Becoming a heroine in the pantheon of heroes in European cultural history takes much dedication to crucial social causes. While the Biblical story of young widow Judith taking onto herself the task of killing the general (Holofernes) of the Assyrian army that was laying siege to her home town (Bethulia) has been depicted by artists in Renaissance in many different forms, it is this version painted by Artemesia Gentileschi that depicts the act in its horrifying totality. Similarly to its predecessor Caravaggio, the act of beheading is set up iconically to display full determination in the demeanor of the actor. I use classic paintings—in parallel to retellings of the story of Judith—to build up a social representation of the power of women that fits Serge Moscovici’s (2002) claim that social representations are created to be cognitively polyphasic—they include opposite meanings that are all encoded into the same hyper-generalized semiotic field. The components that lead to that generalization are parts of the depicted scenes on the paintings and their mutual location. The making of the social representation of the heroine Judith is an act of dialogical monologization (Valsiner, 2000)—using suggested dialogical oppositions in the process of experiencing (head-woman-sword as parts of the depicted Gestalt).