A Study on Lisbeth Salander's Fear of Intimacy in Steig

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A STUDY ON LISBETH SALANDER’S FEAR OF INTIMACY IN STEIG LARSSON’S THE GIRL WITH THE DRAGON TATTOO

A SARJANA PENDIDIKAN RESEARCH PAPER

Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education

By Fertunata Monica Darsono Student Number: 111214029

ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2018

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ABSTRACT

Darsono, Fertunata Monica. (2018). A Study on Lisbeth Salander’s Fear of Intimacy in Stieg Larsson’s The Girl with the Dragon Tattoo. English Language Education Study Program, Department of Language and Arts Education, Faculty of Teachers Training and Education, Yogyakarta: Sanata Dharma University.

Intimacy exists in human relationship. It happens between two individuals or more. However, intimacy is feared by some people. In literary works, fear of intimacy can be experienced by the character. This study discusses the fear of intimacy on Lisbeth Salander from a novel entitled The Girl with the Dragon Tattoo, written by Stieg Larsson. Lisbeth Salander, a pale, very skinny young woman who experts in internet hack culture but awkward in common social situation, is involved in a mystery disclosure. Salander traumatic experiences with other people result in her rejection towards relationship and human intimacy. The problem formulation is “How does Salander overcome her fear of intimacy?”. The objective of the study is to describe how Salander overcome her fear of intimacy using MacAdams’ theory. The object of the study is Salander’s fear of intimacy. To achieve the aim of this study, the researcher employed a library study. This study applied psychological approach to identify Salander’s fear. This study used MacAdams’ theory on five themes of intimacy. The result of this study shows that based on Salander’s experiences with Blomkvist, she is able to overcome her fear of intimacy by undergoing five themes of intimacy by MacAdams. The five themes of intimacy are interpersonal, communication or sharing, friendship or love, sympathy, and touch or physical closeness.

Keywords: fear of intimacy, the girl with the dragon tattoo, intimacy

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ABSTRAK

Darsono, Fertunata Monica. (2018). A Study on Lisbeth Salander’s Fear of Intimacy in Stieg Larsson’s The Girl With The Dragon Tattoo Program Studi Pendidikan Bahasa Inggris, JPBS, FKIP, Yogyakarta: Universitas Sanata Dharma.

Intimasi ada dalam hubungan antar manusia. Hubungan ini terjadi antara dua individu atau lebih. Namun, intimasi bisa ditakuti oleh beberapa orang. Dalam karya sastra ketakutan terhadap intimasi dapat dialami oleh karakter. Penelitian ini membahas tentang ketakutan terhadap intimasi yang dimiliki oleh Lisbeth Salander dari novel berjudul The Girl With The Dragon Tattoo yang di tulis oleh Stieg Larsson. Lisbeth Salander, wanita muda berparas pucat dan sangat kurus, ahli dalam hal meretas internet namun canggung dalam situasi sosial sehari-hari, terlibat dalam upaya pengungkapan sebuah misteri. Pengalaman traumatik dengan orang lain menghasilkan penolakannya terhadap hubungan dan intimasi dengan manusia lain. Rumusan masalah adalah “ Bagaimana Salander mengatasi ketakutannya terhadap intimacy?”. Tujuan dari penelitian ini adalah mendeskripsikan bagaimana Salander mengatasi ketakutannya terhadap intimasi dengan menggunakan teori dari MacAdams. Objek penelitian ini adalah ketakutan Salander terhadap intimasi. Untuk mencapai tujuan dari penelitian ini digunakan studi pustaka. Penelitian ini menerapkan pendekatan psikologis untuk menidentifikasi ketakutan Salander. Penelitian ini menggunakan lima motif intimasi oleh MacAdams. Hasil dari penelitian ini menunjukkan bahwa berdasarkan pengalaman Salander selama bersama Blomkvist, dia mulai mampu mengatasi ketakutan nya terhadap intimasi. Salander bisa mengatasi ketakutannya dengan mengalami lima motif intimasi oleh MacAdams. Lima motif intimasi tersebut adalah antar pribadi, komunikasi atau berbagi, pertemanan atau cinta, simpati, dan sentuhan atau kedekatan fisik.

Kata Kunci: fear of intimacy, the girl with the dragon tattoo, intimacy

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ACKNOWLEDGEMENT

First of all, I would like to send my deep gratitude to Jesus Christ for His love and His blessings, which strengthen me to go through many processes in my entire life. Without Him, I would not be able to be here to finish my bachelor degree.

