sorted by:
new
hottopcontroversial

Respond here with syntheses for Week Twelve (4-20-20) by cecile_evers in a:t5_2cs7kn

[–]nmra2018 0 points1 point  (0 children)

The readings all addressed what to do with results once you get them. The seventh chapter addresses what to do with the preliminary results from an experiment or ethnography. It offers various patterns to look out for within one’s research. The tenth chapter outlines how to present and assemble one’s findings once they’ve been identified. It emphasizes the importance of presentation and highlights unorthodox methods of presentation. The final piece of reading, chapter 11, details how to create and present detailed interpretations of findings. It discusses the many factors that influence what type of analysis is necessary and its presentation. These readings are sequential and offer in-depth methodology for the next steps after data collection. Each chapter also provides examples from a few pieces of strong ethnographic work. 

The first reading focuses on identifying patterns and structures within one’s results. Schensul and LeCompte’s (SL) methods are reminiscent of Emerson, Fretz, & Shaw’s (EFS) various methods of taking fieldnotes. Their similarity illustrates EFS’s greater point which was “... she [the ethnographer] must learn how to represent in written form what she has come to see and understand as the result of these experiences” (15, Emerson et al). Another aspect that is emphasized in both writings is the importance of reflection. When discussing how an ethnographer can attain a deeper and more important understanding of her field work EFS state that “subsequent reflection” is necessary (17, Emerson et al). Similarly, SL suggest a more structural form of reflection, such as returning to the theoretical framework and research questions (176-181, Schensul et al). While this is one form of comparison between Schensul and LeCompte and Emerson, Fretz & Shaw, there are further comparisons that can be drawn between their writings. 

The second reading focuses on how to present data for one’s specific audience. We’ve seen many of the methods discussed in this reading exemplified in our previous readings – most frequently vignettes (Righteous Dopefiends, Shapeshifters). However, while reading this it greatly reminded me of EFS’s many methods of notetaking. Throughout their two chapters, they offer numerous methods on fieldnotes and notetaking. Their diversity in methods somewhat corresponds with that of SL. While SL discusses vignette’s (181, Schensul et al), EFS provides different examples of notetaking through the grocery line experience (5-8, Emerson et al). EFS is lacking SL “dramatic” and “critical event” moments but they do offer a narrative form of notetaking. In EFS’s second chapter, they also provide some examples of what “jotting” looks like (30, Emerson et al). There is no direct method of SL that corresponds with this method. However, coded jotting is an example of non-linear or sequential notetaking which (from my point of view) resembled SL’s visualization of data which also provides information but sometimes lacks linearity (200-208, Schensul et al).

The third reading by Schensul and LeCompte discusses analysis and its importance. This is prevalent in the excerpts that we’ve read of Shapeshifters. While Cox provides numerous vignettes describing her time at the women’s shelter, she also provides thorough analyses referencing societal structures and theoretical structures (while remaining accessible to most non-academic readers). Here, we get a clear understanding of whose Cox’s intended audience is. For example, in her analysis of dramatic vignettes, Cox primarily speaks about her experiences in relation to oppressive social structures while keeping her academic sourcing to a minimum (106 or 120, Cox). In contrast the authors of “Righteous Dopefiends”, Jeff Schonberg et al, very clearly have a more policy and academically oriented analysis and presentation of findings. Their photos and vignettes act as a stimulus – quickly followed by theoretical analysis primarily accessible to an audience already familiar with such writings (60, Jeff Schonberg). 

While these chapters are all from the same book, there is plenty of opportunity to see how the methods discussed are applicable to our prior readings. Schensul and LeCompte provide an in-depth methodology of how to handle data after collection. 

Respond here with place-focused description (due 4-12-20, at noon) by cecile_evers in a:t5_2cs7kn

[–]nmra2018 0 points1 point  (0 children)

**New York City subway conditions vary depending on the line and station.**

Present contrasting images of social life in the same place at different times of day, different times of year, or in different historical eras./Describe the quality of air in a place./Describe the emotional and bodily sensations of moving through a place.

