ABSTRACT In this article, I utilise Jeremy Bentham's Panopticon prison design and Michel Foucault's derived notion of panopticism to examine the depiction of surveillance, power, and resistance in J. M. Coetzee's Waiting for the Barbarians (1982). Both Colonel Joll and the Magistrate, I argue, employ techniques of panoptic surveillance to dominate and control the “barbarian” girl, the former by physically torturing her and thereby inscribing his imperial gaze on her body, and the latter by subjecting her to a psychological process of analysis and interpretation. Left blind after her interrogations and trapped under perpetual surveillance, the girl comes to embody, in some ways, the docile Foucauldian inmate. She is not without agency, however. In the final section of the article, I show how she resists the Magistrate's imperialist vision and, in so doing, effects a profound ethical transformation in him. Ultimately, I contend that the girl acts as the Magistrate's unexpected guide by directing him towards an alternative and ethically “blind” way of seeing.

中文翻译：

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“这就是我的样子”：在等待野蛮人的全景帝国中的监视和意外指导

摘要 在本文中，我利用杰里米·边沁 (Jeremy Bentham) 的全景监狱设计和米歇尔·福柯 (Michel Foucault) 的全景透视主义派生概念来检验 JM 库切 (JM Coetzee) 的《等待野蛮人》(Waiting for the Barbarians) (1982) 中对监视、权力和抵抗的描述。我认为，乔尔上校和地方法官都采用全景监视技术来支配和控制“野蛮人”女孩，前者通过对她进行身体折磨，从而将帝王的目光铭刻在她的身上，而后者则通过使她受到心理上的折磨。分析和解释的过程。在审讯后失明并被永久监视所困，这个女孩在某些方面成为了温顺的福柯式囚犯的化身。然而，她并非没有代理权。在文章的最后一部分，我展示了她如何反抗地方法官' 的帝国主义愿景，并因此在他身上产生了深刻的伦理转变。最后，我认为这个女孩充当了地方法官意想不到的向导，将他引向了另一种道德上“盲目”的观察方式。