Annotated Bibliography
Below, attached is a guide to the sources on which the annotated bibliography is to be written. It is to be written on 5 different academic sources. Also, I have attached an example of how our professor expects us to write an annotated bibliography. I have also attached in-text citations and common types of MLA citations that my professor has given us. Please refer to all these before starting to write the bibliography. AVOID PLAGIARISM.
Details for the annotated bibliography:
1)5 academic sources with MLA citations
2)Descriptions highlighting the sources’ audience, purpose, arrangement, evidence, claims, and word choice.
3)1500 words total (approximately 300 words per source)
I WANT THE ANNOTATED BIBLIOGRAPHY TO BE COMPLETED BY 4TH FEBRUARY, 2020 at 10:00 AM.
Annotated BibliographyPlagiarism freeurgent
Annotated Bibliography Guide
Finding a Peer-Reviewed Article
1. library.unt.edu
2. “Database”
3. “EBSCOHost” (If you’re not on UNT’s network, you’ll need to log in).
4. “Academic Search Complete”
5. Check “Peer-reviewed” (on left).
6. Check “Link to full text” (on left).
7. Set a date range if helpful (on right).
8. Try different search terms.
9. Read an article’s “Abstract” if it has one.
10. Scan the article to see if it will suit your needs.
11. Try doaj.org.
12. Try Google Scholar.
Citing a Peer-Reviewed Article
1. Once you find an article you plan to use, click “Cite” (on the left of the article’s homepage on
EBSCOHost).
2. A window will appear in the middle of the screen. Scroll down to “MLA” and use that citation
for your Annotated Bibliography.
3. Format the MLA citation with the proper font, spacing, and “hanging indent”.
4. Download a PDF of the article if available. Bookmark the article.
Writing a Description of a Peer-reviewed Article
1. Underneath the MLA citation, write an approximately 300-word description of the article.
Focus on the article’s audience(s), purpose, arrangement, claims, evidence, and word choice.
2. Do not include your opinions or personal responses to the article.
Note: People use different word processors, so navigating menus may be different for some of
you when searching for things like “Headers,” “Page Numbers,” and “Hanging Indent.” If you’re
unsure how to implement MLA formatting using your word processor, try searching for the
solution online first. The Internet is your friend! If you’re still stumped, ask me or a classmate.
I’m always glad to help. The same goes for MLA formatting.
MLA Formatting
1. Double-spaced
2. Times New Roman, 12-point font
3. 1-Inch margins.
4. Centered Title
5. Header with your last name and page numbers
6. Heading at top/left with your name, professor’s name, class name, and date
7. Sources in alphabetical order
MLA In-Text Citations
Note: Once you have introduced an author using their first and last name, you should use their
last name only for the rest of the paper.
______________________________________________________________________________
Single-Author
Put Source in the Sentence and Page Number in Parentheses:
Wordsworth stated that Romantic poetry was marked by a “spontaneous overflow of
powerful feelings” (263).
Put Source and Page Number in Parentheses:
Romantic poetry is characterized by the “spontaneous overflow of powerful feelings”
(Wordsworth 263).
Paraphrase with Page Number:
Wordsworth extensively explored the role of emotion in the creative process (263).
______________________________________________________________________________
Two or more authors
Put Source in Sentence:
Best and Marcus argue that one should read a text for what it says on its surface, rather
than looking for some hidden meaning (9).
Put Source in Parentheses:
The authors claim that surface reading looks at what is “evident, perceptible,
apprehensible in texts” (Best and Marcus 9).
______________________________________________________________________________
______________________________________________________________________________
Three or More Authors
Put Source in Sentence:
According to Franck et al., “Current agricultural policies in the U.S. are contributing to
the poor health of Americans” (327).
Put Source in Parentheses:
The authors claim that “Current agricultural policies in the U.S. are contributing to
the poor health of Americans” (Franck et al. 327).
______________________________________________________________________________
Website (No Known Author)
Put Source in Sentence:
According to the United States Environmental Protection Agency, the Safe Drinking
Water Act “focuses on all waters actually or potentially designed for drinking use,
whether from above ground or underground sources.”
Put Source in Parentheses:
The Safe Drinking Water Act “focuses on all waters actually or potentially designed for
drinking use, whether from above ground or underground sources” (United States
Environmental Protection Agency).
______________________________________________________________________________
Common Types of MLA Citations
1. Electronic source. Website page. More than two authors.
→ First listed author (last name, first name), et al. Article title (in quotation marks). Source (in italics),
date published (if available). URL. Date accessed by you.
