The features of different levels of anthropogenic impact on the biomorphological variability of vegetative organs of Allium splendens Willd. ex Schult. in the conditions of Central Yakutia are considered. The biological material for the study was collected in three geographically homogeneous growing areas in Central Yakutia with different degrees of anthropogenic  pressure: in natural conditions with low anthropogenic pressure, in conditions of significant anthropogenic impact and in conditions of private introduction. It has been shown that the degree  of anthropogenic pressure can be expressed in adaptive changes in plants, expressed in  morphological and biochemical characteristics, the measurable indicators of which can differ significantly from the indicators of plants growing in favorable natural conditions or under optimal conditions of introduction. Morphometric variability of traits demonstrates manifestations of the protective component of variability by increasing variability for plants experiencing high anthropogenic pressure. It has been determined that anthropogenic oppression implements adaptation mechanisms through changes in habitus, in particular, the morphometry of the vegetative mass of leaves; negative environmental conditions cause a change in the ratio of age groups of individuals and a change in the reproduction strategy. In this case, the variability  of the ascorbic acid content is more associated with the response to stress, realized through the choice of a reproduction strategy, since the amount of ascorbic acid did not correspond to the sequence of a series of morphometric variability, which can be explained by the dominance of the vegetative method of reproduction, in which biochemical processes actively occur in the underground part of the plant.

Historically, the Sakha people used plants in large quantities in their daily diet. According  to A. Savvin’s list, there are 76 species of wild food plants used, representing 4% of the flora of Yakutia. However, 11 of these species remain unresolved and are exclusively referenced  by Yakut names. Based on preliminary assessment, the plant kus tyla from this list has been identified as Lemna trisulca and the Lemnaceae family. A. Savvin’s list indicates that 59 species, representing 42 genera and 23 families, were used by Sakha people in fermented milk products  and dishes. The families Rosaceae (7), Polygonaceae (6), Alliaceae (4), Ericaceae (4), and  Asteraceae (4) are the most prominent in the dataset. The biomorphological spectrum of these 59 plant species includes 3 tree species, 9 shrubs species, and 3 dwarf shrub species, with the remaining species classified as perennial herbaceous plants. To continue research on food  plants, the species list has to be consistent with modern scientific classification. This study  identified 15 species, with 4 species reclassified to the level of genera. The identification  of certain species, including Saussurea amara, Rheum rhaponticum, and Allium senescens,  involved a comparative analysis of data from other sources. Traditionally, the Sakha people  prepared diverse fermented milk products and dishes with the addition of plant ingredients, including leaves, roots and berries. Fermented milk soups, such as ас and үөрэ, exhibited the greatest botanical diversity, with up to 35 plant species were used in preparation. The sweet taste  of the dishes kyobyuyor, dagda, kyuorchekh was given by the roots and berries of plants.

This study aims to characterise a composite material from compressed earth reinforced with corn husks fibers. In order to achieve this objective, the work started by conducting many laboratory tests on fibers and soils. The parameters that were determined included the diameters, stress at rupture, elongation at rupture, deformation at rupture, Young modulus 1 and Young modulus 2, and constraint maximum for fibers. In addition, geotechnical parameters of soils were  determined, including the water limit liquid, plastic limit liquid also determine optimal moisture for soil and is maximum dry density. It is evident that the tensile strength decreases and varies depending on the amount of corn husk fiber has increased. The results also demonstrate that the rate of water absorption of the composite increases with the increase in the fiber content,  which is explained in particular by the fact that the fibers’ plant origins are hydrophilic and  possess a porous character, thereby enabling water absorption. Furthermore, the study also  shows that there is a reduction in the density of the fiber composite with increasing fiber  content. It was equally observed that an increase in the fiber ratio let to an increase in the  Young’s modulus of the composite.

