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Background: Targeting low self-esteem in youth exposed to childhood adversity is a promising strategy for preventing adult mental disorder, but psychological help remains difficult to access and accept for youth, calling for novel, youth-friendly approaches. Mobile Health (mHealth) and, most prominently, ecological momentary interventions (EMIs) provide a unique opportunity to deliver youth-friendly, personalized, real-time, guided self-help interventions. The aim of this study is to investigate the efficacy of a novel, accessible, transdiagnostic ecological momentary intervention for improving self-esteem ('SELFIE') in youth with prior exposure to childhood adversity.Methods/design: In a parallel-group, assessor-blind, multi-center randomized controlled trial, individuals aged 12-26 years with prior exposure to childhood adversity and low self-esteem will be randomly allocated to SELFIE in addition to treatment as usual (TAU) as the experimental condition or the control condition of TAU only, which will include access to all standard health care. SELFIE is a digital guided self-help intervention administered through a smartphone-based app to allow for interactive, personalized, real-time and real-world transfer of intervention components in individuals' daily lives, blended with three training sessions delivered by trained mental health professionals over a 6-week period. Outcomes will be assessed at baseline, post-intervention, and 6-month follow-up by blinded assessors. The primary outcome will be the level of self-esteem as measured with the Rosenberg Self-Esteem Scale (RSES).Discussion: The current study is the first to establish the efficacy of an EMI focusing on improving self-esteem transdiagnostically in youth exposed to childhood adversity. If this trial provides evidence on the efficacy of SELFIE, it has significant potential to contribute to minimizing the deleterious impact of childhood adversity and, thereby, preventing the development of mental disorder later in life.Trial Registration: Netherlands Trial Register NL7129 (NTR7475 ). Registered on 9 November 2018. [ABSTRACT FROM AUTHOR]

Les écrans apportent un élément nouveau dans l'environnement de l'enfant et plus encore de l'adolescent. Nouveau partenaire de leur développement, retenant de plus en plus leur attention, ils ont des effets multiples. Ils modifient la relation à l'espace, au temps, à l'attention et introduisent une nouvelle donne dans la construction de la sexualité des jeunes par la place de la pornographie dans les contenus librement accessibles par tous sur Internet. Ils mettent en difficulté–pour le moment–les pratiques pédagogiques. Mais, les conséquences des écrans sur les jeunes dépendent aussi beaucoup du contexte d'utilisation et de l'environnement dans lequel ils vivent. À côté de l'enfant, il y a les parents, avec leurs pratiques éducatives et leur propre utilisation des écrans, et il y a la société, avec ses valeurs, les repères qu'elle offre à ses membres, sa culture et ses modèles. Dans cet article, nous tentons de cerner certains effets de l'utilisation importante des écrans par les enfants et adolescents sur la construction de l'espace et sur le rapport à leur corps en l'illustrant de vignettes cliniques. En effet, l'interaction corps-environnement est à la base de la construction de la représentation du corps propre, comme de celle de l'espace, essentielles à la construction de l'identité. Screens bring a new element to the environment of the child and even more to that of the adolescent. As a new partner in their development, screens are increasingly retaining the child's attention, and have multiple effects. They alter the relationship to space, time and attention and introduce a new dimension in the construction of the sexuality of young people. They are challenging–for the moment–educational practices. But the impact of screens on young people also depends a lot on the context of use and the environment in which they live. Alongside the child, there are parents, with their educational practices and their own use of screens, and there is society, with its values, the benchmarks it offers to its members, its culture and its models. Screens have become ubiquitous and invite humans to interact through their accessibility, the amusing simplicity of their job and their possibilities of interactivity. This tool will promote and even stimulate the child's empowerment vis-à-vis parents in his discovery and exploration of the world. Access to a screen connected to the Internet explodes the possibilities of interactions and exploration of a virtual space that is almost infinite. More and more, there is a striking contrast between the increasing spatial framing of the child confined in socially dedicated places, the room, the parental apartment, then the school, spaces set up for his protection... and his freedom to explore and interact with the virtual environment made possible by the connected screens that parents offer him. For safety reasons, children, especially younger ones, are no longer being opened to the streets, and they spend less and less time in parks or natural spaces (forests, fields, rivers, etc.). Children are increasingly reclusive in the interior spaces of homes and in playgrounds designed for their safety, which sanitizes the encounter with the natural environment. In contrast to this physical framing, the child's framing in the discovery and exploration of the virtual world increasingly escapes parents, despite the "parental control" devices. In this article, we try to identify some of the effects of the significant use of screens by children and adolescents on the construction of space and on the relationship to their bodies illustrating it in clinical vignettes. Indeed, the body-environment interaction is at the basis of the construction of the representation of one's own body, as well as that of space, essential for the building of identity. [ABSTRACT FROM AUTHOR]

