The purpose of this study is to examine how female soldiers view their role as soldiers and what they perceive as good soldier qualities to see if it differentiates from the traditional view of what a soldier perceived as. The study will also deal with the female soldier’s perception of equality within the Swedish military. To gather empirical material the study has uses a qualitative method consisting of five semi structured interviews with the female soldiers. All respondents work in the same group as medic soldiers and are at the start of their soldier career. The theories that have been used to analyse the material gathered from the respondents are of hegemonic masculinity and critical vs gender neutral approach. Within hegemonic masculinity different archetypes exist in a hierarchy, for this study the archetypes have been stripped down to the warrior hero to fit the framework of the military organisation. The warrior hero will be used to analyse the respondents view of themselves as soldiers and the qualities that should be expected of a soldier. Critical vs gender neutral theory will be used to examen the responder’s relation to the organisation.The result for the study is that the view of the female soldiers differed in some aspects from the traditional view of the warrior hero. The respondents also had a joint view of the Swedish military as gender neutral.

The problem with which this investigation is concerned is that of the warrior-hero ideal as it evolves in Shakespeare's English and Roman plays, and its ultimate failure as a standard for exemplary conduct. What this study demonstrates is that the ideal of kingship that is developed in the English histories, especially in the Second Tetralogy, and which reaches its zenith in Henry V, is quite literally overturned in three Roman plays--Julius Caesar, Antony and Cleopatra, and Coriolanus. The method of determining this difference is a detailed analysis of these groups of plays. This analysis utilizes the body of Shakespearean criticism in order to note the almost total silence on what this study shows to be Shakespeare's growing disillusionment with the hero-king ideal and his final portrait of this ideal as a failure. It is the main conclusion of this study that in certain plays, and most particularly in the Roman plays, Shakespeare demonstrates a consciousness of something more valuable than political expediency and political legality. Indeed, the tragedy of these political heroes lies precisely in their allegiance to the standard of conduct of the soldier-king. Brutus, Antony, and Coriolanus, among others, suffer defeat in their striving to capture a higher reality. This investigation demonstrates that the concept of honor has lost its value in the social matrix of political machinations.