Marcin Jauksz

Marcin Jauksz – doktor, literaturoznawca i filmoznawca, adiunkt Zakładu Literatury Pozytywizmu i Młodej Polski w Instytucie Filologii Polskiej UAM; w 2010 roku obronił rozprawę doktorską Krytyka dziewiętnastowiecznego rozumu. Źródła i konteksty „Pałuby” Karola Irzykowskiego nagrodzoną w Konkursie im. Konrada i Marty Górskich w 2011 roku; interesuje się psychologizmem w prozie późnego wieku XIX i kształtującymi się wówczas zasadami kompozycji dzieła literackiego, ostatnio tropi też poetów zagubionych na „marginesach cywilizacji”. Stypendysta rządu francuskiego w latach 2008 – 2009; publikował m.in. w „Wieku XIX”, „Porównaniach”, „Lampie” i „Polonistyce”.

Dr Marcin Jauksz is an assistant professor at Adam Mickiewicz University in Poznań, Poland. He earned his PhD with the book Krytyka dziewiętnastowiecznego rozumu. Źródła i konteksty „Pałuby” Karola Irzykowskiego (The Critique of Nineteenth-Century Reason. The Sources and Contexts of Karol Irzykowski’s The Hag) which was an examination of one of the most original Polish early modernist novels in the context of nineteenth-century philosophy and prominent crypto-autobiographical texts of the era (Stendhal, Poe, Komornicka, Sienkiewicz among others). The study earned the Konrad and Marta Górski Thesis Award in 2011. He won a scholarship from the French Government in the years 2008-2009. His current projects include research on relations between social studies and changes in the rhetoric of the novel as well as on the poetry lost on the “margins of civilization” in the late nineteenth century. He has published his work in such journals as Wiek XIX (The 19th Century), Porównania (Comparisons), Lampa (The Lamp) and Polonistyka (Polish Studies), among others.

George Eliot, George Henry Lewes and the Mechanisms of Literary Influence

In Lieu of an Introduction

Virginia Woolf has a resonant, often-quoted sentence in her famous essay on George Eliot from 20 November 1919, asserting that Middlemarch, for all of its flaws, was “one of the few English novels written for grown-up people.”[1] In a less frequently quoted passage grappling with the previously mentioned flaws, the most important British high-modernist author writes:

It is partly that her hold upon dialogue, when it is not dialect, is slack; and partly that she seems to shrink with an elderly dread of fatigue from the effort of emotional concentration. (...)