Second, my gratitude goes to my beloved parents and my brother, you guys are the best! I would like to send my gratitude to my thesis advisor and academic advisors,

Ibu Christina Lhaksmita Anandari, S. Pd., Ed.M., for her guidance since the beginning of my college study and support during the preparation process of this thesis. Thank you very much for caring and being extremely patient in helping me to finish my research paper.

In the end, I would like to thank those who have not been mentioned, for giving me support, guidance and prayer.

Fertunata Monica D.

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TABLE OF CONTENTS

Page TITLE PAGE ...... i APPROVAL PAGES ...... ii STATEMENT OF WORK’S ORIGINALITY ...... iv PERNYATAAN PERSETUJUAN PUBLIKASI ...... v ABSTRACT ...... vi ABSTRAK ...... vii ACKNOWLEDGMENTS...... viii TABLE OF CONTENTS ...... ix LIST OF APPENDICES ...... x CHAPTER I. INTRODUCTION ...... 1 1.1 Background of the Study ...... 1 1.2 Approach of The Study ...... 3

CHAPTER II. DISCUSSION ...... 5 2.1. Review of Related Literature ...... 5 2.1.1 Psychological Approach ...... 5 2.1.2. Theories on Character and Characterization ...... 6 2.1.3. Intimacy...... 9 2.1.4. Fear of Intimacy ...... 10 2.2. Findings & Discussion ...... 11 2.2.1 The Character ...... 11 2.2.2 The Analysis of Salander’s Fear of Intimacy ...... 12

CHAPTER III. CONCLUSION and RECOMMENDATION ...... 16 3.1. Conclusion ...... 16 3.2. Recommendation ...... 16

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Page REFERENCES ...... 18 APPENDICES ...... 20 The Summary of The Girl With The Dragon Tattoo ...... 21 The Biography of Stieg Larsson ...... 23

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CHAPTER I INTRODUCTION

This chapter consists of the background of the study and approach of the study. Background of the study provides general information about the topic discussed and the problem formulation. The topic discussed is the Salander’s fear of intimacy in the novel The Girl With The Dragon Tattoo. The approach of the study describes the approach and procedure of the study.

1.1 Background of The Study

Relationships arise due to the occurrence of intimacy. Human experiences intimacy on daily basis: at home, at work, around her or his neighborhood, even on the internet, etc. It happens between two individuals or more. Generally, these individuals are people who are familiar with our life. Still, intimacy might happen with strangers. According to Prager (1995), Intimacy is a kind of interaction in which partners reveal something personal or private, experience positive feelings about themselves, the other person and the interaction; and perceive the interaction to have advanced or reflected the partners’ understanding of one another (p. 171).

Some have suggested that intimacy is a feeling of closeness that evolves from personal revelation between two people or more (Perlman & Fehr, 1987). Others view it as a thing you share with another person who knows you very well (Phillips,

2017). However, intimacy is feared by some people. It can be caused by unfamiliarity, trauma, and personal perception. The writer has experienced it during

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university. It has heightened during the process of making this research paper.

There are many personal experiences that make the writer intrigued by this problem so that the writer chooses this topic for her research paper. Meanwhile, the definition of fear according to Kelly (1955) is a specific threat to one’s personal construct.

The writer chose a literary work which is a novel as the object of the study.

It is because the fear of intimacy topic was found when the writer read the novel.

The main female character has a fear towards intimacy. A novel which provides that kind of character authored by Steig Larsson’s entitled The Girl With The

Dragon Tattoo (2008).

There are some reasons why The Girl With The Dragon Tattoo (2008) was chosen for this study. Firstly, the writer interested in the main female character’s life experience. Secondly, the writer wanted to learn more about fear of intimacy because the writer has experienced it in her life.

Regarding the intimacy theory, McAdams (1988) states that there are four main themes of intimacy: communication/sharing, friendship/love, sympathy and touch (p. 152). This study reports an analysis of the struggle from main female character experiences that represent McAdams’s four main themes of intimacy.

Based on that topic, the writer formulates the research question: “How does Lisbeth

Salander of the novel The Girl With A Dragon Tattoo (2008) overcome the fear of intimacy?”

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1.2 Approach of the Study

This study is a library study. The writer used two kinds of sources: the primary and secondary source. The primary source is a novel by Steig Larsson entitled The Girl with The Dragon Tattoo (2008). The secondary sources are some psychology books and journals. Also, some articles from online sources.

The Girl with The Dragon Tattoo (2008) is a crime fiction novel. In some book web-review, this novel is categorized as a thriller and Scandinavian noir. The novel has 672 pages and published in 2008. In this novel, the story takes place in some places in Sweden such as Hedeby island, Hedestad, and Stockholm.

