CHAPTER 1 INTRODUCTION 1.1 Background of Research Literature is a collection of imaginative written work created by authors to understand, express, and share experiences. Definitions of literature can be diverse, differing answers from various authors, experts, and scholars. Bennett and Royle, states “Literature is the space in which questions about the nature of personal identity are most provocatively articulated.” (2009, p.125). From Eagleton, “Literature transforms and intensifies ordinary language, deviates systematically from everyday speech. It is a 'special' kind of language, in contrast to the ordinary language we commonly use, definable not according to whether it is fictional or imaginative, but because it uses language in peculiar ways. ” (Goldblatt, 2017). According to Lodge, “Literature is a record of human consciousness, the richest and most comprehensive we have. Lyric poetry is arguably man’s most successful effort to describe qualia. The novel is arguably man’s most successful effort to describe the experience of individual human beings moving through space and time.” (Aras, 2015, p.251). Then, Marcus states, “Literature means not only what is written but what is voiced, what is expressed, what is invented, in whatever form” (2009, p. 89). From these four statements, it can be concluded that literature is a record of human consciousness, attempting to share experience and question the nature of personal identity, by intensifying ordinary language, though not only what is written, but also what is expressed and voiced in any form. In literature, the topic of spirituality and faith often surfaces in fictional books. The subject of spirituality falls under the genre metaphysical fiction, it brings the extraordinary into mundane everyday life humans are accustomed to. According to Clune’s definition, modern metaphysical/visionary fiction crosses paths with each other, and is underappreciated in the genre of magical realism. The supernatural is presented as a component in a tangible reality; spirit and nature are intertwined and completely connected, turning extraordinary is reduced to normal everyday activities. Clune continues to say, “Metaphysical literature tells tales of the inner life. Typically, these stories are expressed plainly and in prose that tries to capture the beauty that exists both within us and all around us. Its job is to express the soul's desire to rise above the sorrow of daily life.” (Clune, 2012). So on, Newland states, “Metaphysical fiction emphasizes on a person’s journey towards self-actualization and focuses on elements of internal, spiritual, supernatural, and transcendent components of the human experience. “Readers may gain insight into, or be stimulated to reflect on, such things as the nature of existence, the mind, the soul, the psyche, psychology, the spiritual journey and so on.” (Newland, 2012). Based on these understandings, it can be said that metaphysical fiction tells tales of the inner life that includes spiritual or transcendent aspects of the human experience. It captures and reflects the nature of existence, the mind, the soul, and beauty that exists both within and around us. A piece of literature that belongs in the category of metaphysical fiction is Mitch Albom’s The Stranger in the Lifeboat, published on November 2, 2021. This novel is currently rated 4.14 stars on Goodreads (www.goodreads.com). Moreover, this novel is reviewed by Kirkus, declaring that it is, “Unanswerable questions wrapped inside a thought-provoking yarn.” (www.kirkusreviews.com). Positively reviewed by Richard Klinzman for Jacksonville Florida Times-Union, “Albom, as he has done so many times before, touches our core with his optimism and we are all the better for it.” (www.jacksonville.com). Kayla Provencher says, “Much like his rendition of God, Albom’s writing works in mysterious ways. He leaves his readers with a gamut of unanswerable questions and a life-affirming message. Evocative, tragic and beautiful, The Stranger in the Lifeboat is a book with the potential to reach far beyond its own pages.” (www.bookreporter.com). Based on the encouraging reviews this novel has received, and gaining the approval from many of its readers. Examining the contents of this novel further will be interesting to do. Although this novel is heavily centered on the theme of spirituality and presence of a divine being, there is an underlying story that shows the characters dealing with grief. The analysis of grief in literature is a subject that has been discussed and examined extensively numerous times in previous studies. Such as in Nibakure, (2021), “The Poetics of Fidelity in Max Porter’s Grief is the Thing with Feathers (2015) and Nicholas Royle’s Quilt (2010)”, uses qualitative research method. Porter’s and Royle’s novel is categorized into the genre contemporary elegy that uses the poetics of anti-consolation. In Porter’s novel, mourners are seen to be torn between the traditional type