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(235) V. S. Ramachandran,“ Mirror Neurons and Imitation Learning as the Driving Force behind‘ the Great Leap Forward’ in Human Evolution”, in John Brockman (ed.), The Mind: Leading Scientists Explore the Brain, Memory, Personality, and Happiness (New York: Harper Collins, 2011), 101—111, here 101．该文建立在2000年6月1日的一次采访的基础之上，见“ MIRROR NEURONS and Imitation Learning as the Driving Force behind‘ The Great Leap Forward’ in Human Evolution”, Edge (1 June 2000) accessed 13 March 2014。
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(236) 见L. Fadiga et al.,“ Motor Facilitation during Action Observation: A Magnetic Stimulation Study”, Journal of Neurophysiology , 73/6 (1995), 2608—2611; Giacomo Rizzolatti et al.“, Premotor Cortex and the Recognition of Motor Actions”, Cognitive Brain Research , 3/2 (1996), 131—141; Vittorio Gallese et al.“, Action Recognition in the Premotor Cortex”, Brain , 119/2 (1996), 593—609。
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(237) 见Giacomo Rizzolatti and Laila Craighero, “The Mirror-Neuron System”, Annual Review of Neuroscience , 27 (2004), 169—192; Roy Mukamel et al., “Single-Neuron Responses in Humans during Execution and Observation of Actions”, Current Biology , 20/8 (2010), 750—756;Christian Keysers and Valeria Gazzola, “Social Neuroscience: Mirror Neurons Recorded in Humans”, Current Biology , 20/8 (2010), R353—R354。
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(238) 在研究人类时，神经科学家采用与研究猴子时不同的伦理规范，避免在头骨上钻孔以将电极直接植入他们感兴趣的神经元组或单个神经元上；唯一的例外是那些无论如何都要接受脑部手术的患者，例如，得了癫痫或慢性抑郁症的患者。
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(239) Marco Iacoboni, Mirroring People: The New Science of How We Connect with Others (New York: Farrar, Straus, and Giroux, 2008), 200—201.
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(240) Iacoboni, Mirroring People , 269—270.
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(241) Hickok and Hauser, “(Mis)understanding Mirror Neurons”, R593．也见Vittorio Gallese et al., “Mirror Neuron Forum”, Perspectives on Psychological Science , 6/4 (2011), 369—407, here 370—371, 373—375。也见希科克和戴维· 波佩尔（David Poeppel）主持的博客“Talking Brains: News and Views on the Neural Organization of Language” accessed 13 March 2014。
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(242) Ilan Dinstein, Justin L. Gardner, Mehrdad Jazayeri, and David J. Heeger, “Executed and Observed Movements Have Different Distributed Representations in Human aIPS”, Journal of Neuroscience , 28/44 (2008), 11231—11239; IlanDinstein et al., “A Mirror Up to Nature”,Current Biology , 18/1 (2008), R13—R18.
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(243) Doreen Kimura, Translations from Liepmann’s Essays on Apraxia (London, CA-ON
:Department of Psychology, University of Western Ontario, 1980) [Ger. orig., DreiAufsätzeaus dem Apraxiegebiet , 1908]．关于利普曼的讨论，见Georg Goldenberg,“Apraxia and Beyond
:Life and Work of Hugo Liepmann”, Cortex 39/3 (2003), 509—524。
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(244) Andrew Brown, “The Hustler”, The Guardian (30 April 2005).布罗克曼的评论见Ulrich Schnabel, “Wie Agenten, Verleger und Autoren mit populärer Welterklärung Gewinn machen: Trendsurfer der Wissenschaft”, Die Zeit , 6 (29 January 1998), 43。
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(245) John Brockman, The Third Culture (New York: Simon & Schuster, 1995), 17.
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(246) 这个意义上的“特洛伊木马”出现在格罗斯的文章《捍卫人文科学》（“Defenting The Humanities”）第35—36页中。“在这篇文章中，我回忆起达尔文的《人类和动物的表情》如何强调了声称紧随其后的情感的内在修辞性，它就像特洛伊木马一样渗透到了人文学科，并在文学的认知方法（Cognitive Approaches to Literature，简称CAL）这个新的关键领域扎下根来。”
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(247) Daniel Lord Smail, On Deep History and the Brain (Berkeley and Los Angeles: University of California Press, 2008), 11.
