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| Komparatív digitális etnográfia× | Digitális etnográfia – Kultúrakutatás online környezetben× | |
|---|---|---|
| Tudományterület | Kvalitatív módszerek | Kvalitatív módszerek |
| Módszercsalád | Process / pipeline | Process / pipeline |
| Keletkezés éve≠ | 1995–2000 (multi-sited framework 1995; virtual ethnography 2000) | Late 1990s – 2000s |
| Megalkotó≠ | Christine Hine (digital ethnography); George E. Marcus (multi-sited ethnography) | Christine Hine (virtual ethnography); Robert V. Kozinets (netnography) |
| Típus≠ | Qualitative research design | Qualitative research method |
| Alapmű≠ | Hine, C. (2000). Virtual Ethnography. Sage. ISBN: 978-0761958963 | Kozinets, R. V. (2010). Netnography: Doing Ethnographic Research Online. Sage. ISBN: 978-1847875228 |
| Alternatív nevek | CDE, multi-site digital ethnography, cross-platform ethnography, comparative virtual ethnography | online ethnography, virtual ethnography, internet ethnography, netnography |
| Kapcsolódó≠ | 5 | 6 |
| Összefoglaló≠ | Comparative Digital Ethnography (CDE) is a qualitative design that applies ethnographic methods — sustained participant observation, interview, and artefact analysis — across two or more digital settings simultaneously. By systematically comparing practices, meanings, and interactions in different online environments (e.g., distinct platforms, communities, or national contexts), CDE surfaces both site-specific patterns and cross-cutting cultural logics that a single-site study would miss. | 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. |
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