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AbstractBiblical poetry experienced a revival in France in the years 1830-1840. During these same years, “prose poetry” brought about the crystallization of the “petit poème en prose” (small prose poem), as Nathalie Vincent-Munnia has shown in her work Premiers poèmes en prose. These two trends converged and gave rise to the “poème en prose biblique” (biblical prose poem). Christian Leroy in his La poésie en prose française du XVIIe siècle à nos jours has discussed the simplicity of such a style of biblical prose since Telemaque. The importance of Leroy's study stems from its focus on the “verset” as a possible “poème en prose” form both within the biblical prose poem tradition and from the vantage point of recent scolarship on the small prose poem. In this context, can one argue that the “verset” has managed to impose itself as the structure of a new type of poem ? Or is its use to be understood necessarily within the context of the “grand poème” tradition ? Could it be argued that its origins inevitably lend it an ethical connotation associated with polemical and political aims ? A quest for the “verset” is undertaken in the 1830's. In practice, the “verset” is defined, on the one hand, by parallelism in biblical pastiches, and on the other hand, by a rhythm inherited from poetical prose, in works that infuse it, however, with didactical considerations. In literary criticism, the “verset” is invoked as a category designed to highlight a new type of “small prose poem”. Labelled as a concise rhythmic structure, the “verset” would depend on the evolution of higher-level genres for its consecration.

A focus on rhythm in recent theory may respond to the loss of the "real" in postmodern, radical constructionism. But Kristeva and Meschonnic, redefining; rhythm by connecting it to, subjectivity and discourse, repeat the loss of the real body and the modernist loss of poetry's difference from prose. Rather, keeping the traditional, musical meaning of "rhythm", we can rediscover rhythm both in poetry and in political life. Rhythm is the nonmeaning element in language, creating a community while effacing normal meaning, individual subjectivity, hierarchies, and prejudice. Poetry "bridges" (as pontifex) the gap between meaning and rhythm, if it is read as an allegory for ecstatic power of rhythm, and thus of the impossible effort of language to represent its rhythmic source as exemplified in a reading of a Wallace Stevens lyric.

SummaryEvery work of art needs a place. How does the spatial organisation constrain the piece of art produced there ? The case of Chicago jazz musicians in the 1940s and 1950s shows how the great variety of jazz places conditioned the music that was played in them. Many musicians that played in these diverse spaces performed in a varied and complex repertory of styles, each one related to a specific variant of popular music of the era. It is necessary to realize that what they did in one place affected what they did in another in order to understand the production of one player or one group. The music of one jazz ensemble, even a very serious one, could bear the marks of less pure forms of the music that they played elsewhere. What this means is that there is no pure type of music or musicians.

Objectives The article presents the clinical description and discussion of a 17 years old Moroccan unaccompanied minor who migrated on his own to France. This case illustrates the complexity of the foreign unaccompanied minors' trajectories and the challenges of the clinical and institutional accompaniment provided in France. In the lights of the results of our clinical work and research, we suggest transcultural tools and perspectives that facilitate the construction of a narrative and that reinforce trust with the professionals-care givers working along with this population. Creativity is needed in the care of foreign isolated young people, in the absence of the family. Past traumatic experiences in these youths' lives hinder the process of building trust in the host country's educational accompaniment.Method In the framework of our action research, we describe the transcultural therapy setting created by our team to address the unaccompanied minors' psychological distress. Aiming to encourage the emergence of a life narrative that had been obstructed and ruptured by traumatic experiences, we resort to various tools facilitating the storytelling (objects, circle test, mediators interpreters, transcultural interpretations).Results The discussion follows three stances: the anthropological perspective focusing on the specific situation of the harraga—young people wandering both on the psychic and physical levels—, the political perspective, and the trauma clinic perspective. The enhancement and deepening of the cross-cultural skills of social workers strengthen their resources and provide them with better tools to accompany these young people. Additionally, results highlight the impact of the political discourse and strategies in the social workers' self-perception and the strains it creates in their daily work.Conclusion The transcultural approach addressed to unaccompanied minors relaunches the identity construction process in adolescence, impeded by their traumatic journey in migration. This implies restoring coherence in the life path of young people despite the rupture caused by the migration, often reactivated by new separations during the repetitive changes of foster homes. The unaccompanied minors have the possibility, through this clinical setting to depict an accurate representation of themselves, to develop narratives that can outgrow the preconceptions associated with their status, opening a brighter way for their individual destinies.

Keywords: harraga, mineur non accompagné, transculturel, accompagnement éducatif, traumatisme, migration, harraga, unaccompanied migrant minor, transcultural approach, social work, trauma, migration