Rachel Smith 11/21/13 Critical Reading about Literature

Post-Feminist argument of Miss Ivors James Joyce, born February 2nd 1882, was one of the most prolific and thought provoking writers of the early part of the 20th century. One of his most popular publications is a collection of short stories entitled Dubliners. These short stories were inspired by Joyces many views and issues of Ireland, one being the Catholic religion. The Dead is one of the short stories included in Dubliners. Rumored to be inspired by Joyce, the main character of this short story is Gabriel, a self-centered, emotionless man who has to read a speech at an annual dance. Alongside the story of Gabriel, The Dead subtly reveals issues of negative female stereotypes in the late nineteenth century in relation to some of the female characters included in the story. From a feminist point of view, many female characters in The Dead are silenced by the male dominance of Gabriel and other male counterparts throughout the story. One female character of the story that challenges these arguments however is Miss Ivors. With her occupation, blunt and strong personality and self-awareness, Miss Ivors ultimately defies the feminist argument of female oppression and thus creates a strong positive image of women in the late 19th century Miss Ivors first defiance of negative female stereotypes in The Dead is through her occupation. According to information from The Dead, Miss Ivors is a co-worker of Gabriels, a fellow instructor. Not only does this prove that Miss Ivors is incapable of being silenced by her

male counterpart since she is equal to him in the work field, but it also proves that Miss Ivors is able to rise above the stereotype of what a woman is expected to do as an occupation. According to Margot Norris in her essay entitled Stifled Back Answers: The Gender Politics of Art in Joyce's The Dead she notes that Joyce's text, as art, reproduces the social ideology that devalues female talent and depreciates female art (498). From a feminist point of view, Aunt Julia would represent that particular female, who has continuously been upped by males throughout her life; an example being her ousted from the church choir, which forced her to remain silent in her field of choice which is art. In contrast to this theory, Miss Ivors encourages a post-feminist argument that women have begun to make a break-through in diminishing oppression and discrimination by being allowed to work so closely with Gabriel. Miss Ivors second defiance of feminist arguments in The Dead is her confidence and selfawareness, specifically shown through her interaction with Gabriel. According to Margot Norris in her essay entitled Not the Girl She Was at All: Women in The Dead, Gabriel found Miss Ivors to be ungenerous, ungracious, and hypercritical for failing to be seduced by the beautiful phrases of his review of Browning (194). Gabriels negative attitude towards Miss Ivors was possibly a sign of intimidation; Miss Ivors refused to submit to Gabriels views and stayed complacent in her own. While dancing, Miss Ivors taunted Gabriel on his choice to write for The Daily Express. Well Im ashamed of you, said Miss Ivors frankly. To say youd write for a rag like that. I didnt think you were a West Briton (31). Miss Ivors is fully aware that this will raise a reaction out of Gabriel, which is most likely her way of intimidating him. She also called him a West Briton before she departed from him, which angered him more and deflated his ego. The confidence she possesses in being able to ultimately silence, confuse and anger

Gabriel, defies the feminist argument that the male is dominant and the female is hushed and complacent. Miss Ivors last and final defiance against the feminist arguments in The Dead is her blunt personality. In her interactions with Gabriel, readers see a poised outspoken female and less of a cowardly quiet woman. Miss Ivors was not afraid to challenge Gabriels stubborn points of view on his own country. In their heated argument, Gabriel expresses that he is not interested in going west, and Miss Ivors challenges his preferences. And havent you your own language to keep in touch with- the Irish? (32). In Brendan P. O Hehirs essay entitled Structural Symbol in Joyce's The Dead he notes that Miss Ivors is a Gaelic en- thusiast and that in their argument Gabriel could not get the best of her, -"he could not risk a grandiose phrase with her"-and where he is perplexed and agitated, she has the last word (6). Miss Ivors stubbornness thus silences the feminist argument that women are weak and timid compared to their male counterparts. On the backhand of the excessive signs of feminism and oppression throughout The Dead, Miss Ivors defiance through her confidence, work, and personality proves as an excellent post-feminist point of view in the story. In Suzette A. Henkes book entitled Feminist Perspectives on James Joyce, she notes that Joyce represents females as trapped in the limited roles assigned them by the Church and by the Irish Society (17). This proves to be true in representations of many other females in the story. However in contrast to this notion, Miss Ivors constant actions of awareness throughout The Dead make her an exception , and she ultimately sets an outstanding example of a woman defying the feminist stance of negative stereotypes of women in the late nineteenth century.

Works Cited Brendan, PO Hehir. "Structural Symbol in Joyce's The Dead." Twentieth Century Literature (1957): 3-13. Web. Henke, Suzette A. "Feminist Perspectives on James Joyce." The Canadian Journal of Irish Studies 6.1 (1980): 14-22. Web. Joyce, James. The Dead. Ed. Daniel R. Schwarz. Boston, NY: Bedford of St. Martins 1994. Print. Norris, Margot. "Stifled Back Answers: The Gender Politics of Art in Joyce's" The Dead"." MFS Modern Fiction Studies 35.3 (1989): 479-503. Web. Norris, Margot. "Not the Girl She Was at All: Women in "The Dead" The Dead. Ed. Daniel R. Schwarz. Boston, NY: Bedford of St. Martins 1994. Print.