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Anthropologists began conducting ethnographic research in the mid-1800s to study the cultures people they deemed "exotic" and/or "primitive." [15]: 6 Typically, these early ethnographers aimed to merely observe and write "objective" accounts of these groups to provide others a better understanding of various cultures.
For example, driving the wrong way down a busy one-way street can reveal myriads of useful insights into the patterned social practices, and moral order, of the community of road users. The point of such an exercise—a person pretending to be a stranger or boarder in their own household—is to demonstrate that gaining insight into the work ...
All ethnographic writing is done by a person from one standpoint writing about others living in a different standpoint. Thus, the notion of anthropologists as 'culture brokers' (see Richard Kurin) has been adopted to explain why anthropologists from any given country write about cultural others.
However, 'ethnographic realism' has also been used to refer to a style of writing that narrates the author's experiences and observations as if the reader were witnessing or experiencing events first hand. A work written using ethnographic realism may be referred to as a realist ethnography, and classified as a subgenre of ethnography.
Ethnopoetics is a method of recording text versions of oral poetry or narrative performances (i.e. verbal lore) that uses poetic lines, verses, and stanzas (instead of prose paragraphs) to capture the formal, poetic performance elements which would otherwise be lost in the written texts.
In anthropology, field research is organized so as to produce a kind of writing called ethnography. Ethnography can refer to both a methodology and a product of research, namely a monograph or book. Ethnography is a grounded, inductive method that heavily relies on participant-observation.
Ethnohistory uses both historical and ethnographic data as its foundation. Its historical methods and materials go beyond the standard use of documents and manuscripts. Practitioners recognize the use of such source material as maps, music, paintings, photography, folklore, oral tradition, site exploration, archaeological materials, museum ...
Visual autoethnography has been noted by various scholars as a methodology which challenges power relations for the maker and the viewer. [1] [3] [4] Drawing on the work of Mary Louise Pratt and bell hooks in his research on gang photography, Richard T. Rodríguez refers to the autoethnography as "a practice in which colonized subjects turn the gaze inward."