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Samantha Novello’s chapter pursues a phenomenological interpretation of Camus’s work by specifically examining his engagement with the twentieth century German phenomenologist, Max Scheler. For Camus, she notes, artistic creation was not a means of escaping from reality, any more than it represented a mindless immersion within it. In this context, she notes, Camus’ vision of the artist as someone who contemplates and describes, more than they conclude and prescribe, brings this figure into proximity with the philosophical persona of the phenomenologist. Just as the Husserlian brackets everyday ways of seeing, so Camus’ absurd is born of a certain ‘break’ with ordinary ways of experiencing. Just as in the phenomenological reduction, so Camus’ absurd man and artist will strive to cultivate a mode of attention that makes of everything he encounters a “privileged” datum, a kind of “learning to see again”. In this framework, the second half of Novello’s article turns to Scheler’s phenomenology of love as a key to interpret the camusian notion of love for the world. Camus’ three types of the “artist of enjoyment”, Camus’s Don Juan, the conqueror and the artist represent the embodied ‘examples’ (MS, 266) of an attitude of world-openness directed towards an “enhancement of value”. It is just such an attitude of world-openness, one which tries to enhance and savor experience, friendship, and solidarity, which Novello paints as the very heart of Camus’ ethical and political attempt, within the bounds of modern nihilism, to go beyond the limits of nihilism.