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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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(162) Besnier, Literacy, Emotion, and Authority , 115.
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(163) 这里还可以提一下史蒂文· 菲尔德，在《声音和情绪》（Sound and Sentiment ）的第二版中描绘了卡卢利人在看到关于他们的书时的反应。见配有如下文字的照片：“基利亚（Kiliyз）和作者见证《声音和情绪》的到来，1982年7月1日。”见Feld, Sound and Sentiment , 243。菲尔德对他选择卡卢利人的理由所作的陈述很有启发性：“事实上，很快你就会意识到，卡卢利人很快就会打开话匣子，并重复别人说的话。你不需要像我这样，来自美国东北部城市，又是犹太人，才会喜欢这种交流风格，但是我认为我的生活背景能够帮助我轻松地诠释这种生动的人际关系和语言风格，这是一种合作而不是咄咄逼人。为了探寻这句话背后的刻板印象，我要讲一个我在一次人类学会议上听到的笑话。据说有两种关于巴布亚新几内亚的民族志。一种说那里的人粗鲁、务实、理性、固执、专横、偏激和精于算计。这些书是澳大利亚和英国的白人男性以及美国的盎格鲁-撒克逊血统的白人新教徒写的。另一种把那里的人描绘成多愁善感、热情、活泼、迷人、好客、情绪化和敏感。这些书是女人和犹太男人写的。”他接着说：“暂且不谈即使是对巴布亚新几内亚民族文学的短暂审视也会证明这个笑话的概括是错误的。这里更重要的是，对文学夸张的感知是如何成为种族、性别和民族刻板印象的基础的。每一位民族志学者都有自己的文化背景，包括围绕着人际风格的一系列行为和价值观。”见Besnier, Literacy, Emotion, and Authority , 250。
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(164) James Davies and Dimitrina Spencer (eds.), Emotions in the Field: The Psychology and Anthropology of Fieldwork Experience (Stanford, CA: Stanford University Press, 2010); George W. Stocking, Jr, Glimpses into My Own Black Box: An Exercise in Self-Deconstruction (Madison
:University of Wisconsin Press, 2010).
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(165) 见Arlette Farge, Le Goût de l’archive (Paris: Édition du Seuil, 1989); Randolph Starn, “Truths in the Archives”, Common Knowledge , 8/2 (2002), 387—401。
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(166) V. Y. Mudimbe, The Invention of Africa: Gnosis, Philosophy, and the Order of Knowledge (Bloomington: Indiana University Press, 1988), 19.
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