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This paper aims to shed a new light on research about sexist violence in Pardo Bazán's short stories from a new perspective. Starting from the vision and the positioning of the same character, instead of the theme or the authorial intention, and establishing the focus of attention on the textual representation of the body, it is intended to clarify the importance of the presence of those heroines who rebel against the violence exercised against them. In this way, a light will be shed on the relevance of the introduction of insubordinate models in the discourse. In order to do this, we proceed to the analysis of the stories “Casi artista” (1908), “Entre humo” (1922), “Feminista” (1909), “Los huevos arrefalfados” (1890), “Apólogo” (1898) and “El encaje roto” (1897).