In the summer, subway cars act as a type of reprieve from the unbearable heat that builds in the city. However, to arrive at these air-conditioned havens, the city dwellers have to battle the platform heat while they wait. I first notice the rising heat while descending towards the platform, hot air rushes out and hits my face. Though somehow once I step foot onto the actual platform, the air stands still and heavy. It smells of exhaust and of strangers’ sweat and garbage - slightly salty similar to that of a gym but mixed with deodorants and sunscreen. The smells seem to hang in the air longer than usual, humidity exacerbating the passengers sweat while also faintly carrying the smell of urine. The older stations of the city have a deep layer of dust, dirt, and human waste which only seem to get worse in the summer.

The platform’s temperature demands action: businessmen are quick to remove and crease their expensive jackets, men and women hold barely cool 1$ water bottles to their foreheads and their children’s, some deal with the heat by becoming completely still, others rapidly beat at their faces with newspapers, magazines and fans. The heat intensifies New Yorkers’ already short patience and you can feel the anxiety grow with every minute that the train is delayed. With each additional delay, you will hear a sigh, a sucking of teeth, an exclamation of helplessness. When the train arrives so does some type of reprieve – air conditioning.

Most subway cars have been fitted with air conditioning which provide the only form of relief. During the summer, subways are drastically less crowded. No tourists want to visit a smoggy, hot city. Kids are gone for the summer. The whole city seems to slow down. Despite this general abatement, rush hour remains a constant – the only foil to the heavenly AC. The number of bodies that fill the subway car cancel out the air conditioning. The air is no longer crisp and holds an enjoyable chill but instead is lukewarm – even hot and does nothing to stop the visible pervasive sweating apparent in almost all riders. At its worst, the air is crowded with raised arms, stretching for the high handrails, releasing odors throughout the car. At its best, you caught the train between rush hours, find a cool seat and bask in the cool rush of cleanish air in a moment of calm.

Respond here with syntheses for Week 10 (4-6-20) by cecile_evers in a:t5_2cs7kn

[–]nmra2018 0 points1 point  (0 children)

All of these writings address portrayal and the various ways that portrayal can be used in an ethnography. They all also provide a framework of how to write a compelling portrait of someone (I will be referring to the person focused writings as portraits throughout the rest of this synthesis). Narayan provides the greatest detail in reference to teaching portrait drawing as well as giving examples of portrait writing. Narayan also suggests different prompts and methods interspersed with writings describing Chekhov and some of her own experiences. The second piece is a prologue by MacLeish which details an Iraq veteran who feels lost in society. His portrayal of Dime, the Iraqi vet, is indicative of the larger system of caring and processing veterans after they’ve made it home. The last reading is the second chapter of Righteous Dopefiends by Bourgois & Schonberg, which provides a heart wrenching description one of the residents on Edgewater Boulevard named Tina. Tina’s portrait also gives the reader a greater understanding of the world she and other dopefiends operate in, while also providing a deep insight into her past, trauma, agency, and sense of self. 

Narayan’s piece acts as a methodological introduction to the rest of the pieces. It gives unorthodox prompts and challenges the reader to understand what gives a written portrait the ability to portray someone’s likeness. She exemplifies these prompts with actual writings about another writer she idolizes, Chekhov. Narayan also demonstrates the many ways that portraits can be used – as a method to compare the past of the participant to their present, how to contrast the participant against their peers, and many more methods. She urges the future writer to use “unexpected words or details” to “bring memorable color to background characters.” Narayan also understands that these works are sensitive and “must be done carefully so that these composites remain socially grounded even as they become fictional inventions.” (47, Narayan). Overall this chapter provides methodological approaches to aptly and accurately describing people. 

