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A Crisis of Particularity - Part 3

Posted Feb 11, 09:30 AM | 4 comments | by Editor | Link

Warhol's Marilyn

By Nic Paton, taken from Sound and Silence:

continued from part two ...

In his book Spaces for the sacred, Phillip Sheldrake observes,

    “The problem with the western culture of ‘modernity’ which has dominated our thinking for the last couple of hundred years, is that its impulse is to stress the universal rather than the particular or vernacular, the anonymous or disengaged rather than the personal.” [p 22]

Sheldrake looks to the medieval intellectual John Duns Scotus (1266–1308) for insight. Scotus was a member of the Franciscan order, so it was under the influence of St Francis’ creation-centric spirituality that he operated. This influence is key; for Francis’ vision of the sanctity of all creation was in many ways diametrically opposed to that of the mother church. And in his memory, Gerard Manley Hopkins fittingly observes, “this air I gather and release he lived on: these weeds and waters, these walls are what He haunted.” [“Duns Scotus’s Oxford”]

Sheldrake explains how Scotus rejected Thomas Aquinas’s neo-platonic distinction between a things essence and it’s existance. In Scotus’s view, a things essence and its existence were not separate. He coined the term “Haecceity” to describe how things have value as particular things, not merely as instances of an ideal form.

    Haecceity (from the Latin haecceitas, which translates as “thisness”) is a term from medieval philosophy first coined by Duns Scotus which denotes the discrete qualities, properties or characteristics of a thing which make it a particular thing. Haecceity is a person or object’s “thisness”. [wikipedia]

Our crisis, I believe, is a crisis of thisness. We have lost our anchor to history and the now, the here, as the place where we can engage the sacred. Sheldrake shocks us out of our blithe contentedness with postmodern “space” – the disembodied and the generic over concrete “place”:

    Ultimate truth must paradoxically be sought through contingent times and places. These have the capacity to speak sacramentally, beyond themselves, of God’s presence and promise. What we sometimes refer to as the ’scandal of particularity’, that God in Christ incarnated within what is bounded and limited, is a guarantee that every particular place is a point of access to the place of God. [Spaces for the sacred, p 66]

One way to remedy this state of affairs, then, is a re-engagement with Ritual and Liturgy. I am aware that my perspectives here are largely those of the protestant, for other forms of faith — the Catholic and Orthodox — might not have quite such an issue, rooted as they are in calendars, sacred places, and specific cultures. (Interestingly though, in a paradox of orthodoxy and orthopraxy, the word “Catholic” comes from the Greek ‘καθολικός’ / ‘katholikos’, meaning “in general”, implying the very universalism I am arguing against.)

As protestants are aware, Ritual has not been overtly fostered after the Reformation. Of course, being creatures of habit, we all create, engage, and reinforce them despite our theoretical statements to the contrary.

So to begin to imaginatively create a new approach to the sacred, to worship and to life, is one of the tasks before this emergent generation. There are many traditions from which we can learn, both from within and outside of what Christianity has to offer.

I believe the challenge for us is a challenge of Incarnation, in which we take seriously what God takes seriously — time, space, and matter.

It is a challenge of sacrelization, in which we boldly declare all of life to be sacred. But at the same time, that certain times, places, objects, and practices, can be imbued with this universal sanctity in a special way.

And it is a challenge of thisness: where the objective, the universal, the general, the ubiquitous, the ideal, the generic, the global, the virtual, and the standard, are brought into check by a re-engagement with particularity.

Phillips Sheldrake’s hope bears repeating: that “every particular place is a point of access to the place of God”.

This is part three of a three-part article:
Part 1 | Part 2 | Part 3


Nic PatonNic Paton—Postmodern Liturgist, multi-instrumentalist, VJ, and scullery theologian—lives in Cape Town, South Africa, and contributes to Emerging Africa.

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Welcome to the Reader's Forum

1mark begemann 02/12/2009 12:42 AM

having trouble understanding how universal traditions of ritual and liturgy are any better than the other universals that pull us away from particularity… not that i find either particularly (pun intended) offensive. i’m a both/and type.

2Jeff Anderson 02/12/2009 07:10 AM

I’m thinking of Paul Tillich’s notion that the symbol always points beyond itself towards something deeper. Ritual and liturgy are not “nonparticular” if they arise within local communities and reflect the history and story of the individual community. I guess one wacky example is when youth use oreo cookies and for communion as against bread and grape juice.

3nic paton 02/12/2009 01:50 PM

Mark
Thanks, Jeff for addressing a good question.

I often cause confusion by using words non-conventionally, and have done so here.

What I mean by Liturgy is not the established orthopraxy curated by a religious establishment for worship, no.

Liturgy (literally “the work of the people”) for me means the meeting of 3 things: Creativity, Community and the Sacred.

As such liturgy occurs when a group of people who desire to embrace the sacred, employ their collective creativity to create art and ritual, something authentically their own, in order to meet with God in beauty and in truth.

Of course they may (and should) bring in and integrate other traditions. But the key thing is, liturgy in this sense is a particular manifestation of an authentic community who “sacrelizes” their resources to the greater glory of God.

And I do not wish “art” to be understood as the perview of the expert, but rather any offering done with imagination; the widows mite comes to mind as one such offering.

4Adam 04/11/2009 11:21 PM

It interests me that this series took a very universal approach to particularity. You attempted to recover particularity through ritual and liturgy, but the piece itself was very universal in style. But particularity in style would be very difficult without excluding many/most of the readers. It’s seems there’s a place for both the universal and the particular.

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