Fast Joule heating of amorphous carbon films formed by deposition in methane plasma was performed by electric discharge of a capacitor bank with a total capacity of 180 mF charged to a voltage of 100 to 300 V. The methods of Raman spectroscopy, scanning electron microscopy, X-ray energy-dispersive spectroscopy and current-voltage characteristics were used for the  study. The Raman spectra of the samples after fast Joule heating clearly show G-, 2D- and  D-peaks characteristic of graphene structures with sp2-hybridized bonds. Analysis of the  spectra showed that the intensity ratio of the 2D- and G-peaks and the D- and G-peaks  indicates a high quality of the formed flakes of turbostratic graphene structures. The most  effective, in terms of the formation of single-layer graphenes, was fast Joule heating, carried  out as a result of the discharge current of capacitors charged to a voltage of U = 160 V.  Electron microscopy methods have established that fast thermal heating during electric  discharge leads to a significant transformation of the state of the atomically smooth surface of the amorphous carbon film. As a result, spherical particles of about 1 μm in size are formed on the surface, which have a granular structure with grain sizes of about 100 nm. On the other hand, spherical particles are collected in agglomerations of up to several micrometers in size. Elemental analysis carried out by energy-dispersive spectroscopy, in addition to carbon,  showed a high oxygen content in spherical particles. The most likely cause of this phenomenon  may be the absorption of oxygen by the formed graphene flakes. Studies of the wettability  of the surface of the samples before and after Joule heating showed an increase in  hydrophobicity. The reason for the emergence of water-repellent properties may be the  “lotus effect” caused by the formation of spherical particles up to 1 μm in size and their larger conglomerates on the film surface. A radical decrease in the electrical resistance of the  original amorphous film from values corresponding to an insulator (R> 1 TΩ) to units of kΩ  per square of surface was found. The increase in electrical conductivity is explained by the transition of carbon from an amorphous state to an electrically conductive graphene-like structure.

Text linguistics, as a modern discipline, is capable of revealing the archetypal essence of the narrative structures within the author’s text. The short stories of Somerset Maugham, in this regard, serve as an example of the synergy between the author’s plots and the archetypal subtext, shaped by the semantic message of the author as a “metamorphosis” of the narrative. The  article is devoted to the analysis of the features of ironic victimization in the texts of the  stories, as well as the description of the archetypal concept of “victim”, which serves as a key to understanding the deep meanings embedded in the texts of S. Maugham’s stories. The article provides examples from short stories, which allows us to identify universal patterns and specific characteristics of ironic victimization in the context of discourse analysis. The goal is achieved  by solving several tasks, namely: to investigate the features of the use of the archetype “victim” in the texts of short stories by S. Maugham; to analyze the role of irony in the formation  of images of characters and their interactions; to assess the impact of ironic victimization  on the Reader's perception of moral norms and human nature. It has been determined that in Maugham’s stories, two types of character images correlating with the characteristics of the “victim” concept can be identified – “true” and “false” victims. Furthermore, the complexity of Maugham’s narrative is revealed, as the so-called “false victim” gradually “transforms” into a “true victim,” thereby embodying the category of ironic victimization within the plot. In the texts of S. Maugham’s short stories, such a “metamorphosis” of the characters’ images not only highlights the character’s internal conflicts and focuses on the social and cultural circumstances in which they find themselves, but also provides new opportunities for understanding broader  topics related to human existence and moral dilemmas. The article focuses on the texts of the  short stories “The Mother” and “Rain”.

