This study explores Cummins' interdependence hypothesis in the South African context. The design is experimental, involving Zulu primary language writing instruction to explore whether skills taught in Zulu composition classes transfer into English expository writing. The intervention and control groups were drawn from two ex-Model C high schools and the focus was on measuring use of coherence and cohesion in English essays. Quantitative findings showed, although the intervention group's writing skills did not improve significantly, they did not decline. By contrast, the control group's writing skills declined significantly. A more qualitative investigation of the corpus supports the statistical findings. However, because of the limitations of this study, more research is required into Cummins' hypothesis, bilingual programmes and teaching academic writing skills in African languages. It is hoped that this research design will benefit future researchers investigate the current debate about the efficacy of bilingual and multilingual approaches to education. / Linguistics and Modern Languages / M. A. (Applied Linguistics)

Clients diagnosed with Borderline Personality Disorder (BPD) interact with healthcare professionals in compelling ways. By virtue of the symptoms that define BPD, it is likely that the client will challenge the therapist with regards to their theoretical approach or therapeutic style. In addition, clients with BPD are likely to project their need for a therapeutic interaction that is both genuine, empathic and at the same time, flexible. In light of this, it is not uncommon for healthcare practitioners to consider clients with BPD as “difficult” in some way or the other. This study explores how clinical psychologists in Gauteng conceptualise and manage a “difficult” client presenting with Borderline Personality Disorder. Further, coping strategies of the clinician will also be explored. The qualitative study, couched in a social constructionist paradigm, involved interviewing seven clinical psychologists practicing in Gauteng, South Africa. The transcripts of the semi-structured interviews were thematically analysed. The findings of the current study indicated that the difficulties experienced are reflective of the general criteria of the disorder. The picture of the difficult client is painted by personal experience, as well as stereotypes gained from interactions with colleagues and other healthcare professionals. It was further found that management of these patients were viewed and implemented based on the nature of the disorder. In addition, management by the clinician often included supervision and leisure activities. / Psychology / M.A. (Clinical Psychology)

Coetzee's own experience of living in apartheid South Africa provides the backdrop for novels infused with sardonic irony and rich metaphoric systems. In modes of metafiction that emphasize the destructive and violent nature of language, he optimizes his unique oeuvre to interrogate global, national and domestic power relations. This dissertation relies on psychoanalytical theories that examine microstructures of power within the individual, and in his domestic domain. Each of Coetzee's chief protagonists carries a secret related to a dysfunctional mother/son relationship. This hampers their psychosocial dynamics, their masculinity and sexuality. As they respectively strive toward an elusive new life they confront patriarchal power structures that speak on behalf of individuals, '[whose] descent into powerlessness [is] voluntary' (Coetzee 2007: 4-5). Coetzee's constructed white males perform their several identity roles in milieux that span divergent phases of colonial history. His critique points to white patriarchal hegemonic ideological discourses that bespeak the self/other dichotomy in a postcolonial world where the language of dominance supports an oppressive status quo. / English Studies / M.A. (English)

No description available.

Este trabalho tem como objetivo estudar a influência da geometria de suspensão do veículo nas atitudes da massa suspensa. Apresenta um confronto entre obras e autores e está segmentada em três partes; onde na primeira parte são definidos os conceitos básicos como dive, squat, lift, anti-dive, anti-squat, anti-lift e equivalente trailing-arm; na segunda parte são apresentadas as limitações e os novos conceitos definidos por R. S. Sharp e na terceira parte é apresentado o modelo dinâmico bidimensional introduzido por Fu-Cheng Wang. Apresenta um modelo virtual em sistema de multi-corpos desenvolvido no programa ADAMS, com todos os subsistemas que compõe um veículo completo. Inova ao trazer como objeto de estudo um veículo de competição (fórmula SAE) que possui como particularidade o sistema de suspensão push-rod. Surpreende com os resultados obtidos, pois, contrariam os conceitos básicos encontrados na maioria dos livros / This work has objective study the influence of suspension geometry on the sprung mass attitudes. It presents a confrontation among works and authors and this segmented in three parts; where in the first part the basic concepts are defined, dive, squat, lift, anti-dive, anti-squat, anti-lift and equivalent trailing-arm; in the second part the limitations are presented and the new concepts are defined for R. S. Sharp and in the third part are presented the bidimensional dynamic model introduced by Fu-Cheng Wang. It presents a virtual model in system of multi-bodies developed in the program ADAMS, with all the subsystems that composes a complete vehicle. It innovates when bringing such object to study one vehicle of competition (formula SAE) that it has a particularity suspension system push-rod. It surprises with results because it’s opposite of the basic concepts which is present in the majority of books

