Self Assessment Essay Example | Topics and Well Written Essays - 1250 words

Self Assessment - Essay Example I will try to justify that my goals, personality, and path are compatible with each other. I mentioned earlier that I want to specialize in business and finance. Hence, I think and feel that an MBA is the most logical choice. In general, I want to be rich while deepening my understanding of how money works. By the age of forty, I really desire to accumulate a net asset of at least $100,000,000 and a weekly cash flow of at least $1,000,000. I believe that knowledge of business systems and becoming a businessman will help me achieve this path to glory. Also, by having that amount of cash, I can invest large amount of money in blue-chip stocks, which I really want to do. Essentially, investing for me is like playing a computer game. An MBA, I think, will help me know the rules and determine for myself the optimal decisions to achieve such goals. Once I become successful, I hope of fulfilling my fantasy of being interviewed in CNBC and other financial networks. I concede that there are aspects of an INTJ that do not fit me, but I affirm that many do. For example, I am independent and ruthless. In dealing with people, I really push to have my way and final say on things. So, an INTJ is the closest description available for me. I also believe that an INTJ is well... - Useful. - Creativity. - Very single minded at times - this can be a weakness or a strength. - They can ignore the points of view and wishes of others. - Coherence is the master. - Cost effective. - Relationships which have psychological distance. - Often seem demanding and difficult to satisfy. - Independent. - Hypersensitive to signals of rejection. - Others receive a sense of haste. - Vulnerable in the emotional area and may make serious mistakes here. - When asked to put something together for the first time - a prototype - he is all the more happy, since he is doing that which is most worthwhile. - Abhors unsnarling messes. - Things have to make sense. - Avoids redundancy. - May have difficulty communicating the details of goals. - Prefers not to say anything twice and assumes understanding. - Serious. - NTs tend to be relatively uninterested in acquiring wealth. - NTs usually take family responsibilities seriously. - NTs tend not to "own" the behaviors or bodies of their mates. - NTs' own errors are those which are inexcusable and unforgivable. I concede that there are aspects of an INTJ that do not fit me, but I affirm that many do. For example, I am independent and ruthless. In dealing with people, I really push to have my way and final say on things. So, an INTJ is the closest description available for me. I also believe that an INTJ is well suited for a career in Business and Investments. An INTJ like me is serious. Business is serious. It has no room for people who will slack on things. An MBA, although by no means really represents all aspects of business in the classroom, is serious stuff. You cannot pass it without the necessary seriousness to study and finish all requirements, such as difficult and mind-blowing case

Trauma, sexual trauma & counselling Essay Example for Free

Trauma, sexual trauma counselling Essay †¢ A strain we feel at different times/in different situations †¢ Set of external forces impinging on the person (unemployment, crime, etc) †¢ Set of psychological physiological reactions (racing heart, sweating palms etc) †¢ Can be opportunity for growth The spark that pushes us into action †¢ The extent to which an individual experiences stress depends on the event, together with the individual’s personality ability to cope Crises †¢ A normal reaction to a difficult experience an individual has not faced before †¢ In crises a person feels Confused, overwhelmed unable to cope †¢ Can be an external event, or an internal one caused by development †¢ A turning point An opportunity to learn skills, find resources adapt Trauma Trauma Definitions †¢ â€Å"Situations in which the victim is rendered powerless and great danger is involved† â€Å"Profound deviation from normal life experience† THUS sudden, overwhelming, unanticipated, suggests threat of injury or death. experience fear, helplessness, loss of control extreme powerlessness †¢ Traumatic events extraordinary overwhelm the ordinary human adaptations to life generally involve threats to life or bodily integrity, or a close personal encounter with violence or death. †¢ Most notable characteristic: the feelings of helplessness terror that victims are left to deal with. 4 The Effects of Trauma †¢ Trauma overtaxes the ability to cope †¢ Can damage mental health †¢ Traumatised people feel act as though their nervous systems have been disconnected from the present: Persistent expectation of danger Imprint of the traumatic event that does not fade Numbing response of giving up that becomes generalised. †¢ Psychologically mentally, trauma refers to: wounding of emotions, will to live beliefs about the self the world dignity and sense of self security †¢ Impacts normal ways of thinking