The article presents the results of the survey of the population of Yakutsk (the capital of the  Sakha Republic) on the implementation of the requirements of articles 12-18 of the Law on  Languages in the Sakha Republic, in effect since 1992. These articles concern the use of the  republic’s state and official languages in official communication. The survey was conducted  among two groups of respondents: 1) government and municipal employees responsible for implementing the state status of the Sakha language; 2) the capital’s residents of different  social strata who experience the effects of the language policy of the republican authorities. The responses received were analyzed using statistical analysis methods, and the public opinion  on the quality of implementation of the requirements of the Law on Languages in the Sakha Republic was determined, including the language of meetings in organizations, the language of legislative acts of republican and local authorities, the language of office administration, the language of communication between citizens and authorities, etc. As a result of this analysis, it was concluded that the Sakha language has a very narrow application in state and municipal administration – it is mainly the language of informal communication. Translation activities aimed at ensuring equal use of both state languages are not well organized. Some articles  of the law concerning office administration in the Sakha language have lost their relevance  due to the development of technologies and standards, including systems for the automated circulation of financial and statistical documentation. According to the author of the article, the main reason for the failure to comply with the requirements of the Law on Languages in the Sakha Republic in state and municipal administration is the widespread Yakut-Russian bilingualism, which entails the transition to Russian by a significant number of bilinguals and the lack of targeted measures to support the state status of the Sakha language from the republican authorities.

The topicality and significance of the research are substantiated by the need to update the  methodology for studying the epithet complex in modern linguistics. The novelty of the scientific research consists of the fact that epithetation is considered as a cognitive-semantic process of blending nature. In this article our purpose is to identify the specifics of epithetation directions in Marina Tsvetaeva’s texts. For this purpose, it is necessary to explain the following main tasks: to consider the role of epithetation in the context of the Marina Tsvetaeva’s individual style and idiolect, to identify the main strategies of epithetation based on Marina Tsvetaeva’s texts, to determine the specifics of the epithetation of happiness in her texts. This research is based on the combination of cognitive methods of analyzing linguistic facts – cognitive-semantic, blending and lexical-semantic – component, lexicographic; the method of quantitative analysis of linguistic data is also used. The involvement of lexicographic sources makes it possible to compare the speech use of attributive words with the concept under consideration and the individual author’s, which reveals the specificity of the epithet of happiness in the Russian linguistic consciousness and Marina Tsvetaeva’s language. All of the poet’s works, including prose texts, were involved in the analysis. The understanding of happiness in Marina Tsvetaeva’s texts occupies a prominent place and acquires attributes traditionally associated with this concept and entrenched in usage (childish, maternal), but the poet departs from tradition quite early.  The epithet of happiness is associated primarily with the feeling of love. Awareness of the contradictory nature of happiness is realized through the opposition, first of bookish and everyday, and then of earthly and extraterrestrial happiness, spiritual unity with another person, creativity. The fleeting nature of happiness, its material side, the desire to embody the ideal – these  directions of understanding the phenomenon of happiness are realized in an epithetical way.  It is proved that the specificity of the epithetation of happiness is based on the associative  similarity of adjacent conceptual areas of anthropocentric nature, as a result of which an epithet complex of the metonymic type is formed. Epithetation is an imposition of attributes, the  creation of a temporary common mental space and the formation of a blended attribute. The subjective, emotional perception of the world by Marina Tsvetaeva determines the actualization  of the peripheral attributes of objects, which leads to the creation of its occasional characteristics: this tendency is reflected in the understanding of happiness as struggle, pride, obedience and  many other entities. In conclusion, epithetation a central role in the Marina Tsvetaeva’s idiolect.

The relevance of the work is determined by the main trend of modern linguistic research – anthropocentric, in the center of which is a person with his thoughts, feelings, and experiences.  In the article, for the first time in Mongolian studies, models of emotional reaction, emotional  state and causation of emotions are presented as macromodels with a set of different design  options depending on lexical and semantic content and communicative attitudes. The structural diversity of the constructions is explained by the speaker’s communicative intention to focus attention either on the Experiencer, or on the emotion itself, or on the Stimulus. In the structure of constructions, the position of the subject is communicatively highlighted. By reducing the Stimulus, attention is also focused on the Experiencer or on the Emotion itself. When assigning variants of constructions to a particular model, semantics were taken into account first of all:  the relationship between subject and predicate, subject and object, as well as the “degree  of activity” of the subject. As a result of the study, each macromodel is provided with a list of structural schemes of variants of its structures. From the point of view of structural diversity, a macromodel of emotional reaction is distinguished, including seven types of constructions. In the macromodel of causation of emotions the position of the subject is occupied by the Stimulus. The main research method is the modeling method, and elements of transformational,  distributive, and component analyses were used as additional techniques. The research material is modern dictionaries, texts by Buryat authors, including those posted in the electronic Buryat corpus, as well as the results of a survey of native speakers. When collecting the material,  traditional methods of primary linguistic observation, description, and comparison were used.

