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Full download Qualitative Research Methods: Collecting Evidence, Crafting Analysis, Communicating Impact 2nd Edition Sarah J. Tracy file pdf all chapter on 2024
Full download Qualitative Research Methods: Collecting Evidence, Crafting Analysis, Communicating Impact 2nd Edition Sarah J. Tracy file pdf all chapter on 2024
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QUALITATIVE
RESEARCH
METHODS
About the website
QUALITATIVE
RESEARCH
METHODS
COLLECTING EVIDENCE, CRAFTING ANALYSIS,
COMMUNICATING IMPACT
Second Edition
This edition first published 2020
© 2020 John Wiley and Sons, Inc.
Edition History
John Wiley & Sons Ltd (1e, 2013)
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means,
electronic, mechanical, photocopying, recording or otherwise, except as permitted by law. Advice on how to obtain permission to reuse material
from this title is available at http://www.wiley.com/go/permissions.
The right of Sarah J. Tracy to be identified as the author of this work has been asserted in accordance with law.
Registered Office
John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, USA
Editorial Office
111 River Street, Hoboken, NJ 07030, USA
101 Station Landing, Medford, MA 02155, USA
For details of our global editorial offices, customer services, and more information about Wiley products visit us at www.wiley.com.
Wiley also publishes its books in a variety of electronic formats and by print‐on‐demand. Some content that appears in standard print versions
of this book may not be available in other formats.
10 9 8 7 6 5 4 3 2 1
I dedicate this book to my past students, research participants, mentors,
and loved ones, who have taught me that anything worth doing
well is worth doing badly in the beginning.
Contents
This book is an all‐inclusive treatment that leads iterative approach in this book compares with
readers through a qualitative research project other popular analysis approaches (e.g. grounded
including research design, data collection, theory). In addition, it describes seven specific
analysis, theorizing, writing, and research disen types of qualitative analysis and offers a new
gagement. This book introduces relevant issues discussion of claim‐making and theory building.
as they typically emerge in a qualitative research The book is designed to be accessible to
project. For example, consider ethics or the advanced undergraduate students while
choice to use visuals or arts‐based research. providing enough detail, references, and illustra
Those new to research must first understand tions to make it valuable for doctoral students
these issues when conceptualizing a project, and and advanced scholars. Undergraduate students
then again as they conduct research and analysis, tend to appreciate that I share my own joys and
and consider them again when they are creating frustrations – marked as they are by twists and
an ultimate representation and leaving the field. turns, celebrations and disappointments – as a
I provide a chronological discussion of relevant method to make the research process poignant,
issues, which makes this book especially valuable interesting, real, and occasionally humorous.
for people to review (and return to) as they Graduate students have told me that they return
journey through a project. My approach con to this book repeatedly as they write their theses
trasts with resources where information about and dissertations; and faculty have said they
certain theories, methods, or topics are each keep it on their bookshelves for ongoing refer
siloed into their own single chapter. Readers of ence. And, although this book is designed pri
this book will feel confident to jump into marily for an academic audience, practitioners
qualitative research straight away. wishing to engage in qualitative research to solve
One of my ongoing aims is to provide clear organizational and societal dilemmas will also
explanation of qualitative analysis and theo find good advice within these pages.
rizing in commonsense terms, understandable This book is appropriate for a variety of
both to newcomers and to those well versed in disciplines and classes and can be adapted for
qualitative research. Although students have a one‐semester/quarter and to two‐semester/
wealth of available pedagogical resources on quarter classes. The book is useful for college
methodological philosophies, research design, courses that appear under names such as
data collection, and writing, those new to research methods, qualitative research methods,
research still struggle with finding appropriate ethnography, ethnographic methods, critical
instruction of what to do in between the time research methods, interpretive research,
they collect data and the time they craft it into a grounded approaches to research, naturalistic
polished representation. This book provides inquiry, autoethnography, performance studies,
step‐by‐step instruction along with timely exam narrative research methods, and field methods.
