Prosocial Behaviour in Palliative Nurses: Psychometric Evaluation of the Prosociality Scale

Aim: The aim of this study was to examine the psychometric properties of a prosociality scale within the palliative nursing context, and then examine the impact of prosocial behaviour in relation to job and educational satisfaction among palliative nurses. Methods: An online cross-sectional survey was conducted in 25 Italian palliative care centres, with a total of 107 nurses completing the prosociality scale by Caprara et al (2005). Exploratory and confirmatory factor analyses were examined to evaluate a multidimensional model of prosociality. Results: A three-factor solution with a second order factor fitted the data well. The three dimensions extracted were labelled as helping, empathy, and sharing. Participants reported high levels of prosociality. In addition, prosociality was positively associated with job and educational satisfaction. Conclusions: The prosociality scale was valid and reliable when tested with palliative nurses. Although prosociality may be embedded in nurses’ personalities, this quality should be actively promoted to expand and improve the culture and the ethics of nursing.

‘The Emergence of the Operatic’

The chapter discusses the notion of the ‘operatic’ with particular reference to movement. Through observation of singers in rehearsal and through interviews with singers over two years, the research posits that ‘operatic’ movement may be identified and explored as a discrete quality of movement in performance and recognised as an, albeit underappreciated, aspect of the artistry of the opera singer. The paper explores the effects of the demands of singing on the dramatic expressivity of the body and the strategies employed by singers to navigate, the sometimes conflicting demands of the composer and the director. ‘Operatic’ movement is regarded as that which is not generated through character or narrative (positioned as a normative approach to acting) but through the negotiation of the physical constrictions and artificiality of breath associated with operatic singing, combined with sensitivity towards opera’s non-normative performance conventions. This position is aided by an interrogation of opera through the lens of gender theory. The chapter makes two propositions, that the ‘operatic’, which does not form part of the formal pedagogy of singers, is an emergent property, especially evident at the intersection of the various creative disciplines that contribute to opera, such as when the orchestra is introduced to the rehearsal process, and that ‘operaticness’ is acquired and passed on through a process of kinaesthetic empathy.