The article is devoted to the understanding of the renaissance processes that took place in the national Turkic language literatures of the USSR in the second half of the 20th century. The combination of contextual and hermeneutic methods made it possible to identify the key artistic trends in the depiction of the ethnic past within Turkic language literatures. The study is based on literary works by Azerbaijani, Kazakh, Chuvash, Yakut, Turkmen, and Tatar authors that  initiated a positive way to portray the ethnic past, way of life, and traditions. These works  include socio-psychological, historical, and biographical narratives. The first serious attempts at national cultural revival were associated with the study and return to the artistic consciousness  of motifs, images, and techniques of folk art. The activities of P. Oyunsky, M. Jalil, and  N. Sarykhanov testify to this. The works of M. Ibragimov, Ilbek, M. Auezov, A. Yakubov,  G. Bashirov, and others laid the foundation for the artistic reconstruction of the people’s past, presenting it as a history of unique culture and profound moral and philosophical ideas. A close examination of these works reveals that Turkic literatures of this period are characterized by a renewed emphasis on national artistic traditions, as well as the fostering the personal development and psychology, intellectuality and philosophy. It asserts the close relationship of man with his world, his native land, and the land of his ancestors. The key artistic techniques in Turkic  literatures of the 1960s contributed to the creation of new literary landscapes included: the inextricable interrelation of ethnic and universal values; the appeal to ancient Turkic and ethnic myths and legends; internal monologues; the depiction of spiritual qualities in dynamics; and the expansion of the semantic range of traditional images from the individual to the universal,  to archetypal principles, etc.

Since the late 20th century and continuing into the first half of the 21st century the direction of linguistic research has been increasingly developed, significantly contributing to the current state of affairs in linguistics, theory and practice of translation, foreign language teaching methodology, and linguophilosophy. In recent decades, discourse analysis has been primarily concerned with the communicative aspects of language. Discourse analysis has become an increasingly prominent area in several humanities disciplines, including sociology, sociolinguistics, psychology, anthropology, linguistics, and linguophilosophy, as a linguistic phenomena. The communicative approach to language education, with its focus on practical communicative ability, necessitates the analysis of specific examples (written and spoken forms) to improve language learning methods, as well as to attract the available linguistic material. This study aims to identify key characteristic aspects of this modern direction, focusing on fundamental features of the concept of discourse. Because discourse is a common element across diverse fields in humanities, its examination through the frameworks of general information theory and communication theory is valuable, particularly in relation to its social functions.

