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(137) Lutz, Unnatural Emotions , 56—7, 62, 67, 73.
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(138) Lutz, Unnatural Emotions , 61, 71—72.
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(139) Lutz, Unnatural Emotions , 92—94, 88—89, 82, 102—103, 87—88.
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(140) Lutz, Unnatural Emotions , 128, 149, 152, 219.
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(141) 许多历史学家在看到这些民族志中的照片时会感到困惑，这些都是那个时代的产物，这些人类学家穿着老式的牛仔裤、20世纪70年代的衬衫，留着长发，站在“原住民”旁边。这些照片几乎没有经过任何分析，即使是对图片稍微感兴趣的历史学家也会感到吃惊。卢茨给一系列带有面部表情的照片配上的文字说明突然显得过于简单化了，比如有一张照片上是一位露出乳房的母亲保护着自己赤裸的孩子，文字说明是：“摄影师告诉小女孩篮子里有一根皮下注射针，小女孩吓坏了，她的妈妈对她微笑着。”见Lutz, Unnatural Emotions , 50。关于旧式的民族志摄影中重要的去本质化，见Christopher Pinney,Photography and Anthropology (London: Reaktion Books, 2011)。
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(142) 不要和歌颂奎师那与湿婆的舞曲“raasa”或“raas”混为一谈。见Susan L. Schwartz, Rasa: Performing the Divine in India (New York: Columbia University Press, 2004; repr. Delhi: Motilal Banarsidass, 2008), 20。
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(143) 见Susan L. Schwartz, Rasa: Performing the Divine in India (New York: Columbia University Press, 2004; repr. Delhi
:Motilal Banarsidass, 2008), 8.
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(144) Phillip B. Zarrilli, “Pychophysical Acting in India”, in Zarrilli, Jerri Daboo, and Rebecca Loukes (eds), Acting: Psychophysical Phenomenon and Process (Basingstoke: Palgrave Macmillan, 2013), 72．又见Phillip B. Zarrilli, Kathakali Dance-Drama: Where Gods and Demons Come to Play (London: Routledge, 2000)。
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(145) Schwartz, Rasa , 4．对《戏剧学》的评注有很多，见Phillip B. Zarrilli, “Pychophysical Acting in India”, in Zarrilli, Jerri Daboo, and Rebecca Loukes (eds), Acting: Psychophysical Phenomenon and Process (Basingstoke: Palgrave Macmillan, 2013), 72．又见Phillip B. Zarrilli, Kathakali Dance-Drama: Where Gods and Demons Come to Play (London: Routledge, 2000), 17。
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(146) Balwant Gargi, Theatre in India (New York: Theatre Arts Books, 1962), 12；转引自Schwartz,Rasa , 15。
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(147) Zarrilli, “Pychophysical Acting in India”, 72.
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(148) 见Richard A. Shweder and Jonathan Haidt, “The Cultural Psychology of the Emotions: Ancient and New”, in Michael Lewis and Jeannette M. Haviland-Jones (eds.), Handbook of Emotions (2nd edn., New York: Guilford Press, 2000), 397—414, here 401。
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(149) Schwartz, Rasa , 97．她还强调：“因此，表演具有特殊的地位，无论是在宗教仪式之内，还是在宗教仪式之外。正是通过表演，神圣性在印度变得触手可及。”见见Richard A. Shweder and Jonathan Haidt, “The Cultural Psychology of the Emotions: Ancient and New”, in Michael Lewis and Jeannette M. Haviland-Jones (eds.), Handbook of Emotions (2nd edn., New York: Guilford Press, 2000), 6。
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(150) Lynch, “Social Construction of Emotion”, 18.
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(151) Lewis Rowell, Music and Musical Thought in Early India (Chicago: University of Chicago Press, 1992), 328.
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(152) Frédérique Apffel-Marglin, “Refining the Body: Transformative Emotion in Ritual Dance”, in Lynch (ed.), Divine Passions , 212—236, here 212．也见Frédérique Apffel Marglin,Wives of the God-King: The Rituals of the Devadasis of Puri (New Delhi: Oxford University Press, 1985)。
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(153) Apffel-Marglin, “Refining the Body”, 212, 220.
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(154) Matthew Jones, “Bollywood, Rasa and Indian Cinema: Misconceptions, Meanings and Millionaires”，它是对丹尼· 博伊尔（Danny Boyle）导演的电影《贫民窟的百万富翁》（Slumdog Millionaire ）的评论，发表于Visual Anthropology , 23/1 (2010), 33—43；又见Darius Cooper, The Cinema of Satyajit Ray: Between Tradition and Modernity (Cambridge
:Cambridge University Press, 2000)。
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(155) McKim Marriott, “The Open Hindu Person and Interpersonal Fluidity”, Paper presented to the Annual Meeting of the Association of Asian Studies, Washington, DC, 1980；转引自John Leavitt,“The Shapes of Modernity: On the Philosophical Roots of Anthropological Doctrines”, Culture 11/1—2 (1991), 29—42, here 33。麦基姆· 马里奥特（Mckim Marriott）关于印度教“个人主义”的观点招致了大量批评，见Steve Barnett, Lina M. Fruzzetti, and Ákos Östör, “On a Comparative Sociology of India: A Reply to Marriott”, Journal of Asian Studies , 36/3 (1977), 599—601。
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(156) Lynch, “Social Construction of Emotion in India”, 18.
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(157) Charles Taylor, Varieties of Religion Today: William James revisited (Cambridge, MA: Harvard University Press, 2002), 88, 99.
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(158) Clifford Geertz, Local Knowledge: Further Essays in Interpretive Anthropology (New York
:Basic Books, 1983), 59.
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(159) Lynch, “Social Construction of Emotion in India”, 19.
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(160) Niko Besnier, Literacy, Emotion, and Authority: Reading and Writing on a Polynesian Atoll (Cambridge: Cambridge University Press, 1995), 109.
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(161) Besnier, Literacy, Emotion, and Authority , 115.
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