{"id":1862,"date":"2019-05-06T17:27:43","date_gmt":"2019-05-06T16:27:43","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?p=1862"},"modified":"2024-02-16T10:50:44","modified_gmt":"2024-02-16T10:50:44","slug":"texts-analysis","status":"publish","type":"post","link":"https:\/\/worlddanceheritage.org\/texts-analysis\/","title":{"rendered":"Texts and Interviews Analysis &#8211; Dance Heritage (4.6.2)"},"content":{"rendered":"\n<figure class=\"wp-block-image aligncenter size-full is-resized is-style-default\"><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/07\/dance-laban-analysis.jpg\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/07\/dance-laban-analysis.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/07\/dance-laban-analysis.jpg 810w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/07\/dance-laban-analysis-480x267.jpg 480w\" decoding=\"async\" width=\"810\" height=\"450\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Dance Laban analysis\" class=\"wp-image-15253 lazyload\" style=\"width:608px;height:338px\"  sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) 810px, 100vw\" \/><noscript><img decoding=\"async\" width=\"810\" height=\"450\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/07\/dance-laban-analysis.jpg\" alt=\"Dance Laban analysis\" class=\"wp-image-15253\" style=\"width:608px;height:338px\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/07\/dance-laban-analysis.jpg 810w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/07\/dance-laban-analysis-480x267.jpg 480w\" sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) 810px, 100vw\"><\/noscript><\/a><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Transcriptions<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">For the textual sources (books, blogs, comments to online videos, web pages) there was no need to transcribe the content. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In order that the interviews though were also in the same textual format as the above sources, the interviews needed transcription.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Transcription Process<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">I decided not to use a professional transcriber and do this work myself because, as Patton (2002, p. 441) states, \u2018doing . . . your own interview transcriptions . . . provides an opportunity to get immersed in the data\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As I transcribed the interviews, I started identifying patterns and emerging themes.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I gravitated towards what Oliver, Serovich, and Mason (2005) call a \u2018denaturalised transcription\u2019, focusing on the content of the interview, rather than on non-verbal utterances.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The reason is that I decided not to employ a discourse analysis, but rather focus more broadly on the content of what was being said rather than on how it was said.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, I transcribed some non-verbal vocalizations (such as hmm to express thinking time) and I made notes of moods (i.e. laughter) or body language when they added meaning to the data.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Naturalism and Denaturalism <\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Hence, I decided to adopt an intermediate position between naturalism and denaturalism. Indeed, as Oliver (2005, p. 1273) et al. posit:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">Transcription practices can be thought of in terms of a continuum with two dominant modes: naturalism, in which every utterance is transcribed in as much detail as possible, and denaturalism, in which idiosyncratic elements of speech (e.g., stutters, pauses, nonverbals, involuntary vocalizations) are removed. . . . Between these two methods are endless variations using elements of each to achieve certain analytical objectives and research goals.<\/p>\n<cite>Oliver (2005)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Part of the reason why I did not choose a completely naturalised transcription was also due to clarity.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As Oliver at al consider, \u2018one advantage of removing non-verbals and tokens is that transcripts become easier to read\u2019 (2005, p. 1286).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Indeed, every \u2018transcript is an interpretation\u2019 (Lapadat and Lindsay, 1999, p. 81), and &#8216;even the most literal form of writing-up . . . represents a <em>translation<\/em> or even an interpretation\u2019 (Bourdieu, 1996, p. 30).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Since, following the constructionist epistemology of my interpretivist paradigm, I assume that complete neutrality is not possible in transcription, I decided to strike a compromise between clarity and accuracy of representation.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The next section of this chapter focuses on the coding process and the creation of themes.<\/p>\n\n\n\n<p class=\"has-vivid-red-color has-white-background-color has-text-color has-background wp-block-paragraph\"><strong>Next Page &gt;&gt;<\/strong> <strong><span style=\"text-decoration: underline;\"><a href=\"https:\/\/worlddanceheritage.org\/coding\/\">Coding and themes for the data analysis<\/a>.<\/span><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Dance heritage Ph.D. research texts and interviews analysis transcription process. Naturalism, denaturalism, clarity, and accuracy.<\/p>\n","protected":false},"author":2,"featured_media":15253,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[19],"tags":[],"class_list":["post-1862","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-methods"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Texts and interviews analysis transcription process. Dance Heritage<\/title>\n<meta name=\"description\" content=\"Dance heritage Ph.D. research texts and interviews analysis transcription process. 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Naturalism, denaturalism, clarity, and accuracy.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/worlddanceheritage.org\/texts-analysis\/\" \/>\n<meta property=\"og:site_name\" content=\"World Dance Heritage Research Centre\" \/>\n<meta property=\"article:published_time\" content=\"2019-05-06T16:27:43+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-02-16T10:50:44+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/07\/dance-laban-analysis.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"810\" \/>\n\t<meta property=\"og:image:height\" content=\"450\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Valeria\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@danceperception\" \/>\n<meta name=\"twitter:site\" content=\"@danceperception\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Valeria\" \/>\n\t<meta name=\"twitter:label2\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"2 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/texts-analysis\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/texts-analysis\\\/\"},\"author\":{\"name\":\"Valeria\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#\\\/schema\\\/person\\\/a5061c4e7e43b91e456683b9699ebb42\"},\"headline\":\"Texts and Interviews Analysis &#8211; Dance Heritage (4.6.2)\",\"datePublished\":\"2019-05-06T16:27:43+00:00\",\"dateModified\":\"2024-02-16T10:50:44+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/texts-analysis\\\/\"},\"wordCount\":393,\"publisher\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/texts-analysis\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2023\\\/07\\\/dance-laban-analysis.jpg\",\"articleSection\":[\"Methodology\"],\"inLanguage\":\"en-GB\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/texts-analysis\\\/\",\"url\":\"https:\\\/\\\/worlddanceheritage.org\\\/texts-analysis\\\/\",\"name\":\"Texts and interviews analysis transcription process. 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