feeling, so previous coping mechanisms to handle stress is no longer functional. †¢ Victim feels like a thing, a vulnerable object, subject to the will of a power/force greater than themselves Different Kinds of Traumas †¢ Natural disasters(flood, fire, hurricane, etc) †¢ Man-made catastrophes(war, terrorism, bus disasters, etc) †¢ Unintentional violence(car accidents, culpable homicide) †¢ Intentional violence (forms of victimisation involving threat to life, health limb) †¢ Trauma caused by nature → Disaster Trauma caused by humans → Atrocity Direct vs Indirect Trauma †¢ Indirect trauma affects those exposed to or witnessing the traumatic event symptoms of indirect victims can be identical to those of direct victims family of the victim, those in helping profession, children in domestic violence situations †¢ Can be a victim of direct indirect trauma at the same time witnessing a rape/murder while being held hostage. Single vs Multiple Trauma †¢ Trauma can be a single event, or multiple events (being hijacked more than once) Continuous vs Complex Trauma †¢ Continuous Traumatic stress: Situations in which people are exposed to ongoing trauma Residents of areas with high levels of violent crime Repeated exposure to violent situations Develop a numbing response to additional traumatic events, making it difficult to detect they are traumatised Can seem lethargic or depressed, don’t understand what is going on so don’t seek assistance †¢ Complex Trauma: Situations in which victims experience prolonged, repeated traumatic events Usually there is a relationship between the victim offender Victim is under control of offender, and cannot escape for an extended period First trauma is unexpected, but over time the victim awaits further incidents with enormous psychological tension Eg marital rape or child sexual abuse Conclusion †¢ People respond differently One person’s â€Å"stressful event† can be another person’s â€Å"trauma† All are relative to how individuals react to situations †¢ A hypothetical continuum plots stress, crises trauma, plotting the increase in intensity †¢ In practice it can be difficult to draw distinctions, the client’s definition should always be used 1.2 DEFINING SEXUAL TRAUMA †¢ Sexual trauma is: Trauma of a sexual nature The trauma creates emotional turmoil for the survivor May impair the survivor’s functioning in certain areas (self-esteem, relationships sexuality) Problems may manifest much later, when the survivor develops understanding of the wrongness of the activities they participated in, given that participation may even have been passive. 9 1.2.1 Rape and Child Sexual Abuse †¢ 1 in 4 children in SA are sexually abused at some time †¢ Just as many boys as girls under age 10 are sexually abused †¢ 80% of offenders are well known to, and trusted by, their victims †¢ There has been a significant increase in young offenders (

The History of the Ford Mustang :: essays research papers fc

It seems that almost everyone has a favorite Mustang. With so many different generations of the Muscle Car to choose from the list is varied. To some, a Candy Apple Red 65’ with a 289 is the best ever. Or how about a fastback with the HighPower V8 and GT package? Ever heard the rumble from a Boss 302? And yet others consider the 5.0 Liter Mustangs the best largely because of the variety of low cost add-on parts available. These cars are inexpensive to buy and modify. And then there is the Cobras no matter what year or body style the Cobras come of the factory line ready to go â€Å"Run’em†. In the early 60s’ the only American sports car was the Corvette at a price to costly for many young Americans. The Thunderbird was basically a luxury car at the time. As a result Imported sports cars were selling well. Within a few years the post-war baby boomers would be buying their first car. The Mustang II concept car generated allot of excitement and led directly to the first Mustang less than a year later. Ford was unaware how popular the car would be. They announced when the first television commercial would be shown and many Americans tuned in to see it. The next day, the first day of availability, Ford sold 22,000 mustangs. The 19641/2, as it was later called, was available in only two models: the coupe and convertible. Both models featured a lengthened hood and shortened rear deck, chrome wrap-around bumpers, chrome grille with a running horse, and full wheel covers. Both models were available with a 170 cid, 101 horsepower, 6 cylinder engine, a 260-2V, 164 horsepower V-8, a 289-4V, 210 horsepower V-8 and, starting in June, a fire breathing, 4 barrel, solid lifter, 271 horsepower, 289 cid V-8 engine. The buyer had a choice of a 3 speed, 4 speed or automatic transmission, and a variety of rear end gear ratios. The interior featured "wall-to-wall" carpeting, front bucket seats or an optional front bench seat, rear bench seat, a sports car style steering wheel, floor mounted shifter, and full headliner (Kowalke). There were a total of 121,538 Mustangs produced during the 6412 model run (Mustang) . 1965 brought few changes for the Mustang. The biggest change was the availability of a new fastback model, which was to become the basis for Carroll Shelby's G.T. 350. The 120 horsepower, 200 cid 6 cylinder engine replaced the 170 cid 6 cylinder, the 289-2V, 200 horsepower V-8 replaced the 260-2V, the 289-4V was upgraded to 225 horsepower, and the 289-4V hi-po remained unchanged