ples, backstage stories, visual images, and Examples and illustrations reach beyond my
discussion. It also clarifies how the phronetic home field of human communication to
Preface: Is this book for me? xvii
numerous other disciplines, such as health, edu ●● Chapter 2 overviews the abductive logic of
cation, management, sociology, social work, jus iterative qualitative research, introduces
tice studies, and ethnic and gender studies. key terminology, provides a sampling of
Based upon feedback from reviewers, col theoretical approaches that commonly use
leagues, and students, the second edition provides qualitative methods, and concludes with his
a larger variety of color images (especially pic torical matters and current conversations.
turing the analysis process) and additional New features include:
qualitative exercises/activities that can be easily ○○ an exercise of practicing fieldwork in a
incorporated into class sessions. Throughout the public place
book, additional material connects qualitative ○○ incorporating new materialism, post‐
research to professional, and not just academic, qualitative methodologies, ethical con
atmospheres (something that may be especially cerns about who gets to study whom, big
appreciated by undergraduates). Furthermore, the data, and the quantified self
second edition has much more material related to ○○ a discussion about how theory works in
arts‐based research, virtual and online textual research
analyses, and post‐qualitative conversations. ●● Chapter 3 discusses four primary research
In response to requests for greater conceptual paradigms and how qualitative research is
clarity, in this edition I separated out theories situated in each. The chapter also reviews
that are commonly used with qualitative research seven approaches of qualitative research,
(e.g. symbolic interactionism, sensemaking, including: case study, grounded theory, eth
structuration – which are now in Chapter 2) nography and ethnography of communica
from qualitative methodological territories (e.g. tion, phenomenology, participatory action
grounded theory, phenomenology, case research, narrative inquiry and autoethnog
study – which are now in Chapter 3). Furthermore, raphy, and creative, performative, and arts‐
in line with the goal that this book’s chronolog based research. New features include:
ical order match that of a typical research project, ○○ incorporating post‐qualitative research
I have switched the ordering of Chapters 4 and 5 and new materialism into the post
so that IRB, ethics, and proposal writing comes modern paradigm
before exploring the scene. Finally, I have added ○○ new sections on case study, phenome
scores of updated examples and references. nology, and arts‐based research
A summary of the chapters, as well as nota ●● Chapter 4 focuses on research design. It
tions about new features in this second edition, introduces various types of data collection
are as follows: and how to develop a sampling plan.
Furthermore, it provides an explanation of
●● Chapter 1 introduces a phronetic iterative the importance of ethics and human subjects
approach to qualitative methods and the review and a step‐by‐step guide for writing a
importance of self‐reflexivity, context, and research proposal. New features include:
thick description. It also provides tips for ○○ an expanded and earlier discussion of
choosing a topic and devising guiding sampling
research questions. New features include: ○○ explaining my use of “participant‐
○○ differentiating qualitative from quan witnessing” rather than “participant‐
titative research earlier on in the book observation” to refer to fieldwork
○○ describing the role of qualitative research ○○ a new section on the value of textual
in the workplace, in the creative arts, in analysis and cultural studies
social justice, in the media, and in a ○○ a new section on the value of visual and
variety of interdisciplinary academic arts‐based materials
environments ○○ material on recruiting and engaging in
○○ a section related to working collabora interviews via online labor pools
tively with a partner or team ○○ two additional pedagogical exercises: 1)
○○ an exercise on interviewing another research questions; 2) conceptual cocktail
student party
xviii Preface: Is this book for me?
