The Transformed New Indian Woman with Grumbling Transgression in Manju Kapur’s A Married Woman

Abstract

Literary theorists have given the term ‘Transgression’ new dimensions in the recent literary theory since the question of transgression can be labelled only in terms of limitation and restrictions. These limitation and restrictions are formulated within the amplitude of culture, economy, language, politics, and society. These culture locations and social surroundings make an area of limitation for women. The present paper is an attempt to study the gradual modification in the positioning of new Indian woman who does not teeter on the borders of a labelled identity, but one who advocates her existence, transgresses the stereotypical notions of femininity and destabilizes the standardizing function of society. Following the global image of woman, she has become the part of corporate world, confident in behaviour, comfortable in unisex mode of dressing, and rational in language usage. So, by shedding the feminine mask and by adapting new ‘performative tasks and masks’, she has transgressed her gender role. This transgressing female in Manju Kapur’s A Married Woman (2002) is the subject of my present paper.