The article raises a question related to the study of the written heritage of the indigenous Turkic-speaking population in Western Siberia - the Siberian Tatars. The material of the research is metric books “on the note of births, on marriages, divorces and death”, written in the Old Tatar language. The chronological framework of the study is the period from the 1830s until the beginning of the 20^th century.

Muslim books have preserved information about an ethnically and class heterogeneous population living in yurts: Old-yasak Tatars, quitrent Chuval Tatars, service Tatars, as well as migrants from Central Asia - Bukharans (Sarts). The subject of the research is the structure and content of metric records (based on the mosque books of Komarovo village in the Bukhara volost, the Tobolsk province).

Further historical and linguistic research into Muslim metric (mosque) books will give a more complete historical and cultural description of Siberian Bukharans as an ethnic group and expand scientific understanding of the culture and history of Western Siberia as a whole.

This article examines comparative constructions with a color component in the Tatar and Russian languages in a comparative aspect.

The purpose of this research is to study comparisons with color components as a means of describing a person’s appearance and character. Examples from the Written Corpus of the Tatar Language, the National Corpus of the Russian Language were used as research materials. Color component comparisons are used to describe natural features of people’s appearance and external signs of their physical and psychological state. These figurative means can create either a positive or a negative image, depending on the compared object and image.

The theoretical and practical value of this work is the possibility of using its main results in studying linguoculture and lexicology of the Tatar and Russian languages.

Based on the poem “Above Paris”, written in 1985, the article sheds light on the issues related to Nazhar Nadzhmi’s creative laboratory and determines individual characteristics of the writer’s work using the method of the literary text complex analysis and exploring the features of his creative laboratory. Our study also reveals the basis underlying the change and development of his creative thinking by comparing the versions of his work in the Tatar and Bashkir languages. It is for the first time that this poem has been analyzed on this scientific basis. A comprehensive analysis of the style and characteristic features of the author’s works, his figurative thinking ability and his worldview determine the scientific novelty and relevance of the article.

Firstly, by studying the variants of the work in these two languages, we have established that each literary text has its own place in the literary process and in the process of the author’s creative activity. The conditions under which the poem “Above Paris” was created found reflection in the notes on his journeys to France. Secondly, the analysis of Nazhar Nadzhmi’s works shows that different versions of literary texts evidence a change in his thinking. Thirdly, the study reveals Nazhar Nadzhmi’s attitude to Tatar and Bashkir literature.

The article identifies the development trends and changes in modern Tatar poetry, defining its traditions and paths to revival, based on poetic works created in recent years. Many works have been subjected to a scientific analysis from a hermeneutic point of view for the first time. The article determines the place of individual writers and their works in the literary process, the novelty they bring about causing changes in poetry, the original features of their innovations, all these account for the novelty and relevance of this study. The main goal of the study is to determine the main trends in modern Tatar poetry, its traditions and new creative searches, genre paradigms in thematic-problematic and poetic research. Our task is to reveal the foundations of changes in personality representations. The study shows that the changes in poetry at the beginning of the 21st century focused not so much on the content as on the form and personality, while taking poetry along new paths of the development in its mainstream. Realistic works are increasing their criticism, the national theme is becoming more active, the civic position is being enriched by social philosophy, and this revival goes hand in hand with the concept of the lyrical hero. There are three literary approaches to the transmission of critical values – hidden content, demythologization, and intertextuality. Post-realism has deepened its civic position due to the influence of philosophy, promoting innovations of genres and forms in Tatar poetry, changing the idea of the lyrical hero. The article proves that postmodern searches begin with a lyrical hero who does not see light in the chaotic life, who manifests himself in the desire to portray the world and life around as a complex theatrical performance, in the aesthetics of flickering motifs, plurality, fragmentation, and associativity. Romantic works reveal philosophical generalizations, reflections on the meaning of life, the value of life, the power of religious motifs, the activation of philosophical lyricism, the strengthening of aesthetic functions and the changes in personality representations.

The article studies the evolution of the Muslim urban communities’ social life in Troitsk and Chelyabinsk. We prove that at the turn of the nineteenth and twentieth centuries and in the early twentieth century, the public self-organization basis was made up of mosques and madrasahs, charitable societies, printing houses, periodicals, and schools. If in the pre-February period the basis of the Tatars’ social movement was represented by charitable societies, then after February 1917 they were Muslim committees and bureaus, and after the 2^nd All-Russian Muslim Congress in July 1917 - Milli Shuro (National Councils), that is, bodies focused on meeting the needs population in the field of education, charity, and religion. These committees and bureaus were formed from representatives of the bourgeoisie, clergy, and teachers; therefore, in July 1917, three ministries were created as part of the government of the national-cultural autonomy of Milli Idare, which represented the interests of the bourgeoisie (Maliya Nazaraty), the clergy (Diniya Nazaraty), and teachers (Magarif Nazarats). The article systematizes factual material indicating the evolution of these bodies’ activities exemplified by Troitsk and Chelyabinsk: from the time these cities and their Muslim communities were created to the final transition of the region into the hands of the Soviet regime at the end of 1919.

