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Wenn Medea aus der Rolle fällt. Formen der Rezeption in Guy Butlers Demea
Get PDFGermanDer vorliegende Beitrag problematisiert den vielschichtigen und oftmals in ganz unterschiedlicher Weise gebrauchten Begriff der Rezeption. Ausgangspunkt und Anschauungsobjekt der Überlegungen bildet das Drama Demea des südafrikanischen Schriftstellers Guy Butler, das in den 1950er Jahren entstand und das dezidiert auf die euripideische Medea Bezug nimmt. Vor dem Hintergrund der bestehenden theoretischen Modelle, die in ganz unterschiedlicher Weise das Phänomen der Rezeption, d.h. der „Aneignung“ eines anderen Textes oder Stoffes beschreiben (Iser, Genette), wird im vorliegenden Beitrag danach gefragt, ob und wie eine solche übergreifende „Theorie der Rezeption“ den verschiedenen Formen der Rezeption und deren Darstellungsmedium im Einzelfall gerecht werden kann. Die Rezeption des Medea-Mythos in Demea, wo die Handlung ins Südafrika des 19. Jahrhunderts verlagert ist, und die Rezeptionsgeschichte des Dramas selbst, das erst nach Ende der Apartheid in Südafrika uraufgeführt werden konnte, zeigen, dass „Rezeption“ auf ganz unterschiedlichen Ebenen stattfinden kann. Daher wird zum einen dafür argumentiert, dem „eigentheoretischen“ Wert des Einzelbeispiels im theoretischen Komplex der Rezeptionsstudien größere Bedeutung beizumessen, zum anderen werden mit den Begriffen der „Variation“ und der „Adaption“ Modifikationen des Rezeptionsbegriffs zur Diskussion gestellt, die diesen schärfen und auch auf andere mediale Formen der Rezeption (d.h. nicht allein Texte) bezogen werden können. EnglishThe paper discusses the concept of reception, which is often used in different respects and contexts. To illustrate this theoretical approach, I shall analyze a specific and complex example of the reception of classical drama and myth: Guy Butler’s drama Demea. The play, which implicitly and explicitly refers to Euripides’ tragedy Medea, takes place in 19th century South Africa. However, not only the reception of tragedy and myth but also the reception of the play itself shows that the act of reception can take place in different ways. For Demea could not be performed until the end of the Apartheid era in South Africa. With this in mind, I ask whether overall theoretical models seeking to describe the concept of reception in the wider sense of “appropriating a text or subject matter” are able to conceive an individual case like Butler’s Demea. Therefore, I propose to attach more importance to the individual theoretical relevance of every single example of reception. To modify the concept of reception, I finally introduce the terms of “variation” and “adaptation”, which allow to sharpen the concept of reception and can also refer to other (not only textual) forms of reception
Ciceroʼs Lame Pegasus. Humanists and Classicists on the Poetic Experiments of the Master of Rhetoric
Get PDFENGLISHThe stereotypical image of Marcus Tullius Cicero as the best orator and the worst poetaster in the history of literature was born as far back as in Antiquity. It swiftly spread with the development of instituted schooling and became an integral part of the portrayal of Graeco-Roman culture, passed down from generation to generation within Western civilization. In the present paper we shall outline the characteristics of the stereotype of Cicero the Poet along with its influence on Classical Studies and humanistic culture writ large. Special focus will be put on extracting the very roots of this stereotype. Furthermore, it will be shown that the particular case of Cicero the Poet ought to be reconsidered in the context of a wider process we have been witnessing in recent times: the disintegration of traditional models which, paradoxically, offers many appealing opportunities for Classical Studies to better understand the past and to develop in new, groundbreaking directions. GERMANDas stereotype Bild von Marcus Tullius Cicero als dem größten Meister der Rhetorik und dem schlechtesten Poetaster in der Geschichte der Literatur entstand bereits in der Antike. Es verbreitete sich schnell durch