{"id":359,"date":"2019-05-06T07:14:23","date_gmt":"2019-05-05T23:14:23","guid":{"rendered":"https:\/\/networkconference.netstudies.org\/2019Curtin\/?p=359"},"modified":"2019-05-06T15:26:42","modified_gmt":"2019-05-06T07:26:42","slug":"social-media-and-its-negative-impact-on-the-female-identity","status":"publish","type":"post","link":"https:\/\/networkconference.netstudies.org\/2019Curtin\/2019\/05\/06\/social-media-and-its-negative-impact-on-the-female-identity\/","title":{"rendered":"Social Media and its Negative Impact on The Female Identity."},"content":{"rendered":"\n
Social media and its negative impact on the female identity.<\/a>Download<\/a><\/div>\n\n\n\n
Abstract<\/strong><\/h5>\n\n\n\n

The purpose of the following paper is to showcase social media as a deterrent to authentic online identities for female. The link between social media and identity has been studied and its negative influences on women have been highlighted. The focus will be mostly on Facebook and Instagram for this study. Research undergone for this paper has demonstrated that social media actively influences the way women choose to represent themselves online so as to be socially accepted. The paper will explore social media as an advocate for patriarchal ideologies and unrealistic body and beauty ideals which in turn affect the female sex as they actively use their profiles. Online cultural trends and their influences will also be discussed. The conclusion will also demonstrate that social media will persist and its sexist influence on women will not subside until media channels and audiences stop the seeking post-feminist model of feminine desirability.<\/p>\n\n\n\n

Introduction<\/strong><\/h4>\n\n\n\n

For years, laymen conveyed their identity in face-to-face\ninteraction through their body-language, way of speaking or their reaction to\nsituations. Most people had their own individual identity which would\noccasionally be influenced by celebrity trends as famous personas were the ones\nin the public limelight. However, as web 2.0 became increasingly prevalent\nglobally, social networks and spaces also grew exponentially giving users\nopportunity to put themselves online. People created and projected themselves\nonto these networked spaces for an audience, composed of their family, friends\nand a few strangers, to witness and communicate with. (Livingstone, 2008). The\nuse of social media was, at first, essentially for occasionally communicating\nwith one\u2019s entourage but progressively the global technological situation\nbettered. Consequently, social platforms and mobile communications have\nstretched the array of social spaces where individuals inventively participate\nin their self-presentation by shaping and constructing their identity in order\nto fit the social norms (Arnett, 2000). Social media has helped many people\nreach astronomical fame and success namely, the Kardashian-Jenner clan. Kardashian\nis a world-renowned family, mostly famous for its involvement in numerous\nscandals and shocking beauty trends. Over the years, social media has mutated\nfrom being a useful tool to one with negative impact upon women and their\nidentity. <\/p>\n\n\n\n

Goffman and Identity<\/strong><\/h4>\n\n\n\n

Firstly, Goffman\u2019s take on identity will be explored as\nit will lay the foundation for the upcoming arguments involving the online\npersona and identity. In his book, Goffman (1956) explains the concept of\nimpression-management as a way to shape and maintain identity. It is a process\nof performing, interpreting, and adjusting one\u2019s social behaviour and identity by\nanalysing the contextual cues during a social interaction. These indications\nhelp in defining the social situation so as for a person to then present the\napt behaviour in order to control the impression that the society will have of\nthem. Similar to social media users who display their tailored identity\nthrough the customised profiles so as to fit the preponderant social\nenvironment and culture on each specific network. (Lincoln, 2012). Additionally, by adapting their behaviour in ways they\ndesire, people can create a new aspect of their identity. Essentially, the\nobjective behind impression management is to create an identity which fits\nsocial conventions and expectations and which is not embarrassing. <\/p>\n\n\n\n

The above further pertains to Goffman\u2019s dramaturgical theory which explains social interaction as a theatrical performance and identity as a performance. A person will take on different roles in different situations and in front of varying audiences with the most crucial aspect being “the sense he provides them through his dealing with them of what sort of person he is behind the role he is in” (Goffman, 1974, p. 298). By extrapolation, there are two different spaces where individuals act differently; the front stage and the back stage. Both spaces are equally important in the life of a person for identity creation as the latter influences the former and vice versa. The former is the observable environment where performances are customised and adapted for demonstration which means that this identity is constructed. In the backstage space, a person\u2019s identity is most authentic and less articulated as there are less strictures and strain on behaviour due to intimacy. In the current era, social media is considered as the front stage whereas the real and physical word has been relegated to the status of \u2018backstage\u2019. Goffman\u2019s approach to identity will be used to make sense of females\u2019 behaviour on social media and how their identity is affected with external influences, specially from media and celebrities.<\/p>\n\n\n\n

