Chinese surplus : biopolitical aesthetics and the medically commodified body
著者
書誌事項
Chinese surplus : biopolitical aesthetics and the medically commodified body
（Perverse modernities）
Duke University Press, 2018
- : pbk
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注記
Includes bibliographical references (p.[227)-238) and index
内容説明・目次
内容説明
What happens when the body becomes art in the age of biotechnological reproduction? In Chinese Surplus Ari Larissa Heinrich examines transnational Chinese aesthetic production to demonstrate how representations of the medically commodified body can illuminate the effects of biopolitical violence and postcolonialism in contemporary life. From the earliest appearance of Frankenstein in China to the more recent phenomenon of "cadaver art," he shows how vivid images of a blood transfusion as performance art or a plastinated corpse without its skin-however upsetting to witness-constitute the new "realism" of our times. Adapting Foucauldian biopolitics to better account for race, Heinrich provides a means to theorize the relationship between the development of new medical technologies and the representation of the human body as a site of annexation, extraction, art, and meaning-making.
目次
Acknowledgments ix
Introduction. Biopolitical Aesthetics and the Chinese Body as Surplus 1
1. Chinese Whispers: Frankenstein, the Sleeping Lion, and the Emergence of a Biopolitical Aesthetics 25
2. Souvenirs of the Organ Trade: The Diasporic Body in Contemporary Chinese Literature and Art 49
3. Organ Economics: Transplant, Class, and Witness from Made in Hong Kong to The Eye 83
4. Still Life: Recovering (Chinese) Ethnicity in the Body Worlds and Beyond 115
Epilogue. All Rights Preserved: Intellectual Property and the Plastinated Cadaver Exhibits 139
Notes 159
Bibliography 227
Index 239
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