Children Appreciation Test (CAT)

HISTORY
The original idea of the C.A.T. was produced by Ernst Kris. He pointed out how we could expect
children to identify themselves with animals than with persons. Violet Lamont, a professional
illustrator of children’s book presented with eighteen pictures, some of them were in
anthropomorphized nature, some entirely in animal-fashion. The pictures were photo stated and
distributed some to a number of psychologists working with small children. They were good
enough to use the original pictures of C.A.T. On the above basis, the number of cards was
reduced from eighteen to the ten.

NATURE

C.A.T is a projective test and an apperceptive method. “A method of investing personality by

studying the dynamic meaningfulness of the individual difference in perception of standard
stimuli”. which consists of 10 pictures depicting animals in various situations. It is used with
children of both sexes between the ages of 3 and 10. Cards are presented under the section
“ADMINISTRATION”. The responses are recorded and later discussed under section
“INTERPREATION”. CAT is different from TAT on the basis age. CAT is used on young
children while TAT is used on adults.

PURPOSE

This test was designed to facilitate understanding of child’s relationship to his most important
figures and drives. The pictures were designed to:
1. Elicit responses to feeding problems
2. Oral problems
3. Investigate problems of sibling rivalry
4. Illuminate the attitude towards parental figures
5. Learn about child’s relationship to the parents as couple
 6. Child’s fantasy about aggression, about acceptance by adult world and toilet
behavior
7. Learn child’s structure and his dynamic method of reacting to and handling
problems of growth.

ADMINISTRATION

Good rapport must be established with child especially with younger and disturbed children.
C.A.T should be presented as a game, not a test. Tell the child that we are going to engage in a
game in which he has to tell a story about pictures; what animals are doing. Interruptions are
permitted during the test. After the test, one must go over each of the pictures and ask for specific
pints such as: why somebody was given a certain name, proper names of places, ages and even
the particular type of outcome of the story. All side remarks and activities should be noted, in
relation to the story being told. Child can ask to tell the story, in this situation you can promise to
tell a story later or to leave off the testing and come back and start from the start. It is helpful to
keep all the pictures out of sight except the one being dealt, since younger children have a
tendency to play with all pictures at once.

SCORING

Scoring of the Children's Apperception Test is not based on objective scales; it must be
performed by a trained test administrator or scorer. The scorer's interpretation should take into
account the following variables: the story's primary theme; the story's hero or heroine; the needs
or drives of the hero or heroine; the environment in which the story takes place; the child's
perception of the figures in the picture; the main conflicts in the story; the anxieties and defenses
expressed in the story; the function of the child's superego; and the integration of the child's ego.
A projective test like the CAT allows for a wide variety of acceptable responses. There is no
"incorrect" response to the pictures. The scorer is responsible for interpreting the child's
responses in a coherent way in order to make the test useful as a clinical assessment technique. It
is recommended practice for the administrator to obtain the child's personal and medical history
before giving the CAT, in order to provide a context for what might otherwise appear to be
abnormal responses. For example, it would be normal under the circumstances for a child whose
pet has just died to tell stories that include themes of grief or loss even though most children
would not respond to the cards in that way.
USES AND APPLICATIONS
C.A.T is useful in determining the child’s behavior and problems in a group, in school or at
home. The C.A.T may be profitable in the hands of the psychoanalyst, psychiatrist, psychologist,
social worker, psychologically trained pediatrician and the teacher. It may be used directly in
therapy as a lay technique. C.A.T is CULTURE-FREE. Since we deal with animal pictures, it is
used equally well with white and black children and other groups as well.

TYPICAL RESPONSE AND DESCRIPTIONS OF CARDS

Picture # 1: Chicks seated around a table on which is large bowl of food. Off to one side is
large chicken, dimly outlined.

Responses revolve around eating, being or not being sufficiently fed by either parent.
Themes of sibling rivalry enter in around who gets more, who is well behaved or not, etc. food
may be seen as punishment; general problems of orality are dealt with: satisfaction or frustration,
feeding problem per se.

Picture # 2: One bear pulling a rope on one side with another bear and a baby bear pull on the
other side.

It is interesting to observe whether the baby here identifies the figure with whom he
cooperates (if at all) as the father or the mother. It may be seen as a serious fight with
accompanying fear of aggression, fulfillment of a child’s own aggression or autonomy. More
benignly, this picture may be seen as a game (tug of war, for example). Sometimes the rope itself
may be a source of concern, i.e., breakage of the rope as a toy and fear of subsequent
punishment; or again, purely as a symbol concerning masturbation with the rope breaking
representing castration fears.

