The effect of attributions for rejection on the perceived levels of threat to different basic needs was experimentally tested. In this 3 (Internal, External, and Ambiguous attribution) x 3 (Controllable, Uncontrollable, and Neither attribution) experiment, participants read one of nine relationship termination vignettes manipulating which attribution was provided as the reason for being rejected. Perceived levels of threat to Fiske’s (2002) core social motives (belonging, control, and self-esteem) were measured. Analyses revealed main effects of the internal/external attributions, such that an internal attribution led to increased feelings of anger and desire to retaliate. Both effects were mediated by increases in threat to self-esteem. No effects of the rejection controllability attribution were found. These findings suggest that rejections that include internal attributions, such as that it’s the rejected person’s fault that they are being rejected, threaten a person’s self-esteem, which in turn leads to anger and desires to retaliate.

The novella, Aus dem Leben eines Taugenichts was published in 1826 by Joseph von Eichendorff and was heralded at that time and for many years thereafter by critics as the epitome of the German romantic novel, and the hero, the Taugenichts himself, was the ultimate German romantic hero as well. In the recent past critics have questioned this orientation and research has been initiated that contradicts the assertion that Eichendorff crafted the ideal romantic novella and hero. This Thesis will examine the validity of this claim.

Thesis (Ph.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / Literary movements, in one way or another, have influenced music throughout the history of art. The interaction between these two forms of art, however, is nowhere so prominent in the history of music as in Germany durinq the years, 1800-1850, the so-called "golden age" of Romantic music. Indeed, German Romantic literature and German Romantic music were so closely interwoven during this period that it is difficult to separate one from the other. In truth, a new literary-musical art had developed in Germany during the first half of the nineteenth century. The synthesis between German Romantic music and German Romantic literature has been appreciated more by literary scholars than by scholars of music. George C. Schoolfield's The Figure of the Musician in German Literature (The University of North Carolina Press, 1956) is, for example, a significant study. In music, however, there is no one work which deals adequately, to my knowledge, with the interaction between these two arts. Even in articles relating to the subject two prominent figures have been neglected, Wilhelm Heinrich Wackenroder and Ludwig Tieck. It is due to the belief that German Romantic music cannot be fully understood without a knowledge of German Romantic literature and their interrelationships that this study was undertaken. The dissertation concentrates on the six German Romantic writers who have exerted the qreatest influence on German Romantic music: Wackenroder, Tieck, Navalis, E. T. A. Hoffmann, Heinrich Heine, and Jean Paul Richter. The first chapter deals with two works by Goethe, Wilhelm Meister and Faust. Other Romantic writers, such as Marike and Eichendorff, have also been included whenever a comparison was possible [TRUNCATED]. / 2031-01-01

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