Test Bank For Aging and The Life Course An Introduction To Social Gerontology 7Th Edition by Quadagno 1259870448 9781259870446 Full Chapter PDF

Chapter 02 - Life Course Transitions
Test Bank for Aging and the Life Course An Introduction to

Social Gerontology 7th Edition by Quadagno 1259870448
9781259870446
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Chapter 02: Life Course Transitions

Multiple Choice Questions
1. (p. 28) Transitions are:

A. social changes that occur as one cohort replaces the other.
B. the impact of historical events on the entire society.
C. role changes individuals make as they leave school, take a job, marry, have children, or
retire.
D. ways of using age as a social category to group people by status.
Accessibility: Keyboard Navigation
2. (p. 28) All of the following are characteristics of a trajectory except:

A. it can be a multiple pathway in ordering and timing life events.
B. it ranks individuals hierarchically in a social system.
C. it can consist of distinct gender differences in employment.
D. it has an impact on women's income security in old age.
2-1
Copyright © 2018 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of
McGraw-Hill Education.
3. (p. 29) Which of the following statements is NOT a characteristic of age grade?
A. It occurs in every society.
B. Most societies have more clearly marked age grades for males than for females.
C. Societies may vary in the number of age grades.
D. Individual members of society can select the age grade they want to join.
4. (p. 29) In age-graded systems, .

A. people are categorized by the number of siblings in their families
B. each categorized group has the same role or grade
C. people are predominantly categorized by the differences in their ethnicity and race
D. males are ranked in hierarchical order according to their age group
5. (p. 29) One of the major methodological issues in research on the life course is:
A. collecting data to test various hypotheses.
B. selecting the appropriate sample size.
C. distinguishing among age, period, and cohort effects.
D. distinguishing between abstract and concrete concepts for the study.
6. (p. 30) Which of the following is an example of a cohort effect?

A. the shift in the attitudes of a country's population toward gay marriage from the 1960s till
the early 2000s
B. the shift in the average life expectancy of an older cohort from the 1960s till the early
2000s
C. the impact of the civil rights movement on the economy of the United States in the 1970s
D. the impact of the Great Depression on the rich and the poor
2-2
7. (p. 30) Which of the following is an example of a period effect?

A. the financial crisis of 2007-2008
B. the change in the attitude of the millennials about the baby boomers
C. the changes in the physical appearance of an individual over a period of time
D. the disappearance of the Malaysian Flight 370
8. (p. 31) The best research design to distinguish among age, period, and cohort effects is:
A. cross-sectional.
B. longitudinal.
C. secondary data.
D. participant observation.
9. (p. 30) The finding that older people are more politically conservative than younger people is
an example of:
A. aging effect.
B. cohort effect.
C. period effect.
D. subculture effect.
10. (p. 30) According to research, support for gay marriage was lowest among:
A. the Millennials.
B. the Silent Generation.
C. the Echo Boomers.
D. the Swing Generation.
2-3
11. (p. 31) The longitudinal research design that focuses on the role that social support and
personal relationships play in healthy aging is .
A. the Health and Retirement Survey
B. the Baltimore Longitudinal Study of Aging
C. the National Social Life, Health and Aging Project
D. the Asset and Health Dynamics among the oldest-old
12. (p. 32) Which of the following is not a technique used in qualitative research?
A. interviewing individuals using a survey instrument
B. participant observation
C. open-ended interviews
D. observing people in a natural setting
13. (p. 32) All of the following are characteristics of longitudinal research designs except:
A. they follow a particular group of people over time.
B. they provide data about differences between age cohorts.
C. they are costly.
D. they are factual because all of the same subjects remain in the study.
14. (p. 34) The term "age timetables" refers to:

A. the number of years spent in each phase of the life cycle.
B. appropriate ages for making various life course transitions.
C. the expected timing or deadline for life events.
D. timetables that order life events.
2-4
15. (p. 32) Which of the following is NOT an example of life course transition in the family
sphere?
A. parenthood
B. grandparenthood
C. entering full-time employment
D. marriage
16. (p. 32) An advantage of longitudinal research studies is that they:

A. follow different groups of people at different points in time.
B. do not distinguish age effects from cohort effects.
C. provide data about differences between age cohorts.
D. do not require any investment as they monitor subjects at only one point in time.
17. (p. 32) A disadvantage of longitudinal research studies is that they:

A. fail to include children and teens in their research.
B. fail to distinguish age effects from cohort effects.
C. have a tendency to be biased as some people drop out over a period of time.
D. can only include people of different age cohorts at a single point in time.
18. (p. 33) The clock orders major life events.

