The aim of the study was a comparative study of photosynthetic pigments of fodder plants growing in Central Yakutia. Methods. Using thin layer chromatography and spectrophotometry, the composition and content of photosynthetic pigments (chlorophylls a and b, carotenoids) from green leaves of some fodder plants were isolated and determined. It was found that the content of carotenoids was high in those forage grasses that had a high absolute content (mg/g) of green pigments. It was revealed that cryo-feed (cryo-feed - green mass of cultivated cold-resistant forage plants preserved by the irrecoverable natural cold of the cryolithozone of the North) from oats has the highest feed value in relation to photosynthetic pigments (1.5-2 times) than plants growing in natural conditions. In our opinion, energy-rich biologically active substances (lutein and β-carotene) of fodder plants of Yakutia, synthesized in the fall during cold hardening, play a key role in the life of animals under extreme low ambient temperatures. In addition, lutein is one of the physiologically active substances in cow's milk.

Tunneling of electrons and other quantum particles through a potential barrier underlies many phenomena in atomic and nuclear physics, solid state physics and superconductors. They begin to get acquainted with the tunnel effect at school (and continue at the university) within the framework of the section "quantum physics", which has its own specifics associated with the nature of the quantum phenomena under study, for which observation requires rather sophisticated experimental equipment. In this regard, an urgent problem arises in the development of affordable, inexpensive laboratory equipment for the study of quantum phenomena. This paper describes the experience of the authors developing a laboratory setup for constructing the current-voltage characteristic of a tunnel diode in a dynamic way and studying the tunneling effect by analyzing the features of the current-voltage characteristic of a tunnel diode. The literature was reviewed, including patent search. The task was formulated for the development of a laboratory facility that is not inferior to existing analogues. The composition of the experimental setup is described, schematic diagrams of the main elements are presented: a sawtooth voltage generator, a push-pull emitter voltage follower, instrumental amplifiers. The external view of the "Tunnel effect" device, placed in a plastic case measuring 180x120x70 mm and weighing no more than 400 g, is shown. The results are oscillograms of voltage and sync pulses produced by the sawtooth voltage generator, as well as an oscillogram of the current-voltage characteristic of the gallium arsenide tunnel diode AI306K. The obtained parameters of this diode are in good agreement with the reference data. In the developed laboratory setup, the authors managed to suppress the high-frequency jump and significantly reduce the amplitude of the low-frequency jump on the volt-ampere characteristic, reducing it to 15% of the maximum current. The results obtained are quantitatively and qualitatively superior to the results of measurements of a number of analogs. In conclusion, it is noted that the authors have developed and manufactured an effective analog block for suppressing the parasitic generation of a tunnel diode on the falling section of the current-voltage characteristic.

Two binary operators and formed by the tensor product of the operators of creation and annihilation of electrons are introduced. The operator A+ is obtained by the tensor product of two operators of electron creation and, in a particular case, transforms into the raising operator Q+ of the quasi-spin. The operator B is obtained by the tensor product of the creation and annihilation operator of the electron and, in a particular case, changes to the operator of the number of electrons. Various commutation properties of the binary operators A+ and B are investigated. In a specific situation, they transform into commutation relations for the operators of quasi-spin and the number of electrons. Relationships have been established between the matrix elements of these operators concerning the state functions with different numbers of equivalent electrons. The following has been established: 1) relationships between submatrix elements of binary operators and coefficients of fractional parentage; 2) five conditions of "orthogonality" of coefficients of fractional parentage; 3) four summation conventions for submatrix elements of Tk, operator representing the sum of unity operators tk of k rank that are unitary in the j-space; 4) relationships between submatrix elements and coefficients of fractional parentage. The results obtained in this article link the matrix elements of the paired operators A+, B, quasi-spin operators, creation and annihilation operators of the electron, and coefficients of fractional parentage. In the future, they can significantly simplify studies related to calculating the matrix elements of the relativistic Hamiltonian of many-electron atoms and ions.

