Of Gin and Lace Sexuality,Liturgy and Identity among Anglo-Catholics in the Mid-Twentieth Century

Abstract

Martin Stringer begins by asking questions about the different ways in which we can talk about the ‘sexual body’ in worship. He proposes that a study of Anglo-Catholic worship in the middle years of the twentieth century might provide a way of doing this. The paper uses material on ‘drag’ and ‘camp’ in order to understand the ambiguous sexual roles and currents at play within Anglo-Catholic liturgy. He suggests that much of Anglo-Catholic worship can be read as ‘camp’. This is then linked into the parallel histories of Anglo-Catholicism and ‘drag’ through the twentieth century, highlighting their common origins in a working class environment. Martin Stringer aims to show that, while not being inevitable, the presence of gay men within Anglo-Catholicism, and hence the camp nature of the worship, is understandable and can be used to give us a greater insight into the worship itself.     

Liturgy: Divine and Human Service

Liturgy has been the forum for the enactment of a diverse range of theologies, at times stressing the human, at times the divine. Following Emmanuel Levinas, this article understands the meaning of liturgy as ' a movement of the Same towards the Other which never returns to the Same .' Whether directed towards God, or expressive of human longing, the structure of liturgy is essentially ' for -the-Other.' This movement out of self is seen when one considers liturgy as the 'work of the people,' where 'work' is understood as Œuvre rather than travail . To say that liturgy is œuvre is to situate its significance not in the activity of the subject who has a concern to achieve or realise something through his own effort, but in the Other who inspires the work. The activism of travail finds its counter in the essential passivity of œuvre . By recognising this the horizontal and vertical elements within divine liturgy can be brought together in a mutually indispensable way. As essentially 'for-the-Other,' responsible service, which is at one and the same time divine service and human service, is at the heart of the liturgy. In liturgy we are drawn out of ourselves in a 'movement of the Same towards the Other which never returns to the Same' and which is positively experienced as responsibility. It is not that we first worship and then are called unto service in a movement out of self towards the Otherness of God and thereafter towards the Otherness of the other person. The movement out of self – liturgy – is at one and the same time worship and ethics, an ethical worship, in which justice is rendered both to God and to the other person.     

Love and Liturgy

For two millennia Christians have assembled on the “day of the sun” to celebrate the liturgy together. But why do it? Why structure one's life in such a way that participation in ritualized religious activity is a fixed point in the weekly rhythm of one's comings and goings? The project of this essay is to identify reasons to engage in such activity that emanate from the Christian ethical vision. Fundamental to this vision is a contrast between an ethic of proximity, which enjoins us to attend to the needs of those near and dear, and an ethic of outwardness, which enjoins us to both attend to and open ourselves up to the needs of those who belong to various out‐groups. The Christian ethical vision enjoins an ethic of outwardness. A close look at the liturgies of the Eastern Christian tradition reveals the ways in which they express this ethic.     

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.