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In the first days of August 1914, as the three entities of partitioned Poland—Russia, Germany and Austro-Hungary were entering the First World War, Jerzy Żuławski made the only decision he felt reflected his principles and joined Piłsudski's Legions to fight for the cause of regaining Polish independence.
Mar 29, 2022 · After a crash landing, a small group of the surviving scientists race to get to shelter on the moon’s dark side where they theorise it might be safe to breathe. The journey is long and brutal and only three of them make it. Once they get there, they’re stuck. Forever. The only female survivor has a baby.
Jerzy Żuławski was a Polish poet, writer, and playwright. He was born on 14th July 1874 in Lipowiec, close to Rzeszów, and died during the typhus epidemic in Dębica on 9th August 1915. Tue, 07/14/1874 - 12:00 - Mon, 08/09/1915 - 12:00
In a twenty-year writing career, from his first book of poems in 1895, at the age of 21, to his final World War I dispatches in 1915, Jerzy Żuławski created an impressive body of work — seven volumes of poetry, three collections of literary criticism, numerous cultural and philosophical essays, ten plays and five novels.
Jul 19, 2016 · In On the Silver Globe, one character declares: “It is not us who are lost in contemplation of the world. It is the world that is lost in contemplation of us.” You can’t help thinking that Zuławski’s film is lost in contemplation of us: staring mad-eyed at its viewers, however few, and daring them to stare back.
Trylogia Księżycowa ( The Lunar Trilogy [1] or The Moon Trilogy [2]) is a trilogy of science fiction novels by the Polish writer Jerzy Żuławski, written between 1901 and 1911. [3] [4] It has been translated into Russian, Czech, German, English [5] and Hungarian, and has been reprinted several times in Poland. [4] They are his best-known works.
Mar 5, 2013 · The idea for this book originated in our observation that while there is a growing body of innovative work dealing with transnationality in world cinemas, studies devoted to this phenomenon tend to omit Eastern European cinemas, including Polish films, an area of special interest to the editors of this volume.
