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Registered nurses in the operating room require specialized competencies that surpass basic educational training. Existing national and international documents attempt to outline these competencies but often lack comprehensive details. To address this, a repertoire of technical and professional competencies for operating room nurses, aligned with European and National Qualifications Frameworks, is proposed. Aim: Develop a repertoire of technical and professional competencies for perioperative and perianesthesiological specialist nursing roles. Methods: An at-home ethnography design was employed, utilizing participant observation, interviews to the double, and focus groups. Convenience sampling included 46 participants from a university and a public hospital in northern Italy. Data were collected from September 2021 to June 2023 and analyzed using inductive content analysis and data triangulation. Results: Identified 17 specialized technical professional competencies for perioperative and perianesthesiological nursing, divided into 6 areas of activity. These competencies encompass 19 learning outcomes, 152 tasks, 222 knowledge elements, and 218 skills. Conclusions: This competency repertoire aids in the public recognition of qualifications and serves as a valuable tool for identifying, validating, and certifying competencies. Future research should focus on exploring the competencies of central sterilization nurses and transversal competencies. [ABSTRACT FROM AUTHOR]

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anuario Musical is the property of Consejo Superior de Investigaciones Cientificas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Between 1944 and 1950 the publishing house Rosa e Ballo renewed the Italian repertoire of German dramatic literature by collecting translations from Büchner, Wedekind, Toller, Kaiser and Brecht in the book series ‘Teatro/Teatro moderno’. The series was designed by Paolo Grassi, who was then struggling to legitimize theteatro di regia(director’s theatre) against the dominantteatro del grande attore(lead actor’s theatre), a revolution he would accomplish after WWII by establishing the Piccolo teatro in Milan. The company and the network of collaborators set up in Turin and Milan by the editor-in-chief Ferdinando Ballo provided Grassi with an ideal instrument for his subversion in the field of theatre. In turn, Grassi’s networking in Rome, where the most recognized men of theatre were based, brought to Rosa e Ballo its most successful book series and finally a position within the field of publishing. By joining forces, newcomers in two different fields mutually contributed to their primary accumulation of symbolic capital. [ABSTRACT FROM PUBLISHER]