Hero

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Within the frameworks of developing counterfactual history , attempts are made to examine some hypothetical scenarios of historical development.

The hero attracts much attention because most of those scenarios are based on the suppositions: If the term "heroine" exists, [ clarification needed ] "hero" is often the predominantly used term even though its neutrality can be put into question.

The definitions of the heroine often refer back to the one of the hero, but sometimes insinuate that their deeds are of less value, or were obtained only thanks to their love of God or a country or of a man.

Therefore, implying that an external explanation for the extraordinary nature of her deeds is needed to justify them.

The warrior women is considered unholy, unnatural. These figures tend to be erased because they don't fit in the feminine values they are supposed to represent.

Acts of heroism coming from women are acceptable, during specific time, like when men are at war, during times of crisis, but they are otherwise often seen as suspicious.

Moreover, women are often not individualized, but praised as a group for heroic deeds. Women in the military were often subordinated to tasks less likely to be praised than armed combat, and are rather praised for their courage as a general force, nurses during wartime are a good example of this phenomenon.

If their story gets told, they are made to fit in the acceptable script. Their story is told in a way as to match the expectations of femininity ex: So the set of strengths in which a heroine could historically express her value are overall not the same and perceived as less valuable than their masculine counterpart.

In general, the cultural repertoire of heroic stories requires different qualities for each gender. The contrast of the ideal narrative line pits the autonomous ego-enhancing hero single-handedly and single-heartedly progressing toward a goal versus the long-suffering, selfless, socially embedded heroine, being moved in many directions, lacking the tenacious loyalty demanded of a quest.

If they get mentioned in history, the way their story is told also differs from their male counterpart, they are generally portrayed as young and beautiful, their actions are limited to a short time lapse in opposition to the possibility of a long heroic career for male heroes, underlying feelings that led to their heroic acts are underlined, overall less details about their life are kept and emphasis is put over their tragic death.

Not to forget that heroes and heroines are part of a social construct, their history is told and changes throughout history to serve different purposes of memory, propaganda according to diverse social, political or religious evolutions.

The word "hero" or "heroine", in modern times, is sometimes used to describe the protagonist or the love interest of a story, a usage which can conflict with the superhuman expectations of heroism.

In modern literature the hero is more and more a problematic concept. In , for example, William Makepeace Thackeray gave Vanity Fair the subtitle A Novel without a Hero , and imagined a world in which no sympathetic character was to be found.

Even the most sympathetic characters, like Captain Dobbin, are susceptible to weakness, as he is often narcissistic and melancholy. The larger-than-life hero is a more common feature of fantasy particularly in comic-books and epic fantasy than more realist works.

The superhero genre is a multibillion-dollar industry that includes comic books, movies, toys and video games. Superheroes usually possess extraordinary talents and powers that no living human could ever emulate.

The superhero stories often pit a super villain against the hero, with the hero fighting the crime caused by the super villain.

Social psychology has begun paying attention to heroes and heroism. Zeno Franco and Philip Zimbardo point out differences between heroism and altruism, and they offer evidence that observers' perceptions of unjustified risk plays a role above and beyond risk type in determining the ascription of heroic status.

An evolutionary psychology explanation for heroic risk-taking is that it is a costly signal demonstrating the ability of the hero.

It can be seen as one form of altruism for which there are also several other evolutionary explanations. Roma Chatterji has suggested that the hero or more generally protagonist is first and foremost a symbolic representation of the person who is experiencing the story while reading, listening or watching; [35] thus the relevance of the hero to the individual relies a great deal on how much similarity there is between the two.

One reason for the hero-as-self interpretation of stories and myths is the human inability to view the world from any perspective but a personal one.

In the Pulitzer Prize -winning book The Denial of Death , Ernest Becker argues that human civilization is ultimately an elaborate, symbolic defense mechanism against the knowledge of our mortality, which in turn acts as the emotional and intellectual response to our basic survival mechanism.

Becker explains that a basic duality in human life exists between the physical world of objects and a symbolic world of human meaning.

Thus, since humanity has a dualistic nature consisting of a physical self and a symbolic self, we are able to transcend the dilemma of mortality through heroism , by focusing our attention mainly on our symbolic selves.

This symbolic self-focus takes the form of an individual's " immortality project" or " causa sui project" , which is essentially a symbolic belief-system that ensures oneself is believed superior to physical reality.

By successfully living under the terms of the immortality project, people feel they can become heroic and, henceforth, part of something eternal; something that will never die as compared to their physical body.

This, in turn, gives people the feeling that their lives have meaning, a purpose, and are significant in the grand scheme of things.

Another theme running throughout the book is that humanity's traditional "hero-systems", such as religion , are no longer convincing in the age of reason.

Science attempts to serve as an immortality project, something that Becker believes it can never do, because it is unable to provide agreeable, absolute meanings to human life.

The book states that we need new convincing "illusions" that enable us to feel heroic in ways that are agreeable. Becker, however, does not provide any definitive answer, mainly because he believes that there is no perfect solution.

Instead, he hopes that gradual realization of humanity's innate motivations, namely death, can help to bring about a better world. Terror Management Theory has generated evidence supporting this perspective.

From Wikipedia, the free encyclopedia. This is the latest accepted revision , reviewed on 16 October For other uses, see Hero disambiguation and Heroes disambiguation.

For the film, see Heroism film. For the racehorse, see Heroic horse. It is not to be confused with Heroin. For other uses, see Heroine disambiguation.

Philosophy of history and Great man theory. Vanity Fair novel and Superhero. Retrieved 2 October Beekes , Etymological Dictionary of Greek , Brill, , p.

An Introduction to Homer's Iliad. University of California Press. Transactions and Proceedings of the American Philological Association. The Masks of God: The Study of Sociology , Appleton, , p.

United States Postal Service. The Hero in History. A Study in Limitation and Possibility. The Role of an Individual in History: Journal of Globalization Studies.

Gergen, Mary ; N. A Reader , Routledge, p. Sprague de Camp , Literary Swordsmen and Sorcerers: The Makers of Heroic Fantasy , p.

Vanity Fair Theme of Morality and Ethics. Retrieved December 6, , from http: A conceptual analysis and differentiation between heroic action and altruism".

Review of General Psychology. The evolution of charitable behaviour and the power of reputation.

Contributions to Indian Sociology. Hellraisers, Heroines and Holy Women. From Byron to Guevara. The Hero with a Thousand Faces. In Quest of the Hero.

Hadas, Moses; Morton Smith The Heroes of the Greeks. Hook, Sydney The Hero in History: Psychology of the Hero Soul.

Lidell, Henry and Robert Scott. Victorian Constructions of the Heroic Civilian. A Study in Tradition, Myth and Drama. Our hero , though strong-armed, had hard work to keep up with him.

In spite of the wound he seized the musket and forcibly wrested it from our hero. He thought that our hero was about to beg to be taken back into his employ.

Latin servare "to save, deliver, preserve, protect;" see observe. Meaning "man who exhibits great bravery" in any course of action is from s.

Sense of "chief male character in a play, story, etc. First record of hero-worship is from Synonyms Examples Word Origin. He became a local hero when he saved the drowning child.

My older sister is my hero. Entrepreneurs are our modern heroes. Compare heroine defs 1—3. In its earliest use, the word hero was applied almost exclusively to a man.

The corresponding word heroine was—and still is—reserved for a woman. Hero is still sometimes used to refer specifically to a man: British heroes and heroines.

But hero is now considered to be a gender-neutral word, and is also increasingly used to refer to a woman:

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