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Thesis (doctoral)--Philosophorum Ienensium Ordine, 1900. / Vita. Includes bibliographical references and index.

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This study is an attempt to determine the extent to which Arnold's poetic heroes conform to the type prevalent during the nineteenth-century and to describe how they deviate from the norm. It will investigate, too, some of the factors which appear to account for his particular kind of hero.

This thesis is an attempt to grasp the phenomenon of the national hero behind the facade of national identity. Three smaller nations from the northern quarters of Europe - Scotland, Norway and Lithuania - are examined separately and within a comparative framework. Thus, the study is built on three different layers representing differences rather than common features among the three case studies. The key question underlying the thesis is this: what is the relation if any between the heroic traditions and national identity? Since the latter has been widely seen by scholars as an entity caught up in a perpetual cycle of human evolution, whether monitoring or constructing the world we live in, it was deemed appropriate to investigate the most permanent feature of national identity, that is heroic traditions - the prevailing popular trends in situating the national hero in history. The thesis argues that heroic traditions came about in connection with the emergence of the nation state in early modern history. The common ground for selecting the three otherwise different countries for this study was found in the fact that all had been exposed to unionism for a greater part of their national history, hence national heroes were formulated in the language of separatism and longing for statehood. Yet, as the thesis attempts to demonstrate, both the heroic and the modern state had been conceived with a Neostoic mindset which envisioned a close relationship between the ethical values and political interests of the citizen. The confluence of political theory and Realpolitik gave birth to three types of national identity, namely civitas popularis (democracy), regnum (kingship), and optimatium (aristocracy) as found in Scotland, Norway and Lithuania respectively. The study has shown the persistence of these key models of state-formation in the development of national identity from patriotism to territorial and ethnic nationalism. The abundance of the heroic in the Scottish case is explained as a vestige of the legacy of civic humanism, the traditional emphasis on the king-lines in the Norwegian case is a result of absolutism, while the lack of both in Lithuania is interpreted within an aristocratic model of national identity.

Thesis advisor: Elizabeth Rhodes / Hegemonic groups perceive changes, political, economical or social unrest as a direct threat to their status quo. One way to confront the dangers of loosing old privileges is through the redefinition and revival of old codes of conduct and behavior that in the past set them apart from the rest. In the process, old heroes considered instrumental in establishing and shaping their power are retrieved and glorified, and their heroic deeds offered as examples to emulate in the present. During the XVII Century, and in analogous circumstances, the Spanish Baroque writer Baltasar Gracián observes with trepidation the rapid changes in his own society, the breaking down of the social and political order of Imperial Spain. To protect his interests as member of the hegemonic group: —male, Catholic, noble and scholar—, he looks back in history and constructs heroic paradigms utilizing old heroes whose values embody his own. Since the heroic figures incarnate the ideals of the elite, there are neither heroes nor heroism outside the hegemonic class. This dissertation studies three texts by Baltasar Gracián (1601-1658): El Héroe (1637), El Discreto (1646), and El Criticón (Part I, 1651, Part II, 1653, Part III, 1657), that are centered on the heroic male, analyzing changes in the consecutive male heroic prototypes in light of the author's social and historical experience. Gracián's evolving heroic models respond to transformations in the hegemonic position of the Spanish state, moving from profuse optimism and idealism in his first text to disillusion and abandonment in the last one. The Jesuit's work is a crucible in which he tests Occidental values and heroics over his lifetime, adapting each heroic prescription to satisfy the political, historical, social and religious necessities of his present. Although Gracián's heroic formula changes over time, the connecting thread remains: the blood nobility of Castile/Aragón will save the hegemony of the nation. This elitism verbalizes a reactionary anachronism that negates the heroic essence, which is to act in the world on behalf of others. Gracián's texts are progressive, specular images of the author and his society. In all cases, the heroic figure functions as metonym of the Empire in which the strength of the hero confirms the power of the State. / Thesis (PhD) — Boston College, 2009. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Romance Languages and Literatures.

