earticle

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This article aims to examine what problems are exposed in Connie’s characterization by introducing the Bakhtinian concept, authoring hero and analyzing Connie’s character. M. M Bakhtin believes that a novelist must embody his hero because generally a hero’s performed act in the novel reenacts our acts in the real world. In the case of Connie, she redefines her sexual identity in the continuity of the dynamic interaction with others, including her husband Clifford Chatterley and his Cambridge friends, her lover Michaelis and another lover Oliver Melors. In this redefinition of her sexual identity, Connie also considers a variety of socio-economic, historical, cultural factors inherent in the industrial society, interfering her and making her free and energetic life impossible as a whole human-being. This means Connie considers her socio-economic, hierarchical situations as well as others’ opinions before she decides to live her marriage life with Mellors in a farm. Nevertheless, she rejects all or makes her rash decisions from the beginning to end without her own reflections on ‘someone else’s I’ as a Bakhtinian expression. In the Bakhtinian point of view, such a performed act is one without the multilateral consideration about ‘I-for-myself, the other-for-me, and I-for-the- other.’ This performed act of hers reduces the persuasiveness in Connie’s authoring self, and resultingly, in the sexual morality D. H. Lawrence tries to enact through his novel Lady Chatterley’s Lover.