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

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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).’

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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

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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

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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)

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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:

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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.

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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.

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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

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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

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