This  paper  examines  the  development  of  female  subjectivity  in  Exiles, James  Joyce’s  only  play,  by focusing  on  the character  of  Bertha.  Situated between “The Dead” and Ulysses, Exiles serves as a critical link in Joyce’s portrayal of women’s evolving voices. Through a close analysis of Bertha’s transformation across the play’s three acts, this study traces her progression from the stage of conventional femininity to feminist liberation and ultimately to autonomous selfhood. Employing Elaine Showalter’s model of female subculture called gynocritics, the paper reveals how Bertha transcends patriarchal expectations and asserts her own agency, emotional honesty, and moral authority through Feminine phase, Feminist phase and Female phase. Unlike Beatrice, who emains bound by intellectual restraint, Bertha emerges as a dynamic figure who embodies Joyce’s ideal of the modern woman: one who neither passively imitates nor opposes the male world but articulates her identity on her own terms. The paper concludes that Bertha, as a transitional figure between Gretta in “The Dead” and Molly Bloom in Ulysses, offers a key to understanding Joyce’s broader literary exploration of femininity, freedom, and relational ethics.