Abstract: This article analyzes the image of women in Shahnameh by Ferdowsi and the Nart Epic, which, imbued with the culture, beliefs, and worldview of the Iranian and Ossetian peoples, are not only narratives of wars and heroic bravery but also reflections of societal consciousness. These works present female characters who occupy a central role, embodying profound contradictions: they are portrayed as celestial beings worthy of reverence or as symbols of sin and exile. Women in these epics are not merely lovers and mothers but also strong-willed individuals whose actions drive the plot and shape its dramatic tension. The study aims to examine the distinctive depiction of women in both epics. Female characters display wisdom, nobility, and virtue, and their high social status—often linked to aristocratic or heroic lineage—affords them respect and influence. Figures such as wives, sisters, and mothers of heroes are portrayed as educators and supporters, highlighting their pivotal roles in the narrative structure. Although constrained by limited rights and subject to male authority—an aspect that might invite modern critique—this portrayal reflects the patriarchal norms of the era. The image of women as passive participants or objects of male pleasure arises from entrenched cultural traditions. However, many female characters transcend these limitations, demonstrating remarkable strength of character and moral integrity. In conclusion, Shahnameh and the Nart Epic portray complex and multifaceted female figures whose significance profoundly shapes the narrative. These epics thus offer rich material for exploring social and cultural history. In both works, women are not merely figures in the shadows of heroes but independent worlds, embodying the music of destiny and the voice of history. Their stories, which balance contradiction and grandeur, remain enduring symbols of memory and the splendor of the past.

Keywords: comparative analysis, the consciousness of the Ossetian society, images, the consciousness of the Iranian society, social values, negative, positive, woman, Ossetian Nart epic, Shahnameh

Abstract: The subject of the study is the features of the artistic style in the works of P. A. Oiunsky. The object of the research is the writer's stories "The Fox and the Badger," "The Argument," "Is it Reality or a Dream?!," "How a Yakut Transformed into an Evil Spirit." The author examines the stylistic features of the texts in detail. The work presents an analysis of the stylistic techniques used by the writer. The aim of the research is to identify the characteristics of the author's style in P. Oiunsky's works. To achieve this goal, the following tasks were addressed: to identify the details of the author's style; to determine the main artistic techniques. Attention is focused on the details of the author's intent: the creation of traditional images and their functioning; interpretations and transformations of folklore motifs that become fundamental to the entire plot and the work as a whole. Special attention is paid to the influence of folklore traditions on the writer's creative method, which continues both traditional and innovative techniques. The methodological aspects of the problem of the interaction between literature and folklore consist of the works of A. N. Veselovsky, U. B. Dalgat, V. Ya. Propp, V. A. Semenov, V. B. Okorokova, and Yu. G. Khazankovich. Descriptive method, observation method, and stylistic analysis method were applied to identify the stylistic specifics and to generalize the results of the research on P. Oiunsky's works. The traditions of oral folk creativity are an "organic component" of the artistic world of the Yakut writer P. A. Oiunsky in the early 20th century. The main conclusions of the conducted research are: the use of techniques of oral folk creativity, Yakut heroic epic olonkho (proverbs, linguistic repetitions, constant epithets, etc.); the application and adaptation of plots from fairy tales, fairy tale elements; the use of techniques characteristic of oral folk creativity – such as grotesque, fantasy, satire, and allegory. The novelty of this work lies in the fact that this study for the first time identifies and describes the features of the artistic style in P. Oiunsky's stories. The work reveals the influence of folklore on the disclosure of the author's intention. P. Oiunsky's stories present a holistic traditional worldview of the Yakut people in the early 20th century.

Keywords: author's style, stylistic technique, stylistic devices, artistic text, reworking of the plot, borrowing, fairy tale, story, folklore, characters

Abstract: The subject of the study is the structural, species features of the creolized text of video advertising based on the transformation of plots of Russian literature ("Dowry", "Mumu") and their interpretation in the context of modern economic realities. The object of the study is the creolized text in the bank's commercials from the cycle: "VTB is a classic!" The authors consider in detail such aspects of the topic as the transformation of the source code in the creolized text, emphasize its importance as a means of multimodal transmission of information that enhances the emotional and cognitive impact on the audience. Particular attention is paid to the analysis and methods of interaction of semiotic signs (based on the second trichotomy of Charles Pierce: iconic sign and symbol) within the creolized text. Their contribution to the structure and general understanding of the advertising message is emphasized. Research methods include: semiotic analysis, content analysis, systematically studying the content of the selected advertising videos, identifying typological, iconic, visual components; cultural analysis, which studies the integration of Russian literary plots into advertising, their impact on the audience; multimodal analysis, which considers the interaction of textual and audiovisual elements to build multilayered messages. The main conclusions of the study are the proof of the identity of the concepts of creolized and polycode text due to the integration of various media formats (linguistic, audiovisual), which makes it universal in transmitting multilayered messages, and allows it to be effectively used for advertising and communication purposes. This combination creates a message with several hidden layers, which enhances the emotional impact of advertising and makes it more convincing. A special contribution of the authors to the research of the topic is the highlighting of the two-dimensionality of the composition in the videos ("Dowry", "Mumu"), which forms culturally relevant associations with the brand. Accordingly, the use of plots from Russian classics in video advertising increases the degree of audience trust in the company. The novelty of the study lies in identifying semiotic links within the creolized text, creating on their basis an advertising space in which the transformation of iconic and symbolic signs occurs, which has not been studied before. The interaction of the original plot with modernity within semiotic links forms complex, fascinating narratives, increasing interest in advertising and creating a more attractive image of the bank in the eyes of the consumer.

Keywords: semiotic connections, iconic sign, symbol, advertising, promotional video, polycode text, creolized text, ambiguity, creolization, semiotics