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Chapter 5 QUICK QUIZ
5-1. (applied-136) A woman’s youngest child starts first grade and she begins working part time.
This is an example of a change in a(an) _______.
a. social role
b. biological role
c. gender role
d. age stratum
5-2. (factual-137) Gender role stereotypes refer to sets of shared beliefs about how men and
women should behave. This can be harmful when ________.
a. the origins of the roles are studied
b. males are considered equal to females
*c. they are used to judge men and women
d. U.S. males and females are similar to those in other cultures
5-3. (conceptual-138) In the U.S., the roles of men and women have changed over the past few
decades. Which of the following best describes the relationship between male and female
gender roles in our current culture?
a. symmetrical
*b. asymmetrical
c. traditional
d. none of the above
5-4. (applied-137) Imagine that you are a business executive and you are about to have a meeting
with a rival executive whom you know to be a woman. You know nothing else about her, but
you imagine that she must be less competitive than your male colleagues—probably more
conciliatory. What process are you demonstrating with such thoughts?
a. intellectualization
b. stereotyping
c. differentiation
d. pragmatics
5-5. (factual-138–139) At which age in the life cycle are adults likely to add the greatest number
of new roles?
a. at 20–30 years old
b. at 40–50 years old
c. at 60–70 years old
d. at 80–90 years old
5-6. (factual-139) Current studies in the United States of the process through which young people
leave home for independent living suggest that _______.
a. the great majority of young people move from living at home to living with a
cohabiting partner or marriage partner
b. at least 60 percent of young people move back in with their parents after a period of
independent living
c. young people from single-parent homes are likely to remain at home longer than those
from 2-parent families
d. there is no longer a dominant common pathway from living at home to independent
living
5-8. (conceptual-152–153) Which of the following conclusions is the most reasonable statement
of current data on gender role crossover at midlife?
a. There is no evidence to support the concept of gender role crossover.
b. There is reasonably strong evidence that men become more feminine, but no clear
evidence that women become more masculine after midlife.
c. There is clear evidence that women become more masculine, but little indication that
men become more feminine after midlife.
d. There is evidence for an expansion of gender role boundaries at midlife, but little
indication of a full crossover.
5-9. (conceptual-157) In the final stage of the family life cycle, roles become _______.
a. more clearly defined and more dominant
b. more clearly defined but less dominant
c. less clearly defined and more dominant
d. less clearly defined and less dominant
5-10. (factual-161) Which of the following best describes our current knowledge about the impact
of childlessness on adult life patterns?
a. Childlessness has little effect in early adulthood, but in old age childless adults are
significantly less happy.
b. Childless men and women are both more committed to their work than are men and
women with children and are also less likely to care for an aging parent.
c. Childless women are consistently less happy with their lives than are women with
children, but there are no differences for men.
d. Childless adults appear to be as happy as those with extended families.
1. Answer: a
Page in text: 136
Topic: Social Roles and Transitions
Question type: applied; Difficulty level: easy
2. Answer: c
Page in text: 137
Topic: Gender Roles
Question type: factual; Difficulty level: moderate
3. Answer: b
Page in text: 138
Topic: Gender Roles
Question type: conceptual; Difficulty level: moderate
4. Answer: b
Page in text: 137
Topic: Gender Roles
Question type: applied; Difficulty level: moderate
5. Answer: a
Page in text: 138–139
Topic: Social Roles in Early Adulthood
Question type: factual; Difficulty level: easy
6. Answer: d
Page in text: 139
Topic: Social Roles in Early Adulthood
Question type: factual; Difficulty level: moderate
7. Answer: d
Page in text: 153
Topic: Social Roles in Middle Adulthood
Question type: conceptual; Difficulty level: moderate
8. Answer: d
Page in text: 152–153
Topic: Social Roles in Middle Adulthood
Question type: conceptual; Difficulty level: difficult
9. Answer: d
Page in text: 157
Topic: Social Roles in Late Adulthood
Question type: conceptual; Difficulty level: moderate
10. Answer: d
Page in text: 161
Topic: Social Roles in Atypical Families
Question type: factual; Difficulty level: moderate
5-1. (applied-136) A woman’s youngest child starts first grade and she begins working part time.
This is an example of a change in a(an) _______.
*a. social role
b. biological role
c. gender role
d. age stratum
5-2. (conceptual-136) Recent theories of roles in development emphasize all BUT which of the
following?
