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| Netnografi Komparatif× | Etnografi Digital× | |
|---|---|---|
| Bidang | Kualitatif | Kualitatif |
| Keluarga | Process / pipeline | Process / pipeline |
| Tahun asal≠ | Late 1990s–2000s (netnography ~1997; comparative extension ~2000s–2010s) | Late 1990s – 2000s |
| Pencetus≠ | Robert V. Kozinets (netnography); comparative extension through multi-site online fieldwork practice | Christine Hine (virtual ethnography); Robert V. Kozinets (netnography) |
| Tipe≠ | Qualitative comparative research design | Qualitative research method |
| Sumber perintis | Kozinets, R. V. (2010). Netnography: Doing Ethnographic Research Online. Sage. ISBN: 978-1847875532 | Kozinets, R. V. (2010). Netnography: Doing Ethnographic Research Online. Sage. ISBN: 978-1847875228 |
| Alias | cross-community netnography, multi-site netnography, comparative online ethnography, comparative virtual ethnography | online ethnography, virtual ethnography, internet ethnography, netnography |
| Terkait≠ | 5 | 6 |
| Ringkasan≠ | Comparative netnography applies netnographic methods systematically across two or more online communities, platforms, or cultural contexts to reveal both shared and divergent patterns in online social life. Grounded in Kozinets's netnographic tradition, it extends single-site online ethnography into a comparative logic: the researcher immerses in multiple digital field sites, gathers culturally embedded data, and analyses across sites to generate theoretically richer, transferable insights. | 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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