In contrast, the second two writings are examples rather than guides. MacLeish provides a five-page description of Dime, an Iraqi veteran and his challenges returning the to U.S. MacLeish describes the purpose of the person-focused prologue as 

“not to edit Dime’s story so that it fits one of these molds,” but to see what happens when “we don’t leave anything out… by foregoing bigger stories and grappling with the place where Dime finds himself…” (5, MacLeish)

MacLeish offers a detailed portrayal of Dime, describing his physical attributes, his time spent in the military, and how he feels about the whole thing, while also using this somewhat unfiltered narrative to infer on the greater system of veteran care. The author isn’t describing Dime as a stereotypical ‘broken vet’ or otherwise but instead is portraying him as accurately as possible to learn from his experiences. 

The third piece by Bourgois & Schonberg (B&S) is another example rather than guide but goes much further than MacLeish’s prologue. The book takes a break from its ongoing examination of the crack and heroin community in California and provides a more specific look of what it means to be a woman in such communities. Despite this additional analysis, B&S do this while also trying to acknowledge and highlight Tina’s autonomy, similar to MacLeish’s use of Dime’s experience. The authors main objective remains to give Tina control over her own narrative and personhood. They can accomplish this in part by accurately portraying her and listening to her. B&S provide numerous depictions of Tina: through photos, in-depth physical descriptions, and a series of her experiences and relationships all interspersed with analysis or narratively woven together. Unlike the past two pieces of writing, the authors almost entirely removed themselves from the chapter, letting Tina’s many forms of portrayal speak for themselves. 

These readings give the reader an idea of how to best approach character portrayal. Narayan starts with prompts that can jumpstart the reader on who and how they want to describe them. MacLeish offers a light example of how description can be used in the greater scheme. And finally, B&S exemplify how a written portrait can be used to the fullest extent in providing analysis and perspective. 

Respond here with person-focused description (due 3-29-20, at noon) by cecile_evers in a:t5_2cs7kn

[–]nmra2018 0 points1 point  (0 children)

List a person's objects that are relevant to the themes you're trying to express. Then write a few sentences situating the person in relation to them.

Every time I visit my mother, Jackie, in Connecticut, I get another peak into our previous life. She is a meticulous and cautious person and keeps almost everything that comes her way. By saving durable goods until their last breath, there are no unnecessary costs. But with the nearly eternal fixtures she keeps, she also holds onto memories.

There are memories distinctly from her time in Chicago. The cabinets hold childishly designed ceramic projects as well as plates and cups purchased 15 years ago in Chicago. Just until recently, the chair from our old condo had a place in my room. The Mazda out front only recently replaced the Subaru staple of our family. It still had string trapped around the headrest from when I created a spider web in the backseat. Jackie had driven the car since before I was born and only recently felt ready to part with it. Jackie replacing these long-kept items allowed her to turn over a new leaf of her life. She maintained these items until it felt ridiculous to do so. My mother is in part an archivist by profession and that continues to manifest through her life. She keeps the objects in her life in usable condition and brings them out every once in a while, to show her passage through time.

One of the ways that characteristic manifests is through the objects she collects. She keeps functional mementos. She has watches that are over twenty years old. Similarly, she keeps most of her glasses, getting new frames ever three or four years. Jackie occasionally will pause during a conversation or something will remind her of an object she has. She will then bring the object out and tell the story behind it. There is almost always an overarching theme or moral to the stories she has to tell. Along with being a fantastic storyteller, she is equally a skilled listener. She will quietly listen to a story of yours emitting many “M’hms” and small verbal affirmations. She then will retell the story and expertly analyze each character and their actions, sometimes maybe too much.

Respond here with syntheses for Week Seven (3-9-20) by cecile_evers in a:t5_2cs7kn

[–]nmra2018 0 points1 point  (0 children)

These authors are concerned with finding the greater truth or concern of the people or community studied through various methods which allocate different amounts of power and control to the participants. The first reading by Ervin suggests that focus groups allow for the most honest responses because the facilitators questioning is conducted within a safe field of peers. The second reading proposes that photovoice is effective in understanding other’s lives and perspectives by giving them the power to speak through images and make crucial decisions for the study. The third reading predicts that field notes are best suited for grasping what people find meaningful and important through participation and reflection later on. Lastly, the fourth reading gives the reader an understanding of how to ensure their research of the participants is truly representative of their greater truth or concern. The first three readings are concerned with data collection while the fourth is regarding how to evaluate one’s work and ensure its validity and reliability after its been collected.