The article examines the history of the creation of the educational TV programme “Yashesen Teatr!” (“Long Live Theatre!”), dedicated to the 100th anniversary of the Tatar theatrical art, on the TV channel “Tatarstan – New Century” (TNV) and systemises the archival material, which ensures the richness of the content. It is proved that the series of the programmes “Yashesen Teatr!” provides TNV with the opportunity to fully realize its cultural and educational function. The analysis of the video archive reveals similarities in the design of the opening sequences, which makes each programme recognizable to the viewer. Most of the programmes include excerpts of performances from the TNV video library, showing archival materials that allow you to form a visible idea of a particular period in the history of the theatre. The genre of interviews and conversations enables the TV journalist G. Kh. Zinnatullina to reduce the distance between experienced and uninitiated viewers. Not only does the host inform the viewers about important events in the world of theatre, but she also analyses them, offering her vision in a subtle way, which helps to convey educational information to a wide audience. The creative collaboration of re[1searchers, museum workers, artists, directors and journalists provided the series of programmes with high-quality content, which ensured a steady interest among viewers.

The article systematizes the contribution of Nakie Isanbet, an encyclopaedist, folklorist, and classic author of Tatar literature, to the study of chichan (bardic) traditions in Turkic culture. The material for this research is based on the scholar’s theoretical works devoted to the study of the Turkic peoples’ folklore, his studies of oral folk art systematized in the collections of folklore expeditions, his works that include the image of chichans (bards). The method of study in our article is determined by the features of the analyzed text (cultural and historical, semiotic and cultural, comparative, etc.). N. Isanbet’s theoretical works on folklore prove that he attempted to form a complete understanding of chichan (bardic) poetry and to perpetuate their images in his literary work. In the 1920s, the experiments of the scientist in collaboration with F. Davletshin resulted in compiling a collection of his works. The analysis of modern works on the study of Bardic (chichan or sasan) phenomenon in the Turkic environment shows the following: there is certain scepticism among modern researchers towards Nakie Isanbet’s contribution to the study of this topic.

This article presents a textual scientific commentary on Naki Isanbet’s article “On the Ways to the Tatar Music Development”, published under a pseudonym in Kazan in 1923. It was a tribute to the memory of his elder brother who went missing during the Civil War. Our study convincingly proves that Naki Isanbet’s article has not lost its relevance today. The scientist correctly identified the key tendencies in the study of Tatar folk music and outlined the ways for the development of professional Tatar music.

August 16, 2021 marked the 100th anniversary of Rustem Yakhin, an outstanding Tatar composer and pianist, the author of the national anthem of the Republic of Tatarstan, a People's Artist of the USSR and RSFSR, laureate of the State Prize of the Republic of Tatarstan named after G. Tukay, Honored Art Worker of the Tatar Autonomous Soviet Socialist Republic.

The article reviews the bibliographic publication “Research on Synesthesia in ‘Prometheus’, Kazan (Russia)”. The review briefly systematizes the data on the history of the study of the synesthesia phenomenon conducted under the guidance of Prof. Bulat Galeev (1940 - 2009). The article proves that the bibliographic analysis, carried out by the authors of the publication, is one of the important steps leading to the creation of the planned research laboratory where the multifaceted “Prometheans’” scientific heritage will rightfully become a part of the world synesthetic context on the new technological platform.

The article reviews the Tatar-Russian-Latin Explanatory Dictionary of fish names (“Balyk atamalarynyn Tatar-Rus-Latin aңlatmaly suzlege” = “Tatar-Russian-Latin Explanatory Dictionary of Ichthyonyms”) by O. Galimova.

The dictionary contains more than 1800 fish names in the Tatar language and their interpretation, next to each term a translation into Russian and a generally accepted scientific term in Latin are given. The terminological dictionary will be useful to biologists, school teachers, a wide range of practitioners in fisheries, as well as to specialists interested in environmental issues, protection and rational use of aquatic biological resources. The article provides information about the structure of the dictionary, various examples from the dictionary and new ichthyonyms proposed by the author.