The purpose of this study is to analyze the transformation of the adventure model in Bulat Okudzhava’s story “The Adventures of Shipov, or Old Vaudeville”. The relevance of the study is grounded in the fact that understanding the adventure plot in Bulat Okudzhava’s prose is  necessary, to begin with, to clarify the main trends and paths of development of the literary process of the 1960-70s and, additionally, to understand the genre specifics of the author’s story “The Adventures of Shipov, or Old Vaudeville”. The study is based on the use of a set of methods: historical and literary, comparative typological, socio-cultural. The adventure canvas and vaudeville plot in “The Adventures of Shipov” allowed the author to suggest that the reader relate this work to a specific literary structure (A. Tolstoy’s story “The Adventures of Nevzorov,  or Ibicus”, I. Ehrenburg’s novel “The Extraordinary Adventures of Julio Jurenito and His  Disciples” or the novel by the Czech writer J. Hasek “The Adventures of the Good Soldier Schweik”). This allows the author to address complex socio-cultural issues with greater clarity. The study reveals that adventurousness is associated with a specific formulaic nature, manifested in the extensive use of narrative techniques (adventurous hero, brightness, spectacularity of images, and attention to details, etc.). Furthermore, it reflects the farcical nature of reality. The structural organization of the story is dramatic. The stylistic dominant of Bulat Okudzhava’s  text is the close connection of adventurism with the idea of theatricality, which, in turn,  is achieved by the constant clash of reality and fiction. The creation of prose with an obvious lyrical and philosophical beginning does not prevent the penetration of adventurism into it. The adventurousness in Bulat Okudzhava’s work is the idea of the fate of a “private” person as dependent on history and an unsuccessful attempt to overcome it, and the issue of freedom of creative expression is extremely sharpened. The adventurous scheme is used by the author in order to enhance the parodic sound of the “true incident” in Yasnaya Polyana. Young Count L. N. Tolstoy is persecuted as a result of an absurd report from a gendarme staff officer. The “non-canonical” story is undoubtedly a new stage in the development of the theme of “a breath of freedom” in the author’s work. Prospects for further research may be related to the consideration of the adventurous beginning in the historical prose of Bulat Okudzhava, which is an example of a combination of historicism and adventurism.

Lexical borrowings are considered to be one of the most widespread manifestations of linguistic interference. The linguistic innovations identified in the context of linguistic interference are associated with the transformation of existing knowledge structures that are shared within society and are influenced by socio-cultural phenomena. The different ways in which linguistic interference is fixed in the consciousness of speakers of the receiving language are also  reflected in the nature of codification. Therefore, systemic interference results in the transfer and consolidation of knowledge structures in the general fund of knowledge about language (fixation in dictionaries and grammars as a linguistic norm, i.e. legitimisation). Meanwhile, functional interference does not always imply fixation in the general fund of knowledge as a linguistic norm and correlates with legitimisation (i.e. social codification). The purpose of this article is to study the mechanisms and specifics of codification processes of lexical borrowings in the language pair of Korean (South Korean variant) and English. It is important to note the marked asymmetry observed in both lexical borrowing processes (in terms of the number of borrowings recorded in dictionaries and the range of knowledge fields in which new words are borrowed) and codification processes in this language pair. The Republic of Korea has demonstrated a clear commitment to the active legitimisation and conventionalisation of Anglicisms within the national language. This phenomenon is widely considered to be a reflection of the significant role of English as a source of neologisation, as well as the intensity of interference occurring in the English→Korean direction. The Merriam-Webster Dictionary has recorded a small number of Korean loanwords in the USA (less than 0.01% of the total number of dictionary entries). However, the increasing processes of social codification attracted by the influence of the phenomena known as the Korean wave.

The article is devoted to the learning of the new tendencies in English financial and economic neological discourse. The language is a lively organism which reacts actively to all changes  of the surrounding reality. If new words, named new subjects, phenomena, processes, didn’t  appear in the language of this or that people, native speakers would simply stop to understand each other. The language would stop to perform its crucial function – communicative one and therefore successful communication wouldn’t be possible. Because the language vocabulary constantly renews thanks to the internal word-formation and borrowings from other languages,  the appearance of a new branch in linguistics was inevitable. The subject of the neology is a neologism. A neologism is a new word (a set expression) which is new in its form or in its  content, or new both in form and in content. A person is in the center of the intersection of  different spheres of the social life, one of which is financial and economic one. People’s  life is directly connected with finance, that’s why they pay much attention to the changes  happening in this sphere. The dynamism of the financial sphere’s development which is  represented in the constant appearance of new services, operations, instruments, fraudulent schemes and entails appearance of new words, gives vast material for the learning of  neologisms from different points of view. New language units allow us to analyse and identify  the tendencies emerging in the modern financial sphere and make an idea about axiological  people’s landmarks.