A. biological
B. social
C. time
D. age
2-5
19. (p. 34) One of the reasons for the "crowded nest" phenomenon is:
A. low wage for young workers.
B. young adults these days are much less independent from their parents than in the past.
C. unavailability of other housing alternatives.
D. parents prefer to have their adult children living with them.
20. (p. 35) The refers to middle-aged people who have both dependent children and aging
parents.
A. crowded nest
B. social clock
C. swing generation
D. sandwich generation
21. (p. 35) Social scientists have found that there is a sequencing in the order of later life moves.
The second move is most likely to occur when:
A. older adults are seeking a comfortable lifestyle.
B. older adults encounter physical incapacity.
C. older adults develop chronic disabilities, a serious illness, or become widowed.
D. older adults have remarried.
22. (p. 38) For nineteenth-century women, percent of their married lives were spent in
childrearing.
A. 60
B. 20
C. 90
D. 50
2-6
23. (p. 40) One theory which seeks to explain why inequality increases with age is the:
A. age stratification theory.
B. age inequality theory.
C. theory of cumulative disadvantage.
D. demographic transition theory.
24. (p. 40) Which of the following statements is true of the theory of cumulative disadvantage?
A. It states that the past history of an individual has little relationship with the future
behaviors of the individual.
B. It indicates that inequality among people 65 or older is the lowest of all age groups.
C. It highlights the influences of earlier life experiences on the quality of life in old age.
D. It proposes that the advantage of one group over another group remains constant at any
period of time.
25. (p. 40) The government has the greatest impact on:
A. adolescence and young adulthood.
B. children and older adults.
C. adolescence and old age.
D. children and adolescence.
26. (p. 41) Why do most people think of "old age" as starting at 65?
A. That's the age that most people retire these days.
B. That's traditionally the age at which most health problems begin.
C. That's the average age at which people become grandparents.
D. Prior to the year 2000, that was the age at which retired workers could begin receiving
Social Security benefits.
2-7
27. (p. 42) Which of the following was not part of the experience of the sent-down youth in
China?
A. Many were allowed to visit their families for only a few weeks every three years.
B. Marriage and childbearing were significantly delayed.
C. Most started out on the upper end of the occupational ladder.
D. They were more likely to go to college and eventually had higher incomes.
2-8
True / False Questions
28. (p. 28) The life course of individuals is shaped entirely by the individual.
FALSE
29. (p. 28) An example of a countertransition is achieving a bachelor's degree at age 18.
FALSE
30. (p. 29) Age grades use age as a social category to group people by religious and sexual
orientation.
FALSE
31. (p. 29) The basic assumption in measuring age effects is that changes due to aging reflect
biological and physiological developments that are independent of specific times, places, or
events.
TRUE
32. (p. 29) The best example of an aging effect is the civil rights movement of the 1960s.
FALSE
2-9
33. (p. 30) A cross-sectional research design consists of asking people in several age groups the
same information.
TRUE
34. (p. 31) A major advantage of the longitudinal research design is that it compares subjects
from different cohorts.
FALSE
35. (p. 31) The Health and Retirement Survey is an example of a cross-sectional research study
reported to the government panels making policy decisions about families.
FALSE
36. (p. 32) A major disadvantage of the longitudinal research design is the cost.
TRUE
37. (p. 34) One distinctive change in the duration of a life course phase is the extension of
