters focus on the features of the protagonist’s internal conflict with himself. While director Yoshinari Nashikori strives for authenticity in interpreting national features, directors Sakakura Katsumi and Tufan Imamutdinov gravitate toward stylization. Although the Tatar variant of the projection show is more like a fairy-tale-fantastic generalization, the symbolic form of the Japanese variant tends to be mythological.

Almukhammetov Majit Ifatovich (September 22, 1904 – July 13, 1971) was a mathematician, Doctor of Physical and Mathematical sciences (1950), professor (1950). In 1937-1971, he was the head of the Mathematical Analysis Department at the Kazan State Pedagogical Institute; in 1943-1956, he was the dean of the Faculty of Physics and Mathematics at the Kazan State Pedagogical Institute (KSPI) and an Honored Scientist of the Tatar Autonomous Soviet Socialist Republic (TASSR) (1967). His main works are devoted to the theory of differential equations, problems of the theory of oscillations, issues of the motion stability. He was the author of textbooks and scientific-methodological works on mathematics, written in the Tatar language.

Sattarov Gumar Faizovich (1931 – 2020) was a linguist, Doctor of Philology (1975), professor (1981), Honored Scientist of the Republic of Tatarstan (1991), Honored Scientist of the Russian Federation (2003), laureate of the State Prize of the Republic of Tatarstan in the field of science and technology (2002), Honored Professor of Kazan University. In 1994 – 1999, he was the Head of the Tatar Language Department of Kazan State University, and the author of textbooks and teaching aids for higher and secondary education. In 1983, he became a Veteran of Labor. 

His scientific works are related to the areas of Turkic-Tatar onomastics, Tatar lexicology, culture of speech, ethnolinguistics, dialectology and history of the Tatar language, as well as methods of teaching the Tatar language. 

Muzafarov Mansur Akhmetovich (03.06.19011 – 11.21.1966) was a composer, teacher, Honored Artist of the TASSR (1950) and People's Artist of the TASSR (1964). He was the first Tatar composer with a higher specialized education. He began his creative activity as a member of national instrumental ensembles. In 1931, he graduated from the Ethnographic Department of the Moscow Conservatory. In 1938-1939, he studied at the Tatar Opera Studio of the Moscow Conservatory. From 1945, he taught at the Kazan Conservatory (in 1949-1961 he was the head of the Composition Department). Over the years, he conducted creative work on the radio and in the Tatar Opera and Ballet Theatre. 

Muzafarov’s legacy as a composer is extensive: from arrangement of folk tunes, original songs, romance songs to large-scale works in the genres of opera, symphonic poem and instrumental concert. 

The name of Mansur Muzafarov is associated with the Children's Music School No. 18, located in the Kirovsky district of Kazan. This school hosts the Republican Competition “Mozaffarov kichlәre” (“Muzaffar Evenings”). 

A memorial plaque to the composer was installed in Kazan at 5 Nikolaev Street. 

The review indicates that the novelty of A. Bakhtin’s monograph “The Russian State and the Kazan Khanate: Interstate Relations in the 15^th–16^th Centuries. (St. Petersburg, 2021)” lies in its convincing proof that the policy of the Russian state in relation to the Kazan Khanate in the first third of the 16^th century was not aggressive. A. Bakhtin’s interpretation of the events, related to the Middle Volga region capture, deserves special attention.

In the review, the book “Settlements of the Republic of Tatarstan” is evaluated as a popular scientific encyclopedia of a systematic alphabetical type. It is proved that the materials, published in the book, are extremely valuable sources of information about the past and present of the settlements in our republic.