Silver, Laura, et al. “Mobile Divides in Emerging Economies.” Pew Research Center, 19 Nov. 2019.
https://www.pewresearch.org/internet/2019/11/20/mobile-divides-in-emerging-economies/. Accessed
23 January 2020.
2. Electronic source. Website page. No author.
→ Source of information. Title of page or article (in quotation marks). Source of information (in italics),
date published (if available). URL. Date accessed by you.
United States Census Bureau. “Young Adults and Higher Education.” United States Census Bureau, 20
August 2019. https://www.census.gov/library/visualizations/interactive/young-adults-higher-
education.html. Accessed 23 January 2020.
3. Book. Single author.
→ Author (last name, first name). Book title in italics. Publisher, year.
Gibson, William. Neuromancer. Penguin Books, 1984.
4. Book. Two authors.
→ First listed author (last name first, first name) and second author (first name and last name). Book
title in italics. Publisher, year.
Susskind, Leonard and Art Friedman. Quantum Mechanics: The Theoretical Minimum. Basic Books,
2014.
Gender & Behaviour 2019
ISSN: 1596-9231
Copyright © 2019 Ife Centre for Psychological Studies/Services, Ile-Ife, Nigeria
13577
THE SELFIE CULTURE: IDENTITY CREATION AND STATUS CONFERRAL
ON SOCIAL MEDIA
Ndivhoniswani Aaron Tshidzumba
School of Communication
North West University
Mafikeng Campus, South Africa
Abstract
Selfie has generated sustained attraction both from selfie takers and researchers. Numerous
researches have studied selfie and selfie takers from different dimensions but majority focused
on how personality of individuals influence the kind of selfies they take and share on social
media. However, few have explored selfie induced social media identity creation and status
conferral. This study qualitatively explores how young female Nigerian adults conjunctively
use selfie with rhetoric to create identity on Facebook and status consequent upon the identity,
the aim being to determine if their selfie induced social media identity and status is mere
performance or reality. The researcher’s previous observation of and interaction with avid
selfie takers substantially formed initial background knowledge for the study. Five young
female Nigerians were thereafter selected from researcher’s Facebook friends and two recent
selfies of each participant were studied using nethnography; finally, each participant was
interviewed through Facebook Messenger and results of both nethnographic study and
interview were coded thematically. The study found that selfie induced social media identity
and status of the participants was more performance but also reflected some aspects of their
reality.
Key words: selfie, social media, identity, status.
Introduction
Selfie was announced word of the year in 2013 by Oxford Dictionary (Petri, 2013; Lin et al.,
2015), since then it has grown exceedingly popular particularly among teenagers and young
adults not because of any appealing novelty in the word itself but because of the activity it
represents. A selfie is a self-taken picture with a smartphone or webcam and uploaded on
social media (Oxford Dictionaries cited by Tifentale, 2014). Selfie taking has redefined the
idea of photography from a staged or occasion tied activity to a spontaneous, idiosyncratic,
habitual, expressive and compulsive routine especially for teenagers and young adults.
Both the word and action it describes are products of internet technology, the twentieth
century invention that shattered natural spatio-temporal communication constraints of pristine
human communities, innovatively drive seamless communication and shrink countries into,
more than ever before, compact global village. Additionally, the ubiquity of portable and
affordable smartphones, camera enabled computers, more options to access fast internet
connection and deluge of social media platforms are incentives that encourages selfie. A
combination of these means at no other time have young people had the freedom, discretion
and control to express themselves to others as they desire (Herring and Kapidzic, 2015).
‘Millions of selfies have been posted on various social networking sites… they have become
a new medium for self-expression and self-representation (Lin et al., 2015).’
Gender & Behaviour 2019 ISSN: 1596-9231
Copyright © 2019 Ife Centre for Psychological Studies/Services, Ile-Ife, Nigeria
13578
Almost every selfie has an element of managed self or creation of particular identity through
deliberate expressions and nuances which, provided themes that reflect the managed self are
consistently shared, results in status conferral from social media friends. Observation shows
this holds true with teenagers and young adults but to what extent does selfie induced social
media managed identities depict reality of the owners? Does selfie induced status offer
gratification beyond the social media space? Given the availability of enabling technological
infrastructure (software and hardware) and proliferation of social media, a deeper
understanding of connections between selfie, social media identity creation and consequent
status conferral is necessary to delineate performance from reality.