die Vermittlung der Schulen und wurde zu einem festen Bestandteil der griechisch-römischen Kultur, der in der abendländischen Tradition von Generation zu Generation weitergegeben wurde. In diesem Beitrag werden die Grundzüge des Stereotyps von Cicero dem Dichter vorgestellt sowie dessen Einfluss auf die Klassische Philologie, die Geisteswissenschaften und die humanistische Kultur im Allgemeinen. Ein besonderer Schwerpunkt wird darauf gelegt, zu den eigentlichen Wurzeln dieses Stereotyps vorzudringen. Darüber hinaus wird gezeigt, dass der besondere Fall von Cicero dem Dichter im Kontext eines breiteren Prozesses neu überlegt werden sollte, den wir in jüngster Zeit miterleben: den zunehmenden Zerfall der traditionellen Modelle, der, paradoxerweise, viele ansprechenden Möglichkeiten für die Entwicklung der Klassischen Philologie bietet, um unser Wissen über die Vergangenheit zu bereichern und neue bahnbrechende Forschungsperspektiven zu eröffnen
Quintilians Versuch einer funktionalen Literaturbetrachtung
Get PDFGERMANDie mit dem Namen von Hans Robert Jauß verbundene Rezeptionstheorie hat die Literaturwissenschaft im 20. Jahrhundert gelehrt, den Blick von der Produktion eines literarischen Kunstwerkes auf dessen Rezeption zu lenken. Gleichzeitig wurden literarische Gattungen nicht mehr als naturgegeben erachtet, sondern an ihrer Wirkung gemessen. Ansätze zu solcherart Literaturbetrachtung finden sich bereits bei Quintilian im zehnten Buch der Institutio oratoria.Der Redelehrer des ausgehenden ersten Jahrhunderts diskutiert Literatur nicht nach dem überkommenen Gattungsschema. Vielmehr scheint er die Gattungen für ein eher zufälliges Produkt zu halten. Folglich interessiert ihn nicht der Ursprung der römischen Literatur, sondern vielmehr der Nutzen, den sie für die Bildung des Redners entfalten kann. Seine Vorstellung von der Herausbildung und Entwicklung von Literatur beruht auf dem Konzept der imitatio. Dieses hat er nicht, wie man vermuten könnte, Aristoteles entlehnt. Stattdessen folgt er wohl eher epikureischen Quellen. Utilitas ist bei ihm der eigentliche Antrieb jeder kulturellen Entwicklung, auch der Literatur. Deshalb ist der Maßstab, den er bei der Literarkritik anlegt, stets der Nutzen bzw. die Funktion für seine eigene Zeit. Eine romantisch gefärbte, sentimentale Rückschau in die Vergangenheit, wie sie römische Antiquare pflegten, lehnt er ab. Mit Recht darf er unter die Modernisierer der Flavischen Epoche eingereiht werden. ENGLISHThe 20th century has seen a shift from the perspective on production to the perspective of reception. Literary genres are not any more “given by nature”, but they are determined by their function or rather their effect. Yet, one might see already in Quintilian’s Institutio oratoria X a classification of literature according to its effect – in this case, its educational effect. As this paper shows, Quintilian does not discuss literature according to traditional categories or literary genres. He rather advocates the idea of contingency and denies the natural authority of Greek genres. He is not so much interested in the origins of Roman literature, but in the function of poetry and its usefulness for the education of future orators. The key concept in his account on the development of literature and culture as a whole is imitatio. His concept of imitatio is not derived from Aristotle, Quintilian may rather have taken the inspiration for his model from Lucretius and other Epicurean sources. The stimulus for imitation is given by utilitas. All cultural achievements came into being because they were seen as useful. Imitation goes hand in hand with innovation. In dealing with tradition Quintilian never stares with awe at the great men of old, but calculates very soberly what is useful (utile) and what is not. In judging literature, his yardstick is the need of his own time. He measures literature from the point of view of reception. His literary judgement is more innovative and his attitude towards the Roman past less sentimental than it appears to be at first sight. We may enrol him among the modernizers in Flavian age
Disegnami, o diva! I classici nei fumetti
