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            <title xml:lang="en">Adam Thirlwell’s art of the novel : towards an aesthetics of flippancy?</title>
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                <title xml:lang="en">Adam Thirlwell’s art of the novel : towards an aesthetics of flippancy?</title>
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                <authority type="supervisor">Anne-Laure Tissut</authority>
                <authority type="jury">Vanessa Guignery [Président]</authority>
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                <term xml:lang="en">Aesthetics</term>
                <term xml:lang="en">Co(s)mic realism</term>
                <term xml:lang="en">Milan Kundera</term>
                <term xml:lang="en">Flippancy</term>
                <term xml:lang="en">Theory of the novel</term>
                <term xml:lang="en">Adam Thirlwell</term>
                <term xml:lang="fr">Réalisme co(s)mique</term>
                <term xml:lang="fr">Milan Kundera</term>
                <term xml:lang="fr">Désinvolture</term>
                <term xml:lang="fr">Esthétique</term>
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                <term xml:lang="fr">Adam Thirlwell</term>
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              <p>Viewed as an impure and irreverent genre in the work of writer Adam Thirlwell, the novel displays a number of affinities with flippancy. The latter seems to highlight a modality specific to the European novel as defined by Kundera: a novel at the crossroads of registers and tonalities, able to uncover discarded or new existential territories. This thesis explores the aesthetic significance of flippancy in Thirlwell’s fiction and theory, where it is used both as a mode of representation and a mode of investigating reality. As a way of thinking through difference and disengagement, flippancy operates by defining or recycling literary categories in order to probe man’s oxymoronic experience of the modern world — a world in which contrary notions coexist and mingle, in which gravity can turn into levity, tragedy into comedy. As a result, this dissertation puts forward the idea that flippancy shapes a quality of vision through which the nature of reality manifests itself in all its contradictions and ironies, thus shaping the outlines of what we tentatively call “co(s)mic realism”.</p>
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              <p>Forme impure et irrévérente dans l’œuvre du romancier Adam Thirlwell, le roman manifeste des affinités avec l’attitude désinvolte. Chez Thirlwell, la désinvolture semble être une modalité spécifique de l’esprit du roman européen tel que Kundera le définit : un roman à la croisée des registres et des tonalités, capable de dévoiler des territoires existentiels délaissés, ou inconnus. Cette thèse interroge la valeur esthétique de la désinvolture chez Thirlwell, à la fois mode de représentation et mode de connaissance. En tant que pensée de l’écart et du désengagement, la désinvolture se manifeste à travers l’invention et le recyclage de catégories littéraires, visant à rendre compte du rapport au monde oxymorique que l’homme moderne entretient avec le monde – monde où les contraires se jouxtent et se confondent, la gravité se muant en légèreté, le tragique en comique. On propose ainsi d’étudier dans quelles mesures la désinvolture influence une qualité de vision où la réalité assume ses qualités contradictoires et ironiques, laissant envisager les contours de ce que l’on propose de nommer le « réalisme co(s)mique ».</p>
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