Music of Mexico and Central America Essay

Musical expressions in Central America and Mexico are very diverse. Types of music in this geographic region have similarities with other types of Latin American music but have their distinctive differences. For instance, the marimba of Guatemala cannot be compared to a charcarera melody from Argentine. Also, it is quite easy to mariachi for merengue and vice versa if one doesn’t know the subtle differences between the two genres. The wide variety of instruments, the varied aspects of texts, poetic structures, languages, and dance rhythms in the music of Central America and Mexico prove the richness of these regions’ culture (Campbell et al.  9). Music tends to reflect the cultural values, behaviors, and surroundings of a given geographic region and its people. For this reason, musical traditions in Central America and Mexico have grown very diverse through centuries. Descendants of Native Americans, Africans, and Europeans who settled in Central America, Mexico, and the entire Latin America retained many features of their musical roots and creative various blends of Latin American music. Latin American songs touch on various themes. Mexico, and countries in Central America such as Belize, Costa Rica, El Salvador, Guatemala, and Nicaragua have many love songs that are passionately sung by people, often with lyrics expressing loneliness, longing, and unconditional love. Aside from love songs, music in the Latin American region also have themes of current events and history, such as the nueva cancion of Chile and corridor of Mexico. Some songs also try to establish a connection between the singer and the supernatural, such as the songs that Chilean female shaman singers sing or the dances and chants that believers of Afro-Brazilian bahia perform. These types of songs are quite different from other musical traditions in the rest of the world but they are quite typical in Latin America. In addition, Mexico and Central American countries also have a huge collection of children’s songs, tribute songs, and songs of the seasons. Instruments used in the music of Central America and Mexico usually involve the guitar. The instrument is quite prominent in most Latin American cultures, especially those influenced by Hispanic traditions. Artists from Mexico and other Latin American countries like Brazil, and Venezuela usually make use of the maracas, clave, and guiro to produce the effect they want. Drums are also very important in the music of the region and various types of drums are used for different genres. Melodies are usually composed of notes in the minor key and rhythms which are crosses of threes and twos. Native Americans are known to produce pentatonic melodies while people of African descent frequently employ syncopation in their musical styles. Perhaps the best known feature of Mexican and Central American music is its ability to make people dance. It’s easy to dance to Latin American music, whether alone or in synch with partners (Campbell et al. 9). Over the years, radio, film, and television have popularized Mexican music to higher levels. Listeners worldwide are able to recognize Mexican music although they sometimes confuse it with other types of music from the Latin American region. The icon of Mexican music is the mariachi – a Mexican musician wearing a charo costume (Hutchinson 1192). Mariachis are known all over the world to transmit the meaning of being a Mexican. This musical group can sing anything, from ballads to songs about the revolution, from songs describing bar scenes to odes to regions and towns. Mariachis are also popular for their uniforms called charros. A charro consists of a bolero-type jacket, tight pants with a belt of intricately woven design, and a wide-brimmed hat filled with ribbons, chains, and silver buttons. This unique Mariachi costume is very similar to the simpler costumes that cowboys wear. Aside from the costume, Mariachis and cowboys also have origins in the same place, which is in Jalisco and other neighboring states (Kermecker 49). A mariachi band usually consists of three or four guitarists. Bands would usually play together for townspeople at gazebos or â€Å"quioscos† in the Main Square or â€Å"zocalo. † Today in Mexico, up to eighteen mariachi musicians can organize in a main square and play any song that the townspeople want to hear. Aside from the guitar, mariachis use instruments such as vihuelas (smaller guitars with five strings), guitarrones (six-string vihuelas with big bellies), violins, harps, and trumpets for the energetic accents of Mexican songs. The term â€Å"mariachi† could have originated from the French word â€Å"mariage,† which would make sense since