*a. The numerous roles acquired in early adulthood are simply shed when completed.
b. With a few exceptions, roles are neither gained nor lost.
c. Roles change relative to life circumstances.
d. Today’s research involves studying role transitions and adjustments.
5-4. (factual-137) Gender stereotypes refer to sets of shared beliefs about how men and women
should behave. This can be harmful when ________.
a. the origins of the roles are studied
b. males are considered equal to females
*c. they are used to judge men and women
d. U.S. males and females are similar to other cultures
5-6. (factual-137) Research on gender roles around the world shows that _______.
a. gender roles are particularly evident in industrialized cultures
b. gender roles are particularly evident in nonindustrialized cultures
c. only about half the cultures in the world have clear gender roles
*d. every culture has some form of gender roles
5-7. (applied-137) Proximal causes of the origins of gender roles means _______.
a. exaggerated male/female differences
b. minimal acceptance of gender stereotypes
*c. factors present in the immediate environment
d. undifferentiated gender schemas
5-9. (factual-137) Which of the following is NOT consistently part of the male gender role
stereotype in Williams and Best’s cross-cultural studies?
a. active
b. independent
*c. superstitious
d. enterprising
5-10. (factual-137) The school of thought that explains gender roles as dispositional traits we are
predisposed to perform is known as _______.
a. learning schema theory
b. social role theory
*c. evolutionary psychology
d. none of the above
5-11. (factual-137) The term psychologists use to describe the typical collection of female
stereotyped qualities is _______.
a. agentic
*b. communal
c. instrumental
d. emotional
5-12. (conceptual-138) In the U.S., the roles of men and women have changed over the past few
decades. Which of the following best describes the relationship between male and female
gender roles in our current culture?
a. symmetrical
*b. asymmetrical
c. traditional
d. none of the above
5-13. (conceptual-137) Gender stereotypes are clearest when subjects are asked _______.
a. to indicate the probability that each gender will show some specific qualities
*b. to say whether a given quality is more characteristic of men or more characteristic of
women
c. to say what roles or qualities men and women could display
d. to describe the actual behavior of men and women in their culture
5-14. (applied-137) Imagine that you are a business executive and you are about to have a
meeting with a rival executive whom you know to be a woman. You know nothing else about
her, but you imagine that she must be less competitive than your male colleagues—probably
more conciliatory. What process are you demonstrating with such thoughts?
a. intellectualization
*b. stereotyping
c. differentiation
d. pragmatics
5-16. (factual-138–139) At which age in the life cycle are adults likely to add the greatest number
of new roles?
*a. at 20–30 years old
b. at 40–50 years old
c. at 60–70 years old
d. at 80–90 years old
5-17. (factual-139) Current studies in the United States of the process through which young
people leave home for independent living suggest that _______.
a. the great majority of young people move from living at home to living with a
cohabiting partner or marriage partner
b. at least 60 percent of young people move back in with their parents after a period of
independent living
c. young people from single-parent homes are likely to remain at home longer than those
from 2-parent families
*d. there is no longer a dominant common pathway from living at home to independent
living
5-18. (factual-143) Analyses of marriage and cohabitation rates in the United States over the past
several decades suggest that among young people in their early 20s, ________.
a. marriage rates have risen, and cohabitation rates have declined
*b. marriage rates have declined, and cohabitation rates have risen
c. marriage rates have remained about the same, and cohabitation rates have risen
d. marriage rates and cohabitation rates have both risen
5-19. (factual-144) Early gender roles in partnerships, before children are born, are more ______
than they will be when the partners are parenting.
*a. egalitarian
b. traditional
c. male-oriented
d. female-oriented
5-20. (factual-140) In 2003, roughly what percentage of men and women aged 18–24 were still
living with their parents?
a. 15 percent
b. 5 percent
c. 25 percent
*d. 50 percent
5-23. (factual-146) Which of the following groups of adults shows the highest and which the
lowest rates of good physical and mental health?
a. married women highest, unmarried women lowest
b. unmarried women highest, married women lowest
*c. married men highest, unmarried men lowest
d. unmarried men highest, married men lowest
5-24. (factual-148) David Gutmann refers to the magnification of gender role differences after the
birth of the first child as _______.
*a. the parental imperative
b. a species-specific imperative
c. a legacy from our distant ancestors
d. sexual determinism
5-25. (applied-148) Before they married, Bill and Tanya were determined to have an egalitarian
relationship, sharing household tasks and childcare. But after the birth of their first child,
Jason, Tanya found herself doing the majority of the childcare, and Bill found himself
working longer hours at his job than ever. This is an illustration of what theoretical principle
or concept?
a. androgyny
*b. the parental imperative
c. the biological clock
d. gender-role crossover
5-26. (applied-148) Dion and Lucetta have just had their first child. According to Gutmann’s
principle of the parental imperative, what effect (if any) will this new arrival have on Dion’s
behavior?
a. He will spend more time at home than he did before the child’s birth.
