Extended Abstract:1. Introduction:Amélie Nothomb, the Belgian writer, has nowadays taken notoriety in literary circles because of applying her specific point of view in her books. In many of her works, frequent references to her past life and childhood can be noticed, which has been excessively criticized by her critics. In this article, we intend to understand Nothomb’s autobiographical writing style and explain it through Doubrovsky and Lejeune’s beliefs. We will also respond to how autobiographical roman functions in consoling psychological traumas.

Le pré, sent article a pour but d’, é, tudier l’, é, criture autobiographique d’, André,Gide (1869-1951) dans Si le grain ne meurt afin de mettre en é, vidence le ré, el et le paradoxe dans ses confessions personnelles. En effet, on prend en considé, ration Le pacte autobiographique de Philippe Lejeune comme une mesure convenable où,la production de l’, image de soi et la ré, invention (André,Gide) deviennent le pivot de tout regard recherché, : le moi « mobile » ou le moi « fixe »? Ceci dit, Gide s’, efforce de justifier l’, image de soi par le biais d’, une narration occasionnelle en faisant allusion à,la seconde ré, alité,dite le dé, sir subjectif. Ainsi, nous nous proposons d’, appliquer Le pacte autobiographique dans notre recherche, ce qui nous permet de connaitre Si le grain ne meurt comme un ré, cit paradoxal dont la certitude ou l’, incertitude demeure au sein de tout regard ré, trospectif une quê, te é, nigmatique. Nous tenterons de montrer é, galement dans Si le grain ne meurt, l’, opinion de Gide à,propos de l’, autobiographie et d’, en extraire les motivations qui le rendent un narrateur opportuniste.

Introduction: Dense Nonaqueous Phase Liquids (DNAPL) are the most common types of groundwater pollution. Surfectant Enhanced Aquifer Remediation (SEAR) is one of the most common methods of DNAPL-contaminated aquifer remediation. Due to the high cost of the chemicals used in this method (surfectants or cosolvents), it is necessary to choose the appropriate wells pattern, and the optimal pumping rates. UTCHEM simulation software has the ability to model the fate and transport of DNAPL and the application of the SEAR method. The main problem with this software is the long time required to run multiple senarioes when using optimization algorithms. The purpose of this study is to use two machine learning methods (Artificial Neural Network and K nearest neighbor) as sorrugate simulation model and imbedding the best one into the LINGO software to optimize the SEAR method. Material and methods: in the implementation of The SEAR method, the quantitative and qualitative aquifer data are required to model how to diffuse, transmit and delete DNAPLs in UTCHEM software. For this purpose information from the Camp Lejeune site in North Carolina, USA were used. In this study, by examining a variety of alternative models based on machine learning methods and implementing 250 different scenarios in UTCHEM software, two models, Artificial Neural Network (ANN) method, and k-nearest neighbors (KNN) were used to simulate the SEAR method and developing alternative model. In order to validate the two alternative models, 50 new scenarios were implemented in UTCHEM software and their percentage of removal was obtained. Also, using two alternative models, the percentage of removal of 50 scenarios were determined. in order to evaluate the performance of alternative models, the root mean square error (RMSE) was used and was compared with the results of other researchs. Finally an alternative model with more accuracy was used in LINGO software to optimize the Surfactant Enhanced Aquifer Remediation method (SEAR). Results and discussion: RMSE values in the results obtained from alternative models ANN and KNN in the validation stage were 0. 67 and 1. 66 respectively, which indicates the high accuracy of both alternative models, especially ANN. The average run time of each UTCHEM software in this study was 45 minutes, while in the alternative model it was reduced to a few seconds,LINGO software also examined about 21, 500 different scenarios in 30 minutes to determine the optimal scenario, while the time required for this task is more than 16, 000 hours if the alternative model is not used. Based on the position and discharge of active wells in the optimum scenario, it was found that firstly the existing wells upstream and downstream of the Pollution have the most impact on the remediation and secondly, the time factor is more effective than the wells pumping discharge in the remediation. The optimized scenario obtained in this study remediates the DNAPL-contaminated area by up to 95% at a lower cost than the costs reported in the Camp Lejeune project over a period of 30 days. Conclusion: Based on the results obtained in this study, it was found that the use of machine learning algorithms such as ANN and KNN, along with LINGO optimization software, which is one of the most powerful software for solving linear and nonlinear optimization problems, in addition to having the right accuracy, significantly reduces the time required to find the optimal scenario.

