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Around the middle of the nineteenth century, there arose a type of circus performer in England called 'Shakespearean clowns'. These clowns constituted a transitory figure between the age of Georgian pantomime clowns and the establishment of the typical circus clown in the later part of the century. One of the more neglected representatives of the genre was James Clement Boswell, who enjoyed a brief period of success in England before becoming a sensation in Paris during the 1850s. Although he was universally praised, his clowning also evoked bafflement. This article studies reviews of and periodical articles on Boswell in order to get a picture of his performances and clown persona, and of how critics perceived him and turned him into an example of the melancholy clown trope. The resistance that Boswell's act and persona offered to the writers, however, illustrates that he was part of a change in the figure of the clown from its early nineteenth century incarnation to the twentieth-century clown and comic. Boswell's clowning prefigures the irony and deadpan comedy that would become more prevalent in modern comedy. He is also illustrative of the increasing detachment of the clown figure from representations of a social reality, and the creation of the modern circus clown as an essentially unreal character that epitomizes a separate outlook on life. [ABSTRACT FROM AUTHOR]

This roundtable article provides responses to the other contributions, emphasizing the need for connecting various research strands in Victorian Studies, and considering international aspects. The essay ends with a proposal to take inspiration from the method of microhistorical morphology, forcing the scholar to consider many different contexts. [ABSTRACT FROM PUBLISHER]

This article addresses the role of the ‘civilizing process’ in the historiography of the Victorian period. The author develops a critique of perspectives that deem the nineteenth century to be an era of discipline and self-restraint, arguing that these result from the hegemonic position of literary perspectives within Victorian Studies and their frequent reliance on Foucauldian-inspired techniques of discourse analysis. In response, he outlines and illustrates the potential for alternative research agendas and approaches that move away from representational sources in order that the Victorian period can be viewed in a new light. These include the study of vernacular photography, cultures of leisure, and the subcultures of groups where the importance of ‘nonverbal’ practices and the cultures inherent in bodily experiences are highlighted – forms of expression that reach beyond established discourse. It is argued that the failure of scholars of the Victorian period to consider this ‘nonverbal’ culture means that the theoretical frameworks of comprehension that currently characterize Victorian Studies are underdeveloped. The essay calls for Victorianists to broaden their theoretical perspectives, engage with new sources, and embrace new methodologies in order to enlarge our understanding of nineteenth-century culture. [ABSTRACT FROM PUBLISHER]