Get PDFItalianoL’articolo riflette sul riuso del mondo antico nel fumetto moderno. Dopo aver mostrato l’esistenza, sin dall’antichità, di forme comunicative fondate sull’interazione tra parola e immagine (retorica; teatro), si analizzano le diverse modalità narrative con cui il mondo classico viene rappresentato nei fumetti (fumetto storico-letterario; fumetto storico-avventuroso o fumetto-Romance; fumetto storico-parodico). L’indagine prosegue poi con l’analisi della struttura narrativa di alcuni fumetti sul mondo antico. Lo spoglio di alcuni comics induce all’individuazione di due categorie della narrazione, che determinano precise interazioni tra mondo antico e fumetto, quali il mondo antico usato come «a priori» della narrazione fumettistica e il mondo antico vissuto come «ritorno al passato». Tali schemi narratologici evidenziano due diverse concezioni dell’antichità: nella prima categoria narrativa passato e presente sono posti sullo stesso piano, senza conferire primati ad alcuno; nel secondo caso, invece, si evidenzia la superiorità culturale della modernità rispetto al mondo antico. EnglishThe paper discusses the representation of the ancient world in modern comics. After having shown that certain media based on the interaction between word and image (rhetoric, theater) exist in fact since ancient times, the different types of narratives are analyzed by which the classical world is represented in comics (comic literary-historical; historical comic or comic-adventure-Romance, historical-parodic). The study continues with the analysis of the narrative structures of comic books that deal with the ancient world. A survey of these comics leads to the identification of two types of narratives which can precisely determine the interactions between ancient world and comic: one that uses the ancient world as “a priori” of its storytelling and another one that can be described as a “return to the past”. Thus, the narratological outline highlights two different conceptions of antiquity: in the first case, past and present are on equal footing, without giving one the primate over the other; in the second, however, the cultural superiority of modernity over the ancient world is emphasized.ItalianoL’articolo riflette sul riuso del mondo antico nel fumetto moderno. Dopo aver mostrato l’esistenza, sin dall’antichità, di forme comunicative fondate sull’interazione tra parola e immagine (retorica; teatro), si analizzano le diverse modalità narrative con cui il mondo classico viene rappresentato nei fumetti (fumetto storico-letterario; fumetto storico-avventuroso o fumetto-Romance; fumetto storico-parodico). L’indagine prosegue poi con l’analisi della struttura narrativa di alcuni fumetti sul mondo antico. Lo spoglio di alcuni comics induce all’individuazione di due categorie della narrazione, che determinano precise interazioni tra mondo antico e fumetto, quali il mondo antico usato come «a priori» della narrazione fumettistica e il mondo antico vissuto come «ritorno al passato». Tali schemi narratologici evidenziano due diverse concezioni dell’antichità: nella prima categoria narrativa passato e presente sono posti sullo stesso piano, senza conferire primati ad alcuno; nel secondo caso, invece, si evidenzia la superiorità culturale della modernità rispetto al mondo antico. EnglishThe paper discusses the representation of the ancient world in modern comics. After having shown that certain media based on the interaction between word and image (rhetoric, theater) exist in fact since ancient times, the different types of narratives are analyzed by which the classical world is represented in comics (comic literary-historical; historical comic or comic-adventure-Romance, historical-parodic). The study continues with the analysis of the narrative structures of comic books that deal with the ancient world. A survey of these comics leads to the identification of two types of narratives which can precisely determine the interactions between ancient world and comic: one that uses the ancient world as “a priori” of its storytelling and another one that can be described as a “return to the past”. Thus, the narratological outline highlights two different conceptions of antiquity: in the first case, past and present are on equal footing, without giving one the primate over the other; in the second, however, the cultural superiority of modernity over the ancient world is emphasized