The Girl with The Dragon Tattoo tells a story of the young girl disappearance named Harriet Vanger. She comes from a very wealthy family in

Sweden. Her uncle, named Henrik, believes Harriet was murdered by one of the family members. He determines to know the truth of Harriet disappearance.

Because of that reason, Henrik hires Mikael Blomkvist, a journalist, to help him unsolves the mystery. While Blomkvist investigating Harriet’s case, he meets

Lisbeth Salander. He knows she has an amazing skill in terms of getting sensitive information from the internet. Blomkvist asks Salander to work with him and she agrees to help him. In the end, they are able to solve the mystery of Harriet disappearance. In addition, the novel is adapted into a movie for the first time in

2009 and then in 2011 for the second time.

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In this study, the writer uses the psychological approach. According to

Abrams (2009), psychological criticism focuses on work literature which exhibits the state of mind and personality of the author (p. 289). According to Murfin & Ray

(1998), the focus of psychological approach then changed in 1950. It is no longer addressing on the author’s mind and personality but it addresses on the text and the readers (p.143). The intention of doing psychological criticism assists the reader to develop a reader-response criticism. In other words, it helps the reader to comprehend the message from the story.

In this study, there are some procedures to do. First, the writer conducted a library research to choose the novel which had a theme of the story about fear of intimacy. After that, the novel entitled The Girl With The Dragon Tattoo was chosen as the primary source for this study. Then, the writer read the novel several times to acquire a deeper understanding. While reading the novel, the writer also wrote plenty of important information from each chapter to collect data. During this process, the writer found the particular problem to be analyzed.

After the problem was formulated, the writer collected some references related to the study which was taken from books, journals, and articles. In this study,

The writer used psychological approach because this study discussed the psychological approach of the main female character. For that reason, the psychological theories that were used in this study included. In the end, the writer drew conclusion and suggestions of the study.

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CHAPTER II

DISCUSSION

This chapter contains two parts. The first is a review of related literature and the second is findings. The review of the related literature provides the explanation of theories that are used in this study. Meanwhile, the finding discusses the analyses of the problem formulations.

2.1 Review of Related Literature

This subchapter is differentiated into four subchapters. The first subchapter shows the psychological approach related to study in the novel The Girl With The

Dragon Tattoo (2008). The second subchapter shows the character theory by

Murphy (1972). The third and fourth subchapters show the theory used in this study.

The first theory is an intimacy theory by MacAdams (1988). The second theory is a fear of intimacy theory by Firestone and Catlett (1999). The theory focuses on the causes of fear of intimacy.

2.1.1 Psychological Approach

A psychological approach is an approach that uses psychological theory to define human personality and behavior. According to Geiwitz (1976), there are two foundations of a psychological approach.

The first foundation is scientific method wherein all conflicts are taken to court in the halls of science and evidence. The second foundation is biology which covers all forms of human activities such as feeling, hearing, seeing, eating,

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sleeping, loving, and thinking (p.78). In the novel, the readers can study the characters’ psychological side using those two bases. Therefore, the readers can understand the characters’ experiences from a different sense of seeing, hearing, feeling, touching, smelling and tasting which are depicted by the author.

In addition, Moody (1986) states that literary work can bring people back to the reality of human problems, satisfaction, feelings, personalities, behavior, and relationships. Using psychological approach, the writer can analyze the characters personality and behavior based on character interactions with others in the novel.

In this study, the writer uses a psychological approach to analyze The Girl with The Dragon Tattoo novel. It is chosen because it helps the writer to analyze the psychological aspect of the main female character’s fear of intimacy.

2.1.2 Theories on Character and Characterization

One of the ways to have a better understanding of the novel is by analyzing the character of the novel. By analyzing the character, the readers can find the values which found by the researcher.

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According to Abrams (2009), characters are the persons presented in a dramatic or narrative work, who is interpreted by the reader as a person with particular moral, intellectual and emotional qualities which are expressed in what they say and what they do (p. 42).

Henkle (1977) classifies characters into a major character and minor character. Major characters are the characters which are mostly observed by the readers. Their purpose is as the key to understand the story. If the reader understands the major characters, it means that the reader understands the main issue represent in the story (p. 90).

The author applies some methods to characterizing the character in the narrative works. According to Murphy (1972), there are nine ways an author reveals the characters’ personalities. They are:

1. Personal description

It means that the characters can be seen from the person’s physical appearance

in the story.

2. Character as seen by another

It means that the author describes him through other characters opinion in the

story.

3. Speech

Through what the characters say in their speech can give the readers clue to

understanding the character deeper.

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4. Past life

The readers get the clue from the description of the characters’ past life.

5. Conversation of others

The conversation between the characters and other characters give a

description of the characters’ personality.

