Methoden vergleichen

	Digitale Hermeneutische Phänomenologie	Digitale Ethnographie
Fachgebiet	Qualitativ	Qualitativ
Familie	Process / pipeline	Process / pipeline
Entstehungsjahr	2000s–2010s (digital adaptation of van Manen's 1990 framework)	Late 1990s – 2000s
Urheber	Grounded in Max van Manen's hermeneutic phenomenology; digital adaptation developed by qualitative researchers from the 2000s onward	Christine Hine (virtual ethnography); Robert V. Kozinets (netnography)
Typ	Qualitative research design	Qualitative research method
Wegweisende Quelle	van Manen, M. (1990). Researching Lived Experience: Human Science for an Action Sensitive Pedagogy. State University of New York Press. ISBN: 978-0791404737	Kozinets, R. V. (2010). Netnography: Doing Ethnographic Research Online. Sage. ISBN: 978-1847875228
Aliasnamen	online hermeneutic phenomenology, digital HP, web-based hermeneutic phenomenology, virtual hermeneutic phenomenology	online ethnography, virtual ethnography, internet ethnography, netnography
Verwandt	6	6
Zusammenfassung	Digital Hermeneutic Phenomenology applies van Manen's hermeneutic phenomenological tradition to phenomena that are lived, shaped, or mediated through digital technologies and online environments. Rather than treating the digital channel as a mere convenience for data collection, this approach treats participants' online experiences as phenomena worthy of interpretive inquiry in their own right — asking what it means to live, relate, learn, or work in and through digital spaces.	Digital ethnography is a qualitative research method that adapts traditional ethnographic fieldwork to online and digitally mediated settings. Drawing on sustained participant observation, document collection, and sometimes interviews, the researcher immerses themselves in one or more digital communities — social media platforms, forums, gaming spaces, or messaging groups — to understand how culture, identity, and social practice are constructed through digital interaction. The approach recognises that online spaces are not merely reflections of offline life but distinctive sites of cultural production in their own right.