French abstract: Mise au premier plan dans le champ litté raire contemporain, la pulsion autobiographique, autrefois refoulé e par la vague structuraliste des anné es 50-60 excluant l'auteur de sa cré ation, renaî t avec une grande diversité et inventivité à cette fin du siè cle et atteint son apogé e pendant ces derniè res anné es. En perpé tuelle transformation quant à ses formes et à ses contenus, la pratique autobiographique d’ aujourd’ hui se singularise par son hé té rogé né ité et par ses transgressions des pré ceptes canoniques du genre, formalisé s par les thé oriciens dont Philippe Lejeune et Georges Gusdorf. D’ ailleurs, cette pré dilection esthé tique pour l’ introspection se ré vè le notamment dans nombre de ré cits, é crits par des femmes, frappant le lecteur par la faç on dont elles s’ é crivent. Le pré sent article se propose d’ enquê ter la mise en scè ne de soi dans trois ouvrages du XXIe siè cle, à savoir l’ oeuvre autobiographique d’ Annie Ernaux, de Catherine Cusset et de Simine Behbahâ ni, du fait qu’ elle reflè te une ouverture quasi-totale à autrui au point que ce n’ est plus le moi qui a la pleine puissance et qui l’ emporte dans le texte. Cette é criture moins concentré e sur le « je » approche ces tentatives autobiographiques de ce que l’ on appelle « alterbiographie ». Chez elles, le ré cit de soi se manifeste comme l’ é criture de l’ autre que l’ on se propose d’ é tudier à la lumiè re des thé ories de critique litté raire gé né rique au fé minin. English abstract: Put in the foreground in the contemporary literary field, the autobiographical impulse, formerly repressed by the structuralist wave of fifties and sixties that used to exclude the author from his creation, was reborn with great diversity and inventiveness at the end of the century and reached its peak during these last years. In perpetual transformation as to its forms and contents, today's autobiographical practice stands out for its heterogeneity and for its transgressions of the canonical precepts of the genre, theorized by the theorists of which Philippe Lejeune and Georges Gusdorf are the best known. Moreover, this aesthetic predilection for introspection is revealed in many stories, in particular, written by women, striking the reader by the way they are written. This article aims to investigate the staging of the self in three works of the 21st century, namely the autobiographical work of Annie Ernaux, Catherine Cusset and Simine Behbahâ ni. Because they reflect an almost total openness to Others to the point that it is no longer the self that has full power and prevails in the text. Getting away from “ I” approach, these writings are shifting from autobiographical attempts to what is called “ alter-biography” . Concerning these writings, the narrative of oneself is interchangeably presented as a writing of a third person who proposes to study in the light of theories of generic literary criticism for women. The autobiographical works of Annie Ernaux, Catherine Cusset and Simine Behbahâ ni represent one of the current inflections of the autobiographical genre by opening up to the Other, the mother. Our aim is to demonstrate why writing the maternal biography is essential for the authors mentioned in order for them to define themselves and write their own story. This angle makes it possible to evoke the mother-daughter relationship from a perspective that is both textual and generic in feminine writing. The autobiographical project would be the staging of a hegemonic subject that would reveal the ego. However, the case is not the same for Ernaux, Cusset and Behbahâ ni in whom the autobiographical work takes a heterodox form, given the place given to others. Effectively, these authors set up a structure, which unites the story of the self and the story of their mothers. By means of the autobiographical account, Ernaux, Cusset and Behbahâ ni carry out “ a return to the origin” (Lejeune, 1975, 7) through speaking of their mother. The self-narratives speak of the autobiographer's mother fits well with the Rousseauist model of the autobiographical. What sets the autobiographical enterprise of these three authors apart from the traditional ones is the self-effacement in favor of maternal omnipresence and primacy in their writings. In addition, for them, the evocation of the life of a mother goes beyond the biographical summary of the parents, which any traditional autobiography bears witness to. The biographical space created by these three authors with the significant presence of the mother differs from a traditional biography. On the other hand, if Cusset, Behbahâ ni and Ernaux attach a very particular importance to the life of their mother to the point that their autobiographical work overlaps with biography, is this not an original strategy to speak of themselves? “ Talking about oneself indirectly” is, according to feminine literary critics, one of the specificities of the autobiography of women. By resorting to the accounts of others, they therefore write an autobiography less focused on the “ I” . For theorists of feminist criticism, female individuality is defined in relation to others, especially other women. In light of this research, feminist critics point out that female individuality is concerned with establishing relationships with other people instead of establishing protective barriers, hence a “ relational” ego. This is to say that women are often aware of themselves in their relationship with others, playing a crucial role in shaping their individuality. The relationship with the other is thus essential to their construction of identity, particularly that which is established with the mother.

