  For the 20th century existentialists, a decisive philosophical inspiration was phenomenology, the philosophical method devised by the German philosopher, Edmund Husserl, during the late 19th and early 20th centuries, and which his famous student, Martin Heidegger, developed into a combination of existential analysis and deep ontology. Even Camus, who does not define himself as a phenomenologist, and indeed sometimes rejects the tag of “existentialist” (1945), appropriates the notion of intentionality, central to Husserl’s phenomenology, in his most famous work, The Myth of Sisyphus (Camus 1942b, 44–50). It follows that existentialist aesthetics and the phenomenological approach to aesthetic perception and judgement (Ingarden 1962, 1965) are two closely related areas. Mikel Dufrenne situates his work precisely at this intersection (see especially Dufrenne 1973). However, the existentialists’ approach to phenomenology is highly original, and has significant and distinctive implications for aesthetics.