adolescence.
TRUE
2-10
38. (p. 35) The period of old age is also another change in the duration of the life course. It may
last as long as 45 to 55 years.
FALSE
39. (p. 35) If there are disorders in the sequencing of life events, there may be negative
consequences for later life transitions.
TRUE
40. (p. 37) A number of studies have found that children who are overweight are much more
likely than slim children to be obese as adults.
TRUE
41. (p. 39) Until recently, middle age was distinct from the rest of adult life.
FALSE
42. (p. 39) By the 1970s, the average couple had their first child by their late 30s and had a total
of four children spaced two years apart.
FALSE
2-11
43. (p. 40) People who start life at an advantage are likely to experience increasing benefits as
they age.
TRUE
44. (p. 41) The government has the greatest impact on two phases of the life course: adolescence
and old age.
TRUE
Essay Questions
45. What are the major historical events that have affected your age cohort?
Answers will vary.
46. What is the ideal family size and how far apart should children be spaced?
Answers will vary.
2-12
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—— Post, i. 383 n.; ii. 143, 144; iii. 18 n., 76, 93, 126, 243 n., 350; x.
138, 150, 220; xi. 495.
—— and Evening of the Roman Empire (Claude’s), ix. 54, 57.
Morocchius (in Shakespeare’s Merchant of Venice), i. 322, 391, 392.
Morocco, Emperor of (in Peter Pindar), viii. 168.
Moroni, Giovanni Battista, ix. 34.
Morose (in Jonson’s Silent Woman), viii. 42.
Morpeth, Lord, xi. 386.
Mortimer (in Cumberland’s Faithless Lover), ii. 83.
—— (in Shakespeare’s Henry IV.), i. 284.
Morton, Charles, x. 357.
—— Thomas, iii. 162; vi. 453; viii. 442; xi. 374.
—— (Scott’s Old Mortality), iv. 247.
Mosaics of the Church of St Mark, Venice, ix. 274.
Mosca (in Jonson’s Fox or Volpone), viii. 44.
Moscow, iii. 99, 178; vi. 241; xi. 195, 196.
Moses, iii. 265, 297; viii. 58; xi. 233, 472 n.; xii. 263.
—— Cosmogony of, xii. 279.
—— (Michael Angelo’s), ix. 362; x. 208.
—— (Poussin’s), ix. 473.
—— (Sheridan’s), viii. 250.
—— in Egypt (an Oratorio), ix. 202.
—— (in a play), viii. 387; xii. 24.
Mosheim, Johann Lorenz von, iii. 276.
Mossop, Henry, ii. 63, 64.
Moth (in Shakespeare’s Midsummer Night’s Dream), i. 61, 244; viii.
275.
Mother Bombie (by John Lyly), v. 197, 198.
—— Cole (in Foote’s The Minor), viii. 167.
—— and Child, The (Raphael’s), viii. 148.
—— Hubberd’s Tale (Spenser’s Shepherds’ Calendar), v. 98.
—— and a Sleeping Child (Guido’s), ix. 51.
Mother’s Picture, Verses on his (by Cowper), v. 95.
Motto, or Invocation to his Muse (Cowley’s), viii. 58.
Moudon (a town), ix. 285, 295, 296.
Mouldy (Shakespeare’s 2nd Henry IV.), viii. 33.
Moulins (a town), ix. 178, 179.
Mounsey, George, vi. 192, 195, 197, 198, 199, 201.
Mount, Sermon from the, v. 184.
Mountaineers, The (G. Colman, junr.), ii. 109; viii. 239.
Mountford, Sir Charles, v. 213.
Mountfort, Susanna, i. 157; viii. 160.
Mountjoy, Lady, ix. 473.
Mourning Bride (Congreve’s), i. 176; vi. 195; vii. 306; xi. 382.
Mourritt (operatic singer), ix. 171.
Moustache (Macready’s Henry IV.), viii. 442.
Mowbray (Shakespeare’s Richard II.), i. 273.
Mozart, Johann Chrysostom Wolfgang Amadeus, ii. 174, 178, 200,
201; iii. 311; vi. 74; vii. 239; viii. 325–7, 362–4, 370–1, 452, 535; xi.
427, 455, 500; xii. 168, 345, 384.
Mrs Battle’s Opinions on Whist (Lamb’s), iv. 364; vi. 199, 245.
Mrs James (in Fielding’s Amelia), viii. 114; x. 33.
—— Leicester’s School (Lamb’s), v. 146.
—— Malaprop (in Sheridan’s Rivals), viii. 165, 508; x. 142; xi. 307.
—— Marwood (Congreve’s Way of the World), viii. 74.
—— Oakley (in Geo. Colman the elder’s The Jealous Wife), viii. 316,
505; xi. 304.
—— Patch (in Mrs Centlivre’s Busy-Body), viii. 503.
Much Ado about Nothing (Shakespeare’s), i. 335; iii. 200; viii. 32,
401 n.
Mucklewrath (Scott’s Old Mortality), iv. 247.