The article presents the results of the research carried out on the material of texts of artistic  and advertising discourses. The study aimed to identify and describe the functionality  of foliage colour descriptions, particularly their activity and productivity in creating new colour terms, based on a reconstructed segment of the colour concept sphere within the floral space of the Russian language. This is relevant to the field of colour linguistic, which seek to create as complete a description as possible of the Russian language’s color concept sphere. To achieve this goal, several methods were used (continuous sampling, descriptive and analytical  processes, contextual, method of quantitative data processing) to address the following  objectives: 1) to determine the quantitative and qualitative composition of colour terms  significant in the perception and visualisation of foliage in the prose of Konstantin Paustovsky,  a master of the artistic prose; 2) to reveal the specificity of Paustovsky’s colour-related  writing style through the analysis of foliage colour descriptions functioning in his artistic text;  3) to identify the functional potential of foliage descriptions realised in fiction and advertising text; 4) to establish the composition and function of advertising colour terms based on colouristic descriptions of foliage. The main results of this polydiscursive research include the  identification and description of: 1) the register of colour terms used by Paustovsky to visualize foliage, of which 26 units belong to the core vocabulary, and more than 30 units expand the colour  and light range; 2) the dominant colour (yellow), reflecting K. Paustovsky’s individual perception;  3) the correlation between the Paustovsky’s colour preferences in foliage visualization and the Russian-language colour standard; 4) the set of meanings conveyed by the colour terms; 5) the stylistic diversity of colour terms; 6) the characteristics of Paustovsky’s colour-related  writing style; 7) the functionality of colour terms identified in the fiction text; 8) the mechanism by which colour terms are produced within both fiction and advertising text, based on coloristic description of foliage. The study concludes that the obtained results are significant for  describing both the individual colour picture of the world of Paustovsky, and for reconstructing  the colour concept sphere of the floral space of the Russian language. Furthermore, the  productivity of this polydiscursive study of the colour concept sphere allows for the recording and inventory of the process by which colour terms are created, and also for the explication  of the foundations for their creation and use.

In the study of classical works, one of the pressing issues pertains to textual criticism which  related to the objects of literary source studies such as variants of basic texts, lists, autographs.  This aspect provides an opportunity for a more in-depth analysis of the creative history  of a specific work and the author’s function in the artistic text as the basis of the plot-mythological dualism, particularly characteristic of early 20th century literature. The article identifies specific issues of textual criticism to the study of Yakut poet Alexei Kulakovsky’s works. The aim is to outline the textual parameters for analyzing the poem “The Shaman’s Dream” and to introduce previously underutilized sources from Kulakovsky’s heritage, including an early version of the main text and publications from 1946, 1978, and 2002. The methodological basis is grounded in research from the A.M. Gorky Institute of World Literature, Russian Academy of Sciences, representing significant textual discoveries based on the analytical systematization of literary sources. It also draws on the works of Yury Lotman, Valery Tiupa, and Larisa Lun’kova, focusing on structural and semiotic analysis and exploration of literary time and artistic space within  literary work. The article is structured in three directions: the main character’s image in the  contexts of the “emotional-volitional attitude” (Mikhail Bakhtin) of the author’s principle; an analysis of the poem’s early version; the presentation of observations on editing the poet’s text in publishing his poetry. The study of the presented materials revealed certain aspects of the creative history caused by the author’s editing, specifically a significant change in the main character’s function; and clarified several occurrences of various violations in the logical relationships  of the poem’s fragments in the three indicated editions. It is proved that the poem “The Shaman’s Dream” by Alexei Kulakovsky is original not only in its theme and problems, but also in the poet’s talent in finding a significant approach to form and material, in determining within the boundaries of a figurative word the artistic regularity of their elements and the logical interrelation of parts.

