Ari Larissa Heinrich is Professor of Chinese Literature and Media at the Australian National University . He is the author of The Afterlife of Images: Translating the Pathological Body between China and the West, also published by Duke University Press, and coeditor of Embodied Modernities: Corporeality, Representation, and Chinese Cultures.

• Acknowledgments  ixIntroduction. Biopolitical Aesthetics and the Chinese Body as Surplus  11. Chinese Whispers: Frankenstein, the Sleeping Lion, and the Emergence of a Biopolitical Aesthetics  252. Souvenirs of the Organ Trade: The Diasporic Body in Contemporary Chinese Literature and Art  493. Organ Economics: Transplant, Class, and Witness from Made in Hong Kong to The Eye  834. Still Life: Recovering (Chinese) Ethnicity in the Body Worlds and Beyond  115Epilogue. All Rights Preserved: Intellectual Property and the Plastinated Cadaver Exhibits  139Notes  159Bibliography  227Index  239

“A compelling account of how the aesthetics of corporeal politics has come to condition the rhetorics and epistemologies of life, realism, existence, authenticity, technology, reproduction, and the body itself, Chinese Surplus will forever change the way we think about the power of visual embodiment in an age of increasing angst over property/propriety rights, technological determinism, and human’s role in their imbricated historical legacy.” - Howard Chiang (Journal of the History of Biology) "Chinese Surplus is an ambitious project that weaves together a transnational and transhistorical consideration of aesthetic production and biomedical commodification. . . . Heinrich’s project does the groundbreaking work of connecting the global power dynamics of contemporary cultural productions engaged with fragmentation and labeled inauthentic with longer histories of imperialism." - Kathryn Cai (Catalyst)

Ari Larissa Heinrich is Professor of Chinese Literature and Media at the Australian National University . He is the author of The Afterlife of Images: Translating the Pathological Body between China and the West, also published by Duke University Press, and coeditor of Embodied Modernities: Corporeality, Representation, and Chinese Cultures.

• Acknowledgments  ixIntroduction. Biopolitical Aesthetics and the Chinese Body as Surplus  11. Chinese Whispers: Frankenstein, the Sleeping Lion, and the Emergence of a Biopolitical Aesthetics  252. Souvenirs of the Organ Trade: The Diasporic Body in Contemporary Chinese Literature and Art  493. Organ Economics: Transplant, Class, and Witness from Made in Hong Kong to The Eye  834. Still Life: Recovering (Chinese) Ethnicity in the Body Worlds and Beyond  115Epilogue. All Rights Preserved: Intellectual Property and the Plastinated Cadaver Exhibits  139Notes  159Bibliography  227Index  239

“A compelling account of how the aesthetics of corporeal politics has come to condition the rhetorics and epistemologies of life, realism, existence, authenticity, technology, reproduction, and the body itself, Chinese Surplus will forever change the way we think about the power of visual embodiment in an age of increasing angst over property/propriety rights, technological determinism, and human’s role in their imbricated historical legacy.” - Howard Chiang (Journal of the History of Biology) "Chinese Surplus is an ambitious project that weaves together a transnational and transhistorical consideration of aesthetic production and biomedical commodification. . . . Heinrich’s project does the groundbreaking work of connecting the global power dynamics of contemporary cultural productions engaged with fragmentation and labeled inauthentic with longer histories of imperialism." - Kathryn Cai (Catalyst)

Ari Larissa Heinrich is Professor of Chinese Literature and Media at the Australian National University . He is the author of The Afterlife of Images: Translating the Pathological Body between China and the West, also published by Duke University Press, and coeditor of Embodied Modernities: Corporeality, Representation, and Chinese Cultures.

• Acknowledgments  ixIntroduction. Biopolitical Aesthetics and the Chinese Body as Surplus  11. Chinese Whispers: Frankenstein, the Sleeping Lion, and the Emergence of a Biopolitical Aesthetics  252. Souvenirs of the Organ Trade: The Diasporic Body in Contemporary Chinese Literature and Art  493. Organ Economics: Transplant, Class, and Witness from Made in Hong Kong to The Eye  834. Still Life: Recovering (Chinese) Ethnicity in the Body Worlds and Beyond  115Epilogue. All Rights Preserved: Intellectual Property and the Plastinated Cadaver Exhibits  139Notes  159Bibliography  227Index  239

“A compelling account of how the aesthetics of corporeal politics has come to condition the rhetorics and epistemologies of life, realism, existence, authenticity, technology, reproduction, and the body itself, Chinese Surplus will forever change the way we think about the power of visual embodiment in an age of increasing angst over property/propriety rights, technological determinism, and human’s role in their imbricated historical legacy.” - Howard Chiang (Journal of the History of Biology) "Chinese Surplus is an ambitious project that weaves together a transnational and transhistorical consideration of aesthetic production and biomedical commodification. . . . Heinrich’s project does the groundbreaking work of connecting the global power dynamics of contemporary cultural productions engaged with fragmentation and labeled inauthentic with longer histories of imperialism." - Kathryn Cai (Catalyst)