Abstract

The heroic figure is a human fiction of the wholly singular. In the hero, discourses about ideals and exemplariness, extra-ordinariness and exceptionalness, agonality, transgressivity, or good and evil become condensed into a single individual. Thus, the hero is the opposite of the masses. As it is argued in this article, the answer to the question of what distinguishes a hero lies in the supererogatory moment, the reference to the hero’s quality of more than can be expected: the heroic figure does more than he or she has to, more than duty requires of an ordinary person, and this is the reason they are heroized. However, this also points to a dialectic moment of the heroic in which the opposition between the hero and the many seems to be suspended. Following Niklas Luhmann, the hero represents the paradox of conformity through deviance, because through the example of their abnormality they produce in others a desire to imitate them. In the end, there is a collective appeal of the heroic that affects even the conceptual complement of the hero: the crowd which is characterized by the disappearance of the individual within it. Inspired by Luhmann’s sociological reflections on the heroic as well as Elias Canetti’s anthropological perspectives on the phenomena of the crowd, this article traces the rhetoric of the hero along its path from the singular to the plural. Against the backdrop of the analysis of the heroic in revolutionary Iran, a generalizable typology is proposed that distinguishes between the hero, the collective of heroes, the heroic collective, and collective heroism. This order reflects a progression that is analogous to the conjunction of the one and the many, moving qualitatively from the distinct figure of the hero to the indistinguishable masses.