grieving and melancholies, locked in an ambivalence of sorrow. While in the other hand, Royle’s novel sends the bereaved into a melancholic state: frozen time and a space haunted by ghosts of the dead, demonstrating how the agony of loss continues. In order to convey the process of grieving, that is the essence of this elegy; this paper analyzes fidelity and infidelity in the works of Max Porter and Nicholas Royle. Others include, Zapata, (2020), “Exploring Death and Grief: Zen in Zadie Smith’s The Autograph Man”, uses qualitative research method. This article examines how Alex-Li Tandem, a Chinese-Jewish Englishman, endures prolonged grief following the death of his father, portrayed as the individual trauma of loss in Zadie Smith’s 2002, The Autograph Man. More specifically this article offers a thorough explanation of grieving and makes the case that Alex’s eventual acceptance of death and ability to participate in Kaddish, a Jewish ceremony to remember the deceased. Moving away from earlier analysis of the novel’s post secularism and trauma in general, this article focuses on how grieving is portrayed, examining current perspectives on death and grief, and the role different spiritual traditions play in Alex’s healing process. As can be seen from above, this subject clearly has been brought up a number of times in earlier studies. As opposed to the various studies mentioned above, this study shall concentrate on the stages of grief presented in Mitch Albom’s The Stranger in the Lifeboat. Therefore, the hypothesis for this study is finding out what stages of grief is presented by the character Jarty LeFleur in The Stranger in the Lifeboat by Mitch Albom. Considering the remarkable ratings and reviews this novel has earned, and the popularity and reputation of its author, exploring such concept in Mitch Albom’s metaphysical fiction novel The Stranger in the Lifeboat will be fascinating to discuss, and it can provide insight and knowledge for this research. 1.2 Problem Formulation Based on the background of research in the prior sub-chapter, the problem formulation in this study is, what stages of grief is presented by the character Jarty LeFleur in The Stranger in the Lifeboat by Mitch Albom? 1.3 Objective of Research The purpose of this study is to concentrate on answering the aforementioned problem formulation. Therefore, the objective of this study is to understand what stages of grief is presented by the character Jarty LeFleur in The Stranger in the Lifeboat by Mitch Albom. 1.4 Scope of Research The time constraint is considered in this research, thus limiting the scope of the study to find out what stages of grief is presented by the character Jarty LeFleur in The Stranger in the Lifeboat by Mitch Albom. CHAPTER 2 THEORETICAL REVIEW 2.1 Novel A novel is a piece of created prose narrative of substantial length and complexity that creatively explores the human experience, typically through a connected chain of events involving a number of characters in a particular setting, published as a book. Much like Ellis, points that “a novel is a fictional piece of prose that is typically written in a narrative style, which are usually defined by a series of events and presented as a bound book.” (Ellis, 2022). In an article by Aliyev, mentions that “a novel is a verbal object that is written, for the most part, in prose, has more than 30,000-words, and was intended by its author(s) to tell a fictional story, realizes this intention at least to some extent, and is self-standing.” (Aliyev, 2021). From these notions, we can summarize that a novel is a written fictional prose, that has more than 30,000-words, that are usually defined by a series of events, intended by its author(s). The word “novel” is a truncation of the Italian word “novella”, which is derived from the Latin word novellus a late version of novus, meaning “new”, so what is currently a diminutive in most languages, historically refers to the parent form (Burgess, 2022). Elements in a novel include a plot, characters, setting, conflict, and theme. The plot of a novel will frequently adhere to what is known as the three-act structure. Before a certain event, the setup commonly referred to as “Act 1”, will be focused on exposition, introducing readers with the main group of characters, setting, and tone of the story; and the inciting incident setting the story in motion. From then, the narrative of conflict known as “Act 2” will enter a to a rising action, a sequence of conflicts as the protagonist pursues a goal, while encountering obstacles and achieving minor goals in the process. There will be a significant change that elevates the stakes in the middle of the story, leading up to the emotional and narrative climax nearing the end of the novel. The climax and the resolution are the focus of “Act 3”, resolving the entire story (Wurderman, 2022). 