6. Reactions

The author gives problems to the characters. The characters’ reaction toward

the problems can be a clue to the readers in understanding the characters’

personality.

7. Direct comment

The author’s own comment about the characters he creates.

8. Thought

The readers can understand subjectively about the characters’ thought and

feeling.

9. Manners

The characters’ manners, habits, and idiosyncrasies can be the way of

understanding their personalities (pp 161-173).

According to Abrams (2009), there two methods in characterizing character: showing and telling (p. 43). In showing the characters, the author describes them through dialogues and actions. However, the author does not provide the characters’ motives for the dialogues and actions. In telling the characters, the author describes not only the physical appearance but also the motives and sometimes evaluates the characters.

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2.1.3 Intimacy Intimacy is an aspect which exists in people interpersonal relationship. It rises from the previous need for fulfillment between two individuals. Those needs are warmth, closeness, and positive response. Perlman and Fehr (1987) state intimacy involve feelings of closeness, affection, and mutual understanding.

MacAdams (1985) and Sullivan (1953) perceives those needs as the motivation to seek intimate experiences (as cited in Laurenceau & Barret, 1998, p. 1238)

According to Reis and Shaver (1988), intimacy is a product of an interpersonal process in which self-disclosure and partner responsiveness are key components. An individual reveals thoughts, feelings, and personal information to a partner. He or she receives the response from the partner and interprets those as understanding, caring, and validating.

MacAdams (1988) suggests five themes of intimacy: interpersonal, friendship or love, communication or sharing, sympathy, and touch or physical closeness.

1. Interpersonal

An individual interacts with another person and he or she gives back a

reciprocal response.

2. Communication or Sharing

The individual exchanges information in which involves highly personal and

delicate information with another person.

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3. Friendship or Love

The individual falls more deeply in love with another individual and becomes

a close friend. These individuals experience a sense of community or union

with each other.

4. Sympathy

The person expressing a concern for the other person. It often leads to a helping

behavior.

5. Touch or physical closeness

The person does physical touching such as hand-shaking, caressing, hugging,

kissing with another person (pp 152-155).

2.1.4 Fear of Intimacy

According to Firestone and Catlett (1999), the fear of intimacy is rooted in negative attitudes toward the self and others that develop early in life. These negative attitudes are difficult to change. In fact, they influence people’s intimate relationship. In addition, as Firestone & Firestone (2004) states that a person who fears intimacy have a restricted capacity to form and maintain a close relationship with others (as cited in Vangelisti & Beck, 2007, p.397).

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2.2 Findings and Discussion

This section shows what the writer finds in the character and the analysis of the fear of intimacy in The Girl With The Dragon Tattoo (2008).

2.2.1 The Character

In the novel The Girl With The Dragon Tattoo, there are two protagonist characters. First is Mikael Blomkvist and second is Lisbeth Salander. In this study, the writer focuses on Salander character. She is an introvert. It is shown by the following evidence:

The problem was that asking for advice meant that she would have to confide in someone, which in turn would mean revealing her secrets. Who should she tell? She was simply not very good at establishing contact with other people (p. 212).

She accustoms to do everything by herself in her own way. It is proven by the following evidence:

Consequently, her only remaining option was to do what she had always done – take matters into her own hands and solve her problems on her own (p.214).

Salander has a rough time when she was a teenager. It is proven by the following evidence:

By the time she was eighteen, Salander did not know a single girl who at some point had not been forced to perform some sort of sexual act against her will. As far as Salander knew, these incidents had led to crying and angry outbursts, but never to a police report (p.206).

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Salander likes to collect people’s personal information. It is shown by the following evidence:

The truth was that she enjoyed digging into lives of other people and exposing the secrets they were trying to hide. She had been doing it in one form or another, for as long as she could remember. And she was still doing it today, not only when Armansky gave her an assignment, but sometimes for the sheer fun of it. It gave her a kick (p.293).

She does not have a person to share her trouble. It is shown by following evidence:

Apart from that, she did not have a single ex-classmate in her address book. She had no network or support group or political contacts of any kind. So who could she turn to and tell about her problems? (p.214)

She tries to communicate with people around her. It is proven by following evidence:

That she had even asked him for advice marked a new high point in her socialization process (p.360).

2.2.2 The Analysis of Salander’s Fear of Intimacy

The analysis is done in the character’s experiences found in the novel. In that analysis, the writer found five methods based on five themes of Intimacy by

MacAdams. The main female character named Salander has the fear of intimacy.

In the novel, she shows that she tries to overcome her fear of intimacy. She has an urge to talk with someone for advice about her problem with her new guardian.

