This article examines the inter-class relationship between Lady Connie Chatterley and gamekeeper Oliver Mellors in D.H. Lawrence’s Lady Chatterley’s Lover (1928) and the novel’s startling, but tantalizing triangulation of sex, class, and language. By analysing occasions of sexual and linguistic role playing through the lens of Bakhtin’s theory of the carnival, this article demonstrates how class-based hierarchies are (temporarily) upended through eroticized and performative inversions of classed labour and language, a narrative practice I call erotic class masquerade. In examining the novel’s allegedly obscene provocative content, overt discussions of sex, use of profanity, and the representation of working-class dialect, this article reconsiders these features as avant-garde aesthetic innovations. This reading ultimately proposes that the novel’s imagining of class subjectivity extends far beyond economic and hierarchical distinctions and delves deep into the realms of the aesthetic and the sexual. By re-reading this infamous novel with new attention to these narrative practices, I suggest that Lady Chatterley’s Lover be re-evaluated for its simultaneous contributions to avant-garde and working-class studies.

中文翻译：

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色情类化装舞会：DH劳伦斯夫人查特利夫人的情人中的性别和工人阶级方言

本文探讨了DH劳伦斯的《查特利夫人的情人》（1928年）中康妮·查特利夫人和游戏管理员奥利弗·梅洛尔斯之间的阶级间关系，以及这部小说的惊人之处，但又诱人地区分了性别，阶级和语言。通过从巴赫金狂欢节理论的角度分析性角色和语言角色的场合，本文展示了如何通过分类劳动和语言的色情化和表演性倒置（临时）来颠覆基于阶级的等级制度，我将这种叙事方式称为色情阶级假面舞会。在检查小说涉嫌淫秽的挑衅性内容，对性的公开讨论，亵渎行为以及工人阶级方言的表现形式时，本文将这些特征重新考虑为前卫的美学创新。这种解读最终提出，小说对阶级主体性的想象远远超出了经济和等级上的区别，并深入研究了审美和性的领域。通过重新阅读这本臭名昭著的小说并重新关注这些叙事手法，我建议重新评价查特利夫人的《情人》，因为它同时对前卫和工人阶级研究做出了贡献。