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Qualitative_data_analysis

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180 QUALITATIVE DATA ANALYSIS<br />

Figure 12.2 Association and linking as mutually related means of establishing connections<br />

them. The conceptual identification of links provides a basis for identifying<br />

connections between events, but subject to empirical confirmation through regular<br />

association between them. At the extremes, as our T’ai-chi T’u suggests, we may rely<br />

almost entirely on one rather than another—but for the most part, establishing<br />

connections depends on elements of both approaches.<br />

Let us return to our <strong>analysis</strong> of humour, and consider each of these approaches in<br />

turn, starting with inference from the association of categories.<br />

CONNECTING THROUGH ASSOCIATION<br />

Suppose we suspect a relationship holds between two of our categories. Let us take<br />

‘temperament’ and ‘suffering’ as examples. For simplicity’s sake, let us question<br />

whether there is a causal relationship between these categories, such that episodes<br />

where Vincent (or another dentist) displays an artistic temperament result in<br />

‘suffering’ being inflicted on the patient. We see intimations of this already in the<br />

first letter, where Vincent seems excited by his aesthetic.achievement (we could argue<br />

that his language betrays his excitement) with the bridge, while his antipathy to Mrs<br />

Sol Schwimmer leads to the rather aggressive outburst ‘I could smash her’. His<br />

patient, as we have seen, suffers in several ways as a result of his attentions. Can we find<br />

similar examples in the <strong>data</strong>?<br />

Suppose we have categorized the <strong>data</strong> under the two categories: ‘temperament’ and<br />

‘suffering’, restricting the first to dental displays of artistic temperament, and the<br />

second to the experience of suffering by dentists or patients. Once the <strong>data</strong> has been<br />

categorized, we can no longer observe directly how these categories might be

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