2.2 Psychology of Literature Psychology of literature is the literary practice of examining a writer’s work through a psychological perspective. Yimer states that “There is a direct link between psychology and literature. Both literature and psychology study the human soul and pay attention to the imagination, ideas, feelings, and soul psychical issues. While literature utilizes fiction to represent human behavior, psychology studies the human behavior and its causes. Literature investigates humans and explores all facets of their inner lives. The explanation for this is that literary works are also a manifestation of a certain psychological condition. Psychology also provides insight into literature by examining mental processes.” (Yimer, 2019). It is important to note that both psychology and literature appeal to readers imaginations and emotional responses, Meiliana continues to say that, “Psychology has a noteworthy place in the analysis of literary works, and each field puts the individual at the centre of their studies and analyses.” (Meiliana, 2020). Wellek and Warren have defined psychology of literature as “The psychological study of the writer as a type and an individual, the study of the creative process, the study of the types and laws that are present in literary works, and the study of the effects of literature on the readers that describes and explains the psychological experience of a being in the behaviors.” (Santos, 2018). Consequently, psychology of literature is the investigation of the writer and or a character’s behavior, experiences, and its causes through a psychological lens presented in literary works, it helps readers in recognizing the writer’s or character’s motivations. 2.3 Concepts of Grief Death is a serious subject that people might consider difficult to discuss. As jarring of a topic it is, it is something that all living beings have to accept will happen someday, somewhere, somehow. It is not an unusual thing for people to want to rationalize and understand death, because there will never be a way of knowing what may come after death, and that idea terrifies some, or most people. Especially, the fact that a loved one will one day be physically gone. Most wouldn’t even dare to think of how one would live without their loved ones, avoiding the thought of it ever happening. But, many people have already dealt with loss at one point in their lives, either a family member, or a friend, or even a beloved pet. The intense emotions that human beings experience are normal and a natural response to dealing with bereavement. It is something that many experts have tried again and again to study, the complex, long, and exhausting journey of what is known as grief. In the next section, the various theories of grief will be addressed. 2.3.1 Five Stages of Grief Kübler-Ross, a Swiss psychiatrist first introduced her theory known as the five stages of grief, in her book ‘On Death and Dying’ (1969) and the updated version ‘On Grief and Grieving’ (Kessler, 2005). Kübler-Ross worked with terminally ill patients at the University of Chicago’s medical school for two and a half years to simply contemplate on a new opportunity to refocus on patients as human beings. Learning more about the final stages of life, gain insight on how the human mind works and the qualities that grounds our existence, and hoping it would result in less dread surrounding their own mortality. She proposes that there are five stages of grief, the first stage being denial and isolation, second stage is anger, third stage is bargaining, fourth stage is depression, and the fifth and final stage is acceptance. In depth explanation of the five stages of grief continues below: I. First Stage: Denial and Isolation Among the hundreds of patients Kübler-Ross interviewed, most of their initial reaction to the realization of a terminal illness was with denial. With statements along the lines of “It can’t be true” or “No, it’s not me”, believing that somehow the diagnosis was a mistake, leaving patients in a state of shock and numbness. After having received unexpectedly devastating news, denial serves as a buffer, allowing the patient to compose themselves. Denial is typically a temporary defense that will soon be replaced by partial acceptance. Isolation begins much later than denial, taking form as shutting ourselves from the truth by giving into a false reality. II. Second Stage: Anger Feelings of anger, hatred, envy, and resentment replaces the first stage of denial. The justified questioning of “Why me?” or “Why couldn’t it be somebody else?”