Suprematism is one of the movements representing the link between the political and artistic revolution invented by Malevich whose basic form is a square, rectangular and straight line. In his view, the supreme reality of the world is pure emotion, which is independent of other things, and this new thinking requires novel and unrepresentative forms. At one point, Malevich became interested in the works of Matisse, Lejeune, Picasso, Cezanne, and the Post-Impressionists, and this tendency influenced his art. The main question of the present study is how Malevich’, s works were formed under the influence of different factors in his life. Codified geometric compositions in Malevich’, s works, when they are the focus of the work and when they are in the context and the direction of the components of the work, and the factors influencing the formation of the works are among the objectives of the research. Distinctive features and characteristics are described in detail in each decade, and from each of the four decades between 1940 and 1900, the visual characteristics and structure of the three works are briefly arranged in tabular form. Based on the results of this study, it can be said that the circumstances in which Malevich was present and his influence on the works of artists such as Czanne, color theory in the nineteenth century, his efforts to invent a style to express pure emotions and other factors were effective in shaping his works. The marked four decades are noteworthy. He also used geometric compositions in all periods, which eventually found most of the codified geometric compositions in the fourth decade of his works. Malevich seems to consider the origin of nature, human figure, landscapes, and other things as geometric compositions and uses simple geometric forms to represent the elements in question.

In French:De tout temps, jusqu’à l’avènement de la littérature et la critique contemporaines, les autobiographies écrites par les femmes ont été exposées aux rejets, marginalisations et dévaluations. Cette dépréciation provient, en grande partie, de la dissemblance qui existe entre les créations autobiographiques féminines et les conventions canoniques du genre, définies par les théoriciens. Les récits autobiographiques féminins donnent à lire un «Moi» «relationnel», décentré et collectif, dessiné dans une écriture fragmentaire et protéiforme.Cette divergence, nous la constatons dans les récits autobiographiques d’Annie Ernaux et de Goli Taraghi, deux figures de littérature contemporaine française et iranienne. Basé sur la démarche théorique de Philipe Lejeune et Georges Gusdorf, le présent article cherche à démontrer, comment et sous quels aspects le parcours autobiographique de deux auteures se distingue du modèle canonique. Serait-il possible d’en dégager une certaine poétique de l’écriture autobiographique au féminin? Ainsi, à la question consistant à savoir, dans quelles mesures les autobiographies de Taraghi et d’Ernaux divergent du modèle théorisé, présentons-nous, dans cet article une réponse déterminative en disant que leur tentative autobiographique s’en détachent dans la mesure où elles représentent un «Moi» intersubjectif, «transpersonnel» voire collectif au lieu d’un moi cohérent et unifié.   In English:Closing the vast novelistic universe of Rougon-Macquart by a novel which distinguishes from the other twenties by the absence of the temporal images (as they are defined in durandian acceptation of term) and singing in an optimistic atmosphere of idyllic love the birth of a son who is supposed to be the savior of the forthcoming century, may appear, considering the general canons designated by the Naturalism, at the first stage, quite astounding. However, we believe that the genesis of the figure of the “Son”, by which this novel and also the whole series of Rougon-Macquart come to the end, infers the triumph of Zola’s imagination in its ultimate encounter with the philosophical question of the leak of the time.We are supposed to figure out, throughout this paper, the extent and direction of the emergence of some archetypal figures may.