All of the Greek and Roman Classics. Antikerezeption in Fanfiction
Get PDFGermanFanfiction bezeichnet im Internet publizierte Geschichten, die sich der Figuren oder des Settings anderer Texte und Medien (v.a. Serien, Filme und Romane) bedienen. Fanfics sind eine archontische, intertextuell offene Literatur, die mit ihrer Partizipationsgemeinschaft, in der die klassische Autoren/Leser-Trennung verschwimmt, sehr eng verknüpft ist. Hier finden sich sehr individualisierte und gleichzeitig gemeinschaftsbasierte Rezeptionsformen jenseits des medialen Mainstreams oder der akademischen Analyse. Dieser Beitrag stellt typische Strukturen von fanfiction anhand von Beispielen mit Bezug zur Antike vor und widmet sich dann zwei fics, die inkorporierte Antikerezeption betreiben: Beide verweisen durch wörtliche Zitate und inhaltliche wie formale Anklänge auf antike Texte, spielen jedoch in einem anderen fandom. In amo, amas, amat von attentat begegnen wir John Watson als begeistertem Catull-Leser, dessen Selbstidentifikation homosexuell nicht zuletzt von seiner Lektüre beeinflusst wird. Hier geht es weniger um Catull als vielmehr um die erotisierende Wirkung von Literatur. Das fanfic wird durch fünf lateinisch wie englisch zitierte carmina gegliedert (Cat. 1, 65, 5, 16 und 7), die zugleich die Emotionen verbalisieren, die Watson selbst – und damit der Kerntext des fics – nicht ausdrücken. Ebenso auf formaler wie inhaltlicher Ebene ist die Lucan-Rezeption in Dolores Cranes Crucius angelegt, in dem Snape Harry Potter zum Übersetzen zwingt. Wie das Epos Bellum Civile wird auch dieses fic in kaum verbundenen Szenen erzählt. Die Zitate verstärken hier die Charakterisierung der Zwänge, ob Schicksal oder sozialer Erwartungsdruck, denen Harrys Leben unterliegt. Zugleich sind sie beiläufig eingebunden in eine Reihe popkultureller Elemente, die Harrys Alltag ausmachen. Crucius spiegelt damit auch die Leichtigkeit, mit der fanfiction-Autoren Antikerezeption mit anderen Interessen verbinden und personalisieren. EnglishFanfiction means stories, usually published online, that use the characters or settings of other texts and media (such as TV series, films, and novels). These fanfics are a form of archontic and highly intertextual literature, closely connected to the participatory culture of fans, where the conventional gap of author and reader is partly erased. Here, very personalized and at the same time community based forms of reception far from media mainstream and academic analyzing can be found. This paper demonstrates typical structural elements of fanfiction, choosing various examples with connections to antiquity, and discusses two fics in which ancient literature is incorporated: both take place in different fandoms but, by quotes and formal structure, show relations to Latin texts. Amo, amas, amat by attentat introduces John Watson as enthusiastic reader of Catullus, whose poems help Watson come to terms with his own homosexuality. This is less about Catullus than about the eroticizing effects of literature. The fanfic is structured by five carmina quoted in both Latin and English (Cat. 1, 65, 5, 16, 7), which also verbalize the emotions that are unvoiced by Watson, and the main part of the fic. In Dolores Crane’s Crucius Snape forces Harry to translate Lucan, and this fic as well shows formal and thematic resemblances to the text it incorporates. Like the Bellum Civile, the story is told in disconnected episodes. The quotes highlight how much Harry’s life is shaped by external forces, be it destiny or social expectations. At the same time, they are casually made part of the popcultural elements that are typical for Harry’s everyday life. Therefore, Crucius also mirrors the way authors of fanfiction personalize the reception of antiquity and connect it with other interests
Neue Hexen auf altem Besen? Antikerezeption im Wicca-Kult