However, asks someone for advice means interact and reveal her secret. Salander knows She is incompetent at making contact with other people (pp. 212-214).

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Salander’s effort to overcome her fear also shown by the following evidence:

Salander found herself on the fringe of the group and rarely contributed to the talk, but she was accepted for who she was. She could come and go as she pleased and was allowed to sit in silence over her beer all evening (p.213).

It starts to work out when she works together with Blomkvist. She undergoes five themes of intimacy: interpersonal, communication or sharing, friendship or love, sympathy, and touch or physical closeness.

The first theme of intimacy is interpersonal. Based on this theme, Salander interacts with Blomkvist by self-disclosing her thoughts and feelings. Blomkvist responds to it by showing his understanding.

“You’ll have to think of it as my revenge for your poking around in my personal life,” he said. “Are you frightened?” “Not the least bit,” Salander said. “Good. I’m not here to make trouble for you.” “If you even try to hurt me I’ll have to do you an injury. You’ll be sorry.” (p. 292)

Another event when Salander expresses her thoughts and feelings is She and

Blomkvist discuss the cat murderer. He shares his suspicion with Salander and She replies, “It must be somebody who knows we’re doing this work and that we’re making progress,” (p. 353).

The second theme is communication or sharing. Salander and Blomkvist exchange personal and delicate information with each other.

He had good reason to read her the riot act, even report her to the police. Instead, he had treated even her hacking into his computer as a joke. That had been the most sensitive part of their conversation (p.303).

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Another event shown Blomkvist knows Salander hacked his computer. From the computer, She has an information about his relationship with other woman.

Salander asks him what he is going to do about her action. Blomkvist shrugs his shoulder and does not complain about the hack (pp. 303).

The third theme is friendship or love. Salander and Blomkvist relationship evolves from co-workers into a friendship.

“I really want to be your friend, if you’ll let me,” he said. “But it’s up to you. I’m going back to the house to put on some more coffee. Come home when you feel like it.” He got up and left her in peace. He was only halfway up the hill when he heard her footsteps behind him. They walked home together without exchanging a word (p. 373).

Another prove shown Blomkvist is fascinated by Salander’s photographic memory. Unlike Salander, he doesn’t think her ability is strange. Moreover, he does not bother with Salander being quite different than other people. He accepts who she is (pp.373).

The fourth theme is sympathy. Salander saves Blomkvist from Martin

Vanger when he tried to kill Blomkvist in his basement.

Then she struck for the third time, just as Martin Vanger was trying to get to his feet. She hit him with a loud smack on the hip. A horrible cry issued from Martin’s throat. The fourth blow struck him from behind, between the shoulder blades (p. 399).

Another event shown Salander helps Blomkvist to recover from the torture.

She takes care of him by covering his wound and feed him (pp.403-404).

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The fifth theme is Touch or physical closeness. Blomkvist has bruises and scrapes all over his body because of the torture. Salander takes care of those by rubbing Blomkvist with liniment and massaging his back (pp. 404). Another prove shown Salander does not mind to have sexual intercourse with Blomkvist after they work together in Hedestat.

She arrived at Blomkvist’s apartment at around midnight and spent ten minutes examining every nook and cranny of it. Then she stood at the window for a long time, looking at the view facing the Slussen locks. They got undressed and slept (p. 418).

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CHAPTER III

CONCLUSION AND RECOMMENDATION

This chapter presents the result of this study. It consists of two parts: the conclusions and recommendations. The conclusions deal with the answers to the research question. The recommendation provides some suggestions intended for future researchers who might use The Girl With The Dragon Tattoo to conduct the study.

3.1 Conclusion

This paper tries to answer how Lisbeth Salander of the novel The Girl With

A Dragon Tattoo (2008) overcomes the fear of intimacy? Having analyzed the novel, the writer concludes that Lisbeth Salander overcomes her fear of intimacy by experiences MacAdams’ five themes of intimacy with Blomkvist. Salander overcomes her fear by experiences the interpersonal process, communication or sharing, friendship or love, sympathy, and touch or physical closeness.

3.2 Recommendation

The Girl With The Dragon Tattoo is an interesting novel. This novel is written by Stieg Larsson. The future researcher can analyze Blomkvist intimacy. It is because Blomkvist has a big role in Salander’s journey to overcome her fear. If future researchers interested in gender studies, this novel can be used as a source for feminist studies.

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A literary work can be a source of knowledge for lectures to implement their activities in educating their students. The researcher recommends the novel to be taken as a possible teaching material in the class. The novel is useful in teaching

English that is language mastery and vocabulary mastery.

