SUFFERING AND SOVEREIGNTY OF GOD ACCORDING TO JOHN PIPER AND ITS IMPLICATION FOR THE CHURCH TODAY

Purpose: The purpose of this paper is to analyze the theology of suffering from a biblical perspective by using literature review as methodology. Methodology: One of the foundational evangelical presuppositions for theological research is that Scripture is divinely authored and is therefore without error, and authoritative for our faith and practice. Findings: The study found that suffering is biblical and should be expected by all Christians as they are not exempted from it, unlike prosperity teaching. Suffering has the purpose of refining and maturing our faith. Further, it is to display the greatness of the glory of the grace of God. Unique Contribution to theory and practice: Therefore, it is recommended for Christians to depend on God at all seasons by asking for wisdom and grace from him. So in this paper, the relationship between suffering and the sovereignty of God and its implication to the church will be discussed with a particular focus on John Piper's work

UM DIÁLOGO ENTRE DIREITO E TEOLOGIA

No direito penal é comum a análise estratificada da conduta criminosa na qual, para que uma conduta seja considerada criminosa, será necessário presente a culpabilidade, que é a reprovabilidade da conduta. Argumenta-se que não existe crime sem culpabilidade. A partir desse pensamento, teologicamente, desenvolvo o conceito estratificado de pecado e enfoco a culpabilidade como elemento necessário para a configuração do pecado. O presente artigo faz uma análise estratificado do pecado com foco na culpabilidade permeada pela cosmovisão cristã e como ponto controvertido o erro ou vício de compreensão. Ilustra-se o tema descrevendo-se a visão de John Piper sobre a graça futura e a sua relação com um dos elementos do conceito de pecado bem como a resposta de Zaffaroni sobre erro ou vício de compreensão no crime. Por derradeiro conclui-se que a ação eivada de vício de compreensão não é uma conduta pecaminosa.

O MUNDO CAÍDO: UM CONCEITO ANALÍTICO PARA O PECADO

É comum o pensamento em que se julga uma conduta que não se enquadra em determinado mandamento divino como pecado. Argumenta-se que não existe pecado maior ou menor e que pecado é pecado e tem como consequência a morte espiritual. A partir desse pensamento desenvolvo o conceito analítico de pecado, não como um ato, mas como um percurso, com suas atenuantes, agravantes e consequências. O presente artigo faz uma análise da Teoria Formal do Crime e a partir deste ponto controvertido fixa o conceito analítico de pecado. Ilustro o tema descrevendo a visão de John Piper sobre a graça futura e a sua relação com um dos elementos do conceito de pecado bem como a resposta de Zaffaroni sobre conduta humana.

Seven and Five Society

The painter Ivon Hitchens (1893–1979) led the founding of the Seven & Five Society in London in 1919, primarily as an exhibiting society for its original membership of seven painters and five sculptors. By 1926 the membership grew to 20 and by the time of the last of its 14 exhibitions in 1935, 87 artists had taken part in its shows. In its early years the Society eschewed the promotion of any particular approach to art and was open to artists of all styles. In 1924, however, Hitchens invited Ben Nicholson to join and under Nicholson’s later chairmanship the character of the Society changed. After a period in which a modern but varied approach to representational art was encouraged, Nicholson won a vote which restricted exhibition entries to non-figurative abstract works. The result was the break-up of the Society, though not before its final exhibition which included abstract works by Nicholson, Barbara Hepworth, Henry Moore, and John Piper; this was the first all-abstract exhibition ever to be held in London.

HEDONISME KRISTEN JOHN PIPER SEBAGAI SEBUAH KONTEKSTUALISASI DI DALAM IMAN KRISTEN

?Iman Kristen selalu menghadapi tantangan di dalam setiap zaman, tetapi tugas penting yang harus dikerjakan tidak pernah berubah,?yaitu bagaimana menaklukkan zaman di dalam kebenaran Tuhan. Setelah bergumul dalam zaman modern, iman Kristen menghadapi tantangan lainnya di dalam zaman postmodern. Pandangan John Piper yang dikenal dengan hedonisme Kristen lahir di tengah-tengah tantangan "self-seeking pleasure" dalam zaman postmodern. Meskipun pandangan ini telah menjadi berkat besar di dalam kekristenan, namun kritik dan kontradiksi juga tidak terhindarkan ditujukan kepada Piper. Perhatian dan keberatan yang muncul berkenaan dengan pertanyaan apakah Piper mengkompromikan kebenaran Firman Tuhan dengan situasi dunia berdosa. Pembahasan akan menunjukkan bahwa pandangan Piper bukan suatu kompromi, melainkankontekstualisasi dan apa yang Piper kerjakan senantiasa berpegang pada kebenaran Kristen dengan relevansi dan kesetiaan kepada berita Injil.

C. S. Lewis and Penal Substitution: A Problem Case for New Calvinist Theology

I examine the general goodwill that the New Calvinist movement feels toward C. S. Lewis, and identify what I see as an anomaly in it. I argue that New Calvinists have good reason, based on their theology, to reject C. S. Lewis as an evangelical Christian on account of his doctrine of the atonement, and that their justification for not doing so is unsatisfactory. I engage the work of John Piper and Douglas Wilson as representatives of the movement, and show that in attempting to justify Lewis they misrepresent his beliefs. However, I then argue that they are nevertheless right in their insight that Lewis is ‘someone special’ who must be a Christian regardless of his problematic beliefs. Rather than engage in attempts to justify and explain away these important theological differences, I suggest that New Calvinists should think of them as anomalies which can be used to critically examine their own theology.

John Piper's Modernist Scenography

As one of the pre-eminent British painters of the twentieth century, John Piper secured his legacy with his depictions of swirling seas, grand country houses, and secluded churches. However his contribution to the theatre is less well known. This paper aims to address this lacuna, focusing on his scenographic contribution to two modernist performances: Stephen Spender's Trial of a Judge (1938) and Edith Sitwell's Façade (1942). I aim to present Piper as a vital force in a British avant-garde theatre scene and to reimagine his canon of work as inherently theatrical. This theatrical element unites his diverse oeuvre, from his most abstract geometric collages to his most quintessentially English landscapes. This paper resurrects two often overlooked performances, and sheds new light on the cross-disciplinary nature of British modernist art and the importance of theatrical motifs for a thorough understanding of Piper's work.