2017
DOI: 10.1177/2378023117735256
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The Analytic Lenses of Ethnography

Abstract: Creative Commons Non Commercial CC BY-NC: This article is distributed under the terms of the Creative Commons AttributionNonCommercial 4.0 License (http://www.creativecommons.org/licenses/by-nc/4.0/) which permits non-commercial use, reproduction and distribution of the work without further permission provided the original work is attributed as specified on the SAGE and Open Access pages (https://us.sagepub.com/en-us/nam/open-access-at-sage). Original ArticleThis article explores the analytic choices that driv… Show more

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Cited by 25 publications
(18 citation statements)
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References 39 publications
(54 reference statements)
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“…An ethnographic lens of rural culture has been applied to this descriptive qualitative study 8 . Rural ethnography allows concepts of isolation, limited resources and low socioeconomics to be explored within the in‐depth qualitative study which is important to ensure findings can be related to place 9 . The consolidated criteria for reporting qualitative research (COREQ) were applied to this study 10 .…”
Section: Methodsmentioning
confidence: 99%
“…An ethnographic lens of rural culture has been applied to this descriptive qualitative study 8 . Rural ethnography allows concepts of isolation, limited resources and low socioeconomics to be explored within the in‐depth qualitative study which is important to ensure findings can be related to place 9 . The consolidated criteria for reporting qualitative research (COREQ) were applied to this study 10 .…”
Section: Methodsmentioning
confidence: 99%
“…The ethnographic practice of developing narrative accounts of biographically contextualized individuals has lived on in the genre that Katz (2019) describes as “iconic” ethnography and Jerolmack and Khan (2017) describe as “character-driven” ethnography. Those working in this genre—see Anderson (1978), Harper (1987), Duneier (1999), Pattillo-McCoy (1999), among others—inevitably reveal twin truths about human existence: human life will always be shaped by historical, economic, and cultural contexts that are beyond the reach of any one actor, but also those contexts will never fully determine the idiosyncratic character of people and places who cannot be fully reduced to them (Harper 2018).…”
Section: Ethnography and Interaction Analysismentioning
confidence: 99%
“…Rather than allowing their ethnographic narrative to follow unique individuals, they foregrounded interactional episodes and contextualized them against finely differentiated cases of interactional conduct from their field notes. Variants of this genre have been dubbed “analytic” (Lofland 1995; Vaughan 2009), “comparative analytic” (Katz 2019), or “process-driven” ethnography (Jerolmack and Khan 2017). Compared with character-driven ethnographies, this genre tends to position situated interaction practices as “cases of” some more generic sociological phenomena.…”
Section: Ethnography and Interaction Analysismentioning
confidence: 99%
“…Our subject‐positions are constructed in relation to one another. Jerolmack & Kahn (2017, 9) develop reflexivity as an analytic lens that allows ethnographers to ‘focus on how the novel situations created by their presence can reveal deeper insight into the social reality of their subjects’. Jerolmack & Kahn (2017, 19) note that researchers working this way view themselves as a ‘research instrument’, while Ahmed (2018, 00:07:01) contends that ‘living a feminist life is data collection’ (my emphasis).…”
Section: Being Alongside In the Venture Arts Studiomentioning
confidence: 99%
“…Jerolmack & Kahn (2017, 9) develop reflexivity as an analytic lens that allows ethnographers to ‘focus on how the novel situations created by their presence can reveal deeper insight into the social reality of their subjects’. Jerolmack & Kahn (2017, 19) note that researchers working this way view themselves as a ‘research instrument’, while Ahmed (2018, 00:07:01) contends that ‘living a feminist life is data collection’ (my emphasis). I might never fully understand the studio users’ subjectivity, but attending to the disablism that I replicate as a result of embodying my non‐disabled subject‐position in an ableist world follows Barad’s (2007) diffractive methodology: an ‘ethico‐onto‐epistemological engagement attending to differences and matters of care in all their detail, in order to creatively repattern world‐making practices’ (Barad in an interview with Juelskjaer & Schwennesen 2012, 16).…”
Section: Being Alongside In the Venture Arts Studiomentioning
confidence: 99%