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The Hypothetical MandarinSympathy, modernity, and Chinese Pain$
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Eric Hayot

Print publication date: 2009

Print ISBN-13: 9780195377965

Published to Oxford Scholarship Online: May 2009

DOI: 10.1093/acprof:oso/9780195377965.001.0001

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Ideologies of the Anesthetic:

Ideologies of the Anesthetic:

Acupuncture, Photography, and the Material Image

Chapter:
(p.207) 6 Ideologies of the Anesthetic:
Source:
The Hypothetical Mandarin
Author(s):

Eric Hayot (Contributor Webpage)

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195377965.003.0007

This chapter begins by reading the controversy of Michelangelo Antonioni's 1974 documentary film, China and Pearl S. Buck's China: Past and Present (1972). Moving from Antonioni's filming of a surgical operation performed under acupuncture anesthesia to Susan Sontag's discussion of just such an operation in On Photography (1977), the chapter argues that part of what was at stake in China's public performance of such operations in the early 1970s was nothing other than the nature of modernity itself. But how, given such a theorization of the photograph, are we to understand the photographs of Chinese torture that circulated in the West in the early twentieth century? Images of Chinese lingchi, the “death of a thousand cuts,” terrified and titillated Western viewers as lingchi became an emblem of the enormous cultural gulf separating the West from China. The chapter closes by reading a photograph famously owned and reproduced by the French philosopher Georges Bataille. Bataille's relation to the photograph, the chapter argues, must be rethought inside the framework of China's relation to modernity, and to the identificatory and sympathetic claims made by the photographic subject's shocking and transformative pain.

Keywords:   modernity, photography, torture, execution, Lingchi, Susan Sontag, Georges Bataille, Pearl S. Buck, Michelangelo Antonioni, China

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