●● Chapter 5 provides confessional tales about ○○ how to deal with inauthenticity or prob
and systematic tips for navigating access to lematic viewpoints in interviews using
conduct qualitative research. These include dialogic interviewing
keeping a contact log, creating an access pro ●● Chapter 9 details how researchers can ana
posal, organizing a participant table, and lyze their qualitative research materials using
early exploration methods like diaries, maps, a phronetic iterative analysis approach. It
and narrative tours. New features include: then provides step‐by‐step best practices for
○○ a confessional tale and material regarding transforming a heap of data into a story or set
gaining access to elite populations of arguments endowed with theoretical,
○○ a section on navigating access to a virtual aesthetic, and practical significance. Along
site and ethical sensitivities of textual the way, the chapter differentiates types of
harvesting coding, how to create a codebook, and var
●● Chapter 6 gives insight on different field ious synthesizing activities. New features
roles and standpoints, visual and virtual include:
aspects of fieldwork, how to write fieldnotes, ○○ explaining how a phronetic iterative
methods for focusing on data collection, and approach compares with other analysis
how to manage various ethical dilemmas in approaches
the field. New features include: ○○ a section that clarifies the different labels
○○ visual, virtual, and online aspects of field people use to describe analysis, such as:
work codes, themes, categories, chunks
○○ a fieldnote writing exercise ○○ responding to post‐qualitative concerns
○○ problematizing the idea that data is static regarding coding
using theories from new materialism ○○ a coding start‐list that provides topics
●● Chapter 7 offers the nuts and bolts of and questions to ask when beginning
planning and designing good interviews, coding
including different types, structures and ○○ additional color images to show coding
stances. Then, it turns to how to write and processes at work
order interview questions and dialogue, ●● Chapter 10 provides advanced data analysis
providing updated examples along the way. approaches that are especially appropriate for
New features include: graduate level instruction. It discusses logis
○○ a section and text box on visual, tical tools such as visual data displays and
embodied, and elicitation interviewing computer‐aided qualitative analysis, and
approaches such as mobile interviewing, seven different analysis approaches: exem
photovoice, and think‐aloud method plars, typologies, narrative, metaphor, and
○○ a section on the question, “how many discourse tracing. The chapter closes with
interviews are enough” using deconstructionism as a theoretical
○○ new question types that relate to phe frame for doing arts‐based research. New
nomenology and narrative approaches features include:
○○ an expanded discussion on replacing ○○ clarifying when you would choose which
“why” questions with “how” questions type of analysis approach
●● Chapter 8 focuses on conducting an actual ○○ explaining the importance of interpreta
interview or focus group session. It discusses tion and logical creativity for analysis
developing rapport, ethical engagement, ○○ a section on narrative analysis (coupled
logistics, transcription, and advantages and with the dramatistic pentad)
disadvantages of various interview formats – ○○ showing how analysis can unfold directly
face‐to‐face, mediated, one‐on‐one, or from the theory of deconstructionism
group. It closes with common interviewing ●● Chapter 11 overviews qualitative quality
challenges. New features include: based upon my “eight big tent criteria model”
○○ an exercise on facilitating a focus group for qualitative research. The chapter opens
○○ examples and a visual that depict arts‐ by discussing traditional quantitative mea
based research in focus groups sures of research quality (e.g. objectivity,
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„Du mußt ‚Du‘ zu mir sagen, Percy, und geradeso zu allen
Zöglingen im ganzen Hause. Ich habe ja auch noch keinen
Schnurrbart.“
Percy sah ihn überrascht und erfreut an.
„Aber mit wem hast Du denn bis jetzt gespielt?“ fuhr Tom fort.
„Gespielt? O, mit meinen Schwestern, Tom. Ich habe sechs
Schwestern. Die älteste ist achtzehn, die jüngste fünf Jahre alt. O,
Tom, sie sind so gut, so gut! Ich wollte, Du känntest sie; Du würdest
sie alle so gern haben!“
Tom wollte das nicht recht einleuchten.
„Hast Du denn viele Spiele mit Deinen Schwestern gespielt?“
„O ja, Tom. Seilchenspringen kann ich viel besser als sie alle. Wir
spielten auch oft Kätzchen-ins-Eck, und Pantoffeljagd, und
manchmal Kaufmann; dabei war ich der Kaufmann und sie die
Einkäuferinnen, die kamen, um für ihre Herrschaften einzukaufen. O,
es war sehr ergötzlich, Tom. — Und abends las uns Mama
wunderbare Märchen und hübsche Erzählungen vor, und zuweilen
auch herrliche Gedichte. — Hast Du schon das Märchen von den
‚Sieben Finken‘ gelesen, Tom?“
„Ich glaube nicht,“ erwiderte Tom fast kleinlaut; er wußte nicht
recht, ob er Percys Begeisterung sonderbar oder beneidenswert
finden sollte.