Mudford, William, vi. 111, 196, 293 n.; x. 219; xi. 547.
Mudge, Dr, vi. 368, 419, 512.
Mudges, The, vi. 366, 367, 374, 510, 512.
—— Zachary, vi. 368.
Muiopotmos (Spenser’s), viii. 404.
Mulberry Tree, The (a song), viii. 301.
Muleteers (Correggio’s), ix. 35.
Muley-Muloch (in Dryden’s Don Sebastian), v. 357, 358.
Mulgrave, Lord, i. 374.
Müller, Johannes von, iii. 154.
Mumps (in Oulton’s Frightened to Death), viii. 359.
Munchausen, Baron, vii. 37, 138.
Munden, Joseph Shepherd, ii. 147, 148, 368; v. 269 n.; vi. 275–6 n.,
418, 453; viii. 71, 226–7, 256, 264–5, 278, 286, 310, 317, 343, 359,
386, 392, 400, 416, 459, 465, 525, 534, 536; xi. 303, 306, 366,
377–8, 392; xii. 24, 198 n.
Munden’s Sir Peter Teazle, xi. 392.
Mundungus, x. 149 n.
Mungo (in Bickerstaffe’s Padlock), ii. 84.
Müntz, John Henry, x. 164.
Murder of Dentatus (Haydon’s), xi. 482.
Murillo, Bartolomeo Esteban, vi. 219; ix. 23, 25, 26, 54, 158, 186,
389, 390; xi. 205 n., 249; xii. 262.
Murphys, The, v. 359; viii. 164.
Murray, Chas., viii. 309.
—— John, i. 376, 379, 380; iii. 124, 194, 217, 218; iv. 302, 312; vi. 89,
211; vii. 376, 378, 515; ix. 247 n.; xi. 423, 486, 489, 580; xii. 267,
320.
—— Lindley, iii. 445; iv. 241 n., 391; xii. 232.
Murray, William (Earl of Mansfield), iii. 416.
—— Mr (Pope’s friend), viii. 555.
—— Miss, viii. 529.
Muse, Invocation to, or Motto (Cowley’s), viii. 58.
Music, History of (Burney’s), x. 288 n.
—— Messora’s, xi. 245.
Music-piece (Giorgione’s), ix. 271.
—— (Titian’s), ix. 11, 70.
Musical Instruments, Personification of (in Tatler), i. 9; viii. 98.
—— Party (Giorgione’s), ix. 26.
Musician and the Nightingale, The Contest between the (by
Crashaw), viii. 53.
Musidorus and Philoclea (Sir Philip Sidney’s), ix. 58.
Mustapha and Alaham (by Fulke Greville), v. 231; vii. 255; xii. 34.
Mustard Seed (in Shakespeare’s Midsummer Night’s Dream), i. 61,
244; viii. 275.
My Aunt (a farce), viii. 239, 240.
—— Father (in Sterne’s Tristram Shandy), i. 12; viii. 121, 151.
—— First Acquaintance with Poets, xii. 259.
—— Grandmother (by Prince Hoare), i. 155; vi. 416; viii. 230.
—— Landlady’s Night-Gown (Oulton’s), viii. 328.
—— Spouse and I (C. Dibdin’s), viii. 525.
—— Uncle Toby (in Sterne’s Tristram Shandy), i. 12; viii. 11, 121, 151;
x. 39; xi. 553.
—— Wife! What Wife? (by Barrett), viii. 237.
Myrrha (Byron’s Sardanapalus), ii. 307.
Myrtle (in Steele’s Conscious Lovers), viii. 158.
Mysie Happer (in Scott’s Monastery), viii. 454.
Mysterious Mother, The (Walpole’s), x. 165.
Mysteries, The, x. 60.
—— of Udolpho, The (by Mrs Radcliffe), viii. 125; xii. 64.
Mystery of the Passions, x. 60.
N.
Naiad, i. 19.
Nairn, iv. 280.
Naldi, Guiseppe, viii. 326, 365, 372; xi. 308.
Namur, Siege of, i. 429.
Nantreuil, Charles François le Bœuf, ix. 127.
Nantucket, x. 315.
Nantwich, ii. 167.
Nanty Ewart (in Scott’s Redgauntlet), vii. 319.
Napier, John, vi. 85.
—— (of Marchiston), xii. 441.
—— MacVey, xii. 255.
Naples, ii. 180, 223; iii. 179; vi. 347, 379, 385; ix. 233, 249, 253, 256,
259, 419, 475 n.; x. 56, 277, 282, 283, 287 n., 292, 300.
Napoleon Buonaparte. See Buonaparte, Napoleon.
Narcissa (in Smollett’s Roderick Random), xii. 64.
Narcissus, i. 25; xii. 200.
—— and The Graces (Bishop’s), iv. 102.
—— Looking into Water (Barry’s), ix. 419.
Narni (a town), ix. 258.
Narrative of Facts (Holcroft’s), ii. 139, 156, 201, 205.
Nash, Sir B., vi. 451.
—— Miss, viii. 254.
Nasmyth, Peter, xi. 245, 246, 247.
Nathan, Mr (an actor), viii. 401.
—— the Wise (Lessing’s), x. 119.
Nathaniel (in Shakespeare’s Love’s Labour’s Lost), i. 332.
National Antipathies, ix. 138.
—— Gallery, ix. 3; xii. 215.
Natural Son (Kotzebue’s). See Mrs Inchbald’s Lover’s Vows.
Natural Disinterestedness of the Human Mind, The (Coleridge’s), xii.
266.
Nature and Art (Mrs Inchbald’s), ii. 336; vi. 364; viii. 123, 127; x. 41.
—— State of (Hobbes), vi. 308.
Naufragium Joculare (Cowley’s), v. 214.
Nayrs, The, vi. 150.