Background and Objectives: Beta-carotene was prepared from Azolla by Lejeune et al. (2000). Beta carotene production from Azolla filiculoides in the Anzali wetland has not been investigated in Iran so far. The present project was aimed at determining the content, quality, and purity of β-carotene extracted from Azolla filiculoides in the Anzali Wetland, and comparing it with synthetic β-carotene. Material and Methods: One treatment had β-carotene derived from Azolla filiculoides in the Anzali Wetland through the organic solutions method in the Autumn of 2014. The treatments were kept at 5 ° C for one year. Synthetic β-carotene was used as the control. The quality of the treatments was assessed by the measurement of the content and quality of β-carotene, colorimetry using the Hunter-LAB method, determination of the purity and vitamin A employing HPLC, estimation of the dwell-time duration at 5 ° C, and measurement of the solubility of β-carotene in water. Results: The results of the tests regarding the purity, concentration, colorimetric, vitamin compounds, dwell time, and solubility in the experimental β-carotene, compared with those in the control, revealed significant difference (p<0. 05). Moreover, the factors showed no significant difference between the control and experimental treatments during the dwell time (p>0. 05). According to the achieved results from chemical tests and the shelf life of the test samples, the natural β-carotene had a desirable chemical quality during the storage period at 5 ° C for one year. Conclusions: Since there was a significant difference between the β-carotene derived from Azolla filiculoides and the synthetic one in terms of the chemical tests, purity, and dwell time, and as the natural β-carotene derived from Azolla filiculoides takes precedence over the synthetic one in terms of the food hygiene, it is recommended that natural β-carotene extracted from Azolla filiculoides be substituted for synthetic β-carotene in the food industry.

French abstract: Nathalie Sarraute rassemble, dans Enfance, des souvenirs de ses onze premiè res anné es dont le dialogisme, comme l’ une des originalité s du ré cit, est l’ aboutissement des mouvements inté rieurs qui glissent trè s rapidement aux limites de sa conscience. Il importe de savoir comment Enfance s’ inscrit dans les canons d’ un genre en rê vant un caractè re neuf par un geste d’ é criture poé tique qui permet à un surmoi d’ ouvrir inconsciemment le texte sur un dialogue thé â tral. Dans cet article, on é tudie comment cette é crivaine vieillie avec une mé fiance, se penche sur son passé en faisant ré sonner une voix double narrative d’ ami imprudent. Pour é tudier les procé dé s utilisé s autobiographiques dans l’ é laboration de cette oeuvre, nous aurons recours aux thé ories de Philippe Lejeune, spé cialiste de l’ autobiographie, et aux commentaires de Monique Gosselin. On va aussi dé couvrir par la mé thode de lecture analytique et psychanalytique, en se ré fé rant à la thé orie de l’ inconscient Freudien, les origines de la vocation correspondant à l’ é criture de cette oeuvre. Nous voudrions montrer comment Sarraute assemble les souvenirs de l’ é crit dialogique musical à la forme sonate comme un collage d’ images autonomes par des chapitres discontinus. English abstract: The twentieth century was distinguished by a romantic upheaval which made it possible to translate the feelings of unease marked by the world wars. Reinvention is nothing other than the discovery of a new order of sensations and the putting into practice of new means of expression which make necessary the transformation of conventional forms considered as bothersome and sterile. In expressing this opinion, Nathalie Sarraute was of course speaking about the novel, but this remark can also be implicitly true about autobiography. Reinventing autobiography therefore means shifting the main centers of interest formulated by the questions “ who am I? ” And “ what am I doing there? ” towards the games on the potentialities of the self. What is the position of the narrator in the plot and why does he tell us what he tells? The plot and the character, regarded as the origin of all fiction, become less lively. Sarraute had already challenged her conventions in her essay “ The Era of Suspicion” . Her romantic work was therefore an attempt to put her theoretical reflection into practice. The new novel renews the romantic genre dating back to Antiquity. Sarraute is a French woman of Russian origin and one of the figures of the new novel ever since the publication of “ The Era of Suspicion” . Her Enface which records the memories of her first eleven years is known for its dialogism as one of the originalities of the story. The author seeks to rediscover what creates personality, devoting herself to reconstructing her first encounters with words, the pleasure of reading and the activity of observing an individual consciousness by herself in writing. Considerations of how to approach autobiography coincide with important debates concerning current psychoanalysis. Freud believed that childhood memories were not destroyed, but repressed because they were painful, so he used hypnosis to inform many people about their childhood memories. Hypnosis, or more precisely, hypnotism, does not render one dominant to another. Rather the person deals with his subconscious (the subconscious mind controls the human being). In psychoanalysis, associations of memories, thoughts, or feelings that are distressed by self-consciousness are called retrogression. These unwanted contents, often containing painful childhood memories, are driven unconsciously. Repression is thought to increase anxiety and neurotic symptoms when a prohibited drive or impulse threatens to enter the psyche. Retrogression is a defense mechanism, which guarantees to prevent something unacceptable to the conscious mind, and, if recalled, provokes anxiety. In this article, we study how this aged writer who distrusts her past makes a double narrative voice of a reckless friend resonate. We also aim to study the processes used in the elaboration of this work and, to do so, we will make use of the theories of Philippe Lejeune and Monique Gosselin. We will examine the piece by making use of Freudian