*b. He will spend more time focused on his work than he did before the child’s birth.
c. He will spend more time interacting with his own parents.
d. It will have no effect.
5-27. (factual-150) Research in the U.S. indicates that among couples where both husband and
wife work full time, the family role stage during which there is the LARGEST gap in the
hours devoted to housework by husbands and wives is _______.
a. in the newlywed period
*b. when children are young
c. when children are teenagers
d. in the postparental period
5-29. (factual-150) Which new adult role is accompanied by a decrease in marital happiness and
satisfaction?
a. engagement
b. marriage
*c. becoming parents
d. empty nest
5-30. (factual-152) Which of the following best describes the current research information on the
impact of the “empty nest” stage on adults?
a. Both men and women show some negative symptoms, such as increased worries or
depression.
*b. Neither men nor women show widespread negative reactions; marital satisfaction
typically increases.
c. Women show little effect; men typically show an increase in worries or depression.
d. Men show little effect; women typically show an increase in depression or worries.
5-31. (factual-153) The concept of gender role crossover suggests that at some point in the life
cycle, men begin to take on aspects of the women’s role and women take on aspects of the
men’s role. At what stage does Gutmann think this occurs?
a. newlywed couples
b. young couples with infants
c. couples with school-aged children
*d. couples in the postparental stage
5-32. (factual-153) Which of the following is the most commonly acquired new role in the
postparental period?
a. regular care of aging parent
b. community volunteer
*c. grandparent
d. mentor
5-33. (factual-150) Which 2 groups, among families at different stages of the family life cycle,
show the highest levels of marital satisfaction?
a. couples with infants and couples at retirement age
*b. newlywed couples without children and couples at retirement age
c. newlywed couples without children and couples with adolescents
d. couples with preschoolers and couples with adolescents
5-35. (conceptual-152–153) Which of the following conclusions is the most reasonable statement
of current data on gender role crossover at midlife?
a. There is no evidence to support the concept of a gender role crossover.
b. There is reasonably strong evidence that men become more feminine, but no clear
evidence that women become more masculine after midlife.
c. There is clear evidence that women become more masculine, but little indication that
men become more feminine after midlife.
*d. There is evidence for an expansion of gender role boundaries at midlife, but little
indication of a full crossover.
5-37. (factual-153) Approximately what percentage of adults in the U.S. become grandparents
before they are 65?
a. 35 percent
b. 55 percent
*c. 75 percent
d. 95 percent
5-38. (factual-155) Which subgroup of adults is most likely to take on the role of regular
caregiver to an aging parent?
*a. daughters and daughters-in-law
b. sons and sons-in-law
c. daughters and her children
d. daughters and sons equally
5-41. (factual-155) Middle-aged daughters are MOST likely to provide assistance to an aging
parent when that parent is _______.
*a. a widowed mother who lives nearby
b. a widowed father who is very frail
c. a widowed mother who lives several hours away
d. a frail widowed mother who has remarried
5-43. (conceptual-157) In the final stage of the family life cycle, roles become _______.
a. more clearly defined and more dominant
b. more clearly defined but less dominant
c. less clearly defined and more dominant
*d. less clearly defined and less dominant
5-44. (factual-157) Among adults over 65 in the U.S. today, what percentage of women live
alone?
a. 20 percent
*b. 40 percent
c. 60 percent
d. 80 percent
5-45. (factual-158) Among unmarried women in late old age in the U.S., what is the most
common living arrangement?
*a. living alone
b. living with another elderly woman
c. living in a nursing home
d. living with a child
5-46. (conceptual 144) Miguel and Sara, who live in New York, have been together for six years
and now have two children, aged 1 and 3. According to research, at what period in their
relationship might they have had egalitarian gender roles, or equal gender roles?
a. before they began dating
*b. at the beginning of a marriage or partnership, before children are born
c. when they have at least one child
d. American men and women are incapable of equal gender roles
5-48. (factual-161) Which of the following best describes our current knowledge about the impact
of childlessness on adult life patterns?
a. Childlessness has little effect in early adulthood, but in old age childless adults are
significantly less happy.
b. Childless men and women are both more committed to their work than are men and
women with children and are also less likely to care for an aging parent.
c. Childless women are consistently less happy with their lives than are women with
children, but there are no differences for men.