Drawing on a practical perspective and a posthuman approach, this article maps the quotidian digital geographies of selfie practices. The empirical analysis of this research is based on a qualitative study that took place in a Chinese city – Guangzhou. The empirical sections of this research investigate the digital geographies of daily selfie practices by focusing on the process of preparing for, taking, editing, and sharing selfies which are facilitated by both non‐human and human agencies. The findings of this article indicate that selfie practices are simultaneous a technology of self and a reflexive performance by which people construct diverse selves in extraordinary scenes and an obsessive way of seeing, consuming, and communicating shaped by wider digital cultures and social norms. More broadly, this article suggests that local contexts still matter in shaping the visual cultures and practices in contemporary digital society. This article maps the quotidian digital geographies of selfie practices, drawing on a practice perspective and a posthuman approach, based on a qualitative study. The key findings of this research suggest that selfie practices bring human‐technology interactions into being: smartphones, social media, and photo‐editing apps/software deterritorialise the construction of personal images from physical bodies, reterritorialise it on digital platforms and transduce the embodied experiences in physical places to be an attractive element in the digital images of the self. [ABSTRACT FROM AUTHOR]

Copyright of Educação is the property of EDIPUCRS - Editora Universitaria da PUCRS 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. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of International Journal of Social Sciences (IJSS) / Uluslararasi Sosyal Bilimler Dergisi is the property of International Journal of Social Science 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. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article argues that the (new) media landscape of the European border regime rehearses colonial and slavocratic tropes often excised from canonical narratives of Fortress Europe, namely the fungibility of the other's body and self. By discussing examples of (feigned) refugee self-representation, I demonstrate how the ostensible oppositionality of race and racial thinking (primitive past) and technology (modern future) fundamentally erodes in the European border regime while contributing to the further erasure of those most harshly targeted by it. The examined self-representations are caught in fungibility as the gaze of the other is circumvented by a proxy, instituting a relation of substitution that inherently depends on the erasure of the racialized subject for the purpose of White enjoyment. [ABSTRACT FROM AUTHOR]

Social Networking Sites (SNS) user behavior has been discussed in association with SNS user personality characteristics, such as narcissism. However, gender and cultural influences on the relationship between selfie posting on SNS and narcissism remain unclear. Thus, the present study included gender and culture to investigate the relationship between narcissism and selfie posting using 232 Japanese and 481 American college students. The main findings include: (a) while the data failed to show a significant difference in level of narcissism across culture, significant gender differences were found in each culture; (b) our data show no significant difference in the number of selfies across culture/gender or level of narcissism; (c) self-esteem moderated the relationship between narcissism and the number of selfies for American male college students. [ABSTRACT FROM AUTHOR]

Social media, advanced mobile technologies and the fast speed internet access have malformed the lifestyle and their daily routine where selfie taking phenomena has emerged as pivot activity of university students. The propensity of capturing own pictures has become into a noticeable truth of the digital culture of the Pakistani society. The main idea of the study is to investigate the popularity and various effects of selfie taking behavior among university students of mass communication and media studies in Karachi. Moreover, current study also examined the perception towards taking selfie and its contact with psychology of media students. The study was based on survey method was used structured questionnaire. 120 students were participated through convenience sampling method for this study from five universities' media studies and mass communication departments. The insights of the research showed that a good number of the of respondents admitted that they taking selfies send them on social media and feel happy when people like their selfies. 76(71.66%) of students states that taking a selfie can turn deadly. It was found from the study 62(51.66%) of the respondents determined with the statement taking selfies is a waste of time. The present study suggested that request to individuals, to follow a few safe selfie rules while capturing picture. [ABSTRACT FROM AUTHOR]