Le travail présenté dans cette thèse s’inscrit dans le champ de la géographie culturelle et veut participer à prouver qu’il existe un tournant spatial tel qu’il a été défini par Edward Soja en 1996, qui permet de porter un regard autre sur les sociétés en les analysant à partir des objets culturels qu’elles produisent. Les albums pour enfants, ces livres conçus pour le jeune public qui combinent images, supports et très souvent textes dans un rapport d’interdépendance, constituent les objets de ce travail de recherches. Envisagés comme des produits culturels géographiques, ils interrogent, disent, représentent et mettent en scène espaces et spatialités. S’intéressant à un corpus d’albums iconotextuels narratifs édités en France entre 1919 et 2012, ce travail s’emploie à démontrer qu’il existe une interdépendance entre trois instances narratives (textuelle, iconique et plastique) et que cette interdépendance génère et imagine non seulement de l’espace pour le lecteur mais également une intentionnalité spatiale, une transmission d’un habiter tel qu’il est pensé par l’auteur-illustrateur. La dernière partie de ce travail, plus exploratoire, propose de voir dans l’album pour enfants un lieu de communication dans lequel l’intentionnalité spatiale aiderait le lecteur-enfant à agir sur de l’espace. La réception, l’expérience esthétique, la lecture performative de l’album permettraient à l’enfant de se construire un capital culturel spatial dans lequel il pourrait puiser pour « faire avec » l’espace qu’il habite ou qu’il aura à habiter. / The work presented in this dissertation fits in the field of cultural geography and hopes to prove that there exists a spatial turning point as defined by Edward Soja in 1996, which will allow a further look into societies, analyzing them by means of the cultural objects that they produce.Children’s picture books, these books conceived for the young public which combine images, props, and very often text in a relationship of interdependence, constitute the objects of this research work. Considered as geographic cultural products, they question, state, represent, and stage spaces and spatialities.Drawing from a body of narrative, iconotextual picture books published in France between 1919 and 2012, this work intends to demonstrate that there exists an interdependence among three narrative instances (textual, iconic, and plastic) and that this interdependence generates and imagines not only space for the reader but also a spatial intentionality, a transmission of living such as envisioned by the author-illustrator.The last part of this work, more exploratory, proposes seeing in children’s books a place of communication in which the spatial intentionality would help the child-reader to act on the space. The reception, the esthetic experience, the performative reading of the picture book would allow the child to construct for himself a spatial cultural capital in which he could delve to “play with” the space in which he lives or that he will have to live.

Le développement simultané du cinéma et de la psychanalyse a donné lieu à de nombreuses études confrontant et associant ces deux sphères. Cette thèse interroge plus particulièrement le transfert comme phénomène se manifestant dans la rencontre entre le spectateur et le film, et s’appuie sur les théories de psychanalyse jungienne. À partir de la prise en compte d’un cinéma analytique, associant réflexivité et thématique psychologique, l’hypothèse émise est celle de la présence de « psychés-films », facilitant l’étude du phénomène de transfert dans l’expérience spectatorielle. À travers leur construction spatiale et temporelle et par leur constitution figurale, ces « psychés-films » s’apparentent à des psychés projetées à l’écran et visuellement accessibles. Dans son acception jungienne, le transfert est un phénomène transpersonnel aux conséquences psychiques et physiques et qui engage deux individus dont les inconscients communiquent entre eux. En mettant en évidence les spécificités d’un tel phénomène au cinéma, cette thèse interroge la possibilité d’envisager un inconscient propre au film, notamment à l’aide de théories d’esthétique du cinéma, et les conséquences éventuelles, dans le corps et dans la psyché, d’une rencontre transférentielle entre le spectateur et le film. Afin d’étudier la possibilité d’un transfert dans l’expérience spectatorielle, cinq films interprétables en tant que « psychés-films » sont analysés sous un angle jungien : Persona et L’Heure du loup, réalisés par Ingmar Bergman et Antichrist, Melancholia et Nymphomaniac, réalisés par Lars von Trier. Pour ce faire, cette recherche s’effectue suivant des perspectives psychanalytique (Jung, Ferenczi, Freud, Abraham et Török), esthétique (Brenez, Lefebvre, Vancheri) et philosophique (Damasio, Derrida), et par la prise en compte d’un spectateur idéal. / The simultaneous development of cinema and psychoanalysis led to many studies confronting and associating these two fields. This thesis examines more specifically transference as a phenomenon arising in the encounter between spectator and film, and is based on Jungian psychoanalytic theories. Considering an analytic cinema, which associates reflexivity and psychological themes, I hypothesised the existence of “psyche-films”, enabling the study of the psychoanalytic transference within spectator’s experience. Through their spatial and temporal constructions and their figural composition, these “psyche-films” are akin to psyches projected on screen and visually accessible. According to Jung, transference is a transpersonal phenomenon with psychological and physical consequences, involving two individuals whose unconscious communicate together. Bringing out the characteristics of such a phenomenon, this thesis explores the possibility of considering the film’s own unconscious, in particular with the help of film aesthetics theories, and questions the consequences, inside body and psyche, that might be caused by the transferential encounter between spectator and film. In order to study the possibility of such a transference in the spectator’s experience, five films regarded as “psyche-films” are analysed using a Jungian perspective: Persona and Hour of the Wolf, directed by Ingmar Bergman and Antichrist, Melancholia and Nymphomaniac, directed by Lars von Trier. To this end, this research is performed using psychoanalytic (Jung, Ferenczi, Freud, Abraham and Török), aesthetic (Brenez, Lefebvre, Vancheri) and philosophical (Damasio, Derrida) perspectives, and considering an ideal spectator.

Les personnes SDF et leurs chiens restent à la marge de la majorité des dispositifs sociaux et sont l’objet d’un contre-transfert social généralement négatif. L’objectif de ce travail est de comprendre pourquoi certaines personnes ont des chiens dans la rue. En s’appuyant sur un référentiel psychanalytique, cette recherche se fonde sur les discours d’acteurs rencontrés sur le terrain et sur des entretiens semi-directifs réalisés auprès de neuf SDF possédant au moins un chien, rencontrés au sein d’un CAARUD et d’un CHRS. Les entretiens ont été traités à l’aide de l’analyse de contenu (Bardin, 1977 ; Castarède, 1983) et d’une analyse clinique de cas (Castro, 2005 ; Pedinielli, 2005). Les résultats soulèvent un paradoxe. D’une part, le chien apparaît notamment comme un support d’étayage aux besoins du moi (Roussillon, 2008a); comme un objet de relation (Gimenez, 2002) et la relation à l’animal comme une voie d’accès à l’aire transitionnelle (Winnicott, 1971b) où œuvrent les processus d’identification projective normale et d’identification introjective (Bion, 1962, 1967). D’autre part, cette relation peut incarner une défense psychique contre une souffrance psychosociale et une stratégie de survie conduisant, paradoxalement, ces personnes à se suradapter à leurs conditions de vie délétères sans pouvoir le penser. Seules une véritable préoccupation sociétale et des prises en charges adaptées pourront soutenir le chien comme un moyen par lequel le sujet peut négocier sa souffrance psychique, son identité et développer sa subjectivité. Comprendre cette relation implique par ailleurs une approche en santé mentale, soucieuse des ressources du sujet et de son environnement. / Homeless people and their dogs remain on the fringe of most social structures and are subject to a generally negative social counter-transference. This study aims at a better understanding of why some people living on the street have a dog. Within a psychoanalytical frame of reference, this research is based on speeches of actors encountered on the field and includes semi-directive interviews conducted on nine homeless people possessing at least one dog encountered in a CAARUD and a CHRS. A content analysis (Bardin, 1977; Castarède, 1983; Pedinielli, 2009) was conducted on all these interviews. The nine dog owners were each object of a clinical case study (Castro, 2005; Pedinielli, 2005; Schauder, 2012; Thurin, 2012). The results showed a paradox. On the one hand, the dog appeared as a way of supporting the needs of the ego (Roussillon, 2008a) and as an object of relation (Gimenez, 2002). Similarly the relationship with the animal appeared as a means of gaining access to the transitional area (Winnicott, 1971b) where processes of normal projective identification and introjective identification develop (Bion, 1962, 1967). On the other hand, this relationship may embody a psychic defense against psychosocial suffering and a survival strategy paradoxically leading these people to unconsciously over-adapt to their nefarious living conditions. Only real societal concern and appropriate care can support the dog as a way for the subject to become a real subject and for him a way to soothe the psychical pain and shore up his identity. Understanding this relationship also implies using a mental health approach, taking into account the resources of the subject and his environment.