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(248) Doris Bachmann-Medick, Cultural Turns: Neuorientierungen in den Kulturwissenschaften (Reinbekbei Hamburg: Rowohlt-Taschenbuch-Verlag, 2006).
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(249) Eve Kosofsky Sedgwick, Touching Feeling: Affect, Pedagogy, Performativity (Durham, NC
:Duke University Press, 2003), 139—140.
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(250) Gregory J. Seigworth and Melissa Gregg, “An Inventory of Shimmers”, in Melissa Gregg and Gregory J. Seigworth (eds.), The Affect Theory Reader (Durham, NC: Duke University Press, 2010), 1—25, here 22.
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(251) Tanya Erzen, Straight to Jesus: Sexual and Christian Conversions in the Ex-Gay Movement (Berkeley and Los Angeles: University of California Press, 2006); Michelle Wolkomir,“Emotion Work, Commitment, and the Authentication of the Self: The Case of Gay and Ex-Gay Christian Support Groups”, Journal of Contemporary Ethnography , 30/3 (2001), 305—334; Michelle Wolkomir, Be Not Deceived: The Sacred and Sexual Struggles of Gay and Ex-Gay Christian Men (New Brunswick, NJ: Rutgers University Press, 2006)．美国“去同性恋”运动的先驱、牧师艾伦· 梅丁格（Alan Medinger）写了一本自助书，旨在帮助年轻的同性恋者实现“皈依”，见Growth into Manhood: Resuming the Journey (Colorado Springs: Waterbrook Press, 2000)。
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(252) David Freedberg, The Power of Images: Studies in the History and Theory of Response (Chicago
:University of Chicago Press, 1989).
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(253) David Freedberg, “Memory in Art: History and the Neuroscience of Response”, in Suzanne Nalbantian, Paul M. Matthews, and James L. McClelland (eds), The Memory Process: Neuroscientific and Humanistic Perspectives (Cambridge, MA: MIT Press, 2011), 337—358, here 344—345.
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(254) David Freedberg, “Memory in Art: History and the Neuroscience of Response”, in Suzanne Nalbantian, Paul M. Matthews, and James L. McClelland (eds), The Memory Process: Neuroscientific and Humanistic Perspectives (Cambridge, MA: MIT Press, 2011), 345.
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(255) David Freedberg, “Memory in Art: History and the Neuroscience of Response”, in Suzanne Nalbantian, Paul M. Matthews, and James L. McClelland (eds), The Memory Process: Neuroscientific and Humanistic Perspectives (Cambridge, MA: MIT Press, 2011), 351—352．弗里德伯格提到的镜像神经元文章是B. Calvo-Merino et al., “Action Observation and Acquired Motor Skills: An fMRI Study with Expert Dancers”, Cerebral Cortex , 15/8 (2005), 1243—1249。
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(256) 见“索茨艺术家”（Sots Artists）考玛尔&梅拉米德（Komar & Melamid）在不同国家所做的“最受欢迎的绘画”系列调查。他们呈现了不同地区最受欢迎和最不受欢迎的艺术作品，见Komar & Melamid, “The Most Wanted Paintings on the Web”, accessed 13 March 2014。亦见“The Search for a people’s Art”, The Nation , 258/10 (14 March 1994), 334—348; Andrew Ross, “Poll Stars: Komar &Melamid’s ‘The People’s Choice’”, Art Forum (January 1995), 72—77, 109。
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(257) “事实上，由于我打算在其他地方阐明的原因，这种‘超审美’反映在图像上可能比在现实上更强烈，这最终取决于艺术家对这种可能性的直觉理解。”见David Freedberg, “Empathy, Motion and Emotion”, in Klaus Herding and Antje Krause-Wahl(eds.), Wie sich Gefühle Ausdruck verschaffen: Emotionen in Nahsicht (Berlin 2007), 17—51,here 41。
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(258) 又见Tomohiro Ishizu and Semir Zeki, “Toward a Brain-Based Theory of Beauty”, PLoS ONE , 6/7 (2011), e21852: 1—10。
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(259) Freedberg, “Memory in Art”, 347—348.
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