Abstract
This article studies Gómez de Avellaneda’s reformulation of traditional inscriptions of romantic masculinities and feminities in her last novel, El artista barquero o los cuatro cinco de junio. Through a feminist theoretical frame, the esssays analizes theset of variations, alterations and subversions that hegemonic romantic masculinities andfeminities undergo in this novel. Such revisions, alterations and subversions are carriedout through the adaptation and reformulation of some of the Enlightenment notions aboutethics. As a matter of fact, the novel elaborates some Avellaneda’s ideas on art andethics that she started to propose in the 1850’s, at the same time, she creates a text inwhich, through the shared core values, women and men are depicted as intellectual andemotional equals.