mariachis usually play at weddings. However, experts today insist that mariachis have existed long before the French came to Mexico. The name might have originated from the Mexican word â€Å"mariachi† which refers to a small platform for musicians and dancing couples. Mariachis can be found all over Mexico, but especially in places such as Garribaldi in Mexico City and in Guadalajara, in the Plaza de Los Mariachis located at the intersection of Independencia Sur and Mina. Visitors at these places can pay mariachis to play them any Mexican song they want (Kernecker 49). Mariachis can employ other Latin American musical instruments to play their songs. They can use the the marimba, a hugely popular musical instrument in Central and South America. Marimbas are xylophones that consist of several wooden plates of different sizes and thickness. Modern versions of the instrument have hardwood bars of uniform thickness and tubular metal resonators that encompass six to seven octaves. Two to five players would play these xylophones with warm, mellow tones (Apel 505). Central America is a geographic region that is located in the southernmost part of the North American continent connecting South America to the southeast. A large part of Central America rests above the Caribbean Plate, making the region geologically active and the site of relatively frequent earthquakes and volcanic eruptions. Cities in Central American countries have been destroyed by earthquakes before, such as Managua, capital of Nicaragua and El Salvador. However, the volcanic lava from eruptions has made the region agriculturally fertile, enabling it to sustain huge populations of people. While modern Latin American music is recognizable throughout Central America, indigenous music in the region have received the least exposure among other types of music in the Western Hemisphere. For instance, Garifuna music from the Garifuna people of Belize, Nicaragua, Honduras, and Guatemala has quite a limited audience. Instruments used in this type of music include tree â€Å"garaon† or drums: the primera which improvises the segunda which produces counter rhythms, and the tercera which takes care of bass lines. Two wires are stretched over the tops of the drums to generate the buzzing sound that is typical of West African music. Other instruments used in Garifuna music are guitars, claves, shakers, scrapers, and bottle percussions (Nidel 291). In terms of modern music, one popular genre is Punta rock which is a dance music similar to Trinidadian Soca. The standard ensemble to play Punta rock includes instruments such as synthesizers, brass, electric bass, and keyboards. The song â€Å"La Punta† of the Punta rock genre became popular in Honduras during the 1980s (Nidel 291). People in Central America absolutely love listening to the marimba. In Guatemala, the xylophone used is considered the national instrument. Marimbas of all sizes and styles are made in the country. Some models are designed to be played by a single player while others are so big that seven people are needed to play them. Musical genres like the meringue and other dance compositions usually rely on the xylophone to produce the bass rhythms (Apel 505). During the later parts of the 20th century, marimba in Mexico became popular in the southernmost state of Chiapas. The instrument is also played in neighboring states of Tabasco, Oaxaca, Veracruz, and in the nation’s capital. Mariachis and other musical groups playing marimba are scattered all throughout the country but they are especially concentrated in Mexico City and Chiapas. In terms of performance, multiple players playing marimbas are more common in Mexico than single players. In Mexico today, marimba music is mostly a regional phenomenon. It is associated with the southern part of the country and is often placed in the same category as popular music genres like jarocho from Veracruz, mariachi from Jalisco, and norteno from northern Mexico (Beck 9). In the state of Veracruz, street musicians called â€Å"ambulantes† typically play marimba for people. These musicians would perform and compete with each other for twenty-four hours a day in the streets and in buildings. The type of marimba in this seaport city is known for its sharp-edged and heavily syncopated style. The unique characteristics of marimba in Veracruz indicate its Afro-Cuban influences (Beck 224). Mexican music is primarily of Hispanic flavor because of the imposition of European musical culture on the natives by Spanish conquistadors. In Mexico today, nobody knows what real pre-Columbian music sounds like. Even the type of music that natives play in Indian communities is noticeably influenced by the Spanish. African slaves though tempered this music by adding their own style to it. Mexicans are proud of these traditional musical genres, although many of them now listen to Western rock and pop (Hutchinson 1192). There are many popular genres of Mexican music that are meant for singing instead of dancing. One is the corrido, a narrative form of music that’s derived from old Spanish