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In his provocative new book, Robert Alford proposes that the starting point for any researcher in the process and craft of inquiry should begin with an understanding of how to translate elements of his/her own history, personal experience, and issues which can then be formulated into researchquestions. He presents three basic explanatory approaches to sociology -- multivariate, interpretive, and historical -- and strives to illustrate the artistic, rather than formulaic, side of research design, presenting several ways that research questions can be framed.
Designing Social Inquiry focuses on improving qualitative research, where numerical measurement is either impossible or undesirable. What are the right questions to ask? How should you define and make inferences about causal effects? How can you avoid bias? How many cases do you need, and how should they be selected? What are the consequences of unavoidable problems in qualitative research, such as measurement error, incomplete information, or omitted variables? What are proper ways to estimate and report the uncertainty of your conclusions?
Naturalistic inquiry is about studying people in everyday circumstances by ordinary means. It strives to blend in, to respect people in their daily lives, to take their actions and experiences seriously, and to build on these carefully. Doing Qualitative Research: The Craft of Naturalistic Inquiry offers guidance, combining thoughtful reflection with practical tips. It is written for undergraduate and graduate students in social science; for practitioners in social work, healthcare, policy advice, and organizational consultancy; and for all who have a genuine interest in society and its members. A short animation of the Arc of Naturalistic Inquiry can be found here.
Poetic Inquiry: Craft, Method and Practice examines the use of poetry as a form of qualitative research, representation, and method used by researchers, practitioners, and students from across the social sciences and humanities. It serves as a practical manual for using poetry in qualitative research through the presentation of varied examples of Poetic Inquiry. It provides how-to exercises for developing and using poetry as a qualitative research method. The book begins by mapping out what doing and critiquing Poetic Inquiry entails via a discussion of the power of poetry, poets’, and researchers’ goals for the use of poetry, and the kinds of projects that are best suited for Poetic Inquiry. It also provides descriptions of the process and craft of creating Poetic Inquiry, and suggestions for how to evaluate and engage with Poetic Inquiry. The book further contends with questions of method, process, and craft from poets’ and researchers’ perspectives. It shows the implications for the aesthetic and epistemic concerns in poetry, and furthers transdisciplinary dialogues between the humanities and social sciences. Faulkner shows the importance of considering the form and function of Poetic Inquiry in qualitative research through discussions of poetry as research method, poetry as qualitative analysis and representation, and Poetic Inquiry as a powerful research tool.
The classic work on qualitative methods in political science Designing Social Inquiry presents a unified approach to qualitative and quantitative research in political science, showing how the same logic of inference underlies both. This stimulating book discusses issues related to framing research questions, measuring the accuracy of data and the uncertainty of empirical inferences, discovering causal effects, and getting the most out of qualitative research. It addresses topics such as interpretation and inference, comparative case studies, constructing causal theories, dependent and explanatory variables, the limits of random selection, selection bias, and errors in measurement. The book only uses mathematical notation to clarify concepts, and assumes no prior knowledge of mathematics or statistics. Featuring a new preface by Robert O. Keohane and Gary King, this edition makes an influential work available to new generations of qualitative researchers in the social sciences.
Today when we hear the word “craft,” a whole host of things come immediately to mind: microbreweries, artisanal cheeses, and an array of handmade objects. Craft has become so overused, that it can grate on our ears as pretentious and strain our credulity. But its overuse also reveals just how compelling craft has become in modern life. In The Shape of Craft, Ezra Shales explores some of the key questions of craft: who makes it, what do we mean when we think about a crafted object, where and when crafted objects are made, and what this all means to our understanding of craft. He argues that, beyond the clichés, craft still adds texture to sterile modern homes and it provides many people with a livelihood, not just a hobby. Along the way, Shales upends our definition of what is handcrafted or authentic, revealing the contradictions in our expectations of craft. Craft is—and isn’t—what we think.
A call to arms for researchers to embrace their comparative intuition and combine in-depth stories with general lessons from their research.
This book makes an original contribution to reconnecting criminological inquiry to the core concerns of the classical sociological imagination and to the intellectual resources of comparative and historical sociology. Throughout the book Hughes challenges the long-standing division of labour in criminology and sociology more generally between ‘theory’, ‘method’ and ‘research’. Accordingly, the author’s concerns here are as much about the craft and working methods of being a sociological criminologist as it is about theory and concepts. In the first half of the book, the key conceptual and methodological premises of the classical sociological tradition are outlined and the latter’s potential for revitalizing contemporary criminological research-theorizing are assessed. These chapters also address the debate regarding the relationship between crime and violence, and that of modernity and the Western ‘civilizing process’. In the second half of the book, three areas of current criminological inquiry are explored through the lens of the long-term, process-oriented and radically relational perspective of contemporary Weberian and Eliasian scholarship. Among the areas of comparative investigation explored here are street crime, gangs and urban violence, genocide and murderous ethnic cleansing, warfare, colonialism and human rights. Written in a clear and direct style this book will appeal to students and scholars of criminology, sociology and all those interested in what a sociological lens brings to the practices of contemporary criminology.
“This is an excellent addition to the literature of integrated methodology. The author has skillfully integrated diverse ways of thinking about mixed methods into a comprehensive and meaningful framework. By providing detailed examples, she makes it easy for both the students and the practitioners to understand the intricate details and complexities of doing mixed methods research. On the other hand, by comparing, contrasting, and bridging multiple perspectives about mixed methods, she has made this book very relevant and useful to seasoned scholars of mixed methodology.”--Abbas Tashakkori, Frost Professor and coordinator, educational research and evaluation methodology, Department of Educational and Psychological Studies, Florida International University, founding coeditor, Journal of Mixed Methods Research
This book provides a thought-provoking guide to conducting collaborative arts-based research. Focusing on ways that social inquiry might be conducted with marginalised groups to promote social justice, the text offers chapters on: Telling ‘alternative’ stories through a variety of methods from crafts to digital film Visual and metaphorical approaches to social research including photography, art and poetry Performative methods that include drama, dance, music and performance art Foster introduces relevant methodological debates, giving a context for understanding when arts-based research can be a fruitful approach to take and outlining a convincing rationale for using the arts as a way of understanding and representing the social world. The book also suggests a range of alternative criteria for evaluating the quality of arts-based research. Illustrative examples from around the world are used throughout the book and an extended case study is included that focuses on Foster’s own collaborative arts-based research. With their emphasis on the value of participative research and social justice, arts-based methodologies are becoming increasingly popular in health and social research. This is the ideal text for anyone looking to introduce arts-based methods into their research practice.