This paper aims to provide the female characters analysis in Sida Košutić's novels, the romantic trilogy S naših njiva (From our fields) and the modernist Velika šutnja (The big silence), as well as their function within the genre. We have noticed a great variety of female characters, type and/or individual, with a realistic or modernist characterization. In the trilogy S naših njiva (From our fields) the author has created type characters inspired by the traditional realistic model of character analysis, but with a significant difference. When she characterizes Jela Borekova, a woman-mother, she follows the ideological 19th century pattern of female characterization according to which Jela is glorified as a saint. Beta, created according to the woman-angel model pattern, transforms into a rebel, and thus her distinct individualization is noticed. Eva reminds of the femme fatale character type, however does not face the usual tragic ending. We follow a reversal of the female character through ''metamorphosis'' from a sinner to a saint, according to the biblical prototype of Mary Magdalene. Velika šutnja (The big silence) portrays a woman individually through the topic of a quest for God as a metaphorical character of an Acquaintance. Newly shaped modernist space implies a spiritual, metaphysical dimension of spatiality as a basic modernist strategy of the female character development. Author's literary mode is recognizable through her preoccupation with the position of women in general. Thematic and motif characterization concentrated on motherhood, woman's body and violence is in a disclosure function of the female character personality construction. The reading is based on the individuality of the female protagonists marked with land and social issues. The projections of motherhood in the trilogy S naših njiva (From our fields) range from Jela's typical, through Katica's specific, to ''nonmotherhood'' of Eva's mother. The female corporeality is viewed from a naturalistic perspective. We research the spiritual and social outsiderness of the protagonists through the question of body issue as an object of violence and reproduction. The portraits of Košutić's female characters manage to profile individually, but merely within the Christian, Catholic doctrine.