My model for character design and story action for characters, is built on this same idea. Each character first, sees themselves as the author of their own tale in some way, so their actions come more form an internal rationale, than anything outside. While outside influences definitely factor in, it's that internal process that leads to action.
Secondly, that character, whether a bit player, or your hero, is constantly trying to achieve something, even if it is only peace (as in the character running away from the attacker) so, they will act on this, until a more pressing objective is introduced (defending themselves, for example) On a bigger scale, as you said, there is some dominance involved, but more than that, it is about self image. So, some characters will not seek to dominate to "own" a situation, but to ingratiate, so they can become something to that other person, a friend, or lover, perhaps. In this case, the attacker wants , in a very real sense, to be your characters "conqueror" it's not about your character,but some perceived lack in themselves that defeating another person can temporarily fill. So, they will follow this course of action, until it becomes unreasonable to them (there's a very real chance of serious injury, or death) and then they will find a way to get out of the situation, while maintaining as much of their pride as a conqueror as possible. This objective to be over another is also what leads to them having some tacit respect if they are defeated,because now they see in you, the conqueror they wish to be. Their objective is then open to reinterpretation. Depending on what they see the most value in, they might try to emulate you, or they may become bitter and plot their revenge. The only way the "conqueror" objective changes, however, is to be replaced by something that character places higher value on. For instance, if their family is threatened, they might switch to wanting to be a "defender" (closely related to conqueror, with subtle differences) all of this happens in split seconds inside your character, and can often just be shown through their actions and subtle shifts in dialogue. We don't often think too much of our own motives, and to me, writers that get too much inside their character's heads (unless writing anxious characters,or severe narcissists where their internal monologue is their main way of processing) often lose the reader.