ballads. The genre spread throughout the country as armies of the revolution roamed across the land. Corrido has since become a popular mode of expression for regular citizens and artists. Another genre is called cancion which means â€Å"song,† literally. Cancion highlights the romantic and sentimental aspects of Mexicans, and is therefore naturally languid and slow. An example of cancion is â€Å"Las Mananitas,† which is usually sung to serenade people on their birthdays. Finally, there’s the ranchera genre which is a mix of Mexican country and Western styles. The genre was originally associated with the cattle men from the Bajio region. Ranchera featured prominently in many Mexican films from the 1930s to the 1940s and consequently became known all over Latin America as the typical music of Mexico (Hutchinson 1192). The Mexican Film and recording industry are powerful forces throughout the entire Latin American region. They helped several Mexican artists to become household names, drawing fans and profit to the industry. Some of the most popular Mexican artists include Pendro Infante, Pedro Vargas, Miguel Aceves Mejia, Jorge Negrete, and the Trio Los Panchos. Songwriters and composers can also gain popularity in Mexico, such as Agustin Lara who is a prolific composer of romantic â€Å"boleros,† which are Latin dance types of music However, despite the popularity of these artists, mariachis are still the most popular musical groups in the country (Hutchinson 1192). Musica tejana, Texas-Mexican music or simply Tex-Mex has attained a huge following all over Mexico, Central America, and the whole Latin American region today. The genre contains influences from various musical styles, such as bolero, ranchera, and cumbia. It is very flexible and can even draw beats from other genres such as reggae, country, rap, pop, and disco. Musica tejana is also known as â€Å"tejano† music in Mexico, Texas, and other parts of the United States (San Miguel 3). The term â€Å"tejano† may also refer to people of Mexican descent who live in Texas. Musica tejana has been created by Tejanos to reflect the sensibilities of their fellow Tejanos and Mexicans. Tejanos started demanding that traditional Mexican music meet their sensibilities as early as 1920s. Early in the twentieth century, much of musica tejana was formed by accordion sounds. After World War II, Tejano musicians tried to adapt elements of Mexican music to their musical style. Artists incorporated female duet and vocal singing into musica tejana, which was previously instrumental in nature. They also continued to use the bajo sexton and accordion to produce their music. Saxophones, and trumpets later known as â€Å"los pitos† or horn section, were also employed to create musica tejana. During the second half of the century, Tejanos continued to adapt Mexican music by using instruments such as guitars, keyboards, organs, and brass instruments (San Miguel 7). Tejanos have lived alongside Anglos for a long time and conflicts between the two races are discernible in the musica tejana that evolved from this relationship. Corridos expressed the historical conflict between Mexicans and Anglos in South Texas during the late nineteenth and early twentieth centuries. According to experts, old corridos were basically narrative ballads that told the adventures of a hero and were sung to simple tunes. In many ways, singing corridos was a symbolic means to fight the dominant Anglo culture. An example of this type of corridor is â€Å"The Corrido of Gregorio Cortez,† a narrative ballad that tells the story of a hero who single-handedly fought the law of the Anglos and won (San Miguel 8). Traditional Mexican songs like canciones reflected the changes that occurred and the attributes that were retained by Tejanos in the state. Canciones are composed of various types of songs, including: corridos, canciones romanticas, canciones rancheras, and canciones tipcas. The corridor and cancion tipica dominated vocal music by Tejasnos throughout most of the nineteenth century. During the late nineteenth century, the cancion romantica started to emerge and compete with other types of cancion. In the twentieth century however, the cancion ranchera attained a huge following, which made it the dominant type of song among Mexicans in Texas and for those who lived near the border (San Miguel 8). Aside from musica tejana, there are many other musical genres that has gained wide popularity in Central America. One is cumbia, a Colombian style of folk dance music that’s considered to represent Colombian culture, like Vallenato. Cumbia is especially popular in Panama, another country in Central America. The region is mostly inhabited by mestizos who are people of European, African, and indigenous descent. The culture of the Azuero region located in the west of the country has come to dominate Panama. The country’s preference for music such as cumbia is very similar to the musical preferences of its neighboring country, Colombia. The most significant native instrument in Panama is the mejorama, a guitar with five strings, which