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This article discusses the clowning element of a German version of Hamlet believed to date back to the time of Shakespeare. Der bestrafte Brudermord is noted as an adaptation of Shakespeare's tragedy which incorporates a lot more low comedy than any extant version of Hamlet and provides opportunity for contemplating the reason why Hamlet has no explicit clown character. The article focuses especially on a character appearing very briefly in the German play, a rustic buffoon called Jens, and his affinity with the rustics and comic servants of other Shakespeare plays and other Elizabethan plays. It is particularly asserted that this role shows signs of the involvement of the clown Will Kemp at some stage of the writing of Hamlet, or of touring continental Europe with an adaptation of it that puts the clowning element at the forefront. [ABSTRACT FROM AUTHOR]

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]

Dandyism was a spreading phenomenon in the cities of the late nineteenth century. Its more bourgeois and literary aspects are well researched, but it also influenced a number of youth subcultures that were seldom expressed in written or published forms except when journals and newspapers derided them. One of these was the character of the masher which emerged as a distinctly British variation during the middle of the century and was established as a form of popular dandy type in the 1880s. It is typical for a phenomenon like this to remain unexpressed, but a curious short-lived periodical entitled ‘The Masher’ was published in a few issues in 1883 during the height of the masher culture’s popularity. Through a study of the issues of this journal and the contents of its articles, this article aims at contemplating masher culture as a specific male subculture and testing the notion that this journal was a manifestation of it. Considering aspects of gender, performativity, dress and cultures of frivolity, the discussion centres around the self-irony and affectedness of the masher role, and its relation to other forms of more respectable dandyism. [ABSTRACT FROM AUTHOR]

This article reflects on the role of the walking stick in the nineteenth-century city and explores the nature of the criticisms directed at it. The criticism and mocking of certain ways of holding the cane display the deep conflicts within the culture of urban strolling concerning how to take part in it, and who were allowed to do so. By identifying an irritation with canes, we see that there was a conflict between the purposeful culture of walking and the superficial culture of performativity and display, which forced Victorian men to be extremely careful of how their behaviour was perceived. By bringing the walking stick to the fore, the paper illustrates its role in a struggle between ostentation and sobriety and how its importance in cultures of both self-possession and flamboyance is indicative of aspects of the history of urban walking. [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]