Social Media Nowadays<\/strong><\/h4>\n\n\n\n

Social media has become an inherent part of mostly\neveryone\u2019s life. It has allowed individuals to \u201cconstruct a public or semi-public\nprofile within a bounded system, articulate a list of other users with whom\nthey share a connection, and view and traverse their list of connections and\nthose made by others within the system\u201d (Boyd and Ellison, 2007). The mass\ncommercialisation and affordable distribution of internet as well as mobile\ndevices has made social media highly populated and the preferred means for\ncommunication among many of its other uses. Meraz (2009) explains that social\nmedia has been \u2018\u2018architected by design to readily support participation,\npeer-to-peer conversation, collaboration, and community\u2019\u2019 (p. 682). With a\nmajority of 52% of users being female according to Statista (2019), Instagram\nis the perfect example to support Meraz\u2019s claims relating to participatory\nculture. Users of both genders not only collaborate to generate activity on the\nplatform but are mutually dependent for directing traffic to one another\u2019s\nprofiles or pictures through likes, shares or comments. <\/p>\n\n\n\n

People using social medias are exposed to publics who\ncarry out a critical role in the growth of people for, as Nancy Fraser (1994)\nstates, \u201cthey are arenas for the formation and enactment of social identities\u201d.\nSimilar to the concept of Multi User Dungeon (MUD) in gaming, social media\nallows role-playing to its audiences in order for them to test out different\nidentities due to parallel narratives. (Turkle, 1997). Thus, there is no\ncoherence in the identity of users as they tend to perpetually switch and\nadapt. The publics that are users of social platform and may consist of\nfriends, family or peer groups who are directly connected to one\u2019s profile. Livingstone,\nin 2005, as cited by Boyd explains the concept of \u2018publics\u2019 as being a group of\npeople that is unknown to each other but hold \u201ca common understanding of the\nworld, a shared identity, a claim to inclusiveness, a consensus regarding the\ncollective interest\u201d (2007, p.7). Thus, the user is not only exposed to her\nclosed ones but can be searched and viewed by strangers as well which can be an\nincitement to construct a fake identity. <\/p>\n\n\n\n

Moreover, Facebook has established itself as the leading and dominating social networking site since years but Instagram, founded in 2010, has also quickly risen in popularity. It is the second most famous social site with 500 million active monthly users of which 59% of online adults are aged between 18 to 29 (Pew Research Center, 2016). Instagram has facilitated the sharing of snaps of a person\u2019s life along with following that of peers and unattainable celebrities. Hodkinson and Lincoln (2008) also explain this as a similarity between the use of bedroom spaces and social media networks whereby the lines of private territory, intimacy and personal control have been blurred. Considered as a mere leisure activity for long, social media has now become a complete and integral part of everyone\u2019s life to be able to go to the extent of even affecting a person\u2019s identity. Its salient place has reinforced pressure on women to conform to certain trends which have been ferociously proliferated through social media and endorsed by their famous personalities and friends. <\/p>\n\n\n\n

Social Media, Feminism and Sexualisation<\/strong><\/h4>\n\n\n\n

Peer culture, trends and normativity of practices have a\nstrong impact during the construction of identity. In recent times, a new\nhybrid of celebrity has cropped up which is referred to as an \u2018Instagram Star\nor influencer\u2019. They gained fame and have a big following on Instagram and are\nhandsomely paid for regularly posting. A majority of them are women and have\ntheir biggest following base within the female gender who admire them and try\nto replicate their posts and pictures. <\/p>\n\n\n\n