Neal, Daniel, iii. 265; iv. 217; xi. 443.
—— John, x. 313.
Neapolitan Nobleman (Titian’s), vii. 292; ix. 385.
Neate, Bill (pugilist), iv. 223; xii. 8 et seq.
Nebuchadnezzar, xii. 204.
Nebuchadnezzar’s image, viii. 407.
Ned Christian (in Scott’s Peveril of the Peak), xi. 538.
—— Softly (in The Tatler), vii. 64.
Neely. See Sherwood, Neely, and Jones.
Negro (or African), i. 69.
Nehemiah, ii. 4.
Nell (in Coffey’s The Devil to Pay), viii. 252, 389; xii. 24, 122.
Nelson, Lord, i. 97; vi. 85, 359, 522.
—— Life of (Southey’s), ii. 48.
Nelson’s Victory, iii. 195.
Nemours, Duc de, vii. 308; viii. 326.
Neptune, i. 34; vi. 168; ix. 348.
—— The (of John of Bologna), ix. 205.
—— The (Elgin Marbles), ix. 467, 492.
—— and Amphitrite (Titian’s), ix. 75.
Nerestan (in Voltaire’s Zaire), xi. 282.
Nerissa (in Shakespeare’s Merchant of Venice), i. 322; iv. 260.
Nero, i. 390; iv. 61; ix. 221; x. 231; xii. 285.
Nero’s Golden House, ix. 234.
Nessus, iv. 104; xi. 268.
Nestor (in Shakespeare’s Troilus and Cressida), i. 221.
—— (Homer’s), xii. 155.
Netcher, Caspar, ix. 354.
Nether-Stowey, x. 150; xii. 265, 269, 270, 272, 274.
Net-maker and His Wife. See Zembuca.
Neufchatel, The Lake of, ix. 296.
Neuilly, Barrier of, ix. 133 n., 158, 159; xii. 191.
Neuss (a town), ix. 299.
Nevers (a town), ix. 177.
Neville, Living in London (? Jameson’s), viii. 242, 243.
New Books, On Reading, xii. 161.
—— Eloise (Rousseau’s), i. 91, 427; vi. 186; vii. 24, 28, 224, 304; ix.
146, 281, 285; x. 75; xii. 14, 54, 123 n., 169.
—— English Drama. See William Oxberry.
—— English Opera, The, viii. 314, 320, 323, 329.
—— Holland, iv. 46.
—— Inn, The (Ben Jonson’s), v. 263, 265.
—— Jerusalem, The, v. 94; xii. 463.
—— Lanark, iii. 172; iv. 198.
—— Man of Feeling (Godwin’s), x. 399.
—— Monthly Magazine, The, iv. 186, 348, 418 et seq.; vi. 485–6, 494,
504 et seq.; vii. 481, 485–7, 489, 507, 509–11; ix. 62 n., 446, 469,
470; x. 221–2; xi. p. vii, 496, 590; xii. 1, 15, 26, 38, 51, 59, 68, 78,
95, 104, 119, 125, 131.
—— Pygmalion. See Liber Amoris.
—— River, The, vii. 129.
—— Road, The (London), ii. 163.
—— Scots Mag. See Edinburgh Magazine.
—— Testament, The, v. 183; vi. 392.
New Times (a newspaper), iii. 233, 284, 286, 313, 314; x. 217, 218; xi.
316; xii. 289.
—— View of Society, A, iii. 121.
—— View of Society (Owen’s), iv. 198.
—— Way to Pay Old Debts, A (Massinger), viii. 272;
also referred to in v. 266, 267 n.; vii. 313; viii. 277; xii. 168.
—— Year’s Ode (Southey’s), iii. 49.
—— York, ii. 205; viii. 473.
—— Zealand, iii. 360.
Newark-upon-Trent, ii. 12.
Newbury, xi. 309; xii. 2, 6, 13.
New Castile, x. 57.
Newcastle, ii. 166.
—— Duke of, xii. 41, 383.
—— Duchess of, iv. 216; viii. 69, 503; xii. 37.
—— The Marquis of, xi. 53.
Newfoundland Dog, vi. 452.
Newgate, ii. 148, 150, 171, 206; iv. 195; v. 97; vii. 449; ix. 157; x. 227,
377, 380, 381; xi. 373.
—— Calendar, iv. 250; vi. 314; viii. 269; xi. 190; xii. 34 n., 355.
Newington Green, x. 357.
Newman Street, ii. 147, 163, 199.
Newmarket, ii. 23, 24, 26, 28, 30, 31, 32, 35–7, 40–2, 45, 46, 49, 50,
52–5, 107; vii. 211.
Newport, Lord (Vandyke’s), ix. 61.
Newport-Pagnell, ii. 14.
News, The, x. 220.
Newspaper (Crabbe’s), xi. 606.
Newstead Abbey, x. 169.
Newton, Bishop (Reynolds’s), ix. 399.
Newton, Sir Isaac, i. 10 n., 46, 82, 100; iii. 140, 141, 151; iv. 8, 45; v.
163; vi. 85, 239, 304; vii. 153, 249, 306, 358, 371, 458; viii. 99; ix.
243; x. 13, 134, 222, 249; xi. 258, 263 n., 273, 311; xii. 26, 27, 153
n., 154 n., 279, 441.
Ney, Marshal, iii. 165; ix. 146.
Nice Valour; or, The Passionate Madman (Beaumont and Fletcher),
v. 295.
Nicholas Gimcrack (in The Tatler), iii. 40; vi. 118, 119.
N.—— (Nicholson, William), ii. 91, 95, 100, 173, 175, 191–3, 195–6,
217, 219, 264, 279; vi. 92; vii. 230.
Nicias, viii. 17.
Nick Strumpfer (Scott’s The Pirate), xi. 534.
Nicknames, On, xi. 442.
Nicolas the Barber (in Cervantes’ Don Quixote), x. 27.
Nicole, Pierre, xi. 289.
Niger, The, ix. 255.
Night (Michael Angelo’s), ix. 363.
—— Picture of (Brown’s), v. 315.
—— at Dresden, The (Correggio’s), xii. 357.
—— Scene (Hogarth’s), viii. 136, 137; ix. 80.
—— Thoughts (Young’s), ii. 91; v. 375.
—— Walker, The (Beaumont and Fletcher’s), v. 261.
Nightingale, To the (Drummond of Hawthornden), v. 300.
Nile, The, i. 232; vii. 344; ix. 350.
—— the Battle of the, i. 97.
Nimeguen, ix. 299, 300.
Nimrod, vi. 168.
Nina (an Italian Opera), vii. 325, 335; ix. 174, 175 n.
Nine Muses (Tintoretto’s), ix. 42.
Ninette à la Cour (C. S. Favart’s), xi. 380.
Ninon de l’Enclos, xii. 37.
Niobe (The Elgin), ix. 379; x. 82.
—— (Raphael’s), i. 70.
—— (R. Wilson’s), ii. 198; ix. 393; xi. 200.
Nipperkin (in Sprigs of Laurel), xii. 24.
Nismes, Massacre of, iii. 118, 216.
No Song, No Supper (by Hoare), vii. 193; viii. 406, 416.
Noah’s Ark, vii. 96; ix. 335; xii. 263.
Noble, Walter, x. 243.
—— Kinsmen (Fletcher’s), v. 190.
—— Lord, Letter to a (Burke’s). See Letter to Bedford, Duke of.
—— Peasant, The (Holcroft’s), ii. 87, 109, 268.
Noblet, Mademoiselle, ix. 174.
Nodin (a picture dealer), ii. 205.
Noel, Mademoiselle, i. 53; ix. 170.
Nokes, James, i. 157; viii. 160.
Nola, the Philosopher of, x. 145.
Nollekens, Joseph, vi. 373, 379, 384; vii. 88, 90; xii. 221, 439.
Noman (in Homer’s Odyssey), xi. 452.
Nonjuror (Cibber’s), viii. 162.
Noon (Hogarth’s), viii. 137, 140; ix. 80; xi. 252; xii. 364.
Norbury Park, vi. 360.
Nore, The, ii. 248.
Norfolk, ii. 249, 277; iii. 405.
Norfolk, Duke of, xii. 164.
—— (in Richard III.), viii. 184, 202.
Norman (Holcroft’s), ii. 204.
—— Court, vi. 24; ix. 27.
Normandy, iii. 97; ix. 100.
Norna of the Fitful-Head (in Scott’s The Pirate), xi. 534.
North, Lord, iii. 290, 337 n., 419, 420; iv. 237.
—— T., ii. 205.
—— Sir Thomas, v. 186.
Norths, The, iii. 389.
North Berwick-Law, ii. 314.
—— Briton (a newspaper), iii. 422.
—— West Passage, iv. 207; vi. 414.
Northampton, ii. 14, 125; x. 356.
Northcote, James, i. 442; ii. 208, 209, 217, 224; iv. 212; vi. 10, 18, 65
n., 296, 318, 407; vii. 39, 40, 42, 89–94, 211, 487; ix. 34, 55, 61, 66,
226, 407 n., 475 n.; xi. 202 n., 509, 516, 543, 590; xii. 224, 439.
Northcote’s Conversations, vi. 333.
—— Samuel, vi. 395.
Northern Winter, A (A. Philips), v. 374.
North Pole, Panorama of, vi. 407.
Northumberland, Duchess of, iii. 307.
—— the Family of, x. 171.
—— the Earl and Countess of (Vandyke’s), ix. 61.
—— in the Tower (Vandyke’s), ix. 61.
—— (in Shakespeare’s Henry IV. and VI.), i. 284, 296, 301; xi. 192.
Northwich (a town), ii. 18.
Norton, Thomas, v. 193.
Norval (in Home’s Douglas), vi. 294; viii. 180; xi. 373.
Norway, iii. 62, 104, 106, 107, 158, 216.
Norwich, ii. 182, 230, 278.
Norwood, vii. 114.
Norwynne (in Inchbald’s Nature and Art), vii. 339; xii. 65.
Nota Bene; or, The Two Doctor Funguses (a play), viii. 536.
Nothing, Poem upon (Rochester’s), v. 83.
Notre-Dame, ix. 156.
Nottingham, ii. 14, 19–23, 29, 72, 85, 106, 125; vi. 445.
Nottingham, Lord, iii. 464.
Novel (in Wycherley’s Plain Dealer), viii. 78.
Novelle di Salernitano, ii. 172.
Novelists, On The English, viii. 106.
Novelty (Shakespeare’s Sonnet), i. 360.
—— and Familiarity, On, vii. 294.
Novi (a town), ii. 178.
Novum Organum (Bacon’s), v. 328.
Nugent, Lord, ii. 94; x. 215.
Numitorius (Knowles’s Virginius), viii. 456.
Nuneaton, ii. 14.
Nurse (in Shakespeare’s Romeo and Juliet), viii. 199.
Nursey, Perry, xi. 249.
Nut-Brown Maid, The (old ballad), v. 106; xi. 533.
Nym (in Shakespeare’s Henry V.), i. 291, 351; viii. 33.
Nymph, The First and Second (in Milton’s Comus), viii. 231.
—— (Titian’s), ix. 14.
—— appearing to the River God (a picture), ix. 128.
—— making a garland of flowers (Parmentier’s), ix. 167.
—— and Satyr (Giorgione’s), ix. 226.
—— —— (Polemberg’s), ix. 20.
—— —— A (a picture), ix. 43.
Nymphadoro (Marston’s Antonio and Mellida), v. 228.
O.
O——, Mr, xi. 387.

