*new to this edition
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
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
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FieldWriting: Published and Unpublished Written Sources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
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
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
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
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
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
Appendix A: MLA Documentation Guidelines
Appendix B: APA Documentation Guidelines
Appendix C: Works Cited and Recommended Readings