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| Digitalna usna istorija× | Digitalna etnografija× | |
|---|---|---|
| Oblast | Kvalitativno | Kvalitativno |
| Porodica | Process / pipeline | Process / pipeline |
| Godina nastanka≠ | 1990s–2000s (systematic digital integration) | Late 1990s – 2000s |
| Tvorac≠ | Oral history tradition (Allan Nevins, 1940s); digital adaptation by Michael Frisch and others from the 1990s onward | Christine Hine (virtual ethnography); Robert V. Kozinets (netnography) |
| Tip≠ | Qualitative research design with digital data collection and archiving | Qualitative research method |
| Temeljni izvor≠ | Boyd, D., & Larson, M. (Eds.). (2014). Oral History and Digital Humanities: Voice, Access, and Engagement. Palgrave Macmillan. ISBN: 978-1137322678 | Kozinets, R. V. (2010). Netnography: Doing Ethnographic Research Online. Sage. ISBN: 978-1847875228 |
| Drugi nazivi | digital oral history, DOH, digital oral narrative research, online oral history | online ethnography, virtual ethnography, internet ethnography, netnography |
| Srodne≠ | 5 | 6 |
| Sažetak≠ | Digital Oral History is a qualitative research method that uses digital technologies — audio and video recorders, online platforms, and digital archives — to collect, preserve, and disseminate first-person oral accounts of lived experience. It extends the established oral history tradition by leveraging digital tools to enhance accessibility, reach geographically dispersed participants, and enable long-term preservation and public engagement with recorded narratives. | 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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