looks quite similar with the Venezuelan cuatro. The mejorama are often used by musicians in the country to play songs termed â€Å"torrentes. † The most recognized Panamanian musician in the world is Ruben Blades who became a star in the Fania stable of New York musicians. Blades started his career with doo-woop but branched off to different musical styles later (Nidel 291). While it is true that music is the universal language, the music of Mexico and Central America is still very unique in their own social and historical contexts. The mariachi of Mexico reflects the energetic Mexican people and their passionate tendencies. Dances with fast beats illustrate the festivity of Mexican culture while slow and languid songs show the longing of Mexicans for intangible things such as love, honor, and the past. Whether it’s marimba, corridor, cancion or ranchera, Mexican music stands out as among the best and most colorful types of music in the world. Central America also has a rich collection of Latin American music, such as musica tejana, bolero, and cumbia. Each country in this region has a different past that is reflected in their preferred musical styles. As each style crosses and mixes with each other, the music of Central America is bound to get richer in the future. Through modern forms of communication and broadcast such as the Internet, Latin American music in Central America may gather more followers in regions far away from it. The various kinds of Mexican and Central American music all have their own flavors and they must be preserved for generations to come. They contain the spirit of the Latin American culture and must therefore be listened to by new generations of Latinos and other artists and ordinary people outside of the region. Works Cited Apel, Willi. Harvard Dictionary of Music. Cambridge: Harvard University Press, 1969. Beck, John. Encyclopedia of Percussion. London: Taylor & Francis, 1995. Campbell, Patricia Shehan et al. Songs of Latin America: from the Field to the Classroom. Van Nuys: Alfred Publishing, 2001. Hutchinson, Peter. Central America & Mexico 2004. Bath: Footprint Travel Guides, 2003. Kernecker, Herb. When in Mexico, Do as the Mexicans Do: The Clued-in Guide to Mexican Life, Language, and Culture. Columbus: McGraw-Hill Professional, 2005. Nidel, Richard. World Music: the Basics. New York: Routledge, 2005. San Miguel, Guadalupe. Tejano Proud: Tex-Mex Music in the Twentieth Century. College Station: Texas A&M University Press, 2002.

Care-Giver Burden Essay

Healthcare in America is an issue of finances. Healthcare is an issue, especially for the financially strapped family. The following paper will focus on the care-giver burden of a patient who cannot afford to be taken care of because of lack of insurance or lack of funds in general. In the following pages care-giver burden will be addressed using several articles concerning care-giver burden and three theorists; Martha E. Rogers, Imogene King, and Dorothy E. Johnson. The articles are in design stressing the issue of guilt and depression when a family decides they don’t have the time or the money to keep a loved one at home and must face putting them in a care facility (Sanders article Shouldering the Burden of Care). Other articles address the issue of keeping a family member at home (child) and the upkeep cost that entails such as home health aid cost, medications, or leaving a job (Wilson, Leslie S. et al. The Economic Burden of Home Care for Children with HIV and Other Chronic Illnesses). Also, the review of patient care for nurses and the burden of lack of authority in administration this presents is another form of care-giver burden (Welchman, Jennifer & Glenn G. Griener, Patient Advocacy and Professional Associations: Individual and Collective Responsibilities). Each of these issues involves a direct relationship to the patient and their concerns for the burden they may become for their family, or for themselves in regards with money and insurance. There are many facets to unravel in the primary care system but for this paper, care-giver burden is the primary concept in terms of money. Three Approaches to the Concern Approach of Martha E. Rogers. Roger’s theory involves four postulates: energy fields, openness, pattern, and pandimensionality. (Barrett et. Al 2000). Each of these postulates involves the client’s concern over their health and the relationships they form with not only the nurses but with their own families. Rogers goes on to explain that power is at the core of each of these relationships, â€Å"(power)†¦is the capacity to participate knowingly in the nature of change characterizing the continuous patterning of the human and environmental fields. The observable, measurable pattern manifestations of power are awareness, choices, freedom to act intentionally, and involvement in creating change† (Barrett et al. ) Most care-giving authority is given to nurses; both in a hospital setting and during stay at home cases. The preceding concept or the patient is its important to have a strong trusting relationship with the