Abstract

The Zhuangzi is one of the richest early Chinese sources for exploring conceptualizations of the visceral human form. Zhuangzi presents the human frame as a corpus of flesh, organs, limbs, and bone; he dissects it before the reader's eyes, turning it inside out and joyfully displaying its fragmented joints, sundered limbs, and beautifully monstrous mutations. This body is a site of immolation and fragmentation that ultimately evokes a larger wholeness and completeness. Drawing and quartering the body, Zhuangzi paradoxically frees it from ordinary mortality. Sommer explores the fields of meaning of different terms for the human body found in the Zhuangzi: the body might appear there as a gong body 躬, a sanctimonious ritualized body; as a shen body 身, a site of familial and social personhood; or as a ti body 體, a complex, multilayered corpus of multiple parts, each of which is consubstantial with the whole. Most commonly, however, the body in the Zhuangzi is the xing 形, an elemental or structural form. Zhuangzi enlivens and develops the xing form in ways that are not seen in other early Chinese texts. He mutilates and mutates it such that boundaries between form and formlessness disappear, and the physical frame becomes incorporated into a larger common body that includes all of life and death.