Fewer studies have examined selfie induced social media identity and status conferral, this
being a co-construction between people and if it is more performance than reality. The bulk
of previous research focused on deciphering personality from cues contained in social media
pictures, either profile pictures or selfies using quantitative measures. For such studies the Big
Five Personality traits was major foundation of enquiry. Goldbeck (2011 p. 02) explains the
Big Five as follows:
1. Openness to Experience: curious, intelligent, and imaginative. High scorers tend to be
artistic and sophisticated in taste and appreciate diverse views, ideas, and experiences.
2. Conscientiousness: responsible, organized, persevering. Conscientious individuals are
extremely reliable and tend to be high achievers, hard workers, and planners.
3. Extroversion: outgoing, amicable, assertive. Friendly and energetic, extroverts draw
inspiration from social situations.
4. Agreeableness: cooperative, helpful, nurturing. People who score high in agreeableness
are peace-keepers who are generally optimistic and trusting of others.
5. Neuroticism: anxious, insecure, sensitive. Neurotics are moody, tense, and easily tipped
into experiencing negative emotions.
The implicit position of the Big Five personality paradigm and quantitative studies that sought
cues from social media pictures for its validation is that the paradigm is absolute and,
consequently, human actions totally predictable, rigid, and mechanical whereas the opposite
is true. Although people do have dominant personality traits which, as research has proved,
influence the type of pictures individuals share on social media, the extent to which
personality traits alone inform selfie nuances is questionable. Instead, it is safe to assume that
a myriad of complex and overlapping influences interplay such that selfie owners can
manipulate their image to create a make believe or larger than life impression of their true
self. At the very least, a drive for ‘masturbation of self-image’ (Clark cited by Tifentale,
2014), a narcissistic urge to impress and depict a larger than life impression, can minimize
personality trait influence in selfies shared on social media. Indeed, (Liu et al., 2015 p.445)
concluded that except for Openness ‘however, our results showed that observers were not
accurate in predicting other four personality dimensions. In addition, when accuracy was
examined for the single observer, none of the five dimensions could be judged accurately.’
This study is explorative; it identifies factors that feature in selfie induced social media
identity creation and effect of consequent status conferred online. In as much as selfie
dynamics on social media identity creation and status conferral is the concern of this enquiry,
it is observed that selfies are often used conjunctively with elements such as text to convey
Gender & Behaviour 2019 ISSN: 1596-9231
Copyright © 2019 Ife Centre for Psychological Studies/Services, Ile-Ife, Nigeria
13579
and emphasize user’s message. For instance, an individual who infrequently shares stand
alone selfies is less likely to elicit any strong cult status online compared to another individual
who regularly share selfies and accentuates it with rhetoric. Therefore, elements that interplay
with selfie to create an identity online are the expressions and nuances in the selfie itself,
thematic consistency, regularity of sharing, rhetoric and emojis. Status conferral operates
through feedback in the form of comments and likes. The study further explores to what extent
selfie induced social media identity creation and status is more performance than reality.
The definition of social media is Facebook and young Nigerian adults, most who use
Facebook, the population. Facebook, unlike Instagram, is not a picture sharing medium but it
is the leading social medium platform globally. As of January 2017, Statista (2017) reports
that Facebook had 1.87billion monthly active users worldwide. Between September 2014 and
June 2015 Facebook monthly active users in Africa grew from 100million to 120million, 15
million of those being Nigerians who all used mobile devices to access the platform (Addady,
2015).
The purpose of this enquiry is to qualitatively explore how young, female Nigerian adults use
selfies, conjunctively with rhetoric, on Facebook to create identity and consequent status. The
study seeks to understand if such selfie induced social media identity is performance or reality
and if consequent status is valid beyond the realm of social media.
METHODOLOGY
By design this study is qualitative because the intention is to explore and gain more insight
into selfie induced identity created on Facebook from selfie owners themselves, determine if
such identity is more performance than reality and determine if resulting status is limited to
Facebook or not. Observation, nethnography and interview methods are used to collect
information. The personal experience of the researcher on the subject matter is the core
observation method; being a Facebook user too and having had heart-to-heart interactions
with Facebook friends who are avid selfie sharers including observing that the selfie culture
is strong among young, female Nigerians adult population, the researcher gained initial
knowledge which were subjected to deeper exploration in the study. Consequently, a sample
of five young, female Nigerian adults who share their selfies regularly were selected from
researcher’s own Facebook friends. All the five females are neither mutual friends on
Facebook nor are they friends in real life. Two of their recent selfies were then studied online
in terms of expressions and nuances depicted and conjunctive use of rhetoric. Also, feedback
from their friends, likes and comments, were studied to form a holistic picture of identity and
status. Finally, each of the five subjects was asked five broad questions that capture the
essence of the study through Facebook Messenger.
