The Tatar literary language is one of the most important values created by the people over the centuries. Language is not only a means of communication, but also the main indicator of a nation’s spiritual activity. Over the centuries spiritual wealth has been accumulated in literary written monuments, reflecting traditions, linguistic norms and various social events of each historical period. The study of the Tatar literary language found in written monuments and of the language development patterns is one of the current scientific trends followed by the Tatar Language Department at Kazan University. The studies focus both on the the development of the Tatar language and on the historical place the language holds in the Tatar people’s ethnogenesis and in the current existence of the Tatar language as a state language on the basis of traditions. Kazan University has more than a century-long history of comprehensive studies in the history of the Tatar language. This article is about the legacy of outstanding scholars who left their indelible mark on the study of the Tatar language history.

One of the well-developed scientific areas in Tatar linguistics is dialectology, its main task being the study of the living spoken language of indigenous peoples, that is, local dialects. It studies the phenomena of folk speech that are not included in the literary language, conducts the scientific analysis in this field and determines the territory of their usage.

For several centuries, consistent and systematic research workhas been carried out in the area of Tatar people's spiritual culture, the history of various ethnic groups, the characteristics of their language, their way of life and customs. This work, devoted to studying live speech, to recording materials related to individual subdialects and dialects of the Tatar language, to collecting factual material and its scientific interpretation, began in the first half of the 18th century. The scientific study of Tatar dialectology at Kazan University has a history of more than two centuries, so a wealth of experience has been accumulated in this area; the tradition of studying Tatar dialects and subdialects at the university continues to this day, being one of the most relevant and sought-after scientific trends followed by the Department of Tatar Linguistics. For the first time providing its systematic study, this article describes the formation and development of the Kazan University Dialectological School, which is the main object of our research. This constitutes the scientific novelty and relevance of the article. The study of the history of this scientific school in an educational institution goes hand in hand with the study of the scientific research of the outstanding scholars, who made great contributions to Tatar dialectology, leaving rich scientific and methodological heritage.

The article is a kind of a book review of translations of Ayaz Gilyazov’s works “In Whose Hands is the Axe?” In the article, the author shares impressions of her personal meetings with the writer. The work evaluates the contribution of translators Nail Ishmukhametov and Albina Nurislamova in promoting the novel “In Whose Hands is the Axe?” and the story “The Wound.”

In the literary text, writers express their worldview through their people's history and way of life, revealing their national mentality and demonstrating linguistic, visual and artistic resources of their native people.

The article clarifies the issue of other people's perception of the famous Tatar writer Ayaz Gilyazov's novel “Yara” (“The Wound”), which was translated into Turkish by Fatih Kutlu in 2018. To this end, we analyzed and evaluated the critical articles, the opinions of readers and the works of master's students, related to this work and published in Turkish.

Literary translation is the most important method that makes it possible to convey the results achieved in the cultural life and in the literary process to other peoples, thereby achieving mutual understanding between different nations. The exchange of national heritage leads to the literary and cultural dialogue. The article raises the issue of promoting Tatar literature in the literary space of the Turkic world and the world as a whole.

The article clarifies the main conditions for the positive perception of Ayaz Gilyazov's work by Turkish readers, and its psychological impact reflecting the Tatar reality and transmitted in translation. The theme of war cannot leave other Turkic peoples indifferent, while the traditions of the Tatar people resonate with the Turkish audience. It is noted that the language of the work has not lost its originality in translation, as the translator has the ability to convey the writer's thought with all its depth and integrity.

The article is devoted to Muslim charitable societies and Muslim committees and bureaus as forms of self-organization and social movements ofRussian Muslims in the early 20^th century. As early as at the end of the 19^th century first Muslim charitable societies were created as cultural, educational and social centers of communities with collegial management. Muslim committees and bureaus, formed after the February Revolution of 1917, were mainly socio-political organizations of Muslim Turkic-Tatars from the Orenburg District Mohammedan Spiritual Assembly (OMSA), they did not represent any political bodies of a specific orientation. In the spring and summer, sometimes in the early autumn of 1917, they united the activities of various Muslim organizations in the provincial city, and later often throughout the province, becoming direct predecessors of the provincial Milli Shuras (National Councils), which, from the very beginning, were the bodies of national-cultural autonomy. In this article, we analyze the continuity and interaction between these two structures, as well as their public activities.