In 1997, Frederickson and Roberts came up with the term\n\u2018objectification\u2019 which pertains to the way women are considered and treated as\nsexual objects which in turn influences them to present themselves as such (Vandenbosch\n& Eggermont, 2012). Although social networks have eased the access to women\nto state and control the making of their \u2018self\u2019, societal influences still\nexert pressure on them by actively leveraging dominant ideologies against them\nand also through mainstream media that still tend to be sexist. Women\nconsciously present themselves in ways depicted by media so as to be socially\naccepted and to conform to ideals set by years of patriarchal reign. The act of\nself-objectifying to embody themselves as being marginalized further\nindoctrinates the hegemonic ideal of femineity (Th\u00f8gersen-Ntoumani, Ntoumanis,\nCumming, Bartholomew & Pearce, 2011). As Pearson (2009) explains; social\nnetworking sites performances are easily accessible by everyone and are usually\n\u201ccoded with open symbology\u201d that is; it is understood and has meaning to the\ntargeted and any extended audience. Therefore, by presenting themselves in a\nmanner compliant with the male gaze, women further reinforce prevailing sexist beliefs.\n<\/p>\n\n\n\n

Two decades earlier, obtaining photographs was a lengthy\nand tenuous process which restricted people in their way of using images in\ntheir social relationships. (Tinkler, 2008) However, since mobile technology\nequipped with internet emerged, \u2018selfies\u2019 have been turned into a mainstream\ncultural practice. As a result, clicking intimate and seductive pictures are now\nvery easy. Drawing from Groffman\u2019s theory impression-management, some women use\nobjectification on social media so as to build a feminine and female\nstereotypical identity of themselves. As Mascheroni, Vincent and Jiminez explain;\nposing in a seductive manner can be interpreted as a rebellion against\npeer-induced morality and is very often perceived as being \u201cinappropriate,\nunsuccessful, and [a] problematic means of gaining social acceptance by\nconforming to a pattern of adult femininity\u201d (2015). By commodising themselves\nfor the public, women are viewed as an easy target to be subjected to\npatriarchal laws as their character and self-respect is negatively and wrongly\nperceived by their audience. <\/p>\n\n\n\n

Beauty Standards, Body Ideals and Identity<\/strong><\/h4>\n\n\n\n

Women have been socialised towards a\npost-feminist model of feminine desirability\nby the media which leads them to having specific standards for the ideal body\nwhich further influences the way in which they depict themselves. Sarantakos\n(2005) highlights that men have perpetually been in positions of authority thus\nhaving the liberty and power to dictate standards and morals for the society.\nConsequently, gender has been principally viewed through a conservative male\ngaze (Owen & Spencer, 2013). Women have always had to conform to the\nbeauty, behaviour and academic ideals set by men. <\/p>\n\n\n\n

Louis Althusser (2008) argues that identity is a cultural\nconstruction relying on the active process of people being socialised into\nspecific social roles such as women being socialised in rigid and inflexible\nbeauty standards and body ideal in this case. According to Cohen, Newton-John\n& Slater (2017), \u201cyoung women are higher in thin-ideal internalisation\u201d.\nThis suggests that they are more prone to self-objectifying and sexualising\nthemselves through photo activities on social media which may reinforce body\nimage issues and concerns as they grow older. These women also follow\nappearance-centred accounts of celebrities or fitness influencers which further\nreiterate their issues with their self. <\/p>\n\n\n\n

Women who do not fit in the strict characteristics of the\n\u2018perfect women\u2019 are often subjected to trolls who bully them. As Donath (1999)\nexplains, trolling is a kind of identity fraud, albeit one that is carried out\nwith the other plays agreeing to it. Similarly, on social media, trolls are\nindividuals with fake profile who leave unpleasant comments under the pictures\nof other users. Dissatisfaction with one\u2019s body usually arises from comparing\nwith other users. Festinger (1994) devised a theory named the social comparison\ntheory to explain how humans have an intrinsic urge to measure themselves with\nothers in order to evaluate their own capacities and sentiments. Body issues\nalso entail an impact on identity whereby an individual either projects a more\nvulnerable image seeking for constant validation on social media or they\nendorse an insensitive and unfazed role. <\/p>\n\n\n\n

As explained above by Goffman, identity is not an intact and constant thing. It alters along as other contextual factors change (Velez, 2014). The \u201cself\u201d is not fixed and thus when going through body image concerns, women accordingly adapt their identity and the role they will lead in front of their audience, that is in the frontstage, while being of an entirely different perspective in the backstage which is shielded from all audiences (Van Der Nagel & Frith, 2015). They will tend to imitate other female figures who are popular and highly valued by their audiences so as to mimic their behaviour. They are inclined to portraying themselves as a hypersexualised persona online although they might not feel comfortable endorsing the same persona in real life. <\/p>\n\n\n\n

