appearance and reality

appearance and reality

(especially in MARXISM) the distinction drawn between 'S urface’ social relations – the appearance - and the underlying determinants of social reality, hidden from view by IDEOLOGY, etc. For example, for Marx, the LABOUR THEORY OF VALUE provides the key to a 'S cientific’ understanding of the true character of CAPITALISM, i.e. its ‘exploitative’ and ‘contradictory’ character, rather than the apparent ‘fairness’of the CAPITALIST LABOUR CONTRACT. In drawing a general distinction between appearance and reality, Marx did not wish to suggest that surface appearances were in any sense wholly unreal, but simply that they disguised more fundamental, ultimately determining relations. The distinction also drawn between epiphenomena (surface) and phenomena (underlying reality) is another way of saying the same thing. See also COMMODITY FETISHISM, REIFICATION.
References in periodicals archive ?
"A writer's world is his word or his poetic language" (xii); thus the very act of writing comprises an act of world making, at least on a microcosmic scale, but it is the consciousness of the act and its implications of artifice and transgression, as well as the tension between appearance and reality, that link the works considered in Cosmopoiesis.
The tension between appearance and reality that lay subtly below the surface of the Orfeo is confronted head on in Ariosto's Orlando Furioso.
The conflicts between inside and outside, appearance and reality, individual and community, and people and things are some of the core oppositions Hurston evokes in the language of the novel.
A main objective of Mander's book is to expose these misunderstandings and to assess recent Bradleian scholarship with respect to several primal metaphysical notions developed principally in Bradley's Appearance and Reality and Essays on Truth and Reality.
Significantly, it is the deacon's eyes which most expressively embody this discrepancy between appearance and reality: