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FieldWorking is a fun and practical guide to research and writing. This acclaimed text incorporates examples by professional writers such as Peter Elbow, Joan Didion, Oliver Sacks, and Jamaica Kincaid, as well as student research projects on communities as diverse a truck stop, sports bar, ho...
FieldWorking is a fun and practical guide to research and writing. This acclaimed text incorporates examples by professional writers such as Peter Elbow, Joan Didion, Oliver Sacks, and Jamaica Kincaid, as well as student research projects on communities as diverse a truck stop, sports bar, homeless shelter, and horse sales barn, to help students identify and define their own subcultures and communities. In unique activities and comprehensive instruction, FieldWorking presents an ethnographic approach that empowers students to observe, listen, interpret, analyze, and write about the people and artifacts around them, while learning the essentials of college writing and research. FieldWorking is suitable for courses in English, anthropology, cultural studies, journalism — or in any discipline where research is required.
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Write, and engage the world
FieldWorking is a fun and practical guide to research and writing. This acclaimed text incorporates examples by professional writers such as Peter Elbow, Joan Didion, Oliver Sacks, and Jamaica Kincaid, as well as student research projects on communities as diverse a truck stop, sports bar, homeless shelter, and horse sales barn, to help students identify and define their own subcultures and communities. In unique activities and comprehensive instruction, FieldWorking presents an ethnographic approach that empowers students to observe, listen, interpret, analyze, and write about the people and artifacts around them, while learning the essentials of college writing and research. FieldWorking is suitable for courses in English, anthropology, cultural studies, journalism — or in any discipline where research is required.
A writing-based introduction to research, Fieldworking helps students master fundamental rhetorical skills while studying a subculture that fascinates them. Skills include collecting material, reflecting on assumptions, drafting, revising, and maintaining a portfolio.
Abundant models from both professional and student writers include 20 readings by writers such as Gloria Naylor, Naomi Shahib Nye, Bud Goodall, and Donald Murray. Nine full student research essays and numerous shorter examples appear throughout the book—with more available on the book companion site.
Unique activities that emphasize writing, critical thinking, and self-reflection appear throughout the book. These popular exercises highlight the role of analysis, synthesis, and collaboration, and can be used individually, or as component parts of a larger research project.
Two chapters devoted entirely to college-level writing help students understand that rhetorical concepts of purpose, audience, and voice are integral to their research. The book’s last chapter guides students from rough draft to final, polished product, and appendices cover both MLA and APA documentation styles.
New to This Edition
Expanded coverage of working with online cultures, communities, and archives as well as thorough instruction for evaluating online sources and help for using digital recording devices. A full model student essay demonstrates effective research and documentation of an online community of people with fake health disorders.
More writing coverage throughout the book builds on the two full chapters on college writing skills. Expanded “fieldwriting” sections cover important topics such as using language effectively, considering an audience, and working with rhetoric. New objectives at the start of each chapter indicate the writing skills to follow.
More student and professional writing on contemporary topics, with four new student essays and six new professional readings on subjects such as urban graffiti, cemetery culture, tattoos, and disability arts, present strong models of writing and research.
More help understanding and applying fieldwork concepts, with new mini-summaries throughout the book of major skills such as negotiating entry and preparing for an interview and end-of-chapter activities that guide students through a short, effective exercise before moving on to the next chapter.
Streamlined edition, redesigned for easier reading and use, this edition also includes end-of-chapter activities that guide students through a short, effective exercise before moving on to the next chapter.
A free and open companion Web site offers more help for writing and researching, formatting documents, plus more examples of professional and student essays, more exercises, audio files, and suggestions for further research. Worksheets and consent forms are also easily downloadable.
A free and open companion Web site offers more help for writing and researching, formatting documents, plus more examples of professional and student essays, more exercises, audio files, and suggestions for further research. Worksheets and consent forms are also easily downloadable.
“An excellent guide for students learning the tools of research writing. It is detailed and diverse in its approach.”
—Jane Slama, Allen Hancock College
Table of Contents
Chapter I: Stepping In and Stepping Out: Understanding Cultures
Defining Culture: Fieldwork and Ethnography
Stepping In: Revealing Our Subcultures
BOX 1: Looking at Subcultures
Investigating Perspectives: Insider and Outsider
Stepping Out: Making the Familiar Strange and the Strange Familiar
Horace Miner, “Body Ritual of the Nacirema”
BOX 2: Making the Ordinary Extraordinary
Posing Questions: Ethnographic vs Journalistic
* Lorraine Ahearn, “Folk ‘Cure’ Sold Locally High on Lead”
BOX 3: Engaging the Ethnographic Perspective
* Julie O’Donoghue, “Fairfax Residents Become U.S. Citizens”
Fieldworking with This Book
An Ethnographic Study: “Friday Night at Iowa 80”
Rick Zollo, “Friday Night at Iowa 80” (Student Project)
* Doing Research Online
FieldWriting: Establishing a Voice
A Community Action Study
Ivana Nikolic, “House for the Homeless: A Place to Hang Your Hat” (Student Project)
Reflection as Critique
The Research Portfolio: Definitions and Purpose
* Do This: Select a Fieldsite
Stepping In: Revealing Our Subcultures
BOX 1: Looking at Subcultures
Investigating Perspectives: Insider and Outsider
Stepping Out: Making the Familiar Strange and the Strange Familiar
Horace Miner, “Body Ritual of the Nacirema”
BOX 2: Making the Ordinary Extraordinary
Posing Questions: Ethnographic vs Journalistic
* Lorraine Ahearn, “Folk ‘Cure’ Sold Locally High on Lead”
BOX 3: Engaging the Ethnographic Perspective
* Julie O’Donoghue, “Fairfax Residents Become U.S. Citizens”
Fieldworking with This Book
An Ethnographic Study: “Friday Night at Iowa 80”
Rick Zollo, “Friday Night at Iowa 80” (Student Project)
* Doing Research Online
FieldWriting: Establishing a Voice
A Community Action Study
Ivana Nikolic, “House for the Homeless: A Place to Hang Your Hat” (Student Project)
Reflection as Critique
The Research Portfolio: Definitions and Purpose
* Do This: Select a Fieldsite
Chapter II: Writing Self, Writing Cultures: Understanding FieldWriting
Exploratory Writing
BOX 4: Freewriting
FieldWriting: Point of View and Rhetoric
Keeping a Notebook
Joan Didion, “On Keeping a Notebook”
BOX 5: Exploratory Notetaking with a Group
Getting at the Details
Samuel H. Scudder, “Look at Your Fish”
BOX 6: Double-Entry Notes
Fieldnotes: The Key to Your Project
BOX 7: Sharing Your Initial Fieldnotes
Analyzing Your Fieldnotes
BOX 8: Questioning Your Fieldnotes
Amy Lambert, “Feng-Shui: Reflections on a Sociology Class” (Student Project)
Double Voiced FieldNotes
* H. L. “Bud” Goodall, “Representing Ethnographic Experiences”
The Research Portfolio: Reflecting on Your Fieldnotes
* Do This: Question Your Notes
BOX 4: Freewriting
FieldWriting: Point of View and Rhetoric
Keeping a Notebook
Joan Didion, “On Keeping a Notebook”
BOX 5: Exploratory Notetaking with a Group
Getting at the Details
Samuel H. Scudder, “Look at Your Fish”
BOX 6: Double-Entry Notes
Fieldnotes: The Key to Your Project
BOX 7: Sharing Your Initial Fieldnotes
Analyzing Your Fieldnotes
BOX 8: Questioning Your Fieldnotes
Amy Lambert, “Feng-Shui: Reflections on a Sociology Class” (Student Project)
Double Voiced FieldNotes
* H. L. “Bud” Goodall, “Representing Ethnographic Experiences”
The Research Portfolio: Reflecting on Your Fieldnotes
* Do This: Question Your Notes
Chapter III: Reading Self, Reading Cultures: Understanding Texts
Reading Cultures as Text and Texts as Culture
Gloria Naylor, “Mama Day”
BOX 9: Responding to Text
Positioning: Reading and Writing About Yourself
BOX 10: Positioning Yourself
Understanding Positioning: Checking in on Yourself
BOX 11: Unlearning Our Privilege (Mimi Harvey)
Getting Permission
BOX 12: From Ethos to Ethics (Julie Cheville)
Reading an Object: The Cultural Artifact
* BOX 13: Reading an Artifact (Beth Campbell)
The Uses of Cultural Artifacts
Alice Walker, “Everyday Use”
Responding to Reading
BOX 14: FieldWorking Book Clubs (Kathleen Ryan)
FieldWriting: Published and Unpublished Written Sources
Reading Electronic Communities
* Fieldworking in a Changing Field
* Elise Wu, “Out Patient” (Student Project)
* Working with Online Communities
* BOX 15: Locating Online Cultures
The Research Portfolio: An Option for Rereading
* Do This: Read Your Fieldsite
Gloria Naylor, “Mama Day”
BOX 9: Responding to Text
Positioning: Reading and Writing About Yourself
BOX 10: Positioning Yourself
Understanding Positioning: Checking in on Yourself
BOX 11: Unlearning Our Privilege (Mimi Harvey)
Getting Permission
BOX 12: From Ethos to Ethics (Julie Cheville)
Reading an Object: The Cultural Artifact
* BOX 13: Reading an Artifact (Beth Campbell)
The Uses of Cultural Artifacts
Alice Walker, “Everyday Use”
Responding to Reading
BOX 14: FieldWorking Book Clubs (Kathleen Ryan)
FieldWriting: Published and Unpublished Written Sources
Reading Electronic Communities
* Fieldworking in a Changing Field
* Elise Wu, “Out Patient” (Student Project)
* Working with Online Communities
* BOX 15: Locating Online Cultures
The Research Portfolio: An Option for Rereading
* Do This: Read Your Fieldsite
Chapter IV: Researching Place: The Spatial Gaze
Personal Geography
Jamaica Kincaid, “On Seeing Jamaica for the First Time”
BOX 16: Recalling a Sense of Place
Selective Perception
FieldWriting: The Grammar of Observation
BOX 17: Writing a Verbal Snapshot
Deepening Description Through Research
* Jeannie B. Thomas, “The Cemetery as marketplace in Salem, Massachusetts”
Learning How to Look: Mapping Space
BOX 18: Mapping Space
Learning How to Look: Finding a Focal Point
BOX 19: Finding a Focal Point
Learning How to Look: Identifying Unity and Tension
Karen Downing, “Strike a Pose” (Student Project)
Learning How to Look: Colonized Spaces
Jennifer Hemmingsen, “The Happy Canyon” (Student Project)
The Research Portfolio: Learning from Your Data
Karen Downing, “A Pose on ‘Strike a Pose’” (Portfolio Reflection)
* Do This: Map Your Space
Jamaica Kincaid, “On Seeing Jamaica for the First Time”
BOX 16: Recalling a Sense of Place
Selective Perception
FieldWriting: The Grammar of Observation
BOX 17: Writing a Verbal Snapshot
Deepening Description Through Research
* Jeannie B. Thomas, “The Cemetery as marketplace in Salem, Massachusetts”
Learning How to Look: Mapping Space
BOX 18: Mapping Space
Learning How to Look: Finding a Focal Point
BOX 19: Finding a Focal Point
Learning How to Look: Identifying Unity and Tension
Karen Downing, “Strike a Pose” (Student Project)
Learning How to Look: Colonized Spaces
Jennifer Hemmingsen, “The Happy Canyon” (Student Project)
The Research Portfolio: Learning from Your Data
Karen Downing, “A Pose on ‘Strike a Pose’” (Portfolio Reflection)
* Do This: Map Your Space
Chapter V: Researching People: The Collaborative Listener
The Interview: Learning How to Ask
BOX 20: Using a Cultural Artifact: An Interview
Learning How to Listen
* Etiquette for Conducting an Interview
BOX 21: Establishing Rapport
Recording and Transcribing
Cindie Marshall, “Ralph’s Sports Bar” (Student Project)
BOX 22: Analyzing Your Interviewing Skills
The Informant’s Perspective: An Anthropologist on Mars
Oliver Sacks, “An Anthropologist on Mars”
Gathering Family Stories
BOX 23: Writing a Family Story
One Family Story: The Core and its Variants
Gathering Oral Histories
* Nancy Hauserman, “Taking Care”
* Dave Isay, “Listening is an Act of Love”
Jennette Edwards, “I Can Read and I Can Write” (online only)
BOX 24: Starting an Oral History
FieldWriting: Using Character, Setting, and Theme to Create a Portrait
BOX 25: Writing a Verbal Portrait
The Research Portfolio: Reflective Documentation
* Do This: Reflect on Researching People
BOX 20: Using a Cultural Artifact: An Interview
Learning How to Listen
* Etiquette for Conducting an Interview
BOX 21: Establishing Rapport
Recording and Transcribing
Cindie Marshall, “Ralph’s Sports Bar” (Student Project)
BOX 22: Analyzing Your Interviewing Skills
The Informant’s Perspective: An Anthropologist on Mars
Oliver Sacks, “An Anthropologist on Mars”
Gathering Family Stories
BOX 23: Writing a Family Story
One Family Story: The Core and its Variants
Gathering Oral Histories
* Nancy Hauserman, “Taking Care”
* Dave Isay, “Listening is an Act of Love”
Jennette Edwards, “I Can Read and I Can Write” (online only)
BOX 24: Starting an Oral History
FieldWriting: Using Character, Setting, and Theme to Create a Portrait
BOX 25: Writing a Verbal Portrait
The Research Portfolio: Reflective Documentation
* Do This: Reflect on Researching People
Chapter VI: Researching Language: The Cultural Translator
Linking Body Language and Culture
* BOX 26: Observing Body Language: (Amie Ohlmann)
Linking Words and Culture
Lafcadio Hearn, “Cheek”
BOX 27: Listening for Words: Creating a Glossary
Using Insider Language in Your Writing
Words as Cultural Artifacts
Researching Occupation: Recording Insider Language
BOX 28: Describing Occupational Terms
Verbal Performance: Curses
BOX 29: Gathering Verbal Performances: Proverbs, Jokes, and Saying
Researching Urban Legends
* Ofelia Zapeda, “A Language Journey”
FieldWriting: Dialogue on the Page
The Research Portfolio: Synthesis
* Do This: Translate Your Work
* BOX 26: Observing Body Language: (Amie Ohlmann)
Linking Words and Culture
Lafcadio Hearn, “Cheek”
BOX 27: Listening for Words: Creating a Glossary
Using Insider Language in Your Writing
Words as Cultural Artifacts
Researching Occupation: Recording Insider Language
BOX 28: Describing Occupational Terms
Verbal Performance: Curses
BOX 29: Gathering Verbal Performances: Proverbs, Jokes, and Saying
Researching Urban Legends
* Ofelia Zapeda, “A Language Journey”
FieldWriting: Dialogue on the Page
The Research Portfolio: Synthesis
* Do This: Translate Your Work
Chapter VII: Searching Archives: Locating Culture
* A. Kendra Greene, “Everything Perfectly, Forever” (Student Project)
Family Archives
Edward Ball, “Slaves in the Family”
BOX 30: A Box about Boxes
Historical Archives
* University Archives
Museum Archives
BOX 31: Sorting Through Public Archives
Naomi Shihab Nye, “The Attic and its Nails”
Organizing Archival Material
Alternative Archives
Lars Eighner, “On Dumpster Diving”
BOX 32: Alternative Archives
Electronic Archives: Using the Internet
FieldWriting: Annotated Bibliographies
The Research Portfolio: Representing the Unflat Stuff
* Do This: Search the Fieldworking Archives
Family Archives
Edward Ball, “Slaves in the Family”
BOX 30: A Box about Boxes
Historical Archives
* University Archives
Museum Archives
BOX 31: Sorting Through Public Archives
Naomi Shihab Nye, “The Attic and its Nails”
Organizing Archival Material
Alternative Archives
Lars Eighner, “On Dumpster Diving”
BOX 32: Alternative Archives
Electronic Archives: Using the Internet
FieldWriting: Annotated Bibliographies
The Research Portfolio: Representing the Unflat Stuff
* Do This: Search the Fieldworking Archives
Chapter VIII: FieldWriting: From Down Draft to Up Draft
Drafting Drafts
Anne LaMott, “Shitty First Drafts”
Questioning Your Draft
Thickening Your Draft
BOX 33: Listening to the Voices in Your Draft (David Seitz)
Representing Culture in Your FieldWriting
Crafting a Text
* William Harvey Purcell, “Disability is Beautiful”
FieldWriting: Analytic Section Headings
Revising for a Reader
Donald M. Murray, “Some Notes on Revision”
BOX 34: Sharing Data: Partners in Revision
The Research Portfolio: One-Page Analysis and Annotated Table of Contents
A Final Comment: Paying Attention to Writing
* Do This: Smooth Your Final Draft
Anne LaMott, “Shitty First Drafts”
Questioning Your Draft
Thickening Your Draft
BOX 33: Listening to the Voices in Your Draft (David Seitz)
Representing Culture in Your FieldWriting
Crafting a Text
* William Harvey Purcell, “Disability is Beautiful”
FieldWriting: Analytic Section Headings
Revising for a Reader
Donald M. Murray, “Some Notes on Revision”
BOX 34: Sharing Data: Partners in Revision
The Research Portfolio: One-Page Analysis and Annotated Table of Contents
A Final Comment: Paying Attention to Writing
* Do This: Smooth Your Final Draft
Appendix A: MLA Documentation Guidelines
Appendix B: APA Documentation Guidelines
Appendix C: Works Cited and Recommended Readings
Authors
Bonnie Stone Sunstein
Bonnie Stone Sunstein is professor of English and education at the University of Iowa, where she teaches nonfiction writing, research methods, the teaching of writing, and folklore. She directs the undergraduate writing program in the English department and is the program coordinator of English education in the College of Education.
Elizabeth Chiseri-Strater
Elizabeth Chiseri-Strater is a professor of English at the University of North Carolina–Greensboro, where she teaches nonfiction writing, research methods, and English education. She is director of the composition program and director of graduate studies in the women's and gender studies program.
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