Related to teaching-learning activities, the novel can be a reference for lectures to teach prose subject. The novel can increase students’ interest and improve their ability in reading literary works, strengthen their comprehension in reading and increase their vocabulary mastery.

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REFERENCES

Abrams, M.H. (2009). A Glossary of literary terms 9th Edition. Boston: Wadsworth Cengage Learning.

Firestone, R.W., & Catlett, J. (1999). Fear of Intimacy. Washington, DC: American Psychological Association.

Firestone, R.W., & Firestone, L. (2004). Methods of overcoming the fear of intimacy. In D. J. Mashek & A. Aron (Eds.). Handbook of closeness and intimacy (pp. 375-395). New Jersey: Lawrence Erlbaum.

Geiwitz, J. (1976). Psychology looking at ourselves: Second edition. Boston: Little Brown.

Henkle, B. R. (1977). Reading the novel. New York: Macmillan Publishing, Co.

Kelly, G. (1955). Kelly: Psychology of Personal Constructs. In Feist, J. (Ed.), Theories of Personality (7th ed.) (pp. 547-573). New York: McGraw-Hill.

Larsson, S. (2008) The Girl With The Dragon Tattoo. Canada: Penguin.

Laurencau, JP., Barret, L., & Pietromonaco, P. (1998). Intimacy as an Interpersonal Process. Journal of Personality and Social Psychology. 74(5), 1238-1251.

McAdams, P. (1988). Power, Intimacy, and the Life Story: Personological Inquiries Into Identity. New York: Guilford Press.

Moody, H. L. B. (1986). Literary appreciation: A practical guide to the understanding and enjoyment of literature in English. London: Longman.

Murfin, R.C. & Supryia M. Ray. (1998). The Bedford glossary of critical literary terms. Bedford: St. Martin’s Press.

Murphy, M.J. (1972). Understanding Unseen: An introduction to English poetry and the English novel for overseas Students. London: Gorge Allen and Anwim Ltd.

Perlman, D. & Fehr, B. (1987). The Development of Intimate Relationships. In D. Perlman & S.W.Duck (Ed.), Intimate relationships: Development, Dynamics and Deterioration (13-42). Beverly Hills, CA: Sage.

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Phillips, L. (2017). The Radical Thrill of Intimacy [Electronic version]. Psychology Today.

Prager, K.J. (1995). The Psychology of Intimacy. New York: Guilford.

Reis, H. T., & Shaver, P. (1988). Intimacy as an interpersonal process. In S. Duck (Ed.), Handbook of personal relationships (pp. 367-389). England: Wiley.

Vangelisti, A. L. & Beck, G. (2007). Intimacy and Fear of Intimacy. Retrieved on February 6, 2018, from https://www.researchgate.net/publication

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APPENDICES

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Appendix 1: The summary of the Girl With the Dragon Tattoo

The Girl With The Dragon Tattoo

Mikael Blomkvist is an intrepid investigative reporter in Stockholm, Sweden, who has been convicted of libel against Hans-Erik Wennerstrom, a powerful business mogul. Following his trial, Blomkvist is determined to clear his name. After getting a mysterious phone call from a lawyer representing Henrik Vanger, the well-respected retired CEO of Vanger Corporation, Blomkvist meets with Vanger and learns of the mysterious disappearance 40 years earlier of Vanger's 16-year-old grand-niece, Harriet Vanger. Blomkvist accepts the business proposition that Vanger offers him: In return for trying to solve the mystery surrounding Harriet's disappearance, Vanger will provide Blomkvist generous financial compensation in addition to proof that Wennerstrom is a crook.

While Blomkvist becomes involved with the dysfunctional Vanger clan, we meet Lisbeth Salander. Salander is a 24-year-old hacker with a photographic memory and a dragon tattoo. Salander's troubled childhood and her refusal to cooperate with mental health professionals caused her to be declared mentally incompetent as a youth. However, with the help of Holger Palmgren, her trusted guardian, she's able to get a job as a private investigator for Milton Securities, for which she investigates both Blomkvist and Wennerstrom. Salander's stable life is threatened when Palmgren suffers a stroke and she comes under the guardianship of Nils Bjurman, who takes advantage of his power over her and rapes her repeatedly. After videotaping one of the rapes, Salander blackmails Bjurman into letting her regain control over her own finances and her life. A few weeks later, she's offered the chance to join Blomkvist in his investigation. Salander eagerly accepts the offer as she finds herself drawn to Blomkvist and sympathetic to elements of Harriet's case.