. Anger may be displaced in the form of blaming others, such as the medical professionals, claiming that they are not doing enough to prevent and eradicate the illness; nurses, for never tending to their needs properly enough; visiting family members, greeted with hardly any enthusiasm; even God, for binging a terrible illness upon them, showing aggression and projecting their rage to their surroundings. III. Third Stage: Bargaining If there is an inability to confront the painful reality during the first and second stages, perhaps by arriving at some form of compromise that may delay the impending demise can lead to a successful outcome. Trying to gain control over the illness by bargaining, whether rational or not, such as seeking a negotiation from medical professionals or intensely praying to a higher divine being for solace. The desire is almost always to live longer, or to live for a moment without experiencing pain or discomfort. The bargaining is merely an attempt to delay death. As for the loved ones of dying patients, it manifests in bargaining that the loved one would be spared, in statements like, ‘If only’, wanting to trade places, and to bargain with the pain. IV. Fourth Stage: Depression Depression is the stage that occurs when previous stages have been acknowledged, and there is no room left to deny the inevitable death. All hope is lost because what is the point in living if death will soon come? Every feeling before is soon replaced with an immense feeling of loss; loss of a life that could be. Depression is commonly prevalent in anyone who deals with grief, not just patients waiting for their death, but also people who have lost or is currently on the verge of losing a loved one. An intense sadness and emotional pain rushes through constantly like a wave, leading to feelings of emptiness and hopelessness, suicidal thoughts, poor eating and sleeping habits, and lack of care for hygiene. V. Fifth Stage: Acceptance Acceptance recognizes the reality of the inevitable tragedy that will come in the future, given enough time to go through and acknowledge the previous stages, "the final rest before the long journey" (p.101). No longer struggling and having already mourned for the loss of what has passed and what will be, there is no sadness nor anger. Some patients might think it’s cowardly to give up, but will eventually stop fighting, realizing it would be easier to give in with peace and dignity, embracing mortality with open arms.. For loved ones, it is finally being okay that they are no longer physically present, and growing into this new reality and learning to live with the loss. So, as explained briefly above are the intricate details and what behaviors that an individual might experience when going through the five stages of grief starting with denial and isolation, to anger, bargaining, depression, and ending with acceptance, a model developed originally by Elizabeth Kübler-Ross, from the book ‘On Death and Dying’ (1969). Then in later years, a book co-authored by David Kessler was published in 2005 titled ‘On Grief and Grieving’, expanding on Kübler-Ross’ theory and updating it to current standards. Even, proposing against a strict linear order of the five stages of grief, implying that the stages varies depending on each individual. So, it does not have to start with denial nor does it have to end with acceptance. 2.3.2 Complicated Grief Complicated grief is an abnormal grieving style that includes states of intense, unrelenting, and absolute sorrow. For most, after experiencing bereavement, the acute grief slowly becomes integrated grief; where the bereaved adapts to the loss and is able to return to everyday activities and find enjoyment again. A person who is going through complicated grief implies that the grief still remains severe and debilitating; it delays the healing of the bereaved. “Characterized by yearning and longing, decreased interest in ongoing activities, and frequent thoughts of the deceased.” (Shear, 2013). Bereavement in older adults can lead to a variety of negative outcomes. Losing a loved one is linked to deteriorating health, loss of weight, and an increase of chance in illness and functional impairment. Next, are clinical features of complicated grief that persist for more than six months after experiencing the loss of a loved one, contained in Bereavement Care (2010) by M. Katherine Shear, MD: I. Feelings of intense yearning for the deceased person, missing the person so tremendously that it becomes hard to care about anything else. II. Preoccupying memories, thoughts, and images of the person who died, might be wanted or unwanted, it interferes with the ability to do meaningful activities or have relationships with others. It may be in the form of compulsively seeking the feel closer the deceased through pictures, possessions, or other items associated with the person. III. Reccurring painful emotions related to the person who died, causing profound sorrow, guilt, anger, envy, and self-criticism that are difficult to keep in control. IV. Avoiding situations that might trigger painful emotions or thought relating to the death of the loved one. V. Difficulties in restoring the ability to create or experience positive emotions through satisfaction or joy in activities or relationships. VI. Suicidal thoughts relating to the deceased, wanting to join the person who died and feeling unable to live without them. Although Shear’s work redefined features