How ‘ointment’ and Commodity Shapes Femininity in Ulysses

In James Joyce’s modernist epic, Ulysses, the interplay between commodities and femininity is vividly illustrated through the recurring motif of ointments and lotions. This essay explores how these products not only shape the characters’ identities but also reflect the broader implications of consumer culture in early 20th-century Dublin. As Thomas Richards notes in his analysis, the Victorian era marked a significant transition towards a commodity culture that deeply influenced societal values and individual desires. By examining the portrayal of feminine hygiene products within the narrative, we can uncover how Joyce critiques the commodification of the female body and the complexities of femininity in a capitalist society.

The Rise of Commodity Culture in Dublin

The emergence of a commodity-based economy in Ireland during the late 19th and early 20th centuries fundamentally altered social dynamics. As Karl Marx explains in Capital, commodities are not merely objects of exchange but are imbued with social significance that often obscures the labor behind their production. This notion of “commodity fetishism” applies to Joyce’s characters, particularly Leopold Bloom, whose interactions with products such as ointments and lotions reveal an underlying eroticism tied to femininity. The daily errands of Bloom demonstrate how consumer desires shape his perception of women, particularly in relation to Molly and her beauty rituals.

Gerty MacDowell: The Embodiment of Consumerism

In the “Nausicaa” episode, Gerty MacDowell serves as a quintessential representation of feminine identity shaped by consumer culture. Her characterization as the “Queen of Ointments” not only emphasizes her physical beauty but also highlights her role as a consumer within a patriarchal society. Gerty's thoughts are saturated with mercantile language, indicating her deep engagement with the ideals of femininity dictated by the market. This is evident in her preoccupation with beauty products that enhance her appearance and fulfill societal expectations.

Consider the following table, which outlines the relationship between Gerty’s desires and the commodification of her identity:

Gerty’s narrative is rich with references to beauty products, revealing how her self-worth is intertwined with consumer goods. Richards points out that Gerty embodies the neuroses of a woman caught in a web of advertising and societal expectations. Her daydreams of romance are intricately linked to her desire for beauty, highlighting the psychological toll of consumer culture on women.

The Male Gaze and Commodity Fetishism

Bloom’s perspective on Gerty further complicates the narrative of femininity and consumerism. His erotic fantasies about her are inextricably linked to the commodified image of women perpetuated by advertising. As Bloom observes Gerty, he reflects on the products that enhance her femininity, demonstrating how his desire is mediated through the lens of consumer culture. This dynamic reveals a critical tension in Joyce’s portrayal of gender relations: while Gerty is objectified as a commodity, she simultaneously exerts agency in her consumption of beauty products.

As Marx notes, the relationship between consumers and commodities often masks the social relations of production. In the context of Ulysses, this is evident in the way Bloom’s thoughts about Gerty’s beauty products are sexualized. His fantasies reveal a subconscious connection between femininity and consumer goods, as he associates Gerty’s allure with the ointments she uses. The following list encapsulates the key elements of this relationship:

• Commodities shape perceptions of femininity.
• Beauty products serve as tools for social validation.
• Consumer culture fosters erotic fantasies tied to commodified images of women.

The Duality of Gerty’s Identity

Gerty’s character embodies the duality of being both a consumer and an object of consumption. Joyce’s use of free indirect discourse allows readers to access Gerty’s thoughts, revealing her internal struggles with societal expectations and her desires for love and acceptance. This narrative technique underscores the complexities of her identity, as she navigates her role within a patriarchal capitalist system. Despite her seemingly empowered position as the “Queen of Ointments,” Gerty remains trapped within the confines of a commodified existence.

Richards emphasizes that Gerty’s failure to recognize her situation as a social relation between human beings—rather than merely a relation between things—illustrates the pervasive influence of consumer culture on individual consciousness. Her identity becomes a product of the marketplace, reflecting the societal pressures placed upon women to conform to certain ideals of beauty and desirability.

Conclusion: The Intersection of Femininity and Consumerism

Through the lens of Gerty MacDowell’s narrative in Nausicaa, Joyce critiques the commodification of femininity in a capitalist society. The interplay between ointments, lotions, and the female body highlights the complexities of identity shaped by consumer culture. As characters like Bloom and Gerty navigate their desires within this framework, Joyce reveals the inherent contradictions of a system that simultaneously empowers and objectifies women.

Ultimately, Ulysses serves as a profound commentary on the intersection of femininity and consumerism, challenging readers to consider the implications of a society where identities are often constructed through the lens of market forces. The narrative invites us to question how consumer culture shapes our understanding of gender, desire, and identity in both historical and contemporary contexts.

Works Cited

Cixous, Helene. "The Laugh of the Medusa." The Norton Anthology of Theory and Criticism. Ed. Vincent B. Leitch. 2nd ed. New York: Norton, 2010. 1942-959. Print.

Joyce, James. Ulysses: The 1922 Text. Ed. Jeri Johnson. New York: Oxford UP, 1993. Print.

Marx, Karl. "Capital, Volume 1: Chapter 1. Commodities: The Fetishism of Commodities and the Secret Thereof." The Norton Anthology of Theory and Criticism. Ed. Vincent B. Leitch. 2nd ed. New York: Norton, 2010. 663-74. Print.

Richards, Thomas. The Commodity Culture of Victorian England: Advertising and Spectacle, 1851-1914. Stanford, CA: Stanford University Press, 1990. Print.