Picture # 3: A lion with pipe and came, sitting in a chair; in the lower right corner a little
mouse appears in a hole.

This is usually seen as father figured equipped with such symbol as pipe and cane. The
letter may be seen either as an instrument of aggression or may be used to turn this paternal
figure into an old, helpless one of whom one need not be afraid. This is usually a defensive
process. If the lion is seen strong paternal figure, it will be important to note whether he is a
beningn or dangerous power.

The mouse is seen by the great majority of children, and often taken as the identification
figure. In such a case – be tricks and circumstance – the mouse may be turned into the more
powerful one. On the other hand, it may be totally in the power of the lion. Some children
identify themselves with the lion and there will be subjects who will switch identification one or
more times, giving evidence of confusion about role, conflict between compliance and
autonomy, etc.

Picture # 4: A kangaroo with a bonnet on her head, carrying a basket with a milk bottle; in her
pouch is a baby kangaroo with a balloon; on a bicycle, a large kangaroo child.

This usually elicits themes of sibling’s rivalry, or some concern with the origin of babies.
In both cases, the relation of mother is often an important feature. Sometimes a child who is
older sibling will identify himself with the pouch baby, thus indicating a wish to regress in order
to be nearer to mother. On the other hand, a child who is in reality the younger one, may identify
himself with the older one, thus signifying his wish for independence and mastery. The basket
may give rise to themes of feeding. A theme of flight from danger may also occasionally be
introduced. Our experience thus for suggests that this can be related to unconscious fear in the
area of father-mother relationship, sex pregnancy, etc.

Picture #5: A darkened room with a large bed in the background; a crib in foreground in
which are two baby bears.

Production concerning primal scene in all variations are common here; the child is
concerned with what goes on between the parents in bed. These stories reflect a good deal of
conjecture, observations, confusion, and emotional involvement on the part of the children. The
two children in the crib lend themselves to themes of mutual manipulation and exploration
between children.

Picture # 6: A darkened cave with two dimly outlined bears figure in background; a baby bear
lying in foreground.
 This again is a picture eliciting primarily stories concerning the primarily scene. It is used
in addition to # 5 since practical experience has shown that # 6 will enlarge frequently and
greatly upon whatever was held back in response to previous picture. Plain jealousy in this
triangle situation will at times be reflected. Problems of masturbation at bedtime may appear in
response to either # 5 or # 6.

Picture # 7: A tiger with bared fangs and claws, leaping on a monkey which is also leaping
through the air.

Fears of aggression and manner of dealing with them are here exposed. The degree of
anxiety in child often becomes apparent. It may so great as to lead to rejection of the picture, or,
the defenses may be good enough (or unrealistic enough) to turn it into an innocuous story. The
monkey may even outsmart the tiger. The tails of animals lend themselves easily to the
projection of fear or wishes of castration.

Picture # 8: Two adult monkeys sitting on a sofa drinking from tea cups. One adult monkey in
foreground sitting on hassock talking to a baby monkey.

Here one often sees the role in which the child places himself within the family
constellation. His interpretation of the dominant (foreground) monkey as either a father or
mother figure becomes significant in relation to his perception of it as a being monkey or as an
admonishing, inhibiting one. The tea cups will, on occasion, give rise to themes of orality again.

Picture # 9: A darkened room seen through an open door from a lighted room. In the darkened
one there is a child’s bed in which a rabbit sits up looking through the door.

Themes of fear of darkness, of being left alone, desertion by parents, significant curiosity
as to what goes on in next room, all are common responses to this picture.

Picture # 10: A baby dog lying across the knees of an adult dog, both figures with a minimum
of expressive features. The figures are set in the foreground of a bathroom.

This leads to stories of “crime and punishment” something about child’s moral
conceptions. There are frequent stories about toilet training as well as masturbation. Regressive
trends will be more clearly revealed in this picture than in some others.
INTERPRETATIONS OF CARDS