in identifying complicated grief among bereaved adults, G.W. Hartz was the first to propose complicated grief as a diagnostic entity for DSM-4 (American Psychiatric Association’s Diagnostic and Statistical Manual 4) in 1986. Years later, H.G. Prigerson published a series of studies in 2009 evolving the proposed diagnostic criteria, but it was based upon only a small number of people with complicated grief. So, in 2011 Shear et al proposed a rather distinctive set of criteria based upon a much larger data of people with complicated grief and clinical experience. Then, in the release of DSM-5, the condition called “Persistent Complex Bereavement Disorder” includes the criteria for complicated grief diagnosis for adults, shown below: I. The person has experienced the death of someone they had a close relationship with. II. Since the death, at least one of the following symptoms is experienced on more days than not and to a clinically significant degree, persisting for at least 12 months for bereaved adults: 1) Intense yearning for the deceased that is persistent. 2) Severe emotional pain and sorrow in response to the death. 3) Preoccupation with the deceased. 4) Preoccupation with the circumstances of death. III. At least six of the following symptoms are experienced since the death on more days than not and to a clinically significant degree, and is persistent for at least 12 months for bereaved adults: Reactive distress to the loss 1) Marked difficulty in accepting the death. 2) Experiencing disbelief or emotional numbness over the death. 3) Difficulty with positive reminiscence of the deceased. 4) Anger or bitterness related to the death. 5) Maladaptive appraisals about oneself in relation to the death (e.g. self-blame) 6) Excessive avoidance of reminders of the death (e.g. avoiding situations, places, and people associated with the deceased) Social identity disruption 7) Desire to die to be able to be with the deceased. 8) Difficulty in trusting other people since the death. 9) Feeling alone or detached from other people since the death. 10) Feeling that life is meaningless or hollow and believing that one cannot function without the deceased. 11) Confusion about one’s role in life or a diminished sense of identity (e.g. feeling a part of oneself also died along with the deceased) 12) Difficulty or reluctance to pursue interests or plan for the future since the death. IV. The disturbance causes clinically significant distress or impairment in occupational, social, or other important areas of functioning. V. The bereavement reaction is out of proportion or inconsistent with cultural or religious, or age-appropriate norms. The criteria above, shows signs that indicate if a bereaved adult is experiencing complicated grief and diagnosable with “Persistent Complex Bereavement Disorder”, taken from the American Psychiatric Association’s Diagnostic and Statistical Manual of Mental Disorders: Fifth Edition (2013). 2.4 Characterization Characterization is the process or construction of a fictional character made by the writer’s used as a literary device in a story. It is a crucial component in storytelling that includes both inner and outer attributes of a character. Other than the purpose of defining a character, it can also be used ti drive a plot. In literature, characterization is presented in description, thoughts, dialogue, and habits/actions (Heckmann, 2021). Description of a character is shown through the physical attributes of the character, how they look and present themselves, for instance, if they have chipped nail polish on their right fingers it could be a sign that they play guitar because strumming without a pick messes up nail polish; a character’s thoughts are usually exposed in inner-monologues, it reveals their personality the same way that it is shown through dialogue; dialogue is what a character says and how they say something tells the readers exactly what the character is like, either talking to other characters or what they say about others; a character’s habits/actions are shown through gestures and mannerisms, for example, if a character has their head down on a desk in a classroom it would be a sign that they are sleepy or bored. The writer builds the character from scratch, describing the physical traits, defining qualities, and personality. When revealing a character’s traits and qualities, writers use; indirect and direct characterization. Indirect characterization is the process of revealing information about a character by using contextual clues, a less obvious way of explaining a character to the readers (Baldwin, 2020). This includes their inner thoughts, actions, speech, behavior, and opinions. What’s left unsaid is up to the reader’s imagination to interpret and make their own conclusions about the character. Direct characterization is a more obvious and easy way of informing the readers on the character’s appearance, passion, and pursuit, describing it directly through