Get PDFGermanDieser Beitrag befasst sich mit der vielschichtigen Antikerezeption in der neopaganen, hoch synkretistischen Strömung des Wicca, dessen Anhängerinnen und Anhänger sich als ‚(neue) Hexen‘ (witches) verstehen. Es soll gezeigt werden, auf welche Weise (vor allem) textliche Zeugnisse zu den Lebens- und Glaubenswelten des Altertums dazu beitragen, die religiösen bzw. spirituellen sowie weltanschaulichen Überzeugungen und Identitäten dieser ‚Kongruenzreligion‘ zu bilden und zu festigen. Dabei weise ich anhand einiger exemplarischer Beobachtungen insbesondere auf zwei, allerdings ineinander verwobene Aspekte hin: Zum einen werden antike sowie nachantike, in deren Rezeptionswirkung stehende Zeugnisse argumentativ eingesetzt, um das postulierte hohe Alter der Hexenreligion und die ungebrochene Tradition bestimmter Glaubensvorstellungen des Wiccatums von archaischer bis in die heutige Zeit zu plausibilisieren; zum anderen dienen inbesondere lateinische Schriften des Altertums (u.a. Caesar, Plinius d.Ä.) als Basis für (Re-)Konstruktionen paganer modi vivendi, die als positiv konnotierte Gegenentwürfe einer kritisch betrachteten ‚Mainstream-Gegenwart‘ entgegengesetzt werden. EnglishThis paper focuses on the manifold phenomena of reception of antiquity within the neo-pagan, highly syncretistic religion known as ‘Wicca’, whose (male as well as female) adherents regard themselves as ‘witches’. I will attempt to show the means and ways by which, mainly on a textual basis, ancient culture and belief systems help to form and to maintain religious and ideological persuasions of Wicca. Grounded on some exemplary observations, I point out especially two, however entangled aspects of this post-modern activation of antiquity: first, the way in which ancient texts, or rather, their interpretation make a case to confirm the allegedly age-old tradition of ‘witchcraft’ and certain aspects within the Wiccan belief system; secondly, the usage of ancient reports on ‘pagan’ societies (inter alia by Caesar and Pliny the Elder) as a precept for (re-)constructing pagan modi vivendi which are affirmatively brought into opposition to modern lifestyles that are regarded as decadent and mainstream
Between Time and Culture: Anthropology and Historicity in the Study of Ancient Literature
Get PDFENGLISHSince several decades the use of an ethno-anthropological approach has met with considerable success among classical scholars. The comparative analysis of ancient and ‘primitive’ cultures and the application of anthropological models to the interpretation of classical texts have stood out as a powerful alternative to traditional philology. This paper reassesses the complex relationship between cultural anthropology and classical studies, highlighting the relevance of historicity and diachronic factors as basic dimensions of both fields. Indeed, classicists referring to ethno-anthropology and its methods have sometimes inclined to see Graeco-Roman antiquity as a stereotypically homogeneous and isochronic world. They have created the illusory and uniform image of an ancient culture ranging from Homer and Cicero to Boethius and Nonnus of Panopolis – an image which ultimately confirmed the clichés of the nineteenth century Altertumswissenschaft. After pointing out the origins and enduring influence of traditional classicistic approaches (from Renaissance Humanism to Positivist idealism), the present paper recalls some of the most significant steps in the history of the dialogue between classics and anthropology. It argues that the intellectually stimulating contribution of social sciences to the renewal of classical scholarship should always be supported by the use of a comprehensive historical perspective, including a self-critical consideration of one’s own situated standpoint and aims. ITALIANDa diversi decenni a questa parte, l’uso di un approccio improntato all’orizzonte disciplinare dell’etno-antropologia riscuote notevole successo fra gli studiosi di antichità classica. L’analisi comparativa di culture antiche e ‘primitive’, e l’applicazione di modelli antropologici all’interpretazione dei testi antichi, hanno finito