The popular musico-historical image of Richard Strauss misrepresents both the composer and his music. As this thesis shows, such misrepresentation results from a failure to recognise the significance of Romantic heroic idealism to Strauss's compositional aesthetic. In his aesthetic, heroism operates at a fundamental level where musical self-representation exists as the expression of the Romantic heroic self and its subjectivity. This thesis, presented in two parts, examines firstly the concept of Romantic heroism, itself a misunderstood phenomenon, and, secondly, the ways that a deeper understanding of heroism functions as the underlying impetus for apprehending Strauss's approach to creativity. This creativity is tantamount to the composer's invention of a musical self. Chapter One examines nineteenth-century heroism as an ideological, aesthetic, and philosophical phenomenon, looking at how the early Romantics defined the hero and the centrality of notions of self-identity and self-consciousness to this definition. These notions legitimised subjectivity and realistic artistic self-portrayal. Chapters Two to Four examine literature, painting, and photography, respectively, as artistic spheres in which the idea of self became particularly pronounced. This is seen in the adoption of Romantic irony expressed as extreme realism. As a remedy for self-consciousness, this realism signalled the development towards the acute subjectivity of later nineteenth-century auto-heroism. Part Two, Chapters Five to Eight, considers Strauss's heroic allegiance, understood as an auto-heroic stage of heroism. His aesthetic notion of self is shown to have been specifically derived from social, national, and cultural spheres, all of which reinforced and demonstrated the realistic and auto-heroic expression of the musical self. Having established Strauss's historical reputation (Chapter Five) for the purpose of presenting the image which heroism amends, the idea of self obtaining from the social sphere of education (Chapter Six), and from the broader cultural and national outlooks suggested by Goethe (Chapter Seven) and Wagner (Chapter Eight), are considered. Within these chapters, the ways that these ideas of self are translated into the music itself are explored particularly in relation to the tone poems from Also sprach Zarathustra through to Eine Alpensinfonie. Romantic heroism enables Strauss's music to be understood as the product of a well-defined aesthetic theory within which self-representation is fully justified, thereby challenging the composer's predominating image.

This thesis investigates several key aspects of warfare and its participants in the Viking Age insular world via a comparison of the image which warriors occupy in heroic literature to their concomitant depiction in sources which are primarily nonliterary in character, such as histories, annalistic records, and law codes. Through this method, the thesis seeks to add to the scholarship regarding organized violence in this era in two principle manners. First, this study will depart from nearly all previous studies of warriors by moving beyond a single cultural milieu and treating them in a ‘pan-insular’ context. Second and perhaps more importantly, in choosing to address the heroic literature as a genre distinct from other contemporary texts, this thesis will allow progress beyond the bulk of pre-existing ‘warfare scholarship’ for this era, which tends to utilize any and all manner of sources as a reflection of historical reality. In considering the context of heroic poetry and sagas, the thesis will allow one to make conclusion regarding its likely authorship and intended audience, as well as the goals of the former and expectations of the latter. Studies of warfare are always of particular relevance, due to their intersection with many areas of history long studied, such as constitutional and legal history, as well as those which have only recently received their due attention, such as questions of group cohesion, violence, and community. This thesis was largely inspired by the attempt by Stephen S. Evans to study the institution of the war-band in a crosscultural reference in his 1997 book Lords of Battle. Evans provided a good analysis of this body in its fifth- through eighth-century Anglo-Saxon and British manifestation but failed to achieve his primary stated goal – a comparison of the image and reality of the war-band. His decision to limit his research to the Anglo- Saxon and Welsh cultural spheres in the era predating the first Viking invasions led him to omit much relevant Irish and Insular Norse material, as well as a great deal of later heroic literature. It was with these two shortcomings in mind that I set out to write a more thorough treatment of the war-band. Yet, what began initially as an attempt to remedy the shortcomings of Lords of Battle soon grew into a slightly more wide-ranging study that has moved beyond focussing solely upon the war-band to look at attitudes about warfare and its participants amongst contemporary audiences and authors during the Viking age insular world.