„Und ‚die Beatushöhle‘?“
„Nein.“
„O sie sind so schön! sie sind entzückend. Ich erzähle sie Dir
später und noch andere dazu. Ich weiß sehr viele.“
„Erzählungen höre ich ganz gern,“ versicherte Tom. „Deshalb
werden mir die Deinen gewiß Freude machen.“
„O sicher, Tom! — Aber weißt Du auch, weshalb ich hierhin
gekommen bin? Meine liebe Mama wurde plötzlich krank, und als sie
genesen war, schrieb ihr der Arzt eine Erholungsreise nach Europa
vor; Papa ist vor mehr als zwei Monaten mit ihr abgereist. Meine
Schwestern sind alle zu den Klosterfrauen vom Göttlichen Herzen
ins Pensionat gekommen, mit Ausnahme der ältesten und der
jüngsten, die in Baltimore bei unserer Tante sind. Meine Schwestern
schreiben mir abwechselnd jeden Tag. Thun das Deine Schwestern
auch, Tom?“
„Ich habe keine Schwestern,“ sprach Tom lächelnd, aber in
diesem Lächeln war doch ein Anflug von Traurigkeit.
„Was, Tom? Keine Schwestern?“
„Nein, gar keine; und auch keinen einzigen Bruder.“
Percys Staunen ging in Mitleid über.
„Armer Junge!“ rief er und schlug die Hände zusammen. „Wie
bist Du denn überhaupt fertig geworden?“
„Ich habe mir eben so durchhelfen müssen. Meine Mutter“ — hier
war Tom dem Weinen nahe — „ist auch schon lange tot.“
Percy erwiderte kein Wort, aber seine ausdrucksvollen Züge
sprachen das innigste Mitgefühl aus; er ergriff Toms Hand und
drückte sie herzlich.
Es dauerte eine Weile, bis Tom seine innere Bewegung
verwunden und seine gewöhnliche, jugendfrische Stimmung
wiedergewonnen hatte.
„Percy,“ sprach er dann, „Du bist ein gutes Kind, und ich will
versuchen, aus Dir einen Jungen zu machen.“
„Einen Jungen? — Aber Tom, ich möchte doch fragen, für was
Du mich denn bis jetzt angesehen hast.“
Tom zauderte.
„Du nimmst es mir übel, Percy, wenn ich es Dir sage.“
„O nein, Tom, nein! Dir nehme ich gar nichts übel! Du bist ja so
gut gegen mich! Du bist mein Freund, Tom.“
„Ja sieh, Percy,“ sprach Tom zögernd. „Du bist so — so etwas
merkwürdig, — so ganz anders, als wir alle — so wie — wie ein
Mädchen, Percy.“
Percys Augen öffneten sich weit vor Überraschung.
„Was Du nicht sagst, Tom! wirklich? Aber wie kommt es denn
wohl, daß ich früher nie etwas davon vernommen habe? Mama und
meine Schwestern haben mir nichts dergleichen gesagt.“
„Sie kannten sicherlich keinen Jungen.“
„Doch, Tom; sie kannten ja mich!“ Diesen Beweis hielt Percy für
völlig durchschlagend.
„Aber Du bist eben nicht, wie andere Knaben. Und sie konnten
immer nur sagen, daß Du eben Du bist. Aber so wie Du ist kein
anderer Junge.“
„Wirklich nicht?“ sprach Percy, noch immer verwundert.
„Du gleichst andern gar nicht, Percy.“
„Aber ich habe viel über Knaben gelesen, z. B. über die Kindheit
großer Maler und Musiker und Dichter. Ich habe auch ein schönes
Gedicht auswendig gelernt, das anfängt:
O, meiner Kindheit gold’ne Zeit!
Tag und Nacht voll Seligkeit!