Oak and the Briar, The (Spenser’s), v. 98.
Oakhampton Castle (Wilson’s), xi. 199.
Oates, Titus, ii. 143.
Oath of the Horatii (David’s), ix. 134.
Oberon (in Shakespeare’s Midsummer Night’s Dream), i. 245 et seq.
Ober Wesel, xi. 363.
Obligations, On the Spirit of, vii. 78.
O’Bryan, Mr, ii. 173, 174.
Observations on Judge Eyre’s Charge to the Jury in 1794 (Godwin’s),
x. 399.
Observer, The, ix. 287; x. 220.
Occasion (Spenser’s), x. 245.
Occasional Conformity Bill, The, x. 377.
Occleve, Thomas, v. 34.
Oceana (Harrington’s), iii. 122.
Oceanus (Æschylus’s Prometheus), x. 93.
O’Coigly, James, ii. 429.
O’Connell, Daniel, xii. 214.
O’Connor, Arthur, ii. 174, 186, 190, 196, 431.
—— Roger, ii. 190.
Octavia (in Shakespeare’s Antony and Cleopatra), i. 229; viii. 192.
Octavian (in The Mountaineers), viii. 239, 241.
Ode on Chatterton (Coleridge’s), iv. 215.
—— to Departing Year (Coleridge’s), v. 377; xii. 268.
—— to Eton College (Gray’s), v. 118; vii. 74.
—— to Evening (Collins), v. 116, 374.
—— to Fear (Collins), v. 116, 374.
—— to Indifference (Mrs Greville’s), viii. 216.
—— to the Memory of Sir Lucius Cary and Sir H. Morrison (Ben
Jonson’s), v. 306.
—— to Naples, The (Shelley’s), x. 267.
—— on the Passions (Collins), v. 116, 374.
—— on the Poetical Character (Collins’s), v. 116, 126, 374.
—— on the Progress of Life (Wordsworth’s), i. 250.
—— on St Cecilia (Dryden’s), v. 81.
Odes and Inscriptions (Southey’s), v. 164.
Odeon, The (theatre), ix. 154.
Odry, Jacques Charles, ix. 153.
Odyssey (Homer’s), i. 71 n.; v. 14, 66; viii. 20; x. 12; xi. 236, 452; xii.
168.
Œdipus (Æschylus), x. 96.
—— (Lee’s), v. 357; vii. 298.
—— (Corneille’s), ix. 154, 193.
O’Fin (in Amory’s John Buncle), i. 54.
Ogygia (in Spenser), viii. 241; (Homer’s), x. 12.
Ohio, iv. 337; vi. 53.
O’Keefe (in Amory’s John Buncle), i. 54; iii. 142.
O’Keeffe, John, vi. 417; viii. 166, 319, 400, 416, 534; xi. 364, 383.
Old Actors, Some of the, xi. 366.
—— Age (Cicero’s), iv. 384.
—— —— (Holcroft’s), ii. 87.
—— —— of Artists, On the, vii. 88.
—— Bachelor, The (Congreve’s), viii. 72.
—— Bailey, The, ii. 99, 151, 199; vii. 339.
—— Clothes to Sell (a song in Holcroft’s Old Clothesman), ii. 177.
—— Clothesman, The (Holcroft’s), ii. 163, 170, 173, 195, 222, 225,
226.
—— Customs, viii. 327.
—— Double (in Shakespeare’s Henry IV.), i. 64, 283; viii. 33, 35.
—— English Baron, The (Mrs Radcliffe’s), viii. 127.
—— —— Writers and Speakers, vii. 311.
—— Fortunatus (Dekker’s), v. 234.
—— Jewry, Chapel in the, vi. 367.
—— Masters, The, x. 196.
—— Mortality (Scott’s), iv. 243 n., 247; vi. 425; xi. 459, 532, 537.
—— Mother W. (? Hogarth’s), xii. 364.
—— Nosy (in Dibdin’s Past Ten o’clock), xi. 393.
—— Project (in Reynolds’s What’s a Man of Fashion?), viii. 262.
—— Sarum, Sonnet to (Southey’s), iii. 203.
Old Sarum (town), iii. 110, 414; iv. 263.
—— Soldier (Opie’s), ii. 228.
—— Testament, The, v. 17, 183; x. 62.
—— Times (a newspaper), iii. 194.
—— Woman, xii. 321.
Oldenburgh, Duchess of, iii. 308.
Oldfield, Mrs, i. 8, 157; viii. 90, 96, 160.
Oldmixon, John, x. 368 n., 370, 371.
Oliver, Tom, vi. 40.
—— (in Shakespeare’s As You Like It), i. 341.
—— (in L. Bonaparte’s Charlemagne), xi. 232.
—— (a Government Spy), iii. 232, 234, 240, 261, 280.
Olivia (in Holcroft’s Hugh Trevor), ii. 137.
—— (in Holcroft’s The Man of Ten Thousand), ii. 160.
—— (in Wycherley’s Plain Dealer), viii. 14, 78, 86.
—— (in Shakespeare’s Twelfth Night), i. 315, 318; viii. 32, 37.
Ollapod (in Colman’s The Poor Gentleman), xi. 376.
Olympian Jupiter, The, ix. 466.
Olympic Games (Barry’s), ix. 421; x. 199.
—— Theatre, The, vi. 81; viii. 461, 462, 472.
Olympus, i. 34, 71; ix. 324, 325; x. 7.
Omai, portrait of (by Northcote), vi. 402.
One Man’s Profit is Another’s Loss (Montaigne’s), viii. 94 n.
O’Neill, Miss, i. 156; v. 355; viii. 177, 210, 211, 223, 256, 261–3, 273,
284, 288, 291, 309, 310, 347, 350, 391–4, 397–8, 465, 478, 524,