The article examines the features of representation of the female subject in a work of art, involving the analysis of texts from the perspective of the function of gender stereotypes of femininity and masculinity. Subject forms of expression of author's conscious are actualized as specific ways of author's presence in text. Particular attention is given to the subject of the condition - the form of the role hero, when the characteristic "gender mask" is constructed in the texts. Several ways of representing the female self are given on the body of lyrical poetry of L. Popov, namely, poems written from the POV of a female persona. The most significant features in the interpretation of the gender identity of the female author stand out on the body of work of A. Borisova and G. Keptukye. The identification of gender aspects of women's literature and the specifics of the construction of the female "self" in male writers represents the main goal of the article. The study of the problem of interpreting a female subject in the text raises a number of methodological questions - gender poetics, the criteria of "male" and "female" in the text, the model of "female writing," the design of female "self" among male poets, The authors of the article come to the main conclusion that the manifestation of gender from the position of opposition of femininity and masculinity is realized in the text through development of artistic imagery, characteristic type of author's conscious, the poetics of works as a whole. The texts are proposed to be considered in two directions, as reflection of the gender picture of the world itself, and as gender-representative of certain range of issues. Female discourse in the literature of Yakutia is a distinct construct and paradigm with specific forms of manifestation and adaptation of ethnic elements. Deepening into the concept of "female type of text," markers of gender poetics and typology of women's literature require new methodological principles of research.

The article is devoted to the study of the ancient Turkic religious-mythological tradition, which was reflected in the spiritual culture of the Tatars, in the diachronic aspect. The relevance of the study is that for the first time ancient Turkic mythology is considered as a system of representations that served as the basis for the formation of plots and images in the later folklore epic tradition. The purpose of this study is, firstly, to analyze written sources containing information about the ancient Turkic religious-mythological tradition, to identify the sources of the formation of folklore images and plots; secondly, a generalization of the received information, a characterization of the main ancient Turkic pantheon of gods by its attitude to mythological and epic plots of later eras, a determination of the origins of epic plots laid down in epic folklore. To achieve the goal of the study, we chose historical-genetic and comparative methods of philological research, since the origins of ancient Turkic mythological ideas are common, and not typological. The article considers the mythological systems of the Central Asian Huns, Caucasian Huns and ancient Turkic peoples who inhabited the lands of Altai, Western Siberia and Northern Mongolia during the era of the Turkic Khaganates of the VI-VII centuries, which are described in Chinese, Armenian, runic and ancient Uygur written monuments. On the basis of the material involved for analysis, the main ancient Turkic pantheon and the characteristics of the higher deities included in its composition are revealed, their comparative analysis is carried out, mythological and epic plots are determined, indicating the beginning of the formation of the epic tradition of Turkic peoples in the ancient Turkic era. The author draws attention to the fact that the written sources of this time form the basis of the ancient Turkic heroic epic, developed during the Golden Horde (1243-1502) and Turkic written literature of the Middle Ages and determine further ways of developing epic folklore of the Turkic peoples. Ancient Turkic mythology is considered by the author as a system of religious-mythological ideas, which served as a source for the formation of the general Turkic layer of mythological views, while the article pays attention to the features of the translation and transformation of the general Turkic mythological tradition in the folklore tradition of the Tatars.

This article is devoted to description of propositionality of linguocultural sign “long / dragon”. As a rule, descriptions of linguocultural concepts include linguistic, cultural or linguocultural aspects. However, the object of the investigation requires appealing to the propositional aspect. Linguocultural sign dragon is of particular interest because it is one of the most ancient signs and therefore includes many semantic layers. Propositionality of linguocultural sign “long / dragon” is conditioned by absence of real correlated object. Propositional sign “long / dragon” is a logical construct containing an idea (a sense). Concept dragon, being basic for Chinese culture, at the same time is notable by mythological bordering on chimerical character. The article seeks to distinguish stages of Chinese concept dragon’s formation. Chinese dragon as an element of zoomorphic code verbalizes a complex of culture, philosophy and logic. It is one of the classifiers which as conventional and symbolic images describe Chinese linguistic culture world-image. Choice of the dragon as a chimerical image denoting unique phenomena (Sun, East, Spring, Emperor) is due to proposition as a formula “one-only vs powerful-exclusive” in Chinese conceptual sphere. A synergy of sign dragon is accumulated by logical parametrization of the world in human consciousness which is based on indissolubility of human and nature. It is assumed that of linguocultural sign dragon in Chinese linguistic culture relates to the archetype “nature”. Two various models of the world are considered: matter-oriented and energy-oriented. Chinese culture view of the world is energy-oriented. The world is presented as embodiment of inperceptive and unknowable Beginning to perceptive and knowable. It allows to conclude that parametrization as a propositional sign in one image of mythical creature represents logically related perception of the world as a whole. The results of the research may be used in further study of Chinese linguocultural concept dragon and corresponding lingual sign.