care-giver in order for them to feel more comfortable and also feel their issues and concerns are being heard. If the patient does not feel comfortable then the care-giver burden becomes apparent in scowling-unreceptive-to-therapy patients. However, in Welchman and Griener’s article, Patient Advocacy and Professional Associations, a rising concern over nurses’ burden when taking care of patients begins to be seen, â€Å"†¦nurses are being taught to be patient advocates and both nurses and patients are the worse for it. The nursing profession’s redefinition of the nurse’s role from loyal handmaid to patient advocate in the 1980s was supposed to protect patients by empowering nurses to think and act autonomously in their dealings with other health professionals. †¦individual nurses have been burdened with a responsibility that most professions assign†¦to their professional associations. It is not a responsibility that individuals can readily fulfill. Unless or until the duty of advocacy is taken off the shoulders of individual nurses and returned to the professional bodies that represent them, nurses and patients will continue to suffer unnecessarily†(2005). The nurses’ role in patient care involves everything a patient needs or may potentially need (feeding, bathing, bathroom visits, company) and according to Rogers’ theory making the patient part of the active choice of their own health. Therefore, in the context of this theory there is no control, because control is not held one over the other (nurse over patient) but power is shared, as Rogers’ theory states, â€Å"†¦people can knowingly participate in creating their reality by actualizing some of their potentials rather than others. In this theory there is no control; control is an illusion since other persons or groups and their environments are likewise simultaneously also participating in what is being created†. Each of these duties cannot be accomplished without proper support from family/administration, and without this support and the lack of performance in a nurse’s duty a patient will lapse in trust. This is the contention in the make-up of care-giver burden; nurses cannot fulfill their role to maximum potential without the backing of the hospital rules. The burden is twofold for the nurse and the patient. As Welchman and Griener state in a final cul-de-sac, â€Å"Advocacy for improvements in access to and deliver of health care is best viewed as a collective responsibility of health professions owed to society as a whole, not as the sole province of individual practitioners†(2005). Approach Imogene King. King’s theory lies in the clients’ perception of self. This perception ranges from their body image to their own growth and development before and after surgery or during care-giver visits. As such, the crux of King’s theory is that of communication. Her theory subsists of human beings as, â€Å"†¦open systems interacting with the environment† (Williams, Imogene King’s Interacting Systems Theory, 2001). Throughout the relationship of nurses and clients communication is the key to better health. This occurs through the patient forming several relationships with different people around them; these include personal systems, interpersonal systems, and social systems. Thus, King’s ultimate goal stated in the theory is goal attainment. However, there are outside factors that stand in the way of working and healthy relationships. In Wilson et al. ’s study of patient care for ill and HIV children the stats for financing reflects a tremendous burden, â€Å".. in-home care for ill children (ranging from approximately $19,000 to $36000) is higher than that of hiring caregivers for healthy children (approximately $10,000)† (2005). This burden is further emphasized for the family if they are not equipped to pay a professional care-giver and are dependent upon themselves for such care; this issue raises the other issues of job attendance (some families pass up promotions, decline extra working hours, or quit their jobs entirely in order to care for the ill which makes the financial burden that much more potent). These numbers also reflect the elderly who are put in homes or whose family members choose to have them stay at home. Thus, it is important within King’s theory that each relationship remains free from outside stress factors in order for the recovery of the patient to be successful. The dyad of the nurse and the patient must remain free from concerns of money, otherwise the nurse is seen as merely a worker and not a concerned care-giver and the patient is stressed because they may not have coverage for certain operations or insurance to properly cover the care-giver’s assistance. In King’s theory, communication led to recover, â€Å"King believed that interactions between the nurse and the client lead to transactions that relate in goal attainment. Furthermore, King proposed that through mutual goal setting and goal attainment, transactions result in enhanced growth and development for the client† (Williams). Therefore, the issue of money cannot come between the dyad.