1. The Main Theme

To recapitulate: We are interested in what a child makes of our pictures and we will want to
know why it gives this particular story (or interpretation). Rather than judge by one story, we will
be one on safer ground if we can find a common denominator or trend in number of stories. That
is, for example, if the main hero of several stories is hungry, and resorts to stealing in order to
satisfy himself, it is not unreasonable to conclude that this child is preoccupied with thoughts of
not getting enough – food literally, or gratification generally – and in his family wishes to take it
away from others. Interpretation then, is concerned with the finding of common denominators in
behavioral patterns (4, 3). In this sense we can speak of the theme of a story or of several stories.
A theme may, of course, be more or less complex. We find that particularly in our younger
subjects of three and four it is usually very simple. Incur first sample (p. 13) one may simply say
that little S. Q.’s theme in the lion story is: “I do not want any clothes and wish to be dirty, and
behave like a small child, because then apparently one gets more affection”. On the other hand,
themes may be more complex as in subject M. I.’s (p. 15): “I’m powerful and dangerous but in
order to be liked and to live in peace with myself, I must give up my aggressive and acquisitive
wishes”. The theme in such a case is simply a restatement of the moral of the story. A story may
have more than one theme however, and they may sometimes be complexly interrelated.

2. MAIN HERO/HEROINE THE HERO/HEROINE

It is usually the person who is most frequently referred to in the story. More information is given
on his or her feelings, beliefs, and behaviors than on those of any of the other characters. As a
result, the client is assumed to be identifying with this person. In some stories, there might be a
degree of uncertainty as to exactly who is the hero/heroine. The practitioner should infer that the
story character who is most similar to the client in terms of age, sex, and other characteristics is
the hero/heroine. In certain rare cases, there may be one or more heroes/heroines. The Analysis
Sheet further requests that the clinician rate the hero in terms of interests, traits, abilities,
adequacy, and body image. The adequacy of the hero/heroine refers to an ability to complete
tasks in a socially, emotionally, morally, and/or intellectually acceptable manner. This level of
adequacy would be directly related to the ego strength of the hero/heroine—or, more
inferentially, of the client. Self-image refers to the conception the subject has of his body and of
his entire self and social role.

3. MAIN NEEDS AND DRIVES OF THE HERO/HEROINE

The behavioral needs to be rated in the story refer to the most basic needs expressed in the
client’s story productions (i.e., affection, aggression, need). The descriptions of these needs are
fantasy productions by the client and might reflect actual conscious needs as well as more
disguised latent needs. The clinician might wish to simply state what the clearest and strongest of
these needs are, or make inferences about the actual meaning of these needs for the client. An
example might be extreme avoidance of aggression, which could suggest that the client has a
high level of underlying aggression that is being denied by the child. Clinicians should also note
any figures, objects, or circumstances that are introduced as well as any that have been omitted
but perhaps should have been included. For example, the inclusion of a relatively large number
of weapons, food, and money might suggest high needs for aggression, nurturance, or oral
gratification. External circumstances such as injustice, severity, indifference, etc help to indicate
the nature of the world in which child is living. The omission of important objects in the story
productions might suggest some areas of repression, denial, or anxiety associated with the
omitted objects. The omitted figure or object may be severely conflict-arousing. The omitted
objects should be considered.

4. CONCEPTION OF THE ENVIRONMENT (WORLD)

Psychologist should summarize the most important and strongest conceptions of the person’s
environment. They might be alerted to this distinction by noting the number and strength of
descriptive words such as hostile, dangerous, or nurturing. The summaries of conceptions of the
world might include the overall meaning for the hero/heroine—for example; the environment is
viewed as scary or unsafe? Or seen as warm. Identification is important to note with whom the
child identifies in the family, namely, which parent, which sibling etc.. For e.g.: whether the
male child identifies with his father or elder brother or uncle? Or mother or younger sister? The
process of identification will not have been completed until the end of puberty , the early history
may be of great importance.
5. FIGURES SEEN AS. . .

One of the main characteristics of the CAT stories is that they can be seen as “apperceptive
distortions of the social relationships and the dynamic factors basic to them” (Bellak, 1993, p.
92). Thus, one of the cornerstones of CAT interpretation understands how the child views other
persons, as represented in the story productions and how he reacts to them.

6. SIGNIFICANT CONFLICTS

By this we not only want to know about the nature of conflicts but also the defenses which the
child uses against anxiety engendered by conflicts. There are those conflicts which every child
experiences as they grow from one phase to the next: Thus beginning at about age 3, we ought
not to be alarmed to find evidence of the oedipal struggle and defenses against the fantasized
relationship. Some conflicts are a part of normal growing up; others may have pathological
significance.

7. NATURE OF ANXIETIES

It is important to determine the nature and strength of the hero anxieties in terms of fear of
physical harm and/or punishment, disapproval, lack or loss of love, illness or injury, being
deserted, deprived, overpowered and helpless, devoured, or other. It will be valuable to note in
the context the child defenses against the fears which beset him.