analytical reading, as well as the techniques and the reasons corresponding to writing this book. We would like to show the importance of the musical dialogical writing by which Sarraute assembles memories into fragments like a collage of autonomous images throughout discontinuous chapters. To study the processes used in the elaboration of this work, we will use the analytical and formalist method of reading the theories of Philippe Lejeune and Monique Gosselin. Through Freudian analytical and psychoanalytic reading, we will also study the motives corresponding to the inscription of this book. Lejeune, a literary theorist and specializing in autobiography believes that an autobiography is a retrospective narrative in prose that a real person makes of his own existence when he focuses on his individual life, especially on his personality. He shows us the relationship that the author establishes with himself through writing. There are several ways to write an autobiography and, in this research, we study how Sarraute will talk about herself and how she will write? “ I” dominates as in a first-person narrative in this style, but can we clarify the status of a disrespectful double who dares to suspect in an elderly lady a fallout in childhood and raise the ghost of a forced retirement. As a result, we will be particularly concerned with the dialogic form which Sarraute's Enfance benefits from. We will also examine how and why the second voice does not hesitate to penetrate it deeply for this evocation? In the XX ͤ century, autobiography was a genre with great success which evolved because of Freud and psychoanalysis; of successful autobiographers, we can name André Gide, Jean-Paul Sartre and Nathalie Sarraute. The Freudian model finds a lever having provisions to clear the psychic terrain through the notion of the return of the repressed which does not remain buried in the abysses of the psyche but exerts a remarkable pressure to emerge in the consciousness by infiltrating what it can with all its peculiarities in form of contradictions, inconsistencies, and repetitions, in the very fabric of the manifesto, to the point of laying itself almost bare in some cases. Nathalie Sarraute only agrees with Freud on one point that all the autobiographies are false and Enfance subscribes, according to her, in the perspective of the renewal of literary forms speaking of her childhood tropisms. She avoids the risks of suggestion and indoctrination and answers the question of the problem of truth and the falsifications induced by resistance, namely the risks of narcissistic seduction and intoxication. One of her new means of expression is her use of two opposing voices which never cease conversing in Enfance: the voice of the narrator who tells us about her life and, the voice of a double psychic critic who regularly interrupts the narration to warn the narrator against the pre-established patterns which account for adulteration of autobiography. The text begins with a theatrical dialogue in which we find the playwright. These states of consciousness gradually hide the character behind a game of questions and answers. In fact, you have to go from the preverbal sensation to the word of the character. It is an age-old deluge of the court of conscience which will be expressed and explained by the outside world. This is what she calls dialogue. The dialogue is the result of internal battles and the characters are those of many movements, advanced from the depths. The most important point is to manage to grasp a truth, this deep truth is, in principle, unattainable, that Nathalie Sarraute seeks in what she calls tropisms as primitive movements, they are at the origin of our gestures, of our words, of the feelings that we manifest and appear to us to constitute the hidden source of our existence. Tropisms play an essential role in Sarraute's work whose language is not influenced by the outside world, a language which Julia Kristeva calls real semiotic language, defining the deep self. This is therefore opposed to the symbolic or imaginary language that we use to adapt to and communicate in our society. The double also takes the posture of an attentive psychotherapist by using words dear to N. Sarraute exploring the blurred areas of the subconscious. It forces the narrator to delve deeper to analyze her reactions towards others, to avoid the risks of suggestion and indoctrination, to report information on the past, and to then hesitate between a critical posture and that of an actor present at the time. Sarraute in fact rejects the traditional form of narrative, which places Enfance outside the usual definition of autobiography. It is not a question of simply relating facts, according to B. Vercier: “ I was born, my father and my mother, the house, the rest of the family and the first memory. . . ” (Vercier, 1975: P. 1033). Multiple techniques are used for a linear temporality; the fragmentation of the text is shown in form of very short passages and the moments are juxtaposed and presented without cause-effect links. Nathalie Sarraute was unable to avoid an autobiographical dimension despite the absence of a confession. N. Sarraute has created a new type of free reader who is left to fill the silences represented by discontinuities of the sentences and a new autobiography which appears as a true matrix of the whole work, which is revealed by the many experiences which resurface in the stories and theatrical plays. Classic literary autobiographies rely on formal requirements. However, these formal aspects would lend themselves particularly well to defense and disguise. This is one of the reasons for Freud's hostility toward the arts, in particular the arts of visual artists: “ Meaning does not matter for these gentlemen; they only care about the line, shape, concordance of contours. They give in to the pleasure principle. ” (Freud, Jones, 1998, p. 321) Sarraute is thus interested in the latent content of the work, in the truth pushed back to the depths of the unconscious, fearing the power of dissimulation offered by the search for perfection and beauty formal. Only the truth of the unconscious counts. Therefore, anything that can obscure it results from resistance and, hence, deserves our consideration.