Aim: The study aims to identify significant personality predictors of selfie-taking behavior among college and school-going students. Methods: The sample size consists of 50 boys and 50 girls (n = 100) between the age range of 16-23 years from various schools and colleges of Delhi NCR. The tools used in the study were Cattell's 16 Personality Factors and Selfitis Behavior Scale. Results: The results of the study depicted a positive correlation of selfitis behavior with perfectionism and sensitivity. However, self-reliance, reasoning, and emotional stability showed a negative correlation with selfitis behavior. Furthermore, the results of the study showed that girls have more selfitis behavior as compared to boys and the college group have more selfitis behavior than that of the school group. ANOVA and linear regression were used to analyze data. Conclusion: Social media is the strongest tool of communication nowadays. "Selfies" are a growing social networking technique for self-disclosure. Use of social media is focusing on the physical aspect and allowing posting and amending pictures that are creating concerns about body image, poor self-esteem, loneliness, and depression among students. The overall results suggest that while selfies provide individuals with the potential of enhancing self-disclosure, they also demonstrate some risky and unhealthy behaviors. Therefore, predicting personality traits could be considered an effective variable to sensitize them before the deterioration of their mental health. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Erciyes Communication / Erciyes İletişim Dergisi is the property of Erciyes University, Faculty of Communication / Erciyes Universitesi Iletism Fakultesi 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. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The use of photo-based social media has been associated with body image concerns among young women. Women in midlife are increasingly experiencing appearance pressures, and these pressures might be particularly strong on social media. However, to date, most of the research on social media use has focused on younger women, and this constitutes an important gap. The purpose of this study was therefore to examine a model of the relationships among social media use and body image among women aged 40 and over. A convenience sample of 192 women aged 40–73 years completed an online survey assessing selfie investment, social media appearance pressures, thin-ideal internalization, appearance comparison, weight and shape concerns, facial satisfaction, drive for youthfulness and drive for muscularity. The final sociocultural model was a good fit to the data, and thin-ideal internalization and appearance comparisons mediated the pathways between the social media variables and the body image ones. • Women in midlife experience appearance pressures on social media. • A sociocultural model of the links between social media and body image fit the data. • Thin-ideal internalization and appearance comparisons were mediators. [ABSTRACT FROM AUTHOR]

Bireylere kimlik inşası, öz kimliğin yönetimi ve sosyal ilişkilerin yönetilmesi konusunda yeni fırsatlar sunan sosyal medya ortamlarında bireyler artık izleyici ya da topluluk karşısında imajlarını daha kolay vurgulayabilmekte ve özellikle fotoğraf üzerinden benlik sunumlarını güçlendirebilmektedirler. Özçekim bu anlamda bir çeşit iletişim aracı olarak değerlendirilmekte ve teknolojiyi daha sık ve etkili kullanan üniversite öğrencilerinin kişisel imaj sunuları için bir araç niteliği taşıyabilmektedir. Bu kapsamda, bu araştırmada Türkiye’de uzaktan öğrenim gören öğrencilerin özçekim yapma ve bu çekimleri sosyal medyada paylaşma eğilimlerini ve nedenlerini ortaya çıkarmak amaçlanmıştır. Bunun yanısıra araştırma, özçekim yapmayan ya da yapmasına rağmen herhangi bir sosyal paylaşım ağında paylaşmayan uzaktan öğrenenlerin düşüncelerini de ortaya koymayı amaçlamaktadır. Bu amaçlarla araştırmanın örneklemini Anadolu Üniversitesi Açıköğretim Fakültesi’nde öğrenim gören ve çalışmaya gönüllü katılan 3112 üniversite öğrencisi oluşturmuştur. Çalışmada veri toplama aracı olarak 3 bölümden oluşan bir anket formu kullanılmıştır. Anket formunda katılımcıların demografik bilgilerini, özçekim yapma ve bunu sosyal ağlarda paylaşma nedenlerini belirleme amaçlı çoktan seçmeli sorular yer alırken; kullanıcıların özçekim yapmama nedenlerini belirlemede açık uçlu soruya yer verilmiştir. Nicel ve nitel yöntemlerin birlikte işe koşulduğu araştırmada nicel verilerin analizinde tanımlayıcı istatistiklerden faydalanılmıştır. Nitel veriler betimsel analizle yorumlanarak kategoriler haline getirilmiştir. Bu bağlamda elde edilen verilere göre kullanıcıların en fazla özçekim yapma nedeni farklı yüz ifadeleriyle kendini göstermek ve böylece eğlenmek; özçekim yapmama nedenleri ise sahip olunan imajı koruma, izlenimleri inceleme /başkalarını nasıl gördüğü, sistemi eleştirme, toplumsal ahlaka aykırı bulma olarak gruplandırılmıştır.

