ABSTRACT
This chapter borrows Raewyn Connell’s ideas of “hegemonic masculinity” - which is perceived as a dominant ideology of masculinity - and “transnational business masculinities” and examines the form of dominant masculinity embodied by the romance hero in the same way that Connell does, that is, mostly in economic terms, that is, the hero’s financial status, capital, and authority, and the power that comes with it. Moreover, the elements of “press and fame”, as well as “cosmopolitanism” and “attachment to place”, are explored here as they appear to contribute to the formation of the hero’s managerial masculinity.
