Qualitative_data_analysis

OF MAPS AND MATRICES 225
undercurrents. We may conclude from this example that, while cathartic humour may
‘fan the flames’, it is not essential to ignite the spark of humour arising from
disrupted expectations.
But these are only two examples. Our mapping may be suggestive of a
relationship between the two categories, but in order to examine and elucidate that
relationship we have to conduct a more thorough exploration of the data.
Fortunately the computer through its efficient search and retrieval facilities can
make this task an easy one, mechanically if not conceptually. Indeed, within an
interactive environment, the computer may provide automatic access to the data
which is represented by the graphic images on our map.
Another relationship we may want to map out is how categories connect over
time. We may want to know how an author organizes a succession of images to
achieve a comic effect; how interaction unfolds over time between different actors or
agencies; or how expectations evolve and attitudes alter in the light of accumulating
experiences or new information. For questions such as these, it may be useful to
map out the data from a chronological perspective.
For example, suppose we are interested in the effects of social interaction with
other ‘dentists’ on Vincent’s feelings. This is a ‘sub-plot’ which figures less forcefully
than the dentist-patient interactions we have already discussed, but which
nevertheless contributes to the overall humour of the letters. Vincent has several
dealings with Gauguin and we may decide to map out the Vincent-Gauguin
interaction as it evolves over time. We tried something of the sort in presenting the
Claire Memling story. However, we can map out the succession of events more
effectively if in addition to lines and boxes, we utilize more explicitly an additional
element in our diagrams, namely space. We can use space to represent time
(amongst other things) and by doing so map out ‘events’ (psychological as well as
social) in a more illuminating way. Figure 13.22 shows the history of Vincent’s
interaction with Gauguin, arranged by time and divided between the social events
and Vincent’s feelings at the time. This chronological sequence could be further
refined and if sufficient information is available we could even differentiate between
units of time.
By mapping it out in this way, we can display more clearly the succession of
events which makes up the Vincent-Gauguin story. We can also see more clearly the
way Vincent’s feelings unfold as various incidents follow his decision to share offices
with Gauguin. To do so we have presented a series of databits in chronological
sequence—and not necessarily, incidentally, in the sequence in which they appear in
the text. We could use the same procedure with categories as with databits, to set out
chronologically the relationship between different elements in our analysis just as we
have set out the different elements in the Vincent-Gauguin story.