In selfie photos, women are no longer positioned as objects from photographers, but rather act as subjects who take pictures as well as the subject being photographed. Women in this context become more aware of the values of femininity that have been attached to their bodies. This study aims to identify expressions of femininity represented in selfie. The method used in this study is audience research. The results of the study show two things. First, the physical beauty represented by selfie includes the brightness of facial skin, thin cheeks, and the reddish of red lips. Second, femininity as an expression of their body being identified again into three aspects, namely, women as objects, women as subjects, and women as both of subjects and objects.

This article is part of a research-training that took place at the Spectaculu School of Art and Technology in 2016, with 29 students of Photography and Image Treatment in the discipline "Olhar" (View), whose objective is to enhance their aesthetic experiences. The research-training methodology (MACEDO, 2000; JOSSO, 2004; SANTOS, 2002) performs in a creative way in which it seeks to look at the educational experience to produce new knowledge and approaches. And in this meeting, the term “Tombamento” became increasingly evident from a device used in the classroom called "Autorretrato Musical" (Musical Self Portrait) that is a self-image connected to a song. Basically, the process of this device is divided into three: self-design and writing of their training networks; talk about yourself and listen to the other; creation and production of sound self-image. The objective of this article, therefore, is to examine this experience by exchanging the notions of “Tombamento” with effects of presence and meaning debated by the contemporary author Gumbrecht (2010). It is concluded that Tombamento is an ethical-aesthetic manifesto in itself, that is, in the very body of a contemporary generation composed of an " confrontational" youth who has formed in the periphery and the internet and who creates new narratives and references to theirs, gaining new spaces of action, being appropriated in mass media and subject to much criticism.

Selfie posting is now a well-established practice, particularly for young women. However, it is nevertheless much maligned in popular discourses. As a counterpoint to digital narcissism, selfie posting is also constituted as relational. This Q methodological study explored how young women make sense of selfie practices. Twenty-seven young women aged 18–23 sorted a set of statements about selfies into a quasi-normal grid. These sorts were factor analysed to identify shared patterns. Four factors were identified which were subsequently analysed qualitatively, producing a narrative for each. These included (1) 'Presenting... Me!', (2) 'I am what I am', (3) 'Sharing is caring' and (4) 'The In-crowd – beautiful and popular'. The complexity of identity curation evidenced in this study highlights the importance of moving beyond both polarised characterisations and the pathologisation of young women selfie takers in order to explicate the interplay between normative femininities and the digital self. [ABSTRACT FROM AUTHOR]

• Women who share selfies on social media can experience negative consequences. • Modifying selfies led to less appearance satisfaction and interest in cosmetic surgery. • Receiving appearance comments on selfies heightened self-objectification. • Self-objectification increased likelihood of sharing selfies in the future. The present study explores how the construction and distribution of selfies might interact with features of newer media to affect women who share selfies on social media. In particular, this study focuses on how specific types of photo modification and the nature of favorable audience feedback received on one's images might exert influence on women's state self-objectification and body image concerns. A 3 × 2 between-subjects lab experiment was conducted to explore how the type of photo modification (appearance modifications, nonappearance modifications, or no modifications [control]) and nature of positive feedback (appearance comments vs. nonappearance comments) affect state self-objectification, state appearance satisfaction, pro-cosmetic surgery attitudes, and willingness to distribute selfies on social media in the future. Results indicate that modifying selfies leads to less appearance satisfaction and lower pro-cosmetic surgery attitudes. Receiving appearance comments on selfies heightens state self-objectification, regardless of the type of photo modification. In addition, the more women self-objectified, the more inclined they were to share similarly objectifying selfies on social media in the future. The findings of this work provide a more comprehensive understanding of how women are impacted by the images they share online. [ABSTRACT FROM AUTHOR]

Despite having become more visible in popular and academic discourses over the last half decade, trans* selfies are not new. In this article, I examine an early set of trans* selfies featured in a sexploitation periodical published in the United States during the early 1960s. I show how numerous media, including bodies, clothing, cosmetics, photographs and magazines, produced a socio-technical environment through which trans* subjects composed alternative gender expressions and identities, formed intimate networks and created conditions of possibility for the eventual re-emergence of trans* selfies via digital social media platforms. Merging trans* theory with media ecology, I develop trans* media ecology as a conceptual frame from which to locate the always imbricated – but never complete – becoming of gendered bodies and media. Methodologically, trans* media ecology adopts three guiding principles: (1) genders are media, (2) genders depend on media and (3) genders and media change. [ABSTRACT FROM AUTHOR]