per configurarsi come una potente alter nativa alla filologia tradizionale. Questo articolo intende riprendere in esame il complesso rapporto fra studi classici e antropologia culturale con l’obiettivo di mettere in luce la rilevanza della dimensione storica e dei fattori diacronici nella prospettiva di entrambi gli ambiti disciplinari. In alcuni casi, infatti, gli antichisti più vicini ai metodi dell’etno-antropologia hanno teso a proiettare un’immagine stereotipicamente omogenea ed isocronica del mondo grecoromano. E’ stata fornita la rappresentazione illusoria e uniforme di una cultura antica in grado di abbracciare tanto Omero e Cicerone quanto Boezio e Nonno di Panopoli – una rappresentazione, questa, che ha in definitiva corroborato i clichés dell’Altertumswissenschaft ottocentesca. Dopo aver evidenziato le origini e la perdurante influenza degli approcci classicistici tradizionali (dall’umanesimo rinascimentale all’idealismo positivista), il presente contributo riporta l’attenzione su alcuni dei passaggi più significativi del dialogo fra studi classici ed antropologia. Si sostiene così l’idea che il contributo intellettualmente stimolante delle scienze sociali al rinnovamento dell'antichistica debba essere costantemente supportato da una coscienza storica ad ampio spettro, tale da includere anche una considerazione critica del proprio punto di vista e dei propri obiettivi d’indagine.ENGLISHSince several decades the use of an ethno-anthropological approach has met with considerable success among classical scholars. The comparative analysis of ancient and ‘primitive’ cultures and the application of anthropological models to the interpretation of classical texts have stood out as a powerful alternative to traditional philology. This paper reassesses the complex relationship between cultural anthropology and classical studies, highlighting the relevance of historicity and diachronic factors as basic dimensions of both fields. Indeed, classicists referring to ethno-anthropology and its methods have sometimes inclined to see Graeco-Roman antiquity as a stereotypically homogeneous and isochronic world. They have created the illusory and uniform image of an ancient culture ranging from Homer and Cicero to Boethius and Nonnus of Panopolis – an image which ultimately confirmed the clichés of the nineteenth century Altertumswissenschaft. After pointing out the origins and enduring influence of traditional classicistic approaches (from Renaissance Humanism to Positivist idealism), the present paper recalls some of the most significant steps in the history of the dialogue between classics and anthropology. It argues that the intellectually stimulating contribution of social sciences to the renewal of classical scholarship should always be supported by the use of a comprehensive historical perspective, including a self-critical consideration of one’s own situated standpoint and aims. ITALIANDa diversi decenni a questa parte, l’uso di un approccio improntato all’orizzonte disciplinare dell’etno-antropologia riscuote notevole successo fra gli studiosi di antichità classica. L’analisi comparativa di culture antiche e ‘primitive’, e l’applicazione di modelli antropologici all’interpretazione dei testi antichi, hanno finito per configurarsi come una potente alter nativa alla filologia tradizionale. Questo articolo intende riprendere in esame il complesso rapporto fra studi classici e antropologia culturale con l’obiettivo di mettere in luce la rilevanza della dimensione storica e dei fattori diacronici nella prospettiva di entrambi gli ambiti disciplinari. In alcuni casi, infatti, gli antichisti più vicini ai metodi dell’etno-antropologia hanno teso a proiettare un’immagine stereotipicamente omogenea ed isocronica del mondo grecoromano. E’ stata fornita la rappresentazione illusoria e uniforme di una cultura antica in grado di abbracciare tanto Omero e Cicerone quanto Boezio e Nonno di Panopoli – una rappresentazione, questa, che ha in definitiva corroborato i clichés dell’Altertumswissenschaft ottocentesca. Dopo aver evidenziato le origini e la perdurante influenza degli approcci classicistici tradizionali (dall’umanesimo rinascimentale all’idealismo positivista), il presente contributo riporta l’attenzione su alcuni dei passaggi più significativi del dialogo fra studi classici ed antropologia. Si sostiene così l’idea che il contributo intellettualmente stimolante delle scienze sociali al rinnovamento dell'antichistica debba essere costantemente supportato da una coscienza storica ad ampio spettro, tale da includere anche una considerazione critica del proprio punto di vista e dei propri obiettivi d’indagine
