Towards a genre systematization of Khanty folklore

This article addresses the long-standing issue of classifying genres in Khanty folklore, contextualizing it within the broader history of folklore theory. The discussion begins with an examination of 20th-century genre theories, from universalist models (W. Bascom and L. Honko) to context-oriented, functionalist, and performance-based perspectives (B. Malinowski, D. Ben-Amos, and R. Abrahams). Consideration is given to the limitations of universalist schemes when applied to local traditions and the necessity of integrating emic categories and native terminology. Emphasis is placed on scalable classifications that categorize genres based on a set of variable characteristics instead of strict demarcations. Among the examples are Littleton’s referentiality-based “genre square” and performance-centered models, which offer more adaptable analytical frameworks. A detailed analysis of the historiography of Ob-Ugric folklore studies is undertaken. Account is taken of the contributions of early collectors, including A. Reguly, B. Munkácsi, and S. Patkanov, as well as the later systematic endeavors of E. Schmidt and N. V. Lukina, whose content- and ritual-based classifications proved foundational. Based on the previously mentioned methods and original archival and field data, this article proposes a systematic classification of Khanty folklore genres. This classification integrates previous approaches and is characterized by multidimensionality and adaptability. The classification is based on four key principles: (1) universal terminology to facilitate crosscultural comparison, (2) respect for local nomenclature, (3) application of multicriteria and feature-based methodologies, and (4) scalability, which enables the modeling of overlapping and dynamic genre boundaries. The resulting typology encompasses tales, mythological narratives, songs, prayers, shamanic incantations, minor forms, and non-verbal folklore.

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