Of all contemporary social theorists, Luhmann has best understood the centrality of the concept of meaning to social theory and has most extensively worked out the notion's implications. However, despite the power of his theory, the theory suffers from difficulties impeding its reception. This article attempts to remedy this situation with some critical arguments and proposals for revision. First, the theory Luhmann adopted from biology as the basis of his own theory was a poor choice since that theory has no (...) explanatory power, being purely descriptive; furthermore, that theory is fundamentally flawed since it implies that viruses are impossible. Second, Luhmann's theory of meaning cannot coherently make the social domain autonomous as he desires since Luhmann does not take into account the distinction between syntax and semantics. By introducing this distinction, making clear that social systems consist of rules, not just communications, and raising the rule concept to the same prominence in social theory as those of actor and system, autonomy can be maintained while avoiding the counterintuitive aspects of Luhmann's theory. (shrink)

"Knowing how we know" is the subject of this book. Its authors present a new view of cognition that has important social and ethical implications, for, they assert, the only world we humans can have is the one we create together through the actions of our coexistence. Written for a general audience as well as for students, scholars, and scientists and abundantly illustrated with examples from biology, linguistics, and new social and cultural phenomena, this revised edition includes a new afterword (...) by Dr. Varela, in which he discusses the effect the book has had in the years since its first publication. (shrink)

'This book is a masterpiece of theoretical thought. It anticipates the actual achievements of much of what we now call sociolinguistics.

This book is not only a major twentieth-century contribution to Dostoevsky’s studies, but also one of the most important theories of the novel produced in our century. As a modern reinterpretation of poetics, it bears comparison with Aristotle.“Bakhtin’s statement on the dialogical nature of artistic creation, and his differentiation of this from a history of monological commentary, is profoundly original and illuminating. This is a classic work on Dostoevsky and a statement of importance to critical theory.” Edward Wasiolek“Concentrating on the (...) particular features of ‘Dostoevskian discourse,’ how Dostoevsky structures a hero and a plot, and what it means to write dialogically, Bakhtin concludes with a major theoretical statement on dialogue as a category of language. One of the most important theories of the novel in this century.” The Bloomsbury Review. (shrink)