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Russel-Research-Method-in-Anthropology

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494 Chapter 17<br />

Willms et al. (1990) and Miles and Huberman (1994) suggest start<strong>in</strong>g with<br />

some general themes derived from read<strong>in</strong>g the literature and add<strong>in</strong>g more<br />

themes and subthemes as you go. This is somewhere between <strong>in</strong>ductive and<br />

deductive cod<strong>in</strong>g. You have a general idea of what you’re after and you know<br />

what at least some of the big themes are, but you’re still <strong>in</strong> a discovery mode,<br />

so you let new themes emerge from the texts as you go along.<br />

Look for repetitions. ‘‘Anyone who has listened to long stretches of talk,’’<br />

says Roy D’Andrade, knows how frequently people circle through the same<br />

network of ideas’’ (1991:287). In my study of how ocean scientists <strong>in</strong>teract<br />

with the people <strong>in</strong> Wash<strong>in</strong>gton, D.C., who are responsible for ocean policy<br />

(Bernard 1974), I kept hear<strong>in</strong>g the word ‘‘brokers.’’ Scientists and policymakers<br />

alike used this word to describe people whom they trusted to act as gobetweens,<br />

so ‘‘broker’’ became one of the code themes for my work.<br />

Look for unusual terms or common words that are used <strong>in</strong> unusual ways.<br />

James Spradley (1972) recorded conversations among homeless men (they<br />

were called tramps <strong>in</strong> those days) at <strong>in</strong>formal gather<strong>in</strong>gs, meals, and card<br />

games. Spradley kept hear<strong>in</strong>g the men talk about ‘‘mak<strong>in</strong>g a flop,’’ which was<br />

their jargon for f<strong>in</strong>d<strong>in</strong>g a place to sleep each night. Spradley went through his<br />

material and isolated everyth<strong>in</strong>g he could f<strong>in</strong>d about flops: ways to make a<br />

flop, k<strong>in</strong>ds of people who bother you when you flop, and so on. Then Spradley<br />

went back to his <strong>in</strong>formants and asked them for more <strong>in</strong>formation about each<br />

of these subthemes.<br />

And, said Spradley (1979:199–201), look for evidence of social conflict,<br />

cultural contradictions, <strong>in</strong>formal methods of social control, th<strong>in</strong>gs that people<br />

do <strong>in</strong> manag<strong>in</strong>g impersonal social relationships, methods by which people<br />

acquire and ma<strong>in</strong>ta<strong>in</strong> achieved and ascribed status, and <strong>in</strong>formation about how<br />

people solve problems. Each of these arenas is likely to yield major themes <strong>in</strong><br />

cultures.<br />

More Techniques for F<strong>in</strong>d<strong>in</strong>g Themes<br />

Other techniques for f<strong>in</strong>d<strong>in</strong>g themes <strong>in</strong>clude pile sort<strong>in</strong>g, mak<strong>in</strong>g word<br />

counts, and produc<strong>in</strong>g key-word-<strong>in</strong>-context, or KWIC, tables. To use the pilesort<strong>in</strong>g<br />

method—what L<strong>in</strong>coln and Guba (1985:347ff) call cutt<strong>in</strong>g and sort<strong>in</strong>g—look<br />

for real quotes from the <strong>in</strong>terviews you do with <strong>in</strong>formants that<br />

represent what you th<strong>in</strong>k are important topics <strong>in</strong> the data. Cut out each quote<br />

(mak<strong>in</strong>g sure to leave some of the context <strong>in</strong> which the quote occurs) and paste<br />

it onto a 3 5 <strong>in</strong>dex card. On the back of the card, note who said it and<br />

where it appeared <strong>in</strong> the text. Then, lay out the cards on a big table, sort them<br />

<strong>in</strong>to piles of similar quotes, and name each pile. These are the themes (Ryan<br />

and Bernard 2003:94).

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