Information obtained from both the nethographic study and interview was arranged into
thematic codes for inductive analysis.
THEORETICAL FRAMEWORK
Uses and Gratification Theory (UGT) and Dramaturgical Theory are the lens through which
this study is framed. Unlike other theories that explains what media does to its audience, the
Gender & Behaviour 2019 ISSN: 1596-9231
Copyright © 2019 Ife Centre for Psychological Studies/Services, Ile-Ife, Nigeria
13580
UGT essentially hold that individuals use media consciously towards satisfying an end.
Therefore, people are not victims who act impulsively to media output and triggers but they
actively decide what medium to use and how for their own satisfaction. Jere and Davies (2011
p. 06) wrote of UGT that ‘social gratifications apply when consumers use a particular medium
to gratify their need for social interaction (for example, friendship, interpersonal
communication and keeping in touch)’. Selfie on social media aligns with the UGT
perspective because ‘by posting selfies, people can keep themselves in other people’s minds.
In addition, like all photographs that are posted online, selfies are used to convey a particular
impression of oneself. Through the clothes one wears, one’s expression, staging of the
physical setting, and the style of the photo, people can convey a particular public image of
themselves, presumably one that they think will garner social rewards’ (Leary cited by
Tifentale, 2014 p. 06).
However, such deliberate use of the selfie on social media for identity gratification and status
conferral may well be phony in the context of Erving Goffman’s Dramaturgical Theory
(1959). Goffman thought that ‘…life is like a never-ending play in which people are
actors…that when are born, we are thrust onto a stage called everyday life, and that our
socialization consists of learning how to play our assigned roles from other people. We enact
our roles in the company of others, who are in turn enacting their roles in interaction with us.’
(SparkNotes, no date). As actors in everyday life it follows that social media is a stage and
selfie, with accompanying nuances, are props used by the owner to act a role which generates
status conferral from friends who are also actors co-creating meaning. Yet outside the social
media space such role acting may not reflect the selfie owner’s true state going by Goffman’s
idea of front and backstage; the front stage is the context in which people perform a role in
everyday life while the backstage the withdrawal from performance into one’s real self.
Given that gratification of ego and identity may accrue to selfie owners on the social media,
this study explores if selfie induced social media identity and status are merely a performance
on the front stage or if they extend into backstage reality of the selfie owners.
LITERATURE REVIEW
‘Self-presentation is generally considered to be motivated by a desire to make a favorable
impression on others, or an impression that corresponds to one’s ideals’ (Herring and
Kapidzic 2015 p. 01). The social media offer limitless options for individuals to manage their
presentation in ways desirable to them. It is as easy as taking a smartphone, selecting a
preferred setting, striking a pose, pressing the capture button and snap! The selfie is ready and
with just a few taps on the phone or clicks on the computer, the nuanced self-taken picture is
on the virtual world of social media for friends to react to (like, share or comment).
Alternatively, the selfie owner can run the picture through a photo editing app to tweak the
image just before sharing – this is the age of, according to Tifentale (2014), social media-
driven narcissism where ‘selfie-takers not only may believe themselves to be attractive and
likable but could also self-enhance by believing they possess the photography skills needed
to capture these positive qualities better than others could’ (Daniel, Sylvia, Wang, Joyce, and
Nicholas, 2016 p.589)
Gender & Behaviour 2019 ISSN: 1596-9231
Copyright © 2019 Ife Centre for Psychological Studies/Services, Ile-Ife, Nigeria
13581
The fascination with pictures is not new only that technology and fad have driven it to
heightened levels of obsession. De Lima (2015 p.05) pointed that ‘the pillars of contemporary
fashion permeate the universe of social media for the simple fact that they are the very
characteristics that time we live in, and also encourage the act of consuming images, ideas
and products. In that universe everything is “new”, ephemeral and subject to replacement;
images and aesthetic ideals unattainable by most users are persecuted; and individualism is
worshiped as a true lifestyle.’ Nothing is permanent anymore in terms of fashion, trends
change easily and the ‘cool’ person is that one who adapts quickly to changing fashion or who
is individual enough to defy convention – either long standing social norm or prevailing trend
– and create an individual style. The ‘cool’ fashion icon on the social media is, in this sense,
the person who is ascribed the status of fashion innovator, trend setter or opinion leader among
comity of social media peers. Usually, such icons may be deemed sexually appealing.
Sex appeal and suggestive nuances are common themes images in social media. Herring and
Kapidzic (cited by Herrington and Kapidzic, 2015 p.05), for instance found that:
The vast majority of girls posted profile photographs that presented them in a seductive
manner (looking up or sideways at the viewer) and suggestive dress (showing cleavage).
Photo choices among male teens were more varied, including dominant, idealized, and
affiliative behaviors in addition to seductive behaviors, although there was a tendency for
boys to choose photos that showed them at a farther distance from the camera and looking
away from the viewer. However, there were also some boys who posed seductively, for
example in photos that showed them shirtless.
Herring and Kapidzic’s findings, though restricted to profile pictures of teenagers and in
another social system, resonates with selfie culture generally. With their selfies on social
media, individuals, mostly females, have taken the sex appeal narrative from advertisers and
mainstream media into their own hands and masturbate their sexuality through compelling
images and rhetoric. Especially as females are concerned and, in addition to Herrington and
Kapidzic’s findings, suggestive nuances in their selfies also include taking pictures of their
rear, licking lips and tongue.
Having established that beyond actual personality and reality selfie owners do engage in some
form of impression management, this study aligns impression management and its drivers
towards achieving predetermined gratifications with reality.
Findings
The findings for this study are presented in two main sections, the nethographic and interview
information and correlated as follows:
Gender & Behaviour 2019 ISSN: 1596-9231
Copyright © 2019 Ife Centre for Psychological Studies/Services, Ile-Ife, Nigeria
13582
Nethnography Discussion
Element Type Theme
Selfie All the selfies were full length and
taken in daytime; except for the
selfie owners no other person
appeared in the pictures; except
for one selfie taken in the
bedroom all the others were taken
outside and all were angled for
accentuation.
Sexual undertone, playfulness,
fun, happiness, attraction, fashion
conscious.
Rhetoric All selfies were accompanied by
rhetoric predominantly English
but with a mixture of Yoruba and
Pidgin.
Sexual undertone, abusive
undertone, aggression, self-love,
self-praise, fun, mischief,
problem free.
Feedback Feedback was mostly likes, love
and comments, no shares. There
were more likes per subject
followed by comments then love.
Approval, enquiry, sexual
undertone, fun, vulgar, mischief.
Others Emojis or small icons that depict
a type of feeling.
Love, sexual mischief, anger,
laughter, directional
The type of nuances and expressions observed in the selfies correlates with Herrington and
Kapidzic’s findings of sex appeal and suggestive pictures and De Lima’s fashion motive both
discussed in the literature review. This will suggest these two factors are probably universal
themes one will notice in selfies. The dimension of fun and playfulness can be observed more
in the setting or mentioned through rhetoric or both.
Rhetoric as a conjunctive element used with selfie is peculiar to this study; none of the selfie
owners shared a standalone picture, it always with rhetoric sometimes lengthy or as short and
simple as ‘rate me’. The selfie owners seem preoccupied with declaring they were lucky-go-
fellows who had no bothers on their mind. Although rhetoric is a consistent accompaniment
to their selfies, its use was confusing because it does seem to be at parallel with nuances of
the selfie at times. For instance, the selfie could be expressively congenial and attractive but
the rhetoric may be aggressive or abusive an indication of other issues (friendship betrayal,
love gone sour, disagreement or a myriad of other factors) which may be directly mentioned
in the rhetoric, tangentially referenced or not indicated at all. The use of emojis alongside
selfie and rhetoric was pronounced. The emoji type aligned with tone of rhetoric but it was
also used in sexually mischievous dimension; for instance, a mischievous emoji could be
placed between the cleavages or on it or on the crotch.
Feedback, while being straightforward in terms of like and other reactions, the rhetoric of
comment was varied. Rhetoric like ‘slay’, and ‘dearie’, were clear approval terms while a
mixed conversation of suggestive or vulgar interaction could start in the comment section but
still points toward approval.
Gender & Behaviour 2019 ISSN: 1596-9231
Copyright © 2019 Ife Centre for Psychological Studies/Services, Ile-Ife, Nigeria
13583
It is, therefore, obvious that the selfie owners use Facebook for impression management and
gratify their ego from acceptance and approval by their friends on social media. But is the
does the selfie induced identity creation and consequent status mere performance or is it
reality? This question was answered during the interview.
INTERVIEW DISCUSSION
All the females indicated that whatever status they had on social media was a performance
that does not describe their reality or which they do not allow to encroach on their true selves.
However, they were divided on whether the identity they create is reality or performance
although the consensus tilted more towards the latter. For instance, all the females said the
sense of fashion they depict through their selfie is reality including sex appeal although there
was disagreement on display of nudity. All the females agreed that sex appeal is an intrinsic
part of a lady and there is no harm in flaunting their sexuality; however, while three
unambiguously objected to exposure of sensitive parts, the remaining two reasoned that ‘a
little covered nudity’ is not a bad idea but strictly as a performance on Facebook. Also, all
the ladies said their activity on Facebook, especially frequent selfie sharing and rhetoric, were
largely to keep their social media profile alive, express emotions, kill boredom and validate
their appeal as a person – beyond these nothing else.
CONCLUSION
From the foregoing findings, theoretical departures and literature, this study concludes that:
1. Selfie induced Facebook identity creation and status are a complex interplay of dynamic
factors including personality, social realities, peer factor, tension, emotions and situational
impulses,
2. Selfie owners use Facebook to gratify their ego,
3. Selfie induced identity on Facebook and resultant status conferral are more performance on
the front stage than reality of backstage.
RECOMMENDATION
There are still more lessons to be learnt on how social media users use the platform to co-
create identity and status. It is recommended that since social media interaction is a virtual
extension of real life interactions, more studies which will approach the phenomena as
dynamic interaction of different factors be conducted. In other words, the strictly personality
deciphering paradigm which social media pictures have been predominantly studied should
be integrated with a more constructionist approach that will find points of departures between
reality and performance. It is further recommended that other social media platforms be
studied on the foregoing subject matter especially those that are culturally relevant.
Gender & Behaviour 2019 ISSN: 1596-9231
Copyright © 2019 Ife Centre for Psychological Studies/Services, Ile-Ife, Nigeria
13584
REFERENCES
Addady, M. 2015. Facebook just revealed stats about these two countries for the first time.
Fortune [online]. 10 September, 2015. Available from:
www.fortune.com/2015/09/01/facebook-africa-statistics/ Date assessed 4 March
2017
Daniel, E.R., Slyvia, A.W., Joyce, C.H., & Nicholas, O.R. 2016. Selfie indulgence: Self-
favouring biases in perceptions of selfies. Social Psychological and Personality
Science. 7(6), pp.588-596.
De Lima, C. C. 2015. The selfie as expression of contemporary fashion and narcissism. Moda
Documenta. 2015
Goldbeck, J. 2015. Predicting personality with social media. Human Computer Interaction
Lab. Available from: www.scnarc.rpi.edu/../personality . Date Accessed 4 March,
2017
Jere, M.G. and Davis, S.V. 2011. An application of uses and gratifications theory to compare
consumer motivations for magazines and internet usage among South African women’s
magazine readers. Southern African Business Review. 15(1). pp.2-27
Liu, U., Jiahui, L., Shanshan, Y., Weina, Q., and Tingshao, Z. 2015. What does your selfie
say about you? Computers in Human Behaviour. 52. pp. 443-449
Petri, A. 2013. A brief history of the selfie, the Oxford Dictionaries Word of the year.
Washington Post [online]. 19 November 2013. Available from: www.washington
post.com/blogs/compost/wp/2013/11/19/a-brief-history-of-the-selfie-the-oxford-
dictionaries-word-of-the-year/?utm_term=.530f5e45e927. Date assessed 4th March,
2017.
SparkNotes. (no date). Identity and reality contents. Available from:www.sparknotes.com/
sociology/identity-and-reality/section2.rhtml Date assessed 4th March, 2017.
Statista. 2017. Most famous social network sites worldwide as of January2017, ranked by
number of active users (in millions). Available from:
www.statista.com/statistics/277014/global-social-networks-ranked-by-number-of-
users/ Date assessed 4th March, 2017
Tifentale, A. 2014. The Selfie: Making sense of the ‘masturbation of self-image’ and the
‘virtual mini-me’. The Graduate Center, The City University of New York (CUNY).
http://www.fortune.com/2015/09/01/facebook-africa-statistics/
http://www.scnarc.rpi.edu/personality
Copyright of Gender & Behaviour is the property of IFE Centre for Psychological Studies and
its content may not be copied or emailed to multiple sites or posted to a listserv without the
copyright holder’s express written permission. However, users may print, download, or email
articles for individual use.