Scottish Journal of Theology
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AbstractContrary to much of the recent literature on the trinitarian theology of John Owen, which often ascribes radical personal distinction to his account of triune relations and actions, this paper argues that Owen's account of distinct divine persons and trinitarian actions ought not to be contrasted with his theological forebears: Augustine, Thomas Aquinas and Calvin. Instead, his account of trinitarian ontology and operation is thoroughly consistent with (and dependent upon) the Augustinian principles that these interpreters suspect Owen is rejecting. The argument unfolds by presenting four putative points of strong personal distinction in John Owen's trinitarian theology and then reinterpreting each of the themes and passages that these four points are supposedly rooted in, evidencing his Augustinian account of trinitarian unity and distinction.

AbstractIn The Pillar and Ground of the Truth Pavel Florensky presents an account of hell, or ‘Gehenna’, that synthesises two seemingly irreconcilable claims: that God will save all people, and that some people will reject God forever. In insisting that both claims are true, and by recasting standard categories of final judgement, purgation and human identity, Florensky produces a novel contribution in contemporary debates about hell and universalism. I begin by surveying his account, then address two key interpretive questions raised by his critics, and conclude by situating his account within modern western conversations.

AbstractIn his dramatic approach to the redemption, Balthasar takes seriously Christ's exchange of places with sinners. Christ upon the cross takes on sin itself, and not only its consequences, while remaining innocent. Balthasar critiques Aquinas for maintaining that Christ accepts only the consequences or punishments of sin. Aquinas strictly distinguishes between guilt and punishment, with Christ accepting only the latter out of charity to make satisfaction for sin. I argue that Balthasar does not get beyond Aquinas’ distinction between guilt and punishment but dramatises it for a more dynamic representation of the seriousness of sin and its redemption.