This research work is an anniversary type article. It systematizes materials on the history of the Tatar children's press, namely the 100th anniversary of the magazine “Yalkyn” (Flame) and the first publication of the newspaper “Yash Leninchy” (“The Young Leninist”). The article studies the role of these printed publications in the upbringing of children and in strengthening their civic identity. We prove that the activities of the young correspondents' school were effective, for it has given the Tatar people famous writers, journalists, artists, composers and other prominent cultural figures.

The article systematizes the material on various principles of reflecting historical subjects in Tatar opera. It gives a detailed analysis of the art opera “The Wing of Syuyumbike” to a libretto by Fleura Yanysheva and the opera “Kul Sharif’ to a libretto by Farit Yakhin and the music by Elmira Galimova where the tragedy of the loss of statehood and the fall of the Kazan Khanate are revealed through the tragic fates of famous personalities (Kul Sharif, Tsarina Suyumbike). We prove that the opera “Kul Sharif’ is an interesting example of combining historical-descriptive and biographical approaches with “historical imagination”, while the symbols in the art opera “The Wing of Syuyumbike” are based on legendary and mythological material.

This work belongs to a series of articles about composer Anton Eichenwald. They were published in the journal “Tatarica” in 2022-2023: “The Symphony Orchestra Concert of Oriental Music in Kazan in 1923” (2022, No. 1), “Concerts of Oriental Music in Paris” (2022, No. 2), “Anton Eikhenwald and the Kazan Office of Musical Folklore” (2023, No. 1) and “Folklore Opera ‘The Steppe' in the Perception of Our Contemporaries” (2023, No. 2). The article analyzes two memoirs about composer A. Eichenwald and his contacts with poet G. Tukay. The composer himself was named as the author of the publication “A Passionate Music Lover”, and “Chaliapin and Tukay...” was presented as retold by L. Rubinstein. Serious Tukay scholars ignored these sources. Information about the fictitious meetings of A. Eichenwald and F. Chaliapin with G. Tukay was replicated by writers, literary critics and musicologists who failed to take a critical look at the content of these “pseudo-memories.” Based on our analysis of the content of these articles and using the memoirs of Tukay's contemporaries and other documentary sources, the article proves that this material about the fictitious meetings was created by third-party authors who were ignorant of these major cultural figures' biographies.

Bikmurzina Flyura Gaptrakhmanovna (07/01/1939 -10/14/2023) was an actress, television director, Honored Worker of Culture of the TASSR (1990) and People’s Artist of the Republic of Tatarstan (1993).

Mukhametzyanov Rif Mirkhabullovich (1939–1996) was a folklorist, a candidate of philology (1973).

Shakirzyanov Rashit Agleevich - (7.06.1949 – 22.11.2021) was a scientist in the field of structural mechanics, candidate of technical sciences (1990), head of the Methodological Office for Teaching in the Tatar Language, Honorary Worker of Higher Education of the Russian Federation (2009), Honorary Worker of Higher School of the Republic of Tatarstan (2015), laureate of the State Prize of the Republic of Tatarstan in the Field of Science and Technology (2009) and laureate of the Kayum Nasyri Prize.

The article examines the contribution of art critic L. Sattarova to the study of leather mosaic art, which is a global brand of Tatar traditional culture. The paper proves the novelty of the approach to the interpretation of the Tatar patterned leather artistic characteristics and substantiates the value of the conducted research, focusing on the key aspects of the analyzed topic. The review highlights the significance of the author’s research into art history and cultural studies.

The article provides a review of the monograph “Tatarstan televideniese: telefottan alyp tsifly tehnologiyalerge” (Television of Tatarstan: From Telephot to Digital Technologies) by Kazan Federal University Professor R. Dautova and KNRTU-KAI Researcher M. Shleimovich. The monograph, dedicated to the history of Tatarstan television, conducts a detailed analysis of the television in terms of its creative and technological development. The review notes that the book widely covers the activities of the people who made a huge contribution to the emergence of television, but whose names are still little known.