As Salander and Blomkvist grow to trust each other, they develop a tenuous romantic relationship. Together, they are able to discover that Harriet was not killed as Henrik Vanger suspects. Salander and Blomkvist learn that Harriet had connected the gruesome murders of women across Sweden in the 1940s-1960s to verses from Leviticus. Exploring this connection, Salander and Blomkvist are able to connect the murders to Harriet's deceased father, Gottfried Vanger, and his son, Martin Vanger, the current CEO of Vanger Corporation. Salander and Blomkvist are then able to figure out that Harriet was not murdered, but fled the family to escape Martin, who, like their father, violently raped her. Once Blomkvist and Salander discover Martin's wrongdoings, they have a violent confrontation with Martin, resulting in his suicide. Following this altercation, they find Harriet in Australia and reunite her with a surprised and thankful Henrik Vanger.

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Having solved the mystery, Blomkvist remains disappointed that the information Henrik provides on Wennerstrom is over 30 years old. Salander comes to his rescue and reveals that she's copied Wennerstrom's entire computer onto a server during her initial investigation of him. Delighted, Blomkvist enters several weeks of intense writing as he creates not only an article for the magazine he co- owns, but also a book-length report on Wennerstrom's corrupt dealings. Salander, also interested in Wennerstrom's wrongdoings, particularly against his former girlfriend, seeks revenge on Wennerstrom. After studying the structure of his financial empire, Salander is able to skillfully siphon millions of dollars from his accounts and place the money into anonymous accounts to which only she has access.

Blomkvist is thrilled with his successes and is interviewed by countless media outlets about his investigation of Wennerstrom. Salander slowly realizes that she no longer sees Blomkvist as just a friend — she's fallen in love with him. This revelation threatens the self-contained universe Salander has created for herself, making her feel vulnerable. She decides to share her feelings with Blomkvist. But, when Salander sees Blomkvist enter his apartment with another woman, she chickens out and returns to her own apartment, bottling her feelings once again.

Retrieved from: https://www.cliffsnotes.com/literature/g/the-girl-with-the-dragon- tattoo/book-summary

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Appendix 2: The Biography of Stieg Larsson

Stieg Larsson Biography Author (1954–2004)

Stieg Larsson was the Swedish author best known for his Millenium novels, including The Girl with the Dragon Tattoo.

Synopsis Born in 1954 in Sweden, Stieg Larsson was a lifelong leftist, and a journalist for anti-fascist and communist publications. It was his fiction writing, however, that propelled Larsson to fame. The Millenium trilogy, starting with The Girl with the Dragon Tattoo (2005), became international bestsellers, adapted into films in Sweden and the United States. Larsson didn't live to see the enormous success of his novels— he died of a heart attack in 2004, but his books still top the bestseller lists.

Profile Novelist. Born Karl Stig-Erland Larsson on August 15, 1954 in Skelleftehamn, a small town in the Vasterbotten region of northeast Sweden, about 400 miles north of Stockholm. For the first nine years of his life, Larsson was raised by his maternal grandparents. He would later cite his grandfather, a committed political activist who had been imprisoned during World War II for opposing the Nazis, as an especially influential role model. Larsson's grandfather passed away, however, when Stieg was only nine years old, at which time the boy moved in with his father, Erland Larsson, and his younger brother Joakim.

Stieg Larsson's favorite childhood pastime was reading, especially favoring the works of the English children's writer Enid Blyton and of Astrid Lindgren, the Swedish author of his favorite book, The Adventures of Pippi Longstocking. Larsson's parents were also avid lover of fiction, particularly fond of the crime novels of Maj Sjowall and the detective fiction of Mickey Spillane, both authors who would leave strong imprints on Larsson's later writing. Before long, Larsson began writing his own stories; at the age of 12, he completed his first attempt at writing a novel. "When Stieg was 12 I read a novel he had written in a notebook," his father later recalled. "It was then that we gave him a typewriter—it was his thirteenth birthday and I remember it was very expensive at that time. It was also very noisy, so we had to make space for him in the cellar. He would write in the cellar and come up for meals, but at least we could sleep at night."

Coming of age during the Vietnam War, Larsson set aside fiction during his adolescence to focus on politics and journalism. "Stieg was young and leaning

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toward the Left," his father later recalled. "In Sweden at the time, in every town in Sweden, on every Saturday, young people would be marching shouting, 'Out of Vietnam!' Stieg was one of those young people, and he started writing about the Vietnam War." His parents were also deeply political—his father was a Communist and his mother was a prominent Social Democrat. Stieg Larsson's father said, "We discussed politics at some length at the dinner table. When Stieg was fourteen I found myself losing an argument in a discussion with him. He just had better arguments than his mother or I."

In fact, it was at a 1972 anti-Vietnam protest rally that an 18-year-old Larsson met a young woman named Eva Gabrielsson. Gabrielsson was an architectural historian and, like Larsson, a political activist. The two quickly fell in love. Although they were never married, Larsson and Gabrielsson remained together for the rest of his life.