Taking as a starting point the conversational possibilities linked to the practice of selfie, this article aims to investigate the material-discursive practices and policies developed through the daily production and sharing of digital self-portraits. Based on ethnographic research carried out in the city of Salvador, BA, Brazil, it discusses the moments in which the political is differently requested in each specific practice and situation, and how conversations differ in each relationship, digital environment, and material arrangement. Based on the experiences and accounts presented, it is argued for an understanding of the practice of selfie also as a material-discursive practice, in which the digital materialities that compose it act in a way to transform experiences and create conversational possibilities in an environment of daily datafication. [ABSTRACT FROM AUTHOR]

For the modern-day jihadist, the digital self-portrait or, more specifically, battlefield selfie is a popular tool for identity building. Similarly to the selfies taken by non-violent practitioners of self-capture culture, the jihadist selfie represents an alternative to the Cartesian formulation of a unitary and indivisible self. Rather, it is a product of social relations and performative actions, constituted in dialogue with others through very specific socio-cultural frameworks and expectations. However, unlike its non-violent Doppelgänger, the expectations of this dialogue are centred around a larger political agenda which actively seeks to reformat collective memories of imperial Islamic conquests and co-opt religion as a way to impose a moral order on its violence. Importantly, the battlefield selfie allows the jihadist easily to traverse the boundaries between two seemingly opposing belief systems. Although there exists a wealth of scholarship of self-capture culture, image sharing sites and micro-celebritism, their pervasive influence and practice on battlefield is understudied. This article draws from the personal histories of key Islamic extremists who were both lionized and demonized as a result of their battlefield micro-influencer practices. Today, however, the same individuals can achieve internet fame by participating in self-capture culture - posting selfies, videos or blogging. In other words, never before has a soldier's public communication been so personal yet collective. [ABSTRACT FROM AUTHOR]

That 'a picture can stimulate a thousand words' aptly summarises the role of the visual in the field of language learning and teaching. The power of the image to generate language output has been widely acknowledged in the field of second/foreign language acquisition. Posters, diagrams, symbols and pictures are often found in language classrooms; illustrations and photos cohabit with the target language in textbooks. The relationship, however, between the lingual and the visual tends to be one of asymmetry. The visual tends to be held in lower regard and thought of as 'dispensable embellishment' (Millard, E. and J. Marsh. [2001]. Words with pictures: the role of visual literacy in writing and its implication for schooling. Literacy (Formerly Reading) 35, no. 2: 54–61: 55. DOI:10.1111/1467-9345.00162) especially when the learner has acquired a certain level of linguistic competence. Instead of focusing on the 'thousand words', this initial exploration into examining the verbal–visual interplay uses the 'picture', in the form of the selfie, as heuristic device. It draws insights from visual research approaches and digital communication studies to analyse the relationship between the verbal and the visual. Results point to a counter-reading of the selfie. It is suggested that using this digital self-portrait of the twenty-first century as talking point in an English fluency exercise has brought about unexpected findings – the strengthening of personal relations in the classroom and self-reflexivity among the students – aspects that are not often associated with the traditional use of visual 'aids'. It is proposed that current understanding of the 'lingual' can be enriched by bringing the 'visual' back into the frame. [ABSTRACT FROM AUTHOR]

Objectives: To examine the relationship between personality traits (Neuroticism, Openness, Consciousness, Agreeableness, and Extraversion) and selfie addiction among Lebanese adults. Design/Methods: A cross‐sectional study, carried out between August 2017 and April 2018, enrolled 1206 community‐dwelling participants. Results: Female gender (ORa = 2.79) and higher neuroticism (adjusted odds ratio [ORa] = 1.01) were significantly associated with moderate vs low selfie‐taking. Higher openness (ORa = 0.96) was significantly associated with low selfie‐taking. Female gender (ORa = 3.42) was significantly associated with intense vs low selfie‐taking, whereas higher age (ORa = 0.93) and higher conscientiousness (ORa = 0.99) were significantly associated with lower intense selfie‐taking. Practice Implications: This relationship can serve as a basis for other studies to better understand this new phenomenon and, later, to draw attention to a "selfie" practice that can deviate from the norm. [ABSTRACT FROM AUTHOR]

