Porovnať metódy

	Digitálna naratívna výskumná metóda	Digitálna etnografia
Odbor	Kvalitatívne metódy	Kvalitatívne metódy
Rodina	Process / pipeline	Process / pipeline
Rok vzniku	Mid-1990s (practice); 2000s (formalised as research methodology)	Late 1990s – 2000s
Tvorca	Joe Lambert & Dana Atchley (Center for Digital Storytelling, Berkeley); theorised in research contexts by John Hartley, Kathy McWilliam, and Michele Knobel	Christine Hine (virtual ethnography); Robert V. Kozinets (netnography)
Typ	Qualitative research design	Qualitative research method
Pôvodný zdroj	Lambert, J. (2013). Digital Storytelling: Capturing Lives, Creating Community (4th ed.). Routledge. ISBN: 978-0415627030	Kozinets, R. V. (2010). Netnography: Doing Ethnographic Research Online. Sage. ISBN: 978-1847875228
Ďalšie názvy	digital storytelling research, DNR, digital narrative inquiry, digital story-based research	online ethnography, virtual ethnography, internet ethnography, netnography
Príbuzné	4	6
Zhrnutie	Digital Narrative Research is a qualitative methodology in which participants create or share short digital stories — typically combining personal voice-over, photographs, video, and text — that become the primary data for inquiry. Originating in community digital-storytelling practice developed at the Center for Digital Storytelling in Berkeley in the 1990s, the approach has been adopted widely in education, health, social work, and participatory action research to surface voices and experiences that are difficult to capture through interviews or surveys alone.	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.