*d. Childless adults appear to be as happy as those with extended families.
5-49. (applied-161) Kirsten is a 40-year-old, married, childless woman. What reasonable guess
might you make about other facets of Kirsten’s life?
a. she has been a full-time housewife since her marriage
b. she has struggled with depression for most of the past 20 years
*c. she has had a strong commitment to a career
d. she is the oldest child in her family
5-51. (factual-161) In comparison to women with children, childless women are _______.
a. less work committed
*b. more work committed
c. happier in old age
d. less happy in old age
5-52. (factual-162) Which of the following groups is most likely to remarry after a divorce?
*a. men in their 20s or 30s
b. men in their 50s or 60s
c. women in their 20s or 30s
d. women in their 50s or 60s
5-53. (factual-163 ) Research on the economic effects of divorce suggests that a one-family
income needs to be stretched to support two families, a fact that____________.
a. suggests the families will recover immediately after a divorce
b. underscores the perception that men are the breadwinners
*c. lowers the standard of living for all family members. drop sharply immediately
after divorce and remain low unless the woman remarries
d. validates divorce wreaking emotional havoc
5-55. Describe briefly the series of role changes that is likely to occur for a woman, and for a
man, following a divorce.
5-56. List at least seven characteristics that are part of the common cross-cultural male gender
role stereotype and seven that are part of the female stereotype. Indicate briefly some of the
consequences of these role stereotypes for adult development.
5-57. Describe briefly what happens to gender roles in couples after the birth of a child. What is
David Gutmann’s explanation for this phenomenon?
5-58. Folklore has it that women are likely to experience serious upheaval and difficulty
following the departure of their last child from home. What evidence is there for or against this
expectation?
5-59. In young adulthood, there are three major new roles acquired by the majority of people.
Describe these three roles and the problems and joys that accompany them.
ESSAY QUESTIONS
5-61. Compare and contrast the major family and gender roles of young adults and retired adults.
How can you best characterize the differences?
5-62. Researchers have consistently found that married adults are happier and less likely to show
emotional disturbance than are unmarried adults. Describe two possible explanations for this
pattern, and indicate which of the two you consider to be the better explanation and why.
5-63. More adults in the past few years have chosen to marry later, to have their children later,
and/or to have fewer children. Cumulatively, what will be the effects of such changes on the life
patterns of adults? What are the possible advantages? What are the possible disadvantages?
5-64. Evaluate the evidence for (and against) the concept of a gender role crossover in midlife.
What additional type(s) of research would we need to confirm or reject this hypothesis?
5-65. Describe the major age changes in social roles over the adult years in your own culture at
this point in history.
5-67. What do we know about the adult lives of never-married adults? What kind of research
would we need to do to add to our fund of information?
5-68. Aqulano (1996) has found that 44 percent of young adults aged 19–24 had returned home
after living away. Based on what you have learned in this class, provide several arguments for
why this would be and the larger effect it has on the changing life cycle.
5-69. We have discussed several reasons why the social clock in the U.S. no longer operates via a
“family life cycle.” Describe a few of these reasons and discuss the overall ramifications of this
change.
5-70. Describe why there are such large cultural effects on older (65 years of age and older)
women living alone. Include relevant research to support your claim.
5-71. Recall the traditional social roles of early, middle, and late adulthood. Now create a
fictitious adult and mix up those roles, creating some that are on-time and some off-time.
Describe how changing the timing of traditional roles affects the lifestyle and choices of the
fictitious adult, and how your adult copes with these effects.
5-72. (applied, Variations in Timing) People who are off-time with the social clock of their
culture are more apt to have difficulty in their roles and less apt to report high levels of
life satisfaction. Using an example from a television sit-com, movies, or novel, illustrate
a similar-themed fictional situation, whereby an individual is off-time with his or her
social clock and struggles with his or her social roles.
Now what are the relations that this modern phenomenon has
established with the theater through the medium of the director?