528, 537, 538; ix. 147; xi. 304, 367, 403, 407, 410.
O’Neill, Miss, as Belvidera, viii. 261, 513.
—— —— as Constance, viii. 513.
—— —— as Mrs Oakley, viii. 530.
—— —— as Elwina, viii. 256.
—— —— as Juliet, viii. 198.
—— —— as Lady Teazle, viii. 291.
—— —— as Widow Cheerly, xi. 297.
Onslow, Arthur, xii. 370.
Opera, The, xi. 426.
Opera, The Company at the, xi. 369.
—— New English, viii. 314, 320, 329.
—— House, The, ii. 90, 193; viii. 465.
Ophelia (in Shakespeare’s Hamlet), i. 105, 232, 293 n.; iii. 122; v. 49,
261; viii. 188, 209, 478 n.; ix. 145; x. 116; xi. 295, 395, 451; xii. 144.
Opie, John, i. 149; ii. 169, 172, 174–6, 178, 180, 184, 189, 196, 198,
208–9, 223–6, 228, 230, 398; vi. 10, 79 n., 296, 343, 351, 390, 411,
433, 436, 462; vii. 109, 274, 305; ix. 225, 403; xi. 218.
—— Mrs, ii. 169, 226, 231; viii. 268.
Opposition and The Courier, iii. 240.
O.P. Row, viii. 357; xi. 372; xii. 39, 297.
Ops (a heathen god), vii. 255.
Orange, House of, vii. 322; ix. 42.
—— the Prince of, iii. 284; vi. 221; x. 370, 372.
—— Court, ii. 1, 2.
Oratorios, The, viii. 296.
Orcagna, Andrea, ix. 354.
Ordonio (in Coleridge’s Remorse), vi. 314; viii. 421.
Orestes (Æschylus), x. 93.
—— (Phillips’ The Distressed Mother), viii. 334.
Orford, Lord, vi. 461.
Orgagna, the Giant (Ariosto’s), ix. 239.
Orger, Mrs Mary Ann, viii. 246, 279, 355, 358, 536; ix. 151.
Orgon (Molière’s Tartuffe), viii. 29, 246; ix. 151; x. 108; xi. 354.
Oriana (in Dimond’s Conquest of Torento), viii. 368.
Orient (a ship), ii. 214.
Originality, ix. 423.
Orinda (in Farquhar’s Inconstant), i. 154.
Orion (N. Poussin’s), vi. 169, 170.
Orkneys, The, xi. 532, 533.
Orlando (in Shakespeare’s As You Like It), i. 339; iii. 297; viii. 252.
—— (in L. Bonaparte’s Charlemagne), xi. 232, 235.
—— (in Dekker’s Honest Whore), v. 235, 237, 240.
—— Amoroso (Bayardo’s), x. 69.
—— Furioso (Ariosto’s), x. 14, 70, 71, 85.
Orleans Gallery, The, i. 78; vi. 14; ix. 9, 11, 31, 33 and n., 422.
Ormond, The Duke of, vi. 345.
Ormskirk, ii. 167.
Ornamental Gardening, Treatise on (Thomas Whately’s), i. 171.
Oroondates, The (in La Calprenède’s Cassandra), xii. 61.
Oroonoko; or, The Royal Slave (Southerne’s), xi. 301;
also referred to in i. 300; v. 359; vii. 70; viii. 537.
Orosman (Voltaire’s), x. 111; xi. 282.
Orphan, The (Otway’s), v. 355; viii. 263.
Orpheus, vii. 14.
—— (by Barry), ix. 420.
—— (by Dance), vi. 442.
—— and Eurydice (Drolling’s), ix. 137 n.
Orr, William, iii. 237.
Orsin (Butler’s Hudibras), viii. 65.
Orsini, xi. 443.
Orson (in Valentine and Orson), v. 361; vii. 215.

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Chapter 02 - Life Course Transitions

Test Bank for Aging and the Life Course An Introduction to

Chapter 02: Life Course Transitions

1. (p. 28) Transitions are:

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2. (p. 28) All of the following are characteristics of a trajectory except:

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4. (p. 29) In age-graded systems, .

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6. (p. 30) Which of the following is an example of a cohort effect?

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7. (p. 30) Which of the following is an example of a period effect?

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14. (p. 34) The term "age timetables" refers to:

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16. (p. 32) An advantage of longitudinal research studies is that they:

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17. (p. 32) A disadvantage of longitudinal research studies is that they:

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18. (p. 33) The clock orders major life events.

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True / False Questions

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Answers will vary.

Answers will vary.

O——, Mr, xi. 387.

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