Copyright of Observar is the property of Revista Observar 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. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Olhar de Professor is the property of Olhar de Professor 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. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The analogy between the myth of Narcissus, referred to as the intrinsic symbol of painting by Leon Battista Alberti; the typological value of self-portrait as an ontological and statutory reference; its value while metamorphosis of reality; and the self-representative phenomenon that Selfi e translates – all this has to be established and requires due consideration. When dwelling on the contemporary Selfi e we need to consider also the salvifi c dimension of this kind of self-representation mechanisms that have always been there. The value of image while self-awareness mechanism compels us to question the fi eld of action where it is far more active – on social media. Its immanence is a true narcissistic affl iction. The intrinsic and immediate value of image thus overlaps sign and word. The mechanisms of self-contemplation thus produced translate into a clear ontological impoverishment of reality. The Selfi e does not prevent the subject’s Kafkian metamorphosis, but renders reality vulgar, making it acceptable through both similarity and integration. Self-portrait and Selfi e are thus the ancestral mechanisms of self-preservation. Its origin derives from narcissistic mechanisms that require a continuous desire to stand out socially. However, while the pictorial self-portrait translates into epistemic valuation of its author, Selfi e delights in the vulgarization of the repetitive and banal gesture.

Digital technology in its various forms is a significant component of our working environment and lifestyles. However, there is a broad difference between using digital technologies in everyday life and employing them in formal education. Digital technologies have largely untapped potential for improving education and fostering students’ well-being and inclusion at school. To bring this to fruition, systemic and coordinated actions involving the whole school community are called for. To help schools exploit the full range of opportunities digital technologies offer for learning, the European Commission has designed and implemented a self-reflection tool called SELFIE (Self-reflection on Effective Learning by Fostering Innovation through Educational Technology). Based on the DigCompOrg conceptual framework, SELFIE encompasses key aspects for effectively integrating digital technologies in school policies and practices. The present study investigates how SELFIE can also support the school community to self-reflect about students’ well-being and inclusion. In Italy, the SELFIE online questionnaire has been completed by 24,715 students, 5,690 teachers, and 1,507 school leaders, for a total of 31,912 users from 201 schools (at primary, lower secondary, and upper secondary levels) located in 10 different regions. The complementary data we have collected regarding student well-being and inclusion highlight significant differences in the perceptions on this issue reported by students, teachers, and school leaders. These findings have important implications for facilitating successful practices within the whole school community in order to promote students’ well-being and inclusion using educational technologies, as well as for planning future actions following a systemic approach.

This paper focuses on the phenomenon of selfie, its popularity, relationships with selfperception and ego-ontogenesis but in particular it is an opportunity to focus on the target group within marketing communication. The goal was to find out if there are correlations between personal factors (namely factors H: Social Boldness, N: Privateness, IM: Impression Management) and some content elements and the structure of selfies published on social networks amongst the youth. We used analysis of the content of selfies and 16 PF questionnaire (Cattell et al. 1997a, b). Statistical analysis of the data showed, that some structural elements of selfie (e.g. head position and tilt, composition of the shot) differentiate between varying degrees of the tested factors of the personality of respondents, other structural elements of selfie (e.g. type of eye contact, position of chin, etc.) do not. At the same time the implications will be proposed for use of the statements for planning and accurate targeting of marketing communication.

El espejo posee la cualidad de reconocernos en él cuando nos miramos. Su consideración en el Arte y el pensamiento occidental ha sido muy extensa y aquí veremos tan solo su influencia en el autorretrato desde la Antigüedad y las veladas influencias psicológicas que conlleva. Finalizamos con la utilización actual en la difundida práctica del ‘selfie’ como derivada de situaciones antiguas.

Este artigo objetiva por meio do conceito de ubiquidade entender como os comportamentos reinventam-se com o tempo e refletem valores culturais, padrões e características importantes que, com o auxílio de novas ferramentas de análise, ganham outro olhar e dimensão. Apresenta como as relações das pessoas com o corpo e com as imagens são transferidas para um contexto de conexão e mobilidade constante - trabalhando o subgênero fotográfico selfie. São revisitados estudos de autores como Sherry Turkle, Lucia Santaella e Lev Manovich, sendo descrito um trabalho de análise de dados da rede social Instagram desse último autor, intitulado SelfieCity. Por fim, apresenta-se proposta experimental de observar dados de selfies na cidade de Porto Alegre/RS e assume-se que as representações nos espaços virtuais aparecem atravessadas de rompimentos e experimentações depentes da trajetória histórica e cultural dos usuários, com seus movimentos e anseios.