La théorie des systèmes autopoïétiques, lancée par les biologistes Humberto Maturana et Francisco J. Varela, permet de décrire scientifiquement les principes organisationnels communs à tous les êtres vivants. Les principes autopoïétiques s’appliquent aussi, à l’état formel, à la vie psychique et à la vie sociale, comme le sociologue Niklas Luhmann a pu le montrer. Puisque la psychanalyse et la psychothérapie analytique se situent au carrefour du psychique et du relationnel, nous cherchons à expliciter les principes autopoïétiques qui sous-tendent leur théorie et leur pratique. En ce sens, la thèse est une comparaison critique des aspects essentiels de la psychothérapie analytique avec les principes généraux du vivant. Le travail se divise en trois chapitres, présentés sous forme d’articles scientifiques théoriques. Dans le premier chapitre, nous montrons comment le cadre et le processus analytique entretiennent une relation symbiotique, à la manière de la relation qu’entretient la membrane cellulaire avec les organites qu’elle contient. Ce faisant, nous mettons en évidence la clôture opérationnelle du cadre-processus analytique et nous argumentons que cela en fait un système social autopoïétique à part entière. Nous soulignons ensuite comment cette conceptualisation redéfinit la tâche éthique et pratique du clinicien, qui doit veiller à limiter les risques que l’environnement psychothérapeutique fait courir à l’autonomie du cadre-processus analytique. Nous poursuivons dans le second chapitre l’exploration des conséquences de notre proposition, à savoir que le clinicien et le patient puissent être amenés à nuire ou à résister au cadre-processus ; et que le cadre-processus, comme système autonome, puisse être lui-aussi amené à résister à ses participants. Il s’ensuit un besoin de comprendre les rapports de résistance entre ces systèmes, nous amenant à nous appuyer fermement sur le concept de couplage structurel issu de la théorie des systèmes autopoïétiques. Ce point de vue relance la réflexion sur le rôle de la subjectivité et de l’intersubjectivité en thérapie analytique et nous amène à privilégier une attitude clinique valorisant l’interaction autonome de tous les systèmes impliqués. Le troisième chapitre s’attaque de front à la question du transfert et du contre-transfert qui se profilait déjà à travers les chapitres précédents. En insistant sur le caractère radicalement inconscient du (contre)transfert, nous en proposons une redéfinition comme une forme particulière de couplage structurel entre les participants de la psychothérapie. En nous appuyant sur cette conceptualisation nouvelle, nous approfondissons la notion de communication analytique afin d’en montrer le potentiel thérapeutique. La recherche se termine par une contextualisation de ses principales conclusions dans le domaine plus large des soins de santé mentale. Enfin, nous soulignons non seulement les avantages et les limites de la thèse, mais également ses potentialités futures, comme l’ouverture vers une théorie générale de la psychothérapie. / The theory of autopoietic systems, pioneered by biologists Humberto Maturana and Francisco J. Varela, makes it possible to scientifically describe the organizing principles common to all living beings. Autopoietic principles also formally extend to psychic and social life, as argued the sociologist Niklas Luhmann. Since psychoanalysis and analytic psychotherapy are grounded in both the psychic and the relational domain, we aim to explicit the autopoietic principles underlying their theory and practice. In this respect, the thesis compares the essential aspects of analytic psychotherapy with the general principles of living systems. The work is divided into three chapters, presented as theoretical scientific articles. The first chapter shows how the analytic setting and analytic process maintain a symbiotic relationship, much like the relationship between the cell membrane and the organelles it contains. We thus describe the operational closure of the setting-process and argue that this makes it a full-fledged autopoietic social system. We then draw attention to how this conceptualization redefines the ethical and practical task of the clinician, who must limit the risk of environmental pressures disrupting the autonomy of the analytic setting-process. In the second chapter, we continue to explore the consequences of our proposal, arguing that the clinician and the patient may resist the setting-process of analytic psychotherapy; and that the setting-process, as an autonomous system, can also resist its participants. There follows a need to understand the resistances between these systems, leading us to rely on the concept of structural coupling derived from the theory of autopoietic systems. This original point of view fuels reflection on the role of subjectivity and intersubjectivity in analytical therapy and leads us to favor a clinical position that values the autonomous interaction of all the systems involved. The third chapter tackles head-on the problem of transference and countertransference that has already been looming over the previous chapters. By insisting on the radically unconscious character of (counter) transference, we suggest redefining it as a particular form of structural coupling between the participants of psychotherapy. From this new conceptualization, we deepen the notion of analytic communication and highlight its therapeutic potential. The research ends with a contextualization of its main findings in the broader field of mental health care. Finally, we underline not only the advantages and the limits of the thesis, but also future possibilities such as moving towards a general theory of psychotherapy.

