The title of this paper quotes a phrase from Jean-Pierre Vernant’s discussion of the Gorgon that focuses on the ways in which representations of the gorgoneion (a Gorgon mask) were depicted as “disrupting the features that make up a human face,” producing “an effect of disconcerting strangeness that expresses a form of the monstrous that oscillates between two extremes: the horror of the terrifying and the hilarity of the grotesque” (1991.113).1 This portrayal ushers the reader into a murky world of concepts of alterity: as Vernant puts it, the Gorgon’s mask “expresses and maintains the radical otherness, the alterity of the world of the dead, which no living person may approach” (1991.121), and his analysis reveals this otherness as comprising a network of ideas that associate not only the realm of the dead, but also night, some particular qualities of the female, and monstrosity.

中文翻译：

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“恐怖的恐怖和怪诞的欢闹”：古希腊文学中的恶魔空间和情感

这篇论文的标题引用了 Jean-Pierre Vernant 对 Gorgon 的讨论中的一句话，该短语侧重于将 Gorgonion（一个 Gorgon 面具）的表征描述为“破坏构成人脸的特征”，产生“一种令人不安的陌生感的效果，它表达了一种在两个极端之间摇摆不定的怪物形式：恐怖的恐怖和怪诞的欢闹”（1991.113）。1 这种写照将读者带入了一个模糊的他性概念世界：作为Vernant 说，戈尔工的面具“表达并保持了根本的异性，死者世界的异质性，任何活着的人都无法接近”（1991.121），他的分析揭示了这种异性是由一个思想网络组成的只有死者的领域，还有黑夜，女性的一些特殊品质和怪物。