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During the Middle Ages, philosophers and theologians argued over the extramental reality of universal forms or essences. In the early modern period, the relation between subjectivity and objectivity, the individual self and knowledge of the outside world, was a rich subject of debate. Today, there is considerable argument about the relation between spontaneity and determinism within the evolutionary process, whether a principle of spontaneous self-organization as well as natural selection is at work in the aggregation of molecules into cells and the development of primitive forms of life into complex organisms. In Subjectivity, Objectivity and Intersubjectivity, Joseph A. Bracken proposes that what is ultimately at stake here is the age-old problem of the relationship between the One and the Many, universality and particularity on different levels of existence and activity within nature.

Suture and Narrative: Deep Intersubjectivity in Fiction and Film by George Butte offers a new phenomenological understanding of how fiction and film narratives use particular techniques to create and represent the experience of community. Butte turns to the concept of suture from Lacanian film theory and to the work of Merleau-Ponty to contribute a deeper and broader approach to intersubjectivity for the field of narrative theory.

Butte’s approach allows for narratives that represent insight as well as blindness, love, and loss, locating these connections and disconnections in narratological techniques that capture the crisscrossing of perspectives, such as those in fiction’s free indirect discourse and in the oblique angle of film’s shot/reverse shot convention. Butte studies the implications of this chiasmus in the novels and film adaptations of later Henry James works, Barrie’s Peter Pan tales and film adaptations, and the films Silence of the Lambsand Nothing But a Man. Suture’s story in the twentieth century, according to Butte, is a story of the loss of immediacy and community. Yet in concluding this, Butte finds optimism in the Coen brothers’ Raising Arizona as well as in Why Be Happy When You Could Be Normal? by Jeanette Winterson and Marc Webb’s film (500) Days of Summer.

World-renowned analytic philosophers John McDowell and Robert Brandom, dubbed “Pittsburgh Neo-Hegelians,” recently engaged in an intriguing debate about perception. In The Intentional Spectrum and Intersubjectivity Michael D. Barber is the first to bring phenomenology to bear not just on the perspectives of McDowell or Brandom alone, but on their intersection. He argues that McDowell accounts better for the intelligibility of empirical content by defending holistically functioning, reflectively distinguishable sensory and intellectual intentional structures. He reconstructs dimensions implicit in the perception debate, favoring Brandom on knowledge’s intersubjective features that converge with the ethical characteristics of intersubjectivity Emmanuel Levinas illuminates.

Phenomenology becomes the third partner in this debate between two analytic philosophers, critically mediating their discussion by unfolding the systematic interconnectionamong perception, intersubjectivity, metaphilosophy, and ethics.

M. C. Dillon (1938–2005) was widely regarded as a world-leading Merleau-Ponty scholar. His book Merleau-Ponty’s Ontology (1988) is recognized as a classic text that revolutionized the philosophical conversation about the great French phenomenologist. Dillon followed that book with two others: Semiological Reductionism, a critique of early-1990s linguistic reductionism, and Beyond Romance, a richly developed theory of love. At the time of his death, Dillon had nearly completed two further books to which he was passionately committed. The first one offers a highly original interpretation of Nietzsche’s ontology of becoming. The second offers a detailed ethical theory based on Merleau-Ponty’s account of carnal intersubjectivity. The Ontology of Becoming and the Ethics of Particularity collects these two manuscripts written by a distinguished philosopher at the peak of his powers—manuscripts that, taken together, offer a distinctive and powerful view of human life and ethical relations.