Le dessin représente le moyen d'expression privilégié pour un enfant, notamment lorsqu'il est amené à s'exprimer devant à un groupe d'adultes et, de surcroît, lorsqu'il porte en lui plusieurs cultures, comme les enfants de migrants. La recherche qui fait l'objet de cette thèse s'appuie sur une revue de la littérature concernant l'approche psychologique du dessin d'enfant et l'approche transculturelle de l'enfant de migrants. Elle a une perspective complémentariste afin d'enrichir leur pluralité théorique, méthodologique et clinique. Notre recherche se centre sur le matériel créé par les enfants, les dessins produits au sein des consultations transculturelles du Professeur Marie Rose Moro, dispositif de psychothérapie familiale et groupale, des Hôpitaux Cochin (Maison de Solenn - Paris) et Avicenne (Bobigny). La population de notre recherche est constituée de soixante-trois dessins produits par cinq enfants durant les séances transculturelles. Nous avons analysé les productions graphiques et narratives des enfants en lien avec les interactions au sein du groupe. Le processus de co-construction, qui est au coeur du dispositif transculturel, émerge des interactions entre le signe et la parole, entre l'ici et l'ailleurs, entre le monde des enfants et le monde des adultes. Les résultats de nos analyses mettent en évidence l'aspect dialogique du dessin. La production graphique soutient le processus d'élaboration psychique et culturelle de l'enfant, véritable objet médiateur entre les langues, les langages, les cultures et les interactions. Le dessin tient donc une place centrale, non seulement signe de la créativité des enfants mais aussi d'une production narrative et transculturelle partagée et partageable. Notre discussion s'axe sur trois dimensions complémentaires. Premièrement, nous théorisons une lecture transculturelle du dessin d'enfant de migrants ainsi qu'une méthode originale d'analyse qui se structure sur un double axe : les contenus et les valences du dessin. Deuxièmement, nous affinons la compréhension des mécanismes de construction identitaire et de métissage spécifiques aux enfants de migrants à partir de leurs dessins, desquels nous dégageons plusieurs propositions conceptuelles : les mécanismes de clivage dans le dessin, l'objet culturel transitionnel dessiné, la narrativité transculturelle (le voyage symbolisé et l'histoire dessinée), la créativité figurée et l'affiliation culturelle précoce. Troisièmement, nous enrichissons le cadre thérapeutique élaboré en clinique transculturelle en définissant la place du cothérapeute auxiliaire dans une perspective complémentariste à la fois psychanalytique et anthropologique. En effet, l'analyse des mouvements transféro/contre-transférentiels autour du dessin met en évidence l'intérêt pour l'enfant de bénéficier d'une relation privilégiée au sein du groupe afin d'accompagner ses productions graphiques. Notre recherche témoigne des bénéfices tirés par le clinicien - dans la perspective de la rencontre de l'autre - de l'élaboration de la culture (Devereux), de l'altérité (Moro) et de l'enfant en soi, et ce afin de pouvoir accueillir les productions des enfants ''d'ici et de là-bas'' et de les accompagner dans l'élaboration d'un ''chez soi'' créatif et métissé. / Drawing is the preferred means of expression for children in particular when they are asked to express themselves in front of a group of adults, and moreover when it comes to children having multicultural backgrounds such as immigrant children. This thesis's research is based on a review of the available literature regarding the psychological approach of child's drawing as well as the transcultural approach of immigrant children. This complementary perspective aims to enrich their theoretical, methodological and clinical plurality. The research is focused on the material created by the children, the drawings imagined and produced during the transcultural consultations of Professor M.R. Moro, groupal psychotherapy for family, at Cochin Hospital (Maison de Solenn, Paris) and Avicenne Hospital (Bobigny). The research sample consists of sixty-three drawings produced by five children during the transcultural sessions. These drawings along with the narrative productions of the children have been analyzed in relation to the interactions within the group. The process of co-construction, which is at the heart of the transcultural approach, emerges from the interactions between sign and word, between cultures from here and from there, as well as between the children's world and the adult's one. The results of the analysis highlight the dialogical aspect of drawing. The graphical production supports the process of psychic and cultural elaboration of the child, therefore considered as the essential aspect of mediation between the speakings, the languages, the cultures and the interactions. Drawing thus holds a significant