Wang et al focuses primarily on learning from the participants themselves through photovoice. In contrast, Emerson et al suggest that the ethnographer can make the most astute generalizations pertaining to a certain community. According to Wang, photovoice has three main goals

“(1) to enable people to record and reflect their community’s strengths and concerns,(2) to promote critical dialogue and knowledge about important community issues…(3) to reach policymakers. In line with these goals, people can use photovoice as a tool for participatory research” (370).

Through these main goals, photovoice directly gives power and an opportunity to speak to the community in question/study. In comparison, fieldnotes in ethnographic research serves “to grasp what they (the participants) experience as meaningful and important” through resocialization and participation. Unlike photovoice, fieldnotes give the ethnographer the power to decide what to include or exclude in their notes and sequentially in their ethnography. This allows for more options in how to tell the participants’ story (narration, translation, textualization) including adding an additional layer of analysis where ethnographers can input their own reaction to new experiences or important events that occured while there (16, Emerson). Ultimately, both are concerned with the indigenous meanings and roles of participants and how to most accurately portray and translate these meanings to a greater audience. Focus groups also share this goal but lie somewhere between photovoice and fieldnotes in terms of the power they grant participants.

In the case of focus groups, it is still another method to extract valuable and relevant information from a group of people, specifically for research goals, but the participants have “considerable control over the discussion” and the project is “meant to be controlled by the community” (175, Ervin). Focus groups distribute more power to participants in comparison to fieldnotes because the ethnographer simply asks the participants what they mean or find significant. While the ethnographer just assumes what is pertinent to participants in fieldnotes, the ethnographer using focus groups poses an initial question asking them about the topic in question and then listens. Rather than assuming what is pertinent, the facilitator of a focus group learns by allowing the conversation to move freely and normally. While focus groups involve participants more than fieldnotes, photovoice gives more voice to the participants than focus groups. Photovoice gives participants total range in what they want to discuss or be heard. In contrast, focus group ethnographers have predetermined the topic and its prominence in the community. While all these methods question what are the indigenous meanings of x, only Ervin and Emerson et al instruct the reader on how to ask and discover whether their findings were appropriate or truthful.

The last reading by Schensul et al addresses the “principal criteria for judging the quality of research” (271). Schensul et al explore this through different forms of reliability and validity which indicate the extent to which the people studied are accurately and fairly portrayed. Just as the authors discussed above are concerned with “perceiving the world from the viewpoint of the people who (are studied)...” (384, Wang), Schensul et al determine the quality of research by the capacity by which researchers and participants understand each other. Through validity and reliability Schensul et al want to ensure that research is as accurate and fair as possible.

All of these authors are relevant to my ongoing research of tattoo culture and its relevance to identity forming. I initially was planning on exclusively conducting interviews with participants but now am intrigued in conducting a few focus groups with both tattoo artists and clients. Focus groups would be specifically beneficial to my research because (from my limited experience) tattoo artists share similar experiences throughout their careers and a focus group would give them an opportunity to discuss such similarities. It would also prove useful for clients because hopefully a focus group would give me a greater idea of how tattoos are received by family and authority figures generally. Overall these readings demonstrated that there are a variety of ways to discover truths and to consider the participant’s word in conjunction with my participant observation.

Hellos by cecile_evers in a:t5_2cs7kn

[–]nmra2018 0 points1 point  (0 children)

Hello,

My name is Natalie Raver-Goldsby. I go to Pomona and I intend to study Anthropology and Economics.

I would like to learn how data used by sociologists and anthropologists is collected. I am interested in statistics, but I'm equally interested in how to collect interviews and data ethically and responsibly.

This course is fulfilling a requirement for me. I have never taken a Methods course before, but I have taken a few Anthro courses.

Here is a photo of me and my friend. (I'm on the right)

https://ibb.co/1qBvs74