A study is reported that examined how the achievement performances of disabled and nondisabled students are evaluated by others, and the possible role of attribution processes in mediating these performance evaluations. Female college students observed a young male confederate being administered a mathematics test. Whether or not the student appeared to be disabled and the level of performance on the mathematics test were varied in a 2 x 2 design. In contrast to expectations, the results indicated that the disabled student was evaluated more negatively for the same level of performance. Consistent with Weiner's attribution model, perceptions of control were found to be predictive of performance evaluations. However, a regression analysis indicated that attribution processes did not account for the differential evaluations received by the disabled and the nondisabled student.
In the past fifty years, while the playgoing public of Shakespeare's London has inspired four books, not one has been written on that of seventeenth-century Madrid. Nonetheless, the idea that the Golden Age theater was a "democratic" one, frequented by all strata of society, has long held sway in histories of Spanish theater and, indeed, in theater criticism. The democratic view may be tested with evidence drawn from economic data; social, economic and literary histories; accounts by foreign travelers; literary sources; correspondence; police reports; theater box rentals; and sermons. The question I pose is not who could occasionally attend the theater, but who had both the money and the leisure time to frequent the theater? One must wonder whether, in an economy known to be in crisis, the laborer, the shopkeeper, and the apprentice really had leisure time and spending money. What were an ordinary household's daily expenditures in Madrid? What social types lived in Madrid and in what numbers? This paper presents a synthesis of secondary source material on seventeenth-century demographics and social class in Madrid and questions the assumption that all social classes could afford to be theatergoers in seventeenth-century Madrid. (JWA)
The deuteronomist editors of the book of Samuel provide two narrative perspectives in the points of view of divine providence and individual morality. In La venganza de Tamar Tirso uses the Biblical story of David familiar to the audience yet changes the emphases in order to magnify each of the two narrative perspectives. He alters II Samuel 13 in order to influence the audience's perception of the characters: David, Amón, Tamar and Absalón are all made guilty in part for the crimes committed in the play. The spectator simultaneously perceives not only the two different biblical points of view in the story but also the difference between the biblical story and what is happening on the stage. Tamar is both an enactment of the working of divine providence and a meditation on the human sources of the tragedy.
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