Dzięki rozwojowi mediów społecznościowych coraz popularniejsze staje się udostępnianie zdjęć, często w formie tzw. selfie. Zjawisko fotografowania samego siebie pojawiło się w instytucjach kultury, w tym także w muzeach. Placówki wypracowują różne strategie reagowania na fotografowanie się na tle eksponatów. W artykule dokonano analizy tych reakcji, a na ich podstawie wskazano zróżnicowane sposoby definiowania funkcji oraz roli współczesnego muzeum. Spróbowano także odpowiedzieć na pytanie, czy udostępnienie zdjęć przez zwiedzających jest elementem tworzenia ich własnego wizerunku (kultura narcyzmu), czy raczej interakcji z dziedzictwem, dialogu z prezentowanymi treściami (kultura remiksu).

Due to the development of social media, posting one's photos is becoming increasingly popular; they often take the form of, so called, ‘selfie’. The phenomenon of photographing oneself has also occurred in cultural institutions, including museums. The museums are implementing various strategies of reacting to people taking pictures of themselves with exhibits at the background. The article presents an analysis of these reactions, and, based on that, various ways of defining the functions and role of the contemporary museum. The author also attempts to provide an answer to the following question: is posting photographs by visitors an element of creating their own image (‘the Culture of Narcissism’), or is it rather a form of interaction with heritage, of a dialogue with the presented contents (‘remix culture’)?

Bu Popüler kültürü tanımlaması açısından anlamlı olan prime-time (altın saatler) ve selfie (özçekim) bağlamında, daha çok Türkiye örneğinde, dinin kitle iletişim mecralarındaki ve politik alandaki görünürlüğünü teorik bir değerlendirme vasıtasıyla ele alan bu çalışma; (a) televizyon ekranlarında artan dindarlaşmanın sosyo-politik nedenlerini, (b) popüler kültür ve reyting (izlenme oranı) öğesi olarak din unsurunun etiğini, (c) kamusal alanda sıklıkla kullanılan dini sembol ve söylemin davranışsal boyutunu ve (d) “sosyal medya dindarlığı” olarak nitelendirilebilecek mobil iletişimdeki dindarlık biçimlerini analiz etmeyi amaçlamaktadır. Çalışmanın ilk sonuçları ve çözümlemeler, dini sembol ve söylemin, politik arena ve medya (yeni ve geleneksel) mecralarında bir gösteri unsuru olarak kullanıldığını ve dinin popüler kültüre ait tüketilen bir öğeye dönüştüğüne işaret etmektedir. / This study, mostly in Turkish context, handling the religious scenes in mass communication and political sphere within the framework of two meaningful popular culture terms (prime-time and selfie), in theoretical terms and through unstructured observations, aims to analyse (a) the socio-political reasons of increasing religiosity on television screens, (b) the ethics of religious coverage as a popular culture or rating entry, (c) the behavioural dimension of religious symbol or discourse that are much-applied in the public sphere and (d) the forms of devotedness in mobile technologies which can be called as social media religiosity. The preliminary outcomes and the analysis of the article suggest that religious symbols and discourse have been used as a show-business in political arena and media courses (new and traditional) and that religion has changed into a consumption item belonged to popular culture.

Background: Selfie deaths have become an emerging problem and we performed this study to assess the epidemiology of selfie-related deaths across the globe. Subject and Methods: We performed a comprehensive search for keywords such as “selfie deaths; selfie accidents; selfie mortality; self photography deaths; koolfie deaths; mobile death/accidents” from news reports to gather information regarding selfie deaths. Results: From October 2011 to November 2017, there have been 259 deaths while clicking selfies in 137 incidents. The mean age was 22.94 years. About 72.5% of the total deaths occurred in males and 27.5% in females. The highest number of incidents and selfie-deaths has been reported in India followed by Russia, United States, and Pakistan. Drowning, transport, and fall form the topmost reasons for deaths caused by selfies. We also classified reasons for deaths due to selfie as risky behavior or non-risky behavior. Risky behavior caused more deaths and incidents due to selfies than non-risky behavior. The number of deaths in females is less due to risky behavior than non-risky behavior while it is approximately three times in males. Conclusion: “No selfie zones” areas should be declared across tourist areas especially places such as water bodies, mountain peaks, and over tall buildings to decrease the incidence of selfie-related deaths.

