Saving the Appearances A Study in Idolatry
“Saving the Appearances: A Study in Idolatry” by Owen Barfield, published by Wesleyan University Press in August 1988, is a thought-provoking exploration of the evolution of human thought. This 2nd edition, comprising 190 pages, delves into the intricate relationship between perception and reality, examining concepts of God, human nature, and consciousness. Barfield draws on a diverse array of sources, including mythology, philosophy, history, literature, theology, and science, to present a comprehensive narrative that spans from ancient figures like Moses and Aristotle to more modern thinkers such as Galileo and Keats.
Readers will find that Barfield challenges the notion of a static relationship between humanity and the environment, urging a reevaluation of how we engage with the natural world. The book emphasizes the importance of recognizing our active participation in the creative processes of life. By weaving together insights from various disciplines, Barfield invites readers to reflect on the dynamic interplay between thought and existence, making this work relevant to those interested in philosophy, religion, and the sociology of religion.
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Barfield draws on sources from mythology, philosophy, history, literature, theology, and science to chronicle the evolution of human thought from Moses and Aristotle to Galileo and Keats.
Saving the Appearances is about the world as we see it and the world as it is; it is about God, human nature, and consciousness. The best known of numerous books by the British sage whom C.S. Lewis called the “wisest and best of my unofficial teachers,” it draws on sources from mythology, philosophy, history, literature, theology, and science to chronicle the evolution of human thought from Moses and Aristotle to Galileo and Keats. Barfield urges his readers to do away with the assumption that the relationship between people and their environment is static. He dares us to end our exploitation of the natural world and to acknowledge, even revel in, our participation in the diurnal creative process.
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