In 1975, at the age of 21, Larsson joined the Swedish army to fulfill his two years of compulsory military service. Larsson did not back off his left wing political activism just because he joined the military. While serving in the army, he smuggled the Trotskyist magazine Red Soldier into the barracks, and upon his discharge he traveled to East Africa, where he helped train female Marxist guerillas in Eritrea to use grenade launchers.

Following this military interlude in his life, Larsson returned to Sweden and settled down with Gabrielsson in Stockholm. There he began researching right wing extremism, specifically the lingering pockets of neo-Nazism, racism and sexism he found in Sweden and the world at large. In the early 1980s, Larsson became the Scandinavian correspondent of Searchlight, a British magazine dedicated to anti- fascism and anti-racism. He also worked as an editor for Fjarde Internationalen, the journal of the obscure Swedish branch of the Trotskyist Fourth International. In 1995, as a white-power music scene reached its peak in Sweden, Larsson helped found the Expo Foundation, an organization dedicated to combating right wing forces in Swedish society. Larsson served as the editor of Expo magazine, which provided a model for the fictional Millennium of his later novels.

Before he ever conceived of the Millennium novels, Larsson had already lived a noteworthy life as a political activist and journalist and had achieved a modicum of fame and notoriety among Sweden's politically aware. Still, Larsson had never abandoned his childhood passion for science fiction and crime fiction, and during the 1990s he drafted a trilogy of crime novels now known as the Millennium Trilogy, whose original Swedish titles translate to Men Who Hate Women, The Witch Who Dreamed of a Can of Petrol and The Exploding Castle in the Air. The books were published to considerable success in Sweden before being picked up by the small British publishing house Quercus and released under new English

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titles: The Girl with the Dragon Tattoo (2005), The Girl Who Played with Fire (2006) and The Girl Who Kicked the Hornet's Nest (2007).

The trilogy revolves around Lisbeth Salander, a young computer hacker with a punk style whom Larsson described as his conception of a modern young-adult Pippi Longstocking, and Mikael Blomkvist, a celebrated investigative journalist whose personal history loosely mirrors Larsson's own. Throughout the trio of dense, intricate and suspenseful novels, the pair team up to take on a serial killer with a deranged hatred for women, a Swedish sex trafficking ring and a rightist conspiracy within the Swedish security service. The novels have become enormous international bestsellers; with total sales of the Millennium Trilogy surpassing $40 million, Larsson is on pace to join J.K. Rowling, Stephanie Meyer and Dan Brown among the bestselling authors in recent history.

Unfortunately, Stieg Larsson is not here to enjoy his novels' staggering success. In a story that rivals his fiction for its mystery and intrigue, Larsson died suddenly at the age of 50, on November 9, 2004, before any of his bestselling novels ever saw print. While conspiracy theories abound that one of Larsson's many political enemies played a part in his death, the official story remains the most plausible: Larsson died of a massive heart attack when he climbed the seven flights of stairs to his office because the building's elevator was broken. He was known to be in poor health. One of his publishers, Christopher MacLehose, recalled, "He smoked over 60 cigarettes a day and was a classic workaholic. To say that he didn't give his body a chance almost understates the case. And like many driven men, he tended not to listen to the counsel of those around him—he was warned again and again that he should look after himself."

Because Larsson never wrote an official will (he did sign a will during his adolescence leaving all his property to the Communist Party, but it was not officially witnessed and therefore invalid), and because he never married his life partner Eva Gabrielsson, Larsson's estate legally belongs to his father and brother. Nevertheless, in a plot twist worthy of his novels, Gabrielsson has possession Larsson's laptop, which contains an unfinished draft of his fourth novel, and she refuses to turn it over to Larsson's family. She claims that he was estranged from his father and brother during the last years of his life (a claim they deny) and would not want the unfinished work published. The two sides have yet to come to any agreement in this ugly and very public struggle to control Larsson's legacy.

No matter the disagreement over his estate, all parties agree that Stieg Larsson was a brilliant crime novelist whose sudden and untimely death robbed the world of many more magnificent books. Larsson's Swedish publisher, Eva Gedin, summed up his life: "He was a difficult man, but brilliant and multifaceted. Many Swedes were aware of his bravery in tackling extremist organizations. He could be infuriating —and he certainly wasn't afraid of making enemies. But most of his

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enemies were well chosen; as for his friends and associates, frustration with him might result from the fact that he was clearly asking his body to do more than it could cope with."

Retrieved from: https://www.biography.com/people/stieg-larsson-17181752