8. MAIN DEFENSES

Stories should not be studied exclusively for drive content, but should examine for the presence
and strength of defenses against drives, anxieties and conflicts. Study of defenses will actually
offer more information in that the drives themselves may appear less clearly than the defenses
against them. This helps to provide a description of the person’s character structure. The
defensive projective function of the ego is increased in stress. In the study of children stories,
view the nature and pathogen city of defenses and other structural concept in the term of age
appropriateness. What may be quite normal at one age may be pathological at another age.
9. ADEQUACY OF SUPEREGO AS MANIFESTED BY “PUNISHMENT”
FOR “CRIME”

The relationship of the chosen punishment to the nature of the offense gives us an insight into the
severity of the superego; a psychopath’s hero who murders may receive no punishment other
than a slight suggestion that he may have learned a lesson for future, while a neurotic may have
stories in which hero is accidently or intentionally killed or dies of illness following the slightest
infraction or expression of aggression. Circumstances in which a person’s superego can be
expected to be too severe and under what conditions it is likely to be lenient is relate to the
difficult problem of acting out. In addition, it is generally valuable piece of information.

10. INTEGRATION OF THE EGO

An important variable to learn about for in its many aspects it reveals the general level of
functioning. To what extent a child is ready to compromise between the drives and the demands
of reality on the one hand and the commands of the superego on the other hand? The adequacy of
the hero in dealing with problems is an important aspect.

It is also important to note Formal characteristics: Is the subject able to tell appropriate stories
which constitute a certain amount of cognizance of the stimuli; or Does he leave the stimulus
completely and tell a story with no manifest relation to the picture because he is not well enough,
therefore, and Too occupied with his own problems, to perceive reality? Does he is well enough
and intelligent enough to be creative and give more or less original stories? Does he have ability
to go from past background of the story to a future resolution? This will depend on the age of the
child as well as on his unique personality.
 CHILDREN’S APPERCEPTION TEST
(CAT-H)

HISTORY

The Children Apperception Test (CAT) is used to assess individual variations in children’s
responses to standardized stimuli presented in the form of pictures of animals (CAT-A) or
Human (CAT-H) in common social situations. The third version is known as Supplement to the
CAT (CAT-S). The stimuli include pictures of children in common family situations.

PURPOSE

The CAT is used to assess personality, level of maturity, and often, psychological health. The
theory is that a child’s responses to a series of drawings of animals or humans in familiar
situations are likely to reveal significant aspects of a child’s personality. Some of these
dimensions of personality include level of reality testing and judgment, control and regulation of
drives, defenses, conflicts, and level of autonomy.

DESCRIPTION AND TYPICAL RESPONSES TO CARDS

Card 1

In the first card the chicks and the chicken in the animal version of the CAT cards
has been replaced with an adult and children. The situation is same oral
gratification is the main theme. In the human version of this card, the adult is seen often as
mother and father. Responses involves eating, sufficient eating, and behavior of child and around
who is getting more or less food. Food is taken as reward and withholding is seen as punishment.
It also shows the general problems of orality, satisfaction and frustration.

Card 2

This picture is predominantly seen as a game rather than a fight with the pair as a winner.
The bears are replaced with children. The child identifies the figure with whom he cooperates as
the father or the mother. If the serious fight is observed, it shows the fear of aggression,
fulfilment of child own aggression and autonomy. If the child dominantly identifies rope, it is the
matter of concern. Card 3

The lion with pipe and cane is replaced with an adult person and the mouse that was
present in lower right corner of CAT animal version. It is replaced by a baby. It is normally seen
as father figure or an old adult. The children most of the time identifies themselves with the
baby. The card represent role confusion, autonomy and the concerned about the dominant,
powerful person either of the family or outside of the family.

Card 4

A kangaroo and his babies are replaced by a female adult and babies in human
version of CAT. It usually explain themes of sibling rivalry. This most frequently told as a
positive story involving a picnic. The client if he is an older sibling will identify himself with the
baby who is in mother hand indicating a wish to regrets in order to be nearer to mother. On the
other hand if a client is younger one in reality, he will identify himself with older one, signifying
his wish for in dependence and mastering. The basket in mothers hand give rise to theme of
freedom.

Card 5

The main theme is one of sleeping of fear of attack, playing and naughtiness. Two
baby bears from the CAT animal version are replaced by two human babies in send version
CAT-H. The stories that the client tells reflect a good deals of observations, confusions and
emotional involvement on the part of child. The two babies represent the theme of mutual
manipulation and exploration between children.

