Research Journal of Langu Vol. 7(2), 1-8, May (2020) International Science Community Asso The self on the wane: u versu Av Received th A Abstract Three types of “non-flattering” selfies considered in this paper: “understate abilities in anticipation of objections fr image but from the safe side; and “# encompass reality instead of ever-b autobiographical poems from Greec “Minature writing” (with “understate NazimHikmet’s “Autobiography” (wi notwithstanding the differences that ex with which communication and literatu Keywords: Selfie, autobiography, com Introduction Looking into an issue from two standpoin understanding of the issue and sometimes well. Selfies are often contrasted with pain in this paper the contrast involves autobio method used is that of paired comparison. In more detail, three different types (Ronning/Psyched) 2 selfies, contrary to th neat ones that most people are accusto considered: i. “understatement selfies” are strategic presentation of oneself “ostensib relevance, abilities and achievements” expecting objections from others” in th leading to a positive re-valuation of the se selfies” are selfies of people making f temporarily compromising their image b actually saying “I’m not really like that selfies” are those that expose non-flatterin taking them, reflecting society’s need instead of ever-beautiful, utterly constructe These types of non-flattering selfies are co three autobiographical poems from Greec framework of comparative literature: “Miniature writing” (with “understatemen Souris’s “The sketch of me” (with “maki NazimHikmet’s “Autobiography” (with “# comparison confirms their equivalence. uage, Literature and Humanities _________________ ociation understatement, making-faces an us three autobiographical poems Christina Linardaki Advanced Media Institute, Cyprus cleareaching@gmail.com vailable online at: www.isca.in, www.isca.me August 2019, revised th November 2019, accepted th Decemb s, contrary to the beautiful ones that most people a ement selfies” that employ a strategic presentation rom followers, friends etc.; “making-faces selfies” tha #nofilter selfies” that expose non-flattering sides of beautiful constructed images. These are then co ce and Turkey, in the framework of comparative ement selfies”), Georgios Souris’s “The sketch of m ith “#nofilter selfies”). The comparison confirms xist. Additionally, the process leads to an awareness o ure are concerned. mmunication, poetry, reality. nts allows for a better s of the standpoints as nted self-portraits 1 , but ographical poems; the s of “non-flattering” he beautiful or at least omed to posting, are e those that employ a bly downplaying one’s ”, while “implicitly heir feedback, finally elf 3 ; ii. “making-faces funny or ugly faces, but from the safe side, at”; and iii. “#nofilter ng sides of the people to encompass reality ed images. ompared in pairs with ce and Turkey, in the : Kostas Varnalis’s ent selfies”), Georgios ing-faces selfies”) and #nofilter selfies”). The A non-flattering selfie and a be seen as two aspects of the flattering aspects of oneself; narrative that the person describe his/her identity, so against the neat image that manner, a selfie and an auto means that establish a soci individuality underlining the At a more fundamental level poem can also be seen as e symbols or simply messages similarity, however, is that dynamically to the fore, prett Though focused on the self collective practice in the fr observation leads to an aw reality with which communi Communication explores col consequences; literature focu and constructs a world out o world in the process. General facts before th Selfies: A selfie is a pictu towards the photographer, wh subject and the object of the _____________E-ISSN 2348-6252 Res. J. Lang. Lit. Humanities 1 nd #nofilter selfies s ber 2019 are accustomed to posting, are n of oneself downplaying their at temporarily undermine one’s oneself, reflecting the need to ompared in pairs with three literature: Kostas Varnalis’s me” (with “prank selfies”) and the equivalence of the pairs, of the different levels of reality an autobiographical poem, then, can e same willingness to disclose non- ; this willingness can be part of the conjures for himself in order to ometimes serving as an argument t society expects of them. In this obiographical poem can be seen as ial dialogue which transcends the selfie and the poem. l, the selfie and the autobiographical examples of different sets of signs, s employed to this end. Their main t the selfie brings the individual ty much like literature. f, we still examine the selfie as a ramework of communication. This wareness of the different levels of ication and literature are concerned. llective reality through the prism of uses on the reality of the individual of it, offering insights into our own he comparison ure taken with the camera turned ho thus simultaneously becomes the e photography. Nowadays, a camera