French abstract: La pré sente é tude analyse les motifs et les enjeux de la toxicographie (é criture intoxiqué e) dans Un roman franç ais de Fré dé ric Beigbeder, é crivain cocaï nomane. L’ é tude s’ ancre dans l’ air du temps caracté risé par le consumé risme, l’ hé donisme, l’ individualisme et l’ autobiographisme. Nous essayons de montrer comment Fré dé ric Beigbeder parvient à justifier son/l’ addiction à la cocaï ne dans la socié té occidentale postmoderne. Il é largit l’ horizon de sa ré flexion socio-philosophique en matiè re de drogues illicites, aux fins de faire l’ apologie de l’ hé donisme et des addictions toxiques, en gé né ral. Ainsi, à partir d’ une approche à la fois textuelle et extratextuelle, l’ article soutient l’ idé e selon laquelle Fré dé ric Beigbeder est un é crivain toxico-hé doniste libé ral et Un roman franç ais constitue une expression toxicographique apolé gé tique. De loin, ce roman est une illustration é loquente de ce que nous proposons d’ appeler, à la suite de Philippe Lejeune, l’ autotoxicobiographie, entendue comme l’ é criture de soi d’ un toxicomane, qui met en é vidence le ré cit de ses addictions toxiques, le sens de sa personnalité et sa philosophie de la vie. English abstract: There is almost no border between the real and the imaginary in Beigbeder’ s books. Beigbeder transcribes his vicious nocturnal prowess (sex, alcohol, drugs, etc. ) into his literary productions. This is the logic behind Un roman franç ais, published by Grasset & Fasquelle editions in 2009. It is an autobiographical novel rooted in personal experience: the arrest and imprisonment of Fré dé ric Beigbeder on the night of January 28, 2008, for drug consumption on the sidewalk of avenue Marceau in Paris. The cocaine addict decided to write about this sad but crucial episode of his life. He operates, as in his previous works, what we coin toxicography, though this text deals with autotoxicobiography. Toxicography refers to the writing of a more or less fictional/real story, which has drug addiction as its matrix. To put it bluntly, this is an intoxicated writing (on the thematic view) whose stake is apologetic and/or critical. Autotoxicobiography is a blend of two words: autobiography and drug addiction. Literally, it can be understood as the personal or intimate writing of an addict’ s life that sheds light on his personality and his toxic addictions. In short, it is the autobiographical writing of an addict. Un roman franç ais, beyond the quest for identity, is both an indictment against state paternalism and a plea or (self)justification of drug addiction in general, and cocaine addiction in particular. This article therefore aims to show how Fré dé ric Beigbeder manages to question the interdiction of cocaine consumption in France in order to justify his cocaine addiction and drug addiction in general in today's Western society. The article highlights Fré dé ric Beigbeder’ s indictment against state paternalism and abuse of authority on the one hand, and his plea for toxic addictions on the other. The reflection is conducted from the perspective of (civil)freedom problematized by the utilitarian philosopher John Stuart Mill (2002) in his book De la liberté . Stuart Mill questions freedom from three aspects: freedom of thought and discussion, individuality at stake in the search for well-being, and the limits of the authority of society over the individual. Our work addresses the last two aspects of Stuart Mill’ s definition of Freedom. I. DISCUSSION Hedonism seems to be inherent in