Conclusion:<\/strong><\/h4>\n\n\n\n

This paper has explored the effect of social networking\nsites on female identity in relation to Goffman\u2019s theories on identity and\ndramaturgy. The extent in which social media, as a global connected network,\nhas seeped into the lives of users to become an integral and indispensable part\nof it has also been explored in detail above so as the gravity of its impact\nupon women\u2019s identity can be gauged. The paper explores how the golden\nbeginnings of Web 2.0 as the most admirable tool for participation and\ncollaboration has transformed into toxicity-inducing social media platforms for\nthe female gender. The key conclusion from the paper would be that while there\nis a blurry boundary between the virtual world and physical world, the same\ncannot be stated for online and offline identity. Identity online is\nexcessively constructed due to global influences and trends; to sometimes even\nbe detrimental to the years of progress first started by the suffragettes. Even\nworse, social media exerts psychological pressure upon young women in order to\nfit unrealistic standards so as to be socially accepted which then leads to\ndeep insecurities and body image issues affecting their self-worth. The need\nfor validation and gratification and the hyper sexualisation of females have\nreplaced meaningful relationships and interaction. Until hegemonic ideologies\nare abated and materialistic and superficial identity stop being admired,\nsocial media will keep negatively affecting women and the way they portray\nthemselves.<\/p>\n\n\n\n

Limitations:<\/strong><\/h4>\n\n\n\n

It is important to note that there are a few limitations to the generalisation of this paper. Firstly, the paper has been written completely based on secondary data from other authors which limited the various perspectives in which some arguments could have been analysed had there been primary data collection. Longitudinal effects refrained from the conduction of surveys and primary data in order to write a paper focused on Mauritius and social media users here. There is possibility of cultural and gender bias in some parts of the paper as the arguments pertain to a global pool of solely female individuals. <\/p>\n\n\n\n

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Abstract The purpose of the following paper is to showcase social media as a deterrent to authentic online identities for female. The link between social media and identity has been studied and its negative influences on women have been highlighted. The focus will be mostly on Facebook and Instagram for this study. Research undergone for… Continue reading Social Media and its Negative Impact on The Female Identity.<\/span><\/a><\/p>\n","protected":false},"author":42,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[4,6],"tags":[26,132,131,129,134,17,135,28,136,139,137,40,138,130,21,133],"class_list":["post-359","post","type-post","status-publish","format-standard","hentry","category-identity","category-social","tag-body-image","tag-construct","tag-culture","tag-female","tag-hegemony","tag-identity","tag-ideologies","tag-instagram","tag-issues","tag-negative-impact","tag-objectification","tag-online","tag-sexualisation","tag-social","tag-social-media","tag-trends"],"_links":{"self":[{"href":"https:\/\/networkconference.netstudies.org\/2019Curtin\/wp-json\/wp\/v2\/posts\/359","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/networkconference.netstudies.org\/2019Curtin\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/networkconference.netstudies.org\/2019Curtin\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/networkconference.netstudies.org\/2019Curtin\/wp-json\/wp\/v2\/users\/42"}],"replies":[{"embeddable":true,"href":"https:\/\/networkconference.netstudies.org\/2019Curtin\/wp-json\/wp\/v2\/comments?post=359"}],"version-history":[{"count":11,"href":"https:\/\/networkconference.netstudies.org\/2019Curtin\/wp-json\/wp\/v2\/posts\/359\/revisions"}],"predecessor-version":[{"id":459,"href":"https:\/\/networkconference.netstudies.org\/2019Curtin\/wp-json\/wp\/v2\/posts\/359\/revisions\/459"}],"wp:attachment":[{"href":"https:\/\/networkconference.netstudies.org\/2019Curtin\/wp-json\/wp\/v2\/media?parent=359"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/networkconference.netstudies.org\/2019Curtin\/wp-json\/wp\/v2\/categories?post=359"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/networkconference.netstudies.org\/2019Curtin\/wp-json\/wp\/v2\/tags?post=359"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}