The article studies semantics and prototypes of figurative adjectives and verbs of the Yakut language that denote darkness, light and gloss. 36 lexemes were selected via continuous  sampling from dictionaries and then combined into groups by their parent figurative verb. The groups are presented in the order of increasing degree of lightness, ending with the designations of gloss. The study shows that the figurative light and color terms represent a separate group in the color-designating vocabulary of the Yakut language. Their semantics, unlike the names  of the actual “colored” flowers, has not previously been subject to a detailed description, although the light plays if not primary, then key role, since in the absence of light it is impossible to distinguish colors. The human ability to see the world around and perceive various visual images underlies the figurative verbs of light perception in the Yakut language and the figurative  adjectives derived from them. The semantics of figurative vocabulary has a whole complex of various semes as dynamics, temporality, object shape, etc., but their unifying seme is the seme of light. Comparative-contrastive and etymological analyses show that the figurative light semantics of the Yakut language, like their parent verbs, originate from Mongolian vocabulary, many lexemes have Proto-Altaic roots. Based on their semantics in synchrony and diachrony, prototypes have been identified for some groups of figurative words – objects of the surrounding world with which native speakers associate a particular light phenomenon: dark mess (group with figurative verb будулуй), dark silhouette (group with figurative verb барый), dust, ash, fog (күдээр), faded  grass (кубарый), sunbeam (сандаарый), as well as dairy food (тунаарый, туналый) and the reflection of the tip (кылбаар, килбэй).

The article analyses one of the most difficult issues of artistic translation: the process of translating theatrical works. The relevance of this research lies in the paucity of fundamental theoretical research specifically dedicated to the translation of theatrical works. The purpose of the study is to analyse the creative process of theatrical translation based on the own practice of translation. The article provides a detailed analysis of the characteristics of this type of texts  from the linguistic perspective, including the structural features and the specifics of the  theatrical text design. The primary focus of this study is on translation strategies. The work “Helver’s Night” by the Polish playwright Ingmar Villqist is the object of analysis. The play was chosen due to the complex and unusual plot structure, as well as the fact it is a translation of a translation. The study provides a summary of the play and information about the main  characters. The article includes examples of the most difficult translation issues and suggests the author’s options. Furthermore, the translator’s decisions are explained, as well as the  transformations in the process of working on the text. The author concludes that the translation  of dramatic works at the intersection of artistic and theatrical discourse requires an  interdisciplinary approach. Thus, the most effective translation strategy, in this case, is  considered to be comprised of interpretation, concretisation and adaptation.

The relevance of this study is determined by the insufficient knowledge of polypredicative constructions in the Khakass language. The purpose of this article is to identify and describe the polypredicative constructions of comparative semantics with the postposition чiли ‘as if’ in the Khakass language. Our material shows that in the Khakass language, as in other Turkic  languages, one of the main means of expressing comparative relations are analytical-synthetic polypredicative constructions with the postposition чiли ‘as if’. This postposition is a means of expressing comparative relations between two events, which can form both monosubject and multi-subject constructions. The composition of the polypredicative construction includes the  main part, which is the subject of comparison, and the dependent part is the standard  of comparison (or standard). The subject of the dependent part appears in the form of a  nominative, the dependent clause – in the form of a past participle (=хан), present (=чатхан)  and future (=ap) tense in combination with the postposition чiли. The predicate of the  dependent part is often omitted because it conveys the same action as the predicate of the main part. In the considered constructions with comparative postpositions, the dependent part is  often reduced to the subject and the adverbial modifier (more often adverbial modifier  of time). The construction with the postposition of чiли can also convey target and cause-effect relations. The research material was examples in the Khakass language, extracted by continuous sampling from the works of Khakass writers, as well as poetic texts. The prospects for further research of comparative polypredicative constructions with the чiли postposition in the Khakass language are seen in the involvement of comparative material on other Turkic languages,  which will make it possible to identify common and specific features in the structure and  semantics of the structures under consideration in the compared languages.