artists, especially writers. According to Fré dé ric Beigbeder, each drug has entered the literature through famous addict authors. The latter were able to praise or criticize their psychostimulating substance, the object of their addiction (cocaine, crack, heroin, cannabis, marijuana, opium, morphine, laudanum, etc. ). They, like Fré dé ric Beigbeder, had the art of intoxicating themselves (somatic intoxication) but also that of intoxicating their writing (literary intoxication or toxicography). Beigbeder may have used or experimented with other drugs, but he may have specialized in one of them, becoming loyal to cocaine and a cocaineographer because of his cocaine addiction. He favors "coke", notably in Un roman franç ais, and in rhetorical terms, makes it an apology. He writes at length about this toxic substance, which has become a source of inspiration and a leitmotif, assessed with a satirical and polemical aim. Fré dé ric Beigbeder therefore seems an informed advocate of all drug addicts through the exploration of the self as good charity begins at home. He broadens the scope of his advocacy when he defends social argument for all the other drug addicts’ victims of other forms of toxic addiction. It is clear that Beigbeder subscribes to the logic of social liberalization, practically at all levels and in everything. He defends the freedom of each individual to dispose of his life, to give it meaning, to destroy himself, if he wants to, without worrying about anyone and above all without being accountable to anyone. He is an individual very "attached to his freedom", that borders on libertinism. He sees selfdestruction via drug addiction as self-sacrifice. According to him, each individual must be free to seek his pleasure through various practices, without having to undergo the influence and the moral or penal sanction of a society underpinned by a paternalistic and pseudo-protective political system. II. CONCLUSION Fré dé ric Beigbeder through Un roman franç ais allows us to discover not only his personal journey but especially his world view and his existential philosophy. Besides the autobiographical dimension (identity reconstruction), his work has a socio-philosophical, satirical and polemical undertone (defense of a materialist and individualist vision of the world). Beigbeder is suing a Western society losing its bearings and enthusiasm, in which the individual feels trapped, weakened and anxious. This feeling of generalized social ill-being justifies contemporary hedonism, in particular via the quest for fleeting pleasures, including toxic ones provided by psychostimulant products. Thus, the novelist deals with his/the drug addiction through a discourse that is both apologetic (justification for consumption) and critical (condemnation of pathological postmodern Western society). He practices literary intoxication, which takes place with intoxicated writing. That is to say, a text in which the discourse on toxic substances, in this case cocaine, is manifest and apologizing or critical. We qualify this scriptural practice toxicography. Ultimately, the article shows that Fré dé ric Beigbeder is a liberal drug-hedonist writer and Un roman franç ais is an apologetic toxicographic expression. From a distance, this novel is an eloquent illustration of what we call, following Philippe Lejeune, the autotoxicobiography, understood as the writing of the self of a drug addict. Beigbeder’ s autotoxicobiography highlights the story of his toxic addictions, the sense of his personality and his philosophy of life.