Card 6

The card that consists of a cave with two big bear figures in background and a baby
bear lying in the foreground is replaced by two big adults and human baby. The basic theme of
the picture is sleeping or camping. There is no difference between cards in terms of child running
away, fearing attitude, or an attack taking place with of these being used frequently. This cards
frequent theme also involves hibernating.

Card 7

A lion and a monkey from the CAT animal version are replaced by an adult human
and child human. The smallest figure is seeing as being attack the rare response includes turning
of small figure to retaliate against larger figures and friendship development between two
figures. The degree of anxiety in child often becomes apparent. Fears of aggression and manners
of dealing with them are exposed here.
 Card 8

Four monkeys, 3 adults and one baby monkey are replaced by 4 human beings. It
basically reports the secrets. One often sees the role in which the child places himself with in the
family constellation. His interpretation of foreground human as either a father or mother figures
becomes significant and relation to his perception as an inhibited one. The tea cups represents the
concepts of orality

Card 9

The darkened room is seen through an open door from a lighted room. Themes of fear
of darkness , of being left alone, signifying curiosity as to know what is going on in the next
room are all common responses.

Card 10
 The naughtiness described by the most children includes something other than toilet.
Sometimes learning a lesson after being naughty is reported. When punishment is mentioned as
it is in most cases, it appears to be meted out slightly more often by the parents of same sex. It
gives stories of crime and punishment. This card also reveals something about the child’s moral
conceptions. Regressive trends are more clearly reveal in the picture.

THE SUPPLEMENT OF CHILDREN`S APPERCEPTION TEST (C.A.T.S)

HISTORY

The children’s Apperception Test was designed in 1949 for use as a personality test for children
of the ages between 3 to 10 years. This is a third version of the CAT (CAT-S). The stimuli
include pictures of children in common family situations. It consisted of 10 pictures of animals in
various situations and children interpret them in different ways when we asked to tell stories
about these pictures. The psychologist concerning the children on the basics of motivations,
dynamics and personality structure.

PURPOSE OF C.A.T-S

The CAT supplement (CAT-S) was designed to illuminated frequency occurring situations not
necessarily pertaining to the universal problem.10 pictures presented to the children in addition
to the regular CAT.CAT-S PICTURE #5 given to the children with temporary or permanent
physical disability. CAT-S PICTURE #10 may permit us to learn about what fantasies boy or girl
having about their mother`s pregnancy. CAT supplement may be used in specific situation for
the purpose of eliciting specific themes.CAT-S lies in meaningful techniques for example play
technique. CAT-S available at once, upon table,(arrange from 1 to 10 in 3 rows, last row having
4 pictures).All of the child`s remarks and behavior should be recorded carefully Encourage
child`s in story-telling.

DESCRIPTION AND TYPICAL RESPONSES OF CARDS

Card #1

• Picture of four mice:

Play situation, this picture permits expression fear of physical activity, of physical harm, and
problem in social word or activities with other children.

Card #2

• Picture of three little monkey:

Classroom situation, this picture lends itself problem with teacher, schoolmates, and other
classroom situation. It leaves sample play for ascription of various characteristics to unseen
teacher, and a number of predicaments of the pupil reciting as well as possibilities to show off
knowledge, to relate fears of inadequacy.

Card #3

• Playing house

Fantasy, this picture shows children's wish or desire, or they fantasy about being grown up and
doing what seems to them as desirable.

Card #4

• Big bear and baby bear picture

Wishes of oral nature, sentiments against infant siblings, regressive tendencies. Light will also
be shed upon the conflict between remaining dependent and independent
Card #5

• Kangaroo picture:

Promotes stories of fear of injury and castration. May elicit the feeling of handicap or feeling of
general inadequacy.

Card #6

• Four foxes picture

Competitive with siblings and playmate and the accompany feelings may be dealt with here, as
notion of success or failure

Card #7

• Cat standing in front of mirror picture:

Reflects about body image

Card #8

• A Rabbit doctor picture

Told stores abut fear of trauma, physical illness, past operations doctors and hospitals

Card #9

• A grown Deer picture

This picture permits us about subject's ideas of sexual difference, nudity, voyeurism, the family
practice in bathroom habits.

Card #10

• Pregnant Cat picture

• It is designed to bring out ideas about where a baby comes from and fantasies and/or fear
about it.