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(10) Paul Ekman, “All Emotions Are Basic”, in Ekman and Davidson (eds.), Nature of Emotion , 15—19, here 19.
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(11) 对于自己的写作方法，雷斯说：“我认为自己是一个思想史学家，以我所谓的‘当代谱系’的模式写作，我的意思是，我倾向于书写人文科学的当代发展或范式，它们有一个相对较近（也相对密集）的历史或谱系。我的目标是同时记录那些我感兴趣的发展或范式（或概念或问题）的历史，通过定位当前辩论的谱系学并批判性地评论它们来介入当下。”见Ruth Leys and Marlene Goldman, “Navigating the Genealogies of Trauma,Guilt, and Affect: An Interview with Ruth Leys”, University of Toronto Quarterly , 79/2 (2010), 656—679, here 656—657。又见Ruth Leys, Trauma: A Genealogy (Chicago: University of Chicago Press, 2000), 10; Ruth Leys, From Guilt to Shame: Auschwitz and After (Princeton: Princeton University Press, 2007), 13；当然还有Michel Foucault, “Nietzsche, Genealogy, History”, in Paul Rabinow(ed.), The Foucault Reader (New York: Pantheon Books, 1984), 76—100。
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(12) 这些埃克曼的生活和事业的细节取自他最详细的自传文本：Paul Ekman, “A Life’s Pursuit”, in Thomas A. Sebeok and Jean Umiker-Sebeok (eds.), The Semiotic Web 1986 (Berlin
:Mouton de Gruyter, 1987), 3—45。
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(13) Paul Ekman, “A Life’s Pursuit”, in Thomas A. Sebeok and Jean Umiker-Sebeok (eds.), The Semiotic Web 1986 (Berlin
:Mouton de Gruyter, 1987), 16, 10.
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(14) Ruth Leys, “How Did Fear Become a Scientific Object and What Kind of Object Is It?”, Representations , 110 (2010), 66—104, here 69.
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(15) Leys, “How Did Fear Become a Scientific Object and What Kind of Object Is It?”, 69, 88—89.
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(16) 目前还不清楚埃克曼在多大程度上模仿了达尔文，后者曾从生理学家迪谢纳· 德· 布洛涅（Duchenne de Boulogne）拍摄的50多张照片中挑选了11张照片，给24位拜访他的人看，让他们判断每张照片所表达的情感。这次家中实验的结果是，他的访客们只在一些情感上达成了一致，比如快乐、悲伤和恐惧，而对其他照片的看法却大相径庭。达尔文经常与迪谢纳通信，他认为这证实了他对迪谢纳的观点的怀疑，即每块肌肉控制着60多种不同的面部表情。达尔文和迪谢纳之间的联系多年来一直广为人知，雷斯对其进行了总结，见Leys, “How Did Fear Become a Scientific Object and What Kind of Object Is It?”, 70—75。直到2010年，达尔文这一实验的细节才为人所知，档案研究显示，在收到迪谢纳的照片后不久，他在照片的背面写道：“我不相信。这不是真的。”见Peter J. Snyder et al., “Charles Darwin’s Emotional Expression‘Experiment’ and his Contribution to Modern Neuropharmacology”, Journal ofthe History of the Neurosciences , 19/2 (2010), 158—170; Ferris Jabr,“ The Evolution of Emotion: Charles Darwin’s Little-Known Psychology Experiment”, Scientific American Observations Blog (24 May 2010) accessed 6 March 2014。
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(17) Paul Ekman, E. Richard Sorenson, and Wallace V. Friesen,“ Pan-Cultural Elements in Facial Displays of Emotion”, Science , 164/3875 (1969), 86—88, here 87．也见Leys,“ How Did Fear Become a Scientific Object and What Kind of Object Is It?”, 75—79。
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(18) Jerome Kagan, What Is Emotion? History, Measures, and Meanings (New Haven: Yale University Press, 2007), 216.
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(19) 我这里指的不是迈克尔· 巴林特（Michael Balint）精神分析意义上的“激动”，见Thrills and Regressions (London: Hogarth, 1959)。
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(20) Ekman, Sorenson, and Friesen, “Pan-Cultural Elements in Facial Displays of Emotion”, 87.
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(21) Margaret Mead, “Margaret Mead Calls ‘Discipline-Centric’ Approach to Research an‘Example of the Appalling State of the Human Sciences’”, review of Paul Ekman (ed.),Darwin and Facial Expression: A Century of Research in Review (New York: Academic Press, 1973), in Journal of Communication , 25/1 (1975), 209—213, here 212，原文强调。
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(22) Mead, “Margaret Mead Calls ‘Discipline-Centric’ Approach to Research”, 212.
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(23) Mead, “Margaret Mead Calls ‘Discipline-Centric’ Approach to Research”, 210.
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(24) 这里对贝特森和伯德惠斯戴尔的观点的描述来自Ekman, “Afterword”, 364—377。
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(25) Ekman, “Afterword”, 383．心理学家卡罗尔· 伊泽德（Carroll Izard）也进行了类似的实验，见Ekman, “Afterword”, 375。
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(26) Ekman, “Afterword”, 383.
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(27) Ekman, “Afterword”, 384.
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(28) 关于这个实验，见Ekman, “Afterword”, 381。
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(29) Ekman, “Afterword”, 385.
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(30) Ekman, “Afterword”, 393.
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(31) Leys, “How Did Fear Become a Scientific Object and What Kind of Object Is It?”, 97 n. 49.
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(32) Ekman, “Afterword”, 365—366, 372—373.
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(33) 关于埃克曼和图像的力量，见Anne Schmidt, “Showing Emotions, Reading Emotions”,in Ute Frevertet al., Emotional Lexicons: Continuity and Change in the Vocabulary of Feeling 1700—2000 (Oxford: Oxford University Press, 2014), 62—90。
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(34) 例如，基本情感理论的一个神经生物学版本：Jaak Panksepp and Lucy Biven, The Archaeology of Mind: Neuroevolutionary Origins of Human Emotions (New York: Norton, 2012)。出版社的简介称，“雅克· 潘克塞普的毕生研究揭示了所有哺乳动物的大脑都是由七种常见的情感系统组成的—— 寻求、欲望、愤怒、恐惧、忧虑、悲伤和玩耍。本书简单易懂地解释了这些共同的系统是如何指导包括人类在内所有哺乳动物的情感生活的”。
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