Introduction: Azolla is certainly a valuable laboratory plant that will thrive with very little care. The use of Azolla may be an important factor in the world's future food needs. Azolla is unique because it is one of the fastest growing plants on the planet yet it does not need any soil to grow. Azolla is a genus of aquatic ferns and an pteridophyte Plantae belonging to the Salvinacea family (Qiu and Yu 2003). Azolla is an aquatic fern native of Asia and Africa and it has traditionally been used as a fodder throughout Asia and parts of Africa. Many varieties of food products have been manufactured from Azolla which accounts from flavoring agents, food additives and so on. These Azolla are also used for the production of bio products such as biogas, biofuel and partial treatment of waste water (Miranda et al., 2016). Azolla spp. are heterosporous free-floating freshwater ferns that live symbiotically with Anabaena Azolla, a nitrogen-fixing blue-green algae. There are six species of Azolla in the world. The genus Azolla belongs to the single genus family Azollaceae. Azolla filiculoides is a species of Azolla. Azolla filiculoides is under the sub-genus Euazolla. It is native to warm temperate and tropical regions as well as most of the old world including Asia, Australia (Evrard andVan Hove 2004) and Anzali wetland. This plant is dark green to reddish and float on the water surface, either individually or in mats, which can reach a thickness of up to 20 cm. When A. filiculoides plants are exposed to strong sunlight they obtain a red color. The same occurs in winter time. In shade they always remain green. A. filiculoides settles in ponds, ditches, water reservoirs, wetlands, channels and slow flowing rivers. The phytochemical investigation on the Azolla shows that tannins, phenols, sugar, anthroquinone glycosides and steroids are present. Azolla is also rich in protein, vitamin and minerals and is used as food supplements. In addition to, A. filiculoides is very rich in carotenoids. The chemical composition of Azolla species varies with ecotypes and with the ecological conditions and the phase of growth. The dry matter percentage of different Azolla species varies widely (Mostafa and Ibrahim 2012). Lysine and methionine contents in this species are moderate. But, essential amino acids in this species are poor (Azhar et al., 2018). β-carotene is an organic, strongly colored red-orange pigment. It can also be made in a laboratory. It is a member of the carotenes, which are terpenoids synthesized biochemically from eight isoprene units and thus having 40 carbons. Among the carotenes, β-carotene is distinguished by having betarings at both ends of the molecule. β-carotene is the most common form of carotene in plants. When used as a food coloring. β-carotene is biosynthesized from geranyl geranyl pyrophosphate. Carotenoids are the most common pigments in nature and are synthesized exclusively by photosynthetic organisms including crop plants, algae, few fungi and certain bacteria where they play a vital role in plant metabolism and bio-synthesis of other bio-molecules. Carotenoids are considered key molecules for life. Biological properties of carotenoids allow for a wide range of commercial applications (Zakynthinos and Varzakas 2016). Indeed, recent interest in the carotenoids has been mainly for their nutraceutical properties. Carotenoids as natural pigments, are used by the industry as pharmaceuticals, nutraceuticals, and animal feed additives, as well as colorants in cosmetics and special foods. Carotenoids have been studied for their ability to prevent chronic disease due to the free radical theory of aging in chronic disease etiology. The effect of carotenoids on biotechnology and the food industry is significantly attributed. Finally, carotenoids as fortified substances in foods and special aspects about carotenoids as health promoters are well presented along with a glance of carotenoids economics. β-carotene is one of the carotenoids. β carotene is the main source of pro-vitamin A and is widely used as a food colorant (Lejeune et al., 2000). The majority of the β-carotene commercialized in the world is obtained by chemical synthesis from β-ionone (Nacke et al., 2012). β-carotene is used for an inherited disorder marked by sensitivity to light. It is also used to prevent certain cancers, heart disease, cataracts, and many other conditions. There are many global health authorities that recommend getting β-carotene and other antioxidants from food instead of supplements. β-carotene and other carotenoids provide approximately 50% of the vitamin A needed in the diet of the some of countries (Grune et al., 2010). Therefore, research for the production of natural colors for use in food industry has particular importance. The present project was aimed at determining the content, quality, and purity of β-carotene extracted from Azolla filiculoides in the Anzali Wetland, comparing it with synthetic β-carotene, and measuring its economic value. Material and methods: One treatment had β-carotene derived from Azolla filiculoides in the Anzali Wetland through the alkaline hydrolysis method in the winter of 2014. Treatments were kept at 4 ° C for one year. Synthetic β-carotene was used as the control. The quality of the treatments was assessed by applying some chemical tests, including the measurement of the content and quality of β-carotene, calorimetry using the Hunter-LAB method, determination of the purity and vitamin A employing high-performance liquid chromatography (HPLC), estimation of the dwell-time duration at 5 ° C, and measurement of the solubility of β-carotene in water. Results and discussion: The results of the tests regarding the purity, concentration, calorimetry, vitamin compounds, dwell time, and solubility in the experimental β-carotene, compared with those in the control, revealed no significant difference (p>0. 05). Moreover, the factors showed no significant difference between the control and experimental treatments during the dwell time (p>0. 05). The natural β-carotene had a good quality during the storage period at 5 ° C for one year. Conclusion: Since there was no significant difference between the β-carotene derived from Azolla filiculoides and the synthetic one in terms of the chemical tests, purity, and dwell time, and since the natural β-carotene derived from Azolla filiculoides takes precedence over the synthetic one in terms of the food hygiene, it is recommended that natural β-carotene extracted from Azolla filiculoides be substituted for synthetic β-carotene in the food industry.