In the article, the relevance of the study is to identify intonational and stereotypical features in the poetic texts of such zhyrau as Asan Kayy, Kaztugan, Dospambet, Shalkiyz, Zhiembet, Margas, Aktamberdy, Umbetei, Bukhar, who lived in the XV-XVIII century, formed a model of oral literature, zhyrau traditions, and then showed the life of the country, the social life of the country to the next generation, adding sadness and need to the song. Also, in the research work, the specifics of oral audio oratory art, the manifestation of oral technical means in the poetic art of zhyrau and the mastery of its expression are taken as a basis to glorify the place in the traditions of the distant zhyrau. The specific features of intonation in the poetics of ravines are also analyzed and models of intonations are proposed. Based on the conducted research, genre features of zhyrau poetics are distinguished, such as commandment, blessing, dedication, appeal, praise, farewell, mourning, and curses. The main purpose of the research work is to determine what is the role of intonation in expanding the Kazakh knowledge through zhyr. As well as comparing the repeated points (stereotypes) of each zhyrau in his poems, identifying what he used for them, indicating genre features and conducting an intonational analysis. The study aims to identify the function of intonation in the poetry of zhyrau, identify the intonemes characteristic of zhyrau poetry, and propose models of intonations.

Translation of onomastic names from one language into another or their correct spelling is one of the most important problems of linguistics and translation. This is due to the fact that onomastic names are not only linguistic units, phenomena, but also non-linguistic factors (ideological, historical, cultural, geographic, social, linguistic relations), which play a very important role in the development of relations between states and peoples. The Kazakh and Chinese languages, both genetically and typologically, belong to different language groups: one belongs to the Sino-Tibetan language group, the other to the Altai language group; typologically, one refers to isolating languages, the other to agglutinative ones. Moreover, there are significant differences in the spelling of both languages: one uses a semantic syllable and the other uses phonetic notation. The "Palladium transcription system" based on the current phonetic rules of the Russian language does not correspond to the phonetic rules of the Kazakh language. The study shows the ways and rules of transliteration of Chinese onomastic names into the Kazakh alphabet with Latin graphics.

The article presents the analysis and description of the Kazakh and common Turkic symbol Kokbori (Heavenly Wolf) - the mythological foremother of all Turkic peoples based on the material of Suyunbay Aronov's poem "Burili menin bairakym" (My battle flag with the image of a wolf) using some other historical and literary sources. According to the content of the myth, the enemies decided to destroy the Turkic tribe (people). One boy, wounded, exhausted, went unnoticed, covered in ash in the steppe furnace. The Heavenly Wolf (Kokborі) took the boy and fed him. Enemies found the boy and killed him. Kokbori managed to give birth to 10 sons from him. Thus, the Turkic people stayed alive and spread throughout the world.

In Suyunbai's poetry, the image of Kokbori (wolf's head) was used on the Turkic battle flag, which corresponds to historical reality. The Turks fought with this flag, made campaigns, defended themselves and conquered new territories. The image of Kokbori and the flag with the image of a wolf's head raised the spirit of the Turks, aroused the instinct of a warrior in them, prepared them for heroism, fearlessness, and freedom.

The poem contains a large number of stylistic figures, tropes, anaphores. The last quatrain of the poem consists of 4 lines and 12 words. It includes alliterations created with the repetition of sound B (6 times), sound R (8 times), sound M (4 times), etc .; assonances created by the repetition of vowel sounds: A (8 times), Ӛ (4 times), E (5 times), etc.

In the stanza, stylistic figures and tropes are used both explicitly and implicitly. In the works on the history of the Tyrks, symbol Kokbori is translated into Russian as a green she-wolf or a blue she-wolf, or a blue she-wolf (Klyashtorny S.G., Sultanov T.I., etc.), which does not correspond to the historical reality and the meaning of the word kok (sky) in the Turkic languages. Kokborі is the Heavenly Wolf who came from the sky.

The word kӛk in the Kazakh language (and in other Turkic languages) means the sky. The meaning of the color came later, based on the association with the blue sky. At present, the high[1]frequency word aspan (sky) is borrowed from Farsi and came to the Turkic languages much later than the original Turkic word kӛk (sky). The article provides a comparative analysis of the symbol wolf (bӛri, Kasyr) in Kazakh (Turkic) mythology with the symbol wolf in the mythology of some other ancient and modern peoples. Within the Kazakh mentality, there are 3 wolves: 1) Kokbori (Heavenly Wolf) - the foremother of all Turkic peoples. She is one only and has its own name. It is written with an uppercase letter; 2) bӛri (wolf) - written with a lowercase letter. This word, on the one hand, connects the consciousness of a Kazakh with Kokbori (positive connotation), on the other hand, with a predator – a wolf (negative connotation). The second is dominant; 3) қасқыр, i.e. bӛri (wolf) is written with a lowercase letter. Negative symbol: predator, exterminator of domestic and wild animals. But at the same time, there is also a positive connotation – fearlessness, freedom. There are many wolves. Kokbori (Heavenly Wolf) is one. In the course of scientific research, several methods of linguistic analysis were used (comparative, contrasting minimal pairs, semantic-stylistic, etc.).

