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In our disenchanted universe, some fabulous characters still seem very active. The eponymous heroes of the streets, squares, metro stations, schools, bear witness to the political and moral choices and struggles that prevail in the field of the history of representations. The term hero also appears daily on the occasion of a news item, a sports engagement, a film or a television series. A product of the media system, the hero's name was neither set in stone nor painted on the enamel. He wears the light and fleeting fabric offered by printed paper or screen pixels.

 

2Through the diversity of the conditions in which it is made, we can see the difficulty of drawing a composite portrait. The difficulty is increased by the proximity or even the superposition of the heroic figure with other models of excellence such as gods, martyrs, celebrities and, above all, great men. What is the status of De Gaulle, Zidane or Harry Potter, to name a few outstanding figures who have populated a recent imagination? We realize that under their generic name, heroes are at the heart of issues of a different nature.

 

3Before presenting the great breaks in the history of heroism in the West, it is necessary to take some methodological precautions in order to specifically address the complex question of the definition of the hero [1]

[1]

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The hero, product of a speech

 

4Be fictitious or real, the hero is believed to have accomplished an extraordinary feat in the service of a community. His physical commitment has led him to surpass himself, sometimes risking his life. But it is essential that his prowess be recounted to be worthy of public esteem. "There are no heroes without an audience," wrote André Malraux in L’Espoir. Victorious or vanquished, the hero is at the origin of a cult. Its action, real or invented, is only known because it is carried by a speech (epitaph, epic, song, history lesson, newspaper article, photograph, film ...). This is what we learn from the story of Gilgamesh, that Sumerian king of Uruk whose legendary exploits are linked to the birth of the epic between the 3rd and 2nd millennia BCE. It is therefore necessary to distinguish the courageous act from the heroic act, as one separates the history of facts from that of representations.

 

5While not all heroes necessarily demonstrated real courage, not all courageous individuals became heroes. The latter are defined by the fact that they have always gone through the heroic factory, a process of building their image as heroes. History is teeming with episodes that reveal these discrepancies in memory fates. The Battle of Arcole (1796) is a famous example of this heroisation, which led to the celebration of Bonaparte's glory alone while quickly forgetting the role of General Augereau. As for the reality of the battle, it was far removed from the representations immediately imposed by Bonaparte on chroniclers, engravers and painters who shaped the intrepid and glorious posture that our memories have preserved for several centuries.

 

6The definition of the hero also changes according to the disciplinary field of the users of this sometimes overused term. If, for psychologists, he is above all a model for the psychic development of the child, he is in the eyes of philosophers a moral embodiment of good, when anthropologists see him as a legendary ancestor, a totemic figure.

 

7In literature, the hero, whose typologies we like to construct, became synonymous with the main character of a work through a semantic impoverishment that we see from the middle of the seventeenth century. In the contemporary novel, the "hero" may not even exhibit any of his original characteristics, namely service, command, superhumanity.

 

8For the historian of representations, sensitive to the construction process of mythical characters, the hero is above all a revealer of the societies, which give him his exceptional status. The values he defends bear witness to the power of such a social group at a historic moment. One of the finest examples in French history is provided by the character of Joan of Arc, who embodied ambivalent role models during the 19th and 20th centuries. Patriotic and popular figure marked on the left, Jeanne Darc, abandoned by the king and martyred by the Church, saw her spelling democratized in the mid-nineteenth century (Michelet, Quicherat, Martin). She nevertheless became a model of a Catholic saint in the second half of the century (Mgr Dupanloup), then a nationalist heroine who embodied the "Gallic race" against Jews and foreigners (Drumont, Déroulède). Secondary patroness of France at the beginning of the twentieth century,