place: it is the sign of children's creativity, but also of the narrative and transcultural production experienced and shared. Our discussion is focused on three complementary dimensions. Firstly, we theorize a transcultural reading of the drawings of immigrant children as well as an innovative two-axis analysis method: the contents and the valences of a drawing. Then, we refine the comprehension of the mechanisms of identity-building and interbreeding specific to immigrant children thanks to their drawings. Based on these, several abstract propositions are highlighted: the mechanisms of splitting in the drawing, the transitional cultural object drawn, the transcultural narrativity (the symbolized journey and the history drawn), the figurative creativity and the precocious cultural affiliation. Finally, we enhance the transcultural therapeutic setting by defining the place of the auxiliary co-therapist in a complementary perspective, both psychoanalytic and anthropologic. In fact, the analysis of the dynamics of transfer/countertransference around the drawing enlightens the interest for the child to benefit from a privileged relationship within the group in order to accompany its graphic productions. This research aims to highlight the benefits and advantages taken by the clinician -in the perspective of other one' meeting -in the elaboration of the culture (Devereux), of the otherness (Moro) and of the child in itself, and after all to welcome the productions of the children « from here and there » and to accompany them in the elaboration of a « own world » creative and crossbreed. / Il disegno rappresenta il mezzo espressivo privilegiato per un bambino, soprattutto quando è tenuto a esprimersi in un gruppo d'adulti e, ancor più, quando viene da altrove e porta in sé differenti culture. La ricerca che è al centro di questa tesi di dottorato in psicologia, poggia le sue basi sulla letteratura esistente riguardo sia l'approccio psicologico del disegno infantile sia l'approccio transculturale dei bambini delle famiglie migranti. L'obbiettivo del nostro lavoro è di associare questi due approcci in una prospettiva complementarista per arricchirne la pluralità metodologica, clinica e teorica. La nostra ricerca si fonda sul materiale creato dai bambini, in particolar modo i disegni prodotti durante le consultazioni transculturali della Professoressa Marie Rose Moro, dispositivo di psicoterapia familiale e gruppale, degli ospedali Cochin (Casa degli Adolescenti -Maison de Solenn- di Parigi) et Avicenne (Bobigny - Parigi). La popolazione della ricerca è costituita da sessantatré disegni prodotti da cinque bambini durante gli incontri transculturali. Abbiamo analizzato le produzioni grafiche e narrative dei bambini in relazione alle interazioni gruppali. Il processo di co-costruzione, strumento principe del dispositivo transculturale, emerge dalle interazioni tra segno e parola, tra qui e altrove, tra mondo infantile e mondo adulto. I risultati delle nostre analisi evidenziano l'aspetto dialogico del disegno, che è, in effetti, fondamentale al processo d'elaborazione psichica e culturale del bambino poiché funge da oggetto mediatore tra le lingue, i linguaggi, le culture e le interazioni. Il disegno assume quindi un ruolo centrale; non solo è segno della creatività dei bambini ma anche della produzione narrativa e transculturale condivisa e condivisibile. La nostra discussione concerne tre dimensioni complementari. Innanzitutto, teorizziamo una lettura transculturale del disegno del bambino di famiglia migrante e un metodo originale d'analisi che prende la forma di una tabella a doppia entrata: le valenze del disegno da un lato, e i contenuti dall'altro. In secondo luogo, affiniamo la comprensione dei meccanismi propri alla costruzione identitaria e al métissage specifici dei bambini di migranti partendo dai loro disegni per declinare diverse proposte concettuali: i meccanismi di scissione visibili nei disegni, l'oggetto culturale transizionale disegnato, la narratività culturale (il viaggio simbolizzato e la storia disegnata), la creatività figurata e l'affiliazione culturale precoce. Per finire, arricchiamo il setting transculturale definendo il ruolo del coterapeuta ausiliario in una prospettiva complementarista tanto psicoanalitica che antropologica. Effettivamente, l'analisi dei movimenti transferenziali e contro-transferenziali rispetto al disegno evidenzia la necessità per il bambino di poter beneficiare di una relazione privilegiata che accompagni le produzioni grafiche nel gruppo terapeutico. La nostra ricerca mostra i benefici, utili ad ogni terapeuta nell'incontro con l'altro, sollevati dall'elaborazione della cultura (Devereux), dell'alterità (Moro) così come del bambino in sé, per poter accogliere le produzioni dei bambini "di qui e di laggiù" e per accompagnarli nell'elaborazione d'un ''sé'' meticcio e creativo.