narration. Character development is also important in analyzing a character within a story. A character might often change their outlook on life, adopt different behaviors and values, and develop new beliefs, or coming to terms with something difficult as a result of conflicts and events that they go through, this is what is called a dynamic character (Glatch, 2021). As can be seen, there are many elements and types of characterization. Building a character requires a great deal of understanding of the process and practices of characterization to appeal to an audience. This process can then later be examined by readers through a character’s description, thoughts, behavior, dialogue, and habits/actions, essentially attributes adopted by a character that progress throughout the story revealed by indirect and direct characterization, to fully comprehend the inner and outer workings of a character created by the writer. CHAPTER 3 RESEARCH METHOD 3.1 Research Method The research method used to conduct this study is the qualitative approach. According to Creswell, “Qualitative research is an approach for exploring and understanding the meaning individuals or groups ascribe to a social or human problem.” (2014, p. 32). Collecting data, interpreting data, analyzing data, and emerging questions and procedures are all part of the research process. People involved in this type of research support an approach that values an inductive style, focus on individual meaning, and the importance of conveying a complex situation. The process is largely inductive; the researcher derives meaning from the information collected in the field. Researchers use a theoretical perspective in qualitative research. In case studies, the researcher develops in-depth analysis of the case by collecting relevant information using a number of data collection procedures over the course of a considerable amount of time. Researchers collect data on an instrument or test or gather information by examining through documents, observing behavior, or interviewing participants. The broad explanation for behavior and attitude is used in qualitative research, and it can include variables, constructs, and hypotheses. Themes in the context offer a number of literary hypotheses that are to be tested. Different end points for qualitative research are suggested by the development of themes and categories into patterns, theories, or generalization. In this research, the qualitative method through documentation technique is chosen because, to understand and describe the meaning of the objective of research, requires the interpretation and analysis of the characterization in accordance to the object of study, by collecting data from the novel and examining the contents within to identify and classify patterns and behavior that indicate and categorize the representation of the 5 stages of grief. 3.2 Data Source The data source of this study that was selected is a piece of literature in the form of a novel, titled The Stranger in the Lifeboat by Mitch Albom. The novel was published in November 2, 2021 by HarperCollins, containing 288 pages. The focus of this research is the characterization of Jarty LeFleur when experiencing the 5 stages of grief, based on the theory of Kübler-Ross and Kessler ‘On Grief and Grieving’ (2005). 3.3 Data Collection Technique Before analyzing the data, there are various techniques used in order to collect data. The data collection techniques are mentioned below: 1) Reading the novel The Stranger in the Lifeboat by Mitch Albom thoroughly. 2) Comprehending the story of the novel properly. 3) Understanding the character of Jarty LeFleur. 4) Identifying the text assumed to have relation with the aspect of the 5 stages of grief theory by Kübler-Ross. 5) Classifying the text based on the form of: monologue, dialogue, and narration. 6) Creating a list of chosen texts that would later be analyzed. 3.4 Analysis Technique After collecting data using the techniques mentioned before, an analysis of the collected data will be conducted. The following are the analysis techniques: 1) Conducting analysis of data collected using Kübler-Ross theory as indicator of analysis. 2) Indicating analysis results based on the category of characterization in the form of: monologue, dialogue, and narration. 3) Classifying which text belongs in their respective category within the 5 stages of grief. 