Liturgy, Art and Politics

This article examines the category of “liturgy” in its relation to aesthetics, ethics and politics. It is argued that liturgy occupies a unique mediating position between art and politics, for, on the one hand, it ensures that the political points perpetually beyond itself, and, on the other hand, the artistic is prevented from lapsing into a “magic circle” of compensatory reality or merely “fine” art. Alternative aesthetic formulations, for example, that of Adorno, are examined and shown to be problematic and ultimately nihilistic and unrealizable. By contrast, a liturgical aesthetic is shown to have a genuine ethical practicability. Modernity is then examined. It is argued that late capitalist structures—including (contra Paul Piccone) is apparently opposed structures, such a post‐Fordist organicism—can be seen as a kind of anti‐liturgy liturgy, or, one might say here, “ritual” (for all the latter term's more dubious post‐nineteenth century assumptions can here be assumed), which has produced an entirely self‐perpetuating minimal automated subjectivity. Finally, it is concluded that the manifold problems faced by non‐liturgical aesthetics and politics can be reduced to this separation of the ideal from the real. This separation is further examined. The lineaments of a specific liturgical tradition—in this case, the Christian—and especially its eucharistic focus—are analyzed, and it is suggested that here one might find suggestions as to a fusion of the ideal and the real, and hence indications of how one might begin to outwit several of the problems in aesthetic and political theory already shown to involve difficulties.