Processional walking: Theorising the ‘place’ of movement in notions of dwelling

This article rethinks dwelling as an active and emergent process through which (re)connections to place are valorised by humans collectively walking with each other in a recursive manner. We revisit Heidegger's notion of dwelling, often criticised for perpetuating enclosure and stasis, by revealing the interconnections between dwelling and movement. Drawing on a two‐century old religious procession—the Manchester and Salford Whit Walks—as an empirical example, our interpretive analysis is centred around three themes. First, we demonstrate how dwelling becomes embodied in performative and collective movement. Second, we examine how dwelling in this context is reinforced through repetition and iteration of that movement. Third, we show how such movement is reliant on repair and maintenance work, which facilitates the (re)emergence of dwelling. We contribute, therefore, empirical insights into how dwelling emerges from a movement through place which, in turn, cements a being in place. Finally, this article has important implications for thinking about how the movement of citizens through processional forms of walking can be a powerful tool for underpinning feelings of dwelling and related concepts of sense of place and civic pride.     

Wilful Design: The Sampler in Nineteenth-Century Britain

This article recovers the cultural significance of the sampler in nineteenth-century Britain. I argue that this mainstay of female education models a circular shape of development in which the young girl painfully revises earlier experience; the subject is conceived of as perpetually reworking herself without obvious linear progression. Though this article is situated against canonical works of Victorian fiction, it focuses primarily on actual samplers to argue that these pieces of childhood embroidery should be recognized as a form of life-writing. After establishing the conventions of the sampler, I turn to an apparently anomalous example that exemplifies the temporal and affective patterns ingrained by the pedagogical exercise of sampler sewing. My central artefact is an autobiographical sampler from the needle of a 17-year-old Sussex girl named Elizabeth Parker. Currently housed in the Victoria and Albert Museum, this textile from 1830 recounts Parker’s childhood experiences in service, and the horrors of physical abuse and sexual assault that led her to contemplate suicide, all compressed into 46 lines of cross-stitch. I argue that the sampler as a pedagogical tool resists the Bildungsroman’s model of the self as formed through temporal progression towards self-contained adult agency. Instead, the sampler materially and thematically enforces the recursive temporal dynamics of conversion.