Ordinarily they differ very much from the attitude that existed
between the old-fashioned scenic artist and the director, and the
attitude that still exists in the case of most scenic studios. This is the
relation of shopkeeper and buyer. The director orders so many
settings from the studio. Perhaps he specifies that they are to be
arranged in this or that fashion, though usually, if the director hasn’t
the intelligence to employ a thoroughly creative designer, he hasn’t
the interest to care what the setting is like so long as it has enough
doors and windows to satisfy the dramatist. Occasionally you find a
keen, modern director who, for one reason or another, has to employ
an artist of inferior quality. Then it is the director’s ideas and
conceptions and even his rough sketches and plans that are
executed, not the artist’s. In Stockholm, for example, Harald André
so dominates the official scene painter of the Opera that the settings
for Macbeth are largely André’s in design though they are Thorolf
Jansson’s in execution. Even in the case of the exceptionally
talented artist, Isaac Grünewald, with whom André associated
himself for the production of Samson and Delilah, the director’s ideas
could dominate in certain scenes. For example, in the beautiful and
effective episode of the Jews in the desert which André injected into
the first act—a scene for which the director required a symbolic
picture of the fall of the walls of Philistia to accompany the orchestral
music which he used for this interlude. The brilliance with which
Grünewald executed the conception may be judged from the
accompanying illustration.
The commonest relationship of the director and the designer has
been coöperative. The artist has brought a scheme of production to
the director as often, perhaps, as the director has brought such a
scheme to the artist. The director has then criticized, revised, even
amplified the artist’s designs, and has brought them to realization on
the stage. And the artist and the director, arranging lights at the final
rehearsals, have come to a last coöperation which may be more
important to the play than any that has gone before.
Samson and Delilah: the mill. A remarkable example of an essentially
ornamental theatrical setting, designed by Isaac Grünewald for the
Royal Opera in Stockholm. Black emptiness. A slanting shaft of light
strikes the millstone in a vivid crescent. As the wheel travels in its
track this crescent widens to a disk of blinding light, and then shrinks
again. The actual forms of this setting are sublimated into an arresting
composition of shifting abstract shapes of light.
It is ordinarily very hard to say what share the artist or the director
has had in the scheme of a setting, or whether the director has
bothered his head at all about the setting after confiding it to what he
considers competent hands. It is an interesting speculation just how
much the physical shape of Reinhardt’s productions has been the
sole creation of his artist, Stern. Certainly Stern delighted in the
problems which the use of the revolving stage presented, and only in
a single mind could the complexities of these sets, nesting together
like some cut-out puzzle, be organized to a definite end. It is entirely
possible that, except for a conference on the general tone of the
production, and criticisms of the scheme devised by Stern, Reinhardt
may have given no thought at all to the scenery. Stern was a master
in his own line, and for Reinhardt there was always the thing he
delighted most in, the emotional mood produced by the voices and
movements of the actors. His carelessness of detail even in the
acting, suggests that for him there were only the biggest moments,
the important elements and climaxes, that put over the emotion of
the play.
Sometimes artist and director are the same, as with Pitoëff in
Geneva and Paris, or with Knut Ström in Gothenburg. In such a case
setting, direction, and acting are one. But ordinarily there is a division
of responsibility, and an opportunity for the artist to play a part in the
production of a drama far more important than Bibiena’s. Just how
important it may prove to be is bound up, I think, with the future of
the theater as a physical thing, and with the temperament of the
artist. Working as a designer of picture-settings, the artist can only
suggest action, but not dictate it, through the shapes and
atmospheres he creates. The important thing is that almost all the
designers of real distinction in Europe are tending steadily away from
the picture-setting. They are constantly at work upon plans for
breaking down the proscenium-frame type of production, and for
reaching a simple platform stage or podium upon which the actor
shall present himself frankly as an actor. This means, curiously
enough, that the designers of scenery are trying to eliminate
scenery, to abolish their vocation. And this in turn should indicate
that the artist has his eye on something else besides being an artist.
The director who works in such a new theater as the artists desire
—in the Redoutensaal in Vienna, for example,—requires an artist to
work with him who sees art in terms of the arrangement of action
upon steps, and against properties or screens. This is ordinarily the
business of the director in our picture-frame theater; with the work of
the artist enchantingly visible in the setting behind the actors, the
director can get away reasonably well with the esthetic problems of
the relations of actors and furniture and of actors and actors. Nobody
notes his shortcomings in this regard. Put him upon an almost naked
stage, and he must not only make his actors far more expressive in
voice and feature, but he must also do fine things with their bodies
and their meager surroundings. This is far easier for a pictorial artist
than for the director, who is usually an actor without a well-trained
eye. The director must therefore employ an artist even in the
sceneryless theater, and employ him to do what is really a work of
direction. The two must try to fuse their individualities and abilities,
and bring out a composite director-artist, a double man possessing
the talents that appear together in Pitoëff.