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| Etnografia cyfrowa partycypacyjna× | Etnografia cyfrowa× | |
|---|---|---|
| Dziedzina | Metody jakościowe | Metody jakościowe |
| Rodzina | Process / pipeline | Process / pipeline |
| Rok powstania≠ | 2000s–2010s | Late 1990s – 2000s |
| Twórca≠ | Sarah Pink and colleagues; building on Christine Hine's virtual ethnography and Kemmis & McTaggart's participatory action research traditions | Christine Hine (virtual ethnography); Robert V. Kozinets (netnography) |
| Typ≠ | Qualitative research design | Qualitative research method |
| Źródło pierwotne≠ | Pink, S., Horst, H., Postill, J., Hjorth, L., Lewis, T., & Tacchi, J. (2016). Digital Ethnography: Principles and Practice. Sage. ISBN: 978-1446200957 | Kozinets, R. V. (2010). Netnography: Doing Ethnographic Research Online. Sage. ISBN: 978-1847875228 |
| Inne nazwy | PDE, collaborative digital ethnography, participatory online ethnography, participatory virtual ethnography | online ethnography, virtual ethnography, internet ethnography, netnography |
| Pokrewne≠ | 3 | 6 |
| Podsumowanie≠ | Participatory Digital Ethnography (PDE) is a qualitative research design that combines the immersive observation of digital ethnography with the collaborative, co-inquiry stance of participatory action research. Researchers work alongside community members within digital environments — social media platforms, online forums, gaming worlds, or hybrid digital-physical spaces — co-producing knowledge rather than studying participants from a detached observer position. | 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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