張慧真 = The changing hero models : .. / 稿本影印本 / Thesis (M.A.)--香港中文大學, 1991. / Gao ben yin ying ben. / Includes bibliographical references: leaves 17-27 (last group) / Zhang Huizhen = The changing hero models : .. / Thesis (M.A.)--Xianggang Zhong wen da xue, 1991. / Chapter 第一章 --- 導論 / Chapter 甲 --- 「英雄模範」與 「理想人格」的涵義 --- p.2 / Chapter 乙 --- 傳統中國社會與英雄模範的關係 --- p.4 / Chapter 丙 --- 當代中國社會與英雄模範的關係 --- p.13 / Chapter 丁 --- 小結 --- p.23 / Chapter 第二章 --- 研究觀念和問題的闡釋 / Chapter 甲 --- 「自我」概念的界說 --- p.25 / Chapter 乙 --- 「角色」理論的界說──角色和角色叢的概念 --- p.38 / Chapter 丙 --- 「象徵互重理論」──自我意義的詮釋 --- p.41 / Chapter 丁 --- 「顯著價值取向」的界說──價值賦予者與受惠者的關係分類 --- p.44 / Chapter 戊 --- 「自我」概念分析架構的整合 --- p.46 / Chapter 已 --- 研究問題的界說 --- p.53 / Chapter 第三章 --- 研究設計 / Chapter 甲 --- 研究意義和目的 --- p.54 / Chapter 乙 --- 研究範疇 --- p.56 / Chapter 丙 --- 研究工具 --- p.60 / Chapter 丁 --- 研究方法和步驟 --- p.61 / Chapter 戊 --- 研究限制 --- p.64 / Chapter 第四章 --- 英雄模範 （一）：雷鋒 / Chapter 甲 --- 雷鋒生平和社會背景 --- p.65 / Chapter 乙 --- 雷鋒「自我」概念的分析架構 --- p.70 / Chapter 丙 --- 雷鋒「自我」概念的涵義 --- p.72 / Chapter 丁 --- 小結──死後論英雄 --- p.112 / Chapter 第五章 --- 英雄模範（二）：張海迪 / Chapter 甲 --- 張海迪的生平和社會背景 --- p.116 / Chapter 乙 --- 張海迪「自我」概念的分析架構 --- p.121 / Chapter 丙 --- 張海迪「自我」概念的涵義 --- p.123 / Chapter 丁 --- 小結──英雄模範的生涯 --- p.159 / Chapter 第六章 --- 英雄模範（三）：其他當代中國的英雄模範(1978-1985) / Chapter 甲 --- 與「四人幫」鬥爭型的英雄模範 --- p.163 / Chapter 乙 --- 知識和科技型的英雄模範 --- p.167 / Chapter 丙 --- 自學成才型的英雄模範 --- p.173 / Chapter 丁 --- 回頭是岸型的英雄模範 --- p.177 / Chapter 戊 --- 經濟改革型的英雄模範 --- p.180 / Chapter 已 --- 企業管理型的英雄模範 --- p.183 / Chapter 庚 --- 小結──多元化的英雄模範 --- p.188 / Chapter 第七章 --- 異軌份子：魏京生 / Chapter 甲 --- 魏京生的生平和社會背景 --- p.193 / Chapter 乙 --- 魏京生「自我」概念的分析架構 --- p.196 / Chapter 丙 --- 魏京生「自我」概念的涵義 --- p.198 / Chapter 第八章 --- 總論──綜論當代中國英雄模範的變化(1960-1985) / Chapter 甲 --- 文化連續性和早期經驗的比較 --- p.235 / Chapter 乙 --- 與權威人物之間的「自我－他人」關係比較 --- p.242 / Chapter 丙 --- 在工作崗位上的「自我－物質」關係比較 --- p.248 / Chapter 丁 --- 集體目標與個人理想的比較 --- p.253 / Chapter 戊 --- 自我的社會角色狀態和建立模式的比較 --- p.259 / Chapter 已 --- 小結──當代中國英雄模範自我概念模式的變化和發展 --- p.266 / 註釋 --- p.(1) / 參攷書目 --- p.(17)