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This article focuses on the texts Gertrudis Gómez de Avellaneda’s wrote during her stay in Cuba (1860-1864), in order to clarify some discursive strategies used by the author to avoid the claims of her nationalist compatriots. Faced with the demands of objectivity of the nationalist authors, Gómez de Avellaneda chooses to avert her gaze and to approach the Island from caution and distance in her poems. Gómez de Avellaneda defends the re-working of perception in her literary criticism and her novel <em>El artista barquero</em> from a poetics of the emotions that resists the nationalist “positivism”.  Este artículo estudia textos de Gertrudis Gómez de Avellaneda escritos en su estancia en Cuba (1860-1864), con el objetivo de explicar las estrategias discursivas utilizadas por la autora para esquivar los reclamos nacionalistas de sus compatriotas. Frente a la política de la visión que da cuerpo a las demandas de objetividad de los nacionalistas, Avellaneda opta, en sus poemas de esta fecha, por un enfoque de la Isla desde la cautela y la distancia. En textos de crítica literaria y en la novela <em>El artista barquero</em>, Avellaneda defiende la reelaboración de la percepción a partir de una poética de las emociones que contrarreste el “positivismo” nacionalista

<em>Ilusiones ópticas del alma</em>: conflictos en torno a la representación en la obra de Gómez de Avellaneda (1860-1864)