The article compares phonetic and orthoepic features of modern and traditional word formation of the Kazakh language. For this purpose, a business trip was organized to the Shalkar district of the Aktobe region, the Aral district of the Kyzylorda region, the Zaisan district of the East Kazakhstan region, where a single Kazakh lived, unhurried speeches of senior Kazakhs were recorded, the speech features of Kazakh youth born in 2000 and citizens of Kazakhstan born in the 70s were analyzed. The phonetic-prosodic level of speech of the representatives of the older generation and the younger generation was considered from the point of view of the Socaptam level. As a result, since the 70s, the Kazakh oral language has mostly observed the norms of writing, both writing and pronouncing the word, and since 2000, new phenomena have appeared in the speech of the born generations, alien even to the norms of the Kazakh language. Such changes in the language do not correspond to the traditional grammatical system, word-formation skills of consumers of the language with a high level of language education, speak of a change in the traditional vocabulary of the Kazakh language, separation from the traditional, national.

The article discusses the features of the traditional vocabulary of the Kazakh language, their changes in vocabulary and phraseology. The language of older people living in a single Kazakh environment has been analyzed in comparison with the speech characteristics of Kazakh citizens born since 2000. As a result, it was noted that in the oral language of the younger generation, the norm of written language is often observed, the word is pronounced as it is written, and even new phenomena are emerging that are alien to the norm of the Kazakh language. It was also considered in detail that the language of young people is becoming increasingly difficult, changing to short words and phrases, and the expressiveness of the language of the generation that speaks in a short and concise manner is decreasing. It is shown that such changes in the language do not correspond to the traditional grammatical system, the speech skills of language consumers with a high level of language education, and indicate that the traditional speech of the Kazakh language has changed, separated from the national and traditional character.

The article discusses the origin of auxiliary words and their division into lexical-semantic groups based on the meanings belonging to these words. It also discusses the role of spelling principles in writing auxiliary words; thus, the article focuses on the spelling of auxiliary words. In this respect, it is mentioned about the difficulties in spelling certain auxiliary words, despite the established spelling norms.  

The author refers to the fundamental works of renowned Turkologists in the field of grammar, and supports his arguments with examples taken from modern dictionaries on orthography. Evolutionary changes in a number of auxiliary words are highlighted.  

The main purpose of the article is a comprehensive analysis of auxiliary words and syllables, identifying problems associated with the spelling of these linguistic units and providing ways to solve them. Therefore, when writing the article, the author provides References to the fundamental works of famous Turkic scholars published in the field of grammar on each statement, relies on dictionary materials and argues his opinion.  

By describing the historical background of auxiliary names as auxiliary words and determining their grammatical and lexical meanings, their function in the language has been described. An overview of the differences between conjunctions in Kazakh linguistics and Turkology has also been shown, 

Many abstract concepts in modern Turkic languages are borrowed from Arabic and Persian and have free use in the language system of the Turkic peoples. The use of some emotive lexical concepts that are absent in the Turkic languages, including Kazakh, can be traced in the texts of medieval written monuments. Emotive vocabulary is widely used in the fiction of the modern Kazakh language, and in colloquial speech. Since then, emotive lexical units have become the richest lexical means of language, firmly entrenched in our vocabulary. In this regard, this article in the XIII-XIV centuries examines the features of the use of emotive vocabulary in the texts of written monuments borrowed from Arabic and Persian languages, continuity with the modern Kazakh language. In the language of monuments of artistic poetic writing that have come down to our era, the special use of emotive lexical units was used by Turkic poets to glorify Allah, preach Islam, describe the beauty of a girl and glorify relationships between people. The article classifies Arabic, Persian emotive lexical units in the texts of written monuments of the Golden Horde era within the framework of the functional and semantic field, analyzes the continuity with the modern Kazakh language. As a result of the research, the main emotive concepts on the content of written monuments are revealed. That is, the emotive concept of "love" is systematized into microconceptual models of "love", "joy", "regret".

The article discusses the use of new names in connection with the renaming of existing objects and phenomena in a more accurate way. During the study, it was noticed that new values were added to a number of them. Modernized names are words and expressions that, although they were in our vocabulary, were once rarely spoken and out of use, obscured in meaning or forgotten, but are now being used again in connection with the revival of the nation, acquiring a new meaning. A group of modernized names is contained in the fifteen-volume «dictionary of the Kazakh literary language», published in the period from 2006 to 2013 as part of the «Madeni mura» program. However, it is impossible to cover the entire word in the language in explanatory dictionaries, so it is periodically supplemented. When we unite the world, in which we live as a person-society-nature, each of them is reflected in the now resurgent names, and there are many of them.For example, names that are newly used or not familiar to the general public, associated with customs, traditions, religious rites, crafts , folk healers, etc. is a language treasure that revives our spiritual world.The modernized names will be used for the first time for the beginning of the «National Corpus of the Kazakh Language»; is also a multi-volume interpretation and lexicographic material necessary for linguocultural dictionaries of the Kazakh language.