4) Drawing conclusion based on the data collected. SOURCE/REFERENCES CHAPTER 1 Bennett, A., & Royle, N. (2009). An introduction to literature, criticism and theory (3rd). Pearson Education, 125. Goldblatt, D., Blankenship-Brown, L., & Patridge, S. (2017). In Aesthetics: A reader in philosophy of the arts (4th ed.). essay, Routledge. Aras, G. (2015). Procedia - Social and Behavioral Sciences. Personality and Individual Differences: Literature in Psychology-Psychology in Literature, 251. Marcus, G., & Sollors, W. (2009). In A new literary history of america (p. 89). essay, Belknap Press of Harvard University Press. Clune, N. (2013, September 28). Defining Metaphysical Literature. Niamh Clune. Retrieved from https://ontheplumtree.wordpress.com/defining-metaphysical-literature-tell-us-ifyou-read-or-write-it/ Newland, T. (2016, February 3). What is metaphysical fiction? Tahlia Newland. Retrieved, from https://www.tahlianewland.com/what-is-metaphysicalfiction/#:~:text=Metaphysical%20fiction%20is%20a%20growing,philosophy%20or%2 0system%20of%20thought. Goodreads. (n.d.). The Stranger in theLlifeboat by Mitch Albom. Goodreads. Retrieved from https://www.goodreads.com/en/book/show/56922594-the-stranger-in-thelifeboat#CommunityReviews Kirkus. (2021, November 2). The stranger in the lifeboat. Kirkus Reviews. Retrieved from https://www.kirkusreviews.com/book-reviews/mitch-albom/the-stranger-in-thelifeboat/ Klinzman, R. (2021, December 26). Book review: An inspiring story of help and hope. Jacksonville Florida Times-Union USA TODAY NETWORK. Retrieved from https://www.jacksonville.com/story/entertainment/books/2021/12/26/book-review-thestranger-lifeboat-mitch-albom/8939802002/ Provencher, K. (2021, November 23). The Stranger in the Lifeboat. Bookreporter. Retrieved from https://www.bookreporter.com/reviews/the-stranger-in-the-lifeboat Nibakure, C. (2021). The Poetics of Fidelity in Max Porter’s grief is the thing with feathers (2015) and Nicholas Royle’s Quilt (2010). Études Britanniques Contemporaines, (60). https://doi.org/10.4000/ebc.10729 Zapata, B. P. (2020). Exploring death and grief : Zen in Zadie Smith's the autograph man. Brno Studies in English, (2), 281–296. https://doi.org/10.5817/bse2020-2-16 CHAPTER 2 Burgess, A. (2022, August 13). novel. Encyclopedia Britannica. https://www.britannica.com/art/novel Ellis, J with a B.A. in theater from UCLA and a graduate degree in screenwriting from the American FilmInstitute, (2022, October 28). What is a novel? Language Humanities. Retrieved from https://www.languagehumanities.org/what-is-a-novel.htm Aliyev, A. (2021, March 17). The European Journal of Aesthetics. Estetika. Retrieved from https://estetikajournal.org/articles/10.33134/eeja.215/ Wurdeman, A. (2022, January 13). Three Act Structure. Dabble. Retrieved from https://www.dabblewriter.com/articles/three-act-structure Yimer, D. M. (2019). On the Interaction Between Literature and Psychology, 7(8), 155. Santos, R. C. dos, Santos, J. C. dos, & Silva, J. A. da. (2018, June). Psychology of Literature and Literature in Psychology. Temas em Psicologia. Retrieved from http://pepsic.bvsalud.org/scielo.php?script=sci_arttext&pid=S1413389X2018000200009&lng=pt&nrm=iso&tlng=en Meiliana, S. (2020) Modul Kuliah Psychology of Literature, 5. Retrieved from http://repository.unas.ac.id/1587/1/Diktat%2C%20Psychology%20of%20Literature%2 0%281%29.pdf Hasa. (2016, November 15). What is Psychological Criticism in Literature. Pediaa.Com. Retrieved from https://pediaa.com/what-is-psychological-criticism-in-literature/ Heckmann, C., graduated from Emmanuel College with a Bachelor of Arts degree in Writing. (2021, December 20). Two types of characterization every writer should know. StudioBinder. Retrieved from https://www.studiobinder.com/blog/what-ischaracterization-definition/ Kübler-Ross, E. (1969). On death and dying. Collier Books/Macmillan Publishing Co. Kubler-Ross, E., & Kessler, E. (2014). On grief and grieving. Simon & Schuster. Shear, M. K. (2010). Complicated grief treatment. Bereavement Care, 29(3), 10–14. https://doi.org/10.1080/02682621.2010.522373 Shear, M. K., Ghesquiere, A., & Glickman, K. (2013). Bereavement and complicated grief. Current Psychiatry Reports, 15(11). https://doi.org/10.1007/s11920-013-0406-z Hartz, G. W. (1986). Adult grief and its interface with mood disorder: Proposal of a new diagnosis of complicated bereavement. Comprehensive Psychiatry, 27(1), 60–64. https://doi.org/10.1016/0010-440x(86)90070-2 Prigerson, H. G., Horowitz, M. J., Jacobs, S. C., Parkes, C. M., Aslan, M., Goodkin, K., Raphael, B., Marwit, S. J., Wortman, C., Neimeyer, R. A., Bonanno, G., Block, S. D., Kissane, D., Boelen, P., Maercker, A., Litz, B. T., Johnson, J. G., First, M. B., & Maciejewski, P. K. (2009). Prolonged grief disorder: Psychometric validation of criteria proposed for DSM-V and ICD-11. PLoS Medicine, 6(8). https://doi.org/10.1371/journal.pmed.1000121 American Psychiatric Association. (2013). Diagnostic and statistical manual of mental disorders: Dsm-5. American Psychiatric Association. Characterization. Supersummary. (n.d.). Retrieved from https://www.supersummary.com/characterization/#the-functions-of-characterization Baldwin, E., (2020, May 6). Characterization. Poem Analysis. Retrieved from https://poemanalysis.com/literary-device/characterization/ Characterization: Definitions and examples. Literary Terms. (2019, March 9). Retrieved from https://literaryterms.net/characterization/ CHAPTER 3 Creswell, J. W. (2014). Research design: Qualitative, quantitative, and mixed methods approaches. SAGE.
