Porównaj metody

	Cyfrowa teoria ugruntowana	Etnografia cyfrowa
Dziedzina	Metody jakościowe	Metody jakościowe
Rodzina	Process / pipeline	Process / pipeline
Rok powstania	2000s–2010s (as digital data became mainstream in qualitative research)	Late 1990s – 2000s
Twórca	Adapted from Glaser & Strauss (1967); digital application developed through the work of Murthy (2008) and others in online qualitative research	Christine Hine (virtual ethnography); Robert V. Kozinets (netnography)
Typ	Qualitative research design	Qualitative research method
Źródło pierwotne	Murthy, D. (2008). Digital ethnography: An examination of the use of new technologies for social research. Sociology, 42(5), 837–855.	Kozinets, R. V. (2010). Netnography: Doing Ethnographic Research Online. Sage. ISBN: 978-1847875228
Inne nazwy	DGT, online grounded theory, internet-based grounded theory, grounded theory in digital contexts	online ethnography, virtual ethnography, internet ethnography, netnography
Pokrewne	6	6
Podsumowanie	Digital Grounded Theory applies the systematic inductive logic of grounded theory to data gathered from digital and online environments — social media platforms, forums, blogs, comment sections, and other internet-mediated communication. Rather than simply using grounded theory on text that happens to come from digital sources, it involves adapting sampling, collection, and ethical procedures to the specific affordances and constraints of online data, while retaining the core commitment to theory generation grounded in empirical material.	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.