New Comedy and Roman Comedy: With and Without Menander
Get PDFENGLISHAs the only surviving representative of New Comedy, Menander offers an interesting case-study of how ancient perceptions of genre definition, qualification and categorization may be subjected to ongoing renegotiation, but also how this ever-changing appreciation influences our understanding of the evolution of Comedy, both in Greece and in Rome. More specifically, with the discovery of Menander the genre of Ancient Comedy acquired a third area, ‘New’ Comedy – a ‘Newness’ originally perceived chronologically, but in recent decades, increasingly in terms of poetics. From a different perspective, the fortune of the Menander discovery (and the lack of other extant texts from New Comedy authors) resulted to the (uncritical) designation of Menander as representative par excellence of New Comedy, a designation that most recent research, however, has come to disprove. Roman Comedy was likewise appreciated, to a considerable degree, in comparison to Menander; and within the very genre of Roman Comedy, more or less close observance of Menander’s ‘archetypal’ plays served as criterion for the characterization of Plautus as more ‘Roman’ and appealing, while Terence, famously described by Caesar as ‘half-Menander’ – itself a characterization open to both a positive and a negative interpretation – turned off the Roman audiences because of his alleged closeness to the Menandrian comic language. Performance theory, however, and the acknowledgement of the decidedly oral (namely, largely improvised) character of Plautine plays, have dissociated the appreciation of Roman Comedy from the Menandrian model. This, in turn, has led to a new appreciation of Menander as the exception rather than the mainstream voice of New Comedy. GERMANDer einzige überlieferte Vertreter der Neuen Komödie, Menander, bietet eine interessante Fallstudie dazu, wie alte Wahrnehmungen von Genre-Definition, Qualifizierung und Kategorisierung einer ständigen Neuaushandlung unterzogen werden, aber auch, wie diese sich verändernde Wertschätzung unser Verständnis von der Entwicklung der Komödie in Griechenland und Rom beeinflusst. Genauer gesagt, mit der Entdeckung von Menander wurde dem Genre der antiken Komödie ein dritter Bereich hinzugefügt, die ‚Neue‘ Komödie – eine „Neuheit“, die ursprünglich chronologisch, aber in den letzten Jahrzehnten immer mehr poetologisch wahrgenommen wird. Anders betrachtet, führte der Zufall der Entdeckung des Menander (und das Fehlen anderer Texte von Autoren der Neuen Komödie) dazu, dass Menander (unkritisch) als Vertreter par excellence der Neuen Komödie angesehen wurde – eine Bezeichnung, die die jüngere Forschung jedoch widerlegt hat. Die Römische Komödie wurde ebenfalls in erheblichem Maße an Menander gemessen; innerhalb der Römischen Komödie diente die mehr oder weniger starke Ausrichtung an Menanders „archetypische‘ Theaterstücke als Kriterium dafür, Plautus als eher „römisch“ und ansprechend zu beschreiben, während Terenz, den Caesar einen „halben Menander“ genannt hatte – eine Charakterisierung, die gleichermaßen für eine positive wie negative Interpretation offen ist – vom römischen Publikum gerade wegen seiner Nähe zur komischen Sprache Menanders abgelehnt wurde. Mittlerweile hat die Performance-Theorie und die Einschätzung des oralen (nämlich weitgehend improvisierten) Charakters der plautinischen Stücke jedoch die Bewertung der Römischen Komödie vom Modell des Menander unabhängig gemacht. Dies wiederum hat zu einer neuen Wertschätzung Menanders als die Ausnahme, nicht als die Mainstream-Stimme der Neuen Komödie geführt