Abstraсt. The legend of Suosaljyia Tolbonnokh is one of the most widespread legends of the Sakha people, being a monument of oral folk art, has several variants, genre varieties and plot interpretations. In addition, there are differences in the names of the main characters and the names of the geographical places of the event. As a folklore text, the legend of Suosaljyia Tolbonnokh has always been the focus of attention of researchers, writers and translators. However, the legend still requires additional research, especially the translation of the legend into Russian remains unexplored. In connection with the foregoing, the aim of the article is to identify all currently available versions of the text of the legend in the Yakut language, their genre identity. Translations of these versions of the legend into Russian are also a subject to special analysis. In the study of legend translations, special attention was paid to the transfer of information content of texts, as well as to the language of translated texts. The methods of sampling, reading, statistical analysis, descriptive presentation were used. The study revealed that there are only 12 versions of the legend in Yakut folklore and fiction. The most complete and diverse genre and text variations can be found in S.A. Zverev-Kyyl Uola writing. The genre variety of Suosaljyia Tolbonnokh legend consists of a song, a toyuk poem, a story, a ballad, plays and musical drama. The translation of Suosaljyia Tolbonnook legend into Russian is characterized by the following types of translation: literal, reproducing the syntax and vocabulary of the original (A. A. Popov); scientific and artistic, addressed to specialists-researchers of folklore (S.P. Oyunskaya); intralingual artistic, transforming informative style of the Russian language into its own high style (Ambrosiev A.A.); authorized literary translation adequate to the original (Musienko M.). In the future, a more thorough study may undergo a variety of linguistic transformations that occur when translating a legend from the Yakut language into Russian. And also, the result of translation analysis can be used for students’ independent practical translation.

The paper examines the theatrical element in B. Okudzhava’s last historical novel "Rendezvous with Bonaparte". The relevance of the study is determined, firstly, by the fact that the phenomenon of theatricality in the poetics of prose texts is of particular interest for modern literary criticism, and secondly, theatricality in Okudzhava studies has not received a comprehensive study as of to date, its role is not always comprehended in the analysis of specific works of the writer. The research is carried out on the basis of using a set of methods: historical-literary, comparative-typological, socio-cultural, as well as a holistic analysis of a work of art. Our study reveals that the theatricality is the leading narrative principle of the work "Rendezvous with Bonaparte", which manifests itself in the conventionality, scenic character of a number of events, the perception of life as a kind of performance. Unconscious theatricalization of behavior does not mean insincerity or artificiality. The heroes of B. Okudzhava create their own "scripts", organically merge with the assigned roles, and sometimes act as "directors" of the mise-en-scènes of the "performances" written by them. Illustrative in this respect is the novel "Rendezvous with Bonaparte", in which theatricality is embodied not in the theme, the use of theatrical vocabulary or images, but in the special attitude of the hero to the world, in his behavior that goes beyond stereotypes. Theatricality is inseparably linked with the theme of illusion or unreality. In B. Okudzhava's novel, the motive of illusion permeates the entire diary of Opochinin, is key to understanding his thoughts and actions, largely determining the development of the plot. There is a constant collision of real events from the life of different heroes with fantasies. The hero is not even aware of the boundaries between reality and fiction. One of the signs of theatricality is the presence of a hero-narrator - a kind of "puppeteer". Undoubtedly, such a character in the novel is Opochinin - "director" and "screenwriter" in one person, clearly prescribing all roles, even minor ones. During the preparation of his "performance", he tries not to miss a single detail: his "script" indicates the main instruments of the orchestra, which should emphasize the solemnity of the moment when the "geniuses of war" meet. "Musical theatricality" in B. Okudzhava's novel is a way of influencing the supposed "viewer" - the reader, the formation of a single sound space, which retains the ambiguity of images and reflects the variability of the emotional state of the hero. The music in Opochinin's “performance” is not a decoration; it determines the tonality of the whole action, as if it comes to life in a fictional theatrical space thanks to its sensual perception. Thus, theatricality is one of the most important dominants of the author's vision of history, based on the demonstration of the involvement of a “private” person in the events described. The reflective hero of B. Okudzhava, realizing his loneliness and powerlessness, being completely at the mercy of his own illusions, cannot remain indifferent to what is happening.