Over the past 2 decades or so, the triple digital revolution—social network, Internet, and mobile phone—has increased the use and popularity of the "selfie." Within social sciences, the phenomenon of the selfie has been examined as a new culture that shapes human self‐presentation, social relationships, and social consumptions. This article provides an overview of the most common theoretical approaches that have been used by researchers to understand the phenomenon of the selfie. In particular, the article focuses on the use of the following frameworks: dramaturgic lens, sociosemiotic approach, and dialectical framework. In addition to these approaches, this article also introduces some preliminary ideas relating to the possibility of exploring the selfie through the lens of mediatization theory. This is based on the argument that the selfie phenomenon operates within media logic as it offers symbolic resources, discursive strategies, communicative messages, and performance tactics that shape and transform the presentation of self, social interaction, and social order. [ABSTRACT FROM AUTHOR]

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The year 2020 will be encrypted in the History of Mankind as a shattered time due to the SARS COVID-19 pandemic that scarred us due to the abrupt way we have lived it on personal, familiar and social levels. The impact of this change also happened at school and learnings preventing us to return to a past, which we were already finding difficult to accept. In this study we present the change in three dimensions: the pedagogical, the digital and the human. We studied a vulnerable educational context, the A.E. Professor Agostinho da Silva (AEPAS) in the Lisbon metropolitan area. We will focus on the change that occurred at the digital dimension of AEPAS. In order to do it, we used the SELFIE_DigComOrg tool which provided the evolution of a change capable of mobilizing the pedagogical practices resorting to digital technologies. [ABSTRACT FROM AUTHOR]

Martin Buber's I-It/I-Thou distinction is presented in this article as a useful analytic framework for approaching the ethics of self-portraiture without unnecessarily falling back on the (not always helpful) psychological term of narcissism. The result of the application of Buber's I-It/I-Thou to self-portraiture will reveal that, while some acts can represent the sort of championing of the self over others that we find worrisome in selfies, this is not productively discovered with the language of narcissism. Instead of looking for self-focus as the locus of ethics, the framework of Buber's I-It/I-Thou asks that analysts look for the legitimacy of the second-personal demands that an instance of selfie-taking places on other persons. Implications to communication ethics are discussed. [ABSTRACT FROM AUTHOR]

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• Ideal images and no-makeup images decreased facial satisfaction. • Ideal images but not no-makeup images decreased overall appearance satisfaction. • No-makeup images are more attainable that ideal images. • More appearance comparisons are made to ideal images than no-makeup images. • Positive appearance-related comments did not impact body image. Presenting no-makeup selfies interspersed with idealized made-up images may be beneficial for women's body image. However, the impact of viewing only no-makeup selfies is still unknown, as is the influence of any positive appearance-related comments from others accompanying those images on social media. Thus, in the present study, we examined the impact of viewing either: (1) idealized images with appearance-related comments, (2) idealized images with appearance-neutral comments, (3) no-makeup images with appearance-related comments, or (4) no-makeup images with appearance-neutral comments, on young women's (N = 394) appearance satisfaction, mood, appearance comparison frequency, and perceived attainability. Viewing idealized selfies of attractive women reduced women's satisfaction with their overall and facial appearance. Viewing natural no-makeup images of those attractive women also reduced women's facial satisfaction but had no impact on overall appearance satisfaction. No-makeup selfies resulted in less frequent appearance comparisons and higher perceived attainability than idealized images. There was no impact of appearance-related comments on any of the outcomes. The results suggest that no-makeup images are less detrimental to young women's body image than idealized images. [ABSTRACT FROM AUTHOR]

While the selfie has come to symbolize notions of selfhood in the age of social media, the photograph that has become a visual trope across the Facebook accounts of lower-middle-class young men in the western Indian city of Pune offers a different reading of online selfhood. In this article, I discuss the creation of a localized selfie—the "professional selfie"—in which young men stage their masculinity by engaging in a mimetic economy of exchanging characteristics with film heroes. In contrast to Susan Sontag's (2003) theorization of the intimate photograph, the professional selfie is devoid of interiority. Far from unaware of the camera in the manner described by Sontag, young men in Pune utilize the services of photographers to capture them at a distance and conceal their surroundings, thereby creating relations of social distance and distinction with their peers on Facebook. [ABSTRACT FROM AUTHOR]