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This article is concerned with the problem of progress, namely, of how contemporary technologies emerged to express knowledge and cultural powers that would existentially affect humans and nature; thus revealing the necessity of our ethical responsibility toward existence and its dialectical relations between humans and nature, and especially with the collective development in our scientific and technological capabilities. By using analytical and critical approach, this article tries to tackle the question of scientism and its current implications, due to the fact that scientific thinking is evolving towards a kind of unreasonable scientific logic! It is a kind of dogmatic thinking pronouncing itself as having the right of being absolutely true. From a deontological perspective, any scientific trend that is detached from ethics is a kind of technological madness falling towards the abyss, with all what it represents of threats on the current and future foundations for natural life, due to prejudices against technological progress related to an ideological bets, both political and economic, of instrumental science driven by the well of power and the urge to dominate.

In its origins, surrealism transpired as a radical subversive culture within advanced capitalist societies in Europe during the first few decades of the twentieth century. In colonial and postcolonial societies, however, surrealism variously assumed a quintessence of a protracted struggle between, on the one hand, the old and neocolonial cultural hegemony and, on the other hand, the subversive resistance by the neocolonized, with all the paradoxical elements that are part and parcel of that struggle. One of the few manifestations of a surrealism-inspired cinematic work in the Arab world during the last century is Youssef Chahine's Alexandria, Again and Forever (1990). This critically acclaimed film is a rich example of Arab cinema that celebrates non-normative personal identity while simultaneously rethinking traditional notions of nation under colonial rule. This third installment of Chahine's autobiographical film quartet, which he intermittently drew over the course of his thirty-year career, indulges a complex exposé of Chahine the man, the artist, and the political activist. It also draws on mostly imagined, and partly real, episodes in the filmmaker's life. As such, and rather than using a typically grand anticolonial metanarrative, the film favors the depiction of multiple surrealist proliferations of difference, juxtapositions, dislocation, and distortions seen not as embodiments of a single truth but rather as energized political and aesthetic forms of a collective project for revamping Egyptian and Arab identity and reality.

Le discours du nouveau Président algérien, Monsieur Abdelmadjid Tebboune, se caractérise par une rhétorique différente de celle de ses prédécesseurs. Notre entreprise, dans le présent article, vise à rendre compte de cette spécificité discursive en interrogeant trois expressions ponctuant souvent son discours. Notre analyse se propose d'examiner des segments de discours collationnés à partir des différents entretiens périodiques accordés aux médias nationaux et internationaux ainsi que des allocutions du président lors des travaux réunissant le gouvernement et les walis. En guise de conclusion, nous déterminerons les motivations du choix de ces formules dans le discours présidentiel.https://www.revue-akofena.com/wp-content/uploads/2021/11/11-T07-SpL-20-Azzedine-MALEK-pp.-137-150.pdf