The presented research article focuses on the study of the idioms expressing gestures and their unique features in the Yakut language from the point of view of their interpretation, formation mechanisms and creating a cultural description (comment) following the model suggested by V. N. Telia; all of these research aspects serve as tools for defining the principles of the locating the lexicographic representation of these idioms in the students’ glossary. Using the data presented in the Yakut-Russian Dictionary of Idioms and the Yakut Language Dictionary, the author analyzes the meaning of the idiom атаххар (сүһүөххэр) тур [atakhar (cuhuokher) tur] which has several meanings. The description is accompanied with illustrations quoting the dictionaries mentioned above. The author also provides an explanation of the idioms from the point of view of culture in terms of the differential positions of the area which this idiom originated from. The study also indicates a number brief descriptions of analogies in other peoples’ cultures. The research results showed that the idiomatic unit is a permanent component represented in combination with the optional component sukhuokh in both dictionaries, however, the same idiomatic component is not represented in the illustrative examples; the only and key meaningful component represented in the examples is atakh. The meaning of idiom is occasionally transferred to the component atakh, which apparently takes place due to the meaning of the lexeme sukhuokh (joint) as a lexical component representing a part of somatism atakh (leg). The definition of the lexeme sukhuokh (joint) given in the Yakut Language Dictionary is further expanded using the explanation of this lexeme not only as a moving part joining two ends of human or animal bones, but also as a stability, firmness of the leg joints (referring to humans and animals). The analyzed unit has analogical correlates in other cultures; this research finding is supported by the dictionary data of other languages, which make up the zone of examples labeled as “represented in other cultures”. This zone will serve as the next stage for a culture-oriented study of the idioms expressing gestures in the Yakut language, in which the main focus will shifted towards distinguishing and interpreting the cultural code of these language units.

Mentor concept being a component of the teaching macro-concept is of great importance for modern linguocultural studies since the mentor is at the core of the social experience process accumulated by mankind. Due to the long and complex process of cultural symbols generation, their meanings change at every historical convolution, and they reach us in a new form. The purpose of this article is to analyze the evolution of the conceptual signs of the mentor concept in the XVIII - XIX centuries, the language loss of old meanings, the transformation and the incipience of new ones in close connection with the historical development of Russian society. The following methods of linguistic research are used in the work: descriptive, comparative, interpretive and statistical methods of data processing. Studying and analysis of the Russian language dictionaries and materials of national diachronic linguistics allow us to conclude that the conceptual signs of the concept in the XVIII - XIX centuries narrowed compared to the number of the previous period (18 conceptual vs. 29 motivating), while maintaining the actualization of some of the mentor concept’s motivating signs till the affected period. The results of the conceptual signs foregrounding in the specified period in the National Corpus of the Russian language have been presented in the article. The frequency of the identified conceptual signs and their connection with motivating ones has been determined. The analysis of the language material showed the actualization of all the selected conceptual sings in the texts of the XVIII-XIX centuries, with the exception of the “instruction” sign. The examples of this sign have not been noted in the language material concerned. The analysis of the conceptual signs of the mentor concept proves its continuous evolution in close connection with the development of Russian society, its cultural and linguistic world view.